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Renaissance City Chamber Players (now known as the New American Chamber Or- chestra), got in touch with friends and friends of friends, spreading the word that he was looking for good musi- cians to play full-time in the Renaissance City group. As it happened, one of his friends was a friend of Goldschmid's teacher, who highly recom- mended her and urged her to come to Detroit to audition for the Renaissance City Players. "So, I came here and, dur- ing the auditions,_ met my three colleagues," she says. "They'd come from Indiana University. That first year with the players, we wanted to form a string quartet, but we were working too hard with the Players to do it. There just was no time or energy left." As the weeks and months went by, the four young wo- men never wavered in their determination to see their dream realized. As it happened, the big decision to "go for it" came one morning over coffee at a local restaurant. "I'll never forget that morn- ing," Goldschmid says. "From that time on, we all swore we'd be a string quartet. We said we'd rehearse at 8 o'clock in the morning, 10 o'clock at night, or whenever we could find the time. And that's what we started doing. We worked day and night, whenever we could. "Finally, the situation came for me that I couldn't play in the Renaissance group any- more, and I resigned." Even, tually, the three other women resigned from the Renais- sance City Players, so that each could devote her time to the quartet. All of them even- tually landed teaching posi- tions at Oakland University and at the Institute of Music and Dance. In the meantime, Detroit-area artist represen- tative Sally Sanfield heard the group play, and offered to take them on as clients. "She was wonderful," says Goldschmid. "After hearing us play just once, she wanted to know what she could do to help us. Through her, we got a lot of concerts set up, and became known in the Detroit area." The quartet has also recent- ly been added to the roster of international concert mana- ger, Mariedi Anders, of San Francisco, and will soon per- form in concerts on the West Coast. After a short time together, the quartet began to par- ticipate in competition, both here and abroad. Through a Ann Goldschmid and her string quartet have won many awards and toured extensively. win at the Cleveland Quartet Competition, they've gained a fellowship at the Eastman School of Music in Rochester, N.Y., where they often per- form, and are coached by members of the acclaimed Cleveland Quartet. Recently, in addition to the Fischoff award, they placed third in the Portsmouth (England) International String Quartet Competition. For the competition, Gold- schmid had the opportunity to play on a Stradivarius, bor- rowed from a friend. "A violin like that makes a huge difference to a per- former," she says, adding that string quartet musicians nowadays rarely have the op- portunity to play the half- million dollar instruments, unless they are received as a loan or as a gift from a benefactor. Though the upbeat Gold- schmid emphasizes that "string quartet players never get rich" (the group took home less than $15,000 apiece last year), she is quick to point out that the Lafayette will eventually be a definite financial success. "If we didn't know that we each had the capability and what it takes to make it in the future (as a quartet), we'd all be in orchestras right now, or doing something else." For Goldschmid, a typical work day lasts about 12 hours, beginning with a quick breakfast with her attorney husband, Robert, in their Oak Park home. "We love that time because, usually, that's about the- only time we have together," she says, laughing. (Laughing and smiling is something Goldschmid does a lot of. When asked to describe her, the other members of the Quartet use words like "en- thusiastic" and "happy.") After her husband leaves for work, Goldschmid heads for her at-home studio and begins practice for the day. "My first priority in the morning is practicing, so that I don't come in and make a fool of myself in quartet rehearsal. If I come into rehearsal, and I'm not prepared, I feel awful. I think that's one of the great things about the quartet — each one of us has such personal in- tegrity that we just are not going to let the other person down." Along with other members of the quartet, Goldschmid says she spends around an hour-and-a-half each day making business calls.