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INSIDE Program Notes Summer of a Century

Awaiting a world-class concert hall in the summer of 1919

A Terence Blanchard Joint

Our Erb Jazz Chair’s enduring connection with filmmaker Spike Lee

Meet the Musician Jeffery Zook

Jiamin Wang, violin, at the park with her French bulldog Jerry

2018-2019 SEASON

Kirill Gerstein Piano

The Robert and Marianne Denes Concert


Photo: Marco Borggreve

We celebrate the DSO – a world-class ensemble




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


Summer of the Century 1919 and the advent of Orchestra Hall

Board Leadership........................................8 Transformational Support........................10 Donor Roster............................................. 38

12 Meet the Musician Terence 16 ABlanchard Joint Jeffery Zook

Our Erb Jazz Chair’s connection to Spike Lee


Community and Learning


Maximize Your Experience....................... 48 DSO Administrative Staff......................... 50 Upcoming Concerts.................................. 52 ON THE COVER: Jiamin Wang, violin, and her French bulldog Jerry at Daisy Knight Dog Park in Troy

Photo: Sarah Smarch

Read Performance anytime, anywhere at



Dear Friends,

As we wind down another outstanding season by your Detroit Symphony Orchestra, we look forward to future highlights and indelible milestones this summer and beyond. We have rich history to celebrate with the centennial of Orchestra Hall, which opened its doors in October 1919. We hope you enjoy the first in a series of stories we’ll be sharing throughout the upcoming year focusing on our one-of-a-kind acoustic gem. But first, we welcome back Leonard Slatkin on June 7-9 to close our Classical Series. Also joining us is the exciting and versatile Makoto Ozone, DSO guest pianist in Japan during our 2017 Asia Tour. We are excited to introduce him to audiences here at home for the first time as he performs Rachmaninoff in Orchestra Hall and makes a special appearance with his jazz trio in the Peter D. and Julie F. Cummings Cube. Closing out our Paradise Jazz series is yet another outstanding show: “The Movie Music of Spike Lee and Terence Blanchard” showcases our Erb Jazz Chair performing selections from his scores to films directed by his longtime artistic partner. The DSO takes to the outdoors with our 27th annual “Salute to America” concerts at Greenfield Village in partnership with The Henry Ford. We’ll also be back for a tenth year at the Eleanor and Edsel Ford House in Grosse Pointe, and you won’t want to miss “The Music of Queen” at Meadow Brook. To close our summer season, we are excited to be returning to Interlochen for the first time since 2006. In addition to the DSO’s concert on July 27, our musicians will lead master classes and play in side-by-side rehearsals with students during this week-long residency. Please let us know if you can join us! We hope by now you’ve secured your tickets for our Heroes Gala on June 22, featuring a performance by our DSO and original Hamilton star Leslie Odom, Jr. That evening, we will honor philanthropist and DSO Director Emeritus Mort Harris, who recently celebrated his 99th birthday with DSO flutists Sharon Sparrow and Amanda Blaikie in a private concert! Mort’s milestone of entering his 100th year helps us officially launch Orchestra Hall’s centennial, allowing us to recognize two extraordinary legacies in one special evening. Next season, the Orchestra Hall celebration will be filled with incredible performances— and more—as we honor the fascinating history of this remarkable place and look ahead to the future role the DSO and its revered home will play in the vibrancy of our city. The story of Orchestra Hall is not just a DSO story. It’s a story of the Paradise Theatre, which brought the best jazz and blues artists to its stage from 1941 to 1951. It’s a story of Detroit and its ongoing promise of renewal, beginning in the 1970s when a group of concerned citizens came together to save Orchestra Hall from the wrecking ball. And, perhaps most of all, it’s your story. So, we invite you to celebrate with us as we begin the next chapter of this world-class orchestra, in this premier concert hall, in our resurgent city. Thanks for all you do, to help make all that we do, matter to more people every year. Anne Parsons President and CEO 4


Mark Davidoff Chairman SPRING 2019

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


Principal Pops Conductor

FIRST VIOLIN Yoonshin Song Concertmaster Katherine Tuck Chair Kimberly Kaloyanides Kennedy A ssociate Concertmaster Schwartz Shapero Family 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* 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 VIOLA Eric Nowlin, Principal Julie and Ed Levy, Jr. Chair James VanValkenburg A ssistant Principal Caroline Coade Glenn Mellow Hang Su Shanda Lowery-Sachs Hart Hollman Han Zheng Mike Chen CELLO Wei Yu, Principal James C. Gordon Chair



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

Music Director Emeritus

Abraham Feder A ssistant Principal Dorothy and Herbert Graebner Chair Robert Bergman* Jeremy Crosmer* David LeDoux* Peter McCaffrey* Joanne Danto and Arnold Weingarden Chair Haden McKay* Úna O’Riordan*^ Mary Ann and Robert Gorlin Chair Paul Wingert* Victor and Gale Girolami Chair BASS Kevin Brown, Principal Van Dusen Family Chair Stephen Molina A ssistant Principal Linton Bodwin Stephen Edwards Christopher Hamlen Nicholas Myers HARP Patricia Masri-Fletcher Principal Winifred E. Polk Chair FLUTE Sharon Sparrow 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

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

TROMBONE Kenneth Thompkins, Principal David Binder Randall Hawes

E-FLAT CLARINET Laurence Liberson

PERCUSSION Joseph Becker, Principal Ruth Roby and Alfred R. Glancy III Chair Andrés Pichardo-Rosenthal A ssistant Principal William Cody Knicely Chair James Ritchie

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

PICCOLO Jeffery Zook OBOE Alexander Kinmonth Principal Jack A. and Aviva Robinson Chair Sarah Lewis Maggie Miller Chair Brian Ventura A ssistant Principal Monica Fosnaugh ENGLISH HORN Monica Fosnaugh Shari and Craig Morgan Chair

BASS TROMBONE Randall Hawes TUBA Dennis Nulty, Principal

TIMPANI Jeremy Epp, Principal Richard and Mona Alonzo Chair James Ritchie A ssistant Principal LIBRARIANS Robert Stiles, Principal Ethan Allen PERSONNEL MANAGERS Heather Hart Rochon Director of Orchestra Personnel Patrick Peterson Manager of Orchestra Personnel STAGE PERSONNEL Dennis Rottell, Stage Manager Ryan DeMarco Department Head Noel Keesee Department Head Steven Kemp Department Head Matthew Pons Department Head Michael Sarkissian Department Head


* These members may voluntarily revolve seating within the section on a regular basis ^ on sabbatical DSO PERFORMANCE MAGAZINE 5


Leonard Slatkin


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 6


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


Jeff Tyzik


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

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


Detroit Symphony Orchestra, Inc. LIFETIME MEMBERS





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.


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

James B. Nicholson Clyde Wu, M.D.◊

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

James B. Nicholson Stanley Frankel Phillip Wm. Fisher

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

Nancy Schlichting, Officer at Large

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


Nicholas Hood III Daniel J. Kaufman Michael J. Keegan Bonnie Larson Arthur C. Liebler Xavier Mosquet Stephen Polk Bernard I. Robertson

◊ Deceased

Sharon Sparrow, Orchestra Representative Shirley Stancato Arn Tellem Hon. Kurtis T. Wilder M. Roy Wilson David M. Wu, M.D.


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 Robert Bluestein Suzanne Bluestein Penny B. Blumenstein Elizabeth Boone Gwen Bowlby Margaret Cooney Casey Karen Cullen Joanne Danto Stephen R. D’Arcy Maureen T. D’Avanzo Richard L. DeVore Afa Sadykhly Dworkin Annmarie Erickson James Farber Jennifer Fischer Aaron Frankel

Carolynn Frankel Christa Hoen-Funk Alan M. Gallatin Robert Gillette Jody Glancy Malik Goodwin Mary Ann Gorlin Laura Grannemann Antoinette G. Green Leslie Green Laura Hernandez-Romine Donald Hiruo Michele Hodges Julie Hollinshead Renato Jamett 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 Lydia Michael, NextGen Chair Lois A. Miller Daniel Millward Scott Monty Shari Morgan Frederick J. Morsches Sean M. Neall Eric Nemeth Maury Okun Shannon Orme, Orchestra Representative

Vivian Pickard William F. Pickard, Ph.D. Gerrit Reepmeyer Richard Robinson James Rose, Jr. Marc Schwartz Lois L. Shaevsky Thomas Shafer Margaret Shulman Cathryn M. Skedel, Ph.D. Ralph Skiano, Orchestra Representative 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


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

Bonnie Larson Member-at-Large

Cathleen Clancy Vice Chair, Engagement

David Assemany Member-at-Large

David Everson* Orchestra Representative

Diana Golden Vice Chair, Membership

David Karp Member-at-Large

Kenneth Thompkins Orchestra Representative



In building our long-term strategic plan, Blueprint 2023, our Orchestra community concluded that a truly sustainable DSO would require a shared commitment to growing our permanent endowment. The Detroit Symphony Orchestra is grateful to the donors who have made extraordinary multi-year, comprehensive gifts to support general operations, endowment, capital improvements, named chairs, ensembles, or programs. These generous commitments establish a solid foundation for the future of the DSO. A strong endowment does more than secure the financial future for the DSO. It will also help us to achieve artistic excellence – attracting and retaining the best musicians, guaranteeing our education and youth programs for the future, and serving our city as one of its greatest cultural assets. The result will be heard in the continued warmth and clarity of our orchestra, in strong ticket sales and growing donor support, and in more people with increased access to and participation in music. To learn more about this critical effort, please contact Jill Elder, Vice President and Chief Development Officer, at



ic Sonenklar has been attending DSO concerts for at least 45 years and has enjoyed classical music since he was a boy. His husband Greg Haynes, who grew up listening to country and gospel, didn’t know much about the symphony world when he met Ric and started joining him for DSO performances. But that was nearly 30 years ago, and by now he’s a seasoned fan. “We attended every one of the programs at the American Panorama festival,” says Ric, who explains that both he and Greg enjoy American and 20th century composers. The couple also support Michigan Opera Theatre, where Ric serves on the Board of Directors, as well as the Chamber Music Society of Detroit and other local arts institutions. Last fall, Ric and Greg happily hosted like-minded DSO supporters to their home in Bloomfield Hills for Overture to a Season. Now, they are joining the musicians of the DSO in our collective quest to raise no less than $1 million in investments to the DSO Musicians Fund for Artistic Excellence. The fund, established by a groundbreaking $100,000 cumulative gift with participation from each DSO musician, is truly an inspiration. “The fact that the musicians took it upon themselves to do that, and to issue that challenge for more support… it shows that they’re invested in the orchestra and its future,” says Greg. “I’m not sure there’s any other group of musicians that have done this type of thing.” To learn more about joining us in this historic partnership with the musicians of the Detroit Symphony Orchestra, please contact Alexander Kapordelis, Campaign Director, at




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 Mary Ann & Robert Gorlin 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 Drs. Doris Tong & Teck Soo 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 Girolami Fund Herbert & Dorothy Graebner Mr. Richard Sonenklar & Mr. Gregory Haynes Ronald M. and Carol◊ Horwitz

Richard H. & Carola Huttenlocher Ann & Norman Katz Dr. Melvin A. Lester Florine Mark Michigan Council for Arts and Cultural Affairs Pat & Hank Nickol Ruth Rattner Mr. & Mrs. Lloyd E. Reuss Donald & Gloria Schultz Estate Mr. & Mrs. Fred Secrest◊ Jane and Larry Sherman Cindy McTee & Leonard Slatkin Marilyn Snodgrass Estate DSO PERFORMANCE MAGAZINE 11


JEFFERY ZOOK Piccolo Flute


f you have siblings, you probably remember “borrowing” each other’s toys as kids. Jeff Zook managed to turn his youthful banditry into a rewarding musical career. “I was the youngest of four children, and everyone played an instrument or two,” Zook remembers. “My sister was a very gifted flutist and I used to steal her flute and teach myself to play it.” Zook’s father heard the results and immediately knew he had to get his son lessons—leading to a formal flute education at Interlochen Arts Academy, the University of Michigan, the Royal Northern College of Music in Manchester, England, and the Royal Academy of Music in London. Zook made his DSO solo debut as a high school senior in 1982 and joined the orchestra full-time ten years later in the piccolo chair and flute section. “I consider myself a flutist that also plays the piccolo,” Zook says. “There’s no greater feeling than ‘leading the pack’ when the piccolo is soaring above the entire orchestra. But there are also several weeks of the season with no piccolo parts, and I’m often able to use those weeks to perform as a flutist in recitals or as a guest with other orchestras.”



Zook’s playing and personality are well known to local music fans, as he regularly performs outside of Orchestra Hall too—sometimes from the Cambridge Conservatory, the purpose-built recital hall appended to his home in Pleasant Ridge. And his partner David Assemany is a fixture in the Herman and Sharon Frankel Donor Lounge and at all manner of DSO social events, making the couple a powerhouse musical pair. “David loves coming to the symphony, he’s really an ambassador for the symphony,” says Zook. Laughing, he adds: “and I just play the music.” Sometimes that music is pure joy, as in Prokofiev’s violin and piano concertos. “Those pieces have some of the most sensitive and exhilarating piccolo parts in the repertoire,” Zook explains. Others, it’s much hairier. “The scherzo of Tchaikovsky’s Symphony No. 4 has a piccolo solo containing 21 notes in one and a half seconds,” Zook continues. “You sit SPRING 2019

tacet for 20-some minutes, and then you play the 21 most difficult notes in the repertoire. You just go! It’s every piccoloist’s nightmare. I used to freak out for weeks when that was on the schedule.” Perhaps it’s no surprise that Zook cites the Grateful Dead’s wandering, improvisational “Space” as his favorite piece of non-classical music. Zook also keeps busy as a teacher; he is on the faculty at Oakland University and highly sought after as a private instructor. “I feel like I’m put here on this planet to teach,” he says. “I had great teachers—Clem Barone, William Bennet, Trevor Wye—I feel like I have a lot to give.” One of his favorite student success stories involves Roma Duncan, who is currently a member of the Minnesota Orchestra. “During the 2017 Asia Tour I had a hand injury and couldn’t play the piccolo, so I moved over to play Assistant Principal Flute,” he remembers. “And the piccolo substitute the DSO hired was Roma Duncan. I coached her here in Detroit, she’s a former student, and we were playing as colleagues on tour. That was so cool.” And while the specter of retirement slowly looms, Zook feels like a kid again in the orchestra’s present moment. “The orchestra today is the best orchestra I’ve experienced since I joined,” he says. “It’s filled with a contagious enthusiasm. The momentum it currently has…well, the right things are in place, and it’s just going to keep going forward.”

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A Detroit Free Press article from April 26, 1919, includes a drawing of the original proposal for Orchestra Hall, which differs somewhat from the hall as it was built. 14




his time 100 years ago, an excitsure? After all, the project began as an ing project was about to get ultimatum. Ossip Gabrilowitsch, the underway: the construction of a Russian pianist and conductor who concert hall to serve as the home of a began his tenure as DSO music director blooming local orchestra. We now know in 1918, would sign a new contract to that Orchestra Hall is among the most remain in Detroit under one condition: acoustically exceptional in the world; we the symphony must build him a hall know that its architect, C. Howard Crane, worthy of the world-class orchestra he is one of the great masters of his was leading. Not just that, but it generation; we know of the hall’s must be ready to use in time for rollercoaster history, with opening concert of the 1919incredible highs and holes-in1920 season. the-ceiling lows. Orchestra Hall “So much enthusiasm has would become the Paradise been shown in the new auditoTheatre, a top venue for jazz and rium…in keeping with the blues, from 1941-1951. It would prominence to which the conArchitect C. provide the backdrop for the structive work of Ossip Howard Crane mayor’s State of the City address. Gabrilowitsch, the conductor, It would be saved from the wrecking ball has brought the Detroit Symphony by steadfast activism from musicians Orchestra,” published the Detroit Free and countless community members. Press on April 26, 1919. On June 1, the But no one knew any of that in 1919. paper ran an advertisement for 14 pairs The DSO and its backers certainly hoped of concerts to take place at Orchestra that the hall would be a suitable—and Hall that fall, and on June 9 construction even beautiful—home for the then-itinbegan at Woodward and Parsons. The erant orchestra, but who could say for foundation was laid in less than a week,

The Detroit Symphony Orchestra photographed on the brand new Orchestra Hall stage in November 1919. Ossip Gabrilowitsch stands on the podium.


and the entire building was finished in four months and 23 days. In her memoir My Husband Gabrilowitsch, Ossip’s wife Clara Clemens recalled the church that had to be demolished in order to make space for the new hall. With similar wry humor to that of her father Mark Twain’s, Clara wrote, “Urgently it was impressed upon the architect that the hall must be finished by a certain date—so urgently in fact that the church standing on the acquired property began to crumble under the hands of the demolishers while a bride and groom were attempting to face the marriage ceremony: ‘I do take thee to be my lawful—,’ hammer-hammer-hammer, ‘—wife, for better, for—,’ chog-chogchog…Look out! The roof is falling in! ‘—and in health, ‘til death us do—’ You better move a little, they are going to blast a wall.” As the current season wanes, and the

Ossip Gabrilowitsch, DSO Music Director from 1918 to 1936, at the piano with his wife Clara Clemens (daughter of Mark Twain) 16


Orchestra Hall centennial celebrations draw near, imagine being a DSO patron during the summer of 1919. A magnificent hall, with promises of a stage “equipped with every modern device” and “absolutely perfect” acoustics, was springing to life with almost alarming speed. A bona-fide Russian maestro— fresh off a tenure with the Boston Symphony and friends with Sergei Rachmaninoff—was coming back for a second season to lead the local band in a midwestern city bursting with industry. Ford Model Ts, assembled at a plant just a few miles north on Woodward Avenue, would now zip down that same street to ferry music fans to the brandnew venue. The moment finally arrived on the evening of Thursday, October 23, 1919. This fall, the DSO’s first Classical Series program (October 4-6) is a re-creation of Orchestra Hall’s grand opening concert a century ago—a program that definitely helps us visualize what that 1919 performance must have been like! At the conclusion of the original concert, Gabrilowitsch led the DSO in a rendition of The Star-Spangled Banner as an encore. “Mr. Gabrilowitsch’s choice of the national anthem to dedicate a hall, wholly expressive of American enterprise, to be used by an all-American orchestra in this city, which continually has shown itself at the fore in true American spirit, was most befitting the occasion,” wrote critic Charlotte M. Tarsney. We wonder what she might write of the DSO, and its great hall, SPRING 2019




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.



Our Erb Jazz Chair’s enduring connection with filmmaker Spike Lee


usic and movie fans know about the longstanding partnership between film director Steven Spielberg and composer John Williams— with so many iconic projects between them, sometimes it’s unclear if Williams is Spielberg’s right-hand-man or if it’s actually the other way around. But less widely recognized is the symbiosis between another film-and-music pair: director Spike Lee and composer Terence Blanchard, who also serves as the DSO’s Fred A. and Barbara M. Erb Jazz Creative Chair. Fortunately, both men have received some overdue attention in the early months of 2019, as Lee won his first Academy Award (Best Adapted Screenplay for BlacKkKlansman) and Blanchard received his first Academy Award nomination (Best Original Score for the same film) at the 2019 Oscars. But the Lee-Blanchard collaboration goes back decades, beginning with the 1990 film Mo’ Better Blues, when Lee overheard Blanchard playing piano during a break. The piano tune became a trumpet tune, then a fully-orchestrated



piece for the film’s score. And when Lee synthesized his next film, Jungle Fever, he hired Blanchard to work on the score alongside Stevie Wonder. The pair have collaborated on nearly two dozen films since, including Malcolm X, Summer of Sam, Bamboozled, 25th Hour, Inside Man, and When the Levees Broke. Paradise Jazz Series fans have always loved Blanchard, who often drops in to host concerts and occasionally performs onstage. But this season’s finale— featuring Blanchard’s band, vocalists Quiana Lynell and Ledisi, and the DSO in a rare Paradise Jazz Series appearance—is a special celebration of his music for Lee’s films outside of the jazz circuit. What makes the partnership between Lee and Blanchard so successful? And how do they work together to create films that have great scores, and scores that make films great? As Blanchard told IndieWire in 2018, “Spike is the type of guy who shoots certain scenes hearing music. One of the things we always talk about is, ‘What haven’t we done yet? SPRING 2019

What sounds haven’t we used yet?’ The interesting thing about Spike is that he has a lot of trust in his composer.” Since the beginning, Blanchard has always been among the first people to see Lee’s scripts. That’s because Lee wants the music to be as central to the film as any character or setting—not a finishing touch, but a core component of the film as a work of art. “In the pantheon of artists, I put musicians in front of everybody,” Lee told IndieWire. “That’s one of the reasons my end credits are longer, because I want to list every musician. If you play on this joint, your name is going to be in the end credits.” With a birds-eye view of a film’s story and themes, Blanchard is free to write music that truly lives in the worlds Lee creates. In BlacKkKlansman, for instance, the most memorable music involves a wailing, agitated guitar melody inspired by Jimi Hendrix’s performance of The Star-Spangled Banner at Woodstock in 1969. “You know, back then, anytime you heard the national anthem, it was always very pristine,” Blanchard told NPR earlier this year. “So to hear it done



with a distorted electric guitar—it was just radical. I just felt like he was screaming to everybody...and when I think about Spike’s films, the overall gist of what he’s dealing with his humanity. And I thought there wouldn’t be anything more appropriate than have that sound be part of the film.” A Spike Lee Joint wouldn’t be a Spike Lee Joint without poignant, sometimes surreal imagery—think of the jerky, nightmarish dolly shot of Detective Keith Frazier (Denzel Washington) realizing a hostage has been killed in Inside Man, or Dolomedes (Samuel L. Jackson) delivering a singsong speech as riot police dash across the background in Chi-Raq. So working with a composer like Blanchard, who embodies both calm musical mastery and proud adventurousness, is a natural move. “I’ve been writing for orchestra for a long time,” Blanchard recently told Vanity Fair. “I mean, look, when we did Malcolm X it was 70 pieces. Spike’s always trying to get that sound. He wants his films to be compared with the greatest of all time. So he’s fought for that.”

Featuring the Terence Blanchard Quintet with the Detroit Symphony Orchestra and vocalists Quiana Lynell and Ledisi (conducted by Damon Gupton)

For tickets and more information, visit





lways artistically adventurous, the DSO has committed itself to exploring the bridges between music and visual art in recent seasons. Consider Art @ The Max, now in its fourth iteration, which exhibits works by Detroitarea artists throughout the Max M. and Marjorie S. Fisher Music Center to elevate local creativity and spark conversation about Hae Jeong Heidi Han, violin, performing at Wasserman expression, all thanks to the Projects in March (Esther Shalev-Gerz’s “Selections from support of the Applebaum The Gold Room” is visible in the background). Family Foundation. And get your largely insulated from anti-Semitism ticket to the next performance in during his lifetime, but after his death in the DSO’s new Sight & Sound chamber 1847 things turned sour,” Haapaniemi recital series, which merges the work of explains. “Wagner wrote that because the orchestra with the celebrated Mendelssohn was Jewish, his music was Wasserman Projects, one of Detroit’s derivative and superficial. The Third leading contemporary art spaces. Reich went further, tearing down his Sight & Sound features DSO musistatue that stood in front of the Leipzig cians in small, intimate concerts at the Gewandhaus.” Shostakovich, meanwhile, gallery in Eastern market—musical perwrote his cynical and chaotic String formances that are thematically tied to the visual art on display. At the inaugural Quartet No. 3 before going to bed in the staircase of his apartment building to Sight & Sound concert in March, a DSO spare his wife and children the trauma string quartet played works by of seeing the KGB drag him away in the Mendelssohn and Shostakovich a few middle of the night. yards from Esther Shalev-Gerz’s The next Sight & Sound performance, “Selections from The Gold Room,” which which takes place on May 21, is decidjuxtaposes museum artifacts and peredly more lighthearted. Anchored sonal objects brought overseas by around Detroit artist Scott Hocking’s refugees, all veiled by floating gold assemblages built from discarded squares. sewer pipes, DSO musicians will per “What a wonderful idea and evening,” form music by contemporary composers said patron Beverly Kent. “Fantastic Andy Akiho, Osvaldo Golijov, and Paul strings, fabulous artists.” All told, about Moravec. The recital is a celebration of 80 art and music lovers attended the humor, creative ingenuity, and the disunique event, which also welcomed tinctive Eastern Market landscape, Shalev-Gerz herself. DSO violinist Will which teems with eye-catching art by Haapaniemi spoke about the musical Hocking and other artists. selections, which comment on crisis in Learn more about Sight & Sound and many of the same ways that ShalevGerz’s art does. “Felix Mendelssohn was other DSO recitals at 20



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


Principal Pops Conductor


NEEME JÄRVI Music Director Emeritus

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


Thursday, April 25, 2019 at 7:30 p.m. Friday, April 26, 2019 at 8 p.m. Saturday, April 27, 2019 at 8 p.m. in Orchestra Hall NICHOLAS MCGEGAN, conductor  •  AVI AVITAL, mandolin SHEREZADE PANTHAKI, soprano SARA HERSHKOWITZ, soprano  •  MEG BRAGLE, mezzo-soprano AUDIVI  •  NOAH HORN, Artistic Director YOONSHIN SONG, violin KIMBERLY KALOYANIDES KENNEDY, violin  •  WEI YU, cello

Antonio Vivaldi Concerto for Strings and Basso continuo (1678 - 1741) in C major, RV 114 (PV 27) Anna Clyne Concerto for Mandolin and Strings, b. 1980 “Three Sisters” Avi Avital, mandolin Antonio Vivaldi Concerto for Mandolin and Orchestra in C major, RV 425 I. Allegro II. Largo III. Allegro Avi Avital, mandolin Intermission


Concerto Grosso in D Minor, Op. 3, No. 11, RV 565 Yoonshin Song, violin Kimberly Kaloyanides Kennedy, violin Wei Yu, cello Gloria in D major, RV 589 I. Gloria in excelsis II. Et in terra pax III. Laudamus te IV. Gratias agimus tibi V. Propter magnam gloriam VI. Domine Deus VII. Domine Fili Unigenite VIII. Domine Deus, Agnus Dei IX. Qui tollis X. Qui sedes ad dexteram XI. Quoniam tu solus sanctus XII. Cum Sancto Spiritu Meg Bragle, mezzo-soprano Sherezade Panthaki, soprano Sara Hershkowitz, soprano Audivi (Noah Horn, Artistic Director) 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.

P R O G R A M AT- A - G L A N C E A Moment for the Mandolin The histories of the lute, guitar, mandolin, and other stringed instruments are all intertwined. By Vivaldi’s lifetime, the most common mandolin-style instrument was the tiny mandolino, which was beginning to evolve into the larger mandolin by the 1720s and 30s. The mandolin was a popular instrument for composers throughout the 18th century, but by about 1815 it fell from fashion, and has been regarded mostly as a folk instrument ever since. New waves of composers and soloists are trying to change that perception, with players like Avi Avital at the forefront. “The mandolin has always changed its shape, its form, its tuning,” he says. “And it has so much depth, so many layers, and also a lot of different sounds and dynamics and colors that are still not very developed. The discovering element is very strong.”




Program Notes Works by ANTONIO VIVALDI B. March 4, 1678, Venice, Italy D. July 28, 1741, Vienna, Austria


f the many composers who helped bring the Italian Baroque style to its zenith at the beginning of the 18th century, Antonio Vivaldi was probably the most creative. Like J.S. Bach, Vivaldi directed his energies toward perfecting existing forms rather than inventing new ones. He standardized some of the characteristics we associate with the concerto genre—for example, he regularly composed concertos with fast outer movements and a slower central one. And he is popular among opera fans for groundbreaking Italian operas like L’Olimpiade and Armida al campo d’Egitto. Vivaldi’s influence is so vast because he created a new musical language. His trademarks include simple effects with hidden strength, driving rhythms, bold melodic contours, unusual colors, and unprecedented solo virtuosity in his concertos’ fast movements. Vivaldi’s works not only changed form, procedure, and technique, but they contributed immeasurably to the development of musical thinking. A note on the Basso continuo form: Basso continuo, often shortened to “continuo,” is a form of musical accompaniment used during the Baroque period. It refers to a group of musicians — with flexible instrumentation — anchored by one instrument capable of playing chords (like piano, harpsichord, lute, guitar, or harp) and any number of instruments that play in the bass register (like cello, bass, or bassoon). In these performances, the continuo

groups will include violin, viola, cello, bass, and harpsichord unless otherwise noted.

Concerto for Strings and Basso continuo in C major, RV 114 (PV 27) Composition details unknown (likely commissioned 1720s or 1730s)

(Approx. 9 minutes)


ivaldi is best known as an innovator in the solo concerto genre, but he was also a leading exponent of the older concerto a quattro—music in four parts with several players to a part, intended for what we now call a string orchestra. He wrote nearly 50 such works, many of which epitomize Baroque recreational music, which was often played outdoors. This short two-movement piece is one of Vivaldi’s 12 so-called “Paris Concertos,” so named because their manuscripts reside in the library of the Paris Conservatory. They are thought to have been commissioned by an anonymous French patron in the 1720s or 1730s. The present concerto concludes with a remarkably inventive Ciaccona (or Chaconne), a continuous variation form based on 16th century music that was imported into Italy and Spain from Latin America. The DSO has previously performed Vivaldi’s Concerto for Strings and Basso continuo in C major once, in December 2002. Robert King conducted.

Concerto for Mandolin and Orchestra in C major, R.425 Composed 1725 | Premiere date unknown

(Approx. 11 minutes)


ut of hundreds of concertos for all sorts of instruments, the present DSO PERFORMANCE MAGAZINE 23

piece is one of only two Vivaldi compositions that includes the mandolin. One of the most famous and challenging mandolin works in the repertoire, the concerto demonstrates that Vivaldi was capable of meeting idiosyncratic challenges that less common instruments present. The Mandolin Concerto was composed in 1725, the same year as the famous The Four Seasons. It is brisk and cheery, with great contrasts between the soloist and the accompaniment, and several attention-grabbing crescendos throughout. These performances of Vivaldi’s Concerto for Mandolin and Orchestra will be DSO premieres.

Concerto Grosso in D Minor, Op. 3, No. 11, RV 565 Composed approx. 1711 | Premiere date unknown

(Approx. 11 minutes)


ardly any collections of music match the profound influence of L’Estro Armonico (Harmonic Fancy), the 12 Op. 3 Vivaldi concertos published in 1711. These concertos attract so much attention because they mark the shift from the concerto grosso principle toward the solo concerto. The 12 concertos are divided into four groups of three, each consisting of one concerto for solo violin, one for two violins, and one for four violins. The four-violin concertos are rooted in the concerto grosso practice, in which a small body of strings are heard in alternation, contrast, and combination with a larger group. But the solo and duo violin concertos reflect the emergence of a new style that was immediately copied elsewhere in Europe, influencing com-



posers like J.S. Bach. While the present work includes the word “grosso” in its title per its publisher, it is one of the L’Estro Armonico duo violin concertos, and also features solo cello. It is pure Vivaldi—complex, delightful, and wholly Baroque. These performances of Vivaldi’s Concerto Grosso in D minor, Op. 3, No. 11, will be DSO premieres.

Gloria in D major, R. 589 Composed approx. 1715 | Premiere date unknown

Scored for two solo sopranos, mezzosoprano, mixed choir, oboe, trumpet, organ, and strings. (Approx. 29 minutes)


s far as we can tell, Vivaldi wrote at least three settings of his Gloria, two of which survive: RV 588 and the present RV 589. The composer also wrote many introductory motets which were to be performed before the Gloria itself, according to church practices at the time; four of these are known today, but they are rarely performed. It is presumed that the Gloria was written between 1711 and 1719 for a state-supported Venetian orphanage called the Ospedale della Pieta, where Vivaldi served as music director for several years. Every Sunday, the orchestra and choir of the Pieta gave public performances of Vivaldi’s music for the city’s elite, and eventually these outstanding performances became one of Venice’s main attractions, drawing listeners from all over Europe. This Gloria was intended to be performed as part of a unique Venetian Mass known as a Missa lecta—a Mass read silently by a priest. At least one Vivaldi scholar has commented on the military character of some of the music, SPRING 2019

and so has conjectured that it might have been intended to celebrate the Venetian defeat of the Turks at Petrovardin, and the collapse of the Turkish siege of Corfu in August 1716. Vivaldi divides the text into 12 movements, each with a different musical character and varied styles and settings. This is one of Vivaldi’s best-known compositions, second only to The Four Seasons in popularity, and is one of the most frequently performed choral works from the Baroque era. The DSO most recently performed Vivaldi’s Gloria in April 2001, conducted by Craig Smith and featuring the Ann Arbor Cantata Singers and a special theatrical presentation by Mark Morris Dance Company. The DSO first performed the piece at a special Detroit Institute of Arts concert in December 1971, conducted by Pierre Hétu and featuring soprano Rosemary Jackson and mezzo-soprano Barbara Widham. The names of the second soprano and choir were not recorded.

Concerto for Mandolin and Strings, “Three Sisters” Composed 2017 | Premiered August 2017

ANNA CLYNE B. March 9, 1980, London, England

dwarfed by a sea of 100-foot pine trees that masked the daylight and harbored the night’s creatures, situated on an estate littered with haunting stories of ghostly visitations, the music that emerged was itself haunting and ghostly. So I fled back home. Saving just a few fragments from my curtailed residence upstate, I continued the work at my home studio in Brooklyn, but soon after returning had to move again unexpectedly…The work was completed in a tiny apartment a little farther away from the lights of Manhattan, but which offered something far more beautiful: a rooftop with a scattering of jewels on a clear night. And it is the constellation Orion that stares down upon me night after night—the three stars of his belt, the three sisters shining bright. And so this work of three portraits unfolded, each portrait sharing the same DNA in various guises. In addition to my varying whereabouts, the main source of inspiration throughout this journey has been Avi Avital’s incredible dexterity and virtuosity, coupled with the tenderness that he brings to the most delicate and sparse of musics. —Anna Clyne These performances of Anna Clyne’s “Three Sisters” will be DSO premieres.

Scored for solo mandolin and strings. (Approx. 15 minutes) The composer writes the following about the piece: The Three Sisters have journeyed with me far and wide across New York State, with work beginning at an artist retreat in upstate New York. Alone in a studio in the middle of the woods,



Noah Horn, Artistic Director SOPRANO Brianna Wetherington Christina Swanson D. Giles Simmer Karen Cook Katrina Van Maanen Deborah Friauff Lorna Young Hildebrandt Bonnie L. Brooks Jessica Dold Jolene Green Ashley Baylor

ALTO Adrianna Tam Heather Yanke Lunneberg Jennifer Rohs Karla K Manson Kayla Williams Lara Alami Sarah Paquet Laura Betinis Healy Serafina Belletini Corrie Spurlin Kate Connolly Calebria Webb Dorothy Duensing

Vivaldi Gloria in D major, R. 589 I. Gloria in excelsis Gloria in Excelsis Deo. Glory in the highest to God. II. Et in terra pax Et in terra pax hominibus bonae voluntatis. And on earth peace to men of good will. III. Laudamus te Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Wepraise thee. We bless thee. We worship thee. We glorify thee. IV. Gratias agimus tibi Gratias agimus tibi… Thanks we give to thee…

TENOR Brian White Dane Carten David A. Roberts Eric Taylor Jim Renfer L.H. Brown Matthew Cook Thomas Burton Joseph Kemper Bradley Lieto Joe Balistreri Brian M. Leduc Terence Farmer

BASS Dan Mihaescu Glenn Miller Robert Peavler Samuel Kidd Marcus Peterson Christopher Peters Aaron von Allmen Kurt Frank Andrew Hallam

VII. Domine Fili Unigenite Domine Fili unigenite, Jesu Christe. Lord Son only begotten, Jesus Christ. VIII. Domine Deus, Agnus Dei Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of Father. IX. Qui tollis Qui tollis peccata Mundi, suscipe deprecationem nostram. Who take away sins of the world, receive our supplication. X. Qui sedes ad dexteram Qui sedes ad dexteram Patris, miserere nobis. Who sits at the right hand of Father, have mercy on us.

V. Propter magnam gloriam …propter magnam gloriam tuam. …because of thy great glory.

XI. Quoniam tu solus sanctus Quoniam tu solus sanctus. Tu solus Dominus. Tu solus altisimus, Jesu Christe. For thou alone art holy. Thou alone Lord. Thou alone most high, Jesus Christ.

VI. Domine Deus Domine Deus, Rex coelestis, Deus Pater omnipotens. Lord God, King of heaven, God Father Almighty.

XII. Cum Sancto Spiritu Cum Sancto Spiritu in gloria Dei Patris. Amen. With Holy Spirit in the glory of God Father. Amen.






icholas McGegan is the foremost Baroque conductor of his generation, currently serving in his 33rd season as Music Director of Philharmonia Baroque Orchestra and Chorale. He is also Principal Guest Conductor of the Pasadena Symphony. The Philharmonia, which McGegan established in San Francisco, is one of the world’s leading period-performance ensembles. The group has performed at Carnegie Hall, staged modern-day premieres of Baroque operas, and released several acclaimed recordings. McGegan’s discography includes more than 100 releases spanning five decades, 50+ of which are albums of Handel. Under its own label, Philharmonia Baroque Productions, McGegan’s Philharmonia has released almost a dozen acclaimed albums of Handel, Scarlatti, Vivaldi, Brahms, Haydn, Beethoven, and more. Their latest release is the modern-day premiere of Jean-Philippe Rameau’s 1745 opera-ballet Le Temple de la Gloire. Born in England, McGegan was educated at Cambridge and Oxford and taught at the Royal College of Music. He was made an Officer of the Most Excellent Order of the British Empire (OBE) at the Queen’s Birthday Honours in 2010. M  OST RECENT APPEARANCE

WITH THE DSO: May 2015, on the William Davidson Neighborhood Concert Series, conducting works by Bach, Mozart, Punto, and Haydn F  IRST APPEARANCE WITH THE

DSO: December 1989, conducting works by Bach



vi Avital, the first mandolin soloist to be nominated for a classical music Grammy Award, is an acclaimed ambassador for his instrument. Avital is proud to have premiered more than 90 compositions that were commissioned for him—15 of them concertos, marking a renaissance for an instrument that remains underrepresented in the classical genre. Avital has performed with many of the world’s top orchestras and festivals, including the Berlin Philharmoniker, Paris Philharmonie, Orchestre Symphonique de Montréal, Aspen Festival, Tanglewood, Ravenna, and Verbier Festival. Avital is an exclusive Deutsche Grammophon artist. His four recordings for the label include a 2012 disc of Bach concerto transcriptions, 2014’s Between Worlds, 2015’s Vivaldi (which won the ECHO Klassik Award), and 2017’s Avital Meets Avital (a collaboration with oud/ bassist Omer Avital—no relation). He has also recorded for Naxos and Sony Classical, winning an ECHO Klassik Award for his 2008 collaboration with the David Orlowsky Trio. Born in Be’er Sheva in southern Israel, Avital began learning the mandolin as a child and soon joined the flourishing mandolin youth orchestra founded and directed by his charismatic teacher, Russian-born violinist Simcha Nathanson. He later graduated from the Jerusalem Music Academy and the Conservatorio Cesare Pollini in Padua, Italy, where he studied original mandolin repertoire with Ugo Orlandi. He plays on a mandolin made by Israeli luthier Arik Kerman. T  hese performances mark Avi




herezade Panthaki is an acclaimed performer in the early music field and enjoys close relationships with Nicholas McGegan, Masaaki Suzuki, Mark Morris, and others. She has performed with the Los Angeles Philharmonic, St. Louis Symphony Orchestra, National Symphony Orchestra, Boston Baroque, and Philharmonia Baroque Orchestra. She has received wide acclaim for her interpretations of Brahms’s Requiem, Orff’s Carmina Burana, and Poulenc’s Gloria; notable among her new music premieres is the soprano role of Emily Dickinson in Martin Bresnick’s brand new oratorio Passions of Bloom at Yale University and the Norfolk Chamber Music Festival. Panthaki was born and raised in India. She studied at West Virginia Wesleyan College, the University of Illinois, Yale School of Music, and Yale Institute of Sacred Music. T  hese performances mark

Sherezade Panthaki’s DSO debut



ara Hershkowitz is a principal artist at the Bremen Opera and a frequent with David Stern’s Paris-based Opera Fuoco. She recently made her Los Angeles Philharmonic debut in John Cage’s Europeras and originated the role of Claire Claremont in the world premiere of Michael Wertmueller’s Diodati at Theater Basel. Hershkowitz received two nominations for Opera World’s Singer of the



Year—for Zaide in the German Premiere of Mozart/Czernowin’s Zaide Adama, and for Donna Anna in Don Giovanni. Hershkowitz was born in Los Angeles and studied at the Manhattan School of Music. She was also a member of the Salzburger Festspiele Young Singers Project and the Academie Lyrique at Aix-en-Provence. T  hese performances mark Sara

Hershkowitz’s DSO debut



eg Bragle is quickly earning an international reputation as one of today’s most gifted and versatile mezzo-sopranos. She enjoys a close relationship with Sir John Eliot Gardiner and the English Baroque Soloists, with whom she made her BBC Proms Debut. She has performed on the concert stage with the Orpheus Chamber Orchestra, Orchestra of St. Luke’s, National Arts Center Orchestra, Houston Symphony Orchestra, and others; her opera credits include Idamante in Idomeneo, Dido and the Sorceress in Dido and Aeneas, Dardano in Amadigi, and more. Bragle has released several recordings with the English Baroque Soloists and Apollo’s Fire. She has also appeared on recordings with Magnificat, New York’s Ensemble for Early Music, and the Oratorio Singers of Charlotte. T  hese performances mark Meg

Bragle’s DSO debut


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


Principal Pops Conductor


NEEME JÄRVI Music Director Emeritus

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


Friday, May 3, 2019 at 10:45 a.m. Saturday, May 4, 2019 at 8 p.m. Sunday, May 5, 2019 at 3 p.m. in Orchestra Hall BEN GLASSBERG, conductor KIRILL GERSTEIN, piano Sir William Walton Suite from Henry V (1902 - 1983) Overture—The Globe Playhouse Arr. Muir Mathieson Passacaglia—Death of Falstaff Charge and Battle Touch her soft lips, and part Agincourt Song Piotr Ilyich Tchaikovsky Piano Concerto No. 2 in G major, Op. 44 (1840 - 1893) I. Allegro brillante e molto vivace II. Andante non troppo III. Allegro con fuoco Kirill Gerstein, piano Intermission Antonín Dvořák Symphony No. 8 in G major, Op. 88 (1841 - 1904) I. Allegro con brio II. Adagio III. Allegretto grazioso IV. Allegro ma non troppo This Classical Series performance is generously sponsored by

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

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


Program Notes P R O G R A M AT- A - G L A N C E Written on Retreat  —  Tchaikovsky and Dvořák’s pastoral productivity Tchaikovsky’s famous “years of wandering” (1878-1885) saw the composer depressed, listless, and reeling from the breakdown of his marriage—but also very productive in brief, remarkable spurts. The Piano Concerto No. 2 came to Tchaikovsky during a stay at his sister’s country home in Kamenka, where he fully intended to do nothing at all. But his musical inspiration had different plans.

Suite from Henry V Composed (for film) 1944 | Arranged 1963 | Premiered (on recording) October 1963

SIR WILLIAM WALTON B. March 29, 1902, Oldham, England D. March 8, 1983, Ischia, Italy

Arr. MUIR MATHIESON B. January 24, 1911, Stirling, England D. August 2, 1975, Oxford, England

Scored for 2 flutes (both doubling on piccolo), 2 oboes (1 doubling on English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 16 minutes) t the height of World War II, the U.K. Ministry of Information asked the peerless actor and director Laurence Olivier to fashion Shakespeare’s Henry V—the final play in a historical trilogy about one of England’s greatest monarchs—into a passionate and fundamentally British film to jolt morale and stir national pride. Olivier turned to William Walton for the movie’s score. The film was a huge success and is




Dvořák’s career was robust and rewarding by the late 1880s. His cheery Symphony No. 8 no doubt reflects his contentedness. The symphony also borrows from the blissful fall he spent composing it in the Czech countryside. Even Dvořák’s inspiration was pure—he dedicated the piece to the Prague Academy, which had recently elected him to its ranks.

now a classic by any definition. Walton’s score achieves a convincing period feel using contemporary musical tricks; the most magnificent of these are the many brass fanfares, booming drums, and unusual modal harmonies. Walton also stole some material from Shakespeare’s time, borrowing melodies from Elizabethan England and folk tunes from France. “William knocked out the most fantastic score for Henry V,” Olivier once said. “Why it didn’t win every award throughout the film industry I’ll never know, because it’s the most wonderful score I’ve ever heard for a film.” Two decades after the film’s premiere, Walton authorized his colleague Muir Mathieson, who conducted the original film score, to create a suite from the music. The result is the present five-part suite that has become almost as popular as the film itself. The DSO most recently performed music from Sir William Walton’s score to Henry V during the 2014 Florida Tour, when Leonard Slatkin conducted “Touch her soft lips, and part.” The DSO first performed music from the film at Meadow Brook in 1990, when Michael SPRING 2019

Lankester conducted a tribute to the recently-deceased Olivier.

Piano Concerto No. 2 in G major, Op. 44 Composed 1880 | Premiered November 1881

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

Scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, tuba, and strings. (Approx. 37 minutes)


chaikovsky’s magnificent first piano concerto has a habit of eclipsing his second and third. And for Tchaikovsky himself, the first concerto’s initial unpopularity—combined with the composer’s untreated and haranguing depression—made it very difficult to even consider writing more for the piano. Why face the same unpleasantness twice? Tchaikovsky spent much of the late 1870s at Kamenka, his sister and brother-in-law’s country estate. In October 1879 he wrote to his brother Modest: “These last days I’ve begun to observe in myself such things which at first I didn’t understand. I experienced a certain vague dissatisfaction with myself, an over-frequent and almost irresistible desire to sleep, a certain emptiness, and finally boredom. There were times when I didn’t know what to do with myself. Finally yesterday it became fully apparent to me what was the matter: I had to get on with something.” That “something” was Tchaikovsky’s Piano Concerto No. 2. As if to compensate for the unorthodox opening

movement of the No. 1 (which begins in the “wrong” key and has an “introductory” melody that towers over the ostensible first theme), Tchaikovsky plays by the rulebook for the first movement of the No. 2. Its first theme is boisterous, its second lyrical; the orchestra lays out the themes and marks the structural turning points. The piano rhapsodizes, with much of the middle section of the movement taken up with two large cadenzas. The slow movement is one of Tchaikovsky’s most ambitious, and, according to one letter, also his favorite. It is notorious for the prominence it gives to the violin and cello, but the outpouring of lyrical melody offered to the piano is marvelous to behold. Then comes the finale, which moves swiftly. Unlike earlier moments in the concerto (especially the first movement), here the orchestra and soloist work beautifully together to keep the music leaping forward. The concerto ends with a frenzied, heroic coda, anchored by a mad tumble down the piano keys. The DSO most recently performed Tchaikovsky’s Piano Concerto No. 2 during the 2015 Tchaikovsky Festival, conducted by Leonard Slatkin and featuring pianist Olga Kern. The DSO first performed the piece in November 1920, conducted by Ossip Gabrilowitsch and featuring pianist Yolanda Mero.

Symphony No. 8 in G major, Op. 88 Composed 1889 | Premiered February 1890

ANTONÍN DVOŘÁK Born: September 8, 1841, Nelahozeves, Bohemia (Now Czech Republic) Died: May 1, 1904, Prague, Bohemia (Now Czech Republic) DSO PERFORMANCE MAGAZINE 31

Scored for 2 flutes (1 doubling on piccolo), 2 oboes (1 doubling on English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings. (Approx. 36 minutes)


ntonín Dvořák spent the first two decades of his career working in relative obscurity, but by the 1880s he had found a champion: Johannes Brahms, who promoted Dvořák throughout Europe and earned him steady commissions and a fine reputation. The 1889 Symphony No. 8 mirrors both Dvořák’s content state of mind and the tranquil Czech countryside where he composed it. It is one of the composer’s sunniest works, and it characteristically blends symphonic technique and local Bohemian color. The first movement is in the bright key of G major, but Dvořák breaks with convention by beginning in the minor mode with a melody that exploits the rich timbre of the cellos. This passage serves as a prelude to the movement’s principal theme (announced by the flute), but without being a distinctly separate section, as in the typical classical symphony. A long, energetic transition leads to the second subject, which emerges from the dying tone of a brief horn solo. A heroic third theme completes the exposition of the movement’s material, which Dvořák proceeds to develop with

energy and imagination. The ensuing Adagio is exceptionally rich in moods and ideas. Moving fluidly between minor and major harmonies, as well as between intimate and grandiose expression, it is by turns grave and playful. Although the 3/4 meter and broad ABA format of the following movement indicate a scherzo, its relaxed pace and wistful sadness are more in character with the intermezzo movements that Brahms favored for his symphonies. An arresting trumpet fanfare heralds the finale. Once again Dvořák enlists the cellos, which present a broad theme related not only to the preceding trumpet call but also to the flute melody of the first movement. Several variations of this melody follow, but Dvořák breaks the conventional pattern of strophic variations to inject a cheerful little march in a minor key, as well as a frenzied sonata-form-style development section. A rousing coda brings the work to a tumultuous close. —Paul Schiavo The DSO most recently performed Dvořák’s Symphony No. 8 on the William Davidson Neighborhood Concert Series in June 2015, conducted by Marcelo Lehninger. The DSO first performed the piece in December 1937, conducted by Victor Kolar.



en Glassberg was appointed Principal Conductor of the Glyndebourne Tour in 2018; his first production in the role begins in October 2019. Glassberg is a regular at Glyndebourne Festival Opera and is one 32


of the youngest conductors to debut at the festival. In demand as an opera conductor, he has led acclaimed performances of Madama Butterfly, La Traviata: SPRING 2019

Behind the Curtain, and Hansel and Gretel. On the concert stage, Glassberg has appeared with Orchestre National de Lyon, Orchestre Chambre de Paris, Royal Philharmonic Orchestra, St. Petersburg Symphony Orchestra, and Musikalische Akademie Mannheim. Together with the National Youth Orchestra of Scotland, Glassberg premiered Vikki Stone’s Concerto for Comedian and Orchestra, which he conducted at Latitude Festival, Glastonbury Festival, and Edinburgh Fringe Festival. Glassberg earned his music degree at Cambridge and studied with Sian Edwards at the Royal Academy of Music. He won the Grand Prix at the 55th Besançon Competition in 2017. In 2011, he founded the London Young Sinfonia, which aims to provide an informal but high quality orchestral playing opportunity for young musicians. T  hese performances mark

Ben Glassberg’s DSO debut



irill Gerstein has proven to be one of today’s most intriguing and versatile musicians. His early training and experience in jazz has contributed an important element to his interpretive style, inspiring an energetic and expressive musical personality that distinguishes his playing. Gerstein is the sixth recipient of the prestigious Gilmore Artist Award, presented every four years to an exceptional pianist who—regardless of age or nationality—possesses broad and

profound musicianship and charisma and who desires and can sustain a career as a major international concert artist. Since receiving the award in 2010, Mr. Gerstein has shared his prize through the commissioning of boundary-crossing works by Timo Andres, Chick Corea, Alexander Goehr, Oliver Knussen, and Brad Mehldau, with additional commissions scheduled for future seasons. Born in 1979 in Voronezh, Russia, Mr. Gerstein studied piano at a music school for gifted children. After coming to the attention of vibraphonist Gary Burton, who was performing at a music festival in Europe, Gerstein came to the United States at 14 to study jazz piano as the youngest student ever to attend Boston’s Berklee College of Music. After completing his studies in three years and following his second summer at the Boston University program at Tanglewood, Gerstein turned his focus to classical music and moved to New York City to attend the Manhattan School of Music, where he studied with Solomon Mikowsky.  MOST RECENT APPEARANCE

WITH THE DSO: November 2016, performing Tchaikovsky’s Piano Concerto No. 1 (cond. Jun Märkl) F  IRST APPEARANCE WITH THE

DSO: June 2007, performing Beethoven’s Concerto for Piano, Violin, Cello, and Orchestra (alongside violinist Emmanuelle Boisvert and cellist Robert deMaine; cond. Thomas Wilkins)


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


Principal Pops Conductor

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

NEEME JÄRVI Music Director Emeritus


REVOLUTION: THE MUSIC OF THE BEATLES A SYMPHONIC EXPERIENCE a Schirmer Theatrical/Greenberg Artists co-production Arrangements by Jeff Tyzik Friday, May 17, 2019 at 10:45 a.m. & 8 p.m. Saturday, May 18, 2019 at 8 p.m. Sunday, May 19, 2019 at 3 p.m. in Orchestra Hall JEFF TYZIK, conductor  •  KELLY MCINTYRE, vocals  •  COLIN SMITH, vocals  GREG MAYO, vocals and guitar  •  ZACH JONES, vocals and drums  ANDY RONINSON, keyboard  •  JOSH MYERS, bass ALEK DEVA, Technical Director  •  PAUL BEVAN, Sound Engineer GNIK NUS originally released on Love (2006) BECAUSE originally released on Abbey Road (1969) GET BACK originally released on Let It Be (1970) TICKET TO RIDE originally released on Help! (1965) DRIVE MY CAR originally released on Rubber Soul (1965) YESTERAY originally released on Help! (1965) PENNY LANE originally released on Magical Mystery Tour (1967) THINGS WE SAID TODAY originally released on Hard Day’s Night (1964) LADY MADONNA originally released on Past Masters: Volume Two (1988) FLYING originally released on Magical Mystery Tour (1967) IN MY LIFE originally released on Rubber Soul (1965) I’VE JUST SEEN A FACE originally released on Help! (1965) ELEANOR RIGBY originally released on Revolver (1966) HELLO, GOODBYE originally released on Magical Mystery Tour (1967) HERE COMES THE SUN originally released on Abbey Road (1969) HEY JUDE originally released on Past Masters: Volume Two (1988)

Presented by

With additional support from

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




Intermission TOMORROW NEVER KNOWS originally released on Revolver (1966) THE FOOL ON THE HILL originally released on Magical Mystery Tour (1967) GOT TO GET YOU INTO MY LIFE originally released on Revolver (1966) MAXWELL’S SILVER HAMMER originally released on Abbey Road (1969) WITH A LITTLE HELP FROM MY FRIENDS originally released on Sgt. Pepper’s Lonely Hearts Club Band (1967) COME TOGETHER originally released on Abbey Road (1969) SOMETHING originally released on Abbey Road (1969) YOU WON’T SEE ME originally released on Rubber Soul (1965) I AM THE WALRUS originally released on Magical Mystery Tour (1967) LET IT BE originally released on Let It Be (1970) GOLDEN SLUMBERS/CARRY THAT WEIGHT/THE END originally released on Abbey Road (1969) TWIST AND SHOUT originally released on Please Please Me (1963)


Concert, Film & Stage


Creative Team Robert Thompson, Creative Producer Jeff Tyzik, Producer & Arranger Jami Greenberg, Producer & Booking Agent Alyssa Foster, Producer Mary Helen Gustafson, Assistant Producer Ilana Becker, Stage Direction Alek Deva, Technical Supervisor (Black Ink Presents) Mike Kasper, Assistant Technical Supervisor (Black Ink Presents) Paul Bevan, Sound Designer Charles Yurick, Projection Designer (Tour de Force) Bill Dwyer, Associate Motion Graphics Designer Adam Grannick, Video Designer (Pre-Concert and Intermission) Braulio Barquero, Video Designer for “Blackbird” Andy Roninson, Synth Consultant Jeff Sugg, Production Consultant (Handmade Media, LLC) Casting by Laura Stanczyk, CSA


Profiles For Jeff Tyzik’s biography turn to pg. 7 Kelly McIntyre is thrilled to join the Revolution team! Since 2016, McIntyre has been channeling Janis Joplin in A Night With Janis Joplin, headlining the national tour and regional productions around the country. Other credits include Beau (The Directors Company), For Tonight (Godspeed Opera House), Into the Sun (New York Musical Theatre Festival), and Ruth Maier (New York Theatre Barn). Colin Smith is an Irish-born musician with a 20+ year career in bands and as a soloist. Most recently he’s toured with Christina Aguilera, duetting with her on the Grammy-winning “Say Something;” he’s also appeared with Alicia Keys and on Saturday Night Live. Smith’s former band MrNorth was signed to RCA and toured with The Who, Van Halen, Sheryl Crow, and Journey, among others. Greg Mayo is the son of Bob Mayo (of Peter Frampton, Hall and Oates, Foreigner, and others) and an alumnus of the Hartt School of Music and the Conservatory of Music at SUNY Purchase. He produces and performs with countless projects, writes music for television, and fronts the New Yorkbased rock band Brooklyn Sugar Company.



Zach Jones is a drummer, singer, songwriter, and producer active in the New York scene. He has shared the stage and studio with Sting, A Great Big World, Elle King, Marc Broussard, Liz Longley, and many others. He also writes and records with his own group, Zach Jones & The Tricky Bits. Andy Roninson is a New York-based music director, orchestrator, and writer. He has worked extensively in OffBroadway and regional theater as well as at colleges and universities (including Dartmouth, Fordham, and NYU). As a composer-lyricist, he is a member of the Tony Award-winning BMI Lehman Engel Musical Theatre Writing Workshop. He also hosts the musical theater podcast Take A Ten. Josh Myers lends his bass talents to Sister Sparrow & The Dirty Birds, Kinan Azmeh’s CityBand, Big Words, and Heather Christian & The Arbornauts. He has also performed with legendary artists like John Scofield, Kenny Werner, Stanton Moore, Wayne Krantz, and Bernard Purdie.






Gifts received between September 1, 2017 and March 31, 2019 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

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

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

Dorati Society — Giving of $100,000 and more Mr. & Mrs. Richard L. Alonzo James & Patricia Anderson Applebaum Family Foundation 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 Joanne Danto & Arnold Weingarden

Ehrling Society — Giving of $50,000 and more Mr. & Mrs. Richard A. Brodie Madeline & Sidney Forbes Marvin & Betty Danto Family Foundation Mary Ann & Robert Gorlin Mr. & Mrs. James Grosfeld Mrs. Bonnie Larson Mr. & Mrs. Matthew Lester

David & Valerie McCammon Ms. Deborah Miesel Mr. & Mrs. Eugene A. Miller 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


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




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 Mr. Peter Falzon Jim & Margo Farber Dr. Marjorie M. Fisher & Mr. Roy Furman Barbara & Alfred J. Fisher III Mr. Michael J. Fisher Mr. & Mrs. Samuel Fogleman Dr. Saul & Mrs. Helen Forman Dale & Bruce Frankel Mr. & Mrs. Eugene A. Gargaro, Jr. Byron◊ & Dorothy Gerson Allan D. Gilmour & Eric C. Jirgens Mrs. Gale Girolami Dr. Kenneth & Roslyne Gitlin Dr. Robert T. Goldman Allen C. Goodman & Janet R. Hankin

Dr. Herman & Mrs. Shirley Gray Judy & Kenneth Hale Charlene Handleman Ms. Nancy B. Henk Dr. Gloria Heppner Michael E. Hinsky & Tyrus N. Curtis Mr. & Mrs. Norman H. Hofley Jack◊ & Anne Hommes Renato & Elizabeth Jamett William & Story John Lenard & Connie Johnston Faye & Austin Kanter Mr. & Mrs. Norman D. Katz Mr. & Mrs. 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 Mr. & Mrs. Albert T. Nelson, Jr.

Mrs. Denise Abrash Ms. Dorothy Adair Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Mrs. Jean Azar Dr. David Balle Mr. & Mrs. David Barnes Mike & Pat Biber Rud+ & Mary Ellen Boucher Claire P. & Robert N. Brown Mr. & Mrs. Marco Bruzzano Philip & Carol Campbell Dr. & Mrs. Charles G. Colombo Mr. James Schwyn & Mrs. Françoise Colpron Thomas W. Cook & Marie L. Masters Mr. & Mrs. Gary L. Cowger Mr. & Mrs. Richard L. DeVore Adel & Walter Dissett Edwin & Rosemarie Dyer Mr. Lawrence Ellenbogen Mr. & Mrs. John M. Erb Marianne T. Endicott Mr. Sanford Hansell & Dr. Raina Ernstoff Ms. Carol A. Friend Mrs. Janet M. Garrett 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. Doreen Hermelin Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. George Hill & Mrs. Kathleen TalbertHill Mr. Donald & Marcia Hiruo Mr. & Mrs. Peter Hollinshead Julius & Cynthia Huebner Foundation Mr. & Mrs. A. E. Igleheart Ms. Carole Ilitch Mr. & Mrs. Richard J. Jessup 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

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

Giving of $5,000 and more

*Current DSO Musician or Staff

Eugene & Sheila Mondry Foundation Joy & Allan Nachman Mr. & Mrs. Eric Nemeth Mr. & Mrs. David E. Nims William & Carol O’Neill Mr. & Mrs. Arthur T. O’Reilly Debra & Richard Partrich Ms. Lisa A. Payne Mr. & Mrs. Roger S. Penske Mr. & Mrs. Dave Redfield Barbara Gage Rex Dr. & Mrs. John Roberts Mr. & Mrs. Robert B. Rosowski Mr. R. Desmond Rowan Marjorie & Saul Saulson Mr. & Mrs. Kingsley G. Sears Mrs. Sharon Shumaker Mrs. Kathleen Straus & Mr. Walter Shapero Alice & Paul Tomboulian Ms. Marie Vanerian Mrs. Eva Von Voss 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. John Axe Mr. & Mrs. Wayne J. Babbish Ms. Ruth Baidas Nora & Guy Barron Mr. Mark G. Bartnik & Ms. Sandra J. Collins Mr. & Mrs. Martin S. Baum Mr. & Mrs. Richard Beaubien Dr. & Mrs. Brian J. Beck Ms. Margaret Beck Dr. & Mrs. Richard H. Bell 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 Don & Marilyn Bowerman Mr. Paul & Mrs. Lisa Brandt Mr. Anthony F. Brinkman Mr. & Mrs. Mark R. Buchanan Mr. & Mrs. Ronald F. Buck Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Mr. & Mrs. François Castaing 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. & Mrs. Robert W. Clark Nina & Richard Cohan Jack, Evelyn & Richard Cole Family Foundation Dr. & Mrs. Julius V. Combs Ms. Elizabeth Correa Patricia & William Cosgrove, Sr. Dr. & Mrs. Ivan Louis Cotman Mrs. Barbara Cunningham Suzanne Dalton & Clyde Foles Deborah & Stephen D’Arcy Fund Maureen & Jerry D’Avanzo Barbara A. David 40

Lillian & Walter Dean Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Diana & Mark Domin Mr. & Mrs. Walter E. Douglas Paul ◊ & Peggy Dufault Mr. Roger Dye and Ms. Jeanne A. Bakale Dr. Leo & Mrs. Mira Eisenberg Dr. & Mrs. A. Bradley Eisenbrey Randall & Jill* Elder Ms. Laurie Ellis & Mr. James Murphy Donald & Marjory Epstein Mr. Drew Esslinger & Mr. Chris Syzmanski Dave & Sandy Eyl Ellie Farber Mr. & Mrs. Oscar Feldman Mr. & Mrs.◊ Anthony C. Fielek Hon. Sharon Tevis Finch Ron Fischer◊ and Kyoko Kashiwagi 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 Randall L. & Nancy Caine Harbour Tina Harmon Mrs. Betty J. Harrell Cheryl A. Harvey Randall* & Kim Minasian Hawes Gerhardt A. Hein & Rebecca P. Hein Jeremiah* & Brooke Hess 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 Ms. Elizabeth Ingraham Nicki* & Brian Inman Sarah & Steven Jackson Mr. & Mrs. Ira J. Jaffe Mr. & Mrs. Charles R. Janovsky Mr. John S. Johns Paul & Marietta Joliat Mr. & Mrs. John Jullens Grace Kachaturof Diane & John Kaplan Betsy & Joel Kellman June K. Kendall Frederic & Stephanie Keywell Mrs. Frances King Mr. & Mrs. William P. Kingsley Mr. James Kirby


Thomas & Linda Klein Mr. & Mrs. Ludvik F. Koci Mr. & Mrs. Robert Koffron 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 Burbary-Krappmann Barbara & Michael Kratchman Richard & Sally Krugel 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 Mr. & Mrs. Thomas Mark 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. Mary McGough Ms. Camille McLeod Brian & Lisa Meer Dr. & Mrs. Donald A. Meier Dr. & Mrs. David Mendelson Olga Sutaruk Meyer Bruce & Mary Miller J.J. & Liz Modell Dr. Susan & Mr. Stephen* Molina Mr. & Mrs. Daniel E. Moore Lawrence Morawski Ms. A. Anne Moroun Mr. Frederick Morsches & Mr. Kareem George Ms. I. Surayyah R. Muwwakkil Edward & Judith Narens Mariam C. Noland & James A. Kelly Katherine & Bruce Nyberg Dr. & Mrs. Dongwhan Oh SPRING 2019

Lila & Randall Pappal Mrs. Margot Parker Mrs. Sophie Pearlstein Noel & Patricia Peterson Kris & Ruth Pfaehler Mr. & Mrs. Philip E. Pfahlert Mr. Dave Phipps Dr. Klaudia Plawny-Lebenbom William H. & Wendy W. Powers Reimer & Rebecca Priester Charlene & Michael Prysak Mr. & Mrs. Nicolas I. Quintana Dr. & Mrs. Morton Raban 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 Ms. Linda Rodney Seth & Laura Romine Michael & Susan Rontal Mr.◊ & Mrs. Gerald F. Ross Mr. Ronald Ross & Ms. Alice Brody Jane & Curt Russell Mr. & Mrs. James Ryan 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 Nancy & Sam Shamie Shapero Foundation Ms. Margo Shulman Zon Shumway Dr. Les & Ellen Lesser Siegel Mr. Norman Silk & Mr. Dale Morgan William & Cherie Sirois Dr. Cathryn & Mr. Daniel Skedel Mr. Michael J. Smith & Mrs. Mary C. Williams Dr. Gregory Stephens Barb & Clint Stimpson Nancy C. Stocking Dr. & Mrs. Gerald Stollman Mrs. E. Ray Stricker Mr. & Mrs. John Stroh III 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 Janis & William Wetsman/The Wetsman Foundation 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 Mr. Terence E. Adderley Joshua & Judith Adler Dr. & Mrs. Gary S. Assarian Dr. & Dr. Brian Bachynski Mrs. Mary Beattie ◊ Mr. & Mrs. Stephen A. Bromberg Mr. & Mrs. Richard Burstein Mr. & Mrs. Brian Campbell Dr. & Mrs. Glenn B. Carpenter Mr. & Mrs. James Ciroli Mr. Don Claphman Ms. Beatrice D’Ambrosio Dr. Edward Mrs. Jamie Dabrowski Mrs. Kathryne Dahl Ms. Joyce Delamarter Gordon & Elaine Didier Mr. Howard O. Emorey Mrs. Janice Erichsen Mr. William Fetterman Mr. George Georges Mr. & Mrs. Robert W. Gillette Mr. Joseph & Mrs. Lois Gilmore Ruth & Al◊ Glancy Ms. Sandra Seligman Anne & Eugene Greenstein Leslie Groves* Mr. Donald Guertin Mr. & Mrs. Michael Harding Ms. Barbara Heiler

Mr. & Mrs. Paul Hillegonds Ms. Nadine Jakobowski Mr. Arthur Johns Carol & Rick Johnston Dr. Jean Kegler Ms. Ida King Aileen & Harvey Kleiman Tom & Beverly Klimko Mr. & Mrs. Victor Kochajda/Teal Electric Co. Ms. Sylvia Kojima Miss Kathryn Korns Mr. & Mrs. Kosch Mr. Michael Kuhne Mr. Lawrence Larson Mr. & Mrs. Paul Lieberman Mr. William Lynch Ms. June G Mackeil Mr. Robert L. Martin Mr. & Mrs. Joseph Mazzeo Ms. Florence Morris Mr. & Mrs. Germano Mularoni Mrs. Ruth Nix Mrs. Janet Pounds Mr. Ronald Puchalski Drs. Renato & Daisy Ramos Mr. and Mrs. Richard Rappleye Mr. & Mrs. Richard Rapson Mrs. Hope Raymond Mr. & Mrs. John Rieckhoff

*Current DSO Musician or Staff

Mr. Paul Robertson & Mrs. Cheryl Robertson Mr. & Mrs. Leslie Rose Mr. James Rose Dr. & Mrs. Jerry Rosenberg Mr. & Mrs. Hugh C. Ross Mr. & Mrs. George Roumell Nancy J. Salden Mr. and Mrs. Donald and Janet Schenk Dr. Richard Schwartz Mr. and Mrs. Fred Secrest◊ Mr. Steve Secrest Robert A. Sedler Cynthia Shaw & Tom Kirvan Mr. Lawrence Shoffner Ms. Claudia Sills Mr. Mark Sims & Ms. Elaine Fieldman Dr. & Mrs. Choichi Sugawa Mr. & Mrs. Charles Tholen David & Lila Tirsell Dennis and Jennifer Varian Dr. & Mrs. Thomas E. Verhelle Peter & Carol Walters Mr. Barry Webster Ms. Beverly Weidendorf Ms. Janet Weir Rudolf E. Wilhelm Fund And four who wish to remain anonymous




Giving of $200,000 & more

HUDSON-WEBBER FOUNDATION primary pereferred logo

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


Giving of $100,000 & more secondary - for use on dark backgrounds

PAUL M. ANGELL FAMILY FOUNDATION 2014 GM Design Corporate ID & Graphics





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

Giving of $20,000 & more American House Senior Living Communities Beaumont Health Chemical Bank Clinton Family Fund DeRoy Testamentary Foundation Flagstar Foundation Greektown Casino-Hotel

Henry Ford II Fund 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 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 Raymond James Stone Foundation of Michigan Suburban Collection Wells Fargo Advisors

Canon Solutions America Coffee Express Roasting Company 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 Howard & Howard Attorneys PLLC Japan Business Society of Detroit Foundation Josephine Kleiner Foundation Lakeside Opthamology Center Ludwig Foundation Fund Madison Electric Company Michigan First Credit Union Plante & Moran, PLLC PSLZ, LLP Meyer & Anna Prentis Family Foundation Redford Lock Security Solutions The Loraine & Melinese Reuter Foundation Save Our Symphony Schwartz Family Foundation Louis & Nellie Sieg Foundation 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 Aaron Copland Fund For Music, Inc. Aptiv Foundation The Boston Consulting Group Creative Benefit Solutions, LLC Benson & Edith Ford Fund Grant Thornton LLP Les Stanford Cadillac Marjorie & Maxwell Jospey Foundation Michigan Ear Institute Resendes Design Group, LLC Rocket Fiber Sigmund & Sophie Rohlik Foundation Schaerer Architextural Interiors Mary Thompson Foundation Warner Norcross & Judd LLP


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

Share the music of the DSO with future generations INCLUDE THE DSO AS A BENEFICIARY IN YOUR WILL Remembering the DSO in your estate plans will support the sustainability and longevity of our Orchestra, so that tomorrow’s audience will continue to be inspired through unsurpassed musical experiences. If you value the role of the DSO — in your life and in our community — please consider making a gift through your will, trust, life insurance or other deferred gift. As a member, you will be invited to our annual 1887 Society Tea, recognized in Performance magazine, and receive a host of other benefits.

To learn more please call Alexander Kapordelis at 313.576.5198 or email





The 1887 Society honors individuals who have made a special legacy commitment to support the Detroit Symphony Orchestra. Members of the 1887 Society ensure that future music lovers will continue to enjoy unsurpassed musical experiences by including the DSO in their estate plans. If you have arranged a planned gift to support the DSO or would like more information on planned giving, please call 313.576.5114. Ms. Doris L. Adler Dr. & Mrs. William C. Albert Mr. & Mrs. Robert A. Allesee Dr. Lourdes V. Andaya Mr. & Mrs. Eugene Applebaum Dr. Augustin & Nancy◊ Arbulu Ms. Sharon Backstrom Sally & Donald Baker Mr. & Mrs. Lee Barthel Mr. Mark G. Bartnik & Ms. Sandra J. Collins Mary Beattie ◊ Stanley A. Beattie Mr. & Mrs. Mandell L. Berman◊ Mrs. Betty Blair Gwen & Richard Bowlby Mrs. Ellen Brownfain William & Julia Bugera Cynthia Cassell, Ph. D. Dr.◊ & Mrs. Victor J. Cervenak Eleanor A. Christie Ms. Mary Christner Robert & Lucinda Clement Lois & Avern Cohn Mrs. RoseAnn Comstock◊ Thomas W. Cook & Marie L. Masters Dorothy M. Craig Mr. & Mrs. John Cruikshank Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Ms. Leslie C. Devereaux Mr. John Diebel Mr. Roger Dye & Ms. Jeanne A. Bakale Mr. & Mrs. Robert G. Eidson Marianne T. Endicott Mrs. Rema Frankel◊ Patricia Finnegan Sharf Ms. Dorothy Fisher Mrs. Marjorie S. Fisher◊ Samuel & Laura Fogleman Mr. Emory Ford, Jr.◊ Dr. Saul & Mrs. Helen Forman Barbara Frankel & Ron Michalak Herman & Sharon Frankel Jane French Mark and Donna Frentrup Janet M. Garrett Dr. Byron P. & Marilyn Georgeson Mr. Joseph & Mrs. Lois Gilmore Victor◊ & Gale Girolami Ruth & Al Glancy◊ David & Paulette Groen 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 Andy Howell Carol Howell Paul M. Huxley & Cynthia Pasky David & Sheri Jaffa Mr. & Mrs. Thomas H. Jeffs II Mr. & Mrs. Richard J. Jessup Mr. & Mrs. George Johnson Lenard & Connie Johnston Ms. Carol Johnston Carol M. Jonson Drs. Anthony & Joyce Kales Faye & Austin Kanter Norb ◊ & Carole Keller Dr. Mark & Mrs. Gail Kelley June K. Kendall Dimitri◊ & Suzanne Kosacheff Douglas Koschik Mr. & Mrs. Arthur J. Krolikowski Mary Clippert LaMont Mrs. Bonnie Larson Ann C. Lawson ◊ Allan S. Leonard Max Lepler & Rex L. Dotson Dr. Melvin A. Lester Mr. & Mrs.◊ Joseph Lile Harold Lundquist◊ & Elizabeth Brockhaus Lundquist Mr. & Mrs. Eric C. Lundquist Roberta Maki Eileen & Ralph Mandarino Judy Howe Masserang Mr. Glenn Maxwell Ms. Elizabeth Maysa Mary Joy McMachen, Ph.D. Judith Mich◊ Rhoda A. Milgrim Mr. & Mrs. Eugene A. Miller John & Marcia Miller Jerald A. & Marilyn H. Mitchell Mr.◊ & Mrs. L. William Moll Shari & Craig Morgan Ms. I. Surayyah R. Muwwakkil Geoffrey S. Nathan & Margaret E. Winters Beverley Anne Pack David◊ & Andrea Page Mr. Dale J. Pangonis Ms. Mary W. Parker Mrs. Sophie Pearlstein Helen & Wesley Pelling◊ 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 Milton & Lois◊ Zussman Five who wish to remain anonymous DSO PERFORMANCE MAGAZINE 45




Thomas Wilkins


Alisa Weilerstein

Leonard Slatkin


TRIBUTE GIFTS Gifts received February 1, 2019 to March 31, 2019 Tribute gifts to the Detroit Symphony Orchestra are made to honor accomplishments, celebrate occasions, and pay respect in memory or reflection. These gifts support current season projects, partnerships and performances such as DSO concerts, education programs, free community concerts and family programming. For information about making a tribute gift, please call 313.576.5114 or visit In Honor of Alex Kinmonth Grant Anderson In Memory of Alfred Glancy III Anne Parsons and Donald Dietz Jaffe, Raitt, Heuer and Weiss Marcia Applebaum George and Mary Ann Zinn Pamela Applebaum Ralph and Erica Gerson Suzanne Mueller Richard Platt In Memory of Aunt Katherine Susan Wainwright In Honor of Dr. Bonnie Witkin Stuart Steven and Allison Kaplan

In Memory of Carolyn Barnett Goldstein Barbara Borden In Honor of Charles Schulman, DO David Schulman

In Honor of James B. Nicholson Judy and Stanley Frankel Charlene Handleman David and Sylvia Nelson Malke and Gary Torgow Trudy and Arthur Weiss

In Honor of Dr. Glenda Price Anne Doyle

In Memory of Lowell Everson Donna Corcel

In Memory of Jack Manko Barbara J. Asmus Betty Jean Lovegrove Brian Binder Caryl Litzenberger David and Darcia Bingle Douglas and Karen Inglis Ralph and Deborah Castelli Sally Langlois Sheila Connolly Sunni Langlois Tony Milano

In Honor of Nancy Dunn Kaylyn Wingo In Memory of Nicolas Kondak Shiela R. Batch In Honor of Robert Harris Susan Mazer-Smith

DID YOU KNOW? You can experience the DSO online, on TV, and on the radio! The Live from Orchestra Hall webcast series presents live Classical Series concerts for free at and on the DSO Facebook page. Tune in online next time you can’t make it to Orchestra Hall! Plus, Michigan Comcast subscribers can watch select Classical Series concerts live on Xfinity Channel 900. And WRCJ-FM broadcasts select Friday morning Coffee Concerts on the radio! Visit for more information.




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.


Self-parking is available for $10 at the Orchestra Place Parking Structure (81 Parsons Street), with designated handicap spaces available on the ground level. Valet parking is available for $14 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 Patrons are welcome to bring drinks to their 48


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. SPRING 2019

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 For general inquiries, please email

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

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 or call 313.576.5065 for more information.

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.


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, 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.


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

Patrick Peterson Manager of Orchestra Personnel Dennis Rottell Stage Manager

Caen Thomason-Redus Senior Director of Community & Learning


Kiersten Alcorn Community Engagement Coordinator

Jill Rafferty Senior Director of Advancement Alex Kapordelis Campaign Director Jenni Clark Fundraising Events Specialist Joey Edmonds Campaign Research Specialist Stephanie Glazier Stewardship Coordinator Holly Gorecki Manager of Advancement Services Leslie Groves Major Gift Officer



Chelsea Kotula Gift Officer, Institutional Giving

Mickayla Chapman Training Ensembles Recruitment and Operations Coordinator Debora Kang Manager of Education Programs Garrett Lefkowitz Training Programs Operations Coordinator Nelson Rodriguez Parada General Manager of Training Ensembles Clare Valenti Manager of Community Engagement


Juanda Pack Advancements Benefits Concierge

Jeremiah Hess Senior Director of Accounting & Finance

Susan Queen Gift Officer, Corporate Giving

Dawn Kronell Senior Accountant

Jessica Ruiz Director of Artistic Planning

Amanda Tew Data and Research Specialist

Amanda Lindstrom Gift Processing Coordinator

Alison Aquilina Cube Coordinator

Matthew Way Advancement Relations and Strategic Initiatives Manager

Sandra Mazza Senior Accountant

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

Catherine Miller Artistic Coordinator Yaniv Segal Acting Assistant Conductor

LIVE FROM ORCHESTRA HALL Marc Geelhoed Director of Digital Initiatives

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


COMMUNICATIONS Matthew Carlson Director of Communications and Media Relations Teresa Alden Digital Communications Manager Ben Breuninger Public Relations Manager Emily Carter Sharpe Communications Coordinator Sarah Smarch Communications Specialist


Michelle Wisler Payroll and Benefits Accountant

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

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




Michael Frisco Director of Audience Development

George Krappmann Director of Safety & Security

Annick Busch Patron Loyalty Coordinator Lori Cairo Front of House Manager Sharon Gardner Carr Assistant Manager of Tessitura and Ticketing Operations Rebecca Godwin Marketing Coordinator LaHeidra Marshall Audience Development Coordinator James Sabatella Group Sales Manager

CATERING AND RETAIL SERVICES Christina Williams Director of Catering and Retail Services

Greg Schimizzi Chief of Security Norris Jackson Security Officer Edward John Assistant Chief of Security Ronald Martin Security Officer Johnnie Scott Security Officer

TECHNOLOGY & INFRASTRUCTURE Jody Harper Senior Director of Technology and Infrastructure


PERFORMANCE Volume XXVII •  Spring 2019

EDITOR  Ben Breuninger 313.576.5196

Dan Saunders Director of Facilities Management

PUBLISHER  Echo Publications, Inc. Tom Putters

Nate Richter Bar Manager

Frederico Augustin Facility Engineer

Rita Sayegh Retail Manager

Clarence Burnett Maintenance Supervisor



Matt Deneka Maintenance Technician

Catherine Deep Manager of Events and Rentals Ashley Powers Event Sales Representative Stephanie McClung Coordinator of Event Sales & Administration

PATRON SALES & SERVICE Michelle Marshall Manager, Patron Sales & Service Tommy Tatti Assistant Manager of Patron Sales & Service Sara Wabrowetz Lead Ticketing Specialist

Martez Duncan Maintenance Technician William Guilbault Maintenance Technician

(Unless otherwise noted)

To advertise in Performance, please call 248.582.9690, email or visit

Crystal King Maintenance Technician Daniel Speights Maintenance Technician


Read Performance anytime, anywhere at

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



313 . 576 . 5111


THE SPRING QUARTET Fri., May 3 at 8 p.m.*

Esperanza Spalding, Jack DeJohnette, Joe Lovano, and Leo Genovese TINY TOTS CONCERT SERIES

EARTH DAY IS EVERY DAY Featuring Joe Reilly and Friends Sat., May 4 at 10 a.m. in The Cube*


“MAY THE 4TH BE WITH YOU…” Daniel Brier, conductor Sat., May 4 at 11 a.m.



Kensho Watanabe, conductor William Hagen, violin


UNCORKED: BORDEAUX AND THE BEATLES Thu., May 16 at 7 p.m. in The Cube*



Daniel Blendulf, conductor Ralph Skiano, clarinet Robert Williams, bassoon Thu., May 16 at 7:30 p.m. in West Bloomfield Fri., May 17 at 8 p.m. in Plymouth Sat., May 18 at 8 p.m. in Bloomfield Hills Sun., May 19 at 3 p.m. in Grosse Pointe



Fri., May 17 at 10:45 a.m. & 8 p.m. Sat., May 18 at 8 p.m. Sun., May 19 at 3 p.m.

Thu., May 9 at 7:30 p.m. in Southfield Fri., May 10 at 8 p.m. in Clinton Twp. Sun., May 12 at 3 p.m. in Beverly Hills



Thu., May 23 at 6 p.m.*

BALKAN BRASS BASH Tue., May 14 in The Cube*


6:30 p.m. – Balkan dance class 7:00 p.m. - Džambo Aguševi Orchestra



Kent Nagano, conductor Beatrice Rana, piano

LOOK. LISTEN. CONNECT. in collaboration with the DIA Enrico Lopez-Yañez, conductor

Wed., May 15 at 10:30 a.m. & 11:45 a.m. 52


NAGANO CONDUCTS BRUCKNER Fri., May 24 at 8 p.m. Sat., May 25 at 8 p.m.

PROKOFIEV  Piano Concerto No. 3 BRUCKNER  Symphony No. 3 Live from Orchestra Hall




Simone Young, conductor Karl Pituch, horn Johanna Yarbrough, horn

Robert Bernhardt, conductor


Thu., May 30 at 7:30 p.m. Fri., May 31 at 10:45 a.m. Sat., Jun. 1 at 8 p.m.

WEBERN  Passacaglia HAYDN  Concerto for Two Horns BRAHMS  Symphony No. 4 PARADISE JAZZ SERIES


Featuring the Terence Blanchard Quintet, the Detroit Symphony Orchestra, Ledisi, and Quiana Lynell (cond. Damon Gupton)

Wed., Jun. 12 at 7:30 p.m.


THE WONDERFUL MUSIC OF OZ Andrés Franco, conductor Scott Coulter, vocalist & host Kelli Rabke, vocalist Blaine Krauss, vocalist John Boswell, piano & vocalist

Fri., Jun. 14 at 10:45 a.m. & 8 p.m. Sat., Jun. 15 at 8 p.m. Sun., Jun. 16 at 3 p.m.




MAKOTO OZONE TRIO Wed., Jun. 5 at 7 p.m. in The Cube*


RACHMANINOFF’S PAGANINI VARIATIONS Leonard Slatkin, conductor Makoto Ozone, piano Fri., Jun. 7 at 8 p.m. Sat., Jun. 8 at 8 p.m. Sun., Jun. 9 at 3 p.m.

JULIET PALMER  Oil and Water RACHMANINOFF  Rhapsody on a Theme of Paganini BARTÓK  Concerto for Orchestra


An evening to honor the remarkable men and women who impact the vision, values, and success of the DSO. SUMMER


At historic Greenfield Village Wed., Jul. 3 at 8:30 p.m. Thu., Jul. 4 at 8:30 p.m. Fri., Jul. 5 at 8:30 p.m. Sat., Jul. 6 at 8:30 p.m.


DSO AT FORD HOUSE Fri., Jul. 12 at 8 p.m. Sat., Jul. 13 at 8 p.m.

*The DSO does not appear in this program


Desserts by Executive Pastry Chef Eric Bunge

After twenty-eight years as Michigan’s Premier Pastry Chef, Eric presents his “Greatest Hits” each evening after theater. His menu includes chef-prepared specialties, cakes, tortes, cheesecakes and, of course, Chocolate Silk Pie! You won’t want to miss the amazing flaming desserts, Featuring Bananas Foster and strawberries Van Gogh



Reservations 313-832-5700 4421 Woodward Ave., Detroit  •




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Profile for Detroit Symphony Orchestra

Performance Magazine: Spring 2019 — Edition 3  

Performance Magazine: Spring 2019 — Edition 3