DSO Performance magazine, 2022-2023, Fall, No. 1 by Echo Publications, Inc.

THE ARTS AND TRAVEL INSPIRE CHOOSE FROM A WORLD OF INCREDIBLE JOURNEYS Luxury ◆ Innovation ◆ Sustainability Silversea’s small ships are designed for those who delight in the thrill of discovery while indulging mind and body in the most lavish surroundings imaginable. All accommodations are spacious, ocean-view suites that include butler service, and most include private verandas. Silversea voyages and cruise expeditions sail to over 900 destinations on all seven continents. Contact Kareem George at Culture Traveler to learn about our special offerings for patrons of the Detroit Symphony Orchestra: 313.451.2491 ◆ www.culturetraveler.com/detroitsymphonykgeorge@culturetraveler.com

4 Welcome 5 Orchestra Roster 6 Behind the Baton 8 Board Leadership 14 Transformational Support 41 Donor Roster 50 Maximize Your Experience 52 DSO Administrative Staff 54 Upcoming Concerts ON THE COVER: DSO Concertmaster Robyn Bollinger, plus 2022-2023 season guest artists Jonathon Heyward (photo by Laura Thiesbrummel), Daniil Trifonov (photo by Dario Acosta), and Michelle Merrill. Read Performance anytime, anywhere at dso.org/performance The Detroit Symphony Orchestra impacts lives through the power of unforgettable musical experiences by sustaining a world class orchestra for our city and the global community. FALL • 2022–2023 SEASONPERFORMANCE 10 The DSO Welcomes Robyn Bollinger The new Concertmaster is ready for the 2022-2023 season 16 Community & Learning 17-40 Program Notes Discover rich insights about each concert DSO PERFORMANCE MAGAZINE 3dso.org #IAMDSO

Erik Rönmark

Mark Davidoff, Chair President and CEO Board of Directors

With such a huge variety, we have made it even easier to experience all the DSO has to offer while also providing a high level of scheduling flexibility. These days, we under stand it’s harder for some of you to commit to a big subscription of concerts over a long period of time. So, with our Create Your Own series, you can pick three or four concerts with easy return and exchange options if your plans change. And for the first time, you can select concerts across our many different series. Visit dso.org/create to get started.

The DSO’s new season of PVS Classical Series concerts under Music Director Jader Bignamini promises spectacular performances across a wide spectrum of composers and guest artists. This fall, Jader conducts Mahler’s mighty Symphony No. 2 for the first time and continues his survey of works by Florence Price and Joseph Bologne/Chevalier de Saint-Georges. The Mahler 2 concerts will feature a pair of outstanding singers, soprano Janai Brugger and mezzo-soprano J’Nai Bridges, and Jader will be joined by acclaimed pianists Emanuel Ax and Daniil Trifonov for the second piano concertos of Chopin and Brahms, respectively. We also welcome back three supremely talented guest conductors, Matthias Pintscher, Enrique Mazzola, and Jonathon Heyward, who in July was named music director of the Baltimore Symphony one week after making his DSO debut on the William Davidson Neighborhood Concert Series.

season by your Detroit Symphony Orchestra! Thank you to all who returned last year, and to those who are coming back for the first time since the pan demic began—we missed you! If this is your first experience with the DSO, we thank you for choosing to spend your time with us and hope you join us again soon.

WELCOME 4 DSO PERFORMANCE MAGAZINE FALL 2022–2023

Our PNC Pops Series is also strong, with Principal Pops Conductor Jeff Tyzik leading two programs this fall— Prohibition and Sci-Fi Spectacular—and former Associate Conductor Michelle Merrill returns to Orchestra Hall for our annual Home for the Holidays concerts. Trumpeter and composer Terence Blanchard, the DSO’s Fred A. Erb Jazz Creative Director Chair, kicks off our Paradise Jazz Series, with highlights in the coming months including Arturo O’Farrill with the Afro-Latin Jazz Ensemble and A Charlie Brown Christmas with Cyrus Chestnut and Friends. Young People’s Family Concerts offer Halloween at Hogwarts and Tale of the Firebird, and Tiny Tots—for our youngest concertgoers—returns to The Cube for the first time since 2019.

DearWelcomeFriends,to Orchestra Hall for the 2022-2023

Enjoy your concert!

Lastly, join us in extending a big Detroit welcome this fall to six new DSO musicians who all won their auditions over the past year: Concertmaster Robyn Bollinger (Katherine Tuck Chair), Violins Elizabeth Furuta and Daniel Kim, Principal Bassoon Conrad Cornelison (Byron and Dorothy Gerson Chair), Bass Trombone Adam Rainey, and Flute Fellow Shantanique Moore. We also welcome new DSO Assistant Conductor and Detroit Symphony Youth Orchestra Music Director Na’Zir McFadden (Phillip and Lauren Fisher Community Ambassador). Learn more about these wonderful musicians at dso.org and read on for this issue’s cover story introducing the DSO’s new concertmaster.

James CarolineASSISTANTVanValkenburgPRINCIPALCoadeHenryandPatriciaNickol Chair

PICCOLO

ENGLISH HORN

JamesWilliamASSISTANTPichardo-RosenthalPRINCIPALCodyKnicelyChairRitchie

Robert JeremyBergman*Crosmer*VictorandGaleGirolami Cello Chair

Music Directorship endowed by the Kresge Foundation

BASS KevinVanPRINCIPALBrownDusenFamily Chair

Hae Jeong Heidi Han* David and Valerie McCammon Chairs Elizabeth Furuta* Sheryl Hwangbo Yu* Daniel Kim*

Jeffery Zook Shari and Craig Morgan Chair

JackPVSWaltersChemicals Inc./ Jim and Ann Nicholson Chair Shannon Orme

TRUMPET

HunterLeePRINCIPALEberlyandFloy Barthel Chair Stephen WilliamASSISTANTAndersonPRINCIPALLucas

BASS CLARINET

JosephRuthPRINCIPALBeckerRobyandAlfred R. Glancy III Chair

MANAGER OF ORCHESTRA PERSONNEL

E-FLAT CLARINET

NolanCOORDINATORAUDITIONCardenasANDOPERATIONS

§ African OrchestraAmericanFellow

AlexanderJackPRINCIPALKinmonthA.andAvivaRobinson Chair

PatrickDIRECTORPetersonOFORCHESTRA PERSONNEL

LEGACY CHAIRS

Laurie Goldman*

DER BIGNA M I NI MUSIC DIRECTORA COMMU N I T Y -SU P P ORT E D ORCHESTRA DETROIT SYMPHONY ORCHESTRA JA DER BIGNA M I NI MUSIC DIRECTORA COMMU N I T Y -SU P P ORT E D ORCHESTRA

DER BIGNA M I NI MUSIC DIRECTORA COMMU N I T Y -SU P P ORT E D ORCHESTRA

Cole Randolph*

^ Extended Leave

Michael Ke JaquainMarcusASSISTANTMaPRINCIPALSchoonSloan§

CLARINET

AdamTheACTINGStepniewskiPRINCIPALDevereauxFamily Chair

Adam Rainey

JADER BIGNAMINI , Music Director

Stephen NicholasBrandonChristopherASSISTANTMolinaPRINCIPALHamlenMasonMyers^ HARP

HORN Karl ScottJohannaPRINCIPALPituchYarbroughStrongRicandCarolaHuttenlocher Chair

Robert EthanPRINCIPALStilesAllen

STAGE MANAGER

DSO PERFORMANCE MAGAZINE 5dso.org #IAMDSO

Fred A. Erb Jazz Creative Director Chair

OPEN PRINCIPALWinifredE. Polk Chair

Sujin Hong-YiLim*Mo *

Hannah Hammel Maser

Principal Pops Conductor

ASSOCIATE CONCERTMASTER

RalphRobertPRINCIPALSkianoB.Semple Chair

TROMBONE

LEONARD SLATKIN Music Director Laureate

BASS TROMBONE

PERCUSSION

Jennifer Wey Fang

Principal Flute Women’s Association for the DSO

Benjamin Tisherman

Dennis Rottell

JeremyRichardPRINCIPALEppand

FLUTE

CELLO Wei AbrahamPRINCIPALYuFederASSISTANTPRINCIPALDorothyandHerbertGraebner Chair

Adrienne Rönmark* Laura Soto* Greg MingzhaoJiaminStaples*Wang*Zhou*

LIBRARIANS

Stage Personnel

WillDavidHaapaniemi*andValerieMcCammon Chairs

LEGEND

OBOE

Robyn KimberlyKatherineCONCERTMASTERBollingerTuckChairKaloyanides Kennedy

ConradByronPRINCIPALCornelisonandDorothyGerson Chair

Glenn Mellow Hang MikeHanHartShandaSuLowery-SachsHollmanZhengChen

NEEME JÄRVI

David MarkASSISTANTEversonPRINCIPALAbbott

DETROIT ORCHESTRA

Shannon Orme Barbara Frankel and Ronald Michalak Chair

David LeDoux* PeterJoanneMcCaffrey*Deantoand Arnold Weingarden

Kenneth AdamDavidPRINCIPALThompkinsBinderRainey

Alexandros Sakarellos* Drs. Doris Tong and Teck Soo Chair Marian JingAlexanderTanau*Volkov*Zhang*

Principal Cello James C. Gordon

TUBA DennisPRINCIPALNulty

Personnel Managers

BASSOON

ASSISTANT CONCERTMASTER

JA DER BIGNA M I NI MUSIC DIRECTORA COMMU N I T Y -SU P P ORT E D ORCHESTRA DETROIT SYMPHONY ORCHESTRA

SECOND VIOLIN

VIOLA

OPEN

TIMPANI

CONTRABASSOON Marcus Schoon

Music Director Emeritus

TERENCE BLANCHARD

FIRST VIOLIN

Walker L. Cisler/Detroit Edison Foundation Chair

Marguerite Deslippe*

EricJuliePRINCIPALNowlinandEd Levy, Jr. Chair

AlanPRINCIPALJ.and Sue Kaufman and Family AmandaChair Blaikie Morton and Brigitte Harris Chair

Monica Fosnaugh Shari and Craig Morgan Chair

Mona Alonzo Chair

Rachel Harding Klaus* Eun Park Lee*

JamesASSISTANTRitchiePRINCIPAL

JEFF TYZIK

UnaChairO’Riordan*MaryAnn&Robert Gorlin Chair

SYMPHONY

Hai-XinASSISTANTWu CONCERTMASTER

William MatthewStevenKurtRyanDEPARTMENTDailingHEADDeMarcoDEPARTMENTHEADHenryDEPARTMENTHEADKempDEPARTMENTHEADPonsDEPARTMENTHEAD

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

Andrés

Jeffery ShantaniqueZook Moore §

Sarah MonicaASSISTANTLewisPRINCIPALFosnaugh

Schwartz and Shapero Family Chair

SharonBernardASSISTANTSparrowPRINCIPALandEleanorRobertson Chair

MUSIC DIRECTORSHIP ENDOWED BY THE KRESGE FOUNDATION

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

Bignamini was introduced as the 18th music director of the Detroit Symphony Orchestra in January 2020. The DSO’s 2022-2023 season marks his second full year as DSO Music Director, and his infectious pas sion and artistic excellence have set the tone for the DSO on stage, establishing a close relationship with the orchestra and creating extraordinary music together. A jazz aficionado, he has immersed himself in Detroit’s rich jazz culture and the influ ences of American music.

some of the world’s most acclaimed orchestras and opera companies in venues across the globe including work ing with Riccardo Chailly on concerts of Mahler’s Eighth Symphony in 2013 and his concert debut at La Scala in 2015 for the opening season of La Verdi Orchestra. Recent highlights include debuts with The Cleveland Orchestra, New Jersey Symphony Orchestra, Dallas Symphony Orchestra, and Minnesota Orchestra; the Osaka Philharmonic and Yomiuri Nippon Symphony Orchestra in Tokyo; Madama Butterfly with the Metropolitan Opera, Vienna State Opera, and Dutch National Opera; Gianni Schicchi with Canadian Opera Company; Rigoletto with Oper Frankfurt; La Traviata with Bayerische Staatsoper; I Puritani in Montpellier for the Festival of Radio France; Traviata in Tokyo directed by Sofia Coppola; Andrea Chénier at New National Theatre in Tokyo; Rossini’s Stabat Mater at Rossini Opera Festival in Pesaro, Italy; Rossini’s Petite messe solennelle at Teatro dell’Opera in Rome; return engagements with Oper Frankfurt (La forza del destino) and Santa Fe Opera (La Bohème); Manon Lescaut at the Bolshoi; Traviata, Madama Butterfly, and Turandot at Arena of Verona; Il Trovatore and Aida at Rome’s Teatro dell’Opera; Madama Butterfly, I Puritani, and Manon Lescaut at Teatro Massimo in Palermo; Simon Boccanegra and La Forza del Destino at the Verdi Festival in Parma; and La Bohème, Madama Butterfly, and Elisir d’amore at La Fenice in Venice.

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

BEHIND THE BATON

Jader

In the years since, Jader has conducted

Jader Bignamini

6 DSO PERFORMANCE MAGAZINE FALL 2022–2023

BlanchardChairCreativeFredservedBlanchardeducatorcomposer,bandleader,Trumpeter,andTerencehasastheDSO’sA.ErbJazzDirectorsince2012.has

FRED A. ERB JAZZ CREATIVE DIRECTOR CHAIR

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

DSO PERFORMANCE MAGAZINE 7dso.org #IAMDSO

Jeff Tyzik PRINCIPAL CONDUCTORPOPS

Visit jefftyzik.com for more.

Frequently invited as a guest conductor, Tyzik has appeared with the Boston Pops, Cincinnati Pops, Milwaukee Symphony, Pittsburgh Symphony, Toronto Symphony, Indianapolis Symphony, Philadelphia Orchestra, Los Angeles Philharmonic, and Royal Scottish National Orchestra.

Grammy Award winner Jeff Tyzik is one of America’s most innovative and sought-after pops conductors. Tyzik is recognized for his brilliant arrange ments, programming,originaland

engaging rapport with audiences of all ages. In addition to his role as Principal Pops Conductor of the DSO, Tyzik holds The Dot and Paul Mason Principal Pops Conductor’s Podium at the Dallas Symphony Orchestra and serves as principal pops conductor of the Oregon Symphony, Florida Orchestra, and Rochester Philharmonic—a post he has held for over 20 seasons.

performed and recorded with many of jazz’s superstars and currently leads the celebrated E-Collective. He is also wellknown for his decades-long collaboration with filmmaker Spike Lee, scoring more than 15 of Lee’s movies since the early 1990s. 2018’s BlacKkKlansman earned Blanchard his first Academy Award nomination, with a second Academy Award nomination in 2021 for Da 5 Bloods. In and out of the film world, Blanchard has received 14 Grammy nominations and six wins, as well as nominations for Emmy, Golden Globe, Sierra, and Soul Train Music awards.Blanchard’s second opera Fire Shut Up in My Bones, based on the memoir of New York Times columnist Charles Blow, opened The Metropolitan Opera’s 20212022 season, making it the first opera by an African American composer to premiere at the Met. With a libretto by Kasi Lemmons, the opera was commissioned by Opera Theatre of Saint Louis where it premiered in 2019. The New York Times called it “inspiring,” “subtly powerful,” and “a bold affecting adaptation of Charles Blow’s work.” Blanchard’s first opera, Champion, also premiered to critical acclaim in 2013 in St. Louis and starred Denyce Graves with a libretto from Pulitzer Prize Winner Michael Cristofer. Visit terenceblanchard.com for more.

Terence Blanchard

Clyde Wu, M.D.◊

Faye Alexander Nelson

David Handleman, Sr.◊

OFFICERS OF THE BOARD OF DIRECTORS

James B. Nicholson

VicePresidentChairErikRönmark&CEODavidT.ProvostChair

Stephen Polk

Bernard I. Robertson

Shirley Stancato Officer at Large

Arthur T. O’Reilly

Robert S. Miller

James G. Vella Officer at Large

Ralph J. Gerson Officer at Large Glenda D. Price, Ph.D. Officer at Large

William F. Pickard, Ph.D. Marilyn Pincus Lloyd E. Reuss

Samuel Frankel◊

Peter D. Cummings Phillip Wm. Fisher

David R. Nelson

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

LIFETIME MEMBERS

Renato

TreasurerHon.Kurtis T. Wilder (Ret) Secretary

David M. Wu, M.D. Johanna RepresentativeOrchestraYarbrough,

Rev. Nicholas Hood III Richard Huttenlocher

Bonnie Larson David McCammon

DIRECTORS EMERITI

Alan E. Schwartz

David GoverningAssemany,MembersChairElenaCenteioAaronFrankelHermanB.Gray,M.D.,M.B.A.LauraHernandez-Romine

Marjorie S. Saulson

James B. Nicholson

DETROIT

Jane ArthurBarbaraShermanVanDusenA.Weiss

Stanley Frankel

SYMPHONY ORCHESTRA, INC. 8 DSO PERFORMANCE MAGAZINE FALL 2022–2023

CHAIRS EMERITI OF DIRECTORS

TrusteeJamett,ChairDanielJ.KaufmanMichaelJ.KeeganArthurC.LieblerXavierMosquet

BOARD

Floy MarianneLoisRichardPennyChaconaBarthelBaughB.BlumensteinA.BrodieCohnEndicott Sidney HaroldRonaldDr.HermanBarbaraForbesFrankelH.FrankelGloriaHeppnerHorwitzKulish

Dr. Arthur L. Johnson ◊

Stanley Frankel

Scott RepresentativeOrchestraStrong,NancyTellemLauraJ.Trudeau

Dr. M. Roy Wilson

Pamela Applebaum Officer at Large

Mark A. Davidoff

MusicianSkiano,RepresentativeRichardSonenklarRobTannerYoniTorgowGwenWeinerDonnellWhiteJenniferWhitteakerR.JamisonWilliamsMargaretE.WintersEllenHillZeringue

Christa Funk

MusicianNextGenJenniferFrederickSandyMorganMorrisonJ.MorschesMuse,ChairNicholasMyers,RepresentativeSeanM.NeallEricNemethMauryOkunVivianPickardDeniseFairRazoGerritReepmeyerRichardRobinsonJamesRose,Jr.LaurieRosen

Robert Gillette

Janet & Norm Ankers, Chairs

Renato

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

BOARD OF TRUSTEES

Gregory Haynes

Lois RichardMillerSonenklar CIRCLE EXECUTIVE

Jody

Casey

Scott Monty

COMMITTEEDSOPERFORMANCE MAGAZINE 9dso.org #IAMDSO

H. Keith Mobley

Cecilia Benner

TrusteeJamett,ChairIsmaelAhmedRichardAlonzoHadasBernardJaniceBernickElizabethBooneGwenBowlbyMarcoBruzzanoMargaretCooney

MahaCarolynnLindaJamesAfaJasminMaureenStephenJoanneCullenDantoD’ArcyT.D’AvanzoDeForrestSadykhlyDworkinC.FarberForteFrankelFreij

Joanne Danto

Mary CathrynShaferM.Skedel, Ph.D. Ralph

Elana Rugh Marc Schwartz

Karen

Bonnie Larson

MAESTRO

Lois L. Shaevsky

Shari

Lois A. Miller

Renato Jamett, Chair

Daniel Millward

Carlo Serraiocco

LydiaTitoKristenAnthonyFlorineLindaWilliamLeonardJennetteJoelDavidJohnJulieMichelleDonaldMaryMalikGlancyGoodwinAnnGorlinHiruoHodgesHollinsheadJullensKarpD.KellmanSmithKotilaLaRoccaLentineDresnerLevyMarkMcCreeMcLennanMelegaMichael

native of Philadelphia, Robyn grew up in a classical music household, with her dad, Blair, a bass trombonist in the Philadelphia Orchestra, and her mom, Gerry, an educator and violist in The Philly Pops. Growing up backstage, she went to her first rehearsal at just two weeks old, and at age two, took an interest in playing the viola herself. “My mom got to go out at night and wear a long black dress and play the viola, so I wanted to go out at night and wear a long black dress

10 DSO PERFORMANCE MAGAZINE FALL 2022–2023

In July, the Detroit Symphony Orchestra announced ROBYN BOLLINGER as its next Concertmaster (Katherine Tuck Chair) to commence with the 20222023 season. She will be one of six new musicians in the DSO this fall, joining Principal Bassoon Conrad Cornelison (Byron and Dorothy Gerson Chair), violinists Elizabeth Furuta and Daniel Kim, bass trombone Adam Rainey, and flute fellow Shantanique Moore. We sat down with Robyn ahead of her appointment to discuss all things music, her love of the violin, what she is looking forward to in Detroit, and what it means to be the youngest concertmasterfemaleinthe United States.

MEET NEW ROBYNCONCERTMASTERDSOBOLLINGER

By HANNAH ENGWALL ANd SARAH SMARCH

DSO PERFORMANCE MAGAZINE 11dso.org #IAMDSO

“As Concertmaster, I’m the betweenconductor,delegatedesignatedtotheandIalsohopetobealiaisontheorchestraandthecommunity.”

She began violin lessons at the Settlement Music School in Philadelphia, and in fifth grade, began homeschooling to allow for more time to practice. Her teacher was Kimberly Fisher, Principal Second Violin of the Philadelphia Orchestra, who was a major influence at the time. Robyn made her Philadelphia Orchestra debut at age 12, and has since performed regularly as a soloist, recitalist, and chamber musi cian across the United States.

A lover of violin repertoire, Robyn is also celebrated for her series of solo multi media performance projects. She received a prestigious Fellowship from the Lenore Annenberg Arts Fellowship Fund for CIACCONA: The Bass of Time, an exam ination of the history and legacy of Bach’s famed chaconne for solo violin. Furthermore, she was recognized with an Entrepreneurial Musicianship Grant from the New England Conservatory for her Project Paganini featuring the twen ty-four Caprices of Paganini. Most recently, she was awarded a historic EarlyCareer Musician Fellowship from Dumbarton Oaks Museum in Washington, D.C. to research and prepare her next mul timedia project, Encore! Just One More, which is slated to debut in a future season. Creating a cohesive narrative around the

She earned both her bachelor’s and master’s degrees with academic honors from the New England Conservatory in Boston and went on to become a faculty member at the conservatory’s preparatory school, as well as Brandeis University in the Boston area, where she has lived for the last 12 years.

Robyn is keen to maintain her sense of connection and relationships as she con tinues in her new role. As Concertmaster, she plays a large part in tuning the orches tra before concerts. “During tuning, I’m usually looking around, making eye con tact, and smiling at people to wish them

Robyn’s parents gifted her a violin ahead of her fourth birthday. The idea was that she would start with a smaller instru ment and then size-up to viola, but that change never came. “I always enjoyed practicing. I loved a challenge, figuring things out, and improving. The violin quickly became my identity,” she said.

and play viola,” she said.

music with historic images, animation, voiceover narration, and live remarks, the multimedia projects give a compact history of context on the music’s relevance and importance, in unique venues and perfor mance spaces. Through them, Robyn is interested in channeling an empathic pro cess: “Empathy is an essential part of interpretation. I want to understand not only the construction, but also what the composer was thinking—what do they want me to do here? Why was this music important in this time?”

She cites Bach's Ciaccona from Partita No. 2 in D minor as a poignant reference for this connection. It is believed the piece was written by Bach in memory of his first wife after she passed away. “There’s no

hard proof for that, but loss is so intrinsic in the music,” Robyn said. “This piece was my grandfather's favorite, and he requested that I play it at his memorial service. The experience forever changed that music for me. Part of the project is that I invite people to remember their own loss and that this music is universal. Whether it's Bach's loss, my loss, or your loss—we can all be in that moment together—and that’s something special that music can do.”

Relishing the support she has received from the concertmaster community and her colleagues, Robyn feels optimistic about her new role and is eager to get to work.“Ibelieve strongly in legacy, and my first order of business is to learn a lot more,” she said. “People in leadership positions sometimes fall into a trap of thinking, ‘I’m here, I’m going to change things, we’re going to do things my way,’ but that’s not my value system. I have ideas and things that I want to accomplish, but I’m really invested in the community and understanding what I’m joining so that I can represent it in the best way pos sible and continue the legacy.”

“As Concertmaster, I’m the designated delegate to the conductor, and I also hope to be a liaison between the orchestra and the community. Everything I’ve said about getting to know the orchestra absolutely applies to the city, because I do see that as part of my role. Before I do anything, I need to know the history, values, and culture of where I am. I’m excited to go to restaurants, schools, and other cultural institutions to understand the soul of Detroit and learn how I can use my role to strengthen the DSO’s relationship to our city.”

12 DSO PERFORMANCE MAGAZINE FALL 2022–2023

“I’m interested in the content of sound— is it deep, is it colorful? The only way to talk about sound is in metaphor, but sound is incredibly inspiring,” she said. “I look forward to working with Jader and learn ing more about his color palette. He’s not afraid to ask for details, and that makes for a much more refined and specific sound. In rehearsals we have limited time, and it can be tempting to gloss over things, but he’s not interested in glossing. I love that though, because when you roll up your sleeves and work, you get a better product.” She continued, “Jader and I make a good team because of our investment in relationships, which makes for a more united experience. With some conductors, it can feel like the orchestra is just going through the motions or following direc tions, but with Jader, it feels like we’re all in it Robyntogether.”isalso focused on settling into her new city. She and her husband, Dane, have moved to a home with a practice room above the garage and a fenced in back yard for their dog, Schroeder, an appreciated feature coming from a Boston apartment. She is enthusiastic about embracing Detroit’s arts and culture scene, from grabbing a pastry at Midtown favorite Warda Pa^tisserie, to exploring the work of Detroit-born fashion designer Tracy Reese. “People speak about how much energy there is in this city, and I’m really passionate about being part of its continued growth,” she said.

good luck. When I’ve done that with other orchestras, I sometimes get weird looks, but in Detroit, everybody smiles back.”

Ahead of her move to Detroit, Robyn had an appreciation for the DSO. She grew up listening to DSO recordings and was familiar with the orchestra’s strong repu tation for programming contemporary music. She was also aware that the DSO has had two previous female concertmas ters in Yoonshin Song (2012–2019) and Emmanuelle Boisvert (1989–2011). “I’m joining a long line of strong female leader ship—not just from the concertmaster chair—and I’m really privileged to carry that on,” she said.

In developing that legacy, she is excited to embrace and evolve the DSO sound with her colleagues, Music Director Jader Bignamini and new Assistant Conductor (Phillip and Lauren Fisher Community Ambassador) Na’Zir McFadden, a fellow Philadelphia native.

The significance of Robyn’s status as the youngest female concertmaster in the United States is not lost on her: “This is a huge honor and an incredible responsibil ity. There are still relatively few female concertmasters in the classical music industry and I’m proud to carry the torch. I hope to be a role model, not only for my colleagues, but also for young people who may see part of themselves in my story.”

The Community Foundation

decades, we have partnered and collaborated with organizations like the Detroit Symphony Orchestra along with other hyperlocal projects to enrich our region through the arts. We have helped hundreds of donors who want to support local arts and culture ﬁnd the best way to make a lasting impact.

ready to make a lasting impact on arts and culture, the Community Foundation is here to help. Visit: cfsem.org/arts-culture or call 313.961.6675

When are

you

MAKE AN IMPACT

For

is dedicated to supporting and enhancing the arts in southeast Michigan.

Fund Honors Anne Parsons’s Legacy

TRANSFORMATIONAL SUPPORT

DSO President Emeritus Anne Parsons passed away this spring following a coura geous battle with cancer, but her memory lives on as we look to the future of the DSO. Anne imagined a community-driven and inspirational orchestra ener gized to take the magic of musical connection beyond the concert hall and bring rich mel odies and universal themes to local audiences. With tenacious drive and through genuine relationship building, the desire for the DSO to be visible and acces sible throughout Metro Detroit and beyond gained substantial support from the community; and, together, our shared vision has become a flourishing reality.Through the Anne Parsons Leadership Fund, and avid sup port from DSO donors and leadership contributors includ ing the Mort and Brigitte Harris Foundation, we will unite to carry on Anne’s spirit, resilience, and influence. This endowed fund will ensure that the vision for the DSO as a community-supported as well as a community-supporting institution will continue in perpetuity.

Erik Rönmark, DSO President and CEO

The Anne Parsons Leadership Fund serves as a promise to honor and build upon Anne’s legacy. Through this support, the DSO will always remain deeply rooted in the cultural fabric of Detroit—committed to delivering the inspiration of music and human connection to all.”

Learn more about the dso.org/parsonsfundfund

14 DSO PERFORMANCE MAGAZINE FALL 2022–2023

is a beautiful thing when a connected community proactively supports one another through triumphs and trials. Time and time again, our supporters have shown up and rallied for the foundational mission of the DSO: to impact lives through the power of unforgettable musical experiences by sustaining a world-class orchestra for our city and global community.

Barbara Frankel & Ronald MichalakMM

Victor◊ & Gale Girolami Fund

B. & Ann V. Nicholson and PVS Chemicals, Inc.APLF Bernard & Eleanor Robertson Mrs. Richard C. Van Dusen Ralph C. Wilson, Jr. ClydeFoundation&Helen Wu◊

VISIONARIES

◊ Deceased DSO PERFORMANCE MAGAZINE 15dso.org #IAMDSO

JamesJr.APLF

Mandell & Madeleine Berman FoundationAPLF

MarjorieBetteMusiciansMMDyerEstateS.Fisher

LEADERS Applebaum

Mort & Brigitte Harris LindaFoundationAPLFDresner & Ed Levy,

Mr. & Mrs. Lee Barthel Julie & Peter CummingsAPLF

Mr. & Mrs. Aaron FrankelMM

Mr. & Mrs.◊ Lloyd E. Reuss

Mr. James G. VellaMM Eva von Voss and FamilyMM

The Glancy Foundation, Inc.APLF

Mary Rita Cuddohy Estate

Lois & Avern CohnMM

The Davidson-Gerson Family and the William Davidson TheFoundationRichard C. Devereaux ErbFoundationFamily and the Fred A. and Barbara M. Erb Family TheFoundationFisherFamily and the Max M. & Marjorie S. Fisher StanleyFoundation&Judy Frankel and the Samuel & Jean Frankel DanialleFoundation&Peter Karmanos, Jr.

Mr.◊ & Mrs. Robert A. Allesee

W. Harold & Chacona W. BaughAPLF Robert & Lucinda Clement

Dr. Glenda D. Price

BENEFACTORS

Mr. & Mrs. Raymond M. JoanneCracchioloDanto & Arnold Weingarden Vera & FamilyStephenTheDr.Ms.FoundationTheMrs.TheFoundationJohnMr.FordDTEDresnerJosephFoundationEnergyFoundationMotorCompanyFund&Mrs.MortonE.Harris◊S.&JamesL.KnightKresgeFoundationBonnieLarsonAPLFAndrewW.MellonDeborahMieselWilliamF.PickardPolkFamilyM.RossofClyde&HelenWuAPLF Family Philanthropy Arkin & Betty Danto Family

Herbert & Dorothy Graebner◊ Laurie Lindamulder Harris Richard Sonenklar & Gregory HaynesMM

PaulDrs.Mr.MartieJackPatMr.DavidFoundationRichardBudJohnRichardRonaldMaryRuthHermanAdelFoundationAPLF&WalterDissettMM&SharonFrankel&Al◊GlancyAnn&RobertGorlinAPLFM.&Carol◊HorwitzH.&CarolaHuttenlocherMMC.LeyhanEstate&NancyLiebler&JaneManoogian&ValerieMcCammon&Mrs.EugeneA.Miller&Hank◊Nickol&AvivaRobinson◊&BobSachs&Mrs.◊AlanE.SchwartzDorisTong&TeckSoo&TereseZlotof

The DSO is grateful to the donors who have made extraordinary endowment investments through the DSO Impact Campaign or multi-year, comprehensive gifts to support general operations, capital improvements, or special programs.

Mr. & Mrs. David Jaffa Renato & Elizabeth JamettMM Allan & Joy NachmanMM Ann & Norman◊ Katz

Marilyn Snodgrass Estate

Mr. & Mrs. Fred Secrest◊ Jane & Larry Sherman Cindy McTee & Leonard Slatkin

Florine MichiganMarkArts & Culture Council

Ruth Rattner

FOUNDING FAMILIES

MM: DSO Musicians Fund for Artistic APLF:ExcellenceAnne Parsons Leadership Fund

CHAMPIONS

Estate Marvin

Charlotte

Dr. Melvin A. Lester◊

Mr. and Mrs. Arn Tellem APLF Nancy Schlichting & Pamela TheisenAPLF

Mr. & Mrs. Richard L. Mr.BlumensteinPennyAlonzoAPLF&HaroldAPLF&Mrs.Phillip Wm. FisherAPLF, MM Alan J. & Sue Kaufman and ShariFamilyMM&Craig MorganAPLF, MM

Mr. David Assemany & Mr. Jeffery ZookAPLF, MM

Margie Dunn & Mark DavidoffAPLF, MM DSO

FundMM

Dr. Marjorie M. Fisher & Mr. Roy Furman

Visit dso.org to learn more about Senza

The DSO is working alongside students to realize their dreams and fulfill their potential through a new program, Senza. Meaning “without” in Italian, Senza is built to create a space for students without limitations, a space to examine and reject assumptions based on race, ethnicity, culture, socioeconomic status, disability, gender identity, and other societal markers. The program is built for and with students who hold a broad range of experiences.

COMMUNITY & LEARNING

“We are tremendously proud of our first group of Senza students,” said DSO Director of Education Debora Kang. “Their artistic progress has been remarkable, and just as much as our students have grown by working with our educators, our educators have grown by working with our students. We are grateful to continue this program in the new season and look forward to positively impacting more lives through Senza.”

While the program is individually responsive, there is also a substantial teamwork component. Senza is specifically designed to build a strong cohort of high school students who learn, lead, and grow together over their time in the program, and continue their involvement into their post-graduation years, through peer support and mentorship of new participants.

In the 2021-2022 season, eight Senza students were selected by application and audition from a pool of incoming 8th and 9th grade CYE musicians. In the 20222023 season, the number will increase to 12 students.

Additionally, five Senza students attended Interlochen Arts Camp or Blue Lake Fine Arts Camp this summer: Seth Banks (trumpet), Ethan Banks (trumpet), Isaiah Thomason-Redus (horn), and Milan Forrester (violin) attended Interlochen, and Jordan Harris (trumpet) attended Blue Lake. For four out of the five students, it was their first summer music camp experience of this caliber.

Senza students perform Kaleidoscope at Durfee Innovation Center, June 2022

Senza is made possible by generous funding from the Andrew W. Mellon Foundation and falls under the DSO’s Civic Youth Ensembles (CYE) umbrella. Last season, the DSO celebrated 50 years of CYE, and now proudly continues this rich tradition of music education with expanded Senza offerings in the new season.

SENZA: WITHOUT LIMITATIONS

n fall 2021, after a nine-month planning phase, the DSO’s Community and Learning team was delighted to launch Senza: a professional development music program that offers a personalized curriculum of courses, mentorship, cultural experiences, community engagement, practical experience, and networking for selected high school students. Driven by participants’ experiences and goals, the program prioritizes the involvement and participation of students from communities currently underrepresented in classical music.

Previous Senza activities included CYE ensemble and chamber music participation, individual mentorship, team meetings, workshops with collegiate level educators, group trips to DSO performances, and performances at community engagement events, including the premiere of an original composition, Kaleidoscope, at the Durfee Innovation Event Center.

16 DSO PERFORMANCE MAGAZINE FALL 2022–2023

Fred A. Erb Jazz Creative Director Chair

LEONARD SLATKIN Music Director Laureate

TitlePVSSponsor:CLASSICAL SERIES

DETROIT SYMPHONY ORCHESTRA

JADER BIGNAMINI , Music Director

Music Directorship endowed by the Kresge Foundation

Frédéric Chopin Piano Concerto No. 2 in F minor, Op. 21 (1810 - 1849)

JADER BIGNAMINI, conductor EMANUEL AX, piano

John Stafford Smith The Star-Spangled Banner (1750 - 1836)

JEFF TYZIK Pops Conductor

Claude Debussy La mer (1862 - 1918) I. De l’aube à midi sur la mer [From Dawn to Noon on the Sea]

DSO PERFORMANCE MAGAZINE 17dso.org #IAMDSO

Lyrics by Francis Scott Key; arr. Arthur Luck

I. Maestoso

II. Larghetto

III. Allegro vivace Emanuel Ax, piano

TERENCE BLANCHARD

AX PERFORMS CHOPIN, LA MER & BOLÉRO

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

III. Dialogue du vent et de la mer [Dialogue of Wind and Sea]

NEEME JÄRVI Director Emeritus

Friday, September 30, 2022 at 8 p.m. Saturday, October 1, 2022 at 8 p.m. Sunday, October 2, 2022 at 3 p.m. in Orchestra Hall

Maurice Ravel Boléro (1875 - 1937)

Music

Intermission

Principal

JA DER B I G NA M I N I MUSIC DIRECTORA COMMU N I T Y -SU P P ORT E D ORCHESTRA JA DER B I G NA M I N I MUSIC DIRECTORA COMMU N I T Y -SU P P ORT E D ORCHESTRA

Michael Abels Emerge (DSO co-commission) (b.1962)

II. Jeux des vagues [Play of the Waves]

ichael Abels wrote the following about Emerge: Emerge is a piece that imagines a group of highly trained musicians getting back together after a long break, remembering both the exhilaration and the discipline of performing together. The piece begins with a section that evokes a sunrise on a group of musicians all play ing independently. They gradually all team up to play a powerful, energetic cre scendo, but that dissipates into softer section built on solo playing of bluesy phrases that keep happening in canon, rather than in unison. The middle of the piece is a placid, lyrical episode with graceful, independent string lines flowing underneath it. That kicks off a volley of

B. March 1, 1810, Zelazowa, Poland

Our 2022-2023 season kicks off with a program of orchestral favorites. First up, a new work from Michael Abels: Emerge You may have heard his music recently in Jordan Peele films including Get Out, Us, and Nope.

Next, beloved pianist Emanuel Ax returns to Orchestra Hall to perform Chopin’s Piano Concerto No. 2, which despite its numbering, was the first concerto the renowned composer ever wrote.

Something Old, Something New, Something Borrowed, Something Blue

Emerge

Composed 1829 | Premiered 1830 FREDERIC CHOPIN

T he year 1829 found Frederic Chopin a young graduate of the Warsaw Conservatory seeking to establish him self in the musical world. He was talented, ambi tious, and in love, and all three of these

Piano Concerto No. 2 in F minor, Op. 21

D. October 17, 1849, Paris, France

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, bass trombone, timpani, and strings. (approx. 30 minutes)

B. 1962

Debussy’s La mer was inspired by the depiction of the sea in paintings and literature, with The Great Wave by Japanese artist Katsushika Hokusai chosen as the cover of the original manuscript score. In many cultures, water represents life, birth, refreshment, fertility, and new beginnings, apropos for this weekend’s occasion.

Closing the program is Ravel’s beloved Boléro, which began as Fandango but was later retitled—borrowing the name of a slow, sensual triple meter Spanish couple’s dance often accompanied by castanets and guitar. The piece was so unconventional for its time that during its premiere in Paris in 1928, a woman in the audience began chanting “Au fou! Au fou!” (“The Madman! The Madman!”) to which Ravel responded, “That lady...she understood.”

18 DSO PERFORMANCE MAGAZINE FALL 2022–2023

This performance marks the DSO’s premiere of Emerge by Michael Abels.

MICHAEL ABELS

Composed 2022 (DSO co-commission) | Premiered 2022

Scored for 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets (one doubling E-flat clarinet), 2 bassoons (one doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (approx. 9 minutes)

rising scales back and forth between the strings and the winds. When the brass get involved, the strings are finally able to play a melody all together in unison above them. The scale volley becomes faster until it finally comes together, and this sets up an exuberant coda which, despite some shades of difficulty and frustration, is absolutely triumphant.

PROGRAM NOTES

PROGRAM AT-A-GLANCE | EMANUEL AX PERFORMS CHOPIN, LA MER & BOLERO

B. August 22, Saint-Germain-en-Laye,1862, France

D. March 25, 1918, Paris, France

La mer

CLAUDE DEBUSSY

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 2 cornets, 3 trombones, tuba, timpani, percussion, 2 harps, and strings. (approx. 23 minutes)

Debussy notably (and beautifully) employs the whole-tone scale in La mer, a trope that perfectly complements music meant to stoke the imagination or an approximate a daydream. Rather than the

qualities found reflection in his first significant composition using orchestra, the Piano Concerto in F minor, Op. 21. Chopin performed this work to great acclaim in Warsaw, Vienna, and Paris the following year, and these triumphs launched his career. Although known as his Second Piano Concerto, this piece predates Chopin’s Concerto in E minor, Op. 11 by about half a year, which has been desig nated his “Piano Concerto No. 1.” The two concertos were published and numbered in reverse order of their chronology (as were Beethoven’s first two piano concertos).Although it is a youthful work, the F minor concerto reveals a skilled com poser who has already found a distinctive musical voice (one of the most distinctive of the nineteenth century, indeed). Hearing this piece, we can admire the 19 year old’s sure grasp of the concerto form, but even more impressive, we also detect the most original and distinctive elements of Chopin’s mature style: the themes that are by turns dreamy and pas sionate, the yearning melancholy of his harmonies, and the brilliant flashes of pianistic ornamentation.

Composed 1903-1905 | Premiered 1905

The DSO most recently performed Chopin’s Piano Concerto No. 2 in F major, Op. 21 in May 2013, conducted by John Storgårds and featuring pianist Rafal Blechacz. The DSO first performed the piece in March 1919, conducted by Ossip Gabrilowitsch and featuring pianist Bendetson Netzorg.

laude Debussy’s music is commonly described as impressionist, analo gous to the breezy and colorful paintings of Monet or Degas. Rather than pre senting a narrative structure, as an earlier work might, the symphonic poem La mer aims to be something of a quick snapshot, capturing the experience of a beach-walking visitor to the sea. Rather than listening for form in the work, then, audiences are invited to allow the individual moments of La mer wash over them—noting how the music represents rushing wind, the easy lapping of waves, or the calm of early morning.

DSO PERFORMANCE MAGAZINE 19dso.org #IAMDSO

The concerto begins in classical fash ion, with a paragraph for the orchestra. Here, the first theme conveys that restless agitation so prized by the early Romantics. A second subject, introduced by the woodwinds, provides lyrical contrast. With the entrance of the soloist, the orchestra is relegated to a supporting role, as the expressive and technical capabilities of the piano are displayed to fineChopineffect.once declared that the ensuing Larghetto was inspired by his love for a young singer he had met at the Conservatory, an admission which has delighted romantically inclined listeners. Beginning with a long and tender theme that appears after a brief orchestral intro duction, the movement builds to a passionate soliloquy for the pianist over dramatic tremolo figures in the strings.

The third movement juxtaposes a bittersweet melody (punctuated by vigorous orchestral comments) with a central epi sode dominated by the rhythms of Poland’s national dance, the mazurka

Ravel was a master of orchestral color, on which Boléro thrives. The piece con tains only two melodic ideas (representing the female and male dancers). The first 16-bar melody begins in measure three with the flute and is then repeated by clar inet; the second motive appears with the bassoon and is again mirrored by clarinet. These two seductive melodic personali ties, one serpentine, the other more insistent, alternate 18 times in pairs. Every instrument in the ensemble offers its ver sion as either a solo or in magical combinations that often make it hard to identify their constituent parts. The whole musical exegesis hypnotizes and levitates the listener through the power of repeti tion. At the ecstatic climax of the piece, a second snare joins, taking the crescendo over the top, trombone smears add pas sion, and the key shifts suddenly from the C major that characterized the first fifteen minutes to a surprising E major, and then

20 DSO PERFORMANCE MAGAZINE FALL 2022–2023

Composed 1922-1928 | Premiered 1928 MAURICE RAVEL

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, harp, keyboard, soprano saxophone, tenor saxophone, and strings. (approx. 14 minutes)

by castanets and guitar. Rubinstein’s per formance, in its smoky Spanish setting, enjoyed immediate success. Nijinska’s choreography was set in a tavern where a female dancer on a table gathers the attention of the men in the bar. Gradually, one then another of the men joins her while the excitement builds until violence erupts near the end. Despite the ballet’s appeal, it was not until her exclusive per formance right lapsed and the piece was presented in concert and broadcast on radio that Boléro’s popularity exploded.

B. March 7, 1875, D.Basses-Pyrénées,Ciboure,FranceDec.28,1937,Paris,France

I n 1927, Ida setorchestratesioned(1885-1960)RubinsteincommisRaveltoIsaacAlbéniz’sofpianopieces Iberia for her ballet troupe. Unable to secure copyright permission, Ravel decided instead to write his own music, resulting in this, his most beloved work. Ravel’s original title for the piece was Fandango, but realizing that this dance’s traditional gradual increase in speed was contrary to his compositional plan, he retitled his work Boléro— the name of a slow, sensual triple meter Spanish couple’s dance often accompanied

The DSO most recently performed Debussy’s La mer in February 2020, con ducted by Thomas Søndergård. The DSO first performed the piece in November 1936, conducted by Jose Iturbi.

The piece begins with the suppressed sizzle of an almost inaudible solo snare drum luring the dancers onto the floor with its signature two-measure castanet-inspired rhythm. The strings pluck a chordal accompaniment in imitation of a Spanish guitar. Like the waltz, this dance is in triple time built on units of three beats, but Boléro’s riveting, incessantly driving feel is very different. The piece gets louder and louder as other orchestral instruments join the snare to trace the increasing passion and power of the dance, yet it never speeds up or slows down.

asymmetrical series of half-steps and whole-steps which characterize diatonic major and minor scales, the whole-tone scale is a symmetrical scale of wholesteps: C, D, E, F-sharp, G-sharp, A-sharp, C. This symmetry makes it impossible to hear any one pitch as more important than any other, since every pitch relates to every other pitch by the same set of inter vals. The result is a sense of tonal disorientation, a scale without horizon or gravitational pull—perfect for relaxing (or imagining relaxing) by the sea.

Boléro

In fall 2021, he resumed a post-Covid touring schedule that included concerts with the Colorado, Pacific, Cincinnati, and Houston symphonies, as well as Minnesota, Los Angeles, New York, Philadelphia, and Cleveland orchestras. 2022-23 will include a tour with Itzhak Perlman and friends, and a continuation of the “Beethoven for 3” touring and recording project with partners Leonidas Kavakos and Yo-Yo Ma, this year on the west coast.

Born to Polish parents in what is today Lviv, Ukraine, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. Ax made his New York debut in the Young Concert Artists Series, and in 1974 won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975, he won the Michaels Award of Young Concert Artists, followed four years later by the Avery Fisher Prize.

In recital, he can be heard in Palm Beach, Los Angeles, St. Louis, Chicago, Washington DC, Houston, Las Vegas, and New York, and with orchestras in Atlanta, Detroit, Boston, San Francisco, San Diego, New York, Naples, Portland (OR), Toronto,

the piece comes to a crashing finish. Ravel was mystified by the success of this work—one that he viewed as a rather simple experiment against orchestral con ventions (one incessant rhythm, no melodic development, and to top it, off the piece ends in a different key than it starts).

Ax has been a Sony Classical exclusive recording artist since 1987 and following the success of the Brahms Trios with Kavakos and Ma, the trio launched an ambitious, multi-year project to record all the Beethoven Trios and Symphonies arranged for trio, of which the first two discs have recently been released. He has received Grammy Awards for the second and third volumes of his cycle of Haydn’s piano sonatas. He has also made a series of Grammy-winning recordings with cel list Yo-Yo Ma of the Beethoven and Brahms sonatas for cello and piano. In the 2004-05 season, Ax contributed to an International Emmy Award-Winning BBC documentary commemorating the Holocaust that aired on the 60th anniver sary of the liberation of Auschwitz. In 2013, Ax’s recording, Variations, received the Echo Klassik Award for Solo Recording of the Year (19th Century Music/Piano).AxisaFellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Skidmore College, New England Conservatory of Music, Yale University, and Columbia University.

see page 6. DSO PERFORMANCE MAGAZINE 21dso.org #IAMDSO

Jader Bignamini biography,

EMANUEL AX

Yet Boléro’s remarkable popularity has endured.TheDSO most recently performed Ravel’s Boléro in January 2016, conducted by Leonard Slatkin. The DSO first per formed the piece in February 1930, conducted by Eugene Goossens.

PROFILES

Philadelphia, Pittsburgh, and Cleveland. Touring in Europe in the fall and spring includes concerts in Germany, the United Kingdom, Switzerland, and France.

ALABAMA SONG from The Rise and Fall of the City of Mahagonny Music by Kurt Weill, Lyrics by Bertolt Brecht

ON THE SUNNY SIDE OF THE MusicSTREETby Jimmy McHugh, Lyrics by Dorothy Fields

N I

TWILIGHT IN TURKEY

BEIBrechtMIR

NEEME JÄRVI

UNDER HIS EYES

LITTLE DREAM OF ME Music by Fabian Andre and Wilbur Schwandt, Lyrics by Gus Kahn

MYRA MAUD, vocalist • BRONSON NORRIS MURPHY, vocalist

DIZZY FINGERS

P P ORT E D ORCHESTRA

JA DER I NA M I MUSIC DIRECTORCOMMU I T -SU

DETROIT SYMPHONY ORCHESTRA

STOMP

Prohibition: From Moulin Rouge to Boardwalk Empire

Music by Louis Guglielmi, Lyrics by Edith Piaf

AT AN ARABIAN HOUSE PARTY By Raymond Scott

Friday, October 7, 2022 at 10:45 a.m.

LA CONGA BLICOTI Music by Jen Charles, André Giot de Badet, and Armando Bega Orefiche

Music by Jack Golden, Lyrics by Ted Koehler and Eddie Pola

Fred A. Erb Jazz Creative Director Chair

By Edward Elzear “Zez” Confrey

Music by Sholom Secunda, Lyrics by Jacob Jacobs; English version by Saul Chaplin and Sammy Cahn

PROHIBITIONCasey

22 DSO PERFORMANCE MAGAZINE FALL 2022–2023

JADER BIGNAMINI , Music Director

JEFF TYZIK, conductor

Principal Pops Conductor

By André Hornez and Paul Misraki

BROTHER, CAN YOU SPARE A DIME Music by Jay Gorney, Lyrics by Edgar Yipsel Harburg

SHOUT FOR HAPPINESS Music by John Hart and Tom PUTTIN’Blight

DOIN’ THE UPTOWN LOWDOWN Music by Harry Revel and Mack Gordon ST. LOUIS BLUES

ByJONNYFrederick Hollander

MYByPOWERHOUSERaymondScottCANARYHASCIRCLES

By Irving Berlin

JEFF TYZIK

LEONARD SLATKIN Music Director Laureate

ON THE RITZ

BIST DU SCHöN

SWEET GEORGIA BROWN Music by Ben Bernie and Maceo Pinkard, Lyrics by Kenneth

TITLE SPONSOR:

MADISON CLAIRE PARKS, vocalist • ERIC METZGAR, drummer

By William Christopher Handy

MACK THE KNIFE from The Threepenny Opera Music by Kurt Weill, Lyrics by Bertolt

Sunday, October 9, 2022 at 3 p.m. in Orchestra Hall

Music Director Emeritus

Music Directorship endowed by the Kresge Foundation

By Raymond Scott

WE’RE IN THE MONEY Music by Harry Warren, Lyrics by Al DREAMDubinA

a Schirmer Theatrical/Greenberg Artists co-production Arrangements by Jeff Tyzik

DE TEMPS EN TEMPS

By Ferdinand Joseph “Jelly Roll” Morton

JA DER B I G NA M I N I MUSIC DIRECTORA COMMU N I T Y -SU P P ORT E D ORCHESTRA

TERENCE BLANCHARD

PUT A TAX ON LOVE Music by Gilbert Wolfe and Harry Warren, Lyrics by Al Dubin

LA VIE EN ROSE

MIDNIGHT, THE STARS AND YOU By James Campbell, Reginald Connelly and Harry M. Woods

ALL ARRANGEMENTS AND IMAGERY LICENSED BY SCHIRMER THEATRICAL, LLCProgram subject to change

BLACKIntermissionBOTTOM

WHAT’LL I DO By Irving MusicHALLELUJAHBerlinbyVincent Youmans, Lyrics by Leo Robin and Clifford Grey

Saturday, October 8, 2022 at 8 p.m.

As an advocate for music literacy, Bronson serves as an active voice and acting teacher who maintains regular classroom hours in NYC and hosts

PROGRAM AT-A-GLANCE |

The Prohibition Blues

MYRA MAUD

MADISON CLAIRE PARKS

Madison Claire Parks has established her self as a prominent force for the next generation of classical leading ladies. Parks is best known for starring as Luisa in the historic Off-Broadway production of The Fantasticks for more than 400 perfor mances. She recently returned to Off-Broadway to star as Genevieve in Stephen Schwartz’s revised New York pre miere of The Baker’s Wife with J2 Spotlight at Theatre Row, singing the iconic Meadowlark role.

BRONSON NORRIS MURPHY

Eric Metzgar grew up in Rochester, New York, and studied jazz at the Eastman School of Music. He runs a successful studio for drums and per cussion in New York City, teaching a broad range of styles carefully tailored to each student. Metzgar regularly performs with many of today’s jazz luminaries.

The Prohibition era in the United States began in 1920 with the passing of the Volstead Act and the 18th amendment banning the manufacturing, transportation, and selling of intoxicating liquors. The amendment followed a century of increasingly restrictive alcohol legislation inspired by religious revivalism, the rise of alcoholism and its detriment to family life, and the need to save grain to produce food during the war. However, this legislation proved difficult to enforce and contributed to an increase of bootlegging and speakeasies. Artists were greatly influenced by this era, and many songs were written and performed to address the impact that Prohibition had on their daily lives. Eddie Cantor’s “Put a Tax on Love” references the increase of income taxes as a result of prohibition, while “My Canary Has Circles Under His Eyes” by Jack Golden refers to the increase in nightclubs and party life just shy of the repeal of Prohibition in 1933.

Maud was born in Paris, with roots in Madagascar and Martinique, making for a unique musical style.

Kentucky native Bronson Norris Murphy is best known for roles in Andrew Lloyd Webber musicals including Cats, The Phantom of the Opera, Love Never Dies: The Phantom Returns, and UNMASKED: The Music of Andrew Lloyd Webber.

see

Myra

ERIC METZGAR

workshops across the country. Murphy currently serves as the Associate Artistic Director for Kentucky’s Official Outdoor Musical: The Stephen Foster Story.

Jeff Tyzik biography, page 7.

DSO PERFORMANCE MAGAZINE 23dso.org #IAMDSO

Career highlights include starring as the great Josephine Baker in the French movie Ballade De Printemps, por traying Nala in the German musical Der König Der Löwen (The Lion King), and per forming during the opening celebration of the Women’s Soccer World Cup in 2011 in Frankfurt.In2010, Maud received a platinum record in South Africa for her album, AfriFrans, and is currently working on a new album with Lutz Krajenski.

PROFILES PROHIBITION: CABARETS & SPEAKEASIES OF THE ERA

JA DER B I G NA M I N I MUSIC DIRECTORA COMMU N I T Y

Franz Joseph Haydn Concerto for Cello and Orchestra (1732 - 1809) in C major, H.VIIb:1

TitlePVSSponsor:CLASSICAL SERIES

Fred A. Erb Jazz Creative Director Chair

Wolfgang Amadeus Mozart Symphony No. 38 in D major, K. 504, “Prague” (1756 - 1791) I. Adagio - Allegro II. III.AndantePresto -SU

NEEME JÄRVI

Music Director Emeritus

Thursday, October 13, 2022 at 7:30 p.m. Friday, October 14, 2022 at 10:45 a.m. Saturday, October 15, 2022 at 8 p.m. in Orchestra Hall

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

JEFF TYZIK

JADER BIGNAMINI , Music Director

Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

24 DSO PERFORMANCE MAGAZINE FALL 2022–2023

Joseph Bologne, Symphony No.2, Overture Chevalier de Saint-Georges to “L’Amant anonyme,” Op. 11, No. 2 (1745 - 1799) Allegro AndanteprestoPresto

TERENCE BLANCHARD

Sergei Prokofiev Classical Symphony, Op. 25 (Symphony No. 1) (1891 - 1953) I. Allegro con brio

Music Directorship endowed by the Kresge Foundation

LEONARD SLATKIN Music Director Laureate

JADER BIGNAMINI, conductor KIAN SOLTANI, cello

IV. Finale: Molto vivace

II. III.LarghettoGavotte:Non troppo allegro

JADER CONDUCTS MOZART’S PRAGUE SYMPHONY

I. Moderato II. Adagio

P P ORT E D ORCHESTRA

JA DER B I G NA M I N I MUSIC DIRECTORA COMMU N I T Y -SU P P ORT E D ORCHESTRA

III. Allegro molto Kian Soltani, cello Intermission

B. 11 April 1891, Sontsovka, Ukraine

Composed 1916-17 | Premiered April 1918

Concerning his approach to the work, Prokofiev described his intentions as fol lows: “I thought that if Haydn were alive today, he would compose just as he did before, but at the same time would include something new in his manner of composition. I wanted to compose such a symphony: a symphony in the classical style.” The work is one of Prokofiev’s most popular, no doubt as he intended it to be. Ultimately, its title not only suggests the composer’s models, but also his desire to write a piece of “classical music” that would endure like so many works of the late 18th century.

Perhaps the most defining characteris tic of Prokofiev’s symphony concerns the fact that he composed it away from the piano, thus rejecting his usual practice.

The DSO most recently performed Prokofiev’s Classical Symphony in March 2022 on the William Davidson Neighborhood Concert Series, conducted by Ari Pelto. The DSO first performed the piece in January 1935, conducted by Victor Kolar.

Scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. (Approx. 13 minutes)

SERGEI PROKOFIEV

Prokofiev made his reputation as a virtuoso pianist (performing his own concertos and sonatas), and his playing was notori ously percussive and aggressive. Not surprisingly, his ideas were usually pia nistic in conception, even if they were not intended for the piano. As he once remarked, composing away from the piano had a liberating effect, and indeed there is hardly a trace of his characteristi cally pianistic writing in the Classical Symphony.

PROGRAM NOTES

DSO PERFORMANCE MAGAZINE 25dso.org #IAMDSO

Classical Symphony, Op. 25 (Symphony No. 1)

D. 5 March 1953, Moscow, Russia

PROGRAM AT-A-GLANCE | JADER CONDUCTS MOZART’S PRAGUE SYMPHONY

Back to the Classics

While

none of Sergei Prokofiev’s works created a scandal compa rable to the premiere of Stravinsky’s The Rite of Spring, the Scythian Suite, Op. 20 (1914-15) certainly furthered Prokofiev’s reputation as a radical com poser. Considering this, it is not difficult to imagine the shock created by his apparent about-face with the Haydn-esque Classical Symphony, Op. 25. Naturally, this work is often discussed alongside the neo-classi cal works of Stravinsky, but it is important to realize that Prokofiev composed the Classical Symphony nearly two years before Stravinsky began Pulcinella, his first work in this vein.

Pedagogical lineage is the foundation of classical music. This program is representative of the strong lineage of Classicalera titans and their continued influence on prominent composers throughout the ages. Haydn’s Cello Concerto No. 1 is reminiscent of the baroque ritornello form and exhibits the then-emerging traditional structure of the sonata allegro form which has since become a standard of many symphonic works. Haydn inspired Mozart, with whom he studied, and Saint-Georges, who conducted or played in most of the Paris premieres of Haydn’s symphonies. Prokofiev’s Symphony No. 1 was partially inspired by his teacher at the St. Petersburg Conservatory, Nikolai Tcherepnin, who was keen on teaching his students about the proper way to conduct works by (you guessed it) Haydn. Written while Prokofiev was on holiday in the countryside and in hiding from the violent street fights during the February Revolution in Petrograd, the Classical Symphony also features influences of Mozart with light, airy scoring and a fast-paced first and final movement.

On stylistic grounds, scholars have dated the C major concerto from between

D. June 10, 1799, Paris, France

The Concerto in C major, the first of Haydn’s two cello concertos, was written about two decades before the D major work. For many years, this concerto was thought to be lost; only its first two mea sures were known from the handwritten catalog Haydn had kept of his own works. Even more frustrating, this catalog con tained not one but two almost identical incipits (opening measures) for concertos in C major. In 1961, Czech musicologist Oldřich Pulkert discovered a set of parts in Prague that corresponded to one of the two incipits. It was published and, of course, immediately taken up by cellists everywhere. As for the other C major incipit, it could have been a simple mis take (Haydn could have notated the theme from memory and didn’t remember it exactly) or a discarded variant.

1762 and 1765; it is certainly an early work, from the first years of Haydn’s tenure at Eszterháza (1761-1790). It belongs to that transitional period between Baroque and Classicism whose greatest representative, Carl Philipp Emanuel Bach (1714-1788), had a strong influence on the young Haydn. The continuity of the rhythmic pulse and the numerous identical repeats of the first movement’s main theme are definitely Baroque features, while the shape of the musical gestures points to the emergence of a new style that would later be known as Classicism.Theoriginal cello part shows that the soloist was expected to play along with the orchestra during tutti passages, reinforcing the bass line. The solo part is extremely demanding, with rapid pas sagework that frequently ascends to the instrument’s highest register. The second movement Adagio, in which the winds are silent, calls for an exceptionally beautiful tone, and the last movement for uncom mon brilliance and stamina. Surely the first cellist of Haydn’s orchestra, Joseph Weigl, must have been one of the out standing players of his time.

The DSO most recently performed Haydn’s Concerto for Cello and Orchestra in May 2022 on the William Davidson Neighborhood Concert Series, conducted by Yue Bao and featuring cellist Pablo Ferrández. The DSO first performed the piece in November 1964, conducted by Sixten Ehrling and featuring cellist Mihaly Virizlay.

Composed 1761| Premiered 1765

JOSEPH HAYDN

Of the three Viennese classical masters, Haydn—who otherwise had much less interest in the concerto than either Mozart or Beethoven—was the only one to write works for cello and orchestra. The most likely explanation for this is that, as Kapellmeister to Prince Nikolaus Esterházy, Haydn worked closely with many excellent instrumentalists in the prince’s orchestra. Concertos were welcome additions to the programs of the twice-weekly musical “academies,” for which so many of Haydn’s symphonies were written. (It should be noted that many of Haydn’s early symphonies also contain extended, almost concerto-like, instrumental solos.)

JOSEPH CHEVALIERBOLOGNE,DESAINT-GEORGES

Concerto for Cello and Orchestra in C major, H.VIIb:1

Symphony No. 2, Overture to “L’Amant anonyme,” Op. 11, No. 2 1778-79

B. December 25, 1745, Baillif, Guadeloupe

D. May 31, 1809, Vienna, Austria

Scored for solo cello, 2 oboes, 2 horns, and strings. (approx. 25 minutes)

Scored for 2 oboes, bassoon/continuo, 2 horns, and strings. (approx. 8 minutes)

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B. March 31, 1732, Rohrau, Austria

Composed

ike his Symphony No. 1, Saint-Georges’s Symphony No. 2 was written while he was the conductor of the Concert des Amateurs. This was a post he had taken over from life-long friend and mentor (and possible composition teacher)

The second movement features a plain tive melody set in D minor—played first by the violins and answered a bar later by the violas and cellos. This imitative texture is present throughout. Though very simply

Born the son of a French plantation owner and a woman enslaved to him, Nanon, Joseph Bologne, Chevalier de Saint-Georges first rose to prominence as a champion fencer. Knowing that a boy of mixed heritage faced a dim future in his birthplace of Guadeloupe in the Caribbean, Joseph was brought to Paris at the age of 7 by his father to receive an aristocratic education—not just in fencing, but also in courtly dance and horseback riding. At 13, he was enrolled at the Academie royal polytechnique des armes et de l’equita tion under Nicolas Texier de la Boëssière, where his superior speed and agility earned him the reputation as one of the academy’s top students. Later, his skill with a blade allowed him to become known as one of the finest swordsmen in all of Europe, besting the best-known fencers of the day in high profile duels. After defeating Alexandre Picard, who openly taunted Saint-Georges’s skin color, SaintGeorges’s father gifted him a horse and buggy, indicative of the financial support Joseph and his mother received through out his father’s life. At a time when most slave owners disowned the children they fathered with their slaves, the opposite was true for Saint-Georges.

In total, Saint-Georges wrote 14 violin concertos, 18 string quartets, three violin sonatas, a sonata for harp and flute, six sonatas for two violins, two symphonies and eight symphonie-concertantes, all written and published between 1771 and 1779. He turned his attention to writing operas almost exclusively after 1780, a genre in which he found less success.

women, with whom he was very popular. He maintained a close friendship with Marie Antoinette, and even gave her music lessons. Though he was never allowed to marry, Saint-Georges earned a reputation as a Don Juan of the Parisian salons. He rarely ever lost his temper in public unless thoroughly provoked by insults over his race, which he never tolerated.

By all accounts, Saint-Georges was a gentleman of the highest order. His good looks and charm earned him the affection of the Parisian elites—especially with

His Symphony No. 2 was written sometime in 1778-79 and features a three-movement structure as opposed to the more traditional four. A year after its composition, Saint-Georges used the entire symphony as the overture for his opera, L'Amant anonyme, which is unfortu nately lost. The work demonstrates Saint-Georges’s clear grasp of the Classical period aesthetic— distinct tex tures, and an emphasis on melody with varying accompanying figures.

The opening movement begins with an energetic theme in D major, propelled by an eighth-note accompaniment played by the lower strings. Its playful and dancelike secondary theme is presented by the first violins doubled by the oboe, with the second violins and violas answering in graceful quarter note figures. The devel opment is written in a Sturm und Drang (storm and stress) style, featuring a brooding unison passage of fast runs before turning to a songful and melancholy theme set in E minor. Saint-Georges never dwells on these darker moments for too long, as the music returns to its lively state as the movement closes.

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François Gossec, who had left the Concert des Amateurs in 1773 to helm the Concert Spirituel. That Gossec left the direction of this ensemble in SaintGeorges’s capable hands is a testament to the latter’s musical skill and incredible work ethic, which allowed him to enter the highest social circles of 18th century Parisian society.

Composed 1786 | Premiered 1786

This performance marks the DSO pre miere of Joseph Bologne, Chevalier De Saint-Georges’s Symphony No. 2.

Typical of Mozart in his later sympho nies, the second movement is also in sonata form, instead of making use of a simpler ternary (or A-B-A) structure. With its slow tempo and distinctive melodic material, the listener can easily discern not only the main sections of the move ment, but also the reworking of the original melodic material in the development section. By the time the first theme makes its reappearance in the recapitulation, the accompaniment has changed entirely, with the theme entering surreptitiously in the flutes and violins midway through a phrase played by the oboes, bassoons, and horns.

movement is the motivic chromatic figure that opens the Allegro section, which is gradually transformed and becomes the primary thematic material of the move ment. In a break from standard sonata form, the first movement does not contain a secondary theme; rather, the opening theme continues to be developed through the end of the exposition and recapitulation sections, when it unfolds completely into an expression of pure joy.

The Presto final movement, with its opera buffa -like themes, is reminiscent at times of The Marriage of Figaro. It opens at a relentless pace and does not let up. Yet in spite of the lighthearted and comedic tone, the finale features the use of understated and intricate counterpoint, with much of the music’s forward motion coming from the tension created when two voices play melodies in overlapping phrases. Nowhere is the buffa style more apparent than in the development, which begins with loud orchestral outbursts alternating with softer passages of imitative counterpoint in the flutes and oboes. By the time the opening theme returns it has incorporated this outburst from the development, lead ing the work to a jubilant, exhilarating conclusion.TheDSOmost recently performed Mozart’s “Prague” Symphony as part of the Mozart Festival in January and February 2017, conducted by Leonard Slatkin. The DSO first performed the piece in October 1946, conducted by Karl Krueger.

Symphony No. 38 in D major, K. 504, “Prague”

WOLFGANG AMADEUS MOZART

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

ozart’s relationship with the people of Prague marks a happy period in the otherwise sad tale of his last years. While Vienna was growing indifferent to both the man and his music, Prague couldn’t seem to get enough of either. The “Prague” Symphony—which was actually written in Vienna at the end of 1786—is more difficult to perform and more conceptually advanced than any of Mozart’s previous efforts in the genre. By this time the symphony was expected to provide significant artistic weight and depth, rather than merely serve as a col lection of pleasant sounds with which to open or close a concert.

composed, this music does not lack the emotional depth that Saint-Georges was famous for achieving in his slow movements.Thefinale is a joyous, energetic, and vivacious piece of music, written in 6/8 meter. Reminiscent of an Italian tarantella, this movement derives its sense of for ward motion by an almost constant presence of eighth notes. The development also maintains the energy of the opening but in the darker key of D minor. A playful, Haydn-esque imitative passage between the violin sections segues directly into the recapitulation. The movement ends just as it began—boisterous and full of life. —Michael Divino

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The most noticeable feature of the first

Scored for 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (approx. 23 minutes)

“The London, ex Boccherini” Antonio Stradivari cello, kindly loaned to him by a generous spon sor through the Beares International Violin Society.

by The Times as a “remarkable cellist” and described by Gramophone as “sheer perfection,” Kian Soltani’s playing is characterized by a depth of expression, sense of individuality, and technical mastery, alongside a charismatic stage presence and ability to create an immedi ate emotional connection with his audience. He is now invited by the world’s leading orchestras, conductors, and recital promoters, propelling him from rising star to one of the most talked about cellists performing today.

In the 2021-22 season, Soltani debuted with orchestras including the Accademia Nazionale di Santa Cecilia, Czech Philharmonic, ORF Vienna Radio, Orchestra della Svizzera Italiana, WDR, and Barcelona and Pittsburgh symphony orchestras. He returned to the London and Israel philharmonic orchestras, Vienna Symphony, Staatskapelle Berlin, and Tonhalle Zurich, among others. Furthermore, Soltani embarked on exten sive orchestral touring including with the West-Eastern Divan Orchestra and Daniel Barenboim, St. Petersburg Philharmonic Orchestra and Yuri Temirkanov, ORF Vienna Radio Symphony Orchestra and Marin Alsop, and Royal Philharmonic Orchestra and Vasily Petrenko.

Austria in 1992 to a family of Persian musicians, Soltani began playing the cello at age four and was 12 when he joined Ivan Monighetti’s class at the Basel Music Academy. He was chosen as an Anne-Sophie Mutter Foundation scholarship holder in 2014 and completed his further studies as a member of the Young Soloist Programme at Germany’s Kronberg Academy. He received addi tional important musical training at the International Music Academy in Liechtenstein.Soltaniplays

KIAN SOLTANI

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Hailed

In 2017, Soltani signed an exclusive recording contract with Deutsche Grammophon. His first disc, Home comprising works for cello and piano by Schubert, Schumann, and Reza Vali—was released to international acclaim in 2018, with Gramophone describing the recording as “sublime.” Soltani has since recorded discs including the Dvorˇák and Tchaikovsky Piano Trios with Lahav Shani and Renaud Capucon, recorded live at Aix Easter Festival in 2018 (Warner Classics) and Dvořák’s Cello Concerto with the Staatskapelle Berlin and Daniel Barenboim in August 2020.

Bornmusic.inBregenz,

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During the entirety of 2020, Soltani worked on his latest disc with Deutsche Grammophon, which was released in October 2021. The disc, entitled Cello Unlimited, is a celebration of the cello and film

Recent orchestral highlights include the Vienna Philharmonic, London Philharmonic, Berlin Staatskapelle, NCPA Orchestra, Boston Symphony, and Chicago Symphony Orchestra. Soltani was Artistin-Residence at the Schleswig-Holstein Musik Festival in July 2021, at which he curated concerts including a Persian evening with the Shiraz Ensemble. Soltani commenced a multi-year residency with Junge Wilde at Konzerthaus Dortmund in

fall 2018. As a recitalist, Soltani has recently performed at Carnegie Hall, Salzburg and Lucerne festivals, Wigmore Hall, and the Boulez Saal, where he was invited to curate an evening of cello music.

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ViolinShostakovich’sConcerto & Schumann

JUNE 8-10

with

WHY DID YOU CREATE THE SHOW?

B2S is an accessible and enjoyable experience that creates a new level of engagement with our community. People who aren’t familiar with going to the symphony can sometimes feel intimidated while attending a concert. We wanted to break through the barrier between the stage and the audience so listeners can feel like they know us more personally. By sharing unique tidbits about ourselves and our fellow musicians, we hope to make Orchestra Hall feel like a home.

Season four of Between 2 Stands is back with new episodes in the

Terence Blanchard Tarriona Ball & the Turtle Island Quartet 11-13 1-3

NOVEMBER

William Cody Knicely Chair), and Scott Strong (Horn, Ric and Carola Huttenlocher Chair). See below for B2S musings from Abe, Andrés, and Scott, and be sure to tune in to the new season! New episodes drop every first Monday of the month at 7 p.m. ET on your favorite podcasting platforms. Learn more at dso.org/between2stands

Every time we interview someone, we learn something new—whether it’s about the person, the instrument, or music history, there are always informative takeaways. Our interview with Wynton Marsalis was a window to jazz players of another era and we learned tons of incredible history. We love showcasing the general humanity of each guest and appreciating each other as musicians across a wide range of genres.

WHAT HAVE YOU LEARNED FROM YOUR GUESTS THAT YOU DIDN’T KNOW BEFORE?

irst launched in May 2020 as a web series, the Between 2 Stands (B2S) podcast takes listeners on a journey inside the minds of DSO musicians and special guests, with hosts Abraham Feder (Assistant Principal Cello, Dorothy and Herbert Graebner Chair), Andrés Pichardo-Rosenthal (Assistant Principal Percussion,

Your Favorite Podcast Is Back

Jader Symphony“Resurrection”Mahler’sConducts DECEMBER

Create Your Own Package! FOLLOW THE GUYS’ PICKS, OR CHOOSE FOR YOURSELF AT DSO.ORG/CREATE

OCTOBER 14

“Tank”

Strauss’ Also Sprach Zarathustra & PerformsDueñas Lalo

WHAT ARE YOUR FAVORITE MOMENTS SO FAR?

One of our favorite moments was hosting a pre-concert lecture before a performance at Orchestra Hall. Not only did it give audiences a musician’s perspective on the concert they were about to hear, but it also showcased the versatility of B2S and the many ways we can connect with listeners. Another highlight: the games! We’ve gotten a real kick out of “terms of enfearment” (Seasons 2 and 3) and “punch a composer in the face” (Season 1, Episode 1).

JADER BIGNAMINI , Music Director

Richard Delaney - Danzón

Richard Delaney – Nostalgia Guillermo Castillo / arr. Richard Delaney - Tres Lindas Cubanas Astor Piazzolla / arr. Richard Delaney - Milonga del Ángel Rafael Hernández Marín / arr. Richard Delaney - El cumbanchero

II Lennon-McCartney / arr. Richard Delaney - Day Tripper

Richard Delaney - Marinera

NEEME JÄRVI

HOT LATIN SOUNDS WITH THE MAMBO KINGS

Richard Delaney - Melodia

Fred A. Erb Jazz Creative Director Chair

JA DER B I G NA M I N I MUSIC DIRECTOR

Richard DeLaney, music director and piano Wilfredo (Freddy) Colón , drums, timbales, and bongos

JEFF TYZIK

Audiences across the United States have enjoyed an explosive blend of Afro-Cuban rhythms and jazz improvisation courtesy of the Mambo Kings since their formation in the mid 1990s. Making their orchestral debut in 1997 with Jeff Tyzik, the group unites this afternoon with in-demand pops conductor Robert Bernhardt to present a range of repertoire from the sultry melancholy of Astor Piazzolla to the burning Afro-Cuban jazz of Tito Puente.

Music Director Laureate

JA DER B I G NA M I N I MUSIC DIRECTORA COMMU N I T Y -SU P P ORT E D ORCHESTRA

Music Director Emeritus

Music Directorship endowed by the Kresge Foundation

LEONARD SLATKIN

Program to include:

Program subject to change

TERENCE BLANCHARD

John Viavattine, saxophone Hector Diaz , bass Tony Padilla , congas

Sunday, October 16, 2022 at 3 p.m. in Orchestra Hall

Dave Brubeck / arr. Richard Delaney - Blue Rondo à la Turk

Michel Camilo - Caribe Tito Puente / arr. Richard Delaney - Oye Cómo Va

PROGRAM AT-A-GLANCE | HOT LATIN SOUNDS WITH THE MAMBO KINGS

A Pan-American Musical Journey

TITLE SPONSOR:

ROBERT BERNHARDT, conductor

DETROIT SYMPHONY ORCHESTRA

MAMBO KINGS:

Principal Pops Conductor

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A COMMU N I T Y -SU P P ORT E D ORCHESTRA

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More recently, the 2019 season featured performances with the Alabama Symphony, a sold-out concert at the Grant Park Music Festival in Chicago, and a show with the Des Moines Symphony. The band weathered the 2020-21 season with online performances with the Austin, Buffalo, and West Michigan orchestras, and a live performance with the Virginia Symphony to wrap up the year.

In the 2021-22 season, conductor Bob Bernhardt celebrated 40 years as Principal Pops Conductor with the rentlyOrchestra.LouisvilleHeisconcurPrincipalPops

He debuted with the Boston Pops in 1992 at John Williams’s invitation and has returned there often. He hs appeared fre quently as a guest conductor with the Baltimore Symphony, Detroit Symphony, Cincinnati Pops, Pittsburgh Symphony, Dallas Symphony, Seattle Symphony, St. Louis Symphony, and others. In the world of pops, he has worked with scores of stars from Broadway, Rock & Roll, and the American Songbook: from Brian Stokes Mitchell and Kelli O’Hara, and the Beach Boys and Wynonna, to Jason Alexander and Ben Folds. A lover of opera, he conducted productions with Kentucky Opera for 18 consecutive seasons, and for 19 seasons with his own company in Chattanooga, as well as many guest conducting engage ments with the Nashville Opera.

Latin jazz ensemble, and have rapidly earned a national reputation for their explo sive blend of Afro Cuban rhythms and jazz improvisation.Sincetheirorchestral debut in 1997 with the Rochester Philharmonic and Conductor Jeff Tyzik, Mambo Kings have appeared at the Bravo! Vail Valley Music Festival and in pops concerts with orchestras in Baltimore, Vancouver, Detroit, Dallas, Naples (FL), and Portland (OR), among others, performing original compositions and arrangements by pianist Richard DeLaney.Asaquintet,

THE MAMBO KINGS

Mambo Kings have appeared as featured soloists at the Xerox Rochester International Jazz Fest, the Music in the Mountains Festival in Colorado, the Lewiston (NY) Jazz Fest, and the Big Sky Arts Fest in Bozeman, MT.

Mambo Kings released their third self-produced recording, Nostalgia, in July of 2008. Nostalgia, along with their previ ous releases— Live! (2005) and Marinera (2003)—continues to receive radio airplay throughout North America and Puerto Rico.

PROFILES

The York’sUpstatesuccessenjoyingsinceKings,Mambotogether1995,aregreatasNewforemost

ROBERT BERNHARDT

Conductor of the Grand Rapids Symphony and Music Director Emeritus and Principal Pops Conductor of the Chattanooga Symphony and Opera. Formerly, he was Principal Conductor/Artistic Director of the Rochester Philharmonic, Music Director and Conductor of the Tucson Symphony, Music Director and Conductor of the Chattanooga Symphony and Opera, Principal Guest Conductor of Kentucky Opera, Music Director and Conductor of the Amarillo Symphony, and Artistic Director of the Lake Placid Sinfonietta. Since 2006, he has been the conductor of the Symphony Under the Sky Festival with the Edmonton Symphony, and a frequent guest conductor annually on several of their sub scription series.

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DETROIT SYMPHONY ORCHESTRA

Felix Mendelssohn Concerto for Violin and Orchestra (1809 - 1847) in E minor, Op. 64

Intermission

JA DER B I G NA M I N I MUSIC DIRECTORA COMMU N I T Y -SU P P ORT E D ORCHESTRA JA DER B I G NA M I N I MUSIC DIRECTORA COMMU N I T Y -SU P P ORT E D ORCHESTRA

Music

III. Allegretto non troppo - Allegro molto vivace Benjamin Beilman, violin

BEETHOVEN’S THIRD AND MENDELSSOHN’S VIOLIN CONCERTO

II. Andante

Fred A. Erb Jazz Creative Director Chair

Music

Olga Neuwirth Masaot/Clocks without Hands (b. 1968)

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

Music Directorship endowed by the Kresge Foundation

Ludwig van Beethoven Symphony No. 3 in E-Flat major, Op. 55, “Eroica” (1770 - 1827)

JEFF TYZIK Pops Conductor

TERENCE BLANCHARD

III. Scherzo: Allegro vivace

LEONARD SLATKIN Director Laureate

Principal

I. Allegro con brio

IV. Finale: Allegro molto

Friday, October 21, 2022 at 8 p.m.

Saturday, October 22, 2022 at 8 p.m. Sunday, October 23, 2022 at 3 p.m. in Orchestra Hall

MATTHIAS PINTSCHER, conductor BENJAMIN BEILMAN, violin

TitlePVSSponsor:CLASSICAL SERIES

NEEME JÄRVI Director Emeritus

JADER BIGNAMINI , Music Director

II. Marcia funebre: Adagio assai

I. Allegro molto appassionato

The commission of the opening piece on this program, Olga Neuwirth’s Masaot/Clocks without Hands, was delayed for five years, in which time Neuwirth drew connections between the ghost of Mahler and the spirit of her grandfather. Although she never knew her grandfather, this piece represented her journey to “find the unfindable” in him, causing her to stumble into the elusiveness of memory and time.

B. August 4, 1968, Graz, Austria

In the context of compositional masterpieces, time really is of the essence. Much like the aging of fine wine, great compositional ideas need time to evolve. Beethoven’s “Eroica” Symphony—one of his most prominent and renowned works—arose after a six-month period of compositional silence, a rarity for Beethoven’s usual creative pace.

Composed 2014 | Premiered 2015

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Mendelssohn’s Violin Concerto in E minor took six years to complete, during which time he was experiencing feelings of self-doubt, the pressure of writing his third symphony, and an unhappy relocation to Berlin due to a request from King Frederick William IV of Prussia.

PROGRAM NOTES

reeds. My grandfather was standing in the midst of the grass, and playing one song after another to me on an old crackling tape recorder. He said: “From the start, I was strikingly different. I was an outsider and never entirely fit into my Austrian surroundings. All my life I had the feeling of being excluded. Listen to these songs: this is my story.” He had fallen out of time and was sharing this with me.

Olga Neuwirth wrote the following about Masaot/Clocks without Hands : In 2010 the Vienna Philharmonic asked me to write an orchestral work for the 100th anniversary of Gustav Mahler’s death. As I had to finish two operas by the end of 2011, I had to Whendecline.thecommission was postponed until 2015, I decided I did not want to drop the idea from 2010 of reflecting on Mahler. In the interim, my grandfather, whom I had never met and whom I only knew through photos and my grandmother’s stories, appeared to me in a dream. In the sunlit meadow of the Danube, with its rip pling water, the wind moved myriads of green blades of grass in a strip of tangled

This dream had moved me so much that I wanted to process it by writing a composition.

PROGRAM AT-A-GLANCE | BEETHOVEN’S THIRD & MENDELSSOHN’S VIOLIN CONCERTO

Excellence Takes Time

OLGA NEUWIRTH

Scored for 3 flutes (one doubling piccolo), 3 oboes, 3 clarinets (one doubling E-flat clarinet and one doubling bass clarinet), 2 bassoons, contrabassoon, 3 horns, 3 trumpets, 2 trombones, bass trombone, tuba, percussion, celesta, and strings (approx. 20 minutes)

Masaot/Clocks without Hands

Masaot/Clocks without Hands can be seen as a poetic reflection on how memo ries fade. The piece combines recurrent fragments of melodies from very different places and experiences from my grandfather’s life. The composition develops a “grid” in which song fragments resound and are recombined. Concurrently, there is a “musical object,” based on metro nome beats, that makes time audible and perceptible. Just like on a spinning carou sel, these metronome beats appear and disappear. Yet unlike on a carousel, they do not remain the same; they change each time through a slight shift in context and the superposition of various tempi. Through this “ticking of the metronome,” through this time’s externally regulated pulsation, time itself becomes a subjec tively timeless realm of the subconscious.

My grandfather was born in a city by the sea that had had a turbulent history: at times the city was under Venetian rule, while at others it was under CroatianHungarian rule. He later grew up in the Danube River Basin, on the border between Croatia and Hungary. Thus this piece was for me about the many different (musical) stories heard and carried to sea by the river: in my case, the Danube.

FELIX MENDELSSOHN

Many scholars noted that the concerto creatively breaks with established con ventions in the opening bars of the first movement. Instead of having the full orchestra introduce the first theme before the soloist’s entrance, Mendelssohn reverses the order, allowing the solo violin to waft the opening melancholy theme over gently pulsing string arpeggios before building to a dramatic orchestral tutti. In contrast to the haunting beauty of the first theme, the second theme is char acterized by a warm melody in the clarinets and flutes. And instead of moving directly from the development section into a recapitulation of the two main themes, Mendelssohn cleverly inserts a dazzling cadenza, which serves as an elegant and unexpected transition between the two sections.

Composed 1838-1844 | Premiered 1845

Concerto for Violin and Orchestra in E minor, Op. 64

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Ultimately, time appears to dissolve: clocks without hands.

Felix Mendelssohn’s E minor violin con certo (his second) was written over a period of six years, and completed a mere three before his death. It remains the composer’s last large orchestral work. It was dedicated to the violin virtuoso Ferdinand David and benefited greatly from suggestions that David offered. Months after the work’s premiere, a second forchampionJoachimformedteenageJoachim,virtuoso—JosephMendelssohn’sprotégé—peritinDresden,andremainedaoftheconcertotherestofhislife.

B. February 3, 1809, Hamburg, Germany

Masaot/Clocks without Hands evolved out of the multi-voiced sound of my frag mented origins and my desire for an uninterrupted flow, determined through out the piece by constantly interchanging cells. In Masaot/Clocks without Hands I try to respond to the idea of someone having “several homelands,” namely, by compos ing music that is both native and foreign. Familiar and unfamiliar sounds, beyond any form of Kakanian nostalgia, in the impossible attempt to stop time by composing.Thisperformance marks the DSO premiere of Olga Neuwirth’s Masaot/Clocks without Hands

Scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, bassoons, 2 horns, 2 trumpets, timpani, and strings. (approx. 27 minutes)

The second movement follows directly on the heels of the first, with a lone, plain tive bassoon solo carrying the listener from one movement into the next. The musical structure of the movement fol lows a standard three-part A-B-A form, but within this simple pattern, Mendelssohn spins some of his most exquisitely conceived melodies. The finale is a bubbly, sparkling concoction that pushes the soloist’s virtuosity further and further as the movement progresses. Transparent orchestral textures allow clear projection of the acrobatic solo line, and the nimble coda drives both the

Back to Mahler. After its world pre miere, his First Symphony was called “Katzenmusik” (caterwauling or cacoph ony) and criticized for eclecticism.

D. November 4, 1847, Leipzig, Germany

But that was precisely what interested me, and I wanted to explore this musical phenomenon.Iwantedto look back at the world of Kakanian heritage from the perspective of my present life. In the search for identity and origin.

The DSO most recently performed Mendelssohn’s Violin Concerto in E minor at a DSO Digital Concert in May 2021, con ducted by Jader Bignamini and featuring violinist Midori. The DSO first performed the piece in March 1916, conducted by Weston Gales and featuring violinist Francis MacMillen.

D. March 26, 1827, Vienna, Austria

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, timpani, and strings. (approx. 47 minutes)

orchestra and soloist towards an exhila rating conclusion.

The sharp “hammer stroke” chords that open Beethoven’s “Eroica” symphony are genre-bendingaand even humorous imitation of the three loud chords heard in countless tiny, frivolous Italian sinfonias composed in Naples and Milan in the 1730s. In their original context, they were simply used to silence a noisy audience, but Beethoven boldly made them into structural pillars that recur throughout the first movement of the “Eroica.” This nicely encapsulates what makes the sym phony so groundbreaking: Beethoven doesn’t veer from the pre-established musical path per se, but he kicks up so much dust that his genius is laid bare. The “Eroica” maintains many elements of the symphonic traditions in a fairly straightforward way—at least on paper. It opens with a simple theme that rocks gently up and down the notes of the E-flat major triad. The horn trio in the middle of the Scherzo observes the standard prac tice of featuring the wind instruments in that section of the movement. And, despite its huge architecture and

Though the first-movement exposition is set forth as a typical set of short, pithy themes, the energy gathered in them fore tells the scope of the musical structure Beethoven has in store. But developmental proceedings are suddenly interrupted by a brand-new theme, in the quite foreign key of E minor. Beethoven then gradually intro duces the opening triadic theme in a variety of tonalities that eventually lead back to the main key of E-flat major and a recapitulation of all the thematic material. He appends a long coda to the movement, reintroducing the new theme as one of its dramatic events.

Composed 1803-1804 | Premiered 1805

extraordinary technical demands, the “Eroica” is a work in which the sound of the string choir is still a basic orchestra element.Butinpractice, there was nothing at all like the “Eroica” in 1804. The piece’s unam biguous hugeness, dramatic emphasis, and a sense of self-importance were all new. It was the longest symphony ever written at the time. And it boldly shifted emphasis from the first movement to the last, creat ing the idiom that would become known as the “finale symphony”—the fugal end of Mozart’s “Jupiter” Symphony offers the only real precedent for Beethoven’s “Eroica” in this regard.

Symphony No. 3 in E-Flat major, Op. 55, “Eroica”

The slow movement beautifully contrasts somber, heroic, and elegiac sentiments, and the Scherzo is a virtuosic and even hilarious romp—with pizzicato string effects, contrasting horn colors in the trio section, and stubborn syncopations and changes of meter. The exuberant spir its can be capped only by the climactic variations Beethoven uses to conclude the “Eroica,” which we now recognize as the bridge between the Classical and Romantic periods. And of course, Beethoven ends the movement with another set of fierce “ham merstroke” chords. —Carl R. Cunningham

36 DSO PERFORMANCE MAGAZINE FALL 2022–2023

The DSO most recently performed Beethoven’s Symphony No. 3 at a DSO Digital Concert in December 2020, con ducted by Jader Bignamini. The DSO first performed the piece in January 1919, con ducted by Ossip Gabrilowitsch.

B. December 1770, Bonn, Germany

LUDWIG VAN BEETHOVEN

Pintscher began his musical training in conducting, studying with Pierre Boulez and Peter Eötvös in his early twenties, during which time composing soon took a more prominent role in his life. Pintscher’s music is championed by some of today’s finest performing artists, orchestras, and conductors. He is published exclusively by Bärenreiter. Pintscher has been on the composition faculty of the Juilliard School since 2014.

studied with Almita and Roland Vamos at the Music Institute of Chicago, Ida Kavafian and Pamela Frank at the Curtis Institute of Music, and Christian Tetzlaff at the Kronberg Academy, and has received many prestigious accolades including a Borletti-Buitoni Trust Fellowship, an Avery Fisher Career Grant, and a London Music Masters Award. He has an exclusive recording contract with Warner Classics and released his first disc, Spectrum, for the label in 2016, fea turing works by Stravinsky, Janáček and Schubert. Beilman plays the “Engleman” Stradivarius from 1709 generously on loan from the Nippon Music Foundation.

Pintscher is the Music Director of the IntercontemporainEnsemble in Paris. In Pintscher2020-21,alsobegan a three-season appoint ment as the Cincinnati Symphony Orchestra’s new Creative Partner. Known equally as one of today’s foremost com posers, Pintscher’s works are frequently commissioned and performed by major international orchestras.

Pintscher opened his 2021-22 season as the “Theme Composer” of Suntory Hall’s 2021 festival, including the world pre miere of his work neharot, which he conducted with the Tokyo Symphony Orchestra. In January 2022, his violin con certo written for Leila Josefowicz, Assonanza II, was premiered by the Cincinnati Symphony under Pintscher’s baton. In recent seasons, Pintscher has begun to conduct staged operas, and recently returned to the Staatsoper Unter den Linden in Berlin to lead Lohengrin, for which he gave the production’s premiere.

BENJAMIN BEILMAN

MATTHIAS PINTSCHER

Pintscher has held many titled positions, most recently as the BBC Scottish Symphony Orchestra’s Artist-inAssociation for nine seasons. In 2018-19, he served as the Season Creative Chair for the Tonhalle-Orchester Zürich, as well as Artist-in-Residence at the Los Angeles Chamber Orchestra. He was Principal Conductor of the Lucerne Festival Academy Orchestra from 2016-2018.

PROFILES

B enjamin Beilman has won international praise both for his pas sionate performances and deep rich tone. Highlights of Beilman’s 2021-22 season included perfor mances of the Samuel Coleridge-Taylor concerto with the Indianapolis, Toledo, and Charlotte symphonies, as well as the pre miere a new violin concerto by Chris Rogerson with the Kansas City Symphony and Gemma New. In Europe, recent high lights include performances with the Swedish Radio Symphony and Elim Chan, the Antwerp Symphony and Krzysztof Urbański, the Toulouse Symphony and Tugan Sokhiev, and the Trondheim Symphony and Han-Na Chan. He also returned to the BBC Scottish Symphony, and the Tonkünstler Orchestra, with whom he has recorded a concerto by Thomas Larcher.Beilman

Matthias

DSO PERFORMANCE MAGAZINE 37dso.org #IAMDSO

JA DER B I G NA M I N I MUSIC DIRECTORA COMMU N I T Y -SU P P ORT E D ORCHESTRA

TERENCE BLANCHARD

Program subject to change

Friday, October 28, 2022 at 8 p.m. Saturday, October 29, 2022 at 8 p.m. Sunday, October 30, 2022 at 3 p.m. in Orchestra Hall

arr. Kuusisto Does Your Mother Know - The Winner Takes It All –Thank You For the Music

Music Director Laureate

AILI IKONEN, soprano • ESSI WUORELA, soprano SOILA SARIOLA, alto • HANNU LEPOLA, tenor AHTI PAUNU, baritone • JUSSI CHYDENIUS, bass

TITLE SPONSOR:

arr. Kiiski ABBA Medley

INTERMISSION

Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

All composed by Ulvaeus / Andersson / Anderson

Principal Pops Conductor

arr. Kuusisto Dancing Queen - Money, Money, MoneyOne of Us

arr. Lepola Head Over Heels arr. Kiiski S.O.S. arr. Vanska Take a Chance On Me arr. Kiiski Chiquitita arr. Kiiski Mamma Mia

THE MUSIC OF ABBA

LEONARD SLATKIN

JA DER B I G NA M I N I MUSIC DIRECTOR

NEEME JÄRVI

A COMMU N I T Y -SU P P ORT E D ORCHESTRA

38 DSO PERFORMANCE MAGAZINE FALL 2022–2023

JADER BIGNAMINI , Music Director

arr. Kuusisto When All Is Said and Done arr. Kiiski Knowing Me, Knowing You arr. Chydenius Fernando arr. Vanska Gimme! Gimme! Gimme!

arr. Kuusisto People Need Love – an ABBA Symphonic Medley

MICHAEL KRAJEWSKI, conductor RAJATON

Music Director Emeritus

Fred A. Erb Jazz Creative Director Chair

DETROIT SYMPHONY ORCHESTRA

PROFILES

During ABBA’s golden years between 1972 and 1982, the group consisted of two married couples (Fältskog and Ulvaeus, and Lyngstad and Andersson). As their popularity increased, their personal lives suffered, eventually leading to the collapse of both marriages and ultimately the group’s separation in 1982.

The Finnish word Rajaton translates as “boundless”—a word that so accurately describes the way this six-voice a cappella ensemble approaches music. Regularly performing around a hundred concerts and workshops each year, Rajaton exposes their audiences to the kind of diversity of

RAJATON

PROGRAM AT-A-GLANCE | THE MUSIC OF ABBA

Known for his enter taining programs and engaging personality, Michael Krajewski is a much sought-after pops conductor in the US, Canada, and abroad.

In the field of popular music, he has performed with Roberta Flack, Judy Collins, Art Garfunkel, Kenny Loggins, Ben Folds, Rufus Wainright, Jason Alexander, Patti Austin, Sandi Patty, Megan Hilty, Matthew Morrison, Doc Severinsen, the Preservation Hall Jazz Band, The Chieftains, Chicago, Pink Martini, and Big Bad Voodoo Daddy.

Music of Swedish supergroup ABBA (comprised of A gnetha Fältskog, B jörn Ulvaeus, B enny Andersson, and A nni-Frid Lyngstad) returns to Orchestra Hall. Now a global household name, the band first rose to prominence after their Eurovision Song Contest-winning performance of “Waterloo” in 1974.

busy schedule as a guest conductor includes concerts with major and regional orchestras across the United States. In Canada, he has appeared with the orchestras of Toronto, Ottawa, Vancouver, Calgary, Edmonton, Winnipeg, Regina, and Kitchener-Waterloo. Overseas, he has performed in Ireland, Spain, the Czech Republic, Iceland, Malaysia, and China.

such as vocalist Marilyn Horne, flutist James Galway, pianist Alicia de Larrocha, and guitarists Pepe and Angel Romero.

Born in Detroit, Krajewski studied music education at Wayne State University and conducting at the Cincinnati CollegeConservatory of music. He was an Antal Dorati Fellowship Conductor with the Detroit Symphony Orchestra and subsequently served as the DSO’s assistant conductor for four years. Krajewski now lives in Florida with his wife Darcy. In his spare time, he enjoys travel, photography, and solving crossword puzzles.

His twenty-year relationship with the Houston Symphony included 17 years as Principal Pops Conductor. He also served as Principal Pops Conductor of the Long Beach Symphony for 11 years, Principal Pops Conductor of Atlanta Symphony for eight years, Music Director of the Philly Pops for six years, and Principal Pops Conductor of the Jacksonville Symphony for 25 Krajewski’syears.

DSO PERFORMANCE MAGAZINE 39dso.org #IAMDSO

MICHAEL KRAJEWSKI

Mamma Mia...Here We Go Again!

In 1999, the music of ABBA was adapted into a stage musical titled Mamma Mia! The production toured worldwide and is among the top-ten longest running Broadway and West End productions. In 2008, the musical was made into a film of the same title, engaging a new generation with the timeless magic of ABBA. In this tribute, conductor Michael Krajewski conducts a set of the band’s top hits. Get ready to unleash your inner dancing queen!

Krajewski has conducted concerts featuring notable musicians and entertainers from many diverse styles of music. He has worked with classical luminaries

successfully bridging the gap that often exists between classical and mainstream convention.Rajatonhas released 16 different albums. In 2017, Rajaton celebrated 20 years of music-making with one double platinum, three platinum, and eight gold records in Finland under their belt, as their worldwide record sales draw over 400,000 copies altogether.

Performing at concert halls, churches, jazz, and choral festivals, this distinct group of musicians approaches all styles of music with the same level of commit ment and integrity, making it difficult to imagine an audience that they could not inspire, or a type of music they could not make their own. In their native Finland, Rajaton is a bona fide pop phenomenon,

40 DSO PERFORMANCE MAGAZINE FALL 2022–2023

repertoire, singing style, and stage pre sentation that has made them a phenomenon on the world stage.

Ever seeking new artistic challenges, the group has grown immeasurably through collaborations with other a cap pella artists, including The King’s Singers and The Real Group, as well as produc tions with film directors and choreographers. But it is perhaps their deep passion for choral art, their gener osity of spirit, and their sheer enjoyment of singing that has won the hearts and acclaim of audiences and critics every where. Their energy—infectious; their ability to entertain and inspire—Rajaton!

Mr.◊ & Mrs. Norman D. Katz Morgan & Danny Kaufman Betsy & Joel Kellman

EHRLING SOCIETY - GIVING OF $50,000 & MORE

Mr. & Mrs. John Stroh III

Mr. & Mrs. James Grosfeld Ric & Carola Huttenlocher Renato & Elizabeth Jamett

Mr. & Mrs. Phillip Wm. Fisher

Mr. & Mrs. Peter Karmanos, Jr. Linda Dresner & Ed Levy, Jr.

Mr. & Mrs. Raymond M. Cracchiolo Joanne Danto & Arnold Weingarden

Penny & Harold Blumenstein Julie & Peter Cummings

Mr. & Mrs. Lee Barthel

Mr. & Mrs. Stanley Frankel

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

Mr. & Mrs. Gary Torgow Wolverine Packing Company And one who wishes to remain anonymous

David & Valerie McCammon Shari & Craig Morgan The Polk Family Bernard & Eleanor Robertson Drs. David & Bernadine Wu

Herman & Sharon Frankel

Dr. Doris Tong & Dr. Teck M. Soo

Emory M. Ford, Jr.◊ Endowment

Mrs. Patricia Finnegan Sharf

Gifts received between September 1, 2021 and August 31, 2022.

Ms. Ruth Rattner Martie & Bob Sachs

Mr. & Mrs. Aaron Frankel

The DSO is a community-supported orchestra, and 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 would like to make a donation, please contact 313.576.5114 or go to dso.org/donate.

Ms. Sharon Backstrom

PARAY SOCIETY - GIVING OF $250,000 & MORE

Mrs. Martha Ford Dale & Bruce Frankel

Mr. & Mrs. James B. Nicholson Mrs. Richard C. Van Dusen

Mr. & Mrs. James H. Sherman

Richard Sonenklar & Gregory Haynes

JÄRVI SOCIETY — GIVING OF $25,000 & MORE

Mr. & Mrs.◊ Alan E. Schwartz

Mr. & Mrs. Morton E. Harris ◊

Mr. & Mrs. Richard A. Brodie Lois & Avern ◊ Cohn

Mr. & Mrs. Eugene A. Miller Patricia & Henry ◊ Nickol Nancy Schlichting & Pamela Theisen Donald R. & Esther Simon Foundation

DORATI SOCIETY - GIVING OF $100,000 & MORE

THE ANNUAL FUND

Mr. Steven Goldsmith Ronald M. & Carol◊ Horwitz

Mrs. Cecilia Benner

Ms. Leslie C. Devereaux

Mr. & Mrs. David Provost

Mr. & Mrs. Larry Sherman

Mr. & Mrs. Ralph J. Gerson Mary Ann & Robert Gorlin

Mr. & Mrs. Richard L. Alonzo James & Patricia Anderson

◊ Deceased DSO PERFORMANCE MAGAZINE 41dso.org #IAMDSO

Pamela Applebaum

Mr. & Mrs. Arn Tellem Paul & Terese Zlotoff

Mrs. Bonnie Larson Nicole & Matt Lester

Mr. & Mrs. Richard J. Jessup

Mr. David Barnes

Dr. Robert T. Goldman

Mr. & Mrs. Dennis Bernard

Mr. & Mrs. François Castaing

Mr. Fred J. Chynchuk

Ms. Therese Bellaimey

Dr. Kenneth ◊ & Roslyne Gitlin

Mr. & Mrs. Jeffrey A. Berner

Mr. & Mrs. Andrew Christians

Claire P. & Robert N. Brown

Mr. & Mrs. R. Jamison Williams

Mrs. Sandra MacLeod

Ms. June Wu

Philip & Carol Campbell

MaxMcBrien-LandesLepler&RexL. Dotson

Timothy J. Bogan

Dr. Lourdes V. Andaya

Gail Danto & Art Roffey

Dr. & Mrs. A. Bradley Eisenbrey

Lois & Mark Shaevsky

Cyril XavierMoscow&Maeva Mosquet

Jim & Mary Beth Nicholson

Seth & Laura Romine

Ms. Nancy B. Henk

Bud & Nancy Liebler

Mrs. Denise Abrash

Dr. Raymond Landes & Dr. Melissa

Ms. Doreen Hermelin Elanah Nachman Hunger

Elaine & Michael Serling

Charlene & Michael Prysak

Ruth & Al◊ Glancy

Drs. Brian & Elizabeth Bachynski

Michael E. Smerza & Nancy Keppelman

John ◊ & Marlene Boll

Eric & Paula Nemeth

Ms. Elena Centeio

Mr. Peter Falzon

Mr. & Mrs. Robert Armstrong

Mr. Michael J. Fisher

Geoffrey S. Nathan & Margaret E. Winters

Ms. Deborah Miesel

Ms. Ruby Duffield

Mr. & Mrs. Robert B. Rosowski

Marianne T. Endicott

GIVING OF $5,000 & MORE

Mr. & Mrs. Francis A. Engelhardt

Mr. Eric J. Hespenheide

Drs. John & Janice Bernick

Mr.◊ & Mrs. Robert A. Allesee

Michael E. Hinsky & Tyrus N. Curtis

Dr. David & Mrs. Elizabeth Kessel

Michael & Geraldine Buckles

Mr. Anthony F. Brinkman

Dana Locniskar & Christine Beck Alexander & Evelyn McKeen

Ms. Elizabeth Correa

Allan D. Gilmour & Eric C. Jirgens

Richard & Jiehan Alonzo

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

Judy ◊ & Kenneth Hale

Mrs. Carolyn Carr

Bob & Rebecca Clark

Dr. Glenda D. Price

Jim & Margo Farber

Mr. Sanford Hansell & Dr. Raina Ernstoff

Fieldman Family Foundation

Mr. Norman Silk & Mr. Dale Morgan

Faye & Austin Kanter Judy & David Karp

Mrs. Janet M. Garrett

Mr. James G. Vella

Mr.◊ & Mrs. Jonathan T. Walton

Xavier & Maeva Mosquet

And three who wish to remain anonymous

GABRILOWITSCH SOCIETY - GIVING OF $10,000 & MORE ◊ Deceased

William H. Smith

William & Story John Lenard & Connie Johnston

Mr. & Mrs. Robert Hage

& Ms. Judith V. Hicks

Mr.◊ & Mrs. Norman H. Hofley

Mr. & Mrs. Stephen Brownell

Mr.◊ & Mrs. James A. Green

Ms. Debra Bonde

Mr. & Mrs. Gary L. Cowger

Gloria & Stanley Nycek

Barbara & Alfred J. Fisher III

Thomas W. Cook & Marie L. Masters

Ms. Mary Wilson

Dr. Robert & Dr. Mary Mobley

Mr. David Assemany & Mr. Jeffery Zook*

Dr. Gloria Heppner

Dr. Herman & Mrs. Shirley Mann Gray

Mr. & Mrs. A. E. Igleheart

Dr. & Mrs. Charles G. Colombo

Mrs. Jennifer Adderley

Mr. & Mrs. Eugene A. Gargaro, Jr.

Mr. Lawrence Ellenbogen

Charlie & John Solecki

Peggy & Dr. Mark B. Saffer

Dr. David & Mrs. Elizabeth Kessel

Maurcine ◊ & Lloyd Reuss

Adel & Walter Dissett

Gary L. Wasserman & Charles A. Kashner

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

Mr. Matthew Howell & Mrs. Julie Wagner Paul & Marietta Joliat

Mr. Ronald Ross & Ms. Alice Brody Marjorie Shuman Saulson

Ms. Nadia Boreiko

Mr. & Mrs. Richard L. DeVore

Margie Dunn & Mark Davidoff

Dr. & Mrs. Theodore Golden Goodman Family Charitable Trust

Debra & Richard Partrich

Dr. David S. Balle

Mr. & Mrs. Peter Hollinshead

Janet & Norman Ankers

Gwen & Richard Bowlby

Mr. & Mrs.◊ Joseph Lile

Mr. & Mrs. Paul Tobias

Mr. & Mrs. Charles W. Dare

*Current DSO Musician or Staff 42 DSO PERFORMANCE MAGAZINE FALL 2022–2023

Eugene & Elaine C. Driker

Mrs. Barbara Cunningham

Mr. & Mrs. Kent Jidov Carol & Rick Johnston

Victor ◊ & Gale Girolami

Mr. Daniel Lewis

Schwartz Shapero Family

W. Harold & Chacona W. Baugh

David Robert & Sylvia Jean Nelson

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

Dr. Erik Rönmark* & Mrs. Adrienne Rönmark*

Dr. Saul & Mrs. Helen Forman Barbara Frankel & Ronald Michalak

George & Jo Elyn Nyman

Sally & Michael Feder

Robert & Elizabeth Hamel

Peter & Carol Walters

Dr. & Mrs. John Roberts

Mr. & Mrs. Brian C. Campbell

Mr. Donald & Marcia Hiruo

Bernard & Nina Kent Philanthropic Fund

Dr. & Mrs. Ned Winkelman

DSO PERFORMANCE MAGAZINE 43dso.org #IAMDSO

Drs. Kwabena & Jacqueline Appiah

Maurice Marshall

Mrs. Kathleen Straus & Mr. Walter Shapero Joel & Shelley Tauber

Don & Marilyn Bowerman

Barbara & Michael Kratchman

Dr. Raymond E. Jackson & Dr. Kathleen Murphy

Ms. Jacqueline Graham

Mr. John S. Johns

Mr. & Mrs. Saul Green

Edwin & Rosemarie ◊ Dyer

Dr. William Higginbotham III MD

Mrs. Sharon Shumaker

Dr. & Mrs. Franchi Kit & Dan Frohardt-Lane Mr.◊ & Mrs. Richard M. Gabrys Alan M. Gallatin

Jack, Evelyn and Richard Cole Family

The Achim & Mary Bonawitz Family

◊ Deceased

Mr. & Mrs. John M. Erb Dave & Sandy Eyl Ellie Farber & Mitch Barnett Hon. Sharon Tevis Finch Ms. Joanne Fisher Dorothy A. & Larry L. Fobes Amy & Robert Folberg

Mr. & Mrs. Harold Kulish

Mr. & Mrs. Matthew Simoncini

Larry & Connie Hutchinson

Ms. Barbara Heller

S. Evan & Gwen Weiner

Mr. & Mrs. Donald and Janet Schenk

The Honorable Denise Page Hood & Reverend Nicholas Hood III James Hoogstra & Clark Heath

Mr. Frederick Morsches & Mr. Kareem George

Ms. Linda Forte & Mr. Tyrone Davenport Mr. Fred Hunter & Mrs. Viva Foster

Mr. William & Mrs. Connie Jordan

Dr. Stephen & Paulette Mancuso

Dr. & Mrs. Joel Appel

Ms. Sandra Lapadot

Mr. Arthur Johns

Joy & Allan Nachman

Nina & Richard Cohan

Nina Dodge Abrams

Nancy & Lawrence Bluth

Mr. & Mrs. Mark R. Buchanan

Dr. Leo & Mrs. Mira Eisenberg Randall & Jill* Elder

Cheryl A. Harvey

Mr. Michael Kuhne

Dr. William W. O’Neill

Govier

Patricia A.◊ & Patrick G. McKeever

Mr. David Salisbury & Mrs. Terese Ireland Salisbury

Mr. & Mrs. Dave Redfield

James Kors & Victoria King*

Dr. & Mrs. Edward L. Klarman

Nora & Guy Barron

Dr. & Mrs. Ali-Reza R. Armin

Ms. Evelyn Micheletti

Mr. & Mrs. Winom J. Mahoney

Cathy Cromer Wood

Robert & Paulina Treiger Muzzin

Lillian & Walter Dean

Tom ◊ & Beverly Klimko

Ms. Carole Ilitch

Mr. Joseph Aviv & Mrs. Linda Wasserman Mrs. Jean Azar

Mr. F. Robert Hozian

Dr. & Mrs.◊ Thomas E. Carson Dr. Carol S. Chadwick & Mr. H. Taylor Burleson

Barb ◊ & Clint Stimpson

Mr. William Waak

Ronald & Lynda Charfoos

Mr. & Mrs. John Jullens

Robert J. Crutcher Family Trust

Mr. & Mrs. Robert Koffron

William H. & Wendy W. Powers

And one who wishes to remain anonymous

Dr. Karen Hrapkiewicz

Mr. Max

Richard & Sally Krugel

Diane & John Kaplan

Dr. & Mrs. Joe L. Greene Anne & Eugene Greenstein Sharon Lopo Hadden

Mr. Edward McClew

Mr. & Mrs. Martin S. Baum

Lynn & Bharat Gandhi

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

Dr. Edward & Mrs. Jamie Dabrowski Suzanne Dalton & Clyde Foles Maureen & Jerry ◊ D’Avanzo

Mr. & Mrs. Ludvik F. Koci

Bill & Kathleen Langhorst

Mr. & Mrs. Richard Beaubien Martha ◊ & G. Peter Blom

Ms. Laurie Ellias & Mr. James Murphy Mrs. Marjory Epstein

Mrs. Frances King

Mr. & Mrs. Robert LaBelle

Pauline Averbach & Charles Peacock

Alice ◊ & Paul Tomboulian

Mr. & Mrs. Joel Adelman

GIVING OF $2,500 & MORE

Dr. George & Joyce Blum

Mr. & Mrs. Robert K. Leverenz Daniel & Linda* Lutz Bob & Terri Lutz

Dr. Sandy Koltonow & Dr. Mary Schlaff

Paul & Karen Johnson

Dr. & Mrs. Gerald Laker

Mr. & Mrs. Marco Bruzzano

PatriciaFoundation&William ◊ Cosgrove, Sr.

Mrs. Maria E. Kuznia

Mike & Katy Keegan

Mr. & Mrs. Robert L. Anthony

Douglas Korney & Marieta Bautista

Drs. Yaddanapudi Ravindranath & Kanta Bhambhani

Mr. David Lalain & Ms. Deniella

Drs.Ortiz-LalainLisa&Scott Langenburg

Mr. David Phipps & Ms. Mary Buzard

Steven Della Rocca Memorial Fund/ Courtenay A Hardy

Dr. & Mrs. Thomas Ditkoff Diana & Mark Domin Paul◊ & Peggy Dufault

Dr. & Mrs. Roger C. Byrd

The Honorable Susan D. Borman & Mr. Stuart Michaelson

Mr. George G. Johnson

Ms. Joy Crawford* & Mr. Richard Aude

Dr.PaulMr.Ms.Mr.Mr.ThomasStephanieGatesGermackM.Gervasi&Mrs.JamesGietzen&Mrs.RobertW.GilletteJodyGlancyLawrenceGlowczewski&BarbaraC.GoodmanWilliam&Mrs.Antoinette

Mrs. Eva von Voss

Ms. Susan Konop

Ms. Alice Pfahlert

Mr. & Mrs.◊ John Streit

Mr. & Mrs. William A. Reed

Mrs. Marilyn Bishop

Elissa & Daniel Kline

Dr. & Mrs. Richard S. Schwartz

Dr. Donald & Barbara Meier

John & Marcia Miller

Deborah Lamm

Mr. & Mrs. John Rieckhoff

Dr. & Mrs. Hershel Sandberg

Dr. M. Roy & Mrs. Jacqueline Wilson

Lucia Zamorano, M.D.

Sandy & Alan Schwartz

Ms. Kristen McLennan

Nancy C. Stocking

Dr. & Mrs. Choichi Sugawa

Mr. Michael A. Walch & Ms. Joyce Keller

Ms. Ellen Hill Zeringue Milton Y. Zussman ◊

Mr. & Mrs. Tom Compton

Ms. Jennette Smith Kotila

And seven who wish to remain anonymous

Rissa & Sheldon Winkelman

Mr. & Mrs. William Kroger, Jr.

Drs. Stuart & Hilary Ratner

Shirley Anne & Alan Schlang Joe & Ashley Schotthoefer

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

Mr.◊ & Mrs. Gerald F. Ross

Ms. Laurie DeMond-Rosen

Mr. Anthony R. McCree

Mr. & Mrs. Gerrit Reepmeyer

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

Ms. Elana Rugh

Carole Keller

Mr. Rob Tanner Sandra & Frank Tenkel

Mr. & Mrs. Randall Miller

Mr. & Mrs. Thomas Mark

Mr. & Mrs. George Nicholson

Mr. Jeffrey S. Serman Carlo & Nicole Serraiocco Nancy & Sam Shamie Shapero Foundation

Dr. Les Siegel & Ellen Lesser Siegel William & Cherie Sirois

Mr. Konstantin Shirokinskiy

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

Ms. Kristin Bolitho

Megan Norris & Howard Matthew

Mrs. Mary Ann LaMonte

Arlene & John Lewis

Dr. Gregory Stephens

Gordon & Elaine Didier

Mr. Joseph & Mrs. Lois Gilmore

Mr. William Thom

Mr. John Lovegren & Mr. Daniel Isenschmid

Mariam C. Noland & James A. Kelly

Mr. & Mrs. Walter E. Douglas

DSO

Mrs. Rosalind B. Sell

Ms. Janet Weir

Ms. Florine Mark

Dr. & Mrs. Gerald Stollman

Mr. & Mrs. Robert Obringer

Mrs. Ruth Nix

William Aerni & Janet Frazis

Mr. & Mrs. Daniel E. Moore

Ms. Andrea L. Wulf

Dr. Susan & Mr. Stephen* Molina

Mr. Tony Raymaker

Cis

J.J. & Liz Modell

Ms. Joyce E. Scafe

Steve & Brenda Mihalik

Dr.◊ & Mrs. Ronald W. Wadle

Barbara & Stuart Trager Tom & Laura Trudeau

Dr. & Mrs. David Mendelson

Ms. Carol Litka

Howard & Francina Graef

Michael & Susan Rontal

Linda & Leonard Sahn

Ms. Ida King

Barbara J. Martin

Ms. Sandra Shetler

Mrs. Andreas H. Steglich

Drs. Richard & Helena Balon

Ms. Martha A. Scharchburg & Mr. Bruce Beyer

Robert & Patricia Shaw

Dr. Sandra & Mr. D. Johnny Yee

Eugene & Sheila Mondry Foundation

Ms. Nadine Jakobowski

Mark Pasik & Julie Sosnowski

And two who wish to remain anonymous

Ms. Susan Smith Shirley R. Stancato

Mr. & Mrs. Kingsley G. Sears

or Staff GIVING OF $2,500 & MORE, CONTINUED 44 DSO PERFORMANCE MAGAZINE FALL 2022–2023

Dr. & Mrs. Gary S. Assarian

Dennis & Jennifer Varian

David Szymborski & Marilyn Sicklesteel Dr. Neil Talon

Mr. & Mrs. Byron Canvasser

Mr. & Mrs. George Roumell

Brian & Becky McCabe

Mr. & Mrs. Arthur T. O’Reilly Terry E. Packer

Mr. Patrick Webster

Mr. & Mrs. David H. Loebl

Mr. & Mrs. Rodney Rask

Ms. Linda Rodney

Mr. & Mrs. Richard Burstein

Dr. Lawrence O. Larson

Ms. Eileen Wunderlich

Mr. & Mrs. Mark H. Peterson

David & Lila Tirsell

Mr. Peter Zubrin

Miss Kathryn Korns

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

Ms. Jodie Elrod

Ms. Gail Zabowski

Ms. A. Anne Moroun

Benjamin B. Phillips

Mr.Foundation&Mrs.◊Richard Wigginton

Steve & Judy Miller

Wolfgang & Kristine Peterman

Jean Hudson

Ms. Mary McGough

Mrs. Connie Dugger

Mr. & Mrs. James P. Ryan

Drs. Donald & Diane Levine

Olga Sutaruk Meyer

Mr. Mark Stewart & Mr. Anonio Gamez-Galaz

Gregory Tocco & Erin Sears Yoni & Rachel Torgow

Ms. Christine M. Leonard

David R. Weinberg, Ph.D. Beverly & Barry Williams

Bruce & Mary Miller

*Current Musician

Ms. I. Surayyah R. Muwwakkil

Ms. Anne T. Larin

Janis & William Wetsman/The Wetsman

Mr. & Mrs. Germano Mularoni

Mr. & Mrs. James W. Throop Dr. Barry Tigay

Amanda Van Dusen & Curtis Blessing Charles & Sally Van Dusen

Drs. Renato & Daisy Ramos

Dr. & Mrs. Howard Terebelo

Cheryl & Paul Robertson

GIVING OF $1,500 & MORE

Mr. & Mrs. David W. Berry

Mr. Jeffrey Marraccini

Steve & Geri Carlson

Mr. Howard O. Emorey

Ms. Sandra Morrison

Sally & Donald Baker

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

Mr. & Mrs. Mandell L. Berman ◊

Mr. & Mrs.◊ Joseph Lile Harold Lundquist ◊ & Elizabeth Brockhaus Lundquist

Mrs. Bernard E. Pincus

Lori-Ann Rickard

Drs. Anthony & Joyce Kales

Mr.◊ & Mrs. Alexander C. Suczek

Mrs. Marjorie S. Fisher ◊

Eleanor A. Christie

Mrs. Rema Frankel◊ Virginia B. Bertram ◊

Dr. Augustin & Nancy ◊ Arbulu

Dr. Lourdes V. Andaya

David Szymborski & Marilyn Sicklesteel

Charles & Sally Van Dusen

Eric & Ginny Lundquist Roberta Maki

Mr.◊ & Mrs. Arthur Wilhelm

Dorothy A. & Larry L. Fobes

Gwen & Richard Bowlby

Ms. Dorothy Fisher ◊

Ms. Linda Rankin & Mr. Daniel Graschuck Mr. & Mrs. Douglas J. Rasmussen Deborah J. Remer

Mr. & Mrs. P. T. Ponta

Norb ◊ & Carole Keller

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

Mr. Joseph Boner

Mr. & Mrs. Phillip Wm. Fisher

Mary Joy McMachen, Ph.D. Judith Mich ◊ Rhoda A. Milgrim

Mr. & Mrs. Eugene Applebaum ◊

Mrs. Inge A. Vincent ◊ Christine & Keith C. Weber

Elizabeth B. Work◊

Ms. Sharon Backstrom

Ms. Rosalee Bleecker

Milton & Lois Zussman ◊ And seven who wish to remain ◊anonymous"Deceased

Mrs. Betty Blair

Andy Howell

Mr. Emory Ford, Jr.◊ Endowment

Mr. & Mrs. Thomas H. Jeffs II

Dr. Mark & Mrs. Gail Kelley

Ms. Barbara Wojtas

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

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

CM CynthiaCarnesCassell, Ph. D.

Mr. & Mrs. Melvin VanderBrug

Mr. & Mrs. Eugene A. Miller John & Marcia Miller

Ms. Leslie C. Devereaux

Mrs. RoseAnn Comstock◊

Mr. & Mrs. Walter Stuecken

Joanne Danto & Arnold Weingarden

Ms. I. Surayyah R. Muwwakkil◊ Joy & Allan Nachman Mr. Herman Weinreich ◊ Beverley Anne Pack

Mr.◊ & Mrs. Gerald F. Ross

Mr.◊ & Mrs. Robert A. Allesee

Mr. Dale J. Pangonis

Mr. Herman Weinreich ◊ John ◊ & Joanne Werner

Douglas Koschik

Ms. Nancy B. Henk

David & Andrea Page ◊ Edna J. Shin

Ms. Carol Johnston Carol M. Jonson

Herman & Sharon Frankel

Mr. Stuart Dow Katherine D. Rines

Dr. Melvin A. Lester ◊

Ms. Nancy S. Williams ◊

Mrs. Ellen Brownfain

Paul M. Huxley & Cynthia Pasky

Faye & Austin Kanter

Ms. Christina Pitts Mrs. Robert Plummer ◊

Ms. Marilyn Snodgrass ◊

Mrs. Mary Carol Prokop ◊

Joseph L. Hickey

Ms. June Siebert

Mr. & Mrs. George Roumell

Jim & Nancy Gietzen

Ms. Andrea L. Wulf

Mrs. Judith G. Yaker

Mr. & Mrs. Richard J. Jessup

David & Paulette Groen Rosemary Gugino

David & Sheri Jaffa

Mr. John Diebel◊

Dr. & Mrs. William C. Albert

Mark & Donna Frentrup

Lenard & Connie Johnston

Mr. & Mrs. Lee Barthel

Mr. Robert S. Williams & Ms. Treva Womble

Max Lepler & Rex L. Dotson

June K. Kendall◊

Mr. & Mrs. Fred G. Secrest ◊ Ms. Marla K. Shelton

Mr. & Ms. Thomas Cook

Patricia Finnegan Sharf

CELEBRATING YOUR LEGACY SUPPORT

William & Julia Bugera

Dorothy M. Craig

Mr. Joseph & Mrs. Lois Gilmore Victor ◊ & Gale Girolami Ruth & Al◊ Glancy

Mr. Robert E. Wilkins ◊

Dr. Mark & Mrs. Gail Kelley

Alice ◊ & Paul Tomboulian Roger & Tina Valade

Mr.◊ & Mrs. Arthur J. Krolikowski Mary Clippert LaMont ◊

Ms. Sandra Lapadot Mrs. Bonnie Larson Ann C. Lawson ◊

Mr. Roger Dye & Ms. Jeanne A. Bakale

Ronald M. & Carol◊ Horwitz

Mr. Gary Ciampa Robert & Lucinda Clement Lois & Avern ◊ Cohn

Mr. Alan M. Gallatin Janet M. Garrett

Stanley A. Beattie

Samuel & Laura Fogleman

Jane French

Allan S. Leonard

Ms. Marilyn Snodgrass ◊

Ms. Elizabeth Maysa

Ms. Mary Webber Parker ◊ Mr. John Diebel◊

Ms. Barbara Robins

Mr. Robert E. Wilkins ◊

Mr.◊ & Mrs. L. William Moll Shari & Craig Morgan

Mr. & Mrs. Thomas N. Hitchman

Mrs. Michel Williams

Mr. Harry G. Bowles ◊ Judith Mich ◊

Ms. Mary F. Christner

Ms. Marianne Reye

Mr. & Mrs. Donald R. Simon ◊

Carol Howell

Mr. & Mrs. William Harriss Donna & Eugene Hartwig

Ms. Yvonne Schilla

Mr. Scott Cook, Jr.

BARBARA VAN DUSEN, Honorary Chair

Mr. George G. Johnson

Mrs. Margot Sterren ◊

Mr. & Mrs. John Cruikshank Julie & Peter Cummings

Jerald A. & Marilyn H. Mitchell

Marjorie Shuman Saulson

Mr. David Assemany & Mr. Jeffery Zook

Mr. & Mrs. Donald & Janet Schenk

Ms. Doris L. Adler

Jack & Aviva Robinson ◊

Eileen & Ralph Mandarino Judy Howe Masserang

Mr. & Mrs.◊ Lloyd E. Reuss

Bernard & Eleanor Robertson

Dr. Saul & Mrs. Helen Forman Barbara Frankel & Ron Michalak

Dimitri ◊ & Suzanne Kosacheff

Mrs. Sophie Pearlstein ◊ Helen & Wesley Pelling ◊ Dr. William F. Pickard

Dr. Byron P. & Marilyn Georgeson

detroit symphony orchestra DSO PERFORMANCE MAGAZINE 45dso.org #IAMDSO

Mr. & Mrs. Robert G. Eidson Marianne T. Endicott

Giving of $500,000

Giving of $200,000 &

& more SAMUEL & JEANFOUNDATIONFRANKEL

CORPORATE, FOUNDATION, AND GOVERNMENT GIVING

more MARVIN & BETTY DANTO FAMILY FOUNDATION 46 DSO PERFORMANCE MAGAZINE FALL 2022–2023

Giving of $100,000 &

Giving of $5,000 & more

James and Lynelle Holden Fund

Coffee Express Roasting Company

Laskaris-Jamett Advisors of Raymond James Oliver Dewey Marcks Foundation Stone Foundation of Michigan Sun Communities Inc.

Eleanor & Edsel Ford Fund

DSO PERFORMANCE MAGAZINE 47dso.org #IAMDSO

Myron P. Leven

MGM Grand Detroit Milner Hotels Foundation Penske Foundation, Inc.

Jaffe, Raitt, Heuer and Weiss

Marjorie & Maxwell Jospey Foundation

Warner Norcross + Judd

Benson & Edith Ford Fund Honigman LLP

Josephine Kleiner Foundation

Samuel L. Westerman Foundation

Schneider-EngstromFoundationFoundationWolverinePackingCompany

PNC Bank – Southeast Florida KPMG LLP

Mandell & Madeleine Berman Foundation

Giving of $20,000 & more

Blue Star Catering

Giving of $10,000 & more

The Clinton Family Fund

Sigmund & Sophie Rohlik Foundation Speyer Foundation

And one who wishes to remain anonymous

Giving of $1,000 & more

Frank & Gertrude Dunlap Foundation Enterprise Holdings Foundation

Applebaum Family Philanthropy Creative Benefit Solutions

Henry Ford II Fund

Broder Sachse

Plante and Moran, PLLC Renaissance (MI) Chapter of the Links Save Our Symphony

Louis & Nellie Sieg Foundation

And one who wishes to remain anonymous

The Children’s Foundation

Hudson-Webber Foundation

Marvin & Betty Danto Family Foundation

Burton A. Zipser & Sandra D. Zipser Foundation

Giving of $50,000 & more

Edward C. & Linda Dresner Levy Foundation

Dolores & Paul Lavins Foundation Ludwig Foundation Fund

Paul M. Angell Family Foundation

DeRoy Testamentary Foundation

Japan Business Society of Detroit Foundation

MASCO Corporation

Madison Electric Company Michigan First Credit Union

Mrs. Marguerite Munson Lentz*

Ms. Wendy Zimmer Cox*

Mr. Robert E. Kass*

Mr. Steve Pierce

Mr. William Winkler

Mr. David M. Thoms*

Ms. Dawn Jinsky*

Mr. Jason Tinsley*

Mr. William Vanover

Mr. Bernard S. Kent

Mr. J. Thomas MacFarlane

Mr. Christopher Ballard*

Mr. Mark E. Neithercut*

Ms. Jennifer Jennings*

*Executive Committee Member

Mr. Curtis J. Mann

Mrs. Katana H. Abbott*

Mrs. Shirley Kaigler*

Mr. Timothy Compton

Mrs. Jill Governale*

Mr. Mark W. Jannott, CTFA

Remembering the DSO in your estate plans will support the sustainability and longevity of our orchestra, so that tomorrow’s audience will continue to be inspired through unsurpassed musical experiences. If you value the role of the DSO—in your life and in our community—

please consider making a gift through your will, trust, life insurance or other deferred gift.

of the DSO with future generations INCLUDE THE DSO AS A BENEFICIARY IN YOUR WILL detroit symphony orchestra 48 DSO PERFORMANCE MAGAZINE FALL 2022–2023

Ms. Yuh Suhn Kim

Ms. Deborah J. Renshaw, CFP

Ms. Jessica B. Blake, Esq.

Mr. John N. Thomson, Esq.

Mr. Joseph Aviv

Mrs. Mary K. Mansfield

Mr. Henry P. Lee*

Mr. Christopher M. Mann*

Mr. James P. Spica

Mr. Henry Grix*

Mr. Christopher L. Kelly

Ms. Rebecca J. Braun

Linda Wasserman, Chair

Mr. Robin D. Ferriby*

Mrs. Julie Hollinshead, CFA

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

Share the

To learn more please call Alexander Kapordelis at 313.576.5198 or email akapordelis@dso.org music

Mrs. Barbara Levin Drs. David M. & Bernadine E. Wu

Bob Sabourin

DSO PERFORMANCE MAGAZINE 49dso.org #IAMDSO

Ross Tatro Ms. Linda Tatro

Ms. Nancy Dodge

Mrs. Ilene Dunn

Dr. Glenn B Carpenter

William Hodgman

Mr. Doyle Mosher Dr. & Mrs. Scott A. Tyler

The Fisher Family and the TGF staff

David Helzer

Dr. James O. Sawyer IV & Dr. Linda Sawyer Ms. Susan Squires Ms. Leslie Swanson Mrs. Heidi Vitso Ms. Geraldine P. Brown Mr. Howard Yerman

Melvin Poger Ms. Robyn Anspach

Denny Helzer

Teal Vickery

Mr. James B. Nicholson

Mr. Norman Thorpe Mr. & Mrs. Andrew Isola

In Honor

Jack Holmes

Allen Ledyard

Diane C. Bousquette

Thomas E. Horn

Mr. & Mrs. Stanley Frankel

Mr. & Mrs. J Claibourne Kelly

Ms. Elizabeth DuMouchelle

Mr. & Mrs. Jim Barry

Mr. Mark McPartlin Mr. Mark Burgeson

James Waring

Ms. Anette Haeusler

Bruce & Martha Clinton

Martha Blom

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

John Brennan Todd Ethridge

Mr. William Bousquette

Ms. Holly Yoshinari

Mr. Robert M. Guard

Robert & Margaret Smith

Terry Prasad

Mr. & Mrs. Mark Benson

Mrs. Kara Hocking Mrs. Sandra Needle

Lynn Miller

Mrs. Mary Brown Mrs. Patricia Cosgrove Mr. Charles W. Dyer Mrs. Marianne T. Endicott

Ms. Kristin Malone

Bobbie & Joe Lewis

Ms. Tamara Hartke

John E. Young, Jr. Mrs. Sarah Duck Mrs. Marianne T. Mr.AnnMongirdas/AnderesEndicottFamilies&BryanGilligan&Mrs.WilliamGilligan

Karen Peterson

Gifts received March 1, 2021 - August 31, 2022

The DSO wishes to thank those who donated in memory of President Emeritus Anne Parsons. Please visit dso.org/rememberinganne for the full list of donors.

Dr. Theodore Pantos

Clyde & Helen Wu Mrs. Barbara Van Dusen

Mr. & Mrs. Frederick F. Fordon

Mr. & Mrs. Gary Spicer

Evan & Talya Kadlovski Mr. & Mrs. David Mazzola

Mr. Cliff Coleman

Mr. & Mrs. Bruce Naidoff

Mr. & Mrs. Samuel G. Salloum

Ruth M. Frank

Orlene Kreger Makinson

Vegga Wimmer Ms. Heather Bokram

Mr. & Mrs. Thomas G. Soyster

John Fildew

Mr. & Mrs. Paul Laughlin

Elkhonon Yoffe

In Memory

Edward C. & Linda Dresner Levy Foundation

Dr. Aryabala Ray Prasad

Dorothy Hoopingarner

TRIBUTE GIFTS

Helene Lublin

Dr. & Mrs. Theodore Golden Mrs. Bonnie A. Larson

Hon. Avern L. Cohn

Mr. & Mrs. Mark McCammon Mrs. Maureen T. D'Avanzo

Virginia Schramm

Mr. & Mr. Edward MakiSchramm

Mr. Craig Carlson

Mr. & Ms. James Ranger Ms. Sue Sarin

Dr. Daniel Paul Horn

Mado O. Lie

Mr. George Troia

Caroline Coade

Our brick and mortar shop is closed, but DSO fans can visit dso.org/shop to purchase DSO merchandise anytime!

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

The Herman and Sharon Frankel Donor Lounge

Box Office: 313.576.5111

Concessions are available for purchase on the first floor of the William Davidson Atrium at most concerts, and light bites are available in the Paradise Lounge on the second floor. Bars are located on the first and third floors of the William Davidson Atrium and offer canned sodas (pop, if you prefer), beer, wine, and specialty cocktail mixes.Patrons are welcome to bring drinks to their seats at all performances except Friday morning Coffee Concerts; food is not allowed in Orchestra Hall.

Group Sales: 313.576.5111

Parking

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

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

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

3711 Woodward Avenue Detroit, MI 48201

Shop @ The Max

Please note that outside food and beverages are prohibited.

THE MAX M. & MARJORIE S. FISHER MUSIC CENTER

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

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

Food and Drink

Our Home on Woodward Avenue

WELCOME TO THE MAX 50 DSO PERFORMANCE MAGAZINE FALL 2022–2023

The DSO Parking Deck is located at 81 Parsons Street. Self-parking in the garage costs $10 for most concerts (credit card payment only). Accessible parking is available on the first and second floors of the garage. Note that handicapped parking spaces go quickly, so please arrive early!

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

Facilities Rental Info: 313.576.5131

Gift Certificates

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

Rent The Max

Handicap Access and Hearing Assistance

The DSO’s byAtrium.secondtheapp,theandYouperformancessystemMobileConnectSennheiserhearingassistanceisavailableforallinOrchestraHall.canuseyourownmobiledeviceheadphonesbydownloadingSennheiserMobileConnectorborrowadevicebyvisitingPatronServicesCenterontheflooroftheWilliamDavidsonThissystemismadepossibletheMichiganEarInstitute.

WiFi

What Should I Wear?

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

Administrative Offices: 313.576.5100

SEATING

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

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

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

HEALTHPOLICIES& SAFETY

n The DSO no longer requires audiences to provide proof of COVID-19 vaccination or a negative COVID-19 test to attend performances.

TICKETS, EXCHANGES, AND CONCERT CANCELLATIONS

n Masks are optional although strongly recommended at DSO performances, particularly when Wayne County and surrounding communities are in the high or “red” category as defined by the CDC.

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

can be distracting to musicians and audience members. Please be cautious and respectful if you wish to take photos.

SMOKING

n We ask all audience members to do their part to create a safe environment for everyone and encourage those who are not feeling well to stay home.

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

PHOTOGRAPHY & RECORDING

BERLIN PHILHARMONIC IN ANN ARBOR Fri Nov 18 // 8 pm Program includes Mozart’s Violin Concerto, Erich Korngold’s only symphony, and Andrew Norman’s Unstuck. Sat Nov 19 // 8:30 pm Features SymphonyMahler’sNo.7 “Kirill Petrenko has a way of hearing deep into textures and harmonies that is really quite startling. He gives us X-ray ears.” (Gramophone) Kirill Petrenko, chief conductor Nov 18-19 | Hill Auditorium Principal Sponsors: SEASON144TH TICKETS AT UMS.ORG 734-764-2538 DSO PERFORMANCE MAGAZINE 51dso.org #IAMDSO

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

Smoking and vaping are not allowed anywhere in The Max.

PHONES

n We will continue to communicate our policies to ticketholders in advance of their concerts and will provide updates should protocols change throughout the season.

n All sales are final and non-refundable.

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

We love a good selfie (please share your experiences using @DetroitSymphony and #IAMDSO) but remember that photography

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

Keith Kennedy Chief Engineer

LaToya Cross

ARTISTIC PLANNING

ADVANCEMENT

Senior Director of Facilities Engineeringand

Francesca Leo Public CoordinatorRelations

Jane Koelsch

Joy Crawford

Leslie Groves

Damien Crutcher

Linda Lutz

Nolan Cardenas

Director of Education

Lindzy Volk

Major Gift Officer

Joanna Goldstein Training Ensembles

Detroit OperationsHarmonyCoordinator

Beth Carlson Stewardship Coordinator

EXECUTIVE OFFICE

Ken Waddington

Catherine Moore

Executive Assistant to the President and CEO

ARTISTIC OPERATIONS

D. Kenji Lee

ORCHESTRA OPERATIONS

Benjamin Tisherman Manager of Orchestra Personnel

Executive Producer of Live from Orchestra Hall

Alex Kapordelis

Sarah Smarch Director of Content and Storytelling

FINANCE

◊ Deceased52 DSO PERFORMANCE MAGAZINE FALL 2022–2023

Damaris Doss

Christina Williams Director of Patron and Event Experience

COMMUNITY & LEARNING

Goode Wyche

Institutional Gift Officer

Major Gift Officer

Detroit SpecialistStrategy

Andre Williams Beverage Manager

Senior BusinessAccountant,Operations

Artistic Coordinator

Training OperationsEnsemblesCoordinator

Robert Hobson Chief TechnicianMaintenance

Ali Huber

Susan Queen Gift Officer, Corporate Giving

BenefitsAdvancementConcierge

Karisa Antonio Director of Social Innovation

Debora Kang

William Guilbault EVS Technician

Kendra Sachs Training CoordinatorCommunicationsRecruitmentEnsemblesand

Manager of Jazz and @ THE MAX

Student CoordinatorDevelopment

ADMINISTRATIVE STAFF

Amanda Lindstrom Events Coordinator

Matt Carlson Senior CommunicationsDirector, and Media Relations

COMMUNICATIONS

Anne Parsons ◊ President Emeritus

LIVE ORCHESTRAFROM HALL

Jazz and @ THE MAX Coordinator

Dennis Rottell Stage Manager

Alison Reed, CVA Manager of Volunteer and Patron Experience

Adela Löw

Vice President and Chief Revenue Officer

Colleen McLellan

Erik Rönmark

Audition and Operations Coordinator

Creative Director of Popular and ProgrammingSpecial

Shalynn Vaughn

Demetris Fisher Chief EVS Technician

CATERING AND RETAIL SERVICES

Hannah Engwall Public Relations Manager

Managing Director of Detroit Harmony

Benjamin Brown Production Manager

Neva Kirksey Manager of Events and Rentals

Kiersten Alcorn

Manager of EngagementCommunity Chris DeLouis

Major Gift Officer

ContentandCommunicationsAdvancementSpecialist

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

Jill Elder

Clare Valenti

Senior Director of Advancement

Director of Accounting and Financial Reporting

Director of EngagementCommunity

Bronwyn Hagerty Orchestra and Training Programs Librarian

Senior CampaignDirector,

Claudia Scalzetti

Senior Director of Artistic Planning

OPERATIONSBUILDING

Signature Events Manager

Natalie Berger Video Content Specialist

Sandra Mazza

Sarah Nawrot Accounting Clerk

Jessica Slais

Marc Geelhoed

Anne Leech

Vice President and Chief Financial and Administrative Officer

Amanda Tew Director, OperationsAdvancement

Fulfillment Coordinator

Patrick Peterson Director of Orchestra Personnel

Juanda Pack

Cassidy Schmid Manager of Campaign Operations

Jill Rafferty

Jessica Ruiz

Artist Liaison

Kathryn Ginsburg

General Manager

TECHNOLOGYINFORMATION

Rebecca Villarreal Director of Subscriptions and Loyalty

Read Performance anytime! dso.org/performance

Rollie Edwards

Human CoordinatorResources

Hannah Engwall, JamesECHOhengwall@dso.orgeditor•PUBLICATIONS,INC.TomPutters,publisherVanFleteren,designer echopublications.com

SAFETY SECURITY&

Connor Mehren Digital StrategistMarketing

Jay Holladay

PATRON SALES & SERVICE

Willie Coleman Security Officer

Norris Jackson Security Officer

William Shell Director of TechnologyInformation

DEVELOPMENT&MARKETINGAUDIENCE

Tony Morris Security Officer

DSO PERFORMANCE MAGAZINE 53dso.org #IAMDSO

George Krappmann Director of Safety and Security

•

Brand Graphic Designer

Cover design by Jay Holladay

Michelle Koning Web Manager

Johnnie Scott Safety and Security Manager

James Sabatella Group and Patron Services Specialist

PERFORMANCE

Michelle Marshall

Shuntia Perry

Kristin Pagels Content StrategistMarketing

Dorian Dillard Marketing PromotionsandCoordinator

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

Antonio Thomas Security Officer

HUMAN RESOURCES

Charles Buchanan Senior Director of Marketing and Audience Development

Director of Patron Sales and Service

Mary Lambert Human GeneralistResources

Aaron Tockstein Database Administrator

Hannah Lozon

Teresa Alden Director of Growth and Acquisition

Len Messing Systems Administrator

LaHeidra Marshall Audience SpecialistDevelopment

Senior Director of Talent and Culture

• To advertise in Performance: call 248.582.9690 or email info@echopublications.com

Winter • 2021-2022 Season

Sharon Gardner Carr Assistant Manager of Tessitura and Ticketing Operations

Patron Sales and Service Specialist

Fri, Dec 16 – Sun, Dec 18

Thu, Jan 5 – Sunday, Jan 8

December

WILLIAM NEIGHBORHOODDAVIDSONCONCERT SERIES MOZART, MONTGOMERY & MORE

UPCOMING CONCERTS & EVENTS 313.576.5111TICKETS&INFOordso.org

Thu, Dec 1 – Sat, Dec 3

Wed, Dec 14

PVS CLASSICAL SERIES SHOSTAKOVICH’S VIOLIN CONCERTO & SCHUMANN

Fri, Dec 9

YOUNG PEOPLE’S FAMILY CONCERT SERIES WHAT IS GROOVE?

PNC POPS SERIES

54 DSO PERFORMANCE MAGAZINE FALL 2022–2023

Fri, Dec 9 – Sun, Dec 11

Cyrus Chestnut 9 1-3

Sat, Dec 3

HOME FOR THE HOLIDAYS

YOUNG PEOPLE’S FAMILY CONCERT SERIES TALE OF THE FIREBIRD

PVS CLASSICAL SERIES MENDELSSOHN'S FIRST PIANO CONCERTO & DVOŘÁK'S EIGHTH'S SYMPHONY

EXPERIENCE

Thu, Jan 12 – Sun, Jan 15

For complete program listings, including Live from Orchestra Hall webcast dates, visit dso.org

Fri, Jan 6 – Sun, Jan 8

WILLIAM NEIGHBORHOODDAVIDSONCONCERT

Yeol Eum Son December 9-11 Baiba Skride December

PARADISE JAZZ SERIES A CHARLIE BROWN CHRISTMAS – CYRUS CHESTNUT & FRIENDS

PNC POPS SERIES

DSO PRESENTS HOME ALONE IN CONCERT

TWIST & SHOUT: THE MUSIC OF THE BEATLES— A SYMPHONIC

Sat, Dec 3

SERIES FLUTEREINECKE’SCONCERTO

27 The Whitney Restaurant | Ghostbar | Gardens 4421 Woodward Avenue, Detroit | 313-832-5700 | thewhitney.com Welcome Back �e Whitney is so proud to continue our long-lasting relationship with DSO concert-goers. Celebrating the art & beauty of Detroit is a core value for �e Whitney and we are so pleased to be a part of your memorable experience. �e Whitney Early Evening Menu is back! Enjoy a 2 course meal at �e Whitney Wednesday, �ursday and Friday from 5-7 pm, and on Sunday from 4-7 pm! �e Whitney: Detroit’s ﬁrst choice for pre-concert dining. *Not available on Saturdays. Can not be combined with any other discounts or promotions*

DSO Performance magazine, 2022-2023, Fall, No. 1

Articles inside

Transformational Support

Behind the Baton

Board Leadership

Welcome

Maximize Your Experience

Donor Roster