DSO Performance

Vol. XXI • 2012-2013 Season

Winter 2012-13

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

The Road to Carnegie Hall May 2013

Made possible by generous support from

and the

Jeff Goldberg/ESTO

William Davidson Foundation

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Contents Performance Volume XXI / Winter 2012-13 2012–13 Season

Departments

Concerts

4 Board of Directors Editor Gabrielle Poshadlo gposhadlo@dso.org 313.576.5194

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

Performance is published by the DSO and Echo Publications, Inc. u Echo Publications, Inc. 248.582.9690 echopublications.com Tom Putters, president tom@echopublications.com Toby Faber, advertising director

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

6 Orchestra Roster 8 News & Notes 29 General Information/Staff 30 Education News

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

31 Donor Roster

Features

10 DSO History

Part 2 of 3 12 The Road to Carnegie Hall May 2013

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

To advertise in Performance, call 248.582.9690 or email info@echopublications.com Performance magazine online: dsoperformance.com u To report an emergency during a concert, call 313.576.5111. To make special arrangements to receive emergency phone calls during a concert, ask for the house manager.

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

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

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

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

dso.org

This season the DSO is:

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

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

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

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

Cover photo by Jeff Goldberg/ESTO

Perform ance / Vol . X XI / Winter 201 3

3

Detroit Symphony Orchestra

VOLUNTEER COUNCIL 2010-13

Board of Directors

Officers

officers Stanley Frankel Chairman

Bruce D. Peterson First Vice Chair

Glenda D. Price, Ph. D Secretary

Janet M. Ankers President

Arthur Weiss Treasurer

Phillip Wm. Fisher Officer At-Large

Lloyd E. Reuss Officer At-Large

Deborah Savoie President Elect

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

Ellie Tholen Vice President for Public Relations

Anne Parsons President & CEO

Dr. Nora Sugintas Vice President for Membership

Directors Ralph J. Gerson‡

James C. Mitchell, Jr.

Daniel Angelucci

Alfred R. Glancy, III,‡ Chairman Emeritus

David Robert Nelson‡

Floy Barthel

Brigitte Harris

Ismael Ahmed Rosette Ajluni

Janet Ankers ‡

Herman Gray, M.D.

Mrs. Mandell L. Berman

Gloria Heppner, Ph. D.

Robert H. Bluestein

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

Elizabeth Boone

Richard A. Brodie Gary L. Cowger

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

Maureen T. D’Avanzo Mark Davidoff

‡

Shelley Heron, Orchestra Representative

Sidney Forbes

Laura L. Fournier

Mrs. Harold Frank Barbara Frankel

Herman Frankel‡

Samuel

Frankel†

Esther Lyons Recording Secretary

William F. Pickard

Mary Beattie Corresponding Secretary

Stephen Polk

Bernard I. Robertson‡

Sharad P. Jain

Marjorie S. Saulson

Renee Janovsky

Hon. Damon J. Keith

Mrs. Ray A. Shapero

Marlene Bihlmeyer

Jane F. Sherman

Gloria Clark

Joel D. Kellman

William P. Kingsley

Wei Shen

Gwen Bowlby

Stephen Strome ‡

Jill Jordan

Michael R. Tyson

Harold Kulish

Sandie Knollenberg

Ann Marie Uetz

Deborah Meade

Janice Uhlig

Laurence M. Liberson,‡ Orchestra Representative

Eva Meharry

David Usher

Lynn Miller

Barbara Van Dusen‡

Arthur C. Liebler‡

Gloria Nycek

Ted Wagner

Ralph J. Mandarino

Todd Peplinski

Hon. Kurtis T. Wilder

Florine Mark

Charlotte Worthen

R. Jamison Williams

David N. McCammon

Julie Zussman

Clyde Wu, M.D.‡

Edward Miller Lois A. Miller

‡

Kelly Hayes Ex-Officio (Immediate Past President)

Executive Committee

Lifetime Members David

Katana Abbott

Lois L. Shaevsky

Michael J. Keegan

Handleman, Sr.†

Board of Directors

Alan E. Schwartz‡

Chacona W. Johnson‡

Bonnie Larson ‡

Jennifer Fischer

Arthur T. O’Reilly‡

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

Ronald M. Horwitz ‡

Linda Dresner

Marianne Endicott

Marvin D. Crawford Vice President for Administration & Finance

Nicholas Hood, III

Karen Davidson

Walter E. Douglas

Faye Alexander Nelson James B. Nicholson,‡ Chairman Emeritus

‡

Richard P. Kughn ‡

Paul Ganson

Sean M. Neall

Allan D. Gilmour

Robert Allesee

Virginia Lundquist Vice President for Outreach

Dr. Arthur

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

L. Johnson†

†Deceased 4

Performance / Vol . X XI / Winter 201 3

†Deceased

dso.org

Governing Members

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

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

officers

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

Maureen T. D’Avanzo Vice Chair, Membership

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

James C. Farber Vice Chair, Outreach

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

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

Perform ance / Vol . X XI / winter 2013

5

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

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

First Violins

Yoonshin Song Concertmaster Katherine Tuck Chair

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

Marguerite Deslippe* Elias Friedenzohn*

Laurie Landers Goldman* Eun Park*

Adrienne Rönmark* Laura Soto*

Greg Staples* Second Violins

Adam Stepniewski Acting Principal The Devereaux Family Chair Ron Fischer*

Sheryl Hwangbo*

Rachel Harding Klaus* Hong-Yi Mo*

Robert Murphy* Bruce Smith*

Joseph Striplin* Marian Tanau* Alvin Score Violas

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

Violoncellos

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

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

Peter McCaffrey* Haden McKay*

Úna O’Riordan* Paul Wingert* Basses

Stephen Molina Acting Principal Van Dusen Family Chair Linton Bodwin

Stephen Edwards

Larry Hutchinson Craig Rifel

Maxim Janowsky

Alexander Hanna+^ Richard Robinson^ Harp

Personnel Manager

Shelley Heron Maggie Miller Chair

Kevin Good

William Lucas

Heather Hart Rochon Assistant Orchestra Personnel Manager

Trombones

Assistant Conductor

Donald Baker+ Jack A. and Aviva Robinson Chair

Brian Ventura++

Monica Fosnaugh English Horn

Monica Fosnaugh Clarinets

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

Laurence Liberson++ Shannon Orme

E-Flat Clarinet

Laurence Liberson Bass Clarinet

Shannon Orme Barbara Frankel and Ronald Michalak Chair Bassoons

Flutes

Victoria King

David Buck+ Women’s Association for the DSO Chair

Sharon Sparrow Acting Assistant Principal Jeffery Zook Piccolo

Jeffery Zook

Robert Williams+ John and Marlene Boll Chair

Stephen Anderson Acting Principal Lee and Floy Barthel Chair

Stephen Molina Orchestra Personnel Manager

Kenneth Thompkins+

Teddy Abrams

Randall Hawes

Stage Personnel

Nathaniel Gurin++

Bass Trombone Randall Hawes Tuba

Dennis Nulty+ Timpani

Frank Bonucci Stage Manager

Steven Kemp Department Head Matthew Pons Department Head

Michael Sarkissian Department Head

Brian Flescher ``#

Legend

Percussion

++ Assistant Principal

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

Robert Stiles+ Ethan Allen

+ Principal

``# Substitute musician, Acting Principal ^ Extended Leave

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

§ African-American Orchestra Fellow

Michael Ke Ma++ Marcus Schoon

Garrett McQueen§ Contrabassoon Marcus Schoon French Horns Karl Pituch+

Bryan Kennedy

Corbin Wagner

Glenn Mellow

Johanna Yarbrough

Shanda Lowery-Sachs

David Everson++

Hart Hollman

Mark Abbott

Han Zheng

6

Trumpets

Patricia Masri-Fletcher+ Winifred E. Polk Chair

Hang Su

Catherine Compton

Oboes

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

Perform ance / Vol . X XI / Winter 201 3

dso.org

DIA-021_000040i_Fab_Bravo_7x4.8125_P.indd 3

9/7/12 11:14 AM

Diamonds.

The Gift that Guarantees A Symphony of Happiness.

dso.org

Perform ance / Vol . X XI / winter 2013

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President’s Message Dear friends, It takes more than years of practice to get to Carnegie Hall; in our case, it has involved years of advance planning and preparation, creative programming, generous sponsorship and not one, but two invitations!

On May 9 and 10, 2013, your DSO returns to New York to perform on one of the world’s great stages for the first time in 17 years, and we hope you’ll make the decision today to be a part of this once in a lifetime moment in our history by joining us.

We are so very grateful to our sponsors, the General Motors Foundation and the William Davidson Foundation, for their enthusiastic and heartfelt support. We also applaud the Spring For Music organization, in their third year of investing in some 17 orchestras and their communities from all across America. This unique weeklong festival provides unprecedented opportunities for programming innovation, encourages risk taking and experimentation, offers broad access through affordable pricing and web stream distribution of concerts and creates an atmosphere around the entire concert experience that is approachable, festive and above all fun. These philosophies align perfectly with our own here in Detroit, and we are extraordinarily proud to be able to showcase the collaborative partnership that has grown and deepened between Leonard Slatkin and our talented DSO musicians at this crucial time in our history.

On page 12, you’ll find more information about the programs we’ve selected, and patron travel packages we’ve created to make it easy for you to participate. The festival believes in the strong connections cities enjoy with their orchestras, and has challenged each of us to bring 1,000 fans to the Big Apple to celebrate and cheer on their home team. The DSO promises to take the spirit of Detroit to 57th Street, but we can’t do it without you. Please, plan your road trip with the DSO today! For more information, visit dso.org or call the box office at 313.576.5111.

Happy holidays, and thanks for the role you play in making all our performances rewarding experiences for everyone involved.

News & Notes

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

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

Beverly Hills Slatkin Conducts the Nutcracker!

Sunday, December 16 at 3 p.m.

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

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

Ford Community & Performing Arts Center

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

Grosse Pointe Memorial Church Southfield Slatkin Conducts!

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

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

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

Stream the Symphony!

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

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

Saturday, April 21, 8 p.m

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

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

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

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

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

Check out highlights anytime at youtube.com/detroitsymphony

Anne Parsons President & CEO

8

Performance / Vol . X XI / Winter 201 3

Follow the DSO dso.org

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

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

Meet the Musician:

W

Sheryl Hwangbo

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

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

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

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

“When I was growing up, I was a really small child. I was always the smallest in my class. So my mom wanted me to have something to give me confidence. In a way, violin was my weapon,” she said. “I don’t think I knew what ‘playing professionally’ meant, but I always remember being certain all I wanted to do was play,” she said.

“I’ve never even considered any other type of profession.”

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

dso.org

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

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

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

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

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

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

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

Perform ance / Vol . X XI / winter 2013

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DSO: A History

(Part 2 of 3)

October 16, 1952 Paul Paray begins as Conductor.

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

1952

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

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

10

Performance / Vol . X X I / Winter 201 3

October 20, 1958 DSO

makes its first appearance at the Worchester Music Festival.

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

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

1963 January 10, 1963

Sixten Ehrling becomes Music Director.

dso.org

december 1, 1964

Pops series in a Cabaret setting begins.

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

1970

september 23, 1977

Antal Dorati begins as Music Director.

1973

1977

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

september 20, 1973

Aldo Ceccato begins tenure as Principal Conductor.

July 9, 1974 First Upper Peninsula Music Festival Tour.

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

To be continued‌ dso.org

Perform ance / Vol . X XI / Winter 201 3

11

The Road to Carnegie Hall

by Gabrielle Poshadlo

T

Are you Going?

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

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

The ballet is a bitter satire on bourgeoisie exploitation.

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

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

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

Slatkin, who considers Ives to be one of America’s most progressive composers of his time, imagined the four-symphony program as a way to take the audience through Ives’ development as a composer and American icon.

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

Make sure your trip includes exclusive access to DSO musicians and events with patron tour packages available at $275

and $725, with options for accomodations. Packages include such activities as a commemorative pre-concert tour group photo, access to exclusive post-concert receptions; and behind-the-scenes explorations of music, art & food in New York City.

Travel to New York City not included. Non-tour general admission tickets are available at dso.org for just $25. Reserve your package at dso.org/ carnegiehall or by calling 313.576.5100.

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

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

Made possible by generous support from

and the

William Davidson Foundation

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

To make a donation to the DSO Annual Fund in support of Carnegie Hall and projects like it, call 313.576.5114.

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dso.org

Profiles

Canadian Brass Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

dso presents Tuesday, December 18, 2012 at 7:30 p.m. in Orchestra Hall The Canadian Brass Chuck Daellenbach, tuba Christopher Coletti and Brandon Ridenour, trumpets Achilles Liarmakopoulos, trombone Eric Reed, horn

Tonight’s program will be announced from the stage.

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

dso.org

With an international reputation as one of the most popular brass ensembles today, Canadian Brass has truly earned the distinction of “the world’s most famous brass group.”

Friends Chuck Daellenbach and Gene Watts first came together in 1970 to form a brass quintet. Initially, Gene took on the role of developing new repertoire while Chuck was the moving force in marketing, publishing and managing the group. Three empty chairs were quickly filled and together, the group’s imagination and consummate musicianship elevated the art of the brass quintet to what it is today. Here was not only an opportunity to explore the possibilities of an all-brass chamber group but a challenge to bring the sound and the excitement of brass music to new audiences.

The varied Canadian Brass repertoire features brass standards as well as a wideranging library of original arrangements created especially for them. These include the works of Renaissance and Baroque masters, classical works, marches, holiday favorites, ragtime, Dixieland, Latin, jazz, big band, Broadway and Christian music, as well as popular songs and standards. Having started with a very limited base, Canadian Brass has created their own musical world by transcribing, arranging and commissioning more than 200 works including critically acclaimed compositions from Michael Kamen, Luther Henderson, Bramwell Tovey, Don Gillis and more.

Canadian Brass is especially noted for their famous Holiday Concerts and was at the forefront of re-establishing American composer and pianist Scott Joplin with today’s audiences through their research, arrangements and recordings of his “rags” and other works.

With a discography of over 100 albums and an extensive world-wide touring schedule, the Canadian Brass play to packed houses everywhere throughout the USA, Canada, Japan and Europe. Canadian Brass is currently Artist in Residence at the University of Toronto after having been Chamber Quintet-in-Residence for many years at the Music Academy of the West in Santa Barbara, Calif., and has created an innovative brass summer course at the Eastman School of Music.

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Profiles Kenny G

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

dso presents Wednesday, December 19, 2012 at 7:30 p.m. in Orchestra Hall Kenny G Robert Damper, Keyboard Vail Johnson, Bass John Raymond, Guitar Daniel Bejarano, Drums Ron Powell, Percussion

Program to be announced from the stage.

This program is generously sponsored by

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In a recording career that spans almost three decades and 23 albums, Grammy Awardwinning saxophonist Kenny G has grafted elements of R&B, pop and Latin to a jazz Kenny G foundation solidifying his reputation as the premiere artist in contemporary jazz. Since the early ‘80s, his combination of unparalleled instrumental chops and indelible melodies has resulted in sales of more than 75 million records worldwide. His latest recording, “Heart and Soul,” was released on June 29, 2010 on Concord Records.

Following up on the success of Rhythm and Romance, his first Latin jazz album and his Concord debut in 2008, “Heart and Soul” captures the spirit and vibe of the classic R&B that Kenny grew up listening to in his native Seattle.

In many respects, where it took him was back to the beginning – the R&B of the early and mid 1970s that Kenny soaked up during his teen years at an inner-city Seattle high school where he mixed with a culturally diverse student body at a young age. Inspired by the likes of Earth, Wind & Fire and Grover Washington, Jr., he was only 17 when he landed a gig with Barry White and his Love Unlimited Orchestra at the Paramount Northwest Theater (now the Paramount Theater) in 1973.

In 1982, he landed a record deal with Arista and launched a solo career with three critically acclaimed jazz albums – Kenny G (1982), G-Force (1983) and Gravity (1985).

Other career highlights include “Miracles,” a 1994 holiday album that took him to the top of the Billboard chart for the first time and has since become the best-selling holiday album of all time. His two holiday albums since then, “Faith” in 1999 and “Wishes” in 2002, have been similarly successful.

He joined Concord in 2008 with the release of “Rhythm and Romance,” an album that united him with an all-star lineup of Latin musicians, including guitarist Ramon Stagnaro; percussionists Michito Sanchez, Paulino Da Costa and Ron Powell; and legendary Weather Report drummer Alex Acuña.

On this second outing with Concord, Kenny is enjoying an unprecedented sense of creative freedom that has enabled him to make one of the best records of his career — one that’s true to his roots and true to his creative vision. dso.org

Profiles

John Morris Russell Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Pop Series Friday, December 21, 2012 at 10:45 a.m. & 8 p.m.

Saturday, December 22, 2012 at 3 p.m. & 8 p.m.

Sunday, December 23, 2012 at 3 p.m. in Orchestra Hall John Morris Russell, conductor Kisma Jordan, soprano* Andover High School Choir,# Bruce Snyder, director Grosse Pointe South High School Pointe Singers,^ Christopher Pratt, director

Steven Amundson Angel’s Dance

Robert L. Shaw Many Moods of Christmas, Suite IV Break Forth, O Beauteous Heavenly Light The First Nowell O Little Town of Bethlehem I Saw Three Ships Deck the Halls with Boughs of Holly # ^

Antonio Vivaldi/Traditional A Winter Miracle arr. Tim Berens

Alan Silvestri and Glen Ballard The Polar Express arr. Jerry Brubaker

Johann Sebastian Bach “Ave Maria” (Meditation)* orch. Charles Gounod David Willcocks Ding Dong! Merrily on High # ^ Adolphe-Charles Adam O Holy Night* arr. Snyder

I n t er m ission

Arthur Harris We Three Kings

Felix Mendelssohn Elijah, Op.70, No.29: “He watching over Israel” # ^

George Frideric Handel Judas Maccabeus, HWV 63: “See the Conquering Hero Comes” # ^

George Frideric Handel “Hallelujah” chorus from Messiah # ^ orch. Wolfgang Amadeus Mozart

Georges Bizet “Farandole” from L’Arlésienne Suite No. 2

Leroy Anderson Sleigh Ride arr. Julie Spangler

William Schermerhorn I Believe # ^ and Westley Whatley

Sir Edward Elgar Enigma Variations, Op.36 IX. “Nimrod” Moderato

arr. Steven Reineke “Go Tell It on the Mountain” * # ^ arr. John Finnegan Christmas Singalong

This Pops series program is generously sponsored by

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

dso.org

At the close of the 2011-12 season, John Morris Russell completed his first full season as Conductor of the Cincinnati Pops.

Consistently winning international praise for russell his extraordinary music-making and visionary leadership, he was recently named Music Director of the Hilton Head Symphony Orchestra in Hilton Head, South Carolina. He completed his role as Music Director of the Windsor Symphony Orchestra in Ontario, Canada at the end of the 2011-12 season, whereupon he was named that orchestra’s first Conductor Laureate.

No stranger to Cincinnati audiences, for many seasons Russell served as Associate Conductor of the Cincinnati Symphony Orchestra. He was recognized for his innovative programming and commitment to attracting new and diverse audiences to orchestral music, creating the Classical Roots: Spiritual Heights series, which brought the music of African-American composers and performers to thousands of listeners in area churches, and was also the co-creator of the Christmas spectacular, Home for the Holidays.

As a guest conductor, Russell has worked with many of North America’s most distinguished ensembles, leading Canadian orchestras that include Toronto, Edmonton, Calgary, Vancouver, Victoria, KitchenerWaterloo and Orchestra London. In the US he has conducted the orchestras of Detroit, Houston, Indianapolis, Dallas, Louisville, Miami’s New World Symphony, the Minnesota Orchestra, Oregon Symphony, Colorado Symphony, New Jersey Symphony, New York Pops, New York City Ballet, New York Philharmonic, the Los Angeles Philharmonic at the Hollywood Bowl, and the Cleveland Orchestra at the Blossom Music Festival.

2011-12 marked Russell’s 11th and final season as Music Director of the Windsor Symphony Orchestra. While at Windsor he fostered a decade of unprecedented artistic growth and invigorated the musical life of the Windsor-Essex region. Under Russell’s baton, the WSO made 17 national broadcasts on CBC Radio 2.

Russell has also served as associate conductor of the Savannah Symphony Orchestra, director of the orchestral program at Vanderbilt University, and music director with the College Light Opera Company in Perform ance / Vol . X XI / Winter 201 3

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Falmouth, Massachusetts. He received a Master of Music degree in conducting from the University of Southern California, Los Angeles, and a Bachelor of Arts degree in music from Williams College in Massachusetts. He has also studied at the Guildhall School of Music and Drama in London, the Cleveland Institute of Music, the Aspen Music Festival in Colorado, and the Pierre Monteux School for Conductors in Hancock, Maine.

Kisma Jordan

Kisma Jordan, soprano, a native of Detroit, is emerging as one of the country’s most luminous vocal talents.

On the opera stage as well as in concert and jordan recital, she has been recognized for her soul-stirring communicative ability and “shimmering soprano voice,” as noted by The New York Times. She has won top prizes in The Fritz and Lavinia Jensen Vocal Competition, The Belcanto Vocal Scholarship, The Baltimore Music Club and The National Association of Teachers of Singing. As a semi-finalist of the 2010 Metropolitan Opera National Council Auditions, she has been privileged to receive gracious Education Fund Awards from the Met. In 2011, Jordan was awarded the A. Grace Lee Mims Vocal Scholarship by the Cleveland Foundation. She also made solo debuts with the Omaha Symphony Orchestra as part of their Masterworks Series, followed by the Louisiana Philharmonic. Her most recent performances include Nedda in Repertory Opera Theatre of Washington’s production of Pagliacci, and Anne Trulove at the Baltimore Lyric Opera in their production of The Rake’s Progress. This fall, Jordan performed the Vier Letze lieder (The Four Last Songs) with the Peabody Symphony Orchestra as part of her award as winner of the Sylvia L. Green Voice Competition.

Jordan began her undergraduate studies at Kentucky State University where she was awarded a full academic and vocal music scholarship. Although not a vocal performance major upon entering KSU, her love of music, private voice studies, opera theatre experiences and concert choir activities proved too strong a passion to ignore. She earned the Bachelor of Music degree in Vocal Performance in 2004, and now holds graduate degrees in vocal performance from Bowling Green State and most recently, Peabody Conservatory.

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Presented by

CLASSICAL

Celebration SATURDAY, March 9, 2013 Orchestra Hall

dso.org

Profiles

Mark Wigglesworth Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Classical Series Saturday, January 19, 2013 at 8 p.m.

Sunday, January 20, 2013 at 3 p.m. * in Orchestra Hall Mark Wigglesworth, conductor Robert deMaine, cello

Henry Purcell Chacony in G minor (1659-1695) Edited, Benjamin Britten

Benjamin Britten Symphony for Cello and Orchestra, Op. 68

(1913-1976) Allegro maestoso Presto inquieto Adagio Passacaglia: Andante allegro Robert deMaine, cello

I n t er m ission

Sir Edward Elgar Variations on an Original Theme, Op. 36,

(1857-1934) “Enigma” Enigma: Andante Variations: “C.A.E.” L’istesso tempo “H.D.S.- P.” Allegro “R.B.T.” Allegretto “W.M.B.” Allegro di molto “R.P.A.” Moderato “Ysobel” Andantino “Troyte” Presto “W.N.” Allegretto “Nimrod” Moderato “Dorabella - Intermezzo” Allegretto “G.R.S.” Allegro di molto “B.G.N.” Andante “*** - Romanza” Moderato “E.D.U.” - Finale This Classical Series program is generously sponsored by

PVS Chemicals, Inc.

*Denotes a webcast performance

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Get the most out of each classical concert by attending pre-concert presentations, one hour prior to performances (excluding Coffee Concerts). The presentations are informal and may include special guests, lectures and music that reveal interesting facts about the program and provide a behind-the-scenes look at the art of making music. noitibihxE na ta serutciP .m.p 3 ,6 yaM ,yadnuS

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

dso.org

Born in Sussex, England, Mark Wigglesworth studied music at Manchester University and conducting at the Royal Academy of Music in London. A few weeks wigglesworth after leaving the Academy, he won the Kondrashin International Conducting Competition in The Netherlands and since then has worked with many of the world’s leading orchestras and opera companies.

Wigglesworth was appointed Associate Conductor of the BBC Symphony Orchestra in 1992 and further appointments included Principal Guest Conductor of the Swedish Radio Symphony Orchestra and Music Director of the BBC National Orchestra of Wales.

In addition to concerts with most of the UK orchestras, Wigglesworth has guest conducted many of Europe’s finest ensembles, including the Berlin Philharmonic, Amsterdam Concertgebouw, La Scala Filarmonica in Milan, Accademia Nazionale di Santa Cecilia Orchestra in Rome, Stockholm Philharmonic, Gothenburg Symphony, Oslo Philharmonic, Helsinki Radio Symphony, Salzburg Mozarteum Orchestra, Sydney Symphony and the Budapest Festival Orchestra.

Equally busy in North America, Wigglesworth has worked with the Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, Chicago Symphony, Los Angeles Philharmonic, San Francisco Symphony, Montreal Symphony, Detroit Symphony, Toronto Symphony, and the Boston Symphony.

In the recording studio, Wigglesworth’s recent activities have been centered around a multi-year project of recording all of the symphonies of Shostakovich for BIS Records.

He has also recorded live performances of Mahler’s Sixth and Tenth Symphonies with the Melbourne Symphony on the MSO Live label. In January 2013, he records the Brahms piano concertos with Stephen Hough and the Salzburg Mozarteum for Hyperion.

Highlights of Wigglesworth’s 2012-13 season include return visits to the Minnesota Orchestra, Cincinnati and Detroit symphonies and his debut with the Vancouver Symphony; as well as re-engagements with the Netherlands Radio Philharmonic, Hong Kong Philharmonic and Tokyo Symphony and performances of Cosi fan Tutte with the Welsh National Opera.

Perform ance / Vol . X XI / Winter 201 3

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Robert deMaine

Named Principal Cellist of the DSO in 2002, Robert deMaine has been praised by The New York Times as “an artist who makes one hang on every note.” deMaine He has distinguished himself as one of the finest musicians of his generation, having performed to critical acclaim throughout the world, from Carnegie Hall to the Teatro Colón in Buenos Aires.

In addition to fellowship study at Yale University and the Eastman School of Music (having graduated magna cum laude) where he studied composition, conducting, and piano as well as modern and baroque cello performance and literature, deMaine trained at the legendary Meadowmount School in New York and is an alumnus of the Piatigorsky Seminar at the University of Southern California. At age 12, deMaine became one of the last private students accepted by the eminent cellist and pedagogue Leonard Rose at the Juilliard School Pre-College Division. In addition to Rose, his major teachers have included Steven Doane, Paul Katz, Aldo Parisot, Richard Kapuscinski, Luís García-Renart, Alexander Schneider and Felix Galimir. He has collaborated with countless esteemed musicians including conductors Neeme Järvi and Walter Hendl, pianists Claude Frank and Yefim Bronfman, and violinists Joseph Silverstein, James Ehnes and Gil Shaham, in addition to renowned chamber groups and orchestras throughout the world. deMaine has recorded for CBC, Elysium, Capstone, and CRI records, and his performances can be heard on such programs as NPR’s Performance Today, the CBC, and seen on PBS and RAI. deMaine is a frequent guest artist at music festivals throughout the world, including Aspen, Eastern, Heidelberg (Germany), San Miguel de Allende (Mexico), Buenos Aires (Argentina), Norfolk, Seattle, Steamboat Springs, Armstrong Chamber Concerts, Utah, Great Lakes, and the Marlboro Music Festival in Vermont, also performing with Music from Marlboro in New York and Washington, D.C. He has written much music for the cello which he often performs, such as his Twelve Études-Caprices, Op. 31 (1999). His instrument is a Neapolitan cello, ca. 1780,

by Joannes Gagliano, and his bows were made by the French makers FrançoisNicolas Voirin, Paris, 1870 and Nicolas Maire, Mirecourt, 1850.

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Program Notes Chacony in G minor HENRY PURCELL

B. Sept. 10, 1659 in Westminster, England D. Nov. 21, 1695 in Westminster, England

Transcribed for string orchestra by BENJAMIN BRITTEN

B. Nov. 22, 1913 in Lowestoft, England D. Dec. 4, 1976 in Aldeburgh, England

The origins of Purcell’s Chacony are obscure. It is possible that he originally composed the piece for a stage work, most likely of tragic character.

Scored for strings (approx. 6 minutes).

B

enjamin Britten was especially fond of Purcell’s Chacony, as he was of all of Purcell’s music. In transcribing the Chacony for string orchestra, Britten made no major alterations. Rather, he established merely an appropriate dynamic scheme, an even distribution of the four original parts, and a consistent treatment of the dotted rhythms.

The chaconne (or chacony, to use Purcell’s term) was originally a dance form in which a series of continuous variations is heard over a repeating bass theme, known as a ground bass. In Purcell’s Chacony, the ground bass is announced in the first eight bars. Eighteen variations follow. In the course of these variations, the ground bass is heard against a series of continually changing rhythms and harmonies. The listener may wish to take special note of Variation 10, in which the texture reduces to three voices and the ground bass is played by the violas; and of Variations 13 and 14, in which Purcell varies the ground bass itself.

The DSO last performed Purcell’s Chacony in G minor, arranged by Benjamin Britten, in January 2010, led by Leonard Slatkin.

Notes compiled and edited by Richard B. Hancock, based in part on notes written by Robert Holmes.

SO Shop @ The Ma x D recommends:

Purcell – Chacony in G minor (transcribed

by Benjamin Britten): Gavin Sutherland conducting the Royal Ballet Sinfonia, Naxos 8557753.

Symphony for Cello and Orchestra BENJAMIN BRITTEN

B. November 22, 1913 D. December 4, 1976

Scored for two flutes (one doubling piccolo), two oboes, two clarinets (one doubling bass clarinet), one bassoon, contrabassoon, two horns, two trumpets, two trombones, tuba, timpani, percussion (playing bass drum, cymbals, gong, snare drum, tam-tam ,tambourine, tenor drum, vibraphone and whip), and strings (approx. 35 minutes).

his remarkable work, which is a T concerto in all but name, is one of a series of works which Britten wrote for

the great Russian cellist Mstislav Rostropovich, and was the final installment of the music this profound friendship produced. Completed in early 1963, it marked Britten’s return to symphonic writing after a long period in which he wrote primarily vocal music and opera.

The seeds of this amazing artistic and personal relationship were sown in London in September of 1960 when the cellist and Dmitri Shostakovich were there for the British premiere of Shostakovich’s First Cello Concerto, which had been written for and first performed by the then 33-year-old Rostropovich. Britten had heard the cellist in recital on the BBC a few days before, and remarked that it was the most extraordinary cello playing he had ever heard. “This was a new way of playing the cello,” he recalled, “almost a new, vital way of playing music.”

Following the concert the two men were introduced for the first time, after which Britten asked if he could see Rostropovich at his hotel the following day. At that second encounter, Britten said that he was greatly interested in writing a cello sonata, but would do so only if Rostropovich would agree to give the first performance at Britten’s Aldeburgh Festival the following summer. Back in Moscow in February of 1961 the cellist received a package containing the new sonata, and upon returning to his apartment from the post office “….made a dash for my cello, locked myself in a room and went at that Sonata. It was a case of love at first sight.” Having read through the Sonata several times, he dashed off a telegram to Britten which read in part, “Admiring and in love with your great Sonata…..Love, Rostropovich.” The first performance was indeed given at the Aldeburgh Festival in the summer of that

dso.org

year, and it was a total triumph, impressing the audience so greatly that the two artists were obliged to repeat the last two movements. Britten then went on to write three suites for solo cello (1965, 1968 and 1972), and before them, the capstone of their collaboration, this Symphony for Cello and Orchestra.

In March of 1962 Rostropovich, who had been ill for some time with heart problems, wrote an amusing letter to Britten which said, in part,”…..if you want me to recover completely I ask you to consult the doctor whose address is: The Red House, Aldeburgh, Suffolk. Only he can bring me to life by composing a brilliant violoncello concerto.” Britten, whose health was also not the best, replied in kind, saying that “the doctors in Aldeburgh” wanted to see him, and promising to write a new concerto. In August of that year, some three months after the premiere of Britten’s monumental War Requiem, he sent the first movement of the new work to Rostropovich, telling him it was shaping up more like a symphony than a proper concerto, and saying “….I hope you will like it, dear Slava; I must confess I can hear you in every note and every bar….” After playing through the movement, Rostropovich replied that it was “….the very top of everything ever written for the cello.” Britten had planned to have the new concerto, or Cello Symphony as he was now calling it, ready for a premiere in Moscow during a planned visit in March of 1963, but his continuing health problems made this impossible. It was finally finished in May of that year, but now the cellist’s continuing health problems left the date of a premiere up in the air. In an interview which took place at about this time on the occasion of Britten’s 50th birthday, the interviewer voiced the opinion that Britten was primarily an opera composer, to which he replied, “Well, I don’t know…..At the moment, I think, the finest thing I have written is my work for cello and orchestra which hasn’t yet been performed.”

The 1963 trip which Britten made to Russia was extremely successful, and he was invited back for the following season specifically to conduct the premiere of the new cello work. By that time, the health of both men had greatly improved, and the first performance took place in March of 1964 with Rostropovich as soloist and the composer conducting the Moscow Philharmonic. The Russian musical establishment was there in full force, Shostakovich and Khachaturian among them, and applauded politely at the dso.org

conclusion of the work. This was greatly contrasted by the students in attendance who were so enthusiastic and vociferous in their approval that they caused the last movement to be encored. Later on, a musical authority stated that it had been years since a new work excited the younger generation that much. That summer the work was given its British premiere at the Aldeburgh Festival where it was proclaimed a masterpiece, and one critic wrote that “Rostropovich played the work

as though he had composed it himself.”

The Cello Symphony is the largest concert work from Britten’s later years, and shows a total mastery of structure and symphonic thinking. Calling the work a Symphony rather than a Concerto refers to the partnership and equal sharing of the musical material between soloist and orchestra, or, in the composer’s words, it is “….an argument on equal terms, rather than just a pure background for the orchestra.” Perhaps the predominant

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Perform ance / Vol . X XI / Winter 201 3

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characteristics of the work are restlessness and a sense of internal struggle. The Dutch cellist Pieter Wispelwey, who has played the work frequently, has said “….the Symphony feels, as the movements progress, like a journey from darkness to light. It’s a grueling journey, too: the final passacaglia’s triumphant close is tinged as much with exhausted relief as with joy.” In this extraordinary work, Britten paid Rostropovich the highest compliment by writing a piece which requires supreme technical mastery but gives the soloist very little opportunity to show it off in an extroverted or self-conscious fashion. The piece is in the four-movement structure which is more typical of a symphony than a concerto, and the final two movements are linked by an expansive solo cadenza.

SO Shop @ The Ma x D recommends:

Britten – Symphony for Cello and Orchestra: Yo-Yo Ma, cello, David Zinman conducting the Baltimore Symphony Orchestra, Sony 44900.

Variations on an Original Theme, Op. 36, “Enigma” Sir Edward Elgar

B. 2 June 1857 in Broadheath, near Worcester, England D. 23 Feb. 1934 in Worcester

First performed on 19 June 1899 at St. James’s Hall in London with Hans Richter conducting.

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, snare drum, triangle), organ and strings.

Corporate Spotlight

DTE Energy Foundation

V

ariations on an Original Theme (1898–99) is Elgar’s best known orchestral composition, a theme with 14 variations that has intrigued music enthusiasts for more than a century. His most ambitious composition at the time of its premiere, as well as his most successful, it was inspired by subconscious creativity at the end of a long day: “In a little while, soothed and feeling rested, I began to play, and suddenly my wife interrupted by saying, ‘Edward, that’s a good tune.’ I awoke from the dream: ‘Eh! tune, what tune!’ and she said, ‘Play it again, I like that tune.’ I played and strummed, and played, and then she exclaimed, ‘That’s the tune.’ And that tune is the theme of the Variations.”

Elgar went on to characterize 13 of his closest friends through this theme.

The 14th variation portrays the composer himself.

The term “enigma” in the title refers both to the mystery of the persons he represented in each variation — originally branded only by initials but now identified — and to an unknown theme that allegedly runs throughout the whole piece, but never in its entirety. It is of this second mysterious theme that Elgar speaks when he says: “[I]t’s ‘dark saying’ must be left unguessed... further, through and over the whole set another and larger theme ‘goes,’ but is not played…. [T]he chief character is never on stage.”

For more than a century, many have guessed as to what this hidden theme might be. Theories range from the melodies “God Save the Queen” and “Auld Lang Syne” to the mathematical value of Pi (π) or some other encompassing, non-musical concept through which the work’s characters are linked. At this point in history, we might wonder if this piece’s deepest mystery will

The DSO is pleased to recognize the support of the DTE Energy Foundation and their commitment to education and community outreach through their generous partnership in “The DSO in Your Community”.

Through the support of the DTE Energy Foundation, the DSO was able to perform a series of five free concerts in the Metro-Detroit area, bringing the artistic mission of the DSO to new audiences in new communities.

Performances in Mt. Clemens, Clarkston, Anchor Bay, Wayne and Ann Arbor were met with great enthusiasm in packed high school auditoriums. In addition to these performances, the DTE Energy Foundation is helping to satisfy its educational mission through the support of several in-school DSO performances at Detroit Public schools this season. This collaboration has already brought music to Detroit School of Arts, Renaissance High School and Spain Elementary-Middle School.

The DSO greatly values our partnership with the DTE Energy Foundation and their generous support of our community and educational programs.

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Perform ance / Vol . X XI / Winter 201 3

ever be discovered or if Elgar took the secret to his grave. In either case, the composer has left an intriguing conundrum that will likely puzzle his fans for centuries to come.

The movements, accompanied by brief explanatory notes written by Elgar, include: I. “C.A.E.” L’istesso tempo His wife, Caroline Alice Elgar: “[T]hose who knew C.A.E. will understand this reference to one whose life was a romantic and delicate inspiration.”

II. “H.D.S.- P.” Allegro Hew David Steuart-Powell, a wellknown amateur pianist: “His characteristic diatonic run over the keys before beginning to play is here humorously travestied in the semiquaver [sixteenth-note] passages.”

III. “R.B.T.” Allegretto Richard Baxter Townsend, an amateur actor: “The Variation has a reference to R.B.T.’s presentation of an old man in some amateur theatricals — the low voice flying off occasionally into ‘soprano’ timbre.”

IV. “W.M.B.” Allegro di molto William Meath Baker: “[a] country squire, gentleman and scholar.... This variation was written after the host had, with a slip of paper in his hand, forcibly read out the [carriage] arrangements for the day and hurriedly left the music-room with an inadvertent bang of the door.”

V. “R.P.A.” Moderato Richard Penrose Arnold, an amateur pianist and son of the poet Matthew Arnold: “His serious conversation was continually broken up by whimsical and witty remarks.”

VI. “Ysobel” Andantino Isabel Fitton, one of Elgar’s viola pupils: “It may be noticed that the opening bar, a phrase made use of throughout the variation, is an ‘exercise’ for crossing the strings.”

VII. “Troyte” Presto Arthur Troyte Griffiths, an architect: “The uncouth rhythm of the drums and lower strings was really suggested by some maladroit essays to play the pianoforte; later the strong rhythm suggests the attempts of the instructor to make something like order out of chaos, and the final despairing ‘slam’ records that the effort proved to be in vain.”

VIII. “W.N.” Allegretto Winifred Norbury, an easy-going friend: “Really suggested by an 18th century house.

The gracious personalities of the ladies are dso.org

sedately shown...a little suggestion of a characteristic laugh is given.”

IX. “Nimrod” Moderato Augustus J. Jaeger, Elgar’s best friend and a writer on music: “The variation bearing this name is the record of a long summer evening talk, when my friend discoursed eloquently on the slow movements of Beethoven, and said that no one could approach Beethoven at his best in this field, a view with which I cordially concurred.”

Signature Chamber Series

Anthony Marwood, Violin Aleksandar Madžar, Piano Saturday, January 12, 2013, 8:00 PM

Friends for 20 years, these artists are among the best of their generation performing today.

Program includes Beethoven’s “Kreutzer” Sonata plus works of Debussy, Schubert and Kerry.

X. “Dorabella — Intermezzo” Allegretto Dora Penny, a close friend who had a stammer: “The pseudonym is adopted from Mozart’s ‘Cosi fan tutte.’ The movement suggests a dance-like lightness.”

XI. “G.R.S.” Allegro di molto George Sinclair, organist: “The variation, however, has nothing to do with organs or cathedrals, or, except remotely, with G.R.S. The first few bars were suggested by his great bulldog Dan (a well-known character) falling down the steep bank into the River Wye....”

Piano SerieS Marc-André Hamelin, Piano Saturday, January 19, 2013, 8:00 PM

Program includes Ravel’s Gaspard de la nuit, Rachmaninoff’s Sonata No. 2 plus works by Bach, Fauré, and Hamelin himself.

Sponsored by PNC Wealth Management

XII. “B.G.N.” Andante Basil Nevinson, an amateur cellist: “The variation is a tribute to a very dear friend whose scientific and artistic attainments, and the whole-hearted way they were put at the disposal of his friends, particularly endeared him to the writer.”

XIII. “*** - Romanza” Moderato “The asterisks take the place of the name of a lady who was, at the time of the composition, on a sea voyage.” While Elgar likely meant the Lady Mary Lygon, who was sailing for Australia at the time, it has also been speculated that he wrote this variation to portray Helen Weaver, to whom he had once been engaged.

XIV. “E.D.U.” — Finale Edward Elgar, “Edu” was a fond name used by his wife: “Written at a time when friends were dubious and generally discouraging as to the composer’s musical future, this variation is merely to show what E.D.U....intended to do.”

DSO Shop @ the Max Recommends: Elgar, Enigma Variations: Leonard Slatkin conducting the London Philharmonic Orchestra, RCA 68087.

SO Shop @ The Ma x D recommends:

Elgar – Enigma Variations: Leonard Slatkin conducting the London Philharmonic Orchestra, RCA 68087. dso.org

Signature Chamber Series

American String Quartet Saturday, February 9, 2013, 8:00 PM

Marking its 37th season in 2012-13, the American String Quartet is widely recognized as one of the world’s foremost quartets.

Pre-Concert Recital begins at 6:45 PM

Aeolus Quartet

Chamber Music Society of Detroit Concerts at the Seligman Performing Arts Center 13 Mile & Lahser Roads in Beverly Hills

Tickets $15-$60: 248-855-6070 www.ChamberMusicDetroit.org c m s d

in Depth

A new downtown Detroit series:

CMSD artists share their unique artistic passions

Side by Side Quartets: American & Aeolus String Quartets February 8, 2013, 8 PM The Music Box at the Max M. Fisher Music Center Two great ensembles, one established and one emerging, share an informal evening of music written by composers they have each worked with personally.

Cabaret seating, cash bar & refreshments available.

All tickets $20 / students $10.

www.ChamberMusicDetroit.org/inDepth

Perform ance / Vol . X XI / Winter 201 3

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Profiles Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

POPS Series Friday, January 25 at 10:45 a.m.

Saturday, January 26 at 8 p.m.

Sunday, January 27 at 3 p.m. in Orchestra Hall Stuart Chafetz, conductor J.P. Richardson as Big Bopper Ray Anthony as Richie Valens John Mueller as Buddy Holly Program to be announced from the stage.

This Pops series program is generously sponsored by

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

J.P. Richardson Jr.

“J.P.” was born on April 28, 1959, just three months after the fateful plane crash that took his father’s life. He was raised by his mother, Adrian Joy Richardson, in Beaumont, Texas. Richardson knew very little about his father when he was growing up; it was during summers spent with his grandparents that he learned that his father had been an outgoing radio personality and musician who wrote several pop and country hits. It was here that Richardson first listened to his father’s music.

In 1989, movie producers began inquiring about a possible Big Bopper movie. It was then that Richardson really learned about his father. For the first time Richardson and his mother discussed who his father had been and what it meant to be the Big Bopper.

In the early 90’s J.P. owned a nightclub called The Little Bopper. He booked rock and roll acts and would often relax with the performers after the shows. Late one evening Frankie Ford (Sea Cruise), heard J.P. singing “Chantilly Lace” while playing billiards. Ford was so impressed by J.P.’s similarity to the Bopper that he urged J.P. to take up a performing as a tribute to his father.

J.P. has played with many great rock acts including The Crickets, the Drifters, The 22

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

Coasters, Freddy Cannon, Bobby Vee, and the Shirelles. Highlights include retracing his father’s footsteps on the Winter Dance Party tour of 2000, performing on the Jerry Lewis Telethon and being part of the VH1 special documentary, The Day the Music Died.

Ray Anthony

Ray Anthony is a veteran of the music industry. A talented musician, he is a selftaught guitar player, bass player, drummer, and songwriter. Some career highlights include “Rock and Roll Heaven,” “Legends of Rock and Roll,” “Superstars in Concert,” and performing as a guest artist in major hockey arenas in Canada. United States credits include “Legends In Concert,” “Legendary Stars,” and “50’s at the Hop” in Branson, Mo. He has worked with legendary Elvis associates such as Charlie Hodge, and JD Sumner.

Anthony was first turned onto rock and roll at the age of 7 while watching Elvis Presley in the “1968 Comeback Special.”

He was inspired to stand in front of the mirror shaking his leg just like the king of rock and roll. Ironically, the Ritchie Valens tribute fell into Ray’s lap. While performing his 50’s and 60’s single act throughout Canada and the U.S., audience members began making reference to Anthony’s

uncanny resemblance to Lou Diamond Phillips in the 1987 film “La Bamba” and ever since he has become synonymous with Ritchie Valens. He has earned the praise of Ritchie Valens’ own family with Irma Valens, Ritchie’s sister, proclaiming, “Every time I see Ray perform as Ritchie it brings a tear to my eye.”

Based in Las Vegas, Anthony performs frequently with the “Legends In Concert” show at the Imperial Palace.

John Mueller

Born and raised in Wichita, Kansas, John Mueller first appeared as Buddy Holly in the world stage premiere of Be Bop A Lula in Hollywood. It was produced by Adam Ant and John Densmore of The Doors. He then won a Drama Desk Award and critical acclaim for his portrayal in the theatrical production of Buddy..the Buddy Holly Story at Kansas City’s famed American Heartland Theatre. Mueller has held this role in many other cities including, San Diego, Chicago, Toronto, Miami and garnered rave reviews.

John has also performed with several members of Buddy Holly’s band including Tommy Allsup, Carl Bunch, and the late Niki Sullivan. Mueller is most proud of the praise from Niki Sullivan, a former member of Buddy’s band, The Crickets, who said, “John is a reincarnation of Buddy Holly. He is that good.”

Since 1999, every year has found Mueller touring the frozen U.S. Midwest to recreate The 50’s Dance Party that was to be Buddy Holly, Ritchie Valens and the Big Bopper’s final tour. Mueller has played in every remaining ballroom that the originals did over 44 years ago. The concert also features the son of the Big Bopper and has been described by critics and public alike as the most authentic re-creation ever done and has even garnered Mueller the keys to the city of Green Bay, Wisc.

Recently, Mueller performed at the Rock and Roll Hall of Fame with John Mellencamp, Marshall Crenshaw, Nanci Griffith, and Joe Ely, to name a few. Other highlights include a live TV appearance with over 2 million viewers nationwide on the Jerry Lewis Telethon and also performing a live sing-a-long version of “Peggy Sue” with over 48,000 fans at Texas Tech University’s halftime show.

Mueller takes an authentic approach to Holly’s music. He plays Holly’s songs true to their original form on a reissued 1957 Fender Stratocaster, the exact year and make of original. dso.org

Profiles Jack DeJohnette

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

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

Paradise jazz Series Friday, February 1 at 8 p.m. in Orchestra Hall The Jack DeJohnette Group

Program to be announced from the stage.

This Paradise Jazz Series program is generously sponsored by

National media support

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

dso.org

Born in Chicago in 1942, Grammy winner Jack DeJohnette is widely regarded as one of jazz music’s greatest drummers. Music appreciation flourished in DeJohnette’s family.

He studied classical dejohnette piano from age 4 until 14, before beginning to play drums with his high school concert band and taking private piano lessons at the Chicago Conservatory of Music.

It was in 1968 that DeJohnette joined Miles Davis’ group in time for the epochal upheaval marked by “Bitches Brew,” an album that changed the direction of jazz.

Working with Miles also brought about collaborations with John McLaughlin, Chick Corea and Dave Holland.

In 1968 he recorded his first album as a leader on the Milestone label, called “The DeJohnette Complex,” where Jack played the melodica along with his mentor Roy Haynes on drums. In the early 70s he recorded “Have You Heard” in Japan and two albums for Prestige, called “Sorcery” and “Cosmic Chicken.”

DeJohnette has recorded as a leader on Columbia, Landmark, MCA/GRP, and Toshiba/EMI/Blue Note, but the bulk of his recordings are on the ECM label. He also has a growing catalogue on his own imprint, Golden Beans Productions, since the label’s launch in 2005.

Jack’s wide-ranging style, capable of playing in any idiom while still maintaining a well-defined voice, keeps him in constant demand as a drummer, bandleader, and as a sideman. His latest project is The Jack DeJohnette Group, featuring Rudresh Mahanthappa on alto saxophone, David Fiuczynski on double-neck guitar, George Colligan on keyboards and piano, and long-time associate Jerome Harris on electric and acoustic bass guitars. The Group has toured North America and Europe in 2010 and recorded and toured in 2011.

On January 10, 2012 Jack was honored as a recipient of a 2012 NEA Jazz Master Award for his lifetime achievement.

He was recognized for his extraordinary contribution to advancing the jazz art form and for serving as a mentor for a new generation of young aspiring jazz musicians.

Perform ance / Vol . X XI / Winter 201 3

23

Profiles James Gaffigan

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Classical Series Saturday, February 2, 2013 at 8 p.m. * in Orchestra Hall James Gaffigan, conductor Stefan Jackiw, violin

Gioachino Rossini Overture to L’Italiana in Algeri (1792-1868)

Franz Joseph Haydn Symphony No. 104 in D major, “London”

(1732-1809) Adagio - Allegro Andante Menuet: Allegro Spiritoso

I n t er m ission

Felix Mendelssohn Concerto for Violin and Orchestra

(1809-1847) in E minor, Op.64 Allegro molto appassionato Andante Al legretto non troppo – Allegro molto vivace Stefan Jackiw, violin

Richard Strauss (1864-1949)

Till Eulenspiegel’s Merry Pranks, Op. 28

This Classical Series program is generously sponsored by

PVS Chemicals, Inc.

*Denotes a webcast performance

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

In January 2010, James Gaffigan was appointed Chief Conductor of the Lucerne Symphony Orchestra and Principal Guest Conductor of the gaffigan Netherlands Radio Philharmonic Orchestra. Both positions began in summer 2011. As of the start of the 2012-13 season, Gaffigan became the first ever Guest Conductor of the Cologne Gürzenich Orchestra. In addition to yearly concerts, this newly created position with the venerable Cologne orchestra will include CD recording projects and opera productions with the Oper Köln.

In the United States, Mr. Gaffigan has guest conducted the Cleveland, Philadelphia and Minnesota Orchestras, the Los Angeles Philharmonic, the Chicago, St. Louis, Detroit, Cincinnati, National, Atlanta, Houston, Baltimore, Vancouver, Milwaukee and New World symphonies among others.

During the 2012-13 season, he returns to the Cleveland Orchestra at the Blossom Music Festival, the Toronto, Detroit, New World and Vancouver symphonies, the Juilliard Orchestra and the Grand Teton Music Festival; and makes first appearances at the Grant Park Music Festival in downtown Chicago and the Music Academy of the West in Santa Barbara.

Gaffigan’s international career was launched when he was named a first prize winner at the 2004 Sir Georg Solti International Conducting Competition in Frankfurt, Germany. Since then, he has become a sought-after guest conductor throughout Europe, working with prestigious orchestras such as the Munich and Rotterdam Philharmonics, Dresden Staatskappelle, Deutsches Symphony Orchestra Berlin.

In 2009, Gaffigan completed a three-year tenure as Associate Conductor of the San Francisco Symphony where he assisted Michael Tilson Thomas, led subscription concerts and was Artistic Director of the orchestra’s Summer in the City festival.

Prior to that appointment, he was the Assistant Conductor of the Cleveland Orchestra where he worked under Music Director Franz Welser-Moest from 2003 through 2006.

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

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

dso.org

Stefan Jackiw

Violinist Stefan Jackiw is recognized as “one of the best and most interesting young violinists heard in a long time” (Chicago Sun-Times), captivating audiences with playing that is “striking for its Jackiw intelligence and sensitivity” (Boston Globe). Hailed for “talent that’s off the scale” (Washington Post), Jackiw has appeared as soloist with the Boston, Chicago, Cleveland, New York, Philadelphia, and San Francisco symphony orchestras, among others, and he has collaborated with such renowned conductors as Marin Alsop, Andrew Davis, Giancarlo Guerrero, Hannu Lintu, Ludovic Morlot, Andris Nelsons, Yannick NézetSéguin, Mikhail Pletnev, Arild Remmereit, Gerard Schwarz and Yuri Temirkanov. His solo performance of Mendelssohn’s Violin Concerto with the YouTube Symphony Orchestra at Australia’s Sydney Opera House in March was seen live on YouTube by more than 30 million people worldwide.

In the 2012-13 season, Jackiw made his

Carnegie Hall recital debut in November, when he performed Stravinsky, Brahms, Strauss and a world premiere work by David Fulmer with pianist Anna Polonsky in Weill Recital Hall. Beyond Carnegie, Jackiw performs recitals throughout the U.S. this season. Other season highlights include performances with the Royal Philharmonic under Charles Dutoit, and with the Netherlands Philharmonic and Louie Langree; Mozart’s Violin Concerto No. 3 with the BBC Scottish Symphony Orchestra and The Hague Philharmonic; Mozart’s Violin Concerto No. 5 with the Melbourne Symphony and Sir Andrew Davis; and the South American premiere of a concerto by Osvaldo Golijov with the Sao Paolo Symphony and Marin Alsop.

Jackiw made his European debut in London in 2002 to great critical acclaim, playing the Mendelssohn Violin Concerto with the Philharmonia Orchestra under Benjamin Zander. Jackiw has also performed abroad with the Orchestre Philharmonique de Strasbourg, the Bournemouth Symphony Orchestra, l’Orchestra del Maggio Musicale Fiorentino, the Royal Liverpool Philharmonic, the Ulster Orchestra of Ireland, the Seoul Philharmonic, and the

Deutsches Symphonie-Orchester Berlin.

Jackiw is also an active recitalist and chamber musician. He has performed in numerous important festivals and concert series, including the Aspen Music Festival, Ravinia Festival, and Caramoor International Music Festival, the Celebrity Series of Boston, New York’s Mostly Mozart Festival, the Metropolitan Museum of Art, the Washington Performing Arts Society and the Louvre Recital Series in Paris.

On disc, Jackiw is garnering acclaim for his debut album of the Brahms Violin Sonatas with pianist Max Levinson (Sony).

Fanfare magazine proclaimed, “Jackiw is fantastic. …This is now the recording of Brahms’s violin sonatas to have.”

Born in 1985 to physicist parents of Korean and German descent, Stefan Jackiw began playing the violin at the age of four.

His teachers have included Zinaida Gilels, Michèle Auclair, and Donald Weilerstein.

He holds a Bachelor of Arts from Harvard University, as well as an Artist Diploma from the New England Conservatory. In 2002, the young artist was awarded the prestigious Avery Fisher Career Grant. He makes his home in New York City.

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dso.org

Perform ance / Vol . X XI / winter 2013

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Program Notes

Overture to l’Italiana in Algeri GIOACCHINO ROSSINI

B. February 29, 1792 D. November 13, 1868

Scored for piccolo, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings (approx. 9 minutes).

R

ossini’s operas dominated the repertoire for 30 years, from the 1810s through the 1830s. His comic operas were considered the finest examples of their kind; his Italian serious operas were models for several generations; his French operas were constant sources of controversy in the highly competitive musical world of Paris.

Even though he stopped writing new operas in 1829 (when he was only 37), every operatic composer working in Italy or France during his lifetime had to deal with his dominance in the genre. Rossini wrote almost 40 operas, ranging from high comedy to sophisticated serious drama, and the best of them are among the most beloved ever written. As the American musicologist Phillip Gossett wrote, “No composer in the first half of the 19th century enjoyed the measure of prestige, wealth, popular acclaim and artistic influence that belonged to Rossini. His contemporaries recognized him as the greatest Italian composer of his time.”

1813 was a banner year for the twentyone year old composer: he had four different operas staged in major theatres, including Il Signor Bruschino and Tancredi in Venice, and Aureliano in Palmira at La Scala in Milan.

In the midst of these successes Rossini was asked on very short notice to step in for another composer to write a work for the Teatro San Benedetto in Venice. Depending on which source you use, he wrote the new work in either 27 days (a Venetian newspaper) or 18 days (Rossini himself!).

Whatever the time period, he created a work of wonderful frothy humor and remarkable complexity which was a huge success at its premiere in May of 1813. Due to the extremely short deadline, Rossini decided to use an existing libretto based on the legend of Roxelana, the slave-turnedwife of Suleiman the Magnificent, although here, it is the hero who has been kidnapped while the heroine searches for him. Many of the composer’s friends thought that, because of the pressure of time, the new work would resemble a previous setting of the libretto by a now-forgotten second-rate Italian composer, but with his remarkable genius Rossini created a fresh, original and 26

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

clever score. Not long after the premiere the work was staged in Germany and France, and became Rossini’s first superhit.

In brief, the plot concerns an Italian girl named Isabella whose lover Lindoro has been kidnapped, and in her search for him she is shipwrecked and taken captive by the Bey of Algiers. To her great surprise and delight, she finds Lindoro among the Bey’s prisoners, and together they devise a scheme by which the two lovers are able to escape.

Within the effervescent and sparkling score, the scenes range from sentimental and patriotic to farcical and truly madcap.

With the exception of The Barber of Seville, Rossini’s operas kept going in and out of favor over the years, but along the way the overtures to several of the operas became perennial favorites in the concert hall. He was just as imaginative and inventive in his orchestral writing as he was in his vocal writing, and his overtures,

Celebrating excellence.

Grand Valley celebrates the imaGination, creatiVity, and beauty of the fine arts.

We appreciate the performances that inspire and enlighten us. And, we applaud the artists who share our commitment to excellence. gvsu.edu | (800) 748-0246

dso.org

with the feature known as The Rossini Crescendo (a passage which gradually goes from soft to loud and from relative calm to great excitement), have always been able to stand on their own. Because of his extraordinary output, he often recycled the overtures from one opera to another, but in this case the overture to l’Italiana seems to have been used exclusively for this work, and its wonderful high spirits make it a perfect match for the rest of the opera.

SO Shop @ The Ma x D recommends:

Rossini — Overture to L’Italiana in Algeri: Riccardo Chailly conducting the National Philharmonic Orchestra, Decca 443850.

Symphony No. 104 in D, (“London”) FRANZ JOSEPH HAYDN

B. March 31, 1732 D. May 31, 1809

Scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings (approx. 28 minutes).

M

ore than two centuries after his death, Haydn’s output still amazes for its quantity, quality and diversity. He was one of the most prolific and astonishingly fertile and inventive composers who ever lived. Had he written just his 100+ symphonies it would be extraordinary enough, but in addition he also composed about 70 string quartets (a form which he virtually invented), 60 piano sonatas, dozens of piano trios, 25 operas, a dozen or so masses, several motets, four oratorios (one of which, The Creation, stands at the summit of all choral works), a great number of songs, concertos for various instruments, and hundreds of smaller works. If Haydn’s life was comparatively uneventful, his vast output is notable for the delights and surprises which are found everywhere, including an irrepressible sense of good humor. Every genre in which he worked he enlarged, extended and re-shaped, and the symphonies in particular are a remarkable example of his development of a particular form, being marked by deep feeling, drama, elegance and wit. Haydn came relatively late to the symphony, and before he composed his first one he had written numerous harpsichord sonatas, harpsichord and organ concertos, divertimentos for all kinds and combinations of instruments, two masses,

dso.org

an amazing number of other sacred choral works, and even one opera. Just as remarkable as his output was his creative life span.

When he was ten, Handel composed Messiah. When he was 18, J.S. Bach died.

When he was 68, Beethoven wrote his first symphony.

The London period of Haydn’s career was notable for a great number of masterpieces in all genres, ranging from solo keyboard works to opera, and just about everything in between. In spite of the excellence of the other works, it is his last 12 symphonies, collectively known as The London Symphonies, which have always been the most popular, and which, in the eyes of critics and audiences alike, seem to contain the true essence of Haydn’s personality. Except for the earliest symphonies, the bulk of his output in this important form was played all over Europe, and when the final symphonies appeared they rose right to the top and were considered the crowning glory not only of Haydn’s creative genius but of the symphony as a whole.

These symphonies were brought into existence by a German-born violinist named Johann Peter Salomon who had been living and working in London since he was 36. He just happened to be in Europe in 1790 when news reached him of the death of Haydn’s long-time employer, Prince Nicholas Esterhazy, and that the Prince’s son had disbanded the court orchestra, leaving Haydn for the moment unemployed.

Salomon hurried to Vienna, found Haydn, made him an offer to come to London which was so lucrative that he couldn’t turn it down, and the first of the London Symphonies (sometimes referred to as the Salomon Symphonies for obvious reasons) was performed in the Hanover Square Concert Rooms in London in the early part of 1791; five more were to follow. In July of the following year Haydn returned to Vienna, but when Salomon approached him the year after that to return to London with six more new symphonies he gladly accepted the invitation, returned to the British capitol in early 1794 and stayed for 18 months. It would be difficult to imagine a situation in which a composer and his audience were so delightfully attuned to one another, and it didn’t seem to matter what Haydn came up with: the audiences loved every note of the new symphonies, frequently asking for movements to be repeated after their first performances.

These final 12 symphonies are more lengthy, more amazing in their musical

depth and brilliance, more dazzling and inventive in their remarkable orchestrations, more profound and at the same time more witty and appealing than any of their predecessors. However many symphonies this extraordinary man composed (at the moment we have 104 numbered symphonies plus two others labeled “A” and “B”), the present symphony, known by its nickname of “London” was the last he ever wrote, and one of the most magnificent to come from his fertile and ingenious mind.

SO Shop @ The Ma x D recommends:

Haydn — Symphony No. 104, “London”: Charles Mackerras conducting the Orchestra of St. Luke’s, Telarc 80758.

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

B. February 3, 1809, Hamburg, Germany D. November 4, 1847, Leipzig, Germany

First performed on March 13, 1845 in Leipzig by violinist Ferdinand David and the Leipzig Gewandhaus Orchestra under the direction of the Danish composer and conductor Niels Gade.

Scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings (approx. 26 minutes).

A

lthough he finished the Violin Concerto in E minor a mere three years before his death, Felix Mendelssohn devoted some six years to its composition.

Dedicated to the violin virtuoso and fellow composer Ferdinand David (whose works include the most famous trombone concerto of the 19th century), Mendelssohn’s concerto benefited significantly from the suggestions David offered. The work was immediately successful, profoundly effecting the career of not one, but two major violin virtuosos: Months after David’s world premiere, the work was performed in Dresden by Mendelssohn’s teenage protégé, Joseph Joachim, a performer whose remarkable artistry and renown would carry on into the 20th century.

As many musical scholars have noted, Mendelssohn’s Violin Concerto creatively breaks with established conventions of the concerto in the opening bars of the first movement. Instead of having the full orchestra introduce the first theme before the soloist’s entrance (as was expected), Perform ance / Vol . X XI / Winter 201 3

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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, wistful beauty of the first theme, the second theme is characterized by the dusky warmth of clarinets and flutes that offer the new melody in a simple, chorale setting. Instead of moving directly from the development section into the recapitulation, which reprises the two main themes, Mendelssohn cleverly inserts a dazzling cadenza, which serves as an elegant and unexpected transition between the two sections.

The second movement follows directly on the heels of the first, with a lone, plaintive bassoon solo carrying the listener from one movement into the next. The musical structure of the movement follows a standard three-part ABA form, but within this simple pattern, Mendelssohn spins some of his most exquisitely conceived melodies. After hearing the initial A section, one is grateful for Mendelssohn’s generous repetition of it before the finale.

The finale is a bubbly, sparkling musical concoction that pushes the soloist’s virtuosity every step of the way. Judiciously transparent orchestral textures allow clear projection of the solo line as the soloist performs feat after feat of musical acrobatics. The coda moves particularly nimbly, driving orchestra and soloist tirelessly to an exhilarating conclusion.

The Detroit Symphony Orchestra last performed Mendelssohn’s Concerto for Violin and Orchestra in E minor on January 6, 2007 at Orchestra Hall, with Bramwell Tovey conducting.

SO Shop @ The Ma x D recommends:

Mendelssohn – Violin Concerto: Janine Jansen, violin, Riccardo Chailly conducting the Gewandhaus Orchester, Decca B0007260.

Till Eulenspiegel’s Merry Pranks RICHARD STRAUSS

B. June 11, 1864 D. September 8, 1949

Scored for three flutes, piccolo, three oboes, English horn, three clarinets, D clarinet, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (playing bass drum, cymbals, ratchet, snare drum and triangle), and strings (approx. 15 minutes).

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trauss’ fame in the concert hall rests almost exclusively on five of the large-scale orchestral works he composed between 1886 and 1915. Most of these were what came to be known as symphonic poems, and their appearance coincided with the ludicrous controversy about the relative merits of absolute music and program music, meaning music which could describe something. In truth, no music can be entirely “absolute,” nor can program music really describe anything without some involvement on the part of the listener.

Mahler’s idea was that virtually all music after Beethoven had some kind of an inner program, either actual or implied, but that so-called program music was useless if the listener had to be told what it was all about.

Strauss himself once said that no music could survive unless it had an independent life just as music, and that no “program” could ever keep a bad piece of music alive.

In that regard it can be said that, no matter what the program might be, all of Strauss’ program music can be enjoyed for its intrinsic musical worth. From his early days he was clearly more interested in the development of musical styles than pure symphonic form, and when any traditional form began to restrict his musical ideas he simply took that form and enlarged and re-structured it so it would serve his purposes. This propensity, coupled with his supreme mastery of orchestration, made him the finest of all composers of so-called program music. As he once wrote, “For me the poetic program is the starting point for the purely musical development of my sensations……for the hearer as well, a program should be at most a starting point.

Let him who is interested use it. He who knows how to listen to music probably doesn’t need it.”

Strauss was 31 when he finished Till Eulenspiegel in 1895, and over the years it has become his most popular and endearing symphonic poem. Such was his fame at the time that audiences eagerly awaited each new composition, and in this instance he gave them not only a magnificent dollop of pure musical delight, but a work that is as close to perfection as it is possible to get. As to the hero (if indeed that is the right term) of this work, there is evidence to suggest that there probably was a Tyll Eulenspiegel (Till Owl-Mirror) who lived and died in the area of Germany called Braunschweig in the first half of the 14th century. His life can be taken as emblematic of the growing assertiveness at that time of the lower classes against the tyranny of the upper echelons of society, whose authority was now being questioned and

actively fought against. So it was that this person---real or invented---became the focal point of a growing legend consisting mainly of an assortment of anecdotes based on his practical jokes. As such, Tyll developed into a full-fledged folk hero whose exploits were characterized by broad farce and humor which was sometimes harmless and sometimes rather vicious.

Whatever the truth of the matter, all of the existing accounts of this rascally rogue cover the same basic group of stories in which he variously plays deliberate practical jokes on people in which they suffer some kind of loss or personal injury; or in which he gets out of tricky situations using his brilliant wit and command of the language or through questionable practices bordering on the illegal. He is sentenced to death on more than one occasion, but always manages to escape by using his outlandish cleverness, and in the end actually dies in his bed — according to some accounts, by the Black Death.

Strauss initially had planned to write an opera on the Eulenspiegel legend, but chose instead to pare the man’s life down to 15 minutes of the most remarkable orchestral pyrotechnics that had ever been heard at the time of the work’s premiere, and did so mainly because he felt that Tyll’s personality and exploits were too superficial to be adequately developed in operatic-dramatic terms. He initially was reluctant to commit to a story line at the time of the work’s premiere, saying, “If I put into words the thoughts which the score’s several incidents suggested to me, they would seldom suffice and might even prove offensive.” However, he later wrote no less than 23 explanatory notes at the appropriate places in the score, among them Till galloping recklessly on horseback through a village marketplace, scattering vegetables, crockery and peasants in all directions; Till flirting unsuccessfully with some village maidens; Till disguising himself as a priest and mocking all religions; and Till vowing to be avenged on all mankind. In Strauss’ version Till is arrested, put on trial and sentenced to death by hanging, but, as the final riotous bars make clear, he has the last laugh, and lives on after death in a legend which has made him immortal.

SO Shop @ The Ma x D recommends:

Strauss – Till Eulenspiegel’s Merry Pranks: George Szell conducting the Cleveland Orchestra, Sony 36721.

dso.org

Max-imize Your Experience Share Your Photos and Videos!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Human Resources

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

Renecia Lowery Jeter Director of Human Resources

Joy Crawford Patron and Organizational Assistance Coordinator

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

Teddy Abrams Conducting Assistant

Facility Operations

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

dso.org

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

Mike Spiegel Education and Jazz Studies Coordinator

Kathryn Ginsburg Artistic Coordinator

Dick Jacques Director of Information Technology Laura Lee Information Systems Specialist

Erik Rönmark Artistic Administrator

Kareem George Managing Director of Community Programs

Information Systems

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

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

Finance

Chelsea Kotula Board and Volunteer Relations Coordinator

Donielle Hardy Controller

Ron Papke Corporate Relations Manager

Sandra Mazza Accountant

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

Elaine Curvin Executive Assistant and Patron Teams Coordinator

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

Mona DeQuis Assistant Manager of Retail Sales

Will Broner Patron Acknowledgment and Gift Systems Coordinator

Chuck Dyer Manager of Group Sales and Corporate Sales

Connie Campbell Senior Manager of Patron Engagement

Christopher Harrington Patron Development and Sales Manager

Sharon Carr Assistant Manager of Patron Systems and Ticketing Operations

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

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

Perform ance / Vol . X XI / winter 2013

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Upcoming Education Concerts & Events Nutcracker

Civic Jam Session

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

Saturday, December 1, 1 p.m.

Saturday, December 1, 7 p.m.

Ford Community and Performing Arts Center, Dearborn MI

t. putters

The Civic in Concert Broadcast Series on WRCJ 90.9FM Civic Orchestra Saturday, November 24, 5 p.m.

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

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

t. putters

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

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

For ticket information, please contact 313.943.2354 or dearborntheater.com

Sunday, December 9, 6 p.m.

Cliff Bell’s, Detroit

Civic Jazz Live!

Civic Jazz Live!

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

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

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

The Music Box

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

The Music Box

Educational Concert Series

For more than 80 years, the Educational Concert Series (ECS) has introduced classical music to school children from across Michigan by featuring educational and engaging programs with the Detroit Symphony Orchestra. Concerts are conducted by DSO Assistant Conductor Teddy Abrams, whose energetic performance and mesmerizing narration create a memorable learning experience for students and teachers alike. All concerts are designed with a strong thematic element that teaches musical concepts to students in an exciting and accessible format.

Past programs have included themes such as “An Instrumental Safari” and “Risky Business: a Musical Look at Exploration, Innovation and Character.”

ECS concerts are designed for students in grades 3-8. Performances last approximately 45-50 minutes and take place in Orchestra Hall.

One price. Endless possibilities.

For more information on the Civic Youth Ensembles, including upcoming events and ticket information, please contact civic@dso.or call 313.576.5111.

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

on 2012-2013 seas hall orchestra

ALL-ACCES

S STUDEN

T PASS

*Subject to availability.

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

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

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

Distinguished Board Member Spotlight Judge Damon Keith

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

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

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

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

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

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

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

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

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

Your tax- deductible Annual Fund donation is an investment in the wonderful music at Orchestra Hall, around the neighborhoods, and across the community. This honor roll celebrates those generous donors who made a gift of $1,500 or more to the DSO Annual Fund Campaign. If you have a question about this roster, or for more information about how you can make a donation, please contact 313.576.5114 or dso.org/donate.

Platinum Baton giving of $250,000 and more

The Mandell L. & Madeleine H. Berman Family Foundation

Max M. & Marjorie S. Fisher Foundation Mr. & Mrs. Stanley Frankel

Mr. & Mrs. James B. Nicholson

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

Emory M. Ford, Jr. † Endowment

Cindy & Leonard Slatkin

Mrs. Karen Davidson

Bernard & Eleanor Robertson

Mrs. Richard C. Van Dusen

Mr. & Mrs. Richard L. Alonzo

Penny & Harold Blumenstein

Herman & Sharon Frankel

Mr. & Mrs. Eugene Applebaum

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

Dr. & Mrs. Clyde Wu

Cecilia Benner

Mrs. Kathryn L. Fife

The Polk Family

Mr. & Mrs. Phillip Fisher

Silver Baton giving of $50,000 and more

Mr. & Mrs. Lee Barthel

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

Sidney & Madeline Forbes

Mr. & Mrs. Lloyd E. Reuss

Mr. & Mrs. Raymond M. Cracchiolo

Ruth & Al Glancy

Marvin & Betty Danto Family Foundation

Mr. & Mrs. Morton E. Harris

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

Ms. Leslie Devereaux

Chacona W. Johnson

Linda Dresner & Ed Levy, Jr.

Mr. & Mrs. Bruce D. Peterson

dso.org

† Deceased

Mr. & Mrs. Larry Sherman Mr. & Mrs. Donald R. Simon Arthur & Trudy Weiss Perform ance / Vol . X XI / Winter 201 3

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

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

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

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

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

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

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

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

† Deceased

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

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

dso.org

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

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

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

Donor Spotlight

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

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

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

principal viola chair that is currently occupied by Alexander Mishnaevski. That campaign, known as “Concerto for Community and Orchestra,” was vital to the future of the DSO and the revitalization of the Woodward Corridor.

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

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

Perform ance / Vol . X XI / Winter 201 3

33

Corporate Supporters of the DSO $500,000 and more

PVS Chemicals, Inc.

Jim Nicholson

CEO, PVS Chemicals

$200,000 and more

Gerard M. Anderson

Fred Shell

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

Alan Mullaly

President & CEO, Ford Motor Company

James Vella

President, Ford Motor Company Fund

Daniel F. Akerson Chairman and CEO General Motors Corporation

Vivian Pickard President General Motors Foundation

Tetsuo Iwamura

President and CEO, American Honda Motor Co.

$100,000 and more

Timothy Wadhams President and CEO, MASCO Corporation

Melonie Colaianne

President, Masco Corporation Foundation

Gregg Steinhafel

Chairman, President and CEO, Target Corporation

$20,000 and more Adobe Systems Incorporated Amerisure Insurance Macy’s

MGM Grand Detroit Casino R.L.Polk and Co. Scott Shuputrine Interiors

Comcast Cable Midwest Deloitte.

Foley & Lardner LLP Honigman Miller Schwartz Cohn

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

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

34

Performance / Vol . X X I / Winter 201 3

Somerset Collection Talmer Bank and Trust

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

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

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

Legacy Donors Members of THE Musical LEGACY Society

The Detroit Symphony Orchestra Board of Directors is pleased to honor and recognize the Musical Legacy Society. These patrons, friends and subscribers have named the Orchestra in their estate plans. For information about making a bequest or other planned gift to the DSO, please contact the Office of Patron and Institutional Advancement at 313.576.5460.

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

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

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

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

Build a Legacy.

Musical Legacy Supporters allow the DSO: • To become a truly Community-Supported Orchestra • To become a model of inspiration and musical innovation for the City of Detroit and Southeastern Michigan • To continue providing music and music education of the highest quality that is accessible to all Start talking to us now about joining the Musical Legacy Society. Together we can create a planned giving strategy and build your legacy at the Detroit Symphony Orchestra.

Visit dso.com/legacy or call 313-576-5460 for more information. dso.org

Perform ance / Vol . X XI / Winter 201 3

35

Blockbuster Fund

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

Mr. & Mrs. Lee Barthel

Mr. Michael Jalving

Stuart & Linda Nelson

Bloomfield Hills Country Club

John S. and James L. Knight

Jim & Mary Beth Nicholson

Mr. Hang Su

Community Foundation for

Foundation

Mr. & Mrs. James B. Nicholson

The William M. Davidson

Southeast Michigan

Mr. & Mrs. Norman D. Katz

Olympia Entertainment, Inc.

Foundation

Cindy & Leonard Slatkin

Julie & Peter Cummings

Max M. and Marjorie S. Fisher

PVS Chemicals, Inc.

Mrs. Richard C. Van Dusen

Detroit 300 Conservancy

Foundation, Inc.

Ms. Ruth Rattner

Mr. & Mrs. Paul Wingert

Ms. Laurie Goldman

Michigan Nonprofit Association

Mr. & Mrs. Larry Sherman

Mr. Hai-Xin Wu

Tribute Gifts

Gifts received between September 10, 2012 and November 1, 2012 Tribute Gifts to the Detroit Symphony Orchestra are made to honor accomplishments, celebrate occasions, and pay respect in memory or reflection. These gifts support current season projects, partnerships, and performances such as DSO concerts, education programs, free community concerts and family programing. For information about making a Tribute Gift, please call 313.576.5114 or dso.org/tribute.

In Honor of Ms. Joanne Danto Mr. & Mrs. Jerry P. D’Avanzo

Classical and Jazz concerts

just $15

In Memory of Mr. George Hallstein Mr. & Mrs. Peter G. Klein In Memory of Mr. Hester Mr. & Mrs. Ronald Wurst

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

for Detroit residents

Venture Fund

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

Made possible by a generous grant from:

dso.org/rush OR 313.576.5111

36

Performance / Vol . X X I / Winter 201 3

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

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

dso.org

Support from Foundations and Organizations

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

$500,000 and more

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

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

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

Benson & Edith Ford Fund Combined Federal Campaign Mary Thompson Foundation

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

Anonymous Clarence & Jack Himmel Fund James & Lynelle Holden Fund

Sigmund & Sophie Rohlik Foundation The Loraine & Melinese Reuter Foundation

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

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

Foundation Spotlight Community Foundation for Southeast Michigan

T

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

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

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

Perform ance / Vol . X XI / Winter 201 3

37

Upcoming events sunday

MONDAY

TUESDAY

14

WEDNESDAY

THURSDAY

15

FRIDAY

16

17

23

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

Tito Muñoz, conductor Gabriel Cabezas, cello

SATURDAY

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

January

13

19

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

20

21

22

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

snruteR ivräJ .m.p 3 ,1 lirpA ,yadnuS

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28

29

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

30

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

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

Civic & Education Civic Jazz Live!

6:30 p.m. MB

31

DeJohnette

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

James Gaffigan, conductor Stefan Jackiw, violin

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

4

5

11

12

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

Other Presenters Sphinx Competition Finals Concert 2 p.m.

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

17

18

19

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

25

26

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

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

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

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

snruteR ivräJ .m.p 3 ,1 lirpA ,yadnuS

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

snruteR ivräJ .m.p 3 ,1 lirpA ,yadnuS

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

2-

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

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

27

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

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

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

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

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

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

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

snruteR ivräJ .m.p 3 ,1 lirpA ,yadnuS

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

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

snruteR ivräJ .m.p 3 ,1 lirpA ,yadnuS

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

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

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

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

March

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

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

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

snruteR ivräJ .m.p 3 ,1 lirpA ,yadnuS

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2

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

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

7

Slatkin

13

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

Tiny Tots Concert 10 a.m.

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

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6

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

1

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

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

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

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

February

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

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

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

2

DSO Pops Series ABBA 8 p.m. OH

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

4

5

6

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

11

12

13

For tickets visit dso.org or call 313.576.5111

OH Orchestra Hall MB Music Box AH Allesee Hall

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

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Webcast

DSO 7 Neighborhood Series Beethoven and Mozart at Congregation Shaarey Zedek, Southfield 7:30 p.m.

Teddy Abrams, conductor David Buck, flute

DSO Classical Series Rite of Spring Centennial!

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

14

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

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

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

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

snruteR ivräJ .m.p 3 ,1 lirpA ,yadnuS

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

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

DSO Classical Series Rite of Spring Centennial!

Rafael Frühbeck de Burgos, conductor 8 p.m.

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

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16

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

program James MacMillan

Tu es Petrus (2010)

J. S. Bach/Stokowski

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

Barber

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

Bolcom

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

Aram Khachaturian

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

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

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

saturday Mozart

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

Mozart

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

Brahms

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

sunday Mussorgsky

Night on Bald Mountain (1886)

Bloch

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

Tchaikovsky

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

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

Tickets and a full-season listing at:

UMS.ORG 734.764.2538 UNIVERSITY OF MICHIGAN | ANN ARBOR

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

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

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