Classical Roots 2025 Program Book

SATURDAY03|01|25 PRESENTED BY

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

W

elcome to the 24th annual Arthur L. Johnson-Honorable Damon Jerome Keith Classical 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.

brought to life through the African American Orchestra Fellowship, community performances, regular programming by African American and Black composers, and music education. Together, we will ensure that the contributions of African Americans to classical music are acknowledged and celebrated, and that they continue to thrive.

Tonight, we honor acclaimed composer, violinist, and educator Jessie Montgomery; businessman, Detroit civic pioneer, and longtime Classical Roots supporter Walter Douglas Sr.; and Detroit educator, 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.

Have a wonderful evening!

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 Rounds, played by virtuoso Awadagin Pratt. The program also includes the world premiere of a moving tribute to Marlowe Stoudamire

by Kris Johnson, the 2023 recipient of the award in Marlowe’s name, who continues to champion 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.

WELCOME

DEAR FRIENDS

Erik Rönmark President & CEO James B. and Ann V. Nicholson Chair

Faye Alexander Nelson Chair, Board of Directors

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

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PROUD TO SUPPORT THE MISSION OF CLASSICAL ROOTS —

David and Christine Provost

OURMISSION

Since 1978, the Detroit Symphony Orchestra’s

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.

C L A S S I C A L

R O O T S

C E L E B R A T I O N

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DSOBOARD

Detroit Symphony Orchestra, Inc. BOARD OF DIRECTORS

DIRECTORS EMERITI

Julie Hollinshead

Chacona Baugh

Laurel Kalkanis

Penny B. Blumenstein

Jay Kapadia

OFFICERS

Richard A. Brodie

David Karp

Faye Alexander Nelson, Chair

Marianne Endicott

Joel D. Kellman

Erik Rönmark, President & CEO

Sidney Forbes

John Kim

Shirley Stancato, Vice Chair

Herman H. Frankel

Jennette Smith Kotila

Laura Trudeau, Treasurer

Dr. Gloria Heppner

Leonard LaRocca

Renato Jamett Secretary, Trustee Chair

Ronald Horwitz

William Lentine

Bonnie Larson

Linda Dresner Levy

Arthur C. Liebler

Gene LoVasco

Harold Kulish

Vincent Luciano,

Ric Huttenlocher, Officer at Large Daniel J. Kaufman, Officer at Large David Nicholson, Officer at Large David M. Wu, M.D., Officer at Large

Anthony McCree

Marilyn Pincus

Kristen McLennan

Michael Bickers

Dr. Glenda D. Price

Elena Centeio

Marjorie S. Saulson

Rodney Cole

Jane Sherman

Dr. Marcus Collins

Arthur A. Weiss

H. Keith Mobley

Ralph Gerson

BOARD OF TRUSTEES

Sandy Morrison

Herman B. Gray, M.D.

Renato Jamett, Chair

Laura Grannemann

Ismael Ahmed

Laura Hernandez-Romine

Richard Alonzo

Rev. Nicholas Hood III

Hadas Bernard

Xavier Mosquet

Janice Bernick

Arthur T. O’Reilly

Elizabeth Boone

Bernard I. Roberston

Gwen Bowlby

Jackie Paige

Scott Strong, Orchestra Representative

Dr. Betty Chu, M.D.

Priscilla Perkins

James G. Vella

Joanne Danto

Vivian Pickard

Stephen R. D'Arcy

Denise Fair Razo

Maureen T. D’Avanzo

Gerrit Reepmeyer

Jasmin DeForrest

Rochelle Riley

Cara Dietz

James Rose, Jr.

Afa S. Dworkin

Laurie Rosen

Emily Elmer

Carlo Serraiocco

James C. Farber

Lois L. Shaevsky

Amanda Fisher

T. Elliot Shafer

Linda Forte

Shiv Shivaraman

Carolynn Frankel

Dean P. Simmer

CHAIR EMERITI

Christa Funk

Richard Sonenklar

Peter D. Cummings

Robert Gillette

Dhivya Srinivasan

Mark A. Davidoff

Jody Glancy

Rob Tanner

Phillip Wm. Fisher

Malik Goodwin

Yoni Torgow

Stanley Frankel

Mary Ann Gorlin

Nate Wallace

Robert S. Miller

Darby Hadley

Gwen S. Weiner

James B. Nicholson

Peter Hatch, Orchestra Representative

Donnell White

David T. Provost

Donald Hiruo

Jennifer Whitteaker

Michele Hodges

R. Jamison Williams

Jeremy Epp, Orchestra Representative Aaron Frankel

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. ◊

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Orchestra Representative

David McCammon

D E T R O I T

S Y M P H O N Y

Tito Melega Lydia Michael Governing Members Chair

Frederick J. Morsches Jennifer Muse Geoffrey S. Nathan Sean M. Neall Eric Nemeth Maury Okun Shannon Orme,

Orchestra Representative

O R C H E S T R A

Deceased ◊

STEERINGCOMMITTEE

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 C O - C H A I R S

THERESE PEACE AGBOH*

ELIZABETH MAYS

RHONDA WELSH

GEANEEN ARENDS

ANTHONY MCCREE

ANNE WILCZAK

CHACONA W. BAUGH*

LAUREN MCNEARY

ELLEN HILL ZERINGUE*

KATORA COLE

H. KEITH MOBLEY*

TERRENCE CURRY

PRISCILLA PERKINS*

STAFF SUPPORT

LULU FALL

LESLEY ESTERS REDWINE

ALEX ANDERSON

LINDA FORTE*

ERIK RÖNMARK

MATT CARLSON

DR. HERMAN GRAY*

HON. CYNTHIA STEPHENS

LATOYA CROSS

LAYDELL W. HARPER*

MARK STRAYHAN

JILL ELDER

VERA HEIDELBERG*

VALENCIA STOUDAMIRE

ALI HUBER

KIMBERLY HOYLE

MICHELE TATE

JESSICA RUIZ

NINA JACKSON

BEVERLY THOMAS

SARAH SMARCH

RITA L. JORDAN*

DANIEL A. WASHINGTON

CLARE VALENTI

TERRENCE KEITH

DANIEL WASHINGTON

C L A S S I C A L

R O O T S

*PAST CHAIR

C E L E B R A T I O N

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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.

SPONSORS

Thank You

TO OUR GENEROUS SPONSORS ————

————

STANLEY & JUDY FRANKEL

AAA Michigan

Presenting S P O N S O R

Guest Artist S P O N S O R S

W. Harold & Chacona W. Baugh Walter and Rhea Douglas Family | Avis Ford Mary Ann & Robert Gorlin ————

Jim B. & Ann Nicholson

Celebration S P O N S O R

FOCUSED ON WHAT MATTERS

The Sphinx Organization Barbara Van Dusen ————

Community Engagement

MGM GRAND DETROIT IS PROUD TO SUPPORT THE DETROIT SYMPHONY ORCHESTRA’S 2023 CLASSICAL ROOTS CELEBRATION ————

SPONSORS

Central Michigan University - Detroit Campus Corewell Health Detroit Mulch Company Lauren & Phillip Fisher Flagstar Bank Ghafari Associates Henry Ford Health Barbara Ann Karmanos Cancer Institue

Supporting S P O N S O R S

CHRISTINE & DAVID PROVOST

————

Education S P O N S O R S

Butzel Long 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

————

Fellowship S P O N S O R S

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 vate stronger ties with our guests, employees, neighbors, and partners. We are ommitted to stand up to issues of equality and aim to better unify our world.

C L A S S I C A L

R O O T S

C E L E B R A T I O N

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THIS EVENING'S SCHEDULE 5PM Cocktail Reception William Davidson Atrium

6PM Seated Dinner

Peter D. and Julie F. Cummings Cube

8PM

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)

10:30PM Dessert & Dancing Afterglow William Davidson Atrium & Peter D. and Julie F. Cummings Cube

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D E T R O I T

S Y M P H O N Y

O R C H E S T R A

PROGRAM

JADER BIGNAMINI, Music Director

Music Directorship endowed by the Kresge Foundation

ENRICO LOPEZ-YAÑEZ

TERENCE BLANCHARD

TABITA BERGLUND

NA’ZIR MCFADDEN

Principal Pops Conductor Devereaux Family Chair

Fred A. Erb Jazz Creative Director Chair

Principal Guest Conductor

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

Na'Zir McFadden, conductor Kris Johnson, trumpet Awadagin Pratt, piano Brazeal Dennard Chorale (Alice McAllister Tillman, Artistic Director)

JOHN ROSAMOND JOHNSON (1873 - 1954) LYRICS BY JAMES WELDON JOHNSON ARR. ROLAND CARTER

Lift Every Voice and Sing

TRADITIONAL SPIRITUAL ARR. DR. NORAH DUNCAN IV

I Want Jesus to Walk With Me

TRADITIONAL SPIRITUAL ARR. GLENN L. JONES

Brazeal Dennard Chorale Alice McAllister Tillman, conductor

Brazeal Dennard Chorale Michele Cotton Stanfield, conductor Theodore Jones, baritone Dr. Stanley Waldon, piano

My Soul’s Been Anchored in De Lord

Brazeal Dennard Chorale Michele Cotton Stanfield, conductor Alice McAllister Tillman, soprano

KRIS JOHNSON (B. 1983)

Marlowe's Wings: Detroit's Champion of Change

FLORENCE PRICE (1887 - 1953)

The Oak

(World Premiere)

Kris Johnson, trumpet

INTERMISSION JESSIE MONTGOMERY (B. 1981)

Rounds

Awadagin Pratt, piano

Snapshots (DSO Co-Commission)

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.

C L A S S I C A L

R O O T S

C E L E B R A T I O N

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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

CONCERT

Program Notes lyrics:

Lift Every Voice and Sing JOHN ROSAMOND JOHNSON AND JAMES WELDON JOHNSON ARR. ROLAND CARTER

Lift ev’ry voice and sing, ‘Til earth and heaven

Scored for 2 flutes, oboe, 2 clarinets, bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, strings, and choir (Approx. 7 minutes)

ring, Ring with the harmonies of Liberty; Let our

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.

full of the faith that the dark past has taught us,

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.

C L A S S I C A L

R O O T S

rejoicing rise, High as the listening skies, Let it resound loud as the rolling sea. Sing a song 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.

C E L E B R A T I O N

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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:‬

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.‬‬

­——————————————————

“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.‬

The Oak

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.’

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.

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

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Development and Leadership; and Neighborhood Advancement.

D E T R O I T

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)

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

S Y M P H O N Y

O R C H E S T R A

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, C L A S S I C A L

R O O T S

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.)

CONCERT

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.

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

C E L E B R A T I O N

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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)

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.”

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

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

ORCHESTRA

JADER BIGNAMINI, Music Director

Music Directorship endowed by the Kresge Foundation

ENRICO LOPEZ-YAÑEZ

TERENCE BLANCHARD

TABITA BERGLUND

NA’ZIR MCFADDEN

Principal Pops Conductor Devereaux Family Chair

Fred A. Erb Jazz Creative Director Chair

Principal Guest Conductor

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

FIRST VIOLIN Robyn Bollinger

CELLO Wei Yu

Jack Walters

PERCUSSION Joseph Becker

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§

ASSISTANT PRINCIPAL PVS Chemicals Inc./ Jim and Ann Nicholson Chair

PRINCIPAL

Abraham Feder^

Shannon Orme

ASSISTANT PRINCIPAL Dorothy and Herbert Graebner Chair

E-FLAT CLARINET Jack Walters

Robert Bergman* Jeremy Crosmer* Victor and Gale Girolami Chair

BASS CLARINET Shannon Orme

David LeDoux* Peter McCaffrey* Joanne Danto and Arnold Weingarden Chair

Barbara Frankel and Ronald Michalak Chair

BASSOON Conrad Cornelison

Una O’Riordan* Mary Ann and Robert Gorlin Chair

Cole Randolph*

PRINCIPAL Byron and Dorothy Gerson Chair

Mary Lee Gwizdala Chair

Cornelia Sommer Jaquain Sloan

BASS Kevin Brown

ACTING UTILITY BASSOON

PRINCIPAL Van Dusen Family Chair

Stephen Molina ASSISTANT PRINCIPAL Renato and Elizabeth Jamett Chair

Christopher Hamlen* Peter Hatch* Vincent Luciano* Brandon Mason*

ACTING HORN

Ben Wulfman

Amanda Blaikie Morton and Brigitte Harris Chair

Sharon Sparrow ASSISTANT PRINCIPAL Bernard and Eleanor Robertson Chair

Jeffery Zook PICCOLO Jeffery Zook

ACTING HORN

TRUMPET Hunter Eberly PRINCIPAL

Austin Williams James Vaughen ASSISTANT PRINCIPAL

ASSISTANT PRINCIPAL

James C. Gordon

DIRECTOR OF ORCHESTRA PERSONNEL 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

Jason Tschantre

BASS TROMBONE Adam Rainey

SENIOR AUDIO DEPARTMENT HEAD DEPARTMENT HEAD

———— PAST MUSIC DIRECTORS Leonard Slatkin MUSIC DIRECTOR LAUREATE

Neeme Järvi MUSIC DIRECTOR EMERITUS

TUBA Dennis Nulty

Monica Fosnaugh

PRINCIPAL

ENGLISH HORN Monica Fosnaugh

TIMPANI Jeremy Epp

CLARINET Ralph Skiano

PRINCIPAL Richard and Mona Alonzo Chair

PRINCIPAL Robert B. Semple Chair

James Ritchie ASSISTANT PRINCIPAL

Jocelyn Langworthy ACTING SECOND CLARINET

C L A S S I C A L

Women’s Association for the DSO

Principal Cello

TROMBONE Open

Richard Sonenklar and Greg Haynes Chair

Sarah Lewis

LEGACY CHAIRS Principal Flute

Matthew Pons

David Binder Adam Rainey

PRINCIPAL Jack A. and Aviva Robinson Chair

PRINCIPAL

Ethan Allen

William Lucas

PRINCIPAL

OBOE Alexander Kinmonth

LIBRARIANS Robert Stiles

Patrick Peterson

Kristi Crago

PRINCIPAL Alan J. and Sue Kaufman and Family Chair

James Ritchie Luciano Valdes§

HORN Patrick Walle

Ric and Carola Huttenlocher Chair

FLUTE Hannah Hammel Maser

ASSISTANT PRINCIPAL William Cody Knicely Chair

PERSONNEL MANAGERS Andrew Williams

Johanna Yarbrough^ Scott Strong

PRINCIPAL Winifred E. Polk Chair

Andrés Pichardo-Rosenthal

CONTRABASSOON OPEN

ACTING PRINCIPAL HORN David and Christine Provost Chair

HARP Alyssa Katahara!

PRINCIPAL Ruth Roby and Alfred R. Glancy III Chair

R O O T S

C E L E B R A T I O N

LEGEND * These members may voluntarily revolve seating within the section on a regular basis ^ Leave of Absence § African American Orchestra Fellow

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CHOIR

THE BRAZEAL DENNARD CHORALE

T

he Brazeal Dennard Chorale, founded in 1972 by Dr. Brazeal W. Dennard, is one of the longest standing organized choral groups in the country. For more than 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.

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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

C E L E B R A T I O N

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

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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 ,

LAUREN AND PHILLIP FISHER

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.

2025

JESSIE MONTGOMERY B Y

M

L A T O Y A

usic is an archive of human existence and experience.

And it is through music, as a GRAMMY® Awardwinning violinist and composer, that Jessie

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.”

Montgomery creates narratives that ignite

Her style, across orchestras, ensembles, and as

thought, rush you with playfulness, and invite you

a soloist, is eclectic, bold, and innovative — aptly

to imagine.

described by The Washington Post as “turbulent,

Creating from a place of self-honor, Montgomery’s ability to weave classical with cultural music, improvisation, dance, and poetry can segue

much,” expressed composer Missy Mazzoli in an

foundational bedding in Montgomery’s interdisciplinary works is her ability to awaken senses with whimsical spontaneity and lightness.

D E T R O I T

True.

for the instruments. I’m constantly learning so

and identities to scenes filled with joy. The

“Whimsy keeps me alert and excited,” says

wildly colorful, and exploding with life.”

“Everything that Jessie writes works so well

from reflections on socio-cultural moments

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C R O S S

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

S Y M P H O N Y

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HONOREE

“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

hers; and she does it. It’s a beautiful experience

inspired and is an opportunity to see where the

every time.”

young professionals are on their path,” she says.

“It gives me hope to watch these young minds at

A multi-hyphenate artist, Montgomery is the

work, challenging themselves and venturing into

architect of her musical journey:

discovering new works on their own.”

She is a founding member of PUBLIQuartet

This season, we lift Montgomery’s contributions

and The Blacknificent 7, a collective of Black

to the evolution of classical music as the 2025

composers using music as a form of social

Classical Roots artistic honoree.

activism; in June 2024 she completed a threeyear-appointment as the Chicago Symphony

COLOR AND BALANCE

Orchestra’s Mead Composer-in-Residence;

Born to parents who were always involved in music,

and she is the recipient of prestigious awards

theater, and education in New York, the feeling of

and fellowships including the Sphinx Medal of

community developed early for Montgomery (a

Excellence and Sphinx Virtuosi Composer-in-

self-described quiet kid who liked to watch), and the

Residence, the ASCAP Foundation’s Leonard

concept of leading an artful life on your own terms

Bernstein Award, and Musical America’s 2023

was a reality she witnessed daily.

Composer of the Year—this is an abbreviated list.

There were early moments of seeing her dad

Currently, she is deep in her role as creator of

sitting at their home piano writing an opera—a

the Young Composers Initiative in Chicago, which

visual that she imitated and would influence her

supports high school aged youth in creating

to begin composing in high school. There are

and presenting their works. The initiative

memories of watching her mother from backstage

includes tutorials, reading sessions, and public

at a theater or being with her parents at a music

performances. This year’s cohort will culminate

hall. Music and people filled their home.

with a performance by musicians from the Civic Orchestra of Chicago in May.

“I always observed that being an artist and making your life as an artist was a normal thing;

“Mentorship and teaching always makes me feel

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something to aspire to. The number of people that

C E L E B R A T I O N

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JESSIE MONTGOMERY were always involved in activities and the reach

of the Hudson River as a call to “gather on this

they had; I found that impressive,” she says. “That

land and pay tribute to what came before.”

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.” _____________________________

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

Engaging with different art forms can spark ideation and serve as inspiration to create anew.

Montgomery’s attraction to storytelling across

the first poem, Burnt Norton, that contemplates interconnectedness and its requirement of us to slow down, listen, and observe.

artistic disciplines often shows up in her works

Lately, the poetry of James DePreist, one of

through poetry and dance collaborations.

the first African American conductors on the

“Exploration is very enriching to my sense of meaning and storytelling in my own music;

world stage and author of A Distant Siren has been serving inspiration. “It’s a clarity he has, something very poignant about the word

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.”

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

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

concepts that often show up in Montgomery’s compositions: community, ritual, and gathering— with music as the nucleus for togetherness.

of the human spirit and was performed in

“There are ways in which music and people

commemoration of the 400th anniversary of the

gather, it happens in different ways for different

arrival of enslaved Africans to Virginia in 1619.

people and cultures. But when you put them all

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

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Rounds, which earned Montgomery the 2024

D E T R O I T

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

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HONOREE

on the Classical Roots program, Montgomery

IN GRATITUDE

describes the aesthetic as a “melding of styles

The Classical Roots Celebration amplifies the

and points of view.”

voices and presence of African Americans who have contributed, shaped, shifted, redefined, and

Within the four-movement composition are distinctive, imaginative vignettes that play as “a flash of all these different ideas and experiences

made possible what classical music spaces can sound and look like.

coming together. You’ll find in the piece that they

“Classical Roots is essential,” Montgomery says.

explore a wide range of orchestration colors from

“We need to keep reminding people that Black

cinematic to really intimate writing,” she shares.

history and Black music, and Black culture is

“The bigger orchestration has driving rhythms

American history and culture. It’s about honesty,

that I think are evocative of the frenetic energy of

truth-telling, and the stories we need to tell. We

being in a big city.”

need these spaces and moments to acknowledge

Though the work is not a direct connection to the composer’s Lower East Side Manhattan upbringing

and reflect on the fact that as long as we’re on the planet, we’re going to tell our story.”

during the 1980s, an era she expresses as

From the artsy streets of New York to the

“chaotic” but bursting with art and creativity, there

worldwide stage, Jessie Montgomery is shifting

are moments that play as a loose representation.

traditional expectations of classical music; and

“There’s this urban beauty that is unique to the people that have lived in this neighborhood and

she’s doing it her way while lifting voices of now and tomorrow.

have made art in reflection of this neighborhood,”

“I’m motivated to continue to make art the way

she says. “So, there’s influences of families and

I choose to and allow my voice to grow and go

then there’s street art, graffiti, hip hop, folk songs,

where I want it to go,” she says. “I feel grateful

and dance. All those things are in the aesthetic of

that I have arrived at a place where I’m steering

the experience and the music.”

the ship whichever way I want from here on out.”

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.

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2025

WALTER DOUGLAS

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B Y

M A R I S A

alter 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.

In his role at the IRS, Douglas worked in data

Douglas was born in North Carolina and was

1967, and of course that incident sort of changed

raised in the railroad community of Hamlet. He

my life,” recounted Douglas. Witnessing one of

stayed in North Carolina into early adulthood,

the most violent and destructive civil riots in

attending North Carolina Central University,

America and hearing the news spread throughout

where he earned a BA in accounting (1954) and

the country prompted Douglas to ask himself, “Is

MBA (1955). Upon graduation, Douglas briefly taught at Edward Waters Junior College in Jacksonville, Florida until he was drafted into

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J A C Q U E S

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

there anything I can do?” He initially turned to his church, Central Methodist, and swiftly began making an impact.

the US Army in 1956. After serving for two years,

Douglas participated in crucial dialogue with

Douglas was hired by the Internal Revenue

other members of the congregation, local

Services, which would ultimately bring him to

businesses, and local politicians—Black and white

Detroit.

alike. Through these conversations, Douglas D E T R O I T

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HONOREE

“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

American business leaders, Douglas decided it

figures in Detroit. He became close to Coleman

was his time.

Young, the first African American mayor of Detroit, advising him during his campaign and working various positions once Young was elected in 1974.

In 1985, Douglas joined Ford Motor Company’s minority training program, which aimed to provide more African Americans with the

Another influential relationship Douglas fostered

opportunity to own car dealerships. While in

during the aftermath of the civil disturbance

this program, Douglas trained at Bill Brown

was with Larry Doss, who was president of New

Ford in Livonia, which was one of the largest

Detroit, Inc. at the time. New Detroit was the

Ford dealerships in Michigan at the time. Here,

first coalition in the country formed to identify

Douglas gained invaluable hands-on experience.

and rectify the inequities that existed in the

The program, coupled with Douglas’s passion for

community leading up to the 1967 riot. Doss

business, proved successful when he purchased

appointed Douglas as vice president and sent him out to conduct research about the business community. Through this research, Douglas

a share of the historic Avis Ford dealership in Southfield. In 1992, he became majority owner.

Under Douglas’s ownership, the dealership

was introduced to the Inner City Business

has garnered awards and accolades,

Improvement Forum (ICBIF), an organization

serving as a pillar of the Detroit business

whose board he would later join.

community. In 2006, he turned over the

Douglas witnessed firsthand the lack of African Americans in leadership positions in Detroit.

business to his sons, Mark and Edmond.

To this day, Mark serves as president and Edmond serves as general manager, and

“I became quite interested in trying to inveigle

Walter is still actively involved as

and encourage African Americans to get into

chairman.

business,” said Douglas. He worked tirelessly doing so as he explored new opportunities and

Mark speaks fondly of

challenged the status quo. Douglas’s work with

his father’s leadership,

ICBIF and later as president of New Detroit

detailing how he truly

prepared him for his immense personal business

led by example:

success that was soon to come. After many

“The biggest thing

years advocating for and advising other African

I observed from

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WALTER DOUGLAS watching him with respect to community, and philanthropic support as a whole, is recognizing the importance of to whom much is given, much is expected.”

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

“We can always do more.” Mark continues,

tough yet fair businessman who loves his work

“And no one got here by themselves. So, when

and the city of Detroit. These attributes are those

you have an opportunity to help someone do

of a man who exemplified what it means to be in

something that you've experienced before, it's

community with others through his work.

sort of your requirement. It’s a rite of passage 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 he earned the opportunity to be in prominent positions in both private and public sectors, and he reinvested his knowledge, expertise, and finances to the organizations that helped him along the way.

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.

A relationship that has stood the test of time is the friendship between Douglas and colleague Edsel Ford II. Douglas and Ford worked closely when Douglas owned Avis Ford, and Ford recounts how Douglas’s positive treatment of his customers is a testament to his character. While working for Ford Credit, Ford bestowed awards

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

7

upon Avis Ford for the exemplary customer

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service provided under Douglas’s leadership.

D E T R O I T

service to others.

S Y M P H O N Y

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2025

MARLOWE STOUDAMIRE AWARD FOR INNOVATION AND COMMUNITY COLLABORATION

DAMIENCRUTCHER DAMIEN

D

B Y

L A T O Y A

amien Crutcher, a Detroit native and Cass Technical high school graduate, a bachelor’s in up Detroitholds native who grew music education from Michigan State University on the city’s northeast side, and a master’s in conducting from The University Damien Crutcher is an of Michigan. With mentorship from Dr. Ronnie award-winning educator, Wooten and Prof. H. conductor, Robert Reynolds, Crutcher’s conducting career includes performances at and arts advocate making an impact Carnegie Hall, the Detroit in Detroit proper andSymphony across Orchestra’s Michigan.

Orchestra Hall, and more. He is the founder and CEO ofto Crescendo a nonprofit His vision eliminateDetroit, barriers to students and transforming Detroit’s youth through resources and revive arts in schoolsmusic, across the and managing director of the Detroit Symphony city is carried through his roles as: Co-founder Orchestra’s Detroit Harmony initiative, a city-wide and CEO of Crescendo Detroit, a nonprofit in collaboration aiming to provide every student theDetroit Dexterwith Davison in accessneighborhood to instrumentsexposing and music youth to music-making thethe artsDSO’s including education.

Crutcher also and serves Civic Youth Ensembles—of he isDSO’s an alum—as literacy and life skillswhich classes; Managing director Detroit Community Concert arts Band Directorofofthe Detroit Harmony, a city-wide and Civic Symphonic Band. Since 2004, he has served as Music Director of the Farmington Concert Band, and previously served as Director

A

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D E T R O I T

C R O S S

of Bands and Orchestra at Southfield-Lathrup High School. Many of his former students are collaborative workingmusicians, to providemusic everyteachers, student currently professional andDetroit artists.with access to instruments and music in

education, and bolster workforce development; and conductor of DSO’s Civic Youth Ensembles’ Civic Symphonic Band and Detroit Community Concert Band.

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.

For Crutcher, it’s also a reminder that the work must not stop.

“You have to stay in the work and produce,” he says. “We must do all those things that lead

S Y M P H O N Y

O R C H E S T R A

HONOREE

“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. THE WORK HE IS DOING WITH HIS NONPROFIT TO EXPOSE STUDENTS IN DETROIT TO THE ARTS AND LIFE SKILLS IS NOTHING SHORT OF PHENOMENAL.” - VALENCIA STOUDAMIRE

The Marlowe Stoudamire Award for Innovation and Community Collaboration is presented annually in memory of late Detroit community leader Marlowe Stoudamire. Stoudamire helped guide the mission of Classical Roots and inspired innovation and creativity as a member of the Steering Committee for six years. He was an enthusiastic and engaged supporter of the arts and youth development in Detroit and served as a mentor to innumerable young professionals and leaders in the community.

Inaugurated in 2022, past recipients of the award include Chris Harrington, former DSO Senior Director of Jazz and @ The Max and current President and CEO of the Ordway Center for the Performing Arts; Kris Johnson, Detroit-based artist, educator, and composer; and jessica Care moore, poet and founder of Black WOMEN Rock!

to impact. You want a student to be a good

continue opening as many avenues as possible

musician, so it’s important to have a whole

to success and happiness to our young people

community behind them, so that one day, they’ll

across the city.”

come back to their communities and teach.”

Music and community did that for him; and

In the spirit of collective work and

through music and collaborative action he is

responsibility, Crutcher is among

doing that for others.

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

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Every masterpiece begins with a single note.

Gilbert Family Foundation is proud to support the DSO’s efforts 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!

CONDUCTOR

NA'ZIRMCFADDEN

A

merican 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.

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D E T R O I T

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.

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O R C H E S T R A

GUESTARTIST

K

ris 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.

KRISJOHNSON

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.

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GUESTARTIST

A

mong 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

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D E T R O I T

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.

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O R C H E S T R A

U-M Symphony Band

R/Evolution!

April 14, 2025 | 8:00 pm Hill Auditorium, Ann Arbor smtd.umich.edu/events Free! No tickets required

Featuring the consortium premiere of a new concert for saxophone & piano by the inimitable Billy Childs with guest saxophonist Steve Wilson and Professor Ellen Rowe

n instrument of change.

Congratulations to former AAA Board member Walter “Walt” Douglas, 2025 Classical Roots honoree.

25-DEI-0017

Working together to make an impact Flagstar is a proud sponsor of the Detroit Symphony Orchestra’s Classical Roots Celebration.

Member FDIC

Equal Housing Lender

Congratulations

Walt Douglas!

An honor well deserved.

- Your fellow Southeast Michigan Ford Dealers

MGM GRAND DETROIT IS PROUD TO SUPPORT THE DETROIT SYMPHONY ORCHESTRA’S CLASSICAL ROOTS CELEBRATION At MGM Grand Detroit, we feel it is important to respect each other’s differences. We choose to embrace these differences to achieve best-in-class experiences and cultivate stronger ties with our guests, employees, neighbors, and partners.

AFRICAN AMERICANORCHESTRA FELLOW

“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.

H

arper 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

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D E T R O I T

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.”

S Y M P H O N Y

O R C H E S T R A

LUCIANOVALDES

L

uciano 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.”

C L A S S I C A L

R O O T S

AFRICAN AMERICAN ORCHESTRA FELLOW

“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

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.”

C E L E B R A T I O N

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I N

M E M O R I A M

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.

COMMUNITY ENGAGEMENT

INSPIRING THROUGH EDUCATION:

The Heart of Classical Roots

C

ommunity 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, C L A S S I C A L

R O O T S

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.

C E L E B R A T I O N

43

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Salutes the DSO Classical Roots student educational program

Congratulations TO JESSIE MONTGOMERY, WALT DOUGLAS

CONGRATULATIONS TO

DAMIEN CRUTCHER!

-MICHELLE MAY

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

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

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.

——————————

on this well-deserved honor!

We are proud to support the

—Joanne Danto and Arnold Weingarden

Classical Roots.

mission of The DSO and

RENATO AND ELIZABETH JAMETT

Central Michigan University

is proud to be a sponsor of the Detroit Symphony Orchestra’s

Arthur L. Johnson - Honorable Damon Jerome Keith Classical Roots Celebration

cmich.edu

CMU, an AA/EO institution, strongly and actively strives to increase diversity and provide equal opportunity for all individuals, irrespective of gender identity or sexual orientation and including but not limited to minorities, females, veterans and individuals with disabilities.

20531 MGX (2/22)

COMMITTED TO SERVING THE COMMUNITY. Both The Barbara Ann Karmanos Cancer Institute’s mission to serve the community through health education and The Detroit Symphony Orchestra’s Classical Roots Celebration’s commitment to educating through music share the common goal of empowering those we serve with knowledge, and fostering a healthier, more informed community.

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 RAHIMA TUFAIL, Data Manager | SHONTEL ANDREWS, Executive Assistant

NEXX Consulting Group Proudly Congratulates 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 —Debra and Richard Partrich

as a 2025 DSO Honoree.

CONGRATULATES

WALTER DOUGLAS PRESIDENT, AVIS FORD

A loyal supporter of the Torch of Wisdom Foundation Incorporated .

Torch of Wisdom Foundation strives to positively impact the lives of Southeastern Michigan youth and families by delivering academic, cultural, economic, and social programs that create boundless possibilities for future growth and development.

We partner with, support and encourage those within the community who share our goal of Changing Tomorrow Today™.

Investing In Our Youth, Families and Community

w w w.to rc h of w i sdo mfo u n d at i o n i n c .c o m

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.

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Thank you to the Detroit Symphony Orchestra for continuing the tradition of Classical Roots.

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Thank you to Uncle Nearest for their generous contribution to this year's Classical Roots Celebration.

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2nd and 3rd Generation

We’re not neutral.

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Congratulations on another successful Classical Roots Celebration! We canʼt wait to platform the amazing African American musicians coming out of the Orchestra Fellowship.

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Mark your calendar for these upcoming events at Orchestra Hall!

SEPTEMBER 27

2025

MARCH 7

C E L E B R AT I O N —25th Anniversary—

2026

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.