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UMS Concert Program, February 10, 2017 - Budapest Festival Orchestra

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.”

Budapest Festival
Iván Fischer
Richard Goode / Piano
Laura Aikin / Soprano
Kelley O’Connor / Mezzo-Soprano
Robert Dean Smith / Tenor
Matthew Rose / Bass
UMS Choral Union
Scott Hanoian / Music Director
Friday Evening, February 10, 2017 at 8:00
Hill Auditorium
Ann Arbor

38th Performance of the 138th Annual Season
138th Annual Choral Union Series

Tonight’s supporting sponsors are the Karl V. Hauser and Ilene H. Forsyth Choral Union Endowment
Fund, Sesi Motors, and Jim Toy, in honor of Regent Laurence B. Deitch.
As Regent Deitch concluded his 24 years of service as a U-M Regent in December, Jim Toy, longtime
UMS concertgoer and founder of U-M’s Spectrum Center, wished to honor the outstanding service of
Regent Deitch and his advocacy for the human and civil rights of all people with a gift that will support a
UMS performance both this season and next.
Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM.
The Steinway piano used in this evening’s performance is made possible by William and Mary Palmer.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of
lobby floral art for this evening’s performance.
The Budapest Festival Orchestra and Richard Goode appear by arrangement with Frank Solomon
Associates and International Arts Foundation, Inc.
Richard Goode records for Nonesuch.
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.

Ludwig van Beethoven
Symphony No. 1 in C Major, Op. 21
Adagio molto — Allegro con brio

Andante cantabile con moto
Menuetto: Allegro molto e vivace

Finale: Adagio — Allegro molto e vivace

Piano Concerto No. 4 in G Major, Op. 58
Allegro moderato
Andante con moto
Rondo: Vivace
Mr. Goode


Symphony No. 9 in d minor, Op. 125
Allegro ma non troppo, un poco maestoso

Scherzo: Molto vivace — Presto

Adagio molto e cantabile

Presto — Allegro molto assai (Alla marcia) — Andante maestoso — Allegro
energico, sempre ben marcato
Ms. Aikin, Ms. O’Connor, Mr. Smith, Mr. Rose, UMS Choral Union


S Y M P H O N Y N O. 1 I N C M A J O R , O P. 2 1 ( 1 8 0 0 )
Ludwig van Beethoven
Born December 16, 1770 in Bonn, Germany
Died March 26, 1827 in Vienna
UMS premiere: Philadelphia Orchestra conducted by Saul Caston; May 1936 in
Hill Auditorium.
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)
The energy with which the 22-yearold Beethoven threw himself
into Viennese music life is truly
astounding. As he was leaving his
native Bonn for Vienna in 1792, one
of his patrons, Count Waldstein
inscribed the following in the young
man’s book of souvenirs: “With the
help of assiduous labor you shall
receive Mozart’s spirit from Haydn’s
hands.” Thus, Waldstein became the
first person to mention Haydn, Mozart,
and Beethoven in the same breath.
The prophecy came true: Beethoven
soon became the most talked-about
musician in the imperial capital,
equally famous as a composer and a
pianist, courted by the aristocracy and
admired by the public.
Beethoven’s first 20 opus numbers,
published between 1795 and 1801,
cover just about every current genre
of instrumental music: two piano
concertos; sonatas for solo piano,
for violin and piano, for cello and
piano; string trios, piano trios, string
quartets, quintets, as well as the
Septet in E-flat which became the
most popular of all his works. There

was one significant lacuna in this list,
however, and Beethoven began to fill
it simultaneously with his work on the
Septet: he couldn’t fully be an heir
of Haydn and Mozart until he wrote a
There is certainly plenty of Haydn and
Mozart in Beethoven’s first symphony,
finished a few months after his 29th
birthday. But the young composer’s
originality is evident from every bar of
the music. Beethoven clearly took over
where Haydn and Mozart had left off;
and if he remained within the Classical
symphonic framework established by
his elders (something he would never
do again in a symphony), he spoke the
inherited language in such an individual
way that no contemporary could fail to
notice the arrival of a major new voice
on the musical scene.
The First Symphony was introduced
at the Court Theatre on April 2, 1800.
The program was made up entirely
of works by Haydn, Mozart, and
Beethoven; this was the first time the
composers now known as the three
Viennese classics appeared together
on a concert bill.

Right at the beginning of his
symphony, the indomitable young
man made a gesture that has been
cited ever since as a sign of artistic
independence. The very first chord
of the symphony is one that, instead
of establishing the home key as
one would expect, immediately
destabilizes it and leads away from it.
This surprising opening gambit sets
the stage for a brilliant movement filled
with many more musical surprises.
The second movement, in a gently
rocking 3/8 time, uses melodic
imitation and other contrapuntal
techniques to build up its texture
from unaccompanied violins to
tutti. Haydn and Mozart left out the
trumpets and kettledrums from most
of their slow movements. Beethoven
chose to retain them, but asked
them something they were not often
required to do, namely play softly. The
pianissimo notes of the trumpets and
timpani add an element of mystery.
The third movement is called
“Menuetto,” but its character is more
that of a scherzo; in other words,
it is not a dance but one of those
witty, humorous fast movements
that originated with Haydn but had
acquired a special significance
for Beethoven since his earliest
Viennese works. Beethoven liked to
base his scherzos on single musical
gestures, often consisting of only
two or three notes; the treatment of
these gestures was full of surprises,
sudden key changes, offbeat
accents, and other unexpected
events. This delightful movement is
no exception. Scherzos also have
contrasting sections called trios (as
do minuets). The trio of Beethoven’s
First Symphony is distinguished

by its almost total lack of harmonic
movement; this stasis contrasts with
the hectic pace of the main section.
The last movement starts with
another delicious Beethovenian joke.
The theme of the movement, which
starts with a fast upward scale, is born
gradually before our eyes (or ears),
as the notes of the scale are piled
up, one by one, in a solemn “Adagio”
tempo. Once the top note of the
scale is reached, the tempo becomes
“Allegro molto e vivace,” and there is
never a moment of rest until the end.


P I A N O C O N C E R T O N O . 4 I N G M A J O R , O P. 5 8 ( 1 8 0 5 – 0 6 )
UMS premiere: Chicago Symphony Orchestra and pianist Wilhelm Backhaus
conducted by Frederick Stock; May 1922 in Hill 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 the Pacific Northwest
· Noah Webster publishes his first American English dictionary
The first three Beethoven concertos
represent a gradual line of evolution,
gradually moving away from the
Mozartian models and culminating
in No. 5, the magnificent “Emperor”
Concerto in E-flat Major. No. 4 seems
to fall outside that line. It is every bit as
revolutionary as the “Emperor,” which
it preceded by three years; yet its tone
is characterized by a unique mixture
of cheerfulness and lyricism with
occasional touches of mystery. The
first movement is gentle yet extremely
powerful. The finale is playful and witty
yet has its dream-like moments. And
in between, there is an “Andante con
moto” that doesn’t resemble anything
Beethoven ever wrote before or after
the Fourth Concerto.
The first surprise occurs in the
very first measure of the concerto.
The usual orchestral introduction is
preceded by a piano solo consisting
of a few simple chords played almost
as if in a dream. The orchestra enters
in a different key, eventually finding
its way back to G Major. From here on,
the succession of themes follows the
established conventions, but there are
many irregularities in the tonal plan
and its harmonic elaboration. One of

the many unexpected modulations in
the movement leads to an expressive
melody played pianissimo in the
highest register of the instrument.
It makes use of notes that had only
recently been added to the keyboard;
it is interesting to observe that
Beethoven contrasted the extremely
high range of the melody with a
left-hand accompaniment that is
extremely low. The effect is magical.
The second-movement “Andante
con moto” is an impassioned
dialog between the piano and the
strings that seems to cry out for a
programmatic explanation. In 1985,
musicologist Owen Jander interpreted
the movement as “Orpheus in Hades,”
with Orpheus pleading with the Furies
of the Underworld for the life of his
wife, Eurydice. Having won Eurydice
back, Orpheus broke his vow not to
look at her during their way home and
lost her forever.
Jander supported his claims
by some biographical evidence.
An acquaintance of Beethoven’s,
composer Friedrich August Kanne,
was working on an opera based on
the Orpheus myth around the time
Beethoven composed his concerto.

Kanne, who wrote both the libretto
and the score of his opera, included
a passage where Orpheus and the
chorus of the Furies alternate in oneline speeches very much in the manner
of Beethoven’s piano-string dialog.
He also represented the final tragedy
in ways that, as Jander demonstrated,
are comparable with the truly
extraordinary effects in the second half
of Beethoven’s movement.
Beethoven used some special
pianistic devices here that, like the
high tessitura in the first movement,
were first made possible by the new
instrument for which the concerto was
conceived. He instructed the pianist to
play the entire second movement with
the una corda pedal, that is, activating
only one of the three strings available
for each tone. Unlike modern pianos,
the fortepiano of Beethoven’s time was
able to produce a noticeable shift from
one to two and three strings, and this
shift greatly enhances the dramatic
effect of the movement.
In a gesture Beethoven was
particularly fond of, the third-movement
“Rondo” starts in the “wrong” key:
for several measures, C Major is
suggested before the “correct” G Major
is established in a clearly audible tonal
“switch.” The cheerful mood of the
movement is occasionally tempered by
more serious moments, but the ending,
culminating in a vigorous presto, is one
of the happiest Beethoven ever wrote.
Like the first movement, the third
makes room for a cadenza. Beethoven
noted in the score: “The cadenza
should be short.” In 1809, he wrote
down an example of what he had in
mind, perhaps at the request of his
pupil, Archduke Rudolph, to whom the
concerto was dedicated.

S Y M P H O N Y N O. 9 I N D M I N O R , O P. 1 2 5 ( “ C H O R A L” ) ( 1 8 2 4 )
UMS premiere: Chicago Symphony Orchestra with the UMS Choral Union,
soprano Jeanette Vreeland, mezzo-soprano Coe Glade, tenor Arthur Hackett, and
bass Theodore Webb, conducted by Frederick Stock; May 1934 in Hill Auditorium.
Snapshots of History…In 1824:
· The first American fraternity, Chi Phi, is founded at Princeton University
· The last surviving French general of the Revolutionary War, the Marquis
de Lafayette, makes a tour of the 24 states in the US and is received by
the populace with a hero’s welcome
· Australia is officially adopted as the name of the country once known as
New Holland

With the Ninth, Beethoven created
more than a symphony. Almost as
soon as it was written, the Ninth
became an icon of Western culture
for at least two important reasons.
Its message affirms the triumph
of joy over adversity like no other
piece of music has ever done. Its
revolutionary form, its unprecedented
size and complexity and, above all,
the introduction of the human voice
in a symphony, changed the history of
music forever. The work’s import and
the means by which it is expressed
are both unique: each explains and
justifies the other.
Everything in Beethoven’s career
seems to have prepared the way for
this exceptional composition. It is the
culmination of the so-called “heroic
style,” known from Symphonies No. 3
and 5, among others. But it is also the
endpoint of a series of choral works
with all-embracing, cathartic, and
solemn endings. The series began in
1790 with two cantatas on the death of
Emperor Joseph II and the inauguration
of Leopold II, respectively; the

concluding chorus of the latter begins
with the words Stürzt nieder, Millionen
(Fall to your knees, ye millions) — a
close paraphrase of Schiller’s “Ode to
Joy,” the text Beethoven used in the
final movement of the Ninth. The Choral
Fantasy is certainly the most direct
precursor of the “Choral” Symphony,
but let it also be remembered that
Beethoven’s only opera, Fidelio,
contains another quote from Schiller’s
poem in its final scene: Wer ein holdes
Weib errungen… (A man who has found
a gracious wife…).
The poem had preoccupied
Beethoven since at least 1792: in
that year, an acquaintance of the
composer’s informed Schiller’s sister
A young man…whose talents are
universally praised…proposes…to
compose Schiller’s Freude, and indeed
strophe by strophe. I expect something
perfect for as far as I know him he is wholly
devoted to the great and the sublime.
(continued on page 11)

by Doyle Armbrust
Maybe we need to try something else.
Something drastic.
Since the presidential election, I
don’t know how it is over in your silo,
but in my silo I can’t seem to drown out
all the partisan squabbling bleeding in
from outside. Netflix bingeing has lost
its opioid effect and dinner with friends
seems to inevitably funnel toward
one topic. Engaging isn’t working
and disengaging isn’t, either. It might
take a miracle for us to step out of our
respective trenches.
Hang on to that thought for a second.
My two-year-old can sing the
“Ode to Joy.” I mean, he’s not all,
“Freude, schöner Götterfunken…”
or anything, but he’s solid on the
melody because Beethoven, at the
apex of his genius, throws down a
fully scalar melody to deliver perhaps
his most poignant message to his
generation (in Europe, anyway) and to
all future generations (of the classical
persuasion, anyway). And because
there’s an incredible Muppets sketch of
Beaker multi-tracking the tune before
characteristically electrocuting himself.

What is that message? It certainly
can’t be reduced to “Come on, let’s all
get happy.” Joy, says Beethoven…er,
Friedrich Schiller… “Your magics join
again what custom strictly divided.”

These flags, these gods, these bumper
stickers — their divisiveness dissolves
at the arrival of this splendid Daughter
of Elysium (a.k.a. Joy). And then the
Every man becomes a brother, where thy
gentle wings abide.

Let that sink in for a moment. Consider
the cable news pundit that makes you
want to Clorox your ears when you hear
them sermonize. Then consider a world
in which you greet each other like
one of those dog-seeing-its-enlistedowner-after-a-tour-of-duty videos. It
sounds absurd, but what, other than
something radical, do we have left to try
at this point?
Having waited a full three movements
before introducing the chorus,
Beethoven dishes us a snippet of each
before the bass soloist admonishes,
“O friends, not these sounds…” The
creation of life from the primordial ooze
that is the “Allegro ma non troppo,” the
haymaker of the “Molto vivace,” and
the soothing allure of the “Adagio molto
e cantabile” are not enough. If we’re
going to stop screaming at each other,
stop twitching for our holsters — in
the composer’s Vienna or in our own
republic — it’s going to take “songs full
of joy.” Beethoven is even going to do
a Jefferson Bible number on Schiller’s
poem, cutting out politically-charged
lines like “Safety from the tyrant’s
power” to make sure we don’t get
distracted by politics from the humanist
utopia he’s pitching.
It’s aspirational, for sure, but not
so naïve, it turns out. In his stirring

documentary, Following the Ninth,
filmmaker Kerry Candaele traces the
symphony’s reverberations in situations
far more desperate than ours. In Chile,
General Pinochet locks up and tortures
political dissidents — in this case,
socialists whose elected government
he had overthrown in a military coup
— and how did wives and partners of
these captives respond? By singing
the “Ode to Joy” at the prison walls,
infiltrating a dark despair with hope. Or
what about the standoff at Tiananmen
Square? There, the “An die Freude”
was pumped like a pirate radio signal
through loudspeakers to revitalize
protesters in an impossible stalemate.
Beethoven’s score did not, of
course, resolve these conflicts. What
it achieved was to reveal hope where
hope seemed inconceivable.
If sentient in 1989, your memories
of the teardown of the Berlin Wall
may revolve around David Hasselhoff
singing at the Brandenburg Gate,

sporting a particularly unfortunate
scarf. You may also recall, though,
a rousing performance of the Ninth
by Leonard Bernstein in which the
conductor would make the provocative
switcheroo of “Freiheit” (freedom)
for the original “Freude” (joy). It was
the Cold War, so perhaps allowances
must be made, but the visual of a
city — literally split by polarized
political ideologies — reclaiming its

brotherhood is no less powerful for it.
Now back to our shores. There was
a fair amount of talk about “walls”
in the recent election season, but
the one that actually materialized is
the one currently carving us up into
teams for the world’s least amusing
game of dodge ball. We can’t seem
to count on mutual respect or zesty,
fact-based debate any longer. It’s time
for something unusual, absurd even.
Something that will make you look over
at that gentleman in the row in front
of you, the one taking five full minutes
to unwrap his butterscotch candy, and
think affectionately, “My brother.” It’s
going to take a leap of faith, and it’s
going to require a killer soundtrack.
Maybe you’re here tonight because
you read something in the New Yorker
about the Budapest Festival Orchestra
sounding pretty phenomenal with
Richard Goode on the keys. Maybe
Beethoven is your jam. Maybe your date
is, like, the LeBron James of planning
a night out. Whatever the case, since
this is probably not your first time
experiencing the Ninth Symphony, may
I suggest that tonight, you consider this
piece beyond its entertainment value.
What if we choose to buy into
Beethoven’s magical thinking — that
there is a joy so profound that it might
just bring us back together? You know,
in the spirit of trying something drastic.
Doyle Armbrust is a Chicagobased violist and member of the
Spektral Quartet and Ensemble Dal
Niente. He is a contributing writer
for WQXR’s Q2 Music, Crain’s Chicago
Business, Chicago Magazine, Chicago
Tribune, and formerly, Time Out Chicago.

Thus, all musical and literary roads
converge in the Ninth Symphony. In a
way, Beethoven was getting ready to
write this work all his life. The actual
compositional work took about a year
and a half, from the summer of 1822
through February 1824.
Beethoven’s plans to set Schiller’s
“Ode to Joy” began to take a new
shape in 1816–17, around the time
he received a commission for a
symphony from the Philharmonic
Society of London. At this point, he
had two distinct compositions in mind
— a new pair of symphonies similar to
Nos. 5–6 (1807–08) or 7–8 (1811–12),
which had also been conceived in
pairs. But the Tenth Symphony never
progressed beyond a few sketches.
The Ninth remained Beethoven’s last
work for orchestra.
Even though Beethoven had long
planned to set the “Ode to Joy”
to music, he long hesitated over
whether or not the last movement of
a symphony was the proper place for
such a setting. After sketching the
choral finale, he appears to have had
second thoughts and jotted down
ideas for a purely instrumental last
movement, ideas he later used in his
String Quartet in a minor, Op. 132. He
felt that the introduction of voices
needed special justification; the
difficulties he experienced in crossing
this particular bridge can be seen
from the many stages the introduction
went through in the sketches. At
one point, for instance, the rejection
of the themes from the first three
movements was entrusted to a singer
(not the cellos and basses as in
the final version). The singer, after
dismissing the “Scherzo” as Possen
(“farce”) and the “Adagio” as “too

tender,” exclaimed: “Let us sing the
song of the immortal Schiller!”
In the end, the “song of the
immortal Schiller” was set in a form
far removed from the original “strophe
by strophe” notion Beethoven is
supposed to have had back in 1792.
He adopted only four of Schiller’s
eight strophes, freely repeating and
rearranging the lines. (Schiller himself
had published a revised version of his
poem in 1803, and it is that version
that Beethoven now used.)
The opening of the symphony, with
its open fifths played in mysterious
string tremolos (rapid repeated
notes), has been described as
representing the creation of the
world, as the theme emerges from
what seems an amorphous, primordial
state. There is an atmosphere of
intense expectancy; the tension
continually grows until the main
theme is presented, fortissimo, by
the entire orchestra. It is significant
that the mysterious opening is
immediately repeated, as it will be
two more times in the course of the
movement, significantly prolonging
the sensation of suspense. The main
theme is moved into a new key the
second time, and into an unexpected
one at that. The first movement
of a d-minor symphony normally
gravitates upward toward F Major.
Beethoven chose a descent to B-flat
instead (incidentally, B-flat will also
be the key of the symphony’s slow
movement). The “Allegro” follows
the outlines of sonata form, but the
individual stages of that form do
not quite function the usual way. In
traditional sonata form (Mozart, for
instance), the tensions that build
up in the development section are

resolved in the recapitulation. In the
Ninth Symphony, a tendency present
in several works from Beethoven’s
middle period becomes stronger than
ever: the tensions keep increasing
to the end. The movement’s lengthy
coda contains some material of a
highly dramatic character; it ends on
a climactic point, without a feeling of
The first movement is followed by
a “Scherzo”; this order is unusual in
symphonies, though not uncommon in
chamber music. Beethoven refrained
from using the word “scherzo”
here, however, because the mood
is dramatic rather than playful. It is
based on a motif of only three notes,
played in turn by the strings, the
timpani (specially tuned at an octave
instead of the usual fourth), and
the winds. The motif is developed
in a fugal fashion, with subsequent
imitative entrances — this fugal
theme appeared in Beethoven’s
sketchbook as early as 1815. Through
the addition of a second theme,
contrasting with the first, the scherzo
is expanded into a sonata-like
structure of considerable proportions.
The trio, or middle section, switches
from triple to duple meter, and from
d minor to D Major, anticipating not
only the key of the finale but the
outline of the “Ode to Joy” theme as
well. For the first time, we reach a
haven of peace and happiness that
foreshadows the finale. But for the
moment, the trio is brushed aside
by the repeat of the dramatic “Molto
vivace.” At the end, Beethoven
leads into the trio a second time,
but breaks it off abruptly, to end the
movement with two measures of
octave leaps in unison. According

to one commentator, this ending
suggests an “open-ended” form that
could “move back and forth between
scherzo and trio endlessly.” In other
words, we cannot at this point tell for
sure whether the final outcome will be
tragic or joyful.
First, there is one more stage to
complete: the sublime third-movement
“Adagio,” one of Beethoven’s most
transcendent utterances. It has two
alternating melodies: one majestic,
the other tender. Each recurrence of
the first theme is more ornate than the
preceding one while the second theme
does not change. The movement
culminates in a powerful brass fanfare,
followed by a wistful epilogue.
We are jolted out of this idyll by
what, in 1824, must have counted
as the most jarring dissonance ever
written. Wagner referred to this
sonority as the Schreckensfanfare
(fanfare of horror), and, at the opening
of the finale, it forcefully suggests that
we have arrived at a point where all
previous rules break down. We can
no longer predict the future on the
basis of the past; what follows has
absolutely no precedent in the history
of music.
In his book on the Ninth Symphony
(published by Schirmer in 1995), David
Benjamin Levy interprets the finale as
a four-movement symphony in its own
right that mirrors the four movements
of the Ninth Symphony itself (opening,
scherzo, slow movement, finale).
After the fanfare, Beethoven begins
the first of these sections by evoking
the past: the themes of the first
three movements appear, only to be
emphatically rejected by the dramatic
recitative of the cellos and basses.
The first two-measure fragment of

the “Ode to Joy” theme, however, is
greeted by a recitative in a completely
different tone as the tonality changes
to a bright D Major.
The “Ode to Joy” theme is first
played by the cellos and basses
without any accompaniment. It is
subsequently joined by several
countermelodies (including a
particularly striking one in the
bassoon) and finally repeated
triumphantly by the entire orchestra.
Then the music suddenly stops and
the Schreckensfanfare unexpectedly
returns, followed by the entrance of
the baritone soloist who takes up the
last phrase of the earlier instrumental
recitative to lead into the vocal
presentation of the “Ode to Joy.”
As before, during the instrumental
variations, the melody grows and
grows in volume and excitement until
(at the words Und der Cherub steht vor
Gott) there is a new interruption.
The second major section of the
movement starts here, with the
scherzo-like “Turkish march” for
tenor solo and a battery of percussion
instruments. It has been dubbed the
“Turkish march” because of a musical
style influenced by the Turkish janissary
bands popular in Vienna at the time
(the same influence can be found in
several works by Mozart, including the
opera The Abduction from the Seraglio).
The theme of the “Turkish march” is,
of course, a variation on the “Ode to
Joy” melody. This episode is followed
by an orchestral interlude in the form
of a fugue, also based on the “Ode to
Joy.” The melody is recapitulated in
its original form by the orchestra and
chorus, and then the music stops again.
In the third section (the “slow
movement”), the men from the

chorus introduce a new theme (Seid
umschlungen, Millionen). If the “Ode”
celebrated the divine nature of Joy,
this melody represents the Deity in
its awe-inspiring, cosmic aspect.
Whereas the first theme proceeded
entirely in small steps, the second one
is characterized by wide leaps; this
sudden expansion in the dimensions
of the melody conjures up a sense of
the infinite and God’s throne above
the starry skies.
The last section begins with the
two themes heard simultaneously
in what David Levy calls a “symbolic
contrapuntal union of the sacred and
the profane.” The solo quartet returns
to the first strophe of Schiller’s poem;
once more, the music starts anew to
rise to new heights of joyful energy.
Three slow sections intervene to delay
this final ascent; the second of these
(an adagio cadenza for the four solo
singers) momentarily brings back
memories of the symphony’s slow
movement. But finally, nothing can
stop the music from reaching a state
of ecstasy. After the last unison ‘D’ in
measure 940, the journey is completed
and there is nothing left to say.
Program notes by Peter Laki.


Text by Ludwig van Beethoven and Friederich Schiller

O Freunde, nicht diese Töne!
Sondern lasst uns angenehmere
anstimmen, und freudenvollere.

O friends, not these sounds!
Let us sing more pleasant and more joyful
ones instead!

Freude, schöner Götterfunken,
Tochter aus Elysium,
Wir betreten feuertrunken,
Himmlische, dein Heiligtum.
Deine Zauber binden wieder
Was die Mode streng geteilt,
Alle Menschen werden Brüder
Wo dein sanfter Flügel weilt.

Joy, beautiful divine spark,
daughter from Paradise,
We enter, drunk with fire,
Heavenly One, into your sanctuary.
Your magic reunites what daily life
Has rigorously kept apart,
All men become brothers
Wherever your gentle wings abide.

Wem der grosse Wurf gelungen,
Eines Freundes Freund zu sein,
Wer ein holdes Weib errungen,
Mische seinen Jubel ein!
Ja, wer auch nur eine Seele
Sein nennt auf der Erden rund!
Und wer’s nie gekonnt,
der stehle
Weinend sich aus diesem Bund.

Anyone who has been greatly fortunate
To be a true friend to a friend,
Each man who has found a gracious wife,
Should rejoice with us!
Yes, anyone who can claim but a single soul
As his or her own in all the world!
But anyone who has known none of this,
must steal away,
Weeping, from our company.

Freude trinken alle Wesen
An den Brüsten der Natur,
Alle Guten, alle Bösen
Folgen ihrer Rosenspur.
Küsse gab sie uns und Reben,
Einen Freund, geprüft im Tod,
Wollust ward dem Wurm gegeben,
Und der Cherub steht vor Gott.

All beings drink of Joy
At Nature’s breasts,
All good creatures, all evil creatures
Follow her rosy path.
She has given us kisses and vines,
A friend loyal unto death,
Pleasure has been given to the worm,
And the angel stands before God.

Froh, wie seine Sonnen fliegen
Durch des Himmels prächt’gen Plan,
Laufet, Brüder, eure Bahn,
Freudig, wie ein Held zum Siegen.

Happily, as his suns fly
Across the sky’s magnificent expanse,
Hurry, brothers, along your path,
Joyfully, like a hero to the conquest.

Seid umschlungen, Millionen!
Diesen Kuss der ganzen Welt!
Brüder! überm Sternenzelt
Muss ein lieber Vater wohnen.

Be embraced, you millions!
This kiss for the entire world!
Brothers — beyond the starry canopy
A loving Father must dwell.


Ihr stürzt nieder, Millionen?
Ahnest du den Schöpfer, Welt?
Such ihn überm Sternenzelt,
Über Sternen muss er wohnen.

Do you fall on your knees, you millions?
Do you sense the Creator, world?
Seek Him above the starry canopy,
Beyond the stars must He dwell.


Photo (next spread): The city of Budapest, Hungary; photographer: Zsolt Hlinka.

The Budapest Festival Orchestra (BFO)
is one of the major success stories of the
international music scene, being rated
among the world’s top 10 orchestras. Its
key figure is music director Iván Fischer
who, alongside Zoltán Kocsis, was one
of the Orchestra’s founding fathers. The
BFO’s unique system works to encourage
the artistic qualities of its musicians to
blend together, forming an exquisitely
homogenous orchestral sound. Both
audience and critics alike acknowledge
the quality in the ensemble’s captivating
chamber music performances, as well as
the all-pervasive dynamism with which it
shares the joy of music making with the
Over the decades, the BFO has presented
the Hungarian audience with such stars
as Sir Georg Solti — who until his death
was principal guest conductor of the BFO,
as well as great musicians such as Yehudi
Menuhin, Pinchas Zukerman, Gidon Kremer,
Radu Lupu, Sándor Végh, Sir András Schiff,
and Richard Goode. Maestro Fischer
also makes great efforts to invite young,
internationally-acclaimed musicians and
singers to perform for domestic audiences.
The Orchestra is a regular guest at the
world’s most important music venues and
concert halls, including Carnegie Hall and
the Lincoln Center in New York, Vienna’s
Musikverein, the Royal Concertgebouw
in Amsterdam, and London’s Royal Albert
Hall. They have repeatedly been invited
to perform at international music events
such as the Mostly Mozart Festival, the
Salzburger Festspiele, and the Edinburgh
International Festival.
The Orchestra’s famous Music
Marathons and its own Bridging Europe
Festival, focusing on the culture of a
different nation every year, are organized

in partnership with Müpa Budapest, one
of the leading cultural institutions in
Hungary. Opera performances, directed
by Maestro Fischer, are also staged as
joint productions; following the highlyacclaimed renditions of Don Giovanni
and The Marriage of Figaro, they recently
performed The Magic Flute.
Since 2014, the Orchestra has been
dedicating itself to Community Weeks
of free concerts given in nursing homes,
churches, abandoned synagogues, and
child-care institutions. The Orchestra
regularly plays to young audiences,
including Cocoa Concerts for the youngest
and “Choose Your Instrument” programs
for primary school children. They hold
frequent film competitions for secondary
school students, while making efforts to
reach out to young adults too — not least
through the highly successful Midnight
Music series. Their innovative concerts
include Dancing on the Square, one of
the Orchestra’s priority projects, which
is as much about communal creativity,
tolerance, and equal opportunities as it
is about music and dance. The autismfriendly Cocoa Concerts are another of
their major initiatives, providing a safe
environment for children living with autism
and their families alike.
Over the years, the BFO has received the
highest accolades. In 2008, internationallyrenowned music critics rated the orchestra
the ninth best in the world. The Orchestra’s
albums have twice won Gramophone Awards,
while their rendition of Mahler’s First
Symphony was nominated for a 2013 Grammy
Award. In 2014, the recording of Mahler’s
Symphony No. 5 received wide acclaim,
being awarded both the Diapason d’Or and
Italy’s Toblacher Komponierhäuschen for
“Best Mahler Recording.”



Iván Fischer (conductor) is the founder
and music director of the Budapest
Festival Orchestra (BFO), as well as the
music director of the Konzerthaus and
Konzerthausorchester Berlin. In recent
years he has also gained a reputation as a
composer, with his works being performed
in the US, the Netherlands, Belgium,
Hungary, Germany, and Austria. He has also
directed a number of successful opera
productions. The BFO’s frequent worldwide
tours and a series of critically-acclaimed
and fast-selling records, released first
by Philips Classics and later by Channel
Classics, have contributed to Maestro
Fischer’s reputation as one of the world’s
most high-profile music directors.
Maestro Fischer has guest conducted
the Berlin Philharmonic more than
10 times; spends two weeks with
Amsterdam’s Royal Concertgebouw
Orchestra annually; and as a conductor,
he is also a frequent guest of the leading
US symphonic orchestras, including the
New York Philharmonic and the Cleveland
Orchestra. As music director, he has led
the Kent Opera and the Opéra National
de Lyon, and was principal conductor
of the National Symphony Orchestra in
Washington, DC. Many of his recordings
have been awarded prestigious
international prizes. He studied piano,
violin, and later the cello and composition
in Budapest, before continuing his
education in Vienna where he studied
conducting under Hans Swarowsky.
Maestro Fischer is a founder of the
Hungarian Mahler Society and Patron
of the British Kodály Academy. He has
received the Golden Medal Award from
the President of the Republic of Hungary,
and the Crystal Award from the World
Economic Forum for his services in
promoting international cultural relations.
The government of the French Republic

made him Chevalier de L’Ordre des Arts
et des Lettres. In 2006 he was honored
with the Kossuth Prize, Hungary’s most
prestigious arts award. In 2011 he received
the Royal Philharmonic Society Music
Award, Hungary’s Prima Primissima Prize,
and the Dutch Ovatie Prize. In 2013 he
was accorded Honorary Membership to
the Royal Academy of Music in London. In
2015 he was presented with the Abu Dhabi
Festival Award.
Richard Goode (piano) has been hailed for
music making of tremendous emotional
power, depth, and expressiveness, and
has been acknowledged worldwide as
one of today’s leading interpreters of
classical and romantic music. In regular
performances with major orchestras,
recitals in the world’s music capitals,
and through his extensive and acclaimed
Nonesuch recordings, he has won a large
and devoted following.
Mr. Goode’s 2016–17 season features
appearances in numerous European
festivals, including the Edinburgh Festival
and performances in London, Budapest,
Madrid, Stockholm, Antwerp, and Helsinki.
Other highlights include concerts in
Hungary and a US tour with the Budapest
Festival Orchestra and Iván Fischer. His
recording with them of the five Beethoven
Piano Concertos has won worldwide
acclaim. Mr. Goode will also be heard
in recital at Carnegie Hall and at major
university and concert series throughout
North America. An exclusive Nonesuch
recording artist, Mr. Goode has made more
than two dozen recordings over the years,
ranging from solo and chamber works to
lieder and concertos.
A native of New York, Mr. Goode studied
with Elvira Szigeti and Claude Frank,
with Nadia Reisenberg at the Mannes
College of Music, and with Rudolf Serkin

at the Curtis Institute of Music. Mr. Goode
served, together with Mitsuko Uchida, as
co-artistic director of the Marlboro Music
School and Festival in Marlboro, Vermont,
from 1999 through 2013. He is married to
the violinist Marcia Weinfeld, and when
the Goodes are not on tour, they and their
collection of some 5,000 volumes reside in
New York City.
World-renowned American singer Laura
Aikin (soprano) is a familiar presence
in the world’s great opera houses and
concert halls performing with many of the
greatest conductors of our time, including
Daniel Barenboim, Sylvain Cambreling,
William Christie, Christoph von Dohnányi,
Iván Fischer, Daniele Gatti, Michael Gielen,
René Jacobs, Fabio Luisi, Zubin Mehta,
Ingo Metzmacher, Riccardo Muti, Helmuth
Rilling, Donald Runnicles, and Franz
Her repertoire embraces works from
the baroque to the contemporary. In great
demand in both Europe and America, she is
a regular guest at the leading opera houses
worldwide such as the Vienna State Opera,
La Scala Milano, Deutsche Oper Berlin,
Opernhaus Zurich, Netherlands Opera,
Opéra National de Paris, Semperoper
Dresden, Gran Teatro del Liceu Barcelona,
Opera Frankfurt, and Metropolitan Opera
New York.
Highlights of the 2016–17 season
include Donna Anna in Don Giovanni at
the Deutsche Oper Berlin, Beethoven’s
Symphony No. 9 with the Budapest Festival
Orchestra and Iván Fischer in New York and
Ann Arbor; as well as Hilda Mack in Henze’s
Elegie Für Junge Liebende in Vienna.
Possessing a voice of uncommon allure,
musical sophistication far beyond her
years, and intuitive and innate dramatic
artistry, the Grammy Award-winning

Kelley O’Connor (mezzo-soprano) has
emerged as one of the most compelling
performers of her generation. She appears
with many of the world’s foremost
orchestras and has created meaningful
artistic relationships with such eminent
conductors and directors as Gustavo
Dudamel, Iván Fischer, Louis Langrée,
Donald Runnicles, Peter Sellars, Robert
Spano, and Franz Welser-Möst. Her
discography includes Golijov’s Ainadamar
and Lieberson’s Neruda Songs with Robert
Spano and the Atlanta Symphony, Adams’
The Gospel According to the Other Mary
with Gustavo Dudamel and the Los Angeles
Philharmonic, and Beethoven’s Ninth
Symphony with Franz Welser-Möst and the
Cleveland Orchestra.
Since his spectacular debut at the Richard
Wagner Bayreuth Festival in 1997 as
Walther von Stolzing in Die Meistersinger,
Robert Dean Smith (tenor) has been
singing in the world’s leading opera
houses and concert halls. An acclaimed
interpreter of dramatic and Heldentenor
roles, his engagements in theaters and
concert halls around the world with the
conductors Zubin Mehta, Antonio Pappano,
Christian Thielemann, Riccardo Muti,
Daniel Barenboim, Wolfgang Sawallisch,
Pierre Boulez, Christoph von Dohnányi,
Bernard Haitink, Kent Nagano, and Daniele
Gatti confirm his status as one of today’s
most renowned singers.
Mr. Smith had the special honor of
singing the tenor solo in Beethoven’s
Ninth Symphony for the 125th anniversary
of the Bayreuth Festival in August 2001,
at the Bayreuth Festspielhaus with the
Festival Orchestra and Chorus conducted
by Christian Thielemann. Mr. Smith’s
recording on Arte Nova of Wagner scenes
has been awarded the Orphée d’Or by the
Académie du Disque Lyrique.

Born in Kansas, he studied at Pittsburg
(Kansas) State University with Margaret
Thuenemann, at the Juilliard School in New
York with Daniel Ferro, and with Professor
Janice Harper in Europe. Like many dramatic
tenors, he began his career as a baritone
and sang for several years in German opera
houses. His excellent training and stage
versatility allow him to sing a wide variety
of operas and concert repertoire in many
different languages and styles.
Recent engagements include Ariadne
auf Naxos and Madame Butterfly at the
Metropolitan Opera, a production of Ariadne
auf Naxos under Christian Thielemann at the
Festspielhaus Baden-Baden, Die Frau ohne
Schatten at the Vienna State Opera, Die tote
Stadt in Bilbao, Tannhäuser and Ariadne auf
Naxos at the Bavarian State Opera Munich,
Lohengrin at the Semperoper Dresden,
Tristan und Isolde and Aida at the Opéra
Bastille in Paris, Die Frau ohne Schatten at
the Bavarian State Opera Munich, his debut
as Otello in Oviedo, and Tannhäuser and
Fidelio at the Vienna State Opera.
Matthew Rose (bass) studied at the Curtis
Institute of Music before becoming a
member of the Young Artist Programme at
the Royal Opera House. In 2006 he made
an acclaimed debut at the Glyndebourne
Festival as Bottom (A Midsummer Night’s
Dream), for which he received the John
Christie Award, and he has since sung at
opera houses throughout the world. He has
sung under the baton of Sir Colin Davis,
Gustavo Dudamel, Sir Andrew Davis, Marc
Minkowski, and Antonio Pappano and is
already a critically-acclaimed recording
artist, winning a Grammy Award for “Best
Opera Recording” for Ratcliffe in Britten’s
Billy Budd. Other recordings include
Winterreise with pianist Gary Matthewman
and Schwanengesang with Malcolm
Martineau (Stone Records).

This season’s opera engagements
include the roles of Masetto, Leporello,
and Frère Laurent (La Bohème) at The
Metropolitan Opera, Baron Ochs in Strauss’
Der Rosenkavalier at Covent Garden, and
Bottom in Britten’s A Midsummer Night’s
Dream at the Aldeburgh Festival. Concerts
include Beethoven’s Symphony No. 9 with
the Budapest Festival Orchestra in the US,
the Schubert Mass with the Deutsches
Symphonie-Orchester Berlin and Kent
Nagano, Mahler’s Symphony No. 8 with
the London Philharmonic Orchestra and
Vladimir Jurowski, and recitals at London’s
Wigmore Hall and New York’s Carnegie Hall.
Formed in 1879 by a group of local
university and townspeople who gathered
together for the study of Handel’s Messiah,
the UMS Choral Union has performed
with many of the world’s distinguished
orchestras and conductors in its 138year history. First led by Professor Henry
Simmons Frieze and then conducted
by Professor Calvin Cady, the group has
performed Handel’s Messiah in Ann
Arbor annually since its first Messiah
performance in December 1879. Based
in Ann Arbor under the aegis of UMS
and led by Scott Hanoian, the 175-voice
Choral Union is known for its definitive
performances of large-scale works for
chorus and orchestra.
The UMS Choral Union’s 2016–17 season
began with its annual performances of
Handel’s Messiah at Hill Auditorium with
the Ann Arbor Symphony. In March, Scott
Hanoian will lead the chorus and Ann Arbor
Symphony Orchestra in a performance
of Beethoven’s Missa Solemnis at
Hill Auditorium, followed by a reprise
performance with the Toledo Symphony
and Stefan Sanderling in April at the Toledo
Museum of Art’s Peristyle. Women of the
UMS Choral Union will join the Ann Arbor

Symphony Orchestra and Arie Lipsky in
March for a performance of Debussy’s
Nocturnes, and will end the season in May
with performances of Beethoven’s Ninth
Symphony with the Detroit Symphony and
Leonard Slatkin.
The UMS Choral Union was a participant
chorus in a rare performance and recording
of William Bolcom’s Songs of Innocence
and of Experience in Hill Auditorium in April
2004 under the baton of Leonard Slatkin.
Naxos Records released a three-disc set of
this recording in October 2004, featuring
the UMS Choral Union and U-M School of
Music, Theatre & Dance ensembles. The
recording won four Grammy Awards in
2006, including “Best Choral Performance”
and “Best Classical Album.” The recording
was also selected as one of The New York
Times “Best Classical Music CDs of 2004.”
Other recent highlights include a Grammynominated recording project with the
U-M School of Music, Theatre & Dance’s
choral and orchestral ensembles of a
performance of the rarely-heard Oresteian
Trilogy by Darius Milhaud conducted by
Kenneth Kiesler. In May 2013, chorus
members joined the Detroit Symphony and
Leonard Slatkin in a performance of Ives’s
Symphony No. 4 as part of Carnegie Hall’s
Spring for Music festival in New York.
Participation in the UMS Choral Union
remains open to all students and adults by
For more information on how to audition,
please email,
call 734.763.8997, or visit
Scott Hanoian (music director, UMS
Choral Union) is active as an organist,
accompanist, continuo artist, conductor,
choral adjudicator, and guest clinician.
As the director of music and organist at
Christ Church Grosse Pointe, he directs the

church’s Choir of Men and Boys, Choir of
Men and Girls, the Christ Church Schola,
the Christ Church Chorale, and oversees
the yearly concert series. In addition to
his work at Christ Church, Mr. Hanoian was
the artistic director and conductor of the
Oakland Choral Society and has served on
the faculty of Wayne State University.
As a conductor and organist, Mr. Hanoian
has performed concerts throughout
the US and Europe. He has performed
in evensongs and concerts throughout
England, Scotland, Wales, France, Italy,
Ireland, and Australia. Highlights include
Wells Cathedral; Winchester Cathedral; York
Minster; St. Paul’s Cathedral, London; St.
Peter’s Basilica at the Vatican; St. Patrick’s
Cathedral, Dublin; Notre Dame Cathedral;
and St. George’s Chapel, Windsor.
Before moving to Grosse Pointe, Mr.
Hanoian was the assistant organist and
assistant director of music at Washington
National Cathedral where he played the
organ for many services including the state
funerals for Presidents Ronald Reagan
and Gerald Ford. In addition, Mr. Hanoian
directed the training choir and founded
and conducted Cathedral Voices, the
Cathedral’s volunteer service choir.
Mr. Hanoian completed his graduate
studies at the University of Michigan,
having received degrees in choral
conducting, organ performance, and
church music. A student of Robert Glasgow,
Jerry Blackstone, and Theodore Morrison,
Mr. Hanoian accompanied and conducted
several choirs and musical organizations
at U-M in rehearsals, performances, and
recordings. Mr. Hanoian attended high
school in northern Michigan at the worldrenowned Interlochen Arts Academy,
where he studied organ performance with
Robert Murphy. Mr. Hanoian has recorded
the complete organ works of Johannes
Brahms for the JAV label.

Iván Fischer / Conductor and Music Director
Vladimir Fanshil / Assistant Conductor
Violin I
Giovanni Guzzo
Violetta Eckhardt
Ágnes Bíró
Mária Gál-Tamási
Radu Hrib
Erika Illési
István Kádár
Péter Kostyál
Eszter Lesták Bedő
Gyöngyvér Oláh
Gábor Sipos
Csaba Czenke
Tímea Iván
Emese Gulyás
Violin II
János Pilz
Györgyi Czirók
Tibor Gátay
Krisztina Haják
Zsofia Lezsak
Levente Szabó
Gabriella Nagy
Antónia Bodó
Noémi Molnár
Anikó Mózes
Zsuzsa Szlávik
Erika Kovács
Ferenc Gábor
Ágnes Csoma
Miklós Bányai
Cecília Bodolai
Zoltán Fekete
Barna Juhász
Nikoletta Reinhardt
Nao Yamamoto
Csaba Gálfi
Joshua Newburger

Péter Szabó
Lajos Dvorák
Éva Eckhardt
György Kertész
Gabriella Liptai
Kousay Mahdi
Rita Sovány
Orsolya Mód
Double Bass
Zsolt Fejérvári
Attila Martos
Károly Kaszás
Géza Lajhó
László Lévai
Csaba Sipos
Erika Sebők
Anett Jóföldi
Bernadett Nagy
Nóra Salvi
Nehil Durak
Ákos Ács
Rudolf Szitka
Andrea Bressan
Dániel Tallián
Sándor Patkós
Zoltán Szőke
András Szabó
Dávid Bereczky
Zsombor Nagy

Stefan Englert / Executive Director
Bence Pócs / Tour Manager
Ivett Wolf / Tour Assistant
Róbert Zentai / Stage Manager
Kathi Sándor / Technician
Inga Petersen / Personal Assistant to Maestro Fischer


Zsolt Czeglédi
Tamás Póti
Balázs Szakszon
Attila Sztán
Justin Clark
Roland Dénes
László Herboly
István Kurcsák
Nikolai Petersen


This evening’s performance marks the third performance by the Budapest
Festival Orchestra and the fourth performance by Maestro Iván Fischer under
UMS auspices. The Orchestra and Maestro Fischer made their UMS debuts
in February 1997 at Hill Auditorium in a program of Brahms and Bartók. The
Orchestra most recently appeared in October 1998 with Maestro Fischer
at Hill Auditorium with a program of Stravinsky and Bartók. Maestro Fischer
most recently appeared under UMS auspices in February 2005 conducting
the Orchestra and Choir of the Age of Enlightenment in a performance of
Mendelssohn’s A Midsummer Night’s Dream at Hill Auditorium. This evening’s
performance marks Richard Goode’s eighth appearance under UMS auspices,
following his UMS debut in February 1969 in recital at Rackham Auditorium. Mr.
Goode most recently appeared at UMS in recital at Hill Auditorium in April 2015.
This evening’s performance marks the UMS Choral Union’s 435th appearance
under UMS auspices, following its most recent UMS performances of Handel’s
Messiah in December 2016 under the baton of Scott Hanoian. UMS welcomes
Laura Aikin, Kelley O’Connor, Robert Dean Smith, and Matthew Rose, as they
make their UMS debuts this evening.

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

Jazz at Lincoln Center Orchestra with Wynton Marsalis
UMS Choral Union and Ann Arbor Symphony Orchestra:
Beethoven’s Missa Solemnis
The English Concert with Joyce DiDonato: Handel’s Ariodante


Tickets available at

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

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.


Karl V. Hauser and
Ilene H. Forsyth
Choral Union Endowment Fund
Sesi Motors
Jim Toy
Supporters of this evening’s performance by the Budapest Festival


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


Follow @umicharts


Those who work to bring
you UMS performances
each season

UMS patrons gather in the Hill Auditorium lobby prior
to Berliner Philharmoniker; photo: Peter Smith/UMS.

The UMS Board of Directors is a group of elected volunteers devoted to the
performing arts and to our community. Their hard work ensures that UMS is
able to offer outstanding performances year after year.
Stephen R. Forrest
Sarah Nicoli
Vice Chair
Rachel Bendit
Tim Petersen

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


UMS Board of Directors

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


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

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

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

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

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


UMS National Council

Caroline Nussbaum
James A. Read
Herbert Ruben
James and Nancy Stanley
Matthew VanBesien
Christian Vesper
Ann and Clayton Wilhite
Stephen R. Forrest

UMS Corporate Council
The UMS Corporate Council is a group of regional business leaders who serve
as advocates and advisors to UMS as we seek to broaden our base of corporate
support throughout southeastern Michigan.

Albert Berriz
Bruce Brownlee
Robert Buckler
Robert Casalou

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

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


A. Douglas Rothwell

UMS Students
Students in our volunteer internship and work-study program gain valuable
experience in all areas of arts management while contributing greatly to UMS’s
continued success.
Maryam Ahmed
Jocelyn Aptowitz
Genan Bakri
Madisen Bathish
Tal Benatar
Zoey Bond*
Sophia Brichta
Linda M. Burns
Grace Bydalek
Liesl Collazo
Claire Crause*
Kathryn DeBartolomeis
Marko Divie
Damaris Doss
Jewel Drigo

Teagan Faran*
Isabel Frye
Taylor Fulton
Daniel Guo
Dayton Hare
Trevor Hoffman
Olivia Johnson
Sarah Kavallar
Ayantu Kebede
Meredith Kelly
Caitlyn Koester
Bridget Kojima
Jakob Lenhardt
Ania Lukasinski
Shenell McCrary*

Sean Meyers
Gunnar Moll
Westley Montgomery
Natalie Nye
Emma Puglia
Rennia Rodney
Jacob Rogers
Lindsey Sharpe
Heather Shen
Joey Velez
Diane Yang
Hyelin Yang
*21st Century Artist Interns


Love better.
Work better.
Live more fully.

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

Psychoanalysis Helps:
& Soul...

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.
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Fidelity accounts of university employees and retirees without
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© 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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