CMDetroit 01/27/24: Hope-Lando Program

2023 - 2024 | 80th SEASON CELEBRATION | DANIEL HOPE

Dear Friends, Greetings to all on this very special night.

On a different night, at Tanglewood in August 2008, I was present when a single pizzicato note ended the final encore that brought the Beaux Arts Trio’s career in America to a hushed conclusion. The finger plucking that note from the fourth movement of the Dvořák Dumky Trio belonged to violinist Daniel Hope, who had been playing alongside the trio’s founder, pianist Menahem Pressler, for the final years of its 53-year career.

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With the Beaux Arts Trio and others, Menahem Pressler played more than 30 times for Chamber Music Detroit and mentored countless more of our organization’s guest musicians (as well as its current president). Thus, it is an honor and a thrill tonight to welcome Daniel Hope to the Chamber Music Detroit stage as the inaugural occupant of our new Menahem Pressler Chair in Chamber Music.

An incredible artist in his own right, Daniel Hope is perhaps the one musician on planet earth who most clearly embodies Menahem Pressler’s legacy of deep musical values, and the artistic passion that has always shaped the kind of music making we at Chamber Music Detroit have loved best for 80 years.

So it is on this night that we celebrate what matters most to Chamber Music Detroit: The Music Itself.

Welcome, everyone.

Fondly,

Steve Wogaman President

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Henri de Toulouse-Lautrec, Louis Comfort Tiffany Au Nouveau Cirque, Papa Chrysanthème (At the New Circus, Papa Chrysanthemum) circa 1894, stained glass

SIGNATURE SERIES Saturday, January 27, 2024, 8 PM | Seligman Performing Arts Center

Randolph Schein, Chairman Stephen Wogaman, President

Daniel Hope, VIOLIN Maxim Lando, PIANO

Paul Blizman, Vice Chairman Robert Hicks, Secretary John Kaplan, Treasurer

“La Belle Epoque”

Board Members Thomas H. Bergh Carol S. Chadwick Laura Chavez-Wazeerud-Din Wendy Zimmer Cox Damien Crutcher Paris Dean Carolyn Demps Daniel DeRose Maria Y. Etienne Richard Grauer Harold Z. Gurewitz Jonathan Lowe Cindy Maxwell Philips David Monaghan Eric Thomas Roberta Viviano Ronald E. Whitney Jacqueline Wiggins Life Trustees Harold Daitch Diane Kaplan Barbara Klarman Norma Jean Shufro Howard Goldberg, in memoriam

GEORGE ENESCU

Impromptu Concertant in G-flat major for Violin and Piano

FRITZ KREISLER

Liebesleid

MAURICE RAVEL

Sonata for Violin and Piano in A minor, “Posthume” INTERMISSION Slavonic Fantasy

ARNOLD SCHOENBERG

Stück für Violine und Klavier (Piece for Violin and Piano)

GABRIEL FAURÉ

Andante for Violin and Piano, Op. 75

CÉSAR FRANCK

Sonata for Violin and Piano in A major Allegretto ben moderato Allegro molto Recitativo–Fantasia: Ben moderato Allegretto poco mosso

This concert is sponsored by the Shayne Solomon Group at Morgan Stanley.

Daniel Hope occupies the inaugural Menahem Pressler Chair in Chamber Music.

Maxim Lando occupies the Kathleen and Randolph Schein Emerging Artist Chair.

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Menahem Pressler Chair in Chamber Music

Chamber Music Detroit is honored to name violinist

Daniel Hope as the Inaugural Occupant of the Menahem Pressler Chair in Chamber Music

The establishment of The Menahem Pressler Chair at Chamber Music Detroit honors the profound artistry, powerful influence, and blessed memory of an artist whose work touched the life of this organization deeply, in countless ways, for decades. Mr. Pressler’s passing in May 2023, at the age of nearly 100 years, has ushered in the beginning of a new era as his enduring legacy continues to resonate throughout the world of music.

Perhaps no other artist in Chamber Music Detroit’s history has made a more lasting impression, particularly in the hearts of the “greatest generation” of passionate music lovers who founded the Chamber Music Society of Detroit as their musical home. This named chair will ensure that – no matter which way the chamber music winds may blow in the future – this legacy of passionate love for music will always be treasured as the core of our mission.

The designation in each season of an occupant of The Menahem Pressler Chair will celebrate an individual musician – irrespective of musical discipline – whose life’s work most closely reflects the cherished musical values that Mr. Pressler himself personified, in his more than thirty performances for Chamber Music Detroit itself, and in his powerful impact upon chamber music and musicians the world over.

Chamber Music Detroit expresses its deep appreciation to Dr. Henry Shevitz for his generosity in making the lead gift to establish The Menahem Pressler Chair in Chamber Music.

Contributors to the Menahem Pressler Chair —

Dr. Henry Shevitz Floy and Lee Barthel Lee & Paul Blizman Lois P. Cohn Cindy & Harold Daitch Richard Grauer Suzanne Burke & Robert Hicks Diane & John Kaplan The Irving and Ethel Palman Foundation Randolph Schein & Kathleen O’Toole Schein Roberta Viviano

— To make a contribution to support the Menahem Pressler Chair in Chamber Music, contact Steve Wogaman steve@cmdetroit.org 313-335-3354 Chamber Music Detroit 440 Burroughs St., Suite 225 Detroit, Michigan 48202

Artist Bios Daniel Hope, VIOLIN Few performers can match the intensity and humanity of Daniel Hope’s music-making or his passion for artistic exploration. His understanding of musical line and expression took root under the early care of his mentor, Yehudi Menuhin. Today, Daniel Hope is one of the most prolific performing and recording artists in the world.

Daniel Hope’s projects have drawn attention to the fate of musicians murdered by the Nazis, to stories of others affected by hatred and bigotry, and to the fine art of composers neglected by history. “I’ve been fascinated by what music can achieve, and I put together different projects every year that in a sense have a kind of political stance,” Hope observes. “And yet I’m not a politician. I’m a musician. But I do believe musicians can use their talents and their communication to make certain things happen.”

His outreach work now extends far and wide. As well as presenting a weekly radio show on Germany’s WDR3 channel, he is the author of four best-selling books in Germany and has written regularly for the Wall Street Journal and Cicero, a monthly German magazine for politics and culture. In 2020, as live performance ceased, he hosted the Hope@Home concerts: 150 events, livestreamed daily from his living room during the early months of the pandemic, which gave a platform to nearly 400 musicians.

Over the past two decades Daniel Hope has appeared with many of the world’s leading orchestras and conductors. He has also worked closely with composers from Alfred Schnittke, Harrison Birtwistle and Torū Takemitsu to Sofia Gubaidulina, Roxanna Panufnik and Gabriel Prokofiev, and has commissioned and premiered more than thirty new scores. In high demand as concerto soloist, recitalist and chamber musician, he often performs at the most prestigious concert halls and festivals, from Carnegie Hall, Wigmore Hall and the Amsterdam Concertgebouw to the BBC Proms, Salzburg and Tanglewood. He became the youngest-ever member of the Beaux Arts Trio in 2002 and gave 400 concerts with the legendary ensemble before its final performance in 2008.

As Associate Artistic Director of the Savannah Music Festival (2004–19), he created season after season of adventurous programs. At the start of the 2016–17 season he succeeded Roger Norrington as Music Director of the Zürcher Kammerorchester, and two years later was appointed Music Director of the New Century Chamber Orchestra in San Francisco. In January 2020, he became the new President of the Beethoven-Haus Bonn, the cultural institution at the heart of the Beethoven 250 celebrations.

Hope launched his recording career in 1999, soon securing a reputation as one of the most distinctive and compelling virtuosos of his generation with the diversity of his studio repertoire. In 2007 he signed an exclusive contract with Deutsche Grammophon and marked his yellow label debut with an album of works by Mendelssohn. That same year he also recorded Schulhoff’s Sonata for solo violin for Anne Sofie von Otter’s album

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of music written by Jewish composers imprisoned in the Terezín concentration camp.

Today Daniel Hope is one of the most prolific classical recording artists in the world, and his DG discography includes over 40 recordings. Hope’s recordings have won seven ECHO Klassik Awards, the Deutsche Schallplattenpreis, Prix Caecilia, “Diapason d’Or of the Year,” the 2014 Edison Classical Award Special Prize and numerous Grammy® nominations.

Daniel Hope was born in Durban, South Africa in 1973. When he was six months old, his father, the distinguished novelist, poet and anti-apartheid activist Christopher Hope, was granted an exit visa on condition that he never return to the country. The family moved to Paris, then London, where Hope’s mother, Eleanor, became secretary and subsequently manager to Yehudi Menuhin. Daniel was inspired by him to study violin with Sheila Nelson, one of England’s finest teachers of young musicians. He enrolled at London’s Royal College of Music in 1984 and subsequently studied at the Royal Academy of Music.

Maxim Lando, PIANO American pianist Maxim Lando has been described as a “dazzling fire-eater” (ARTS San Francisco), a “pianist who dares to do things not considered by others” (ConcertNet, The Classical Music Network) and as “a total musical being” (The New Criterion). He was lauded by the New York Times as displaying “brilliance and infectious exuberance in his New York debut” combined with “impressive delicacy” and a “wild-eyed danger.”

Maxim first made international headlines performing together with Lang Lang, Chick Corea, and The Philadelphia Orchestra led by Yannick Nézet-Séguin at Carnegie Hall’s 2017 Opening Night Gala. Since then, he has performed with major orchestras around the world, including the Pittsburgh Symphony, Toronto Symphony, Israel Philharmonic,

Mariinsky Theater Orchestra, Vancouver Symphony, Zurich Chamber Orchestra, Moscow Philharmonic, St. Petersburg Symphony, Beijing NCPA Orchestra, and many others. This past year he returned to Carnegie Hall with Orchestra of St. Luke’s.

A recipient of the prestigious Gilmore Young Artist Award, Maxim is also First Prize winner in both the 2022 New York Franz Liszt International Competition and The Vendome Prize 2021/22. In 2018 at the age 16, Maxim won First Prize at the Young Concert Artists International Auditions. His following sold-out recital debuts at Carnegie Hall’s Zankel Hall and the Kennedy Center’s Terrace Theater included Liszt’s complete Transcendental Etudes. As winner of the 2021 Juilliard Concerto Competition, he made his Alice Tully Hall debut performing Rachmaninoff Rhapsody on a Theme of Paganini with the Juilliard Orchestra.

Maxim has been featured as a guest artist at numerous festivals, including Gilmore Piano Festival, Aspen Music Festival, Skaneateles Festival, Kissinger Sommer (Germany), Mecklenburg-Vorpommern Festival (Germany), Ravinia Festival, and Musical Olympus International Festival (Russia). Recital highlights include performances at the National Center for Performing Arts in Beijing, Alte Oper Frankfurt, Louis Vuitton Foundation in Paris, Carnegie Hall Presents, Chicago’s Millennium Park and Beethoven Haus in Bonn.

He was invited by Lang Lang to perform for the historic opening of Steinway and Sons in Beijing, and performed Rachmaninoff’s Third Concerto for an outdoor audience of 50,000 people with Wisconsin Chamber Orchestra in Madison.

Maxim partners frequently with violinist Daniel Hope, and is passionate about chamber music and unusual repertoire. He has collaborated with the late Lynn Harrell as well as with Julian Rachlin and the Danish String Quartet, among others and plays regularly with Jupiter Symphony Chamber Players in New York City. His CD “Into Madness” with German violinist Tassilo Probst was recorded by Bavarian Radio on Berlin Classics. The double album continues to receive the highest critical acclaim, with Radio Bremen Zwei announcing “Two 19-year-old newcomers are stirring up the world of classical music.”

The Shayne Solomon Group at Morgan Stanley is proud to support

Chamber Music Detroit Joel Shayne First Vice President Financial Advisor 248-723-1831 joel.a.shayne@morganstanley.com NMLS #1380615 Stuart Solomon Vice President Financial Advisor 248-723-1832 stuart.solomon@morganstanley.com NMLS #1393574 40701 Woodward Ave. Suite 200 Bloomfield Hills, MI 48304 advisor.morganstanley.com/the-shayne-solomon-group

© 2023 Morgan Stanley Smith Barney LLC. Member SIPC. SUP001 CRC 5462808 03/23 CS 607397_3136551 03/23

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Program Notes Support for the program notes is generously provided by Roberta Viviano. Program notes are written by Dr. Jessica Payette, Associate Professor of Music, Oakland University.

The Belle Époque (beautiful era) refers to the period in France between the conclusion of the Franco-Prussian War in 1871 and the outbreak of World War I in 1914. During this time, France, and more broadly, continental Europe, enjoyed a sense of stability, as war and violent revolutions to overthrow the aristocracy receded. The pieces on this program are products of late Romanticism, but the resplendent colors and elegant curves of Art Nouveau are also interwoven.

George Enescu (LIVENI-V RNAV, ROMANIA, 1881–PARIS, 1955)

Sorrow), a sentimental Viennese Ländler dance, was initially deliberately misattributed to Austrian dance orchestra composer and conductor Joseph Lanner (1801–43). Slavonic Fantasy is a more straightforward transcription of themes from Antonín Dvořák’s Songs My Mother Taught Me, Op. 55, No. 4 and Four Romantic Pieces, Op. 75.

Maurice Ravel (CIBOURE, FRANCE, 1875–PARIS, 1937) Sonata for Violin and Piano in A minor, “Posthume” (1897)

Following in the footsteps of Fritz Kreisler, Romanian-born violinist George Enescu began studies at the Vienna Conservatory in 1888 at age 7. In 1882, Kreisler was also admitted to the Conservatory at the same age. After completing studies in Vienna, both violinists then enrolled at the Paris Conservatory. Kreisler graduated from the Paris Conservatory in 1888 at age 12, sharing the premier prix with four other violinists, all of whom were age 20 or older. Enescu focused on composition in Paris, studying with Jules Massenet and Gabriel Fauré, and graduated in 1899. Composed in Paris in 1903, Enescu’s Impromptu Concertant is a wonderful aural emblem of the Belle Époque: a rhythmically flowing piece with curvilinear contours.

Maurice Ravel was dismissed from the Paris Conservatory in 1895 for failure to win any prizes in piano performance or composition. Upon his readmittance in 1897, Ravel composed this single-movement sonata to submit to Professor Gabriel Fauré, and probably premiered the work with his classmate George Enescu. This violin sonata was composed thirty years prior to the publication of Ravel’s second sonata; however, the nickname “posthumous” is appended to the title because the piece was not published until 1975, Ravel’s centenary year. Although this student work is certainly not representative of Ravel’s mature style, we hear how Ravel begins to stretch beyond the harmonic and coloristic palette of his teachers to include qualities that are now associated with Impressionism, such as utilizing the piano’s high register, parallelism (chordal planing), and quartal/quintal chord voicing.

Fritz Kreisler

Arnold Schoenberg

(VIENNA, 1875–NEW YORK, 1962)

(VIENNA, 1874–LOS ANGELES, 1951)

Liebesleid (1905) and Slavonic Fantasy (1914)

Piece for Violin and Piano (1894)

As mentioned above, Fritz Kreisler quickly acquired prestigious mentors and accolades as a child prodigy. He did however encounter some obstacles in his rise to international fame, and was not fully recognized until 1904 when he was awarded the Royal Philharmonic Society’s Gold Medal. Some of Kreisler’s contemporaries, like Hungarian violinist Carl Flesch, noted that Kreisler’s individualistic style of violin playing was so ahead of its time that conductors and audiences did not immediately appreciate his expressive vibrato, portamenti, and frequent bow changes. Despite setbacks fueled by anti-German sentiment in the United States after the World Wars and traumatic injuries (Kreisler was wounded in combat in World War I and was involved in a traffic accident in 1941), Kreisler was beloved to audiences for his impassioned artistry and longevity.

Arnold Schoenberg stands apart from the vast majority of well-known European composers because he was self-taught, both as a string player and composer.

Schoenberg did not have the financial means to attend concerts in Vienna, but he had the good fortune to become friends with Oskar Adler, who helped Schoenberg learn the cello and the rudiments of music, and Alexander von Zemlinsky, who invited Schoenberg to join his amateur orchestra and exchanged compositions with him.

Schoenberg’s miniature composition for violin and piano, which was not assigned an opus number by the composer, dates to early in his career when he adopted traditional tonality and conventional eight-bar phrasing. At the time of composition, probably around 1894, Schoenberg worked in a bank in Vienna. After leaving this job in 1895, Schoenberg managed to establish himself as a professional composer, but struggled to gain approval from Viennese audiences. This period initiated what Schoenberg continuously referred to as his “scandal,” which would grow increasingly more hostile as he abandoned tonality.

Impromptu Concertant in G-flat major for Violin and Piano (1903)

Kreisler frequently composed short musical tributes or parodies, and deliberately misattributed some of these pieces to other composers as a joke. Liebesleid (Love’s

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Gabriel Fauré (PAMIERS, ARIÈGE, FRANCE, 1845–PARIS, 1924) Andante for Violin and Piano, Op. 75 (1897) Gabriel Fauré composed the Andante during a fruitful period of compositional activity in the 1890s that subsequently slowed when he was appointed Director of the Paris Conservatory in 1905. Before reaching this apex, which led to high-profile performances, Fauré’s works were primarily performed at intimate salon concerts and many of his supporters, including Marcel Proust and Winnaretta Singer (the heir to the Singer sewing machine fortune and Princesse Edmond de Polignac), appreciated Fauré’s personality and intellect more than his compositions. To many of his contemporaries, Fauré’s works sounded more modern than those of Richard Wagner, partly because Fauré simultaneously extended tonality and modality. Fauré was a renowned composer of mélodie (French art song) so it’s not surprising that the Andante’s emphasis is on the violin’s singing tone and captivating melodies.

César Franck (LIÈGE, 1822–PARIS, 1890) Sonata for Violin and Piano in A major (1886) At the age of thirteen, César Franck, along with his younger brother, was brought to Paris by their father, who dreamed that piano performances by his sons would take the city by storm in the manner of Franz Liszt or Frédéric Chopin. Franck studied privately with Anton Reicha and waited two years to acquire French citizenship, a requirement for enrolling at the Paris Conservatory. Unfortunately, Franck’s controlling father demanded that his children undertake concert tours to reap profits; the stress associated with this burden led to Franck’s withdrawal from the Conservatory in 1842. Back in Paris, after a brief disastrous return to Belgium, Franck’s romance and courtship of his piano pupil, Félicité Saillot Desmousseaux, provoked a final rupture between Franck and his parents.

He married Félicité in 1848, just as his career as a church organist was taking off. The steady income from this work enabled Franck, for the first time in his life, to devote more energy to composition. Subsequently he enjoyed great success as an organist and a composer. Franck was appointed professor of organ at the Paris Conservatory in 1871, and found that the reception of his works was also bolstered by friendship with members of the Sociéte Nationale de Musique, a group of composers headed

by Camille Saint-Saëns who vowed to compose absolute music with “a profundity of content” that exceeded that of Austro-Germanic composers.

Franck’s Sonata for Violin and Piano is one of the works that is frequently cited to illustrate the fulfillment of this dictum. Franck unifies the work through a cyclic form, a structural concept pioneered much earlier in the nineteenth century by Franz Schubert

and Franz Liszt. The thematic material presented at the work’s opening, in this case a three-note motive, recurs at the end, and generates new themes throughout. Franck introduces several unique approaches within this framework, beginning in the first movement, which serves as a lengthy introduction to the second-movement sonata form. Likely influenced by his expertise as an organist, Franck’s music is harmonically adventurous and moves quickly from key to key, but he is not singularly devoted to Romantic stylistic properties. He revitalizes Baroque practices, including an improvisatory treatment of the unifying motive in the fantasia. The opening of the finale is also striking as Franck crafts a lovely canon between the violin and piano, which will serve as a refrain throughout the movement. The Violin Sonata was composed in the summer of 1886 as a wedding gift for the renowned Belgian violinist Eugène Ysaÿe.

Production Credits Artist Representation Daniel Hope and Maxim Lando appear by arrangement with Daniel Engstfeld and Toben Arts, Inc, New York.

Flowers Kelly Jones Goodness Gracious, Inc Stage Decoration Matthew Bouvier Maria Y. Etienne Cindy Maxwell-Philips & John Philips, Michigan Lighting Resources Shigeru Kawai Piano with support from the Kawai Piano Gallery of Michigan Scott Nelson, piano technician Commemorative Program Willa Walker, editor Christopher Zavac, designer

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Thank You to Our Donors

Named Chairs & Gifts to Endowment ++ = planned gift commitment

NAMED CHAIRS Menahem Pressler Chair in Chamber Music

GIFTS TO ENDOWMENT $1,000 or more, cumulative $250,000 and Up

Lois and Avern Cohn Chair in Education

Kathleen O’Toole Schein & Randolph Schein ++

Cindy and Harold Daitch Chair in Cello Performance

$150,000 - $249,999

Ronald “Rohn” M. Goldman Chair in Viola Performance Enid & Richard Grauer Chair in Vocal Performance Diane L. and John A. Kaplan Chair in Piano Performance Kathleen and Randolph Schein Emerging Artist Chair Henry and Susan Shevitz Collaborative Piano Chair Norma Jean and Arthur S. Shufro Chair in Violin Performance Dolores and O.D. Silverstein Chair in Clarinet Performance ENDOWED CONCERTS The David and Andrea Page 1797 Concert ENDOWED FUNDS Beverly Franzblau Baker Endowment Fund Lee and Paul Blizman Endowment for Contemporary Music Dr. I. Harold and Gertrude S. Friedman Fund, established by Barbara and Edward Klarman

Andrea & David Page Henry Shevitz in memory of Susan Shevitz $100,000 - $149,999 Beverly Baker Lee & Paul Blizman Jean & Sam Frankel Barbara & Edward Klarman Fay B. Herman ++ Leonard Mazerov $50,000 - $99,000 Estate of Betty Blair Cindy & Harold Daitch Diane L. & John A. Kaplan Norma Jean & Arthur S. Shufro Dolores Silverstein $10,000 - $49,999 Floy and Lee Barthel Beztak Companies Penny & Harold Blumenstein Lorraine & Jerome Bookstein Comerica Private Banking Enid & Richard Grauer ++ Hanley Gurwin Kresge Foundation Aviva & Jack Robinson Miriam Sandweiss Joseph Silverstein Davie R. & Effie P. Weinberg Helen & Clyde Wu $1,000 - $9,999 Beth Goldman & David Anderson Frieda Applebaum Eva Redei & Edward Applebaum

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Renah & Max Bardenstein Nora & Guy Barron Batya Berlin Barbara & Harold Beznos Lois R. & Maurice Jerry Beznos Linda & Maurice Binkow Loris G. Birnkrant Betty Blair Nancy & Richard Blieden Lynne B. Cookson Adrienne & Robert Z. Feldstein Harry Francis Dr. & Mrs. Alegro Godley Rochelle & Robert S. Gold Maria Y. Etienne & Howard Goldberg Cynthia & Michael Hathaway Michael Hermanoff Partners of Honigman, Miller, Schwartz & Cohn LLP Carole & Norman Hyman Fay & Austin Kanter Ann & Norman D. Katz Jeannie & Walter Koziol Judy & Michael Layne Linda & Edward C. Levy, Jr. Laura & Channing Lipson Beth Denenberg Lowe & Jonathan Lowe Jerry Luptak Carlton Maley & Blake Spraggins Jeannette Miller Blaire H. Miller & Glenn Clark Dean E. and Barbara J. Richardson Foundation Carol & Leo Sheiner Barbara & Bernard H. Stollman Barbara & Irving Tukel Roberta Viviano Beverly & Hadley Wine Rissa & Sheldon Winkelman Margaret W. Winkelman & Robert A. Krause Susan & Arnold Winshall

CONTRIBUTIONS TO OPERATING FUNDS Foundations, Corporations & Businesses $25,000 and Up Community Foundation for Southeast Michigan Paul M Angell Family Foundation National Endowment for the Arts $10,000 - $24,999 Brogan & Partners Kawai Piano Gallery of Michigan Kresge Foundation Michigan Arts and Culture Council Shayne Solomon Group at Morgan Stanley $5,000 - $9,999 Fischer Family Foundation Greenleaf Trust Irving and Ethel Palman Foundation Varnum Law $1,000 - $4,999 Robert and Bess Cook Foundation Goodness Gracious Floral Roberts Restaurant Group Sigmund and Sophie Rohlik Foundation Waterham Foundation Individuals $25,000 & Up Diane Kaplan Barbara and Edward Klarman Kathleen O’Toole Schein & Randolph Schein Henry Shevitz The Estate of Gerald Grum $10,000-24,999 Floy and Lee Barthel Lee & Paul Blizman Richard Grauer Mary Lee Gwizdala Ann & James Nicholson Dolores Silverstein The Estate of Ruth Adler Schnee

Chamber Music Detroit expresses its deep appreciation to the many individuals, foundations and businesses whose generosity makes possible the concerts, webcasts and educational programs we present in communities across southeast Michigan and beyond.

$5,000-9,999 Sandy & Thomas Bergh Linda & Maurice Binkow Lois P. Cohn Cindy & Harold Daitch Karen & John Fischer Mary Ellen & Harold Gurewitz Richard Sonenklar & Gregory Haynes Cynthia & David Monaghan Roberta Viviano $2,500-4,999 Cecilia Benner Joyce & George Blum Lauri Ellias & James Murphy Carolyn Demps & Guy Simons Bernard Stollman Kathleen & Ronald Whitney Michele & Steve Wogaman $1,000-2,499 Carol S. Chadwick & Taylor Burleson Maria Y. Etienne Carol & Burke Fossee Sara & Michael Frank Thea G. Glicksman Fay Herman Suzanne Burke & Robert Hicks Jeanette J. Isenhour Fran Lewis Cindy Maxwell-Philips & John Philips Beth Baergen & John Mishler Cyril Moscow Marilyn Pincus Danny DeRose & Vinnie Roberts Caitlin Schein Joel & Ruth Shayne Susan & David Thoms William Hulsker & Aris Urbanes $500-999 Claire & Arnold Berkman Michael Bradie Ina Cohen Lynne Cookson

Karen L Thompson Isble DeWard Johnson, Jr. Jan & Peter Lewitt Lynne Metty Jane Miller Sue Ravenscroft Arthur Rose Jeanne Salathiel Constance Silver Mariette & Sidney Simon Robert Tera Jackie & Bob Wiggins Kevin Dennis & Jeremy Zeltzer $250-499 Beth Goldman & David Anderson Ann & Charles Bieneman Stephanie & Dennis Cohen Nancy Duffy Maureen Bell Field & David A. Field Anne Ginn Barbara & Paul Goodman Howard Israel & Henry Grix Cleo & James Hamilton Erika & Ralph Keith Michael Kuhne Laura & Channing Lipson Matthew Mason Joyce & James Montante Susan Sheiner Amy Ergas & Tor Shwayder Willa & Andy Walker Monica Ziegelman Barbara Zitzewitz $100-249 Beverly Franzblau Baker Helena & Richard Balon Kay E. & John E. Bassett Gerda Bielitz Marilyn Brose Pam & Quint Burkhart Cindy & Bob Clement Ronald Clogg Helen Corrigan

Lillian & Walter Dean Margaret Dufault Alan Duncanson Barbara & Gary Eisenberg Edna Freier Margot & Herbert Gardner Marilyn S. & Jeffrey D Gilbert Anita DeMarco Goor Paul Groffsky Janet Gumenick Dana Hertz Judith & Alan Hudson Linda Manzi & Kenneth Jaede Collette Johnson JoAnn & Dan Justice Agatha Pfeiffer Kalkanis Marian Kantor Joseph Kaufman Jean Klarich Sharon Klein Sharon & Jerry Knoppow Robert E. Koenig Denise Figlewicz & Thomas Kozina Nancy & Harold Kulish Dianne Lattemann Thomas G. Libby D. M. Lucente M. Jeffrey Maisels Joan Mann Mary Frances McCaleb Judith Ann R. Miller Judy Miller Wendy S. Sheine & Edwin Monsell Christopher Schim & Michael Morgan Joanne Novice Mary Paquette-Abt Sheila & Joel Pitcoff Martha Pleiss Evelyn & Julian Prince Teresa Romano Joseph Rooney Marlene Ross Loretta Ryder Frank Salomon Michael Schon

Victoria Neale & Richard Scott Marilyn Shapiro Terry Shea Harriet Siden Sylvia Starkman Elaine Tell Ruth Tobias Kim & Ngoc Trinh Lorraine Trujillo Gerri & Ronald Vander Molen Mary Van Dike Elaine L. Weingarden Gerald Weintraub Dean Whitehead Michael Williams Roberta Brown & Keith Wissman Tributes Operating Fund contributions have been received in honor of: Andrew Appel Beverly Baker Carol Chadwick & Taylor Burleson Maria Y. Etienne Rose Fagin Robert Hicks Diane & John Kaplan Steve Schneider Tor Shwayder Roberta Viviano Steve Wogaman Cameron Wolf

Operating Fund contributions have been received in memory of:

Robert L. Koenig Stanley Levy Douglas L. Mann Mary Jane Molesky Chris Hansen-Murray Irving & Ethel Palman Marian Parkins Helen Rowin Ruth Adler Schnee David F. Schon O.D. Silverstein Joann Freeman Shwayder Marjorie Hecht Simon — This list reflects contributions of $100 or more received January 1, 2023 – January 15, 2024.

Chamber Music Detroit deeply regrets any errors or omissions. For questions or concerns, please call Chamber Music Detroit at 313-335-3350.

— Chamber Music Detroit concerts are made possible with support from the Michigan Arts and Culture Council and the National Endowment for the Arts.

Seymour Baxter Raymond Benner Sylvia Bouvier Paul Dufault Joseph Falik Howard Goldberg Peter Green Ernest Klein

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