STANLEY & JUDY FRANKEL
CHRISTINE & DAVID PROVOST
We appreciate and applaud the Classical Roots Steering Committee’s commitment to the Detroit Symphony Orchestra.
Congratulations on this year’s successful celebration! •••
Judy and Stanley Frankel
DEAR FRIENDS
Welcome to the 24th annual Arthur L. Johnson-Honorable Roots Celebration. We are pleased to welcome you to The Max for an unforgettable evening as we celebrate the extraordinary accomplishments of African American artists and community leaders.
Tonight, we honor acclaimed composer, violinist, and educator Jessie Montgomery; businessman, Detroit civic pioneer, and longtime Classical Roots supporter Walter Douglas Sr.; and Detroit edu cator, conductor, and Detroit Harmony Managing Director Damien Crutcher as this year’s recipient of the Marlowe Stoudamire Award for Innovation and Community Collaboration, presented in memory of our late friend, community leader Marlowe Stoudamire.
We also hope you will enjoy tonight’s Classical Roots concert, the 47th annual, during which we will hear works by Florence Price and Jessie Montgomery, including the GRAMMY® Awardwinning Pratt. The program also includes the world pre miere of a moving tribute to Marlowe Stoudamire by Kris Johnson, the 2023 recipient of the award in Marlowe’s name, who continues to champi on his legacy of service in Detroit. We are also pleased to again welcome the Brazeal Dennard Chorale, who has performed at every Classical Roots program since the beginning.
This event would not be possible without the dedicated support of our Classical Roots Steering Committee. Thank you to co-chairs Mable Jones and Nicole Brown for their exceptional leadership. We must also thank all of you for your ongoing support of the Classical Roots mission, which is
brought to life through the African American Orchestra Fellowship, community performances,
PROUD TO SUPPORT THE MISSION OF CLASSICAL ROOTS
—
David and Christine Provost
CLASSICAL ROOTS
concerts have increased the awareness of the significant contributions that African American composers and musicians have made to classical music.
The Arthur L. Johnson – Honorable Damon Jerome Keith Classical Roots Celebration, held in conjunction with the concerts since 2001, supports the Classical Roots mission. Funds raised through the Celebration provide increased opportunities for African Americans in classical music through DSO programs including the African American Orchestra Fellowship.
Detroit Symphony Orchestra, Inc.
BOARD OF DIRECTORS
OFFICERS
Faye Alexander Nelson, Chair
Erik Rönmark, President & CEO
Shirley Stancato, Vice Chair
Laura Trudeau, Treasurer
Renato Jamett
Secretary, Trustee Chair
Ric Huttenlocher, Officer at Large
Daniel J. Kaufman, Officer at Large
David Nicholson, Officer at Large
David M. Wu, M.D., Officer at Large
Michael Bickers
Elena Centeio
Rodney Cole
Dr. Marcus Collins
Jeremy Epp, Orchestra Representative
Aaron Frankel
Ralph Gerson
Herman B. Gray, M.D.
Laura Grannemann
Laura Hernandez-Romine
Rev. Nicholas Hood III
Xavier Mosquet
Arthur T. O’Reilly
Bernard I. Roberston
Scott Strong, Orchestra Representative
James G. Vella
LIFETIME DIRECTORS
Samuel Frankel ◊
Stanley Frankel
David Handleman, Sr. ◊
Dr. Arthur L. Johnson ◊
James B. Nicholson
Anne Parsons, President Emeritus ◊
Barbara Van Dusen
Clyde Wu, M.D. ◊
CHAIR EMERITI
Peter D. Cummings
Mark A. Davidoff
Phillip Wm. Fisher
Stanley Frankel
Robert S. Miller
James B. Nicholson
David T. Provost
DIRECTORS EMERITI
Chacona Baugh
Penny B. Blumenstein
Richard A. Brodie
Marianne Endicott
Sidney Forbes
Herman H. Frankel
Dr. Gloria Heppner
Ronald Horwitz
Bonnie Larson
Arthur C. Liebler
Harold Kulish
David McCammon
Marilyn Pincus
Dr. Glenda D. Price
Marjorie S. Saulson
Jane Sherman
Arthur A. Weiss
BOARD OF TRUSTEES
Renato Jamett, Chair
Ismael Ahmed
Richard Alonzo
Hadas Bernard
Janice Bernick
Elizabeth Boone
Gwen Bowlby
Dr. Betty Chu, M.D.
Joanne Danto
Stephen R. D'Arcy
Maureen T. D’Avanzo
Jasmin DeForrest
Cara Dietz
Afa S. Dworkin
Emily Elmer
James C. Farber
Amanda Fisher
Linda Forte
Carolynn Frankel
Christa Funk
Robert Gillette
Jody Glancy
Malik Goodwin
Mary Ann Gorlin
Darby Hadley
Peter Hatch, Orchestra Representative
Donald Hiruo
Michele Hodges
Julie Hollinshead
Laurel Kalkanis
Jay Kapadia
David Karp
Joel D. Kellman
John Kim
Jennette Smith Kotila
Leonard LaRocca
William Lentine
Linda Dresner Levy
Gene LoVasco
Vincent Luciano, Orchestra Representative
Anthony McCree
Kristen McLennan
Tito Melega
Lydia Michael
H. Keith Mobley
Governing Members Chair
Sandy Morrison
Frederick J. Morsches
Jennifer Muse
Geoffrey S. Nathan
Sean M. Neall
Eric Nemeth
Maury Okun
Shannon Orme, Orchestra Representative
Jackie Paige
Priscilla Perkins
Vivian Pickard
Denise Fair Razo
Gerrit Reepmeyer
Rochelle Riley
James Rose, Jr.
Laurie Rosen
Carlo Serraiocco
Lois L. Shaevsky
T. Elliot Shafer
Shiv Shivaraman
Dean P. Simmer
Richard Sonenklar
Dhivya Srinivasan
Rob Tanner
Yoni Torgow
Nate Wallace
Gwen S. Weiner
Donnell White
Jennifer Whitteaker
R. Jamison Williams
The Classical Roots Celebration is an extraordinary event that recognizes the contributions of African American composers, musicians, and humanitarians. The Celebration is the result of the collaborative efforts of the Classical Roots Steering Committee and the DSO staff, in partnership with civic, community, and corporate leaders. The Steering Committee consists of more than 30 volunteers from the Metro Detroit business community who share a passion for preserving and celebrating the musical contributions of African Americans. Each Steering Committee volunteer supports the success of the Celebration in a number of ways, including through service on a subcommittee.
MABLE JONES AND NICOLE BROWN CO-CHAIRS
THERESE PEACE AGBOH*
GEANEEN ARENDS
CHACONA W. BAUGH*
KATORA COLE
TERRENCE CURRY
LULU FALL
LINDA FORTE*
DR. HERMAN GRAY*
LAYDELL W. HARPER*
VERA HEIDELBERG*
KIMBERLY HOYLE
NINA JACKSON
RITA L. JORDAN*
TERRENCE KEITH
ELIZABETH MAYS
ANTHONY MCCREE
LAUREN MCNEARY
H. KEITH MOBLEY*
PRISCILLA PERKINS*
LESLEY ESTERS REDWINE
ERIK RÖNMARK
HON. CYNTHIA STEPHENS
MARK STRAYHAN
VALENCIA STOUDAMIRE
MICHELE TATE
BEVERLY THOMAS
DANIEL A. WASHINGTON
DANIEL WASHINGTON
CULTURAL CRESCENDO
The arts are essential in bringing energy and unity to communities.
That’s why the DTE Foundation is proud to support the Detroit Symphony Orchestra’s Classical Roots performance. This event not only connects the audience to the rich history of classical music but also honors the trailblazers who have shaped it into what it is today.
Thank You
TO OUR GENEROUS SPONSORS
Presenting SPONSOR
FOCUSED ON WHAT MATTERS
MGM GRAND DETROIT IS PROUD TO SUPPORT THE DETROIT SYMPHONY ORCHESTRA’S 2023 CLASSICAL ROOTS CELEBRATION
MGM Grand Detroit, we feel it is important to respect each other’s differences. choose to embrace these differences to achieve best-in-class experiences and cultivate stronger ties with our guests, employees, neighbors, and partners. We are committed to stand up to issues of equality and aim to better unify our world.
Guest Artist SPONSORS
W. Harold & Chacona W. Baugh
Walter and Rhea Douglas Family | Avis Ford
Mary Ann & Robert Gorlin
Jim B. & Ann Nicholson
The Sphinx Organization
Barbara Van Dusen
Community Engagement
Central Michigan University - Detroit Campus
Detroit Mulch Company
Lauren & Phillip Fisher
Ghafari Associates
Henry Ford Health
Barbara Ann Karmanos Cancer Institue
Education SPONSORS
The Children's Foundation
Education Enrichment Services
Hollywood Casino at Greektown
Elizabeth and Renato Jamett
Mr. and Mrs. Wright Lassiter
Moment Strategies
Renaissance (MI) Chapter of the Links
Joanne Danto and Arnold Weingarden
Drs. David M. and Bernadine Wu
5PM Cocktail Reception
William Davidson Atrium
6PM 8PM
Seated Dinner
Peter D. and Julie F. Cummings Cube
47TH ANNUAL Classical Roots Concert Orchestra Hall
Detroit Symphony Orchestra
NA’ZIR MCFADDEN, conductor
KRIS JOHNSON, trumpet
AWADAGIN PRATT, piano
BRAZEAL DENNARD CHORALE (Alice McAllister Tillman, artistic director)
Dessert
& Dancing Afterglow
William Davidson Atrium & Peter D. and Julie F. Cummings Cube
ENRICO LOPEZ-YAÑEZ
Principal Pops Conductor Devereaux Family Chair Chair
Na'Zir McFadden,
Brazeal Dennard Chorale
JOHN ROSAMOND JOHNSON Lift Every Voice and Sing (1873 - 1954)
Brazeal Dennard Chorale
LYRICS BY JAMES WELDON JOHNSON Alice McAllister Tillman, ARR ROLAND CARTER
TRADITIONAL SPIRITUAL
ARR DR NORAH DUNCAN IV
TRADITIONAL SPIRITUAL
ARR. GLENN L. JONES
I Want Jesus to Walk With Me
Brazeal Dennard Chorale
Michele Cotton Stanfield, Theodore Jones, Dr. Stanley Waldon,
My Soul’s Been Anchored in De Lord
Brazeal Dennard Chorale
Michele Cotton Stanfield, Alice McAllister Tillman,
KRIS JOHNSON
Marlowe's Wings: Detroit's Champion of Change (B 1983) (World Premiere)
Kris Johnson,
FLORENCE PRICE The Oak (1887 - 1953)
JESSIE MONTGOMERY
Rounds (B. 1981)
Awadagin Pratt,
Snapshots
Thank you to the musicians of the Detroit Symphony Orchestra, who are playing the March 1 concert as a donated service. We appreciate their continued support and generosity.
We Congratulate Jessie Montgomery and Walter Douglas
On
Being This Year’s Classical Roots Honorees and We Salute
Damien Crutcher
On
Becoming the 4th Marlowe
Stoudamire Honoree for Innovation and Community Collaboration
RALPH AND ERICA GERSON
Program Notes
Lift Every Voice and Sing
JOHN ROSAMOND JOHNSON AND JAMES WELDON JOHNSON ARR. ROLAND CARTER
Scored for 2 flutes, oboe, 2 clarinets, bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, strings, and choir (Approx. 7 minutes)
Lift Every Voice and Sing was first performed, in poetry form, in commemoration of President Abraham Lincoln’s birthday on February 12, 1900, by a choir of 500 schoolchildren from the segregated Stanton School in Jacksonville, Florida—hometown of sibling creators John Rosamond and James Weldon Johnson. The poem was set to music five years later.
Voicing the cry for liberation and affirmation for African American people, the song was declared “The Negro National Anthem” by the NAACP in 1919. It gained new popularity as a protest song during the Civil Rights Movement and was entered into the Congressional Record in the 1990s as the official African American National Hymn.
In his second autobiography Along This Way, James Weldon Johnson describes the emotion in writing Lift Every Voice and Sing: “I could not keep back the tears, and made no effort to do so.” He later reported that creating the song’s lyrics was the greatest satisfaction of his life. Lift Every Voice and Sing has been sung at the beginning of every Classical Roots concert since the event’s inauguration in 1978. Please see the included lyrics and join the Brazeal Dennard Chorale in singing this historic work.
lyrics:
Lift ev’ry voice and sing, ‘Til earth and heaven ring, Ring with the harmonies of Liberty; Let our rejoicing rise, High as the listening skies, Let it resound loud as the rolling sea. Sing a song full of the faith that the dark past has taught us, Sing a song full of the hope that the present has brought us; Facing the rising sun of our new day begun, Let us march on ‘til victory is won.
Stony the road we trod, Bitter the chastening rod, Felt in the days when hope unborn had died; Yet with a steady beat, Have not our weary feet, Come to the place for which our fathers sighed? We have come over a way that with tears has been watered, We have come, treading our path through the blood of the slaughtered, Out from the gloomy past, ‘Til now we stand at last,
Where the white gleam of our bright star is cast.
God of our weary years, God of our silent tears, Thou who has brought us thus far on the way; Thou who has by Thy might, Led us into the light, Keep us forever in the path, we pray. Lest our feet stray from the places, our God, where we met Thee, Lest, our hearts drunk with the wine of the world, we forget Thee; Shadowed beneath Thy hand, May we forever stand, True to our God, True to our native land.
Program Notes
Marlowe’s Wings: Detroit’s Champion
of Change
Composed 2024 | Premiered 2025
(World Premiere)
KRIS JOHNSON B.
1983
Scored for solo trumpet, 3 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, and strings. (Approx. 10 minutes)
Of Marlowe’s Wings: Detroit’s Champion of Change, Kris Johnson writes the following:
“When I was first approached to compose this piece in memory of MarloweStoudamire— community leader, business visionary, and dedicated supporter of the DSO—I sought to immerse myself in his vision for Detroit by watching as many of his interviews as possible. His passion and leadership, especially through his transformative ‘Butterfly Effect Detroit’ project, were major catalysts for this composition.
One of my most profound inspirations came from the crimson butterfly atop the DSO award I received in Marlowe’s honor in 2023, engraved with these words: ‘Like the flap of a butterfly’s wings, your work has made a residual impact. What you do matters and will live on.’
This theme of lasting impact through small, deliberate actions shapes the heart of ‘Marlowe’s Wings’. Drawing from Marlowe’s role in the Detroit 67 project, I crafted the opening motif using the notes D, Bb, and C, representing scale degrees 1, 6, and 7 in D minor.
These notes, symbolizing reflection, reconciliation, and progress, anchor the piece in the spirit of Detroit’s historic uprising and its call for collective growth and understanding.
The composition develops this theme by repeating and transposing it in minor thirds, creating a twelve-tone row that symbolizes four key pillars of Marlowe’s vision: Economic Inclusion and Opportunity; Race Relations; Youth
Development and Leadership; and Neighborhood Advancement.
Fluttering textures and flourishes throughout the orchestra evoke the delicate, powerful resonance of a butterfly’s wings. ‘Marlowe’s Wings’ honors his enduring legacy as a Champion of Change, whose influence continues to create ripples that shape Detroit’s future.”
This performance marks the world premiere of Kris Johnson’s Marlowe’s Wings: Detroit’s Champion of Change
The Oak
Composed 1943
FLORENCE PRICE
B. April 9, 1887, Little Rock, Arkansas D. June 3, 1953, Chicago, Illinois
Scored for 3 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings (Approx. 15 minutes)
Florence Beatrice (Smith) Price was the most widely known African American female composer from the 1930s until her death in 1953. She was also the first Black female composer to have a symphony performed by a major American orchestra: her Symphony No. 1 in E minor, premiered by the Chicago Symphony Orchestra on June 15, 1933. The premiere brought instant recognition and accolades to Price, yet much of her music eventually fell into neglect due to “a dangerous mélange of segregation, Jim Crow laws, entrenched racism, and sexism.” (Women’s Voices for Change, 2013). Price’s compositions reflect a romantic nationalist style, while incorporating African American musical forms.
Composed in 1943, The Oak stands out among Price's orchestral works for its dark, somber tone and introspective character. Departing from her usual compositional language, the piece unfolds gradually over 15 minutes, with its climactic moment arriving mere minutes before the end. The tone poem contrasts low, ominous string and
brass chords with soaring woodwind melodies and flashes of percussion, highlighting the struggle between dark and light through Price’s masterful orchestration. Overlooked during her lifetime, the work’s rediscovery reaffirms Price’s vital place in American music history.
This performance marks the DSO premiere of Florence Price’s The Oak
Rounds
JESSIE MONTGOMERY
B. 1981, New York, New York
Scored for solo piano and strings. (Approx. 15 minutes)
Jessie Montgomery, Musical America's 2023 Composer of the Year, is a GRAMMY® Awardnominated composer, violinist, and educator whose music interweaves classical music with elements of vernacular music, improvisation, poetry, and social consciousness, making her an acute interpreter of 21st century American sound and experience. Her profoundly felt works have been described as “turbulent, wildly colorful, and exploding with life'” (The Washington Post), and are performed regularly by leading orchestras and ensembles around the world. In July 2021, she began a three-year appointment as the Chicago Symphony Orchestra’s Mead Composerin-Residence. Her growing body of work includes solo, chamber, vocal, and orchestral works, as well as collaborations with distinguished choreographers and dance companies.
Of Rounds, Jessie Montgomery writes the following:
“Rounds for solo piano and string orchestra is inspired by the imagery and themes from T.S. Eliot’s epic poem Four Quartets. Early in the first poem, 'Burnt Norton,’ we find these evocative lines:
At the still point of the turning world. Neither flesh nor fleshless; Neither from nor towards; at the still point,
there the dance is,
But neither arrest nor movement. And do not call it fixity,
Where past and future are gathered. Neither movement from nor towards,
Neither ascent nor decline. Except for the point, the still point, There would be no dance, and there is only the dance.
(Text © T.S. Eliot. Reproduced by courtesy of Faber and Faber Ltd.)
In addition to this inspiration while working on the piece, I became fascinated by fractals (infinite patterns found in nature that are selfsimilar across different scales) and delved into the work of contemporary biologist and philosopher Andreas Weber who writes about the interdependency of all beings. Weber explores how every living organism has a rhythm that interacts and impacts all the living things around it and results in a multitude of outcomes.
Like Eliot in Four Quartets, beginning to understand this interconnectedness requires that we slow down, listen, and observe both the effect and the opposite effect caused by every single action and moment. I’ve found this is an exercise that lends itself very naturally towards musical and gestural possibilities that I explore in the work–action and reaction, dark and light, stagnant and swift.
Structurally, with these concepts in mind, I set the form of the work as a rondo, within a rondo, within a rondo. The five major sections are a rondo; section ‘A' is also a rondo in itself; and the cadenza—which is partially improvised by the soloist—breaks the pattern, yet contains within it, the overall form of the work.
To help share some of this with the performers, I’ve included the following poetic performance note at the start of the score:
Inspired by the constancy, the rhythms, and duality of life, in order of relevance to form: Rondine – AKA Swifts (like a sparrow) flying in
Program Notes
circles patterns
Playing with opposites – dark/light; stagnant/ swift Fractals – infinite design
I am grateful to my friend Awadagin Pratt for his collaborative spirit and ingenuity in helping to usher my first work for solo piano into the world.”
This performance marks the DSO premiere of Jessie Montgomery’s Rounds.
Snapshots
Composed 2024 | Premiered 2024 (DSO Co-Commission)
JESSIE MONTGOMERY
B. 1981, New York, New York
Scored for 3 flutes (one doubling piccolo), 3 oboes (one doubling English horn), 3 clarinets (one doubling E-flat
clarinet, one doubling bass clarinet), 3 bassoons (one doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, keyboard, and strings. (Approx. 20 minutes)
Of Snapshots, Montgomery writes the following: “Snapshots is part of a series of pieces I have been writing recently that are comprised of short ‘vignettes,’ each movement distinct in character and based on an imagined scene, mood, or effect. After a boisterous introductory movement, typical of my works that are inspired by dance music, the subsequent movements II and III are whimsical and playful, like peering into a diorama, precisely staged and complete, evocative of a town square where children may play boisterously, followed by a passing storm that never quite breaks. The final movement is a call to my earlier influences of film music and Ravel and Debussy string quartets.”
Bravo!
We are pleased to celebrate our dear friend, Walter Douglas. Walt, we applaud your dedication to Detroit, including the Detroit Symphony Orchestra and Classical Roots. Thank you for your commitment and service.
It is a delight to acknowledge the exceptional musical talents of Jessie Montgomery.
Salute to Damien Crutcher for his innovative and collaborative work with Detroit Harmony and Crescendo Detroit.
--Chacona & Harold Baugh
ENRICO LOPEZ-YAÑEZ
Principal Pops Conductor
Devereaux Family Chair
FIRST VIOLIN
Robyn Bollinger
CONCERTMASTER
Katherine Tuck Chair
Kimberly Kaloyanides Kennedy
ASSOCIATE CONCERTMASTER
Schwartz and Shapero Family Chair
Hai-Xin Wu
ASSISTANT CONCERTMASTER
Walker L. Cisler/Detroit Edison Foundation Chair
Jennifer Wey Fang
ASSISTANT CONCERTMASTER
Marguerite Deslippe*
Laurie Goldman*
Rachel Harding Klaus*
Eun Park Lee*
Adrienne Rönmark*
William and Story John Chair
Alexandros Sakarellos*^
Drs. Doris Tong and Teck Soo Chair
Laura Soto*
Greg Staples*
Jiamin Wang*
Mingzhao Zhou*
SECOND VIOLIN
Adam Stepniewski
ACTING PRINCIPAL
The Devereaux Family Chair
Will Haapaniemi*
David and Valerie McCammon Chairs
Hae Jeong Heidi Han*
David and Valerie McCammon Chairs
Sheryl Hwangbo Yu*
Sujin Lim*
Hong-Yi Mo*
Marian Tanau*
Alexander Volkov*
Jing Zhang*
VIOLA
Eric Nowlin
PRINCIPAL
Julie and Ed Levy, Jr. Chair
James VanValkenburg
ASSISTANT PRINCIPAL
Janet and Norm Ankers Chair
Caroline Coade
Henry and Patricia Nickol Chair
Glenn Mellow
Hang Su
Hart Hollman
Han Zheng
Mike Chen
Harper Randolph§
JADER BIGNAMINI, Music Director
Music Directorship endowed by the Kresge Foundation
TERENCE BLANCHARD
Fred A. Erb Jazz Creative Director Chair
CELLO
Wei Yu
PRINCIPAL
Abraham Feder^
ASSISTANT PRINCIPAL
Dorothy and Herbert Graebner Chair
Robert Bergman*
Jeremy Crosmer*
Victor and Gale Girolami Chair
David LeDoux*
Peter McCaffrey*
Joanne Danto and Arnold Weingarden Chair
Una O’Riordan*
Mary Ann and Robert Gorlin Chair
Cole Randolph*
Mary Lee Gwizdala Chair
BASS
Kevin Brown
PRINCIPAL
Van Dusen Family Chair
Stephen Molina
ASSISTANT PRINCIPAL
Renato and Elizabeth Jamett Chair
Christopher Hamlen*
Peter Hatch*
Vincent Luciano*
Brandon Mason*
HARP
Alyssa Katahara!
PRINCIPAL
Winifred E. Polk Chair
FLUTE
Hannah Hammel Maser
PRINCIPAL
Alan J. and Sue Kaufman and Family Chair
Amanda Blaikie
Morton and Brigitte Harris Chair
Sharon Sparrow
ASSISTANT PRINCIPAL
Bernard and Eleanor Robertson Chair
Jeffery Zook
PICCOLO
Jeffery Zook
OBOE
Alexander Kinmonth
PRINCIPAL
Jack A. and Aviva Robinson Chair
Sarah Lewis
ASSISTANT PRINCIPAL
Monica Fosnaugh
ENGLISH HORN
Monica Fosnaugh
CLARINET
Ralph Skiano
PRINCIPAL
Robert B. Semple Chair
Jocelyn Langworthy
ACTING SECOND CLARINET
TABITA BERGLUND
Principal Guest Conductor NA’ZIR MCFADDEN
Assistant Conductor, Phillip & Lauren Fisher Community Ambassador
Jack Walters
ASSISTANT PRINCIPAL
PVS Chemicals Inc./
Jim and Ann Nicholson Chair
Shannon Orme
E-FLAT CLARINET
Jack Walters
BASS CLARINET
Shannon Orme
Barbara Frankel and Ronald Michalak Chair
BASSOON
Conrad Cornelison
PRINCIPAL
Byron and Dorothy Gerson Chair
Cornelia Sommer
Jaquain Sloan
ACTING UTILITY BASSOON
CONTRABASSOON
OPEN
HORN
Patrick Walle
ACTING PRINCIPAL HORN
David and Christine Provost Chair
Johanna Yarbrough^
Scott Strong
Ric and Carola Huttenlocher Chair
Kristi Crago
ACTING HORN
Ben Wulfman
ACTING HORN
TRUMPET
Hunter Eberly
PRINCIPAL
Austin Williams
James Vaughen
ASSISTANT PRINCIPAL
William Lucas
TROMBONE
Open
PRINCIPAL
David Binder
Adam Rainey
Richard Sonenklar and Greg Haynes Chair
BASS TROMBONE
Adam Rainey
TUBA
Dennis Nulty
PRINCIPAL
TIMPANI
Jeremy Epp
PRINCIPAL
Richard and Mona Alonzo Chair
James Ritchie
ASSISTANT PRINCIPAL
PERCUSSION
Joseph Becker
PRINCIPAL
Ruth Roby and Alfred R. Glancy III Chair
Andrés Pichardo-Rosenthal
ASSISTANT PRINCIPAL
William Cody Knicely Chair
James Ritchie
Luciano Valdes§
LIBRARIANS
Robert Stiles
PRINCIPAL
Ethan Allen
LEGACY CHAIRS
Principal Flute
Women’s Association for the DSO
Principal Cello
James C. Gordon
PERSONNEL MANAGERS
Andrew Williams
DIRECTOR OF ORCHESTRA PERSONNEL
Patrick Peterson
ORCHESTRA MANAGER
Benjamin Tisherman
MANAGER OF ORCHESTRA PERSONNEL
STAGE PERSONNEL
Dennis Rottell
STAGE MANAGER
Joe Corless
DEPARTMENT HEAD
William Dailing
DEPARTMENT HEAD
Zach Deater
DEPARTMENT HEAD
Issac Eide
DEPARTMENT HEAD
Kurt Henry
DEPARTMENT HEAD
Matthew Pons
SENIOR AUDIO DEPARTMENT HEAD
Jason Tschantre
DEPARTMENT HEAD
PAST MUSIC DIRECTORS
Leonard Slatkin
MUSIC DIRECTOR LAUREATE
Neeme Järvi
MUSIC DIRECTOR EMERITUS
LEGEND
* These members may voluntarily revolve seating within the section on a regular basis
^ Leave of Absence
§ African American Orchestra
Fellow
THE BRAZEAL DENNARD CHORALE
The Brazeal Dennard Chorale, founded in 1972 by Dr. Brazeal W. Dennard, is one of the longest standing organized choral groups in the country. For more than five decades, the Chorale has wooed Detroit audiences with its vocal excellence in the performance of choral music of all genres, while it continues to pursue the mission of its founder: to remember, discover, and preserve the spiritual music of the African American experience and culture. A generation later, the need for that mission is greater than ever as others, particularly young people, remain unaware of the historical and cultural significance of the Negro Spiritual.
Music professionals throughout the United States and Canada recognize the mission and commitment of the Chorale, whose yearly schedule includes a variety of concerts, from a holiday concert, to a spring pops dinner show, which highlights music from jazz to Broadway, and beyond. Through its many performances and CDs, the Brazeal Dennard Chorale, now under the direction of Alice McAllister Tillman, continues to educate and inspire.
BRAZEAL DENNARD CHORALE
Alice McAllister Tillman, Artistic Director
Michele Cotton Stanfield, Assistant Conductor
Dr. Stanley Waldon, Accompanist
Rosilyn Stearnes-Brown, Librarian
Yvonne Turner, Executive Director
SOPRANO
Ursula Byrd
Julie Devine
Brande Everette
Marlena Hampton
Tanya Mason
Staci Reed
Daryl Taylor
Yvonne Turner
LaNyck Washington
Regina Woodson
Monique Young
ALTO
Ida Abbington
Michele Cotton Stanfield
Madonna Draughn
Sadarra Fields
Camille Hanna
Brandon Hodges
Juanita Jeffries
Rochelle Mitchell
Jean Derricotte Murphy
Janice Simon
Rosilyn Stearnes-Brown
Asia Van-Horn Lee
Ayona Van-Horn Lee
CONTRALTO
Jacqueline Howard
Carolyn Kent
TENOR
Elijah Anderson
Malcolm Davis
Terrence Horn
Ben Phillips
Darius Washington
BARITONE/BASS
Gregory Coble
Norah Duncan IV
Theodore Jones
Bryson Nickleberry
James Parks
Raymond Shepherd
Dennis Ryans
WE ARE HONORED TO SUPPORT CLASSICAL ROOTS AND THE CONTRIBUTION IT MAKES TO ARTISTIC EXCELLENCE WITH THE DSO’S INCLUSIVE CULTURE. THANK YOU FOR CONTRIBUTING TO THE RICHNESS OF OUR COMMUNITY.
with love,
A stronger community. A healthier community.
Henry Ford Health is pleased to sponsor the Detroit Symphony Orchestra’s Classical Roots Celebration honoring African-American composers, musicians, and educators. We value and embrace the wealth of the diversity reflected in our patients, our workforce and partners, and the many communities we serve.
JESSIE MONTGOMERY
BY LATOYA CROSS
Music is an archive of human existence and experience.
And it is through music, as a GRAMMY® Awardwinning violinist and composer, that Jessie Montgomery creates narratives that ignite thought, rush you with playfulness, and invite you to imagine.
Creating from a place of self-honor, Montgomery’s ability to weave classical with cultural music, improvisation, dance, and poetry can segue from reflections on socio-cultural moments senses with whimsical spontaneity and lightness.
Montgomery. “I like the element of surprise, and it helps to pace things in the music; it’s very much part of my process and attitude toward music,” she continues. “Writing for orchestra, there are so many opportunities for storytelling and ways that you can weave references to different styles.”
Her style, across orchestras, ensembles, and as a soloist, is eclectic, bold, and innovative — aptly described by The Washington Post as “turbulent, wildly colorful, and exploding with life.”
True.
“Everything that Jessie writes works so well for the instruments. I’m constantly learning so much,” expressed composer Missy Mazzoli in an interview co-produced by the Chicago Symphony Orchestra Association and WFMT. “You have this feeling that it’s all coming from this very honest place of wanting to do something that is uniquely
“CLASSICAL ROOTS IS ESSENTIAL. WE NEED TO KEEP REMINDING PEOPLE THAT BLACK HISTORY AND BLACK MUSIC, AND BLACK CULTURE IS AMERICAN HISTORY AND CULTURE. IT’S ABOUT HONESTY, TRUTH-TELLING, AND THE STORIES WE NEED TO TELL.” - JESSIE MONTGOMERY
architect of her musical journey:
She is a founding member of PUBLIQuartet and The Blacknificent 7, a collective of Black composers using music as a form of social activism; in June 2024 she completed a threeyear-appointment as the Chicago Symphony Orchestra’s Mead Composer-in-Residence; and she is the recipient of prestigious awards and fellowships including the Sphinx Medal of Excellence and Sphinx Virtuosi Composer-inResidence, the ASCAP Foundation’s Leonard Bernstein Award, and Musical America’s 2023 Composer of the Year—this is an abbreviated list.
Currently, she is deep in her role as creator of the Young Composers Initiative in Chicago, which supports high school aged youth in creating and presenting their works. The initiative includes tutorials, reading sessions, and public performances. This year’s cohort will culminate with a performance by musicians from the Civic Orchestra of Chicago in May.
“Mentorship and teaching always makes me feel
discovering new works on their own.”
This season, we lift Montgomery’s contributions to the evolution of classical music as the 2025 Classical Roots artistic honoree.
COLOR AND BALANCE
Born to parents who were always involved in music, theater, and education in New York, the feeling of community developed early for Montgomery (a self-described quiet kid who liked to watch), and the concept of leading an artful life on your own terms was a reality she witnessed daily.
There were early moments of seeing her dad sitting at their home piano writing an opera—a visual that she imitated and would influence her to begin composing in high school. There are memories of watching her mother from backstage at a theater or being with her parents at a music hall. Music and people filled their home.
“I always observed that being an artist and making your life as an artist was a normal thing; something to aspire to. The number of people that
MONTGOMERY
were always involved in activities and the reach they had; I found that impressive,” she says. “That influenced my sense of how to be in a community and how to influence people around the world with your work; it became foundational to my understanding of how to be in the world, and a way of creating community around what you do.”
of the Hudson River as a call to “gather on this land and pay tribute to what came before.”
Engaging with different art forms can spark ideation and serve as inspiration to create anew.
Montgomery’s attraction to storytelling across artistic disciplines often shows up in her works through poetry and dance collaborations.
“Exploration is very enriching to my sense of meaning and storytelling in my own music; I find that it inspires other ways of thinking about music, when I can collaborate with other mediums, and it enriches my sense of timing and pacing,” she says. “It also gives me another perspective on how we communicate as humans.”
These intersections were explored with the Dance Theatre of Harlem and choreographer Claudia Schreier in the ballet Passage (2020), which served as a reflection on the fortitude of the human spirit and was performed in commemoration of the 400th anniversary of the arrival of enslaved Africans to Virginia in 1619.
Of the collaboration, Schreier expressed, “[Jessie] has this gorgeous, lyrical, flowing quality to everything that she does. It’s such a special quality for composers, especially in this era.”
In 2021, her work with Bard SummerScape and choreographer-in-residence Pam Tanowitz resulted in I was waiting for the echo of a better day, a site-specific dance with live music. The performance took place on the historic Montgomery Place parkland against the backdrop
Rounds, which earned Montgomery the 2024 GRAMMY® Award for Best Contemporary Classical Composition and is featured on this year’s Classical Roots program with pianist Awadagin Pratt, evokes themes and imagery from T.S. Eliot’s epic Four Quartets—specifically the first poem, Burnt Norton, that contemplates interconnectedness and its requirement of us to slow down, listen, and observe.
Lately, the poetry of James DePreist, one of the first African American conductors on the world stage and author of A Distant Siren has been serving inspiration. “It’s a clarity he has, something very poignant about the word choices. In a short, concise moment, you can hear and feel the musicality and sincerity of each contemplation,” Montgomery says. “I just find it brilliantly fresh.”
Collectively, these bodies of work speak to concepts that often show up in Montgomery’s compositions: community, ritual, and gathering— with music as the nucleus for togetherness.
“There are ways in which music and people gather, it happens in different ways for different people and cultures. But when you put them all in the same place, we all sort of find common ground with each other,” she analyzes. “That type of connection is what I’m seeking in my art— creating the conditions wherein those things can happen.”
SNAPSHOTS.
Music creates poignant moments. Melodic instrumentation can swing feelings from despair to hope, turmoil to triumph, and a tear to a smile.
With Snapshots, a DSO co-commission featured
on the Classical Roots program, Montgomery describes the aesthetic as a “melding of styles and points of view.”
Within the four-movement composition are distinctive, imaginative vignettes that play as “a flash of all these different ideas and experiences coming together. You’ll find in the piece that they explore a wide range of orchestration colors from cinematic to really intimate writing,” she shares.
“The bigger orchestration has driving rhythms that I think are evocative of the frenetic energy of being in a big city.”
Though the work is not a direct connection to the composer’s Lower East Side Manhattan upbringing during the 1980s, an era she expresses as “chaotic” but bursting with art and creativity, there are moments that play as a loose representation.
“There’s this urban beauty that is unique to the people that have lived in this neighborhood and have made art in reflection of this neighborhood,” she says. “So, there’s influences of families and then there’s street art, graffiti, hip hop, folk songs, and dance. All those things are in the aesthetic of the experience and the music.”
The final movement draws on her early influences of film music, an homage to Ravel and Debussy’s string quartets, where mood, atmosphere, light depictions, and color were focal.
IN GRATITUDE
The Classical Roots Celebration amplifies the voices and presence of African Americans who have contributed, shaped, shifted, redefined, and made possible what classical music spaces can sound and look like.
“Classical Roots is essential,” Montgomery says. “We need to keep reminding people that Black history and Black music, and Black culture is American history and culture. It’s about honesty, truth-telling, and the stories we need to tell. We need these spaces and moments to acknowledge and reflect on the fact that as long as we’re on the planet, we’re going to tell our story.”
From the artsy streets of New York to the worldwide stage, Jessie Montgomery is shifting traditional expectations of classical music; and she’s doing it her way while lifting voices of now and tomorrow.
“I’m motivated to continue to make art the way I choose to and allow my voice to grow and go where I want it to go,” she says. “I feel grateful that I have arrived at a place where I’m steering the ship whichever way I want from here on out.”
WALTER DOUGLAS
BY MARISA JACQUES
Walter Edmond Douglas, Sr. is an accomplished businessman, entrepreneur, and civic pioneer. The indelible mark he has left on Detroit and beyond earns him the title of Classical Roots Honoree.
Douglas was born in North Carolina and was raised in the railroad community of Hamlet. He stayed in North Carolina into early adulthood, attending North Carolina Central University, where he earned a BA in accounting (1954) and MBA (1955). Upon graduation, Douglas briefly taught at Edward Waters Junior College in Jacksonville, Florida until he was drafted into the US Army in 1956. After serving for two years, Douglas was hired by the Internal Revenue Services, which would ultimately bring him to Detroit.
In his role at the IRS, Douglas worked in data processing, where he wrote programs. The IRS was building a data center in Detroit, and Douglas was part of the initial crew to be transferred to the new facility. In 1966, Douglas moved with his family to Detroit and quickly became invested in the community.
“I got here a year before the civil disturbance in 1967, and of course that incident sort of changed my life,” recounted Douglas. Witnessing one of the most violent and destructive civil riots in America and hearing the news spread throughout the country prompted Douglas to ask himself, “Is there anything I can do?” He initially turned to his church, Central Methodist, and swiftly began making an impact.
Douglas participated in crucial dialogue with other members of the congregation, local businesses, and local politicians—Black and white alike. Through these conversations, Douglas
“I THINK DETROIT IS A BETTER COMMUNITY BECAUSE THEY GOT TO KNOW WALT, AND THEY GOT TO SEE HIS LEADERSHIP SKILLS, AND THEY WERE ABLE TO SEE THE PASSION HE HAD [AS] A NON-DETROITER TO COME HERE TO DETROIT AND BE SUCH AN IMPORTANT PART OF THE CITY AND TO LEAVE SUCH AN IMPORTANT LEGACY.”
- EDSEL FORD II
connected with important nonprofit and political figures in Detroit. He became close to Coleman Young, the first African American mayor of Detroit, advising him during his campaign and working various positions once Young was elected in 1974.
Another influential relationship Douglas fostered during the aftermath of the civil disturbance was with Larry Doss, who was president of New Detroit, Inc. at the time. New Detroit was the first coalition in the country formed to identify and rectify the inequities that existed in the community leading up to the 1967 riot. Doss appointed Douglas as vice president and sent him out to conduct research about the business community. Through this research, Douglas was introduced to the Inner City Business Improvement Forum (ICBIF), an organization whose board he would later join.
Douglas witnessed firsthand the lack of African Americans in leadership positions in Detroit.
“I became quite interested in trying to inveigle and encourage African Americans to get into business,” said Douglas. He worked tirelessly doing so as he explored new opportunities and challenged the status quo. Douglas’s work with ICBIF and later as president of New Detroit prepared him for his immense personal business success that was soon to come. After many years advocating for and advising other African
American business leaders, Douglas decided it was his time.
In 1985, Douglas joined Ford Motor Company’s minority training program, which aimed to provide more African Americans with the opportunity to own car dealerships. While in this program, Douglas trained at Bill Brown Ford in Livonia, which was one of the largest Ford dealerships in Michigan at the time. Here, Douglas gained invaluable hands-on experience.
The program, coupled with Douglas’s passion for business, proved successful when he purchased a share of the historic Avis Ford dealership in Southfield. In 1992, he became majority owner. Under Douglas’s ownership, the dealership has garnered awards and accolades, serving as a pillar of the Detroit business community. In 2006, he turned over the business to his sons, Mark and Edmond.
To this day, Mark serves as president and Edmond serves as general manager, and Walter is still actively involved as chairman.
Mark speaks fondly of his father’s leadership, detailing how he truly led by example: “The biggest thing I observed from
to whom much is given, much that I think we all owe anyone.” The proclivity to uplift others is evident in the community Douglas Sr. helped build in Detroit. Douglas thrived when
recounts how Douglas’s positive treatment of his customers is a testament to his character. While working for Ford Credit, Ford bestowed awards upon Avis Ford for the exemplary customer
service provided under Douglas’s leadership.
When asked to describe Douglas in a few words, both his son Mark and Ford use the word “caring.”
They know him as a nurturing family man, and a tough yet fair businessman who loves his work and the city of Detroit. These attributes are those of a man who exemplified what it means to be in community with others through his work.
Douglas has devoted his skills to board service with a variety of organizations including, but not limited to, Henry Ford Health System, AAA Michigan, Tiger Woods Foundation, Health Alliance Plan, and Wayne State University Foundation. He also served on the DSO Board of Directors in the 1980s and has since been a supporter of the orchestra and advocate for African American involvement in the arts.
While reflecting on his life thus far, Douglas declared: “During my period on this earth, I have tried to make things better than before I got here, and I have never stopped trying, and I never will.”
An inspiration to everyone around him, Douglas has indeed made Detroit a stronger community through his decades of leadership and heartfelt service to others.
MARLOWE STOUDAMIRE AWARD FOR INNOVATION AND COMMUNITY COLLABORATION
DAMIENCRUTCHER
BY LATOYA CROSS
Detroit native who grew up on the city’s northeast side, Damien Crutcher is an award-winning conductor, educator, and arts advocate making an impact in Detroit proper and across Michigan.
of Bands and Orchestra at Southfield-Lathrup High School. Many of his former students are currently professional musicians, music teachers, and artists.
Accolades and high recognition are beautiful gifts that can serve as reminders to self that what you’re doing—the time, effort, and care— matters and is making a difference.
amien Crutcher, a Detroit native and Cass Technical high school graduate, holds a bachelor’s in music education from Michigan State University and a master’s in conducting from The University of Michigan. With mentorship from Dr. Ronnie Wooten and Prof. H. Robert Reynolds, Crutcher’s conducting career includes performances at Carnegie Hall, the Detroit Symphony Orchestra’s Orchestra Hall, and more. He is the founder and CEO of Crescendo Detroit, a nonprofit transforming Detroit’s youth through music, and managing director of the Detroit Symphony Orchestra’s Detroit Harmony initiative, a city-wide collaboration aiming to provide every student in Detroit with access to instruments and music education. Crutcher also serves the DSO’s Civic Youth Ensembles—of which he is an alum—as director of the Detroit Community Concert Band and Civic Symphonic Band. Since 2004, he has served as Music Director of the Farmington Concert Band, and previously served as Director
For Crutcher, it’s also a reminder that the work must not stop.
His vision to eliminate barriers to students and resources and revive arts in schools across the city is carried through his roles as: Co-founder and CEO of Crescendo Detroit, a nonprofit in the Dexter Davison neighborhood exposing youth to music-making and the arts including literacy and life skills classes; DSO’s Managing Director of Detroit Harmony, a city-wide arts collaborative working to provide every student in Detroit with access to instruments and music education, and bolster workforce development; and conductor of DSO’s Civic Youth Ensembles’ Civic Symphonic Band and Detroit Community Concert Band.
“You have to stay in the work and produce,” he says. “We must do all those things that lead
“DAMIEN’S HEART FOR OTHERS AND WILLINGNESS TO SHARE HIS GIFTS WHILE BRINGING OTHERS ALONG RESONATES WITH MARLOWE’S SPIRIT AS A PROUD DETROITER AND RELENTLESS ADVOCATE FOR THIS CITY AND ITS PEOPLE. HE IS DOING WITH HIS NONPROFIT TO EXPOSE STUDENTS IN DETROIT TO THE ARTS AND LIFE SKILLS IS NOTHING SHORT OF PHENOMENAL.
to impact. You want a student to be a good musician, so it’s important to have a whole community behind them, so that one day, they’ll come back to their communities and teach.”
In the spirit of collective work and responsibility, Crutcher is among changemakers shifting Detroit’s artistic landscape and making it possible for youth to have access to and opportunities within music and the arts.
“This city is about the arts and service to others. It’s important that those of us who do the work continue to be examples of service; of showing hope and possibility,” Crutcher says. “Music absolutely changed my life; we must
through music and collaborative action he is doing that for others.
Every masterpiece begins with a single note.
Gilbert Family Foundation is proud to support the DSO’s e orts to raise awareness of the contributions of African American composers and musicians, as well as increase opportunities for African Americans in classical music.
Jessie Montgomery Composer • Violinist
McDonald’s Jamjomar Congratulates the Detroit Symphony Orchestra Classical Roots Celebration and All Distinguished Honorees!
NA'ZIRMCFADDEN
American conductor Na’Zir McFadden is the Assistant Conductor and Phillip & Lauren Fisher Community Ambassador of the Detroit Symphony Orchestra. McFadden also serves as Music Director of the Detroit Symphony Youth Orchestra.
Establishing his presence on the classical music scene, the 2024–25 season includes debuts with the Boston Symphony Orchestra, Baltimore Symphony Orchestra, Nashville Symphony, and The No Name Pops (formerly the Philly Pops) at Marian Anderson Hall in Philadelphia’s Kimmel Center. He will also return to the New Mexico Philharmonic and the Philadelphia Ballet, in addition to several engagements with the Detroit Symphony Orchestra.
In summer 2024, McFadden was invited by the Boston Symphony Orchestra as one of two Tanglewood Music Center Conducting Fellows. As a fellow, he conducted the Tanglewood Music Center Orchestra in numerous performances, and participated in masterclasses led by Andris Nelsons, Alan Gilbert, Thomas Wilkins, and Dima Slobodeniouk.
In the 2022–23 season, he made his subscription debut with the Detroit Symphony Orchestra, alongside bass-baritone Davóne Tines and clarinetist Anthony McGill. In March of 2024, he conducted the DSO’s Classical Roots program, premiering new works by composers Billy Childs and Shelley Washington.
Other career highlights have included debuts with the North Carolina Symphony, Utah Symphony Orchestra, Kalamazoo Symphony Orchestra, and Philadelphia Ballet. Additionally, McFadden led a recording project with the Civic Orchestra of Chicago—featuring Hilary Hahn as co-collaborator and soloist.
In 2020, McFadden was named the inaugural Apprentice Conductor of the Philadelphia Ballet; a position he held until 2022. He also served as the Robert L. Poster Conducting Apprentice of the New York Youth Symphony from 2020 to 2021.
At the age of 16, McFadden conducted his hometown orchestra—The Philadelphia Orchestra—in their “Pop-Up” series, meeting their Music Director Yannick Nézet-Séguin, who has been a mentor ever since. The Philadelphia Inquirer praised his “great stick [baton] technique and energetic presence on the podium” in their concert review.
Kris Johnson is an empathetic, intelligent, and efficient trumpeter, composer, arranger, film composer, and educator based in Detroit.
Johnson's professional career is expansive for an artist so young. With an expansive professional career, Johnson has composed several musicals including Jim Crow's Tears and Hastings Street: The Musical; scored films, such as the Emmy-nominated web series King Ester; produced successful personal projects, such as The Kris Johnson Group and #looptherapy; and served as the founder and director of the Paradise Theatre Big Band through the Detroit Symphony Orchestra.
With contributions to six GRAMMY®-nominated albums as a trumpeter and arranger, including the 2024 GRAMMY®-winning Basie Swings the Blues by the Count Basie Orchestra, Johnson is a recognized force in the industry. His career highlights include touring globally as a member of Endea Owens and the Cookout since 2023, and with the esteemed Count Basie Orchestra from 2008 to 2019 as a soloist and arranger, performing at prestigious venues like the Apollo Theater, Hollywood Bowl, the Sydney Opera House, the Kennedy Center, and more. His collaborations extend to musicians like Wynton Marsalis, Tony Bennett, Leslie Odom Jr., and Wycliffe Gordon, showcasing his versatile talent.
Johnson currently serves as Assistant Professor of Jazz Trumpet at the University of Michigan School of Music, Theatre, and Dance. His journey as an educator began with his own education at Michigan State University, where he received his bachelor’s and master’s degrees in jazz studies in 2005 and 2007, respectively. He has gone on to serve in the role of Director of Jazz Studies at the University of Utah; a Project Director for Pontiac School District, leading a U.S. Department of Education Arts in Education - Model Development and Dissemination Grant; as the Education and Digital Programming Manager for the Motown Museum; and as the Executive Director of the MSU Community Music School-Detroit. Additionally, he has served on the teaching faculty at The Ohio State University, Detroit Symphony Orchestra’s Civic Youth Ensembles, and as an Artistic Liaison for JazzEd Detroit through a partnership with ArtOps and the Fred and Barbara Erb Family Foundation.
KRISJOHNSON
Among his generation of concert artists, pianist Awadagin Pratt is acclaimed for his musical insight and intensely involving performances in recital and with symphony orchestras.
AWADAGINPRATT
America, which melds personal narratives with live music and panel discussion on the state of race in the United States.
Born in Pittsburgh, Pratt began studying piano and violin at an early age. At 16, he entered the University of Illinois, where he studied piano, violin, and conducting. He subsequently enrolled at the Peabody Conservatory of Music, where he became the first student in the school's history to receive diplomas in three performance areas—piano, violin, and conducting.
In 1992, Pratt won the Naumburg International Piano Competition and two years later was awarded an Avery Fisher Career Grant. Since then, he has played numerous recitals throughout the US including performances at Lincoln Center, the Kennedy Center, Dorothy Chandler Pavilion in Los Angeles, Chicago’s Orchestra Hall, and the New Jersey Performing Arts Center. His many orchestral performances include appearances with the New York Philharmonic, the Minnesota Orchestra, and the Pittsburgh, Cincinnati, Baltimore, Indianapolis, Atlanta, St. Louis, National, and Detroit symphony orchestras, among many others. Summer festival engagements include appearances at Ravinia, Blossom, Wolftrap, Caramoor, Aspen, and the Hollywood Bowl. Also an experienced conductor, Pratt began his tenure as Music Director of the Miami Valley Symphony Orchestra (Ohio) in 2023.
An avid participant in residency and outreach activities, he created a program called Black in
Pratt’s recordings for Angel/EMI include A Long Way From Normal, an all-Beethoven Sonata CD, Live From South Africa, Transformations, and an all-Bach disc with the St. Lawrence String Quartet. His most recent recordings are the Brahms Sonatas for Cello and Piano with Zuill Bailey for Telarc and a recording of the music of Judith Lang Zaimont with the Harlem String Quartet.
Pratt is also the founder and Artistic Director of the Art of the Piano and produces a festival every spring featuring performances and conversations with well-known pianists and piano faculty members. This spring, he also organized the first Nina Simone Piano Competition for Black Pianists in collaboration with the Cincinnati Symphony, the University of Cincinnati College-Conservatory of Music, and the Art of the Piano Festival. The competition was made possible by a generous grant from the Sphinx Organization.
In July 2023, Pratt joined the faculty of the San Francisco Conservatory of Music as a Professor of Piano. He was previously a Professor of Piano and Artist in Residence at the College-Conservatory of Music at the University of Cincinnati for 19 years.
In recognition of his achievements in the field of classical music, he received the Distinguished Alumni Award from Johns Hopkins University as well as honorary doctorates from the Berklee College of Music and Illinois Wesleyan. Pratt is a Yamaha artist.
U-M Symphony Band April 14, 2025 | 8:00 pm Hill Auditorium, Ann Arbor
smtd.umich.edu/events Free! No tickets required
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ROOTS CELEBRATION
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“MY EXPERIENCE AS A DSO FELLOW HAS BEEN NOTHING SHORT OF INCREDIBLE, FOSTERING SELF-DISCOVERY, GROWTH, AND RESILIENCE, ALLOWING ME TO MAKE A POSITIVE IMPACT WHEREVER I GO.” —HARPER RANDOLPH
HARPERRANDOLPH
allowed me to grow as both a performer and a person and has set me up for further success in my future endeavors,” reflected Randolph.
Harper Randolph first encountered the viola at age five through the DC Youth Orchestra Program in her hometown of Washington, DC. She has since garnered numerous awards and recognition in competitions including Third Prize in the 2022 Sphinx Competition and First Prize in the 2019 NYU Concerto Competition. Randolph has performed at acclaimed venues including the Metropolitan Museum of Art, the White House, the John F. Kennedy Center for the Performing Arts, and Palffy Palace in Prague. Randolph recently completed a Specialist in Music degree from the University of Michigan’s School of Music, Theatre & Dance, and holds a Bachelor and Master of Music from New York University. Randolph’s teachers include Stephanie Baer, Karen Ritscher, and DSO violist Caroline Coade.
Now in her second year in the DSO’s African American Orchestra Fellowship, Randolph has enjoyed growth opportunities on and off the stage, from performing concerts at Orchestra Hall and community venues, to leading sectionals and quartet coaching sessions for the DSO’s Civic Youth Ensembles and Detroit Community Ensembles. “Each performance and leadership opportunity I have been granted has
Among her favorite experiences have been community performances at hospitals and healthcare centers, including with her twin brother, DSO cellist Cole Randolph. “These performances are some of my favorites to do because of the positive impact that the music has on the individuals in the hospital—whether they are visiting loved ones, working at the front desk, or are doctors/nurses,” said Randolph. “These events always remind me why I love performing and highlight the true power of music.”
She also strongly values the support she has received from the DSO’s viola section, as well as her mentor, DSO cellist Úna O’Riordan. “Whether it is through private lessons, their attendance and feedback during my mock auditions, or grabbing coffee and discussing upcoming auditions and future career plans, these musicians have played an integral role in my growth as a musician,” said Randolph. “I’ve always felt welcomed and supported by these individuals and am very appreciative of all they do to help me succeed.”
“I have learned so much throughout my time working and performing with members of the DSO,” she continued. “Some nuggets of wisdom offered to me by musicians and mentors include (1) It’s never too early to start the preparation process, (2) Choose to be kind to yourself even when you make a mistake, and (3) Consistency in diligent, mindful preparation will render the results you desire. These are pieces of advice that I will forever carry with me as I excel in my career.”
“MY FELLOWSHIP EXPERIENCE HAS BEEN A UNIQUE BLEND OF PERSONAL AND PROFESSIONAL GROWTH, WHERE I’VE DEEPENED MY MUSICAL ABILITIES WHILE LEARNING THE IMPORTANCE OF COLLABORATION, LEADERSHIP, AND COMMUNITY OUTREACH.” —LUCIANO VALDES
LUCIANOVALDES
Luciano Valdes is a percussionist and timpanist from Miami, Florida, pursuing a Master of Music at University of Southern California's Thornton School of Music under Joseph Pereira and Jim Babor. He earned his Bachelor of Music from New York University’s Steinhardt School of Music and Performing Arts Professions, where he received the Ida Bodman Service Award for leadership and studied with esteemed teachers including Jonathan Haas, Eriko Daimo, Sean Statser, Joshua Quillen, Valerie Naranjo, Javier Diaz, and James Saporito.
He has performed with the New World Symphony under Michael Tilson Thomas and served as Principal Percussionist of the New York Youth Symphony, contributing to their GRAMMY®-winning album Works by Florence Price, Jessie Montgomery, Valerie Coleman. Valdes previously served as Principal Timpanist of the Bakersfield Symphony Orchestra and has played with the Ann Arbor Symphony and Fort Wayne Philharmonic. He is also an alumnus of the Aspen Music Festival and School and the Texas Music Festival.
Now in his second year in the DSO’s African American Orchestra Fellowship, Valdes reflects on a meaningful performance highlight: performing Strauss’s An Alpine Symphony at Orchestra Hall in 2024. “It was an unforgettable experience, as I was fortunate enough to have the opportunity to play the cymbal part,” said Valdes. “The intensity of the music, especially during those big cymbal crashes, felt incredibly cinematic.”
Valdes has also leveraged the Fellowship for continued growth. “The most valuable part of my Fellowship experience has been learning how to blend and perform with a professional orchestra, as well as receiving insightful tips and advice from the percussion section,” said Valdes.
Beyond performance skills, Valdes has enjoyed enriching opportunities to collaborate with musicians from diverse backgrounds and learn the importance of effective communication, leadership, and teamwork in a professional setting. “The program has also opened doors to outreach initiatives, allowing me to engage with the community and inspire the next generation of musicians, particularly those who may not otherwise have access to such opportunities,” said Valdes.
“Working with the faculty, mentors, and other Fellows has taught me invaluable lessons I’ll carry forward in my career. I’ve learned the importance of discipline, being open to feedback, and refining both technical skills and personal musicality. Collaborating with fellow musicians has shown me the value of building strong, supportive relationships and working together to enhance performances. The experience reinforced that success in this field is about both personal growth and collective achievement. These lessons will stay with me as I continue my career.”
IN MEMORIAM
THE DSO REMEMBERS
Dr. William F. Pickard
1941–2024
Dr. Pickard, a visionary philanthropist and esteemed business leader, was the founder, chairman, and chief executive officer of Global Automotive Alliance. A dedicated supporter of the DSO, he served on both the Board of Directors and later the Board of Trustees. His support was instrumental in the establishment of the Arthur L. Johnson African American Artist Fund in 2011, and in 2019, he was recognized as a Classical Roots honoree.
INSPIRING THROUGH EDUCATION: The Heart of Classical Roots
Community engagement has been central to Classical Roots since its inception in 1978, continuing to drive its mission of honoring and amplifying the contributions of African American artists to classical music. What began as a concert at Bethel A.M.E. Church has evolved into a robust celebration featuring performances at Orchestra Hall, a gala, and increased opportunities for Black musicians through initiatives like the DSO’s African American Composer Residency and African American Orchestra Fellowship.
A vital part of this mission is inspiring the next generation, and this year, thanks to the generosity of the DSO’s education sponsors, the DSO has something special in store. On Friday, more than 300 students from Chandler Park Academy, Detroit School of Arts, Detroit Achievement Academy, Duke Ellington Conservatory, Renaissance High School, Trillium Academy, and Center Line Prep Academy will attend the morning Classical Roots concert. To deepen their experience, the students will first take part in a preconcert workshop designed to connect them directly with the music and the artists behind it.
The workshop, hosted by esteemed educator and cellist Cecelia Sharpe, will feature an onstage interview with acclaimed composer, trumpeter, and educator Kris Johnson, whose new work, Marlowe's Wings: Detroit's Champion of Change, in honor of community leader Marlowe Stoudamire, will see its world premiere at this year’s Classical Roots concerts. Johnson, a celebrated artist with a passion for mentoring young musicians,
will share his experiences as a composer, helping students understand the creative process behind the music they will soon hear. The interactive session will also include a hands-on composition activity, allowing students to apply what they’ve learned by collaboratively crafting their own musical ideas.
Sharpe, a graduate of Wayne State University, has spent over 15 years teaching and advocating for youth and the arts. Beyond her role as a cellist and educator, she is also a radio host and producer on WRCJ 90.9 FM, where she shares classical and jazz music with a broad audience. Previously serving as the DSO’s Manager of Education Programs, Sharpe has continued to engage young audiences through her work as a concert host and narrator for educational, family, and community programs. Her dynamic and interactive approach ensures that students not only learn about music but also see its relevance in their own lives.
“The best way to inspire young minds is through handson learning,” said Clare Valenti, the DSO’s Director of Community Engagement. “By engaging students in conversation with artists like Kris Johnson and giving them the opportunity to experiment with composition themselves, we help them connect with classical music in a meaningful and personal way.”
Through engagement initiatives like this, the DSO continues to ensure that the legacy of African American artists in classical music is not only honored but also carried forward by the next generation.
CPA Mission:
Chandler Park Academy provides an immersive education experience and nurturing environment that helps every student prepare for the real world, transition to adulthood and compete globally in the 21st century and beyond.
Chandler Park Academy School District provides an immersive educational experience and nurturing environment that helps every student prepare for the real world, transition to adulthood and compete globally in the 21st century and beyond.
Salutes the DSO Classical Roots student educational program
Congratulations TO JESSIE MONTGOMERY, WALT DOUGLAS AND DAMIEN CRUTCHER ON THIS WELL-DESERVED HONOR.
SPECIAL THANKS TO DAMIEN FOR ENGAGING AND INSPIRING THE YOUTH OF DETROIT THROUGH HIS WORK WITH THE DSO'S CIVIC YOUTH ENSEMBLES AND DETROIT HARMONY. WE ARE PROUD TO SUPPORT THE MISSION OF THE DSO, AND CLASSICAL ROOTS.
DAVID AND BERNADINE WU
CONGRATULATIONS
TO DAMIEN CRUTCHER!
Warmest Congratulations TO OUR HONOREES. THANK YOU FOR ALL THAT YOU HAVE DONE TO BRING MUSIC INTO OUR LIVES.
GLENDA D. PRICE •
Congratulations to Jessie Montgomery, Walter Douglas, and Damien Crutcher on this well-deserved recognition.
We salute their dedication to the arts.
ANN AND JIM NICHOLSON
We congratulate and salute Jessie Montgomery, walt Douglas, and Damien Crutcher on this well- deserved honor!
—Joanne Danto and Arnold Weingarden
Mr. Douglas,
Congratulations on this welldeserved recognition. Thank you for your leadership and dedication as you continue to make a lasting impact on our community.
We are proud to support the mission of The DSO and Classical Roots.
RENATO AND ELIZABETH JAMETT
HATS OFF
to the Arthur L. Johnson-Damon Jerome Keith Classical Roots Committee on another successful year.
Congratulations to Walt Douglas and All of the Honorees from the team at MIDTOWN DETROIT INC.
MAUREEN L. STAPLETON, Interim Executive Director | NICOLE KIRKLAND, Chief Financial Officer | WENDY YUILLE, Small Business Manager
The Detroit Symphony Orchestra’s Classical Roots for its dedication to honoring and uplifting African American musical excellence and cultural heritage.
Your commitment to the arts and community empowerment is an inspiration. Thank you for creating opportunities for gifted and talented composers and musicians to shine.
NEXX Consulting Group CEO & Founder, Vance K. Jackson Jr. Strengthening Communities. Empowering Leaders.
Congratulations to Walter Douglas as
Debra and Richard Partrich
Congratulations to JESSIE MONTGOMERY and WALTER DOUGLAS on The 47th Classical Roots concert and 24th Annual Arthur L. Johnson- Honorable Damon Jerome Keith Celebration and DAMIEN CRUTCHER as the 4th annual recipient of the Marlowe Stoudamire Award for Innovation and Community Collaboration.
On behalf of The Center For Individual and Family Counseling, Inc. DR. PAULINE J. FURMAN Executive Director, Owner
Low Income Taxpayer Clinic (LITC): Education, outreach, and pro-bono legal representation to help low-income and ESL taxpayers solve their tax problems.
Accounting Aid Academy: Culturally competent education, technical assistance, coaching, and tax prep for small business owners in metro Detroit.
Wednesday 9 AM–5 PM
Thursday 9 AM–3 PM
Friday 9 AM–2 PM
Saturday 9 AM–2 PM Dr.
The Dr. Sullivan & Richie Jean Sherrod
JACKSON HOME
COMING TO GREENFIELD VILLAGE SUMMER 2026
The Jackson Home at The Henry Ford will illuminate a legacy of courage and the unsung heroes of the Civil Rights Movement. This historic home highlights the efforts of ordinary people who stood up for voting rights and liberty in America. The Henry Ford will share their stories with the world, ensuring future generations understand their bravery and sacrifice. The Selma, Alabama, home built in 1919 was occupied for over 100 years by three families of African American dentists – the last being Dr. Sullivan Jackson and his family.
Join The Henry Ford in our mission to preserve this powerful symbol of resilience.
Scan the QR code below for additional information on the Jackson Home:
Celebrating the legacy, inspiring the future.
JPMorganChase is proud to support the Detroit Symphony Orchestra’s Classical Roots Celebration, honoring the rich contributions of Black composers and musicians to classical music.
We applaud the DSO’s commitment to diversity, artistry and education— ensuring this legacy continues to inspire generations to come.
©2025 JPMorgan Chase & Co.