Performance Magazine

Vol. XXI • 2012-2013 Season

Winter 2013

Performance T h e M a g a z i n e o f t h e D e t r o i t S y m p h o n y O r c h e st r a

DSO goes to Carnegie Hall Jeff Goldberg

May 2013

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Contents Performance Volume XXI / Fall 2012 2012–13 Season

New Portrai

t instead...

Editor Gabrielle Poshadlo gposhadlo@dso.org 313.576.5194

DSO Administrative Offices Max M. Fisher Music Center 3711 Woodward Ave. Detroit, MI 48201 Phone: 313.576.5100 Fax: 313.576.5101 DSO Box Office: 313.576.5111 Box Office Fax: 313.576.5101 DSO Group Sales: 313.576.5130 Rental Info: 313.576.5050 Email: info@dso.org Web site: dso.org Subscribe to our e-newsletter via our website to receive updates and special offers.

Performance is published by the DSO and Echo Publications, Inc. u Echo Publications, Inc. 248.582.9690 echopublications.com Tom Putters, president tom@echopublications.com Toby Faber, advertising director To advertise in Performance, call 248.582.9690 or email info@echopublications.com Performance magazine online: dsoperformance.com u To report an emergency during a concert, call 313.576.5111. To make special arrangements to receive emergency phone calls during a concert, ask for the house manager.

It is the policy of the Detroit Symphony Orchestra that concerts, activities and services are offered without regard to race, color, religion, national origin, handicap, age or gender. The DSO is an affirmative action, equal opportunity employer.

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

Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances.

The DSO can be heard on the Chandos, Columbia, DSO, Koch, London, Naxos, Mercury Records and RCA labels.

Departments 4 Board of Directors 6 Orchestra Roster 8 News & Notes 29 General Information/Staff

Concerts

Concerts, artist biographies and program notes begin on page 13.

Also read program notes before concerts in Performance magazine online at www.dsoperformance.com

30 Education News 31 Donor Roster

Features

10 DSO History

Part 2 of 3

12 DSO Goes to Carnegie Hall May 2013

Cover photo by Jeff Goldberg dso.org

Perform ance / Vol . X XI / Winter 201 3

3

Detroit Symphony Orchestra

VOLUNTEER COUNCIL 2010-13

Board of Directors

Officers

officers Stanley Frankel Chairman

Bruce D. Peterson First Vice Chair

Glenda D. Price, Ph. D Secretary

Janet M. Ankers President

Arthur Weiss Treasurer

Phillip Wm. Fisher Officer At-Large

Lloyd E. Reuss Officer At-Large

Deborah Savoie President Elect

Melvin A. Lester, M.D. Officer At-Large

Ellie Tholen Vice President for Public Relations

Anne Parsons President & CEO

Dr. Nora Sugintas Vice President for Membership

Directors Ralph J. Gerson‡

James C. Mitchell, Jr.

Daniel Angelucci

Alfred R. Glancy, III,‡ Chairman Emeritus

David Robert Nelson‡

Floy Barthel

Brigitte Harris

Ismael Ahmed Rosette Ajluni

Janet Ankers ‡

Herman Gray, M.D.

Mrs. Mandell L. Berman

Gloria Heppner, Ph. D.

Robert H. Bluestein

Penny B. Blumenstein‡ John A. Boll, Sr.

Elizabeth Boone

Richard A. Brodie Gary L. Cowger

Peter D. Cummings, Chairman Emeritus Stephen R. D’Arcy

Maureen T. D’Avanzo Mark Davidoff

‡

Shelley Heron, Orchestra Representative

Sidney Forbes

Laura L. Fournier

Mrs. Harold Frank Barbara Frankel

Herman Frankel‡

Samuel

Frankel†

Esther Lyons Recording Secretary

William F. Pickard

Mary Beattie Corresponding Secretary

Stephen Polk

Bernard I. Robertson‡

Sharad P. Jain

Marjorie S. Saulson

Renee Janovsky

Hon. Damon J. Keith

Mrs. Ray A. Shapero

Marlene Bihlmeyer

Jane F. Sherman

Gloria Clark

Joel D. Kellman

William P. Kingsley

Wei Shen

Gwen Bowlby

Stephen Strome ‡

Jill Jordan

Michael R. Tyson

Harold Kulish

Sandie Knollenberg

Ann Marie Uetz

Deborah Meade

Janice Uhlig

Laurence M. Liberson,‡ Orchestra Representative

Eva Meharry

David Usher

Lynn Miller

Barbara Van Dusen‡

Arthur C. Liebler‡

Gloria Nycek

Ted Wagner

Ralph J. Mandarino

Todd Peplinski

Hon. Kurtis T. Wilder

Florine Mark

Charlotte Worthen

R. Jamison Williams

David N. McCammon

Julie Zussman

Clyde Wu, M.D.‡

Edward Miller Lois A. Miller

‡

Kelly Hayes Ex-Officio (Immediate Past President)

Executive Committee

Lifetime Members David

Katana Abbott

Lois L. Shaevsky

Michael J. Keegan

Handleman, Sr.†

Board of Directors

Alan E. Schwartz‡

Chacona W. Johnson‡

Bonnie Larson ‡

Jennifer Fischer

Arthur T. O’Reilly‡

Robert E.L. Perkins, D.D.S.

Ronald M. Horwitz ‡

Linda Dresner

Marianne Endicott

Marvin D. Crawford Vice President for Administration & Finance

Nicholas Hood, III

Karen Davidson

Walter E. Douglas

Faye Alexander Nelson James B. Nicholson,‡ Chairman Emeritus

‡

Richard P. Kughn ‡

Paul Ganson

Sean M. Neall

Allan D. Gilmour

Robert Allesee

Virginia Lundquist Vice President for Outreach

Dr. Arthur

Eleanor Siewert Ex-Officio (Parliamentarian) Mark Abbott Musician Liaison Chelsea Kotula Staff Liaison

L. Johnson†

†Deceased 4

Performance / Vol . X XI / Winter 201 3

†Deceased

dso.org

Governing Members

Governing Members is a philanthropic leadership group designed to provide unique, substantive, hands-on opportunities for leadership and access to a diverse group of valued stakeholders. Governing Members are ambassadors for the DSO and advocates for arts and culture in Detroit and throughout Southeast Michigan. This list reflects gifts received from September 1, 2011 through November 2, 2012. For more information about the Governing Members program, please call Cassie Brenske, Governing Members Gift Officer at 313.576.5460.

Arthur T. O’Reilly Chairperson Bonnie Larson Vice Chair, Engagement Mrs. Denise Abrash Mr. & Mrs. Richard L. Alonzo Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Mr. & Mrs. Eugene Applebaum Dr. & Mrs. Ali-Reza R. Armin Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook Mr. & Mrs. John Axe Jeanne Bakale & Roger Dye Mr. J. Addison Bartush Mr. & Mrs. Martin S. Baum Mary Beattie Mr. Chuck Becker Cecilia Benner Mr. & Mrs. Irving Berg Mrs. John G. Bielawski Barbra & Joe Bloch Dr. & Mrs. Duane Block Mr. & Mrs. Jim Bonahoom Dr. & Mrs. Rudrick E. Boucher Mr. & Mrs. S. Elie Boudt Gwen & Richard Bowlby Mr. Anthony F. Brinkman Mr. Scott Brooks Robert N. & Claire P. Brown Michael & Geraldine Buckles Mr. H. William Burdett, Jr. Mr. H. Taylor Burleson & Dr. Carol S. Chadwick Philip & Carol Campbell Mr. William N. Campbell Dr. & Mrs. Thomas E. Carson Mr. & Mrs. Francois Castaing Jack Perlmutter & Dan Clancy Gloria & Fred Clark Dr. Thomas Clark Lois & Avern Cohn Jack, Evelyn & Richard Cole Family Foundation Dr. & Mrs. Charles G. Colombo Mrs. RoseAnn Comstock Brian & Elizabeth Connors Dr. & Mrs. Ivan Louis Cotman Mr. & Mrs. Raymond M. Cracchiolo Mr. & Mrs. Thomas A. Cracchiolo Thomas & Melissa Cragg Ms. Mary Rita K. Cuddohy Marvin & Betty Danto Family Foundation Ms. Barbara L. Davidson Lillian & Walter Dean Mrs. Beck Demery Ms. Leslie Devereaux Ms. Barbara Diles Adel & Walter Dissett David Elgin Dodge Mr. & Mrs. Mark Domin Ms. Judith Doyle Eugene & Elaine Driker Paul & Peggy Dufault dso.org

officers

Jan Bernick Vice Chair, Philanthropy Mary K. Mansfield Vice Chair, Governance Mr. Robert Dunn Dr. & Mrs. A. Bradley Eisenbrey Ms. Jennifer Engle Mr. & Mrs. John M. Erb Mary Sue & Paul E. Ewing Stephen Ewing Mr. David Faulkner Mr. & Mrs. Oscar Feldman Mrs. Kathryn L. Fife Ron Fischer & Kyoko Kashiwagi Mr. & Mrs. Alfred J. Fisher, III Mrs. Marjorie S. Fisher Mr. & Mrs. Steven J. Fishman Mr. David Fleitz Mrs. Anne Ford Dr. Saul & Mrs. Helen Forman Dale & Bruce Frankel Rema Frankel Maxine & Stuart Frankel Ms. Carol A. Friend & Mr. Mark T. Kilbourn Mr. & Mrs. Daniel E. Frohardt-Lane Lynn & Bharat Gandhi Mr. & Mrs. William Y. Gard Dorothy & Byron Gerson Victor & Gale Girolami Dr. & Mrs. Kenneth W. Gitlin Dr. & Mrs. Theodore A. Golden Dr. Robert T. & Elaine Goldman Mr. Nathaniel Good Dr. Allen Goodman & Dr. Janet Hankin Mr. & Mrs. Mark Goodman Robert & Mary Ann Gorlin Mr. & Mrs. James A. Green Dr. & Mrs. Steven Grekin Mr. Jeffrey Groehn Mr. & Mrs. James Grosfeld Sylvia & Ed Hagenlocker Alice Berberian Haidostian Dr. Algea O. Hale Mr. Kenneth R. Hale Mr. Tim & Mrs. Rebecca Haller Robert & Elizabeth Hamel Mr. & Mrs. Preston Happel Randall L. & Nancy Caine Harbour Ms. Cheryl A. Harvey Mr. & Mrs. Demar W. Helzer Ms. Doreen Hermelin Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. & Mrs. Norman H. Hofley Jean Holland Dr. Deanna & Mr. David B. Holtzman Jack & Anne Hommes Mr. Matthew Howell and Mrs. Julie Wagner Mr. F. Robert Hozian Jean Wright & Joseph L. Hudson, Jr.

Maureen T. D’Avanzo Vice Chair, Membership

Frederick J. Morsches Vice Chair, Communications Julius & Cynthia Huebner Richard H. & Carola Huttenlocher Mr. & Mrs. A. E. Igleheart Mr. & Mrs. Richard J. Jessup Mr. John S. Johns Lenard & Connie Johnston Marjorie & Maxwell Jospey† Mrs. Ellen D. Kahn Faye & Austin Kanter Mr. & Mrs. Norman D. Katz Martin & Cis Maisel Kellman Rachel Kellman Mr. & Mrs. Bernard & Nina Kent Michael E. Smerza & Nancy Keppelman Mr. Patrick J. Kerzic & Stephanie Germack Kerzic Dr. David & Elizabeth Kessel Stephanie & Frederic Keywell Mrs. Frances King Mr. & Mrs. Ludvik F. Koci Mr. & Mrs. Donald Kosch Dr. Harry & Katherine Kotsis Robert C. & Margaret A. Kotz Mr. & Mrs. James A. Kurz David & Maria Kuziemko Mr. Myron & Joyce Joyce LaBan Dr. Raymond Landes & Dr. Melissa McBrien-Landes Ms. Anne T. Larin Dr. Klaudia Plawny- Lebenbom & Mr. Michael Lebenbom Mr. David Lebenbom Marguerite & David Lentz Allan S. Leonard Mr. & Mrs. Daniel Lewis Mr. & Mrs. Robert Liggett Mr. & Mrs. Joseph Lile The Locniskar Group Mr. & Mrs. Harry A. Lomason Dr. & Mrs. Charles Lucas Mrs. Sandra MacLeod Mr. & Mrs. Charles W. Manke, Jr. Elaine & Mervyn Manning Dr. Peter McCann & Kathleen L. McKee Mr. & Mrs. Alonzo L. McDonald Alexander & Evelyn McKeen Patricia A. & Patrick G. McKeever Mrs. Susanne O. McMillan Dr. & Mrs. Donald A. Meier Dr. David & Mrs. Lauren Mendelson Mr. Roland Meulebrouck Mrs. Thomas Meyer Thomas & Judith Mich Bruce & Mary Miller Mr. & Mrs. Leonard G. Miller Dr. Robert & Dr. Mary Mobley Mr. Stephen & Dr. Susan Molina †Deceased

James C. Farber Vice Chair, Outreach

Randall Hawes Musician Liaison Eugene & Sheila Mondry Mr. Lane J. Moore Mr. & Mrs. Craig R. Morgan Florence Morris Mr. Frederick J. Morsches Cyril Moscow Drs. Stephen & Barbara Munk Joy & Allan Nachman Edward & Judith Narens Geoffrey S. Nathan & Margaret E. Winters Denise & Mark Neville Mr. Geoffrey W. Newcomb Jim & Mary Beth Nicholson Patricia & Henry Nickol Mr. & Mrs. David E. Nims Arthur A. Nitzsche Mariam C. Noland & James A. Kelly Mr. & Mrs. Stanley Nycek Mrs. Jo Elyn Nyman David & Andrea Page Mr. & Mrs. Richard G. Partrich Mrs. Sophie Pearlstein Dr. & Mrs. Claus Petermann Mr. Charles L. Peters Donald & Jo Anne Petersen Mrs. Bernard E. Pincus Mrs. Helen F. Pippin Mr. & Mrs. Jack Pokrzywa Ms. Judith Polk Mrs. Anna Mary Postma Mr. & Mrs. William Powers Priester Foundation Mr. & Mrs. Nicolas I. Quintana Michele Rambour Mr. & Mrs. Gary & Rhonda Ran Mr. & Mrs. Richard Rappleye Drs. Stuart & Hilary Ratner Ms. Ruth Rattner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Carol & Foster Redding Mr. David & Mrs. Jean Redfield Ms. Emily J. Reid & Hugh T. Reid Dr. Claude & Mrs. Sandra Reitelman Ms. Denise Reske Jack & Aviva Robinson Norman & Dulcie Rosenfeld Mr. & Mrs. Robert B. Rosowski Mr. & Mrs. Hugh C. Ross Martie & Bob Sachs Dr. Mark Saffer Dr. Hershel Sandberg Ruth & Carl Schalm Ms. Martha A. Scharchburg & Mr. Bruce Beyer Mr. & Mrs. Alan S. Schwartz Mr. & Mrs. Fred Secrest Mr. Merton J. & Beverly Segal Elaine & Michael Serling Mr. & Mrs. Herbert Shanbaum

Victoria J. King Musician Liaison Mr. Stephan Sharf The Honorable Walter Shapero and Mrs. Kathleen Straus Dr. Les & Mrs. Ellen Siegel Robert & Coco Siewert Mr. & Mrs. Donald R. Simon Mr. & Mrs. William Sirois Drs. Daniel J. & Sophie Skoney Mr. & Mrs. Leonard W. Smith Mr. & Mrs. S. Kinnie Smith, Jr. William H. & Patricia M. Smith John J. Solecki Mr. Richard Sonenklar & Mr. Gregory Haynes Renate & Richard Soulen Dr. Gregory E. Stephens Professor Calvin L. Stevens Mr. Clinton F. Stimpson, Jr. Dr. & Mrs. Charles D. Stocking Dr. & Mrs. Gerald H. Stollman Vivian Day & John Stroh III David Szymborski & Marilyn Sicklesteel D. I. Tarpinian Shelley & Joel Tauber Alice & Paul Tomboulian Mr. & Mrs. L. W. Tucker Amanda Van Dusen & Curtis Blessing Mr. & Mrs. Charles B. Van Dusen Mr. Robert VanWalleghem Mr. & Mrs. George C. Vincent Mr. & Mrs. William Waak Dr. & Mrs. Ronald W. Wadle Mr. & Mrs. Jonathan T. Walton Gary L. Wasserman & Charles A. Kashner Mr. Patrick A. Webster Mr. & Mrs. Herman W. Weinreich Mr. & Mrs. Lawrence Weisberg Mr. Donald Wells Janis & William M. Wetsman Mr. & Mrs. John Whitecar Mr. & Mrs. Barry Williams Dr. Amy M. Horton & Dr. Kim Allan Williams Mrs. Beryl Winkelman Rissa & Sheldon Winkelman Dr. & Mrs. Max V. Wisgerhof II Mr. & Mrs. Jonathan Wolman David & Bernadine Wu Ms. June Wu Dr. & Mrs. Robert E. Wurtz Mrs. Judith G. Yaker Dr. Alit Yousif & Mr. Kirk Yousif Mrs. Rita J. Zahler Mr. & Mrs. Alan Zekelman Mr. Paul M. Zlotoff & Mrs. Terese Sante Mrs. Paul Zuckerman† Milton & Lois Zussman

Perform ance / Vol . X XI / winter 2013

5

Leonard Slatkin, Music Director Music Directorship endowed by the Kresge Foundation Jeff Tyzik, Principal Pops Conductor

Terence Blanchard, Fred A. and Barbara M. Erb Jazz Creative Director Chair Neeme Järvi, Music Director Emeritus

First Violins

Yoonshin Song Concertmaster Katherine Tuck Chair

Kimberly A. Kaloyanides Kennedy Associate Concertmaster Alan and Marianne Schwartz and Jean Shapero (Shapero Foundation) Chair Hai-Xin Wu Assistant Concertmaster Walker L. Cisler/Detroit Edison Foundation Chair Beatriz Budinszky*

Marguerite Deslippe* Elias Friedenzohn*

Laurie Landers Goldman* Eun Park*

Adrienne Rönmark* Laura Soto*

Greg Staples* Second Violins

Adam Stepniewski Acting Principal The Devereaux Family Chair Ron Fischer*

Sheryl Hwangbo*

Rachel Harding Klaus* Hong-Yi Mo*

Robert Murphy* Bruce Smith*

Joseph Striplin* Marian Tanau* Alvin Score Violas

Alexander Mishnaevski+ Julie and Ed Levy, Jr. Chair James VanValkenburg++ Caroline Coade

Violoncellos

Robert deMaine+ James C. Gordon Chair Dorothy and Herbert Graebner Chair

Robert Bergman* Victor and Gale Girolami Cello Chair Carole Gatwood* David LeDoux*

Peter McCaffrey* Haden McKay*

Úna O’Riordan* Paul Wingert* Basses

Stephen Molina Acting Principal Van Dusen Family Chair Linton Bodwin

Stephen Edwards

Larry Hutchinson Craig Rifel

Maxim Janowsky

Alexander Hanna+^ Richard Robinson^ Harp

Personnel Manager

Shelley Heron Maggie Miller Chair

Kevin Good

William Lucas

Heather Hart Rochon Assistant Orchestra Personnel Manager

Trombones

Assistant Conductor

Donald Baker+ Jack A. and Aviva Robinson Chair

Brian Ventura++

Monica Fosnaugh English Horn

Monica Fosnaugh Clarinets

Theodore Oien+ Robert B. Semple Chair PVS Chemicals, Inc./ Jim and Ann Nicholson Chair

Laurence Liberson++ Shannon Orme

E-Flat Clarinet

Laurence Liberson Bass Clarinet

Shannon Orme Barbara Frankel and Ronald Michalak Chair Bassoons

Flutes

Victoria King

David Buck+ Women’s Association for the DSO Chair

Sharon Sparrow Acting Assistant Principal Jeffery Zook Piccolo

Jeffery Zook

Robert Williams+ John and Marlene Boll Chair

Stephen Anderson Acting Principal Lee and Floy Barthel Chair

Stephen Molina Orchestra Personnel Manager

Kenneth Thompkins+

Teddy Abrams

Randall Hawes

Stage Personnel

Nathaniel Gurin++

Bass Trombone Randall Hawes Tuba

Dennis Nulty+ Timpani

Frank Bonucci Stage Manager

Steven Kemp Department Head Matthew Pons Department Head

Michael Sarkissian Department Head

Brian Flescher ``#

Legend

Percussion

++ Assistant Principal

Joseph Becker+ Ruth Roby and Alfred R. Glancy III Chair William Cody Knicely Chair Librarians

Robert Stiles+ Ethan Allen

+ Principal

``# Substitute musician, Acting Principal ^ Extended Leave

* These members may voluntarily revolve seating within the section on a regular basis. ~ On Sabbatical

§ African-American Orchestra Fellow

Michael Ke Ma++ Marcus Schoon

Garrett McQueen§ Contrabassoon Marcus Schoon French Horns Karl Pituch+

Bryan Kennedy

Corbin Wagner

Glenn Mellow

Johanna Yarbrough

Shanda Lowery-Sachs

David Everson++

Hart Hollman

Mark Abbott

Han Zheng

6

Trumpets

Patricia Masri-Fletcher+ Winifred E. Polk Chair

Hang Su

Catherine Compton

Oboes

Musician bios, photos, fun facts and more can be found at dso.org/orchestra

Perform ance / Vol . X XI / Winter 201 3

dso.org

DIA-021_000040i_Fab_Bravo_7x4.8125_P.indd 3

9/7/12 11:14 AM

Diamonds.

The Gift that Guarantees A Symphony of Happiness.

dso.org

Perform ance / Vol . X XI / winter 2013

7

President’s Message Dear friends, As we prepare to take the orchestra to Carnegie Hall for the first time in 17 years, I can’t imagine a better or more uplifting point in this ensemble’s 125-year history to make such a trip.

Just as we’re ramping up our local and global efforts to make the DSO the most accessible orchestra on the planet with our regular webcasts and our Neighborhood Residency Initiative, our $25 Spring for Music ticket price will make our two upcoming performances in New York available to literally anyone who’d like to join us.

Thanks to visionary gifts from the General Motors Foundation and the William Davidson Foundation, we are able to participate in a festival whose philosophies align perfectly with our own. Spring for Music’s affordable pricing and approachable atmosphere set out to demonstrate that American orchestras are for everyone, and that is what we do here in Detroit every day. With every Neighborhood Chamber Recital, with the next school visit, with our ongoing musical therapy work in hospitals and senior care centers, we are proving that we are, more than ever, a community-supported orchestra.

In October we were invited to perform a second program for the festival, adopting part of Oregon Symphony’s repertoire, which was forced to forfeit their involvement due to financial challenges.

Naturally, we accepted. Not only because more nights at Carnegie are better, but because this new program gives us the opportunity to showcase many more facets of this talented group.

On Thursday, May 9 we will perform Kurt Weill’s The Seven Deadly Sins with cabaret singer Storm Large, exhibiting our talents with cross-over artist collaboration. On Friday, May 10 we will take a musical journey through Charles Ives’ career with all four of his symphonies, played together in one concert for the very first time in Carnegie’s history; an honor for an orchestra and music director with a long history of championing contemporary American repertoire.

On Page XX you’ll read about ways you can not only join us in New York, but also interact with musicians and the city itself. We hope to bring 1,000 Detroiters to support their symphony so that we will not only be fulfilling our goal of sounding brightly from the Woodward corridor, for also from that of 57th Street.

I sincerely hope to see you all there,

News & Notes

Join us in your neighborhood The DSO’s wildly successful Neighborhood Concert Series returns for its second season in December in Beverly Hills, Bloomfield Hills, Dearborn, Grosse Pointe, Southfield and West Bloomfield Township.

The cornerstone of the DSO’s new Neighborhood Residency Initiative, subscriptions to all four concerts in each neighborhood are only $75. Add tickets to Neighborhood Chamber Recitals for only $10 each when you order with your subscription. Visit dso.org/ neighborhood for a full schedule of events.

Beverly Hills Slatkin Conducts the Nutcracker!

Sunday, December 16 at 3 p.m.

Seligman Performing Arts Center on the Detroit Country Day School Campus Bloomfield Hills Bach’s Brandenburg Concerto No. 3 Saturday, January 26 at 8 p.m.

Kirk in the Hills Presbyterian Church Dearborn Bach’s Brandenburg Concerto No. 3 Friday, January 25 at 10:45 a.m.

Ford Community & Performing Arts Center

Grosse Pointe Bach’s Brandenburg Concerto No. 3 Sunday, January 27 at 3 p.m.

Grosse Pointe Memorial Church Southfield Slatkin Conducts!

Thursday, January 10 at 7:30 p.m.

Congregation Shaarey Zedek West Bloomfield Township Bach’s Brandenburg Concerto No. 3 Thursday, January 24 at 7:30 p.m.

Berman Center for the Performing Arts on the Eugene & Marcia Applebaum Jewish Community Campus

Stream the Symphony!

Can’t make it downtown for the next classical concert?

Wat No worries! “Live From Orchestra Hall” returns for another season to bring the DSO to a live global audience via HD webcast. Log on at dso.org/live or tap your DSO to Go mobile app to view the performance and Järvi Returns pre-show hosted by Alex Trajano, as well as a full schedule of thisSunday, season’s April 1, 3 p.m. episodes. Live from Orchestra Hall is presented by the Ford Motor Company Dvořák’s “New World” and the Knight Foundation with promotional support from Pure Michigan.

Saturday, April 21, 8 p.m

Upcoming webcasts Pictures at an Exhibiti Rachmaninoff & Tchaikovsky........................ Friday, Nov. 30 at 10:45 a.m.

Romeo & Juliet.................................................. Sunday, Dec. 9 at 3 p.m.Sunday, May 6, 3 p.m.

The Nutcracker................................................. Friday, Dec. 14 at 8 p.m.

Elgar’s Enigma................................................... Sunday, Jan. 20 at 3 p.m.

Mendelssohn’s Violin Concerto.................... Friday, Feb. 2 at 8 p.m.

Check out highlights anytime at youtube.com/detroitsymphony

Anne Parsons 8

Performance / Vol . X XI / Winter 201 3

Follow the DSO dso.org

Join the Volunteer Council for the 30th Annual Nutcracker Luncheon Extravaganza The DSO Volunteer Council’s festive 30th anniversary Nutcracker Luncheon Extravaganza is scheduled for Tuesday, December 4 at The Henry Hotel in Dearborn. Hosted by WDIV Channel 4’s Paula Tutman, entertainment includes the Hot Dueling Pianos from Mel Ball Entertainment, Ballet Americana’s Tiny Ballerinas, and chances to win fabulous raffle items from Saks Fifth Avenue, Park West Gallery, The Henry, Gurhan and many more.

Co-chaired by Lynn Miller and Todd Peplinski, tickets to this time-honored luncheon and fundraiser are $75-$150, with proceeds benefitting the DSO. To make your reservations, call the Volunteer Council office at 313.576.5154.

Meet the Musician:

W

Sheryl Hwangbo

ithout so much as a whiff of suggestion from her parents or anyone else, Sheryl Hwangbo began taking piano lessons at the wee age of 4 in her native South Korea. She says she picked up the instrument simply because her older sister played, but soon realized music was her passion. hwangbo “My mom says she took me to my first piano lesson after she heard me repeat a melody from a TV commercial in correct pitch, before I even knew what letters were,” said Hwangbo.

Two years later she heard a family friend’s daughter practicing Dvorak’s Humoresque on violin, immediately inspiring Hwangbo to switch instruments.

“She probably wasn’t even very good,” mused Hwangbo. “But I will never forget that experience.”

Then came studies with a local violinist who suggested Hwangbo had talent. Even then, she recalls knowing violin would be a part of the rest of her life.

“When I was growing up, I was a really small child. I was always the smallest in my class. So my mom wanted me to have something to give me confidence. In a way, violin was my weapon,” she said. “I don’t think I knew what ‘playing professionally’ meant, but I always remember being certain all I wanted to do was play,” she said. “I’ve never even considered any other type of profession.”

When Hwangbo was 9, her parents moved the family to Berrien Springs, Mich. where they hoped to find the best education

dso.org

possible for her and her three siblings. Surrounded by family friends in the small town, Hwangbo flourished in her new surroundings and remained so diligent in her violin studies that her talents would eventually lead her to leave Michigan and also eventually return.

Hwangbo completed her undergraduate studies at the Cleveland School of Music, received her masters in violin performance from The Juilliard School and underwent professional studies at the Manhattan School of Music.

Hwangbo won her violin position with the DSO during her first semester at Manhattan, but opted to join the Orchestra on stage months later so she could finish her studies. This brought her back to her family, who now reside in Ann Arbor.

“I’m really lucky to play with the DSO for my first orchestra job,” she said. “My entire life I’ve always played with other people my age, so it’s been really fun interacting with musicians of all ages. The DSO musicians have so much talent and experience. It’s very inspiring to sit with them.”

Adjusting to adult life outside New York City has been mostly easy, says Hwangbo, owing greatly to the support of her family (and her 1-year-old dog.) Having received her driver’s license just over a month ago, the commute to Detroit from Ann Arbor is one of the larger challenges.

“I’m a little worried about winter,” she said, smiling, “but I’m sure it can’t be that bad.”

Classical Music with Dave Wagner and Chris Felcyn Weekdays 6 am -7 pm wrcjfm.org A listener supported service of Detroit Public Schools and Detroit Public TV.

Perform ance / Vol . X XI / winter 2013

9

DSO: A History

(Part 2 of 3)

October 16, 1952 Paul Paray begins as Conductor.

October 18, 1956 The orchestra moves to its new home in Ford Auditorium.

1952

1958 1953 DSO begins recordings with Mercury Records under the direction of Paul Paray.

June 16, 1953 First Summer Concerts at the Michigan State Fair Grounds, Walter Poole conducting

10

Performance / Vol . X X I / Winter 201 3

October 20, 1958 DSO

makes its first appearance at the Worchester Music Festival.

december 1959 DSO plays at the United Nations, at the invitation of UN Secretary General Dag Hammarskjold.

Jascha Heifetz was soloist in Sibelius’s Concerto for Violin.

1963 January 10, 1963

Sixten Ehrling becomes Music Director.

dso.org

december 1, 1964

Pops series in a Cabaret setting begins.

september 17, 1970 On this day Orchestra Hall was sold and scheduled for demolition in two weeks. Musicians, music lovers, architects, preservationists and citizens rallied to form Save Orchestra Hall, Inc. to purchase the Hall and restore it, so that it could once again become a vital home for music.

1970

september 23, 1977

Antal Dorati begins as Music Director.

1973

1977

july 8, 1965 First concert at Meadow Brook Music Festival; Violinist Isaac Stern soloist

september 20, 1973

Aldo Ceccato begins tenure as Principal Conductor.

July 9, 1974 First Upper Peninsula Music Festival Tour.

Celebrating 125 years since its first concert at the Detroit Opera House, the DSO is proud to remember its long history of musical excellence on these pages. Collect all three issues of Performance to get the full story.

To be continued‌ dso.org

Perform ance / Vol . X XI / Winter 201 3

11

Carnegie Hall:

by Gabrielle Poshadlo

T

Are you Going?

he DSO has accepted the unprecedented invitation to perform two concerts at the 2012-13 Spring for Music festival on May 9-10, 2013, taking the Orchestra back to Carnegie Hall for the first time in 17 years. Two unique programs are aimed at showcasing the DSO’s expertise in performing a broad spectrum of musical styles, from romantic Russian classics to contemporary American repertoire, to satirical ballet performed with a crossover artist. Our trip from Motown to Manhattan is made possible by generous gifts from the General Motors Foundation and the William Davidson Foundation.

About the programming May 9, 2013: The first performance will feature Kurt Weill’s ballet The Seven Deadly Sins, starring cabaret singer Storm Large on lead vocals. Originally written for Weill’s wife, Lotte Lenya, in collaboration with Bertolt Brecht, the work premiered in Paris in 1933 after Weill fled persecution in his native Germany. It tells the tale of what could be two sisters or a split personality as they set out on a tour of American cities each represented by a different sin.

The ballet is a bitter satire on bourgeoisie exploitation.

Also on the program are Ravel’s La Valse, and Rachmaninoff ’s Caprice Bohemian and Isle of the Dead. Isle of the Dead will appear on the DSO’s third and final CD of Rachmaninoff ’s symphonic works to be released on the Naxos label in 2013.

May 10, 2013: The second performance consists of all four Charles Ives symphonies, a debut for the DSO as well as for Carnegie Hall. Music Director Leonard Slatkin chose an immersion into Ives in pursuit of showcasing the strength, sound, ensemble and style that is uniquely Detroit.

Long known for celebrating American repertoire through recordings and commissions, telling Ives’ biographical story through the consecutive performances of all his symphonic works serves as a tribute to both Slatkin’s affinity for American compositions and Detroit’s longtime acquaintance with the American school.

Slatkin, who considers Ives to be one of America’s most progressive composers of his time, imagined the four-symphony program as a way to familiarize the audience with his style.

Join Us! We’re challenging 1,000 Detroiters to join us in New York and fly their hometown flag high. (Detroiters will literally receive DSO hankies to wave at the concerts.)

Make sure your trip includes exclusive access to DSO musicians and events with patron tour packages available at $275 and $725. Packages include such activities as

a commemorative photo at Carnegie Hall, access to exclusive post-concert receptions; and behindthe-scenes explorations of music, art & food in New York City. Travel to New York City not included. Non-tour general admission tickets are available at dso.org for just $25. Reserve your package at dso.org/carnegiehall or by calling 313.576.5100.

About Spring For Music: Spring For Music is an annual festival of concerts by North American symphony and chamber orchestras presented at Carnegie Hall. Through a unique marketing structure involving shared costs, shared risks, and generous donations, the festival allows participating orchestras to showcase their artistic philosophies through distinctive and adventurous programming in one of the world’s most competitive musical environments. This festival is meant to start a conversation about programming. What makes one program better than another?

How do pieces on a program interact some brilliantly, some less so? What makes the difference? Spring For Music is an experiment; the idea is to take risks, explore new territory, and to get people involved.

Made possible by generous support from

and the

William Davidson Foundation

The road to and from Carnegie Hall is 1,200 miles, and we’re looking for 1,200 new donors to pave it!

To make a donation to the DSO Annual Fund in support of Carnegie Hall and projects like it, call 313.576.XXXX 12

Perform ance / Vol . X X I / Winter 201 3

dso.org

Profiles Brent Havens Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Pops Series Saturday, November 24, 2012 at 8 p.m.

Sunday, November 25, 2012 at 3 p.m. in Orchestra Hall Brent Havens, conductor Brody Dolyniuk, vocalist

The Music of Queen

Tonight’s performance will be announced from the stage.

Berklee-trained arranger and conductor Brent Havens has written music for orchestras, feature films and virtually every kind of television. His TV work includes movies for networks such as ABC, Havens CBS and ABC Family Channel Network, commercials, sports music and more. Havens has also worked with the Doobie Brothers and the Milwaukee Symphony, arranging and conducting the combined group for Harley Davidson’s 100th Anniversary Birthday Party Finale attended by over 150,000 fans. He has worked with some of the world’s greatest orchestras including the Royal Philharmonic in London, the Cincinnati Symphony Orchestra, the Minnesota Orchestra, the Indianapolis Symphony Orchestra, the Houston Symphony, the Baltimore Symphony, the San Diego Symphony and countless others.

Havens recently completed the score for the film “Quo Vadis,” a Premier Pictures remake of the 1956 gladiator film. Havens is Arranger and Guest Conductor for seven symphonic rock programs – the Music of Led Zeppelin, the Music of the Doors, the Music of Pink Floyd, the Music of the Eagles, the Music of Queen, the Music of Michael Jackson and most recently, the Music of The Who!

Brody Dolyniuk

This Pops Series performance is generously sponsored by

The DSO can be heard on the DSO, Chandos, London, Naxos, RCA and Mercury Record labels.

dso.org

Brody Dolyniuk is a multifaceted, self-taught musician who began his professional music career playing in piano bars. A chance meeting with a pair of star-shaped sunglasses led to forming an Elton John tribute band Brody dolyniuk called Yellow Brick Road.

Soon YBR began going outside the EJ catalog to perform other classic rock giants such as Led Zeppelin, Pink Floyd and more.

Within a year, YBR was a steady working band in the Las Vegas music scene and had cultivated a large local following. YBR also became an in-demand choice for the corporate entertainment market.

After 14 years of solid work, Brody stepped down as front man for YBR to pursue other avenues, namely his role as a vocalist for Windborne Music’s touring symphony shows, singing the Music of Queen and The Who. Simultaneously Brody had been developing his own production called Symphonic Rockshow.

Perform ance / Vol . X XI / winter 2013 13 Now residing in Southern California, Brody continues to tour, as well as perform as

Profiles Peter Oundjian Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Classical Series Thursday, November 29, 2012 at 7:30 p.m.

Friday, November 30, 2012 at 10:45 a.m. * in Orchestra Hall Peter Oundjian, conductor Joyce Yang, piano

Aram Khachaturian Suite from Masquerade and Spartacus (1903-1978) Waltz from Masquerade Nocturne from Masquerade Va riation of Aegina and Bacchanalia from Spartacus: Suite No. 1

Sergei Rachmaninoff Piano Concerto No.2 in C minor, Op. 18

(1873-1943) Moderato Adagio sostenuto Allegro scherzando

Joyce Yang, piano

I n termission

Piotr Ilyich Tchaikovsky Symphony No. 2 in C minor, Op. 17,

(1840-1893) “Little Russian” Andante sostenuto - Allegro vivo Andantino marziale, quasi moderato Scherzo Finale: Moderato assai

This Classical Series concert is generously sponsored by

PVS Chemicals, Inc.

*Denotes a webcast performance

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ynohpmyS ”nagrO“ ’snëaS-tniaS .m.a 54:01 ,11 yaM ,yadirF

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Get the most out of each classical concert by attending pre-concert presentations, one hour prior to performances (excluding Coffee Concerts). The presentations are informal and may include special guests, lectures and music that reveal interesting facts about the program and provide a behind-the-scenes look at the art of making music. emoR fo seniP ehT ynohpmyS ”dlroW weN“ s’kářovD .m.a 54:01 ,81 yaM ,yadirF .m.p 8 ,12 lirpA ,yadrutaS noitibihxE na ta serutciP .m.p 3 ,6 yaM ,yadnuS

The DSO can be heard on the DSO, Chandos, London, Naxos, RCA and Mercury Record labels.

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Performance / Vol . X XI / Winter 201 3

A tribute to his many years as a world-class chamber musician, Oundjian is renowned for his probing musicality and engaging personality, which has earned oundjian him accolades from musicians and critics alike.

In addition to his post as Music Director of the Toronto Symphony Orchestra he looks forward to his new position as Music Director of the Royal Scottish National Orchestra from the 2012-13 season. Oundjian’s previous positions include Principal Guest Conductor of the Colorado Symphony Orchestra, and Principal Guest Conductor and Artistic Advisor of the Detroit Symphony Orchestra where he helped create and launch an innovative multidisciplinary festival in June 2007.

Recent and future guest engagements include the Royal Stockholm Philharmonic Orchestra, Radio-Sinfonieorchester Stuttgart, Israel Philharmonic Orchestra and the Philharmonia Orchestra. In the 2011-12 season and beyond Peter Oundjian also continues his ongoing relationship with the Orchestre Philarmonique de Radio France. In the U.S., recent and future guest conducting highlights include concerts with the Chicago Symphony, San Francisco Symphony, Boston Symphony and Philadelphia orchestras, as well as the Los Angeles Philharmonic and the Aspen Festival Orchestra. In February 2011 he also conducted the Sydney Symphony.

At the beginning of his tenure in Toronto, Oundjian created the annual and hugely successful Mozart Festival, as well as the New Creations Festival.

Born in Toronto, Oundjian was educated in England, where he studied the violin with Manoug Parikian. Subsequently, he attended the Royal College of Music in London, where he was awarded the Gold Medal for Most Distinguished Student and Stoutzker Prize for excellence in violin playing. He completed his violin training at the Juilliard School in New York, where he studied with Ivan Galamian, Itzhak Perlman, and Dorothy DeLay. He was the first violinist of the renowned Tokyo String Quartet, a position he held for 14 years. Oundjian is in now in his 30th year as a visiting professor at the Yale School of Music. dso.org

Joyce Yang

Described as “the most gifted young pianist of her generation” with a “million-volt stage presence” pianist Joyce Yang, 26, captivates audiences across the yang globe with her stunning virtuosity combined with heartfelt lyricism and interpretive sensitivity.

Yang came to international attention in 2005 when she won the silver medal at the 12th Van Cliburn International Piano Competition. The youngest contestant, she took home two additional awards: the Steven De Groote Memorial Award for Best Performance of Chamber Music (with the Takàcs Quartet) and the Beverley Taylor Smith Award for Best Performance of a New Work.

Since her spectacular debut, Yang has performed with the New York Philharmonic, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, San Francisco Symphony, Baltimore Symphony, Houston Symphony, and BBC Philharmonic, among many others. In recital, Yang has taken the stage at New York’s Lincoln Center and the Metropolitan Museum; the Kennedy Center in Washington, DC; Chicago’s Symphony Hall; and Zurich’s Tonhalle.

Her exciting 2012-2013 season promises debuts with the Toronto and Detroit symphonies, both under Peter Oundjian; abroad, she makes her German debut with the Deutsches Symphonie-Orchester Berlin led by James Conlon, and travels to Australia for a concert with the Sydney Symphony under Edo de Waart. Also this season, Yang re-joins de Waart and the Milwaukee Symphony to continue her Rachmaninoff cycle with the orchestra, this time performing the Russian master’s First Piano Concerto.

Born in Seoul, South Korea, Yang received her first piano lesson at age 4 from her aunt.

She quickly took to the instrument, which she received as a birthday present, and over the next few years won several national piano competitions in her native country. By age 10, she had entered the School of Music at the Korea National University of Arts.

She graduated from Juilliard with special honor as the recipient of the school’s 2010 Arthur Rubinstein Prize, and in 2011 she won the school’s 30th Annual William A. Petschek Piano Recital Award.

A Steinway artist, she currently resides in New York City. dso.org

Perform ance / Vol . X XI / Winter 201 3

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Program Notes Masquerade Suite

ARAM KHACHATURIAN

B. June 6, 1903, Tibilisi, Russia D. May 1, 1978, Moscow, Russia

Scored for two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani and percussion (bass drum, cymbals, glockenspiel, snare drum and xylophone) and strings (approximately 18 minutes).

ram Khachaturian was a SovietA Armenian composer who achieved world-wide fame with a two-minute

dance from his ballet Gayaneh. During the 1950s, Saber Dance became so popular that it became for a time the most frequently performed piece of classical music in the world. Moreover, Khachaturian’s fame became so great that he has streets named after him in Moscow and Yerevan, the capitol of Armenia. For a person who had such international popularity, he had a rather unusual beginning.

He was born into a poor family in Tibilisi, the largest city in the Russian state of Georgia, which until 1936 was called Tiflis. In his youth he was fascinated by the folk music he heard around him, but initially he did not study music, and it was not until he entered the famous Gnessin Music School in Moscow when he was 19 that he even learned how to read music. Up to that time his only real contact with music was playing the tuba by ear in his school band.

Due to his remarkable progress at the Gnessin school he was admitted to the Moscow Conservatory in 1929 where he initially studied composition and orchestration. He graduated from the Conservatory in 1934, at which time he had also written his first symphony. By 1939 his reputation was solidly established, and he went to Armenia to study its folk music and dance in greater depth.

He later became a professor of music at both of his alma maters in Moscow, along the way holding important posts at the Russian Composers’ Union. He joined the Communist Party in 1943, but temporarily fell out of favor some five years later.

Composers of that era, particularly during the brutal and murderous reign of Josef Stalin, were expected to produce music that conformed to party ideology, particularly in regard to promoting ethnic music from the many Soviet republics.

Although he was born in Georgia (as was

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Stalin) and lived most of his life in Moscow, Khachaturian was ethnically Armenian, and had an extraordinary knack for blending the exciting rhythms and soaring melodies of his Armenian heritage into the traditional forms of Russian romanticism. For a time, this kept him in the good graces of the Soviet authorities. However, after World War II, the Composers’ Union dramatically tightened its grip, and in 1948 an infamous decree was issued (the so-called Zhdanov decree, named for the secretary of the Communist Party’s Central Committee) which, among other things, severely condemned Shostakovich, Prokofiev and Khachaturian, along with a number of lesser composers, accusing them of “formalism” and “modernism” and being “anti-popular.” All three of these great composers were forced to apologize in public for their supposed transgressions.

All of this profoundly affected Khachaturian, and as he later wrote, “Those were tragic days for me…..I was crushed, destroyed. I seriously considered changing professions.” It was only after Stalin’s death in 1953 that he and many others felt free to compose once again in their own styles and idioms. (In a truly ironic coincidence, Stalin and Prokofiev died on the very same day, but because of the state of international affairs, Stalin’s death was reported immediately, while it was several days before Prokofiev’s passing was reported to the world.)

Khachaturian himself died just a month short of his 75th birthday, and was buried in the Komitas Pantheon in Yerevan, along with other distinguished Armenian artists.

The cinematic quality of his style made him a natural for composing film scores and incidental music for plays, and in 1941 he was asked to compose music for a Moscow production of the play Masquerade, written in 1836 by the celebrated Russian writer and poet Mikhail Lermontov (1814-1841). Lermontov is considered to be one of the two supreme poets of Russian literature, the other being the much more famous Alexander Pushkin (1799-1837), and is thought by many to be the greatest figure in Russian Romanticism, having founded the tradition of the Russian psychological novel.

The music to Masquerade is known almost exclusively in the West from the delightful five-movement concert suite which Khachaturian fashioned in 1944.

People who know the play only from its connection with the music are invariably

startled to learn that the play is called by many a Russian counterpart to Shakespeare’s Othello. The play, a dramatic story of intrigue and jealousy in the Russian upper class, has as its protagonist a man who allows his mind to be turned against his blameless wife, and eventually kills her by poisoning her ice cream at a dinner party. When her innocence is made clear, he goes insane. If you listen closely, you will hear that, except for the final Galop, the movements of the suite have an undercurrent of melancholy and sadness.

SO Shop @ The Ma x D recommends:

Khachaturian – Masquerade Suite: Neeme Järvi conducting the Royal Scottish National Orchestra, Chandos 2023.

Piano Concerto No. 2 in C minor, Op. 18

SERGEI RACHMANINOFF

B. April 1, 1873, Oneg, Russia D. March 28, 1943, Beverly Hills, California

First performed on November 9, 1901 in Moscow by Alexander Siloti and the Moscow Philharmonic Society Orchestra with the composer as soloist.

Scored for piano soloist, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, bass drum, cymbal and strings (approximately 32 minutes).

he premiere of the Second Piano T Concerto in 1901 marked the most important turning point in Sergei

Rachmaninoff ’s lengthy career. In the preceding years, he had all but given up on composition.

After graduating from the Moscow Conservatory with highest honors and receiving significant praise for his works from the great Tchaikovsky himself, he was unprepared for the harsh criticism that followed the dismal premiere of his first symphony in 1897. Ridiculed by critics, Rachmaninoff took the news badly. In his memoirs he recalled, “A paralyzing apathy possessed me. I did nothing at all…. Half my days were spent lying on a couch and sighing over my ruined life.”

For the next several years, Rachmaninoff avoided composition, pouring his energy instead into conducting and performing as a pianist.

By 1899, however, his temperament dso.org

had improved. Rachmaninoff ’s emotional recovery has been attributed to various factors including a successful, confidenceboosting performance in London, his first major foreign appearance; a meeting with the author Leo Tolstoy who, supposedly, encouraged him to drop the self-pity and resume composing; and two sessions with Dr. Nikolay Dahl, a psychologist and amateur musician renowned for his hypnosis therapy, though it remains unclear whether the composer actually underwent such treatment.

Rachmaninoff began composing seriously again in 1900, and his first major project was the Piano Concerto No. 2. In December, he performed the second and third movements at a concert in Moscow, and the warm reception provided him with the motivation he needed to finish the piece. The concerto was finally premiered in its full form at a Moscow Philharmonic Society concert in early November of 1901. Once again, the work was well received, restoring Rachmaninoff ’s confidence as a composer and leading him to embark on new works.

Since the premiere, Piano Concerto No. 2 has remained one of Rachmaninoff ’s most popular compositions and has even been featured prominently in numerous films, including Grand Hotel (1932) and Brief Encounter (1946) in which the concerto serves as the score for the entire film. In Rhapsody (1954), the concerto’s exquisite themes and sumptuous orchestration bring the heroine, played by Elizabeth Taylor, to tears and inspire her to return to the husband she has just deserted. While such melodrama is perhaps extreme, it colorfully portrays the profound emotional power that audiences have experienced through Rachmaninoff ’s beloved concerto over the past century.

The Detroit Symphony Orchestra first performed Rachmaninoff ’s Piano Concerto No. 2 on April 22, 1921 with Ossip Gabrilowitsch conducting.

The DSO last performed the piece on Oct, 23, 2005 with Jerzy Semkow conducting and André Watts as soloist.

SO Shop @ The Ma x D recommends:

Rachmaninoff – Piano Concerto No. 2: Yuja Wang, piano; Claudio Abbado conducting the Mahler Chamber Orchestra, Deutsche Grammophon B0015338.

dso.org

Symphony No. 2 in C minor, Op. 17, “Little Russian” (1872, rev. 1879–80) PIOTR ILYICH TCHAIKOVSKY

B. May 7, 1840 in Kamsko-Votkinsk, Russia D. Nov. 6, 1893 in St. Petersburg, Russia

The original version of the symphony was first performed on Feb. 7, 1873 in Moscow with Nikolai Rubinstein conducting. The revised version was first performed on Feb. 12, 1881 in St. Petersburg with Karl Zike conducting.

Scored for two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, cymbals, bass drum, tam-tam and strings. (Approximately 35 mins.)

ike Rimsky-Korsakov’s Skazka, L Tchaikovsky’s Second Symphony began as a summer project while the

composer was away from home. Tchaikovsky visited his sister Aleksandra and

Franz Schubert

Die Winterreise (complete)

Christoph Prégardien, Tenor Menahem Pressler, Piano SATURDAY, DECEMBER 15, 2012, 8:00 PM Schubert’s great song cycle receives its first ever performance on the Chamber Music Society of Detroit series by two master artists.

Tickets and information:

248-855-6070 www.ChamberMusicDetroit.org Perform ance / Vol . X XI / Winter 201 3

17

her husband in Kamenka many times throughout his life, but his stay during the summer of 1872 would prove particularly influential after the composer decided to incorporate folk themes from the region into his new symphony.

Kamenka, or Kamianka as it is known now, is located in the Ukraine, and the region’s historic sobriquet of “Little Russia” would soon be applied by music critic Nikolai Kashkin to Tchaikovsky’s Second Symphony.

While Tchaikovsky did not select the title himself, he did grant folk melodies pride of place within the symphony’s structure. In the opening bars of the work, Tchaikovsky introduces a Ukrainian version of “Down by Mother Volga,” an austere and melancholy melody played by unaccompanied French horn. The second movement, in which Tchaikovsky substitutes a light and moderately paced march in place of a conventional slow movement, one can hear the second folk melody, “Keep on Spinning, My Spinner,” played by clarinet and flute.

Like the first folk melody, the third is similarly featured at the beginning of a movement, in this case the finale. The setting, however, is radically different.

Instead of featuring the melody as an unadorned solo, Tchaikovsky presents “The Crane” as a triumphant chorale for full orchestra. Musicologist Richard Taruskin has noted that Tchaikovsky’s thick orchestration and rhythmic setting of this melody deftly alludes to a familiar finale from another C minor symphony — namely Beethoven’s Fifth. As for the selection of “The Crane,” Tchaikovsky humorously thanked Petr Kozidub, the steward of the Kamenka estate who enthusiastically hummed the tune as Tchaikovsky worked on the symphony.

Tchaikovsky’s Second Symphony enjoyed such success at its 1873 Moscow premiere that an encore performance was speedily arranged. Tchaikovsky developed each theme by repeating the melodies while changing the orchestration and accompaniment, a technique inspired by the music of Mikhail Glinka, a composer championed by the Mighty Handful (a group of composers including RimskyKorsakov and Mussorgsky) as the founder of a truly Russian musical style. This approach invites the listener to relish each melody as shifting background textures generate new colors and timbres that bring out the profile of the tune.

Despite its immediate success, Tchaikovsky was not entirely satisfied with his Second Symphony. Over the ensuing years, he complained that each movement troubled him in either structure or instrumentation. After completing his Third and Fourth Symphonies, Tchaikovsky returned to the Second in 1879, having deemed the work “immature and mediocre.” While staying in Rome, Tchaikovsky revised the symphony over three days, dramatically altering the form and melodic content of the outer movements. Despite these changes, Tchaikovsky wisely kept the folk melodies that had characterized the original.

The DSO last performed Tchaikovsky’s Symphony No. 2 in July 1993 with Neeme Järvi conducting.

SO Shop @ The Ma x D recommends:

Tchaikovsky – Symphony No. 2, “Little Russian”: Claudio Abbado conducting the Chicago Symphony Orchestra, Sony 39359.

Note by Nathan Platte, Ph.D. candidate in musicology at the University of Michigan School of Music, Theatre & Dance

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dso.org

Profiles Al Jarreau

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

dso presents Saturday, December 1, 2012 at 8 p.m. in Orchestra Hall Al Jarreau, vocals

Program to be announced from the stage.

Classical and Jazz concerts just $15 for Detroit residents

Made possible by a generous grant from:

dso.org/rush OR 313.576.5111 dso.org

Al Jarreau’s innovative musical expressions have made him one of the most exciting and critically acclaimed performers of our time with seven Grammy Awards, scores of jarreau international music awards and popular accolades worldwide.

Jarreau has been singing since age 4, harmonizing with his brothers and performing solo at a variety of local events in his hometown of Milwaukee. After earning his bachelor’s in Psychology and a master’s in Vocational Rehabilitation, it was in San Francisco where Jarreau’s musical gifts began to shape his future.

He performed at a small jazz club with a trio headed by George Duke, and by the late 60s, he knew without a doubt that he would make singing his life. Relocating to Los Angeles, he began his apprenticeship in such famed nightspots as Dino’s, the Troubadour and the Bitter End West.

Shortly thereafter, he branched out to New York City where he gained national network television exposure with Johnny Carson, Merv Griffin, David Frost and Mike Douglas.

Jarreau’s career breakthrough came in 1977 with the release of “Look to the Rainbow,” his live double album, which earned Jarreau’s first Grammy for Best Jazz Vocal Performance.

Jarreau teamed up with symphony orchestras for the first time in 1999, performing his most popular hits throughout the U.S. and Europe.

Called “the voice of versatility” by the Chicago Tribune and “one of the world’s greatest natural resources” by the Detroit News, Jarreau added a new chapter to his 25-year recording career with “Tomorrow Today” in 2001, his GRP Records debut.

Early in 2008, Jarreau handpicked his favorite romantic tunes spanning three decades for his “Love Songs,” a 14-track compilation that was released in January 2008 on Rhino/Warner Music Group.

A few months later, he released his firstever Yuletide album, “Christmas.” The album features a dozen holiday classics, including ”The Christmas Song”, “Winter Wonderland” and “Carol Of The Bells”.

In 2009 Jarreau took a six-week European tour visiting theaters and festivals in Germany, France, Scandinavia, Eastern Europe and N. America.

Perform ance / Vol . X XI / Winter 201 3

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Profiles Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Terence Blanchard, Fred A. and Barbara M. Erb Jazz Creative Director Chair

Paradise jazz Series Thursday, December 6, 2012 at 8 p.m. in Orchestra Hall

Preservation Hall Jazz Band Mark Braud, trumpet, vocals Charlie Gabriel, clarinet, vocals Freddie Lonzo, trombone Rickie Monie, piano Clint Maedgen, tenor saxophone, vocals Ben Jaffe, Creative Director/tuba Ronell Johnson, tuba Joseph Lastie, Jr., drums

Selections to be announced from the stage.

The Paradise Jazz Series is generously sponsored by

The DSO can be heard on the DSO, Chandos, London, Naxos, RCA and Mercury Record labels.

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Perform ance / Vol . X X I / Winter 201 3

The Preservation Hall Jazz Band

The Preservation Hall Jazz Band derives its name from Preservation Hall, the venerable music venue located in the heart of New Orleans’ French Quarter, founded in 1961 by Allan and Sandra Jaffe. The band has traveled worldwide spreading their mission to nurture and perpetuate the art form of New Orleans Jazz. Whether performing at Carnegie Hall or Lincoln Center, for British Royalty or the King of Thailand, this music embodies a joyful, timeless spirit. Under the auspices of current director, Ben Jaffe, the son of founders Allan and Sandra, Preservation Hall continues with a deep reverence and consciousness of its greatest attributes in the modern day as a venue, band, and record label.

The building that houses Preservation Hall has housed many businesses over the years including a tavern during the war of 1812, a photo studio and an art gallery. It was during the years of the art gallery that then owner, Larry Borenstein, began holding informal jam sessions for his close friends. Out of these sessions grew the concept of Preservation Hall. The intimate venue, whose weathered exterior has been untouched over its history, is a living embodiment of its original vision.

To this day, Preservation Hall has no drinks, air conditioning, or other typical accoutrements strictly welcoming people of all ages interested in having one of the last pure music experiences left on the earth.

The PHJB began touring in 1963 and for many years there were several bands successfully touring under the name Preservation Hall. Many of the band’s charter members performed with the pioneers who invented jazz in the early twentieth century including Buddy Bolden, Jelly Roll Morton, Louis Armstrong, and Bunk Johnson. Band leaders over the band’s history include the brothers Willie and Percy Humphrey, husband and wife Billie and De De Pierce, famed pianist Sweet Emma Barrett, and in the modern day Wendall and John Brunious. These founding artists and dozens of others passed on the lessons of their music to a younger generation who now follow in their footsteps like the current lineup. dso.org

Profiles Susanna Mälkki

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Classical Series Saturday, December 8, 2012 at 8 p.m.

Sunday, December 9, 2012 at 3 p.m.* in Orchestra Hall Susanna Mälkki, conductor Leila Josefowicz, violin

Piotr Ilyich Tchaikovsky Romeo and Juliet Fantasy Overture (1840-1893)

Thomas Adès Violin Concerto (Concentric Paths), Op. 24+

(b.1971) Rings Paths Rounds Leila Josefowicz, violin

I n t ermission

Sergei Prokofiev Suite from Romeo and Juliet

(1891-1953) 7. The Duke’s Order

Compiled Susanna Mälkki 8. Interlude 9. Pr eparation for the Ball ( Juliet and the Nurse) 10. Juliet - The Young Girl 13. Dance of the Knights 19. The Balcony Scene 20. Romeo’s Variation 21. Love Dance 22. Folk Dance 33. Tybalt Fights with Mercutio 35. R omeo Decides to Avenge Mercutio’s Death 36. Finale of Act Two - Cortège 51. Juliet’s Funeral 52. The Death of Juliet This Classical Series concert is generously sponsored by

PVS Chemicals, Inc.

*Denotes a webcast performance

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snruteR ivräJ .m.p 3 ,1 lirpA ,yadnuS

+ Denotes a DSO premiere

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Get the most out of each classical concert by attending pre-concert presentations, one hour prior to performances (excluding Coffee Concerts). The presentations are informal and may include special guests, lectures and music that reveal interesting facts about the program and provide a behind-the-scenes look at the art of making music.

Susanna Mälkki’s versatility and broad repertoire have taken her to symphony orchestras, chamber orchestras, contemporary music ensembles and opera Mälkki houses around the world. She is currently Music Director of the Ensemble intercontemporain, and was formerly the Artistic Director of Stavanger Symphony Orchestra.

In recent seasons Mälkki has conducted many prestigious orchestras including the Berliner Philharmoniker, Symphonieorchester des Bayerischen Rundfunks, Deutsches SymphonieOrchester Berlin, Los Angeles Philharmonic, and the Pittsburgh Symphony and Boston Symphony orchestras. She has also conducted the NHK Symphony Orchestra and Wiener Symphoniker and works regularly with the Philharmonia Orchestra.

Highlights in coming seasons include her debuts with both the Chicago Symphony and San Francisco Symphony orchestras and a return to the Royal Concertgebouw Orchestra, Orchestre Philharmonique de Radio France and Mostly Mozart festival, New York.

In April 2011 she made her debut at La Scala, Milan, becoming the first woman to conduct an opera at La Scala. In spring 2010 she conducted the world premiere of a ballet by Bruno Mantovani at Opéra national de Paris and will conduct two productions there in the 2013/14 season. Other opera commitments have included Der Rosenkavalier and Saariaho’s L’Amour de Loin at Finnish National Opera and Thomas Adès’s Powder Her Face and Neither by Morton Feldman in Copenhagen.

A former student at the Sibelius Academy, Mälkki studied with Jorma Panula and Leif Segerstam. Prior to her conducting studies, she had a successful career as a cellist and from 1995 to 1998 she was one of the principals of the Göteborgs Symfoniker in Sweden. In June 2010 she was elected a Fellow of the Royal Academy of Music in London.

The DSO can be heard on the DSO, Chandos, London, Naxos, RCA and Mercury Record labels.

dso.org

Perform ance / Vol . X XI / Winter 201 3

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Leila Josefowicz

Violinist Leila Josefowicz has won the hearts of audiences around the world with her honest, fresh approach to the repertoire and dynamic virtuosity.

Josefowicz came josefowicz to national attention in 1994 when she made her Carnegie Hall debut with Sir Neville Marriner and the Academy of St. Martin in the Fields and has since appeared with many of the world’s most prestigious orchestras and eminent conductors. A regular, close collaborator of leading composers of the day such as John Adams and Oliver Knussen, she is a strong advocate of new music — a characteristic which is reflected in her diverse programs and her enthusiasm for premiering new works. Josefowicz recently premiered concertos written for her by Esa-Pekka Salonen, Steve Mackey and Colin Matthews, and played first performances of Thomas Adès’ violin concerto Concentric Paths. In recognition of her passionate advocacy and genuine commitment to the music of today, Josefowicz was awarded a MacArthur Foundation Fellowship.

Recent and upcoming appearances in North America include performances with the Cleveland, Minnesota and St. Paul Chamber Orchestras; Chicago, Boston, San Francisco, Toronto, National, Pittsburgh, Detroit, Atlanta and Cincinnati symphonies among others; a Carnegie Hall appearance with the St. Louis Symphony and a performance with the Cleveland Orchestra at Lincoln Center; and recitals in Los Angeles, San Francisco, Philadelphia, St. Paul and at Zankel Hall at Carnegie Hall.

Josefowicz’s debut recording with Sir Neville Marriner and the Academy of St. Martin in the Fields for Philips Classics was awarded a Diapason d’or. Subsequent releases on that label include “Solo,” a disc of unaccompanied works, which also won a Diapason d’or; “Bohemian Rhapsodies,” a collection of virtuosic works with orchestra; “For the End of Time and Americana” with pianist John Novacek; and the Mendelssohn, Glazunov and Prokofiev concertos with the Montreal Symphony/Dutoit.

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Performance / Vol . X XI / Winter 201 3

Program Notes Romeo and Juliet, Fantasy Overture

Piotr Ilyich Tchaikovsky

B. May 7, 1840 (Kaminsko-Votinsk, Russia) D. Nov. 6, 1893 (St. Petersburg, Russia)

Scored for two flutes, piccolo, two oboes, English horn, two clarinets, two bassoons; four horns, two trumpets, three trombones and tuba; timpani, bass drum, cymbals, harp and strings (approximately 21 minutes).

T

chaikovsky’s Fantasy Overture Romeo and Juliet is based on Shakespeare’s play of the same name. The idea of a work based on Shakespeare was actually suggested to him in 1869 by Balakirev, while Tchaikovsky was a twenty-eight year-old professor at the Moscow Conservatory. The work went through three revisions, the first version sounding very much like the work of an academically trained composer. Responding to Balakirev’s criticisms, the composer reached beyond his musical training and produced a second version, which disregarded academic rigor in favor of dramatic impact. Later, in 1880, Tchaikovsky rewrote the ending and produced a third and final version, which is now in the repertoire.

SO Shop @ The Ma x D recommends:

Tchaikovsky – Romeo and Juliet Fantasy Overture: Leonard Bernstein conducting the New York Philharmonic, Sony 93076.

Violin Concerto THOMAS ADèS

B. March 1, 1971, London, England

Scored for two flutes, piccolo, two oboes, two clarinets, two bassoons, three horns, two trumpets, one trombone, tuba, timpani and two percussion (playing bass drum, log drums, snare drum, three low drums, tam-tam, cymbals, small bongos, metal guiro and wood guiro, wood block, cowbell, metal can and metal blocks) and strings (approximately 20 minutes).

our time the violin concerto still Ithenholds an attraction for composers, with idea of the solitary soloist playing

with, or against the orchestra being a very viable means of creating and exploring new sound worlds. Most of the violin

concertos in the past two decades have been written for a specific performer, and this interaction between composer and soloist, while not anything new, still informs the contemporary works with a special quality and vision. The Ades work was written for the English violinist Anthony Marwood, was commissioned jointly by the Berliner Festspiele and the Los Angeles Philharmonic, and was given its premiere in September of 2005 with Marwood as soloist and the composer conducting the Chamber Orchestra of Europe.

Ades was in his early 20s when he was already being referred to as the most promising and exciting new voice in British music. He managed an unusually smooth and rapid transition from being a boy wonder to a mature composer, and is generally regarded as Britain’s most important composer. Born in London in 1971, he studied first at the Guildhall School of Music and Drama in London, and later at King’s College, Cambridge.

He is currently Britten Professor of Composition at the Royal Academy of Music in London, and in 2004 received an honorary doctorate from the University of Essex. From 1998 to 2000 he was the first Music Director of the Birmingham Contemporary Music Group, and was Artistic Director of the Aldeburgh Festival (the Festival started

by Benjamin Britten) from 1999 to 2008.

In 2000 he was composer-in-residence at the Ojai Festival in California, and from 2005 to 2007 was resident with the Los Angeles Philharmonic as part of the orchestra’s “On Location” series at the Walt Disney Concert Hall and elsewhere.

Besides being a highly respected composer and conductor, he is also a fine pianist, having been a runner-up in the BBC’s Young Musician of the Year competition in 1990. Ades’ music has won a number of important awards and prizes, among them the prestigious Grawemeyer Award in 2000, making him so far the youngest-ever recipient of that award. Being a full-time composer and immersed in the world of contemporary music, it is quite unusual that he is also an acclaimed interpreter of such earlier masters as Schumann, Schubert, Tchaikovsky and Beethoven.

Some of the characteristics of his distinctive style include the use of very high sonorities, great rhythmic drive, innovative writing for the percussion instruments, a great ear for color, and an dso.org

ability to jump from one idea to another with great — and sometimes unexpected — excitement. However, unlike many of his peers, he has so far not explored the realm of electronics. In addition, he has not consciously tried to start new trends or come up with startling new forms or put together ensembles with unique instrumentations. As he once said, “It’s better to put the note down and worry about its originality later, rather than try

to reinvent the wheel with every piece you write. The traditional orchestra can represent 100% of a human — body and soul. A violin still says something as true now as it did in the 18th century.” In another interview he said, “…everything in life contributes to what you are, what you write…if you’re an artist worth your salt, you’re transforming all the time.”

The Violin Concerto, which is subtitled Concentric Paths, is in three

Grand Valley’s Fall Arts Celebration is a highly popular and much anticipated annual showcase for the arts, humanities, and liberal education in West Michigan.

Please join us this fall for an entertaining and enlightening celebration.

GVSU Music Department presents

“Music for the ‘Era of Good Feelings’: Beethoven in Federalist America”

Poetry Night

“An Evening of Poetry and Conversation with Nikky Finney and B.H. Fairchild”

MONDAY, SEPTEMBER 10, 8 P.M. LOUIS ARMSTRONG THEATRE PERFORMING ARTS CENTER ALLENDALE CAMPUS

FRIDAY, OCTOBER 19, 7 P.M. 2ND FLOOR, L.V. EBERHARD CENTER ROBERT C. PEW GRAND RAPIDS CAMPUS

Distinguished Academic Lecturer

GVSU Music and Dance Faculty and Students present

Daniel Mendelsohn “Medea on the Jersey Shore: Tragedy and the Crisis of Reality in Contemporary Culture” THURSDAY, SEPTEMBER 20, 7 P.M. 2ND FLOOR, L.V. EBERHARD CENTER ROBERT C. PEW GRAND RAPIDS CAMPUS

Art Gallery Exhibition

“Forged in Metal: Deshi/Shihyou–Mentee/Mentor” Contemporary Japanese Jewelry OPENING RECEPTION THURSDAY, OCTOBER 4, 5–7 P.M. ART GALLERY PERFORMING ARTS CENTER ALLENDALE CAMPUS

Exhibition Dates: October 4–November 2

MONDAY, OCTOBER 22, 8 P.M. LOUIS ARMSTRONG THEATRE PERFORMING ARTS CENTER ALLENDALE CAMPUS

dso.org

•

SERGEI PROKOFIEv

B. April 27, 1891, Sontsovka, Ukraine D. March 5, 1953, Moscow, Russia

“Amahl and the Night Visitors” MONDAY, DECEMBER 3, 8 P.M. FOUNTAIN STREET CHURCH 24 FOUNTAIN STREET NE GRAND RAPIDS

GRAND VALLEY STATE UNIVERSITY THANKS THE FOLLOWING SPONSORS FOR THEIR GENEROUS SUPPORT OF FALL ARTS CELEBRATION 2012:

Allendale Greatest Needs Fund of the Allendale Community Foundation

Adès – Violin Concerto: Thomas Adès, violin and conducting the Chamber Orchestra of Europe, EMI 57813.

Suite from Romeo and Juliet

A Fall Arts Celebration Holiday Gift

Ginny Gearhart and the Gearhart Family • Liesel and Hank Meijer Elaine and Larry Shay • Judy and Peter Theune John R. Hunting

SO Shop @ The Ma x D recommends:

“The Baroque Splendor of Venice: Vivaldi’s The Four Seasons in Dance”

Fall Arts events are free and open to the public.

Seating is limited for these popular performances.

movements marked Rings, Paths and Rounds. The pattern of the movements is fast-slow-fast, with the second movement being the emotional core of the piece and lasting as long as the outer movements combined. One can detect influences of Mahler and Berg and Shostakovich in the piece, but without in any way sacrificing his own unique voice. Writing in The Observer, critic Peter Culshaw wrote, “This [concerto] makes most music around seem positively timid. It is a work of astonishing fearlessness and fierce beauty.” The subtitle of the work refers to the movements being circular in design, in particular the remarkable and somber middle movement which is built, in the composer’s words, “from two large and very many small, independent cycles which overlap and clash, sometimes violently, in their motion towards resolution.” The first movement is a kind of perpetual motion with what Ades describes as “sheets of unstable harmony in different orbits,” built over constantly shifting harmonic elements. The last movement, which lightens the atmosphere considerably, is playful yet more relaxed than the first, in Ades’ words, “with stable cycles moving in harmony at different rates.” The main tune of this rondo-like finale is very jaunty and syncopated, the whole movement is full of fun and high jinks, and comes to a startlingly abrupt conclusion.

Media Sponsor:

Scored for two flutes, piccolo, two oboes, English horn, two clarinets, Eb clarinet, bass clarinet, two bassoons, contrabassoon, alto saxophone, six horns, four trumpets, three trombones, tuba, percussion (bass drum, church bell, cymbals, maracas, glockenspiel, snare drum, tambourine, triangle, wood block and xylophone), two harps, celesta, organ, piano, mandolin, viola d’amore and strings (approximately 40 minutes).

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he Russian master Sergei Prokofiev T was one of the great creative minds of the 20th century. He was not only one

of the great composers from the first half of that century (and along with his fellow countrymen Shostakovich and Khachaturian part of the Russian trio which dominated Russian music during that era), he was also a brilliant concert pianist and a fine conductor, having conducted the first performance of his epic Fifth Symphony in 1945 as World War II was coming to a close. As if this was not enough, he was also a first-rate chess player, of sufficient caliber to hold his own with some of the great Russian Grand Masters of that game. Because of ill health in the last years of his life, his doctors begged him to stop composing, which he absolutely refused to do, so they strictly forbade him to play chess any more, and as a result he invented a less-strenuous game which he could play on graph paper entitled Captured German Generals! This gives you some idea of the man’s indomitable spirit, his tenacious will to live and the fierce drive within him to keep on creating as long as possible.

Shakespeare’s immortal play Romeo and Juliet has probably inspired more wonderful works of art than any comparable drama. Its tale of the two young star-crossed lovers has been re-fashioned in any number of settings, perhaps the most famous of which is Leonard Bernstein’s classic musical West Side Story.

When Prokofiev came to write his ballet version in the mid 1930s, there had already been quite a number of musical settings, to the point where one might have justifiably asked how anyone could come up with something new.

Nevertheless, with his extraordinary genius, Prokofiev did exactly that. We all know about the warring families in the story, and that the unquenchable love between the title characters is set off against a great deal of conflict and turmoil. What no-one seemed to have discerned previously is that there is at the same time a struggle between youth and age, and the music in the ballet perfectly reflects both of these polarities. There is the heavy, serious music of the older characters contrasted brilliantly with the lighter, freer, more fleeting and energetic music of the two tragic teen-agers. Even though many of the original choreographers and dancers thought that the music was undanceable, they simply were dealing with something new and utterly different, because this memorable score is deeply choreographic from its first bar to 24

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its last. Not only is this Romeo and Juliet one of the greatest ballets ever written, standing on a par with Tchaikovsky’s three great scores, it is unquestionably one of the great works of the 20th century in any medium, and what makes it so amazing is there is not one bar in the score which is not at the highest level of inspiration. It is rich in melody and harmony and structural cohesion, and it combines the tender emotions of the love story with music of great, hammering violence, in so doing almost intensifying what Shakespeare put into the original story. Yes, this heart-wrenching story ends tragically, but along the way the music makes the journey truly memorable.

We all know, of course, that the original play does end in tragedy. What is not nearly as well known is that Prokofiev actually wanted his version of the story to end happily, so when he began work on the ballet in 1935 he re-wrote the ending so that instead of both the lovers dying they go off, hand-in-hand, into a mystical and wonderful future. Why would he even consider doing such a thing? His own, somewhat mundane explanation was that “living people can dance, the dead cannot.” In addition, there was his strong belief in the precepts of Christian Science, in which death does not exist, so his vision of Romeo and Juliet’s love was one which transcended all earthly constraints and existed forever in a form

of paradise. His conception of the story was not to be, however, and it was none other than Josef Stalin who strongly disapproved of this happy ending.

Shakespeare’s tragic conclusion was reinstated, and thanks to the actions of the man who was perhaps the greatest mass murderer in history, Prokofiev’s great masterpiece as we know it today was born. For many years it was believed that the music to the composer’s original conclusion was lost, but several years ago Simon Morrison, a music professor at Princeton University, miraculously discovered the original manuscript hidden away in an archive in Moscow.

This previously unheard portion consists of about 20 minutes of music, including six new dances. Thanks to Morrison, who reconstructed the original final scenes, the ballet with Prokofiev’s first thoughts about the ending was given its first performance in 2008 at the Bard Summerscape Festival just outside New York. The 14 numbers which you will hear at these performances, more-or-less in chronological order, are all drawn from the suites which Prokofiev himself extracted from the full ballet.

SO Shop @ The Ma x D recommends:

Prokofiev – Romeo and Juliet (Suite): Paavo Järvi conducting the Cincinnati Symphony Orchestra, Telarc 80597.

Presented by

CLASSICAL

Celebration SATURDAY, March 9, 2013 Orchestra Hall

dso.org

Profiles

Leonard Slatkin Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Classical Series Thursday, December 13, 2012 at 7:30 p.m.

Friday, December 14, 2012 at 8:00 p.m. * in Orchestra Hall Leonard Slatkin, conductor Heidi Grant Murphy, soprano

Ralph Vaughan Williams Fantasia on a Theme by Thomas Tallis (1872-1958)

Roberto Sierra Navidad en la montaña+

(b. 1953) El firmamento

Texts by Virginia Sierra La buena nueva La Estrella En la choza abandonada La noche Le lo lai Los tres regalos Heidi Grant Murphy, soprano

I n termission

Piotr Ilyich Tchaikovsky The Nutcracker, Act II, Op. 71

(1840-1893) Act II 10. Scena-Confiturembourg 11. Scena 12. Divertissement a. Chocolate (Spanish) b. Coffee (Arab Dance) c. Tea (Chinese Dance) d. Trepak (Russian Dance) e. Flutes f. Mother Gigone 13. Waltz of the Flowers 14. Pas de deux a. Tarentella b. Dance of the Sugar Plum Fairy c. Coda 15. Final Waltz and Apotheosis This Classical Series concert is generously sponsored by

*Denotes a webcast performance

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+ Denotes a DSO premiere

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Get the most out of each classical concert by attending pre-concert presentations, one hour prior to performances (excluding Coffee Concerts). The presentations are informal and may include special guests, lectures and music that reveal interesting facts about the program and provide a behind-the-scenes look at the art of making music.

The DSO can be heard on the DSO, Chandos, London, Naxos, RCA and Mercury Record labels.

dso.org

Internationally acclaimed American conductor Leonard Slatkin began his tenure as Music Director of the Detroit Symphony Orchestra in slatkin September of 2008. In addition to his role at the DSO, he serves as Music Director of the Orchestre National de Lyon in France, an appointment which began in August of 2011. He has also served as Principal Guest Conductor of the Pittsburgh Symphony since 2008. Slatkin’s first book, Conducting Business, was released this past summer.

Following a 17-year tenure as Music Director of the Saint Louis Symphony Orchestra, Slatkin became Music Director of the National Symphony Orchestra in Washington, D.C. in 1996. Other positions in the United States have included Principal Guest Conductor of the Minnesota Orchestra, first Music Director of the Cleveland Orchestra’s summer series at the Blossom Music Festival; Principal Guest Conductor of the Los Angeles Philharmonic Orchestra at the Hollywood Bowl; and additional positions with the New Orleans Philharmonic and the Nashville Symphony Orchestra.

Maestro Slatkin’s more than 100 recordings have been recognized with seven Grammy awards and 64 nominations. He has recorded with the Detroit Symphony Orchestra, National Symphony Orchestra, Saint Louis Symphony, Minnesota Orchestra, Nashville Symphony Orchestra, Chicago Symphony Orchestra, the New York Philharmonic, and numerous European ensembles.

Throughout his career, Slatkin has demonstrated a continuing commitment to arts education and to reaching diverse audiences. He is the founder and director of the National Conducting Institute, and founded the Saint Louis Symphony Youth Orchestra while working with student orchestras across the United States.

His engagements for the 2012-2013 season include the NHK Symphony, the Rotterdam Philharmonic, the Czech Philharmonic, the St. Louis Symphony, the Nashville Symphony and the State Symphony Orchestra of Russia.

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Heidi Grant Murphy

A shimmering soprano with enchanting stage presence, Heidi Grant Murphy is one of the outstanding vocal talents of her generation. A native of Bellingham, murphy Wash., she began vocal studies while attending Western Washington and Indiana Universities.

Her graduate studies were interrupted when she was named a winner of the Metropolitan Opera National Council Auditions and engaged by Maestro James Levine to participate in the Metropolitan Opera’s Lindemann Young Artist Development Program. Today, Murphy has established a reputation not only for her musicianship and impeccable vocal technique, but also for her warm personality and generosity of spirit.

Murphy has appeared with many of the world’s finest opera companies and symphony orchestras.

Following a radiant performance of Bach’s St. Matthew Passion with the Atlanta Symphony and Maestro Robert Spano, Murphy participated in the 2012 Cincinnati May Festival, singing Carmina Burana, Poulenc’s Gloria and Carissimi’s Jephte in three separate performances. The 2012-2013 season finds Murphy giving the world premiere of Roberto Sierra’s Christmas Cantata with the Detroit Symphony Orchestra, conducted by Leonard Slatkin, as well as a performance of Mozart’s Exsultate, jubilate and Orff ’s Carmina Burana with baritone Nmon Ford and the Kalamazoo Symphony Orchestra, conducted by Raymond Harvey.

Murphy most recently appeared on disc with the Orchestre Philharmonique de Radio France under conductor Eliahu Inbal for Thierry Lancino’s Requiem on Naxos, as well as Roberto Sierra’s Missa Latina with the Milwaukee Symphony Orchestra.With Maestro Lorin Maazel and the New York Philharmonic, Murphy is soloist on a live recording of Mahler’s Symphony No. 4 and a separate recording of Augusta Read Thomas’ Gathering Paradise on New World.

In August 2011, Heidi Grant Murphy was appointed to the faculty of Indiana University’s Jacobs School of Music as an adjunct professor of practice. Murphy resides in Bloomington, Indiana with her husband Kevin Murphy and their four children.

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Performance / Vol . X XI / Winter 201 3

Program Notes

Fantasia on a Theme

by Thomas Tallis

RALPH VAUGHAN WILLIAMS

B. Oct. 12, 1872 in Down Ampney, Gloucestershire, Wales D. Aug. 26, 1958 in London, England

First performed in 1910 at the Three Choirs Festival in Gloucester Cathedral, England.

Scored for double string orchestra and a solo string quartet (approximately 15 minutes).

hile current copyright laws strictly W regulate the practice of appropriating other persons’ creative property, it was

a sign of esteem for a composer of the Renaissance to borrow a tune – or even a whole piece – from one of his colleagues and rearrange it in a new setting. Thus, there are countless inter-borrowings among Renaissance composers of masses and motets. There are also a number of “In Nomine” pieces in the English string ensemble literature, all based on a fragment of plainchant used in a mass setting by the early 16th century composer, John Taverner.

Vaughan Williams imitated that practice in borrowing a theme from his great 16th century forbearer, Thomas Tallis, and extending it into an elaborate, richly textured Fantasia. The theme is the third of nine tunes (each in a different modal scale) that Tallis contributed to a metrical psalter (a book of Psalms) complied by Archbishop Matthew Parker in 1567.

John Addison, a hymn writer born 15 years after the psalter was published, later added the text: “When rising from the bed of death, O’erwhelmed with guilt and fear, I see my Maker face to face, O how shall I appear?”

It was this composite version that Vaughan Williams encountered when he was asked to issue a new edition of the English Hymnal in 1906. Tallis’ plaintive Phrygian-mode melody again came to mind in 1910 when he was commissioned to write a work for the famed Three Choirs Festival at Gloucester Cathedral.

The melody consists of two large sections, the first of which is subdivided into two nearly identical phrases. The two phrases in the second half complement each other in a question/answer profile and this half of the melody is further enlivened by constantly changing meters (3/4, 6/8 and 4/4) that alter the pulse in successive measures.

After a short introduction, the Fantasia

begins with two complete statements of the theme by the combined string orchestras. In the second of these, the melody rises high in the violins and the accompanying figuration is more elaborate. Then, Vaughan Williams begins a process of dividing his forces and his musical materials. The two orchestras echo each other in a musical conversation based on the first half of the theme. The solo viola takes up the second half of the theme, later joined by the solo violin, the string quartet and eventually the two orchestras.

This turns into a lengthy discussion of various thematic fragments from the melody before the complete theme returns in an elaborate violin/viola duet accompanied by the full orchestra.

Overall, the Fantasia on a Theme by Thomas Tallis is noted for the full, shimmering tone of this many-voiced string ensemble, its flowing, interwoven themes and its diaphanous modal harmony. By these means, Vaughan Williams recalls the sound its 16th century counterpart, the instrumental fantasia for an ensemble of strings that was a popular facet of English Renaissance music.

The DSO last performed Vaughan Williams’ Fantasia on a Theme by Thomas Tallis in March 2006 under the direction of Sir Roger Norrington.

Program note © 2000 by Carl Cunningham.

SO Shop @ The Ma x D recommends:

Vaughan Williams – Fantasia on a Theme

by Thomas Tallis: Leonard Slatkin conducting the St. Louis Symphony Orchestra, Telarc 80059.

Navidad en la Montana (Christmas Cantata) ROBERTO SIERRA

B. October 9, 1953, Vega Baja, Puerto Rico

Scored for two flutes, piccolo, two oboes, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani and four percussion (playing xylophone, vibraphone, glockenspiel, cymbals, tam-tam, small gong, Mark tree, guiro, cabasa, wood block, claves, bass drum, marimba, tambourine and bongos), piano/ celesta and strings (approximately 30 minutes).

mong the most important LatinA American composers, Roberto Sierra’s colorful and rhythmic music has attracted growing audiences in North

dso.org

America and Europe. He burst on the scene in 1987 when his first major orchestral work, Jubilo, was premiered in Carnegie Hall by the Milwaukee Symphony Orchestra. The event was a considerable success, and was followed by a string of other notable premieres, perhaps the most important of which was the first performance in 2006 of his Missa Latina in the Kennedy Center in Washington, D.C., with Leonard Slatkin conducting the National Symphony Orchestra. It was a huge critical and popular success, and was compared by one local writer to Benjamin Britten’s celebrated War Requiem.

In 1989, following his great success with Jubilo, he became Composer-inResidence of the Milwaukee Symphony Orchestra, a post he held for three years.

In 1992 he joined he faculty of Cornell University, where he remains today as Chairman of the Music Department.

In 2003 Sierra was given the Music Award of the American Academy of Arts and Letters, with the award stating: “Roberto Sierra writes brilliant music, mixing fresh and personal melodic lines with sparkling harmonies and striking rhythms…..” His style is rather eclectic, combining as it does progressive harmonic schemes with Puerto Rican and other Latin-American folk music, as well as jazz. Sierra refers to his fusion of European modernism and LatinAmerican folk idioms as “tropicalization.”

Many Orchestra Hall patrons may recall with pleasure the premiere performances of his Concerto for Saxophones [sic] and Orchestra, commissioned by the DSO for Detroit native James Carter, and performed by Carter with Neeme Järvi conducting in October of 2002. After the first performance, the audience response was so enthusiastic and sustained that the artists were compelled to repeat the final section of the work. It was played a second time the following year.

About this Cantata, whose title translates as Christmas in the Mountain, Mr. Sierra has kindly supplied the following note: Looking back at Christmas in Puerto Rico, as I was growing up in a small coastal town (Vega Baja), the image of the mountains was central to the poetic traditions of the Nativity. The syncretism produced by mixing local traditions with the concepts inherited from the Spanish Judeo Christian tradition created a new kind of Christmas, one that is different from European or North American traditions, but that links many Latin dso.org

American countries.

The cycle, with poems written by my wife Virginia, tells the story of the Nativity, through the prism of the Caribbean. One of the most important symbols in our traditions is the Star of Bethlehem; a signal from the heavens that announces the birth of Christ. The instrumental prelude titled El firmamento (The Firmament) contemplates an open starry sky, where we have the first hearing of a bright luminous passage pointing at the symbolic star. La buena nueva (Good

News) tells the story of the annunciation and Se busca bohío (Looking for Shelter) is about the troubles that Mary and Joseph had in finding a place to give birth to the their son. Here the word used for shelter is not pesebre—equivalent to manger in English— but rather bohío, which is a common term used in our folk narrative; a word of Arawak extraction, which gives it a particular Caribbean resonance.

La estrella (The Star) is the first orchestral interlude that portrays in sound, with motives already exposed in

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Perform ance / Vol . X XI / winter 2013

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the introduction, the fantastic luminosity of the Star of Bethlehem. En la choza abandonada (At the Deserted Hut) the setting is in the poor rural mountainous area of Puerto Rico. The poem does not talk about shepherds, and animals found in Europe or the Middle East; it rather presents images of rural poverty and humble dwellings. An archetypical image for Puerto Rican folklore is the rooster, which becomes a central motive in the song.

La noche (The Night) is a serene orchestral interlude that was inspired by one of our last visits to Puerto Rico, when my wife and I were walking at night and became entranced with sounds of the Puerto Rican coquí (a small tree frog that sings at night). Our le-lo-lai is a symbol of música jíbara, Puerto Rican country music, where the lyrics are usually improvised. Le-lo-lai reflects that jíbaro tradition, one that seems to always carry a lament in the lyrics, and that uses the mapeyé—music from the mountains — as accompaniment. The cycle closes with Los tres regalos (The three gifts) from the Magi; the Three Kings from the East that were so central to the Christmas of our childhood.

SO Shop @ The Ma x D recommends:

Sierra – Navidad en la montaña No recording currently available.

The Nutcracker, Act Two

PETER ILYICH TCHAIKOVSKY

B. May 7, 1840, Votkinsk, Russia D. November 6, 1893, St. Petersburg, Russia

Scored for two flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, two trumpets, three trombones, tuba, timpani and three percussion (playing glockenspiel, tambourine, castanets, cymbals, triangle, bass drum and snare drum ), two harps, celesta and strings (approximately 40 minutes).

chaikovsky’s ballet The Nutcracker is T among the most beloved, popular and frequently performed works for the

stage. The story essentially concerns a young girl’s Christmas Eve and her awakening to romantic love. Following the great success of The Sleeping Beauty in 1890, the director of the Imperial Theatres in St. Petersburg commissioned Tchaikovsky to create a double-bill program containing both an opera and a ballet. The opera would be Yolanta (which turned out to be his final opera), and for 28

Perform ance / Vol . X XI / Winter 201 3

the ballet, he would once again join forces with the celebrated choreographer Marius Petipa, with whom he had worked closely on Sleeping Beauty. For the new ballet’s story, Petipa chose an adaptation of E.T.A. Hoffmann’s The Nutcracker and the Mouse King, the adaptation having been made by Alexandre Dumas the elder titled The Tale of the Nutcracker. The plot of Hoffmann’s original is quite involved and complex, so it and the Dumas adaptation had to be shortened and greatly simplified, as well as being made much lighter and more uplifting in tone.

Among other things, Hoffmann’s tale has a long flashback story-within-a-story called The Tale of the Hard Nut, explaining how and why the Prince was turned into a nutcracker. This was taken out for the ballet.

The premiere of this new production took place in St. Petersburg in December of 1892. As with so many works now deemed masterpieces, the first performances of The Nutcracker were not at all successful, and the staging primarily received strongly negative comments from the critics and the audiences — with the exception of Tsar Alexander III who found the whole production quite delightful. One novelty in the score is Tchaikovsky’s use of the celesta, a thennew keyboard instrument which he had discovered in Paris and which he then smuggled into Russia for use first in his symphonic poem The Voyevode in 1891, and then in The Nutcracker the following year, where he used it to characterize the dance of the Sugar-Plum Fairy because of its “heavenly sweet sound.” The lack of success of the original production was due to unfortunate circumstances. Petipa began work on the choreography in August, but soon became very ill, and had to hand the reins over to his chief assistant, the somewhat less-talented Lev Ivanov. As a result of this, who actually was responsible for the finished product is in doubt to this day. Following the first performances the ballet basically disappeared from view for about 50 years.

While the original ballet may have been unpopular, the familiar concert suite was an instant success when it was first performed under Tchaikovsky’s baton in March of 1892.

The first complete performance outside Russia took place in England in 1934, but again, it was not a success. The first complete performance in this country was given by the San Francisco ballet in 1944, when it fared somewhat better. The modern popularity of The Nutcracker and its association with the holiday season can

be attributed directly to the great ballet master and choreographer George Balanchine, who re-introduced the work to New York audiences in 1954. He essentially revitalized the staging of the ballet and created the familiar version which is so popular to this day.

The story of the second act is as follows. Clara and her Prince travel to the Land of Sweets, which is being ruled by the Sugar-Plum Fairy in the Prince’s absence. In honor of the young heroine, a celebration of sweets from around the world is arranged, including chocolate from Spain, coffee from Arabia, candy canes from Russia, and tea from China.

Enchanting shepherdesses perform on their flutes, Mother Gigogne has her children dance after she lets them emerge from beneath her enormous skirt, and a group of beautiful flowers perform a waltz — the famous Waltz of the Flowers, perhaps the best-known excerpt from the score. A grand pas de deux is performed, and then a final waltz is danced by all of the participants, after which the scene fades from view, and Clara awakens on a sofa in her house to the realization that all of what has just happened was only a dream.

SO Shop @ The Ma x D recommends:

Tchaikovsky – Nutcracker, Act II: Leonard Slatkin conducting the St. Louis Symphony Orchestra, RCA 61224.

Open

dso.org

Max-imize Your Experience Share Your Photos and Videos!

The DSO is active on Facebook, Twitter, YouTube, Instagram, Pinterest, and more. We encourage you to share your best DSO pictures (no flash, please!) and videos by tagging the DSO when you post.

Priority Service for our Members Subscribers and donors who give $1,000 or more annually receive priority assistance. Just visit the Member Center on the second floor of the Max M. Fisher Atrium for help with tickets, exchanges, donations, or any other DSO needs.

Herman and Sharon Frankel Donor Lounge Governing Members who give $3,000 or more annually enjoy complimentary beverages, appetizers, and desserts in the Donor Lounge, open 45 minutes prior to each concert through to the end of intermission. For more information on becoming a Governing Member call Cassie Brenske at 313.576.5460.

A Taste of the DSO Located on the second floor of Orchestra Hall, Paradise Lounge will be open prior to most concerts featuring small plates paired with classic cocktails, small production wines, and craft beers. Bars will continue to be available throughout

the Max M. Fisher Music Center prior to concerts and during intermission.

For your convenience, you may place your beverage orders pre-concert and your drink will be waiting for you at intermission.

Parking, Security, and Lost & Found Valet parking is available on Woodward Avenue in front of the main entrance for $12 per vehicle for most concerts.

Secure garage parking is available for $7 per vehicle at the Orchestra Place Parking Deck on Parsons St. between Woodward and Cass. For improved traffic flow, enter Parsons St. from Cass Ave. Metered street parking is available. The DSO offers shuttle bus service to Coffee Concerts from select locations. Call 313.576.5130 for more information.

DSO security personnel, dressed in red, monitor the grounds of the Max and the parking deck, as well as surrounding streets during all events and concerts. To inquire about a lost item see the House Manager or call 313.576.5199 during business hours.

A Smoke-Free Environment The DSO is pleased to offer a smokefree environment at the Max M. Fisher Music Center. Patrons who wish to smoke must do so outside the building.

An outdoor patio is also available on the second level of the Atrium Lobby.

Accessibility Parking is available in the Orchestra Place Parking Deck for patrons with applicable permits. There are elevators, barrier-free restrooms and accessible seating in all areas of the Max M. Fisher Music Center. Security personnel are available at the entrances to help patrons requiring extra assistance in and out of vehicles. Hearing assistance devices are also available. Please see the House Manager or any usher for additional assistance.

House and Seating Policies All patrons must have a ticket to attend concerts at the Max M. Fisher Music Center, including children.

The Max M. Fisher Music Center opens two hours prior to most DSO concerts. Most classical concerts feature free pre-concert talks or performances in Orchestra Hall for all ticket holders.

The DSO makes every attempt to begin 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 work will be reseated after the work is completed. Latecomers will be able to watch the performance on closed circuit television in the Atrium Lobby.

Please turn off all cell phones, pagers, alarms, and other electronic devices.

Patrons should speak to the House Manager to make special arrangements to receive emergency phone calls during a performance.

Concert Cancellations To find out if a scheduled performance has been cancelled due to inclement weather or other emergencies, visit dso.org or facebook.com/ detroitsymphony, call the Box Office at 313.576.5111, or tune in to WJR 760 AM and WWJ 950 AM. Gift Certificates Give friends and loved ones a gift that lasts all year long—the experience of a DSO performance. Gift certificates are available in any denomination and may be used toward the purchase of DSO concert tickets. Visit the DSO Box Office or call 313.576.5111 for more information.

Max M. Fisher Music Center Rental Information The Max M. Fisher Music Center is an ideal and affordable setting for a variety of events and performances, including weddings, corporate gatherings, concerts, and more.

For information on renting the facility, please call 313.576.5050 or visit dso.org/rent.

Administrative Staff Executive Office Anne Parsons President and CEO Paul W. Hogle Executive Vice President Patricia Walker Chief Operating Officer Rozanne Kokko Chief Finance and Business Officer Anne Wilczak Managing Director, Special Events and Projects Aja G. Stephens Executive Assistant to the President and CEO Orchestra Operations & Artistic Planning

Nicole New Manager of Popular and Special Programming Alice Sauro Director of Operations and Executive Assistant to the Music Director Education

Human Resources

Charles Burke Senior Director of Education Artistic Director of Civic Youth Ensembles

Renecia Lowery Jeter Director of Human Resources

Joy Crawford Patron and Organizational Assistance Coordinator

Emily Lamoreaux General Manager of Civic Youth Ensembles Cecilia Sharpe Manager of Education Programs

Teddy Abrams Conducting Assistant

Facility Operations

Heather Hart Rochon Assistant Orchestra Personnel Manager Don Killinger Operations and Popular Programming Coordinator Stephen Molina Orchestra Personnel Manager

dso.org

Patron Development & Sales Angela Detlor Senior Director of Patron Development and Sales Holly Clement Senior Manager of Event Sales and Administration

Mike Spiegel Education and Jazz Studies Coordinator

Kathryn Ginsburg Artistic Coordinator

Dick Jacques Director of Information Technology Laura Lee Information Systems Specialist

Erik Rönmark Artistic Administrator

Kareem George Managing Director of Community Programs

Information Systems

Sue Black Facilities Coordinator Larry Ensman Maintenance Supervisor Greg Schmizzi Chief of Security

History/Archives Paul Ganson Historian Cynthia Korolov Archivist Patron & Institutional Advancement Reimer Priester Senior Director of Patron and Institutional Advancement Cassie Brenske Governing Members Gift Officer Marianne Dorais Foundation and Government Relations Officer

Finance

Chelsea Kotula Board and Volunteer Relations Coordinator

Donielle Hardy Controller

Ron Papke Corporate Relations Manager

Sandra Mazza Accountant

Tiiko Reese-Douglas Acting Patron Service and Sales Manager Paul Yee Retail Sales Manager Patron Engagement & Loyalty Programs

Elaine Curvin Executive Assistant and Patron Teams Coordinator

Scott Harrison Senior Director of Patron Engagement and Loyalty Programs Executive Producer of Digital Media

Mona DeQuis Assistant Manager of Retail Sales

Will Broner Patron Acknowledgment and Gift Systems Coordinator

Chuck Dyer Manager of Group Sales and Corporate Sales

Connie Campbell Senior Manager of Patron Engagement

Christopher Harrington Patron Development and Sales Manager

Sharon Carr Assistant Manager of Patron Systems and Ticketing Operations

Jennifer Kouassi Front of House Manager Heather Mourer Neighborhood Audience Development Manager B.J. Pearson Senior Manager of Event Operations Gabrielle Poshadlo Patron Communications and Public Relations Manager Anné Renforth Patron Sales and Services Supervisor Anna Savone Food and Beverage Manager

Lindsey Evert Loyalty Programs Manager La Heidra Marshall Patron Engagement Officer Marty Morhardt Patron Engagement Assistant Juanda Pack Patron Engagement Officer Alyce Sclafani Manager of Patron Systems and Analytics Eric Woodhams Manager of Digital Media and Engagement

Perform ance / Vol . X XI / winter 2013

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Upcoming Education Concerts & Events Nutcracker

Civic Jam Session

Civic Orchestra and Taylor Ballet Americana Friday, November 30, 8 p.m.

Saturday, December 1, 1 p.m.

Saturday, December 1, 7 p.m.

Ford Community and Performing Arts Center, Dearborn MI

All students and families are invited to the renowned Cliff Bell’s in Detroit for the Civic Jam Sessions featuring students and faculty from Civic Jazz Studies. Students will have the opportunity to perform jazz standards with a house band made up of CYE Jazz Faculty while family and friends can relax, socialize and enjoy an evening of student-made music. Any and all students are welcome to this free event, so bring your horn, grab a friend and come down to Cliff Bell’s!

t. putters

Join Taylor Ballet Americana Dance Company with principal dancers from the New York City Ballet as they bring to life the holiday favorite The Nutcracker.

A holiday family tradition, Taylor Ballet Americana and the Civic Orchestra will present three performances at the Ford Community and Performing Arts Center.

For ticket information please contact 313.943.2354 or dearborntheater.com

Sunday, December 9, 6 p.m.

Cliff Bell’s, Detroit

Civic Orchestra Saturday, November 24, 5 p.m.

Sunday, November 25, Noon Hear the Detroit Symphony Orchestra’s most advanced youth ensembles — the Civic Orchestra, Civic Wind Symphony and the Civic Jazz Orchestra — in a series of occasional concert specials only on WRCJ 90.9 FM. The classical concerts are hosted by WRCJ’s Jimmy Rhoades and violist Daisha Mosely and the jazz concerts are hosted by our Chris Felcyn and guitarist Mike Martin.

t. putters

t. putters

The Civic in Concert Broadcast Series on WRCJ 90.9FM

Civic Jazz Live!

Civic Jazz Live!

See the stars of tomorrow and the legendary artists of today as the Civic Jazz Band performs Civic Jazz Live! prior to the Paradise Jazz Series Concert in The Music Box. This Civic Jazz Live! performance will be feature Civic Jazz Band musicians performing works by Duke Ellington, Dizzie Gillespie and Thad Jones.

See the stars of tomorrow and the legendary artists of today as the premiere Civic Jazz Orchestra performs Civic Jazz Live! prior to each Paradise Jazz Series Concert in The Music Box. This Civic Jazz Live! performance will feature works by Charles Mingus, Dave Brubeck and Mongo Santamaria.

Civic Jazz Band Marcus Elliot, conductor Thursday, December 6, 6:45 p.m.

The Music Box

Civic Jazz Orchestra Sean Dobbins, conductor Friday, February 1, 6:45 p.m.

The Music Box

One price. Endless possibilities.

For tickets to CYE events, call 313.576.5111.

30

Perform ance / Vol . X X I / Winter 201 3

on 2012-2013 seas hall orchestra

ALL-ACCES

S STUDEN

T PASS

The Detroit Symphony Orchestra has a special offer for students of all ages.

Buy a Soundcard for $25 and attend Classical, Pops and Paradise Jazz Series concerts at Orchestra Hall all season long.**

To purchase, stop by the Box Office or call 313.576.5111. dso.org

Distinguished Board Member Spotlight Judge Damon Keith

The DSO is proud to honor distinguished Board Member Judge Damon Keith for his long-standing commitment to our organization. Keith, who recently celebrated his 90th birthday, has been an outstanding community figure and beloved fixture of this institution.

Many of Judge Keith’s accomplishments are not only recognized on a local level, but respected nationally. Keith, a Howard University Law School graduate, used the law as a means for social change.

A pioneer for civil and human rights, Judge Keith ordered the desegregation of Pontiac schools in 1970 and famously ruled that President Nixon’s Attorney General John N. Mitchell did not have the right to conduct wiretapping without a warrant in United States v. Sinclair (1971). Keith was

appointed to serve on the U.S. Court of Appeals, 6th Circuit, in 1977 by President Jimmy Carter where he currently remains today with senior status.

The Honorable Damon Keith has been a member of the DSO family for decades, having first joined our Board in 1983. His involvement spans over many campaigns that date back to the restoration of Orchestra Hall. The DSO is particularly proud that Keith has served many years as Honorary Chair of our Classical Roots Celebration, a gala that honors the contributions African-Americans have made to classical music.

We thank Judge Keith for his years of continued support and celebrate his contributions to both the orchestra and our community.

The Annual Fund Gifts received between September 1, 2011 and November 1, 2012

Being a Community- Supported Orchestra means you can play your part through frequent ticket purchases and generous annual donations.

Ticket sales cover only a fraction of DSO program costs so community contributions are essential to the Orchestra’s future survival.

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 a question about this roster, or for more information about how you can make a donation, please contact 313.576.5114 or dso.org/donate.

Platinum Baton giving of $250,000 and more

The Mandell L. & Madeleine H. Berman Family Foundation

Mr. & Mrs. Stanley Frankel

Mr. & Mrs. James B. Nicholson

Gold Baton giving of $100,000 and more Julie & Peter Cummings

Mr. & Mrs. Phillip Fisher

Cindy & Leonard Slatkin

Mrs. Karen Davidson

Emory M. Ford, Jr. † Endowment

Mrs. Richard C. Van Dusen

Max M. & Marjorie S. Fisher Foundation

Bernard & Eleanor Robertson

Silver Baton giving of $50,000 and more Mr. & Mrs. Richard L. Alonzo

Penny & Harold Blumenstein

Herman & Sharon Frankel

Mr. & Mrs. Eugene Applebaum

Mr. & Mrs. John A. Boll, Sr.

Dr. & Mrs. Clyde Wu

Cecilia Benner

Mrs. Kathryn L. Fife

Mr. & Mrs. Lloyd E. Reuss Mr. & Mrs. Alan E. Schwartz & Mrs. Jean Shapero

Mr. & Mrs. Lee Barthel

Giving of $25,000 and more Mr. & Mrs. Richard A. Brodie

Sidney & Madeline Forbes

Mr. & Mrs. Raymond M. Cracchiolo

Ruth & Al Glancy

Marvin & Betty Danto Family Foundation

Mr. & Mrs. Morton E. Harris

Ms. Leslie Devereaux

Chacona W. Johnson

Linda Dresner & Ed Levy, Jr.

The Polk Family

dso.org

† Deceased

Mr. & Mrs. Larry Sherman Mr. & Mrs. Donald R. Simon Arthur & Trudy Weiss

Perform ance / Vol . X XI / Winter 201 3

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Giving of $10,000 and more Mrs. Denise Abrash Mr. & Mrs. Robert A. Allesee Daniel & Rose Angelucci Mr. Chuck Becker Mr. & Mrs. Robert H. Bluestein Mr. & Mrs. Jim Bonahoom Ms. Liz Boone Michael & Geraldine Buckles Mr. & Mrs. Francois Castaing Lois & Avern Cohn Deborah & Stephen D’Arcy Fund Marianne Endicott Jim & Margo Farber Mr. & Mrs. David Fischer Dr. Saul & Mrs. Helen Forman Dale & Bruce Frankel Rema Frankel Maxine & Stuart Frankel Foundation Dorothy & Byron Gerson

Giving of $5,000 and more Mr. & Mrs. Norman Ankers Drs. John & Janice Bernick Robert N. & Claire P. Brown Mr. & Mrs. Thomas A. Cracchiolo Jerry P. & Maureen T. D’Avanzo Mark Davidoff & Margie Dunn Ms. Barbara L. Davidson Lillian & Walter Dean Beck Demery David Elgin Dodge Mr. Peter & Kristin Dolan Mr. & Mrs. Walter E. Douglas Mr. & Mrs. Alfred J. Fisher, III Mr. Steven J. Fishman Mr. David Fleitz Mr. & Mrs. Gerry Fournier Mrs. Harold L. Frank Barbara Frankel & Ronald Michalak Mr. & Mrs. Ralph J. Gerson Victor & Gale Girolami Dr. Robert T. & Elaine Goldman Goodman Family Charitable Trust Robert & Mary Ann Gorlin Mr. & Mrs. James A. Green Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. & Mrs. Norman H. Hofley Jean Holland Mr. & Mrs. A. E. Igleheart Mr. & Mrs. Charles R. Janovsky Mr. & Mrs. Richard J. Jessup Marjorie & Maxwell Jospey Foundation Betsy & Joel Kellman Rachel Kellman† Michael E. Smerza & Nancy Keppelman

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Dr. & Mrs. Herman Gray, Jr. Mr. & Mrs. James Grosfeld Dr. Gloria Heppner Ms. Doreen Hermelin Mr. & Mrs. Ronald Horwitz Julius & Cynthia Huebner Foundation Mr. Sharad P. Jain Faye & Austin Kanter Mr. & Mrs. Norman D. Katz Mr. & Mrs. Bernard Kent Mrs. Bonnie Larson Mr. David Lebenbom Marguerite & David Lentz Dr. Melvin A. Lester Mr. & Mrs. Arthur C. Liebler Mr. Edward K. Miller Mr. & Mrs. Eugene A. Miller Cyril Moscow Geoffrey S. Nathan & Margaret E. Winters

Mr. Patrick J. Kerzic & Stephanie Germack Kerzic Dr. David & Elizabeth Kessel Mr. & Mrs. William P. Kingsley Mr. & Mrs. Harold Kulish Dr. Raymond Landes & Dr. Melissa McBrien-Landes The Locniskar Group Mr. & Mrs. Harry A. Lomason Elaine & Mervyn Manning David & Valerie McCammon Patricia A. & Patrick G. McKeever Mrs. Susanne O. McMillan Dr. Robert & Dr. Mary Mobley Drs. Stephen & Barbara Munk David R. & Sylvia Nelson Mr. & Mrs. Albert T. Nelson, Jr. Mr. & Mrs. David E. Nims Mariam C. Noland & James A. Kelly Mr & Mrs. Arthur T. O’Reilly Mr. & Mrs. Richard G. Partrich Donald & Jo Anne Petersen Fund Mrs. Helen F. Pippin Dr. Glenda D. Price Jane & Curt Russel Mr. & Mrs. Fred Secrest Elaine & Michael Serling Mr. Stephan Sharf Mr. & Mrs. Leonard W. Smith Mr. & Mrs. S. Kinnie Smith, Jr. John J. Solecki Renate & Richard Soulen Professor Calvin L. Stevens Stephen & Phyllis Strome Amanda Van Dusen & Curtis Blessing Mr. & Mrs. Edward Wagner Mr. & Mrs. Jonathan T. Walton Janis & William M. Wetsman / The Wetsman Foundation

Perform ance / Vol . X X I / Winter 201 3

Jim & Mary Beth Nicholson Patricia & Henry Nickol Mrs. Jo Elyn Nyman Anne Parsons & Donald Dietz Mr. & Mrs. Bruce D. Peterson Dr. William F. Pickard Mr. & Mrs. Gary Ran Ms. Ruth Rattner Jack & Aviva Robinson Martie & Bob Sachs Marjorie & Saul Saulson Lois & Mark Shaevsky Richard A. Sonenklar Vivian Day & John Stroh III Anne Marie Uetz Mr. Robert VanWalleghem Mr. & Mrs. R. Jamison Williams Mr. & Mrs. Alan Zekelman Paul M. Zlotoff & Terese Sante

J. Ernest & Almena Gray Wilde Fund Dr. Amy M. Horton & Dr. Kim Allan Williams Mrs. Beryl Winkelman David & Bernadine Wu Ms. June Wu Dr. & Mrs. Robert E. Wurtz Mr. John E. Young & Ms. Victoria Keys Mrs. Rita J. Zahler Milton & Lois Zussman

Giving of $2,500 and more Anonymous Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Dr. & Mrs. Ali-Reza R. Armin Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook Mr. & Mrs. John Axe Jeanne Bakale & Roger Dye Mr. J. Addison Bartush Mr. & Mrs. Martin S. Baum Mary Beattie Mr. & Mrs. Irving Berg Mrs. John G. Bielawski Mrs. Kathleen Block Dr. & Mrs. Rudrick E. Boucher Mr. & Mrs. S. Elie Boudt Gwen & Richard Bowlby Mr. Anthony F. Brinkman Mr. Scott Brooks Mr. H. William Burdett, Jr. Philip & Carol Campbell Mr. William N. Campbell Dr. & Mrs. Thomas E. Carson Mr. H. Taylor Burleson & Dr. Carol S. Chadwick Jack Perlmutter & Daniel Clancy

† Deceased

Gloria & Fred Clark Dr. Thomas Clark Jack, Evelyn & Richard Cole Family Foundation Dr. & Mrs. Charles G. Colombo Brian & Elizabeth Connors Dr. & Mrs. Ivan Louis Cotman Thomas & Melissa Cragg Ms. Mary Rita K. Cuddohy Ms. Barbara Diles Adel & Walter Dissett Mr. & Mrs. Mark Domin Ms. Judith Doyle Eugene & Elaine Driker Paul & Peggy Dufault Mr. Robert Dunn Dr. & Mrs. A. Bradley Eisenbrey Ms. Jennifer Engle Mr. & Mrs. John M. Erb Mary Sue & Paul E. Ewing Stephen Ewing Mr. David Faulkner Mr. & Mrs. Oscar Feldman Ron Fischer & Kyoko Kashiwagi Ms. Carol A. Friend & Mr. Mark T. Kilbourn Mr. & Mrs. Daniel E. Frohardt-Lane Lynn & Bharat Gandhi Mr. & Mrs. Paul Ganson Mr. & Mrs. William Y. Gard Allan D. Gilmour & Eric C. Jirgens Dr. & Mrs. Kenneth W. Gitlin Dr. & Mrs. Theodore A. Golden Mr. Nathaniel Good Dr. & Mrs. Steven Grekin Mr. Jeffrey Groehn Sylvia & Ed Hagenlocker Alice Berberian Haidostian Dr. Algea O. Hale Mr. Kenneth R. Hale dso.org

Mr. & Mrs. Tim & Rebecca Haller Robert & Elizabeth Hamel Mr. & Mrs. Preston Happel Randall L. & Nancy Caine Harbour Ms. Cheryl A. Harvey Mr. & Mrs. Demar W. Helzer Dr. Deanna & Mr. David B. Holtzman Jack & Anne Hommes Mr. Matthew Howell & Mrs. Julie Wagner Mr. F. Robert Hozian Jean Wright & Joseph L. Hudson, Jr. Fund Richard H. & Carola Huttenlocher Mr. John S. Johns Lenard & Connie Johnston Mrs. Ellen D. Kahn Mr. & Mrs. Michael J. Keegan Martin & Cis Maisel Kellman The Stephanie & Frederic Keywell Family Fund Mrs. Frances King Mr. & Mrs. Ludvik F. Koci Mr. & Mrs. Donald Kosch Dr. Harry & Katherine Kotsis Robert C. & Margaret A. Kotz Mr. & Mrs. James A. Kurz David & Maria Kuziemko Joyce LaBan Ms. Anne T. Larin Dolores & Paul Lavins Dr. Klaudia Plawny- Lebenbom & Mr. Michael Lebenbom Allan S. Leonard Mr. & Mrs. Daniel Lewis Mr. & Mrs. Robert Liberty Mr. & Mrs. Joseph Lile Dr. & Mrs. Charles Lucas Mrs. Sandra MacLeod Mr. & Mrs. Charles W. Manke, Jr. Mr. & Mrs. Patrick Mansfield Dr. Peter McCann & Kathleen L. McKee Mr. & Mrs. Alonzo McDonald Alexander & Evelyn McKeen Dr. & Mrs. Donald A. Meier Dr. David & Lauren Mendelson Mr. Roland Meulebrouck Mrs. Thomas Meyer Thomas & Judith Mich Bruce & Mary Miller Mr. & Mrs. Leonard G. Miller Mr. Stephen & Dr. Susan Molina Eugene & Sheila Mondry Foundation Mr. Lane J. Moore Mr. & Mrs. Craig R. Morgan Florence Morris Mr. Frederick J. Morsches Joy & Allan Nachman Edward & Judith Narens Denise & Mark Neville Mr. Geoffrey W. Newcomb Arthur A. Nitzsche Mr. & Mrs. Stanley Nycek David & Andrea Page

Mrs. Sophie Pearlstein Dr. & Mrs. Claus Petermann Mr. Charles L. Peters Mrs. Bernard E. Pincus Mr. & Mrs. Jack Pokrzywa Ms. Judith Polk Mrs. Anna Mary Postma Mr. & Mrs. William Powers The Priester Foundation Mr. & Mrs. Nicolas I. Quintana Ms. Michele Rambour Mr. & Mrs. Richard Rappleye Drs. Stuart & Hilary Ratner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Carol & Foster Redding Mr. & Mrs. David & Jean Redfield Ms. Emily J. Reid Mr. Hugh T. Reid Dr. Claude & Mrs. Sandra Reitelman Ms. Denise Reske Norman & Dulcie Rosenfeld Mr. & Mrs. Robert B. Rosowski Mr. & Mrs. Hugh C. Ross Dr. Mark Saffer Dr. Hershel Sandberg Ruth & Carl Schalm Ms. Martha A. Scharchburg & Mr. Bruce Beyer Mr. & Mrs. Alan S. Schwartz Mr. Merton J. & Beverly Segal Mr. & Mrs. Herbert Shanbaum Mrs. Kathleen Straus & Mr. Walter Shapero Dr. Les & Mrs. Ellen Siegel Robert & Coco Siewert Mr. & Mrs. William Sirois Drs. Daniel J. & Sophie Skoney William H. & Patricia M. Smith Dr. Gregory E. Stephens

Dr. Alit Yousif & Mr. Kirk Yousif

Giving of $1,500 and more Anonymous Dr. & Mrs. Gary S. Assarian Ms. Margaret Beck Mr. & Mrs. G. Peter Blom Ms. Jane Bolender Don & Marilyn Bowerman Carol A. & Stephen A. Bromberg Mr. & Mrs. Bowden V. Brown Mr. Mark Bartnik & Ms. Sandra J. Collins Mr. & Mrs. John Courtney Mr. & Mrs. Gary L. Cowger

Donor Spotlight

We are pleased to recognize long-time supporter Board Member Linda Dresner, and her husband Edward C. Levy, Jr., for their outstanding contributions to the DSO. Levy, President of Edward C. Levy Company, and Dresner, a former model and current fashion designer, have been active subscribers and donors for many years.

Dresner and Levy’s engagement with the DSO extends back to the restoration efforts for Orchestra Hall and the capital campaign to build the Max M. Fisher Music Center. Levy provided quantities of concrete for the building and also Edward c. Levy and Linda Dresner

dso.org

Mr. Clinton F. Stimpson, Jr. Dr. & Mrs. Charles D. Stocking Dr. & Mrs. Gerald Stollman Dr. & Mrs. Gerald H. Stollman David Szymborski & Marilyn Sicklesteel D. I. Tarpinian Shelley & Joel Tauber Alice & Paul Tomboulian Mr. & Mrs. L. W. Tucker Mr. & Mrs. Charles B. Van Dusen Mr. & Mrs. George C. Vincent Mr. & Mrs. William Waak Dr. & Mrs. Ronald W. Wadle Gary L. Wasserman & Charles A. Kashner Mr. Patrick A. Webster Mr. & Mrs. Herman W. Weinreich Mr. & Mrs. Lawrence Weisberg Mr. Donald Wells Mr. & Mrs. John Whitecar Mr. & Mrs. Barry Williams Rissa & Sheldon Winkelman Dr. & Mrs. Max V. Wisgerhof II Mr. & Mrs. Jonathan Wolman Mrs. Judith G. Yaker

Barbara A. David Edwin & Rosemarie Dyer Mrs. Kathryn Ellis Mr. & Mrs. Anthony C. Fielek Harold & Ruth Garber Family Foundation Drs. Conrad & Lynda Giles Adele & Michael M. Glusac Mr. & Mrs. Robert Hage Dr. & Mrs. Anthony Hammer Dr. & Mrs. Gerhardt Hein Ms. Nancy B. Henk Mr. Max B. Horton, Jr. Mrs. Harriett H. Hull Dr. Jean Kegler Richard & Sally Krugel Mr. Julius Kusey Mrs. Willard V. Lampe Ms. Sandra S. Lapadot Mrs. Stephanie Latour John E. & Marcia Miller Dr. & Mrs. Dongwhan Oh Mr. Joshua F. Opperer Mr. Randall Pappal Mrs. Diane Piskorowski Hope & Larry Raymond Barbara Gage Rex Mr. R. Desmond Rowan Mrs. Lois V. Ryan Mr. & Mrs. R. Hamilton Schirmer Mr. & Mrs. Michael Schultz Mr. & Mrs. James H. Sherman Mr. Barry Siegel & Mrs. Debra Bernstein-Siegel Ms. Eugenia & Ms. Wanda Staszewski Mr. & Mrs. Andreas H. Steglich Dr. & Mrs. Howard Terebelo Mr. & Mrs. John P. Tierney Barbara & Stuart Trager Ms. Patricia Walker Rudolf E. Wilhelm Fund Ms. Gail M. Zabowski Frank & Ruth Zinn

endowed the principal viola chair that is currently occupied by Alexander Mishnaevski.

That campaign, known as “Concerto for Community and Orchestra,” was vital to the future of the DSO and the revitalization of the Woodward Corridor.

Today, Levy and Dresner’s involvement with the symphony spans widely from Board membership to hosting musical feasts as part of the Volunteer Council’s fundraising efforts for the DSO. Dresner also supports Performance magazine through advertisements for her eponymous store that specializes in high-end European and American designers. Dresner expressed that she and her husband adore our symphony and share a sincere love for the music and experience of attending concerts in Orchestra Hall.

The DSO thanks Ed and Linda for their continued passion and support.

Perform ance / Vol . X XI / Winter 201 3

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Corporate Supporters of the DSO $500,000 and more

PVS Chemicals, Inc.

Jim Nicholson

CEO, PVS Chemicals

$200,000 and more

Gerard M. Anderson

Fred Shell

President, Chairman and CEO, President, DTE Energy Corporation DTE Energy Foundation

Alan Mullaly

President & CEO, Ford Motor Company

James Vella

President, Ford Motor Company Fund

Daniel F. Akerson Chairman and CEO General Motors Corporation

Vivian Pickard President General Motors Foundation

Tetsuo Iwamura

President and CEO, American Honda Motor Co.

$100,000 and more

The Chrysler Foundation

Brands of Chrysler Group LLC

Timothy Wadhams President and CEO, MASCO Corporation

Melonie Colaianne

President, Masco Corporation Foundation

Gregg Steinhafel

Chairman, President and CEO, Target Corporation

$20,000 and more Adobe Systems Incorporated American Honda Motor Co., Inc. Amerisure Insurance

Art Van Furniture Macy’s MGM Grand Detroit Casino

R.L.Polk and Co. Somerset Collection Talmer Bank and Trust

Comcast Cable Midwest Deloitte.

Foley & Lardner LLP Honigman Miller Schwartz Cohn

$10,000 and more PriceWaterhouseCoopers LLP KPMG LLP REDICO St. John Providence Health System

University of Michigan Telemus Capital Partners, LLC Warner Norcross and Judd LLP

$5,000 and more BASF Corporation Contractors Steel Company Conway Mac Kenzie Dunleavy Denso International America, Inc. Dykema Flagstar Bank Lake Trust Credit Union Meritor Trinity Health

34

Performance / Vol . X X I / Winter 201 3

$1,000 and more Avis Ford, Inc. Burton-Share Management Company DuMouchelles Art Galleries Co. Fifth Third Bank Hare Express, Inc. Health Alliance Plan Meadowbrook Insurance Group Ilitch Holdings, Inc.

Michigan First Credit Union Save Our Symphony Severstal North America Spectrum Automation Company Taylor Ballet Americana The ITB Group, Ltd. The Village Club Welker Bearing Company, Inc. dso.org

Legacy Donors Members of THE Musical LEGACY Society

The Detroit Symphony Orchestra Board of Directors is pleased to honor and recognize the Musical Legacy Society. These patrons, friends and subscribers have named the Orchestra in their estate plans. For information about making a bequest or other planned gift to the DSO, please contact the Office of Patron and Institutional Advancement at 313.576.5400.

Doris L. Adler Dr. & Mrs. William C. Albert Mr. & Mrs. Robert A. Allesee Dr. Lourdes V. Andaya Dr. Agustin & Nancy Arbulu Sally & Donald Baker Mr. & Mrs. Lee Barthel Lillian & Don Bauder Mr. & Mrs. Robert A. Benton Michael & Christine Berns Mrs. Art Blair Robert T. Bomier Gwen & Richard Bowlby Mrs. J. Brownfain Dr. & Mrs. Victor J. Cervenak Eleanor A. Christie Mary F. Christner Lois & Avern Cohn Mrs. Robert Comstock Dorothy M. Craig Mr. & Mrs. John Cruikshank Ms. Leslie Devereaux John Diebel Jeanne Bakale & Roger Dye Ms. Bette J. Dyer Edwin & Rosemarie Dyer Mr. & Mrs. Robert G. Eidson

Marianne Endicott Ms. Dorothy Fisher Marjorie S. Fisher Emory M. Ford, Jr.† Endowment Dr. Saul & Mrs. Helen Forman Barbara Frankel & Ronald Michalak Herman & Sharon Frankel Rema Frankel Jane French Dr. & Mrs. Byron P. Georgeson Mr. & Mrs. Joe & Lois Gilmore Ruth & Al Glancy Dorothy & Herbert+ Graebner Donald Ray Haas+ Donna & Eugene Hartwig Dr. & Mrs. Gerhardt Hein Ms. Nancy B. Henk Mr. & Mrs. Thomas N. Hitchman Mr. & Mrs. Richard N. Holloway David & Sheri Jaffa Mr. & Mrs. Thomas H. Jeffs II Lenard & Connie Johnston Drs. Anthony & Joyce Kales Faye & Austin Kanter Jacob† & Rachel† Kellman June K. Kendall Ms. Selma Korn & Ms. Phyllis Korn

Ms. Selma Korn Dimitri & Suzanne Kosacheff Mr. & Mrs. Arthur Krolikowski Mr. Jim LaTulip Ann C. Lawson Allan S. Leonard Mr. Lester H. London Harold & Elizabeth Lundquist Roberta Maki John M. Malone, M.D. Mr. Glenn Maxwell Rhoda A. Milgrim John E. & Marcia Miller Mr. & Mrs. Jerald A. Mitchell Mr. & Mrs. L. William Moll Mr. & Mrs. Craig R. Morgan Mr. Dale J. Pangonis Ms. Mary W. Parker Paul M. Huxley & Cynthia J. Pasky Mrs. Sophie Pearlstein Mr. & Mrs. Wesley R. Pelling Mrs. Bernard E. Pincus Ms. Christina Pitts Mrs. Robert Plummer Mr. & Mrs. Peter T. Ponta Fair & Steven Radom Mr. & Mrs. Douglas J. Rasmussen

Mr. & Mrs. Lloyd E. Reuss Barbara Gage Rex Ms. Marianne Reye Katherine D. Rines Bernard & Eleanor Robertson Jack & Aviva Robinson Dr. Margaret M. Ryan Mr. & Mrs. Fred Secrest Mr. Terrence Smith Mr. & Mrs. Walter C. Stuecken Mr. & Mrs. Alexander Suczek Caroline & Richard Torley Mr. Edward Tusset Mr. David Patria & Ms. Barbara A. Underwood Mrs. Jane Van Dragt Mrs. Richard C. Van Dusen Mr. & Mrs. Melvin VanderBrug Mr. & Mrs. George C. Vincent Mr. & Mrs. Keith C. Weber Mr. & Mrs. John F. Werner Mr. & Mrs. Arthur Wilhelm Mr. & Mrs. James A. Williams Mr. & Mrs. Robert S. Williams Ms. Barbara Wojtas Walter P. & Elizabeth B. Work Dr. & Mrs. Clyde Wu Ms. Andrea L. Wulf

Build a Legacy.

Legacy Supporters allow the DSO:

• To be artistically and education vital while becoming financially viable.

• To be the most accessible orchestra on the planet.

• To play our part in the community as a gathering place for the Woodward Corridor.

• To be a Community-Supported Orchestra

Start talking to us now about joining the Musical Legacy Society. Together we can create a planned giving strategy that works uniquely for you, to build your legacy at the Detroit Symphony Orchestra.

Visit dso.com/legacy or call 313-576-5400 for more information. dso.org

Perform ance / Vol . X XI / Winter 201 3

35

Blockbuster Fund

Gifts Received between September 1, 2011 and November 1, 2012 Gifts to the Detroit Symphony Orchestra Blockbuster Fund support those exceptional projects, partnerships and performances that boldly advance the DSO’s mission “to be a leader in the world of classical music, embracing and inspiring individuals, families and communities through unsurpassed musical experiences.” Blockbuster gifts fund defining initiatives that are outside the annual budget such as touring, “Live from Orchestra Hall” webcasts, certain community engagement and education partnerships, and capital and technology infrastructure.

Mr. & Mrs. Lee Barthel

Mr. Michael Jalving

Stuart & Linda Nelson

Bloomfield Hills Country Club

John S. and James L. Knight

Jim & Mary Beth Nicholson

Mr. Hang Su

Community Foundation for

Foundation

Mr. & Mrs. James B. Nicholson

The William M. Davidson

Southeast Michigan

Mr. & Mrs. Norman D. Katz

Olympia Entertainment, Inc.

Foundation

Cindy & Leonard Slatkin

Julie & Peter Cummings

Max M. and Marjorie S. Fisher

PVS Chemicals, Inc.

Mrs. Richard C. Van Dusen

Detroit 300 Conservancy

Foundation, Inc.

Ms. Ruth Rattner

Mr. & Mrs. Paul Wingert

Ms. Laurie Goldman

Michigan Nonprofit Association

Mr. & Mrs. Larry Sherman

Mr. Hai-Xin Wu

The DSO is in your community in more ways than you can count

Tribute Gifts

Gifts received between September 10, 2012 and November 1, 2012 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 programing. For information about making a Tribute Gift, please call 313.576.5114 or dso.org/tribute.

In Honor of Ms. Joanne Danto Mr. & Mrs. Jerry P. D’Avanzo In Memory of Mr. George Hallstein Mr. & Mrs. Peter G. Klein In Memory of Mr. Hester Mr. & Mrs. Ronald Wurst

In Memory of Mrs. Rachel Kellman Ms. Julie Frank Dr. & Mrs. Robert Katz Ms. Joyce Keller Mr. & Mrs. Harold Kulish Dr. & Mrs. Jerrold Weinberg Mr. & Mrs. Frederick F. Weiner In Memory of Mr. Art Mevis Ms. Catherine Beaumont

This season the DSO is:

36

• Supporting the development of our music educators and youth through in-school performances and one-on-on instruction.

• Enhancing the care and treatment of senior citizens within their residencies and patients within care centers

• Personally introducing our artists to neighborhood audiences with intimate chamber recitals

• Is supporting our civic heroes at sporting and other special events

Performance / Vol . X X I / Winter 201 3

Venture Fund

Gifts received between September 1, 2011 and November 1, 2012 Gifts to the Detroit Symphony Orchestra Venture Fund are contributions that support projects, partnerships and performances taking place in the current season. Venture gifts are generally onetime and non-renewable in nature and fund initiatives that are included in the annual budget such as DSO concerts, the Civic Youth Ensembles, certain community engagement and partnerships, and the DSO Presents and Paradise Jazz concert series.

Venturists Mrs. Carol Edwards Haas Ms. Margaret Hall† Estate of Mr. George W. Harrison Hudson-Webber Foundation Mr. Philip Leon† David & Valerie McCammon Miesel Foundation Ms. Elizabeth Murr† Ms. Ruth Wilkins†

Donors Adult Learning Institute Ms. Gere Baskin Ms. Elizabeth Beceden Ms. Christa M. Grix Mr. & Mrs. John C. Hammer Kroger Company Ms. Carole McNamara Mr. Roar Schaad Mrs. Richard D. Spear Mrs. Elizabeth Tamagne† Mr. Phil Tedeschi

dso.org

Support from Foundations and Organizations

The Detroit Symphony Orchestra acknowledges and honors the following foundations and organizations for their contributions to support the Orchestra’s performances, education programming, and other annual operations of the organization. This honor roll reflects both fulfillments of previous commitments and new gifts during the period beginning September 1, 2011 through November 1, 2012. We regret the omission of gifts received after this print deadline.

$500,000 and more

Andrew W. Mellon Foundation Hudson-Webber Foundation Kresge Foundation Max M. and Marjorie S. Fisher Foundation William M. Davidson Foundation

$300,000 and more Community Foundation for Southeast Michigan McGregor Fund

$100,000 and more Ford Foundation Fred A. and Barbara M. Erb Family Foundation John S. and James L. Knight Foundation Samuel & Jean Frankel Foundation Detroit Symphony Orchestra Volunteer Council $50,000 and more DeRoy Testamentary Foundation Surdna Foundation Matilda R. Wilson Fund Michigan Nonprofit Association National Endowment for the Arts $10,000 and more Henry Ford II Fund Alice Kales Hartwick Foundation Myron P. Leven Foundation Ann and Gordon Getty Foundation Oliver Dewey Marcks Foundation Eleanor & Edsel Ford Fund Philip and Elizabeth Filmer Memorial Max and Victoria Dreyfus Foundation Charitable Trust Michigan Council for Arts and Cultural Sage Foundation Affairs Sally Mead Hands Foundation Moroun Family Foundation

Benson & Edith Ford Fund Combined Federal Campaign Mary Thompson Foundation

$5,000 and more Joseph and Suzanne Orley Foundation The Lyon Family Foundation $2,500 and more

Anonymous Clarence & Jack Himmel Fund James & Lynelle Holden Fund

Sigmund & Sophie Rohlik Foundation The Loraine & Melinese Reuter Foundation

$1,000 and more Berry Foundation Charles M. Bauervic Foundation Frank & Gertrude Dunlap Foundation Japan Business Society of Detroit Foundation dso.org

Jennifer Howell Harding Foundation Samuel L. Westerman Foundation Tracy Foundation Village Club Foundation

Foundation Spotlight Community Foundation for Southeast Michigan

T

he DSO has been partnering with the Community Foundation for Southeast Michigan (CFSEM) since 1985, and has benefitted from a number of philanthropic programs including donorNoland directed funds, matching gifts and challenge grants. “Vibrant arts and culture institutions are essential to the quality of life in our community,” said Mariam C. Noland, president, Community Foundation for Southeast Michigan. “The DSO is one of southeast Michigan’s premier cultural institutions and the Community Foundation is proud to support its vision of offering all resident of the region access to world-class musical experiences.”

The Community Foundation was established in 1984 by a group of passionate, visionary and generous community leaders who were committed to improving the quality of life in our region. CFSEM does this by making strategic investments in programs and organizations; equipping organizations and the public with knowledge and information that will lead to positive change; by building community capital to meet our region’s needs now and into the future; and by providing expert assistance to donors and their advisers in their charitable planning. Over the past 28 years, the Community Foundation has secured assets of more than $580 million and has also distributed more than $550 million in grants to organizations and activities primarily in the region, but also for charitable purposes around the country.

In addition to making grants in response to request from organizations, the Community Foundation identifies needs and opportunity where both education and financial support makes a difference. For example, the Foundation has developed targeted initiatives to help diversify cultural participation, to develop linked greenways throughout the region, to combat youth obesity and to promote the regional economy. A primary goal of the Community Foundation is to build endowment — permanent capital to sustain this region and its institutions.

Perform ance / Vol . X XI / Winter 201 3

37

Upcoming events sunday

MONDAY

TUESDAY

14

WEDNESDAY

THURSDAY

15

FRIDAY

16

17

23

DSO Neighborhood Series 24 Bach’s Brandenburg Concerto No. 3 at Berman Center, West Bloomfield Township 7:30 p.m.

Tito Muñoz, conductor Gabriel Cabezas, cello

SATURDAY

DSO Classical Series Elgar’s “Enigma” Mark Wigglesworth, conductor Robert deMaine, cello 8 p.m. OH

January

13

19

deMaine DSO Classical Series Elgar’s “Enigma” Mark Wigglesworth, conductor Robert deMaine, cello 3 p.m. OH

20

21

22

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ynohpmyS ”nagrO“ ’snëaS-tniaS .m.a 54:01 ,11 yaM ,yadirF

snruteR ivräJ .m.p 3 ,1 lirpA ,yadnuS

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28

29

Host Your Event at Orchestra Hall or the Max M. Fisher Music Center

30

DSO Pops Series Winter Dance Party 10:45 a.m. OH

DSO Pops Series Winter Dance Party 8 p.m. OH

Civic & Education Civic Jazz Live!

6:30 p.m. MB

31

DeJohnette

DSO 3 Neighborhood Series Mendelssohn’s Violin Concerto at Seligman Performing Arts Center; 3 p.m.

James Gaffigan, conductor Stefan Jackiw, violin

DSO Classical Series 10 Beethoven Festival The Beethoven Symphonies: 4 & 5 Leonard Slatkin, conductor 3 p.m. OH

4

5

11

12

ynohpmyS ”nagrO“ ’snëaS-tniaS .m.a 54:01 ,11 yaM ,yadirF

Other Presenters Sphinx Competition Finals Concert 2 p.m.

noitibihxE na ta serutciP .m.p 3 ,6 yaM ,yadnuS

17

18

19

Other Presenters WSU Monday’s at The Max 7:30 p.m.

25

26

DSO Classical Series 14 Beethoven Festival The Beethoven Symphonies: 1 & 6 Leonard Slatkin, conductor 10:45 a.m. & 7:30 p.m. OH

DSO Classical Series 15 Beethoven Festival The Beethoven Symphonies: 2 & 7 Leonard Slatkin, conductor 8 p.m. OH

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DSO Classical Series 16 Beethoven Festival The Beethoven Symphonies: 2 & 7 Leonard Slatkin, conductor 8 p.m. OH

ppa elibom oG ot OSD eht no ro evil/gro.osd ta enilno hctaW

snruteR ivräJ .m.p 3 ,1 lirpA ,yadnuS

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snruteR ivräJ .m.p 3 ,1 lirpA ,yadnuS

emoR fo seniP ehT ynohpmyS ”dlroW weN“ s’kářovD .m.a 54:01 ,81 yaM ,yadirF .m.p 8 ,12 lirpA ,yadrutaS

2-

DSO Classical Series Beethoven’s Ninth 21 Leonard Slatkin, conductor Joni Henson, soprano Kelley O’Connor, mezzosoprano Vale Rideout, tenor Jason Grant, bass-baritone UMS Choral Union 7:30 p.m. OH

DSO Classical Series Beethoven’s Ninth 22 Leonard Slatkin, conductor Joni Henson, soprano Kelley O’Connor, mezzosoprano Vale Rideout, tenor Jason Grant, bass-baritone UMS Choral Union 8 p.m. OH

27

DSO Neighborhood Series 28 Mozart and Haydn at Berman Center, West Bloomfield Township 7:30 p.m.

Gerard Schwarz, conductor Ki mberly Kaloyanides Kennedy, violn James VanValkenburg, viola

DSO Neighborhood Series 1 Mozart and Haydn at Ford Center for the Performing Arts, Dearborn 10:45 a.m.

noitibihxE na ta serutciP .m.p 3 ,6 yaM ,yadnuS

ppa elibom oG ot OSD eht no ro evil/gro.osd ta enilno hctaW

ynohpmyS ”nagrO“ ’snëaS-tniaS .m.a 54:01 ,11 yaM ,yadirF

emoR fo seniP ehT ynohpmyS ”dlroW weN“ s’kářovD .m.a 54:01 ,81 yaM ,yadirF .m.p 8 ,12 lirpA ,yadrutaS

snruteR ivräJ .m.p 3 ,1 lirpA ,yadnuS

noitibihxE na ta serutciP .m.p 3 ,6 yaM ,yadnuS

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Slatkin DSO Classical Series Beethoven’s Ninth 24 Leonard Slatkin, conductor Joni Henson, soprano Kelley O’Connor, mezzosoprano Vale Rideout, tenor Jason Grant, bass-baritone UMS Choral Union 3 p.m. OH

snruteR ivräJ .m.p 3 ,1 lirpA ,yadnuS

DSO Classical Series 9 Beethoven Festival The Beethoven Symphonies: 4 & 5 Leonard Slatkin, conductor 8 p.m. OH

emoR fo seniP ehT ynohpmyS ”dlroW weN“ s’kářovD .m.a 54:01 ,81 yaM ,yadirF .m.p 8 ,12 lirpA ,yadrutaS

DSO Classical Series Beethoven’s Ninth 23 Leonard Slatkin, conductor Joni Henson, soprano Kelley O’Connor, mezzosoprano Vale Rideout, tenor Jason Grant, bass-baritone UMS Choral Union 8 p.m. OH

noitibihxE na ta serutciP .m.p 3 ,6 yaM ,yadnuS

March

ynohpmyS ”nagrO“ ’snëaS-tniaS .m.a 54:01 ,11 yaM ,yadirF

ynohpmyS ”nagrO“ ’snëaS-tniaS .m.a 54:01 ,11 yaM ,yadirF

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ppa elibom oG ot OSD eht no ro evil/gro.osd ta enilno hctaW

snruteR ivräJ .m.p 3 ,1 lirpA ,yadnuS

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2

DSO Classical Series Mendelssohn’s Violin Concerto James Gaffigan, conductor Stefan Jackiw, violin 8 p.m. OH

DSO Classical Series 8 Beethoven Festival The Beethoven Symphonies: 3 & 8 Leonard Slatkin, conductor 10:45 a.m. & 8 p.m. OH

7

Slatkin

13

ppa elibom oG ot OSD eht no ro evil/gro.osd ta enilno hctaW

Tiny Tots Concert 10 a.m.

Target Young People’s Family Concerts 11 a.m.

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6

For rental information please call 313.576.5050 or visit dso.org/rent Other Presenters WSU Monday’s at The Max 7:30 p.m.

1

Paradise Jazz Series THE JACK DEJOHNETTE GROUP 8 p.m. OH

DSO Pops Series Winter Dance Party 3 p.m. OH

ynohpmyS ”nagrO“ ’snëaS-tniaS .m.a 54:01 ,11 yaM ,yadirF

DSO Neighborhood Series 26 Bach’s Brandenburg Concerto No. 3 at Kirk in the Hills, Bloomfield Hills; 8 p.m.

February

DSO Neighborhood Series 27 Bach’s Brandenburg Concerto No. 3 at Grosse Pointe Memorial Church; 3 p.m.

DSO Neighborhood Series Bach’s Brandenburg 25 Concerto No. 3 at Ford Center for the Performing Arts, Dearborn 10:45 a.m.

DSO Neighborhood Series Mozart and Haydn at Kirk in the Hills, Bloomfield Hills; 8 p.m.

2

DSO Pops Series ABBA 8 p.m. OH

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DSO 3 Neighborhood Series Mozart and Haydn at Grosse Pointe Memorial Church; 3 p.m. emoR fo seniP ehT ynohpmyS ”dlroW weN“ s’kářovD .m.a 54:01 ,81 yaM ,yadirF .m.p 8 ,12 lirpA ,yadrutaS noitibihxE na ta serutciP .m.p 3 ,6 yaM ,yadnuS

4

5

6

DSO Pops Series ABBA 3 p.m. OH Civic & Education 10 Civic Family Experience Civic Youth Ensembles 1-6 p.m.

11

12

13

For tickets visit dso.org or call 313.576.5111

OH Orchestra Hall MB Music Box AH Allesee Hall

ppa elibom oG ot OSD eht no ro evil/gro.osd ta enilno hctaW

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Webcast

DSO 7 Neighborhood Series Beethoven and Mozart at Berman Center, West Bloomfield Township at Congregation Shaarey Zedek, Southfield 7:30 p.m.

Teddy Abrams, conductor David Buck, flute DSO Classical Series Rite of Spring Centennial!

Rafael Frühbeck de Burgos, conductor 7:30 p.m. OH

14

DSO Classical Series 8 Classical Roots James dePreist, conductor 10:45 a.m. OH

ppa elibom oG ot OSD eht no ro evil/gro.osd ta enilno hctaW

ynohpmyS ”nagrO“ ’snëaS-tniaS .m.a 54:01 ,11 yaM ,yadirF

DSO Classical Series 9 Classical Roots James dePreist, conductor 8 p.m. OH

snruteR ivräJ .m.p 3 ,1 lirpA ,yadnuS

Civic & Education Song Forgotten Civic Wind Symphony with Civic Chamber Music 7:30 p.m. emoR fo seniP ehT ynohpmyS ”dlroW weN“ s’kářovD .m.a 54:01 ,81 yaM ,yadirF .m.p 8 ,12 lirpA ,yadrutaS noitibihxE na ta serutciP .m.p 3 ,6 yaM ,yadnuS

Civic & Education 15 Bartók’s Concerto for Orchestra Civic Orchestra with Civic Chamber Music Charles Burke, conductor 7:30 p.m. OH

DSO Classical Series Rite of Spring Centennial!

Rafael Frühbeck de Burgos, conductor 8 p.m.

OH ppa elibom oG ot OSD eht no ro evil/gro.osd ta enilno hctaW

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16

Detroit Symphony Orchestra Hill Auditorium’s King of Instruments: The Frieze Memorial Organ Leonard Slatkin, conductor with Peter Richard Conte, organ David Higgs, organ James Kibbie, organ UMS Choral Union Jerry Blackstone, music director Sunday, January 13, 4 pm Hill Auditorium

program James MacMillan

Tu es Petrus (2010)

J. S. Bach/Stokowski

Toccata and Fugue in d minor, BWV 565 (1708) Samuel

Barber

Toccata Festiva for Organ and Orchestra, Op. 36 (1960) William

Bolcom

Free Fantasia on “O Zion, Haste” and “How Firm a Foundation”

Aram Khachaturian

Symphony No. 3 in C (“Symphony-Poem”) (19

Media partners WGTE 91.3 FM, WRCJ 90.9 FM, Detroit Jewish News, and Ann Arbor’s 107one

New York Philharmonic Alan Gilbert, conductor Jan Vogler, cello [Sunday] Saturday, February 23, 8 pm Sunday, February 24, 2 pm Hill Auditorium

saturday Mozart

Overture to The Marriage of Figaro, K. 492 (1786)

Mozart

Symphony No. 36 in C Major, K. 425 (“Linz”) (1783)

Brahms

Symphony No. 1 in c minor, Op. 68 (1855-76)

sunday Mussorgsky

Night on Bald Mountain (1886)

Bloch

Schelomo (Hebraic Rhapsody for Cello and Large Orchestra) (1917)

Tchaikovsky

Symphony No. 6 in b minor, Op. 74 (“Pathetique”) (1893)

Sponsored by Presented with support from Medical Community Endowment Fund and Susan B. Ullrich Media partner WGTE 91.3 FM

Tickets and a full-season listing at:

UMS.ORG 734.764.2538 UNIVERSITY OF MICHIGAN | ANN ARBOR

The Whitney Detroit’s Most Romantic Restaurant Now Serving Dinner Seven Nights A Week 4421 Woodward Ave. • Detroit, MI 48201 • 313.832.5700 • thewhitney.com

Prix Fixe Theater Menu m $35 Available only Pre/Post Theatre First Course Signature Shrimp Bisque ♥ Chef ’s Soup du jour Caesar Salad ♥ Organic Baby Greens Entree Course Baked Organic Orange Glazed Chicken White Garlic Polenta, Glazed Carrots, Organic Orange Marmalade Fresh Fish Entrée • changes nightly Pan-Roasted Tenderloin Tips over Exotic Mushroom & Asparagus Risotto Ricotta & Spinach-stuffed Shells in Creamy Tomato Broth Final course May be enjoyed post-event.

Housemade Ice Cream or Gelato ♥ Chocolate Mousse Add Beverage Flight m $15/person Champagne Toast, Sommelier-selected Wine & Coffee, Cappuccino or Espresso