Performance Magazine - Spring Issue 2 - 2024–25 Season

2024–2025 SEASON

PROGRAM NOTES

LIFE. AMPLIFIED. 2025–2026 SEASON PREVIEW

GOLD RECORD COLLECTIVE: BOLD VISION, MORE MUSIC

LEARNING & ENGAGEMENT

PNC Grow Up Great MEET THE MUSICIAN

Peter Hatch

Music You Feel

SPRING

JADER BIGNAMINI MUSIC DIRECTOR

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Review from DSO Musician

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ECHO PUBLICATIONS, INC. Tom Putters, publisher echopublications.com

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THE COVER: DSO Music Director Jader Bignamini; photo by Marco Mantovani.

Jader Bignamini

WELCOME

Dear Friends,

As our 2024–2025 season draws to a close, we extend our sincere gratitude for your support and enthusiasm. Whether you’re a longtime subscriber, a first-time concertgoer, or a steadfast champion of the DSO, we’re thrilled to share another year of extraordinary music with you.

Looking ahead, we’re delighted to announce our 2025–2026 season, which will kick off in September 2025 with an unforgettable Opening Night Gala. The evening will feature superstar tenor Juan Diego Flórez in a dazzling program of operatic arias conducted by Music Director Jader Bignamini, whose bold artistic vision continues to push our orchestra to new heights. We can’t wait to welcome you back for a season brimming with inspiring performances by the world-class musicians of your DSO, alongside an outstanding lineup of guest artists and conductors. From the return of legendary conductor Herbert Blomstedt to innovative works by Composer-in-Residence Michael Abels, the season promises to amplify your connection to Detroit’s vibrant musical landscape. Read our feature story on page 10 to learn more about what’s in store.

While we anticipate the excitement of the upcoming season, we still have much to look forward to this summer. The DSO continues to extend its presence beyond Orchestra Hall, bringing music to audiences across Michigan. Our annual residency at Interlochen Center for the Arts remains a highlight, offering students valuable training and performance opportunities. Closer to home, we look forward to concerts across Detroit and the metro area, including at Meadow Brook Amphitheatre, where we will return in July for a program of music by John Williams under the baton of Principal Pops Conductor Enrico Lopez-Yañez.

At the core of everything we do is an unwavering commitment to artistic excellence and meaningful engagement. The DSO is more than just an orchestra—it is a vital institution dedicated to fostering inspiration and connection. From exceptional concerts to educational initiatives that nurture the next generation of musicians, we are proud to be an inclusive and culturally relevant community where all people can experience their world through music.

We look forward to celebrating the joys of music with you this summer and welcoming you back for another incredible season in the fall. Until then, enjoy the performances ahead!

With appreciation,

Erik Rönmark

Faye Alexander Nelson President and CEO Chair, Board of Directors

Erik and Faye at Classical Roots 2025

DETROIT SYMPHONY ORCHESTRA

ENRICO LOPEZ-YAÑEZ

Principal Pops Conductor

Devereaux Family Chair

FIRST VIOLIN

Robyn Bollinger

CONCERTMASTER

Katherine Tuck Chair

Kimberly Kaloyanides Kennedy

ASSOCIATE CONCERTMASTER

Schwartz and Shapero Family Chair

Hai-Xin Wu

ASSISTANT CONCERTMASTER

Walker L. Cisler/Detroit Edison Foundation Chair

Jennifer Wey Fang ASSISTANT CONCERTMASTER

Marguerite Deslippe*

Laurie Goldman*

Rachel Harding Klaus*

Eun Park Lee*

Adrienne Rönmark*

William and Story John Chair

Alexandros Sakarellos*^

Drs. Doris Tong and Teck Soo Chair

Laura Soto*

Greg Staples*

Jiamin Wang*

Mingzhao Zhou*

SECOND VIOLIN

Adam Stepniewski

ACTING PRINCIPAL

The Devereaux Family Chair

Will Haapaniemi*

David and Valerie McCammon Chairs

Hae Jeong Heidi Han*

David and Valerie McCammon Chairs

Sheryl Hwangbo Yu*

Sujin Lim*

Hong-Yi Mo *

Marian Tanau*

Alexander Volkov*

Jing Zhang*

VIOLA

Eric Nowlin

PRINCIPAL

Julie and Ed Levy, Jr. Chair

James VanValkenburg

ASSISTANT PRINCIPAL

Janet and Norm Ankers Chair

Caroline Coade

Henry and Patricia Nickol Chair

Glenn Mellow

Hang Su

Hart Hollman

Han Zheng

Mike Chen

Harper Randolph §

ORCHESTRA

JADER BIGNAMINI , Music Director

Music Directorship endowed by the Kresge Foundation

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

CELLO

Wei Yu

PRINCIPAL

Abraham Feder ^

ASSISTANT PRINCIPAL

Dorothy and Herbert Graebner Chair

Robert Bergman*

Jeremy Crosmer*

Victor and Gale Girolami Chair

David LeDoux*

Peter McCaffrey*

Joanne Deanto and Arnold Weingarden Chair

Una O’Riordan*

Mary Ann and Robert Gorlin Chair

Cole Randolph*

Mary Lee Gwizdala Chair

BASS

Kevin Brown

PRINCIPAL

Van Dusen Family Chair

Stephen Molina

ASSISTANT PRINCIPAL

Renato and Elizabeth Jamett Chair

Christopher Hamlen*

Peter Hatch*

Vincent Luciano*

Brandon Mason*

HARP

Alyssa Katahara

PRINCIPAL

Winifred E. Polk Chair

FLUTE

Hannah Hammel Maser

PRINCIPAL

Alan J. and Sue Kaufman and Family Chair

Amanda Blaikie

Morton and Brigitte Harris Chair

Sharon Sparrow

ASSISTANT PRINCIPAL

Bernard and Eleanor Robertson Chair

PICCOLO OPEN

OBOE

Alexander Kinmonth

PRINCIPAL

Jack A. and Aviva Robinson Chair

Sarah Lewis

ASSISTANT PRINCIPAL

Monica Fosnaugh

ENGLISH HORN

Monica Fosnaugh

TABITA BERGLUND

Principal Guest Conductor

CLARINET

Ralph Skiano

PRINCIPAL

Robert B. Semple Chair

Jocelyn Langworthy

ACTING SECOND CLARINET

Jack Walters

ASSISTANT PRINCIPAL

PVS Chemicals Inc./

Jim and Ann Nicholson Chair

Shannon Orme

E-FLAT CLARINET

Jack Walters

BASS CLARINET

Shannon Orme

Barbara Frankel and

Ronald Michalak Chair

BASSOON

Conrad Cornelison

PRINCIPAL

Byron and Dorothy Gerson Chair

Cornelia Sommer

Jaquain Sloan

ACTING UTILITY BASSOON

CONTRABASSOON OPEN

HORN

Patrick Walle

ACTING PRINCIPAL HORN

David and Christine Provost Chair

Johanna Yarbrough ^

Scott Strong

Ric and Carola Huttenlocher Chair

Kristi Crago

ACTING HORN

Ben Wulfman

ACTING HORN

TRUMPET

Hunter Eberly

PRINCIPAL

Austin Williams

James Vaughen

ASSISTANT PRINCIPAL

William Lucas

TROMBONE

Gracie Potter

PRINCIPAL

David Binder

Adam Rainey

Richard Sonenklar and Greg Haynes

Chair

BASS TROMBONE

Adam Rainey

TUBA

Dennis Nulty

PRINCIPAL

NA’ZIR MCFADDEN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

TIMPANI

Jeremy Epp

PRINCIPAL

Richard and Mona Alonzo Chair

James Ritchie

ASSISTANT PRINCIPAL

PERCUSSION

Joseph Becker

PRINCIPAL

Ruth Roby and Alfred R. Glancy III Chair

Andrés Pichardo-Rosenthal

ASSISTANT PRINCIPAL

William Cody Knicely Chair

James Ritchie

Luciano Valdes§

LIBRARIANS

Robert Stiles

PRINCIPAL

Ethan Allen

LEGACY CHAIRS

Principal Flute

Women’s Association for the DSO

Principal Cello

James C. Gordon

PERSONNEL MANAGERS

Andrew Williams

DIRECTOR OF ORCHESTRA PERSONNEL

Benjamin Tisherman

MANAGER OF ORCHESTRA PERSONNEL

STAGE PERSONNEL

Dennis Rottell

STAGE MANAGER

Joe Corless

DEPARTMENT HEAD

William Dailing

DEPARTMENT HEAD

Zach Deater

DEPARTMENT HEAD

Issac Eide

DEPARTMENT HEAD

Kurt Henry

DEPARTMENT HEAD

Matthew Pons

SENIOR AUDIO DEPARTMENT HEAD

Jason Tschantre

DEPARTMENT HEAD

PAST MUSIC DIRECTORS

Leonard Slatkin

MUSIC DIRECTOR LAUREATE

Neeme Järvi

MUSIC DIRECTOR EMERITUS

LEGEND

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

^ Leave of Absence

§ African American Orchestra Fellow

BEHIND THE BATON

Jader Bignamini

MUSIC DIRECTORSHIP ENDOWED BY THE KRESGE FOUNDATION

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

A native of Crema, Italy, Bignamini studied at the Piacenza Music Conservatory and began his career as a musician (clarinet) with Orchestra Sinfonica La Verdi in Milan, later serving as the group’s resident conductor. Captivated by the music of legends like Mahler and Tchaikovsky, Bignamini explored their complexity and power, puzzling out the role that each instrument played in creating a larger-than-life sound. When he conducted his first professional concert at the age of 28, it didn’t feel like a departure, but an arrival.

In the years since, Bignamini has conducted some of the world’s most acclaimed orchestras and opera companies in venues across the globe including working with Riccardo Chailly on concerts of Mahler’s Eighth Symphony in 2013 and his concert debut at La Scala in 2015 for the opening season of La Sinfonica di Milano. Recent highlights include debuts with Opera de Paris, Deutsche Opera Berlin, Accademia di Santa Cecilia Orchestra, Washington’s National Symphony Orchestra, and the Houston, Dallas, Atlanta, Milwaukee, and Minnesota symphonies; The Cleveland Orchestra at the Blossom Festival; and at the Grand Teton Festival. He has also appeared with the BBC Symphony Orchestra and London Philharmonic; with the Metropolitan Opera, Canadian Opera Company, Vienna State Opera, Dutch National Opera, and Bayerische Staatsoper; in Montpellier for the Festival de Radio France; and had return engagements with Oper Frankfurt and Santa Fe Opera. In Italy, Bignamini has conducted numerous operas at Arena of Verona, Rome’s Teatro dell’Opera, Teatro Massimo in Palermo, the Verdi Festival in Parma, Rossini Opera Festival in Pesaro, and La Fenice in Venice. In Asia, he has conducted the Osaka Philharmonic, Yomiuri Nippon Symphony Orchestra, and others. Bignamini enjoys working with the next generation of musicians and is a regular guest of Interlochen Center for the Arts with the DSO and of the Asian Youth Orchestra.

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

Enrico Lopez-Yañez

PRINCIPAL POPS CONDUCTOR AND DEVEREAUX FAMILY CHAIR

Enrico Lopez-Yañez is Principal Pops Conductor of the Detroit Symphony Orchestra. He also serves in the same role with the Nashville and Pacific symphonies, and as Principal Conductor of the Dallas Symphony Presents. Lopez-Yañez has quickly established himself as one of the nation’s leading conductors of popular music and become known for his unique style of audience engagement. Also an active composer/arranger, he has been commissioned by prominent orchestras across the United States. Lopez-Yañez has conducted concerts with a broad spectrum of artists from Nas and Patti LaBelle to Itzhak Perlman, The Beach Boys, Kenny G, and more.

An advocate for Latin music, LopezYañez was the recipient of the 2023 “Mexicanos Distinguidos” Award by the Mexican government, an award granted to Mexican citizens living abroad for outstanding career accomplishments in their field.

As Artistic Director and Co-Founder of Symphonica Productions, LLC, LopezYañez curates and leads programs designed to cultivate new audiences. Symphonica’s show offerings range from pops shows to family and educational productions and have been performed by major orchestra across North America.

As a producer, composer, and arranger, Lopez-Yañez’s work can be heard on numerous albums including the UNESCO benefit album Action Moves People United and children’s music albums including The Spaceship that Fell in My Backyard and Kokowanda Bay

Follow Enrico online @enricolopezyanez

Terence Blanchard

FRED A. ERB JAZZ CREATIVE DIRECTOR CHAIR

Trumpeter, bandleader, composer, and educator

Terence Blanchard has served as the DSO’s Fred A. Erb Jazz Creative Director Chair since 2012. He is recognized globally as one of jazz’s most esteemed trumpeters and a prolific composer for film, television, opera, Broadway, orchestras, and his own ensembles, including the E-Collective and Turtle Island Quartet. Blanchard’s second opera, Fire Shut Up in My Bones, opened The Metropolitan Opera’s 2021–22 season, making it the first opera by an African American composer to premiere at the Met, and earning a GRAMMY® for Best Opera Recording. With a libretto by Kasi Lemmons, the opera was commissioned by Opera Theatre of Saint Louis, where it premiered in 2019. Fire returned to the Met for a second run in April 2024. Blanchard’s first opera, Champion, premiered in 2013 and starred Denyce Graves with a libretto from Michael Cristofer. Its April 2023 premiere at the Met received a GRAMMY® for Best Opera Recording. Blanchard has released 20 solo albums, garnered 15 GRAMMY® nominations and eight wins, composed for more than 60 films including more than 20 projects with frequent collaborator Spike Lee, and received 10 major commissions. He is a 2024 NEA Jazz Master and member of the 2024 class of awardees for the American Academy of Arts and Letters, and currently serves as the Executive Artistic Director for SF Jazz.

Visit terenceblanchard.com for more.

DETROIT SYMPHONY ORCHESTRA, INC.

LIFETIME DIRECTORS

Samuel Frankel◊

Stanley Frankel

David Handleman, Sr.◊

Dr. Arthur L. Johnson ◊

Chacona W. Baugh

Penny B. Blumenstein

Richard A. Brodie

Marianne Endicott

Sidney Forbes

Faye Alexander Nelson Chair

Erik Rönmark President & CEO

Shirley Stancato Vice Chair

James B. Nicholson

Barbara Van Dusen

Clyde Wu, M.D.◊

CHAIRS EMERITI

Peter D. Cummings

Mark A. Davidoff

Phillip Wm. Fisher

Stanley Frankel

DIRECTORS EMERITI

Herman H. Frankel

Dr. Gloria Heppner

Ronald Horwitz

Harold Kulish

Bonnie Larson

Arthur C. Liebler

David McCammon

Marilyn Pincus

OFFICERS OF THE BOARD OF DIRECTORS

Laura Trudeau Treasurer

Renato Jamett Secretary

Ric Huttenlocher Officer at Large

Daniel J. Kaufman Officer at Large

BOARD OF DIRECTORS

Robert S. Miller

James B. Nicholson

David T. Provost

Glenda Price

Marjorie S. Saulson

Jane Sherman

Arthur A. Weiss

David Nicholson Officer at Large

Dr. David M. Wu, M.D. Officer at Large

Directors are responsible for maintaining a culture of accountability, resource development, and strategic thinking. As fiduciaries, Directors oversee the artistic and cultural health and strategic direction of the DSO.

Michael Bickers

Elena Centeio

Rodney Cole

Dr. Marcus Collins

Jeremy Epp, Orchestra Representative

Aaron Frankel

Ralph J. Gerson

Laura Grannemann

Dr. Herman B. Gray, M.D.

Laura Hernandez-Romine

Rev. Nicholas Hood III

Richard Huttenlocher

Renato Jamett, Trustee Chair

Daniel J. Kaufman

H. Keith Mobley, Governing Members Chair

Xavier Mosquet

Faye Alexander Nelson, Board Chair

David Nicholson

Arthur T. O’Reilly

Bernard I. Robertson

BOARD OF TRUSTEES

Shirley Stancato

Scott Strong, Orchestra Representative

Laura J. Trudeau

James G. Vella

Dr. David M. Wu, M.D.

Ellen Hill Zeringue

Trustees are a diverse group of community leaders who infuse creative thinking and innovation into how the DSO strives to achieve both artistic vitality and organizational sustainability.

Renato Jamett, Trustee Chair

Ismael Ahmed

Richard Alonzo

Hadas Bernard

Janice Bernick

Elizabeth Boone

Gwen Bowlby

Dr. Betty Chu, M.D.

Karen Cullen

Joanne Danto

Stephen D’Arcy

Maureen T. D’Avanzo

Jasmin DeForrest

Cara Dietz

Afa Sadykhly Dworkin

Emily Elmer

James C. Farber

Amanda Fisher

Linda Forte

Carolynn Frankel

Christa Funk

Robert Gillette

Jody Glancy

Malik Goodwin

Mary Ann Gorlin

Darby Hadley

Donald Hiruo

Michelle Hodges

Julie Hollinshead

Laurel Kalkanis

Jay Kapadia

David Karp

Joel D. Kellman

John Kim

Jennette Smith Kotila

Leonard LaRocca

William Lentine

Linda Dresner Levy

Gene LoVasco

Anthony McCree

Kristen McLennan

Tito Melega

Lydia Michael

H. Keith Mobley, Governing Members Chair

Sandy Morrison

Frederick J. Morsches

Jennifer Muse

Geoffrey S. Nathan

Sean M. Neall

Eric Nemeth

Maury Okun

Jackie Paige

Priscilla Perkins

Vivian Pickard

Denise Fair Razo

Gerrit Reepmeyer

James Rose, Jr.

Laurie Rosen

Carlo Serraiocco

Lois L. Shaevsky

Elliot Shafer

Shiv Shivaraman

Dean P. Simmer

Richard Sonenklar

Dhivya Srinivasan

Rob Tanner

Yoni Torgow

Nate Wallace

Gwen Weiner

Donnell White

Jennifer Whitteaker

R. Jamison Williams

As the lights dim and the first notes rise from Orchestra Hall, the Detroit Symphony Orchestra invites audiences to embark on an unforgettable journey through music. The 2025–2026 season promises an exhilarating fusion of timeless masterworks, groundbreaking contemporary compositions, and dazzling performances by acclaimed artists. From the return of legendary conductor Herbert Blomstedt to lead performances of Mahler’s Ninth Symphony to the luminescent beauty of the Northern Lights Festival, this season reaffirms the DSO’s place at the forefront of artistic excellence.

JADER BIGNAMINI: LEADING WITH PASSION AND PRECISION

In his fifth season as Music Director, Jader Bignamini will lead nine electrifying programs, setting the stage for another year of extraordinary music-making. The season begins in September with a spectacular opening week: a performance of Verdi’s Requiem at Hill Auditorium, presented in partnership with University Musical Society, followed by the highly anticipated Opening Night Gala at Orchestra Hall, featuring the incompa rable tenor Juan Diego Flórez.

Throughout the season, Bignamini will conduct an array of stunning works on the PVS Classical Series, including Orff’s Carmina Burana, Gershwin’s Piano Concerto in F with the virtuosic Hélène Grimaud, and a breathtaking interpretation of Rachmaninoff’s Symphony No. 2 to close the season in June. Following the success of the recent release of the DSO’s first recording with Bignamini—Wynton Marsalis’s Blues Symphony (Pentatone, 2025)—the orchestra will present two works by Marsalis: his Violin Concerto with Giuseppe Gibboni and the dynamic Swing Symphony, the latter performed alongside the Paradise Theatre Big Band under the direction of Kris Johnson. Debuted in 2023, the Paradise Theatre Big Band honors the history of Orchestra Hall as the Paradise Theatre (1941–1951), which hosted some of the eras biggest names in jazz.

Norway. The festival features Sibelius’s Violin Concerto with the acclaimed Christian Tetzlaff, Einojuhani Rautavaara’s haunting Cantus Arcticus, and Stenhammar’s uplifting Excelsior!, among other Nordic gems.

Berglund’s relationship with the DSO continues to deepen, and her fearless, dynamic approach to conducting has captivated audiences worldwide. In addition to the programs as part of the Northern Lights Festival, Berglund will conduct Mozart’s Overture to Le nozze di Figaro, Schoenberg’s Verklärte Nacht, and Brahms’s Piano Concerto No. 1 with Kirill Gerstein in October.

MICHAEL ABELS: VISIONARY COMPOSER-IN-RESIDENCE

TABITA BERGLUND & THE NORTHERN LIGHTS FESTIVAL

In April, experience the raw emotional power, shimmering harmonies, and evocative storytelling that makes Nordic music as awe-inspiring as the northern lights. The Northern Lights Festival will be anchored by two DSO programs in Orchestra Hall led by Principal Guest Conductor Tabita Berglund, a native of

Acclaimed for his genre-defying compositions, Michael Abels joins the DSO as Composer-in-Residence for the 2025–2026 season. Widely recognized for his scores to Jordan Peele’s Get Out and Us, Abels will present several works including Unbound, Global Warming, and More Seasons. The highlight of his residency comes in February with the world premiere of a new orchestral suite from Omar, a reimagining of his Pulitzer

Jader Bignamini

Prize-winning opera co-composed with Rhiannon Giddens.

Beyond Abels’s contributions, the season continues the DSO’s legacy as champions of contemporary music with commissions by Joan Tower ( A New Day, featuring cellist Alisa Weilerstein) and Samy Moussa (Flute Concerto, featuring Emmanuel Pahud), alongside performances of works by Carlos Simon, Jörg Widmann, Anders Hillborg, Stacy Garrop, Gabriela Lena Frank, Arturo Márquez, and John Adams.

AMERICA AT 250: A CELEBRATION OF MUSICAL HERITAGE

As the nation marks its 250th anniversary, the DSO honors America’s rich musical tapestry with a mosaic of programs showcasing trailblazing composers past and present, including the works by Gershwin and Marsalis. At the annual Classical Roots concerts, which celebrate the contributions of African Americans to classical music, former Resident Conductor Thomas Wilkins will lead the DSO in Carlos Simon’s Troubled Water for Trombone and Orchestra. Premiered by the DSO in 2023, the work features former Principal Trombone Kenneth Thompkins and is inspired by the many stories, accounts, and experiences of enslaved people seeking freedom at any cost on the Underground Railroad. The season also pays homage to Dvořák’s “New World” Symphony, a piece deeply intertwined with the American spirit, presented alongside vibrant works by Ginastera and Márquez.

ENRICO LOPEZ-YAÑEZ & THE PNC POPS SERIES: A FEAST FOR THE SENSES

The PNC Pops Series promises to thrill audiences with a dynamic mix of symphonic spectacle and popular favorites. Principal Pops Conductor (Devereaux Family Chair ) Enrico Lopez-Yañez gets in on America’s 250th celebration with a program of Great American Songbook

hits, jazz standards, and Broadway classics with vocalists Melinda Doolittle and Jimmie Herrod. Running the gamut of genres from a high-energy tribute to Billy Joel to a mesmerizing collaboration with acrobats from Troupe Vertigo, PNC Pops Series performances redefine the possibilities of orchestral entertainment. A deeply personal highlight for Lopez-Yañez will be a program with The Three Mexican Tenors in October, featuring his father, Jorge Lopez-Yañez, in a celebration of Mexico’s rich musical heritage.

A SEASON TO REMEMBER

With bold programming, world-class artists, and enduring commitment to artistic excellence and innovation, the DSO’s 2025–2026 season is poised to be an unforgettable celebration of the power of music. Whether you are drawn to the grandeur of the classics, the fresh energy of contemporary works, or the electrifying spectacle of pops concerts, there is something for everyone to experience and enjoy.

Join us as we step into a season where music magnifies every emotion, every connection, every moment. Subscriptions are available now at dso.org, and single tickets go on sale this summer—secure your seat and be part of the magic!

VISIT DSO.ORG TO SUBSCRIBE NOW TO THE 2025–2026 SEASON

Enrico Lopez-Yañez

LEARNING & ENGAGEMENT

PNC GROW UP GREAT

BY MARISA JACQUES

In powerful partnership between the Detroit Symphony Orchestra, Detroit Public Schools Community District (DPSCD), and the PNC Foundation, the DSO is excited to continue its participation in the PNC Grow Up Great program, which unites music and early childhood education to set students up for success. The DSO has participated in Grow Up Great for many seasons, but this year marks a significant milestone in the program’s growth. Throughout the 2024–25 season, the DSO will visit all 130 DPSCD preschool classrooms for the first time, which is a large leap from the 38 classroom visits last year.

During each school visit, students and teachers welcome a DSO teaching artist and a DSO musician into their classroom. For 45 minutes, students are led on an exciting musical journey that fortifies the established DPSCD curriculum. These interactive visits invite curiosity and encourage students and teachers alike to actively participate by singing, dancing, and clapping. The lesson plan includes activities such as call-and-response with a DSO musician, practicing rhythm with movement and voice, and using the contents of the DSO Music Toolbox, a W.K. Kellogg Foundation sponsored kit that includes a variety of instruments and educational props.

Grow Up Great is as important to the teachers as it is to the students. Teachers are educated on how to implement these musical activities into their daily lesson plans, as music is a catalyst for achieving crucial early childhood education milestones relating to literacy, number recognition, social and communication skills, and more. This functional

practice of music helps teachers deliver lessons in an engaging way while laying the foundation for long-term social, academic, and potential musical success for these young children at such a pivotal time in their development.

There is much to celebrate as the DSO is in the midst of the first season of partnership with all DPSCD schools. Following this expansion, the DSO hired two new teaching artists, adding to the single teaching artist already on staff. Sarah Boyd, Audra Kubat, and Shirel Jones are professionals in different artistic disciplines, but they share expertise in early childhood education. The students now benefit from a wider range of lessons and activities, exposing them to music in ways they may not have experienced before.

The mission of the DSO’s Learning & Engagement team is that of the organization at large—to provide unforgettable musical experiences for our city and the global community. The opportunity to share these experiences and create a lasting impact on every preschool student in Detroit is a tangible realization of this mission, and the DSO looks forward to continuing these connections for years to come.

MEET THE MUSICIAN: PETER HATCH

For Peter Hatch, the bass is more than an instrument—it’s the foundation of rhythm and harmony. As a member of the DSO’s bass section since 2023, he brings a deep, resonant voice to the ensemble, anchoring the orchestra with precision and artistry.

Growing up in the suburbs of Chicago, Hatch began his musical education through the public school system, later studying privately with Lyric Opera of Chicago bassist Andrew Anderson.

“By the time I was twelve, I knew without a doubt that I wanted to pursue a career as an orchestral musician,” says Hatch. “The pivotal moment for me came when I heard the Chicago Symphony negotiating their contract on the radio. That was when I realized that playing the bass could be a full-time career, and the idea of dedicating myself to the orchestra clicked.”

Upon graduation, he was awarded the prestigious Louis Sudler Prize in the Arts in recognition of his outstanding performance and promise.

Hatch studies continued at The Juilliard School, where he earned a Master of Music degree as a Kovner Fellow. Before joining the DSO, he performed with esteemed ensembles including the Milwaukee Symphony Orchestra, Grant Park Music Festival, The Philadelphia Orchestra, the Metropolitan Opera, and the Minnesota Orchestra.

Shortly after, he experienced his first taste of playing professional-level repertoire as coprincipal bassist of the Chicago Youth Symphony Orchestra. He toured internationally with the Blue Lake International Symphony Orchestra and, for two consecutive years, was named Principal Bass of the Illinois All-State Honors Orchestra. Exploring interests in other genres, he also held the bass position in the top Illinois All-State Jazz Band.

“The beauty of being a bass player is that I get to wear so many different hats,” he says. “I’ve always enjoyed the versatility of my instrument, whether I’m working on a classical masterwork with the DSO, laying down grooves in a jazz combo, or contributing to the unique sound of a film score.”

Hatch continued at Rice University’s Shepherd School of Music, studying under Timothy Pitts.

With such an extensive performance background, what drew Hatch to the Detroit Symphony Orchestra? “The DSO has always been on my radar because of its reputation as one of the finest orchestras in the country,” he says.

“The opportunity to be part of such a distinguished ensemble, surrounded by top-tier musicians, was incredibly exciting for me.”

An avid golfer, Hatch appreciates Detroit’s blend of urban energy and natural beauty. “Shepherd’s Hollow, nestled in the hills, is one of my favorite spots—it’s peaceful and breathtaking, especially during the fall when the colors are just incredible,” he shares. “Beyond golf, I’m always discovering new restaurants and cultural spots in Detroit—it feels like there’s always something exciting around the corner.”

“What I enjoy most about being in the DSO is the sense of community and collaboration—it truly feels like a collective effort to create something special every time we perform. Plus, the energy from the audience here is unlike any other; it’s inspiring to perform for such a dedicated and passionate crowd.”

GOLD RECORD COLLECTIVE: BOLD VISION, MORE MUSIC

BY LATOYA CROSS

In February, the DSO celebrated the launch of a new fundraising initiative, the Gold Record Collective (GRC), with the vinyl pressing of the orchestra’s first recording with Music Director Jader Bignamini — Wynton Marsalis’s Blues Symphony. The album was released commercially (streaming, digital, and CD) on the Pentatone label on March 14.

This release adds to the DSO’s rich history of recordings that dates to 1928 with the orchestra’s first 78 rpm singles with Ossip Gabrilowitsch released on the Victrola label.

Since then, your Detroit Symphony Orchestra’s highlight reel of recordings has included more than 20 releases with Paul Paray, and 27 under the baton of Neeme Järvi. In the 1970s, led by then-Associate Conductor Paul Freeman, the DSO took part in the historic Black Composers Series; and in 2017, the orchestra earned its first GRAMMY® nomination for Copland’s Third Symphony/Three Latin American Sketches, under the direction of Leonard Slatkin.

“I am so proud of all that we have accomplished together, but especially of the outstanding music-making by the musicians of the Detroit Symphony Orchestra. We are rising to meet the demands of this new era, and our musicians’ dedication to their craft, and to being the best, makes my job a supreme pleasure as we build something remarkable here in Detroit and beyond.”

— JADER BIGNAMINI MUSIC DIRECTOR

process and opportunities that support a future filled with new DSO recordings, specialty album projects, and distinctively designed events.

As a community that believes in elevated artistic experiences and dreaming BIG with music as the foundation, the Gold Record Collective brings you closer to the music-making

THANK YOU TO OUR FOUNDING MEMBERS FOR ELEVATING THE DSO’S ARTISTIC EVOLUTION:

Aaron and Carolyn Frankel

Phillip and Lauren Fisher

Christine and David Provost

Paul and Terese Zlotoff

Richard Sonenklar and Gregory Haynes

Judy Bowman

By supporting the GRC , you not only champion groundbreaking projects like Blues Symphony but also invest in a legacy of musical excellence that will amplify DSO’s presence on a global stage and inspire future generations.

Join us in this music-filled journey! Your contribution is invaluable and fuels our triumphs, securing a legacy of enduring innovation and history making.

Scan the QR code to learn more about the Gold Record Collective.

ENRICO LOPEZ-YAÑEZ

Principal Pops Conductor

Devereaux Family Chair

DETROIT SYMPHONY ORCHESTRA

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

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

TABITA BERGLUND Principal Guest Conductor

NA’ZIR MCFADDEN Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

TITLE SPONSOR:

WOMEN ROCK!

Friday, April 25, 2025 at 10:45 a.m. & 8 p.m.

Saturday, April 26, 2025 at 8 p.m.

Sunday, April 27, 2025 at 3 p.m. in Orchestra Hall

JEFF TYZIK , conductor

SHAYNA STEELE , vocalist

KELLY LEVESQUE , vocalist

BRIE CASSIL , vocalist

JACOB NAVARRO, drums

Program to be announced from stage, artists subject to change

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

PROGRAM AT-A-GLANCE | WOMEN ROCK!

I Love Rock N’ Roll…

…but no need to put another dime in the jukebox, baby—the DSO’s got you covered. With a setlist packed with hits from influential frontwomen, we are letting our hair down for this PNC Pops Series concert conducted by former DSO Principal Pops Conductor Jeff Tyzik. The program includes iconic hits by Janis Joplin, Carole King, Aretha Franklin, Joan Jett, and more. The women celebrated on this program have played crucial roles in shaping rock music, defying gender norms by bringing their unique voices and perspectives to the rock sound. Renowned as impactful songwriters, singers, and activists, these icons have paved the way for women to follow.

PROFILES

JEFF TYZIK

GRAMMY® Award

winner Jeff Tyzik is one of America’s most innovative and soughtafter pops conductors.

Tyzik is recognized for his brilliant arrangements, original programming, and engaging rapport with audiences of all ages.

Tyzik formerly held the Principal Pops Conductor role with the Detroit Symphony Orchestra and currently holds The Dot and Paul Mason Principal Pops Conductor’s Podium at the Dallas Symphony Orchestra in addition to the Principal Pops Conductor role with the Oregon Symphony and Rochester Philharmonic, a post he has held for 23 seasons.

Tyzik is frequently invited as a guest conductor with top orchestras including The Philadelphia Orchestra, Los Angeles Philharmonic, Royal Scottish National Orchestra, and others.

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

SHAYNA STEELE

With a powerhouse voice the London Jazz News says “unleashes enough voltage to light up the West End,” Shayna Steele has carved out an impressive career across genres and stages. After early success on Star Search and roles in Broadway productions like Rent and Hairspray, Steele found herself in high demand as a vocalist for artists such as Moby, Bette Midler, Rihanna, and Kelly Clarkson. Her voice has appeared on film and TV soundtracks including In the Heights, Hairspray, and Sex and the City 2. As a solo artist, Steele’s 2015 album Rise reached #3 on the iTunes jazz charts, and her song “Gone Under” was featured on Snarky Puppy’s Family Dinner, Vol. 1. She has performed with over 40 symphony orchestras, including in Jeff Tyzik’s Nothin’ But the Blues, and is currently pursuing a music degree from Berklee while touring internationally with her band.

KELLY LEVESQUE

New York–born singersongwriter Kelly LeVesque began recording at age three and has since built a global career spanning classical crossover, pop, and film music. She has performed at Royal Albert Hall, the Kennedy Center,

Madison Square Garden, and the White House, and shared the stage with Andrea Bocelli, Sting, John Legend, and David Foster. LeVesque’s recording career includes two Billboard Classical Crossover top 5 albums—one with Three Graces and another with Diane Warren’s Due Voci. She is also featured on the soundtrack for America’s Sweethearts and the Inspector Gadget reboot, as well as numerous national commercials. Through her “Music With Meaning” initiative, LeVesque supports causes such as domestic violence and autism awareness, partnering with organizations like Safe Horizon and the KNOWAutism Foundation.

BRIE CASSIL

Brie

Cassil is a singer, actress, and composer and has traveled all over the world for her art. She has led Musical Theatre Workshops in Brazil, as well as opened for Adler (original drummer for Guns & Roses) with her original band, Rebel. Cassil has had the

pleasure of singing in several different genres of music in her career— everything from opera to rock. In the world of theater, she has performed in productions including Beauty and the Beast (Belle), Urinetown (Little Sally), RENT (Mimi), The Marvelous Wonderettes (Suzy), and the new rock musical Chix 6 (Blast). Cassil is excited and honored to be performing on multiple productions with symphony orchestras, where she gets to sing the music of some of her biggest artistic influences.

JACOB NAVARRO

JakeNavarro is a NYC-based rock drummer who studied jazz and commercial music at Five Towns College in Long Island, New York. He previously served as a music director with Carnival Cruise Lines and tours with multiple pops shows, performing with symphony orchestras across the United States. He is also a children’s music teacher, a studio/touring musician for various artists, and a performer with several major event bands in the New York metropolitan region.

Out now on all streaming platforms, digital download, and CD.

ENRICO LOPEZ-YAÑEZ Principal Pops Conductor

Devereaux Family Chair

DETROIT SYMPHONY ORCHESTRA

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

TERENCE BLANCHARD

TABITA BERGLUND Principal Guest Conductor

Fred A. Erb Jazz Creative Director Chair NA’ZIR MCFADDEN Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES

MOZART & MORE

Thursday, April 24, 2025 at 7:30 p.m. at Congregation Shaarey Zedek Friday, April 25, 2025 at 8 p.m. at Plymouth First United Methodist Church Saturday, April 26, 2025 at 8 p.m. at Our Lady Star of the Sea Catholic Church Sunday, April 27, 2025 at 3 p.m. at The Hawk

FRANÇOIS LÓPEZ-FERRER

, conductor MARIA IOUDENITCH , violin

Carlos Simon Fate Now Conquers (b. 1986)

Wolfgang Amadeus Mozart Violin Concerto No. 5 in A major, K. 219 (1756–1791) I. Allegro aperto

II. Adagio

III. Rondo: Tempo di menuetto Maria Ioudenitch, violin

Intermission

Wolfgang Amadeus Mozart Symphony No. 36 in C major, K. 425, “Linz” (1756 - 1791) I. Adagio - Allegro spiritoso

II. Poco adagio

III. Menuetto

IV. Presto

PROGRAM AT-A-GLANCE | MOZART & MORE

Becoming the Master of Their Own Fate

Carlos Simon’s Fate Now Conquers opens this program, setting the tone. Simon was inspired by a journal entry from Beethoven wherein he references fate from the Iliad Perhaps this entry served as motivation for Beethoven as he faced difficulties in his personal life. Simon channels this perseverance by using the harmonic structure from Beethoven’s Seventh Symphony and juxtaposes it with unexpected musical interjections representing the unpredictable nature of fate. Just as Simon was inspired by Beethoven, Beethoven drew inspiration from Mozart. The program continues with two selections from Mozart’s extensive catalogue. First is his “Turkish” Violin Concerto. Composed when Mozart was nineteen years old, its popularity was indicative of Mozart’s fate—an extensive and successful career. The program concludes with Mozart’s “Linz” Symphony, which was composed in only four days as he was travelling in Linz, Austria. Mozart heard of a music festival happening there in mere days, and he would be remiss if he did not submit music for this fateful opportunity.

PROGRAM NOTES

Fate Now Conquers

Composed 2020 | Premiered 2020

CARLOS SIMON

B. 1986

Scored for flute, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (Approx. 5 minutes)

Of Fate Now Conquers, Carlos Simon writes the following:

“This piece was inspired by a journal entry from Ludwig van Beethoven’s notebook, written in 1815: Iliad The Twenty-Second Book : ‘But Fate now conquers; I am hers; and yet not she shall share In my renown; that life is left to every noble spirit; And that some great deed shall beget that all lives shall inherit.’

Using the beautifully fluid harmonic structure of the second movement of Beethoven’s Seventh Symphony, I have composed musical gestures that are representative of the unpredictable ways of fate. Jolting stabs, coupled with an agitated groove with every persona. Frenzied arpeggios in the strings that morph into an ambiguous cloud of free-flowing running passages depicts the uncertainty of life that hovers over us.

We know that Beethoven strived to overcome many obstacles in his life and documented his aspirations to prevail, despite his ailments. Whatever the specific reason for including this particularly

profound passage from the Iliad, in the end, it seems that Beethoven relinquished to fate. Fate now conquers.”

The DSO previously performed Simon’s Fate Now Conquers in May 2022, conducted by Jader Bignamini.

Violin Concerto No. 5 in

A major, K. 219, “Turkish”

Composed 1775

WOLFGANG AMADEUS MOZART

B. January 27, 1756, Salzburg, Austria D. December 5, 1791, Vienna, Austria

Scored for solo violin, 2 oboes, 2 horns, and strings. (Approx. 31 minutes)

Between April and December of 1775, Mozart wrote five concertos for solo violin and orchestra. The A major concerto, the fifth and last piece in this series, may have been fashioned for Gaetano Brunetti, a violinist who shared concertmaster duties with Mozart in the orchestra maintained by the PrinceArchbishop of Salzburg. Ironically, the evidence that Mozart intended this concerto for Brunetti stems from the fact that the latter deemed its second movement “too studied,” and requested that it be rewritten. Mozart, apparently without complaint, fashioned a new Adagio to replace the one his colleague found deficient. The original slow movement has since been restored to the concerto. (The

substitute leads an independent life as the Adagio in E major for Violin and Orchestra, K. 261.)

The first movement of the concerto begins with the usual orchestral exposition, one whose several brief themes convey great enthusiasm. But the entrance of the solo violin changes the music’s character completely. Indeed, the featured instrument seems to have stumbled into the wrong composition, rhapsodizing in slow tempo over a murmuring accompaniment. Mozart once again shifts gears and returns to the original tempo, allowing the movement to develop straightforwardly.

The ensuing Adagio is more conventional, being concerned chiefly with the subject given out by the orchestra in the opening measures. But the finale, a rondo-form movement using a minuet melody as its recurring principal theme, has as its third episode a humorous interlude in “Turkish” style. This stylistic fad constituted a popular strain of composition among Austrian musicians of the late 18th century, and Mozart toyed with it in his Piano Sonata in A major and the opera Die Entführung aus dem Serail in addition to the present work. The conclusion of this surprising passage returns us once more to the minuet theme, as though the “Turkish” excursion had been only a dream.

The DSO most recently performed Mozart’s Violin Concerto No. 5 in February 2022, conducted by Jader Bignamini and featuring violinist Randall Goosby. The DSO first performed the piece in March 1939, conducted by Eugene Ormandy and featuring violinist Robert Virovai.

Symphony No. 36 in C major,

K. 425, “Linz”

Composed 1783 | Premiered 1783

WOLFGANG

AMADEUS MOZART

B. January 27, 1756, Salzburg, Austria

D. December 5, 1791, Vienna, Austria

Scored for 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

(Approx. 26 minutes)

Mozart composed his “Linz” Symphony in the autumn of 1783, while visiting the Austrian city that is its namesake. The circumstances surrounding the work’s genesis reveal the astonishing speed at which the composer could create. On October 31, Mozart, who was not yet 28 years of age, wrote from Linz to his father, in Salzburg: “On Tuesday, November 4, I am giving a concert in the theater here, and as I haven’t a single symphony with me, I am writing at breakneck speed a new one which must be ready at that time.” Apparently, then, Mozart completed his “Linz” Symphony in just four days.

The composer opens the symphony with an introduction in slow tempo. The main Allegro portion of the first movement begins, in typical Mozart fashion, with a theme that appears placid during its initial phrase but shows a more vigorous character during its consequent phrase, where the winds bolster the string choir. Unusually, the second subject, which has a faintly “Turkish” flavor, seems even more animated than the first.

There follows a slow movement presenting a beautiful play of sunlight and shadow. The third movement brings a sonorous minuet, one that Mozart balances with a lightly scored central section featuring an echoic duet for oboe and bassoon.

The composer makes contrapuntal dialogues a prominent part of the finale also. But despite the skilled use of counterpoint here, Mozart wears his learning lightly. Indeed, there is an insouciance to much of this movement that suggests the spirit of comic opera. Mozart further enlivens the proceedings with sudden contrasts in dynamic levels and by juxtaposing small groups of instruments with the full orchestra.

The DSO most recently performed Mozart’s “Linz” Symphony in April 2021, conducted by James Conlon. The DSO first performed the piece in February 1941, conducted by Sir Thomas Beecham.

ENRICO LOPEZ-YAÑEZ

Principal Pops Conductor

Devereaux Family Chair

DETROIT SYMPHONY ORCHESTRA

JADER BIGNAMINI , Music Director

Music Directorship endowed by the Kresge Foundation

TERENCE BLANCHARD

TABITA BERGLUND Principal Guest Conductor

Fred A. Erb Jazz Creative Director Chair NA’ZIR MCFADDEN Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

PVS CLASSICAL SERIES

Title Sponsor:

FRENCH SHOWPIECES

Friday, May 2, 2025 at 10:45 a.m.

Saturday, May 3, 2025 at 8 p.m. in Orchestra Hall

MARIE JACQUOT, conductor

HUNTER EBERLY, trumpet

Maurice Ravel Valses nobles et sentimentales (1875–1937)

André Jolivet Concertino for Trumpet (1905–1974) Hunter Eberly, trumpet

Intermission

Francis Poulenc Les animaux modèles, Op. 111 (1899–1963)

Maurice Ravel Ma Mère l’Oye ( Mother Goose) (1875–1937) I. Prelude

II. Spinning-wheel Dance

III. Pavane of the Sleeping Beauty

IV. Tom Thumb

V. Laideronnette, Empress of the Pagodas

VI. Conversations of Beauty and the Beast

VII. The Enchanted Garden

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

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

PROGRAM AT-A-GLANCE | FRENCH SHOWPIECES

French Flair

The works on this program exquisitely exemplify the breadth of French music in the 20th century. Maurice Ravel, André Jolivet, and Francis Poulenc left their personal mark on popular musical genres of their time, staying true to their shared roots and collectively contributing to the unmistakable French sound. 2025 marks the 150th anniversay of Ravel’s birth, and we open with his Valses nobles et sentimentales, which introduces a sense of whimsy. Inspired by waltzes of the same name composed by Schubert, Ravel reimagines the dances with his personal compositional style. Jolivet’s Concertino for Trumpet shifts to a more lively and playful tone with a strong emphasis on rhythm and timbre. Poulenc adds to the whimsy with his Les animaux modèles suite, depicting vivid fables with elements of French neoclassicism. Ravel returns with Ma Mère l’Oye (Mother Goose) and keeps the momentum going while circling back to the dance rhythms and whimsical tone we heard at the top of this program.

PROGRAM NOTES

Valses nobles et sentimentales

Composed 1911 | Premiered 1911

MAURICE RAVEL

B. March 7, 1875, Ciboure, Basses-Pyrénées, France

D. December 28, 1937, Paris, France

Scored for 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, celeste, and strings. (Approx. 18 minutes)

Thedance was a constant source of inspiration to Ravel, but he felt no more obliged to keep the original character of a waltz or minuet than he did to incorporate genuine Spanish music when he paid tribute to that country. He worked best at arm’s length from his models, keeping the original constantly in mind, but not copying it line for line.

Ravel’s own compositional voice is crystal clear in these works: the opera L’Heure espagnole, the fairy-tale for two pianos Ma mère L’oye, the virtuoso piano solo Gaspard de la nuit, and the Valses. He had apparently thought at first of paying tribute to the waltzes of Johann Strauss, but by the time the piece evolved, the Valses nobles et sentimentales took a different model, as Ravel recounts in his

biographical sketch:

The title of the collection, Ravel explains, “indicates clearly enough my intention of composing a chain of waltzes, following the example of Schubert [who had published collections of Valses nobles and Valses sentimentales]. The virtuoso element which was the basis of Gaspard de la nuit is here replaced by a style of writing of greater clarity which has the effect of sharpening the harmony as well as the outline of the music.”

The first performances of the Valses took place on May 9, 1911, at a concert of the Société Musicale Indépendante, which Ravel and several others had founded in protest against the conservative Société Nationale, which was dominated by the followers of César Franck. Like the other pieces on the program, the Valses were listed without the composer’s name; ballots were distributed to the audience, in which they had to guess who had written each piece. Some recognized Ravel in the sparse textures and pungent harmonies of the Valses, but other listeners’ guesses went as far afield as Satie and Kodály.

On the whole, the first performance was unsuccessful. Much more to the public’s liking was the composer’s orchestral version, which appeared the next year under the title Adélaide, ou le language des fleurs.

More relevant to the mood of the original are the lines from Henri de Regnier that Ravel places as a superscription in

the score: “…le plaisir délicieux et toujours nouveau d’une occupation inutile” (“the pleasure, delicious and always new, of a futile occupation”).

The DSO most recently performed Ravel’s Valses nobles et sentimentales in March 1994, conducted by Neeme Järvi. The DSO first performed this piece in January 1938, conducted by Victor Kolar.

Concertino for Trumpet

Composed 1948

ANDRÉ JOLIVET

B. August 8, 1905, Paris, France

D. December 20, 1974, Paris, France

Scored for solo trumpet, piano, and strings. (Approx. 10 minutes)

André

Jolivet was one of the most distinctive voices in 20th-century French music, known for his belief in music as a spiritual and elemental force. A student of Edgard Varèse, Jolivet was drawn to ancient rituals, non-Western traditions, and the idea of music as a form of incantation.

Throughout his career, he pursued a sound that was modern yet deeply rooted in what he considered the primal origins of music.

Composed in 1948, Jolivet’s Concertino for Trumpet is compact and concentrated, lasting just around ten minutes. But within that brief span, Jolivet crafts a work of extraordinary color, contrast, and character. The Concertino opens with music of ceremonial force—bold, declamatory trumpet lines answered by incisive rhythms in the piano and strings. This energy soon gives way to more lyrical, searching material, where the trumpet seems to sing in long, winding phrases that recall both chant and jazz. The next section is scherzo-like, bristling with syncopation and rhythmic play, while the finale races forward with brilliant virtuosity, ending the work in a blaze of momentum and flair.

The DSO previously performed Jolivet’s Concertino for Trumpet just once, at an opening night gala concert in September 2002, conducted by Thomas Wilkins and featuring trumpet soloist Omar Butler.

Les animaux modèles (Model Animals), Op. 111

Composed 1940-42 | Premiered 1942 FRANCIS

POULENC

B. January 7, 1899, Paris, France

D. January 30, 1963, Paris, France

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 3 trumpets (one doubling on cornet), 3 trombones, tuba, timpani, percussion, 2 harps, celeste, piano, and strings. (Approx. 21 minutes)

Francis

Poulenc was born into a reputable family of industrialists in Paris. As a child, he was exposed to the music of Stravinsky, which had a significant and lasting effect on Poulenc’s own compositions. Poulenc was famously described by the critic Claude Rostand as “half-monk, half-rascal,” and humor lies at the heart of much of his music. Even in his sacred works (for which he is perhaps best known), he often sounds as if he is writing with a glint in his eye.

Les animaux modèles is a more serious work, however, as it was written in the early days of World War II and the Nazi Occupation of France. “One way or another I wanted to find a reason for hope in the future of my country,” Poulenc wrote. The piece was conceived as a ballet (though it lacked a linear plot) with eight sections, which the composer pared down to six for the present suite. Each section is based on a fable by the French writer Jean de La Fontaine — titles include “The Bear and the Travelers,” “The Man with two

FORD PIQUETTE AVENUE PLANT

Birthplace of the Model T

A NATIONAL HISTORIC LANDMARK

461 Piquette

5 minutes from Orchestra Hall

PUBLIC HOURS

Visit Henry Ford’s original Model T factory built in 1904. Stroll through automotive history at your own pace, or take a guided tour led by museum historians. You’ll learn the amazing story of how Ford revolutionized manufacturing and put the world on wheels. Get up close to more than 65 rare automobiles and T trucks, see Ford’s office, find unique gifts, or host your special event in this landmark building. For private and group tour information, call (313) 872-8759

Wednesday to Sunday 10 am – 4 pm

Closed Holidays

Private tours and school fi eld trips are available Mondays and Tuesdays upon request.

Optional guided tours at 10 am, Noon & 2 pm

ADMISSION

Adults: $20

Seniors (65+) and Veterans: $18

Students (with ID)/Youth: $10

Children (4 & under): Free

Group Tours (15+ guests): $15 ea.

Mistresses,” and “The battle of the two roosters.”

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

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

4/6/25

Proof #3 half page to run in DSO Performance magazine Spring 2025 C2

4/25 to 5/18

Discounted rate $350

The DSO previously performed Poulenc’s Les animaux modèles just once, in February 2020, conducted by Thomas Søndergård.

Ma Mère l’Oye (Mother Goose)

Composed 1910 | Orchestrated 1911

MAURICE RAVEL

B. March 7, 1875, Ciboure, Basses-Pyrénées, France

D. December 28, 1937, Paris, France

Scored for 2 flutes (one doubling on piccolo), 2 oboes (one doubling on English horn), 2 clarinets, 2 bassoons (one doubling on contrabassoon), 2 horns, timpani, percussion, harp, celeste, and strings. (Approx. 28 minutes)

Like

Dukas, Ravel was a masterful orchestrator and in Ma Mère l’Oye (Mother Goose) he assembled a delightfully nuanced bouquet of orchestral sonorities. The beauty of “Pavane of the Sleeping Beauty,” for example, stems directly from the delicacy of the scoring: alternating flutes, clarinet, and first violins spin a fragile web from three simple themes creating an aural affect as ephemeral as gossamer.

In “Tom Thumb” Ravel depicts the sad

UPCOMING CONCERTS

Young Artist of the Year

Wednesday, May 7, 2025, 7 p.m.

Featuring: Nhi Luong, Piano with Scott Hanoian, Conductor with the Tuesday Musicale of Detroit Chamber Orchestra NARDIN PARK UNITED METHODIST CHURCH

29887 West Eleven Mile Road, Farmington Hills, MI 48336 No Admission Charge • Afterglow

Mid-May Concert and Luncheon

Tuesday, May 13, 2025, 10:30 a.m.

Tim Nicolia, Cello and Trio Ensemble

Robyn Myers, Flute and Ensemble

Dan Mihaescu, Baritone and Piano Collaborator

Luke Pisani, Violin, Irene Kinsey Stare Strings Award Recipient Ethan Mihaescu, Solo Piano, Student Leaguer

GROSSE POINTE UNITED METHODIST CHURCH 211 Moross Road, Grosse Pointe Farms, MI 48236

Luncheon: $25 per person. Reservation due by May 6. Call (313) 520-8663 No Admission Charge for Concert

For

Artists of the Year Concert

Friday, June 27, 2025, 7:30 p.m.

Featuring: Caitlin Lynch, New York Met Soprano

Jonathan Lasch, Detroit Opera Baritone

ST. JAMES CATHOLIC CHURCH

46325 W. 10 Mile Road, Novi, MI 48374

Tickets: $25 credit or debit cards, call (313) 520-8663 • Afterglow

plight of Tom, who has lost his way in the woods. The simple melodies of the oboe and English horn waft forlornly above muted string textures as indifferent chirping in the flutes and violins imitate the birds that have caused Tom’s predicament.

In “‘Laideronnette, Empress of the Pagodas,” Ravel describes Madame d’Aulnoy’s tale in his subtitle: “[The Empress] undressed and got into the bath. Immediately the toy mandarins and mandarinesses began to sing and to play instruments. Some had theorbos made from walnut shells; some had viols made from almond shells; for the instruments to be of a size appropriate to their own.”

d’Aulnoy’s tale follows the “Beauty and the Beast” trope, although in this particular tale, both Laideronnette and her suitor, an ugly green serpent, are under spells of alarming ugliness. The melodies are mainly pentatonic and based upon the black-keyed notes of the piano. In addition, the introduction of vibrant, bright sonorities from the percussion section of

xylophone, celeste, and glockenspiel contrast vividly with the pastel timbres of the preceding movements.

In “Conversations between Beauty and the Beast,” Beauty is represented by the elegant and dark-hued clarinet while Beast’s role is carried by the endearingly less-elegant contrabassoon. Through the voices of the instruments, the characters carry on in dialogue over a spacious waltz rhythm established by the harp and strings.

In “The Enchanted Garden,” which represents the happy awakening of the Sleeping Beauty, Ravel reprised the entire spectrum of sonorities explored in the previous four movements by beginning with hushed strings and winds that blossom into a dazzling orchestral tutti, replete with shimmering figures from the celeste and glockenspiel. — Nathan Platte

The DSO most recently performed the suite from Ravel’s Ma Mère l’Oye in April 2024, conducted by Simone Menezes. The DSO first performed this piece in December 1923, conducted by Victor Kolar.

PROFILES

MARIE JACQUOT

Marie Jacquot has played her way to the forefront of exciting young conductors through numerous outstanding debuts with top-class orchestras, her consistent musical work, and her interest in exploring a wide range of repertoire.

Beginning in the 2024–25 season, she is Chief Conductor of the Royal Danish Theatre Copenhagen, where she conducts productions of Manfred Trojahn’s Orest  and Giacomo Puccini’s Trittico, as well as works by Richard Strauss, W.A. Mozart, E. W. Korngold, and Signe Lykke.

Since the 2023–24 season, Jacquot has been Principal Guest Conductor of the Wiener Symphoniker, with whom she can be heard in concerts at the Vienna Konzerthaus, the Vienna Musikverein, at the Bregenz Festival, and on tour. From 2026–27, she will also serve as chief conductor of the WDR Symphony Orchestra.

In 2024-25, Jacquot will give her debuts with the Orchestre National de France, BBC Symphony Orchestra, Oslo Philharmonic, Hamburg Philharmonic, and the Orchestre Symphonique de Montréal. In addition, she will conduct the opera premiere Guercœur at Oper Frankfurt, will lead a tour through Germany with the Wiener Symphoniker, and will return to the US with concerts in North Carolina and Detroit.

Also an avid opera conductor, Jacquot has led premieres and performances of an array of repertoire at prominent opera houses across Europe.

Her awards include the Ernst Schuch Prize in 2019. In February 2024, she won the palm Révélation Chef d’orchestre at the 31st Victoires de la Musique Classique.

HUNTER EBERLY

Principal Trumpet of the Detroit Symphony Orchestra, Hunter Eberly has performed as guest Principal Trumpet with the Chicago Symphony Orchestra, the Cincinnati Symphony Orchestra, the Orchestre Symphonique de Quebec, the Malaysian Philharmonic Orchestra, the Grand Rapids Symphony, and the Grand Teton Festival Orchestra. He has also served as principal trumpet of the Jacksonville Symphony and has performed and toured with the Los Angeles Philharmonic. Eberly enjoys playing many genres and has performed with Motown greats including Aretha Franklin, The Temptations, The 4 Tops, and Mary Wilson of The Supremes.

A frequent soloist with the DSO, his 2016 performance of the John Williams Trumpet Concerto was recorded and released on the Naxos label.

Eberly earned a Bachelor of Music degree from Grand Valley State University and a Professional Studies Certificate from The Colburn School in Los Angeles.

An award-winning trumpeter and avid educator, Eberly has taught at Michigan State University, Grand Valley State University, and the University of Michigan, and has given masterclasses and recitals at conservatories and universities throughout North America. Eberly and his wife Kim own Island Music LLC, a music studio in Grosse Ile, MI. Eberly also maintains a small private teaching studio and regularly coaches college students and young professionals in preparation for auditions.

Eberly is a Yamaha Performing Artist.

ENRICO LOPEZ-YAÑEZ

Principal Pops Conductor

Devereaux Family Chair

DETROIT SYMPHONY ORCHESTRA

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

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair NA’ZIR MCFADDEN Assistant Conductor, Phillip & Lauren Fisher Community Ambassador TABITA BERGLUND Principal Guest Conductor

PVS CLASSICAL SERIES

Title Sponsor:

SHOSTAKOVICH’S TENTH SYMPHONY

Thursday, May 8, 2025 at 7:30 p.m.

Friday, May 9, 2025 at 8 p.m.

Saturday, May 10, 2025 at 8 p.m. in Orchestra Hall

JADER BIGNAMINI , conductor ALINA IBRAGIMOVA , violin

Sergei Prokofiev Overture on Hebrew Themes, Op. 34 (1891–1953)

Violin Concerto No. 1 in D major, Op. 19

I. Andantino

II. Scherzo: Vivacissimo

III. Moderato

Alina Ibragimova, violin

Intermission

Dmitri Shostakovich Symphony No. 10 in E minor, Op. 93 (1906–1975) I. Moderato

II. Allegro

III. Allegretto

IV. Andante - Allegro

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

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

PROGRAM AT-A-GLANCE | SHOSTAKOVICH’S TENTH SYMPHONY

The Full Breadth and Depth

Tonight’s program showcases the hallmarks of Russian classical music. Overarching musical characteristics of 20th century Russian music include deep emotional themes, dramatic contrasts in orchestration, and an emphasis on Russian culture and history frequently inspired by folk traditions. Sergei Prokofiev and Dmitri Shostakovich were two of the best when it came to curating and upholding this uniquely Russian sound. Prokofiev’s two pieces on this program— Overture on Hebrew Themes and Violin Concerto No. 1—are similar in that there is a deep emotional core to the work surrounded by stark contrasts in color and tone. Shostakovich’s Tenth Symphony is a powerhouse of a work that is just as technically demanding as it is introspective and emotional. Music Director Jader Bignamini leads the orchestra with immense prowess as they traverse through the contrasts of color and character.

PROGRAM NOTES

Overture on Hebrew Themes, Op. 34b

Composed 1919 | Orchestrated 1934

SERGEI PROKOFIEV

B. April 23, 1891, Sontsovka, Ukraine

D. March 5, 1953, Moscow, Russia

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, percussion, piano, and strings. (Approx. 5 minutes)

SergeiProkofiev’s music is known for its wit, rhythmic drive, and sharply etched melodies— often walking a fine line between irony and sincerity. Born in what is now Ukraine and trained at the Saint Petersburg Conservatory, he spent nearly 20 years abroad following the Russian Revolution before returning to the Soviet Union in the mid-1930s.

His Overture on Hebrew Themes was originally written in 1919 in New York for the Zimro Ensemble, a sextet of RussianJewish émigré musicians. They supplied Prokofiev with a notebook of Jewish folk melodies, from which he selected two themes to weave into a one-movement work for clarinet, piano, and string quartet. Though he did not have deep personal ties to Jewish musical traditions, Prokofiev’s sensitivity to character and color allowed him to capture the expressive contours of klezmer-inflected themes with remarkable authenticity.

In 1934—by which time he had returned to the Soviet Union—Prokofiev created a new version of the piece, now scored for clarinet, full orchestra, and piano. This revision expanded the music’s expressive range while preserving its essential chamber-like intimacy. The clarinet still introduces the lyrical main theme with a plaintive, ornamented melody that recalls

traditional Jewish folk singing. The piano plays an active role, often reinforcing rhythmic energy or adding percussive punctuation, while the orchestra provides a richer harmonic palette and dynamic sweep.

Despite its compact length, the Overture on Hebrew Themes moves through a wide range of moods—from soulful and introspective to lively and exuberant— ultimately celebrating the expressive depth and vitality of the source material.

The DSO most recently performed Prokofiev’s Overture on Hebrew Themes in February 1975, conducted by Aldo Ceccato. The DSO first performed the piece on tour a year prior, in October 1974, also conducted by Ceccato.

Violin Concerto No. 1 in D major, Op. 19

Composed 1917 | Premiered 1923

SERGEI PROKOFIEV

B. April 23, 1891, Sontsivka, Ukraine

D. March 5, 1953, Moscow, Russia

Scored for solo violin, 2 flutes (one doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, tuba, timpani, percussion, harp, and strings. (Approx. 22 minutes)

SergeiProkofiev was one of the most remarkably gifted musicians of the 20th century, not only as a composer, but also as a pianist and conductor—and a first-rate chess player. At the beginning of his career, most of Prokofiev’s output was closely tied to his piano playing; it was only in the latter part of his life, following his return to Soviet Russia after many years in the west, that the piano began to play a lesser role in his work.

Prokofiev’s first violin concerto was written during the tumultuous year of 1917—a difficult one for Russia, but an incredibly productive one for the composer. Despite the harrowing events leading up to the October Revolution and the abdication of Tsar Nicholas II,

Prokofiev spent the year penning his first violin concerto, his famed first symphony (the “Classical”), his third and fourth piano sonatas, the Visions fugitives for piano, a cantata based on Chaldean texts, and other works. The violin concerto was completed in the summer of 1917, but Prokofiev left Russia shortly thereafter, and therefore the concerto was not given its premiere until October 1923—first in Paris, and three days later in Russia.

The concerto is something of a departure from the traditional fast-slow-fast pattern; really, its scheme is essentially slow-fast-slow. The first movement opens with the violin playing sognando —“dreamily”—and then joined by the flutes, clarinets, and oboes. A C major theme then emerges, and the development plays the two off each other before a brief recapitulation. The second movement is quick, but its athletic and even savage musicality may make it seem even briefer than it truly is. But the final movement returns to the measured and moderate tone of the first—beginning with a bassoon theme that is soon picked up by the soloist, and ending with a dynamic fade that is cleverly matched by a subtle drag in tempo.

The DSO most recently performed Prokofiev’s Violin Concerto No. 1 in October 2018, conducted by Leonard Slatkin and featuring violinist Gil Shaham. The DSO first performed the piece in February 1955, conducted by Paul Paray and featuring violinist Joseph Szigeti.

Symphony No. 10 in E minor, Op. 93

Composed 1953 | Premiered 1953

DMITRI SHOSTAKOVICH

B. September 25, 1906, Saint Petersburg, Russia

D. August 9, 1975, Moscow, Russia

Scored for 2 flutes (one doubling on piccolo), piccolo, 3 oboes (one doubling on English horn), 3 clarinets (one doubling on E-flat clarinet), 3 bassoons (one doubling

on contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, and strings. (Approx. 46 minutes)

Ithas been nearly 50 years since Dmitri Shostakovich died, and to this day he remains a controversial figure—not for his music, but for the complicated and ominous presence of the Soviet government in his life and work. The composer was forced to wear two masks: the public one, which gave the impression of being a loyal citizen of the Soviet Union; and the private one, which concealed an elaborate set of games he played with the authorities to survive, and which allowed his genius to fill many of his works with veiled musical messages.

But when Joseph Stalin died in 1953, Shostakovich could breathe somewhat more easily—a looser atmosphere permeated the bureaucracy, and the composer began to feel comfortable writing music that was unabashedly complex, challenging, and true to his personal ideals. He still needed to form a relationship with the regime, however, and the post-Stalin powers often proved brittle and testy. The December 1953 premiere of the Tenth Symphony received immediate and enthusiastic public acclaim, but the official verdict on the work had to wait until the following spring after an intensive three-day seminar in Moscow. Scholar Boris Schwarz says the debate “… seemed to transcend the significance of the work and centered on a vital principle: the right of an artist to express himself, individually rather than collectively, subjectively rather than objectively, without bureaucratic interference or tutelage.” But in the end the Kremlin joined the public in vindicating Shostakovich, naming him “People’s Artist of the U.S.S.R.,” the highest honor the government could confer.

The symphony begins with an extraordinarily long, Mahler-like movement, which contains roughly half of the music in the work, and which seems to paint the picture of a bleak, barren, and ruined landscape, perhaps psychological, perhaps real. It is one of Shostakovich’s greatest and most chilling creations, maintaining continuous tension based on a haunting and almost funereal bass line. In total and almost frightening contrast, there follows a brutal, hell-fire scherzo, only four minutes long, but full of a searing intensity which is almost unbearable to listen to.

The third movement, which may be considered the emotional and philosophical core of the symphony, is another Mahlerlike utterance, a dark and mysterious nocturne which bears some autobiographical content. For the first time there appears a motif, D-E flat-C-B, which is a musical code for the composer’s name written in German. Alongside this is another theme, E-A-E-D-A, which, again in code, spells out the first name of an Azerbaijani pianist and composer named Elmira Nazirova, who studied with Shostakovich in 1947, and who provided him with a romantic but chaste inspiration for many years, including an extended correspondence during the time the Tenth Symphony was being written. The finale begins with one of the longest slow introductions in any symphony, but whose ominous, foreboding mood is suddenly lifted by the appearance of a sprightly theme. As the movement comes to an end, the timpani hammers out the four-note Shostakovich motif, and the work sweeps to a powerful and hair-raising conclusion.

The DSO most recently performed Shostakovich’s Symphony No. 10 in December 2017, conducted by Mark Wigglesworth. The DSO first performed the work in March 1969, conducted by Antal Doráti.

PROFILES

For Jader Bignamini’s biography, see page 6.

ALINA IBRAGIMOVA

Performing music from Baroque to new commissions on both modern and period instruments, Alina Ibragimova is recognised for the “immediacy and honesty” (The Guardian) of her performances.

The 2024–25 season sees Ibragimova perform with the London Philharmonic Orchestra, Detroit Symphony Orchestra, Rundfunk-Sinfonieorchester Berlin, Bamberger Symphoniker, WDR Sinfonieorchester, Düsseldorfer Symphoniker, City of Birmingham Symphony, and Swedish Chamber Orchestra, working with Vladimir Jurowski, Hannu Lintu, Anja Bihlmaier, Michael Sanderling, Iván Fischer, and Krzysztof Urbański. She also continues her partnership with pianist Cédric Tiberghien for recital tours of the United States, United Kingdom, and Japan.

Over the last two seasons Ibragimova has performed concertos with the Deutsches Symphonie-Orchester Berlin, Budapest Festival Orchestra, Netherlands Radio Philharmonic, Pittsburgh Symphony, San Francisco Symphony, Royal Concertgebouw Orchestra, Camerata Salzburg, and Helsinki Philharmonic, working with Robin Ticciati, Ryan Bancroft, Maxim Emelyanychev, and Daniel Harding. She was also artist-in-residence with the Mahler Chamber Orchestra and toured Europe with the

Scottish Chamber Orchester and Kammerorchester Basel.

In recital, Ibragimova regularly performs at London’s Wigmore Hall, Amsterdam’s Concertgebouw, Berlin’s Pierre Boulez Saal, Salzburg’s Mozarteum, Hamburg’s Elbphilharmonie and at the Royal Albert Hall, where she performed Bach’s Sonatas and Partitas for solo violin at part of the BBC Proms. Ibragimova is a founding member of the Chiaroscuro Quartet—one of the most sought-after period ensembles.

Ibragimova’s discography ranges from Bach concertos with Arcangelo through to Prokofiev sonatas with Steven Osborne. Her 2020 recording of Shostakovich’s Violin Concertos won a Gramophone Award, while her 2021 recording of Paganini’s 24 Caprices topped the classical album charts on its release. Her most recent recording is Telemann’s Fantasias for Solo Violin.

Born in Russia in 1985, Ibragimova attended the Moscow Gnesin School, The Yehudi Menuhin School, and Royal College of Music, studying with Natasha Boyarsky, Gordan Nikolitch, and Christian Tetzlaff. An alum of the BBC New Generation Artists Scheme, Ibragimova’s many accolades include two Royal Philharmonic Society awards and an MBE in the 2016 New Year Honours List.

Ibragimova performs on a c.1775 Anselmo Bellosio violin kindly provided by Georg von Opel.

ENRICO LOPEZ-YAÑEZ

Principal Pops Conductor

Devereaux Family Chair

DETROIT SYMPHONY ORCHESTRA

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

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

TABITA BERGLUND Principal Guest Conductor

PVS CLASSICAL SERIES

Title Sponsor:

RAVEL’S

PIANO CONCERTOS

Friday, May 16, 2025 at 10:45 a.m.

Saturday, May 17, 2025 at 8 p.m.

Sunday, May 18, 2025 at 3 p.m. in Orchestra Hall

JADER BIGNAMINI , conductor BERTRAND CHAMAYOU, piano

Maurice Ravel Le Tombeau de Couperin (1875–1937) I. Prélude

II. Forlane

III. Menuet

IV. Rigaudon

MCFADDEN Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

Concerto in G major for Piano and Orchestra

I. Allegramente

II. Adagio assai

III. Presto

Bertrand Chamayou, piano

Intermission

Maurice Ravel Piano Concerto (Left Hand) in D major (1875–1937) Bertrand Chamayou, piano

Nikolai Rimsky-Korsakov Capriccio espagnol, Op. 34 (1844–1908) I. Alborada

II. Variazioni

III. Alborada

IV. Scena e canto gitano

V. Fandango asturiano

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

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

PROGRAM AT-A-GLANCE | RAVEL’S PIANO CONCERTOS

A Piano Double-Take

Revolving around Ravel’s virtuosic piano writing and masterful orchestration, this program opens with his Le Tombeau de Couperin. This work was originally written as a piano suite but was ultimately rewritten for orchestra. Ravel’s talent for piano writing is then revealed with a consecutive tour-de-force performance of his Piano Concerto in G major, followed by his Concerto for the Left Hand performed by Bertrand Chamayou. The structure of the Concerto in G major is inspired by Mozart and Saint-Saëns, with Ravel adding a virtuosic flair. Tonight’s second concerto proves beyond the shadow of a doubt that Ravel can compose another piano concerto of the same caliber, even for a pianist with only one hand. RimskyKorsakov’s Capriccio espagnol steps up to the plate to finish the program on an exuberant note.

PROGRAM NOTES

Le Tombeau de Couperin

Composed 1914–17 | Premiered April 1919

MAURICE RAVEL

B. March 7, 1875, Ciboure, France

D. December 28, 1937, Paris, France

Scored for 2 flutes (one doubling on piccolo), 2 oboes (one doubling on English horn), 2 clarinets, 2 bassoons, 2 horns, trumpet, harp, and strings. (Approx. 16 minutes)

Thiswork is owed to not one but two French composers: Maurice Ravel, who wrote it, and the Baroque master Francois Couperin, who stands behind it as something of a guiding spirit. Ravel completed Le Tombeau de Couperin in 1917 as a suite for piano modeled on the 18th century dance forms that underlie many of Couperin’s harpsichord pieces.

The first movement opens with a rustling of woodwinds—specifically, a running melody given out in a notoriously treacherous oboe solo. Other instruments take up this theme in a game of flight and pursuit. Forlane, the second movement, uses the rhythm of the old dance from which it takes its title, but its principal melody, heard at once in the violins, is decidedly modern in its angular profile and tonal ambiguity. The movement’s closing gesture, in the violins, prefigures the opening bar of the ensuing Minuet.

This portion of the suite features a charming melody whose presentation Ravel entrusts once again to the oboe. A feeling of restraint and nostalgia prevails, but it is swept away in the opening measures of the fourth movement, whose incisive phrases and bright orchestration produce a spirited effect.

The DSO most recently performed Ravel’s Le Tombeau de Couperin on the William Davidson Neighborhood Concert Series in March 2022, conducted by Ari Pelto. The DSO first performed the piece in November 1936, conducted by Alexander Smallens.

Concerto in G major for Piano and Orchestra

Composed 1931 | Premiered 1932

MAURICE RAVEL

B. March 7, 1875, Ciboure, France

D. December 28, 1937, Paris, France

Scored for solo piano, flute, piccolo, oboe, English horn, clarinet, E-flat clarinet, 2 bassoons, 2 horns, trumpet, trombone, timpani, percussion, harp, and strings. (Approx. 21 minutes)

The physical decline of Maurice Ravel was one of the most tragic in the annals of music history. The composer suffered from a brain disease that left him lucid yet helpless, unable to write, speak, or play an instrument: full of ideas, yet no way to communicate them. In 1929, still healthy and having finally achieved

popularity via the ballet Boléro, and financial success through an American concert tour, Ravel set out to create a long-postponed piano concerto for himself, his Piano Concerto in G major.

The work would be a showcase for both his remarkable virtuosity and his compositional talents. Some of the material came from abandoned works from a decade before, while other parts were strongly influenced by an American export to Europe, Le Jaz Hot.

The fusion of popular and traditional elements was clearly a challenge for Ravel, and the concerto contains seemingly incongruous elements, yet is a superbly constructed juxtaposition of American blues and jazz, Iberian exoticism and neo-classicism. Its jazz influences are a mix of creative spontaneity and a lack of formal constraint, and pay homage to the music of George Gershwin, whom Ravel had met several years before. Ravel himself considered the Piano Concerto in G major his most characteristic work.

To prepare for the anticipated premiere, Ravel spent long hours at the piano, playing études by both Chopin and Liszt. He was happily writing and practicing when he was forced to stop to attend a festival in his honor. The distraction of the festival delayed the completion of the work until late 1931. By then, however, the illness that would eventually kill him made it impossible for him to manage the challenges of the keyboard. He was forced to settle for conducting the premiere, which was played by Ravel’s lifelong friend, Marguerite Long.

The DSO most recently performed Ravel’s Piano Concerto in G major in May 2022, conducted by Jader Bignamini and featuring pianist Jean-Yves Thibaudet. The DSO first performed this piece in January 1933, conducted by Victor Kolar and featuring pianist Edward Bredshall.

Piano Concerto (Left Hand) in D

major

Composed 1930 | Premiered 1932

MAURICE RAVEL

B. March 7, 1875, Ciboure, France

D. December 28, 1937, Paris, France

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

Muchof the significant left-hand piano music written in the 20th century owes its existence to the Austrian-born American pianist Paul Wittgenstein, who lost his right arm on the Russian front during World War I. Determined not to let this injury destroy his musical life, Wittgenstein developed an extraordinary technique with only his left hand and used his family’s wealth to commission onehanded piano works from notable composers, including Richard Strauss, Sergei Prokofiev, Benjamin Britten, and Maurice Ravel. Ravel found the challenge of writing for one hand particularly stimulating; his remarks preceding the premiere reveal an ambition to write a substantial piece, despite the digital limitations of the soloist: “…[the soloist’s limitation] poses a rather arduous problem for the composer…which is to maintain interest in a work of extended scope while utilizing such limited means. The fear of difficulty, however, is never as keen as the pleasure…of overcoming it.”

The work, which is mostly grand and serious, is in a single movement, and follows a slow-fast-slow pattern. The opening evokes a mysterious atmosphere by using the lowest possible instruments in the orchestra: the basses playing their open strings alongside a solo contrabassoon. The latter instrument’s melody presents two important motives: a dotted rhythm that will eventually grow into the first theme, and a descending third that will become important in the center of the

work. The introduction gradually grows in intensity and brightness, acting as a giant upbeat to the soloist’s entrance, which after a cadenza introduces the first theme. The solo piano soon offers a brief and lyrical second theme, and the orchestra and soloist join together in a transition that quotes the opening dotted rhythm.

That transition leads to the arrival of a fast section in 6/8 time. A brief and playful melody in duple time follows, played by the high woodwinds and accompanied by the soloist. The middle section is an extended meditation on the descending third introduced at the opening. This is spun out into a theme that gradually builds in texture and activity; eventually the initial theme from the fast section becomes the accompaniment. A return to the slow section features an extended piano solo that touches on the lyrical theme from the opening, and leads to a triumphant conclusion.

The DSO most recently performed Ravel’s Piano Concerto in D major in February 2020, conducted by Thomas Søndergård and featuring pianist Bertrand Chamayou. The DSO first performed the piece in January 1935, conducted by Victor Kolar and featuring pianist Paul Wittgenstein himself.

Capriccio espagnol, Op. 34

Composed 1887 | Premiered 1887

NIKOLAI RIMSKY-KORSAKOV

B. March 18, 1844, Tikhvin, Russia

D. June 21, 1908, Liubensk, Russia

Scored for 2 flutes, piccolo, 2 oboes (one doubling on English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 15 minutes)

In his autobiography, Rimsky-Korsakov states that when the Russian Symphony Orchestra first read through his Capriccio espagnol, the players burst into applause after each movement. Touched by their praise, the composer

dedicated the piece to them. The musicians had good reason to be delighted with his work. Rimsky-Korsakov’s deep knowledge of their instruments led to highly idiomatic and colorful writing: “The change of timbres, the felicitous choice of melodic designs and figuration patterns, exactly suiting each kind of instrument... constitute here the very essence of the composition,” wrote the composer.

The Capriccio originated in 1884, when Rimsky-Korsakov studied violin technique while teaching instrumentation at the Court Chapel in Saint Petersburg. This experience inspired a fantasy on Russian themes for violin and orchestra. He also began a solo violin piece based on Spanish themes, but abandoned it when he realized that the material was better suited to a whole orchestra. Three years later he completed this piece, while taking breaks from orchestrating Prince Igor, an opera by his colleague Alexander Borodin that was left unfinished at his friend’s death.

For the Capriccio, Rimsky-Korsakov drew his melodies from Cantos y bailes populares de España, a collection of Spanish songs and dances compiled by José Inzenga (1828–1891). The Alborado is an instrumental piece given in praise of the rising sun, and often played by shepherds on a bagpipe with a drum accompaniment. It comes from the Asturias region, a mountainous coastline in northern Spain. The Variation movement uses another Asturian song, “Evening Dance.” The text was originally coarse and humorous, but RimskyKorsakov’s setting for four horns accompanied by lower strings transforms it into a gentle and sweet air at its first appearance. Later, its setting for violins and winds against rollicking lower strings imparts a lustier tone.

The Scena e canto gitano, which draws from an Andalusian gypsy song, begins with a cadenza for solo violin, perhaps revealing how the composer had originally conceived of this composition. The violinist yields the stage to other soloists:

flute, clarinet, and harp. Other instruments join, finally reaching a full tutti texture with the beginning of the Fandango asturiano, a lively dance in triple meter.

The DSO most recently performed

PROFILES

Rimsky-Korsakov’s Capriccio espagnol in September 2013, conducted by Leonard Slatkin. The DSO first performed this piece in January 1919, conducted by Ossip Gabrilowitsch.

For Jader Bignamini’s biography, see page 6.

BERTRAND CHAMAYOU

Bertrand Chamayou is one of today’s most strikingly brilliant pianists, recognized for his revelatory performances at once powerfully virtuosic, imaginative, and breathtakingly beautiful. A leading interpreter of French music, his vast repertoire includes major bodies of work such as the complete piano works of Ravel, Liszt’s Etudes and Années de pèlerinage, and Messiaen’s Vingt regards sur l’enfant-Jésus. At the same time, the French pianist possesses a deep passion for new music, having worked with composers including Pierre Boulez, Henri Dutilleux, György Kurtág, Thomas Adès, Bryce Dessner, and Michael Jarrell.

Chamayou regularly performs with the most prestigious orchestras, and this season will appear with the London Symphony Orchestra in Gstaad and La-Côte-Saint-André, play a chamber music evening at Wigmore Hall, perform with Seattle Symphony Orchestra, Orchestre de la Suisse Romande, Basel Chamber Orchestra, Chamber Orchestra of Europe, BBC Philharmonic Orchestra, Basel Symphony Orchestra, Les Siècles Orchestra, Gürzenich Orchester Köln, Belgian National Orchestra, and Detroit Symphony Orchestra. A tour with Barbara Hannigan will take the two musicians to Montreal, Toronto, Vancouver, Victoria, La Jolla, Rochester, Philadelphia, New York, Ottawa, Washington, and Paris with duo recitals. Duo recitals with Sol Gabetta will take place at the Vienna Konzerthaus, Gewandhaus Leipzig, De Doelen

Rotterdam, Trieste, and Bologna. This season, Chamayou gives solo recitals in Clermont-Ferrand, Metz, Bordeaux, Poitiers, Perth, Paris, Dijon, Lyon, Aix-enProvence, Toulouse, Lille, and Oeiras.

A highly regarded chamber musician, his partners include renowned artists such as Sol Gabetta, Barbara Hannigan, Vilde Frang, Renaud and Gautier Capuçon, Leif Ove Andsnes, the Quatuor Ebène, and Antoine Tamestit. He is very committed to new repertoire and has also worked with Henri Dutilleux and György Kurtág and, more recently, with Thomas Adès, Bryce Dessner, and Michaël Jarrell, who dedicated his last piano concerto to him.

Chamayou has published many highly successful recordings, including a Naïve CD of music by César Franck, which was awarded several accolades. For his recording of Camille Saint-Saëns’s Piano Concertos Nos. 2 and 5, he was awarded the Gramophone Recording of the Year Award 2019. The only artist to win France’s prestigious Victoires de la Musique on five occasions, he has an exclusive recording contract with Warner/ Erato and was awarded the 2016 ECHO Klassik for his recording of Ravel’s complete works for solo piano.

Chamayou was born in Toulouse; his musical talent was quickly noted by pianist Jean-François Heisser, who later became his professor at the Paris Conservatoire. He completed his training with Maria Curcio in London. Since 2021, Chamayou has been Co-Artistic Director of Festival Ravel, the major new international festival celebrating Maurice Ravel, situated in France’s Basque country.

THE ANNUAL FUND

Gifts received between September 1, 2023, and February 15, 2025.

The DSO is proudly a community-supported orchestra and over 500,000 people engage with music through the DSO each year. Your gift is an investment in providing this community with music we can feel and the future of arts in Detroit, whether a first-time patron or lifelong subscriber.

From our leadership donors of the Gabrilowitsch Society, to our vital Governing Members, to the thousands of Friends who support the DSO each year, all donations are essential in ensuring that memorable music experiences thrive in our community for years to come. We extend special recognition to the following donors who contributed $1,500 or more to the Detroit Symphony Orchestra’s Annual Fund between September 1, 2023, and February 15, 2024. If you have questions about this roster, or would like to make a donation, please contact 313.576.5114 or visit dso.org/donate.

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Penny & Harold Blumenstein

Julie & Peter Cummings

Ms. Leslie C. Devereaux◊

Linda Dresner & Ed Levy, Jr.

Mr. & Mrs. Stanley Frankel

GIVING OF $100,000 & MORE

Mr. & Mrs.◊ Richard L. Alonzo

James & Patricia Anderson

Mr.◊ & Mrs. Raymond M. Cracchiolo

Joanne Danto & Arnold Weingarden

Mr. & Mrs. Phillip Wm. Fisher

GIVING OF $50,000 & MORE

Ms. Karol Foss

Mr. & Mrs. Aaron Frankel

Mr. & Mrs. Ralph J. Gerson

Mary Ann & Robert Gorlin

Ric & Carola Huttenlocher

Mrs. Bonnie Larson

GIVING OF $25,000 & MORE

Ms. Sharon Backstrom

Mrs. Cecilia Benner

Mr. & Mrs. Stephen Brownell

Mrs. Marjory Epstein

Mr. Michael J. Fisher

Madeline & Sidney Forbes

Mr. & Mrs. Edsel B. Ford II/Henry Ford II Fund

Mrs. Martha Ford

Dale & Bruce Frankel

Mr. & Mrs. James Grosfeld

Ronald M. & Carol◊ Horwitz

Mr.◊ & Mrs. Norman D. Katz

Mr. Alan J. & Mrs. Sue Kaufman

Morgan & Danny Kaufman

Mary Lee Gwizdala

Mr. & Mrs. Peter Karmanos, Jr.

Mr. & Mrs. James B. Nicholson

Mr. & Mrs. David Provost

Barbara C. Van Dusen

The Polk Family

Bernard & Eleanor Robertson

Drs. David & Bernadine Wu

Paul & Terese Zlotoff

Nicole & Matt Lester

David & Valerie McCammon

Mr. & Mrs. Eugene A. Miller

Patricia & Henry Nickol◊

Mr. & Mrs. Arn Tellem

Xavier & Maeva Mosquet

Mr. David Nicholson

Anne Parsons ◊ & Donald Dietz

Ms. Ruth Rattner

Martie & Bob Sachs

Laura & Jimmy Sherman Mr. & Mrs. Larry Sherman

Richard Sonenklar & Gregory Haynes Philanthropic Fund

Dr. Doris Tong & Dr. Teck M. Soo

Mr. & Mrs. Gary Torgow

Peter & Carol Walters

S. Evan & Gwen Weiner

Wolverine Packing Company

And one who wishes to remain anonymous

GABRILOWITSCH SOCIETY

Mr. & Mrs. Robert A. Allesee ◊

Diane Allmen

Dr. Lourdes V. Andaya

Janet & Norman Ankers

Pamela Applebaum

Drs. Brian & Elizabeth Bachynski

Drs. John ◊ & Janice Bernick

Gwen & Richard Bowlby

Michael & Geraldine Buckles

Ms. Elena Centeio

Thomas W. Cook & Marie L. Masters

Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer

Adel & Walter Dissett

Mr. Charles L. Dunlap & Mr. Lee V. Hart

Margie Dunn & Mark Davidoff

Dr. & Mrs. A. Bradley Eisenbrey

Margo & Jim Farber

Sally & Michael Feder

Amanda Fisher

Dr. Saul & Mrs. Helen Forman

Barbara Frankel◊ & Ronald Michalak

Herman & Sharon Frankel

Lynn & Bharat Gandhi

Girolami Family Charitable Trust ◊

Michael and Lisa Girolami

Dr. Robert T. Goldman ◊

GIVING OF $5,000 & MORE

Mrs. Denise Abrash

Mrs. Jennifer Adderley

Richard & Jiehan Alonzo

Dr. & Mrs. Joel Appel

Drs. Kwabena & Jacqueline Appiah

Mr. and Mrs. Arnold Aronoff

Ms. Ruth Baidas

Dr. David S. Balle

James A. Bannan

Mr. Mark G. Bartnik & Ms. Sandra J. Collins

Mr. Joseph Bartush

W. Harold & Chacona W. Baugh

Mr. & Mrs. Martin S. Baum

Mr. & Mrs. Richard Beaubien

Ms. Therese Bellaimey

Mr. William Beluzo

Hadas & Dennis Bernard

Mr. & Mrs. Jeffrey A. Berner

Bill & Caitlin Beuche

Mr. Michael G. Bickers

Dr. George & Joyce Blum

Timothy J. Bogan

Ms. Debra Bonde

Ms. Nadia Boreiko

The Honorable Susan D. Borman & Mr.

Stuart Michaelson

Mr. Anthony F. Brinkman

Sandra & Paul Butler

Mr.◊ & Mrs. James A. Green

Mr. & Mrs. Robert Hage

Judy ◊ & Kenneth Hale

Drs. Janet Hankin & Allen Goodman

Michael E. Hinsky & Tyrus N. Curtis

Mr.◊ & Mrs. Norman H. Hofley

Ms. Nicole Holmes

Ms. Carole Ilitch

Renato & Elizabeth Jamett

Mr. & Mrs. Richard J. Jessup

William & Story John

Lenard & Connie Johnston

Paul & Marietta Joliat

Betsy & Joel Kellman

Dr. David & Mrs. Elizabeth Kessel

Mr. & Mrs. Kosch

LeFevre Family

Bud & Nancy Liebler

Mr. & Mrs.◊ Joseph Lile

Dana Locniskar & Christine Beck

Dr. Stephen & Paulette Mancuso

Ms. Deborah Miesel

Dr. Robert & Dr. Mary Mobley

Cyril Moscow

Geoffrey S. Nathan & Margaret E. Winters ◊

Eric & Paula Nemeth

Dr. & Mrs. Roger C. Byrd

Richard Caldarazzo & Eileen Weiser

Mr. & Mrs. Brian C. Campbell

Philip & Carol Campbell

Mrs. Carolyn Carr

Mr.◊ & Mrs. François Castaing

Dr. Carol S. Chadwick & Mr. H. Taylor Burleson

Dr. Betty Chu

Mr. Fred J. Chynchuk

Dr. & Mrs. Charles G. Colombo

Dr. & Mrs. Bryan & Phyllis Cornwall

Ms. Elizabeth Correa

Mr.◊ & Mrs. Gary L. Cowger

Mr. & Mrs. Matthew P. Cullen

Dr. Edward & Mrs. Jamie Dabrowski

Deborah & Stephen D’Arcy Fund

Maureen T. D’Avanzo

Lillian & Walter Dean

Mr. & Mrs. Richard L. DeVore

Dr. Anibal & Vilma Drelichman

Elaine C. Driker

Edwin & Rosemarie ◊ Dyer

Ms. Ruby Duffield

Randall & Jill* Elder

Mr. Lawrence Ellenbogen

Ms. Laurie Ellias & Mr. James Murphy

Ms. Emily Elmer

Jim & Mary Beth Nicholson

Gloria & Stanley Nycek

George & Jo Elyn Nyman

Debra & Richard Partrich

Kathryn & Roger Penske

Dr. Glenda D. Price

Drs. Heather & Erich RichterDr. Erik

Rönmark* & Mrs. Adrienne Rönmark*

Mr. Ronald Ross & Ms. Alice Brody

Dr. & Mrs. John Roberts

Peggy & Dr. Mark B. Saffer

Sandy Schreier

Elaine & Michael Serling

Lois & Mark Shaevsky

Mrs. Sharon Shumaker

Mr. Norman Silk & Mr. Dale Morgan

Mr. Steven Smith

Charlie & John Solecki

Mr. & Mrs. John Stroh III

Emily & Paul Tobias

Ms. Marie Vanerian

Mr. James G. Vella

Mr.◊ & Mrs. Jonathan T. Walton

Mr. & Mrs. R. Jamison Williams

Ms. Mary Wilson

And two who wish to remain anonymous *Current DSO Musician or Staff

Mr. & Mrs. John M. Erb

Fieldman Family Foundation

John & Karen Fischer

Ms. Joanne Fisher

Dorothy A. & Larry L. Fobes

Dr. & Mrs. Franchi

Mr. & Mrs. Andrew Frick

Kit & Dan Frohardt-Lane

Mr.◊ & Mrs. Richard M. Gabrys

Myndi & Alan Gallatin

Mrs. Janet M. Garrett

Mr. Max Gates

Ambassador Yousif B. Ghafari & Mrs. Mara Kalnins-Ghafari

Mr. & Mrs. James Gietzen

Keith & Eileen Gifford

Dr. & Mrs. Theodore Golden

Ms. Jacqueline Graham

Dr. Herman & Mrs. Shirley Mann Gray

Ms. Chris Gropp

Leslie Groves & Joseph Kochanek

Mr. & Mrs. Darby Hadley

Robert & Elizabeth Hamel

Mr. Sanford Hansell & Dr. Raina Ernstoff

Thomas & Kathleen Harmon

Ms. Barbara Heller

Mr. Eric J. Hespenheide

& Ms. Judith V. Hicks

Mr. Donald & Marcia Hiruo

Mr. Matthew Howell & Mrs. Julie Wagner

William Hulsker & Aris Urbanes

Jane & Mario ◊ IacobelliMr. & Mrs. A. E. Igleheart

Mr. & Mrs. Kent Jidov

Mr. George G. Johnson

Paul & Karen Johnson

Carol & Rick Johnston

Connie & Bill Jordan

Mr. & Mrs. Steven Kalkanis

Judy & David Karp

Mike & Katy Keegan

Mrs. Frances King

Mrs. Janice King

Dr. & Mrs. Edward L. Klarman

Dr. Sandy Koltonow & Dr. Mary Schlaff

Ms. Susan Deutch Konop

James Kors & Victoria King

Robert & Laurie KunzMrs. Maria E. Kuznia

Mr. David Lalain & Ms. Deniella

Ortiz-Lalain

Deborah Lamm

Dr. Raymond Landes & Dr. Melissa McBrien-Landes

Drs. Lisa & Scott Langenburg

Bill & Kathleen Langhorst

Ms. Sandra Lapadot

Mr. Leonard LaRocca

Dr. Lawrence O. Larson

Max Lepler & Rex L. Dotson

Mr. & Mrs. Robert K. Leverenz

Drs. Donald & Diane Levine

Mr. & Mrs. Richard Lewnau

Mr. John Lovegren & Mr. Daniel Isenschmid

GIVING OF $2,500 & MORE

Mr. & Mrs. Joel Adelman

William Aerni & Janet Frazis

Mr. Juan Alvarez

Mr. & Mrs. Robert L. Anthony

Dr. & Mrs. Ali-Reza R. Armin

Pauline Averbach & Charles Peacock

Mr. Joseph Aviv & Mrs. Linda Wasserman

Mrs. Jean Azar

Ms. Elizabeth Baergen

Ellie & Mitch Barnett

Mr. Thomas Basile

Nancy & Lawrence Bluth

The Achim & Mary Bonawitz Family

Rud ◊ & Mary Ellen Boucher

Don & Marilyn Bowerman

Mr. & Mrs. Mark R. Buchanan

Dr. Robert Burgoyne & Tova Shaban

Mr. & Mrs. Richard Burstein

Mr.◊ & Mrs. Robert J. Cencek

Ronald ◊ & Lynda Charfoos

Mr. William Cole & Mrs. Carol Litka Cole

Mr. & Mrs. Brian G. Connors

Mr. & Mrs. David Conrad

Patricia & William ◊ Cosgrove, Sr.

Ms. Joy Crawford* & Mr. Richard Aude

Bob & Terri Lutz

Daniel & Linda* Lutz

Mrs. Sandra MacLeod

Mr. & Mrs. Winom J. Mahoney

Cis Maisel

Mr. Sean Maloney & Mrs. Laura Peppler-Maloney

Maurice Marshall

Brian & Becky McCabe

Mr. Anthony Roy McCree

Patricia A.◊ & Patrick G. McKeever

Dr. Susan & Mr. Stephen* Molina

Mr. & Mrs. Daniel E. Moore

Ms. Jennifer Muse

Joy & Allan Nachman

Mr. & Mrs. Albert T. Nelson, Jr.

Ms. Jacqueline Paige & Mr. David Fischer

Mr. & Mrs. Randy G. Paquette

Benjamin B. Phillips

Mr. David Phipps & Ms. Mary Buzard

William H. & Wendy W. Powers

Charlene & Michael Prysak

Mrs. Anna M. Ptasznik

Drs. Yaddanapudi Ravindranath & Kanta Bhambhani

Drs. Stuart & Hilary Ratner

Mr. & Mrs. Dave Redfield

Mr. & Mrs. Gerrit Reepmeyer

Mr. & Mrs. Jon Rigoni

Ms. Linda Rodney

Ms. Patricia Rodzik

Seth & Laura Romine

Michael & Susan Rontal

Mr. & Mrs. Robert B. Rosowski

Mr. Chris Sachs

Phyllis & Kevin Cullen

Mrs. Barbara Cunningham

DeLuca Violin Emporium

Ms. Jane Deng

Michelle Devine & Brian Mahany

Dr. Mark & Karen Diem

Dr. & Mrs. Thomas Ditkoff

Diana & Mark Domin

Ms. Felicia Donadoni

Ms. Marla Donovan

Paul◊ & Peggy Dufault

Hon. Sharon Tevis Finch

Amy & Robert Folberg

Mr. & Mrs. Calvin Ford

Ms. Linda Forte & Mr. Tyrone Davenport

Ms. Laurie Frankel

Mr. George Georges

Stephanie Germack

Thomas M. Gervasi

Dr. Kenneth ◊ & Roslyne Gitlin

Ms. Jody Glancy

Mr. Lawrence Glowczewski

Judie Goodman & Kurt Vilders

Dr. William & Mrs. Antoinette Govier

Ms. Ann Green

Linda & Leonard Sahn

Mr. David Salisbury & Mrs. Terese

Ireland Salisbury

Marjorie Shuman Saulson

Ms. Joyce E. Scafe

Mr. & Mrs. Donald and Janet Schenk

Robert & Patricia Shaw

Shiv Shivaraman

Dean P. & D. Giles Simmer

Mr. & Mrs. Matthew Simoncini

William & Cherie Sirois

Michael E. Smerza & Nancy Keppelman

Ms. Susan Smith

Peter & Patricia Steffes

Dr. Gregory Stephens

Mrs. Kathleen Straus & Mr. Walter Shapero

David Szymborski & Marilyn Sicklesteel

Joel & Shelley Tauber

Dr. & Mrs. Howard Terebelo

Dr. Barry Tigay

Yoni & Rachel Torgow

Charles ◊ & Sally Van Dusen

Mrs. Eva von Voss

Mr. Michael A. Walch & Ms. Joyce Keller

Gary L. Wasserman & Charles A. Kashner

Beverly & Barry Williams

Dr. & Mrs. Ned Winkelman

Ms. June Wu

Ms. Andrea L. Wulf

Dr. Sandra & Mr. D. Johnny Yee

Mr. & Mrs. Wesley Yee

Ms. Ellen Hill Zeringue

And two who wish to remain anonymous

Diane & Saul Green

Dr. Robert Greenberger

Anne & Eugene Greenstein

Sharon Lopo Hadden

Dr.◊ & Mrs. David Haines

Dr. & Mrs. Razmig Haladjian

Cheryl A. Harvey

Mr. and Mrs. Robert Holcomb

Mr. & Mrs. Peter Hollinshead

The Honorable Denise Page Hood & Reverend Nicholas Hood III

James Hoogstra & Clark Heath

Dr. Karen Hrapkiewicz

Larry & Connie Hutchinson

Sally Ingold

Ms. Elizabeth Ingraham

Carolyn & Howard Iwrey

Dr. Raymond E. Jackson & Dr. Kathleen Murphy

Mr. John S. Johns

Diane & John Kaplan

Lucy & Alexander* Kapordelis

Bernard & Nina Kent Philanthropic Fund

John Kim & Sabrina Hiedemann

Aileen & Harvey Kleiman

Thomas ◊ & Linda Klein

Tom ◊ & Beverly Klimko

Mr. & Mrs. Ludvik F. Koci

Mr. & Mrs. Robert Koffron

Douglas Korney & Marieta Bautista

Mr. Michael Kuhne

Mr. & Mrs. Robert LaBelle

Dr. & Mrs. Gerald Laker

Ms. Anne T. Larin

Dr. Jonathan Lazar

Marguerite & David Lentz

Arlene & John Lewis

Mr. Dane Lighthart & Ms. Robyn Bollinger*

David & Clare Loebl

Mr. & Mrs. Eugene LoVasco

Mr. & Mrs. Charles W. Manke, Jr.

Barbara J. Martin

Dr. & Mrs. Peter M. McCann, M.D.

Mr. Edward McClew

Ms. Mary McGough

Ms. Kristen McLennan

Dr. & Mrs. David Mendelson

Mr. & Mrs. Randall Miller

Mr. & Mrs. Robert S. Miller

H. Keith Mobley

Dr. Van C. Momon, Jr. & Dr. Pamela Berry

Eugene & Sheila Mondry Foundation

Ms. Sandra Morrison

Megan Norris & Howard Matthew

Lisa & Michael O’Brien

GIVING OF $1,500 & MORE

Jacqueline D. Adams

Mrs. Lynn E. Adams

Dr. & Mrs. Gary S. Assarian

Mr. & Mrs. Russell Ayers

Mr. & Mrs. William C. Babbage

Drs. Richard & Helena Balon

Dr. & Mrs. William L. Beauregard

Mr. & Mrs. David W. Berry

Mr. and Mrs. John Bishop

John ◊ & Marlene Boll

Mr. & Mrs. Byron Canvasser

Steve & Geri Carlson

Dr. and Mrs. Robert Clark

Ms. Paula Cole

Mr. & Mrs. Robert J. Colombo

Catherine Compton

Mr. & Mrs. Alfred J. Darold

Ms. Joyce Delamarter

Gordon & Elaine Didier

Mrs. Connie Dugger

Mr. Howard O. Emorey

Mr. & Mrs. Francis A. Engelhardt

Burke & Carol Fossee

Mr. Joseph & Mrs. Lois Gilmore

Mr. & Mrs. Robert Obringer

Mr. & Mrs. Arthur T. O’Reilly

Mr. Tony Osentoski & Mr. David Ogloza

Cara Parsons Dietz

Mark Pasik & Julie Sosnowski

Priscilla & Huel Perkins

Peter & Carrie Perlman

Ms. Alice Pfahlert

Mr. Steven Read

Mr. & Mrs. William A. Reed

Dr. Claude & Mrs. Sandra Reitelman

Denise Reske

Mr. & Mrs. John Rieckhoff

The Steven Della Rocca Memorial Fund/ Courtenay A. Hardy

Ms. Marilyn Rodzik

Mr. James Rose

Ms. Martha A. Scharchburg & Mr. Bruce Beyer

Shirley Anne & Alan Schlang

Joe & Ashley Schotthoefer

Catherine & Dennis B. Schultz

Dr. & Mrs. Richard S. Schwartz

Sandy ◊ & Alan Schwartz

Mrs. Rosalind B. Sell

Mr. Jeffrey S. Serman

Carlo & Nicole Serraiocco

Shapero Foundation

Bill* & Chris Shell

Dr. Les Siegel & Ellen Lesser Siegel

Allan D. Gilmour & Eric C. Jirgens

Mrs. Andrea Harral

Dr. Susan Harold

Jean Hudson

Mr. & Ms. Charles Jacobowitz

Carole Keller

Mr. & Mrs. Gerd H. Keuffel

Elissa & Daniel Kline

Mr. & Mrs.◊ Gregory Knas

Mr. Robert Kosinski

Mr. & Mrs. Charles Laurencelle

Mr. Daniel Lewis & Ms. Valerie Dillon

Mr. Steven L. Lipton

Ms. Evelyn Micheletti

Dr. & Mrs. Richard Miller

Steve & Judy Miller

Carolyn & J. Michael Moore

Muramatsu America Flutes

Mr. James Murawski

Mr. & Mrs. George Nicholson

Mrs. Ruth Nix

Dr. William W. O’Neill

Ken & Geralyn Papa

Mr. Frank Polasek

Ralph & Peggy Skiano

Mr. Michael J. Smith & Mrs. Mary C. Williams

Ms. Susan Smith

Shirley R. Stancato

Mrs. Andreas H. Steglich

Nancy C. Stocking

Dr. & Mrs. Gerald Stollman

Mr. JT Stout

Mr. & Mrs.◊ John Streit

Dr. & Mrs. Sugawa

Dr. Neil Talon

Mr. Rob Tanner

Barbara & Stuart Trager

Barbara & Steve Tronstein

Tom & Laura Trudeau

Gerald & Teresa Varani

Mr. & Mrs. Gary Van Elslander

Ms. Caren Vondell

Mr. William Waak

Dr.◊ & Mrs. Ronald W. Wadle

Richard P. & Carol A. Walter

Mr. Patrick Webster

Elizabeth & Michael Willoughby

Rissa & Sheldon Winkelman

Ms. Eileen Wunderlich

Ms. Gail Zabowski

And six who wish to remain anonymous

Mr. & Mrs. Mark H. Peterson

Mr. & Mrs. Richard Rapson

Mr. & Mrs. Rodney Rask

Dr. Natalie Rizk

Ms. Carole Robb

Ms. Elana Rugh

Brian & Toni Sanchez-Murphy

Ms. Rosemarie Sandel

Mr. & Mrs. Kingsley G. Sears

Elliot Shafer

Ms. Sandra Shetler

Donna & Robert Slatkin

Dr. & Mrs. Martin Tessler

David & Lila Tirsell

Dennis & Jennifer Varian

Dr. & Mrs. Thomas E. Verhelle

Mr. Barry Webster

Ms. Janet Weir

Ms. Joan Whittingham

Mr. & Mrs.◊ Richard Wigginton

Mr. Robert S. Williams & Ms. Treva Womble

Mr. Francis Wilson

Ms. Gail Zabowski

And three who wish to remain anonymous

TRIBUTE GIFTS

Gifts received – November 1, 2024 to February 15, 2025

Tribute gifts to the Detroit Symphony Orchestra are made to honor accomplishments, celebrate occasions, & pay respect in memory or reflection. These gifts support current season projects, partnerships & performances such as DSO concerts, education programs, free community concerts, & family programming. For information about making a tribute gift, please call 313.576.5114 or visit dso.org/donate.

In Memory

Judy Adams

Mr. Darel Dickens

Mrs. Mona G Alonzo

The Schlang Family

Ms. Cassie Brenske

Gladys and Julius Barr

Mr. & Mrs. Benson J. Barr

Anna K. Bonde

Debra Bonde

Raymond Brenner

Amy Willets

Lloyd Cheney

Mrs. Marcia Cheney

Fred and Gloria Clark

Mrs. Harriet C. Webber

Dolores Gaeta

Elizabeth Erlich

Jane Clare Hollman

Mrs. Janet Stenger

Ms. Vera Kalnins

Ambassador Yousif B. Ghafari & Mrs. Mara Kalnins-Ghafari

Dr. Lourdes V. Andaya

Adel & Walter Dissett

Mr. and Mrs. Peter D. Cummings

The Clinton Family Fund

Mr. and Mrs. Alfred J. Fisher III

Adel & Walter Dissett

James S. Garrett

Mr. & Mrs. Timothy LeVigne

Josephine Kessler

Ms. Amy Kessler

Ted McClew

Paul Cadamagnani

Mrs. Patricia Nickol

Fred Brenner Jr.

Faye and Seymour Okun

Ms. Ruthanne Okun

William “Bill” Panzer

Karen Bean

Jean Casey

Mr. & Mrs. Edward E. Chielens

Couzens, Lansky, Fealk, Ellis, Roeder & Lazar, P.C..

Ann & Rick Edwards

Mark Farber

Carol Fridson

Lauren Gruber and Family

Brian Kutinsky

Laurie Myers

Sheryl Perry

Myra & Dennis Potocsky

Shelley & David Wainer

Rena Tepman

Elaine Rosenblatt

Frank Paone

Anthony Buccellato

Ms. Anne Parsons

The Clinton Family Fund

Gilbert Pendolino

Dayna Stein

Irv Poston

Karyn Ledbetter

Ruth Rattner

Steve and Margo Goodman

Sandy Schreier

Marc & Lori Siegel

Shelley Roland

Michelle Rice

Rosa Schindler

Richard Ng

In Honor

The Horwitz Family

Ms. Julie Ludwig-Overland

Dr. Raymond V. Landes

and Dr. Melissa McBrien

Ms. Victoria McBrien

Lorraine Lerner

Mrs. Anaruth Bernard

Betsy Winkelman

Margaret Shere

Susan Queen Will & Megann Smith

Marie Slotnik

Mrs. Judith Schultheiss

Mary Wilson

Ann McIlvain

Dr. David Wu

Mrs. Kristie Lawson

CORPORATE, FOUNDATION, AND GOVERNMENT GIVING

Giving of $500,000 & more

SAMUEL & JEAN FRANKEL FOUNDATION

STATE OF MICHIGAN

Giving of $200,000 & more

EMORY M. FORD JR. ENDOWMENT FUND

Giving of $100,000 & more

PAUL M. ANGELL FAMILY FOUNDATION

MARVIN & BETTY DANTO FAMILY FOUNDATION

Giving of $50,000 & more

William Randolph Hearst Foundation

The Kresge Foundation

Masco Corporation

Milner Hotels Foundation

National Endowment for the Arts

Donald R. Simon & Esther Simon Foundation

Myron P. Leven Foundation

Giving of $20,000 & more

MGM Grand Detroit

Eleanor & Edsel Ford Fund

Richard & Jane Manoogian Foundation

Stone Foundation of Michigan

Honigman LLP

Strum Allesee Family Foundation

Applebaum Family Philanthropy

The Cassie Foundation

Sun Communities Inc.

Fisher Funeral Home & Cremation Services

Benson & Edith Ford Fund

James & Lynelle Holden Fund

Coffee Express Roasting Company

Enterprise Holdings Foundation EY

Frank & Gertrude Dunlap Foundation

Matilda R. Wilson Fund

Wolverine Packing

Mandell & Madeleine Berman Foundation

Giving of $10,000 & more

Geoinge Foundation

Huntington

Oliver Dewey Marcks Foundation

Penske Foundation, Inc.

Karen & Drew Peslar Foundation

Giving of $5,000 & more

Hylant Group

Marjorie & Maxwell Jospey Foundation

KPMG LLP

Lithia Motors, Inc.

Giving of $1,000 & more

Japan Business Society of Detroit Foundation

Dolores & Paul Lavins Foundation

Ludwig Foundation Fund

Michigan First Credit Union

Taft

Young Woman’s Home Association

Burton A. Zipser & Sandra D. Zipser Foundation

Mary Thompson Foundation

Sigmund and Sophie Rohlik Foundation

Warner Norcross + Judd

HUB International

Plante Moran

Renaissance (MI) Chapter of the Links

Samuel L. Westerman Foundation

Louis & Nellie Sieg Foundation Anonymous

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

Mrs. Katana H. Abbott*

Mr. Joseph Aviv

Mr. Christopher Ballard*

Ms. Jessica B. Blake, Esq.

Ms. Rebecca J. Braun

Mr. Timothy Compton

Ms. Wendy Zimmer Cox*

Mr. Robin D. Ferriby*

Mrs. Jill Governale*

Mr. Henry Grix*

Mrs. Julie Hollinshead, CFA

Mr. Mark W. Jannott, CTFA

Ms. Jennifer Jennings*

Ms. Dawn Jinsky*

Mrs. Shirley Kaigler*

Mr. Robert E. Kass*

Mr. Christopher L. Kelly

Mr. Bernard S. Kent

Ms. Yuh Suhn Kim

Mrs. Marguerite Munson Lentz*

Mr. J. Thomas MacFarlane

Mr. Christopher M. Mann*

Mr. Curtis J. Mann

Mrs. Mary K. Mansfield

Mr. Mark E. Neithercut*

Mr. Steve Pierce

Ms. Deborah J. Renshaw, CFP

Mr. James P. Spica

Mr. David M. Thoms*

Mr. John N. Thomson, Esq.

Mr. Jason Tinsley*

Mr. William Vanover

Mr. William Winkler

*Executive Committee Member

Share the music of the DSO with future generations Include the DSO as a beneficiary in your will. To learn more please call Alexander Kapordelis at 313.576.5198 or email akapordelis@dso.org.

CELEBRATING YOUR LEGACY SUPPORT

BARBARA VAN DUSEN, Honorary Chair

The 1887 Society honors individuals who have made a special legacy commitment to support the Detroit Symphony Orchestra. Members of the 1887 Society ensure that future music lovers will continue to enjoy unsurpassed musical experiences by including the DSO in their estate plans.

Ms. Doris L. Adler

Dr. & Mrs. William C. Albert

Mr. & Mrs. Robert A. Allesee ◊

Dr. Lourdes V. Andaya

Mr. & Mrs. Eugene Applebaum ◊

Dr. Augustin & Nancy ◊ Arbulu

Mr. David Assemany & Mr. Jeffery Zook

Ms. Sharon Backstrom

Sally & Donald Baker

Mr. & Mrs. Lee Barthel

Mr. Mark G. Bartnik & Ms. Sandra J. Collins

Stanley A. Beattie

Mr. Melvyn Berent & Ms. Barbara Spreitzer-Berent

Mr. & Mrs. Mandell L. Berman ◊

Virginia B. Bertram ◊

Mrs. Betty Blair◊

Ms. Rosalee Bleecker

Mr. Joseph Boner

Gwen & Richard Bowlby

Mr. Harry G. Bowles ◊

Mr. Charles Broh ◊

Mrs. Ellen Brownfain

William & Julia Bugera

CM Carnes

Dr. & Mrs. ◊ Thomas E. Carson

Cynthia Cassell, Ph. D.

Eleanor A. Christie

Ms. Mary F. Christner

Mr. Gary Ciampa

Robert & Lucinda Clement

Lois & Avern Cohn ◊

Drs. William ◊ & Janet Cohn

Mrs. RoseAnn Comstock ◊

Mr. Scott Cook, Jr.

Mr. & Ms. Thomas Cook

Dorothy M. Craig ◊

Mr. & Mrs. John Cruikshank

Julie & Peter Cummings

Joanne Danto & Arnold Weingarden

Mr. Kevin S. Dennis &

Mr. Jeremy J. Zeltzer

Ms. Leslie C. Devereaux◊

Mr. John Diebel ◊

Mr. Stuart Dow ◊

Mr. Roger Dye &

Ms. Jeanne A. Bakale

Mr. & Mrs. Robert G. Eidson ◊

Marianne T. Endicott

Ms. Dorothy Fisher◊

Mrs. Marjorie S. Fisher◊

Mr. & Mrs. Phillip Wm. Fisher

Dorothy A. & Larry L. Fobes

Samuel & Laura Fogleman

Mr. Emory Ford, Jr. ◊ Endowment

Dr. Saul & Mrs. Helen Forman

Barbara Frankel ◊ & Ron Michalak

Herman & Sharon Frankel

Mrs. Rema Frankel ◊

Jane French ◊

Mark & Donna Frentrup

Alan M. Gallatin

Janet M. Garrett

Dr. Byron P. ◊ & Marilyn Georgeson

Jim & Nancy Gietzen

Mr. Joseph & Mrs. Lois Gilmore

Victor & Gale Girolami ◊

Ruth & Al ◊ Glancy

David & Paulette Groen

Mr. Gerald Grum ◊

Rosemary Gugino

Mr. & Mrs. William Harriss

Donna & Eugene ◊ Hartwig

Gerhardt A. Hein ◊ &

Rebecca P. Hein

Ms. Nancy B. Henk ◊

Joseph L. Hickey ◊

Mr. ◊ & Mrs. Thomas N. Hitchman

Ronald M. & Carol ◊ Horwitz

Andy Howell

Carol Howell ◊

Paul M. Huxley & Cynthia Pasky

David & Sheri Jaffa

Mr. & Mrs. Thomas H. Jeffs II

Mr. & Mrs. Richard J. Jessup

Mr. George G. Johnson

Ms. Carol Johnston

Lenard & Connie Johnston

Carol M. Jonson

Drs. Anthony & Joyce Kales

Faye & Austin ◊ Kanter

Norb ◊ & Carole Keller

Dr. Mark & Mrs. Gail Kelley

June K. Kendall ◊

Dimitri ◊ & Suzanne Kosacheff

Douglas Koschik

Mr. & Mrs. Arthur J. Krolikowski ◊

Mary Clippert LaMont ◊

Ms. Sandra Lapadot

Mrs. Bonnie Larson

Ann C. Lawson ◊

Leslie Jean Lazzerin

Allan S. Leonard

Max Lepler & Rex L. Dotson

Dr. Melvin A. Lester◊

Mr. & Mrs. ◊ Joseph Lile

Eugene & Jeanne LoVasco Family

Eric & Ginny Lundquist

Harold Lundquist ◊ & Elizabeth Brockhaus Lundquist

Roberta Maki

Eileen ◊ & Ralph Mandarino

Judy Howe Masserang

Mr. Glenn Maxwell

Ms. Elizabeth Maysa ◊

Mary Joy McMachen, Ph.D.

Judith Mich ◊

Rhoda A. Milgrim ◊

Mr. & Mrs. Eugene A. Miller

John & Marcia Miller

Jerald A. & Marilyn H. Mitchell

Mr. ◊ & Mrs. L. William Moll

Shari & Craig Morgan

Ms. I. Surayyah R. Muwwakkil ◊

Joy & Allan Nachman

Geoffrey S. Nathan & Margaret E. Winters ◊

Beverley Anne Pack

David & Andrea Page ◊

Mr. Dale J. Pangonis

Ms. Mary Webber Parker◊

Mr. David Patria & Ms. Barbara Underwood ◊

Mrs. Sophie Pearlstein ◊

Helen & Wesley Pelling ◊

Dr. William F. Pickard ◊

Mrs. Bernard E. Pincus

Ms. Christina Pitts

Mrs. Robert Plummer◊

Mr. & Mrs. P. T. Ponta

Mrs. Mary Carol Prokop ◊

Ms. Linda Rankin & Mr. Daniel Graschuck

Mr. & Mrs. Douglas J. Rasmussen

Ms. Elizabeth Reiha ◊

Deborah J. Remer

Mr. & Mrs. Lloyd E. Reuss ◊

Barbara Gage Rex ◊

Ms. Marianne Reye ◊

Lori-Ann Rickard

Katherine D. Rines

Bernard & Eleanor Robertson

Ms. Barbara Robins ◊

Jack & Aviva Robinson ◊

John & Barbara Rohrbeck

Mr. & Mrs. Gerald F. Ross ◊

Mr. & Mrs. ◊ George Roumell

Marjorie Shuman Saulson

Ruth Saur Trust

Mr. & Mrs. Donald and Janet Schenk

Ms. Yvonne Schilla

David W. Schmidt ◊

Mr. & Mrs. Fred Secrest ◊

Mr. & Mrs. Robert L. Shaffer◊

Patricia Finnegan Sharf

Ms. Marla K. Shelton

Edna J. Shin

Ms. June Siebert

Mr. & Mrs. Donald R. Simon ◊

Dr. Melissa J. Smiley & Dr. Patricia A. Wren

David & Sandra Smith

Ms. Marilyn Snodgrass ◊

Mrs. Margot Sterren ◊

Mr. ◊ & Mrs. Walter Stuecken

Mr. ◊ & Mrs. Alexander C. Suczek

David Szymborski & Marilyn Sicklesteel

Alice ◊ & Paul Tomboulian

Roger & Tina Valade

Charles ◊ & Sally Van Dusen

Barbara C. Van Dusen

Mr. & Mrs. Melvin VanderBrug

Mr. & Mrs. George C. Vincent ◊

Mr. Sanford Waxer◊

Christine & Keith C. Weber

Mr. Herman Weinreich ◊

John ◊ & Joanne Werner

Mr. ◊ & Mrs. Arthur Wilhelm

Mr. Robert E. Wilkins ◊

Mrs. Michel H. Williams

Ms. Nancy S. Williams ◊

Mr. Robert S. Williams & Ms. Treva Womble

Ms. Barbara Wojtas

Elizabeth B. Work ◊

Dr. & Mrs. Clyde Wu ◊

Ms. Andrea L. Wulf

Mrs. Judith G. Yaker

Milton & Lois Zussman ◊

And six who wish to remain anonymous

YOUR EXPERIENCE AT THE MAX

Our Home on Woodward Avenue

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

Parking

The DSO Parking Deck is located at 81 Parsons Street. Self-parking in the garage costs $12 for most concerts (credit card payment only). Accessible parking is available on the first and second floors of the garage. Note that accessible parking spaces go quickly, so please arrive early!

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

What Should I Wear?

You do you! We don’t have a dress code, and you’ll see a variety of outfit styles. Business casual attire is common, but sneakers and jeans are just as welcome as suits and ties. Please reference page 51 for our bag policy.

Food and Drink

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

Patrons are welcome to

take drinks to their seats at all performances except Friday morning Coffee Concerts; food is not allowed in Orchestra Hall. Please note that outside food and beverages are prohibited.

Accessibility

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

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

• The DSO’s Sennheiser MobileConnect hearing assistance system is available for all performances in Orchestra Hall. You can use your own mobile device and headphones by downloading the Sennheiser MobileConnect app, or borrow a device by visiting the Box Office.

• Available at the Box Office during all events at The Max, William Davidson Neighborhood Concert Series venues, and chamber recitals, the DSO offers sensory toolkits to use free of charge, courtesy of the Mid-Michigan Autism Association. The kits contain items that can help calm or stimulate a

THE MAX M. & MARJORIE S. FISHER MUSIC CENTER

3711 Woodward Avenue Detroit, MI 48201

Box

Visit the DSO online at dso.org For general inquiries, please email info@dso.org

person with a sensory processing difference, including noise-reducing headphones and fidget toys. The DSO also has a quiet room, available for patrons to use at every performance at The Max.

• A golf cart-style DSO Courtesy Shuttle is available for all patrons who need assistance entering The Max.

• Check out the Accessibility tab on dso.org/yourexperience to learn more

WiFi

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

Shop DSO Merchandise

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

The Herman and Sharon Frankel Donor Lounge

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

Gift Certificates

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

Rent The Max

Elegant and versatile, The Max is an ideal setting for a variety of events and performances: weddings, corporate gatherings, meetings, concerts, and more. Visit dso.org/rentals or call 313.576.5131 for more information.

POLICIES

BAG POLICY

For the safety of our patrons, musicians, staff, volunteers and vendors, we have implemented the following policies:

• All bags entering DSO facilities are subject to inspection.

• No backpacks, large/duffel bags, large purses, and suitcases are permitted. Purses, medical bags, diaper bags, and medical devices smaller than 14” x 14” x 6” are allowed.

• There is no storage available for bags that do not adhere to the above standards.

• No weapons or disruptive materials are allowed on DSO property.

SEATING

Please note that all patrons (of any age) must have a ticket to attend concerts. If the music has already started, an usher will ask you to wait until a break before seating you. The same applies if you leave Orchestra Hall and re-enter. Most performances are broadcast (with sound) on a TV in the William Davidson Atrium.

TICKETS, EXCHANGES, AND CONCERT CANCELLATIONS

n All sales are final and non-refundable.

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

n Please contact the Box Office to exchange tickets and for all ticketing questions or concerns.

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

PHONES

Your neighbors and the musicians appreciate your cooperation in turning your phone to silent and your brightness down while you’re keeping an eye on texts from the babysitter or looking up where a composer was born!

PHOTOGRAPHY & RECORDING

We love a good selfie for social media (please share your experiences using @ DetroitSymphony and #IAMDSO) but remember that having your device out can be distracting to musicians and audience members. Please be cautious and respectful if you wish to take photos or videos. Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

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

SMOKING

Smoking and vaping are not allowed anywhere in The Max.

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

FERNANDE DECRUCK

ADMINISTRATIVE STAFF

EXECUTIVE OFFICE

Erik Rönmark

President and CEO

James B. and Ann V. Nicholson Chair

Jill Elder

Vice President and Chief Revenue Officer

Linda Lutz

Vice President and Chief Financial & Administrative Officer

Martin Sher Vice President and Chief Artistic & Operating Officer

Joy Crawford

Executive Assistant to the President and CEO

Anne Parsons ◊ President Emeritus

ARTISTIC OPERATIONS

ARTISTIC PLANNING

Jessica Ruiz

Senior Director of Artistic Planning

Jessica Slais

Creative Director of Popular & Special Programming

Stephen Grady Jr. Program Manager, Popular & Special Programming

Lindzy Volk Artistic Manager

LIVE FROM ORCHESTRA HALL

Marc Geelhoed

Executive Producer of Live from Orchestra Hall

ORCHESTRA OPERATIONS

Kathryn Ginsburg General Manager

Patrick Peterson Orchestra Manager

Dennis Rotell Stage Manager

Andrew Williams Director of Orchestra Personnel

Bronwyn Hagerty Orchestra and Training Programs Librarian

Benjamin Tisherman Manager of Orchestra Personnel

ADVANCEMENT

Alex Kapordelis

Senior Director of Advancement

Ali Huber

Director of Donor Engagement

Zach Suchanek

Associate Director of Annual Giving

Alex Anderson Manager of Advancement Events

Maggie Derthick Manager of Donor Hospitality

Bryana Hall Data & Research Specialist

Jane Koelsch

Major Gift Officer

Francesca Leo Manager of Governance & Donor Engagement

Elizabeth McConnell Specialist, Donor Communications

Susan Queen Gift Officer, Corporate Giving

Bethany Simmerlein Grant Writer

Samantha Taylor Manager of Foundation Relations

Amanda Tew Major Gift Officer

BUILDING OPERATIONS

Ken Waddington

Senior Director of Facilities & Engineering

Teresa Beachem Chief Engineer

Demetris Fisher Manager of Environmental Services (EVS)

William Guilbault EVS Technician

Robert Hobson Chief Maintenance Technician

Aaron Kirkwood EVS Lead

Anthony Lindsey EVS Technician

Daniel Speights EVS Technician

EVENT AND

PATRON

EXPERIENCE

Christina Williams Director of Event & Patron Experience

Neva Kirksey Manager of Events & Rentals

Alison Reed, CVA Manager of Volunteer & Patron Experience

Andre Williams Beverage Program Manager

COMMUNICATIONS

Matt Carlson

Senior Director of Communications & Media Relations

Sarah Smarch Director of Content & Storytelling

Natalie Berger Manager of Multimedia Brand Content

LaToya Cross Communications & Advancement Content Specialist

Hannah Engwall Elbialy Public Relations Manager

Marisa Jacques Coordinator of Public Relations

LEARNING & ENGAGEMENT

Karisa Antonio Senior Director of Social Innovation & Learning

Damien Crutcher Managing Director of Detroit Harmony

Debora Kang Director of Education

Clare Valenti Director of Community Engagement

Kiersten Alcorn Manager of Community Engagement

Chris DeLouis

Manager of Learning, Student & Program Deveopment

Erin Faryniarz

Detroit Harmony Partnerships & Services Coordinator

Claire Eileen Hall Coordinator of Engagement Operations

Samuel Hsieh Coordinator of Learning Operations

Kendra Sachs Manager of Learning, Enrollment & Communications

FINANCE

Adela Löw Director of Accounting & Financial Reporting

Tanisha Hester Accountant

Sophie Lall Accounting Clerk Assistant

Sandra Mazza Senior Accountant of Business Operations

Claudia Scalzetti Staff Accountant

HUMAN RESOURCES

Hannah Lozon Senior Director of Talent & Culture

Angela Stough Director of Human Resources

Sharon Tse Director of Diversity, Equity, & Inclusion

INFORMATION TECHNOLOGY

William Shell Director of Information Technology

Pat Harris Systems Administrator

Michelle Koning

Web Manager

Aaron Tockstein

Database Administrator

MARKETING & AUDIENCE DEVELOPMENT

Connor Mehren Director of Growth Marketing

Juliana Nahas Director of Loyalty Marketing

Sharon Gardner Carr Tessitura Event Operations Manager

Jay Holladay Brand Graphic Designer

LaHeidra Marshall

Direct Marketing Manager

Thomas Monks

Loyalty Marketing Manager

Declan O’Neal

Marketing & Promotions Coordinator

Kristin Pagels-Quinlan

Digital Advertising Manager

Grace Venner Manager of Growth Marketing

PATRON SALES & SERVICE

Michelle Marshall Director of Patron Sales & Service

Valerie Jackson Group Sales Representative

James Sabatella Group & Tourism Sales Manager

Chantel Woodard Manager of Patron Sales & Service

SAFETY & SECURITY

George Krappmann Director of Safety & Security

Johnnie Scott

Safety & Security Manager

Willie Coleman

Security Officer

Joyce Dorsey

Security Officer

Tony Morris

Security Officer

Eric Thomas

Security Officer & Maintenance Technician

UPCOMING CONCERTS & EVENTS

LET’S MISBEHAVE: THE SONGS OF COLE PORTER

JUN 20–22

MAY

PVS CLASSICAL SERIES FRENCH SHOWPIECES

MAY 2–3

TINY TOTS KRIS JOHNSON GROUP

MAY 3

YOUNG PEOPLE’S FAMILY CARNIVAL OF THE ANIMALS

MAY 3

PVS CLASSICAL SERIES SHOSTAKOVICH’S TENTH SYMPHONY

MAY 8–10

PVS CLASSICAL SERIES RAVEL’S PIANO CONCERTOS

MAY 16–18

RAVEL’S PIANO CONCERTOS

MAY 16–18

BERTRAND CHAMAYOU, PIANO

CHRIS THILE JUN 26

PNC POPS SERIES BEN FOLDS

MAY 23–24

JUNE

PVS CLASSICAL SERIES SCHUMANN & STRAUSS

MAY 30–JUN 1

PVS CLASSICAL SERIES TCHAIKOVSKY’S PIANO CONCERTO JUN 5–7

PARDISE JAZZ SERIES CÉCILE McLORIN SALVANT

JUN 6

PNC POPS SERIES LET’S MISBEHAVE: THE SONGS OF COLE PORTER

JUN 20–22

SPECIAL CHRIS THILE ATTENTION! A narrative song cycle for extroverted mandolinist and orchestra

JUN 26

JULY

WILLIAM DAVIDSON NEIGHBORHOOD CONCERTS BEETHOVEN & BIZET

JULY 10–13

AT THE MOVIES BATMAN 1989 IN CONCERT

JUL 25

AT THE MOVIES THE LION KING IN CONCERT

JUL 27

AUBREY LOGAN