UMS Concert Program, November 12, 2016 - November 13, 2016 - Berliner Philharmoniker

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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.”

Berliner
Philharmoniker
Sir Simon Rattle
Artistic Director
November 12–13, 2016
Hill Auditorium
Ann Arbor

CONTENT
Concert I
Saturday, November 12, 8:00 pm
Concert II
Sunday, November 13, 4:00 pm

Artists

3

15
31

Berliner
Philharmoniker
Concert I

Sir Simon Rattle
Artistic Director
Saturday Evening, November 12, 2016 at 8:00
Hill Auditorium
Ann Arbor

14th Performance of the 138th Annual Season
138th Annual Choral Union Series

This evening’s presenting sponsor is the Eugene and Emily Grant Family Foundation.
This evening’s supporting sponsor is the Michigan Economic Development Corporation.
This evening’s performance is funded in part by The Andrew W. Mellon Foundation and by the
Michigan Council for Arts and Cultural Affairs.
Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM.
The Steinway piano used in this evening’s performance is made possible by William and Mary Palmer.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of
lobby floral art for this evening’s performance.
Special thanks to Bill Lutes for speaking at this evening’s Prelude Dinner.
Special thanks to Journeys International, sponsor of this evening’s Prelude Dinner.
Special thanks to Aaron Dworkin, Melody Racine, Emily Avers, Paul Feeny, Jeffrey Lyman, Danielle Belen,
Kenneth Kiesler, Nancy Ambrose King, Richard Aaron, and the U-M School of Music, Theatre & Dance for
their support and participation in events surrounding this weekend’s performances.
Deutsche Bank is proud to support the Berliner Philharmoniker.
Please visit the Digital Concert Hall of the Berliner Philharmoniker at www.digitalconcerthall.com.
The Berliner Philharmoniker appears by arrangement with Columbia Artists Management, Inc.
In consideration of the artists and the audience, please refrain from the use of electronic devices during
the performance.
The photography, sound recording, or videotaping of this performance is prohibited.
In the interest of saving both dollars and the environment, please either retain this program book and
return with it if you attend Sunday’s performance, or return it to your usher when leaving the venue.

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

Gustav Mahler
Symphony No. 7 in e minor
Langsam (Adagio) — Allegro risoluto, ma non troppo
Nachtmusik I: Allegro moderato
Scherzo: Schattenhaft — Trio
Nachtmusik II: Andante amoroso
Rondo — Finale: Tempo I (Allegro ordinario) — Tempo II (Allegro moderato
ma energico)

Tonight’s concert will be performed without intermission.

5

É C L AT ( 1 9 6 4­– 6 5 )
Pierre Boulez
Born March 26, 1925 in Montbrison, France
Died January 5, 2016 in Baden-Baden, Germany
UMS premiere: This piece has never been performed on a UMS concert.
Snapshots of History…In 1965:
· Martin Luther King, Jr. and 25,000 civil rights activists successfully end
the four-day march from Selma, Alabama to the capitol in Montgomery
· The Beatles perform the first stadium concert in the history of music,
playing before 55,600 persons at Shea Stadium in New York City
· West Germany and Israel establish diplomatic relations

Pierre Boulez, who passed away
earlier this year at the age of 90,
was, for more than 50 years, one of
the defining figures of contemporary
classical music as a radical innovator,
supreme interpreter, authoritative
lawgiver, and public figure of the first
magnitude. When he burst on the
scene shortly after the end of World
War II, he first created a whole new
musical language before proceeding
to make many highly original
statements in that language.
Éclat, a brief work for 15 instruments
from the most productive period
in Boulez’s life, received its first
performance in Los Angeles, on March
26, 1965, under the composer’s
direction. The work is based on two
fundamental ideas. The first of these
is resonance. You are invited to
listen to individual sounds or groups
of sounds played by the various
instruments as they fade, die down,
and are replaced by new sounds.
Instruments whose resonance quickly
disappears — piano, harp, mallet
percussion, guitar, mandolin, and
6

cimbalom, or Hungarian hammered
dulcimer — occupy center stage.
They all play brief sound attacks, but
their timbres are extremely varied.
A second group is made up of string
and wind instruments (flute, English
horn, trumpet, trombone, viola, and
cello), where the bow or the breath
can considerably prolong the sound.
The short-lived sounds of the first
group are contrasted with the more
sustained utterances of the second.
One of the generating forces of the
work is, then, the “sheer love of
sound,” as Dominique Jameux writes
in his seminal monograph on Boulez.
The second fundamental idea
is the so-called open form which
preoccupied Boulez for many
years. This means that not every
single aspect of the work is 100%
determined by the composer;
some elements are variable, so that
different performances of the work
may not be completely identical.
The score of Éclat includes several
“inserts,” or musical modules which
give the performers a number of

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

7

S Y M P H O N Y N O. 7 I N E M I N O R ( “ S O N G O F T H E N I G H T ” ) ( 1 9 0 5 )
Gustav Mahler
Born July 7, 1860 in Kalischt, near Humpolec, Bohemia
Died May 18, 1911 in Vienna
UMS premiere: San Francisco Symphony under the baton of Michael
Tilson Thomas; November 2014 in Hill Auditorium.
Snapshots of History…In 1905:
· The first Rotary Club is founded by four men in Chicago
· Adventures of Huckleberry Finn and The Adventures of Tom Sawyer are
banned from the Brooklyn Public Library for setting a “bad example”
· Russia and Japan sign a treaty mediated by US President Theodore
Roosevelt, ending the Russo-Japanese War
“Three night pieces; the finale, bright day. As foundation for the whole, the first
movement.”
— Mahler to the Swiss critic William Ritter
Mahler began Symphony No. 7 in the
middle. As a glance at the program
page and Mahler’s own summary for
William Ritter tells us, the structure
is symmetrical. The first and last
movements — both on a large scale
— flank three character pieces, which
are themselves symmetrical in that
the first and third are each called
Nachtmusik.
It was with these two night musics
that Mahler began this score in the
summer of 1904. But with summer’s
end, a typically busy year began for
Mahler, whose work as Europe’s
most famous conductor occupied
him throughout the concert season.
In June 1905, Mahler headed back to
his summer residence at Maiernigg,
on the Wörthersee, to continue work
on his Seventh Symphony. He could
not find the way into the composition.
He took off for the Dolomites, hoping
8

to release his creative energies,
but nothing happened. Profoundly
depressed, he returned. He stepped
from the train and was rowed across
the lake. With the first dipping of the
oars into the water, he recalled later,
“the theme of the introduction (or
rather, its rhythm, its atmosphere)
came to me.”
From that moment forward he
worked like a man possessed, as
indeed he must have been to bring
this gigantic structure under control,
even if not finished in detail, by
mid‑August. His Latin message to
Guido Adler was jubilant. In English
translation, it reads: “My Seventh
is finished. I believe this work to
be auspiciously begun and happily
concluded. Many greetings to you
and yours, also from my wife. G.M.”
Thinking about the first performance,
Mahler considered the New York

Symphony, which he would be
conducting in the 1907–08 season,
but soon realized that this would be
madness in a city and a country that
knew so little of his music. A festival
in Prague to celebrate the 60th year
on the throne of the Emperor Franz
Joseph provided a more suitable
occasion. Prague offered a less than
first‑rate orchestra; on the other hand,
Mahler had ample rehearsal time, and
the worshipful young conductors —
among them Artur Bodanzky, Otto
Klemperer, and Bruno Walter — who
attended the preparations recounted
how, refusing all help, he used every
night to make revisions on the
basis of that day’s experience. He
was always the most pragmatic of
composer‑conductors.
The Nachtmusiken and the
“Scherzo” made their effect at once;
the first and last movements were
harder nuts to crack and in Prague
the reception was more respectful
than enthusiastic. Mahler himself
conducted the Seventh only once
more, in Munich, a few weeks after the
concert at Prague. It is still the least
known of his symphonies.
The Seventh is a victory symphony,
not a personal narrative but a journey
from night to day (it is sometimes
called “Song of the Night”). The
focus is on nature. If the Seventh is a
Romantic symphony, one should add
that the “distancing” effect produced
by the outward‑pointing, non‑narrative
character of the music can also be
perceived as Classical.
The opening is music in which
we may hear not only the stroke of
oars, but the suggestion of cortege.
Here Mahler carries us from a slow
introduction into the main body of a

sonata‑allegro movement, adhering to
the design that afforded symphonists
from Haydn through Bruckner a broad
range of expressive possibilities.
Settling into a new key, he brings in
a gorgeous theme, a highly inflected
violin melody full of yearning and
verve, rising to a tremendous climax,
to merge into the music of the second
of the three marches we have heard.
More such merges lie ahead. At the
focal point of the development comes
what must be the most enchanted
minute in all Mahler, a transformation
of the second march from focused to
veiled, and an ecstatic vision of the
glorious lyric theme. A sudden plunge
of violins returns us, shockingly, to the
slow introduction. The recapitulation
has begun. It is tautly compressed. The
coda is fierce and abrupt.
The opening of the first of
the Nachtmusiken is a minute of
preparation and search. A tremendous
skid downwards through five-and-ahalf octaves calls the proceedings to
order. This artfully-stylized version of
an orchestra warming up turns into a
tidy presentation of the theme that has
been adumbrated. The theme itself is
part march, part song, given a piquant
flavor by that mix of major and minor
we find so often in Mahler’s music.
In later years, the Dutch conductor
Willem Mengelberg said that in this
movement Mahler had been inspired
by Rembrandt’s so‑called Night
Watch, but the composer Alphons
Diepenbrock, also one of Mahler’s
Amsterdam friends, both clarified and
subtilized the issue:
It is not true that [Mahler] wanted actually
to depict The Night Watch. He cited the
painting only as a point of comparison.
9

[This movement] is a walk at night, and
he said himself that he thought of it as
a patrol. Beyond that he said something
different every time. What is certain is that
it is a march, full of fantastic chiaroscuro
— hence the Rembrandt parallel.

The initial march theme is succeeded
by a broadly swinging cello tune. Like
many such themes by Mahler, this one,
heard casually, seems utterly naïve;
closely attended to, it proves to be
full of asymmetries and surprises of
every kind. Watch for the return of this
tune, even more lusciously scored
and with a new counter-theme in the
woodwinds. Distant cowbells become
part of the texture, alluding to the Sixth
Symphony, in which they play such a
prominent part. Suddenly that great
tragedy‑in‑music intrudes even more
as a fortissimo trumpet chord of C Major
droops into minor. This sound of major
falling into minor is the expressive and
sonorous signature of the Sixth. The
string figurations collapse, there is a
stroke of cymbals and tam-tam, and
then nothing is left but a cello harmonic
and a ping on the harp.
Mahler’s direction for the next
movement, the “Scherzo,” is
“schattenhaft,” literally “like a
shadow” but perhaps better rendered
as “spectral.” Drums and low strings
disagree about what the opening
note should be. Notes scurry about,
cobwebs brush the face, and witches
step out in a ghostly parody of a waltz.
The “Trio” is consoling — almost. The
“Scherzo” returns, finally to unravel
and disintegrate.
The first Nachtmusik was a nocturnal
patrol, the second is a serenade that
Mahler marks “Andante amoroso.”
William Ritter, nearly alone in his time
10

in his understanding of Mahler, gives a
wonderful description of the way the
second Nachtmusik begins:
Heavy with passion, the violin solo falls,
like a turtledove aswoon with tenderness,
down onto the chords of the harp. For a
moment one hears only heartbeats. It is
a serenade, voluptuously soft, moist with
languor and reverie, pearly with the dew
of silvery tears falling drop by drop from
guitar and mandolin.

Those instruments, together with the
harp, create a magical atmosphere.
After these four so differentiated
night scenes comes the brightness
of day, with a thunderous tattoo
of drums to waken us. Horns and
bassoon are the first instruments to
be roused, and they lead the orchestra
in a spirited fanfare whose trills put
it on the edge of parody. Mahler’s
humor gave trouble to many of his first
listeners. Sometimes he maneuvers
so near the edge of parody or of irony
that, unless you know his language
and his temperament, it is possible
to misunderstand him completely,
for example to mistake humor for
ineptness. Few listeners here will fail to
be reminded of Die Meistersinger.
But what is that about? Again, Ritter
understood right away, pointing out
that Mahler never quotes Wagner but
“re‑begins” the Overture to take it
far beyond. The triumphant C-Major
“Finale” is itself a kind of cliché
stemming from the Beethoven Fifth
and transmitted by way of the Brahms
First and, much more significantly for
this context, Die Meistersinger. Mahler
uses Die Meistersinger as a symbol
for a good‑humored victory finale.
Other Meistersinger references occur,

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

Please turn to pages 31-35 for complete artist biographies and an orchestra roster.
Photo (next spread): Berliner Philharmoniker; photographer: Stefan Höderath.
11

12

13

Berliner
Philharmoniker
Concert II

Sir Simon Rattle
Artistic Director
Sunday Afternoon, November 13, 2016 at 4:00
Hill Auditorium
Ann Arbor

15th Performance of the 138th Annual Season
138th Annual Choral Union Series

This afternoon’s presenting sponsor is the Eugene and Emily Grant Family Foundation.
This afternoon’s supporting sponsor is the Michigan Economic Development Corporation.
This afternoon’s performance is funded in part by The Andrew W. Mellon Foundation and by the
Michigan Council for Arts and Cultural Affairs.
Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of
lobby floral art for this afternoon’s performance.
Special thanks to Aaron Dworkin, Melody Racine, Emily Avers, Paul Feeny, Jeffrey Lyman, Danielle Belen,
Kenneth Kiesler, Nancy Ambrose King, Richard Aaron, and the U-M School of Music, Theatre & Dance for
their support and participation in events surrounding this weekend’s performances.
Deutsche Bank is proud to support the Berliner Philharmoniker.
Please visit the Digital Concert Hall of the Berliner Philharmoniker at www.digitalconcerthall.com.
The Berliner Philharmoniker appears by arrangement with Columbia Artists Management, Inc.
In consideration of the artists and the audience, please refrain from the use of electronic devices during
the performance.
The photography, sound recording, or videotaping of this performance is prohibited.

PROGRAM
Arnold Schoenberg
Five Pieces for Orchestra, Op. 16
Premonitions
The Past
Colors / Summer Morning by a Lake
Peripeteia
The Obbligato Recitative
Anton Webern
Six Pieces for Orchestra, Op. 6b
Langsam
Bewegt
Mäßig
Sehr mäßig
Sehr langsam
Langsam
Alban Berg
Three Pieces for Orchestra, Op. 6
Prelude
Round Dance
March

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

Intermission

Johannes Brahms
Symphony No. 2 in D Major, Op. 73
Allegro non troppo
Adagio non troppo — L’istesso tempo, ma grazioso
Allegretto grazioso (quasi andantino) — Presto ma non assai — Tempo primo
— Presto ma non assai — Tempo primo
Allegro con spirito

17

F I V E P I E C E S F O R O R C H E S T R A , O P. 1 6
(1909, ORIGINAL VERSION)
Arnold Schoenberg
Born September 13, 1874 in Leopoldstadt, Vienna
Died July 13, 1951 in Los Angeles, California
UMS premiere: Philadelphia Orchestra under the baton of Robert Craft;
May 1964 in Hill Auditorium.
Snapshots of History…In 1909:
· Joan of Arc is beatified in Rome
· The last US troops leave Cuba after being there since the SpanishAmerican War of 1898
· The Indianapolis Motor Speedway opens in the US

Music has traditionally been analyzed
according to three basic components
or “parameters”: rhythm, melody, and
harmony. These have been examined in
great detail over a long period of time, so
that we can evaluate every innovation
in these domains against a firm
background of traditional expectations.
There is more to musical experience,
however, than rhythm, melody, and
harmony. Timbre, or tone color, is
another important component. We all
know that the sound of the violin is
very different from that of the clarinet,
but we lack the exact vocabulary to
describe that difference.1 The art of
orchestration depends on a recognition
and exploitation of various tone colors,
but the very word “orchestration” may
suggest that first comes the sound,
defined only by duration and pitch, and
in a next stage it is “orchestrated,” that
is, assigned to a particular instrument.
In the 19th and early 20th centuries,

more and more composers realized
that timbre was just as fundamental in
determining sound as were the other
parameters. Changing the orchestration
of a note is just like changing its pitch
or its duration. The four wind chords
at the beginning of Mendelssohn’s
Midsummer Night’s Dream Overture are
not just “orchestrations” of pitches;
having them played by the strings
would be tantamount to creating a
different composition. The same is true
of the horn solo in the finale of Brahms’
Symphony No. 1 or the flute solo in
Debussy’s Prelude to the Afternoon of a
Faun — these are not “orchestrations”
in the usual sense of the word but
examples of a fully emancipated
treatment of tone color.
Thus, Schoenberg, when formulating
the theory of Klangfarbenmelodie
(melody of tone colors) in his
book Harmonielehre (A Treatise on
Harmony, 1911), was merely drawing

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

1

18

conclusions from many years of
previous developments. The idea of
Klangfarbenmelodie is realized most
fully in the third of the Five Pieces, Op.
16, but timbre is a crucial element in the
working out of the entire cycle, written
in 1909. The whole composition was
conceived as a succession of tone
colors, in addition to being a succession
of rhythms, pitches, and harmonies.
Even though Schoenberg used
rational procedures in developing the
Klangfarbenmelodie concept (as well
as, later, the technique of serialism), let
it not be forgotten that his rationalizing
was always controlled by his feelings. As
he himself wrote in the Harmonielehre:
In composing, my decisions are guided
solely by what I sense: my sense
of form. This it is that tells me what I must
write, everything else is ruled out. Each
chord I introduce is the result of a compulsion; a compulsion exerted by my need for
expression, but perhaps also the compulsion exerted by a remorseless, if unconscious, logic in the harmonic construction.

The Five Pieces for Orchestra, like
Schoenberg’s other works from the
same period, the Fifteen Songs on
Poems by Stefan George (1908–09)
or the opera Erwartung (1909), are
permeated by feeling and expression.
Moreover, some of the ways feelings
are expressed are entirely traditional. A
rhythmic ostinato (constantly returning
rhythmic pattern) that gets ever
louder, for example, expresses growing
tension. A piano melody on a solo wind
instrument indicates tender or nostalgic
sentiments. The changes of tempo
and dynamics and the alternation of
solo and tutti passages work much the
same way as they do in earlier music.

But the musical material through which
these procedures are realized have
irrevocably changed. In his book on
Schoenberg, pianist and musicologist
Charles Rosen has written perceptively
about these changes:
Between Mozart and Schoenberg, what
disappeared was the possibility of using
large blocks of prefabricated material in
music…. Scales and arpeggios were treated
as units, as were a whole range of accompaniment figures. The common language
in music was, in essence, the acceptance
of such very large units at certain strategic
points — in general, the ends of sections, or
cadences.
By the end of the 19th century, these
blocks of prefabricated material were no
longer acceptable to composers with styles
as widely variant as Debussy, Schoenberg,
and Scriabin. To employ these blocks of
material resulted immediately in pastiche:
giving them up, however, led to a kind of
panic. It seemed as if music now had to be
written note by note…. The renunciation of
the symmetrical use of blocks of elements
in working out musical proportions placed
the weight on the smallest units, single
intervals, short motifs.

In Schoenberg’s music, then (and, to
an even greater degree, in Webern’s),
these smallest units carry the same
weight as much longer formal sections
(phrases, periods, etc.) did in the 18th
and 19th centuries. And they achieve
their effect in large part precisely
through their sound color, like in the
muted cello theme with which the piece
begins, or the short theme repeated
over and over again by the celesta in the
second movement.

19

In 1912, Schoenberg was asked by the
publisher C. F. Peters to provide titles
for each of the work’s five movements.
Schoenberg commented in his diary:
Letter from Peters, making an appointment
with me for Wednesday in Berlin, in order
to get to know me personally. Wants titles
for the orchestral pieces — for publisher’s
reasons. Maybe I’ll give in, for I’ve found
titles that are at least possible. On the
whole, unsympathetic to the idea. For the
wonderful thing about music is that one can
say everything in it, so that he who knows
understands everything; and yet one hasn’t
given away one’s secrets — the things one
doesn’t admit even to oneself. But titles give
you away! Besides, whatever was to be
said has been said by the music. Why then
words as well? If words were necessary
they would be there in the first place. But art
says more than words. Now, the titles which
I may provide give nothing away, because
some of them are very obscure and others
highly technical.... However, there should
be a note that these titles were added for
technical reasons of publication and not to
give a “poetic” content.
I. Premonitions (everybody has those)
II. The Past (everybody has that, too)
III. Chord‑Colors (technical)
IV. Peripeteia (general enough, I think)
V. The Obbligato Recitative (perhaps better
the “fully developed” or the “endless”)

I. Premonitions: This movement is
based on two ideas: the short theme
on the muted cellos mentioned above,
and a vigorous rhythmic ostinato, also

first introduced by the cellos. Within
a relatively short time, the volume
increases from piano to fortissimo and
then recedes back to piano, only to
conclude with a forte restatement of
the ostinato theme, truly suggesting a
menace or a disquieting premonition.
II. The Past: Schoenberg did not use
the normal word for “past” which would
have been “Vergangenheit,” but another
member of the same word family
which could perhaps be rendered as
“Something Past.” The movement has
a certain idyllic quality to it, with most
of the themes having piano and legato
characteristics.
III. Colors/Summer Morning by a
Lake2: In a footnote printed in the score,
Schoenberg wrote:
It is not the conductor’s task in this piece
to bring into prominence certain parts that
seem to him of thematic importance, nor to
tone down any apparent inequalities in the
combinations of sound. Wherever one part
is to be more prominent than the others it
is so orchestrated and the tone is not to be
reduced. On the other hand, it is his business to see that each instrument is played
with exactly the intensity prescribed for
it — that is, in its own proportion, and not in
subordination to the sound as a whole. The
changes of chords must occur so smoothly
that the entrances of the individual instruments are not emphasized; the changes
should be noticed only through a change in
tone color.

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

2

20

The title “Summer Morning by a
Lake” was explained by Schoenberg’s
pupil and first biographer, the
composer and musicologist Egon
Wellesz, in the following way: “This
change of chords, which runs through
the entire [movement] without any
development of theme…produces an
effect comparable with the quivering
reflection of the sun on a sheet of
water. The piece owes its origin to
such an impression at dawn on the
Traunsee.” Richard Hoffmann, who was
Schoenberg’s assistant during the last
years of the composer’s life, disclosed
that the 32nd figures played by the
flutes and piccolos represented a fish
jumping out of the water.
The whole movement is extremely
quiet and peaceful. Most often,
instruments have rests after each
note they play, and every note of the
melodies is played by a different
instrument. This music is impossible to
perform without intense listening to one
another’s parts. “Farben” became one
of the most influential works in 20thcentury music, inspiring generations of
younger composers.
IV. Peripeteia: This word means “a
sudden turn of events or an unexpected
reversal,” and is most frequently
associated with Greek drama.
Accordingly, this movement is the most
dramatic of the five, characterized
by sudden contrasts, wide‑interval
melodies, and mostly forte dynamics.
V. The Obbligato Recitative: This
title is the most mysterious of all, and
musicologist Carl Dahlhaus devoted
an entire article to its interpretation.
“Recitative,” defined by the Harvard
Dictionary of Music as “a vocal style
designed to imitate or emphasize the
natural inflections of speech,” here

stands for a free and unrestrained
musical form, while “obbligato” means
the exact opposite, implying rigorous
structure and compliance with rules
(“obligations”). The combination of
the two words was an attempt on
Schoenberg’s part to express that
within a musical form that was “free”
(that is, not bound by any pre‑existent
rules), he wanted to be specific and
precise. The movement has a fairly
regular rhythmic pulse, derived from
waltz patterns. This led one textbook
author to call the piece, perhaps with a
bit of oversimplification, “a slow waltz,
redolent of Viennese nostalgia.” No
doubt, there are traces of the waltz in
this movement. But the articulation is
free and recitative‑like, far removed from
the symmetry of a dance. As Dahlhaus
pointed out, “The Obbligato Recitative”
is an early example of what Schoenberg
later came to call “musical prose,” or a
musical style based on asymmetrical
groupings of basic rhythmic motives.
And Dahlhaus concluded, “The piece is
loose and rigorous at the same time.”
From the program note for the first
performance in London, 1912, comments
by Walter Krug:
This music seeks to express all that
dwells in us subconsciously like a dream;
which is a great fluctuant power, and is built
upon none of the lines that are familiar to
us; which has a rhythm, as the blood has
its pulsating rhythm, as all life in us has its
rhythm; which has a tonality, but only as the
sea or the storm has its tonality; which has
harmonies, though we cannot grasp or analyze them nor can we trace its themes. All its
technical craft is submerged, made one and
indivisible with the content of the work.

Program note by Peter Laki.
21

S I X P I E C E S F O R O R C H E S T R A , O P. 6
(1910, REDUCED VERSION FROM 1928)
Anton von Webern
Born December 3, 1883 in Vienna
Died September 15, 1945 in Mittersill, Austria
UMS premiere: Vienna Symphony Orchestra under the baton of Wolfgang
Sawallisch; February 1964 in Hill Auditorium.
Snapshots of History…In 1910:
· Henry Ford sells 10,000 automobiles
· George V becomes King of the United Kingdom of Great Britain and
Ireland upon the death of his father, Edward VII
· The Union of South Africa is created
Anton Webern entered the University
of Vienna in 1902 completing his
doctorate on the works of Heirich
Adler in 1906. While at the university,
he had two encounters that had an
important bearing on his later work.
First, he studied composition with
Arnold Schoenberg, from whom
he learned 12-tone composition
techniques. His other significant
encounter was with the music
of the 15th and 16th century
Flemish masters; their complicated
contrapuntal style can be observed
at different levels in Webern’s own
works. Along with their colleague
Alban Berg, Webern and Schoenberg
originated what now is called the
“Neo-Viennese” school of serial
composition, which has had such
a far-reaching influence upon the
development of 20th century music.
Webern recognized that the 12-note
principle sanctioned a severity and
virtuosity of polyphony that he could
compare with that of the Renaissance
masters he had studied. Unlike
Schoenberg, he never again sought
22

to compose in any other way. Having
had leftist sympathies, he lost all his
public position when the Nazis came
to power. The composer was shot and
killed in error by a soldier who mistook
him for a black marketeer after the
end of the World War II hostilities,
leaving a total acknowledged output
of about three hours’ duration.
Even in his early works, as in the
Six Pieces for Orchestra, Webern
executed his ideas with incredible
persistence. Like Schoenberg,
he turned persistently towards
atonalism and even more so than
his mentor, continued to use it in his
later works. In Webern’s eyes, the
copiously orchestrated romanticism
of Wagner’s followers was a thing of
a bygone era. Webern’s ideal concept
rested upon an infinitely refined and
extremely concentrated orchestration,
a condensed expression, suggestive
of a musical shorthand. The result
was the extreme shortness of his
individual works — the longest of
the Six Pieces for Orchestra has no
more than 40 measures. The work

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

23

T H R E E P I E C E S F O R O R C H E S T R A , O P. 6
(1913–15, REVISED VERSION FROM 1929)
Alban Berg
Born February 9, 1885 in Vienna
Died December 24, 1935 in Vienna
UMS premiere: Metropolitan Opera Orchestra under the baton of James Levine;
April 1991 in Hill Auditorium.
Snapshots of History…In 1915:
· Baseball player Babe Ruth hits his first career home run
· The prototype military tank is first tested by the British Army
· The one-millionth Ford car rolls off the assembly line at the River Rouge
Plant in Detroit
Alban Berg first heard of Arnold
Schoenberg in 1904 when
Schoenberg placed an ad in a Vienna
newspaper seeking students. The
relationship that resulted from this
advertisement provided Berg with a
mentor and father figure, and more
importantly, with a composition
teacher from whom he learned
12-tone techniques. Schoenberg
is perhaps best known as the
first composer who abandoned
conventional tonality for a style called
“pantonality” by him, and “atonality”
by others. Along with their colleague
Anton Webern, Berg and Schoenberg
originated what now is called the
“Neo-Viennese” school of serial.
(This method of composition involves
using all the semitones of the scale in
the formation of a “tone-row” which
provides the motivic basis of a given
piece; in strict serialism, no tone can
be repeated until the other 11 have
been sounded.)
At the age of 15 Berg started
composing, although at an earlier
age he wanted to be a poet, and
24

three years later began his studies
with Schoenberg; at the same time
he also met Webern, who would be
a lifelong friend to Berg. These three
men would cause quite a commotion
with their music in Vienna and, led
by Schoenberg, would implement
changes in music that would alter its
course for all-time. The audiences’
response to these changes were
sometimes less than favorable: In
March 1913, in Vienna, Schoenberg
conducted a concert which included
the premieres of Berg’s first orchestral
works, Nos. 2 and 4 of the Altenberg
songs. The performance resulted in
one of the worst riots over music in
the history of the city.
Berg’s early compositions had
consisted of songs, piano works,
and some chamber music. In 1912,
he decided that he wanted to write
something on a bigger scale — a
symphony or perhaps an orchestral
suite. In 1914 he began to compose
the Orchestrestücke, which he
intended to present for Schoenberg’s
40th birthday (September 13, 1914).

Completed in 1915, the work was
neither a symphony nor a suite, but
rather a combination of both.
Berg’s Three Pieces for Orchestra, Op.
6, are scored for large orchestra with
generous percussion resources and
with strings divided into five sections.
Dedicated to Schoenberg, they are
essentially post-Romantic, despite
their extreme chromaticism, unusual
chord progression, and considerable
dissonance. The “Prelude” is colorful
and impressionistic. It grows out of
the sound of unpitched percussion,
settling around ‘E-flat,’ and offers
some thematic development before
retreating to its beginnings. The
second movement, “Round Dance”
contains both a waltz and a Ländler,
both coexisting in a synthesis of the
old and the new. Interestingly, Reigen
was also the name of a notorious play

of the time by Arthur Schnitzler. Its
subject was 10 dialogues of sordid
sexual encounters and glimpses
of Berg’s opera Lulu can certainly
be perceived. The final “March” is
the longest and most powerfullydeveloped instrumental movement
achieved by any of the three
composers/friends in their years of
free atonality. The March is grand in
style, imaginative, and certainly not
without chaos.
The Three Pieces for Orchestra,
Op. 6 were heard for the first time
in their entirety on April 14, 1930 in
Oldenburg. Previously, Webern had
conducted Nos. 1 and 2 in Berlin in
June of 1923.
Program note by Columbia Artists
Management, Inc.

25

S Y M P H O N Y N O. 2 I N D M A J O R , O P. 7 3 ( 1 8 7 7 )
Johannes Brahms
Born May 7, 1833 in Hamburg, Germany
Died April 3, 1897 in Vienna
UMS premiere: Chicago Symphony Orchestra under the baton of
Theodore Thomas; November 1901 in University Hall.
Snapshots of History…In 1877:
· Henry Ossian Flipper becomes the first African American cadet to
graduate from the US Military Academy
· Russia declares war on the Ottoman Empire
· Thomas Edison announces his invention of the phonograph, a machine
that can record sound, considered Edison’s first great invention

It took Brahms almost 20 years to
complete his Symphony No. 1. After the
successful premiere of that work in
November 1876, however, the ice was
broken, and the Second Symphony
was written in a single summer the
following year.
Symphony No. 2 is usually
considered an “idyllic” work
(musicologist Reinhold Brinkmann
has called his book-length study
of the symphony Late Idyll). Yet the
usual cliché about Symphony No. 2,
that it is Brahms’s “Pastorale,” is just
as misleading as the one about his
First, which was called “Beethoven’s
Tenth” (meaning some kind of
continuation of the Ninth, on account
of the last movement’s main theme,
which is reminiscent of the “Ode
to Joy” melody). It is true that the
Second is the happiest of the four
Brahms symphonies, but there is no
programmatic intent as in Beethoven’s
Symphony No. 6. Also, the rhythm of
the first movement’s opening theme
recalls, if anything, the first theme
of Beethoven’s “Eroica,” and the
26

triumphant trumpet fanfares of the
closing measures resemble the end
of the “Egmont” Overture, one of the
most glorious examples of Beethoven’s
heroic style.
In fact, Symphony No. 2 describes
a rather unique emotional curve,
from a soft-spoken and lyrical,
indeed somewhat pastorale-like first
movement to this exuberant ending,
with a melancholy “Adagio” and a
graceful “Allegretto” in between. In
addition, each movement departs
from its basic character to encompass
others that are sometimes very
different from the initial ones; so
it would be hard to attach a single
descriptive label to the symphony.
The first movement is mostly gentle
and sweet, and contains some of
Brahms’s warmest melodic thoughts.
But there are some “dim and
spectral effects,” as Karl Geiringer
called them in his classic Brahms
monograph, right at the beginning
of the symphony, as the trombones
and tuba (the latter not used in any of
the other Brahms symphonies) make

their presence felt by their somber
chordal progressions, punctuated
by soft timpani rolls. Brahms “rocks
the boat” in particular by introducing
a series of rhythmical irregularities:
the martial dotted rhythms, which
Brahms used with some frequency
in his work, are distinguished in this
case by the asymmetry between
the two halves of the phrase. In
the development section there are
moments of intense drama, but the
recapitulation eases these tensions
and the coda even adds a gentle
smile as one of the themes receives
a new accompaniment by pizzicato
(plucked) strings.
The second-movement “Adagio non
troppo” (the only full-fledged adagio in
the Brahms symphonies) begins with
an expansive cello melody that does not
obey any classical rules of articulation;
the listener may never be sure when
the phrase will come to a rest. After the
melody has been repeated in a fuller
instrumentation, a haunting horn solo
leads into a more animated middle
section, culminating in a dense forte
passage. The recapitulation that follows
still seems to be under the spell of the
excitement that has not completely
passed, and includes a second outburst
of emotions after which the movement
dies away with a brief clarinet solo and
a soft orchestral chord.
The third movement is a lyrical
intermezzo, similar to the analogous
movement in Brahms’s Symphony
No. 1. The alternation of two
contrasting thematic materials
(ABABA) is an idea borrowed from
scherzo form. The “B” section
(or Trio) is in a faster tempo than
the opening allegretto, and its theme
is a variant of the latter. The second

time, the 2/4 meter of the Trio is
changed to 3/8. The final repeat of
the “Allegretto” theme is somewhat
extended, with a digression to a
remote key; a beautiful, bittersweet
new idea appears in the violins just
before the end.
The finale begins in a subdued
piano as a unison melody; harmonies
and counterpoint are added later
as the full orchestra enters and the
volume increases to forte. The broad
second theme is played by violins
and violas in parallel sixths. The
development section opens by the
main theme in its original form, giving
the impression for a moment that the
whole movement is starting all over
again. Soon, however, the music takes
a new turn and a true development
follows, progressing towards a true
anti-climax, getting slower and softer
and finally reaching a mysterious
moment with mere melodic fragments
are played by the winds over tremolos
of the strings. The recapitulation is
shortened and contains many subtle
changes; but it brings back all the
important thematic material and leads
into the rousing trumpet fanfare that
concludes the symphony.
After hearing the symphony, the
composer’s longtime friend, the
eminent surgeon and accomplished
amateur musician Theodor Billroth
exclaimed: “How beautiful it must
be at Pörtschach!” Billroth knew
that the piece had been written at
the resort on the Wörthersee (Lake
of Wörth) in the Austrian province
of Carinthia; Brahms spent three
consecutive summers there between
1877 and 1879. There is no doubt that
the beauty of the lake surrounded by
mountains exerted a strong influence
27

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

28

UMS Education & Community Engagement
Berliner Philharmoniker — Ann Arbor Residency Activities
Sunday, November 13
Presentation on the Orchestra
Academy of the Berliner
Philharmoniker
9–10:00 am
Location is listed on www.ums.org.
Instrumental Master Classes
10:10 am–12:00 noon 
Musicians and locations are listed on
www.ums.org.
Presentation on the Berliner
Philharmoniker’s Digital
Concert Hall
12:10–1:00 pm
Britton Recital Hall

In conjunction with the Berliner
Philharmoniker’s concert
residency, members of the
Orchestra Academy of the Berliner
Philharmoniker (all of whom are
players in the orchestra) will offer
a range of instrumental master
classes and presentations for
U-M School of Music, Theatre
& Dance (SMTD) students on
Sunday, November 13. Most of
these activities will be open to
the public for observation. Please
note, classrooms have limited
capacity and observers will be
seated on a first-come, firstserved basis. Most classes will
take place in the SMTD Moore
Building on U-M’s North Campus
(1100 Baits Drive).

ARTISTS
Sir Simon Rattle has been chief conductor
of the Berliner Philharmoniker and artistic
director of the Berlin Philharmonie since
September 2002. In the concert hall and
opera house, Simon Rattle’s extensive
repertoire covers compositions ranging
from the Baroque era to contemporary
music. Maestro Rattle is also principal guest
conductor of the Orchestra of the Age of
Enlightenment and works with leading
orchestras on both sides of the Atlantic.
Even before taking up his post as principal
conductor, Maestro Rattle had already
collaborated regularly with the Berliner
Philharmoniker for 15 years. Of the many
recordings he has made with the orchestra,
several have received prestigious awards.
All of these releases were recorded live at
the Philharmonie.
Born in Liverpool in 1955, Maestro Rattle
studied at London’s Royal Academy of
Music. He was 25 when he began his close
association with the City of Birmingham
Symphony Orchestra (CBSO), initially as
principal conductor and artistic adviser,
then — up until the 1998 season — as
their musical director. His tireless work
and visionary artistic projects helped to
turn the CBSO into one of the world’s topranking orchestras.
One of Maestro Rattle’s special passions
is for bringing the work and music of
the Berliner Philharmoniker to young
people of the most diverse social and
cultural backgrounds. To that end, he has
established the Education Program of the
Berliner Philharmoniker, which enables the
orchestra to pursue new approaches to
promulgating its music.
For this commitment, as well as for his
artistic work, Maestro Rattle has won many
awards: in 1994, he received a knighthood
from Queen Elizabeth II; in 2009, he was

awarded the Spanish Premio Don Juan
de Borbón de la Música; the gold medal
“Gloria Artis” from the Polish Ministry
of Culture; and the Order of Merit of the
Federal Republic of Germany. Furthermore,
in 2010, he was also inducted into the Order
of Knights of the French Legion of Honor. In
February 2013, Maestro Rattle was awarded
the Léonie Sonning Music Prize from the
Danish Léonie Sonning Music Foundation
in Copenhagen, and in December 2013,
he was appointed Member of the Order of
Merit by Queen Elizabeth II.
In January 2013 Maestro Rattle
announced that he would not renew his
contract as chief conductor of the Berliner
Philharmoniker after it expires in 2018. In
March 2015, he announced his appointment
as music director of the London Symphony
Orchestra beginning in September 2017.
Founded in 1882 as a self-governing body,
the Berliner Philharmoniker has long been
esteemed as one of the world’s greatest
orchestras. Sir Simon Rattle has served as its
artistic director since September 2002.
The orchestra gave its first concert on
October 17, 1882 under conductor Ludwig
von Brenner, who was chosen by the
musicians themselves. Five years later,
impresario Hermann Wolff, the orchestra’s
financial manager from its inception,
engaged as its new chief Hans von
Bülow, who rapidly brought the Berliner
Philharmoniker into the first rank of German
ensembles. Under the leadership of Arthur
Nikisch (from 1895–1922), the orchestra’s
repertoire grew substantially, embracing
works by Bruckner, Tchaikovsky, Mahler,
Strauss, Ravel, and Debussy. After Nikisch’s
death, the 36-year-old Wilhelm Furtwängler
became the orchestra’s new principal
conductor. His specialties were classicism
31

and German romanticism, but he also
included in his programs contemporary
compositions by Stravinsky, Schoenberg,
Bartók, and Prokofiev. Immediately after
the war, when Furtwängler was forced
to relinquish his position, Leo Borchard
was appointed conductor. Through a
tragic misunderstanding in August 1945,
Borchard was shot by an American
sentry. His successor was the young
Romanian conductor Sergiu Celibidache.
Furtwängler was formally allowed to return
as principal conductor in 1952 following his
denazification. Also dating from the postwar
years was the founding in 1949 of the
Society of Friends of the Berlin Philharmonie,
which was instrumental in the building of
the orchestra’s new home and continues to
support the Philharmonie and the activities
of the Berliner Philharmoniker.
Upon Furtwängler’s death in 1954,
Herbert von Karajan became the orchestra’s
permanent conductor and artistic director.
In the ensuing decades he worked with
the orchestra to develop a unique tonal
quality and performing style that made the
Berliner Philharmoniker famous all over
the world. Claudio Abbado, appointed the
orchestra’s chief conductor in October 1989,
devised an approach contrasting traditional
programs with thematic cycles that included
contemporary works alongside classical
pieces. An increased number of chamber
recitals and concert performances of opera
lent further distinction and variety to the
orchestra’s activities.
With Sir Simon Rattle’s appointment, the
orchestra succeeded not only in recruiting
one of the most successful conductors of the
younger generation, but also in introducing a
further series of important innovations. The
conversion of the orchestra into the Berliner
Philharmoniker Foundation under public law
provided up-to-date structural conditions,
allowing a broad range of opportunities
32

for creative development while ensuring
the ensemble’s economic viability. The
foundation enjoys the generous support of
Deutsche Bank, its principal sponsor. One
focus of this sponsorship is the Education
Program, initiated when Sir Simon Rattle took
the helm, by which means the orchestra is
now reaching an ever wider and younger
audience. In recognition of this commitment,
the Pressestelle Berliner Philharmoniker and
its artistic director Sir Simon Rattle were
named UNICEF Goodwill Ambassadors, the
first time that distinction had ever been
bestowed upon an artistic ensemble.
Its partnership with Deutsche Bank
enabled the orchestra to launch its innovative
Digital Concert Hall in January 2009, which
broadcasts the Berliner Philharmoniker’s
concerts live over the internet. In spring
2012, the Berliner Philharmoniker gave its last
performance at the Salzburg Easter Festival.
In spring 2013, the orchestra started with a
new festival tradition: the Easter Festival of
the Berliner Philharmoniker in Baden-Baden.
In May 2014 the Berliner Philharmoniker
released one of the most important musical
projects in recent years on their newly
launched label, Berliner Philharmoniker
Recordings: the complete symphonies of
Robert Schumann, conducted by Sir Simon
Rattle. This release marks the first time
the orchestra has been responsible for the
technical and editorial presentation of its
recordings. The most recent production
published in April 2016 includes recordings of
all the Beethoven symphonies with Sir Simon
Rattle in an exclusive hardcover edition on
five CDs and three Blu-ray discs as HD video,
in uncompressed audio resolution and DTS
surround sound.
During an orchestra assembly on June 21,
2015 Kirill Petrenko was elected by a large
majority of the members of the Berliner
Philharmoniker as the chief conductor
designate of the orchestra.

UMS ARCHIVES
The Berliner Philharmoniker made its UMS debut on March 15, 1955 in Hill
Auditorium under conductor Herbert von Karajan, who appeared with the
Philharmoniker three more times in Ann Arbor over the following decade.
After a hiatus of almost 35 years, the Philharmoniker returned to UMS in
October 1999 and again in October 2001 under the baton of Claudio Abbado.
The Philharmoniker most recently appeared in Ann Arbor in November 2009
conducted by Sir Simon Rattle in his UMS debut. This weekend’s performances
mark the Philharmoniker’s eighth and ninth appearances under UMS auspices,
and Maestro Rattle’s second and third UMS appearances.
33

BERLINER PHILHARMONIKER
Sir Simon Rattle, Chief Conductor
First Violins
Noah Bendix-Balgley
First Concertmaster

Daishin Kashimoto
First Concertmaster

Daniel Stabrawa
First Concertmaster

Andreas Buschatz
Concertmaster

Zoltán Almási
Maja Avramović
Helena Madoka Berg
Simon Bernardini
Alessandro Cappone
Madeleine Carruzzo
Aline Champion-Hennecka
Felicitas Clamor-Hofmeister
Luiz Felipe Coelho
Laurentius Dinca
Luis Esnaola
Sebastian Heesch
Aleksandar Ivić
Rüdiger Liebermann
Kotowa Machida
Alvaro Parra
Krzysztof Polonek
Bastian Schäfer
Dorian Xhoxhi

Violas
Amihai Grosz
First Principal

Máté Szűcs
First Principal

Naoko Shimizu
Principal

Micha Afkham
Julia Gartemann
Matthew Hunter
Ulrich Knörzer
Sebastian Krunnies
Walter Küssner
Ignacy Miecznikowski
Martin von der Nahmer
Allan Nilles
Neithard Resa
Joaquín Riquelme García
Martin Stegner
Wolfgang Talirz
Cellos
Bruno Delepelaire
First Principal

Ludwig Quandt
First Principal

Martin Löhr
Principal

Olaf Maninger
Second Violins
Christian Stadelmann
First Principal

Thomas Timm
First Principal

Christophe Horak
Principal

Holm Birkholz
Philipp Bohnen
Stanley Dodds
Cornelia Gartemann
Amadeus Heutling
Marlene Ito
Christoph von der Nahmer
Raimar Orlovsky
Simon Roturier
Bettina Sartorius
Rachel Schmidt
Armin Schubert
Stephan Schulze
Christoph Streuli
Eva-Maria Tomasi
Romano Tommasini

34

Flutes
Mathieu Dufour
Principal

Emmanuel Pahud
Principal

Prof. Michael Hasel
Jelka Weber
Egor Egorkin
Piccolo

Oboes
Jonathan Kelly
Principal

Albrecht Mayer
Principal

Christoph Hartmann
Andreas Wittmann
Dominik Wollenweber
English Horn

Clarinets
Wenzel Fuchs
Principal

Andreas Ottensamer
Principal

Alexander Bader
Walter Seyfarth
Manfred Preis
Bass Clarinet

Principal

Richard Duven
Rachel Helleur
Christoph Igelbrink
Solène Kermarrec
Stephan Koncz
Martin Menking
David Riniker
Nikolaus Römisch
Dietmar Schwalke
Knut Weber
Double Basses
Matthew McDonald
First Principal

Janne Saksala
First Principal

Esko Laine
Principal

Martin Heinze
Michael Karg
Stanisław Pajak
Peter Riegelbauer
Edicson Ruiz
Gunars Upatnieks
Janusz Widzyk
Ulrich Wolff

Bassoons
Daniele Damiano
Principal

Stefan Schweigert
Principal

Mor Biron
Markus Weidmann
Václav Vonášek
Contrabassoon

Horns
Stefan Dohr
Principal

Stefan de Leval Jezierski
Fergus McWilliam
Paolo Mendes
Georg Schreckenberger
Sarah Willis
Andrej Žust

Trumpets
Gábor Tarkövi
Principal

Chairmen
Ulrich Knörzer
Knut Weber

Tamás Velenczei
Principal

Guillaume Jehl
Martin Kretzer
Trombones
Prof. Christhard Gössling
Principal

Olaf Ott
Principal

Thomas Leyendecker
Jesper Busk Sørensen
Prof. Stefan Schulz

Media Chairmen
Stanley Dodds
Olaf Maninger
Orchestra Committee
Alexander Bader
Raphael Haeger
Matthew McDonald
Nikolaus Römisch
Stephan Schulze

Bass Trombone

Tuba
Alexander von Puttkamer
Timpani
Rainer Seegers
Wieland Welzel
Percussion
Raphael Haeger
Simon Rössler
Franz Schindlbeck
Jan Schlichte
Harp
Marie-Pierre Langlamet
Celesta
Holger Groschopp*
Guitar
Matthew Hunter
Mandolin
Detlef Tewes*
*Guest of Berliner Philharmoniker

35

THIS WEEKEND’S VICTORS FOR UMS:

Eugene and Emily Grant Family
Foundation
—
Michigan Economic Development
Corporation
—
The Andrew W. Mellon Foundation
—
Michigan Council for Arts and
Cultural Affairs
Supporters of this weekend’s performances by the
Berliner Philharmoniker.

M AY W E A L S O R E C O M M E N D . . .
1/19
2/2
2/10

Prague Philharmonia
Bruckner Orchester Linz
Budapest Festival Orchestra

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 . . .
11/12–13

Berliner Philharmoniker Residency
(Various locations, please visit www.ums.org for details.)

11/19

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

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

BE PRESENT

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

FA L L 2 0 1 6

$500,000
and above

21

Some of the world’s
most creative
minds suffer
from one of
the most
devastating
conditions…
Be a source of hope.
Help find a cure for bipolar disorder.

WHERE CREATIVITY
COMES TO LIFE

PrechterFund.org/help

150+

ART EXHIBITIONS
PER YEAR

1000+

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

PERFORMANCES
PER YEAR

ARTS.UMICH.EDU
Follow @umicharts

BE PRESENT

People
Those who work to bring
you UMS performances
each season

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

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
Christopher Conlin
Lisa D. Cook
Monique Deschaine
Aaron P. Dworkin
Tiffany L. Ford
Katherine Goldberg
Richard F. Gutow
Kevin P. Hegarty
Stephen Henderson
Daniel Herwitz
Timothy R. Johnson
Christina Kim
Frank Legacki
Donald L. Morelock
Agnes Moy-Sarns
David Parsigian
Martha E. Pollack
Mark S. Schlissel
Linh Song
Gail Ferguson Stout
Victor J. Strecher
Karen Jones Stutz

FA L L 2 0 1 6

UMS Board of Directors

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
Letitia J. Byrd
David Canter
Kathleen G. Charla
Mary Sue Coleman
Jill A. Corr
Peter B. Corr
Ronald M. Cresswell
Martha Darling
Hal Davis
Sally Stegeman DiCarlo
Robert F. DiRomualdo
Junia Doan
Al Dodds
Julia Donovan Darlow
James J. Duderstadt
David Featherman
David J. Flowers
George V. Fornero
Maxine J. Frankel
Patricia M. Garcia
Beverley B. Geltner
Christopher Genteel
Anne Glendon
Patricia Green
William S. Hann
Shelia M. Harden
Randy J. Harris
24

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

John W. Reed
Todd Roberts
Richard H. Rogel
Prudence L. Rosenthal
A. Douglas Rothwell
Sharon Rothwell
Judy Dow Rumelhart
Maya Savarino
Ann Schriber
Edward R. Schulak
John J.H. Schwarz
Erik H. Serr
Ellie Serras
Joseph A. Sesi
Harold T. Shapiro
George I. Shirley
John O. Simpson
Timothy P. Slottow
Anthony L. Smith
Carol Shalita Smokler
Jorge A. Solis
Cheryl Soper
Peter Sparling
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

Love better.
Work better.
Live more fully.

Ask one of us how you, or someone you
love, can achieve a fuller, richer life.
Carol Barbour, PhD
Ron Benson, MD
Meryl Berlin, PhD
Robert Cohen, PhD
Susan E. Cutler, PhD
Sara Dumas, MD
Joshua Ehrlich, PhD
Lena Ehrlich, PsyD
Harvey Falit, MD
Erika Homann, PhD
Howard Lerner, PhD
Christine Mueller, MD
Barry Miller, MD
Jack Novick, PhD
Kerry Kelly Novick
Jean Paul Pegeron, MD
Dwarakanath Rao, MD
Ivan Sherick, PhD
Merton Shill, PhD
Michael Shulman, PhD
Michael Singer, PhD
Jonathan Sugar, MD
Dushyant Trivedi, MD
Gail van Langen, PhD
David Votruba, PhD
Margaret Walsh, PhD
Elisabeth Weinstein, MD

Psychoanalysis Helps:
Mind,
Body
& Soul...

Michigan Psychoanalytic
INSTITUTE & SOCIETY
in Ann Arbor
Keeping the soul in healthcare since 1963.

Look for us online at www.mpi-mps.org

Jaffe is proud
to support
the University
Musical Society
Representing
creative individuals
and companies
since 1968.

SOUTHFIELD • DETROIT • NAPLES
ANN ARBOR
535 W. William St.
Ann Arbor, MI

www.jaffelaw.com

Join us for
cocktails and
dinner at our
two Ann Arbor
restaurants for
a spectacular
meal after the
performance.

Serving steaks cut in our own
market, Knight’s famous prime rib,
falling-off-the-bone ribs, burgers,
seafood, salads, daily specials,
“home-baked” bread and desserts.

Knight’s Steakhouse
600 East Liberty • 734/887-6899
2324 Dexter Avenue • 734/665-8644
Open Daily 11 a.m. to Midnight - Liberty St.
Preferred Seating Available
www.Knightsrestaurants.com

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

BE PRESENT

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

Daria Massimilla
Patti McCloud
Beth McNally
Terry Meerkov
Judy Moskus
Barbara Mulay
Magda Munteanu
Jayne Nyman
Marjorie Oliver
Betty Palms
Julie Picknell
Anne Preston
Katie Przygocki
Jeff Reece
Kathy Rich
Nan Richter
Arlene P. Shy
Susan Snyder
Elena Snyder
Pam Tabbaa
Janet Torno
Kirsten Williams

FA L L 2 0 1 6

Arlene Barnes
Secretary

Sharon Peterson Dort
Gloria J. Edwards
Susan Franke
Joan Grissing
Stephanie Hale
Allison Jordan
Joan Kadis
Carol Kaplan
Nancy Karp
Barbara Kay
Kendra Kerr
Freddi Kilburn
Ye Na Kim
Susan Krueger
Russell Larson
Michael Lee
Linda Fink Levy
Gloria K. Lewis
Laura Machida
Katie Malicke
Rita Malone
Valerie Roedenbeck
Maloof

27

See, touch and smell the
Green Earth difference.
Non-toxic
An environmentally friendly new
way of dry cleaning.

2268 S. Main St.

Located by Busch’s on the corner of
S. Main St. and Ann Arbor-Saline Rd.

734-998-1245
www.irisdrycleaners.com

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 &
FINANCE
Kenneth C. Fischer
President
John B. Kennard, Jr.
Director of Administration
Kathy Brown
Executive Assistant
Jenny Graf Carvo
Tessitura Systems
Administrator
Patricia Hayes
Financial Manager
John Peckham
Information Systems
Manager

Marnie Reid
Director of Development
Esther Barrett
Development Coordinator
Susan Bozell Craig
Associate Director of
Development, Corporate
Partnerships & Major Gifts
Rachelle Lesko
Annual Fund Manager

James P. Leija
Director of Education &
Community Engagement
Shannon Fitzsimons Moen
Campus Engagement
Specialist
Teresa C. Park
Education Coordinator
Mary Roeder
Community Programs
Manager
MARKETING &
C O M M U N I C AT I O N S
Sara Billmann
Director of Marketing &
Communications
Jesse Meria
Video Production Specialist
Anna Prushinskaya
Senior Manager of
Digital Media
Mallory Shea
Marketing & Media
Relations Coordinator

P AT R O N S E R V I C E S
Christina Bellows
Associate Director of
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
Assistant Ticket Services
Manager
Willie Sullivan
Front-of-House
Coordinator
Bruce Oshaben, Juli
Pinsak, Brian Roddy
Head Ushers
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

Mary A. Walker
Campaign Director and
Associate Director of
Development, Major Gifts

FA L L 2 0 1 6

DEVELOPMENT

E D U C AT I O N &
COMMUNITY
ENGAGEMENT

BE PRESENT

UMS Staff

Scott VanOrnum
Accompanist
29

Keep performing.
Trusted financial advisors to the university and Ann Arbor
community for more than 30 years. We can manage TIAA and
Fidelity accounts of university employees and retirees without
transferring assets. 734-769-7727 | risadvisory.com

© 2016 Retirement Income Solutions is an Independent Investment Advisory firm, not affiliated
with TIAA, Fidelity, or the university.

Classical
Concerts
YOUR SOURCE FOR ORIGINAL

Classical Music
Anywhere, Anytime

90.5 FM • HD • HD2 • wkar.org

BE PRESENT

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
Eleanor Pollack

FA L L 2 0 1 6

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

$ 5,0 0 0 –$14,999

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

M

Y

Y

Y

Smith Haughey and its attorneys
proudly support the

UNIVERSITY
MUSICAL SOCIETY

since 1992

Contemporary Food
Classic Décor • Full Bar
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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