Performance Magazine - Fall Issue 2 - 2023-24 Season

THE MAGAZINE OF THE DETROIT SYMPHONY ORCHESTRA

2023–2024 SEASON

JADER BIGNAMINI MUSIC DIRECTOR

PROGRAM NOTES From the Heart of a Movement: DSO Spotlights Social Progress Rachmaninoff 150

SEE, HEAR, & EXPERIENCE THE REMARKABLE.

PARADISE THEATRE BIG BAND NOV 17

Community & Learning: A Musical Pairing with InsideOut Student Poets Transformational Support: Name Your Seat at Orchestra Hall, Leave a Legacy

VANESSA WILLIAMS NOV 18–19

SEASON TICKETS ON SALE NOW!

Farah Alvin & Ryan Knowles | October 14 Melissa Errico | November 18

UofM Musical Theatre Seniors | January 20 Brandon Victor Dixon | March 2

Eva Noblezada & Reeve Carney | April 6

cabaret313.org | 313-405-5061

PERFORMANCE

10 From the Heart of a Movement:

4 Welcome 5 Orchestra Roster 6 Behind the Baton

DSO Spotlights Social Progress

8 Board Leadership

16 Community & Learning

14 Transformational Support 41 Donor Roster 50 Maximize Your Experience

17-40 Program Notes

52 DSO Administrative Staff 54 Upcoming Concerts

FALL • 2023–2024 SEASON

American composer and pianist Margaret Bonds. The DSO performs her Montgomery Variations December 7–9 at Orchestra Hall.

Discover rich insights about each concert

Read Performance anytime, anywhere at dso.org/performance The Detroit Symphony Orchestra impacts lives through the power of unforgettable musical experiences by sustaining a world class orchestra for our city and the global community.

ON THE COVER: Music Director Jader Bignamini (by Sarah Smarch), Kris Johnson (by Sarah Smarch), and Vanessa Williams (by Gilles Toucas).

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DSO PERFORMANCE MAGAZINE 3

WELCOME Dear Friends, Welcome! We are so pleased that you have chosen to join us for the 2023–2024 season by your Detroit Symphony Orchestra.

Both here at Orchestra Hall and in our communities, we’ll share in the joy of live music by our wonderful orchestra and a stellar line-up of guest artists. We also look forward to our first tour with Music Director Jader Bignamini in February as we take to Florida for performances in Gainesville, Miami, West Palm Beach, Sarasota, and Vero Beach with cellist Alisa Weilerstein. You’re invited to escape the Michigan winter and join us in the Sunshine State!

Our season begins in September with programs featuring two of the most illuminating artists of our time: Yo-Yo Ma and Gil Shaham. At our Opening Night Gala, the DSO’s first in two decades, we will enjoy Dvořák’s Cello Concerto with Ma as soloist and toast to a season of remarkable excellence ahead. Earlier that week, we will celebrate the start of the PVS Classical Series as Shaham performs Tchaikovsky’s Violin Concerto. Both programs will be under the baton of Jader, whose keen sensitivity and artistic quality guide our orchestra to new heights.

This fall, we also fondly celebrate the music of Detroit and reflect on the history of Orchestra Hall. On the PNC Pops Series, Principal Pops Conductor Jeff Tyzik kicks things off in October with “Let’s Groove Tonight: Motown & The Philly Sound,” featuring classic chart-toppers from Detroit and Philadelphia. This November, we offer an encore performance by the Paradise Theatre Big Band. From 1941–1951, jazz greats like Duke Ellington, Ella Fitzgerald, and Cab Calloway graced the stage we now know as Orchestra Hall. With this tribute, Civic Youth Ensembles alum and Grammy Award nominee Kris Johnson leads a multi-generational group of Detroit jazz artists in a swinging program of innovative arrangements you won’t want to miss.

We are proud to be a place where people can see, hear, and experience the remarkable! As we transform lives through unforgettable performances, both on stage in Detroit and globally via our Live from Orchestra Hall webcasts, we also remain firmly committed to our community. At the DSO, we strive to have impact in all we do, from providing instruments, mentorship, and robust music education to Detroit students to partnering with local neighborhoods and community organizations to create meaningful musical experiences across the city. We couldn’t do all of this without your support.

Thank you for believing in our shared vision—we look forward to a fantastic season ahead!

Erik Rönmark President and CEO 4

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David T. Provost Chair, Board of Directors FALL 2023

DETROIT SYMPHONY ORCHESTRA

AA COMMUNITY-SUPPORTE D ORCHESTRA COMMUNITY-SUPPORTED ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR JADER BIGNAMINI MUSIC DIRECTOR

DETROIT DETROIT SYMPHONY SYMPHONY ORCHESTRA ORCHESTRA AA COMMUNITY-SUPPORTE D ORCHESTRA COMMUNITY-SUPPORTED ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR JADER BIGNAMINI MUSIC DIRECTOR

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

JEFF TYZIK

TERENCE BLANCHARD

NA’ZIR MCFADDEN

LEONARD SLATKIN

NEEME JÄRVI

Principal Pops Conductor

Fred A. Erb Jazz Creative Director Chair

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

Music Director Laureate

Music Director Emeritus

FIRST VIOLIN Robyn Bollinger

CONCERTMASTER Katherine Tuck Chair

Kimberly Kaloyanides Kennedy

ASSOCIATE CONCERTMASTER Schwartz and Shapero Family Chair

Hai-Xin Wu

ASSISTANT CONCERTMASTER Walker L. Cisler/Detroit Edison Foundation Chair

Jennifer Wey Fang ASSISTANT CONCERTMASTER

Marguerite Deslippe* Laurie Goldman* Rachel Harding Klaus* Eun Park Lee* Adrienne Rönmark* William and Story John Chair

Alexandros Sakarellos* Drs. Doris Tong and Teck Soo Chair

Laura Soto* Greg Staples* Jiamin Wang* Mingzhao Zhou*

SECOND VIOLIN Adam Stepniewski ACTING PRINCIPAL The Devereaux Family Chair

Will Haapaniemi* David and Valerie McCammon Chairs

Hae Jeong Heidi Han*

David and Valerie McCammon Chairs

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

VIOLA Eric Nowlin PRINCIPAL Julie and Ed Levy, Jr. Chair

James VanValkenburg ASSISTANT PRINCIPAL

Caroline Coade Henry and Patricia Nickol Chair

Mike Chen Hart Hollman Glenn Mellow Hang Su Han Zheng Harper Randolph §

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CELLO Wei Yu PRINCIPAL

Abraham Feder

ASSISTANT PRINCIPAL Dorothy and Herbert Graebner Chair

CLARINET Ralph Skiano

TIMPANI Jeremy Epp

Jack Walters

James Ritchie

PRINCIPAL Robert B. Semple Chair

PVS Chemicals Inc./ Jim and Ann Nicholson Chair

Robert Bergman* Jeremy Crosmer*

Shannon Orme

David LeDoux* Peter McCaffrey*

E-FLAT CLARINET OPEN

Una O’Riordan*

BASS CLARINET Shannon Orme

Victor and Gale Girolami Cello Chair

Joanne Deanto and Arnold Weingarden Chair Mary Ann & Robert Gorlin Chair

Cole Randolph*

PRINCIPAL Van Dusen Family Chair

Stephen Molina

LIBRARIANS Robert Stiles

PRINCIPAL Byron and Dorothy Gerson Chair

Cornelia Sommer Marcus Schoon

HARP OPEN

PRINCIPAL David and Christine Provost Chair

Johanna Yarbrough Scott Strong

FLUTE Hannah Hammel Maser

David Everson

ASSISTANT PRINCIPAL Bernard and Eleanor Robertson Chair

PRINCIPAL

Ethan Allen

LEGACY CHAIRS Principal Flute

Women’s Association for the DSO

Principal Cello

James C. Gordon

HORN OPEN

PRINCIPAL Winifred E. Polk Chair

Morton and Brigitte Harris Chair

ASSISTANT PRINCIPAL William Cody Knicely Chair

BASSOON Conrad Cornelison

CONTRABASSOON Marcus Schoon

Sharon Sparrow

PRINCIPAL Ruth Roby and Alfred R. Glancy III Chair

Barbara Frankel and Ronald Michalak Chair

ASSISTANT PRINCIPAL

Amanda Blaikie

PERCUSSION Joseph Becker

James Ritchie Luciano Valdes§

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

PRINCIPAL Alan J. and Sue Kaufman and Family Chair

ASSISTANT PRINCIPAL

Andrés Pichardo-Rosenthal

Mary Lee Gwizdala Chair

BASS Kevin Brown

PRINCIPAL Richard and Mona Alonzo Chair

Ric and Carola Huttenlocher Chair ASSISTANT PRINCIPAL

Mark Abbott

Personnel Managers Patrick Peterson

DIRECTOR OF ORCHESTRA PERSONNEL

Benjamin Tisherman

MANAGER OF ORCHESTRA PERSONNEL

Nolan Cardenas

AUDITION AND OPERATIONS COORDINATOR

Stage Personnel Dennis Rottell

TRUMPET Hunter Eberly PRINCIPAL Lee and Floy Barthel Chair

STAGE MANAGER

Zach Deater

DEPARTMENT HEAD

Issac Eide

Jeffery Zook

Austin Williams William Lucas

PICCOLO Jeffery Zook

TROMBONE Kenneth Thompkins

Steven Kemp

Shari and Craig Morgan Chair

PRINCIPAL Shari and Craig Morgan Chair

Matthew Pons

OBOE Alexander Kinmonth

David Binder Adam Rainey

Jason Tschantre

Sarah Lewis

BASS TROMBONE Adam Rainey

LEGEND * These members may voluntarily revolve seating within the section on a regular basis § A frican American Orchestra Fellow

PRINCIPAL Jack A. and Aviva Robinson Chair ASSISTANT PRINCIPAL

Monica Fosnaugh

ENGLISH HORN Monica Fosnaugh

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TUBA Dennis Nulty PRINCIPAL

DEPARTMENT HEAD

Kurt Henry

DEPARTMENT HEAD DEPARTMENT HEAD DEPARTMENT HEAD DEPARTMENT HEAD

DSO PERFORMANCE MAGAZINE 5

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

Jader Bignamini MUSIC DIRECTORSHIP ENDOWED

BY THE KRESGE FOUNDATION

J

ader Bignamini was introduced as the 18th music director of the Detroit Symphony Orchestra in January 2020, commencing with the 2020–2021 season. His infectious passion and artistic excellence set the tone for the seasons ahead, creating extraordinary music and establishing a close relationship with the orchestra. A jazz aficionado, he has immersed himself in Detroit’s rich jazz culture and the influences of American music.

A native of Crema, Italy, Bignamini studied at the Piacenza Music Conservatory and began his career as a musician (clarinet) with Orchestra Sinfonica La Verdi in Milan, later serving as the group’s resident conductor.

Captivated by the operatic arias of legends like Mahler and Tchaikovsky, Bignamini explored their complexity and power, puzzling out the role that each instrument played in creating a larger-than-life sound.

When he conducted his first professional concert at the age of 28, it didn’t feel like a departure, but an arrival.

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In the years since, Bignamini has conducted some of the world’s most acclaimed orchestras and opera companies in venues across the globe including working with Riccardo Chailly on concerts of Mahler’s Eighth Symphony in 2013 and his concert debut at La Scala in 2015 for the opening season of La Verdi Orchestra. Recent highlights include debuts with Opera de Paris conducting La Forza del Destino and with Deutsche Opera Berlin conducting Simon Boccanegra; appearances with the Pittsburgh and Toronto symphonies; debuts with the Houston, Dallas, and Minnesota symphonies; Osaka Philharmonic and Yomiuri Nippon Symphony Orchestra in Tokyo; with the Metropolitan Opera, Vienna State Opera, and Dutch National Opera (Madama Butterfly); Bayerische Staatsoper (La Traviata); I Puritani in Montpellier for the Festival of Radio France; Traviata in Tokyo directed by Sofia Coppola; return engagements with Oper Frankfurt (La forza del destino) and Santa Fe Opera (La bohème); Manon Lescaut at the Bolshoi; Traviata, Madama Butterfly, and Turandot at Arena of Verona; Il Trovatore and Aida at Rome’s Teatro dell’Opera; Madama Butterfly, I Puritani, and Manon Lescaut at Teatro Massimo in Palermo; Simon Boccanegra and La Forza del Destino at the Verdi Festival in Parma; Ciro in Babilonia at Rossini Opera Festival and La bohème, Madama Butterfly, and Elisir d’amore at La Fenice in Venice.

When Bignamini leads an orchestra in symphonic repertoire, he conducts without a score, preferring to make direct eye contact with the musicians. He conducts from the heart, forging a profound connection with his musicians that shines through both onstage and off. He both embodies and exudes the excellence and enthusiasm that has long distinguished the DSO’s artistry.

FALL 2023

Jeff Tyzik

Terence Blanchard

PRINCIPAL POPS CONDUCTOR

FRED A. ERB JAZZ CREATIVE DIRECTOR CHAIR

Grammy 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 serves as principal pops conductor of the of the Seattle Symphony, the Oregon Symphony, The Florida Orchestra, and the Rochester Philharmonic—where he celebrates his 30th season in 2023–2024. Frequently invited as a guest conductor, Tyzik has appeared with the Boston Pops, Cincinnati Pops, Milwaukee Symphony, Pittsburgh Symphony, Toronto Symphony, Indianapolis Symphony, The Philadelphia Orchestra, Los Angeles Philharmonic, and Royal Scottish National Orchestra.

Committed to performing music of all genres, Tyzik has collaborated with such diverse artists as Leslie Odom Jr., Megan Hilty, Chris Botti, Matthew Morrison, Wynonna Judd, Sutton Foster, 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.

Visit jefftyzik.com for more. dso.org

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Trumpeter, bandleader, composer, and educator Terence Blanchard has served as the DSO’s Fred A. Erb Jazz Creative Director Chair since 2012.

Blanchard has performed and recorded with many of jazz’s superstars and currently leads the celebrated E-Collective. He is also wellknown for his decades-long collaboration with filmmaker Spike Lee, scoring more than 15 of Lee’s movies since the early 1990s. 2018’s BlacKkKlansman earned Blanchard his first Academy Award nomination, with a second Academy Award nomination in 2021 for Da 5 Bloods.

In and out of the film world, Blanchard has received 15 Grammy nominations and seven wins, as well as nominations for Emmy, Golden Globe, Sierra, and Soul Train Music awards.

Blanchard’s second opera Fire Shut Up in My Bones, based on the memoir of New York Times columnist Charles Blow, opened The Metropolitan Opera’s 20212022 season, making it the first opera by an African American composer to premiere at the Met. With a libretto by Kasi Lemmons, the opera was commissioned by Opera Theatre of Saint Louis where it premiered in 2019. The New York Times called it “inspiring,” “subtly powerful,” and “a bold affecting adaptation of Charles Blow’s work.” Blanchard’s first opera, Champion, also premiered to critical acclaim in 2013 in St. Louis and starred Denyce Graves with a libretto from Pulitzer Prize Winner Michael Cristofer.

Visit terenceblanchard.com for more.

DSO PERFORMANCE MAGAZINE 7

DETROIT SYMPHONY ORCHESTRA, INC.

LIFETIME DIRECTORS Samuel Frankel◊ Stanley Frankel David Handleman, Sr.◊ Dr. Arthur L. Johnson◊ James B. Nicholson

Anne Parsons, President Emeritus◊ Barbara Van Dusen Clyde Wu, M.D.◊

CHAIRS EMERITI Peter D. Cummings Mark A. Davidoff Phillip Wm. Fisher

Stanley Frankel Robert S. Miller James B. Nicholson

DIRECTORS EMERITI Floy Barthel Chacona Baugh Penny B. Blumenstein Richard A. Brodie Lois Cohn

Marianne Endicott Sidney Forbes Herman H. Frankel Dr. Gloria Heppner Ronald Horwitz

Bonnie Larson Arthur C. Liebler Harold Kulish David McCammon David R. Nelson

William F. Pickard, Ph.D. Marilyn Pincus Marjorie S. Saulson Jane Sherman Arthur A. Weiss

OFFICERS OF THE BOARD OF DIRECTORS David T. Provost Chair

Faye Alexander Nelson Vice Chair

James G. Vella Secretary

Glenda D. Price, Ph.D. Officer at Large

Erik Rönmark President & CEO

Laura Trudeau Treasurer

Ralph J. Gerson Officer at Large

Shirley Stancato Officer at Large

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.

David Assemany, Governing Members Chair Michael Bickers Amanda Blaikie, Orchestra Representative Elena Centeio

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Dave Everson, Orchestra Representative Aaron Frankel Herman B. Gray, M.D., M.B.A. Laura HernandezRomine Rev. Nicholas Hood III

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Richard Huttenlocher Renato Jamett, Trustee Chair Daniel J. Kaufman Michael J. Keegan Xavier Mosquet David Nicholson

◊

Deceased

Arthur T. O’Reilly Stephen Polk Bernard I. Robertson Nancy Tellem David M. Wu, M.D. Ellen Hill Zeringue

FALL 2023

BOARD OF TRUSTEES Renato Jamett, 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.

Renato Jamett, Trustee Chair Ismael Ahmed Richard Alonzo Hadas Bernard Janice Bernick Elizabeth Boone Gwen Bowlby Marco Bruzzano Dr. Betty Chu Margaret Cooney Casey Karen Cullen Joanne Danto Stephen D’Arcy Maureen T. D’Avanzo Jasmin DeForrest Afa Sadykhly Dworkin James C. Farber Abe Feder, Musician Representative Linda Forte

Carolynn Frankel Maha Freij Christa Funk Robert Gillette Jody Glancy Mary Ann Gorlin Donald Hiruo Michelle Hodges Julie Hollinshead Sam Huszczo John Jullens Laurel Kalkanis Jay Kapadia David Karp Joel D. Kellman John Kim Jennette Smith Kotila Leonard LaRocca William Lentine Linda Dresner Levy Florine Mark

Anthony McCree Kristen McLennan Tito Melega Lydia Michael Lois A. Miller H. Keith Mobley Scott Monty Shari Morgan Sandy Morrison Frederick J. Morsches Jennifer Muse, NextGen Chair Sean M. Neall Eric Nemeth Maury Okun Jackie Paige Vivian Pickard Denise Fair Razo Gerrit Reepmeyer Richard Robinson James Rose, Jr.

Laurie Rosen Elana Rugh Marc Schwartz Carlo Serraiocco Lois L. Shaevsky Mary Shafer Ralph Skiano, Musician Representative Richard Sonenklar Rob Tanner Yoni Torgow Gwen Weiner Donnell White Jennifer Whitteaker R. Jamison Williams Margaret E. Winters

MAESTRO CIRCLE EXECUTIVE COMMITTEE Janet & Norm Ankers, Chairs

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Cecilia Benner Joanne Danto

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Gregory Haynes Bonnie Larson

Lois Miller Richard Sonenklar

DSO PERFORMANCE MAGAZINE 9

FROM

THE HEART OF A MOVEMENT

By Douglas Shadle

With its power to unite, music anchored the Civil Rights Movement to freedom struggles of the past while pointing toward a more just future.

P

erhaps more than any other art, music holds the power to bring people together—to unite us.

The act of making music, or even just listening, creates a shared sense of time and space that transcends any one person. Add a profound underlying message, and music’s binding effect is increased many times over. This season, the Detroit Symphony Orchestra harnesses music’s special power by marking the sixtieth anniversary of major touchstones in the Civil Rights Movement with opportunities for intense reflection on the relationships between music, social activism, and freedom.

What is the sound of justice for all?

In June 1963, Martin Luther King Jr. led a march known as the Walk to Freedom on a route beginning southeast

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of Orchestra Hall on Woodward Avenue and continuing to Cobo Arena, now Huntington Place. Attended by well over 100,000 participants, this march was the largest civil rights demonstration to date and would only be surpassed two months later by its more famous cousin, the March on Washington. Song penetrated every corner of both events.

Berry Gordy, the founder of Motown Records, was so intent on sharing Dr. King’s message in Detroit that the two men agreed to share royalties from a recording of his speech with King’s Southern Christian Leadership Conference. His speaking voice, of course, bore its own musicality, which Gordy intuitively perceived.

While music might hold the sounds of justice, the sounds of injustice FALL 2023

can come in the form of bombs and bullets. Less than a month after the March on Washington, members of the Ku Klux Klan set off sticks of dynamite at Birmingham’s 16th Street Baptist Church, killing four African American girls—Addie Mae Collins, Carol Denise McNair, Carole Rosamond Robertson, and Cynthia Dionne Wesley—and injuring well over a dozen other people. In the chaotic immediate aftermath, two more young African American men were shot—Johnny Robinson by police and Virgil Ware by a white teenager seething after attending a white supremacist rally. Joan Baez’s exhortation at the March on Washington that “we shall overcome someday” seemed like a far-off dream.

For deeper engagement with these themes, the DSO has chosen two major works that articulate the pain and hope animating the Civil Rights Movement: Margaret Bonds’s Montgomery Variations (1964) and a new commission by Dr. James Lee III titled Shades of Unbroken Dreams (2023). Each work represents a bookend to the decades between the height of the Civil Rights Movement and the ongoing struggles for equality in this country today. To help contextualize these dso.org

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works, the DSO hosted me, a historian of American orchestras, in conversation with Dr. Lee himself and Dr. Tammy L. Kernodle, University Distinguished Professor of Music at Miami University and a specialist in music of the Civil Rights Movement and the works of Margaret Bonds.

Dr. Kernodle described the Civil Rights Movement as a continuous series of waves stretching from the 1950s and the Brown v. Board of Education decision through to the 1980s, when federal, state, and local governments chipped away at earlier civil rights legislation.

The movement during its early period focused largely on judicial, legislative, and economic strategies but experienced a seismic shift in the early 1960s as younger activists from the Congress of Racial Equality (CORE) and, especially, the Student Nonviolent Coordinating Committee (SNCC) took more prominent leadership roles. Rather than seeking abstract victories on paper, these activists pioneered direct action strategies of embodied nonviolent resistance like sit-ins, pray-ins, and marches. “Music,” Dr. Kernodle explained, “was an integral component of this nonviolent resistance.”

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a calling.

With its power to unite, music anchored By the time she started writing the Civil Rights Movement to freedom Montgomery Variations in 1963, Bonds struggles of the past while pointing had become embedded in New York toward a more just future.

City’s radical Black intellectual and It was in the early 1960s, Dr. Kernodle artistic scenes, which included the noted, that freedom songs, gospel songs, authors Langston Hughes and Lorraine and even spirituals—a much older Hansberry, as well as commerrepertoire dating to the period of enslavement cial musicians like Nina Simone before the Civil War— and Odetta. Each of these became a centerpiece figures used their art as a in movement activities. medium for social activism, and At the same time, the while we don’t intuitively place movement’s musical classical artists at the center tapestry became more of civil rights activity in the expansive by cutting 1960s—save, perhaps, the great across racial, gender, contralto Marian Anderson— and class lines as well Margaret Bonds certainly was. as musical categories.

Montgomery Variations Joan Baez’s performance American composer and pianist expanded the sonic tapestry Margaret Bonds. of “We Shall Overcome” of the movement in unique at the Lincoln Memorial during the March directions. The foundation of the piece is on Washington is one famous example a spiritual called “I Want Jesus to Walk of this expansion, but Kernodle believes with Me,” a central song of the movement that we can hear musical invocations of calling for the endurance of faith and hope the movement in repertoire well outside in the face of trial. “She uses it as the gospel and folk standards, including basis of this orchestral piece,” Kernodle jazz albums like Max Roach and Abbey explained, “with each of these variations, Lincoln’s We Insist! (1961) and John as I see it, offering a lens into the ethos Coltrane’s A Love Supreme (1964). and the activities of the movement,” We can also hear the movement in which Bonds experienced firsthand in Margaret Bonds’s Montgomery Variations.

Montgomery, Alabama during a tour Bonds (1913–1972) grew up in what Dr. in 1963.

Kernodle called a “Chicago ecosystem “The first three variations,” Kernodle rooted in civic engagement, Black intellec- continued, “convey the spirit of radicalism and defiance that really underscored the tual activity—and activism.” At the same beginning of this wave in the movement.” time, her mother and father were also The spiritual rings out “resiliently” in the musicians and prioritized that dimension opening and is followed by two variations of Margaret’s education after she showed that introduce the physicality of praying extraordinary aptitude from a young in church and marching for freedom. By age. With dreams of becoming a concert the fourth and fifth sections, the mood pianist, she attended Northwestern shifts to the darker side of the Movement University in nearby Evanston and became the first African American woman as it met violent resistance in lynchings and, specifically, the Baptist church to earn a bachelor’s and master’s degree bombings. This variation serves as a in music from that institution. Although historical marker, Kernodle explained, to Bonds had soloed with the Chicago sear that moment in the nation’s history Symphony Orchestra at only 20 years old, her family’s immersion in civic life nudged into permanent memory. Returning to the religiosity of the opening, the piece her to pursue composition, which became 12

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FALL 2023

closes with a serene prayer and benedicprayer, and unity. The final movement presents a sharp contrast with the tion foregrounding the strings with eyes dynamism of the words “Free at last!” and metaphorically pointed to the heavens “Let freedom ring!”—hopeful nods to the and arms outstretched to receive love future in King’s dream. and healing.

Lee remarked that the title of his piece, Much like Montgomery Variations, Shades of Unbroken Dreams, Lee’s Shades of Unbroken should remind listeners that the Dreams pulls listeners into work of Dr. King and the Civil the historical moment of the Rights Movement is not done— Civil Rights Movement in 1963, that old and new challenges but through different means alike continue to marginalize, altogether. Where Bonds drew from police brutality and lack structural inspiration from a of access for disabled people, freedom song and the variation to inequitable pay and barriers techniques of J.S. Bach, Lee James Lee III to education. These are the pulls directly from the speech “shades” of the dream that has melodies and rhythms heard in King’s “I Have a Dream” speech—the same remained unbroken in the United States and the wider world since the beginning musical traits that attracted Berry Gordy of struggles for freedom. at the Walk to Freedom—and the classical Between these two pieces, the DSO concerto, a genre for orchestra and is making a clear statement that music, instrumental soloist, heard in its world even classical music, can shape our premiere with the DSO by Alexandra lives, transform us, and even transform Dariescu. The use of the concerto form our wider communities. Music has a is essential to the piece, Lee explained, mysterious power, the power to unite us, because the piano soloist functions and if we listen carefully, we might find as a visible leader but always with the ourselves hearing the sounds of justice orchestra’s companionship and at times for all. fully inside the group. Lee hopes that this imagery enables the piece to reach the “inner soul” of every individual.

Each of the movements draws from specific moments in King’s speech.

The first contains the most recognizable phrase, “I have a dream,” which becomes a four-note unit that appears NOVEMBER 9–11: in various shapes first in the strings, but James Lee III’s Shades of Unbroken later in the solo piano and throughout Dreams with conductor Fabien Gabel the orchestra. The phrase “100 years and pianist Alexandra Dariescu later”—King’s opening remark about how DECEMBER 7–9: freedom has remained elusive since the Margaret Bonds’s Montgomery Emancipation Proclamation—emerges Variations with Music Director later in the movement and melds into Jader Bignamini a section highlighting the soloist alone.

The second and third movements are connected without pause but have very distinct personalities. The second pulls from King’s references to biblical imagery TI CKE TS: with invocations of the shofar (an ancient D S O.O R G O R 313 .576 .5111 Hebrew horn used for religious purposes),

HEAR THESE WORKS IN ORCHESTRA HALL

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DSO PERFORMANCE MAGAZINE 13

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

Name Your Seat at Orchestra Hall, Leave a Legacy

DSO IMPACT CAMPAIGN

I believe that those who know Orchestra Hall’s storied legacy in Detroit and understand its role in shaping the future of our commitment to the arts should invest in the orchestra’s viability. There’s no place like Orchestra Hall.”

— David Assemany, DSO Governing Members Chair

O

rchestra Hall is our home, and it has shaped the development of our community since its inception in 1919.

Serving as a musical beacon for Detroit, its relevance for the next 100 years must be sustained and continually innovated. This dedication requires strong endowment. By Naming Your Seat in historic Orchestra Hall, you are investing in the vibrancy and continued preservation of this iconic Detroit landmark.

Built by architect C. Howard Crane at the request of then DSO Music Director Ossip Gabrilowitsch, Orchestra Hall is one of the world’s premier concert halls. The acoustics are near perfect (we have the data to prove it), but that’s not the only thing that makes this space so special.

In the century since its opening, Orchestra Hall has represented Detroit’s rich cultural atmosphere, including a ten-year run as the Paradise Theatre from 1941 to 1951. In the same place where musical superstars like Sergei Rachmaninoff, Pablo Casals, Louis Armstrong, Billie Holiday, Aretha Franklin, Itzhak Perlman, Kathleen Battle, and Yo-Yo Ma have performed, the DSO offers the opportunity to stamp your name in DSO history.

Together with far-sighted investors, we will ensure a lasting legacy for our diverse audiences and communities. From presenting unforgettable musical experiences to reaching students in Detroit schools through music education and mentor programs, we are impacting the lives and future of our city.

Deepen your connection to the people, place, and purpose of Detroit’s historic Orchestra Hall by naming a seat today!

INTERESTED IN MAKING A GIFT? CONTACT DSO ADVANCEMENT STAFF:

Alex Kapordelis, Senior Director of Advancement; 313.576.5198 Cassidy Schmid, Director of Individual Giving; 313.576.5115 14

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The DSO is grateful to the donors who have made extraordinary endowment investments through the DSO Impact Campaign or multi-year, comprehensive gifts to support general operations, capital improvements, or special programs.

FOUNDING FAMILIES Mr. & Mrs. Lee Barthel Julie & Peter CummingsAPLF Gerson Family and the William Davidson Foundation The Richard C. Devereaux Foundation Erb Family and the Fred A. and Barbara M. Erb Family 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. Mort & Brigitte Harris FoundationAPLF Linda Dresner & Ed Levy, Jr.APLF Shari & Craig MorganAPLF,MM James B. & Ann V. Nicholson and PVS Chemicals, Inc. APLF Bernard & Eleanor Robertson Mrs. Richard C. Van Dusen Ralph C. Wilson, Jr. Foundation Clyde & Helen Wu◊ VISIONARIES Mr. & Mrs. Richard L. AlonzoAPLF Penny & Harold BlumensteinAPLF Mr. & Mrs. Phillip Wm. FisherAPLF,MM Alan J. & Sue Kaufman and FamilyMM Christine & David ProvostMM Paul & Terese Zlotoff CHAMPIONS Mandell & Madeleine Berman FoundationAPLF Mr. and Mrs. Raymond M. Cracchiolo

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Joanne Danto & Arnold Weingarden Vera and Joseph Dresner Foundation DTE Energy Foundation Ford Motor Company Fund Mr. and Mrs. Morton E. Harris◊ William & Story John John S. & James L. Knight Foundation The Kresge Foundation Mrs. Bonnie LarsonAPLF Brian Meer & Lisa Meer The Andrew W. Mellon Foundation Ms. Deborah Miesel Dr. William F. Pickard The Polk Family Stephen M. Ross Family of Clyde and Helen WuAPLF

BENEFACTORS

LEADERS Applebaum Family Philanthropy Charlotte Arkin Estate Marvin & Betty Danto Family FoundationAPLF Adel & Walter DissettMM Herman & Sharon Frankel Ruth & Al◊ Glancy Mary Ann & Robert GorlinAPLF Mary L. Gwizdala Ronald M. & Carol◊ Horwitz Richard H. & Carola HuttenlocherMM John C. Leyhan Estate Bud & Nancy Liebler Richard & Jane Manoogian Foundation David & Valerie McCammon Mr. & Mrs. Eugene A. Miller Pat & Hank◊ Nickol Jack & Aviva Robinson◊ Martie & Bob Sachs Mr. & Mrs. Alan E. Schwartz◊ Drs. Doris Tong & Teck Soo

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Mr.◊ & Mrs. Robert A. Allesee Mr. David Assemany & Mr. Jeffery Zook APLF,MM W. Harold & Chacona W. BaughAPLF Gwen & Richard Bowlby Robert & Lucinda Clement Lois & Avern CohnMM Jack, Evelyn, and Richard Cole Family Foundation Mary Rita Cuddohy Estate Margie Dunn & Mark DavidoffAPLF,MM DSO MusiciansMM Bette Dyer Estate Michael & Sally Feder MM Marjorie S. Fisher FundMM Dr. Marjorie M. Fisher & Mr. Roy Furman Ms. Mary D. Fisher Mr. & Mrs. Aaron FrankelMM Barbara Frankel & Ronald MichalakMM Victor◊ & Gale Girolami Fund The Glancy Foundation, Inc. APLF Herbert & Dorothy Graebner◊ Richard Sonenklar & Gregory HaynesMM Mr. & Mrs. David Jaffa Renato & Elizabeth JamettMM Max Lepler & Rex DotsonMM Allan & Joy NachmanMM Mariam C. Noland & James A. KellyAPLF Ann & Norman◊ Katz Dr. Melvin A. Lester◊ Florine Mark Michigan Arts & Culture Council Geoffrey S. Nathan & Margaret E. WintersAPLF,MM Roger & Kathy PenskeAPLF Dr. Glenda D. Price Ruth Rattner Mr. & Mrs. Lloyd E. Reuss◊ Mr. & Mrs. Fred Secrest◊ Jane & Larry Sherman Cindy McTee & Leonard Slatkin Marilyn Snodgrass Estate Mr. and Mrs. Arn Tellem APLF Nancy Schlichting & Pamela TheisenAPLF Mr. James G. VellaMM Eva von Voss and FamilyMM Key: MM DSO Musicians Fund for Artistic Excellence APLF Anne Parsons Leadership Fund ◊ Deceased

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COMMUNITY & LEARNING

DUETS: A Musical Pairing with InsideOut Student Poets “ It was fascinating having this conversation with poet Aja Allante with my flute alone. Before the recording we hadn’t spoken other than to say ‘hello, nice to meet you.’ The magic was what unfolded in the moment, wordart-meets-sound-art, spontaneously creating together. What a fulfilling creative endeavor this was for me!” — DSO Musician Jeffery Zook

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he pandemic was a challenging time for all, and especially our children. “How are you feeling?” was the question that sparked a project in partnership with the City of Detroit Office of Arts, Culture, and Entrepreneurship, and with support from the Kresge Foundation. Through the collaboration, DSO musicians Joseph Becker, Jeffery Zook, Jing Zhang, Rachel Harding Klaus, and Jack Walters performed music alongside student poets from InsideOut Literary Arts, an organization that inspires and equips young people to think critically, create bravely, and share their voices with the world through creative writing.

The students wrote their poetry during the pandemic, and the performances were recorded at Orchestra Hall, with the presentation, called “Duets,” airing in spring 2023 on local television.

Rochelle Riley—the city’s Director of Arts and Culture, a former newspaper columnist, and key

partner on the Duets project—examined children and trauma extensively in a multi-part series in the Detroit Free Press. “In interviews with school officials across the region, it is clear that districts in Michigan like many across the country are struggling to meet their primary goal of educating children because they are not equipped to deal with teaching children in pain,” she wrote in 2019.

Layer onto that the trauma of the global Covid-19 pandemic, and children were at great risk for depression and negative impact on their ability to do schoolwork, particularly in isolation.

Enter the Kresge Foundation, where Wendy Lewis Jackson saw an opportunity. “During the pandemic, in many ways, we were surrounded by silence and the importance of having young people elevate their voice, have greater agency through the arts, this was a perfect opportunity to do that.”

For Duets, student poets were paired with a DSO musician, who in turn selected a piece that they felt reflected the feeling of the poem. After meeting with the musician and briefly rehearsing their piece, the resulting collaboration was then recorded on the Orchestra Hall stage.

“Everyone was super fun and supportive throughout the whole process! I loved having the opportunity to perform my poem, especially with another artist!” writes Stella Hughes, reflecting on the experience of performing her poem “Listen” violinist Rachel Harding Klaus. Xavier Jackson, whose poem “Oasis” was performed alongside violinist Jing Zhang, shared similar sentiments: “It was an experience that I can add to my oasis.”

Visit dso.org/stories to view the full presentation.

DSO musician Rachel Harding Klaus with a student poet from InsideOut Literary Arts.

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A COMMUNI TY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA

JADERDBIGNAMINI, Music Director JADER BIGNAMINI MUSIC DIRECTOR A COMMUNI TY-SUPPORTE ORCHESTRA Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

TERENCE BLANCHARD

NA’ZIR MCFADDEN

LEONARD SLATKIN

NEEME JÄRVI

Principal Pops Conductor

Fred A. Erb Jazz Creative Director Chair

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

Music Director Laureate

Music Director Emeritus

PVS CLASSICAL SERIES Title Sponsor:

STRAVINSKY’S PETRUSHKA Friday, November 3, 2023 at 8 p.m.

Saturday, November 4, 2023 at 8 p.m.

Sunday, November 5, 2023 at 3 p.m. in Orchestra Hall JOANA CARNEIRO, conductor JOSHUA ROMAN, cello Manuel de Falla Suite No. 2 from The Three-Cornered Hat (1876 - 1946) (Three Dances) I. The Neighbor’s Dance II. The Miller’s Dance (Farruca) III. Final Dance Mason Bates Concerto for Cello and Orchestra (b. 1977) I. Con moto II. Grazioso III. Con moto. Serene Joshua Roman, cello Intermission Igor Stravinsky Petrushka (1882 - 1971) I. The Shrovetide Fair II. Petrushka’s Cell III. The Moor’s Cell IV. The Fair (towards evening)

Saturday’s performance will be webcast via our exclusive Live From Orchestra Hall series, presented by Ford Motor Company Fund. Technology support comes from the John S. and James L. Knight Foundation.

Flash photography, video recording, tripods, and cameras with detachable lenses are strictly prohibited.

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DSO PERFORMANCE MAGAZINE 17

PROGR AM AT-A-GL ANCE | STR AVINSK Y ’S PE TRUSHK A Meet Me at the Ballet The Ballets Russes is widely regarded as the most influential ballet company of the 20th century. Conceived by Russian impresario Sergei Diaghilev, the company commissioned works by renowned composers from Igor Stravinsky and Claude Debussy to Sergei Prokofiev and Maurice Ravel, and worked with renowned artists and costume designers including Pablo Picasso and Coco Chanel.

Two of the three pieces on this program were performed by the Ballets Russes—Stravinsky’s Petrushka and Manuel de Falla’s Suite No. 2 from The Three-Cornered Hat. Falla’s Suite No. 2 was originally performed by the Ballets Russes as an adaptation of Pedro Antonio de Alarcón’s comic novella El sombrero de tres picos (The Three-Cornered Hat), and later arranged into two orchestral suites. Stravinsky’s Petrushka was based on a character from a Russian folktale tradition—a puppet who came to life and experienced human emotions of desire, unrequited love, and profound pain.

Alongside these works is Mason Bates’s Cello Concerto, which was written to highlight the consummate artistry of Joshua Roman. The piece dances with Roman’s virtuosity floating over a restless orchestral part, and ends with high rhythmic energy and the use of guitar picks in a rocking third movement.

PROGRAM NOTES Suite No. 2 from The Three-Cornered Hat Composed 1917 | Premiered 1919

MANUEL DE FALLA B. November 23, 1876, Cádiz, Spain D. November 14, 1946, Alta Gracia, Argentina

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

(Approx. 12 minutes)

D

istinguished Spanish composer Manuel de Falla found success early in his career in Madrid and was immediately drawn to composing works for the stage. Following his move back to Spain at the beginning of World War I, Falla and Serge Diaghilev (Russian ballet impresario) discussed several potential collaborations, with the consensus being an adaptation of Pedro Antonio de Alarcón’s comic novella El sombrero de tres picos (The Three-Cornered Hat).

In this collaboration, Falla took the novella and increased the size of the orchestral accompaniment, adding a solo for the ballet choreographer Leonid 18

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Massine, who also danced the part of the miller in its highly successful London premiere in 1919. The Three-Cornered Hat was later extracted into two orchestral suites

by Falla, both focused on different parts of the ballet. The second of these two suites is focused on the celebration of the Feast of St. John, where the miller’s neighbors gathered to dance a seguidilla. This suite also features a fiery flamenco farrcua— the dance of the miller’s wife—leading to a final jota, a dance where the time signature’s feel interchanges between 3/4 and 6/8, a chaotic climax and jubilant resolution packaged together in one triumphant finale.

The DSO most recently performed music from The Three-Cornered Hat in May 2017, conducted by Carlos Miguel Prieto.

The DSO first performed this music in January 1928, conducted by Georg Schneevoigt.

Cello Concerto Composed 2014 | Premiered 2014

MASON BATES B. January 23, 1977, Philadelphia, Pennsylvania

Scored for 2 flutes (one doubling piccolo and alto flute), 2 oboes, English horn, 3 clarinets, bass clarinet, 2 bassoons, FALL 2023

contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, keyboard, and strings. (Approx. 25 minutes)

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f his Cello Concerto, Mason Bates writes the following: “This cello concerto began with a friendship. Josh Roman is beloved by just about everyone who meets him, and I am no exception. Immediately apparent is his unusual combination of enlightened prodigy and everyman approachability (he’s from Oklahoma). I noticed this when we first crossed paths in New York, where we were thrown together at the inaugural YouTube Symphony in New York to improvise an electro-acoustic duo at Le Poisson Rouge.

That shotgun wedding left me mesmerized at his unmatched musicianship and technique, and soon I was composing a fiendishly difficult solo work for him to premiere on his series at Town Hall. He played it from memory.

That experience proved to be a great warm-up for this concerto. The piece begins plaintively, with Josh floating over a restless orchestra, and the lyricism only expands in the central slow movement.

But by the final movement the rhythmic energy wins the day, and at one point Josh even plays with a guitar pick. This is, after all, the same fellow who played arrangements of Led Zeppelin at Town Hall, so I had to send him out with a bang.”

This performance marks the DSO premiere of Mason Bates’s Cello Concerto.

Petrushka Composed 1911 | Premiered 1911

IGOR STRAVINSKY B. June 17, 1882, Oranienbaum [now Lomonosov], Russia D. April 6, 1971, New York

Scored for 4 flutes (two doubling on piccolos), 4 oboes (one doubling on English horn), 4 clarinets (one doubling on bass clarinet), 4 bassoons (one doubling on dso.org

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contrabassoon), 4 horns, 4 trumpets, 3 trombones, tuba, timpani, piano, percussion, and strings. (Approx. 34 minutes) “I had in mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggi [played by piano]. The orchestra in turn retaliates with menacing trumpet blasts...I struggled for hours...to find a title which would express in a word the character of my music...One day I leapt for joy. I had indeed found my title— Petrushka.” — Igor Stravinsky

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character from the Russian folktale tradition, Petrushka was a puppet that came to life and experienced human emotions of desire, unrequited love, and profound pain. For Stravinsky and the other Russian artists involved in the project, the subject was particularly appealing because of Petrushka’s association with Russian fairs and carnivals. Consequently, much of Stravinsky’s music focuses on the commotion, excitement, and novelty of the St. Petersburg Shrovetide Fair as it commences amidst Petrushka’s personal story of tragedy. The opening trills in the winds and the sprightly flute solo represent the bustle of the people milling around the fair, a later passage imitates the squeaky organ grinder of a street musician, and in the final tableaux, a prominent tuba solo mimics the uneasy gait of a dancing bear, as it follows the melody provided by the clarinets. Driven by rhythmic energy, dazzling orchestral color, and striking melodies, the music of Petrushka is as engrossing as the enigmatic tale it depicts. — Nathan Platte The DSO most recently performed Stravinsky’s Petrushka in April 2016, conducted by Giancarlo Guerrero. The DSO first performed the piece in March 1925, conducted by Stravinsky himself.

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PROFILES JOANA CARNEIRO

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cclaimed Portuguese conductor Joana Carneiro is the Principal Guest Conductor of the Real Filharmonia de Galicia and Artistic Director of the Gulbenkian Youth Orchestra, a post she has held since 2013. Previously, she was Principal Conductor of the Orquestra Sinfonica Portuguesa at Teatro Sao Carlos in Lisbon from 2014 to 2022 and Music Director of Berkeley Symphony from 2009 to 2018. Carneiro is in high demand across the globe, particularly for her focus on contemporary music both in the concert hall and on the opera stage.

Recent highlights include engagements with the BBC Symphony and Philharmonia in London, BBC Scottish and Scottish Chamber, National Symphony Orchestra (Ireland), Royal Stockholm, Gothenburg, Gavle Symphony, Helsinki and Brussels philharmonics, Castilla y Leon Symphony Orchestra, and La Venice in Europe. A native of Lisbon, she began her musical studies as a violist before receiving her conducting degree from the Academia Nacional Superior de Orquestra in Lisbon, where she studied with Jean-Marc Burfin.

She then traveled to the United States, where she received her master’s degree in orchestral conducting from Northwestern University with Victor Yampolsky and Mallory Thompson and pursued doctoral studies at the University of Michigan with Kenneth Kiesler.

Carneiro is the 2010 recipient of the Helen M. Thompson Award, conferred by the League of American Orchestras to recognize and honor music directors of exceptional promise. In 2004, Carneiro was decorated by the President of the Portuguese Republic, Jorge Sampaio, with the Commendation of the Order of the Infante Dom Henrique.

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JOSHUA ROMAN

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oshua Roman is a cello soloist and composer hailed for his “effortlessly expressive tone... and playful zest for exploration” (The New York Times), as well as his “extraordinary technical and musical gifts” and “blend of precision and almost improvisatory freedom... that goes straight to the heart” (San Francisco Chronicle).

Committed to bringing classical music to new audiences, Roman has collaborated with world-class artists across genres and disciplines, including Edgar Meyer, DJ Spooky, Tony Awardwinner/MacArthur Genius Bill T. Jones, Grammy Award-winning East African vocalist Somi, and Tony Award-nominated actor Anna Deavere Smith. His concert of the complete Bach Solo Cello Suites after the 2016 US presidential election had nearly a million live viewers, and his solo performance with the YouTube Symphony at Carnegie Hall was viewed by 33 million people across nearly 200 countries, with Yo-Yo Ma introducing him as “one of the great exemplars of the ideal 21st century musician.” Roman has performed with leading orchestras including the Los Angeles Philharmonic, San Francisco Symphony, Toronto Symphony, BBC Scottish Symphony Orchestra, and the Mariinsky Symphony Orchestra. As a composer, he has been commissioned by Music Academy of the West, Illinois Philharmonic, and ProMusica Chamber Orchestra. Roman has also premiered new works composed for him by Mason Bates, Reena Esmail, Timo Andres, Gabriela Lena Frank, Aaron Jay Kernis, Lisa Bielawa, and others.

FALL 2023

A COMMUNI TY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA

JADERDBIGNAMINI, Music Director JADER BIGNAMINI MUSIC DIRECTOR A COMMUNI TY-SUPPORTE ORCHESTRA Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

TERENCE BLANCHARD

NA’ZIR MCFADDEN

LEONARD SLATKIN

NEEME JÄRVI

Principal Pops Conductor

Fred A. Erb Jazz Creative Director Chair

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

Music Director Laureate

Music Director Emeritus

PVS CLASSICAL SERIES Title Sponsor:

FRENCH PASSIONS & ENDURING DREAMS Thursday, November 9, 2023 at 7:30 p.m.

Friday, November 10, 2023 at 10:45 a.m.

Saturday, November 11, 2023 at 8 p.m. in Orchestra Hall FABIEN GABEL, conductor • ALEXANDRA DARIESCU, piano Maurice Ravel

Rapsodie espagnole

(1875 - 1937) I. Prélude a la nuit II. Malagueña III. Habañera IV. Feria

James Lee, III

Shades Of Unbroken Dreams: Concerto for Piano and Orchestra (World Premiere) (b. 1975)

Voice Merging Prophetic Voice Dynamic Spectacle

Alexandra Dariescu, piano

Intermission Paul Dukas

Fanfare from La Péri

(1865 - 1935)

La Péri: Poème dansé

Albert Roussel

Suite No. 2 from Bacchus et Ariane, Op. 43

(1869 - 1937) I. Ariadne’s Awakening II. Ariadne and Bacchus III. Bacchus’ Dance IV. The Kiss V. Bacchus’ Cortege VI. Ariadne’s Dance VII. Ariadne and Bacchus VIII. Bacchanale and the Coronation of Ariadne

With support from Bonnie Larson, the DSO is proud to feature The Larson Piano on this program.

Part of the DSO’s fine instrument collection, the Steinway Model D Concert Grand Piano is the standard by which other concert pianos are judged and compared. Handmade in the New York Steinway Factory, this majestic musical instrument is the pinnacle of concert grands.

Saturday’s performance will be webcast via our exclusive Live From Orchestra Hall series, presented by Ford Motor Company Fund. Technology support comes from the John S. and James L. Knight Foundation.

Flash photography, video recording, tripods, and cameras with detachable lenses are strictly prohibited.

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DSO PERFORMANCE MAGAZINE 21

PROGR AM AT-A-GL ANCE | FRENCH PASSIONS & ENDURING DRE AMS A Walk to Freedom The title French Passions and Enduring Dreams represents the breadth of music presented in this program—from a variety of French repertoire (conducted by French conductor Fabien Gabel) to the world premiere of a piano concerto by Michiganborn composer James Lee III honoring the 60th anniversary of Dr. Martin Luther King Jr.’s famous “I Have a Dream” speech and the Detroit Walk to Freedom. This program features highly popular French works such as Ravel’s Rapsodie espagnole alongside lesser-known masterpieces including selections from Paul Dukas’s La Péri.

Dr. King’s impact was global, and he was invited by the Féderation Protestante de France (FPF) to give sermons in the American Church and the Maison de la Mutualité in Paris in 1965. During his visit, he spent time with French and foreign pastors from across Paris at the Eglise Reformée de l’Annociation during the 16th arrondissement and was interviewed by the FPF for a television show called Présence Protestante. He responded to questions about the practicality of non-violence as a strategy against racial oppression, his thoughts about the success of the movement in the north vs. the south, and how the French population could lend their support. This visit to France occurred just two years after his “I Have a Dream” speech, which became one of the defining moments of the Civil Rights Movement and one of the most iconic speeches in American history.

PROGRAM NOTES Rapsodie espagnole Composed 1908 | Premiered 1908

MAURICE RAVEL B. 1875, Ciboure, France D. 1937, Paris, France

Scored for 2 flutes, 2 piccolos, 2 oboes, English horn, 2 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, keyboard, and strings.

(Approx. 15 minutes)

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lthough decidedly French in his tastes and values, Maurice Ravel had a deep attachment to Spain. This seems to have at least partly been a matter of family heritage.

The composer’s mother was Basque, and his parents had met, married, and conceived their son while living in Spain.

Marie Ravel reportedly even wished to deliver the child on Spanish soil, and though she was unable to do so, Maurice was born in the village of Cibourne, only few miles inside France from the border with Spain. Three months later, the family moved to Paris, but some strong Spanish instinct seems already to have instilled itself in the composer. He returned 22

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regularly to the village of his birth and on numerous occasions crossed into Spain proper, drawn, it seems, by the sunlight, the paintings of Goya and Velázquez, and by the vigorous rhythms of Spanish music. It is not so surprising, then, that throughout his career, Ravel wrote works of Spanish character. Among these are the opera L’heure espagnole, the famous Boléro, and Rapsodie espagnole.

The latter composition, which dates from 1907, is a colorful orchestral showpiece in four movements. Ravel opens the work with a “Prelude to Night” (“Prélude à la nuit”) featuring a motif of four notes in a descending line that repeats over nearly the entire length of the movement. With an imaginative use of instrumental color and admirable economy, Ravel evokes a perfumed nocturnal atmosphere.

“Malagueña,” the second movement, employs the characteristic rhythms of the traditional Spanish dance from which it takes its title. Its initial theme has the vitality of gypsy music, while a second subject, introduced by the English horn, is more languorous and brings with it a brief return of the descending four‑note motif of the previous movement.

The ensuing “Habañera” takes its title and characteristic rhythms from another popular Spanish dance, one made famous FALL 2023

to French audiences—and, indeed, around the world—by Bizet’s opera Carmen. The last movement, “Feria,” displays Ravel’s considerable brilliance as an orchestrator. It presents a kaleidoscopic array of novel sonorities, including prominent contributions from the percussion. Except for the slow central episode, which again features English horn and a reprise of the signature four‑note motif, the music is festive and energetic.

The DSO most recently performed Ravel’s Rapsodie espagnole in October 2013, conducted by Leonard Slatkin.

The DSO first performed the piece in December 1951, conducted by Dimitri Mitropoulos.

Shades of Unbroken Dreams: Concerto for Piano and Orchestra (World Premiere) Composed 2023 | Premiered 2023

JAMES LEE III B. 1975, St. Joseph, Michigan

Scored for 2 flutes (one doubling on piccolo), 2 oboes (one doubling English horn), 2 clarinets (one doubling bass clarinet), 2 bassoons (one doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 32 minutes)

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ames Lee, III, born 1975 in St. Joseph, Michigan, cites as his major composition teachers as Michael Daugherty, William Bolcom, Bright Sheng, Betsy Jolas, Susan Botti, Erik Santos, and James Aikman, and graduated with a Doctor of Musical Arts degree from the University of Michigan in 2005. As a composition fellow at the Tanglewood Music Center in the summer of 2002, he added Osvaldo Golijov, Michael Gandolfi, Steven Mackey and Kaija Saariaho to his roster of teachers, and studied conducting with Stefan Asbury. dso.org

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On Shades of Unbroken Dreams, Lee writes the following: “Shades of Unbroken Dreams is partially inspired by Dr. Martin Luther King Jr.’s famous speech, ‘I Have a Dream.’ I chose the title to reflect a continual and unbroken move towards achieving the dream of which Dr. King spoke. The ‘shades’ represent the various people of color who aspire to be a part of that great dream.

As I reflected on this speech, I thought about how this concerto is also inspired by the idea of social justice and equality for all men and women. It is a concerto that seeks to inspire conversations about how equal opportunities can be achieved in the classical music industry especially for people of color and women. Regarding the structure of the concerto, it is in three movements. I entitled each movement using the rhetorical lenses of voice merging (first movement), prophetic voice (second movement), and dynamic spectacle (third movement).

Voice merging is a technique often used

by African American preachers. It combines the voices of previous preachers, excerpts from scriptures, and the speaker’s own thoughts to create a unique voice. The first movement begins evoking the concept of a dream, and the strings play a motivic figure and first theme material based on the words, ‘I Have a Dream.’ As the movement progresses, the second theme uses a rhythmic figure for the texts ‘One hundred years later.’ The two themes are employed throughout the movement and reach their climax in the piano solo cadenza. The movement moves toward a mysteriously dissonant end signifying that we are still waiting for a resolution and true equality. The second movement, ‘Prophetic Voice,’ seeks to display Dr. King’s speech, in which he spoke with urgency and crisis, ‘giving him a prophetic voice.’ The brass and then strings portray this sense of urgency and anguish before the piano enters with a humble melody and seeks to solicit positive change. ‘The prophetic voice must restore a sense of duty and virtue amidst the DSO PERFORMANCE MAGAZINE 23

decay of venality.’ After the principal musical material has been presented, I composed an interlude, which is designed to draw the listener into a dreamworld of limitless possibilities for positive action, change, and respect for one another. This is followed by an increase in the orchestral density, which leads to the third and final movement without pause. This last movement ‘Dynamic Spectacle’ incorporates the texts ‘Let freedom ring’ and ‘Free at last’ as rhythmic motives and melodic themes. The structure is loosely related to Rondo form with an emphatic coda of crashing chords in the piano and orchestral hits near the latter stages of the concerto, which bring the work to its exhilarating conclusion.”

Commissioned by the DSO, this performance marks the world premiere of James Lee III’s Shades of Unbroken Dreams.

Fanfare from La Péri Composed 1912 | Premiered April 22, 1912

PAUL DUKAS B. October 1, 1865, Paris, France D. May 17, 1935, Paris

Scored for 4 horns, 3 trumpets, 3 trombones, and tuba. (Approx. 2 minutes)

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ukas achieved his first public acclaim with the 1891 premiere of the overture Polyeucte, after the play by Corneille; his Symphony in C Major, completed five years later, is splendidly crafted but seldom played.

Indeed, after his opera, Ariane et Barbebleue of 1907, Dukas wrote only one other major work—La Péri. Natalie Trouhanova, a Russian ballerina with a following in Paris, commissioned the score.

The creature known as a “péri” comes from Persian mythology, and the first printed reference to them in English dates from 1777 and describes them as one of “those beings, who inhabited the globe immediately before the creation of man.”

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Artists were fascinated with these exotic creatures: the dance version by Jean Coralli and Théophile Gautier (1843) and the cantata Das Paradies und die Péri, composed by Schumann, are the bestknown treatments of the theme.

— Michael Fleming In his study, French Music: From the Death of Berlioz to the Death of Fauré, Martin Cooper writes that La Péri “combines in a charming and individual way the brilliant coloring [sic] and something of the melodic and harmonic traits of Rimsky-Korsakov, with the extreme delicacy and grace, the dramatic poetry and the fine sense of composition (in the painter’s sense) which art typical of French music of this period.”

The DSO most recently performed Dukas’s Fanfare from La Péri in May 2023 on the Young People’s Family Concert Series, conducted by Na’Zir McFadden.

The DSO first performed the piece at an in-school concert series in February 1957, conducted by C. Valter Poole.

La Péri: Poème dansé Composed 1912 | Premiered 1912

PAUL DUKAS B. October 1, 1865, Paris, France D. May 17, 1935, Paris

Scored for 3 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, keyboard, and strings. (Approx. 17 minutes)

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he ballet, La Péri, was the last in a handful of major works the much-admired but highly self-critical French composer, Paul Dukas, allowed to be published. It was composed in 1911-1912 as a “poème dansé,” or a “dance poem in one scene,” and shared its premiere with such works as Vincent D’Indy’s Istar, a ballet setting of Ravel’s Valses nobles et sentimentales, and Florent Schmitt’s La Tragédie de Salomé.

The story deals with Lord Iskender who FALL 2023

travels to the end of the earth seeking the Flower of Immortality, a glowing white lotus that he finds and snatches from the hand of a “péri,” a fallen angel who has assumed the form of a sleeping fairy. But as she awakens and dances for him, his passion for her turns the flower to a deep purple. Torn between the conflicting attractions of heaven and earth, he surrenders the flower and awaits death.

Employing a strong sense of self-discipline, Dukas limited himself to a pair of thematic ideas, one each for Iskender and the fairy, and wove them into a ravishing, constantly varied ballet score. Following the 1912 premiere, he added a solemn brass fanfare preceding the misty dawn scene opening the ballet. Major sections in the continuous score includes a resolute marching theme for Iskender as he searches for the flower, haunting scenes of his discovery of the sleeping fairy and her voluptuous dance, which leads to the climax and a quiet epilogue recalling the opening scene of the ballet.

The DSO most recently performed Paul Dukas’s La Péri: Poème dansé in February 2003, conducted by Paolo Carignani. The DSO first performed the piece in December 1929, conducted by Ossip Gabrilowitsch.

Bacchus et Ariane Suite No. 2 Composed 1930 | Premiered 1931

ALBERT ROUSSEL B. April 5, 1869, Tourcoing, France D. August 23, 1937, Royan, France

Scored for 2 flutes (one doubling piccolo), piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, keyboard, and strings. (Approx. 18 minutes)

I

n France, the finely crafted music of Albert Roussel has never been without an audience, and in English-speaking countries, he has had his advocates too, like Wilfrid Mellers, who wrote an

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appreciation of the composer at a time when much of his music was known by reputation as much as in performance.

For many years, however, Roussel’s sole foothold in the orchestral repertoire was the Bacchus et Ariane suites.

Roussel’s scenario is based on the classical myth of Ariadne, abandoned on a desert island by her lover Theseus.

Composers for centuries have found inspiration in this scene. Monteverdi based one of his operas on it, of which nothing survives but the heroine’s lament.

Three centuries later, Richard Strauss dealt with the same material in his Ariane auf Naxos. In between have come operas, ballets, and cantatas, none of them exhausting the possibilities of these potent characters.

As a ballet, Roussel’s Bacchus et Ariane had little success, even with choreography by Serge Lifar and décor by Giorgio de Chirico. It has lived on in the form of two concert suites, however, each comprising one act of the ballet. The Second Suite begins at the point at which Ariadne, abandoned by Theseus, lies asleep on the island of Naxos. She awakens looking for her lover, and realizing that he has gone, she attempts to fling herself over a cliff.

She lands, not in the sea, but in the arms of Bacchus, who takes up again the dance Ariadne had seen in a dream in Act I. A kiss from the god rouses her and brings to life the inhabitants of the island, who move by in procession. A maenad and a faun offer her a goblet filled with wine, and intoxicated, she dances with Bacchus.

The followers of the god join in a concluding revel, as Ariadne is crowned as Bacchus’s consort.

The DSO most recently performed Albert Roussel’s Bacchus et Ariane Suite No. 2 in April 1991, conducted by Neeme Järvi. The DSO first performed the piece in January 1963, conducted by Werner Torkanowsky.

DSO PERFORMANCE MAGAZINE 25

PROFILES FABIEN GABEL

F

abien Gabel has established an international career of the highest caliber, appearing with orchestras such as the London Philharmonic Orchestra, Orchestre de Paris, NDR Elbphilharmonie Orchester, Gürzenich-Orchester Köln, Oslo Philharmonic, Helsinki Philharmonic Orchestra, The Cleveland Orchestra, Seoul Philharmonic, and Melbourne Symphony Orchestra. Praised for his dynamic style and sensitive approach to the score, he is best known for his eclectic choice of repertoire, ranging from core symphonic works, to new music, to championing lesser-known composers of the 19th and the 20th centuries.

Gabel has performed with soloists such as Yefim Bronfman, Emmanuel Ax, Bertrand Chamayou, Seong-Jin Cho, Jean-Yves Thibaudet, Gidon Kremer, Augustin Hadelich, Simone Lamsma, Daniel Lozakovich, and Christian Tetzlaff, and with singers such as Measha Brueggergosman and Natalie Dessay, among others.

Having attracted international attention in 2004 as the winner of the Donatella Flick conducting competition, Gabel was Assistant Conductor of the London Symphony Orchestra from 2004 to 2006.

He was Music Director of Orchestre symphonique de Québec from 2012 to 2021, and Orchestre Français des Jeunes from 2017 to 2021.

Born in Paris to a family of accomplished musicians, Gabel began playing the trumpet at age six and honed his skills at the Conservatoire National Supérieur de Musique de Paris and the Hochschule für Musik Karlsruhe. Gabel was named “Chevaliers des Arts et des Lettres” by the French government in January 2020.

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ALEXANDRA DARIESCU

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lexandra Dariescu, creator of The Nutcracker and I (a production now in its seventh year), is a pianist for the 21st century, standing out as an original voice whose fundamental values are shining a light on gender equality in both her concerto and recital programs, which include championing and premiering lesser-known works. In demand as a soloist worldwide, she has performed with eminent orchestras including the London Philharmonic Orchestra, Orchestre National de France, Oslo Philharmonic, and the Sydney Symphony Orchestra, whilst the list of conductors she has worked with includes Adam Fischer, Cristian Măcelaru, Fabien Gabel, Jun Märkl, Vasily Petrenko, Ryan Bancroft, James Gaffigan, Jonathon Heyward, JoAnn Falletta, and Michael Francis. In 2023-2024, Dariescu opens the season for the BBC Symphony Orchestra with Sakari Oramo at the Barbican Centre. A regular guest of the George Enescu International Festival, she returns alongside pianist Jean Efflam Bavouzet and the Manchester Camerata for Mozart’s double concerto.

Season highlights also include debuts with the Indianapolis, Vancouver, Trondheim, and Wuppertal symphony orchestras; Copenhagen Philharmonic; and Philharmonisches Staatsorchester Mainz. She will return to the Houston Symphony with Gabel and give the UK premiere of Shades of Unbroken Dreams under the baton of John Storgårds.

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A COMMUNITY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA

JADERDBIGNAMINI, Music Director JADER BIGNAMINI MUSIC DIRECTOR A COMMUNITY-SUPPORTE ORCHESTRA Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

TERENCE BLANCHARD

NA’ZIR MCFADDEN

LEONARD SLATKIN

NEEME JÄRVI

Principal Pops Conductor

Fred A. Erb Jazz Creative Director Chair

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

Music Director Laureate

Music Director Emeritus

PARADISE JAZZ SERIES PARADISE THEATRE BIG BAND

Friday, November 17, 2023 at 8 p.m. in Orchestra Hall

KRIS JOHNSON, musical director and trumpet MILTON SUGGS, vocalist Saxophones: Caleb Curtis, alto saxophone Kasan Belgrave, alto saxophone Marcus Elliot, tenor saxophone Rafael Leafar, tenor saxophone Kaleigh Wilder, baritone saxophone Trumpets: Omar Lateef, trumpet Anthony Stanco, trumpet Allen Dennard, trumpet Solomon Parham, trumpet Trombones: Corey Wallace, trombone William Wang, trombone Kenneth Gill, trombone Khristian Foreman, bass trombone Rhythm Section: Brendon Davis, piano Sasha Kashperko, guitar Brandon Rose, bass Nate Winn, drums Lauren Johnson, percussion Shanelle Harrison, visual artist MADE POSSIBLE WITH SUPPORT FROM DownBeat magazine This performance will be webcast via our exclusive Live From Orchestra Hall series, presented by Ford Motor Company Fund. Technology support comes from the John S. and James L. Knight Foundation.

Flash photography, video recording, tripods, and cameras with detachable lenses are strictly prohibited.

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DSO PERFORMANCE MAGAZINE 27

PROGRAM AT-A-GLANCE | THE PARADISE THEATRE BIG BAND The Paradise Theatre: Detroit’s Jazz Destination From its inauguration in 1919 through to today, Detroit’s Orchestra Hall has stood as a beacon of music and culture, including a ten-year run as the Paradise Theatre from 1941 to 1951. In its heyday, the Paradise Theatre was among the most prominent venues in the city and hosted legendary jazz musicians including Ella Fitzgerald, Billie Holiday, Count Basie, Duke Ellington, and many others. As an homage to these roots, the DSO’s Paradise Jazz Series is named after the Paradise Theatre. Tonight’s program furthers the tradition with the Paradise Theatre Big Band, led by Detroit-born trumpeter Kris Johnson and featuring the city’s top jazz artists. This group of multi-generational musicians will perform genre-bending original compositions alongside hard-hitting music, and honor Detroit’s legacy of jazz and the Paradise Valley and Black Bottom neighborhoods that served as a beacon of Black culture from 1920 to 1950.

PROFILES KRIS JOHNSON

K

ris Johnson is an acclaimed trumpeter, composer, and educator based in Detroit. His artistry revolves around the vast spectrum of Black American music, influenced by greats like Terence Blanchard, Thad Jones, and Stevie Wonder.

Leading The Kris Johnson Group, he’s recorded albums like Odd Expressions, Journey Through a Dream, and The Unpaved Road with Lulu Fall. Recent projects fuse music and technology, touching on themes like childhood memories in the self-produced audio-visual album SAFE and addressing generational trauma in #looptherapy, vol. 1. During the pandemic, he created the Kris Johnson Big Band, a virtual ensemble sourced globally from his diverse circle.

Johnson’s career highlights include touring with the Count Basie Orchestra (2008 to 2019) and performing at prestigious venues worldwide. He’s shared the stage with luminaries such as Wynton Marsalis and Tony Bennett, even appearing in Sinbad’s Make Me Wanna Holla film.

A dedicated educator, Johnson directed Jazz Studies at the University of Utah and contributed to various educational 28

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programs. His musical contributions have earned accolades, including a Kresge Arts Fellowship in 2012, and an ASCAP Young Jazz Composer’s award in 2013. At the DSO’s 2023 Classical Roots Celebration, Johnson received the Marlowe Stoudamire Award for Innovation and Community Collaboration.

PARADISE THEATRE BIG BAND

L

ed by Grammy Award-nominated trumpeter Kris Johnson, the Paradise Theatre Big Band embodies Detroit’s musical traditions. This dynamic ensemble of multi-generational musicians celebrates versatility, mentorship, and innovation. Formed by the Detroit Symphony Orchestra in 2022 to honor the Paradise Theatre’s 80th anniversary, the band delivers genre-bending performances with inventive arrangements.

They pay homage to Detroit’s vibrant past, including the historic Paradise Valley and Black Bottom neighborhoods. Special guests Terence Blanchard and Kurt Elling joined their highly successful debut at the DSO’s Orchestra Hall. The band’s twenty members, including educators and former students of the DSO’s Civic Jazz Orchestra, form a culturally rich and historically significant ensemble.

FALL 2023

A COMMUNITY-SUP PORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA

JADERDBIGNAMINI, Music Director JADER BIGNAMINI MUSIC DIRECTOR A COMMUNITY-SUP PORTE ORCHESTRA Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

TERENCE BLANCHARD

NA’ZIR MCFADDEN

LEONARD SLATKIN

NEEME JÄRVI

Principal Pops Conductor

Fred A. Erb Jazz Creative Director Chair

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

Music Director Laureate

Music Director Emeritus

PVS CLASSICAL SERIES Title Sponsor:

MARSALIS’ BLUES SYMPHONY Friday, December 1, 2023 at 8 p.m.

Saturday, December 2, 2023 at 8 p.m.

Sunday, December 3, 2023 at 3 p.m. in Orchestra Hall JADER BIGNAMINI, conductor MEGHAN PICERNO, soprano George Gershwin “Strike Up the Band” from Strike Up the Band (1898 - 1937) Arr. Frank Campbell-Watson “The Man I Love” from Lady, Be Good Meghan Picerno, soprano George Gershwin “By Strauss” lyrics by Ira Gershwin Meghan Picerno, soprano Leonard Bernstein Overture to Candide (1918 - 1990) “Somewhere” from West Side Story Meghan Picerno, soprano

“I Feel Pretty” from West Side Story Meghan Picerno, soprano INTERMISSION Wynton Marsalis Blues Symphony (b. 1961) Born in Hope Swimming in Sorrow Reconstruction Rag Southwestern Shakedown Big City Breaks Danzón y Mambo, Choro y Samba Dialog in Democracy

Saturday’s performance will be webcast via our exclusive Live From Orchestra Hall series, presented by Ford Motor Company Fund. Technology support comes from the John S. and James L. Knight Foundation.

Flash photography, video recording, tripods, and cameras with detachable lenses are strictly prohibited.

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DSO PERFORMANCE MAGAZINE 29

PROGR AM AT-A-GL ANCE | MARSALIS’ BLUES SYMPHONY

The American Sound The Great American Songbook is the canon of the most important and influential American popular songs and jazz standards from the early 20th century that have stood the test of time. This canon includes works by Irving Berlin, Cole Porter, Oscar Hammerstein II, and more, and on today’s program the music of George Gershwin and Leonard Bernstein is highlighted by illustrious soprano Meghan Picerno, featuring selections from beloved musicals including West Side Story and Candide. The blues can be traced back to the United States in the 1860s, a genre originated by the musical retelling of the experiences of freed Black individuals facing immense discrimination and violence post-slavery. “The blues helps you remember back before the troubles on hand,” says Pulitzer Prize–winning and multi-Grammy Award–winning trumpeter and composer Wynton Marsalis. “They carry you on the wings of angels to a timeless higher ground.” On this program, Marsalis’s Blues Symphony together with the works by Gershwin and Bernstein define the essence of the American Sound.

PROGRAM NOTES SELECTIONS

BY GEORGE GERSHWIN “Strike Up the Band” from Strike Up the Band GEORGE GERSHWIN ARR. FRANK CAMPBELLWATSON Composed 1927 | Premiered 1927

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, keyboard, and strings. (Approx. 3 minutes)

“The Man I Love” from Lady, Be Good GEORGE GERSHWIN ARR. FRANK CAMPBELLWATSON Composed 1924 | Premiered 1924

Scored for 2 flutes, oboe, 2 clarinets, bassoon, 2 horns, 2 trumpets, trombone, percussion, and harp. (Approx. 4 minutes)

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“By Strauss” GEORGE GERSHWIN LYRICS BY IRA GERSHWIN Composed 1936 | Premiered 1936

Scored for 2 flutes (one doubling piccolo), oboe, 2 clarinets, bass clarinet, bassoon, 2 horns, 3 trumpets, 2 trombones, timpani, percussion, harp, and strings. (Approx.

5 minutes)

T

he artistry of American composer and pianist George Gershwin spanned popular, jazz, and classical genres. Gershwin and his brother, Ira, collaborated on many stage musicals including Lady, Be Good and Strike Up the Band. The song “Strike Up the Band” was composed by George in 1927 with lyrics written by Ira for a musical of the same title, a satire on war and militaristic music. This song was later arranged by the Gershwins into a rally song for football games at UCLA. Lady, Be Good is a musical about a brother and sister who are out of money and both eager to sacrifice themselves for each other. It premiered on Broadway in 1924 and initially featured a song titled “The Man I Love,” which was later removed from the show and instead added to Strike Up the Band. In 1936’s “By Strauss,” the brothers pay comedic homage to the Strausses of classical music: Johann Strauss Sr. and Johann Strauss Jr. FALL 2023

SELECTIONS

BY LEONARD BERNSTEIN Overture to Candide LEONARD BERNSTEIN Composed 1956 | Premiered 1957

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, bass clarinet, e-flat clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx.

5 minutes)

“Somewhere” from West Side Story LEONARD BERNSTEIN Composed 1957 | Premiered 1957

Scored for 2 flutes, 2 clarinets, bass clarinet, bassoon, 2 horns, timpani, percussion, harp, keyboard, strings, and electric guitar. (Approx. 2 minutes 30 seconds)

“I Feel Pretty” from West Side Story LEONARD BERNSTEIN Composed 1957 | Premiered 1957

Scored for 3 flutes (2 doubling piccolo), clarinet, bassoon, 2 horns, 3 trumpets, 2 trombones, timpani, percussion, keyboard, strings, and guitar. (Approx.

3 minutes 20 seconds)

A

merican conductor, composer, pianist, music educator, author, and humanitarian Leonard Bernstein is perhaps best known for his musical West Side Story and his theater work Candide.

Candide is a 1956 operetta based on Voltaire’s 1759 novella of the same name, and its overture incorporates melodies from some of the operetta’s most popular

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songs. The iconic West Side Story à la Shakespeare’s Romeo and Juliet explores a rivalry between two teenage street gangs in Manhattan’s Upper West Side in the 1950s.

Blues Symphony Composed 2009 | Premiered 2009

WYNTON MARSALIS B. October 18, 1961, New Orleans, Louisiana

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

62 minutes)

N

ow regarded as one of Wynton Marsalis’s most innovative and colossal works, the Blues Symphony, his second symphonic work, was many years in the making.

Marsalis conceptualized the piece in 2008 and worked with music supervisor Jonathan Kelly for more than a decade on its development, culminating in May 2021 with the release of a recording by The Philadelphia Orchestra under conductor Cristian Măcelaru.

Blues Symphony is a triumphant ode to the power of the blues and the scope of America’s musical heritage. With a blend of influences from ragtime to habanera, the piece takes listeners on a sonic journey through America’s revolutionary era, the early beginnings of jazz in New Orleans, and a big city soundscape that serves as a nod to the Great Migration.

Of Blues Symphony, Wynton Marsalis writes the following: “The Blues Symphony is a seven-movement work that gives a symphonic identity to the form and feeling of the blues. It utilizes regional and stylistic particulars of the idiom’s language and form to convey the basic point of view of the blues as DSO PERFORMANCE MAGAZINE 31

music: “Life hands you hard times.”

When you cry, holler, and shout to release those hard times; when you tease, cajole, and play to diminish them; and when you dance and find a common community through groove, better times will be found. The more profound the pain, the deeper the groove.

This piece is intended to further the legacy of Scott Joplin, George Gershwin, James P. Johnson, Leonard Bernstein, John Lewis, Gunther Schuller, and others who were determined to add the

innovations of jazz to the vocabulary of the symphonic orchestra. I believe there is an organic and real connection between all Western traditions regardless of instrumentation, and that the symphonic orchestra can and will swing, play the blues, feature melodic improvisation, and execute the more virtuosic aspects of jazz and American vernacular music with absolute authenticity.”

The DSO first performed Wynton Marsalis’s Blues Symphony in June 2022, conducted by Jader Bignamini.

PROFILES For Jader Bignamini’s biography, see page 6.

MEGHAN PICERNO

H

ailed by The New York Times for her “attractive soprano voice” and for having “total control of the stage,” coloratura soprano Meghan Picerno is known for her exciting, crowd-pleasing performances in opera, theatre, and on concert stages throughout the world. Picerno took national audiences by storm as Christine in the US Premiere and First National Tour of Andrew Lloyd Webber’s Love Never Dies.

Her portrayal of the title song had critics in awe, which led to special invitations from Andrew Lloyd Webber to represent his body of work in performance on the ITV television broadcast of the BRIT Awards and a guest appearance on the Live at Chelsea Concert Series honoring his 70th birthday. After finishing Love

Never Dies, Picerno took another turn at Christine, this time in a sparkling new production of The Phantom of the Opera on its highly lauded world tour. In the fall of 2019, she made her Broadway debut in Phantom and reprised the role when the production re-opened in the fall of 2021.

Regional and opera credits include appearances as Cunégonde in Candide, Marian in The Music Man, Amalia in She Loves Me, Eliza in My Fair Lady, Violetta in La traviata, Queen of the Night in The Magic Flute, and Olympia in The Tales of Hoffmann. She has performed at Royal Albert Hall, Lincoln Center, Carnegie Hall, David Geffen Hall, Alice Tully Hall, Gran Teatre del Liceu in Barcelona, Theatro Municipal de São Paulo, and the National Centre for the Performing Arts in Beijing, and with leading orchestras including the San Francisco Symphony, Princeton Symphony, and others.

LIVE FROM ORCHESTRA HALL Enjoy the DSO from anywhere with Live from Orchestra Hall! View free, live webcasts of PVS Classical Series, Paradise Jazz Series, and Classroom Edition performances, plus Civic Youth Ensembles presentations.

WATCH NOW AT DSO.ORG/LIVE 32

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150

RACHMANINOFF

As the world celebrates the composer’s 150th birthday, we reflect on his history with the DSO

O

Rachmaninoff would ne of the last great go on to perform with representatives of the DSO on three more musical Romanticism, occasions: at Orchestra Sergei Rachmaninoff Hall in February 1937 for frequently shared his gifts his Piano Concerto No. as a virtuoso pianist with 2 conducted by Victor Detroit audiences and Kolar, and again under enjoyed a friendship with Kolar at the Masonic Russian-born contemporary Temple in November 1939 Ossip Gabrilowitsch—also (Rhapsody on a Theme of a composer, conductor, and Paganini) and December pianist, and the DSO’s music 1941 (Schumann’s Piano director from 1918–1936.

75th birthday concert for Leopold Auer, April 28, 1925.

Concerto in A minor).

In addition to recitals at Standing L-R: Isidor Achron, Jascha Heifetz, Ossip Even after his passing Detroit’s Masonic Temple, Gabrilowitsch, Sergei Rachmaninoff, Josef Hofmann, and Rachmaninoff had the honor P. Strassievitch, Seated L-R: Auer and Efrem Zimbalist Sr. in 1943, Rachmaninoff has remained an integral of christening Orchestra artistic figure to the DSO, Hall with a solo piano recital just two weeks after with the orchestra performing his works on more than its opening in November 1919. In the Detroit Free 300 occasions. Among the DSO’s recordings are a survey Press, Gabrilowitsch was quoted as saying, “Not only of Rachmaninoff’s three symphonies under Leonard is Rachmaninoff one of the greatest pianists of today, Slatkin and a 1993 album of his Concerto élégiaque, but as a composer he has his own powerful word to Variations on a Theme of Corelli, and Vocalise under say. What has so Neeme Järvi. seldom happened This season, the DSO continues the legacy. Standing in the history where he stood more than 100 years ago, we illuminate of arts is true of Rachmaninoff—a his expressive melodies and rich orchestral colors for a new generation to savor. great creative genius who during his lifetime already has achieved vast Enjoy Rachmaninoff this popularity.” season at Orchestra Hall Three OCTOBER 13–15: Piano Concerto No. 1 years later in conducted by Jader Bignamini (with November 1922, Simon Trpčeski) Rachmaninoff Detroit Free Press, Nov. 17, 1939 DECEMBER 7–9: Rhapsody on a Theme returned to of Paganini conducted by Jader Orchestra Hall for his highly anticipated debut as soloist Bignamini (with Sergei Babayan) with the DSO. In an all-Russian program at the height of his demand in the United States, Rachmaninoff APRIL 5–7: Symphonic Dances conducted by Eric Jacobsen dazzled in his Piano Concerto No. 3 under the baton of Gabrilowitsch. dso.org

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DSO PERFORMANCE MAGAZINE 33

A COMMUNITY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA

JADERDBIGNAMINI, Music Director JADER BIGNAMINI MUSIC DIRECTOR A COMMUNITY-SUPPORTE ORCHESTRA Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

TERENCE BLANCHARD

NA’ZIR MCFADDEN

LEONARD SLATKIN

NEEME JÄRVI

Principal Pops Conductor

Fred A. Erb Jazz Creative Director Chair

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

Music Director Laureate

Music Director Emeritus

PVS CLASSICAL SERIES Title Sponsor:

Tchaikovsky’s Sixth Symphony Thursday, December 7, 2023 at 7:30 p.m.

Friday, December 8, 2023 at 10:45 a.m.

Saturday, December 9, 2023 at 8 p.m. in Orchestra Hall JADER BIGNAMINI, conductor SERGEI BABAYAN, piano Margaret Bonds The Montgomery Variations (1913 - 1972) Decision Prayer Meeting March Dawn in Dixie One Sunday in the South Lament Benediction Sergei Rachmaninoff Rhapsody on a Theme of Paganini, Op. 43 (1873 - 1943) Sergei Babayan, piano Intermission Pyotr Ilyich Tchaikovsky Symphony No. 6 in B minor, Op. 74, (1840 - 1893) “Pathétique” I. Adagio – Allegro non troppo II. Allegro con grazia III. Allegro molto vivace IV. Finale: Adagio lamentoso With support from Bonnie Larson, the DSO is proud to feature The Larson Piano on this program.

Part of the DSO’s fine instrument collection, the Steinway Model D Concert Grand Piano is the standard by which other concert pianos are judged and compared. Handmade in the New York Steinway Factory, this majestic musical instrument is the pinnacle of concert grands.

Saturday’s performance will be webcast via our exclusive Live From Orchestra Hall series, presented by Ford Motor Company Fund. Technology support comes from the John S. and James L. Knight Foundation.

Flash photography, video recording, tripods, and cameras with detachable lenses are strictly prohibited.

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PROGR AM AT-A-GL ANCE | TCHAIKOVSK Y ’S SIX TH SYMPHONY Dedication, Passion, and Commitment “I’ve put my whole soul into this,” said Tchaikovsky of his sixth and final symphony, a sentiment mirrored by the dedication, passion, and commitment of each composer featured on today’s program. Margaret Bonds honors the inspiring work of Dr. Martin Luther King Jr. in The Montgomery Variations, written shortly after her visit to Montgomery, Alabama, and the surrounding areas in 1963, following the horrific firebombing of the 16th Street Baptist Church and MLK’s touching and forceful eulogy calling it “one of the most vicious and tragic crimes ever perpetrated against humanity.”

Rachmaninoff put his genius, a famous theme, and allusions to deal with the devil into his Rhapsody on a Theme of Paganini, and pianist Sergei Babayan plays it “full speed ahead to the very edge of a cliff.” Ending the program is Tchaikovsky’s Sixth Symphony, about which the composer wrote, “I shall not be surprised if this symphony is torn to pieces or little appreciated, but I absolutely believe it to be the best and, in particular the sincerest of all my creations.”

PROGRAM NOTES The Montgomery Variations MARGARET BONDS B. March 3, 1913, Chicago, Illinois D. April 26, 1972, Los Angeles, California

Scored for 3 flutes (one doubling alto flute and piccolo), 2 oboes, English horn, 3 clarinets (one doubling bass clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, percussion, timpani, harp, and strings. (Approx. 28 minutes)

M

argaret Bonds wrote her own program note for The Montgomery Variations, which is as follows: “The Montgomery Variations is a group of freestyle variations based on the Negro Spiritual theme, “I Want Jesus to Walk with Me.” The treatment suggests the manner in which Bach constructed his partitas —a bold statement of the theme, followed by variations of the theme in the same key—major and minor. The words are as follows: I want Jesus to walk with me; I want Jesus to walk with me; All along my pilgrim journey, Lord, I want Jesus to walk with me. In my trials, Lord, walk with me; In my trials, Lord, walk with me; When my heart is dso.org

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almost breaking, Lord, I want Jesus to walk with me. When I’m in trouble, Lord, walk with me; When I’m in trouble, Lord, walk with me; When my head is bowed in sorrow, Lord, I want Jesus to walk with me.

[Bonds continues:] Because of the personal meanings of the Negro spiritual themes, Margaret Bonds always avoids over-development of the melodies.

The Montgomery Variations were written after the composer’s visit to Montgomery, Alabama, and the surrounding area in 1963 (on tour with Eugene Brice and the Manhattan Melodaires).

In December 1960, “The Ballad of the Brown King” was dedicated to Martin Luther King Jr., and presented at Clark Center, YWCA in New York, by the Church of the Master and Clark Center as a benefit to Southern Christian Leadership Conference. Langston Hughes, the author of the text, was present on this occasion.

Decision: Under the leadership of Martin Luther King Jr. and SCLC, Negroes in Montgomery decided to boycott the bus company and to fight for their rights as citizens. Prayer Meeting: True to custom, prayer meetings precede their action.

Prayer meetings start quietly with humble petitions to God. During the course of the meeting, members seized with religious

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fervor shout and dance. Oblivious to their fellow worshippers they exhibit their love of God and their Faith in Deliverance by gesticulation, clapping and beating their feet. March: The Spirit of the Nazarene marching with them, the Negroes of Montgomery walked to their work rather than be segregated on the buses. The entire world, symbolically with them, marches. Dawn in Dixie: Dixie, the home of the Camellias known as “pink perfection,” magnolias, jasmine, and Spanish moss, awakened to the fact that something new was happening in the South. One Sunday in the South: Children were in Sunday School learning about Jesus, the Prince of Peace. Southern “die-hards” planted a bomb and several children were killed.

Lament: The world was shaken by the cruelty of the Sunday School bombing.

Negroes, as usual, leaned on their Jesus to carry them through this crisis of grief and humiliation. Benediction: A benign God, Father and Mother to all people, pours forth Love to His children—the good

and the bad alike.”

The DSO most recently performed selections from The Montgomery Variations by Margaret Bonds in January 2023, conducted by Lidiya Yankovskaya.

Rhapsody on a Theme of Paganini, Op. 43 Composed 1934 | Premiered November 7, 1934

SERGEI RACHMANINOFF B. April 1, 1873, Semyonovo, Russia D. March 28, 1943, Beverly Hills, California

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

(Approx. 22 minutes)

R

ussian by birth and American by residence for most of his life, Rachmaninoff wrote perhaps his most well-known work at his lake home in

UPCOMING CONCERTS

Affectuoso Autumn Tues., Oct. 10 at 7 p.m.

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Since 1885

Pianoforte Extravaganza!

Tue, Nov 14 at 10:30 a.m.

STEINWAY GALLERY

For program details, visit

TuesdayMusicaleofDetroit.org or call 313-520-8663 Free admission

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2700 E West Maple Rd, Commerce Charter Twp, MI 48390

Christmas Concert and Luncheon Tue, Dec 12 at 10:30 a.m.

THE LUTHERAN CHURCH OF THE REDEEMER

1800 W Maple Rd, Birmingham, MI 48009

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Switzerland. Composed during the summer of 1934, it is a masterpiece that defies a simple explanation. Rhapsody on a Theme of Paganini consists of a set of 24 variations based on a caprice by 19th century violin virtuoso Niccolò Paganini; a theme which also inspired works of many other composers, including Brahms, Schumann, and Liszt.

Though Rachmaninoff was careful not to refer to his work as a concerto, it bears striking similarities in form to a largescale concerto. It could be convincingly argued that the theme and first 11 variations constitute the first movement, as they are all in a faster tempo and remain in the original key of A minor. Variations 12 through 18 are all in a slower tempo, and while exploring several keys, suitably function as the second movement. The final six variations reestablish the key of A minor, all possessing a quicker tempo, and would be the final movement.

The “Andante Cantabile” eighteenth variation is the most well-known of Rachmaninoff’s set. Though simply an inversion of the opening motif of the theme, the melody around which this variation is based is one of the most widely recognized in all of classical music. It has been included in many movies, perhaps most memorably in the 1981 film Somewhere in Time, starring Christopher Reeve and Jane Seymour.

The DSO most recently performed Rachmaninoff’s Rhapsody on a Theme of Paganini in November 2019, conducted by Chelsea Gallo and featuring pianist Gavin George. The DSO first performed the piece in November 1939, conducted by Victor Kolar and featuring Rachmaninoff himself as pianist.

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Symphony No. 6 in B minor, Op. 74, “Pathétique” Composed 1893 | Premiered 1893

PYOTR ILYICH TCHAIKOVSKY B. May 7, 1840, Votkinsk, Russia D. November 6, 1893, Saint Petersburg, Russia

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

45 minutes)

T

chaikovsky’s Symphony No. 5 concludes with a life-affirming finale, a triumphant march-like sound that unifies the sprawling work. The Symphony No. 6, however, as its title suggests, stands in the strongest possible contrast: here the music is dark, tragic, and ultimately focused not on life but on death. “I shall not be surprised if this symphony is torn to pieces or little appreciated,” Tchaikovsky wrote. “But I absolutely believe it to be the best and, in particular, the sincerest of all my creations.”

The symphony begins with the melancholy timbre of the solo bassoon as it intones an adagio, lachrymose melody—a line that is then reconceived as a haunting theme for upper strings and winds. The next theme in the violins is as exquisite as it is wistful, but the ensuing development section violently interrupts this tranquil reverie, establishing a restlessness that continues throughout the entire work.

The second movement is less volatile than the first, and even pleasant—the lyrical theme in the cellos is refreshingly light, with a waltz feel in the uncharacteristic 5/4 time-signature. The third movement presses the gas, with brilliant wind and string timbres propelling the whole orchestra through a blistering march. The music here begins to feel like a merry romp, and some audiences

DSO PERFORMANCE MAGAZINE 37

assume that the end of the movement—as heroic as the finale of the Symphony No. 5—is actually the conclusion of the piece.

But no. The fourth and final movement is shockingly tragic; a portrait of despair nearly unmatched in the orchestral repertoire. Though this depressing utterance is balanced by warmer, lyrical moments, the movement—and the symphony—ultimately end in death. The trombones and

tuba softly whisper a dark and mournful chorale. The “Pathétique” then concludes much as it began, with low strings and bassoon drawing the final strains into oblivion.

The DSO most recently performed Tchaikovsky’s Symphony No. 6 in November 2019, conducted by Chelsea Gallo. The DSO first performed the work in April 1916, conducted by Weston Gales.

PROFILES For Jader Bignamini’s biography, see page 6.

SERGEI BABAYAN

S

ergei Babayan is one of the leading pianists of our time. Hailed for his emotional intensity, bold energy, and remarkable levels of color, Babayan brings a deep understanding and insight to an exceptionally diverse repertoire. Le Figaro has praised his “unequaled touch, perfectly harmonious phrasing and breathtaking virtuosity.” Le Devoir from Montreal put it simply: “Sergei Babayan is a genius. Period.”

Babayan has collaborated with renowned conductors including Sir Antonio Pappano, David Robertson, Neeme Järvi, Rafael Payare, Thomas Dausgaard, Tugan Sokhiev, and Dima Slobodeniouk. Over the years, Babayan has performed with Valery Gergiev numerous times to great critical acclaim, including appearances at the Barbican Centre with the London Symphony Orchestra, at the Théâtre des ChampsElyseés in Paris, the Salzburg Festival, and at the Rotterdam PhilharmonicGergiev Festival, where Babayan was artist-in-residence.

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Babayan regularly performs at many of the world’s most prestigious venues and with leading orchestra’s including the London Symphony Orchestra, The Cleveland Orchestra, Warsaw Philharmonic, BBC Scottish Symphony Orchestra, Orchestre National de Lille, Detroit Symphony Orchestra, and Baltimore Symphony Orchestra.

Babayan is a Deutsche Grammophon exclusive artist and his performances have been broadcast by Radio France, BBC-TV and BBC Radio 3, NHK Satellite Television, and Medici TV. Born in Armenia into a musical family, Babayan began his studies there with Georgy Saradjev and continued at the Moscow Conservatory with Mikhail Pletnev, Vera Gornostayeva, and Lev Naumov. Following his first trip outside of the USSR in 1989, he won consecutive first prizes in several major international competitions including the Cleveland International Piano Competition, the Hamamatsu Piano Competition, and the Scottish International Piano Competition.

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A COMMUNI TY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA

JADERDBIGNAMINI, Music Director JADER BIGNAMINI MUSIC DIRECTOR A COMMUNI TY-SUPPORTE ORCHESTRA Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

TERENCE BLANCHARD

NA’ZIR MCFADDEN

LEONARD SLATKIN

NEEME JÄRVI

Principal Pops Conductor

Fred A. Erb Jazz Creative Director Chair

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

Music Director Laureate

Music Director Emeritus

TITLE SPONSOR:

VANESSA WILLIAMS Saturday, November 18, 2023 8 p.m.

Sunday, November 19, 2023 at 3 p.m.

ENRICO LOPEZ-YAÑEZ, conductor VANESSA WILLIAMS, soprano

Program to be announced from the stage

PROGRAM AT-A-GLANCE | VANESSA WILLIAMS Vanessa Williams: Multi-hyphenate Magnate Multi-talented superstar Vanessa Williams carries many accolades in acting, pageants, and as a Grammy-nominated vocalist. You may know her from her Emmy Award-nominated role as Wilhelmina Slater in Ugly Betty, her roles and appearances on Desperate Housewives, Hannah Montana: The Movie, The Jacksons: An American Dream, and more—or from her roles in Broadway musicals including Kiss of the Spider Woman, Into the Woods, or Sondheim on Sondheim, among others. But that’s not all Williams is known for—she is also a New York Times bestselling author, the first African American woman to win the Miss America pageant in 1984, and a highly decorated vocal artist with eleven Grammy Award nominations. On today’s program, grow your appreciation for the pop and film music icon as she performs favorites including “Sweetest Days,” “Colors of the Wind,” “Love Is,” “Dreamin’,” and “Save the Best for Last.”

Flash photography, video recording, tripods, and cameras with detachable lenses are strictly prohibited.

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DSO PERFORMANCE MAGAZINE 39

PROFILES ENRICO LOPEZ-YAÑEZ

E

nrico Lopez-Yañez is the newly announced Principal Pops Conductor designate of the Detroit Symphony Orchestra, commencing with the 2024-25 season. He also serves as Principal Conductor of Dallas Symphony Presents and Principal Pops Conductor of the Pacific Symphony. In addition, Lopez-Yañez serves as the Principal Pops Conductor of the Nashville Symphony. Lopez-Yañez is quickly establishing himself as one of the nation’s leading conductors of popular music and is becoming known for his unique style of audience engagement. An active composer/arranger, Lopez-Yañez has been commissioned to write pieces for the Cincinnati Pops Orchestra, Houston Symphony, San Diego Symphony, and Omaha Symphony, and has had his works performed by orchestras including the Baltimore Symphony, Detroit Symphony Orchestra, Florida Orchestra, Ft. Worth Symphony, Indianapolis Symphony, National Symphony, Phoenix Symphony, Seattle Symphony, and Utah Symphony, among others.

This season, Lopez-Yañez will collaborate with artists including Ben Rector, Cody Fry, Patti LaBelle, Trisha Yearwood, Tituss Burgess, Lyle Lovett, Jefferson Starship, Portugal. The Man, Guster, Ben Folds, Aida Cuevas, Lila Downs, and Arturo Sandoval.

As Artistic Director and Co-Founder of Symphonica Productions, LLC, LopezYañez curates and leads programs designed to cultivate new audiences. As a producer, composer, and arranger, LopezYañez’s work can be heard on numerous albums including the UNESCO benefit album Action Moves People United and children’s music albums including The Spaceship that Fell in My Backyard and Kokowanda Bay. 40

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VANESSA WILLIAMS

V

anessa Williams is one of the most respected and multi-faceted performers in the entertainment industry today.

Having sold millions of records worldwide, Williams has also achieved numerous #1 and Top 10 hits on various Billboard Album and Singles charts: Pop, Dance, R&B, Adult Contemporary, Holiday, Latin, Gospel, and Jazz.

Her critically acclaimed work in film, television, recordings, and the Broadway stage has been recognized by every major industry award affiliate including four Emmy nominations, 11 Grammy nominations, a Tony nomination, three SAG award nominations, seven NAACP Image Awards, and three Satellite Awards. Her platinum single “Colors of the Wind,” from Disney’s Pocahontas, won the Oscar, Grammy, and Golden Globe for Best Original Song.

A graduate of Syracuse University, Williams is a strong advocate for equal rights, especially concerning the gay community and minorities. She was honored with the Human Rights Campaign “Ally for Equality” Award for her humanitarian contributions. Williams also achieved a career pinnacle with a star on the Hollywood Walk of Fame in 2007.

Williams’s charitable endeavors are many and varied, embracing and supporting such organizations as Concerts for America, Special Olympics and several others. Vanessa is involved with and committed to the Elizabeth Taylor AIDS Foundation.

An accomplished concert artist, Williams appears regularly with prestigious symphony orchestras around the world.

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TRIBUTE GIFTS

Gifts received April 1, 2023 - August 31, 2023”

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 Dr. Theodore Golden Mrs. Eleanore Gabrys

Henry Jack Kaufman Ms. Lynn Downing

Drs. Lee & Catherine Reinleitner Mr. James McDonald

Ms. Leslie Groves & Mr. Joseph Kochanek David & Andrea Corp Mr. & Mrs. David Hempstead Mr. & Mrs. Larry R. Shulman Tom & Cindy Van Dusen

Tom Kelley P A Davis

Susan Rontal Mr. & Mrs. Jeffrey Topf

Sarah Lewis Dale & Jeannette Lewis

Donna Schwartz Anna & Yale Levin

Dr. Melissa McBrien Ms. Victoria McBrien

Kenneth Thompkins Mr. Greg Thompkins

Richard Huttenlocher Mr. & Mrs. Michael Simmons

Ms. Susan Queen Will & Megann Smith

In Memory John Bernick Mr. Brian Arble Mr . David Assemany & Mr. Jeffery Zook Mr. Thomas Bernick Dr. Janice Bernick Mr. David Everson & Mrs. Jill Jordan Mr. & Mrs. John McFadden Cheryl Megahan Dr. Susan & Mr. Stephen Molina

Marianne Masserang Ms. Lynda Bonucchi Ms. Nancy Deming Ms. Denise Juif-Pomerleau Mr. Thomas LaGrasso Mr. & Mrs. Jim Marchand Mr. & Mrs. Thomas G. Peck Mrs. Kathleen Masserang Petterle Mr. & Ms. Andrew Rudnycky Mr. & Ms. Michael Rudnycky Ms. Judy Testa

Richard H. Beuther Mrs. Jane Iacobelli Ms. Debra O’Hara

Mrs. Delores Michael Ms. Barbara Rice

Robert Broderson Mr. Robert Stieber Robert Clark Ms. Janet Brown William Clark Ms. Stacy Kaplan Ms. Margaret Devereaux Ms. Stephanie Applin Stephen Easter Mrs. Phyllis Osler Lawrence Egan Ms. Mary Durivage Ms. Rosemary Gouin Mr. & Ms. Arthur McCoy Ms. Sheri Ward

Mary E. Pence Ms. Elizabeth Lewis Helen Popow Crandon Family Foundation Mr. Robert D’Aoust Mr. & Mrs. Robert J. Holton Mr. Craig Hook Wieslaw & Lottie Stokinger Mr. & Ms. Ed Szczepanik Mr. Anthony A. Szczotka & Ms. Anna M. Cairns Raymond Pfiester Ms. Maureen Pfiester Dale Propson Mr. Michael V. Lennon Mr. Lloyd E. Reuss Mr. & Mrs. Phillip Wm. Fisher

Mrs. Helen Fildew Marc Lie

Genevieve Rohrkemper Ms. Cheryl Rohrkemper

Barbara Frankel Gwen & Richard Bowlby

Mr. Alan E. Schwartz Lisa Applebaum Pamela Applebaum Mr. & Ms. Agustin Arbulu Dr. & Mrs. James Austin Mr. & Mrs. Robert E. Baer Penny & Harold Blumenstein Ms. Rhonda Brown Ms. Francie Cook Mr. & Mrs. Richard M. Cooper

Ms. Fiona Donovan

Kenneth Joseph Gouin Mr. & Mrs. Shimon Edut Daniel Jew Chris Farber & Ben Toth Mr. Henry P. Lee Marcoux, Allen, Bower, Nichols & Kendall P.C. Faith & Debora Renner

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Andreae Downs Andrew Echt Mr. & Mrs. Phillip Wm. Fisher Mr. & Mrs. Jack Folbe Ruthanne Fuller Nancy Gross Robyn Jacobson Ms. Zina Kramer Mrs. Margaret Meyer Mr. & Ms. Jon Moray Mr. & Mrs. John Mucha Joy & Allan Nachman Ne w ton Public Schools Central Staff Mr . Peter Remington & Ms. Peggy F. Daitch Mr. Robert Rosiello Mr. & Mrs. Todd Sachse Mr. & Mrs. Edward Schulak Lois & Mark Shaevsky Mr. & Mrs. Paul Silverman Mrs. Susan Sosnick Dr. & Mrs. Martin Tessler Mr. & Dr. Sheldon S. Toll Ms. Barbara Wachstein Carolyn Shantz Dr. Cynthia Walker Barbel Monika Strasen Ms. Laura Cassar Ellie Tholen Gwen & Richard Bowlby Mr. Charles W. Dyer Eric & Ginny Lundquist Charles Van Dusen Mr. & Mrs. Leonard W. Smith John VanBrandeghen Linnea Gustafson John & Delcine Heart Bradford & Vicky Janzen Ms. Elizabeth Pieper Michael Wilson & Colleen Maltby Etta B. Zivian Debra & Martin Darvick

DSO PERFORMANCE MAGAZINE 41

THE ANNUAL FUND

Gifts received between September 1, 2022 and August 31, 2023.

The DSO is a community-supported orchestra, and you can play your part through frequent ticket purchases 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 would like to make a donation, please contact 313.576.5114 or go to dso.org/donate.

PARAY SOCIETY - GIVING OF $250,000 & MORE Mr. & Mrs. Lee Barthel Penny & Harold Blumenstein Julie & Peter Cummings Ms. Leslie C. Devereaux Linda Dresner & Ed Levy, Jr.

Mr. & Mrs. Stanley Frankel Mr. & Mrs. Peter Karmanos, Jr. Mr. & Mrs. James B. Nicholson Mr. & Mrs. David Provost Mrs. Richard C. Van Dusen

DORATI SOCIETY - GIVING OF $100,000 & MORE Mr. & Mrs. Richard L. Alonzo James & Patricia Anderson Mr. & Mrs. Raymond M. Cracchiolo Joanne Danto & Arnold Weingarden Mr. & Mrs. Phillip Wm. Fisher

Shari & Craig Morgan The Polk Family Bernard & Eleanor Robertson Drs. David & Bernadine Wu Paul & Terese Zlotoff

EHRLING SOCIETY - GIVING OF $50,000 & MORE Mr. & Mrs. Richard A. Brodie Lois & Avern◊ Cohn Ms. Karol Foss Mr. & Mrs. Aaron Frankel Mr. & Mrs. Ralph J. Gerson Mary Ann & Robert Gorlin Mr. & Mrs. James Grosfeld Mr.◊ & Mrs. Norman H. Hofley

Ric & Carola Huttenlocher Mrs. Bonnie Larson Nicole & Matt Lester David & Valerie McCammon Mr. & Mrs. Eugene A. Miller Patricia & Henry◊ Nickol Mr. & Mrs. Arn Tellem

JÄRVI SOCIETY — GIVING OF $25,000 & MORE Ms. Sharon Backstrom Mrs. Cecilia Benner Dr. Mark & Karen Diem Mr. Michael J. Fisher Madeline & Sidney Forbes Mr. & Mrs. Edsel B. Ford II Mrs. Martha Ford Dale & Bruce Frankel Ronald M. & Carol+ Horwitz Mr.+ & Mrs. Norman D. Katz Morgan & Danny Kaufman Xavier & Maeva Mosquet 42

DSO PERFORMANCE MAGAZINE

Ms. Ruth Rattner Martie & Bob Sachs Mrs. Patricia Finnegan Sharf Mr. & Mrs. James H. Sherman Mr. & Mrs. Larry Sherman Richard Sonenklar & Gregory Haynes Dr. Doris Tong & Dr. Teck M. Soo Mr. & Mrs. Gary Torgow Peter & Carol Walters S. Evan & Gwen Weiner And one who wishes to remain anonymous

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Deceased

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GABRILOWITSCH SOCIETY - GIVING OF $10,000 & MORE Mr. & Mrs. Robert A. Allesee ◊ Dr. Lourdes V. Andaya Janet & Norman Ankers Pamela Applebaum Drs. Brian & Elizabeth Bachynski Drs. John◊ & Janice Bernick Ms. Debra Bonde Gwen & Richard Bowlby Mr. & Mrs. Stephen Brownell Michael & Geraldine Buckles Ms. Elena Centeio Thomas W. Cook & Marie L. Masters Gail Danto & Art Roffey Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Adel & Walter Dissett Mr. Charles L. Dunlap & Mr. Lee V. Hart Jim & Margo Farber Sally & Michael Feder Dr. Saul & Mrs. Helen Forman Barbara Frankel◊ & Ronald Michalak Herman & Sharon Frankel Mrs. Janet M. Garrett Victor◊ & Gale Girolami Ruth & Al◊ Glancy Dr. Robert T. Goldman

Mr.◊ & Mrs. James A. Green Mary Lee Gwizdala Mr. & Mrs. Robert Hage Judy◊ & Kenneth Hale Ms. Nancy B. Henk◊ Michael E. Hinsky & Tyrus N. Curtis Renato & Elizabeth Jamett Mr. & Mrs. Richard J. Jessup William & Story John Lenard & Connie Johnston Dr. David & Mrs. Elizabeth Kessel Mr. & Mrs. Kosch Bud & Nancy Liebler Mr. & Mrs.◊ Joseph Lile Dana Locniskar & Christine Beck Alexander & Evelyn McKeen Ms. Deborah Miesel Dr. Robert & Dr. Mary Mobley Cyril Moscow Geoffrey S. Nathan & Margaret E. Winters David Robert & Sylvia Jean Nelson Eric & Paula Nemeth Mr. David Nicholson Jim & Mary Beth Nicholson Gloria & Stanley Nycek

George & Jo Elyn Nyman Debra & Richard Partrich Kathryn & Roger Penske Dr. Erik Rönmark* & Mrs. Adrienne Rönmark* Mr. & Mrs. Robert B. Rosowski Peggy & Dr. Mark B. Saffer Mr. & Mrs. Alan E. Schwartz◊ Elaine & Michael Serling Lois & Mark Shaevsky William H. Smith◊ Charlie & John Solecki Mr. & Mrs. John Stroh III Joel & Shelley Tauber Emily & Paul Tobias Mr. James G. Vella Mr.◊ & Mrs. Jonathan T. Walton Gary L. Wasserman & Charles A. Kashner Ms. Mary Wilson And four who wish to remain anonymous

Mr.◊ & Mrs. Gary L. Cowger Mr. & Mrs. Charles W. Dare Mr. & Mrs. Richard L. DeVore Eugene ◊ & Elaine C. Driker Ms. Ruby Duffield Margie Dunn & Mark Davidoff Dr. & Mrs. A. Bradley Eisenbrey Mr. Lawrence Ellenbogen Ms. Laurie Ellias & Mr. James Murphy Marianne T. Endicott Mr. Peter Falzon Fieldman Family Foundation Dr. & Mrs. Franchi Mr.◊ & Mrs. Richard M. Gabrys Alan M. Gallatin Mr. Max Gates Ambassador Yousif B. Ghafari & Mrs. Mara Kalnins-Ghafari Allan D. Gilmour & Eric C. Jirgens Dr. & Mrs. Theodore Golden Goodman Family Charitable Trust Dr. Herman & Mrs. Shirley Mann Gray Mr. Sanford Hansell & Dr. Raina Ernstoff Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. Matthew Howell & Mrs. Julie Wagner

Mr. & Mrs. Kent Jidov Mr. George G. Johnson Paul & Karen Johnson Carol & Rick Johnston Paul & Marietta Joliat Mr. & Mrs. Steven Kalkanis Judy & David Karp Mike & Katy Keegan Betsy & Joel Kellman John Kim & Sabrina Hiedemann Dr. Sandy Koltonow & Dr. Mary Schlaff Barbara & Michael Kratchman Richard & Sally Krugel Dr. Raymond Landes & Dr. Melissa McBrien-Landes Bill & Kathleen Langhorst Mr. Leonard LaRocca Max Lepler & Rex L. Dotson Mr. & Mrs. Robert K. Leverenz Bob & Terri Lutz Daniel & Linda* Lutz Mrs. Sandra MacLeod Mr. & Mrs. Winom J. Mahoney Cis Maisel Dr. Stephen & Paulette Mancuso Maurice Marshall

GIVING OF $5,000 & MORE Mrs. Denise Abrash Mrs. Jennifer Adderley Richard & Jiehan Alonzo Mr. David Assemany & Mr. Jeffery Zook* Mr. & Mrs. William C. Babbage Ms. Ruth Baidas Dr. David S. Balle Mr. Patrick Barone W. Harold & Chacona W. Baugh Ms. Therese Bellaimey Mr. William Beluzo Mr. & Mrs. Dennis Bernard Mr. & Mrs. Jeffrey A. Berner Mr. Michael G. Bickers Timothy J. Bogan Ms. Nadia Boreiko Mr. Anthony F. Brinkman Claire P. & Robert N. Brown Dr. & Mrs. Roger C. Byrd Philip & Carol Campbell Mrs. Carolyn Carr Mr. & Mrs. François Castaing Mr. & Mrs. Andrew Christians Mr. Fred J. Chynchuk Dr. & Mrs. Charles G. Colombo Ms. Elizabeth Correa

*Current DSO Musician or Staff

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◊

Deceased

DSO PERFORMANCE MAGAZINE 43

GIVING OF $5,000 & MORE, CONTINUED Patricia A.◊ & Patrick G. McKeever Joy & Allan Nachman Mr. & Mrs. Albert T. Nelson, Jr. Ms. Jacqueline Paige & Mr. David Fischer Mr. David Phipps & Ms. Mary Buzard William H. & Wendy W. Powers Dr. Glenda D. Price Charlene & Michael Prysak Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Mr. & Mrs. Dave Redfield

Dr. Heather Richter The Steven Della Rocca Memorial Fund/ Courtenay A. Hardy Mr. Ronald Ross & Ms. Alice Brody Mr. David Salisbury & Mrs. Terese Ireland Salisbury Marjorie Shuman Saulson Sandy Schreier Robert & Patricia Shaw Mr. Norman Silk & Mr. Dale Morgan Mr. & Mrs. Matthew Simoncini

William & Cherie Sirois Michael E. Smerza & Nancy Keppelman Mrs. Kathleen Straus & Mr. Walter Shapero Dr. & Mrs. Howard Terebelo Alice ◊ & Paul Tomboulian Mr. & Mrs. R. Jamison Williams Dr. & Mrs. Ned Winkelman Cathy Cromer Wood Ms. June Wu Ms. Gail Zabowski Lucia Zamorano, M.D.

Lillian & Walter Dean Dr. & Mrs. Thomas Ditkoff Diana & Mark Domin Felicia Donadoni Paul◊ & Peggy Dufault Edwin & Rosemarie ◊ Dyer Randall & Jill* Elder Mrs. Marjory Epstein Mr. & Mrs. John M. Erb Dave & Sandy Eyl Ellie Farber & Mitch Barnett Hon. Sharon Tevis Finch John & Karen Fischer Ms. Joanne Fisher Dorothy A. & Larry L. Fobes Amy & Robert Folberg Ms. Linda Forte & Mr. Tyrone Davenport Ms. Marci Frick Kit & Dan Frohardt-Lane Lynn & Bharat Gandhi Stephanie Germack Thomas M. Gervasi Mr. & Mrs. James Gietzen Mr. & Mrs. Robert W. Gillette Dr. Kenneth◊ & Roslyne Gitlin Ms. Jody Glancy Mr. Lawrence Glowczewski Dr. William & Mrs. Antoinette Govier Ms. Jacqueline Graham Dr. Darla Granger & Mr. Luke Ponder Diane & Saul Green Anne & Eugene Greenstein Ms. Chris Gropp Leslie Groves* & Joseph Kochanek Sharon Lopo Hadden Dr. & Mrs. David Haines Robert & Elizabeth Hamel Cheryl A. Harvey Ms. Barbara Heller Ms. Karla Henry-Morris & Mr. William H. Morris Ms. Doreen Hermelin Mr. Donald & Marcia Hiruo

Mr. & Mrs. Peter Hollinshead The Honorable Denise Page Hood & Reverend Nicholas Hood III James Hoogstra & Clark Heath Mr. F. Robert Hozian Dr. Karen Hrapkiewicz Sam G. Huszczo Larry & Connie Hutchinson Ms. Elizabeth Ingraham Dr. Raymond E. Jackson & Dr. Kathleen Murphy Mr. John S. Johns Mr. William & Mrs. Connie Jordan Diane & John Kaplan Lucy & Alexander Kapordelis Bernard & Nina Kent Philanthropic Fund Mrs. Frances King Dr. & Mrs. Edward L. Klarman Aileen & Harvey Kleiman Tom◊ & Beverly Klimko Mr. & Mrs. Ludvik F. Koci Mr. & Mrs. Robert Koffron Ms. Susan Konop Douglas Korney & Marieta Bautista James Kors & Victoria King* Ms. Jennette Smith Kotila George M. Krappmann & Lynda BurburyKrappmann Mr. Michael Kuhne Mr. & Mrs. Robert LaBelle Dr. & Mrs. Gerald Laker Mr. David Lalain & Ms. Deniella OrtizLalain Deborah Lamm Drs. Lisa & Scott Langenburg Ms. Sandra Lapadot Ms. Anne T. Larin Dr. Lawrence O. Larson Dr. Jonathan Lazar Mr. Henry P. Lee Drs. Donald & Diane Levine Arlene & John Lewis Mr. Dane Lighthart & Ms. Robyn Bollinger*

GIVING OF $2,500 & MORE Nina Dodge Abrams Mr. Juan Alvarez Mr. & Mrs. Robert L. Anthony Dr. & Mrs. Joel Appel Drs. Kwabena & Jacqueline Appiah Mr. Eduardo Arciniegas Dr. & Mrs. Ali-Reza R. Armin Pauline Averbach & Charles Peacock Mr. Joseph Aviv & Mrs. Linda Wasserman Mrs. Jean Azar James A. Bannan Mr. Mark G. Bartnik & Ms. Sandra J. Collins Mr. Joseph Bartush Mr. & Mrs. Martin S. Baum Mr. & Mrs. Richard Beaubien Mr. Abraham Beidoun Dr. George & Joyce Blum Nancy & Lawrence Bluth Ms. Kristin Bolitho John◊ & Marlene Boll The Achim & Mary Bonawitz Family The Honorable Susan D. Borman & Mr. Stuart Michaelson Mr. & Mrs. Mark R. Buchanan Virginia Burkel Sandra & Paul Butler Mr. & Mrs. Brian C. Campbell Dr. & Mrs.◊ Thomas E. Carson Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Ronald & Lynda Charfoos Dr. Betty Chu Mr. William Cole & Mrs. Carol Litka Cole Mr. & Mrs. Brian G. Connors Bryan Cornwall & Phyllis Cornwall Patricia & William◊ Cosgrove, Sr. Ms. Joy Crawford* & Mr. Richard Aude Mr. & Mrs. Matthew P. Cullen Mrs. Barbara Cunningham Dr. Edward & Mrs. Jamie Dabrowski Suzanne Dalton & Clyde Foles Deborah & Stephen D’Arcy Fund Maureen & Jerry◊ D’Avanzo

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Deceased

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GIVING OF $2,500 & MORE, CONTINUED David & Clare Loebl Mr. John Lovegren & Mr. Daniel Isenschmid Mr. & Mrs. Charles W. Manke, Jr. Melissa & Tom Mark Barbara J. Martin Brian & Becky McCabe Dr. & Mrs. Peter M. McCann, M.D. Mr. Edward McClew Mr. Anthony Roy McCree Ms. Mary McGough Ms. Kristen McLennan Dr. Donald & Barbara Meier Dr. & Mrs. David Mendelson Mr. & Mrs. Randall Miller Mr. Keith Mobley J.J. & Liz Modell Dr. Susan & Mr. Stephen* Molina Dr. Van C. Momon, Jr. & Dr. Pamela Berry Eugene & Sheila Mondry Foundation Mr. & Mrs. Daniel E. Moore Ms. Sandra Morrison Mr. Frederick Morsches & Mr. Kareem George Ms. Jennifer Muse Ms. I. Surayyah R. Muwwakkil Mr. & Mrs. George Nicholson Megan Norris & Howard Matthew Lisa & Michael O’Brien Mr. & Mrs. Robert Obringer Mr. & Mrs. Arthur T. O’Reilly Mr. Tony Osentoski & Mr. David Ogloza Terry E. Packer Mark Pasik & Julie Sosnowski Priscilla & Huel Perkins

Peter & Carrie Perlman Ms. Alice Pfahlert Benjamin B. Phillips Mr. & Mrs. William A. Reed Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Denise Reske Mr. & Mrs. John Rieckhoff Mr. & Mrs. Jon Rigoni Ms. Linda Rodney Seth & Laura Romine Michael & Susan Rontal Mr.◊ & Mrs. Gerald F. Ross Ms. Elana Rugh Linda & Leonard Sahn Ms. Joyce E. Scafe Ms. Martha A. Scharchburg & Mr. Bruce Beyer Mr. & Mrs. Donald and Janet Schenk Shirley Anne & Alan Schlang Joe & Ashley Schotthoefer Catherine & Dennis B. Schultz Sandy◊ & Alan Schwartz Mrs. Rosalind B. Sell Mr. Jeffrey S. Serman Carlo & Nicole Serraiocco Shapero Foundation Bill* & Chris Shell Dr. Les Siegel & Ellen Lesser Siegel Dean P. & D. Giles Simmer Mr. Michael J. Smith & Mrs. Mary C. Williams Ms. Susan Smith Shirley R. Stancato Peter & Patricia Steffes

Dr. Gregory Stephens Mr. Mark Stewart & Mr. Anonio GamezGalaz Nancy C. Stocking Dr. & Mrs. Gerald Stollman Mr. & Mrs.◊ John Streit Dr. & Mrs. Choichi Sugawa David Szymborski & Marilyn Sicklesteel Dr. Neil Talon Mr. Rob Tanner Mr. & Mrs. James W. Throop Dr. Barry Tigay Yoni & Rachel Torgow Barbara & Stuart Trager Tom & Laura Trudeau Amanda Van Dusen & Curtis Blessing Charles◊ & Sally Van Dusen Gerald & Teresa Varani Mrs. Eva von Voss Mr. William Waak Dr.◊ & Mrs. Ronald W. Wadle Mr. Michael A. Walch & Ms. Joyce Keller Mr. Patrick Webster David R. Weinberg, Ph.D. Beverly & Barry Williams Elizabeth & Michael Willoughby Rissa & Sheldon Winkelman Ms. Andrea L. Wulf Ms. Eileen Wunderlich Dr. Sandra & Mr. D. Johnny Yee Mr. & Mrs. Wesley Yee Ms. Ellen Hill Zeringue And nine who wish to remain anonymous

Mr. Joseph & Mrs. Lois Gilmore Mr. & Mrs. Stanley Hirt Jean Hudson Carolyn & Howard Iwrey Ms. Nadine Jakobowski Dr. & Mrs. Leonard B. Johnson Ms. Judith Jones Carole Keller Mr. & Mrs. Gerd H. Keuffel Elissa & Daniel Kline Mr. Robert Kosinski Mr. Sean Maloney & Mrs. Laura PepplerMaloney Mr. & Mrs. Richard Manning Steve & Brenda Mihalik Carolyn & J. Michael Moore Muramatsu America Flutes Rachel L. & Joshua F. Opperer Ken & Geralyn Papa Mr. & Mrs. Mark H. Peterson Mrs. Anna M. Ptasznik Drs. Renato & Daisy Ramos

Mr. & Mrs. Rodney Rask Mr. & Mrs. James P. Ryan Brian & Toni Sanchez-Murphy Dr. & Mrs. Hershel Sandberg Ms. Rosemarie Sandel Dr. & Mrs. Richard S. Schwartz Mr. Konstantin Shirokinskiy Mrs. Andreas H. Steglich Mr. Jon Steiger Mr. Jt Stout Ms. Amanda Tew* David & Lila Tirsell Dennis & Jennifer Varian Mr. Barry Webster Ms. Janet Weir Janis & William Wetsman/The Wetsman Foundation Mr. & Mrs.◊ Richard Wigginton Mr. & Mrs. Michael Zerkich And one who wishes to remain anonymous

GIVING OF $1,500 & MORE Ms. Jacqueline Adams William Aerni & Janet Frazis Dr. & Mrs. Gary S. Assarian Drs. Richard & Helena Balon Mr. & Mrs. David W. Berry Mr. and Mrs. John Bishop Don & Marilyn Bowerman Mr. & Mrs. Richard Burstein Mr. & Mrs. Byron Canvasser Steve & Geri Carlson Mr. & Mrs. Robert J. Colombo Catherine Compton Mr. & Mrs. David Conrad Mr. & Mrs. John Courtney DeLuca Violin Emporium Gordon & Elaine Didier Mr. & Mrs. Walter E. Douglas Mrs. Connie Dugger Mr. Howard O. Emorey Burke & Carol Fossee Dr. & Ms. E. Bruce Geelhoed Frank & Elyse Germack

dso.org

*Current DSO Musician or Staff

#IAMDSO

DSO PERFORMANCE MAGAZINE 45

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

Giving of $200,000 & more

Giving of $100,000 & more MARVIN & BETTY DANTO FAMILY FOUNDATION

EMORY M. FORD JR. ENDOWMENT FUND

46

DSO PERFORMANCE MAGAZINE

FALL 2023

Giving of $50,000 & more The Paul M. Angell Family Foundation Huntington MASCO Corporation MGM Grand Detroit Milner Hotels Foundation National Endowment for the Arts Penske Foundation, Inc. Donald R. Simon & Esther Simon Foundation Matilda R. Wilson Fund

Giving of $20,000 & more Mandell & Madeleine Berman Foundation Eleanor & Edsel Ford Fund Henry Ford II Fund JPMorgan Chase

Myron P. Leven Foundation Michigan Arts & Culture Council Stone Foundation of Michigan Wolverine Packing

Giving of $10,000 & more Geoinge Foundation Honigman LLP Laskaris-Jamett Advisors of Raymond James Oliver Dewey Marcks Foundation Karen & Drew Peslar Foundation Sun Communities Inc. Varnum LLP Burton A. Zipser & Sandra D. Zipser Foundation

Giving of $5,000 & more

Giving of $1,000 & more

Applebaum Family Philanthropy Creative Benefit Solutions, LLC Fisher Funeral Home & Cremation Services Benson & Edith Ford Fund Hylant Group Marjorie & Maxwell Jospey Foundation KPMG LLP Meemic Sigmund & Sophie Rohlik Foundation Taft Law Warner Norcross + Judd LLP Wisne Charitable Foundation

Coffee Express Roasting Company Jack, Evelyn, & Richard Cole Family Foundation Frank and Gertrude Dunlap Foundation Enterprise Holdings Foundation EY James & Lynelle Holden Fund Japan Business Society of Detroit Foundation Josephine Kleiner Foundation Dolores & Paul Lavins Foundation Ludwig Foundation Fund Madison Electric Company Michigan First Credit Union Plante and Moran, PLCC Renaissance (MI) Chapter of the Links Louis & Nellie Sieg Foundation Samuel L. Westerman Foundation

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DSO PERFORMANCE MAGAZINE 47

DETROIT SYMPHONY ORCHESTRA

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.

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 Mr. David Assemany & Mr. Jeffery Zook Ms. Sharon Backstrom Sally & Donald Baker Mr. & Mrs. Lee Barthel Mr. Mark G. Bartnik & Ms. Sandra J. Collins Stanley A. Beattie Mr. & Mrs. Mandell L. Berman ◊ Virginia B. Bertram ◊ Mrs. Betty Blair Ms. Rosalee Bleecker Mr. Joseph Boner Gwen & Richard Bowlby Mr. Harry G. Bowles ◊ Mr. Charles Broh◊ Mrs. Ellen Brownfain William & Julia Bugera CM Carnes Cynthia Cassell, Ph. D. Eleanor A. Christie Ms. Mary F. Christner Mr. Gary Ciampa Robert & Lucinda Clement Drs. William ◊ & Janet Cohn Lois & Avern◊ Cohn Mrs. RoseAnn Comstock◊ Mr. Scott Cook, Jr. Mr. & Ms. Thomas Cook Dorothy M. Craig Mr. & Mrs. John Cruikshank Julie & Peter Cummings Joanne Danto & Arnold Weingarden Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Ms. Leslie C. Devereaux Mr. John Diebel◊ Mr. Stuart Dow Mr. Roger Dye & Ms. Jeanne A. Bakale Mr. & Mrs. Robert G. Eidson Marianne T. Endicott Ms. Dorothy Fisher◊ Mrs. Marjorie S. Fisher◊ 48

Mr. & Mrs. Phillip Wm. Fisher Dorothy A. & Larry L. Fobes Samuel & Laura Fogleman Mr. Emory Ford, Jr.◊ Endowment Dr. Saul & Mrs. Helen Forman Barbara Frankel◊ & Ron Michalak Herman & Sharon Frankel Mrs. Rema Frankel◊ Jane French Mark & Donna Frentrup Alan M. Gallatin Janet M. Garrett Dr. Byron P.◊ & Marilyn Georgeson Jim & Nancy Gietzen Mr. Joseph & Mrs. Lois Gilmore Victor◊ & Gale Girolami Ruth & Al◊ Glancy David & Paulette Groen Mr. Gerald Grum◊ Rosemary Gugino Mr. & Mrs. William Harriss Donna & Eugene Hartwig Ms. Nancy B. Henk Joseph L. Hickey Mr. & Mrs. Thomas N. Hitchman Ronald M. & Carol◊ Horwitz Andy Howell Carol Howell Paul M. Huxley & Cynthia Pasky David & Sheri Jaffa Mr. & Mrs. Thomas H. Jeffs II Mr. & Mrs. Richard J. Jessup Mr. George G. Johnson Ms. Carol Johnston Lenard & Connie 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 Ms. Sandra Lapadot Mrs. Bonnie Larson Ann C. Lawson◊ Allan S. Leonard

DSO PERFORMANCE MAGAZINE

Max Lepler & Rex L. Dotson Dr. Melvin A. Lester◊ Mr. & Mrs.◊ Joseph Lile Eric & Ginny Lundquist Harold Lundquist◊ & Elizabeth Brockhaus 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 Joy & Allan Nachman Geoffrey S. Nathan & Margaret E. Winters Beverley Anne Pack David & Andrea Page ◊ Mr. Dale J. Pangonis Ms. Mary Webber Parker◊ Mr. David Patria & Ms. Barbara Underwood◊ Mrs. Sophie Pearlstein◊ Helen & Wesley Pelling◊ Dr. William F. Pickard Mrs. Bernard E. Pincus 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 Ms. Elizabeth Reiha ◊ 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 Marjorie Shuman Saulson Ruth Saur Trust Mr. & Mrs. Donald and Janet Schenk Ms. Yvonne Schilla David W. Schmidt◊ Mr. & Mrs. Fred Secrest◊ Mr. & Mrs. Robert L. Shaffer◊ Patricia Finnegan Sharf Ms. Marla K. Shelton Edna J. Shin Ms. June Siebert Mr. & Mrs. Donald R. Simon◊ Dr. Melissa J. Smiley & Dr. Patricia A. Wren David & Sandra Smith Ms. Marilyn Snodgrass ◊ Mrs. Margot Sterren◊ Mr. & Mrs. Walter Stuecken Mr.◊ & Mrs. Alexander C. Suczek David Szymborski & Marilyn Sicklesteel Alice ◊ & Paul Tomboulian Roger & Tina Valade Charles◊ & Sally Van Dusen Mrs. Richard C. Van Dusen Mr. & Mrs. Melvin VanderBrug Mr. & Mrs. George C. Vincent◊ Mr. Sanford Waxer◊ Christine & Keith C. Weber Mr. Herman Weinreich ◊ John◊ & Joanne Werner Mr.◊ & Mrs. Arthur Wilhelm Mr. Robert E. Wilkins ◊ Mrs. Michel Williams Ms. Nancy 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◊ And five who wish to remain anonymous

FALL 2023

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.

Linda Wasserman, Chair Mrs. Katana H. Abbott* Mr. Joseph Aviv Mr. Christopher 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 Hollinshead, CFA Mr. Mark W. Jannott, CTFA Ms. Jennifer 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* Mrs. Marguerite Munson Lentz* Mr. J. Thomas MacFarlane Mr. Christopher M. Mann* Mr. Curtis J. Mann Mrs. Mary K. Mansfield Mr. Mark E. Neithercut* Mr. Steve 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

*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.

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

DETROIT SYMPHONY ORCHESTRA

dso.org

#IAMDSO

DSO PERFORMANCE MAGAZINE 49

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, plus our outdoor green space, Sosnick Courtyard. 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.

Parking The DSO Parking Deck is located at 81 Parsons Street. Self-parking in the garage costs $12 for most concerts (credit card payment only).

Accessible parking is available on the first and second floors of the garage.

Note that accessible parking spaces go quickly, so please arrive early!

Valet parking is also available for all patrons (credit card payment only), and a golf cart-style DSO Courtesy Shuttle is available for all patrons who need assistance entering The Max.

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 for purchase on the first floor of the William Davidson Atrium at most concerts, and light bites are available in the Paradise Lounge on the second floor. Bars are located on the first and third floors of the William Davidson Atrium and offer canned sodas (pop, if you prefer), beer, wine, and specialty cocktail mixes.

50

Patrons are welcome to bring drinks to their seats at all performances except Friday morning Coffee Concerts; food is not allowed in Orchestra Hall.

Please note that outside food and beverages are prohibited.

Accessibility 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, barrierfree 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 Box Office.

• Available at the Box Office during all events at The Max, the DSO offers sensory toolkits to use free of charge, courtesy of the Mid-Michigan Autism Association. The kits contain items that can help calm or stimulate a person with a sensory processing

DSO PERFORMANCE MAGAZINE

THE MAX M. & MARJORIE S. FISHER MUSIC CENTER 3711 Woodward Avenue Detroit, MI 48201 Box Office: 313.576.5111 Group Sales: 313.576.5111 Administrative Offices: 313.576.5100 Facilities Rental Info: 313.576.5131 Visit the DSO online at dso.org For general inquiries, please email info@dso.org difference, including noise-reducing headphones and fidget toys. The DSO also has a quiet room, available for patrons to use at every performance • A golf cart-style DSO Courtesy Shuttle is available for all patrons who need assistance entering The Max. • Check out the Accessibility tab on dso.org/yourexperience to learn more

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!

Shop DSO Merchandise Visit shopdso.org to purchase DSO and Civic Youth Ensembles merchandise anywhere, anytime!

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.

FALL 2023

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/rentals or call 313.576.5131 for more information.

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

POLICIES

PHONES

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.

TICKETS, EXCHANGES, AND CONCERT CANCELLATIONS n All sales are final and non-refundable. n Even though we’ll miss you, we understand that plans can change unexpectedly, so the DSO offers flexible exchange and ticket donation options. n Please contact the Box Office to exchange tickets and for all ticketing questions or concerns. n 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.

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!

PHOTOGRAPHY & RECORDING We love a good selfie (please 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.

Flash photography, video recording, tripods, and cameras with detachable lenses are strictly prohibited.

NOTE: By entering event premises, you consent to having your likeness featured in photography, audio, and video captured by the DSO, and release the DSO from any liability connected with these materials.

Visit dso.org for more.

SMOKING Smoking and vaping are not allowed anywhere in The Max.

A GREATER WORLD STANDS BEFORE YOU. The loudest sound in the world is the whisper that comes from inside, pushing you to achieve possibilities that once seemed impossible.

A cancer diagnosis can be the start of a new journey; not an ending. In the fight, you want every advantage to beat the disease. There is no bigger advantage than having the experts at Karmanos Cancer Institute in your corner.

Cancer is a beginning.

dso.org

#IAMDSO

DSO PERFORMANCE MAGAZINE 51

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

Benjamin Brown Production Manager

Joseph Sabatella Fulfillment Coordinator

Natalie Berger Video Content Specialist

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

Nolan Cardenas Auditions and Operations Coordinator

Alice Sheppard Event Coordinator

LaToya Cross Communications and Advancement Content Specialist

Jill Elder Vice President and Chief Revenue Officer Linda Lutz Vice President and Chief Financial and Administrative Officer Joy Crawford Executive Assistant to the President and CEO Serena Donadoni Executive Assistant to the Vice President and Chief Revenue Officer Anne Parsons ◊ President Emeritus

ARTISTIC OPERATIONS ARTISTIC PLANNING Jessica Ruiz Senior Director of Artistic Planning Jessica Slais Creative Director of Popular and Special Programming Claudia Scalzetti Artistic Coordinator Lindzy Volk Artist Liaison

LIVE FROM ORCHESTRA HALL Marc Geelhoed Executive Producer of Live from Orchestra Hall

ORCHESTRA OPERATIONS Kathryn Ginsburg General Manager Patrick Peterson Director of Orchestra Personnel Dennis Rottell Stage Manager

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Benjamin Tisherman Manager of Orchestra Personnel

LIBRARY

Shay Vaughn Major Gift Officer

BUILDING OPERATIONS Ken Waddington Senior Director of Facilities and Engineering

Robert Stiles Principal Librarian Ethan Allen Assistant Principal Librarian Bronwyn Hagerty Orchestra and Training Programs Librarian

ADVANCEMENT Alex Kapordelis Senior Director of Advancement Audrey Kelley Director of Executive and Board Operations Colleen McLellan Director of Institutional and Legislative Partnerships

Cedric Allen EVS Technician

Demetris Fisher Manager of Environmental Services (EVS)

Damien Crutcher Managing Director of Detroit Harmony

William Guilbault EVS Technician

Debora Kang Director of Education

Robert Hobson Chief Maintenance Technician

Clare Valenti Director of Community Engagement

Aaron Kirkwood EVS Technician

Kiersten Alcorn Manager of Community Engagement

Daniel Speights EVS Technician

Amanda Tew Director, Advancement Operations

Christina Williams Director of Patron and Event Experience

Leslie Groves Major Gift Officer

Neva Kirksey Manager of Events and Rentals Alison Reed, CVA Manager of Volunteer and Patron Experience

COMMUNICATIONS

Juanda Pack Advancement Benefits Concierge Susan Queen Gift Officer, Corporate Giving

DSO PERFORMANCE MAGAZINE

◊

Deceased

COMMUNITY & LEARNING Karisa Antonio Senior Director of Social Innovation and Learning

EVENT AND PATRON EXPERIENCE

Jane Koelsch Data and Research Specialist

Francesca Leo Public Relations Coordinator

Teresa Beachem Chief Engineer

Cassidy Schmid Director of Individual Giving

Ali Huber Signature Events Manager

Hannah Engwall Public Relations Manager

Matt Carlson Senior Director, Communications and Media Relations Sarah Smarch Director of Content and Storytelling

Chris DeLouis Training Ensembles Operations Coordinator Joanna Goldstein Manager of Programs and Student Development Kendra Sachs Training Ensembles Recruitment and Communications Coordinator

FINANCE Agnes Postma Senior Director of Accounting and Finance Adela Löw Director of Accounting and Financial Reporting Sandra Mazza Senior Accountant, Business Operations

FALL 2023

Hoang Duong Staff Accountant Dina Hardeman-McCoy Payroll and Benefits Accountant Nick Mangrum Accounting Clerk Assistant

HUMAN RESOURCES Hannah Lozon Senior Director of Talent and Culture Jacquez Gray Director of Diversity, Equity, and Inclusion Angela Stough Director of Human Resources Shuntia Perry Recruitment and Employee Experience Specialist

Sharon Gardner Carr Assistant Manager of Tessitura and Ticketing Operations Jay Holladay Brand Graphic Designer Crystal Mann Loyalty Marketing Strategist LaHeidra Marshall Marketing Projects Specialist Connor Mehren Digital Marketing Strategist Declan O’Neal Marketing and Promotions Coordinator Kristin Pagels-Quinlan Content Marketing Strategist

SAFETY & SECURITY George Krappmann Director of Safety and Security

Read Performance anytime! dso.org/performance

Michelle Marshall Director of Patron Sales and Service

William Shell Director of Information Technology

Rollie Edwards Patron Sales and Service Specialist

Pat Harris Systems Administrator

James Sabatella Group & Tourism Sales Manager

Aaron Tockstein Database Administrator

MARKETING & AUDIENCE DEVELOPMENT Charles Buchanan Senior Director of Marketing and Audience Development Teresa Alden Director of Growth and Acquisition Rebecca Villarreal Director of Subscriptions and Loyalty

dso.org

Fall • 2023-2024 Season

Hannah Engwall, editor hengwall@dso.org • ECHO PUBLICATIONS, INC. Tom Putters, publisher James Van Fleteren, designer echopublications.com • Cover design by Jay Holladay • To advertise in Performance: call 248.582.9690 or email info@echopublications.com

PATRON SALES & SERVICE

INFORMATION TECHNOLOGY

Michelle Koning Web Manager

PERFORMANCE

Johnnie Scott Safety and Security Manager Willie Coleman Security Officer Joyce Dorsey Security Officer Sarah McClure Security Officer Tony Morris Security Officer

#IAMDSO

Activities of the DSO are made possible in part with the support of the Michigan Arts & Culture Council and the National Endowment for the Arts.

DSO PERFORMANCE MAGAZINE 53

UPCOMING CONCERTS & EVENTS

Tchaikovsky’s Sixth Symphony Dec 7–9

TICKETS & INFO 313.576.5111 or dso.org

Voctave: The Spirit of the Season Dec 8

Bach & Beyond Jan 11–14

PVS CLASSICAL SERIES

chamber recital

Fri, Dec 1 – Sun, Dec 3

Mon, Dec 11

MARSALIS’ BLUES SYMPHONY

PVS CLASSICAL SERIES

TCHAIKOVSKY’S SIXTH SYMPHONY Thu, Dec 7 – Sat, Dec 9 SPECIAL EVENT

VOCTAVE: THE SPIRIT OF THE SEASON

BACH’S GOLDBERG VARIATIONS SPECIAL EVENT

HOME ALONE IN CONCERT Wed, Dec 13

Sat, Dec 9

BEETHOVEN & SIBELIUS Thurs, Jan 18 – Sat, Jan 20

Thurs, Jan 25 – Sun, Jan 28

Fri, Dec 22 – Sat, Dec 23

THE SNOWMAN

PVS CLASSICAL SERIES

Fri, Dec 15 – Sun, Dec 17

HOME FOR THE HOLIDAYS

TINY TOTS (Ages 2-5)

YOUNG PEOPLE’S FAMILY CONCERT SERIES (Ages 6+)

Tues, Jan 16

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES

SPECIAL EVENT

Sat, Dec 9

BRUCE & BRAHMS

PNC POPS SERIES

Fri, Dec 8

FOX & BRANCH

CHAMBER RECITAL

ELF IN CONCERT

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES

BACH & BEYOND

Thurs, Jan 11 – Sun, Jan 14

ELGAR & MOZART

For complete program listings, including Live from Orchestra Hall webcast dates, visit dso.org

Detroit Debut

MOZART'S JUPITER Friday, January 26, 2024 Orchestra Hall (Detroit) // 8 PM Tommy Mesa cello Earl Lee conductor Wolfgang Amadeus Mozart Overture to The Marriage of Figaro Joseph Haydn Cello Concerto No. 1 Jessie Montgomery Divided Mozart Symphony No. 41 "Jupiter"

www.a2so.org | (734) 994-4801

Hope has a home: The University of Michigan Prechter Bipolar Research Program What causes bipolar disorder — the dangerous manic highs and devastating lows?

Our scientists and research participants are committed to finding answers and effective personalized treatments.

Be a source of hope for bipolar disorder.

Questions? Reach out to Lisa Fabian at 734-763-4895 or visit prechterprogram.org.

Now serving Mansion Luncheon on Friday a�ter Co�fee Concerts

Join us in �e Ghostbar for A�ter-show Desserts

Classic Lunch menu to compliment your elegant a�ternoon!

Pastries, Flaming Desserts and specialty beverages

Entrees start at $19 Reservations recommended 248-719-4812

Available for evening performances Dessert reservations available

4421 Woodward Avenue, Detroit | 313 832 5700 | thewhitney.com