DSO Spring 2016 Performance Magazine - Edition 3

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

CONTENTS oneDSO

FEATURES

12

To Stage or Not to Stage

by Leonard Slatkin Meet the Musician: Kevin Brown 14 Community & Learning 43

PROGRAMS Concerts, artist biographies and program notes begin on page 20.

20

Read program notes anytime in Performance magazine online at dso.org/performance

Welcome from President & CEO and Chairman 4 Orchestra Roster

7

Board Leadership

8

Governing Members

9

Volunteer Council

11

Maximize Your Experience

16

DSO Administrative Staff

40

Volunteer Ushers

45

Annual Fund

46

Upcoming Concerts

54

THE DSO VOLUNTEER COUNCIL PRESENTS

Musical Feasts XXIX APRIL–DECEMBER, 2016 ——————————————— Join our incomparable DSO musicians and Gracious hosts for the finest of musical and dining experiences.

View the 18 Feast descriptions at the Volunteer Council website DSO.org/VolunteerCouncil For availability and reservations, contact Volunteer Council office AT

313.576.5154 OR VOLUNTEERCOUNCIL@DSO.ORG

welcome

D E A R F R I E N D S, To our One DSO Family, At the DSO’s Annual Meeting this last December, we celebrated three wonderful seasons under the leadership of Chairman Emeritus Phillip Wm. Fisher. Phillip’s distinguished tenure was marked by a return to balanced finances and a focus on developing a cohesive culture, for which he coined the term “the One DSO family.”

As a treasured audience member, you too are a member of our family!

In the years ahead we will build on the legacy of our DSO by upholding the highest standards of musical excellence while continuing the quest for innovation, from how we educate the next generation and engage metro Detroit to how we embrace technology. Because of the developments we already have in place, a live digital recording of the Brahms Festival you experienced last month will be available on our in-house label Live From Orchestra Hall in May. Pre-orders are already available through iTunes.

We are proud to mirror our advances in the digital sphere on stage by bringing you the very best contemporary music available today, with the fifth of our season’s five World Premieres scheduled April 14-16. Sarah Kirkland Snider, composer of Something for the Dark, is a recipient of another of our inspired projects: The Elaine Lebenbom Memorial Award for Female Composers, which is granted annually to a living woman composer, of any age or nationality, in the spirit of recognizing and supporting the creation of new orchestral works by women.

Thanks to The William Davidson Neighborhood Concert Series, we’re also proud to offer you chamber orchestra music both traditional and new, presenting repertoire rarely if ever programmed for the Orchestra Hall stage. Don’t miss the subscription debut of Argentine composer Osvaldo Golijov’s Last Round this April.

While our spring cover feature focuses on a work written more than a century ago, the DSO is committed to taking a fresh approach to the classics while honoring the artistry that makes them timeless. We encourage you to read Music Director Leonard Slatkin’s own case for the importance of opera in concert on page 12. We’re sure you’ll agree that Strauss’ seductive Salome is a wonderful way to close the concert hall season.

Wishing you a spring full of beautiful music,

ANNE PARSONS MARK DAVIDOFF President & CEO Chairman

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DETROIT SYMPHONY ORCHESTRA

SUPPORTING THE ARTS

We celebrate the DSO – a world-class ensemble.

WWW.HONIGMAN.COM

MARCH 20 –JUNE 12, 2016 Tickets at DIA.org/Dance This exhibition has been organized by the Detroit Institute of Arts. Support has been provided by the National Endowment for the Humanities and the National Endowment for the Arts. Additional support has been provided by the Marjorie and Maxwell Jospey Foundation and an ADAA Foundation Curatorial Award and the Association of Art Museum Curators. Any views, fndings, conclusions, or recommendations expressed in this exhibition do not necessarily represent those of the National Endowment for the Humanities. Image: Dances (detail), 1914 or 1915, oil on canvas. Arthur Bowen Davies, American. Gift of Ralph Harman Booth

behind the baton LEONARD SLATKIN Music Director Music Directorship endowed by the Kresge Foundation Internationally acclaimed conductor Leonard Slatkin is Music Director of the Detroit Symphony Orchestra (DSO) and the Orchestre National de Lyon (ONL). He also maintains a rigorous schedule of guest conducting and is active as a composer, author and educator.

Highlights of the 2015-16 season include a three-week Brahms festival with the DSO in February; engagements with the St. Louis Symphony, Pittsburgh Symphony, Los Angeles Philharmonic and NHK Symphony in Tokyo; debuts with Beijing’s China Philharmonic Orchestra and the Shanghai Symphony Orchestra; and a summer tour of Japan with the ONL. Slatkin’s more than 100 recordings have garnered seven Grammy awards and 64 nominations.

His recent Naxos recordings include works by SaintSaëns, Ravel and Berlioz (with the ONL) and music

by Copland, Rachmaninoff, Borzova, McTee and John Williams (with the DSO). In addition, he has recorded the complete Beethoven and Tchaikovsky symphonies with the DSO (available online as digital downloads at dso.org/recordings).

A recipient of the prestigious National Medal of Arts, Slatkin also holds the rank of Chevalier in the French Legion of Honor. He has received Austria’s Declaration of Honor in Silver, the American Symphony Orchestra League’s Gold Baton Award and the 2013 ASCAP Deems Taylor Special Recognition Award for his book, Conducting Business.

Slatkin has conducted virtually all of the leading orchestras in the world. As Music Director, he has held posts with the New Orleans, St. Louis, and National symphony orchestras, and he was Chief Conductor of the BBC Symphony Orchestra.

He has served as Principal Guest Conductor of London’s Philharmonia and Royal Philharmonic, the Pittsburgh Symphony Orchestra, the Los Angeles Philharmonic at the Hollywood Bowl and the Minnesota Orchestra. For more information, visit leonardslatkin.com.

JEFF TYZIK Principal Pops Conductor

Grammy Award winner Jeff Tyzik is one of America’s most sought-after pops conductors. Alongside his role as the DSO’s Principal Pops Conductor, Tyzik holds The Dot and Paul Mason Principal Pops Conductor’s Podium at the Dallas Symphony Orchestra and also serves as Principal Pops Conductor of the Seattle Symphony, the Oregon Symphony, The Florida Orchestra and the Rochester Philharmonic Orchestra.

Highly sought after as a guest conductor, Tyzik has appeared with the Boston Pops, Cincinnati Pops, Toronto Symphony, Indianapolis Symphony, Philadelphia Orchestra and the Los Angeles Philharmonic. In May 2007, the Harmonia Mundi label released his recording of works by Gershwin with

6

DETROIT SYMPHONY ORCHESTRA

pianist Jon Nakamatsu and the RPO, which stayed in the Top 10 on the Billboard classical chart for over 3 months.

As an accomplished composer and arranger, Tyzik has had his compositions recorded by major orchestras. He has also produced and composed theme music for many of the major TV networks and released six of his own albums.

LEONARD SLATKIN, Music Director

Music Directorship endowed by the Kresge Foundation

JEFF TYZIK, Principal Pops Conductor TERENCE BLANCHARD

NEEME JÄRVI

MICHELLE MERRILL

GABRIELA LENA FRANK

FIRST VIOLIN Yoonshin Song

CELLO Wei Yu

ENGLISH HORN Monica Fosnaugh

TROMBONE Kenneth Thompkins

CLARINET Ralph Skiano

David Binder Randall Hawes

Marci Gurnow†

BASS TROMBONE Randall Hawes

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

CONCERTMASTER Katherine Tuck Chair

Kimberly Kaloyanides Kennedy ASSOCIATE CONCERTMASTER Alan and Marianne Schwartz and Jean Shapero (Shapero Foundation) Chair

Hai-Xin Wu

ASSISTANT CONCERTMASTER Walker L. Cisler/Detroit Edison Foundation Chair

Jennifer Wey

ASSISTANT CONCERTMASTER

Marguerite Deslippe* Laurie Landers Goldman* Rachel Harding Klaus* Eun Park Lee* Adrienne Rönmark* Laura Soto* Greg Staples* Jiamin Wang* Mingzhao Zhou* SECOND VIOLIN Adam Stepniewski

ACTING PRINCIPAL The Devereaux Family Chair

Ron Fischer* Will Haapaniemi* Hae Jeong Heidi Han* Sheryl Hwangbo* Hong-Yi Mo* Alexandros Sakarellos* Joseph Striplin* Marian Tanau* Jing Zhang* VIOLA James VanValkenburg

ACTING PRINCIPAL Julie and Ed Levy, Jr. Chair

Caroline Coade

ACTING ASSISTANT PRINCIPAL

Hang Su Glenn Mellow Shanda Lowery-Sachs ~ Hart Hollman Han Zheng Alexander Mishnaevski PRINCIPAL EMERITUS

Music Director Emeritus

PRINCIPAL James C. Gordon Chair

Robert Bergman* David LeDoux* Peter McCaffrey* Haden McKay* Úna O’Riordan* Paul Wingert*

Victor and Gale Girolami Chair

Dahae Kim~

ASSISTANT PRINCIPAL Dorothy and Herbert Graebner Chair

BASS Kevin Brown

PRINCIPAL Van Dusen Family Chair (Meet the Musician on page 14!)

Assistant Conductor, Phillip and Lauren Fisher Community Ambassador

PRINCIPAL Robert B. Semple Chair PVS Chemicals Inc./Jim and Ann Nicholson Chair

Laurence Liberson

ASSISTANT PRINCIPAL

Shannon Orme E-FLAT CLARINET Laurence Liberson BASS CLARINET Shannon Orme

Barbara Frankel and Ronald Michalak Chair

Stephen Molina

ASSISTANT PRINCIPAL

Linton Bodwin Stephen Edwards Isaac Trapkus Larry Hutchinson HARP Patricia Masri-Fletcher PRINCIPAL Winifred E. Polk Chair

FLUTE David Buck

PRINCIPAL Women’s Association for the DSO Chair

Sharon Sparrow

ASSISTANT PRINCIPAL Bernard and Eleanor Robertson Chair

Jeffery Zook PICCOLO Jeffery Zook OBOE Alexander Kinmonth PRINCIPAL Jack A. and Aviva Robinson Chair

Geoffrey Johnson†

Maggie Miller Chair

BASSOON Robert Williams ^ PRINCIPAL

Victoria King Michael Ke Ma

ASSISTANT PRINCIPAL INTERIM ACTING PRINCIPAL

Marcus Schoon CONTRABASSOON Marcus Schoon HORN Karl Pituch PRINCIPAL

Music Alive Composer-in-Residence

PRINCIPAL

TUBA Dennis Nulty PRINCIPAL

PERCUSSION Joseph Becker

PRINCIPAL Ruth Roby and Alfred R. Glancy III Chair

Andrés Pichardo-Rosenthal ASSISTANT PRINCIPAL William Cody Knicely Chair

Joshua Jones

African-American Orchestra Fellow

TIMPANI Jeremy Epp

PRINCIPAL Richard and Mona Alonzo Chair

LIBRARIANS Robert Stiles PRINCIPAL

Ethan Allen PERSONNEL MANAGERS Heather Hart Rochon ORCHESTRA PERSONNEL MANAGER

Bryan Kennedy Scott Strong Johanna Yarbrough David Everson

Patrick Peterson

Mark Abbott

STAGE PERSONNEL Dennis Rottell

ASSISTANT PRINCIPAL

TRUMPET Hunter Eberly

PRINCIPAL Lee and Floy Barthel Chair

Kevin Good Stephen Anderson

ASSISTANT PRINCIPAL

William Lucas

Brian Ventura

ASSISTANT PRINCIPAL

Monica Fosnaugh

ASSISTANT ORCHESTRA PERSONNEL MANAGER

STAGE MANAGER

Steven Kemp

DEPARTMENT HEAD

Matthew Pons

DEPARTMENT HEAD

Michael Sarkissian DEPARTMENT HEAD

Ryan DeMarco

DEPARTMENT HEAD

William Richards

DEPARTMENT HEAD

LEGEND * These members may voluntarily revolve seating within the section on a regular basis † substitute musician ^ on sabbatical ~ extended leave

For photos and full bios of DSO musicians, go to dso.org/orchestra

PERFORMANCE MAGAZINE

7

detroit symphony orchestra, inc.

Current as of January 2016 with updates available online at dso.org.

LIFETIME MEMBERS

Samuel Frankel† David Handleman, Sr.†

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

CHAIRMEN EMERITI

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

James B. Nicholson Stanley Frankel Phillip Wm. Fisher

DIRECTORS EMERITI

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

OFFICERS Mark A. Davidoff Chairman

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

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

Glenda D. Price, Ph.D.

Ralph J. Gerson

Anne Parsons

Janice Uhlig

Laura Marcero

James G. Vella

Vice Chair

President and CEO

Treasurer

Officer-at-Large

Officer-at-Large

Officer-at-Large

Arthur T. O’Reilly Secretary

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

Pamela Applebaum Robert H. Bluestein Richard L. DeVore Jeremy Epp* Orchestra Representative

James Farber

Chairman, Governing Members

Samuel Fogleman Monica Fosnaugh*

Orchestra Representative

Nicholas Hood, III Ronald M. Horwitz Chacona W. Johnson Michael J. Keegan William P. Kingsley Bonnie Larson Matthew B. Lester Arthur C. Liebler Ginny Lundquist

Xavier Mosquet Faye Alexander Nelson Stephen Polk Bernard I. Robertson Hon. Gerald E. Rosen Arn Tellem Hon. Kurtis T. Wilder M. Roy Wilson

Volunteer Council President

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DETROIT SYMPHONY ORCHESTRA

† Deceased

BOARD OF TRUSTEES Richard Huttenlocher Chairperson

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

Ismael Ahmed Rosette Ajluni Devon Akmon Dan Angelucci Janet M. Ankers Suzanne Bluestein Penny B. Blumenstein Liz Boone Gwen Bowlby Joanne Danto Stephen D’Arcy Maureen T. D’Avanzo Karen Davidson Linda Dresner Afa S. Dworkin J. Mikel Ellcessor Jeremy Epp* Orchestra Representative

Annmarie Erickson Jennifer Fischer Aaron Frankel Robert Gillette Allan D. Gilmour

GOVERNING MEMBERS James C. Farber Chairperson

Governing Members is a philanthropic leadership group designed to provide unique, substantive, hands-on opportunities for leadership and access to a diverse group of valued stakeholders. Governing Members are ambassadors for the DSO and advocates for arts and culture in Detroit and throughout Southeast Michigan. This list reflects gifts received from September 1, 2014 through January 31, 2016.

For more information about the Governing Members program, please call Dan Coleman at 313.576.5451

Jody Glancy Malik Goodwin Carol Goss Antoinette G. Green Leslie Green Deirdre Greene Groves Laura Hernandez-Romine Michele Hodges Ric Huttenlocher Sharad P. Jain Renee Janovsky Joey Jonna David Karp Joel D. Kellman James Lentini Jack Liang Josh Linkner Florine Mark Tonya Matthews David McCammon Lois A. Miller Daniel Millward James C. Mitchell, Jr.

Scott Monty Joseph Mullany Sean M. Neall Tom O’Brien Maury Okun Úna O’Riordan*

Arthur T. O’Reilly

David Karp

Chairman Emeritus

Janet and Norm Ankers Co-Vice Chairs, Gabrilowitsch Society

Jiehan Alonzo

Orchestra Representative

William F. Pickard Fair Radom Gerrit Reepmeyer Rick Robinson Lois L. Shaevsky Tom Shafer Margo Shulman Cathryn Skedel Stephen Strome Mark Tapper Ray Telang Michael R. Tyson Gwen Weiner Jennifer Whitteaker R. Jamison Williams Margaret Winters Ellen Hill Zeringue

Vice Chair, Communications

David Assemany Vice Chair, Programs

Vice Chair, Signature Events

Bonnie Larson

Maureen D’Avanzo

Frederick J. Morsches

Member-at-Large

Vice Chair, Nominating

Member-at-Large

Jan Bernick

Musician Liaison

Vice Chair, Annual Giving

David Everson* Johanna Yarbrough* Musician Liaison

GOVERNING MEMBERS Howard Abrams & Nina Dodge Abrams Mrs. Denise Abrash Dr. Roger & Mrs. Rosette Ajluni Mr. & Mrs. Robert A. Allesee Mr. & Mrs. Richard L. Alonzo Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Daniel & Rose Angelucci Mr. & Mrs. Norman Ankers Mr. & Mrs. Robert L. Anthony Drs. Kwabena & Jacqueline Appiah Mr. & Mrs. Eugene Applebaum Dr. & Mrs. Ali-Reza R. Armin

* Denotes DSO musician

Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook* Mr. Joseph Aviv & Mrs. Linda Wasserman Aviv Mr. & Mrs. John Axe Mrs. Jean Azar Ms. Ruth Baidas Nora Lee & Guy Barron Mr. & Mrs. Lee Barthel Mr. Mark Bartnik & Ms. Sandra J. Collins David & Kay Basler Mr. & Mrs. Martin S. Baum

Mr. & Mrs. Richard Beaubien Dr. & Mrs. Brian Beck Ms. Margaret Beck Mr. Chuck Becker Mrs. Cecilia Benner Mrs. Harriett Berg Mandell & Madeleine Berman Foundation Mr. & Mrs. Jeffrey A. Berner Drs. John & Janice Bernick Mr. and Mrs. Michael Biber Dr. George & Joyce Blum Penny & Harold Blumenstein Mr. & Mrs. Lawrence Bluth

Mr. & Mrs. John A. Boll, Sr. Mr. & Mrs. Jim Bonahoom Rud & Mary Ellen Boucher Don & Marilyn Bowerman Gwen & Richard Bowlby Mr. Anthony F. Brinkman Mr. & Mrs. Richard A. Brodie Mr. Scott Brooks Robert N. & Claire P. Brown Bowden & Elaine Brown Mr. & Mrs. Mark R. Buchanan Michael & Geraldine Buckles Dr. Carol S. Chadwick & Mr. H. Taylor Burleson

PERFORMANCE MAGAZINE

9

GOVERNING MEMBERS Ms. Evelyn Burton Julie Byczynski* & Angus Gray Philip & Carol Campbell Dr. & Mrs. Thomas E. Carson Mr. & Mrs. François Castaing Ronald & Lynda Charfoos Mr. Daniel Clancy Gloria & Fred Clark Mr. & Mrs. Robert W. Clark Dr. Thomas Clark & Annette Clark Nina & Richard Cohan Lois & Avern Cohn Jack, Evelyn & Richard Cole Family Foundation Dr. & Mrs. Charles G. Colombo Mrs. RoseAnn Comstock Mr. & Mrs. Thomas W. Cook Dr. & Mrs. Ivan Louis Cotman Mr. & Mrs. Gary L. Cowger Mr. Gary Cone & Ms. Aimée Cowher Mr. & Mrs. Raymond M. Cracchiolo Dorothy M. Craig Julie & Peter Cummings Mrs. Barbara Cunningham Suzanne Dalton & Clyde Foles Marvin & Betty Danto Family Foundation Joanne Danto & Arnold Weingarden Deborah & Stephen D’Arcy Fund Jerry P. & Maureen T. D’Avanzo Barbara A. David Margie Dunn & Mark Davidoff Lillian & Walter Dean Beck Demery Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Mr. Giuseppe Derdelakos Ms. Leslie Devereaux Mr. & Mrs. Richard L. DeVore Adel & Walter Dissett Mr. & Mrs. Mark Domin Donato Enterprises Linda Dresner & Ed Levy, Jr. Peggy Dufault Mr. Michael J. Dul Mr. & Mrs. Robert Dunn Mr. Roger Dye & Ms. Jeanne A. Bakale Edwin & Rosemarie Dyer Dr. Leo & Mrs. Mira Eisenberg Dr. & Mrs. A. Bradley Eisenbrey Mr. Lawrence Ellenbogen Marianne Endicott Donald & Marjory Epstein Mr. & Mrs. John M. Erb Mr. Sanford Hansell & Dr. Raina Ernstoff Mary Sue & Paul Ewing Jim & Margo Farber Mr. & Mrs. Oscar Feldman Mr. & Mrs. Anthony C. Fielek Mrs. Kathryn L. Fife Ms. Sharon Finch Mr. & Mrs. David Fischer Mrs. Marjorie S. Fisher Mr. & Mrs. Phillip Wm. Fisher Dr. Marjorie M. Fisher Ms. Mary D. Fisher Mr. Michael J. Fisher

10

Mr. Jay Fishman Mr. David Fleitz Mr. & Mrs. Samuel Fogleman Sidney & Madeline Forbes Mr. & Mrs. Edsel B. Ford II Dr. Saul & Mrs. Helen Forman Mr. & Mrs. Mark Frank Mr. Samuel Frank Barbara Frankel & Ronald Michalak Dale & Bruce Frankel Herman & Sharon Frankel Mr. & Mrs. Stanley Frankel Ms. Carol A. Friend & Mr. Mark T. Kilbourn Mr. & Mrs. Daniel E. Frohardt-Lane Sharyn & Alan Gallatin Lynn & Bharat Gandhi Mr. & Mrs. Eugene A. Gargaro, Jr. Mr. George Georges Mrs. Byron Gerson Mr. & Mrs. Ralph J. Gerson Drs. Lynda & Conrad Giles Mr. & Mrs. Robert W. Gillette Allan D. Gilmour & Eric C. Jirgens Mrs. Gale Girolami Dr. Kenneth & Roslyne Gitlin Ruth & Al Glancy Dr. & Mrs. Theodore Golden Dr. Robert T. Goldman Mr. Nathaniel Good Goodman Family Charitable Trust Dr. Allen Goodman & Dr. Janet Hankin Dr. & Mrs. Paul Goodman Mary Ann & Robert Gorlin Mr. Jason Gourley & Mrs. Rebekah Page-Gourley Ms. Jacqueline Graham Mr. Luke Ponder & Dr. Darla Granger Dr. Herman & Mrs. Shirley Gray Mrs. Jere Green Ms. Leslie Green Dr. & Mrs. Joe L. Greene Dr. & Mrs. Steven Grekin Mr. Jeffrey Groehn Ms. Janet Groening-Marsh Mr. & Mrs. James Grosfeld Mr. & Mrs. Robert Hage Alice Berberian Haidostian Judy & Kenneth Hale Robert & Elizabeth Hamel Randall L. & Nancy Caine Harbour Ms. Albertine Harmon Mrs. Betty J. Harrell Mr. & Mrs. Morton E. Harris Scott Harrison & Angela Detlor Mr. Lee V. Hart & Mr. Charles L. Dunlap Cheryl A. Harvey Gerhardt A. Hein & Rebecca P. Hein Ms. Nancy Henk Dr. Gloria Heppner Ms. Doreen Hermelin Mr. & Mrs. Ross Herron Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Jeremiah* & Brooke Hess Michael E. Hinsky &

DETROIT SYMPHONY ORCHESTRA

Tyrus N. Curtis Mr. & Mrs. Norman H. Hofley Lauri & Paul* Hogle Dr. Deanna & Mr. David B. Holtzman Jack & Anne Hommes Ms. Barbara Honner The Honorable Denise Page Hood & Reverend Nicholas Hood III Mr. & Mrs. Ronald Horwitz Mr. Matthew Howell & Mrs. Julie Wagner Mr. F. Robert Hozian Mr. & Mrs. Joseph L. Hudson, Jr. Richard H. & Carola Huttenlocher Mr. & Mrs. A. E. Igleheart Nicki* & Brian Inman Steven & Sarah Jackson Mr. James A. Jacob Ira & Brenda Jaffe Mr. Sharad P. Jain Mr. & Mrs. Richard J. Jessup William & Story John Mr. John S. Johns Chacona W. Johnson Mr. George Johnson Lenard & Connie Johnston Mr. Paul Joliat Mr. & Mrs. Joseph Jonna Mrs. Ellen D. Kahn Faye & Austin Kanter Ms. Cathleen Kapatos Danialle & Peter Karmanos, Jr. Mr. & Mrs. David Karp Mr. & Mrs. Norman D. Katz Dr. Laura Katz & Dr. Jonathan Pasko Mike & Katy Keegan Betsy & Joel Kellman Martin & Cis Maisel Kellman Michael E. Smerza & Nancy Keppelman Patrick J. Kerzic & Stephanie Germack Kerzic Dr. David & Mrs. Elizabeth Kessel The Stephanie & Frederic Keywell Family Fund Mrs. Frances King Mr. & Mrs. William P. Kingsley Mr. & Mrs. Harvey Kleiman Thomas & Linda Klein Mr. & Mrs. Ludvik F. Koci Ms. Margot Kohler Mr. David Kolodziej Dr. Harry & Mrs. Katherine Kotsis Robert C. & Margaret A. Kotz Barbara & Michael Kratchman Richard & Sally Krugel Mr. & Mrs. Harold Kulish Dr. Arnold Kummerow Mr. John Kunz Dr. & Mrs. Myron LaBan Mr. & Mrs. Robert LaBelle Dr. Raymond Landes & Dr. Melissa McBrien-Landes Drs. Lisa & Scott Langenburg Ms. Sandra Lapadot Ms. Anne T. Larin Mrs. Bonnie Larson Dolores & Paul Lavins Mr. Henry P. Lee

Marguerite & David Lentz Allan S. Leonard Max Lepler & Rex L. Dotson Mr. & Mrs. Ralph LeRoy, Jr. Dr. Melvin A. Lester Mr. & Mrs. Matthew Lester Mr. Daniel Lewis Mr. & Mrs. John D. Lewis Bud & Nancy Liebler Mr. Joseph Lile Mr. Gregory Liposky The Locniskar Group Mr. & Mrs. Eric C. Lundquist Daniel & Linda* Lutz Mr. Robert A. Lutz Mrs. Sandra MacLeod Mr. & Mrs. Charles W. Manke, Jr. Mervyn & Elaine Manning Mr. & Mrs. David S. Maquera, Esq. Michael & Laura Marcero Ms. Florine Mark Maureen & Mauri Marshall David & Valerie McCammon Dr. & Mrs. Peter M. McCann, M.D. Mr. & Mrs. Doug McClure Mr. & Mrs. Alonzo McDonald Alexander & Evelyn McKeen Patricia A. & Patrick G. McKeever Dr. & Mrs. Donald A. Meier Dr. & Mrs. David Mendelson Mrs. Thomas Meyer Thomas & Judith Mich Ms. Deborah Miesel Mr. & Mrs. Eugene A. Miller Mr. & Mrs. Leonard G. Miller Mr. & Mrs. Robert S. Miller Dr. Robert & Dr. Mary Mobley J.J. & Liz Modell Dr. Susan & Mr. Stephen* Molina Eugene & Sheila Mondry Foundation Mr. Lane J. Moore Mr. & Mrs. Craig R. Morgan Ms. A. Anne Moroun Ms. Florence Morris Mr. Frederick Morsches & Mr. Kareem George Cyril Moscow Xavier & Maeva Mosquet Mr. Joseph Mullany Drs. Barbara & Stephen Munk Joy & Allan Nachman Edward & Judith Narens Geoffrey S. Nathan & Margaret E. Winters David Robert & Sylvia Jean Nelson Mr. & Mrs. Albert T. Nelson, Jr. Mr. & Mrs. James B. Nicholson Jim & Mary Beth Nicholson Patricia & Henry Nickol Mr. & Mrs. David E. Nims Mariam C. Noland & James A. Kelly Katherine & Bruce Nyberg Mr. & Mrs. Stanley Nycek Mrs. Jo Elyn Nyman Mr. John J. O’Brien Dr. & Mrs. Dongwhan Oh Mr. & Mrs. Pat Olney Dr. William Oppat Mr. & Mrs. Joshua Opperer

Mr & Mrs. Arthur T. O’Reilly Andrea Page Mr. Randall Pappal Mrs. Margot Parker Anne Parsons* & Donald Dietz Mr. & Mrs. Richard G. Partrich Mrs. Sophie Pearlstein Mr. & Mrs. Roger S. Penske Mr. Charles Peters Mr. & Mrs. Bruce D. Peterson Mr. & Mrs. Kris Pfaehler Dr. William F. Pickard Mrs. Helen F. Pippin Dr. Klaudia Plawny-Lebenbom The Polk Family Mr. & Mrs. William Powers Dr. Glenda D. Price Reimer Priester Mr. & Mrs. David Provost Charlene & Michael Prysak Mr. Ronald Puchalski Fair Radom Mr. & Mrs. Richard Rappleye Mr. Richard Rapson Drs. Stuart & Hilary Ratner Ms. Ruth Rattner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Carol & Foster Redding Mr. & Mrs. Dave Redfield Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Denise Reske Mr. & Mrs. Lloyd E. Reuss Barbara Gage Rex Dr. & Mrs. John Roberts Bernard & Eleanor Robertson Aviva Robinson Mrs. Ann C. Rohr Seth & Laura Romine

Dr. Erik Rönmark* & Mrs. Adrienne Rönmark* Dulcie Rosenfeld Mr. & Mrs. Robert B. Rosowski Mr. & Mrs. Gerald F. Ross Jane & Curt Russell Dr. & Mrs. Alexander Ruthven Mrs. Lois J. Ryan Martie & Bob Sachs Dr. Mark & Peggy Saffer Mr. David Salisbury & Mrs. Terese Ireland Salisbury Hershel & Dorothy Sandberg Marjorie & Saul Saulson Mr. Robert Schaerer Ms. Martha A. Scharchburg & Mr. Bruce Beyer Dr. Sandy Koltonow & Dr. Mary Schlaff David & Carol Schoch Mr. & Mrs. Alan E. Schwartz Mr. & Mrs. Alan S. Schwartz Mr. & Mrs. Kingsley G. Sears Mr. Ken Seawell Mr. & Mrs. Fred Secrest Mr. Merton J. & Mrs. Beverly Segal Elaine & Michael Serling Mark & Lois Shaevsky Mr. Igal Shaham & Ms. Linda Zlotoff Mrs. Jean Shapero Mrs. Patricia Finnegan Sharf Ms. Cynthia Shaw Mr. & Mrs. Larry Sherman Mr. & Mrs. James H. Sherman Ms. Margaret Shulman Dr. Les & Mrs. Ellen Siegel Coco & Robert Siewert Mr. & Mrs. Donald R. Simon William & Cherie Sirois Dr. Cathryn Skedel & Mr. Daniel Skedel

VOLUNTEER COUNCIL EXECUTIVE COMMITTEE Ginny Lundquist President

The Volunteer Council strives to fulfill its mission as an active partner of the DSO in fundraising, as well as audience/membership expansion, youth music education and volunteer service. Because of the repeated financial success of its events, such as the Nutcracker Luncheon & Boutique and Musical Feasts, the Volunteer Council is proudly able to make significant donations to the DSO each year.

VOLUNTEER COUNCIL BOARD OF DIRECTORS

Jill Jordan

Chief Financial Officer

Diane Ekizian

Recording Secretary

Esther Lyons

Cindy & Leonard Slatkin William H. Smith Mr. & Mrs. Leonard W. Smith John J. Solecki Richard Sonenklar & Gregory Haynes Renate & Richard Soulen Dr. Gregory Stephens Mr. & Mrs. Cinton F. Stimpson III Dr. Mack Stirling Dr. & Mrs. Charles D. Stocking Mrs. Kathleen Straus & Mr. Walter Shapero Mrs. E. Ray Stricker Mr. & Mrs. John Stroh III Stephen & Phyllis Strome Mrs. Susan Svoboda & Mr. Bill Kishler Dorothy I. Tarpinian Shelley & Joel Tauber Dr. & Mrs. Howard Terebelo Mr. & Mrs. James W. Throop Carol & Larry Tibbitts Mr. & Mrs. John P. Tierney Alice & Paul Tomboulian Dr. Doris Tong & Dr. Teck M. Soo Mr. & Mrs. Michael Torakis Mr. Gary Torgow Barbara & Stuart Trager Mark & Janice Uhlig David Usher Dr. Vainutis Vaitkevicius Amanda Van Dusen & Curtis Blessing Mrs. Richard C. Van Dusen Mr. & Mrs. Charles B. Van Dusen Mr. James G. Vella Mrs. Inge Vincent Mr. Bill Vlasic Mrs. Eva Von Voss Mr. William Waak Dr. & Mrs. Ronald W. Wadle

Ellie Tholen

V. P. for Communications/ Public Relations

Beverly Williams V. P. for Membership

V.P. for Administrative/ Office Services

E. Jane Talia

Mary Beattie Gwen Bowlby Drew Esslinger Sandie Knollenberg Magda Moss

Dolores Reese Ann Marie Rowley Charlotte Worthen Eleanor (Coco) Siewert

Mr. Michael A. Walch & Ms. Joyce Keller Captain Joseph F. Walsh, USN (Ret.) Mr. & Mrs. Jonathan T. Walton Mr. Gary L. Wasserman & Mr. Charlie Kashner Mr. Todd Watson Mr. Patrick Webster S. Evan & Gwen Weiner Mr. Herman W. Weinreich Mr. & Mrs. Lawrence Weisberg Ambassador & Mrs. Ronald N. Weiser Arthur & Trudy Weiss Mr. Brian Wenzel Janis & William Wetsman/ The Wetsman Foundation Ms. Sharon Backstrom Mr. & Mrs. R. Jamison Williams Beverly & Barry Williams Dr. M. Roy & Mrs. Jacqueline Wilson Rissa & Sheldon Winkelman Dr. & Mrs. Ned Winkelman Mr. John Wolak Mr. Jonathan Wolman & Mrs. Deborah Lamm Mrs. Cathy Cromer Wood David & Bernadine Wu Ms. Andrea L. Wulf Mrs. Judith G. Yaker Mr. Michael Yessian Margaret S. York The Yousif Family Mr. & Mrs. Alan Zekelman Erwin & Isabelle Ziegelman Foundation Mr. & Mrs. Paul M. Zlotoff Mr. Richard D. Zimmerman Milton & Lois Zussman

Carol Marti

V. P. for Special Events

Marlene Bihlmeyer

V. P. for Youth Music Education

V. P. for Neighborhood/ Residency Ambassador

ORCHESTRA REPRESENTATIVES

Mark Abbott Dave Everson

Parliamentarian

Learn more about the Volunteer Council and their contributions to the DSO at dso.org/volunteercouncil PERFORMANCE MAGAZINE

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feature story

feature story

TO STAGE OR NOT TO STAGE...

By Leonard Slatkin

T

he scene is familiar. The audience is in place, the orchestra has tuned, and the lights come down. After the conductor enters and gives the downbeat, the curtain rises, and we are thrust into another dimension, one where reality dissipates and singing takes the place of verbal dialogue.

It is an amazing world when everything comes together. But opera can be calamitous when even one small aspect goes wrong. What gets forgotten these days, at least on several occasions, is that the name of the opera is associated with the composer of the music. How many regular visitors to the opera house actually know who wrote the libretto or the story on which the work is based? It is the music that drives the story, even though that might not have been how the sounds came into being.

As long as I can remember, there has been a debate about the validity of presenting opera in concert: “It is against the wishes of those who wrote the work.”

“The audience does not get the full impact of the drama.”

“The intention is for the experience to be one of totality.”

If that is the case, what are people doing with all those recordings at home, where there is no opportunity for the director, cast and orchestra to show up in the living room?

Last season, the DSO presented Puccini’s Tosca.

There were no sets, few props, and certainly no characters running around on our stage. The singers moved a little, and we tried to make sure that only the people involved in the action were on stage at any given time. The end result was, at least in my

opinion, wonderful. I received notes from longtime operagoers saying how much they appreciated being able to focus on the music.

There is nothing quite like hearing a great orchestra play a fantastic score when freed from the confines of the pit. The sound is more present and reverberant, but can sometimes cover the voices.

One has to pay attention to dynamics in quite a different way with the orchestra and singers onstage together.

This year our opera is Salome, by Richard Strauss. It is basically a tone poem that happens to have singers in it. Orchestrally, one could not ask for a richer and more fulfilling score. There is not a lot of action in the work, so it is ideal for concert presentation. There may be those who really wanted to see the “Dance of the Seven Veils,” but this time, you are able to let the music take you to the place you want to imagine. About 12 years ago, I stumbled onto a performance where Herod did this dance.

And of course, this brings us to the advantage of concert performance. We do not have to deal with high-art-minded productions by directors wanting to change anything they can. We have come to live in a visual age, but often these days, the eye cancels out what is heard. With our presentation, we will be able to totally focus on what Strauss wrote, while at the same time, still react to Oscar Wilde’s sordid story.

The drama is inherent in the music, but we will also have surtitles so the audience can follow along as the young girl drives herself into total madness.

I have had the opportunity to do both staged and concert performances of this work. They are equally appealing, but there is something special about the direct communication from all forces involved. This will be a very special experience for all of us.

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meet the musician

KEVIN BROWN PRINCIPAL BASS

VAN DUSEN FAMILY CHAIR

BY BRANDON COULTER As far as audition experiences go, everything seemed to fall into Kevin Brown’s favor as soon as he reached Detroit. His massive bass case passed

by TSA with ease, a taxi SUV was waiting for him at the bustling Detroit Metro Airport and onlookers were interested in what he was doing. “You always get someone who asks ‘is that a piccolo?’” Kevin said.

“Not here though. They would ask ‘are you going to the DSO?’ or ‘is that a double bass?’” He arrived at his room at the Inn on Ferry Street two days before his audition, giving him time to practice.

Then came a knock at the door.

“I remember thinking ’Oh no, somebody’s complaining about the sound,’” he said. It was a maintenance worker at the Inn who offered Kevin access to an open conference room. “Practicing in that space made me feel more comfortable,” Brown said. “Everything was just easy.” On the day of his audition, Kevin walked roughly a mile to Orchestra Hall with his bass, enjoying the May weather and feeling good.

“I remember going into the hall and feeling like I was at home. My sound really worked in that space,” Kevin said. For him, things felt right in Detroit from the beginning, and he is here to stay.

Originally from Northfield, Minn., Kevin returns to the Midwest after stints in both California and Texas. The majority of his life and education has been spent practicing and performing music, beginning on a viola da gamba (a baroque-era string instrument resembling a cello) strung up with bass strings at 3 years old and later studying with some of the best teachers in Minnesota courtesy of his mother, who is also a professional bass player.

Four years of painstaking auditioning eventually brought him to Detroit. His strong audition for the

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DETROIT SYMPHONY ORCHESTRA

DSO in 2014 won him the Principal Bass position (Van Dusen Family Chair), a product of exemplary performance and a pleasant experience in the city.

While the DSO is Kevin’s first full-time job as a performer, he has had his share of experience since receiving his bachelor’s and master’s degrees from Rice University, performing extensively with the Houston Symphony and appearing with the Philadelphia Orchestra and Atlanta Symphony.

For his upcoming performance of Vanhal’s Concerto for Double Bass and Orchestra (March 31-April 2), Kevin is doing everything he can to make his first solo performance shine. “[The piece] is in a different tuning,” he said. “It’s in solo tuning so everything is tuned a step up. I’m playing as if it’s in C-major, but it’s in D-major.” The bass is normally designed to be supportive and functional within the orchestra, blending underneath the other strings rather than projecting through. “It’s a different approach to playing altogether, but I enjoy it,” Brown said.

His musical interest extends beyond just work, studying classical forms and performing with other groups in the area. Since earning his position as Principal Bass, Kevin has spent much of his free time exploring and experiencing Detroit. The balcony of his Midtown apartment offers a beautiful view of a city without a bad seat in the house, giving him the chance to see its revitalization firsthand. Since day one, Kevin’s experience with Detroit has been positive, and he sees himself fitting right in for the future. “I didn’t know a whole lot about the DSO when I took the audition,” Kevin said. “When I got here though, I felt more connected to everything…I enjoyed playing in the hall, the people, and the weather. It felt like returning home.”

Hope has a home.

It’s called U of M.

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PERFORMANCE MAGAZINE

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maximize your experience OFFERINGS Volume XXIV Spring 2016, Issue 3

•

2015-16 Season

EDITOR

Gabrielle Poshadlo gposhadlo@dso.org 313.576.5196 P R O G R A M N O T E S A N N O T AT O R

Charles Greenwell C O V E R I L L U S T R AT I O N

Skidmore Studio Cover Concept: Skidmore Studio used graphic treatment utilizing negative shapes to suggest the head of John The Baptist in the train of Salome's skirt.

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

Max M. & Marjorie S. Fisher Music Center 3711 Woodward Ave. Detroit, MI 48201 Phone: 313.576.5111 Fax: 313.576.5100 DSO Box Office: 313.576.5111 Box Office Fax: 313.576.5101 DSO Group Sales: 313.576.5130 Rental Info: 313.576.5050 Email: info@dso.org Website: dso.org Subscribe to our e-newlsetter via our website to receive updates and special offers. dso.org/performance Performance is published by the DSO and Design Scholar. To advertise in Performance, visit dsomag.com or email Shad Bowens at shad@designscholar.com.

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To report an emergency during a concert, call 313.576.5199.

To make special arrangements to receive emergency phone calls during a concert, ask for the house manager.

Priority Service for Our Members Subscribers and donors who make a gift of $1,000 or more annually receive priority assistance. Just visit the Patron Services Center on the second floor of the Max M. and Marjorie S. Fisher Music Center Atrium for help with tickets, exchanges, donations or any other DSO needs.

Herman and Sharon Frankel Donor Lounge Governing Members who make a gift of $3,000 or more annually 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 Dan Coleman at 313.576.5451 or dcoleman@dso.org.

Dine at the DSO Located on the second floor of Orchestra Hall, Paradise Lounge is open prior to most concerts featuring gourmet dinners, decadent desserts, classic cocktails, small production wines and craft beers.

Bars are available throughout the Max M. and Marjorie S. Fisher Music Center prior to concerts and during intermission. For your convenience, you may place your beverage orders pre-concert and your drink will be waiting for you at intermission.

Gift Certificates Give friends and loved ones a gift that ignites their soul—the experience of a DSO performance. Gift certificates are available in any denomination and may be used toward the purchase of DSO concert tickets. Visit the DSO Box Office or call 313.576.5111 for more information.

RENT THE MAX The Max M. and Marjorie S. Fisher Music Center is an ideal setting for a variety of events and performances, including weddings, corporate gatherings, concerts and more. For information on renting the facility, please call 313.576.5050 or visit dso.org/rent.

The elegance and versatility of The Max creates outstanding settings for a variety of special events—from galas & conventions to concerts, meetings and more!

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

MAX M. & MARJORIE S. FISHER MUSIC CENTER Home of the Detroit Symphony Orchestra

POLICIES Parking, Security and Lost & Found During M-1 Rail construction, valet parking is available for most concerts for $12 with vehicle drop-off and pick-up on Parsons Street near the corner of Woodward Avenue. Donor valet and pickup, (patrons who give $7,500+), is available at the stage door behind the Max M. and Marjorie S. Fisher Music Center.

Parking is available for $7 in the Orchestra Place Parking Structure located on Parsons Street, with overflow in a nearby DSO lot. Handicap accessible parking is also available. Other parking options include Woodward Gardens on Woodward Avenue near Alexandrine Street and Wayne State University Parking near Whole Foods on John R Street. The DSO offers shuttle bus service to Coffee Concerts from select locations for $12. Please call 313.576.5130 for information.

When purchasing tickets at the Box Office, DSO offers patrons one hour of free parking in the Orchestra Place Parking Structure during daytime box office hours. Lost & Found is located at the security desk by the stage entrance, and can be contacted at 313.576.5199.

Accessibility Parking is available in the Orchestra Place Parking Structure for patrons with applicable permits.

There are elevators, barrier-free restrooms and accessible seating in all areas of the Max M. and Marjorie S. Fisher Music Center. Security personnel are available at the entrances to help patrons requiring extra assistance in and out of vehicles.

Hearing assistance devices are also available.

Please see the House Manager or any usher for additional assistance.

A Smoke-Free Environment The DSO is pleased to offer a smoke-free environment at the Max M. and Marjorie S. Fisher Music Center. Patrons who wish to smoke must do so outside the building. This policy also applies to electronic smoking devices such as e-cigarettes and personal vaporizers. An outdoor patio is also available on the second level of the Atrium Lobby.

House and Seating Policies All patrons must have a ticket to attend concerts at the Max M. and Marjorie S. Fisher Music Center, including children. The Max opens two hours prior to most DSO concerts. Most classical concerts feature free pre-concert talks or performances in Orchestra Hall for all ticket holders.

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

Please silence cell phones, alarms and other electronic devices. Patrons should speak to the House Manager to make special arrangements to receive emergency phone calls during a performance.

Emergency Evacuation Procedure In the event of an emergency, locate the nearest exit sign and listen for announcements on the PA system. Please follow the directions of Orchestra Hall ushers and staff. For safety reasons, everyone should leave in an orderly fashion and please remain calm. Guests with disabilities will be escorted to the nearest exits by an usher. Elevators will not operate during an evacuation. Once you exit the building, proceed as far away from the premises as possible. Thank you for being prepared to respond calmly in the event of an emergency.

Concert Cancellations In the case of inclement weather or other emergencies, visit dso.org or facebook.com/detroitsymphony, call the Box Office at 313.576.5111, or tune in to WJR 760 AM and WWJ 950 AM. Patrons will be notified of exchange options. The DSO is unable to offer refunds.

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spotlight An important component of the DSO’s commitment to diversity, inclusion and accessibility is our Diversity & Inclusion Task Force.

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The individuals you see pictured here are passionate members of our community who dedicate themselves, personally and professionally, to expanding opportunities for all Metro Detroiters. Led by New Detroit CEO Shirley Stancato, this group comes together to creatively support and challenge the DSO in its pursuit of being the most accessible orchestra on the planet. From hiring practices, to patron experiences, to professional development programs, all operations are discussed and steps for improvement are put into place. The DSO benefits from the expansive reach of the members’ backgrounds which include diversity consulting, arts and culture presenting, LGBT advocacy, community organizing, public/private partnerships and, leadership development, homeless services, and more. The DSO thanks this task force and the numerous community partners who support our efforts to bring the life-transforming benefits of music to as many people as possible!

DETROIT SYMPHONY ORCHESTRA

making a difference COMPOSER REACHES OUT TO YOUTH Mohammed Fairouz and Maya Beiser spoke with students from the Frankel Jewish Academy following a rehearsal for the world premiere of Desert Sorrows. While listening to the piece, a student was inspired to sketch a visual depiction of some of the composition’s narrative themes.

“I do my work in New York, Amsterdam, Dubai about 50 students each in English and in Arabic at and elsewhere, but it’s really in places like metro Woodworth Middle School in Dearborn.

Detroit that you find the greatest reward,” says Ar“The DSO recognizes students are their future ab-American composer Mohammed Fairouz. patrons. The reactions of the students were primarThe Detroit Symphony Orchestra, with funding ily of surprise, that right here in Detroit is one of from Julie and Peter Cummings and the National the greatest orchestras in the world,” says Fairouz, Endowment for the Arts, commissioned Fairouz to who is hailed by The New York Times and BBC World create a concerto for Israeli-born cellist Maya Beiser. News as an important artistic voice and one of the In January, the DSO performed the world premiere of most talented composers of his time. His fourth Fairouz’s “Desert Sorrows” at Orchestra Hall at the symphony, “In the Shadow of No Towers,” about Max M. and Marjorie S. Fisher Music Center, Congre- American life after 9/11 premiered at Carnegie Hall gation Shaarey Zedek and the Macomb Center for in 2013. the Performing Arts, receiving an overwhelmingly While the DSO wants to expose youth to cultural positive response from the community. The perfor- differences and teach them how to celebrate those mances, part of the William Davidson Neighborhood differences, Caen Thomason-Redus says it is also Concert Series, are one example of the DSO’s com- important for kids to see someone like them doing mitment to community interaction and engagement. something successful that they enjoy.

“When we did the concerto at Shaarey Zedek, “The Frankel students were riveted by Maya’s dethere were a large number of people from the Jewish scriptions of growing up in a kibbutz in Israel from community and many who came from the Arab com- which she could hear the Muslim call to prayer,” he munity. It was interesting to see this interaction in says. “They were fascinated that her family intera synagogue,” says Fairouz, 30. He adds that when acted positively with a variety of cultures and by the performance was done, both Jewish and Arab her service in the Israeli army where she was in a patrons expressed appreciation for his work. string quartet.” Maya Beiser has nine solo albums Yet more fun and even more important, says and has commissioned and performed hundreds of Fairouz, was when he and Beiser worked with chil- new works written for her by modern day’s leading dren in the community. About 30 students at Berk- composers. ley High School and eight from Jean and Samuel For his part, Fairouz challenged Woodworth Frankel Jewish Academy of Metropolitan Detroit in students’ notions about their cultural backgrounds.

West Bloomfield attended rehearsals at Orchestra “People tend to think music is primarily European in Hall and had the opportunity to talk with the artists origin,” Thomason-Redus says, “but so many things afterward not only about their lives as a composer were developed in the Middle East.” and a musician but about their cultural experiences Mohammed made sure those students learned as well. In addition, Fairouz spoke to two classes of that.

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Leonard Slatkin, Music Director Jeff Tyzik, Principal Pops Conductor Neeme Järvi, Music Director Emeritus

CLASSICAL SERIES

The Legendary Nigel Kennedy Friday, May 6, 2016 at 8:00 p.m.

Saturday, May 7, 2016 at 8:00 p.m. in Orchestra Hall LEONARD SLATKIN, conductor NIGEL KENNEDY, violin

With this concert, the DSO honors the memory of Ms. Charlotte Arkin

Robert Schumann Overture to Manfred, Op. 115 (1810-1856)

William Schuman Symphony No. 3 (1910-1992) Part I: Passacaglia

Fugue

Part II: Chorale

Toccata —INTERMISSION—

“Nigel Kennedy – Dedications”

Nigel Kennedy

(b. 1956)

For Jarek Smietana For Stephane Grappelli For Isaac Stern For Mark O’Connor

This Classical series performance is generously sponsored by PVS Chemicals This performance will be webcast at dso.org/live Experience the concert again at dso.org/replay Live from Orchestra Hall is presented by and made possible by

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DETROIT SYMPHONY ORCHESTRA

.

profile NIGEL KENNEDY

For over twenty-five years, Nigel Kennedy has been acknowledged as one of the world's leading violin virtuosos and is, without doubt, one of the most important violinists Britain has ever produced. His virtuoso technique, unique talent and mass appeal have brought fresh perspectives to both the classical and contemporary repertoire. He is the best-selling classical violinist of all time.

From a young age, he was Yehudi Menuhin’s most famous protégé, studying first at the Menuhin School before moving to the Juilliard School of Music in New York to study under celebrated teacher, Dorothy DeLay. During his career, Nigel Kennedy has undertaken countless international tours, performing with the world's leading orchestras and conductors throughout Europe, North America, Central and South America, South East Asia and Australia.

Nigel Kennedy has attracted an enormous amount of worldwide media attention throughout an extraordinary career and his international television appearances have been wide and varied. He has given public and private performances for members of the British royal family and has also been presented with many awards including, amongst others, Outstanding Contribution to British Music and Male Artist of the Year at the UK Brit Awards; in France a Vivement Dimanche Gold Award, numerous Echo Awards and Switzerland’s Gold Rose of Montreux.

In September 2002, Kennedy was appointed Artistic Director of the Polish Chamber Orchestra, a role the late Lord Menuhin once held. With this orchestra, he rediscovered a stunning and forgotten late Romantic Polish concerto, Emil Mlynarski's Violin Concerto No 2 and combined it with Mieczyslaw Karlowicz's Violin Concerto in A major, which was released under the title 'Polish Spirit' in 2007.

‘Polish Spirit’ has won numerous awards the world over, including the prestigious Echo Klassik Award in Germany (Instrumentalist of the Year) and Poland's Fryderyki Album of the Year Award.

Leonard Slatkin's bio appears on page 6.

Manfred Overture

ROBERT SCHUMANN B. June 8, 1810 in Zwickau, Germany D. July 29, 1856 in Endenich, Germany SCORED FOR 2 FLUTES, 2 OBOES, 2 CLARINETS, 2 BASSOONS, 4 HORNS, 3 TRUMPETS, 3 TROMBONES, TIMPANI AND STRINGS. (APPROX. 12 MINUTES)

Although he is probably best known for his piano music, songs and some of his chamber music and symphonic works, Schumann made significant contributions to all the musical forms of his day and even helped to bring some new ones into existence. He also had a very keen literary mind, which studies at the Universities of Heidelberg and Leipzig helped to sharpen, and even for a time pushed him into a career as a writer, including an early attempt at writing a novel. When he was in his early twenties he thought about writing an opera based on Shakespeare’s Hamlet, and for the next 15 years he considered at least 40 other subjects for operatic treatment, but they all came to naught. Then in 1848, when the opportunity arose to provide incidental music to a stage presentation of Lord Byron’s Manfred, he involved himself passionately in the project. The result was called Manfred: Dramatic Poem with Music in Three Parts, and consists of an overture and 15 additional numbers for orchestra (called melodramas and an entr’acte), chorus and several solo voices. The famous overture was first performed in March of 1852 conducted by the composer, while the first complete performance of the drama with music was given by Franz Liszt in Weimar some three months later. This incidental music demonstrates Schumann’s increasing desire to explore the outer limits of musical drama.

Bryon’s flamboyant and unsettled life, his death at 36 fighting for the cause of Greek independence, and his radiant, highly attractive and complicated personality all made him the embodiment of a Romantic figure, and he captivated the Western mind and heart as few have before or since. He began the three-act dramatic poem Manfred in the summer of 1816 when he was just 28, and completed it the following spring. By the standards of 19th-century theatre, Manfred was unconventional, to say the least. On the one hand, the eponymous character is a classic Romantic anti-hero: a misanthropic and PERFORMANCE MAGAZINE

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program notes melancholy outcast and recluse, defiant and tormented by guilt, god-like but tragically flawed, who searches in vain for release from his torment in the light of the natural world and the dark shadows of the spirit world. He is, in Byron’s words, “half dust and half deity.” On the other hand, Manfred lacks a crucial element of all successful drama: decisive action. The little action that does occur is entirely inward, as Manfred seeks to rid himself of a past sin he wants desperately to forget, and as a result seems to be most of the time on the verge of a nervous breakdown. The fact that Byron was sorry he ever had Manfred published, and said often that it should never be performed, only adds to the work’s mystique. It is certainly easy to understand why Manfred moved the composer so greatly: both Byron and Schumann were complex, hypersensitive individuals, given to emotional extremes, and there is ample evidence that both were what is now called bipolar. Even though much of the incidental music represents some of Schumann’s most imaginative and deeply felt output, it is the Overture which stands by itself as a marvelously thought out and wonderfully inspired example of creation: a tight, compact and superbly argued symphonic drama which is not only one of the great gems of the Romantic orchestral repertoire, but in the eyes of many is Schumann’s finest orchestral work. Every theme, every harmony, every gesture is in some way a reflection of Manfred’s passionate and tormented character.

The Detroit Symphony Orchestra first performed Schumann’s Manfred Overture in February of 1926, conducted by Ossip Gabrilowisch. The DSO most recently performed it in February of 2007, conducted

by Hans Graf.

——————

Symphony No. 3

WILLIAM SCHUMAN B. August 4, 1910 in New York, NY D. February 16, 1992 in New York, NY SCORED FOR 2 FLUTES, 2 PICCOLOS, 3 OBOES, ENGLISH HORN, 3 CLARINETS, EB CLARINET, BASS CLARINET, 3 BASSOONS, CONTRABASSOON, 4 HORNS, 4 TRUMPETS, 4 TROMBONES, TUBA, TIMPANI, PERCUSSION (BASS DRUM, CYMBALS, XYLOPHONE & SNARE DRUM), PIANO AND STRINGS. (APPROX. 33 MINUTES)

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It is rather rare that a composer makes a significant difference to his own era, but it can be argued that William Howard Schuman was perhaps the most influential American musician of the 20th century. In a career which spanned more than 60 years, he was highly regarded as an educator, administrator, and composer, and in the latter category he was acclaimed for his meticulous craftsmanship and a remarkable ability to incorporate jazz and folk music into his works. He also played a leading role in making changes in American musical life, from the spread of music programs in conservatories and universities to the growth of high school bands and orchestras. In his day he was put in the highest rank of American composers, alongside Copland, Harris, Piston, Bernstein and Carter. However, unlike Copland and Bernstein, Schuman never had a big popular hit, and perhaps because of that his music is not performed in our time as frequently as it once was. Born in New York, Schuman played violin and banjo as a child and was drawn to musical pursuits thanks to the growing popularity of jazz in the 1920s.

He formed a dance band in high school called “Billy Schuman and his Alamo Society Orchestra,” which played for local weddings and for bar/bat mitzvahs, in which he played violin, banjo, double bass and other instruments. He also began to write popular songs with E.B. Marks, a friend he met at summer camp, and around this time he met Frank Loesser (who was just beginning his rise to stardom in Broadway musical theater) and wrote some 40 songs with him. In fact, Loesser’s first published song credits the music to William H. Schuman. In 1930 Schuman went with his sister to Carnegie Hall to hear a New York Philharmonic concert conducted by Arturo Toscanini, after having previously resisted all attempts to go to such an event, thinking that he would be bored. However, the sight of all the musicians on stage made a tremendous impression on the 19-year-old, and as he later recalled, “I was astounded at seeing the sea of stringed instruments…the visual thing alone was astonishing, but the sound! I was overwhelmed, and the very next day I decided to become a composer.”

Schuman dropped out of school and quit his parttime job to seek formal musical study. From 1933 to 1938 he studied composition privately with Roy Harris, and in 1935 received a B.Mus. degree from Columbia University Teachers College.

From 1935 to 1945 Schuman taught at Sarah

program notes Lawrence College in Bronxville, New York, where he instituted a new approach to teaching music which combined history, theory and general arts in an integrated curriculum, and also added a number of prominent American composers to the faculty. In 1944 the famous publishing house of G. Schirmer appointed Schuman as Director of Publications, and the following year, when he became President of the Juilliard School, he continued to serve Schirmer as Special Publications Consultant. Schuman’s tenure with the Juilliard School (1945-1962) was momentous, essentially remaking the school into a modern, 20th-century institution. He founded the Juilliard String Quartet, revived the opera theater, and added a dance department. Many distinguished composers were invited to join the faculty, and contemporary music was integrated into the curriculum. Schuman also convinced the planners of the nascent Lincoln Center complex that the school should become one of the Center’s organizations, and in 1962 the Center’s board of directors named him President of the entire complex, just a few months before the opening of Philharmonic Hall, since re-named Avery Fisher Hall.

In this capacity, Schuman encouraged commissions and performances of American music, founded the Chamber Music Society, the Film Society, the Student Program, and a summer series of special events, including performances by visiting opera companies.

In 1968 Schuman suffered a heart attack, and the following year resigned the Lincoln Center presidency, citing among other things, frustrations over financial limits placed on the Center’s activities, and a desire to devote more time to composition. He became President Emeritus of both Lincoln Center and Juilliard, and served on the boards of organizations such as the Koussevitsky Foundation, the Charles Ives Society and the Naumburg Foundation.

Schuman was fond of highlighting the various sections of the orchestra by creating distinct blocks of sound and color. He always seemed to have a clear plan for the structure of a work, and drew on a wide variety of compositional devices, among them fugues, passacaglias, canons and various forms of variation techniques. He utilized an unusually large harmonic vocabulary, incorporating the entire range of scales and modes in Western music, and stretched traditional tonality to its limits. The rhythmic component of his music is intense, powerful and full of variety, built on strong foundations which were no doubt a

carry-over from his early dealings with jazz and pop music. In the realm of choral music he was a master of both accompanied and unaccompanied settings, and had a particular predilection for American poetry, using texts by Walt Whitman, Langston Hughes, Edna St. Vincent Millay and Thomas Wolfe, among many others. It would be hard to imagine anything more American than his setting of the famous Casey at the Bat, or the Mail Order Madrigals, which drew on segments of the Sears Roebuck catalog.

The Third Symphony was first performed by Serge Koussevitsky and the Boston Symphony Orchestra in October of 1941, with Leonard Bernstein assisting Koussevitsky in the rehearsals and preparations for the concert. As the rehearsal process proceeded, all parties began to agree that the symphony would benefit from certain cuts and adjustments. As Schuman later recalled, “In writing the symphony I had discovered the interval of the fourth, and had page after page built on that interval. It was youthful excess, and the need for cuts became obvious in rehearsal. In the toccata, for example, I wrote a virtuoso section for the double basses that sounded terrible…on the first reading Koussevitsky looked up at me, shook his head, and out it went!” (It should be remembered that Koussevitsky was in his early days one of the greatest of double bass players.) Audience reaction to the new symphony was generally enthusiastic, much to the delight of the composer and both conductors. With the passage of time, however, some people began to feel that those initial cuts might have been made in haste, even though Schuman did not accept all suggestions to that end. For performances with the National Symphony Orchestra in 2005, Leonard Slatkin restored a good deal of the excised material, resulting in a version of the symphony which knowledgeable musicians felt was much stronger than previously. The symphony is in two parts, each having two continuous sections in a tempo relation of slow-fast. The first consists of a passacaglia and fugue; and the second incorporates a chorale and toccata. In writing the work, Schuman said that he did not adhere rigorously to these Baroque forms, but used them only as a general basis for developing each movement.

The Detroit Symphony Orchestra has previously performed Schuman’s Symphony No. 3 once, in November of 1945. Karl Krueger conducted.

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program notes Dedications

NIGEL KENNEDY B. December 28, 1956 in Brighton, England SCORED FOR PIANO, 2 ACOUSTIC GUITARS, UPRIGHT ACOUSTIC BASS, AND STRINGS.

The composer wrote the following about each movement: Jarek Smietana—My early days in Poland were musically characterized by meeting 2 great musical identities: Kroke and Jaroslav Smietana. When I met Jarek, there was an immediate recognition of each other, which only happens in a great friendship. He was one of the greatest European jazz guitarists and a wonderful composer. As a bandleader, he was fearless and everybody around him felt confident. The last thing anybody wants is an insecure, panicky, timid bandleader, and he definitely wasn’t like that!

We played all kinds of venues—from large concert halls to tiny clubs—and unlike many of today’s musicians, he was always ready to have a jam and never thought he was above doing that. Since he has passed away, Krakow is just not the same place.

Isaac Stern—In the world of classical music, Isaac Stern was a huge inspiration to every violinist from the younger generation. He had a huge sense of responsibility concerning the communication of his

legacy. What I loved the most about his musicianship was his laser-sharp analytical mind, allied with his immense musical heart. I was lucky enough to have quite a few lessons with him (for which he never charged anything) and as in the case of all great communicators, he would help make matters appear simple as opposed to complicated.

Stephane Grappelli—I met Stephane for the first time when he was playing to us kids in the Yehudi Menuhin school; I surprised him by jumping on the stage and joining him in his performance, which was the catalyst for a long musical relationship with him. He loved it that a 14-year-old kid was into his music and could also play it. From my point of view, it was invaluable to meet a musician who, when playing, proved that serious music doesn’t have to be depressing. He had an amazing fluidity in his phrasing and whenever he played one was aware of a fresh story unfolding.

Mark O’Connor—Like Stephane Grappelli, Mark O’Connor never plays a bad note. He was a child prodigy and at the age of 12 won all of the adult competitions in his native Nashville. He is one of the most important violinists alive and to me it is very inspiring how he has branched out from the roots of country music into original and personal forms. I hope that one day we can make some sounds together.

These performances are a DSO premiere.

In memory of Charlotte Arkin (1931-2015) The DSO is proud to honor the memory of longtime DSO subscriber Charlotte Arkin with this weekend’s performances, in thanks for the generous donation she recently left in her will.

Charlotte, daughter of David and Minnie Arkin, was a life-long Detroiter. Along with her younger sister Sylvia, she was introduced to music at an early age by attending DSO concerts with their mother.

Charlotte had undergraduate and postgraduate degrees in psychiatric social work and her career was in service to the public.

In her free time, Charlotte enjoyed for animals and the fine arts, adopting dogs in her neighborhood that needed a loving home, enjoying art exhibits at the DIA, watching opera at the MOT, and frequenting Orchestra Hall to hear the classical music she loved. She was a committed DSO subscriber and began supporting the DSO financially in 2002, afterwards encouraging her friends and family to join her. The DSO is honored to accept this special bequest, which represents her passion for music and belief in continuing the DSO’s music performances for future generations.

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program notes

Leonard Slatkin, Music Director Jeff Tyzik, Principal Pops Conductor Neeme Järvi, Music Director Emeritus

DSO PRESENTS

Yo-Yo Ma & Kathryn Stott Wednesday, May 18, 2016 at 7:30 p.m. in Orchestra Hall YO-YO MA, cello KATHRYN STOTT, piano

J.S. Bach, arr. Charles Gounod

Jean Sibelius

Jacob Gade

Claude Debussy

Franz Schubert

“Arc of Life” Suite Ave Maria Was it a dream?, Op. 37, no. 4 Tango Jalousie Beau Soir Ave Maria, D. 839

Dmitri Shostakovich Sonata in D minor, Op. 40

Allegro non troppo Allegro Largo Allegro —INTERMISSION—

Giovanni Sollima

Il bell’Antonio

César Franck Sonata in A Major for Violin and Piano Allegretto; Moderato Allegro

Recitativo – Fantasia

Allegretto poco mosso

The DSO does not appear on this performance.

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profiles YO-YO MA

Yo-Yo Ma’s multi-faceted career is testament to his continual search for new ways to communicate with audiences, and to his personal desire for artistic growth and renewal. Whether performing new or familiar works from the cello repertoire, coming together with colleagues for chamber music, or exploring cultures and musical forms outside the Western classical tradition, Mr. Ma strives to find connections that stimulate the imagination.

One of Mr. Ma’s goals is the exploration of music as a means of communication and as a vehicle for the migration of ideas across a range of cultures throughout the world. To that end, he has taken time to immerse himself in subjects as diverse as native Chinese music with its distinctive instruments and the music of the Kalahari bush people in Africa.

Expanding upon this interest, in 1998, Mr. Ma established Silkroad, a nonprofit organization that seeks to create meaningful change at the intersections of the arts, education and business. Under his artistic direction, Silkroad presents performances by the acclaimed Silk Road Ensemble and develops new music, cultural partnerships, education programs, and cross-disciplinary collaborations.

Yo-Yo Ma is strongly committed to educational programs that not only bring young audiences into contact with music but also allow them to participate in its creation. While touring, he takes time whenever possible to conduct master classes as well as more informal programs for students—musicians and non-musicians alike.

Mr. Ma’s discography of over 90 albums (including 18 Grammy Award winners) reflects his wide-ranging interests. His most recent album, Songs from the Arc of Life (Sony), with pianist Kathryn Stott, was released in September 2015. Across this full range of releases, Mr. Ma remains one of the best-selling recording artists in the classical field. All of his recent albums have quickly entered the Billboard chart of classical best sellers, remaining in the Top 15 for extended periods, often with as many as four titles simultaneously on the list. In fall 2009, Sony Classical released a box set of over 90

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albums to commemorate Mr. Ma’s 30 years as a Sony recording artist.

Yo-Yo Ma was born in 1955 to Chinese parents living in Paris. He began to study the cello with his father at age four and soon came with his family to New York, where he spent most of his formative years. Later, his principal teacher was Leonard Rose at the Juilliard School. He sought out a traditional liberal arts education to expand upon his conservatory training, graduating from Harvard University in 1976. Appointed a CultureConnect Ambassador by the United States Department of State in 2002, Mr. Ma has met with, trained and mentored thousands of students worldwide in countries including Lithuania, Korea, Lebanon, Azerbaijan and China. Mr. Ma serves as a UN Messenger of Peace and as a member of the President’s Committee on the Arts & the Humanities. He has performed for eight American presidents, most recently at the invitation of President Obama on the occasion of the 56th Inaugural Ceremony.

Mr. Ma and his wife have two children. He plays two instruments, a 1733 Montagnana cello from Venice and the 1712 Davidoff Stradivarius.

KATHRYN STOTT

Born in Lancashire, Kathryn Stott studied at the Yehudi Menuhin School and the Royal College of Music. Her teachers included Nadia Boulanger, Vlado Perlemuter and Kendall Taylor.

A regular visitor to international festivals as both a soloist and chamber musician, Kathryn has performed around the world since 1978, when she was a prizewinner in the Leeds International Piano Competition. In recent years, she returned as soloist to the BBC Proms and Wigmore Hall in London and toured the UK with cellist Giovanni Sollima. 2015 began with a highly successful series of concerts in New Zealand and continued with an extensive solo tour of Australia. She will be returning to both countries in 2017. As a way of celebrating their 30 year partnership, Kathryn and Yo-Yo Ma recently recorded Songs from the Arc of Life (Sony) and subsequently toured Asia and the United States.

profiles With a vast repertoire, Kathryn has maintained a keen interest in contemporary music and has had many works written especially for her. In particular, her close musical relationship with the composer Graham Fitkin has led to 7 world premieres. She is a remarkable exponent of Tango and other Latin dance music, reflected in her collaboration with Yo-Yo Ma and leading South American musicians on the Grammy Award-winning Sony CD Soul of the Tango and its successor Obrigado Brazil (Sony). Her most recent release is Solitaires (BIS), which features works by Dutilleux, Messiaen, Ravel and Alain. Also of note are her recordings of the complete solo works by Fauré (Hyperion) and the complete Kabalevsky Concertos (Chandos). Apart from her CDs with Yo-Yo Ma, she has also recorded with Truls Mørk, Christian Poltéra, the Hermitage String Trio, Guy Johnston, the Doric string quartet, Noriko Ogawa, and Tine Thing Helseth.

Kathryn Stott has been the artistic vision behind several major festivals and concert series. ‘Piano 2000’ and ‘Piano 2003’ (Bridgewater Hall, Manchester) established her reputation as an astute programmer. Following the earlier ‘Fauré and the French Connection’ she was appointed Chevalier

dans l’Ordre des Arts et Lettres by the French Government. From 2009-2014 she was Artistic Director of the Manchester Chamber Concerts Society and was Guest Artistic Director of Incontri in Terra di Siena in 2010 and 2011. Kathryn curated a series of 6 concerts called ‘Dance!’ for Leeds International Concerts in 2014.

In 2008 Kathryn celebrated her 50th birthday with 25 musician friends raising £30k for HIV research and Nordoff-Robbins Music Therapy. Besides her performing commitments, Kathryn was also a Board member of the Hallé Orchestra for 7 years.

She holds the position of International Chair at the Royal Northern College of Music in Manchester, is a visiting professor at the Royal Academy of Music in London, and regularly visits Chethams School of Music. Beginning in August 2016, Kathryn will join the piano faculty of the Norwegian Academy of Music in Oslo.

Kathy Stott has a daughter, Lucy, and lives in Manchester. A keen walker, she enjoys being out in the countryside and spending time with her working cocker spaniel, Archie.

Purchasing DSO tickets is easier than ever!

Use your smartphone or tablet to explore the DSO’s new mobile site at dso.org.

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Leonard Slatkin, Music Director Jeff Tyzik, Principal Pops Conductor Neeme Järvi, Music Director Emeritus

CLASSICAL SERIES

Beethoven’s “Emperor” Concerto Friday, May 20, 2016 at 10:45 a.m.

Saturday, May 21, 2016 at 8:00 p.m.

Sunday, May 22, 2016 at 3:00 p.m. in Orchestra Hall SIR ANDREW DAVIS, conductor JEREMY DENK, piano

This performance is made possible with generous support from the Bonnie Ann and Robert C. Larson Guest Pianist Fund.

Frederick Delius On Hearing The First Cuckoo In Spring (1862-1934)

Wilhelm Stenhammar Serenade in F Major, Op.31 (1871-1927) Overture Canzonetta Scherzo Notturno Finale —INTERMISSION—

Ludwig van Beethoven Piano Concerto No. 5 in E-flat major, Op. 73, "Emperor" (1770-1827) Allegro

Adagio un poco mosso

Rondo: Allegro Jeremy Denk, piano

This Classical series performance is generously sponsored by PVS Chemicals This performance will be webcast at dso.org/live

Experience the concert again at dso.org/replay

Live from Orchestra Hall is presented by and made possible by

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profiles SIR ANDREW DAVIS

Sir Andrew Davis has served as music director and principal conductor of Lyric Opera of Chicago since 2000. His contract with Lyric Opera was recently extended through the 2020-2021 season. In January 2013 Sir Andrew began his tenure as chief conductor of the Melbourne Symphony Orchestra. He is also conductor laureate of the Toronto Symphony Orchestra, conductor laureate of the BBC Symphony Orchestra and former music director of Glyndebourne Festival Opera.

In the New Year, Sir Andrew returns to Lyric Opera to conduct the monumental Tannhauser, and Lyric’s presentation of David Pountney’s production of Mieczyslaw Weinberg’s The Passenger. The rest of the 2014-2015 season includes returns to Melbourne for the continuation of Sir Andrew’s exploration of all the Mahler Symphonies with the MSO as well as performances of Britten’s War Requiem, and engagements with the Royal Liverpool Philharmonic, the BBC Philharmonic, the BBC Symphony Orchestra, the Royal Scottish National Orchestra, The Toronto Symphony (Verdi’s Requiem), and performances with the Philharmonia Orchestra at the Three Choirs Festival. In addition, several recordings with Chandos Records are scheduled.

In 1992, Maestro Davis was created a Commander of the British Empire for his services to British music. Seven years later he was made a Knight Bachelor in the New Year Honours List. He was honored in 1991 with the Royal Philharmonic Society/Charles Heidsieck Music Award. He received an honorary Doctorate of Fine Arts from Knox College in Galesburg, Illinois, in 2012.

Born in 1944 in Hertfordshire, England, Davis studied at King’s College, Cambridge, where he was an organ scholar before taking up the baton. He rapidly developed an exceptionally diverse repertoire.

In addition to his outstanding affinity for the gamut of “core” symphonic and operatic music, Sir Andrew is acknowledged internationally as an extraordinary proponent of twentieth-century works including those by Janáček, Messiaen, Boulez, Elgar, Tippet and Britten.

JEREMY DENK

Jeremy Denk is one of America’s foremost pianists—an artist the New York Times hails as someone “you want to hear no matter what he performs.”

Winner of a 2013 MacArthur "Genius" Fellowship, the 2014 Avery Fisher Prize, and Musical America’s 2014 Instrumentalist of the Year award, he has recently appeared as soloist with the Cleveland Orchestra, New York Philharmonic, Los Angeles Philharmonic, Philadelphia Orchestra, and the symphony orchestras of Boston, Chicago, San Francisco and London.

Last season, he launched a four-season tenure as an Artistic Partner of the Saint Paul Chamber Orchestra and performed Bach concertos with Academy of St. Martin-in-the-Fields in London, and on tour throughout the US. He also appeared with the New York Philharmonic and LA Philharmonic, conducted

by Esa Pekka Salonen, and made his debut with the Cleveland Orchestra, as well as at the BBC Proms, both in recital and with the San Francisco Symphony and Michael Tilson Thomas. Following the release of his disc of the Golberg Variations—which reached number one on Billboard’s Classical Chart—he performed the piece throughout Europe, including his debut at the Concertgebouw in Amsterdam and at London’s LSO St. Luke’s.

Denk’s 2015-16 engagements include a fourteen-city recital tour of the US—including performances in Boston, Philadelphia, Washington, San Francisco and Miami—and culminating in his return to Carnegie Hall. He will return to the Chicago Symphony performing Bartok’s Second Piano Concerto and to the San Diego, Detroit and Baltimore Symphonies in performances of Beethoven’s Fifth Piano Concerto. He makes his debut with the Finnish Radio Symphony, and in the UK, appears on tour in recital, including a return to Wigmore Hall, and on tour with the Britten Sinfonia in Cambridge, Norwich, Southampton and London. In a specially curated program of the Ives Violin Sonatas, he also performs in North America with Stefan Jackiw and vocal ensemble New York Polyphony.

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program notes On Hearing the First Cuckoo in Spring FREDERICK DELIUS B. January 29, 1862 in Bradford, England D. June 10, 1934 in Grez-sur-Loing, France SCORED FOR FLUTE, OBOE, 2 CLARINETS, 2 BASSOONS, 2 HORNS AND STRINGS. (APPROX. 7 MINUTES)

does a fascinating mix of influences which resist being compared to traditional models and stereotypes, particularly as regards form, tonality, harmony and orchestration. His unique and individual language derives from Grieg and Wagner on the one hand, and from Debussy and contemporaneous French composers on the other, but one cannot discount the effect of the spirituals he heard early on the plantation in Florida, or later on, Scandinavian folk music. His finest works convey a kind of quiet rapture and radiant sensuality as opposed to the imperial pomp and Romantic effusion which Elgar and others cultivated, and because of the way his style evolved he has to be looked on as a cosmopolitan and even international composer rather than a specifically English one.

His music was, more than that of almost any other composer, an embodiment of regret for time gone by and the transience of human existence, but there are passages in some of his works which contain a kind of elation and ecstasy that can be overwhelming.

This lovely and atmospheric work is in effect a miniature tone poem composed in 1912 as the first of Two Pieces for Small Orchestra. The second is Summer Night on the River, although these two works have for many years existed separately both in the concert hall and on recordings. The piece opens and closes with musical representations of cuckoo calls, and throughout there is an almost other-worldly atmosphere of pastoral calm and tranquility. The second theme of the work is part of the Norwegian folk-song “In Ola Valley,” which was brought to Delius’ attention by the well-known Australian composer, arranger, pianist and free spirit Percy Grainger, and was also used by Edvard Grieg in his 19 Norwegian Folksongs, Op. 66.

The Detroit Symphony Orchestra first performed Delius’ On Hearing the First Cuckoo in Spring in June of 1939, conducted by Sir John Barbirolli. The DSO most recently performed it in August of 1953, conducted by C. Valter Poole.

Born into a prosperous mercantile family, Delius resisted every attempt to bring him into the business, so his father sent him to Florida in 1884 to manage an orange grove plantation near Jacksonville. He neglected his duties there, and hearing the songs of his African-American workers developed an intense interest in music. Two years later he returned to England, began composing, and persuaded his father to support him during a period of study at the Leipzig Conservatory, where he met and befriended Edvard Grieg. He then moved to Paris and embarked on a full-time career as a composer, later moving to a small city about 40 miles from the French capitol where he spent the rest of his life, save for a brief period during the First World War when he was sheltered in England and Norway. His first successes were in Germany in the late 1890s, but English musical life did not warm up to his compositions until 1907 when the celebrated conductor Sir Thomas Beecham took up his cause. Regularly performing Delius’ works in his concert programs, Beecham mounted a six-day Delius festival in London in 1929 and began a life-long commitment to recording his orchestral works. This finally helped establish Delius as one of England’s most important composers. After 1918 he began to exhibit symptoms of a debilitating illness, eventually becoming paralyzed and blind and confined to a wheelchair. His mind was as sharp as ever, but he could not even pick up a pen to write with. It was during this time —————— that he received a letter from a young and enthusiastic English musician named Eric Fenby offering to act as a companion and amanuensis. Despite a Serenade in F Major, Op.31 rocky beginning, the two men eventually developed WILHELM STENHAMMAR an extraordinary relationship, and during the last B. February 7, 1871 in Stockholm, Sweden five years of his life Delius dictated to Fenby the mu- D. November 20, 1927 in Stockholm, Sweden sic which was still in his mind. His musical style is very elusive and difficult to pinpoint, containing as it

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program notes SCORED FOR 2 FLUTES, PICCOLO, 2 OBOES, ENGLISH HORN, 2 CLARINETS, 2 BASSOONS, 4 HORNS, 2 TRUMPETS, 3 TROMBONES, TIMPANI, PERCUSSION (BASS DRUM, CYMBALS, GLOCKENSPIEL, SNARE DRUM AND TRIANGLE) AND STRINGS. (APPROX. 36 MINUTES)

Although not all that well known outside of Scandinavia, Carl Wilhelm Eugen Stenhammar was a very important and versatile Swedish composer, conductor and pianist who has long been regarded as a father figure to 20th-century Swedish music. His orchestral works and string quartets are greatly admired, and many of his songs, both for solo voices and for choir, are beloved in a country which has a long and distinguished history of vocal performance, all of these works representing a cornerstone of Swedish musical literature. One can rightly say that Stenhammar’s career as a conductor and pianist laid the foundations of modern Swedish concert music. A musical prodigy, he was born into a musical and artistic family, and began composing and playing the piano at an early age. He studied piano in Stockholm and later in Berlin, had no real formal training as a composer, but later imposed on himself a rigorous routine of studying counterpoint and Renaissance music. He made his concert debut as a pianist when he was just eleven (putting him on the same level as Camille Saint-Saens), and eventually performed over 1000 recitals throughout Sweden. In his mid teens he studied piano with a man who had been a pupil of Clara Schumann, and went on to be considered the finest Swedish pianist of his time. In his early twenties he went to Berlin to further his studies, and initially became a fervent admirer of German music, particularly Wagner and Bruckner. In December of 1894 he gave, to great acclaim, the first performance of his Piano Concerto No. 1 with the Berlin Philharmonic conducted by no less a figure than Richard Strauss. This was a remarkable occurrence for the then 23-year-old musician. He returned to Stockholm still under the influence of Wagner, but after the very cool reception of his first two operas and First Symphony, he began to re-think his whole outlook as a composer. He essentially stopped composing for a time, in the process divesting himself of the mantle of Germanicism, and beginning to write in a more consciously Nordic style, looking to Nielsen and Sibelius as models. In fact, it was his first hearing of Sibelius’ great Second Sym-

phony which caused him to radically change his style and to disavow his own First Symphony. Following this, a life-long love of Swedish folk music began to color many of his compositions. He was elected to the Royal Academy of Music in 1900, and from 1906 to 1922 was Artistic Director and chief conductor of the Gothenburg Symphony Orchestra, the first fulltime professional orchestra in Sweden. He built the orchestra into one of the finest and most adventurous in Northern Europe, and consistently promoted music

by Scandinavian composers as well as Mahler and Richard Strauss. Stenhammar programmed his own works infrequently, no doubt due to his innate modesty and an intensely self-critical nature. (One of his successors was our revered Neeme Jarvi, whose tenure as conductor from 1982 to 2004 is the longest in the orchestra’s history, during which time it was granted the title of the National Orchestra of Sweden.) Later, Stenhammar became Director of Music at the Stockholm Opera from 1923 to 1925. After 1906 his output was greatly reduced by the demands of concertizing, then in 1925 declining health forced him into retirement, and he died from a massive stroke two years later. He was just 56 at the time.

Like many northerners of his time, Stenhammar looked with great fondness on Italy, regarding it as a kind of dream land. In 1907 that dream turned into reality when he was able to visit Florence at carnival time. It was then that the idea of the Serenade first began to take shape, and he wrote to a friend, “I hope that a new orchestral work—a sort of Florentine dithyramb to spring, or whatever it might be—will sing clearly in my mind.” He had ideas for the new work along with a plan of how it might be constructed, but nothing seemed to gel, and as he wrote then, “I know so well how I want it, yet at the same time I don’t know at all. I wanted to write so beautifully and tenderly about the South, as only a Northerner is able to. But I don’t know if I can.” Some five years later he returned to work on the Serenade, labored on it for two more years, and it finally received its premiere in January of 1914 as part of an all-Stenhammar concert conducted by the composer.

It was not a success, was withdrawn for revision, and along with two other major works was labeled as “publicly performed but unpublished.” He immediately set to work on the revisions, and early the following year a new version of the piece in four movements was performed by the (then) Gothenburg Orchestra Society. Still dissatisfied, Stenhammar continued to PERFORMANCE MAGAZINE

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program notes revise the work, and a new five-movement version Piano Concerto No. 5 in E-flat was premiered in March of 1919. This time it was a significant success, and became another break- major, Op. 73 (“Emperor”) through for the composer. Among the major changes LUDWIG VAN BEETHOVEN from the previous version was transposing the first B. December 15 or 16 (baptized, December 17), and last movements from E Major to F Major, this 1770, Bonn, Germany tonality now becoming the work’s main key. He also D. March 26, 1827, Vienna, Austria completely re-wrote the second movement, and SCORED FOR TWO FLUTES, TWO OBOES, changed the meter of the scherzo. For a planned TWO CLARINETS, TWO BASSOONS, TWO performance in Stockholm, Stenhammar requested HORNS, TWO TRUMPETS, TIMPANI AND that the movements should be performed in this STRINGS (APPROXIMATELY 38 MINUTES) order: Overtura, Canzonetta, Scherzo, Notturno, and Finale. Later, however, according to composer Kurt Beethoven’s five concertos for Atterberg, Stenhammar said that the number and order of the movements could be varied to suit the piano and orchestra continue where Mozart left off occasion, a curious idea when you consider that the with perfecting the genre in the 1780s; however, symmetry of the movements as originally planned is since he wrote comparatively fewer such works— quite remarkable. This concept apparently took hold, and since they were also designed as vehicles for as in the 1940s and 1950s it became usual to per- the display of his own pianistic virtuosity – he took form the Serenade in truncated versions of three and increasing risks and freedoms with each new essay. sometimes just two movements, even if the compos- In his fifth and final piano concerto (dubbed the er always used the full and correct version when he “Emperor” by its English publisher, Johann Baptist conducted it. The inventive and ingenious orchestra- Cramer), Beethoven continued experimenting with tion in the work produces a great variety of colors the form, and some of the innovations he introduced and nuances, in spite of the fact that it is written for would later be taken up by Mendelssohn in his Viobasically a classical orchestra. The title Canzonetta lin Concerto in E minor and Tchaikovsky in his Piano (literally, a short song) was used by Stenhammar not Concerto in B-flat minor.

The Fifth was the only one of Beethoven’s piano in its original 16th-century meaning, but more in the 19th-century fashion, as for example, the slow move- concertos that he himself did not perform in public. ment of the Tchaikovsky Violin Concerto. In fact, the By the time of its composition in 1809, Beethoven’s composer once said that it could just as easily have growing deafness made performance with an orbeen called Intermezzo fantastico or selvaggio, that chestra (where balance and ensemble are so vital) is, a “wild intermezzo.” Some people have comment- increasingly difficult if not impossible. The first ed that the Notturno, which ought to sound like some known public performance was in Leipzig, given by kind of dreamy Italian nocturne, sounds much more Friedrich Schneider on November 28, 1811.

One of the most startling changes that Beelike a Nordic summer night, but Stenhammar once explained that it really was the result of a Northern- thoven introduced in this work was to rethink the er recalling an Italian impression and re-casting it use—and placement—of the cadenza, traditionally into his general musical language. The Finale, which the part of a concerto designed to display the viralong with the Overtura and Scherzo, is certainly the tuosity of the soloist. Cadenzas had been typically most symphonic movement in the work, brings the placed by the composer at or toward the end of a Serenade to what might appear to be a vigorous and given movement. Beethoven turned this convention colorful conclusion, but at the end Stenhammar sur- on its head by opening this, his last concerto, with prises the listener by having the music fade away no fewer than three short cadenzas. This unusual without any slowing down. One of the episodes in the move did have at least one precedent: Mozart’s PiFinale features a chromatically rising line which is ano Concerto in E-flat major K. 271 spotlights the supported by pedal timpani (timpani which can play piano in the second measure as well, though Mozart more than one pitch): one of the first examples of the did not go so far as to indulge his soloist with an use of what was then a relatively new instrument. actual cadenza. While Beethoven’s fourth concerto begins with the solo instrument unaccompanied, in

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program notes that work the soloist quietly introduces the opening recall the third movement of the Fourth Symphony, theme in non-cadenza fashion before politely pass- while dotted rhythms in 6/8 anticipate similar galloping passages in the first movement of his Seventh ing it to the orchestra.

Though the nickname “Emperor” was not ap- Symphony. These parallels are not surprising given plied by Beethoven, it is a fitting designation for this that all three works belong to Beethoven’s middle, or work as grandeur abounds throughout, particularly “heroic” period – a remarkably fecund era of the comin the first movement; from the daring opening to the poser’s life during which he created some of his most presentation of the movement’s many themes. The enduring works, including the Third through Eighth feeling of nobility is sustained by thundering timpa- Symphonies, all in spite of his growing deafness.

In the rondo finale, the piano begins by playing ni and fanfares in the winds. The militaristic accents with which the work is peppered have prompted the dancelike main theme, followed by full orchestra. some scholars to suggest that the concerto might, in The rondo’s B-section begins with scalar patterns in part, be a response by the composer to the politics of the piano, before the orchestra again responds. The the time: as Beethoven composed the work in 1809, C-section is longer, and presents the theme from the Napoleon’s troops were once again preparing to lay A-section in several different keys before the pianist performs a cadenza. Rather than finishing with an siege to the city.

In a stark­ —and welcome—contrast to the orchestral tutti, the trill that ends the cadenza fades martial excesses of the first movement, the central away until the first theme returns, played first by the slow movement is calm and reflective. One theme in soloist and followed by the orchestra. In the final particular conveys a sense of vulnerability through section, the theme is subjected to variation before the yearning interval of a minor seventh (think of the movement—and the concerto—ends with anthe opening notes of “Somewhere” from Bernstein’s other brief cadenza followed by a heroic orchestral West Side Story). The second movement connects to response.

The Detroit Symphony Orchestra first performed the third and final movement without a break, when Beethoven’s Piano Concerto No. 5, “Emperor” in a lone bassoon drops a semitone from B to B-flat.

The final movement of the concerto is a sev- March of 1917, with Weston Gales conducting and en-part rondo (A-B-A-C-A-B-A), a form often used Ossip Gabrilowitsch at the piano. The DSO most re(with variations) in concerto finales. There are also cently performed it in March of 2012, with Nicholas ideas and textures here that could also be associat- McGegan conducting and Robert Levin at the piano. ed with Beethoven’s symphonies: syncopated figures

Special Thanks to the Bonnie Ann and Robert C. Larson Guest Pianist Fund The Bonnie Ann and Robert C. Larson Guest Pianist Fund helps the Detroit Symphony Orchestra deliver unsurpassed musical experiences by underwriting annually the performances of extraordinary guest pianists such as Louis Schwizgebel and Jeremy Denk.

On behalf of the artists and audiences who benefit from this important new fund now and in the years to come, the Detroit Symphony Orchestra is so very grateful to Bonnie Larson for her generous support.

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Leonard Slatkin, Music Director Jeff Tyzik, Principal Pops Conductor Neeme Järvi, Music Director Emeritus

CLASSICAL SERIES

Joshua Bell Returns Thursday, May 26, 2016 at 7:30 p.m.

Friday, May 27, 2016 at 8:00 p.m. in Orchestra Hall LEONARD SLATKIN, conductor JOSHUA BELL, violin

Steven Stucky Dreamwaltzes (1949-2016)

Édouard Lalo Symphonie espagnole for Violin and Orchestra, Op. 21

(1823 - 1892) Allegro non troppo

Scherzando: Allegro molto

Intermezzo: Allegretto non troppo Andante Rondo Joshua Bell, violin —INTERMISSION—

Sergei Prokofiev Symphony No. 5 in B-flat major, Op. 100

(1891 - 1953) Andante

Allegro moderato Adagio

Allegro giocoso

This Classical series performance is generously sponsored by PVS Chemicals This performance will be webcast at dso.org/live

Experience the concert again at dso.org/replay

Live from Orchestra Hall is presented by and made possible by

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profiles JOSHUA BELL

Joshua Bell is one of the most celebrated violinists of his era, and his restless curiosity, passion, and multi-faceted musical interests are almost unparalleled in the world of classical music. Named the Music Director of the Academy of St Martin in the Fields in 2011, Bell is the first person to hold this post since Sir Neville Marriner formed the orchestra in 1958.

Bell's 2015 summer highlights included a South American and European tour with the Academy of St Martin in the Fields, a tour to South Africa, including appearances with the Johannesburg Philharmonic and Starlight Classics, performances in New York and Shanghai with the New York Philharmonic and summer festivals including Verbier, Tanglewood, Mostly Mozart and Saratoga.

Growing up with his two sisters in Bloomington, Indiana, Bell was an avid computer game player. At age four, he received his first violin after his parents, both mental health professionals, noticed him plucking tunes with rubber bands he had stretched around his dresser drawer handles. By 12, he was serious about the instrument, thanks in large part to the inspiration Josef Gingold, his beloved teacher and mentor. Two years later, Bell came to national attention in debut with Riccardo Muti and the Philadelphia Orchestra. His Carnegie Hall debut, an Avery Fisher Career Grant and a notable recording contract further confirmed his presence.

Bell has received many accolades: In 2013 he was honored by the New York Chapter, The Recording Academy; in 2012 by the National Young Arts Foundation, in 2011 he received the Paul Newman Award from Arts Horizons and the Huberman Award from Moment Magazine. Bell was named “Instrumentalist of the Year, 2010” by Musical America and received the Humanitarian Award from Seton Hall University.

In 2009 he was honored by Education Through Music and received the Academy of Achievement Award in 2008. He was awarded the Avery Fisher Prize in 2007 and was inducted into the Hollywood Bowl Hall of Fame in 2005.

Dreamwaltzes

STEVEN STUCKY B. November 7, 1949 in Hutchinson, Kansas D. February 14, 2016 in Ithaca, New York SCORED FOR 3 FLUTES, 2 PICCOLOS, 3 OBOES, ENGLISH HORN, 3 CLARINETS, BASS CLARINET, 2 BASSOONS, CONTRABASSOON, 4 HORNS, 4 TRUMPETS, 3 TROMBONES, TUBA, TIMPANI, PERCUSSION, HARP, PIANO/CELESTA AND STRINGS. (APPROX. 15 MINUTES)

When Steven Stucky died of brain cancer this past February at the age of just 66, the musical world went into mourning, as he was one of the most regularly performed, highly respected, widely admired and collegial figures in contemporary music.

His publicist, Jessica Lustig, remembered him as “a tremendous and kind human being. He influenced so many people…professionals and generations of students. He was a mentor and friend to many in the musical community…as well as a rare, excellent teacher and top creator.” Alan Fletcher, president and CEO of the Aspen Music Festival, called him “… truly one of the greats—in his heartfelt and extraordinary music, his brilliant and deeply empathetic teaching, and in his beautiful soul. As he devoted so much love and energy to the memory of composers he admired and championed, let us never forget the privilege of having known him.” Stucky was recognized as one of the finest composers of his generation, whose music was widely praised for its beauty of sound, imaginative use of color, and masterful handling of large-scale forms. He was also a tireless advocate for contemporary music, particularly during his twenty-plus years as Composer-In-Residence with the Los Angeles Philharmonic.

Stucky spent his childhood in Kansas and Texas, and began playing the viola when he was ten.

In his words, “I picked up music on my own before I could play an instrument or read music or really do much about it.” He once told an interviewer that surrounding himself with music in those formative years turned him into “…an orchestra groupie [who] would rather be listening to an orchestra rehearsal­— more even than a concert—than to do anything else.”

Later on he attended Baylor University, then went to Cornell University where he received an M.Mus dePERFORMANCE MAGAZINE

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program notes gree in 1973 and a Doctor of Musical Arts degree in ers. Elsewhere, for several seasons he hosted the 1978. Two years later he joined the Cornell faculty New York Philharmonic’s acclaimed “Hear and Now” where he taught for 34 years, then retired and was pre-concert programs, which introduced important named an emeritus professor. In 2014 he joined works and premieres to New York audiences. Among the faculty of the Juilliard School as a professor of Stucky’s other major residencies were those with the composition, and was also Composer-In-Residence American Academy in Rome, the Aspen Music Fesat the summertime Aspen Music Festival and School. tival, the University of Illinois, the Eastman School Talking about his attitude toward composing, Stucky of Music, the Curtis Institute of Music, the Swedish has said that “One kind of an artist is always striv- Academy of Advanced Studies, the Central Consering to annihilate the past, to make the world anew in vatory of Music in Beijing, and the Taipei National each new work, and to triumph over the dead weight University of the Arts. In 2012 he held a residency at of routine. I am the other kind…who only sees his the Cleveland Institute of Music, and for the 20122013 season was the Music way forward by standing on the shoulders of those who “I found myself daydreaming Alive Resident Composer with the Berkeley (California) Symhave already cleared the path ahead.” He was open to draw- about composers like Schubert, phony Orchestra. He has fulfilled important commissions ing on material from different Brahms, Mahler and Berg, for many celebrated solo arteras, and in 2014 he and piaists, and for major orchestras, nist Jeremy Denk collaborated on a comic opera titled “The all of whom treated the waltz both here and abroad, and has had his music performed Classical Style,” based on seriously in their music. by orchestras and ensembles Charles Rosen’s award-winall over the world. Among the ning book of the same title.

Dreamwaltzes is a public numerous awards and honThe opera was a gentle sendup of the overly serious way in version of those daydreams.” ors which have come his way are the ASCAP Victor Herbert which classical music is often Prize for Composition (1974); analyzed, as well as the recur—STEVEN STUCKY a Composer Fellowship from ring statement in our time that the National Endowment for classical music has run into a dead end. Because many of his works were first the Arts (1978); election to the Board of Directors of performed in academic settings, he did not come the Koussevitsky Music Foundation (1991); the 2005 to prominence until relatively late in his career. His Pulitzer Prize for Music for His Second Concerto for breakthrough was the present Dreamwaltzes, a 1986 Orchestra; election in 2006 to the American Academy work commissioned by the Minnesota Orchestra’s of Arts and Sciences, and in 2007 to the American summer festival, and given its premiere in July of Academy of Arts and Letters; elected in 2008 as that year conducted by Leonard Slatkin. It was a tre- Chair of the Board of Directors of the American Mumendous hit and brought Stucky to the attention of sic Center; and awarded the title of Composer of the Andre Previn, who conducted it with the Los Angeles Year of the Pittsburgh Symphony Orchestra in 2011.

Philharmonic. In 1988, Previn (who was at the time When Stucky was in graduate school, he made an the Music Director of the Philharmonic) appointed intensive study of the works of the Polish composStucky to the position of Composer-In-Residence er Witold Lutoslawski, whom he later came to know, with the orchestra, a post he held for over 20 years, and became a world-renowned expert on Lutoslwski’s eventually enjoying the longest relationship on re- music. His 1981 book “Lutoslawski and His Music” is cord between a composer and an American orches- considered one of the finest of 20th-century musical tra. Later, as Consulting Composer for New Music, he biographies, and received both the Lutoslawski Sociworked with Esa-Pekka Salonen (Previn’s successor) ety’s Gold Medal, and an ASCAP-Deems Taylor prize.

Orchestral color and an innate understanding of on contemporary programming, the awarding of commissions, and programming for non-traditional what instruments can do are the very core of Stucky’s audiences. He also founded the orchestra’s Compos- music, and nowhere is this better revealed than in er Fellowship Program for high school-aged compos- this work. In the composer’s own words, “Since the

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program notes [Minnesota Orchestra] suggested that the new piece have some connection with the Viennese theme of the Sommerfest, I found myself daydreaming about composers like Schubert, Brahms, Mahler and Berg, all of whom treated the waltz seriously in their music. Dreamwaltzes is a public version of those daydreams…based closely on fragments of real Viennese waltz music. There are three waltz episodes. In each, a real waltz “artifact” furnishes the raw material: in the first, one of Brahms’ Liebeslieder Waltzes; in the second, a piano waltz of Brahms; in the third, a few notes from Richard Strauss’ Viennese masterpiece Der Rosenkavalier…The three waltz episodes are surrounded by slower music forming an introduction, interludes and a coda. But in Dreamwaltzes the past proves elusive; the waltz music is always slipping away almost as soon as it has begun…in the third episode the orchestra seems just on the point of re-entering fully the late 19th century…when suddenly the whole affair collapses, and we are back in our own time. A composer in the late 20th century can admire the waltz from a distance, but he cannot make it his own.”

These performances are a DSO premiere.

——————

Symphonie espagnole, Op. 21 EDOUARD LALO B. January 27, 1823 in Lille, France D. April 22, 1892 in Paris, France

SCORED FOR SOLO VIOLIN, 2 FLUTES, PICCOLO, 2 OBOES, 2 CLARINETS, 2 BASSOONS, 4 HORNS, 2 TRUMPETS, 3 TROMBONES, TIMPANI, PERCUSSION (SNARE DRUM AND TRIANGLE), HARP AND STRINGS. (APPROX. 33 MINUTES)

Edouard-Victoire-Antoine Lalo was born into a military family, and his father, who had fought for Napoleon, assumed that his son would follow in his footsteps. Young Edouard’s parents initially encouraged his musical talents, but when he chose to pursue a career as a musician, his father basically disowned him and forced him to leave home when he was 16, cutting off his financial support. The young Lalo went to Paris to study at the famed Paris Conservatory, where he struggled to pay his tuition by playing and teaching the violin. Eventually, the very rigid structure of the school and the lack of

flexibility of the instructors and their methods forced him to leave the institution and even caused him to reconsider his whole future career. Nevertheless, he continued composing, playing and teaching, and in 1855 founded a string quartet in order to popularize the work of Haydn, Mozart and Beethoven, along with composers who were considered “modernists” like Mendelssohn and Schumann(!). It was not until the early 1870s that he received a break as a composer, when a new interest in purely orchestral music—as opposed to opera—was fostered by the founding of the Societe nationale de musique, which in turn created a number of concert series to promote the musical arts, and this demanded the creation of new works by French composers, mainly younger ones.

Lalo and his contemporaries were encouraged to write large-scale works for orchestra, countering a situation where such works had fallen out of favor many years earlier. A friendship with the great Spanish violinist Pablo de Sarasate inspired Lalo to write two major works for him, the F-Major Violin Concerto in 1874 and the Symphonie espagnole the following year. More orchestral works came from Lalo’s pen in succeeding years, but it was the extraordinary success of his marvelous opera Le Roi d’Ys which made Lalo famous—just four years before his death.

However, his instrumental and chamber music is of even greater historical significance because it sent French music in a whole new direction, a direction in which Saint-Saens and Franck were also traveling. It could be said that this marvelously gifted composer had the great misfortune to have had his most productive years during one of the most ungrateful periods in all of French music. Lalo’s works are notable for strong melodies, colorful orchestration, a very individual sense of rhythm and harmonic invention, and a somewhat Germanic character which places him apart from other French composers of his era.

While it is true that some of his music shows an affinity with Schumann and Carl Maria von Weber, it is definitely the product of a highly original talent. Like most progressive composers of his day he was accused of imitating Wagner, but their styles have very little in common: he really had more of a kinship with the Russians (most notably Borodin) and with the Czech master Smetana. In addition, his best works have tremendous energy and drive which place them in striking contrast to the music of Franck’s pupils and to the French impressionists. Then there is the matter of his remarkable and distinctive gift for orPERFORMANCE MAGAZINE

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program notes chestration which appears to have come almost en- the violin. The DSO most recently performed it in Notirely from within himself. He had no such instruction vember of 2006, with Neeme Järvi conducting and in his native city of Lille, and when he got to the Par- Vadim Gluzman on the violin.

These performances are a DSO premiere. is Conservatory, none of the stodgy old instructors there could possibly have been responsible for his —————— distinctive use of color, texture and timbre. His son Pierre, who became a well-respected critic, always Symphony No. 5 in B-flat, Op. 100 insisted that his father was essentially self-taught SERGEI PROKOFIEV in this vital area of orchestration.

B. April 9, 1887 in Pablo de Sarasate was one of the greatest vio- D. March 5, 1953 in Moscow, Russia lin virtuosos of the late 19th century, famous for his beautiful tone, unmatched technique, perfect intoSCORED FOR 3 FLUTES, PICCOLO, 3 nation and a tremendous flair in performance. He OBOES, ENGLISH HORN, 3 CLARINETS, EB was more delicate than forceful, more intuitive than CLARINET, BASS CLARINET, 3 BASSOONS, intellectual, and by all accounts his technique was CONTRABASSOON, 4 HORNS, 3 absolutely effortless. He premiered other important TRUMPETS, 3 TROMBONES, TUBA, TIMPANI, concertos by Bruch, Saint-Saens and Wieniawski, PERCUSSION (SNARE DRUM, TAMBOURINE, and composed a number of short, bravura pieces TRIANGLE, CYMBALS, BASS DRUM, TAM-TAM & WOOD which are to this day a vital part of the violin rep- BLOCK), HARP, PIANO AND STRINGS. (APPROX. 46 MINUTES) ertoire. The rather whimsical title Symphonie espagnole (Spanish Symphony) conceals the fact that the Sergei Prokofiev was one of the great creative work is a true, five-moment concerto with all of the minds of the 20th century, and the most prolific trimmings in which the soloist is called upon to dis- Russian composer, pianist and conductor of that play significant feats of technical prowess. Each one era. His extraordinary genius created symphonies, of the movements contains an identifiable symphon- operas, ballets, choral works, film music, chamber ic structure, and when asked about the title, Lalo music and solo piano music, and probably no other once replied, “It conveyed my thought: a violin soar- 20th-century master enriched the musical world in ing above the rigid form of an old symphony.” Lalo’s as many different forms and at such a consistently decision to write melodies with a distinct Spanish high level as he did. He was one of the great modern flavor may have come partly from his own Spanish masters of orchestration, something which he got heritage, but surely a good deal of the reason was from his studies with Rimsky-Korsakov, and the powsimply a tribute to his friend and colleague Sarasate, er and dynamic quality of his scores is something who gave the premiere. The first movement is a ha- quite remarkable. In addition, his gift for creating banera, with is three themes in the same rhythm, but beautiful, lyrical melodies was almost without equal. not in the same mood. The second movement is a His compositions and piano prowess gained him seguidilla, containing both lyrical elements and dra- popularity both in Russia and here in the west, with matic shifts of tempo. The third movement—which visits to Chicago, New York, London and Paris, and in years past used to be omitted—uses a classic his immortal Peter and the Wolf has been a perenniSpanish rhythmic device of alternating groups of two al favorite with audiences and children of all ages, and three notes. The fourth movement, which is the young and old. Like Shostakovich and other Russian concerto’s true slow movement, is a stylized pavan, a composers of the middle of the 20th century, Prokostately and elegant 16th-century court dance, which fiev fell afoul of Stalin’s Soviet bureaucracy, but he was said to be related to the slow and measured still managed to contribute enough high-level music steps of a peacock. The bubbling and high-spirited for him to rightly be considered one of the greatest finale is related to both the vivacious Italian saltarel- Russian composers of his time. Of the three greatest lo and the languid Spanish malaguena, and brings Russian masters of the 20th century—along with the work to its brilliant and bravura conclusion.

Stravinsky and Shostakovich—Prokofiev’s music is The Detroit Symphony Orchestra first performed at once the most popular and the most difficult to Lalo’s Symphonie espagnole in January of 1920, with pigeon-hole. He could be severely modernist, like Victor Kolar conducting and Francis MacMillen on Stravinsky, and he could sound like a 20th-century

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program notes version of Haydn. He could write music of profound tragedy, like Shostakovich, and he could write melodies which are so child-like and infectious that they have been turned into Christmas songs. One minute his complex mind was re-inventing 18th- and 19th-century ideals, and the next minute he was trashing those very same traditions. He was at one time in his life purposefully avant-garde, writing fiercely dissonant and uncompromising music which to this day is difficult to listen to. Nevertheless, his greatest works have a uniquely life-affirming character, mostly the result of his dynamic personality and positive outlook on life. He was one of the few 20th-century composers with a sense of humor, and many of his scores contain instances of musical pranks and a sardonic wit, but at the same time he was able to re-create to a greater and more profound degree than his contemporaries—Shostakovich being the only exception—both the sufferings and the triumphs of the Second World War. What is amazing about all of this is that his immense reputation rests on a relatively small number of works (somewhat like Brahms in this respect), and this is a shame because some of his most powerful and remarkable creations are infrequently performed. Of all 20th-century Russian composers, Prokofiev was uniquely and amazingly diverse. His career, which had begun in pre-revolutionary Russia, continued in the West and ended in the strict atmosphere of the Stalin regime, and with the single exception of Stravinsky, he encompassed a wider range of locales, attitudes and influences than any of his contemporaries. Inevitably, his output is compared to that of Shostakovich, and while Shostakovich was arguably the greater symphonist, in the fields of ballet and even opera, Prokofiev certainly had the greater gift for melodic invention. As writer Steven Schwartz so beautifully put it, “Shostakovich argues and convinces. Prokofiev makes you fall in love.” After hearing of his passing, composer Arthur Honegger said that Prokofiev would “…remain for us the greatest figure of contemporary music.” By an odd quirk of fate, Prokofiev and Josef Stalin died on the same day, and as a result, his death went almost unnoticed for several days.

Prokofiev composed seven symphonies which were spread out over most of his career. His first symphony was written when he was three years out of the St. Petersburg Conservatory; symphonies 2-4 were written abroad, mostly in Paris, and were based on works originally written for the stage; and the last

three symphonies were composed after his momentous decision to return to Russia in the mid-1930s.

As a whole, they suggest that he was not a symphonist by nature, in the classically-derived sense of developing musical ideas according to a conventional system. Very often he would abandon an idea after using it, rather than developing it or returning to it.

Nevertheless, one of the man’s great gifts was his ability to make dramatic orchestral textures an integral part of the whole symphonic process. For Prokofiev, as Beethoven and Shostakovich before him, the Fifth Symphony would be an artistic breakthrough, and after the First (the “Classical” Symphony), it is his best-known and most frequently-performed symphony, as well as the longest and grandest of the seven. It is of an epic scale and character, and for the first time he used a previously-successful patriotic style in a purely symphonic setting. This was also an emotional milestone, as it presented an affirmation of his faith in the human spirit, and its ability to persevere, learn, grow and prevail, even in tragic circumstances. Incidentally, to the end of his days, Prokofiev considered this his finest composition. It was written in the summer of 1944 as a means of putting into music all of the mind-boggling sufferings which Russia had endured during the Nazi invasion, but also to look forward to what many people then felt was an almost-sure final victory. As he later wrote, “In the Fifth Symphony I wanted to sing the praises of the free and happy man: his strength, his generosity and the purity of his soul. I cannot say that I chose this theme; it was born in me and had to express itself.” It was premiered in Moscow on 13 January 1945 under the composer’s direction, on the very day that the Soviet Army achieved its heroic victory along the Vistula River. As Prokofiev raised his baton to begin, an artillery barrage began—clearly audible in the concert hall—and he waited for it to end before starting to conduct. This barrage came from Soviet guns, in effect paying tribute to the heroism of the Red Army soldiers as they crossed the Vistula on their victory march into Nazi Germany.

Forty-five minutes later as the symphony came to its exhilarating and triumphant conclusion, it became clear that the end of the war was indeed in sight.

The Detroit Symphony Orchestra first performed Prokofiev’s Symphony No. 5 in November of 1946, conducted by Karl Krueger. The DSO most recently performed it in June of 2007, conducted by Leonard Slatkin.

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administrative staff EXECUTIVE OFFICE

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Bavarian Radio Orchestra

Mariss Jansons by Peter Meisel

Mariss Jansons, conductor Leonidas Kavakos, violin Saturday, April 16 // 8 pm Hill Auditorium Of the three major orchestras based in Munich, the Bavarian Radio Orchestra is the most prominent, with a string of eminent music directors including Rafael Kubelik, Sir Colin Davis, Lorin Maazel, and, since 2003, Mariss Jansons. Leonidas Kavakos, who made his UMS debut last season with Yuja Wang, returns as soloist with the Korngold Violin Concerto.

PROGRAM

Corigliano Korngold Dvoล รกk SP O NS O RED BY

Fantasia on an Ostinato Violin Concerto in D Major, Op. 35 Symphony No. 8 in G Major, B. 163 HOSTED BY

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DSO

SOLOISTS

community & learning

DSYO PROVIDES TRANSFORMATIVE EXPERIENCES FOR YOUTH

The DSO has a longstanding commitment to the youth of metro Detroit. DSO Young People’s Concerts have been a part of cherished childhood memories since the early 1900’s. Jazz Ensemble. Of her experience in our program, Kiana said, “I enjoy meeting all of the DSO musiTens of thousands of students attend or watch cians that come to work with us and help out. Just the Classroom Edition webcast of our Educational being part of something like DSYO is pretty amazConcert Series. Nearly fifty years ago, the DSO embarked upon its greatest commitment to enriching ing too. I am most definitely practicing a lot more and working to improve to young lives through music by creating the Detroit Sympho- “I enjoy meeting all of the move up and excel. The music ny Youth Orchestra. Initiated DSO musicians that come to is challenging, but I enjoy it with the substantial involveand I work really hard at it.” ment of DSO musicians and work with us and help out.

Through dedicated staff developed over the years with and musicians, scholarship support from champions of Just being part of something support, and the extraormusic education like Clyde like DSYO is pretty dinary commitment of the and Helen Wu, the DSYO is now the centerpiece of the Wu entire oneDSO family, we are amazing too...”

Family Academy for Learning providing transformative exand Engagement. As one of the top three ensem- periences for hundreds and thousands of youth bles of our Civic Youth Ensembles program, the across metro Detroit and beyond. Visit dso.org/ DSYO has a life-changing effect on students rewfa to learn more about the Wu Family Academy gardless of their intended career path. and consider what we can do for the youth that Kiana (pictured above) is one such student who is a violist in both the DSYO and our Creative matter to you!

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1887 society

BARBARA VAN DUSEN, Honorary Chair The 1887 Society is a tribute to the storied past of the Detroit Symphony Orchestra and recognizes those among our patrons with unique DSO histories who have made a legacy commitment to our work. Members receive recognition in each issue of Performance magazine and an annual society luncheon, as well as enjoying a special package of benefits throughout the DSO season. If you have arranged for a legacy gift, or for more information on ways to do so, please contact Dan Coleman at 313.576.5451.

The Detroit Symphony Orchestra Board of Directors is pleased to honor the 1887 Society. These patrons, friends and subscribers have named the Orchestra in their estate plans.

Ms. Doris Adler Dr. & Mrs. William C. Albert Mr. & Mrs. Robert A. Allesee Dr. Lourdes A. Andaya Mr. & Mrs. Eugene Applebaum Dr. Augustin & Nancy† Arbulu Ms. Charlotte Arkin† Ms. Sharon Backstrom Sally & Donald Baker Mr. & Mrs. Lee Barthel Mr. & Mrs. Mandell L. Berman Mrs. John G. Bielawski† Mrs. Betty Blair Robert T. Bomier† Gwen & Richard Bowlby Mr. Harry G. Bowles† William & Julia Bugera Dr. Cynthia Cassell Dr. & Mrs. Victor† J. Cervenak Eleanor A. Christie Ms. Mary Christner Lois & Avern Cohn Mrs. RoseAnn Comstock Mr. & Mrs. Thomas W. Cook Dorothy M. Craig Mr. & Mrs. John Cruikshank Ms. Mary Rita K. Cuddohy† Ms. Mattie L. Cunningham† Ms. Leslie C. Devereaux Mr. John Diebel Mr. Roger Dye & Ms. Jeanne A. Bakale Ms. Bette J. Dyer† Mr. & Mrs. Robert G. Eidson Marianne T. Endicott Ms. Dorothy Fisher Mrs. Marjorie S. Fisher Mr. Emory Ford, Jr.† Dr. Saul & Mrs. Helen Forman

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Barbara Frankel & Ron Michalak Herman & Sharon Frankel Mrs. Rema Frankel† Jane French Dr. Byron P. & Marilyn Georgeson Mr. Joseph & Mrs. Lois Gilmore Victor† & Gale Girolami Ruth & Al Glancy Donna & Eugene Hartwig Dr. & Mrs. Gerhardt Hein Ms. Nancy B. Henk Mr. & Mrs. Thomas N. Hitchman Mrs. Patricia Hobar† Mr. & Mrs. Richard N. Holloway† Paul M. Huxley & Cynthia Pasky David & Sheri Jaffa Mr. & Mrs. Thomas H. Jeffs II Richard & Involut Jessup 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 Mr. & Mrs. Arthur J. Krolikowski Mary Clippert LaMont Mrs. Bonnie Larson Ann C. Lawson Mr. Phillip Leon† Allan S. Leonard Max Lepler & Rex L. Dotson

DETROIT SYMPHONY ORCHESTRA

Dr. Melvin A. Lester Mr. & Mrs.† Joseph Lile Mr. & Mrs. Eric C. Lundquist Harold Lundquist & Elizabeth Brockhaus Lundquist Roberta Maki Eileen & Ralph Mandarino Mr. Glenn Maxwell Mr. Leonard Mazerov Mary Joy McMachen, Ph.D. Mr. William G. Michael† Rhoda A. Milgrim John & Marcia Miller Jerald A. & Marilyn H. Mitchell Mr. & Mrs. L. William† Moll Craig & Shari Morgan Ms. I. Surayyah R. Muwwakkil Beverley Anne Pack Mr. Dale J. Pangonis Ms. Mary W. Parker Sophie Pearlstein Helen & Wesley Pelling Dr. William F. Pickard Mrs. Bernard E. Pincus Ms. Christina Pitts Mrs. Robert Plummer Mr. & Mrs. P. T. Ponta Ms. Linda Rankin & Mr. Daniel Graschuck Mr. & Mrs. Douglas J. Rasmussen Ms. Dorothy J. Reidel† Mr. & Mrs. Lloyd E. Reuss Barbara Gage Rex Ms. Marianne Reye Katherine D. Rines Bernard & Eleanor Robertson Ms. Barbara Robins Jack† & Aviva Robinson

Dr. Margaret Ryan Marjorie & Saul Saulson Mr. & Mrs. Donald & Janet Schenk Ms. Yvonne Shilla Stephanie & Fred Secrest Mr. & Mrs. Stephan† Sharf Ms. Marla Shelton Ms. June Siebert Dr. Melissa J. Smiley & Dr. Patricia A. Wren Ms. Marilyn Snodgrass† Mr. & Mrs. Walter Stuecken Mr. & Mrs. Alexander C. Suczek Ms. Mildred Tanner† Alice & Paul Tomboulian Mr. David Patria & Ms. Barbara Underwood Mrs. Richard C. Van Dusen Mr. & Mrs. Melvin VanderBrug Mr. & Mrs. George† C. Vincent Mr. & Mrs. Keith C. Weber Mr. Herman Weinreich John† & Joanne Werner Mr. & Mrs. Arthur Wilhelm Mrs. Michel Williams Ms. Nancy S. Williams† Mr. Robert S. Williams & Ms. Treva Womble Mr. Robert E. Wilkins† Ms. Barbara Wojtas Elizabeth B. Work Dr. & Mrs. Clyde Wu† Ms. Andrea L. Wulf Mr. Milton Zussman Five who wish to remain anonymous † Deceased

planned giving council

Planned Giving Council 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 annual briefings.

LINDA WASSERMAN AVIV, Chair Mrs. Katana H. Abbott Mr. Christopher A. Ballard Ms. Sandra K. Campbell Mr. Henry M. Grix Mr. Mark W. Jannott, CTFA Ms. Jennifer A. Jennings

Ms. Dawn Jinsky Mrs. Shirley Kaigler Mr. Robert E. Kass Mr. Christopher L. Kelly Mr. Bernard S. Kent Ms. Yuh Suhn Kim

Mr. Henry P. Lee Ms. Marguerite Munson Lentz Mr. Christopher M. Mann Mr. Curtis J. Mann Mrs. Mary Mansfield Mr. Mark Neithercut

Mrs. Alice R. Pfahlert Ms. Deborah J. Renshaw, CFP Mr. James P. Spica Mr. John N. Thomson, Esq. Mrs. Linda Wasserman Aviv Ms. Wendy Zimmer Cox

If you would like to join the DSO’s Planned Giving Council, please call Dan Coleman at 313-576-5451.

The Detroit Symphony Orchestra’s Volunteer Ushers Sandy Aasgaard Fran Alberts Dee Allison Karen Arendall William Arendall Susan Baran Catherine Beaumont Clara Belt Barbara Binder Valerie Binder Niels Boesen Dorisel Boggs Kathie Booth Barbara Borden Elaine Bozin Ann Brilliant Nelda Brogan Roy Brogan Alexander Brown Kenneth Brown Ruth Bruce Joseph Buese Janice Calligaris-Sur Stephanie Canty Ed Carey Bethany Carmody Hannah Carmody Kay Carmody Maria Caruso Martha Casey Elaine Chalom

Gloria Coles Gregg Coughlin Nancy Courtney Gerry Crowe Neal Dahlen James Demers Kari Deming Nancy Deming Diane DeVincent Brian Doefer Barbara Drake Kay Dubois Michael Easter Monica Easter Naomi Edwards Bob Emick Mary Ann Emick Joanna Endres Robert Endres Leslie Falvey Pam Faricy Joseph Fasi Michael Fenchel Marvin Fink Rosalind Fink Lester Floyd Carmen Freeman laurie fundukian Frank Gasiorek Cheryl Gastwirth Jeffrey Gebauer

Steven Gensterblum John Gibson Toni Gibson Jackie Giering Bruce Gilbert Nora Gilbert Elisa Giuliani David Groen Rosemary Gugino Rebeca Guzman Carla Hall Claudia Hawkins Mary Heppner Fay Herman Francine Hill Jolyn Hillebrand Cal Hoeksema Norma Hoeksema Diane Holden Jasmine Hollis Robert Holzhauer Jean Hornbacher Regina Hughes William Isenhour Barbara Iseppi Larry Jacobs Linda James Germaine Jarvis Rick Jayroe Sue Jayroe Gregory Johnson

Marva Johnson Earline Jones Rita Kaplan Nancy Karpus Kathleen Keener Katherine Klimas Carol Kupinski Mary Lafter Jane Latessa Lorraine Lavoie Edward Lesnau Maureen Lesnau Louise Less Joyce Lyons Rochelle Mailhot Consquela Marbury Christina Marchwica Mark Marchwica Jack Marshall Kisha Martin Henry McCoy Diane McLeod Marie Meleski Paul Michalsen Nancy Miller Emma Mitchell Peg Mixter Virginia Moore Jim Moylan Nellie Murphy Don Musser

Dorothy Musser Mary Myers Joan Nagrant Florkowski Nancy Betty Nelson Courtney Nicholls Marylou Ouellette Ann Pape Maureen Paraventi Bob Patton Alice Paul Cassandra Pettway Fedora Pruitt Brenda Purkiss Betsy Quick Karen Rademacher Elizabeth Reid Peggy Roberts Shirley Ross Jane Rousseau Edna Rubin Mona Ruggers Vincent Ruggers Susan Saroglia Pat Shannon Emanuel Sharpe Martha Shumaker Craig Sieferd Helen Smiley Chris Smith Kathy Smith

Mary Smith Steven Smith April Snively Jeff Spakowski Glenn Stadts Archer Stone Art Stone Jennifer Sutherland Joan Swain Marianne Szymborski Ira Richard Talbott Joan Tilford Dorothy Trent Virnestean Tubbs Sherry Turner Fred Van Every Lee Visci Janice Wargo Jerry Wargo Sanford Waxer Charles Weaver Cobe Weaver Karen Weaver Carolyn Wedepohl Ted Wedepohl Chuck Wendt Miles West John Wheeler Stan Wisniewski Mary Zelenock

PERFORMANCE MAGAZINE

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the annual fund Gifts received between September 1, 2014 and January 31, 2016

Being a community-supported orchestra means you can play your part through frequent ticket purchases and generous annual donations. Your tax-deductible Annual Fund donation is an investment in the wonderful music at Orchestra Hall, around the neighborhoods and across the community. This honor roll celebrates those generous donors who made a gift of $1,500 or more to the DSO Annual Fund Campaign.

If you have questions about this roster, or to make a donation, please contact 313.576.5114 or go to dso.org/donate.

The Gabrilowitsch Society honors individuals who support us most generously at the $10,000 level and above.

JANET AND NORM ANKERS Co-Chairs

GIVING OF $250,000 & MORE

Mr. & Mrs. Lee Barthel

Mrs. Marjorie S. Fisher

Mandell & Madeleine Berman

Mr. & Mrs. Stanley Frankel

Foundation

Ruth & Al Glancy

Penny & Harold Blumenstein

Mr. & Mrs. Morton E. Harris

Julie & Peter Cummings

Danialle & Peter Karmanos, Jr.

Marvin & Betty Danto Family Foundation

Mr. & Mrs. James B. Nicholson

Max M. & Marjorie S. Fisher Foundation

Mrs. Richard C. Van Dusen

Eugene & Marcia Applebaum Family Foundation Ms. Leslie Devereaux Mr. & Mrs. Phillip Wm. Fisher

Emory M. Ford, Jr.+ Endowment Mrs. Sophie Pearlstein The Polk Family Cindy & Leonard Slatkin

GIVING OF $50,000 & MORE

Mr. & Mrs. Richard L. Alonzo Mrs. Cecilia Benner Mrs. RoseAnn Comstock Linda Dresner & Ed Levy, Jr. Mrs. Bonnie Larson

Mr. & Mrs. Matthew Lester Ms. Deborah Miesel Bernard & Eleanor Robertson

GIVING OF $25,000 & MORE

Ms. Sharon Backstrom Mr. & Mrs. John A. Boll, Sr. Mr. & Mrs. Richard A. Brodie Mr. & Mrs. Raymond M. Cracchiolo Joanne Danto & Arnold Weingarden Mrs. Kathryn L. Fife Mr. & Mrs. David Fischer Sidney & Madeline Forbes Barbara Frankel & Ronald Michalak

Herman & Sharon Frankel Mr. & Mrs. Eugene A. Miller Mr. & Mrs. Bruce D. Peterson Mr. & Mrs. Lloyd E. Reuss Mr. & Mrs. Alan E. Schwartz Mr. & Mrs. Larry Sherman Mr. & Mrs. Donald R. Simon Mr. James G. Vella

GIVING OF $100,000 & MORE

46

DSO MUSIC DIRECTOR OSSIP GABRILOWITSCH (1918 - 1936) Ossip Gabrilowitsch was an internationally known Russian pianist whose presence gave the DSO instant credibility. Additionally, he inspired the construction of Orchestra Hall. The building was erected in four months and 23 days after Gabrilowitsch threatened to quit unless he and his musicians had a permanent home. A friend to Mahler and Rachmaninoff, and son-in-law of Mark Twain, Gabrilowitsch himself possessed greatness.

DETROIT SYMPHONY ORCHESTRA

the annual fund GIVING OF $10,000 & MORE Mr. & Mrs. Robert A. Allesee Daniel & Rose Angelucci Mr. & Mrs. Norman Ankers Mr. Chuck Becker Mr. & Mrs. Robert H. Bluestein Mr. & Mrs. Jim Bonahoom Gwen & Richard Bowlby Michael & Geraldine Buckles Lois & Avern Cohn Mr. Gary Cone & Ms. Aimée Cowher Margie Dunn & Mark Davidoff Mr. & Mrs. Richard L. DeVore Marianne Endicott Jim & Margo Farber Dr. Marjorie M. Fisher Mr. Michael J. Fisher Mr. & Mrs. Samuel Fogleman Mr. & Mrs. Edsel B. Ford II Dr. Saul & Mrs. Helen Forman

GIVING OF $5,000 & MORE Mrs. Denise Abrash Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Drs. John & Janice Bernick Robert N. & Claire P. Brown Mr. & Mrs. François Castaing Mr. & Mrs. Gary L. Cowger Deborah & Stephen D’Arcy Fund Beck Demery Mr. & Mrs. John M. Erb Ms. Mary D. Fisher Mr. David Fleitz Allan D. Gilmour & Eric C. Jirgens Dr. Robert T. Goldman Goodman Family Charitable Trust † Deceased

Dale & Bruce Frankel Ms. Carol A. Friend & Mr. Mark T. Kilbourn Mr. & Mrs. Eugene A. Gargaro, Jr. Mrs. Byron Gerson Mr. & Mrs. Ralph J. Gerson Mrs. Gale Girolami Dr. Kenneth & Roslyne Gitlin Dr. Allen Goodman & Dr. Janet Hankin Mary Ann & Robert Gorlin Dr. Herman & Mrs. Shirley Gray Mr. & Mrs. James Grosfeld Dr. Gloria Heppner Ms. Doreen Hermelin Mr. & Mrs. Norman H. Hofley Lauri & Paul* Hogle Mr. & Mrs. Ronald Horwitz Richard H. & Carola Huttenlocher Mr. James A. Jacob Mr. Sharad P. Jain Chacona W. Johnson Lenard & Connie Johnston Faye & Austin Kanter

Mr. & Mrs. Norman D. Katz Mike & Katy Keegan Dr. David & Mrs. Elizabeth Kessel Dr. and Mrs. Myron LaBan Marguerite & David Lentz Mr. & Mrs. Ralph LeRoy, Jr. Dr. Melvin A. Lester Bud & Nancy Liebler Mr. & Mrs.† Joseph Lile Michael & Laura Marcero David & Valerie McCammon Mr. & Mrs. Doug McClure Alexander & Evelyn McKeen Dr. Robert & Dr. Mary Mobley Mr. & Mrs. Craig R. Morgan Cyril Moscow Xavier & Maeva Mosquet Geoffrey S. Nathan & Margaret E. Winters David Robert & Sylvia Jean Nelson Jim & Mary Beth Nicholson Patricia & Henry Nickol Mrs. Jo Elyn Nyman Anne Parsons* &

Donald Dietz Mr. Charles Peters Mr. & Mrs. Bruce D. Peterson Dr. William F. Pickard Ms. Ruth Rattner Jack+ & Aviva Robinson Martie & Bob Sachs Dr. Mark & Peggy Saffer Marjorie & Saul Saulson Elaine & Michael Serling Mark & Lois Shaevsky William H. Smith John J. Solecki Richard Sonenklar & Gregory Haynes Dr. Doris Tong & Dr. Teck M. Soo Mr. Gary L. Wasserman & Mr. Charlie Kashner Mr. Todd Watson Mr. & Mrs. R. Jamison Williams David & Bernadine Wu Mr. & Mrs. Paul M. Zlotoff

Mr. & Mrs. James† A. Green Judy & Kenneth Hale Mr. Lee V. Hart & Mr. Charles L. Dunlap Ms. Nancy Henk Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Michael E. Hinsky & Tyrus N. Curtis Mr. & Mrs. A. E. Igleheart Mr. & Mrs. Richard J. Jessup Michael E. Smerza & Nancy Keppelman Patrick J. Kerzic & Stephanie Germack Kerzic Mr. & Mrs. Harold Kulish Allan S. Leonard Mr. Daniel Lewis Mr. Gregory Liposky The Locniskar Group Mr. Robert A. Lutz Ms. Florine Mark

Patricia A. & Patrick G. McKeever Mr. & Mrs. Robert S. Miller Mr. Joseph Mullany Mr. & Mrs. Albert T. Nelson, Jr. Mr. & Mrs. David E. Nims Mr. & Mrs. Pat Olney Mr. & Mrs. Richard G. Partrich Mr. & Mrs. Roger S. Penske Mrs. Helen F. Pippin Dr. Glenda D. Price Mr. & Mrs. David Provost Barbara Gage Rex Dr. & Mrs. John Roberts Mr. & Mrs. Robert B. Rosowski Mrs. Lois J. Ryan Mrs. Patricia Finnegan Sharf Mr. & Mrs James H. Sherman Mr. & Mrs. Leonard W. Smith

Renate & Richard Soulen Mrs. E. Ray Stricker Mr. & Mrs. John Stroh III Mr. Gary Torgow David Usher Mrs. Eva Von Voss S. Evan & Gwen Weiner Arthur & Trudy Weiss Dr. & Mrs. Ned Winkelman Mrs. Judith G. Yaker Mr. Michael Yessian Margaret S. York Erwin & Isabelle Ziegelman Foundation Milton & Lois Zussman

Two who wish to remain anonymous

Two who wish to remain anonymous

PERFORMANCE MAGAZINE

47

the annual fund GIVING OF $2,500 & MORE Howard Abrams & Nina Dodge Abrams Dr. Roger & Mrs. Rosette Ajluni Mr. & Mrs. Robert L. Anthony Drs. Kwabena & Jacqueline Appiah Dr. & Mrs. Ali-Reza R. Armin Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook* Mr. Joseph Aviv & Mrs. Linda Wasserman Aviv Mr. & Mrs. John Axe Mrs. Jean Azar Ms. Ruth Baidas Nora Lee & Guy Barron Mr. Mark Bartnik & Ms. Sandra J. Collins Mr. J. Addison Bartush+ David & Kay Basler Mr. & Mrs. Martin S. Baum Mr. & Mrs. Richard Beaubien Dr. & Mrs. Brian Beck Ms. Margaret Beck Mrs. Harriett Berg Mr. & Mrs. Jeffrey A. Berner Mr. and Mrs. Michael Biber Dr. George & Joyce Blum Mr. & Mrs. Lawrence Bluth Rud & Mary Ellen Boucher Don & Marilyn Bowerman Mr. Anthony F. Brinkman Mr. Scott Brooks Bowden & Elaine Brown Mr. & Mrs. Mark R. Buchanan Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Ms. Evelyn Burton Julie Byczynski* & Angus Gray Philip & Carol Campbell Dr. & Mrs. Thomas E. Carson Ronald & Lynda Charfoos Mr. Daniel Clancy Gloria & Fred Clark Mr. & Mrs. Robert W. Clark Dr. Thomas Clark & Annette Clark Nina & Richard Cohan Jack, Evelyn & Richard Cole Family Foundation Dr. & Mrs. Charles G. Colombo Mr. & Mrs. Thomas W. Cook Dr. & Mrs. Ivan Louis Cotman Dorothy M. Craig Mrs. Barbara Cunningham

48

Jerry P. & Maureen T. D’Avanzo Suzanne Dalton & Clyde Foles Barbara A. David Lillian & Walter Dean Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Mr. Giuseppe Derdelakos Adel & Walter Dissett Mr. & Mrs. Mark Domin Donato Enterprises Paul + & Peggy Dufault Mr. Michael J. Dul Mr. & Mrs. Robert Dunn Mr. Roger Dye & Ms. Jeanne A. Bakale Edwin & Rosemarie Dyer Dr. Leo & Mrs. Mira Eisenberg Dr. & Mrs. A. Bradley Eisenbrey Mr. Lawrence Ellenboger Donald & Marjory Epstein Mr. Sanford Hansell & Dr. Raina Ernstoff Mary Sue & Paul Ewing Mr. & Mrs. Oscar Feldman Mr. & Mrs. Anthony C. Fielek Ms. Sharon Finch Mr. Jay Fishman Mr. & Mrs. Mark Frank Mr. Samuel Frank Mr. & Mrs. Daniel E. Frohardt-Lane Sharyn & Alan Gallatin Lynn & Bharat Gandhi Mr. George Georges Drs. Lynda & Conrad Giles Mr. & Mrs. Robert W. Gillette Dr. & Mrs. Theodore Golden Mr. Nathaniel Good Dr. & Mrs. Paul Goodman Mr. Jason Gourley and Mrs. Rebekah Page-Gourley Ms. Jacqueline Graham Mr. Luke Ponder & Dr. Darla Granger Ms. Leslie Green Dr. & Mrs. Joe L. Greene Dr. & Mrs. Steven Grekin Mr. Jeffrey Groehn Ms. Janet Groening-Marsh Mr. & Mrs. Robert Hage Alice Berberian Haidostian Robert & Elizabeth Hamel Randall L. & Nancy Caine Harbour Ms. Albertine Harmon Mrs. Betty J. Harrell Scott Harrison & Angela Detlor Cheryl A. Harvey Gerhardt A. Hein &

DETROIT SYMPHONY ORCHESTRA

Rebecca P. Hein Mr. & Mrs. Ross Herron Jeremiah* & Brooke Hess Dr. Deanna & Mr. David B. Holtzman Jack & Anne Hommes Ms. Barbara Honner The Honorable Denise Page Hood & Reverend Nicholas Hood III Mr. Matthew Howell & Mrs. Julie Wagner Mr. F. Robert Hozian Mr. & Mrs. Joseph L. Hudson, Jr. Nicki* & Brian Inman Steven & Sarah Jackson Ira & Brenda Jaffe William & Story John Mr. John S. Johns Mr. George Johnson Mr. Paul Joliat Mr. & Mrs. Joseph Jonna Mrs. Ellen D. Kahn Ms. Cathleen Kapatos Mr. and Mrs. David Karp Dr. Laura Katz & Dr. Jonathan Pasko Betsy & Joel Kellman Martin & Cis Maisel Kellman The Stephanie & Frederic Keywell Family Fund Mrs. Frances King Mr. & Mrs. William P. Kingsley Mr. & Mrs. Harvey Kleiman Thomas & Linda Klein Mr. & Mrs. Ludvik F. Koci Ms. Margot Kohler Mr. David Kolodziej Dr. Harry & Mrs. Katherine Kotsis Robert C. & Margaret A. Kotz Barbara & Michael Kratchman Richard & Sally Krugel Dr. Arnold Kummerow Mr. John Kunz Mr. & Mrs. Robert LaBelle Dr. Raymond Landes & Dr. Melissa McBrien-Landes Drs. Lisa & Scott Langenburg Ms. Sandra Lapadot Ms. Anne T. Larin Dolores & Paul Lavins Mr. Henry P. Lee Max Lepler & Rex L. Dotson Mr. & Mrs. John D. Lewis Mr. & Mrs. Eric C. Lundquist Daniel & Linda* Lutz Mrs. Sandra MacLeod Mr. & Mrs.

Charles W. Manke, Jr. Mervyn & Elaine Manning Mr. & Mrs. David S. Maquera, Esq. Maureen & Mauri Marshall Dr. & Mrs. Peter M. McCann, M.D. Mr. & Mrs. Alonzo McDonald Dr. & Mrs. Donald A. Meier Dr. & Mrs. David Mendelson Mrs. Thomas Meyer Thomas & Judith Mich Mr. & Mrs. Leonard G. Miller J.J. & Liz Modell Dr. Susan & Mr. Stephen* Molina Eugene & Sheila Mondry Foundation Mr. Lane J. Moore Ms. A. Anne Moroun Ms. Florence Morris Mr. Frederick Morsches & Mr. Kareem George Drs. Barbara & Stephen Munk Joy & Allan Nachman Edward & Judith Narens Mariam C. Noland & James A. Kelly Katherine & Bruce Nyberg Mr. & Mrs. Stanley Nycek Mr. John J. O’Brien Mr & Mrs. Arthur T. O’Reilly Dr. & Mrs. Dongwhan Oh Dr. William Oppat Mr. & Mrs. Joshua Opperer David+ & Andrea Page Mr. Randall Pappal Mrs. Margot Parker Mr. & Mrs. Kris Pfaehler Dr. Klaudia Plawny-Lebenbom Mr. & Mrs. William Powers Reimer Priester Charlene & Michael Prysak Mr. Ronald Puchalski Fair Radom Mr. & Mrs. Richard Rappleye Mr. Richard Rapson Drs. Stuart & Hilary Ratner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Carol & Foster Redding Mr. & Mrs. Dave Redfield Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Denise Reske Mrs. Ann C. Rohr Seth & Laura Romine

the annual fund Dr. Erik Rönmark* & Mrs. Adrienne Rönmark* Norman+ & Dulcie Rosenfeld Mr. & Mrs. Gerald F. Ross Jane & Curt Russell Dr. & Mrs. Alexander Ruthven Mr. David Salisbury & Mrs. Terese Ireland Salisbury Hershel & Dorothy Sandberg Mr. Robert Schaerer Ms. Martha A. Scharchburg & Mr. Bruce Beyer Dr. Sandy Koltonow & Dr. Mary Schlaff David & Carol Schoch Mr. & Mrs. Alan S. Schwartz Mr. & Mrs. Kingsley G. Sears Mr. Ken Seawell Mr. & Mrs. Fred Secrest Mr. Merton J. & Mrs. Beverly Segal Mr. Igal Shaham

Ms. Linda Zlotoff Mrs. Jean Shapero Ms. Cynthia Shaw Ms. Margaret Shulman Dr. Les & Mrs. Ellen Siegel Coco & Robert Siewert William & Cherie Sirois Dr. Cathryn Skedel & Mr. Daniel Skedel Dr. Gregory Stephens Mr. & Mrs. Cinton F. Stimpson III Dr. Mack Stirling Dr. & Mrs. Charles D. Stocking Mrs. Kathleen Straus & Mr. Walter Shapero Stephen & Phyllis Strome Mrs. Susan Svoboda & Mr. Bill Kishler Dorothy I. Tarpinian Shelley & Joel Tauber Dr. & Mrs. Howard Terebelo Mr. & Mrs. James W. Throop

Carol & Larry Tibbitts Mr. & Mrs. John P. Tierney Alice & Paul Tomboulian Mr. & Mrs. Michael Torakis Barbara & Stuart Trager Mark & Janice Uhlig Dr. Vainutis Vaitkevicius Amanda Van Dusen & Curtis Blessing Mr. & Mrs. Charles B. Van Dusen Mr.+ & Mrs. George C. Vincent Mr. Bill Vlasic Mr. & Mrs.+ William Waak Dr. & Mrs. Ronald W. Wadle Mr. Michael A. Walch & Ms. Joyce Keller Captain Joseph F. Walsh, USN (Ret.) Mr. & Mrs. Jonathan T. Walton Mr. Patrick Webster Mr. Herman W. Weinreich

Mr. & Mrs. Lawrence Weisberg Ambassador & Mrs. Ronald N. Weiser Mr. Brian Wenzel Janis & William Wetsman/ The Wetsman Foundation Beverly & Barry Williams Dr. M. Roy & Mrs. Jacqueline Wilson Rissa & Sheldon Winkelman Mr. John Wolak Mr. Jonathan Wolman & Mrs. Deborah Lamm Mrs. Cathy Cromer Wood Ms. Andrea L. Wulf The Yousif Family Mr. & Mrs. Alan Zekelman Mr. Richard D. Zimmerman

GIVING OF $1,500 & MORE

Patricia & William Cosgrove, Sr Mr. & Mrs. Thomas Dart Gordon & Elaine Didier Mr. & Mrs. Henry Eckfeld Mr. Lawrence Ellenbogen Mr. & Mrs. Howard O. Emorey Ron Fischer* & Kyoko Kashiwagi Dr. Linda Golumbia, Ph.D Mr. & Mrs. Saul Green Mr. Donald Guertin Mary & Preston Happel Mr. & Mrs. Michael Harding Mr. & Mrs. Howard Heicklen Mr. & Mrs. Paul Hillegonds Ms. Elizabeth Ingraham Carolyn & Howard Iwrey Ms. Nadine Jakobowski Mr. & Mrs. Charles R. Janovsky Carol & Richard Johnston Dr. Jean Kegler June K. Kendall

Ms. Ida King Mr. James Kirby Mr. & Mrs. Thomas N. Klimko Mr. & Mrs. Victor Kochajda/ Teal Electric Co. Miss Kathryn Korns Mr. James Kors & Ms. Victoria King* Mr. & Mrs. Kosch Martin & Karen Koss Mr. Michael Kuhne Mr. Charles E Letts Drs. Donald & Diane Levine Margaret Makulski & James Bannan Dr. Arlene M. Marcy, M.D. Ms. Annette McGruder Ms. Camille McLeod Mr. & Mrs. Brian Meer Mr. & Mrs. Germano Mularoni Mr. & Mrs. Richard L. Norling Noel & Patricia Peterson Mr. Mark Phillips

Dr. & Mrs. Terry Podolsky Mrs. Hope Raymond Mr. & Mrs. George Roumell Mr. R. Desmond Rowan Mr. & Mrs. James P. Ryan Mr. & Mrs. Lawrence Schlack Mr. Lawrence Shoffner Zon Shumway Mr. Mark Sims & Ms. Elaine Fieldman Ralph & Peggy Skiano Mr. Michael J. Smith & Mrs. Mary C. Williams Dr. & Mrs. Choichi Sugawa Dr. Gytis Udrys Ms. Charlotte Varzi Dr. Stanley Waldon Ms. Janet Weir Frank & Ruth Zinn

Ms. Dorothy Adair Joshua & Judith Adler Mr. & Mrs. Ismael Ahmed Dr. & Mrs. Gary S. Assarian Drs. Richard & Helena Balon Mr. & Mrs. Dennis Bernard Ms. Kathleen Block Mr. & Mrs. G. Peter Blom Ms. Jane Bolender Ms. Liz Boone Mr. & Mrs. J. Bora Ms. Nadia Boreiko Mr. Paul & Mrs. Lisa Brandt Mr. & Mrs. Ronald F. Buck Mr. & Mrs. Richard Burstein Dr. & Mrs. Roger C. Byrd Ms. Sandra K. Campbell Mr. David Carroll Mr. Fred J. Chynchuk

Four who wish to remain anonymous

One who wishes to remain anonymous

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PERFORMANCE MAGAZINE

49

corporate partners $500,000 AND MORE JIM NICHOLSON

CEO, PVS Chemicals

$200,000 AND MORE

GERARD M. ANDERSON

FAYE NELSON

President, Chairman and CEO, DTE Energy Corporation

President, DTE Energy Foundation

MARK FIELDS

President and CEO, Ford Motor Company

JAMES VELLA

President, Ford Motor Company Fund

$100,000 AND MORE

​​​​​​SERGIO MARCHIONNE

Chief Executive Officer, FCA

MARY BARRA

Chairman and CEO, General Motors Corporation

KEITH J. ALLMANN

President and CEO, MASCO Corporation

VIVIAN PICKARD

Director, General Motors Public Policy

MATTHEW J. SIMONCINI President and CEO, Lear Corporation

$50,000 AND MORE Target Corporation

$20,000 AND MORE

50

American House

Greektown Casino-Hotel

Senior Living

Macy’s

Communities

MGM Grand Detroit

Amerisure Insurance

Rock Ventures, LLC

DETROIT SYMPHONY ORCHESTRA

Talmer Bank and Trust

corporate partners $10,000 AND MORE

$5,000 AND MORE

Beaumont Health Delphi Foundation Dykema Edibles Rex Fifth Third Bank Greenleaf Trust Honigman Miller Schwartz & Cohn, LLP Hungry Howie’s Huron Consulting Group KPMG LLP PNC Bank PricewaterhouseCoopers LLP REDICO Sandler Training Telemus Capital Partners, LLC Warner Norcross & Judd LLP Wolverine Packing Company

BASF Corporation The Boston Consulting Group Contractors Steel Company Creative Benefit Solutions, LLC Denso International America, Inc. Ernst and Young Michigan Ear Institute Midwest Medical Center Plante Moran, PLLC St. John Providence Health System Suburban Collection Varnum LLP Yessian Music

$1,000 AND MORE Avis Ford, Inc. Broder & Sachse Real Estate Services

Chubb Group of Insurance Companies Coffee Express Roasting Company CRStager Darling Bolt Company Delta Dental Plan of Michigan Dickinson Wright HEM Data Corporation Hotel St. Regis Howard & Howard Attorneys PLLC KlearSky Solutions, LLC Lakeside Ophthalmology Center Michigan First Credit Union Oswald Companies Post, Smythe, Lutz, & Ziel LLP Robert Swaney Consulting, Inc. Sachse Construction Schaerer Architextural Interiors Urban Science Applications

support from foundations and organizations The Detroit Symphony Orchestra acknowledges and honors the following foundations and organizations for their contributions to support the Orchestra’s performances, education programming, and other annual operations of the organization. This honor roll reflects both fulfillments of previous commitments and new gifts during the period beginning September 1, 2014 to January 31, 2016. We regret the omission of gifts received after this print deadline.

$500,000 AND MORE

$50,000 AND MORE

$5,000 AND MORE

The William M. Davidson Foundation Max M. & Marjorie S. Fisher Foundation Samuel & Jean Frankel Foundation

Marvin & Betty Danto Family Foundation William Randolph Hearst Foundation Richard & Jane Manoogian Foundation Michigan Council for Arts & Cultural Affairs National Endowment for the Arts The Taubman Foundation Matilda R. Wilson Fund

Benson & Edith Ford Fund Marjorie & Maxwell Jospey Foundation Herbert & Elsa Ponting Foundation Mary Thompson Foundation

$250,000 AND MORE The Andrew W. Mellon Foundation Community Foundation for Southeast Michigan Hudson-Webber Foundation John S. and James L. Knight Foundation The Kresge Foundation McGregor Fund

$100,000 AND MORE Fred A. & Barbara M. Erb Family Foundation Ford Foundation Detroit Symphony Orchestra Volunteer Council New Music USA League of American Orchestras

$25,000 AND MORE Children’s Hospital of Michigan Foundation DeRoy Testamentary Foundation Eleanor & Edsel Ford Fund Ann & Gordon Getty Foundation

$10,000 AND MORE Henry Ford II Fund Maxine & Stuart Frankel Foundation The Alice Kales Hartwick Foundation Myron P. Leven Foundation Oliver Dewey Marcks Foundation

$1,000 AND MORE Charles M. Bauervic Foundation Frank and Gertrude Dunlap Foundation Harold and Ruth Garber Family Foundation Clarence and Jack Himmel Fund James and Lynelle Holden Fund Japan Business Society of Detroit Foundation Ludwig Foundation Fund Meyer and Anna Prentis Family Foundation Sigmund and Sophie Rohlik Foundation Louis and Nellie Sieg Foundation Sills Foundation Don and Dolly Smith Foundation The Village Club Foundation Samuel L. Westerman Foundation Young Woman’s Home Association PERFORMANCE MAGAZINE

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blockbuster fund Gifts received September 1, 2014 to January 31, 2016

Gifts to the Detroit Symphony Orchestra Blockbuster Fund support those exceptional projects, partnerships and performances that boldly advance the DSO’s mission “to be a leader in the world of classical music, embracing and inspiring individuals, families and communities through unsurpassed musical experiences.”

Blockbuster gifts fund defining initiatives that are outside the annual budget such as touring, Live From Orchestra Hall webcasts, certain community engagement and education partnerships, and capital and technology infrastructure.

Mr. and Mrs. Norman C. Ankers Mr. and Mrs. Lee Barthel Mr. & Mrs. Mandell L. Berman Blue Cross Blue Shield of Michigan Mr. and Mrs. Richard A. Brodie Mrs. RoseAnn Comstock Mr. and Mrs. Peter D. Cummings Mr. and Mrs. Jerry P. D’Avanzo

Mrs. Marjorie S. Fisher Mr. Michael J. Fisher Mr. & Mrs. Phillip Wm. Fisher Ford Motor Company Mr. Stephen Hudson Mr. Michael Jalving Japan Business Society of Detroit Foundation John S. and James L. Knight Foundation

tribute gifts

Mr. and Mrs. John Lesesne Mr. and Mrs. Matthew Lester McGregor Fund Michigan Lighting Systems East Ms. Deborah Miesel National Endowment for the Arts New Music USA and the League of American Orchestras

Mr. and Mrs. George Nyman Phillip and Elizabeth Filmer Memorial Charitable Trust Mr. Marc A. Schwartz Toyota Motor Engineering & Manufacturing North America WDET

Gifts received September 1, 2015 to January 31, 2016

Tribute Gifts to the Detroit Symphony Orchestra are made to honor accomplishments, celebrate occasions, and pay respect in memory or reflection. These gifts support current season projects, partnerships and performances such as DSO concerts, education programs, free community concerts and family programming.

For information about making a Tribute Gift, please call 313.576.5114 or visit dso.org/tribute.

In Honor of RICHARD AND MONA ALONZO Alan and Shirley Schlang In Honor of JOHN AND LINDA AXE Marianne Endicott In Memory of WILLIAM BAYER Betty Bayer In Memory of JAMES BRUNO John and Rebecca Bercini William Bielinkski Paul Bruno Shirley Bruno Harry and Pearl Gopoian Andrew Johns Diran and Patricia Kochyan Mihran Kochyan Lawrence and Susan Lankowsky Seymour and Norma Lankowsky Jeffry and Susan Palisin Lewis and Sharon Smith Bruce Thelen and Kathryn Flood Gary and Patricia Tibble John and Mary Ann Wheeler In Honor of JOANNE DANTO Lois and Avern Cohn

52

In Memory of OLGA DWORKIN Joseph and Sandra Knollenberg Robert and Sandra Moers Stanley and Gloria Nycek In Memory of NAOMI S. EDEN Eve Eden In Honor of PHILLIP WM. FISHER Aviva and Dean Friedman Ira and Brenda Jaffe Marc Schwartz and Emily Lamlenek In Honor of JAMES S. GARRETT Timothy and Marianne LeVigne In Honor of ALICE HAIDOSTIAN Esther Lyons In Memory of CAROL HORWITZ Jane Berg Gary and Judi Cooper Ralph and Erica Gerson Ira and Brenda Jaffe Professor Jerry Kazdan Barry and Linda Klein Julie Kraus

DETROIT SYMPHONY ORCHESTRA

Roger and Terran Leemis Richard and Brenda Neff David and Sylvia Nelson Gloria Siegel Anastasia Tessler Beverly and Gerald Viedrah W. William and Roseanne Winokur

In Memory of ELAINE LEBENBOM Ralle Rothman

In Memory of HAROLD C. L. JACKSON, JR. Ellen Barnes James and Edith Coussens Mark and Barbara Crowley Richard Davis Charles and Joanne Forbes Erwin and Barbara Gutenberg David and Laura Malik Les and Susan Schoonover David Thornbury and Judith Heinen Jerome Wahla Regina Wilking

In Memory of MACELLINE NOWICKI Marlene Bihlmeyer

In Honor of BERTRAND AND MURIEL JACOBS Janice and Bradley Jacobs

In Memory of FAY ANN RESNICK Helene Hoffman Ira and Mildred Wells

In Honor of HAROLD KULISH Mary Lou Dudley In Memory of DAVID LEBENBOM Claude and Sandra Reitelman

In Honor of DAVID LEDOUX Jerry and Virginia Ledoux

In Memory of JEROME PASKOVITZ Stephanie Louis Mickie Rumaner In Memory of ALEX PEABODY Stephen Liroff and Mary Ellen Gaffney

In Memory of HARVEY ROBB Ruthie Mizel

venture fund Gifts received September 1, 2014 to January 31, 2016

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

Ms. Veronica Agosta† Mr. and Mrs. Norman C. Ankers Mr. Braxton Blake and Ms. Freda Herseth Ms. Bette Dyer† Edsel And Eleanor Ford House Dr. Margo Farber and Mr. James Farber

Mrs. Marjorie S. Fisher Mr. & Mrs. Phillip Wm. Fisher Mr. and Mrs. Stanley Frankel Mr. and Mrs Richard N. Holloway† Jill Fox Revocable Trust Mr. and Mrs. Eric B. Larson Mr. John C. Leyhan†

Michael Willoughby & Associates Mr. and Mrs. James B. Nicholson Oakwood Healthcare David Page† Mrs. Sophie Pearlstein Mr. George A. Raymond†

Mr. and Mrs. Donald Schultz† Ms. Mildred Tanner Mr. Nicholas Thornton Ms. Sandra Thornton Mrs. Helen Walz-Gutowski Mr. Gary L. Wasserman and Mr. Charlie Kashner † Deceased

In Memory of JACK ROBINSON Berger, Ghersi & LaDuke PLC Eugene and Marcia Applebaum Stanley and Judy Frankel Ralph and Erica Gerson Merle and Shirley Harris Renee and Burt Mahler National Association of Chain Drug Stores David and Sylvia Nelson Graham and Sally Orley Barbara Roden Alan and Marianne Schwartz Lewis and Beverly Siegel Ted and Mary Ann Simon William and Janis Wetsman

In Memory of CLYDE AND HELEN WU Katherine Anslow Lee and Floy Barthel Cecilia Benner Mandell and Madeleine Berman Marlene Bihlmeyer Gust Bills and Effie Papadakis-Bills Craig and Christy Birch Harold and Penny Blumenstein Gregory Bonus and Linda Russell Richard and Gwen Bowlby Anita Boyer Julie Byczynski and Angus Gray Todd and Jill Campbell William Campbell Dr. Silas Cheuk Thomas Cliff Avern and Lois Cohn Martha and William Cox Friedrich and Hiroko Dalman Yuchuan Ding and Ning Yan Barbara Dursum Dr. Glen Elliott Marianne Endicott David Everson and Jill Jordan Christopher Felcyn Samuel and Laura Fogleman Ruth Frank Barbara Frankel and Ronald Michalak Stanley and Judy Frankel David and Lynn Galbenski Ralph and Erica Gerson Ellwyn and Johanna Gilbert Cozette Grabb Dr. Karen Hrapkiewicz Shyr-ing and Ellie Hu Roland Hwang Dr. Cathy Jen John and Marlene Boll Chacona Johnson Karen Katanick Francis and Lucy King

William and Dorothea Krieg Paul and Katherine Lam Raymond Landes and Mary McBrien Bud and Nancy Liebler Stuart and Patricia Lum Glen and Kelly Lutz Esther Lyons Malcolm and Cynthia MacDonald J. Thomas MacFarlane Richard and Florence McBrien Victoria McBrien H. and Venus Mighion Eugene and Lois Miller David and Sylvia Nelson Dr. Anke L. Nolting Stephen and Carol Park Anne Parsons and Donald Dietz Steven Peng Dr. Margaret Pierron Marilyn Pincus Ruth Rattner Ray and Jane Cracchiolo Claude and Sandra Reitelman Lloyd and Maurcine Reuss Raymond Robbins Charles and Patricia Rutherford Saul and Marjorie Saulson Alan and Marianne Schwartz William and Sally Shelden Gertrude Shiemke Tor Shwayder and Aimee Ergas Edward and Helen Sing June Songe John and Vivian Stroh Frances Tatarelli Peter and Ellen Thurber Roy and Diana Vagelos Barbara Van Dusen Arthur and Trudy Weiss Ching-Hsong and Su-Mei Wu Stephen Wu Atsushi and Barbara Yoshida George and Mary Anne Zinn

In Memory of MARY LUZ ZUBRIN Peter Zubrin

In Memory of SHELDON SANDWEISS Doreen Hermelin Jerry and Sharon Knoppow Moore, Stephens, Doeren & Mayhew James and Denise Parker In Honor of MARGARET SPEAR Gretchen and Robert Wilbert In Honor of KEN TUCKER Marty and Rose Reichman In Memory of GEORGE C. VINCENT Lee and Floy Barthel In Memory of ANN K. WARREN George Haggarty, Jr. Gerhardt and Rebecca Hein Mary Ann Oderman Michael and Carolyn Skaff

PERFORMANCE MAGAZINE

53

upcoming

CONCERTS CLASSICAL SERIES

CLASSICAL SERIES

CLASSICAL SERIES

THE LEGENDARY NIGEL KENNEDY Leonard Slatkin, conductor Nigel Kennedy, violin Fri., May 6 at 8 PM Sat., May 7 at 8 PM

BEETHOVEN’S “EMPEROR” CONCERTO Sir Andrew Davis, conductor Jeremy Denk, piano Fri., May 20 at 10:45 AM Sat., May 21 at 8 PM Sun., May 22 at 3 PM DSO PRESENTS

STRAUSS’ SEDUCTIVE SALOME Leonard Slatkin, conductor Lise Lindstrom, soprano Chris Merritt, tenor Jane Henschel, mezzo soprano Daniel Sutin, baritone Scott Ramsay, tenor Fri., June 3 at 8 PM Sun., June 5 at 3 PM

DVOŘÁK’S SEVENTH Rune Bermann, conductor Paul Huang, violin Thu., May 12 at 7:30 PM at Congregation Shaarey Zedek Fri., May 13 at 8 PM at Macomb Center for the Performing Arts Sun., May 15 at 3 PM at Seligman Performing Arts Center

OM @ THE MAX Sat., May 21 at 10 AM

POPS SERIES

DSO PRESENTS

CIVIC & EDUCATION

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES

YO-YO MA & KATHRYN STOTT* Yo-Yo Ma, cello Kathryn Stott, piano Wed., May 18 at 7:30 PM

54

DETROIT SYMPHONY ORCHESTRA

CLASSICAL SERIES

JOSHUA BELL RETURNS Leonard Slatkin, conductor Joshua Bell, violin Thu., May 26 at 7:30 PM Fri., May 27 at 8 PM

WU FAMILY ACADEMY SHOWCASE* Sat., May 28 at 7 PM

THE MUSIC OF U2 Brent Havens, conductor Brody Dolyniuk, vocalist Wed., June 8 at 7:30 PM OTHER PRESENTERS

IVAN MOSHCHUK* Thu., June 9 at 7:30 PM

& EVENTS

at the

MAX M. AND MARJORIE S. FISHER MUSIC CENTER

POPS SERIES

HEROES GALA

JOHN WILLIAMS FAVORITES & MORE Jeff Tyzik, conductor Fri., June 10 at 10:45 AM & 8 PM Sat., June 11 at 8 PM Sun., June 12 at 3 PM

AN EVENING WITH MEGAN HILTY Leonard Slatkin, conductor Megan Hilty, vocals Sat., June 18 at 7 PM

PARADISE JAZZ SERIES

SFJAZZ COLLECTIVE: THE MUSIC OF MICHAEL JACKSON* Miguel Zenón, alto saxophone David Sánchez, tenor saxophone Sean Jones, trumpet Robin Eubanks, trombone Warren Wolf, vibraphone, marimba Edward Simon, piano Matt Penman, bass Obed Calvaire, drums Fri., June 17 at 8 PM

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES

BEETHOVEN'S 1ST PIANO CONCERTO Mirga Gražinytė-Tyla, conductor Louis Schwizgebel, piano Thurs., July 14 at 7:30 PM at Congregation Shaarey Zedek Fri., July 15 at 8 PM at Macomb Center for Performing Arts Sun., July 17 at 3 PM at Seligman Performing Arts Center

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES

BEETHOVEN'S FIRST Karina Canellakis, conductor Jessica Rivera, soprano Thurs., July 21 at 7:30 p.m. at The Berman Center for the Performing Arts Fri., July 22 at 8 p.m. at The Village Theater at Cherry Hill Sat., July 23 at 8 p.m. at Kirk in the Hills Sun., July 24 at 3 p.m. at Our Lady Star of the Sea

*DSO does not appear on this program. • Programs and artists are subject to change.

Live from Orchestra Hall webcasts at dso.org/live

TICKETS AND INFO:

313.576.5111 or dso.org PERFORMANCE MAGAZINE

55

Partnership Melissa

*

I have a mission. Every day I come to work focused on serving members of my community. My Client Advisor from FirstMerit’s Charitable Advisory Group understands this—imparting financial expertise and partnering with me so that I can continue to focus on my mission. Because when the business side of our organization is well cared for, I can better care for those in need.

TO L E A R N MOR E A B O U T F I R S T M E R I T P R I VA T E B A N K , C O N T A C T : Ken Duetsch II,

Senior Vice President, at 248-430-1255 or ken.duetsch@firstmerit.com.

Follow the latest market trends @firstmerit_mkt

*Melissa reflects a composite of clients with whom we’ve worked; she does not represent any one person.

Non-deposit trust products are not insured by the FDIC; are not deposits or obligations of FirstMerit Bank, N.A, or any of its affiliates; are not guaranteed by FirstMerit Bank, N.A. or any of its affiliates; and are subject to investment risk, including possible loss of principal invested.

Member FDIC

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