The Community Foundation is dedicated to supporting and enhancing the arts in southeast Michigan. For decades, we have partnered and collaborated with organizations and hyperlocal projects to enrich our region through the arts. We have helped hundreds of donors who want to support local arts and culture find the best way to make a lasting impact.
MAKE AN IMPACT When you are ready to make a lasting impact on arts and culture, the Community Foundation is here to help. Visit: cfsem.org/arts-culture or call 313.961.6675
PERFORMANCE
WINTER • 2023–2024 SEASON
4 Welcome 5 Orchestra Roster 6 Behind the Baton 8 Board Leadership 14 Transformational Support 42 Donor Roster 50 Maximize Your Experience 52 DSO Administrative Staff 54 Upcoming Concerts
10 Connecting Communities
DSO’s William Davidson Neighborhood Concert Series brings extraordinary DSO performances with renowned guest artists to metro Detroit communities, plus chamber recitals in unique settings.
16 Community & Learning 17-40 Program Notes
Discover rich insights about each concert
Read Performance anytime, anywhere at dso.org/performance The Detroit Symphony Orchestra impacts lives through the power of unforgettable musical experiences by sustaining a world class orchestra for our city and the global community.
ON THE COVER: Principal Pops Conductor Jeff Tyzik (by Sarah Smarch), Branford Marsalis (by Eric Ryan Anderson), and Alisa Weilerstein (by Sarah Smarch).
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DSO PERFORMANCE MAGAZINE 3
WELCOME Dear Friends, Happy Holidays and Happy New Year to you and yours! Whether you’re joining us at Orchestra Hall or one of our community venues, thank you for making the DSO part of your life and your traditions. From our beloved Home for the Holidays program to concerts with outstanding artists like Branford Marsalis and Wu Man, we’re delighted to have you see, hear, and experience the remarkable this season. With Music Director Jader Bignamini our orchestra sounds better than ever. We are thrilled to share that Jader’s contract has been extended through the 2030-2031 season—cheers to many years of making wonderful music together! See Jader in action this March as he conducts Bartók’s Second Piano Concerto with the sensational Yuja Wang. We are excited to embark on our first tour with Jader this February in Florida, featuring acclaimed cellist Alisa Weilerstein in Elgar’s Cello Concerto. We look forward to bringing the artistry audiences enjoy each week in Detroit to fans in Gainesville, Miami, West Palm Beach, Sarasota, and Vero Beach, and deepening our connections with these communities, and with each other. We invite you to join us in Florida or at Orchestra Hall for welcome-back concerts. Our annual Classical Roots concerts this March celebrate the extraordinary contributions of African American artists to classical music with a program of two world premieres commissioned by the DSO and led by Assistant Conductor Na’Zir McFadden: a new saxophone concerto by Grammy Awardwinner Billy Childs with guest soloist Steven Banks, and a new work by Shelley Washington co-commissioned by the DSO as part of New Music USA’s Amplifying Voices initiative, which fosters collaboration toward racial and gender equity in classical music. We kick off this year’s William Davidson Neighborhood Concert Series with music by Bach with DSO Associate Concertmaster Kimberly Kaloyanides Kennedy and Principal Oboe Alexander Kinmonth as soloists; and Principal Clarinet Ralph Skiano serves as guest soloist in English composer Gerald Finzi’s Clarinet Concerto. Wherever you are, the future of music in Detroit looks bright, and we are honored to be part of a thriving musical community!
Erik Rönmark President and CEO
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David T. Provost Chair, Board of Directors
WINTER 2023
DETROIT SYMPHONY ORCHESTRA
AA COMMUNITY-SUPPORTE D ORCHESTRA COMMUNITY-SUPPORTED ORCHESTRA
JADER BIGNAMINI MUSIC DIRECTOR JADER BIGNAMINI MUSIC DIRECTOR
DETROIT DETROIT SYMPHONY SYMPHONY ORCHESTRA ORCHESTRA AA COMMUNITY-SUPPORTE D ORCHESTRA COMMUNITY-SUPPORTED ORCHESTRA
JADER BIGNAMINI MUSIC DIRECTOR JADER BIGNAMINI MUSIC DIRECTOR
JADER BIGNAMINI, Music Director Music Directorship endowed by the Kresge Foundation
JEFF TYZIK
TERENCE BLANCHARD
NA’ZIR MCFADDEN
LEONARD SLATKIN
NEEME JÄRVI
Principal Pops Conductor
Fred A. Erb Jazz Creative Director Chair
Assistant Conductor, Phillip & Lauren Fisher Community Ambassador
Music Director Laureate
Music Director Emeritus
FIRST VIOLIN Robyn Bollinger
CONCERTMASTER Katherine Tuck Chair
Kimberly Kaloyanides Kennedy
ASSOCIATE CONCERTMASTER Schwartz and Shapero Family Chair
Hai-Xin Wu
ASSISTANT CONCERTMASTER Walker L. Cisler/Detroit Edison Foundation Chair
Jennifer Wey Fang ASSISTANT CONCERTMASTER
Marguerite Deslippe* Laurie Goldman* Rachel Harding Klaus* Eun Park Lee* Adrienne Rönmark* William and Story John Chair
Alexandros Sakarellos* Drs. Doris Tong and Teck Soo Chair
Laura Soto* Greg Staples* Jiamin Wang* Mingzhao Zhou*
SECOND VIOLIN Adam Stepniewski ACTING PRINCIPAL The Devereaux Family Chair
Will Haapaniemi* David and Valerie McCammon Chairs
Hae Jeong Heidi Han*
David and Valerie McCammon Chairs
Elizabeth Furuta* Sheryl Hwangbo Yu* Daniel Kim* Sujin Lim* Hong-Yi Mo* Marian Tanau* Alexander Volkov* Jing Zhang*
VIOLA Eric Nowlin PRINCIPAL Julie and Ed Levy, Jr. Chair
James VanValkenburg
ASSISTANT PRINCIPAL Janet and Norm Ankers Chair
Caroline Coade Henry and Patricia Nickol Chair
Glenn Mellow Hang Su Hart Hollman Han Zheng Mike Chen Harper Randolph §
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CELLO Wei Yu PRINCIPAL
Abraham Feder
ASSISTANT PRINCIPAL Dorothy and Herbert Graebner Chair
CLARINET Ralph Skiano
TIMPANI Jeremy Epp
Jack Walters
James Ritchie
PRINCIPAL Robert B. Semple Chair
PVS Chemicals Inc./ Jim and Ann Nicholson Chair
Robert Bergman* Jeremy Crosmer*
Shannon Orme
David LeDoux* Peter McCaffrey*
E-FLAT CLARINET OPEN
Una O’Riordan*
BASS CLARINET Shannon Orme
Victor and Gale Girolami Cello Chair
Joanne Deanto and Arnold Weingarden Chair Mary Ann & Robert Gorlin Chair
Cole Randolph*
PRINCIPAL Van Dusen Family Chair
Stephen Molina
LIBRARIANS Robert Stiles
PRINCIPAL Byron and Dorothy Gerson Chair
Cornelia Sommer Marcus Schoon
HARP OPEN
PRINCIPAL David and Christine Provost Chair
Johanna Yarbrough Scott Strong
FLUTE Hannah Hammel Maser
David Everson
ASSISTANT PRINCIPAL Bernard and Eleanor Robertson Chair
PRINCIPAL
Ethan Allen
LEGACY CHAIRS Principal Flute
Women’s Association for the DSO
Principal Cello
James C. Gordon
HORN OPEN
PRINCIPAL Winifred E. Polk Chair
Morton and Brigitte Harris Chair
ASSISTANT PRINCIPAL William Cody Knicely Chair
BASSOON Conrad Cornelison
CONTRABASSOON Marcus Schoon
Sharon Sparrow^
PRINCIPAL Ruth Roby and Alfred R. Glancy III Chair
Barbara Frankel and Ronald Michalak Chair
ASSISTANT PRINCIPAL
Amanda Blaikie
PERCUSSION Joseph Becker
James Ritchie Luciano Valdes§
Christopher Hamlen* Peter Hatch* Vincent Luciano* Brandon Mason*
PRINCIPAL Alan J. and Sue Kaufman and Family Chair
ASSISTANT PRINCIPAL
Andrés Pichardo-Rosenthal
Mary Lee Gwizdala Chair
BASS Kevin Brown
PRINCIPAL Richard and Mona Alonzo Chair
Ric and Carola Huttenlocher Chair ASSISTANT PRINCIPAL
Mark Abbott
Personnel Managers Patrick Peterson
DIRECTOR OF ORCHESTRA PERSONNEL
Benjamin Tisherman
MANAGER OF ORCHESTRA PERSONNEL
Nolan Cardenas
AUDITION AND OPERATIONS COORDINATOR
Stage Personnel Dennis Rottell
TRUMPET Hunter Eberly PRINCIPAL Lee and Floy Barthel Chair
STAGE MANAGER
Zach Deater
DEPARTMENT HEAD
Issac Eide
Jeffery Zook
Austin Williams William Lucas
PICCOLO Jeffery Zook
TROMBONE Kenneth Thompkins
Matthew Pons
Shari and Craig Morgan Chair
PRINCIPAL Shari and Craig Morgan Chair
OBOE Alexander Kinmonth
David Binder Adam Rainey
Sarah Lewis
BASS TROMBONE Adam Rainey
PRINCIPAL Jack A. and Aviva Robinson Chair ASSISTANT PRINCIPAL
Monica Fosnaugh
ENGLISH HORN Monica Fosnaugh
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TUBA Dennis Nulty PRINCIPAL
DEPARTMENT HEAD
Kurt Henry
DEPARTMENT HEAD DEPARTMENT HEAD
Jason Tschantre
DEPARTMENT HEAD
LEGEND * These members may voluntarily revolve seating within the section on a regular basis ^ On sabbatical § A frican American Orchestra Fellow
DSO PERFORMANCE MAGAZINE 5
B E H I N D T H E B AT O N
Jader Bignamini MUSIC DIRECTORSHIP ENDOWED BY THE KRESGE FOUNDATION
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ader Bignamini was introduced as the 18th music director of the Detroit Symphony Orchestra in January 2020, commencing with the 2021–2022 season. His infectious passion and artistic excellence set the tone for the seasons ahead, creating extraordinary music and establishing a close relationship with the orchestra. A jazz aficionado, he has immersed himself in Detroit’s rich jazz culture and the influences of American music. A native of Crema, Italy, Bignamini studied at the Piacenza Music Conservatory and began his career as a musician (clarinet) with Orchestra Sinfonica La Verdi in Milan, later serving as the group’s resident conductor. Captivated by the music of legends like Mahler and Tchaikovsky, Bignamini explored their complexity and power, puzzling out the role that each instrument played in creating a larger-than-life sound. When he conducted his first professional concert at the age of 28, it didn’t feel like a departure, but an arrival.
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In the years since, Bignamini has conducted some of the world’s most acclaimed orchestras and opera companies in venues across the globe including working with Riccardo Chailly on concerts of Mahler’s Eighth Symphony in 2013 and his concert debut at La Scala in 2015 for the opening season of La Verdi Orchestra. Recent highlights include debuts with Opera de Paris conducting La Forza del Destino and with Deutsche Opera Berlin conducting Simon Boccanegra; appearances with the Pittsburgh and Toronto symphonies; debuts with the Houston, Dallas, and Minnesota symphonies; Osaka Philharmonic and Yomiuri Nippon Symphony Orchestra in Tokyo; with the Metropolitan Opera, Vienna State Opera, and Dutch National Opera (Madama Butterfly); Bayerische Staatsoper (La Traviata); I Puritani in Montpellier for the Festival of Radio France; Traviata in Tokyo directed by Sofia Coppola; return engagements with Oper Frankfurt (La forza del destino) and Santa Fe Opera (La bohème); Manon Lescaut at the Bolshoi; Traviata, Madama Butterfly, and Turandot at Arena of Verona; Il Trovatore and Aida at Rome’s Teatro dell’Opera; Madama Butterfly, I Puritani, and Manon Lescaut at Teatro Massimo in Palermo; Simon Boccanegra and La Forza del Destino at the Verdi Festival in Parma; Ciro in Babilonia at Rossini Opera Festival; and La bohème, Madama Butterfly, and Elisir d’amore at La Fenice in Venice. When Bignamini leads an orchestra in symphonic repertoire, he conducts without a score, preferring to make direct eye contact with the musicians. He conducts from the heart, forging a profound connection with musicians that shines through both onstage and off. He both embodies and exudes the excellence and enthusiasm that has long distinguished the DSO’s artistry.
WINTER 2023
Jeff Tyzik
Terence Blanchard
PRINCIPAL POPS CONDUCTOR
FRED A. ERB JAZZ CREATIVE DIRECTOR CHAIR
Grammy Award winner Jeff Tyzik is one of America’s most innovative and sought-after pops conductors. Tyzik is recognized for his brilliant arrangements, original programming, and engaging rapport with audiences of all ages. In addition to his role as Principal Pops Conductor of the DSO, Tyzik holds The Dot and Paul Mason Principal Pops Conductor’s Podium at the Dallas Symphony Orchestra and serves as principal pops conductor of the Seattle Symphony, the Oregon Symphony, The Florida Orchestra, and the Rochester Philharmonic—where he celebrates his 30th season in 2023–2024. Frequently invited as a guest conductor, Tyzik has appeared with the Boston Pops, Cincinnati Pops, Milwaukee Symphony, Pittsburgh Symphony, Toronto Symphony, Indianapolis Symphony, The Philadelphia Orchestra, Los Angeles Philharmonic, and Royal Scottish National Orchestra. Committed to performing music of all genres, Tyzik has collaborated with such diverse artists as Leslie Odom Jr., Megan Hilty, Chris Botti, Matthew Morrison, Wynonna Judd, Sutton Foster, Tony Bennett, Art Garfunkel, Dawn Upshaw, Marilyn Horne, Arturo Sandoval, The Chieftains, Mark O’Connor, Doc Severinsen, and John Pizzarelli. He has created numerous original programs that include the greatest music from jazz and classical to Motown, Broadway, film, dance, Latin, and swing. Tyzik holds Bachelor of Music and Master of Music degrees from the Eastman School of Music. Visit jefftyzik.com for more.
Trumpeter, bandleader, composer, and educator Terence Blanchard has served as the DSO’s Fred A. Erb Jazz Creative Director Chair since 2012. Blanchard has performed and recorded with many of jazz’s superstars and currently leads the celebrated E-Collective. He is also well-known for his decades-long collaboration with filmmaker Spike Lee, scoring more than 15 of Lee’s movies since the early 1990s. 2018’s BlacKkKlansman earned Blanchard his first Academy Award nomination, with a second Academy Award nomination in 2021 for Da 5 Bloods. In and out of the film world, Blanchard has received 15 Grammy nominations and seven wins, as well as nominations for Emmy, Golden Globe, Sierra, and Soul Train Music awards. Blanchard’s second opera Fire Shut Up in My Bones, based on the memoir of New York Times columnist Charles Blow, opened The Metropolitan Opera’s 2021-2022 season, making it the first opera by an African American composer to premiere at the Met. With a libretto by Kasi Lemmons, the opera was commissioned by Opera Theatre of Saint Louis where it premiered in 2019. The New York Times called it “inspiring,” “subtly powerful,” and “a bold affecting adaptation of Charles Blow’s work.” Blanchard’s first opera, Champion, also premiered to critical acclaim in 2013 in St. Louis and starred Denyce Graves with a libretto from Pulitzer Prize Winner Michael Cristofer. Blanchard was recently appointed Executive Artistic Director of SFJAZZ. Visit terenceblanchard.com for more.
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DSO PERFORMANCE MAGAZINE 7
DETROIT SYMPHONY ORCHESTRA, INC. LIFETIME DIRECTORS
CHAIRS EMERITI
Samuel Frankel◊ Stanley Frankel David Handleman, Sr.◊ Dr. Arthur L. Johnson◊ James B. Nicholson
Anne Parsons, President Emeritus ◊ Barbara Van Dusen Clyde Wu, M.D.◊
Floy Barthel Chacona Baugh Penny B. Blumenstein Richard A. Brodie Lois Cohn
Marianne Endicott Sidney Forbes Herman H. Frankel Dr. Gloria Heppner Ronald Horwitz
Peter D. Cummings Mark A. Davidoff Phillip Wm. Fisher
Stanley Frankel Robert S. Miller James B. Nicholson
DIRECTORS EMERITI Bonnie Larson Arthur C. Liebler Harold Kulish David McCammon David R. Nelson
William F. Pickard, Ph.D. Marilyn Pincus Marjorie S. Saulson Jane Sherman Arthur A. Weiss
OFFICERS OF THE BOARD OF DIRECTORS David T. Provost Chair
Faye Alexander Nelson Vice Chair
James G. Vella Secretary
Glenda D. Price, Ph.D. Officer at Large
Erik Rönmark President & CEO
Laura Trudeau Treasurer
Ralph J. Gerson Officer at Large
Shirley Stancato Officer at Large
BOARD OF DIRECTORS Directors are responsible for maintaining a culture of accountability, resource development, and strategic thinking. As fiduciaries, Directors oversee the artistic and cultural health and strategic direction of the DSO.
David Assemany, Governing Members Chair Michael Bickers Elena Centeio Aaron Frankel Herman B. Gray, M.D., M.B.A.
Laura Hernandez-Romine Rev. Nicholas Hood III Richard Huttenlocher Renato Jamett, Trustee Chair Daniel J. Kaufman Michael J. Keegan
Peter McCaffrey, Orchestra Representative Xavier Mosquet David Nicholson Arthur T. O’Reilly Stephen Polk
Bernard I. Robertson Nancy Tellem Kenneth Thompkins, Orchestra Representative David M. Wu, M.D. Ellen Hill Zeringue
BOARD OF TRUSTEES Trustees are a diverse group of community leaders who infuse creative thinking and innovation into how the DSO strives to achieve both artistic vitality and organizational sustainability.
Renato Jamett, Trustee Chair Ismael Ahmed Richard Alonzo Hadas Bernard Janice Bernick Elizabeth Boone Gwen Bowlby Dr. Betty Chu Karen Cullen Joanne Danto Stephen D’Arcy Maureen T. D’Avanzo Jasmin DeForrest Afa Sadykhly Dworkin James C. Farber
Linda Forte Carolynn Frankel Maha Freij Christa Funk Robert Gillette Jody Glancy Mary Ann Gorlin Peter Hatch, Orchestra Representative Donald Hiruo Michelle Hodges Julie Hollinshead Sam Huszczo Laurel Kalkanis Jay Kapadia
David Karp Joel D. Kellman John Kim Jennette Smith Kotila Leonard LaRocca William Lentine Linda Dresner Levy Vincent Luciano, Orchestra Representative Brandon Mason, Orchestra Representative Anthony McCree Kristen McLennan Tito Melega
Lydia Michael Lois A. Miller H. Keith Mobley Scott Monty Shari Morgan Sandy Morrison Frederick J. Morsches Jennifer Muse Sean M. Neall Eric Nemeth Maury Okun Jackie Paige Vivian Pickard Denise Fair Razo Gerrit Reepmeyer Richard Robinson
James Rose, Jr. Laurie Rosen Elana Rugh Marc Schwartz Carlo Serraiocco Lois L. Shaevsky Mary Shafer Richard Sonenklar Rob Tanner Yoni Torgow Gwen Weiner Donnell White Jennifer Whitteaker R. Jamison Williams Margaret E. Winters
MAESTRO CIRCLE EXECUTIVE COMMITTEE Janet & Norm Ankers, Chairs 8
Cecilia Benner Joanne Danto
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Gregory Haynes Bonnie Larson ◊
Deceased
Lois Miller Richard Sonenklar WINTER 2023
MOVE CLOSER. AND BE MOVED. code R Q this offer! w o l Fol iscount for d Tickets $30 - 75 Join us for our historic 80th season. Upcoming concerts at Seligman Performing Arts Center
JAN 27
MAR 23
APR 20
MAY 11
Daniel Hope violin
Richard Goode piano
Junction Trio
Brentano Quartet
Tickets at cmdetroit.org or call 313.335.3300
CONNECTING COMMUNITIES DSO’s William Davidson Neighborhood Concert Series brings extraordinary DSO performances with renowned guest artists to metro Detroit communities, plus chamber recitals in unique settings
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here’s something special about enjoying music in your home community. Perhaps you’re sitting in a familiar house of worship, gazing up at exquisite stained glass; or at your local community gathering space, reveling in the warm fellowship of neighbors. Wherever you are, experiencing the remarkable sound of your DSO elevates the moment. As an orchestra, the DSO has always felt connected to neighbors in metro
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Detroit and inspired to reach people where they are with the same artistry presented each week in Orchestra Hall. In 2011, this vision was realized with the development of the Neighborhood Concert Series. With the series, the DSO expanded their existing presence in six communities through full orchestra concerts, school partnerships, scheduled and “pop-up” chamber music appearances, and other seasonal programming. WINTER 2023
The inaugural Neighborhood Concert Series included residencies in Beverly Hills, Bloomfield Hills, Dearborn, Grosse Pointe, Southfield, and West Bloomfield, with repertoire from select Orchestra Hall concerts alongside specially prepared selections. Nearly half of the 24 concerts were conducted by then-DSO Music Director Leonard Slatkin, who was instrumental in the development of this programming. “We consider the DSO to be a tremendous, exportable cultural asset, a sampling of Detroit’s renaissance one can literally hear,” said Slatkin in 2011. “I am thrilled to take part in helping to shape the cultural landscape of Southeast Michigan.” The Neighborhood Concert Series provided a previously unavailable service, enabling new and unique opportunities for the orchestra to deepen relationships with members of metro Detroit communities, while simultaneously increasing the DSO’s exposure and accessibility. In 2014, the William Davidson Foundation provided new funding to expand what is now called the William Davidson Neighborhood Concert Series. This investment supported the series of concerts and activities throughout metro Detroit over the next three years. The DSO was proud to rename the William Davidson Neighborhood Concert Series in honor of the late businessman and philanthropist William “Bill” Davidson (1922–2009). Mr. Davidson shared a long-lasting relationship with the DSO and was a generous contributor, supporting the DSO personally and through Guardian Industries, the Detroit Pistons, and his other businesses. Mr. Davidson was steadfast in his belief that the orchestra was culturally vital to the
lives of Southeast Michigan residents and economically important in attracting other businesses and key employees to the region. Building on Mr. Davidson’s legacy, and with his namesake Foundation’s continued support, the William Davidson Neighborhood Concert Series continues to thrive. In May 2023, Music Director Jader Bignamini debuted on the series with a weekend of concerts featuring violinist Giuseppe Gibboni, who in 2021 became the first Italian in 24 years to win the Paganini Violin Competition. The program opened with Overture to Il diavolo della notte by Italian Romantic composer Giovanni Bottesini, who hailed from the same hometown of Crema, Italy as Bignamini, bringing the program closer to home for the DSO artistic leader. This season, the series celebrates 13 years with extraordinary performances in seven metro Detroit communities. From January through July 2024, fans can experience the orchestra with esteemed guest conductors and soloists—including DSO musicians—in Southfield, Monroe, Beverly Hills, West Bloomfield, Plymouth, Bloomfield Hills, and Grosse Pointe. The series kicks-off January 11 through 14 with a program conducted by Nicholas McGegan and featuring works by Johann Sebastian Bach, Franz Joseph Haydn, and Joseph Bologne, the Chevalier de Saint-Georges. Bach’s Concerto for Violin and Oboe in C minor will spotlight the artistry of DSO musicians Kimberly Kaloyanides Kennedy (Associate Concertmaster, Schwartz and Shapero Family Chair) and Alexander Kinmonth (Principal Oboe, Jack A. and Aviva Robinson Chair).
Explore the William Davidson Neighborhood Concert Series at dso.org/neighborhood
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DSO PERFORMANCE MAGAZINE 11
Kennedy, a member of the DSO since 1998, has served as Associate Concertmaster since 2003 and soloed with the orchestra on more than 20 occasions. Kinmonth Kimberly Kaloyanides Kennedy joined the DSO in 2015 and looks forward to performing with his colleague on the series. “Soloing with my orchestra is such a rewarding experience,” said Kinmonth. “These musicians inspire me every day and we know each other very well both musically and personally. It’s always so freeing knowing there’s that connection and trust we’ve built over the years—it brings a sense of ease and flow to every rehearsal and performance.” “Bach has always been one of my favorite composers,” Kinmonth continued. “His music is so vocal and full of intimate emotion. From Alexander Kinmonth nervous excitement, the pain of loss, the pure joy of life, and everything in between, Bach creates moods that are impossible not to empathize with. The two solo voices of this piece engage in some playful and beautiful ‘dialogues,’ sometimes having their own distinct characters and sometimes melding together. It’s fun creating these characters with a colleague, bouncing ideas off each other, and listening to how they play a certain phrase—emulating 12
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their musicality is always inspiring!” Later in January, Bertie Baigent leads the DSO in a program of works by Emilie Mayer, Edward Elgar, and Wolfgang Amadeus Mozart, plus English composer Gerald Finzi’s Concerto for Clarinet with DSO musician Ralph Skiano (Principal Clarinet, Robert B. Semple Chair) as featured soloist. “I’m discovering this work for the first time as I prepare to bring it to life with the DSO in our Neighborhood Concert Series,” said Skiano. “I’m loving it more and more with each passing week of preparation. In this work, the clarinet seems to nearly always be singing, to the point where at times, I’m tempted to even write words to the melodies! Whether it’s the meditative music of the beautiful Ralph Skiano second movement or the moments in the third movement when the orchestra literally bursts into a folk song, I am trying to find a lyrical quality at every moment.” “The DSO is my musical family, and I can feel it when I play with them as a soloist,” continued Skiano. “I’m sure they know my playing so well by now that they can almost anticipate what I will do before I do it…it feels like a big chamber group making chamber music together!” The Neighborhood Concert Series continues in April as visionary Brazilian conductor Simone Menezes leads pianist Jeneba Kanneh-Mason in her DSO debut with a concerto Mozart likely premiered himself. The program continues with a WINTER 2023
piece French composer Jacques Ibert wrote for Mozart’s birthday and a work by Brazilian composer Heitor Villa-Lobos that explores the possibilities of Mozart’s themes. Spinning stories into exquisite sounds, Maurice Ravel brings out the electric drama of fairy tales in his suite from Ma mère l’oye (Mother Goose). In a chamber orchestra program of Vivaldi and Stravinsky, conductor and violinist extraordinaire Dmitry Sinkovksy leads Baroque showpieces including music from Handel’s Messiah and works by Italian masters. In June, Hungarian conductor Gábor Takács-Nagy leads the orchestra in big, bold, and ambitious works by Beethoven, including his joyous Seventh Symphony, King Stephen overture, and iconic Violin Concerto with violinist William Hagan. The series draws to a close in July as soprano Erika Baikoff, a recent graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, joins the DSO to “stretch gold from star to star” in Britten’s brilliant setting of French poetry, Les Illuminations. The program, conducted by Stephanie Childress, also takes us “to the other side of Alice’s looking glass” with Caroline Shaw’s Entr’acte, plus Mendelssohn’s dazzling First Symphony. In addition to full and chamber orchestra concerts, the Neighborhood Concert Series presents smaller DSO chamber recitals with repertoire curated especially for intimate venues. The recitals take place in a variety of unique and unexpected settings in Detroit and across the entire metro area. DSO ensembles also regularly performs at schools, hospitals, dso.org
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houses of worship, senior living facilities, and parks. Exploring new venues allows musicians to draw inspiration from their surroundings, producing unforgettable moments that fill our city with music. This season, DSO musicians perform 10 chamber recitals—free to all Neighborhood Concert Series subscribers—at venues including MexicantownCDC Galería-Café, the Steinway Piano Gallery in Commerce, and The Commons, a laundromat, café, and community gathering space at the intersection of four distinct Detroit neighborhoods. These chamber recitals feature DSO musicians including violinists Hae Jeong Heidi Han, Will Haapaniemi, Alexander Volkov, Jiamin Wang, Rachel Harding Klaus, Jing Zhang, Hai-Xin Wu, Marian Tănău, and Elizabeth Furuta; violists Mike Chen and James VanValkenburg; cellists David LeDoux, Jeremy Crosmer, and Abraham Feder; bassist Christopher Hamlen; flutist Hannah Hammel Maser; oboist Alexander Kinmonth; clarinetists Ralph Skiano and Jack Walters; bassoonist Conrad Cornelison; and horn player Scott Strong. Through performances at diverse venues in metro Detroit, the William Davidson Neighborhood Concert Series fuses music and community to create lasting impact and foster connection. Visit dso.org/neighborhood to view upcoming concerts and join us in your neighborhood! The William Davidson Neighborhood Concert Series is made possible by a generous grant from the William Davidson Foundation. WRCJ 90.9 FM also supports the series. DSO PERFORMANCE MAGAZINE 13
T R A N S F O R M AT I O N A L S U P P O R T
Thank you: your support creates impact and makes a difference
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This is a very personal gift. You’re not doing it just for yourself or just for your loved ones, but for the children, grandchildren, and great-grandchildren to follow. We are all here to grow the DSO for future generations.” — Phillip Fisher, Co-Chair of the DSO Impact Campaign
hrough years of triumphs and those marked by challenge and resilience, all of you—community members, philanthropists, entrepreneurs, arts enthusiasts—have shown a selfless spirit and the power of collective community impact and visionary collaboration. Your dedication does not rest in supporting excellence on the stage, but pours into the community by donating your time, energy, and passion to making lives better through the advocacy of music and musical experiences that last a lifetime. Together, with your visionary leadership and support, we are empowered with creativity and boldness in our mission to be a cultural destination for all. We are a place where music comes in a variety of styles and sounds; and where 3711 Woodward Avenue has evolved into a multi-use campus that serves as a home for your Detroit Symphony Orchestra and a talentnurturing hub for educational training programs. Because of your belief that every major city deserves an orchestra, the Max M. and Marjorie S. Fisher Music Center has three venues for your DSO and guest musicians and artists to express themselves: Orchestra Hall, Sosnick Courtyard, and the Peter D. and Julie F. Cummings Cube. Your stewardship enables us to be forwardmoving, big thinkers who provide a place for memorable musical experiences, are community connected, and deliver artistic excellence that truly resonates. This is what impact sounds like. We are forever grateful for your service, support, and commitment. —Your DSO Family SCAN THE CODE TO SUPPORT THE DSO IMPACT CAMPAIGN TODAY!
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WINTER 2023
The DSO is grateful to the donors who have made extraordinary endowment investments through the DSO Impact Campaign or multi-year, comprehensive gifts to support general operations, capital improvements, or special programs.
FOUNDING FAMILIES Mr. & Mrs. Lee Barthel Julie & Peter CummingsAPLF Gerson Family and the William Davidson Foundation The Richard C. Devereaux Foundation Erb Family and the Fred A. and Barbara M. Erb Family Foundation The Fisher Family and the Max M. & Marjorie S. Fisher Foundation Stanley & Judy Frankel and the Samuel & Jean Frankel Foundation Danialle & Peter Karmanos, Jr. Mort & Brigitte Harris FoundationAPLF Linda Dresner & Ed Levy, Jr.APLF Shari & Craig MorganAPLF,MM James B. & Ann V. Nicholson and PVS Chemicals, Inc. APLF Bernard & Eleanor Robertson Mrs. Richard C. Van Dusen Ralph C. Wilson, Jr. Foundation Clyde & Helen Wu◊ VISIONARIES Mr. & Mrs. Richard L. AlonzoAPLF Penny & Harold BlumensteinAPLF Mr. & Mrs. Phillip Wm. FisherAPLF,MM Alan J. & Sue Kaufman and FamilyMM Christine & David ProvostMM Paul & Terese Zlotoff CHAMPIONS Janet & Norman Ankers Mandell & Madeleine Berman FoundationAPLF Mr. and Mrs. Raymond M. Cracchiolo
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Joanne Danto & Arnold Weingarden Vera and Joseph Dresner Foundation DTE Energy Foundation Ford Motor Company Fund Mr. and Mrs. Morton E. Harris◊ William & Story John John S. & James L. Knight Foundation The Kresge Foundation Mrs. Bonnie LarsonAPLF Lisa & Brian Meer The Andrew W. Mellon Foundation Ms. Deborah Miesel Dr. William F. Pickard The Polk Family Stephen M. Ross Family of Clyde and Helen WuAPLF LEADERS Applebaum Family Philanthropy Charlotte Arkin Estate Marvin & Betty Danto Family FoundationAPLF Adel & Walter DissettMM Herman & Sharon Frankel Ruth & Al◊ Glancy Mary Ann & Robert GorlinAPLF Mary L. Gwizdala Ronald M. & Carol◊ Horwitz Richard H. & Carola HuttenlocherMM John C. Leyhan Estate Bud & Nancy Liebler Richard & Jane Manoogian Foundation David & Valerie McCammon Mr. & Mrs. Eugene A. Miller Pat & Hank◊ Nickol Jack & Aviva Robinson◊ Martie & Bob Sachs Mr. & Mrs. Alan E. Schwartz◊ Drs. Doris Tong & Teck Soo
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BENEFACTORS Mr. & Mrs. Robert A. Allesee◊ Mr. David Assemany & Mr. Jeffery Zook APLF,MM W. Harold & Chacona W. BaughAPLF Gwen & Richard Bowlby Robert & Lucinda Clement Lois & Avern◊ CohnMM Jack, Evelyn, and Richard Cole Family Foundation Mary Rita Cuddohy Estate Margie Dunn & Mark DavidoffAPLF,MM DSO MusiciansMM Bette Dyer Estate Michael & Sally Feder MM Marjorie S. Fisher FundMM Dr. Marjorie M. Fisher & Mr. Roy Furman Ms. Mary D. Fisher Mr. & Mrs. Aaron FrankelMM Barbara Frankel◊ & Ronald MichalakMM Victor◊ & Gale Girolami Fund The Glancy Foundation, Inc. APLF Herbert & Dorothy Graebner◊ Richard Sonenklar & Gregory HaynesMM Mr. & Mrs. David Jaffa Renato & Elizabeth JamettMM Max Lepler & Rex DotsonMM Allan & Joy NachmanMM Mariam C. Noland & James A. KellyAPLF Ann & Norman◊ Katz Dr. Melvin A. Lester◊ Florine Mark Michigan Arts & Culture Council Geoffrey S. Nathan & Margaret E. WintersAPLF,MM Roger & Kathy PenskeAPLF Dr. Glenda D. Price Ruth Rattner Mr. & Mrs. Lloyd E. Reuss◊ Dr. and Mrs.◊ Paul Schaap Mr. & Mrs. Fred Secrest◊ Mr. & Mrs. Mark Shaevsky Jane & Larry Sherman Cindy McTee & Leonard Slatkin Marilyn Snodgrass Estate Mr. and Mrs. Arn Tellem APLF Nancy Schlichting & Pamela TheisenAPLF Mr. James G. VellaMM Eva von Voss and FamilyMM Key: MM DSO Musicians Fund for Artistic Excellence APLF Anne Parsons Leadership Fund ◊ Deceased
DSO PERFORMANCE MAGAZINE 15
COMMUNITY & LEARNING
Music Toolbox: W.K. Kellogg Foundation supports early childhood education “ The Music Toolbox aims to affirm and support music making in early childhood at locations across the city of Detroit. Our teaching artists tapped many networks from homes to childcare centers and asked, ‘How do you use music in your classroom and what would be helpful to you?’ Through those conversations and collaborations, the Music Toolbox was born.” — Karisa Antonio, DSO Senior Director of Social Innovation and Learning
M
usic is an essential component of early childhood education. Through the creation of fun and memorable melodies and rhythms, students can explore concepts, opening a world of possibilities that make education more engaging and accessible. The DSO’s collaboration with educators and families from across the city of Detroit has resulted in a beautiful and interactive Music Toolbox and accompanying resources that are intuitive and adaptable for a variety of settings and developmental stages. The W.K. Kellogg Foundation-supported Music Toolbox was developed by DSO staff Audra Kubat and Annie Leech and DSO collaborator Daniel Land, in response to input from several hundred parents and early childhood educators. It is a creative invitation to educators to find new ways of incorporating music into their classrooms, regardless of their level of formal musical training. Listening sessions with educators found that the overwhelming majority of educators used singing and
DSO Early Childhood Specialist Audra Kubat works with students in partnership with Alternatives For Girls.
VISIT DSO.ORG/DETROIT-STRATEGY TO LEARN MORE ABOUT THE DSO’S COMMUNITY PROGRAMMING. 16
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music-making in their settings. The Music Toolbox affirms this natural music-making and offers an inspirational way to explore and grow students’ musical engagement. The beautiful green box with gold filigree serves as both a drum and a keeper of musical instruments from egg shakers to chimes, colorful scarves, and a frog-shaped guiro—a percussion instrument with an open-ended hollow guard that makes a croaking sound by rubbing a stick or tines along the notches. Also inside this box are a series of cards with songs and movements— and translations in English, Spanish, and Arabic. Through Detroit Strategy relationships, the DSO distributes these boxes across southeast Michigan. To date, more than 200 Music Toolboxes have been distributed to families, early childhood educators, and organizations, including partnerships with PNC Bank’s “Grow Up Great” program, Living Arts Detroit, New Urban Paradigm, the Coalition on Temporary Shelter (COTS) program, NW Goldberg Cares, and Detroit Champions for Hope. Through the Music Toolbox and many other efforts, the DSO supports the cognitive, social, and physical development of young children in Detroit through strong collaboration with families, early childhood educators, schools, musicians, researchers, local organizations, and teaching artists. Visit dso.org/detroit-strategy to learn more about the DSO’s work in Detroit and beyond. WINTER 2023
A COMMUNI TY-SUPPORTE D ORCHESTRA
JADER BIGNAMINI MUSIC DIRECTOR
DETROIT SYMPHONY ORCHESTRA
For Jeff Tyzik biography, see page 7. A COMMUNI TY-SUPPORTE JADERDBIGNAMINI, Music Director JADER BIGNAMINI MUSIC DIRECTOR ORCHESTRA Music Directorship endowed by the Kresge Foundation
JEFF TYZIK
TERENCE BLANCHARD
NA’ZIR MCFADDEN
LEONARD SLATKIN
NEEME JÄRVI
Principal Pops Conductor
Fred A. Erb Jazz Creative Director Chair
Assistant Conductor, Phillip & Lauren Fisher Community Ambassador
Music Director Laureate
Music Director Emeritus
PVS CLASSICAL SERIES Title Sponsor:
ELGAR AND SCHEHERAZADE Saturday, February 24, 2024 at 8 p.m. Sunday, February 25, 2024 at 3 p.m. in Orchestra Hall JADER BIGNAMINI, conductor ALISA WEILERSTEIN, cello Felix Mendelssohn (1809 - 1847)
Overture to A Midsummer Night’s Dream, Op. 21
Sir Edward Elgar Concerto for Cello and Orchestra (1857 - 1934) in E minor, Op. 85 I. Adagio II. Lento III. Adagio IV. Allegro Alisa Weilerstein, cello Intermission Nikolai Rimsky-Korsakov Scheherazade, Op. 35 (1844 - 1908) I. Largo e maestoso - Allegro non troppo (The sea and Sinbad’s ship) II. Lento - Allegro molto (The tale of Prince Kalendar) III. Andantino quasi allegretto (The young prince and the princess) IV. Allegro molto (The festival at Bagdad, The sea, The ship goes to pieces on a rock)
Sunday’s performance will be webcast via our exclusive Live from Orchestra Hall series, presented by Ford Motor Company Fund. Technology support comes from the John S. and James L. Knight Foundation.
Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.
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DSO PERFORMANCE MAGAZINE 17
PROGR AM AT-A-GL ANCE | ELGAR AND SCHEHER A Z ADE This program is sure to keep you on the edge of your seat... It opens with Mendelssohn’s thrilling Overture to A Midsummer Night’s Dream, which chronicles the chaos of Shakespeare’s woodland fantasy of mismatched lovers, mischievous fairies, clowning simpletons, and quarreling royalty. This overture starts with four captivating chords, then wham!—the strings take off. Alisa Weilerstein, referred to as “the most outstanding cellist to emerge in America since Yo-Yo Ma,” (Classical Voice North America) plays Elgar’s famous concerto, a piece written in the aftermath of World War I that has since become one of the instrument’s most beloved works. Rimsky-Korsakov’s showstopping Scheherazade is inspired by the tales of One Thousand and One Nights and whirls with colossal and dazzling orchestral forces.
PROGRAM NOTES Overture to A Midsummer Night’s Dream, Op. 21 Composed 1826 | Premiered 1827
FELIX MENDELSSOHN B. February 3, 1809, Hamburg, Germany D. November 4, 1847, Leipzig, Germany
Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, tuba, timpani, and strings. (Approx. 11 minutes)
M
endelssohn was an astounding composer and performer, a child prodigy who grew up to become one of the most broadly educated, well-traveled, and sensitive musicians of the early 19th century. In 1825, the Mendelssohn family moved into a spacious new home in Berlin. The adjoining garden became the site of fanciful games and adventures for the 16-year-old Felix and his sister, Fanny. The following year, he began work there on the piece that most closely represents its verdant environment—the magical concert overture A Midsummer Night’s Dream—based on the play of the same name by William Shakespeare. The young composer’s piece deftly alludes to the chaotic events in Shakespeare’s woodland fantasy of mismatched lovers, mischievous fairies, clowning simpletons, and quarreling royalty. As many as six themes have been identified making up the exposition of the overture’s sonata form: the opening 18
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woodwind chords, signifying the mysterious forest; a quick, bouncing staccato theme in the upper strings describing the fairies; a martial, full-orchestra theme for the entrance of Theseus and his courtiers; a song-like theme for the lovers; a rustic theme for Bottom and his clownish companions; and finally, a horn-call theme for the royal hunting party. Several of these themes are imaginatively developed, restated, and neatly packaged in a dainty coda to the overture. The DSO most recently performed Mendelssohn’s Overture to A Midsummer Night’s Dream in December 2013, conducted by Mei-Ann Chen. The DSO first performed the piece in November 1918, conducted by Ossip Gabrilowitsch.
Concerto for Cello and Orchestra in E minor, Op. 85 Composed 1919 | Premiered 1922
EDWARD ELGAR B. June 2, 1857, Broadheath, United Kingdom D. February 23, 1934, Worcester, United Kingdom
Scored for solo cello, 2 flutes (1 doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings. (Approx. 26 minutes)
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n March 1918 at the age of 62, Edward Elgar began work on the Cello Concerto while recovering from a tonsillectomy. “He was in a great deal of pain for WINTER 2024
several days,” the composer’s daughter Carice later wrote. “There was not anything like the sedatives we have now, but nevertheless, he woke up one morning and asked for pencil and paper and wrote down the opening theme of the Cello Concerto.” That same July, he returned to the work in earnest, completing it more than a year later on August 3, 1919. The first movement of the concerto begins not with the customary orchestral introduction but with four chords in the solo cello line. These opening chords lead to a somber recitative, after which the violas intone a plaintive, lamenting theme. During his final illness in 1933, Elgar hummed the concerto’s first theme to a friend and said, “If after I’m dead you should ever hear someone whistling this tune on the Malvern Hills, don’t be alarmed. It’s only me.” The second movement, which begins without pause after the first, features several brilliant, swiftly moving scales. The third movement, an Adagio only 60 bars in length, begins with a pained cry in the cello, to which the orchestra responds with a lilting and comforting melody. The finale combines new material with old. A virtuosic tour de force, this final movement comes to an emphatic end with four weighted chords that call to mind the opening of the piece. —Yona Stamatis The DSO most recently performed Elgar’s Cello Concerto in October 2017, conducted by Leonard Slatkin and featuring DSO Principal Cello Wei Yu. The DSO first performed the piece in March 1968, conducted by Sixten Ehrling and featuring cellist Jacqueline du Pré.
Scheherazade, Op. 35 Composed 1888 | Premiered 1888
NIKOLAI RIMSKY-KORSAKOV B. 1844, Tikhvin, Russia D. 1908, Lyubensk, Russia
Scored for 2 flutes (1 doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, dso.org
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percussion, harp, and strings. (Approx. 47 minutes)
T
he Sultan Shakriar, convinced of the falsehood and infidelity of all women, had sworn an oath to put to death each of his wives after the first night. But the Sultana Scheherazade saved her life by arousing his interest in the wonderful tales she told for a thousand and one nights. She spun miraculous stories, borrowing verses from the poets and words from folk songs, fairy tales, and accounts of strange adventures. Driven by curiosity, the Sultan postponed her execution from day to day and finally abandoned his wicked plan. The rich compendium of folk stories known as the Tales of Arabian Nights is one of the great collective art works of Islamic culture, and one of the world’s literary treasures. It has inspired a number of musical treatments, the most famous being the symphonic suite Scheherazade by the Russian composer Nikolai Rimsky‑Korsakov. The work’s four movements approximate the traditional outline of a symphony, with a lively opening Allegro prefaced by an introduction in moderate tempo; a slow second movement, followed by a third in the spirit of a scherzo; and an energetic finale. Although Rimsky‑Korsakov had certain scenes from the tales in mind as he wrote the four movements that comprise his Scheherazade, the music does not present a linear narrative of any of the stories. Rimsky‑Korsakov did admit one detail: the sinuous melody of the solo violin heard in each of the four movements “delineates Scheherazade herself as telling her wondrous tales to her stern Sultan.” The DSO most recently performed Rimsky-Korsakov’s Scheherazade in March 2014, conducted by Leonard Slatkin. The DSO first performed the piece in December 1918, conducted by Ossip Gabrilowitsch. DSO PERFORMANCE MAGAZINE 19
PROFILES For Jader Bignamini biography, see page 6.
ALISA WEILERSTEIN
A
lisa Weilerstein is one of the foremost cellists of our time. Known for her consummate artistry, emotional investment, and rare interpretive depth, she was recognized with a MacArthur “genius grant” Fellowship in 2011. Today her career is truly global in scope, taking her to the most prestigious international venues for solo recitals, chamber concerts, and concerto collaborations with preeminent conductors and orchestras worldwide. “Weilerstein is a throwback to an earlier age of classical performers: not content merely to serve as a vessel for the composer’s wishes, she inhabits a piece fully and turns it to her own ends,” marvels the The New York Times. With her multi-season new project, “FRAGMENTS,” Weilerstein aims to rethink the concert experience and broaden the tent for classical music. A multisensory production for solo cello, the six-chapter series sees her weave together the 36 movements of Bach’s solo cello suites with 27 new commissions. After premiering the first two chapters in Toronto in early 2023, with subsequent
performances at New York’s Carnegie Hall and beyond, she looks forward to touring all six chapters in seasons to come. Weilerstein recently premiered Joan Tower’s new cello concerto, A New Day, at the Colorado Music Festival. The work was co-commissioned with the Detroit Symphony Orchestra; The Cleveland Orchestra, where Weilerstein performed it last fall; and the National Symphony Orchestra, where she reprised it in May. An ardent proponent of contemporary music, she has also premiered and championed important new works by composers including Pascal Dusapin, Osvaldo Golijov, and Matthias Pintscher. Already an authority on Bach’s music for unaccompanied cello, in spring 2020 Weilerstein released a best-selling recording of his solo suites on the Pentatone label, streamed them in her innovative #36DaysOfBach project, and deconstructed his beloved G-major prelude in a Vox video, viewed more than two million times. Her discography also includes chart-topping albums and the winner of BBC Music’s “Recording of the Year” award, while other career milestones include a performance at the White House for President and Mrs. Obama. Diagnosed with type 1 diabetes at nine years old, Weilerstein is a staunch advocate for the T1D community.
For Jeff Tyzik biography, see page 7.
PROGR AM AT-A-GL ANCE | RED C ARPE T FILM SCORES Lights, camera, action—music! Imagine if silent films were truly silent—what emotions and intentions would be lost in each scene without beloved instrumental accompaniments? Music adds an important dimension to film, and the two art forms together have the power to evoke an additional element of unspoken emotion. It contributes elements of drama, suspense, intrigue, romance, and much more to already thrilling and captivating cinematic scenes. The DSO has a longstanding history of performing live score accompaniment to movies including Home Alone, The Princess Bride, RESPECT, Black Panther, and more. In addition to the film in concert experiences, the DSO has presented numerous concerts consisting of film score favorites that have emerged as standalone musical hits from movies such as the Star Wars saga, Harry Potter, and the best of Disney movies. In this concert, the DSO performs iconic music from cinema by Academy Award-winning composers. 20
DSO PERFORMANCE MAGAZINE
WINTER 2024
A COMMUNI TY-SUPPORTE D ORCHESTRA
JADER BIGNAMINI MUSIC DIRECTOR
DETROIT SYMPHONY ORCHESTRA
JADERDBIGNAMINI, Music Director JADER BIGNAMINI MUSIC DIRECTOR A COMMUNI TY-SUPPORTE ORCHESTRA Music Directorship endowed by the Kresge Foundation
JEFF TYZIK
TERENCE BLANCHARD
NA’ZIR MCFADDEN
LEONARD SLATKIN
NEEME JÄRVI
Principal Pops Conductor
Fred A. Erb Jazz Creative Director Chair
Assistant Conductor, Phillip & Lauren Fisher Community Ambassador
Music Director Laureate
Music Director Emeritus
TITLE SPONSOR:
RED CARPET FILM SCORES Friday, March 8, 2024 at 10:45 a.m. & 8 p.m. Saturday, March 9, 2024 at 8 p.m. Sunday, March 10, 2024 at 3 p.m. in Orchestra Hall JEFF TYZIK, conductor SARAH LEWIS, oboe • KIMBERLY KALOYANIDES KENNEDY, violin John Williams “Superman March” from Superman Max Steiner Casablanca Suite for Orchestra Kenneth J. Alford Colonel Bogey March ed. Clark McAlister Ennio Morricone “Gabriel’s Oboe” from The Mission arr. Robert Longfield Sarah Lewis, oboe Nino Rota The Godfather Part II: End Title arr. Jeff Tyzik The Great Westerns Suite The Magnificent Seven by Elmer Bernstein How the West Was Won by Alfred Newman Silverado by Bruce Broughton Dances With Wolves by John Barry Intermission Lalo Schifrin Theme from Mission: Impossible arr. Calvin Custer Bernard Herrmann Psycho, A Short Suite for String Orchestra ed. Christopher Palmer Alfredo le Pera “Tango (Por una Cabeza)” from Scent of a Woman arr. John Williams Kimberly Kaloyanides Kennedy, violin Henry Mancini Henry Mancini Suite The Pink Panther “Moon River” from Breakfast at Tiffany’s “Peter Gunn” from Peter Gunn John Barry The Best of Bond arr. Jeff Tyzik James Bond Theme Nobody Does It Better Live and Let Die For Your Eyes Only The Look of Love 007 Theme Thunderball Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.
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DSO PERFORMANCE MAGAZINE 21
A COMMUNI TY-SUPPORTE D ORCHESTRA
JADER BIGNAMINI MUSIC DIRECTOR
DETROIT SYMPHONY ORCHESTRA
JADERDBIGNAMINI, Music Director JADER BIGNAMINI MUSIC DIRECTOR A COMMUNI TY-SUPPORTE ORCHESTRA Music Directorship endowed by the Kresge Foundation
JEFF TYZIK
TERENCE BLANCHARD
NA’ZIR MCFADDEN
LEONARD SLATKIN
NEEME JÄRVI
Principal Pops Conductor
Fred A. Erb Jazz Creative Director Chair
Assistant Conductor, Phillip & Lauren Fisher Community Ambassador
Music Director Laureate
Music Director Emeritus
PVS CLASSICAL SERIES Title Sponsor:
CLASSICAL ROOTS Friday, March 1, 2024 at 10:45 a.m. Saturday, March 2, 2024 at 8 p.m. in Orchestra Hall NA’ZIR McFADDEN, conductor • STEVEN BANKS, saxophone BRAZEAL DENNARD CHORALE ALICE MCALLISTER TILLMAN, Artistic Director John Rosamond Johnson Lift Every Voice and Sing (1873 - 1954) Lyrics by James Weldon Johnson arr. Roland Carter Betty King Jackson “Pslam 57” Brazeal Dennard Chorale Alice McAllister Tillman, conductor arr. Moses Hogan “The Battle of Jericho” Brazeal Dennard Chorale Alice McAllister Tillman, conductor Adolphus Hailstork (b. 1941)
Fanfare on “Amazing Grace”
Shelley Washington (b. 1991) Both (DSO Co-Commission) Travel Teeny Tiny Little Things Where to Next? 11:30 PM - 4:30 AM Intermission Edward Kennedy “Duke” Ellington The River (1899 - 1974) Lake orch. by Ron Collier William Edward “Billy” Childs Diaspora (Concerto for Saxophone and Orchestra) (b. 1957) (DSO Co-Commission) Motherland If We Must Die And Still I Rise Steven Banks, saxophone Thank you to the musicians of the Detroit Symphony Orchestra, who are playing the March 2 concert as a donated service. We appreciate their continued support and generosity Saturday’s performance will be webcast via our exclusive Live from Orchestra Hall series, presented by Ford Motor Company Fund. Technology support comes from the John S. and James L. Knight Foundation.
Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.
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PROGR AM AT-A-GL ANCE | CL ASSIC AL ROOTS Celebrating Classical Roots The Classical Roots mission seeks to increase awareness of the significant contributions that African American composers and musicians have made to classical music. In addition to a performance by Classical Roots staple the Brazeal Dennard Chorale, this year’s program includes two co-commissioned works: one by Classical Roots honoree Billy Childs, and one by Shelley Washington as part of New Music USA’s Amplifying Voices initiative, which fosters collaboration and collective action between US orchestras and composers toward racial and gender equity in classical music. Childs’s Diaspora explores aspects of the African American experience in America and was written for saxophonist Steven Banks, who will perform the work on this program. During Classical Roots and all year long, we are proud to celebrate the contributions of African American artists to the rich heritage of classical music.
PROGRAM NOTES Lift Every Voice and Sing JOHN ROSAMOND JOHNSON AND JAMES WELDON JOHNSON ARR. ROLAND CARTER B. August 11, 1873, Jacksonville, Florida D. November 11, 1954, New York, New York
Scored for 2 flutes, oboe, 2 clarinets, bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, strings, and choir. (Approx. 7 minutes)
L
ift Every Voice and Sing was first performed, in poetry form, in commemoration of President Abraham Lincoln’s birthday on February 12, 1900, by a choir of 500 schoolchildren from the segregated Stanton School in Jacksonville, Florida—hometown of sibling creators John Rosamond and James Weldon Johnson. The poem was set to music five years later. Voicing the cry for liberation and affirmation for African American people, the song was declared “The Negro National Anthem” by the NAACP in 1919. It gained new popularity as a protest song during the Civil Rights Movement and was entered into the Congressional Record in the 1990s as the official African American National Hymn. In his second autobiography Along This Way, James Weldon Johnson describes dso.org
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the emotion in writing Lift Every Voice and Sing: “I could not keep back the tears, and made no effort to do so.” He later reported that creating the song’s lyrics was the greatest satisfaction of his life. Lift Every Voice and Sing has been sung at the beginning of every Classical Roots concert since the event’s inauguration in 1978. Please see the included lyrics and join the Brazeal Dennard Chorale in singing this historic work. LYRICS: Lift ev’ry voice and sing, ‘Til earth and heaven ring, Ring with the harmonies of Liberty; Let our rejoicing rise, High as the listening skies, Let it resound loud as the rolling sea. Sing a song full of the faith that the dark past has taught us, Sing a song full of the hope that the present has brought us; Facing the rising sun of our new day begun, Let us march on ‘til victory is won. Stony the road we trod, Bitter the chastening rod, Felt in the days when hope unborn had died; Yet with a steady beat, Have not our weary feet, Come to the place for which our fathers sighed? We have come over a way that with tears has been watered, We have come, treading our path through the blood of the slaughtered, Out from the gloomy past, ‘Til now we stand at last, Where the white gleam of our bright star is cast. God of our weary years, God of our silent tears, Thou who has brought us thus far on the way; Thou who has by Thy might, Led us into DSO PERFORMANCE MAGAZINE 23
the light, Keep us forever in the path, we pray. Lest our feet stray from the places, our God, where we met Thee, Lest, our hearts drunk with the wine of the world, we forget Thee; Shadowed beneath Thy hand, May we forever stand, True to our God, True to our native land.
Fanfare on “Amazing Grace” ADOLPHUS HAILSTORK B. April 17, 1941, Rochester, New York
Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, and strings. (Approx. 3 minutes)
A
dolphus Hailstork received his doctorate in composition from Michigan State University, where he was a student of H. Owen Reed. He had previously studied at the Manhattan School of Music, under Vittorio Giannini and David Diamond, at the American Institute at Fontainebleau with Nadia Boulanger, and at Howard University with Mark Fax. Hailstork has written numerous works for chorus, solo voice, piano, organ, various chamber ensembles, band, orchestra, and opera. In 2011, Fanfare on “Amazing Grace” was published and subsequently recorded by the Virginia Symphony—appropriately enough, since Hailstork has served as professor of music and Composer-inResidence at both Virginia’s Norfolk State and Old Dominion Universities, and in 1992 was named a Cultural Laureate of the Commonwealth of Virginia. Hailstork’s Fanfare on “Amazing Grace” was performed by “The President’s Own” United States Marine Band as the second piece of the prelude during the inauguration of President Joe Biden and Vice President Kamala Harris in January 2021. Adolphus Hailstork’s Fanfare on “Amazing Grace” was most recently performed by the DSO in December 2021, conducted by Thomas Wilkins. 24
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Both Composed 2023 | Premiered 2024 DSO Co-Commission
SHELLEY WASHINGTON B. 1991, Kansas City, Missouri
Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, tuba, percussion, piano, and strings. (Approx. 30 minutes)
C
omposer Shelley Washington has emerged as an important and powerful voice of her generation. With an eclectic palette that draws from classical, jazz, rock, American folk, and other contemporary musical spaces, Washington seeks to tell memorable sonic stories that comment on current and past social narratives, both personal and observed. Her music explores emotions and intentions, incorporating intricate rhythms to encourage layered listening through grooves, melody, and harmony. In addition, she addresses social injustices in the hope of creating a public dialogue. On Both, Washington wrote the following: “Both is inspired by the many dualities I have and carry in my life, the ones I see, and the ones I hope to someday achieve. As someone who often lives between both coasts, is attracted to both men and women, is a contributor in both classical music and D.I.Y. post-rock, is both Black and white, experiences both extreme mental highs and extreme mental lows, is both a composer and a performer, is both a student and a teacher, is both, is both, is both ... This piece is meant to reflect the fact that you and I both are not either/or, and that so many things and people, even seemingly places, are not the binary they’ve been billed to us as, but a spectrum from point to point. They are all. We both can be and possess so many seemingly opposing qualities at the same time that do not diminish any aspect of who we are, but add to its cumulative.” WINTER 2024
This DSO co-commission for Shelley Washington’s Both is part of the Amplifying Voices program, a New Music USA initiative powered by the Sphinx Venture Fund, with additional support from ASCAP, the Sorel Organization, the Virginia B. Toulmin Foundation, and the Wise Music Charitable Foundation. This performance marks the DSO premiere of Shelley Washington’s Both.
“Lake” from The River EDWARD KENNEDY “DUKE” ELLINGTON B. April 29, 1899, Washington, DC D. May 24, 1974, New York, New York
Scored for 2 flutes (1 doubling piccolo) 2 oboes (1 doubling English horn), 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, keyboard, and strings. (Approx. 7 minutes)
D
uke Ellington’s one and only ballet, The River, was created in collaboration with choreographer Alvin Ailey, who mused the following on its creation: “He started talking about a ballet called The River, which was to be a suite of dances based on water, with a line about life that goes from birth to death. As we talked, he began to play the music. At five o’clock in the morning I was sitting in Duke Ellington’s apartment bathed in beautiful music. I said, ‘Let’s do it. Let’s do The River.’” This performance features Ellington’s “Lake” movement from The River. In his book Music is My Mistress, Ellington wrote: “The lake is beautiful and serene. It is all horizontal lines that offer up unrippled reflections. There it is, in all its beauty, God-made and untouched, until people come—people who are God-made and terribly touched by the beauty of the lake. They, in their admiration for it, begin to discover new facets of compatibility in each other, and as a romantic viewpoint dso.org
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develops, they indulge themselves. The whole situation compounds itself into an emotional violence that is even greater than that of the violence of the vortex to come. The lake supports them until, suddenly, they are over the top and down...” The DSO most recently performed Duke Ellington’s The River in January 2007, conducted by John Mauceri. The DSO first performed excerpts from this work in November 1990, conducted by Leslie B. Dunner.
Diaspora (Concerto for Saxophone and Orchestra) Composed 2024 | Premiered 2024 DSO Co-Commission
BILLY CHILDS B. 1957, Los Angeles, California
Scored for 2 flutes (1 doubling piccolo and alto flute), oboe, English horn, 2 clarinets, bassoon, contrabassoon, 3 horns, 2 trumpets, 2 trombones, timpani, percussion, harp, keyboard, and strings. (Approx. 20 minutes)
B
illy Childs has emerged as one of the foremost American composers of his era, perhaps the most distinctly American composer since Aaron Copland. Like Copland, he has successfully married the musical products of his heritage with the Western neoclassical traditions of the 20th century in a powerful symbiosis of style, range, and dynamism. On Diaspora, Childs wrote the following: “Concerto for Saxophone and Orchestra is a symphonic poem which strives to chronicle the paradigm of the forced Black American diaspora, as sifted through the prism of my own experience as a Black man in America. When Steven Banks approached me about the piece, the first thing we discussed was the narrative: What particular story would the piece tell? How would it unfold? We decided that, much in the same way that Ravel’s Gaspard de la nuit illustrates three poems by Aloysius DSO PERFORMANCE MAGAZINE 25
Bertrand in three separate movements, so would this concerto do with poems by Black poets. But then I started thinking of the elegantly succinct and fluent structure of Barber’s Symphony No. 1, where in one multi-sectioned suite, he brilliantly ties together a handful of thematic materials into a seamless and organic whole. So I started to compose from the vantage point that the poems Steven and I settled on (“Africa’s Lament” by Nayyirah Waheed, “If We Must Die” by Claude McCay, and “And Still I Rise” by Maya Angelou) would be
guideposts which inspired the direction of a three-part storyline: Motherland, If We Must Die, and And Still I Rise. Also, I wanted to tie the piece together thematically with various melodies and motifs treated in different ways (inverted, augmented, contrapuntally treated, reharmonized, etc.), like a loosely structured theme and variations— except there are several themes used. Please visit dso.org for full program note. This performance marks the DSO premiere of Billy Childs’s Diaspora (Concerto for Saxophone and Orchestra).
PROFILES NA’ZIR MCFADDEN
A
merican conductor Na’Zir McFadden is the Assistant Conductor and Phillip & Lauren Fisher Community Ambassador of the Detroit Symphony Orchestra, working closely with Music Director Jader Bignamini. McFadden also serves as Music Director of the Detroit Symphony Youth Orchestra. Establishing his presence on the classical music scene, McFadden’s 2023–2024 season includes a debut with the Ann Arbor Symphony and a return to the Philadelphia Ballet, in addition to maintaining several ongoing engagements with the DSO. He will also serve as a guest cover conductor for the Baltimore Symphony Orchestra. In the 2022–2023 season, he made his subscription debut with the DSO alongside bass-baritone Davóne Tines and clarinetist Anthony McGill. In March 2024, he will return to conduct the DSO’s annual Classical Roots program, conducting two new works by composers Billy Childs and Shelly Washington. Other conducting highlights include debuts with the Utah Symphony Orchestra, the Kalamazoo Symphony Orchestra, and the Philadelphia Ballet. McFadden also led a recording project with the Civic Orchestra of Chicago 26
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featuring Hilary Hahn as co-collaborator and soloist. This past summer, McFadden participated in the Boston Symphony Orchestra’s Conducting Seminar as part of the Tanglewood Institute under the guidance of Andris Nelsons and Stefan Asbury. In 2020, McFadden was named the inaugural Apprentice Conductor of the Philadelphia Ballet; a position he held until 2022. He also served as the Robert L. Poster Conducting Apprentice of the New York Youth Symphony from 2020 to 2021. At the age of 16, he conducted his hometown orchestra—The Philadelphia Orchestra—in their “Pop-Up” series, meeting their Music Director Yannick Nézet-Séguin, who has since served as a mentor to McFadden. An advocate for arts education, McFadden strives to provide access to the arts for students in underserved communities. Currently, McFadden serves as a board member of Generation Music, a Philadelphia-based nonprofit organization that provides classical music education.
STEVEN BANKS
W
inner of the prestigious 2022 Avery Fisher Career Grant, Steven Banks is an ambassador for the classical saxophone, establishing himself as both a compelling and charismatic soloist, dedicated to showcasing the vast capabilities of the instrument, as well as an advocate WINTER 2024
for expanding its repertoire. Banks is also the first saxophonist to capture First Prize at the Young Concert Artists Susan Wadsworth International Auditions (2019). Banks has recently appeared as soloist with the Orchestre Symphonique de Montréal, Aspen Festival Orchestra, Oregon Mozart Players, Colorado Music Festival, Colorado Symphony, Utah Symphony, and the Mostly Mozart Festival Orchestra, and on subscription with the Cleveland Orchestra, performing with such conductors as John Adams, Peter Oundjian, Earl Lee, Xian Zhang, Nicholas McGegan, and Rafael Payere. Banks is an advocate for diversity and inclusion in music education, performance, and newly commissioned works in the classical realm. He presented at the TEDxNorthwesternU 2017 conference presenting his dynamic approach to
overcoming institutionalized prejudices against women and people of color, and he has written and given lectures on the history of Black classical composers. He also collaborated with flutist Anthony Trionfo and violinist Randall Goosby to create the Learning to Listen roundtable, a discussion on the nuances of the Black experience in classical music and beyond. In partnership with the Sphinx Organization, they also created the Illuminate! series, which opened three essential conversations on music education, artist activism, and the LGBTQIA+ community in classical music. Banks has a Bachelor of Arts degree in Saxophone Performance with a minor in Jazz Studies from the Indiana University Jacobs School of Music, and Master of Music degree from the Northwestern University Bienen School of Music. His primary saxophone teachers include Taimur Sullivan, Otis Murphy Jr., and Galvin Crisp.
UPCOMING CONCERTS
Spring Awakening Tue., Mar. 12 at 7:00 P.M. STEINWAY GALLERY
2700 E West Maple Rd, Commerce Charter Twp, MI 48390
Rhapsody in Bloom Tue., Apr. 9, 2024 at 10:30 A.M.
BIRMINGHAM UNITARIAN CHURCH
Since 1885
38651 Woodward Ave. (at Lone Pine Road), Bloomfield Hills, MI 48304
For program details, visit
TuesdayMusicaleofDetroit.org or call 313-520-8663 ~ No Admission Charge ~
Student League Prize Winners Concert Tue., Apr. 16, 2024 at 7:00 P.M.
GROSSE POINTE UNITARIAN CHURCH 17150 Maumee Ave., Grosse Pointe, MI 48230
Ovation Celebration Tue., May 14, 2024 at 10:30 A.M.
GROSSE POINTE UNITED METHODIST CHURCH 211 Moross Rd., Grosse Pointe Farms, MI 48236
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DSO PERFORMANCE MAGAZINE 27
BRAZEAL DENNARD CHORALE
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he Brazeal Dennard Chorale, founded in 1972 by Dr. Brazeal W. Dennard, is one of the longest standing organized choral groups in the country. For more than four decades, the Chorale has wooed Detroit audiences with its vocal excellence in the performance of choral music of all genres, while it continues to pursue the mission of its founder: to remember, discover, and preserve the spiritual music of the African American experience and culture. A generation later, the need for that mission is greater than ever as
others, particularly young people, remain unaware of the historical and cultural significance of the Negro Spiritual. Music professionals throughout the United States and Canada recognize the mission and commitment of the Chorale, whose yearly schedule includes a variety of concerts, from Holiday Concert, to a Spring Pops Dinner show, which highlights music from jazz to Broadway, and beyond. Through its many performances and CDs, the Brazeal Dennard Chorale, now under the direction of Mrs. Alice McAllister Tillman, continues to educate and inspire.
BRAZEAL DENNARD CHORALE Artists subject to change Alice McAllister Tillman, Artistic Director Michele Cotton Stanfield, Assistant Conductor Krystal Thomas, Accompanist Rosilyn Stearnes-Brown, Librarian Yvonne C. Turner, Executive Director Soprano Julie Devine Brande Everette Marlena Hampton Keziah Kuduwor (High School Intern) Tanya Mason Janice Myles Simon Staci Reed Daryl Taylor Yvonne Turner Alto Ida Abbington Michele Cotton Stanfield Madonna Draughn Sadarra Fields Camile Hanna Carolyn Kent Rochelle Mitchell Rosilyn Stearnes-Brown Asia Van Horn-Lee Ayona Van Horn-Lee
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Contralto Marcia Cotton Flint Jacqueline Howard Tenor Elijah Anderson (High School Intern) Malcolm Davis Brandon Hodges Terry Horn Darrius Washington Bass/Baritone Carl Clendenning Gregory Coble Theodore Jones James Parks Michael Rowan Raymond Shephard Terrence Stewart
WINTER 2024
A COMMUNI TY-SUPPORTE D ORCHESTRA
JADER BIGNAMINI MUSIC DIRECTOR
DETROIT SYMPHONY ORCHESTRA
JADERDBIGNAMINI, Music Director JADER BIGNAMINI MUSIC DIRECTOR A COMMUNI TY-SUPPORTE ORCHESTRA Music Directorship endowed by the Kresge Foundation
JEFF TYZIK
TERENCE BLANCHARD
NA’ZIR MCFADDEN
LEONARD SLATKIN
NEEME JÄRVI
Principal Pops Conductor
Fred A. Erb Jazz Creative Director Chair
Assistant Conductor, Phillip & Lauren Fisher Community Ambassador
Music Director Laureate
Music Director Emeritus
PVS CLASSICAL SERIES Title Sponsor:
SCHUMANN & ELGAR’S ENIGMA Friday, March 15, 2024 at 10:45 a.m. Saturday, March 16, 2024 at 8 p.m. Sunday, March 17, 2024 at 3 p.m. in Orchestra Hall JUANJO MENA, conductor INON BARNATAN, piano Sir William Walton (1902 - 1983)
Scapino: A Comedy Overture
Robert Schumann Concerto for Piano and Orchestra (1810 - 1856) in A minor, Op. 54 I. Allegro affettuoso II. Intermezzo: Andantino grazioso III. Allegro vivace Intermission Sir Edward Elgar Variations on an Original Theme, Op. 36, “Enigma” (1857 - 1934) Enigma: Andante Variations: I. “C.A.E.” L’istesso tempo II. “H.D.S.- P.” Allegro III. “R.B.T.” Allegretto IV. “W.M.B.” Allegro di molto V. “R.P.A.” Moderato VI. “Ysobel” Andantino VII. “Troyte” Presto VIII. “W.N.” Allegretto IX. “Nimrod” Moderato X. “Dorabella - Intermezzo” Allegretto XI. “G.R.S.” Allegro di molto XII. “B.G.N.” Andante XIII. “*** - Romanza” Moderato XIV. “E.D.U.” - Finale With support from Bonnie Larson, the DSO is proud to feature The Larson Piano on this program, a Steinway Model D Concert Grand Piano. Saturday’s performance will be webcast via our exclusive Live from Orchestra Hall series, presented by Ford Motor Company Fund. Technology support comes from the John S. and James L. Knight Foundation.
Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.
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DSO PERFORMANCE MAGAZINE 29
PROGRAM AT-A-GLANCE | SCHUMANN & ELGAR’S ENIGMA Themes and Variations Themes and variations are a musical form that has been present throughout music history. The first isolated example of a theme and variations form emerged as early as the 14th century and it has since been found in many works by renowned composers throughout the Classical, Romantic, Baroque, and Renaissance periods. This program explores themes and variations in a unique way: Sir William Walton’s Scapino portrays themes influenced by the commedia dell-arte, an early Italian form of musical theatre, and Schumann’s Piano Concerto in A minor contains themes inspired by the love of his life—Clara Schumann. Elgar’s Enigma Variations follows the traditional theme and variations form more closely, with its initial theme born from a melody he made up after a long day of teaching that was favored by his wife, and the subsequent variations written to complete this piece are dedicated to his wife, family, and friends.
PROGRAM NOTES Scapino: A Comedy Overture Composed 1941 | Premiered 1941
SIR WILLIAM WALTON B. March 29, 1902, Oldham, United Kingdom D. March 8, 1983, Ischia, Italy
Scored for 3 flutes (2 doubling piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 8 minutes)
T
he English composer Gerald Finzi once referred to William Walton as “the Rolls-Royce of music,” referring to his status as one of the pre-eminent English composers of the 20th century, as well as the refined blending of traditional techniques and contemporaneous influences in his music. Walton wrote Scapino on a commission by Frederick Stock, the Chicago Symphony Orchestra’s music director at the time, in celebration of the CSO’s 50th anniversary. His inspiration for composing the piece was the Italian commedia dell’Arte character Scapin from Jacques Callot’s Les Trois Pantalons, a rascal servant who helped plan the escapades of his master, Harlequin, and had many escapades of his own as well. When the revised version of this score was published in 1950, William Walton included 30
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the following note about this piece: “Scapino is one of the less familiar characters of the Commedia dell’Arte, the hero of Molière’s Fourberies de Scapin, who may figure in the complicated ancestry of Figaro. We owe him the word “escapade,” which is descriptive of the character’s stock-in-trade. Callot’s etching portrays him in his traditional costume.” This performance marks the DSO premiere of Sir William Walton’s Scapino: A Comedy Overture.
Piano Concerto in A minor, Op. 54 Composed 1845 | Premiered December 4, 1845
ROBERT SCHUMANN B. June 8, 1810, Zwickau, Germany D. July 27, 1856, Endenich, Germany
Scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (Approx. 31 minutes)
I
t might have seemed the most natural thing in the world for Schumann to write a piano concerto, but in fact he hesitated long before tackling one. After Beethoven, it must have seemed that the symphonic concerto could be carried no further, and for the virtuosos of the 1820s and ‘30s, a concerto was a vehicle for solo display, with the orchestra relegated to the WINTER 2024
background. The problem, as Schumann realized, was to reestablish the balance between soloist and orchestra. The first movement of his Piano Concerto in A minor is for all practical purposes monothematic, a falling phrase first introduced by the oboe being subtly varied without ever losing its plaintive character. The rest of the concerto does not comprise two movements, really, but one lengthy span, joined by a ghostly reminiscence of the first movement. The mood of the intermezzo is playful, bantering, despite the almost comically passionate second theme. Schumann has been accused of running a rhythmic pattern to death, especially in his orchestral works, but in the finale of this concerto, he manages to have his cake and eat it too. Built into the principal theme is a hint of ambiguity between the prevailing 3/4 measure and a 3/2, in which the pace is cut in half. The DSO most recently performed Schumann’s Piano Concerto in A minor in April 2021, conducted by Asher Fisch and featuring pianist Jonathan Biss. The DSO first performed the piece in March 1919, conducted by Ossip Gabrilowitsch and featuring pianist Eleanor Spencer.
Variations on an Original Theme, Op. 36, “Enigma” Composed 1898-1899 | Premiered 1899
SIR EDWARD ELGAR B. June 2, 1857, Broadheath, United Kingdom D. February 23, 1934, Worcester, United Kingdom
Scored for 2 flutes (1 doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, piano, and strings. (Approx. 31 minutes)
O
ctober 21, 1898 was another hard day of teaching violin students for Edward Elgar. After dinner, he sat down at the piano and started musing
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over the keys. Suddenly, his wife, Alice, roused him from his woolgathering. “Edward, that’s a good tune,” she said. “Play it again; I like that tune.” Fortunately, Elgar jotted down a few notes, and the tune became the theme of his celebrated “Enigma” Variations—13 musical character sketches of his wife and friends, plus a self-portrait in the grandiose finale. Each variation is labeled with the initials, nickname, or surname of the person described, beginning with a lyrical tribute to Elgar’s wife, Alice (“C.A.E.”). Frivolous, abrupt, and gentle moods pass in parade as Elgar describes the idiosyncrasies of his 13 friends. Among the most striking are the delicate sixth variation (“Ysobel”) characterizing Isabel Fitton (one of Elgar’s viola students); the rambunctious seventh variation (“Troyte”) describing the jerky, harried piano playing of architect/painter Troyte Griffith; and the buoyant tenth variation (“Dorabella”) imitating the light-footed dancing of Dora Penny, whom Elgar nicknamed after a character in Mozart’s opera Cosi fan tutte. Variation 13 (labeled with three asterisks and titled “Romanza”) secretly describes Lady Mary Lygon, an amateur choir director. In this variation, the clarinet quotes a melody from Mendelssohn’s choral work, Calm Sea and Prosperous Voyage. And the noble, soaring ninth variation (“Nimrod”) is dedicated to Elgar’s great friend and champion, August Johannes Jaeger of the Novello music publishing firm. It is a special moment in the set of variations and is sometimes performed as a memorial to famous personalities, especially in the world of music. —Carl Cunningham The DSO most recently performed Sir Edward Elgar’s “Enigma” Variations in October 2018, conducted by Leonard Slatkin. The DSO first performed the piece in December 1921, conducted by Ossip Gabrilowitsch.
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PROFILES JUANJO MENA
INON BARNATAN
uanjo Mena began his conducting career in his native Spain as Artistic Director of the Bilbao Symphony Orchestra in 1999. His uncommon talent was soon recognized internationally with appointments as Principal Guest Conductor of the Bergen Philharmonic and Chief Guest Conductor of the Orchestra del Teatro Carlo Felice in Genoa. In 2011, he was named Chief Conductor of the BBC Philharmonic, which he led for seven seasons, taking the orchestra on tours of Europe and Asia, and conducting annual televised concerts at the Royal Albert Hall as part of the BBC Proms. He currently holds the position of Principal Conductor of the Cincinnati May Festival, the longest running choral festival in North America, served by the Cincinnati Symphony Orchestra. A sought-after guest conductor, Mena has led Europe’s top ensembles including the Berlin Philharmonic, Bavarian Radio Orchestra, Gewandhaus Orchestra Leipzig, London Philharmonic, Oslo Philharmonic, Rotterdam Philharmonic, Danish National Symphony Orchestra, Swedish Radio Symphony Orchestra, Orchestre National de France, Orchestra Filarmonica della Scala, Tonhalle Orchester Zürich, Bamberg Symphony Orchestra, and the Dresden Philharmonic, among others. He also appears regularly with all major orchestras in his native Spain and has conducted most of North America’s leading orchestras. Mena studied conducting with Sergiu Celibidache following his musical education at the Madrid Royal Conservatory, where he was mentored by Carmelo Bernaola and Enrique García Asensio. In 2016, he was awarded the Spanish National Music Award.
ne of the most admired pianists of his generation” (The New York Times), Inon Barnatan is a regular performer with many of the world’s foremost orchestras and conductors. He was the inaugural Artistin-Association of the New York Philharmonic from 2014 to 2017 and has played with renowned orchestras including the BBC Symphony for the BBC Proms and the Los Angeles Philharmonic at the Hollywood Bowl. He performed a complete Beethoven concerto cycle in Marseilles; Copland’s Piano Concerto with the San Francisco Symphony and Michael Tilson Thomas in San Francisco and at Carnegie Hall; and multiple US tours with the Academy of St Martin in the Fields, playing and conducting from the keyboard. Equally at home as a curator and chamber musician, Barnatan is Music Director of La Jolla Music Society Summerfest in California. He regularly collaborates with world-class partners such as Renée Fleming and Alisa Weilerstein, and plays at major chamber music festivals including Seattle, Santa Fe, and Spoleto USA. Born in Tel Aviv, Barnatan started playing the piano at the age of three, when his parents discovered his perfect pitch, and made his orchestral debut at 11. His musical education connects him to some of the 20th century’s most illustrious pianists and teachers: he studied first with Victor Derevianko, a student of the Russian master Heinrich Neuhaus, before moving to London in 1997 to study at the Royal Academy of Music with Christopher Elton and Maria Curcio, a student of the legendary Artur Schnabel. The late Leon Fleisher was also an influential teacher and mentor.
J
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WINTER 2024
A COMMUNITY-SUP PORTE D ORCHESTRA
JADER BIGNAMINI MUSIC DIRECTOR
DETROIT SYMPHONY ORCHESTRA
For Jeff Tyzik biography, see page 7. A COMMUNITY-SUP PORTE JADERDBIGNAMINI, Music Director JADER BIGNAMINI MUSIC DIRECTOR ORCHESTRA Music Directorship endowed by the Kresge Foundation
JEFF TYZIK
TERENCE BLANCHARD
NA’ZIR MCFADDEN
LEONARD SLATKIN
NEEME JÄRVI
Principal Pops Conductor
Fred A. Erb Jazz Creative Director Chair
Assistant Conductor, Phillip & Lauren Fisher Community Ambassador
Music Director Laureate
Music Director Emeritus
PVS CLASSICAL SERIES Title Sponsor:
YUJA WANG PLAYS BEETHOVEN Thursday, March 21, 2024 at 7:30 p.m. Friday, March 22, 2024 at 8 p.m. Saturday, March 23, 2024 at 8 p.m. in Orchestra Hall JADER BIGNAMINI, conductor YUJA WANG, piano Paul Dukas (1865 - 1935)
The Sorcerer’s Apprentice
Ludwig van Beethoven Piano Concerto No. 4 in G major, Op. 58 (1770 - 1827) I. Allegro moderato II. Andante con moto III. Rondo: Vivace Intermission Camille Saint-Saëns Symphony No. 3 in C minor, Op. 78, (1835 - 1921) “Organ Symphony” I. Adagio - Allegro moderato - Poco adagio II. Allegro moderato - Presto - maestoso With support from Bonnie Larson, the DSO is proud to feature The Larson Piano on this program, a Steinway Model D Concert Grand Piano.
PROGRAM AT-A-GLANCE | YUJA WANG PLAYS BEETHOVEN Musical Magic This magical program will take you on a thrilling journey. Superstar pianist Yuja Wang brings her artistry to the Orchestra Hall stage through a stunning performance of Beethoven’s Fourth Piano Concerto, and the organ feature in Saint-Saëns’s Third Symphony adds a dynamic dimension of sound that is rarely heard at The Max. Perhaps the most well-known piece on the program, Dukas’s Sorcerer’s Apprentice, is a symphonic tone poem you may know by its feature in the beloved 1940 Walt Disney animated concert film Fantasia, which highlights the magic of the orchestra and is a nostalgic extravaganza of sight and sound. Saturday’s performance will be webcast via our exclusive Live from Orchestra Hall series, presented by Ford Motor Company Fund. Technology support comes from the John S. and James L. Knight Foundation.
Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.
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DSO PERFORMANCE MAGAZINE 33
PROGRAM NOTES The Sorcerer’s Apprentice Composed 1897 | Premiered May 18, 1897
PAUL DUKAS B. October 1, 1865, Paris, France D. May 17, 1935, Paris, France
Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 cornets, 3 trombones, timpani, percussion, harp, and strings. (Approx. 10 minutes)
T
hough most of today’s listeners associate Dukas’s The Sorcerer’s Apprentice with Disney’s Fantasia films, the piece was actually quite popular during Dukas’s lifetime
as well. Much of the work’s expressive power can be attributed to its central theme, which, like the animated broom we all remember, gradually comes alive. As musicologist Manuela Schwartz observes, Dukas’s theme, which begins in an evocative passage featuring bassoon, accumulates rhythmic energy until it achieves “a steady flow of movement,” musically embodying the broom’s awakening and subsequent mischief. Eventually a huge wall of sound is built, recalling Wagner’s mighty Ring cycle; the brilliant clarity of the orchestration, with plenty of innovative twists, is just as delightful in the concert hall as it is on the movie screen. —Nathan Platte The DSO most recently performed excerpts from Dukas’s The Sorcerer’s Apprentice in October 2023, conducted by Enrico Lopez-Yañez. The DSO first performed the piece in November 1917, conducted by Victor Kolar.
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Piano Concerto No. 4 in G major, Op. 58 Composed 1805-1806 | Premiered December 1808
LUDWIG VAN BEETHOVEN B. December 1770, Bonn, Germany D. March 26, 1827, Vienna, Austria
Scored for solo piano, flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (Approx. 34 minutes)
T
he 1808 mega-concert that served as the premiere of Beethoven’s fifth and sixth symphonies, Choral Fantasy, Piano Concerto No. 4, and other works is certainly a “time machine” moment for many classical music fans—oh to have been a fly on the wall! The gentle, song-like character of the piano concerto, especially its opening movement, attests to the spirit of what later became known as Romanticism. Beethoven also nearly established a precedent by opening the concerto with a quiet solo phrase, rather than reserving the entire first exposition of the themes for the orchestra alone. The slow movement is one of the most personal, intense, innovative moments in all the Beethoven literature. It pits the agitated, dramatic strings against an intervening series of plaintive phrases in the piano. Ultimately, the calm prevails as the piano proceeds into a figurative passage and the close of the movement. A free adaptation of established forms also occurs in the finale. Instead of being a normal five-part rondo, the movement is expanded with developmental episodes interspersed with various themes. But the light fanciful character of the music is maintained throughout much of its lacy keyboard figuration and playful melodies. The DSO most recently performed Beethoven’s Piano Concerto No. 4 in WINTER 2024
November 2014, conducted by Jakub Hrusa and featuring pianist Jonathan Biss. The DSO first performed the piece in February 1920, conducted by Ossip Gabrilowitsch and featuring pianist Winifred Christie.
Symphony No. 3 in C minor, Op. 78, “Organ Symphony” Composed 1886 | Premiered May 19, 1886
CAMILLE SAINT-SAËNS B. October 9, 1835, Paris, France D. December 16, 1921, Algiers, Algeria
Scored for 3 flutes (1 doubling on piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, piano (4 hands), organ, and strings. (Approx. 34 minutes)
C
amille Saint-Saëns, a master of virtually every genre, is the leading French symphonist of the period, with five works in the form to his credit. His Symphony No. 3 was a commission from the London Philharmonic Society, where Saint-Saëns grew quite a fanbase while living in Britain to escape turmoil following the Franco-Prussian War. The commission came in 1886, the same summer during which Saint-Saëns’s mentor Franz Liszt died, and so the symphony is a tribute to
the late Hungarian. As a symphony by a composer who staunchly upheld French musical values against the encroaching tide of Wagnerism, the No. 3 is a poised, spacious work unfolding in a relaxed series of tableaux. Its lyrical slow movement, often criticized as saccharine, indeed shares the same sentimentality one admires in a Gounod opera or the quiet repose in French romantic organ music. The symphony includes parts for organ and piano duet but uses them less as soloists than as coloristic elements of the orchestral ensemble. It follows a standard four-movement plan, but has only one central pause between the slow movement and the scherzo. Its main theme begins in the low violins with the same moody motto that opens Schubert’s Unfinished Symphony. The main themes of the first and second movements are later transformed, re-employed (in reverse order), and eventually combined as the two themes of the heroic double fugue that concludes the piece. —Carl Cunningham The DSO most recently performed Saint-Saëns’s Symphony No. 3, the “Organ Symphony,” in May 2012 conducted by Leonard Slatkin and featuring organist Craig Rifel. The DSO first performed the piece in March 1924, conducted by Ossip Gabrilowitsch and featuring organist Marcel Dupre.
PROFILES For Jader Bignamini biography, see page 6.
YUJA WANG
P
ianist Yuja Wang is celebrated for her charismatic artistry, emotional honesty, and captivating stage presence. She has performed with the world’s most venerated conductors, musicians, and ensembles, and is renowned not only for
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her virtuosity, but her spontaneous and lively performances, famously telling The New York Times, “I firmly believe every program should have its own life, and be a representation of how I feel at the moment.” Her skill and charisma were recently demonstrated in a marathon Rachmaninoff performance at Carnegie Hall alongside conductor Yannick DSO PERFORMANCE MAGAZINE 35
© KIRK EDWARDS
Nézet-Séguin and The Philadelphia Orchestra. This historic event, celebrating 150 years since the birth of Rachmaninoff, included performances of all four of his concertos plus the Rhapsody on a Theme of Paganini in one afternoon and saw queues around the block for tickets on the day. The 2022– 23 season also saw Yuja perform the world premiere of Magnus Lindberg’s Piano Concerto No.3 with the San Francisco Symphony Orchestra, and further performances of the work throughout North America and Europe across the season. Yuja was born into a musical family in Beijing. After childhood piano studies in China, she received advanced training in Canada and at the Curtis Institute of Music under Gary Graffman. Her international breakthrough came in 2007, when she
replaced Martha Argerich as soloist with the Boston Symphony Orchestra. Two years later, she signed an exclusive contract with Deutsche Grammophon, and has since established her place among the world’s leading artists, with a succession of critically acclaimed performances and recordings. She was named Musical America’s Artist of the Year in 2017, and in 2021 received an Opus Klassik Award for her world-premiere recording of John Adams’s Must the Devil Have all the Good Tunes? with the Los Angeles Philharmonic under the baton of Gustavo Dudamel. This season, Yuja embarks on a highly anticipated international recital tour, performing in world-class venues across North America, Europe, and Asia, astounding audiences once more with her flair, technical ability, and exceptional artistry in a wide-ranging program to include works by Beethoven and Scriabin.
Pro Musica of Detroit presents
Wei Yu &
Keun-A Lee 7 pm Thursday, March 28, 2024
Detroit Institute of Arts Wei Yu and Keun-A Lee will perform virtuosic works for cello and piano. He is Principal Cello of the DSO. She is an internationally acclaimed keyboardist. Together they create brilliant music.
Tickets & Details
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DSO PERFORMANCE MAGAZINE
MUSIC WITH LOVE WINTER 2024
A COMMUNI TY-SUPPORTE D ORCHESTRA
JADER BIGNAMINI MUSIC DIRECTOR
DETROIT SYMPHONY ORCHESTRA
For Jeff Tyzik biography, see page 7. A COMMUNI TY-SUPPORTE JADERDBIGNAMINI, Music Director JADER BIGNAMINI MUSIC DIRECTOR ORCHESTRA Music Directorship endowed by the Kresge Foundation
JEFF TYZIK
TERENCE BLANCHARD
NA’ZIR MCFADDEN
LEONARD SLATKIN
NEEME JÄRVI
Principal Pops Conductor
Fred A. Erb Jazz Creative Director Chair
Assistant Conductor, Phillip & Lauren Fisher Community Ambassador
Music Director Laureate
Music Director Emeritus
PVS CLASSICAL SERIES Title Sponsor:
DEBUSSY & RACHMANINOFF Friday, April 5, 2024 at 10:45 a.m. Saturday, April 6, 2024 at 8 p.m. Sunday, April 7, 2024 at 3 p.m. in Orchestra Hall ERIC JACOBSEN, conductor • WU MAN, pipa Claude Debussy Prélude à l’Après-midi d’un faune (1862 - 1918) (Prelude to the Afternoon of a Faun) Du Yun Ears of the Book Concerto for Pipa and Orchestra (DSO Co-Commission) Polaroid 1–A Mist Polaroid 2–Tear-drops Polaroid 3–Sudden Wave Polaroid 4–A Wild Beast Polaroid 5–Crisp Air Polaroid 6–Fear of Cloud Polaroid 7–A Return Polaroid 8–Marigold Polaroid 9–An Infinite Well Polaroid 10–I have heard Wu Man, pipa Intermission Sergei Rachmaninoff Symphonic Dances, Op. 45 (1873 - 1943) I. Non allegro II. Andante con moto (Tempo di valse) III. Lento assai - Allegro vivace
PROGRAM AT-A-GLANCE | DEBUSSY & RACHMANINOFF Symphonic Landscapes Claude Debussy was a highly visual composer, often inspired by an image or scene that came to him while reading or daydreaming, as is the case with his Prelude to The Afternoon of a Faun; Rachmaninoff’s three-movement masterpiece evokes the nostalgic, foreboding, and macabre characteristics of a slow transition to midnight; and Du Yun’s new pipa concerto celebrates the versatility and virtuosity of the traditional Chinese instrument in a contemporary context. Saturday’s performance will be webcast via our exclusive Live from Orchestra Hall series, presented by Ford Motor Company Fund. Technology support comes from the John S. and James L. Knight Foundation.
Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.
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PROGRAM NOTES Prélude à l’Après-midi d’un faune (Prelude to the Afternoon of a Faun) Composed 1894 | Premiered December 22, 1894
CLAUDE DEBUSSY B. August 22, 1862, Saint-Germain-en-Laye, France D. March 25, 1918, Paris, France
Scored for 3 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, percussion, 2 harps, and strings. (Approx. 10 minutes)
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laude Debussy was something of a visual composer, often inspired by an image or scene that came to him via reading or daydreaming. His Prelude to the Afternoon of a Faun was informed by Stéphane Mallarmé’s esoteric poem of the same title. Like the poem, the music is precisely evocative in its details, though evasive when one attempts to grasp it with the aid of analytical tools. It begins with the entrance of a Chopin-esque theme in the winds, over pulsating string accompaniment, marking the first of three general segments. Debussy’s aim was, as he explained, “to achieve a music truly freed from motifs, or constructed on development…[music] which never goes back on itself…” The DSO most recently performed Debussy’s Prelude to the Afternoon of a Faun in February 2018, conducted by Leonard Slatkin. The DSO first performed the piece in February 1916, conducted by Weston Gales.
Ears of the Book Concerto for Pipa and Orchestra Composed 2024 | Premiered 2024 DSO Co-Commission
DU YUN B. 1977, Shanghai, China 38
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Scored for solo pipa, 2 flutes (1 doubling piccolo), 2 oboes, 2 clarinets (1 doubling bass clarinet, 2 bassoons (1 doubling contrabassoon), 2 horns, 2 trumpets, trombone, tuba, percussion, harp, and strings. (Approx. 20 minutes) Of Ears of the Book, Du Yun writes the following: “The soloist is the narrator of the story. We listen to her, telling us encounters that fan out like folds of skin. Ears of the Book: footnote of a paragraph. Shu-er, 書耳: a word used in the ancient Chinese book binding technique, in literal translation, means the ear of the bookmark where titles of each section would be notated. Rather than dividing into movements or sections, I saw Polaroids of scenes shot. Each Polaroid, a snapshot in an emotive mosaic. As in our daily life, these Polaroids appear unexpectedly on the streets, on our kitchen counters, in our key holders, dish bowls, scattered around deep corners of our living space, we see the moments frozen in time, and our memories relive them, yet again, for us. Our lives, intertwined threads never broken. The work begins with whiffs of the Nanyin, a Fujianese opera style (from southern China). It is my own footnote of a sonic state with which I resonate. These sonic moments ebb and flow quickly with the orchestra and morph into other lands before taking their own shapes. An interjection, a migration to an elsewhere. Thank you to Wu Man, for giving me inspirations on the pipa. More importantly, together we attempted to work against the grains of the pipa, finding new territories for this instrument to venture into. And so, we decided together, for the Chinese title, the ears of the book could also mean an intent listening to the stories, of the frozen Polaroids that are yet to be told.” This performance marks the DSO premiere of Du Yun’s Ears of the Book Concerto for Pipa and Orchestra. WINTER 2024
Symphonic Dances, Op. 45 Composed 1940 | Premiered January 3, 1941
SERGEI RACHMANINOFF B. April 1, 1873, Starorussky Uyezd, Russia D. March 28, 1943, Beverly Hills, CA
Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, piano, alto saxophone, and strings. (Approx. 35 minutes)
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ymphonic Dances, completed in October 1940, was Sergei Rachmaninoff’s last composition. Rachmaninoff originally entitled the piece “Fantastic Dances,” and initially called the three movements “noon,” “evening,” and “midnight”—titles he subsequently revoked in favor of non-programmatic numbering. Symphonic Dances is a three-movement masterpiece in which Rachmaninoff highlights the nuances and tone colors of the orchestra’s many instruments. The first movement contains an energetic main theme that is contrasted with long,
PROFILES ERIC JACOBSEN
W
ell-established as one of classical music’s most exciting and innovative young conductors, Eric Jacobsen combines fresh interpretations of the traditional canon with cutting-edge collaborations across musical genres. Jacobsen, as both a conductor and a cellist, has built a reputation for engaging audiences with innovative and collaborative programming. Jacobsen is artistic director and co-founder of The Knights, the uniquely adventurous NYC-based chamber dso.org
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winding nostalgic melodies. It is during these that a saxophone enters the composition, illustrating the versatility of the instrument and pulling it from the jazz idiom to the symphony stage. The second movement is a melancholy waltz that opens with blaring fanfare before suddenly pausing for an eerie violin solo. The finale is the longest movement, and Rachmaninoff illustrates his expertise as an orchestrator through his manipulation of the instrumental timbres used to evoke darkness and despair. The movement opens with a sinister clash that leads directly into a contracted version of the Dies Irae motif, the oft-quoted ecclesiastical chant for the dead. Rachmaninoff toyed with the idea of turning the Symphonic Dances into a ballet, but the project never came to fruition. One can only imagine the possible choreography that could encompass the macabre character, nostalgia, and overwhelming sense of foreboding that permeate the work. —Yona Stamatis The DSO most recently performed Rachmaninoff’s Symphonic Dances in November 2017, conducted by Juraj Valčuha. The DSO first performed the piece in November 1957, conducted by C. Valter Poole.
orchestra. The ensemble, founded with his brother, violinist Colin Jacobsen, grew out of late-night music reading parties with friends, good food and drink, and conversation. Under Jacobsen’s baton, The Knights have developed an extensive recording collection, which includes the critically acclaimed albums Azul, with Yo-Yo Ma, and with Gil Shaham in performances of the Beethoven and Brahms violin concertos. Jacobsen is also Music Director of the Virginia Symphony Orchestra and the Orlando Philharmonic Orchestra. Jacobsen brings joy, storytelling, and a touch of humor to what he describes as “musical conversations” that delight audiences around the world. DSO PERFORMANCE MAGAZINE 39
WU MAN
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ecognized as the world’s premier pipa virtuoso and leading ambassador of Chinese music, Wu Man has carved out a career as a soloist, educator, and composer, giving her lute-like instrument—which has a history of over 2,000 years in China—a new role in both traditional and contemporary music. Through numerous concert tours, she has premiered hundreds of new works for the pipa, while spearheading multimedia projects to both preserve and create awareness of China’s ancient musical traditions. Her adventurous spirit and virtuosity have led to collaborations across artistic disciplines, allowing her to reach wider audiences as she works to cross cultural and musical borders. Her efforts were recognized when she was
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named Musical America’s 2013 “Instrumentalist of the Year,” marking the first time this prestigious award has been bestowed on a player of a non-Western instrument, and in 2021 when she received an honorary Doctorate of Music from the New England Conservatory of Music and an Honorary University Fellowship from Hong Kong Baptist University. Wu is a Visiting Professor at her alma mater the Central Conservatory of Music in Beijing and a Distinguished Professor at the Zhejiang and the Xi’an Conservatories. She has also served as Artistic Director of the Xi’an Silk Road Music Festival at the Xi’an Conservatory. Wu has performed as a soloist with many of the world’s major orchestras and at renowned music venues. Born in Hangzhou, China, Wu studied with Lin Shicheng, Kuang Yuzhong, Chen Zemin, and Liu Dehai at the Central Conservatory of Music in Beijing, where she became the first recipient of a master’s degree in pipa.
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TRADITIONS AT THE SYMPHONY For more than a century, music lovers in Detroit and around the world have made the DSO a special part of their lives. From dazzling galas and holiday celebrations, to concerts that connect with people near and far, we are honored to be a musical home where lasting memories are made and meaningful traditions are fostered. There’s nothing like walking into The Max and being transported into an enchanted atmosphere of music and community. DSO patron Ali Reda Jeafar fondly remembers attending his first DSO concert, a Home for the Holidays performance in 2016: “Home for the Holidays is a treasure for me. The magic of that day…it has kept me coming back every year.” Each season, patrons share special moments with friends at PNC Pops Series performances. Many attend Coffee Concerts together on Friday mornings, singing along to their favorite tunes conducted by beloved artists like Principal Pops Conductor Jeff Tyzik. After the concert, they head to a local restaurant to savor the moment and enjoy one another’s company.
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Many DSO fans have attended concerts for decades, building a relationship with the orchestra and forming connections with loved ones that last a lifetime. “My Mother’s Day and birthday gift to my mom was always a year of pops concerts,” said one patron. “I took her until she was 97 years old.” “In March 1995 while I was at a DSO concert, I met a nice gentleman,” said another patron. “We got married nine months later on December 17, which also happens to be Beethoven’s birthday. We have been very happy since, thanks to the DSO.” In addition to presenting events at Orchestra Hall, it’s in our orchestra’s DNA to spread music across the street—and across the globe. From tours like Europe in 2001, Asia in 2017, and Florida in 2024; to community performances and Live from Orchestra Hall webcasts that delight thousands of people each week, we are proud to mean so much to so many of you. With many more concerts, galas, and celebrations to come, we look forward to continuing these traditions and sharing in remarkable moments year after year.
DSO PERFORMANCE MAGAZINE 41
THE ANNUAL FUND
Gifts received between September 1, 2022 and November 15, 2023.
The DSO is a community-supported orchestra, and you can play your part through frequent ticket purchases and generous annual donations. Your tax-deductible Annual Fund donation is an investment in the wonderful music at Orchestra Hall, around the neighborhoods, and across the community. This honor roll celebrates those generous donors who made a gift of $1,500 or more to the DSO Annual Fund Campaign. If you have questions about this roster or would like to make a donation, please contact 313.576.5114 or go to dso.org/donate.
PARAY SOCIETY - GIVING OF $250,000 & MORE Mr. & Mrs. Lee Barthel Penny & Harold Blumenstein Julie & Peter Cummings Ms. Leslie C. Devereaux Linda Dresner & Ed Levy, Jr.
Mr. & Mrs. Stanley Frankel Mr. & Mrs. Peter Karmanos, Jr. Mr. & Mrs. James B. Nicholson Mr. & Mrs. David Provost Mrs. Richard C. Van Dusen
DORATI SOCIETY - GIVING OF $100,000 & MORE Mr. & Mrs. Richard L. Alonzo James & Patricia Anderson Mr. & Mrs. Raymond M. Cracchiolo Joanne Danto & Arnold Weingarden Mr. & Mrs. Phillip Wm. Fisher
Shari & Craig Morgan The Polk Family Bernard & Eleanor Robertson Drs. David & Bernadine Wu Paul & Terese Zlotoff
EHRLING SOCIETY - GIVING OF $50,000 & MORE Mr. & Mrs. Richard A. Brodie Lois & Avern◊ Cohn Ms. Karol Foss Mr. & Mrs. Aaron Frankel Mr. & Mrs. Ralph J. Gerson Mary Ann & Robert Gorlin Mr. & Mrs. James Grosfeld Mr.◊ & Mrs. Norman H. Hofley
Ric & Carola Huttenlocher Mrs. Bonnie Larson Nicole & Matt Lester David & Valerie McCammon Mr. & Mrs. Eugene A. Miller Patricia & Henry◊ Nickol Mr. & Mrs. Arn Tellem
JÄRVI SOCIETY — GIVING OF $25,000 & MORE Ms. Sharon Backstrom Mrs. Cecilia Benner Mr. & Mrs. Stephen Brownell Dr. Mark & Karen Diem Mrs. Marjory Epstein Mr. Michael J. Fisher Madeline & Sidney Forbes Mr. & Mrs. Edsel B. Ford II Mrs. Martha Ford Dale & Bruce Frankel Ronald M. & Carol◊ Horwitz Mr.◊ & Mrs. Norman D. Katz Mr. Alan J. & Mrs. Sue Kaufman Morgan & Danny Kaufman David* & Arlene Margolin 42
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Steven & Beth Margolin Xavier & Maeva Mosquet Ms. Ruth Rattner Martie & Bob Sachs Mrs. Patricia Finnegan Sharf Mr. & Mrs. James H. Sherman Mr. & Mrs. Larry Sherman Nancy & Alan* Simons Richard Sonenklar & Gregory Haynes Dr. Doris Tong & Dr. Teck M. Soo Mr. & Mrs. Gary Torgow Peter & Carol Walters S. Evan & Gwen Weiner And one who wishes to remain anonymous
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Deceased
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GABRILOWITSCH SOCIETY - GIVING OF $10,000 & MORE Mr. & Mrs. Robert A. Allesee ◊ Dr. Lourdes V. Andaya Janet & Norman Ankers Pamela Applebaum Drs. Brian & Elizabeth Bachynski Drs. John◊ & Janice Bernick Ms. Debra Bonde Gwen & Richard Bowlby Michael & Geraldine Buckles Ms. Elena Centeio Thomas W. Cook & Marie L. Masters Gail Danto & Art Roffey Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Adel & Walter Dissett Mr. Charles L. Dunlap & Mr. Lee V. Hart Jim & Margo Farber Sally & Michael Feder Dr. Saul & Mrs. Helen Forman Barbara Frankel◊ & Ronald Michalak Herman & Sharon Frankel Mrs. Janet M. Garrett Victor◊ & Gale Girolami Ruth & Al◊ Glancy Dr. Robert T. Goldman
Mr.◊ & Mrs. James A. Green Mary Lee Gwizdala Mr. & Mrs. Robert Hage Judy◊ & Kenneth Hale Ms. Nancy B. Henk◊ Michael E. Hinsky & Tyrus N. Curtis Renato & Elizabeth Jamett Mr. & Mrs. Richard J. Jessup William & Story John Lenard & Connie Johnston Dr. David & Mrs. Elizabeth Kessel Mr. & Mrs. Kosch Bud & Nancy Liebler Mr. & Mrs.◊ Joseph Lile Dana Locniskar & Christine Beck Alexander & Evelyn McKeen Ms. Deborah Miesel Dr. Robert & Dr. Mary Mobley Cyril Moscow Geoffrey S. Nathan & Margaret E. Winters David Robert & Sylvia Jean Nelson Eric & Paula Nemeth Mr. David Nicholson Jim & Mary Beth Nicholson
Gloria & Stanley Nycek George & Jo Elyn Nyman Debra & Richard Partrich Kathryn & Roger Penske Dr. Glenda D. Price Dr. Erik Rönmark* & Mrs. Adrienne Rönmark* Mr. & Mrs. Robert B. Rosowski Peggy & Dr. Mark B. Saffer Mr. & Mrs. Alan E. Schwartz◊ Elaine & Michael Serling Lois & Mark Shaevsky William H. Smith◊ Charlie & John Solecki Mr. & Mrs. John Stroh III Joel & Shelley Tauber Emily & Paul Tobias Ms. Marie Vanerian Mr. James G. Vella Mr.◊ & Mrs. Jonathan T. Walton Gary L. Wasserman & Charles A. Kashner Mr. & Mrs. R. Jamison Williams Ms. Mary Wilson And four who wish to remain anonymous
Ms. Elizabeth Correa Mr.◊ & Mrs. Gary L. Cowger Dr. Edward & Mrs. Jamie Dabrowski Mr. & Mrs. Charles W. Dare Mr. & Mrs. Richard L. DeVore Elaine C. Driker Ms. Ruby Duffield Margie Dunn & Mark Davidoff Dr. & Mrs. A. Bradley Eisenbrey Mr. Lawrence Ellenbogen Ms. Laurie Ellias & Mr. James Murphy Marianne T. Endicott Mr. Peter Falzon Fieldman Family Foundation Dr. & Mrs. Franchi Mr.◊ & Mrs. Richard M. Gabrys Alan M. Gallatin Mr. Max Gates Ambassador Yousif B. Ghafari & Mrs. Mara Kalnins-Ghafari Allan D. Gilmour & Eric C. Jirgens Dr. & Mrs. Theodore Golden Goodman Family Charitable Trust Dr. Herman & Mrs. Shirley Mann Gray Leslie Groves* & Joseph Kochanek Mr. Sanford Hansell & Dr. Raina Ernstoff Mr. Eric J. Hespenheide & Ms. Judith V. Hicks
Mr. Matthew Howell & Mrs. Julie Wagner Mr. & Mrs. Kent Jidov Mr. George G. Johnson Paul & Karen Johnson Carol & Rick Johnston Paul & Marietta Joliat Mr. & Mrs. Steven Kalkanis Judy & David Karp Mike & Katy Keegan Betsy & Joel Kellman John Kim & Sabrina Hiedemann Dr. & Mrs. Edward L. Klarman Dr. Sandy Koltonow & Dr. Mary Schlaff Ms. Susan Konop Barbara & Michael Kratchman Richard & Sally Krugel Dr. Raymond Landes & Dr. Melissa McBrien-Landes Bill & Kathleen Langhorst Mr. Leonard LaRocca Max Lepler & Rex L. Dotson Mr. & Mrs. Robert K. Leverenz Bob & Terri Lutz Daniel & Linda* Lutz Mrs. Sandra MacLeod Mr. & Mrs. Winom J. Mahoney Cis Maisel Dr. Stephen & Paulette Mancuso
GIVING OF $5,000 & MORE Mrs. Denise Abrash Mrs. Jennifer Adderley Richard & Jiehan Alonzo Mr. David Assemany & Mr. Jeffery Zook* Mr. & Mrs. William C. Babbage Ms. Ruth Baidas Dr. David S. Balle James A. Bannan Mr. Patrick Barone Mr. Joseph Bartush W. Harold & Chacona W. Baugh Ms. Therese Bellaimey Mr. William Beluzo Mr. & Mrs. Dennis Bernard Mr. & Mrs. Jeffrey A. Berner Mr. Michael G. Bickers Timothy J. Bogan Ms. Nadia Boreiko Mr. Anthony F. Brinkman Claire P. & Robert N. Brown Dr. & Mrs. Roger C. Byrd Richard Caldarazzo & Eileen Weiser Philip & Carol Campbell Mrs. Carolyn Carr Mr.◊ & Mrs. François Castaing Mr. & Mrs. Andrew Christians Mr. Fred J. Chynchuk Dr. & Mrs. Charles G. Colombo
*Current DSO Musician or Staff
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GIVING OF $5,000 & MORE, CONTINUED Maurice Marshall Patricia A.◊ & Patrick G. McKeever Joy & Allan Nachman Mr. & Mrs. Albert T. Nelson, Jr. Ms. Jacqueline Paige & Mr. David Fischer Mr. David Phipps & Ms. Mary Buzard William H. & Wendy W. Powers Dr. Glenda D. Price Charlene & Michael Prysak Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Mr. & Mrs. Dave Redfield Dr. Heather Richter
The Steven Della Rocca Memorial Fund/ Courtenay A. Hardy Ms. Patricia Rodzik Michael & Susan Rontal Mr. Ronald Ross & Ms. Alice Brody Mr. David Salisbury & Mrs. Terese Ireland Salisbury Marjorie Shuman Saulson Sandy Schreier Robert & Patricia Shaw Mr. Norman Silk & Mr. Dale Morgan Mr. & Mrs. Matthew Simoncini William & Cherie Sirois
Michael E. Smerza & Nancy Keppelman Mrs. Kathleen Straus & Mr. Walter Shapero David Szymborski & Marilyn Sicklesteel Dr. & Mrs. Howard Terebelo Alice ◊ & Paul Tomboulian Charles◊ & Sally Van Dusen Mrs. Eva von Voss Mr. Michael A. Walch & Ms. Joyce Keller Dr. & Mrs. Ned Winkelman Cathy Cromer Wood Ms. June Wu Ms. Gail Zabowski Lucia Zamorano, M.D.
Maureen & Jerry◊ D’Avanzo Lillian & Walter Dean Dr. & Mrs. Thomas Ditkoff Diana & Mark Domin Ms. Felicia Donadoni Paul◊ & Peggy Dufault Edwin & Rosemarie ◊ Dyer Randall & Jill* Elder Mr. & Mrs. John M. Erb Dave & Sandy Eyl Hon. Sharon Tevis Finch John & Karen Fischer Ms. Joanne Fisher Dorothy A. & Larry L. Fobes Amy & Robert Folberg Mr. & Ms. Henry Ford III Ms. Linda Forte & Mr. Tyrone Davenport Ms. Marci Frick Kit & Dan Frohardt-Lane Lynn & Bharat Gandhi Stephanie Germack Thomas M. Gervasi Mr. & Mrs. James Gietzen Mr. & Mrs. Robert W. Gillette Dr. Kenneth◊ & Roslyne Gitlin Ms. Jody Glancy Mr. Lawrence Glowczewski Dr. William & Mrs. Antoinette Govier Ms. Jacqueline Graham Dr. Darla Granger & Mr. Luke Ponder Diane & Saul Green Anne & Eugene Greenstein Ms. Chris Gropp Sharon Lopo Hadden Dr. & Mrs. David Haines Robert & Elizabeth Hamel Cheryl A. Harvey Ms. Barbara Heller Ms. Karla Henry-Morris & Mr. William H. Morris Ms. Doreen Hermelin Mr. Donald & Marcia Hiruo
Mr. & Mrs. Peter Hollinshead The Honorable Denise Page Hood & Reverend Nicholas Hood III James Hoogstra & Clark Heath Mr. F. Robert Hozian Dr. Karen Hrapkiewicz Sam G. Huszczo Larry & Connie Hutchinson Ms. Elizabeth Ingraham Carolyn & Howard Iwrey Dr. Raymond E. Jackson & Dr. Kathleen Murphy Mr. John S. Johns Mr. William & Mrs. Connie Jordan Diane & John Kaplan Lucy & Alexander* Kapordelis Bernard & Nina Kent Philanthropic Fund Mrs. Frances King Dr. & Mrs. Edward L. Klarman Aileen & Harvey Kleiman Tom◊ & Beverly Klimko Mr. & Mrs. Ludvik F. Koci Mr. & Mrs. Robert Koffron Douglas Korney & Marieta Bautista James Kors & Victoria King Ms. Jennette Smith Kotila George M. Krappmann* & Lynda Burbury-Krappmann Mr. Michael Kuhne Mr. & Mrs. Robert LaBelle Dr. & Mrs. Gerald Laker Mr. David Lalain & Ms. Deniella Ortiz-Lalain Deborah Lamm Drs. Lisa & Scott Langenburg Ms. Sandra Lapadot Ms. Anne T. Larin Dr. Lawrence O. Larson Dr. Jonathan Lazar Mr. Henry P. Lee ◊ Drs. Donald & Diane Levine Arlene & John Lewis
GIVING OF $2,500 & MORE Nina Dodge Abrams Mr. Juan Alvarez Mr. & Mrs. Robert L. Anthony Dr. & Mrs. Joel Appel Drs. Kwabena & Jacqueline Appiah Mr. Eduardo Arciniegas Dr. & Mrs. Ali-Reza R. Armin Pauline Averbach & Charles Peacock Mr. Joseph Aviv & Mrs. Linda Wasserman Mrs. Jean Azar Ellie & Mitch Barnett Mr. Mark G. Bartnik & Ms. Sandra J. Collins Mr. & Mrs. Martin S. Baum Mr. & Mrs. Richard Beaubien Mr. Abraham Beidoun Dr. George & Joyce Blum Nancy & Lawrence Bluth Ms. Kristin Bolitho John◊ & Marlene Boll The Achim & Mary Bonawitz Family The Honorable Susan D. Borman & Mr. Stuart Michaelson Don & Marilyn Bowerman Mr. & Mrs. Mark R. Buchanan Dr. Robert Burgoyne & Tova Shaban Virginia Burkel Sandra & Paul Butler Mr. & Mrs. Brian C. Campbell Dr. & Mrs.◊ Thomas E. Carson Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Ronald◊ & Lynda Charfoos Dr. Betty Chu Mr. William Cole & Mrs. Carol Litka Cole Mr. & Mrs. Brian G. Connors Dr. & Mrs. Bryan & Phyllis Cornwall Patricia & William◊ Cosgrove, Sr. Ms. Joy Crawford* & Mr. Richard Aude Mr. & Mrs. Matthew P. Cullen Mrs. Barbara Cunningham Suzanne Dalton & Clyde Foles Deborah & Stephen D’Arcy Fund 44
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GIVING OF $2,500 & MORE, CONTINUED Mr. Dane Lighthart & Ms. Robyn Bollinger* David & Clare Loebl Mr. John Lovegren & Mr. Daniel Isenschmid Mr. & Mrs. Charles W. Manke, Jr. Melissa & Tom Mark Barbara J. Martin Brian & Becky McCabe Dr. & Mrs. Peter M. McCann, M.D. Mr. Edward McClew Mr. Anthony Roy McCree Ms. Mary McGough Ms. Kristen McLennan Dr. Donald & Barbara Meier Dr. & Mrs. David Mendelson Mr. & Mrs. Randall Miller Mr. Keith Mobley J.J. & Liz Modell Dr. Susan & Mr. Stephen* Molina Dr. Van C. Momon, Jr. & Dr. Pamela Berry Eugene & Sheila Mondry Foundation Mr. & Mrs. Daniel E. Moore Ms. Sandra Morrison Mr. Frederick Morsches & Mr. Kareem George Ms. Jennifer Muse Ms. I. Surayyah R. Muwwakkil Mr. & Mrs. George Nicholson Megan Norris & Howard Matthew Lisa & Michael O’Brien Mr. & Mrs. Robert Obringer Mr. & Mrs. Arthur T. O’Reilly Mr. Tony Osentoski & Mr. David Ogloza Terry E. Packer
Mr. & Mrs. Randy G. Paquette Mark Pasik & Julie Sosnowski Priscilla & Huel Perkins Peter & Carrie Perlman Ms. Alice Pfahlert Benjamin B. Phillips Mr. & Mrs. William A. Reed Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Denise Reske Mr. & Mrs. John Rieckhoff Mr. & Mrs. Jon Rigoni Ms. Linda Rodney Seth & Laura Romine Mr.◊ & Mrs. Gerald F. Ross Linda & Leonard Sahn Ms. Joyce E. Scafe Ms. Martha A. Scharchburg & Mr. Bruce Beyer Mr. & Mrs. Donald and Janet Schenk Shirley Anne & Alan Schlang Joe & Ashley Schotthoefer Catherine & Dennis B. Schultz Sandy◊ & Alan Schwartz Mrs. Rosalind B. Sell Mr. Jeffrey S. Serman Carlo & Nicole Serraiocco Shapero Foundation Bill* & Chris Shell Dr. Les Siegel & Ellen Lesser Siegel Dean P. & D. Giles Simmer Ralph & Peggy Skiano Mr. Michael J. Smith & Mrs. Mary C. Williams
Ms. Susan Smith Shirley R. Stancato Peter & Patricia Steffes Dr. Gregory Stephens Mr. Mark Stewart & Mr. Anonio Gamez-Galaz Nancy C. Stocking Dr. & Mrs. Gerald Stollman Mr. & Mrs.◊ John Streit Dr. & Mrs. Choichi Sugawa Dr. Neil Talon Mr. Rob Tanner Mr. & Mrs. James W. Throop Dr. Barry Tigay Yoni & Rachel Torgow Barbara & Stuart Trager Tom & Laura Trudeau Amanda Van Dusen & Curtis Blessing Gerald & Teresa Varani Mr. William Waak Dr.◊ & Mrs. Ronald W. Wadle Richard P. & Carol A. Walter Mr. Patrick Webster David R. Weinberg, Ph.D. Beverly & Barry Williams Elizabeth & Michael Willoughby Rissa & Sheldon Winkelman Ms. Andrea L. Wulf Ms. Eileen Wunderlich Dr. Sandra & Mr. D. Johnny Yee Mr. & Mrs. Wesley Yee Ms. Ellen Hill Zeringue And nine who wish to remain anonymous
Frank & Elyse Germack Mr. Joseph & Mrs. Lois Gilmore Mr. & Mrs. Stanley Hirt Jean Hudson Mr. & Ms. Charles Jacobowitz Ms. Nadine Jakobowski Dr. & Mrs. Leonard B. Johnson Dr. Judith Jones Carole Keller Mr. & Mrs. Gerd H. Keuffel Elissa & Daniel Kline Mr. Robert Kosinski Mr. & Mrs. William Kroger, Jr. Mr. Sean Maloney & Mrs. Laura Peppler-Maloney Mr. & Mrs. Richard Manning Steve & Brenda Mihalik Carolyn & J. Michael Moore Muramatsu America Flutes Rachel L. & Joshua F. Opperer Ken & Geralyn Papa Mr. & Mrs. Mark H. Peterson Mrs. Anna M. Ptasznik
Drs. Renato & Daisy Ramos Mr. & Mrs. Rodney Rask Ms. Elana Rugh Mr. & Mrs. James P. Ryan Brian & Toni Sanchez-Murphy Dr. & Mrs. Hershel Sandberg Ms. Rosemarie Sandel Dr. & Mrs. Richard S. Schwartz Mr. Konstantin Shirokinskiy Mrs. Andreas H. Steglich Mr. Jon Steiger Mr. Jt Stout Ms. Amanda Tew* David & Lila Tirsell Dennis & Jennifer Varian Mr. Barry Webster Ms. Janet Weir Janis & William Wetsman/The Wetsman Foundation Mr. & Mrs.◊ Richard Wigginton Mr. & Mrs. Michael Zerkich And one who wishes to remain anonymous
GIVING OF $1,500 & MORE Ms. Jacqueline Adams Mrs. Lynn E. Adams Mr. & Mrs. Joel Adelman William Aerni & Janet Frazis Dr. & Mrs. Gary S. Assarian Drs. Richard & Helena Balon Mr. & Mrs. David W. Berry Mr. and Mrs. John Bishop Mr. & Mrs. Richard Burstein Mr. & Mrs. Byron Canvasser Steve & Geri Carlson Mr. & Mrs. Robert J. Colombo Catherine Compton Mr. & Mrs. David Conrad Mr. & Mrs. John Courtney DeLuca Violin Emporium Gordon & Elaine Didier Ms. Marla Donovan Mr. & Mrs. Walter E. Douglas Mrs. Connie Dugger Mr. Howard O. Emorey Burke & Carol Fossee Dr. & Ms. E. Bruce Geelhoed
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CORPORATE, FOUNDATION, AND GOVERNMENT GIVING Giving of $500,000 & more SAMUEL & JEAN FRANKEL FOUNDATION
Giving of $200,000 & more
Giving of $100,000 & more MARVIN & BETTY DANTO FAMILY FOUNDATION
EMORY M. FORD JR. ENDOWMENT FUND
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Giving of $50,000 & more The Paul M. Angell Family Foundation Huntington MASCO Corporation MGM Grand Detroit Milner Hotels Foundation National Endowment for the Arts Penske Foundation, Inc. Donald R. Simon & Esther Simon Foundation Matilda R. Wilson Fund
Giving of $20,000 & more Mandell & Madeleine Berman Foundation Eleanor & Edsel Ford Fund Henry Ford II Fund JPMorgan Chase
Myron P. Leven Foundation Michigan Arts & Culture Council Stone Foundation of Michigan Wolverine Packing
Giving of $10,000 & more Geoinge Foundation Honigman LLP Laskaris-Jamett Advisors Oliver Dewey Marcks Foundation Karen & Drew Peslar Foundation Sun Communities Inc. Varnum LLP Burton A. Zipser & Sandra D. Zipser Foundation
Giving of $5,000 & more
Giving of $1,000 & more
Applebaum Family Philanthropy Creative Benefit Solutions, LLC Fisher Funeral Home & Cremation Services Benson & Edith Ford Fund Hylant Group Marjorie & Maxwell Jospey Foundation KPMG LLP Meemic Sigmund & Sophie Rohlik Foundation Taft Law Warner Norcross + Judd LLP Wisne Charitable Foundation
Coffee Express Roasting Company The Cassie Family Foundation Jack, Evelyn, & Richard Cole Family Foundation Frank & Gertrude Dunlap Foundation Enterprise Holdings Foundation EY James & Lynelle Holden Fund Japan Business Society of Detroit Foundation Josephine Kleiner Foundation Dolores & Paul Lavins Foundation Ludwig Foundation Fund Madison Electric Company Michigan First Credit Union Plante Moran Renaissance (MI) Chapter of the Links Louis & Nellie Sieg Foundation Samuel L. Westerman Foundation
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DSO PERFORMANCE MAGAZINE 47
DETROIT SYMPHONY ORCHESTRA
CELEBRATING YOUR LEGACY SUPPORT BARBARA VAN DUSEN, Honorary Chair
The 1887 Society honors individuals who have made a special legacy commitment to support the Detroit Symphony Orchestra. Members of the 1887 Society ensure that future music lovers will continue to enjoy unsurpassed musical experiences by including the DSO in their estate plans. Ms. Doris L. Adler Dr. & Mrs. William C. Albert Mr. & Mrs. Robert A. Allesee ◊ Dr. Lourdes V. Andaya Mr. & Mrs. Eugene Applebaum◊ Dr. Augustin & Nancy◊ Arbulu Mr. David Assemany & Mr. Jeffery Zook* Ms. Sharon Backstrom Sally & Donald Baker Mr. & Mrs. Lee Barthel Mr. Mark G. Bartnik & Ms. Sandra J. Collins Stanley A. Beattie Mr. & Mrs. Mandell L. Berman ◊ Virginia B. Bertram ◊ Mrs. Betty Blair Ms. Rosalee Bleecker Mr. Joseph Boner Gwen & Richard Bowlby Mr. Harry G. Bowles ◊ Mr. Charles Broh◊ Mrs. Ellen Brownfain William & Julia Bugera CM Carnes Cynthia Cassell, Ph. D. Eleanor A. Christie Ms. Mary F. Christner Mr. Gary Ciampa Robert & Lucinda Clement Drs. William ◊ & Janet Cohn Lois & Avern◊ Cohn Mrs. RoseAnn Comstock◊ Mr. Scott Cook, Jr. Mr. & Ms. Thomas Cook Dorothy M. Craig◊ Mr. & Mrs. John Cruikshank Julie & Peter Cummings Joanne Danto & Arnold Weingarden Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Ms. Leslie C. Devereaux Mr. John Diebel◊ Mr. Stuart Dow Mr. Roger Dye & Ms. Jeanne A. Bakale Mr. & Mrs. Robert G.◊ Eidson Marianne T. Endicott Ms. Dorothy Fisher◊ Mrs. Marjorie S. Fisher◊ 48
Mr. & Mrs. Phillip Wm. Fisher Dorothy A. & Larry L. Fobes Samuel & Laura Fogleman Mr. Emory Ford, Jr.◊ Endowment Dr. Saul & Mrs. Helen Forman Barbara Frankel◊ & Ron Michalak Herman & Sharon Frankel Mrs. Rema Frankel◊ Jane French◊ Mark & Donna Frentrup Alan M. Gallatin Janet M. Garrett Dr. Byron P.◊ & Marilyn Georgeson Jim & Nancy Gietzen Mr. Joseph & Mrs. Lois Gilmore Victor◊ & Gale Girolami Ruth & Al◊ Glancy David & Paulette Groen Mr. Gerald Grum◊ Rosemary Gugino Mr. & Mrs. William Harriss Donna & Eugene Hartwig Ms. Nancy B. Henk Joseph L. Hickey Mr. & Mrs. Thomas N. Hitchman Ronald M. & Carol◊ Horwitz Andy Howell Carol Howell◊ Paul M. Huxley & Cynthia Pasky David & Sheri Jaffa Mr. & Mrs. Thomas H. Jeffs II Mr. & Mrs. Richard J. Jessup Mr. George G. Johnson Ms. Carol Johnston Lenard & Connie Johnston Carol M. Jonson Drs. Anthony & Joyce Kales Faye & Austin◊ Kanter Norb ◊ & Carole Keller Dr. Mark & Mrs. Gail Kelley June K. Kendall◊ Dimitri◊ & Suzanne Kosacheff Douglas Koschik Mr. & Mrs. Arthur J. Krolikowski◊ Mary Clippert LaMont Ms. Sandra Lapadot Mrs. Bonnie Larson Ann C. Lawson◊ Allan S. Leonard
DSO PERFORMANCE MAGAZINE
Max Lepler & Rex L. Dotson Dr. Melvin A. Lester◊ Mr. & Mrs.◊ Joseph Lile Eric & Ginny Lundquist Harold Lundquist◊ & Elizabeth Brockhaus Lundquist Roberta Maki Eileen & Ralph Mandarino Judy Howe Masserang Mr. Glenn Maxwell Ms. Elizabeth Maysa◊ Mary Joy McMachen, Ph.D. Judith Mich ◊ Rhoda A. Milgrim Mr. & Mrs. Eugene A. Miller John & Marcia Miller Jerald A. & Marilyn H. Mitchell Mr.◊ & Mrs. L. William Moll Shari & Craig Morgan Ms. I. Surayyah R. Muwwakkil Joy & Allan Nachman Geoffrey S. Nathan & Margaret E. Winters Beverley Anne Pack David & Andrea Page ◊ Mr. Dale J. Pangonis Ms. Mary Webber Parker◊ Mr. David Patria & Ms. Barbara Underwood◊ Mrs. Sophie Pearlstein◊ Helen & Wesley Pelling◊ Dr. William F. Pickard Mrs. Bernard E. Pincus Ms. Christina Pitts Mrs. Robert Plummer◊ Mr. & Mrs. P. T. Ponta Mrs. Mary Carol Prokop ◊ Ms. Linda Rankin & Mr. Daniel Graschuck Mr. & Mrs. Douglas J. Rasmussen Ms. Elizabeth Reiha ◊ Deborah J. Remer Mr. & Mrs. Lloyd E. Reuss◊ Barbara Gage Rex◊ Ms. Marianne Reye Lori-Ann Rickard Katherine D. Rines Bernard & Eleanor Robertson Ms. Barbara Robins Jack & Aviva Robinson◊
Mr.◊ & Mrs. Gerald F. Ross Mr. & Mrs. George Roumell Marjorie Shuman Saulson Ruth Saur Trust Mr. & Mrs. Donald and Janet Schenk Ms. Yvonne Schilla David W. Schmidt◊ Mr. & Mrs. Fred Secrest◊ Mr. & Mrs. Robert L. Shaffer◊ Patricia Finnegan Sharf Ms. Marla K. Shelton Edna J. Shin Ms. June Siebert Mr. & Mrs. Donald R. Simon◊ Dr. Melissa J. Smiley & Dr. Patricia A. Wren David & Sandra Smith Ms. Marilyn Snodgrass ◊ Mrs. Margot Sterren◊ Mr. & Mrs. Walter Stuecken Mr.◊ & Mrs. Alexander C. Suczek David Szymborski & Marilyn Sicklesteel Alice ◊ & Paul Tomboulian Roger & Tina Valade Charles◊ & Sally Van Dusen Mrs. Richard C. Van Dusen Mr. & Mrs. Melvin VanderBrug Mr. & Mrs. George C. Vincent◊ Mr. Sanford Waxer◊ Christine & Keith C. Weber Mr. Herman Weinreich ◊ John◊ & Joanne Werner Mr.◊ & Mrs. Arthur Wilhelm Mr. Robert E. Wilkins ◊ Mrs. Michel Williams Ms. Nancy Williams ◊ Mr. Robert S. Williams & Ms. Treva Womble Ms. Barbara Wojtas Elizabeth B. Work◊ Dr. & Mrs. Clyde Wu◊ Ms. Andrea L. Wulf Mrs. Judith G. Yaker Milton & Lois Zussman◊ And five who wish to remain anonymous
WINTER 2023
The DSO’s Planned Giving Council recognizes the region’s leading financial and estate professionals whose current and future clients may involve them in their decision to make a planned gift to the Detroit Symphony Orchestra. Members play a critical role in shaping the future of the DSO through ongoing feedback, working with their clients, supporting philanthropy and attending briefings twice per year. Linda Wasserman, Chair Mrs. Katana H. Abbott* Mr. Joseph Aviv Mr. Christopher Ballard* Ms. Jessica B. Blake, Esq. Ms. Rebecca J. Braun Mr. Timothy Compton Ms. Wendy Zimmer Cox* Mr. Robin D. Ferriby* Mrs. Jill Governale*
Mr. Henry Grix* Mrs. Julie Hollinshead, CFA Mr. Mark W. Jannott, CTFA Ms. Jennifer Jennings* Ms. Dawn Jinsky* Mrs. Shirley Kaigler* Mr. Robert E. Kass* Mr. Christopher L. Kelly Mr. Bernard S. Kent
Ms. Yuh Suhn Kim Mrs. Marguerite Munson Lentz* Mr. J. Thomas MacFarlane Mr. Christopher M. Mann* Mr. Curtis J. Mann Mrs. Mary K. Mansfield Mr. Mark E. Neithercut* Mr. Steve Pierce Ms. Deborah J. Renshaw, CFP
Mr. James P. Spica Mr. David M. Thoms* Mr. John N. Thomson, Esq. Mr. Jason Tinsley* Mr. William Vanover Mr. William Winkler
*Executive Committee Member
Share the music of the DSO with future generations INCLUDE THE DSO AS A BENEFICIARY IN YOUR WILL
TRIBUTE GIFTS Gifts received – September 1 to November 15, 2023 Tribute gifts to the Detroit Symphony Orchestra are made to honor accomplishments, celebrate occasions, and pay respect in memory or reflection. These gifts support current season projects, partnerships and performances such as DSO concerts, education programs, free community concerts, and family programming. For information about making a tribute gift, please call 313.576.5114 or visit dso.org/donate.
In Honor
In Memory
Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Ms. Cynthia Brody Ms. Janet Gumenick
Dr. John Bernick Mrs. Maureen T. D’Avanzo Mr. David L. Everson & Mrs. Jill Jordan
Ms. Joanne Danto Mrs. Maureen T. D’Avanzo Mr. & Mrs. Martin L. Katz
Florine Mark Mrs. Bonnie Larson
Ms. Amanda Van Dusen Hudson-Webber Foundation
Mr. Alan E. Schwartz Mr. & Mrs. Alan Ackerman Mr. & Mrs. David Foltyn Robert & Lauren Guzzardo Edward A. Roth IV Dr. & Mrs. Edward and Karen Roth
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DSO PERFORMANCE MAGAZINE 49
Y O U R E X P E R I E N C E AT T H E M A X
Our Home on Woodward Avenue The Max M. and Marjorie S. Fisher Music Center is one of Detroit’s most notable cultural campuses. The Max includes three main performance spaces: historic Orchestra Hall, the Peter D. and Julie F. Cummings Cube (The Cube), and Robert A. and Maggie Allesee Hall, plus our outdoor green space, Sosnick Courtyard. All are accessible from the centrally located William Davidson Atrium. The Jacob Bernard Pincus Music Education Center is home to the DSO’s Wu Family Academy and other music education offerings. The DSO is also proud to offer The Max as a performance and administrative space for several local partners.
Parking The DSO Parking Deck is located at 81 Parsons Street. Self-parking in the garage costs $12 for most concerts (credit card payment only). Accessible parking is available on the first and second floors of the garage. Note that accessible parking spaces go quickly, so please arrive early! Valet parking is also available for all patrons (credit card payment only), and a golf cart-style DSO Courtesy Shuttle is available for all patrons who need assistance entering The Max.
What Should I Wear? You do you! We don’t have a dress code, and you’ll see a variety of outfit styles. Business casual attire is common, but sneakers and jeans are just as welcome as suits and ties.
Food and Drink Concessions are available for purchase on the first floor of the William Davidson Atrium at most concerts, and light bites are available in the Paradise Lounge on the second floor. Bars are located on the first and third floors of the William Davidson Atrium and offer canned sodas (pop, if you prefer), beer, wine, and specialty cocktail mixes. Patrons are welcome to bring drinks to their seats at 50
THE MAX M. & MARJORIE S. FISHER MUSIC CENTER 3711 Woodward Avenue Detroit, MI 48201 Box Office: 313.576.5111 Group Sales: 313.576.5111 Administrative Offices: 313.576.5100 Facilities Rental Info: 313.576.5131 Visit the DSO online at dso.org For general inquiries, please email info@dso.org
all performances except Friday morning Coffee Concerts; food is not allowed in Orchestra Hall. Please note that outside food and beverages are prohibited.
difference, including noise-reducing headphones and fidget toys. The DSO also has a quiet room, available for patrons to use at every performance at The Max.
Accessibility
• A golf cart-style DSO Courtesy Shuttle is available for all patrons who need assistance entering The Max.
Accessibility matters. Whether you need ramp access for your wheelchair or are looking for sensory-friendly concert options, we are thinking of you. • The Max has elevators, barrierfree restrooms, and accessible seating on each level. Security staff are available at all entrances to help patrons requiring extra assistance in and out of vehicles. • The DSO’s Sennheiser MobileConnect hearing assistance system is available for all performances in Orchestra Hall. You can use your own mobile device and headphones by downloading the Sennheiser MobileConnect app, or borrow a device by visiting the Box Office. • Available at the Box Office during all events at at The Max, William Davidson Neighborhood Concert Series venues, and chamber recitals, the DSO offers sensory toolkits to use free of charge, courtesy of the Mid-Michigan Autism Association. The kits contain items that can help calm or stimulate a person with a sensory processing
DSO PERFORMANCE MAGAZINE
• Check out the Accessibility tab on dso.org/yourexperience to learn more
WiFi Complimentary WiFi is available throughout The Max. Look for the DSOGuest network on your device. And be sure to tag your posts with #IAMDSO!
Shop DSO Merchandise Visit shopdso.org to purchase DSO and Civic Youth Ensembles merchandise anywhere, anytime!
The Herman and Sharon Frankel Donor Lounge Governing Members can enjoy complimentary beverages, appetizers, and desserts in the Donor Lounge, open 90 minutes prior to each concert through the end of intermission. For more information on becoming a Governing Member, contact Leslie Groves at 313.576.5451 or lgroves@dso.org. WINTER 2023
Gift Certificates Gift certificates are available in any denomination and may be used towards tickets to any DSO performance. Please contact the Box Office for more information.
Rent The Max Elegant and versatile, The Max is an ideal setting for a variety of events and performances: weddings, corporate gatherings, meetings, concerts, and more. Visit dso.org/rentals or call 313.576.5131 for more information.
To report an emergency during a concert, immediately notify an usher or DSO staff member. If an usher or DSO staff member is not available, please contact DSO Security at 313.576.5199
POLICIES
PHONES
SEATING Please note that all patrons (of any age) must have a ticket to attend concerts. If the music has already started, an usher will ask you to wait until a break before seating you. The same applies if you leave Orchestra Hall and re-enter. Most performances are broadcast (with sound) on a TV in the William Davidson Atrium.
TICKETS, EXCHANGES, AND CONCERT CANCELLATIONS n All sales are final and non-refundable. n Even though we’ll miss you, we understand that plans can change unexpectedly, so the DSO offers flexible exchange and ticket donation options. n Please contact the Box Office to exchange tickets and for all ticketing questions or concerns. n The DSO is a show-must-go-on orchestra. In the rare event a concert is cancelled, our website and social media feeds will announce the cancellation, and patrons will be notified of exchange options.
Your neighbors and the musicians appreciate your cooperation in turning your phone to silent and your brightness down while you’re keeping an eye on texts from the babysitter or looking up where a composer was born!
PHOTOGRAPHY & RECORDING We love a good selfie for social media (please share your experiences using @DetroitSymphony and #IAMDSO) but remember that having your device out can be distracting to musicians and audience members. Please be cautious and respectful if you wish to take photos or videos. Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.
NOTE: By entering event premises, you consent to having your likeness featured in photography, audio, and video captured by the DSO, and release the DSO from any liability connected with these materials. Visit dso.org for more.
SMOKING Smoking and vaping are not allowed anywhere in The Max.
Hope has a home: The University of Michigan Prechter Bipolar Research Program What causes bipolar disorder — the dangerous manic highs and devastating lows? Our scientists and research participants are committed to finding answers and effective personalized treatments.
Be a source of hope for bipolar disorder. Questions? Reach out to Lisa Fabian at 734-763-4895 or visit prechterprogram.org.
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DSO PERFORMANCE MAGAZINE 51
A D M I N I S T R AT I V E S TA F F EXECUTIVE OFFICE
Benjamin Brown Production Manager
Joseph Sabatella Fulfillment Coordinator
Erik Rönmark President and CEO James B. and Ann V. Nicholson Chair
Nolan Cardenas Auditions and Operations Coordinator
Alice Sheppard Event Coordinator
Jill Elder Vice President and Chief Revenue Officer Linda Lutz Vice President and Chief Financial and Administrative Officer Joy Crawford Executive Assistant to the President and CEO Serena Donadoni Executive Assistant to the Vice President and Chief Revenue Officer Anne Parsons ◊ President Emeritus
ARTISTIC OPERATIONS ARTISTIC PLANNING Jessica Ruiz Senior Director of Artistic Planning Jessica Slais Creative Director of Popular and Special Programming Claudia Scalzetti Artistic Coordinator Lindzy Volk Artist Liaison
Benjamin Tisherman Manager of Orchestra Personnel
LIBRARY
Bethany Simmerlein Grant Writer Shay Vaughn Major Gift Officer
Robert Stiles Principal Librarian
BUILDING OPERATIONS
Ethan Allen Assistant Principal Librarian
Ken Waddington Senior Director of Facilities and Engineering
Bronwyn Hagerty Orchestra and Training Programs Librarian
Cedric Allen EVS Technician Teresa Beachem Chief Engineer
ADVANCEMENT
Demetris Fisher Manager of Environmental Services (EVS)
Alex Kapordelis Senior Director of Advancement Audrey Kelley Director of Executive and Board Operations Colleen McLellan Director of Institutional and Legislative Partnerships
William Guilbault EVS Technician Robert Hobson Chief Maintenance Technician Aaron Kirkwood EVS Lead
Cassidy Schmid Director of Individual Giving
Daniel Speights EVS Technician
Amanda Tew Director of Advancement Operations
EVENT AND PATRON EXPERIENCE
Leslie Groves Major Gift Officer
Christina Williams Director of Patron and Event Experience
Ali Huber Director of Donor Engagement
Neva Kirksey Manager of Events and Rentals
ORCHESTRA OPERATIONS
Jane Koelsch Major Gift Officer
Kathryn Ginsburg General Manager
Elizabeth McConnell Stewardship Coordinator
Alison Reed, CVA Manager of Volunteer and Patron Experience
Patrick Peterson Director of Orchestra Personnel
Juanda Pack Advancement Benefits Concierge
Dennis Rottell Stage Manager
Susan Queen Gift Officer, Corporate Giving
LIVE FROM ORCHESTRA HALL Marc Geelhoed Executive Producer of Live from Orchestra Hall
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DSO PERFORMANCE MAGAZINE
◊
Deceased
COMMUNICATIONS Matt Carlson Senior Director, Communications and Media Relations
Sarah Smarch Director of Content and Storytelling Natalie Berger Video Content Specialist LaToya Cross Communications and Advancement Content Specialist Hannah Engwall Public Relations Manager Francesca Leo Public Relations Coordinator
COMMUNITY & LEARNING Karisa Antonio Senior Director of Social Innovation and Learning Damien Crutcher Managing Director of Detroit Harmony Debora Kang Director of Education Clare Valenti Director of Community Engagement Kiersten Alcorn Manager of Community Engagement Chris DeLouis Training Ensembles Operations Coordinator Joanna Goldstein Manager of Programs and Student Development Kendra Sachs Training Ensembles Recruitment and Communications Coordinator
FINANCE Agnes Postma Senior Director of Accounting and Finance Adela Löw Director of Accounting and Financial Reporting
WINTER 2023
Sandra Mazza Senior Accountant, Business Operations
Rebecca Villarreal Director, Loyalty Marketing
Hoang Duong Staff Accountant
Sharon Gardner Carr Tessitura Event Operations Manager
Nick Mangrum Assistant Accounting Clerk
Jay Holladay Brand Graphic Designer
Julia Strickland Payroll and Benefits Accountant
Crystal Mann Loyalty Marketing Manager
HUMAN RESOURCES
LaHeidra Marshall Direct Marketing Manager
Hannah Lozon Senior Director of Talent and Culture Jacquez Gray Director of Diversity, Equity, and Inclusion Angela Stough Director of Human Resources Shuntia Perry Recruitment and Employee Experience Specialist
INFORMATION TECHNOLOGY William Shell Director of Information Technology Pat Harris Systems Administrator Michelle Koning Web Manager Aaron Tockstein Database Administrator
MARKETING & AUDIENCE DEVELOPMENT
Connor Mehren Growth Marketing Manager Declan O’Neal Marketing and Promotions Coordinator Kristin Pagels-Quinlan Digital Advertising Manager
PATRON SALES & SERVICE Michelle Marshall Director, Patron Sales and Service Rolande Edwards Patron Sales and Service Manager James Sabatella Group and Tourism Sales Manager
SAFETY & SECURITY George Krappmann Director of Safety and Security
Winter • 2023-2024 Season
Hannah Engwall, editor hengwall@dso.org • ECHO PUBLICATIONS, INC. Tom Putters, publisher James Van Fleteren, designer echopublications.com • Cover design by Jay Holladay • To advertise in Performance: call 248.582.9690 or email tom@echodetroit.com Read Performance anytime! dso.org/performance
Johnnie Scott Safety and Security Manager
Charles Buchanan Senior Director, Marketing and Audience Development
Willie Coleman Security Officer
Teresa Alden Director, Growth Marketing
Sarah McClure Security Officer
dso.org
PERFORMANCE
Joyce Dorsey Security Officer
Tony Morris Security Officer
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Activities of the DSO are made possible in part with the support of the Michigan Arts & Culture Council and the National Endowment for the Arts. DSO PERFORMANCE MAGAZINE 53
UPCOMING CONCERTS & EVENTS
Tchaikovsky & Dvořák Apr 11-13
Debussy & Rachmaninoff Apr 5-7
Ravel’s Mother Goose Apr 18-21
PVS CLASSICAL SERIES
CLASSICAL ROOTS Fri. Mar. 1 – Sat. Mar. 2 PNC POPS SERIES
PVS CLASSICAL SERIES
YUJA WANG PLAYS BARTÓK
Thu. Mar. 21 – Sat. Mar. 23
RED CARPET FILM SCORES
PVS CLASSICAL SERIES
PVS CLASSICAL SERIES
Fri. Apr. 5 – Sun. Apr. 7
Fri. Mar. 8 – Sun. Mar. 10
SCHUMANN & ELGAR’S ENIGMA
Fri. Mar. 15 – Sun. Mar. 17 TINY TOTS (Ages 2-5)
KRIS JOHNSON GROUP
DEBUSSY & RACHMANINOFF
PARADISE JAZZ SERIES
AN EVENING WITH BRANFORD MARSALIS Fri. Apr. 5
Sat. Mar. 16
PVS CLASSICAL SERIES
YOUNG PEOPLE’S FAMILY CONCERT SERIES (Ages 6+)
Thu. Apr. 11 – Sat. Apr. 13
PETER & THE WOLF
TCHAIKOVSKY & DVOŘÁK
Sat. Mar. 16
TINY TOTS (Ages 2-5)
CHAMBER RECITAL
Sat. Apr. 13
FLUTE & STRINGS AROUND THE WORLD Wed. Mar. 20
GEMINI
TICKETS & INFO 313.576.5111 or dso.org
YOUNG PEOPLE’S FAMILY CONCERT SERIES (Ages 6+)
WHEN INSTRUMENTS ROAMED THE EARTH Sat. Apr. 13
CHAMBER RECITAL
QUINTETS WITH DSO PRINCIPAL WINDS Tue. Apr. 16
WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES
RAVEL’S MOTHER GOOSE Thu. Apr. 18 – Sun. Apr. 21
For complete program listings, including Live from Orchestra Hall webcast dates, visit dso.org
New for 2024!
Two Course Pre-�eater menu before all evening performances Menu specially designed to get you to the show on time. Two course dinners from $39 Reservations recommended 313-832-5700
Join us in �e Ghostbar for A�ter-show Desserts Pastries, Flaming Desserts and specialty beverages Available for evening performances Dessert reservations recommended 313-832-5700
4421 Woodward Avenue, Detroit | 313 832 5700 | thewhitney.com