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UMS Concert Program, January 21, 2017 - January 22, 2017 - Takács Quartet Beethoven String Quartet Cycle

Rights Held By
University Musical Society
OCR Text



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

Your gift will help in the following areas:


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


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.

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

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
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.



UMS unleashes the power of the
performing arts in order to engage,
educate, transform, and connect
individuals with uncommon
experiences. The Winter 2017
season is full of exceptional,
world-class, and truly inspiring
Welcome to the UMS experience.
We’re glad you’re present. Enjoy
the performance.


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


in the greater Ann Arbor Area

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

Ann Arbor Area

Community Foundation


Thank You, Ken…
Welcome to this UMS performance! We are delighted that you are joining us
in our 138th season, a season that is bittersweet for the UMS staff and family;
UMS President Ken Fischer will retire at the end of June, following 30 years
of leadership and service to UMS, the University of Michigan, and to our
Ken has fostered a culture of openness, honesty, and out-of-the-box thinking
at UMS — a supportive professional environment that can be measured in
part by the 21-year average tenure of the UMS management team.
Beyond Ken’s lasting contributions to UMS, which include an organizational
commitment to Education and an increased focus on commissioning new
work, Ken has had an impact that isn’t always apparent outside of the
hosting weekend tours to prospective University students interested in
the arts; tirelessly serving on boards of directors within the arts industry
regionally, nationally, and internationally; and generously offering his time


organization. His dedication to mentorship and service is vast, and includes

and knowledge in connecting others.
He has achieved some of the highest recognitions in our field, including the
2016 Chamber Music America Richard J. Bogomolny National Service Award,
the 2011 Association of Performing Arts Presenters Fan Taylor Distinguished
Service Award, and UMS’s recognition as a 2014 National Medal of Arts
recipient. From the Vienna Philharmonic concerts led by Leonard Bernstein
in 1988, to the first Royal Shakespeare Company residency in 2001, through
the remounting of Einstein on the Beach in 2012, Ken has held true to his
lifelong motto: “Everybody In, Nobody Out.”
Ken, we wish you all of the best in the final few months of your tenure.
Thank you for all that you’ve done for our community!
The UMS Family


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. 1- 888 -WeEndow


Table of













Bruckner Orchester Linz
with Angélique Kidjo

Sarah Chang

Batsheva Dance Company

Snarky Puppy



1/7-8 Batsheva Dance Company


1/12-14 Igor and Moreno
1/15 NT Live: Harold Pinter’s
No Man’s Land

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

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

1/21-22 Takács Quartet
Beethoven String Quartet
Cycle, Concerts 3 & 4
1/22 NT Live: The Audience

Inon Barnatan, piano
Anthony McGill, clarinet
Alisa Weilerstein, cello


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

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

3/11 Beethoven’s
Missa Solemnis

3/16 Snarky Puppy

3/17-18 Kidd Pivot and
Electric Company Theatre

3/18 Steve Reich @ 80
Music for 18 Musicians

3/24 Mitsuko Uchida, piano

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

3/29 DakhaBrakha



Winter 2017 Season

3/30-4/1 Complicite
The Encounter


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


5/21 NT Live: Ibsen’s
Hedda Gabler


Ann Arbor, we’re

Chris Ballard
Christine Phillips
Tom Forster

In Your Corner.
300 North 5th Avenue


Suite 230


Not pictured:
Rick Manczak
Jack Panitch


Ann Arbor, MI 48104

Varnum is proud to support the

University Musical Society

Legal Experience In Your Corner.



Grand Rapids








Grand Haven




Ann Arbor




Education &
Educational experiences
for everyone.


Berliner Philharmoniker principal flutist Emmanuel Pahud leads a master
class at the U-M School of Music, Theatre & Dance; photo: Peter Smith/UMS.

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.




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




Pre-Concert Lecture Series:
Exploring Beethoven’s String Quartets
Saturday, January 21 // 7 pm
Rackham Amphitheatre
915 E. Washington St.
Fourth Floor
Saturday, March 25 // 7 pm
Michigan League
Koessler Room
911 N. University Ave.
Third Floor

Join Beethoven scholar and U-M
professor of musicology Steven Whiting
for a series of lectures in conjunction
with the Takács String Quartet’s
complete Beethoven cycle.
In collaboration with the U-M School of
Music, Theatre & Dance.



You Can Dance
Ever wonder what it’s
like to be a dancer? Join
dancers from each company
on the UMS season for
beginner movement
workshops exploring each
of the company's movement
styles. No dance training
or experience necessary,
and all levels, ages 13 and
up, are welcome. Free, but
first come, first served until
studio reaches capacity.
Sign-up begins at the Y
45 minutes prior to the
start of class.
Educational events are free
and open to the public unless
otherwise noted.

Batsheva Dance Company
Saturday, January 7 // 12 noon–1:30 pm
Ann Arbor Y
400 W. Washington St.
Igor and Moreno
Saturday, January 14 // 2-3:30 pm
Ann Arbor Y
400 W. Washington St.
Meredith Monk & Vocal Ensemble
Saturday, January 21 // 2-3:30 pm
Ann Arbor Y
400 W. Washington St.
Kidd Pivot
Saturday, March 18 // 2-3:30 pm
Ann Arbor Y
400 W. Washington St.


Where your intellectual curiosity meets
your favorite place to stay.

Ideally located across the street from campus,

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

meet you
down each corridor and
ocated across the
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.


Builds the Future


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

Hill Auditorium opening-night audience: May 14, 1913

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

“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.”

“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.”



“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.”

“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.”


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

“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.”
“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.”


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

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.”

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.”

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.”


“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.”


Ann Arbor Region President, Comerica Bank

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.”

President, DTE Energy Foundation

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

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

President, Ford Motor Company Fund
“Experiencing the world through music and the arts makes
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)


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.”
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

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.”
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.”

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



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

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

President and Chief Executive Officer, Masco

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

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.”

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.”


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

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

Detroit and Southeast Michigan Regional President,
PNC Bank
“PNC Bank is proud to support the efforts of UMS and the Ann Arbor

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.”

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.”


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


President, Sesi Lincoln Volvo Mazda

President, StoryPoint
“At StoryPoint we strive to inspire and enable seniors to shine
every day. Our mission to create the absolute best experiences
does not end within our buildings; we aim to enrich the
communities we serve. Music is a language that every person
— young and old — understands and enjoys. We are proud
to support UMS, who inspires our community through artistic
expression and talented performers.”
President, Stout Systems

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

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

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


President 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.”

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

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

Takács Quartet
String Quartet
Concerts III and IV

January 21–22, 2017
Rackham Auditorium
Ann Arbor

Concert III
Saturday, January 21, 8:00 pm

Beethoven’s Impact: Shulamit Ran


Beethoven’s Impact: Sebastian Currier


Essay: Ignaz Schuppanzigh, Beethoven,
and the Inception of Listening to String
Quartets by John M. Gingerich


Concert IV
Sunday, January 22, 4:00 pm


Beethoven’s Impact: William Bolcom




Takács Quartet
Concert III

Edward Dusinberre / Violin
Károly Schranz / Violin
Geraldine Walther / Viola
András Fejér / Cello

Saturday Evening, January 21, 2017 at 8:00
Rackham Auditorium
Ann Arbor

32nd Performance of the 138th Annual Season
54th Annual Chamber Arts Series

This evening’s presenting sponsor is the Helmut F. and Candis J. Stern Chamber Arts Endowment
Fund, which supports the annual presentation of a performance as part of the Chamber Arts series in
Media partnership provided by WRCJ 90.9 FM.
Special thanks to Steven Whiting for his participation in events surrounding this weekend’s
The Takács Quartet records for Hyperion and Decca/London Records.
The Takács Quartet is Quartet-in-Residence at the University of Colorado in Boulder and are
Associate Artists at Wigmore Hall, London.
The Takács Quartet appears by arrangement with Seldy Cramer Artists.
In consideration of the artists and the audience, please refrain from the use of electronic devices during
the performance.
The photography, sound recording, or videotaping of this performance is prohibited.


Beethoven String Quartets
Concert III
String Quartet in A Major, Op. 18, No. 5
Andante cantabile: Thema – Variations I – V – Coda: Poco Adagio

String Quartet in c minor, Op. 18, No. 4
Allegro ma non tanto
Scherzo: Andante scherzoso quasi Allegretto
Menuetto: Allegretto
Allegro — Prestissimo


String Quartet in a minor, Op. 132
Assai sostenuto — Allegro
Allegro ma non tanto
Molto adagio — Andante — Molto adagio — Andante — Molto adagio
Alla marcia, assai vivace — Piu allegro —
Allegro appassionato
The fourth and fifth movements are played attacca (without pause).


S T R I N G Q U A R T E T I N A M A J O R , O P. 1 8 , N O . 5 ( 1 7 9 8 – 1 8 0 0 )
Ludwig van Beethoven
Born December 16, 1770 in Bonn, Germany
Died March 26, 1827 in Vienna
UMS premiere: Flonzaley Quartette; January 1912 in University Hall.
Snapshots of History…In 1800:
· The US Library of Congress is founded in Washington, DC
· Christmas Day first becomes a public holiday on an international scale
· President John Adams becomes the first US President to live in the
Executive Mansion (later renamed the White House)

When the young Beethoven left his
native Bonn for Vienna in 1792, his
patron, Count Waldstein, sent him
on his way with these words: “With
the help of assiduous labor you shall
receive Mozart’s spirit from Haydn’s
hands.” What the Count meant was
that even though Mozart had died
the previous year, Beethoven could
still study with Haydn, the other great
Viennese composer. Things didn’t
quite work out that way, though, for
Haydn and Beethoven didn’t get along
very well and the composition lessons
never really got off the ground. Still,
Waldstein’s words were prophetic
on another level, as they implied that
Beethoven could some day inherit
the mantle of the two older masters.
And in fact, once installed in Vienna,
Beethoven lost no time in claiming
his place as im Bunde der Dritte (the
third in the alliance, to quote a famous
phrase from Beethoven’s favorite
poet, Friedrich Schiller). Having
absorbed the style of Haydn and
Mozart early on, he now began to put
on his own personal stamp on that
style. With his first 20 opus numbers,
written between 1795 and 1800, he

thoroughly assimilated and carried on
the genres of concerto, piano sonata,
and chamber music; by 1799–1800, he
was ready to write his first symphony.
In Beethoven’s six string quartets
published as Op. 18, the influence of
Haydn and Mozart cannot be denied.
What is more, scholars have shown
that some ideas in these quartets
even predate the move to Vienna, and
originate in compositional essays from
the Bonn period. Yet at the same time,
Beethoven’s unique voice is already
manifest on every page.
The quartets were written for and
dedicated to Prince Franz Joseph
von Lobkowitz, one of Beethoven’s
most important aristocratic patrons.
Simultaneously with Beethoven, the
67-year-old Haydn was also working
on a set of quartets for Lobkowitz.
Yet Haydn eventually withdrew from
the project, not wanting to compete
with his rebellious former student.
He finished only two quartets, out
of six that had been planned. These
two, eventually published as Haydn’s
Op. 77, give some indication that the
influence between the two composers
ran both ways, and the older man

was responding to a challenge from
the unruly young genius he referred
to, with a mixture of admiration and
jealousy, as the “Grand Mogul.”
Commentators on Beethoven’s
A-Major Quartet, in particular, never
fail to point out the young composer’s
debt to Mozart’s quartet in the same
key (K. 464) from the set of six works
dedicated to Haydn. No one will
dispute this claim, which is based on
the external structuring of the work:
like Mozart, Beethoven placed his
minuet in second place, and included
a set of slow variations in the key of
D Major. The more important question,
however, is whether this quartet
sounds anything like Mozart. And
there, the answer has to be a definite
no. From the very first measures we
hear the sudden offbeat accents
so typical of Beethoven, a certain
dance rhythm rarely used by Mozart,
and myriad other fingerprints that
unmistakably belong to Beethoven
and no one else.
The general feeling of the opening
movement is rather cheerful and
lighthearted, but that feeling seems
to be constantly contradicted by
the frequent incursions into the
minor mode and the sudden rests
interrupting the musical flow. As a
result, we are kept on the edge of our
seats, never knowing what is going to
happen in the next minute.
Experts have called the secondmovement minuet “simple,” mainly
because it is an old-fashioned minuet
rather than the more novel scherzo.
Yet it is a sophisticated simplicity;
even when the texture is down to the
two violins as it is at the beginning,
the phrases don’t always go where
they are expected to, nor are they

necessarily over after the standard
length of eight bars. The sudden
outburst in a minor key in the middle
of the minuet, followed by a general
rest, is certainly a surprise, as is
the varied recapitulation involving
some contrapuntal imitation. The trio
would be “simple” indeed, and even
“Schubertian” as has been claimed,
were it not for those persistent and
disquieting offbeat accents.
With its theme all made up of
scales, going first down and then
up, the third movement again
looks like a model of simplicity. It
is one of many variation themes by
Beethoven that are kept purposely
“bare-bones” in order to allow for
some spectacular development in
the variations. But the latter turn out
to be much more than the figurative
embellishments of traditional variation
writing. The very first one introduces
counterpoint. The second variation
may be more conventional, but
the third is a breathtaking essay in
musical color, the fourth a stunning
chromatic chorale, and the fifth
a grandiose statement of almost
symphonic breadth. One would
expect a sixth variation, but instead
— after a sudden leap into a remote
key — Beethoven appends a coda
(conclusion) which is really a free
meditation on the opening portion of
the theme.
The finale is brilliant and virtuosic,
with a swiftly running first theme
and a second one that moves quite
a bit more slowly. Both themes are
manipulated with great ingenuity and
are finally combined in the witty coda.


Beethoven’s Impact
by Shulamit Ran
Something about the notion that there
is a clear divide between two types
of music — “pure,” “abstract” music
on the one hand, and music with a
“theme” or “storyline” that exists
outside of the music on the other
— has always left me ambivalent. I
am convinced that all great music
including, for example, a Mozart
opera, a Schubert or Mahler song
cycle, or a Stravinsky ballet, may be
experienced and appreciated as
“pure music.” Regardless of genre
and category it is, first and above
all, a construct of sound and time
in musical space — parallel to, yet
separate from, addressing a “topic.”
Of course, penetrating the “extra
musical” in those cases will enhance,
illuminate, and add richness to our total
experience. But the music comes first.
Equally, I believe that in much of
the music we consider to be at the
zenith of art at its purest and loftiest,
the “human” is ever-present too, in
its most wondrous nuance. Nowhere
is this truer than in the massive
achievement that are the string
quartets by Beethoven. When I listen
to every one of them, I am acutely
aware that BEETHOVEN equals not
only one of the greatest giants in all of
art, but also a breathing person whose
every phrase “spoke” — in a manner
intermittently vivid and exuberant,
pained and transcendent, heroic and
fragile — of what it means to be alive.
No Beethoven quartet is like
another. This holds true for all
of Beethoven, of course. One is
aware that with each and every
composition Beethoven engages in

a new experiment. Listen with fresh
ears, and you will be startled anew,
surprised time and again.
By definition, a composer takes
command of a listener’s most precious
and irreplaceable commodity — their
time — a profound responsibility.
Inspired by Beethoven, I, too, aim to
make every note matter. I, too, want
my music to feel urgent, necessary,
organic at the smallest and largest
levels. The magnificent balance where
the music is never predictable yet feels
“right” at all times is a Beethovenian
marvel that inspires me every day.
It has been a special privilege to
hear some of today’s great quartets
performing some of my string quartet
music. Inevitably, on such occasions
my music often finds itself alongside
Beethoven, Haydn, and Mendelssohn.
My heart sometimes flutters excitedly
in the awareness that this truly is
“playing with the big boys.” And
from an early age Beethoven was
Mount Olympus for me. At the very
least it is my hope that to the listener
transitioning from a string quartet by
Beethoven to one by Shulamit Ran it
will be apparent that, as I compose
my music, I am always looking to the
mountain-top, in awe and in hope.
Shulamit Ran is an Israeli-American
composer. She is the Andrew MacLeish
Distinguished Service Professor of
Music at the University of Chicago.
She has written three string quartets,
and many other chamber works with a
string quartet at its core.

S T R I N G Q U A R T E T I N C M I N O R , O P. 1 8 , N O . 4 ( 1 7 9 8 – 1 8 0 0 )
UMS premiere: Paganini Quartet; January 1948 in Rackham Auditorium.
The key of c minor had a special
significance for classical composers.
Mozart endowed this key with deeply
tragic connotations in works such
as the c-minor Fantasy, Sonata, and
Concerto (all for piano). Beethoven
built upon this legacy in such works
as the Pathétique Sonata, the Fifth
Symphony, and the last Piano Sonata
(Op. 111). In the String Quartet
(as so often in Beethoven’s other
c-minor works), dramatic excitement
is expressed by frequent offbeat
accents, harsh chordal sonorities, and
other surprising gestures. Yet there
are also playful moments, as in the
second theme of the first movement
which, as it has often been pointed
out, shares its melodic outline with
one of Beethoven’s most cheerful
works, the “Duet for Two Obligato
Eyeglasses” for viola and cello.
In many of his works, Beethoven
replaced the Mozartian minuet with a
scherzo. In the c-minor Quartet (as in a
handful of his other works) he included
both scherzo and minuet, eliminating
the slow movement instead. It is true,
though, that the scherzo has the form,
if not the tempo, of a slow movement;
with its fugal beginning, it would
appear to be a close cousin of the
“Andante” from the First Symphony.
Scored in a bright and sunny C Major, it
also has the wit and ingenuity of many
a Beethovenian scherzo.
With the “Menuetto,” we are back
in c minor and, accordingly, it is a
serious and brooding piece, whose

atmosphere is only temporarily
relieved by a more light-hearted trio in
A-flat Major. The way the conclusion of
the trio is left open to prepare for the
return of the minuet is a thoroughly
modern touch.
The last movement is a spirited
rondo, but the dark c-minor tonality is
preserved all the way through (except
for one brief episode). The Mozartian
models from the c-minor Piano
Concerto (K. 491) and the c-minor
Serenade (K. 388) are very much in
evidence, yet only Beethoven could
have written the “Prestissimo” coda
with its entirely unexpected ending.


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

With its “Holy Song of Thanksgiving
of a Convalescent to the Deity in the
Lydian Mode,” the a-minor Quartet
is in a category all by itself, not only
among Beethoven’s quartets but in
the entire music literature as well.
Nowhere else did Beethoven take
such a bold step outside the style
that Haydn, Mozart, and Beethoven
himself, had done so much to develop.
The same claim may of course be
made of the Great Fugue (originally
the finale of the string quartet in B-flat,
Op. 130, later published separately),
but while in that work Beethoven
expanded an existing framework
almost beyond recognition, in the “Holy
Song” he did the opposite: he reduced
his means and retreated into a newlyinvented archaic world that no one
knew existed.
The patient who gives thanks for
his recovery is, of course, Beethoven
himself. In April 1825 — when he was
in the middle of writing the a-minor
Quartet — the composer became
gravely ill with an inflammation of
the bowels. His physician, Dr. Anton
Braunhofer, prescribed a strict
diet, and wrote in one of the deaf
composer’s conversation books: “No

wine, no coffee; no spices of any kind.
I’ll arrange matters with the cook.”
Beethoven’s condition improved;
soon he was able to return to work
and finished the quartet in July 1825.
But with a slow movement that had
obviously not been planned from the
start, this was no longer the same
work that Beethoven had begun
before his illness.
If there is one word that occurs
more often than any other in
discussions of this quartet, it is
contrast — contrast both within
movements and between movements.
The contrasts begin immediately at
the beginning, where a mysterious
slow introduction is suddenly
interrupted by an “Allegro” flourish
in first violin. “The conflict revealed
here casts a shadow not only over the
first movement but over the quartet
as a whole,” William Kinderman
writes in his insightful monograph
on Beethoven. In fact, the anguished
half-steps of the introduction and
the agitated rhythms of the “Allegro”
determine much of what follows, along
with the lyrical second idea played
by the second violin. The first two
elements are contrapuntally combined

in the development section and
further elaborated in the subsequent
sections of the movement. In
a significant departure from
conventional sonata form, Beethoven
wrote not just one recapitulation but
two. The first of these resembles the
exposition more closely but is set in a
key other than a minor, the home key,
while the second treats the material
with much more freedom but reestablishes a minor in the movement’s
vibrantly dramatic coda.
To say that the second movement
is a minuet with trio is both true
and untrue. The 3/4 time and ABA
form are certainly present, and the
drone effects of the trio have a long
ancestry in movements of this type.
Yet the movement doesn’t sound
like a minuet. Commentator Michael
Steinberg described it as “an always
surprising mixture of the gentle and
the acid,” with harmonies that are “a
bit tart.” The frequent half-steps are
audibly related to those from the slow
introduction of the first movement.
Of the trio section, Steinberg wrote:
“A country dance tune, with bagpipe
drone and all, becomes transfigured
at a great height into something
distant, mysterious, free of the pull
of gravity.” This ethereal dance is,
however, suddenly interrupted by a
unison passage where even the meter
changes briefly from triple to duple.
Thus, even this lyrical intermezzo
is not spared from the dramatic
contrasts that fill the entire work.
Beethoven took pains to specify
that the “Holy Song of Thanksgiving”
was in the Lydian mode, which is
one of the old church modes upon
which Gregorian chant and much
early polyphonic music was based.

The name itself is even older, going
back to ancient Greece. We know that
Beethoven studied some examples
of Renaissance music and also
theoretical writings from the period,
and thus he was well aware that
Lydian was associated with healing in
some ancient writings. According to
theory books, the Lydian scale consists
of the white keys of the piano starting
with the note ‘F’; in other words, it is
an F-Major scale with a ‘B-natural’
instead of a ‘B-flat.’ This poses a
grave problem, however, in that the
interval ‘F’–‘B’ is an augmented
fourth or “tritone” that was called
the “devil’s interval” in medieval
times and studiously avoided. All
chant melodies notated in Lydian
were actually sung with a ‘B-flat,’ an
alteration that was routinely applied
to the music. In Op. 132, however,
Beethoven used ‘B-natural,’ and
it is very likely that his use of the
“Lydian mode” is the first in history
not to correct the offending interval.
Thus, while seemingly reviving an old
musical element, Beethoven actually
created something quite new. (The
Lydian mode with ‘B-natural’ does
exist in eastern European folk music.)
The entire song of thanksgiving is
harmonized with only “white keys,”
which — in conjunction with the
extremely slow tempo — makes the
sound eerily transparent. In addition to
ancient sources, Beethoven also drew
on the Protestant chorale tradition in
this movement — a tradition he was
familiar with in spite of his Catholic
background. The uniform rhythms and
clear-cut cadences (line endings)
turn the Holy Song into a chorale of
sorts, though this chorale has five
lines instead of the usual four.

At the end of the fifth line, the
second violin plays the first altered
note (a ‘C-sharp’) in the movement,
giving the signal for the next section,
marked Neue Kraft fühlend (feeling
new strength). As a total contrast
to the preceding Lydian music, this
section is in a bright and confident
D Major. In Steinberg’s words: “The
staccatos, the wide leaps, the
exuberant upbeats in scurrying 32nd
notes, the jubilant violin trill that
rides across the top of the music,
the breathless excitement in the
accompaniment, all contribute to the
joyful atmosphere.”
The hymn returns with some
fascinating changes in the texture.
The static, almost frozen chords of
the first appearance are softened by
a more complex rhythmic interplay
among the voices, giving the music
a more flowing character. Then the
second section returns, lavishly
ornamented. With the third and final
return of the Lydian chorale, we
understand the form as A–B–A–B–A
(as in the slow movement of the
Ninth Symphony), but this final ‘A’ is
more intimate and transcendent than
any of its previous incarnations. It is
also much longer. At first, only one
instrument at a time adds ornaments
to the melody, the others play the
long notes from the beginning. As a
result, each player comes forward an
individual singing his own personal
hymn of thanksgiving. Then, the four
instruments join forces again to play
the otherworldly harmonies of the
movement’s final measures.
The brief march that follows
confirms the convalescent’s return to
life. Beethoven wanted a more simple
and lighthearted movement after the

“Holy Song,” and according to his
sketches, he first intended a Ländlertype dance at this point. He later
decided otherwise, and the Ländler
found its home as the “Alla danza
tedesca” movement of Op. 130.
We might think that when we hear
the march in Op. 132, the trials and
tribulations are finally over. Not so.
A dramatic recitative interrupts the
happy music, leading into the “Allegro
appassionato” finale. Despite the
waltz-like lilt of the main theme,
there is significant tension under the
surface. The rondo theme is quite
close to the agitated melody of the
first movement. The first episode
provides momentary relief; the
second even intensifies the “storm
and stress.” But eventually, the
tonality shifts from a minor to A Major;
the tempo increases to presto and a
new lyrical melody helps to give this
monumental work a happy ending.
Program notes by Peter Laki.

Beethoven’s Impact
by Sebastian Currier
The Beethoven quartets have always
loomed large in my life. When I was
a teenager I remember lying on the
couch listening to LPs of the quartets
for hours on end. Now, some 40 years
later, I have them on my iPhone!
They never seem to grow old. For all
those years, as I’ve changed, as the
world has changed, they’ve managed
to always feel fresh, full of vitality,
thoughtfulness, and intensity. Though
written almost two centuries ago, I
feel I react to them as if they were
written yesterday. While some music
from as recently as a few decades
ago can seem dated and passé, the
Beethoven quartets seem to me
endlessly new. Being new is one thing.
Remaining new is quite another!
Sebastian Currier is an American
composer. He was a professor of music
at Columbia University from 1999
to 2007, and was the composer-inresidence at the Institute for Advanced
Study between 2013 and 2015. He
has composed two full-length string

Ignaz Schuppanzigh, Beethoven, and the Inception of Listening
to String Quartets
by John M. Gingerich
The violinist Ignaz Schuppanzigh
(1776–1830) was Beethoven’s closest
collaborator in the composition
of all of his string quartets, from
Op. 18 right through Op. 135. They
first became acquainted shortly
after Beethoven’s arrival in Vienna,
when both assisted at the Friday
morning quartet concerts of one of
Beethoven’s principal patrons, Prince
Karl Lichnowsky. These concerts
introduced Beethoven to Vienna’s
leading string players, and included
performances of Haydn quartets
under the old master’s personal
supervision. (At Schuppanzigh’s
suggestion, Lichnowsky made a gift
to Beethoven of a complete set of
old Italian string instruments, long
attributed to Guarneri, Ruggieri,
and Amati.) Five or six years later,
when Beethoven himself started
composing quartets, Schuppanzigh
and the young virtuosi he led stood
at Beethoven’s disposal. When in
1808 Count Andrey Razumovsky
asked Schuppanzigh to form a quartet
and installed them with salaries
and pensions as his “Kapelle,” they
also became Beethoven’s personal
quartet, available not only should
the composer feel the need to hear
a draft of a passage, but once he
had finished, as his personallyrehearsed representatives before
his patrons and their guests. A
contemporary observer has left us
a vivid description of the quartet’s
relationship with Beethoven during
the years with Razumovsky (1808
until 1816): “Beethoven was, as it

were, the cock of the walk in the
princely establishment; everything
that he composed was rehearsed hot
from the griddle and performed to
the nicety of a hair, according to his
ideas, just as he wanted it and not
otherwise, with affectionate interest,
obedience, and devotion such as
could spring only from such ardent
admirers of his lofty genius, and with
a penetration into the most secret
intentions of the composer and the
most perfect comprehension of his
intellectual tendencies.” For the
late Beethoven quartets we have a
detailed record of the aid provided
by members of the quartet, since
Beethoven’s nearly total deafness
required his interlocutors to write
down their side of the conversation:
proofing, editing, the clarification of
phrasing, dynamics, articulation, and
other performance indications, the
writing out of parts and scores in
order to enable the task of proofing,
as well as in preparation for the work
of professional copyists who penned
clean copies for Prince Galitzin and
several different publishers—the
participation of Schuppanzigh and
other members of the quartet proved
vital to all of these tasks.
Schuppanzigh introduced several
innovations that fundamentally
changed the string quartet,
innovations upon which Beethoven
capitalized in his late quartets,
and which continue to shape how
we experience and think about
string quartets. During the winter of
1804–05, Schuppanzigh pioneered

public string quartet concerts; he
continued with public subscription
concerts during his tenure with Count
Razumovsky, and again from the
time of his return from Russia in 1823
until his death. Another innovation,
for which Schuppanzigh shares
the credit with Count Razumovsky,
was a stable membership of the
ensemble. Together these two
innovations initiated a profound
transformation of the string quartet
from the leading Viennese genre of
home entertainment, functioning
primarily for the edification of its
participant performers, to what it
became after 1823, the leading genre
of public instrumental music for
connoisseurs, a new listener-centered
role. At home players tended to read
through as many quartets as possible,
and included everyone present by
rotating roles. The fixed membership
of Schuppanzigh’s ensembles after
1808 enabled them to perform with a
precision and finesse that revealed
unsuspected nuances, depths,
and powers of works that listeners
thought they already knew from
playing through them at home.
Yet a third innovation,
Schuppanzigh’s programming,
augmented the effects of the first
two in creating an audience of
connoisseurs. From the start in the
winter of 1804–05 his core repertory
had consisted of works by “the
greatest masters,” as he put it in one
of his advertisements — of quartets
by Haydn, and quartets and quintets
by Mozart and Beethoven. This core
canon was augmented occasionally
with quartets by Anton Eberl and
Andreas Romberg in the early years,
and in later years with works by Louis

Spohr (especially his double quartets),
Georges Onslow (especially his cello
quintets), and even more occasionally
with works by Franz Weiss, the violist
of the quartet, and Franz Schubert.
Schuppanzigh’s programming was
designed to let Beethoven shine
against the backdrop of his forebears
Haydn and Mozart, while everyone
else auditioned for inclusion in the
canon of great masters.
By the time Schuppanzigh began
his last run of subscription concerts
in 1823 his programming represented
a much greater departure from
Viennese norms than had his earlier
concerts. In the home, the male string
quartet (since string instruments were
not considered suitable for women)
was beginning to be crowded out by
music for the pianoforte, the specialty
of young ladies. The decade of Rossini
(starting in Vienna in 1816), of the
waltz orchestras of Johann Strauss
Sr. and Joseph Lanner (starting in
1823), and of the first full flowering
of virtuosity, rendered all the old
four-movement instrumental genres
born of aristocratic patronage deeply
unfashionable; the sonata became
a rare visitor in the parlor, as did
the symphony on the public stage.
Public concerts in the 1820s mixed
instrumental with vocal numbers,
and the vast majority of instrumental
offerings comprised virtuoso vehicles
(divertissements, potpourris, and
variations); even new quartets were
predominantly quatuors brillants. By
default Schuppanzigh’s concerts
became the preeminent venue for
hearing instrumental music in a
pedigreed genre, and thus by default
his concerts were also the preeminent
venue for hearing instrumental music

by Haydn, Mozart, or Beethoven. At
a time when the old instrumental
genres Beethoven had inherited and
made his own were fading away as
old music had always faded away,
when Beethoven himself had become
a living legend but had also begun
to appear irrelevant to the future
course of music, Schuppanzigh did
more than anyone else to keep one
of those genres audible and fresh
and in mind and in memory, and only
Schuppanzigh provided polished
performances to make the case that
the richness of this music had not
been exhausted or even plumbed by
decades of exposure, that here was
music that transcended fashion.
The first reviews of Schuppanzigh’s
1823 series repeatedly stressed its
function as a “school of artistic taste,”
and praised it as an “institution for the
conservation of the higher sense for
music,” that is, music that transcends
mere “ear-tickling.” The reviewers
took pains to convince readers that
the public string quartet represented
the peak experience and most refined
challenge available to connoisseurs
of music, and as such was drawing
Vienna’s most select music public.
And they celebrated Schuppanzigh’s
concerts by describing them with the
term “classical” — as one reviewer
put it, “[Schuppanzigh is] a mighty
dam against the flood of modern
tinsel music, dedicating his virtuosity
solely to the acknowledgment and
rise of truly classical creations.”
But this “classical” also had class
connotations; the venerable
“classical” works had aristocratic
cachet while the modern tinsel music
was bourgeois. Unlike any other
public venue in 1823, but perhaps not

too dissimilar from the experience
Lichnowsky and Razumovsky had
once been able to offer their guests,
Schuppanzigh’s concerts forced
listeners to concentrate on purely
musical processes through the
uninterrupted course of three string
quartets, without the aid or distraction
of text, and without granting the
performer a greater claim on their
attentions than the music. Over
the course of several seasons his
subscribers encountered the historic
panorama of the string quartet from
its beginnings with Haydn right
through the first public hearing of a
Schubert quartet. Schuppanzigh was
training his audience, preparing them
as well as possible for the promised
encounter with the new quartets
Beethoven was working on.
After finishing the Op. 95 Quartet in
1810, Beethoven had stopped writing
string quartets, and some of his
reasons can be surmised from a letter
he wrote to his agent in England:
“N.B. The Quartett [Op. 95] is written
for a small circle of connoisseurs
and is never to be performed in
public. Should you wish for some
Quartetts for public performance I
would compose them to this purpose
occasionally.” Schuppanzigh’s return
to Vienna from Russia hard on the
heels of Prince Galitzin’s commission
for three new string quartets, along
with the new series of public quartet
concerts Schuppanzigh started
evidently persuaded Beethoven that
he could now successfully market
quartets for connoisseurs. Publishers
embraced the implications of the
new classicizing tendencies. As one
put it, “I won’t collect the interest
for 20 years; but with Beethoven I

have capital in my hands. —But not
everyone can play it yet.” Publishers
also issued Beethoven’s late quartets
in score simultaneously with their
initial publication in parts — a first
for chamber music. A quartet score
assisted study, but had previously
been issued primarily in posthumous
complete works editions, as
“monuments.” Issuing Beethoven’s
late quartets as “monuments” right
away was a logical concomitant to
treating their purchase as a long-term
capital investment.
Schuppanzigh probably premiered
all of Beethoven’s string quartets, but
while accounts of the early public
concerts do not mention precise
programs, we know when and where
the five late quartets were first
performed in public. The long-awaited
premiere of Op. 127, the first of the
late quartets, was a fiasco. Beethoven
did not have the parts ready until less
than a month before the performance,
the ensemble was ragged, and at a
crucial juncture Schuppanzigh broke
a string and had no back-up violin
available. Unsympathetic observers
blamed Schuppanzigh’s corpulence
(Beethoven usually called him
“Falstafferl”) for the poor performance
and “incomprehensibility” of the new
quartet. Schuppanzigh’s humiliation
was compounded when Beethoven
gave the quartet in turn to two rival
violinists who did much better, having
much more time to prepare. The fiasco
of the premiere and the ensuing
violin competition heightened public
interest in the new quartets, and
publishers vied to buy them from
Beethoven for unprecedentedly
high prices. But while Beethoven
realized serendipitous rewards from

the disastrous premiere of Op. 127,
Schuppanzigh’s subscription concerts
never quite recovered.
Unlike Schubert, Beethoven never
dedicated a quartet to Schuppanzigh,
and seems to have regarded their
enduring friendship and collaboration
as sufficient tribute. But we should
recognize that it was not Beethoven
alone, but Beethoven in concert with
Schuppanzigh who transformed
the string quartet from music best
experienced by the adept performer
to the most rewarding music for the
diligent listener, and thereby made
of it a cornerstone of the building we
know as classical music.
Musicologist John M. Gingerich
is currently working on a book on
Schuppanzigh. Before beginning his
musicological work he was a cellist,
and played for several years with the
Baltimore Symphony Orchestra.


Takács Quartet
Concert IV

Edward Dusinberre / Violin
Károly Schranz / Violin
Geraldine Walther / Viola
András Fejér / Cello

Sunday Afternoon, January 22, 2017 at 4:00
Rackham Auditorium
Ann Arbor

33rd Performance of the 138th Annual Season
54th Annual Chamber Arts Series

This afternoon’s supporting sponsors are Robert and Darragh Weisman.
Media partnership provided by WRCJ 90.9 FM.
Special thanks to Steven Whiting for his participation in events surrounding this weekend’s
The Takács Quartet records for Hyperion and Decca/London Records.
The Takács Quartet is Quartet-in-Residence at the University of Colorado in Boulder and are
Associate Artists at Wigmore Hall, London.
The Takács Quartet appears by arrangement with Seldy Cramer Artists.
In consideration of the artists and the audience, please refrain from the use of electronic devices during
the performance.
The photography, sound recording, or videotaping of this performance is prohibited.


Beethoven String Quartets
Concert IV
String Quartet in D Major, Op. 18, No. 3
Andante con moto

String Quartet in e minor, Op. 59, No. 2
Molto adagio: Si tratta questo pezzo con molto di sentimento
Finale: Presto


String Quartet in E-flat Major, Op. 127
Maestoso — Allegro
Adagio, ma non troppo e molto cantabile — Andante con moto — Adagio
molto espressivo — tempo primo
Scherzo: Vivace — Presto


Beethoven’s Impact
by William Bolcom
About age 11, I became enamored of
quartet music (and began what turned
out to be a group of 12 of them). My
first big influences were the Bartók
quartets, Berg’s Lyric Suite, and the
Roy Harris quartet, which influences
show up in my first two quartets. I
was cognizant of Beethoven mostly
through the piano literature before
that age.
Later, about the age of 14, I landed
on the late Beethoven quartets, which
absolutely blew me away, and their
influence would permeate my third
and fourth quartets particularly. On
the bus to junior high school I sat with
a Beethovenian grimace — I’d read
Robert Haven Schauffler’s Beethoven,
the Man Who Freed Music — which
I’m sure amused other passengers.
(In these last few years I’ve been
going over all 12 of my quartets for
publication, and I’m embarrassed to
relate that the Beethoven-ish ones
seem to me more like age-appropriate
juvenilia than the earlier two. It does
seem odd that I would go backward,
not forward, in musical history in my
In the following years I expanded
my knowledge of quartet literature,
concurrently both the classical
canon and much newer work, and the
divide between the modern and the
old began to blur in my mind. I saw
the revolutionary in Beethoven, the
classicist in Bartók and Schoenberg,
and increasingly felt no obligation
to eschew any music in my search
for vocabulary. That epiphany I owe
largely to the Beethoven quartets,
particularly the later ones, which

would steer me in the compositional
direction I have followed ever since.
William Bolcom is an American
composer and Professor Emeritus
of Composition at the University of
Michigan School of Music, Theatre &
Dance. He received the Pulitzer Prize
for Music in 1988 and has composed 12
string quartets.

S T R I N G Q U A R T E T I N D M A J O R , O P. 1 8 , N O . 3 ( 1 7 9 8 )
Ludwig van Beethoven
Born December 16, 1770 in Bonn, Germany
Died March 26, 1827 in Vienna
UMS premiere: Detroit Philharmonic Club; March 1888 in a University Law
Lecture Room.
Snapshots of History…In 1798:
· French forces invade the Papal States and establish the Roman Republic
· Eli Whitney contracts with the US federal government for 10,000 rifles,
which he produces with interchangeable parts
· Edward Jenner publishes his work on smallpox vaccination

In spite of the obvious Haydn and
Mozart influences, this quartet,
the very first that Beethoven ever
composed, is a work of surprising
originality. Its opening, with its
unaccompanied leap of a minor
seventh, is like nothing we could find
in the older composers’ work, and
everything that follows is equally
unprecedented. Beethoven’s ability to
develop entire movements from tiny
motivic ideas is already in evidence
here, as that minor seventh (or its
rhythm of even, long-drawn-out whole
notes) pervades almost the whole
“Allegro.” The number of keys visited
is also greater than usual: tonalities
not closely related to the central D
Major are used freely, resulting in an
exciting and utterly unpredictable
harmonic plan.
Similar observations can be made
of the other movements as well. The
second movement is based on a
gentle theme proceeding in equal
eighth notes; yet it can become
quite dramatic in the course of its
development. The choice of key
(B-flat Major, a significant distance

from D Major) foretells more harmonic
adventures, which do not fail to occur.
The third movement is marked neither
“Minuet” nor “Scherzo,” but simply
“Allegro.” It is closer to a scherzo
character since it is not particularly
dance-like and abounds in offbeat
accents that appear in so many of
Beethoven’s scherzos. Its first phrase
oscillates between major and minor in
a most unusual fashion. The tonality
eventually settles in D Major, only to be
displaced by an agitated trio (middle
section) in d minor. In an unusual move,
Beethoven wrote out the return of
the scherzo in full, with large portions
placed an octave higher than the first
time. The vivacious finale again unfolds
from a single rhythmic idea (that of a
swift eighth-note motion in 6/8 time)
with occasional interruptions and other
surprises. The ending is probably the
only point where Beethoven clearly
follows Haydn’s lead. The way he turns
the first three notes of the theme into a
pianissimo ending is an obvious bow to
the older master.


S T R I N G Q U A R T E T I N E M I N O R , O P. 5 9 , N O . 2
(“RASUMOVSKY”) (1806)
UMS premiere: Budapest String Quartet; January 1947 in Rackham Auditorium.
Snapshots of History…In 1806:
· The British occupy the Cape of Good Hope
· The Lewis and Clark expedition reaches St. Louis, Missouri, ending a
successful exploration of the Louisiana Territory and Pacific Northwest
· Noah Webster publishes his first American English dictionary
Prince Andrey Razumovsky, the
Russian Ambassador in Vienna, and the
Princes Lichnowsky and Lobkowitz,
two Viennese aristocrats to whom
he was related by marriage, together
received the dedications of more than
a dozen major works by Beethoven.
One might almost say that their “clan”
underwrote a great part of what
later became known as Beethoven’s
“heroic” or middle period.
The three quartets of Op. 59, known
as the “Razumovsky” quartets,
were written shortly after the Third
Symphony (“Eroica”) and the f-minor
Piano Sonata (“Appassionata”).
In those works, Beethoven made
a bold leap into the future: music
had never expressed such intense
emotions before, nor had the formal
conventions of music been changed
so radically in such a short time.
With Op. 59, Beethoven extended
his musical revolution to the quartet
medium, producing three masterworks
after which the genre was never the
same again.
One of the most striking features
of Beethoven’s “heroic” style is a
reduction of the thematic material
to a small number of motifs and an

expansion of the techniques that
serve to develop those motifs. The
most extreme example is probably the
first movement of the Fifth Symphony,
with its famous four-note theme, but
the opening of the e-minor Quartet
is equally striking. Beethoven begins
suspensefully with a pair of chords,
followed by a short phrase, which is
punctuated by rests and repeated a
half-step higher, immediately calling
the e-minor tonality into question.
Eventually, continuity is restored, but
the form remains rather fragmented,
reflecting an agitated state of mind.
We hear many insistent syncopated
rhythms and rapid passages in
unison or parallel motion, in dramatic
contrast with the occasional gentler
moments. In associating minor mode
with emotional turbulence, Beethoven
followed the tradition of Haydn and
Mozart, though his radically new way
of writing gave this “Allegro” a very
special edge.
It was not for nothing that
Beethoven inscribed the secondmovement “Molto adagio” with the
words “Si tratta questo pezzo con
molto sentimento” (This piece must
be treated with much feeling). Here

is one of his great hymn-like slow
movements, with the quiet majesty
of the later “Emperor” Concerto and
Ninth Symphony — yet entirely within
the intimate world of chamber music.
The melody is enriched by chromatic
harmonies and surrounded by complex
figurations. Then, at the end of the
movement, all embellishments are
stripped away and the melody is
stated by the four instruments in
bold fortissimo chords, with harsh
harmonies and strong accents —
before the gentle closing measures
end the movement in an idyllic mood.
Beethoven refrained from calling
the third movement a “scherzo,”
and surely the first section of the
movement is too serious to qualify as
a “joke.” Yet its syncopated motion
and sudden dynamic and harmonic
changes are definitely scherzolike features. The high point of the
movement, however, is the second
section (which elsewhere would be
called “Trio”). In honor of his dedicatee,
Beethoven inserted a Russian theme
here (marked thème russe in the
score). The source of the theme was
the important folk song collection
published by Nikolai Lvov and Ivan
Prach in 1790. (This melody, “To the
Red Sun, Glory!” was famously used
again by Mussorgsky in the coronation
scene of Boris Godunov.) Beethoven
had the four instruments take turns
repeating this melody identically over
and over again, against a fast-moving
counterpoint that also makes its
rounds among the four players. As in
several other Beethoven works, the
usual A–B–A scheme of the scherzo
is expanded to A–B–A–B–A, with the
thème russe section appearing twice
and the opening section three times.

The finale is a galloping sonata
rondo where Beethoven constantly
plays games with our (possibly
subconscious) tonal expectations.
Seemingly reluctant to establish the
home key of e minor, he keeps the
first few measures in C Major before
making a sudden shift just before the
end of the phrase. (The last movement
of the Fourth Piano Concerto, Op. 58,
written around the same time, uses
a similar strategy.) The rhythmic
momentum never flags, though
the galloping pulse is temporarily
replaced by quieter motion in the
lyrical second theme. Yet the main
theme never stays away for very long;
and as if the initial presto tempo
weren’t fast enough, Beethoven
demands più presto (faster) for the
final measures.


S T R I N G Q U A R T E T I N E - F L AT M A J O R , O P. 1 2 7 ( 1 8 2 5 )
UMS premiere: Paganini Quartet; January 1949 in Rackham Auditorium.
Snapshots of History…In 1825:
· After no presidential candidate receives a majority of electoral votes, the
US House of Representatives elects John Quincy Adams President of the
United States
· Uruguay secedes from Brazil
· The first horse-drawn omnibuses are established in London
In the fall of 1822, Beethoven received
a letter from a Russian aristocrat and
amateur cello player, Prince Nikolai
Galitzin. The Prince commissioned
Beethoven to write three string
quartets and urged him to name his
own price. Beethoven accepted the
proposal and promised to deliver the
first quartet within a month. However,
more than two years passed before
the Quartet in E-flat, the first one in the
set, reached the Prince, even though
it seems that Beethoven had begun to
make sketches for a new string quartet
even before receiving Galitzin’s letter.
(He had not written a quartet since the
f-minor work, Op. 95, of 1810.)
Let us for a moment imagine the
Prince and his three companions in
St. Petersburg as they put the parts
of Op. 127 on their music stands. They
start playing the opening “Maestoso,”
thinking it is a slow introduction; yet
after only six measures, they see with
surprise that the introduction is cut
short and an “Allegro” theme begins
in a new meter. After a few minutes
(during which time two distinct
musical ideas appear, more or less
like in a classical sonata exposition),
the opening “Maestoso” returns in a

startlingly distant key. It is brushed
aside once more by the “Allegro”
music, now taking on the distinct
features of a development section
(frequent modulations, fragmentation
of motives). Another set of slow
measures — shorter than the previous
ones — again propels the music in
unexpected harmonic directions,
with the home key in E-flat Major
eventually returning and bringing
the music to a soft and somewhat
inconclusive conclusion.
After this enigmatic opening, the
players encounter a slow theme-andvariation movement of unprecedented
complexity (they must have been
exceptional players indeed if they
could make it to the end!). A lyrical
melody of otherworldly beauty is
followed by five variations: the first
largely ornamental; the second
playful; the third, suddenly moving
to a distant new key, extremely slow
and intense; the fourth seemingly
returning to the style of the first
yet introducing many fascinating
surprises; and the last one developing
a “free fantasia” on the theme.
At one point, the harmony seemed
so confusing that the Prince had to

ask Beethoven in a letter whether he
meant a certain note in the viola part
to be a ‘C’ or a ‘D- flat.’ Beethoven
explained at great length why it had
to be a ‘D-flat,’ and added: “If I had
written ‘C,’ the melody would have
been destroyed.” There is no record,
however, to tell us whether Galitzin
and his partners felt, as many modern
commentators have, that Beethoven
contemplated the starry heavens in
the central E-Major variation.
The remaining two movements are
no less extraordinary than the first
two. The “Scherzando vivace” uses
an extremely simple rhythmic pattern
to generate uncommon dramatic
energy. That pattern is developed and
transformed in ways that recall the
scherzo of the Ninth Symphony. The
trio, or middle section, is a breathless
“Presto” in the minor mode, later
switching to the major and suddenly
interrupted by a general rest and the
return of the “Scherzando.” At the
end of the movement, the trio section
is briefly recalled; another general rest
separates this reminiscence from the
abrupt ending, again similarly to what
happens in the Ninth.
In the “Finale,” Beethoven let
go of all the dramatic tensions that
had weighed so heavily on the first
three movements. Musicologist
Joseph Kerman described this finale
(which bears no tempo marking) as a
“medley of folk-like phrases…square
and ingenuous, jogging along in allbut-continuous quarter-notes.” The
contrast with the rest of the quartet
could not be greater. Yet Beethoven
reserved a final surprise to those
players and listeners who thought he
was simply writing a folk-dance finale
in homage to his one-time teacher

Haydn. He added a mysterious coda in
a new meter (6/8 replacing cut time)
in which the harmonic adventures of
earlier movements suddenly reappear.
The tempo designation is allegro
comodo (a comfortably fast motion),
not con moto (with motion) as some
editions suggest. Kerman found the
harmonic progressions to be “sheer
dream” — a dream that is followed by
an awakening, a consolidation of the
home key, and a sudden yet resolute
Program notes by Peter Laki.


This weekend’s concerts, the third and fourth installments in this season’s
Beethoven String Quartet Cycle, mark the Takács Quartet’s 21st and 22nd
performances under UMS auspices. The ensemble made its UMS debut in
February 1984 at Rackham Auditorium, and most recently appeared under UMS
auspices in October 2016 at Rackham Auditorium with the first two concerts of
this season’s Beethoven cycle. The Quartet completes its Beethoven cycle at
UMS in March at Rackham Auditorium.

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

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

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


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

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

Calidore String Quartet
Mitsuko Uchida, piano
Takács Quartet: Beethoven Quartet Cycle Concerts 5 & 6

Tickets available at

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

Sensory-Friendly Open Rehearsal: Takács Quartet
(Rackham Auditorium, 915 E. Washington Street, 12:00 noon)


Pre-Concert Lecture Series: Exploring Beethoven’s String Quartets
(Rackham Amphitheatre, Fourth Floor, 915 E. Washington St., 7:00 pm)


Penny Stamps Speaker Series: Ping Chong
(Michigan Theater, 603 E. Liberty Street, 5:10 pm)


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


Pre-Concert Lecture Series: Exploring Beethoven’s String Quartets
(Michigan League Koessler Room, Third Floor, 911 N. University Ave.,
7:00 pm)

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

S AT U R D AY ’ S V I C T O R S F O R U M S :

Helmut F. and Candis J. Stern
Chamber Arts Endowment Fund

S U N D AY ’ S V I C T O R S F O R U M S :

Robert and Darragh Weisman
Supporters of this weekend’s performances by the Takács Quartet.


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


The William Davidson Foundation


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


and above


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

Look for us online at

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

535 W. William St.
Ann Arbor, MI

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

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

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

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

Joel Howell
Daniel Klionsky
Lawrence La FountainStokes
Tim McKay
Melody Racine


UMS Faculty Insight Group

Katie Richards-Schuster
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
Zita Gillis
Vice Chair

Wendy K. Zellers
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


Arlene Barnes

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


See, touch and smell the
Green Earth difference.
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.


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 &
Kenneth C. Fischer
John B. Kennard, Jr.
Director of Administration
Lynette McLaughlin
Executive Assistant
Jenny Graf Carvo
Tessitura Systems
Patricia Hayes
Financial Manager
John Peckham
Information Systems

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
Adam DesJardins
Education & Community
Engagement Assistant
Shannon Fitzsimons Moen
Campus Engagement
Teresa C. Park
Education Coordinator
Sara Billmann
Director of Marketing &
Jesse Meria
Video Production Specialist
Anna Prushinskaya
Senior Manager of
Digital Media
Mallory Shea
Marketing & Media
Relations Coordinator

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


Cindy Straub
Manager of Volunteers &
Special Events

Jeffrey Beyersdorf
Production Director

Suzanne Upton
Communications Manager
Mary A. Walker
Campaign Director and
Associate Director of
Development, Major Gifts

Michael J. Kondziolka
Director of Programming

Alex Gay
Production Coordinator
Anne Grove
Artist Services Manager

Christina Bellows
Associate Director of
Patron Services
Katherine McBride
Group Sales & Promotions
Scott Joy
Ticket Services/
Front-of-House Assistant
Anné Renforth
Ticket Services Coordinator
Anna Simmons
Assistant Ticket Services
Willie Sullivan
Bruce Oshaben, Juli
Pinsak, Brian Roddy
Head Ushers



E D U C AT I O N &


UMS Staff

Betsy Mark
Will Call Volunteer
Scott Hanoian
Music Director & Conductor
Shohei Kobayashi
Assistant Conductor
Kathleen Operhall
Chorus Manager
Nancy Heaton
Chorus Librarian
Jean Schneider
Scott VanOrnum

Mark Jacobson
Senior Programming
Mary Roeder
Programming Manager


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 |

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


Classical Music
Anywhere, Anytime

90.5 FM • HD • HD2 •


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
Eugene and Emily Grant
Family Foundation
The Andrew W. Mellon
Candis J. and Helmut F. Stern
University of Michigan Credit
The Wallace Foundation

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

$10 0,00 0 – $ 4 99, 999

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
Susan and Richard Gutow
Wallis Cherniack Klein
David Leichtman and Laura A.
Linda and Stuart Nelson
Norma and Dick Sarns
Ellie Serras
Ron and Eileen Weiser
Max Wicha and Sheila
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
Miller, Canfield, Paddock and
Stone, P.L.C.
Mr. and Mrs. Donald L.
Agnes Moy-Sarns and David
Sarns and the Sarns Family
Gil Omenn and Martha
Tim and Sally Petersen
Phil and Kathy Power
Sharon and Doug Rothwell
Linda Samuelson and Joel
Jane and Edward Schulak
Dennis and Ellie Serras
Glenn E. Watkins
Marina and Bob Whitman
Gerald B. Zelenock
$ 25,000–$ 49,9 9 9

Carol Amster
Cheryl Cassidy
Junia Doan
John R. Edman and Betty B.
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
John W. and Gail Ferguson
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
Virginia and Gordon Nordby
Eleanor Pollack


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

$ 5,0 0 0 –$14,999

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





Smith Haughey and its attorneys
proudly support the


since 1992

Contemporary Food
Classic Décor • Full Bar
Locally Owned

316 S. State Street
@ North University

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

Edward Lynch
Michael Miller
Edward Stein


soups • custom salads • classic sandwiches


essential groceries • beer & wine

Ann Arbor Grand Rapids Holland Muskegon Traverse City

619 East University @ Zaragon Place
734-332-3366 ·

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

Oscar Feldman 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


Epstein Endowment Fund


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




Special guest:
Alon Goldstein

Special guests:
Anton Nel
UMS Choral Union Women

Saturday, January 14
8:00 p.m.
Michigan Theater

Saturday, March 18
8:00 p.m.
Michigan Theater


Sunday, May 7
4:00 p.m.
Hill Auditorium
Rossini Semiramide Overture
Verdi Opera Choruses from Aida,
La Traviata, Nabucco, and Il Trovatore
Tchaikovsky Capriccio Italien
Respighi Pines of Rome

Arie Lipsky, Music Director & Conductor

(734) 994-4801 •

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
Richard W. Solt
Hildreth Spencer
Eric and Ines Storhok
Louise Taylor
Roy and JoAn Wetzel
Ann and Clayton Wilhite
Max Wicha and Sheila Crowley
Marion Wirick
Mr. and Mrs. Ronald G. Zollar


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


Planned Gifts/Bequests

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

881 N. University Ave

Ann Arbor, MI 48109-1011
For more information, please call 734.764.8489 or visit

WGTE Public Media is:

Create TV
WGTE Family

WGTE FM 91.3 Toledo
WGBE FM 90.9 Bryan
WGDE FM 91.9 Defiance
WGLE FM 90.7 Lima

WGTE Public Media was founded as an
educational institution, and our educational
mission remains at the heart of what we
do every day.

The Educational
Resource Center
The Early Learning
and Outreach Center

The following list includes donors who made gifts to UMS over the past year
between December 1, 2015 and November 30, 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
($500,000 OR MORE)

Eugene and Emily Grant Family
University of Michigan



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


Anonymous #
Emily W. Bandera, M.D.
Noreen and Kenneth Buckfire
Barbara Fleischman #
in honor of Ken Fischer
Barbara Garavaglia #
in memory of Jim Garavaglia
Masco Corporation Foundation
Michigan Council for Arts and
Cultural Affairs
Michigan Economic Development
National Endowment for the Arts
PNC Foundation
Norma and Dick Sarns #


Jerry and Gloria Abrams
Altarum Institute
Ann Arbor Area Community
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
(of R. & P. Heydon)
New England Foundation
for the Arts
Sarah and Dan 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
John W. and Gail Ferguson Stout
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 B. Zelenock #

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


Michael Allemang and Janis Bobrin
Carol Amster #
Ann Arbor Automotive
Andrew and Lisa Bernstein
Blue Nile Restaurant
Gary Boren
Carl and Isabelle Brauer Fund
Edward and Mary Cady
Valerie and David Canter
Cheryl Cassidy
Comerica Bank
Conlin Travel and Chris Conlin
Connable Associates
Faber Piano Institute
Nancy and Randall Faber
John and Jackie Farah
David and Jo-Anna Featherman
George W. Ford
includes gift in memory of
Steffi Reiss
The children of Marian P. and
David M. Gates in their memory
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,
M. Haskell and Jan Barney Newman
Virginia Nordby
Rob and Quincy Northrup
Bertram and Elaine Pitt
Philip and Kathy Power
Rosenberg Family Fund
in honor of Maury and
Linda Binkow
Prue and Ami Rosenthal
Savco Hospitality
Lois Stegeman


William Davidson Foundation #
in honor of Oscar Feldman
Ford Motor Company Fund and
Community Services
Ilene H. Forsyth #
Maxine and Stuart Frankel
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
The Wallace Foundation

Sesi Lincoln
Nancy and James Stanley #
Bruce G. Tuchman
Ron and Eileen Weiser
Max Wicha and Sheila Crowley


UMS Support


David and Karen Stutz
The Summer Fund of the Charlevoix
County Community Foundation
Louise Taylor
Jim Toy
in honor of U-M Regent
Laurence B. Deitch
The University of Michigan Third
Century Initiative
Dody Viola
Stanford and Sandra Warshawsky


Jim and Barbara Adams
Michael and Suzan Alexander
Arts Midwest Touring Fund
John and Lillian Back
Karen Bantel and Steve Geiringer
Dr. Carol Barbour and Dr. Sid Gilman
Bradford and Lydia Bates
Rachel Bendit and Mark Bernstein
Ronald and Linda Benson
Suzanne A. and Frederick J. Beutler #
DJ and Dieter Boehm
in honor of Ken Fischer and
Sara Billmann
Charles and Linda Borgsdorf
Bill Brinkerhoff and Kathy Sample
Carolyn M. Carty and Thomas H. Haug
Anne and Howard Cooper
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
Clifford and Alice Hart
Timothy and Jo Wiese Johnson
James and Patricia Kennedy
Diane Kirkpatrick
Philip Klintworth
Jean and Arnold Kluge
Leo and Kathy Legatski
Carolyn and Paul Lichter
Jean E. Long
Tim and Lisa Lynch
Ernest and Adele McCarus
Doug and Cate McClure
Paul Morel and Linda Woodworth
William Nolting and Donna Parmelee
Steve and Betty Palms
Elizabeth and David Parsigian
Susan Pollans and Alan Levy
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

Sue Song
Cheryl Soper
Steve Sullivan and Erin McKean
Judy and Lewis Tann
Shaomeng Wang and Ju-Yun Li
Elise Weisbach


Ronnie and Lawrence Ackman
Katherine Aldrich
Richard and Mona Alonzo
Christiane Anderson
Neil P. Anderson
Ann Arbor Distilling Company
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.
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
Marc Bernstein and Jennifer Lewis
Sara Billmann and Jeffrey Kuras
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
Steve and Rebecca Brown
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
Cheryl and Brian Clarkson
Deborah Keller-Cohen and
Evan Cohen
Ellen and Hubert Cohen
Roger and Midge Cone
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
Steve and Judy Dobson
in honor of Ken Fischer
Jill and Doug Dunn
Peter and Grace Duren
Dworkin Foundation
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
Luis and April Gago
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 #
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
Mary K. Joscelyn
Richard and Sylvia Kaufman
James A. Kelly and Mariam C. Noland
Janet Kemink and Rodney Smith, MD
Connie and Tom Kinnear
Carolyn and Jim Knake
Michael J. Kondziolka and
Mathias-Philippe Badin
Barbara and Michael Kratchman
Gary and Barbara Krenz
includes gift in honor of Ken Fischer
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 #

Judith Abrams
Tena Achen
Jan and Sassa Akervall
Roger Albin and Nili Tannenbaum
James and Catherine Allen
Christine W. Alvey
David Ammer and Nell Duke
David G. and Joan M. Anderson #
Dave and Katie Andrea

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

in memory of Wendy Comstock
Larry and Martha Gray
John and Renee Greden
Dr. Patricia P. Green
Raymond Grew
Nicki Griffith
Werner H. Grilk
Arthur Gulick
Julie and Hanley Gurwin
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
David Harris
Mark and Lorna Hildebrandt
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
Barbara Kay
David and Gretchen Kennard
Robert and Gloria Kerry
Rhea K. Kish
Dana and Paul Kissner
Jane Fryman Laird
James Leija and Aric Knuth
Joan and Melvyn Levitsky
Marty and Marilyn Lindenauer
in honor of Ken Fischer
Daniel Little and Bernadette Lintz
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
Olivia Maynard and Olof Karlstrom
Martha Mayo and Irwin Goldstein
Susan McClanahan and
Bill Zimmerman
James H. McIntosh and
Elaine K. Gazda
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



Ann Arbor Public Schools
in honor of Jean Campbell
Sandy and Charlie Aquino
Penny and Arthur Ashe
Ralph and Barbara Babb #
John and Christie Bacon
Mary and Al Bailey
Reg and Pat Baker
Nancy Barbas and Jonathan Sugar
Astrid B. Beck
Lawrence S. Berlin and
Jean L. McPhail
Jack Billi and Sheryl Hirsch
William and Ilene Birge
Ron and Mimi Bogdasarian
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
Melvin Brown
Pamela Brown
Susan and Oliver Cameron
Brent and Valerie Carey
Jack and Susan Carlson
A. Craig Cattell
Tsun and Siu Ying Chang
Samuel and Roberta Chappell
John and Camilla Chiapuris
Reginald and Beverly Ciokajlo
Judy and Malcolm Cohen
Jon Cohn and Daniela Wittmann
Barbara Comai
David and Barbara Copi
Arnold and Susan Coran
Paul Courant and Marta Manildi
Katherine and Clifford Cox
Mac and Nita Cox
Clifford and Laura Craig #
John and Mary Curtis
Roderick and Mary Ann Daane
Connie D'Amato
David L. DeBruyn
David Deromedi
Andrzej and Cynthia Dlugosz
Gary Dolce and Karen Yamada
Alan S. Eiser
Bruce N. and Cheryl W. Elliott
Margaret and John Faulkner
Carol Finerman
Susan R. Fisher
Esther Floyd
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
David and Maureen Ginsburg #
Steve Glauberman and
Margaret Schankler
Google Inc.
L.A. Peter Gosling, Linda Y.C. Lim
and Mya L. Gosling


W. Joseph McCune and
Georgiana M. Sanders
Griff and Pat McDonald
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
Stephen and Bettina Pollock
Ray and Ginny Reilly
Malverne Reinhart
Guy and Kathy Rich
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
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
Karl and Karen Weick
Edward and Colleen Weiss
Lauren and Gareth Williams
Charles Witke and Aileen Gatten
The Worsham Family Foundation


Kara and Lewis Morgenstern
Lisa and Steve Morris
Drs. Louis Nagel and
Julie Jaffee Nagel
Margaret Nance
Erika Nelson and David Wagener
Thomas and Barbara Nelson
Marc Neuberger and Jane Forman
Marylen S. Oberman
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.
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
Eleanor Singer
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
Carol and John Welsch
Lyndon Welch
in memory of Angela Welch
Steven Werns
Kathy White #
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
Drs. Margo and Douglas Woll
Frances A. Wright #
Mary Jean and John Yablonky
Thomas and Karen Zelnik


Dr. Diane M. Agresta
Gordon and Carol Allardyce
Helen and David Aminoff

Barbara A. Anderson
John Anderson and Lyn McHie
Catherine M. Andrea
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 B. Bengtsson
Christy and Barney Bentgen
Joan Bentz
Lynda W. Berg
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 Graf Carvo
Angela Cesere and Rob Thomas
J. Wehrley and Patricia Chapman
Joan and Mark Chesler
Mark Clague and Laura Jackson
Elke Monika Clark
Donald and Astrid Cleveland #
Hilary U. Cohen
Wayne and Melinda Colquitt
Anne and Edward Comeau
Gordon and Marjorie Comfort
Dr. Lisa D. Cook
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
Elena and Nicholas Delbanco
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
Catherine L. Fischer
Carol and Mitch Fleischer
Jessica Fogel and Lawrence Weiner
Scott and Janet Fogler
Christopher Friese
Philip and Renée Woodten Frost
Joseph E. Fugere and
Marianne C. Mussett
in honor of Kenneth C. Fischer
Carol Gagliardi and David Flesher
Stephen Gallagher
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 #
Francie Gibbons
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
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
Gideon and Carol Hoffer
Carol and Dieter Hohnke #
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
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

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

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
Brian and Lee Talbot
Sandy Talbott and Mark Lindley
May Ling Tang
Michael and Ellen Taylor
William Tennant
Denise Thal and David Scobey
Nigel and Jane Thompson
Tom and Judy Thompson
Patricia J. Tompkins
in memory of Terril O. Tompkins
Janet and Randall Torno
includes gift in memory of
Wendy Comstock
Barbara Torzewski
Fawwaz Ulaby and
Jean Cunningham
Beaumont Vance
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
Charles Werney
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
Barabra Zacharakis
Gail and David Zuk
Thomas and Erin Zurbuchen


Karen Park and John Beranek
Brian and Julie Picknell
Robert and Mary Ann Pierce
Mark and Margaret Pieroni
Donald and Evonne Plantinga
Joyce Plummer
Tom Porter
Anne Preston #
Karen and Berislav Primorac
Jeff and Katie Reece
Judith Roberts
Kathryn Robine and Kevin Kerber
Ernest Robles
Jonathan and Anala Rodgers
Stephen Rosenblum and
Rosalyn Sarver
Jean Rowan
Rosemarie Haag Rowney
Carol Rugg and
Richard Montmorency
Mary Ann Rumler
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
Betina Schlossberg
David Schmidt and Jane Myers
David Schoem
Suzanne Selig
Harriet Selin #
James and Linda Selwa #
Theodore T. Serafin
in honor of Ken Fischer
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
Art Smith and Connie Barron Smith
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


Mary L. Kramer #
Syma and Phil Kroll
Bert and Geraldine Kruse
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
John Lesko and
Suzanne Schluederberg
Barbara Levine
Adam and Sonia Lewenberg
Gloria Kitto Lewis
Jacqueline Lewis
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
Ken and Lynn Marko
Charles McCaghy
Margaret and Harris McClamroch
Cynthia McClung
Peggy McCracken and
Doug Anderson
Daniel and Carol McDonnell
Joanna McNamara
Margaret McQuillan-Key
Marilyn Meeker
Gerlinda S. Melchiori
Warren and Hilda Merchant
Carmen and Jack Miller
Gene and Lois Miller
John and Sally Mitani
Candy and Andy Mitchell
Melinda Morris
Brian and Jacqueline Morton
Trevor Mudge and
Janet Van Valkenburg
Barbara Mulay
Thomas and Hedi Mulford
Kathleen and Gayl Ness
Ben and Jo Ann Nielsen
in honor of Maxine Frankel
Richard and Susan Nisbett
Laura Nitzberg
Christer and Outi Nordman
Arthur S. Nusbaum
Kathleen I. Operhall
Elisa Ostafin and Hossein Keshtkar
Liz and Mohammad Othman
Marie Panchuk
Karen Pancost
William and Hedda Panzer

*Due to space restraints, gifts of
$1-$249 will be recognized in the
online donor list at


for young Black and Latino String Players

February 8 - 12, 2017
Detroit MI

The Sphinx Competition invites top performing Black
and Latino string musicians to compete for cash
prizes, solo performing opportunities, and many other
resources. The top prizes are $50,000 for the Senior
Division and $10,000 for the Junior Division. Semifinalists look forward to masterclasses led by our
highly acclaimed panel of jury members, scholarship
opportunities to the top summer music festivals and
conservatories, and access to our large network of
alumni at SphinxConnect.

February 10, 2017 at 12:00PM
For ticket information contact

February 12, 2017 at 2:00PM
Reserve your ticket at

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32 IATSE Local 395
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28 Jaffe, Raitt, Heuer & Weiss PC
28 Knight's
28 Michigan Psychoanalytic Institute and Society

30 Michigan Radio
38 Miller, Canfield, Paddock and Stone, P.L.C.
34 Red Hawk
Silver Maples
34 Smith Haughey Rice & Roegge
44 Sphinx Competition
32 Retirement Income Solutions
24 U-M Arts & Culture
8 Varnum

IBC = Inside back cover


2014 National Medal of Arts Recipient

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