Performance Magazine: Fall 2018 – Edition 2

VOLUME XXVII • FALL 2018

PERFORMANCE THE MAGAZINE OF THE DETROIT SYMPHONY ORCHESTRA

2018-2019 SEASON

INSIDE n

Program Notes

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I Hear a Symphony The DSO’s soulful past

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Leonard Slatkin in 2018-19

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eet the Musician M Patricia Masri-Fletcher

The DSO’s Shannon Orme bikes the Motor City (and beyond)

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2 0 18 -2 0 19 S E A S O N

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

CONTENTS

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12 Meet the Musician Patricia Masri-Fletcher

in 2018-19: 14 Slatkin A Q&A

16 20 Community and Learning 21 PROGRAM NOTES

I Hear a Symphony

The DSO’s soulful past, present, and future

Read Performance anytime, anywhere at dso.org/performance

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Welcome......................................................4 Orchestra Roster.........................................5 Behind the Baton.........................................6 Board Leadership........................................8 Transformational Support........................10 Donor Roster............................................. 38 Maximize Your Experience....................... 48 DSO Administrative Staff......................... 50 Upcoming Concerts.................................. 52 ON THE COVER: Shannon Orme, clarinet and bass clarinet (Barbara Frankel and Ronald Michalak Chair), poses with her trusty off-road bike. Orme, an avid cyclist, completed a 540-mile loop through the western plains this summer, including a stop to perform at the Grand Tetons Music Festival. Read more about Orme’s trek, as well as other musicians’ summer adventures, at dso.org/Stories.

Photo: Sarah Smarch DSO PERFORMANCE MAGAZINE 3

WELCOME DONALD DIETZ

Dear Friends,

Welcome to Orchestra Hall for an extraordinary new season from your Detroit Symphony Orchestra!

This year is full of incredible artists and music.

Don’t just take our word for it. In its season preview, The New York Times wrote, “You’d be hard pressed to find a more clever orchestral program in America this season,” about one of the concerts in our upcoming winter music festival American Panorama, and called it “a tribute to this orchestra’s playful creativity.”

Leonard Slatkin will be on stage this year as our Music Director Laureate, conducting this three-week festival in February. He also opens the Classical Series with our dear friend violinist Gil Shaham and closes the season with pianist Makoto Ozone, who played with the orchestra in Japan on our 2017 Asia Tour but who will be new to Orchestra Hall audiences. We will also highlight outstanding guest conductors and soloists including Ludovic Morlot, Kent Nagano, Simone Young, Emanuel Ax, Christian Tetzlaff, and Hélène Grimaud. If you can’t attend in person you can always watch online via our Live from Orchestra Hall webcasts and through the DSO Replay archive.

Principal Pops Conductor Jeff Tyzik has an exciting PNC Pops Series in store for us this year, including tributes to Motown and The Beatles with all-new orchestrations by Jeff of those classic hits.

The Paradise Jazz Series also promises some exciting collabrations, closing with a celebration of the partnership between film director Spike Lee and composer Terence Blanchard (DSO Erb Jazz Chair) featuring the Detroit Symphony Orchestra that you won’t want to miss.

We look forward to greeting you in your community this season at a William Davidson Neighborhood Concert or Chamber Recital, or at one of the many DSO musician performances in schools, hospitals, and senior centers, plus even a bar or greenhouse on occasion. We hope to engage you all season with compelling stories of the ways we are impacting audiences across greater Detroit both on stage and in our communities. So, continue to follow us on social media and online at dso.org, and we encourage you to share these stories and continue to bring your friends and loved ones into our oneDSO family.

Wishing you a glorious season.

Anne Parsons President and CEO

Mark Davidoff Board Chairman

The DSO would like to thank Judge Avern Cohn for his suggestion to increase the educational content in Performance this season. You may notice a few updates in your program book, with more on the way.

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FALL 2018

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

JEFF TYZIK

Principal Pops Conductor

TERENCE BLANCHARD

NEEME JÄRVI

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

Music Director Emeritus

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

Abraham Feder A ssistant Principal Dorothy and Herbert Graebner Chair Robert Bergman* Jeremy Crosmer* David LeDoux* Peter McCaffrey* Joanne Danto and Arnold Weingarden Chair Haden McKay* Úna O’Riordan* Paul Wingert* Victor and Gale Girolami Chair

SECOND VIOLIN Adam Stepniewski Acting Principal Will Haapaniemi* David and Valerie McCammon Chair Hae Jeong Heidi Han* David and Valerie McCammon Chair Sheryl Hwangbo* Sujin Lim* Hong-Yi Mo* Alexandros Sakarellos* Drs. Doris Tong and Teck Soo Chair Joseph Striplin* Marian Tanau* Jing Zhang* Open, Principal The Devereaux Family Chair

HARP Patricia Masri-Fletcher Principal Winifred E. Polk Chair

BASS Kevin Brown, Principal Van Dusen Family Chair Stephen Molina A ssistant Principal Linton Bodwin Stephen Edwards Christopher Hamlen Nicholas Myers

FLUTE Sharon Sparrow Acting Principal Bernard and Eleanor Robertson Chair Amanda Blaikie Morton and Brigitte Harris Chair Jeffery Zook Open, Principal Women’s Association for the DSO Chair Adam Sadberry African-American Orchestra Fellow

VIOLA Eric Nowlin, Principal Julie and Ed Levy, Jr. Chair James VanValkenburg A ssistant Principal Caroline Coade Hang Su Glenn Mellow Shanda Lowery-Sachs Hart Hollman Han Zheng Mike Chen

PICCOLO Jeffery Zook

CELLO Wei Yu, Principal James C. Gordon Chair

ENGLISH HORN Monica Fosnaugh Shari and Craig Morgan Chair

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

TROMBONE Kenneth Thompkins, Principal David Binder Randall Hawes BASS TROMBONE Randall Hawes TUBA Dennis Nulty, Principal PERCUSSION Joseph Becker, Principal Ruth Roby and Alfred R. Glancy III Chair Andrés Pichardo-Rosenthal A ssistant Principal William Cody Knicely Chair James Ritchie TIMPANI Jeremy Epp, Principal Richard and Mona Alonzo Chair James Ritchie A ssistant Principal LIBRARIANS Robert Stiles, Principal Ethan Allen PERSONNEL MANAGERS Heather Hart Rochon Director of Orchestra Personnel Patrick Peterson Manager of Orchestra Personnel STAGE PERSONNEL Dennis Rottell, Stage Manager Steven Kemp Department Head Matthew Pons Department Head Michael Sarkissian Department Head

OBOE Alexander Kinmonth Principal Jack A. and Aviva Robinson Chair Sarah Lewis Maggie Miller Chair Brian Ventura A ssistant Principal Monica Fosnaugh

* These members may voluntarily revolve seating within the section on a regular basis

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

Leonard Slatkin

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

Highlights of the 2018-19 Season include a tour of Germany with the ONL; a three-week American Festival with the DSO; the Kastalsky Requiem project commemorating the World War I Centennial; Penderecki’s 85th birthday celebration in Warsaw; five weeks in Asia leading orchestras in Guangzhou, Beijing, Osaka, Shanghai, and Hong Kong; and the Manhattan School of Music’s 100th anniversary gala concert at Carnegie Hall. He will also conduct the Moscow Philharmonic, Balearic Islands Symphony, Orchestre Philharmonique de Radio France, Louisville Orchestra, Berner Symphonieorchester, Pittsburgh Symphony, St. Louis Symphony, RTÉ National Symphony in Ireland, and Monte Carlo Symphony.

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

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

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

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

FALL 2018

Jeff Tyzik

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

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

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

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

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

DSO PERFORMANCE MAGAZINE 7

Detroit Symphony Orchestra, Inc. LIFETIME MEMBERS

Samuel Frankel † David Handleman, Sr.†

Dr. Arthur L. Johnson † Clyde Wu, M.D.†

CHAIRMEN EMERITI

Alfred R. Glancy III Robert S. Miller Peter D. Cummings

James B. Nicholson Stanley Frankel Phillip Wm. Fisher

DIRECTORS EMERITI

OFFICERS

BOARD OF DIRECTORS

The Board of Directors is responsible for maintaining a culture of high engagement, accountability and strategic thinking. As fiduciaries, Directors oversee all DSO financial activities and assure that resources are aligned with the DSO mission.

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Robert A. Allesee Floy Barthel Mrs. Mandell L. Berman† John A. Boll, Sr. Richard A. Brodie Lois and Avern Cohn Marianne Endicott Sidney Forbes Mrs. Harold Frank Barbara Frankel Herman Frankel

Paul Ganson Mort and Brigitte† Harris Gloria Heppner, Ph.D. Ronald M. Horwitz Hon. Damon J. Keith Richard P. Kughn Harold Kulish Dr. Melvin A. Lester David R. Nelson Robert E.L. Perkins, D.D.S.†

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

Mark A. Davidoff Chairman

Faye Alexander Nelson, Treasurer

Ralph J. Gerson, Officer at Large

Glenda D. Price, Ph.D., Vice Chair

Arthur T. O’Reilly, Secretary

Janice Uhlig, Officer at Large

Anne Parsons, President & CEO

Chacona W. Baugh, Officer at Large

Pamela Applebaum Janice Bernick, Governing Members Chair Robert H. Bluestein Marco Bruzzano Jeremy Epp, Orchestra Representative Samuel Fogleman Herman B. Gray, M.D.

DSO PERFORMANCE MAGAZINE

Nicholas Hood, III Daniel J. Kaufman Michael J. Keegan Bonnie Larson Matthew B. Lester Arthur C. Liebler Xavier Mosquet Stephen Polk

† Deceased

Bernard I. Robertson Hon. Gerald E. Rosen Nancy M. Schlichting Sharon Sparrow, Orchestra Representative Arn Tellem Hon. Kurtis T. Wilder M. Roy Wilson David M. Wu, M.D.

FALL 2018

BOARD OF TRUSTEES Richard Huttenlocher, Chair The Board of Trustees is tasked with shepherding the long-term strategy of the DSO to fully implement the organization’s entrepreneurial capabilities while developing and presenting new strategies and objectives.

Ismael Ahmed Rosette Ajluni Richard Alonzo Janet M. Ankers Suzanne Bluestein Penny B. Blumenstein Elizabeth Boone Gwen Bowlby Joanne Danto Stephen R. D’Arcy Maureen T. D’Avanzo Karen Davidson Richard L. DeVore Afa Sadykhly Dworkin Annmarie Erickson James C. Farber Jennifer Fischer Aaron Frankel

Alan M. Gallatin Robert Gillette Jody Glancy Malik Goodwin Antoinette G. Green Leslie Green Laura Hernandez-Romine Michele Hodges Julie Hollinshead Renato Jamett Renee Janovsky Joseph Jonna John Jullens David Karp Joel D. Kellman Jennette Smith Kotila James P. Lentini, D.M.A. Linda Dresner Levy

Joshua Linkner Florine Mark Tonya Matthews, Ph.D. David N. McCammon Lois A. Miller Daniel Millward Scott Monty Shari Morgan Frederick J. Morsches Joseph Mullany Sean M. Neall Eric Nemeth Tom O’Brien Maury Okun Shannon Orme, Orchestra Representative Vivian Pickard William F. Pickard, Ph.D. Gerrit Reepmeyer

James Ritchie, Orchestra Representative Richard Robinson Chad Rochkind James Rose, Jr. Lois L. Shaevsky Thomas Shafer Margaret Shulman Cathryn M. Skedel, Ph.D. Shirley R. Stancato Stephen Strome Mark Tapper Laura J. Trudeau Gwen Weiner Jennifer Whitteaker R. Jamison Williams Margaret E. Winters Ellen Hill Zeringue

GABRILOWITSCH SOCIETY OFFICERS Janet and Norm Ankers, chairs Cecilia Benner Greg Haynes Bonnie Larson Lois Miller Ric Sonenklar

GOVERNING MEMBERS OFFICERS Janice Bernick Chairwoman

James C. Farber Immediate Past Chair

Jiehan Alonzo Vice Chair, Signature Events

Suzanne Dalton Vice Chair, Annual Giving

Maureen D’Avanzo Member-at-Large

Janet and Norm Ankers Co-Vice Chairs, Gabrilowitsch Society

Samantha Svoboda Vice Chair, Communications

David Everson* Musician Representative

Cathleen Clancy Vice Chair, Engagement

David Assemany Member-at-Large

Kenneth Thompkins* Musician Representative

Diana Golden Vice Chair, Membership

David Karp Member-at-Large

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*Current DSO Musician or Staff

DSO PERFORMANCE MAGAZINE 9

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

Filling our community with music—concert after concert, year after year, generation after generation—is the cornerstone of the Detroit Symphony Orchestra’s mission and purpose. We would like to extend our sincere gratitude to those who have made extraordinary multi-year gifts for general operations, endowment, capital improvements, and named chairs, ensembles, or programs since the start of Blueprint 2023, our ten-year plan. These transformational gifts set a strong foundation for the future of the DSO. See a full list of these generous supporters on the next page, and read a spotlight of recent activities below.

ENDOWED CHAIRS PROGRAM

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n May 6, nearly 50 people gathered at the home of Joanne Danto and Arnold Weingarden to celebrate the partnership between benefactor and musician. This event was the inaugural celebration of the DSO’s Endowed Chairs program.

Through this effort, we can build a secure financial future for the DSO and sustain artistic excellence. We continue to attract and retain the best musicians, guarantee our investment in L-R: Arnold Weingarden, Joanne Danto, education and youth programs, and Peter McCaffrey, and McCaffrey’s wife serve our city as one of its greatest Natasha. cultural assets.

“A strong endowment signifies to all — the community at large, musicians and staff, and potential new musicians — that the DSO has the stability and flexibility to grow, innovate, and provide an unsurpassed artistic and cultural experience to those in Detroit, throughout Michigan, and elsewhere” said Principal Timpani Jeremy Epp, Richard and Mona Alonzo Chair.

Evident at the event was the bond between musicians and benefactor. This is a special relationship that represents a mutual love for music and a desire to share that passion with others. As Joanne shared, “Arnie and I are so pleased to host this event, to see the beautiful connections between donors and musicians, and to celebrate a strong DSO future together. Our relationship with Peter McCaffrey (Cello, Joanne Danto and Arnold Weingarden Chair) has been so fulfilling and we look forward to seeing his career flourish with the DSO.” The DSO is grateful to our musicians and donors in the Endowed Chairs program.

To learn more about how you can participate, please contact Jill Elder, Vice President and Chief Development Officer, at jelder@dso.org.

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

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

John S. & James L. Knight Foundation The Kresge Foundation Mrs. Bonnie Larson Linda Dresner & Ed Levy, Jr. The Andrew W. Mellon Foundation Ms. Deborah Miesel Shari & Craig Morgan The Polk Family Bernard & Eleanor Robertson Stephen M. Ross Mrs. Richard C. Van Dusen

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

Richard & Jane Manoogian Foundation David & Valerie McCammon Mr. & Mrs. Eugene A. Miller Dr. William F. Pickard Jack+ & Aviva Robinson Martie & Bob Sachs Mr. & Mrs.+ Alan E. Schwartz Paul and Terese Zlotoff

BENEFACTORS Mr. & Mrs. Robert A. Allesee W. Harold & Chacona W. Baugh Robert & Lucinda Clement Mary Rita Cuddohy Estate Margie Dunn & Mark Davidoff DSO Musicians Bette Dyer Estate Dr. Marjorie M. Fisher & Mr. Roy Furman Barbara Frankel & Ronald Michalak Victor+ & Gale Firolami Fund Herbert & Dorothy Graebner dso.org

Ronald M. and Carol+ Horwitz Richard H. & Carola Huttenlocher Dr. Melvin A. Lester Michigan Council for Arts and Cultural Affairs Mr. & Mrs. Lloyd e. Reuss Donald & Gloria Schultz Estate Mr. & Mrs. Fred Secrest+ Jane and Larry Sherman Cindy & Leonard* Slatkin Marilyn Snodgrass Estate

DSO PERFORMANCE MAGAZINE 11

MEET THE MUSICIAN

PATRICIA MASRI-FLETCHER Principal Harp Winifred E. Polk Chair

E

very classical music fan has their preferred spot in the concert hall: some love a front-row seat, close enough to practically hear the swish of the baton; others choose the back of the hall for a richer, full-room sound; still others perch from boxes or balconies for the best view. But no matter the seat, one instrument is always easy to spot—the harp, imposing in size but delicate in sound.

Principal Harp Patricia MasriFletcher remembers the first time she saw the instrument onstage.

“There was a young people’s concert that I went to in high school,” she says, “I was looking straight at it, so I didn’t see the strings, only the column and the soundboard. But I heard the sound of it… and I thought ‘that is the most beautiful sound.’” Masri-Fletcher was already playing the piano and the violin, so her mother was exasperated at the thought of adding a harp to the mix. “Not another instrument!” Masri-Fletcher recalls her saying while rolling her eyes. But after some thought—and finding a local harp available for rent—Masri-Fletcher’s parents were on board.

Such a large and specialized instrument requires something of a leap of faith, Masri-Fletcher admits. “A lot of violinists sling their instruments over their back…but the concert grand harp, you can’t really do that!” she laughs. “It doesn’t collapse, you can’t fold it up. I

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have a hand truck for it, and I’m always looking for wheelchair ramps. For years now I’ve had to have at least one vehicle that’s the Harpmobile.” While MasriFletcher drives from the front seat, the instrument lays down on a mattress in the back.

Once the harp has been moved to its proper spot onstage, there’s nothing quite like the elegant sound of a glissando to make the heavy lifting worth it.

But it’s not just the transportation that’s hard work; Masri-Fletcher points out that the instrument is more complex than it appears to most people, particularly because of its foot pedals. “The pedals have nothing to do with what piano pedals do—softness, sustain, and so on,” she says, referring to a set of foot controls most of us are more familiar with. “The harp pedals are for the sharps and the flats. If I’m playing along in the key of C, which is like all the white FALL 2018

keys on the piano, in order to get any kind of accidental—the black keys—I have to move my feet.” Simple enough?

Not quite. “There are seven different pedals at the bottom, and each pedal has three positions. Keeping track of 21 different positions can be very complicated at times…and I will have to move my feet very quickly. I always hope that my fellow musicians sitting nearby don’t hear too much pedal noise!”

Masri-Fletcher joined the DSO as Principal Harp in 1988 and has fond memories for each of those 30 years.

When asked about the DSO’s current moment, especially about the search for a new music director, she thinks back to Neeme Järvi taking the helm from Günther Herbig in the early 90s, and Leonard Slatkin succeeding Järvi in 2008. “Whenever we’re in transition from one music director to the next, there can be an air of uncertainty…but there’s also so much excitement,” she says. “Some music directors have focused on recording. Others have focused on touring. Others have focused on new music, as in Leonard Slatkin’s case. It’s always new, and exciting, and fun to anticipate what a music director will bring to us next.”

While the Principal Harp chair keeps her busy and requires immense concentration, Masri-Fletcher has found a perfect way to relax: visiting Kensington Metropark with her husband to birdwatch. The chickadees and cranes are welcome company after a tiring weekend of concerts at Orchestra Hall.

“However,” she is sure to point out, “it is such a pleasure to work with the finest musicians in the world right now. I have the utmost respect for my colleagues in the orchestra. We work together as a family, we stick together as a family.”

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DSO PERFORMANCE MAGAZINE 13

Slatkin in 2018-19: A Q&A T

hroughout the 2017-18 Season, we were thrilled to celebrate Leonard Slatkin’s tenth and final year as DSO Music Director before he took on the new role of Music Director Laureate.

Unfortunately, Maestro Slatkin had to cancel his final three conducting appearances of the season in order to undergo heart surgery, but after three months’ recovery and a move to St. Louis, he is ready to return to the podium this fall. Slatkin will conduct both the first and last programs of the DSO season, as well as the three-week Winter Music Festival in February.

The DSO chatted with Maestro Slatkin recently to get his thoughts about an exciting season.

Tell us about your return to Orchestra Hall for Opening Weekend this October – are you excited? Is there anything in particular about the works you’ve chosen that audiences should listen for?

As has occurred on each of my season-opening nights, I will conduct an American piece, this time a work from the ’60s entitled The Seventh Trumpet.

Donald Erb, a very important composer during his lifetime, created a sonic world unlike any other person writing for instrumental forces. It will also be a pleasure to lead Elgar’s Enigma Variations, a work I have not yet performed with the DSO. It holds a special place in my heart, and I love it dearly.

First and foremost, how has your recovery from heart surgery been going? How are you feeling?

My recovery has gone very well. I was in the hospital for eight days, and then home for five weeks prior to making the move to St. Louis. I think that my cardiac rehab is paying off, as I feel quite healthy now.

Tell us a little bit about the guest artists on your season opening and closing programs – Gil Shaham and Makoto Ozone. What makes them special as performers?

Gil Shaham, one of the most gifted and affable of soloists, starts us off with Prokofiev. His charm and musicality radiate to everyone performing and listening. We have always had a strong

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bond as collaborators, and I suspect that this will never change. Makoto Ozone was our soloist during the Japanese portion of our 2017 Asia Tour. Best known among jazz aficionados, he has branched out to play several works from the classical canon. I have a feeling he may “interpolate” a few things into the Rachmaninoff Paganini Rhapsody.

Several programs this season feature DSO musicians as soloists – many of whom you brought to Detroit over the past 10 years. Why is it important to showcase our own musicians’ artistry?

Nothing makes me prouder of the DSO than to showcase the individual talents of our musicians. It doesn’t matter whether or not I appointed them—showing the versatility of our musicians is always a priority for me.

A big highlight this season is the Winter Music Festival focusing on American music. How did this year’s festival come together? What are a few festival highlights you’re most eager about?

When the festivals began, we focused on composers for the first four years.

Then last season we switched to a country, France. My passion for American music made this year feel like a good one to focus on the creativity of our country and its artists. There is a good mixture of old and new, and as usual, there will be many extra events. It is all done in the spirit of fun, but also with a high degree of artistry and musical intensity. Every work is a highlight, but I would certainly point out a rare performance of John Cage’s 4’33”. Look it up if you need to.

We were so thrilled to honor you at the Heroes Gala back in June. Do you have fond memories of that night?

That question has a very obvious answer, but for those who were not there, it is important to know that at no dso.org

point was I informed of anything that would take place at the concert. Sitting up in Box C, I noticed my son had left, saying he needed to use the restroom. I got a bit worried when he did not return after five minutes. At that point, conductor Teddy Abrams told the audience that Daniel had written a piece in my honor and that he would be conducting it. I was completely overwhelmed, to the point that I have trouble remembering much about all this, as my eyes were filled with tears of joy, and my heart was bursting with pride.

Are there any upcoming non-DSO engagements (conducting elsewhere, writing, etc.) that you’re excited about?

It is a very busy year, and I will be on the road for a great deal of time—five weeks in Asia, return visits to France as well as a German tour with the Orchestre National de Lyon, a two-week stint in St. Louis to celebrate the 50th anniversary of my professional conducting debut, and many other guest engagements throughout the world. It is certainly possible to say that every performance keeps me excited, and I hope that audiences will feel the same way.

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I Hear a Symphony The DSO’s soulful past, present, and future

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ome tunes are so catchy that we can “play” them in our head—not just the basic melody, but individual moments of musical inflection. Think of “My Girl” by The Temptations: immediately you can recall the fuzzy, thumpy bass intro, followed after a few bars by a twangy guitar lick and echoing snaps. Without even trying, your brain constructs David Ruffin’s clear, evocative voice, and the way he finesses the word “sunshine” in the first lyric.

The perfectly-crafted and intensely memorable radio hit was the specialty of Berry Gordy’s Motown empire, headquartered at its heyday in the blue-and-white “Hitsville U.S.A.” house on Detroit’s West Grand Boulevard. The “Motown Sound” both defined the label’s identity and cemented its success, with a recipe using a variety of musical ingredients: bright, treble-laden mixing; melodic basslines; call-and-response vocals; ringing, jiving tambourines. And perhaps the most important—though a certain bias should be noted—is the innovative use of lush, beautiful orchestral arrangements on what would otherwise be simple rock-combo pop tunes.

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Think back to “My Girl”—after bobbing through the first verse, Ruffin begins singing that famous chorus: “I guess / You’d say…” Softly, a group of horns enter the mix, gaining a bit of volume during “What can make me feel this way?” When Ruffin croons “My girl,” the strings make their entrance, laying out a romantic vamp that continues to grow throughout the song. And the band plays on! There are the triumphant horn triplets in the second verse (ba da da, ba da daa!), and the soaring strings on the instrumental break as the Temps sing “Hey, hey, hey…”

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rom 1964 to 1972, the orchestra players who helped craft the Motown Sound were members of the Detroit Symphony Orchestra, helmed by thenDSO Concertmaster Gordon Staples.

Tales of the DSO-Motown connection sound almost mythical today, but they’re true—on many a night, after finishing up a performance with the DSO, Staples would round up his band of musicians and drive north on Woodward Avenue to Motown’s Studio A (nicknamed “the Snake Pit”), where the group would lay down orchestra parts until the wee hours of the morning. “It’s not easy, I’ll tell you that!” Staples remarked in a Detroit News article in 1969. “I heard someone say, if you’ve played one rock session, you’ve played them all. That’s not true. I really think there must be something to this thing they call the ‘Detroit Sound,’ because it is different.”

Staples and his troupe—which also included his wife, DSO violinist Beatriz Budinzky—first collaborated with Motown on Brenda Holloway’s 1964 single “Every Little Bit Hurts.” In addition to the aforementioned “My Girl,” the DSO players contributed to hits like The Four Tops’ “Baby I Need Your Loving,” Martha

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and the Vandellas’ “Dancing in the Street,” and Marvin Gaye’s “What’s Going On;” in 1965, eight of Motown’s top fifteen best-sellers featured orchestra contributions.

“They worked very, very hard,” says Gordon’s son Greg Staples, who has been a member of the DSO violin section since 1999. “But they had a great time doing it and working with all the stars.

You can hear it in the recordings—it was a lot of fun.” The late DSO violinist Felix Resnick, who played on the Motown sessions, recalled in a 1999 interview the thrill of meeting Smokey Robinson and a five-year-old Michael Jackson. Diana Ross once asked if she could play his violin for a moment, but he had to decline; “She had such long fingernails!” he said.

No one can remember exactly how the collaboration began, but the key was Gordon Staples’ friendship with several arrangers on the Motown payroll, espe-

GORDON STAPLES

GREG STAPLES

cially David Van DePitte and Paul Riser.

Staples’ very first session made it clear that Motown had found its man: “My dad was just a great personality who was able to facilitate things…he was so good at being able to communicate with the stars, and with everybody,” says Greg Staples. “He could relate to all kinds of people,” agrees Greg’s mother, Beatriz.

Other DSO musicians who recorded at Motown include violinists Alvin Score, DSO PERFORMANCE MAGAZINE 17

James Waring, Lillian Downs, Linda Orchestra Hall and other venues to perSnedden Smith, Richard Margitza, form alongside the DSO, thankfully with Virginia Halfmann, and Zinovi Bistritzky; a bit more room available than the violists Anne Mischakoff, David Ireland, cramped digs of the Snake Pit! Edouard Kesner,

This October’s PNC Meyer Shapiro, and Pops Series opener, Nathan Gordon; celDancing in the Street, is a lists Italo Babini, fresh new concert proEdward Korkigian, gram with a special Marcy emphasis on the symphoSchweickhardt, and ny’s role in creating the Thaddeus Motown Sound. Created Markiewicz; and and arranged by DSO harpists Carole Principal Pops Conductor Crosby and Pat Jeff Tyzik, Dancing in the Terry. Staples and Street premiered in Long Co. even released Beach, CA, and now comes GORDON STAPLES AND THE STRING their own album on to its proper hometown.

THING’S 1970 MOTOWN ALBUM. Motown in 1970: “I’ve always loved the Catalog number MS722, titled Strung Out music of Motown,” says Tyzik. “These under the name “Gordon Staples and the great artists combined many elements String Thing.” to make Soul and R&B a new American Motown Records packed up and relopopular songbook.” In a sense, the cated to Los Angeles in 1972, but the Motown Sound has always been about original Hitsville U.S.A. building still arrangements—a songwriter might have stands, and now houses the Motown a catchy idea, but how can all the musiMuseum. In the years since then, many cal pieces be put together to build a hit?

Motown artists have trekked to The orchestral arrangements that shot Motown to the top of the charts are now themselves being arranged into a concert program that puts a new spin on old favorites. “[These songs] are fun, they’re meaningful,” says Greg Staples, who is excited to get into the Motown spirit for Dancing in the Street. “Everybody who contributed to the Motown recordings, everybody who was involved…what an example they set! They were wonderful people and wonderful musicians, and we’re fortunate to still have such a marvelous orchestra today.”

ORIGINAL SUPREME MARY WILSON PERFORMS WITH THE DSO AT ORCHESTRA HALL IN 2016.

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The DSO thanks Jim Dulzo, whose article “A String of Hits” (featured in Performance in 2000) was used as research for this story.

Dulzo is a former Detroit News music critic.

The DSO also thanks Greg Staples, violin, for agreeing to be interviewed for this article.

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Photo: Shelly Mosman

15%

DSO Patron discount

The William and Nancy Richardson Concert

Thursday, November 15, 2018 · 8 PM Chenery Auditorium, Kalamazoo 269.359.7311 | THEGILMORE.ORG

We celebrate the DSO – a world-class ensemble

www.honigman.com

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DSO PERFORMANCE MAGAZINE 19

COMMUNITY & LEARNING

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s the most accessible orchestra in the world, the DSO loves hitting the road to play for its fans wherever they may live. And while international tours are great, Carnegie Hall is special, and Florida has its sunshine, nothing beats playing for our hometown fans in their backyards right here in southeast Michigan.

Each September to kick off our new season we perform four free concerts at venues in Detroit and throughout the metro area, powered by the DTE Energy Foundation.

Our William Davidson Neighborhood Concert Series brings our full orchestra and smaller chamber orchestra out to seven suburban communities each year too.

Staging concerts with 40 to 90 musicians is a monumental feat, so we’re thrilled to also present regular performances of smaller groups of DSO

#DSOIMPACT

musicians as part of the William Davidson Neighborhood Chamber Recitals. These intimate events often feature interesting or unexpected repertoire in beloved spaces throughout the

city of Detroit and its surrounding communities. The best part? William Davidson Neighborhood Series subscribers can attend every chamber performance for free. Learn more about becoming a Neighborhood subscriber at dso.org/neighborhood. Not a Neighborhood subscriber? No problem: single tickets are only $15 ($10 for students).

Here’s a glance at some Chamber Recital highlights this season:

Beethoven & Schubert

String quartet selections in the grand chapel of a historic Midtown church.

Monday, October 8 at 7 p.m.

Cass Community United Methodist Church Detroit

Corigliano, Gershwin, & Barber

Part of American Panorama: the 2019 Winter Music Festival Tuesday, February 12 at 7 p.m.

Steinway Piano Gallery Commerce Township

Dvořák’s String Quintet No. 2

For two violins, viola, cello, and bass.

Monday, December 17 at 7 p.m.

Church of the Divine Child Dearborn

Motown Musings

Blending the classical repertoire and Motor City soul hits.

Monday, May 6 at 7 p.m.

North Rosedale Park Community House Detroit

Check out the complete calendar at dso.org/chamber!

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

JEFF TYZIK

Principal Pops Conductor

TERENCE BLANCHARD

NEEME JÄRVI Music Director Emeritus

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

CLASSICAL SERIES GRIEG PIANO CONCERTO Thursday, October 25, 2018 at 7:30 p.m.

Saturday, October 27, 2018 at 8 p.m.

Sunday, October 28, 2018 at 3 p.m. at Orchestra Hall SANTTU-MATIAS ROUVALI, conductor VÍKINGUR ÓLAFSSON, piano Jean Sibelius “Lemminkäinen’s Return,” No. 4 (1865 - 1957) from Legends, Op. 22

Edvard Grieg Concerto for Piano and Orchestra

(1843 - 1907) in A minor, Op. 16 I. Allegro molto moderato II. Adagio III. Allegro moderato molto e marcato Víkingur Ólafsson, piano Intermission Jean Sibelius Symphony No. 5 in E-Flat major, Op. 82 (1865 - 1957) I. Tempo molto moderato - Allegro moderato – Presto II. Andante mosso, quasi allegretto III. Allegro molto - Misterioso

This Classical Series performance is generously sponsored by

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

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Program Notes P R O G R A M AT- A - G L A N C E Jean Sibelius and Edvard Grieg, undoubtedly the most celebrated composers of Finland and Norway, respectively, are each credited with helping to establish their country’s national identity.

Finnish conductor Esa-Pekka Salonen on Jean Sibelius: “ [Finland] is a country that was first part of Sweden for 600 years and then part of the Russian Empire for another 100 years…Enter Sibelius, who combines the cultural backgrounds, both Swedish and Finnish. The first time Finland was mentioned as a nation among nations was at the Paris World Expo in 1900 when Robert Kajanus conducted the first symphony by Sibelius, and the poster says, ‘Finlandia: as a nation.’”

ESA-PEKKA SALONEN

Just how great is the legacy of Edvard Grieg, Norway’s most celebrated son? · Grieg’s home city of Bergen named Grieg Hall, its largest concert hall, after the composer. In 1985 a crater on the planet Mercury was named Grieg. · Grieg was given an honorary degree from Cambridge in 1894; immediately he wrote a telegram to a friend with the same surname, signed “Dr. Grieg.” ore than 30,000 people—nearly 30% of Bergen’s population ·M at the time—attended Grieg’s funeral in 1907.

“Lemminkäinen’s Return,” No. 4 from Legends, Op. 22 JEAN SIBELIUS B. December 8, 1865, Hämeenlinna, Finland D. September 20, 1957, Ainola, Finland Scored for 2 piccolos, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, and strings. (Approx. 6 minutes)

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uring a two-year struggle to complete an opera entitled The Building of the Boat, based on the Finnish national epic the Kalevala, Jean Sibelius’s output stagnated. A visit to Munich and Bayreuth and an immersion in the writing and music of Richard Wagner

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GRIEG HALL, BERGEN, NORWAY

re-inspired him. Upon returning to Finland, Sibelius began a fruitful period of composition. From the fall of 1895 until the following spring, he worked on the Lemminkäinen Suite (also called Legends or The Four Legends), a set of four tone poems based, like the opera, on the Kalevala, each depicting a legend from the epic.

“Lemminkäinen’s Return,” the fourth and final piece in the set, roughly parallels the 30th section (or “Runo”) of the Kalevala, Runo XXX. In it, the titular hero begins his journey home after an adventure that involves—among other things—a river of fire, attacks by a wolves and bears, a beer stein filled with serpents, and a sea turned to ice.

Rather than follow an exact literary FALL 2018

program, Sibelius chose to evoke the general atmosphere of each poem.

“Lemminkäinen’s Return,” often considered an expression of Finnish pride, is built from a single three-note motive of an ascending whole step and a descending fourth. This motive is continually transformed, the frenzy of the hero’s return is depicted through gathering speed, brass fanfares, and finally a complete tutti in the closing moments.

—Amy Kimura The DSO most recently performed Sibelius’s “Lemminkäinen’s Return” in November 2005, conducted by Neeme Järvi. The DSO first performed the piece in November 1924, conducted by Victor Kolar.

Concerto for Piano and Orchestra in A minor, Op. 16 EDVARD GRIEG B. June 15, 1843, Bergen, Norway D. September 4, 1907, Bergen, Norway Scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings.

(Approx. 30 minutes)

E

dvard Grieg once allowed that his music “has a taste of codfish in it,” acknowledging the consensus that his compositions are almost always inflected with the accents of his native Norway. The many dances, songs, piano pieces, and other miniatures that made him famous tend to be imbued with the spirit and style of his homeland, but he occasionally ventured into the larger genres for orchestra and chamber ensembles. The most beloved of these large-scale works is the piano concerto of 1868.

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Grieg traveled frequently throughout Scandinavia and central Europe, gaining fans and celebrators everywhere he went, and in 1866 he had a bold idea: to program a concert exclusively of Norwegian compositions. The unprecedented move paid off beautifully, earning Grieg the chief conductor position at Oslo’s Philharmonic Society, a long list of interested students, and a full calendar of piano recitals. He gave himself a break in 1868, taking an extended vacation in the Danish village of Søllerød—sleeping late, eating well, going for walks, and, of course, composing freely in the afternoon sun. By the time he returned to Norway in the fall, the piano concerto was largely complete.

The concerto’s first movement opens with a bold summons by the soloist. The main theme is given by the woodwinds and taken over almost immediately by the piano. A flashing transition—filled with skipping rhythms—leads to the second theme, a tender cello melody wrapped in the warm harmonies of the trombones. An episodic development section, launched by the full orchestra playing the movement’s opening motive, is largely based on the main theme in dialogue. The recapitulation returns the earlier themes, after which the piano launches into a tightly woven cadenza.

The stern introductory measures are recalled to close the movement. The Adagio begins with a song filled with sentiment and nostalgia played by the strings and rounded off by touching phrases in the solo horn. The soloist weaves elaborate musical filigree above the simple accompaniment before the lovely song returns in an enriched setting. The themes of the finale’s outer sections are constructed in the rhythms DSO PERFORMANCE MAGAZINE 23

of a popular Norwegian dance, the hallingdansen. The movement’s central portion presents a wonderful melodic inspiration, introduced by the solo flute, that derives from the dreamy atmosphere of the preceding movement.

The DSO most recently performed Grieg’s Piano Concerto in June 2015, at performances in the William Davidson Neighborhood Concert Series. Marcelo Lehninger conducted, and Andrew von Oeyen was the featured soloist. The DSO first performed the piece in November 1914, conducted by Weston Gales and featuring pianist Kathryn Goodson.

Symphony No. 5 in E-Flat major, Op. 82 JEAN SIBELIUS B. December 8, 1865, Hämeenlinna, Finland D. September 20, 1957, Ainola, Finland Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, timpani, and strings. (Approx. 30 minutes)

A

fter walking close to the edge of tonality to meet early 20th century musical trends with his cryptic Symphony No. 4, Jean Sibelius stepped back from that precipice onto firmer tonal ground in his celebrated Symphony No. 5. Sibelius conducted the premiere of the symphony on his 50th birthday in the auditorium of the University of Helsinki. He was dissatisfied with the result, however, and made revisions in 1916 and 1919 (one and four years after the premiere, respectively).

The symphony does not represent Sibelius’s final achievement in telescoping the four-movement symphonic plan he inherited from 19th century composers into a single uninterrupted movement; that did not occur until the Symphony No. 7 was completed five years later. But Sibelius does transform

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the themes, rhythm, and pace of the opening sonata-form movement into a high-powered Scherzo, accelerating the two unified movements into an exhilarating climax at the halfway point of the symphony.

In his comprehensive study of the symphony, Sibelius scholar James Hepokoski notes that while the slow movement and the finale remain separated, the main theme of the finale is suggested in the bass line at the center of the slow movement, while a leading thematic idea in the slow movement is transformed to become a subsidiary theme at the center of the finale. In a sense, the finale becomes “the slow movement pulled inside-out.”

The slow movement, leading off with a gentle thematic idea in the plucked strings, shares dual characteristics of a set of variations and a song form with slightly contrasting music toward its center. But this delicate, lacy music, tinted in the pastel tone colors of pale modal scales, intrigues the listener because it does not fit quite comfortably in either category. The finale begins in a swarm of fluttering tremolos in the strings, leading to the gradual gathering of the woodwinds and the first appearance of a rocking horn theme that later returns to dominate the end of the movement. It forms a mighty climax to the symphony, which then concludes with a series of widely spaced, emphatic chords.

—Carl R. Cunningham The DSO most recently performed Sibelius’s Symphony No. 5 in March 2015, at performances in the William Davidson Neighborhood Concert Series.

John Storgårds conducted. The DSO first performed the piece in March 1936, conducted by Werner Janssen.

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Profiles SANTTU-MATIAS ROUVALI

VÍKINGUR ÓLAFSSON

Finnish conductor Santtu-Matias Rouvali currently serves as Chief Conductor of the Gothenburg Symphony, Principal Guest Conductor of the Philharmonia Orchestra, and Artistic Director and Chief Conductor of the Tampere Philharmonic in Finland. He has ROUVALI recently made his debuts with several American orchestras including the Minnesota Orchestra and Cincinnati Symphony Orchestra. He has ambitious plans to lead his own orchestras on tours of Europe, Japan, and North America.

Rouvali was trained as a percussionist, studying at the renowned Sibelius Academy. At age 22, he took up conducting, studying with Jorma Panula, Leif Segerstam, and Hannu Lintu. Rouvali was also a Dudamel Fellow with the Los Angeles Philharmonic.

Rouvali’s discography includes a 2015 Orfeo recording of Sibelius and Nielsen with the Tampere Philharmonic and Baiba Skride and a 2017 Orchid Classics recording of John Adams’ Violin Concerto with the Copenhagen Phil and Ilya Gringolts.

Rouvali’s other career highlights include a Nordic tour with the Gothenburg Symphony and Hélène Grimaud, an El Sistema project titled Side by Side with Gustavo Dudamel, a Sibelius symphony cycle during his second season with the Tampere Philharmonic, and two engagements conducting the Tampere Opera.

Icelandic pianist Víkingur Ólafsson is celebrated for his fresh interpretations of the piano repertoire and an unerring commitment to new music. Earning a name for himself in his homeland and throughout Europe, Ólafsson has received several major prizes, including the Icelandic ÓLAFSSON Order of the Falcon, four Musician of the Year prizes at the Icelandic Music Awards, and the Icelandic Optimism Prize. He studied at The Juilliard School, where his primary teachers were Jerome Lowenthal, Robert McDonald, and Ann Schein. Ólafsson signed an exclusive recording contract with Deutsche Grammophon in 2016, and in 2017 he released his first album on the label, a recording of Philip Glass’s Etudes. Prior to signing with DG, he released three albums on his own label, Dirrindí. Ólafsson is also Artistic Director of three festivals: Vinterfest in Sweden, Reykjavík Midsummer Music, and the Icelandic Weekend at Liepaja Great Amber Hall in Latvia. Ólafsson has proudly premiered several new works, including piano concertos by Snorri Sigfús Birgisson, Daníel Bjarnason, Haukur Tómasson, and Þórður Magnússon. He has also collaborated on new music with Philip Glass, Mark Simpson, Atli Ingólfsson, Mark-Anthony Turnage, and Björk.

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n

T hese performances mark Víkingur Ólafsson’s DSO debut.

T hese performances mark SanttuMatias Rouvali’s DSO debut.

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

TERENCE BLANCHARD

JEFF TYZIK

Principal Pops Conductor

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

NEEME JÄRVI Music Director Emeritus

TITLE SPONSOR:

CIRQUE DE LA SYMPHONIE Friday, November 2, 2018 at 10:45 a.m. & 8 p.m.

Saturday, November 3, 2018 at 8 p.m.

Sunday, November 4, 2018 at 3 p.m. at Orchestra Hall November is Community Support Month.

Learn more and make a gift now at dso.org/donate.

SEAN O’LOUGHLIN, conductor CIRQUE DE LA SYMPHONIE Irina Burdetsky • Vitalii Buza • Aleksandr Deev • Pavel Korshunov Vitaliy Prikhodko • Vladimir Tsarkov • Elena Tsarkova • Christine Van Loo

Benj Pasek & Justin Paul The Greatest Showman (b. 1985) arr. Sean O’Loughlin

John Williams “Harry’s Wondrous World”

(b. 1932) from Harry Potter and the Sorcerer’s Stone Christine Van Loo, Aerial Silks

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Lalo Schifrin Theme from Mission Impossible (b. 1932) Aleksandr Deev, Spinning Shapes arr. Calvin Custer John Williams “Devil’s Dance” from The Witches of Eastwick (b. 1932) Vladimir Tsarkov, Rings Juggling John Powell How To Train Your Dragon (b. 1963) arr. Sean O’Loughlin

DSO PERFORMANCE MAGAZINE

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Leonard Bernstein Overture to West Side Story (1918 - 1990) Irina Burdetsky, Hula Hoops Arr. Maurice Peress

Claude Debussy Clair de Lune (1862 - 1918) Elena Tsarkova, Contortion and Dance arr. Arthur Luck

John Williams “Superman March” from Superman (b. 1932) Vitalii Buza, Aerial Straps

Intermission

John Kander Chicago Suite for Orchestra (b. 1927) Vladimir and Elena Tsarkov, Quick Change arr. Ted Ricketts John Williams “Flying Music” from (b. 1932) E.T. The Extra-Terrestrial Leonard Bernstein Overture to Candide (1918 - 1990) Aleksandr Deev, Cyr Wheel John Williams Hooray For Hollywood (b. 1932)

Dmitri Kabalevsky “Galop” from The Comedians, Op. 26 (1904 - 1987) Vladimir Tsarkov, Electric Juggler

Jacques Offenbach “Can Can” from Orpheus in the Underworld (1819 - 1880) Elena Tsarkov, Ribbon Dance

John Kander Theme from New York, New York (b. 1927) lyrics Fred Ebb, arr. Bob Cerulli

John Williams “Across the Stars” from Star Wars

(b. 1932) Episode II: Attack of the Clones

Vitalii Buza and Christine Van Loo, Aerial Duo

Hans Zimmer Music from Gladiator (b. 1957) Vitaliy Prikhodko and Pavel Korshunov, arr. John Wasson Strength and Balance

Presented by

With additional support from

This performance’s recognition of American’s Veterans and Active Military is supported by

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DSO PERFORMANCE MAGAZINE 27

Profiles SEAN O’LOUGHLIN

CIRQUE DE LA SYMPHONIE

Sean O’Loughlin is the Principal Pops Conductor of Symphoria, the exciting new symphony in Syracuse, NY, and the newly appointed Principal Pops O’LOUGHLIN Conductor of the Victoria Symphony in Victoria, British Columbia. Also a composer and arranger, O’Loughlin is celebrated for his fresh voice and colorful scoring. His work has been commissioned by the Boston Pops, Los Angeles Philharmonic, and Hollywood Bowl Orchestra.

O’Loughlin has conducted top orchestras across North America, including the Boston Pops, San Francisco Symphony, Chicago Symphony Orchestra, Hollywood Bowl Orchestra, and the Vancouver Symphony, among others. He served as assistant conductor and arranger for a production of Sgt. Pepper Live in Las Vegas featuring the band Cheap Trick, and he has conducted national and international tours with Josh Groban, Sarah McLaughlin, and the Jerry Garcia Symphonic Celebration.

O’Loughlin has also collaborated with Adele, Pentatonix, Diana Ross, Blue Man Group, The Decemberists, Gloria Gaynor, and many others.

An annual ASCAP Special Awards winner, O’Loughlin was a composition fellow at the Henry Mancini Institute in Los Angeles and holds composition degrees from New England Conservatory and Syracuse University.

Cirque de la Symphonie is an exciting production designed to bring the magic of cirque to the music hall.

For more than 10 years, it has thrilled and bedazzled veteran concertgoers and new patrons as they see accomplished aerial flyers, acrobats, contortionists, dancers, jugglers, balancers, and strongmen perform to live symphony music.

Cirque de la Symphonie performers include world record-holders, goldmedal winners of international competitions, Olympians, and some of the most experienced cirque talent ever seen. Their performances are uniquely adapted to stage accommodations shared with the symphony, and each artist’s performance is choreographed to the music arranged in collaboration with the maestro.

When the artists of Cirque de la Symphonie perform with the full orchestra, an incredible fusion of these two great art forms takes place. The aerialists and acrobats turn the concert into a three-dimensional entertainment extravaganza. Come one, come all!

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M OST RECENT APPEARANCE WITH THE DSO: April 2017, conducted by Jeff Tyzik. nF IRST APPEARANCE WITH THE DSO: October 2012, conducted by Jeff Tyzik. n

T hese performances mark Sean O’Loughlin’s PNC Pops Series debut.

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P R O G R A M AT- A - G L A N C E

CIRCUS VS. CIRQUE?

What’s the difference between these related performance types?

Traditional Circus

Cirque (or Contemporary Circus)

• Separate acts and spectacles hosted by a Ringmaster or Master of Ceremonies.

• Performed “in the round,” with seating around a circular circus pit.

• Often includes trained animals, magic, and dangerous stunts.

• Music is used to add drama or excite the crowd.

• Separate phases within one continuous performance, generally involving a story.

• Usually performed on a standard stage with auditorium seating.

• Includes circus acts like juggling and acrobatics but in a non-circus format; animals are rarely featured.

• Music is used to help tell the story and create atmosphere in the performance.

SPEND THE HOLIDAYS WITH THE DSO!

DSO PRESENTS

VIENNA BOYS CHOIR Sun., Nov. 25 at 7 p.m.*

PARADISE JAZZ SERIES

PNC POPS SERIES

HOME FOR THE HOLIDAYS Lawrence Loh, conductor Meredith Lustig, vocalist Fri., Dec. 21 at 10:45 a.m. & 8 p.m.

Sat., Dec. 22 at 3 p.m. & 8 p.m.

Sun., Dec. 23 at 3 p.m. & 7 p.m.

DSO PRESENTS

CYRUS CHESTNUT TRIO: A CHARLIE BROWN CHRISTMAS

HOME ALONE WITH THE DSO

Fri., Dec. 7 at 8 p.m.*

Richard Kaufman, conductor Wed., Dec. 19 at 7:30 p.m.

YOUNG PEOPLE’S FAMILY CONCERT SERIES

DSO PRESENTS NEW YEAR’S EVE CONCERT & BASH

BY RAYMOND BRIGGS Vinay Parameswaran, conductor Sat., Dec. 8 at 11 a.m.

Brent Havens, conductor Rashidra Scott, vocals Mon., Dec. 31 at 10 p.m.

THE SNOWMAN

THE MUSIC OF WHITNEY HOUSTON

313.576.5111 • dso.org/holiday *The DSO does not appear on this program

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DSO PERFORMANCE MAGAZINE 29

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

JEFF TYZIK

TERENCE BLANCHARD

Principal Pops Conductor

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

NEEME JÄRVI Music Director Emeritus

CLASSICAL SERIES EMANUEL AX PLAYS BEETHOVEN Friday, November 9, 2018 at 10:45 a.m. and 8 p.m.

Saturday, November 10, 2018 at 8 p.m. at Orchestra Hall November is Community Support Month.

Learn more and make a gift now at dso.org/donate.

CRISTIAN MĂCELARU, conductor EMANUEL AX, piano

Antonín Dvořák Carnival Overture, Op. 92 (1841 - 1904)

Ludwig van Beethoven Piano Concerto No. 1 in C major, Op. 15

(1770 - 1827) I. Allegro con brio II. Largo III. Rondo: Allegro Emanuel Ax, piano Intermission

Andrew Norman Play

(b. 1979) I. Level 1 II. Level 2 III. Level 3 This Classical Series performance is generously sponsored by

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

This performance’s recognition of American’s Veterans and Active Military is supported by

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Program Notes P R O G R A M AT- A - G L A N C E This program’s three composers on the art of creation and the role of the musician: “ To have a wonderful idea is nothing special. The idea comes of its own accord and, if it’s fine and great, man cannot take the credit for it. But to take a fine idea and make something great of it, that is the hardest thing to do; that is what real art is!”

– ANTONÍN DVOŘÁK “ It has always been known that the greatest pianoforte players were also the greatest composers; but how did they play? Not like the pianists of today, who prance up and down the keyboard with passages which they have practiced – putsch, putsch, putsch – what does that mean? Nothing! When a true pianoforte virtuoso played it was always something homogeneous, an entity, if written down it would appear as a well thought-out work. That is pianoforte playing; the other thing is nothing!”

– LUDWIG VAN BEETHOVEN “ By thinking of the orchestra as only a sound-making machine, we’ve actually eliminated a huge part of what makes a concert experience amazing. What makes an orchestra special, for me, is not actually the sounds that it makes but the fact that there are a hundred human beings doing that, right in front of me. In a way, it’s performance art.” – ANDREW NORMAN

Carnival Overture, Op. 92 Antonín Dvořák B. Sept. 8, 1841, Nelahozeves, Bohemia D. May 1, 1904, Prague, Czech Republic Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 9 minutes)

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ife was sweet for Dvořák as his 50th birthday approached in 1891.

Whether the composer was feeling philosophical that year, we can only surmise. But more than one commentator has seen his cycle Nature, Life, and Love, composed in 1891, as the product of midlife musing. The Carnival Overture forms the middle panel in this triptych and was composed between July and September 1891. All three parts, including the Overtures In Nature’s Realm and Otello, were performed for the first time

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at a concert in Prague in April 1892, a farewell for the composer before he departed for the New World.

The Carnival Overture plunges directly into the festivities, whirling the listeners along before they have half a chance to demur. Only once is the celebratory mood broken: before taking up the development of his themes, Dvořák pauses for a reflective interlude in slow tempo, mulling over the “nature” theme — based on a series of rocking thirds — that recurs in all three overtures in the set. For a moment we can savor woodwind writing as luscious as any Dvořák ever penned, but suddenly, the party begins again, and there will not be a moment’s rest until the final chords.

The DSO last performed Dvořák’s Carnival Overture in April 2016 with Michelle Merrill conducting. It received its DSO debut in February 1920 with Ossip Gabrilowitsch conducting.

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Program Notes Piano Concerto No. 1 in C major, Op. 15 LUDWIG VAN BEETHOVEN B. December 1770, Bonn, Germany D. March 26, 1827, Vienna, Austria Scored for solo piano, flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (Approx. 37 minutes)

T

hough it carries the label “No. 1,” Beethoven’s C major piano concerto marks his third attempt in the genre.

The earliest is an unfinished concerto in E-flat major, and the B-flat major Piano Concerto No. 2—while published later— was largely composed before the No. 1.

But as they say, the third time is the charm! The C major concerto, though written when Beethoven was just 25, is a startlingly mature work that synthesizes the then-popular piano styles of Mozart and Haydn with Beethoven’s own brilliant innovations.

The extended length of the concerto’s first movement, some 478 measures, is an indication of Beethoven moving away from the Classical model of the concerto form, and toward a more involved and perhaps even symphonic conception for the genre. This idea would become more fully fledged in his D major Violin concerto of 1806, and later in the “Emperor” Piano Concerto of 1809. Besides its length, the first movement is remarkable for the lyricism and rapid-fire arpeggios that Beethoven grants the soloist. Each time the orchestra catches up, the pianist is off again—finishing flowery segments the orchestra tries to cut short, or forging tunes the ensemble doesn’t even touch. The movement’s midsection then uses the opening motto almost exclusively to build up an eerie

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suspense until the pianist cuts the process short with rapid runs that usher in an explosive restatement.

The tender slow movement, in the contrasting key of A-flat major, has a sense of the sublime that was so valued

by Beethoven’s Viennese contemporaries. Much of the restatement of the opening uses a new triplet accompaniment that transforms its rhythmic feel.

And the final movement, Allegro scherzando, is a rondo whose good humor and wit provides contrast with the seriousness of the opening two movements—and recalls the lightheartedness of Haydn, Beethoven’s teacher in Vienna.

The DSO most recently performed Beethoven’s Piano Concerto No. 1 in July 2016, at performances in the William Davidson Neighborhood Concert Series.

Mirga Gražinytė-Tyla conducted, and Louis Schwizgebel was the featured soloist. The DSO first performed the piece in December 1924, conducted by Ossip Gabrilowitsch and featuring pianist Rudolph Ganz.

Play ANDREW NORMAN B. October 31, 1979, Grand Rapids, MI Scored for 2 flutes (both doubling on piccolo), 2 oboes, English horn, 3 clarinets (1 doubling on E-flat clarinet), 3 bassoons (1 doubling on contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, percussion, piano, and strings. (Approx. 45 minutes)

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ndrew Norman’s distinctive style— full of energy, eclectic influence, and dizzying imagination—has earned him commissions and collaborations with many of the world’s leading orchestras FALL 2018

and festivals, as well as Musical America’s 2017 Composer of the Year Award. Play, composed in 2013 and revised in 2016, was commissioned by the Boston Modern Orchestra Project, which released a recording of the work in 2015. The piece won the Grawemeyer Award for Music Composition in 2017.

The composer writes the following about the piece: It is difficult for me to write about Play. Play is a cycle of pieces, a body of work that I have been writing and rewriting for years. Play explores many different ideas—ideas about choice, chance, free will, and control, about how technology has rewired our brains and changed the ways we express ourselves, about the blurring boundaries of reality in the internet age, the murky grounds where video games and drone warfare meet, for instance, or where cyber-bullying and real-world violence converge. Play touches on the corrupting influence of power and the collapse and rebirth of social systems, but it is also explores the physicality and joy of instrumental playing, as well as the many potential meanings of coordinated human activity—how the display of massed human synchronicity can represent both the communal best and coercive worst of our race. It is difficult for me to try to cogently offer all this up in a program note.

Nevertheless…here is one of the stories that coalesced as I wrote Play. It is by no means the only plotline that weaves through the work, but it might provide a useful guide into this dense and sprawling music: We flip the switch on a crazy, topsy-turvy world where the percussionists discover that their instruments have all sorts of powers over the rest of the dso.org

orchestra. They have the power to turn other players on and off, to make them play forwards or backwards, louder or softer, faster or slower, to trade them out one for another or make them rewind and retry ideas again and again until they are gotten right.

The percussionists spend much of Level 1 running around like kids in a candy shop, making and remaking the music around them with gleeful abandon. In Level 2, the pace slows and the mood darkens. The percussionists become more selective with their interventions, but also more manipulative, even sadistic in the increasingly unwieldy paces through which they put the rest of the band.

Level 2 ends with an epic battle between the percussionists, as they open and slam shut doors onto different worlds, frantically trying to find a way out of the musical labyrinth of their own creation, and in Level 2’s final seconds they whack themselves into oblivion, leaving the orchestra suspended in a silent, frozen state. Level 3 begins in that frozen silence as the orchestral musicians, for the first time free of the percussionists and their oppressive systems of control, must decide for themselves if and when and what and why and how to play. The musicians come to life slowly, and gradually form the music, the first truly communal expression in the entire piece, that they had been trying to find all along.

These performances of Andrew Norman’s Play will be DSO premieres.

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Profiles CRISTIAN MĂCELARU Winner of the 2014 Solti Conducting Award and recently appointed as Music Director and Conductor of the Cabrillo Festival of Contemporary Music, Cristian Măcelaru has established himself as one of the fast-rising stars of MĂCELARU the conducting world.

Currently Conductor-in-Residence of the Philadelphia Orchestra, he made his Philadelphia Orchestra subscription debut in April 2013 and continues to conduct them annually on subscription programs and other special concerts. In May 2018 Măcelaru was announced as the next Chief Conductor of the WDR Symphony Orchestra Cologne, beginning his tenure in the 2019-2020 Season.

Măcelaru has worked with many of the world’s leading symphonies, including the National Symphony Orchestra, St. Louis Symphony, San Diego Symphony, Bayerischen Rundfunk Symphonieorchester, Royal Scottish National Orchestra, New Japan Philharmonic, and many others. He has appeared at the Ravinia Festival, Hollywood Bowl, Wolf Trap Festival, Aspen Music Festival, and Lincoln Center, among others. Also a keen opera conductor, he made his Cincinnati Opera

debut in highly acclaimed performances of Il Trovatore and led the U.S. premiere of Colin Matthews’s Turning Point with the Tanglewood Music Center Orchestra as part of the Tanglewood Contemporary Music Festival.

Măcelaru formerly held the position of Resident Conductor at Rice University’s Shepherd School of Music, where he was Music Director of the Campanile Orchestra, Assistant Conductor to Larry Rachleff, and Conductor for the Opera Department. A proponent of music education, he has served as a conductor with the Houston Youth Symphony, where he also conceptualized and created a successful chamber music program. As Founder and Artistic Director of the Crisalis Music Project, Măcelaru spearheaded a program in which young musicians perform in a variety of settings, side-by-side with established artists. He currently resides in Philadelphia with his wife Cheryl and children Beniamin and Maria.

M OST RECENT APPEARANCE WITH THE DSO: May 2017, conducting a program with music by Fauré, James Newton Howard, and Rachmaninoff. nF IRST APPEARANCE WITH THE DSO: March 2015, conducting a program with music by Ligeti, Mozart, Webern, and Schumann. n

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

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

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FALL 2018

EMANUEL AX

Emanuel Ax captured the music world’s attention in 1974, when he won the inaugural Arthur Rubinstein International Piano Competition in Tel Aviv. A year later he won the Michaels Award of Young Concert Artists, and in 1979 he was the recipient of the coveted Avery Fisher Prize. In recent years, Ax has turned his attention toward the music of 20th century composers, premiering works by John Adams, Christopher Rouse, Krzysztof AX Penderecki, Bright Sheng, and Melinda Wagner. Ax is also devoted to chamber music, and has worked regularly with such artists as Young Uck Kim, Cho-Liang Lin, Yo-Yo Ma, Edgar Meyer, Peter Serkin, Jaime Laredo, and the late Isaac Stern.

A Sony Classical exclusive recording artist since 1987, recent releases include Mendelssohn Trios with Yo-YoMa and Itzhak Perlman, Strauss’s Enoch Arden narrated by Patrick Stewart, and discs of two-piano music by Brahms and Rachmaninoff with Yefim Bronfman. Ax has received Grammy Awards for the second and third volumes of his cycle of

Haydn’s piano sonatas and for his collaborative recording (with Yo-Yo Ma) of the Beethoven and Brahms sonatas for cello and piano. Ax also contributed to an International Emmy Award-winning BBC documentary commemorating the Holocaust, which aired on the 60th anniversary of the liberation of Auschwitz.

Ax was born in Lvov, Poland and moved to Winnipeg, Canada, with his family when he was a young boy. His studies at the Juilliard School were supported by the sponsorship of the Epstein Scholarship Program of the Boys Clubs of America, and he subsequently won the Young Concert Artists Award.

Additionally, he attended Columbia University where he majored in French.

Ax now resides in New York City with his wife, pianist Yoko Nozaki. He is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Yale and Columbia Universities.

M OST RECENT APPEARANCE WITH THE DSO: December 2016, performing Beethoven’s Piano Concerto No. 2 (cond. Leonard Slatkin) nF IRST APPEARANCE WITH THE DSO: March 1977, performing Beethoven’s Piano Concerto No. 2 (cond. James Loughran) n

SUPPORT THE MUSIC YOU LOVE with the IRA Charitable Rollover!

Did you know you can support unsurpassed musical experiences in Detroit with your IRA? If you are 70½ years or older, you can avoid taxes on transfers of up to $100,000 from your IRA and support the DSO! For more information, please call 313.576.5114. dso.org

DSO PERFORMANCE MAGAZINE 35

Ron Fischer 1955 – 2018

With these concerts, the Detroit Symphony Orchestra honors the memory of Ron Fischer Ron was a member of the DSO violin section for 36 years. He passed away peacefully in his sleep on July 28, 2018, after several years battling Multiple Myeloma, an incurable blood plasma cancer.

He was listening to the Bach Cello Suites while surrounded by family, friends, and his beloved dog Rizzo.

Ron studied at Indiana University, the Institute for Advanced Musical Studies in Montreux, Switzerland, and the Vienna Music Academy. He began his professional career in Europe, and he joined the Detroit Symphony Orchestra in 1982. During his DSO career, Fischer served on several musician committees and spent four years on the DSO Board of Directors Executive Committee.

Ron was a tremendous colleague, friend, and musician. The loss of his larger-than-life personality will surely leave a void in our orchestra family.

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FALL 2018

Fall Arts

GR A N D VA LLEY STATE U NI V ERSIT Y PR ESENTS THE 16TH A N N U A L

Celebration Enriching the Arts and Humanit ies in West Michigan

Grand Valley’s Fall Arts Celebration features distinguished artists, writers, poets, musicians, and dancers of our time.

Please join us this fall for inspiring entertainment that is the hallmark of our signature events.

ART

POETRY

Mars: Astronomy and Culture

An Evening of Poetry and Conversation with Ada Limón and Carl Phillips

EXHIBITION RECEPTION THURSDAY, SEPTEMBER 13, 5–7 P.M. ART GALLERY THOMAS J. AND MARCIA J. HAAS CENTER FOR PERFORMING ARTS ALLENDALE CAMPUS

THURSDAY, OCTOBER 18, 7:30 P.M. L.V. EBERHARD CENTER SECOND FLOOR ROBERT C. PEW GRAND RAPIDS CAMPUS

EXHIBITION DATES: AUGUST 24–OCTOBER 31 This exhibition was curated by Pasadena Arts Council for the Williamson Gallery, Art Center College of Design, Pasadena, California. It is a project of the Pasadena Arts Council’s EMERGE Fiscal Sponsorship Program.

MUSIC

An Italian Journey: Tesla Quartet Performs Tchaikovsky’s Souvenir de Florence

HOLIDAY CELEBRATION

William Deresiewicz, Ph.D.: What is Art in the 21st Century?

MONDAY, OCTOBER 1, 7:30 P.M. L.V. EBERHARD CENTER SECOND FLOOR ROBERT C. PEW GRAND RAPIDS CAMPUS

For event details and to view a complete list of sponsors, visit gvsu.edu/fallarts or call (616) 331-2185.

Kariamu and Company: Traditions – A Celebration of African Dance MONDAY, NOVEMBER 12, 7:30 P.M. LOUIS ARMSTRONG THEATRE THOMAS J. AND MARCIA J. HAAS CENTER FOR PERFORMING ARTS ALLENDALE CAMPUS

MONDAY, SEPTEMBER 17, 7:30 P.M. COOK-DEWITT CENTER ALLENDALE CAMPUS

LECTURE

DANCE

Celebrating Holiday Splendor: Craig Jessop Conducts The Many Moods of Christmas MONDAY, DECEMBER 3, 7:30 P.M. FOUNTAIN STREET CHURCH 24 FOUNTAIN STREET NE GRAND RAPIDS, MI

MEDIA SPONSOR:

THE ANNUAL FUND

Gifts received between September 1, 2017 and August 31, 2018 Being a community-supported orchestra means 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 to make a donation, please contact 313.576.5114 or go to dso.org/donate.

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

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

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

Emory M. Ford, Jr.† Endowment Shari & Craig Morgan The Polk Family Bernard & Eleanor Robertson Martie & Bob Sachs Cindy & Leonard* Slatkin

Ehrling Society — Giving of $50,000 and more Mandell & Madeleine Berman Foundation Mr. & Mrs. Richard A. Brodie Madeline & Sidney Forbes Marvin & Betty Danto Family Foundation Mr. & Mrs. James Grosfeld Mrs. Bonnie Larson Mr. & Mrs. Matthew Lester David & Valerie McCammon

Ms. Deborah Miesel Mr. & Mrs. Eugene A. Miller Joanne Danto & Arnold Weingarden The Clyde & Helen Wu Family Mrs. Judith G. Yaker Paul & Terese Zlotoff

Järvi Society — Giving of $25,000 and more Ms. Sharon Backstrom W. Harold & Chacona W. Baugh Mrs. Cecilia Benner Mrs. Kathryn L. Fife Mr. & Mrs. Edsel B. Ford II Barbara Frankel & Ronald Michalak Herman & Sharon Frankel Mr. & Mrs. Aaron Frankel Mr. & Mrs. Ralph J. Gerson Ronald M. & Carol† Horwitz Richard H. & Carola Huttenlocher Bud & Nancy Liebler 38

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Dr. William F. Pickard Maurcine & Lloyd Reuss Nancy Schlichting Mr. & Mrs.† Alan E. Schwartz Mrs. Patricia Finnegan Sharf Mr. & Mrs. Larry Sherman Mr. & Mrs. Donald R. Simon Dr. Doris Tong & Dr. Teck M. Soo Mr. & Mrs. Arn Tellem Mr. James G. Vella And one who wishes to remain anonymous †

Deceased

FALL 2018

Gabrilowitsch Society — Giving of $10,000 and more Janet and Norm Ankers, chairs

Giving of $10,000 and more Mr. & Mrs. Robert A. Allesee Mr. & Mrs. Norman Ankers Pamela Applebaum Drs. John & Janice Bernick Mr. & Mrs. Robert H. Bluestein John & Marlene Boll Gwen & Richard Bowlby Mr. & Mrs. Stephen Brownell Michael & Geraldine Buckles Michael & Cathleen Clancy Lois & Avern Cohn Margie Dunn & Mark Davidoff Eugene & Elaine C. Driker Jim & Margo Farber Dr. Marjorie M. Fisher & Mr. Roy Furman Mr. Michael J. Fisher Mr. & Mrs. Samuel Fogleman Dr. Saul & Mrs. Helen Forman Dale & Bruce Frankel Mr. & Mrs. Eugene A. Gargaro, Jr. Byron† & Dorothy Gerson Allan D. Gilmour & Eric C. Jirgens Mrs. Gale Girolami Dr. Kenneth & Roslyne Gitlin Dr. Robert T. Goldman Allen C. Goodman & Janet R. Hankin

Mary Ann & Robert Gorlin Dr. Herman & Mrs. Shirley Gray Judy & Kenneth Hale Charlene Handleman Dr. Gloria Heppner Michael E. Hinsky & Tyrus N. Curtis Mr. & Mrs. Norman H. Hofley Jack & Anne Hommes Renato & Elizabeth Jamett Lenard & Connie Johnston Faye & Austin Kanter Mr. & Mrs. Norman D. Katz Mr. Daniel J. Kaufman Mike & Katy Keegan Dr. David & Mrs. Elizabeth Kessel Marguerite & David Lentz Dr. Melvin A. Lester Mr. & Mrs.† Joseph Lile The Locniskar Group Stevens McClure Family Alexander & Evelyn McKeen Mr. & Mrs. Robert S. Miller Dr. Robert & Dr. Mary Mobley Cyril Moscow Xavier & Maeva Mosquet Geoffrey S. Nathan & Margaret E. Winters

Mrs. Denise Abrash Ms. Dorothy Adair Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Daniel & Rose Angelucci Mrs. Jean Azar Mike & Pat Biber Claire P. & Robert N. Brown Philip & Carol Campbell Mr. & Mrs. François Castaing Dr. & Mrs. Charles G. Colombo Thomas W. Cook & Marie L. Masters Mr. & Mrs. Gary L. Cowger Mr. & Mrs. Charles W. Dare Mr. & Mrs. Richard L. DeVore Adel & Walter Dissett Edwin & Rosemarie Dyer Mr. & Mrs. John M. Erb Marianne T. Endicott Mr. Sanford Hansell & Dr. Raina Ernstoff Mr. Peter Falzon Hon. Sharon Tevis Finch Barbara & Alfred J. Fisher III Ms. Mary D. Fisher Ms. Carol A. Friend Goodman Family Charitable Trust Mr.† & Mrs. James A. Green

Mr. Jeffrey Groehn Mr. & Mrs. Robert Hage Mr. Lee V. Hart & Mr. Charles L. Dunlap Ms. Nancy B. Henk Ms. Doreen Hermelin Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. George Hill & Mrs. Kathleen Talbert-Hill Mr. & Mrs. Peter Hollinshead Julius & Cynthia Huebner Foundation Mr. & Mrs. A. E. Igleheart Mr. & Mrs. Richard J. Jessup William & Story John Mr. George G. Johnson Judy & David Karp Michael E. Smerza & Nancy Keppelman Samantha Svoboda & Bill Kishler Mr. & Mrs. Harold Kulish John & Marilyn Kunz Dr. Raymond Landes & Dr. Melissa McBrien-Landes Mr. Daniel Lewis Bob & Terri Lutz Patricia A.† & Patrick G. McKeever John & Marcia Miller Eugene & Sheila Mondry Foundation Mr. & Mrs. Eric Nemeth

Mr. & Mrs. Albert T. Nelson, Jr. David Robert & Sylvia Jean Nelson Jim & Mary Beth Nicholson Patricia & Henry Nickol Mr. & Mrs. Stanley Nycek Mrs. Jo Elyn Nyman Anne Parsons* & Donald Dietz Mr. Charles Peters Mr. & Mrs. Bruce D. Peterson Dr. Glenda D. Price Ms. Ruth Rattner Dr. Erik Rönmark* & Mrs. Adrienne Rönmark* Peggy & Dr. Mark B. Saffer Marjorie & Saul Saulson Elaine & Michael Serling Lois & Mark Shaevsky Mr. & Mrs. James H. Sherman John J. Solecki Richard Sonenklar & Gregory Haynes Mr. Gary L. Wasserman & Mr. Charlie Kashner Mr. & Mrs. R. Jamison Williams Ms. Mary Wilson And two who wish to remain anonymous

Giving of $5,000 and more

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*Current DSO Musician or Staff

Mr. & Mrs. David E. Nims William & Carol O’Neill Mr. & Mrs. Arthur T. O’Reilly Debra & Richard Partrich Ms. Lisa A. Payne Mr. & Mrs. David Provost Mr. & Mrs. Dave Redfield Dr. & Mrs. John Roberts Mr. & Mrs. Robert B. Rosowski Mr. R. Desmond Rowan Dr. & Mrs.† Alexander G. Ruthven II Mrs. Sharon Shumaker Mrs. Kathleen Straus & Mr. Walter Shapero Mrs. E. Ray Stricker Mr. & Mrs. John Stroh III Alice & Paul Tomboulian Mr. Gary Torgow Ms. Marie Vanerian Mrs. Eva Von Voss Mr. William Waak S. Evan & Gwen Weiner Dr. & Mrs. Ned Winkelman Ms. June Wu Erwin & Isabelle Ziegelman Foundation Milton Y. Zussman And one who wishes to remain anonymous

DSO PERFORMANCE MAGAZINE 39

Giving of $2,500 and more Howard Abrams & Nina Dodge Abrams Mr. & Mrs. George Agnello Dr. Roger & Mrs. Rosette Ajluni Mr. & Mrs. Robert L. Anthony Drs. Kwabena & Jacqueline Appiah Dr. & Mrs. Ali-Reza R. Armin Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook* Pauline Averbach & Charles Peacock Mr. Joseph Aviv & Mrs. Linda Wasserman Aviv Mr. & Mrs. Wayne J. Babbish Ms. Ruth Baidas Ms. Jeanne A. Bakale & Mr. Roger Dye Nora & Guy Barron Mr. Mark G. Bartnik & Ms. Sandra J. Collins Mr. & Mrs. Martin S. Baum Mr. & Mrs. Richard Beaubien Dr. & Mrs. Brian J. Beck Ms. Margaret Beck Dr. & Mrs. Richard H. Bell Mrs. Harriett Berg Mr. & Mrs. Dennis Bernard Mr. & Mrs. Jeffrey A. Berner Martha & G. Peter Blom Dr. George & Joyce Blum Nancy & Lawrence Bluth Mr. Timothy Bogan Ms. Nadia Boreiko The Honorable Susan D. Borman & Mr. Stuart Michaelson Rud† & Mary Ellen Boucher Don & Marilyn Bowerman Mr. Paul & Mrs. Lisa Brandt Mr. Anthony F. Brinkman Mr. & Mrs. Marco Bruzzano Mr. & Mrs. Mark R. Buchanan Mr. & Mrs. Ronald F. Buck Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Dr. & Mrs. Roger C. Byrd Mrs. Carolyn Carr Dr. & Mrs. Thomas E. Carson Dr. Lynne F. Carter & Mr. Terrance Carter Ronald & Lynda Charfoos Mr. & Mrs. Andrew Christians Mr. Fred J. Chynchuk Mr. Don Clapham Mr. & Mrs. Robert W. Clark Nina & Richard Cohan Jack, Evelyn & Richard Cole Family Foundation Mr. James Schwyn & Mrs. Françoise Colpron Dr. & Mrs. Julius V. Combs Ms. Elizabeth Correa Patricia & William Cosgrove, Sr. Dr. & Mrs. Ivan Louis Cotman Mrs. Barbara Cunningham Suzanne Dalton & Clyde Foles 40

Deborah & Stephen D’Arcy Fund Maureen & Jerry D’Avanzo Barbara A. David Lillian & Walter Dean Mr. & Mrs. Anthony Delsener Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Mr. Giuseppe Derdelakos Diana & Mark Domin Paul† & Peggy Dufault Mr. & Mrs. Robert Dunn Mrs. George D. Dzialak Dr. Leo & Mrs. Mira Eisenberg Dr. & Mrs. A. Bradley Eisenbrey Randall & Jill* Elder Mr. Lawrence Ellenbogen Ms. Laurie Ellis & Mr. James Murphy Donald & Marjory Epstein Mr. Drew Esslinger & Mr. Chris Syzmanski Dave & Sandy Eyl Ellie Farber Mr. & Mrs. Oscar Feldman Mr. & Mrs.† Anthony C. Fielek Dr. Thomas Filardo & Dr. Nora Zorich Mark & Loree Frank Kit & Dan Frohardt-Lane Mrs. Janet M. Garrett Stephanie Germack Ms. Jody Glancy Dr. & Mrs. Theodore Golden Paul & Barbara Goodman Ms. Jacqueline Graham Mr. Luke Ponder & Dr. Darla Granger Dr. & Mrs. Joe L. Greene Dr. & Mrs. Steven Grekin Robert & Elizabeth Hamel Mary & Preston Happel Randall L. & Nancy Caine Harbour Tina Harmon Mrs. Betty J. Harrell Cheryl A. Harvey Randall* & Kim Minasian Hawes Gerhardt A. Hein & Rebecca P. Hein Mr. & Mrs. Ross Herron Jeremiah* & Brooke Hess Mr. Donald & Marcia Hiruo James Hoogstra & Clark Heath Mr. Matthew Howell & Mrs. Julie Wagner Mr. F. Robert Hozian Mr. & Mrs. Joseph L. Hudson, Jr. Mr. & Mrs. Marshall L. Hutchinson Nicki* & Brian Inman Sarah & Steven Jackson Mr. & Mrs. Ira J. Jaffe Mr. & Mrs. Charles R. Janovsky Mr. John S. Johns Ms. Sydney Johnstone Paul & Marietta Joliat Mr. & Mrs. John Jullens Diane & John Kaplan

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Dr. Laura Katz & Dr. Jonathan Pasko Betsy & Joel Kellman June K. Kendall Frederic & Stephanie Keywell Mrs. Frances King Grace Kachaturoff Mr. James Kirby Thomas & Linda Klein Mr. & Mrs. Ludvik F. Koci Ms. Margot Kohler Mr. David Kolodziej Ms. Susan Konop Mr. James Kors & Ms. Victoria King* Dr. Harry & Katherine Kotsis Robert C. & Margaret A. Kotz George M. Krappmann* & Lynda BurburyKrappmann Barbara & Michael Kratchman Richard & Sally Krugel Dr. Arnold Kummerow Mr. & Mrs. Robert LaBelle Drs. Lisa & Scott Langenburg Ms. Sandra Lapadot Ms. Anne T. Larin Dr. Lawrence O. Larson The Dolores & Paul Lavins Foundation Max Lepler & Rex L. Dotson Mr. & Mrs. Ralph LeRoy, Jr. Barbara & Carl Levin Drs. Donald & Diane Levine Arlene & John Lewis Ms. Carol Litka Daniel & Linda* Lutz Mrs. Sandra MacLeod Cis Maisel Margaret Makulski & James Bannan Mr. & Mrs. Charles W. Manke, Jr. Mervyn & Elaine Manning Mr. Anthony Marek Maurice Marshall Dr. & Mrs. Richard Martella Dr. & Mrs. Peter M. McCann, M.D. Mr. Anthony R. McCree Mr. & Mrs. Alonzo McDonald Mr. John McFadden Ms. Camille McLeod Dr. & Mrs. Donald A. Meier Dr. & Mrs. David Mendelson Olga Sutaruk Meyer Thomas & Judith Mich Bruce & Mary Miller J.J. & Liz Modell Dr. Susan & Mr. Stephen* Molina Mr. & Mrs. Daniel E. Moore Ms. A. Anne Moroun Mr. Frederick Morsches & Mr. Kareem George Drs. Barbara & Stephen Munk Ms. I. Surayyah R. Muwwakkil Joy & Allan Nachman FALL 2018

Edward & Judith Narens Mariam C. Noland & James A. Kelly Katherine & Bruce Nyberg Mr. John J. O’Brien Dr. & Mrs. Dongwhan Oh Lila & Randall Pappal Mrs. Margot Parker Mrs. Sophie Pearlstein Noel & Patricia Peterson Kris & Ruth Pfaehler Mr. & Mrs. Philip E. Pfahlert Benjamin B. Phillips Mr. Dave Phipps Dr. Klaudia Plawny-Lebenbom William H. & Wendy W. Powers Reimer & Rebecca Priester Charlene & Michael Prysak Jill M.* & Michael J. Rafferty Mr. & Mrs. Richard Rappleye Drs. Stuart & Hilary Ratner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Denise Reske Barbara Gage Rex Ms. Linda Rodney Seth & Laura Romine Michael & Susan Rontal Mr.† & Mrs. Gerald F. Ross Mr. Ronald Ross & Ms. Alice Brody Jane & Curt Russell Linda & Leonard Sahn

Mr. David Salisbury & Mrs. Terese Ireland Salisbury Dr. & Mrs. Hershel Sandberg Ms. Martha A. Scharchburg & Mr. Bruce Beyer Dr. Sandy Koltonow & Dr. Mary Schlaff David & Carol Schoch Catherine & Dennis B. Schultz Sandy & Alan Schwartz Mr. & Mrs. Kingsley G. Sears Mr. Merton J. Segal Nancy & Sam Shamie Shapero Foundation Ms. Margo Shulman Zon Shumway Dr. Les & Ellen Lesser Siegel Robert & Coco Siewert Mr. Norman Silk & Mr. Dale Morgan William & Cherie Sirois Dr. Cathryn & Mr. Daniel Skedel Mr. Michael J. Smith & Mrs. Mary C. Williams Dr. Gregory Stephens Barb & Clint Stimpson Nancy C. Stocking Dr. & Mrs. Gerald Stollman Ms. Laurie Szczesny David Szymborski & Marilyn Sicklesteel Dr. Neil Talon Ms. Dorothy Tarpinian Joel & Shelley Tauber Dr. & Mrs. Howard Terebelo Mr. & Mrs. Douglas J. Thompson Mr. Norman Thorpe

Mr. & Mrs. James W. Throop Carol & Larry Tibbitts Mr. & Mrs. John P. Tierney Dr. Barry Tigay Mr. and Mrs. Paul Tobias Barbara & Stuart Trager Mr. & Mrs. Thomas Trudeau Mark & Janice Uhlig Amanda Van Dusen & Curtis Blessing Charles & Sally Van Dusen Dr. & Mrs. Ronald W. Wadle Captain Joseph F. Walsh, USN (Ret.) Mr. Michael A. Walch & Ms. Joyce Keller Mr. & Mrs. Jonathan T. Walton Mr. Patrick Webster Mr. Herman Weinreich Lawrence & Idell Weisberg Ambassador & Mrs. Ronald N. Weiser Janis & William Wetsman/The Wetsman Foundation Barbara & David Whittaker Ms. Anne Wilczak Beverly & Barry Williams Dr. M. Roy & Mrs. Jacqueline Wilson Rissa & Sheldon Winkelman Mr. Mark Wojtas Mr. Jonathan Wolman & Mrs. Deborah Lamm Cathy Cromer Wood Ms. Andrea L. Wulf Margaret S. York Mr. & Mrs. Alan Zekelman And five who wish to remain anonymous

Giving of $1,500 and more Joshua & Judith Adler Dr. & Mrs. Gary S. Assarian Dr. & Dr. Brian Bachynski Mrs. Mary Beattie† Ms. Jane Bolender Mr. & Mrs. J. Bora Mr. & Mrs. Stephen A. Bromberg Mr. & Mrs. Richard Burstein Dr. & Mrs. Glenn B. Carpenter David & Michelle Carroll Mrs. Elizabeth & Mr. C. Howard Crane Dr. Edward Mrs. Jamie Dabrowski Dr. & Mrs. Adnan S. Dajani Mr. & Mrs. Alfred J. Darold Gordon & Elaine Didier Mr. Patrick Doig Mr. & Mrs. Henry Eckfeld Mr. Howard O. Emorey Mr. William Fetterman Mr. & Mrs. Robert W. Gillette Mr. Joseph & Mrs. Lois Gilmore Ruth & Al Glancy Ms. Sandra Seligman Anne & Eugene Greenstein Mr. Donald Guertin Mr. & Mrs. Michael Harding Fran & Howard Heicklen Mr. & Mrs. Paul Hillegonds Ms. Elizabeth Ingraham

dso.org

Ms. Nadine Jakobowski Mr. Arthur Johns Robert & Sandra Johnson Carol & Rick Johnston Ms. Ida King Aileen & Harvey Kleiman Tom & Beverly Klimko Mr. & Mrs. Victor Kochajda/Teal Electric Co. Miss Kathryn Korns Mr. & Mrs. Kosch Mr. & Mrs. William Kroger, Jr. Mr. Michael Kuhne Dr. Myron & Joyce LaBan Mr. & Mrs. Paul Lieberman Mr. William Lynch Ms. June G Mackeil Mr. & Mrs. Joseph Mazzeo Mr. & Mrs. Brian Meer Ms. Florence Morris Mr. & Mrs. Germano Mularoni Ms. Deborah Parker Dr.† & Mrs. Terry Podolsky Mrs. Janet Pounds Mr. Ronald Puchalski Drs. Renato & Daisy Ramos Mr. & Mrs. Richard Rapson Mrs. Hope Raymond Mr. & Mrs. John Rieckhoff Mr. Paul Robertson & Mrs. Cheryl Robertson

*Current DSO Musician or Staff

Mr. & Mrs. Leslie Rose Mr. James Rose Dr. & Mrs. Jerry Rosenberg Mr. & Mrs. Hugh C. Ross Mr. & Mrs. George Roumell Nancy J. Salden Mr. & Mrs. Lawrence Schlack Mr. Steve Secrest Robert A. Sedler Cynthia Shaw & Tom Kirvan Mr. & Mrs. William C. Shenefelt Mr. Lawrence Shoffner Ms. Claudia Sills Mr. Ariel Simon Mr. Mark Sims & Ms. Elaine Fieldman Ralph & Peggy Skiano Dr. & Mrs. Choichi Sugawa Ms. Joyce Sutherland David & Lila Tirsell Mr. Jim Van Eizenga William & Sandra Vanover Dr. & Mrs. Thomas E. Verhelle Peter & Carol Walters Mr. Barry Webster Ms. Beverly Weidendorf Ms. Janet Weir Rudolf E. Wilhelm Fund Frank & Ruth Zinn And three who wish to remain anonymous DSO PERFORMANCE MAGAZINE 41

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

THE McGREGOR FUND

Giving of $200,000 & more

HUDSON-WEBBER FOUNDATION primary pereferred logo

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

secondary

Giving of $100,000 & more

secondary - for use on dark backgrounds

2014 GM Design Corporate ID & Graphics

PAUL M. ANGELL FAMILY FOUNDATION

42

DSO PERFORMANCE MAGAZINE

THE RICHARD C. DEVEREAUX FOUNDATION

FALL 2018

Giving of $50,000 & more Marvin & Betty Danto Family Foundation William Randolph Hearst Foundation League of American Orchestras Edward C. & Linda Dresner Levy Foundation Richard & Jane Manoogian Foundation Michigan Council for Arts & Cultural Affairs Wico Metal Products Matilda R. Wilson Fund

Giving of $20,000 & more

American House Senior Living Communities Beaumont Health Chemical Bank DeRoy Testamentary Foundation Flagstar Foundation Greektown Casino-Hotel Henry Ford II Fund

Lear Corporation Macy’s MGM Grand Detroit National Endowment for the Arts Rock Ventures, LLC Varnum LLP Wolverine Packing Company

Giving of $10,000 & more

Giving of $1,000 & more

Amerisure Insurance Creative Benefit Solutions, LLC Denso International America, Inc. Edibles Rex Maxine & Stuart Frankel Foundation Honigman Miller Schwartz and Cohn LLP Jaffe, Raitt, Heuer & Weiss KPMG LLP Myron P. Leven Foundation Oliver Dewey Marcks Foundation Milner Hotels Foundation Laskaris-Jamett Advisors of Raymond James Suburban Collection

Charles M. Bauervic Foundation Darling Bolt Company Delta Dental Plan of Michigan Dickinson Wright LLP Frank & Gertrude Dunlap Foundation EY HEM Data Corporation Clarence & Jack Himmel Fund James & Lynelle Holden Fund Hotel St. Regis Howard & Howard Attorneys PLLC Japan Business Society of Detroit Foundation Josephine Kleiner Foundation Ludwig Foundation Fund Madison Electric Company Michigan First Credit Union Plante & Moran, PLLC PSLZ, LLP Meyer & Anna Prentis Family Foundation The Loraine & Melinese Reuter Foundation Save Our Symphony Leslie & Regene Schmier Foundation Schwartz Family Foundation Louis & Nellie Sieg Foundation Sills Foundation Robert Swaney Consulting, Inc. Samuel L. Westerman Foundation Wheeler Family Foundation, Inc. Young Woman’s Home Association And one who wishes to remain anonymous

Giving of $5,000 & more The Boston Consulting Group Coffee Express Roasting Company Benson & Edith Ford Fund Grant Thornton LLP Marjorie & Maxwell Jospey Foundation Michigan Ear Institute O’Brien - Sullivan Funeral Homes Inc Sigmund & Sophie Rohlik Foundation Schaerer Architextural Interiors Mary Thompson Foundation Warner Norcross & Judd LLP

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DSO PERFORMANCE MAGAZINE 43

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

LINDA WASSERMAN AVIV, Chair Mrs. Katana H. Abbott Mr. Joseph Aviv Mr. Christopher A. Ballard Ms. Jessica B. Blake, Esq. Ms. Rebecca J. Braun Mr. Timothy Compton Mrs. Jill Governale Mr. Henry Grix Mrs. Julie R. Hollinshead, CFA Mr. Mark W. Jannott, CTFA Ms. Jennifer A. Jennings

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

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

PLANNED GIVING SPOTLIGHT

Linda Wasserman Aviv A Partner at Honigman Miller Schwartz and Cohn LLP, Linda Wasserman Aviv has served as Chair of the DSO’s Planned Giving Council since 2014. Read on to learn about Linda and what makes planned giving so important!

What’s your earliest memory of seeing the DSO? I have a very clear memory of seeing a children’s symphony (I think it was Peter and the Wolf) when I was six or seven years old. I recall that my favorite part was when the conductor told us that we could stand up and wiggle.

What’s the best thing about living in Southeast Michigan?

There is so much to appreciate here!

The best thing about our region is the abundance of world-class cultural organizations, including the DSO, the DIA, 44

DSO PERFORMANCE MAGAZINE

Cranbrook, and the Detroit Zoo (and others) that have reached out to bring their programming to a wider community—especially to our schoolchildren.

What would you tell someone who hasn’t considered planned giving, but is interested?

I would encourage them to think about the organizations that have enriched their lives or made a meaningful difference to our community. If you care about an organization and value its mission, a planned gift gives you the opportunity to contribute toward the financial stability of the organization so it may benefit future generations. I would also advise them that planned giving can be as simple as naming a charity as the beneficiary of a life insurance policy or an IRA, or naming the charity as a beneficiary in a will. It does not have to be complicated, nor is it only for the wealthy. †

Deceased

FALL 2018

CELEBRATING YOUR LEGACY SUPPORT BARBARA VAN DUSEN, Honorary Chair

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

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

dso.org

Andy Howell Carol Howell Paul M. Huxley & Cynthia Pasky David & Sheri Jaffa Mr. & Mrs. Thomas H. Jeffs II Mr. & Mrs. Richard J. Jessup Mr. & Mrs. George Johnson Lenard & Connie Johnston Ms. Carol Johnston Carol M. Jonson Drs. Anthony & Joyce Kales Faye & Austin Kanter Norb† & Carole Keller Dr. Mark & Mrs. Gail Kelley June K. Kendall Dimitri† & Suzanne Kosacheff Douglas Koschik Mr. & Mrs. Arthur J. Krolikowski Mary Clippert LaMont Mrs. Bonnie Larson Ann C. Lawson Allan S. Leonard Max Lepler & Rex L. Dotson Dr. Melvin A. Lester Mr. & Mrs.† Joseph Lile Harold Lundquist† & Elizabeth Brockhaus Lundquist Mr. & Mrs. Eric C. Lundquist Roberta Maki Eileen & Ralph Mandarino Judy Howe Masserang Mr. Glenn Maxwell Mary Joy McMachen, Ph.D. Judith Mich† Rhoda A. Milgrim Mr. & Mrs. Eugene A. Miller John & Marcia Miller Jerald A. & Marilyn H. Mitchell Mr.† & Mrs. L. William Moll Shari & Craig Morgan Ms. I. Surayyah R. Muwwakkil Geoffrey S. Nathan & Margaret E. Winters Beverley Anne Pack David† & Andrea Page Mr. Dale J. Pangonis Ms. Mary W. Parker Mrs. Sophie Pearlstein Helen & Wesley Pelling† 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 Deborah J. Remer Mr. & Mrs. Lloyd E. Reuss Barbara Gage Rex Ms. Marianne Reye Lori-Ann Rickard Katherine D. Rines Bernard & Eleanor Robertson Ms. Barbara Robins Jack† & Aviva Robinson Mr.† & Mrs. Gerald F. Ross Mr. & Mrs. George Roumell Dr. Margaret Ryan Marjorie & Saul Saulson Mr. & Mrs. Donald & Janet Schenk Ms. Yvonne Schilla Mr. & Mrs. Fred Secrest† Ms. Marla K. Shelton Edna J. Shin Ms. June Siebert Dr. Melissa J. Smiley & Dr. Patricia A. Wren Ms. Marilyn Snodgrass† Mr. & Mrs. Walter Stuecken Mr.† & Mrs. Alexander C. Suczek David Szymborski & Marilyn Sicklesteel Alice & Paul Tomboulian Mr. David Patria & Ms. Barbara Underwood Roger & Tina Valade Mrs. Richard C. Van Dusen Charles & Sally Van Dusen Mr. & Mrs. Melvin VanderBrug Mr.† & Mrs. George C. Vincent Christine & Keith C. Weber Mr. Herman Weinreich John† & Joanne Werner Mr. & Mrs. Arthur Wilhelm Mr. Robert E. Wilkins† Mrs. Michel Williams Ms. Nancy S. Williams† Mr. Robert S. Williams & Ms. Treva Womble Ms. Barbara Wojtas Elizabeth B. Work Dr. & Mrs. Clyde Wu† Ms. Andrea L. Wulf Mrs. Judith G. Yaker Steven Dee Yeutter Milton & Lois† Zussman Five who wish to remain anonymous

DSO PERFORMANCE MAGAZINE 45

THANK YOU TO LAST SEASON’S EVENT SPONSORS! Judy & Stanley Frankel Ann & Jim Nicholson T H E

S A T U R D A Y

DATE

JUNE 23, 2018

Danialle & Peter Karmanos, Jr.

Marjorie S. Fisher Fund of the Community Foundation for Southeast Michigan

SAVE THE DATE: HEROES GALA 2019 • JUNE 22

FINAL.indd 1

3/19/18 8:51 PM

Judy & Stanley Frankel

SAVE THE DATE: CLASSICAL ROOTS 2019 • MARCH 8 & 9 SAVE THE DATE: NEW YEAR’S EVE CELEBRATION • DEC. 31, 2018

TRIBUTE GIFTS Gifts received June 1, 2018 to September 1, 2018 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 Memory of Donald Bauder Anne Parsons & Donald Dietz In Memory of Mary Beattie Gwen & Dick Bowlby Jill Jordan & David Everson Felicia & Dwayne Mack Meredith Nelson Jan & Richard Raison Rose Marie & Gerald Switzer Wendy Rollin & Jerry Piasecki Household In Honor of Margaret Beauregard Carol Singer In Memory of Ruth Terebelo Blackman Howard Hertz

In Honor of Penny & Harold Blumenstein Carolyn Greenberg In Memory of Mario DiFiore Dick & Gwen Bowlby Mario & Jane Iacobelli In Memory of Alex Domin Sue & William Kondak Anne Sullivan Cathy & Philip Tomaszewski In Memory of Bill Fay Pamela Ayres In Memory of Ron Fischer Judy & John Marx Natsuko & Choichi Sugawa

In Memory of Joan C. O’Brien John J. O’Brien In Honor of Anne Parsons Clinton Family Fund In Honor of Greg Staples Neil and Ilene Danziger In Honor of Arnold Weingarden Gail Danto & Art Roffey In Memory of Fred Woolf Laurie Dubin Nancy & Stephen Glasser Ruth & Irwin Kahn Rhoda Milgrim George & Nancy Nicholson

In Memory of Anne Hommes Catherine Hande 46

DSO PERFORMANCE MAGAZINE

† Deceased

FALL 2018

ENGAGED IN THE ARTS.

COMMITTED TO CULTURE.

IMPACTING OUR COMMUNITY.

The Community Foundation for Southeast Michigan proudly supports the DSO as part of our mission to assist organizations creating a lasting, postive impact in our region.

CFSEM.org

313-961-6675

WELCOME TO THE MAX

OUR HOME ON WOODWARD AVENUE

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

Parking Self-parking is available for $10 at the Orchestra Place Parking Structure (81 Parsons Street), with handicap parking offered on the ground level.

Valet parking is available for $12 at most concerts.

Complimentary donor valet is offered to donors who give $7,500 annually, with drop-off and pick-up located at the stage door behind The Max. The DSO offers shuttle bus service to Coffee Concerts from select locations for $15. Please call 313.576.5130 for more information.

What Should I Wear?

The DSO has no dress code. Patrons can expect to see a variety of outfit styles, and all visitors are encouraged to wear what makes them most comfortable. While business professional and business casual attire are common, jeans and sneakers are as appropriate as suits and ties.

Food and Drink Food and beverages are available for purchase at most performances, either from stations throughout the William Davidson Atrium or at the Paradise Lounge. A full-service restaurant offering gourmet meals prepared by Executive Chef Chris Skillingstad, the Paradise Lounge is located on the second floor of The Max and open prior to most Orchestra Hall concerts. For more information, or to make a reservation, please call 313.576.5488 or email paradiselounge@dso.org.

Patrons are welcome to bring drinks to their 48

DSO PERFORMANCE MAGAZINE

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

seats at all performances except Friday morning Coffee Concerts, and drink orders may be placed before or during a performance to be picked up at intermission. Food is not allowed in Orchestra Hall.

Please note that outside food and beverages are prohibited.

Shop @ The Max The Shop @ The Max retail store is located on the first floor of The Max, just outside of the William Davidson Atrium in the hallway opposite the main staircase. Shop @ The Max is open before, during, and after most performances.

Handicap Access and Hearing Assistance The Max M. and Marjorie S. Fisher Music Center is fully handicap-accessible, and the DSO aims to accommodate all patrons regardless of abilities or needs. There are elevators, barrier-free restrooms, and accessible seating in all areas of The Max. Security personnel 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. Patrons may visit the Patron Services Center on the second floor to check out a mobile device and earbuds, or to seek assistance in downloading the Sennheiser MobileConnect app on their own device. The system is made possible by the Michigan Ear Institute.

FALL 2018

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

Priority Service for Our Members We are proud to offer priority assistance to all DSO Subscribers, as well as donors who give $1,000 annually. Visit the Patron Services Center on the second floor of The Max for help with tickets, exchanges, donations, or any other DSO needs.

The Herman and Sharon Frankel Donor Lounge Governing Members who give $3,000 annually can enjoy complimentary beverages, appetizers, and desserts in the Donor Lounge, open 90 minutes prior to each concert through the end of intermission. For more information on becoming a Governing Member, contact Leslie Groves at 313.576.5451 or lgroves@dso.org.

Gift Certificates Gift certificates are available in any denomination and may be used towards tickets to any DSO performance. Please contact the Box Office for more information.

Rent The Max Elegant and versatile, The Max is an ideal setting for a variety of events and performances: weddings, corporate gatherings, meetings, concerts, and more. Visit dso.org/rent or call 313.576.5065 for more information.

dso.org

concerts on time. In deference to the comfort and listening pleasure of the audience, latecomers will be seated at an appropriate pause in the music at the discretion of the house staff. Patrons who leave the hall before or during a piece will be reseated after the piece is completed. Latecomers may watch the performance on closed circuit television in the William Davidson Atrium.

TICKETS, EXCHANGES, AND CONCERT CANCELLATIONS All patrons, regardless of age,

must have a ticket to attend DSO performances. All sales are final and non-refundable. In lieu of refunds, the DSO offers a flexible exchange and ticket donation policy.

Tickets of equal or lesser value may be exchanged up to the day before the performance without fees. Patrons must pay the per-ticket difference if exchanging into a more expensive performance. Please contact the Box Office to exchange or donate tickets.

The DSO rarely cancels concerts. In the event of inclement weather or other emergencies, please visit dso.org, contact the Box Office, or check the DSO’s social media pages for updates and information. Patrons will be notified of exchange options. The DSO is unable to offer refunds for cancelled concerts.

CHILDREN Educational Concert Series, Young

People’s Family Concerts, and Tiny Tots performances are specially designed for children and families.

While the DSO does not enforce a universal age limit, please review program details to determine whether a performance is appropriate for children. All patrons must have a paid ticket regardless of age. Any person causing a disturbance to surrounding audience members will be asked to leave the performance area by an usher.

PHOTOGRAPHY AND RECORDING Photography

can be distracting to musicians and audience members, so please be cautious and respectful if you wish to take photos. Note that flash photography, video recording, tripods, and cameras with detachable lenses are strictly prohibited.

MOBILE DEVICES Use of smartphones and other

electronic devices can be distracting to musicians and audience members. You may be asked by an usher to store your device.

SMOKING Smoking, including the use of e-cigarettes

and personal vaporizers, is prohibited throughout The Max. Patrons who wish to smoke must do so outside the building. Smoking is permitted on the second-floor outdoor patio near the Patron Services Center.

DSO PERFORMANCE MAGAZINE 49

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

EXECUTIVE OFFICE

ADVANCEMENT

Debora Kang Manager of Education Programs

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

Jill Rafferty Senior Director of Advancement

Kiersten Alcorn Community Engagement Coordinator

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

Matthew Way Manager of Advancement Relations and Strategic Initiatives

INDIVIDUAL & INSTITUTIONAL GIVING Chelsea Kotula Advancement Officer Marah Casey Advancement Officer Leslie Groves Major Gift Officer Jenni Clark Fundraising Events Specialist

Mickayla Chapman Training Ensembles Recruitment and Operations Coordinator Garrett Lefkowitz Training Programs Operations Coordinator

FACILITY OPERATIONS Dan Saunders Director of Facilities Management Clarence Burnett Maintenance Supervisor

STEWARDSHIP

Frederico Augustin Facility Engineer

Stephanie Glazier Stewardship Coordinator

Martez Duncan Maintenance Technician

ARTISTIC PLANNING

Juanda Pack Advancements Benefits Concierge

William Guilbault Maintenance Technician

Jessica Ruiz Director of Artistic Planning

COMMUNICATIONS

Christopher Harrington Managing Director of Paradise Jazz Series/Managing Director & Curator of @ The Max

Matthew Carlson Director of Communications and Media Relations

ARTISTIC OPERATIONS

Christina Biddle Popular and Special Programs Coordinator Catherine Miller Artistic Coordinator

LIVE FROM ORCHESTRA HALL Marc Geelhoed Director of Digital Initiatives

ORCHESTRA OPERATIONS Kathryn Ginsburg Orchestra Manager Heather Hart Rochon Director of Orchestra Personnel Dennis Rottell Stage Manager Patrick Peterson Manager of Orchestra Personnel 50

Teresa Alden Digital Communications Manager Sarah Smarch Communications Specialist Ben Breuninger Public Relations Manager Emily Carter Sharpe Communications Coordinator

COMMUNITY & LEARNING Caen Thomason-Redus Senior Director of Community & Learning

Crystal King Maintenance Technician Daniel Speights Maintenance Technician

SAFETY AND SECURITY George Krappmann Director of Safety and Security Greg Schimizzi Chief of Security Edward John Assistant Chief of Security Norris Jackson Security Officer Ronald Martin Security Officer Johnnie Scott Security Officer

Nelson Rodriguez Parada General Manager of Training Ensembles Clare Valenti Manager of Community Engagement

DSO PERFORMANCE MAGAZINE

FALL 2018

FINANCE Jeremiah Hess Senior Director of Accounting & Finance Sandra Mazza Senior Accountant Dawn Kronell Senior Accountant Michelle Wisler Payroll and Benefits Accountant

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

INFORMATION TECHNOLOGY Jody Harper Director of Information Technology Ra’Jon Taylor Application Administrator

Sharon Gardner Carr Assistant Manager of Tessitura and Ticketing Operations Lori Cairo Front of House Manager Annick Busch Patron Loyalty Coordinator LaHeidra Marshall Audience Development Coordinator

CATERING AND RETAIL SERVICES

PERFORMANCE

Christina Williams Director of Catering and Retail Services

Volume XXVII Fall 2018 2018-2019 Season

Chris Skillingstad Executive Chef Nate Richter Bar Manager Justine Smith Retail Manager

EVENTS AND RENTALS Catherine Deep Manager of Events and Rentals

Michelle Koning Web Manager

Ashley Powers Event Sales Representative

PATRON DEVELOPMENT & ENGAGEMENT

Stephanie McClung Coordinator of Event Sales & Administration

Nicki Inman Senior Director of Patron Development & Engagement

AUDIENCE DEVELOPMENT Michael Frisco Director of Audience Development

EDITOR Ben Breuninger bbreuninger@dso.org 313.576.5196 PUBLISHER Echo Publications, Inc. Thomas Putters PROGRAM NOTES ANNOTATOR Charles Greenwell (Unless otherwise noted) To advertise in Performance, please call 248.582.9690.

PATRON SALES AND SERVICE Michelle Marshall Manager of Patron Sales & Service Tommy Tatti Lead Ticketing Specialist Activities of the DSO are made possible in part with the support of the Michigan Council for Arts and Cultural Affairs and the National Endowment for the Arts.

James Sabatella Group Sales Manager

dso.org

DSO PERFORMANCE MAGAZINE 51

UPCOMING CONCERTS & EVENTS TICKETS & INFO

313 . 576 . 5111 dso.org

CLASSICAL SERIES

@THE MAX

OM @ THE MAX

OPENING WEEKEND GIL SHAHAM AND ENIGMA

Thur. Oct. 25 at 6:30 p.m. in The Cube*

Leonard Slatkin, conductor Gil Shaham, violin

CLASSICAL SERIES

Fri., Oct. 5 at 8 p.m.

Sat., Oct. 6 at 8 p.m.

Sun., Oct. 7 at 3 p.m.

Santtu-Matias Rouvali, conductor Víkingur Ólafsson, piano

GRIEG PIANO CONCERTO

ERB The Seventh Trumpet PROKOFIEV Violin Concerto No. 1 ELGAR Enigma Variations

Thu., Oct. 25 at 7:30 p.m.

Sat., Oct. 27 at 8 p.m.

SIBELIUS Lemminkäinen’s Return GRIEG Concerto for Piano SIBELIUS Symphony No. 5

PNC POPS SERIES

DANCING IN THE STREET

PARADISE JAZZ SERIES

Jeff Tyzik, conductor Chester Gregory, vocalist Michael Lynche, vocalist Shayna Steele, vocalist

DIANNE & CHRISTIAN DUO TIA FULLER — DIAMOND CUT Fri., Oct. 26 at 8 p.m.*

Fri., Oct. 12 at 10:45 a.m. & 8 p.m.

Sat., Oct. 13 at 8 p.m.

Sun., Oct. 14 at 3 p.m.

@THE MAX

This concert is not affiliated or associated with Motown Records.

@THE MAX

Fri., Oct. 26 at 10 p.m. in The Cube*

FUNK BROTHER DENNIS COFFEY Fri., Oct. 12 at 10 p.m. in The Cube*

CLASSICAL SERIES

THE FIREBIRD

Fabien Gabel, conductor Hunter Eberly, trumpet Thu., Oct. 18 at 7:30 p.m.

Fri., Oct. 19 at 10:45 a.m.

Sat., Oct. 20 at 8 p.m.

TCHAIKOVSKY The Tempest TOMASI Concerto for Trumpet STRAVINSKY Song of the Nightingale STRAVINSKY The Firebird Suite (1919)

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OLD SCHOOL FUNK + SOUL DANCE PARTY

TINY TOTS CONCERT SERIES

ROCK O’WEEN

Sat., Oct. 27 at 10 a.m. in The Cube*

YOUNG PEOPLE’S FAMILY CONCERT SERIES

HALLOWEEN AT HOGWARTS Kelly Corcoran, conductor Sat., Oct. 27 at 11 a.m.

PNC POPS SERIES

CIRQUE DE LA SYMPHONIE Sean O’Loughlin, conductor

Fri., Nov. 2 at 10:45 a.m. & 8 p.m.

Sat., Nov. 3 at 8 p.m.

Sun., Nov. 4 at 3 p.m.

Live from Orchestra Hall

FALL 2018

HOSTED PARTNERSHIP

JARC 38TH ANNUAL FALL FUNDRAISER MASTERS OF ILLUSION Thu., Nov. 8 at 7:30 p.m.

PNC POPS SERIES

BUGS BUNNY AT THE SYMPHONY II

George Daugherty, conductor

For tickets call 248.538.6611

Fri., Nov. 30 at 10:45 a.m.

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

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

CLASSICAL SERIES

LOONEY TUNES and all related characters and elements are trademarks of and © Warner Bros. Entertainment Inc. TOM AND JERRY and all related characters and elements are trademarks of and © Turner Entertainment Co. (s18)

EMANUEL AX PLAYS BEETHOVEN

Cristian Măcelaru, conductor Emanuel Ax, piano Fri., Nov. 9 at 10:45 a.m. & 8 p.m.

Sat., Nov. 10 at 8 p.m.

CLASSICAL SERIES

BEETHOVEN’S FIFTH

Carlos Miguel Prieto, conductor Christian Tetzlaff, violin

BEETHOVEN Piano Concerto No. 1 ANDREW NORMAN Play

Thu., Dec. 6 at 7:30 p.m.

Fri., Dec. 7 at 10:45 a.m.

Sat., Dec. 8 at 8 p.m.

CLASSICAL SERIES

BRAHMS Concerto for Violin BEETHOVEN Symphony No. 5

John Storgårds, conductor Pekka Kuusisto, violin

PARADISE JAZZ SERIES

Fri., Nov. 16 at 10:45 a.m.

Sat., Nov 17 at 8 p.m.

Sun., Nov 18 at 3 p.m.

Fri., Dec. 7 at 8 p.m.*

TCHAIKOVSKY SYMPHONY NO. 4

ANTHEIL Over the Plains DANÍEL BJARNASON Violin Concerto TCHAIKOVSKY Symphony No. 4 DSO PRESENTS

VIENNA BOYS CHOIR Sun., Nov. 25 at 7 p.m.*

WU FAMILY ACADEMY EDUCATIONAL CONCERT SERIES

THE TALE OF THE FIREBIRD Rei Hotoda, conductor

Wed., Nov. 28 at 10:30 a.m. & 11:45 a.m.

CYRUS CHESTNUT TRIO: A CHARLIE BROWN CHRISTMAS @THE MAX

JEFF “TAIN” WATTS TRIO Fri., Dec. 7 at 10 p.m. in The Cube*

TINY TOTS CONCERT SERIES

JAZZ MEETS DR. SEUSS Sat., Dec. 8 at 10 a.m. in The Cube*

YOUNG PEOPLE’S FAMILY CONCERT SERIES

THE SNOWMAN

BY RAYMOND BRIGGS Vinay Parameswaran, conductor Sat., Dec. 8 at 11 a.m.

dso.org

*The DSO does not appear in this program

DSO PERFORMANCE MAGAZINE 53

CHAMBER MUSIC SOCIETY of DETROIT OLGA KERN

CHAMBER MUSIC EXCELLENCE

YEARS OF

Saturday, November 10, 2018, 8pm

75

Detroit Recital Debut

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FEB 09 S AT, 8 : 0 0 P M HILL AUDITORIUM ANN ARBOR

Israel Philharmonic Orchestra Zubin Mehta, conductor Saturday, February 9 // 8 pm Ann Arbor’s Hill Auditorium In 1936, Polish violinist Bronislaw Huberman persuaded first-chair musicians of Eastern European and German orchestras who had lost their jobs as a result of Nazism to immigrate to Palestine. In doing so, he created an “orchestra of soloists” which, under the esteemed leadership of Zubin Mehta, continues to absorb new immigrants and to act as a global community for musicians from around the world. This concert is part of Zubin Mehta’s final US tour as music director of the Israel Philharmonic — he steps down in October 2019, 50 years after becoming the orchestra’s music advisor and 42 years after becoming its first official music director.

Exclusive Presenting Sponsor of Maestro Zubin Mehta: The Menakka and Essel Bailey Endowment Fund for International Artistic Brilliance Presenting Sponsors: Matt and Nicole Lester Family and Sheila Crowley Wicha and Max Wicha Supporting Sponsors: Gil Omenn and Martha Darling, James and Nancy Stanley, and the Zelenock Family Media Partner: WRCJ 90.9 FM

7 3 4 . 7 6 4 . 2 5 3 8 ——— U M S . O R G