Detroit Symphony Orchestra Program Book, Performance magazine

The Whitney Restaurant | Ghostbar | Gardens

Welcome Back

�e Whitney is so proud to continue our long-lasting relationship with DSO concert-goers. Celebrating the art & beauty of Detroit is a core value for �e Whitney and we are so pleased to be a part of your memorable experience. �e Whitney Early Evening Menu is back!

Enjoy a 2 course meal at �e Whitney Wednesday, �ursday and Friday from 5-7 pm, and on Sunday from 4-7 pm!

�e Whitney: Detroit’s first choice for pre-concert dining. *Not available on Saturdays. Can not be combined with any other discounts or promotions*

4421 Woodward Avenue, Detroit | 313-832-5700 | thewhitney.com27

4421 Woodward Avenue, Detroit | 313 832 5700 | thewhitney.com

PERFORMANCE

WINTER • 2022–2023 SEASON

10 Classical Roots: Beyond the Music

4 Welcome 5 Orchestra Roster

Hear from Anthony Davis and Davóne Tines

6 Behind the Baton 8 Board Leadership

16 Community & Learning

14 Transformational Support 40 Donor Roster 49 Upcoming Concerts

17-39 Program Notes

50 Maximize Your Experience 52 DSO Administrative Staff

Davóne Tines by Noah Morrison

Discover rich insights about each concert

Read Performance anytime, anywhere at dso.org/performance The Detroit Symphony Orchestra impacts lives through the power of unforgettable musical experiences by sustaining a world class orchestra for our city and the global community.

ON THE COVER: 2023 Classical Roots artists Anthony Davis (by Erik Jepsen), Davóne Tines (by Bowie Verschuuren), and Anthony McGill (by Eric Rudd).

dso.org

#IAMDSO

DSO PERFORMANCE MAGAZINE 3

WELCOME Dear Friends, Welcome to Orchestra Hall! Whether it’s your first concert or your fiftieth, thank you for joining us to experience the joy of music with your Detroit Symphony Orchestra.

As we begin a new year, we also reflect on the successes of 2022. At our Annual Meeting in December, we were thrilled to announce a tenth consecutive balanced budget and renewed support for our DSO Impact Campaign, ensuring our organization remains a cultural beacon in Detroit for generations. We also celebrated the passionate leadership of Music Director Jader Bignamini. Under Jader, our orchestra shines, creating indelible musical moments that invigorate our creative spirit. This Spring, Jader will conduct programs with pianists Alexander Gavrylyuk (February 23-25) and George Li (March 24-26), and violinist Anne Akiko Meyers (March 30-April 1), plus the world premiere of Carlos Simon’s Trombone Concerto with DSO Principal Trombone Ken Thompkins in May. The DSO continues to push boundaries with innovative programming. From a concert by the DSO Cello Section fusing classical repertoire with pop hits in The Cube on February 9—to The Princess Bride in Concert on Valentine’s Day and the Classical Roots Celebration in March (read our cover story in this issue)—the DSO spans genres and interests, uniting us all around a shared community in a love of music.

The William Davidson Neighborhood Concert Series returns for a twelfth year, bringing DSO performances and chamber recitals to seven Metro Detroit communities from January to June. Highlights include Reinecke’s Flute Concerto with DSO Principal Flute Hannah Hammel Maser and appearances by saxophonist Timothy McAllister, violinist Tai Murray, and conductor/violinist/countertenor Dmitry Sinkovsky. Jader will make his Neighborhood debut this May, conducting music by Paganini and Tchaikovsky in Southfield, Monroe, and Beverly Hills.

We also acknowledge renewed organizational leadership with the announcement of David T. Provost as the DSO’s new Chair of the Board of Directors. In addition to David’s election at our Annual Meeting, we paid tribute to outgoing Chair Mark Davidoff. Across Mark’s seven years of exemplary leadership, he’s left an undeniable impression on our organization, and we are forever grateful for his immeasurable contributions to making the DSO the thriving organization we know today. Mark has set a remarkable precedent that we will strive to uphold. We’re delighted to work together to make our orchestra the best it can be by securing continued financial stability through the DSO Impact Campaign, advocating for our robust education programs, and celebrating the jewel that we have in Orchestra Hall and The Max. We look forward to welcoming you for a great year of spectacular performances!

Erik Rönmark President and CEO

4

DSO PERFORMANCE MAGAZINE

David T. Provost Chair, Board of Directors

WINTER 2022–2023

DETROIT SYMPHONY ORCHESTRA

AA COMMUNITY-SUPPORTE D ORCHESTRA COMMUNITY-SUPPORTED ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR JADER BIGNAMINI MUSIC DIRECTOR

DETROIT DETROIT SYMPHONY SYMPHONY ORCHESTRA ORCHESTRA AA COMMUNITY-SUPPORTE D ORCHESTRA COMMUNITY-SUPPORTED ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR JADER BIGNAMINI MUSIC DIRECTOR

JADER BIGNAMINI, Music Director Music Directorship endowed by the Kresge Foundation

NA’ZIR MCFADDEN

JEFF TYZIK

TERENCE BLANCHARD

LEONARD SLATKIN

NEEME JÄRVI

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

Principal Pops Conductor

Fred A. Erb Jazz Creative Director Chair

Music Director Laureate

Music Director Emeritus

FIRST VIOLIN Robyn Bollinger CONCERTMASTER Katherine Tuck Chair

Kimberly Kaloyanides Kennedy

ASSOCIATE CONCERTMASTER Schwartz and Shapero Family Chair

Hai-Xin Wu

ASSISTANT CONCERTMASTER Walker L. Cisler/Detroit Edison Foundation Chair

Jennifer Wey Fang ASSISTANT CONCERTMASTER

Marguerite Deslippe* Laurie Goldman* Rachel Harding Klaus* Eun Park Lee* Adrienne Rönmark* Alexandros Sakarellos* Drs. Doris Tong and Teck Soo Chair

Laura Soto* Greg Staples* Jiamin Wang* Mingzhao Zhou*

SECOND VIOLIN Adam Stepniewski ACTING PRINCIPAL The Devereaux Family Chair

Will Haapaniemi* David and Valerie McCammon Chairs

Hae Jeong Heidi Han*

David and Valerie McCammon Chairs

Elizabeth Furuta* Sheryl Hwangbo Yu* Daniel Kim* Sujin Lim* Hong-Yi Mo* Marian Tanau* Alexander Volkov* Jing Zhang*

VIOLA Eric Nowlin PRINCIPAL Julie and Ed Levy, Jr. Chair

James VanValkenburg

CELLO Wei Yu PRINCIPAL

Abraham Feder

ASSISTANT PRINCIPAL Dorothy and Herbert Graebner Chair

Henry and Patricia Nickol Chair

Glenn Mellow Hang Su Shanda Lowery-Sachs Hart Hollman Han Zheng Mike Chen

Jack Walters

James Ritchie

PVS Chemicals Inc./ Jim and Ann Nicholson Chair

Shannon Orme

David LeDoux* Peter McCaffrey*

E-FLAT CLARINET OPEN

Una O’Riordan*

BASS CLARINET Shannon Orme

Victor and Gale Girolami Cello Chair

Joanne Deanto and Arnold Weingarden Chair Mary Ann & Robert Gorlin Chair

Cole Randolph*

BASS Kevin Brown PRINCIPAL Van Dusen Family Chair

Stephen Molina ASSISTANT PRINCIPAL

Christopher Hamlen Brandon Mason Nicholas Myers^

HARP OPEN

PRINCIPAL Winifred E. Polk Chair

FLUTE Hannah Hammel Maser PRINCIPAL Alan J. and Sue Kaufman and Family Chair

Amanda Blaikie Morton and Brigitte Harris Chair

Sharon Sparrow ASSISTANT PRINCIPAL Bernard and Eleanor Robertson Chair

Jeffery Zook Shantanique Moore§

PICCOLO Jeffery Zook

Shari and Craig Morgan Chair

OBOE Alexander Kinmonth

PRINCIPAL Jack A. and Aviva Robinson Chair

Sarah Lewis

Barbara Frankel and Ronald Michalak Chair

PRINCIPAL Byron and Dorothy Gerson Chair

Michael Ke Ma ASSISTANT PRINCIPAL

Marcus Schoon Jaquain Sloan §

PERCUSSION Joseph Becker

PRINCIPAL Ruth Roby and Alfred R. Glancy III Chair ASSISTANT PRINCIPAL William Cody Knicely Chair

James Ritchie

PRINCIPAL

Ethan Allen

LEGACY CHAIRS Principal Flute

Women’s Association for the DSO

Principal Cello

James C. Gordon

CONTRABASSOON Marcus Schoon HORN Karl Pituch

Personnel Managers Patrick Peterson

DIRECTOR OF ORCHESTRA PERSONNEL

Benjamin Tisherman

PRINCIPAL

Johanna Yarbrough Scott Strong

Ric and Carola Huttenlocher Chair

MANAGER OF ORCHESTRA PERSONNEL

Nolan Cardenas

AUDITION AND OPERATIONS COORDINATOR

David Everson ASSISTANT PRINCIPAL

Mark Abbott

Stage Personnel Dennis Rottell

TRUMPET

William Dailing

STAGE MANAGER

Hunter Eberly PRINCIPAL Lee and Floy Barthel Chair

Stephen Anderson

DEPARTMENT HEAD

Ryan DeMarco

DEPARTMENT HEAD

Kurt Henry DEPARTMENT HEAD

William Lucas

Steven Kemp

TROMBONE Kenneth Thompkins

Matthew Pons

DEPARTMENT HEAD DEPARTMENT HEAD

PRINCIPAL

David Binder Adam Rainey

BASS TROMBONE Adam Rainey

ENGLISH HORN Monica Fosnaugh

TUBA Dennis Nulty

#IAMDSO

ASSISTANT PRINCIPAL

LIBRARIANS Robert Stiles

BASSOON Conrad Cornelison

Monica Fosnaugh

ASSISTANT PRINCIPAL

PRINCIPAL Richard and Mona Alonzo Chair

Andrés Pichardo-Rosenthal

ASSISTANT PRINCIPAL

Shari and Craig Morgan Chair

dso.org

TIMPANI Jeremy Epp

PRINCIPAL Robert B. Semple Chair

Robert Bergman* Jeremy Crosmer*

ASSISTANT PRINCIPAL

Caroline Coade

CLARINET Ralph Skiano

LEGEND * These members may voluntarily revolve seating within the section on a regular basis ^ Extended Leave § A frican American Orchestra Fellow

PRINCIPAL

DSO PERFORMANCE MAGAZINE 5

B E H I N D T H E B AT O N

Jader Bignamini MUSIC DIRECTORSHIP ENDOWED

BY THE KRESGE FOUNDATION

J

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

A native of Crema, Italy, Jader studied at the Piacenza Music Conservatory and began his career as a musician (clarinet) with Orchestra Sinfonica La Verdi in Milan, later serving as the group’s resident conductor. Captivated by the symphonies of greats like Mahler and Tchaikovsky, Jader explored their complexity and power, puzzling out the role that each instrument played in creating a larger-than-life sound.

When he conducted his first professional concert at the age of 28, it didn’t feel like a departure, but an arrival.

In the years since, Jader has conducted

6

DSO PERFORMANCE MAGAZINE

some of the world’s most acclaimed orchestras and opera companies in venues across the globe including working with Riccardo Chailly on concerts of Mahler’s Eighth Symphony in 2013 and his concert debut at La Scala in 2015 for the opening season of La Verdi Orchestra.

Recent highlights include debuts with The Cleveland Orchestra, New Jersey Symphony Orchestra, Dallas Symphony Orchestra, and Minnesota Orchestra; the Osaka Philharmonic and Yomiuri Nippon Symphony Orchestra in Tokyo; Madama Butterfly with the Metropolitan Opera, Vienna State Opera, and Dutch National Opera; Gianni Schicchi with Canadian Opera Company; Rigoletto with Oper Frankfurt; La Traviata with Bayerische Staatsoper; I Puritani in Montpellier for the Festival of Radio France; Traviata in Tokyo directed by Sofia Coppola; Andrea Chénier at New National Theatre in Tokyo; Rossini’s Stabat Mater at Rossini Opera Festival in Pesaro, Italy; Rossini’s Petite messe solennelle at Teatro dell’Opera in Rome; return engagements with Oper Frankfurt (La forza del destino) and Santa Fe Opera (La Bohème); Manon Lescaut at the Bolshoi; Traviata, Madama Butterfly, and Turandot at Arena of Verona; Il Trovatore and Aida at Rome’s Teatro dell’Opera; Madama Butterfly, I Puritani, and Manon Lescaut at Teatro Massimo in Palermo; Simon Boccanegra and La Forza del Destino at the Verdi Festival in Parma; and La Bohème, Madama Butterfly, and Elisir d’amore at La Fenice in Venice.

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

WINTER 2022–2023

Jeff Tyzik

Terence Blanchard

PRINCIPAL POPS CONDUCTOR

FRED A. ERB JAZZ CREATIVE DIRECTOR CHAIR

Grammy Award winner Jeff Tyzik is one of America’s most innovative and sought-after pops conductors. Tyzik is recognized for his brilliant arrangements, original programming, and engaging rapport with audiences of all ages. In addition to his role as Principal Pops Conductor of the DSO, Tyzik holds The Dot and Paul Mason Principal Pops Conductor’s Podium at the Dallas Symphony Orchestra and serves as principal pops conductor of the Oregon Symphony, Florida Orchestra, and Rochester Philharmonic—a post he has held for over 20 seasons.

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

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

Visit jefftyzik.com for more.

Trumpeter, bandleader, composer, and educator Terence Blanchard has served as the DSO’s Fred A. Erb Jazz Creative Director Chair since 2012.

Blanchard has performed and recorded with many of jazz’s superstars and currently leads the celebrated E-Collective. He is also wellknown for his decades-long collaboration with filmmaker Spike Lee, scoring more than 15 of Lee’s movies since the early 1990s. 2018’s BlacKkKlansman earned Blanchard his first Academy Award nomination, with a second Academy Award nomination in 2021 for Da 5 Bloods. In and out of the film world, Blanchard has received 14 Grammy nominations and six wins, as well as nominations for Emmy, Golden Globe, Sierra, and Soul Train Music awards.

Blanchard’s second opera Fire Shut Up in My Bones, based on the memoir of New York Times columnist Charles Blow, opened The Metropolitan Opera’s 20212022 season, making it the first opera by an African American composer to premiere at the Met. With a libretto by Kasi Lemmons, the opera was commissioned

by Opera Theatre of Saint Louis where it premiered in 2019. The New York Times called it “inspiring,” “subtly powerful,” and “a bold affecting adaptation of Charles Blow’s work.” Blanchard’s first opera, Champion, also premiered to critical acclaim in 2013 in St. Louis and starred Denyce Graves with a libretto from Pulitzer Prize Winner Michael Cristofer.

Visit terenceblanchard.com for more.

dso.org

#IAMDSO

DSO PERFORMANCE MAGAZINE 7

DETROIT SYMPHONY ORCHESTRA, INC.

LIFETIME DIRECTORS Samuel Frankel◊ Stanley Frankel David Handleman, Sr.◊ Dr. Arthur L. Johnson◊ James B. Nicholson

Anne Parsons, President Emeritus◊ Barbara Van Dusen Clyde Wu, M.D.◊

CHAIRS EMERITI Peter D. Cummings Mark A. Davidoff Phillip Wm. Fisher

Stanley Frankel Robert S. Miller James B. Nicholson

DIRECTORS EMERITI Floy Barthel Chacona Baugh Penny B. Blumenstein Richard A. Brodie Lois Cohn Marianne Endicott

Sidney Forbes Barbara Frankel Herman H. Frankel Dr. Gloria Heppner Ronald Horwitz Bonnie Larson

Arthur C. Liebler Harold Kulish David McCammon David R. Nelson William F. Pickard, Ph.D. Marilyn Pincus

Lloyd E. Reuss Marjorie S. Saulson Alan E. Schwartz Jane Sherman Arthur A. Weiss

OFFICERS OF THE BOARD OF DIRECTORS David T. Provost Chair

Faye Alexander Nelson Vice Chair

James G. Vella Secretary

Glenda D. Price, Ph.D. Officer at Large

Erik Rönmark President & CEO

Laura Trudeau Treasurer

Ralph J. Gerson Officer at Large

Shirley Stancato Officer at Large

BOARD OF DIRECTORS Directors are responsible for maintaining a culture of accountability, resource development, and strategic thinking.

As fiduciaries, Directors oversee the artistic and cultural health and strategic direction of the DSO.

David Assemany, Governing Members Chair Michael Bickers Amanda Blaikie Orchestra Representative Elena Centeio

8

Dave Everson Orchestra Representative Aaron Frankel Herman B. Gray, M.D., M.B.A. Laura HernandezRomine Rev. Nicholas Hood III

DSO PERFORMANCE MAGAZINE

Richard Huttenlocher Renato Jamett Trustee Chair Daniel J. Kaufman Michael J. Keegan Xavier Mosquet David Nicholson Arthur T. O’Reilly

◊

Deceased

Stephen Polk Bernard I. Robertson Nancy Tellem Laura J. Trudeau David M. Wu, M.D. Ellen Hill Zeringue

WINTER 2022–2023

BOARD OF TRUSTEES Renato Jamett, Chair

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

Renato Jamett, Trustee Chair Ismael Ahmed Richard Alonzo Hadas Bernard Janice Bernick Elizabeth Boone Gwen Bowlby Dr. Betty Chu Karen Cullen Joanne Danto Stephen D’Arcy Maureen T. D’Avanzo Jasmin DeForrest Afa Sadykhly Dworkin James C. Farber Abe Feder, Musician Representative Linda Forte Carolynn Frankel

Maha Freij Christa Funk Robert Gillette Jody Glancy Malik Goodwin Mary Ann Gorlin Donald Hiruo Michelle Hodges Julie Hollinshead Sam Huszczo John Jullens Laurel Kalkanis Jay Kapadia David Karp Joel D. Kellman John Kim Jennette Smith Kotila Leonard LaRocca William Lentine Linda Dresner Levy

Florine Mark Anthony McCree Kristen McLennan Tito Melega Lydia Michael H. Keith Mobley Scott Monty Shari Morgan Sandy Morrison Frederick J. Morsches Jennifer Muse, NextGen Chair Sean M. Neall Eric Nemeth Maury Okun Jackie Paige Vivian Pickard Denise Fair Razo Gerrit Reepmeyer James Rose, Jr.

Laurie Rosen Elana Rugh Marc Schwartz Carlo Serraiocco Lois L. Shaevsky Mary Shafer Ralph Skiano, Musician Representative Richard Sonenklar Rob Tanner Yoni Torgow Gwen Weiner Donnell White Jennifer Whitteaker R. Jamison Williams Margaret E. Winters

MAESTRO CIRCLE EXECUTIVE COMMITTEE Janet & Norm Ankers, Chairs

dso.org

Cecilia Benner Joanne Danto

#IAMDSO

Gregory Haynes Bonnie Larson

Lois Miller Richard Sonenklar

DSO PERFORMANCE MAGAZINE 9

classical roots

Beyond the music

By Hannah Engwall

T

his March, the DSO will honor composer and pianist Anthony Davis and Reverend Dr. Charles G. Adams at the 22ND ANNUAL ARTHUR L. JOHNSON-HONORABLE DAMON JEROME KEITH CLASSICAL ROOTS CELEBRATION. Originated in 1978, Classical Roots honors African American composers, musicians, educators, and leaders for lifetime achievement and raises funds to support the DSO’s African American music and musician development programs.

This year’s Classical Roots concerts will be conducted by DSO Assistant Conductor Na’Zir McFadden and include John Rosamond Johnson’s Lift Every Voice and Sing (arr. Roland Carter) and Florence Price’s Concert Overture No. 2 alongside works by contemporary Black artists: You Have the Right to Remain Silent by Anthony Davis and Concerto No. 1: SERMON, an array of music and literary texts assembled by bass-baritone Davóne Tines.

We sat down with Davis and Tines to discuss their works and what it means to be part of Classical Roots.

D

avis’s You Have the Right to Remain Silent is a four-movement concerto inspired by the composer’s own experience of “driving while Black” in the 1970s.

A person matching Davis’s description had robbed a bank, and in a case of mistaken identity, Davis and his wife were pulled over by police.

“To have a policeman point a gun at you is scary, and it showed me how perilous it is that certain assumptions were made,” said Davis. “For Black people, particularly Black males of a certain age, this is something that we all experience while driving.”

Davis emerged physically unharmed, but the encounter left a lasting impression that he later channeled in You Have the Right to Remain Silent.

In the piece’s first movement,

10

DSO PERFORMANCE MAGAZINE

Interrogation, Davis explores the vulnerability of the solo instrument’s relationship to the orchestra. “When I began the project, the first thing I thought about was the orchestra interrogating the clarinetist. The piece starts almost as if it’s in the middle of a scene—I wanted this feeling of being plunged into something right away.”

With the DSO at Classical Roots, the piece will feature Anthony McGill, Principal Clarinet of the New York Philharmonic and a champion of Davis’s work in recent years. McGill previously performed at Classical Roots in 2021, under conductor William Eddins.

“McGill is a brilliant clarinetist who brings a certain vulnerability and emotion to the piece,” said Davis.

“With him, the clarinet becomes a WINTER 2022–2023

Anthony McGill performs at a 2021 Classical Roots concert (by Sarah Smarch)

character, and he finds moments of real lyricism.”

Alongside avant-garde pioneer Earl Howard on the Kurzweil synthesizer, McGill explores multiphonics and other more extended techniques on the contra-alto clarinet.

In the Incarceration movement, we hear the speech rhythms of the complete Miranda warning accompanied by percussion, expanding upon the haunting “you have the right to remain silent” refrain that is prominent throughout the work.

The final movement, Dance of the Other, expresses what it’s like to walk or dance in someone else’s shoes. “It’s about the hope for transcending these negative experiences, and the fact that we can empathize,” said Davis.

“When the piece begins, it has the percussion and the clarinet. It’s almost like an African folk song, which is what I wanted to evoke. There’s a sense of the hopefulness in that, and the idea of reclaiming one’s innocence—meaning innocence at all levels: in terms of being charged with a crime, and then innocence in terms of not being jaded, not being so affected by these experiences that we can’t accept love or compassion from others.” dso.org

#IAMDSO

Internationally renowned poet, playwright, performance artist, and producer jessica Care moore (by Kennette Lamar, Annistique Photography)

For Tines, Concerto No. 1: SERMON was born of an invitation he received in late 2020 to perform with The Philadelphia Orchestra.

The original invitation was to do John Adams’s The Wound-Dresser, but Tines felt compelled to go in a different direction.

“I wanted to explore what else I could I say with this opportunity to sing something in the contemporary vein, but that was also truer to what I felt like I needed to say at that time in our collective history, which was some sort of statement that dealt head-on with this revitalized racial reckoning. Concerto No. 1: SERMON was my attempt to speak honestly in this context where art about Black trauma was being expected.”

For the work, Tines assembled an array of music and literary texts, including musical selections by Davis (“You Want the Truth, but You Don’t Want to Know” from X: The Life and Times of Malcolm X) and John Adams, along with a piece Tines co-wrote with Igée Dieudonné and Matthew Aucoin. The texts include excerpts by James Baldwin, Langston Hughes, and Detroit poet jessica Care moore, who is also featured in the performance.

Tines originally met moore during his

DSO PERFORMANCE MAGAZINE 11

residency at Detroit Opera, which culminated in May 2022 with his performance in the title role of Davis’s X: The Life and Times of Malcolm X. With Moore, Tines felt an immediate connection, one that grew as he became more familiar with her work and the broader network of artists that she was a part of. “I realized the depth of her love for her city, and her conviction about telling the truth of her experience.”

Concerto No. 1: SERMON draws audiences in with the proclamation that “I am going to shake heaven and earth,” something that Tines achieves not through anger or aggression, but through a simple display of humanity and emotion. The piece aims to hold a mirror to the audience, inviting them Davóne Tines to interrogate why it is even necessary to make art that calls out the degradation of humanity.

“Jessica is able to address Black lived experience in a very direct, clear, and poetic way,” said Tines. “Having her writing as the centerpiece does exactly what we need it to do—turn the proposition on its head and say yes, I’m here, proving my humanity to you, but why is it even necessary for me to do that in the first place?”

Through previous collaborations, Davis and Tines have built a strong mutual respect and appreciation for one another.

“He’s an incredible artist and I really enjoy working with him,” said Davis of Tines. “He’s been a real trailblazer in devising and transforming the role of what the opera singer/soloist is supposed to be by creating his own programs using other music to tell a different kind of story.”

Of Davis, Tines shares similar admiration: “Anthony is a genius in many ways.

He creates music that is at the intersection of so many different ideas, histories, aesthetics, and ways of being, and I find myself contending with those 12

DSO PERFORMANCE MAGAZINE

intersections as well. It was amazing to meet somebody who had done such incredible work to coalesce the diversity of their experience and the Black experience and make that incarnate within a classical music context, generations before myself.”

Born in 1951, Davis has been active for decades as a composer, educator, and pianist, and in the 1990s, took part in the DSO’s Unisys African American Composer Residency Program. Both he and Tines look forward to continuing the legacy of African American music at the DSO with Classical Roots.

“I’ve enjoyed my experiences in Detroit and am excited to bring this piece to the city,” said Davis. “Detroit is a serious center for African and African American music from R&B and jazz to classical, and Classical Roots sheds light on the fact that African Americans are deeply involved in classical music and that it is part of our whole spectrum of expression.”

Tines echoed Davis’s sentiments: “All of the people that I’ve engaged with in Detroit are very passionate and curious about what’s going on in their city. There’s a certain je ne sais quois about the Detroit energy and spirit that is unique from other places. I’ve seen a certain kind of unified identity that also is unable to fully articulate itself, but you can actually feel it. And that’s something I’m thrilled to experience again.”

“I’m very glad that the work that I make, that engages identity, can be experienced in a context where people are open minded in that way. Concerto No. 1: SERMON is very direct to the exact context in which Classical Roots is also trying to make change, and I hope that I’m able to show a contemporary method for addressing the necessity for equitable engagement of other histories by predominantly white institutions. I hope that the work strikes a chord with people to try to interrogate how they are contributing to making change.”

WINTER 2022–2023

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

For decades, we have partnered and collaborated with organizations like the Detroit Symphony Orchestra along with other hyperlocal projects to enrich our region through the arts.

We have helped hundreds of donors who want to support local arts and culture find the best way to make a lasting impact.

MAKE AN IMPACT When you are ready to make a lasting impact on arts and culture, the Community Foundation is here to help.

Visit: cfsem.org/arts-culture or call 313.961.6675

T R A N S F O R M AT I O N A L S U P P O R T

Jeffery Zook & David Assemany: Living Legacy

A

n acclaimed musician and educator, DSO Flute and Piccolo Jeffery Zook (Shari and Craig Morgan Chair) is currently in his 30th season with the orchestra. Together with his husband, DSO Governing Member Chair David Assemany, the pair gives back to the organization that has given them so much.

It was within the DSO universe that they first met in 1996 and fell in love. Since then, the DSO has been a constant presence in their lives— evolving from a patron and musician-only based relationship to high-level donor status.

The harmonious oneDSO culture initially cultivated by DSO Chair Emeritus Phillip Fisher inspired Zook and Assemany to deepen their investment in the prosperity of the DSO. Assemany became a Governing Member from the beginning and is now serving in his third year as Chair of the Governing Members. His ambasWhen the Musicians Fund sadorial role is essential to the was established, I immediately knew I artistic and cultural health and wanted us to contribute because I feel strategic direction of the DSO. strongly that excellence is the most Living at the intersection of music and community, the sociaimportant one of the DSO’s core values. ble duo impacts everyone they Without excellence, nothing is going to meet. They open their home as be successful. It was also important to an entertainment venue for stuus to give a gift to the Anne Parsons dent recitals, open mics, Leadership Fund while Anne was still workshops, musical feasts, and fundraisers. As DSO advocates, alive. We respected her immensely and their legacy gifts to the DSO were grateful that we were able to do Musicians Fund for Artistic that before she passed away.”

Excellence and the Anne Parsons Leadership Fund contribute to — David Assemany, the future sustainability of Governing Member Chair Detroit’s world-class orchestra.

Within their world of music, advocacy, and community-building through the arts, Dave and Jeff are building a living legacy with their purposeful generosity.

14

DSO PERFORMANCE MAGAZINE

WINTER 2022–2023

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

FOUNDING FAMILIES

Mr. & Mrs. Lee Barthel Julie & Peter Cummings APLF The Davidson-Gerson Family and the William Davidson Foundation The Richard C. Devereaux Foundation Erb Family and the Fred A. and Barbara M. Erb Family Foundation The Fisher Family and the Max M. & Marjorie S. Fisher Foundation Stanley & Judy Frankel and the Samuel & Jean Frankel Foundation Danialle & Peter Karmanos, Jr. Mort & Brigitte Harris Foundation APLF Linda Dresner & Ed Levy, Jr.APLF James B. & Ann V. Nicholson and PVS Chemicals, Inc. APLF Bernard & Eleanor Robertson Mrs. Richard C. Van Dusen Ralph C. Wilson, Jr. Foundation Clyde & Helen Wu◊ VISIONARIES Mr. & Mrs. Richard L. AlonzoAPLF

Penny & Harold BlumensteinAPLF Mr. & Mrs. Phillip Wm. FisherAPLF,MM Alan J. & Sue Kaufman and Family MM Shari & Craig Morgan APLF, MM CHAMPIONS Mandell & Madeleine Berman Foundation APLF

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

dso.org

Vera and Joseph Dresner Foundation DTE Energy Foundation Ford Motor Company Fund Mr. and Mrs. Morton E. Harris ◊ John S. & James L. Knight Foundation The Kresge Foundation Mrs. Bonnie Larson APLF Brian Meer & Lisa Keramedjian Meer The Andrew W. Mellon Foundation Ms. Deborah Miesel Dr. William F. Pickard The Polk Family Stephen M. Ross Family of Clyde and Helen Wu APLF LEADERS Applebaum Family Philanthropy Charlotte Arkin Estate Marvin & Betty Danto Family Foundation APLF Adel & Walter Dissett MM Herman & Sharon Frankel Ruth & Al◊ Glancy Mary Ann & Robert Gorlin APLF Ronald M. & Carol◊ Horwitz Richard H. & Carola Huttenlocher MM John C. Leyhan Estate Bud & Nancy Liebler Richard & Jane Manoogian Foundation David & Valerie McCammon Mr. & Mrs. Eugene A. Miller Pat & Hank◊ Nickol Jack & Aviva Robinson◊ Martie & Bob Sachs Mr. & Mrs.◊ Alan E. Schwartz Drs. Doris Tong & Teck Soo Paul & Terese Zlotof

#IAMDSO

BENEFACTORS Mr.◊ & Mrs. Robert A. Allesee Mr. David Assemany & Mr. Jeffery Zook APLF, MM W. Harold & Chacona W. Baugh APLF

Robert & Lucinda Clement Lois & Avern Cohn MM Jack, Evelyn, and Richard Cole Family Foundation Mary Rita Cuddohy Estate Margie Dunn & Mark Davidoff APLF, MM

DSO Musicians MM Bette Dyer Estate Marjorie S. Fisher Fund MM Dr. Marjorie M. Fisher & Mr. Roy Furman Ms. Mary D. Fisher Mr. & Mrs. Aaron Frankel MM Barbara Frankel & Ronald Michalak MM Victor◊ & Gale Girolami Fund The Glancy Foundation, Inc. APLF Herbert & Dorothy Graebner◊ Richard Sonenklar & Gregory Haynes MM Mr. & Mrs. David Jaffa Renato & Elizabeth Jamett MM Allan & Joy Nachman MM Ann & Norman◊ Katz Dr. Melvin A. Lester◊ Florine Mark Michigan Arts & Culture Council Dr. Glenda D. Price Ruth Rattner Mr. & Mrs.◊ Lloyd E. Reuss Mr. & Mrs. Fred Secrest◊ Jane & Larry Sherman Cindy McTee & Leonard Slatkin Marilyn Snodgrass Estate Mr. and Mrs. Arn Tellem APLF Nancy Schlichting & Pamela Theisen APLF Mr. James G. Vella MM Eva von Voss and Family MM Key: MM DSO Musicians Fund for Artistic Excellence APLF Anne Parsons Leadership Fund ◊ Deceased DSO PERFORMANCE MAGAZINE 15 ◊

Deceased

COMMUNITY & LEARNING

Sensory-Friendly Spotlight: Relaxed Open Rehearsals The Detroit Symphony Orchestra is an inclusive and culturally relevant community where all people can experience their world through music. Each season, the DSO holds Relaxed Open Rehearsals and sensory-friendly events for individuals who may not feel comfortable in a traditional concert environment. Special focus is given to audience members on the autism spectrum and those with other sensory sensitivities.

T

he culture of attending live performances can be unforgiving for those who are unable to conform to the standard concert etiquette of quietly sitting still for extended periods, including those who may express emotions such as joy or excitement through vocalization. The DSO’s Relaxed Open Rehearsals aim to remove barriers, enabling participants to be themselves and enjoy a musical experience in a safe and judgement-free environment.

Kiersten Alcorn, the DSO’s Community Engagement Manager, is passionate about the organization’s commitment to advancing accessibility measures.

“This programming is so important because it embodies our mission of cultivating an inclusive community

Karisa Antonio, the DSO’s Director of Social Innovation, guides participants as they interact with instruments ahead of the Relaxed Open Rehearsal on September 22 16

DSO PERFORMANCE MAGAZINE

and musical experiences that are accessible to all,” said Alcorn. “Through this work, more people can enjoy the magic of the Detroit Symphony Orchestra in ways that empower our community and prioritize comfort and safety.”

On September 22, 2022, 50 attendees enjoyed a Relaxed Open Rehearsal as DSO musicians prepared for a weekend of DTE Community Concerts under the baton of DSO Assistant Conductor Na’Zir McFadden (Phillip & Lauren Fisher Community Ambassador). Attendees had access to resources to prepare for the event including a program guide, social story, and Spotify playlist to hear selections in advance. The DSO removed barriers to this event by hosting a limited number of audience members and providing other accommodations including noisereducing headphones and fidgets, a quiet area to take a break from the rehearsal if needed, and the opportunity to see and touch instruments beforehand.

The event was well received by those who attended, and filled a community need that is sometimes overlooked. “It is an environment where it feels safe to enjoy the music/experience in the way each of us enjoys it—some clapping, some singing, some helping the conductor, and some just listening in a way not usually available to us,” said one attendee.

The DSO looks forward to hosting more Relaxed Open Rehearsals in the future and continuing efforts to promote accessibility throughout The Max and community venues. Thanks to a donation from the Mid-Michigan Autism Association, the DSO now offers sensory toolkits (including noise-cancelling headphones and fidget toys) and a quiet room, available for patrons to use at every performance, beyond the dedicated sensory-friendly events.

Visit the Accessibility tab at dso.org/yourexperience to learn more.

WINTER 2022–2023

A COMMUNI TY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA

JADER Music DirectorJADER BIGNAMINI MUSIC DIRECTOR A COMMUNI TY-SUPPORTE D BIGNAMINI, ORCHESTRA Music Directorship endowed by the Kresge Foundation

NA’ZIR MCFADDEN

JEFF TYZIK

TERENCE BLANCHARD

LEONARD SLATKIN

NEEME JÄRVI

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

Principal Pops Conductor

Fred A. Erb Jazz Creative Director Chair

Music Director Laureate

Music Director Emeritus

TITLE SPONSOR:

TWIST & SHOUT: THE MUSIC OF THE BEATLES – A SYMPHONIC EXPERIENCE Friday, January 6, 2023 at 10:45 a.m. & 8 p.m.

Saturday, January 7, 2023 at 8 p.m.

Sunday, January 8, 2023 at 3 p.m. in Orchestra Hall JEFF TYZIK, conductor PAUL LOREN, vocals • COLIN SMITH, vocals RICK BRANTLEY, vocals • OSCAR RODRIGUEZ, guitar BRIAN KILLEEN, bass • JORDAN ROSE, drums arr. Jeff Tyzik She Loves You Please Please Me Drive My Car And I Love Her Norwegian Wood (This Bird Has Flown) Do You Want To Know A Secret Eight Days A Week Michelle Eleanor Rigby If I Fell I Feel Fine Ro ck ‘N Roll Music You Really Got A Hold On Me Twist and Shout INTERMISSION Day Tripper We Can Work It Out Love Me Do Yesterday Nowhere Man ALL ARRANGEMENTS AND

Can’t Buy Me Love IMAGERY LICENSED BY SCHIRMER

A Hard Day’s Night THEATRICAL, LLC Here, There and Everywhere Yellow Submarine You Can’t Do That All music under license from Sony/

All You Need Is Love ATV Music Publishing LLC and MPL Music Publishing. All photos under license from The Beatles Book Photo Library. The show is not endorsed by or connected to Apple Corps or The Beatles.

dso.org

Program subject to change

#IAMDSO

DSO PERFORMANCE MAGAZINE 17

PROGR AM AT-A-GL ANCE | T WIST AND SHOUT Ticket to Ride The Beatles’ major legacy and revolutionary impact on popular music cannot be overstated. The group made their first appearance in Detroit on September 6, 1964 at Olympia Stadium, and appeared at the stadium once more just two years later in 1966. The Beatles’ unique name was influenced by Buddy Holly and The Crickets in that the band was interested in naming themselves after an insect. John Lennon applied his tongue-in-cheek humor to devise a punnier moniker, and thus “The Beatles” was born. Although Paul McCartney and Ringo Starr are widely known as the band’s rhythm section, they were not the original members. At first, the rhythm section consisted of Stu Stucliffe on bass—one of John Lennon’s friends from art school—and Pete Best on drums, a Liverpool contemporary who left after being angered by one of their record contracts. Paying tribute to the band’s legendary discography, this program will make you get up and dance, with popular tunes that will be stuck in your head “Eight Days a Week.”

PROFILES Jeff Tyzik biography, see page 7.

A native New Yorker, singer-songwriter Paul Loren feels most at home in the rich legacy of soul, classic pop, and the Great American Songbook. Taking elements from early R&B, jazz, and Brill Building pop, he crafts his music with an ear towards timelessness. He completed his first headline tour in 2019, and has performed with artists including The Temptations, Brendan James, and American Idol winner Taylor Hicks.

Irish born vocalist Colin Smith has led a musical life as varied as it is impressive.

While signed on RCA Records, Smith’s former band, Mrnorth, toured with the likes of The Who, Van Halen, Sheryl Crow, and Journey. As a solo artist, he has collaborated with Alicia Keys and Christina Aguilera, and performed on Saturday Night Live.

A dynamic performing artist and songwriter, Rick Brantley has toured the world with artists including John Hiatt, Kiefer Sutherland, Zac Brown, and Brandy Clark, as well as headlining his own solo shows.

Brantley continues to add to his impressive portfolio, producing acclaimed records with artists like Rob Baird and Justin Halpin, and directing music videos in his down time.

18

DSO PERFORMANCE MAGAZINE

Guitarist Oscar Rodriguez has produced projects including Jukebox The Ghost, Jon The Guilt, and Rikki Will, in addition to hundreds of songs for the YouTube Audio Library, the Facebook Sound Collection, Marmoset Music, and Premium Beat. He is a co-founder of Track Tribe, a music and media collective, and often collaborates with drummer and vocalist Zach Jones.

Bassist Brian Killeen studied with the great Avishai Cohen and attended William Paterson University’s jazz program, and has since worked with artists including Rachel Platten, A Great Big World, Liz Longley, Barnaby Bright, and Caleb Hawley. He has served as the long-time bass chair for the Big Apple Circus, and has performed on The Today Show and in the Broadway production of The Cher Show.

Drummer Jordan Rose has worked with artists including Theo Katzman, Cory Wong, Caleb Hawley, Darren Criss, Charlie Puth, Pomplamoose, Charlie Hunter, Jeff Coffin, Joe Louis Walker, Louis Cato, Rufus Wainwright, Ruel, SZA, and Maddie Poppe, and has performed in Dear Evan Hansen on Broadway.

WINTER 2022–2023

FE ATURE

“ Not only have I been inspired by the stellar performances given by the DSO through the years, but also by its commitment to preserving the highest of artistic standards while imagining a new bright future for classical music. I am eager to work and learn alongside Music Director Jader Bignamini and the many guest conductors who will visit the DSO.” —Na’Zir McFadden

MEET NA’ZIR MCFADDEN Assistant Conductor, Phillip & Lauren Fisher Community Ambassador, and Music Director of the Detroit Symphony Youth Orchestra

C

ommencing with the 2022-2023 season, American conductor Na’Zir McFadden is the Assistant Conductor and Phillip & Lauren Fisher Community Ambassador of the Detroit Symphony Orchestra.

In this role, he works closely with Music Director Jader Bignamini and guest conductors on both the PVS Classical Series and William Davidson Neighborhood Concert Series.

He also leads pre-concert lectures at Orchestra Hall and conducts a variety of programs on the Educational Concert Series, Young People’s Family Concert Series, and PNC Pops Series.

In fall 2022, he led DTE Community Concerts at five venues across Metro Detroit, powered by the DTE Energy Foundation. The yearly tradition signaled the start of the new season, and for McFadden, the start of his role with the DSO. Previously, McFadden was the inaugural Apprentice Conductor of the Philadelphia Ballet Orchestra from 2020 to 2022, where he worked with Music Director Beatrice Jona Affron.

He also served as the Robert L. Poster Conducting Apprentice of the New York Youth Symphony from 2020 to 2021.

SEE NA’ZIR IN ACTION AT ORCHESTRA HALL Get tickets at dso.org

PVS Classical Series CLASSICAL ROOTS March 3-4

dso.org

Young People’s Family Concert Series

PNC Pops Series

SYMPHONIC SUPERHEROES March 11

THE MUSIC OF ELTON JOHN FEATURING MICHAEL CAVANAUGH May 13

YOUNG PERSON’S GUIDE TO THE ORCHESTRA May 20

RESPECT: A TRIBUTE TO ARETHA FRANKLIN May 26-28

#IAMDSO

DSO PERFORMANCE MAGAZINE 19

A COMMUNI TY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA

JADER Music DirectorJADER BIGNAMINI MUSIC DIRECTOR A COMMUNI TY-SUPPORTE D BIGNAMINI, ORCHESTRA Music Directorship endowed by the Kresge Foundation

NA’ZIR MCFADDEN

JEFF TYZIK

TERENCE BLANCHARD

LEONARD SLATKIN

NEEME JÄRVI

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

Principal Pops Conductor

Fred A. Erb Jazz Creative Director Chair

Music Director Laureate

Music Director Emeritus

PVS CLASSICAL SERIES Title Sponsor:

SIBELIUS’ FIRST SYMPHONY & PROKOFIEV Thursday, January 19, 2023 at 7:30 p.m.

Friday, January 20, 2023 at 10:45 a.m.

Saturday, January 21, 2023 at 8 p.m. in Orchestra Hall TABITA BERGLUND, conductor EDGAR MOREAU, cello Anna Thorvaldsdottir Metacosmos (b. 1977) Sergei Prokofiev Sinfonia concertante for (1891 - 1953) Cello and Orchestra, Op. 125 I. Andante II. Allegro giusto III. Andante con moto - Allegretto - Allegro marcato Edgar Moreau, cello

Intermission Jean Sibelius Symphony No. 1 in E minor, Op. 39 (1865 - 1957) I. Andante, ma non troppo - Allegro energico II. Andante, ma non troppo lento III. Scherzo: Allegro IV. Finale (quasi una fantasia): Andante Allegro molto

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

20

DSO PERFORMANCE MAGAZINE

WINTER 2022–2023

PROGR AM AT-A-GL ANCE | SIBELIUS & PROKOFIE V Forces of Nature Metacosmos sets the tone for a thrilling experience where audiences will encounter a great depth of emotion and symphonic mastery. This piece is constructed around the natural balance of chaos and beauty, contemplating how elements can come together in utter chaos to create a unified, structured whole. Despite a long period of dismay from the criticism received upon the premiere of his Cello Concerto No. 1, Prokofiev joined forces with Mstislav Rostropovich to compose the masterpiece of a concerto that is his Sinfonia Concertante for Cello & Orchestra. The work channeled the energy of critics to fuel production of this now-standard component of the solo cello repertoire. Sibelius’s Symphony No. 1 is a symphonic gem, created from the chaos of breaking free of tradition and following a flight of inspiration to channel and assert pride in his Finnish culture. Each of these unique pieces is a force to experience in Orchestra Hall, harnessing the chaos of the outer world into symphonic masterpieces.

PROGRAM NOTES Metacosmos Composed 2017 | Premiered 2017

ANNA THORVALDSDOTTIR B. July 11, 1977, Iceland

Scored for 2 flutes, piccolo, alto flute, 2 oboes, english horn, 3 clarinets, bass clarinet, 4 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 trombones, 2 tubas, percussion, and strings.

(Approx. 14 minutes)

O

n Metacosmos, composer Anna Thorvaldsdottir writes the following: “Metacosmos is constructed around the natural balance between beauty and chaos—how elements can come together in (seemingly) utter chaos to create a unified, structured whole. The idea and inspiration behind the piece, which is connected as much to the human experience as to the universe, is the speculative metaphor of falling into a black hole—the unknown— with endless constellations and layers of opposing forces connecting and communicating with each other, expanding and contracting, projecting a struggle for power as the different sources pull on you and you realize that you are being drawn into a force that is beyond your control.

dso.org

#IAMDSO

As with my music generally, the inspiration behind Metacosmos is not something I am trying to describe through the piece—to me, the qualities of the music are first and foremost musical.

When I am inspired by a particular element or quality, it is because I perceive it as musically interesting, and the qualities I tend to be inspired by are often structural, like proportion and flow, as well as relationships of balance between details within a larger structure, and how to move in perspective between the two— the details and the unity of the whole.”

This performance marks the DSO premiere of Anna Thorvaldsdottir’s Metacosmos.

Sinfonia Concertante for Cello & Orchestra Composed 1950-1951 | Premiered February 18, 1952

SERGEI PROKOFIEV B. April 23, 1891, Sontsivka, Ukraine D. March 5, 1953, Moscow, Russia

Scored for 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, keyboard, and springs.

(Approx. 37 minutes)

DSO PERFORMANCE MAGAZINE 21

S

ergei Prokofiev’s Sinfonia Concertante for Cello and Orchestra is a major work—and one of his only two cello concertos in existence. Divided into three movements, the cello part is virtuosic, giving the soloist a great task of endurance with few breaks throughout the piece. Prokofiev’s first cello concerto, premiered in Moscow in 1938, was not well-received by the audience. This was partially due to its level of difficulty compared to Prokofiev’s other works, as well as the soloist’s interpretation of the piece during the premiere. The aftermath of this performance caused Prokofiev to remove the concerto from his repertoire completely—and the work was never officially published. In fact, Prokofiev never heard the piece again until it was performed by cellist Mstislav Rostropovich in the Small Hall at the Moscow Conservatory in 1947—a performance that Prokofiev attended, moving him to the point of offering to revise the concerto for Rostropovich.

Prior to the concerto revisions, Prokofiev wrote a cello sonata for Rostropovich, and upon hearing its premiere immediately began re-working his first concerto for the cellist. Prokofiev was so enthralled by Rostropovich’s playing that the collaboration between the two of them became transformational in developing new (soon-to-be) standard repertoire for the cello.

Rostropovich spent a few summers with the composer reworking and revising the concerto. In essence, Prokofiev’s second cello concerto was a complete re-working of his first, with Rostropovich giving its premiere in February of 1952 under the temporary title of “Cello Concerto No. 2.” Despite a successful premiere, Prokofiev was still not entirely

22

DSO PERFORMANCE MAGAZINE

happy with the work and continued to revise both the score and the title. The piece’s final form was presented with the Russian title “Sinfonia-Kontster,” meaning “Symphony Concerto” or “Sinfonia Concertante,” as it is known today. This title is representative of a genre present in the late-18th and early-19th centuries where more than one instrument carried the solo parts throughout—essentially a form of a “group concerto.” Although this piece is a concerto for solo cello and orchestra, it includes solos and melodies arising from within different sections of the orchestra, all supporting the work as a whole and intertwining with the solo cello lines.

Although he initially composed his first cello concerto during a happier part of his life—he was returning home to Moscow after several years of living in Paris—its success was largely due to Rostropovich’s input on the second version. During the time of its premiere in 1952, Prokofiev’s health was failing, and he was growing profoundly distraught and depressed by the severity of the censorship of his compositions by the Central Committee of the Communist Party and Stalin’s regime. With Rostropovich’s help, the initial passion and enthusiasm of the first cello concerto continued to shine through this work, despite the many hardships Prokofiev faced at the time. Prokofiev died a year after the premiere in 1953, ironically one hour before Stalin’s passing—an ironic twist of fate that remained true to the unfortunate narrative Prokofiev had suffered with Stalin during his final years.

This performance marks the DSO premiere of Prokofiev’s Sinfonia Concertante for Cello and Orchestra.

WINTER 2022–2023

Symphony No. 1 in E Minor, Op. 39 Composed 1898-1899 | Premiered April 26, 1899

JEAN SIBELIUS B. December 8, 1865, Tavastehus, Finland D. September 20, 1957, Jarvenpää, Finland

Scored for 2 flutes (both doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings.

(Approx. 38 minutes)

S

ibelius began work on his First Symphony in 1898. After its premiere a year later, critic Richard Faltin, writing in the Nya Pressen, remarked that Sibelius moved in symphonic form “with remarkable freedom, following the flight of his inspiration and permitting himself such departures from its discipline as he considers fitting. Few specifically Finnish characteristics are to be found in the symphony: the composer speaks the language of all mankind, yet a tongue that is none the less his own.”

A month later, Sibelius was awarded a grant of 2,500 marks from the State Fund for the encouragement of Finnish composers.

Still more significant was the fact that, a year after its premiere, the First Symphony was taken on a European tour by the Helsinki Orchestra, culminating in an appearance at the World Exposition in Paris. This came at a time when Russia had tightened its grip on Finland, and the issue of Finnish nationalism had become acute. The crowds at the Paris concerts may have been small, but Sibelius’s music had been well received in other cities on the tour. He had asserted, however quietly, that Finland was a land with a culture of its own.

The similarities between the principal theme of the first movement and the corresponding one in Borodin’s First

dso.org

#IAMDSO

Symphony have been pointed out.

Indeed, the scholar Cecil Gray sees in the symphony a struggle of Finland against Russia, the principal themes being Russian and the subsidiary ones Finnish. In fact, the resemblance to Borodin is more apparent on paper than in performance, and the only movement that sounds strongly Russian is the Andante, with its drooping main theme, reminiscent of Tchaikovsky.

Apparent at once is Sibelius’s mastery of symphonic structure, not in the sense of pouring his own materials into a preset outline, but in taking possession of the symphonic tradition and turning it to his own purposes. His achievement is most unassailable in the first movement, which moves surely, without a hint of padding or stitching. Already, there is a hint of his characteristic telescoping of form, in a development that is blended so unobtrusively into a shortened reprise that the listeners are hardly aware when they have crossed the border.

The melodic material of the Andante may belong to the era of overstuffed furniture and high collars, but Sibelius’s treatment of it is anything but commonplace. The Scherzo is energetic but never in haste.

The last movement is less secure, its main subject not quite distinctive enough for extensive treatment, and the second subject is too sentimental for some tastes.

Especially welcome are the parallels between the first and last movements: the introductory clarinet theme of the first movement transformed into a cry of the full orchestra in the finale, and the same quiet ending for both, on a pizzicato chord.

—Michael Fleming The DSO most recently performed Sibelius’s Symphony No. 1 in March 2016, conducted by Thomas Dausgaard. The DSO first performed the work in January 1928, conducted by Georg Schneevoigt.

DSO PERFORMANCE MAGAZINE 23

PROFILES TABITA BERGLUND

EDGAR MOREAU

abita Berglund is one of today’s most exciting, talented young conductors who is fast gaining a reputation for her alert, charismatic and inspiring style.

Berglund is currently Principal Guest Conductor of the Kristiansand Symphony Orchestra, appointed to this post following her debut engagement with the orchestra in 2020.

Highlights of 2022-23 include Berglund’s London debut with the Philharmonia (Royal Festival Hall) and season-opening debut concerts with Germany’s Sinfonieorchester Wuppertal.

Berglund also makes her debut with the BBC Scottish Symphony Orchestra, Orchestre National du Capitole de Toulouse, Malmö Symphony Orchestra and Orquesta Sinfonica de RTVE in Madrid, while return visits include the Royal Stockholm Philharmonic, Finnish Radio Symphony, and Bergen Philharmonic orchestras, as well as her fourth guest appearance each with the Hallé and Royal Scottish National Orchestra.

Berglund graduated in 2019 from the Orchestral Conducting Masters course at the Norwegian Academy of Music and originally trained as a cellist before switching her focus to conducting. She was the 2018–20 star of the Talent Norway program and is a past recipient of the Gstaad Conducting Academy’s Neeme Järvi Prize. Berglund’s debut CD, on which she conducts the Oslo Philharmonic with violinist Sonoko Miriam Welde, was released in 2021 (LAWO) and subsequently nominated for a Norwegian Grammy (Spellemann) in the 2022 Classical Music category.

elebrated cellist Edgar Moreau won First Prize in the 2014 Young Concert Artists International Auditions and was awarded six Special Prizes after capturing Second Prize and the prize for Best Performance of the Commissioned Work at the International Tchaikovsky Competition under the chairmanship of Valery Gergiev. At the Rostropovitch Cello Competition in Paris in 2009, he received the Prize for the Most Promising Contestant.

Moreau regularly performs with acclaimed conductors and world-renowned orchestras including the Roma Santa Cecilia Orchestra, Filarmonica della Scala, London Symphony Orchestra, Philharmonia Orchestra, Royal Philharmonic, Los Angeles Philharmonic, Seattle Symphony, The Philadelphia Orchestra, and others. He is frequently invited to notable festivals including Verbier, Salzburg, Gstaad, Montreux, and others.

An Erato exclusive artist, Edgar Moreau released his debut album, Play, in 2014 with pianist Pierre-Yves Hodique. His follow-up, Giovincello, featured baroque concertos with the ensemble Il Pomo d’Oro and Riccardo Minasi and won an ECHO Klassik Award in 2016. He has also recorded Debussy’s sonatas and trios and a duo album with David Kadouch with works by Franck, Poulenc, Strohl, and De la Tombelle. His latest release is a recording of Gulda and Offenbach concertos with Les Forces Majeures and Raphaël Merlin.

Moreau plays on a David Tecchler cello from 1711. His bow was made by Dominique Peccatte.

T

24

DSO PERFORMANCE MAGAZINE

C

WINTER 2022–2023

A COMMUNI TY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA

JADER Music DirectorJADER BIGNAMINI MUSIC DIRECTOR A COMMUNI TY-SUPPORTE D BIGNAMINI, ORCHESTRA Music Directorship endowed by the Kresge Foundation

NA’ZIR MCFADDEN

JEFF TYZIK

TERENCE BLANCHARD

LEONARD SLATKIN

NEEME JÄRVI

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

Principal Pops Conductor

Fred A. Erb Jazz Creative Director Chair

Music Director Laureate

Music Director Emeritus

PVS CLASSICAL SERIES Title Sponsor:

BRAHMS’ FIRST PIANO CONCERTO & BARTÓK Friday, February 3, 2023 at 10:45 a.m.

Friday, February 3, 2023 at 8 p.m.

Saturday, February 4, 2023 at 8 p.m. in Orchestra Hall LEONARD SLATKIN, conductor GARRICK OHLSSON, piano Igor Stravinsky (1882 - 1971)

Symphonies of Wind Instruments

Béla Bartók Music for Strings, Percussion, and Celesta (1881 - 1945) I. Andante tranquillo II. Allegro III. Adagio IV. Allegro molto Intermission Johannes Brahms Piano Concerto No. 1 in D minor, Op. 15 (1833 - 1897) I. Maestoso II. Adagio III. Rondo: Allegro non troppo Garrick Ohlsson, piano

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

dso.org

#IAMDSO

DSO PERFORMANCE MAGAZINE 25

PROGR AM AT-A-GL ANCE | BR AHMS’ FIRST PIANO CONCERTO & BARTÓK Stay True to Your Roots One thing that Stravinsky, Brahms, and Bartók all had in common was an unshakeable sense of confidence.

Although each composer dealt with occasional self-doubt, they never failed to honor their roots and remain true to themselves. Brahms’s Piano Concerto No. 1—played here by Garrick Ohlsson, who this season celebrates 50 years of performing with the DSO—masterfully demonstrates the composer’s ability to capture and convey deep, human emotions.

The orchestral accompaniment is structured with an intention to “deepen and intensify his arguments” within the music.

Although Bartók’s influences came almost exclusively from his Hungarian heritage, he was criticized by his home country for his modern interpretations. Nevertheless, he clung to these folk melodies and showcased them, especially in his Music for Strings, Percussion, and Celesta. Stravinsky’s Symphonies of Wind Instruments was not intended to please audiences, rather to pay tribute, in his own way, to composer Claude Debussy. Stravinsky was no stranger to criticism, and he knew that this piece would receive the respect and appreciation it deserved in due time. It is because of the strong conviction and determination of these composers that we are afforded the opportunity to perform and enjoy their masterful works today.

PROGRAM NOTES Symphonies of Wind Instruments Composed 1920 | Premiered 1921

IGOR STRAVINSKY B. June 17, Oranienbaum (now Lomonosov), Russia D. April 6, 1971, New York, New York

Scored for 3 flutes, 2 oboes, english horn, 3 clarinets, 3 bassoons (one doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, and tuba. (Approx. 9 minutes)

L

ike many composers of his time, Igor Stravinsky’s compositional style shifted after the conclusion of World War I. This post-war period prompted a transition from late Romanticism to Neoclassicism, where the inflated musical ideas of Romanticism were contrasted, questioned, and distorted.

The concept of Stravinsky’s Symphonies of Wind Instruments stemmed from a piece he initially wrote in memorium of Claude Debussy two years after his death upon request by La Revue Musicale. This piece was to appear in a tribute volume of the Revue magazine for Debussy alongside contributions by other prominent 26

DSO PERFORMANCE MAGAZINE

composers of the time. Stravinsky enthusiastically accepted this request, stating that “the musicians of my generation and I myself owe the most to Debussy.”

Stravinsky’s memorial piece was initially submitted as a chorale arranged for piano solo, which he re-orchestrated and expanded shortly after its submission into a larger body of work that consisted of a series of contrasting musical episodes.

Some of these episodes were newly composed, and others were drawn from the composer’s previous compositional renderings. This expansion formulated the Symphonies of Wind Instruments, and the original chorale he wrote for Debussy’s memorial tribute can be heard at the end of this piece.

Although this piece is now widely referred to as the most important work for a large wind ensemble from the 20th century, its premiere in 1921 was very poorly received. Stravinsky’s intention for this composition was as follows: “The homage that I intended to pay to the memory of the great musician ought not to be inspired by his musical thought. On the contrary, I desired rather to express myself in a language essentially my own... [this work was] not meant ‘to please’ an audience or rouse its passions. I had hoped however, that it would appeal to WINTER 2022–2023

those in whom a purely musical receptivity outweighed the desire to satisfy emotional cravings.” However, the London premiere led by conductor Serge Koussevitzky sparked disgust and disapproval from both the crowd and the critics—the audience laughed, complained, hissed, and sniffed at the phrases throughout the initial performance.

Although Stravinsky anticipated some backlash following this premiere, the strong reaction prompted him to re-orchestrate the initial scoring, substituting flute and clarinet with its original alto flute and basset horn instrumentation to enhance the effects of sharper articulations and “bitier” abrupt chords throughout. This updated instrumentation reflects a wind section that has been pulled from a symphony orchestra rather than that of a standard wind ensemble.

This piece consists of only three tempi with a precise relationship to one another: slow, medium, and fast presented in 2:3:4 ratios of speed increasing from mm.

72, to 104, to a final 144, indicative of Stravinsky’s meticulate and mathematical methodology in his compositions. As the musical episodes continue to alternate and evolve throughout the piece, the final chorale begins to trickle in, with a full-clarity presentation at the end, bringing the tribute to Debussy to a serene conclusion.

This performance marks the DSO premiere of Stravinsky’s Symphonies of Wind Instruments.

Music for Strings, Percussion, and Celesta Composed 1936 | Premiered January 21, 1937

BÉLA BARTÓK B. March 25, 1881, Nagyszentmiklós, Hungary D. September 26, 1945, New York, New York

Scored for piano, harp, timpani, percussion, xylophone, celesta, and strings.

(Approx. 32 minutes)

B

y the mid-1930s, Bartók had established himself as one of the most

dso.org

#IAMDSO

important composers of his time. He remained little known in his native Hungary, where his works were infrequently performed, but regularly attacked for their cosmopolitan modernity. (Surprisingly, Bartók, who often referred to Hungarian folk music in his compositions, was chided in his homeland for failing to produce “nationalist” music.)

Elsewhere in Europe, however, the composer was winning admirers, particularly among other musicians.

One of these was Paul Sacher, conductor of the excellent chamber orchestra in Basle, Switzerland. Sacher, was—and remained for many years—a devoted advocate of modern music. He commissioned works from several of the century’s leading composers, including Bartók, who wrote his masterful Music for Strings, Percussion, and Celesta for the Basle Chamber Orchestra in 1936.

Music for Strings, Percussion, and Celesta combines the energy and rhythmic drive of Bartók’s early music with a bracing sense of compositional rigor and formal unity. Much of the work springs from a single germinal motif, and thematic cross-references bind together its four movements. In fashioning this score, Bartók dispensed with the variegated aural colors of the wind instruments in favor of the more homogeneous timbre offered by a double string orchestra; to this he added piano, harp, timpani, xylophone, celesta, and various percussion instruments. From this ensemble he extracted strikingly original aural colors.

The first of the work’s four movements opens with a sinuous theme given out by the violas. This subject is taken up by the other strings in turn, each entrance adding a strand to an increasingly dense and intricate web of echoic counterpoint. The music expands to a riveting central climax, whereupon Bartók quite literally reverses course. Inverting the theme— that is, reversing its contours, so that the melodic line falls where it formerly DSO PERFORMANCE MAGAZINE 27

ascended, and vice versa—he leads the music back to its point of origin. Slowly the textures thin out, the dynamics levels fade toward silence, and the range of melody and counterpoint constrict at last to a single tone. The movement thus describes a broad formal arch, at once simple and beautiful in shape.

In contrast to the narrow thematic focus and austere contrapuntal discourse of this opening, the second movement presents an extraordinarily energetic and varied surface. Bartók calls forth seemingly all the instrumental colors and textures at his disposal and enlivens the proceedings with antiphonal statements and answers between the orchestra’s two string choirs.

The third movement provides an example of the atmospheric “night music” that Bartók occasionally composed. Here the nocturnal air seems mysterious, even eerie. And amid its clicks, rustling, and other unusual sonorities, we hear numerous recollections of the writhing theme that opened the work.

The finale begins as a lively and rhythmically complex peasant dance and climaxes with a reappearance of the theme from the first movement, which Bartók proceeds to clothe in rich chorale harmonies. Apart from this, the composer presents a generous succession of melodic ideas, most of them evoking the sound of the Hungarian folk dances he knew and loved so well.

The DSO most recently performed Bartók’s Music for Strings, Percussion, and Celesta in November 2003, conducted by Philippe Jordan. The DSO first performed the work in December 1956, conducted by Paul Paray.

28

DSO PERFORMANCE MAGAZINE

Piano Concerto No. 1 in D minor, Op. 15 Composed 1858 | Premiered January 22, 1859

JOHANNES BRAHMS B. May 7, 1833, Hamburg, Germany D. April 3, 1897, Vienna, Austria

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. (Approx. 42 minutes)

L

ike Brahms’s C minor Symphony, the D minor Concerto had an extended gestation period that involved a considerable metamorphosis. Brahms conceived the work as a symphony in 1854, but set himself the exercise of writing a preliminary draft for two pianos.

(He followed the same procedure with the Haydn Variations nearly 20 years later.)

However, he could not easily adapt the piano texture of the work to an orchestral style, so he decided to turn it into a concerto. In doing so, he set aside the funeral march he had composed for the work, using it later in the German Requiem, and wrote a vigorous new rondo as the concerto’s closing movement.

The concerto opens with a chilling timpani roll, introducing a strident, trillladen theme in the strings. Two subsidiary themes relieve some of the tension, but a more insistent return of the trill theme announces the second and more complete thematic exposition, this one featuring the piano in an even-flowing Bach-like theme set against the cutting orchestral trills.

Once this thematic material has been worked out, the key changes to a sunnier F major and the piano blooms forth in a broad, expressive, and quite Romantic second theme.

The piano leads off the stormy development, thundering down the keyboard in leaping octaves. When this section has run

WINTER 2022–2023

its course, a series of loudly-hammered chords announces the recapitulation. With the thorough craftsmanship and unfailing invention that is a Brahmsian trait, all six themes presented in the two expositions are again heard, but in different relationships between the piano and orchestra.

The serene slow movement originally bore the inscription (in Latin): “Blessed is he who cometh in the name of the Lord.”

Brahms first met Robert and Clara Schumann in 1853, the year before he commenced work on the concerto, and some early writers associated the Latin inscription with Schumann, who was called “Dominus” (“Lord”) by his circle of admirers. However, modern scholars see it as a reference to the composer’s semi-suppressed love for Clara Schumann, citing Brahms’s statement in a letter to her: “I am also painting a lovely portrait of you; it is to be the Adagio.”

Indeed, this movement is a very personal,

intimate outpouring of beautiful music: reverent, song-like and interrupted only once by a passionate outburst.

Three themes—in D minor, F major, and B-flat major, respectively—alternate throughout the spirited closing rondo, whose rough humor shines through Brahms’s frowning visage. The second theme sounds like a variation of the first, while the third turns into a short fugato at the center of the movement. Following a lengthy solo cadenza (the first of two), the first theme is transformed into a jolly D major march.

The DSO most recently performed Brahms’s Piano Concerto No. 1 in February 2015, conducted by Leonard Slatkin and featuring pianist Hélène Grimaud. The DSO first performed the work in January 1922, conducted by Ossip Gabrilowitsch and featuring pianist Richard Buhlig.

PROFILES LEONARD SLATKIN

I

nternationally acclaimed conductor Leonard Slatkin is Music Director Laureate of the Detroit Symphony Orchestra (DSO), Directeur Musical Honoraire of the Orchestre National de Lyon (ONL), and Conductor Laureate of the St. Louis Symphony Orchestra. He maintains a rigorous schedule of guest conducting throughout the world and is active as a composer, author, and educator.

Slatkin has received six Grammy Awards and 35 Grammy Award nominations. His latest recording is the world premiere of Alexander Kastalsky’s Requiem for Fallen Brothers,

dso.org

#IAMDSO

commemorating the 100th anniversary of the armistice ending World War I. Other recent Naxos releases include works by Saint-Saëns, Ravel, and Berlioz (with the ONL) and music by Copland, Rachmaninoff, Borzova, McTee, and John Williams (with the DSO). In addition, he has recorded the complete Brahms, Beethoven, and Tchaikovsky symphonies with the DSO (available online as digital downloads).

A recipient of the prestigious National Medal of Arts, Slatkin also holds the rank of Chevalier in the French Legion of Honor.

He has received the Prix Charbonnier from the Federation of Alliances Françaises, Austria’s Decoration of Honor in Silver, the League of American Orchestras’ Gold Baton Award, and the 2013 ASCAP Deems Taylor Special

DSO PERFORMANCE MAGAZINE 29

Recognition Award for his debut book, Conducting Business. His second book, Leading Tones: Reflections on Music, Musicians, and the Music Industry, was published by Amadeus Press in 2017. He is working on a third volume, Classical Crossroads: The Path Forward for Music in the 21st Century.

Slatkin has conducted virtually all the leading orchestras in the world. As Music Director, he has held posts in New Orleans; St. Louis; Washington, DC; London (with the BBCSO); Detroit; and Lyon, France. He has also served as Principal Guest Conductor in Pittsburgh, Los Angeles, Minneapolis, and Cleveland.

GARRICK OHLSSON

P

ianist Garrick Ohlsson has established himself worldwide as a musician of magisterial interpretive and technical prowess. Although long regarded as one of the world’s leading exponents of the music of Chopin, Ohlsson commands an enormous repertoire ranging over the entire piano literature and he has come to be noted for his masterly performances of the works of Mozart, Beethoven, and Schubert, as well as the Romantic repertoire. To date, he has at his command more than 80 concertos, ranging from Haydn and Mozart to works of the 21st century.

A frequent guest with the orchestras in New Zealand and Australia, Ohlsson accomplished a seven-city recital tour across Australia just prior to the closure of the concert world due to COVID-19.

Since that time and as a faculty member of San Francisco Conservatory of Music, he has kept music alive for several organizations with live or recorded recital streams. Since the re-opening of concert activity in summer 2021, he has appeared with the Indianapolis, Atlanta, Dallas, Seattle, Toronto, and Cleveland

30

DSO PERFORMANCE MAGAZINE

orchestras; in recital in San Francisco, Los Angeles, and Houston; at the Ravinia and Tanglewood summer festivals; and in a tour in the US with Kirill Gerstein. The 2022-23 season includes orchestra performances in Boston, Minneapolis, San Diego, Spain, Poland, and the Czech Republic.

An avid chamber musician, Ohlsson has collaborated with the Cleveland, Emerson, Tokyo, and Takacs string quartets, and began the 2022-23 season with a US tour with Poland’s Apollon Musagete quartet.

Together with violinist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the San Francisco-based FOG Trio. Ohlsson has appeared in recital with such legendary artists as Magda Olivero, Jessye Norman, and Ewa Podleś. Ohlsson can be heard on the Arabesque, RCA Victor Red Seal, Angel, BMG, Delos, Hänssler, Nonesuch, Telarc, Hyperion, and Virgin Classics labels.

A native of White Plains, NY, Ohlsson began his piano studies at the age of 8, at the Westchester Conservatory of Music; at 13 he entered The Juilliard School. He has been awarded first prizes in the Busoni and Montreal Piano competitions, the Gold Medal at the International Chopin Competition in Warsaw (1970), the Avery Fisher Prize (1994), the University Musical Society Distinguished Artist Award in Ann Arbor, MI (1998), the Jean Gimbel Lane Prize in Piano Performance from the Northwestern University Bienen School of Music (2014), and the Gloria Artis Gold Medal for cultural merit from the Polish Deputy Culture Minister.

WINTER 2022–2023

A COMMUNI TY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA

JADER Music DirectorJADER BIGNAMINI MUSIC DIRECTOR A COMMUNI TY-SUPPORTE D BIGNAMINI, ORCHESTRA Music Directorship endowed by the Kresge Foundation

NA’ZIR MCFADDEN

JEFF TYZIK

TERENCE BLANCHARD

LEONARD SLATKIN

NEEME JÄRVI

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

Principal Pops Conductor

Fred A. Erb Jazz Creative Director Chair

Music Director Laureate

Music Director Emeritus

TITLE SPONSOR:

FRANK & THE GREAT LADIES OF SONG Friday, February 10, 2023 at 10:45 a.m. & 8 p.m.

Saturday, February 11, 2023 at 8 p.m.

Sunday, February 12, 2023 at 3 p.m. in Orchestra Hall ENRICO LOPEZ-YAÑEZ, conductor TONY DESARE, piano & vocals CAPATHIA JENKINS, vocals

Program to be announced from the stage

PROGR AM AT-A-GL ANCE | FR ANK SINATR A & THE GRE AT L ADIES OF SONG Sinatra Takes the Motor City Frank Sinatra, affectionately known as “Ol’ Blue Eyes,” dazzled audiences across the world with his charisma, silky smooth and effortless voice, good looks, and hit songs. Sinatra is among the world’s best-selling musical artists, having recorded well over 1,200 songs. While Sinatra traveled the world throughout his career, he only visited Michigan three times—in 1946 and 1965 for performances, and again in 1980 when he was presented with a brand-new 1981 Chrysler Imperial by his friend Lee Iacocca, Chrysler’s Chairman at the time. This presentation was in gratitude for Sinatra’s agreement to help promote the car. And promote the car he did—through the song “It’s Time” and with the collaboration of a specialty “Glacier Blue Crystal” Imperial edition to match the color of his signature blue eyes. In this performance, the DSO brings Sinatra hit songs back to the Motor City, featuring critically-acclaimed vocalists Tony DeSare and Capathia Jenkins. dso.org

#IAMDSO

DSO PERFORMANCE MAGAZINE 31

PROFILES ENRICO LOPEZ-YAÑEZ

E

nrico Lopez-Yañez is Principal Pops Conductor of the Nashville Symphony, where he leads the symphony’s pops and family series.

Lopez-Yañez is quickly establishing himself as one of the nation’s leading conductors of popular music and becoming known for his unique style of audience engagement. An active composer and arranger, Lopez-Yañez has been commissioned to write for the Cincinnati Pops Orchestra, Houston Symphony, San Diego Symphony, and Omaha Symphony, and has had works performed by orchestras including the Detroit Symphony Orchestra, Florida Orchestra, Ft. Worth Symphony, Indianapolis Symphony, Rochester Philharmonic, Seattle Symphony, and Utah Symphony, among others.

In the upcoming season, Lopez-Yañez will collaborate with artists including Aida Cuevas, The Beach Boys, Ben Folds, Renée Elise Goldsberry, Vanesa Williams, and Pink Martini. Lopez-Yañez will appear with the Baltimore Symphony, Buffalo Philharmonic, Pittsburgh Symphony, The Philadelphia Orchestra, Phoenix Symphony, San Francisco Symphony, and Seattle Symphony as well as make return appearances with the Dallas Symphony, Indianapolis Symphony, Omaha Symphony, Pacific Symphony, San Diego Symphony, and Utah Symphony.

As Artistic Director and Co-Founder of Symphonica Productions, LLC, LopezYañez curates and leads programs designed to cultivate new audiences.

Symphonica’s productions have been described as “incredibly special–and something that needs to become the new norm” (Lima Symphony). Symphonica Productions is also a sheet music publishing house, representing a diverse range of 32

DSO PERFORMANCE MAGAZINE

genres and composers including Grammy Award nominee Clarice Assad, Andres Soto, Charles Cozens, and Vinicio Meza.

As a producer, composer, and arranger, Lopez-Yañez’s work can be heard on numerous albums including the UNESCO benefit album Action Moves People United and children’s music albums including The Spaceship that Fell in My Backyard and Kokowanda Bay.

TONY DESARE

T

ony DeSare performs with infectious joy, wry playfulness, and robust musicality. Named a Rising Star Male Vocalist in DownBeat magazine, DeSare has lived up to this distinction by winning critical and popular acclaim for his concert performances throughout North America and abroad.

From jazz clubs to Carnegie Hall, to Las Vegas—headlining with Don Rickles—and major symphony orchestras, DeSare has brought his fresh take on old school class around the globe. DeSare has four top ten Billboard jazz albums under his belt and has been featured on the CBS Early Show, NPR’s A Prairie Home Companion, and The Today Show. DeSare has also collaborated with YouTube icons Postmodern Jukebox.

DeSare’s Lush Life recording debuted at No. 3 on the Billboard Traditional Jazz Chart and he released Song Diaries Vol. 2 in early 2022, now streaming on all platforms.

DeSare is also an award-winning composer who won first place in the USA Songwriting Contest. He also wrote the theme song for the motion picture, My Date With Drew, several broadcast commercials, and has composed the full soundtracks for the Hallmark Channel’s Love Always, Santa, Lifetime’s Nanny Nightmare, and Lifetime’s new A Welcome Home Christmas. His sound is romantic, WINTER 2022–2023

swinging and sensual, but what sets DeSare apart is his ability to write original material that sounds fresh and contemporary, yet pays homage to the Great American Songbook. Tony DeSare is a Yamaha Artist.

CAPATHIA JENKINS

B

rooklyn-born and raised actress and vocalist Capathia Jenkins most recently starred as Medda in the hit Disney production of Newsies on Broadway. She made her Broadway debut in The Civil War, where she created the role of Harriet Jackson.

She then starred in the Off-Broadway 2000 revival of Godspell, where she wowed audiences with her stirring rendition of Turn Back, O Man, which can still be heard on the original cast recording. She returned to Broadway in The Look of Love and was critically acclaimed for her performances of the Bacharach/David hits.

Jenkins then created the roles of The Washing Machine in Caroline, or Change and Frieda May in Martin Short’s Fame Becomes Me, where she sang “Stop the

Show” and brought the house down every night.

In 2007, she went back to Off-Broadway and starred in (mis) Understanding Mammy: The Hattie McDaniel Story, for which she was nominated for a Drama Desk Award. She was also seen in Nora Ephron’s Love, Loss, and What I Wore.

An active concert artist, Jenkins has appeared with orchestras around the world including the Cleveland Orchestra, Houston Symphony, Pittsburgh Symphony (with Marvin Hamlisch), National Symphony, Atlanta Symphony, Seattle Symphony, Utah Symphony, Minnesota Orchestra, and others. In 2011, Jenkins had the great honor of performing in the “Broadway Ambassadors to Cuba” concert as part of the Festival De Teatro De La Habana. Jenkins has been a guest soloist with Peter Nero and the Philly Pops and with the Cincinnati Pops.

Her television credits include 30 Rock, The Practice, The Sopranos, and Law & Order: Special Victims Unit. She can be seen in the 2012 film Musical Chairs, directed by Susan Seidelman, and heard on film soundtracks including Nine, Chicago, and Legally Blonde 2.

LIVE FROM ORCHESTRA HALL

This season, Live from Orchestra Hall is back with more programming than ever before! View free, live webcasts of PVS Classical Series, Paradise Jazz Series, and Classroom Edition performances, plus Civic Youth Ensembles presentations.

WATCH NOW AT DSO.ORG/LIVE dso.org

#IAMDSO

DSO PERFORMANCE MAGAZINE 33

A COMMUNI TY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA

JADER Music DirectorJADER BIGNAMINI MUSIC DIRECTOR A COMMUNI TY-SUPPORTE D BIGNAMINI, ORCHESTRA Music Directorship endowed by the Kresge Foundation

NA’ZIR MCFADDEN

JEFF TYZIK

TERENCE BLANCHARD

LEONARD SLATKIN

NEEME JÄRVI

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

Principal Pops Conductor

Fred A. Erb Jazz Creative Director Chair

Music Director Laureate

Music Director Emeritus

PVS CLASSICAL SERIES Title Sponsor:

SHOSTAKOVICH’S FIFTH SYMPHONY & SAXOPHONE CONCERTO WORLD PREMIERE Saturday, February 18, 2023 at 8 p.m.

Sunday, February 19, 2023 at 3 p.m. in Orchestra Hall HAN-NA CHANG, conductor JESS GILLAM, saxophone Piotr Ilyich Tchaikovsky (1840 - 1893)

Romeo and Juliet Fantasy Overture

Anna Clyne Glasslands (World Premiere) (b. 1980) Jess Gillam, saxophone

Intermission Dmitri Shostakovich Symphony No. 5 in D minor, Op. 47 (1906 - 1975) I. Moderato II. Allegretto III. Largo IV. Allegro non troppo

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

34

DSO PERFORMANCE MAGAZINE

WINTER 2022–2023

PROGR AM AT-A-GL ANCE | SHOSTAKOVICH’S FIF TH SYMPHONY & ANNA CLYNE’S GL ASSL ANDS Go Where There Are No Guarantees Many great orchestral works have blossomed out of a fearless leap of faith. Shostakovich’s Fifth Symphony was an attempt for rehabilitation in Stalin’s regime, where he was at risk of facing persecution due to his lack of compliance in conservative musical traditions. Shostakovich brilliantly parodied a sense of rejoicing in a traditional Romantic-era style—a risky move that would have proved dangerous had it not been flawlessly executed. After a long period of selfdoubt, Tchaikovsky sought guidance from composer Mily Alexeyevich Balakirev, leading to the writing of his renowned Romeo and Juliet Fantasy Overture. Ironically, Balakirev was unhappy with the work after its premiere, claiming it lacked depth and emotion. Tchaikovsky lived to see his work pay off, and its love theme is now present in countless films, advertisements, TV shows, and more. Composer Anna Clyne has been described as “fearless” by NPR and as a “composer of uncommon gifts and unusual methods” by The New York Times, and the world premiere of her saxophone concerto by Jess Gillam will showcase these critically acclaimed traits. The works on this program demonstrate that through fearlessness and resilience, one may find wild and wonderful success.

PROGRAM NOTES Romeo and Juliet Fantasy Overture

Composed 1880 | Premiered May 1, 1886

PYOTR ILYICH TCHAIKOVSKY B. May 7, 1840, Votkinsk, Russia D. November 6, 1893, Saint Petersburg, Russia

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings.

(Approx. 21 minutes)

T

hough he is enormously celebrated today, Tchaikovsky was plagued throughout his life by doubts about his talent and the worth of his music. Occasionally, he would suffer periods of malaise and selfdoubt that prevented him from composing at all, and a particularly acute episode hit him in the summer of 1869. Tchaikovsky had recently suffered scathing receptions of several major works and was so dejected by their failure that he destroyed most of the music. “Not one passable musical idea has entered my head in months,” he wrote that October.

But Tchaikovsky found a new ally and dso.org

#IAMDSO

mentor, one whose encouragement prompted him to resume working.

Mily Alexeyevich Balakirev was a composer of comparatively modest talent, but he had an enormous impact on the development of 19th-century Russian music. He became the leader and spokesman of a group of nationalist composers that would eventually include Borodin, Rimsky-Korsakov, and Mussorgsky, and he was tireless in arguing for a new kind of music, one based on dramatic ideas rather than abstract classical modes imported from Western Europe. Tchaikovsky, whose training had steeped him in the classical tradition, was at first mistrustful of Balakirev’s school of thought. But the two men took a liking to each other when they met in person, and soon began a fruitful exchange of musical ideas.

Balakirev suggested that Tchaikovsky consider an overture based on Shakespeare’s Romeo and Juliet. The tale of the tragic, star-crossed lovers would have been particularly inviting to Tchaikovsky, who was highly sensitive and very well-read. In devising music for the play, Tchaikovsky focused on three principal elements of the drama. The long introductory section conveys a sense of DSO PERFORMANCE MAGAZINE 35

resigned spirituality, very much in character with Shakespeare’s Friar Laurence.

A violent episode follows this, complete with cymbal crashes, to represent the clash of Montague and Capulet swords.

Finally, the love of Romeo and Juliet is presented in a soaring melody—the one we all know from countless films, television shows, advertisements, and so on.

Balakirev, ironically, was not happy with the work. The opening was too tame, he said, and the love theme lacked ardor!

Early audiences evidently agreed. The overture was received with indifference at its first performance in Moscow and fared no better (and sometimes far worse) in the West. But Tchaikovsky lived to see that judgment reversed, and today his Romeo and Juliet Fantasy Overture is among the most popular works in the orchestral repertory.

The DSO most recently performed Tchaikovsky’s Romeo and Juliet Fantasy Overture during the Tchaikovsky Festival in February 2015, conducted

by Leonard Slatkin. The DSO first performed the piece in January 1916, conducted by Weston Gales.

Glasslands Composed 2022 | Premiered 2022

ANNA CLYNE B. March 9, 1980, London, United Kingdom

Scored for solo saxophone, 2 flutes (one doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, trombone, tuba, percussion, and strings. (Approx. 25 minutes)

G

rammy Award nominee Anna Clyne is one of the most in-demand composers today, working with orchestras, choreographers, filmmakers, and visual artists around the world. She currently serves as Composerin-Residence with the Philharmonia Orchestra and the Trondheim Symphony 36

DSO PERFORMANCE MAGAZINE

Orchestra, and will serve in the same role with the Helsinki Philharmonic Orchestra next season.

Clyne has been commissioned and presented by the world’s most dynamic and revered arts institutions, including the Barbican, Carnegie Hall, Kennedy Center, Los Angeles Philharmonic, MoMA, Philharmonie de Paris, Royal Concertgebouw Orchestra, San Francisco Ballet, and the Sydney Opera House; and her music has opened such events as the Edinburgh International Festival, The Last Night of the Proms, and the New York Philharmonic’s 2021–2022 season.

Clyne often collaborates on creative projects across the music industry, including Between the Rooms, a film with choreographer Kim Brandstrup and LA Opera, as well as the Nico Project at the Manchester International Festival, a stage work about pop icon Nico’s life that featured Clyne’s reimagining of The Marble Index for orchestra and voices. Clyne has also reimagined tracks from Thievery Corporation’s The Cosmic Game for the electronica duo with orchestra, and her music has been programmed by such artists as Björk.

Several recent projects have explored Clyne’s fascination with visual arts, including Color Field, inspired by the artwork of Mark Rothko; Abstractions, inspired by five contemporary artworks; and Woman Holding a Balance, a film collaboration with artist Jyll Bradley.

Other recent collaborators include such notable musicians as Martin Fröst, Pekka Kuusisto, and Yo-Yo Ma. Clyne’s music is represented on several labels and her works Prince of Clouds and Night Ferry were nominated for Grammy Awards in 2015. Her cello concerto, DANCE, recorded by soloist Inbal Segev, the London Philharmonic Orchestra, and Marin Alsop, has garnered more than seven million plays on Spotify.

Clyne’s music is published exclusively by Boosey & Hawkes.

Clyne’s Glasslands conjures an WINTER 2022–2023

imaginary world of three realms governed by the banshee—a female spirit who, in Irish folklore, heralds the death of a family member, usually by wailing, shrieking, or keening in the silence of the night.

This performance marks the world premiere of Glasslands by Anna Clyne, with Jess Gillam as soloist.

Symphony No. 5 in D minor, Op. 47 Composed 1937 | Premiered November 21, 1937

DMITRI SHOSTAKOVICH B. September 25, 1906, St. Petersburg, Russia D. August 9, 1975, Moscow, Russia

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, E-flat clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, orchestra bells, snare drum, tam-tam, triangle, xylophone, two harps, piano, celeste, and strings.

(Approx. 46 minutes)

A

Soviet composer at the height of communist rule in his native Russia, Shostakovich is the prime example of a creative artist forced to operate within a totalitarian system. Though subject matter and style were often dictated by the government, he managed to produce works of great strength and beauty.

During the notorious Stalinist purges of the 1930s, when more than 10 million people were executed or exiled, Shostakovich was severely rebuked for his experimental Fourth Symphony, which the State deemed not to be proper music.

The composer was forced to make a difficult decision: either face artistic (and possibly personal) persecution or compromise his standards in favor of “rehabilitation.” After several years of political anonymity, he staked his entire salvation on a single work, the Fifth

dso.org

#IAMDSO

Symphony.

With this work, composed between April 18 and July 20, 1937, Shostakovich produced a broad, expansive fourmovement symphony very much in the 19th-century Romantic tradition.

Dissonance gave way to a firmly rooted tonality, and experimentation to strict symphonic form. The composer said that his Fifth Symphony was conceived “lyrically from beginning to end,” to suggest the progress of a life’s journey from tragedy to a climactic finale of optimism and joy.

Throughout history, artists have thumbed their noses at authorities who were too dense to see through parody and satire, and Shostakovich was no different.

Of the finale, Shostakovich wrote in his memoirs (smuggled out of Russia after the composer’s death): “The rejoicing is forced, created under threat...It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering, ‘Our business is rejoicing, our business is rejoicing.’ What kind of apotheosis is that?

You have to be a complete oaf not to hear that.”

Critical and popular reaction to the Fifth Symphony, however, was almost hysterically enthusiastic and the piece has since become one of Shostakovich’s most popular works, a favorite of audiences around the globe.

The DSO most recently performed Shostakovich’s Symphony No. 5 in May 2015, conducted by Hannu Lintu. The DSO first performed the piece in February 1945, conducted by Karl Krueger.

DSO PERFORMANCE MAGAZINE 37

PROFILES HAN-NA CHANG

H

an-Na Chang is Artistic Leader and Chief Conductor of the Trondheim Symfoniorkester & Opera in Norway since 2017, and newly appointed Erste Gastdirigentin (Principal Guest Conductor) of the Symphoniker Hamburg—Laeiszhalle Orchester. She first gained international recognition for her precocious musical gifts at the age of 11, when she won the First Prize and the Contemporary Music Prize at the Fifth Rostropovich International Cello Competition in Paris in 1994, awarded unanimously by the jury led

by Mstislav Rostropovich. Her international career took off, and she became an in-demand recitalist and soloist with the world’s top orchestras. Having developed an intense interest in and deep passion for the symphonic repertoire during her late teens and early twenties, she made her formal conducting debut in 2007, at the age of 24, and has since then focused her artistic output exclusively on conducting.

Chang started her tenure as the Artistic Leader and Chief Conductor of the Trondheim Symfoniorkester & Opera in 2017. Prior to this appointment, she served as the orchestra’s Principal Guest Conductor from 2013-2017. She also served as the Music Director of the Qatar Philharmonic Orchestra during the 20132014 season, culminating in their successful and critically acclaimed performance at the 2014 BBC Proms in London.

In 2009, she founded and launched the Absolute Classic Festival at Sungnam Arts Center in South Korea and served as its Artistic Director until 2014.

As a guest conductor, Chang’s upcoming appearances include the Danish National Symphony Orchestra, Rotterdam and Oslo

38

DSO PERFORMANCE MAGAZINE

philharmonic orchestras, Royal Scottish National Orchestra, Singapore, Atlanta, Vancouver, Detroit, and Milwaukee symphony orchestras, and others. She has worked with orchestras including the Oslo Philharmonic, Sächsische Staatskapelle Dresden, WDR Sinfonieorchester Köln, Bamberger Symphoniker, the Toronto, Hamburg, Singapore, Tokyo, Cincinnati, St. Louis, Indianapolis, Seattle, Gothenburg, Malmo and Iceland symphony orchestras, the Royal Liverpool Philharmonic Orchestra, Minnesota Orchestra, and others. As a cellist, Chang has performed with all the major orchestras including the Berliner Philharmoniker, New York and Los Angeles philharmonics, London Symphony Orchestra, Symphonieorchester des Bayerischen Rundfunks, Münchner Philharmoniker, The Philadelphia Orchestra, and others.

Her cello recordings, exclusively for the Warner Music label, have recieved Grammy Award nominations and won two ECHO Klassik awards, the Caecilia and Cannes Classical awards, and a Gramophone Concerto of the Year accolade, among others, and remain world-wide bestsellers.

Chang was born in Suwon, South Korea in December 1982. At the age of 6, she received her first cello lesson. Her family moved to New York in 1993 in order to support her continuing studies at The Juilliard School, and she has lived in New York since. At the age of 10, she also started studying with Mischa Maisky, who remains her most important influence, and she counts Mstislav Rostropovich and Giuseppe Sinopoli among the most influential mentors of her formative years.

Chang read Philosophy at Harvard University.

WINTER 2022–2023

JESS GILLAM

H

ailing from Ulverston in Cumbria, Jess Gillam is animating the music world with her outstanding talent and infectious personality.

She has been forging her own adventurous path since she shot to fame as the first saxophonist to reach the finals of BBC Young Musician and became the youngest ever soloist to perform at the Last Night of the Proms. Passionate about inspiring and bringing joy to people through music, Gillam invites audiences on journeys of musical discovery through her electrifying performances and eclectic programming.

As well as performing around the world, Gillam is a presenter on television and radio. She became the youngest ever presenter for BBC Radio 3 with the launch of her own weekly show, This Classical Life. She has also been a guest presenter for BBC Radio 2 and co-hosted a miniseries for BBC Radio 4’s Today Programme.

Keen to explore the creative output of her home county, Gillam presented a series of Cumbrian Chats on BBC Radio Cumbria.

Gillam is the first ever saxophonist to be signed exclusively to Decca Classics and both of her albums reached No.1 in the UK Classical Music Charts. Her debut album was listed in The Times Top 100 albums of 2019. She has been the recipient of a Classic BRIT Award, has been nominated for The Times Breakthrough Award and was awarded an MBE in the Queen’s Birthday Honours list 2021 for Services to Music.

A free spirit in style and character, Gillam is an advocate for the power of music in society. She is passionate about inspiring and bringing joy to people through music and during lockdown, she formed her “Virtual Scratch Orchestra,”

dso.org

#IAMDSO

inviting musicians of any standard to come together to play music virtually with her.

Over 2,000 people from around 30 different countries took part in the two projects.

Gillam is a patron for Awards for Young Musicians and London Music Fund and enjoys working and performing with young musicians.

She has performed in prestigious concert halls and with world-class orchestras around the globe including the NDR Hannover, Gothenburg Symphony Orchestra, Iceland Symphony Orchestra, Minnesota Symphony Orchestra, Munich Philharmonic, Lahti Symphony Orchestra, and others. She also enjoys touring with her newly formed Jess Gillam Ensemble, bringing together a group of brilliant musicians who share her bold, uplifting, and open-minded approach. Gillam has performed live at the BAFTAs to millions of viewers at home.

Gillam is currently Artist in Residence at the Wigmore Hall, a European Concert Hall Organisation (ECHO) Rising Star which sees her performing at many of the top concert halls across Europe, and she continues to promote her own concert series, bringing international talent to her hometown of Ulverston.

Gillam is a Vandoren UK Artist and became the youngest ever endorsee for Yanagisawa Saxophones at age 13.

DSO PERFORMANCE MAGAZINE 39

THE ANNUAL FUND

Gifts received between September 1, 2021 and November 30, 2022.

The DSO is a community-supported orchestra, and you can play your part through frequent ticket purchases and generous annual donations. Your tax-deductible Annual Fund donation is an investment in the wonderful music at Orchestra Hall, around the neighborhoods, and across the community. This honor roll celebrates those generous donors who made a gift of $1,500 or more to the DSO Annual Fund Campaign. If you have questions about this roster or would like to make a donation, please contact 313.576.5114 or go to dso.org/donate.

PARAY SOCIETY - GIVING OF $250,000 & MORE Mr. & Mrs. Lee Barthel Penny & Harold Blumenstein Julie & Peter Cummings Ms. Leslie C. Devereaux Linda Dresner & Ed Levy, Jr.

Emory M. Ford, Jr.◊ Endowment Mr. & Mrs. Stanley Frankel Mr. & Mrs. Peter Karmanos, Jr. Mr. & Mrs. James B. Nicholson Mrs. Richard C. Van Dusen

DORATI SOCIETY - GIVING OF $100,000 & MORE Mr. & Mrs. Richard L. Alonzo James & Patricia Anderson Mr. & Mrs. Raymond M. Cracchiolo Joanne Danto & Arnold Weingarden Mr. & Mrs. Phillip Wm. Fisher

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

EHRLING SOCIETY - GIVING OF $50,000 & MORE Mr. & Mrs. Richard A. Brodie Lois & Avern◊ Cohn Mr. & Mrs. Aaron Frankel Mr. & Mrs. Ralph J. Gerson Mary Ann & Robert Gorlin Mr. & Mrs. James Grosfeld Ric & Carola Huttenlocher Renato & Elizabeth Jamett

Mrs. Bonnie Larson Nicole & Matt Lester Mr. & Mrs. Eugene A. Miller Patricia & Henry◊ Nickol Nancy Schlichting & Pamela Theisen Donald R. & Esther Simon Foundation Mr. & Mrs. Arn Tellem Paul & Terese Zlotoff

JÄRVI SOCIETY — GIVING OF $25,000 & MORE Pamela Applebaum Ms. Sharon Backstrom Mrs. Cecilia Benner Mr. Michael J. Fisher Madeline & Sidney Forbes Mr. & Mrs. Edsel B. Ford II/Henry Ford II Fund Mrs. Martha Ford Dale & Bruce Frankel Mr. Steven Goldsmith Ronald M. & Carol◊ Horwitz Mr.◊ & Mrs. Norman D. Katz Morgan & Danny Kaufman Betsy & Joel Kellman 40

DSO PERFORMANCE MAGAZINE

Mr. & Mrs. David Provost Ms. Ruth Rattner Martie & Bob Sachs Mr. & Mrs.◊ Alan E. Schwartz Mrs. Patricia Finnegan Sharf Mr. & Mrs. James H. Sherman Mr. & Mrs. Larry Sherman Richard Sonenklar & Gregory Haynes Mr. & Mrs. John Stroh III Dr. Doris Tong & Dr. Teck M. Soo Mr. & Mrs. Gary Torgow And one who wishes to remain anonymous

◊

Deceased

WINTER 2022–2023

GABRILOWITSCH SOCIETY - GIVING OF $10,000 & MORE Mr.◊ & Mrs. Robert A. Allesee Dr. Lourdes V. Andaya Janet & Norman Ankers Drs. Brian & Elizabeth Bachynski W. Harold & Chacona W. Baugh Drs. John & Janice Bernick Dr. George & Joyce Blum Gwen & Richard Bowlby Mr. & Mrs. Stephen Brownell Michael & Geraldine Buckles Ms. Elena Centeio Thomas W. Cook & Marie L. Masters Gail Danto & Art Roffey Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Eugene ◊ & Elaine C. Driker Mr. Charles L. Dunlap & Mr. Lee V. Hart Margie Dunn & Mark Davidoff Mr. Peter Falzon Jim & Margo Farber Sally & Michael Feder Barbara & Alfred J. Fisher III Dr. Saul & Mrs. Helen Forman Barbara Frankel & Ronald Michalak Mrs. Janet M. Garrett Victor◊ & Gale Girolami

Ruth & Al◊ Glancy Dr. Robert T. Goldman Dr. Herman & Mrs. Shirley Mann Gray Mr.◊ & Mrs. James A. Green Mr. & Mrs. Robert Hage Judy◊ & Kenneth Hale Ms. Nancy B. Henk Michael E. Hinsky & Tyrus N. Curtis Mr.◊ & Mrs. Norman H. Hofley Mr. & Mrs. Richard J. Jessup William & Story John Lenard & Connie Johnston Dr. David & Mrs. Elizabeth Kessel Mr. Daniel Lewis Bud & Nancy Liebler Mr. & Mrs.◊ Joseph Lile Dana Locniskar & Christine Beck Alexander & Evelyn McKeen Ms. Deborah Miesel Dr. Robert & Dr. Mary Mobley Cyril Moscow Geoffrey S. Nathan & Margaret E. Winters David Robert & Sylvia Jean Nelson Eric & Paula Nemeth Jim & Mary Beth Nicholson

Gloria & Stanley Nycek George & Jo Elyn Nyman Debra & Richard Partrich Dr. Glenda D. Price Maurcine ◊ & Lloyd Reuss Seth & Laura Romine Dr. Erik Rönmark* & Mrs. Adrienne Rönmark* Mr. & Mrs. Robert B. Rosowski Peggy & Dr. Mark B. Saffer Schwartz Shapero Family Elaine & Michael Serling Lois & Mark Shaevsky William H. Smith Charlie & John Solecki Mr. & Mrs. Paul Tobias Mr. James G. Vella Mr.◊ & Mrs. Jonathan T. Walton Gary L. Wasserman & Charles A. Kashner S. Evan & Gwen Weiner Mr. & Mrs. R. Jamison Williams Ms. Mary Wilson And four who wish to remain anonymous

GIVING OF $5,000 & MORE Mrs. Denise Abrash Mrs. Jennifer Adderley Richard & Jiehan Alonzo Mr. David Assemany & Mr. Jeffery Zook* Ms. Ruth Baidas Dr. David S. Balle Mr. Patrick Barone Ms. Therese Bellaimey Mr. & Mrs. Dennis Bernard Mr. & Mrs. Jeffrey A. Berner Timothy J. Bogan John◊ & Marlene Boll Ms. Debra Bonde Ms. Nadia Boreiko Mr. Anthony F. Brinkman Claire P. & Robert N. Brown Philip & Carol Campbell Mrs. Carolyn Carr Mr. & Mrs. François Castaing Mr. & Mrs. Andrew Christians Mr. Fred J. Chynchuk Bob & Rebecca Clark Dr. & Mrs. Charles G. Colombo Ms. Elizabeth Correa

Mr. & Mrs. Gary L. Cowger Mrs. Barbara Cunningham Mr. & Mrs. Charles W. Dare Mr. & Mrs. Richard L. DeVore Adel & Walter Dissett Ms. Ruby Duffield Dr. & Mrs. A. Bradley Eisenbrey Mr. Lawrence Ellenbogen Marianne T. Endicott Mr. & Mrs. Francis A. Engelhardt Fieldman Family Foundation Mr.◊ & Mrs. Richard M. Gabrys Alan M. Gallatin Allan D. Gilmour & Eric C. Jirgens Dr. Kenneth◊ & Roslyne Gitlin Dr. & Mrs. Theodore Golden Goodman Family Charitable Trust Mr. Sanford Hansell & Dr. Raina Ernstoff Dr. Gloria Heppner Ms. Doreen Hermelin Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. & Mrs. Peter Hollinshead Mr. Matthew Howell & Mrs. Julie Wagner

*Current DSO Musician or Staff

dso.org

#IAMDSO

Elanah Nachman Hunger Mr. & Mrs. A. E. Igleheart Mr. & Mrs. Kent Jidov Carol & Rick Johnston Paul & Marietta Joliat Faye & Austin Kanter Judy & David Karp Mike & Katy Keegan Barbara & Michael Kratchman Richard & Sally Krugel Mr. & Mrs. Harold Kulish Dr. Raymond Landes & Dr. Melissa McBrien-Landes Bill & Kathleen Langhorst Mr. Leonard LaRocca Max Lepler & Rex L. Dotson Mr. & Mrs. Robert K. Leverenz Daniel & Linda* Lutz Bob & Terri Lutz Mrs. Sandra MacLeod Mr. & Mrs. Winom J. Mahoney Dr. Stephen & Paulette Mancuso Maurice Marshall Mr. Edward McClew ◊

Deceased

DSO PERFORMANCE MAGAZINE 41

Patricia A.◊ & Patrick G. McKeever Ms. Evelyn Micheletti Mr. Frederick Morsches & Mr. Kareem George Xavier & Maeva Mosquet Robert & Paulina Treiger Muzzin Joy & Allan Nachman Mr. & Mrs. Albert T. Nelson, Jr. Dr. William W. O’Neill Anne Parsons◊ & Donald Dietz Mr. David Phipps & Ms. Mary Buzard William H. & Wendy W. Powers Charlene & Michael Prysak

Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Mr. & Mrs. Dave Redfield Dr. Heather Richter Dr. & Mrs. John Roberts Steven Della Rocca Memorial Fund/ Courtenay A Hardy Mr. Ronald Ross & Ms. Alice Brody Mr. David Salisbury & Mrs. Terese Ireland Salisbury Marjorie Shuman Saulson Mr. & Mrs. Donald and Janet Schenk Robert & Patricia Shaw

Mrs. Sharon Shumaker Mr. Norman Silk & Mr. Dale Morgan Mr. & Mrs. Matthew Simoncini Michael E. Smerza & Nancy Keppelman Mrs. Kathleen Straus & Mr. Walter Shapero Joel & Shelley Tauber Alice ◊ & Paul Tomboulian Mrs. Eva von Voss Mr. William Waak Peter & Carol Walters Dr. & Mrs. Ned Winkelman Cathy Cromer Wood Ms. June Wu And one who wishes to remain anonymous

Dr. & Mrs. Thomas Ditkoff Diana & Mark Domin Paul◊ & Peggy Dufault Edwin & Rosemarie ◊ Dyer Dr. Leo & Mrs. Mira Eisenberg Randall & Jill* Elder Ms. Laurie Ellias & Mr. James Murphy Mrs. Marjory Epstein Mr. & Mrs. John M. Erb Dave & Sandy Eyl Ellie Farber & Mitch Barnett Hon. Sharon Tevis Finch Ms. Joanne Fisher Dorothy A. & Larry L. Fobes Amy & Robert Folberg Ms. Linda Forte & Mr. Tyrone Davenport Dr. & Mrs. Franchi Ms. Marci Frick Kit & Dan Frohardt-Lane Lynn & Bharat Gandhi Mr. Max Gates Stephanie Germack Thomas M. Gervasi Mr. & Mrs. James Gietzen Mr. & Mrs. Robert W. Gillette Ms. Jody Glancy Mr. Lawrence Glowczewski Paul & Barbara C. Goodman Dr. William & Mrs. Antoinette Govier Ms. Jacqueline Graham Mr. & Mrs. Saul Green Dr. & Mrs. Joe L. Greene Anne & Eugene Greenstein Sharon Lopo Hadden Dr. & Mrs. David Haines Robert & Elizabeth Hamel Cheryl A. Harvey Ms. Barbara Heller Dr. William Higginbotham III MD Mr. Donald & Marcia Hiruo The Honorable Denise Page Hood & Reverend Nicholas Hood III James Hoogstra & Clark Heath

Mr. F. Robert Hozian Dr. Karen Hrapkiewicz Mr. Fred Hunter & Mrs. Viva Foster Larry & Connie Hutchinson Ms. Carole Ilitch Dr. Raymond E. Jackson & Dr. Kathleen Murphy Mr. Arthur Johns Mr. John S. Johns Mr. George G. Johnson Paul & Karen Johnson Mr. William & Mrs. Connie Jordan Mr. & Mrs. John Jullens Diane & John Kaplan Bernard & Nina Kent Philanthropic Fund Mrs. Frances King Dr. & Mrs. Edward L. Klarman Aileen & Harvey Kleiman Tom◊ & Beverly Klimko Mr. Joseph Kochanek Mr. & Mrs. Ludvik F. Koci Mr. & Mrs. Robert Koffron Dr. Sandy Koltonow & Dr. Mary Schlaff Ms. Susan Konop Douglas Korney & Marieta Bautista James Kors & Victoria King George M. Krappmann & Lynda Burbury-Krappmann Mr. Michael Kuhne Mrs. Maria E. Kuznia Mr. & Mrs. Robert LaBelle Dr. & Mrs. Gerald Laker Mr. David Lalain & Ms. Deniella Ortiz-Lalain Drs. Lisa & Scott Langenburg Ms. Sandra Lapadot Ms. Anne T. Larin Dr. Lawrence O. Larson Mr. Henry P. Lee Drs. Donald & Diane Levine Arlene & John Lewis Mr. & Mrs. David H. Loebl Mr. John Lovegren & Mr. Daniel Isenschmid

GIVING OF $2,500 & MORE Nina Dodge Abrams Mr. & Mrs. Joel Adelman Mr. Juan Alvarez Mr. & Mrs. Robert L. Anthony Dr. & Mrs. Joel Appel Drs. Kwabena & Jacqueline Appiah Dr. & Mrs. Ali-Reza R. Armin Pauline Averbach & Charles Peacock Mr. Joseph Aviv & Mrs. Linda Wasserman Mrs. Jean Azar James A. Bannan Nora & Guy Barron Mr. Mark G. Bartnik & Ms. Sandra J. Collins Mr. Joseph Bartush Mr. & Mrs. Martin S. Baum Mr. & Mrs. Richard Beaubien Mr. Abraham Beidoun Martha◊ & G. Peter Blom Nancy & Lawrence Bluth The Achim & Mary Bonawitz Family The Honorable Susan D. Borman & Mr. Stuart Michaelson Don & Marilyn Bowerman Mr. & Mrs. Marco Bruzzano Mr. & Mrs. Mark R. Buchanan Dr. & Mrs. Roger C. Byrd Mr. & Mrs. Brian C. Campbell Dr. & Mrs.◊ Thomas E. Carson Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Ronald & Lynda Charfoos Nina & Richard Cohan Jack, Evelyn and Richard Cole Family Foundation Mr. William Cole & Mrs. Carol Litka Cole Mr. & Mrs. Brian G. Connors Patricia & William◊ Cosgrove, Sr. Ms. Joy Crawford* & Mr. Richard Aude Robert J. Crutcher Family Trust Dr. Edward & Mrs. Jamie Dabrowski Suzanne Dalton & Clyde Foles Maureen & Jerry◊ D’Avanzo Lillian & Walter Dean 42

DSO PERFORMANCE MAGAZINE

◊

Deceased

WINTER 2022–2023

GIVING OF $2,500 & MORE, CONTINUED Cis Maisel Mr. & Mrs. Charles W. Manke, Jr. Ms. Florine Mark Melissa & Tom Mark Brian & Becky McCabe Dr. & Mrs. Peter M. McCann, M.D. Mr. Anthony Roy McCree Ms. Mary McGough Ms. Kristen McLennan Dr. Donald & Barbara Meier Dr. & Mrs. David Mendelson Olga Sutaruk Meyer Bruce & Mary Miller John & Marcia Miller Mr. & Mrs. Randall Miller Steve & Judy Miller J.J. & Liz Modell Dr. Susan & Mr. Stephen* Molina Dr. Van C. Momon, Jr. & Dr. Pamela Berry Eugene & Sheila Mondry Foundation Mr. & Mrs. Daniel E. Moore Ms. A. Anne Moroun Ms. Sandra Morrison Mr. & Mrs. Germano Mularoni Ms. Jennifer Muse Ms. I. Surayyah R. Muwwakkil Mariam C. Noland & James A. Kelly Megan Norris & Howard Matthew Mr. & Mrs. Robert Obringer Mr. & Mrs. Arthur T. O’Reilly Terry E. Packer Mark Pasik & Julie Sosnowski Ms. Pricilla Perkins Mr. Peter Perlman Wolfgang & Kristine Peterman Ms. Alice Pfahlert Benjamin B. Phillips

Jill M.* & Michael J. Rafferty Drs. Stuart & Hilary Ratner Mr. Tony Raymaker Mr. & Mrs. William A. Reed Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Denise Reske Mr. & Mrs. John Rieckhoff Ms. Linda Rodney Michael & Susan Rontal Mr.◊ & Mrs. Gerald F. Ross Ms. Elana Rugh Linda & Leonard Sahn Ms. Martha A. Scharchburg & Mr. Bruce Beyer Shirley Anne & Alan Schlang Joe & Ashley Schotthoefer Catherine & Dennis B. Schultz Sandy & Alan Schwartz Mrs. Rosalind B. Sell Mr. Jeffrey S. Serman Carlo & Nicole Serraiocco Nancy & Sam Shamie Shapero Foundation Bill & Chris Shell Dr. Les Siegel & Ellen Lesser Siegel Dean P. & D. Giles Simmer William & Cherie Sirois Mr. Michael J. Smith & Mrs. Mary C. Williams Ms. Susan Smith Shirley R. Stancato Peter & Patricia Steffes Dr. Gregory Stephens Mr. Mark Stewart & Mr. Anonio Gamez-Galaz Nancy C. Stocking

Dr. & Mrs. Gerald Stollman Dr. & Mrs. Choichi Sugawa David Szymborski & Marilyn Sicklesteel Dr. Neil Talon Mr. Rob Tanner Sandra & Frank Tenkel Dr. & Mrs. Howard Terebelo Mr. & Mrs. James W. Throop Dr. Barry Tigay Gregory Tocco & Erin Sears Yoni & Rachel Torgow Barbara & Stuart Trager Tom & Laura Trudeau Amanda Van Dusen & Curtis Blessing Charles & Sally Van Dusen Gerald & Teresa Varani Dr.◊ & Mrs. Ronald W. Wadle Mr. Michael A. Walch & Ms. Joyce Keller Mr. Patrick Webster David R. Weinberg, Ph.D. Janis & William Wetsman/ The Wetsman Foundation Beverly & Barry Williams Elizabeth & Michael Willoughby Rissa & Sheldon Winkelman Deborah Lamm Ms. Andrea L. Wulf Ms. Eileen Wunderlich Dr. Sandra & Mr. D. Johnny Yee Mr. & Mrs. Wesley Yee Ms. Gail Zabowski Lucia Zamorano, M.D. Ms. Ellen Hill Zeringue Milton Y. Zussman◊ And seven who wish to remain anonymous

Jean Hudson Ms. Nadine Jakobowski Carole Keller Ms. Ida King Elissa & Daniel Kline Miss Kathryn Korns Ms. Jennette Smith Kotila Mr. and Mrs. William Kroger, Jr. Mrs. Mary Ann LaMonte Ms. Christine M. Leonard Mr. Jeffrey Marraccini Barbara J. Martin Steve & Brenda Mihalik Muramatsu America Flutes Mr. & Mrs. George Nicholson Mrs. Ruth Nix Mr. & Mrs. Mark H. Peterson Drs. Renato & Daisy Ramos Mr. & Mrs. Rodney Rask

Cheryl & Paul Robertson Mr. & Mrs. George Roumell Mr. & Mrs. James P. Ryan Dr. & Mrs. Hershel Sandberg Ms. Joyce E. Scafe Dr. & Mrs. Richard S. Schwartz Mr. & Mrs. Kingsley G. Sears Ms. Sandra Shetler Mrs. Andreas H. Steglich Mr. Jt Stout Mr. & Mrs.◊ John Streit Mr. William Thom David & Lila Tirsell Dennis & Jennifer Varian Ms. Janet Weir Mr. & Mrs.◊ Richard Wigginton Dr. M. Roy & Mrs. Jacqueline Wilson Mr. Peter Zubrin And two who wish to remain anonymous

GIVING OF $1,500 & MORE William Aerni & Janet Frazis Dr. & Mrs. Gary S. Assarian Drs. Richard & Helena Balon Mr. & Mrs. David W. Berry Mrs. Marilyn Bishop Ms. Kristin Bolitho Mr. & Mrs. Richard Burstein Mr. & Mrs. Byron Canvasser Steve & Geri Carlson Mr. & Mrs. Tom Compton Ms. Laurie DeMond-Rosen Gordon & Elaine Didier Mr. & Mrs. Walter E. Douglas Mrs. Connie Dugger Ms. Jodie Elrod Mr. Howard O. Emorey Mr. Joseph & Mrs. Lois Gilmore Howard & Francina Graef Mr. & Mrs. Stanley Hirt

*Current DSO Musician or Staff

dso.org

#IAMDSO

DSO PERFORMANCE MAGAZINE 43

DETROIT SYMPHONY ORCHESTRA

CELEBRATING YOUR LEGACY SUPPORT BARBARA VAN DUSEN, Honorary Chair

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

Ms. Doris L. Adler Dr. & Mrs. William C. Albert Mr.◊ & Mrs. Robert A. Allesee Dr. Lourdes V. Andaya Mr. & Mrs. Eugene Applebaum ◊ Dr. Augustin & Nancy◊ Arbulu Mr. David Assemany & Mr. Jeffery Zook Ms. Sharon Backstrom Sally & Donald Baker Mr. & Mrs. Lee Barthel Mr. Mark G. Bartnik & Ms. Sandra J. Collins Stanley A. Beattie Mr. & Mrs. Mandell L. Berman ◊ Mrs. Betty Blair Ms. Rosalee Bleecker Mr. Joseph Boner Gwen & Richard Bowlby Mr. Harry G. Bowles ◊ Judith Mich ◊ Mrs. Ellen Brownfain William & Julia Bugera CM Carnes Cynthia Cassell, Ph. D. Eleanor A. Christie Ms. Mary F. Christner Mr. Gary Ciampa Robert & Lucinda Clement Lois & Avern◊ Cohn Mrs. RoseAnn Comstock◊ Mr. Scott Cook, Jr. Mr. & Ms. Thomas Cook Dorothy M. Craig Mr. & Mrs. John Cruikshank Julie & Peter Cummings Joanne Danto & Arnold Weingarden Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Ms. Leslie C. Devereaux Mr. John Diebel◊ Mr. Stuart Dow Katherine D. Rines Mr. Roger Dye & Ms. Jeanne A. Bakale Mr. & Mrs. Robert G. Eidson Marianne T. Endicott 44

Mrs. Rema Frankel◊ Virginia B. Bertram ◊ Patricia Finnegan Sharf Ms. Dorothy Fisher◊ Mrs. Marjorie S. Fisher◊ Mr. & Mrs. Phillip Wm. Fisher Dorothy A. & Larry L. Fobes Samuel & Laura Fogleman Mr. Emory Ford, Jr.◊ Endowment Dr. Saul & Mrs. Helen Forman Barbara Frankel & Ron Michalak Herman & Sharon Frankel Jane French Mark & Donna Frentrup Mr. Alan M. Gallatin Janet M. Garrett Dr. Byron P. & Marilyn Georgeson Jim & Nancy Gietzen Mr. Joseph & Mrs. Lois Gilmore Victor◊ & Gale Girolami Ruth & Al◊ Glancy David & Paulette Groen Rosemary Gugino Mr. & Mrs. William Harriss Donna & Eugene Hartwig Ms. Nancy B. Henk Joseph L. Hickey Mr. & Mrs. Thomas N. Hitchman Ronald M. & Carol◊ Horwitz Andy Howell Carol Howell Paul M. Huxley & Cynthia Pasky David & Sheri Jaffa Mr. & Mrs. Thomas H. Jeffs II Mr. & Mrs. Richard J. Jessup Mr. George G. Johnson Lenard & Connie Johnston Ms. Carol Johnston Carol M. Jonson Drs. Anthony & Joyce Kales Faye & Austin Kanter Norb ◊ & Carole Keller Dr. Mark & Mrs. Gail Kelley Dr. Mark & Mrs. Gail Kelley June K. Kendall◊ Dimitri◊ & Suzanne Kosacheff

DSO PERFORMANCE MAGAZINE

Douglas Koschik Mr.◊ & Mrs. Arthur J. Krolikowski Mary Clippert LaMont◊ Ms. Sandra Lapadot Mrs. Bonnie Larson Ann C. Lawson◊ Allan S. Leonard Max Lepler & Rex L. Dotson Dr. Melvin A. Lester◊ Mr. & Mrs.◊ Joseph Lile Harold Lundquist◊ & Elizabeth Brockhaus Lundquist Eric & Ginny Lundquist Roberta Maki Eileen & Ralph Mandarino Judy Howe Masserang Ms. Marilyn Snodgrass◊ Ms. Elizabeth Maysa Mary Joy McMachen, Ph.D. Judith Mich ◊ Rhoda A. Milgrim Mr. & Mrs. Eugene A. Miller John & Marcia Miller Jerald A. & Marilyn H. Mitchell Mr.◊ & Mrs. L. William Moll Shari & Craig Morgan Ms. I. Surayyah R. Muwwakkil◊ Joy & Allan Nachman Mr. Herman Weinreich ◊ Beverley Anne Pack David & Andrea Page ◊ Edna J. Shin Mr. Dale J. Pangonis Ms. Mary Webber Parker◊ Mr. John Diebel◊ Mrs. Sophie Pearlstein◊ Helen & Wesley Pelling◊ Dr. William F. Pickard Mrs. Bernard E. Pincus Ms. Christina Pitts Mrs. Robert Plummer◊ Mr. & Mrs. P. T. Ponta Mrs. Mary Carol Prokop ◊ Ms. Linda Rankin & Mr. Daniel Graschuck Mr. & Mrs. Douglas J. Rasmussen Deborah J. Remer

Mr. & Mrs.◊ Lloyd E. Reuss Mr. Robert E. Wilkins◊ Ms. Marianne Reye Lori-Ann Rickard Bernard & Eleanor Robertson Ms. Barbara Robins Jack & Aviva Robinson◊ Mr.◊ & Mrs. Gerald F. Ross Mr. & Mrs. George Roumell Marjorie Shuman Saulson Mr. & Mrs. Donald & Janet Schenk Ms. Yvonne Schilla Mr. & Mrs. Fred G. Secrest◊ Ms. Marla K. Shelton Ms. June Siebert Mr. & Mrs. Donald R. Simon◊ Ms. Marilyn Snodgrass ◊ Mrs. Margot Sterren◊ Mr. & Mrs. Walter Stuecken Mr.◊ & Mrs. Alexander C. Suczek David Szymborski & Marilyn Sicklesteel Alice ◊ & Paul Tomboulian Roger & Tina Valade Charles & Sally Van Dusen Mr. & Mrs. Melvin VanderBrug Mrs. Inge A. Vincent◊ Christine & Keith C. Weber Mr. Herman Weinreich ◊ John◊ & Joanne Werner Mr.◊ & Mrs. Arthur Wilhelm Mr. Robert E. Wilkins ◊ Mrs. Michel Williams Ms. Nancy S. Williams◊ Mr. Robert S. Williams & Ms. Treva Womble Ms. Barbara Wojtas Elizabeth B. Work◊ Dr. Melissa J. Smiley & Dr. Patricia A. Wren Ms. Andrea L. Wulf Mrs. Judith G. Yaker Milton & Lois Zussman◊ And seven who wish to remain anonymous ◊

Deceased

WINTER 2022–2023

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

Linda Wasserman, Chair Mrs. Katana H. Abbott* Mr. Joseph Aviv Mr. Christopher Ballard* Ms. Jessica B. Blake, Esq. Ms. Rebecca J. Braun Mr. Timothy Compton Ms. Wendy Zimmer Cox* Mr. Robin D. Ferriby* Mrs. Jill Governale*

Mr. Henry Grix* Mrs. Julie Hollinshead, CFA Mr. Mark W. Jannott, CTFA Ms. Jennifer Jennings* Ms. Dawn Jinsky* Mrs. Shirley Kaigler* Mr. Robert E. Kass* Mr. Christopher L. Kelly Mr. Bernard S. Kent

Ms. Yuh Suhn Kim Mr. Henry P. Lee* Mrs. Marguerite Munson Lentz* Mr. J. Thomas MacFarlane Mr. Christopher M. Mann* Mr. Curtis J. Mann Mrs. Mary K. Mansfield Mr. Mark E. Neithercut* Mr. Steve Pierce

Ms. Deborah J. Renshaw, CFP Mr. James P. Spica Mr. David M. Thoms* Mr. John N. Thomson, Esq. Mr. Jason Tinsley* Mr. William Vanover Mr. William Winkler

*Executive Committee Member

Share the music of the DSO with future generations INCLUDE THE DSO AS A BENEFICIARY IN YOUR WILL Remembering the DSO in your estate plans will support the sustainability and longevity of our orchestra, so that tomorrow’s audience will continue to be inspired through unsurpassed musical experiences. If you value the role of the DSO—in your life and in our community—

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

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

DETROIT SYMPHONY ORCHESTRA

dso.org

#IAMDSO

DSO PERFORMANCE MAGAZINE 45

CORPORATE, FOUNDATION, AND GOVERNMENT GIVING Giving of $500,000 & more SAMUEL & JEAN FRANKEL FOUNDATION

Giving of $200,000 & more

Giving of $100,000 & more MARVIN & BETTY DANTO FAMILY FOUNDATION

MICHIGAN STATE POLICE

46

DSO PERFORMANCE MAGAZINE

WINTER 2022–2023

Giving of $50,000 & more Paul M. Angell Family Foundation Broder Sachse Marvin & Betty Danto Family Foundation Edward C. & Linda Dresner Levy Foundation MASCO Corporation MGM Grand Detroit Milner Hotels Foundation Penske Foundation, Inc.

Giving of $20,000 & more Mandell & Madeleine Berman Foundation Blue Star Catering The Clinton Family Fund DeRoy Testamentary Foundation Eleanor & Edsel Ford Fund Henry Ford II Fund

Hudson-Webber Foundation Michigan Council for Arts & Cultural Affairs Myron P. Leven Foundation Schneider-Engstrom Foundation Wolverine Packing Company

Giving of $10,000 & more Laskaris-Jamett Advisors of Raymond James Oliver Dewey Marcks Foundation Karen & Drew Peslar Foundation Stone Foundation of Michigan Sun Communities Inc. Burton A. Zipser & Sandra D. Zipser Foundation

Giving of $5,000 & more

Giving of $1,000 & more

Applebaum Family Philanthropy Creative Benefit Solutions Benson & Edith Ford Fund Honigman LLP Jaffe, Raitt, Heuer and Weiss Marjorie & Maxwell Jospey Foundation PNC Bank – Southeast Florida KPMG LLP Sigmund & Sophie Rohlik Foundation Speyer Foundation Warner Norcross + Judd And one who wishes to remain anonymous

The Children’s Foundation Coffee Express Roasting Company Frank & Gertrude Dunlap Foundation Enterprise Holdings Foundation EY James and Lynelle Holden Fund Japan Business Society of Detroit Foundation Josephine Kleiner Foundation Dolores & Paul Lavins Foundation Ludwig Foundation Fund Madison Electric Company Michigan First Credit Union Plante and Moran, PLLC Renaissance (MI) Chapter of the Links Save Our Symphony Louis & Nellie Sieg Foundation Samuel L. Westerman Foundation And one who wishes to remain anonymous

dso.org

#IAMDSO

DSO PERFORMANCE MAGAZINE 47

TRIBUTE GIFTS

Gifts received September 1, 2021 - October 31, 2022 Tribute gifts to the Detroit Symphony Orchestra are made to honor accomplishments, celebrate occasions, and pay respect in memory or reflection. These gifts support current season projects, partnerships and performances such as DSO concerts, education programs, free community concerts, and family programming. For information about making a tribute gift, please call 313.576.5114 or visit dso.org/donate.

The DSO wishes to thank those who donated in memory of President Emeritus Anne Parsons.

Please visit dso.org/rememberinganne for the full list of donors.

In Honor

Mr. Peter D. Cummings Mr. and Mrs. Larry Sherman

Mrs. Linda Lutz Dr. and Mrs. Sheldon N. Kaftan

Mr. Hai-Xin Wu Dr. Yuson Jung

Denise Figlewicz and Thomas Kozina Ms. Dianne Lattemann

Alex Marshall Mr. and Mrs. Richard Marshall

Mr. Jeffery Zook Dr. Yan Yin

Mr. John A. Boll, Sr. Ms. Joanne Danto and Dr. Arnold Weingarden

Mrs. Mado O. Lie Ms. Paula-Rose Stark

Mr. Ross Tatro Ms. Linda Tatro

Mr. Joseph J. Plaza Jr. Mr. and Mrs. Jerome J. Skiba

Mr. Alexander Thomas Ms. Joanne Danto and Dr. Arnold Weingarden David and Meredith Kaplan Mr. and Mrs. David Sillman Dr. and Mrs. Martin Tessler Dr. and Mrs. Martin L. Weissman

Mr. Stanley Nycek Mr. and Mrs. Richard G. Partrich

In Memory

Mrs. Sylvia Graham Nick Brien Mrs. Geraldine Kruse Paul and Ronia Kruse

Mrs. Arlene Rose Mr. and Mrs. Seymour Dubrinsky Mrs. Annette K. Sipher Mrs. Edna Freier

48

DSO PERFORMANCE MAGAZINE

WINTER 2022–2023

UPCOMING CONCERTS & EVENTS

Alexander Gavrylyuk February 23-25

Tai Murray

TICKETS & INFO 313.576.5111 or dso.org

PNC POPS SERIES

FRANK & THE GREAT LADIES OF SONG Fri, Feb 10 - Sun, Feb 12 DSO PRESENTS

THE PRINCESS BRIDE IN CONCERT Tues, Feb 14 - Wed, Feb 15 PVS CLASSICAL SERIES

SHOSTAKOVICH’S FIFTH SYMPHONY & SAXOPHONE CONCERTO WORLD PREMIERE Sat, Feb 18 - Sun, Feb 19 PVS CLASSICAL SERIES

BIGNAMINI CONDUCTS NIGHT ON BALD MOUNTAIN & GRIEG Thu, Feb 23 - Sat, Feb 25

dso.org

March 16-19

Frank and the Great Ladies of Song February 10-12

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES

PVS CLASSICAL SERIES

CLASSICAL ROOTS Fri, Mar 3 - Sat, Mar 4

DVOŘÁK’S VIOLIN CONCERTO

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES

PVS CLASSICAL SERIES

Thu, Mar 16 - Sun, Mar 19

SINKOVSKY PLAYS BACH

BRAHMS’ FOURTH SYMPHONY & RACHMANINOFF PIANO CONCERTO NO. 2

Thu, Mar 9 - Sun, Mar 12 PNC POPS SERIES

Fri, Mar 24 - Sun, Mar 26

SONDHEIM & BEYOND Fri, Mar 10 - Sun, Mar 12

PVS CLASSICAL SERIES

JADER CONDUCTS STRAVINSKY’S FIREBIRD

TINY TOTS CONCERT SERIES

GEMINI

Thu, Mar 30 - Sat, Apr 1

Tiny Tots (Ages 2-5) Sat, Mar 11 at 10 AM YOUNG PEOPLE’S FAMILY CONCERT SERIES

SYMPHONIC SUPERHEROES Young People’s Family Concert (Ages 6+) Sat, Mar 11 at 11 AM #IAMDSO

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

DSO PERFORMANCE MAGAZINE 49

WELCOME TO THE MAX

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

THE MAX M. & MARJORIE S. FISHER MUSIC CENTER 3711 Woodward Avenue Detroit, MI 48201 Box Office: 313.576.5111 Group Sales: 313.576.5111 Administrative Offices: 313.576.5100 Facilities Rental Info: 313.576.5131 Visit the DSO online at dso.org For general inquiries, please email info@dso.org

Parking

Accessibility

WiFi

The DSO Parking Deck is located at 81 Parsons Street. Self-parking in the garage costs $10 for most concerts (credit card payment only).

Accessible parking is available on the first and second floors of the garage. Note that handicapped parking spaces go quickly, so please arrive early!

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

Complimentary WiFi is available throughout The Max. Look for the DSOGuest network on your device.

And be sure to tag your posts with #IAMDSO!

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

Shop @ The Max

• The DSO’s Sennheiser MobileConnect hearing assistance system is available for all performances in Orchestra Hall. You can use your own mobile device and headphones by downloading the Sennheiser MobileConnect app, or borrow a device by visiting the Box Office. This system is made possible by the Michigan Ear Institute.

The Herman and Sharon Frankel Donor Lounge

What Should I Wear?

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

Food and Drink Concessions are available for purchase on the first floor of the William Davidson Atrium at most concerts, and light bites are available in the Paradise Lounge on the second floor. Bars are located on the first and third floors of the William Davidson Atrium and offer canned sodas (pop, if you prefer), beer, wine, and specialty cocktail mixes.

Patrons are welcome to bring drinks to their seats at all performances except Friday morning Coffee Concerts; food is not allowed in Orchestra Hall.

Please note that outside food and beverages are prohibited.

50

• Available at the Box Office during all events at The Max, the DSO offers sensory toolkits to use free of charge, courtesy of the Mid-Michigan Autism Association. The kits contain items that can help calm or stimulate a person with a sensory processing difference, including noise-reducing headphones and fidget toys. The DSO also has a quiet room, available for patrons to use at every performance • Check out the Accessibility tab on dso.org/yourexperience to learn more

DSO PERFORMANCE MAGAZINE

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

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

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

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

WINTER 2022–2023

POLICIES HEALTH & SAFETY n The DSO no longer requires audiences to provide proof of COVID-19 vaccination or a negative COVID-19 test to attend performances. n Masks are optional although strongly recommended at DSO performances, particularly when Wayne County and surrounding communities are in the high or “red” category as defined by the CDC. n We ask all audience members to do their part to create a safe environment for everyone and encourage those who are not feeling well to stay home. n We will continue to communicate our policies to ticketholders in advance of their concerts and will provide updates should protocols change throughout the season.

SEATING Please note that all patrons (of any age) must have a ticket to attend concerts.

If the music has already started, an usher will ask you to wait until a break before seating you. The same applies if you leave Orchestra Hall and re-enter. Most performances are broadcast (with sound) on a TV in the William Davidson Atrium.

dso.org

TICKETS, EXCHANGES, AND CONCERT CANCELLATIONS n All sales are final and non-refundable. n Even though we’ll miss you, we understand that plans can change unexpectedly, so the DSO offers flexible exchange and ticket donation options. n Please contact the Box Office to exchange tickets and for all ticketing questions or concerns. n The DSO is a show-must-go-on orchestra.

In the rare event a concert is cancelled, our website and social media feeds will announce the cancellation, and patrons will be notified of exchange options.

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

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

#IAMDSO

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

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

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

Visit dso.org for more.

SMOKING Smoking and vaping are not allowed anywhere in The Max.

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

DSO PERFORMANCE MAGAZINE 51

A D M I N I S T R AT I V E S TA F F EXECUTIVE OFFICE

ORCHESTRA OPERATIONS

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

Kathryn Ginsburg General Manager

Jill Elder Vice President and Chief Revenue Officer Linda Lutz Vice President and Chief Financial and Administrative Officer Joy Crawford Executive Assistant to the President and CEO Serena Donadoni Executive Assistant to the Vice President and Chief Revenue Officer Anne Parsons ◊ President Emeritus

ARTISTIC OPERATIONS

Patrick Peterson Director of Orchestra Personnel Dennis Rottell Stage Manager Benjamin Brown Production Manager Nolan Cardenas Audition and Operations Coordinator Bronwyn Hagerty Orchestra and Training Programs Librarian Benjamin Tisherman Manager of Orchestra Personnel

Susan Queen Gift Officer, Corporate Giving

Sarah Smarch Director of Content and Storytelling

Cassidy Schmid Manager of Campaign Operations

Natalie Berger Video Content Specialist

Shalynn Vaughn Major Gift Officer

LaToya Cross Communications and Advancement Content Specialist

BUILDING OPERATIONS

Hannah Engwall Public Relations Manager

Ken Waddington Senior Director of Facilities and Engineering Cedric Allen EVS Technician Teresa Beachem Chief Engineer Demetris Fisher Manager of Environmental Services (EVS)

ADVANCEMENT

ARTISTIC PLANNING

Alex Kapordelis Senior Director, Campaign

Jessica Ruiz Senior Director of Artistic Planning

Jill Rafferty Senior Director of Advancement

Robert Hobson Chief Maintenance Technician

Jessica Slais Creative Director of Popular and Special Programming

Audrey Kelley Director of Executive and Board Operations

Daniel Speights EVS Technician

Amanda Tew Director, Advancement Operations

CATERING AND RETAIL SERVICES

Beth Carlson Stewardship Coordinator

Christina Williams Director of Patron and Event Experience

D. Kenji Lee Jazz and @ THE MAX Coordinator Claudia Scalzetti Artistic Coordinator Lindzy Volk Artist Liaison Goode Wyche Manager of Jazz and @ THE MAX

LIVE FROM ORCHESTRA HALL Marc Geelhoed Executive Producer of Live from Orchestra Hall

William Guilbault EVS Technician

Damaris Doss Major Gift Officer

Neva Kirksey Manager of Events and Rentals

Leslie Groves Major Gift Officer

Alison Reed, CVA Manager of Volunteer and Patron Experience

Ali Huber Signature Events Manager Jane Koelsch Fulfillment Coordinator Colleen McLellan Institutional Gift Officer Juanda Pack Advancement Benefits Concierge

52

DSO PERFORMANCE MAGAZINE

◊

Deceased

Andre Williams Beverage Manager

COMMUNICATIONS Matt Carlson Senior Director, Communications and Media Relations

Francesca Leo Public Relations Coordinator

COMMUNITY & LEARNING Karisa Antonio Director of Social Innovation Damien Crutcher Managing Director of Detroit Harmony Debora Kang Director of Education Clare Valenti Director of Community Engagement Kiersten Alcorn Manager of Community Engagement Chris DeLouis Training Ensembles Operations Coordinator Erin Dowler Detroit Harmony Operations Assistant Joanna Goldstein Training Ensembles Student Development Coordinator Anne Leech Detroit Strategy Specialist Kendra Sachs Training Ensembles Recruitment and Communications Coordinator

WINTER 2022–2023

FINANCE Michelle Cooper Senior Director of Accounting and Finance Adela Löw Director of Accounting and Financial Reporting Sandra Mazza Senior Accountant, Business Operations Sarah Nawrot Accounting Clerk

HUMAN RESOURCES Hannah Lozon Senior Director of Talent and Culture Angela Stough Director of Human Resources Shuntia Perry Recruitment and Employee Experience Specialist

INFORMATION TECHNOLOGY William Shell Director of Information Technology Michelle Koning Web Manager Len Messing Systems Administrator Aaron Tockstein Database Administrator

Dorian Dillard Marketing and Promotions Coordinator Jay Holladay Brand Graphic Designer Crystal Mann Loyalty Marketing Strategist LaHeidra Marshall Marketing Projects Specialist Connor Mehren Digital Marketing Strategist Kristin Pagels-Quinlan Content Marketing Strategist

PATRON SALES & SERVICE Michelle Marshall Director of Patron Sales and Service Sharon Gardner Carr Assistant Manager of Tessitura and Ticketing Operations Rollie Edwards Patron Sales and Service Specialist James Sabatella Group and Patron Services Specialist

SAFETY & SECURITY George Krappmann Director of Safety and Security

MARKETING & AUDIENCE DEVELOPMENT

Willie Coleman Security Officer

Charles Buchanan Senior Director of Marketing and Audience Development

Tony Morris Security Officer

Teresa Alden Director of Growth and Acquisition Rebecca Villarreal Director of Subscriptions and Loyalty

dso.org

PERFORMANCE Winter • 2021-2022 Season

Hannah Engwall, editor hengwall@dso.org • ECHO PUBLICATIONS, INC. Tom Putters, publisher James Van Fleteren, designer echopublications.com • Cover design by Jay Holladay • To advertise in Performance: call 248.582.9690 or email info@echopublications.com Read Performance anytime! dso.org/performance

Norris Jackson Security Officer

Johnnie Scott Safety and Security Manager Antonio Thomas Security Officer

#IAMDSO

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

DSO PERFORMANCE MAGAZINE 53

MARIA SCHNEIDER

JEAN-YVES

ORCHESTRA

THIBAUDET

SUNDAY, MARCH 12 4 PM

THURSDAY, MARCH 30 7:30 PM

MARIA JOÃO PIRES

EVGENY RENÉE JEAN-YVES

& PARTITURA PIANISTS

FLEMING KISSIN THIBAUDET

SUNDAY, MAY 21 4 PM

SATURDAY, MAY 27 8 PM

EXPLORE THE SEASON AT THEGILMORE.ORG

144TH SEASON

LIVE THE MOMENT

SPHINX SYMPHONY ORCHESTRA

WITH EXIGENCE (EUGENE ROGERS, MUSIC DIRECTOR) Tito Muñoz, conductor Aundi Marie Moore, soprano

Sun Jan 29 // 2 pm Hill Auditorium (Ann Arbor)

Detroit’s Sphinx Organization celebrates its 25th anniversary with a program featuring works by African American and Latinx composers.

Principal Sponsors: Ken Fischer Legacy Endowment Fund

DANIEL HOPE, VIOLIN ZURICH CHAMBER ORCHESTRA Violinist Daniel Hope brings the Zurich Chamber Orchestra in a new program that takes a deep dive into the rich repertoire of American music, including Aaron Copland, Duke Ellington, Florence Price, Philip Glass, and George Gershwin.

Fri Mar 17 // 8 pm Hill Auditorium (Ann Arbor)

TICKETS AT UMS.ORG 734-764-2538