2016-17 WINTER PROGRAM

BOOK138TH SEASON // UNIVERSITY OF MICHIGAN | ANN ARBOR You have a part to play.

Uncommon Your gift will help in the following areas: and engaging ACCESS AND INCLUSIVENESS experiences. Helping make tickets more affordable. Helping create free educational events and A sense of community-building activities. Providing connection opportunities for all to experience the transformative power of the arts. between audience and artist. ENGAGED LEARNING THROUGH THE ARTS Integrating performing arts into the Moments of clarity, student experience. Creating meaningful connections between the arts and life. inspiration, and Encouraging creative thinking, collaboration, reflection. The and experimentation. performing arts BOLD ARTISTIC LEADERSHIP provide us with Commissioning work that reflects our commitment to tradition and innovation. these elemental Solidifying and elevating our position as experiences, a recognized national and international artistic leader. Unique and bold offering a shortcut programming. to our creative As a Leader and Best among arts presenters, selves. 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.ORG/SUPPORT Visit us online or call the UMS Development 734.764.8489 Office to make your gift today. BE PRESENT

Be Present

UMS unleashes the power of the WINTER 2017 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 performances.

Welcome to the UMS experience. We’re glad you’re present. Enjoy the performance.

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

nonprofit ARTS +CULTURE = ECONOMIC

PROSPERITYin the greater Ann Arbor Area $100 million annually

Together, we invest in our local community’s vibrancy.

Ann Arbor Area Community Foundation aaacf.org BE PRESENT WINTER 2017 3

The UMS Family Ken, we wish you all of the best final few in the months of your tenure. Thank you’ve done for our community! you for all that He has achieved some of the highest in our field, including the recognitions He Service National Award, Bogomolny Richard J. America Chamber Music 2016 Distinguished Taylor Fan Arts Presenters Association of Performing the 2011 of Arts Medal National recognition as a 2014 and UMS’s Service Award, the Vienna Philharmonic concerts led by Leonard Bernstein recipient. From residency through Company in 2001, in 1988, to the first Royal Shakespeare Ken has held true to his in 2012, the remounting of Einstein on the Beach Out.” Nobody “Everybody In, lifelong motto: Beyond Ken’s lasting contributions to UMS, which include an organizational lasting an organizational contributions to UMS, which include Beyond Ken’s and an increased focuscommitment to Education new on commissioning apparent outside of the always work, Ken has had an impact isn’t that to mentorship and service dedication His and includes is vast, organization. students interested in to prospective tours hosting weekend University the arts; tirelessly serving on boards of directors within the arts industry offering his time and generously and internationally; nationally, regionally, in connectingand knowledge others. Ken has fostered a culture of openness, honesty, and out-of-the-box thinking and out-of-the-box Ken has fostered culture a of openness, honesty, can be measured in UMS — a supportive that at professional environment team. UMS management tenure of the average part by the 21-year Welcome to this UMS performance! We are delighted that you are joining us you are delighted that are performance! to this UMS We Welcome staff for the UMS and family; is bittersweet season, a season that in our 138th following 30 years will retire Ken Fischer end of June, the at UMS President our and to of Michigan, of leadership and service to UMS, the University community. Thank You, Ken… Thank You, Thanks to thousands of generous individuals, families and businesses, the Community Foundation for Southeast Michigan is a permanent source of community capital, dedicated to creating lasting positive benefit in our region. Through grantmaking, education and leadership on community issues, we help improve the quality of life for all residents of Southeast Michigan. cfsem.org. 1-888-WeEndow BE PRESENT

Table of Contents

7 WINTER 2017 SEASON CALENDAR 9 EDUCATION

13 HISTORY

14 WINTER 2017 LEADERSHIP DONORS

16 CORPORATE CHAMPIONS

23 FOUNDATION, GOVERNMENT, & UNIVERSITY SUPPORT

25 PEOPLE

33 GENEROUS DONORS

44 AD INDEX

5 Druid

Bruckner Orchester Linz with Angélique Kidjo

Sarah Chang

Batsheva Dance Company

Snarky Puppy

6 BE PRESENT Winter 2017 Season

January March 1/7-8 Batsheva Dance Company 3/4 Jazz at Lincoln Center 1/12-14 Igor and Moreno Orchestra with Idiot-Syncrasy Wynton Marsalis 1/15 NT Live: Harold Pinter’s 3/9-11 Druid No Man’s Land The Beauty Queen of Leenane 1/19 Prague Philharmonia with Sarah Chang, violin 3/11 Beethoven’s Andrew Von Oeyen, piano Missa Solemnis 1/20 Meredith Monk & 3/16 Snarky Puppy Vocal Ensemble 3/17-18 Kidd Pivot and On Behalf of Nature Electric Company Theatre 1/21-22 Takács Quartet Betroffenheit Beethoven String Quartet 3/18 Steve Reich @ 80 Cycle, Concerts 3 & 4 Music for 18 Musicians

1/22 NT Live: The Audience 3/24 Mitsuko Uchida, piano WINTER 2017 1/29 Inon Barnatan, piano 3/25-26 Takács Quartet Anthony McGill, clarinet Beethoven String Quartet Alisa Weilerstein, cello Cycle, Concerts 5 & 6 3/29 DakhaBrakha February 3/30-4/1 Complicite 2/2 Bruckner Orchester Linz The Encounter with Angélique Kidjo 2/3 Estonian Philharmonic April Chamber Choir 4/1 Michael Fabiano, tenor 2/5 M-Prize Winner: Martin Katz, piano Calidore String Quartet 4/12 A Far Cry with 2/10 Budapest Festival Orchestra Roomful of Teeth with Richard Goode, piano 4/15 Sanam Marvi 2/18 Ping Chong + Company 4/21 King Sunny Adé Beyond Sacred: Voices of 4/22 Yo-Yo Ma, Edgar Meyer & Muslim Identity Chris Thile 2/19 Jelly and George 4/25 Handel’s Ariodante: Aaron Diehl and Opera in Concert Cécile McLorin Salvant y Ma 5/21 NT Live: Ibsen’s Hedda Gabler

7 Chris Ballard Christine Phillips Tom Forster Ann Arbor, we’re Not pictured: ® Rick Manczak In Your Corner. Jack Panitch 300 North 5th Avenue n Suite 230 n Ann Arbor, MI 48104

Varnum is proud to support the University Musical Society

Legal Experience In Your Corner.® www.varnumlaw.com

■ Grand Rapids ■ Detroit ■ Novi ■ Kalamazoo ■ Grand Haven ■ Lansing ■ Ann Arbor ■ Hastings BE PRESENT

Education & Community Engagement

Educational experiences for everyone. WINTER 2017

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.

9 THE GILMORE 2016-2017 SEASON

PRESENTING PIANO MASTERS & RISING STARS BOX OFFICE 269.359.7311 thegilmore.org

SUPPORTING THE ARTS

As longtime patrons of the arts, Honigman and its Ann Arbor attorneys are proud to support UMS.

For more information, please contact David Parsigian at 734.418.4250 or [email protected].

WWW.HONIGMAN.COM BE PRESENT

EDUCATION Pre-Concert Lecture Series: Exploring Beethoven’s String Quartets

Saturday, January 21 // 7 pm Join Beethoven scholar and U-M Rackham Amphitheatre professor of musicology Steven Whiting 915 E. Washington St. for a series of lectures in conjunction Fourth Floor with the Takács String Quartet’s complete Beethoven cycle. Saturday, March 25 // 7 pm Michigan League In collaboration with the U-M School of Koessler Room Music, Theatre & Dance. 911 N. University Ave. Third Floor WINTER 2017

EDUCATION You Can Dance

Ever wonder what it’s Batsheva Dance Company like to be a dancer? Join Saturday, January 7 // 12 noon–1:30 pm dancers from each company Ann Arbor Y on the UMS season for 400 W. Washington St. beginner movement workshops exploring each Igor and Moreno of the company's movement Saturday, January 14 // 2-3:30 pm styles. No dance training Ann Arbor Y or experience necessary, 400 W. Washington St. and all levels, ages 13 and up, are welcome. Free, but Meredith Monk & Vocal Ensemble first come, first served until Saturday, January 21 // 2-3:30 pm studio reaches capacity. Ann Arbor Y Sign-up begins at the Y 400 W. Washington St. 45 minutes prior to the start of class. Kidd Pivot Saturday, March 18 // 2-3:30 pm Educational events are free Ann Arbor Y and open to the public unless 400 W. Washington St. otherwise noted.

11 WELCOME TO GRADUATE ANN ARBOR— WELCOME TOWhere your intellectual curiosity meets GRADUATE ANNyour favorite ARBOR— place to stay. Ideally located across the street from campus, Where your intellectualGraduate curiosity Ann Arbor hasmeets 204 guest rooms and over 11,000 square feet of meeting space for banquets your favorite place toand stay. events. Get ready for experiences like you’ve never had before, where little moments of surprise Ideally located across theand street discovery from meet youcampus, down each corridor and Graduate Ann Arbor has around204 guestevery corner. rooms and over 11,000 square feet of meeting space for banquets and events. Get ready for experiences like you’ve never had before, where little moments of surprise and discovery meet you down each corridor and around every corner. BE PRESENT

Tradition Builds the Future WINTER 2017

In our 138th season, we continue to showcase traditional performances alongside contemporary artists for an offering that is unlike anything available in the Midwest. UMS grew from a group of local members of the University and townspeople in the 1870s who gathered together for the study of Handel’s Messiah. Led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Many Choral Union members were also affiliated with the University, and the University Musical Society was established soon after in December 1880.

Since that first season, UMS has expanded greatly and now presents the very best from a wide spectrum of the performing arts: internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and global music performers, and contemporary stagework and classical theater. Through educational programming, the commissioning of new works, youth programs, artist residencies, and collaborative projects, we continue to strengthen our reputation for artistic distinction and innovation.

Hill Auditorium opening-night audience: May 14, 1913

13 Leadership Donors

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

BERTRAM ASKWITH (1911-2015) PATTI ASKWITH KENNER “The arts made a significant difference in my father’s life and in my life, too. My father wanted every U-M student to have the opportunity to experience the impact of the performing arts at UMS. This is why I am continuing to offer every first- and second-year student one free ticket — Bert’s Ticket — to introduce them to a cultural experience at Michigan and keep my father’s passion for the arts alive.”

MAURICE AND LINDA BINKOW “Our love of opera and the human voice, rivaled only by our affection for the Brooklyn Dodgers and Jackie Robinson, began nearly 70 years ago as teenagers in New York City. That’s why we are so pleased to create an endowment that will bring song recitals to UMS audiences for generations to come.”

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

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

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

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

DAVID LEICHTMAN AND LAURA MCGINN

“UMS is an inspiration — from the Big House of the Arts WINTER 2017 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.”

STUART AND LINDA NELSON “Our connection to the University of Michigan is through our grandson’s incredible experience as a student. We are dazzled by the array of cultural events available to everyone on campus and beyond. At the heart of this phenomenon is UMS, where Ken Fischer’s legacy will continue its magic long after his retirement. We feel privileged to participate in the UMS Endowment Fund in his honor.”

MAX WICHA AND SHEILA CROWLEY “We are delighted and proud to support UMS and the rich, diverse programs they offer each season. The arts play a vital role in enhancing the quality of life in our community, while bringing beauty and meaning to everyday life. UMS is a gem we treasure and will continue to do so, for many years to come.”

15 Corporate Champions

We thank the following businesses for their commitments of $5,000 or more for the 2016–17 season.

ALICIA M. TORRES Senior Vice President & Chief Financial Officer, Altarum Institute “The arts stimulate the mind and inspire creativity. Hence, we at Altarum are thrilled to support UMS and provide inspiring and enjoyable cultural opportunities for our team and our community. Altarum Institute serves the public good by solving complex systems problems to improve human health through objective research, technology, analysis, and consulting leadership skills.”

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

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

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

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LARRY BRYANT Ann Arbor Region President, Comerica Bank “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.”

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

FAYE ALEXANDER NELSON President, DTE Energy Foundation WINTER 2017 “The DTE Energy Foundation is pleased to support exemplary organizations like UMS that inspire the soul, instruct the mind, and enrich the community.”

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

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

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Black and White Form

Ford Fund Master File Format: CMYK.EPS Ford Oval: CMYK Text: Black 6/2003 BW.EPS Black Black DAVID N. PARSIGIAN Ann Arbor Office Managing Partner, Honigman Miller Schwartz and Cohn LLP “In our firm’s tradition of supporting major cultural institutions, Honigman has been a long-time supporter of UMS. Our Ann Arbor office is proud to carry on that tradition on behalf of all of our attorneys, especially those who work and live in the Ann Arbor area. We all view the exceptional cultural experiences that UMS provides as key to the success of our community and our firm.”

JOHN AND JACKIE FARAH Owners, Imagine Fitness & Yoga “My wife Jackie and I share a deep devotion to our hometown of Ann Arbor and all the opportunities it presents. UMS is a huge part of this community. The programming that UMS offers is internationally recognized and Ann Arbor would not be the same without it. Imagine Fitness & Yoga is honored to support such a great organization and community.”

MOHAMAD ISSA Director, Issa Foundation “The Issa Foundation is sponsored by the Issa family, which has been established in Ann Arbor for the last 30 years, and is involved in local property management as well as area public schools. The Issa Foundation is devoted to the sharing and acceptance of culture in an effort to change stereotypes and promote peace. UMS has done an outstanding job bringing diverse and talented performers to Ann Arbor.”

ROBIN WEBER POLLAK President, Journeys International “Journeys International and UMS have a lot in common: we both provide opportunities for powerful and impactful experiences. Founded and based in Ann Arbor, Journeys has been crafting life- changing international travel adventures for nearly four decades. We are thrilled to support UMS and its programs that change people through the performing arts.”

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

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

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

KEITH ALLMAN President and Chief Executive Officer, Masco WINTER 2017 “Masco is proud to support UMS and salutes its commitment to providing excellent and diverse programs that spark a lifelong passion for creativity. Thank you, UMS, for allowing all of us to experience the transformative power of the performing arts!”

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

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

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

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

RICHARD L. DEVORE Detroit and Southeast Michigan Regional President, PNC Bank

“PNC Bank is proud to support the efforts of UMS and the Ann Arbor community.”

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

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

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

SesiMotors.com.com

JOHN FITZPATRICK 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.”

JOHN W. STOUT President, Stout Systems WINTER 2017 “Supporting UMS is really a labor of love — love of music and the performing arts and love of arts advocacy and education. Everyone at Stout Systems knows we cannot truly be successful without helping to make our community a better place. It is an honor to be part of the UMS family.”

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

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

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

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

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

Concerts III and IV

January 21–22, 2017 Rackham Auditorium Ann Arbor CONTENT

Concert III Saturday, January 21, 8:00 pm 3

Beethoven’s Impact: Shulamit Ran 8

Beethoven’s Impact: Sebastian Currier 13

Essay: Ignaz Schuppanzigh, Beethoven, and the Inception of Listening to String Quartets by John M. Gingerich 14

Concert IV Sunday, January 22, 4:00 pm 19

Beethoven’s Impact: William Bolcom 22

Artists 29 Takács Quartet

Concert III

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

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

32nd Performance of the 138th Annual Season 54th Annual Chamber Arts Series This evening’s presenting sponsor is the Helmut F. and Candis J. Stern Chamber Arts Endowment Fund, which supports the annual presentation of a performance as part of the Chamber Arts series in perpetuity.

Media partnership provided by WRCJ 90.9 FM.

Special thanks to Steven Whiting for his participation in events surrounding this weekend’s performances.

The Takács Quartet records for Hyperion and Decca/London Records.

The Takács Quartet is Quartet-in-Residence at the University of Colorado in Boulder and are Associate Artists at Wigmore Hall, London.

The Takács Quartet appears by arrangement with Seldy Cramer Artists.

In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance.

The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM

Beethoven String Quartets Concert III

String Quartet in A Major, Op. 18, No. 5

Allegro Menuetto Andante cantabile: Thema – Variations I – V – Coda: Poco Adagio Allegro

String Quartet in c minor, Op. 18, No. 4

Allegro ma non tanto Scherzo: Andante scherzoso quasi Allegretto Menuetto: Allegretto Allegro — Prestissimo

Intermission

String Quartet in a minor, Op. 132

Assai sostenuto — Allegro Allegro ma non tanto Molto adagio — Andante — Molto adagio — Andante — Molto adagio Alla marcia, assai vivace — Piu allegro — Allegro appassionato

The fourth and fifth movements are played attacca (without pause).

5 STRING QUARTET IN A MAJOR, OP. 18, NO. 5 (1798–1800)

Ludwig van Beethoven Born December 16, 1770 in Bonn, Germany Died March 26, 1827 in Vienna

UMS premiere: Flonzaley Quartette; January 1912 in University Hall.

Snapshots of History…In 1800: · The US Library of Congress is founded in Washington, DC · Christmas Day first becomes a public holiday on an international scale · President John Adams becomes the first US President to live in the Executive Mansion (later renamed the White House)

When the young Beethoven left his thoroughly assimilated and carried on native Bonn for Vienna in 1792, his the genres of concerto, piano sonata, patron, Count Waldstein, sent him and chamber music; by 1799–1800, he on his way with these words: “With was ready to write his first symphony. the help of assiduous labor you shall In Beethoven’s six string quartets receive Mozart’s spirit from Haydn’s published as Op. 18, the influence of hands.” What the Count meant was Haydn and Mozart cannot be denied. that even though Mozart had died What is more, scholars have shown the previous year, Beethoven could that some ideas in these quartets still study with Haydn, the other great even predate the move to Vienna, and Viennese composer. Things didn’t originate in compositional essays from quite work out that way, though, for the Bonn period. Yet at the same time, Haydn and Beethoven didn’t get along Beethoven’s unique voice is already very well and the composition lessons manifest on every page. never really got off the ground. Still, The quartets were written for and Waldstein’s words were prophetic dedicated to Prince Franz Joseph on another level, as they implied that von Lobkowitz, one of Beethoven’s Beethoven could some day inherit most important aristocratic patrons. the mantle of the two older masters. Simultaneously with Beethoven, the And in fact, once installed in Vienna, 67-year-old Haydn was also working Beethoven lost no time in claiming on a set of quartets for Lobkowitz. his place as im Bunde der Dritte (the Yet Haydn eventually withdrew from third in the alliance, to quote a famous the project, not wanting to compete phrase from Beethoven’s favorite with his rebellious former student. poet, Friedrich Schiller). Having He finished only two quartets, out absorbed the style of Haydn and of six that had been planned. These Mozart early on, he now began to put two, eventually published as Haydn’s on his own personal stamp on that Op. 77, give some indication that the style. With his first 20 opus numbers, influence between the two composers written between 1795 and 1800, he ran both ways, and the older man

6 was responding to a challenge from necessarily over after the standard the unruly young genius he referred length of eight bars. The sudden to, with a mixture of admiration and outburst in a minor key in the middle jealousy, as the “Grand Mogul.” of the minuet, followed by a general Commentators on Beethoven’s rest, is certainly a surprise, as is A-Major Quartet, in particular, never the varied recapitulation involving fail to point out the young composer’s some contrapuntal imitation. The trio debt to Mozart’s quartet in the same would be “simple” indeed, and even key (K. 464) from the set of six works “Schubertian” as has been claimed, dedicated to Haydn. No one will were it not for those persistent and dispute this claim, which is based on disquieting offbeat accents. the external structuring of the work: With its theme all made up of like Mozart, Beethoven placed his scales, going first down and then minuet in second place, and included up, the third movement again a set of slow variations in the key of looks like a model of simplicity. It D Major. The more important question, is one of many variation themes by however, is whether this quartet Beethoven that are kept purposely sounds anything like Mozart. And “bare-bones” in order to allow for there, the answer has to be a definite some spectacular development in no. From the very first measures we the variations. But the latter turn out hear the sudden offbeat accents to be much more than the figurative so typical of Beethoven, a certain embellishments of traditional variation dance rhythm rarely used by Mozart, writing. The very first one introduces and myriad other fingerprints that counterpoint. The second variation unmistakably belong to Beethoven may be more conventional, but and no one else. the third is a breathtaking essay in The general feeling of the opening musical color, the fourth a stunning movement is rather cheerful and chromatic chorale, and the fifth lighthearted, but that feeling seems a grandiose statement of almost to be constantly contradicted by symphonic breadth. One would the frequent incursions into the expect a sixth variation, but instead minor mode and the sudden rests — after a sudden leap into a remote interrupting the musical flow. As a key — Beethoven appends a coda result, we are kept on the edge of our (conclusion) which is really a free seats, never knowing what is going to meditation on the opening portion of happen in the next minute. the theme. Experts have called the second- The finale is brilliant and virtuosic, movement minuet “simple,” mainly with a swiftly running first theme because it is an old-fashioned minuet and a second one that moves quite rather than the more novel scherzo. a bit more slowly. Both themes are Yet it is a sophisticated simplicity; manipulated with great ingenuity and even when the texture is down to the are finally combined in the witty coda. two violins as it is at the beginning, the phrases don’t always go where they are expected to, nor are they

7 Beethoven’s Impact by Shulamit Ran

Something about the notion that there a new experiment. Listen with fresh is a clear divide between two types ears, and you will be startled anew, of music — “pure,” “abstract” music surprised time and again. on the one hand, and music with a By definition, a composer takes “theme” or “storyline” that exists command of a listener’s most precious outside of the music on the other and irreplaceable commodity — their — has always left me ambivalent. I time — a profound responsibility. am convinced that all great music Inspired by Beethoven, I, too, aim to including, for example, a Mozart make every note matter. I, too, want opera, a Schubert or Mahler song my music to feel urgent, necessary, cycle, or a Stravinsky ballet, may be organic at the smallest and largest experienced and appreciated as levels. The magnificent balance where “pure music.” Regardless of genre the music is never predictable yet feels and category it is, first and above “right” at all times is a Beethovenian all, a construct of sound and time marvel that inspires me every day. in musical space — parallel to, yet It has been a special privilege to separate from, addressing a “topic.” hear some of today’s great quartets Of course, penetrating the “extra performing some of my string quartet musical” in those cases will enhance, music. Inevitably, on such occasions illuminate, and add richness to our total my music often finds itself alongside experience. But the music comes first. Beethoven, Haydn, and Mendelssohn. Equally, I believe that in much of My heart sometimes flutters excitedly the music we consider to be at the in the awareness that this truly is zenith of art at its purest and loftiest, “playing with the big boys.” And the “human” is ever-present too, in from an early age Beethoven was its most wondrous nuance. Nowhere Mount Olympus for me. At the very is this truer than in the massive least it is my hope that to the listener achievement that are the string transitioning from a string quartet by quartets by Beethoven. When I listen Beethoven to one by Shulamit Ran it to every one of them, I am acutely will be apparent that, as I compose aware that BEETHOVEN equals not my music, I am always looking to the only one of the greatest giants in all of mountain-top, in awe and in hope. art, but also a breathing person whose every phrase “spoke” — in a manner Shulamit Ran is an Israeli-American intermittently vivid and exuberant, composer. She is the Andrew MacLeish pained and transcendent, heroic and Distinguished Service Professor of fragile — of what it means to be alive. Music at the University of Chicago. No Beethoven quartet is like She has written three string quartets, another. This holds true for all and many other chamber works with a of Beethoven, of course. One is string quartet at its core. aware that with each and every composition Beethoven engages in STRING QUARTET IN C MINOR, OP. 18, NO. 4 (1798–1800)

Beethoven

UMS premiere: Paganini Quartet; January 1948 in Rackham Auditorium.

The key of c minor had a special atmosphere is only temporarily significance for classical composers. relieved by a more light-hearted trio in Mozart endowed this key with deeply A-flat Major. The way the conclusion of tragic connotations in works such the trio is left open to prepare for the as the c-minor Fantasy, Sonata, and return of the minuet is a thoroughly Concerto (all for piano). Beethoven modern touch. built upon this legacy in such works The last movement is a spirited as the Pathétique Sonata, the Fifth rondo, but the dark c-minor tonality is Symphony, and the last Piano Sonata preserved all the way through (except (Op. 111). In the String Quartet for one brief episode). The Mozartian (as so often in Beethoven’s other models from the c-minor Piano c-minor works), dramatic excitement Concerto (K. 491) and the c-minor is expressed by frequent offbeat Serenade (K. 388) are very much in accents, harsh chordal sonorities, and evidence, yet only Beethoven could other surprising gestures. Yet there have written the “Prestissimo” coda are also playful moments, as in the with its entirely unexpected ending. second theme of the first movement which, as it has often been pointed out, shares its melodic outline with one of Beethoven’s most cheerful works, the “Duet for Two Obligato Eyeglasses” for viola and cello. In many of his works, Beethoven replaced the Mozartian minuet with a scherzo. In the c-minor Quartet (as in a handful of his other works) he included both scherzo and minuet, eliminating the slow movement instead. It is true, though, that the scherzo has the form, if not the tempo, of a slow movement; with its fugal beginning, it would appear to be a close cousin of the “Andante” from the First Symphony. Scored in a bright and sunny C Major, it also has the wit and ingenuity of many a Beethovenian scherzo. With the “Menuetto,” we are back in c minor and, accordingly, it is a serious and brooding piece, whose

9 STRING QUARTET IN A MINOR, OP. 132 (1825)

Beethoven

UMS premiere: Paganini Quartet; January 1948 in Rackham Auditorium.

Snapshots of History…In 1825: · Greece is in the middle of its eight-year War of Independence against Turkey · The world’s first modern railway, the Stockton and Darlington Railway, opens in England · The Erie Canal opens, connecting the Great Lakes to the Atlantic Ocean

With its “Holy Song of Thanksgiving wine, no coffee; no spices of any kind. of a Convalescent to the Deity in the I’ll arrange matters with the cook.” Lydian Mode,” the a-minor Quartet Beethoven’s condition improved; is in a category all by itself, not only soon he was able to return to work among Beethoven’s quartets but in and finished the quartet in July 1825. the entire music literature as well. But with a slow movement that had Nowhere else did Beethoven take obviously not been planned from the such a bold step outside the style start, this was no longer the same that Haydn, Mozart, and Beethoven work that Beethoven had begun himself, had done so much to develop. before his illness. The same claim may of course be If there is one word that occurs made of the Great Fugue (originally more often than any other in the finale of the string quartet in B-flat, discussions of this quartet, it is Op. 130, later published separately), contrast — contrast both within but while in that work Beethoven movements and between movements. expanded an existing framework The contrasts begin immediately at almost beyond recognition, in the “Holy the beginning, where a mysterious Song” he did the opposite: he reduced slow introduction is suddenly his means and retreated into a newly- interrupted by an “Allegro” flourish invented archaic world that no one in first violin. “The conflict revealed knew existed. here casts a shadow not only over the The patient who gives thanks for first movement but over the quartet his recovery is, of course, Beethoven as a whole,” William Kinderman himself. In April 1825 — when he was writes in his insightful monograph in the middle of writing the a-minor on Beethoven. In fact, the anguished Quartet — the composer became half-steps of the introduction and gravely ill with an inflammation of the agitated rhythms of the “Allegro” the bowels. His physician, Dr. Anton determine much of what follows, along Braunhofer, prescribed a strict with the lyrical second idea played diet, and wrote in one of the deaf by the second violin. The first two composer’s conversation books: “No elements are contrapuntally combined

10 in the development section and The name itself is even older, going further elaborated in the subsequent back to ancient Greece. We know that sections of the movement. In Beethoven studied some examples a significant departure from of Renaissance music and also conventional sonata form, Beethoven theoretical writings from the period, wrote not just one recapitulation but and thus he was well aware that two. The first of these resembles the Lydian was associated with healing in exposition more closely but is set in a some ancient writings. According to key other than a minor, the home key, theory books, the Lydian scale consists while the second treats the material of the white keys of the piano starting with much more freedom but re- with the note ‘F’; in other words, it is establishes a minor in the movement’s an F-Major scale with a ‘B-natural’ vibrantly dramatic coda. instead of a ‘B-flat.’ This poses a To say that the second movement grave problem, however, in that the is a minuet with trio is both true interval ‘F’–‘B’ is an augmented and untrue. The 3/4 time and ABA fourth or “tritone” that was called form are certainly present, and the the “devil’s interval” in medieval drone effects of the trio have a long times and studiously avoided. All ancestry in movements of this type. chant melodies notated in Lydian Yet the movement doesn’t sound were actually sung with a ‘B-flat,’ an like a minuet. Commentator Michael alteration that was routinely applied Steinberg described it as “an always to the music. In Op. 132, however, surprising mixture of the gentle and Beethoven used ‘B-natural,’ and the acid,” with harmonies that are “a it is very likely that his use of the bit tart.” The frequent half-steps are “Lydian mode” is the first in history audibly related to those from the slow not to correct the offending interval. introduction of the first movement. Thus, while seemingly reviving an old Of the trio section, Steinberg wrote: musical element, Beethoven actually “A country dance tune, with bagpipe created something quite new. (The drone and all, becomes transfigured Lydian mode with ‘B-natural’ does at a great height into something exist in eastern European folk music.) distant, mysterious, free of the pull The entire song of thanksgiving is of gravity.” This ethereal dance is, harmonized with only “white keys,” however, suddenly interrupted by a which — in conjunction with the unison passage where even the meter extremely slow tempo — makes the changes briefly from triple to duple. sound eerily transparent. In addition to Thus, even this lyrical intermezzo ancient sources, Beethoven also drew is not spared from the dramatic on the Protestant chorale tradition in contrasts that fill the entire work. this movement — a tradition he was Beethoven took pains to specify familiar with in spite of his Catholic that the “Holy Song of Thanksgiving” background. The uniform rhythms and was in the Lydian mode, which is clear-cut cadences (line endings) one of the old church modes upon turn the Holy Song into a chorale of which Gregorian chant and much sorts, though this chorale has five early polyphonic music was based. lines instead of the usual four.

11 At the end of the fifth line, the “Holy Song,” and according to his second violin plays the first altered sketches, he first intended a Ländler- note (a ‘C-sharp’) in the movement, type dance at this point. He later giving the signal for the next section, decided otherwise, and the Ländler marked Neue Kraft fühlend (feeling found its home as the “Alla danza new strength). As a total contrast tedesca” movement of Op. 130. to the preceding Lydian music, this We might think that when we hear section is in a bright and confident the march in Op. 132, the trials and D Major. In Steinberg’s words: “The tribulations are finally over. Not so. staccatos, the wide leaps, the A dramatic recitative interrupts the exuberant upbeats in scurrying 32nd happy music, leading into the “Allegro notes, the jubilant violin trill that appassionato” finale. Despite the rides across the top of the music, waltz-like lilt of the main theme, the breathless excitement in the there is significant tension under the accompaniment, all contribute to the surface. The rondo theme is quite joyful atmosphere.” close to the agitated melody of the The hymn returns with some first movement. The first episode fascinating changes in the texture. provides momentary relief; the The static, almost frozen chords of second even intensifies the “storm the first appearance are softened by and stress.” But eventually, the a more complex rhythmic interplay tonality shifts from a minor to A Major; among the voices, giving the music the tempo increases to presto and a a more flowing character. Then the new lyrical melody helps to give this second section returns, lavishly monumental work a happy ending. ornamented. With the third and final return of the Lydian chorale, we Program notes by Peter Laki. understand the form as A–B–A–B–A (as in the slow movement of the Ninth Symphony), but this final ‘A’ is more intimate and transcendent than any of its previous incarnations. It is also much longer. At first, only one instrument at a time adds ornaments to the melody, the others play the long notes from the beginning. As a result, each player comes forward an individual singing his own personal hymn of thanksgiving. Then, the four instruments join forces again to play the otherworldly harmonies of the movement’s final measures. The brief march that follows confirms the convalescent’s return to life. Beethoven wanted a more simple and lighthearted movement after the

12 Beethoven’s Impact by Sebastian Currier

The Beethoven quartets have always loomed large in my life. When I was a teenager I remember lying on the couch listening to LPs of the quartets for hours on end. Now, some 40 years later, I have them on my iPhone! They never seem to grow old. For all those years, as I’ve changed, as the world has changed, they’ve managed to always feel fresh, full of vitality, thoughtfulness, and intensity. Though written almost two centuries ago, I feel I react to them as if they were written yesterday. While some music from as recently as a few decades ago can seem dated and passé, the Beethoven quartets seem to me endlessly new. Being new is one thing. Remaining new is quite another!

Sebastian Currier is an American composer. He was a professor of music at Columbia University from 1999 to 2007, and was the composer-in- residence at the Institute for Advanced Study between 2013 and 2015. He has composed two full-length string quartets. Ignaz Schuppanzigh, Beethoven, and the Inception of Listening to String Quartets by John M. Gingerich

The violinist Ignaz Schuppanzigh were, the cock of the walk in the (1776–1830) was Beethoven’s closest princely establishment; everything collaborator in the composition that he composed was rehearsed hot of all of his string quartets, from from the griddle and performed to Op. 18 right through Op. 135. They the nicety of a hair, according to his first became acquainted shortly ideas, just as he wanted it and not after Beethoven’s arrival in Vienna, otherwise, with affectionate interest, when both assisted at the Friday obedience, and devotion such as morning quartet concerts of one of could spring only from such ardent Beethoven’s principal patrons, Prince admirers of his lofty genius, and with Karl Lichnowsky. These concerts a penetration into the most secret introduced Beethoven to Vienna’s intentions of the composer and the leading string players, and included most perfect comprehension of his performances of Haydn quartets intellectual tendencies.” For the under the old master’s personal late Beethoven quartets we have a supervision. (At Schuppanzigh’s detailed record of the aid provided suggestion, Lichnowsky made a gift by members of the quartet, since to Beethoven of a complete set of Beethoven’s nearly total deafness old Italian string instruments, long required his interlocutors to write attributed to Guarneri, Ruggieri, down their side of the conversation: and Amati.) Five or six years later, proofing, editing, the clarification of when Beethoven himself started phrasing, dynamics, articulation, and composing quartets, Schuppanzigh other performance indications, the and the young virtuosi he led stood writing out of parts and scores in at Beethoven’s disposal. When in order to enable the task of proofing, 1808 Count Andrey Razumovsky as well as in preparation for the work asked Schuppanzigh to form a quartet of professional copyists who penned and installed them with salaries clean copies for Prince Galitzin and and pensions as his “Kapelle,” they several different publishers—the also became Beethoven’s personal participation of Schuppanzigh and quartet, available not only should other members of the quartet proved the composer feel the need to hear vital to all of these tasks. a draft of a passage, but once he Schuppanzigh introduced several had finished, as his personally- innovations that fundamentally rehearsed representatives before changed the string quartet, his patrons and their guests. A innovations upon which Beethoven contemporary observer has left us capitalized in his late quartets, a vivid description of the quartet’s and which continue to shape how relationship with Beethoven during we experience and think about the years with Razumovsky (1808 string quartets. During the winter of until 1816): “Beethoven was, as it 1804–05, Schuppanzigh pioneered

14 public string quartet concerts; he Spohr (especially his double quartets), continued with public subscription Georges Onslow (especially his cello concerts during his tenure with Count quintets), and even more occasionally Razumovsky, and again from the with works by Franz Weiss, the violist time of his return from Russia in 1823 of the quartet, and Franz Schubert. until his death. Another innovation, Schuppanzigh’s programming was for which Schuppanzigh shares designed to let Beethoven shine the credit with Count Razumovsky, against the backdrop of his forebears was a stable membership of the Haydn and Mozart, while everyone ensemble. Together these two else auditioned for inclusion in the innovations initiated a profound canon of great masters. transformation of the string quartet By the time Schuppanzigh began from the leading Viennese genre of his last run of subscription concerts home entertainment, functioning in 1823 his programming represented primarily for the edification of its a much greater departure from participant performers, to what it Viennese norms than had his earlier became after 1823, the leading genre concerts. In the home, the male string of public instrumental music for quartet (since string instruments were connoisseurs, a new listener-centered not considered suitable for women) role. At home players tended to read was beginning to be crowded out by through as many quartets as possible, music for the pianoforte, the specialty and included everyone present by of young ladies. The decade of Rossini rotating roles. The fixed membership (starting in Vienna in 1816), of the of Schuppanzigh’s ensembles after waltz orchestras of Johann Strauss 1808 enabled them to perform with a Sr. and Joseph Lanner (starting in precision and finesse that revealed 1823), and of the first full flowering unsuspected nuances, depths, of virtuosity, rendered all the old and powers of works that listeners four-movement instrumental genres thought they already knew from born of aristocratic patronage deeply playing through them at home. unfashionable; the sonata became Yet a third innovation, a rare visitor in the parlor, as did Schuppanzigh’s programming, the symphony on the public stage. augmented the effects of the first Public concerts in the 1820s mixed two in creating an audience of instrumental with vocal numbers, connoisseurs. From the start in the and the vast majority of instrumental winter of 1804–05 his core repertory offerings comprised virtuoso vehicles had consisted of works by “the (divertissements, potpourris, and greatest masters,” as he put it in one variations); even new quartets were of his advertisements — of quartets predominantly quatuors brillants. By by Haydn, and quartets and quintets default Schuppanzigh’s concerts by Mozart and Beethoven. This core became the preeminent venue for canon was augmented occasionally hearing instrumental music in a with quartets by Anton Eberl and pedigreed genre, and thus by default Andreas Romberg in the early years, his concerts were also the preeminent and in later years with works by Louis venue for hearing instrumental music

15 by Haydn, Mozart, or Beethoven. At too dissimilar from the experience a time when the old instrumental Lichnowsky and Razumovsky had genres Beethoven had inherited and once been able to offer their guests, made his own were fading away as Schuppanzigh’s concerts forced old music had always faded away, listeners to concentrate on purely when Beethoven himself had become musical processes through the a living legend but had also begun uninterrupted course of three string to appear irrelevant to the future quartets, without the aid or distraction course of music, Schuppanzigh did of text, and without granting the more than anyone else to keep one performer a greater claim on their of those genres audible and fresh attentions than the music. Over and in mind and in memory, and only the course of several seasons his Schuppanzigh provided polished subscribers encountered the historic performances to make the case that panorama of the string quartet from the richness of this music had not its beginnings with Haydn right been exhausted or even plumbed by through the first public hearing of a decades of exposure, that here was Schubert quartet. Schuppanzigh was music that transcended fashion. training his audience, preparing them The first reviews of Schuppanzigh’s as well as possible for the promised 1823 series repeatedly stressed its encounter with the new quartets function as a “school of artistic taste,” Beethoven was working on. and praised it as an “institution for the After finishing the Op. 95 Quartet in conservation of the higher sense for 1810, Beethoven had stopped writing music,” that is, music that transcends string quartets, and some of his mere “ear-tickling.” The reviewers reasons can be surmised from a letter took pains to convince readers that he wrote to his agent in England: the public string quartet represented “N.B. The Quartett [Op. 95] is written the peak experience and most refined for a small circle of connoisseurs challenge available to connoisseurs and is never to be performed in of music, and as such was drawing public. Should you wish for some Vienna’s most select music public. Quartetts for public performance I And they celebrated Schuppanzigh’s would compose them to this purpose concerts by describing them with the occasionally.” Schuppanzigh’s return term “classical” — as one reviewer to Vienna from Russia hard on the put it, “[Schuppanzigh is] a mighty heels of Prince Galitzin’s commission dam against the flood of modern for three new string quartets, along tinsel music, dedicating his virtuosity with the new series of public quartet solely to the acknowledgment and concerts Schuppanzigh started rise of truly classical creations.” evidently persuaded Beethoven that But this “classical” also had class he could now successfully market connotations; the venerable quartets for connoisseurs. Publishers “classical” works had aristocratic embraced the implications of the cachet while the modern tinsel music new classicizing tendencies. As one was bourgeois. Unlike any other put it, “I won’t collect the interest public venue in 1823, but perhaps not for 20 years; but with Beethoven I

16 have capital in my hands. —But not the disastrous premiere of Op. 127, everyone can play it yet.” Publishers Schuppanzigh’s subscription concerts also issued Beethoven’s late quartets never quite recovered. in score simultaneously with their Unlike Schubert, Beethoven never initial publication in parts — a first dedicated a quartet to Schuppanzigh, for chamber music. A quartet score and seems to have regarded their assisted study, but had previously enduring friendship and collaboration been issued primarily in posthumous as sufficient tribute. But we should complete works editions, as recognize that it was not Beethoven “monuments.” Issuing Beethoven’s alone, but Beethoven in concert with late quartets as “monuments” right Schuppanzigh who transformed away was a logical concomitant to the string quartet from music best treating their purchase as a long-term experienced by the adept performer capital investment. to the most rewarding music for the Schuppanzigh probably premiered diligent listener, and thereby made all of Beethoven’s string quartets, but of it a cornerstone of the building we while accounts of the early public know as classical music. concerts do not mention precise programs, we know when and where Musicologist John M. Gingerich the five late quartets were first is currently working on a book on performed in public. The long-awaited Schuppanzigh. Before beginning his premiere of Op. 127, the first of the musicological work he was a cellist, late quartets, was a fiasco. Beethoven and played for several years with the did not have the parts ready until less Baltimore Symphony Orchestra. than a month before the performance, the ensemble was ragged, and at a crucial juncture Schuppanzigh broke a string and had no back-up violin available. Unsympathetic observers blamed Schuppanzigh’s corpulence (Beethoven usually called him “Falstafferl”) for the poor performance and “incomprehensibility” of the new quartet. Schuppanzigh’s humiliation was compounded when Beethoven gave the quartet in turn to two rival violinists who did much better, having much more time to prepare. The fiasco of the premiere and the ensuing violin competition heightened public interest in the new quartets, and publishers vied to buy them from Beethoven for unprecedentedly high prices. But while Beethoven realized serendipitous rewards from

17

Takács Quartet

Concert IV

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

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

33rd Performance of the 138th Annual Season 54th Annual Chamber Arts Series This afternoon’s supporting sponsors are Robert and Darragh Weisman.

Media partnership provided by WRCJ 90.9 FM.

Special thanks to Steven Whiting for his participation in events surrounding this weekend’s performances.

The Takács Quartet records for Hyperion and Decca/London Records.

The Takács Quartet is Quartet-in-Residence at the University of Colorado in Boulder and are Associate Artists at Wigmore Hall, London.

The Takács Quartet appears by arrangement with Seldy Cramer Artists.

In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance.

The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM

Beethoven String Quartets Concert IV

String Quartet in D Major, Op. 18, No. 3

Allegro Andante con moto Allegro Presto

String Quartet in e minor, Op. 59, No. 2

Allegro Molto adagio: Si tratta questo pezzo con molto di sentimento Allegretto Finale: Presto

Intermission

String Quartet in E-flat Major, Op. 127

Maestoso — Allegro Adagio, ma non troppo e molto cantabile — Andante con moto — Adagio molto espressivo — tempo primo Scherzo: Vivace — Presto Finale

21 Beethoven’s Impact by William Bolcom

About age 11, I became enamored of would steer me in the compositional quartet music (and began what turned direction I have followed ever since. out to be a group of 12 of them). My first big influences were the Bartók William Bolcom is an American quartets, Berg’s Lyric Suite, and the composer and Professor Emeritus Roy Harris quartet, which influences of Composition at the University of show up in my first two quartets. I Michigan School of Music, Theatre & was cognizant of Beethoven mostly Dance. He received the Pulitzer Prize through the piano literature before for Music in 1988 and has composed 12 that age. string quartets. Later, about the age of 14, I landed on the late Beethoven quartets, which absolutely blew me away, and their influence would permeate my third and fourth quartets particularly. On the bus to junior high school I sat with a Beethovenian grimace — I’d read Robert Haven Schauffler’s Beethoven, the Man Who Freed Music — which I’m sure amused other passengers. (In these last few years I’ve been going over all 12 of my quartets for publication, and I’m embarrassed to relate that the Beethoven-ish ones seem to me more like age-appropriate juvenilia than the earlier two. It does seem odd that I would go backward, not forward, in musical history in my influences.) In the following years I expanded my knowledge of quartet literature, concurrently both the classical canon and much newer work, and the divide between the modern and the old began to blur in my mind. I saw the revolutionary in Beethoven, the classicist in Bartók and Schoenberg, and increasingly felt no obligation to eschew any music in my search for vocabulary. That epiphany I owe largely to the Beethoven quartets, particularly the later ones, which

22 STRING QUARTET IN D MAJOR, OP. 18, NO. 3 (1798)

Ludwig van Beethoven Born December 16, 1770 in Bonn, Germany Died March 26, 1827 in Vienna

UMS premiere: Detroit Philharmonic Club; March 1888 in a University Law Lecture Room.

Snapshots of History…In 1798: · French forces invade the Papal States and establish the Roman Republic · Eli Whitney contracts with the US federal government for 10,000 rifles, which he produces with interchangeable parts · Edward Jenner publishes his work on smallpox vaccination

In spite of the obvious Haydn and from D Major) foretells more harmonic Mozart influences, this quartet, adventures, which do not fail to occur. the very first that Beethoven ever The third movement is marked neither composed, is a work of surprising “Minuet” nor “Scherzo,” but simply originality. Its opening, with its “Allegro.” It is closer to a scherzo unaccompanied leap of a minor character since it is not particularly seventh, is like nothing we could find dance-like and abounds in offbeat in the older composers’ work, and accents that appear in so many of everything that follows is equally Beethoven’s scherzos. Its first phrase unprecedented. Beethoven’s ability to oscillates between major and minor in develop entire movements from tiny a most unusual fashion. The tonality motivic ideas is already in evidence eventually settles in D Major, only to be here, as that minor seventh (or its displaced by an agitated trio (middle rhythm of even, long-drawn-out whole section) in d minor. In an unusual move, notes) pervades almost the whole Beethoven wrote out the return of “Allegro.” The number of keys visited the scherzo in full, with large portions is also greater than usual: tonalities placed an octave higher than the first not closely related to the central D time. The vivacious finale again unfolds Major are used freely, resulting in an from a single rhythmic idea (that of a exciting and utterly unpredictable swift eighth-note motion in 6/8 time) harmonic plan. with occasional interruptions and other Similar observations can be made surprises. The ending is probably the of the other movements as well. The only point where Beethoven clearly second movement is based on a follows Haydn’s lead. The way he turns gentle theme proceeding in equal the first three notes of the theme into a eighth notes; yet it can become pianissimo ending is an obvious bow to quite dramatic in the course of its the older master. development. The choice of key (B-flat Major, a significant distance

23 STRING QUARTET IN E MINOR, OP. 59, NO. 2 (“RASUMOVSKY”) (1806)

Beethoven

UMS premiere: Budapest String Quartet; January 1947 in Rackham Auditorium.

Snapshots of History…In 1806: · The British occupy the Cape of Good Hope · The Lewis and Clark expedition reaches St. Louis, Missouri, ending a successful exploration of the Louisiana Territory and Pacific Northwest · Noah Webster publishes his first American English dictionary

Prince Andrey Razumovsky, the expansion of the techniques that Russian Ambassador in Vienna, and the serve to develop those motifs. The Princes Lichnowsky and Lobkowitz, most extreme example is probably the two Viennese aristocrats to whom first movement of the Fifth Symphony, he was related by marriage, together with its famous four-note theme, but received the dedications of more than the opening of the e-minor Quartet a dozen major works by Beethoven. is equally striking. Beethoven begins One might almost say that their “clan” suspensefully with a pair of chords, underwrote a great part of what followed by a short phrase, which is later became known as Beethoven’s punctuated by rests and repeated a “heroic” or middle period. half-step higher, immediately calling The three quartets of Op. 59, known the e-minor tonality into question. as the “Razumovsky” quartets, Eventually, continuity is restored, but were written shortly after the Third the form remains rather fragmented, Symphony (“Eroica”) and the f-minor reflecting an agitated state of mind. Piano Sonata (“Appassionata”). We hear many insistent syncopated In those works, Beethoven made rhythms and rapid passages in a bold leap into the future: music unison or parallel motion, in dramatic had never expressed such intense contrast with the occasional gentler emotions before, nor had the formal moments. In associating minor mode conventions of music been changed with emotional turbulence, Beethoven so radically in such a short time. followed the tradition of Haydn and With Op. 59, Beethoven extended Mozart, though his radically new way his musical revolution to the quartet of writing gave this “Allegro” a very medium, producing three masterworks special edge. after which the genre was never the It was not for nothing that same again. Beethoven inscribed the second- One of the most striking features movement “Molto adagio” with the of Beethoven’s “heroic” style is a words “Si tratta questo pezzo con reduction of the thematic material molto sentimento” (This piece must to a small number of motifs and an be treated with much feeling). Here

24 is one of his great hymn-like slow The finale is a galloping sonata movements, with the quiet majesty rondo where Beethoven constantly of the later “Emperor” Concerto and plays games with our (possibly Ninth Symphony — yet entirely within subconscious) tonal expectations. the intimate world of chamber music. Seemingly reluctant to establish the The melody is enriched by chromatic home key of e minor, he keeps the harmonies and surrounded by complex first few measures in C Major before figurations. Then, at the end of the making a sudden shift just before the movement, all embellishments are end of the phrase. (The last movement stripped away and the melody is of the Fourth Piano Concerto, Op. 58, stated by the four instruments in written around the same time, uses bold fortissimo chords, with harsh a similar strategy.) The rhythmic harmonies and strong accents — momentum never flags, though before the gentle closing measures the galloping pulse is temporarily end the movement in an idyllic mood. replaced by quieter motion in the Beethoven refrained from calling lyrical second theme. Yet the main the third movement a “scherzo,” theme never stays away for very long; and surely the first section of the and as if the initial presto tempo movement is too serious to qualify as weren’t fast enough, Beethoven a “joke.” Yet its syncopated motion demands più presto (faster) for the and sudden dynamic and harmonic final measures. changes are definitely scherzo- like features. The high point of the movement, however, is the second section (which elsewhere would be called “Trio”). In honor of his dedicatee, Beethoven inserted a Russian theme here (marked thème russe in the score). The source of the theme was the important folk song collection published by Nikolai Lvov and Ivan Prach in 1790. (This melody, “To the Red Sun, Glory!” was famously used again by Mussorgsky in the coronation scene of Boris Godunov.) Beethoven had the four instruments take turns repeating this melody identically over and over again, against a fast-moving counterpoint that also makes its rounds among the four players. As in several other Beethoven works, the usual A–B–A scheme of the scherzo is expanded to A–B–A–B–A, with the thème russe section appearing twice and the opening section three times.

25 STRING QUARTET IN E-FLAT MAJOR, OP. 127 (1825)

Beethoven

UMS premiere: Paganini Quartet; January 1949 in Rackham Auditorium.

Snapshots of History…In 1825: · After no presidential candidate receives a majority of electoral votes, the US House of Representatives elects John Quincy Adams President of the United States · Uruguay secedes from Brazil · The first horse-drawn omnibuses are established in London

In the fall of 1822, Beethoven received startlingly distant key. It is brushed a letter from a Russian aristocrat and aside once more by the “Allegro” amateur cello player, Prince Nikolai music, now taking on the distinct Galitzin. The Prince commissioned features of a development section Beethoven to write three string (frequent modulations, fragmentation quartets and urged him to name his of motives). Another set of slow own price. Beethoven accepted the measures — shorter than the previous proposal and promised to deliver the ones — again propels the music in first quartet within a month. However, unexpected harmonic directions, more than two years passed before with the home key in E-flat Major the Quartet in E-flat, the first one in the eventually returning and bringing set, reached the Prince, even though the music to a soft and somewhat it seems that Beethoven had begun to inconclusive conclusion. make sketches for a new string quartet After this enigmatic opening, the even before receiving Galitzin’s letter. players encounter a slow theme-and- (He had not written a quartet since the variation movement of unprecedented f-minor work, Op. 95, of 1810.) complexity (they must have been Let us for a moment imagine the exceptional players indeed if they Prince and his three companions in could make it to the end!). A lyrical St. Petersburg as they put the parts melody of otherworldly beauty is of Op. 127 on their music stands. They followed by five variations: the first start playing the opening “Maestoso,” largely ornamental; the second thinking it is a slow introduction; yet playful; the third, suddenly moving after only six measures, they see with to a distant new key, extremely slow surprise that the introduction is cut and intense; the fourth seemingly short and an “Allegro” theme begins returning to the style of the first in a new meter. After a few minutes yet introducing many fascinating (during which time two distinct surprises; and the last one developing musical ideas appear, more or less a “free fantasia” on the theme. like in a classical sonata exposition), At one point, the harmony seemed the opening “Maestoso” returns in a so confusing that the Prince had to

26 ask Beethoven in a letter whether he Haydn. He added a mysterious coda in meant a certain note in the viola part a new meter (6/8 replacing cut time) to be a ‘C’ or a ‘D- flat.’ Beethoven in which the harmonic adventures of explained at great length why it had earlier movements suddenly reappear. to be a ‘D-flat,’ and added: “If I had The tempo designation is allegro written ‘C,’ the melody would have comodo (a comfortably fast motion), been destroyed.” There is no record, not con moto (with motion) as some however, to tell us whether Galitzin editions suggest. Kerman found the and his partners felt, as many modern harmonic progressions to be “sheer commentators have, that Beethoven dream” — a dream that is followed by contemplated the starry heavens in an awakening, a consolidation of the the central E-Major variation. home key, and a sudden yet resolute The remaining two movements are ending. no less extraordinary than the first two. The “Scherzando vivace” uses Program notes by Peter Laki. an extremely simple rhythmic pattern to generate uncommon dramatic energy. That pattern is developed and transformed in ways that recall the scherzo of the Ninth Symphony. The trio, or middle section, is a breathless “Presto” in the minor mode, later switching to the major and suddenly interrupted by a general rest and the return of the “Scherzando.” At the end of the movement, the trio section is briefly recalled; another general rest separates this reminiscence from the abrupt ending, again similarly to what happens in the Ninth. In the “Finale,” Beethoven let go of all the dramatic tensions that had weighed so heavily on the first three movements. Musicologist Joseph Kerman described this finale (which bears no tempo marking) as a “medley of folk-like phrases…square and ingenuous, jogging along in all- but-continuous quarter-notes.” The contrast with the rest of the quartet could not be greater. Yet Beethoven reserved a final surprise to those players and listeners who thought he was simply writing a folk-dance finale in homage to his one-time teacher

27 UMS ARCHIVES

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

28 ARTISTS

The Takács Quartet, now entering its 42nd During the 2016–17 season, the season, is renowned for the vitality of its ensemble will perform complete six- interpretations. The New York Times recently concert Beethoven quartet cycles in lauded the ensemble for “revealing the London’s Wigmore Hall, at Princeton, the familiar as unfamiliar, making the most University of Michigan, and at UC Berkeley. traditional of works feel radical once more,” In preparation for these cycles Takács and the Financial Times described a recent first violinist Edward Dusinberre’s book, concert at the Wigmore Hall: “Even in the called Beethoven for a Later Age: The most fiendish repertoire these players show Journey of a String Quartet, was published no fear, injecting the music with a heady in the UK by Faber and Faber and in North sense of freedom. At the same time, though, America by the University of Chicago Press. there is an uncompromising attention to The book takes the reader inside the life of detail: neither a note nor a bow-hair is out a string quartet, melding music history and of place.” memoir as it explores the circumstances The Takács became the first string surrounding the composition of quartet to win the Wigmore Hall Medal in Beethoven’s quartets. May 2014. The Medal, inaugurated in 2007, The Takács Quartet performed Philip recognizes major international artists who Roth’s “Everyman” program with Meryl have a strong association with the Hall. Streep at Princeton in 2014, and again Recipients so far include András Schiff, with her at the Royal Conservatory of Thomas Quasthoff, Menachem Pressler, Music in Toronto in 2015. The program and Dame Felicity Lott. Appointed in was conceived in close collaboration 2012 as the first-ever Associate Artists at with Philip Roth. The Quartet is known Wigmore, the Takács present six concerts for such innovative programming. They every season there. Other European first performed “Everyman” at Carnegie engagements in 2016–17 include concerts Hall in 2007 with Philip Seymour Hoffman. in Florence, Milan, Geneva, Amsterdam, They have toured 14 cities with the poet and Paris. They will present concerts in Robert Pinsky, collaborate regularly with Singapore, Japan, and Hong Kong and the Hungarian Folk group Muzsikas, and in will also tour New Zealand and Australia. 2010 they collaborated with the Colorado A recent tour to South America included Shakespeare Festival and David Lawrence concerts in Chile and Brazil. Morse on a drama project that explored the In 2012, Gramophone announced that composition of Beethoven’s last quartets. the Takács was the only string quartet The Quartet’s award-winning recordings to be inducted into its first Hall of Fame, include the complete Beethoven cycle along with such legendary artists as on the Decca label. In 2005 the Late Jascha Heifetz, Leonard Bernstein, and Beethoven Quartets won “Disc of the Dame Janet Baker. The ensemble also won Year” and Chamber Award from BBC the 2011 Award for Chamber Music and Music Magazine, a Gramophone Award, Song presented by the Royal Philharmonic “Album of the Year” at the Brit Awards, Society in London. Based in Boulder at the and a Japanese Record Academy Award. University of Colorado, the Takács Quartet Their recordings of the early and middle performs 90 concerts a year worldwide. Beethoven quartets collected a Grammy

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

30 MAY WE ALSO RECOMMEND...

2/5 Calidore String Quartet 3/24 Mitsuko Uchida, piano 3/25–26 Takács Quartet: Beethoven Quartet Cycle Concerts 5 & 6

Tickets available at www.ums.org.

ON THE EDUCATION HORIZON...

1/21 Sensory-Friendly Open Rehearsal: Takács Quartet (Rackham Auditorium, 915 E. Washington Street, 12:00 noon)

1/21 Pre-Concert Lecture Series: Exploring Beethoven’s String Quartets (Rackham Amphitheatre, Fourth Floor, 915 E. Washington St., 7:00 pm)

2/16 Penny Stamps Speaker Series: Ping Chong (Michigan Theater, 603 E. Liberty Street, 5:10 pm)

3/18 You Can Dance: Kidd Pivot (Ann Arbor Y, 400 W. Washington Street, 2–3:30 pm)

3/25 Pre-Concert Lecture Series: Exploring Beethoven’s String Quartets (Michigan League Koessler Room, Third Floor, 911 N. University Ave., 7:00 pm)

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

31 SATURDAY’S VICTORS FOR UMS: Helmut F. and Candis J. Stern Chamber Arts Endowment Fund

—

SUNDAY’S VICTORS FOR UMS: Robert and Darragh Weisman

Supporters of this weekend’s performances by the Takács Quartet. BE PRESENT

Foundation, Government, & University Support

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

$500,000 The Andrew W. Mellon Foundation and above

$20,000– Anonymous The William Davidson Foundation $499,000 WINTER 2017

$5,000– Charles H. Gershenson Trust The Seattle Foundation $19,999 University of Michigan Third Century Initiative

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PrechterFund.org/help 150+ ART EXHIBITIONS PER YEAR

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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. ARTS.UMICH.EDU Visit ums.org/volunteer to Follow @umicharts learn more about volunteer opportunities and how you can join team UMS! BE PRESENT

People

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.

UMS Board of Directors WINTER 2017 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 Janet Callaway Jeanice Kerr Swift Chair Mark Clague Ann Arbor Public Schools Christopher Conlin Superintendent Sarah Nicoli Lisa D. Cook Vice Chair A. Douglas Rothwell Monique Deschaine Chair, Corporate Council Rachel Bendit Aaron P. Dworkin Secretary Tiffany L. Ford Stephen G. Palms Past Board Chair Tim Petersen Katherine Goldberg Treasurer Richard F. Gutow Bruce Tuchman Kevin P. Hegarty Chair, National Council Stephen Henderson Daniel Herwitz William Shell Timothy R. Johnson Chair, Advisory Committee Christina Kim James C. Stanley Donald L. Morelock Maxine J. Frankel Agnes Moy-Sarns Campaign Co-Chairs David Parsigian Martha E. Pollack Mark S. Schlissel Linh Song Gail Ferguson Stout Victor J. Strecher Karen Jones Stutz

25 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 Walter L. Harrison Rossi Ray-Taylor Michael C. Allemang Norman G. Herbert John W. Reed Carol L. Amster Deborah S. Herbert Todd Roberts Gail Davis-Barnes Carl W. Herstein Richard H. Rogel Kathleen Benton David Herzig Prudence L. Rosenthal Lynda Berg Peter N. Heydon A. Douglas Rothwell Richard S. Berger Toni Hoover Sharon Rothwell Maurice S. Binkow Joel D. Howell Judy Dow Rumelhart DJ Boehm Kay Hunt Maya Savarino Lee C. Bollinger Alice Davis Irani Ann Schriber Charles W. Borgsdorf Stuart A. Isaac Edward R. Schulak Janice Stevens-Botsford Thomas E. Kauper John J.H. Schwarz Paul C. Boylan Christopher Kendall Erik H. Serr William M. Broucek David B. Kennedy Ellie Serras Barbara Everitt Bryant Gloria James Kerry Joseph A. Sesi Robert Buckler Thomas C. Kinnear Harold T. Shapiro Letitia J. Byrd S. Rani Kotha George I. Shirley David Canter Marvin Krislov John O. Simpson Kathleen G. Charla F. Bruce Kulp Timothy P. Slottow Mary Sue Coleman Frank Legacki Anthony L. Smith Jill A. Corr Leo A. Legatski Carol Shalita Smokler Peter B. Corr Melvin A. Lester Jorge A. Solis Ronald M. Cresswell Earl Lewis Cheryl Soper Martha Darling Patrick B. Long Peter Sparling Hal Davis Helen B. Love Rick Sperling Sally Stegeman DiCarlo Cynthia MacDonald James C. Stanley Robert F. DiRomualdo Robert C. Macek Lois U. Stegeman Junia Doan Jeffrey MacKie-Mason Edward D. Surovell Al Dodds Judythe H. Maugh James L. Telfer Julia Donovan Darlow Rebecca McGowan Susan B. Ullrich James J. Duderstadt Barbara Meadows Michael D. VanHermert David Featherman Joetta Mial Eileen Lappin Weiser David J. Flowers Lester Monts B. Joseph White George V. Fornero Alberto Nacif Marina v.N. Whitman Maxine J. Frankel Shirley C. Neuman Clayton E. Wilhite Patricia M. Garcia Jan Barney Newman Iva M. Wilson Beverley B. Geltner Roger Newton Karen Wolff Christopher Genteel Len Niehoff Anne Glendon Gilbert S. Omenn Patricia Green Joe E. O’Neal William S. Hann Randall Pittman Shelia M. Harden Phil Power Randy J. Harris John D. Psarouthakis

26 BE PRESENT

UMS National Council 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 Eugene Grant Caroline Nussbaum Chair Charles Hamlen James A. Read Katherine D. Hein Herbert Ruben Andrew Bernstein Patti Kenner James and Nancy Stanley Kathleen G. Charla Wallis C. Klein Matthew VanBesien Jacqueline Davis Jerry and Dale Kolins Christian Vesper Marylene Delbourg-Delphis David Leichtman Ann and Clayton Wilhite Janet Eilber Laura McGinn Barbara Fleischman Stephen R. Forrest Jordan Morgan Maxine Frankel Ex-Officio 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.

A. Douglas Rothwell Richard L. DeVore Sharon Rothwell WINTER 2017 Chair Nolan Finley Frederick E. Shell Michele Hodges Michael B. Staebler Albert Berriz Mary Kramer James G. Vella Bruce Brownlee David Parsigian Robert Buckler Stephen R. Forrest Vivian Pickard Robert Casalou Ex-Officio UMS Students Students in our volunteer internship and work-study program gain valuable experience in all areas of arts management while contributing greatly to UMS’s continued success. Maryam Ahmed Teagan Faran* Sean Meyers Jocelyn Aptowitz Isabel Frye Gunnar Moll Genan Bakri Taylor Fulton Westley Montgomery Madisen Bathish Daniel Guo Natalie Nye Tal Benatar Dayton Hare Emma Puglia Zoey Bond* Trevor Hoffman Rennia Rodney Sophia Brichta Olivia Johnson Jacob Rogers Linda M. Burns Sarah Kavallar Lindsey Sharpe Grace Bydalek Ayantu Kebede Heather Shen Liesl Collazo Meredith Kelly Joey Velez Claire Crause* Caitlyn Koester Diane Yang Kathryn DeBartolomeis Bridget Kojima Hyelin Yang Marko Divie Jakob Lenhardt Damaris Doss Ania Lukasinski *21st Century Artist Interns Jewel Drigo Shenell McCrary*

27 Ask one of us how you, or someone you Love better. love, can achieve a fuller, richer life. Carol Barbour, PhD Work better. Ron Benson, MD Meryl Berlin, PhD Robert Cohen, PhD Live more fully. Susan E. Cutler, PhD Psychoanalysis Helps: Sara Dumas, MD Mind, Joshua Ehrlich, PhD Lena Ehrlich, PsyD Body Harvey Falit, MD & Soul... 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 Michigan Psychoanalytic Dushyant Trivedi, MD I N S T I T U T E & S O C I E T Y in Ann Arbor Gail van Langen, PhD Keeping the soul in healthcare since 1963. David Votruba, PhD Look for us online at www.mpi-mps.org Margaret Walsh, PhD Elisabeth Weinstein, MD

Join us for Jaffe is proud cocktails and to support dinner at our the University two Ann Arbor Musical Society restaurants for a spectacular Representing meal after the creative individuals and companies performance. since 1968. 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 SOUTHFIELD • DETROIT • NAPLES ANN ARBOR 600 East Liberty • 734/887-6899 535 W. William St. Ann Arbor, MI 2324 Dexter Avenue • 734/665-8644 Open Daily 11 a.m. to Midnight - Liberty St. www.jaffelaw.com Preferred Seating Available www.Knightsrestaurants.com

20896 Jaffe Ad University Musical Society 8-1-16 r3.indd 1 7/26/16 2:22 PM BE PRESENT

UMS Faculty Insight Group 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 Joel Howell Katie Richards-Schuster Philip J. Deloria Daniel Klionsky Sidonie Smith Angela Dillard Lawrence La Fountain- Emily Wilcox Gillian Eaton Stokes Linda Gregerson Tim McKay Marjorie Horton Melody Racine

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 Sharon Peterson Dort Daria Massimilla Chair Gloria J. Edwards Patti McCloud Susan Franke Beth McNally Zita Gillis Joan Grissing Terry Meerkov Vice Chair

Stephanie Hale Judy Moskus WINTER 2017 Arlene Barnes Allison Jordan Barbara Mulay Secretary Joan Kadis Magda Munteanu Wendy K. Zellers Carol Kaplan Jayne Nyman Treasurer Nancy Karp Marjorie Oliver Barbara Kay Betty Palms Louise Taylor Kendra Kerr Julie Picknell Past Chair Freddi Kilburn Anne Preston Karen Bantel Ye Na Kim Katie Przygocki Astrid Beck Susan Krueger Jeff Reece Corry Berkooz Russell Larson Kathy Rich Connie Rizzolo Brown Michael Lee Nan Richter Melissa Bruzzano Linda Fink Levy Arlene P. Shy Richard Chang Gloria K. Lewis Susan Snyder Mike Dergis Laura Machida Elena Snyder Jon Desenberg Katie Malicke Pam Tabbaa Susan DiStefano Rita Malone Janet Torno Annemarie Kilburn Dolan Valerie Roedenbeck Kirsten Williams Maloof

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UMS Staff The UMS Staff works hard to inspire individuals and enrich communities by connecting audiences and artists in uncommon and engaging experiences.

ADMINISTRATION & EDUCATION & PATRON SERVICES FINANCE COMMUNITY Christina Bellows Kenneth C. Fischer ENGAGEMENT Associate Director of President James P. Leija Patron Services Director of Education & John B. Kennard, Jr. Katherine McBride Community Engagement Director of Administration Group Sales & Promotions Adam DesJardins Coordinator Lynette McLaughlin Education & Community Executive Assistant Scott Joy Engagement Assistant Ticket Services/ Jenny Graf Carvo Shannon Fitzsimons Moen Front-of-House Assistant Tessitura Systems Campus Engagement Administrator Anné Renforth Specialist Ticket Services Coordinator Patricia Hayes Teresa C. Park Financial Manager Anna Simmons Education Coordinator Assistant Ticket Services John Peckham Manager Information Systems MARKETING & Manager Willie Sullivan COMMUNICATIONS Front-of-House

WINTER 2017 Sara Billmann Coordinator DEVELOPMENT Director of Marketing & Marnie Reid Communications Bruce Oshaben, Juli Director of Development Pinsak, Brian Roddy Jesse Meria Head Ushers Esther Barrett Video Production Specialist Development Coordinator Betsy Mark Anna Prushinskaya Will Call Volunteer Susan Bozell Craig Senior Manager of Associate Director of Digital Media Development, Corporate UMS CHORAL UNION Mallory Shea Partnerships & Major Gifts Scott Hanoian Marketing & Media Music Director & Conductor Rachelle Lesko Relations Coordinator Annual Fund Manager Shohei Kobayashi

Assistant Conductor Lisa Michiko Murray PROGRAMMING & Associate Director of PRODUCTION Kathleen Operhall Development, Foundation & Michael J. Kondziolka Chorus Manager Government Relations Director of Programming Nancy Heaton Cindy Straub Jeffrey Beyersdorf Chorus Librarian Manager of Volunteers & Production Director Jean Schneider Special Events Alex Gay Accompanist Suzanne Upton Production Coordinator Scott VanOrnum Development Accompanist Communications Manager Anne Grove Artist Services Manager Mary A. Walker Campaign Director and Mark Jacobson Associate Director of Senior Programming Development, Major Gifts Manager Mary Roeder Programming Manager 31 Keep performing.

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Generous Donors

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

$500,000 OR MORE $75,000–$99,999 Norman and Debbie Herbert Carl Cohen Maurice and Linda Binkow Carl and Charlene Herstein Ilene H. Forsyth David and Phyllis Herzig Jerry and Dale Kolins Maxine and Stuart Frankel Nancy and James Stanley Jeffrey MacKie-Mason and Foundation Janet Netz $50,000–$74,999 Eugene and Emily Grant Martin Family Foundation Essel and Menakka Bailey Family Foundation Dan and Sarah Nicoli Daniel and Barbara Balbach The Andrew W. Mellon Lois Stegeman Penny and Ken Fischer Foundation Stout Systems Beverley and Gerson Geltner Candis J. and Helmut F. Stern John W. and Gail Ferguson Mohamad Issa/Issa University of Michigan Credit Stout WINTER 2017 Foundation Union Karen and David Stutz Miller, Canfield, Paddock and The Wallace Foundation Dody Viola Stone, P.L.C. $100,000–$499,999 Mr. and Mrs. Donald L. $15,000–$24,999 Anonymous Morelock Michael and Suzan Alexander Bert Askwith and Patti Agnes Moy-Sarns and David Linda and Ronald Benson Askwith Kenner Sarns and the Sarns Family Valerie and David Canter Emily W. Bandera Gil Omenn and Martha Sara and Michael Frank Community Foundation for Darling Wendy and Ted Lawrence Southeast Michigan Tim and Sally Petersen M. Haskell and Jan Barney Dennis Dahlmann Phil and Kathy Power Newman William Davidson Foundation Sharon and Doug Rothwell Virginia and Gordon Nordby Sharon and Dallas Dort Linda Samuelson and Joel Eleanor Pollack Stephen and Rosamund Howell Forrest Jane and Edward Schulak $5,000–$14,999 Susan and Richard Gutow Dennis and Ellie Serras Barbara Anderson and John Wallis Cherniack Klein Glenn E. Watkins Romani David Leichtman and Laura A. Marina and Bob Whitman John and Lillian Back McGinn Gerald B. Zelenock Karen Bantel and Steve Linda and Stuart Nelson Geiringer Norma and Dick Sarns $25,000–$49,999 Suzanne A. and Frederick J. Ellie Serras Carol Amster Beutler Ron and Eileen Weiser Cheryl Cassidy Chris Conlin Max Wicha and Sheila Junia Doan Tim and Robin Damschroder Crowley John R. Edman and Betty B. Michele Derr Ann and Clayton Wilhite Edman Ann Martin and Russ Larson Barbara Fleischman Steve and Betty Palms Barbara Garavaglia Marnie Reid Charles H. Gershenson Trust Eric and Ines Storhok Anne and Paul Glendon

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Endowed Funds 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 David and Phyllis Herzig Endowment Fund Endowment Fund JazzNet Endowment Fund Herbert S. and Carol Amster William R. Kinney Endowment Fund Endowment Fund Wallis Cherniack Klein Endowment for Catherine S. Arcure Endowment Fund Student Experiences Carl and Isabelle Brauer Endowment Fund Dr. and Mrs. Jerry Kolins Shakespearean Dahlmann Sigma Nu Endowment UMS Fund Endowment Fund Hal and Ann Davis Endowment Fund Frances Mauney Lohr Choral Union Endowment Fund Dallas and Sharon Dort Endowment Fund Natalie Matovinović Endowment Fund Doris Duke Charitable Foundation Endowment Fund Medical Community Endowment Fund John R. and Betty B. Edman Dr. Robert and Janet Miller Endowment Fund Endowment Fund NEA Matching Fund

Epstein Endowment Fund WINTER 2017 Ottmar Eberbach Funds Oscar Feldman Endowment Fund Palmer Endowment Fund Ken Fischer Legacy Endowment Fund Mary R. Romig-deYoung Barbara Fleischman Theater Music Appreciation Fund Endowment Fund Prudence and Amnon Rosenthal K-12 Stephen and Rosamund Forrest Student Education Endowment Fund Ticket Endowment Fund Charles A. Sink Endowment Fund Ilene H. Forsyth Endowment Funds for Herbert E. and Doris Sloan Endowment Fund Choral Union, Chamber Arts, and Theater James and Nancy Stanley Endowment Fund James Garavaglia Theater Endowment Fund Susan B. Ullrich Endowment Fund Anne and Paul Glendon Endowment Fund U-M Credit Union Arts Adventures Susan and Richard Gutow Renegade Endowed Fund at UMS Ventures Endowment Fund UMS Endowment Fund George N. and Katharine C. Hall Endowment Fund The Wallace Endowment Fund Karl V. Hauser and Ilene H. Forsyth The Zelenock Family Endowment Fund Endowment Fund Norman and Debbie Herbert Endowment Fund

35 MOZART BIRTHDAY BASH FIREBIRD Saturday, January 14 Saturday, March 18 8:00 p.m. 8:00 p.m. Michigan Theater Michigan Theater

Special guest: Special guests: Alon Goldstein Anton Nel UMS Choral Union Women

VIVA L’ITALIA 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 • a2so.com BE PRESENT

Planned Gifts/Bequests 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.

Anonymous Marilyn G. Jeffs Bernard and Raquel Agranoff Thomas C. and Constance M. Kinnear Mike Allemang Diane Kirkpatrick Carol and Herb Amster Dr. and Mrs. Jerry Kolins Neil P. Anderson Frank Legacki and Alicia Torres Dr. and Mrs. David G. Anderson Leo and Kathy Legatski Catherine S. Arcure Richard LeSueur Barbara K. and Laurence R. Baker Robert and Pearson Macek Rodney and Joan Bentz Susan McClanahan Kathy Benton and Robert Brown Griff and Pat McDonald Linda and Maurice Binkow Joanna McNamara Elizabeth S. Bishop M. Haskell and Jan Barney Newman Mr. and Mrs. W. Howard Bond Len Niehoff Mr. and Mrs. Pal E. Borondy Dr. and Mrs. Frederick O’Dell Barbara Everitt Bryant David Parsigian Lou and Janet Callaway Irena Politano Pat and George Chatas Eleanor Pollack Mr. and Mrs. John Alden Clark Mr. and Mrs. Dennis M. Powers Carl Cohen Mr. and Mrs. Michael Radock Alan and Bette Cotzin Marnie Reid

Mary C. Crichton Mr. and Mrs. Jack Ricketts WINTER 2017 Dallas and Sharon Dort Prue and Ami Rosenthal Penny and Ken Fischer Ellie Serras Susan Ruth Fisher Irma J. Sklenar Meredith L. and Neal Foster Richard W. Solt Thomas and Barbara Gelehrter Hildreth Spencer Beverley and Gerson Geltner Eric and Ines Storhok Dr. Sid Gilman and Dr. Carol Barbour Louise Taylor Anne and Paul Glendon Roy and JoAn Wetzel Thea and Elliot Glicksman Ann and Clayton Wilhite Debbie and Norman Herbert Max Wicha and Sheila Crowley David and Phyllis Herzig Marion Wirick Rita and Peter Heydon Mr. and Mrs. Ronald G. Zollar John and Martha Hicks Gideon and Carol Hoffer

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

Please send gift to: UMS Development 881 N. University Ave Ann Arbor, MI 48109-1011

For more information, please call 734.764.8489 or visit ums.org/support.

37 WGTE Public Media is: Television WGTE HD Create TV WGTE Family Radio WGTE FM 91.3 Toledo WGBE FM 90.9 Bryan WGDE FM 91.9 Defiance WGLE FM 90.7 Lima Education The Educational Resource Center WGTE Public Media was founded as an educational institution, and our educational The Early Learning and Outreach Center mission remains at the heart of what we do every day. wgte.org BE PRESENT

UMS Support 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 ums.org.

PRODUCERS Sesi Lincoln CONCERTMASTERS ($500,000 OR MORE) Nancy and James Stanley # ($5,000–$9,999) Eugene and Emily Grant Family Toyota Michael Allemang and Janis Bobrin Foundation Bruce G. Tuchman Carol Amster # University of Michigan Ron and Eileen Weiser Ann Arbor Automotive Max Wicha and Sheila Crowley Anonymous DIRECTORS Andrew and Lisa Bernstein ($100,000–$499,999) VIRTUOSOS Blue Nile Restaurant Anonymous ($10,000–$19,999) Gary Boren William Davidson Foundation # Jerry and Gloria Abrams Carl and Isabelle Brauer Fund in honor of Oscar Feldman Altarum Institute Edward and Mary Cady Ford Motor Company Fund and Ann Arbor Area Community Valerie and David Canter Community Services Foundation Cheryl Cassidy Ilene H. Forsyth # Essel and Menakka Bailey # Comerica Bank Maxine and Stuart Frankel Barbara and Daniel Balbach # Conlin Travel and Chris Conlin Foundation Bank of Ann Arbor Connable Associates Karl V. Hauser # Bendit Foundation Faber Piano Institute The Andrew W. Mellon Foundation Maurice and Linda Binkow Nancy and Randall Faber Linda and Stuart Nelson # Carl Cohen John and Jackie Farah in honor of Ken Fischer Dennis A. Dahlmann and David and Jo-Anna Featherman University of Michigan Credit Patricia M. Garcia George W. Ford Union # Jim and Patsy Donahey includes gift in memory of University of Michigan Health Penny and Ken Fischer Steffi Reiss WINTER 2017 System Anne and Paul Glendon The children of Marian P. and The Wallace Foundation Susan and Richard Gutow # David M. Gates in their memory David and Phyllis Herzig Charles H. Gershenson Trust, SOLOISTS Joel Howell and Linda Samuelson Maurice S. Binkow, Trustee ($50,000–$99,999) Frank Legacki and Alicia Torres Katherine and Tom Goldberg Anonymous David Leichtman and Laura McGinn John R. Griffith Anonymous # McKinley Associates, Inc. Lynn and Martin Halbfinger Community Foundation for Thomas and Deborah McMullen Norman and Debbie Herbert # Southeast Michigan Ann R. Meredith Carl and Charlene Herstein Dance/USA Mr. and Mrs. Donald Morelock Honigman Miller Schwartz and Doris Duke Charitable Foundation THE MOSAIC FOUNDATION Cohn LLC DTE Energy Foundation (of R. & P. Heydon) Imagine Fitness & Yoga Stephen and Rosamund Forrest New England Foundation The Japan Foundation Patti Askwith Kenner for the Arts David and Sally Kennedy in memory of her father Sarah and Dan Nicoli Jerry and Dale Kolins # Bert Askwith (1911-2015) Old National Bank Samuel and Marilyn Krimm Gilbert Omenn and Martha Darling Ted and Wendy Lawrence MAESTROS Tim and Sally Petersen # Level X Talent ($20,000–$49,999) Eleanor Pollack # Richard and Carolyn Lineback Anonymous James A. Read Mainstreet Ventures Anonymous # Retirement Income Solutions Mardi Gras Fund Emily W. Bandera, M.D. Sharon and Doug Rothwell Martin Family Foundation # Noreen and Kenneth Buckfire Agnes Moy-Sarns and David Sarns Miller, Canfield, Paddock and Stone, Barbara Fleischman # Jane and Edward Schulak P.L.C. in honor of Ken Fischer Dennis and Ellie Serras M. Haskell and Jan Barney Newman Barbara Garavaglia # Gary and Diane Stahle Virginia Nordby in memory of Jim Garavaglia Stout Systems Rob and Quincy Northrup KeyBank John W. and Gail Ferguson Stout Bertram and Elaine Pitt Masco Corporation Foundation Robert O. and Darragh H. Weisman Philip and Kathy Power Michigan Council for Arts and in honor of Allison Silber, Rosenberg Family Fund Cultural Affairs Class of 2017 in honor of Maury and Michigan Economic Development Marina and Robert Whitman Linda Binkow Corporation Ann and Clayton Wilhite Prue and Ami Rosenthal National Endowment for the Arts Fred and Judy Wilpon Savco Hospitality PNC Foundation Gerald (Jay) and Lois Stegeman Norma and Dick Sarns # Christine B. Zelenock # StoryPoint

# indicates that a donation was made to support a UMS Endowment Fund 39 David and Karen Stutz Sue Song Michele Derr The Summer Fund of the Charlevoix Cheryl Soper in memory of Ellwood Derr County Community Foundation Steve Sullivan and Erin McKean Dennis and Monique Deschaine Louise Taylor Judy and Lewis Tann Sally and Larry DiCarlo Jim Toy Shaomeng Wang and Ju-Yun Li Molly Dobson in honor of U-M Regent Elise Weisbach includes gift in honor of Ken Fischer Laurence B. Deitch Steve and Judy Dobson The University of Michigan Third PATRONS in honor of Ken Fischer Century Initiative ($1,000–$2,499) Jill and Doug Dunn Dody Viola Ronnie and Lawrence Ackman Peter and Grace Duren Stanford and Sandra Warshawsky Katherine Aldrich Dworkin Foundation Richard and Mona Alonzo Rosalie Edwards/ LEADERS Christiane Anderson Vibrant Ann Arbor Fund ($2,500–$4,999) Neil P. Anderson Johanna Epstein and Steven Katz Jim and Barbara Adams Ann Arbor Distilling Company Elly and Harvey Falit Michael and Suzan Alexander Anonymous Dede and Oscar Feldman Anonymous Dr. and Mrs. Rudi Ansbacher Food Art Arts Midwest Touring Fund Harlene and Henry Appelman Dan and Jill Francis John and Lillian Back Dr. Frank Ascione Judy and Paul Freedman Karen Bantel and Steve Geiringer Bob and Martha Ause Leon and Marcia Friedman Dr. Carol Barbour and Dr. Sid Gilman Elizabeth R. Axelson and Bill and Boc Fulton Bradford and Lydia Bates Donald H. Regan Luis and April Gago Rachel Bendit and Mark Bernstein Jonathan Ayers and Teresa Gallagher Beverley and Gerson Geltner Ronald and Linda Benson Laurence R. and Barbara K. Baker Zita and Wayne Gillis Suzanne A. and Frederick J. Beutler # Lisa and Jim Baker Heather and Seth Gladstein DJ and Dieter Boehm Rosalyn, Joshua and Beth Barclay Cozette Grabb in honor of Ken Fischer and in memory of Mel L. Barclay, M.D. Leslie and Mary Ellen Guinn Sara Billmann John and Ginny Bareham Kenneth and Margaret Guire # Charles and Linda Borgsdorf David and Monika Barera Roopa and Hitinder Gurm Bill Brinkerhoff and Kathy Sample Norman E. Barnett # Elizabeth and Robert Hamel Carolyn M. Carty and Thomas H. Haug Dr. and Mrs. Robert Bartlett Jeff Hannah and Nur Akcasu Anne and Howard Cooper Anne Beaubien and Phil Berry Randall L. and Nancy Caine Harbour # Julia Donovan Darlow and Cecilia Benner Larry Hastie John Corbett O'Meara in memory of David Lebenbom Daniel and Jane Hayes # Marylene Delbourg-Delphis Kathy Benton and Robert Brown David W. Heleniak Sharon and Dallas Dort Rosemary R. Berardi and Sivana Heller John Dryden and Diana Raimi Carolyn R. Zaleon Paul and Nancy Hillegonds # Charles and Julia Eisendrath # Marc Bernstein and Jennifer Lewis Diane S. Hoff Joan and Emil Engel Sara Billmann and Jeffrey Kuras Robert M. and Joan F. Howe Betsy Foxman and Michael Boehnke Joan Binkow Jean Jacobson Sara and Michael Frank John Blankley and Maureen Foley Hudson Webber Foundation Thomas and Barbara Gelehrter Margaret and Howard Bond Eileen and Saul Hymans Bill and Ruth Gilkey Rebecca S. Bonnell Wallie and Janet Jeffries Clifford and Alice Hart Laurence and Grace Boxer Liz Johnson Timothy and Jo Wiese Johnson Dr. and Mrs. Ralph R. Bozell Mary K. Joscelyn James and Patricia Kennedy Nancy M. Briggs Richard and Sylvia Kaufman Diane Kirkpatrick in memory of Dale E. Briggs James A. Kelly and Mariam C. Noland Philip Klintworth Steve and Rebecca Brown Janet Kemink and Rodney Smith, MD Jean and Arnold Kluge Robert and Jeannine Buchanan Connie and Tom Kinnear Leo and Kathy Legatski Tom and Lori Buiteweg Carolyn and Jim Knake Carolyn and Paul Lichter Lawrence and Valerie Bullen Michael J. Kondziolka and Jean E. Long in honor of Ken Fischer Mathias-Philippe Badin Tim and Lisa Lynch Charles and Joan Burleigh Barbara and Michael Kratchman Ernest and Adele McCarus Barbara and Al Cain Gary and Barbara Krenz Doug and Cate McClure Lou and Janet Callaway includes gift in honor of Ken Fischer Paul Morel and Linda Woodworth Sally Camper and Bob Lyons Donald and Jeanne Kunz William Nolting and Donna Parmelee Thomas and Marilou Capo John K. Lawrence and Steve and Betty Palms Jean and Ken Casey Jeanine A. DeLay# Elizabeth and David Parsigian Anne Chase Richard LeSueur Susan Pollans and Alan Levy Patricia Chatas Evie and Allen Lichter Rick and Mary Price Cheryl and Brian Clarkson E. Daniel and Kay Long # James and Bonnie Reece Deborah Keller-Cohen and Fran Lyman John W. Reed Evan Cohen John and Cheryl MacKrell Anthony L. Reffells Ellen and Hubert Cohen Edwin and Cathy Marcus Nathaniel and Melody Rowe Roger and Midge Cone Betsy Yvonne Mark Herbert and Ernestine Ruben Connie and Jim Cook W. Harry Marsden Craig and Jan Ruff Christopher Dahl and Ruth Rowse Ann W. Martin and Russ Larson Frankie and Scott Simonds in honor of Ken Fischer Howard L. Mason Susan M. Smith and Robert H. Gray Timothy and Robin Damschroder Mary M. Matthews Linh and Dug Song Charles and Kathleen Davenport # Jerry A. and Deborah Orr May #

40 BE PRESENT

W. Joseph McCune and Ann Arbor Public Schools in memory of Wendy Comstock Georgiana M. Sanders Anonymous Larry and Martha Gray Griff and Pat McDonald Anonymous John and Renee Greden Margaret McKinley and Dan Ketelaar in honor of Jean Campbell Dr. Patricia P. Green Michael and Terrie McLauchlan # Sandy and Charlie Aquino Raymond Grew Scott and Julie Merz Penny and Arthur Ashe Nicki Griffith Bert and Kathy Moberg Ralph and Barbara Babb # Werner H. Grilk Elizabeth and John Moje John and Christie Bacon Arthur Gulick Cyril Moscow Mary and Al Bailey Julie and Hanley Gurwin Mullick Foundation Reg and Pat Baker Talbot and Jan Hack John and Ann Nicklas Nancy Barbas and Jonathan Sugar Don Haefner and Cynthia Stewart Susan and Mark Orringer # Astrid B. Beck Helen C. Hall Judith A. Pavitt Lawrence S. Berlin and Steven and Sheila Hamp Pfizer Foundation Jean L. McPhail William and Kathleen Hanson Marianne Udow-Phillips and Jack Billi and Sheryl Hirsch Alan Harnik and Professor Gillian Bill Phillips William and Ilene Birge Feeley-Harnik Juliet S. Pierson Ron and Mimi Bogdasarian David Harris Stephen and Bettina Pollock R.M. Bradley and C.M. Mistretta Mark and Lorna Hildebrandt Ray and Ginny Reilly Brian Bradley and Timothy Hofer and Valerie Kivelson Malverne Reinhart Rosalie Tocco-Bradley Kay Holsinger and Douglas C. Wood Guy and Kathy Rich Joel Bregman and Elaine Pomeranz Jim and Colleen Hume Richard and Susan Rogel Charles Bright and Susan Crowell Ann D. Hungerman Huda Karaman Rosen David and Sharon Brooks Harold L. Ingram Jeri Rosenberg and Vic Strecher Melvin Brown Richard and Suzette Isackson Keith and Sue Rottman Pamela Brown isciences, L.L.C. John J. H. Schwarz Susan and Oliver Cameron Gretchen and John Jackson Erik and Carol Serr Brent and Valerie Carey Elizabeth Jahn Janet Shatusky Jack and Susan Carlson Joachim Janecke Carl Simon and Bobbi Low A. Craig Cattell in memory of Christa Janecke Nancy and Brooks Sitterley Tsun and Siu Ying Chang Feng Jiang and Lydia Qiu Michael Sivak and Enid Wasserman Samuel and Roberta Chappell Mark and Linda Johnson # Ren and Susan Snyder John and Camilla Chiapuris Mattias Jonsson and Tamar Springer and Steve Stancroff Reginald and Beverly Ciokajlo Johanna Eriksson WINTER 2017 Michael B. Staebler and Judy and Malcolm Cohen Mark and Madolyn Kaminski Jennifer R. Poteat Jon Cohn and Daniela Wittmann Don and Sue Kaul Ted St. Antoine Barbara Comai Barbara Kay Virginia E. Stein David and Barbara Copi David and Gretchen Kennard Eric and Ines Storhok Arnold and Susan Coran Robert and Gloria Kerry Dalia and Stan Strasius Paul Courant and Marta Manildi Rhea K. Kish Charlotte B. Sundelson Katherine and Clifford Cox Dana and Paul Kissner in honor of Kenneth Fischer Mac and Nita Cox Jane Fryman Laird Ted and Eileen Thacker Clifford and Laura Craig # James Leija and Aric Knuth Keturah Thunder-Haab John and Mary Curtis Joan and Melvyn Levitsky Louise Townley Roderick and Mary Ann Daane Marty and Marilyn Lindenauer Jeff and Lisa Tulin-Silver Connie D'Amato in honor of Ken Fischer Susan B. Ullrich # David L. DeBruyn Daniel Little and Bernadette Lintz Robert and Cynthia VanRenterghem David Deromedi Rod and Robin Little Jack and Marilyn van der Velde Andrzej and Cynthia Dlugosz William and Lois Lovejoy Bob and Liina Wallin Gary Dolce and Karen Yamada Joan Lowenstein and Harvey and Robin Wax Alan S. Eiser Jonathan Trobe # Max and Mary Wisgerhof Bruce N. and Cheryl W. Elliott Louise and David Lutton Jack and Carolyn Wallace Margaret and John Faulkner Brigitte Maassen Joyce Watson and Marty Warshaw Carol Finerman William and Jutta Malm Karl and Karen Weick Susan R. Fisher Melvin and Jean Manis Edward and Colleen Weiss Esther Floyd Susan E. Martin Lauren and Gareth Williams Tiffany and Damon Ford Judythe and Roger Maugh Charles Witke and Aileen Gatten David Fox and Paula Bockenstedt Olivia Maynard and Olof Karlstrom The Worsham Family Foundation Susan L. Froelich and Martha Mayo and Irwin Goldstein Richard E. Ingram Susan McClanahan and BENEFACTORS Sandra Gast and Greg Kolecki Bill Zimmerman ($500–$999) Chris Genteel and Dara Moses James H. McIntosh and Judith Abrams Julia and Mark Gerstein Elaine K. Gazda Tena Achen in honor of Evan Gerstein's Bill and Ginny McKeachie Jan and Sassa Akervall graduation Frances McSparran Roger Albin and Nili Tannenbaum David and Maureen Ginsburg # Bernice and Herman Merte James and Catherine Allen Steve Glauberman and Mary Lee Meyer Christine W. Alvey Margaret Schankler James M. Miller and David Ammer and Nell Duke Google Inc. Rebecca H. Lehto David G. and Joan M. Anderson # L.A. Peter Gosling, Linda Y.C. Lim Gene and Lois Miller # Dave and Katie Andrea and Mya L. Gosling Lester and Jeanne Monts

# indicates that a donation was made to support a UMS Endowment Fund 41 Kara and Lewis Morgenstern Barbara A. Anderson Kay Felt Lisa and Steve Morris John Anderson and Lyn McHie Jeff Fessler and Sue Cutler Drs. Louis Nagel and Catherine M. Andrea Herschel and Adrienne Fink Julie Jaffee Nagel Ralph and Elaine Anthony C. Peter and Beverly A. Fischer Margaret Nance Lisa and Scott Armstrong Martha Fischer and William Lutes Erika Nelson and David Wagener Michael Atzmon in honor of Kenneth C. Fischer Thomas and Barbara Nelson Robert and Mary Baird Norman and Jeanne Fischer Marc Neuberger and Jane Forman Barbara M Barclay Catherine L. Fischer Marylen S. Oberman Frank and Lindsay Tyas Bateman Carol and Mitch Fleischer Elizabeth Ong Gary Beckman and Karla Taylor Jessica Fogel and Lawrence Weiner Zoe and Joe Pearson Christina Bellows and Joe Alberts Scott and Janet Fogler Wesen and William Peterson Emile Bendit Christopher Friese Diana and Bill Pratt Merete B. Bengtsson Philip and Renée Woodten Frost Wallace and Barbara Prince Christy and Barney Bentgen Joseph E. Fugere and Quest Productions Joan Bentz Marianne C. Mussett Cynthia and Cass Radecki Lynda W. Berg in honor of Kenneth C. Fischer Harold K. Raisler Foundation, Inc. Barbara and Sheldon Berry Carol Gagliardi and David Flesher Jessica C. Roberts, PhD # Inderpal and Martha Bhatia Stephen Gallagher Doug and Nancy Roosa Mary E. Black Enid Galler Stephanie Rosenbaum Bobbie and Donald Blitz Janet and Charles Garvin Richard and Edie Rosenfeld Mr. Mark D. Bomia Heather Gates Nancy W. Rugani # Morton B. and Raya Brown in memory of David Gates Ashish and Norma Sarkar Jonathan and Trudy Bulkley Michael Gatti and Lisa Murray Maya Savarino Alan Burg and Kenneth Hillenburg Prof. Beth Genne and Ann and Tom Schriber Jim and Cyndi Burnstein Prof. Allan Gibbard John Scudder and Regan Knapp Tony and Jane Burton Renate Gerulaitis # Elvera Shappirio Jenny and Jim Carpenter Francie Gibbons Bruce M. Siegan Barbara Mattison Carr J. Martin and Tara Gillespie Eleanor Singer Margaret W. (Peggy) Carroll Thea Glicksman Barbara Furin Sloat MJ Cartwright and Tom Benedetti Drs. Vijay and Sara Goburdhun Cynthia Sorensen Jenny Graf Carvo Barbara and Fred Goldberg Becki Spangler and Peyton Bland Angela Cesere and Rob Thomas Mr. and Mrs. Charles and Janet Goss # Gretta Spier and Jonathan Rubin J. Wehrley and Patricia Chapman Michael L. Gowing Allan and Marcia Stillwagon Joan and Mark Chesler Christopher and Elaine Graham Jannifer Stromberg Mark Clague and Laura Jackson Jerry M. and Mary K. Gray Eva Taylor Elke Monika Clark Elliott Greenberg and Gayle Harte Stephanie Teasley and Thomas Finholt Donald and Astrid Cleveland # Richard and Linda Greene Doris H. Terwilliger Hilary U. Cohen Michael Hammer and Matthew Dolan John G. Topliss Wayne and Melinda Colquitt Tom Hammond Joyce Urba and David Kinsella Anne and Edward Comeau Drs. Erik and Dina Hanby Douglas and Andrea Van Houweling Gordon and Marjorie Comfort Susan R. Harris Erica Ward and Ralph Gerson Dr. Lisa D. Cook Michael and Nikki Hathaway Arthur and Renata Wasserman Jane Wilson Coon and A. Rees Midgley Neil and Annmarie Hawkins Richard and Madelon Weber # Mrs. Katharine Cosovich J. Lawrence Henkel and Deborah Webster and George Miller Margaret Cottrill and Jon Wolfson Jacqueline Stearns Edward and Colleen Weiss Susan Bozell Craig Dr. and Mrs. Robert Hensinger Carol and John Welsch Marylee Dalton and Lynn Drickamer Therese and Alfred Hero Lyndon Welch Art and Lyn Powrie Davidge Kathryn Goodson and John Hieftje in memory of Angela Welch in memory of Gwen and Gideon and Carol Hoffer Steven Werns Emerson Powrie Carol and Dieter Hohnke # Kathy White # Ed and Ellie Davidson Paul Hossler and Charlene Bignall James Boyd White and Mary F. White Linda Davis and Bob Richter James S. House and Iris and Fred Whitehouse in honor of Ken Fischer Wendy Fisher House # Brian Willen and Monica Hakimi HE Dean Elizabeth Jahn Thomas K. Wilson Brian and Margaret Delaney Hank and Karen Jallos Dr. Robert Winfield # Elena and Nicholas Delbanco Lawrence and Ruth Jones # Beth and I. W. Winsten Richard I. DeVries Janet and Jerry Joseph Lawrence and Mary Wise Robert Donia Don and Nancy Kaegi Kenneth Wisinski and Robert J. Donnellan Carol and Mark Kaplan Linda Dintenfass Ed and Mary Durfee Steven Kautz Drs. Margo and Douglas Woll Don and Kathy Duquette John Kennard and Debbi Carmody Frances A. Wright # Swati Dutta Nancy Keppelman and Mary Jean and John Yablonky Gavin Eadie and Barbara Murphy Michael E. Smerza Thomas and Karen Zelnik James F. Eder Bonnie and Robert Kidd Gloria J. Edwards Dan and Freddi Kilburn ASSOCIATES Morgan and Sally Edwards Laurence King and Robyn Frey-King ($250–$499) Charles and Julie Ellis Web and Betty Kirksey Dr. Diane M. Agresta Ruth Edwards Michael Koen Gordon and Carol Allardyce Beverly and Michael Fauman Rosalie and Ron Koenig Helen and David Aminoff Phil and Phyllis Fellin Ann Marie Kotre

42 BE PRESENT

Mary L. Kramer # Karen Park and John Beranek Cynthia Straub Syma and Phil Kroll Brian and Julie Picknell John F. Strobel and Bert and Geraldine Kruse Robert and Mary Ann Pierce Christine M. Tracy Lawrence La Fountain-Stokes Mark and Margaret Pieroni Elizabeth Stumbo and David Lampe and Susan Rosegrant Donald and Evonne Plantinga Stephan Taylor Lucy and Kenneth Langa Joyce Plummer Roger Stutesman Linda M. Langer Tom Porter Nancy Bielby Sudia Jean A. Lawton and James H. Ellis Anne Preston # Rich and Diane Sullivan John and Theresa Lee Karen and Berislav Primorac Ed and Natalie Surovell Sue Leong Jeff and Katie Reece Brian and Lee Talbot John Lesko and Judith Roberts Sandy Talbott and Mark Lindley Suzanne Schluederberg Kathryn Robine and Kevin Kerber May Ling Tang Barbara Levine Ernest Robles Michael and Ellen Taylor Adam and Sonia Lewenberg Jonathan and Anala Rodgers William Tennant Gloria Kitto Lewis Stephen Rosenblum and Denise Thal and David Scobey Jacqueline Lewis Rosalyn Sarver Nigel and Jane Thompson Michael and Debra Lisull Jean Rowan Tom and Judy Thompson Len and Betty Lofstrom Rosemarie Haag Rowney Patricia J. Tompkins John Lofy and Laura Rubin Carol Rugg and in memory of Terril O. Tompkins Shuyu Long Richard Montmorency Janet and Randall Torno Barbara and Michael Lott Mary Ann Rumler includes gift in memory of Christopher Lovasz Irv and Trudy Salmeen Wendy Comstock Jimena Loveluck and Michael and Kimm Sarosi Barbara Torzewski Timothy Veeser The Saturno Family Fawwaz Ulaby and Marilyn and Frode Maaseidvaag in honor of Ken Fischer Jean Cunningham Martin and Jane Maehr Albert J. and Jane L. Sayed Beaumont Vance Geraldine and Sheldon Markel Judith Scanlon Karla and Hugo Vandersypen Ken and Lynn Marko Helga and Jochen Schacht Mary C. Vandewiele Charles McCaghy Betina Schlossberg James and Barbara Varani Margaret and Harris McClamroch David Schmidt and Jane Myers Elizabeth A. and David C. Walker Cynthia McClung David Schoem Charles R. and Peggy McCracken and Suzanne Selig Barbara Hertz Wallgren Doug Anderson Harriet Selin # Jo Ann Ward WINTER 2017 Daniel and Carol McDonnell James and Linda Selwa # Karen Watanabe and Richard Cheng Joanna McNamara Theodore T. Serafin MaryLinda and Larry Webster Margaret McQuillan-Key in honor of Ken Fischer Bruce and Loraine Webster Marilyn Meeker Matthew Shapiro and Susan Garetz Richard and Lucinda Weiermiller Gerlinda S. Melchiori Cliff and Ingrid Sheldon Jack and Carol Weigel Warren and Hilda Merchant Bill and Chris Shell Neal and Susan Weinberg Carmen and Jack Miller Patrick and Carol Sherry Charles Werney Gene and Lois Miller Howard and Aliza Shevrin Mary Ann Whipple # John and Sally Mitani Jean and Thomas Shope Mac and Rosanne Whitehouse Candy and Andy Mitchell Nina Silbergleit Steve and Peg Wilcox Melinda Morris Edward and Kathy Silver Thomas Wilczak and Brian and Jacqueline Morton Sandy and Dick Simon Steven Quinkert Trevor Mudge and Robert and Elaine Sims in honor of Garrett Kucharski, Janet Van Valkenburg Jürgen Skoppek Marie and Helen Rucinski Barbara Mulay Art Smith and Connie Barron Smith Shelly F. Williams Thomas and Hedi Mulford Carl and Jari Smith # Pat and John Wilson Kathleen and Gayl Ness David and Renate Smith Stuart and Nancy Winston # Ben and Jo Ann Nielsen Gregory Smith MD Steven and Helen Woghin in honor of Maxine Frankel Robert W. Smith Charlotte A. Wolfe Richard and Susan Nisbett Sidonie Smith and Greg Grieco Gladys Young Laura Nitzberg Linda Spector and Peter Jacobson Barabra Zacharakis Christer and Outi Nordman Doris and Larry Sperling Gail and David Zuk Arthur S. Nusbaum in memory of David Klein Thomas and Erin Zurbuchen Kathleen I. Operhall Jim Spevak Elisa Ostafin and Hossein Keshtkar Jeff Spindler *Due to space restraints, gifts of Liz and Mohammad Othman Paul and Judy Spradlin $1-$249 will be recognized in the Marie Panchuk Leslie Stainton and Steven Whiting online donor list at ums.org. Karen Pancost Daniel and Susan Stepek William and Hedda Panzer James L. Stoddard

# indicates that a donation was made to support a UMS Endowment Fund 43 20th ANNUAL SPHINX COMPETITION 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. Semi- finalists 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.

SPHINX HONORS CONCERT February 10, 2017 at 12:00PM For ticket information contact [email protected] SPHINX FINALS CONCERT February 12, 2017 at 2:00PM www.SphinxMusic.org Reserve your ticket at DSO.org

Ad Index

2 Ann Arbor Area Community Foundation 30 Michigan Radio 36 Ann Arbor Symphony Orchestra 38 Miller, Canfield, Paddock and Stone, P.L.C. 30 Charles Reinhart Co. Realtors 34 Red Hawk 4 Community Foundation of Southeastern 5 Silver Maples Michigan 34 Smith Haughey Rice & Roegge 34 Donaldson & Guenther 44 Sphinx Competition 10 The Gilmore Keyboard Festival 32 Retirement Income Solutions 12 The Graduate 24 U-M Arts & Culture 24 Heinz C. Prechter Bipolar Research Fund 8 Varnum 10 Honigman Miller Schwartz and Cohn LLP IBC WEMU 32 IATSE Local 395 38 WGTE 30 Iris Dry Cleaners 32 WKAR 28 Jaffe, Raitt, Heuer & Weiss PC 28 Knight's 28 Michigan Psychoanalytic Institute and Society IBC = Inside back cover

44 2016-17 2014 National Medal of Arts Recipient

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