UMS Concert Program, October 8, 2016 - October 9, 2016 - Takács Quartet Beethoven String Quartet Cycle

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138TH SEASON // UNIVERSIT Y OF MICHIGAN | ANN ARBOR

2016-17
FALL
PROGRAM
BOOK

You have a
part to play.
Uncommon
and engaging
experiences.
A sense of
connection
between audience
and artist.
Moments of clarity,
inspiration, and
reflection. The
performing arts
provide us with
these elemental
experiences,
offering a shortcut
to our creative
selves.

Your gift will help in the following areas:

UMS.ORG/SUPPORT
734.764.8489

Visit us online or call the UMS Development
Office to make your gift today.

ACCESS AND INCLUSIVENESS

Helping make tickets more affordable.
Helping create free educational events and
community-building activities. Providing
opportunities for all to experience the
transformative power of the arts.
ENGAGED LEARNING THROUGH THE ARTS

Integrating performing arts into the
student experience. Creating meaningful
connections between the arts and life.
Encouraging creative thinking, collaboration,
and experimentation.
BOLD ARTISTIC LEADERSHIP

Commissioning work that reflects our
commitment to tradition and innovation.
Solidifying and elevating our position as
a recognized national and international
artistic leader. Unique and bold
programming.
As a Leader and Best among arts presenters,
UMS wants anyone and everyone, students
and community alike, to experience the
transformative power of the performing arts.
We seek generous partners who want to
help us achieve our goal.

BE PRESENT

Be
Present
FA L L 2 0 1 6

UMS unleashes the power of the
performing arts in order to engage,
educate, transform, and connect
individuals with uncommon
experiences. The Fall 2016 season
is full of exceptional, world-class,
and truly inspiring performances.
Welcome to the UMS experience.
We’re glad you’re present. Enjoy
the performance.

1

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

ARTS
+ CULTURE
= ECONOMIC
PROSPERITY
nonprofit

in the greater Ann Arbor Area

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

Ann Arbor Area

Community Foundation
aaacf.org

MARK SCHLISSEL
President, University of Michigan

FA L L 2 0 1 6

We’re delighted that you’re joining us in our 138th season, one
that will be marked by significant change as we celebrate UMS
President Ken Fischer’s 30 years of transformative leadership
and welcome a new president to continue Ken’s superlative work.
This season has been planned with Ken’s retirement in mind
and includes several exciting, diverse, and engaging events that
are particularly meaningful for him. As expected, 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 welcome you
to learn more about all of our programs at the new ums.org and
to become engaged with UMS, whether it’s by making a gift to
our campaign, joining us at the Ann Arbor Y for a community
dance class with a visiting dance company, or buying a ticket to a
performance. We’re always eager to hear from you, too! Join the
conversation and share your thoughts after a performance at the
now-easier and more-connected ums.org. And if you have any
comments, questions, or concerns, we know that Ken would be
pleased to receive them at 734.647.1174 or at kenfisch@umich.edu.
We hope to see you again soon.

BE PRESENT

Welcome to this UMS
performance.

STEPHEN R. FORREST
Chair, UMS Board of Directors
3

Thanks to thousands of generous individuals, families
and businesses, the Community Foundation for Southeast
Michigan is a permanent source of community capital,
dedicated to creating lasting positive benefit in
our region. Through grantmaking, education and
leadership on community issues, we help improve the
quality of life for all residents of Southeast Michigan.
cfsem.org. 1- 888 -WeEndow

BE PRESENT

Table of
Contents
6
2016-17
SEASON CALENDAR

9
EDUCATION

11
HISTORY
FA L L 2 0 1 6

12
LEADERSHIP DONORS

14
CORPORATE CHAMPIONS

21
FOUNDATION, GOVERNMENT,
& UNIVERSIT Y SUPPORT

23
PEOPLE

31
GENEROUS DONORS

5

2016-17 Season
September
Dorrance Dance

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

9/30 Kamasi Washington &
The Next Step

November

11/12-13 Berlin Philharmonic

Kamasi Washington

11/15 Gabrieli:
A Venetian Coronation 1595

11/16 Jake Shimabukuro, ukulele

11/17-20 Nora Chipaumire
portrait of myself as
my father

October

10/8-9 Takács Quartet
Beethoven String Quartet
Cycle, Concerts 1 & 2

10/9 HD Broadcast
(National Theatre, London)
Terence Rattigan’s
The Deep Blue Sea
10/13-15 Layla and Majnun
Mark Morris Dance Group
The Silk Road Ensemble

10/16 Denis Matsuev, piano

10/20-21 Dorrance Dance

6

December

12/3-4 Handel’s Messiah
UMS Choral Union
Ann Arbor Symphony
Orchestra

12/4 HD Broadcast
(Royal Shakespeare
Company)
Shakespeare’s King Lear
12/10 The King’s Singers
Christmas Songbook

1/7-8 Batsheva Dance Company

March

1/12-14 Igor and Moreno
Idiot-Syncrasy

3/4 Jazz at Lincoln Center
Orchestra with
Wynton Marsalis
3/9-11 Druid
The Beauty Queen of
Leenane

1/19 Prague Philharmonia with
Sarah Chang, violin
Andrew Von Oeyen, piano

1/20 Meredith Monk &
Vocal Ensemble
On Behalf of Nature

3/11 Beethoven’s
Missa Solemnis

3/16 Snarky Puppy

1/21-22 Takács Quartet
Beethoven String Quartet
Cycle, Concerts 3 & 4

3/17-18 Kidd Pivot and
Electric Company Theatre
Betroffenheit

1/29
Inon Barnatan, piano
Anthony McGill, clarinet
Alisa Weilerstein, cello

3/18 Steve Reich @ 80
Music for 18 Musicians

3/24 Mitsuko Uchida, piano

February

2/2 Bruckner Orchester Linz
with Angélique Kidjo
2/3 Estonian Philharmonic
Chamber Choir

2/5 M-Prize Winner:
Calidore String Quartet

2/10 Budapest Festival Orchestra
with Richard Goode, piano

2/18 Ping Chong + Company
Beyond Sacred: Voices of
Muslim Identity

2/19 Jelly and George
Aaron Diehl and
Cécile McLorin Salvant

3/25-26 Takács Quartet
Beethoven String Quartet
Cycle, Concerts 5 & 6

3/29 DakhaBrakha

3/30-4/1 Complicite
The Encounter

FA L L 2 0 1 6

BE PRESENT

January

DakhaBrakha

April
Ping Chong + Company

4/1 Michael Fabiano, tenor
Martin Katz, piano

4/12 A Far Cry with
Roomful of Teeth

4/15 Sanam Marvi

4/21 King Sunny Adé

4/22 Yo-Yo Ma, Edgar Meyer &
Chris Thile

4/25 Handel’s Ariodante:
Opera in Concert
7

THE
GILMORE
2016-2017
SEASON

PRESENTING
PIANO MASTERS
& RISING STARS
BOX OFFICE
269.359.7311

thegilmore.org

SUPPORTING THE ARTS
As longtime patrons of the arts,
Honigman and its Ann Arbor attorneys
are proud to support UMS.
For more information, please contact David Parsigian
at 734.418.4250 or DParsigian@honigman.com.

WWW.HONIGMAN.COM

BE PRESENT

Education &
Community
Engagement
Educational experiences
for everyone.

FA L L 2 0 1 6

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

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

9

WELCOME TO
GRADUATE ANN ARBOR—

COME TO
Where your intellectual curiosity meets
your favorite place to stay.
DUATE ANN
ARBOR—

Ideally located across the street from campus,

your intellectual
curiosity
meets
Graduate
Ann Arbor has
204 guest rooms and over
square feet of meeting space for banquets
vorite place to11,000
stay.
and events. Get ready for experiences like you’ve
never had before, where little moments of surprise

andstreet
discovery
meet you
down each corridor and
ocated across the
from
campus,
around every corner.
Ann Arbor has 204 guest rooms and over
quare feet of meeting space for banquets
ts. Get ready for experiences like you’ve
d before, where little moments of surprise
overy meet you down each corridor and
very corner.

BE PRESENT

Tradition
Builds the Future

FA L L 2 0 1 6

In our 138th season, we continue to showcase traditional performances
alongside contemporary artists for an offering that is unlike anything
available in the Midwest. UMS grew from a group of local members of the
University and townspeople in the 1870s who gathered together for the
study of Handel’s Messiah. Led by Professor Henry Simmons Frieze and
conducted by Professor Calvin Cady, the group assumed the name The
Choral Union. Many Choral Union members were also affiliated with the
University, and the University Musical Society was established soon after
in December 1880.
Since that first season, UMS has expanded greatly and now presents the
very best from a wide spectrum of the performing arts: internationally
renowned recitalists and orchestras, dance and chamber ensembles, jazz
and global music performers, and contemporary stagework and classical
theater. Through educational programming, the commissioning of new
works, youth programs, artist residencies, and collaborative projects,
we continue to strengthen our reputation for artistic distinction and
innovation.

Hill Auditorium opening-night audience: May 14, 1913
11

Leadership
Donors
We recognize the donors who have made multi-year campaign commitments of
$100,000 or more during the last year.
BERTRAM ASKWITH (1911-2015)
PAT TI ASKWITH KENNER
“The arts made a significant difference in my father’s life
and in my life, too. My father wanted every U-M student
to have the opportunity to experience the impact of the
performing arts at UMS. This is why I am continuing to offer
every first- and second-year student one free ticket —
Bert’s Ticket — to introduce them to a cultural experience at
Michigan and keep my father’s passion for the arts alive.”
MAURICE AND LINDA BINKOW
“Our love of opera and the human voice, rivaled only by our
affection for the Brooklyn Dodgers and Jackie Robinson, began
nearly 70 years ago as teenagers in New York City. That’s why
we are so pleased to create an endowment that will bring song
recitals to UMS audiences for generations to come.”

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

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

12

BE PRESENT

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

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

DAVID LEICHTMAN AND LAURA MCGINN
FA L L 2 0 1 6

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

STUART AND LINDA NELSON
“Our connection to the University of Michigan is
through our grandson’s incredible experience as a
student. We are dazzled by the array of cultural events
available to everyone on campus and beyond. At the
heart of this phenomenon is UMS, where Ken Fischer’s
legacy will continue its magic long after his retirement.
We feel privileged to participate in the UMS Endowment
Fund in his honor.”
MAX WICHA AND SHEILA CROWLEY
“We are delighted and proud to support UMS and the rich,
diverse programs they offer each season. The arts play a
vital role in enhancing the quality of life in our community,
while bringing beauty and meaning to everyday life. UMS
is a gem we treasure and will continue to do so, for many
years to come.”

13

Corporate
Champions
We thank the following businesses for their commitments of $5,000 or more for the
2016–17 season.
ALICIA M. TORRES
Senior Vice President & Chief Financial Officer, Altarum Institute
“The arts stimulate the mind and inspire creativity. Hence, we
at Altarum are thrilled to support UMS and provide inspiring and
enjoyable cultural opportunities for our team and our community.
Altarum Institute serves the public good by solving complex systems
problems to improve human health through objective research,
technology, analysis, and consulting leadership skills.”

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

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

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

14

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

BE PRESENT

LARRY BRYANT
Ann Arbor Region President, Comerica Bank

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

FAYE ALEXANDER NELSON
President, DTE Energy Foundation
FA L L 2 0 1 6

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

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

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

15

DAVID N. PARSIGIAN
Ann Arbor Office Managing Partner, Honigman Miller
Schwartz and Cohn LLP
“In our firm’s tradition of supporting major cultural institutions,
Honigman has been a long-time supporter of UMS. Our Ann Arbor
office is proud to carry on that tradition on behalf of all of our
attorneys, especially those who work and live in the Ann Arbor area.
We all view the exceptional cultural experiences that UMS provides
as key to the success of our community and our firm.”
JOHN AND JACKIE FARAH
Owners, Imagine Fitness & Yoga
“My wife Jackie and I share a deep devotion to our hometown of
Ann Arbor and all the opportunities it presents. UMS is a huge part of
this community. The programming that UMS offers is internationally
recognized and Ann Arbor would not be the same without it. Imagine
Fitness & Yoga is honored to support such a great organization and
community.”

MOHAMAD ISSA
Director, Issa Foundation
“The Issa Foundation is sponsored by the Issa family, which has
been established in Ann Arbor for the last 30 years, and is involved
in local property management as well as area public schools.
The Issa Foundation is devoted to the sharing and acceptance
of culture in an effort to change stereotypes and promote peace.
UMS has done an outstanding job bringing diverse and talented
performers to Ann Arbor.”
ROBIN WEBER POLLAK
President, Journeys International
“Journeys International and UMS have a lot in common: we both
provide opportunities for powerful and impactful experiences.
Founded and based in Ann Arbor, Journeys has been crafting lifechanging international travel adventures for nearly four decades.
We are thrilled to support UMS and its programs that change people
through the performing arts.”

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

16

BE PRESENT

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

DENNIS SERRAS
Owner, Mainstreet Ventures, Inc.
“As restaurant and catering service owners, we consider
ourselves fortunate that our business provides so many
opportunities for supporting UMS and its continuing success
in bringing internationally acclaimed talent to the Ann Arbor
community.”

KEITH ALLMAN
President and Chief Executive Officer, Masco
FA L L 2 0 1 6

“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!”

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

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

17

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

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

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

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

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

18

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

BE PRESENT

JOE SESI
President, Sesi Lincoln Volvo Mazda

SesiMotors.com

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

TOM THOMPSON
Owner, Tom Thompson Flowers
FA L L 2 0 1 6

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

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

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

19

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

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

Takács Quartet
Beethoven
String Quartet
Cycle
Concerts I and II

October 8 and 9, 2016
Rackham Auditorium
Ann Arbor

CONTENT
Prologue by Edward Dusinberre

3

Concert I
Saturday, October 8, 8:00 pm

13

Concert II
Sunday, October 9, 4:00 pm
23

Artists 33

PROLOGUE
Excerpt from Beethoven for a Later Age: Living with the String Quartets
by Edward Dusinberre
No sooner do I play my opening notes
in Beethoven’s late string quartet,
Opus 131, than a man in the first row
of London’s Wigmore Hall coughs
ominously. A teacher once suggested
to me that coughing in an audience is
inspired only by a boring performance.
If that is so, this particular verdict
has been reached swiftly. I wonder
why the man doesn’t escape from his
seat. Perhaps he knows that there
are no breaks between the seven
movements of Opus 131— if he gets
up now the ushers may not allow him
to re-enter the hall. Hopefully both
boredom and phlegm will dissipate.
There shouldn’t be anything
especially taxing about the opening
phrase of Opus 131; as first violinist
of the Takács Quartet I have been
playing Beethoven’s 15th string quartet
for nearly 20 years. I play the first 12
notes on my own. (Ex.1) The rhythm is
uncomplicated, the tempo comfortably
slow, but even the simplest-looking
phrase is challenging: there are so
many different ways one could play it.
Over the last 20 years I have received
copious suggestions from my dear
colleagues in the quartet. First of all,
how to play the sforzando (sf in the
example, below), an instruction to
emphasize or attack a particular note?

That sounds too aggressive, could you
try a more expressive version?
But now it sounds easy-going — not
painful enough.
How about the tempo?
If it’s so slow there’s no sense of line.
This is just the beginning of a long story.
But not so fluent that it seems easygoing.
Or the dynamic and type of sound?
Try playing it a bit quieter: inner grief,
not explicit.
But not tentative or thin-sounding.
A Beethoven phrase can make
seemingly contradictory musical
demands. Dramatic yet understated.
Slow but with a sense of direction. A
private grief expressed in a hall to 500
people. No wonder that this opening
melody provokes debate: the choices
I make affect my colleagues’ options
when they come to play the same
phrase.
One after another they join me:
Károly Schranz (Karcsi), the second
violinist and one of two remaining
original members of the quartet;
Geraldine Walther, in her 10th year
as our violist; and András Fejér, the
quartet’s cellist since its formation
in Budapest in 1975. Unless there is
some consistency in our approach

Ex.1

3

to this melody, the audience will be
confused as to the overall mood we are
trying to convey. And yet Beethoven
doesn’t intend the four statements
of the theme to sound identical. With
each entrance the phrase descends in
register, beginning in the middle range
of the first violin, moving to the lowest
string in the second violin, followed by
the darker sound of the viola and finally
the resounding bass tone of the cello:
an intensifying of texture and emotion
evolving from the first violin solo.
Even though we play the melody
with the same basic dynamic shape
and tempo, each person plays it slightly
differently: Karcsi’s sforzando contains
the most anguish; Geri’s warm
sound suggests both sadness and
consolation; András’ version is more
understated, played with a leaner tone
that brings out an introverted aspect to
the melody. I can’t judge what I bring
to the mix: perhaps I should ask the
bronchial gentleman in the front row.
Although I am sorry that his concert is
off to an unpromising start, a persistent
cough is more distracting than a oneoff event that can be easily dismissed
onstage — a dropped program or a
snippet of commentary that projects
more than the speaker realizes: Nice
seats we have this evening.
The combination of cooperation and
individual expression that the opening
of Opus 131 requires is central to the
challenges and rewards of playing
in a string quartet. Too many cooks
may spoil the broth but in a quartet
satisfying consensus can be achieved
only when all four players contribute
their zesty seasonings to the stew. I
am fortunate for the last 10 years to
have shared this endeavor with Karcsi,
Geri, and András, always questioning
4

and eager to find ways that we could
improve our playing.
During the morning’s rehearsal on
the Wigmore stage, the inevitable
debate about this opening melody
focused on the question of tempo and
how that influences the character of
the music. Geri and I worried that we
were playing ever more slowly, and as a
result sounded “notey,” an unflattering
term in our rehearsal vocabulary
to describe the sense that each
individual note is too significant — like
A SENTENCE WHERE EVERY WORD IS
SPOKEN WITH EQUAL EMPHASIS for no
apparent reason. We were concerned
about losing the audience’s attention
so early in the piece. But for András the
worse crime was to play too fluently,
to sound lightweight or impatient:
Beethoven often begins a piece with a
short slow introduction, but his daring
choice to extend this idea into a whole
movement should be embraced fully.
Karcsi stayed out of the fray, offering
instead to listen from out in the hall.
Escaping from the stage allowed him to
judge our playing from the audience’s
perspective. We played a slower and
faster version, trying to make each as
convincing as we could. Karcsi would
not be able to compare the options
fairly if, during the slower version that
András favored, I played like a child
being dragged along on a mandatory
family excursion.
The prior discussion had already
influenced our playing. Now Geri and
I were keen to show that we could
combine a faster tempo with enough
gravitas, while András concentrated on
moving as smoothly as possible from
one note to the next, demonstrating
that thinking in two beats per bar could
still be accomplished at a slow pace.

“There’s not much difference,”
Karcsi reported. “It’s good if our bow
speeds stay the same. If one person
suddenly uses more bow we sound
too restless.” In this case reminding
each other of the different demands
of this opening music had served to
unify our approach.
When we return to a Beethoven
quartet, continuing to argue over
such basic questions of tempo and
character, we can seem like a group
discovering this music for the first
time. A friend and board member
of the Corcoran Gallery’s chamber
music series in Washington, DC once
invited us to rehearse in his living
room. Having only ever heard us play
in a concert, he looked stunned at
the end of our rehearsal: ‘Sometimes
you guys sound like you have no idea
what you’re doing.’ But even when
we engage in a nerve-racking reexamination on the day of a concert, I
relish a process that helps to maintain
a sense of immediacy in music we
have been performing for many
years. A concert may benefit from
many hours of preparation but the
most exciting communication occurs
when both audience and performers
can suspend disbelief and discover
the music afresh. The appearance
of the ghost at the beginning of
Hamlet would be less effective if, in a
whispered aside, the actor reassured
the audience that the confrontation
had already been played out during an
earlier matinee performance.
Our performance this evening of the
first movement of Opus 131 benefits
from the morning discussion. Geri
enjoys drawing attention to a particular
viola note; now András moves
forward with more urgency than in our

rehearsal. Knowing that the vibrant
acoustics of the Wigmore Hall will
project the smallest change of timbre
or texture to the back of the hall, Karcsi
experiments with a more transparent
sound — I try to match him. In the
first row the poor man continues his
sporadic spluttering, less appreciative
of the hall’s acoustic properties.
Performing Opus 131 is always
an adventure. Over the course of
seven movements, played without a
break, Beethoven covers an extreme
range of emotions, shifting from
one to the other with the minimum
of preparation. However much we
rehearse, I wonder how it will feel to
play the fleeting, frenetic scherzo
movement after an ethereal slow
movement, or whether we will manage
to create a big enough sound in the
ferocious final movement.
Commenting to a friend on the
startling originality of his late quartets,
Beethoven explained, “Art demands
of us that we do not stand still.”
Beethoven composed his 16 string
quartets — 17 if one counts the
Grosse Fuge, which began its life as
the last movement of Opus 130 but
was later published separately as
Opus 133 — at different stages of his
life. They represent the most diverse
body of work written in the genre by a
single composer: the need we feel to
revisit our interpretations is inspired
in part by the spirit of exploration that
runs through the quartets themselves.
Beethoven completed his first six
quartets in October 1800, at the age
of 29, and nearly eight years after
he had moved from his birthplace of
Bonn to Vienna. These first quartets,
Opus 18, draw on the tradition of
Haydn and Mozart’s quartets but
5

move in startling new directions.
Between 1804 and 1806 he composed
his next three string quartets, Opus
59, nicknamed the “Razumovsky”
quartets after the Russian count
who commissioned them. The
formal innovations and extraordinary
range of expression of these later
works shocked the first players and
audiences who encountered them.
Faced with trenchant criticism
Beethoven retorted that they were
music “for a later age.” Two more
quartets followed, Opp. 74 and 95,
in 1809 and 1810 respectively. Much
later, in the three years before his
death in 1827, Beethoven turned his
attention predominantly to the string
quartet, challenging the basic form
of a quartet composition, reinventing
the way in which the four parts
relate to each other, and creating
five masterpieces that daringly
juxtapose the most sophisticated
and sublime passages with music of
childlike simplicity. No one has ever
written a group of works that pose so
many questions about the form and
emotional content of a string quartet,
and come up with so many different
answers. In 1812 Beethoven described
the fascination and curse of his
vocation: “The true artist has no pride.
He sees unfortunately that art has no
limits. He has a vague awareness of
how far he is from reaching his goal.”
Tackling the Beethoven quartets
is a rite of passage that has shaped
the Takács Quartet’s work together
for over 40 years. From the earliest
days these challenging pieces have
been bound up with our evolution. The
quartet was founded in Hungary in
1975 when Gábor Takács-Nagy, Károly
Schranz, Gábor Ormai, and András
6

Fejér were students at the Franz Liszt
Academy in Budapest. In 1979 they
traveled to the first Portsmouth String
Quartet Competition, which they won
with a performance of Beethoven’s
Opus 59, No. 2, bringing them
international attention. Four years
later they were invited to the United
States to study Beethoven’s quartets
with Dénes Koromzay, the original
violist of the famous Hungarian String
Quartet, who following his retirement
from quartet playing taught at the
University of Colorado. This visit
began a life-changing association
with the University of Colorado: in
1986 all four members of the Takács
Quartet and their families defected
from Hungary and settled in Boulder.
In the summer of 1993 I became
the first non-Hungarian player in the
ensemble, following the departure
of its extraordinary founding first
violinist, Gábor Takács-Nagy — an
exciting and versatile musician,
who now has a varied career as a
conductor, violinist, and teacher.
During my audition for the quartet in
1993 I played the final movement from
one of Beethoven’s middle quartets,
Opus 59, No. 3.
My arrival was the first of several
changes. English violist Roger Tapping
replaced original violist Gábor Ormai,
who died of cancer in 1995. The last
piece of music we played with Gábor
was the slow movement of Opus
59, No. 2 — the same piece that the
Takács had performed in the finals of
the Portsmouth competition, when
the 19-year-old Roger Tapping was
in the audience. With Roger we first
played all the Beethoven quartets in
six concerts at Middlebury College,
Vermont, before further immersing

ourselves in the music during further
cycles in London, Paris, and Sydney.
We recorded the complete Beethoven
quartets for the Decca label between
2001 and 2004, performing additional
cycles during that period in New York,
Aspen, Napa, and Berkeley.
After Roger left the quartet to play
and teach in Boston and spend more
time with his family,* Americanborn violist Geraldine Walther, for
29 years principal violist of the San
Francisco Symphony, joined us in
2005. She had first encountered the
Beethoven quartets as a 17-yearold student at the Marlboro Music
School and festival in Vermont,
where each student ensemble was
assigned an experienced chamber
musician who both taught them
and played in the group. Geri played
her first late Beethoven quartet in
the intimidating company of Sándor
Végh — founding first violinist of
the Hungarian and later of the Végh
Quartet. In our new formation we
reworked our interpretations of the
Beethoven quartets, performing
another Beethoven cycle at the South
Bank Centre in London in 2009–10. In
spring 2014 we turned our attention
to Beethoven’s transcendent Opus
132, completed after the composer’s
recovery from a life-threatening
illness, performing it in several places
including the Aspen Music Festival
and the Edinburgh Festival.
As Beethoven predicted, his 16
string quartets have come to be
appreciated in a later age and can
now offer a reassuring presence to
those chamber music subscribers
worried by lesser-known or more

contemporary offerings. But I
imagine Beethoven responding with
amusement to a concert presenter
who came backstage recently to
complain about the sprightly march
in one of the late quartets that rudely
shatters the celestial mood of the
previous slow movement: “Why did he
have to write that awful little piece?
It ruins everything!” Her reaction
connects the experience of listeners
today with those first players and
audiences who struggled with the
quartets, reasserting the power of
familiar music to disturb us even now.
During my first years as a quartet
player I could easily understand the
bemusement of those players and
audiences who first encountered
these quartets. Now I wonder if an
attitude of shock and puzzlement, far
from being merely the easily scorned
reaction of a novice, is in fact integral
to appreciating the spirit of the music.
Absorbing myself in the circumstances
that surrounded the composition
of the Beethoven quartets, learning
about the reactions and motivations
of the patrons who commissioned
this music and the audiences that
heard them, has been a way for me to
prevent the music ever becoming too
comfortably familiar, to ensure that the
spirit of challenge of these quartets is
sustained every time we perform them.
The man in the front row has stopped
coughing and I risk a grateful glance
in his direction. I shouldn’t allow
myself to be distracted but the stage
is small and the first row of seats is
directly beneath it. As soon as the
stage manager opens the door we
seem to be walking out directly into

* The quartet bug is hard to throw and after an eight-year break, Roger is now the violist of
the Juilliard Quartet.
7

UMS Education & Community Engagement
Pre-Concert Lecture Series:
Exploring Beethoven’s String Quartets
Saturday, October 8 // 7 pm
Rackham Amphitheatre
(4th floor)
Saturday, January 21 // 7 pm
Rackham Amphitheatre
(4th floor)

Join Beethoven scholar and U-M
professor of musicology Steven
Whiting for a series of three lectures
in conjunction with the Takács String
Quartet’s complete Beethoven cycle.

Saturday, March 25 // 7 pm
Michigan League Koessler
Room (3rd floor)

Author Interview:
Edward Dusinberre, first violinist
of the Takács Quartet
Thursday, October 6 // 7 pm
Literati Bookstore
(124 E. Washington Street,
Ann Arbor)

In this special event, U-M professor of
musicology Steven Whiting interviews
Takács Quartet first violinist Edward
Dusinberre about his recently published
book entitled Beethoven for a Later
Age: Living with the String Quartets. The
book takes the reader inside the life of a
string quartet, melding music history and
memoir as it explores the circumstances
surrounding the composition of
Beethoven’s quartets and the Takács
Quartet’s experiences rehearsing and
performing this music. Books will be
available for sale.

the audience. Many people here
tonight have been listening to the
Takács Quartet since the group’s
emergence in the early 1980s: friends,
relatives, and supporters who have in
their different ways helped the quartet
over the years and care as much about
our welfare as they do about how we
play. During the first minutes of any
Wigmore concert I fight the worry that
I might disappoint them in some way.
In the Green Room after the concert
when we appreciate their enthusiastic
responses, we know that they will
also hold back any strong criticisms
for a later date, unlike one unfamiliar
audience member who came into my
dressing room several years ago in
Aspen, Colorado: You’re a little loud for
the second violinist when he has the
second melody in the first movement,
the scherzo seemed too fast, and in
general the phrasing could breathe a
bit more; the Beethoven wasn’t your
strongest piece tonight but I loved the
concert — come back soon! When I
commented on not being accustomed
to quite such frankness and attention
to detail backstage, her face lit up. I’m
so glad you don’t mind: most performers
get quite upset with me.
Although our next visit to Aspen
found me testing the lock to my
dressing room door, the goal of any
performer should be to inspire such
engaged listening. For while it is
always our responsibility to capture
and retain a listener’s attention, the
quality of listening in a hall can in turn
profoundly influence a performance:
we are more likely to linger over a
beautiful change of harmony or the last
wisps of sound at the end of a slow
movement if the hall is silent than if a
man is placing a sweater into a rustling

plastic bag or — as occurred during
another of our concerts — a woman
sitting in the front row has just taken
off her left shoe and is examining it
intently under the stage lighting.
As we approach the end of the first
movement of Opus 131 the others in
the quartet seem fully absorbed by the
music in front of them. Geri looks up at
Karcsi, playing with exactly the same
speed of bow to match her sound
with his; András sways a little to his
right as he takes over the melody from
Karcsi. Fortunately we have reached
a favorite moment of mine. The last
two notes of this opening movement
are the same pitch but an octave
apart. The pause sign over the second
note gives us the license to hold on
to it as long as we feel appropriate.
Beethoven now repeats the same
octave interval but up a semitone and
forming the beginning of a tender,
fleeting melody: with the minimum of
preparation the character of the music
is transformed.
Should the last note of the previous
movement die away so that the first
notes of the new tune enter with a
new timbre of sound — a surprising
change of direction? Or should we
sustain our sound on the last slow
note to make the join as smooth and
continuous as possible, beginning
the new melody with the same sound
with which we finished the previous
movement? Combining seemingly
contradictory thoughts would be
ideal: we want to convey the surprise
of sudden change but maintain a
sense of logical continuation.
During the morning rehearsal
we talked mainly about playing the
new melody with a livelier sound
and tempo from the outset. But this
9

evening, due in part to the attentive
silence in the hall, we hold the
preceding note longer than usual,
drawing out our diminuendo. The
next melody emerges with the same
fragile sound, taking a few notes
fully to establish the new faster
tempo — this evening the change
of character between the end of the
first movement and the beginning
of the second is less sudden than it
sometimes is.
Balancing unity and contrast in
our interpretation is again an issue
in the fourth movement of Opus 131.
This slow movement begins with a
simple, serene melody supported by
basic chords, allowing the maximum
possibilities for development. In
the following variations Beethoven
transforms the theme, creating
such a dizzying variety of rhythms,
moods, and textures that sometimes
the story is as hard to follow as the
boldest jazz improvisation. The most
striking innovation comes toward
the end of the movement. After each
instrument is left on its own to play
short, exploratory cadenzas, the
music recedes almost to nothing
before finding its way back to the
opening theme, played now in the
second violin and viola parts but
surrounded by a radically different
accompaniment: the first violin
and cello imitate a piccolo flute
and drum from a marching band,
challenging the ethereal atmosphere
that has pervaded much of the
previous music — folk musicians
interrupting a solemn gathering.
How should the melody react to its
irreverent accompaniment? This
evening I like the way Karcsi and
Geri’s melody resists András’ and my
10

accompaniment, a nostalgic memory
evoked despite the forward march
of the cello rhythm, change and
continuity existing side by side.
The ferocity of the seventh and
final movement of Opus 131 bears no
relation to anything that has preceded
it. After so much delicate playing in
the earlier movements, this finale with
its driving rhythms and belligerent
fortissimi now demands the power
of a full string orchestra. Will we be
able to summon up sufficient energy
to help bring this massive piece to
a stirring conclusion? Tonight I find
the extremity exhilarating: finally
I can throw myself fully into the
drama, unconcerned by anything
happening in the audience or the
cluster of broken bow hairs that tickle
my forehead — until one of them
becomes trapped in my left hand and
briefly pulls my bow off the string.
Even this mishap adds a sense of
intoxicating danger to this searing
final transformation that seems to
threaten the structure of the piece
and the health of the performers. The
risk of losing control lies at the heart
of any vivid encounter with one of the
later Beethoven quartets: music that
at times consoles but also has the
capacity to destabilize listeners and
players alike.
Opus 131 ends in a surprising
way. The first violin and viola play a
descending melody, an exhausted
answer to my opening gesture of the
whole piece, while the second violin
and cello’s faster rhythm continues to
agitate beneath the tune. The pleading
melody seems to succeed in pacifying
the underlying rhythm until from the
bottom of the group András suddenly
reintroduces the faster opening

tempo and rhythm, leaping upwards
through a C-sharp Major arpeggio.
We all join in, ending the piece with
three fortissimo major chords — a
precipitous resolution.
However much force we apply to
the chords, they cannot fully resolve
this immense piece and are greeted
tonight, as so often, by a short,
stunned silence. The way in which
audiences react to this ending is
different from the way they respond
to Beethoven’s middle works, such
as the Fifth Symphony, where the
repetition of final chords is so
emphatic as to leave one in absolutely
no doubt that the ending is upon us.
The only question there is which of
the many chords will prove to be the
very final one — a feature parodied
in Dudley Moore’s magnificent
Beethovenian presentation of the
“Colonel Bogey March.” But we are
unlikely at the end of Opus 131 to
hear an audience member exclaiming
in delighted tones — as someone
did immediately after the last note
of another piece we played at the
Wigmore — That’s it! To create
convincing finality in a piece so varied
and which has moved continuously
through its seven movements is
perhaps an impossibility. Except for
the small practical matter of physical
exhaustion, the last three chords
leave me wanting to go back right
to my opening notes and start the
journey again.

Of all the Beethoven quartets, Opus
131 is the most ambitious: how seven
such contrasting movements manage
to complement each other and be
so convincingly bound together is a
miracle no amount of musical analysis
can explain. And yet my judgment
of the piece as a satisfying unity is
based on many years of experience
living with the music; when I first
encountered Opus 131 the extremity
of its contrasts seemed daunting and
irreconcilable. But through happy
and despairing times the Beethoven
quartets have accompanied the
Takács Quartet. No wonder that music
which itself grapples with the balance
between unity and contrast, continuity
and transformation, has been such a
stalwart partner, helping us both to
celebrate and to withstand change.
Twenty-five years ago, when I was
a student at the Juilliard School in
New York, I had no idea of the ways in
which these works could bind the lives
of players and listeners together, music
that itself emerged from a complex web
of interactions between Beethoven, his
patrons and the string players who first
rehearsed these works.
We bow at the end of our performance
and I have just enough time to put my
violin in its case before we hear a knock
at our Green Room door.

Reprinted with permission from Beethoven for a Later Age: Living with the String Quartets, by Edward
Dusinberre, published by the University of Chicago Press. © 2016 by Edward Dusinberre.
All rights reserved.
Please note that books are available for purchase in the Rackham Auditorium lobby. Mr. Dusinberre
will be signing books following this concert.
11

12

Takács Quartet
Concert I

Edward Dusinberre / Violin
Károly Schranz / Violin
Geraldine Walther / Viola
András Fejér / Cello
Saturday Evening, October 8, 2016 at 8:00
Rackham Auditorium
Ann Arbor

Sixth Performance of the 138th Annual Season
54th Annual Chamber Arts Series
13

Tonight’s presenting sponsor is the Ilene H. Forsyth Chamber Arts Endowment Fund, which supports an
annual Chamber Arts Series concert 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 weekend’s performances.
The Takács Quartet records for Hyperion and Decca/London Records.
The Takács Quartet is Quartet-in-Residence at the University of Colorado in Boulder and are Associate
Artists at Wigmore Hall, London.
The Takács Quartet appears by arrangement with Seldy Cramer Artists.
In consideration of the artists and the audience, please refrain from the use of electronic devices during
the performance.
The photography, sound recording, or videotaping of this performance is prohibited.

PROGRAM

Beethoven String Quartets
Concert I
String Quartet in G Major, Op. 18, No. 2
Allegro
Adagio cantabile — Allegro — Tempo I
Scherzo: Allegro
Allegro molto quasi Presto

String Quartet in f minor, Op. 95
Allegro con brio
Allegretto ma non troppo —
Allegro assai vivace ma serioso
Larghetto espressivo — Allegretto agitato
The second and third movements are played attacca (without pause).

Intermission

String Quartet in B-flat Major, Op. 130
Adagio ma non troppo — Allegro
Presto
Andante con moto, ma non troppo
Alla danza tedesca: Allegro assai
Cavatina: Adagio molto espressivo —
Finale: Allegro
The fifth and sixth movements are played attacca (without pause).

15

S T R I N G Q U A R T E T I N G M A J O R , O P. 1 8 , N O . 2 ( 1 7 9 9 )
Ludwig van Beethoven
Born December 16, 1770 in Bonn, Germany
Died March 26, 1827 in Vienna, Austria
UMS premiere: Kneisel Quartette; March 1906 in University Hall.
Snapshots of History…In 1799:
· In the Egyptian port city of Rosetta, French Captain Pierre Bouchard
finds the Rosetta Stone
· George Washington, the first President of the US, dies at Mount Vernon,
Virginia
· Eli Whitney, holding a 1798 US government contract for the
manufacture of muskets, is introduced by Oliver Wolcott, Jr. to the
concept of interchangeable parts, an origin of the American system of
manufacturing

In June 1799 Beethoven sent the first
of his string quartets, Op.18, to one
of his closest friends, the theologian
Karl Amenda, who was a keen violinist.
But two years later he asked Amenda
not to pass the quartet on to anyone
else. “I have greatly changed it,”
Beethoven told him, “in that I have
only now understood how to write
quartets properly, as you will see when
you receive it.” The same letter of
July 1, 1801 contains one of the
earliest confessions of Beethoven’s
tragic ailment:
O how happy I would be now if I possessed my full hearing, then I would hurry
to you; but now I must withdraw from
everything, my finest years will fly away
without [my] being able to fulfill everything that my talent and strength should
have bid me to do — sad resignation in
which I must seek refuge. Of course I am
resolved to place myself above all this,
but how will it be possible?

16

The String Quartet Op.18, No. 1 was
not the only work in the series to
undergo thorough revision: a similar
process was applied to the G-Major
second quartet, and from the original
plates we can see that Beethoven
was still making minor changes to all
six quartets even as the parts were
already being engraved. Although
Beethoven’s original version of the
String Quartet Op. 18, No. 2 has not
survived, we do know that one of the
most far-reaching changes he made
to it was to tighten the structure of its
slow movement, from a five-part form
with two contrasting episodes, to a
simple ternary design. Significantly,
he also altered the nature of the
central section, to provide a miniature
scherzo within the ornate surrounding
material. The resulting fusion of a
serene slow movement and lively
scherzo was an idea Beethoven
had already carried out in his string
trio Serenade Op. 8, and the hybrid
design was one that was taken over

on occasion by both Mendelssohn and
Brahms. Beethoven’s scherzo episode
takes its point of departure from the
unassuming phrase with which the
slow opening section comes to a close.
The key of G Major was one
Beethoven chose for some of his
wittiest pieces, and the String Quartet
Op. 18, No. 2 is no exception. Even the
inclusion of a scherzo-like episode
in its second movement did not
prevent Beethoven from following it
with an actual scherzo, rather than a
more relaxed minuet, or from casting
the finale in the character of a highspirited “Allegro molto.”
As for the first movement, it opens
with the witticism of a theme that
sounds as though it is an ending,
rather than a beginning — so much
so that Beethoven is able to use the
same eight-bar subject to round the
piece off, in a conclusion of deliberate
understatement. The piece is notable,
too, for the manner in which the
contrapuntal development section
leads to a climax over an insistent
and unstable pedal-note on the fifth
degree of the scale which continues
through the start of the recapitulation.
Beethoven was to press a similar idea
into service, though to more intensely
dramatic effect, in the first movement
of his “Appassionata” piano sonata.
The quartet’s recapitulation
continues to develop the material,
and incorporates a pianissimo
interpolation of the main subject in a
distant key between its two stages.
The scherzo is remarkable for the
transition that joins the end of its
trio seamlessly to the start of the da
capo. Such links are rare in Haydn and
Mozart, though examples are to be
found in Mozart’s “Kegelstatt”

Trio K. 498 for clarinet, viola, and
piano, and in Haydn’s last completed
String Quartet Op. 77, No. 2. In the
Mozart, the passage in question
is based on the trio’s material; but
Beethoven, like Haydn, startlingly
offers a pre-echo of the scherzo’s
material, beginning in the trio’s key.
The finale opens in strikingly
original fashion, by alternating the
phrases of its main theme between
the solo cello and the full quartet. At
the end of the movement’s first stage
the expected repeat is subverted
by a startling switch of key, with the
sudden change in harmonic direction
casting its shadow over the entire
first half of the central development
section. When the principal subject
returns, it does so in a bright C Major
and in a more conventional quartet
layout, before Beethoven — as
though anxious to announce that he
is in the wrong key after all — makes
exaggeratedly emphatic preparations
for the actual recapitulation. At the
crucial moment, however, the music
takes a side-step into another distant
key, before the genuine recapitulation
is at last allowed to set in.

17

S T R I N G Q U A R T E T I N F M I N O R , O P. 9 5 ( “ S E R I O S O ” ) ( 1 8 1 0 )
Beethoven
UMS premiere: Detroit Philharmonic Club; March 1893 in Newberry Hall
(current home of the Francis W. Kelsey Museum of Archaeology).
Snapshots of History…In 1810:
· Napoleon annexes the Kingdom of Holland
· The US annexes the Republic of West Florida
· The first steamboat sails on the Ohio River
Beethoven’s own bilingual title for this,
the tersest and most austere of his
string quartets, was “Quartett serioso.”
Paradoxically enough, the word
“serioso” as a movement-heading
is reserved for the work’s scherzo.
Perhaps it was the music’s bleakness
and intensity that led Beethoven to
withhold the piece from publication
for no fewer than six years. At any rate,
of all his quartets, it was this one that
he curiously declared was written for a
small circle of connoisseurs, and was
never to be performed in public. Its key
of f minor was one he once described
to the Scottish philanthropist and folk
song enthusiast George Thompson
as “barbaresco.” He chose it not only
for his very first piano sonata, Op. 2,
No. 1, but also for two much more
unruly works: the “Appassionata”
Piano Sonata Op. 57, and the Egmont
Overture. The Op. 95 Quartet has
features in common with both of those
works. As in the “Appassionata,” the
brusque opening theme immediately
moves up a semitone, onto G-flat
Major; and in the quartet, this striking
harmonic shift is recalled at the start of
the scherzo’s trio.
Moreover, the scherzo itself is joined
to the preceding slow movement by
18

the same dramatic discord that links
the slow movement and finale of the
“Appassionata.” The main body of
Op. 95’s finale is a dark and agitated
“Allegretto”; but, as in the Egmont
Overture, there is also a coda in which
the music turns to the Major, for a
fleeting and airy “Allegro.”
The unusual compression of the
Op. 95 Quartet is achieved largely
through a ruthless process of elision.
That process begins immediately after
the main theme has been hurled out
in the opening bars. The theme itself
contains two contrasting elements:
a concise idea given out by all four
players in octaves; and, following a
dramatic silence, a jagged, leaping
figure. Beethoven makes as though to
go through the entire procedure again,
a semitone higher; but no sooner
has the cello launched on the rapid
opening motif than the music takes
an entirely new direction, with a much
broader idea on the violin, punctuated
by restless rising arpeggios from the
cello. Only once this has run its course
does the opening motif return in its
original form. But now the initial flurry
of activity in bare octaves is heard
both on ‘F’ and on ‘G-flat’ — all within
the space of a single bar, as though to

compress into a brief moment what
might have transpired on a broader
scale during the work’s opening bars.
That the creation of a sense of time
hurtling by is of crucial importance to
the opening movement is shown by
the fact that despite the exposition’s
unusually brief time-span, Beethoven
does not ask for a repeat to be made.
(He does, however, carefully prepare
the ground for such a repeat, before
pulling the rug from beneath the
listener’s feet.) As for the start of the
recapitulation, it manages to condense
into two bars what in the exposition had
occupied 19: the opening bar and its
dramatic silence are followed without
further ado by the compressed version
of events in which the initial motif is
heard both on ‘F’ and on ‘G-flat.’ As if
this were too disorientating to absorb,
Beethoven proceeds thereafter to
mirror the exposition’s course of events
exactly, even to the extent of having the
lyrical second subject played at first
in the same key as before. The coda is
fully as long as the central development
section. Its intensity is unrelieved, until
at the end the music fades, as though
exhausted, into silence.
The D-Major second movement
is based on two alternating ideas: a
serene main theme which follows a
four-bar introduction for the cello alone;
and a fugato whose chromaticism is
anticipated by the conflict between
the Major and minor forms of the sixth
degree of the scale (‘B-natural’ and
‘B-flat’) that runs through the first stage
of the piece. At the end, the detached
notes of the cello’s opening bars are
taken over in chromatic form by the first
violin and viola, and the music sinks
towards an uneasy close before coming
to rest on a quiet, long-sustained

discord which forms the bridge to the
start of the “serious” scherzo.
With the scherzo, Beethoven makes
a return to the dramatic, forceful style
of the opening movement; and any
sense of calm afforded by the two
appearances of the quasi-trio section is
brutally swept aside by the hammering
intensity of a coda in which the already
fast tempo accelerates still further.
Beethoven’s sketches show that he
contemplated following the abrupt
ending of the piece with a mysterious
introduction to the finale beginning
on the all-important note ‘G-flat.’ But
this was rejected, in favor of a more
plangent opening that prepares the
ground for the agitation of the main
body of the piece. Once again there
is a coda in a faster tempo, though
this time the contrast it affords with
the remainder of the movement is
overwhelming. It is as though the final
curtain of Hamlet had suddenly been
raised, to give way to a performance of
The Comedy of Errors. But Beethoven’s
coda is far from being down to earth: its
delicate sonority ensures that it sounds
at once disembodied and ethereal.
The effect is not dissimilar to that of
the start of the “Victory Symphony”
that concludes the Egmont Overture,
symbolising Egmont’s spirit soaring
free following his death. Not by chance,
both the overture and the quartet were
composed in the same year of 1810.

19

S T R I N G Q U A R T E T I N B - F L AT M A J O R , O P. 1 3 0 ( 1 8 2 5 )
Beethoven
UMS premiere: Paganini Quartet; January 1948 in Rackham Auditorium.
Snapshots of History…In 1825:
· Greece is in the middle of its eight-year War of Independence against
Turkey
· The world’s first modern railway, the Stockton and Darlington Railway,
opens in England
· The Erie Canal opens, connecting the Great Lakes to the Atlantic Ocean

The Op. 95 Quartet marked the end of
Beethoven’s activity as a composer
of string quartets for more than a
decade. His renewed interest in the
medium was prompted by a letter from
Prince Nikolas Galitzin — an important
artistic patron in St. Petersburg, and
a passionate admirer of his music.
In November 1822 Galitzin wrote to
Beethoven, asking him to compose
“one, two, or three new quartets,” for
which he offered to pay whatever fee
he thought appropriate. At the same
time, Galitzin informed Beethoven
that he was himself an amateur cellist.
Beethoven, who happened to have
offered a new quartet to the publishing
firm of Peters some five months earlier
(though without apparently having
formulated any ideas for it), accepted
Galitzin’s proposal, and assured
him that he would take care to give
him satisfaction with regard to the
instrument he played. He promised,
moreover, to have the first quartet
ready by the following March, at the
latest. But he had reckoned without
the amount of work he still had to do
on his Missa solemnis and the Ninth
Symphony, and in the event he did not
turn his attention to Galitzin’s series
20

of quartets until the second half of
1824. Perhaps he was prompted to
do so by the fact that it was Galitzin
who organized the first complete
performance of the Missa solemnis,
which took place in St. Petersburg on
April 18 of that year. The three quartets
Beethoven composed for Galitzin
(they were published, out of numerical
sequence, as his Opp. 127, 132, and
130) occupied him until the early
weeks of 1826.
Nearly three decades earlier,
Beethoven had completed the first
of the half-dozen string trios which
were his stepping-stones on the
way to becoming a string quartet
composer. That first trio, Op. 3, was a
six-movement work modeled, as we
have seen, on Mozart’s great string trio
Divertimento K. 563. Now, at the end
of his life, Beethoven made a return to
the multi-movement divertimento form
where we would least have expected
him to do so: in his late string quartets
— perhaps the most spiritual music he
ever wrote.
In its familiar shape, the first of the
late quartets, Op. 127, is conventionally
laid out in four movements, but
Beethoven had at one time

contemplated adding a further two
movements. The second of Prince
Galitzin’s quartets to be composed, Op.
132, also originally had six movements,
but at a late stage Beethoven removed
one of them, transposed it from A Major
into G Major, and incorporated it into
the six-movement String Quartet Op.
130, where it forms the “Alla danza
tedesca” fourth movement. As for
Op. 131, Beethoven seems to have
considered adding a valedictory
postlude to the work as we know it,
which would have increased the tally of
its movements to no fewer than eight.
The discarded sketch became the slow
movement of the String Quartet Op. 135.
The decision to transfer the “Alla
danza tedesca” movement to the String
Quartet Op. 130 was by no means the
only significant change Beethoven
made to the work. Although the
scherzo second movement and the
“Alla danza tedesca” were encored at
the work’s premiere, the immensely
demanding fugal finale, not surprisingly,
proved a real stumbling block to players
and audience alike. It was the quartet’s
publisher, Matthias Artaria, together
with Beethoven’s violinist friend Karl
Holz (a recent recruit to the famous
Schuppanzigh Quartet who gave the
premieres of most of Beethoven’s
quartets from the “Razumovsky” series
onwards), who eventually persuaded
the composer to supply a less
demanding piece in its place. Although
the quartet was initially published with
its original finale, subsequent editions
incorporated the replacement, and the
fugue was issued independently as the
composer’s Op. 133.
Much ink has been spilled on the
subject of Beethoven’s acquiescence
in providing a substitute for the fugue.

Certainly, the new finale — the last
piece of music Beethoven completed
— is as different as could be imagined
from the piece it replaced: while the
fugue is granite-like and orchestral
in sonority, the new finale is delicate
and transparent (though Beethoven
manages nevertheless to incorporate
an extended passage of fugal writing in
its central development section). What
the two have in common is the fact that
they both begin away from the home
key, on the note ‘G’ — the upper note
of the sustained chord with which the
preceding “Cavatina” comes to a close.
Op. 130 is alone among Beethoven’s
late string quartets in failing to include
a large-scale slow movement in
variation form. The reason for the lack
of such a piece is that Beethoven’s
original design for the work deliberately
placed its center of gravity on the
fugal finale, and instead of supplying a
genuine slow movement at its center,
he wrote a delicately scored “Andante”
whose opening carries the marking
of “poco scherzando.” The emotional
high point of the work as a whole is,
in fact, reserved for the comparatively
brief “Cavatina” fifth movement.
According to Karl Holz, this deeply-felt
piece brought tears to Beethoven’s
eyes while he was composing it, and
he confessed that nothing he had ever
written had so moved him. Towards
the end, the first violin has a passage
in broken snatches of recitative, which
carries the direction “beklemmt”
(choked) — as though Beethoven’s
tears were indeed welling up.
Program notes © Misha Donat 2016.

21

22

Takács Quartet
Concert II

Edward Dusinberre / Violin
Károly Schranz / Violin
Geraldine Walther / Viola
András Fejér / Cello
Sunday Afternoon, October 9, 2016 at 4:00
Rackham Auditorium
Ann Arbor

Seventh Performance of the 138th Annual Season
54th Annual Chamber Arts Series
23

Tonight’s supporting sponsor is the Charles A. Sink Endowment Fund.
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 weekend’s
performances.
The Takács Quartet records for Hyperion and Decca/London Records.
The Takács Quartet is Quartet-in-Residence at the University of Colorado in Boulder and are
Associate Artists at Wigmore Hall, London.
The Takács Quartet appears by arrangement with Seldy Cramer Artists.
In consideration of the artists and the audience, please refrain from the use of electronic devices during
the performance.
The photography, sound recording, or videotaping of this performance is prohibited.

PROGRAM

Beethoven String Quartets
Concert II
String Quartet in F Major, Op. 18, No. 1
Allegro con brio
Adagio affetuoso ed appassionato
Scherzo: Allegro molto
Allegro

String Quartet in E-flat Major, Op. 74
Poco Adagio — Allegro
Adagio ma non troppo
Presto —
Allegretto con variazioni
The third and fourth movements are played attacca (without pause).

Intermission

String Quartet in c-sharp minor, Op. 131
Adagio, ma non troppo e molto espressivo —
Allegro molto vivace —
Allegro moderato —
Andante, ma non troppo e molto cantabile — Andante moderato e lusinghiero
— Adagio — Allegretto — Adagio, ma non troppo e semplice — Allegretto —
Presto — Molto poco adagio —
Adagio quasi un poco andante —
Allegro
All movements are played attacca (without pause).

25

S T R I N G Q U A R T E T I N F M A J O R , O P. 1 8 , N O . 1 ( 1 8 0 1 )
Ludwig van Beethoven
Born December 16, 1770 in Bonn, Germany
Died March 26, 1827 in Vienna, Austria
UMS premiere: Roth String Quartet; January 1943 in Rackham Auditorium.
Snapshots of History…In 1801:
· Mail service to Michigan began, carried from Washington every three
months
· Washington, DC is placed under the jurisdiction of the United States
Congress
· Ultraviolet radiation is discovered by Johann Wilhelm Ritter

In the form in which we know
it, this F-Major work must have
been among the last of the Op. 18
series to be completed. But, as we
have seen, Beethoven had sent a
preliminary version of it to his friend
Karl Amenda in the summer of 1799.
That version was preserved by
Amenda’s descendants, and it came
to light in the early years of the 20th
century. From it, we can see that the
revisions Beethoven carried out were
particularly far-reaching in the case of
the quartet’s opening movement. One
telling change affected the manner in
which the recapitulation, at roughly
the movement’s mid-point, was
approached. Beethoven had originally
written a series of rushing fortissimo
scales here; but his final version
creates a more subtle atmosphere
of subdued excitement, reserving
the crescendo for the last possible
moment before the reprise of the
main theme. Also new was a dramatic
passage near the end of the piece,
with all four instruments striding
upwards in long notes. On top of these
specific changes, Beethoven generally
26

rendered the music’s texture more
transparent, and reduced the number
of appearances of the opening turnlike motif during the course of the
piece. All the same, that motif — the
very first thing we hear — makes itself
felt throughout the movement even in
its familiar form.
If Beethoven chose to place the
F-Major Quartet at the head of his
Op. 18 set, it may well have been
in view of its deeply-felt slow
movement. The “Adagio” is, indeed,
one of the great tragic utterances
among the composer’s earlier music
— the string quartet counterpart to
the sombre “Largo e mesto” in the
same key of d minor from the Piano
Sonata Op. 10, No. 3. According to
Karl Amenda, Beethoven wrote the
string quartet piece while thinking
of the scene in the burial-vault from
Romeo and Juliet. Amenda’s claim
is substantiated by remarks found
among Beethoven’s sketches for the
coda: “il prend le tombeau; désespoir;
il se tue; les derniers soupirs” (He
descends into the tomb; despair; he
kills himself; the last sighs). The piece

begins with the throbbing sound of
an accompaniment played by the
three lower instruments, before the
first violin enters with the quiet main
theme. That theme later assumes a
more dramatic guise, with the aid of
a new rushing figure which appears
superimposed above it; and during
the final stages of the movement the
rushing figure itself reaches a peak of
anguish, before the music sinks to an
exhausted close.
Beethoven’s tempo marking for the
slow movement in the revised version
of the work includes not only the word
“affetuoso,” but also “appassionato.”
The latter is a rare indication in his
music, and one that is conspicuously
lacking in the so-called “Appassionata”
piano sonata. (Two of the remaining
occurrences are to be found in
slow movements, too — the “Largo
appassionato” of the A-Major Piano
Sonata Op. 2, No. 2, and the “Adagio” of
the “Hammerklavier” Sonata, whose
subtitle directs the player to treat
the piece “Appassionato e con molto
sentimento” — but there are also the
“Allegro con brio ed appassionato” of
the c-minor Sonata Op. 111, and the
final “Allegro appassionato” of the
String Quartet Op. 132.) Beethoven’s
revision also increased the urgency
of the last two movements: the third
movement, originally a straightforward
“Allegro,” became “Allegro molto” in
order to ensure that the piece would
be played in genuine scherzo style;
and the finale was transformed from
a gentle “Allegretto” into a brilliant
“Allegro.” The last movement is,
indeed, a dazzling piece, with a fugue
as its centerpiece, and a closing page
which brings the curtain down with
unashamed symphonic grandeur.
27

S T R I N G Q U A R T E T I N E - F L AT M A J O R , O P. 7 4 ( “ H A R P ” ) ( 1 8 0 9 )
Beethoven
UMS premiere: Budapest String Quartet; January 1946 in Rackham Auditorium.
Snapshots of History…In 1809:
· A decision by the Supreme Court of the United States states that the
power of the federal government is greater than any individual state
· The Illinois Territory is created
· Ecuador declares independence from Spain
The year 1809 was one of crisis for
the Austro-Hungarian Empire. On
April 9, faced once again with the
threat of Napoleon’s territorial
ambitions, Austria declared war on
France. Less than a month later,
as French troops stood poised to
enter Vienna for the second time
in less than five years, the Empress
Maria Theresa withdrew from the
city, together with other members
of the Imperial family. Among them
was Beethoven’s staunchest patron,
Archduke Rudolph, the Emperor’s
youngest brother. When the
bombardment of Vienna began, on
the night of May 11, Beethoven took
refuge in the cellar of his brother’s
house, with his head covered with
pillows in order to protect his fragile
hearing from the noise of cannon fire.
It was at this time that Beethoven
composed the opening movement
of his “Les Adieux” piano sonata,
marking Archduke Rudolph’s departure
from the city. The sonata is one of
three large-scale works Beethoven
composed during 1809, all of them in
the key of E-flat Major. Its companions
are the Piano Concerto Op. 73 (the
so-called “Emperor”) and the “Harp”
String Quartet Op. 74; and in addition,
28

Beethoven had written another work in
the same key the previous year — the
Piano Trio Op. 70, No. 2 (the companionpiece to the famous “Ghost” Trio). The
four E-flat-Major works are strikingly
different in both outward form and
character, but for all their opposed
expressive worlds they have one or
two important features in common.
In all but one of them the last two
movements are mysteriously linked,
with the mu­sic seeming momentarily to
hold its breath before the onset of the
finale. The exception is the piano trio
— which shares with the string quartet
a peculiarity that will not readily be
found elsewhere in Beethoven’s works
that have four movements: neither of
the two middle move­ments is in the
home tonality. In each case the keys
chosen instead are C Major or minor,
and A-flat Major.
Almost as though in compensation
for the inspira­tional extravagances of
the three “Razumovsky” Quar­tets
(Op. 59) which had preceded it, the
Op. 74 Quartet is very much classically
conceived. There is, however, no
mistaking the bold individuality of its
slow opening page (“It would have
made an excellent introduction to
the following ‘Allegro,’” commented

the influential Leipzig Allgemeine
musikalische Zeitung in an otherwise
favourable review of the quartet in 1811,
“if it had not lost its way towards the
end in an unnecessary jumble of harsh
dissonances”); and if the remainder of
the first movement is amiable enough,
it is by no means bereft of surprises —
not least, the forceful violin cadenza
which erupts in the coda, transforming
the movement’s prominent pizzicato
idea into something alto­gether darker
and more menacing. The coda’s
expansiveness compensates for an
exposition that is remarkable for its
concision. It is the pizzi­catos of the
principal subject, and especially the
manner in which they are used in the
approach to the recapitulation at the
center of the movement, that have
earned the quartet the nickname of
the “Harp.” As the arpeggios of this
moment accelerate to a point where
they have to be bowed rather than
plucked, a sudden crescendo allows
the start of the recapitulation to
emerge with force.
The slow movement presents a
fusion of variation and rondo forms.
In a typically Beethovenian paradox,
as the variations themselves become
progressively more ornate, they
impart an increasing atmosphere of
serenity. Of the intervening episodes,
the first presents a plangent new
melody in the minor, while the
second unfolds a broad theme
shared between first violin and cello
against the background of a rustling
accompaniment from the viola.
The scherzo is a cousin of the
parallel movement in the Fifth
Symphony, whose “fate” rhythm —
albeit vastly accel­erated — it shares.
The gruffly contrapuntal “running”

trio in the Major also recalls the
symphony. It occurs twice, between
three statements of the scherzo itself
— an enlarged design characteristic
of Beethoven’s middle-period music.
The final reprise of the scherzo begins
forcefully, but the quasi-repeat of its
brief opening section is now played
softly (again, we may think of the Fifth
Symphony’s mysterious da capo), and
thereafter the music’s dynamic level
does not change — except to become
even quieter for the pianissimo coda
which leads directly into the finale.
This is the only occasion on which
Beethoven brought one of his string
quartets to a close with a set of
variations. The “Allegretto” theme
on which it is based is deceptively
written against the bar line. Each of the
“sighing” descending phrases with
which it begins sounds as though it
sets off on the main beat, though that
is actually not the case: the phrases
turn out to have been syncopated
throughout, and the longer ascending
phrase which rounds off the theme’s
first half makes the music sound as
though it has suddenly acquired an
extra beat. The first five variations
are straight­forward enough, but the
concluding variation is expanded
by means of an accelerating coda,
as though in preparation for a
conventionally emphatic peroration.
With gently humorous understatement,
however, the “rushing” figuration of
the closing bars (it is derived from
the third of the preceding variations)
gives way to the simplest of cadences,
allowing the work to come to a
subdued close.

29

S T R I N G Q U A R T E T I N C - S H A R P M I N O R , O P. 1 3 1 ( 1 8 2 6 )
Beethoven
UMS premiere: Budapest String Quartet; February 1941 in Hill Auditorium.
Snapshots of History…In 1826:
· James Fenimore Cooper publishes The Last of the Mohicans
· Joseph Nicéphore Niépce produces the first photographic image
· Nikolai Lobachevsky presents his system of non-Euclidian geometry
With his String Quartet Op. 130,
Beethoven had completed the
commission for three quartets he
had received from Prince Galitzin.
But no sooner had he finished the
series than he embarked on a new,
uncommissioned quartet — almost
as though one work had spilled over
into the next. The abundance of
Beethoven’s ideas for string quartets
at the time was described with wry
humor by his young violinist friend
Karl Holz:
During the time when he was composing the three quartets commissioned
by Prince Galitzin, Op. 127, Op. 130, and
Op. 132, such a wealth of new quartet
ideas streamed forth from Beethoven’s
inexhaustible imagination that he felt almost involuntarily compelled to write the
c-sharp-minor (Op. 131) and F-Major (Op.
135) quartets. “My dear friend, I have just
had another new idea,” he used to say in
a joking manner, and with shining eyes,
when we would go out for a walk; and he
wrote down some notes in a little pocket
sketchbook. “But that belongs to the
quartet after the next one, since the next
one already has too many movements.”

The quartet that had a surfeit
of movements was Op. 131. It was
30

ready by the summer of 1826, but a
performance scheduled for September
had to be abandoned in view of its
difficulty. Meanwhile Beethoven
had embarked on the String Quartet
Op. 135, which he finished in October
of the same year. When he returned
the proofs of Op. 131 to Schott & Co.
on August 12, he scribbled a note on
the title page, to the effect that the
piece had been “put together out of
various things stolen from here and
there.” This so alarmed the publishers
that Beethoven had to reassure
them a week later that the work was
brand new. His joke, he explained,
had been occasioned by the fact
that he had taken offense at Schott’s
prior stipulation that the quartet had
to be an original one. To Karl Holz,
Beethoven declared that he regarded
the c-sharp-minor as his greatest
quartet, and posterity has generally
approved his verdict. Earlier, when
Holz told Beethoven that out of the
three quartets composed for Prince
Galitzin, he thought Op. 130 the finest,
Beethoven had replied: “Each in its
own way. Art demands of us that we
shall not stand still. You will find a new
manner of part-writing, and thank God
there is less lack of imagination than
ever before.”

Beethoven had intended to dedicate
the Op. 131 Quartet to his friend
and benefactor Johann Wolfmayer,
but he had a last-minute change
of heart, and inscribed it instead to
Baron von Stutterheim, a Lieutenant
Field-Marshal who had given
Beethoven’s nephew, Karl, a place in
his regiment. Beethoven’s worries
over his nephew had culminated just
a fortnight before the score of the
quartet was dispatched to Schott &
Co., when, barely a month before his
20th birthday, Karl had attempted
to kill himself. As for Wolfmayer, he
received instead the dedication of
the posthumously-published String
Quartet Op. 135.
Was there, perhaps, a grain of
truth in Beethoven’s joke at Schott’s
expense? Certainly, the outward
shape of the Op. 131 Quartet is highly
unorthodox. This is Beethoven’s only
string quartet to play without a pause
from beginning to end, and within its
continuous structure the tally of its
individual movements is so unusual
that Beethoven was persuaded to
number them in his autograph score,
from 1 to 7. However, two of them are
in effect little more than transitions,
so the real number of movements is
five, as in the String Quartet Op. 132.
The two prominent concerns that
characterize so much of the music of
Beethoven’s final period — variation
form and fugue — find their common
ground in the Op. 131 Quartet. As usual
in the late quartets, the heart of the
work is formed by a set of variations,
while the slow opening movement
is written in the style of a fugue — a
sort of intimate counterpart to the
fugal finale of Op. 130. This is, in fact,
Beethoven’s only quartet to begin

with anything other than a sonata
design. Instead, it reserves the weight
of a fully-­developed sonata form
movement for its finale — just as
Beethoven’s single previous c-sharpminor work, the so‑called “Moonlight”
Sonata Op. 27, No. 2, had done.
The opening fugue theme itself
throws a strong accent onto its
prolonged fourth note, ‘A-natural.’
The answering voice places its
corresponding accent on the note
‘D’; and together, these stressed
notes may give the listener a
foretaste, however subliminal, of
the key of the second movement,
for which the music simply glides
up a semitone into a bright D Major.
Such juxtapositions of chromatically
adjacent keys were much beloved
of Schubert, but it would be difficult
to think of another instance in an
important work by Beethoven.
The D-Major “Allegro” is followed
by a short transition to the central
set of variations. Like so many of
Beethoven’s great variation sets, it
presents a process not of decoration,
but of gradual distillation. The theme
itself is of breathtaking beauty. So, too,
is the manner of its presentation, with
the individual phrases passed with
infinite tenderness from one violin
to the other. The first two variations
show a progressive increase in
animation, but the curiously spare
writing of Variation 3 (lusinghiero
[flattering] is Beethoven’s indication
for the smooth phrases handed back
and forth this time from cello to viola)
is followed by an “Adagio”; and then
an “Allegretto” in which the theme
is reduced to its harmonic skeleton,
with much use of “open” strings.
The sixth variation, an “Adagio” of
31

remarkable spaciousness, leads to a
coda on a huge scale which presents
the only significant modulation of the
entire piece (to C Major), before the
theme reappears in its original key
in a version of sublimated grandeur,
shrouded in violin trills.
The calm of the variations is
abruptly shattered by the start of
the following “Presto.” The form of
the new piece is that of a scherzo
and trio, with the quasi‑trio being
played twice between the three
statements of the scherzo. As so
often in Beethoven’s late scherzo
movements, there is a coda in which
the trio threatens to make a further
return, before it is cut off by the final
appearance of the scherzo’s material.
The second of the quartet’s two
transitional movements offers a
moment of repose between the
scurrying scherzo and the forceful
finale. The last movement itself is
heralded by a four­-bar introduction,
given out by all four players in
fortissimo octaves. These introductory
bars are centered around the initial
notes of the first movement’s fugue
theme; and the fugue subject is
recalled even more vividly in the
finale’s smooth second idea, which
evokes not only its melodic shape, but
also its rhythm.
The cyclic structure of the work
as a whole is further emphasized on
the harmonic level: in the finale’s
recapitulation the principal second
subject makes an unexpected
appearance in the key of D Major, before
being heard in the “correct” C-sharp
Major; and the tonal conflict between
the first two movements is brought into
play once again in the coda, with its
interpolated rushing D-Major scales.
32

Few of Beethoven’s works exerted a
more powerful grip on the imagination
of succeeding generations than
the c-sharp-minor Quartet. One of
Schubert’s dying wishes — apparently
granted — was to hear Beethoven’s
Op. 131 (the other was to read another
novel by the author of The Last of the
Mohicans, James Fenimore Cooper);
and in the 20th century Bartók’s
first string quartet seems to have
taken its point of departure from
Beethoven’s opening fugue. Nor was
the continuity of Beethoven’s work lost
on Schoenberg, whose String Quartet
No. 1 is a single-movement structure
on a similarly large scale.
Program notes © Misha Donat 2016.

ARTISTS
The Takács Quartet, now entering its 42nd
season, is renowned for the vitality of its
interpretations. The New York Times recently
lauded the ensemble for “revealing the
familiar as unfamiliar, making the most
traditional of works feel radical once more,”
and the Financial Times described a recent
concert at the Wigmore Hall: “Even in the
most fiendish repertoire these players show
no fear, injecting the music with a heady
sense of freedom. At the same time, though,
there is an uncompromising attention to
detail: neither a note nor a bow-hair is out
of place.”
The Takács became the first string
quartet to win the Wigmore Hall Medal in
May 2014. The Medal, inaugurated in 2007,
recognizes major international artists who
have a strong association with the Hall.
Recipients so far include András Schiff,
Thomas Quasthoff, Menachem Pressler,
and Dame Felicity Lott. Appointed in
2012 as the first-ever Associate Artists at
Wigmore, the Takács present six concerts
every season there.  Other European
engagements in 2016–17 include concerts
in Florence, Milan, Geneva, Amsterdam,
and Paris. They will present concerts in
Singapore, Japan, and Hong Kong and
will also tour New Zealand and Australia.
A recent tour to South America included
concerts in Chile and Brazil.
In 2012, Gramophone announced that
the Takács was the only string quartet
to be inducted into its first Hall of Fame,
along with such legendary artists as
Jascha Heifetz, Leonard Bernstein, and
Dame Janet Baker. The ensemble also won
the 2011 Award for Chamber Music and
Song presented by the Royal Philharmonic
Society in London. Based in Boulder at the
University of Colorado, the Takács Quartet
performs 90 concerts a year worldwide.

During the 2016–17 season, the
ensemble will perform complete sixconcert Beethoven quartet cycles in
London’s Wigmore Hall, at Princeton,
the University of Michigan, and at UC
Berkeley. In preparation for these cycles
Takács first violinist Edward Dusinberre’s
book, called Beethoven for a Later Age:
The Journey of a String Quartet, was
published in the UK by Faber and Faber
and in North America by the University of
Chicago Press.  The book takes the reader
inside the life of a string quartet, melding
music history and memoir as it explores
the circumstances surrounding the
composition of Beethoven’s quartets. 
The Takács Quartet performed Philip
Roth’s “Everyman” program with Meryl
Streep at Princeton in 2014, and again
with her at the Royal Conservatory of
Music in Toronto in 2015. The program
was conceived in close collaboration
with Philip Roth. The Quartet is known
for such innovative programming. They
first performed “Everyman” at Carnegie
Hall in 2007 with Philip Seymour Hoffman.
They have toured 14 cities with the poet
Robert Pinsky, collaborate regularly with
the Hungarian Folk group Muzsikas, and in
2010 they collaborated with the Colorado
Shakespeare Festival and David Lawrence
Morse on a drama project that explored the
composition of Beethoven’s last quartets.
The Quartet’s award-winning recordings
include the complete Beethoven cycle
on the Decca label. In 2005 the Late
Beethoven Quartets won “Disc of the
Year” and Chamber Award from BBC
Music Magazine, a Gramophone Award,
“Album of the Year” at the Brit Awards,
and a Japanese Record Academy Award.
Their recordings of the early and middle
Beethoven quartets collected a Grammy
33

34

Award, another Gramophone Award, a
Chamber Music of America Award, and
two further awards from the Japanese
Recording Academy. Of their performances
and recordings of the Late Quartets,
the Cleveland Plain Dealer wrote “The
Takács might play this repertoire better
than any quartet of the past or present.”
The members of the Takács Quartet
are Christoffersen Faculty Fellows at the
University of Colorado Boulder and play
on instruments generously loaned to
them by the Shwayder Foundation. The
Quartet has helped to develop a string
program with a special emphasis on
chamber music, where students work in
a nurturing environment designed to help
them develop their artistry. The Quartet’s
commitment to teaching is enhanced by
summer residencies at the Aspen Festival
and at the Music Academy of the West,
Santa Barbara. The Takács is a Visiting
Quartet at the Guildhall School of Music
and Drama, London.

The Takács Quartet was formed in 1975
at the Franz Liszt Academy in Budapest
by Gabor Takács-Nagy, Károly Schranz,
Gabor Ormai, and András Fejér, while
all four were students. It first received
international attention in 1977, winning
First Prize and the Critics’ Prize at the
International String Quartet Competition
in Evian, France. The Quartet also won the
Gold Medal at the 1978 Portsmouth and
Bordeaux Competitions and First Prizes at
the Budapest International String Quartet
Competition in 1978 and the Bratislava
Competition in 1981. The Quartet made
its North American debut tour in 1982.
Violinist Edward Dusinberre joined the
Quartet in 1993 and violist Roger Tapping
in 1995. Violist Geraldine Walther replaced
Mr. Tapping in 2005. In 2001 the Takács
Quartet was awarded the Order of Merit
of the Knight’s Cross of the Republic
of Hungary, and in March of 2011 each
member of the Quartet was awarded the
Order of Merit Commander’s Cross by the
President of the Republic of Hungary.

UMS ARCHIVES
This weekend’s concerts, the first and second installments in this season's
Beethoven String Quartet Cycle, mark the Takács Quartet’s 19th and 20th
performances under UMS auspices. The ensemble made its UMS debut in February
1984 at Rackham Auditorium, and most recently appeared under UMS auspices in
December 2015. The Quartet continues its Beethoven cycle at UMS this season
with sets of concerts in January and March 2017 at Rackham Auditorium.
Photo: Takács Quartet; photographer: Ellen Appel.
35

THIS WEEKEND'S VICTORS FOR UMS:

Ilene H. Forsyth Chamber Arts
Endowment Fund
—
Charles A. Sink Endowment
Fund
Supporters of this weekend’s performances by the Takács Quartet.

M AY W E A L S O R E C O M M E N D . . .
10/13–15 Mark Morris Dance Group and Silk Road Ensemble: Layla and Majnun
10/16
Denis Matsuev, piano
11/15 Gabrieli: A Venetian Coronation 1595
Tickets available at www.ums.org.

O N T H E E D U C AT I O N H O R I Z O N . . .
10/15

You Can Dance: Mark Morris Dance Group
Ann Arbor Y, 400 W. Washington Street, 2–3:30 pm

10/15

Panel Discussion: Layla and Majnun: From the Page to the Stage
U-M Hatcher Graduate Library Gallery, 913 S. University Avenue,
4:30–6:00 pm

10/22

You Can Dance: Dorrance Dance
Ann Arbor Y, 400 W. Washington Street, 2–3:30 pm

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

BE PRESENT

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

$20,000–
$499,000

Anonymous
The William Davidson Foundation

$5,000–
$19,999

Charles H. Gershenson Trust
The Seattle Foundation
University of Michigan Third Century Initiative

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$500,000
and above

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People
Those who work to bring
you UMS performances
each season

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

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
Chair
Sarah Nicoli
Vice Chair
Rachel Bendit
Secretary
Tim Petersen
Treasurer

Janet Callaway
Mark Clague
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Jeanice Kerr Swift
Ann Arbor Public Schools
Superintendent
A. Douglas Rothwell
Chair, Corporate Council
Stephen G. Palms
Past Board Chair
Bruce Tuchman
Chair, National Council
William Shell
Chair, Advisory Committee
James C. Stanley
Maxine J. Frankel
Campaign Co-Chairs

23

UMS Senate
The UMS Senate is composed of former members of the Board of Directors who
dedicate time and energy to UMS and our community. Their ongoing commitment
and gracious support of UMS are greatly appreciated.
Wadad Abed
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
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David Canter
Kathleen G. Charla
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Peter B. Corr
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Hal Davis
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Robert F. DiRomualdo
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Maxine J. Frankel
Patricia M. Garcia
Beverley B. Geltner
Christopher Genteel
Anne Glendon
Patricia Green
William S. Hann
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Randy J. Harris
24

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Norman G. Herbert
Deborah S. Herbert
Carl W. Herstein
David Herzig
Peter N. Heydon
Toni Hoover
Joel D. Howell
Kay Hunt
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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
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Judythe H. Maugh
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Joetta Mial
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Alberto Nacif
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Jan Barney Newman
Roger Newton
Len Niehoff
Gilbert S. Omenn
Joe E. O’Neal
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John D. Psarouthakis
Rossi Ray-Taylor

John W. Reed
Todd Roberts
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A. Douglas Rothwell
Sharon Rothwell
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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
Rick Sperling
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 composed of U-M alumni and performing arts
enthusiasts across the country committed to supporting, promoting, and
advocating for UMS with a focus on ensuring that the performing arts are an
integral part of the student experience.
Bruce Tuchman
Chair
Andrew Bernstein
Kathleen G. Charla
Jacqueline Davis
Marylene Delbourg-Delphis
John Edman
Janet Eilber
Barbara Fleischman
Maxine Frankel

Eugene Grant
Charles Hamlen
Katherine D. Hein
Patti Kenner
Wallis C. Klein
Jerry and Dale Kolins
David Leichtman
Laura McGinn
Jordan Morgan
Caroline Nussbaum

BE PRESENT

UMS National Council

James A. Read
Herbert Ruben
James and Nancy Stanley
Matthew VanBesien
Christian Vesper
Ann and Clayton Wilhite
Stephen R. Forrest
Ex-Officio

UMS Corporate Council

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

Richard L. DeVore
Nolan Finley
Michele Hodges
Mary Kramer
David Parsigian
Vivian Pickard
Sharon Rothwell

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

FA L L 2 0 1 6

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
Ex-Officio

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
Jocelyn Aptowitz
Genan Bakri
Madisen Bathish
Tal Benatar
Zoey Bond*
Sophia Brichta
Linda M. Burns
Claire Crause*
Kathryn DeBartolomeis
Jewel Drigo

Teagan Faran*
Taylor Fulton
Trevor Hoffman
Olivia Johnson
Sarah Kavallar
Ayantu Kebede
Meredith Kelly
Caitlyn Koester
Bridget Kojima
Jakob Lenhardt
Ania Lukasinski

Shenell McCrary*
Gunnar Moll
Westley Montgomery
Rennia Rodney
Jacob Rogers
Heather Shen
Joey Velez
Diane Yang
Hyelin Yang
*21st Century Artist Interns
25

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Join us for
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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.

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

Joel D. Howell
Martha S. Jones
Daniel Klionsky
Lawrence
La Fountain-Stokes
Lester Monts

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UMS Faculty Insight Group

Melody Racine
Sidonie Smith
Emily Wilcox

UMS Ambassadors
UMS Ambassadors advance the goals of UMS, champion the UMS mission
through community engagement, provide and secure financial support, and
assist in countless other ways.
William Shell
Chair
Zita Gillis
Vice Chair

Wendy K. Zellers
Treasurer
Louise Taylor
Past Chair
Karen Bantel
Astrid Beck
Corry Berkooz
Connie Rizzolo Brown
Melissa Bruzzano
Richard Chang
Mike Dergis
Jon Desenberg
Susan DiStefano
Annemarie Kilburn Dolan

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Arlene Barnes
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Sharon Peterson Dort
Gloria J. Edwards
Susan Franke
Joan Grissing
Stephanie Hale
Allison Jordan
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Carol Kaplan
Nancy Karp
Barbara Kay
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Ye Na Kim
Susan Krueger
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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 &
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Kenneth C. Fischer
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John B. Kennard, Jr.
Director of Administration
Kathy Brown
Executive Assistant
Jenny Graf Carvo
Tessitura Systems
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Financial Manager
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Esther Barrett
Development Coordinator
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Partnerships & Major Gifts
Rachelle Lesko
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James P. Leija
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Shannon Fitzsimons Moen
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Relations Coordinator

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Patron Services
Carlos Bustamante
Ticket Services Assistant
Darius Gillard
Ticket Services/
Group Sales Assistant
Katherine McBride
Group Sales & Promotions
Coordinator
Scott Joy
Ticket Services/
Front-of-House Assistant
Anné Renforth
Ticket Services Coordinator
Anna Simmons
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Willie Sullivan
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Bruce Oshaben, Juli
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Betsy Mark
Will Call Volunteer

Lisa Michiko Murray
Associate Director of
Development, Foundation &
Government Relations

PROGRAMMING &
PRODUCTION

UMS CHORAL UNION

Michael J. Kondziolka
Director of Programming

Scott Hanoian
Music Director & Conductor

Cindy Straub
Manager of Volunteers &
Special Events

Jeffrey Beyersdorf
Production Director

Shohei Kobayashi
Assistant Conductor

Alex Gay
Production Coordinator

Kathleen Operhall
Chorus Manager

Anne Grove
Artist Services Manager

Nancy Heaton
Chorus Librarian

Mark Jacobson
Senior Programming
Manager

Jean Schneider
Accompanist

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Associate Director of
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29

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Generous
Donors
Campaign Gifts and Multi-Year Pledges
To help ensure the future of UMS, the following donors have made pledges
which are payable over a period of up to five years. We are grateful to these
donors for their commitments.
$ 75,000–$ 9 9,9 9 9

Carl Cohen
Ilene H. Forsyth
Maxine and Stuart Frankel
Foundation
Eugene and Emily Grant
Family Foundation
The Andrew W. Mellon
Foundation
Candis J. and Helmut F. Stern
University of Michigan Credit
Union
The Wallace Foundation

Maurice and Linda Binkow
David and Phyllis Herzig
Nancy and James Stanley

$10 0,00 0 – $ 4 99, 999

Anonymous
Bert Askwith and Patti
Askwith Kenner
Emily W. Bandera
Community Foundation for
Southeast Michigan
Dennis Dahlmann
William Davidson Foundation
Sharon and Dallas Dort
Stephen and Rosamund
Forrest
Susan and Richard Gutow
Wallis Cherniack Klein
David Leichtman and Laura A.
McGinn
Linda and Stuart Nelson
Norma and Dick Sarns
Ellie Serras
Ron and Eileen Weiser
Max Wicha and Sheila
Crowley
Ann and Clayton Wilhite

$ 50,000–$ 74,9 9 9

Essel and Menakka Bailey
Daniel and Barbara Balbach
Penny and Ken Fischer
Beverley and Gerson Geltner
Mohamad Issa/Issa
Foundation
Miller, Canfield, Paddock and
Stone, P.L.C.
Mr. and Mrs. Donald L.
Morelock
Agnes Moy-Sarns and David
Sarns and the Sarns Family
Gil Omenn and Martha
Darling
Tim and Sally Petersen
Phil and Kathy Power
Sharon and Doug Rothwell
Linda Samuelson and Joel
Howell
Jane and Edward Schulak
Dennis and Ellie Serras
Glenn E. Watkins
Marina and Bob Whitman
Gerald B. Zelenock
$ 25,000–$ 49,9 9 9

Carol Amster
Cheryl Cassidy
Junia Doan
John R. Edman and Betty B.
Edman
Barbara Fleischman
Barbara 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
Dan and Sarah Nicoli
Lois Stegeman
Stout Systems
Karen and David Stutz
Dody Viola
$ 1 5,0 0 0 –$24,999

Michael and Suzan Alexander
Linda and Ronald Benson
Valerie and David Canter
Sara and Michael Frank
Wendy and Ted Lawrence
M. Haskell and Jan Barney
Newman
Virginia and Gordon Nordby
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Barbara Anderson and John
Romani
John and Lillian Back
Karen Bantel and Steve
Geiringer
Suzanne A. and Frederick J.
Beutler
Chris Conlin
Tim and Robin Damschroder
Michele Derr
Ann Martin and Russ Larson
Steve and Betty Palms
Marnie Reid
Eric and Ines Storhok
31

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Locally Owned

316 S. State Street
@ North University
734-994-4004

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

Edward Lynch
Michael Miller
Edward Stein

www.redhawkannarbor.com

revive

soups • custom salads • classic sandwiches

replenish

essential groceries • beer & wine

Ann Arbor Grand Rapids Holland Muskegon Traverse City

619 East University @ Zaragon Place
734-332-3366 · www.revive-replenish.com

The success of UMS is secured in part by income from UMS endowment
funds. You may contribute to an existing endowment fund or establish
a named endowment with a minimum gift of $25,000. We extend our
deepest appreciation to the many donors who have established and/or
contributed to the following funds:
H. Gardner and Bonnie Ackley
Endowment Fund
Herbert S. and Carol Amster
Endowment Fund
Catherine S. Arcure Endowment Fund
Carl and Isabelle Brauer Endowment Fund
Dahlmann Sigma Nu Endowment UMS Fund
Hal and Ann Davis Endowment Fund
Dallas and Sharon Dort Endowment Fund
Doris Duke Charitable Foundation
Endowment Fund
John R. and Betty B. Edman
Endowment Fund
Epstein Endowment Fund

Ken Fischer Legacy Endowment Fund
Barbara Fleischman Theater
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
Karl V. Hauser and Ilene H. Forsyth
Endowment Fund

David and Phyllis Herzig Endowment Fund
JazzNet Endowment Fund
William R. Kinney Endowment Fund
Wallis Cherniack Klein Endowment for
Student Experiences
Dr. and Mrs. Jerry Kolins Shakespearean
Endowment Fund
Frances Mauney Lohr Choral Union
Endowment Fund
Natalie Matovinović Endowment Fund
Medical Community Endowment Fund
Dr. Robert and Janet Miller Endowment Fund
NEA Matching Fund
Ottmar Eberbach Funds
Palmer Endowment Fund
Mary R. Romig-deYoung
Music Appreciation Fund

FA L L 2 0 1 6

Oscar Feldman Endowment Fund

BE PRESENT

Endowed Funds

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
U-M Credit Union Arts Adventures
Endowed Fund at UMS
UMS Endowment Fund
The Wallace Endowment Fund
The Zelenock Family Endowment Fund

Norman and Debbie Herbert
Endowment Fund

33

2016
2017

SEASON

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

TCHAIKOVSKY & FRIENDS
Friday, November 11
8:00 p.m.
Michigan Theater
Daugherty Strut
Shostakovich Violin Concerto
Tchaikovsky Symphony No. 6 “Pathetique”
special guest
Aaron Berofsky

HOLIDAY POPS
Friday, December 9, 8:00 p.m.
Hill Auditorium
special guests
Measure for Measure
Pioneer, Huron and Saline
High School Choruses

(734) 994-4801 • a2so.com

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

FA L L 2 0 1 6

Anonymous
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
Gideon and Carol Hoffer

BE PRESENT

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
community.
Please send gift to: UMS Development

881 N. University Ave

Ann Arbor, MI 48109-1011
For more information, please call 734.764.8489 or visit ums.org/support.
35

UMS Support – September 1, 2015 – August 15, 2016
The following list includes donors who made gifts to UMS over the past year
between September 1, 2015 and August 15, 2016. Due to space restraints, we
can only list in the UMS program book those who donated $250 or more. Donors
of $1-$249 will be included in the online list at ums.org.
PRODUCERS
($500,000 OR MORE)

Eugene and Emily Grant Family
Foundation
University of Michigan

DIRECTORS
($100,000–$499,999)

Anonymous
William Davidson Foundation #
in honor of Oscar Feldman
Ford Motor Company Fund and
Community Services
Ilene H. Forsyth #
Maxine and Stuart Frankel Foundation
Karl V. Hauser #
The Andrew W. Mellon Foundation
Linda and Stuart Nelson #
in honor of Ken Fischer
University of Michigan Credit Union #
University of Michigan Health System
The Wallace Foundation

SOLOISTS
($50,000–$99,999)

Anonymous
Anonymous #
Community Foundation for
Southeast Michigan
Dance/USA
Doris Duke Charitable Foundation
DTE Energy Foundation
Stephen and Rosamund Forrest
Patti Askwith Kenner
in memory of her father Bert
Askwith (1911-2015)
Philip and Kathy Power

MAESTROS
($20,000–$49,999)

Anonymous
Anonymous #
Emily W. Bandera, M.D.
Noreen and Kenneth Buckfire
Barbara Fleischman #
in honor of Ken Fischer
Barbara Garavaglia #
in memory of Jim Garavaglia
KeyBank
Masco Corporation Foundation
Michigan Council for Arts and
Cultural Affairs
National Endowment for the Arts
PNC Foundation
Norma and Dick Sarns #
Sesi Lincoln
Nancy and James Stanley #
Toyota
Bruce G. Tuchman
Ron and Eileen Weiser
Max Wicha and Sheila Crowley
36

VIRTUOSOS
($10,000–$19,999)

Jerry and Gloria Abrams
Altarum Institute
Ann Arbor Area Community
Foundation
Essel and Menakka Bailey #
Barbara and Daniel Balbach #
Bank of Ann Arbor
Bendit Foundation
Maurice and Linda Binkow
Carl Cohen
Dennis A. Dahlmann and
Patricia M. Garcia
Jim and Patsy Donahey
Penny and Ken Fischer
Anne and Paul Glendon
Susan and Richard Gutow #
David and Phyllis Herzig
Joel Howell and Linda Samuelson
Frank Legacki and Alicia Torres
David Leichtman and Laura McGinn
McKinley Associates, Inc.
Thomas and Deborah McMullen
Ann R. Meredith
Mr. and Mrs. Donald Morelock
THE MOSAIC FOUNDATION
(of R. & P. Heydon)
New England Foundation for the Arts
Daniel and Sarah Nicoli
Old National Bank
Gilbert Omenn and Martha Darling
Tim and Sally Petersen #
Eleanor Pollack #
James A. 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
Stout Systems
Robert O. and Darragh H. Weisman
in honor of Allison Silber, Class
of 2017
Marina and Robert Whitman
Ann and Clayton Wilhite
Fred and Judy Wilpon
Gerald (Jay) and Christine Zelenock #

CONCERTMASTERS
($5,000–$9,999)

Michael Allemang and Janis Bobrin
Carol Amster #
Ann Arbor Automotive
Anonymous
Andrew and Lisa Bernstein
Gary Boren
Carl and Isabelle Brauer Fund
Edward and Mary Cady
Valerie and David Canter

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

Cheryl Cassidy
Comerica Bank
Blue Nile Restaurant
Connable Associates
John R. Edman
Faber Piano Institute
Nancy and Randall Faber
John and Jackie Farah
David and Jo-Anna Featherman
George W. Ford
Charles H. Gershenson Trust,
Maurice S. Binkow, Trustee
Katherine and Tom Goldberg
John R. Griffith
Lynn and Martin Halbfinger
Norman and Debbie Herbert #
Carl and Charlene Herstein
Honigman Miller Schwartz and
Cohn LLC
Imagine Fitness & Yoga
The Japan Foundation
David and Sally Kennedy
Jerry and Dale Kolins #
Samuel and Marilyn Krimm
Ted and Wendy Lawrence
Level X Talent
Richard and Carolyn Lineback
Mainstreet Ventures
Mardi Gras Fund
Martin Family Foundation #
Miller, Canfield, Paddock and
Stone, P.L.C.
M. Haskell and Jan Barney Newman
Virginia Nordby
Rob and Quincy Northrup
Bertram and Elaine Pitt
Rosenberg Family Fund
in honor of Maury and Linda Binkow
Prue and Ami Rosenthal
Savco Hospitality
Lois Stegeman
StoryPoint
David and Karen Stutz
The Summer Fund of the Charlevoix
County Community Foundation
Louise Taylor
The University of Michigan Third
Century Initiative
Dody Viola
Stanford and Sandra Warshawsky

LEADERS
($2,500–$4,999)

Jim and Barbara Adams
Michael and Suzan Alexander
Anonymous
Arts Midwest Touring Fund
John and Lillian Back
Karen Bantel and Steve Geiringer
Dr. Carol Barbour and Dr. Sid Gilman
Bradford and Lydia Bates

Ronnie and Lawrence Ackman
Katherine Aldrich
Richard and Mona Alonzo
Christiane Anderson
Ann Arbor Distilling Company
Anonymous
Dr. and Mrs. Rudi Ansbacher
Harlene and Henry Appelman
Dr. Frank Ascione
Bob and Martha Ause
Elizabeth R. Axelson and
Donald H. Regan
Jonathan Ayers and
Teresa Gallagher
Laurence R. and Barbara K. Baker
Lisa and Jim Baker
Rosalyn, Joshua and Beth Barclay
in memory of Mel L. Barclay, M.D.

Larry Hastie
Daniel and Jane Hayes #
David W. Heleniak
Sivana Heller
Paul and Nancy Hillegonds #
Diane S. Hoff
Robert M. and Joan F. Howe
Jean Jacobson
Hudson Webber Foundation
Eileen and Saul Hymans
Wallie and Janet Jeffries
Liz Johnson
Timothy and Jo Wiese Johnson
Mary K. Joscelyn
Richard and Sylvia Kaufman
Janet Kemink and
Rodney Smith, MD
Connie and Tom Kinnear
Jean and Arnold Kluge
Carolyn and Jim Knake
Michael J. Kondziolka and
Mathias-Philippe Badin
Barbara and Michael Kratchman
Donald and Jeanne Kunz
John K. Lawrence and
Jeanine A. DeLay#
Richard LeSueur
Evie and Allen Lichter
E. Daniel and Kay Long #
Fran Lyman
John and Cheryl MacKrell
Edwin and Cathy Marcus
Betsy Yvonne Mark
W. Harry Marsden
Ann W. Martin and Russ Larson
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. Gazda
Margaret McKinley and Dan Ketelaar
Michael and Terrie McLauchlan #
Scott and Julie Merz
Bert and Kathy Moberg
Elizabeth and John Moje
Cyril Moscow
Mullick Foundation
John and Ann Nicklas
Susan and Mark Orringer #
Judith A. Pavitt
Pfizer Foundation
Marianne Udow-Phillips and
Bill Phillips
Juliet S. Pierson
Susan Pollans and Alan Levy
Stephen and Bettina Pollock
Ray and Ginny Reilly
Malverne Reinhart
Richard and Susan Rogel
Huda Karaman Rosen
Jeri Rosenberg and Vic Strecher
Keith and Sue Rottman
John J. H. Schwarz
Erik and Carol Serr
Janet Shatusky
Carl Simon and Bobbi Low
Nancy and Brooks Sitterley
Michael Sivak and Enid Wasserman

FA L L 2 0 1 6

PATRONS
($1,000–$2,499)

John and Ginny Bareham
David and Monika Barera
Norman E. Barnett #
Dr. and Mrs. Robert Bartlett
Anne Beaubien and Phil Berry
Cecilia Benner
in memory of David Lebenbom
Kathy Benton and Robert Brown
Rosemary R. Berardi and
Carolyn R. Zaleon
Joan Binkow
John Blankley and Maureen Foley
Margaret and Howard Bond
Rebecca S. Bonnell
Laurence and Grace Boxer
Dr. and Mrs. Ralph R. Bozell
Nancy M. Briggs
in memory of Dale E. Briggs
Robert and Jeannine Buchanan
Tom and Lori Buiteweg
Lawrence and Valerie Bullen
in honor of Ken Fischer
Charles and Joan Burleigh
Barbara and Al Cain
Lou and Janet Callaway
Sally Camper and Bob Lyons
Thomas and Marilou Capo
Jean and Ken Casey
Anne Chase
Patricia Chatas
Reginald and Beverly Ciokajlo
Cheryl and Brian Clarkson
Deborah Keller-Cohen and
Evan Cohen
Ellen and Hubert Cohen
Connie and Jim Cook
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
Dennis and Monique Deschaine
Sally and Larry DiCarlo
Molly Dobson
includes gift in honor of Ken
Fischer
Jill and Doug Dunn
Peter and Grace Duren
Rosalie Edwards/
Vibrant Ann Arbor Fund
Johanna Epstein and Steven Katz
Elly and Harvey Falit
Dede and Oscar Feldman
Food Art
Dan and Jill Francis
Judy and Paul Freedman
Leon and Marcia Friedman
Bill and Boc Fulton
Beverley and Gerson Geltner
Zita and Wayne Gillis
Heather and Seth Gladstein
Cozette Grabb
Leslie and Mary Ellen Guinn
Kenneth and Margaret Guire #
Roopa and Hitinder Gurm
Elizabeth and Robert Hamel
Jeff Hannah and Nur Akcasu
Randall L. and
Nancy Caine Harbour #
Clifford and Alice Hart

BE PRESENT

Rachel Bendit and Mark Bernstein
Ronald and Linda Benson
Suzanne A. and
Frederick J. Beutler #
DJ and Dieter Boehm
Charles and Linda Borgsdorf
Bill Brinkerhoff and Kathy Sample
Carolyn M. Carty and
Thomas H. Haug
Conlin Travel, Inc.
Julia Donovan Darlow and
John Corbett O’Meara
Marylene Delbourg-Delphis
Sharon and Dallas Dort
John Dryden and Diana Raimi
Charles and Julia Eisendrath #
Joan and Emil Engel
Betsy Foxman and Michael Boehnke
Sara and Michael Frank
Thomas and Barbara Gelehrter
Bill and Ruth Gilkey
James and Patricia Kennedy
Diane Kirkpatrick
Philip and Kathryn Klintworth
Leo and Kathy Legatski
Carolyn and Paul Lichter
Jean E. Long
Tim and Lisa Lynch
Ernest and Adele McCarus
Paul Morel and Linda Woodworth
Anthony and Vivian Mosellie
William Nolting and Donna Parmelee
Steve and Betty Palms
Elizabeth and David Parsigian
Rick and Mary Price
James and Bonnie Reece
John W. Reed
Anthony L. Reffells
Nathaniel and Melody Rowe
Herbert and Ernestine Ruben
Craig and Jan Ruff
Frankie and Scott Simonds
Susan M. Smith and Robert H. Gray
Linh and Dug Song
Cheryl Soper
Steve Sullivan and Erin McKean
Judy and Lewis Tann
Jim Toy
Shaomeng Wang and Ju-Yun Li
Elise Weisbach

37

Ren and Susan Snyder
Tamar Springer and Steve Stancroff
Michael B. Staebler and
Jennifer R. Poteat
Ted St. Antoine
Virginia E. Stein
Eric and Ines Storhok
Dalia and Stan Strasius
Charlotte B. Sundelson
in honor of Kenneth Fischer
Ted and Eileen Thacker
Keturah Thunder-Haab
Louise Townley
Jeff and Lisa Tulin-Silver
Susan B. Ullrich #
Robert and Cynthia VanRenterghem
Jack and Marilyn van der Velde
Bob and Liina Wallin
Harvey and Robin Wax
Max and Mary Wisgerhof
Jack and Carolyn Wallace
Joyce Watson and Marty Warshaw
Edward and Colleen Weiss
Lauren and Gareth Williams
Charles Witke and Aileen Gatten
The Worsham Family Foundation

BENEFACTORS
($500–$999)

Judith Abrams
Tena Achen
Jan and Sassa Akervall
Roger Albin and Nili Tannenbaum
James and Catherine Allen
Christine W. Alvey
David G. and Joan M. Anderson #
Neil P. Anderson
Dave and Katie Andrea
Ann Arbor Public Schools
Anonymous
Anonymous
in honor of Jean Campbell
Penny and Arthur Ashe
Ralph and Barbara Babb #
John and Christy Bacon
Reg and Pat Baker
Nancy Barbas and Jonathan Sugar
Astrid B. Beck
Lawrence S. Berlin and
Jean L. McPhail
Jack Billi and Sheryl Hirsch
Sara Billmann and Jeffrey Kuras
William and Ilene Birge
R.M. Bradley and C.M. Mistretta
Brian Bradley and
Rosalie Tocco-Bradley
Joel Bregman and Elaine Pomeranz
Charles Bright and Susan Crowell
David and Sharon Brooks
Pamela Brown
Susan and Oliver Cameron
Brent and Valerie Carey
Jack and Susan Carlson
A. Craig Cattell
Tsun and Siu Ying Chang
John and Camilla Chiapuris
Judy and Malcolm Cohen
Jon Cohn and Daniela Wittmann
Barbara Comai
David and Barbara Copi
Arnold and Susan Coran
38

Paul Courant and Marta Manildi
Katherine and Clifford Cox
Clifford and Laura Craig #
John and Mary Curtis
Roderick and Mary Ann Daane
Connie D’Amato
David L. DeBruyn
Elena and Nicholas Delbanco
David Deromedi
Andrzej and Cynthia Dlugosz
Gary Dolce and Karen Yamada
Dworkin Foundation
Alan S. Eiser
Bruce N. and Cheryl W. Elliott
Margaret and John Faulkner
Carol Finerman
Susan R. Fisher
Tiffany and Damon Ford
David Fox and Paula Bockenstedt
Susan L. Froelich and
Richard E. Ingram
Sandra Gast and Greg Kolecki
Chris Genteel and Dara Moses
Julia and Mark Gerstein
in honor of Evan Gerstein’s
graduation
David and Maureen Ginsburg #
Steve Glauberman and
Margaret Schankler
Google Inc.
L.A. Peter Gosling, Linda Y.C. Lim and
Mya L. Gosling
in memory of Wendy Comstock
Larry and Martha Gray
Dr. Patricia P. Green
Raymond Grew
Nicki Griffith
Werner H. Grilk
Arthur Gulick
Talbot and Jan Hack
Don Haefner and Cynthia Stewart
Helen C. Hall
Steven and Sheila Hamp
William and Kathleen Hanson
Alan Harnik and
Professor Gillian Feeley-Harnik
David Harris
Timothy Hofer and Valerie Kivelson
Kay Holsinger and Douglas C. Wood
Jim and Colleen Hume
Ann D. Hungerman
Harold L. Ingram
Richard and Suzette Isackson
isciences, L.L.C.
Gretchen and John Jackson
Elizabeth Jahn
Joachim Janecke
in memory of Christa Janecke
Feng Jiang and Lydia Qiu
Mark and Linda Johnson #
Mattias Jonsson and
Johanna Eriksson
Mark and Madolyn Kaminski
Don and Sue Kaul
James A. Kelly and Mariam C. Noland
Robert and Gloria Kerry
Rhea K. Kish
Dana and Paul Kissner
Gary and Barbara Krenz
in honor of Ken Fischer
Jane Fryman Laird

Joan and Melvyn Levitsky
Marty and Marilyn Lindenauer
in honor of Ken Fischer
Rod and Robin Little
William and Lois Lovejoy
Joan Lowenstein and
Jonathan Trobe #
Louise and David Lutton
Brigitte Maassen
William and Jutta Malm
Melvin and Jean Manis
Susan E. Martin
Judythe and Roger Maugh
Martha Mayo and Irwin Goldstein
Susan McClanahan and
Bill Zimmerman
Bill and Ginny McKeachie
Frances McSparran
Bernice and Herman Merte
Mary Lee Meyer
James M. Miller and Rebecca H. Lehto
Gene and Lois Miller #
Lester and Jeanne Monts
Kara and Lewis Morgenstern
Lisa and Steve Morris
Drs. Louis and Julie Jaffee Nagel
Margaret Nance
Erika Nelson and David Wagener
Thomas and Barbara Nelson
Marc Neuberger and Jane Forman
Elizabeth Ong
Zoe and Joe Pearson
Wesen and William Peterson
Diana and Bill Pratt
Wallace and Barbara Prince
Quest Productions
Cynthia and Cass Radecki
Harold K. Raisler Foundation, Inc.
Guy and Kathy Rich
Jessica C. Roberts, PhD #
Doug and Nancy Roosa
Stephanie Rosenbaum
Richard and Edie Rosenfeld
Nancy W. Rugani #
Ashish and Norma Sarkar
Maya Savarino
Ann and Tom Schriber
John Scudder and Regan Knapp
Elvera Shappirio
Bruce M. Siegan
Barbara Furin Sloat
Cynthia Sorensen
Becki Spangler and Peyton Bland
Gretta Spier and Jonathan Rubin
Allan and Marcia Stillwagon
Jannifer Stromberg
Eva Taylor
Stephanie Teasley and Thomas Finholt
Doris H. Terwilliger
John G. Topliss
Joyce Urba and David Kinsella
Douglas and Andrea Van Houweling
Erica Ward and Ralph Gerson
Arthur and Renata Wasserman
Richard and Madelon Weber #
Deborah Webster and George Miller
Edward and Colleen Weiss
Lyndon Welch
in memory of Angela Welch
Steven Werns
Kathy White #

ASSOCIATES
($250–$499)

Don and Nancy Kaegi
Carol and Mark Kaplan
Steven Kautz
John Kennard and Debbi Carmody
Nancy Keppelman and
Michael E. Smerza
Bonnie and Robert Kidd
Dan and Freddi Kilburn
Laurence King and Robyn Frey-King
Web and Betty Kirksey
Michael Koen
Rosalie and Ron Koenig
Ann Marie Kotre
Mary L. Kramer #
Syma and Phil Kroll
Lawrence La Fountain-Stokes
David Lampe and Susan Rosegrant
Lucy and Kenneth Langa
Linda M. Langer
Jean A. Lawton and James H. Ellis
John and Theresa Lee
Sue Leong
Barbara Levine
Gloria Kitto Lewis
Jacqueline Lewis
Daniel Little and Bernadette Lintz
Michael and Debra Lisull
Len and Betty Lofstrom
John Lofy and Laura Rubin
Shuyu Long
Barbara and Michael Lott
Christopher Lovasz
Jimena Loveluck and
Timothy Veeser
Marilyn and Frode Maaseidvaag
Martin and Jane Maehr
Geraldine and Sheldon Markel
Kenneth and Lynn Marko
Charles McCaghy
Margaret and Harris McClamroch
Cynthia McClung
Peggy McCracken and
Doug Anderson
Margaret McQuillan-Key
Marilyn Meeker
Gerlinda S. Melchiori
Warren and Hilda Merchant
Carmen and Jack Miller
John and Sally Mitani
Candy and Andy Mitchell
Brian and Jacqueline Morton
Trevor Mudge and
Janet Van Valkenburg
Barbara Mulay
Thomas and Hedi Mulford
Richard and Susan Nisbett
Eugene and Beth Nissen
Laura Nitzberg
Christer and Outi Nordman
Elisa Ostafin and Hossein Keshtkar
Mohammad and
J. Elizabeth Othman
Marie Panchuk
Karen Pancost
William and Hedda Panzer
Karen Park and John Beranek
Brian and Julie Picknell
Robert and Mary Ann Pierce
Mark and Margaret Pieroni
Donald and Evonne Plantinga
Joyce Plummer

FA L L 2 0 1 6

Dr. Diane M. Agresta
Gordon and Carol Allardyce
Helen and David Aminoff
Barbara A. Anderson
John Anderson and Lyn McHie
Ralph and Elaine Anthony
Lisa and Scott Armstrong
Michael Atzmon
Robert and Mary Baird
Barbara M Barclay
Frank and Lindsay Tyas Bateman
Gary Beckman and Karla Taylor
Christina Bellows and Joe Alberts
Emile Bendit
Merete Blondal Bengtsson
Christy and Barney Bentgen
Joan Bentz
Barbara and Sheldon Berry
Inderpal and Martha Bhatia
Mary E. Black
Bobbie and Donald Blitz
Mr. Mark D. Bomia
Morton B. and Raya Brown
Jonathan and Trudy Bulkley
Alan Burg and Kenneth Hillenburg
Jim and Cyndi Burnstein
Tony and Jane Burton
Jenny and Jim Carpenter
Barbara Mattison Carr
Margaret W. (Peggy) Carroll
MJ Cartwright and Tom Benedetti
Jenny Graff Carvo
Angela Cesere and Rob Thomas
J. Wehrley and Patricia Chapman
Samuel and Roberta Chappell
Joan and Mark Chesler
Mark Clague and Laura Jackson
Elke Monika Clark
Donald and Astrid Cleveland #
Wayne and Melinda Colquitt
Anne and Edward Comeau
Gordon and Marjorie Comfort
Jane Wilson Coon and
A. Rees Midgley
Mrs. Katharine Cosovich
Margaret Cottrill and Jon Wolfson
Susan Bozell Craig
Marylee Dalton and Lynn Drickamer
Art and Lyn Powrie Davidge
in memory of Gwen and
Emerson Powrie
Ed and Ellie Davidson
Linda Davis and Bob Richter
in honor of Ken Fischer
HE Dean

Brian and Margaret Delaney
Richard I. DeVries
Robert Donia
Robert J. Donnellan
Ed and Mary Durfee
Don and Kathy Duquette
Swati Dutta
Gavin Eadie and Barbara Murphy
James F. Eder
Gloria J. Edwards
Morgan and Sally Edwards
Charles and Julie Ellis
Ruth Edwards
Beverly and Michael Fauman
Phil and Phyllis Fellin
Kay Felt
Jeff Fessler and Sue Cutler
Herschel and Adrienne Fink
C. Peter and Beverly A. Fischer
Martha Fischer and William Lutes
in honor of Kenneth C. Fischer
Norman and Jeanne Fischer
in memory of of Gerald B. Fischer
Catherine Fischer
in memory of of Gerald B. Fischer
Carol and Mitch Fleischer
Jessica Fogel and Lawrence Weiner
Scott and Janet Fogler
Philip and Renée Woodten Frost
Carol Gagliardi and David Flesher
Enid Galler
Janet and Charles Garvin
Heather Gates
in memory of David Gates
Michael Gatti and Lisa Murray
Prof. Beth Genne and
Prof. Allan Gibbard
Renate Gerulaitis #
J. Martin and Tara Gillespie
Thea Glicksman
Drs. Vijay and Sara Goburdhun
Barbara and Fred Goldberg
Mr. and Mrs. Charles and
Janet Goss #
Michael L. Gowing
Christopher and Elaine Graham
Jerry M. and Mary K. Gray
Elliott Greenberg and Gayle Harte
Richard and Linda Greene
Julie and Hanley Gurwin
Michael Hammer and
Matthew Dolan
Tom Hammond
Drs. Erik and Dina Hanby
Susan R. Harris
Michael and Nikki Hathaway
Neil and Annmarie Hawkins
J. Lawrence Henkel and
Jacqueline Stearns
Dr. and Mrs. Robert Hensinger
Therese and Alfred Hero
Kathryn Goodson and John Hieftje
Mark and Lorna Hildebrandt
Gideon and Carol Hoffer
Paul Hossler and Charlene Bignall
James S. House and
Wendy Fisher House #
Elizabeth Jahn
Hank and Karen Jallos
Lawrence and Ruth Jones #
Janet and Jerry Joseph

BE PRESENT

James Boyd White and
Mary F. White
Iris and Fred Whitehouse
Brian Willen and Monica Hakimi
Thomas K. Wilson
Dr. Robert Winfield #
Beth and I. W. Winsten
Lawrence and Mary Wise
Kenneth Wisinski and
Linda Dintenfass
Frances A. Wright #
Mary Jean and John Yablonky
Thomas and Karen Zelnik

39

Thomas S. Porter
Anne Preston #
Karen and Berislav Primorac
Jeff and Katie Reece
Judith Roberts
Stephen Rosenblum and
Rosalyn Sarver
Rosemarie Haag Rowney
Carol Rugg and Richard Montmorency
Mary Ann Rumler
Jay and Sunny Sackett
Irv and Trudy Salmeen
Michael and Kimm Sarosi
The Saturno Family
in honor of Ken Fischer
Albert J. and Jane L. Sayed
Judith Scanlon
Helga and Jochen Schacht
David Schmidt and Jane Myers
David Schoem
Suzanne Selig
Harriet Selin #
James and Linda Selwa #
Matthew Shapiro and Susan Garetz
Cliff and Ingrid Sheldon
Bill and Chris Shell
Patrick and Carol Sherry
Howard and Aliza Shevrin
Jean and Thomas Shope
Nina Silbergleit
Edward and Kathy Silver
Sandy and Dick Simon
Robert and Elaine Sims

Jürgen Skoppek
Carl and Jari Smith #
David and Renate Smith
Gregory Smith MD
Robert W. Smith
Sidonie Smith and Greg Grieco
Linda Spector and Peter Jacobson
Doris and Larry Sperling
in memory of David Klein
Jim Spevak
Jeff Spindler
Paul and Judy Spradlin
Leslie Stainton and Steven Whiting
Daniel and Susan Stepek
James L. Stoddard
Cynthia Straub
John F. Strobel and Christine M. Tracy
Elizabeth Stumbo and Stephan Taylor
Roger Stutesman
Nancy Bielby Sudia
Rich and Diane Sullivan
Ed and Natalie Surovell
Sandy Talbott and Mark Lindley
May Ling Tang
Michael and Ellen Taylor
William Tennant
Denise Thal and David Scobey
Tom and Judy Thompson
Patricia J. Tompkins
in memory of Terril O. Tompkins
Janet and Randall Torno
includes gift in memory of Wendy
Comstock

Fawwaz Ulaby and Jean Cunningham
Karla and Hugo Vandersypen
Mary C. Vandewiele
James and Barbara Varani #
Elizabeth A. and David C. Walker
Charles R. and Barbara Hertz Wallgren
Jo Ann Ward
Karen Watanabe and Richard Cheng
MaryLinda and Larry Webster
Bruce and Loraine Webster
Richard and Lucinda Weiermiller
Jack and Carol Weigel
Neal and Susan Weinberg
Mary Ann Whipple #
Mac and Rosanne Whitehouse
Steve and Peg Wilcox
Thomas Wilczak and Steven Quinkert
in honor of Garrett Kucharski, Marie
and Helen Rucinski
Shelly F. Williams
Pat and John Wilson
Stuart and Nancy Winston #
Steven and Helen Woghin
Charlotte A. Wolfe
Gladys Young
Gail and David Zuk
Thomas and Erin Zurbuchen
*Due to space restraints, gifts of
$1-$249 will be recognized in the
online donor list at ums.org.

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2016-17

2014 National Medal of Arts Recipient

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