Performance Magazine Winter 2019-20 - Issue 3

VOLUME XXVIII • WINTER 2019-2020

PERFORMANCE THE MAGAZINE OF THE DETROIT SYMPHONY ORCHESTRA

2019-2020 SEASON

INSIDE Program Notes Picture Perfect

New 4K camera system for DSO webcasts BOOK EXCERPT

DESTINY: 100 Years of Music, Magic, and Community at Orchestra Hall in Detroit

By Mark Stryker

Meet the Musician Monica Fosnagh

Community & Learning Edith Rhetts Tilton, Trailblazer

Assistant Principal Percussion Andrés Pichardo-Rosenthal

Dessert Parlor

MAR 27

…at The Whitney.

Named after David Whitney’s daughter, Katherine Whitney McGregor, our intimate dessert parlor on the Mansion’s third floor features a variety of decadent cakes, tortes, and miniature desserts.

The menu also includes chef-prepared specialties, pies, and “Drinkable Desserts.” Don’t miss the amazing Fri flaming 8 pm dessert station featuring Bananas Foster and Cherries Jubilee.

Hill Auditorium

Reserve tonight’s table online at www.thewhitney.com or call 313-832-5700

Sir James Galway with Lady Jeanne Galway, flutes 4421 Woodward Ave., Detroit Michael McHale, piano

Presenting Sponsors: Emily Bandera and the Ken Fischer Legacy Endowment Fund

Patron Sponsor: Sally Kennedy, in memory of David Kennedy

734.764.2538 ——— U M S . O R G

Pre-Theater Menu

Available on performance date with today’s ticket.

Choose one from each course:

FIRST COURSE Caesar Side Salad Chef’s Soup of the Day The Whitney Duet MAIN COURSE Grilled Lamb Chops Lake Superior Whitefish Pan Roasted “Brick” Chicken Sautéed Gnocchi

View current menus and reserve online at www.thewhitney.com or call 313-832-5700 4421 Woodward Ave., Detroit 2

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DESSERT Chocolate Mousse or Mixed Berry Sorbet with Fresh Berries $39.95

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2 0 19 -2 0 2 0 S E A S O N

PERFORMANCE The Detroit Symphony Orchestra, a leader in the world of classical music, embraces and inspires individuals, families, and communities through unsurpassed musical experiences.

CONTENTS Welcome......................................................4 Orchestra Roster.........................................5 Behind the Baton.........................................6

14 Picture Perfect

New 4K camera system for DSO webcasts

12 100 Years 16 DESTINY: of Music, Magic, and Meet the Musician Monica Fosnaugh

Community at Orchestra Hall in Detroit Book excerpt by Mark Stryker

20 Community & Learning 21 PROGRAM NOTES Read Performance anytime, anywhere at dso.org/performance

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Board Leadership........................................8 Transformational Support........................10 Donor Roster............................................. 38 Maximize Your Experience....................... 48 DSO Administrative Staff......................... 50 Upcoming Concerts.................................. 52 ON THE COVER: Assistant Principal Percussion Andrés Pichardo-Rosenthal (William Cody Knicely Chair) backstage in Orchestra Hall’s percussion storage room Photo: Sarah Smarch

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WELCOME DONALD DIETZ

Dear Friends,

As we continue to celebrate Orchestra Hall’s 100th birthday, we are reminded of the vision, innovation, and technology that have played significant roles throughout the DSO’s history.

It’s our honor to be the current stewards of this legacy, offering exceptional artistic experiences week-in and week-out, here in The Max and all around our community. We are driven by a vision of creating broad, universal access to orchestral music, in both new ways and by continuing to grow the impact of our most critical innovations of the past decade.

The DSO’s groundbreaking, free Live from Orchestra Hall webcasts presented by the Ford Motor Company Fund and made possible by Knight Foundation, along with the Classroom Edition expansion, have enjoyed exciting advancements this year, and we’re proud to report we have now reached over 2 million views worldwide since their inception in 2011.

Thanks to support from the Knight Foundation and Al Glancy Technology Fund, we have upgraded our cameras and technology, enabling us to be among the first orchestras worldwide to implement 4K resolution. If you haven’t watched a DSO Live webcast lately, we invite you to check out the crystal-clear picture and the fabulous sound, as always, from our incredible orchestra.

The William Davidson Neighborhood Concert Series and our DTE Energy Foundation Community Concerts, as well as partnerships with many others, take us out of our home to meet people where they live, in schools, hospitals, senior and community centers, places of worship, libraries, art galleries, and breweries…the list goes on and on!

In 2020 we add an eighth community to the Neighborhood Series, heading downriver for two performances in Monroe. These concerts remain hugely popular, and while we love welcoming audiences to Orchestra Hall, we continue to believe it’s critical to reach new audiences by bringing music closer to homes throughout our communities.

Our new initiative Detroit Harmony promises even greater access to music for our city’s schoolchildren. This program will be a unique, collaborative effort to put an instrument in the hands of every K-12 student and provide pathways to instruction for any child who wants to learn. At the same time, Detroit Harmony will bolster economic development, including bringing new jobs to teaching artists and skilled tradespeople to restore instruments, plus providing job training and professional development resources.

We thank the Ralph C. Wilson, Jr. Foundation and the Max M. and Marjorie S. Fisher Foundation for their support of this planning phase of Detroit Harmony, and we invite all interested in partnering on this vital work to contact us at education@dso.org. Together, we can build something remarkable for Detroit!

During the holidays, we are especially thankful for all you do to make what we do matter to more and more people every year. We hope you’ll consider giving the gift of music to someone you love, and we look forward to starting off 2020 with great anticipation of wonderful experiences to come.

With all best wishes, Anne Parsons President and CEO 4

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Mark Davidoff Chairman WINTER 2019-2020

LEONARD SLATKIN, Music Director Laureate Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

Principal Pops Conductor

FIRST VIOLIN Kimberly Kaloyanides Kennedy Interim Concertmaster Katherine Tuck Chair Hai-Xin Wu Interim A ssociate Concertmaster Schwartz Shapero Family Chair Jennifer Wey Fang A ssistant Concertmaster Walker L. Cisler/Detroit Edison Foundation Chair Marguerite Deslippe* Laurie Goldman* Rachel Harding Klaus* Eun Park Lee* Adrienne Rönmark* Laura Soto* Greg Staples* Jiamin Wang* Mingzhao Zhou* Yoonshin Song~ Concertmaster

SECOND VIOLIN Adam Stepniewski Acting Principal The Devereaux Family Chair Will Haapaniemi* David and Valerie McCammon Chair Hae Jeong Heidi Han* David and Valerie McCammon Chair Sheryl Hwangbo* Sujin Lim* Hong-Yi Mo* Alexandros Sakarellos* Drs. Doris Tong and Teck Soo Chair Joseph Striplin*~ Marian Tanau* Jing Zhang* Open, Principal VIOLA Eric Nowlin, Principal Julie and Ed Levy, Jr. Chair James VanValkenburg A ssistant Principal Caroline Coade Glenn Mellow Hang Su Shanda Lowery-Sachs Hart Hollman Han Zheng Mike Chen

TERENCE BLANCHARD

NEEME JÄRVI

Fred A. and Barbara M. Erb Jazz Creative Director Chair

Music Director Emeritus

CELLO Wei Yu, Principal James C. Gordon Chair Abraham Feder A ssistant Principal Dorothy and Herbert Graebner Chair Robert Bergman* Jeremy Crosmer* David LeDoux* Peter McCaffrey* Joanne Danto and Arnold Weingarden Chair Haden McKay* Úna O’Riordan* Mary Ann and Robert Gorlin Chair Paul Wingert* Victor and Gale Girolami Chair

BASS Kevin Brown, Principal Van Dusen Family Chair Stephen Molina A ssistant Principal Linton Bodwin Stephen Edwards Christopher Hamlen Nicholas Myers HARP Patricia Masri-Fletcher Principal Winifred E. Polk Chair FLUTE Sharon Sparrow A ssistant Principal Bernard and Eleanor Robertson Chair Amanda Blaikie Morton and Brigitte Harris Chair Jeffery Zook Open, Principal Women’s Association for the DSO Chair PICCOLO Jeffery Zook OBOE Alexander Kinmonth Principal Jack A. and Aviva Robinson Chair Sarah Lewis Maggie Miller Chair Monica Fosnaugh Open, A ssistant Principal

CLARINET Ralph Skiano Principal Robert B. Semple Chair Jack Walters PVS Chemicals Inc./Jim and Ann Nicholson Chair Laurence Liberson A ssistant Principal Shannon Orme E-FLAT CLARINET Laurence Liberson BASS CLARINET Shannon Orme Barbara Frankel and Ronald Michalak Chair BASSOON Robert Williams, Principal Victoria King Michael Ke Ma A ssistant Principal Marcus Schoon CONTRABASSOON Marcus Schoon HORN Karl Pituch, Principal Johanna Yarbrough Scott Strong Bryan Kennedy David Everson Assistant Principal Mark Abbott TRUMPET Hunter Eberly, Principal Lee and Floy Barthel Chair Kevin Good Stephen Anderson A ssistant Principal William Lucas Michael Gause African-American Orchestra Fellow TROMBONE Kenneth Thompkins, Principal David Binder Randall Hawes

BASS TROMBONE Randall Hawes TUBA Dennis Nulty, Principal PERCUSSION Joseph Becker, Principal Ruth Roby and Alfred R. Glancy III Chair Andrés Pichardo-Rosenthal A ssistant Principal William Cody Knicely Chair James Ritchie TIMPANI Jeremy Epp, Principal Richard and Mona Alonzo Chair James Ritchie A ssistant Principal LIBRARIANS Robert Stiles, Principal Ethan Allen PERSONNEL MANAGERS Heather Hart Rochon Director of Orchestra Personnel Patrick Peterson Manager of Orchestra Personnel STAGE PERSONNEL Dennis Rottell, Stage Manager Ryan DeMarco Department Head Noel Keesee Department Head Steven Kemp Department Head Matthew Pons Department Head Michael Sarkissian Department Head LEGEND * These members may voluntarily revolve seating within the section on a regular basis

~ Extended leave

ENGLISH HORN Monica Fosnaugh Shari and Craig Morgan Chair

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B E H I N D T H E B AT O N

Leonard Slatkin

I

nternationally acclaimed conductor Leonard Slatkin is Music Director Laureate of the Detroit Symphony Orchestra (DSO) and Directeur Musical Honoraire of the Orchestre National de Lyon (ONL). He maintains a rigorous schedule of guest conducting throughout the world and is active as a composer, author, and educator.

In the 2019-20 season, he will celebrate his 75th birthday year with several of the orchestras he has led over the course of his 50-year career, including the St. Louis Symphony Orchestra, National Symphony Orchestra, Nashville Symphony Orchestra, DSO, and ONL. Other highlights include return engagements with the Houston Symphony Orchestra, RTÉ National Symphony in Dublin, Toronto Symphony Orchestra, and NHK Symphony Orchestra in Tokyo; debuts with the KBS Symphony Orchestra in Seoul, NDR Radiophilharmonie in Hannover, and Würth Philharmonic in Künzelsau, Germany; and three weeks in Spain conducting orchestras in CastileLeón, Bilbao, and the Balearic Islands.

Slatkin has received six Grammy awards and 33 nominations. His recent Naxos recordings include works

by Saint-Saëns, Ravel, and Berlioz 6

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(with the ONL) and music by Copland, Rachmaninoff, Borzova, McTee, and John Williams (with the DSO). In addition, he has recorded the complete Brahms, Beethoven, and Tchaikovsky symphonies with the DSO (available online as digital downloads).

A recipient of the prestigious National Medal of Arts, Slatkin also holds the rank of Chevalier in the French Legion of Honor. He has received Austria’s Decoration of Honor in Silver, the League of American Orchestras’ Gold Baton Award, and the 2013 ASCAP Deems Taylor Special Recognition Award for his debut book, Conducting Business. His second book, Leading Tones: Reflections on Music, Musicians, and the Music Industry, was published by Amadeus Press in 2017.

Slatkin has conducted virtually all the leading orchestras in the world.

As Music Director, he has held posts in New Orleans; St. Louis; Washington, DC; London (with the BBCSO); Detroit; and Lyon, France. He has also served as Principal Guest Conductor in Pittsburgh, Los Angeles, Minneapolis, and Cleveland. For more information, visit leonardslatkin.com.

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Jeff Tyzik

G

rammy Award winner Jeff Tyzik is one of America’s most innovative and sought-after pops conductors.

Tyzik is recognized for his brilliant arrangements, original programming, and engaging rapport with audiences of all ages. In addition to his role as Principal Pops Conductor of the DSO, Tyzik holds The Dot and Paul Mason Principal Pops Conductor’s Podium at the Dallas Symphony Orchestra and also serves as principal pops conductor of the Oregon Symphony, Florida Orchestra, and Rochester Philharmonic – a post he has held for 23 seasons.

Frequently invited as a guest conductor, Tyzik has appeared with the Boston Pops, Cincinnati Pops, Milwaukee Symphony, Pittsburgh Symphony, Toronto Symphony, Indianapolis Symphony, Philadelphia Orchestra, Los Angeles Philharmonic, and Royal Scottish National Orchestra. In May 2007, the Harmonia Mundi label released his recording of works by Gershwin with pianist Jon Nakamatsu and the RPO, which stayed in the Top 10 on the Billboard classical chart for over

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three months. Alex Ross of the New Yorker called it “one of the snappiest Gershwin discs in years.”

Committed to performing music of all genres, Tyzik has collaborated with such diverse artists as Megan Hilty, Chris Botti, Matthew Morrison, Wynonna Judd, Tony Bennett, Art Garfunkel, Dawn Upshaw, Marilyn Horne, Arturo Sandoval, The Chieftains, Mark O’Connor, Doc Severinsen, and John Pizzarelli. He has created numerous original programs that include the greatest music from jazz and classical to Motown, Broadway, film, dance, Latin, and swing. Tyzik holds Bachelor of Music and Master of Music degrees from the Eastman School of Music. For more information, visit jefftyzik.com.

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Detroit Symphony Orchestra, Inc. Samuel Frankel ◊ David Handleman, Sr.◊ Dr. Arthur L. Johnson ◊

James B. Nicholson Clyde Wu, M.D.◊

CHAIRMEN EMERITI

Peter D. Cummings Phillip Wm. Fisher Stanley Frankel

Alfred R. Glancy III ◊ Robert S. Miller James B. Nicholson

DIRECTORS EMERITI

Robert A. Allesee Floy Barthel Chacona Baugh John A. Boll, Sr. Richard A. Brodie Lois & Avern Cohn Marianne Endicott Sidney Forbes Mrs. Harold Frank Barbara Frankel

Herman Frankel Paul Ganson Mort Harris Gloria Heppner, Ph.D. Ronald M. Horwitz Harold Kulish Bonnie Larson Dr. Melvin A. Lester David McCammon David R. Nelson

Marilyn Pincus Lloyd E. Reuss Marjorie S. Saulson Alan E. Schwartz Jane Sherman David Usher Barbara Van Dusen Arthur A. Weiss, Esq.

Mark A. Davidoff Chairman

Faye Alexander Nelson Treasurer

David Provost Officer at Large

Glenda D. Price, Ph.D. Vice Chair

Arthur T. O’Reilly Secretary

Nancy Schlichting Officer at Large

Anne Parsons President & CEO

Ralph J. Gerson Officer at Large

Hon. Kurtis T. Wilder Officer at Large

Pamela Applebaum David Assemany Governing Members Chair Marco Bruzzano Richard DeVore Samuel Fogleman Herman B. Gray, M.D. Nicholas Hood III

Daniel J. Kaufman Michael J. Keegan Arthur C. Liebler Xavier Mosquet Stephen R. Polk Jay Ritchie Orchestra Representative Bernard I. Robertson

Sharon Sparrow Orchestra Representative Shirley Stancato Arn Tellem Janice Uhlig Dr. M. Roy Wilson David M. Wu, M.D.

LIFETIME MEMBERS

OFFICERS

BOARD OF DIRECTORS Directors are responsible for maintaining a culture of accountability, resource development, and strategic thinking.

As fiduciaries, Directors oversee the artistic and cultural health and strategic direction of the DSO.

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◊ Deceased

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BOARD OF TRUSTEES Richard Huttenlocher, Chair Trustees are a diverse group of community leaders who infuse creative thinking and innovation into how the DSO strives to achieve both artistic vitality and organizational sustainability.

Ismael Ahmed Rosette Ajluni Richard Alonzo Hadas Bernard Janice Bernick Robert Bluestein Suzanne Bluestein Penny B. Blumenstein Elizabeth Boone Gwen Bowlby Margaret Cooney Casey Karen Cullen Joanne Danto Stephen R. D’Arcy Maureen T. D’Avanzo Afa Sadykhly Dworkin Annmarie Erickson Peter Falzon James C. Farber Jennifer Fischer Aaron Frankel Carolynn Frankel Christa Funk Alan M. Gallatin Robert Gillette Jody Glancy Malik Goodwin

Mary Ann Gorlin Laura Grannemann Laura Hernandez-Romine Donald Hiruo Michele Hodges Julie Hollinshead Renato Jamett Joseph Jonna John Jullens David Karp Joel D. Kellman Jennette Smith Kotila William Lentine James P. Lentini, D.M.A. Linda Dresner Levy Florine Mark Tonya Matthews, Ph.D. Anthony McCree Lydia Michael NextGen Chair Lois A. Miller Daniel Millward Scott Monty Shari Morgan Sandy Morrison Frederick J. Morsches Sean M. Neall

Eric Nemeth Maury Okun Vivian Pickard William F. Pickard, Ph.D. Gerrit Reepmeyer Richard Robinson James Rose, Jr. Marc Schwartz Lois L. Shaevsky Mary Shafer Margaret Shulman Cathryn M. Skedel, Ph.D. Ralph Skiano Orchestra Representative Richard Sonenklar Mark Tapper Yoni Torgow Laura J. Trudeau Gwen Weiner Donnell White Jennifer Whitteaker R. Jamison Williams Margaret E. Winters Johanna Yarbrough Orchestra Representative Ellen Hill Zeringue

MAESTRO CIRCLE EXECUTIVE COMMITTEE Janet and Norm Ankers, Chairs

Cecilia Benner

Joanne Danto

Gregory Haynes

Bonnie Larson

Lois Miller

Richard Sonenklar

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DSO PERFORMANCE MAGAZINE 9

T R A N S F O R M AT I O N A L S U P P O R T

SPOTLIGHT: THE HONORABLE AVERN COHN AND LOIS COHN “Detroit, the ‘Comeback City,’ would not be as successful were it not for the DSO,” says Lois Cohn, boldly and unambiguously. Lois and her husband, the Hon. Avern Cohn, have been at the core of our oneDSO family for decades, supporting a wide variety of initiatives that aim to position the orchestra at the center of Detroit’s revival and success.

Most recently, their generosity includes landmark support of the Orchestra Hall centennial and a match of the Musicians Fund for Artistic Excellence – a groundbreaking 2017 endowment gift from our musicians (with one hundred percent participation) with a challenge for other donors to signal their support of the orchestra’s long-term stability.

“The DSO’s performances have achieved national recognition for their variety, guest artists, and high quality musicianship,” Lois explains, signaling the reasons our DSO musicians established the fund and why the Cohns chose to contribute.

“The efforts made by the members of our distinguished orchestra to reach out to all corners of our city gives so many Detroiters the opportunity to hear this great ensemble – and thanks to the work of our devoted musicians, thousands of students know what it’s like to pick up an instrument and make music!”

Both Avern and Lois Cohn are DSO Directors Emeriti, a title that recognizes their service on our Board of Directors and their broad, longstanding support of our mission. Judge Cohn is a Senior U.S. District Judge and patron of arts and culture in Detroit; in addition to the DSO, he cherishes and supports the Detroit Institute of Arts, Michigan Opera Theatre, and Detroit Zoo. Lois, an avid art collector, is currently a consultant for Sotheby’s Auction House for the State of Michigan, and she also serves on the boards of Alternatives for Girls and the College for Creative Studies.

Judge Cohn states: “It’s part of our civic duty to support the arts, because culture is at the core of a city’s health and reputation.” Lois agrees. “It is my opinion that Detroit would not be as well regarded as it is without the DSO,” she says. “I cannot think of any major city which does not embrace cultural endeavors, and we are right up there with the best.”

Even more broadly, Avern and Lois simply can’t imagine a world without music, or their beloved home city without a musical anchor like the DSO. “Music is a major force in human society, whether it’s jazz, church music, hip-hop, or Beethoven,” Lois explains. “The DSO gives its energy and talent to our city. We all need the peace and joy that music brings us.”

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FOUNDING FAMILIES Julie & Peter Cummings The Davidson-Gerson Family and the William Davidson Foundation The Richard C. Devereaux Foundation The Fisher Family and the Max M. & Marjorie S. Fisher Foundation Stanley & Judy Frankel and the Samuel & Jean Frankel Foundation Danialle & Peter Karmanos, Jr. Linda Dresner & Ed Levy, Jr. James B. & Ann V. Nicholson and PVS Chemicals, Inc. Clyde & Helen Wu◊

CHAMPIONS Mr. & Mrs. Richard L. Alonzo Mandell & Madeleine Berman Foundation Penny & Harold Blumenstein Mr. & Mrs. Raymond M. Cracchiolo Joanne Danto & Arnold Weingarden Vera and Joseph Dresner Foundation DTE Energy Foundation The Fred A. & Barbara M. Erb Family Foundation Mr. & Mrs. Phillip Wm. Fisher Ford Motor Company Fund Mr. & Mrs.◊ Morton E. Harris

John S. & James L. Knight Foundation The Kresge Foundation Mrs. Bonnie Larson The Andrew W. Mellon Foundation Ms. Deborah Miesel Shari & Craig Morgan Dr. William F. Pickard The Polk Family Bernard & Eleanor Robertson Stephen M. Ross Mrs. Richard C. Van Dusen

LEADERS Applebaum Family Philanthropy Charlotte Arkin Estate Mr. & Mrs. Lee Barthel Marvin & Betty Danto Family Foundation Herman & Sharon Frankel Ruth & Al◊ Glancy Mary Ann & Robert Gorlin John C. Leyhan Estate Bud & Nancy Liebler

Richard & Jane Manoogian Foundation David & Valerie McCammon Mr. & Mrs. Eugene A. Miller Jack & Aviva Robinson◊ Martie & Bob Sachs Mr. & Mrs.◊ Alan E. Schwartz Drs. Doris Tong & Teck Soo Paul & Terese Zlotoff

BENEFACTORS Mr. & Mrs. Robert A. Allesee W. Harold & Chacona W. Baugh Robert & Lucinda Clement Lois & Avern Cohn Mary Rita Cuddohy Estate Margie Dunn & Mark Davidoff DSO Musicians Bette Dyer Estate Dr. Marjorie M. Fisher & Mr. Roy Furman Barbara Frankel & Ronald Michalak Victor◊ & Gale Girolami Fund Herbert & Dorothy Graebner◊ Mr. Richard Sonenklar & Mr. Gregory Haynes Ronald M. & Carol◊ Horwitz dso.org

◊ Deceased

Richard H. & Carola Huttenlocher Ann & Norman Katz Dr. Melvin A. Lester Florine Mark Michigan Council for Arts & Cultural Affairs Pat & Hank Nickol Ruth Rattner Mr. & Mrs. Lloyd E. Reuss Donald & Gloria Schultz Estate Mr. & Mrs. Fred Secrest◊ Jane & Larry Sherman Cindy McTee & Leonard Slatkin Marilyn Snodgrass Estate

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MEET THE MUSICIAN

MONICA FOSNAUGH Oboe and English Horn (Shari and Craig Morgan Chair)

O

boists tend to be a singular bunch – they get the privilege of tuning the entire orchestra before a performance begins, for example, and many staples of the repertoire feature the oboe in brief and beautiful passages that soar above the sound all alone. This is even more true for those musicians who play the oboe’s cousin the English horn; it certainly is for Monica Fosnaugh, who joined the DSO in 2012.

“As a kid, I said ‘well, I want to play something no one else plays,’ and my dad told me I should play the oboe,” remembers Fosnaugh. “It’s funny that I’m an English horn player now, because in the whole orchestra I’m the only one.”

A primer for the double reed uninitiated: the English horn is a woodwind instrument like the oboe, but it’s about 50% longer, meaning it has a deeper and mellower sound. If you aren’t solid on the specifics, don’t worry. “I’m always talking to people who ask what an English horn is,” says Fosnaugh. “Everyone has heard of a French horn, of course. And the English horn has the most confusing name of any instrument because it’s not English and it’s not really a horn.”

According to the most common story, early English horns had a flared bell that made the instrument resemble long brass horns played by angels in medieval artwork, giving them the nickname “angelic horn.” But the Middle High German word for “angelic” sounded a lot like the Middle High German word for “English,” and before long the not-quitecorrect name had spread and stuck.

Some of the most famous English

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horn passages can be found in Mahler’s Fourth Symphony, Ravel’s Piano Concerto in G major, and Dvořák’s “New World” Symphony. Fosnaugh offers an additional example that demonstrates a typical solo for the English horn: Berlioz’s Roman Carnival Overture, which the DSO performed in November.

“Berlioz uses a melody from an aria in the Overture, and in the aria a tenor is singing to a woman he loves more than life itself. That passionate melody is placed into this shorter, more bombastic piece of music; after the fast introduction ends, the English horn comes in, and really my role is one of this Pavarotti-like tenor.”

In fact, Fosnaugh thinks of her work as an English horn player as something of a character actor. “I don’t play everything all the time,” she says. “But I’m portraying something very specific when I do play, and I’m very exposed. So I want to give every piece of music the character that the composer has in mind.”

These characters are often expressing love, a passionate melancholy, or a forlorn thoughtfulness – all thanks to the instrument’s rich, almost human sound.

“One of my friends, an English horn player in another symphony, says it WINTER 2019-2020

really well – she says the instrument is like her own voice,” recalls Fosnaugh.

“She feels like she’s singing. I can really relate to that.”

Oboists, bassoonists, and English horn players will tell you that for all the beauty their instruments create, the Sisyphean craft of making reeds is a serious flipside. Reeds are their own meta-instrument, and nowhere else in the orchestra will you find players tasked with personally constructing a crucial piece of hardware. “You’re taking essentially a hollow piece of grass – it resembles bamboo, but it’s not – and you’re cutting it and splitting it and shaping it, then tying it to a tube and scraping it down until it vibrates,” Fosnaugh summarizes. Most violinists don’t make their own bows, and most baseball players

don’t make their own bats; when it’s pointed out that only Jedi from Star Wars are expected to build their own equipment, Fosnaugh retorts, “True, but a lightsaber lasts a lot longer than a reed!”

When she’s not performing, practicing, or making reeds, Fosnaugh loves to get outside and go for long-distance runs. “I’ve been running since I was probably 12 or 13, and it’s my moving meditation,” she says. “I can just go out there and forget about everything else.”

She even ran the Chicago Marathon this past fall. She also loves baking – especially pies, which she refers to as an “obsession” – and reading. “I love the novelist Haruki Murakami,” Fosnaugh says, quickly adding: “And I’ll read just about anything about a U.S. president.”

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DSO PERFORMANCE MAGAZINE 13

F E AT U R E S T O R Y

BY SARAH SMARCH

I

f you take the backstage stairs of positions can be reconfigured and cusThe Max to the basement and follow tomized for each individual webcast. the checkerboard floor, you’ll The new cameras perform find musicians’ dressing better in low light and offer rooms with vanity a clearer, more colorful tables, clothing image. racks, lockers, “We’re among coffee mugs, the first orchesand well-loved tras in the world foosball to have a 4K tables. camera Continue farsystem,” ther, turn two explains Marc corners, and Geelhoed, the A NE W ER A OF you’ll arrive at DSO’s Director LIVE FROM ORCHESTR A the door of a of Digital HALL WEBCASTS, small locked Initiatives. “And THANKS TO THE room all but the new cameras DSO’S UPGR ADED 4K unknown and unenprovide fantastic CAMER A SYSTEM tered by the general images. I ran into public.

[Principal Clarinet] Ralph A plaque next to the door Skiano and he jokingly said reads “Alfred R. Glancy III Control ‘The image quality is so good that I’ll Room.” This 19-by-14-foot room is the have to find a way to play better to home of the DSO’s Live from Orchestra match it!’”

Hall webcast series; since the series’ The DSO is a leader among orchesinception in 2011, the control station has tras worldwide in advancing enabled nearly 2 million viewers across accessibility through technology, and the globe to watch live DSO concerts we’ve always had a bit of a trailblazing wherever they are. streak. In 1922, under the baton of Ossip And now, it’s the command hub for an Gabrilowitsch, the DSO was the first improved technological backbone for the orchestra in the world to perform on a Live from Orchestra Hall experience, live radio broadcast. A dozen years including a new 4K ultra-high definition later, the beloved Ford Sunday Evening camera system.

Hour radio concert series was inaugu Installed over the summer, the rated; these weekly performances were upgraded system includes new fiber-op- enjoyed by millions nationwide during tic wiring throughout The Max, new the series’ 8-year run. studio equipment for the control room, The new 4K camera system allows and eight state-of-the-art Panasonic the DSO to webcast at the same high AW-UE150 4K robotic cameras, which caliber at which the musicians perform. replace six older Sony models. The DSO As has happened many times in the has also created nine new camera posiDSO’s past, we’ve created the capacity to tions in Orchestra Hall (up from six, present exceptional artistry via technolcreating 15 total), meaning that camera ogy – in a way that does the artistry

PICTURE PERFECT

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justice while building new pathways for audience accessibility.

And while the experience of listening to the orchestra on the radio – or today watching it in ultra-high definition – will always be different from attending a concert in the hall, technology can be used to create unique experiences for the viewer/listener that are just as powerful as sitting in the Dress Circle. “I saw Mahler online,” one recent webcast viewer commented. “Makes me want to go to Orchestra Hall!”

Making It Happen Patterson McKinney, now in his second season as a webcast director, stresses the importance the new system plays in the production process: “This system opens a new world of creative possibilities,” he says. “The movement of the cameras is much smoother and makes me more confident to program shots that really follow the progression of the music. So much is happening at any given time; there are so many different sounds and instruments, and now the cameras can capture and communicate more of that.”

Marc Geelhoed (foreground) and crew member Jonathan Laurie (background) during webcast production in the Alfred R. Glancy III Control Room dso.org

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In the basement, webcast director Habib Azar’s movements resemble those of the conductor upstairs on the stage: trained eyes moving quickly to different camera feeds, arms outstretched and pointing – though at monitors, not instrument sections – with

a performance onstage but isn’t actually broadcast to audiences’ screens.

As assistant director, Geelhoed communicates with camera operators to jump from shot to shot. A system of camera presets forms the structure of this work – Camera 1 might have Preset 1 (or “P1”) trained on the Principal Oboe, for example.

Geelhoed’s directions often sound like a game of Battleship gone awry, as he rapidly speaks letter and number combinations into his headset: “Send 4 to P3. Send 2 to P9, 1 P8, 4 P3,” and on and on, with as many as 1,200 shots called for a single concert.

Webcasts also require a switcher, Controlling cameras during a recent Live from Orchestra Hall webcast two operators, and an audio engineer. facial expressions bouncing from tense The director tells the switcher to “take” focus to exaltation. a shot on camera, sending that shot to And just like the concert upstairs, the the live feed. The operators move the webcast needs robust preparation and cameras and the audio engineer monirehearsal. A director assigned to a webtors sound. cast will review the scores of the pieces It’s an incredible feat of teamwork to be performed and begin developing a and passion. “We want to provide the shot list. Crew members will place camviewer with visual cues – like the coneras throughout the hall accordingly, ductor’s face or the energy of the and a day or two before the webcast the musicians – so they can see how this entire team will assemble for a rungiant piece with so many parts comes through – a beat-for-beat rehearsal of together to make music,” explains the whole show that takes place during Geelhoed.

Live from Orchestra Hall is presented by Ford Motor Company Fund. The technology upgrade was made possible by support from the Knight Foundation and the Al Glancy Technology Fund. The DSO’s new camera system was designed by the video team at the Dutch firm PolyCast. Local installation support was provided by Vortex Communications (fiber optic cabling), Thunder Valley Enterprise (fiber optic cabling and electrical work), Douglas Electric (electrical work), and the DSO’s stage crew members of IATSE Local 38.

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Around the World and Up the Street The intention of the Live from Orchestra Hall webcast series has always been to share the work of a world-class orchestra with a worldwide audience.

Importantly, there’s no cost to viewers – anyone can participate as long as they have an internet connection. Audiences include classical music fans in all 50 states and well over 100 countries, but it also comprises tens of thousands of Detroit-area students who tune in to Classroom Edition webcasts and experience our Educational Concert Series right from their schools.

But making something accessible is only part of the mission. Increasing accessibility is just as important, and a new partnership with the Detroit Community Technology Project is doing just that.

Not all Detroiters have reliable access to high-speed wireless internet. Enter the Detroit Community Technology Project’s Equitable Internet Initiative (EII), which incubates neighborhood-governed community wireless networks in Detroit’s North End, Southwest, and Islandview neighborhoods in addition to Highland Park. Each network is also equipped with an intranet (a network still available to users even if an internet connection fails) designed by middle and high school students through the Next Gen Apps education program.

These students also developed an app called Detroit Music Box for each neighborhood’s intranet. In partnership with the DSO, Detroit Music Box will now host high-definition video recordings of DSO performances in addition to other content. The most accessible orchestra on the planet teamed up with a group that puts accessibility first – meaning more music will be available to more people!

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The DSO thanks The John S. and James L. Knight Foundation for their incredible support of the Live from Orchestra Hall webcast series since its inception in 2011, as well as the recent gift that made this technology upgrade possible.

In October 2018, the Knight Foundation announced a new $20 million investment in the arts in Detroit, including a $2.5 million grant to the Detroit Symphony Orchestra. In addition to continuing to support Live from Orchestra Hall, the grant has funded efforts to activate the Max M. and Marjorie S. Fisher Music Center by presenting multidisciplinary programming that attracts new audiences, transforming the façade of the building with digital content, and offering outdoor performances in Sosnick Courtyard. All of these initiatives are either in progress or coming soon.

Other programs supported by the Knight Foundation include the 2015 world premiere of Tod Machover’s Symphony in D and the 2015 festivalMotown Meets The Big Easy. The DSO was also recognized in the 2017 Knight Arts Challenge with a grant to enable the orchestra to offer new “Mobile Maxcasts” – performances broadcast on a mobile video truck in community settings around Metro Detroit.

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Excerpt

DESTINY

DESTINY

COM MUN ITY MAG IC, AND OF MUS IC, 100 YEA RS IN DET ROIT TRA HAL L AT ORC HES

COM MUN ITY MAG IC, AND OF MUS IC, 100 YEAR S

Community , Magic, and Years of Music illustrated Destiny: 100 it is a lavishly Hall in Detro home of at Orchestra Orchestra Hall, r 100 years of Written by forme book tracing hony Orchestra. reporter the Detroit Symp critic and arts Press music d the Free it behin Detro readers Destiny takes and the 1919 in Mark Stryker, hall building of the or Ossip scenes of the music direct under Age n years ues with the DSO’s first Golde The story contin Paradise Gabrilowitsch. renamed the the hall was for the 1941–1951, when destination became a major chronicles Theatre and The book then save jazz artists. supporters to country’s top ians and civic followed 1970, in the fight by music from demolition Hall and the Orchestra Hall of Orchestra ar restoration its historic home by the 20-ye of the DSO to n of retur on triumphant s the creati r in ly, the book detail r Music Cente in 1989. Final Marjorie S. Fishe under the roof the Max M. and activities present day rt halls and the 2003 and the ’s great conce the world way, the the of Along of one int of The Max. acoustics, Hall’s stra expanded footpr Orche the magic of building’s book explores corners of the little-known Hall, sheds light on it, Orchestra shows how Detro and y, y. histor same destin all share the and the DSO

wonders is one of the “Orchestra Hall — Yo-Yo Ma music world.” of our acoustic for these make a statue “They should d it.” oit who save people in Detr

AT ORCH ESTR

Stryker is a longtime journalist, music critic, and writer who covered classical and jazz music for the Detroit Free Press from 1995 to 2016. His new book, written in celebration of Orchestra Hall’s centennial year, is available now at Shop @ The Max. Read an excerpt from the chapter “Fifteen Performances for the Ages” below.

y time I just a gem… Ever . It’s “This hall is awe y time—I’m in return—ever aud — Hélène Grim perfection.”

r

Mark Stryke

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There have been countless extraordinary performances at Orchestra Hall during its 100-year history … I witnessed those from the 1990s to the present in my capacity as a music critic with the Detroit Free Press. The earlier performances were selected after consulting historical reviews and recordings.

November 7, 1921 Composer Richard Strauss guest conducted the Detroit Symphony Orchestra in three of his tone poems written between 1888 and 1895: Don Juan, Till Eulenspiegel’s Merry Pranks, and Death and Transfiguration. Detroit News critic Robert Kelly called Strauss “the leader of modern music” and wrote that while the results in the opening work, Don Juan, were exquisite, the program accumulated power with each succeeding work.

May 19, 1945 The Duke Ellington Orchestra broadcasts from the Paradise Theatre on this date as part of a weekly Saturday afternoon series of radio programs sponsored by the U.S. Treasury. The band – including such stars as Johnny Hodges, Rex Stewart, Lawrence Brown, and Sonny Greer – sounds 18

BY MARK STRYKER

— Neeme Järvi

DETR OIT A HALL IN

$24.95 -3 -1-7334170-1 5 > 5249

DESTINY: 100 Years of Music, Magic, and Community at Orchestra Hall in Detroit

DSO PERFORMANCE MAGAZINE

resplendent on the tape that has survived.

Among the repertoire: “Solitude,” “Perdido,” “In a Sentimental Mood,” “Pitter Panther Patter,” “Subtle Slough,” and “Stomp Look and Listen.”

October 25, 1980 Cellist Yo-Yo Ma made his debut at Orchestra Hall as part of a trio that included violinist Young-Uck Kim and pianist Emanuel Ax. Presented by the Chamber Music Society of Detroit, the trio played Mozart, Beethoven, and Dvořák. Detroit News critic Jay Carr wrote: “Ax-Kim-Ma. They sound like acronyms, but they play like an angel,” and about the cellist: “Ma’s tone and style are like none other I know today.”

May 1, 2003 Michael Daugherty’s productive tenure as DSO composer-in-residence reached its peak with the world premiere of Fire and Blood, an inspired violin concerto that takes its inspiration from Diego Rivera’s Detroit Industry Murals at the Detroit Institute of Arts. Neeme Järvi conducted, with Detroit native Ida Kavafian the violin soloist.

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Mark Stryker’s engagement as author of this commemorative publication was generously underwritten by Ann and James B. Nicholson.

Additional support of this publication was underwritten by the Community Foundation for Southeast Michigan and Ford Motor Company Fund.

The DSO would like to thank the Honorable Avern Cohn and Lois Cohn, Bernard and Eleanor Robertson, Aaron and Carolynn Frankel, DTE Energy Foundation, Ford Motor Company Fund, and Varnum LLP for their leadership support of Orchestra Hall’s centennial, and all Centennial Club members who generously contributed.

Centennial Club Members Howard Abrams & Nina Dodge Abrams Mr. & Mrs. Robert A. Allesee James & Patricia Anderson Pamela Applebaum Ms. Joy Crawford & Mr. Richard Aude Ms. Ruth Baidas Mr. David Barnes Mr. & Mrs. Lee Barthel W. Harold & Chacona W. Baugh Gwen & Richard Bowlby Mr. & Mrs. Richard A. Brodie Philip & Carol Campbell Mr. Marvin D. Crawford Mr. & Mrs. Matthew P. Cullen Julie & Peter Cummings Joanne Danto & Arnold Weingarden Barbara A. David Margie Dunn & Mark Davidoff Mr. & Mrs. Ethan Davidson Lillian & Walter Dean Deloitte Ms. Leslie C. Devereaux Eugene & Elaine C. Driker Mr. Lee V. Hart & Mr. Charles L. Dunlap Edwin & Rosemarie Dyer Ellie Farber & Mitch Barnett Jim & Margo Farber Mr. & Mrs. Phillip Wm. Fisher Mr. & Mrs. Aaron Frankel Barbara Frankel & Ronald Michalak

Dale & Bruce Frankel Herman & Sharon Frankel Mr. & Mrs. Stanley Frankel Kit & Dan Frohardt-Lane Alan M. Gallatin Ms. Jody Glancy Ms. Jacqueline Graham Mr. & Mrs. James Grosfeld Mr. Sanford Hansell & Dr. Raina Ernstoff Mr. Morton E. Harris Cheryl A. Harvey Mr. Donald & Marcia Hiruo Mr. Matthew Howell & Mrs. Julie Wagner Richard H. & Carola Huttenlocher Renato & Elizabeth Jamett Mr. George G. Johnson Lenard & Connie Johnston Paul & Marietta Joliat Danialle & Peter Karmanos, Jr. Morgan & Danny Kaufman Betsy & Joel Kellman June K. Kendall Mr. David Kolodziej Dr. Sandy Koltonow & Dr. Mary Schlaff KPMG LLP Ms. Sandra Lapadot Dr. & Mrs. James P. Lentini Max Lepler & Rex L. Dotson Nicole & Matt Lester Linda Dresner & Ed Levy, Jr.

Mervyn & Elaine Manning Mr. & Mrs. Alonzo McDonald Olga Sutaruk Meyer Ms. I. Surayyah R. Muwwakkil Mr. & Mrs. Albert T. Nelson, Jr. Anne Parsons & Donald Dietz Debra & Richard Partrich Kathryn & Roger Penske Vivian Pickard The Polk Family Dr. Glenda D. Price Charlene & Michael Prysak Maurcine & Lloyd Reuss Mr. & Mrs. Robert B. Rosowski Martie & Bob Sachs Dr. & Mrs. Hershel Sandberg Save Our Symphony Deborah Savoie Nancy Schlichting & Pamela Theisen Mr. & Mrs. James H. Sherman John J. Solecki Richard Sonenklar & Gregory Haynes Alice & Paul Tomboulian Mrs. Richard C. Van Dusen Varnum LLP Beverly & Barry Williams Drs. David & Bernadine Wu Ms. Andrea L. Wulf Paul & Terese Zlotoff

As of October 31, 2019

Please call (313) 576-5114 or email friends@dso.org for more information about how to join the Centennial Club. dso.org

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DSO PERFORMANCE MAGAZINE 19

COMMUNITY & LEARNING

EDITH RHETTS TILTON, TRAILBLAZER

W

ith robust educational programming, the DSO is committed to making music accessible for children in the Detroit community and beyond.

Much of our work in this area owes a debt to a leader of the past: Edith Rhetts Tilton.

A devoted servant of fine music, Tilton was the DSO’s first education director – and possibly the first person in such a role at any American orchestra.

Tilton was born in Salem, IN, and began traveling the country at age 18 to bring music appreciation classes to schools and communities.

In 1922, after three blockbuster seasons at Detroit’s brand new Orchestra Hall, DSO music director Ossip Gabrilowitsch became aware of Tilton’s work. With the go-getting quality that first endeared him to go-getting Detroit, Gabrilowitsch insisted that Tilton be brought on as the DSO’s education director. Tilton accepted – and in doing so, more or less created a new set of priorities within American orchestras.

A pioneer of her time, Tilton fully embraced the role and founded the DSO’s Educational Concert Series in 1922 and Young People’s Concerts in 1923. With close collaboration from associate conductor Victor Kolar, the DSO produced live educational performances for young people at Orchestra Hall and the Masonic Temple Auditorium – and reached thousands more by radio broadcast. Sound familiar? Nearly a century later, our Classroom Edition webcast series continues this important legacy in the modern era.

Tilton and the DSO “clarified the music of the masters in terms understandable 20

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and entertaining” for children, wrote the Detroit Free Press.

One 1940 estimate put the number of children reached through the concerts at 140,000 each year. Furthermore, a series of Tilton’s articles on symphony concerts for The Detroit News was published and used as part of the curriculum in local public schools. Her work set an example that was copied widely throughout the nation and that put the DSO on the map as a boundary-pushing ensemble.

In addition to her work at the DSO, Tilton gave generously in time and labor to the Music Educators National Conference, the Michigan Committee for Music Appreciation, the scholarship committee of the Detroit Grand Opera Association, and the first National High School Orchestra, which was the seed of what we now know as the Interlochen Center for the Arts.

Tilton’s indefatigable efforts have so richly benefited the city of Detroit, enhancing the experience of music for thousands of children, including the oneDSO family’s own William Davidson (1922-2009) and Max Fisher (1908-2005), who credit the educational concerts they heard as children in the 1930s with their lifelong involvement in the arts.

Of Tilton, Caen Thomason-Redus, the DSO’s Senior Director of Community & Learning, remarks: “Many of the traits we consider so essential to the vitality of the DSO today – an eagerness to experiment, an unstoppable commitment to our community, and the deepest possible passion for music – were also her distinguishing traits. Tilton’s work foreshadowed much of the work that brings us great pride today, and it is an honor to carry on her tradition by making a true difference in the lives of young people.”

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LEONARD SLATKIN, Music Director Laureate Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

Principal Pops Conductor

TERENCE BLANCHARD

NEEME JÄRVI Music Director Emeritus

Fred A. and Barbara M. Erb Jazz Creative Director Chair

CLASSICAL SERIES DEBUSSY AND RAVEL

Friday, February 14, 2020 at 10:45 a.m.

Saturday, February 15, 2020 at 8 p.m.

Sunday, February 16, 2020 at 3 p.m. at Orchestra Hall THOMAS SØNDERGÅRD, conductor BERTRAND CHAMAYOU, piano

Igor Stravinsky Symphony in Three Movements

(1882 - 1971) I. Allegro II. Andante - Interlude III. Con moto

Maurice Ravel Piano Concerto (Left Hand) in D major (1875 - 1937) Bertrand Chamayou, piano Intermission Francis Poulenc Les animaux modèles, Op. 111 (1899 - 1963)

Claude Debussy La mer (1862 - 1918) I. De l’aube à midi sur la mer [From Dawn to Noon on the Sea] II. Jeux des vagues [Play of the Waves] III. Dialogue du vent et de la mer [Dialogue of Wind and the Sea]

This Classical Series performance is generously sponsored by

Sunday’s performance will be webcast via our exclusive Live From Orchestra Hall series, presented by Ford Motor Company Fund and made possible by the John S. and James L. Knight Foundation.

Friday morning’s recognition of America’s Veterans and Active Military is supported by

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DSO PERFORMANCE MAGAZINE 21

Program Notes P R O G R A M AT- A - G L A N C E PARDON OUR FRENCH Flavors and nuances of a national tradition* French music tends to share many of the same characteristics as other French exports (wine, paintings, cheese, fashion): a sense of color, indulgence, and artistic daring.

All the pieces on this program were written in the early- and mid-20th century, but three of the four are somewhat unique within their composers’ catalogs. The Stravinsky and Poulenc are both more serious and conservative than other works the composers are known for (like Stravinsky’s madcap Rite of Spring or Poulenc’s lighthearted Trois mouvements perpétuels). The Stravinsky and Ravel are both reactions to the horrors of war.

Debussy’s La mer, meanwhile, is as typically French as Breton stripe sweaters and escargot: a romantic, Impressionist work that inspires tender daydreaming. *Stravinsky, while Russian-born and later a U.S. citizen, can easily be claimed by France – where he lived from 1920-1939 and where many of his greatest works became famous.

Symphony in Three Movements Composed 1942-45 | Premiered January 1946

IGOR STRAVINSKY B. June 17, 1882, Oranienbaum, Russia D. April 6, 1971, New York, NY

Scored for 2 flutes, piccolo, 2 oboes, 3 clarinets (1 doubling on bass clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, piano, and strings.

(Approx. 20 minutes)

B

etween the two World Wars, Igor Stravinsky imitated forms and musical gestures of earlier musical styles, but in a modern, fragmented manner. He wrote, “My instinct is to recompose … Whatever interests me, whatever I love, I wish to make my own (I am probably describing a rare form of

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kleptomania).” This attitude was vital in creating what was known as the neoclassical style, and the turbulent Symphony in Three Movements remains a particularly gripping and dramatic example.

Rarely acknowledging outside inspirations for his music, Stravinsky claimed that the Symphony is a direct response to events of World War II and draws material from projects he had previously abandoned or reorganized.

The generic title suggests a return to balance and clarity, characteristic of an 18th century symphony; but it is conflict, not balance, that provides a guiding concept for this work. Coming to the United States as a refugee, he was deeply affected by the experience, namely a newsreel of the period about a “scorched earth” campaign against the Chinese.

Attempting to eke out a living in his new home, one job Stravinsky took was WINTER 2019-2020

to write music for The Song of Bernadette, a Franz Werfel film about a peasant girl who sees visions of the Virgin Mary. Werfel eventually decided not to use the music, but Stravinsky recycled it to create the Symphony’s delicate second movement.

The composer claimed that watching newsreels of goose-stepping German soldiers inspired the tongue-in-cheek march that opens the final movement.

It breaks into a section that imitates a fugue, a complex contrapuntal form perfected by Bach, before reaching an ironic triumph in an incisive theme that uses the rhythm of the Cuban rumba.

The DSO most recently performed Stravinsky’s Symphony in Three Movements in March 2009, conducted by Sir Andrew Davis. The DSO first performed the piece in March 1967, conducted by Sixten Ehrling.

Piano Concerto (Left Hand) in D major Composed 1929-1930 | Premiered January 1932

MAURICE RAVEL B. March 7, 1875, Ciboure, France D. December 28, 1937, Paris, France

Scored for solo piano, 3 flutes (1 doubling on piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, E-flat clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 19 minutes)

M

uch of the significant left-hand piano music written in the 20th century owes its existence to the Austrian-born American pianist Paul Wittgenstein, who lost his right arm on the Russian front

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during World War I. Determined not to let this injury destroy his musical life, Wittgenstein developed an extraordinary technique with only his left hand and used his family’s wealth to commission one-handed piano works from notable composers, including Richard Strauss, Sergei Prokofiev, Benjamin Britten, and Maurice Ravel. Ravel found the challenge of writing for one hand particularly stimulating; his remarks preceding the premiere reveal an ambition to write a substantial piece, despite the digital limitations of the soloist: “…[the soloist’s limitation] poses a rather arduous problem for the composer…which is to maintain interest in a work of extended scope while utilizing such limited means. The fear of difficulty, however, is never as keen as the pleasure…of overcoming it.”

The work, which is mostly grand and serious, is in a single movement, and follows a slow-fast-slow pattern. The opening evokes a mysterious atmosphere by using the lowest possible instruments in the orchestra: the basses playing their open strings alongside a solo contrabassoon. The latter instrument’s melody presents two important motives: a dotted rhythm that will eventually grow into the first theme, and a descending third that will become important in the center of the work. The introduction gradually grows in intensity and brightness, acting as a giant upbeat to the soloist’s entrance, which after a cadenza introduces the first theme. The solo piano soon offers a brief and lyrical second theme, and the orchestra and soloist join together in a transition that quotes the opening dotted rhythm.

That transition leads to the arrival of a fast section in 6/8 time. A brief and playful melody in duple time follows,

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DSO PERFORMANCE MAGAZINE 23

played by the high woodwinds and accompanied by the soloist. The middle section is an extended meditation on the descending third introduced at the opening. This is spun out into a theme that gradually builds in texture and activity; eventually the initial theme from the fast section becomes the accompaniment.

A return to the slow section features an extended piano solo that touches on the lyrical theme from the opening, and leads to a triumphant conclusion.

The DSO most recently performed Ravel’s Piano Concerto in D major as part of the French Festival in February 2018, conducted by Leonard Slatkin and featuring pianist Jean-Efflam Bavouzet.

The DSO first performed the piece in January 1935, conducted by Victor Kolar and featuring pianist Paul Wittgenstein himself.

Les animaux modèles, Op. 111 Composed 1940-42| Premiered August 1942

FRANCIS POULENC B. January 7, 1899 in Paris, France D. January 30, 1963, Paris, France

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, celeste, piano, and strings.

(Approx. 21 minutes)

F

rancis Poulenc was born into a reputable family of industrialists in Paris.

As a child, he was exposed to the music of Stravinsky, which had a significant and lasting effect on Poulenc’s own

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compositions. Poulenc was famously described by the critic Claude Rostand as “half-monk, half-rascal,” and humor lies at the heart of much of his music.

Even in his sacred works (for which he is perhaps best known), he often sounds as if he is writing with a glint in his eye.

Les animaux modèles is a more serious work, however, as it was written in the early days of World War II and the Nazi Occupation of France. “One way or another I wanted to find a reason for hope in the future of my country,” Poulenc wrote. The piece was conceived as a ballet (though it lacked a linear plot) with eight sections, which the composer pared down to six for the present suite.

Each section is based on a fable by the French writer Jean de La Fontaine – titles include “The Bear and the Travelers,” “The Man with two Mistresses,” and “The battle of the two roosters.”

Some of these are packed with extra-musical meaning. “The Lion in Love,” the second section of the suite, borrows music from the anti-Nazi song “You Shall Not Have Alsace and Lorraine;” “Death and the woodcutter,” the fourth section, references Poulenc’s 1937 Mass in G and personifies both death and Occupation.

But there’s a lightheartedness – or at least a sense of fantasy – in the music as well. Imagine the characters that Poulenc sketched out for the ballet’s premiere at the Paris Opera in 1942: “the grasshopper has become an ageing ballerina, the ant an old provincial housemaid, the amorous lion a pimp, and Death is an elegant woman – a kind of duchess with a mask.”

These performances Poulenc’s Les animaux modèles will be DSO premieres.

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La mer Composed 1903-1905 | Premiered October 1905

CLAUDE DEBUSSY B. August 22, 1862, Saint-Germain-enLaye, France D. March 25, 1918, Paris, France

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 2 cornets, 3 trombones, tuba, timpani, percussion, 2 harps, and strings. (Approx. 23 minutes)

C

laude Debussy’s music is commonly described as impressionist, analogous to the breezy and colorful paintings of Monet or Degas. Rather than presenting a narrative structure, as an earlier work might, the symphonic poem La mer aims to be something of a quick snapshot, capturing the experience of a beach-walking visitor to the sea. Rather than listening for form in the work, then, audiences are invited to allow the individual moments of La mer wash over

them – noting how the music represents rushing wind, the easy lapping of waves, or the calm of early morning.

Debussy notably (and beautifully) employs the whole-tone scale in La mer, a trope that perfectly complements music meant to stoke the imagination or approximate a daydream. Rather than the asymmetrical series of half-steps and whole-steps which characterize diatonic major and minor scales, the whole-tone scale is a symmetrical scale of whole-steps: C, D, E, F#, G#, A#, C. This symmetry makes it impossible to hear any one pitch as more important than any other, since every pitch relates to every other pitch by the same set of intervals. The result is a sense of tonal disorientation, a scale without horizon or gravitational pull – perfect for relaxing (or imagining relaxing) by the sea.

The DSO most recently performed Debussy’s La mer during the February 2018 French Festival, conducted by Leonard Slatkin. The DSO first performed the piece in November 1936, conducted by Jose Iturbi.

Profiles THOMAS SØNDERGÅRD

D

anish conductor Thomas Søndergård currently serves as music director of the Royal Scottish National Orchestra, following six seasons as principal guest conductor.

From 2012-2018 he served as principal conductor of the BBC National Orchestra of Wales and formerly served as principal conductor and musical advisor of the Norwegian Radio Orchestra.

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Søndergård has conducted many leading orchestras, including the Seattle Symphony, Houston Symphony, BBC Symphony Orchestra, Danish National Symphony Orchestra, and the Symphony Orchestras of Chicago, Atlanta, and Toronto. Season highlights with the Royal Scottish National Orchestra include Berg’s Seven Early Songs with Karen Cargill, Mahler’s Das Lied von der Erde joined by Simon O’Neill and Jane Irwin, recording work, a European tour, and performances of the Verdi Requiem.

Born in Hostebro, Denmark,

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Profiles Søndergård studied percussion and timpani at the Royal Danish Academy of Music with Gert Mortensen.  These performances mark Thomas

Søndergård’s DSO debut

BERTRAND CHAMAYOU

A

striking and imaginative performer, pianist Bertrand Chamayou is recognized as a leading interpreter of French repertoire. He has appeared at Lincoln Center, Paris’s Théâtre des Champs Elysées, London’s Wigmore Hall, and the Lucerne Festival, and with world-class orchestras including The Cleveland Orchestra, New York Philharmonic, London Philharmonic Orchestra, and others. A passionate chamber musician, he often collaborates with cellist Sol Gabetta, violinists Vilde Frang and Renaud Capuçon, pianist Leif Ove Andsnes, and clarinetist Sabine Meyer.

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In 2019, Chamayou earned the Gramophone Classical Music Award for Best Concerto and overall Recording of the Year for his album of Saint-Saëns’s Piano Concertos Nos. 2 and 5 with Orchestre national de France and Emmanuel Krivine. His award-winning discography also includes Ravel’s complete works for piano (ECHO Klassik award) and Liszt’s complete Années de pèlerinage, recorded for Naïve (Choc de Classica; Diapason d’Or de l’année and Album of the Year at the Victoires de la Musique Classique 2012). He is an exclusive recording artist for Erato.

Born in Toulouse, France, Chamayou studied at the Conservatoire de Toulouse under the tutelage of Claudine Willoth and CNSM de Paris with the encouragement of Jean-François Heisser. In 2015, he became a Chevalier of the Ordre des Arts et des Lettres.  Bertrand Chamayou has previously

appeared with the DSO once, in November 2017 performing Strauss’s Burleske in D minor (cond. Fabien Gabel)

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LEONARD SLATKIN, Music Director Laureate Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

TERENCE BLANCHARD

Principal Pops Conductor

Fred A. and Barbara M. Erb Jazz Creative Director Chair

NEEME JÄRVI Music Director Emeritus

CLASSICAL SERIES BEETHOVEN’S SIXTH

Friday, February 21, 2020 at 8 p.m.

Saturday, February 22, 2020 at 8 p.m.

Sunday, February 23, 2020 at 3 p.m. at Orchestra Hall JOHN STORGÅRDS, conductor ALISA WEILERSTEIN, cello

Outi Tarkiainen Midnight Sun Variations (b. 1985)

Samuel Barber Concerto for Cello and Orchestra, Op. 22

(1910 - 1981) I. Allegro moderato II. Andante sostenuto III. Molto allegro ed appassionato Alisa Weilerstein, cello Intermission

Ludwig van Beethoven Symphony No. 6 in F Major, Op. 68,

(1770 - 1827) “Pastoral” I. Allegro ma non troppo: Awakening of cheerful feelings on arriving in the country II. Andante molto mosso: Scene by the brook III. Allegro: Merry assembly of country folk IV. Allegro: Thunderstorm V. Allegretto: Shepherd’s Song - Happy, grateful feelings after the storm This Classical Series performance is generously sponsored by

Sunday’s performance will be webcast via our exclusive Live From Orchestra Hall series, presented by Ford Motor Company Fund and made possible by the John S. and James L. Knight Foundation.

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Program Notes P R O G R A M AT- A - G L A N C E EVOCATIVE MUSIC TWO WAYS: ABSOLUTE AND PROGRAM MUSIC These concerts offer an example of the difference between absolute and program music.

Program music became popular with composers of the Romantic era who wanted to apply a narrative or descriptive element to instrumental music using titles and sometimes lengthy written summaries. This was a deliberate creative act to find new ways of writing that would break from Classical-era reliance on structure and form as the basis of all composition—what came to be referred to as absolute music. (Barber’s 1945 Cello Concerto is a more recent version of absolute music.)

Program music was seen as early as the Baroque era, but Beethoven’s “Pastoral” Symphony of 1808 is generally regarded as the first major work of its type in the Romantic era. Outi Tarkiainen’s Midnight Sun Variations is a contemporary example of program music, its title and composer’s note placing listeners firmly within the Arctic Circle.

Midnight Sun Variations Composed 2019 | Premiered August 2019

OUTI TARKIAINEN B. February 7, 1985, Rovaniemi, Finland

Scored for 3 flutes (1 doubling on piccolo), 3 oboes (1 doubling on English horn), 3 clarinets (1 doubling on bass clarinet), 3 bassoons (1 doubling on contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, piano, and strings.

(Approx. 11 minutes) The composer writes the following about the piece: Midnight Sun Variations for orchestra is about the light in the arctic summer night, when the northern sky above the Arctic Circle reflects a rich spectrum of infinitely-nuanced hues that, as autumn draws near, are once again veiled in darkness; when Europe’s biggest and most unpolluted wildernesses, the tundra and dense coniferous forests mystified by Jean Sibelius in his last large-scale work Tapiola, are bathed in dso.org

countless shades of light.

The work begins with a sparkling ray of sunshine: the orchestra radiates and rises, playfully traces around, and goes back to the beginning again. Solitary wind solos soar above the orchestra, softly proclaiming the peace of the summer night to answering sighs from a horn. A new beginning finally emerges in the strings: a chord beating with rugged primitive force that fills the whole space with its warmth. This sets off a pulse of constantly remixing chords that ultimately fires the whole orchestra into action, until the strings break away, ascend to the heights, and impart maybe the most important message of all.

My first child was born on just such a night, as the summer’s last warm day gave way to a dawn shrouded in autumnal mist, in a flash wiping away a whole season. Midnight Sun Variations is also about the opening of a woman’s body to accommodate a new life, about giving birth, when the woman and the child within her part company, restoring her former self as the light fades into autumn.

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The work was commissioned by the BBC Philharmonic and The National Arts Centre Orchestra in Canada and is dedicated to John Storgårds.

— Outi Tarkiainen These performances of Outi Tarkiainen’s Midnight Sun Variations will be DSO premieres.

Concerto for Cello and Orchestra, Op. 22 Composed 1945 | Premiered April 1946

SAMUEL BARBER B. March 9, 1910, West Chester, PA D. January 23, 1981, New York, NY

Scored for solo cello, 2 flutes, oboe, English horn, 2 clarinets (1 doubling on bass clarinet), 2 bassoons, 2 horns, 3 trumpets, timpani, percussion, and strings. (Approx.

26 minutes)

S

amuel Barber is one of the most consistently admired and frequently performed American composers of the 20th century. He developed a strongly individual musical language rooted in the lyrical and dramatic traditions of Romanticism and he composed in standard musical forms inherited from the 18th and 19th centuries. His masterpieces include the opera Vanessa, the reflective song cycle Knoxville, Summer of 1915, and the celebrated Adagio for Strings.

Barber was nearing the end of his wartime military service when he received a commission for a cello concerto in early 1945. The commission came from Boston Symphony conductor Serge Koussevitzky in behalf of cellist Raya Garbousova. Barber worked closely with Garbousova throughout the

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process of composing the work, sending passages of the solo part for her to play and comment on. Boston critics were somewhat ambivalent about the work’s 1946 premiere, but their New York counterparts were quick to praise the concerto, which won the New York Critics’ Circle Award that year.

Barber’s careful collaboration with Garbousova resulted in one of the most brilliant, demanding cello concertos of the 20th century. The composer’s careful execution and conservative style, rooted in traditional harmony and musical forms, are everywhere apparent in the concerto. A brusque, leaping orchestral motto opens the work and later marks off the boundaries separating the exposition, development, and restatement of themes, as well as the end of the opening sonata movement. Three short themes are quickly presented: a rhythmically snappy theme by the English horn; a busy, running theme by the bassoon; and a more lyrical, soaring theme by the strings. The soloist enters with the second of these themes, and extensively restates all three, including some chordal double-stopped passages that call attention to the difficulty of the solo part.

The lyrical slow movement is set in a long-short-long rhythm. Its main theme is echoed in canon between the solo cello and oboe, and the movement is spun out in a series of free variants.

A fragment of the theme is incorporated into the brisk, energetic finale, another large sonata-form movement that is a real showpiece for the soloist.

— Carl R. Cunningham The DSO most recently performed Barber’s Cello Concerto during the February 2010 Florida Tour, conducted

by Leonard Slatkin and featuring cellist Sol Gabetta. The DSO first performed WINTER 2019-2020

the piece in January 1978, conducted by Werner Torkanowsky and featuring cellist Italo Babini.

Symphony No. 6 in F Major, Op. 68, “Pastoral” Composed 1802-08 | Premiered December 1808

LUDWIG VAN BEETHOVEN B. December 1770, Bonn, Germany D. March 26, 1827, Vienna, Austria

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, and strings.

(Approx. 40 minutes) “On Thursday, December 22, Ludwig van Beethoven will have the honor to give a musical Akademie in the Theateran-der-Wien. All the pieces are of his composition, entirely new, and not yet heard in public…Beginning at half past six o’clock.” Thus read the December 17, 1808 announcement of an extraordinary event to take place a week later in Vienna. The concert, lasting more than four hours in a bitterly cold hall, thus presented the first performances of Beethoven’s Symphony Nos. 5 and 6, the Fourth Piano Concerto, and other works.

Beethoven’s Symphony No. 6, the great “Pastoral,” is unusual in that it is written in five movements, with the last three performed without a break.

Composed at the same time as the Symphony No. 5, in which the third and fourth movements are also performed without a break, we can see Beethoven’s innovative treatment of form in these two works. Although Beethoven’s other symphonies are in four movements, the composer explored different movement dso.org

schemes of many kinds, especially in his later quartets and piano sonatas. The influence of this type of formal innovation can be seen in Berlioz’s Symphonie fantastique (also in five movements) and later in the 19th century in a number of Mahler’s symphonies.

The “Pastoral” Symphony is programmatic in nature; that is, each movement is a clear depiction of some scene or mood. Beethoven said these were to be “more the expression of feeling than painting,” offering a more abstract take on the “musical pictures” genre that was popular at the time. The first movement, chronicling the “cheerful feelings” that overcome us in visits to the country, is expansive and unhurried, with many repeated musical figures suggesting a strong sense of color and direction. The second movement depicts a gurgling creek, with streams of flowing melodies to match the water imagery. Beethoven even lists a few instruments in the score that represent distant birdsongs: flute (nightingale), oboe (quail), and clarinet (cuckoo).

The final three movements are linked by a continuous dramatic thread. The scherzo third movement has the robust quality of the peasant dances that Beethoven encountered on his rambles through the countryside. But an ominous rumbling in the low strings interrupts the “merry assembly.” This is a wonderfully dramatic moment, hushed and perfectly timed. The tempest then breaks out in full symphonic fury. Calls from the clarinet and horn signal the end of the storm and lead to a radiant theme in the strings, the principal subject of the finale. This melody is child-like in its simplicity, entailing almost nothing but the outlines of tonic and dominant chords. It conveys innocent gratitude and transcendent joy.

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Beethoven attributes these feelings to an imaginary shepherd, but they are, of course, his own. And it is these very human feelings that raise the “Pastoral” Symphony above countless other musical depictions of nature penned by Beethoven’s contemporaries. Beethoven, the master humanist, sings a hymn not

just to nature but to mankind in nature.

The DSO most recently performed Beethoven’s Symphony No. 6 in April 2016, conducted by Michelle Merrill.

The DSO first performed the piece in February 1920, conducted by Ossip Gabrilowitsch.

Profiles JOHN STORGÅRDS

J

ohn Storgårds currently serves as chief guest conductor of the BBC Philharmonic Orchestra, principal guest conductor of Canada’s National Arts Centre Orchestra Ottawa, and artistic director of the Lapland Chamber Orchestra – a title he has held for nearly 25 years, under which he has earned global critical acclaim for the ensemble’s recordings and programming.

Storgårds’s vast repertoire includes all symphonies by Sibelius, Nielsen, Bruckner, Brahms, Beethoven, Mozart, Schubert, and Schumann, including the Finnish premieres of Schumann’s only opera Genoveva and the early “Zwickau symphony,” plus world premieres of Sibelius’s Suite Op. 117 for violin and strings. Embracing contemporary repertoire in his programs, Storgårds regularly performs world premieres, with many works being dedicated to him.

Storgårds has appeared with many of the world’s major symphony orchestras and several celebrated opera companies, especially in his native Scandinavia. Highlights of the current season include a return to the BBC Proms with the BBC Philharmonic 32

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Orchestra (with whom he embarked on a major tour in fall 2019), as well as re-engagements with the Chicago Symphony Orchestra, St. Louis Symphony Orchestra, Oslo Philharmonic, and others.

Storgårds’s award-winning discography includes recordings of works by Schumann, Mozart, Beethoven, and Haydn as well as rarities by Holmboe and Vasks. Two cycles of symphonies by Sibelius (2014) and Nielsen (2015) with the BBC Philharmonic were released to critical acclaim by Chandos. Their latest recording project includes works by the American composer George Antheil. For BIS Records, Storgårds and the Lapland Chamber Orchestra have released a critically acclaimed recording of Mahler’s Tenth Symphony in a special arrangement by Michelle Castelletti.

Other successes include discs of works

by Nørgård, Korngold, Aho, and Rautavaara, the latter of which received a Grammy nomination and Gramophone Award in 2012.

Born in Finland, Storgårds studied violin with Chaim Taub and subsequently became concertmaster of the Swedish Radio Symphony Orchestra under Esa-Pekka Salonen, before studying conducting with Jorma Panula and Eri Klas. He received the Finnish State WINTER 2019-2020

Prize for Music in 2002 and the Pro Finlandia Prize in 2012.  MOST RECENT APPEARANCE

WITH THE DSO: November 2018, conducting a program of Antheil, Daníel Bjarnason, and Tchaikovsky F IRST APPEARANCE WITH THE

DSO: May 2013, conducting a program of Ligeti, Chopin, and Holst

ALISA WEILERSTEIN

A

lisa Weilerstein is an American cellist and MacArthur Foundation “Genius” grant recipient. In her new role as artistic partner of Norway’s Trondheim Soloists, she began the current season with the ensemble playing sextets by Tchaikovsky, Strauss, and Schoenberg on a European tour. In addition to appearing with the DSO, this season Weilerstein performs SaintSaëns with the New York Philharmonic, Schumann with the Houston Symphony, Strauss and Bloch with the San Diego Symphony, and Elgar with the London Symphony Orchestra both at home and on tour. She also gives solo recitals of Bach’s complete cello suites and joins her frequent piano partner Inon Barnatan for Brahms and Shostakovich in Europe.

Weilerstein released a recording of Beethoven’s Triple Concerto with Alan Gilbert, Stefan Jackiw, Barnatan, and the Academy of St. Martin in the Fields on Pentatone this fall. Her discography also includes Elgar and Elliott Carter cello concertos with Daniel Barenboim and the Staatskapelle Berlin (named “Recording of the Year 2013” by BBC Music magazine), Dvořák’s Cello Concerto with the Czech Philharmonic,

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a compilation of unaccompanied 20th century cello music (titled Solo), sonatas

by Chopin and Rachmaninoff with Barnatan, Shostakovich’s cello concertos with the Bavarian Radio Symphony and Pablo Heras-Casado, and Transfigured Night with the Trondheim Soloists. The centerpiece of Solo, the Kodály sonata, also features on the soundtrack of the 2014 film If I Stay (in which the cellist also makes a cameo appearance).

Weilerstein has appeared with all the foremost orchestras of the United States and Europe. Her major career milestones include Elgar’s Cello Concerto with the Berlin Philharmonic and Daniel Barenboim for the orchestra’s 2010 European Concert, which was televised live to an audience of millions worldwide; an invitation from First Lady Michelle Obama to perform and lead workshops at the White House in 2009; and a Venezuelan tour as a soloist with the Simón Bolívar Symphony Orchestra under Gustavo Dudamel.

Born in 1982, Weilerstein began playing the cello at age four. She made her Cleveland Orchestra debut at age 13 and her Carnegie Hall debut two years later.

A graduate of the Young Artist Program at the Cleveland Institute of Music (where she studied with Richard Weiss), she also holds a degree in history from Columbia University. Weilerstein was diagnosed with type 1 diabetes when she was nine and is a Celebrity Advocate for the Juvenile Diabetes Research Foundation. M OST RECENT APPEARANCE

WITH THE DSO: October 2007, performing Walton’s Cello Concerto (cond. Sir Andrew Davis) F IRST APPEARANCE WITH THE

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DSO: July 2003 at Meadow Brook, performing Elgar’s Cello Concerto (cond. Daniel Hege) DSO PERFORMANCE MAGAZINE 33

LEONARD SLATKIN, Music Director Laureate Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

TERENCE BLANCHARD

Principal Pops Conductor

NEEME JÄRVI Music Director Emeritus

Fred A. and Barbara M. Erb Jazz Creative Director Chair

TITLE SPONSOR:

FROM BROADWAY TO HOLLYWOOD Friday, February 28, 2020 at 10:45 a.m. & 8 p.m.

Saturday, February 29, 2020 at 8 p.m.

Sunday, March 1, 2020 at 3 p.m. at Orchestra Hall ROBERT BERNHARDT, conductor BLAINE KRAUSS, vocalist CAROLE J. BUFFORD, vocalist ZAN BERUBE, vocalist HUGH ENTREKIN, vocalist

Program to be announced from the stage

The Detroit Symphony Orchestra thanks the University of Michigan for their partnership on this program. See pg. 36 for information on two of tonight’s vocal soloists, both of whom are undergraduate students in the Department of Musical Theatre.

Presented by

Saturday’s performance sponsored by

Friday night and Sunday afternoon’s recognition of America’s Veterans and Active Military is supported by

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Profiles ROBERT BERNHARDT

R

obert Bernhardt is musical director emeritus and principal pops conductor of the Chattanooga Symphony and Opera, where he served as music director and conductor for 19 seasons. Concurrently, Bernhardt is in his 20th year as principal pops conductor of the Louisville Orchestra and was recently named principal pops conductor of the Grand Rapids Symphony. He is also an artist-in-residence at Lee University and conductor of the Lee Symphony. A lover of all genres of music, he is equally at home in symphonic, operatic, pops, and educational performances.

Bernhardt made his Carnegie Hall debut in 1978 and his Boston Pops debut in 1992, at the personal invitation of John Williams. He has been a frequent guest conductor at the Boston Pops in the nearly 30 years since, and this year he returns to the Edmonton Symphony Orchestra as conductor of their Symphony Under the Sky Festival.

Bernhardt has recorded for Vanguard, First Edition, Carlton Classics, and RPO. A lover of opera, he has conducted staged productions of Don Giovanni, La Traviata, Rigoletto, La Bohème, Il Trovatore, The Flying Dutchman, The Marriage of Figaro, The Magic Flute, Carmen, Tosca, and many more, as well as numerous Gilbert and Sullivan operettas and the musical My Fair Lady.

Born in Rochester, NY, Bernhardt holds a master’s degree with Honors from the University of Southern California School of Music, where he studied with Daniel Lewis. He was a Phi Beta Kappa, summa cum laude graduate of Union College, where he was also an

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Academic All-American Baseball Player and captain of the school’s soccer team.

He and his wife, Nora, live in Signal Mountain, TN.  MOST RECENT APPEARANCE

WITH THE DSO: November 2019, leading a program featuring TV star Jason Alexander on the PNC Pops Series  FIRST APPEARANCE WITH

THE DSO: August 1995, leading Broadway Then and Now at a special concert in Vail, CO

BLAINE KRAUSS

O

riginally from St. Petersburg, FL, Blaine Krauss has toured internationally with symphony orchestras and maintains an energetic career on Broadway. His Broadway credits include The Cher Show, The Great Comet, and Kinky Boots; he has also appeared in The Lion King on tour and New York Spectacular off-Broadway.

He has had the honor of performing at the White House twice. In 2019, Krauss portrayed the character of Chris in the Primetime Emmy Award-nominated television series Pose.

Krauss studied at the University of Cincinnati College-Conservatory of Music.  Blaine Krauss has previously

appeared with the DSO once, in June 2019 performing The Wonderful Music of Oz on the PNC Pops Series (cond.

Andrés Franco)

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CAROLE J. BUFFORD

C

arole J. Bufford is one of the most sought-after performers in the New York cabaret and jazz scene.

Specializing in the Great American Songbook, blues, and jazz, Bufford captivates audiences with a sizzling performance quality and bright, rangy vocals. She frequently appears at the Metropolitan Room and has performed at Jazz At Lincoln Center’s Cabaret Convention presented by the Mabel Mercer Foundation. Her show Speak Easy with Vince Giordano and the Nighthawks received praise from The New York Times and The Wall Street Journal.

HUGH ENTREKIN

H

ugh Entrekin is an actor and singer born in Atlanta, GA. He is currently a senior at the University of Michigan pursuing a BFA in Musical Theatre. Some of his credits include Sweeney Todd (Anthony, Judge Turpin) at Connecticut Repertory Theatre and the University of Michigan, and A New Brain (Dr. Berensteiner) at the University of Michigan. He recently performed as a featured vocalist with the Michigan Pops Orchestra.  These performances mark Hugh

Entrekin’s DSO debut

T hese performances mark Carole

J. Bufford’s DSO debut

ZAN BERUBE

Z

an Berube is a rising senior Musical Theatre major at the University of Michigan, originally from Boston, MA. She is so thrilled and grateful to be performing with the Detroit Symphony Orchestra.

Some of her favorite credits include Passing Strange (Renata Holiday), The Pirates of Penzance (Edith), and Me and My Girl (Pearly Queen). This spring she will be back at the University of Michigan’s Power Center playing Edythe Herbert in My One And Only. T hese performances mark Zan

Berube’s DSO debut

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PARK AT THE MAX! Safe, secure, affordable parking is available at the DSO structure on Parsons Street every day, even non-concert days.

On foot or on the QLine, enjoy easy access to Midtown Detroit, Little Caesars Arena, Comerica Park, Ford Field, restaurants, museums, and more!

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GARY DEMBS

WE FILL YOUR MOST IMPORTANT C-SUITE POSITIONS CALL 248-569-6776

WWW.NPPN.CO

We celebrate the DSO – a world-class ensemble

www.honigman.com

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DSO PERFORMANCE MAGAZINE 37

THE ANNUAL FUND

Gifts received between September 1, 2018 and October 31, 2019 The DSO is a community-supported orchestra, meaning you can play your part through frequent ticket purchases, event support, and generous annual donations. Your tax-deductible Annual Fund donation is an investment in the wonderful music at Orchestra Hall, around the neighborhoods and across the community. This honor roll celebrates those generous donors who made a gift of $1,500 or more to the DSO Annual Fund Campaign. If you have questions about this roster, or to make a donation, please contact 313.576.5114 or go to dso.org/donate.

Paray Society — Giving of $250,000 and more Mr. & Mrs. Lee Barthel Penny & Harold Blumenstein Julie & Peter Cummings Mr. & Mrs. Stanley Frankel Mr. & Mrs.◊ Morton E. Harris

Mr. & Mrs. Peter Karmanos, Jr. Linda Dresner & Ed Levy, Jr. Mr. & Mrs. James B. Nicholson Mrs. Richard C. Van Dusen

Dorati Society — Giving of $100,000 and more Mr. & Mrs. Richard L. Alonzo James & Patricia Anderson Applebaum Family Philanthropy Mr. & Mrs. Raymond M. Cracchiolo Ms. Leslie C. Devereaux Mr. & Mrs. Phillip Wm. Fisher Emory M. Ford, Jr.◊ Endowment

David & Valerie McCammon Shari & Craig Morgan The Polk Family Bernard & Eleanor Robertson Martie & Bob Sachs Cindy & Leonard* Slatkin Joanne Danto & Arnold Weingarden

Ehrling Society — Giving of $50,000 and more Mr. & Mrs. Richard A. Brodie Lois & Avern Cohn Marvin & Betty Danto Family Foundation Mary Ann & Robert Gorlin Mr. & Mrs. James Grosfeld Mrs. Bonnie Larson

Mr. & Mrs. Matthew Lester Mr. & Mrs. Eugene A. Miller The Clyde & Helen Wu Family Drs. David & Bernadine Wu Paul & Terese Zlotoff

Järvi Society — Giving of $25,000 and more Ms. Sharon Backstrom W. Harold & Chacona W. Baugh Mrs. Cecilia Benner Madeline & Sidney Forbes Mr. & Mrs. Edsel B. Ford II Mrs. Martha Ford Barbara Frankel & Ronald Michalak Herman & Sharon Frankel Mr. & Mrs. Aaron Frankel Mr. & Mrs. Ralph J. Gerson Ronald M. & Carol◊ Horwitz Richard H. & Carola Huttenlocher Betsy & Joel Kellman 38

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Bud & Nancy Liebler Mr. & Mrs. David Provost Maurcine & Lloyd Reuss Nancy Schlichting & Pamela Theisen Mr. & Mrs.◊ Alan E. Schwartz Mrs. Patricia Finnegan Sharf Mr. & Mrs. Larry Sherman Mr. & Mrs.◊ Donald R. Simon Dr. Doris Tong & Dr. Teck M. Soo Mr. & Mrs. Arn Tellem Mr. & Mrs. Gary Torgow Mr. James G. Vella And one who wishes to remain anonymous ◊

Deceased

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Gabrilowitsch Society — Giving of $10,000 and more Mr. & Mrs. Robert A. Allesee Mr. & Mrs. Norman Ankers Pamela Applebaum Drs. John & Janice Bernick John & Marlene Boll Gwen & Richard Bowlby Mr. & Mrs. Stephen Brownell Michael & Geraldine Buckles Margie Dunn & Mark Davidoff Eugene & Elaine C. Driker Mr. Sanford Hansell & Dr. Raina Ernstoff Mr. Peter Falzon Jim & Margo Farber Barbara & Alfred J. Fisher Dr. Marjorie M. Fisher & Mr. Roy Furman Mr. Michael J. Fisher Mr. & Mrs. Samuel Fogleman Dr. Saul & Mrs. Helen Forman Dale & Bruce Frankel Mr. & Mrs. Eugene A. Gargaro, Jr. Byron◊ & Dorothy Gerson Allan D. Gilmour & Eric C. Jirgens Mrs. Gale Girolami Dr. Kenneth & Roslyne Gitlin Dr. Robert T. Goldman Allen C. Goodman & Janet R. Hankin Dr. Herman & Mrs. Shirley Gray Judy & Kenneth Hale

Charlene Handleman Ms. Nancy B. Henk Dr. Gloria Heppner Michael E. Hinsky & Tyrus N. Curtis Mr. & Mrs. Norman H. Hofley Jack◊ & Anne Hommes Renato & Elizabeth Jamett Mr. & Mrs. Richard J. Jessup William & Story John Lenard & Connie Johnston Faye & Austin Kanter Mr. & Mrs. Norman◊ D. Katz Morgan & Danny Kaufman Mike & Katy Keegan Dr. David & Mrs. Elizabeth Kessel Marguerite & David Lentz Dr. Melvin A. Lester Mr. & Mrs.◊ Joseph Lile The Locniskar Group Stevens McClure Family Alexander & Evelyn McKeen Ms. Deborah Miesel Mr. & Mrs. Robert S. Miller Dr. Robert & Dr. Mary Mobley Cyril Moscow Xavier & Maeva Mosquet Geoffrey S. Nathan & Margaret E. Winters Mr. & Mrs. Albert T. Nelson, Jr.

Mrs. Denise Abrash Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Mrs. Jean Azar Dr. David Balle Mr. & Mrs. David Barnes Rud◊ & Mary Ellen Boucher Claire P. & Robert N. Brown Mr. & Mrs. Marco Bruzzano Philip & Carol Campbell Mr. & Mrs. Francois Castaing Mr. & Mrs. Andrew Christians Dr. & Mrs. Charles G. Colombo Mr. James Schwyn & Mrs. Françoise Colpron Thomas W. Cook & Marie L. Masters Mr. & Mrs. Gary L. Cowger Mr. & Mrs. Richard L. DeVore Adel & Walter Dissett Edwin & Rosemarie Dyer Mr. Lawrence Ellenbogen Marianne T. Endicott Mr. & Mrs. John M. Erb Mr. & Mrs.◊ Anthony C. Fielek Mrs. Janet M. Garrett Dr. & Mrs. Theodore Golden Goodman Family Charitable Trust

Mr.◊ & Mrs. James A. Green Mr. & Mrs. Robert Hage Mr. Lee V. Hart & Mr. Charles L. Dunlap Ms. Doreen Hermelin Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. George Hill & Mrs. Kathleen Talbert-Hill Mr. Donald & Marcia Hiruo Mr. & Mrs. Peter Hollinshead Mr. Matthew Howell & Mrs. Julie Wagner Mr. & Mrs. A. E. Igleheart Ms. Carole Ilitch Mr. George G. Johnson Judy & David Karp Michael E. Smerza & Nancy Keppelman Samantha Svoboda & Bill Kishler Barbara & Michael Kratchman Mr. & Mrs. Harold Kulish John & Marilyn Kunz Dr. Raymond Landes & Dr. Melissa McBrien-Landes Mr. Daniel Lewis Bob & Terri Lutz Patricia A.◊ & Patrick G. McKeever Dr. & Mrs. David Mendelson John & Marcia Miller

Jim & Mary Beth Nicholson Patricia & Henry Nickol Mr. & Mrs. Stanley Nycek Anne Parsons* & Donald Dietz Kathryn & Roger Penske Mr. & Mrs. Bruce D. Peterson Dr. Glenda D. Price Ms. Ruth Rattner Dr. Erik Rönmark* & Mrs. Adrienne Rönmark* Peggy & Dr. Mark B. Saffer Elaine & Michael Serling Lois & Mark Shaevsky Mr. & Mrs. James H. Sherman William H. Smith John J. Solecki Richard Sonenklar & Gregory Haynes Mr. William Waak Mr.◊ & Mrs. Jonathan T. Walton Mr. Gary L. Wasserman & Mr. Charlie Kashner S. Evan & Gwen Weiner Mr. & Mrs. R. Jamison Williams Ms. Mary Wilson And two who wish to remain anonymous

Giving of $5,000 and more

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*Current DSO Musician or Staff

Eugene & Sheila Mondry Foundation Mr. & Mrs. Daniel E. Moore Joy & Allan Nachman David Robert & Sylvia Jean Nelson Mr. & Mrs. Eric Nemeth Mr. & Mrs. Arthur T. O’Reilly Debra & Richard Partrich Ms. Lisa A. Payne Barbara Gage Rex Dr. & Mrs. John Roberts Mr. & Mrs. Robert B. Rosowski Mr. David Salisbury & Mrs. Terese Ireland Salisbury Marjorie & Saul Saulson Mr. & Mrs. Kingsley G. Sears Nancy & Sam Shamie Mrs. Sharon Shumaker Mrs. Kathleen Straus & Mr. Walter Shapero Alice & Paul Tomboulian Mr. & Mrs. Thomas Trudeau Ms. Marie Vanerian Peter & Carol Walters J Ernest & Almena Gray Wilde Fund Dr. & Mrs. Ned Winkelman Ms. June Wu Milton Y. Zussman And one who wishes to remain anonymous

◊

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Deceased

DSO PERFORMANCE MAGAZINE 39

Giving of $2,500 & more Howard Abrams & Nina Dodge Abrams Mrs. Jennifer Adderley Mr. & Mrs. George Agnello Dr. Roger & Mrs. Rosette Ajluni Mr. & Mrs. Robert L. Anthony Drs. Kwabena & Jacqueline Appiah Dr. & Mrs. Ali-Reza R. Armin Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook* Pauline Averbach & Charles Peacock Mr. Joseph Aviv & Mrs. Linda Wasserman Mr. & Mrs. John Axe Mr. & Mrs. Wayne J. Babbish Dr. & Dr. Brian Bachynski Ms. Ruth Baidas Nora & Guy Barron Mr. Mark G. Bartnik & Ms. Sandra J. Collins Mr. & Mrs. Martin S. Baum Mr. & Mrs. Richard Beaubien Dr. & Mrs. Brian J. Beck Ms. Margaret Beck Ms. Therese Bellaimey Mr. & Mrs. Dennis Bernard Mr. & Mrs. Jeffrey A. Berner Martha & G. Peter Blom Dr. George & Joyce Blum Nancy & Lawrence Bluth Mr. Timothy Bogan Ms. Nadia Boreiko The Honorable Susan D. Borman & Mr. Stuart Michaelson Mr. Paul & Mrs. Lisa Brandt Mr. Anthony F. Brinkman Mr. & Mrs. Mark R. Buchanan Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Dr. & Mrs. Roger C. Byrd Mr. & Mrs. Brian C. Campbell Mrs. Carolyn Carr Dr. & Mrs. Thomas E. Carson Ronald & Lynda Charfoos Mr. Fred J. Chynchuk Mr. & Mrs. James Ciroli Mr. Don Clapham Mr. & Mrs. Robert W. Clark Nina & Richard Cohan Jack, Evelyn & Richard Cole Family Foundation Ms. Elizabeth Correa Patricia & William Cosgrove, Sr. Mrs. Barbara Cunningham Mr. & Mrs. Donald M. Cutler Dr. Edward & Mrs. Jamie Dabrowski 40

Suzanne Dalton & Clyde Foles Maureen & Jerry D’Avanzo Barbara A. David Lillian & Walter Dean Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Diana & Mark Domin Paul◊ & Peggy Dufault Mr. Roger Dye & Ms. Jeanne A. Bakale Dr. Leo & Mrs. Mira Eisenberg Dr. & Mrs. A. Bradley Eisenbrey Randall & Jill* Elder Ms. Laurie Ellis & Mr. James Murphy Donald & Marjory Epstein Mr. Drew Esslinger & Mr. Chris Syzmanski Dave & Sandy Eyl Ellie Farber & Mitch Barnett Mr. & Mrs. Oscar Feldman Mr. & Mrs. William Fetterman Hon. Sharon Tevis Finch Ron Fischer ◊ and Kyoko Kashiwagi Mark & Loree Frank Kit & Dan Frohardt-Lane Mr. & Mrs. Richard M. Gabrys Alan M. Gallatin Mr. George Georges Stephanie Germack Keith & Eileen Gifford Mr. Lawrence Glowczewski Steven Goldberg & Melissa Kahn Paul & Barbara Goodman Dr. William & Mrs. Antoinette Govier Ms. Jacqueline Graham Mr. Luke Ponder & Dr. Darla Granger Dr. & Mrs. Joe L. Greene Tina Harmon Mrs. Betty J. Harrell Cheryl A. Harvey Gerhardt A. Hein & Rebecca P. Hein Jeremiah* & Brooke Hess James Hoogstra & Clark Heath Mr. F. Robert Hozian Mr. & Mrs. Joseph L. Hudson, Jr. Mr. & Mrs. Marshall L. Hutchinson Ms. Elizabeth Ingraham Nicki* & Brian Inman Carolyn & Howard Iwrey Mr. & Mrs. Ira J. Jaffe Mr. Arthur Johns Mr. John S. Johns Mr. & Mrs. Paul Johnson Carol & Rick Johnston Paul & Marietta Joliat Mr. & Mrs. Michael Jones Mr. & Mrs. John Jullens

DSO PERFORMANCE MAGAZINE

◊

Deceased

Grace Kachaturof Diane & John Kaplan June K. Kendall Mrs. Frances King Mr. James Kirby Thomas & Linda Klein Tom & Beverly Klimko Mr. & Mrs. Ludvik F. Koci Mr. & Mrs. Robert Koffron Ms. Margot Kohler & Michael Froehlich Mr. David Kolodziej Ms. Susan Konop Mr. James Kors & Ms. Victoria King* George M. Krappmann* & Lynda Burbary-Krappmann Richard & Sally Krugel Dr. Arnold Kummerow Mr. & Mrs. Robert LaBelle Mary Clippert LaMont Drs. Lisa & Scott Langenburg Ms. Sandra Lapadot Ms. Anne T. Larin Dr. Lawrence O. Larson The Dolores & Paul Lavins Foundation Allan S. Leonard Max Lepler & Rex L. Dotson Mr. & Mrs. Ralph LeRoy, Jr. Mr. Charles E. Letts Mr. & Mrs. Robert K. Leverenz Barbara & Carl Levin Drs. Donald & Diane Levine Arlene & John Lewis Ms. Carol Litka Daniel & Linda* Lutz Mrs. Sandra MacLeod Cis Maisel Margaret Makulski & James Bannan Mr. & Mrs. Charles W. Manke, Jr. Mervyn & Elaine Manning Ms. Florine Mark Mr. & Mrs. Thomas Mark Maurice Marshall Dr. & Mrs. Richard Martella Dr. & Mrs. Peter M. McCann, M.D. Mr. Edward McClew Mr. Anthony R. McCree Mr. & Mrs. Alonzo McDonald Mr. John McFadden Ms. Mary McGough Ms. Camille McLeod Brian & Lisa Meer Dr. & Mrs. Donald A. Meier Olga Sutaruk Meyer Bruce & Mary Miller Mr. & Mrs. Randall Miller J.J. & Liz Modell WINTER 2019-2020

Dr. Susan & Mr. Stephen* Molina Lawrence Morawski Ms. A. Anne Moroun Mr. Frederick Morsches & Mr. Kareem George Ms. I. Surayyah R. Muwwakkil Mariam C. Noland & James A. Kelly Katherine & Bruce Nyberg Ellen & Larry Oshkaloff Mrs. Margot Parker Noel & Patricia Peterson Mr. & Mrs. Philip E. Pfahlert Mr. Dave Phipps Ms. Janet Pounds William H. & Wendy W. Powers Charlene & Michael Prysak Mr. & Mrs. Nicolas I. Quintana Dr. & Mrs. Morton Raban Jill M.* & Michael J. Rafferty Drs. Stuart & Hilary Ratner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Mr. & Mrs. Dave Redfield Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Denise Reske Ms. Linda Rodney Seth & Laura Romine Michael & Susan Rontal Mr. James Rose Mr.◊ & Mrs. Gerald F. Ross Mr. Ronald Ross & Ms. Alice Brody

Mr. R. Desmond Rowan Jane & Curt Russell Mr. & Mrs. James P. Ryan Linda & Leonard Sahn Dr. & Mrs. Hershel Sandberg Ms. Martha A. Scharchburg & Mr. Bruce Beyer Dr. Sandy Koltonow & Dr. Mary Schlaff Shirley Anne & Alan Schlang David & Carol Schoch Catherine & Dennis B. Schultz Sandy & Alan Schwartz Ms. Sandra Seligman Shapero Foundation Mr. Konstantin Shirokinsky Dr. Les & Ellen Lesser Siegel Mr. Norman Silk & Mr. Dale Morgan William & Cherie Sirois Dr. Cathryn & Mr. Daniel Skedel Mr. Michael J. Smith & Mrs. Mary C. Williams Dr. Gregory Stephens Barb & Clint Stimpson Nancy C. Stocking Dr. & Mrs. Gerald Stollman Dr. & Mrs. Choichi Sugawa Mr. & Mrs. John Stroh III Ms. Laurie Szczesny David Szymborski & Marilyn Sicklesteel Dr. Neil Talon Joel & Shelley Tauber

Dr. & Mrs. Howard Terebelo Mr. & Mrs. Douglas J. Thompson Mr. Norman Thorpe Mr. & Mrs. James W. Throop Mr. & Mrs. John P. Tierney Dr. Barry Tigay Mr. and Mrs. Paul Tobias Barbara & Stuart Trager Mark & Janice Uhlig Amanda Van Dusen & Curtis Blessing Charles & Sally Van Dusen Ms. Charlotte Varzi Mrs. Eva Von Voss Dr. & Mrs. Ronald W. Wadle Captain Joseph F. Walsh, USN (Ret.) Mr. Michael A. Walch & Ms. Joyce Keller Mr. Patrick Webster Mr. Herman Weinreich Ms. Anne Wilczak Beverly & Barry Williams Dr. M. Roy & Mrs. Jacqueline Wilson Rissa & Sheldon Winkelman Mr. Jonathan Wolman ◊ & Mrs. Deborah Lamm Cathy Cromer Wood Ms. Andrea L. Wulf Dr. Sandra & Mr. D. Johnny Yee Lucia Zamorano, M.D., PLC Mr. & Mrs. Alan Zekelman Mr. Peter Zubrin And six who wish to remain anonymous

Giving of $1,500 & more Dr. & Mrs. Gary S. Assarian Mr. & Mrs. Stephen A. Bromberg Dr. & Mrs. Glenn B. Carpenter Dr.◊ & Mrs. Ivan Louis Cotman Ms. Beatrice D’Ambrosio Mrs. Kathryne Dahl Ms. Joyce Delamarter Gordon & Elaine Didier Mr. & Mrs. Walter E. Douglas Mr. Howard O. Emorey Mrs. Janice Erichsen Mr. & Mrs. Robert W. Gillette Mr. Joseph & Mrs. Lois Gilmore Mr. & Mrs. Saul Green Anne & Eugene Greenstein Ms. Barbara Heiler Mr. & Mrs. Paul Hillegonds Ms. Nadine Jakobowski Dr. Jean Kegler Frederic◊ & Stephanie Keywell Ms. Ida King Dr. & Mrs. Edward L. Klarman Aileen & Harvey Kleiman

dso.org

Tom & Beverly Klimko Ms. Sylvia Kojima Miss Kathryn Korns Mr. & Mrs. Kosch Mr. & Mrs. William Kroger, Jr. Mr. Michael Kuhne Mr. Lawrence Larson Mr. & Mrs. Paul Lieberman Mr. William Lynch Ms. June G. Mackeil Mr. Robert L. Martin Mr. & Mrs. Joseph Mazzeo Ms. Rebecca McCabe Ms. Florence Morris Ms. Muriel Moskowitz Mr. & Mrs. Germano Mularoni Mrs. Ruth Nix Mr. Ronald Puchalski Drs. Renato & Daisy Ramos Mr. and Mrs. Richard Rappleye Mr. & Mrs. Richard Rapson Mrs. Hope Raymond Mr. & Mrs. John Rieckhoff

*Current DSO Musician or Staff

#IAMDSO

Mr. Paul Robertson & Mrs. Cheryl Robertson Mr. & Mrs. Hugh C. Ross Mr. & Mrs. George Roumell Nancy J. Salden Ms. Joyce E. Scafe Mr. and Mrs. Donald and Janet Schenk Dr. Richard Schwartz Mr. and Mrs. Fred Secrest ◊ Mr. Steve Secrest Robert A. Sedler Cynthia Shaw & Tom Kirvan Mr. Lawrence Shoffner Mr. Mark Sims & Ms. Elaine Fieldman Shirley R. Stancato Mr. & Mrs. Charles Tholen David & Lila Tirsell Dennis & Jennifer Varian Mr. Barry Webster Mr. & Mrs. Lawrence Weisberg Ms. Janet Weir Mr. Richard D. Zimmerman And five who wish to remain anonymous ◊

Deceased

DSO PERFORMANCE MAGAZINE 41

CORPORATE, FOUNDATION, AND GOVERNMENT GIVING Giving of $500,000 & more SAMUEL & JEAN FRANKEL FOUNDATION

Giving of $200,000 & more

p pere

4 color - 65% black spot color - pantone cool gray 9C

RALPH C. WILSON JR. FOUNDATION

sec

Giving of $100,000 & more

secondary - for use on dark backg

APPLEBAUM FAMILY PHILANTHROPY

THE PAUL M. ANGELL FAMILY FOUNDATION

2014 GM Design Corporate ID & Graphics

THE RICHARD C. DEVEREAUX FOUNDATION

HUDSON-WEBBER FOUNDATION

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DSO PERFORMANCE MAGAZINE

WINTER 2019-2020

Giving of $50,000 & more Marvin & Betty Danto Family Foundation League of American Orchestras Edward C. & Linda Dresner Levy Foundation Richard & Jane Manoogian Foundation Wico Metal Products Matilda R. Wilson Fund National Endowment for the Arts TCF Bank Wells Fargo Advisors

Giving of $20,000 & more American House Senior Living Communities Blue Star Catering Clinton Family Fund DeRoy Testamentary Foundation Edibles Rex Flagstar Foundation Eleanor & Edsel Ford Fund

Henry Ford II Fund MGM Grand Detroit Myron P. Leven Foundation Sun Communities Inc. Virginia B. Toulmin Foundation Varnum LLP Wolverine Packing Company

Giving of $10,000 & more

Giving of $1,000 & more

Beaumont Health Butzel Long Creative Benefit Solutions, LLC Denso International America, Inc. Maxine & Stuart Frankel Foundation Honigman LLP Jaffe, Raitt, Heuer & Weiss KPMG LLP Oliver Dewey Marcks Foundation Laskaris-Jamett Advisors of Raymond James Macy’s Mandell and Madeleine Berman Foundation Mary Thompson Foundation Stone Foundation of Michigan

Canon Solutions America Coffee Express Roasting Company Frank & Gertrude Dunlap Foundation EY Clarence & Jack Himmel Fund James & Lynelle Holden Fund Japan Business Society of Detroit Foundation Josephine Kleiner Foundation Lakeside Opthamology Center Ludwig Foundation Fund Madison Electric Company Michigan First Credit Union Plante & Moran, PLLC PSLZ, LLP Meyer & Anna Prentis Family Foundation Redford Lock Security Solutions The Loraine & Melinese Reuter Foundation Save Our Symphony Louis & Nellie Sieg Foundation The TUKTAWA Foundation Samuel L. Westerman Foundation Wheeler Family Foundation, Inc. And one who wishes to remain anonymous

Giving of $5,000 & more The Aaron Copland Fund For Music, Inc. Aptiv Foundation The Boston Consulting Group Benson & Edith Ford Fund Founders Brewing Co. Les Stanford Cadillac Marjorie & Maxwell Jospey Foundation Michigan Ear Institute Resendes Design Group, LLC Rocket Fiber Sigmund & Sophie Rohlik Foundation Schaerer Architextural Interiors Warner Norcross & Judd LLP

dso.org

#IAMDSO

DSO PERFORMANCE MAGAZINE 43

The DSO’s Planned Giving Council recognizes the region’s leading financial and estate professionals whose current and future clients may involve them in their decision to make a planned gift to the Detroit Symphony Orchestra. Members play a critical role in shaping the future of the DSO through ongoing feedback, working with their clients, supporting philanthropy and attending briefings twice per year. For more information or to join the PG Council, please call 313.576.5114.

Linda Wasserman, Chair Mrs. Katana H. Abbott* Mr. Joseph Aviv Mr. Christopher A. Ballard* Ms. Jessica B. Blake, Esq. Ms. Rebecca J. Braun Mr. Timothy Compton Ms. Wendy Zimmer Cox* Mr. Robin D. Ferriby* Mrs. Jill Governale* Mr. Henry Grix* Mrs. Julie R. Hollinshead, CFA Mr. Mark W. Jannott, CTFA

Ms. Jennifer A. Jennings* Ms. Dawn Jinsky* Mrs. Shirley Kaigler* Mr. Robert E. Kass* Mr. Christopher L. Kelly Mr. Bernard S. Kent Ms. Yuh Suhn Kim Mr. Henry P. Lee* Ms. Marguerite Munson Lentz* J. Thomas MacFarlane Mr. Christopher M. Mann* Mr. Curtis J. Mann

Mrs. Mary Mansfield Mr. Mark Neithercut* Mrs. Alice R. Pfahlert Mr. Steven C. Pierce Ms. Deborah J. Renshaw, CFP Mr. James P. Spica Mr. David M. Thoms* Mr. John N. Thomson, Esq. Mr. Jason Tinsley* Mr. William Vanover Mr. William Winkler Mrs. Wendy Zimmer Cox*

*Executive Committee Member

Share the music of the DSO with future generations INCLUDE THE DSO AS A BENEFICIARY IN YOUR WILL Remembering the DSO in your estate plans will support the sustainability and longevity of our Orchestra, so that tomorrow’s audience will continue to be inspired through unsurpassed musical experiences.

If you value the role of the DSO – in your life and in our community – please consider making a gift through your will, trust, life insurance or other deferred gift.

As a member, you will be invited to our annual 1887 Society High Tea Luncheon on Friday, June 12, 2020, recognized in Performance magazine, and receive a host of other benefits.

To learn more please call Alexander Kapordelis at 313.576.5198 or email akapordelis@dso.org

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WINTER 2019-2020

CELEBRATING YOUR LEGACY SUPPORT BARBARA VAN DUSEN, Honorary Chair

The 1887 Society honors individuals who have made a special legacy commitment to support the Detroit Symphony Orchestra. Members of the 1887 Society ensure that future music lovers will continue to enjoy unsurpassed musical experiences by including the DSO in their estate plans. If you have arranged a planned gift to support the DSO or would like more information on planned giving, please call 313.576.5114.

Ms. Doris L. Adler Dr. & Mrs. William C. Albert Mr. & Mrs. Robert A. Allesee Dr. Lourdes V. Andaya Mr.◊ & Mrs. Eugene Applebaum Dr. Augustin & Nancy◊ Arbulu Ms. Sharon Backstrom Sally & Donald Baker Mr. & Mrs. Lee Barthel Mr. Mark G. Bartnik & Ms. Sandra J. Collins Mary Beattie ◊ Stanley A. Beattie Mr. & Mrs. Mandell L. Berman◊ Mrs. Betty Blair Gwen & Richard Bowlby Mr. Harry G. Bowles ◊ Mrs. Ellen Brownfain William & Julia Bugera Cynthia Cassell, Ph. D. Dr.◊ & Mrs. Victor J. Cervenak Eleanor A. Christie Ms. Mary Christner Gary Ciampa Robert & Lucinda Clement Lois & Avern Cohn Mrs. RoseAnn Comstock◊ Thomas W. Cook & Marie L. Masters Dorothy M. Craig Mr. & Mrs. John Cruikshank Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Ms. Leslie C. Devereaux Mr. John Diebel Mr. Roger Dye & Ms. Jeanne A. Bakale Mr. & Mrs. Robert G. Eidson Marianne T. Endicott Mrs. Rema Frankel◊ Patricia Finnegan Sharf Ms. Dorothy Fisher Mrs. Marjorie S. Fisher◊ Dorothy A. & Larry L. Fobes Samuel & Laura Fogleman Mr. Emory Ford, Jr.◊ Dr. Saul & Mrs. Helen Forman Barbara Frankel & Ron Michalak Herman & Sharon Frankel Jane French Mark and Donna Frentrup Janet M. Garrett Dr. Byron P. & Marilyn Georgeson Mr. Joseph & Mrs. Lois Gilmore Victor◊ & Gale Girolami Ruth & Al Glancy◊ David & Paulette Groen Rosemary Gugino

dso.org

◊

Donna & Eugene Hartwig Gerhardt A. Hein & Rebecca P. Hein Ms. Nancy B. Henk Joseph L. Hickey Mr. & Mrs. Thomas N. Hitchman Andy Howell Carol Howell Paul M. Huxley & Cynthia Pasky David & Sheri Jaffa Mr. & Mrs. Thomas H. Jeffs II Mr. & Mrs. Richard J. Jessup Mr. & Mrs. George Johnson Lenard & Connie Johnston Ms. Carol Johnston Carol M. Jonson Drs. Anthony & Joyce Kales Faye & Austin Kanter Norb ◊ & Carole Keller Dr. Mark & Mrs. Gail Kelley June K. Kendall Dimitri◊ & Suzanne Kosacheff Douglas Koschik Mr. & Mrs. Arthur J. Krolikowski Mary Clippert LaMont Mrs. Bonnie Larson Ann C. Lawson◊ Allan S. Leonard Max Lepler & Rex L. Dotson Dr. Melvin A. Lester Mr. & Mrs.◊ Joseph Lile Harold Lundquist◊ & Elizabeth Brockhaus Lundquist Mr. & Mrs. Eric C. Lundquist Roberta Maki Eileen & Ralph Mandarino Judy Howe Masserang Mr. Glenn Maxwell Ms. Elizabeth Maysa Mary Joy McMachen, Ph.D. Judith Mich ◊ Rhoda A. Milgrim Mr. & Mrs. Eugene A. Miller John & Marcia Miller Jerald A. & Marilyn H. Mitchell Mr.◊ & Mrs. L. William Moll Shari & Craig Morgan Ms. I. Surayyah R. Muwwakkil Geoffrey S. Nathan & Margaret E. Winters Beverley Anne Pack David◊ & Andrea Page Mr. Dale J. Pangonis Ms. Mary W. Parker Mrs. Sophie Pearlstein Helen & Wesley Pelling◊

Deceased

#IAMDSO

Dr. William F. Pickard Ms. Christina Pitts Mrs. Robert Plummer Mr. & Mrs. P. T. Ponta Mrs. Mary Carol Prokop ◊ Ms. Linda Rankin & Mr. Daniel Graschuck Mr. & Mrs. Douglas J. Rasmussen Deborah J. Remer Mr. & Mrs. Lloyd E. Reuss Barbara Gage Rex Ms. Marianne Reye Lori-Ann Rickard Katherine D. Rines Bernard & Eleanor Robertson Ms. Barbara Robins Jack◊ & Aviva Robinson Mr.◊ & Mrs. Gerald F. Ross Mr. & Mrs. George Roumell Dr. Margaret Ryan Marjorie & Saul Saulson Mr. & Mrs. Donald & Janet Schenk Ms. Yvonne Schilla Mr. & Mrs. Fred Secrest◊ Ms. Marla K. Shelton Edna J. Shin Ms. June Siebert Dr. Melissa J. Smiley & Dr. Patricia A. Wren Ms. Marilyn Snodgrass ◊ Mr. & Mrs. Walter Stuecken Mr.◊ & Mrs. Alexander C. Suczek David Szymborski & Marilyn Sicklesteel Alice & Paul Tomboulian Mr. David Patria & Ms. Barbara Underwood Roger & Tina Valade Mrs. Richard C. Van Dusen Charles & Sally Van Dusen Mr. & Mrs. Melvin VanderBrug Mr. & Mrs. George C. Vincent ◊ Christine & Keith C. Weber Mr. Herman Weinreich John◊ & Joanne Werner Mr. & Mrs. Arthur Wilhelm Mr. Robert E. Wilkins ◊ Mrs. Michel Williams Ms. Nancy S. Williams◊ Mr. Robert S. Williams & Ms. Treva Womble Ms. Barbara Wojtas Elizabeth B. Work Dr. & Mrs. Clyde Wu◊ Ms. Andrea L. Wulf Mrs. Judith G. Yaker Milton & Lois◊ Zussman Five who wish to remain anonymous DSO PERFORMANCE MAGAZINE 45

TRIBUTE GIFTS Gifts received September 1, 2019 to October 31, 2019 Tribute gifts to the Detroit Symphony Orchestra are made to honor accomplishments, celebrate occasions, and pay respect in memory or reflection. These gifts support current season projects, partnerships and performances such as DSO concerts, education programs, free community concerts and family programming.

For information about making a tribute gift, please call 313.576.5114 or visit dso.org/donate.

In Honor In honor of Shaul Ben-Meir Larry & Priscilla Poese

In honor of Jacob Joyce Nora Maloy

In honor of Sharon & Stephen Dillon Benson & Susan Barr

In honor of Art Roffey & Gail Danto Hadley & Beverly Wine

In honor of Michael Farrell & Marc Herrick Walter & Adel Dissett

In honor of Sue & Tom Sweeney Dennis & Linda Kayes In honor of Dr. David Wu Paul & Lynn Liberman

In honor of Joseph Hartig Sylvia Lawson Joan Stein

In Memory In memory of C. Howard Crane C. Howard & Elizabeth Crane In memory of Max T. McKinney, D.O. MPHONY Marilyn McKinney SY

In memory of James M. Newcomer Mary Beresford Marianne Winters Norma Woods OR

TRA

DETR

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CH

In memory of Josephine Pollzzie Amy Malko

AMBASSADOR

OI

ES TRA

DETR

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AMBASSADOR

Thank You to all the Detroit Symphony Orchestra’s volunteer ushers and retail shop volunteers.

To learn more about becoming an usher or joining the DSO Ambassador Corps, please visit dso.org/ambassadors.

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DSO PERFORMANCE MAGAZINE

WINTER 2019-2020

The Katherine McGregor Dessert Parlor

…at The Whitney.

Named after David Whitney’s daughter, Katherine Whitney McGregor, our intimate dessert parlor on the Mansion’s third floor features a variety of decadent cakes, tortes, and miniature desserts.

The menu also includes chef-prepared specialties, pies, and “Drinkable Desserts.” Don’t miss the amazing flaming dessert station featuring Bananas Foster and Cherries Jubilee.

Reserve tonight’s table online at www.thewhitney.com or call 313-832-5700 4421 Woodward Ave., Detroit

On behalf of Varnum, welcome to the

Pre-Theater Menu DSO’S CENTENNIAL SEASON AT ORCHESTRA HALL! Available on performance date with today’s ticket.

Choose one from each course:

FIRST COURSE Caesar Side Salad Eric Nemeth, partner and member of DSO Board of Trustees Chef’s Soup of the Day The Whitney Duet MAIN COURSE Grilled Lamb Chops Lake Superior Whitefish www.varnumlaw.com Pan Roasted “Brick” Chicken Sautéed Gnocchi

Legal Experience In Your Corner.®

Ann Arbor | Birmingham | Detroit | Grand Haven | Grand Rapids | Kalamazoo | Lansing | Novi DESSERT

View current menus and reserve online at dso.orgwww.thewhitney.com or call 313-832-5700

Chocolate Mousse or Mixed Berry Sorbet with Fresh Berries DSO PERFORMANCE MAGAZINE #IAMDSO $39.95

47

WELCOME TO THE MAX

OUR HOME ON WOODWARD AVENUE

The Max M. and Marjorie S. Fisher Music Center is one of Detroit’s most notable cultural campuses. The Max includes three main performance spaces: historic Orchestra Hall, the Peter D. and Julie F. Cummings Cube (“The Cube”), and Robert A. and Maggie Allesee Hall. All are accessible from the centrally located William Davidson Atrium. The Jacob Bernard Pincus Music Education Center is home to the DSO’s Wu Family Academy and other music education offerings. The DSO is also proud to offer The Max as a performance and administrative space for several local partners, including Detroit Public Theatre, Detroit Youth Volume, and others.

Parking

The DSO Parking Deck is located at 81 Parsons Street.

Self-parking in the garage costs $10 for most concerts; we take both cash and credit cards. Handicapped parking is available on the first and second floors of the garage.

Note that handicapped parking spaces go quickly, so we recommend arriving early!

Valet parking is also available for most concerts, starting at $14. The valet parking drop-off is located on Parsons Street across from St. Patrick Parish. Please note that valet parking is not available for Friday morning Coffee Concerts.

Coming from the burbs? Get a ride and skip the parking hassle with shuttle bus service to Friday morning Coffee Concerts for $15. Call 313.576.5111 for more information.

What Should I Wear?

You do you! We don’t have a dress code, and you’ll see a variety of outfit styles. Business casual attire is common, but sneakers and jeans are just as welcome as suits and ties.

Food and Drink

Concessions are available on the first floor of the Atrium, and the Paradise Lounge on the second floor is a great place for the occasional restaurant pop-up, with lite bites at every concert. And yes, we have options for different dietary needs!

Complimentary coffee and donuts are available throughout The Max during Friday morning Coffee Concerts. Head directly up to Paradise Lounge or the third floor for more seating and shorter lines.

Bars are located on the first and third floors of the William Davidson Atrium and offer everything from trusty Diet Coke to beer, wine, specialty cocktails, and 48

DSO PERFORMANCE MAGAZINE

To report an emergency during a concert, immediately notify an usher or DSO staff member. If an usher or DSO staff member is not available please contact DSO Security at 313.576.5199

full-service spirits. The Paradise Lounge is also open for drinks before and during concerts.

You’re welcome to take drinks to your seat at all performances except Friday morning Coffee Concerts, but food must remain in the William Davidson Atrium.

Drink vouchers can be purchased with concert tickets at the Box Office for quicker check-out.

Shop @ The Max

The Shop @ The Max retail store is thoughtfully stocked with items at every price point, including DSO-specific merch and items from local brands like Rebel Nell jewelry and Pete’s Chocolate Co. The shop is located on the first floor of The Max, just outside the William Davidson Atrium in the hallway opposite the main staircase. Shop @ The Max is open before, during, and after most performances.

Handicap Access and Hearing Assistance

Accessibility matters. Whether you need ramp access for your wheelchair or are looking for sensory-friendly concert options, we are thinking of you.

The Max has elevators, barrier-free restrooms, and accessible seating on each level. Security staff are available at all entrances to help patrons requiring extra assistance in and out of vehicles.

The DSO’s Sennheiser MobileConnect hearing assistance system is available for all performances in Orchestra Hall. You can use your own mobile device and headphones by downloading the Sennheiser MobileConnect app, or borrow a device by visiting the Patron Services Center on the second floor of the William Davidson Atrium. This system is made possible by the Michigan Ear Institute.

WINTER 2019-2020

POLICIES SEATING Please note that all patrons (of any age) must

have a ticket to attend concerts.

If the music has already started, an usher will ask you to wait until a break before seating you. The same applies if you leave Orchestra Hall and re-enter. Most performances are broadcast (with sound) on a TV in the William Davidson Atrium as well.

The Max M. and Marjorie S. Fisher Music Center 3711 Woodward Avenue Detroit, MI 48201 Box Office:......................................................... 313.576.5111 Group Sales:......................................................313.576.5130 Administrative Offices:....................................313.576.5100 Facilities Rental Information:.........................313.576.5050 Visit the DSO online at dso.org For general inquiries, please email info@dso.org

WiFi

Complimentary WiFi is available throughout The Max. Look for the DSOGuest network on your device. And be sure to tag your posts with #IAMDSO!

Priority Service for Our Members

We are proud to offer priority assistance to all DSO Subscribers, as well as donors at the Friend Premier level and higher. Visit the Patron Services Center on the second floor of The Max for help with tickets, exchanges, donations, or any other DSO needs.

The Herman and Sharon Frankel Donor Lounge

Governing Members can enjoy complimentary beverages, appetizers, and desserts in the Donor Lounge, open 90 minutes prior to each concert through the end of intermission. For more information on becoming a Governing Member, contact Leslie Groves at 313.576.5451 or lgroves@dso.org.

Gift Certificates

Gift certificates are available in any denomination and may be used towards tickets to any DSO performance.

Please contact the Box Office for more information.

Rent The Max

Elegant and versatile, The Max is an ideal setting for a variety of events and performances: weddings, corporate gatherings, meetings, concerts, and more.

Visit dso.org/rent or call 313.576.5065 for more information. dso.org

TICKETS, EXCHANGES, AND CONCERT CANCELLATIONS All sales are final and non-

refundable. Even though we’ll miss you, we understand that plans can change unexpectedly, so the DSO offers flexible exchange and ticket donation options.

Please contact the Box Office to exchange tickets. The Box Office can also help with all ticketing questions and concerns.

The DSO is a show-must-go-on orchestra! In the rare event a concert is cancelled, our website and social media feeds will announce the cancellation, and patrons will be notified of exchange options. The DSO is unable to offer refunds for cancelled concerts.

CHILDREN We

love seeing young faces at The Max, but we get it: some of us are too young for Schoenberg.

We recommend doing a little research about the music, performers, and themes for a performance when deciding whether it’s appropriate for kids. We also have special programming designed for kids and families – visit dso.org/ family to learn more!

Please remember that all patrons (of any age) must have a ticket to attend concerts.

PHOTOGRAPHY AND RECORDING We

love a good selfie (don’t forget to share your experiences using @DetroitSymphony and #IAMDSO) but remember that photography can be distracting to musicians and audience members. Please be cautious and respectful if you wish to take photos.

Note that flash photography, video recording, tripods, and cameras with detachable lenses are strictly prohibited.

PHONES Cell

phones: they’re your computer, your camera, your watch, your calendar...but they can also be the light shining in someone’s face or the cause of a musician playing the wrong note. Your neighbors and the musicians appreciate your cooperation in turning your phone to silent and your brightness down while you’re keeping an eye on texts from the babysitter or looking up where a composer was born!

SMOKING Smoking,

vaping, cigar puffing, and e-cigaretting are allowed only on the outdoor balcony off the second floor of the William Davidson Atrium. You’ll find the door along the north-facing wall to the right of the Patron Services Center.

#IAMDSO

DSO PERFORMANCE MAGAZINE 49

A D M I N I S T R AT I V E S TA F F EXECUTIVE OFFICE

Ezra Gans Artistic Operations Assistant

Hannah Engwall Public Relations Coordinator

Anne Parsons President and CEO James B. and Ann V. Nicholson Chair

Patrick Peterson Manager of Orchestra Personnel

Sarah Smarch Content Manager and Lead Storyteller

Jill Elder Vice President and Chief Development Officer Linda Lutz Vice President and Chief Financial Officer Erik Rรถnmark Vice President and General Manager Joy Crawford Executive Assistant to the President and CEO Elaine Curvin Executive Assistant to the Vice President and CDO

ARTISTIC OPERATIONS ARTISTIC PLANNING Christopher Harrington Managing Director of Paradise Jazz Series/Managing Director & Curator of @ The Max Jessica Ruiz Director of Artistic Planning Megan Belansky Popular and Special Programs Coordinator Catherine Miller Artistic Coordinator Goode Wyche Cube Coordinator

LIVE FROM ORCHESTRA HALL Marc Geelhoed Director of Digital Initiatives

ORCHESTRA OPERATIONS Kathryn Ginsburg Orchestra Manager Heather Hart Rochon Director of Orchestra Personnel Dennis Rottell Stage Manager

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Claudia Restrepo Orchestra and Training Programs Librarian

ADVANCEMENT Jill Rafferty Senior Director of Advancement Alex Kapordelis Campaign Director Jenni Clark Fundraising Events Specialist

COMMUNITY & LEARNING Caen Thomason-Redus Senior Director of Community & Learning Debora Kang Director of Education Kiersten Alcorn Community Engagement Coordinator

Joey Edmonds Campaign Research Specialist

Mickayla Chapman Training Ensembles Recruitment and Operations Coordinator

Presley Feezell Campaign Stewardship Coordinator

Hunter Janness Education Coordinator

Stephanie Glazier Stewardship Coordinator

Clare Valenti Manager of Community Engagement

Holly Gorecki Manager of Advancement Services Leslie Groves Major Gift Officer Amanda Lindstrom Fulfillment Coordinator, Individual Giving Juanda Pack Advancements Benefits Concierge Susan Queen Gift Officer, Corporate Giving Juliano Bitonti Stewart Major Gift Officer Amanda Tew Data and Research Specialist Matthew Way Advancement Relations and Strategic Initiatives Manager

COMMUNICATIONS Matthew Carlson Director of Communications and Media Relations Natalie Berger Content Coordinator

FINANCE Jeremiah Hess Senior Director of Accounting & Finance Sandra Mazza Senior Accountant Sara Wabrowetz Gift Processing Coordinator Michelle Wisler Payroll and Benefits Accountant

HUMAN RESOURCES Denise Ousley Human Resources Director Shuntia Perry Human Resources Coordinator

PATRON DEVELOPMENT & ENGAGEMENT Nicki Inman Senior Director of Patron Development & Engagement

Ben Breuninger Public Relations Manager

DSO PERFORMANCE MAGAZINE

WINTER 2019-2020

AUDIENCE DEVELOPMENT

SAFETY & SECURITY

Michael Frisco Director of Audience Development

George Krappmann Director of Safety & Security

Teresa Alden Digital Marketing Manager

Greg Schimizzi Chief of Security

Annick Busch Patron Loyalty Coordinator

Norris Jackson Security Officer

Lori Cairo Front of House Manager

Edward John Assistant Chief of Security

Sharon Gardner Carr Assistant Manager of Tessitura and Ticketing Operations

Ronald Martin Security Officer

Rebecca Godwin Marketing Coordinator Jay Holladay Digital Content Specialist LaHeidra Marshall Audience Development Coordinator

Johnnie Scott Security Officer

TECHNOLOGY & INFRASTRUCTURE Jody Harper Senior Director of Technology & Infrastructure

James Sabatella Group Sales Manager

FACILITY OPERATIONS

CATERING AND RETAIL SERVICES

Dan Saunders Director of Facilities Management

Christina Williams Director of Catering and Retail Services

Frederico Augustin Facility Engineer

Nate Richter Bar Manager Rita Sayegh Retail Manager

EVENTS AND RENTALS

Clarence Burnett Maintenance Supervisor

Martez Duncan Maintenance Technician William Guilbault Maintenance Technician

Ashley Powers Event Sales Representative

Crystal King Maintenance Technician

Kendall Snead Coordinator of Event Stales and Administration

Daniel Speights Maintenance Technician

PATRON SALES & SERVICE

INFORMATION TECHNOLOGY

Connor Mehren Box Office Administrator Tommy Tatti Assistant Manager of Patron Sales & Service

EDITOR Ben Breuninger bbreuninger@dso.org 313.576.5196 PUBLISHER Echo Publications, Inc. Tom Putters PROGRAM NOTES ANNOTATOR Charles Greenwell

(Unless otherwise noted)

To advertise in Performance, please call 248.582.9690, email info@echopublications.com or visit echopublications.com

Read Performance anytime, anywhere at dso.org/performance

Michelle Koning Web Manager RaJon Taylor Application Administrator Activities of the DSO are made possible in part with the support of the Michigan Council for Arts and Cultural Affairs and the National Endowment for the Arts.

Chantel Woodard Lead Ticketing Specialist

dso.org

Volume XXVIII • Fall 2019

Matt Deneka Maintenance Technician

Catherine Deep Manager of Events and Rentals

Michelle Marshall Manager, Patron Sales & Service

PERFORMANCE

#IAMDSO

DSO PERFORMANCE MAGAZINE 51

UPCOMING CONCERTS & EVENTS TICKETS & INFO

313 . 576 . 5111 dso.org KEY

* The DSO does not appear on this program

HOSTED PARTNERSHIPS

EASTERN MICHIGAN UNIVERSITY CANDLELIGHT CONCERT Sun., Dec. 15 at 3:30 p.m.* DSO PRESENTS

HOME ALONE IN CONCERT

Constantine Kitsopoulos, conductor

Wed., Dec. 18 at 7:30 p.m.

PNC POPS SERIES

HOME FOR THE HOLIDAYS Stuart Chafetz, conductor Dee Donasco, vocalist

Fri., Dec. 20 at 10:45 a.m. & 8 p.m.

Sat., Dec. 21 at 3 p.m. & 8 p.m.

Sun., Dec. 22 at 3 p.m. & 7 p.m.

WILLIAM DAVIDSON NEIGHBORHOOD

BIZET’S CARMEN

Mei-Ann Chen, conductor Sterling Elliott, cello

Thu., Jan. 9 at 7:30 p.m. in Southfield Fri., Jan. 10 at 8 p.m. in Clinton Twp. Sun., Jan. 12 at 3 p.m. in Beverly Hills BIZET Suite No. 1 from Carmen LALO Cello Concerto in D Minor FRANCK Symphony in D Minor

H Piece performed during DSO’s first season at Orchestra Hall, 1919-1920 WILLIAM DAVIDSON NEIGHBORHOOD

HANDEL’S “WATER MUSIC” Dmitry Sinkovsky, conductor, violin, countertenor

Thu., Jan. 16 at 7:30 p.m. in West Bloomfield Fri., Jan. 17 at 8 p.m. in Plymouth Sat., Jan. 18 at 8 p.m. in Bloomfield Hills Sun., Jan. 19 at 3 p.m. in Grosse Pointe PNC POPS SERIES

THE VINYL YEARS: A CLASSIC ROCK SONGBOOK Michael Krajewski, conductor Lori Zabka, Shem von Schroeck, and Micah Wilshire, vocalists

Fri., Jan. 17 at 10:45 a.m. & 8 p.m.

Sat., Jan. 18 at 8 p.m.

Sun., Jan. 19 at 3 p.m.

CLASSICAL SERIES

HADELICH PLAYS PAGANINI Jader Bignamini, conductor Augustin Hadelich, violin

Fri., Jan. 24 at 10:45 a.m.

Sat., Jan. 25 at 8 p.m.

Sun., Jan. 26 at 3 p.m.

PAGANINI Violin Concerto No. 1 BERLIOZ Symphonie FantastiqueH

PARADISE JAZZ SERIES

THE MUSIC OF LOUIS ARMSTRONG CAMILA MEZA +DSO STRING QUARTET Fri., Jan. 24 at 8 p.m.*

DSO PRESENTS DSO PRESENTS

THE MAGICAL MUSIC OF HARRY POTTER

CHINESE NEW YEAR

Sat., Jan. 11 at 8 p.m.

Tue., Jan. 28 at 7:30 p.m.*

Enrico Lopez-Yañez, conductor

52

DSO PERFORMANCE MAGAZINE

Shanghai Chinese Orchestra Zhejiang Shaoju Opera Theater

WINTER 2019-2020

FREE Live from Orchestra Hall webcast

Special $10 ticket offer for Veterans and Active Military (learn more at dso.org/military)

CLASSICAL SERIES

TINY TOTS SERIES

RAVEL’S SHÉHÉRAZADE

JAZZ, WIGGLE, AND GIGGLE WITH SEAN DOBBINS AND FRIENDS

Thu., Jan. 30 at 7:30 p.m.

Fri., Jan. 31 at 8 p.m.

Sat., Feb. 1 at 8 p.m.

Sat., Feb. 15 at 10 a.m. in The Cube*

James Gaffigan, conductor Isabel Leonard, mezzo-soprano

MO Z ART Overture to The Abduction from the Seraglio RAVEL Shéhérazade ALEX TEMPLE Liebeslied

SCHUMANN Symphony No. 4H

PNC POPS SERIES

YOUNG PEOPLE’S FAMILY SERIES

MUSICAL HEROES

Yaniv Dinur, conductor

Sat., Feb. 15 at 11 a.m.

CLASSICAL SERIES

POSITIVELY PIANO

BEETHOVEN’S SIXTH

Constantine Kitsopoulos, conductor Kevin Cole, piano

John Storgårds, conductor Alisa Weilerstein, cello

Sun., Feb. 2 at 3 p.m.

Fri., Feb. 21 at 8 p.m.

Sat., Feb. 22 at 8 p.m.

Sun., Feb. 23 at 3 p.m.

@ THE MAX

STORM LARGE Mon., Feb. 3 at 7 p.m. in The Cube* HOSTED PARTNERSHIPS

FINALS CONCERT 23RD ANNUAL SPHINX COMPETITION Sat., Feb. 8 at 7:30 p.m.* CLASSICAL SERIES

DEBUSSY AND RAVEL

Thomas Søndergård, conductor Bertrand Chamayou, piano Fri., Feb. 14 at 10:45 a.m.

Sat., Feb. 15 at 8 p.m.

Sun., Feb. 16 at 3 p.m.

STRAVINSKY Symphony in 3 Movements RAVEL Piano Concerto for Left Hand POULENC Les animaux modèles DEBUSSY La Mer

dso.org

OU TI TARKIAINEN Midnight Sun Variations BARBER Concerto for Cello BE E THOVEN Symphony No. 6, “Pastorale”H

WU FAMILY ACADEMY EDUCATIONAL SERIES

HAPPY BIRTHDAY BEETHOVEN! Wed., Feb. 26 at 10:30 a.m. & 11:45 a.m.

Thu., Feb. 27 at 10:30 a.m.

WILLIAM DAVIDSON NEIGHBORHOOD

PIAZZOLLA’S THE FOUR SEASONS OF BUENOS AIRES Paolo Bortolameolli, conductor Angelo Xiang Yu, violin

Thu., Feb. 27 at 7:30 p.m. in West Bloomfield Fri., Feb. 28 at 8 p.m. in Plymouth Sat., Feb. 29 at 8 p.m. in Bloomfield Hills Sun., Mar. 1 at 3 p.m. in Grosse Pointe

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DSO PERFORMANCE MAGAZINE 53

ALISA WEILERSTEIN INON BARNATAN

&

BEETHOVEN: COMPLETE CELLO SONATAS

SATURDAY, MARCH 28

8:00 PM SIGNATURE SERIES Chamber Music Society of Detroit Seligman Performing Arts Center CMDETROIT.ORG | 313.335.3300

Unique Hands- On Exp eriences at epiphany studios Work with our artists to make your own glass piece! This workshop is a great opportunity to try something new and create a beautiful keepsake to remember the occasion by.

Register today at www.epiphanyglass.com/workshops

770 Orchard Lake Road, Pontiac, MI 48341 Call 248.745.3786 for more information.

WINTER PERFORMANCES 1.18 MOZART BIRTHDAY BASH

MOZART Famous Opera Choruses MOZART Violin Concerto No. 5 MOZART Symphony No. 29 Itamar Zorman, violin // David Lockington, conductor

3.14 - 15 BEST OF BROADWAY Featuring soloists from the University of Michigan School of Music, Theatre & Dance Yaniv Segal, conductor

3.21 WEST SIDE STORY

SEE YOU AT THE SYMPHONY dso.org

SYRSE Colección de Realidades MÁRQUEZ Danzón No. 2 SIERRA Concerto for Saxophones & Orchestra BERNSTEIN Symphonic Dances

from West Side Story

James Carter, saxophone // Timothy Muffitt, conductor

ANN ARBOR SYMPHONY ORCHESTRA Music in the Key of A2

®

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734.994.4801 | a2so.com

DSO PERFORMANCE MAGAZINE 55

C R E AT E PERMANENT POSITIVE CHANGE ____ In our 35-year history, the Community Foundation has granted $1 billion to achieve real and lasting impact in our region — all through thoughtful philanthropy.

Join us in creating permanent, positive change for southeast Michigan.

cfsem.org /myimpact