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Vol. XX • 2011-2012 Season

Fall 2011

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 Hot Seat: Getting to know your principal musicians

A C o m m u n i t y - S u p p or t e d O r c h e s t r a

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Performance / Vol . X X / Fall 201 1

Contents Performance Volume XX / Fall 2011 2011–12 Season

Editor Gabrielle Poshadlo 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: Web site: 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 Tom Putters, president Toby Faber, advertsing director To advertise in Performance, call 248.582.9690 or email Performance magazine online: u To report an emergency during a concert, call 313.576.5111. To make special arrangements to receive emergency phone calls during a concert, ask for the house manager. It is the policy of the Detroit Symphony Orchestra that concerts, activities and services are offered without regard to race, color, religion, national origin, handicap, age or gender. The DSO is an affirmative action, equal opportunity employer. Activities of the DSO are made possible in part with the support of the National Endowment for the Arts, the Michigan Council for Arts and Cultural Affairs and the City of Detroit.

Departments 4 Board of Directors 6 Orchestra Roster


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

8 News & Notes 29 General Information/Staff 30 Education News 32 Donor Roster 38 Upcoming Concerts

Cover Story

10 The Hot Seat:  Getting to know your principal musicians

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.

Performance / Vol . X X / Fall 201 1


Detroit Symphony Orchestra Board of Directors officers Stanley Frankel Chairman

Glenda D. Price, Ph. D Secretary

Lloyd E. Reuss Officer At-Large

Paul M. Huxley First Vice Chair

Arthur Weiss Treasurer

Clyde Wu, M.D. Officer At-Large

Marlies Castaing Second Vice Chair

Phillip Wm. Fisher Officer At-Large

Anne Parsons President & CEO

Directors Ismael Ahmed

Maureen T. D’Avanzo

Robert Allesee

Karen Davidson

Shelley Heron,‡ Orchestra Representative

Walter E. Douglas

Ronald M. Horwitz‡

Mark Davidoff

Rosette Ajluni

Daniel Angelucci Janet Ankers

Gloria Heppner, Ph. D.

Floy Barthel

George J. Bedrosian, Esq. Mrs. Mandell L. Berman Robert H. Bluestein

Penny B. Blumenstein

John A. Boll, Sr.

Elizabeth Boone

Richard A. Brodie

Lynne Carter, M.D. Gary L. Cowger

Peter J. Dolan

Nicholas Hood, III

Linda Dresner

Sharad P. Jain

Jennifer Fischer

Dr. Arthur L. Johnson‡

Laura L. Fournier

Michael J. Keegan

Barbara Frankel

Joel D. Kellman

Ralph J. Gerson

Richard P. Kughn ‡

Marianne Endicott

Renee Janovsky

Sidney Forbes

Chacona Johnson

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

Lois A. Miller

Wei Shen

James C. Mitchell, Jr.

James B. Nicholson, Chairman Emeritus

Arthur T. O’Reilly‡

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

Paul Ganson

Lawrence M. Liberson,‡ Orchestra Representative

Bruce D. Peterson‡

William F. Pickard Stephen Polk

Mrs. Ray A. Shapero Jane F. Sherman

Shirley R. Stancato

Faye Alexander Nelson

Melvin A. Lester, M.D.‡

Brigitte Harris

Lois L. Shaevsky

David Robert Nelson

Bonnie Larson ‡

Alan E. Schwartz‡

David N. McCammon

Alfred R. Glancy, III, Chairman Emeritus Herman Gray, M.D.

Marjorie S. Saulson

Jack A. Robinson‡

Sean M. Neall

Harold Kulish

Ralph J. Mandarino

Arthur C. Liebler‡

Edward Miller

William P. Kingsley

Herman Frankel‡

Bernard I. Robertson‡

Florine Mark

Hon. Damon J. Keith

Mrs. Harold Frank

Harry A. Lomason, II

Stephen Strome

Michael R. Tyson Ann Marie Uetz David Usher

Barbara Van Dusen‡

R. Jamison Williams John E. Young ‡ Executive


Lifetime Members

Samuel Frankel†

David Handleman, Sr.†


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. For more information on the Governing Members program, please call the Office of Patron Advancement at (313) 576-5400. Arthur T. O’Reilly Chairperson James C. Farber Vice Chair, Philanthropy Mr. & Mrs. Herbert A. Abrash Mr. & Mrs. Richard L. Alonzo Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Mr. & Mrs. Norman Ankers


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officers Jan Bernick Secretary

Maureen T. D’Avanzo Vice Chair, Membership

Bonnie Larson Vice Chair, Engagement

Frederick J. Morsches Vice Chair, Communications

Mr. & Mrs. Eugene Applebaum Dr . & Mrs. Ali-Reza R. Armin Mr. David Assemany Ms. Ruth Baidas Nora Lee & Guy Barron

Martin & Marcia Baum Ken & Mary Beattie Cecilia Benner Mrs. John G. Bielawski Mrs. Betty Blazok

Joseph & Barbra Bloch Mr. & Mrs. Jim Bonahoom Dr. & Mrs. Rudrick E. Boucher Gwen & Richard Bowlby Mr. Scott Brooks

Governing Members continued Michael & Geraldine Buckles Mr. H. Taylor Burleson & Dr. Carol S. Chadwick Philip & Carol Campbell Mr. William N. Campbell Dr. & Mrs. Thomas E. Carson Lois & Avern Cohn Brian & Elizabeth Connors Ms. Mary Rita K. Cuddohy Mr. Richard Cummings JoAnne Danto & Arnold Wiengarden Mr. & Mrs. James H. Danto Mr. Marvin Danto Ms. Barbara Davidson Lillian & Walter Dean Ms. Margaret H. Demant Beck Demery Ms. Leslie Devereaux Ms. Barbara Diles David Elgin Dodge Diana & Mark Domin Ms. Judith Doyle Paul & Peggy Dufault Rosanne & Sandy Duncan Mr. Robert Dunn Dr. & Mrs. A. Bradley Eisenbrey Mr. & Mrs. John M. Erb Mary Sue & Paul E. Ewing Mr. & Mrs. Stephen E. Ewing Mr. David Faulkner Mr. & Mrs. Oscar Feldman Mrs. Robert Fife Marjorie S. Fisher Mr. & Mrs. Herbert Fisher Mr. Steven J. Fishman Dr. Saul & Mrs. Helen Forman Dale & Bruce Frankel Rema Frankel Maxine & Stuart Frankel Judith & Barry Freund Ms. Carol A. Friend & Mr. Mark Kilbourn Mr. & Mrs. Daniel E. FrohardtLane

Mr. & Mrs. Harold Garber Mr. & Mrs. William Y. Gard Lynn & Bharat Gandhi Byron & Dorothy Gerson Allan D. Gilmour & Eric C. Jirgens Dr. & Mrs. Kenneth W. Gitlin Dr. & Mrs. Robert Goldman Mr. Mark Goodman Dr. Allen Goodman & Dr. Janet Hankin Robert & Mary Ann Gorlin Mr. & Mrs. James A. Green Dr. & Mrs. Steven Grekin Mr. & Mrs. James Grosfeld Alice Berberian Haidostian Dr. Algea O. Hale Mr. Robert Hamel Randall L. & Nancy Caine Harbour Mr. & Mrs. Ross Haun Ms. Nancy Henk Mrs. Doreen Hermelin Mr. Eric J. Hespenheide & Ms. Judith Hicks Dr. Jean Holland Dr. Deanna & Mr. David B. Holtzman Mr. F. Robert Hozian Jean Wright & Joseph L. Hudson, Jr. Julius & Cynthia Huebner Mr. & Mrs. Richard J. Jessup Mr. John S. Johns Faye & Austin Kanter Mr. & Mrs. Norman D. Katz Michael E. Smerza & Nancy Keppelman David & Elizabeth Kessel Mrs. Frances King Dr. & Mrs. Harry N. Kotsis Robert C. & Margaret A. Kotz David & Maria Kuziemko Dr. Raymond Landes & Dr. Melissa McBrien Anne T. Larin Mr. David Lebenbom Mr. & Mrs. Michael Lebenbom

Marguerite & David Lentz Allan S. Leonard Mr. & Mrs. Daniel Lewis Mr. & Mrs. Robert Liggett Mr. & Mrs. Joseph Lile Mrs. Florence LoPatin Dr. & Mrs. Charles Lucas Mr. & Mrs. Charles W. Manke, Jr. Mr. & Mrs. Richard A. Manoogian Mr. & Mrs. Alonzo L. McDonald Thomas & Judith Mich Ms. Deborah Miesel Bruce & Mary Miller Dr. & Mrs. Robert G. Mobley Dr. Susan B. Molina & Mr. Stephen R. Molina Ms. Florence Morris Dr. Stephen & Dr. Barbara Munk Geoffrey S. Nathan & Margaret E. Winters Denise & Mark Neville Patricia & Henry Nickol Ms. Mariam Noland & Mr. James A. Kelly Mr. & Mrs. Stanley Nycek Ms. Jo Elyn Nyman Mrs. Margot C. Parker Mr. & Mrs. Richard G. Partrich Mrs. Sophie Pearlstein Dr. & Mrs. Claus Petermann Mr. Charles L. Peters Mr. & Mrs. Donald E. Petersen Cornelia Pokrzywa Mr. & Mrs. William Powers Mr. & Mrs. Nicolas I. Quintana Ms. Ruth Rattner Drs. Y. Ravindranath & Kanta Bhambhani Dr. Claude & Mrs. Sandra Reitelman Mr. & Mrs. Robert B. Rosowski Jane Russell Martie & Bob Sachs Debbie & Mike Savoie Kathy & Michael Schultz

Mr. & Mrs. Fred Secrest Elaine & Michael Serling Mr. & Mrs. Herbert Shanbaum The Honorable Walter Shapero Mr. Stephan Sharf Coco & Robert Siewert Mr. & Mrs. Donald Simon Mr. & Mrs. Richard Sloan Mr. & Mrs. S. Kinnie Smith, Jr. Mr. William H. Smith Mr. John J. Solecki Mr. Richard A. Sonenklar Richard & Renate Soulen Dr. Gregory E. Stephens Mr. & Mrs. Clinton F. Stimpson III Mrs. Charles D. Stocking Mr. & Mrs. Jan J. Stokosa Bernard & Barbara Stollman Dr. Gerald H. Stollman Mr. & Mrs. John Stroh III David Szymborski & Marilyn Sicklesteel Ms. Dorothy Tarpinian Mr. & Mrs. Joel D. Tauber Alice & Paul Tomboulian Ms. Amanda Van Dusen & Mr. Curtis Blessing Mr. Robert VanWalleghem Mr. & Mrs. George C. Vincent Mr. & Mrs. Jonathan T. Walton Mr. & Mrs. Herman W. Weinreich Ms. Janet B. Weir Mr. & Mrs. Lawrence Weisberg Mrs. Beryl Winkelman Rissa & Sheldon Winkelman Dr. & Mrs. Max V. Wisgerhof II Mr. & Mrs. Jonathan Wolman Mr. & Mrs. Warren G. Wood Ms. June Wu Dr. & Mrs. Robert E. Wurtz Mr. & Mrs. Alan Zekelman Mr. Paul M. Zlotoff Milton & Lois Zussman

VOLUNTEER COUNCIL 2010-12 Officers Janet M. Ankers President

Ken Beattie VP of Finance & Administration

Dr. Nora Sugintas VP of Membership

Esther Lyons Recording Secretary

Debbie Savoie VP of Projects

Ellie Tholen VP of Public Relations

Virginia Lu ndquist VP of Outreach

Mary Beattie Corresponding Secretary

Board of Directors

Marlene Bihlmeyer

Adel Dissett

Gloria Nycek


Gwen Bowlby

Sandie Knollenberg

Todd Peplinski

Coco Siewert, Parliamentarian

Gloria Clark

Eva Meharry

Victoria Keys Young

Kelly Hayes, Immediate Past President

Lynn Miller

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Leonard Slatkin, Music Director Music Directorship endowed by the Kresge Foundation

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

First Violins

Kimberly A. Kaloyanides Kennedy Acting Concertmaster Katherine Tuck Chair

Hai-Xin Wu Acting Associate Concertmaster Alan and Marianne Schwartz and Jean Shapero (Shapero Foundation) Chair Assistant Concertmaster Walker L. Cisler/Detroit Edison Foundation Chair

Beatriz Budinszky*

Marguerite Deslippe* Elias Friedenzohn* Joseph Goldman*

Laurie Landers Goldman* Eun Park*

Adrienne Rönmark* Laura Rowe*

LeAnn Toth*

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

John Thurman Victor and Gale Girolami Cello Chair Robert Bergman*

Ron Fischer*

Bruce Smith*

Joseph Striplin*

Lilit Danielyan* ^

William Lucas

Heather Hart Assistant Orchestra Personnel Manager


Conducting Assistant

Brian Ventura++

Geoffrey Johnson§ Clarinets

Theodore Oien+ Robert B. Semple Chair

Shannon Orme


E-Flat Clarinet

Stephen Anderson Acting Principal Lee and Floy Barthel Chair

Charles Greenwell

Randall Hawes

Stage Personnel

Nathaniel Gurin++

Bass Trombone Randall Hawes Tuba

Dennis Nulty+

Laurence Liberson


Maxim Janowsky

Bass Clarinet

Brian Jones+ ^

Shannon Orme Barbara Frankel and Ronald Michalak Chair



Jacob Nissly+ ^ Ruth Roby and Alfred R. Glancy III Chair

Craig Rifel

Marshall Hutchinson Richard Robinson

Philip Dikeman++ ^ Piccolo

Jeffery Zook

Robert Williams+ John and Marlene Boll Chair

Eric Schweikert ``#

Eric Shin ``#

Victoria King

Ian Ding++ ^ William Cody Knicely Chair

Marcus Schoon



Ethan Allen

Michael Ke Ma++

Marcus Schoon

Stephen Molina Orchestra Personnel Manager

Kenneth Thompkins+

Alexander Hanna+ Van Dusen Family Chair

Jeffery Zook

Alexander Mishnaevski+ Julie and Ed Levy, Jr. Chair

Kevin Good

Paul Wingert*

Sharon Wood Sparrow Acting Principal Women’s Association for the DSO Chair

Alvin Score

Shelley Heron Maggie Miller Chair

Laurence Liberson++


Marian Tanau*

Personnel Manager

Úna O’Riordan*

Patricia Masri-Fletcher+ Winifred E. Polk Chair

Robert Murphy*


Donald Baker+ Jack A. and Aviva Robinson Chair

Haden McKay*

Carole Gatwood*


Hong-Yi Mo*


Douglas Cornelsen PVS Chemicals, Inc./ Jim and Ann Nicholson Chair

Stephen Edwards

Adam Stepniewski Acting Principal The Devereaux Family Chair

Caroline Coade


Linton Bodwin

Second Violins

James VanValkenburg++

Catherine Compton

Stephen Molina++

Greg Staples*


Hang Su

Robert Stiles+

Frank Bonucci Stage Manager

Larry Anderson Department Head Matthew Pons Department Head

Michael Sarkissian Department Head Legend + Principal ++ Assistant 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 For a roster of the substitute musicians appearing on stage, visit

French Horns Karl Pituch+

Bryan Kennedy

Corbin Wagner Mark Abbott

David Everson++ ~

Glenn Mellow

Shanda Lowery-Sachs Hart Hollman Han Zheng

Orchestra member biographies can be found online at 6

Performance / Vol . X X / Fall 201 1




8:32 PM











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Performance / Vol . X X / Fall 2011


President’s Message Dear Friends, Welcome back to Orchestra Hall. A lot has happened since our sold out, standing room only performances last spring season. Over the months since then and in recent weeks, I have had the pleasure of connecting with DSO stakeholders as well as interested observers from across our metropolitan area, from Los Angeles to New York City, and even abroad, thanks to Leonard Slatkin’s new position as Music Director of the Orchestra Nationale de Lyon in France. At every encounter, I was impressed by feelings of optimism, encouragement and admiration for Detroit and particularly the DSO. So, as we proudly launch our 2011-12 season, we want you to know how very grateful we are to you, our patrons and audience members, for your loyalty, your passion and your enthusiastic support during such a difficult 2010-11 season. We’ve observed industry and business around us successfully reinventing and adapting to an ever-changing environment, consistently prepared to make adjustments and seek new pathways to success. The DSO has a vision for success that embraces the joy and inspiration only music can provide, celebrates music and musicians, and acknowledges the importance of engaging our community in ways that will ensure this community-supported orchestra will thrive in the years to come. You’ll notice that in addition to our offerings at Orchestra Hall, the DSO will regularly be performing in neighborhoods across metro Detroit. Thanks to a program introduced by Leonard Slatkin, Soundcards provide all access to students for our diverse Orchestra Hall performances. Through a partnership with DPTV, we are excited to be able to continue our HD Webcasts, “Live from Orchestra Hall,” presented by the Ford Motor Company Fund. It is the first part of what will be a digital suite sponsored by the Knight Foundation. And, thanks to our educational offerings and partnerships, over 1,000 young people will visit the Jacob Bernard Pincus Music Education Center each week to be mentored and inspired through performance learning opportunities. As we continue to work to mean more to more people, we hope you’ll enjoy the invaluable role you play in our collective story. We enter the 2011-12 season filled with hope and promise. Thank you for making the decision to join us! We hope to see you again soon. With best wishes, Anne Parsons President & CEO 8

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News & Notes Treble Maker

Uh-oh, Here Comes Treble! Shop @ The Max proudly announces our new DSO Treble Maker apparel. This pun-filled line of clothing is available in bibs, infant onesies, cute toddler tees, sporty youth T-shirts and fashionably-pink ladies shirts. Get yours today, or you’ll be in “treble.” Shop @ The Max is open before and after each concert and during intermission.

Stream the Symphony! Can’t make it downtown for the next classical concert? No worries! Join our global audience and tune in to our “Live From Orchestra Hall” HD Webcasts presented by the Ford Motor Company Fund, the first part of a Digital Trio sponsored by the Knight Foundation. Log on at to view the performance and pre-show hosted by Alex Trajano. The first webcast will air Sunday, October 9 at 3 p.m. Live from Orchestra Hall is produced in collaboration with Detroit Public Television.

Announcing the DSO Volunteer Council’s Nutcracker Luncheon You won’t want to miss this refreshed version of the time-honored annual major fundraiser. You’ll be enchanted by excerpts from Tchaikovsky’s beloved Nutcracker Suite ballet, performed by members of Ballet Americana, who have performed with the DSO Civic Orchestra. Round out your holiday gift list with expanded inventory at Shop @ The Max or enter to win one of three gift certificates courtesy of Neiman Marcus. Join us for a sit-down luncheon on Tuesday, December 6 at the Dearborn Inn. Ticket prices are $150, $100 and $65, with proceeds to benefit the Detroit Symphony Orchestra. Gather some friends and call the Volunteer Council Office at 313.576.5154 to make your reservations.

Meet the Musician:

Úna O’Riordan Since Úna O’Riordan joined the DSO’s cello section in 2007 she has dedicated her free time to ensconcing herself in the community. Through the DSO’s Honda Power of Dreams String Music Project, she teaches students who otherwise wouldn’t have access to music education. She also maintains a private studio in Plymouth. Later this year she’d like to start an introductory chamber music program for intermediate students before high school age. “There’s so much emphasis on orchestra, which is wonderful,” she said. “But I want to give students access to a different, and equally gratifying, way of making music.” Outside of her work in the DSO and music education, she is a member of the contemporary music collective New Music Detroit and enjoys collaborating with other musicians in various genres and venues. O’Riordan is also excited to begin volunteering with St. Joseph Mercy’s Healing Arts program this fall, and will be organizing and performing in

occasional mini-concerts in the Ann Arbor hospital’s newlyrenovated lobby. “I want to add a little light to a place that isn’t always joyful,” she said. A first-generation Irish American, O’Riordan says a love of music runs in her family, and her passion for the cello began with a string demonstration in her kindergarten class. She received a Bachelor of Music with Distinction from the Eastman School of Music, where she was named an Arts Leadership Scholar. As a recipient of the Eckstein Grant, O’Riordan did her graduate studies at the Northwestern University School of Music, and performed with the Northwestern University Symphony Orchestra as the concerto competition winner. While completing her master’s degree, she was also Co-principal of the Civic Orchestra of Chicago.

In her four years in Detroit, O’Riordan said she’s happily watched the city become more vibrant. “It’s so great to see some buzz finally happening in Downtown and Midtown. There’s no place quite like Detroit, and that’s one of the things I love about it,” she said.

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Performance / Vol . X X / Fall 2011


The Hot Seat: Getting to know your principal musicians


s soon as the stage lights go up, so does the pressure for the Detroit Symphony Orchestra’s principal musicians. The concertmaster takes the stage to vigorous applause, the principal oboe sounds the tuning note and thus begins a harmony of leadership and team work. The section leaders at once head their section and expertly blend with the others to deliver the seamless sound that fills Orchestra Hall. For many principals this season, that leadership role is new, for others it is the role they’ve always had, and others still find themselves not only in a new seat, but in a new city. Please join us in welcoming these new musicians and welcoming back those who have long been assets to the DSO.

Strings Kim Kaloyanides Kennedy, Acting Concertmaster Kennedy joined the DSO in 1998 and served as associate concertmaster for eight seasons before being appointed acting concertmaster in 2011. “I didn’t ever experience what it meant to be concertmaster while I sat associate, even though I thought I had,” she said. “People are looking to me to do more than just play violin. The concertmaster represents the orchestra, their goals, their heart; not just the sound we’re producing but who we are as a whole.” While Kennedy has no way of knowing whether her tenure as acting concertmaster will last six months or six years, she said she is focusing on what the orchestra needs right now. “I hope I’ll be 10

Performance / Vol . X X / Fall 201 1

able to offer the strength and boldness the section needs in a leader,” she said. In her 14th season with the DSO, Kennedy will perform as concert soloist twice this year. Adam Stepniewski, Acting Principal Second Violin Years before Stepniewski joined the DSO in 1991, a friend in Warsaw lent him a recording of the DSO with former Music Director Paul Paray, under whom the DSO became one of the country’s mostrecorded orchestras. Having served as fourth concertmaster with Radio Symphony Orchestra of Copenhagen, Denmark and Assistant Concertmaster with National Philharmonic in Warsaw, hearing the DSO was the first time Stepniewski had considered auditioning with an American

orchestra. Stepniewski said his goal this season as acting principal second violin is to help create a team dynamic within his section and with the other musicians. “An orchestra like the DSO is more than just music, it’s a tradition for the city and for the people,” he said. “Music helped my father, a French horn player, through World War II. I believe it can help Detroit, too.” Alexander Mishnaevski, Principal Viola Born in Moscow, Mishnaevski began studying the violin at age 6 at the renowned Central Music School of Moscow Tchaikovski Conservatory. He emigrated to the United States in 1973 and graduated from The Juilliard School in New York. While at Juilliard, Mishnaevski changed from violin to viola at the suggestion of Isaac Stern. Mishnaevski joined the DSO as principal violist in 1986. Prior, he also held the position of principal violist for the New York Chamber Orchestra, the New York Pro Arte Ensemble, Montreal’s McGill Chamber Orchestra and Orquestra Sinfonica de Xalapa in Mexico. Mishnaevski has performed in chamber music concerts and in recitals around the world and has collaborated on chamber music projects with eminent players including Isaac Stern, Schlomo Mintz, Joseph Silverstein, Schmuel Ashkenazy, Franz Helmerson, Joseph Swenson and the Colorado Quartet, just to name a few. Mishnaevski also teaches in his private studio, and has taught master classes and workshops in the U.S., Canada, Singapore, Taiwain, Korea, Hong, Kong, and Mexico. Robert deMaine, Pricipal Cello 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.” 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. Born into a musical family of French and Polish extraction, deMaine began musical studies at the age of 4 with his mother and sister, both accomplished

cellists. He made his solo debut at 10 with the Oklahoma City Symphony Orchestra, followed by his first full-length recital. DeMaine is the first prize-winner of several major international competitions, most notably the 1990 Irving M. Klein International Competition for Strings in San Francisco (the first cellist ever to win this important competition), as well as winning first prizes in major competitions in New York, St. Louis and Chicago. Alexander Hanna, Principal Bass Alexander Hanna was appointed principal double bass of the DSO in 2008. Throughout his adolescence, he followed his older brother’s and sister’s footsteps through music and was playing piano recitals when he was 4. He then began to sing, play cello and double bass among other instruments. Hanna made his solo debut with The Toledo Symphony when they invited him to perform piano and double bass concertos with them when he was 14 years old. In 2004 the Curtis Institute of Music accepted Hanna as a double bass player and he then decided to focus on classical music. Hanna was in constant demand during his college years as a substitute with the Minnesota Orchestra, the Philadelphia Chamber Orchestra, the Philadelphia Orchestra, the Pittsburgh Symphony and was principal bass of the Haddonfield (New Jersey) Symphony. Patti Masri-Fletcher, Principal Harp While harp is one of the easiest instruments to spot on the stage, compelling its angelic sound to compete with, say, the brass, takes a little muscle. “The thing about principal harp is that I’m the only one,” said Masri. “There is not a section to boost the sound.” After trying her hand at piano, violin, flute and guitar, MasriFletcher settled on the harp after attending an Oakland East Bay Symphony performance and couldn’t take her eyes off of the instrument. After studying harp performance in Oakland, Calif., she completed the eight-student graduate harp program at The Juilliard School. This will be Masri-Fletcher’s 23rd season with the DSO. “As an orchestra we come from various backgrounds, languages and cultures,” she said. “But when we

assemble on stage, we become the great orchestra that we are. We come together to speak the universal language of music.”

Woodwinds Sharon Sparrow, Acting Principal Flute Over the past few seasons, Sharon Sparrow has played nearly every position in the flute section of the DSO and understands better than most the uniqueness and challenges of each one. Having played second for 11 years, she has perfected that role providing stabilization of pitch, security of tone and unending support, both musically and personally. In recent seasons, sitting in the principal and assistant principal chairs allowed her a new and welcome freedom to express her inner musicality, having much more freedom on the numerous solo passages in which to experiment. “My favorite thing about playing principal is being able to express myself musically with every solo line and passage. I have so much to say musically, and playing principal gives me the liberty to use this voice,” she said. The only position Sparrow has not explored very much is the piccolo chair, coveted by the marvelous Jeffery Zook. For this season, Sparrow and Zook are holding up the section, and will be relying on many different players to fill in the gaps. Sparrow looks forward to playing principal again this season, and for each minute she is in that role she will be pouring out  her musical voice with every line! Donald Baker, Principal Oboe Principal oboist Don Baker was already a seasoned principal when he joined the DSO in 1973. At 21, a fresh graduate from Oberlin University, he took on the role of principal oboe with the Dallas Symphony. “I feel very fortunate to have been able to play principal in two major orchestras,” he said. He said he’s addicted to the pressure, which in the oboe section is particularly great. Sitting in perfect center, the principal oboe is not only in the music director Leonard Slatkin’s direct line of vision, but must also play the tuning A note. “I play the first solo of the evening,” he said. “And then another about every 10 seconds after that.”

Theodore Oien, Principal Clarinet Theodore Oien joined the DSO as principal clarinet in 1988, after serving as second and e-flat clarinetist of the Denver Symphony, and as principal clarinet of the Winnipeg Symphony and the CBC Winnipeg Orchestras. A concerto soloist with the DSO at Orchestra Hall, Oien also appears as soloist with other North and South American orchestras, notably in Winnipeg with the Winnipeg Symphony Orchestra, in Greensburg with the Westmoreland Symphony, and in Montevideo with the National Symphony Orchestra of Uruguay. He has performed Copland’s Clarinet Concerto under the composer, and in November of 1999 was invited to perform at Lincoln Center in a concert featuring principal players from major orchestras of 50 nations, honoring the 50th anniversary of the Universal Declaration of Human Rights. Recent appearances with the DSO have included Strauss’ Due- Concertino and Martin’s Concerto for Seven Winds. He has recorded extensively for the record company Chandos with the DSO under Neeme Järvi and is heard on NPR’s Performance Today and weekly on General Motors Mark of Excellence. Robert Williams, Principal Bassoon The 2011-12 season will be Bob Williams’ 39th with the DSO. Williams joined the orchestra at just 24 years old. He already had several years’ experience as a principal bassoon under his belt. His career as a principal bassoonist began while substituting in the University of Arizona faculty quintet (where he was a student) and he also became principal in the Tucson Symphony Orchestra when the regular musician had to resign because of illness. After graduating, Williams spent two years as the solo bassoonist of the Winnipeg Symphony Orchestra before his move to Detroit. As a “frustrated clarinet player” during childhood, Williams said he first picked up the bassoon because no one else played it. “My best friend was first chair clarinet in eighth grade and I knew I’d never beat him and there were no other bassoon players!” he said.

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Brass Karl Pituch, Principal French Horn By the time Pituch was appointed principal horn in 2000 he was already familiar with Detroit’s story of decline. “I remember visiting in the 60’s to shop at Hudson’s downtown, a lot of people did that,” he said. “Since then I’ve watched the city decline and then come back, very slowly.” But even as Pituch watched Detroit struggle from afar, he watched the orchestra thrive. “As associate principal horn of the Dallas Symphony Orchestra before joining the DSO, I listened to the national radio broadcasts and heard how great the DSO was,” he said. “I’ve always wanted to work with Neeme Järvi and after seeing the great repertoire that he programmed, I decided to audition in Detroit.” Pituch has also served as principal horn with the Honolulu Symphony Orchestra, the Jacksonville Symphony, the Colorado Music Festival Orchestra and the Chautauqua Festival Orchestra. He served as a guest Principal Horn for the Los Angeles Philharmonic at the Edinburgh Music Festival in Scotland and at the Hollywood Bowl. Stephen Anderson, Acting Principal Trumpet Beginning his 19th season with the DSO, Anderson also begins his 19th season alongside his fellow DSO trumpet players. Formerly assistant principal trumpet, he has often played the principal part in cases of absence. Apart from the solos Anderson says sitting in the different chair will change little about his section’s dynamics. “I’ve played with the other DSO trumpeters for nearly 20 years. We know what each other is thinking and what we’re going to do next,” he said. “It’s so easy to count on them to play as a unit and as a team.” Prior to his tenure with the DSO, Anderson served as a trumpeter with the Dayton Philharmonic Orchestra and the Carillon Brass Quintet for two seasons, and taught trumpet at Wittenberg University in Springfield, Ohio. Anderson has also performed as a member of the New Mexico Symphony, San Diego Symphony, Santa Fe Opera Orchestra,


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Chicago Chamber Brass and Chicago Civic Orchestra. He frequently plays in various ensembles around the area, including the Detroit Chamber Winds and Strings. Kenneth Thompkins, Principal Trombone “There aren’t many trombone solos, but they do come up,” said Thompkins. “As principal I’ll get to play those, which is an honor.” One of his favorites? The three extensive trombone solos that anchor the first movement of Mahler’s Symphony No. 3. As a section, Thompkins explained it’s crucial to have a homogenous sound to support the rest of the brass and the orchestra as a whole, a responsibility he says makes his role all the more satisfying. “When you play in an orchestra you get to sink into the sound more so than in a band,” he said. “You get to savor those chords.” Thompkins was appointed principal trombone of the DSO by Neeme Järvi in 1997. Prior, he held positions in the Buffalo Philharmonic and the Florida Orchestra and performed with the New World Symphony. Dennis Nulty, PrincipalTuba After trying his hand at the trumpet in sixth grade, Nulty picked up the tuba because, well, no one else in class was playing it yet. Nulty’s main responsibility is aiding the other brass in providing rhythm and pitch. “The tuba is more gregarious than other single instrument sections, often times I am used to support other instrument families” he said. An alumnus of the New World Symphony, Nulty was appointed principal tuba by Music Director Leonard Slatkin in 2009 while completing graduate studies at the New England Conservatory in Boston. As a freelance artist, he recorded a CD/DVD with Chris Botti and the Boston Pops Orchestra, and has performed frequently at historic Fenway Park, including opening ceremonies for game one of the 2007 World Series.

Percussion Eric Shin, Acting Principal Percussion Beginning his first season with the DSO, Eric Shin comes to the Midwest from a considerably more desirable climate; Hawaii, where he was the principal percussionist for the now-defunct Honolulu Symphony. An avid surfer, he says he is adjusting to middle America just fine. “I can tell already the DSO has a large following, that people are really proud of the symphony. There’s an overwhelming amount of support for classical music here.” Shin dabbled in guitar and piano before he settled on percussion, because it’s “so fun to make a bunch of noise.” Although he describes percussion as “just the sprinkles on the cake,” he stresses the importance of perfectionism in his role. “People tend to only notice percussion when we mess up,” he said. Eric Schweikert, Acting Principal Timpani Schweikert, who is also principal timpanist for the Fort Wayne Philharmonic, began his romance with classical music in elementary school as a cellist. “I wasn’t a very motivated practicer on the cello and thought the string bass looked cooler, but I didn’t want to carry one!” he joked. “How ironic that my entire adult life has been spent dealing with the much more cumbersome timpani.” He explained timpani plays a comparable role for percussion as bass plays for strings, but that its greater role is in support of the brass section. “I like playing the low, rumbling notes,” he said. “The audience can literally feel the sound.” While the 201112 season will be Schweikert’s first with the DSO, it won’t be his first time playing with the orchestra. He received that honor as a student at Interlochen. “I have a soft spot for the DSO because it was the first professional orchestra I ever played with,” he said. “And playing at Orchestra Hall is a great honor.”


Thomas Wilkins

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Classical Series Friday, December 2, 2011 at 10:45 a.m. Saturday, December 3, 2011 at 8 p.m. Sunday, December 4, 2011 at 3 p.m. in Orchestra Hall Thomas Wilkins, conductor Branford Marsalis, alto saxophone

Béla Bartók Rumanian Folk Dances (1881-1945) Jocul cu bâta (Stick Dance)

Brâul (Sash Dance) Pe loc (In One Spot) Buciumeana (Horn Dance) Poarga româneasca (Romanian Polka) Măruntel (Fast Dance) Măruntel (Fast Dance)

Alexander Glazunov Concerto for Saxophone and String Orchestra (1865-1936) in E-flat major, Op.109

Branford Marsalis, alto saxophone

Erwin Schulhoff Hot-Sonate for Alto Saxophone and Orchestra (1894-1942) Moderato orch. Richard Rodney Bennett Vivo

Andante Molto vivo Branford Marsalis, alto saxophone

I ntermission

Ludwig van Beethoven Symphony No. 7 in A major, Op. 92 (1770-1827) Poco sostenuto - Vivace

Allegretto Presto Allegro con brio

This Classical Series concert is generously sponsored by

PVS Chemicals, Inc.

Get the most out of each 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. Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances. The DSO can be heard on the DSO, Chandos, London, RCA and Mercury Record labels.

In addition to his role as Music Director of the Omaha Symphony, a post he’s held since 2005, Thomas Wilkins is Principal Guest Conductor of the Hollywood Bowl wilkins Orchestra and holds the Germeshausen Family and Youth Concert Conductor chair with the Boston Symphony. Past positions have included Resident Conductor of the DSO as well as the Florida Orchestra in Tampa Bay and Associate Conductor of the Richmond Symphony in Virginia. He served on the music faculties of North Park University in Chicago, the University of Tennessee and Virginia Commonwealth University in Richmond. Committed to promoting a life-long enthusiasm for music, Wilkins brings energy and commitment to audiences of all ages. For his significant contribution to the children of Tampa Bay, the Pinellas County Music Educators Association named him 1998 Friend of the Arts and the Hillsborough County Elementary Music Educators recognized him as 1998 Music Educator of the Year. In the 2007-2008 season, the DSO awarded Mr. Wilkins the Classical Roots Musical Achievement Award. During his conducting career, he has been featured with orchestras throughout the United States, including the Dallas Symphony Orchestra, The Cleveland Orchestra, Indianapolis Symphony Orchestra (ISO), Buffalo Philharmonic Orchestra, Houston Symphony, the Baltimore Symphony Orchestra and the National Symphony Orchestra in Washington, D.C. He is also a frequent guest conductor of the New Jersey Symphony Orchestra, ISO, San Diego Symphony and the Philadelphia Orchestra. Recent debuts include appearances with the Rochester Philharmonic Orchestra, the Utah Symphony and the Boston Symphony Orchestra. Future engagements include returns to Boston as well as the symphonies of Atlanta, Detroit, San Diego and New Jersey. Wilkins also serves as a director at large for the Greater Omaha chamber of Commerce, and has served on the board of directors of such organizations as the Center Against Spouse Abuse in Tampa Bay, the Museum of Fine Arts and the Performance / Vol . X X / Fall 201 1


Academy Preparatory Center for Education, both in St. Petersburg. Currently, he serves as chairman of the board for the Raymond James Charitable Endowment Fund. A native of Norfolk, Va., Wilkins earned his Bachelor of Music Education degree from the Shenandoah Conservatory of Music in 1978. In 1982, he was awarded the Master of Music degree in orchestral conducting from the New England Conservatory of Music in Boston.

Branford Marsalis

National Endowment for the Arts Jazz Master, renowned Grammy Awardwinning saxophonist and Tony Award nominee Branford Marsalis is one of the most revered marsalis instrumentalists of his time. Leader of one of the finest jazz quartets today, and a frequent soloist with classical ensembles, Marsalis has become increasingly sought after as a featured soloist with such acclaimed orchestras as the Chicago Symphony Orchestra, DSO, Düsseldorfer Symphoniker, North Carolina Symphony and the Boston Pops. His growing repertoire includes compositions by Copland, Debussy, Glazunov, Ibert, Mahler, Milhaud, Rorem and Vaughn Williams. After making his first appearance with the New York Philharmonic in the summer of 2010, Marsalis was again invited to join them as a soloist in their 2010-2011 concert series where he unequivocally demonstrated his versatility and prowess, bringing what The New York Times called “a gracious poise and supple tone…and an insouciant swagger” to the repertoire. Whether on the stage, in the recording studio, in the classroom or in the community, Marsalis embodies a commitment to musical excellence and a determination to keep music at the forefront.


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Program Notes Rumanian Folk Dances, Sz. 68, BB 76 Béla [Viktor János] Bartók

B. March 25, 1881 D. September 26, 1945

Béla Bartók’s Rumanian Folk Dances are scored for two flutes (second flute doubling on piccolo), two clarinets, two bassoons, two horns and strings (approximately 7 minutes).


artók’s father, also Béla Bartók, was a keen amateur musician; he played the piano and the cello, composed short dance pieces, and founded a music society and an amateur orchestra in Nagyszentmiklós, where he lived. The composer’s mother, Paula Voit, who was a teacher, also played the piano. In such a musical environment, Bartok’s budding musical gifts were quickly noticed. He had already shown a talent for rhythm and memory when, on his fifth birthday, his mother gave him his first piano lesson. The premature death of Bartók’s father left the family in a precarious financial situation. His mother supported the children by giving piano lessons, and in 1889 she took a teaching position in Nagyszőllős. It was there that, at the age of 9, Bartók produced his first compositions, mostly short dances, some of which were named after members of the family (e.g. the ‘Irma’ polka, of 1891, was written for his aunt Irma). In 1899, the composer enrolled at the Budapest Academy of Music, where he met István Thomán, the former teacher of Ernst von Dohnányi. In Thomán, one of the most gifted of Liszt’s pupils, Bartók found not only a great teacher but also a humane and supportive father figure. He provided the relatively impoverished student with scores, concert tickets, grants and recommendations (which helped to establish Bartók’s career as a pianist), and introduced him to celebrated artists and musicians. During his Budapest years, Bartók broadened his musical interests. He became acquainted with Wagner’s works, studying the Ring, Tristan and Meistersinger; he also studied Liszt’s scores. None of his studies, however, suggested a new compositional direction to him. Bartók’s discovery of the music of Richard Strauss marked a decisive change in his career as a composer. He was so struck by Strauss’ tone poem Also sprach Zarathustra, the Budapest première of which

he attended in February of 1902, that he began a systematic study of Strauss’ scores. The other great influence on his music at this time was the increasingly nationalist feeling of Hungarian independence, which caused him to wear national dress and oppose the everyday use of German by members of his family. In 1904, Bartók made his first notation of a Hungarian peasant song, which he had heard sung by a young girl. This discovery drew his attention to the wealth of indigenous song which he felt could contain ideas for ‘serious’ composition. In 1905 he met Zoltán Kodály, who had just published his first study of folk music. He found in Kodály an expert on the subject and a helpful colleague. Their lifelong collaboration would later lead them to devise a scientific research method and a system of analysis of folksongs. From 1906, using an Edison phonograph, Bartók took annual trips across Hungary doing research and making recordings. In 1909 Bartók married his pupil Márta Ziegler, who was later to be the dedicatee of his opera Duke Bluebeard’s Castle. Their son Béla was born in 1910. One of the most familiar of Bartók’s works is the Rumanian Folk Dances, written for the piano in 1915 and orchestrated two years later. The work makes use of seven melodies collected in 1910-1912 for six dances from four regions of Transylvania: Bihar, Tordi-Aranyos, Maros-Torda and Torontála. Originally played on a violin or shepherd’s flute, the dances vary greatly in tempo and character; though the original melodies are almost unaltered in themselves, they are treated with a wide range of harmonic freedom and orchestration. The Dances are as follows: I. Jocul cu bâtă (“Stick Dance” | Allegro moderato, A minor) II. Brâul (“Sash Dance” | Allegro, D minor) III. Pe loc (“In One Spot” | Andante, B minor) IV. Buciumeana (“Horn Dance” | Moderato, A major) V. Poarga Româneasca (“Romanian Polka” | Allegro, D major) VI. Mărunțel (“Fast Dance” | Allegro, D major) VII. Mărunțel (“Fast Dance” | Più allegro, A major) In both the orchestral version and the original piano version, the last two dances are typically played without a noticeable pause. The DSO last performed Bartók’s

Extraordinary Holidays. Elegante Holidays. H O M E E N T E R TA I N I N G C O R P O R AT E E V E N T S F O R M A L G AT H E R I N G S

30425 STEPHENSON HWY. MADISON HEIGHTS, MI 48071 Rumanian Folk Dances in July, 2010, at a Concert of Colors concert with Tito Muñoz conducting.  SO Shop @ The Ma x D recommends:

Bartók – Rumanian Folk Dances: Yuli Turofsky conducting I Musici de Montréal, Chandos 10094.

Saxophone Concerto in E-flat major, Op. 109

Alexander Konstantinovich Glazunov

B. August 10, 1865, St. Petersburg, Russia D. March 21, 1936, Neuilly-sur-Seine, near Paris

Glazunov’s Saxophone Concerto is scored for solo alto saxophone and strings (approximately 13 minutes).


ussian composer Alexander Glazunov was born in St. Petersburg to a publisher father and a pianist mother. Possessed of an exceptional ear and musical memory, he began to study piano at the age of 9, and to compose at the age of 11. At the age of 14, Glazunov began composition studies with Rimsky-Korsakov. Despite their wide difference in age, a lifelong friendship would develop between


the two. Even though his studies with the elder composer lasted less than two years, Glazunov made rapid progress, “not from day to day, but from hour to hour,” in Rimsky-Korsakov’s words. At age 16, Glazunov completed his First Symphony, which was given a successful première on March 29, 1882 under Balakirev’s direction. In November of that same year the composer’s First String Quartet was also performed. Glazunov’s talent was so prodigious that it soon aroused the interest of the art patron Belyayev, who devoted his immense fortune to furthering the young composer’s career, as well as the younger generation of Russian composers. After the sudden death of Borodin in 1887, Glazunov became deeply involved with completing and revising the late composer’s unfinished works. Glazunov’s exceptional memory enabled him to write down the overture to Prince Igor as he had heard it played by the composer on the piano; he also completed Act III from sketches and orchestrated the incomplete Third Symphony. In 1905, when Glazunov was elected director of the St. Petersburg Conservatory, he was at the height of his creative powers, but the time and energy he spent on revitalizing the institution took their toll on his creativity, and there was a decided

decline in productivity in later years. During his long tenure at the Conservatory, Glazunov showed paternal concern for the welfare of needy students such as Shostakovich, and he was a great friend to Jewish musicians such as Jascha Heifetz, Nathan Milstein and Mischa Elman, all of whom received his support. Glazunov’s music is important because it succeeded in reconciling nationalist Russian music with broader European trends. Younger composers such as Prokofiev and Shostakovich turned away from his music, considering it to be old-fashioned. However, he is regarded today as a composer of stature and is recognized for having been a stabilizing influence during a time of transition. Glazunov’s Saxophone Concerto shares the same opus number with his Saxophone Quartet in B flat major. It was Glazunov’s last work, composed during his sojourn in Paris. While there, the composer had the occasion to hear the brass band of the Garde Républicaine, a band that maintained the tradition of including the entire saxophone family within its ensemble. Upon its completion, the Quartet would be dedicated to the musicians of the Garde, and soon after, on March 17, 1934, Glazunov started work on the Concerto, completing it just a few weeks later on June 4. Performance / Vol . X X / Fall 201 1


Glazunov wrote the concerto for the great German saxophonist Sigurd Rascher, who gave the work its première the following winter. It was written for the alto saxophone, an instrument remarkable for its full and mellow tone. While composing the work, Glazunov followed Rascher’s advice, while the French musician Petiot supplied the fingering and breathing scheme. In this last concerto, the composer weaves brief epic, scherzo and dramatic episodes into an overall lyrical texture to create a unified, one-movement work. In spite of these contrasting elements, a meditative, sometimes melancholy mood permeates the work.

By utilizing a string orchestra as accompaniment, Glazunov effectively sets off the velvet timbre of the solo saxophone. At the same time, the composer gives the soloist numerous opportunities to display all the resources of the instrument by demonstrating the breadth of its register and by featuring the full gamut of its expressive qualities, from tender cantilena to different virtuosic devices, including intricate figurations and brief but highly refined passages, trills and glissando. The saxophone repertoire is not replete with concerto works, so it is somehow especially fitting that Glazunov’s last concerto (and final composition) has

emerged as a classic for the instrument. These performances of Glazunov’s Concerto for Saxophone and String Orchestra in E-flat major are the DSO premiere of this work.  SO Shop @ The Ma x D recommends:

Glazunov – Concerto for Alto Saxophone: Marc Chisson, saxophone; José Serebrier conducting the Russian National Orchestra, Warner Classics 2564679465.

Hot-Sonate for Alto Saxophone and Orchestra Erwin Schulhoff

B. June 8, 1894, Prague, Czechoslovakia D. August 18, 1942, Weissenburg, Bavaria

UPCOMING CONCERTS: 2011-2012 SEASON Saturday, November 12, 2011, 8 PM

Sergey Khachatryan, Violin Lusine Khachatryan, Piano Beethoven: Sonata No. 2 in A major for Violin and Piano, Op. 12, No. 2 J.S. Bach: Partita No. 2 in D minor, BWV 1004 Shostakovich: Sonata for Violin and Piano, Op. 134 ✦Pre-Concert Talk with Dr. Steven Rings at 6:45 PM

Saturday, December 3, 2011, 8 PM

Steven Isserlis, Cello Connie Shih, Piano

Mendelssohn: Sonata for Cello and Piano No. 1 in B-flat major, Op. 45 Liszt: Romance oubliée, La Lugubre gondola Schumann: Stücke im Volkston Franck: Sonata in A major With support from the Beverly Franzblau Baker Endowment Fund and from Andrea Ziegelman in memory of Isabelle and Erwin Ziegelman

Saturday, January 7, 2012, 8 PM

Tokyo String Quartet wth Eugene Izotov, Oboe Haydn: String Quartet in G major, Op. 77, No. 1 Mozart: Oboe Quartet in F major, K. 370 Takemitsu: Entre-temps Debussy: String Quartet in G minor Sponsored by

To purchase tickets and for more information about upcoming concerts, please call (248) 855-6070 or visit 16

Performance / Vol . X X / Fall 201 1

Orch. Richard Rodney Bennett Scored for two flutes (second doubling on alto flute and piccolo), two oboes (second doubling on English horn), two clarinets (second doubling on bass clarinet), two bassoons (second doubling on contrabassoon), two horns, two trumpets, tenor trombone, bass trombone, tuba, drum set, and jazz bass (approximately 15 minutes).


rwin Schulhoff was a Czech composer and pianist. He was one of the brightest figures in a generation of European musicians whose careers were prematurely ended by the rise of the Nazis in Germany. On the advice of Dvořák, Schulhoff studied first at the Prague Conservatory, before going on to complete his musical education at the conservatories of Leipzig and Cologne. He also studied privately with both Max Reger and Claude Debussy. After serving in World War I, Schulhoff returned to Prague before settling in Germany, where he lived for nearly five years, and where he had close links with the contemporary avant-garde, particularly with the Dadaists. He associated with new artistic groups, with painters George Grosz and Paul Klee, the German Dadaists and also with many leading young musicians. In 1919, he wrote the first Dadaist cycle of jazz pieces, the Fünf Pittoresken, which he dedicated to the “painter and Dadaist George Grosz.” This set of pieces was the beginning of a whole series of provocative compositions, including the Sonata erotica and Symphonia germanica (1919), Bassnachtigall and Die Wolkenpumpe (1922), and the jazz-inspired Suite for Chamber Orchestra (1921). A pianist of unusual technical ability, Schulhoff gave many recitals with an emphasis on new music. He was the first to

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play the quarter-tone pieces of Alois Hába and his pupils. From the early 1920s he was also active as a jazz pianist and used jazz idioms in his compositions. In the 1930s, Schulhoff encountered mounting personal and professional difficulties. Due to his Jewish descent and his radical political beliefs, he and his compositions were labeled as entartete, or ‘degenerate,’ by the Nazi regime. He could no longer give recitals in Germany, nor could his works be publicly performed. His Communist leanings, increasingly obvious in his works, also brought him trouble in Czechoslovakia. In 1932, he composed a musical version of The Communist Manifesto (Op. 82). Taking refuge in Prague, Schulhoff found work as a radio pianist, but he earned barely enough to survive. When the Nazis invaded Czechoslovakia in 1939, he was forced to perform using a pseudonym. The Soviet Union approved his petition for citizenship in 1941, but he was arrested and imprisoned before he could escape Czechoslovakia. In June of 1941, he was transported to the Wülzburg concentration camp, not far from Weissenburg, Bavaria. He died there on August 18, 1942, from tuberculosis. Schulhoff ’s works fall into no fewer than four distinct stylistic periods. His earlier pieces show the influence of composers from the preceding generation, such as Scriabin, Richard Strauss and Claude Debussy. During his Dadaist phase, Schulhoff composed works with distinct ‘absurdist’ elements (one movement of the Fünf Pittoresken, “In futurum,” is a completely silent piece made up entirely of rests that anticipates John Cage’s 4’33’’ by more than thirty years). His third period (1923/32) integrates modernist vocabulary, neoclassical elements, jazz and dance elements. The final period of his career could be classified as socialist realism, with elements of Communist ideology in the foreground. Schulhoff ’s Hot-Sonate was originally written for alto saxophone and piano in 1930, and falls squarely into Schulhoff ’s third stylistic period. It is Schulhoff in full jazz/cabaret mode, complete with faux-jazz syncopations and occasional rhythmic surprises. The work is in four parts, with the third part functioning as a bluesy slow movement. The ‘hot’ reference in the title comes from the improvisatory or ‘jazz’ element that is part of the fabric of the work, which requires soloist and accompaniment to exercise a great deal of freedom while still remaining in sync with each other. Schulhoff ’s Hot-Sonate was premiered in 1930 its original version for saxophone and piano during a broadcast of the Berlin 18

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Radio Hour. The composer was at the piano, and jazz saxophonist Billy Barton was the soloist. These performances of Erwin Schulhoff ’s Hot-Sonate for Alto Saxophone and Orchestra (orchestrated by Richard Rodney Bennett) are the DSO Première.  SO Shop @ The Ma x D recommends:

Schulhoff – Hot-Sonate for Alto Saxophone: Johannes Thorell, saxophone; Magnus Sköld, piano, DB Productions 138. (No orchestral version currently available.)

Symphony No. 7 in A major, Op. 92 Ludwig van Beethoven

B. December 15 or 16 (baptized, December 17), 1770, Bonn, Germany D. March 26, 1827, Vienna, Austria

Beethoven’s Seventh Symphony was composed in 1812. The première took place on December 8, 1813, at the concert hall of the University of Vienna. The work is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings (approximately 36 minutes).


f all of Beethoven’s Symphonies, the Seventh is one of the most resistent to external explanation; yet it has received many poetic evaluations. The most famous of these comes from composer Richard Wagner, for whom it was “the apotheosis of the dance.” Wagner went on to say: “…it belongs to the Night Spirit and his crew, and if anyone plays it, tables and benches, cans and cups, the grandmother, the blind and the lame, aye, the children in the cradle, fall to dancing.” Isadora Duncan danced the work complete except for the opening Vivace in 1908. In 1938, Léonide Massine choreographed the entire work and even titled the movements: The Creation; The Earth; The Sky; and The Bacchanale and Destruction. With the opening chord, Beethoven marks out a vast musical space and defines the colors and textures that will characterize the symphony as a whole: light, transparent, with no unnecessary doubling of parts. Having abandoned the Haydnesque device of a slow introduction for the Fifth and Sixth Symphonies, Beethoven returns to it here, perhaps with the awareness that the vital, highly propulsive first movement had to begin from something. Taking Wagner’s remark about the dance to heart, it is possible to hear the first movement as a gigue on a grand scale. However, as Baroque composers knew,

pure dance forms could be extended only so far in time; even when melodically elaborate and with added harmonic interest, they could not easily be extended beyond their original sixteen or thirty-two bar framework. Here, Beethoven has not elaborated but rather simplified, reducing the dance rhythm to its most basic element, with accompanying harmonies in broad, sweeping arcs. In the Sixth Symphony, he had discovered the cumulative power of harmonic repetition; wedding this earlier technique to a repeated, vital, rhythmic unit created an irresistible force. If the first movement is the dance apotheosized, the second is a set of variations moved far beyond the realm of mere decoration. Beethoven had mastered this technique as early on as the Eroïca, and here his craft is seen at its subtlest, simplest and most effective. Rather than being added onto the theme, the variations seem instead to grow organically out of it. Thinking back, the astute listener realizes they were present all the time. Nothing remains of the traditional minuet in the third movement; it has been replaced by a peasant dance that sweeps the spectators along in its wake. It opens with a rhythmic springboard that sets the underlying meter and which sticks in the listeners’ mind even when Beethoven contradicts it. The middle trio section is said to have been based on an Austrian pilgrims’ hymn; it is repeated twice, according to the scheme Beethoven devised (and then abandoned) in the Fifth Symphony. The last movement inevitably seems fast, regardless of the tempo that is taken, but this sense of speed is somewhat deceptive. Beneath all the activity on the surface, the harmonies move quite slowly, sometimes holding in place for bars at a time. Here Beethoven applies the same formula that worked so well in the first movement, keeping an obsessively repeated rhythm firmly in place with strong harmonic anchors. The movement may be a workout for the orchestra, but the listener comes away feeling refreshed, without knowing exactly why. The DSO first performed Beethoven’s Seventh Symphony in a concert given at the Arcadia Auditorium on April 24, 1919, with Ossip Gabrilowitsch conducting. The most recent DSO performance of the work was given at Meadow Brook Music Festival in July of 2007, with Leonard Slatkin conducting.  SO Shop @ The Ma x D recommends:

Beethoven – Symphony No. 7: Carlos Kleiber conducting the Vienna Philharmonic Orchestra, Deutsche Grammophon 447400.


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Profiles Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

DSO Presents Monday, December 5, 2011 at 8 p.m. in Orchestra Hall Natalie MacMaster Christmas in Cape Breton Natalie MacMaster, fiddle Mac Morin, piano Nathaniel Smith, cello Shane Hendrickson, bass JD Blair, drums Detroit Children’s Choir, Carol Schoch, director

Program to be announced from the stage. Special Thanks to Accusound Microphones

Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances. The DSO can be heard on the DSO, Chandos, London, RCA and Mercury Record labels.

Natalie MacMaster

Natalie MacMaster’s signature sound has resonated with world audiences through 10 albums, multiple gold sales figures and 27 years. She has been awarded numerous Juno and East Coast Music MacMaster Awards, two honorary degrees, an honorary doctorate, the Order Of Canada, and a reputation as one of Canada’s most captivating performers. She also has the respect and admiration of top-notch musicians such as master violinist Mark O’Connor, whose camp MacMaster frequents as a guest instructor; legendary cellist Yo-Yo Ma, who recently invited her to prominently participate as a guest performer on his 2008 holiday-themed album “Songs Of Joy & Peace;” banjo prodigy Béla Fleck; fellow fiddling marvel Alison Krauss; and spiritually electrifying superstar guitarist Carlos Santana. But to MacMaster, her family now shapes and informs her musicianship as much as the jigs, reels, airs, waltzes, strathspeys, marches and traditional folk 20

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that feed her spiritual soul. “I am a mom now. I am a wife. Those things are my priorities in life, and I think people get a sense of that, of that part of who I am, through my show. But my music itself hasn’t changed.” If anything, family has reinvigorated MacMaster’s commitment to the stage and her audience. “I like being on stage even more,” she enthuses. “When I appear onstage, that’s my departure from momhood and I transform into Natalie MacMaster the entertainer, the fiddler, the performer. MacMaster was 16 years old when she started focusing on step dancing, a skill she incorporates into her performance. “As the years went on, people came to expect it, so I still do a little of that – even when I’m pregnant.” But it’s her majesty with the bow and her intricate technique in making the fiddle sing and championing the Cape Breton tradition that floors her admirers for over 100 shows per year. Born in Troy, Inverness County, Nova Scotia, MacMaster’s impressive musical lineage includes a cadre of amazing fiddlers, including her uncle, fiddle prodigy Buddy

MacMaster (with whom Natalie recorded the 2005 gem “Traditional Music From Cape Breton Island”); her cousin Andrea Beaton and the late, great Canadian folk icon John Allan Cameron. However, MacMaster forged her own sound, debuting her fiddling prowess at the age of 9 at a concert in Glendale, Cape Breton. She delivered her first album, “Four On The Floor,” at just 16. “I was incredibly shy on stage until I was in my early-to-mid 20s,” she explains. MacMaster has performed with The Chieftains, Paul Simon, Faith Hill and Luciano Pavarotti in front of millions on “The Tonight Show with Jay Leno,” “Late Night with Conan O’Brien,” the ABC 2002 New Year’s Eve Special and “Good Morning America.” Her performances have thrilled audiences throughout Europe and North America, especially in her native Canada, enabling MacMaster to passionately perform and promote the universal language of her Cape Breton sound.

Detroit Children’s Choir

The mission of the Detroit Children’s Choir is to use the power and discipline of singing to bring together Detroit’s children in grades 3-8 – from urban and suburban communities, representing a wide range of ethnicities, religions and socio-economic levels – in a way that strengthens team building, creativity, social interaction, understanding, and connection. We believe that our children are not just the ‘future’ of Detroit, they are the PRESENT! Through their united performances, they bring their respective communities together, spread joy and inspiration and lift up our collective spirit. Founded in 2006, DCC is a citywide program which offers in-school and neighborhood choir opportunities in an effort to reach all 8-14 year old children in the Detroit area who have a desire to sing. More information about the various neighborhood choir locations and registration can be found on DCC’s website at www. In addition, DCC is always searching for school administrators who would like to bring an in-school choir program into their school. The members of the DCC Touring Choir are selected by audition and many of them got started in one of our in-school or neighborhood choir programs. These singers — and their supportive families — commit to year-round participation and they serve as good-will ambassadors for the young people of our city.

Profiles Matthew Halls

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

DSO Presents Thursday, December 8, 2011 at 7:30 p.m. Saturday, December 10, 2011 at 8 p.m. in Orchestra Hall Matthew Halls, conductor Nicola Benedetti, violin Johann Sebastian Bach Suite No. 3 in D major for Orchestra, (1685-1750) BWV 1068 Overture Air Gavotte I Gavotte II Bourrée Gigue George Frideric Handel Suite No. 1 in F major from Water Music (1685-1759) Overture Adagio e staccato Allegro Air Minuet Bourrée Hornpipe Andante

I ntermission Antonio Vivaldi The Four Seasons for Violin and Orchestra, (1678-1741) Op. 8, Nos. 1-4 Concerto in E Major, “La primavera” (Spring) Concerto in g minor, “L’estate” (Summer) Concerto in F major, “L’autunno” (Autumn) Concerto in f minor, “L’inverno” (Winter) Nicola Benedetti, violin

Matthew Halls has made his mark as one of today’s leading young conductors, having made significant debuts with the Houston Symphony, Tonkünstler halls Orchestra, Bach Collegium Stuttgart, Orchestre Philharmonique de Monte Carlo, Berlin Radio Symphony, Frankfurt Radio Symphony, Iceland Symphony, and the Scottish Chamber Orchestra. His 2011 season includes engagements with the Netherlands Radio Philharmonic, DSO, Salzburg Mozarteum Orchestra, and the National Symphony Orchestra in Washington, D.C. In August 2011 he was named Artistic Director designate of the Oregon Bach Festival, to replace founding director Helmuth Rilling following the 2013 Festival. Halls’ eclectically designed orchestral programs span centuries, juxtaposing composers as diverse as Byrd and Britten, Gesualdo and Schoenberg. Yet, he has an avowed passion for the 19th century Germanic and 20th century British repertoires. His opera pedigree ranges from the Renaissance and Baroque to modern works. In addition to European and Asian engagements, he’s been a guest conductor with Colorado’s Central City Opera the last three summers, directing a premiere of his own edition of Handel’s opera Amadigi di Gaula in 2011, Puccini’s Madame Butterfly in 2010, and Handel’s Rinaldo for his 2009 debut. He is the founding director of the Retrospect Ensemble, already in the vanguard of performance-practice groups with an annual series in London’s famed Wigmore Hall and appearances ranging from the Edinburgh International Festival to the Krakow Festival of Polish Music and a relationship with the Korean National Opera.

Get the most out of each concert by attending ConcerTalks, one hour prior to performances (excluding Coffee Concerts). ConcerTalks 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. Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances. The DSO can be heard on the DSO, Chandos, London, RCA and Mercury Record labels.

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Nicola Benedetti

Nicola Benedetti has captivated audiences and critics alike with her musicality and poise. Throughout her career, her desire to perform new works has shown her to be one of Britain’s most benedetti innovative and creative young violinists. She has recorded newly commissioned works by John Tavener and James MacMillan, worked on jazzinfluenced repertoire with Wynton Marsalis and others, and explored authentic baroque performance. As word of Benedetti’s immense musicality and ability to reach audiences has spread, she has performed with an ever-growing list of international orchestras in Europe, Asia and North America. In July, Benedetti made her South American debut with the Simon Bolivar Symphony Orchestra of Venezuela and during her


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week-long visit, taught masterclasses with the revolutionary El Sistema program. Highlights of the 2011–12 season include a New York Philharmonic performance in Central Park led by Alan Gilbert with Andrea Bocelli and her debut with the London Symphony at the Enescu Festival in Bucharest. Elsewhere, she debuts with the Netherlands Radio Philharmonic, Zurich Chamber Orchestra, Cincinnati Symphony Orchestra, DSO and the Hallé orchestra in Manchester. She will also tour the U.K. with the Czech National Symphony, perform a series of recitals for the BBC, visit Italy with the Mantova Chamber Orchestra and perform with the Stuttgart Philharmonic and Scottish Chamber Orchestra. She also embarks on a tour of South America. Benedetti has captivated audiences with recitals across Europe and North America and performs in chamber music concerts throughout the U.K. and Europe with her regular trio, including cellist Leonard Elschenbroich and pianist Alexei Grynyuk.

Winner of the Classical BRIT Award for Young British Classic Performer in 2008, Benedetti has released five CDs with Universal/Deutsche Grammophon. She has also taken part in many prestigious events, including performances at Windsor Castle for Her Majesty the Queen, opening of the Scottish Parliament, the G8 Summit at Gleneagles and for Comic Relief ’s “Classic Relief ” concert. Benedetti has also devoted herself to humanitarian and educational causes, including the U.K.’s CLIC Sargent Practice-a-thon, El Sistema Scotland’s Big Noise project and UNICEF. Born in Scotland of Italian heritage, Benedetti began violin lessons at just age 5. In 1997, she entered the Yehudi Menuhin School, where she studied with Natasha Boyarskaya, and then continued her studies with Maciej Rakowski in London. She is currently taking lessons from Pavel Vernikov in Vienna. Benedetti plays the Earl Spencer Stradivarius (circa 1712), courtesy of Jonathan Moulds.

Program Notes


Suite No. 3 in D major for Orchestra, BWV 1068

ach made use of dance rhythms in various ways, sometimes incorporating them subtly, challenging the listener to recognize them and identify their origins; at other times, presenting courtly or folk dances almost in their original guise, only a step or two removed from the ballroom or the stage. If the dances in his keyboard suites are removed from their sources by several degrees, those in the four orchestral suites show their lineage more clearly. The orchestral suite is closer to actual dance music than the keyboard suite if only

Johann Sebastian Bach

B. March 31, 1685, Eisenach, Germany D. July 28, 1750, Leipzig, Germany

Bach wrote his Suite No. 3 in D major in Leipzig between 1729 and 1731. It is scored for two oboes, three trumpets, timpani, continuo and strings (approximately 20 minutes).

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“A Night in Hapsburg Vienna: From the Marriage of Figaro to Fidelio as arranged for Wind Harmonie”

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Michael Sandel “Justice: What’s the Right Thing to Do?”

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“The Spanish Tradition: Manuel de Falla, El Corregidor y la Molinera” Monday, oCtober 24, 8 p.M. LouiS arMStrong theatre perforMing artS Center aLLendaLe CaMpuS

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for the fact that it had its origins as a set of extracts from an opera or ballet. In imitation of these recycled suites, Baroque composers wrote new ones, usually following the same format, beginning with an overture and continuing with a series of dances. Such a format was favored in Germany, where music for entertainment was constantly in demand at the many courts across the land. Bach was by no means the most prolific composer of suites; Telemann may have composed as many as 1,000, of which only 135 are extant. Scholars are unsure of the origin of Bach’s four suites. He first became familiar with the French style during his years in Cöthen; the First and Fourth suites probably date from around this time. The Second and Third Suites were more likely written during Bach’s time in Leipzig, where in addition to providing sacred music for the city’s two main churches, Bach also wrote for the Collegium Musicum, a regular gathering of knowledgeable musical amateurs. The Leipzig Suites combine the two leading national styles of the time, French and Italian; if the differences are less than apparent today, Bach’s contemporaries would have been keenly aware of them. Like all of Bach’s orchestral suites, the Third opens with an Overture, here a majestic procession with trumpets and drums, alternating with a faster fugal section. Even more familiar is the Air, which enjoyed a particular success in the virtuoso violin arrangement by August Wilhelm under the title “Air, for the G String.” The original, scored for string orchestra, is sheer Italian melody, the first violins spinning their limpid tune against a backdrop of steadily shifting bass. An Italian composer might have left the melodic line unadorned, trusting the performers to ornament it, but Bach left nothing to chance, writing out in full the ornamentation as he heard it. Three traditional dance movements round out this Suite: two animated Gavottes, a Bourrée (with its trademark upbeat), and a Gigue. The last of these is not in the French style, in spite of its orthography; rather, it is an Italian giga, running breathlessly from start to finish, with trumpets and drums joining in the fray at the close. The DSO last performed Johann Sebastian Bach’s Suite No. 3 in D major for Orchestra, BWV 1068 in December 2002, with Robert King conducting.  SO Shop @ The Ma x D recommends:

Bach – Orchestral Suite No. 3: Neville Marriner conducting the Academy St. Martin-in-the-Fields, Decca 430378. Performance / Vol . X X / Fall 2011


Suite No. 1 in F major from Water Music

George Frideric Handel

B. February 23, 1685, Halle, Germany D. April 14, 1759, London, England

Overture Adagio e staccato Allegro Air Minuet Bourrée Hornpipe Andante

Handel’s Suite No. 1 in F major from Water Music is scored for two oboes, bassoon, two horns, continuo and strings (approximately 25 minutes)


eorge Frideric Handel was born in 1685 to Georg Händel and Dorothea Taust. Handel’s father, who was 63 when he was born, was an eminent barber-surgeon who served two royal courts. According to Handel’s first biographer, John Mainwaring, “he had discovered such a strong propensity to music, that his father, who always intended him for the study of the Civil Law, had reason to be alarmed. He strictly forbade him to meddle with any musical instrument but Handel found means to get a little clavichord privately convey’d to a room at the top of the house. To this room he constantly stole when the family was asleep.” Handel’s Water Music was composed in 1717 for a particularly spectacular royal event. King George I, recognizing political unrest in his country following a dispute with his son, organized a royal water trip along the Thames River, in order to be more visible to his subjects. He offered Handel, newly arrived in the country and under the King’s patronage, the opportunity to compose music to accompany the trip. The three resulting suites are comprised of Baroque dances, and include bourrées, hornpipes and minuets, as well as overtures, allegros, arias and choruses. Although these pieces were grouped into three separate suites, it was only at the time of publication that the movements were organized by key as separate and distinct works. Handel maintains an atmosphere of majesty and mirth throughout, reflecting the power and magnificence of his King. On Wednesday, July 17, 1717, King George I and a large gathering of the English nobility boarded open barges on the Thames at Whitehall and sailed up the river to Chelsea, where they dined and stayed on until 3 a.m. The party then returned, the King arriving at St. James’ Palace at about 4:30 a.m. Throughout the


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whole of this spectacular evening, Handel’s majestic music was to be heard. According to the Daily Courant, one of the barges “was employed for the Musick, wherein were 50 instruments of all sorts who play’d – the finest Symphonies, compos’d express for this Occasion, by Mr. Handel; which His Majesty liked so well, that he caus’d it to be plaid over three times in going and returning.” Handel made no attempt to publish the Water Music at the time of its premiere, but it soon began to circulate in manuscript

copies. About half of the suite was published as a set of orchestral parts in 1734, and a nearly complete harpsichord transcription of the work appeared in 1743. By this time, the movements had been grouped into “key order,” with the F major and D minor movements first, then the D major movements, and finally the movements in G major and G minor. The once widely held notion that the music was conceived in this form, as three separate suites, is doubtful. It is possible that Handel did use some pre-existing movements when he created the


Water Music, but the movements containing brass instruments are likely to have been newly composed. The use of French horns was a significant innovation: the instruments had never before been used in any English musical work, and they proved to be ideal for outdoor music, particularly in combination with trumpets. The whole suite reflects the confidence Handel had acquired in the country in which he had chosen to settle and, some ten years later, to become a naturalized citizen. The First Suite opens in the style of a French overture, connoting the majesty and importance of the King. The Adagio that follows is a beautiful oboe lament in D minor which contrasts perfectly with the celebratory feel of the first movement. The horns are featured in the next Allegro section, lending an air of grandeur to Handel’s expansive orchestration. The final movement is a dialogue between the winds and strings, with oboes and bassoon introducing a theme that is then taken up by the strings, which after being passed between the two sections culminates in a final tutti statement. The DSO last performed Handel’s Suite No. 1 from the Water Music in February of 2009, with Nicholas Kraemer conducting.  SO Shop @ The Ma x D recommends:

Handel – Water Music Suite No. 1: Neville Marriner conducting the Academy St. Martin-in-the-Fields, Decca 414596.

The Four Seasons, Op. 8 Antonio Vivaldi

B. Venice, March 4, 1678 D. Vienna July 28, 1741

Vivaldi’s The Four Seasons is scored for solo violin, continuo and strings (approximately 39 minutes).


he four concertos that the great Venetian composer Antonio Vivaldi titled The Four Seasons are actually part of a larger set of 12 concertos that he called collectively The Strife between Harmony and Invention (Il Cimento dell’ Armonia e dell’ Inventione). Vivaldi was one of the early exponents of orchestral program music. Since the concerto was the principal type of orchestral music in the early 18th century, his programmatic efforts are usually in concerto form. Vivaldi’s work in the area of concerto composition was extensive, experimental, and, as a whole, one of the major landmarks of baroque orchestral repertoire. Two types of concerto format were prevalent in Vivaldi’s lifetime: the concerto

grosso, based upon the juxtaposition between unequal instrumental groups (concertino being the small solo group and grosso the larger mass of strings), and the solo concerto, based upon the opposition between one instrument and the orchestra. Vivaldi’s The Four Seasons are pure examples of neither type of concerto. Occasionally, there is a concertino grouping (usually consisting of three solo violins), but more often, a violin solo is featured in the manner of a solo concerto. This mixture of concerto types fits better with what we know of Vivaldi’s personality and practice than does a rigid adherence to one formula for concerto construction. Scholars have pointed out the appropriateness of Vivaldi’s title for the entire Opus 8 set, in which armonia (in other words, traditional form) is reconciled with invenzione (or pictorialism). Vivaldi does just that, retaining the traditional ritornello scheme while making the solo episodes occasions for both virtuoso display and for scene painting. Others before him had indulged in passages of similar imitation; however, The Four Seasons has the distinction of being the most sustained programmatic work prior to Beethoven’s Pastoral Symphony. In The Four Seasons, each concerto is set to a sonnet describing one of the seasons of the year, and the individual movements, as well as passages from within each movement, are keyed to the specific lines of poetry that they are intended to suggest or imitate. The poems follow below: Spring Spring has come, and joyfully the birds welcome it with cheerful song, and the streams and the breath of zephyrs, flow swiftly with sweet murmurings. But now the sky is cloaked in black and thunder and lightning announce themselves; when they die away, the little birds turn afresh to their sweet song. Then on the pleasant flower-strewn meadow, to the gentle rustle of the leaves and branches the goatherd rests, his faithful dog at his side. To the rustic bagpipe’s gay sound nymph and shepherd dance beneath the fair spring sky in all its glory. Summer In the torrid heat of the blazing sun, man and beast alike languish, and even the pine trees scorch; the cuckoo raises his voice, and soon after the turtledove and finch join in song.

Sweet zephyrs blow, but then the fierce north wind intervenes; the shepherd weeps, anxious for his fate from the harsh, menacing gusts; He rouses his weary limbs from rest in fear of the lightning, the fierce thunder and the angry swarms of gnats and flies. Alas! his fears are justified, for furious thunder irradiates the heavens, bowing down the trees and flattening the crops. Autumn The peasant celebrates with song and dance his joy in a fine harvest and with generous draughts of Bacchus’ cup his efforts end in sleep. Song and dance are gone; the gentle, pleasant air and the season invite one and all to the delights of the sweetest sleep. At first light the huntsman sets out with horns, guns and dogs, putting his prey to flight and following its tracks; Terrified and exhausted by the great clamour of guns and dogs, wounded and afraid, the prey tries to flee, but is caught and dies. Winter To shiver icily in the freezing dark in the teeth of a cruel wind, to stamp your feet all the time, so chilled that your teeth chatter; To remain in quiet contentment by the fireside while outside the rain pours in torrents; to walk on the ice, with slow steps in fear of falling, advance with care. Then to step forth strongly, fall to the ground, and again run boldly on the ice until it cracks and breaks; To listen as from the iron portals rush winds from south and north, and all the winds in contest; such is winter, such the joys it brings. The DSO last performed Vivaldi’s The Four Seasons in December of 2007, with Nicholas McGegan conducting.  SO Shop @ The Ma x D recommends:

Vivaldi – The Four Seasons: Alan Loveday, violin; Neville Marriner conducting the Academy St. Martin-in-the-Fields, Decca B0006627.

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Christopher Warren-Green Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

DSO Presents

Saturday, December 10, 2011 at 3 p.m. Sunday, December 11, 2011 at 3 p.m. in Orchestra Hall Christopher Warren-Green, conductor • Klara Ek, soprano# Christopher Ainslie, counter tenor^ • Mark Tucker, tenor* • Douglas Williams, bass-baritone+ University Musical Society Choral Union, chorus • Jerry Blackstone, conductor

George Frideric Handel


(1685-1759) 1. Sinfonia PART I 2. Accompagnato: “Comfort ye, my people”* 3. Air: “Ev’ry valley shall be exalted”* 4. Chorus: “And the Glory of the Lord” 5. Accompagnato: “Thus saith the Lord, the Lord of Host”+ 6. Air: “But who may abide the day of His coming”^ 7. Chorus: “And he shall purify” 8. Recitative: “Behold, a virgin shall conceive”^ 9. Air and Chorus: “O thou that tellest good tidings of Zion”^ 10. Accompagnato: “For behold, darkness shall cover the earth”+ 11. Air: “The people that walked in darkness”+ 12. Chorus: “For unto us a child is born” 13. Pifa (Pastoral Symphony) 14a. Recitative: “There were shepherds abiding in the field”# 14b. Accompagnato: “And lo, the angel of the Lord came upon them” 15. Recitative: “And the angel said unto them”# 16. Accompagnato: “And suddenly, there was with the angel”# 17. Chorus: “Glory to God in the highest” 18. Air: “Rejoice greatly, O daughter of Zion”# 19. Recitative: “Then shall the eyes of the blind be open’d”^ 20. D uet: “He shall feed his flock like a shepherd”#^ 21. Chorus: “His yoke is easy, and His burden is light” INTERMISSION PART II 22. Chorus: “Behold the Lamb of God” 23. Air: “He was despised”^ 24. Chorus: “Surely, He hath bourne our griefs and carried our sorrows” 25. Chorus: “And with His stripes we are healed” 26. Chorus: “All we like sheep, have gone astray” 27. Accompagnato: “All they that see Him, laugh Him to scorn”* 28. Chorus: “He trusted in God” 29. Accompagnato: “Thy rebuke hath broken His heart”* 30. Arioso: “Behold and see if there be any sorrow”* 31. Accompagnato: “He was cut off out of the Land of the living”* 32. Air: “But Thou didst not leave His soul in hell”* 33. Chorus: “Lift up your heads” 37. Chorus: The Lord Gave the Word 38. Air: “How beautiful are the feet of him”# 39. Chorus: Their sound is gone out 40. Air: “Why do the nations so furiously rage together”+ 41. Chorus: “Let us break their bonds asunder” 42. Recitative: “He that dwelleth in heaven”* 43. Air: “Thou shalt break them with a rod of iron”* 44. Chorus: “Hallelujah” PART III 45. Air: “I know that my Redeemer liveth”# 46. Chorus: “Since by man came death” 47. Accompagnato: “Behold, I tell you a mystery+ 48. Air: “The trumpet shall sound and the dead shall be rais’d”+ 53. Chorus: “Worthy is the Lamb that was slain” #^*+ UMS Chorale Union Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances. The DSO can be heard on the DSO, Chandos, London, RCA and Mercury Record labels.


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Music Director of the Charlotte Symphony and London Chamber orchestras, this season Christopher WarrenGreen will make his debut with the DSO, the Milwaukee Symphony Orchestra warren-green and the Zürcher Kammerorchester, and will return to the London Philharmonic, Sapporo Symphony and the Royal Philharmonic orchestras. In North America, Warren-Green has worked with the Minnesota Orchestra on several occasions, and made an acclaimed debut with the Philadelphia Orchestra in 2007. He has also performed with the National Symphony Orchestra in Washington, D.C., Houston Symphony, St. Louis Symphony, Seattle Symphony Orchestra and Vancouver Symphony Orchestra. Last season he conducted the Philharmonia Orchestra at the Royal Festival Hall, made his debut with the Orchestre National de Belgique, and performed with the RTÉ National Symphony Orchestra in Dublin. He also conducted the London Chamber Orchestra in the closing concert of the Berlin International Music Festival in August 2011. Elsewhere in the United Kingdom, Warren-Green has worked with the BBC Concert, Royal Liverpool Philharmonic and Royal Scottish National orchestras. Further afield, he has appeared at the Bucharestbased Enescu Festival with the Chamber Orchestra of the Romanian National Radio Society and has conducted concerts with the Orquestra Metropolitana de Lisboa, Iceland Symphony Orchestra and Armenian Philharmonic Orchestra. Previous orchestral appointments have included Principal Conductor of the Camerata Resident Orchestra of the Megaron Athens, taking over from Sir Neville Marriner; Chief Conductor of the Nordiska Kammar Orkestern, and Chief Conductor of the Jönköpings Sinfonietta. Warren-Green has been personally invited to conduct on many occasions for the Royal Family in the last 30 years. In April 2011, Warren-Green conducted the London Chamber Orchestra during the marriage ceremony of HRH Prince William Duke of Cambridge and HRH Duchess of Cambridge at Westminster Abbey.

University Musical Society Choral Union

The University Musical Society (UMS) Choral Union was formed by a group of Ann Arbor citizens and university students who gathered together for the study of Handel’s Messiah. The group has performed with many of the world’s distinguished orchestras and conductors in its 133-year history. Originally named The Choral Union, the ensemble was first led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady. Since its first performance of Handel’s Messiah in December 1879, the oratorio has been performed by the UMS Choral Union in Ann Arbor annually. Based in Ann Arbor under the aegis of UMS, the 175-voice Choral Union is known for its definitive performances of large-scale works for chorus and orchestra. The UMS Choral Union further enriched that tradition 16 years ago when it began appearing regularly with the DSO. Led by Grammy Award-winning conductor and music director Jerry Blackstone, the UMS Choral Union was a participant chorus in a rare performance and recording of William Bolcom’s Songs of Innocence and of Experience in Hill Auditorium in April 2004 under the baton of DSO Music Director Leonard Slatkin. Naxos released a three-disc set of this recording in October 2004, featuring the UMS Choral Union and University of Michigan School of Music ensembles. The recording won four Grammy Awards in 2006, including “Best Choral Performance” and “Best Classical Album.” The recording was also selected as one of The New York Times “Best Classical Music CDs of 2004.” The UMS Choral Union’s 2011-2012 season begins with its annual performances of Handel’s Messiah at Hill Auditorium with the Ann Arbor Symphony and at Orchestra Hall with the DSO in December. The chorus will join forces with the DSO and Slatkin in February for performances of Brahms’ Ein deutsches Requiem and Adams’ On the Transmigration of Souls and again in April for performances of Beethoven’s Choral Fantasy and Bolcom’s Prometheus.

Program Notes Messiah

George Frideric Handel

B. February 23, 1685, Halle, Germany D. April 14, 1759, London, England

Messiah was first performed in Dublin on April 13, 1742. The score calls for two oboes, two bassoons, timpani, strings and continuo, with vocal soloists and choir. The vocal roster varied at each of Handel’s performances; on this occasion, the solo parts are allotted to soprano, counter-tenor, tenor and bass-baritone (approximately 2 hours).


andel first appeared on the London scene in 1711 with his opera Rinaldo, the first opera conceived for the English stage to be in the Italian language. Over the next 30 years, Handel’s fortunes would ebb and flow along with opera’s rise and fall in favor among the English people. By 1741, his last opera, Deidamia, had failed, and Handel began to think about returning to his native Germany. By the time he wrote Messiah, Handel had survived a serious illness (1737) and had sunk to the low point of his career, physically, psychologically, emotionally and financially. Scholars have debated over who assembled the texts for Messiah, but the man who sent them to Handel was one Charles Jennens, a rich and somewhat pompous dilettante who had a high opinion of his own literary gifts. If Jennens did not assemble the libretto, he accepted the credit given him for doing so. The entire text is Biblical (from the Authorized Bible of 1611), and each of the three parts is devoted to a main idea, somewhat like the body of the Church Year itself. Part I concerns Prophecy and Fulfillment (Advent and Christmas); Part II, Suffering and Redemption (Lent); Part III, the Fruits of the Resurrection (Easter). During Handel’s years in London, he had shown generosity to several charities (including the Foundling Hospital), so it was natural that he would accept an invitation from the Lord Lieutenant of Ireland to give a series of charity performances in Dublin in 1741. No doubt Handel also realized that accepting the invitation could only help his financial status. Handel lost himself in work on Messiah, composing almost constantly and with extraordinary speed. He began work on the score on August 22 and finished it on September 14. It is alleged that he refused food and did not sleep for much of the time. It is said that he exclaimed, upon completing the “Hallelujah” chorus, “I did think I did see all Heaven before me and the great God himself!” Even if one discounts these stories, the

sheer speed of composition is remarkable, especially since (as Christopher Hogwood points out in his book on Handel) the composer borrowed relatively little music when he wrote Messiah. Handel left for Dublin in November, taking with him his copyist and the scores of works to be performed in Ireland in the following months. He reached the Irish capital on November 18, and quickly became a celebrity in a city that was more hospitable to his talents than London. Handel gave a dozen concerts before unveiling Messiah on April 13, 1742, having helped to ensure the new work’s success by admitting those who had purchased advance tickets to the première to rehearsal. Some 700 people packed “Mr. Neal’s Music Hall” on Fishamble Street for the momentous occasion. The hall was only intended to hold 600, but the demand for tickets was so great that it inspired an advertisement in Faulkner’s Journal asking the ladies to please come without hoops and the gentlemen without swords. Hundreds of hopeful listeners were turned away that day. The oratorio was, according to a review in the Dublin Journal, “the most finished piece of Musick…The Sublime, the Grand, and the Tender, adapted to the most elevated, majestick, and moving Words, conspired to transport and charm the ravished Heart and Ear.” An additional performance of Messiah was given in June, after which Handel returned to England. With this success behind him, Handel was determined that Messiah would be heard in London, and the first performance there was given in March, 1743. Two more performances were given in London that season. Though the work was initially quite successful, Messiah was slow to catch on in England. Beginning in 1750, annual performances at the Foundling Hospital were conducted by Handel. The London performance of April 6, 1759, was Handel’s final public appearance; he conducted, now completely blind, from the harpsichord. Eight days later, he died. The first DSO performance of Messiah was given in the Arcadia Auditorium on January 16, 1919. Julius Sturm conducted the Detroit Festival Chorus (director, William Howland), and the soloists were Mrs. Charles Welker, Miss Helen Kennedy, Thomas C. Muir and Milton Snyder.  SO Shop @ The Ma x D recommends:

Handel – Messiah: Nicolas McGegan conducting the Philharmonia Baroque Orchestra, Harmonia Mundi 907050/2. Performance / Vol . X X / Fall 201 1



Leonard Slatkin Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

pops series Home for the holidays Friday, December 16, 2011 at 10:45 a.m. Saturday, December 17, 2011 at 3 p.m. & 8 p.m. Sunday, December 18, 2011 at 3 p.m. in Orchestra Hall Leonard Slatkin, conductor Daniel Slatkin, piano^ Andover High School Choir*, Bruce Snyder, director Grosse Pointe South High School Pointe Singers‡, Ellen Bowen, director

Leroy Anderson A Christmas Festival Jerry Herman We Need A Little Christmas* ‡ arr. Robert Wendel John Williams “Merry Christmas, Merry Christmas” Lyrics by Leslie Bricusse from Three Holiday Songs from Home Alone* ‡ Eddie Pola & George Wyle It’s the Most Wonderful Time of the Year * ‡ arr. James Kessler arr. Dana Friedman & A Chanukah Overture Robert Wendel Maoz Tzur

Rock of my Security (Rock of Ages) Al HaNisim I Have A Little Dradle S’vivon

arr. Leonard Slatkin Holidays for Piano and Strings^

Silent Night Pat-A-Fum Carol of the Kings

I ntermission

Georges Bizet “Farandole” from L’Arlésienne Suite No. 2 Ralph Vaughan Williams Fantasia on Greensleeves adapted by Ralph Greeves Christopher Rouse Karolju

Piotr Ilyich Tchaikovsky Suite from The Nutcracker, Op. 71a

Ob vix abdurat (Latin) Je son de la feuli que l’aime (French) Siempre los mascara (Spanish) Procession of the Three Kings (Percussion) O die zimmer dank (German) Ob vix abdurant (reprise, Latin)* ‡

Dance of the Reed Flutes Arabian Dance Russian Dance

James Stephenson III A Holly Jolly Sing-Along!

Intro Deck the Hall Jingle Bells The Holly and the Ivy Jolly Old St. Nicholas Frosty the Snowman Up on the Housetop Rudolph the Red-Nosed Reindeer Joy to the World We Wish You a Merry Christmas* ‡

Leroy Anderson Sleigh Ride Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances. The DSO can be heard on the DSO, Chandos, London, RCA and Mercury Record labels.


Performance / Vol . X X / Fall 201 1

Internationally acclaimed American conductor Leonard Slatkin began his critically-acclaimed tenure as Music Director of the Detroit Symphony Orchestra in September of 2008. In addition to his post at the DSO, he slatkin serves as Music Director of the Orchestre National de Lyon (ONL) in France, an appointment which began in August 2011. Slatkin also continues to serve as Principal Guest Conductor of the Pittsburgh Symphony Orchestra, a post that began in the fall of 2008. Following a 17-year post as Music Director of the Saint Louis Symphony Orchestra, Slatkin became Music Director of the National Symphony Orchestra in Washington, D.C. in 1996. Other positions in the United States have included Principal Guest Conductor of the Minnesota Orchestra, where he founded their “Sommerfest;” first Music Director of the Cleveland Orchestra’s summer series at the Blossom Music Festival, an appointment he held for nine years; Principal Guest Conductor of the Los Angeles Philharmonic Orchestra at the Hollywood Bowl for three seasons; and additional positions with the New Orleans Philharmonic and the Nashville Symphony Orchestra. Throughout his career, Mr. Slatkin has demonstrated a continuing commitment to arts education and to reaching diverse audiences. He founded the Saint Louis Symphony Youth Orchestra, and was founder and director of the National Conducting Institute, an advanced career development program for rising conductors. This year, he spearheaded the DSO’s Soundcard initiative, an all-access student pass to every Classical, Pops and Jazz concerts at Orchestra Hall, all season long. Maestro Slatkin’s more than 100 recordings have been recognized with seven Grammy awards and 64 nominations. He has recorded with the DSO, National Symphony Orchestra, Saint Louis Symphony, Minnesota Orchestra, Nashville Symphony Orchestra, Chicago Symphony Orchestra, and the New York Philharmonic. His engagements for the 2011-2012 include Orchestre de la Suisse Romande, Seoul Philharmonic, NHK Symphony, a tour of Germany with the Deutsches SymphonieOrchester Berlin, the New World and National Symphony Orchestras in Washington, D.C.

General Information Parking Valet Parking is available on Woodward Avenue in front of the main entrance for $12 per vehicle. Secure Garage Parking is available for $7 per vehicle at the Orchestra Place Parking Deck on Parsons St. between Woodward Ave. and Cass Ave. For improved traffic flow, please enter Parsons St. from Cass Ave. DSO security personnel monitor the grounds of the Max and the parking deck, as well a surrounding streets during all events and concerts. The parking deck has reserved space for patrons with handicap permits. Parking for Coffee Concerts is also available in the Orchestra Place Parking Deck. The DSO offers shuttle bus service to Coffee Concerts from selected locations. Call 313.576.5130 for more information.

during intermission. We invite you to place your beverage orders with the bartenders prior to the start of the concert and your order will be waiting for you at intermission! Smoking The DSO is pleased to offer a smokefree environment at the Max M. Fisher Music Center. Smoking is not permitted anywhere inside the building. 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.

Restrooms Men’s, women’s and family restrooms are located on all levels of the Atrium Lobby. Additional men’s and women’s restrooms are located on the Box Level of Orchestra Hall and on the lower level of the Main Floor.

Accessibility Parking is available in the Orchestra Place Parking Deck for patrons with handicap 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 assist handicapped patrons in and out of vehicles. Hearing assistance devices are available. Please see an usher prior to the performance.

Refreshments Cash bar service and light refreshments are available in the atrium area of the Max M. Fisher Music Center 90 minutes prior to concert time and

Late Seating Policy 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

after the conclusion of the first work on the program. Patrons who leave the hall before or during a work will be reseated after the work is completed. Ushers will alert patrons as soon as it is possible to be seated. House lights are dimmed to indicate that the concert is about to begin. Latecomers will be able to watch the performance on closedcircuit television in the Atrium Lobby. Cameras and Tape Recorders Non-flash photography and video recording by silenced handheld devices are allowed during DSO performances. We encourage you to share your best pictures at detroitsymphony. Concert Cancellations To find out if a scheduled performance at the Max M. Fisher Music Center has been cancelled due to inclement weather, hazardous roads, power outages or other emergencies, call the Box Office at 313.576.5111, or tune in to WJR 760 AM and WWJ 950 AM. Pagers, Phones, Watches and Extraneous Sounds Cellular phones, pagers and alarm watches must be turned off while at the Max M. Fisher Music Center. Patrons should speak to the House Manager to make special arrangements

to receive emergency phone calls during a performance. The DSO thanks you for your cooperation in avoiding any extraneous sounds during the concerts. The hall microphones used to record the orchestra are extremely sensitive and will even record the sound of a wristwatch chime. Lost and Found See the House Manager or call 313.576.5121 during business hours. 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 at the Max M. Fisher Music Center or call 313.576.5111 for more information. Max M. Fisher Music Center Rental Information The Max M. Fisher Music Center is an ideal setting for a variety of events and performances. For information on renting the facility, please call 313.576.5050. Rental information is also available online at

Administrative Staff Executive Office



Anne Parsons President and CEO

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

Paul Ganson Historian

Paul W. Hogle Executive Vice President Patricia Walker Chief Operating Officer Rozanne Kokko Chief Finance and Business Officer

Cameron Ferguson Civic Youth Ensembles Coordinator Emily Lamoreaux Manager of Civic Youth Ensembles

Cynthia Korolov Archivist

Paul Yee Retail Sales Manager

Patron & Institutional Advancement

Patron Engagement & Loyalty Programs

Reimer Priester Senior Director of Patron and Institutional Advancement

Aja G. Stephens Executive Assistant

Cecilia Sharpe Manager of Education Programs

Orchestra Operations & Artistic Planning

Facility Operations

Marianne Dorais Foundation and Government Relations Officer

Sue Black Facilities Coordinator

Bradley Schick Corporate Relations Manager

Larry Ensman Maintenance Supervisor

Patron Development & Sales

Erik Rönmark Artistic Administrator Kareem George Managing Director of Community Programs Kathryn Ginsburg Operations and Pops Coordinator Charles Greenwell Conducting Assistant Heather Hart Assistant Orchestra Personnel Manager Keith Koppmeier Director of Pops and Special Programs Stephen Molina Orchestra Personnel Manager Nicole New Artistic Liaison Alice Sauro Director of Operations and Executive Assistant to the Music Director

Greg Schimizzi Chief of Security Finance Donielle Hardy Controller Jeremiah Hess Director of Finance Sandra Mazza Accountant Nancy Prochazka Payroll Accountant Information Technology Dick Jacques Director of Information Technology Laura Lee Information Services Specialist

Gabrielle Poshadlo Publications and Constituent Communications Coordinator

Angela Detlor Interim Director of Patron Development Anne Wilczak Director of Events and Patron Experience Holly Clement Senior Manager of Event Sales and Administration Elaine Curvin Executive Assistant Mona DeQuis Assistant Retail Sales Manager Chuck Dyer Group Sales and Corporate Sales Manager

Scott Harrison Senior Director of Patron Engagement and Loyalty Programs Executive Producer of Digital Media Will Broner Patron Engagement Officer Jacquelynne Brown Loyalty Programs Coordinator Connie Campbell Senior Manager of Patron Engagement Sharon Carr Assistant Manager of Patron Engagement Joy Crawford Patron Fulfillment Specialist Shannon W. Hall Manager of Patron Systems and Database Operations La Heidra Marshall Patron Engagement Officer Marty Morhardt Patron Engagement Assistant Juanda Pack Senior Patron Engagement Officer

Jennifer Kouassi Front of House Manager

Tiiko Reese-Douglas Patron Engagement Officer

Heather Mourer Neighborhood Audience Development Manager

Eric Woodhams Manager of Digital Media and Engagement

B.J. Pearson Senior Manager of Event Operations

Performance / Vol . X X / Fall 2011


The DSO Education Department — an ecosystem of music learning accessible • excellent • inspirational • diverse • empowering Super Saturdays

Max M. Fisher Music Center Honda Power of Dreams String Project Civic Concert Orchestra Presto Civic String Orchestra

DSO @ Liggett

Civic Creative Jazz Ensemble

Civic Sinfonia

Detroit Symphony Orchestra

Educational Concert Series

Young People’s Concerts

Civic Philharmonic

Civic in Concert WRCJ

Civic Jazz Band

Orchestra Hall

Civic Wind Symphony

Allegro Civic String Orchestra

Pincus Education Center

Civic Orchestra

The Civic Experience

Civic Jazz Orchestra

Civic Baroque @ UPA

Leonard Slatkin

Tiny Tots

Civic Jazz Concert Band

Civic Chamber Music

Civic Creative Jazz Workshop

Music Learning Alliance

Civic Combo Program

CYE 2011-2012 Season Kick-off

Education Concert Series For more than 80 years the Education Concert Series (ECS) has introduced classical music to metro-Detroit school children with concerts featuring interactive classical programs for children in grades 3-8 and reaching 20,000 students annually. Performances last approximately 50 minutes. The series is composed of four free concerts at community schools and eight concerts performed at Orchestra Hall for $5 admission. For a registration information form for ECS, visit, email or call 313.576.5599.   ECS concert Dates  Oct. 4, 10 a.m. Detroit School of Arts Free Oct. 4, 7:30 p.m. Woodhaven High School Free Nov. 10, 10 a.m. Renaissance High School Free Nov. 11, 10 a.m. Spain Elementary-Middle School Free Feb. 1, 2012, 10 a.m. and 11:15 a.m. Orchestra Hall, open to the public Feb. 2, 2012, 10 a.m. and 11:15 a.m. Orchestra Hall, open to the public March 7, 2012, 10 a.m. and 11:15 a.m. Orchestra Hall March 8, 2012, 10 a.m. and 11:15 a.m. Orchestra Hall

The DSO’s Civic Youth Ensembles kicked-off its 42nd season on September 10, 2011 at 8:30 a.m. The DSO’s Civic Youth Ensembles program enables students to receive their musical training in classical, jazz and wind studies at the Jacob Bernard Pincus Education Center as well as various community locations. Over 1,100 students participate in this exciting program weekly. Thanks to Maestro Leonard Slatkin, all CYE members received a complimentary Soundcard — allowing each student to attend any DSO concert at Orchestra Hall for free. Thank you Maestro Slatkin!

Music Learning Alliance The DSO has developed and led efforts to partner with six organizations that currently provide vocal or instrumental services to k-12 students, creating a large-scale tapestry of music training excellence throughout Southeastern Michigan. This Alliance will market the regions’ musical offerings so that parents can locate the appropriate program for their children, offer services to schools where music education has been cut from the curriculum, enhance school programs that currently exist, and grow the market amongst the organizations involved. Funding has been generously provided by the Michigan Nonprofit Association and the Cultural Alliance of Southeastern Michigan.

Music Preparatory Division


Performance / Vol . X X / Fall 201 1

Canadian Brass Sunday \ November 27 \ Hill Auditorium \ Ann Arbor

4 pm

With an international reputation as one of the most popular brass ensembles today, Canadian Brass performs brass standards as well as a wide-ranging library of original arrangements created especially for them, including the works of Renaissance and Baroque masters, classical works, marches, holiday favorites, ragtime, Dixieland, big band, Broadway, and popular songs and standards. This Thanksgiving-weekend concert is sure to start your holidays off with a bang! Media Partner WRCJ 90.9 FM.

Sponsored by

Hamburg Symphony Orchestra Jeffrey Tate conductor Francesco Tristano piano Daniel Landau filmmaker

Sunday \ January 29 \ 4 pm Hill Auditorium \ Ann Arbor

The London Philharmonic returns for its first appearance since November 2006, this time under the direction of the exciting young conductor Vladimir Jurowski, who succeeded Kurt Masur as the orchestra’s principal conductor in 2007. Janine Jansen, a 23-year-old violinist who has been a huge star in her native Holland ever since her Concertgebouw debut at the age of 10, makes her UMS debut.

In 1971, French composer Olivier Messiaen was commissioned to write a piece commemorating America’s bicentennial. Messiaen was inspired and fascinated by the natural wonder he found in the landscapes of the American West. Des canyons aux étoiles (From the Canyons to the Stars) represents his sonic impressions of America’s last untouched frontier. Conductor Jeffrey Tate and the Hamburg Symphony, in collaboration with Israeli filmmaker Daniel Landau, bring the piece alive in a new cinematic installation, where images of man’s impact on the environment create a counterpoint to sounds of untouched nature. Through film images projected on multiple screens, Hill Auditorium will be turned into a multisensory experience celebrating the beauty of the earth and our unaltered landscapes.



London Philharmonic Orchestra Vladimir Jurowski conductor Janine Jansen violin

Tuesday \ December 6 \ 7:30 pm Hill Auditorium \ Ann Arbor

Pintscher Mozart Tchaikovsky

Towards Osiris (2005) Violin Concerto No. 5 in A Major, K. 219 (1775) Manfred Symphony, Op. 58 (1885)

Media Partners WGTE 91.3 FM, WRCJ 90.9 FM, and Detroit Jewish News.


Des canyons aux étoiles (From the Canyons to the Stars) (1971-74)

Funded in part by an award from the National Endowment for the Arts. Art Works. Media Partners WGTE 91.3 FM and WDET 101.9 FM.

Call or click for tickets!

734.764.2538 \ Hours: Mon-Fri: 9 am to 5 pm, Sat: 10 am to 1 pm.

Ad #3 — DSO Performance Magazine First Proof of Ad Due: Wed, Sept 14

Performance / Vol . X X / Fall 201 1


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 Advancement at 313.576.5400. Robert G. Abgarian† Doris L. Adler Dr. & Mrs. William Albert Mr. & Mrs. Robert A. Allesee Dr. Lourdes V. Andaya Dr. Agustin & Nancy Arbulu Jeanne Bakale and Roger Dye Sally & Donald Baker Mr. & Mrs. Lee Barthel Lillian & Don Bauder Bertram Behrens† Mrs. & Mrs. Robert A. Benton Michael & Christine Berns Robert T. Bomier Richard & Gwen Bowlby Mrs. J. Brownfain Gladys L. Caldroney† Dr. & Mrs. Victor J. Cervenak Elenor A. Christie Mary F. Christner Honorable Avern Cohn Mr.† & Mrs. Robert Comstock Dorothy M. Craig Mr. & Mrs. John Cruikshank Ms. Barbara Davidson Ms. Leslie Devereaux Mr. & Mrs.† John Diebel Edwin & Rosemarie Dyer Ms. Bette J. Dyer Mr. & Mrs. Robert G. Eidson Mrs. Charles Endicott Jean E. Fair† Ms. Dorothy Fisher Max M. Fisher† Mr. Emory Ford, Jr.† Mrs. John B. Ford, Jr.† Dr. Saul & Mrs. Helen Forman Barbara Frankel Herman Frankel Rema Frankel Jane French Dr. & Mrs. Byron P. Georgeson Mr. & Mrs. Alfred R. Glancy III 32

Performance / Vol . X X / Fall 201 1

Mr.† & Mrs. Herbert Graebner Donald Ray Haas Mr. David Handleman, Sr.† Donna & Eugene Hartwig Nancy B. Henk Betty Q. Hoard† Gordon V. Hoialmen Estate Mr. & Mrs. Robert G. Eidson Mr. & Mrs. Thomas H. Jeffs II Drs. Anthony & Joyce Kales Austin Kanter June K. Kendall Raymond L. Kizer, Jr.† Ms. Selma Korn & Ms. Phyllis Korn Mr.† & Mrs. Dimitir Kosacheff Mr. & Mrs. Arthus Krolikowski Thelma M. Lauderburgh† Ann C. Lawson Allan S. Leonard Lila I. Logan† Lester G. London Elizabeth M. Lundquist Roberta Maki Ms. Bonita J. Marshall† Mr. Glenn Maxwell Rhonda A. Milgrim John E. & Marcia Miller Jerald A. & Marilyn H. Mitchell Mr. & Mrs. L. William Moll Mr. and Mrs. Craig R. Morgan Mrs. Peters Oppermann† Mr. Dale J. Pangonis Ms. Mary W. Parker Ms. Cynthia J. Pasky & Mr. Paul Huxley Sophie Pearlstein Elizabeth Pexsenye† Helen & Wesley Pelling Ester E. Peters† Mrs. Dorothy M. Pettit† Mrs. Bernard E. Pincus Christina Pitts Carol Plummer Mr. & Mrs. P.T. Ponta

Edith S. Quintana† Fair & Steven† Radom Douglas J. Rasmussen George A. Raymond† Mr. & Mrs. Lloyd E. Reuss Barbara Gage Rex Ms. Marianne Reye Katherine D. Rines Jack & Aviva Robinson Ruth Rothschild† Dr. Margaret Ryan Shirley W. Sarver† Stephanie & Fred Secrest Robert Selik† Lee William Slazinski Terrence Smith Violet Spitzer† Mrs. Mark C. Stevens† Mr. & Mrs. Walter Stuechken Mr. & Mrs. Alexander C. Suczek Mrs. Elizabeth J. Tamagne Margaret D. Thurbert Caroline & Richard Torley Mr. Edward Tusset Barbara A. Underwood Mrs. Harold Van Dragt Mrs. Richard C. Van Dusen Barbara & Mel VanderBrug Mr. & Mrs. George C. Vincent Ms. Margaret Watkins† Hubert & Elsie Watson† Keith & Christin Weber John & Joanne Werner Mr. & Mrs. Arthur Wilhelm Mr.† & Mrs. James A. Williams Treva Womble Ms. Helen Woolfenden† Elizabeth B. Work Dr. & Mrs. Clyde Wu Ms. Andrea L. Wulf † Deceased

Supporters of the Detroit Symphony Orchestra

Annual contributions from generous patrons are what sustains the Detroit Symphony Orchestra. Ticket revenues throughout the season provide only a small portion of the funding needed to support the performances, educational programs, and community projects that the DSO presents each year. The honor roll below reflects those generous donors who have made a gift of $1,500 or more in annual operating support to the DSO Annual Fund Campaign between September 2010 and September 2011. If you have a question about this roster or for more information on how you can help secure the future of the DSO, please contact (313) 576-5114.

Giving of $100,000 and more

Anonymous Mr. & Mrs. Lee Barthel Mandell L. & Madeleine H. Berman Foundation Julie & Peter Cummings Mr. & Mrs. Frederick A. Erb

Marjorie S. Fisher Fund Emory M. Ford, Jr. † Mr. & Mrs. Stanley Frankel The Edward & Helen Mardigian Foundation

Mr. & Mrs. James B. Nicholson Ms. Cynthia J. Pasky & Mr. Paul M. Huxley Leonard Slatkin Mrs. Richard C. Van Dusen

Penny & Harold Blumenstein

Linda Dresner & Ed Levy, Jr.

Bernard & Eleanor Robertson

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

Mr. & Mrs. Phillip Fisher

Dr. & Mrs. Clyde Wu

Ms. Leslie Devereaux

Ruth & Al Glancy

Giving of $50,000 and more

Giving of $25,000 and more Mr. & Mrs. Richard L. Alonzo

Mr. & Mrs. Morton E. Harris

Mr. & Mrs. Donald Simon

Mr. & Mrs. Eugene Applebaum

Dr. Gloria Heppner

Arthur & Trudy Weiss

Mr. & Mrs. Francois Castaing

Mr. & Mrs. Richard P. Kughn

Mrs. Robert C. Comstock

Richard & Jane Manoogian Foundation

Mr. & Mrs. Raymond M. Cracchiolo

The Polk Family

Marvin & Betty Danto Family Foundation

Jack & Aviva Robinson

Herman & Sharon Frankel

Mr. & Mrs. Larry Sherman

Giving of $10,000 and more Mr. & Mrs. Herbert A. Abrash Daniel & Rose Angelucci Lillian & Don Bauder Cecilia Benner Leo† & Betty Blazok Mr. & Mrs. Robert H. Bluestein Mr. & Mrs. Jim Bonahoom Ms. Liz Boone Mr. & Mrs. Richard A. Brodie Lois & Avern Cohn Marianne Endicott Mrs. Robert Fife Sidney & Madeline Forbes Dale & Bruce Frankel Maxine & Stuart Frankel Rema Frankel

Byron & Dorothy Gerson Mr. & Mrs. James Grosfeld Mrs. Doreen Hermelin Mr. & Mrs. Ronald Horwitz Julius & Cynthia Huebner Foundation Mr. Sharad P. Jain Chacona & Arthur L. Johnson Faye and Austin Kanter Mr. & Mrs. Norman D. Katz and Ms. Ruth Rattner Mrs. Bonnie Larson Mr. David Lebenbom Marguerite & David Lentz Dr. Melvin A. Lester Mr. and Mrs. Arthur C. Liebler Mr. & Mrs. Eugene A. Miller Mr. James C. Mitchell, Jr.

† Deceased

Geoffrey S. Nathan & Margaret E. Winters Anne Parsons & Donald Dietz Mr. & Mrs. Bruce D. Peterson Dr. William F. Pickard Mr. & Mrs. Lloyd E. Reuss Marjorie & Saul Saulson Mr. & Mrs. Alan E. Schwartz & Mrs. Jean Shapero Mark & Lois Shaevsky Mr. & Mrs. John Stroh III Ann Marie Uetz Mr. Robert VanWalleghem Mr. & Mrs. R. Jamison Williams Mr. & Mrs. Alan Zekelman Paul M. Zlotoff Mrs. Paul Zuckerman

Performance / Vol . X X / Fall 201 1


Giving of $5,000 and more Dr. & Mrs. Roger M. Ajluni Mr. & Mrs. Robert A. Allesee Michael & Geraldine Buckles Ms. Barbara Davidson Ms. Margaret H. Demant Beck Demery Mr. Peter & Kristin Dolan Mr. Robert Dunn Jim & Margo Farber Mr. &Mrs. David Fischer Mr. & Mrs. Herbert Fisher Dr. Saul & Mrs. Helen Forman Mr. & Mrs. Gerry Fournier Mrs. Harold L. Frank Barbara Frankel & Ronald Michalak Judith & Barry Freund Mr. & Mrs. Harold Garber Mr. & Mrs. Ralph J. Gerson Allan D. Gilmour & Eric C. Jirgens Dr. Allen Goodman & Dr. Janet Hankin Goodman Family Charitable Trust Dr. & Mrs. Herman Gray, Jr. Mr. & Mrs. James A. Green

Marjorie & Maxwell Jospey Foundation

Mr. & Mrs. Jonathan T. Walton

Ms. Margaret H. Demant

Mr. & Mrs. Herman W. Weinreich

John & Ann Diebel

Michael E. Smerza & Nancy Keppelman

Mrs. Beryl Winkelman

Ms. Barbara Diles David Elgin Dodge

David & Elizabeth Kessel

Dr. & Mrs. Robert E. Wurtz Milton & Lois Zussman

Diana & Mark Domin

Mr. William P. Kingsley

Ms. Judith Doyle

Mr. & Mrs. Harry A. Lomason II

Giving of $2,500 and more

Dr. & Mrs. Charles Lucas

Richard & Jiehan Alonzo

Elaine & Mervyn Manning

Dr. Lourdes V. Andaya

David & Valerie McCammon

Mr. & Mrs. Norman Ankers

Mr. Edward K. Miller

Dr. & Mrs. Ali-Reza R. Armin

Dr. & Mrs. Robert G. Mobley

Mr. David Assemany

Dr. Stephen and Dr. Barbara Munk

Ms. Ruth Baidas

David R. & Sylvia Nelson

Nora Lee & Guy Barron

Patricia & Henry Nickol

Martin & Marcia Baum

Ms. Mariam Noland and Mr. James Kelly

Ken & Mary Beattie

Ms. Jo Elyn Nyman

Mrs. John G. Bielawski

Mr. & Mrs. Arthur T. O’Reilly

Joseph & Barbra Bloch

Mr. & Mrs. Richard G. Partrich

Dr. & Mrs. Rudrick E. Boucher

Ms. Carol A. Friend & Mr. Mark Kilbourn

Mr. & Mrs. Donald E. Petersen

Gwen & Richard Bowlby

Mr. & Mrs. Daniel E. Frohardt-Lane

Dr. Glenda D. Price

Mr. Anthony F. Brinkman

Lynn & Bharat Gandhi

Jane Russell

Mr. Scott Brooks

Mr. & Mrs. William Y. Gard

Martie and Bob Sachs

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

Dr. & Mrs. Kenneth W. Gitlin

Philip & Carol Campbell

Robert & Mary Ann Gorlin

Elaine & Michael Serling

Ms. Nancy Henk

John J. Solecki

Mr. Eric J. Hespenheide & Ms. Judith V. Hicks

Mr. Richard A. Sonenklar Richard & Renate Soulen

Jean Holland

Dr. Calvin L. Stevens

Mr. & Mrs. Richard J. Jessup

Stephen & Phyllis Strome David Usher

Dr. & Mrs. John Bernick

Mr. William N. Campbell Dr. & Mrs. Thomas E. Carson Ms. Mary Rita K. Cuddohy Mr. Richard Cummings Jerry P. & Maureen T. D’Avanzo Lillian & Walter Dean

Paul & Peggy Dufault Rosanne & Sandy Duncan Mr. Robert Dunn Mr. & Mrs. Irving Dworkin Ms. Bette J. Dyer Dr. & Mrs. A. Bradley Eisenbrey Mr. & Mrs. John M. Erb Mary Sue & Paul E. Ewing Mr. & Mrs. Stephen E. Ewing Mr. David Faulkner Mr. & Mrs. Oscar Feldman Mr. Steven J. Fishman

Dr. & Mrs. Robert Goldman Dr. & Mrs. Steven Grekin Alice Berberian Haidostian Dr. Algea O. Hale Mr. Robert Hamel Randall L. & Nancy Caine Harbour Mr. & Mrs. Ross Haun Dr. Deanna & Mr. David B. Holtzman Mr. F. Robert Hozian Jean Wright & Joseph L. Hudson, Jr. Fund

Donor Spotlight

Richard and Mona Alonzo

Richard and Mona Alonzo have been devoted Detroit Symphony Orchestra subscribers for more than 30 years, in fact you can still find them in the same dress circle seats they purchased all those years ago. They first started attending concerts in 1969 at Ford Auditorium, when they moved to Richard’s native Detroit from Nashville in 1968. “My wife was a subscriber to the Nashville Symphony, so we couldn’t wait to start supporting the DSO when we got to Michigan,” said Richard. Dick and Mona made their first of many philanthropic contributions in 1988. “I hardly remember that gift now since we’ve only increased our giving since then,” said Dick. “We’re hoping Detroit’s having a come-back and if you’re going to have a great city, you need a great symphony.”


Performance / Vol . X X / Fall 201 1

Mr. & Mrs. Charles R. Janovsky Mr. John S. Johns Mrs. Ellen D. Kahn Mr. & Mrs. Michael J. Keegan Jack† & Fran King Mr. William P. Kingsley Dr. & Mrs. Harry N. Kotsis Robert C. & Margaret A. Kotz Mr. & Mrs. Harold Kulish Richard and Mona Alonzo

The Alonzos have consistently participated in the DSO Annual fund for the past 23 years. In 2008, they became leadership donors and this year they are proud to be in the inaugural class of Governing Members. Mona is an active volunteer in the Governing Members Philanthropy Committee. Also, this group helped raise over $1.3 million in contributions to the 2011 Detroit Symphony Orchestra Annual Fund.

David & Maria Kuziemko Dr. Raymond Landes & Dr. Melissa McBrien Anne T. Larin Mr. & Mrs. William B. Larson Mr. & Mrs. Michael Lebenbom Allan S. Leonard Mr. & Mrs. Daniel Lewis Mr. & Mrs. Robert Liggett Mr. & Mrs. Joseph Lile Mrs. Florence LoPatin Mr. & Mrs. Charles W. Manke, Jr. Ms. Florine Mark

Giving of $1,500 and more

Mr. & Mrs. Roger Van Weelden

Thomas & Judith Mich

Drs. Brian and Elizabeth Bachynski

Mr. & Mrs. William Waak

Ms. Deborah Miesel

Mr. J. Addison Bartush

Mrs. Lori Wathen

Bruce & Mary Miller

Linda & Maurice S. Binkow

Alan & Jean Weamer

Dr. Susan B. Molina & Mr. Stephen R. Molina

Mr. & Mrs. G. Peter Blom

Mrs. Lawrence M. Weiner

Mr. Timothy J. Bogan

Rudolf E. Wilhelm Fund

Ms. Florence Morris

Ms. Jane Bolender

Jerry Williams

Mr. Frederick J. Morsches

Mr. Stephen V. Brannon

Beverly & Hadley Wine

Denise & Mark Neville

Mr. & Mrs. Gerald Bright

Frank & Ruth Zinn

Mr. & Mrs. Stanley Nycek

Carol A. & Stephen A. Bromberg

Mrs. Margot C. Parker

Ronald & Lynda Charfoos

Mrs. Sophie Pearlstein Robert E. L. Perkins, D.D.S. Dr. & Mrs. Claus Petermann Mr. Charles L. Peters Albert C. & Gertrude K. L. Petersen Cornelia Pokrzywa Mr. & Mrs. William Powers Mr. & Mrs. Nicolas I. Quintana Drs. Y. Ravindranath & Kanta Bhambhani Hope & Larry Raymond Dr. Claude & Mrs. Sandra Reitelman Mr. & Mrs. Robert B. Rosowski Kathy & Michael Schultz Mr. & Mrs. Fred Secrest Mr. & Mrs. Herbert Shanbaum

Fred J. Chynchuk Gloria & Fred Clark Dr. & Mrs. Julius V. Combs Mr. & Mrs. Gary L. Cowger Dorothy M. Craig Barbara & Paul Czamanske Deborah & Stephen D’Arcy Fund Ms. Barbara A. David Mr. & Mrs. Walter E. Douglas Mr. & Mrs. Henry Eckfeld Dr. Leo & Mrs. Mira Eisenberg Mr. & Mrs. Lawrence Ellenbogen Mr. & Mrs. Howard O. Emorey Mr. & Mrs. Paul Ganson Mr. & Mrs. Britton L. Gordon, Jr. Mr. Donald J. Guertin Mr. Max B. Horton, Jr.

The Honorable Walter Shapero

Mr. Richard Huttenlocher

Mr. Stephan Sharf

Mr. & Mrs. A. E. Igleheart

Coco & Robert Siewert

Ms. Elizabeth J. Ingraham

Mr. & Mrs. William Sirois

Ms. Kathryn Korns

Mr. & Mrs. Richard Sloan

Ms. Mary L. Kramer

Mr. & Mrs. S. Kinnie Smith, Jr.

Dolores & Paul Lavins

William H. & Patricia M.† Smith

Mr. Charles Letts

Dr. Gregory E. Stephens

Dr. & Mrs.† Stanley H. Levy

Mr. Clinton F. Stimpson, Jr.

Dr. Stephen Mancuso

Dr.† & Mrs. Charles D. Stocking

Mrs. John N. McNaughton

Mr. & Mrs. Jan J. Stokosa Bernard & Barbara Stollman Dr. Gerald H. Stollman David Szymborski & Marilyn Sicklesteel Ms. Dorothy Tarpinian Shelley & Joel Tauber Alice & Paul Tomboulian Ms. Amanda Van Dusen & Mr. Curtis Blessing Mr. & Mrs. George C. Vincent Ms. Janet B. Weir Mr. & Mrs. Lawrence Weisberg Rissa & Sheldon Winkelman Dr. & Mrs. Max V. Wisgerhof II Mr. & Mrs. Jonathan Wolman Mr. & Mrs. Warren G. Wood Ms. June Wu Milton & Lois Zussman

Mr. Roland Meulebrouck Mr. & Mrs. Steven R. Miller Eugene & Sheila Mondry Foundation Mr. & Mrs. Theodore Monolidis Edward & Judith Narens Mr. & Dr. David K. Page Noel & Patricia Peterson Mrs. Anna Mary Postma Mrs. Jean Redfield Barbara Gage Rex Mrs. Ann Rohr Mr. & Mrs. George Roumell Mr. R. Desmond Rowan Ruth & Carl Schalm Mr. & Mrs. Mark L. Schwartz Mr. Ronald J. Smith Eugenia & Wanda Staszewski Dr. Lawrence L. Stocker Mrs. Dianne Szabla Dr. & Mrs. L. Murray Thomas Mr. & Mrs. John P. Tierney Mr. & Mrs. L. W. Tucker

† Deceased

Foundation Spotlight

Mr. & Mrs. Alonzo L. McDonald

Madeleine (Madge) and Mandell (Bill) Berman

The Mandell L. and Madeleine H. Berman Foundation The Detroit Symphony Orchestra’s relationship with Mandell (Bill) and Madeleine (Madge) Berman began 32 years ago. They were large contributors to the restoration campaign in 1986 and later to the building campaign that spanned from 1994-2003. Their foundation has also played the leading role in supporting the Civic Wind Ensemble, an integral part of the Detroit Symphony Orchestra’s education program. The Bermans’ support is vital to furthering the DSO’s goal to culturally enrich southeast Michigan and engage our children with music training and exposure to programs that build future audiences. Fittingly, the Civic Wind Ensemble performed most recently at the opening of the Berman Theater at the West Bloomfield Jewish Community Center in May, along with DSO’s Civic Orchestra and guest artist Patti LuPone. The Ensemble’s next performance is on Nov. 5 during the Fall Civic Experience I at 1 p.m.

Performance / Vol . X X / Fall 201 1


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, 2010 through August 31, 2011. We regret the omission of gifts received after this print deadline.

$500,000 and More The Kresge Foundation Samuel and Jean Frankel Foundation

$300,000 and More

Corporate Spotlight

Target Corporation

The DSO is pleased to recognize the support and commitment of Target Corporation. As a corporate partner, Target has helped the DSO present free family-friendly summer programming offered throughout the metro Detroit community. Target is one of the DSO’s largest corporate supporters whose contribution continues to evolve. Since the day Target opened its doors in 1962, the company has dedicated five percent of its income to partnering with organizations to make positive changes in the community through education, the arts, social services and volunteerism. Today that equals more than $3 million every week. Target believes in the power of partnerships with leading institutions and organizations to foster creativity, promote learning and build stronger communities. Like these partnerships, Target signature programs are designed to inspire learning and enlighten children and families.


Performance / Vol . X X / Fall 201 1

Community Foundation for Southeast Michigan Ford Foundation McGregor Fund

$100,000 and More Max M. and Marjorie S. Fisher Foundation Andrew W. Mellon Foundation $50,000 and More The Mandell L. and Madeleine H. Berman Foundation Fred A. and Barbara M. Erb Foundation National Endowment for the Arts Surdna Foundation Matilda R. Wilson Fund $10,000 and More Edsel B. Ford II Fund

Myron P. Leven Foundation

Eleanor and Edsel Ford Fund

Oliver Dewey Marcks Foundation

Ann and Gordon Getty Foundation

Metlife Foundation

Sally Mead Hands Foundation

Sage Foundation

The Alice Kales Hartwick Foundation

State of Michigan

$5,000 and More Benson and Edith Ford Fund Sigmund and Sophie Rohlik Foundation Mary Thompson Foundation

$1,000 and More Charles M. Bauervic Foundation Berry Foundation Combined Federal Campaign The Tom S. Detwiler Foundation Inc. Frank & Gertrude Dunlap Foundation Garber Family Foundation Goad Foundation Japan Business Society of Detroit Meyer and Anna Prentis Family Foundation Joseph & Rose Rontal Foundation Louis and Nellie Sieg Foundation Village Club Foundation Samuel L. Westerman Foundation J. Ernest and Almena Gray Wilde Foundation

$2,500 and More Ajemian Foundation Clarence and Jack Himmel Fund The Lyon Family Foundation

Corporate Supporters of the DSO $500,000 and More

PVS Chemicals, Inc.

Jim Nicholson

CEO, PVS Chemicals

$100,000 and More

President, Chairman and CEO, DTE Energy Corporation

Gerard M. Anderson

Fred Shell President, DTE Energy Foundation

President & CEO, Ford Motor Company

Timothy Wadhams

Melonie Colaianne

Cynthia J. Pasky

President and CEO, MASCO Corporation

President, Masco Corporation Foundation

Alan Mullaly

President & CEO, Strategic Staffing Solutions

$20,000 and More Delta Air Lines Macy’s $5,000 and More

$1,000 and more

American Express General Motors Corporation Denso International America Contractors Steel Company Meritor

Telemus Capital Partners, Chase Card Services Burton-Share Management Company Health Alliance Plan

James Vella

President, Ford Motor Company Fund

Paul M. Huxley Chairman, Strategic Staffing Solutions

Tetsuo Iwamura

President and CEO, American Honda Motor Co.

Gregg Steinhafel

Chairman, President and CEO, Target Corporation

$10,000 and More Wolverine Packing Company MGM Grand Detroit Casino Ilitch Holdings, Inc. Community Foundation for Southeast Michigan CN – Canadian National, North America’s Railroad Global Village Charitable Trust

Midwest Health Center, P.C. Radar Industries Michigan First Credit Union STI Fleet Services-Detroit DuMouchelles Art Galleries

Performance / Vol . X X / Fall 201 1


Upcoming events sunday









Civic Youth Ensembles Civic Jazz Live 6:30 p.m. MB


Paradise Jazz Series Stanley Clarke Band 8 p.m. OH


DSO Classical Series 4 Tchaikovsky Symphony No. 5 Joana Carneiro, conductor Xuefei Yang, guitar 10:45 a.m. & 8 p.m. OH

Civic Youth Ensembles Civic Experience Fall 1 3 p.m. OH

Civic Youth Ensembles Civic Orchestra “Enigma” Variations 8 p.m. OH


Pops Special Chris Botti 8 p.m. OH


DSO Classical Series Festival of Flutes/ Sir James Galway 10:45 a.m. OH


DSO Classical Series Festival of Flutes/ Sir James Galway 8 p.m. OH



Clarke Civic Youth Ensembles Civic Experience Fall 2 1 p.m. OH


Mondays at The Max with Wayne State Concert Band & Wind Symphony Douglas Bianchi, conductor 7:30 p.m. MB


Mondays at The Max with Wayne State Jazz Big Band 7:30 p.m. MB







DSO Classical Series 17 Festival of Flutes/ Sir James Galway Leonard Slatkin, conductor Sir James Galway, flute Lady Jeanne Galway, flute Marina Piccinini, flute Sharon Wood Sparrow, flute Jeffery Zook, piccolo Hai-Xin Wu, violin 7:30 p.m. OH

Bianchi Pops Special Chris Botti 3 p.m. OH



Botti DSO Classical Series Festival of Flutes/ Sir James Galway 3 p.m. OH






DOS Classical Series 25 Schubert’s “Unfinished” Symphony Leonard Slatkin, conductor Mason Bates, electronica 8 p.m. OH

DOS Classical Series 26 Schubert’s “Unfinished” Symphony Leonard Slatkin, conductor Mason Bates, electronica 8 p.m. OH


Civic Jazz Live 6:30 p.m. 2 DSO Classical Series Beethoven 7 plus Branford Marsalis 10:45 a.m. OH Paradise Jazz Series Duke Ellington Orchestra 8 p.m. OH

Tiny Tots Concert Sean Dobbins & Friends3 10 a.m. MB

Slatkin DOS Classical Series 27 Schubert’s “Unfinished” Symphony 3 p.m. OH


30 December


MacMaster DSO Classical Series 4 Beethoven 7 plus Branford Marsalis Thomas Wilkins, conductor Branford Marsalis, alto saxophone 3 p.m. OH

Mondays at The Max with Wayne State 7:30 p.m. MB

Special Event 11 Handel’s Messiah Christopher Warren-Green, conductor 3 p.m. OH

Mondays at The Max with Wayne State Chamber Winds & Orchestra 7:30 p.m. MB

Civic Orchestra 3 p.m. at First English Lutheran Church



DSO Volunteer Council Nutcracker Luncheon 11:30 a.m.



Special Event A Natalie MacMaster Christmas in Cape Breton 8 p.m. OH

Pops Series 18 Home for the Holidays Leonard Slatkin, conductor 3 p.m. OH

Special Event The Four Seasons Matthew Halls, conductor Nicola Benedetti, violin 7:30 p.m. OH


Young People’s Concert Musical Tales 11 a.m. OH DSO Classical Series Beethoven 7 plus OH Branford Marsalis 8 p.m.

Civic Orchestra Nutcracker Civic Orchestra Nutcracker 7 p.m. FC&PA 1 & 7 p.m. FC&PA Event 9 Special 10 Handel’s Messiah Christopher Warren-Green, conductor 3 p.m. OH


Special Event The Four Seasons Matthew Halls, conductor Nicola Benedetti, violin 8 p.m. OH





Pops Series 16 Home for the Holidays Leonard Slatkin, conductor 10:45 a.m. OH

Pops Series 17 Home for the Holidays Leonard Slatkin, conductor 8 p.m. OH













Honda Power of Dreams 7 p.m. OH


OH Orchestra Hall MB Music Box AH Allesee Hall


Performance / Vol . X X / Fall 201 1

For tickets visit or call 313.576.5111


And the state will give back.

So you want to give to improve neighborhoods, support the arts, even make greener parks. The Community Foundation for Southeast Michigan can help and can keep your donation giving for generations to come. And until the end of the year, when you give, the state will give back too. But hurry, your state tax credit expires after December 31, 2011. Visit or call 1- 888-WE-ENDOW for more information about how to take advantage of the state of Michigan tax credit.

Bringing people together with the causes that matter most to them.

SUPPORT THE ARTS AND GET the best advertising value in metro detroit!

Reach Metro Detroit’s Best Audience. Our high-quality publications deliver your message to a prime audience at a time when their minds are at ease and spirits high as they enjoy high caliber entertainment in Orchestra Hall and the Detroit Opera House — two of Detroit’s historic venues. Patrons of live classical, pops and jazz music performances, world-class operas, as well as ballet and modern dance events are the readers of Performance and BRAVO magazines. Metro Detroit’s Best Audience is comprised of influential business leaders, community leaders, and upscale residents living in some of the Midwest’s wealthiest communities.


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 Detroit Symphony Orchestra’s 2011-2012 season is off to a tremendous start with substantial increases in ticket sales and contributions. The DSO has implemented innovative programs and initiatives to keep the orchestra at the forefront of Detroit’s economic rebirth. Join the DSO in the important role of providing our community with world-class entertainment, music education to area students, and fostering the image of Detroit as a world-class city. Concerts are held in the historic and acoustically-superb Orchestra Hall on Woodward Avenue in Detroit’s thriving Midtown neighborhood. Performance magazine is provided free to patrons at all Classical, Pops, Jazz and special event concerts. Performance magazine reaches Metro Detroit’s Best Audience with over 225,000 readers in 3 issues throughout the season.

The Michigan Opera Theatre at the Detroit Opera House is Detroit’s premier venue for outstanding opera and internationally renowned dance performances. The lavish and historic Detroit Opera House hosts affluent patrons in its spectacular 40th season. The 2011-2012 opera season includes Carmina Burana, The Marriage of Figaro, The Pearl Fishers and I Pagliacci. The exciting 2011-12 dance series includes Alvin Ailey, The Nutcracker, Bad Boys of Dance and Swan Lake. BRAVO is published twice per season, reaching Metro Detroit’s Best Audience of opera and dance patrons.

phone: 248.582.9690 s 300 E. 4th Street s Royal Oak, MI 48067

DSO Performance magazine, Fall 2011  

The program guide magazine of the Detroit Symphony Orchestra. Includes Program Notes for December concerts.

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