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UMS Concert Program, March 25, 2017 - March 26, 2017 - Takács Quartet Beethoven String Quartet Cycle

Rights Held By
University Musical Society
OCR Text



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

Your gift will help in the following areas:


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


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

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

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



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


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


in the greater Ann Arbor Area

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

Ann Arbor Area

Community Foundation


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


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

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


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


Table of













Bruckner Orchester Linz
with Angélique Kidjo

Sarah Chang

Batsheva Dance Company

Snarky Puppy



1/7-8 Batsheva Dance Company


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

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

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

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

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


2/2 Bruckner Orchester Linz
with Angélique Kidjo

2/3 Estonian Philharmonic
Chamber Choir

2/5 M-Prize Winner:
Calidore String Quartet

2/10 Budapest Festival Orchestra
with Richard Goode, piano

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

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

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

3/11 Beethoven’s
Missa Solemnis

3/16 Snarky Puppy

3/17-18 Kidd Pivot and
Electric Company Theatre

3/18 Steve Reich @ 80
Music for 18 Musicians

3/24 Mitsuko Uchida, piano

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

3/29 DakhaBrakha



Winter 2017 Season

3/30-4/1 Complicite
The Encounter


4/1 Michael Fabiano, tenor
Martin Katz, piano

4/12 A Far Cry with
Roomful of Teeth

4/15 Sanam Marvi

4/21 King Sunny Adé

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

4/25 Handel’s Ariodante:
Opera in Concert


5/21 NT Live: Ibsen’s
Hedda Gabler


Ann Arbor, we’re

Chris Ballard
Christine Phillips
Tom Forster

In Your Corner.
300 North 5th Avenue


Suite 230


Not pictured:
Rick Manczak
Jack Panitch


Ann Arbor, MI 48104

Varnum is proud to support the

University Musical Society

Legal Experience In Your Corner.



Grand Rapids








Grand Haven




Ann Arbor




Education &
Educational experiences
for everyone.


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

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




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




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

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



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

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


Where your intellectual curiosity meets
your favorite place to stay.

Ideally located across the street from campus,

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

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


Builds the Future


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

Hill Auditorium opening-night audience: May 14, 1913

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

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

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



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

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


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

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


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

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

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

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


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


Ann Arbor Region President, Comerica Bank

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

President, DTE Energy Foundation

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

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

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


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

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

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



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

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

President and Chief Executive Officer, Masco

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

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

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


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

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

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

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

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


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


President, Sesi Lincoln Volvo Mazda

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

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

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

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


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

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

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

Takács Quartet
String Quartet
Concerts V and VI

March 25–26, 2017
Rackham Auditorium
Ann Arbor

Concert V
Saturday, March 25, 8:00 pm

Beethoven’s Impact: Steven Mackey


Beethoven’s Impact: Adam Sliwinski


Concert VI
Sunday, March 26, 4:00 pm


Beethoven’s Impact: Lowell Liebermann


Beethoven’s Impact: Augusta Read Thomas




Takács Quartet
Concert V

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

Saturday Evening, March 25, 2017 at 8:00
Rackham Auditorium
Ann Arbor

51st Performance of the 138th Annual Season
54th Annual Chamber Arts Series

This evening’s presenting sponsor is the William R. Kinney Endowment.
Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM.
Special thanks to Steven Whiting for his participation in events surrounding this weekend’s
The Takács Quartet records for Hyperion and Decca/London Records.
The Takács Quartet is Quartet-in-Residence at the University of Colorado in Boulder and are Associate
Artists at Wigmore Hall, London.
The Takács Quartet appears by arrangement with Seldy Cramer Artists.
In consideration of the artists and the audience, please refrain from the use of electronic devices during
the performance.
The photography, sound recording, or videotaping of this performance is prohibited.


Beethoven String Quartets
Concert V
String Quartet in B-flat Major, Op. 18, No. 6
Allegro con brio
Adagio ma non troppo
Scherzo: Allegro
La malinconia: Adagio — Allegretto quasi Allegro

String Quartet in F Major, Op. 135
Lento assai e cantante tranquillo
Grave — Allegro — Grave, ma non troppo tratto — Allegro


String Quartet in C Major, Op. 59, No. 3 “Rasumovsky”
Introduzione Andante con moto — Allegro vivace
Andante con moto quasi Allegretto
Menuetto: Grazioso —
Allegro molto
The third and fourth movements are played attacca (without pause).


S T R I N G Q U A R T E T I N B - F L AT M A J O R , O P. 1 8 , N O. 6
Ludwig van Beethoven
Born December 16, 1770 in Bonn, Germany
Died March 26, 1827 in Vienna
UMS premiere: Flonzaley Quartet; November 1928 in Hill Auditorium.
Snapshots of History…In 1800:
· The first smallpox vaccination is made in North America, at Trinity,
· Voting begins in the US presidential election in April and lasts until
October; the result is not announced until February 1801
· The US Congress holds its first Washington, DC session

Beethoven’s appropriation of the
musical style of Haydn and Mozart
could be compared to someone
moving into an old house and
immediately starting to remodel it
from top to bottom. He had learned a
great deal from his elders — above all,
an incredibly varied quartet texture
in which the four instruments could
blend together as equals, or take turns
as leaders. Yet his first set of quartets,
published as Op. 18, is nothing less
than revolutionary, and the present
work, with its mysterious section
marked “La malinconia” (melancholy),
is one of the most innovative of all.
The Quartet opens with a spirited
melody spanning more than two
octaves and played by the first violin
and the cello in alternation. It sets a
cheerful tone that prevails throughout
the movement despite brief moments
of tension. The second movement,
“Adagio ma non troppo,” combines
subtle lyricism with a rhythmic
pulsation that recalls Haydn, though
the modulations to which the melody
is later subjected and the surrounding

figurations are entirely original. So
are the rhythmic ambiguities of the
third-movement “Scherzo,” which
again brings a Haydn-esque idea to
new levels of complexity. The greatest
marvel of the work, however, is the
aforementioned “La malinconia,” an
adagio that, according to Beethoven’s
performance instructions, has to be
treated “with utmost delicacy.” As
one recent commentator has put it,
“its emotional force is enormous…
and its labyrinthine harmonic scheme
is extraordinary.” As a total contrast,
the finale opens with a carefree tune
in the style of a Ländler (an Austrian
folk dance that inspired countless
symphonic and chamber works from
Haydn to Mahler). Twice, the somber
world of “La Malinconia” intrudes
upon the dancers but it cannot
permanently alter the happy mood of
the music.

Beethoven’s Impact
by Steven Mackey
I started my musical life as a blues
guitar player forever in search of the
right wrong notes — digging, bending,
and scratching in search of the note
that hurt so good. It wouldn’t be much
of an exaggeration to say that my
life was changed by one note — the
most outrageous blue note I’d ever
heard — written by a dead German
guy, surprisingly. From that moment
on I wanted to be a composer. The
note in question is the ‘E-flat’ in bar
16 of the “Vivace” in Beethoven’s last
String Quartet, Op. 135, which I first
heard when I was 19 years old. This
is an exalted clinker, at once comical
and terrifying. It is preceded by a
repeated eight-bar theme and it takes
longer than that, nine or 10 bars, for
the music to get back on its feet. The
impact is in part due to the vividness
of the contrast that the ‘E-flat’
delineates. The first 16 bars have a
naive, nursery rhyme quality. The four
instruments interlock cooperatively
and then…bang! The ‘E-flat’ changes
everything. Gone is the sing-song.
The triadic harmony collapses into
eerie octave and unisons. The wheels
fall off the happily ticking triple meter
and the music stutters in a disoriented
rhythm and claws its way through
‘E-natural’ to get back to something
like the beginning…although you
can never trust the beginning again
because the ‘E-flat’ casts a shadow
over everything. The bright ‘A-natural,’
major third of the nursery rhyme, is
colored by a sinister tritone. Sure, you
could give the ‘E-flat’ a name and
call it a flattened seventh of the scale
and be done with it, but that explains

nothing. It doesn’t go down like a
flattened seventh should, it goes up to
a normal seventh. It is as if the music
was aiming to just take a step down
but slipped past the mark and now
has to struggle to climb back aboard.
It’s a wrong note made right by the
gesture. The gestalt of that note
delineates an extraordinary character.
In short, I am more satisfied with a
description of how the note feels than
I am with giving it a functional label
and that sensation has been informing
my sensibility ever since.
Steven Mackey is a composer and
professor of music at Princeton
University where he has been the chair
of the department of music. He has
written nine string quartets.


S T R I N G Q U A R T E T I N F M A J O R , O P. 1 3 5 ( 1 8 2 6 )
UMS premiere: Roth String Quartet; March 1939 in Hill Auditorium.
Snapshots of History…In 1826:
· The first train operates over the Granite Railway in Massachusetts
· Former US Presidents Thomas Jefferson and John Adams both die on
the 50th Anniversary of the signing of the United States Declaration of
· The French newspaper Le Figaro begins publication in Paris, initially as
a weekly

Beethoven had much on his mind
during the summer and fall of 1826
at the time he wrote what was
to remain his final string quartet.
Already plagued by severe illness,
the 55-year-old master suffered the
heaviest blow of his life when his
nephew Karl attempted suicide and
was subsequently hospitalized for
two months. For years, Beethoven
had fought his sister-in-law in court
for custody of the boy, who was at
this time the only human being he
really cared about; but he exerted a
tyrannical control over Karl that drove
the young man to utter despair. It
was during this traumatic period that
Beethoven began work on the F-Major
Quartet. The work was completed
after the boy, just released from the
hospital, accompanied his uncle
to Gneixendorf, a two-day trip from
Vienna up the Danube, where his
other uncle, Johann van Beethoven,
owned an estate.
The last movement of Op. 135
is preceded by an enigmatic line
of musical notation by Beethoven,
containing the themes of the “Grave”
introduction and the “Allegro” section,

with the question and answer “Muss
es sein? — Es muss sein!” (Must it
be? — It must be!) underlaid. Above
the line appear the words “Der schwer
gefasste Entschluss” (The Difficult
Decision). There have been numerous
attempts to explain what Beethoven
was referring to. There is a humorous
canon Beethoven wrote in the spring
of 1826 using the words “Es muss
sein” with almost the same music
as in the quartet; the occasion for
the canon was that a certain Ignaz
Dembscher had failed to pay for the
parts of Beethoven’s Op. 130 Quartet
that he had ordered. In a letter to
the publisher Moritz Schlesinger,
Beethoven wrote:
Here, my dear friend, is my last quartet. It
will be the last; and indeed it has given me
much trouble. For I could not bring myself
to compose the last movement. But as
your letters were reminding me of it, in the
end I decided to compose it. And that is
the reason why I have written the motto...

Surely, however, there is more
to this “decision” than these two
rather mundane stories suggest. We

can tell from the complex ways the
characteristic descending fourth of
the “Es muss sein” motif is woven
into the fabric of the whole piece,
starting from the very opening of the
first movement. This innocent-looking
“Allegretto” has often, but somewhat
misleadingly, been described as a
nostalgic look back on the bygone
days of Mozart and Haydn. The simple
harmonies that evoke the memory
of the older Viennese classics are
combined with some extremely
intricate textures. The melodic
material is passed back and forth
among the four instruments with
great sophistication, and the sudden
changes between motion in quarter
notes and 16th triplets (the latter
going six times as fast as the former)
are extremely striking. There is a
hidden, mysterious tension behind the
Haydnian façade, waiting to explode.
The explosion comes in the secondmovement scherzo, whose rough
humor, once again, derives its power
from the simplicity of the means
employed. The first violin’s theme
goes down and up, outlining a threenote scale fragment, somewhat like
“Three Blind Mice.” The second violin
plays a drone, the viola alternates
between only two notes, and the
cello intones a motif that, like that
of the first violin, outlines a circular
(rising and falling) motion. Then
the note ‘E-flat,’ foreign to the
key of F Major, appears seemingly
out of nowhere, and is repeated
several times as the whole harmonic
direction of the movement becomes
uncertain before the previous motivic
material re-establishes itself and,
slightly developed, completes the
scherzo proper. The middle section

is a wild romp where the first violin’s
ascending scales and wide leaps
are offset by a pulsating quarternote accompaniment in the other
instruments. The ascent in keys (from
‘F’ to ‘G’ to ‘A’) is highly unusual and
adds considerably to the excitement.
The scherzo proper then returns
after a re-transition section in which
the first violin’s “Blind Mice” motif
is mysteriously repeated by the four
instruments in unison.
The sublime third movement
brings us one of Beethoven’s most
heartfelt, hymn-like melodies. On
closer look, however, it turns out that
its descending and ascending scale
figures are almost identical to those
in the scherzo, only in slow motion!
Its middle section is even slower; the
melody of the violin, accompanied
by the other instruments in identical
rhythm, seems to be choking back
tears. Afterwards, the hymn-like
melody returns, embellished by
ornamental figures that, although
marked semplice, actually verge on
the ecstatic.
It is after three movements of
such contrasting characters (that
nevertheless share a great deal of
motivic material) that we arrive at
the “Difficult Decision.” The brief
“Grave” introduction, which asks the
question “Muss es sein?” functions
as a recitative to the “Allegro”
section’s aria, in which the affirmation
of “Es muss sein” is followed by a
positively playful and humorous
second theme, as if all doubts had
been laid to rest once and for all. Yet
that is not quite the case just yet:
the question, in the minor mode,
is restated as the “Grave” tempo
returns. The repeat of the positive

answer is interrupted before the end
when the “Es muss sein” motif itself
is turned into a question. Played at a
slower tempo and its straightforward
perfect fourth distorted into an
anguished diminished interval, this
momentary poco adagio provides a
last-minute suspense. The dilemma
is definitively resolved when the
second theme appears pizzicato (with
plucked strings), leading into a final
confirmation on all four instruments:
“Es muss sein, es muss sein!” Thus,
Beethoven’s last quartet ends on a
positive and highly confident note.
(It was almost his last completed
composition, as it was followed only
by the new and even more exuberant
“Allegro” for the String Quartet in B-flat
Major that replaced the Grosse Fuge
when that quartet was published as
Op. 130.)


S T R I N G Q U A R T E T I N C M A J O R , O P. 5 9 , N O . 3 “ R A S U M O V S K Y ”
UMS premiere: Budapest String Quartet; January 1945 in Rackham Auditorium.
Snapshots of History…In 1806:
· The British occupy the Cape of Good Hope
· The Lewis and Clark Expedition reaches St. Louis, Missouri, ending
a successful exploration of the Louisiana Territory and the Pacific
· Noah Webster publishes his first American English dictionary
The third “Razumovsky” Quartet is
a lively and dynamic work that is
definitely “heroic” in the boldness of
its themes. The first movement begins
with a slow introduction consisting of
a mysterious sequence of chords that
do not define any particular tonality
and do not arrive at the home key
of C Major until the very end. (It was
evidently influenced by the famous
opening of Mozart’s “Dissonant”
Quartet [K. 465], also in C Major.)
Even the “Allegro vivace” gets off to
a somewhat tentative start, with an
unaccompanied flourish for the first
violin, punctuated by brief chords in
the other instruments. Despite the
obvious allusions to Mozart, there is
a fierce intensity here that we never
find in earlier music. The principal
generating idea of the movement is
to make amorphous material gradually
more organized. By the development
section, the loose textures of the
exposition are solidified into a strict
canon based on a two-note pattern.
The violin flourish that serves as the
movement’s first theme is lavishly
ornamented when it returns to
announce the recapitulation.

The second movement, “Andante
con moto quasi Allegretto,” has
“an aura of remote, almost mythical
melancholy and remoteness,” in
the words of musicologist William
Kinderman. Unlike the first two
“Razumovsky” quartets, the C-Major
Quartet does not contain an original
Russian melody, identified as such
in the score. Yet, in a 2014 study,
Mark Ferraguto traced the theme
of this “Andante” to a Russian
song published in the Allgemeine
musikalische Zeitung, which
Beethoven read regularly. But
Beethoven did not quote the tune
in its original form and only used a
characteristic melodic turn from it,
making the melody even more exotic
by adding an augmented second that
was not present in the original. This
mysterious first theme is followed by a
second idea, which evokes a graceful
dance. A haunting new melody is
heard at the end of the movement,
in a coda that seems to vanish in a
Romantic mist.
The graceful third-movement
“Menuetto” is a nostalgic evocation
of the past. The choice of a minuet

is significant, for by 1806 Beethoven
was much more likely to write fastpaced, surprise-filled scherzos in both
chamber and symphonic music. In the
trio section Beethoven strikes a more
modern note, with some characteristic
offbeat accents (a device he was
particularly fond of) and an unusually
high first violin part. The recapitulation
of the minuet is followed by an
extensive coda, introducing a sad,
minor-key variation of the minuet
theme that leads directly into the
last movement — a perpetual motion
that begins as a fugue, its lengthy
subject introduced by the viola. By
the time all four instruments have
entered, fugal counterpoint gives
way to chordal writing; the two kinds
of texture alternate throughout the
movement. The extremely fast tempo
generates a high level of excitement
that culminates in the surprise rest
just before the end, after which the
mad rush continues with even more
fire than before.
Program notes by Peter Laki.


Beethoven’s Impact
by Adam Sliwinski
It might seem on the surface like
Beethoven would have had very little
influence on a modern percussion
quartet. But Beethoven was a master
of two important musical elements:
rhythm and the idea of four parts. In
his string quartets, an efficient sense
of rhythmic invention keeps motives
bouncing among the four voices,
making them feel almost equal. The
percussion quartet genre is animated
by this same spirit of dialogue among
equals. John Cage, the greatest early
percussion composer, was fond of
about what, he wasn’t entirely clear
— but his early percussion quartets
bear the unmistakable balance and
rhythmic curiosity that Beethoven
made possible. When the members
of SO Percussion were graduate
students together at Yale, we would
attend concerts by the Tokyo String
Quartet and marvel at the intimacy
and communication that such a group
could have with this kind of music. We
aspired to see if a motley assortment
of random sounds on a table could
achieve anything like what a great
string quartet could, and that’s a huge
part of our ethos today.
Adam Sliwinski is a member of SO
Percussion and performed at the U-M
Museum of Art under UMS auspices in
February 2010.

Takács Quartet
Concert VI

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

Sunday Afternoon, March 26, 2017 at 4:00
Rackham Auditorium
Ann Arbor

52nd Performance of the 138th Annual Season
54th Annual Chamber Arts Series

Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM.
Special thanks to Ed and Natalie Surovell for their generous support of the Beethoven String Quartet
Cycle Finale Celebration.
Special thanks to Steven Whiting for his participation in events surrounding this weekend’s
The Takács Quartet records for Hyperion and Decca/London Records.
The Takács Quartet is Quartet-in-Residence at the University of Colorado in Boulder and are Associate
Artists at Wigmore Hall, London.
The Takács Quartet appears by arrangement with Seldy Cramer Artists.
In consideration of the artists and the audience, please refrain from the use of electronic devices during
the performance.
The photography, sound recording, or videotaping of this performance is prohibited.


Beethoven String Quartets
Concert VI
String Quartet in F Major, Op. 59, No. 1
Allegretto vivace e sempre scherzando
Adagio molto e mesto —
Thème russe: Allegro
The third and fourth movements are played attacca (without pause).


String Quartet in B-flat Major, Op. 130

Adagio ma non troppo — Allegro
Andante con moto, ma non troppo
Alla danza tedesca: Allegro assai
Cavatina: Adagio molto espressivo —
Grosse Fuge, Op. 133
The final movement of Op. 130 and Op. 133 are played attacca (without pause).


Beethoven’s Impact
by Lowell Liebermann
The Beethoven String Quartets are,
to a composer, both an inspiration
and an intimidation. They are the
yardstick to which all other quartets
are invariably compared, and to which
most others fall short. It was as a
17-year-old composer that I was first
introduced to them by my composition
teacher David Diamond, a composer
of 10 string quartets in his own right.
The “mighty 17” have remained an
active presence in my compositional
life and thought ever since, a pinnacle
of perfection achieved, miraculously,
in the adolescence of the medium;
a goal to be striven for and probably
never reached. My personal favorite
amongst the Beethoven Quartets,
from the moment I first heard it, has
always been Opus 131. In it Beethoven
seems to speak with an intimacy and
directness that is almost occult in its
communicative power. Coincidentally,
the latest composition I finished was
my Opus 131. It was an unsettling
feeling, writing that number on the
title page of my manuscript: it seemed
as if it should have been retired long
ago in deference to Beethoven’s
Lowell Liebermann is one of America’s
most frequently performed and
recorded living composers. He has
composed five string far.


S T R I N G Q U A R T E T I N F M A J O R , O P. 5 9 , N O . 1 “ R A S U M O V S K Y ”
Ludwig van Beethoven
Born December 16, 1770 in Bonn, Germany
Died March 26, 1827 in Vienna
UMS premiere: Flonzaley Quartet; January 1911 in University Hall.
Snapshots of History…In 1806:
· Andrew Jackson kills a man in a duel after the man had accused
Jackson’s wife of bigamy
· Construction is authorized for the National Road, the first US federal
· Prussia declares war on France, joined by Saxony and other minor
German states

One of the most striking features
of Beethoven’s “heroic” style is a
reduction of the thematic material
to a small number of motifs and an
expansion of the techniques which
serve to develop those motifs. The
most extreme example is probably
the first movement of the Fifth
Symphony, but the opening of the
String Quartet in F Major, Op. 59, No. 1
shows the same tendency. The main
melody, introduced by the cello, is
rather simple in its outline; it only
takes its full meaning as Beethoven
makes it rise through the higher and
higher registers of the first violin. It
is a gently singing, lyrical theme, but
the pulsating accompaniment of the
second violin and the viola, which
sometimes clashes with the melody
at unusual intervals, gives it a certain
edge that foreshadows some more
dramatic moments to appear very
soon. Beethoven subjected his theme
to more far-reaching transformations
than he had ever done before,
especially in the development section

which unites such textural extremes
as a long solo line for first violin and
a densely woven four-part fugato
passage. The range of modulations
also far exceeds Beethoven’s earlier
practice. As often in his middle period,
Beethoven appended a coda in which
the theme, consistently accented
on the “wrong” part of the beat (on
the second and fourth quarter notes
instead of the first and the third),
shows yet another of its many sides.
Then the theme is taken up in canon
by the viola and the cello. The texture
finally stretches out into a second
space spanning a full five octaves
from the lowest note of the cello to
the highest of the violin.
The second movement is
sometimes referred to as a scherzo,
yet Beethoven’s title “Allegretto
vivace e sempre scherzando” is more
precise: scherzo is a musical form, but
scherzando is a general character. In
fact, Beethoven aimed for something
more ambitious here than the usually
playful and fast movement with a

contrasting trio section in the middle.
Instead, he composed a complex
movement that doesn’t quite fit any of
the standard classical schemes such
as sonata or rondo. The opening is
as playful as any scherzo: the dance
rhythm of the cello, consisting of a
single pitch, the unnaccompanied
melody of the second violin, and
a repeat of this whole exchange a
step lower, thrusting the music into
an unexpected new tonality. Two
more dance melodies are added in
due course, one reminiscent of an
Austrian Ländler, the other, perhaps,
of a melancholy Polish mazurka in
the minor mode. (Or could Beethoven
have intended an allusion to Russia
at this point? In the finale, of course,
he would honor the dedicatee of
the Quartet with an authentic thème
russe.) With boundless imagination,
Beethoven sends these three themes
on a journey full of surprising turns
and fantastic adventures. It is musical
humor at its most sublime, where the
wit of a genius gives us access to
something transcendent.
We move into even more
transcendent realms with the “Adagio
molto e mesto” in f minor. Its noble
and elegiac melody, played by the
first violin and repeated by the cello,
becomes more agitated when the
higher registers are reached. The
melody is developed amidst dramatic
outbursts, lavish embellishments,
occasional imitation among the
voices, and moments of major-mode
sunshine. The movement ends with
a brilliant cadenza for the first violin,
then leads without pause into the
finale, based on a Russian melody
Beethoven had found in the collection
of folk melodies published by Nikolai

Lvov and Ivan Prach. This melody
begins in F Major and ends in d minor,
and Beethoven made the most of this
peculiarity not often found in Western
European themes of the Classical
era. He used the tonal ambivalence to
build a spirited sonata movement that
nevertheless has its wistful moments.
As the theme already has a double
character (and in order not to slight
his thème russe), Beethoven did not
introduce a second theme, only a
short and harmonically very simple
closing idea in a lively dotted rhythm.
After an unusually active development
section, which turns the previously
presented motifs upside down and
inside out, a modified recapitulation
reveals yet other potentials in
those motifs. One of Beethoven’s
favorite closing devices, the sudden
slowdown before the end, makes the
presto ending all the more irresistible.

Beethoven’s Impact
by Augusta Read Thomas
Beethoven’s six late quartets have
had a profound impact on my life
and work and the Grosse Fuge (Op.
133) expanded and amplified my
perspective when, at about age 10, I
first heard its impossible-for-me-todescribe intense humanity.
Images instantly start flashing
through my mind and ear when I
recall the music of his great double
fugue: ...motivated blocks, colorful
braids, spontaneous streams, radiant
sparkling stars, vast spaces, dramatic
unfoldings, punchy rhythmic cells,
virtuosic calisthenics, a mammoth
arch with extensive development of
musical material, themes, and motifs,
remarkable textures, teamwork,
colorful modulation through
many keys, loaded silences, lyric
outpourings...all woven together by
Beethoven who reached beyond the
Classical and Romantic eras into an
ever-new, ever-fresh music which
feels eternal.
Beethoven said, “Music is the
mediator between the spiritual and
the sensual life.” The Grosse Fuge
cuts right to the depths of the soul
and exemplifies the fact that the
history of civilization is written in
art, whose creation and appreciation
is universal across continents,
cultures, and languages and, at the
same time, is intensely personal.
Beethoven’s individual vision allowed
him to further music’s flexible, diverse
capacity and innate power. The energy
and inner force that he gave to and in
his music remains vivid.

Augusta Read Thomas is an American
composer. She was the Mead
Composer-in-Residence for Pierre
Boulez and Daniel Barenboim at the
Chicago Symphony Orchestra from
1997–2006, and is currently professor
of composition at the University of
Chicago. She has written three string


S T R I N G Q U A R T E T I N B - F L AT M A J O R , O P. 1 3 0 ( 1 8 2 5 – 2 6 )
G R O S S E F U G E , O P. 1 3 3
UMS premieres: Paganini Quartet; January 1948 in Rackham Auditorium (Op. 130).
Budapest String Quartet; January 1950 in Rackham Auditorium (Op. 133).
Snapshots of History…In 1826:
· Samuel Morey patents an internal combustion engine
· The first railway tunnel is built en route between Liverpool and
Manchester in England
· Congress gives Fort Shelby, a military fort central to the War of 1812, to
the city of Detroit, and it is dismantled the following year
Of the five string quartets Beethoven
wrote between 1822 and 1826,
Op. 130 in B-flat Major is the longest
and most complex. Together with
Op. 127 (E-flat Major) and Op. 132 (a
minor), the B-flat-Major work was
dedicated to Prince Galitzin, a Russian
aristocrat and accomplished amateur
cellist. In this work, as Joseph Kerman
writes in his classic book on the
Beethoven quartets, “suspiciously
normal features jostle with abnormal
ones.” And how right Kerman is to talk
about suspiciously normal features!
He elucidates that expression by
discussing the opening of the
Quartet, a slow introduction that looks
conventional enough, but it doesn’t
quite lead into the subsequent
“Allegro” as slow introductions usually
do. Instead, the music seems to
vacillate between the slow and the
fast tempos, with the “Adagio” and the
“Allegro” interlocking and interrupting
one another, until the “Allegro” finally
wins out and the principal section
of the movement begins. But the
“Adagio” returns for short moments
several more times, both in the middle

and at the end of the movement. The
other irregularities, harmonic and
thematic, are too numerous to list,
but it is clear that a unique musical
story is being told in a highly dramatic
form through the unpredictable
alternations of agitated and calmly
lyrical passages.
The second movement is a brief
scherzo in duple meter with an
almost blatantly simple theme. It is in
the minor mode, followed by a footstomping “trio” section in the major.
As a whole, this movement is in the
greatest imaginable contrast with the
opening of the work.
A slow (but not too slow) movement
is next, bearing the marking “Andante
con moto, ma non troppo — poco
scherzoso” (Moving along, but
not too much, and just a little bit
jocular, in Michael Steinberg’s apt
translation). It is a nostalgic look at
the serenade music of the bygone
days of Mozart and early Beethoven;
the rather simple melodic material is
ornamented with extremely elaborate
inner voices.

This movement in D-flat Major is
followed by one in G Major; these
two keys are at the greatest possible
distance from one another in the
classical tonal system. The sound of
G Major, considered to be cheerful
and innocent, was important enough
for Beethoven in this danza tedesca
(German dance) to make the highly
unusual tonal leap between the two
movements. The dance itself, like the
preceding “Andante,” has a touch
of nostalgia in it as it revisits the
Austrian Ländler that has inspired so
many classical minuets. It is a more or
less classical ABA form with a central
trio section, but at the very end a
surprising thing happens: the theme
is broken up into small fragments
and repeated with the fragments
in reverse order, played by one
instrument at a time.
The heartpiece of the Quartet is
the heavenly “Cavatina.” The name
comes from the world of opera
and indeed, the movement is an
extended aria with the first violin as
the soloist. Yet while an operatic hero
or heroine sings out on the stage in
a performance that invites stormy
applause at the end, this “Cavatina” is
directed entirely inward and reaches
depths of expression unique even
for Beethoven. Karl Holz, who played
second violin in Schuppanzigh’s
famous quartet and who was close
to the composer in his last years,
recalled Beethoven telling him “that
the “Cavatina” was composed in the
very tears of misery, and never had
one of his own pieces moved him so
deeply, and merely to relive it in his
feelings always cost him a tear. The
most extraordinary moment comes
when, after a sudden change of keys,

the volume (not loud to begin with)
drops to pianissimo and the first violin
begins a new melody constantly
interrupted by rests, indeed as if
choking back tears. The performance
instruction, beklemmt, which
occurs nowhere else in Beethoven,
means something like “oppressed,
suffocated, straitened, anxious”
(Michael Steinberg’s suggestions).
Movements 1–5 have already
stretched the string-quartet
genre almost beyond recognition.
Beethoven’s finale is extraordinary
even after one has learned to let go
of all expectations based on the past.
The Grosse Fuge is much more than a
movement: it can be regarded as an
entire composition by itself, and it is
easy to see the point of Beethoven’s
friends and publishers when they
persuaded him to remove it from
Op. 130 and publish it separately.
Beethoven did just that and, in the fall
of 1826, composed a new finale that
became the last music he ever wrote.
In our time, the Quartet is performed
sometimes with the Grosse Fuge and
sometimes with the new finale. In
their complete Beethoven cycle, the
Takács Quartet has presented the
work in both versions.
Like the last movement of the Ninth
Symphony, the Grosse Fuge fuses fast,
slow, and scherzo-like characters. But
whereas the symphony movement
uses the variation principle to
organize those different characters
into a coherent whole, this time
everything results from different
contrapuntal elaborations of a
single fugue theme. The theme — a
chromatic idea with a distinguished
Baroque ancestry — is presented at
the beginning and treated, in the first

section of the piece, with a great deal
of rhythmic energy. “Tantôt libre, tantôt
recherchée,” as Beethoven described
his fugue on the title page (in part
free, in part studied), this section
traverses many keys before it stops on
a fermata (long-held note) introducing
a change in tempo. In the new section,
the fugue theme is presented legato
(with connected notes rather than
separated ones as before); the music
assumes a calm and gentle flow.
The following section, though still
strictly contrapuntal, is like a scherzo
or a dance, with the fugue theme
ornamented by scintillating trills. The
earlier sections are briefly evoked,
causing momentary interruptions, but
on the whole, the dance character
prevails all the way through the work’s
startling conclusion.
Program notes by Peter Laki.

This weekend’s concerts mark the Takács Quartet’s 23rd and 24th
performances under UMS auspices, and their final concerts of this season’s
complete Beethoven String Quartet Cycle. The ensemble made its UMS debut
in February 1984 at Rackham Auditorium, and most recently appeared under
UMS auspices in January 2017 at Rackham Auditorium for the third and fourth
concerts in this season’s Beethoven cycle.

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

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

Drawing by New Yorker cartoonist Tom Bachtell, commissioned and reprinted courtesy of
Cal Performances, UC Berkeley.

Award, and two further awards from
the Japanese Recording Academy. Of
their performances and recordings of
the Late Quartets, the Cleveland Plain
Dealer wrote “The Takács might play this
repertoire better than any quartet of the
past or present.”

The members of the Takács Quartet
are Christoffersen Faculty Fellows at
the University of Colorado Boulder and
play on instruments generously loaned
to them by the Shwayder Foundation.
The Quartet has helped to develop a
string program with a special emphasis
on chamber music, where students
work in a nurturing environment
designed to help them develop their
artistry. The Quartet’s commitment
to teaching is enhanced by summer
residencies at the Aspen Festival and
at the Music Academy of the West,
Santa Barbara. The Takács is a Visiting
Quartet at the Guildhall School of Music
and Drama, London.
The Takács Quartet was formed in
1975 at the Franz Liszt Academy in
Budapest by Gabor Takács-Nagy, Károly
Schranz, Gabor Ormai, and András
Fejér, while all four were students. It
first received international attention
in 1977, winning First Prize and the
Critics’ Prize at the International String
Quartet Competition in Evian, France.
The Quartet also won the Gold Medal
at the 1978 Portsmouth and Bordeaux
Competitions and First Prizes at the
Budapest International String Quartet
Competition in 1978 and the Bratislava
Competition in 1981. The Quartet made
its North American debut tour in 1982.
Violinist Edward Dusinberre joined
the Quartet in 1993 and violist Roger
Tapping in 1995. Violist Geraldine
Walther replaced Mr. Tapping in 2005. In
2001 the Takács Quartet was awarded
the Order of Merit of the Knight’s
Cross of the Republic of Hungary, and
in March of 2011 each member of the
Quartet was awarded the Order of Merit
Commander’s Cross by the President of
the Republic of Hungary.


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

William R. Kinney Endowment

Supporter of Saturday’s performance by the Takács Quartet.

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

Michael Fabiano, tenor with Martin Katz, piano
Yo-Yo Ma, Edgar Meyer, and Chris Thile: Bach Trios
The English Concert: 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 . . .

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


Renegade Pre-Performance Talk: The Encounter
(Power Center Lobby, 121 Fletcher Street, 7:00 pm)
Must have a ticket to the 3/30 performance to attend.

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


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


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





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

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


Classical Music
Anywhere, Anytime

90.5 FM • HD • HD2 •


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

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

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

$10 0,00 0 – $ 4 99, 999

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

$ 50,000–$ 74,9 9 9

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

Carol Amster
Cheryl Cassidy
Junia Doan
John R. Edman and Betty B.
Barbara Fleischman
Barbara Garavaglia
Charles H. Gershenson Trust
Anne and Paul Glendon

Norman and Debbie Herbert
Carl and Charlene Herstein
Jerry and Dale Kolins
Jeffrey MacKie-Mason and
Janet Netz
Martin Family Foundation
Dan and Sarah Nicoli
Lois Stegeman
Stout Systems
John W. and Gail Ferguson
Karen and David Stutz
Dody Viola
$ 1 5,0 0 0 –$24,999

Michael and Suzan Alexander
Linda and Ronald Benson
Valerie and David Canter
Sara and Michael Frank
Wendy and Ted Lawrence
M. Haskell and Jan Barney
Virginia and Gordon Nordby
Eleanor Pollack


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

$ 5,0 0 0 –$14,999

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





Smith Haughey and its attorneys
proudly support the


since 1992

Contemporary Food
Classic Décor • Full Bar
Locally Owned

316 S. State Street
@ North University

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

Edward Lynch
Michael Miller
Edward Stein


soups • custom salads • classic sandwiches


essential groceries • beer & wine

Ann Arbor Grand Rapids Holland Muskegon Traverse City

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

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

Oscar Feldman Endowment Fund
Ken Fischer Legacy Endowment Fund
Barbara Fleischman Theater
Endowment Fund
Stephen and Rosamund Forrest Student
Ticket Endowment Fund
Ilene H. Forsyth Endowment Funds for
Choral Union, Chamber Arts, and Theater
James Garavaglia Theater Endowment Fund
Anne and Paul Glendon Endowment Fund
Susan and Richard Gutow Renegade
Ventures Endowment Fund
George N. and Katharine C. Hall
Endowment Fund
Karl V. Hauser and Ilene H. Forsyth
Endowment Fund

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


Epstein Endowment Fund


Endowed Funds

Prudence and Amnon Rosenthal K-12
Education Endowment Fund
Charles A. Sink Endowment Fund
Herbert E. and Doris Sloan Endowment Fund
James and Nancy Stanley Endowment Fund
Susan B. Ullrich Endowment Fund
U-M Credit Union Arts Adventures
Endowed Fund at UMS
UMS Endowment Fund
The Wallace Endowment Fund
The Zelenock Family Endowment Fund

Norman and Debbie Herbert
Endowment Fund




Special guest:
Alon Goldstein

Special guests:
Anton Nel
UMS Choral Union Women

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

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


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

Arie Lipsky, Music Director & Conductor

(734) 994-4801 •

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


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


Planned Gifts/Bequests

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

881 N. University Ave

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

WGTE Public Media is:

Create TV
WGTE Family

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

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

The Educational
Resource Center
The Early Learning
and Outreach Center

The following list includes donors who made gifts to UMS over the past year
between December 1, 2015 and November 30, 2016. Due to space restraints,
we can only list in the UMS program book those who donated $250 or more.
Donors of $1–$249 will be included in the online list at
($500,000 OR MORE)

Eugene and Emily Grant Family
University of Michigan



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


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


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

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


Michael Allemang and Janis Bobrin
Carol Amster #
Ann Arbor Automotive
Andrew and Lisa Bernstein
Blue Nile Restaurant
Gary Boren
Carl and Isabelle Brauer Fund
Edward and Mary Cady
Valerie and David Canter
Cheryl Cassidy
Comerica Bank
Conlin Travel and Chris Conlin
Connable Associates
Faber Piano Institute
Nancy and Randall Faber
John and Jackie Farah
David and Jo-Anna Featherman
George W. Ford
includes gift in memory of
Steffi Reiss
The children of Marian P. and
David M. Gates in their memory
Charles H. Gershenson Trust,
Maurice S. Binkow, Trustee
Katherine and Tom Goldberg
John R. Griffith
Lynn and Martin Halbfinger
Norman and Debbie Herbert #
Carl and Charlene Herstein
Honigman Miller Schwartz and
Cohn LLC
Imagine Fitness & Yoga
The Japan Foundation
David and Sally Kennedy
Jerry and Dale Kolins #
Samuel and Marilyn Krimm
Ted and Wendy Lawrence
Level X Talent
Richard and Carolyn Lineback
Mainstreet Ventures
Mardi Gras Fund
Martin Family Foundation #
Miller, Canfield, Paddock and Stone,
M. Haskell and Jan Barney Newman
Virginia Nordby
Rob and Quincy Northrup
Bertram and Elaine Pitt
Philip and Kathy Power
Rosenberg Family Fund
in honor of Maury and
Linda Binkow
Prue and Ami Rosenthal
Savco Hospitality
Lois Stegeman


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

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


UMS Support


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


Jim and Barbara Adams
Michael and Suzan Alexander
Arts Midwest Touring Fund
John and Lillian Back
Karen Bantel and Steve Geiringer
Dr. Carol Barbour and Dr. Sid Gilman
Bradford and Lydia Bates
Rachel Bendit and Mark Bernstein
Ronald and Linda Benson
Suzanne A. and Frederick J. Beutler #
DJ and Dieter Boehm
in honor of Ken Fischer and
Sara Billmann
Charles and Linda Borgsdorf
Bill Brinkerhoff and Kathy Sample
Carolyn M. Carty and Thomas H. Haug
Anne and Howard Cooper
Julia Donovan Darlow and
John Corbett O'Meara
Marylene Delbourg-Delphis
Sharon and Dallas Dort
John Dryden and Diana Raimi
Charles and Julia Eisendrath #
Joan and Emil Engel
Betsy Foxman and Michael Boehnke
Sara and Michael Frank
Thomas and Barbara Gelehrter
Bill and Ruth Gilkey
Clifford and Alice Hart
Timothy and Jo Wiese Johnson
James and Patricia Kennedy
Diane Kirkpatrick
Philip Klintworth
Jean and Arnold Kluge
Leo and Kathy Legatski
Carolyn and Paul Lichter
Jean E. Long
Tim and Lisa Lynch
Ernest and Adele McCarus
Doug and Cate McClure
Paul Morel and Linda Woodworth
William Nolting and Donna Parmelee
Steve and Betty Palms
Elizabeth and David Parsigian
Susan Pollans and Alan Levy
Rick and Mary Price
James and Bonnie Reece
John W. Reed
Anthony L. Reffells
Nathaniel and Melody Rowe
Herbert and Ernestine Ruben
Craig and Jan Ruff
Frankie and Scott Simonds
Susan M. Smith and Robert H. Gray
Linh and Dug Song

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


Ronnie and Lawrence Ackman
Katherine Aldrich
Richard and Mona Alonzo
Christiane Anderson
Neil P. Anderson
Ann Arbor Distilling Company
Dr. and Mrs. Rudi Ansbacher
Harlene and Henry Appelman
Dr. Frank Ascione
Bob and Martha Ause
Elizabeth R. Axelson and
Donald H. Regan
Jonathan Ayers and Teresa Gallagher
Laurence R. and Barbara K. Baker
Lisa and Jim Baker
Rosalyn, Joshua and Beth Barclay
in memory of Mel L. Barclay, M.D.
John and Ginny Bareham
David and Monika Barera
Norman E. Barnett #
Dr. and Mrs. Robert Bartlett
Anne Beaubien and Phil Berry
Cecilia Benner
in memory of David Lebenbom
Kathy Benton and Robert Brown
Rosemary R. Berardi and
Carolyn R. Zaleon
Marc Bernstein and Jennifer Lewis
Sara Billmann and Jeffrey Kuras
Joan Binkow
John Blankley and Maureen Foley
Margaret and Howard Bond
Rebecca S. Bonnell
Laurence and Grace Boxer
Dr. and Mrs. Ralph R. Bozell
Nancy M. Briggs
in memory of Dale E. Briggs
Steve and Rebecca Brown
Robert and Jeannine Buchanan
Tom and Lori Buiteweg
Lawrence and Valerie Bullen
in honor of Ken Fischer
Charles and Joan Burleigh
Barbara and Al Cain
Lou and Janet Callaway
Sally Camper and Bob Lyons
Thomas and Marilou Capo
Jean and Ken Casey
Anne Chase
Patricia Chatas
Cheryl and Brian Clarkson
Deborah Keller-Cohen and
Evan Cohen
Ellen and Hubert Cohen
Roger and Midge Cone
Connie and Jim Cook
Christopher Dahl and Ruth Rowse
in honor of Ken Fischer
Timothy and Robin Damschroder
Charles and Kathleen Davenport #

Michele Derr
in memory of Ellwood Derr
Dennis and Monique Deschaine
Sally and Larry DiCarlo
Molly Dobson
includes gift in honor of Ken Fischer
Steve and Judy Dobson
in honor of Ken Fischer
Jill and Doug Dunn
Peter and Grace Duren
Dworkin Foundation
Rosalie Edwards/
Vibrant Ann Arbor Fund
Johanna Epstein and Steven Katz
Elly and Harvey Falit
Dede and Oscar Feldman
Food Art
Dan and Jill Francis
Judy and Paul Freedman
Leon and Marcia Friedman
Bill and Boc Fulton
Luis and April Gago
Beverley and Gerson Geltner
Zita and Wayne Gillis
Heather and Seth Gladstein
Cozette Grabb
Leslie and Mary Ellen Guinn
Kenneth and Margaret Guire #
Roopa and Hitinder Gurm
Elizabeth and Robert Hamel
Jeff Hannah and Nur Akcasu
Randall L. and Nancy Caine Harbour #
Larry Hastie
Daniel and Jane Hayes #
David W. Heleniak
Sivana Heller
Paul and Nancy Hillegonds #
Diane S. Hoff
Robert M. and Joan F. Howe
Jean Jacobson
Hudson Webber Foundation
Eileen and Saul Hymans
Wallie and Janet Jeffries
Liz Johnson
Mary K. Joscelyn
Richard and Sylvia Kaufman
James A. Kelly and Mariam C. Noland
Janet Kemink and Rodney Smith, MD
Connie and Tom Kinnear
Carolyn and Jim Knake
Michael J. Kondziolka and
Mathias-Philippe Badin
Barbara and Michael Kratchman
Gary and Barbara Krenz
includes gift in honor of Ken Fischer
Donald and Jeanne Kunz
John K. Lawrence and
Jeanine A. DeLay#
Richard LeSueur
Evie and Allen Lichter
E. Daniel and Kay Long #
Fran Lyman
John and Cheryl MacKrell
Edwin and Cathy Marcus
Betsy Yvonne Mark
W. Harry Marsden
Ann W. Martin and Russ Larson
Howard L. Mason
Mary M. Matthews
Jerry A. and Deborah Orr May #

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

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

in memory of Wendy Comstock
Larry and Martha Gray
John and Renee Greden
Dr. Patricia P. Green
Raymond Grew
Nicki Griffith
Werner H. Grilk
Arthur Gulick
Julie and Hanley Gurwin
Talbot and Jan Hack
Don Haefner and Cynthia Stewart
Helen C. Hall
Steven and Sheila Hamp
William and Kathleen Hanson
Alan Harnik and Professor Gillian
David Harris
Mark and Lorna Hildebrandt
Timothy Hofer and Valerie Kivelson
Kay Holsinger and Douglas C. Wood
Jim and Colleen Hume
Ann D. Hungerman
Harold L. Ingram
Richard and Suzette Isackson
isciences, L.L.C.
Gretchen and John Jackson
Elizabeth Jahn
Joachim Janecke
in memory of Christa Janecke
Feng Jiang and Lydia Qiu
Mark and Linda Johnson #
Mattias Jonsson and
Johanna Eriksson
Mark and Madolyn Kaminski
Don and Sue Kaul
Barbara Kay
David and Gretchen Kennard
Robert and Gloria Kerry
Rhea K. Kish
Dana and Paul Kissner
Jane Fryman Laird
James Leija and Aric Knuth
Joan and Melvyn Levitsky
Marty and Marilyn Lindenauer
in honor of Ken Fischer
Daniel Little and Bernadette Lintz
Rod and Robin Little
William and Lois Lovejoy
Joan Lowenstein and
Jonathan Trobe #
Louise and David Lutton
Brigitte Maassen
William and Jutta Malm
Melvin and Jean Manis
Susan E. Martin
Judythe and Roger Maugh
Olivia Maynard and Olof Karlstrom
Martha Mayo and Irwin Goldstein
Susan McClanahan and
Bill Zimmerman
James H. McIntosh and
Elaine K. Gazda
Bill and Ginny McKeachie
Frances McSparran
Bernice and Herman Merte
Mary Lee Meyer
James M. Miller and
Rebecca H. Lehto
Gene and Lois Miller #
Lester and Jeanne Monts



Ann Arbor Public Schools
in honor of Jean Campbell
Sandy and Charlie Aquino
Penny and Arthur Ashe
Ralph and Barbara Babb #
John and Christie Bacon
Mary and Al Bailey
Reg and Pat Baker
Nancy Barbas and Jonathan Sugar
Astrid B. Beck
Lawrence S. Berlin and
Jean L. McPhail
Jack Billi and Sheryl Hirsch
William and Ilene Birge
Ron and Mimi Bogdasarian
R.M. Bradley and C.M. Mistretta
Brian Bradley and
Rosalie Tocco-Bradley
Joel Bregman and Elaine Pomeranz
Charles Bright and Susan Crowell
David and Sharon Brooks
Melvin Brown
Pamela Brown
Susan and Oliver Cameron
Brent and Valerie Carey
Jack and Susan Carlson
A. Craig Cattell
Tsun and Siu Ying Chang
Samuel and Roberta Chappell
John and Camilla Chiapuris
Reginald and Beverly Ciokajlo
Judy and Malcolm Cohen
Jon Cohn and Daniela Wittmann
Barbara Comai
David and Barbara Copi
Arnold and Susan Coran
Paul Courant and Marta Manildi
Katherine and Clifford Cox
Mac and Nita Cox
Clifford and Laura Craig #
John and Mary Curtis
Roderick and Mary Ann Daane
Connie D'Amato
David L. DeBruyn
David Deromedi
Andrzej and Cynthia Dlugosz
Gary Dolce and Karen Yamada
Alan S. Eiser
Bruce N. and Cheryl W. Elliott
Margaret and John Faulkner
Carol Finerman
Susan R. Fisher
Esther Floyd
Tiffany and Damon Ford
David Fox and Paula Bockenstedt
Susan L. Froelich and
Richard E. Ingram
Sandra Gast and Greg Kolecki
Chris Genteel and Dara Moses
Julia and Mark Gerstein
in honor of Evan Gerstein's
David and Maureen Ginsburg #
Steve Glauberman and
Margaret Schankler
Google Inc.
L.A. Peter Gosling, Linda Y.C. Lim
and Mya L. Gosling


W. Joseph McCune and
Georgiana M. Sanders
Griff and Pat McDonald
Margaret McKinley and Dan Ketelaar
Michael and Terrie McLauchlan #
Scott and Julie Merz
Bert and Kathy Moberg
Elizabeth and John Moje
Cyril Moscow
Mullick Foundation
John and Ann Nicklas
Susan and Mark Orringer #
Judith A. Pavitt
Pfizer Foundation
Marianne Udow-Phillips and
Bill Phillips
Juliet S. Pierson
Stephen and Bettina Pollock
Ray and Ginny Reilly
Malverne Reinhart
Guy and Kathy Rich
Richard and Susan Rogel
Huda Karaman Rosen
Jeri Rosenberg and Vic Strecher
Keith and Sue Rottman
John J. H. Schwarz
Erik and Carol Serr
Janet Shatusky
Carl Simon and Bobbi Low
Nancy and Brooks Sitterley
Michael Sivak and Enid Wasserman
Ren and Susan Snyder
Tamar Springer and Steve Stancroff
Michael B. Staebler and
Jennifer R. Poteat
Ted St. Antoine
Virginia E. Stein
Eric and Ines Storhok
Dalia and Stan Strasius
Charlotte B. Sundelson
in honor of Kenneth Fischer
Ted and Eileen Thacker
Keturah Thunder-Haab
Louise Townley
Jeff and Lisa Tulin-Silver
Susan B. Ullrich #
Robert and Cynthia VanRenterghem
Jack and Marilyn van der Velde
Bob and Liina Wallin
Harvey and Robin Wax
Max and Mary Wisgerhof
Jack and Carolyn Wallace
Joyce Watson and Marty Warshaw
Karl and Karen Weick
Edward and Colleen Weiss
Lauren and Gareth Williams
Charles Witke and Aileen Gatten
The Worsham Family Foundation


Kara and Lewis Morgenstern
Lisa and Steve Morris
Drs. Louis Nagel and
Julie Jaffee Nagel
Margaret Nance
Erika Nelson and David Wagener
Thomas and Barbara Nelson
Marc Neuberger and Jane Forman
Marylen S. Oberman
Elizabeth Ong
Zoe and Joe Pearson
Wesen and William Peterson
Diana and Bill Pratt
Wallace and Barbara Prince
Quest Productions
Cynthia and Cass Radecki
Harold K. Raisler Foundation, Inc.
Jessica C. Roberts, PhD #
Doug and Nancy Roosa
Stephanie Rosenbaum
Richard and Edie Rosenfeld
Nancy W. Rugani #
Ashish and Norma Sarkar
Maya Savarino
Ann and Tom Schriber
John Scudder and Regan Knapp
Elvera Shappirio
Bruce M. Siegan
Eleanor Singer
Barbara Furin Sloat
Cynthia Sorensen
Becki Spangler and Peyton Bland
Gretta Spier and Jonathan Rubin
Allan and Marcia Stillwagon
Jannifer Stromberg
Eva Taylor
Stephanie Teasley and Thomas Finholt
Doris H. Terwilliger
John G. Topliss
Joyce Urba and David Kinsella
Douglas and Andrea Van Houweling
Erica Ward and Ralph Gerson
Arthur and Renata Wasserman
Richard and Madelon Weber #
Deborah Webster and George Miller
Edward and Colleen Weiss
Carol and John Welsch
Lyndon Welch
in memory of Angela Welch
Steven Werns
Kathy White #
James Boyd White and Mary F. White
Iris and Fred Whitehouse
Brian Willen and Monica Hakimi
Thomas K. Wilson
Dr. Robert Winfield #
Beth and I. W. Winsten
Lawrence and Mary Wise
Kenneth Wisinski and
Linda Dintenfass
Drs. Margo and Douglas Woll
Frances A. Wright #
Mary Jean and John Yablonky
Thomas and Karen Zelnik


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

Barbara A. Anderson
John Anderson and Lyn McHie
Catherine M. Andrea
Ralph and Elaine Anthony
Lisa and Scott Armstrong
Michael Atzmon
Robert and Mary Baird
Barbara M Barclay
Frank and Lindsay Tyas Bateman
Gary Beckman and Karla Taylor
Christina Bellows and Joe Alberts
Emile Bendit
Merete B. Bengtsson
Christy and Barney Bentgen
Joan Bentz
Lynda W. Berg
Barbara and Sheldon Berry
Inderpal and Martha Bhatia
Mary E. Black
Bobbie and Donald Blitz
Mr. Mark D. Bomia
Morton B. and Raya Brown
Jonathan and Trudy Bulkley
Alan Burg and Kenneth Hillenburg
Jim and Cyndi Burnstein
Tony and Jane Burton
Jenny and Jim Carpenter
Barbara Mattison Carr
Margaret W. (Peggy) Carroll
MJ Cartwright and Tom Benedetti
Jenny Graf Carvo
Angela Cesere and Rob Thomas
J. Wehrley and Patricia Chapman
Joan and Mark Chesler
Mark Clague and Laura Jackson
Elke Monika Clark
Donald and Astrid Cleveland #
Hilary U. Cohen
Wayne and Melinda Colquitt
Anne and Edward Comeau
Gordon and Marjorie Comfort
Dr. Lisa D. Cook
Jane Wilson Coon and A. Rees Midgley
Mrs. Katharine Cosovich
Margaret Cottrill and Jon Wolfson
Susan Bozell Craig
Marylee Dalton and Lynn Drickamer
Art and Lyn Powrie Davidge
in memory of Gwen and
Emerson Powrie
Ed and Ellie Davidson
Linda Davis and Bob Richter
in honor of Ken Fischer
HE Dean
Brian and Margaret Delaney
Elena and Nicholas Delbanco
Richard I. DeVries
Robert Donia
Robert J. Donnellan
Ed and Mary Durfee
Don and Kathy Duquette
Swati Dutta
Gavin Eadie and Barbara Murphy
James F. Eder
Gloria J. Edwards
Morgan and Sally Edwards
Charles and Julie Ellis
Ruth Edwards
Beverly and Michael Fauman
Phil and Phyllis Fellin

Kay Felt
Jeff Fessler and Sue Cutler
Herschel and Adrienne Fink
C. Peter and Beverly A. Fischer
Martha Fischer and William Lutes
in honor of Kenneth C. Fischer
Norman and Jeanne Fischer
Catherine L. Fischer
Carol and Mitch Fleischer
Jessica Fogel and Lawrence Weiner
Scott and Janet Fogler
Christopher Friese
Philip and Renée Woodten Frost
Joseph E. Fugere and
Marianne C. Mussett
in honor of Kenneth C. Fischer
Carol Gagliardi and David Flesher
Stephen Gallagher
Enid Galler
Janet and Charles Garvin
Heather Gates
in memory of David Gates
Michael Gatti and Lisa Murray
Prof. Beth Genne and
Prof. Allan Gibbard
Renate Gerulaitis #
Francie Gibbons
J. Martin and Tara Gillespie
Thea Glicksman
Drs. Vijay and Sara Goburdhun
Barbara and Fred Goldberg
Mr. and Mrs. Charles and Janet Goss #
Michael L. Gowing
Christopher and Elaine Graham
Jerry M. and Mary K. Gray
Elliott Greenberg and Gayle Harte
Richard and Linda Greene
Michael Hammer and Matthew Dolan
Tom Hammond
Drs. Erik and Dina Hanby
Susan R. Harris
Michael and Nikki Hathaway
Neil and Annmarie Hawkins
J. Lawrence Henkel and
Jacqueline Stearns
Dr. and Mrs. Robert Hensinger
Therese and Alfred Hero
Kathryn Goodson and John Hieftje
Gideon and Carol Hoffer
Carol and Dieter Hohnke #
Paul Hossler and Charlene Bignall
James S. House and
Wendy Fisher House #
Elizabeth Jahn
Hank and Karen Jallos
Lawrence and Ruth Jones #
Janet and Jerry Joseph
Don and Nancy Kaegi
Carol and Mark Kaplan
Steven Kautz
John Kennard and Debbi Carmody
Nancy Keppelman and
Michael E. Smerza
Bonnie and Robert Kidd
Dan and Freddi Kilburn
Laurence King and Robyn Frey-King
Web and Betty Kirksey
Michael Koen
Rosalie and Ron Koenig
Ann Marie Kotre

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

Cynthia Straub
John F. Strobel and
Christine M. Tracy
Elizabeth Stumbo and
Stephan Taylor
Roger Stutesman
Nancy Bielby Sudia
Rich and Diane Sullivan
Ed and Natalie Surovell
Brian and Lee Talbot
Sandy Talbott and Mark Lindley
May Ling Tang
Michael and Ellen Taylor
William Tennant
Denise Thal and David Scobey
Nigel and Jane Thompson
Tom and Judy Thompson
Patricia J. Tompkins
in memory of Terril O. Tompkins
Janet and Randall Torno
includes gift in memory of
Wendy Comstock
Barbara Torzewski
Fawwaz Ulaby and
Jean Cunningham
Beaumont Vance
Karla and Hugo Vandersypen
Mary C. Vandewiele
James and Barbara Varani
Elizabeth A. and David C. Walker
Charles R. and
Barbara Hertz Wallgren
Jo Ann Ward
Karen Watanabe and Richard Cheng
MaryLinda and Larry Webster
Bruce and Loraine Webster
Richard and Lucinda Weiermiller
Jack and Carol Weigel
Neal and Susan Weinberg
Charles Werney
Mary Ann Whipple #
Mac and Rosanne Whitehouse
Steve and Peg Wilcox
Thomas Wilczak and
Steven Quinkert
in honor of Garrett Kucharski,
Marie and Helen Rucinski
Shelly F. Williams
Pat and John Wilson
Stuart and Nancy Winston #
Steven and Helen Woghin
Charlotte A. Wolfe
Gladys Young
Barabra Zacharakis
Gail and David Zuk
Thomas and Erin Zurbuchen


Karen Park and John Beranek
Brian and Julie Picknell
Robert and Mary Ann Pierce
Mark and Margaret Pieroni
Donald and Evonne Plantinga
Joyce Plummer
Tom Porter
Anne Preston #
Karen and Berislav Primorac
Jeff and Katie Reece
Judith Roberts
Kathryn Robine and Kevin Kerber
Ernest Robles
Jonathan and Anala Rodgers
Stephen Rosenblum and
Rosalyn Sarver
Jean Rowan
Rosemarie Haag Rowney
Carol Rugg and
Richard Montmorency
Mary Ann Rumler
Irv and Trudy Salmeen
Michael and Kimm Sarosi
The Saturno Family
in honor of Ken Fischer
Albert J. and Jane L. Sayed
Judith Scanlon
Helga and Jochen Schacht
Betina Schlossberg
David Schmidt and Jane Myers
David Schoem
Suzanne Selig
Harriet Selin #
James and Linda Selwa #
Theodore T. Serafin
in honor of Ken Fischer
Matthew Shapiro and Susan Garetz
Cliff and Ingrid Sheldon
Bill and Chris Shell
Patrick and Carol Sherry
Howard and Aliza Shevrin
Jean and Thomas Shope
Nina Silbergleit
Edward and Kathy Silver
Sandy and Dick Simon
Robert and Elaine Sims
Jürgen Skoppek
Art Smith and Connie Barron Smith
Carl and Jari Smith #
David and Renate Smith
Gregory Smith MD
Robert W. Smith
Sidonie Smith and Greg Grieco
Linda Spector and Peter Jacobson
Doris and Larry Sperling
in memory of David Klein
Jim Spevak
Jeff Spindler
Paul and Judy Spradlin
Leslie Stainton and Steven Whiting
Daniel and Susan Stepek
James L. Stoddard


Mary L. Kramer #
Syma and Phil Kroll
Bert and Geraldine Kruse
Lawrence La Fountain-Stokes
David Lampe and Susan Rosegrant
Lucy and Kenneth Langa
Linda M. Langer
Jean A. Lawton and James H. Ellis
John and Theresa Lee
Sue Leong
John Lesko and
Suzanne Schluederberg
Barbara Levine
Adam and Sonia Lewenberg
Gloria Kitto Lewis
Jacqueline Lewis
Michael and Debra Lisull
Len and Betty Lofstrom
John Lofy and Laura Rubin
Shuyu Long
Barbara and Michael Lott
Christopher Lovasz
Jimena Loveluck and
Timothy Veeser
Marilyn and Frode Maaseidvaag
Martin and Jane Maehr
Geraldine and Sheldon Markel
Ken and Lynn Marko
Charles McCaghy
Margaret and Harris McClamroch
Cynthia McClung
Peggy McCracken and
Doug Anderson
Daniel and Carol McDonnell
Joanna McNamara
Margaret McQuillan-Key
Marilyn Meeker
Gerlinda S. Melchiori
Warren and Hilda Merchant
Carmen and Jack Miller
Gene and Lois Miller
John and Sally Mitani
Candy and Andy Mitchell
Melinda Morris
Brian and Jacqueline Morton
Trevor Mudge and
Janet Van Valkenburg
Barbara Mulay
Thomas and Hedi Mulford
Kathleen and Gayl Ness
Ben and Jo Ann Nielsen
in honor of Maxine Frankel
Richard and Susan Nisbett
Laura Nitzberg
Christer and Outi Nordman
Arthur S. Nusbaum
Kathleen I. Operhall
Elisa Ostafin and Hossein Keshtkar
Liz and Mohammad Othman
Marie Panchuk
Karen Pancost
William and Hedda Panzer

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


for young Black and Latino String Players

February 8 - 12, 2017
Detroit MI

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

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

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

Ad Index

Ann Arbor Area Community Foundation
Ann Arbor Symphony Orchestra
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Community Foundation of Southeastern
34 Donaldson & Guenther
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10 Honigman Miller Schwartz and Cohn LLP
32 IATSE Local 395
30 Iris Dry Cleaners
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
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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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