DSO Performance magazine spring 2013

Vol. XXI • 2012-2013 Season

Spring 2013

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

Playing our Part

Find out how the DSO is engaging your community

Turn your donation into something lasting.

If you want to make parks greener, improve neighborhoods, even support the arts, the Community Foundation for Southeast Michigan can help. And keep your donation giving for generations to come.

Visit CFSEM.org or call 1-888-WE-ENDOW for more information on how we can help.

Scan the QR Code to find out more.

Contents Performance Volume XXI / Spring 2013 2012–13 Season

Editor Gabrielle Poshadlo gposhadlo@dso.org 313.576.5194

Departments 6 Orchestra Roster 8 News & Notes

DSO Box Office: 313.576.5111 Box Office Fax: 313.576.5101 DSO Group Sales: 313.576.5130 Rental Info: 313.576.5050 Email: info@dso.org Web site: dso.org Subscribe to our e-newsletter via our website to receive updates and special offers.

Concerts, artist biographies and program notes begin on page 14.

13 Board of Directors 29 General Information/Staff 30 Education News

DSO Administrative Offices Max M. Fisher Music Center 3711 Woodward Ave. Detroit, MI 48201 Phone: 313.576.5100 Fax: 313.576.5101

Concerts

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

31 Donor Roster

Features

10 DSO History

Part 3 of 3 12 Playing our Part

Find out how the DSO is engaging your community

Performance is published by the DSO and Echo Publications, Inc. u Echo Publications, Inc. 248.582.9690 echopublications.com Tom Putters, president tom@echopublications.com Toby Faber, advertising director To advertise in Performance, call 248.582.9690 or email info@echopublications.com Performance magazine online: dsoperformance.com u To report an emergency during a concert, call 313.576.5111. To make special arrangements to receive emergency phone calls during a concert, ask for the house manager.

Beethoven’s Nine Symphonies Digital Box Set The first direct-to-digital live Beethoven cycle released by one of the world’s major orchestras.

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

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

Preorder now at dso.org/beethoven*

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

* Download instructions will be delivered right to your email inbox this Spring!

dso.org

Perform ance / Vol . X XI / spring 201 3

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The Road to Carnegie Hall

by Gabrielle Poshadlo

T

Are you Going?

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

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

The ballet is a bitter satire on bourgeoisie exploitation.

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

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

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

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

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

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

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

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

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

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

Made possible by generous support from

and the

William Davidson Foundation

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

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

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Perform ance / Vol . X XI / spring 201 3

dso.org

Governing Members

Governing Members is a philanthropic leadership group designed to provide unique, substantive, hands-on opportunities for leadership and access to a diverse group of valued stakeholders. Governing Members are ambassadors for the DSO and advocates for arts and culture in Detroit and throughout Southeast Michigan. This list reflects gifts received from December 1, 2011 through February 18, 2013. For more information about the Governing Members program, please call Cassie Brenske, Governing Members Gift Officer at 313.576.5460.

officers

Arthur T. O’Reilly Chairperson

Jan Bernick Vice Chair, Philanthropy

Maureen T. D’Avanzo Vice Chair, Membership

James C. Farber Vice Chair, Outreach

Bonnie Larson Vice Chair, Engagement

Frederick J. Morsches Vice Chair, Communications

Randall Hawes Musician Liaison

Victoria J. King Musician Liaison

Mrs. Denise Abrash Mr. & Mrs. Richard L. Alonzo Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Mr. & Mrs. Eugene Applebaum Dr. & Mrs. Ali-Reza R. Armin Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook Mr. & Mrs. John Axe Jeanne Bakale & Roger Dye Mr. J. Addison Bartush Mr. & Mrs. Martin S. Baum Mary Beattie Mr. Chuck Becker Cecilia Benner Mr. & Mrs. Irving Berg Mrs. John G. Bielawski Barbra & Joe Bloch Dr. & Mrs. Duane Block Mr. and Mrs. John A. Boll, Sr. Mr. & Mrs. Jim Bonahoom Dr. & Mrs. Rudrick E. Boucher Mr. & Mrs. S. Elie Boudt Gwen & Richard Bowlby Mr. Anthony F. Brinkman Mr. Scott Brooks Robert N. & Claire P. Brown Michael & Geraldine Buckles Mr. H. William Burdett, Jr. Mr. H. Taylor Burleson & Dr. Carol S. Chadwick Philip & Carol Campbell Mr. William N. Campbell Dr. & Mrs. Thomas E. Carson Mr. & Mrs. Francois Castaing Dan Clancy & Jack Perlmutter Gloria & Fred Clark Dr. Thomas Clark Lois & Avern Cohn Jack, Evelyn & Richard Cole Family Foundation Dr. & Mrs. Charles G. Colombo Mrs. RoseAnn Comstock Dr. & Mrs. Ivan Louis Cotman Gary Cone & Aimee Cowher Mr. & Mrs. Raymond M. Cracchiolo Mr. & Mrs. Thomas A. Cracchiolo Thomas & Melissa Cragg Ms. Mary Rita K. Cuddohy Marvin & Betty Danto Family Foundation Mr. & Mrs. Colin Darke Ms. Barbara L. Davidson Lillian & Walter Dean Beck Demery Ms. Leslie Devereaux Ms. Barbara Diles Adel & Walter Dissett David Elgin Dodge Mr. & Mrs. Mark Domin Mr. & Mrs. Walter E. Douglas Ms. Judith Doyle Eugene & Elaine Driker Paul & Peggy Dufault Robert Dunn dso.org

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

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

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

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

Perform ance / Vol . X XI / spring 2013

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

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

First Violins

Yoonshin Song Concertmaster Katherine Tuck Chair

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

Marguerite Deslippe* Elias Friedenzohn*

Laurie Landers Goldman* Eun Park*

Adrienne Rönmark* Laura Soto*

Greg Staples* Second Violins

Adam Stepniewski Acting Principal The Devereaux Family Chair Ron Fischer*

Sheryl Hwangbo*

Rachel Harding Klaus* Hong-Yi Mo*

Robert Murphy* Bruce Smith*

Joseph Striplin* Marian Tanau* Jing Zhang* Alvin Score Violas

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

Glenn Mellow~

Shanda Lowery-Sachs Hart Hollman Han Zheng

Catherine Compton Violoncellos

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

Robert Bergman* David LeDoux*

Peter McCaffrey* Haden McKay*

Úna O’Riordan*

Oboes

Donald Baker+ Jack A. and Aviva Robinson Chair Shelley Heron Maggie Miller Chair Brian Ventura++

Monica Fosnaugh English Horn

Monica Fosnaugh Clarinets

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

Paul Wingert* Victor and Gale Girolami Chair

Laurence Liberson++

Basses

E-Flat Clarinet

Stephen Molina Acting Principal Van Dusen Family Chair Linton Bodwin

Shannon Orme

Laurence Liberson Bass Clarinet

Larry Hutchinson

Shannon Orme Barbara Frankel and Ronald Michalak Chair

Maxim Janowsky ^

Bassoons

Stephen Edwards Craig Rifel

Harp

Patricia Masri-Fletcher+ Winifred E. Polk Chair Flutes

David Buck+ Women’s Association for the DSO Chair

Sharon Sparrow Acting Assistant Principal Jeffery Zook Piccolo

Jeffery Zook

Robert Williams+ John and Marlene Boll Chair Victoria King

Trumpets

Personnel Manager

Stephen Anderson++

Heather Hart Rochon Assistant Orchestra Personnel Manager

Hunter Eberly+ Lee and Floy Barthel Chair Kevin Good

William Lucas Trombones

Kenneth Thompkins+ Nathaniel Gurin++ Randall Hawes

Bass Trombone Randall Hawes Tuba

Dennis Nulty+ Timpani

Brian Flescher ``# Percussion

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

Robert Stiles+ Ethan Allen

Stephen Molina Orchestra Personnel Manager

Assistant Conductor Teddy Abrams

Stage Personnel Frank Bonucci Stage Manager

Steven Kemp 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

Michael Ke Ma++ Marcus Schoon

Garrett McQueen§ Contrabassoon Marcus Schoon French Horns Karl Pituch+

Bryan Kennedy

Corbin Wagner

Johanna Yarbrough David Everson++ Mark Abbott

Musician bios, photos, fun facts and more can be found at dso.org/orchestra 6

Perform ance / Vol . X XI / spring 201 3

dso.org

Diamonds.

The Gift that Guarantees A Symphony of Happiness.

www.careminders.com

Your Comfort, Our Responsibility® Regardless of age, CareMinders® Home Care offers a wide range of both long and short term assistance to adults.

You or your loved one may have a temporary or permanent disability or illness, or may just be in need of someone to assist you or them with the activities of daily living.

Companion Care Services • Personal Care Services • Nursing Services 930 East Mount Hope, Suite B, Lansing, MI 48911 517.908.3200 • info@careminderslansing.com 5829 West Maple Rd., Suite 117, West Bloomfield, MI 48322 248.851.4357 dso.org

Perform ance / Vol . X XI / spring 2013

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President’s Message

News & Notes

Dear friends,

Dine over Woodward at the Paradise Lounge

As the cover of this month’s Performance magazine reminds us, the DSO is expanding our role in the community, playing our part in new and varied ways throughout the Metro Detroit region. Our Neighborhood Residency Initiative (NRI) has several complimentary components, and offers access to individual musicians as well as the full orchestra in unique and diverse settings, including local concert halls, schools, houses of worship, hospitals and assisted living centers. Please take a moment to read all about DSO’s NRI on page 12 of this Performance magazine.

Everyone loves Orchestra Hall and we are proud to claim it as one of the acoustic wonders of the world. As we continue our year-long celebration of 125 years of concerts under the name Detroit Symphony Orchestra, we can look back on the famous building of, and later saving of, this historic Detroit icon.

As spirit conscious Detroit advocates, we hope you’ll take a long weekend May 8, 9 and 10 and travel with the DSO to New York, where we will perform in another historic American venue, Carnegie Hall. The inseparable and deep connection between our community and the arts will be center stage, with the spotlight shining brightly on Detroit! For more information, please see page 4 of this Performance magazine.

The DSO envisions a world where our community is dependent on the healing, inspiring, nurturing, life changing power of access to music, and our webcasts enable patrons from all corners of the world, from Detroit to New York, Moscow to China the chance to experience our classical orchestral concerts on a regular basis. Many thanks to board chair Phillip Fisher and our dedicated volunteer directors, trustees and governing members, whose leadership and support makes all of what we do possible. And, to our thousands of patrons and donors, from PVS Chemicals and Jim and Ann Nicholson to you, the reader, we so appreciate your participation in today’s program.

Wishing you a spring of sunshine and we hope you’ll enjoy the gift of music, as often as possible!

Leave the drama of pre-concert dinner reservations behind! The DSO’s recently re-opened Paradise Lounge, open at intermission and two hours prior to each evening concert, has you covered.

DSO Executive Chef Michael Polsinelli has designed a revolving menu to match the season, and at times, the evening’s repertoire. A full list of couture cocktails is also available, along with craft beer and wine.

Trained in Le Cordon Bleu Culinary Arts, Chef Polsinelli takes his knowledge of classical French techniques to create his own spin on modern cuisine.

The Paradise Lounge is located on the second floor of Orchestra Hall, overlooking Woodward Avenue. No reservations required.

Anne Parsons President & CEO 8

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The most accessible orchestra on the planet welcomes a new partner Paris-based classical music platform medici.tv has joined Live from Orchestra Hall’s worldwide network of webcast partners. The DSO’s performance of Beethoven symphonies 1 & 6 is now available on demand at medici.tv through May 14, 2013, and future co-webcasts will soon be announced.

Stream the Symphony!

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

Watch o No worries! “Live From Orchestra Hall” returns for another season to bring the DSO to a live global audience via HD webcast. Log on at dso.org/live or tap your DSO to Go mobile app to view the performance and Returns pre-show hosted by Alex Trajano, as well as a full schedule of thisJärvi season’s Sunday, April 1, 3 p.m. episodes. “Live from Orchestra Hall” is presented by the Ford Motor Company and made possible by the John S. and James L. Knight Foundation.Dvořák’s “New World” Sym Saturday, April 21, 8 p.m.

Upcoming webcasts Classical Roots.................................................. Friday, March 8 at 10:45Pictures a.m. at an Exhibition Rite of Spring Centennial!............................. Saturday, March 16 at 8 Sunday, p.m. May 6, 3 p.m.

Lynn Harrell plays Dvořák............................. Sunday, April 28 at 3 p.m.

The Planets! ...................................................... Saturday, May 4 at 8 p.m.

Ives and Weill.................................................... Tuesday, May 7 at 7 p.m.

Brahms’ Violin Concerto................................ Friday, May 24 at 10:45 a.m.

Season Finale: Andre Watts!......................... Friday, May 31 at 10:45 a.m.

Check out highlights anytime at youtube.com/detroitsymphony dso.org

Volunteer Council and Neiman Marcus Fashion a Fundraiser: Trumpeting Spring Fashion fanfares and flourishes will be the order of the day at “Trumpeting Spring” on Tuesday, April 9 at the Royal Park Hotel in Rochester. The Volunteer Council invites you to enjoy a fabulous luncheon, a runway showing of the 2013 fashion trends as interpreted by Neiman Marcus (and some models you may recognize), along with an auction of amazing items and experiences. The afternoon will be emceed by WDIV-TV’s Devin Scillian.

Co-chaired by Jill Jordan and Lori Knollenberg, tickets for this not-to-be-missed event are $75-$160, with proceeds to benefit the Detroit Symphony Orchestra. To make your reservations, please call the Volunteer Council office at 313.576.5154.

Meet the Musician:

S

Monica Fosnaugh

serious kid.” urrounded by colleagues Thus began a high school who’ve studied their career of playing third flute or instruments for most of their soprano saxophone parts on her lives, English horn player Monica oboe, as most of the repertoire Fosnaugh plays the instrument didn’t include parts for her “no one majors in.” The tenor instrument. But once, fatefully, member of the oboe family, the she borrowed an English horn to English horn has a somewhat play “The Light Eternal” by mellower tone than the oboe due James Swearingen with the to its pear-shaped bell.

District Band.

“Most oboists play the English Fosnaugh Fosnaugh decided she would pursue a horn at some point, but some love it and career in music during her senior year, some hate it,” she said. following a summer at the Brevard Music Fosnaugh realized she loved it some 10 Center in North Carolina. “I wanted to years ago when she was Principal Oboe of see if I could hack it,” she said. “I wanted the Kalamazoo Symphony Orchestra. “I can to see if I’d still want to play after something remember listening to our English horn like that.” player and wishing I were playing it,” she Not only did she return with the desire to said. It was then she decided to start taking play, but also knowing where and with auditions on the instrument. whom. Fosnaugh earned her undergraduate Like most English horn players, degree in oboe performance at the Fosnaugh did not start out playing it. Her Cleveland Institute of Music, studying music training began at 3 years old with under John Mack, Principal Oboe of The piano lessons from her mother, although Cleveland Orchestra. She then completed music of all sorts was always around. Her her graduate work at Rice University. father, a retired band director, had a Although Fosnaugh officially joined the penchant for anything from Rachmaninoff orchestra with the beginning of the 2012-13 to The Beatles to Crosby, Stills and Nash. season, her relationship with the DSO In fifth grade, Fosnaugh became her began in May 2011 when she would school band’s only oboe player, for no other periodically play on a substitute basis. reason than the fact she didn’t want to play the same instrument as anyone else. And she “I’ve been aware of the DSO for a long time,” she said. “Their sound and style of wanted to play it well. music making is what makes sense to me, “My dad found me a really great teacher,” and what I’m familiar with from my she said. “I can remember she really didn’t have an interest in teaching a beginner, but I undergraduate experience. I feel like I really fit in here.” could already read music and I was quite a dso.org

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

Perform ance / Vol . X XI / spring 2013

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DSO: A History

(Part 3 of 3)

1977 Orchestra Hall designated a Michigan Historic Site.

september 21, 1989

The DSO returns home to Orchestra Hall.

september 24, 1981

Gary Bertini begins as Music Advisor.

1979

1981

1984

September 1990

October-December 1979

First European Tour: 24 concerts, 8 countries, 5 weeks

10

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1989

september 20, 1984 Gunther Herbig becomes Music Director.

The restoration of Orchestra Hall is completed.

dso.org

April 2001 Excavation begins for the construction of the Max M. Fisher Music Center.

2011 The DSO launches “Live from Orchestra Hall,” making it the only orchestra in the world to offer concerts free to a global audience online and via its mobile app.

October 11, 2003 Grand Opening of

the Max M. Fisher Music Center.

2012 In its inaugural season, the Neighborhood Series attracts thousands of new subscribers to the DSO in venues throughout metro Detroit.

September 20, 1990

Neeme Järvi becomes Music Director.

1991 The American Institute of Architects grants to Orchestra Hall its first-ever Interior Architecture Award in recognition of the fidelity and quality of its restoration.

1990

1998

2003

2008 2011

2013

October 28, 1990 A new Just Jazz series begins to renew the link to jazz music begun when Orchestra Hall was a well-known Jazz venue called Paradise Theatre, between 1941 and 1951.

2013 DSO makes its triumphant return to Carnegie Hall as part of the prestigious Spring for Music Festival. december 11, 2008 The Slatkin Era begins as Leonard Slatkin takes over as Music Director.

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

Perform ance / Vol . X XI / spring 201 3

11

Playing our Part

Find out how the DSO is engaging your community

I

n October of 2011, the DSO introduced the Neighborhood Residency Initiative, aimed at making the orchestra more accessible across southeast Michigan in order to mean more to more people. The NRI expands the orchestra’s existing presence in these communities and in its own Detroit neighborhood through a diversity of initiatives: a new concert series, educational partnerships, chamber music recitals, senior engagement, and collaborations with hospitals as well as social service agencies.

Orchestra Concerts

Now with more than 2,000 subscribers, the Neighborhood Concert Series appears in six metro Detroit concert venues: Seligman Performing Arts Center in Beverly Hills, Kirk in the Hills Presbyterian Church in Bloomfield Hills, Ford Community and Performing Arts Center in Dearborn, Grosse Pointe Memorial Church in Grosse Pointe Farms, Congregation Shaarey Zedek in Southfield and Berman Center for the Performing Arts in West Bloomfield Township.

These highly successful concerts have enabled reconnection with lapsed patrons, introduced new subscribers and donors, and have increased access and exposure to the DSO. Each four-concert series features both repertoire from the Orchestra Hall stage and also unique programming chosen specifically for the neighborhoods.

Subscriptions are available for just $75 for the entire season or $25 for single tickets.

Visit dso.org/neighborhood for a listing of upcoming Neighborhood Concerts.

Chamber Music

Neighborhood Chamber Recitals offer audiences the opportunity to experience DSO musicians in an intimate setting, performing chamber repertoire that is often not presented at Orchestra Hall.

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

These recitals are presented in unique venues throughout metro Detroit that have included Planterra Conservatory, Arab American National Museum, the Steinway Gallery, and Village Theater at Cherry Hill.

In addition, this season chamber music performances by DSO musicians have been featured as part of the Orchestra Hall stage pre-concert experience. Moreover, small ensembles are often featured at special civic, community and sporting events – on Halloween night DSO musicians accompanied the introduction of the Detroit Piston’s starting line-up at The Palace. Information on upcoming chamber recitals is available at dso.org.

Engaging our Seniors

This year the Detroit Symphony Orchestra is positioned to more than triple our programming for seniors due to a growing partnership with American House Senior Living Communities and a Getty Education and Community Investment Grant. Individuals and small groups of DSO musicians will travel to over 20 residencies and centers, performing over 50 intimate mini-concerts and Inspiration Days. Our geographic reach will span from Roseville to Westland and Riverview to Pontiac.

“We’re committed to enriching the lives of our senior citizens throughout the area,” said Rob Gillette, Chief Operating Officer of American House. “Countless studies have shown the benefits of both music and a rich social life in older adults. We are confident this partnership will prove beneficial for both our seniors and the DSO musicians themselves.”

Partnerships with Hospitals and Social Service Organizations

To date, more than 20 DSO musicians have visited Detroit Medical Center Children’s Hospital, engaging in a variety of activities:

partnering with board certified music therapists, performing a series of lobby concerts, and supporting key health systemwide events such as the annual Martin Luther King, Jr. celebration. As a result of funding from the Philip & Elizabeth Filmer Memorial Charitable Trust, this spring a series of projects will be piloted with a host of social service organizations including Common Ground, Far Conservatory and the Judson Center.

“Our relationship with the DSO continues to bring countless opportunities for enrichment not only to the patients we serve, but they have also greatly impacted the wellbeing of hospital staff with lobby and special performances such as our annual Martin Luther King, Jr. program,” says Laura Duda, boardcertified music therapist at DMC Children’s Hospital of Michigan.

These partnerships also give DSO musicians the unique opportunity to experience firsthand how their music is capable of both entertaining and healing.

“Everyone wins during the music therapy sessions at DMC,” said DSO Bass Clarinet, Shannon Orme. “The kids forget about being sick. Parents are relieved to see their kids smile. The musicians leave feeling like they did something important. My time at DMC has been one of the most rewarding experiences in all my years at the DSO.”

Educational Partnerships

In addition to the diverse group of more than 1,000 students coached and trained weekly by DSO musicians through our Civic Youth Ensembles, the NRI has enabled additional enrichment opportunities for Metro-Detroit youth. Made possible by a generous grant from the Max M. and Marjorie S. Fisher Foundation, DSO musicians have visited schools spanning from Trenton to Detroit to Clawson. dso.org

Detroit Symphony Orchestra, Inc. Samuel

Lifetime Members

Frankel†

David Handleman, Sr.†

Dr. Arthur L. Johnson†

Directors and Trustees

The Board of Directors is responsible for maintaining a culture of high engagement, accountability and strategic thinking. As fiduciaries, the Board oversees all DSO financial activities and assures that resources are aligned with the DSO mission while monitoring and sustaining progress in the cultivation and solicitation of additional support. The Board of Trustees is tasked with shepherding the long-term strategy of the DSO to fully implement the organization’s entrepreneurial capabilities, while engaging in an ongoing, generative dialogue resulting in the development and presentation of new strategies and objectives.

Officers

Phillip Wm. Fisher, Chairman Mark A. Davidoff, Vice Chair, Financial Operations and Sustainability

Michael J. Keegan, Vice Chair, Strategy and Innovation

Chacona W. Johnson, Vice Chair, Patron and Community Engagement

Bruce D. Peterson, Vice Chair, Governance and Human Resources

Robert Allesee Floy Barthel Mrs. Mandell L. Berman

John Boll Marianne Endicott Mrs. Harold Frank

Mike Fezzey*

Dan Angelucci*

Samuel Fogleman Sidney Forbes

Herman Frankel

Robert H. Bluestein*

Barbara Frankel Paul Ganson Gloria Heppner, Ph. D.

Mrs. Ray A. Shapero

Michael Keegan, Chairman, Board of Trustees

Sean M. Neall*

David Sherbin

Stanley Frankel, Chairman Emeritus

Gary L. Cowger

Allan D. Gilmour*

Melvin A. Lester, M.D.

Ralph J. Gerson

Peter D. Cummings, Chairman Emeritus

Alfred R. Glancy, III, Chariman Emeritus

Joanne Danto*

Herman Gray, M.D.

Stephen R. D’Arcy*

Brigitte Harris

Maureen T. D’Avanzo Karen Davidson*

Shelley Heron, Orchestra Representative

Linda Dresner*

Ronald M. Horwitz

Richard L. DeVore

Nicholas Hood, III

Officers

William P. Kingsley Bonnie Larson

Laurence M. Liberson, Orchestra Representative

Joe Mullany

David Robert Nelson

Faye Alexander Nelson James B. Nicholson, Chairman Emeritus

Arthur T. O’Reilly, Chairman, Governing Members

Robert E.L. Perkins, DDS

Arthur C. Liebler

William F. Pickard*

Florine Mark*

Lloyd E. Reuss

Edward Miller

Marjorie S. Saulson

Laura Marcero

Stephen Polk

David N. McCammon*

Bernard I. Robertson

Lois A. Miller*

Lois L. Shaevsky

Wei Shen

Jane F. Sherman* Stephen Strome

Michael R. Tyson* Ann Marie Uetz Janice Uhlig

David Usher

Barbara Van Dusen Ted Wagner

Hon. Kurtis T. Wilder R. Jamison Williams* Clyde Wu, M.D. *Trustee

VOLUNTEER COUNCIL 2010-13

Janet M. Ankers President

Dr. Nora Sugintas Vice President for Membership

Deborah Savoie President Elect

Virginia Lundquist Vice President for Outreach

Ellie Tholen Vice President for Public Relations

dso.org

Marilyn Pincus Jack Robinson Alan E. Schwartz

James C. Mitchell, Jr.*

Renee Janovsky*

Liz Boone*

Richard A. Brodie

Hon. Damon J. Keith Richard P. Kughn Harold Kulish

Sharad P. Jain*

Joel D. Kellman*

Penny B. Blumenstein*

Anne Parsons, President & CEO

Emeritus Directors

Jennifer Fischer*

Janet Ankers

Arthur Weiss, Treasurer

Directors and Trustees

Ismael Ahmed* Rosette Ajluni*

Glenda D. Price, Ph. D., Secretary

Board of Directors

Katana Abbott

Marlene Bihlmeyer Gwen Bowlby

Lynn Miller

Gloria Nycek

Todd Peplinski

Gloria Clark

Charlotte Worthen

Esther Lyons Recording Secretary

Sandie Knollenberg

Mary Beattie Corresponding Secretary

Eva Meharry

Kelly Hayes Ex-Officio (Immediate Past President)

Jill Jordan

Deborah Meade

Julie Zussman

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

Marcus Schoon Musician Liaison Chelsea Kotula Staff Liaison

Perform ance / Vol . X XI / spring 2013

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Profiles

Andrew Grams Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Classical Series Saturday, April 6, 2013 at 8 p.m. in Orchestra Hall Andrew Grams, conductor Karen Gomyo, violin

Johann Sebastian Bach Ricercare No. 2 from Musical Offering, (1685-1750) BWV 1079 Orch. Anton von Webern

Benjamin Britten Violin Concerto No. 1, Op. 15

(1913-1976) Moderato con moto Vivace Pa ssacaglia: Andante lento (un poco meno mosso)

Karen Gomyo, violin

I n t er m ission

Wolfgang Amadeus Mozart Symphony No. 41 in C major, K. 551, “Jupiter”

(1756-1791) Allegro vivace Andante cantabile Allegretto Molto allegro

This Classical Series concert is generously sponsored by

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

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

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Perform ance / Vol . X XI / spring 201 3

As one of America’s most promising and talented young conductors, Andrew Grams has already appeared with many of the great orchestras of the world including the Grams Cleveland Orchestra, the Philadelphia Orchestra, the Chicago Symphony, the St. Louis Symphony, the Detroit Symphony Orchestra, the National Symphony Orchestra of Washington D.C., and the orchestras of Baltimore, Dallas, Houston, New Jersey and others in the United States. On the international arena, he has conducted the Montreal Symphony, the Vancouver Symphony, the Orchestre National de Lyon, the Orchestra of the Beethovenhalle Bonn, the BBC Symphony Orchestra London, the City of Birmingham Symphony Orchestra, the BBC National Orchestra of Wales, the Melbourne Symphony, the Orchestra of Santa Cecilia Rome, the Netherlands Radio Philharmonic, the Residentie Orchestra of the Hague, the Hamburg Symphony, and the Malmo Symphony to name a few.

Maestro Grams was a protege of Franz Welser-Moest and served as Assistant Conductor of the Cleveland Orchestra from 2004 to 2007.

Grams made his first subscription series appearance with the Cleveland Orchestra in 2006 conducting Schoenberg’s Second Chamber Symphony and conducted his first series of full-length subscription concerts with the Cleveland Orchestra later that year.

Recent history has seen Maestro Grams at the helm of the Detroit Symphony Orchestra, the Residentie Orchestra of the Hague, L’Orchestre Symphonique de Montreal, the Royal Scottish National Orchestra, the City of Birmingham Symphony Orchestra, the BBC National Orchestra of Wales, the National Symphony Orchestra of Ireland (RTE), the Tokyo Metropolitan Symphony, the Seoul Philharmonic, the Kansas City Symphony, the Calgary Philharmonic Orchestra and the National Arts Centre Orchestra of Ottawa.

A Maryland native raised in Severn, Grams began conducting at the age of 17, when he directed the World Youth Symphony Orchestra at Interlochen Arts Camp in Michigan. In 1999 he received a bachelor of music degree in violin performance from the Juilliard School, and in 2003 he received a conducting degree from the Curtis Institute of Music. dso.org

Karen Gomyo

Born in Tokyo, violinist Karen Gomyo grew up in Montreal and New York. Recipient of the prestigious Avery Fisher Career Grant in 2008, she has been hailed by the Chicago Tribune as gomyo “a first-rate artist of real musical command, vitality, brilliance and intensity.”

Gomyo’s engagements as soloist have included those with the Cleveland Orchestra; New York Philharmonic; Los Angeles Philharmonic; Philadelphia Orchestra; Minnesota Orchestra; San Francisco; Saint Louis Cincinnati, Dallas, Houston, Montreal, Toronto, Vancouver, and Tokyo symphonies; Hong Kong Philharmonic; and the National Symphony of Washington D.C. In Europe she has performed with the City of Birmingham Symphony Orchestra, the Royal Scottish National Orchestra, Orchestre National de Lille, Scottish Chamber Orchestra, the Royal Liverpool Philharmonic, Bergen Philharmonic, Norwegian Opera Orchestra, Norköpping Symphony, and Den Haag Residentie Orkest, among others. She has worked with such conductors as Leonard Slatkin, Neeme Järvi, Andrew Litton, David Robertson, David Zinman, Yannick NézetSéguin, Andrey Boreyko, Hans Graf, Louis Langrée, James Gaffigan, Pinchas Zukerman, Vasily Petrenko, Kirill Karabits, Robin Ticciati, Pietari Inkinen, and Jakub Hrůša.

In 2008 Gomyo performed at the First Symposium for the Victims of Terrorism held at the headquarters of United Nations in New York, and in 2009 was the guest soloist for the New York Philharmonic’s Memorial Day concert at the Cathedral of St. John the Divine.

Upcoming highlights include debuts with the Sydney Symphony, Danish National Symphony, Vienna Chamber Orchestra, Mozarteum Orchester Salzburg, Munich Bach Collegium, Orchestre National Bordeaux Aquitaine, Malmö Symphony and the Väterås Sinfonietta in Sweden, as well as return visits to the Norwegian Opera Orchestra, Colorado Symphony, Nashville Symphony, Calgary Philharmonic, Oregon Symphony, Edmonton Symphony, Quebec Symphony, and the Colorado and Chautauqua Music Festivals.

Gomyo plays on a Stradivarius violin that was bought for her exclusive use by a private sponsor. dso.org

Program Notes Ricercare No. 2 from The Musical Offering, BWV 1079 Johann Sebastian Bach

B. March 21, 1685 in Eisenach, Germany D. July 28, 1750 in Leipzig, Germany

Orchestrated by Anton Webern

B. December 3, 1883 in Vienna, Austria D. September 15, 1945 in Mittersill, Austria

Scored for flute, oboe, English horn, clarinet, bass clarinet, bassoon, horn, trumpet, trombone, timpani + percussion (playing cymbals, snare drum, tenor drum and triangle), harp and strings.

(Approx. 8 minutes)

T

he Musical Offering is a collection of canons and fugues and other pieces by J.S. Bach, all based on a theme given to him by music-loving King Frederick II of Prussia (known familiarly as Frederick the Great), to whom the entire work is dedicated. The Ricercar a 6, an extraordinary six-voice fugue which is the high point of the whole work, is sometimes referred to as the Prussian Fugue, a title which Bach himself used. This contrapuntal masterpiece has its origins in a meeting between Bach and the King in May of 1747 in Potsdam (where Frederick resided), where Bach’s eldest son, Carl Philipp Emanuel, was employed as a court musician. The reason for the visit was the King’s great desire to show to the elder Bach a new instrument called the piano, which had been invented a few years earlier, several of which were now at the court in Potsdam. Before the visit took place, Bach, who was renowned for his skill at improvising, had been sent by Frederick a long and complex musical theme on which to improvise a three-voice fugue. Bach did so with great aplomb during the visit, but then the King challenged him to improvise a six-voice fugue on the same theme. Bach said that he would need to take the score, work on it and send it to the King afterwards. Back in Leipzig, some two months later, Bach published a set of pieces on this theme which is now known as The Musical Offering. He then inscribed the work in Latin “Regis Iussu Cantio Et Reliqua Canonica Arte Resoluta,” in translation, “The Theme, Given

By The King, With Additions, Resolved In The Canonic Style.” As you can see, the first letters of the Latin words spell the word ricercar, a well-known genre of the day which was a precursor of the fugue itself. The term ricercar, or ricercare, which literally means “to research,” was originally

used in string playing for the “searching” of proper intonation. Eventually the ricercar developed into a full-fledged fugue, and after a while the terms ricercar and fugue became interchangeable. Among the other features of this amazing contrapuntal tour-de-force is what is known as a crab canon, in which the Royal Theme is actually played backwards!

In its final form The Musical Offering comprises two Ricercars (one for 3 and one for 6 voices), ten canons and a 4-movement trio sonata for flute, violin and continuo (meaning here a harpsichord and a low string instrument), the flute being an instrument on which the King was an adept player. Apart from this trio sonata, the pieces in the whole work have scant indications about which instruments should play them, but there is now strong evidence that they are for solo keyboard, like so many of Bach’s other published works.

The imposing Ricercar a 6 has been arranged on numerous occasions, the most famous version being the one created in 1935 by the Austrian composer and conductor Anton Webern. He had great reverence for Bach and other Baroque masters, and approached his orchestration with what he felt was great fidelity to the spirit of the music. His version is scored for a small chamber orchestra comprising 6 woodwinds, 3 brass, percussion, harp and strings. Webern always referred to this orchestration as “his” Bach fugue, giving one the idea that he had somehow created something different from the original. He achieved this by use of a technique which his teacher Arnold Schoenberg made famous called, in German, Klangfarbenmelodie, or “tone-color melody.”

In this technique, a melody line is broken up with a few notes given to one instrument (or group of instruments), then to another, then to another, and so on. This is used to emphasize important harmonic, motivic, and structural aspects of a work. Until the end, Webern keeps the texture purposely thin so that all of the individual lines are heard clearly. His idea in creating this version of the Bach original was “….to bring the music out of its esoteric abstractness and make it alive and comprehensible, and to bring it closer to the listener.” Webern himself conducted the first performance of the work in April of 1935 in a BBC Symphony Orchestra broadcast in London.

Beginning in 1938 Webern’s music was denounced as degenerate by the Nazi regime, making it difficult for him to earn a living, Perform ance / Vol . X XI / spring 201 3

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and requiring him to take on work as an editor and proofreader for his publisher. As World War II came to an end, Webern’s son Peter was killed in action, and he himself was drafted into the air raid police. Believing that he would be safer away from Vienna, he and his wife joined their daughters in a region in the mountains near Salzburg. On the night of September 15, 1945 during the Allied occupation of Austria, Webern was mistakenly shot and killed by an American soldier following the arrest of his son-in-law on suspicion of black market activity. Fortyfive minutes before a curfew was to have gone into effect, he stepped outside his house so as not to disturb the rest of the household in order to enjoy a fine cigar, and was shot three times by a confused Private Raymond Bell, who was so overcome by remorse from the incident that he died of alcoholism in 1955. As he did on so many occasions with others, Stravinsky had the perfect summation of Webern when he said “Doomed to total failure in a deaf world of ignorance and indifference, he inexorably kept on cutting out his diamonds, his dazzling diamonds, the mines of which he had such a perfect knowledge.”

Violin Concerto No. 1, Op. 15 Benjamin Britten

B. November 22, 1913 in Lowestoft, England D. December 4, 1976 in Aldeburgh, England

Scored for 3 flutes (2 doubling on piccolo), 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani + percussion (playing snare drum, tenor drum, bass drum, cymbals and glockenspiel), harp and strings. (Approx.

32 minutes)

E

dward Benjamin Britten was an English composer, conductor and pianist who was a central figure in 20thcentury English music. Showing remarkable talent at a very early age, he first came to public attention in 1934 with an unaccompanied choral work entitled A Boy Was Born.

In 1945, with the premiere of his very first opera Peter Grimes, he was put squarely on the international musical map. His interests as a composer were very wide-ranging, and he produced significant music for orchestra, chorus, solo voice (much of it written for his long-time partner and colleague Sir Peter Pears), instruments both solo and in chamber settings, and film music. Britten, along with Pears and two other colleagues, founded the annual Aldeburgh Festival, and was a prime force in the creation of the Snape Maltings Concert Hall. In addition, he was the first British composer to be elevated to a life peerage.

By the age of 10 he had written an

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Perform ance / Vol . X XI / spring 201 3

oratorio and a string quartet, and by 16 he had composed a symphony, six more string quartets, 10 piano sonatas and a number of other smaller works. In all, some 800 works and fragments came from his fertile mind before his first published works. When Britten was in his early teens he heard a performance of Frank Bridge’s symphonic poem The Sea, and in his own words, was “knocked sideways.” He was introduced to the elder composer, and after Bridge looked at some of the young lad’s work he agreed to take him on as a pupil. Thus began a lifelong relationship between the two men, with Britten championing his teacher’s works. One of Britten’s earliest masterpieces is his Variations on a Theme of Frank Bridge for string orchestra, which was dedicated to Bridge, and which was a great success when it was first performed at the celebrated Salzburg Festival in 1937. After hearing a performance soon after in London, Aaron Copland said, “The piece is what we would call a knock-out!” Before this, in 1930, Britten had won a scholarship to the Royal College of Music in London where he first came into contact with Ralph Vaughan Williams. He wanted to continue studies in Vienna with Alban Berg, but was dissuaded from doing so by his parents and his teachers at the College. In 1935 he began writing film scores for the GPO (Postal) Film Unit, and while there he met poet W.H. Auden, who went on to write texts and lyrics for several of his vocal works, becoming in the process a major influence in his life. The year of 1937 also brought his most important relationship when he met tenor Peter Pears, who became not only a close musical collaborator but his life-long companion and partner.

Britten and Auden both had strong pacifist convictions, and when Auden went to the U.S. in 1939, Britten and Pears followed a few months later. Because the two of them planned to take up permanent working status here, they got around immigration regulations by entering the U.S. from Canada, where they had become legal British immigrants. The period in America was remarkably productive for Britten, and while here he wrote his first opera, Paul Bunyan, the Sinfonia da Requiem, and the Violin Concerto, and also began sketches for what would become his famous opera Peter Grimes. Returning to England in 1942, he wrote two of his most well-known works, A Ceremony of Carols and the Serenade for Tenor, Horn and Strings. Later, the premiere of Peter Grimes in 1945 was a tremendous success (in spite of numerous obstacles which had to be overcome in the rehearsal process) and established Britten as the foremost British composer of his generation.

He went on to write several more operas,

most of which are firmly established in the international repertoire. Along the way, in the 1960s Britten developed close personal and professional relationships with three great Russian musicians, Dmitri Shostakovich, Sviatoslav Richter and Mstislav Rostropovich.

Britten’s only violin concerto was given its first performance in New York in March of 1940, with the Spanish violinist Antonio Brosa as soloist, and the New York Philharmonic conducted by John Barbirolli.

Brosa had been an old friend and fellow student of Britten’s teacher and first mentor, Frank Bridge. By and large the premiere was a success, although the reviews were mixed, either very-pro or very-con. One member of the audience very much on the pro side was composer Elliott Carter, who said “….nobody could fail to be impressed by the remarkable gifts of the composer, and the size and ambition of his talent.” The concerto is in three movements, but not in the usual arrangement of the classical concerto form. Whereas most traditional 3-movement concertos are fast-slow-fast, this concerto is basically slow-fast-slow, a pattern first used by Prokofieff in his First Violin Concerto, and by William Walton in all three of his string concertos. Britten revised the concerto in 1950, simplifying the solo part and taking out most of Brosa’s elaborations. It was then revised again in 1958. There is a decidedly dark hue to the work, which is seen by many as a response to the horrors of the Spanish Civil War which had recently broken out. Apart from the non-traditional layout of the movements, there is the unusual role for the soloist, along with many features of Britten’s distinctive style, among them economy of material subjected to very imaginative variations, and a brilliant and dramatic use of orchestral color. The first movement begins with five notes on the timpani followed by a high and lyrical melody by the solo violin, clearly an homage to the beginning of Beethoven’s great concerto.

The second theme is more rhythmic and insistent, and in the course of the development the two themes are interwoven. The second movement is very fast and extremely difficult for the soloist, and is in Scherzo-and-Trio form, with the contrasting Trio section somewhat more subdued but still full of the menacing character of the movement as a whole.

When the Scherzo section returns, there is an amazing passage in which we hear a dialogue between the tuba and two piccolos over shimmering strings. There is a brilliant cadenza which leads directly into the last movement which Britten cast in the form of a passacaglia, a kind of variation form in which a melodic pattern is played dso.org

repeatedly, usually in the lower instruments, with inventive counter-melodies played over it. This was a favorite device of the composer, used to great effect in Peter Grimes. There follow nine highly inventive and expressive variations as the movement journeys to its ambiguous and unsettled conclusion. One can only agree with Elliott Carter about the 25-year-old Britten displaying an astonishing mastery of the orchestra and his musical materials.

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Symphony No. 41 in C, K. 551 (“Jupiter”)

Wolfgang Amadeus Mozart

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

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

32 minutes)

M

ozart was just nine years old when his first symphony had its first performance in London in February of 1765. By a curious stroke of coincidence, the child Mozart made use of a four-note phrase (C, D, F, E) which would re-appear as the main theme of the last movement of his last symphony (the one we know as “Jupiter”), at which point it put the crowning glory on his efforts as a symphonist. That four-note theme, by the way, is a common plainchant motif which can be traced as far back as the 16th century. It has been used by many composers, and Mozart actually used it in at least three other works.

(Is it then merely a coincidence that the keys of the four Brahms symphonies are C, D, F and E? It does give one pause for thought.)

Even though Mozart actually wrote over 50 symphonies, some of which did not surface until long after the now-familiar numbering system was created, his last three symphonies---which we call numbers 39, 40 and 41---were written in the astonishing space of just six weeks in the summer of 1788. At the time, the 31-year-old genius was near the bottom, leading a life of tremendous desperation and awareness of the great gap between his extraordinary powers and his dwindling opportunities. He was broke and in debt, greatly concerned by his own and his wife’s health, and worried about his once-predominant position in Vienna’s musical establishment and society.

His audiences had become enamored of other composers, Austria was at war with Turkey, and his newborn daughter had just died, which many scholars believe was the impetus behind the remarkably tragic cast of the great G minor symphony, No. 40, with its powerful atmosphere of turbulence and darkness. In spite of all of this, his unique creative spirit rose to transcendent heights

dso.org

that summer, and his last and greatest symphonies were among the masterpieces he produced. Looked on as a set, these works can be seen as a summary of Mozart’s mature genius, as well as the possibilities of symphonic form in the late 18th century, and perhaps even as a foreshadowing of Beethoven’s great nine symphonies. Clearly, Mozart could not have known that these were to be his last efforts in the symphonic realm, but in any case it is certainly appropriate that they represent the pinnacle of the symphony at that time. And how different they are from one another! No. 39 is among his most elegant and lyrical creations, No. 40 is filled with unequalled

pathos and drama, and No. 41---his last---is the grandest and most joyous symphony he ever wrote. To this day, nobody knows for sure where the nickname “Jupiter” came from, but it seems likely that it was given to the work by Johann Peter Salomon, the same impresario who brought Haydn to London for those two amazing visits in the 1790s.

Right to the present day there have been mysteries and misunderstandings about these symphonies. Until relatively recently, there were three aspects which were moreor-less taken for granted. First, we do not know why or for what orchestra they might have been composed, and were written just to please himself; second, the three Perform ance / Vol . X XI / spring 201 3

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symphonies were intended as a set or trilogy; and last, they were never performed during his lifetime, an indication of how underappreciated he was at the time. At least two of these assumptions have now been shown to be false. In the words of the eminent Mozart scholar Neal Zaslaw, “The very idea that Mozart would have written three such symphonies, unprecedented in length, complexity and seriousness, merely to please himself or because he was ‘inspired,’ flies in the face of his known attitudes to music and life and the financial straits in which he then found himself.” Throughout his tragically short but productive life he rarely produced any kind of a large-scale work without some goal or reason, and we know that when a commission or an opportunity for a performance fell through he very often abandoned a work without finishing it. We do know that Mozart had scheduled a series of concerts for that summer of 1788, and may have written one or more of the symphonies for that series. Due to a lack of subscribers to the series, only one of the concerts actually took place, and the rest were cancelled. It turned out to be the last time that he attempted to give a public concert in Vienna.

In those days, larger symphonies were regularly sold in editions in groups of three, and smaller symphonies in groups of six. So it is entirely possible that Mozart created this set of three grand symphonies expressly for publication, but as it turned out, they were not published until after his untimely death.

In that summer of 1788 he had also been trying to arrange a trip to London, as it was well-known that a fine composer/performer could make more money in London than anywhere else, and that symphonies of the highest caliber were a vital part of such a venture. When this fell through, these symphonies could well have provided music for tours of Germany he made the following two years with an eye to trying to find some kind of a permanent position. Although detailed programs have not survived for all of the concerts, what we now know about those concerts together with some concerts he gave after his return to Vienna clearly gives the lie to the idea that these three symphonies were unperformed during his lifetime. As if this was not enough, Salieri conducted a concert of Mozart’s music in Vienna in April of 1791, for which Mozart may have created the second version of the great G minor symphony with added clarinets. Finally, we know that copies of the last two symphonies were circulated frequently at the time, and there would have been no reason for this other than for performances.

It was common in those days to begin the first movement of a symphony with a slow introduction, but here, as in No. 40, Mozart dispenses with that custom and we are put in dso.org

the thick of the joyous energy right from the very first notes. The second movement is very lyrical and provides something of a break from the energy of the other three movements. The minuet is very grand in its scale, with the trio (the contrasting middle section) being somewhat more gentle. It is, however, for the unprecedented last movement that this symphony is most famous. It is fitting that this concert should begin and end with examples of remarkable contrapuntal writing, and here Mozart outdoes even the great Bach with a display of technical supremacy which is as unforced as it is mind-boggling. The afore-mentioned four-note theme provides the initial musical material, and then Mozart introduces no less than four additional themes. There are fugal sections throughout, created either by developing one theme or combining two or more themes. Then, in the climax of the movement all five of the themes are played together, and it is testament to Mozart’s genius that this section sounds as effortless and natural as can be, and we are not ever made aware of how phenomenally difficult a feat this is: it flows by and is heard simply as music created on the very highest level.

What could be a more fitting way to end the symphonic output of the man who was once described by biographer Alfred Einstein as the purest form of genius the Western world has ever known.

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Chamber Music Society of Detroit

Supporting the ArtS Where We Work, Live, And pLAy

Saturday, May 18, 2013, 8:00 PM

Lynn Harrell, Cello Anne-Marie McDermott, Piano Beethoven:  Sonata in G minor, Op. 5, No. 2 Sonata in C major, Op. 102, No. 1 Sonata in A major, Op. 69

Seligman Performing Arts Center, Beverly Hills

Honigman is pleased to support the Detroit Symphony Orchestra.

We believe the arts bring vibrancy, growth and culture to our lives. Honigman is a premier business law firm, working in perfect harmony with our communities and our clients in Detroit and throughout the world.

For more information, visit www.honigman.com.

Honigman Miller Schwartz and Cohn LLP detroit LAnSing oAkLAnd County Ann Arbor kALAmAzoo

tickets 248-855-6070 or www.ChamberMusicDetroit.org dso.org

Perform ance / Vol . X XI / spring 201 3

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Profiles Jeff Tyzik

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Pops Series Red, Hot & Blues!

Friday, April 19, 2013 at 10:45 a.m.

Saturday, April 20, 2013 at 8 p.m.

Sunday, April 21, 2013 at 3 p.m. in Orchestra Hall Jeff Tyzik, conductor Dee Daniels, vocalist* Byron Stripling, trumpet^ Wycliffe Gordon, trombone # Bobby Floyd, organ+

Jeff Tyzik Blue Overture* ^ #+

Ray Henderson Birth of the Blues ^ arr. Manny Albam

Spencer Williams Basin Street Blues ^ arr. Wycliffe Gordon Orch. Jeff Tyzik

John Clayton Tonight I Won’t Be Singing No Blues* Words by Dee Daniels Orch. Jeff Tyzik

Richard Carpenter Walkin’ ^ #

Arr. Jeff Tyzik

Oscar Washington Night Train Arr. Jeff Tyzik John “Peter” Chatman Everyday I Have the Blues* ^ #+ Arr. Jeff Tyzik

I n t er m ission

W.C. (William Christopher) Handy St. Louis Blues ^

Arr. Jeff Tyzik

Oscar Brown, Jr. But I Was Cool ^ # Arr. Jeff Tyzik

Wycliffe Gordon Somebody New # Orch. Jeff Tyzik

Wesley Wilson Gimme a Pigfoot and A Bottle of Beer* John Clayton Moving On Up* ^ Words by Dee Daniels Orch. Jeff Tyzik James Cleveland Get Right Church* ^ #+ This Pops Series performance is generously sponsored by

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

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

Grammy Award winner Jeff Tyzik is recognized as one of America’s most innovative pops conductors, and is known for his brilliant arrangements, original programming, and tyzik engaging rapport with audiences of all ages.

Now in his 19th season as Principal Pops Conductor of the Rochester Philharmonic Orchestra (RPO), Tyzik also serves as Principal Pops Conductor of the Oregon Symphony, the Vancouver Symphony Orchestra and the Florida Orchestra at the beginning of 2012.

Over the course of his tenure with the RPO, he has written over 180 works for the orchestra. The RPO has taken the unusual step of inviting their principal pops conductor, a consummate musician, to appear as a guest conductor in the orchestra’s classical subscription series calendar on a regular basis.

Tyzik led the world premiere of his original work New York Cityscapes with the Royal Scottish National Orchestra in June 2010. In the 2012-13 season Tyzik will conduct the RPO on the subscription series in the world premiere of his new suite: Images: Musical Impressions of an Art Gallery.

Highly sought after as a guest conductor, Tyzik has recently appeared with orchestras such as the Boston Pops, the Cincinnati Pops, the New York Pops, the Philadelphia Orchestra at the Saratoga Performing Arts Center, the Los Angeles Philharmonic at the Hollywood Bowl, and the Dallas Symphony at the Vail Valley Music Festival.

A native of Hyde Park, New York, Tyzik began his life in music at age 9, when he first picked up a cornet. He studied both classical and jazz throughout high school, and went on to earn both his bachelor’s and master’s degrees from the Eastman School of Music, where he studied composition/arranging with Radio City Music Hall’s Ray Wright and jazz studies with the great band leader Chuck Mangione, both of whom profoundly impacted him as a musician.

Tyzik spent the next few years working with Mangione, which led to an oppoprtunity to co-compose a trumpet concerto with friend and virtuoso trumpeter Allen Vizzutti to be recorded by pops legend Doc Severinsen.

Tyzik currently serves on the Board of Managers of the Eastman School of Music.

dso.org

Profile

Leonard Slatkin

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Classical Series Friday, April 26, 2013 at 10:45 a.m. in Orchestra Hall Leonard Slatkin, conductor Lynn Harrell, cello Sunday, April 28, 2013 at 3 p.m. in Orchestra Hall Leonard Slatkin, conductor Lynn Harrell, cello UMS Choral Union, Jerry Blackstone, choral director ppa elibom oG ot OSD eht no ro evil/gro.osd ta enilno hctaW

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Maurice Ravel La Valse (1875-1937)

Antonín Dvorˇák Concerto for Cello and Orchestra

(1841-1904) in B minor, Op.104 Allegro Adagio ma non troppo Finale: Allegro moderato Lynn Harrell, cello

I n t er m ission Friday program:

Charles Ives Symphony No. 2

(1874-1954) Andante moderato Allegro Adagio cantabile Lento maestoso Allegro molto vivace Sunday program:

Charles Ives Symphony No. 4

(1874-1954) Prelude: Maestoso Allegretto Fugue: Andante moderato Largo maestoso UMS Choral Union

This Classical Series concert is generously sponsored by Davidson Foundation

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

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This performance will be webcast at dso.org/live

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

Internationally acclaimed American conductor Leonard Slatkin began his tenure as Music Director of the Detroit Symphony Orchestra in September of 2008. In addition to his role at the DSO, slatkin he serves as Music Director of the Orchestre National de Lyon in France, an appointment which began in August of 2011. He has also served as Principal Guest Conductor of the Pittsburgh Symphony since 2008. Slatkin’s first book, Conducting Business, was released this past summer.

Following a 17-year tenure 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, first Music Director of the Cleveland Orchestra’s summer series at the Blossom Music Festival; Principal Guest Conductor of the Los Angeles Philharmonic Orchestra at the Hollywood Bowl; and additional positions with the New Orleans Philharmonic and the Nashville Symphony Orchestra.

Maestro Slatkin’s more than 100 recordings have been recognized with seven Grammy awards and 64 nominations. He has recorded with the Detroit Symphony Orchestra, National Symphony Orchestra, Saint Louis Symphony, Minnesota Orchestra, Nashville Symphony Orchestra, Chicago Symphony Orchestra, the New York Philharmonic, and numerous European ensembles.

Throughout his career, Slatkin has demonstrated a continuing commitment to arts education and to reaching diverse audiences. He is the founder and director of the National Conducting Institute, and founded the Saint Louis Symphony Youth Orchestra while working with student orchestras across the United States.

His engagements for the 2012-2013 season include the NHK Symphony, the Rotterdam Philharmonic, the Czech Philharmonic, the St. Louis Symphony, the Nashville Symphony and the State Symphony Orchestra of Russia.

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

dso.org

Perform ance / Vol . X XI / spring 201 3

21

Lynn Harrell

A consummate soloist, chamber musician, recitalist, conductor and teacher, Lynn Harrell’s work throughout the Americas, Europe and Asia has placed him in Harrell the highest echelon of today’s performing artists.

Harrell is a frequent guest of many leading orchestras including Boston, Chicago, New York, Philadelphia, San Francisco, Ottawa, Pittsburgh, and the National Symphony. In Europe he partners with the orchestras of London, Munich, Berlin, Dresden, Leipzig, Tonhalle, and Israel. He has also toured extensively to Australia and New Zealand as well as Asia, including Japan, Korea, Malaysia, Taiwan and Hong Kong.

Recent and upcoming engagements include concerts with the Boston Symphony Orchestra and Christoph Eschenbach, the Los Angeles Philharmonic and Frühbeck de Burgos, the Detroit Symphony and Leonard Slatkin, the Edmonton Symphony and William Eddins, and the symphonies of Taiwan and Singapore both with Lan Shui.

A European tour with the Gewandhaus Orchestra and Riccardo Chailly brings him to the cities of Leipzig, Paris, and Birmingham.

A majorly accomplished recording artist, Lynn Harrell’s extensive discography of more than 30 recordings include the complete Bach Cello Suites (London/ Decca), the world-premiere recording of Victor Herbert’s Cello Concerto No. 1 with the Academy of St. Martin in the Fields led

by Marriner (London/Decca), the Walton Concerto with Rattle and the City of Birmingham Symphony Orchestra (EMI), and the Donald Erb Concerto with Slatkin and the Saint Louis Symphony (New World). Together with Itzhak Perlman and Vladimir Ashkenazy, Harrell was awarded two Grammy Awards.

In June 2010, along with his wife violinist Helen Nightengale, Lynn founded the HEARTbeats Foundation, a 501(c) charity.

Based in Los Angeles, the HEARTbeats Foundation strives to help children in need harness the power of music to better cope with, and recover from, the extreme challenges of poverty and conflict.

Mr. Harrell plays a 2008 Dungey cello.

He makes his home in Santa Monica, Calif.

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Perform ance / Vol . X XI / spring 201 3

Program Notes La valse, un poème choréographique pour orchestre ( Joseph-) Maurice Ravel

B. March 7, 1875, Ciboure, France D. December 28, 1937, Paris, France

Ravel scored La valse for three flutes (third doubling piccolo), three oboes (third doubling on English horn), two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani and five percussion (playing Antique Cymbals, Bass Drum, Castanets, Cymbals (Pair), Orchestra Bells, Snare Drum, Tam Tam, Tambourine and Triangle), two harps and strings (approximately 13 minutes)

W

ritten in 1920 and originally conceived as a ballet, Ravel described La valse as “a sort of apotheosis of the Viennese waltz…I associated it in my mind with a fantastic, fatal whirling.”

Ravel had intended to write a piece as a tribute to the waltz form and also to Johann Strauss II. Another early influence was the waltz from Chabrier’s opera Le Roi malgré lui. In Ravel’s output, a forerunner to La valse was his Valses nobles et sentimentales, which contains a motif that the composer reused in the later work.

After his service in the French army, Ravel would return to the original idea of the symphonic poem Wien. He completely reworked the original concept for Wien into what became La valse, which would originally have been written under a commission from Sergei Diaghilev as a ballet. Diaghilev never produced the ballet, rejecting Ravel’s work as “…not a ballet…it’s a portrait of a ballet.” Ravel was hurt by this comment and broke off the relationship. La valse became a popular concert work, and when the two men met again in 1925, Ravel refused to shake Diaghilev’s hand. Diaghilev challenged Ravel to a duel, but friends persuaded him to withdraw. They never met again.

The composer George Benjamin, in his analysis of the score, summarized the work as follows: “Whether or not it was intended as a metaphor for the predicament of European civilization in the aftermath of the Great War, its one-movement design plots the birth, decay and destruction of a musical genre: the waltz.”

Ravel hastily denied that the work was a reflection of post-World War I Europe, saying:

“While some discover an attempt at parody, indeed caricature, others categorically see a tragic allusion in it – the end of the Second Empire, the situation in Vienna after the war, etc…this dance may seem tragic, like any other emotion… pushed to the extreme. But one should only see in it what the music expresses: an ascending progression of sonority, to which the stage comes along to add light and movement.”

The work opens quietly, as if in a sort of mist, with a rumbling of the double basses.

Cellos and harps join in. Emerging quietly from the mist, instruments gradually play fragmented melodies, coalescing into a subdued melody in the basses and violas. At a signal from the harps, the assembled instruments begin a graceful melody. Then, led by the violins, the orchestra erupts into the work’s primary waltz theme. A series of waltz sequences follows, each with its own character. Then, midway through the work, the listener descends once more into the ‘mist’ of the opening. As the second half begins, each melody from the first half is re-introduced, albeit with unexpected modulations of key and changes in instrumentation. The waltz begins to whirl, seemingly unstoppably, and then Ravel breaks the momentum with a macabre sequence that builds into a disconcerting repetition. The orchestra reaches a sort of danse macabre coda, the final bar of which is the only one not in waltz-time.

Choreographer George Ballanchine created a ballet sequence to La valse in 1951.

Concerto for Cello and Orchestra in B Minor, Op. 104 ANTONÍN DVOR ˇ ÁK

B. September 8, 1841, Nelahozeves, Czechoslovakia D. April 3, 1897, Prague, Czechoslovakia

Premiered in London on March 19, 1896 with Leo Stern as soloist and the composer conducting Scored for solo cello, two flutes, piccolo, two oboes, two clarinets, two bassoons, three horns, two trumpets, three trombones, tuba, timpani, triangle and strings (approx. 40 minutes).

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he Dvorˇák Cello concerto is considered by many to be the pinnacle of orchestral cello writing and one of the best compositions for the instrument. While this piece was written late in the nineteenth century, it betrays a rather classical approach dso.org

to the concerto (especially when compared with the fantasy-like concertos written by Franz Liszt and other “progressive” composers). The traditional concerto aesthetic involved pitting a single performer against a full orchestra, surely not a fair match. Yet as in many concerti, the soloist who can pull off the virtuosic musical and technical demands of this concerto is no ordinary musician.

The opening movement of Dvorˇák’s concerto shares many structural similarities with the first-movement sonata form of the Haydn symphony on this program, yet the negotiations that occur when a soloist is involved require many changes. Instead of only juggling oppositions between keys, the composer must also deal with an opposition between soloist and orchestra (with Dvorˇák adding further complexity by moving from minor to major mode by the end of the movement). The first movement begins with the clarinets presenting a simple tune that this then expanded by the strings and later the whole orchestra. The second group is initiated by a lyrical horn melody with string accompaniment, and this orchestral section closes with considerable fanfare. At this point our patient soloist finally emerges with the opening theme (briefly altered from the minor mode into the major as a preview of what is to come). After some modulating passages with quite a few virtuosic flashes, the solo cello takes up the lyrical theme of the second group before moving into a quick transition passage leading eventually to the middle section. In this movement, Dvorˇák omits the customary solo cadenza, choosing instead to weave virtuosic passages for the cello into the larger orchestral texture.

The second movement begins with the clarinet again, as it introduces a nostalgic theme that is shortly taken over by the solo cello (these interactions between clarinet and cello continue throughout the movement). The Adagio also provides stark contrasts between loud bombastic orchestral onslaughts and reserved, small-group interactions, even allowing the soloist brief cadenza-like flourishes. Those familiar with Dvorˇák’s songs might recognize the melody from “Leave Me Alone,” which is played by the cello beginning toward the middle of the piece.

With a menacing repeated low note, the third-movement Allegro moderato slowly builds up the opening melody in a short orchestral climax, which then subsides to let the cello enter with the main theme. While not a strict rondo, this opening theme will dso.org

return at various places throughout the movement and in very different characters — from a stately, reserved presentation to a huge orchestral outpouring. As in the first movement, a number of technical passages featuring the soloist replace the traditional cadenza. While based on a bohemian theme, there are a few passages in this last movement which can be heard as reflecting Dvorˇák’s exposure to jazz. Given its richness of beautiful melodies, creative orchestration, and brilliant solo features, it is no wonder that this concerto has come to be one of Dvorˇák’s most beloved pieces.

Symphony No. 2 Charles Ives

B. October 20, 1874 in Danbury, Connecticut D. May 19, 1954 in New York

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani + percussion (playing snare drum, bass drum and triangle), and strings (approx. 36 minutes).

A

s with many of Ives’ larger works it is frequently difficult—and sometimes impossible—to arrive at a definitive chronology. The bulk of the symphony appears to have been written in1897, although some of the last movement dates from 1889. The score was completed in 1901 with further revisions having been made in 1909, and then it languished on a shelf in Ives’ study for years. Once again Walter Damrosch entered the picture when he asked Ives to see the score, was given the score, and never returned it. When Leonard Bernstein decided to give the symphony its first performance in 1951 the full score had to be copied from an earlier pencil score which Ives seems to have preferred to the ink score which he sent to Damrosch. As the date of the premiere approached, Ives became increasingly apprehensive about attending, whereupon Bernstein offered to conduct a private performance that the then 76-year old composer could attend in privacy, but to no avail. So on that historic date in February of 1951, Ives’ wife Harmony heard the performance which was met with sustained waves of exuberant and enthusiastic applause. As she began to realize just how positive the response was, she turned to a friend and is supposed to have said, “Why, they like it, don’t they?” A few days later when another performance was broadcast, Ives decided to listen to the work in his kitchen. When it was over, there

are two conflicting stories about what happened. In one version, he simply left the room without saying a word. In the other, he danced a little jig of apparent delight. In this, his only five-movement symphony, there are all kinds of references from Beethoven’s Fifth to Turkey in the Straw; from Brahms’ first and third symphonies to America the Beautiful; and from Wagner operas to Columbia, the Gem of the Ocean.

Along the way there are snippets of Camptown Races, Bringin’ in the Sheaves, When I Survey the Wondrous Cross, Swanee River, Old Black Joe and Long, Long Ago. Even more amazing is the trio of the second movement turning out to be a Dartmouth student song entitled Where, Oh Where, Are the Pea-Green Freshman? In the end it all sounds like Ives, including unfinished phrases, bad voice-leadings and bizarre orchestrations. The biggest joke is saved for the final chord, a raucous musical “raspberry” containing 11 notes of the chromatic scale all played together and as loud as possible. According to Ives’ wife, the themes in the symphony were meant in some way to show the spirit of Stephen Foster, as well as the great excitement when members of the Danbury Cornet Band of the 1880s were marching down Main Street playing The Red, White and Blue. The first movement was based on an organ sonata and the Down East Overture, both lost. The second movement had its origins in a lost set of overtures called In These United States. The third movement was originally part of his First Symphony, but it was removed at Parker’s insistence. The fourth (and shortest) movement was based on a lost overture called Town, Gown and State, while the last movement derived from another lost overture The American Woods. In the words of Peter Burkholder, it was Ives’ intent here “…to create a symphony in the European Romantic tradition that is suffused with American melody, wedding the two traditions in a single work.”

Subscribe now to the 2013-14 Season dso.org/subscribe Perform ance / Vol . X XI / spring 201 3

23

Symphony No. 4 Charles Ives

B. October 20, 1874 in Danbury, Connecticut D. May 19, 1954 in New York

Scored for 4 flutes, all 4 doubling on piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 6 trumpets, 4 trombones, tuba, timpani + percussion (playing snare drum, field drum, tomtom, bass drum, triangle, cymbals, bells and 2 gongs), celesta, organ, ¼-tone piano, harps and strings (Approx. 34 minutes).

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here is a story that Ives was inspired to write this massive and extraordinary work while watching an appearance of Haley’s comet on a summer night in 1910.

It is a summing-up of everything he believed in both musically and philosophically, and in biographer Jan Swafford’s words, it is “Ives’ climactic masterpiece.” In it he used everything he had learned or developed with regard to thematic transformation, musical quotation, and the handling of large-scale forms. Completed in 1916, it uses sophisticated musical techniques which would not be seen or heard again anywhere for many years. The symphony is notable for its multi-layered complexity and for the largest orchestra Ives had ever used. Ives once said the work was “…a searching question of ‘What’ and ‘Why’ which the spirit of man asks of life.” There are quite a number of quotations within its pages, and it is full of unusual sonic effects.

The first and second movements were first performed separately in New York in January of 1927 under the direction of the English conductor Eugene Goossens.

Unusually for Ives, the movement begins with a loud majestic bass line, followed immediately by a trumpet fanfare. A familiar hymn says “Watchman, tell us of the night, What the signs of promise are,” and this is how the symphony unfolds. The first movement ends in extreme quiet. The second movement, marked Comedy, is based on Hawthorne’s story The Celestial Railroad, and contains perhaps Ives’ most extensive use of overlapping thematic material. Many hymn tunes and patriotic tunes are quoted as the music builds to several enormous climaxes before dying away. Goossens appeared to be almost completely befuddled by the music, particularly the Comedy, and when someone asked him afterwards how it had gone, he replied “My dear boy, I don’t know what happened after the downbeat!”

The third movement was performed alone in New York in May of 1933. It is a straightforward, almost academic fugue which is an orchestration of a movement from his String Quartet No. 1, written while still at Yale. Compared to the other

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

three movements it is relatively simple and conservative, but in some ways the most advanced. The symphony ends with what Ives called “…an apotheosis of the preceding content, in terms that have something to do with the reality of existence and its religious experience.”

The movement seems to be a huge dissertation on the extremes and the contradictions of life. In 1945, composer and conductor Bernard Herrmann, who was a great champion of Ives’ music, referred to this last movement as “…music of a far distant future…..An Oriental would

describe such music as the pure state which exists in space, chaotic and all-embracing.”

After powerful, soul-searching episodes in which there seems to be a combat between great dissonance and more traditional tonalities, the movement begins to subside and settle, and eventually ends with nothing but percussion instruments playing. The work did not receive a complete performance until April of 1965 when Leopold Stokowski conducted it with the American Symphony Orchestra. It had been almost 50 years since Ives completed his valedictory utterance.

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dso.org

Profiles John Storgårds

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Classical Series Friday, May 3, 2013 at 8 p.m.

Saturday, May 4, 2013 at 8 p.m. in Orchestra Hall ppa elibom oG ot OSD eht no ro evil/gro.osd ta enilno hctaW

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John Storgårds, conductor Rafał Blechacz, piano Women of the Michigan State University Chorale and State Singers

György Ligeti Lontano for Orchestra (1923-2006)

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

(1810-1849) Maestoso Larghetto Allegro vivace Rafał Blechacz, piano

I n t er m ission

Gustav Holst The Planets

(1874-1934) Mars, The Bringer of War Venus, The Bringer of Peace Mercury, The Winged Messenger Jupiter, The Bringer of Jullity Saturn, The Bringer of Old Age Uranus, The Magician Neptune, The Mystic Women of the Michigan State University Chorale and State Singers

This Classical Series concert is generously sponsored by

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

This performance will be webcast at dso.org/live

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

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

dso.org

Chief Conductor of the Helsinki Philharmonic Orchestra and Principal Guest Conductor of BBC Philharmonic Orchestra, John Storgårds has a dual career as a conductor Storgårds and violin virtuoso and is widely recognized for his commitment to contemporary music. He additionally holds the title of Artistic Director of the Chamber Orchestra of Lapland with which he programs some of Europe’s most imaginative concerts north of the Arctic Circle.

Storgårds appears with such orchestras as the Bavarian Radio Orchestra, NDR Hamburg, Bamberg Symphony, City of Birmingham Symphony, Orchestra Philharmonique de Radio France, Netherlands Radio and the BBC Symphony as well as all of the major Scandinavian orchestras. Further afield, he has conducted the Sydney, Melbourne and New Zealand symphonies. Soloists with whom he regularly collaborates include Gil Shaham, Christian Tetzlaff, Frank Peter Zimmermann, JeanYves Thibaudet, Colin Currie, Håkan Hardenberger, Sabine Meyer, Kari Kriikku, Karita Mattila and Matti Salminen.

Storgårds made his North American debut with the St. Paul Chamber Orchestra during the 2005/06 season and debuted with the Cincinnati Symphony in April 2011. Since then, he has appeared with the Boston Symphony at Tanglewood and the National, Toronto and Houston symphonies. During the 12/13 season, he returns to the Cincinnati and Houston symphonies and the St. Paul Chamber Orchestra and debuts with the St. Louis, Detroit and Indianapolis symphonies, as well as with the National Arts Centre Orchestra in Ottawa.

Storgårds’ discography includes the awardwinning Vasks’ Violin Concerto Distant Light and Second Symphony, Saariaho’s Graal Theatre, the Sibelius Violin Concerto with Frank Peter Zimmermann and most recently, an extremely well-received disc of works by Erich Wolfgang Korngold. His next recording project will be the complete Sibelius symphonies with the BBC Philharmonic for Chandos Records.

Storgårds was concertmaster of the Swedish Radio Symphony Orchestra during Esa-Pekka Salonen’s tenure and subsequently studied conducting with Jorma Panula and Eri Klas. He received the Finnish State Prize for Music in 2002.

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Rafał Blechacz

In October 2005, Rafał Blechacz won the 15th Frédéric Chopin International Piano Competition in Warsaw, Poland, as well as the Polish Radio Prize for the best blechacz performance of mazurkas, Frédéric Chopin Society Prize for the best performance of polonaise, National Philharmonic of Poland Prize for the best performance of concerto, and Krystian Zimerman sponsored Prize for the best performance of sonata.

Born in 1985 in Nakło nad Notecią, Poland, he began his piano lessons at the age of five. He continued his piano education in the Artur Rubinstein State School of Music in Bydgoszcz and in May 2007 he graduated from the Feliks Nowowiejski Academy of Music in Bydgoszcz, the piano class of Professor Katarzyna Popowa-Zydroń.

Blechacz earned the 1st Prize and Grand Prix of the 13th All-Poland Johann Sebastian Bach Competition in Gorzów Wielokpolski in 1996, 2nd Prize of the 5th International Young Pianists Competition, and 2nd Prize of the 5th International Piano Competition in Hamamatsu, Japan in 2003.

The victory of 2005 in Warsaw opened the doors of the most famous concert halls of the world. Among them are the Royal Festival Hall and Wigmore Hall in London, Berliner Philharmonie, Herkulessaal in Munich, Alte Oper in Frankfurt/Main, Liederhalle in Stuttgart, Konzerthaus in Vienna, Tonhalle in Zurich, Concertgebouw in Amsterdam, Salle Pleyel in Paris, Palais des Beaux-Arts in Brussels, Avery Fisher Hall in New York, just to name a few.

On May 29, 2006 Blechacz signed an exclusive contract with Deutsche Grammophon, becoming the second Polish artist enlisted under this prestigious label.

His first Deutsche Grammophon CD, Preludes by Frédéric Chopin, was released in Europe in October 2007. His second disc, sonatas by Haydn, Mozart and Beethoven, followed in October 2008.

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Program Notes Lontano for Orchestra György LIgeti

B. May 28, 1923 in Transylvania, Romania D. June 12, 2006 in Vienna, Austria

Scored for 4 flutes (including 2 piccolos and alto flute), 4 oboes, English horn, 3 clarinets, bass clarinet, contrabass clarinet, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, 2 timpani + percussion (playing bass drum, cymbals, glockenspiel, tam-tam, orchestra bells, snare drum, triangle and xylophone), 2 harps, 2 keyboards and strings. (Approx. 11 minutes)

G

yörgy Sandor Ligeti was a highly individual and influential composer who was in the front ranks of new music until he died at the age of 83. He was born in a Jewish community in a small town in Transylvania whose culture was partly Hungarian and partly Romanian. Isolated by anti-Semitism, he withdrew into a rich and special and self-sufficient inner world of his own creation which he named Kylwiria, and this feeling of being an outsider remained with him for most of his life. In his mature years he became very

fond of the writings of Lewis Carroll, and at one time even contemplated an opera based on Alice In Wonderland. He was always very serious about his work, and even when his compositions were playful or ironic, the intent behind them was always serious. He always wanted his music to be understood by all who heard it, and many of his premieres were sensational in the extreme, whether the audiences enjoyed the music or not. He was a great pioneer of the post-war era who helped to create new ways of creating and perceiving music, and throughout his career he displayed a constant need to move on and explore new means which he had not yet tried. In other words, his goal was to create something new from within his sound-world which would be “new” yet at its core always the same.

However, unlike many of his contemporaries, he had no allegiance to any school or movement or pre-conceived ideas about how music should sound or one “right way” of composition. As he once said, “I cannot understand the idea that you have the avant-garde, and then you have this post-modern neo-tonal stuff, as if these were the only two possibilities and there

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could be no third way. There are always a hundred ways; you just have to find them.”

A brief outline of the early part of Ligeti’s life will help illustrate why he developed along such individual lines. In 1940 Northern Transylvania was occupied by Hungary, and three years later he was sent to a Jewish forced-labor brigade which narrowly escaped being liquidated. His brother was sent to a concentration camp, and both of his parents were sent to Auschwitz. Sadly, his mother was the only survivor of his immediate family. Following the war he returned to Budapest where he had studied during several summers prior to 1940, and he enrolled in the famous Franz Liszt Academy of Music where he graduated with honors in 1949. After a year spent researching the Hungarian folk music of his native Transylvania, he returned to the Liszt Academy, this time as a teacher of harmony and counterpoint and musical analysis. By this time communications between Hungary and the West had become very difficult due to severe restrictions imposed by the communist regime, and so Ligeti and many other artists were effectively cut off from developments outside the Soviet bloc. His response to this repression was to go into what he called “a state of internal exile.” In December of 1956, some two months after the cruel suppression of the Hungarian revolution, Ligeti and his wife fled to Vienna where he remained for the rest of his life, becoming an Austrian citizen in 1968. On that flight to Vienna he had to leave most of his Hungarian compositions in Budapest, many of which are now lost. He only took with him what he thought were his most important works, saying “I considered my old music of no interest.”

It was around 1960 that his work began to be well-known and appreciated. Among the compositions from that era are Apparitions (1959) and Atmospheres (1961), the latter work becoming world famous through its use in Stanley Kubrick’s 1968 sci-fi classic 2001: A Space Odyssey. There were actually three other Ligeti works in that film, Lux Aeterna, the Kyrie section of his Requiem, and an electronically altered version of Aventures. These were followed by works such as the present Lontano (1967), in which he really found his musical path, and the opera Le Grand Macabre (1978). The music he wrote during the prolific last 20 years of his life is highlighted by an extraordinary degree of rhythmic complexity and an entirely new conception of what pulse means in music. In the late 1990s he began having health problems which became severe after the turn of the 21st century, and he died in Vienna when he was 83. His creative journey produced dso.org

some of the most fascinating, imaginative and expressive music of the 20th century, and it can be said that of the whole postwar avant-garde generation, it is Ligeti’s music which is played most often.

Lontano (Italian for “far away”) was composed in 1967 on a commission by the Southwest German Radio, Baden-Baden, for the famous Donaueschingen Music Festival of that year. During the 1960s Ligeti had become fascinated by the idea of a new music which nevertheless would have a harmonic center, and this interest culminated in the writing of Lontano. In the composer’s words, it represents the “…. opening and closing of a window on longsubmerged dream worlds of childhood. This process unfolds gradually on the listener, rather like what happens when you step from sharp sunlight into a dark room and gradually begin to notice colors, and outlines become more and more perceptible.

There is not merely one process of harmonic transformation, but rather several simultaneous processes going on at different speeds which shine through one another and overlap one another, and by means of various refractions and reflections make perceptible an imaginary perspective.” One of the most striking aspects of the work is how many very soft sounds there are, most of which seem to hover and glide, with chords and tone-clusters coming from nowhere, appearing and then disappearing back into the rich and beguiling dreamworld of the orchestral fabric. The work begins from far away, and at the end returns to that state of virtual nothingness.

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

B. March 1, 1810 in Zelazowa Wola, Poland D. October 17, 1849 in Paris, France

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, bass trombone, timpani and strings. (Approx.

30 minutes)

H

e was born with the name Fryderyk Francisek Chopin, but later changed it to the French version of Frederic Francois Chopin. By either name he was a pianist and composer of extraordinary genius in the realm of keyboard music. A child prodigy who was virtually self-taught as a pianist, he went on to become one of the greatest of Romantic composers. As a pianist his command of the keyboard was unique in his day, and he had an impact on other pianists quite out of proportion to the small number of concerts he gave during his short lifetime.

It is safe to say that no one before or after

Chopin wrote as many significant works for the piano, and he was also the first composer of genius who devoted his output entirely for the keyboard: every piece he wrote was either for solo piano or in combination with other instruments or the voice. His works are often quite demanding technically, and perhaps the fact that he was mostly self-taught is why he wrote music of such remarkable originality right from his earliest days as a composer. He started playing the piano when he was 4, made extraordinary progress, and by the time he was 10 one critic had already dubbed him “the second Mozart.” He invented the instrumental ballade, and made major innovations to the piano sonata, mazurka, waltz, nocturne, polonaise, etude, impromptu, scherzo and prelude. Sadly, the man was in poor health for most of his life, and he died in Paris at the age of 39, most likely from pulmonary tuberculosis.

By the age of 20, Chopin was already famous in his native Poland. After graduation from the Warsaw Conservatory he made his debut in Vienna, playing his Variations on La ci darem la mano from Mozart’s Don Giovanni, a performance which set the city on its ear. Shortly after that he played a sold-out concert in Warsaw which featured the premiere of the F minor Piano Concerto, garnering ecstatic reviews from critics and public alike. Later in that year he presented his E minor Piano Concerto, and it received even greater accolades. Because of this, he decided the following year to go to Paris which was then the center of European culture — and he never again returned to his native land. In early 1832 he gave his first concert in Paris which, like the concerts in Vienna and Warsaw, received universal acclaim. After this, however, he realized that his basically light-handed and subtle keyboard technique was not suitable for large concert halls, and that is why he concentrated for the rest of his life on intimate recitals in smaller venues, and as it turned out, he gave only 30 public performances in 30 years of concertizing. Nevertheless, he probably was unmatched in acquiring an extraordinary reputation on the basis of so few concerts.

In the late 1830s Chopin’s art reached new heights mainly because of his involvement with the writer who chose to call herself George Sand, and some of his finest works were produced during the nine years that they were together. Although he continued to compose and give recitals into the 1840s, his popularity as a performer was already on the decline, and in early 1848 he gave his last concert in Paris. When the French Revolution broke out some two months later he went to London, where he gave several recitals which were very well Perform ance / Vol . X XI / spring 2013

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received. He also visited Scotland, where he gave just one recital in Edinburgh. Realizing that he was not at all well, he wrote out his last will and testament in Edinburgh at the home of a well-known Polish physician. His last public appearance anywhere was given in London in November of 1848, when he made a very patriotic gesture by playing a benefit concert for Polish refugees.

Later that month he returned to Paris where he spent the winter in desperately ill health. He no longer had the strength to perform or give lessons, but he still continued to compose and see close friends.

As his health continued to decline, he asked his elder sister Ludwika, who had given him his first piano lessons, to come stay with him. On October 15th his condition took a grave turn for the worse, and two days later his frail constitution finally gave out from the tuberculosis which had affected him for so long. Before his funeral took place his heart was removed, in accordance with his dying wishes. It was then preserved in brandy and smuggled back to Warsaw, again according to his last requests. It was later sealed in a pillar of the Holy Cross Church, under a biblical epitaph which reads “For where your treasure is, there will your heart be also.” Except for a period during World War II, when the urn was removed for safekeeping, it has resided there, even when the church was rebuilt after it was virtually destroyed during the 1944 Warsaw Uprising. That church, by a wonderful stroke of fate, stands only a short distance from Chopin’s last Polish residence.

What we know as Chopin’s Piano Concerto No. 2 was actually the first of his two such concertos. It was, however, the second one to be published and was thereby designated as No. 2, even though it was the first to be written. It was completed in early 1830 and first performed in Warsaw’s National Theater in March of that year with Chopin as the soloist. Bizarre though it seems now, the first movement was separated from the last two by an interlude (in this case an improvisation for solo horn), a practice which was quite common at the time. In creating both of his piano concertos Chopin moved away from Beethoven’s model of a symphonically-conceived concerto, and went instead in the direction of a solo-dominated concerto which was becoming fashionable. Among other things, the young composer-pianist found this new approach much more compatible with his unusual personality. Chopin’s classicallyoriented works have always suffered from comparisons with Mozart and Beethoven, and a recurring criticism is that the larger classical forms were simply incompatible with his imagination. Such criticism is 28

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perhaps unfair in this instance, as he chose to work in a new tradition referred to as stile brillante (brilliant style), rather than reinterpret the classical concerto. This style looked on the concerto as a looselyorganized showcase for virtuoso display, rather than a balanced, cohesive and tightlyconstructed musical argument. Certainly the two concertos demonstrate a certain lack of sophistication, but in the words of one critic of the day, the concertos “….linger in the memory for the poetry of their detail rather than the strength of their structures.”

Generally speaking, the piano dominates the music, with the orchestra relegated to a kind of non-intrusive platform on which to showcase the performer’s virtuoso abilities.

If there is any truth to the idea that Chopin was a poor orchestrator, it is simply that he looked upon the orchestra’s role in the concertos as secondary to that of the piano.

The concerto is in the traditional threemovement form, but here, instead of fastslow-fast, it is more like majestic-slow-fast.

The only time the orchestra is given a prominent role is in the introduction to the first movement, after which it is the piano which is responsible for all of the musical development: there is none of the interplay or dialogue which is the hallmark of most Classical concertos. It is in this movement—the longest of the three—that the elements of the brilliant style come most strongly to the fore. The second movement, by contrast, owes much to the bel canto (beautiful singing) operatic style of composers like Rossini and Bellini, and is very much like an expanded nocturne. We know from a letter which Chopin wrote later on that this movement was inspired by his secret love for a young singer at the Warsaw Conservatory, and was so deliriously smitten with her that it took him six months from the time he first saw her to work up the courage to actually speak to her! He said further that he maintained a life-long affection for this movement, and that it was one of the great favorites among all the works he had written. The virtuoso and spirited last movement bears a strong influence of the mazurka, a Polish folk dance which Chopin would later turn into one of his most memorable forms of expression, and which here is used in a brilliantly stylized way. It is also the least sophisticated of the three movements, but its straightforward manner is wonderfully compelling. This concerto made a great impression on many of the foremost musicians of the day, particularly the great Franz Liszt, who looked upon it as “….of ideal perfection, its expression now radiant with light, now full of tender pathos.”

The Planets

Gustav Holst

B. Sept. 21, 1874, Cheltenham, England D. May 25, 1934, London, England

Premiered on Sept. 29, 1918, in London, in a private concert with Adrian Boult conducting the New Queen’s Hall Orchestra.

Boult also directed the work’s initial public performance, given by the London Philharmonic Orchestra on Feb. 27, 1919.

Scored for four flutes, the third player doubling on piccolo and the fourth on both piccolo and bass flute; three oboes, the third player doubling on bass oboe; English horn; three clarinets and bass clarinet; three bassoons and contrabassoon; six horns, four trumpets, three trombones, tenor tuba and bass tuba; timpani and a large battery of percussion; celesta, organ and two harps; and strings. The seventh piece also specifies a chorus of women’s voices (approx. 55 minutes).

D

uring the years just prior to World War I, English composer Gustav Holst became interested in astrology and learned to cast horoscopes. The diverse characters associated with the planets in both astrology and Roman mythology “suggested music” to Holst. The result was The Planets, a suite of seven short tone poems. The work proved immediately successful, catapulting its composer, an obscure music teacher, to sudden fame.

For the reclusive Holst, this proved the worst possible fate. He abhorred the attention of the press and public, and was relieved when his later music garnered less approval.

Each of the seven movements that comprise Holst’s composition expresses a mood suggested by the astrological sign associated with its particular planet. These pieces fall into two general types: scherzando movements, which are lively, brash and rhythmic; and quiet meditations of a remote, timeless nature. The former group includes “Mars,” which opens The Planets in thunderous fashion; “Mercury,” with animated music appropriate to its namesake; “Jupiter,” whose character derives in large part from the flavor of English folk song; and “Uranus,” with its eccentric, abrupt and unexpected traits. Among the more relaxed and contemplative sections are “Saturn,” described by Holst as conveying not so much the physical decay of old age, but a vision of fulfillment; and “Neptune,” where the orchestra, playing hushed, reverent sonorities, is joined in the final passage by a wordless chorus of women’s voices.

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

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

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

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

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

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

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

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

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

Accessibility Parking is available in the Orchestra Place Parking Deck for patrons with applicable permits. There are elevators, barrier-free restrooms and accessible seating in all areas of the Max M. Fisher

Music Center. Security personnel are available at the entrances to help patrons requiring extra assistance in and out of vehicles. Hearing assistance devices are also available. Please see the House Manager or any usher for additional assistance.

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

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

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

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

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

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

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

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

Administrative Staff Executive Office Anne Parsons President and CEO Paul W. Hogle Executive Vice President Patricia Walker Chief Operating Officer Anne Wilczak Managing Director, Special Events and Projects Joy Crawford Executive Assistant to Anne Parsons Orchestra Operations & Artistic Planning Erik Rönmark Artistic Administrator Kareem George Managing Director of Community Programs Kathryn Ginsburg Artistic Coordinator Heather Hart Rochon Assistant Orchestra Personnel Manager Don Killinger Operations and Popular Programming Coordinator Stephen Molina Orchestra Personnel Manager Nicole New Manager of Popular and Special Programming

Alice Sauro Director of Operations and Executive Assistant to the Music Director

Information Systems

Education

Human Resources

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

Renecia Lowery Jeter Director of Human Resources

Emily Lamoreaux General Manager of Civic Youth Ensembles Cecelia Sharpe Manager of Education Programs Mike Spiegel Education and Jazz Studies Coordinator Facility Operations Sue Black Facilities Coordinator Larry Ensman Maintenance Supervisor Greg Schmizzi Chief of Security Finance Donielle Hardy Controller Eric Higgs Director of Financial Planning and Analysis Sandra Mazza Accountant Roná Simmons Staff Accountant

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Laura Lee Director of IT

History/Archives Paul Ganson Historian Cynthia Korolov Archivist Patron & Institutional Advancement Reimer Priester Senior Director of Patron and Institutional Advancement Cassie Brenske Governing Members Gift Officer Marianne Dorais Foundation and Government Relations Officer Bree Kneisler Patron Advancement and Research Coordinator Chelsea Kotula Board and Volunteer Relations Coordinator Ron Papke Corporate Relations Manager

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

Paul Yee Retail Sales Manager Patron Engagement & Loyalty Programs

Elaine Curvin Executive Assistant and Patron Teams Coordinator

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

Mona DeQuis Assistant Manager of Retail Sales

Matt Babecki Patron Acknowledgement and Gift Systems Specialist

Chuck Dyer Manager of Group Sales and Corporate Sales

Will Broner Patron Acknowledgment and Gift Systems Coordinator

Christopher Harrington Patron Development and Sales Manager

Connie Campbell Senior Manager of Patron Engagement

Jennifer Kouassi Front of House Manager

Sharon Carr Assistant Manager of Patron Systems and Ticketing Operations

Heather Mourer Neighborhood Audience Development Manager B.J. Pearson Senior Manager of Event Operations

Tiiko Reese-Douglas Patron Engagement Officer Lindsey Evert Loyalty Programs Manager

Michael Polsinelli Executive Chef

La Heidra Marshall Patron Engagement Officer

Gabrielle Poshadlo Patron Communications and Public Relations Manager

Marty Morhardt Patron Engagement Assistant

Anné Renforth Patron Sales and Services Supervisor Anna Savone Food and Beverage Manager

Juanda Pack Patron Engagement Officer Eric Woodhams Manager of Digital Media and Engagement

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Upcoming Education Concerts & Events Detroit Symphony’s Civic Orchestra presents

Beethoven Piano Concerto No. 5 in E-flat major, Op. 73

“Emperor”

Leonard Slatkin conductor Emanuel Ax piano Monday

March 25 at 7:30pm in Orchestra Hall

tickets $12 Slatkin

ax

For tickets, visit dso.org or call 313.576.5111

Civic Youth Ensembles accessible • excellent • inspirational • diverse • empowering

Civic Family Experience Sunday, March 10, 2013 from 1 p.m. - 6 p.m.

Max M. Fisher Music Center

Join us for a festival experience in the Max. M. Fisher Music Center. For just one ticket, you can roam throughout the building to hear performances by twelve of our Civic Youth Ensembles.

Civic Family Experience Sunday, May 5, 2013 from 1 p.m. - 6 p.m.

Max M. Fisher Music Center

Join us for a festival experience in the Max. M. Fisher Music Center. For just one ticket, you can roam throughout the building to hear performances by thirteen of our Civic Youth Ensembles.

Education Partner Experience

Tuesday, May 14, 2013 at 7 p.m.

Orchestra Hall As a celebration of Detroit’s community of music education, the DSO encourages partnerships with community organizations. Come and experience performances by many of the exhilarating music education programs that Detroit has to offer.

Honda Power of Dreams Night Sunday, May 19, 2013 at 7 p.m.

Orchestra Hall

Honda Power of Dreams Night is a free performance showcasing the talents of more than 150 3rd - 8th grade students from the Detroit area. This unique program, created in support

by Honda The Power of Dreams, is offered to underprivileged students for whom string education is not currently available.

Join the DSO’s training programs and ignite your soul through music!

Applications are accepted beginning in February and auditions will be held in May 2013.

For ticket information please visit dso.org or call the DSO Box Office at 313.576.5111

Apply online: dso.org/civic Questions? Contact: civic@dso.org 30

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

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Director Spotlight Jack and Aviva Robinson

We are proud to recognize long-time supporters Jack and Aviva Robinson for their outstanding contributions to the DSO. Jack and Aviva have been members of our DSO family for four decades, beginning with Jack’s involvement in the “Save Orchestra Hall” campaign and subsequent appointment to our Board of Directors during the early 1970s.

Since then, Jack and Aviva have been active subscribers and generous donors, notably endowing the Principal Oboe chair during the 1995 Capital Campaign (currently occupied by DSO Principal Oboe Donald Baker). Jack and Aviva frequently attend the annual Classical Roots Celebration and Heroes Gala, and can be found listening to one of their many Music Lover’s Series concerts in Orchestra Hall. Aside from the Robinsons’ crucial participation in various DSO fundraising activities, they have been a staple for camaraderie

by hosting dinners for prior Music Directors Antal Dorati and Neeme Järvi, along with forging close working relationships with several former Executive Directors.

Jack in particular has been a cornerstone member of the DSO Board of Directors, having served on the Executive and Finance Committees for nearly 20 years. We are happy to celebrate Jack and Aviva’s ongoing legacy at the DSO by naming Jack Director Emeritus, a new, advisory-based, lifetime position with the DSO.

The Annual Fund Gifts received between September 1, 2011 and February 1, 2013

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

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

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

Platinum Baton giving of $250,000 and more

Anonymous The Mandell L. & Madeleine H. Berman Family Foundation

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

Mr. & Mrs. James B. Nicholson Samuel & Jean Frankel Foundation

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

Emory M. Ford, Jr.† Endowment

Cindy & Leonard Slatkin

Mrs. Karen Davidson

Herman & Sharon Frankel

Mrs. Richard C. Van Dusen

Mr. & Mrs. Phillip Wm. Fisher

Bernard & Eleanor Robertson

Silver Baton giving of $50,000 and more Mr. & Mrs. Richard L. Alonzo

Penny & Harold Blumenstein

Ms. Deborah Miesel

Mr. & Mrs. Eugene Applebaum

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

Mr. & Mrs. Larry Sherman

Mr. & Mrs. Lee Barthel

Marvin & Betty Danto Family Foundation

Dr. & Mrs. Clyde Wu

Cecilia Benner

Sidney & Madeline Forbes

The Polk Family

Mr. & Mrs. Richard A. Brodie

Mr. & Mrs. Edsel B. Ford

Mr. & Mrs. Raymond M. Cracchiolo

Ruth & Al Glancy

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

Ms. Leslie Devereaux

Mr. & Mrs. Morton E. Harris

Linda Dresner & Ed Levy, Jr.

Chacona W. Johnson

Mrs. Kathryn L. Fife

Mr. & Mrs. Bruce D. Peterson

Giving of $25,000 and more

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† Deceased

Mr. & Mrs. Donald R. Simon Arthur & Trudy Weiss

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

Giving of $5,000 and more Anonymous Mr. & Mrs. Norman Ankers Drs. John & Janice Bernick Robert N. & Claire P. Brown Mr. & Mrs. Gary L. Cowger Mr. & Mrs. Thomas A. Cracchiolo Deborah & Stephen D’Arcy Fund Jerry P. & Maureen T. D’Avanzo Mark Davidoff & Margie Dunn Ms. Barbara L. Davidson Lillian & Walter Dean Beck Demery David Elgin Dodge Mr. & Mrs. Walter E. Douglas Ron Fischer & Kyoko Kashiwagi Mr. & Mrs. Alfred J. Fisher, III Mr. Steven Fishman Mr. David Fleitz Mr. & Mrs. Gerry Fournier Mrs. Harold L. Frank Maxine & Stuart Frankel Foundation Allan D. Gilmour & Eric C. Jirgens Dr. Kenneth & Roslyne Gitlin Dr. Robert T. & Elaine Goldman Goodman Family Charitable Trust Dr. Allen Goodman & Dr. Janet Hankin Robert & Mary Ann Gorlin Mr. & Mrs. James A. Green Ms. Nancy Henk Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. & Mrs. Norman H. Hofley Richard H. & Carola Huttenlocher Mr. & Mrs. A. E. Igleheart Mr. & Mrs. Charles R. Janovsky Mr. & Mrs. Richard J. Jessup Mr. & Mrs. Michael J. Keegan Betsy & Joel Kellman

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

Rachel Kellman† Michael E. Smerza & Nancy Keppelman Mr. Patrick J. Kerzic & Stephanie Germack Kerzic Dr. David & Elizabeth Kessel Mr. & Mrs. William P. Kingsley Mr. & Mrs. Richard P. Kughn Mr. & Mrs. Harold Kulish Dr. Raymond Landes & Dr. Melissa McBrien-Landes The Locniskar Group Mr. & Mrs. Harry A. Lomason Elaine & Mervyn Manning Ms. Florine Mark Patricia A. & Patrick G. McKeever Mrs. Susanne O. McMillan Dr. Robert & Dr. Mary Mobley Drs. Stephen & Barbara Munk David R. & Sylvia Nelson Mr. & Mrs. Albert T. Nelson, Jr. Patricia & Henry Nickol Mr. & Mrs. David E. Nims Mariam C. Noland & James A. Kelly Mr & Mrs. Arthur T. O’Reilly Mr. Joseph Orley Mr. & Mrs. Richard G. Partrich Donald & Jo Anne Petersen Fund Mrs. Helen F. Pippin Dr. Glenda D. Price Mr. & Mrs. Fred Secrest Elaine & Michael Serling Mr. & Mrs. Leonard W. Smith Mr. & Mrs. S. Kinnie Smith, Jr. John J. Solecki Renate & Richard Soulen Ms. Wanda & Ms. Eugenia Staszewski Professor Calvin L. Stevens Stephen & Phyllis Strome Amanda Van Dusen & Curtis Blessing Mr. & Mrs. Edward Wagner

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

Jim & Mary Beth Nicholson Mrs. Jo Elyn Nyman Anne Parsons & Donald Dietz Dr. William F. Pickard Mr. & Mrs. Gary Ran Ms. Ruth Rattner Mr. & Mrs. Lloyd E. Reuss Jack & Aviva Robinson Martie & Bob Sachs Marjorie & Saul Saulson Mark & Lois Shaevsky Mr. Stephan Sharf Richard A. Sonenklar & Gregory Haynes Mr. & Mrs. John Stroh III Ann Marie Uetz Mr. Robert VanWalleghem Mr. & Mrs. R. Jamison Williams Mr. & Mrs. Alan Zekelman Paul M. Zlotoff & Terese Sante Mrs. Paul Zuckerman†

Ms. Patricia Walker Mr. & Mrs. Jonathan T. Walton Janis & William M. Wetsman / The Wetsman Foundation Dr. Amy M. Horton & Dr. Kim Allan Williams Mrs. Beryl Winkelman David & Bernadine Wu Ms. June Wu Dr. & Mrs. Robert E. Wurtz Mr. John E. Young & Ms. Victoria Keys Mrs. Rita J. Zahler Milton & Lois Zussman

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

† Deceased

Dr. Thomas Clark Jack, Evelyn & Richard Cole Family Foundation Dr. & Mrs. Charles G. Colombo Dr. & Mrs. Ivan Louis Cotman Thomas & Melissa Cragg Ms. Mary Rita Cuddohy Mr. & Mrs. Colin Darke Barbara A. David Mr. Kevin Denis & Mr. Jeremy Zeltzer Ms. Barbara Diles Adel & Walter Dissett Mr. & Mrs. Mark Domin Ms. Judith Doyle Eugene & Elaine Driker Paul & Peggy Dufault Mr. & Mrs. Robert Dunn Jeanne Bakale & Roger Dye Edwin & Rosemarie Dyer Dr. Leo & Mrs. Mira Eisenberg Dr. & Mrs. A. Bradley Eisenbrey Ms. Jennifer Engle Mr. & Mrs. John M. Erb Mary Sue & Paul E. Ewing Stephen Ewing Mr. David Faulkner Mr. & Mrs. Oscar Feldman Ms. Carol A. Friend & Mr. Mark T. Kilbourn Mr. & Mrs. Daniel E. Frohardt-Lane Lynn & Bharat Gandhi Mr. & Mrs. Paul Ganson Mr. William Y. Gard Mrs. Gale Girolami Dr. & Mrs. Theodore Golden Mr. Nathaniel Good Dr. & Mrs. Steven Grekin Mr. Jeffrey Groehn Sylvia & Ed Hagenlocker Alice Berberian Haidostian Dr. Algea Hale Mr. Kenneth Hale Mr. & Mrs. Tim & Rebecca Haller dso.org

Robert & Elizabeth Hamel Mary & Preston Happel Randall L. & Nancy Caine Harbour Mr. Scott I. Harrison & Ms. Angela M. Detlor Cheryl A. Harvey Dr. & Mrs. Gerhardt Hein Mr. & Mrs. Demar W. Helzer Dr. Deanna & Mr. David B. Holtzman Jack & Anne Hommes Mr. Matthew Howell & Mrs. Julie Wagner Mr. F. Robert Hozian Jean Wright & Joseph L. Hudson, Jr. Fund Mr. & Mrs. Christopher Ilitch Mr. John S. Johns Mr. George Johnson Lenard & Connie Johnston Mrs. Ellen D. Kahn Martin & Cis Maisel Kellman The Stephanie & Frederic Keywell Family Fund Mrs. Frances King Mr. & Mrs. Thomas N. Klimko Mr. & Mrs. Ludvik F. Koci Ms. Rozanne Kokko Mr. & Mrs. Kosch Dr. Harry & Katherine Kotsis Robert C. & Margaret A. Kotz Mr. & Mrs. James A. Kurz David & Maria Kuziemko Joyce LaBan Ms. Anne T. Larin Dolores & Paul Lavins Dr. Klaudia Plawny-Lebenbom & Mr. Michael Lebenbom Allan S. Leonard Mr. & Mrs. Daniel Lewis Mr. & Mrs. Robert Liggett Mr. & Mrs. Joseph Lile Dr. & Mrs. Charles Lucas Mrs. Sandra MacLeod Mr. & Mrs. Charles W. Manke, Jr. Mr. & Mrs. Patrick Mansfield Dr. Peter McCann & Kathleen L. McKee Mr. & Mrs. Alonzo McDonald Alexander & Evelyn McKeen Dr. & Mrs. Donald A. Meier Dr. & Mrs. David Mendelson Mr. Roland Meulebrouck Mrs. Thomas Meyer Thomas & Judith Mich Bruce & Mary Miller Mr. & Mrs. Leonard G. Miller Mr. Stephen & Dr. Susan Molina Eugene & Sheila Mondry Foundation Mr. Lane J. Moore Mr. & Mrs. Craig R. Morgan Ms. Florence Morris Mr. Frederick Morsches Mr. Bruce Murphy Joy & Allan Nachman Edward & Judith Narens Denise & Mark Neville Mr. & Mrs. Geoffrey W. Newcomb Joanna P. Morse & Arthur A. Nitzsche Mr. & Mrs. Stanley Nycek Mr. & Mrs. Joshua Opperer David & Andrea Page Mrs. Sophie Pearlstein Dr. & Mrs. Claus Petermann dso.org

Mr. Charles Peters Mrs. Bernard E. Pincus Mr. & Mrs. Jack Pokrzywa Ms. Judith Polk Mrs. Anna Mary Postma Mr. & Mrs. William Powers The Priester Foundation Mr. & Mrs. Nicolas I. Quintana Ms. Michele Rambour Mr. & Mrs. Richard Rappleye Drs. Stuart & Hilary Ratner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Carol & Foster Redding Mr. & Mrs. Dave Redfield Ms. Emily J. Reid Mr. Hugh T. Reid Dr. Claude & Mrs. Sandra Reitelman Denise Reske Norman & Dulcie Rosenfeld Mr. & Mrs. Robert B. Rosowski Mr. & Mrs. Hugh C. Ross Mrs. Lois V. Ryan Dr. Mark & Peggy Saffer Dr. Hershel Sandberg Ruth & Carl Schalm Ms. Martha A. Scharchburg & Mr. Bruce Beyer Mr. & Mrs. Alan S. Schwartz Mr. Merton J. & Beverly Segal Mr. & Mrs. Herbert Shanbaum Dr. Les & Mrs. Ellen Siegel Robert & Coco Siewert Mr. & Mrs. William Sirois Drs. Daniel J. & Sophie Skoney William H. & Patricia† M. Smith Dr. Gregory Stephens Mr. Clinton F. Stimpson, Jr. Dr. & Mrs. Charles D. Stocking Dr. & Mrs. Gerald Stollman Mr. & Mrs. Ray Stone Mrs. Kathleen Straus & Mr. Walter Shapero David Szymborski & Marilyn Sicklesteel D. I. Tarpinian Shelley & Joel Tauber Alice & Paul Tomboulian Mr. & Mrs. L. W. Tucker Mr. & Mrs. Charles B. Van Dusen Mr. & Mrs. George C. Vincent Mr. & Mrs. William Waak Dr. & Mrs. Ronald W. Wadle Ann Kirk Warren Gary L. Wasserman & Charles A. Kashner Mr. Patrick Webster Mr. Herman W. Weinreich Mr. & Mrs. Lawrence Weisberg Mr. Donald Wells Mr. & Mrs. John Whitecar Beverly & Barry Williams Rissa & Sheldon Winkelman Dr. & Mrs. Max V. Wisgerhof II Mr. Jonathan Wolman & Mrs. Deborah Lamm Mrs. Judith G. Yaker Dr. Alit Yousif & Mr. Kirk Yousif

Giving of $1,500 and more Anonymous Mr. & Mrs. Ismael Ahmed Mrs. Thomas V. Angott, Sr. Dr. & Mrs. Gary S. Assarian

Mr. John Barbes Mr. Mark Bartnik & Ms. Sandra J. Collins Ms. Margaret Beck Mr. & Mrs. G. Peter Blom Mr. Timothy J. Bogan Ms. Jane Bolender Mr. & Mrs. J. Bora The Honorable Susan D. Borman & Mr. Stuart Michaelson Don & Marilyn Bowerman Carol A. & Stephen A. Bromberg Mr. & Mrs. Bowden V. Brown Ronald & Lynda Charfoos Fred J. Chynchuk Mr. & Mrs. John Courtney Dr. & Mrs. Lawrence Crane Mr. & Mrs. Irving Dworkin Mr. Charles Dyer Mrs. Kathryn Ellis Mr. & Mrs. Howard O. Emorey Mr. & Mrs. Anthony C. Fielek Drs. Conrad & Lynda Giles Adele & Michael M. Glusac Mr. Donald Guertin Mr. & Mrs. Robert Hage Erie-St Clair Clinic Mr. Lee V. Hart & Mr. Charles L. Dunlap Mr. Max B. Horton, Jr. Mr. Frank E. Hull Mrs. Harriett H. Hull Ms. Elizabeth Ingraham Ms. Nadine Jakobowski Mr. & Mrs. Randel Jamerson Irving & Diane Keene Dr. Jean Kegler Ms. Ida King Mr. & Mrs. Harvey Kleiman

Mr. Julius Kusey Mrs. Willard V. Lampe Ms. Sandra S. Lapadot Mrs. Stephanie Latour Max Lepler & Rex L. Dotson Mr. Gregory Liposky Mr. Robert Lorenz Ms. Alice M. MacDermott Ms. Mary Makulski John E. & Marcia Miller Mr. & Mrs. Richard L. Norling Dr. & Mrs. Dongwhan Oh Mr. Randall Pappal Noel & Patricia Peterson Mrs. Diane Piskorowski Hope & Larry Raymond Barbara Gage Rex Mrs. Ann Rohr Mrs. Ann Rosenthal Mr. & Mrs. Gerald F. Ross Mr. & Mrs. George Roumell Mr. R. Desmond Rowan Mr. & Mrs. R. Hamilton Schirmer Mr. & Mrs. James H. Sherman Mr. Barry Siegel & Mrs. Debra BernsteinSiegel Mr. & Mrs. Andreas H. Steglich Dr. & Mrs. Howard Terebelo Mr. & Mrs. John P. Tierney Barbara & Stuart Trager Ms. Janet Weir Mr. Marshall Widick Rudolf E. Wilhelm Fund Beverly & Hadley Wine Ms. Gail Zabowski Mark & Allison Zeglis Frank & Ruth Zinn

Corporate Spotlight General Motors Foundation

Since its inception in 1976, the General Motors Foundation has donated hundreds of millions of dollars to vital nonprofits focusing mainly in the areas of education, health and human services, environment and energy and community development.

For years, the GM Foundation has also worked to raise the national profile of Detroit’s vibrant cultural institutions through grants and awareness programs that touch tourists, students and Detroit residents alike.

This year, the GM Foundation will continue its decades-long support of the DSO by helping to make possible the DSO’s participation in the “Spring for Music” festival in New York City.

“We are thrilled to help make possible the Detroit Symphony Orchestra’s first performance at Carnegie Hall in nearly 20 years,” said GM Foundation President Vivian Pickard. “This opportunity will showcase the DSO as a cultural touchstone and key component of Detroit’s identity for audiences around the world.”

During “Spring for Music,” the DSO will perform two extraordinary concerts. One will feature all four Charles Ives Symphonies – a first for New York audiences. The other will showcase Rachmaninoff ’s Isle of the Dead and Ravel’s La Valse, with special guest Storm Large joining to perform Kurt Weill’s Seven Deadly Sins.

In addition to masterful performances, the orchestra will bring meaningful outreach programs to schools, hospitals and youth centers taking the spirit of Detroit on the road to help and heal others.

“The GM Foundation is pleased to help the DSO make history from Motown to Manhattan,” said Pickard. “This will undoubtedly be a oncein-a-lifetime experience.”

For more information on the GM Foundation, please visit gm.com/gmfoundation.

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Corporate Supporters of the DSO $500,000 and more

PVS Chemicals, Inc.

Jim Nicholson

CEO, PVS Chemicals

$200,000 and more

Gerard M. Anderson

Fred Shell

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

Alan Mullaly

President & CEO, Ford Motor Company

James Vella

President, Ford Motor Company Fund

Daniel F. Akerson Chairman and CEO General Motors Corporation

Vivian Pickard President General Motors Foundation

Tetsuo Iwamura

President and CEO, American Honda Motor Co.

$100,000 and more

The Chrysler Foundation

Brands of Chrysler Group LLC

Timothy Wadhams President and CEO, MASCO Corporation

Melonie Colaianne

Gregg Steinhafel

President, Masco Corporation Foundation

Chairman, President and CEO, Target Corporation

$20,000 and more Adobe Systems Incorporated Amerisure Insurance Greektown Casino-Hotel Macy’s Comcast Cable Midwest Honigman Miller Schwartz Cohn KPMG LLP $5,000 and more

BASF Corporation Contractors Steel Company Conway MacKenzie Deloitte Denso International America, Inc. Dykema

34

MGM Grand Detroit Casino R.L. Polk and Co. Scott Shuptrine Interiors $10,000 and more REDICO St. John Providence Health System Telemus Capital Partners, LLC

Flagstar Bank Lake Trust Credit Union Meritor St. Joseph Mercy Health System Steinway Piano Gallery of Detroit UBS

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Somerset Collection Talmer Bank and Trust UHY LLP

Warner Norcross and Judd LLP

$1,000 and more Avis Ford, Inc. Burton-Share Management Company Dickinson Wright PLLC DuMouchelles Art Galleries Co. Fifth Third Bank Hare Express, Inc. Health Alliance Plan Lakeside Ophthalmology Center

Meadowbrook Insurance Group Michigan First Credit Union Midwest Health Center, P.C. Save Our Symphony Severstal North America Taylor Ballet Americana The ITB Group, Ltd. Welker Bearing Company, Inc.

dso.org

Legacy Donors Members of THE Musical LEGACY Society

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

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

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

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

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

Build a Legacy.

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

Visit dso.org/legacy or call 313.576.5460 for more information. dso.org

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Blockbuster Fund

Gifts Received between September 1, 2011 and February 1, 2013 Gifts to the Detroit Symphony Orchestra Blockbuster Fund support those exceptional projects, partnerships and performances that boldly advance the DSO’s mission “to be a leader in the world of classical music, embracing and inspiring individuals, families and communities through unsurpassed musical experiences.” Blockbuster gifts fund defining initiatives that are outside the annual budget such as touring, “Live from Orchestra Hall” webcasts, certain community engagement and education partnerships, and capital and technology infrastructure.

Mr. & Mrs. Robert A. Allesee Mr. & Mrs. Abraham Amit Dr. Lourdes Andaya Mr. & Mrs. Lee Barthel Ms. Cecilia Benner Ms. Tanya A. Bennett Bloomfield Hills Country Club Mr. & Mrs. Harold Blumenstein Mr. & Mrs. John A. Boll, Sr. Mr. Gregory Bonus Mr. & Mrs. Charles Burke Mr. Stephen Case Mr. & Mrs. Francois Castaing Mr. & Mrs. Thomas C. Cook Mr. & Mrs. William S. Cox Mr. & Mrs. Raymond M. Cracchiolo Mr. & Mrs. Peter D. Cummings Mr. Mark A. Davidoff & Ms. Marjorie E. Dunn Detroit 300 Conservancy Ms. Ingrid Eidnes Mr. & Mrs. Jack Elder Mrs. Marianne Endicott Mr. Christopher Felcyn Mr. & Mrs. Daniel Feld Mr. & Mrs. Christian Fenton Mr. & Mrs. Alfred J. Fisher III

Mr. & Mrs. Phillip Wm. Fisher Mrs. Ruth Frank Mr. & Mrs. Stanley Frankel Ms. Joann Freeman Mr. Kareem George Mr. & Mrs. Alfred R. Glancy III Ms. Laurie Goldman Ms. Cozette Grabb Mr. & Mrs. W. Grabb Mr. & Mrs. Morton E. Harris Dr. Joseph Healey Ms. Amy Higgins Mr. & Mrs. Ronald M. Horwitz Mr. & Mrs. Keneth Hottmann Mr. Michael Jalving John S. & James L. Knight Foundation Mrs. Chacona Johnson Mr. & Mrs. Norman D. Katz Dr. & Mrs. William H. Krieg Mr. & Mrs. Richard P. Kughn Ms. Emily Lamoreaux Drs. Raymond V. Landes & Melissa McBrien Mrs. Bonnie Larson League of American Orchestras Mr. & Dr. Michael Lebenbom Lee Hecht Harrison

Tribute Gifts

Gifts received between January 1, 2013 and February 1, 2013

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

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

In Memory of Mr. Steven Burke Mr. Joel Brown In Memory of Mr. Samuel Cohen Mr. Ira Milgrom In Memory of Mr. Frederick A. Erb Mr. & Mrs. Stanley Frankel In Memory of Ms. Dana HarlanSummers Ms. Angi Elder Mr. James Jewell Mr. & Mrs. Charles Lamb Ms. Leslie Littrell

In Memory of Ms. Sharon Meulebrouck Mr. Roland Meulebrouck In Honor of Mrs. Margaret Spear Mr. & Mrs. Robert J. Wilbert In Honor of Ms. Patty Spitzley Mr. Daniel Minadeo In Honor of Mr. Sean Van Hentenryck Mr. & Mrs. Keith Van Hentenryck

In Honor of Sonia Lee Dr. & Mrs. Steven M. Korotkin In Memory of Mrs. Eleanor Masheff Dr. & Mrs. Bertrand Jacobs

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

Mr. Harry Lee & Mrs. Sophie Wu Lee Dr. & Mrs. Kim K. Lie Mr. & Mrs. Malcolm S. MacDonald Ms. Sue Marx Max M. & Marjorie S. Fisher Foundation Mr. Todd Smith Mr. & Mrs. Patrick McKeever Mr. Ronald Michalak & Mrs. Barbara Frankel Michigan Nonprofit Association Mr. & Mrs. Donald A. Mott Mr. & Mrs. Stuart Nelson Mr. & Mrs. James M. Nicholson Mr. & Mrs. James B. Nicholson Olympia Entertainment Paraclassics Ms. Anne Parsons & Mr. Donald Dietz Mr. & Mrs. James Peabody Mrs. Marilyn Pincus Dr. Glenda D. Price Ms. Ruth Rattner Mr. & Mrs. Bernard I. Robertson Mr. & Mrs. Jack A. Robinson Mr. & Mrs. Saul Saulson Ms. Nancy Schlaff Mr. & Mrs. Alan E. Schwartz

Dr. Tor Shwayder & Ms. Aimee Ergas Mr. & Mrs. Larry Sherman Ching Shung-Tu Cindy & Leonard Slatkin Mrs. June Songe Mr. Michael Spiegel Mr. & Mrs. Mark Stockhausen Mr. Hang Su Mr. & Mrs. Daniel Teisan William M. Davidson Foundation Mr. & Mrs. Peter Thurber Ms. Doris Tong Mrs. Pat Tseng Dr. Kang-Lee Tu Ms. Liang-Ruey Tu Mr. Yuan-Po Tu Mrs. Richard C. Van Dusen Mr. & Mrs. David G. Von Oeyen Mr. & Mrs. Craig von Seeger Mr. & Mrs. Arthur A. Weiss Mr. & Mrs. R. Jamison Williams Mr. Paul & Karen Wingert Ms. Julie Wright Mr. Hai-Xin Wu & Mrs. Zhihua Tang Mr. & Mrs. Roger Wu

Venture Fund

Gifts received between September 1, 2011 and February 1, 2013

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

Venturists, $1,000+ Mr. & Mrs. Norman C. Ankers Mr. & Mrs. Sherman C. Barton Estate of George W. Harrison Mr. & Mrs. Phillip Wm. Fisher Mr. & Mrs. Herman H. Frankel Mrs. Carol Edwards Haas Ms. Margaret Hall Ms. Phyllis Korn Mr. Philip Leon Mr. & Mrs. David N. McCammon Ms. Elizabeth Murr Ms. Ruth Wilkins The Chrysler Foundation

Donors Adult Learning Institute Mr. Frank L. Arnold Ms. Elizabeth Beceden Ms. Marsha Billes Mr. William Black Mr. Timothy Campbell Mr. Christopher Cocozzoli Mr. William Colburn Ms. Libby Craig & Mr. Felix Karim Ms. Melissa Eisenstat Mr. David P. Elledge Mr. Paul Feiten Drs. Conrad & Lynda Giles Mr. Tom Godell

Mr. James Gogola Mr. Matthew Gravel Mr. Stephen Harmes Ms. Christy Hoagland Mr. Tracy Hoffman Mr. Daniel Horwitz Mr. Aaron Kabobel Mr. Aaron Kahokuolani Mr. David Lawrence Mr. Dwight Love Mr. and Mrs. Al Lowery Mr. Benjamin Malonis Mr. Joseph A. Mook Mr. Phillip O’ Jibway Mr. John Paquet Ms. Anne Parsons & Mr. Donald Dietz Mr. Roar Schaad Mr. Alan Semonian Mr. Monty Sepetys Dr. Gregory Stephens Mr. R. M. Sulfridge Mr. Scott Szoke Mrs. Elizabeth Tamagne The Lisa and Brian Meer Foundation Mr. Donald L. Thomas Jr Ms. and Mr. Judith A. Tugman Mr. Jeffrey Wilkinson Mr. Everett Yarbrough Mr. Derek S. Zachariah

dso.org

Support from Foundations and Organizations

The Detroit Symphony Orchestra acknowledges and honors the following foundations and organizations for their contributions to support the Orchestra’s performances, education programming, and other annual operations of the organization. This honor roll reflects both fulfillments of previous commitments and new gifts during the period beginning September 1, 2011 through February 1, 2013. We regret the omission of gifts received after this print deadline.

$500,000 and more

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

$300,000 and more Andrew W. Mellon Foundation Community Foundation for Southeast Michigan McGregor Fund

$100,000 and more Fred A. & Barbara M. Erb Family Foundation Ford Foundation Hudson-Webber Foundation John S. and James L. Knight Foundation Michigan Nonprofit Association National Endowment for the Arts Detroit Symphony Orchestra Volunteer Council $50,000 and more DeRoy Testamentary Foundation Matilda R. Wilson Fund $10,000 and more Oliver Dewey Marcks Foundation Alice Kales Hartwick Foundation Philip & Elizabeth Filmer Memorial Ann & Gordon Getty Foundation Charitable Trust Eleanor & Edsel Ford Fund Sage Foundation Henry Ford II Fund Sally Mead Hands Foundation Max and Victoria Dreyfus Foundation State of Michigan (MCACA) Moroun Family Foundation Myron P. Leven Foundation $5,000 and more Benson & Edith Ford Fund Lyon Family Foundation Herbert & Elsa Ponting Foundation Young Woman’s Home Association Mary Thompson Foundation $2,500 and more Clarence & Jack Himmel Fund Gatewood Foundation, Inc. James & Lynelle Holden Fund

Loraine & Melinese Reuter Foundation Sigmund & Sophie Rohlik Foundation $1,000 and more

Berry Foundation Charles M. Bauervic Foundation Drusilla Farwell Foundation Frank & Gertrude Dunlap Foundation Japan Business Society of Detroit Foundation dso.org

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

Foundation Spotlight McGregor Fund

T

he McGregor Fund was founded with a $5,000 gift by Tracy W. McGregor in 1925. He had come to Detroit in 1881 to assume leadership of a homeless shelter for men started by his father, after his father’s untimely death. In the course of raising funds to support the operation of the shelter, Tracy McGregor became acquainted with David Whitney, Jr., a wealthy resident of Detroit, and Mr. Whitney’s daughter, Katherine. Tracy McGregor and Katherine Whitney shared an interest in helping people who were in need and they eventually married. Following the creation of the McGregor Fund in 1925, Mrs. McGregor added periodic gifts to the endowment, eventually totaling about $10 million including gifts from her estate. Since then, those assets have grown and provided earnings to allow the Fund to pay out more than $215 million in grants.

Mr. and Mrs. McGregor established the McGregor Fund with the mission “to relieve the misfortunes and promote the well-being of humankind.” The trustees of the McGregor Fund have continued that mission. The Fund provides grants in human services, education, health care, public benefit and arts and culture.

C. David Campbell, president of the McGregor Fund, is an advocate of unrestricted funding to support institutions that provide services in these areas.

Campbell believes that arts and culture providers, such as the DSO, inspire creativity and lifelong learning, build strong communities, and provide tremendous benefits to a region: “The arts add beauty to our lives and make our community a better place to live. Experiences in the arts help children become well-rounded and prepared to use more of their senses, intelligence and talent. The DSO is a world-class symphony orchestra. It is a source of pride for all of us and makes our entire region a better place to live.”

The McGregor Fund’s most recent gift of $300,000, made in December 2012, will help support all aspects of operations at the DSO. “Organizations like the McGregor Fund, that are dedicated to keeping the cultural fabric of metro Detroit intact and vibrant, play a vital role in the daily life of cultural institutions like the DSO,” said Anne Parsons, President and CEO of the DSO. “For their long history of support, as well as this generous vote of confidence in current programs, we are deeply appreciative.”

Perform ance / Vol . X XI / spring 201 3

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Upcoming events sunday

MONDAY

April

DSO Neighborhood Series 7 Mozart’s “Jupiter” at Seligman Performing Arts Center Andrew Grams, conductor Karen Gomyo, violin 3 p.m.

Other Presenters WSU Mondays at The Max 7:30 p.m.

DSO Neighborhood Series 14 Handel’s Water Music at Grosse Pointe Memorial Church Christopher Warren-Green, conductor Kenneth Thompkins, trombone 3 p.m.

TUESDAY

WEDNESDAY

THURSDAY

FRIDAY

8

9

10

DSO Neighborhood Series 11 Handel’s Water Music at Berman Center, West Bloomfield Township Christopher Warren-Green, conductor Kenneth Thompkins, trombone 7:30 p.m.

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For tickets visit dso.org or call 313.576.5111

DSO Pops Series Red, Hot & Blues!

Jeff Tyzik, conductor 10:45 a.m. OH

SATURDAY

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DSO Neighborhood Series 13 Handel’s Water Music at Kirk in the Hills, Bloomfield Hills; Christopher Warren-Green, conductor Kenneth Thompkins, trombone 8 p.m.

19

Tiny Tots Concert The Chenille Sisters 20 10 a.m. MB Young People’s Concert It’s A Small World 11 a.m. OH DSO Pops Series Red, Hot & Blues!

Jeff Tyzik, conductor 8 p.m. OH

Tyzik DSO Pops Series Red, Hot & Blues!

Jeff Tyzik, conductor 3 p.m.

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Other Presenters WSU Mondays at The Max 7:30 p.m.

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DSO Classical Series 26 Lynn Harrell Plays Dvorˇák Leonard Slatkin, conductor 10:45 a.m. OH

Other Presenters The Urban Soul Experience 8 p.m. OH

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Civic & Education Civic Jazz Live! 6:45 p.m.

Paradise Jazz Series Roy Haynes 8 p.m.

Harrell DSO Classical Series 28 Lynn Harrell Plays Dvorˇák Leonard Slatkin, conductor 3 p.m. OH

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1 May

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DSO Presents 7 Ives in Detroit Leonard Slatkin, conductor Storm Large, soprano Richard Zeller, baritone Anton Belov, baritone Carl Moe, tenor Jorge Garza, tenor 7 p.m. OH

DSO Classical Series 4 The Planets John Storgårds, conductor Rafal Blechacz, piano Women of the MSU Chorale and State Singers 8 p.m. OH

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Slatkin

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DSO Classical Series 3 The Planets John Storgårds, conductor Rafal Blechacz, piano Women of the MSU Chorale and State Singers 8 p.m. OH

Other Presenters Promusica: Dimitris Kotronakis Storgårds 8:30 p.m. MB

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Civic & Education Civic Family Experience 1 p.m. OH

2

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DSO at Carnegie Hall 9 Leonard Slatkin, conductor Storm Large, soprano Richard Zeller, baritone Anton Belov, baritone Carl Moe, tenor Jorge Garza, tenor 7:30 p.m., New York City

DSO at Carnegie Hall 10 Leonard Slatkin, conductor UMS Choral Union, chorus 7:30 p.m., New York City

11

DSO Neighborhood Series Mozart’s “Haffner” Symphony at Berman Center for Performing Arts, West Bloomfield Twp. 7:30 p.m.

DSO Neighborhood Series 17 Mozart’s “Haffner” Symphony, in Dearborn 10:45 a.m.

DSO Neighborhood Series 18 Mozart’s “Haffner” Symphony, Bloomfield Hills 8 p.m.

DSO Pops Series Music of Lennon & McCartney Michael Krajewski, conductor 10:45 a.m. OH

DSO Pops Series Music of Lennon & McCartney Michael Krajewski, conductor 8 p.m. OH

DSO Classical Series 24 Welcome Yoonshin Song Leonard Slatkin, conductor Yoonshin Song, violin Karl Pituch, horn 10:45 a.m. OH

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Large Hall The Road to Carnegie

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DSO Neighborhood Series Mozart’s “Haffner” 19 Symphony, Grosse Pointe 3 p.m.

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DSO Pops Series Music of Lennon & McCartney 3 p.m. OH

DSO Classical Series 23 Welcome Yoonshin Song Leonard Slatkin, conductor Yoonshin Song, violin Karl Pituch, horn 7:30 p.m. OH

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Civic & Education Honda Power of Dreams 7 p.m. OH DSO Classical Series 26 Welcome Yoonshin Song Leonard Slatkin, conductor Yoonshin Song, violin Karl Pituch, horn 3 p.m. OH Seligman

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Song

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

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DSO Classical Series 31 Season Finale André Watts Leonard Slatkin, conductor André Watts, piano 10:45 a.m. OH Civic & Education Civic Jazz Live! 6:45 p.m.

Paradise Jazz Series Dave Holland / Kenny Barron 8 p.m. OH ppa elibom oG ot OSD eht no ro evil/gro.osd ta enilno hctaW

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DSO Classical Series 1 Season Finale André Watts Leonard Slatkin, conductor André Watts, piano 8 p.m. OH

June

12

Civic & Education Education Partner Experience Concert 7 p.m. OH

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2 OH Orchestra Hall MB Music Box AH Allesee Hall ppa elibom oG ot OSD eht no ro evil/gro.osd ta enilno hctaW

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Webcast

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For rental information please call 313.576.5050 or visit dso.org/rent

5

DSO 6 Neighborhood Series Scheherazade at Congregation Shaarey Zedek, Southfield 7:30 p.m.

DSO Pops Series 7 The Music and the Movie: West Side Story 10:45 a.m. OH

DSO Pops Series 8 The Music and the Movie: West Side Story 8 p.m. OH

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“Best Pre and Post Theater Dinner Venue” Pre Menu and Post Prix Fixe“Best Theater $35Theater Dinner Venue” Available Pre/Post Theatre$35 Prix Fixeonly Theater Menu Available only Pre/Post Theatre First Course

Signature Shrimp Bisque Chef ’s Soup du Jour First Course Caesar Salad Organic Baby Greens

Signature Shrimp Bisque Chef ’s Soup du Jour Caesar Salad Organic Baby Greens

Entree Course Baked OrganicEntree Orange Glazed Chicken Course White Baked Garlic Organic Polenta,Orange GlazedGlazed Carrots, Organic Chicken Orange Marmalade White Garlic Polenta, Glazed Carrots, Organic Fresh FishOrange EntréeMarmalade • changes nightly Pan-Roasted Fresh Tenderloin Tips over Exotic Mushroom & Fish Entrée • changes nightly Asparagus Risotto Pan-Roasted Tenderloin Tips over Exotic Mushroom & Asparagus Risotto Ricotta & Spinach-stuffed Shells in Creamy Tomato Broth

Ricotta & Spinach-stuffed Shells in Creamy Tomato Broth

Final Course Final Course May be enjoyed post-event.

May be enjoyed Housemade Ice Cream or Gelatopost-event.

Chocolate Mousse Housemade Ice Cream or Gelato

Chocolate Mousse

Add Beverage Flight $15/person Add Beverage Flight $15/person Champagne Toast, Sommelier-selected Wine & Coffee, Champagne Toast, Sommelier-selected Wine & Coffee, Cappuccino or Espresso Cappuccino or Espresso

Detroit’s most romanticrestaurant restaurantnow now serving serving dinner Detroit’s most romantic dinner seven sevennights nightsa aweek week TheWhitney.com

TheWhitney.com

313-832-5700

313-832-5700

4421 Woodward Ave, Detroit

4421 Woodward Ave, Detroit