2024 Classical Roots Celebration program book

presented by

Stanley & Judy

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Christine & David

provost

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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

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Dear Friends W

elcome to the 23rd annual Arthur L. Johnson – Honorable Damon Jerome Keith Classical Roots Celebration. We are delighted to welcome you to Orchestra Hall for a moving concert featuring your Detroit Symphony Orchestra and saxophonist Steven Banks, conducted

by Na’Zir McFadden, the DSO’s Assistant Conductor and Phillip and Lauren Fisher Community Ambassador. We are also pleased to again welcome the Brazeal Dennard Chorale—a cherished Detroit institution founded in 1972 that has performed at every Classical Roots program since the beginning.

Tonight, for our 46th Classical Roots concert and 23rd Celebration, we recognize three remarkable individuals: Billy Childs, the Grammy Award-winning composer and jazz pianist; Shirley Stancato, a seasoned executive, prominent civic leader, race relations specialist, and social justice advocate; and jessica Care moore, the poet and founder of Black WOMEN Rock!, who is this year’s recipient of the Marlowe Stoudamire Award for Innovation and Community Collaboration.

Thank you to this year’s Classical Roots Steering Committee, and especially to co-

C L A S S I C A L R O O T S C E L E B R AT I O N

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chairs Priscilla Perkins and Mable V. Jones, Ph.D, for their expertise and dedication in ensuring a successful Celebration. We must also thank all of you for your ongoing support of the Classical Roots mission, which we proudly carry not only this evening, but all year long. Through the African American Orchestra Fellowship, community performances, regular programming by African American and Black composers, and music education, we promise to preserve the legacy of African Americans in the rich tapestry of classical music.

Please enjoy this wonderful evening!

Erik Rönmark President & CEO

David T. Provost Chair, Board of Directors

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Proud to support the mission of

Classical Roots ———

Christine and David

Provost

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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 AT I O N

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Bravo!

Congratulations, Shirley Stancato!

We thank you for your commitment to the DSO and Classical Roots.

We applaud your leadership to diversity, equity, and inclusion throughout the Detroit Community.

We are grateful for the artistry and outstanding talent of Billy Childs.

Congratulations to an exceptional musician.

Salute to jessica Care moore for her dedication to innovation and community collaboration.

••••••••••••

CHACONA & HAROLD BAUGH

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d s o

b oa r d

Detroit Symphony Orchestra, Inc. ———————

lifetime directors Samuel Frankel ◊ Stanley Frankel David Handleman, Sr. ◊ Dr. Arthur L. Johnson ◊

———————

officers of the board of directors David T. Provost Chair

Erik Rönmark President & CEO

———————

board of trustees Renato Jamett,

Orchestra Representative

Ismael Ahmed

Brandon Mason

Richard Alonzo

Orchestra Representative

Hadas Bernard

James B. Nicholson

Shirley Stancato

Anne Parsons,

Vice Chair

Janice Bernick

Laura Trudeau

Elizabeth Boone

Barbara Van Dusen

Treasurer

Gwen Bowlby

Clyde Wu, M.D.◊

James G. Vella

Dr. Betty Chu

Deceased ◊

Ric Huttenlocher

President Emeritus ◊

———————

chair emeriti

Secretary

Mark A. Davidoff Phillip Wm. Fisher

Karen Cullen

Officer at Large

Joanne Danto

David M. Wu, M.D.

Stephen R. D’Arcy

Officer at Large

Maureen T. D’Avanzo

Peter D. Cummings

———————

board of directors

Vincent Luciano

Trustee Chair

Jasmin DeForrest Cara Dietz

Anthony McCree Kristen McLennan Tito Melega Lydia Michael Lois A. Miller Scott Monty Shari Morgan Sandy Morrison Frederick J. Morsches Jennifer Muse Sean M. Neall Eric Nemeth

H. Keith Mobley

Afa Sadykhly Dworkin

Governing Members Chair

James C. Farber

Michael Bickers

Amanda Fisher

Elena Centeio

Linda Forte

———————

Aaron Frankel

Carolynn Frankel

director emeriti

Herman B. Gray, M.D., M.B.A.

Christa Funk

Floy Barthel Chacona Baugh Penny B. Blumenstein Richard A. Brodie Lois Cohn Marianne Endicott Sidney Forbes Herman H. Frankel Dr. Gloria Heppner Ronald Horwitz Bonnie Larson Arthur C. Liebler Harold Kulish David McCammon David R. Nelson William F. Pickard, Ph.D. Marilyn Pincus Dr. Glenda D. Price Marjorie S. Saulson Jane Sherman Arthur A. Weiss

Laura Hernandez-Romine

Robert Gillette

Rev. Nicholas Hood III

Jody Glancy

Richard Huttenlocher

Mary Ann Gorlin

Renato Jamett

Peter Hatch

Daniel J. Kaufman

Orchestra Representative

Lois L. Shaevsky

Peter McCaffrey

Donald Hiruo

T. Elliot Shafer

Orchestra Representative

Michele Hodges

Shiv Shivaraman

Xavier Mosquet

Julie Hollinshead

Dean P. Simmer

David Nicholson

Sam Huszczo

Richard Sonenklar

Arthur T. O’Reilly

Laurel Kalkanis

Rob Tanner

Stephen Polk

Jay Kapadia

Yoni Torgow

Bernard I. Robertson

David Karp

Nate Wallace

Nancy Tellem

Joel D. Kellman

Gwen Weiner

Kenneth Thompkins

John Kim

Donnell White

Jennette Smith Kotila

Jennifer Whitteaker

Leonard LaRocca

R. Jamison Williams

William Lentine

Margaret E. Winters

Stanley Frankel Robert S. Miller James B. Nicholson

C L A S S I C A L R O O T S C E L E B R AT I O N

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Orchestra Representative

Ellen Hill Zeringue

Maury Okun Jackie Paige Vivian Pickard Denise Fair Razo Gerrit Reepmeyer James Rose, Jr. Laurie Rosen Elana Rugh Carlo Serraiocco

Linda Dresner Levy

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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

The Detroit Symphony Orchestra thanks

FOR THEIR LEGACY SPONSORSHIP OF CLASSICAL ROOTS SUPPORTING ARCHIVAL EFFORTS AND DYNAMIC STORYTELLING.

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s t e e r i n g

co m m i t t e e

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 40 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.

ABOUT THIS YEAR'S PHOTOGRAPHER: Daniel A. Washington, a lifelong Detroiter, is a leader, creative, and a doer with a passion for real estate and community development. In 2017, he founded NW Goldberg Cares—a community development organization. He is inspired by creating relatable brands, impactful programs, and meaningful experiences.

A 2021 Crain’s Detroit 20 in Their Twenties awardee, Washington has more than six years of experience in public space creation, entrepreneurship, fundraising, and transformative, intentional community-centric development.

Co-Chairs: Priscilla Perkins and Mable V. Jones, Ph. D. Therese Peace Agboh°

Linda Forte°

Cynthia Stephens

Staff Support

Geaneen Arends, Esq

Vera Heidelberg°

Valencia Stoudamire

Charles Buchanan

Chacona W. Baugh°

Kimberly Hoyle

Michele Tate

Matt Carlson

Karl Bell

Nina Jackson

Beverly Thomas

LaToya Cross

Rochelle Black

Rita L. Jordan°

Daniel Washington

Jill Elder

Nicole Brown

Elizabeth Mays

David G. Watkins

Kathryn Ginsburg

Caroline Chambers

Anthony McCree

Rhonda Welsh

Jacquez Gray

Katora Cole

Lauren McNeary

Anne Wilczak

Ali Huber

Terrence Curry

H. Keith Mobley°

Laydell Harper Wyatt°

Debora Kang

Jasmin DeForrest°

Lesley Esters Redwine

Ellen Hill Zeringue°

Jessica Ruiz

Lulu Fall

Erik Rönmark

Alice Sheppard °PAST CHAIRS

Sarah Smarch Clare Valenti

CLASSICAL ROOTS CELEBRATION

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We are proud to support the Detroit Symphony Orchestra’s Classical Roots concert celebrating SHIRLEY STANCATO, BILLY CHILDS, and JESSICA CARE MOORE Julie and Peter Cummings

Finely tuned Wayne State University is pleased to support the Detroit Symphony Orchestra’s Arthur L. Johnson – Honorable Damon Jerome Keith Classical Roots Celebration recognizing Wayne State University Board of Governors Chair Shirley Stancato. We applaud your commitment to amplifying African American artists and on-the-rise talents in classical music.

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s p o n s o rs

Thank You ———————

presenting sponsor

to our generous sponsors

———————

———————

———————

Anonymous Avis Ford Butzel Long Central Michigan University Children's Foundation Education Enrichment Services, LLC Hollywood Casino at Greektown Music on Belle Isle Group Renaissance (MI) Chapter of the Links The Skillman Foundation Walbridge Carol and Peter Walters Bernadine and David Wu

W. Harold and Chacona W. Baugh

———————

fellowship sponsors

Stanley and Judy Frankel

———————

celebration sponsor

guest artist sponsors

———————

supporting sponsors

education sponsors

additional donations made by: Erica and Ralph Gerson Ingrid Saunders Jones Linda and Dan Lutz Gail White

Christine and David Provost

Working together to change lives ———————

——————— community engagement Flagstar is proud to be a sponsor for

sponsors

Awards tiles donated by

the Detroit Symphony Orchestra – AAA Michigan Classical Roots Celebration.

Corewell Health Julie and Peter Cummings flagstar.com Lauren and Phillip Fisher Global Automotive Alliance C L A S S I C A L R O O T S C E L E B R AT I O N

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This Evening’s Schedule 5pm Doors open & cocktails

6pm Seated Dinner

Peter D. and Julie F. Cummings Cube

46th Annual

8pm Classical Roots Concert Orchestra Hall

Detroit Symphony Orchestra Na’Zir McFadden, conductor Steven Banks, saxophone Brazeal Dennard Chorale (Alice McAllister Tillman, artistic director)

:30 10pm Dessert & Dancing

Afterglow

William Davidson Atrium & Peter D. and Julie F. Cummings Cube

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DETROIT SYMPHONY ORCHESTR A

2/24/24 1:11 AM

JADER BIGNAMINI, Music Director Music Directorship endowed by the Kresge Foundation

JEFF TYZIK Principal Pops Conductor

TERENCE BLANCHARD Fred A. Erb Jazz Creative Director Chair

NA’ZIR MCFADDEN

LEONARD SLATKIN

NEEME JÄRVI

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

Music Director Laureate

Music Director Emeritus

Detroit Symphony Orchestra, Na’Zir McFadden, conductor Brazeal Dennard Chorale, Alice McAllister Tillman, artistic director± Steven Banks, saxophone JOHN ROSAMOND JOHNSON (1873 - 1954) Lyrics by JAMES WELDON JOHNSON arr. ROLAND CARTER

BETTY JACKSON KING (1928 - 1994)

arr. MOSES HOGAN (1957 - 2003)

ADOLPHUS HAILSTORK (b. 1941)

SHELLEY WASHINGTON (b. 1991)

Lift Every Voice and Sing Brazeal Dennard Chorale Alice McAllister Tillman, conductor

Psalm 57± (Orchestra Tacet) Brazeal Dennard Chorale Alice McAllister Tillman, conductor

The Battle of Jericho± (Orchestra Tacet) Brazeal Dennard Chorale Alice McAllister Tillman, conductor

Fanfare on “Amazing Grace” Both [DSO Co-Commission] Travel Teeny Tiny Little Things Where to Next?

11:30 PM - 4:30 AM

intermission EDWARD KENNEDY

The River

"DUKE" ELLINGTON

Lake

(1887 - 1953) orch. by RON COLLIER

WILLIAM EDWARD "BILLY" CHILDS (b. 1957)

Diaspora (Concerto for Saxophone and Orchestra) [DSO Co-Commission]

Motherland If We Must Die And Still I Rise Steven Banks, saxophone

C L A S S I C A L R O O T S C E L E B R AT I O N

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Thank you to the musicians of the Detroit Symphony Orchestra, who are playing tonight’s Classical Roots concert as a donated service. We appreciate their continued support and generosity.

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co n c e rt

Program Notes Lift Every Voice and Sing JOHN ROSAMOND JOHNSON AND JAMES WELDON JOHNSON / ARR. ROLAND CARTER B. August 11, 1873, Jacksonville, Florida D. November 11, 1954, New York, New York

LY R I C S : Lift ev’ry voice and sing, ‘Til earth and heaven ring, Ring with the harmonies

Scored for 2 flutes, oboe, 2 clarinets, bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, strings, and choir.

(Approx. 7 minutes)

of Liberty; Let our rejoicing rise, High as the listening skies, Let it resound

Lift Every Voice and Sing was first per-

Facing the rising sun of our new day begun, Let us march on ‘til victory

formed, in poetry form, in commemo-

is won.

ration 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

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;

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.

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

Lift Every Voice and Sing has been sung

Adolphus Hailstork received his doc-

the official African American National

at the beginning of every Classical

torate in composition from Michigan

Hymn.

Roots concert since the event’s inau-

State University, where he was a stu-

guration in 1978. Please see the includ-

dent of H. Owen Reed. He had previ-

ed lyrics and join the Brazeal Dennard

ously studied at the Manhattan School

Chorale in singing this historic work.

of Music, under Vittorio Giannini

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.

C L A S S I C A L R O O T S C E L E B R AT I O N

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______________________________

Fanfare on “Amazing Grace” ADOLPHUS HAILSTORK B. April 17, 1941, Rochester, New York

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, and strings.

(Approx. 3 minutes)

and David Diamond, at the American Institute at Fontainebleau with Nadia Boulanger, and at Howard University with Mark Fax. Hailstork has written numerous works for chorus, solo voice, piano, organ, various chamber ensembles, band, orchestra, and opera. In

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Program Notes

2011, Fanfare on “Amazing Grace” was

social injustices in the hope of creating

published and subsequently recorded

a public dialogue.

by the Virginia Symphony—appropriately enough, since Hailstork has served as professor of music and Composer-in-Residence at both Virginia’s Norfolk State and Old Dominion Universities, and in 1992 was named a Cultural Laureate of the Common-

On Both, Washington wrote the following: “Both is inspired by the many dualities I have and carry in my life, the ones I see, and the ones I hope to someday achieve. As someone who

______________________________

“Lake” from The River EDWARD KENNEDY “DUKE” ELLINGTON B. April 29, 1899, Washington, DC D. May 24, 1974, New York, New York

Scored for 2 flutes (one doubling piccolo) 2 oboes (one doubling english horn), 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, keyboard, and strings.

(Approx. 7 minutes)

often lives between both coasts, is attracted to both men and women, is

Duke Ellington’s one and only ballet,

a contributor in both classical music

The River, was created in collaboration

and D.I.Y. post-rock, is both Black

with choreographer Alvin Ailey, who

and white, experiences both extreme

mused the following on its creation:

mental highs and extreme mental lows,

“He started talking about a ballet

is both a composer and a performer, is

called The River, which was to be a

Kamala Harris in January 2021.

both a student and a teacher, is both, is

suite of dances based on water, with a

both, is both ... This piece is meant to

line about life that goes from birth to

Adolphus Hailstork’s Fanfare on

reflect the fact that you and I both are

death. As we talked, he began to play

“Amazing Grace” was most recently

not either/or, and that so many things

the music. At five o’clock in the morn-

performed by the DSO in December

and people, even seemingly places,

ing I was sitting in Duke Ellington’s

2021, conducted by Thomas Wilkins.

are not the binary they’ve been billed

apartment bathed in beautiful music. I

to us as, but a spectrum from point to

said, ‘Let’s do it. Let’s do The River.’”

wealth of Virginia. Hailstork’s Fanfare on “Amazing Grace” was performed by “The President’s Own” United States Marine Band as the second piece of the prelude during the inauguration of President Joe Biden and Vice President

______________________________

Both Premiered 2022

point. They are all. We both can be and possess so many seemingly opposing qualities at the same time that do not

DSO Co-Commission

diminish any aspect of who we are, but

SHELLEY WASHINGTON B. 1991, Kansas City, Missouri

add to its cumulative.”

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, tuba, percussion, piano, and strings.

(Approx. 30 minutes)

This DSO co-commission for Shelley

Composer Shelley Washington has emerged as an important and powerful voice of her generation. With an eclectic palette that draws from classical, jazz, rock, American folk, and other contemporary musical spaces, Washington seeks to tell memorable sonic

Washington’s Both is part of the Amplifying Voices program, a New Music USA initiative powered by the Sphinx Venture Fund, with additional support from ASCAP, the Sorel Organization, the Virginia B. Toulmin Foundation, and the Wise Music Charitable Foundation.

stories that comment on current and

This performance marks the DSO pre-

past social narratives, both personal

miere of Shelley Washington’s Both.

This performance features Ellington’s “Lake” movement from The River. In his book Music is My Mistress, Ellington wrote: “The lake is beautiful and serene. It is all horizontal lines that offer up unrippled reflections. There it is, in all its beauty, God-made and untouched, until people come—people who are God-made and terribly touched by the beauty of the lake.

They, in their admiration for it, begin to discover new facets of compatibility in each other, and as a romantic viewpoint develops, they indulge themselves. The whole situation compounds itself into an emotional violence that is even greater than that

and observed. Her music explores

of the violence of the vortex to come.

emotions and intentions, incorporating

The lake supports them until, sudden-

intricate rhythms to encourage layered

ly, they are over the top and down...”

listening through grooves, melody, and harmony. In addition, she addresses

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The DSO most recently performed

DETROIT SYMPHONY ORCHESTR A

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Duke Ellington’s The River in January

that the poems Steven and I settled

of the string patterns continue to shift

2007, conducted by John Mauceri.

on (“Africa’s Lament” by Nayyirah

toward a more ominous shade, the

The DSO first performed the work in

Waheed, “If We Must Die” by Claude

soprano saxophone takes on a more

September 1992, conducted by Neeme

McCay, and “And Still I Rise” by Maya

urgent tone, playing short bursts of

Järvi.

Angelou) would be guideposts which

melodic fragments. Then a battle en-

inspired the direction of a three-part

sues, a battle between the slave traders

storyline: Motherland, If We Must Die,

and the future slaves, as signaled by

and And Still I Rise. Also, I wanted to

the triplet figures in the soprano sax

tie the piece together thematically with

accompanied by triplet patterns in the

various melodies and motifs treated in

orchestra, and climaxing in an orches-

DSO Co-Commission

different ways (inverted, augmented,

tral tutti section bolstered by a brass

BILLY CHILDS B. 1957, Los Angeles, California

contrapuntally treated, reharmonized,

fanfare. After a dissonant orchestral

etc.), like a loosely structured theme

hit, the soprano sax utters a melan-

and variations—except there are sev-

choly theme as the slaves are being led

eral themes used.

to the slave ship. This takes us to the

______________________________

Diaspora (Concerto for Saxophone and Orchestra) Composed 2024 | Premiered 2024

Scored for 2 flutes (one doubling piccolo and alto flute), oboe, english horn, 2 clarinets, bassoon, contrabassoon, 3 horns, 2 trumpets, 2 trombones, timpani, percussion, harp, keyboard, and strings.

(Approx. 20 minutes)

On Diaspora, Billy Childs wrote the following: Concerto for Saxophone and Orchestra is a symphonic poem which strives to chronicle the paradigm of the forced Black American diaspora, as sifted through the prism of my own experience as a Black man in America. When Steven Banks approached me about the piece, the first thing we discussed was the narrative:

Motherland The program of the composition starts out on a positive note; the first theme played solo by the soprano saxophone, and later joined by an uplifting scherzo

first saxophone cadenza, which to my mind, represents a moment of painful reflection about being captured like a wild animal and led to a ship, the destination of which is to a future hell.

accompaniment from the orchestra, is

If We Must Die

meant to evoke a sense of well-being

Part two of the journey (inspired by

and security as Africans are living in

the powerful Claude McKay poem

the motherland (Motherland being the

of the same name) begins with the

name of the first section). Of course, it

first vision of the slave ship. This is

is understood that within the confines

illustrated by a loud tutti blast in the

of Africa itself, there were tribal wars,

orchestra, following a slow 6 measure

treachery, and misery—even slavery;

buildup. The alto saxophone is now

What particular story would the piece

it’s not a utopia I’m trying to illustrate

the voice of the piece, introducing a

tell? How would it unfold? We decid-

here. Rather, I want to depict a sense

rapid twelve-tone theme which turns

ed that, much in the same way that

of purity—a purity arising from having

out to be a constant phrase weav-

Ravel’s Gaspard de la nuit illustrates

been thus far unobstructed by the out-

ing in and out of the entire piece at

three poems by Aloysius Bertrand in

side destructive forces that would later

various moments (it actually made its

three separate movements, so would

determine our fate. So the movement

first appearance back in the first part,

this concerto do with poems by Black

starts with a soprano sax melody that

during the battle between the African

poets. But then I started thinking

begins as a diatonic motif (accompa-

natives and the slave traders). The

of the elegantly succinct and fluent

nied by marimba and pizzicato cello),

slaves are boarded onto the ships and

structure of Barber’s Symphony No.

but then quickly becomes chromatic,

the middle passage journey to America

1, where in one multi-sectioned suite,

modulating to several remote tonali-

begins; sweeping rapid scales in the

he brilliantly ties together a handful

ties. After this, a 16th note pattern in

lower strings, woodwinds, and harp

of thematic materials into a seam-

the strings transitions the listener into

describe the back and forth movement

less and organic whole. So I started

a sense of foreboding, signaling trou-

of the waves. This section develops

to compose from the vantage point

ble on the horizon. As the harmonies

and reaches a high point with a jarring

C L A S S I C A L R O O T S C E L E B R AT I O N

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Program Notes

saxophone multiphonic pair of notes

and is describing a resistance, anger,

out with a hymn-like passage, which

followed by a forearm piano cluster;

and rebellion against being subject-

is actually a variation of the opening

we now see America for the first time,

ed to subhuman treatment over the

folk-like melody at the very beginning

from the point of view of the slaves.

course of centuries. After the apex of

of the concerto. It is a plaintive reading

A percussion section and saxophone

this segment occurs—characterized

orchestrated for just alto saxophone

exchange—followed by an antiphonal,

by five orchestral stabs—the alto

and piano, as though the solo saxo-

almost pointillistic push and pull be-

saxophone plays a short and tender ca-

phonist were a singer accompanied

tween the alto saxophone and the or-

denza which signifies the resilience of

by a piano during a Sunday church

chestra—aims to represent the confu-

Black Americans and the introduction

service. Soon the melodic theme in the

sion, rage, and terror of the slave trade,

of the idea of self-love, self-worth, and

alto sax is treated with a lush accom-

where families are ripped apart as

self-determination.

paniment reminiscent of the Romantic

humans are bought and sold like cattle.

The subsequent section is a mournful lament of despair, meant to outline the psychological depression caused by the sheer brutality of this new slavery paradigm. The melodic theme here, played by the alto sax, is in its original version, whereas the melancholy soprano sax theme near the end of the first movement is the inversion of this melody. While this is happening, there is a background pattern played by vibraphone and celesta which depicts a slow and steady growing anger; this figure gets faster and faster until it overtakes the foreground and brings us into the next scherzo like section.

This section is marked by an interplay between the alto sax and the orchestra

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And Still I Rise This final section of the concerto/tone poem is about Black empowerment.

The church has always been a cultural focal point in the Black community, a sanctuary providing psychological and emotional relief from the particular hardships of Black life in America. It is also a place to worship, pray, and wrestle with the larger spiritual and existential questions which concern all of humankind. And beyond that (or perhaps because of that), the church

era, as a healing self-awareness and love becomes more palpable. This is followed by march-like ostinato which symbolizes steely determination in the midst of great and formidable obstacles as the alto sax plays rapidly above the orchestral momentum, until we finally reach the victorious fanfare at the conclusion of the piece. Maya Angelou’s shining poem reminds us (and America) that Black people cannot and will not be held to a position of second-class—we will still rise.

is historically the central hub of Black

This performance marks the DSO pre-

political and cultural activism in

miere of Billy Childs’s Diaspora (Con-

America. This is the ethos that the last

certo for Saxophone and Orchestra).

section of the concerto is reflecting.

So this final chapter of the piece starts

DETROIT SYMPHONY ORCHESTR A

2/24/24 12:40 AM

Working together to change lives Flagstar is proud to be a sponsor for the Detroit Symphony Orchestra – Classical Roots Celebration. flagstar.com

Equal Housing Lender | Member FDIC

CR24-Program.indd 19

2/24/24 12:40 AM

MGM GRAND DETROIT IS PROUD TO SUPPORT THE DETROIT SYMPHONY ORCHESTRA’S CLASSICAL ROOTS CELEBRATION Here at MGM Grand Detroit, we are excited to reach a milestone of 25 years of social impact within our community. We look forward to bringing out the pride of our team members, the impact of our partnerships, and providing great service to our guests along this journey.

CR24-Program.indd 20

2/24/24 12:40 AM

o rc h e s t r a

JADER BIGNAMINI, Music Director Music Directorship endowed by the Kresge Foundation JEFF TYZIK

TERENCE BLANCHARD

NA’ZIR MCFADDEN

LEONARD SLATKIN

NEEME JÄRVI

Principal Pops Conductor

Fred A. Erb Jazz Creative Director Chair

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

Music Director Laureate

Music Director Emeritus

——————— FIRST VIOLIN

——————— VIOLA

——————— FLUTE

——————— CONTR ABASSOON

——————— LIBR ARIANS

Robyn Bollinger

Eric Nowlin

Hannah Hammel Maser

Marcus Schoon

Robert Stiles

——————— HORN

Ethan Allen

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*

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 §

Laurie Goldman*

——————— CELLO

Rachel Harding Klaus*

Wei Yu

Eun Park Lee* Adrienne Rönmark* William And Story John Chair

Alexandros Sakarellos* Drs. Doris Tong and Teck Soo Chair

Laura Soto* Greg Staples*

PRINCIPAL

Abraham Feder ASSISTANT PRINCIPAL Dorothy and Herbert Graebner Chair

Robert Bergman* Jeremy Crosmer* Victor and Gale Girolami Cello Chair

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 Shari and Craig Morgan Chair

——————— OBOE Alexander Kinmonth PRINCIPAL Jack A. and Aviva Robinson Chair

Sarah Lewis ASSISTANT PRINCIPAL

Monica Fosnaugh ——————— ENGLISH HORN

Jiamin Wang*

David LeDoux*

Monica Fosnaugh

Mingzhao Zhou*

Peter McCaffrey*

——————— CLARINET

——————— SECOND VIOLIN Adam Stepniewski ACTING PRINCIPAL The Devereaux Family Chair

Elizabeth Furuta* Will Haapaniemi* David and Valerie McCammon Chairs

Hae Jeong Heidi Han* David and Valerie McCammon Chairs

Sheryl Hwangbo Yu* Daniel Kim* Sujin Lim* Hong-Yi Mo* Marian Tanau* Alexander Volkov* Jing Zhang*

Joanne Deanto and Arnold Weingarden Chair

Una O’Riordan* Mary Ann & Robert Gorlin Chair

Cole Randolph* Mary Lee Gwizdala Chair

——————— BASS Kevin Brown PRINCIPAL Van Dusen Family Chair

Stephen Molina ASSISTANT PRINCIPAL

Christopher Hamlen* Peter Hatch* Vincent Luciano* Brandon Mason* ——————— HARP OPEN PRINCIPAL Winifred E. Polk Chair

Ralph Skiano PRINCIPAL Robert B. Semple Chair

Jack Walters PVS Chemicals Inc./ Jim and Ann Nicholson Chair

Shannon Orme

OPEN PRINCIPAL David and Christine Provost Chair

Johanna Yarbrough Scott Strong Ric and Carola Huttenlocher Chair

David Everson ASSISTANT PRINCIPAL

Mark Abbott ——————— TRUMPET Hunter Eberly PRINCIPAL Lee and Floy Barthel Chair

Austin Williams William Lucas ——————— TROMBONE Kenneth Thompkins PRINCIPAL Shari and Craig Morgan Chair

David Binder Adam Rainey ——————— BASS TROMBONE Adam Rainey

Conrad Cornelison PRINCIPAL Byron and Dorothy Gerson Chair

Cornelia Sommer Marcus Schoon

——————— PERSONNEL MANAGERS Patrick Peterson DIRECTOR OF ORCHESTRA PERSONNEL

Benjamin Tisherman MANAGER OF ORCHESTRA PERSONNEL

Nolan Cardenas AUDITION AND OPERATIONS COORDINATOR

——————— STAGE PERSONNEL Dennis Rottell STAGE MANAGER

Zachary Deater DEPARTMENT HEAD

Isaac Eide DEPARTMENT HEAD

Kurt Henry DEPARTMENT HEAD

Jason Tschantre

PRINCIPAL

Jeremy Epp

——————— BASSOON

Principal Cello James C. Gordon

Dennis Nulty

OPEN

Barbara Frankel and Ronald Michalak Chair

Principal Flute Women’s Association for the DSO

Matthew Pons

——————— TIMPANI

Shannon Orme

——————— LEGACY CHAIRS

——————— TUBA

——————— E-FLAT CLARINET ——————— BASS CLARINET

PRINCIPAL

PRINCIPAL Richard and Mona Alonzo Chair

James Ritchie ASSISTANT PRINCIPAL

——————— PERCUSSION Joseph Becker PRINCIPAL Ruth Roby and Alfred R. Glancy III Chair

DEPARTMENT HEAD DEPARTMENT HEAD

————————————— LEGEND * These members may voluntarily revolve seating within the section on a regular basis ^ On Sabbatical § African American Orchestra Fellow

Andrés Pichardo-Rosenthal ASSISTANT PRINCIPAL William Cody Knicely Chair

James Ritchie Luciano Valdes §

C L A S S I C A L R O O T S C E L E B R AT I O N

CR24-Program.indd 21

21 2/24/24 12:40 AM

A high note, high note, not a footnote.

Today we honor the contributions of AfricanAmerican classical composers, musicians and educators. AAA supports the Detroit Symphony Orchestra in furthering their legacy through the DSO Classical Roots Celebration.

23-MK-0365

Good Cities are Built.

Great Ones are Composed.

Detroit and the DSO have always embraced the harmony of cultural, social, and historical aspects to compose true masterpieces. Walbridge has proudly been a part of that for more than a century.

And today, we celebrate the DSO and the well-earned recognition of Shirley Stancato for all she has done for our community as a DSO board member and co-chair of the Growing Michigan Together Council.

PRE-CONSTRUCTION I CONSTRUCTION I DESIGN I TECHNOLOGY I REAL ESTATE SERVICES

WAL_DSO_Sponsorship_Ad_V4_CHOICE.indd 1 CR24-Program.indd 22

walbridge.com 2/5/24 10:14 AM 2/24/24 12:40 AM

c h o i r

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 four decades, the Chorale has wooed Detroit audiences with its vocal excellence in the performance of choral music of all genres, while it continues to pursue the mission of its founder: to remember, discover, and preserve the spiritual music of the African American experience and culture. A generation later, the need for that mission is greater than ever as others, particularly young people, remain unaware of the historical and cultural significance of the Negro Spiritual.

Music professionals throughout the United States and Canada recognize the mission and commitment of the Chorale, whose yearly schedule includes a variety of concerts, from Holiday Concert, to a Spring Pops Dinner show, which highlights music from Jazz to Broadway, and beyond.

Through its many performances and CDs, the Brazeal Dennard Chorale, now under the direction of Mrs. Alice McAllister Tillman, continues to educate and inspire.

CLASSICAL ROOTS CELEBRATION

CR24-Program.indd 23

Brazeal Dennard Chorale Alice McAllister Tillman, Artistic Director Michele Cotton Stanfield, Assistant Conductor Krystal Thomas, Accompanist Rosilyn Stearnes-Brown, Librarian Yvonne C. Turner, Executive Director ———————

soprano

Rosilyn Stearnes-Brown

Alysia Boles

Asia Van Horn-Lee

Julie Devine

Ayona Van Horn-Lee

Brande Everette

———————

Marlena Hampton

contralto

Keziah Kuduwor (High School Intern)

Marcia Cotton Flint

Tanya Mason

Jacqueline Howard

Janice Myles Simon

———————

Staci Reed

tenor

Daryl Taylor

Elijah Anderson (High School Intern)

Yvonne Turner

Malcolm Davis

LaNyck Washington

Brandon Hodges

———————

Terry Horn

alto

Darrius Washington

Ida Abbington

———————

Michele Cotton Stanfield

bass/baritone

Madonna Draughn

Carl Clendenning

Sadarra Fields

Gregory Coble

Camile Hanna

Theodore Jones

Carolyn Kent

James Parks

Rochelle Mitchell

Michael Rowan

Jean Murphy

Raymond Shephard

23 2/24/24 12:40 AM

2 0 2 4

Billy Childs

by f r a n c e s ca l e o

B

illy Childs is one of the fore-

parents would let me just play on the

musical achievements. A native of Los

most American composers—

piano endlessly. I would listen to the

Angeles, Childs has always been im-

successfully marrying the mu-

radio and look at the shapes of how it

mersed in the genres of jazz, classical,

sical products of his heritage with the

sounded to me, and I would translate

and popular music. At 16, he was ad-

Western neoclassical traditions of the

that to the shapes of the keys or the

mitted to the University of Southern

20th century in a powerful symbiosis

patterns of the keys.”

California (USC) Community School of the Performing Arts. By the time

of style, range, and dynamism. He has garnered 17 Grammy Award nomina-

As a teenager, Childs attended a

of his graduation from USC, Childs

tions and six wins, including in 2024

boarding school where he was the

was already an in-demand perform-

for Best Jazz Instrumental Album for

only Black person in the county. The

er in the Los Angeles jazz scene. He

his album, The Winds of Change.

piano in the school became his out-

embarked on a successful performing

let—a lifeline.

and recording tour soon thereafter.

ing—to create music that is healing

“You couldn’t pull me out of that

Simultaneously with his recording

to the world. Having grown up with

room,” said Childs. “Every spare min-

career, Childs has occupied a parallel

synesthesia—where one hears music

ute I had was spent at the piano—my

niche as an in-demand composer,

but sees shapes—Childs learned how

free time at the school and on holidays.

having commissioned works for

to play the piano in a way that was

When I went back home, I was always

renowned ensembles including the

uniquely his own.

on the piano. That’s how I started to

Los Angeles Philharmonic, the Jazz

get serious and develop my ear.”

at Lincoln Center Orchestra, and the

piano teacher that was intent on

Childs’s life changed when he heard

he wrote a violin concerto for Regina

having me learn to read music,” said

music by Keith Emerson with Emer-

Carter that was premiered by the DSO

Childs. “I would always look at my

son, Lake & Palmer. “When I heard

and then-Music Director Leonard

hands during lessons, and he would

their music, a lightbulb went off and I

Slatkin in 2010. In addition to the sax-

put a piece of paper over my hands so

said, ‘I want to do that,’” said Childs.

ophone concerto heard on tonight’s

that I couldn’t see what I was doing.”

"I knew that [music] was a life calling,

Classical Roots program, Childs was

The discouraging method didn’t work

that I was going to be doing it for the

commissioned by several orchestras

for Childs, so he sought influence

rest of my life.”

to compose his second violin concer-

listen to something on the radio and

This strong, internal motivation led

widely performed, including at the

when I wasn’t taking lessons, my

Childs to a lifetime of significant

Grant Park Festival Orchestra in 2022.

Childs has one goal while compos-

“When I was six years old, I had a

from other sources. “I would always

24 CR24-Program.indd 24

Detroit Symphony Orchestra, where

to for Rachel Barton Pine, which was

DETROIT SYMPHONY ORCHESTR A

2/24/24 12:41 AM

“The way I see it, legacy is the story of humanity ...

Whether it's art, politics, or science—

the legacy of humanity is enormous, and we are all part of it.

We must do our best to contribute to it positively; to perpetuate humanity in a way that ensures our survival, that ensures our harmony with the planet, and ensures our harmony with other people. That's what legacy means to me.”

— b i l ly c h i l d s

Always one to forge new paths, Childs

On the 2024 Classical Roots con-

he is willing to just believe in what

has a unique compositional approach.

certs, the DSO will perform Childs’s

he believes, and he's not someone

“My early writing process involved

Diaspora Concerto for Saxophone and

that is going with all of the trends.

getting the idea from my head from a

Orchestra with saxophonist Steven

He has a very strong vision, and he

pencil onto paper or playing it on the

Banks, whom Childs collaborated

sticks to it, which is not common in

piano,” said Childs. “Now, I use Finale

with to develop the work. Throughout

the music world. He has been a part

to compose, but in the same way that

the compositional process, Banks

of the unification of various genres

one might use a pencil and paper—I

learned much from Childs in the way

input every note by hand. I don't play

of music in ways that are organic, but

that he approaches life and music.

it with a keyboard, because I want as

also exciting and beautiful. I hope that

“There was one time when I per-

continues to be a trend, and I hope his

formed Diaspora, and he was there,

music lives on.”

few obstacles as possible between my idea and the realization of it.”

and I was frantically warming up in my practice room,” said Banks. “Billy

When asked about the legacy he

decided to go into the dressing room

hopes to leave behind, Childs con-

next to me, and he was improvising at

nects to the perpetuity of humanity:

the piano and playing all these beau-

“The way I see it, legacy is the story

tiful melodies. He was just so relaxed.

of humanity, it’s the history. It's what

Billy's ability to be relaxed in perfor-

people have done before, what you

mance situations is something I now

are doing now, and what will be done

confused or uninspired, and they walk

try to incorporate into my life. I also

after you. We are all part of a long

out feeling inspired, wanting to take

learned a lot from just being around

continuum that is humanity. Whether

part in the world, wanting to take ac-

him, talking to him about people that

it's art, politics, or science—the legacy

tion, and wanting to create a positive

he's collaborated with over time. He's

of humanity is enormous. We must do

impact. I believe that you need peo-

had a very long career as a performer

our best to contribute to it positively;

ple's trust for your art to affect them,

and a composer, so there's a lot of

to perpetuate humanity in a way that

and the best way to get people's trust

wisdom there.”

ensures our survival, that ensures our

“I want people to walk away from my concert feeling better about themselves, feeling better about the world, and healing,” he continued. “I want my music to have a healing effect on them, where when they walk in, they might have felt down about something or

is to invite them into your world and allow them to experience [the music] in their own way.”

Banks speaks highly of Childs’s legacy and impact in the world of classical music: “Billy has been a shining

harmony with the planet, and ensures our harmony with other people.

That's what legacy means to me.”

light in the music industry in that C L A S S I C A L R O O T S C E L E B R AT I O N

CR24-Program.indd 25

25 2/24/24 12:42 AM

2 0 2 4

Shirley Stancato

by h a n n a h e n gwa l l

S

hirley Stancato is a seasoned

rights activist—both men she knew

Whitmer. In 2020, Stancato was elect-

executive, prominent civic lead-

personally, and admired greatly.

ed to serve a full eight-year term and is

er, race relations specialist, and

social justice advocate, and now adds a

“Dr. Wu was so passionate about

now Board Chair.

new title: Classical Roots Honoree.

making sure everybody understood

Stancato enjoyed a close relationship

that music could be used to educate

with late DSO President Emeritus

Born and raised in Detroit, Stancato

young people,” said Stancato. “Lift-

Anne Parsons, and it was Parsons who

always knew about the Detroit Sym-

ing up classical music for everyone is

initially recruited Stancato to lead a

phony Orchestra and had a love for

really important, and he helped me

renewed Diversity, Equity, and Inclu-

classical music from a young age as a

understand that the DSO could make a

sion (DEI) taskforce at the DSO. “With

member of her church’s choir. Later, as

difference in the lives of young people,

Shirley’s expertise, understanding of

her career developed, Stancato’s pas-

not just here, but around the country

the issues, and personal experiences,

sion for music would manifest through

and around the world.”

Anne could not have picked a better

board leadership with the DSO.

Later in her career, for almost 20 years,

person,” said Wilson. “Shirley went into that role with commitment and

After earning both bachelor’s and

Stancato served as President and Chief

master’s degrees from Wayne State

Executive Officer of New Detroit Inc.

University, Stancato enjoyed a long

Under her leadership, New Detroit

career at National Bank of Detroit

continued in its role as an essential

(NBD, now Chase Bank), where she

forum for discussion and advocacy for

became Senior Vice President, leading

the elimination of racial disparities in

Caen Thomason-Redus, now Vice

retail banking initiatives as well as

the region.

President of Inclusion and Learning

community partnerships throughout southeast Michigan.

Dr. M. Roy Wilson, President Emeritus

It is through NBD’s connection to the

DSO Director has known Stancato for

DSO that Stancato first joined the or-

more than a decade. Wilson served

ganization’s Board of Directors, but she

on the board of New Detroit when

stayed for two reasons: Dr. Clyde Wu,

Stancato was CEO, and Stancato later

a celebrated physician and champion

joined the Wayne State University

for music education, and Dr. Arthur

Board of Governors in 2019 following

L. Johnson, a leader, author, and civil

an appointment by Governor Gretchen

26 CR24-Program.indd 26

of Wayne State University, and former

passion and drove everyone to work really hard. The DSO has a diversity culture that is second to none, and Shirley was instrumental in forging that.”

at the League of American Orchestras, first met Shirley when he joined the DSO staff in 2015 and was immediately impressed with her leadership.

“Shirley is equal parts social justice leader, banker, auntie, and storyteller,” said Thomason-Redus. “You could see how these different parts of her career informed everything she did. She was always clear about where she stood on DETROIT SYMPHONY ORCHESTR A

2/24/24 12:42 AM

“There’s a long history of Detroit institutions and communities, some of it amazing, some of it incredibly painful. Shirley has lived through so much of that and led through so much of that. I don't think there's been a time where she wasn't part of so many important things going on in the city, and she’s always seeking to connect people.

To bring that clarity and perspective to the DSO as we sought to be a real place of community, excellence, celebration, and connection to Detroit—

we couldn't have asked for a better ally.”

— caen thomason-redus

things, but also that she cared about

remember about Shirley’s personality:

Excellence by the Michigan Chronicle,

things, and that people were at the

her professionalism and her steadiness

and Michiganian of the Year. In 2021,

heart of her work. There was a special

under difficult circumstances.”

she was inducted into The Michigan

connectivity in the room that helped

Business Women Hall of Fame.

people feel safe being themselves.”

For her part, Stancato agrees: “I'm a big believer in servant leadership, which

“I'm hopeful that my legacy will reflect

In the more than 10 years since the

says that you're a steward of the work

the kinds of relationships that I built

formation of the taskforce, the work

and that the individuals that work for

throughout my lifetime,” said Stanca-

has evolved into a standing Board DEI

you come first. My job is to serve peo-

to. “I hope that people think of me as

Committee, of which Stancato is still

ple, and then the work gets done and

someone who was able to help them

chair, which continues to shape the

the mission is accomplished.”

accomplish some of the things that

DSO’s comprehensive DEI strategy, including the development and adoption of guiding principles. “As administrators, musicians, and community partners, we were trying to really figure out what was the best possible impact

Throughout her career, Stancato has dedicated her time and talent to board service with other organizations including Fifth Third Bank of Eastern Michigan, Teach for America Detroit,

they wanted to accomplish. Any time I have the opportunity to meet someone and help them, I’m also helped in ways that I don’t always understand, so it’s a two-way street.”

Coleman A. Young Foundation, Kids

“No one individual is responsible for

Kicking Cancer, Detroit Zoological

creating a culture for a city,” said Wilson.

Society, International Women’s Forum

“It takes a lot of individuals, each doing

Michigan, and Warrior Women Against

their part, working steadily, and being

Poverty. In 2017, Stancato received

unwavering in their commitment to a

an honorary Doctor of Laws from the

cause. The culture of Detroit certainly

some degree a conscience for the DSO.”

University of Michigan, with addition-

owes a lot of what it is now to people

al honors including the Neal Shine

like Shirley, and to Shirley herself. I can't

“The term servant leader is overused,”

Award for Exemplary Regional Lead-

think of another person more fitting to

said Wilson. “It’s almost like a cliché,

ership, Champion of Justice Award

be honored at Classical Roots because

but that’s what Shirley is. She doesn’t

from the Michigan Delegation of the

of the intersection of music with social

care about who gets the limelight.

Congressional Black Caucus, Woman

justice. That's what Classical Roots

She’s on the line blocking and tackling

of Achievement by the Anti-Defama-

is about; that's what Shirley is about.

for others and being steady as she

tion League, Regional Power Broker

Combined with her love of music, it's a

goes,” he continued. “That’s what I

by Crain’s Detroit Business, Woman of

perfect tribute to Shirley.”

the symphony could make in Detroit,” said Thomason-Redus. “One of the important roles that the DEI committee played and that Shirley as an individual played was being a sounding board for the organization and its leadership, to

C L A S S I C A L R O O T S C E L E B R AT I O N

CR24-Program.indd 27

27 2/24/24 12:42 AM

2 0 2 4

m a r l o w e s t o u d a m i r e awa r d f o r i n n ovat i o n a n d co m m u n i t y co l l a b o r at i o n

jessica Care moore b y l a t o ya c r o s s

T

energy and spirit, and the power of the spoken word.

borhoods and schools—are only a few

moore’s poetry graces the fourth

Her artistic palette is endless, and

floor of the Smithsonian’s National

the root of it all is a commitment to

Museum of African American History

empowering community and creat-

oration.

and Culture and can be read in books

ing spaces—traditional and non—for

under her Moore Black Press publish-

artists to thrive and see their works

moore is a world-renowned poet,

ing house, in partnership with Harper

acknowledged.

playwright, and cultural arts curator

Collins. In the music realm, she joined

whose words impact souls and inspire

forces with vocalist Steffanie Chris-

Standing on the shoulders of poetic

listeners to feel and think deeply. Her

ti’an to form We Are Scorpio—a rock

royalty Sonia Sanchez, Nikki Giovanni,

poems—performed live or read on the

band fused with poetry.

Gil Scott-Heron, the Last Poets, Amiri

he DSO is pleased to honor jessica Care moore moore,, poet and founder of Black WOMEN

Rock!, as this year’s recipient of the Marlowe Stoudamire Award for Innovation and Community Collab-

page—come with a fiery and passionate delivery that calls for social justice; advocates for Black women and Black bodies; honors Black art and artists;

testaments to her expanding legacy.

Baraka, and Ntozake Shange, jessica Her role as executive producer of Black

Care moore is conscious of the depths

WOMEN Rock!, affectionately referred

and responsibility she holds.

to as “Daughters of Betty,” following the passing of funk vocalist Betty Da-

“I come from a tradition of Black, rev-

and resilience—to the fullest.

vis in 2022, and development plans for

olutionary poets; that's a heavy lift and

The Moore Art House—a non-profit

I’m working hard to do very big things

Bold confidence has carried her as she

organization dedicated to using poetry

that inspire a lot of people,” said

represents Detroit on the global stage,

and the arts to elevate literacy and

moore. “It’s never easy. The intention

liberating minds with her tireless

connectivity amongst artists in neigh-

is really to empower community.”

and lifts Detroit—in all its grit, glory,

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 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, and Kris Johnson, Detroit-based artist, educator, and composer.

28 CR24-Program.indd 28

DETROIT SYMPHONY ORCHESTR A

2/24/24 12:43 AM

Steven Banks Saxophone

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 Amercians in classical music.

CR24-Program.indd 29

2/24/24 12:43 AM

Photo by Stephen McGee

co n d u ct o r

A

merican conductor Na’Zir McFadden is the Assistant Conductor and Phillip & Lauren Fisher Community Ambassador of the Detroit Symphony Orchestra, working closely with Music Director Jader Bignamini.

McFadden also serves as Music Director of the Detroit Symphony Youth Orchestra.

Establishing his presence on the classical music scene, McFadden’s 2023–2024 season includes a debut with the Ann Arbor Symphony and a return to the Philadelphia Ballet, in addition to maintaining several ongoing engagements with the DSO. He will also serve as a guest cover conductor for the Baltimore Symphony Orchestra. In the 2022–2023 season, he made his subscription debut with the DSO alongside bass-baritone Davóne Tines and

30 CR24-Program.indd 30

Na'Zir McFadden clarinetist Anthony McGill. Other conducting highlights include debuts with the Utah Symphony Orchestra, the Kalamazoo Symphony Orchestra, and the Philadelphia Ballet.

ed his hometown orchestra—The Philadelphia Orchestra—in their “Pop-Up” series, meeting their Music Director Yannick Nézet-Séguin, who has since served as a mentor to McFadden.

McFadden also led a recording project with the Civic Orchestra of Chicago featuring Hilary Hahn as co-collaborator and soloist. This past summer, McFadden participated in the Boston Symphony Orchestra’s Conducting Seminar as part of the Tanglewood Institute under the guidance of Andris Nelsons and Stefan Asbury. In 2020, McFadden was named the inaugural Apprentice Conductor of the Philadelphia Ballet; a position he held until 2022. He also served as the Robert L. Poster Conducting Apprentice of the New York Youth Symphony from 2020 to 2021. At the age of 16, he conduct-

An advocate for arts education, McFadden strives to provide access to the arts for students in underserved communities. Currently, McFadden serves as a board member of Generation Music, a Philadelphia-based nonprofit organization that provides classical music education.

DETROIT SYMPHONY ORCHESTR A

2/24/24 12:43 AM

g u e s t

a rt i s t

Steven Banks W

inner of the prestigious 2022 Avery Fisher Career Grant, Steven Banks is an ambassador for the classical saxophone, establishing himself as both a compelling and charismatic soloist, dedicated to showcasing the vast capabilities of the instrument, as well as an advocate for expanding its repertoire. Banks is also the first saxophonist to capture First Prize at the Young Concert Artists Susan Wadsworth International Auditions (2019).

Banks has recently appeared as soloist with the Orchestre Symphonique de Montréal, Aspen Festival Orchestra, Oregon Mozart Players, Colorado Music Festival, Colorado Symphony, Utah Symphony, and the Mostly Mozart Festival Orches-

C L A S S I C A L R O O T S C E L E B R AT I O N

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tra, and on subscription with the Cleveland Orchestra, performing with such conductors as John Adams, Peter Oundjian, Earl Lee, Xian Zhang, Nicholas McGegan, and Rafael Payere.

Banks is an advocate for diversity and inclusion in music education, performance, and newly commissioned works in the classical realm. He presented at the TEDxNorthwesternU 2017 conference presenting his dynamic approach to overcoming institutionalized prejudices against women and people of color, and he has written and given lectures on the history of Black classical composers. He also collaborated with flutist Anthony Trionfo and violinist Randall Goosby to create the Learning to Listen round-

table, a discussion on the nuances of the Black experience in classical music and beyond. In partnership with the Sphinx Organization, they also created the Illuminate! series, which opened three essential conversations on music education, artist activism, and the LGBTQIA+ community in classical music.

Banks has a Bachelor of Arts degree in Saxophone Performance with a minor in Jazz Studies from the Indiana University Jacobs School of Music, and Master of Music degree from the Northwestern University Bienen School of Music. His primary saxophone teachers include Taimur Sullivan, Otis Murphy Jr., and Galvin Crisp.

31 2/24/24 12:47 AM

Congratulations to

SHIRLEY STANCATO! Thank you for your Many years of leadership and friendship.

— Ralph and Erica Gerson

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What can we do together?

Can we build stronger, healthier communities?

Can we make health better by making it better for everyone?

Can we impact today and inspire tomorrow?

corewellhealth.org/we-can

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a f r i ca n a m e r i ca n o rc h e s t r a f e l low

H

arper Randolph first encountered the viola at age five through the DC Youth Orchestra Program in her hometown of Washington, DC. Raised in a musical family, her father helped acquaint her with the instrument, and both of her older siblings played the violin. When Harper and her twin brother Cole were born, their father joked about forming a Randolph family string quartet with Harper on viola and Cole on cello.

His vision eventually came to life in a serendipitous way, with both Harper and Cole, former Fellow and now DSO cellist, currently playing together in the Detroit Symphony Orchestra.

The viola has always been a core part of Randolph’s life and identity, and an instrument she kept gravitating back to, even when she learned the violin.

While completing her specialist’s degree in music performance from the University of Michigan, Randolph was looking ahead to the next step in her career. At the time, she was studying with DSO violist Caroline Coade and had heard from past Fellows, including her brother Cole, about their transformative experiences with the DSO’s African American Orchestra Fellowship.

Randolph decided to apply, winning her audition.

34 CR24-Program.indd 34

Harper Randolph

“I definitely think about legacy,

especially through my time playing with the Detroit Symphony Orchestra.

Representation is very important.

Giving African American musicians an image and vision of somebody who looks like them onstage allows them to see that it’s possible to pursue a career in classical music and fulfill their dreams. Providing that representation for someone looking for it is part of the legacy that I want to leave behind.” — h a r p e r r a n d o l p h Randolph was drawn to the DSO as an ensemble that was a “great pioneer of broadcasting pieces by composers of color,” and now cherishes the opportunity to perform with the orchestra on a regular basis. She has developed a great appreciation for the DSO’s keen attention to detail and balanced overall sound, and enjoys performing not only in orchestra concerts, but also in chamber music recitals. As part of the Fellowship, Randolph also participates in mock auditions for members of the DSO and leads sectionals for students in the Civic Youth Ensembles program, educating and inspiring the next generation of young musicians.

Randolph has garnered numerous awards and recognition in competitions including Third Prize in the 2022 Sphinx Competition and First Prize in the 2019 NYU Concerto Competition.

She 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, Czech Republic. Together with her recently completed Specialist in Music degree from University of Michigan’s School of Music, Theatre & Dance, Randolph holds Bachelor and Master of Music degrees from New York University. In addition to Caroline Coade, Randolph’s teachers include Stephanie Baer and Karen Ritscher.

Randolph understands the importance of representation of Black and brown artists within the orchestral world: “I remember growing up and not seeing anyone who looked like me onstage when I went to classical concerts,” she recalled. “I am in this Fellowship program, and I feel that I have a duty to be the best musician and role model I can be so that I can serve as the representation for African American musicians that I was looking for when I was younger, as a way to let them know that this is something that is possible.”

DETROIT SYMPHONY ORCHESTR A

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a f r i ca n a m e r i ca n o rc h e s t r a f e l low

“I want to see more diverse orchestras. And I hope that through this Fellowship, I inspire others to pursue an orchestral career and take on these opportunities.” — l u c i a n o v a l d e s

L

Luciano Valdes

uciano Valdes knew that he wanted to be an orchestral percussionist since the first time he saw the New World Symphony perform in his hometown of Miami, Florida.

His musical journey began at the age of five, when he started playing the piano. Initially picking up percussion due to the xylophone’s similarity to the keyboard, Valdes began his career as a percussionist as soon as he joined his middle school band. He fell in love with the versatility of the instruments across various genres and relishes the challenge of learning a variety of new percussion instruments within the section. Valdes recalls memories of playing on an actual train track during a concert, and during his time at Interlochen Center for the Arts, auditioning for their music director on trash can lids when one of the orchestral scores called for them.

Valdes holds a Bachelor of Music degree from New York University (NYU) and has studied under notable teachers including Jonathan Haas, Eriko Daimo, Sean Statser, Joshua Quillen, Valerie Naranjo, Javier Diaz, and James Saporito. He was awarded the Ida Bodman Service Award upon graduation from NYU in recognition of his leadership qualities.

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He won the DSO’s African American Orchestra Fellowship position in 2023, and simultaneously serves as Principal Timpani with the Bakersfield Symphony Orchestra. A true balancing act, Valdes is also currently completing graduate studies in music performance at the University of Southern California’s Thornton School of Music, studying with Joseph Pereira and Jim Babor.

Valdes has been recognized as an emerging young instrumentalist by the New World Symphony and has performed on the side-by-side New World Symphony concert series under the direction of Michael Tilson Thomas.

He has also served as Principal Percussion of the New York Youth Symphony (NYYS) under Michael Repper, contributing to their Works by Florence Price, Jessie Montgomery, Valerie Coleman album, which earned a Grammy Award for Best Orchestral Performance in 2023—making NYYS the first youth orchestra to do so.

Valdes’s grandfather was a percussionist, and he wants to carry on his legacy by cherishing all genres of music. In addition to his classical pursuits, Valdes has played the marimba chair for Players Theatre in their Off-Broadway production of Beauty and the Beast.

On his experience with the DSO Fellowship, Valdes reflects on continued development: “I’m always growing every day.” In addition to improving his sound and technique, he has learned about previously unexplored elements of percussion performance, as well as new ways to blend his sound harmoniously with the orchestra. Valdes values the opportunities afforded to him through the Fellowship, including studying with and receiving mentorship from DSO percussionists, performing with the orchestra, taking professional auditions, and entering competitions.

Looking to the future, Valdes envisions a world with more diverse orchestras.

“It is important for young musicians to have the opportunity to see themselves in members of an orchestra, and it gives them hope that they can someday achieve that same dream,” says Valdes.

This vision goes far beyond the stage— Valdes also wants to see change in the classroom. His hope is for orchestras to include more works by composers from diverse backgrounds, and for classical music institutions to shed light on historically underrepresented composers from outside of the classical Western European canon.

35 2/24/24 12:48 AM

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THE DETROIT MUSICIANS ASSOCIATION, A BRANCH OF THE NATIONAL ASSOCIATION OF NEGRO MUSICIANS, INC., AN HISTORIC ORGANIZATION SINCE 1919, SALUTES CLASSICAL ROOTS AND SUPPORTS ITS MISSION!

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Congratulations

Dear Shirley, YOU ARE SO DESERVING OF THIS VERY SPECIAL RECOGNITION.

– GLENDA PRICE DANIEL WASHINGTON BRANCH PRESIDENT CR24-Program.indd 36

ANNE-MARIE HUDLEY-SIMMONS NATIONAL PRESIDENT 2/24/24 12:48 AM

co m m u n i t y

e n gag e m e n t

Classical Roots:

C

ommunity engagement has been at the heart of Classical Roots since it began in 1978 and continues to be a driving force behind the annual celebration of African American composers and musicians today.

The Classical Roots mission has grown since its start as a concert featuring the Detroit Symphony Orchestra and Brazeal Dennard Chorale at the historic Bethel A.M.E. Church. In addition to adding a gala, fundraiser, and concert at Orchestra Hall, Classical Roots also supports increased opportunities for Black musicians through the DSO’s African American Composer Residency and African American Orchestra Fellowship.

This year, the DSO aims to connect the next generation with the Classical Roots mission. Through the generosity of the DSO’s education sponsors, middle and high school students from local schools will attend the Friday morning Classical Roots concert and enjoy a pre-concert presentation by Cecelia Sharpe.

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Rooted in Education Sharpe, a graduate of Wayne State University, has been teaching and advocating for youth and the arts for more than 15 years. In addition to her role as a cellist, educator, and advocate, Sharpe has a passion for radio and since 2014 has served as a guest host and producer on WRCJ 90.9 FM. Previously the DSO’s Manager of Education Programs, she has since returned to host and narrate educational, family, and community concerts.

Sharpe has also served as host for the Pro Musica Detroit Live virtual concert series.

On her radio program, “Live with C#,” Sharpe highlights a well-rounded and diverse variety of classical (and sometimes jazz) music, artists, composers, conductors, and ensembles. She enjoys researching music and discovering interesting facts to connect listeners to the music—and hopes to do the same for the students attending the Classical Roots concert.

The pre-concert presentation will speak to the history of Classical Roots, as well as the concert pro-

gram, which includes Billy Childs’s Diaspora Concerto for Saxophone and Orchestra with saxophonist Steven Banks, and Shelley Washington’s Both, a DSO co-commission through New Music USA’s Amplifying Voices program, which fosters collaboration and collective action between US orchestras and composers toward racial and gender equity in classical music.

“I look forward to teaching the students how the music relates to their everyday lives,” said Sharpe.

“The presentation is very interactive, so it will be wonderful to hear from the students directly as they process these themes and topics.”

“We are so fortunate to welcome a passionate educator like Cecelia Sharpe to help bring Classical Roots to life for our younger audiences,” said Clare Valenti, the DSO’s Director of Community Engagement. “Through events like these, we can ensure that generations to come will know, honor, and celebrate the many contributions of African American artists to classical music.”

37 2/24/24 12:50 AM

Proud to support

The Classic Roots Celebration

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GOSPEL EXTRAVAGANZA Presented by Dr. Willam F. Pickard and Jimmy Settles, Jr.

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2/24/24 12:50 AM

In support of

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2/24/24 12:50 AM

Congratulations on this well-deserved honor, Shirley!

Thank you for your many years of service to the DSO and the City of Detroit.

-Adrienne and Erik Rönmark

Heroes Circle | Kids Kicking Cancer recognizes and celebrates our longtime friend and Board Member

SHIRLEY STANCATO on being named a

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

Detroit Symphony Orchestra 2024 Classical Roots Honoree

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. 20857 MGX 01/24

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i n

The

m e m o r i a m

remembers thosewe have lost ...

Dr. Charles G. Adams

Esteemed Pastor Emeritus of Hartford Memorial Baptist Church, Former President of the Progressive National Baptist Convention, and 2023 Classical Roots Honoree

André Watts One of the world’s most distinguished and celebrated piano virtuosos, 2020 Classical Roots Honoree

Dr. Algea O. Harrison Long-serving member and past Co-Chair of the Classical Roots Steering Committee

C L A S S I C A L R O O T S C E L E B R AT I O N

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41 2/24/24 12:50 AM

Honoring Detroit’s Past, Supporting its Future.

PROUD SPONSOR OF DSO’S 46TH ANNUAL CLASSICAL ROOTS CONCERT

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Salutes the DSO Classical Roots student educational program

C L A S S I C A L R O O T S C E L E B R AT I O N

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2/24/24 12:50 AM

In memory of the late Judge Damon Jerome Keith and the late Arthur L. Johnson to Celebrate the 23rd Anniversary of the Classical Roots Celebration named in their honor.

Their contributions to Detroit, social justice, diversity, equity and inclusion will not be forgotten.

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Congratulations to Billy Childs,

jessica Care moore and Shirley Stancato on this well-deserved honor.

We are proud to continue to support the mission of Classical Roots and the DSO. — David and Bernadine Wu

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Afterparty

For more information, contact Ali Huber at (313) 576-5449 or ahuber@dso.org

2/24/24 12:50 AM

U-M Concert Band March 17, 2024 | 7:00 pm Hill Auditorium smtd.umich.edu/events Free! No tickets required Dr. Courtney Snyder Conductor

Damien Crutcher Founder & CEO, Crescendo Detroit

Collaborations Congratulations to the DSO and the

Classical Roots Steering Committee on another incredible celebration!

EVENT PLANNING & CUSTOM DÉCOR

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2/24/24 12:51 AM

SAVE THE DATES Mark your calendar for these upcoming events at Orchestra Hall!

Volunteer Income Tax Assistance (VITA): No-cost tax help for households who need assistance in preparing their returns and navigating the tax process.

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.

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MARCH 1 2025

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2/24/24 12:52 AM

Cultivating gifted artists.

Promoting innovative work.

JPMorgan Chase is proud to support the Detroit Symphony Orchestra and the 2024 Classical Roots Celebration.

Congratulations to this year’s honorees on their well-deserved recognition.

jpmorganchase.com © 2024 JPMorgan Chase & Co.

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2/24/24 12:52 AM