Performance Magazine

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PERFORMANCE THE MAGAZINE OF THE DETROIT SYMPHONY ORCHESTRA

SYMPHONY ELECTRIC

DSO Principal Viola adds rock to the repertoire

Eat. Learn. Live.

EXPERIENCE HEALTHY COOKING IN A WORLD-CLASS DEMONSTRATION KITCHEN – ONLY AT HENRY FORD WEST BLOOMFIELD HOSPITAL Henry Ford West Bloomfield Hospital is proud to feature cooking classes in our 90-seat demonstration kitchen. Learn to prepare flavorful, nutritious meals from our renowned culinary team, including registered dietitians, physicians and chefs.

Whether you have special medical needs or are just interested in healthy, everyday living, we have the class for you. Recipes for cancer treatment and prevention, gluten-free dishes, options for healthy senior living, solutions for diabetics and heart patients, and simple sushi ideas are just some of the topics we discuss. We even offer a DK KIDS program designed to educate children on making healthy food choices.

To view a full listing of classes or for more information, call (248) 325-3890 or visit HenryFordWestBloomfield.com.

HENRY FORD WEST BLOOMFIELD HOSPITAL

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PERFORM ANCE / VOL . X X / WINTER 201 2

WWW.DSO.ORG

CONTENTS PERFORMANCE Volume XX / Winter ɞɜɝɞ 2011–12 Season

Editor Gabrielle Poshadlo gposhadlo@dso.org 313.576.5194

DSO Administrative Offices Max M. Fisher Music Center 3711 Woodward Ave. Detroit, MI 48201 Phone: 313.576.5100 Fax: 313.576.5101 DSO Box Office: 313.576.5111 Box Office Fax: 313.576.5101 DSO Group Sales: 313.576.5130 Rental Info: 313.576.5050 Email: info@dso.org Web site: www.dso.org Subscribe to our e-newsletter via our website to receive updates and special offers.

Performance is published by the DSO and Echo Publications, Inc. !

Echo Publications, Inc. 248.582.9690 www.echopublications.com Tom Putters, president tom@echopublications.com Toby Faber, advertsing director To advertise in Performance, call 248.582.9690 or email info@echopublications.com Performance magazine online: www.dsoperformance.com !

To report an emergency during a concert, call 313.576.5111. To make special arrangements to receive emergency phone calls during a concert, ask for the house manager.

It is the policy of the Detroit Symphony Orchestra that concerts, activities and services are offered without regard to race, color, religion, national origin, handicap, age or gender. The DSO is an affirmative action, equal opportunity employer.

Activities of the DSO are made possible in part with the support of the National Endowment for the Arts, the Michigan Council for Arts and Cultural Affairs and the City of Detroit.

Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances.

Departments 4 Board of Directors 6 Orchestra Roster 8 News & Notes 29 General Information/Staff

Concerts

Concerts, artist biographies and program notes begin on page 13.

Also read program notes before concerts in Performance magazine online at www.dsoperformance.com

30 Education News 32 Donor Roster 38 Upcoming Concerts

Cover Story

10 Symphony Electric DSO Principal Viola adds rock to the repertoire

The DSO can be heard on the Chandos, Columbia, DSO, Koch, London, Naxos, Mercury Records and RCA labels.

Cover photo by Mark Burnham WWW.DSO.ORG

PERFORMANCE / VOL . X X / WINTER 201 2

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Detroit Symphony Orchestra BOARD OF DIRECTORS OFFICERS Stanley Frankel Chairman

Glenda D. Price, Ph. D Secretary

Melvin A. Lester, M.D. Officer At-Large

Marlies Castaing Vice Chair

Arthur Weiss Treasurer

Lloyd E. Reuss Officer At-Large

Bruce D. Peterson Vice Chair

Phillip Wm. Fisher Officer At-Large

Anne Parsons President & CEO

DIRECTORS Ismael Ahmed

Mark Davidoff

Robert Allesee

Walter E. Douglas

Shelley Heron,‡ Orchestra Representative

Marianne Endicott

Ronald M. Horwitz ‡

Gloria Heppner, Ph. D.

Karen Davidson

Rosette Ajluni

Daniel Angelucci Janet Ankers ‡ Floy Barthel

Mrs. Mandell L. Berman Robert H. Bluestein

Penny B. Blumenstein

‡

John A. Boll, Sr.

Elizabeth Boone

Richard A. Brodie

Lynne Carter, M.D. Gary L. Cowger

Peter D. Cummings, Chairman Emeritus

Linda Dresner

Nicholas Hood, III

Jennifer Fischer

Paul M. Huxley ‡

Laura L. Fournier

Renee Janovsky

Stephen R. D’Arcy

Maureen T. D’Avanzo

Sharad P. Jain

Mrs. Harold Frank

Chacona Johnson‡

Herman Frankel‡

Hon. Damon J. Keith

David N. McCammon

Lois L. Shaevsky

Lois A. Miller

Wei Shen

Allan D. Gilmour

William P. Kingsley

Mrs. Ray A. Shapero Jane F. Sherman

Stephen Strome ‡

David Robert Nelson

Michael R. Tyson

‡

Ralph J. Gerson‡

Joel D. Kellman

Alfred R. Glancy, III,‡ Chairman Emeritus

Richard P. Kughn ‡

Paul Ganson

Lawrence M. Liberson,‡ Orchestra Representative

Samuel

Alan E. Schwartz‡

Sean M. Neall

Michael J. Keegan

Frankel†

Florine Mark

Marjorie S. Saulson

James C. Mitchell, Jr.

Barbara Frankel

Ann Marie Uetz

Faye Alexander Nelson

David Usher

James B. Nicholson,‡ Chairman Emeritus

Barbara Van Dusen‡

Arthur T. O’Reilly‡

Ted Wagner

Robert E.L. Perkins, D.D.S.

Harold Kulish

Hon. Kurtis T. Wilder R. Jamison Williams

William F. Pickard

Bonnie Larson ‡

Brigitte Harris

Jack A. Robinson‡

Edward Miller

Sidney Forbes

Herman Gray, M.D.

Arthur C. Liebler‡

Ralph J. Mandarino

Clyde Wu, M.D.‡

Stephen Polk

John E. Young

Bernard I. Robertson‡

‡ Executive

LIFETIME MEMBERS David Handleman, Sr.†

Dr. Arthur L. Johnson†

Committee

† Deceased

VOLUNTEER COUNCIL 201013 OFFICERS

Janet M. Ankers President

Ellie Tholen Vice President for Public Relations

Virginia Lundquist Vice President for Outreach

Esther Lyons Recording Secretary

Debbie Savoie Vice President for Projects

Dr. Nora Sugintas Vice President for Membership

Ken Beattie Vice President for Administration & Finance

Mary Beattie Corresponding Secretary

BOARD OF DIRECTORS

Marlene Bihlmeyer

Marvin D. Crawford

Gloria Nycek

Gwen Bowlby

Sandie Knollenberg

Todd Peplinski

Gloria Clark

Eva Meharry

Victoria Keys Young

Lynn Miller

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Kelly Hayes – Ex-Officio (Immediate Past President) Eleanor Siewert – Ex-Officio (Parliamentarian) WWW.DSO.ORG

GOVERNING MEMBERS

Governing Members is a philanthropic leadership group designed to provide unique, substantive, hands-on opportunities for leadership and access to a diverse group of valued stakeholders. Governing Members are ambassadors for the DSO and advocates for arts and culture in Detroit and throughout Southeast Michigan. For more information on the Governing Members program, please call the Office of Patron Advancement at 313.576.5460.

OFFICERS

Arthur T. O’Reilly Chairperson

Jan Bernick Vice Chair, Philanthropy

Maureen T. D’Avanzo Vice Chair, Membership

James C. Farber Vice Chair, Outreach

Mary K. Mansfield Vice Chair, Governance

Bonnie Larson Vice Chair, Engagement

Frederick J. Morsches Vice Chair, Communications

Randall Hawes Musician Liaison

Victoria J. King Musician Liaison

Mr. & Mrs. Herbert A. Abrash Richard & Jiehan Alonzo Mr. & Mrs. Richard L. Alonzo Dr. Lourdes V. Andaya Mr. & Mrs. Eugene Applebaum Dr. & Mrs. Ali-Reza R. Armin Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook Jeanne Bakale & Roger Dye Nora Lee & Guy Barron Mr. & Mrs. Martin S. Baum Ken & Mary Beattie Don & Carol Bell Cecilia Benner Mrs. John G. Bielawski Mrs. Betty Blazok Joseph & Barbra Bloch Dr. & Mrs. Rudrick E. Boucher Gwen & Richard Bowlby Mr. Scott Brooks Robert N. & Claire P. Brown Michael & Geraldine Buckles Mrs. Doreen Bull Mr. H. William Burdett, Jr. Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Mr. William N. Campbell Philip & Carol Campbell Dr. & Mrs. Thomas E. Carson Dr. Thomas Clark Lois & Avern Cohn Jack, Evelyn & Richard Cole Family Foundation Mrs. Robert Comstock Brian & Elizabeth Connors Dr. & Mrs. Ivan Louis Cotman Mr. & Mrs. Raymond M. Cracchiolo Ms. Mary Rita K. Cuddohy Mr. Richard Cummings Mr. Marvin Danto Joanne Danto & Arnold Wiengarden Mr. & Mrs. James H. Danto Ms. Barbara Davidson Lillian & Walter Dean Ms. Margaret H. Demant Beck Demery Ms. Leslie Devereaux Ms. Barbara Diles David Elgin Dodge Mr. Peter & Kristin Dolan Mr. & Mrs. Mark Domin Ms. Judith Doyle Eugene & Elaine Driker Paul & Peggy Dufault Rosanne & Sandy Duncan Mr. Robert Dunn Ms. Bette J. Dyer Dr. & Mrs. A. Bradley Eisenbrey WWW.DSO.ORG

Mr. & Mrs. John M. Erb Mary Sue & Paul E. Ewing Mr. David Faulkner Mr. & Mrs. Oscar Feldman Mr. Ron Fischer & Kyoko Kashiwagi Mrs. Max M. Fisher Mr. & Mrs. Herbert Fisher Mr. Steven J. Fishman Emory M. Ford, Jr. Dr. Saul & Mrs. Helen Forman Maxine & Stuart Frankel Dale & Bruce Frankel Rema Frankel Ms. Carol A. Friend & Mr. Mark T. Kilbourn Mr. & Mrs. Daniel E. Frohardt-Lane Mr. & Mrs. William Y. Gard Dorothy & Byron Gerson Gale & Victor Girolami Dr. & Mrs. Kenneth W. Gitlin Dr. & Mrs. Robert Goldman Mr. & Mrs. Mark Goodman Dr. Allen Goodman & Dr. Janet Hankin Mr. Robert Gorlin & Mary Ann DeMattia Mr. & Mrs. James A. Green Dr. & Mrs. Steven Grekin Mr. Jeffrey Groehn Mr. & Mrs. James Grosfeld Alice Berberian Haidostian Dr. Algea O. Hale Mr. Robert Hamel Randall L. & Nancy Caine Harbour Ms. Cheryl A. Harvey Mr. & Mrs. Ross Haun Ms. Nancy B. Henk Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Dr. Jean Holland Dr. Deanna & Mr. David B. Holtzman Jack & Anne Hommes Mr. F. Robert Hozian Jean Wright & Joseph L. Hudson, Jr. Julius & Cynthia Huebner Mr. & Mrs. Richard J. Jessup Mr. John S. Johns Lenard & Connie Johnston Mrs. Ellen D. Kahn & Mr. George M. Zeltzer Faye & Austin Kanter Mr. & Mrs. Norman D. Katz Jacob & Rachel Kellman Michael E. Smerza & Nancy Keppelman Dr. & Mrs. David Kessel Mrs. Frances King Dr. Harry & Katherine Kotsis Robert C. & Margaret A. Kotz David & Maria Kuziemko

Joyce LaBan Dr. Raymond Landes & Dr. Melissa McBrien-Landes Drs. Scott & Lisa Langenburg Anne T. Larin Dr. Klaudia Plawny- Lebenbom & Mr. Michael Lebenbom Mr. David Lebenbom Marguerite & David Lentz Mr. Allan S. Leonard Mr. & Mrs. Daniel Lewis Mr. & Mrs. Robert Liggett Mrs. Florence LoPatin Dr. & Mrs. Charles Lucas Mr. & Mrs. Charles W. Manke, Jr. Elaine & Mervyn Manning Mr. & Mrs. Richard A. Manoogian Mrs. Susan O. McMillan Mr. Ronald Meulebrouck Mr. & Mrs. Alonzo McDonald Patricia A. & Patrick G. McKeever Dr. & Mrs. Donald A. Meier Thomas & Judith Mich Ms. Deborah Miesel John E. & Marcia Miller Mr. & Mrs. Leonard G. Miller Bruce & Mary Miller Dr. Robert & Dr. Mary Mobley Dr. Susan B. Molina & Mr. Stephen R. Molina Mrs. Sheila Mondry Mr. & Mrs. Craig R. Morgan Ms. Florence Morris Dr. Stephen & Dr. Barbara Munk Joy & Allan Nachman Geoffrey S. Nathan & Margaret E. Winters Denise & Mark Neville Mr. & Mrs. James M. Nicholson Patricia & Henry Nickol Mr. & Mrs. David E. Nims Ms. Mariam Noland & Mr. James. Kelly Mr. & Mrs. Stanley Nycek Ms. Jo Elyn Nyman Mrs. Margot C. Parker Mr. & Mrs. Richard G. Partrich Mrs. Sophie Pearlstein Dr. & Mrs. Claus Petermann Mr. Charles L. Peters Mr. & Mrs. Donald E. Petersen Mrs. Helen Pippin Mr. & Mrs. Jack Pokrzywa Mr. & Mrs. William Powers Mr. & Mrs. Nicolas I. Quintana Ms. Ruth Rattner Drs. Y. Ravindranath & Kanta Bhambhani Emily Reid

Dr. Claude & Mrs. Sandra Reitelman Jane Russell Martie & Bob Sachs Debbie & Mike Savoie Mr. & Mrs. Michael Schultz Mr. & Mrs. Fred Secrest Elaine & Michael Serling Mr. & Mrs. Herbert Shanbaum The Honorable Walter Shapero Mr. Stephan Sharf Dr. Les & Mrs. Ellen Siegel Mr. & Mrs. Robert Siewert Mr. & Mrs. Donald R. Simon Mr. & Mrs. William Sirois Mr. & Mrs. Richard Sloan Mr. & Mrs. S. Kinnie Smith, Jr. Mr. & Mrs. Leonard W. Smith William H. Smith Mr. John J. Solecki Mr. Richard A. Sonenklar & Mr. Gregory Haynes Richard & Renate Soulen Dr. Gregory E. Stephens Professor Calvin L. Stevens Mr. Clinton F. Stimpson, Jr. Dr. & Mrs. Charles D. Stocking Ms. Jan J. Stokosa Bernard & Barbara Stollman Dr. Gerald H. Stollman Mr. & Mrs. John Stroh III David Szymborski & Marilyn Sicklesteel Ms. Dorothy Tarpinian Mr. & Mrs. Joel D.Tauber Mr. Robert VanWalleghem Mr. & Mrs. George C. Vincent Mr. & Mrs. William Waak Dr. & Mrs. Ronald W. Wadle Mr. & Mrs. Jonathan T. Walton Mr. Patrick A. Webster Mr. & Mrs. Herman W. Weinreich Mr. & Mrs. Lawrence Weisberg Mr. & Mrs. John Whitecar Mrs. Beryl Winkelman Dr. & Mrs. Max V. Wisgerhof Mr. & Mrs. Jonathan Wolman David & Bernadine Wu Ms. June Kar Ming Wu Dr. & Mrs. Robert E. Wurtz Dr. Alit Yousif & Mr. Kirk Yousif Mrs. Rita J. Zahler Mr. & Mrs. Alan Zekelman Seymour Ziegelman Mr. Paul M. Zlotoff Mrs. Paul Zuckerman Milton & Lois Zussman

PERFORMANCE / VOL . X X / WINTER 2012

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Leonard Slatkin, Music Director Music Directorship endowed by the Kresge Foundation

Michel Camilo, Fred A. and Barbara M. Erb Jazz Creative Director Chair Neeme Järvi, Music Director Emeritus

First Violins

Kimberly A. Kaloyanides Kennedy A C Katherine Tuck Chair

Hai-Xin Wu A A C Alan and Marianne Schwartz and Jean Shapero (Shapero Foundation) Chair A C Walker L. Cisler/Detroit Edison Foundation Chair

Beatriz Budinszky*

Marguerite Deslippe* Elias Friedenzohn*

Laurie Landers Goldman*

LeAnn Toth*

Adam Stepniewski A P The Devereaux Family Chair Ron Fischer*

Hong-Yi Mo*

Robert Murphy* Bruce Smith*

Alvin Score

Shannon Orme

Laurence Liberson

Stephen Molina++

Shannon Orme Barbara Frankel and Ronald Michalak Chair

Linton Bodwin

Bassoons

Alexander Hanna+ Van Dusen Family Chair

Patricia Masri-Fletcher+ Winifred E. Polk Chair Flutes

Sharon Wood Sparrow A P Women’s Association for the DSO Chair

Jeffery Zook

Alexander Mishnaevski+ Julie and Ed Levy, Jr. Chair

Laurence Liberson++

Bass Clarinet

Piccolo

Lilit Danielyan* ^

Douglas Cornelsen PVS Chemicals, Inc./ Jim and Ann Nicholson Chair

Basses

Paul Wingert*

Philip Dikeman++ ^

Marian Tanau*

Theodore Oien+ Robert B. Semple Chair

E-Flat Clarinet

Jeffery Zook

Joseph Striplin*

Clarinets

Úna O’Riordan*

Harp

Second Violins

Hart Hollman

Haden McKay*

Richard Robinson ^

Greg Staples*

Shanda Lowery-Sachs

Carole Gatwood*

Marshall Hutchinson

Laura Rowe*

Glenn Mellow

Robert Bergman*

Craig Rifel

Adrienne Rönmark*

Caroline Coade

Marcy Chanteaux++ ^ Dorothy and Herbert Graebner Chair

Stephen Edwards

Eun Park*

James VanValkenburg++

Robert deMaine+ James C. Gordon Chair

Maxim Janowsky

Joseph Goldman*

Violas

Violoncellos

Oboes

Donald Baker+ Jack A. and Aviva Robinson Chair

Robert Williams+ John and Marlene Boll Chair Victoria King

Michael Ke Ma++ Marcus Schoon

Contrabassoon Marcus Schoon French Horns Karl Pituch+

Bryan Kennedy

Corbin Wagner Mark Abbott

David Everson++ ~

Trombones

Kenneth Thompkins+ Nathaniel Gurin++ Randall Hawes

Conducting Assistant Charles Greenwell Stage Personnel

Bass Trombone

Frank Bonucci Stage Manager

Tuba

Matthew Pons Department Head

Randall Hawes

Dennis Nulty+ Timpani

Eric Schweikert ``# Brian Jones+ ^ Percussion

Larry Anderson Department Head

Michael Sarkissian Department Head Legend

+ Principal

++ Assistant Principal

Eric Shin ``#

``# Substitute musician, Acting Principal

Ian Ding++ ^ William Cody Knicely Chair

* These members may voluntarily revolve seating within the section on a regular basis.

Jacob Nissly+ ^ Ruth Roby and Alfred R. Glancy III Chair

Librarians

Robert Stiles+

^ Extended Leave

~ On Sabbatical

§ African-American Orchestra Fellow

Ethan Allen

Personnel Manager

Stephen Molina Orchestra Personnel Manager Heather Hart Assistant Orchestra Personnel Manager

Trumpets

Stephen Anderson A P Lee and Floy Barthel Chair Kevin Good

William Lucas

Shelley Heron Maggie Miller Chair Brian Ventura++

Geoffrey Johnson§

Han Zheng Hang Su

Catherine Compton

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Orchestra member biographies can be found online at www.dso.org/orchestra.

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WWW.DSO.ORG

SPG91011_DSOad.pdf

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9/19/11

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Classical Music with

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Weekdays 6 am - 7 pm wrcjfm.org A listener supported service of Detroit Public Schools and Detroit Public TV.

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President’s Message Welcome back to Orchestra Hall! Winter is upon us and we’ve much to look forward to. I am pleased to report that we are fortunate to have the opportunity to build on several success stories from 2011 as we begin the DSO’s exciting journey into 2012. Strong leadership and partnerships will be recurring themes associated with these and other positive stories that will unfold in the months ahead.

In December we premiered our new Neighborhood Concert Series to enthusiastic crowds in Dearborn and Beverly Hills and in January, we added series in four additional Metro Detroit venues. As we strive to reach new, or reengage lapsed, audiences we are delighted to report that one third of these Neighborhood patrons are completely new to the DSO, and 80 percent have not subscribed in the past five years. We are well on our way towards achieving our goal to substantially grow the number of lives we touch and increase the frequency of service to each community member we meet.

In Orchestra Hall, we’ve watched students of all ages regularly enjoy concerts thanks to our successful new Soundcard all-access student pass. And well into the first full season of “Live from Orchestra Hall” DSO’s new HD webcasts presented in partnership with Detroit Public Television, audiences from a staggering 40 countries (and counting) regularly experience our classical orchestra performances. (I am told home schooled families are particularly delighted to incorporate our webcasts into their curriculum!)

We are thrilled that our friend and music director Leonard Slatkin chose to renew his commitment to the DSO and to Detroit with a contract extension through 2016, over the same weekend that he and composer Cindy McTee were married in their new metro Detroit home.

And while we lost a dear and longtime friend last November, in March we will dedicate our Classical Roots concerts to the late Arthur Johnson and celebrate our newest lifetime member of DSO’s Board of Directors.

While the success of the DSO is indelibly connected to the dedicated efforts of each of our DSO musicians, I’d like to take this opportunity to acknowledge Kim Kaloyanides Kennedy for the grace, poise and passion she offers us through her role as Acting Concertmaster. Kim’s generosity of spirit is paired with a fierce belief in the endless possibilities that lie before us.

Thanks to all of you, our loyal customers, for your support as we journey together towards a future enriched by enduring music, people and partnerships.

With all best wishes for a satisfying 2012,

Anne Parsons President & CEO 8

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News & Notes

Introducing the Neighborhood Concert Series!

The DSO is pleased to announce that the inaugural season of its Neighborhood Concert Series is in full swing in six metro Detroit neighborhoods: Beverly Hills, Bloomfield Hills, Dearborn, Grosse Pointe, Southfield and West Bloomfield Township. Playing both encore performances from the Orchestra Hall stage and unique repertoire, you can now find the DSO right in your own backyard. The DSO opened the season in December to packed houses at the Ford Community and Performing Arts Center in Dearborn and the Seligman Performing Arts Center at the Detroit Country Day School in Beverly Hills. View the complete concert schedule in all six neighborhoods at www.dso.org/neighborhood. Tickets are still available for all venues but are going fast! Contact the box office at the Max M. Fisher Music Center today to reserve yours for just $25.

DSO Bass Trombone releases solo recording The first recording to take place in the Music Box at the Max M. Fisher Music Center, DSO Bass Trombonist Randall Hawes has recently released his second solo recording, “Barn Burner.”

“It means a lot to me to play in that space,” said Hawes. “While it was being built, the crew gave me a hard hat so I could play there before it was even finished. Hopefully the CD will showcase the great acoustics in that room.”

The repertoire focuses largely on American composers, many of whom have a personal connection with Hawes. Quadrivalence, for example, was composed for Hawes in 1990 by William Rivard, his trombone teacher from Central Michigan University, where he earned a Bachelor of Music Education.

The Sonata for bass trombone and piano by Alec Wilder, on the other hand, is one of the most often performed pieces for bass trombone.

“Barn Burner” is the first recording of the piece with percussion.

Hawes’ next recording is already in the works and is due out next year.

Join the Volunteer Council for sartorial visions of Spring While the weather remains blustery it will be balmy at The Townsend Hotel in Birmingham on Thursday, March 1, 2012 when the DSO Volunteer Council presents its Spring fundraiser. Relax in a private luncheon setting as Saks Fifth Avenue presents “Trumpeting Spring: A Fashion Show of Spring Trends.”

Thursday, March 1, 2012 11 a.m. reception 12 p.m. luncheon and fashion show The Townsend Hotel, 100 Townsend St., Birmingham, Mich. $75-$125. Purchase tickets by calling 313.576.5154.

WWW.DSO.ORG

MEET THE MUSICIANS:

Robert Stiles and Ethan Allen

T

heir names are right there on the orchestra roster, just below the percussion section, and yet you may not know their faces, as they are only on stage between works. Members of the orchestra like any violinist or oboist, DSO Principal Librarian Robert Stiles and Librarian Ethan Allen perform each time their musician colleagues take the stage; not so much behind the scenes as on the page.

The Librarian’s rehearsal takes place on the second floor of the Max M. Fisher Music Center, where they can be found studying an orchestral score with their correction tools in hand, making additions and changes to the individual orchestra member’s parts to ensure that the score and parts match.

Robert and Ethan both play instruments, and occasionally perform with the orchestra (Ethan plays percussion, Robert plays double bass and piano) but that’s not why they are members of the orchestra. Their intricate knowledge of music, familiarity with the technical aspects of every instrument, and efforts to represent the composer’s intentions at the highest artistic standards is what makes them essential in putting together the concert experience.

Far in advance of each concert, the principal string players create and/ or confirm bowings for each piece of music and the librarians recreate these by marking each part in pencil for the other players. All potential problems in the music must be ironed out before the first rehearsal.

“The orchestra runs a tight rehearsal schedule, so the music has to be performance-ready at the first rehearsal to ensure an efficient use of the orchestra’s time,” said Allen, who joined the DSO in 2005.

Soon after Robert joined the DSO in 1999, one of his first objectives was to improve the dire storage condition of the orchestra’s music collection. He created a plan to transfer the materials into specially designed archival quality storage containers and oversaw their migration to the clean, temperature-controlled library where they are stored today. “Most of this music has had a pretty tough existence,” said Stiles, “but it’s still here and it is a privilege to help the orchestra bring this music to life.”

The Librarians have created and maintained a performance history database of over 14,000 DSO concerts. In addition WWW.DSO.ORG

they obtained a Mellon Foundation grant to create a web-based search tool for the Archives and Library on the DSO’s website.

To explore the database, see http://tiny.cc/oi674.

They helped acquire a grant to digitize 30 years of radio broadcasts and concert recordings that were originally recorded onto reel-to-reel tapes and were in grave danger of loss due to their age. Also, in collaboration with Wayne State University, the DSO Library’s collection of music ETHAN ALLEN AND ROBERT STILES created under the Works must handle their tasks with the highest Progress Administration (WPA) was artistic standards. Although this behinddigitized. See http://tiny.cc/tt473. the-scenes work is rarely seen by audiences, The diverse nature of the librarians’ role it is always heard whenever the DSO takes makes them a part of the DSO’s past, the stage. present and future. From maintaining historical artifacts, to making last minute

by Gabrielle Poshadlo edits to the music on stage, the librarians

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SYMPHONY

ELECTRIC DSO Principal Viola adds rock to the repertoire

PHOTOS BY MARK BURNHAM

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PERFORMANCE / VOL . X X / WINTER 201 2

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 G P

I

t doesn’t look anything like a viola.

In fact, the five-string instrument DSO Principal Viola Alexander “Sasha” Mishnaevski performs with doesn’t really look like any other instrument, either. And yet it was inspired by the one he’s been playing nearly his entire life, a journey he depicts with “Symphony of Life,” his first recording on electric viola released this year.

“It attempts to tell the story of human life through the classical manner I’m used to, but translated to speak a broader language,” said Mishnaevski.

“LFC (Life Family Career),” for example (track No. 2 on the CD), begins with a din of an alarm clock, a phone ringing and a baby crying, depicting the hectic manner in which many people might start there day. It’s followed by a lilting, optimistic melody by the electric viola as if to say, “it’s all worth it.”

During the Orchestra’s performance with the original cast of Beatlemania six years ago, Mishnaevski was invited to play with the band for the first encore, “Back in the USSR.” Except when he took the stage with the Beatles tribute band, he wasn’t playing a viola. Instead, he was making his stage debut on electric guitar, which he’d been practicing for the last two months.

“The audience was going wild,” said Mishnaevski. “When we started playing ‘Birthday,’ the DSO musicians started to dance. It was amazing. That’s not something that happens at your typical symphony concert.”

Following that concert, Mishnaevski was hooked on the audience’s reaction to a departure from typical classical repertoire.

“I started thinking, how can I have that element of fun on stage that comes with playing something that connects with the audience in that way?”

Two years later, he’d commissioned a five-string electric viola from John Jordan of Jordan Electric Violins in California, who is known for making whimsical electric violins. The Hawaiian Koa instrument is built to the exact specifications of the 1765 Italian acoustic viola Mishnaevski has been playing for 23 years.

WWW.DSO.ORG

While the measurements of the electric viola mimic the acoustic one exactly, making it easier for Mishnaevski to transition between the two instruments whenever necessary, the sound capabilities are completely different. The additional string, the E, allows the electric viola to play in the violin range as well as its own traditional one, and the electronics make the sound flexible to the use of special effects. Rather than depending on the relationship between the vibration of strings and the hollowed body of an acoustic instrument, the electric viola’s sound depends on the speakers, amplifier and the electronics feeding the sound into them. Two sensors beneath each string read the vibrations in stereo.

“I can distort the sound to imitate a flute, oboe, guitar...the possibilities are endless,” said Mishnaevski.

He met Stuart Zaltz, composer and producer of “Symphony of Life” through a mutual friend, a twist of events Mishnaevski describes as fate.

“Stuart’s gigantic talent in composing plus classical training, with vast experience of being on stage in a rock ‘n’ roll scene for many years, I am very happy that the way we think and feel about music is completely in sync,” he said.

The friendship that resulted from this project is depicted light-heartedly on the “Symphony of Life” album cover.

Mishnaevski and Zaltz stand together on an old-world cobblestone street in front of a modern-looking family that’s looking in a shop window.

Looking closely at the original artwork, you’ll discover fun details. For examples, the shop addresses correspond with Mishnaevski’s and Zaltz’s birth years and the pan-handling accordion player sitting of to the side is actually Zaltz in disguise.

“We wanted to see how many people would notice. The dog beside the fire hydrant in the corner? We tried to get him to lift his leg for the photo but he just wouldn’t,” said Mishnaevski.

Mishnaevski made his performance debut on the Jordan viola in 2008 with Brent Lee’s composition of “Ruck and Rill,” performed with the Windsor Symphony Orchestra, conducted by John Morris Russell. The piece riffs on rock ‘n’ roll greats like Moody Blues, Pink Floyd and Jimi Hendrix. Mishnaevski hopes to perform the piece with the DSO in future seasons.

“People always ask me what kind of music I play on the electric viola,” said Mishnaevski. “But really, I don’t even have a finger on the style it is. There is no category for it yet, but that is what makes it all new and exciting.”

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Profiles Leonard Slatkin Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

CLASSICAL SERIES Thursday, March 1, 2012 at 7:30 p.m.

Saturday, March 3, 2012 at 8 p.m. in Orchestra Hall Leonard Slatkin, conductor Hila Plitman, soprano Craig Fahle, narrator

Sergei Prokofiev Peter and the Wolf, Op. 67 (1891-1953) Craig Fahle, narrator

I N T ER M IS SION David Del Tredici Final Alice (b. 1937) Hila Plitman, soprano

This Classical Series concert is generously sponsored by

PVS Chemicals, Inc.

Get the most out of each concert by attending pre-concert presentations, one hour prior to performances (excluding Coffee Concerts). The presentations are informal and may include special guests, lectures and music that reveal interesting facts about the program and provide a behind-the-scenes look at the art of making music.

Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances.

The DSO can be heard on the DSO, Naxos, Chandos, London, RCA and Mercury Record labels.

WWW.DSO.ORG

Internationally acclaimed American conductor Leonard Slatkin began his appointment as Music Director of the Detroit Symphony Orchestra in September of 2008. In addition to his post at the DSO, SLATKIN August 2011 marked the start of his tenure as Music Director of the Orchestre National de Lyon in France.

In addition, Slatkin continues to serve as Principal Guest Conductor of the Pittsburgh Symphony Orchestra, a post that began in the fall of 2008.

Following a 17-year tenure as Music Director of the Saint Louis Symphony Orchestra, Slatkin became Music Director of the National Symphony Orchestra in Washington, D.C. in 1996. Other positions in the United States have included Principal Guest Conductor of the Minnesota Orchestra, where he founded their “Sommerfest;” first Music Director of the Cleveland Orchestra’s summer series at the Blossom Music Festival, a post he held for nine years; Principal Guest Conductor of the Los Angeles Philharmonic Orchestra at the Hollywood Bowl for three seasons; and additional positions with the New Orleans Philharmonic and the Nashville Symphony Orchestra.

Throughout his career, Slatkin has demonstrated a continuing commitment to arts education and to reaching diverse audiences. He is the founder and director of the National Conducting Institute, and advanced career development program for rising conductors, and founded the Saint Louis Symphony Youth Orchestra. This year, he spearheaded the DSO’s Soundcard initiative, an all-access student pass to every Classical, Pops and Jazz concert at Orchestra Hall, all season long.

Maestro Slatkin’s more than 100 recordings have been recognized with seven Grammy awards and 64 nominations. He has recorded with the DSO, National Symphony Orchestra, Saint Louis Symphony, Minnesota Orchestra, Nashville Symphony Orchestra, Chicago Symphony Orchestra, and the New York Philharmonic.

His engagements for the 2011-2012 season include Orchestre de la Suisse Romande, Seoul Philharmonic, NHK Symphony, a tour of Germany with the Deutsches Symphonie-Orchester Berlin, and the New World and National Symphony Orchestras in Washington, D.C. PERFORMANCE / VOL . X X / WINTER 201 2

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Hila Plitmann

Grammy awardwinning soprano Hila Plitmann has quickly become a glittering jewel on the international music scene, known worldwide for her astonishing PLITMANN musicianship and gossamer voice. She regularly premieres works by today’s leading composers while maintaining a vibrant and extraordinarily diverse professional life in film music, musical theatre, and song writing.

The Los Angeles Times calls her a performer with “tremendous vocal and physical grace,” while Entertainment Today raves, “Plitmann has a vocal instrument that is simply unreal in its beauty.” USA Today quotes “Her emotional interpretation of ‘Blowin’ in the Wind’ unleashes startling fury and despair.” Of her extensive soundtrack work as a soloist for the Hollywood blockbuster “The DaVinci Code,” CNN says: “Plitmann’s glissandi sail above the petty pulpits of earthly doctrine with an ethereal ease that argues for Plitmann’s pairing with [Kathleen] Battle or Dawn Upshaw.”

In recent years she has worked with many of today’s leading conductors, including Leonard Slatkin, Kurt Masur, Robert Spano, Marin Alsop, Esa Pekka Salonen, Andrew Litton, and Steven Sloane.

She has appeared as a headliner with the New York Philharmonic, the Los Angeles Philharmonic, the Chicago Symphony Orchestra, the Atlanta Symphony Orchestra, the Minnesota Orchestra, the National Symphony Orchestra, the Israel Philharmonic, the Orpheus Chamber Orchestra, the New Israeli Opera and numerous other orchestras and ensembles in the United States and abroad.

Plitmann has accumulated an impressive catalogue of professional recordings, appearing on the Decca, Telarc, Naxos, CRI, Reference Recordings and Disney labels.

The Da Vinci Code soundtrack (Decca) was a worldwide bestseller, spending several weeks on the Billboard charts. Both Paul Revere’s Ride (Telarc), and The Da Vinci Code received Grammy nominations, and in 2009 Plitmann won the Grammy for ‘Best Classical Vocal Performance’ for her work on the Naxos recording of John Corigliano’s song cycle Mr. Tambourine Man with the Buffalo Philharmonic Orchestra.

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Peter and the Wolf, Op. 67 SERGEI SERGEYEVICH PROKOFIEV

B. April 23, 1891, Sontsovka, Ukraine, Russia D. March 5, 1953, Moscow, Soviet Union

Prokofiev scored Peter and the Wolf for flute, oboe, clarinet, bassoon, three horns, trumpet, bass trombone, two percussionists (playing Bass Drum, Castanets, Cymbals (pair), Snare Drum, Tambourine, Timpani and Triangle) and strings (approximately 24 minutes).

ergei Prokofiev was a Russian composer, pianist and conductor who mastered numerous musical genres and came to be admired as one of the greatest composers of the 20th century. His early works showed an appreciation for dissonant harmonies and asymmetric rhythms and melodies.

Grotesquerie and irony animated Prokofiev’s early works, which were often based on primitive subjects.

Prokofiev’s most enduring works seem to be those where the different facets of his musical personality are in balance, as is the case with Peter and the Wolf, which has

GONE TO THE GILMORE

become one of his most recognized and beloved works.

In 1936, Prokofiev was commissioned

by Natalya Sats and the Central Children’s Theatre in Moscow to write a new “musical symphony” for children. The idea was “to cultivate musical tastes in children from the first years of school.” Prokofiev was intrigued by the invitation and completed Peter and the Wolf in only four days. The premiere on May 2, 1936 (for an audience of “Young Pioneers” during May Day celebrations) was inauspicious at best. In the composer’s own words: “[attendance] was poor and [the work] failed to attract much attention.”

Orchestration: By setting a simple, cautionary children’s tale (which he himself penned) to music, Prokofiev’s intent was to acquaint children with the different instruments of the orchestra by matching the instruments (or sections) to characters in the story and giving each an easily recognizable melodic signature. The cast, with instruments, is as follows: t ɩF CJSE, represented by the flute; t ɩF EVDL, represented by the oboe; t ɩF DBU, represented by the clarinet; t ɩF PME HSBOEGBUIFS, represented by the bassoon; t ɩF XPMG SFQSFTFOUFE CZ UIF 'SFODI horns; t ɩF IVOUFST SFQSFTFOUFE CZ B XPPEXJOE theme (with gunshots on timpani and bass drum); t 1FUFS B i:PVOH 1JPOFFSw SFQSFTFOUFE by the strings.

There is also an optional part for narrator which has inspired many distinguished personalities through the years to record the work.

April 26 - May 12, 2012 TheGilmore.org WWW.DSO.ORG

The Story: Peter lives at his grandfather’s home in a forest clearing. One day he goes out into the clearing, leaving the garden gate open, and the duck that lives in the yard decides to go out to go swimming in a pond nearby.

The duck argues with a little bird (“What kind of bird are you if you can’t fly?” – “What kind of bird are you if you can’t swim?”). Peter’s cat stalks them both quietly and the bird —warned by Peter— flies to safety in a tall tree while the duck swims to safety in the middle of the pond.

Peter’s grandfather scolds him for being out in the meadow (“Suppose a wolf came out of the forest?”) and when Peter defies him, (“Boys like me are not afraid of PERFORMANCE / VOL . X X / WINTER 201 2

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wolves”), his grandfather takes him back into the yard and locks the gate. Soon afterward “a big, grey wolf ” does indeed come out of the forest. The cat quickly climbs into a tree, but the duck, who has excitedly jumped out of the pond, is chased, overtaken and swallowed by the wolf.

Peter fetches a rope and climbs over the garden wall into the tree. He asks the bird to fly around the wolf ’s head to distract it, while he lowers a noose and catches the wolf by its tail. The wolf struggles to get

free, but Peter ties the rope to the tree and the noose only becomes tighter.

Some hunters, who have been tracking the wolf, come out of the forest ready to shoot, but Peter persuades them instead to help him take the wolf to the zoo in a victory parade that includes himself, the bird, the hunters leading the wolf, the cat and Peter’s grumbling Grandfather (“What if Peter hadn’t caught the wolf? What then?”).

In the story’s ending, the narrator tells

the listener “if you listen very carefully, you’ll hear the duck quacking inside the wolf ’s belly, because the wolf in his hurry swallowed her alive.”

The DSO last performed Prokofiev’s Peter and the Wolf, Op. 67 in March, 2009 at a Young People’s Concert conducted by Thomas Wilkins.

DSO SHOP @ THE MA X RECOMMENDS:

Prokofiev – Peter and the Wolf: Leonard Bernstein, narrator & conducting the New York Philharmonic Orchestra, Sony 60175.

Final Alice

THE VALUE OF TRUE ARTISTRY CAN’T BE MEASURED. WE SHOULD KNOW.

DAVID DEL TREDICI

B. March 16, 1937, Cloverdale, California

David Del Tredici’s Final Alice was given its world premiere on October 7, 1976, at Orchestra Hall in Chicago, Illinois. Barbara Hendricks was the soprano soloist; the Chicago Symphony Orchestra was led by Sir Georg Solti. The work is scored for two piccolos, two flutes (second doubling on third piccolo), three oboes and English horn, two clarinets, bass clarinet, E-flat clarinet, three bassoons and contrabassoon, six horns, four trumpets, four trombones, tuba, timpani plus seven percussionists (playing Anvil, Bass Drum, Bongo Drums, Chimes, Cowbell, Crash Cymbals, Crotales, Glockenspiel, Hi-Hat, Marimba, Ratchet, Siren, Snare Drum, Suspended Cymbal, Tam-Tam, Tambourine, Temple Blocks, Tenor Drum, Theremin, TomToms in four pitches, Vibraphone, Whip, Wind Chimes and Xylophone), two harps, celeste and strings. The folk group is comprised of two soprano saxophones, mandolin, banjo and accordion. (approximately 70 minutes)

A

fter making his piano debut with the San Francisco Symphony at age 17, American composer David Del Tredici went on to receive a B.A. from the University of California, Berkeley and an M.F.A. in 1964 from Princeton University, where he studied with composers Earl Kim, Seymour Shifrin and Roger Sessions.

Much of Del Tredici’s early work consisted of elaborate vocal settings of James Joyce, as well as a decade-long obsession with the work of Lewis Carroll.

He was awarded a Pulitzer Prize in 1980 for In Memory of a Summer Day, the first part of Child Alice, which was recorded by Phyllis Bryn-Julson and the Saint Louis Symphony conducted by Leonard Slatkin for the Nonesuch label. While trained in serial technique, Del Tredici now writes in a tonal style; he is considered to be one of the founders of the school known as

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neoromanticism.

Del Tredici has also received a Guggenheim Fellowship and a Woodrow Wilson Fellowship, a Brandeis Creative Arts Award, a Friedheim Award, grants from the National Endowment for the Arts, and election to the American Academy and Institute of Arts and Letters. He is currently the Distinguished Professor of Music at The City College of New York and makes his home in Greenwich Village.

The Composer Writes: Final Alice is a series of elaborate arias, interspersed and separated by dramatic episodes from the last two chapters of Alice’s Adventures in Wonderland, centering around the Trial in Wonderland (which gradually turns to pandemonium) and Alice’s subsequent awakening and return to ‘dull reality.’ To this I have added an Apotheosis.

Final Alice teeters between the worlds of opera and concert music. It is, on the one hand, opera-like in its dramatic continuity, its arias, its different characters. On the other hand, it is a Grand Concerto for voice and orchestra, as a single person must perform all these various functions (maintaining then the familiar concert

hall confrontation between soloist and orchestra). If I were to invent a category for it, I would call Final Alice an “Opera, written in Concert Form.”

Of the poems used, only texts of Arias I, II and V are by Lewis Carroll (and only the poem of Aria I appears in the Alice story). Arias II and IV are the Victorian originals. The relationship between these parodies and originals I found particularly intriguing and ultimately inspiring. Arias I and II are not only Carroll texts, but also two versions of the same poem: Aria II is an earlier version not appearing in Alice.

Both share the same world of confused pronouns and very little sense. Further, the first line of Aria II copies the first line of “Alice Gray,” a sentimental song by William Mee that was popular at the time. “Did Carroll introduce Mee’s poem into the story because the song behind it tells of the unrequited love of a man for a girl named Alice?” So queries Martin Gardner in a footnote from his book The Annotated Alice.

Aria IV, ‘Still more Evidence,’ an extended setting of the poem “Alice Gray,” is my answer. What moved me here was the desire not just to set the words ‘at face value,’ but

rather to capture and convey the feelings those words must have aroused in the breast of the shy Oxford don. “Disillusioned,” the second Victorian original, imitates closely the meter of “Alice Gray,” but grotesquely distorts and mocks its sentiment. It is a cracked mirror-image; a devil’s-version of the angel’s Alice. These two poems, “Alice Gray” and “Disillusioned,” are set side-byside to music of the most violent contrast, as Aria III, ‘Contradictory Evidence.’

Aria V is a setting of the concluding poem from the second Alice book, Through the Looking-Glass. This poem is an acrostic, the initial letters of the lines spelling out the name of the ‘real’ Alice, Alice Pleasance Liddell.

Final Alice tells two stories at once: primary is the actual tale of Wonderland itself, with all its bizarre and unpredictable happenings. All of these are painted as vividly as possible. But ‘reading between the lines,’ as it were, is the implied love story of Lewis Carroll and Alice Liddell, as suggested by the poems “Alice Gray” and the “Acrostic Song.” By introducing these additional poems into the Trial as depositions of evidence, given by the

Opus 3 Piano Series

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Saturday, March 24 Pierre–Laurent Aimard, Piano Works by Schumann, Liszt, Kurtag and Debussy

Saturday, April 14 Richard Goode, Piano Works by Schumann, Brahms and Chopin

Saturday, April 28 Matthias Goerne, Baritone Leif Ove Andsnes, Piano Songs of Mahler and Shostakovich

and Get a Fourth Concert Free! Choose from: Saturday, March 31 Les Amies Nancy Allen, harp Cynthia Phelps, viola Carol Wincenc, flute Music by Debussy, Ravel and others

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All concerts take place at 8 PM at Seligman Performing Arts Center, 13 Mile & Lahser Roads, Beverly Hills Purchase by phone at 248-855-6070 or online at www.ComeHearCMSD.org/Charm WWW.DSO.ORG

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White Rabbit (acting as a kind of chief prosecutor), I wished to bring that love story closer to the surface — not so much as to disturb the amusing, eccentric, sometimes terrifying story as it goes on and on in its inexorable fashion — but enough to leave a recognition; to add what one might call the human dimension of the man, seen only intermittently to be sure, but (one hopes) always affectingly, perhaps lingering in memory after the dream of Wonderland itself has faded.

—David Del Tredici These performances of David Del Tredici’s Final Alice are a Detroit Symphony Orchestra premiere.

DSO SHOP @ THE MA X RECOMMENDS:

Del Tredici – Final Alice: Barbara Hendricks, soprano; Sir Georg Solti conducting the Chicago Symphony Orchestra, Decca Eloquence 4429955.

Celebrating excellence.

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Profiles Jack Everly

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

POPS SERIES A Sci-Fi Spectacular!

Friday, March 9, 2012 at 10:45 a.m.

Saturday, March 10, 2012 at 8 p.m.

Sunday, March 11, 2012 at 3 p.m. in Orchestra Hall Jack Everly, conductor Wayne State University Symphonic Choir* Norah Duncan IV, director

John Williams Main Title from Star Wars: (b. 1932) Suite for Orchestra* arr. Jack Everly Lost in Syndication* John Williams “Adventures on Earth” from E.T. John Barry Somewhere In Time* (b. 1933) John Williams Superman March from Superman* Jerry Goldsmith Star Trek Through the Years (1929-2004) arr. Calvin Custer

I N T ER M IS SION Richard Strauss Also Sprach Zarathustra, Op.30, TrV 176: (1864-1949) 2001 Fanfare John Williams Suite from Close Encounters of the Third Kind * Bernard Herrmann The Day the Earth Stood Still (1911-1975) John Williams “Duel of the Fates” from Star Wars Episode I: The Phantom Menace* John Williams “Throne Room” and End Title from Star Wars: Suite for Orchestra*

Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances.

The DSO can be heard on the DSO, Naxos, Chandos, London, RCA and Mercury Record labels.

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Jack Everly has served as Principal Pops Conductor of the Indianapolis Symphony Orchestra since 2002 and also serves in similar posts with the Baltimore EVERLY Symphony Orchestra, Naples Philharmonic Orchestra and the National Arts Centre Orchestra in Ottawa, and Music Director of the National Memorial Day Concert and A Capitol Fourth on PBS. This season, he returns to The Cleveland Orchestra and appears as guest conductor in Pittsburgh, Phoenix, Fort Worth, Detroit, Edmonton, Toronto, Carnegie Hall and many others. This past summer marked Everly’s Hollywood Bowl debut. Everly is the Music Director of Duke Energy Yuletide Celebration, now a 26-year tradition. These theatrical symphonic holiday concerts are presented annually in December in Indianapolis and are seen by more than 40,000 concertgoers. Everly led the ISO in its first Pops recording, Yuletide Celebration, Volume One, which included three of his own arrangements. Originally appointed by Mikhail Baryshnikov, Everly was conductor of the American Ballet Theatre for 14 years, where he served as Music Director. In addition to his ABT tenure, he has teamed with Marvin Hamlisch in Broadway shows that Hamlisch scored, including The Goodbye Girl, They’re Playing Our Song and A Chorus Line. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions.

In addition to conducting the Memorial Day and Capital Fourth Concerts, Everly has appeared in Performance at the White House on PBS and conducted the songs for the Disney soundtrack, The Hunchback of Notre Dame. He has been Music Director on numerous Broadway cast recordings and conducted the critically praised Everything’s Coming Up Roses: The Complete Overtures of Broadway’s Jule Styne. Among his other CDs are Daniel Rodriguez’s In the Presence with the Czech Philharmonic Chamber Orchestra of Prague and Sandi Patty’s October 2011 release, Broadway Stories.

In 1998, Everly created the Symphonic Pops Consortium, serving as Music Director.

The Consortium, based in Indianapolis, produces a new theatrical pops program each season. In the past 12 years, more than 300 performances of SPC programs have taken place across the U.S. and Canada.

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Profiles André Raphel Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

CLASSICAL SERIES Friday, March 16, 2012 at 10:45 a.m.

Saturday, March 17, 2012 at 8 p.m. in Orchestra Hall André Raphel, conductor Janice Chandler-Eteme, soprano* Brazeal Dennard Chorale, Augustus O. Hill, director John Rosamond Johnson “Lift Ev’ry Voice and Sing” (1873-1954) Brazeal Dennard Chorale Lyrics by James Weldon Augustus O. Hill Arr. Carter arr. Brazeal W. Dennard arr. Augustus O. Hill arr. Damon H. Dandridge

Spirituals Hush!

Walk together Children I Know I’ve been Changed Alice McAllister Tillman, soprano

Daniel Bernard Roumain Dreamers, Dancers and Presidents arr. Hale Smith Four Spirituals (1925-2009) “Let Us Break Bread Together” “Jesus Lay Your Head In The Window” “This Little Light of Mine” “Witness” Alice McAllister Tillman, soprano

I N T ER M IS SION Hale Smith By Yearning and By Beautiful William Levi Dawson Negro Folk Symphony (1899-1990) The Bond of Africa Hope in the Night O Le’ Me Shine, Shine like a Morning Star!

This Classical Series concert is generously sponsored by

PVS Chemicals, Inc.

Get the most out of each concert by attending pre-concert presentations, one hour prior to performances (excluding Coffee Concerts). The presentations are informal and may include special guests, lectures and music that reveal interesting facts about the program and provide a behind-the-scenes look at the art of making music.

Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances.

The DSO can be heard on the DSO, Naxos, Chandos, London, RCA and Mercury Record labels.

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André Raphel has a reputation as an exciting and versatile conductor through innovative programming, a commitment to American music, and fresh interpretations of RAPHEL the standard repertoire.

Described by the New York Times as “agile, demonstrative conductor who is physically drawn into the music,” Raphel is currently in his ninth season as Music Director of the Wheeling Symphony Orchestra and is a guest conductor with the Bamberg Symphony in Germany and the Austin Symphony. He has appeared with most of the major American orchestras including Boston Symphony, Chicago Symphony, Cleveland Orchestra and the New York Philharmonic.

Raphel made his European debut in 2005 with the Neubrandenburger Philharmonie, and returned to Europe during the 2006-07 season to lead the Moravska Philharmonie.

Other international engagements include appearances with the Orquesta Sinfonica Nacional de Columbia, Orquesta Sinfonica Nacional de Costa Rica, and the Auckland Philharmonia. Raphel made his Carnegie Hall debut in 1997, leading Robert Shaw and the Orchestra of St. Luke’s in a concert celebrating the centennial of legendary mezzo-soprano Marian Anderson.

Raphel takes an active interest in audience development. In 2010, he launched a highly successful College Series of concerts with the Wheeling Symphony Orchestra. During his tenure with the Saint Louis Symphony, he served as Music Director of the orchestra’s “In Unison” program, a partnership between the orchestra and local churches.

Born in Durham, North Carolina, Raphel began formal music lessons at age 11. He received his Bachelor of Music degree from the University of Miami and his Master’s Degree from Yale University.

His numerous honors and awards include a commemorative CD issued by the Philadelphia Orchestra in 2010 featuring William Grant Still’s Symphony No.1 with Raphel conducting, the 2006 Distinguished Service Award from Yale University and an Honorary Doctorate from West Liberty University.

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Janice Chandler Eteme

Janice Chandler Eteme has long been among America’s foremost lyric sopranos, singing an astonishing range of music with the world’s top orchestras and conductors. She has been called “one of the ETEME loveliest soprano voices on earth” by The Baltimore Sun and “radiant” by the Cincinnati Enquirer.

Recent career highlights include Strauss’ Four Last Songs with Yuri Temirkanov and the Baltimore Symphony, Daniel Hege and the Syracuse Symphony, Stefan Sanderling and the Florida Orchestra and with Peter Oundjian at the Grand Teton Music Festival. She sang Haydn’s Die Schöpfung with James Conlon and the Cincinnati Symphony Orchestra and with Gabriel Levine and the Pittsburgh Symphony, Tippett’s A Child of Our Time with Andrew Litton and the Dallas Symphony, Mahler’s Symphony No. 2 and Mendelssohn’s Elijah both with Jahja Ling and the San Diego Symphony, and Orff ’s Carmina Burana with Andreas Delfs and the Milwaukee Symphony.

A pre-eminent concert soloist, Chandler Eteme sang under the baton of Robert Shaw with the Cleveland Symphony Orchestra, Minnesota Orchestra, Florida Orchestra, Baltimore Symphony Orchestra and Atlanta Symphony Orchestra. In addition, she has worked with such distinguished conductors as Marin Alsop, Christoph von Dohnányi, Charles Dutoit, Jo Ann Falletta, Claus Peter Flor, Neal Gittleman, Raymond Harvey, Carlos Kalmar, Yakov Kreizberg, Raymond Leppard, Christof Perick, Esa-Pekka Salonen, Alfred Savia, Robert Spano, Vladimir Spivakov, Edo de Waart and Hugh Wolff. She has performed with the Los Angeles Philharmonic, Saint Paul Chamber Orchestra, Boston Symphony Orchestra, NHK ( Japan), among many others.

Chandler Eteme’s recordings include an inspirational solo disc entitled Devotions, DvoÍák’s Te Deum with Zdenek Macal and the New Jersey Symphony, and a forthcoming world-premiere recording of Maslanka’s Mass. She holds a Bachelor of Arts in vocal performance from Oakwood College, a Master of Music in vocal performance from Indiana University, and has studied with Virginia Zeani, Margaret Harshaw and Todd Duncan.

WWW.DSO.ORG

Brazeal Dennard Chorale

The Brazeal Dennard Chorale is one of the oldest African-American choral organizations in the country. Since its founding in 1972 by Dr. Brazeal W. Dennard, the Chorale has presented four decades of enriching performances of music of a verity of genres in concert halls, and at colleges and universities, churches, choral workshops as well as notable music conventions across the nation. The Chorale is especially proud of its role in the development of the annual Classical Roots Concert Series with the Detroit Symphony Orchestra. These concerts bring to life contributions by African-American composers to orchestral works in the classical tradition.

Currently under the artistic direction of Dr. Augustus O. Hill, the Brazeal Dennard Chorale continues in its commitment to offer excellence in choral music performance; to adhere to the organization’s established mission to remember, discover, preserve, and share the Negro spiritual as a part of the artistic community; and to discover and perform significant choral works by African-American composers. In efforts to enlighten and inspire audiences of all ages, organizational outreach programs include a community chorus, children’s choir (ages 7-12), and youth chorale (ages 13-19).

at Wayne State University. He is the artistic director of the Brazeal Dennard Chorale, an organist and director in church music programs, and a member of the adjunct music faculty at Marygrove College.

His vocal, choral, and instrumental compositions and arrangements include Resurrection, a gospel cantata; String Quartet No. 2; Psalm 91 for soloists, chorus and orchestra; Songs from Mizraim; Three Ways for cello and piano; Impressions for Carillon; Fix Me, Jesus for mixed chorus; Acclamation for Brass and Timpani; and Exegesis for tenor solo, chorus, and orchestra, which was performed at the 2008 Classical Roots concerts by the Detroit Symphony Orchestra and the Brazeal Dennard Chorale. Renowned soprano Jessye Norman, the Memphis Symphony Orchestra, the African American Symposium 2000 Orchestra, the University of Michigan Symphony Band, cellist Anthony Elliott and a variety of additional soloists and prestigious instrumental and choral ensembles have performed Hill’s music.

Reach Metro Detroit’s Best Audience

Augustus O. Hill

Augustus O. Hill, composer, arranger, and conductor, received a BS in mathematics from Wilberforce University and an MS in personnel counseling from Miami University (Ohio). His musical HILL training includes a BM in composition and MM in composition and choral conducting from Wayne State University, graduate studies at Indiana University School of Music, and a PhD in composition and music theory from the University of Michigan. He studied composition with James Hartway, Harvey Sollberger, William Albright, Leslie Bassett, William Bolcom, and Evan Chambers; theory with Andrew Mead and James Dapogny; and organ with Marilyn Mason.

A former university counselor and administrator, Dr. Hill taught music theory and conducted the University Choral Union

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Program Notes “Lift Ev’ry Voice and Sing”

JOHN ROSAMOND JOHNSON COMPOSER

B. August 11, 1873, Jacksonville, Florida D. November 11, 1954, New York City

JAMES WELDON JOHNSON LYRICIST

B. June 17, 1871, Jacksonville, Florida D. June 26, 1936, Wiscasset, Maine

Arranged by Roland Carter for chorus accompanied by two flutes, two oboes, three clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani and strings (approximately 3 minutes)

J

ohn Rosamond Johnson was one of the more important figures in African-American music in the first part of the 20th century. He often worked in partnership with Bob Cole or with his own brother, James Weldon Johnson. While he is primarily remembered today as the composer of “Lift Ev’ry Voice and Sing,” he had a long and varied career as a pianist, songwriter, producer, soldier, singer and actor.

Johnson was born in Jacksonville, Florida on August 11, 1873. He exhibited an interest in music while still very young and began to play the piano at the age of 4.

He studied for a time at the New England Conservatory and later with Samuel Coleridge-Taylor in London.

By the end of the 19th century, Johnson was teaching school children at the segregated Stanton School in Jacksonville.

Around 1900, he wrote (in collaboration with his brother James) “Lift Ev’ry Voice and Sing,” which was first performed in commemoration of President Lincoln’s birthday on February 12, 1900, by a choir of over 500 children from the Stanton School.

The song rapidly gained in popularity as it became a means of protesting racism, violence toward African-Americans and discriminatory “Jim Crow” segregation laws.

The NAACP was to adopt “Lift Ev’ry Voice and Sing” in 1919 as “The Negro National Anthem.” The song became popular once again during the Civil Rights Movement of the 1960s and was later entered into the Congressional Record in the 1990s as the official African-American National Hymn.

John’s brother James Weldon Johnson worked in government diplomatic circles and secured a U.S. consul post to Venezuela in 1906. His post left him considerable time for writing, and during a second consul post at Corinto, Nicaragua in 1912, 22

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he completed The Autobiography of an ExColored Man. In the second volume of his autobiography, titled Along This Way, James described the flood of emotion he felt as he wrote the words to “Lift Ev’ry Voice and Sing.” “I could not keep back the tears, and made no effort to do so,” he wrote, describing the writing of these lyrics as one of the single most memorable experiences of his life.

The song’s first stanza is a call to hope, liberty and faith through a ringing of heaven and earth until “victory is won.” The second stanza opens with painful images of slavery’s dark and bitter torment, then returns to a renewed call for hope and victory in the final lines. The final stanza of the song calls for unity and patriotism as part of a larger call to spiritual strength and guidance.

The DSO last performed the Johnson Brothers’ “Lift Ev’ry Voice and Sing” in January of 2010 with Leonard Slatkin conducting.

DSO SHOP @ THE MA X RECOMMENDS:

Rosamond Johnson — “Lift Ev’ry Voice and sing”: Tanglewood Festival Chorus, Keith Lockhart conducting the Boston Pops, RCA 63888.

Dancers, Dreamers and Presidents

DANIEL BERNARD ROUMAIN “DBR”

B. 1971, Skokie, Illinois

Scored for two flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani and three percussionists (playing drum set, triangle, brake drum, tam-tam, bongos, marimba, chimes, cowbell, bass drum, piccolo snare drum, two tom-toms, wood block, congas, vibraphone), piano, synthesizer, harp and strings (approximately 21 minutes).

H

aitian-American artist Daniel Bernard Roumain (DBR) studied music as an undergraduate at Vanderbilt University’s Blair School of Music and completed his master’s and doctoral work at the University of Michigan, under the tutelage of Pulitzer Prize-winning composer William Bolcom.

Having carved a reputation for himself as an innovative composer, violinist, and band leader, DBR has melded his classical music roots with his own cultural references and vibrant musical imagination.

DBR composed music for the ESPN

feature television segment E: 60 Homeless Basketball (for which he was awarded a Sports EMMY nomination for Outstanding Musical Composition) as well as feature documentary films Strange Things

by Alexandria Hammond and Off and Running by Nicole Opper (which premiered at the Tribeca Film Festival and which aired nationally on PBS’ award-winning series, P.O.V., in 2010). DBR composes for theater and dance companies, orchestras and chamber music ensembles around the globe, and tours with his genre-jumping ensemble DBR & THE MISSION. DBR’s work may be explored in depth at www.dbrmusic.com.

The composer writes: On October 29, 2007, Senator Barack Obama appeared on the Ellen DeGeneres Show. Every guest of the show is invited to dance with DeGeneres, and as Obama made his way downstage to meet her, she met him halfway, and together, they danced.

It was a moment full of obvious joy and humor, and the studio audience (and I imagine millions more around the world) enthusiastically cheered and shouted for them. I did too. But months later, while the debates on race, religion, identity and sexual orientation raged on, I thought back to those few moments and realized just how special, and meaningful, their dance was.

Here was a young, mixed-race, heterosexual man dancing with a young, white, lesbian woman, all on national television. Could this scene have happened in the 1960s, 1970s, or even 1980s? It all made for great television, and even greater theatre, but as a composer, I was inspired by the total relevance of it all, that our future president had found yet another way to communicate the sharp wit of his intellectual prowess: through the comfortable ease of his hips and body.

Dancers, Dreamers, and Presidents takes its title and inspiration from the 21 second dance shared by Obama and DeGeneres.

Each word of the title represents a movement in the piece, and each movement revolves around the instruments of the orchestra combining, layering, and “dancing” with one another.

Dancers begins with a loud, banging solo for the timpani and drum kit, and the music of this movement is derived almost entirely from the rhythms of the drum kit’s low, pounding kick-drum. Dreamers begins with the ominous growls of the contrabass section, followed by the interlocking of small, constantly repeating musical vignettes assigned to each section of the WWW.DSO.ORG

orchestra. Presidents begins with the sound of a synthesizer and its repeated chordal patterns, but it quickly evolves into a hiphop beat, clear melodic fragments, and techno-inspired block chords.

The original plan of this piece was to have the musicians clap their hands, stomp their feet, sing, shout, and preach (testify!) to the audience exactly what I was thinking. I even thought that Obama’s and DeGeneres’ words would make for a fascinating libretto that I could set for a chorus comprised of the members of the orchestra. However, after months of careful consideration, I realized one of the most appealing aspects of instrumental music, devoid of text, was its ability to allow the audience member to assign his/her own ideas, words, and meanings to the music. The intrinsic, and elusive, nature of instrumental music allows us, both as listeners and as followers, the ability to hear the voice of the composer and complete those sentences of sound.

In this way, listening to good music is like dancing with a great friend; it’s all about the partnership.

Watching Obama and DeGeneres dance might not save or change our world, but it certainly says many things about where we were, who we are, and how we all will get there as “one nation under God” (or “under a groove,” depending on who you are).

Maybe the journey begins not by screaming at each other, but by dancing with one another.

These performances of Daniel Bernard Roumain’s Dancers, Dreamers and Presidents are a DSO premiere.

DSO SHOP @ THE MA X RECOMMENDS:

Roumain – Dreamers, Dancers and Presidents: no recording currently available.

Four Spirituals

(“Jesus Lay Your Head in the Window,” “Let Us Break Bread Together,” “This Little Light of Mine,” “Witness”)

By Yearning and By Beautiful, for string orchestra HALE SMITH

B. June 29, 1925, Cleveland, Ohio D. November 24, 2009, Freeport, New York

Four Spirituals is scored for chorus accompanied by two flutes (“Let”: flute, alto flute; “This,” “Witness”: two flutes, second doubling on piccolo); two oboes, two clarinets, two bassoons, horns (“This”: none; “Jesus”: two; “Let,” “Witness”: four); trumpets (“This”: none; “Jesus,” “Let,” “Witness”: two); trombones (“This”: none; WWW.DSO.ORG

“Jesus,” “Let,” “Witness”: two); tuba (“This”: none; “Jesus,” “Let,” “Witness”: one); timpani (“Let,” “Witness”) and two percussion (“Jesus”: Cymbals (Pair), Tambourine, Triangle; “Let”: Cymbals (Pair), Suspended Cymbal; “This”: Tambourine, Triangle; “Witness”: Cymbals (Pair), Suspended Cymbal, Tambourine, Xylophone) and strings (approximately 10 minutes total)

By Yearning and By Beautiful is scored for string orchestra (approximately 8 minutes)

H

ale Smith was an African American composer, arranger, editor and professor of music, born in Cleveland, Ohio on June 29, 1925. He began to study the piano at the age of 7, and his initial performance experience included both classical music and jazz. He regularly attended the children’s concerts given by the Cleveland Orchestra, and soon began to develop his own library of printed scores.

He became so interested in printed music that he took the time to learn various aspects about the printing process from his father.

Smith began composing music in high school. His composition Five Songs won him the BMI Student Composer Award in 1952, while he was a student at the Cleveland Institute of Music. His song cycle The Valley Wind garnered praise from composer Wallingford Riegger around this time. He would later receive a commission from BMI in 1960 for his work Contours for Orchestra. His compositions for orchestra and chorus were frequently influenced by jazz or employed serial techniques.

Hale moved to New York in 1958 where he began working as a music editor. Armed with insight into the printing business, he was able to qualify as an editor and consultant for publishers Edward B. Marks, C.F. Peters, Frank Music and Sam Fox. Smith taught at C.W. Post College on Long Island until 1970. From 1970 to 1984, he was Professor of Music at the University of Connecticut-Storrs. He served as a mentor, colleague, arranger, teacher or consultant to a number of musical notables, including Dizzy Gillespie, Isaac Hayes, Ahmad Jamal, Quincy Jones, Jessye Norman, Horace Silver, Howard Swanson and Eric Dolphy.

Smith suffered poor health for the last several years of his life and passed away on November 24, 2009. In the obituary published several days later by The New York Times, he was referred to as a pioneer who “Broke [the] Borders of Classical and Jazz.”

Smith wrote By Yearning and By Beautiful for string orchestra in 1961, but it would not be premiered until 1972, when it was performed by the Richmond Symphony Orchestra under Joseph Kennedy. It is dedicated to Russell Atkins, who inspired the work’s composition.

The DSO last performed Hale Smith’s Four Spirituals in March, 2006 with Thomas Wilkins conducting (with the exception of “This Little Light of Mine,” which was performed in February, 2008, also with Thomas Wilkins conducting).

These performances of By Yearning and By Beautiful are a DSO premiere.

DSO SHOP @ THE MA X RECOMMENDS:

Smith — By Yearning and By Beautiful: no recording currently available.

Negro Folk Symphony

WILLIAM LEVI DAWSON

B. September 23, 1899, Anniston, Alabama D. May 2, 1990, Montgomery, Alabama

Scored for two flutes, piccolo, two oboes, English horn, two clarinets in B-flat/A, E-flat clarinet, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets in B-flat/A, three trombones, tuba, timpani plus three percussionists (playing Bass Drum, Chimes, Claves, Cymbals (pair), Gong, Side Drum, Tenor Drum, Triangle and Xylophone), harp and strings (approximately 29 minutes)

W

illiam Levi Dawson began composing at a young age, and it was early in his career as a composer that his Trio for Violin, Cello and Piano was performed by members of the Kansas City Symphony Orchestra. In addition to chamber music, he became known for his contributions to both orchestral and choral music, particularly his arrangements of and variations on spirituals.

In fact, his choral arrangements have remained in print almost continuously over the decades.

His teaching career began in the Kansas City public school system; however, much of his career was devoted to developing the choir of the Tuskegee Institute, whose music school he founded and where he taught from 1931 - 1956. Under his leadership, the Tuskegee Institute Choir developed into an internationally renowned ensemble; in 1932, they were invited to sing at Radio City Music Hall for a full week of performances.

Dawson began work on his Negro Folk Symphony while in Chicago. Later, PERFORMANCE / VOL . X X / WINTER 201 2

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Dawson – Negro Folk Symphony: Neeme Järvi conducting the Detroit Symphony Orchestra, Chandos 9226.

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CARNEGIE HALL MAY 10, 2013

DSO SHOP @ THE MA X RECOMMENDS:

JEFF GOLDBERG

while he was touring with the Tuskegee Institute Choir in New York, he showed the manuscript to Leopold Stokowski, who offered suggestions for expanding the work.

In this, its initial three-movement form, it was given its premiere performance by Stokowski and the Philadelphia Orchestra in 1934.

In its overall shape and orchestration, the Negro Folk Symphony falls very much into the late-Romantic tradition. However, after Dawson visited West Africa in 1952, he revised the work thoroughly to introduce authentic African rhythmic patterns, and it was this version of the work that Stokowski recorded and which is still performed today.

The Negro Folk Symphony is easily appreciated purely as a musical work, without any advance knowledge of the melodies upon which it is based or their significance. However, there are definite programmatic elements in the work, as Dawson’s remarks, written for the world premiere, make clear: “This symphony is based entirely upon Negro folk music. The themes are taken from what are popularly known as Negro spirituals, and the practiced ear will recognize the recurrence of characteristic themes throughout the composition. In this composition, the composer has employed three themes taken from typical melodies over which he has brooded since childhood, having learned them at his mother’s knee.”

The melodies Dawson used may have been of his people, but the symphonic development and orchestration he employed were those “used by the [European] composers of the romantic-nationalist school” (composer’s words). The astute listener may even hear stylistic elements reminiscent of Dvořák or Tchaikovsky.

The work’s third movement makes use of two principal themes, taken directly from African-American melodies. The first, which opens the movement (and which returns triumphal at the end) is taken from the spiritual “O Le’ Me Shine.” The second theme, livelier still, is taken from the spiritual “Hallelujah, Lord, I been down in the Sea.” The DSO last performed William Levi Dawson’s Negro Folk Symphony as part of a Classical Series concert given in February, 2008 with Thomas Wilkins conducting.

Leonard Slatkin and the Detroit Symphony Orchestra have been invited to perform at the prestigious Spring For Music festival in Carnegie Hall on May 10, 2013. For their first concerts together in New York, Leonard Slatkin and the Orchestra will present the Four Symphonies of Charles Ives — all on a single night in a unique, three-part program! Showcasing the virtuosity of the Detroit Symphony under Leonard Slatkin, this tour-de-force performance that is already one of the music’s most anticipated events of 2013. Subscribers will be invited to a special Carnegie Preview concert in Orchestra Hall, and special tour packages will be available, so you can cheer your Detroit Symphony Orchestra at Carnegie Hall!

Order your tickets today at 313.576.5111.

The best seats are on hold for our loyal patrons for a limited time only.

For more information about traveling with us, call 313.576.5147.

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Profiles

Nicholas McGegan Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

CLASSICAL SERIES

Friday, March 23, 2012 at 8 p.m. in Orchestra Hall Nicholas McGegan, conductor Robert Levin, piano

Wolfgang Amadeus Mozart Overture to Don Giovanni, K. 527 (1756-1791) Ludwig van Beethoven Piano Concerto No. 5 in E-flat major, (1770-1827) Op. 73, “Emperor” Allegro Adagio un poco mosso Rondo: Allegro Robert Levin, piano

I N T ER M IS SION Improvisation in the Style of Beethoven Robert Levin, piano Wolfgang Amadeus Mozart Symphony No. 38 in D major, K. 504, “Prague” Adagio - Allegro Andante Presto

The DSO thanks Jonathan Del Mar for providing corrections to the printed materials used in these performances, previewing his new Bärenreiter edition, to be published c. 2015.

This Classical Series concert is generously sponsored by

Nicholas McGegan is loved by audiences and orchestras for performances that match authority with enthusiasm, scholarship with joy, and curatorial responsibility with evangelical exuberance.

MCGEGAN He has been music director of Philharmonia Baroque Orchestra for 26 years, and was Artistic Director of the International Handel Festival Göttingen for 20 years.

He has been a pioneer in the process of exporting historically informed practice beyond the world of period instruments to conventional symphonic forces, guestconducting orchestras including the Chicago, St. Louis Symphony, Toronto and Sydney Symphonies, the Cleveland and Philadelphia Orchestras, the New York, Los Angeles, and Hong Kong Philharmonics, and the Northern Sinfonia and the Scottish Chamber Orchestra, as well as opera companies including Covent Garden, San Francisco, Santa Fe and Washington.

Born in England, McGegan was educated at Cambridge and Oxford. He was made an Officer of the Most Excellent Order of the British Empire (OBE) “for services to music overseas.” His awards also include the Halle Handel Prize; the Order of Merit of the State of Lower Saxony (Germany); the Medal of Honour of the City of Göttingen, and an official Nicholas McGegan Day, declared by the Mayor of San Francisco in recognition of his distinguished work with the Philharmonia Baroque.

The most recent additions to his discography of more than 100 releases include three releases from Philharmonia Baroque Orchestra under their new label, Philharmonia Baroque Productions (PBP): Berlioz’ Les Nuits d’été and selected Handel arias with the late Lorraine Hunt Lieberson, Haydn Symphonies nos. 88, 101 and 104, which was nominated for a Grammy® Award, and Vivaldi’s The Four Seasons and other concerti with Elizabeth Blumenstock as violin soloist.

Get the most out of each concert by attending pre-concert presentations, one hour prior to performances (excluding Coffee Concerts). The presentations are informal and may include special guests, lectures and music that reveal interesting facts about the program and provide a behind-the-scenes look at the art of making music.

Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances.

The DSO can be heard on the DSO, Naxos, Chandos, London, RCA and Mercury Record labels.

WWW.DSO.ORG

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Robert Levin

Pianist Robert Levin has been heard throughout the United States, Europe, Australia and in Asia.

His solo engagements include the orchestras of Atlanta, Berlin, LEVIN Birmingham, Boston, Chicago, Cleveland, Detroit, Los Angeles, Montreal, Utah and Vienna on the Steinway with such conductors as James Conlon, Bernard Haitink, Sir Neville Marriner, Seiji Ozawa, Sir Simon Rattle and Joseph Silverstein. On period pianos he has appeared with the Academy of Ancient Music, the English Baroque Soloists, the Handel & Haydn Society, the London Classical Players, the Orchestra of the Age of Enlightenment and the Orchestre Révolutionnaire et Romantique, with Sir John Eliot Gardiner, Christopher Hogwood, Sir Charles Mackerras, Nicholas McGegan, and Sir Roger Norrington.

Renowned for his improvised embellishments and cadenzas in Classical period repertoire, Levin has made recordings for DG Archiv, CRI, Decca/London, Deutsche Grammophon Yellow Label, ECM, New York Philomusica, Nonesuch, Philips and Sony Classical.

A passionate advocate of new music, Levin has commissioned and premiered a large number of works, including Joshua Fineberg’s Veils (2001), John Harbison’s Second Sonata (2003), Yehudi Wyner’s piano concerto Chiavi in mano (Pulitzer Prize, 2006), Bernard Rands’ Preludes (2007) and Thomas Oboe Lee’s Piano Concerto (2007).

In addition to his performing activities, Levin is a noted theorist and Mozart scholar and is the author of a number of articles and essays on the composer.

A member of the Akademie für Mozartforschung, his completions of Mozart fragments are published by Bärenreiter, Breitkopf & Härtel, Carus, Peters, and Wiener Urtext Edition, and recorded and performed throughout the world. His completion of the Mozart C-minor mass, commissioned by Carnegie Hall, was premiered there in January 2005 and has since been recorded and widely performed. Levin is President of the International Johann Sebastian Bach Competition, a member of the American Academy of Arts and Sciences, and Dwight P. Robinson, Jr. Professor of the Humanities at Harvard University.

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Program Notes Overture to Don Giovanni, K. 527

WOLFGANG AMADEUS MOZART

B. January 27, 1756, Salzburg, Austria D. December 5, 1791, Vienna, Austria)

Scored for two flutes, two oboes, two clarinets, two bassoons, two horns two trumpets, timpani and strings (approximately 7 minutes)

I

n 1786, Mozart was nearing the peak of his powers and the height of his career.

In that year, not only had Figaro just been produced in Vienna it was also given in Prague, where public reception was wildly enthusiastic. Buoyed by this success and eager for more, Mozart signed a contract for a new opera with Pasquale Bondini, director of the Prague National Theatre.

Satisfied with their collaboration on Figaro, Mozart turned once again to his librettist Lorenzo Da Ponte, for a subject of his choosing. Da Ponte suggested the myth of Don Juan, and Mozart agreed.

Da Ponte was to take his inspiration from a variety of sources, including the plays by Molière and Goldoni, but he was particularly drawn to the libretto by Bertati for Gazzaniga’s opera (of the same name) which had been staged in Venice in February, 1787.

On October 29, 1787, the premiere of Don Giovanni took place with Mozart conducting, and the new work was most enthusiastically received by the Prague public. Its reception by the Viennese was somewhat cooler, the score being considered ‘difficult’.

Although Mozart labeled Don Giovanni as a “dramma giocoso,” the Don’s sexual depravity is frequently the subject of dark, even vicious humor. The shafts of light and shade that alternate throughout the overture are a reflection of the psychological nuances that Da Ponte skillfully wove into the work’s libretto.

Mozart wrote relatively few works in minor keys; his use of the key of D minor for this tale of the Don’s hellish punishment for his misdeeds is significant as it recalls other works in which he used the same key to equally dramatic effect. Notable examples are the Requiem (particularly the terrifying glimpses of hell in the Dies Irae) and the D minor Piano Concerto (No. 20, K. 466) which, while not a dramatic work, conveys the same overall mood of fury and revenge.

The overture is constructed in sonata form, with the searing opening chords referencing the slain Commendatore’s appearance to the unrepentant Don in the penultimate scene of the opera. The tonality brightens in the exposition to D major, for

the presentation of several lighter themes taken from earlier scenes. During the development section, major and minor keys vie uneasily for attention as these primary themes are reworked. The restatement of all the themes would then lead (in a performance of the complete opera) directly into the opening recitative and aria

by Leporello, the Don’s squire; however, Mozart anticipated the need for concert performances of the overture and devised a separate major-key ending, reflecting the restoration of order and balance through the Don’s banishment to hell.

DSO SHOP @ THE MA X RECOMMENDS:

Mozart: Overture to Don Giovanni: Neville Marriner conducting the Academy St. Martin-in-the-Fields, EMI 85060.

Piano Concerto No. 5 in E-flat major, Op. 73 (“Emperor”) LUDWIG VAN BEETHOVEN

B. December 15 or 16 (baptized, December 17), 1770, Bonn, Germany D. March 26, 1827, Vienna, Austria

Scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings (approximately 38 minutes)

B

eethoven’s five concertos for piano and orchestra continue where Mozart left off with perfecting the genre in the 1780s; however, since he wrote comparatively fewer such works – and since they were also designed as vehicles for the display of his own pianistic virtuosity – he took increasing risks and freedoms with each new essay. In his fifth and final piano concerto (dubbed the “Emperor” by its English publisher, Johann Baptist Cramer), Beethoven continued experimenting with the form, and some of the innovations he introduced would later be taken up by Mendelssohn in his Violin Concerto in E minor and Tchaikovsky in his Piano Concerto in B-flat minor.

The Fifth was the only one of Beethoven’s piano concertos that he himself did not perform in public. By the time of its composition in 1809, Beethoven’s growing deafness made performance with an orchestra increasingly difficult if not impossible. The first known public performance was in Leipzig, given by Friedrich Schneider on November 28, 1811.

One of the most startling changes that Beethoven introduced in this work was to rethink the use – and placement – of the WWW.DSO.ORG

cadenza, traditionally the part of a concerto designed to display the virtuosity of the soloist. Cadenzas had been typically placed by the composer at or toward the end of a given movement. Beethoven turned this convention on its head by opening this, his last concerto, with no fewer than three short cadenzas. This unusual move did have at least one precedent: Mozart’s Piano Concerto in E-flat major K. 271 spotlights the piano in the second measure as well, though Mozart did not go so far as to indulge his soloist with an actual cadenza.

While Beethoven’s fourth concerto begins with the solo instrument unaccompanied, in that work the soloist quietly introduces the opening theme in non-cadenza fashion before politely passing it to the orchestra.

Though the nickname “Emperor” was not applied by Beethoven, it is a fitting designation for this work as grandeur abounds throughout, particularly in the first movement; from the daring opening to the presentation of the movement’s many themes. The militaristic accents with which the work is peppered have prompted some scholars to suggest that the concerto might, in part, be a response by the composer to the politics of the time: as Beethoven composed the work in 1809, Napoleon’s troops were once again preparing to lay siege to the city.

In a stark – and welcome – contrast to the martial excesses of the first movement, the central slow movement is calm and reflective. One theme in particular conveys a sense of vulnerability through the yearning interval of a minor seventh (think of the opening notes of “Somewhere” from Bernstein’s West Side Story). The second movement connects to the third and final movement without a break, when a lone bassoon drops a semitone from B to B-flat.

The final movement of the concerto is a seven-part rondo (A-B-A-C-A-B-A), a form often used (with variations) in concerto finales. There are also ideas and textures here that could also be associated with Beethoven’s symphonies: syncopated figures recall the third movement of the Fourth Symphony, while dotted rhythms in 6/8 anticipate similar galloping passages in the first movement of his Seventh Symphony. These parallels are not surprising given that all three works belong to Beethoven’s middle, or “heroic” period – a remarkably fecund era of the composer’s life during which he created some of his most enduring works, including the Third through Eighth Symphonies, all in spite of his growing deafness.

In the rondo finale, the piano begins by playing the dancelike main theme, followed WWW.DSO.ORG

by full orchestra. The rondo’s B-section begins with scalar patterns in the piano, before the orchestra again responds. The C-section is longer, and presents the theme from the A-section in several different keys before the pianist performs a cadenza. Rather than finishing with an orchestral tutti, the trill that ends the cadenza fades away until the first theme returns, played first by the soloist and followed by the orchestra. In the final section, the theme is subjected to variation before the movement – and the concerto – ends with another brief cadenza

followed by a heroic orchestral response.

The DSO last performed Beethoven’s Piano Concerto No. 5 Op. 73 (“Emperor”) in May of 2009 with Hans Graf conducting and Orion Weiss at the piano.

DSO SHOP @ THE MA X RECOMMENDS:

Beethoven – Piano Concerto No. 5, “Emperor”: Hélène Grimaud, piano, Vladimir Jurowski conducting the Dresden Staatskapelle, Deutsche Grammophon B0009840.

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Symphony No. 38 in D major, K. 504 (“Prague”)

WOLFGANG AMADEUS MOZART

B. January 27, 1756, Salzburg, Austria D. December 5, 1791, Vienna, Austria

Scored for two flutes, two oboes, two bassoons, two horns two trumpets, timpani and strings (approximately 23 minutes)

M

ozart’s love for the sound of the Mannheim orchestra is evident in a passage from a letter he later wrote while there: “…if only we had clarinets too! You wouldn’t believe what a splendid effect a symphony with flutes, oboes and clarinets makes.” Even so, Mozart frequently had to do without the full complement of wind instruments (including clarinets), as they were often simply not available at Salzburg – or elsewhere. Such was the case with the “Salzburg” symphonies of 1779-80, as well as the “Prague” Symphony, K. 504.

Mozart’s relationship with the people of Prague marks a happy period in the otherwise sad tale of his last years. While Vienna was growing indifferent to both the man and his music, Prague couldn’t seem to get enough of either. Mozart actually wrote the “Prague” Symphony in Vienna at the end of 1786 and it may have been performed there around that time. It is a work that is more difficult to perform and is more conceptually advanced than any of his previous efforts in the genre. The tastes of the public having evolved considerably by this time, the symphony was now expected to provide greater artistic weight and depth, instead of merely serving as a collection of pleasant sounds with which to open or close a concert.

In this work, for the last time, Mozart wrote a symphony in D major, the key he employed more than any other in his symphonies. It was the most convenient key when trumpets were to be used; therefore, it came generally to be known as the key of festive music, particularly of overtures.

The “Prague” Symphony, in spite of its two trumpets and timpani, is hardly an overture.

The contrapuntal tensions Mozart creates in the first movement lead the listener into a sound world where the influence of Haydn is unmistakable, where situations of conflict naturally occur.

The slow introduction that Mozart wrote to the first movement is, at 36 bars, unusually long, especially when compared with his other symphonies. This type of introduction served several purposes for audiences of the time: it alerted them to the beginning of the work, provided the listener with the opportunity to settle down and listen and it paved the way for the more

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substantive Allegro that would undoubtedly follow.

The most noticeable feature of the first movement is the motivic chromatic figure that opens the Allegro section, which is gradually transformed and becomes the primary thematic material of the movement. In a break from standard sonata form, the first movement does not contain a secondary theme; rather, the opening theme continues to be developed through the end of the exposition and recapitulation sections, when it unfolds completely into an expression of pure joy.

Typical of Mozart in his later symphonies, the second movement is also in sonata form, instead of making use of a simpler ternary (or A-B-A) structure. With its slow tempo and distinctive melodic material, the listener can easily discern not only the main sections of the movement, but also the reworking of the original melodic material in the development section. By the time the first theme makes its reappearance in the recapitulation, the accompaniment has changed entirely, with the theme entering surreptitiously in the flutes and violins midway through a phrase played by the oboes, bassoons and horns.

The Presto final movement, with its opera buffa-like themes, is reminiscent at times of The Marriage of Figaro. It opens at a relentless pace and does not let up, which adds to its buffa feel. In spite of its light-hearted and comedic tone, the finale features the use of understated and intricate counterpoint, with much of the music’s forward motion coming from the tension created when two voices play melodies in overlapping phrases. Nowhere is the buffa style more apparent than in the development, which begins with loud orchestral outbursts alternating with softer passages of imitative counterpoint in the flutes and oboes. By the time the opening theme returns it has incorporated this outburst from the development, leading the work to a jubilant, exhilarating conclusion.

The DSO last played Mozart’s Symphony No. 38 in D major, K. 504 (“Prague”) in May, 2010, in a Classical series concert conducted

by Peter Oundjian.

DSO SHOP @ THE MA X RECOMMENDS:

Mozart – Symphony No. 38, “Prague”: Charles Mackerras conducting the Prague Chamber Orchestra, Telarc 80148.

Mariners’ Church of Detroit The Maritime Sailors’ Cathedral “A House of Prayer for All People”

Services Every Sunday 8:30 a.m. The Holy Communion, with Organ Music 11:00 a.m. The Holy Communion Sung by the Church’s Professional Choir For a schedule of special services and recitals please visit

www.MarinersChurchofDetroit.org WWW.DSO.ORG

GENERAL INFORMATION Parking Valet Parking is available on Woodward Avenue in front of the main entrance for $12 per vehicle. Secure Garage Parking is available for $7 per vehicle at the Orchestra Place Parking Deck on Parsons St. between Woodward Ave. and Cass Ave. For improved traffic flow, please enter Parsons St. from Cass Ave. DSO security personnel monitor the grounds of the Max and the parking deck, as well a surrounding streets during all events and concerts. The parking deck has reserved space for patrons with handicap permits.

Parking for Coffee Concerts is also available in the Orchestra Place Parking Deck. The DSO offers shuttle bus service to Coffee Concerts from selected locations. Call 313.576.5130 for more information.

during intermission. We invite you to place your beverage orders with the bartenders prior to the start of the concert and your order will be waiting for you at intermission!

Smoking The DSO is pleased to offer a smokefree environment at the Max M. Fisher Music Center. Smoking is not permitted anywhere inside the building. Patrons who wish to smoke must do so outside the building. An outdoor patio is also available on the second level of the Atrium Lobby.

Restrooms Men’s, women’s and family restrooms are located on all levels of the Atrium Lobby. Additional men’s and women’s restrooms are located on the Box Level of Orchestra Hall and on the lower level of the Main Floor.

Accessibility Parking is available in the Orchestra Place Parking Deck for patrons with handicap permits. There are elevators, barrier-free restrooms and accessible seating in all areas of the Max M. Fisher Music Center. Security personnel are available at the entrances to assist handicapped patrons in and out of vehicles.

Hearing assistance devices are available. Please see an usher prior to the performance.

Refreshments Cash bar service and light refreshments are available in the atrium area of the Max M. Fisher Music Center 90 minutes prior to concert time and

Late Seating Policy The DSO makes every attempt to begin concerts on time. In deference to the comfort and listening pleasure of the audience, latecomers will be seated

after the conclusion of the first work on the program. Patrons who leave the hall before or during a work will be reseated after the work is completed.

Ushers will alert patrons as soon as it is possible to be seated. House lights are dimmed to indicate that the concert is about to begin. Latecomers will be able to watch the performance on closedcircuit television in the Atrium Lobby.

Manager to make special arrangements to receive emergency phone calls during a performance. The DSO thanks you for your cooperation in avoiding any extraneous sounds during the concerts. The hall microphones used to record the orchestra are extremely sensitive and will even record the sound of a wristwatch chime.

Lost and Found See the House Manager or call 313.576.5199 during business hours.

Photography and Video Recording Non-flash photography and video recording by silenced handheld devices are allowed during DSO performances.

We encourage you to share your best pictures at www.facebook.com/ detroitsymphony and your coolest videos at www.youtube.com.

Gift Certificates Give friends and loved ones a gift that lasts all year long—the experience of a DSO performance. Gift certificates are available in any denomination and may be used toward the purchase of DSO concert tickets. Visit the DSO Box Office at the Max M. Fisher Music Center or call 313.576.5111 for more information.

Concert Cancellations To find out if a scheduled performance at the Max M. Fisher Music Center has been cancelled due to inclement weather, hazardous roads, power outages or other emergencies, call the Box Office at 313.576.5111, or tune in to WJR 760 AM and WWJ 950 AM.

Max M. Fisher Music Center Rental Information The Max M. Fisher Music Center is an ideal setting for a variety of events and performances. For information on renting the facility, please call 313.576.5050. Rental information is also available online at www.dso.org/rent.

Pagers, Phones, Watches and Extraneous Sounds Cellular phones, pagers and alarm watches must be turned off while at the Max M. Fisher Music Center.

Patrons should speak to the House

ADMINISTRATIVE STAFF Executive Office

Education

Anne Parsons President and CEO

Charles Burke Senior Director of Education Artistic Director of Civic Youth Ensembles

Paul W. Hogle Executive Vice President Patricia Walker Chief Operating Officer Rozanne Kokko Chief Finance and Business Officer Aja G. Stephens Executive Assistant Orchestra Operations!! & Artistic Planning Erik Rönmark Artistic Administrator Kareem George Managing Director of Community Programs Kathryn Ginsburg Artistic Coordinator Charles Greenwell Conducting Assistant

Cameron Ferguson Civic Youth Ensembles Coordinator Emily Lamoreaux Manager of Civic Youth Ensembles Cecilia Sharpe Manager of Education Programs Mike Spiegel Education Coordinator Facility Operations Sue Black Facilities Coordinator Larry Ensman Maintenance Supervisor Greg Schimizzi Chief of Security Finance

Patron & Institutional Advancement Reimer Priester Senior Director of Patron and Institutional Advancement

Marianne Dorais Foundation and Government Relations Officer

Scott Harrison Senior Director of Patron Engagement and Loyalty Programs Executive Producer of Digital Media

Alyce Sclafani Patron and Institutional Advancement Coordinator Patron Development & Sales Angela Detlor Acting Director of Patron Development and Sales Anne Wilczak Director of Events and Patron Experience

Jeremiah Hess Director of Finance

Holly Clement Senior Manager of Event Sales and Administration

Nicole New Manager of Popular and Special Programming

Sandra Mazza Accountant

Elaine Curvin Executive Assistant

Nancy Prochazka Payroll Accountant

Mona DeQuis Assistant Retail Sales Manager

Information Technology

Chuck Dyer Group Sales and Corporate Sales Manager

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Paul Yee Retail Sales Manager Patron Engagement & Loyalty Programs

Stephen Molina Orchestra Personnel Manager

Laura Lee Information Services Specialist

Anna Savone Food and Beverage Manager

Cassie Brenske Governing Members Gift Officer

Donielle Hardy Controller

Dick Jacques Director of Information Technology

Gabrielle Poshadlo Patron Communications and Public Relations Manager

Cynthia Korolov Archivist

Heather Hart Assistant Orchestra Personnel Manager

Alice Sauro Director of Operations and Executive Assistant to the Music Director

B.J. Pearson Senior Manager of Event Operations

History/Archives Paul Ganson Historian

Jennifer Kouassi Front of House Manager Heather Mourer Neighborhood Audience Development Manager

Will Broner Patron Engagement Officer Connie Campbell Senior Manager of Patron Engagement Sharon Carr Assistant Manager of Patron Engagement Joy Crawford Patron Fulfillment Specialist Lindsey Evert Loyalty Programs Coordinator La Heidra Marshall Patron Engagement Officer Marty Morhardt Patron Engagement Assistant Juanda Pack Senior Patron Engagement Officer Tiiko Reese-Douglas Patron Engagement Officer Eric Woodhams Manager of Digital Media and Engagement

PERFORMANCE / VOL . X X / WINTER 2012

29

The DSO Education Department — an ecosystem of music learning DFFHVVLEOH Ȅ H[FHOOHQW Ȅ LQVSLUDWLRQDO Ȅ GLYHUVH Ȅ HPSRZHULQJ Super Saturdays

Max M. Fisher Music Center

Civic Creative Jazz Ensemble

Honda Power of Dreams String Project Civic Concert Orchestra Presto Civic String Orchestra

DSO @ Liggett

Civic Sinfonia

Detroit Symphony Orchestra

Educational Concert Series

Pincus Education Center

Civic Orchestra

The Civic Experience

Civic Jazz Orchestra

Civic Baroque @ UPA

Young People’s Concerts

Civic Philharmonic

Civic in Concert WRCJ

Civic Jazz Band

Orchestra Hall

Civic Wind Symphony

The Civic Experience

The Detroit Symphony Orchestra will give a concert in honor of Dr. Martin Luther King Jr. at Cass Technical High School for the entire student body on Tuesday, January 17, 2012. Acclaimed conductor Chelsea Tipton will guest conduct the DSO.

The Civic Experience offers a musical festival atmosphere, in which different Civic Youth Ensembles perform at staggered times. With one ticket, attendees can enjoy a variety of civic classical and jazz concerts. Concertgoers are invited to stroll to each performance of these incredible young performers. Please join us for our Winter Experience concerts on Mar. 3 and 4 from 1-4 p.m. in the Max M. Fisher Music Center. Tickets are available at www.dso.org.

Honda will sponsor 12 high school seniors from the Detroit School of Arts to travel to Atlanta, GA allowing them to participate in the Honda Battle of the Bands. The 12 band students will have the opportunity to audition for and possibly receive scholarships to Historical Black Colleges and Universities. During the trip, the students will attend a college fair, perform during the Honda Battle of the Bands VIP reception, tour Clark Atlanta University and Morehouse College and visit the Dr. Martin Luther King Jr. Memorial.

Baroque Orchestra at University Prep High School This season, our newly formed Baroque Orchestra at University Prep High School (UPA) will perform on Orchestra Hall stage as an opening act for the Civic Orchestra. UPA Baroque Orchestra will be led by Mark Mutter.

The Civic Orchestra will perform Schubert’s Unfinished Symphony and Petrouchka by Stravinsky. Charles Burke, Artistic Director of Civic Youth Ensembles, will conduct the Civic Orchestra. The concert will take place on Friday, March 2, 2012 at 8:00 p.m.

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PERFORMANCE / VOL . X X / WINTER 201 2

Leonard Slatkin

Tiny Tots

Civic Jazz Concert Band

Civic Chamber Music

Civic Creative Jazz Workshop

Music Learning Alliance

Civic Combo Program

MLK Concert

Honda Battle of the Bands

Allegro Civic String Orchestra

Saturday March 3rd Civic Youth Ensembles Winter Experience 1-4 p.m. in the Max M. Fisher Music Building 1 p.m.

Music Box Jazz Concert Band and Combo C Tad Weed, conductor 2:15 p.m. Orchestra Hall Wind Symphony Dr. Ken Thompson, conductor 3:15 p.m. Orchestra Hall Philharmonic Dr. Ken Thompson, conductor Sunday March 4th Civic Youth Ensembles Winter Experience 1-4 p.m. in the Max M. Fisher Music Building 1 p.m.

Music Box Creative Jazz Ensemble and Creative Jazz Workshop Rayse Biggs and Kurt Krahnke, conductors 1 p.m.

Orchestra Hall String Ensemble Allegro Cecelia Sharpe, conductor 1:30 p.m. Orchestra Hall String Ensemble Presto Nick Karpinsky, conductor 2:15 p.m. Orchestra Hall Sinfonia Charles Burke, conductor 3:15 p.m. Orchestra Hall Concert Orchestra Tim Cibor, conductor

WWW.DSO.ORG

133rd

season

ums 11/12

Riccardo Muti conductor Pinchas Zukerman violin

Friday \ March 9 \ 8 pm Hill Auditorium \ Ann Arbor Riccardo Muti, the Chicago Symphony’s new music director, makes his first UMS appearance since 2006, conducting an all-Brahms program.

Violinist Pinchas Zukerman, recognized as a phenomenon for nearly four decades, returns to UMS for a performance of the Brahms Violin Concerto. “Youth sticks with some people… Zukerman seems the foreveryoung virtuoso: expressively resourceful, infectiously musical, technically impeccable, effortless. As usual, it was a joy to be in his musical company.” (Los Angeles Times) Sponsored by

PROGRAM

Brahms Brahms

Violin Concerto in D Major, Op. 77 (1878) Symphony No. 2 in D Major, Op. 73 (1877)

Co-sponsored by Robert and Marina Whitman, Clayton and Ann Wilhite, James and Nancy Stanley, and Jay Zelenock in memory of Mary Kate Zelenock.

Media Partners WGTE 91.3 FM, WRCJ 90.9 FM, and Detroit Jewish News.

American Mavericks Festival Michael Tilson Thomas conductor Featuring:

Paul Jacobs organ | Jeremy Denk piano Mason Bates electronica | Jessye Norman soprano Joan LaBarbara & Meredith Monk vocalists St. Lawrence String Quartet | Emanuel Ax piano

Thursday-Sunday \ March Hill Auditorium \ Ann Arbor

22-25

As part of its centennial season, Michael Tilson Thomas and the San Francisco Symphony will present the second American Mavericks Festival, which will tour in its entirety to only two US venues: Hill Auditorium and Carnegie Hall. The 2012 festival celebrates the creative pioneering spirit and the composers who created a new American musical voice for the 20th century and beyond. These concerts will examine the music of John Cage, Morton Feldman, Carl Ruggles, Edgard Varèse, and Charles Ives, among others. Complete program details are available at www.ums.org.

This event is part of Pure Michigan Renegade.

The San Francisco Symphony residency is made possible with support from the Maxine and Stuart Frankel Foundation and the UMS Creative Ventures Leadership Fund.

The Saturday performance is sponsored by the Medical Community Endowment Fund.

Funded in part by The Andrew W. Mellon Foundation and by an award from the National Endowment for the Arts. Art Works.

Related education programs are funded by the John S. and James L. Knight Foundation.

Media Partners WGTE 91.3 FM, Ann Arbor’s 107one, WDET 101.9 FM, and Detroit Jewish News.

Call or click for tickets!

734.764.2538 \ www.ums.org Hours: Mon-Fri: 9 am to 5 pm, Sat: 10 am to 1 pm.

Ad #3 — DSO Performance Magazine First Proof of Ad Due: Wed, Sept 14 Final Ad Due: Fri, Sept 16 Size: 8.375” x 10.875” Color: Full color Ad Runs: October

L D MEMBERS OF THE MUSICAL LEGACY SOCIETY

The Detroit Symphony Orchestra Board of Directors is pleased to honor and recognize the Musical Legacy Society. These patrons, friends and subscribers have named the Orchestra in their estate plans. For information about making a bequest or other planned gift to the DSO, please contact the Office of Patron and Institutional Advancement at 313.576.5400.

Mr. Robert G. Abgarian† Doris L. Adler Dr. & Mrs. William C. Albert Mr. & Mrs. Robert A. Allesee Dr. Lourdes V. Andaya Dr. Agustin & Nancy Arbulu Jeanne Bakale & Roger Dye Sally & Donald Baker Mr. & Mrs. Lee Barthel Lillian & Don Bauder Mr. & Mrs. John D. Begnoche Bertram H. Behrens† Mr. & Mrs. Robert A. Benton Michael & Christine Berns Mrs. Art Blair Robert T. Bomier Richard & Gwen Bowlby Mrs. J. Brownfain Gladys Caldroney† Dr. & Mrs. Victor J. Cervenak Eleanor A. Christie Ms. Mary F. Christner Honorable Avern Cohn Mr.+ & Mrs. Robert Comstock Dorothy M. Craig Mr. & Mrs. John Cruikshank Ms. Leslie Devereaux Mr. & Mrs.+ John Diebel Ms. Bette J. Dyer Edwin & Rosemarie Dyer Mr. & Mrs. Robert G. Eidson Mrs. Charles Endicott Jean E. Fair† Ms. Dorothy Fisher Max M. Fisher† Mrs. John B. Ford, Jr.† Dr. Saul & Mrs. Helen Forman

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PERFORMANCE / VOL . X X / WINTER 201 2

Barbara Frankel Herman Frankel Rema Frankel Jane French Dr. & Mrs. Byron P. Georgeson Ruth & Al Glancy Mr.+ & Mrs. Herbert J. Graebner Donald Ray Haas Margaret D. Hall Estate† Mr. David Handleman, Sr.† Donna & Eugene Hartwig Dr. Gerhardt Hein Nancy Henk Mr. & Mrs. Thomas N. Hitchman Betty Q. Hoard† Gordon V. Hoialmen Estate Mr. & Mrs. Richard N. Holloway David & Sheri Jaffa Mr. & Mrs. Thomas H. Jeffs II Mr, & Mrs. Lenard Johnston Drs. Anthony & Joyce Kales Austin A. Kanter June K. Kendall Raymond L. Kizer, Jr.† Ms. Phyllis Korn & Ms. Selma Korn Mr.+ & Mrs. Dimitir Kosacheff Mr. & Mrs. Arthur Krolikowski Jim LaTulip Thelma M. Lauderburgh† Ann C. Lawson Allan S. Leonard Lila I. Logan† Lester H. London Elizabeth M. Lundquist Roberta Maki John M. Malone, M.D.

Ms. Bonita J. Marshall† Mr. Glenn Maxwell Miss Jane C. McKee Ms. Rhoda A. Milgrim John E. & Marcia Miller Jerald A. & Marilyn H. Mitchell Mr. & Mrs. L. William Moll Mr. & Mrs. Craig R. Morgan Mrs. Peters Oppermann† Mr. Dale J. Pangonis Ms. Mary W. Parker Ms. Cynthia J. Pasky & Paul Huxley Sophie Pearlstein Helen & Wesley Pelling Esther E. Peters† Mrs. Dorothy M. Pettit† Elizabeth Pexsenye† Mrs. Bernard E. Pincus Christina Pitts Carol Plummer Mr. & Mrs. P. T. Ponta Edith S. Quintana† Fair & Steven+ Radom Douglas J. Rasmussen George A. Raymond† Ms. Rhoda N. Reed† Mr. & Mrs. Lloyd E. Reuss Barbara Gage Rex Ms. Marianne Reye Katherine D. Rines Bernard & Eleanor Robertson Jack & Aviva Robinson Ruth Rothschild† Dr. Margaret Ryan Mrs. Shirley W. Sarver† Stephanie & Fred Secrest

Robert Selik† Lee William Slazinski Terrence Smith Violet Spitzer† Mrs. Mark C. Stevens† Mr. & Mrs. Walter Stuecken Mr. & Mrs. Alexander Suczek Mrs. Elizabeth J. Tamagne† Margaret D. Thurber† Caroline & Richard Torley Mr. Edward Tusset Barbara A. Underwood Mrs. Harold Van Dragt Mrs. Richard C. Van Dusen Barbara & Mel VanderBrug Mr. and Mrs. George C. Vincent Ms. Margaret Watkins† Hubert & Elsie+ Watson Keith & Christine Weber John & Joanne Werner Mr. & Mrs. Arthur Wilhelm Mr.+ & Mrs. James A. Williams Ms. Barbara Wojtas Treva Womble Ms. Helen Woolfenden† Elizabeth B. Work Dr. & Mrs. Clyde Wu Ms. Andrea L. Wulf

† Deceased

WWW.DSO.ORG

S   D S O

Annual contributions from generous patrons are what sustains the Detroit Symphony Orchestra. Ticket revenues throughout the season provide only a small portion of the funding needed to support the performances, educational programs, and community projects that the DSO presents each year. The honor roll below reflects those generous donors who have made a gift of $1,500 or more in annual operating support (in the most recent season in which they made the gift) to the DSO Annual Fund Campaign between September 2010 and December 2011. If you have a question about this roster or for more information on how you can help secure the future of the DSO, please contact 313.576.5114.

Giving of $100,000 and more

Mr. & Mrs. Lee Barthel Mandell L. & Madeleine H. Berman Family Foundation Mr. & Mrs. Peter D. Cummings Marjorie S. Fisher Fund

Emory M. Ford, Jr. † Mrs. Samuel Frankel Mr. & Mrs. Stanley Frankel The Edward & Helen Mardigian Foundation

Mr. & Mrs. James B. Nicholson Ms. Cynthia J. Pasky & Mr. Paul M. Huxley Cindy and Leonard Slatkin Mrs. Richard C. Van Dusen

Mr. & Mrs. Harold Blumenstein

Mr. & Mrs. Phillip W. Fisher

Ms. Mary W. Parker

Mr. & Mrs. John A. Boll, Sr.

Mr. Edward C. Levy, Jr. & Ms. Linda Dresner

Mr. & Mrs. Bernard I. Robertson

Mr. & Mrs. Richard L. Alonzo

Mr. & Mrs. Sidney Forbes

Mr. & Mrs. Eugene A. Miller

Mr. & Mrs. Eugene Applebaum

Mr. & Mrs. Herman H. Frankel

The Polk Family

Mr. & Mrs. Francois Castaing

Ruth & Al Glancy

Mr. & Mrs. Alan E. Schwartz

Mr. & Mrs. Raymond M. Cracchiolo

Mr. & Mrs. Morton E. Harris

Mr. & Mrs. Larry Sherman

Marvin & Betty Danto Family Foundation

Mr. & Mrs. Richard P. Kughn

Mr. & Mrs. Donald R. Simon

Mr. & Mrs. Richard A. Manoogian

Mr. & Mrs. Arthur A. Weiss

Mr. & Mrs. James Grosfeld Mr. & Mrs. Morton E. Harris Dr. Gloria Heppner Doreen Hermelin Mr. & Mrs. Julius J. Huebner Mr. Sharad P. Jain Mrs. Chacona Johnson Faye & Austin Kanter Mr. & Mrs. Norman D. Katz Mr. & Mrs. Bernard S. Kent Mrs. Bonnie Larson Mr. David Lebenbom Mr. & Mrs. David W. Lentz Dr. Melvin A. Lester Mr. & Mrs. Arthur C. Liebler Mr. James C. Mitchell, Jr. Drs. Geoffrey S. Nathan & Margaret E. Winters

Mr. & Mrs. James M. Nicholson Anne Parsons & Donald Dietz Mr. & Mrs. Bruce D. Peterson Dr. William F. Pickard Ms. Ruth Rattner Mr. & Mrs. Lloyd E. Reuss Jack & Aviva Robinson Mr. & Mrs. Saul Saulson Mr. & Mrs. Mark Shaevsky Mr. & Mrs. John W. Stroh III Mr. Robert VanWalleghem Mr. & Mrs. R. Jamison Williams Mr. & Mrs. Alan Zekelman Mr. Paul M. Zlotoff Mrs. Helen Zuckerman

Giving of $50,000 and more

Ms. Leslie Devereaux

Dr. & Mrs. Clyde Wu

Giving of $25,000 and more

Giving of $10,000 and more Mr. & Mrs. Herbert A. Abrash Mr. & Mrs. Daniel Angelucci Mr. Donald Bauder & Dr. Lillian Bauder Mrs. Cecilia Benner Leo † & Betty Blazok Mr. & Mrs. Robert H. Bluestein Mr. & Mrs. Jim Bonahoom Ms. Elizabeth Boone & Mr. Toby Barlow Mr. & Mrs. Richard A. Brodie The Honorable & Mrs. Avern Cohn Mrs. Marianne Endicott Mrs. Kathryn Fife Dr. & Mrs. Saul Z. Forman Mr. & Mrs. Bruce H. Frankel Mrs. Rema Frankel Mr. & Mrs. Stuart Frankel Mr. & Mrs. Byron Gerson WWW.DSO.ORG

† Deceased

PERFORMANCE / VOL . X X / WINTER 201 2

33

Giving of $5,000 and more

Ms. Nancy Keppelman & Mr. Michael Smerza

Mr. & Mrs. Leonard W. Smith

Mrs. Anne Bielawski

Mr. & Mrs. Robert A. Allesee

Mr. John J. Solecki

Joseph & Barbra Bloch

Mr. & Mrs. Robert N. Brown

Dr. & Mrs. David Kessel

Dr. & Mrs. Rudrick E. Boucher

Mr. & Mrs. Michael Buckles

Mr. William P. Kingsley

Mr. Richard A. Sonenklar & Mr. Gregory Haynes

Dr. & Mrs. Thomas E. Carson

Mr. & Mrs. Harry A. Lomason II

Mr. & Mrs. Richard Soulen

Mr. Scott Brooks

Mr. & Mrs. Jerry P. D’Avanzo

Dr. & Mrs. Charles Lucas

Professor Calvin L. Stevens

Mr. H. William Burdett, Jr.

Ms. Barbara Davidson

Mr. & Mrs. Mervyn H. Manning

Mr. & Mrs. Stephen Strome

Ms. Margaret H. Demant

Mr. & Mrs. David N. McCammon

David Usher

Dr. Carol S. Chadwick & Mr. H. Taylor Burleson

Mrs. Beck Demery

Mr. Ronald Michalak & Mrs. Barbara Frankel

Mr. & Mrs. Jonathan T. Walton

Mr. & Mrs. Philip Campbell

Mrs. Beryl Winkelman

Mr. William N. Campbell

Mr. Edward K. Miller

Drs. David M. & Bernadine Wu

Dr. Thomas Clark

Drs. Robert G. Mobley & Mary T. Mobley

Dr. & Mrs. Robert E. Wurtz

Mr. & Mrs. Brian G. Connors

Mr. John E. Young & Ms. Victoria Keys

Ms. Mary Rita K. Cuddohy

Mr. Frederick J. Morsches Drs. Stephen A. & Barbara H. Munk

Mr. & Mrs. Abraham Zahler

Mr. & Mrs. Walter K. Dean

Mr. & Mrs. Albert Taylor Nelson, Jr.

Mr. & Mrs. Milton Y. Zussman

Mr. John F. Diebel

Mr. & Mrs. Peter J. Dolan Mr. & Mrs. James C. Farber Mr. & Mrs. David Fischer Mr. & Mrs. Herbert Fisher Mr. Steven J. Fishman Mr. & Mrs. Gerry Fournier Mrs. Harold L. Frank Barbara Frankel & Ronald Michalak Mr. & Mrs. Ralph J. Gerson Mr. Allan D. Gilmour & Mr. Eric C. Jirgens Dr. Allen Goodman & Dr. Janet Hankin Mr. & Mrs. Mark Goodman Dr. & Mrs. Herman Gray, Jr. Mr. & Mrs. James A. Green Mr. Eric J. Hespenheide & Ms. Judith Hicks Dr. Jean Holland Mr. & Mrs. Ronald Horwitz Mr. & Mrs. Richard J. Jessup Mr. & Mrs. Maxwell Jospey+

Mr. & Mrs. David R. Nelson

Mr. & Mrs. Richard Bowlby

Mr. Richard Cummings

Ms. Barbara Diles

Mr. & Mrs. David E. Nims

Giving of $2,500 and more

Mr. James A. Kelly & Ms. Mariam Noland

Mr. & Mrs. Richard Alonzo

Mr. & Mrs. Mark Domin

Dr. Lourdes V. Andaya

Ms. Judith Doyle

Mr. & Mrs. George Nyman

Mr. & Mrs. Norman Ankers

Mr. & Mrs. Eugene Driker

Mr. & Mrs. Arthur T. O’Reilly

Dr. & Mrs. Ali-Reza R. Armin

Paul & Peggy Dufault

Ms. Anne Parsons & Mr. Donald Dietz

Mr. & Mrs. Robert Armstrong

Mr. & Mrs. Cameron Duncan Mr. Robert Dunn

Mr. & Mrs. Richard G. Partrich

Mr. David Assemany & Mr. Jeffery Zook

Mr. & Mrs. Donald E. Petersen

Ms. Ruth Baidas

Mrs. Helen Pippin

Mr. & Mrs. Guy Barron

Dr. Glenda D. Price

Mr. J. A. Bartush Mr. & Mrs. Martin S. Baum

Mrs. Jane Russell Mr. & Mrs. Michael B. Serling Mr. Stephan Sharf

Mr. & Mrs. William K. Beattie Dr. & Mrs. John Bernick

Mr. David E. Dodge

Mr. & Mrs. Irving Dworkin Ms. Bette J. Dyer Dr. A. Bradley Eisenbrey Mr. & Mrs. John M. Erb Mr. Paul E. & Mrs. Mary Sue Ewing Mr. & Mrs. Stephen E. Ewing Mr. David Faulkner Mr. & Mrs. Oscar Feldman Ms. Carol A. Friend & Mr. Mark Kilbourn Mr. & Mrs. Daniel E. Frohardt-Lane

Donor Spotlight

Jim and Margo Farber Against the recommendations of their friends in Washington DC, in 1987 Jim and Margo Farber moved to Grosse Pointe to set up roots and make a life for their family. One of the primary draws, interestingly, was the vibrant social scene of Downtown Detroit, which has been, and continues to be, central to their love and enjoyment of the region.

In 1988, as a part of their introduction to Detroit’s arts and entertainment opportunities, the Farbers become Paradise Jazz Series subscribers, but after a couple of years realized that their musical passion was more accurately reflected in the DSO’s Pops series performances, due in part to their love of the well-known conductor, Erich Kunzel.

Caught up in the excitement leading up to the festivities marking the completion of the Max M. Fisher Music Center, Jim and Margo became Annual

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PERFORMANCE / VOL . X X / WINTER 201 2

Mr. & Mrs. William Y. Gard Mr. & Mrs. Victor Girolami Dr. & Mrs. Kenneth W. Gitlin Dr. & Mrs. Robert T. Goldman Mr. Robert Gorlin Dr. & Mrs. Steven Grekin Mr. Jeffrey Groehn Mrs. Alice B. Haidostian Dr. Algea O. Hale JIM AND MARGO FARBER

Fund donors in 2002. Since then, their generosity and involvement has only increased. Jim is now on the Governing Member’s Executive Committee, serving at Chair of the Outreach Committee.

Now, twenty-four years later, the Farbers have more than proven to their DC friends that their decision to move here was the right one. They would say that there is a lot of fun to be had in Detroit and that the DSO has been an central to it the whole time.

Mr. Robert Hamel Mr. & Mrs. Randall L. Harbour Mr. & Mrs. Ross Haun Mr. & Dr. David B. Holtzman Mr. & Mrs. Jack Hommes Mr. F. Robert Hozian Mr. & Mrs. Joseph L. Hudson, Jr. Mr. & Mrs. Charles R. Janovsky Mr. & Mrs. John S. Johns Mr. & Mrs. Lenard Johnston Mr. & Mrs. Michael J. Keegan Mr. & Mrs. Joel Kellman Mrs. Frances King Dr. & Mrs. Harry N. Kotsis

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Mr. & Mrs. Robert C. Kotz

Ms. Jan J. Stokosa

Ms. Elizabeth J. Ingraham

Mr. & Mrs. Robert B. Rosowski

Mr. & Mrs. Harold Kulish

Mr. & Mrs. Bernard H. Stollman

Ms. Kathryn Korns

Mr. & Mrs. George T. Roumell

Mr. & Mrs. David Kuziemko

Dr. Gerald H. Stollman

Ms. Mary L. Kramer

Mr. R. Desmond Rowan

Mrs. Joyce LaBan

Mr. & Mrs. David Szymborski

Mr. & Mrs. Paul N. Lavins

Mr. & Mrs. Carl Schalm

Drs. Raymond V. Landes & Melissa McBrien

Ms. Dorothy Tarpinian

Mr. Charles Letts

Mr. & Mrs. Mark L. Schwartz

Mr. & Mrs. Joel D. Tauber

Dr. & Mrs. Stanley H. Levy

Mr. Ronald J. Smith

Ms. Anne T. Larin

Alice & Paul Tomboulian

Dr. Stephen Mancuso

Eugenia & Wanda Staszewski

Mr. & Mrs. William B. Larson

Ms. Amanda Van Dusen & Mr. Curtis Blessing

Ms. Florine Mark

Dr. Lawrence L. Stocker

Mrs. Christine K. McNaughton

Mrs. Dianne Szabla

Mr. & Mrs. George C. Vincent

Mr. & Mrs. Steven R. Miller

Dr. & Mrs. L. Murray Thomas

Mr. Allan S. Leonard

Mr. & Mrs. William Waak

Mrs. Sheila Mondry

Mr. & Mrs. John P. Tierney

Mr. & Mrs. Daniel Lewis

Dr. & Mrs. Ronald W. Wadle

Mr. & Mrs. Theodore Monolidis

Mr. & Mrs. L. W. Tucker

Mr. & Mrs. Robert Liggett

Mr. Patrick A. Webster

Ed & Judith Narens

Mr. & Mrs. Roger M. Van Weelden

Mr. & Dr. David K. Page

Ms. Patricia Walker

Mr. & Mrs. Noel L. Peterson

Mrs. Lori Wathen

Mrs. Anna Mary Postma

Mr. & Mrs. Alan P. Weamer

Mr. & Mrs. Larry Raymond

Mrs. Lawrence M. Weiner

Mrs. Jean Redfield

Ms. Cynthia L. Wilhelm

Ms. Barbara Gage Rex

Mr. Jerry Williams

Mrs. Ann Rohr

Mr. & Mrs. Frank Zinn

Mr. & Mrs. Joseph Lile

Mr. & Mrs. Herman Weinreich

Mrs. Florence LoPatin

Ms. Janet B. Weir

Mr. & Mrs. Charles W. Manke, Jr.

Mr. & Mrs. Lawrence Weisberg

Mrs. Mary K. Mansfield

Mr. & Mrs. John E. Whitecar

Mr. & Mrs. Alonzo L. McDonald

Dr. Kim Williams

Mr. & Mrs. Alexander McKeen

Mr. & Mrs. Sheldon Winkelman

Mr. & Mrs. Patrick G. McKeever

Dr. & Mrs. Max V. Wisgerhof

Dr. & Mrs. Donald A. Meier

Mr. & Mrs. Jonathan Wolman

Mr. Roland Meulebrouck

Mr. & Mrs. Warren G. Wood

Dr. & Mrs. Thomas F. Mich

Ms. June Kar Ming Wu

Ms. Deborah Miesel

Dr. Alit Yousif & Mr. Kirk Yousif

Mr. & Mrs. Bruce A. Miller Mr. Leonard G. Miller Dr. Susan B. Molina & Mr. Stephen R. Molina Mr. & Mrs. Craig R. Morgan Ms. Florence Morris Mr. & Mrs. Allan Nachman Denise & Mark Neville Mr. & Mrs. Henry Nickol Mr. & Mrs. Stanley Nycek Mrs. Margot C. Parker Mrs. Sophie Pearlstein Robert E. L. Perkins, D.D.S. Dr. Claus Petermann

Giving of $1,500 and more Drs. Brian & Elizabeth Bachynski Mr. & Mrs. Maurice S. Binkow Mr. & Mrs. G. Peter Blom Mr. Timothy J. Bogan Ms. Jane Bolender Ms. Marilyn Bowerman Mr. Stephen V. Brannon Mr. & Mrs. Gerald Bright Mr. Anthony F. Brinkman Mr. & Mrs. Stephen A. Bromberg Mrs. Doreen G. Bull Mr. & Mrs. Ronald B. Charfoos

Mr. Charles L. Peters

Mr. Fred J. Chynchuk

Mr. & Mrs. Jack Pokrzywa

Mr. & Mrs. Frederick Clark

Mr. & Mrs. William Powers

Dr. & Mrs. Julius V. Combs

Mr. & Mrs. Nicolas I. Quintana

Mr. & Mrs. Gary L. Cowger

Drs. Yaddanapudi Ravindranath & Kanta Bhambhani

Ms. Dorothy Craig

Dr. & Mrs. Claude Reitelman

Mr. & Mrs. Stephen R. D’Arcy

Mr. & Mrs. Robert S. Sachs

Ms. Barbara A. David

Mr. & Mrs. Michael Schultz

Mr. & Mrs. Edwin Dyer

Mr. & Mrs. Alan S. Schwartz

Mr. & Mrs. Henry J. Eckfeld

Mr. & Mrs. Fred G. Secrest

Dr. Leo & Mrs. Mira Eisenberg

Mr. & Mrs. Herbert Shanbaum

Mr. & Mrs. Lawrence Ellenbogen

The Honorable Walter Shapero

Mr. Howard O. Emorey

Dr. & Mrs. Les Siegel

Mr. & Mrs. Paul Ganson

Mrs. Eleanor A. Siewert

Mr. & Mrs. Britton L. Gordon, Jr.

Mr. & Mrs. Richard Sloan

Mr. Donald J. Guertin

Mr. & Mrs. S. Kinnie Smith, Jr.

Dr. & Mrs. Gerhardt Hein

Mr. William H. Smith Dr. Gregory E. Stephens Mr. & Mrs. Clinton F. Stimpson III Mrs. Charles D. Stocking

WWW.DSO.ORG

Mr. & Mrs. Paul W. Czamanske

The John S. and James L. Knight Foundation

Foundation Spotlight

Dr. Klaudia Plawny- Lebenbom & Mr. Michael Lebenbom

A generous gift from the John S. and James L. Knight Foundation has helped the Detroit Symphony Orchestra continue its rich legacy of broadcast innovation with a “trio” of new digital distribution channels, including Live from Orchestra Hall webcasts, the DSO to Go mobile smartphone app, and coming soon, downloadable digital albums recorded and produced in-house from live classical performances.

Some 25,000 listeners from more than 40 countries tuned in to the DSO’s Live from Orchestra Hall webcasts last year, doubling the classical series audience base and providing unparalleled global access to a major American symphony orchestra. Knight Foundation will support an additional 13 broadcasts through the end of the 2011-2012 season. A complete schedule will be available at www.dso.org/live.

The DSO is grateful to Knight Foundation for its continued commitment to Detroit and passionate interest in collaborating on new digital media endeavors. For more information, please visit www.knightfoundation.org.

“Live from Orchestra Hall” is produced in collaboration with Detroit Public Television. Scan the QR code to download the DSO to GO mobile app for your iPhone or Android device. Experience live webcasts, videos, news, artist bios and more, all from the palm of your hand!

Ms. Nancy B. Henk Mr. Max B. Horton, Jr. Mr. Richard Huttenlocher Mr. & Mrs. Addison E. Igleheart

† Deceased

PERFORMANCE / VOL . X X / WINTER 201 2

35

S  F  O

The Detroit Symphony Orchestra acknowledges and honors the following foundations and organizations for their contributions to support the Orchestra’s performances, education programming, and other annual operations of the organization. This honor roll reflects both fulfillments of previous commitments and new gifts during the period beginning September 1, 2010 through December 19, 2011.

We regret the omission of gifts received after this print deadline.

$500,000 and more Samuel and Jean Frankel Foundation Kresge Foundation

$300,000 and more Community Foundation for Southeast Michigan Ford Foundation McGregor Fund Andrew W. Mellon Foundation

$100,000 and more Max M. & Marjorie S. Fisher Foundation, Inc. The Edward & Helen Mardigian Foundation Masco Corporation Foundation $50,000 and more The Mandell L. and Madeleine H. Berman Foundation Fred A. and Barbara M. Erb Foundation National Endowment for the Arts Surdna Foundation Matilda R. Wilson Fund $10,000 and more The Max and Victoria Dreyfus Foundation Philip and Elizabeth Filmer Memorial Charitable Trust Edsel B. Ford II Fund Eleanor & Edsel Ford Fund Henry Ford II Fund Ann and Gordon Getty Foundation Sally Mead Hands Foundation

The Alice Kales Hartwick Foundation Myron P. Leven Foundation Oliver Dewey Marcks Foundation MetLife Foundation Moroun Family Foundation Sage Foundation

$5,000 and more Benson & Edith Ford Fund The Lyon Family Foundation Joseph and Suzanne Orley Foundation Herbert & Elsa Ponting Foundation Sigmund & Sophie Rohlik Foundation Mary Thompson Foundation J. Ernest and Almena Gray Wilde Foundation

$1,000 and more Charles M. Bauervic Foundation Berry Foundation Combined Federal Campaign Frank & Gertrude Dunlap Foundation Harold and Ruth Garber Family Foundation Japan Business Society of Detroit Foundation Meyer and Anna Prentis Family Foundation Joseph & Rose Rontal Foundation Louis and Nellie Sieg Foundation The Village Club Samuel L. Westerman Foundation

$2,500 and more Ajemian Foundation Gatewood Foundation, Inc. Clarence & Jack Himmel Fund

36

PERFORMANCE / VOL . X X / WINTER 201 2

State of Michigan

WWW.DSO.ORG

C S   DSO $500,000 and more

PVS Chemicals, Inc.

Jim Nicholson

CEO, PVS Chemicals

$200,000 and more

Tetsuo Iwamura

Gerard M. Anderson

President and CEO, American Honda Motor Co.

President, Chairman and CEO, DTE Energy Corporation

Gregg Steinhafel

Fred Shell

Chairman, President and CEO, Target Corporation

President, DTE Energy Foundation

$100,000 and more

Alan Mullaly

President & CEO, Ford Motor Company

James Vella

President, Ford Motor Company Fund

Timothy Wadhams President and CEO, MASCO Corporation

Melonie Colaianne

President, Masco Corporation Foundation

Cynthia J. Pasky President & CEO, Strategic Staffing Solutions

Paul M. Huxley Chairman, Strategic Staffing Solutions

$20,000 and more Adobe Systems Incorporated Deloitte.

Delta Air Lines, Inc.

General Motors Corporation Macy’s

MGM Grand Detroit Casino Somerset Collection

$10,000 and more Honigman Miller Schwartz Cohn Telemus Capital Partners, LLC PriceWaterhouseCoopers LLP Wolverine Packing Company $5,000 and more

$1,000 and more

American Express Amerisure Insurance BASF Corporation Contractors Steel Company Denso International America, Inc. Meritor

Burton-Share Management Company Chase Card Services CN- Canadian National, North America’s Railroad

WWW.DSO.ORG

Community Foundation for Southeast Michigan DuMouchelles Art Galleries Co. Global Village Charitable Trust Health Alliance Plan Illitch Holdings, Inc.

Meadowbrook Insurance Group Michigan First Credit Union Midwest Health Center, P.C. Radar Industries, Inc. STI Fleet Services-Detroit

PERFORMANCE / VOL . X X / WINTER 201 2

37

UPCOMING EVENTS SUNDAY

MONDAY

TUESDAY

WEDNESDAY

THURSDAY

February

1

Neighborhood Concert Lin Plays Mozart 7:30 p.m.

Berman Theatre, Bloomfield Hills

FRIDAY

Lin Pops Special Love Will Keep Us Together 2 p.m. OH

5

6

7

Neighborhood Concert Lin Plays Mozart 3 p.m.

Grosse Pointe Memorial Church Sphinx15 Finals Concert 2 p.m. OH

3

Neighborhood Concert Lin Plays Mozart 8 p.m.

Kirk in the Hills

Reineke DSO Classical Series 9 Ravishing Rachmaninoff Leonard Slatkin, conductor Julian Rachlin, violin 7:30 p.m. OH

DSO Classical Series 10 Ravishing Rachmaninoff Leonard Slatkin, conductor Julian Rachlin, violin 10:45 a.m. OH

DSO Classical Series 11 Ravishing Rachmaninoff Leonard Slatkin, conductor Julian Rachlin, violin 8 p.m. OH

15

16

DSO Classical Series 17 Ax & Mozart/ Slatkin & Mahler Leonard Slatkin, conductor Emanuel Ax, violin 10:45 a.m. OH Civic Jazz LIVE! 6:30 p.m.

DSO Classical Series 18 Ax & Mozart/ Slatkin & Mahler Leonard Slatkin, conductor Emanuel Ax, violin 8 p.m. OH

Slatkin

12

19

Mondays at The Max with Wayne State Jazz Big Band 7:30 p.m. MB

Mondays at The Max with Wayne State Chamber Winds & Orchestra 7:30 p.m.

13

14

20

21

22

27

28

29

23

Chuchman

4

Paradise Jazz Series Gretchen Parlato/ Vijay Iyer 8 p.m. OH DSO Classical Series 24 Brahms’ Requiem Leonard Slatkin, conductor Andriana Chuchman, soprano Kyle Ketelsen, bass-baritone UMS Choral Union Michigan State University Children’s Choir 8 p.m. OH

DSO Classical Series Civic Orchestra: Peter & the Wolf/ 1 Stravinsky’s Petrushka Alice in Wonderland 8 p.m. OH Leonard Slatkin, conductor Hila Plitman, soprano 7:30 p.m. OH

Tiny Tots Concert 3 Gemini 10 a.m. MB Young People’s Concert Peter & the Wolf 11 a.m.

Civic Experience: Winter 1 ɝ p.m. OH DSO Classical Series Peter & the Wolf/ Alice in Wonderland 8 p.m.

OH

9

Pops Series A Sci-Fi Spectacular Jack Everly, conductor George Takei, narrator 8 p.m. OH

Plitman Mondays at The Max with Wayne State Concert Band and Wind Symphony 7:30 p.m. MB

5

6

7

Neighborhood Concert 8 Silverstein Plays Beethoven And Mozart 7:30 p.m.

Berman Theatre, West Bloomfield

Pops Series A Sci-Fi Spectacular Jack Everly, conductor George Takei, narrator 10:45 a.m. OH

12

13

14

Neighborhood Concert Silverstein Plays Beethoven And Mozart 3 p.m. Grosse Pointe Memorial Church

18

19

20

21

15

10

Neighborhood Concert Silverstein Plays Beethoven And Mozart 8 p.m. at Kirk in the Hills

Silverstein

11

25

2

March

DSO Classical Series 26 Brahms’ Requiem Leonard Slatkin, conductor Andriana Chuchman, soprano Kyle Ketelsen, bass-baritone UMS Choral Union Michigan State University Children’s Choir 3 p.m. OH

Pops Series A Sci-Fi Spectacular Jack Everly, conductor George Takei, narrator 3 p.m. OH

Pops Special 4 Love Will Keep Us Together Steve Reineke, conductor 8 p.m. OH

8

Ax

Civic Youth Ensembles Civic Experience: Winter 2 ɝ p.m. OH

SATURDAY

2

Classical Series 16 Classical Roots André Raphel, conductor Janice Chandler-Eteme, soprano Brazeal Dennard Chorale 10:45 a.m. OH

Raphel

ProMusica: Benjamin Grosvenor 8:30 p.m. OH

Neighborhood Concert 22 Beethoven’s “Emperor” 7:30 p.m.

Congregation Shaarey Zedek, Southfield

Neighborhood Concert 23 Beethoven’s “Emperor” 10:45 a.m. at Ford Center for the Performing Arts, Dearborn

Classical Series 17 Classical Roots André Raphel, conductor Janice Chandler-Eteme, soprano Brazeal Dennard Chorale 8 p.m. OH

24

Classical Series Beethoven’s “Emperor” 8 p.m. OH Neighborhood Concert 25 Beethoven’s “Emperor” 3 p.m.

Seligman Performing Arts Center, Beverly Hills

38

26

PERFORMANCE / VOL . X X / WINTER 201 2

27

28 OH Orchestra Hall MB Music Box AH Allesee Hall

29

30

31

For tickets visit www.dso.org or call 313.576.5111

WWW.DSO.ORG

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