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VOL. XXII • 2013-2014 SEASON

SPRING 2014

PERFORMANCE THE MAGAZINE OF THE DETROIT SYMPHONY ORCHESTRA

John Williams and Steven Spielberg: A Benefit concert  PAGE 10


Working with donors, corporations and nonprofits throughout the region to create lasting change. cfsem.org


Contents PERFORMANCE Volume XXII / Spring 2014 2013–14 Season

Editor Gabrielle Poshadlo gposhadlo@dso.org 313.576.5194

Departments

4 Directors, Trustees and Volunteer Council 5 Governing Members

DSO Box Office: 313.576.5111 Box Office Fax: 313.576.5101 DSO Group Sales: 313.576.5130 Rental Info: 313.576.5050 Email: info@dso.org Web site: dso.org Subscribe to our e-newsletter via our website to receive updates and special offers. Performance is published by the DSO and Echo Publications, Inc. u Echo Publications, Inc. 248.582.9690 echopublications.com

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

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

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

Concerts

30 Education News

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

31 Donor Roster

Features

10 John Williams and Steven Spielberg: A Benefit Concert

JOHN WILLIAMS STEVEN SPIELBERG

&

Tom Putters, president tom@echopublications.com Toby Faber, advertising director To advertise in Performance, call 248.582.9690 or email info@echopublications.com Performance magazine online: dsoperformance.com u To report an emergency during a concert, call 313.576.5119. To make special arrangements to receive emergency phone calls during a concert, ask for the house manager. It is the policy of the Detroit Symphony Orchestra that concerts, activities and services are offered without regard to race, color, religion, national origin, handicap, age or gender. The DSO is an Equal Opportunity Employer. Activities of the DSO are made possible in part with the support of the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs. The DSO can be heard on the Chandos, Columbia, DSO, Koch, London, Naxos, Mercury Records and RCA labels.

DSO.ORG

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Detroit Symphony Orchestra, Inc. LIFETIME DIRECTORS

Samuel Frankel†

David Handleman, Sr.†

Dr. Arthur L. Johnson†

Clyde Wu, M.D.

DIRECTORS AND TRUSTEES

The Board of Directors is responsible for maintaining a culture of high engagement, accountability and strategic thinking. As fiduciaries, Directors of the Board oversees all DSO financial activities and assures that resources are aligned with the DSO mission. The Board of Trustees is tasked with shepherding the long-term strategy of the DSO to fully implement the organization’s entrepreneurial capabilities while developing and presenting new strategies and objectives.

OFFICERS

Phillip Wm. Fisher, Chairman

Mark A. Davidoff, Vice Chair, Financial Operations and Sustainability

Michael J. Keegan, Vice Chair, Strategy and Innovation

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

Glenda D. Price, Ph. D., Secretary Arthur Weiss, Treasurer

Arthur T. O’Reilly, Officer-at-large

Anne Parsons, President & CEO

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

EMERITUS DIRECTORS

Robert A. Allesee Floy Barthel Mrs. Mandell L. Berman John A. Boll, Sr. Richard A. Brodie

Lois and Avern Cohn Marianne Endicott Sidney Forbes Mrs. Harold Frank Barbara Frankel

Paul Ganson Mort and Brigitte Harris Gloria Heppner, Ph.D. Hon. Damon J. Keith Richard P. Kughn Harold Kulish

Robert H. Bluestein Gary L. Cowger Peter D. Cummings, Chairman Emeritus Maureen T. D’Avanzo Richard L. DeVore James C. Farber, Chairman, Governing Members Samuel Fogleman Herman Frankel

Stanley Frankel, Chairman Emeritus Ralph J. Gerson Alfred R. Glancy III, Chairman Emeritus Herman B. Gray, M.D. Randall Hawes, Orchestra Representative Nicholas Hood, III Ronald M. Horwitz

Steve Miller, Chairman Emeritus Robert E.L. Perkins, DDS Marilyn Pincus Lloyd E. Reuss Jack Robinson

BOARD OF DIRECTORS Larry Hutchinson, Orchestra Representative William P. Kingsley Bonnie Larson Matthew B. Lester, Chairman, Board of Trustees Melvin A. Lester, M.D. Arthur C. Liebler Laura Marcero

Xavier Mosquet Joe Mullany David Robert Nelson Faye Alexander Nelson James B. Nicholson, Chairman Emeritus Stephen Polk Bernard I. Robertson Marjorie S. Saulson

Alan E. Schwartz Jean Shapero David Usher Barbara Van Dusen

Deborah Savoie, Volunteer Council President David Sherbin Ann Marie Uetz Janice Uhlig Ted Wagner Hon. Kurtis T. Wilder M. Roy Wilson Clyde Wu, M.D.

BOARD OF TRUSTEES Ismael Ahmed Rosette Ajluni Devon Akmon Dan Angelucci Janet M. Ankers Penny B. Blumenstein Liz Boone Andrew Camden Joanne Danto Stephen D’Arcy Karen Davidson

Linda Dresner Eugene Driker Norah Duncan Afa Dworkin J. Mikel Ellcessor Mike Fezzey Jennifer Fischer Sven Gierlinger Allan D. Gilmour Malik Goodwin Carol Goss

Matthew B. Lester, Chairman Antoinette G. Green Deirdre Greene Groves Ric Huttenlocher Sharad P. Jain Renee Janovsky Joey Jonna Joel D. Kellman Ingrid LaFleur Jack Liang Virginia Lundquist Florine Mark David McCammon

Kurt Metzger Edward K. Miller Lois A. Miller James C. Mitchell, Jr. Scott Monty Sue Mosey Kathleen Mullins Sean M. Neall Tom O’Brien Maury Okun William F. Pickard Rick Robinson

Lois L. Shaevsky Jane Sherman Stephen Strome Mark Tapper Michael R. Tyson Dana Warg Gwen Weiner Jennifer Whitteaker R. Jamison Williams Margaret Winters

GOVERNING MEMBERS

Governing Members is a philanthropic leadership group designed to provide unique, substantive, hands-on opportunities for leadership and access to a diverse group of valued stakeholders. Governing Members are ambassadors for the DSO and advocates for arts and culture in Detroit and throughout Southeast Michigan. This list reflects gifts received from September 1, 2012 through February 1, 2014. For more information about the Governing Members program, please call Cassie Brenske, Governing Members Gift Officer, at 313.576.5460.

OFFICERS

James C. Farber Chairman Jiehan Alonzo Vice Chair, Outreach

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Jan Bernick Vice Chair, Philanthropy Bonnie Larson Vice Chair, Engagement

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Arthur T. O’Reilly Chairman Emeritus

Frederick J. Morsches Vice Chair, Communications

Ken Thompkins Musician Liaison

Maureen T. D’Avanzo Vice Chair, Membership Caroline Coade Musician Liaison DSO.ORG


Mr. & Mrs. Richard L. Alonzo Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Mr. & Mrs. Eugene Applebaum Dr. & Mrs. Ali-Reza R. Armin Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook Mr. & Mrs. John Axe Ms. Ruth Baidas Mr. John Barbes Mr. J. Addison Bartush David & Kay Basler Mr. & Mrs. Martin S. Baum Mary Beattie Ms. Margaret Beck Mr. Chuck Becker Mrs. Harriett Berg Drs. John & Janice Bernick Mrs. John G. Bielawski† Mr. & Mrs. Lawrence Bluth Ms. Jane Bolender Mr. & Mrs. Jim Bonahoom Ms. Nadia Boreiko Dr. & Mrs. Rudrick E. Boucher Gwen & Richard Bowlby Mr. Anthony F. Brinkman Mr. Scott Brooks Robert N. & Claire P. Brown Mr. & Mrs. Mark R. Buchanan Michael & Geraldine Buckles Mr. H. William Burdett, Jr. Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Philip & Carol Campbell Dr. & Mrs. Thomas E. Carson Mr. Daniel Clancy & Mr. Jack Perlmutter Gloria & Fred Clark Jack, Evelyn & Richard Cole Family Foundation Dr. & Mrs. Charles G. Colombo Mrs. RoseAnn Comstock Mr. & Mrs. Thomas W. Cook Dr. & Mrs. Ivan Louis Cotman Mr. Gary Cone & Ms. Aimée Cowher Mr. & Mrs. Raymond M. Cracchiolo Thomas & Melissa Cragg Suzanne Dalton & Clyde Foltyn Mr. Christopher Danato Dr. Joseph Daniel & Mr. Alfredo Silvestre Marvin & Betty Danto Family Foundation Mr. & Mrs. Colin Darke Barbara A. David Ms. Barbara Davidson Lillian & Walter Dean Beck Demery Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Ms. Leslie Devereaux Mr. & Ms. Ric L. DeVore Adel & Walter Dissett Mr. & Mrs. Mark Domin Mr. & Mrs. Walter E. Douglas Ms. Judith Doyle Eugene & Elaine Driker Paul† & Peggy Dufault Mr. & Mrs. Robert Dunn Jeanne Bakale & Roger Dye

GOVERNING MEMBERS CONTINUED

Mrs. George D. Dzialak Dr. Leo & Mrs. Mira Eisenberg Dr. & Mrs. A. Bradley Eisenbrey Ms. Jennifer Engle Mr. & Mrs. John M. Erb Sanford Hansell & Dr. Raina Ernstoff Mary Sue & Paul E. Ewing Mr. David Faulkner Mr. & Mrs. Oscar Feldman Anthony and Carol Fielek Mrs. Kathryn L. Fife Ron Fischer & Kyoko Kashiwagi Mr. & Mrs. Alfred J. Fisher, III Mr. & Mrs. Herbert Fisher Mrs. Marjorie S. Fisher Dr. Marjorie M. Fisher Mr. & Mrs. Steven Fishman Mr. David Fleitz Emory M. Ford, Jr.† Endowment Dr. Saul & Mrs. Helen Forman Dale & Bruce Frankel Ms. Carol A. Friend & Mr. Mark T. Kilbourn Mr. & Mrs. Daniel E. FrohardtLane Lynn & Bharat Gandhi Mr. & Mrs. Paul Ganson Mr. & Mrs. Eugene A. Gargaro, Jr. Dorothy & Byron† Gerson Mrs. Gale Girolami Dr. Kenneth & Roslyne Gitlin Dr. & Mrs. Theodore Golden Dr. Robert T. Goldman Mr. Nathaniel Good Goodman Family Charitable Trust Dr. Allen Goodman & Dr. Janet Hankin Robert & Mary Ann Gorlin Mr. Jason Gourley & Mrs. Rebekah Page-Gourley Mr. & Mrs. James A. Green Dr. & Mrs. Steven Grekin Mr. Jeffrey Groehn Mr. & Mrs. James Grosfeld Alice Berberian Haidostian Dr. Algea Hale Mr. and Mrs. Kenneth Hale Mr. & Mrs. Tim & Rebecca Haller Robert & Elizabeth Hamel Erie-St Clair Clinic Mr. Lorne Hanley Randall L. & Nancy Caine Harbour Scott Harrison & Angela Detlor Mr. Lee V. Hart & Mr. Charles L. Dunlap Cheryl A. Harvey Dr. & Mrs. Gerhardt Hein Mr. & Mrs. Demar W. Helzer Ms. Nancy Henk Ms. Doreen Hermelin Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. & Mrs. Norman H. Hofley Lauri & Paul Hogle Dr. Deanna & Mr. David B. Holtzman Jack & Anne Hommes Mr. Matthew Howell & Mrs. Julie Wagner Mr. F. Robert Hozian Jean Wright & Joseph L. Hudson, Jr. Fund

Julius & Cynthia Huebner Foundation Mr. & Mrs. A. E. Igleheart Ira & Brenda Jaffe Mr. & Mrs. Richard J. Jessup Mr. John S. Johns Mr. George Johnson Lenard & Connie Johnston Mrs. Ellen D. Kahn Faye & Austin Kanter Mr. & Mrs. Norman D. Katz Betsy & Joel Kellman Martin & Cis Maisel Kellman Mr. & Mrs. Bernard S. Kent Michael E. Smerza & Nancy Keppelman Mr. Patrick J. Kerzic & Stephanie Germack Kerzic Dr. David & Elizabeth Kessel The Stephanie & Frederic Keywell Family Fund Mrs. Frances King Thomas & Linda Klein Mr. & Mrs. Thomas N. Klimko Margot Kohler Ms. Rozanne Kokko Dr. Harry & Katherine Kotsis Robert C. & Margaret A. Kotz Mr. Julius Kusey Mr. & Mrs. David Kuziemko Joyce LaBan Dr. Raymond Landes & Dr. Melissa McBrien-Landes Mr. James M. Landis, Jr. Ms. Sandra Lapadot Ms. Anne T. Larin Dolores & Paul Lavins Dr. Klaudia Plawny-Lebenbom Mr. David Lebenbom Marguerite & David Lentz Allan S. Leonard Max Lepler & Rex L. Dotson Mr. & Mrs. John D. Lewis Mrs. Melissa Liberty Mr. & Mrs. Arthur C. Liebler Mr. & Mrs. Robert Liggett Mr. & Mrs. Joseph Lile Mr. Gregory Liposky The Locniskar Group Mr. & Mrs. Harry A. Lomason Dr. & Mrs. Charles Lucas Mr. Robert A. Lutz Mrs. Sandra MacLeod Dr. & Mrs. Donald MacQueen Margaret Makulski & James Bannan Mr. & Mrs. Charles W. Manke, Jr. Elaine & Mervyn Manning Mr. & Mrs. Patrick Mansfield Mr. & Mrs. David S. Maquera Esq Maureen & Mauri Marshall Dr. & Mrs. Peter M. McCann M.D. Ms. LeAnne McCorry Mr. & Mrs. Alonzo McDonald Alexander & Evelyn McKeen Patricia A. & Patrick G. McKeever Susanne O. McMillan Dr. & Mrs. Donald A. Meier Dr. & Mrs. David Mendelson Mr. Roland Meulebrouck Mrs. Thomas Meyer Ms. Deborah Miesel Mr. Louis Milgrom

Bruce & Mary Miller John & Marcia Miller Mr. & Mrs. Leonard G. Miller Dr. Robert & Dr. Mary Mobley Mr. Stephen & Dr. Susan Molina Drs. Amit and Meeta Mohindra Eugene & Sheila Mondry Foundation Mr. & Mrs. Craig R. Morgan Ms. A. Anne Moroun Ms. Florence Morris Mr. Frederick Morsches Cyril Moscow Dr. Stephen & Dr. Barbara Munk Mr. Bruce Murphy Joy & Allan Nachman Edward & Judith Narens Geoffrey S. Nathan & Margaret E. Winters Mr. & Mrs. Mark Neville Jim & Mary Beth Nicholson Patricia & Henry Nickol Mr. & Mrs. David E. Nims Joanna P. Morse & Arthur A. Nitzsche Mariam C. Noland & James A. Kelly Mr. Thomas Norris Mr. & Mrs. Stanley Nycek Jo Elyn Nyman Mr. & Mrs. Joshua Opperer David & Andrea Page Mrs. Margot Parker Mr. & Mrs. Richard G. Partrich Dr. & Mrs. Claus Petermann Mr. Charles Peters Donald & Jo Anne Petersen Fund Mrs. Bernard E. Pincus Mrs. Helen F. Pippin Mr. & Mrs. Jack Pokrzywa Ms. Judith Polk William & Wendy Powers Mrs. Susan Priester Mr. & Mrs. Nicolas I. Quintana Ms. Michele Rambour Mr. & Mrs. Gary Ran Mr. Richard Rapson Drs. Stuart & Hilary Ratner Ms. Ruth Rattner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Carol & Foster Redding Mr. & Mrs. Dave Redfield Dr. Claude & Mrs. Sandra Reitelman Mr. Jason Remisoski Denise Reske Barbara Gage Rex Dr. & Mrs. John Roberts Mrs. Ann C. Rohr Seth & Laura Romine Norman & Dulcie Rosenfeld Mr. & Mrs. Robert B. Rosowski Mr. & Mrs. Hugh C. Ross Mr. R. Desmond Rowan Jane & Curt Russell Mrs. Lois V. Ryan Martie & Bob Sachs Dr. Mark & Peggy Saffer Dr. Hershel Sandberg Ruth & Carl Schalm Ms. Martha A. Scharchburg & Mr. Bruce Beyer

Mr. & Mrs. Alan S. Schwartz Mr. & Mrs. Kingsley G. Sears Mr. & Mrs. Fred Secrest Mr. Merton J. & Beverly Segal Elaine & Michael Serling Mr. Stephan Sharf† Ms. Cynthia Shaw Mr. & Mrs. James H. Sherman Dr. Les & Mrs. Ellen Siegel Coco & Robert Siewert Mr. & Mrs. Donald R. Simon Mr. & Mrs. William Sirois William H. & Patricia M. Smith Leonard and Nancy Smith Mr. & Mrs. S. Kinnie Smith, Jr. John J. Solecki Richard Sonenklar & Gregory Haynes Renate & Richard Soulen Ms. Wanda & Ms. Eugenia Staszewski Dr. Gregory Stephens Professor Calvin L. Stevens Mr. Clinton F. Stimpson, Jr. Dr. & Mrs. Charles D. Stocking Mr. & Mrs. Ray Stone Mrs. Kathleen Straus & Mr. Walter Shapero Mr. & Mrs. John Stroh III Stephen & Phyllis Strome David Szymborski & Marilyn Sicklesteel Dorothy I. Tarpinian Shelley & Joel Tauber Mr. & Mrs. James W. Throop Alice & Paul Tomboulian Dr. Doris Tong & Dr. Teck M. Soo Mr. & Mrs. Michael Torakis Barbara & Stuart Trager Amanda Van Dusen & Curtis Blessing Mr. & Mrs. Charles B. Van Dusen Mr. Robert VanWalleghem Mr. & Mrs. George C. Vincent Ms. Phyllis Vroom Mr. & Mrs. William Waak Dr. & Mrs. Ronald W. Wadle Mr. & Mrs. Jonathan T. Walton Ann Kirk Warren Gary L. Wasserman Mr. Patrick Webster Mr. Herman W. Weinreich Mr. & Mrs. Lawrence Weisberg Ambassador & Mrs. Ronald N. Weiser Janis & William M. Wetsman / The Wetsman Foundation Mr. & Mrs. John Whitecar Dr. Amy M. Horton & Dr. Kim Allan Williams Beverly & Barry Williams Rissa & Sheldon Winkelman Mrs. Beryl Winkelman Mr. Jonathan Wolman & Mrs. Deborah Lamm Mr. & Mrs. Warren G. Wood Ms. June Wu Dr. & Mrs. Robert E. Wurtz Mrs. Judith G. Yaker Dr. Alit Yousif & Mr. Kirk Yousif Mr. & Mrs. Alan Zekelman Paul & Terese Zlotoff Milton & Lois Zussman

VOLUNTEER COUNCIL 2013-15

Deborah Savoie President Marlene Bihlmeyer Vice President for Youth Music Education Kelly Hayes Vice President for Membership

DSO.ORG

OFFICERS

Esther Lyons Vice President for Admin/ Office Services Virginia Lundquist Executive Vice President Debra Partrich Chief Financial Officer Karla Sherry Vice President for Special Events

E. Jane Tahlia Vice President for Neighborhood/Residency Ambassador Ellie Tholen Vice President for Public Relations Julie Zussmans Recording Secretary

BOARD OF DIRECTORS

Mark Abbott Musician Liaison Mary Beattie Gwen Bowlby Laura Fogleman Chelsea Kotula Staff Liaison Sandie Knollenberg Lori Knollenberg Magda Moss

Todd Peplinski Delores Reese Marcus Schoon Musician Liaison Eleanor Siewert Ex-Officio (Parliamentarian) Emily Tennyson Jamie Thomas Charlotte Worthen

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

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

First Violin

Yoonshin Song Concertmaster Katherine Tuck Chair

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

Marguerite Deslippe *

Laurie Landers Goldman * Rachel Harding Klaus * Eun Park *

Adrienne Rönmark * Laura Soto *

Greg Staples *

Jiamin Wang *     

Second Violin  

Adam Stepniewski Acting Principal The Devereaux Family Chair Ron Fischer *

Sheryl Hwangbo * Hong-Yi Mo *

Shanda Lowery-Sachs Hart Hollman   Han Zheng  

Catherine Compton

Alexander Mishnaevski Principal Emeritus   

Cello

Dahae Kim Assistant Principal Dorothy and Herbert Graebner Chair

Viola  

James VanValkenburg Acting Principal Julie and Ed Levy, Jr. Chair Caroline Coade   Acting Assistant Principal

Bryan Kennedy

Librarians

Donald Baker Principal Jack A. and Aviva Robinson Chair Shelley Heron Maggie Miller Chair

Brian Ventura Assistant Principal

Peter McCaffrey * Úna O’Riordan *

 

Haden McKay *

Monica Fosnaugh    

Paul Wingert * Victor and Gale Girolami Chair

Clarinet

Open Principal James C. Gordon Chair  

Bass  

Stephen Molina Acting Principal Van Dusen Family Chair Linton Bodwin  

Stephen Edwards

Larry Hutchinson Craig Rifel     

Harp  

Flute

 

Oboe

English Horn

David LeDoux *

Jing Zhang *  

Robert Murphy * ~

Timpani

Monica Fosnaugh    

Joseph Striplin * Marian Tanau *

Horn

Jeffery Zook

Robert Bergman *

Patricia Masri-Fletcher Principal Winifred E. Polk Chair

Bruce Smith *

Piccolo

 

David Buck Principal Women’s Association for the DSO Chair

Sharon Sparrow Acting Assistant Principal Jeffery Zook       

Theodore Oien Principal Robert B. Semple Chair

Open PVS Chemicals, Inc./ Jim and Ann Nicholson Chair Laurence Liberson Assistant Principal Shannon Orme

E-Flat Clarinet

Laurence Liberson Bass Clarinet

Shannon Orme Barbara Frankel and Ronald Michalak Chair  

Bassoon  

Robert Williams Principal

Karl Pituch Principal

Johanna Yarbrough

David Everson Assistant Principal Mark Abbott        Trumpet   

Hunter Eberly Principal Lee and Floy Barthel Chair Kevin Good

Stephen Anderson Assistant Principal William Lucas        Trombone   

Kenneth Thompkins Principal

Nathaniel Gurin ^ Assistant Principal Randall Hawes

Bass Trombone Randall Hawes      Tuba        

Dennis Nulty Principal        

Percussion      

Joseph Becker Principal Ruth Roby and Alfred R. Glancy III Chair

Open William Cody Knicely Chair

Open

Robert Stiles Principal

Ethan Allen       

Personnel Managers

Stephen Molina Orchestra Personnel Manager Heather Hart Rochon Assistant Orchestra Personnel Manager Assistant Conductor Teddy Abrams

Stage Personnel Frank Bonucci Stage Manager

Steven Kemp Department Head Matthew Pons Department Head

Michael Sarkissian Department Head Legend

^ Extended Leave

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

§ African-American Orchestra Fellow ~ On Sabbatical

Victoria King

Michael Ke Ma Assistant Principal Marcus Schoon

Garrett McQueen §      Contrabassoon Marcus Schoon

Glenn Mellow Hang Su  

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

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DSO.ORG


SUPPORTING THE ARTS Honigman is proud to support the DSO, one of our community’s outstanding cultural institutions. We applaud our many colleagues’ current service as Directors and Trustees, and as Gabrilowitsch Society, Governing Members and “Next Gen” leaders. In particular, we honor our founding partner Alan E. Schwartz for his more than fifty years of service on the DSO board.

WWW.HONIGMAN.COM

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TO MIDTOWN’S PREMIER ADDRESS

FOR SALE

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PROPERTY HIGHLIGHTS

SMILEY MANSION

+ 21,000 sf Main Building and 5,700 sf Carriage House + Prime Woodward Avenue Frontage and Exposure + Ideal for Executive, Legal, or Non-Profit Offices, Ethnic Museum, Consulate, Development Office

Call Levi Smith/John De Wald

+ Desirable University, Cultural, and Medical Districts of Midtown Detroit + Renovated in 1992


Welcome Message

News & Notes Stream the Symphony!

Dear Friends, After spending nine days in the Sunshine State during the DSO’s recent Florida tour, made possible by the generous support of the General Motors Foundation and Cadillac, we returned to the first signs of spring: longer days, slowly disappearing snowbanks and the gradual return of warmer weather. Our recent travel experiences serve as a reminder of the importance of such tours. We are ambassadors of Detroit’s rebirth, renaissance and renewal by bringing our communities to life through music. Our partners at General Motors know well that exports are vital to robust business and a healthy economy. Through our journey to Florida, our performances in New York, our global webcasts and our concerts right here across southeast Michigan, the DSO continues to be a valuable cultural export for Detroit. For those of you who could not join us on our recent travels, find out how the DSO represented our community’s values by visiting our Florida Tour blog at detroitsymphony.tumblr.com. As you’ll read on page 10, this spring has many other fresh initiatives in store. On June 14, Oscarwinning composer John Williams and film legend Steven Spielberg will donate their services for a special one-night-only benefit concert with the DSO. No one better represents classical music’s contribution to the magic of the movies better than this duo, and we are thrilled to welcome them to the Orchestra Hall stage. Tickets for this once in a lifetime event will go on sale April 14, so mark your calendars! Scheduled for the same evening will be the DSO’s Fourth Annual Heroes Gala Dinner, honoring two of Detroit’s most ardent champions, Dan Gilbert and Matt Cullen. Beyond their well-documented dedication to the city of Detroit, Gilbert and Cullen were an integral part of the mediation process between the DSO and its musicians in 2011, and were instrumental in creating the DSO’s wildly successful Kid Rock collaboration concert in 2012. The DSO’s newly ratified three-year contract with its musicians makes this a particularly fitting moment to recognize their significant impact on this process. Please join us for this most important evening as we celebrate these two outstanding community citizens and raise over $1 million in support of crucial DSO concert, education, and community programming! May your spring be full of music and sunshine!

Phillip Wm. Fisher Chairman 8

Anne Parsons President and CEO

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Look around, do you see cameras? You could be part of a Live From Orchestra Hall webcast. Watch a DSO concert from literally anywhere by logging on to dso.org/live or tapping your DSO to Go mobile app to view the performance and pre-show hosted by Alex Trajano, as well as a full schedule of this season’s episodes. Live from Orchestra Hall is presented by the Ford Motor Company and made possible by The John S. and James L. Knight Foundation. Upcoming webcasts Scheherazade!.................................................. Saturday, March 22 at 8 p.m. Orchestra Solos!.............................................. Friday, March 28 at 8 p.m. Leon Fleisher..................................................... Sunday, April 6 at 3 p.m. Special Event: Yo-Yo Ma and the DSO........ Wednesday, April 9 at 7:30 p.m. Beethoven Violin Concerto........................... Friday, April 25 at 10:45 a.m. Lortie Plays Chopin......................................... Friday, May 2 at 10:45 a.m. Bronfman Plays Beethoven........................... Sunday, May 18 at 3 p.m. Elgar Cello Concerto....................................... Thursday, May 22 at 7:30 p.m. Season Finale.................................................... Friday, May 30 at 8 p.m.

Welcome Spring with Volunteer Council Fashion Show

Trumpeting Spring

The DSO Volunteer Council will once again welcome the thaw with its annual luncheon and Neiman Marcus Fashion Show, “Trumpeting Spring,” on Tuesday, April 1 at Shenandoah Golf & Country Club in West Bloomfield. The festivities begin at 11 a.m. with a reception, followed by a luncheon including a live auction and raffle, emceed by WDIVTV’s Devin Scillian. The latest of Neiman Marcus Spring fashions will be on the runway, modeled by professionals and some DSO models you might recognize. Tickets range from $80 to $180 and include valet parking and a Neiman Marcus Beauty Facial Card ($100 value), with proceeds to benefit the Detroit Symphony Orchestra. Reserve your tickets by March 24 by calling 313.576.5154 or contact VolunteerCouncil@dso.org. DSO.ORG


MEET THE MUSICIAN:

Paul Wingert

CELLO

T

raveling home to Detroit from the recent DSO Florida Tour, cellist Paul Wingert’s suitcase was rather heavier than it was on the trip to the sunshine state. With 50 bromeliads in tow, (a family of tropical plant with long stiff leaves, colorful flowers, and showy bracts; i.e. pineapple) he was carrying 30 more pounds than he’d taken with him. Just as much a gardener as he is a musician, Wingert picked up the cello at age 9, around the same time he started gardening. While his musical roots are easy to trace, with a father who sang professionally and a mother who played bass for the Toledo Symphony, he claims his green thumb isn’t quite so hereditary. Drawn to bromeliads, succulents and cacti in college, he hasn’t looked back since. With a 9’ x 27’ custom greenhouse attached to his home, Wingert grows registered bromeliad hybrids from seed. As a board member of Bromeliad Society International, he has traveled across the United States to give lectures and trade specimens with fellow enthusiasts, just as he did while on tour in Florida.

Wingert grew up in Detroit and became serious about playing cello professionally while a student at Cass Technical High School. “I took a chamber music class that was invaluable,” he said. “It helped me to establish good fundamental skills for playing in a music ensemble.” As a junior in Cello Performance at University of Michigan, he won a position in the cello section of the Toledo Symphony, and two seasons later, in the DSO cello section. Wingert has spent his 35-year tenure dedicating himself to education. While maintaining around 10 private students, he started the Chamber Music Program for the DSO Civic Youth Ensembles 18 years ago when his daughter, who now plays cello professionally and teaches, was a Civic student. “I wanted her to have some of the same chamber music experiences that I was privileged to have,” he said. Wingert sells his bromeliads locally, at his own website “Paul’s Bromeliads,” Goldner Walsh Nursery in Pontiac, Telly’s Greenhouse in Troy, and Bogie Lake Greenhouse in White Lake.

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

DSO.ORG

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JOHN WILLIAMS STEVEN SPIELBE

&

A BENEFIT CONCERT

O

n Saturday, June 14, Oscar-winning composer John Williams and legendary director Steven Spielberg will join the DSO for a one-night-only gala benefit concert for the orchestra. Both artists are donating their services for this extraordinary event. Five-time Academy Award and 21-time Grammy Award winner John Williams returns to the DSO to conduct an unforgettable evening of music from the movies, featuring selections from some of his most popular and iconic scores, including Star Wars, Harry Potter, Jaws, E.T., Indiana Jones, Schindler’s List and more. Acclaimed director and three-time Academy Award winner Steven Spielberg joins Williams to host the second half of the evening, presenting selections from their remarkable forty-year artistic collaboration, including selected film clips projected on a giant screen above the orchestra. “The Detroit Symphony is one of our country’s great artistic treasures, and it’s always a privilege and a joy to make music with them,” stated Williams, who last conducted the DSO in April of 2008. “On behalf of Leonard Slatkin and the entire DSO family, we want to acknowledge John and Steven’s incredible generosity and thank them for their support,” said DSO President and CEO Anne Parsons. “We are collectively and individually indebted to them for their ongoing creative contributions and we look forward to celebrating their extraordinary collaboration at this very special evening with the DSO.” Tickets will be available on April 14 at dso.org or by calling the Box Office at 313.576.5111!

The DSO is currently recording John Williams’ complete concerti in direct-to-download releases featuring DSO musicians. This season the orchestra will record the Flute and Tuba Concerti. The Violin and Horn Concerti are available for purchase at dso.org/naxos.

10

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AY SATURD

JUNE ENTH

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GILBERT

CULLEN the benefit nner to stra A gala di y Orche Symphon it tro De

ON SATURDAY, JUNE 14, the Detroit Symphony Orchestra will honor Detroit luminaries Dan Gilbert and Matt Cullen at the fourth annual Heroes Gala Dinner, aiming to raise more than $1 million for the DSO. Gala Dinner packages, which also include tickets to the John Williams and Steven Spielberg Benefit Concert, are available for purchase now. Beyond their well-documented dedication to the transformation of the city of Detroit, Gilbert, Founder and Chairman of Rock Ventures and Quicken Loans, and Cullen, President and CEO of Rock Ventures, were integral in working through the mediation process between the DSO and its musicians in 2011 and arranged the DSO’s wildly successful Kid Rock concert, which raised $1 million for the organization. The two Detroit visionaries have contributed generously to the DSO by helping to raise funds necessary to support its extensive community work in schools, places of worship, senior living centers and beyond. The DSO’s newly ratified three-year contract with its musicians makes it particularly fitting to recognize Gilbert and Cullen’s significant contributions in this process. The celebration will include a gourmet dinner, dessert reception, late-night dancing, and other special activities, all taking place at the Max M. Fisher Music Center. The DSO founded the Heroes Gala in 2010 in honor of the remarkable men and women who impact the vision, values, and success of the organization. Previous honorees are Jim Nicholson, President and CEO of PVS Chemicals Inc.; Lloyd Reuss, former President of the General Motors Corp; and Barbara Van Dusen, beloved supporter of the arts in Detroit. Packages for the fourth annual DSO Heroes Gala are available now from $500-$10,000 per person and can be purchased by calling 313-576-5088 or contacting ksherwood@dso.org. Concert-only tickets will be released on April 14 for $30-$250 and will be available at dso.org, or by calling the box office at 313-576-5111.

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Profiles Steven Reineke Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Jeff Tyzik, Principal Pops Conductor Terence Blanchard, Jazz Creative Director

DSO POPS

The Cocktail Hour: Music of the Mad Men Era Friday, March 14, 2014 at 10:45 a.m. & 8 p.m. Saturday, March 15, 2014 at 8 p.m.  •  Sunday, March 16, 2014 at 3 p.m. in Orchestra Hall Steven Reineke, conductor  •  Ryan Silverman, vocalist*  •  Nikki Renée Daniels, vocalist+

Juan García Esquivel Mini Skirt arr. Scott Whitfield

Nicole Salerno, Brian Setzer, Americano* Michael Himelstein & Renato Carusone arr. Sam Shoup

Consuelo Velázquez Bésame Mucho* arr. Fred Barton

Les Reed & Gordon Mills It’s Not Unusual* + arr. Tim Berens

Bart Howard Fly Me to the Moon + arr. Sam Shoup

David Carbonara Mad Men Suite arr. Geoff Stradling

Pablo Beltran Ruiz & Norman Gimbel Sway* arr. Sam Shoup

Irving Berlin What’ll I Do + Steven Reineke, piano

arr. Fred Barton Crime Show Classics

arr. Fred Barton I (Who Have Nothing)*

Burt Bacharach Bacharach Back-To-Back arr. Wayne Barker

Amy Winehouse You Know I’m No Good* arr. Jonathan Bartz

I N T ER M IS SION

Frank Loesser Luck Be a Lady* arr. Billy May

C. Carson Parks Somethin’ Stupid * + arr. Tim Berens

Lee Hazlewood These Boots Are Made For Walkin’+ arr. Sam Shoup

Van Morrison Moondance + arr. Sam Shoup

Henry Mancini Charade* + arr. Timothy Berens

Anthony Newley & Leslie Bricusse Feeling Good * + arr. Scott Whitfield

This DSO Pops performance is generously sponsored by

Steven Reineke’s boundless enthusiasm and exceptional artistry have made him one of the nation’s most sought-after pops conductors, composers and arrangers. Reineke REINEKE is the Music Director of The New York Pops at Carnegie Hall, Principal Pops Conductor of the National Symphony Orchestra at the John F. Kennedy Center for the Performing Arts, and Principal Pops Conductor of the Toronto Symphony Orchestra. He previously held the posts of Principal Pops Conductor of the Long Beach and Modesto Symphony Orchestras and Associate Conductor of the Cincinnati Pops Orchestra. Reineke is a frequent guest conductor with The Philadelphia Orchestra and has been on the podium with the Boston Pops, The Cleveland Orchestra and the Chicago Symphony Orchestra at Ravinia. His extensive North American conducting appearances include Houston, San Francisco, Seattle, Edmonton, Pittsburgh, Vancouver, Ottawa (National Arts Centre), Detroit, Milwaukee and Calgary. As the creator of more than one hundred orchestral arrangements for the Cincinnati Pops Orchestra, Reineke’s work has been performed worldwide, and can be heard on numerous Cincinnati Pops Orchestra recordings on the Telarc label. His symphonic works Celebration Fanfare, Legend of Sleepy Hollow and Casey at the Bat are performed frequently in North America, including performances by the New York Philharmonic and Los Angeles Philharmonic. His Sun Valley Festival Fanfare was used to commemorate the Sun Valley Summer Symphony’s pavilion, and his Festival Te Deum and Swan’s Island Sojourn were debuted by the Cincinnati Symphony and Cincinnati Pops Orchestras. His numerous wind ensemble compositions are published by the C.L. Barnhouse Company and are performed by concert bands around the world. A native of Ohio, Reineke is a graduate of Miami University of Ohio, where he earned bachelor of music degrees with honors in both trumpet performance and music composition. He currently resides in New York City with his partner Eric Gabbard.

The DSO can be heard on the Live From Orchestra Hall, Chandos, London, Mercury Records, Naxos and RCA labels. DSO.ORG

PERFORM ANCE / VOL . X XII / SPRING 2014

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Profiles

Ryan Silverman

Ryan Silverman’s impressive vocal range has allowed him to move smoothly across various genres including opera, symphony concerts, pop, SILVERMAN traditional music theater and big band. Ryan is currently starring in Chicago on Broadway as Billy Flynn. He recently starred as Giorgio in the highly acclaimed revival of Stephen Sondheim’s Passion where he received a Drama Desk and Drama League Award nomination. He has also appeared as Raoul in the Broadway and Las Vegas productions of The Phantom of the Opera. Other Broadway credits include Karl in Music in the Air (Encores!) and Al in Most Happy Fella (New York City Opera). Concert work includes the Cincinnati Pops, The New York Pops, The Philadelphia Orchestra, and the symphonies of Utah, Vancouver, Edmonton, Modesto, Hartford and Fort Worth. Cabaret appearances include Feinstein’s and Café Carlyle. Ryan Silverman is originally from Alberta, Canada.

Nikki Renée Daniels

Nikki Renée Daniels recently starred in the 2012 Tony Award Winning Broadway Revival of The Gershwins’ Porgy and Bessas Clara. She has also been seen on Broadway as Fantine DANIELS in Les Miserables, Hope Harcourt in Anything Goes, Nehebka in Tim Rice and Elton John’s Aida, Renata in Nine, Crystal in the revival of Little Shop of Horrors, Eleni in Bernie Taupin and Elton John’s Lestat, and Woman #3 in the Roundabout’s production of Burt Bacharach’s The Look of Love. Nikki has also toured nationally as the Aida Standby in Aida, and as Crystal in Little Shop of Horrors. She made her New York City Opera debut in 2002 as Clara in Porgy and Bess. Regionally, she created the role of Ray Charles’ wife Della B in Ray Charles Live! at the Pasadena Playhouse. She has also been seen as Belle in Beauty and the Beast at North Shore Music Theatre and at Sacramento Music Circus; Hope Harcourt in Anything Goes at Williamstown Theatre Festival under the direction of Roger Rees; Sarah in the first regional production 14

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of Ragtime at North Shore Music Theatre; Aida in Aida at ArtPark and Celia Vane in Dorian at the Denver Center.  She reprised the role of Fantine in Les Miserables at Atlanta’s Theatre of the Stars, Kansas City Starlight, and at Wolf Trap. On television, Nikki has appeared as a featured player on Chappelle’s Show on Comedy Central and in PBSs Great Performances presentation of South Pacific starring Brian Stokes Mitchell and Reba McIntyre at Carnegie Hall. She

played a nurse in the film “The Other Woman.” Nikki has performed as a soloist with the Ottawa Symphony Orchestra, the Cincinnati Symphony Orchestra, the Cincinnati Pops, the San Francisco Symphony Orchestra, the New York Pops, the Naples Philharmonic and the Indianapolis Symphony Orchestra. She made her Carnegie Hall solo debut in 2007 with Brian Stokes Mitchell, Reba McIntyre, Phylicia Rashad and Heather Headley.

Opportunity knocks. Research, internships, study abroad, and service learning are built into nearly all of Grand Valley’s 200+ areas of study. These, along with our liberal education foundation that fosters critical thinking, creative problem solving, and cultural understanding, prepare you well to answer the call of a rewarding career and life.

gvsu.edu/find

DSO.ORG


Profile Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Jeff Tyzik, Principal Pops Conductor Terence Blanchard, Jazz Creative Director

CLASSICAL SERIES Friday, March 21, 2014 at 10:45 a.m. Saturday, March 22, 2014 at 8 p.m. Sunday, March 23, 2014 at 3 p.m. in Orchestra Hall Leonard Slatkin, conductor Jean-Yves Thibaudet, piano Maurice Ravel Suite of Five Pieces from Ma Mère l’Oye (1875-1937) [Mother Goose] Pavane of the Sleeping Beauty Tom Thumb Laideronette, Empress of the Pagodas Conversations of Beauty and the Beast The Enchanted Garden James MacMillan Piano Concerto No. 3 (b. 1959) Baptisma Iesu Christi Miraculum in Cana Proclamatio Regni Dei Transfiguratio Domini Nostri Institutio Eucharistiae Jean-Yves Thibaudet, piano

I N T ER M IS SION

Nikolai Rimsky-Korsakov Scheherazade, Op. 35 (1844-1908) Largo e maestoso - Allegro non troppo (The sea and Sinbad’s ship) Lento - Allegro molto (The tale of Prince Kalendar) Andantino quasi allegretto (The young prince and the princess) Allegro molto (The festival at Bagdad, The sea, The ship goes to pieces on a rock) This performance will be webcast at dso.org/live

This Classical Series concert is generously sponsored by

Get the most out of each classical concert by attending pre-concert presentations, one hour prior to performances (excluding Coffee Concerts). The presentations are informal and may include special guests, lectures and music that reveal interesting facts about the program and provide a behind-the-scenes look at the art of making music. The DSO can be heard on the Live From Orchestra Hall, Chandos, London, Mercury Record, Naxos and RCA labels.

DSO.ORG

Leonard Slatkin’s biography appears on page 19.

Jean-Yves Thibaudet

One of today’s most sought-after soloists, Jean-Yves Thibaudet has the rare ability to combine poetic musical sensibilities and dazzling technical prowess. His talent at coaxing subtle and surprising colors and THIBAUDET textures from each work he plays has led The New York Times to write that “every note he fashions is a pearl…the joy, brilliance and musicality of his performance could not be missed.” Thibaudet has performed around the world for more than 30 years and recorded more than 50 albums. In 2010, he released Gershwin, featuring big jazz band orchestrations of Rhapsody in Blue, variations on “I Got Rhythm” and Concerto in F live with the Baltimore Symphony and music director Marin Alsop. On his Grammy-nominated recording Saint-Saëns, Piano Concerti Nos. 2&5, released in 2007, Thibaudet is joined by long-standing collaborator Charles Dutoit and the Orchestre de la Suisse Romande. Known for his style and elegance on and off the traditional concert stage, Thibaudet has had an impact on the world of fashion, film and philanthropy. His concert wardrobe is by celebrated London designer Vivienne Westwood. He had an onscreen cameo in the Bruce Beresford feature film on Alma Mahler, Bride of the Wind, and his playing is showcased throughout the soundtrack. Thibaudet was the soloist on Dario Marianelli’s Oscar- and Golden Globeaward winning score for the film Atonement and his Oscar-nominated score for Pride and Prejudice. He recorded the soundtrack of the 2012 film Extremely Loud & Incredibly Close, composed by Alexandre Desplat. Thibaudet was born in Lyon, France, where he began his piano studies at age five and made his first public appearance at age seven. At 12, he entered the Paris Conservatory to study with Aldo Ciccolini and Lucette Descaves, a friend and collaborator of Ravel. At age 15, he won the Premier Prix du Conservatoire and, three years later, won the Young Concert Artists Auditions in New York City. The Hollywood Bowl honored Thibaudet for his musical achievements by inducting him into its Hall of Fame in 2010. PERFORM ANCE / VOL . X XII / SPRING 2014

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Program Notes The Mother Goose Suite MAURICE RAVEL

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

The four hand piano premiere was given by Jeanne Leleu and Geneviève Durony at the Salle Gaveau in Paris on April 20, 1910. The ballet premiere was given by Gabriel Grovlez and the Orchestra of the Théâtre des Arts in Paris on January 28, 1912. Scored for two flutes, one doubling as piccolo, two oboes, one doubling as English horn, two clarinets, two bassoons, contrabassoon, two horns, timpani, harp, celeste, bass drum, cymbals, glockenspiel, tam tam, triangle, xylophone and strings. (approx. 21 minutes)

L

ike Dukas, Ravel was a masterful orchestrator and in The Mother Goose Suite, he assembled a delightfully nuanced bouquet of orchestral sonorities. The beauty of “Pavane of the Sleeping Beauty,” for example, stems directly from the delicacy of the scoring: alternating flutes, clarinet, and first violins spin a fragile web from three simple themes creating an aural affect as ephemeral as gossamer. The piece was originally conceived as a work for piano four hands, but Ravel orchestrated the five movements in 1911 and added several new sections for a ballet. The suite does not contain these new additions, but instead features the original piano movements, now elegantly reconceived for orchestra. In “Tom Thumb” Ravel depicts the sad plight of Tom, who has lost his way in the woods, through the melancholic solos of oboe and English horn. As Ravel explains in a subtitle: “[Tom] thought he would be able to find the path easily by means of the bread he had strewn wherever he had walked. But he was quite surprised when he was unable to find a single crumb; the birds had come and eaten them all.” The simple melodies of the oboe and English horn waft forlornly above muted string textures as indifferent chirping in the flutes and violin imitate the birds that have caused Tom’s predicament. In “‘Laideronnette,’ Empress of the Pagodas,” Ravel describes Madame d’Aulnoy’s tale in his subtitle: “[The Empress] undressed and got into the bath. Immediately the toy mandarins and mandarinesses began to sing and to play instruments. Some had theorbos made from walnut shells; some had viols made from almond shells; for the instruments to be of a size appropriate to their own.” d’Aulnoy’s 16

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tale follows the “Beauty and the Beast” trope, although in this particular tale, both Laideronnette and her suitor, an ugly green serpent, are under spells of alarming ugliness. Ravel is less concerned about the narrative than the tales’ setting in the exotic East. The melodies are mainly pentatonic and based upon the black-keyed notes of the piano, a frequently used symbol of Western composers signifying “the Orient.” In addition, the introduction of vibrant, bright sonorities from the percussion section of xylophone, celesta and glockenspiel contrast vividly with the pastel timbres of the preceding movements. In “Conversations between Beauty and the Beast,” Beauty is represented by the elegant and dark-hued clarinet while Beast’s role is carried by the endearingly lesselegant contrabassoon. Through the voices of the instruments, the characters carry on in dialogue over a spacious waltz rhythm established by the harp and strings. Ravel appends the following from Madame Leprince de Beaumont’s tale: “W hen I think of your good heart, you do not seem so ugly.” “Oh, I should say so! I have a good heart, but I am a monster.” “There are many men who are more monstrous than you.” “If I were witty I would pay you a great compliment to thank you, but I am only a beast.” *** “Beauty, would you like to be my wife?” “No, Beast!” *** “I die happy because I have the pleasure of seeing you once again.” “No, my dearest Beast, you shall not die. You shall live to become my husband.” …The Beast had disappeared, and she beheld at her feet a prince more handsome than Amor, who was thanking her for having lifted his spell.” In “The Enchanted Garden,” which represents the happy awakening of the Sleeping Beauty, Ravel reprised the entire spectrum of sonorities explored in the previous four movements by beginning with hushed strings and winds that blossom into a dazzling orchestral tutti, replete with shimmering figures from the celesta and glockenspiel.

Piano Concerto No. 3, (“The Mysteries of Light”) JAMES MacMILLAN

B. July 16, 1959 in Kilwinning, Scotland

Scored for solo piano, 2 flutes, piccolo,2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets,

3 trombones, tuba, timpani, percussion (brake drums, wood blocks, bass drum, glockenspiel, guiro, Mark Tree, metal bar, snare drum, cymbals, tam-tam, tom-toms, tubular bells, tuned gongs, vibraphone, vibraslap and water gong) and strings. (Approx. 25 mins.)

acMillan started composing when M he began playing the trumpet and piano at a primary school, later joining

the choir in a secondary school. He went on to study composition at the University of Edinburgh, then at Durham University where he earned a PhD in 1987. Simultaneously, he was a lecturer in music at Victoria University of Manchester from 1986 to 1988. Following his studies he returned to Scotland, settled in Glasgow, continued to compose prolifically, and became Associate Composer with the Scottish Chamber Orchestra. He first came to public attention with the premiere of The Confession of Isobel Gowdie, given by the SCO at the famous London proms in 1990. Gowdie was one of a number of women who were executed for witchcraft in 17th century Scotland, and in MacMillan’s words, “… the work craves absolution and offers Isobel Gowdie the mercy and humanity that was denied her in the last days of her life.” The subsequent international acclaim of the work brought more high-level commissions, including a percussion concerto for fellow Scot Evelyn Glennie called Veni, Veni Emmanuel. It was premiered in 1992, became an instant hit and has become his most frequently performed composition. It exemplifies the most attractive elements of his style, namely an exuberant sense of color and rhythm, traditional harmonies thrown in like fine seasonings in cooking, and an extraordinary sense of theatrical virtuosity. Following that, the great Russian cellist Mstislav Rostropovich asked MacMillan for a cello concerto, then gave the work its premiere in 1997. Scottish traditional music has had a great influence on his output, and can be heard in many guises in his works. When the Scottish Parliament was reconvened in 1999 after a hiatus of 292 years, MacMillan wrote a fanfare which accompanied Queen Elizabeth II into the chamber. In addition, his intense Roman Catholic faith has inspired many of his sacred pieces. He was both composer and conductor with the BBC Philharmonic from 2000 to 2009, and then became DSO.ORG


principal guest conductor with the continuous span, comprising five distinct general tone is serene and intimate, with a Netherlands Radio Chamber Philharportions: cantabile melody on the piano, decorated monic, remaining with that ensemble 1. Baptisma Jesu Christi. A snatch of with upper ornamentation and resonance. until severe budget cuts forced its plainsong acts as a refrain around which Momentarily the mood darkens more dissolution in 2013. From 1992 the half pianopage plays island fast, virtuosic episodes boisterously before subsiding. 7” tox 2002 4.8125” — he was Artistic Director of the Philharaccompanied by a tolling bell and an 4. Transfiguratio Domini Nostri. This fast Detroit Symphony Orchestra Performance magazine monia Orchestra’s Music of Today series. ominous cantus firmus. movement begins in the lower orchestral He is an Honorary Fellow of Blackfriars 2. Miraculum in Cana. Speeds fluctuate registers and gradually rises, adding more Hall at Oxford University, a patron of St. here, but the general mood is celebratory layers and activity before a climax. Only Mary’s Music School in Edinburgh and and dance-inspired. A more solemn then does the piano appear, with music the London Oratory School Schola chorale theme is heard intermittently on contrasted and mysterious, accompanied Cantorum, and also serves as a patron of lower instruments. by the tuned percussion and harp. The British Art Museum Music Series. In 3. Proclamatio Regni Dei. After an initial 5. Institutio Eucharistiae. The finale 2008 he became Honorary Patron of the flourish and trumpet proclamation, the is joyous and rhythmic, framed by London Chamber Orchestra’s New: Explore project which looks at links between music and other art forms, and which guides young, talented composers. In 2004 he was awarded a CBE, “Companion of the Most Excellent Order of the British Empire.” A highly intelligent 430 NORTH OLDOLD WOODWARD • BIRMINGHAM, 48009 • (248) 642-2650 430 NORTH WOODWARD • BIRMINGHAM, MIMI 48009 • (248) 642-2650 and discerning musician, he was once asked what he thought the greatest threat D iD s c ios v ecr o F ov r eev e d iv a meor nd s ia n re x n am l do e sn ign n sx t ocn e e sp jew e rn s . caolm rr mFa rok r e m kc®e pdt iioa ds sa t ignr e ee t ei lo to music was, to which he replied, “The d e s i g n s a t w w w. g r e e n s t o n e s j e w e l e r s . c o m fact that our society is obsessed with the visual and the verbal. Film, TV and the written word are huge competitors for a reflective art like music. Music is a powerful force that conveys itself quite mysteriously, but it can be a battle to get that message across.” The Piano Concerto No. 3 was given its world premiere in 2011 with Jean-Yves Thibaudet as soloist and Osmo Vanska conducting the Minnesota Orchestra. For that premiere, MacMillan provided the following commentary: “My 3rd Piano Concerto, The Mysteries of Light, attempts to revive the ancient practice of writing music based on the structure of the Rosary. The most famous example of this is the collection of Rosary (or Mystery) Sonatas for violin by Heinrich Biber, written in the late 17th century. These consist of 15 movements THE CENTER OF MY UNIVERSE™ FROM FOREVERMARK® based on the Joyful, Sorrowful and Less th a n on e p e rce nt of th e world ’s dia m on ds c a n Glorious Mysteries. In 2002 another set carr y the Forevermark ® inscription — a promise that of meditations was introduced by John each is beautiful, rare and responsibly sourced. Paul II, the Luminous Mysteries, and these are the basis of the five sections of this concerto. However, the music here is in no way geared towards liturgy, nor is it devotional in any accepted, traditional sense. Rather, each image or event becomes the springboard for a subjective reflection, and proceeds in quasi-dramatic fashion, not too distant in concept from the musical tone poem. The fusion of symphonic poem with concerto forms has THE DIAMOND. THE PROMISE. long been a favorite pursuit of mine in Forevermark is part of the De Beers group of companies. earlier works. The music is in one single, DSO.ORG

PERFORM ANCE / VOL . X XII / SPRING 2014

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© 2 01 4 Fo reve r m a r k . Fo reve r m a r k ®,

® a n d C E N T E R O F M Y U N I V E R S E ™ a r e Tr a d e M a r k s o f t h e D e B e e r s g r o u p o f c o m p a n i e s .


syncopated dance refrains. This is interrupted by a more declamatory, incantatory episode where the piano writing is more ruminative, freer and cadenza-like. In the final moments the opening plainsong idea makes a last appearance.” There is some influence of Messiaen in the work in the form of a predilection for bright, tuned percussion instruments, and one of the most fascinating—and pictorial—moments in the concerto occurs in the opening section (The Baptism of Jesus Christ) which features the sound of a special gong being immersed in water. In the second section (The Miracle in Cana, which according to the Gospel of John, was where Jesus performed his first miracle, changing water into wine), there is a prominent violin solo which sounds very much like traditional Israeli wedding music. Also, this is a concerto where the soloist interacts closely with the orchestra rather than in the traditional Romantic concerto where the soloist tends to stand apart from the orchestra. Following the premiere, in an interview for the British newspaper The Telegraph, MacMillan had this to say: “An on-going debate in music has revolved around the question of whether it is necessary or important for a listener to know, understand or recognize the extra-musical or pre-musical associations that were obviously important for the composer’s

inspiration. This is as true for Biber as it is for Beethoven, Mahler, Stockhausen, Nono or me. Personally, it doesn’t matter to me if the general listener doesn’t want to follow the connections, especially on first hearing. It is the musical outcome of the inspiration that matters after all, and only that will communicate any power, meaning, feeling or fluency.”

Scheherazade, Op. 35

NIKOLAI RIMSKY-KORSAKOV B. March 18, 1844 in Tikhvin, Russia D. June 21, 1908 in Saint Petersburg, Russia Scored for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, side drum, bass drum, triangle, cymbals, tam-tam, harp, and strings. (Approx. 44 mins.)

I

n the late 1880s, when Rimsky-Korsakov composed Scheherazade, enormous changes were taking place in the character of concert music. More than 50 years earlier, in the Symphonie fantastique, Hector Berlioz had provided a stunning demonstration of how the resources of the modern orchestra could be used to provide previously unimagined color content to enhance the descriptive power of dramatic music. Like Berlioz, Rimsky wrote his own book on orchestration (in which he understandably used numerous examples from the present work) and also published

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email paradiselounge@dso.org or call 313.576.5488 for reservations. 18

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his memoirs. In the latter, which he called My Musical Life, he noted that after reading the Arabian Nights’ Entertainments he conceived “an orchestral suite in four movements, closely knit by the community of its themes and motives, yet representing, as it were, a kaleidoscope of fairy-tale images and designs of Oriental character.” By way of explaining the title Scheherazade, he wrote a brief introduction to be printed in the score and in the program for the work’s premiere: The Sultan Schariar, convinced that all women are false and faithless, vowed to put to death each of his wives after the first nuptial night. But the Sultana Scheherazade saved her life by entertaining her lord with fascinating tales, told seriatim, for a thousand and one nights. The Sultan, consumed with curiosity, postponed from day to day the execution of his wife, and finally repudiated his bloody vow entirely. Rimsky-Korsakov provided no specific “program,” and did not even affix titles to the respective movements. The titles commonly used now were suggested to him by his colleague Anatoly Liadov; Rimsky accepted them at first, but later eliminated them from the score. The titles have adhered, though, and audiences welcome them as guideposts to the particular stories recounted in the music. The first movement, accordingly, is known as The Sea And Sinbad’s Ship. The commanding theme that opens the work is the voice of the Sultan demanding his entertainment, and the sinuous one from the violin is the voice of Scheherazade herself as she begins her tales. The Tale of Prince Kalender comes next. The Kalenders were a particular category of fakir, roving monks who turned up at Eastern courts and bazaars dispensing stories, magic tricks and wit in exchange for a coin or a night’s lodging. The “Kalender Prince” was one of those mendicants who turned out to be a nobleman in disguise. The voluptuous slow movement is a tale of The Young Prince And The Princess, said to be Prince Kamar al-Zanna and Princess Budur, “created so much alike that they might be taken for twins.”   Several tales are brought together in the finale: The Festival At Baghdad; The Sea; The Ship Goes to Pieces on A Rock. Rimsky had orchestrated parts of Borodin’s opera Prince Igor just before composing Scheherazade, and the flavor of the Polovtsian Dances is felt in his evocation of the Baghdad revels. The character of the Sultan is utterly transformed at the end of the work, from the unyielding sternness with which the sequence began to a warm expansiveness born of the thousand and one nights with his incomparable story-teller. DSO.ORG


Profiles Leonard Slatkin Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Jeff Tyzik, Principal Pops Conductor Terence Blanchard, Jazz Creative Director

CLASSICAL SERIES Thursday, March 27, 2014 at 7:30 p.m. Friday, March 28, 2014 at 8 p.m. Saturday, March 29, 2014 at 8 p.m. in Orchestra Hall Leonard Slatkin, conductor Rachel Klaus, violin* • Adrienne Ronmark, violin* Sheryl Hwangbo, violin* • Hong-Yi Mo, violin* Patricia Masri-Fletcher, harp ‡ • David Buck, flute † Kenneth Thompkins, trombone # • Dennis Nulty, tuba°

Antonio Vivaldi Concerto for Four Violins and Orchestra (1678-1741) in B minor, Op.3 No.10 (RV 580)

Allegro Largo Allegro*

John Williams Concerto for Solo Flute, Strings, and Percussion†

(b. 1932)

Moderato Freely Andante Allegro

Wang Jie “Symphony No.2 (To and From Dakini)” (World Premiere: Lebenbom Competition winner)

I N T ER M IS SION

Allan Gilliland Gaol’s Ruadh Ro’s, A Celtic Concerto (b. 1965) for Harp And Orchestra‡

John Williams Concerto for Tuba and Orchestra°

(b. 1932)

Elliott Carter Remembrance (second part of the (b. 1908) orchestral triptych Three Occasions)#

Benjamin Britten The Young Person’s Guide to the Orchestra, Op. 34 (1913-1976) Theme: Allegro maestoso e largamente

Presto Lento Moderato Allegro alla marcia Brillante - Alla polacca Meno mosso [L’istesso tempo] Comminciando lento ma poco a poco accelerando al Allegro Maestoso L’istesso tempo Vivace Allegro pomposo Moderato Fugue: Allegro molto

This performance will be webcast at dso.org/live

This Classical Series concert is generously sponsored by

Get the most out of each classical concert by attending pre-concert presentations, one hour prior to performances (excluding Coffee Concerts). The presentations are informal and may include special guests, lectures and music that reveal interesting facts about the program and provide a behind-the-scenes look at the art of making music. The DSO can be heard on the Live From Orchestra Hall, Chandos, London, Mercury Records, Naxos and RCA labels.

DSO.ORG

Leonard Slatkin is Music Director of both the Detroit Symphony Orchestra and the Orchestre National de Lyon, France. During the 2012-13 season he led the DSO in highly acclaimed concerts at Carnegie Hall, SLATKIN including one concert in which all four Charles Ives symphonies were presented in a single evening; directed the Orchestre National de Lyon in a triumphant Paris concert of Ravel’s L’heure espangole and L’enfant et les sortilèges; and celebrated Rachmaninoff ’s 140th anniversary with Denis Matsuev and the State Symphony of Russia in Moscow. Slatkin’s more than 100 recordings have won seven Grammy awards and earned 64 nominations. With the Orchestre National de Lyon he has embarked on recording cycles of the Rachmaninoff piano concerti with Olga Kern and the symphonic works of Maurice Ravel and Hector Berlioz. With the Detroit Symphony he has made available a digital box set of the Beethoven symphonies and plans to release the concerti and symphonies of Tchaikovsky in the future. Slatkin has received the USA’s prestigious National Medal of Arts, the American Symphony Orchestra League’s Gold Baton Award and several ASCAP awards. He has earned France’s Chevalier of the Legion of Honor, Austria’s Declaration of Honor in Silver, and honorary doctorates from The Julliard School, Indiana University, Michigan State University and Washington University in St. Louis. He is also the recipient of a 2013 ASCAP Deems Taylor Special Recognition Award for his book Conducting Business. Slatkin has served as Music Director of the St. Louis Symphony Orchestra and the National Symphony Orchestra in Washington, D.C., and as Chief Conductor of the BBC Symphony Orchestra in London. He has held Principal Guest Conductor positions with the Royal Philharmonic Orchestra, the Los Angeles Philharmonic, the Philharmonia Orchestra of London and the Pittsburgh Symphony Orchestra. Founder and director of the National Conducting Institute and the St. Louis Symphony Youth Orchestra, Slatkin continues his conducting and teaching activities at the Indiana University Jacobs School of Music, the Manhattan School of Music and The Juilliard School. See insert for orchestra musicians’ biographies. PERFORM ANCE / VOL . X XII / SPRING 2014

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Program Notes Concerto in B minor for Four Violins and Strings ANTONIO VIVALDI

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

Scored for 4 solo violins and strings. (Approx. 11 minutes)

ivaldi was the most V original and influential composer of his generation,

and laid the foundation for the mature Baroque concerto. He made great contributions to style, violin technique and orchestration, and was pioneer in the area of program music. He lived in Venice when it was a major cultural center and featured a number of outstanding musicians and painters who set trends for the rest of Europe. Vivaldi was no exception in this regard, and one of his major contributions was to establish a concerto form which continued into the 19th century. Moreover, his brilliant, innovative and virtuosic writing for the violin was a product not only of a golden age of violin playing but also his own extraordinary capabilities as a performer. Originally the term concerto simply meant a work in which several performers took part. Later on, the term was applied

to vocal music with instrumental accompaniment, then later still it referred to a purely instrumental composition in which a small group of string soloists was contrasted with the string orchestra as a whole­—what is called a concerto grosso. In the first half of the 18th century three main types of concerto arose, one of which featured a solo violin being given a very predominant part. It was from this form, with influences from the realm of opera, that Vivaldi developed the solo concerto which ultimately led to the concerto as we know it today. The man was amazingly facile and prolific, and wrote no less than 500+ instrumental concertos, most of which display an amazing variety of form, scoring and imagination. His concertos created an exciting new musical language replete with simple but strong effects, powerful driving rhythms, bold melodic contours, unusual colors, a unique kind of tonepainting, and in the fast movements set new standards for solo virtuosity. His innovations not only influenced the concerto form but almost all other genres as well. His works not only changed form, procedure and technique in all branches of music, but contributed immeasurably to the development of thematic, harmon-

ic and formal thinking. Vivaldi was for many years affiliated with the Ospedale della Pieta, one of four institutions in Venice which provided shelter and musical training for orphaned and illegitimate girls. He started as simple violin teacher, and gradually was elevated to the title of “maestro de’ concerti.” He had to write a minimum of two new concertos per month, and his amazing fluency and speed as a composer allowed him to do this with ease. In addition, the variety of instruments and skill of the players at the Ospedale provided him with the perfect setting in which he could experiment in the areas of instrumental combinations and special effects. He was there from 1704 to 1740, at which time he went to Vienna hoping to find a lucrative position at the court of Charles VI, but due to political complications this never happened. Inexplicably, instead of returning to his native Venice, he chose to remain in Vienna, where he spent his last months in poverty, failing health and obscurity, in spite of his previous fame. Sadly, he died penniless and virtually unknown in the Austrian capitol in 1741, and was buried anonymously in a pauper’s grave.

www.ChamberMusicDetroit.org The Nash Ensemble of London Saturday, April 5, 2014 at 8:00 PM Seligman Performing Arts Center Trio Settecento with Rachel Barton Pine, violin Saturday, April 26, 2014 at 8:00 PM Seligman Performing Arts Center Zukerman ChamberPlayers with Pinchas Zukerman, violin Saturday, May 17, 2014 at 8:00 PM Seligman Performing Arts Center

Tickets: 248-855-6070 20

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Concerto for Flute and Orchestra JOHN WILLIAMS

B. February 8, 1952 in New York

Scored for solo flute, piano, 2 harps, timpani, percussion (anvil, bass drum, claves, cymbals, glockenspiel, tam-tam, maracas, marimba, triangle, vibraphone, wood block and xylophone) and strings. (Approx. 13 minutes)

ohn Williams certainly needs no Jmoviegoer introduction to anyone who has been a for the past 25 years or so or

who has a knowledge of contemporary concert music. One of the most successful composers in both fields, he has five Academy Awards to his name as well as seven British Academy Awards, 21 Grammys, six Emmys, four Golden Globes, and a number of gold and platinum recordings. He has been nominated for an Oscar no less than 49 times, making him the most-frequently nominated living person. (For the record, Walt Disney received a total of 59 nominations!) He has scored more than 75 films, and is responsible for the music to some of the most popular and most financially successful films of all time. He is without question one of the finest composers ever to write for films, following in the footsteps of such greats as Erich Wolfgang Korngold, Miklos Rozsa, Max Steiner, Franz Waxman and Bernard Herrmann. His music is basically Romantic and lyrical in style, but with elements of jazz, popular music and avant-garde techniques, and emphasizes great beauty of sound and instrumental color. Alongside his film scores, Williams has an impressive list of concert music, written in a decidedly more advanced harmonic idiom, but still maintaining for the most part a basic connection with tonality and expressive means. Among these works are an Essay for Strings and a symphony (both from 1965), a Sinfonietta for Wind Ensemble (1968), and concertos for flute, violin, tuba, clarinet, bassoon (The Five Sacred Trees), cello, trumpet, horn, viola and oboe, written between 1969 and 2011. In addition there is the delightful Escapades for Alto Saxophone and Orchestra, based on music from the 2002 film Catch Me If You Can. The Flute Concerto from 1969 was his first essay into the concerto form, and it remains one of the most harmonically advanced of any of his works. Still, there are reminiscences of the film scores, particularly passages of a spooky or eerie nature. The work DSO.ORG

was written, in Williams’ own words, in “an attempt to imitate some of the gestures of the shakuhachi,” a traditional Japanese bamboo flute, but not so much to re-create the typically breathy sound of that instrument, but more the atmospheric and floating sound of Japanese music in general along with the element of improvisation so typical of this genre. To this end, Williams scored the accompaniment without any winds or brass, and utilizes in addition, piano, celesta, two harps and some telling percussion instruments. Although the concerto is in one continuous movement, it nevertheless falls into four separate sections, of which the second is a cadenza for the flute written without bar lines. The last section is an energetic dance which

drives to a sudden conclusion announced by two strong chords.

Symphony No. 2 (“To and from Dakini”) WANG JIE

B. 1980 in Shanghai, China

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (vibraphone, wood blocks, bass drum, tambourine, xylophone, slapstick, bongos, tom-toms, kick drum, cymbals, glockenspiel, marimba, triangle and snare drum) and strings. (Approx. 15 minutes)

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t is with deep honor and gratitude “I that I receive this year’s Elaine Lebenbom Commission. I am honored

that members of the jury entrust me with this opportunity to create a new work for one of the most important musical institutions of our time.” So wrote Wang Jie in July of 2012 when she was awarded the sixth annual Elaine Lebenbom Memorial Award for Female Composers from the Detroit Symphony Orchestra. In addition to the premiere performances of her new work at these concerts, Jie, who was chosen from applicants worldwide, received a $10,000 prize and a one-month residency at the Ucross Foundation, an artists’ retreat in northern Wyoming. To be considered for the award, participants were required to submit a resume; a completed application form; sample scores of up to three completed works, including one scored for full orchestra; and supporting audio and/or video representation of at least one, preferably the symphonic work. Jie was chosen by a jury composed of two prominent composers and three members of the DSO. One of the musicians, double bass player Stephen Edwards, had this to say: “Wang Jie is right on target in her approach to pique the interest of today’s classical audience. Most music performance outside the classical realm now has a very large visual component intermixed with the music. Ms. Jie inventively addresses this issue with music and images which touch on issues of politics and morality. She does this with thought-provoking taste and humor, and her music leaves your mind a-buzzing.” At the forefront of the younger generation of American composers, Wang Jie has emerged as one of the most evocative of musical voices. Born in Shanghai shortly after the Cultural Revolution, she was raised in an era of breathtaking economic and cultural expansion, and was known as a piano prodigy by the age of five. A scholarship from the Manhattan School of Music brought her to the U.S. where she began her composition studies, later attending the Curtis Institute of Music in Philadelphia. While a student, her tragic opera Nannan was showcased by the New York City Opera’s annual VOX Festival. As the first composer awarded the Milton Rock Fellowship prize, she was commissioned to compose the environmentally-aware ballet Five Phases of Spring for Philadelphia’s Rock School for Dance Education. Her Symphony No. 1 (Awakening) was featured by the Minnesota Orchestra at its 2010 Future 22

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Classics concert. Not yet 30 years old, she then won the coveted American Composers Orchestra’s Underwood Commission, and her concert opera From the Other Sky was premiered in Carnegie Hall in October of 2010 to very positive reviews. Among her awards and honors are a number of ASCAP awards, citations from BMI, Opera America, the American Music Center and the Pittsburgh New Music Ensemble, the Charles Ives Scholarship from the American Academy of Arts and Letters, and the Koussevitsky Prize from the Library of Congress. About the new symphony Wang Jie has written in part as follows: “Imagine that girl: elusive, playful, courageous, dancing fiercely, never lacking in introspection and strength. It is through her feminine force that we encounter the infamous Brahms Lullaby once more. Why the Lullaby? This idea for Symphony No. 2 is twofold. First, it organically continues my Symphony No. 1. No. 2 begins with the same music that concluded No. 1. Furthermore, the large one-movement form is spun out from one of the simplest musical elements: the rising or falling of two notes of various intervals…..Second, feminine forces compelled me. One such force was Elaine Lebenbom and the generous grant she established as one female artist commissioning other female artists. Another force was my mother, who sang lullabies so my infant self would stop driving the neighbors crazy. There was a third female force, too, providing a dreamy influence just beyond my consciousness. I blinked my eye and the first draft of the symphony was finished. When I read it over, the broad range of character transformation bewildered me. At times, the feminine force sings with utmost tenderness, but other times she can’t stop dancing, as if gravity ceased to exist and all terrestrial boundaries disappeared. This dreamy female becomes a nurturer of calming introspection, but in an instant she reveals herself to be a tempestuous dancing goddess! I immediately Googled “dancing goddess” and again blinked my eye: there she was, living among powerful ancient Gods on the wall of Rongbuk Monastery, the highest monastery in the world….at the base of North Mount Everest. The Tibetan Buddhists call her Dakini and know her to be elusive, playful, the female embodiment of enlightenment and an accomplished teacher of realities that cannot be grasped intellectually (much like musical reality, isn’t it?). At he core of their teaching, a Dakini defies narrow intellectual concepts

with a sharp, brilliant wisdom that is uncompromising, honest and tinged with wrath. So I invite you to meet her, the nurturer, the girl, the dancer and the teacher….I hope that her spirit delights and transforms you the way composing the symphony has taught me. If so, I’m happy to say that I’ve done my job.

Gaol’s Ruadh Ro’s A Celtic Concerto for Harp and Orchestra ALLAN GILLILAND

B. May 10, 1965 in Darvel, Scotland

Scored for solo harp, 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 2 horns, 1 trumpet,1 trombone, timpani, percussion (cymbals, glockenspiel, wind chimes, snare drum, bass drum and vibraphone) and strings. (Approx. 18 minutes)

ne of Canada’s busiest composers, O Allan Gilliland was born in Darvel, a small town in East Ayrshire, just east of

the Firth of Clyde and the Isle of Arran, moved to Canada with his family in 1972, and settled in Edmonton, Alberta. He has written music for solo instruments, orchestra, chorus, brass quintet, wind ensemble, big band, film, television and theatre. From 1999 to 2004 he was Composer-In-Residence with the Edmonton Symphony Orchestra, and has also been Composer-In-Residence at the Festival of the Sound in Parry Sound, located in Northern Ontario, and the Colours of Music Festival in Barrie, Ontario. Among his foremost compositions are Dreaming of the Masters I, a jazz concerto written for the well-known Canadian clarinetist James Campbell, which received its American premiere by the Boston Pops; Dreaming of the Masters II, a concerto written for pianist William Eddins; and Dreaming of the Masters III, a concerto written for the internationallyacclaimed trumpeter Jens Lindemann. Mr. Gilliland has provided the following note about this concerto, which, in its revised form for solo harp, will be receiving its premiere performances at these concerts. “This piece was originally written as a two-harp concerto for Nora Bumanis, the principal harpist of the Edmonton Symphony Orchestra, and her duo-partner Julia Shaw. It begins with some bold chords stated with a rhythm known as the “Scottish Snap.” It then builds into a fast section which has two themes. One, a series of chord clusters interjected with lively unison lines; and DSO.ORG


two, a Celtic-like dance in the very undance-like time signature of 7/8. The fast section ends with a cadenza for the soloist, which leads into a setting of “My Love Is Like a Red, Red Rose.” From the beginning Nora and I decided that somewhere in the piece I would use this beautiful work by Robert Burns. This idea arose because at the time Nora had just performed this song at a memorial service for Nancy Fairley, a long-time member of the Edmonton Symphony’s Board of Governors. When her husband Grant then decided to dedicate the premiere performance of this concerto to her memory, Nora asked if I could work the song into the concerto. At first I thought I would just hint at it, but as I worked with the melody it grew to the point where it is the central material of the slow section. That is why the piece is called Gaol’s Ruadh Ro’s, which is Gaelic for “Love’s Red Rose.” The harp first plays the melody in a very light and ethereal style, and then repeats it in a more bold and straightforward manner. The slow section then transitions back into the Celtic dance and ends with the cluster chords. In 2011 I received an e-mail out of the blue from Patricia Masri-Fletcher asking to have a score and a recording of the work. About a year later she contacted me and asked if I would be interested in re-working it into a solo harp concerto. I immediately jumped at the idea, as the opportunity to work with Patty, Maestro Slatkin and the Detroit Symphony is every composer’s dream. Patty and I worked on the piece for about a year, and I have to thank her for teaching me so much about the wonderfully idiosyncratic instrument that is the harp. In this version all of the basic thematic elements from the original concerto remain, with the only real change being its length. This new version is about 5 minutes shorter.”

wrote it—just an urge and an instinct. I’ve always liked the tuba and even used to play it a little. I wrote a big tuba solo for a Dick Van Dyke movie called Fitzwilly, and ever since I’ve kept composing for it—it’s such an agile instrument, like a huge cornet. I’ve also put passages in for some of my pets in the orchestra: solos for the flute and English horn, for the 1 LWM-027 Performance-Legacy-Spring-2014.pdf horn quartet and a trio of trumpets. It’s light and tuneful and I hope it has enough events to make it fun.” Williams was Music Director of the Boston Pops Orchestra from 1980 to 1993 (now its

Conductor Laureate), and this fanciful and extremely virtuosic work was written during his tenure, specifically for the orchestra’s 100th anniversary. It was given its premiere in May of 1985 with Williams on the podium and the orchestra’s then principal tuba player, Chester Schmitz, as soloist. Williams manages12:09 to exploit just about every 2/17/14 PM conceivable resource of the instrument, starting off with very low tuba notes contrasted with very high string figures, then the middle movement featuring some lyrical and almost elusive writing,

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Concerto for Tuba and Orchestra MY

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JOHN WILLIAMS

CMY

B. February 8, 1952 in New YorkK

Scored for solo tuba, 3 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, snare drum, tambourine, triangle and vibraphone), piano, celesta and strings. (Approx. 19 minutes)

[For background on Williams’ career, see the entry for his Flute Concerto.] fter this concerto was completed in 1985, Williams offered the following comment: “I don’t really know why I

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and finally the Allegro molto with very demanding technical pyrotechnics which one does not normally associate with the tuba. It’s almost as if Williams was saying that the tuba can be a very agile and versatile instrument, if the proper music is written for it.

Remembrance

ELLIOTT CARTER

B. December 11, 1908 in New York D. November 4, 2012 in New York

Scored for flute, 2 piccolos, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, glockenspiel and vibraphone), piano, celesta and strings. (Approx. 7 minutes)

lliott Cook Carter was of the most E fascinating and significant American composers who flourished in the latter

part of the 20th century and the first part of the 21st, and who was awarded two Pulitzer Prizes. His compositions are known, respected and performed the world over, and range from solo works to chamber music to orchestra and opera. He was amazingly productive in his later years, writing more than 40 works between the ages of 90 and 100, and over a dozen more after he turned 100. He enrolled in the Horace Mann School in New York in 1922, where he began to explore modern music, and two years later made the acquaintance of Charles Ives who wrote a letter urging his admission to Harvard. While at Harvard, he majored in English but also studied music, numbering among his professors Walter Piston and Gustav Holst. Like many other American composers in the 1930s, Carter went to Paris to study with the legendary teacher Nadia Boulanger, but always expressed dissatisfaction with the works he composed during his three years there. Returning to the U.S., he became the musical director for Lincoln Kirstein’s New York-based Ballet Caravan (1936-1941), a touring company which produced, among other things, Aaron Copland’s famous ballet Billy the Kid. He remained in New York for the rest of his life, but accepted teaching positions at the Peabody Conservatory, Columbia University, Yale University, Cornell University, MIT and the Juilliard School. During World War II he worked for the Office of War Information. In the early part of his career Carter once said, “I am a radical, having a

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nature that leads me to perpetual revolt.” Later on he mused, “As a young man, I harbored the populist idea of writing for the public. [However], I learned that the public didn’t care, so I decided to write for myself. Since then, people have gotten interested.” Aaron Copland once said of Carter, “He writes a music that is unlike that of any other composer in the contemporary scene. It reflects a rare combination of heart and brain: the man of feeling and the man of intellect. Other composers may create a polyphony of musical lines, but Carter creates a polyphony of musical thoughts.” Interest in his music actually increased as he got older, and this brought him a kind of attention which few living composers ever are accorded. Remembrance is the second part of a triptych called Three Occasions for Orchestra, the movements of which were written independently from 1986 to 1989, and not originally intended to be played together. It was the well-known English composer and conductor Oliver Knussen who suggested to Carter in 1988 that two earlier short works for orchestra would make a usable set if a third work of comparable character was added. Accordingly, Carter set to work and produced the Three Occasions, which were premiered as unit by Knussen and the BBC Symphony Orchestra in London’s famous Royal Festival Hall the following year. For the record, the three movements are:

The Young Person’s Guide to the Orchestra, Op. 34 BENJAMIN BRITTEN

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

First performed on Oct. 15, 1946 in Liverpool with Sir Malcolm Sargent leading the Liverpool Philharmonic Orchestra. Scored for two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion (bass drum, castanets, Chinese blocks, cymbals, gong, side drum, tambourine, triangle, whip, xylophone) and strings (approx. 17 minutes) . “If I did not communicate, I would consider I had failed,” Benjamin Britten once said. He did not fail: in fact, he has communicated since the 1930s with music lovers around the globe, through instrumental, vocal, choral and operatic works. He was one of England’s, and the

world’s, greatest composers of the 20th century, gaining enormous popularity during his lifetime for music that possesses a style at once individual and contemporary. Yet in an age which has found many concertgoers bewildered and betrayed by the new music they hear, Britten’s music does not alienate audiences and has never ceased to communicate humanitarian and spiritual values, to offer a world view translated into human terms. Donald Mitchell, Britten’s longtime editor and official biographer, describes the recurrent themes of his works as “conformity versus non-conformity; the battle between the positiveness of virtue and the nihilism of evil; the corruption of innocence by experience; the conflict between the public and private life; peace versus war; the pursuit (with all its attendant dangers) of Beauty.” While one of Britten’s special abilities was in composing vocal music, he also showed great versatility and achieved a remarkable popularity for various instrumental compositions. A work titled Variations and Fugue on a Theme of Purcell was commissioned by the British Ministry of Education for a documentary film entitled Instruments of the Orchestra. The score has an optional speaker’s part. Thus, the work has often come to be referred to, and is now more readily known, as The Young Person’s Guide to the Orchestra. The theme used as the basis for this ingenious set of variations is from Purcell’s Incidental Music to Abdelazer or The Moor’s Revenge by Mrs. Alpha Behn. Following the full orchestra’s eight measure statement of the theme, it is taken up in order by the woodwinds, brass and strings, and then re-stated, tutti. There follow 13 variations: I. Flutes and Piccolo II. Oboes III. Clarinets IV. Bassoons V. First and Second Violins VI. Violas VII. Cellos VIII. Double Basses IX. Harp X. Four Horns XI. Two Trumpets XII. Three Trombones and Tuba XIII. Percussion The Fugue that follows allows each instrument to make separate entrance of the themes. The final coda is the most intricate, and, in some ways, the most brilliant section of the entire composition.

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Profile Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Jeff Tyzik, Principal Pops Conductor Terence Blanchard, Jazz Creative Director

CLASSICAL SERIES Friday, April 4, 2014 at 10:45 a.m. Saturday, April 5, 2014 at 8 p.m. Sunday, April 6, 2014 at 3 p.m. in Orchestra Hall Leonard Slatkin, conductor Leon Fleisher, piano Bright Sheng Zodiac Tales, Concerto for Orchestra (b. 1955) The God of Rain Of Mice and Cats Three Lambs Under the Spring Sun The Elephant-Eating Serpent The Tomb of the Soulful Dog The Flying Horses (World Premiere) Maurice Ravel Concerto in D major for Piano (1875-1937) (Left Hand Alone) and Orchestra Leon Fleisher, piano

I N T ER M IS SION Dmitri Shostakovich Symphony No. 10 in E minor, Op. 93 (1906-1975) Moderato Allegro Allegretto Andante - Allegro

This performance will be webcast at dso.org/live

This Classical Series concert is generously sponsored by

Get the most out of each classical concert by attending pre-concert presentations, one hour prior to performances (excluding Coffee Concerts). The presentations are informal and may include special guests, lectures and music that reveal interesting facts about the program and provide a behind-the-scenes look at the art of making music. The DSO can be heard on the Live From Orchestra Hall, Chandos, London, Mercury Records, Naxos and RCA labels.

DSO.ORG

Leonard Slatkin’s biography appears on page 19.

Leon Fleisher

As his career nears its seventh decade, Leon Fleisher’s performance highlights this year include appearances with the Boston Symphony at Tanglewood, and the FLEISHER Chicago Symphony Orchestra at Ravinia Festival. For the 201314 concert season, Fleisher is the Cleveland Orchestra’s new Artist-in-Residence. He performs at Carnegie Hall also in December, in concert with the New York String Orchestra under the baton of Jaime Laredo. Fleisher holds a position at the Royal Conservatory of Music, and since 1959 has held a position at the Peabody Institute. He returns to lead master classes at the Royal Conservatory of Music in Toronto, Yale University, and Steans Institute at Ravinia, as well as a weeklong residency at the Curtis Institute of Music. In the new millennium, experimental treatments using a regimen of Rolfing and ‘botulinum toxin’ (Botox) injections finally restored the mobility in Fleisher’s right hand after he was suddenly struck silent at age 36 with a neurological affliction rendering two fingers on his right hand immobile. The extraordinary renaissance of Fleisher’s career, has been documented extensively, particularly around the 2004 release of his critically acclaimed album Two Hands, which went on to hold a top 5 Billboard Chart position. He has since made several recordings including The Journey; as soloist on the Emerson String Quartet’s Brahms; a world premiere recording of Hindemith’s Klaviermusik mit Orchester, and his first two-handed concerto recording in 40 years, Mozart Piano Concertos. This year, Sony Classical commemorated the pianist’s 85th birthday with the release of Leon Fleisher: The Complete Album Collection, a career-spanning 23-disc box set of Fleisher’s recordings.  Fleisher holds numerous honors including the Johns Hopkins University President’s Medal and honorary doctorates from the San Francisco Conservatory of Music, Amherst College, Boston Conservatory, Cleveland Institute of Music, Juilliard School of Music and Peabody Institute. In 2005, the French government named him Commander in the French Order of Arts and Letters, the highest rank of its kind. PERFORM ANCE / VOL . X XII / SPRING 2014

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Program Notes Concerto for Orchestra: Zodiac Tales BRIGHT SHENG

B. December 6, 1955 in Shanghai, China

Scored for 3 flutes (2 doubling piccolo), 2 oboes, English horn, 3 clarinets (doubling Eb clarinet and 2 bass clarinets), 3 bassoons (2 doubling contrabassoon), 4 horns, 3 trumpets (2 doubling piccolo trumpet), 3 trombones, tuba, timpani, percussion (bass drums, bell plate, bongos, cowbell, crotales, woodblocks, glockenspiel, guiro, tam-tams, Peking Opera Cymbal, ratchet, slapstick, temple blocks, triangle, wind gong and xylophone), harp and strings. (Approx. 25 minutes)

T

he Chinese zodiac is a scheme which relates each year to an animal and its mythical attributes according to a 12-year mathematical cycle. The Chinese and Western zodiacs are similar in that they are both divided into 12 sections, most of which are associated with animal names, and both attribute the influence of a person’s cycle on personality traits, sometimes even to events in their lives. They differ, however, because the Western calendar is a solar calendar, whereas the Chinese 12-part cycle is a lunar calendar and refers to years rather than months. The animals in the Chinese system were created for counting the years because the system which is now universally accepted based on the Christian calendar did not yet exist. Although Buddha is a major figure in many of the legends relating to the origins of the Chinese zodiac, and the zodiac animals may have been brought to China via the famous Silk Road which brought Buddhist beliefs from India to China, there is a good deal of evidence which suggests that all of this predates Buddhism. We know, for example, that early Chinese astronomers devised a system of telling time based on the 12-year orbit of the planet Jupiter. This system also included 12 earthly branches and existed long before Buddhism. Moreover, the zodiac animals were known as far back as the Warring States Period (475-221 B.C.), a time of great disunity and unrest in ancient Chinese history. Nevertheless, the Buddhabased legends are very colorful and popular. In one version, Lord Buddha summoned all the animals to come to him before his time on earth was up, but only twelve came to say goodbye, so as a reward he named a year after each one in the order that they arrived. In another version, all the animals did come and were invited to participate in a race. 26

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The first 12 animals to cross a river would then appear as part of the zodiac calendar in the order in which they completed the race. However this all came about, in Chinese astrology each year begins early in the calendar year on the second new-moon day after the winter solstice. So, the Chinese New Year is movable (just as Easter is in Western reckoning), and takes place some time between January 21st and February 20th. The Chinese adopted the Western calendar in 1911, but the lunar calendar is still used for festive occasions such as the ever-popular New Year celebrations. As always, Bright Sheng has graciously provided commentary about his music, its inspiration and the stories behind the six movements. [In brackets, following the stories, are quick summaries of their musical content.] Every Chinese is born in a zodiac year symbolized by a specific animal which accompanies the person throughout his or her life: the years of the mouse, the buffalo, the tiger, the rabbit, the dragon, the serpent, the horse, the ram, the monkey, the rooster, the dog, and the pig. We know that, approximately 4,000 years ago—around the time that the zodiac belief reached China— the Chinese started studying astronomy and astrology. However, the first detailed writing in Chinese literature did not appear until the Eastern Han Dynasty (23-220 A.D.), well over 2,000 years later, when a Chinese philosopher named Wang Chong discussed the relationship of nature and the twelve constellations in his famous treatise Weighing the Measurement. Since then, legends of these astrological animals have been appearing throughout the history of Chinese literature, and some of the most vivid images of these largely fictional tales have provided me with inspiration as a point of departure for me to compose. 1. The Rain God Also known as The Dragon, the Rain God is the only mythical animal among the twelve. Its appearance is a combination of nine animals: the head of the qiu (a Chinese mythological animal between a small lion and a large dog), the antler of the deer, the eyes of the rabbit, the ears of the bull, the body of the serpent, the belly of the giant clam, the scales of the carp, the paws of the eagle, and the palms of the tiger. Among the twelve, it is not only the mightiest but rules over the affairs of rain and water. Throughout history the Chinese have built temples all over the country to honor the dragon god, praying for a good season of rain for the crops and for protection from

floods. [The music is violent and dramatic, with slashing chords and heavy involvement of the brass section.] 2. Of Mice and Cats. A pair of mice can reproduce almost a thousand young ones over the period of a year, and each three-month-old mouse is mature enough to reproduce again. With the mouse I see different images: from one mouse to hundreds, to thousands, and even millions of mice all in one place. According to the legend, the cat did not make it into the zodiac because of the mouse. They were good friends at one point, but when the Jade Emperor (a god-like figure in Chinese mythology) summoned the animals to his court for zodiac designations, the mouse intentionally did not wake up his sleeping friend as he had promised he would. Arriving first before the Emperor, the mouse was chosen number one of the twelve zodiac animals. The cat and mouse have been enemies ever since. [This features rapid swirling figures in the strings at the beginning and the end, and in the middle there is a striking combination of brass flutter-tonguing and woodwind trills.] 3. Three Lambs under the Spring Sun Chinese mythology believes that the ram is the sun god. Here, the picture of three lambs resting under the sun in early spring signifies a good omen of happiness and a generous harvest for the year. [This is the shortest of the six movements, featuring slow lyric music played entirely by the woodwinds.] 4. The Elephant-Eating Serpent Although the serpent is not as powerful as the dragon, it still has much strength and is known for its ability to swallow objects much bigger than the size of its own body. Thus the metaphor describing a person’s extreme greediness is “the serpent who craves to eat an elephant.” [Throughout the movement there are vigorous figures in the strings, with interjections by the woodwinds, brass and percussion.] 5. The Tomb of the Soulful Dog The notion that “the dog is man’s best friend” has also been a part of Chinese culture for a very long time. The most wellknown fable is about the dog of Emperor Liu Bang, the founder of the Han Dynasty (206 B.C. – 220 A.D.). In this legend, the Emperor’s dog saved his master’s army by sacrificing himself to put out a fire set by DSO.ORG


the enemy as they besieged and surrounded the Emperor’s troops. Emperor Liu later buried the dog in a serene ceremony, and built a large tombstone with the inscription “The Tomb of the Soulful Dog.” [The music begins slowly and solemnly in the strings and percussion, then occur sudden powerful outbursts in the brass and woodwinds which gradually diminish, and the music of the beginning returns, fading away to nothing at the end.] 6. The Flying Horses In Chinese mythology the heavenly horses could travel as much as a thousand miles a day across the sky: an image which is truly inspiring, with visions of thousands of them dashing over the horizon together. [Over quiet sustained chords in the strings, soft but dynamic figures are heard in the bass clarinets and contrabassoons. Gradually the horns and trombones join in, followed by the clarinets and bassoons, then all of the woodwinds and finally brass and percussion. The music grows in intensity and becomes wilder and more powerful, and as the depiction of the galloping horses reaches its zenith, the movement ends with one shattering final outburst.]

Symphony No. 10 in E minor, Op. 93 DMITRI SHOSTAKOVICH

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

Scored for 3 flutes, 2 piccolos, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, military drum, tam-tam, triangle, tambourine, xylophone, cymbals and bass drum) and strings. (Approx. 55 minutes)

t has been over 35 years since ShostaIa controversial kovich died, and to this day he remains figure. The controversy has

little to do with his music, and almost everything to do with his relationship with the Soviet government which was an ominous presence he had to deal with throughout his whole career. The man occupied an unusual place in the history of 20th century Russian music inasmuch as he did not come of age until after the Bolshevik Revolution, but then died before the fall of the oppressive regime which held such a stranglehold on all forms of artistic expression for so many years. Throughout his life the man wore DSO.ORG

two masks: the public one which gave the impression of being a loyal citizen of the Soviet Union in spite of having been both praised and savagely criticized for what he wrote; and the private one which concealed an elaborate set of games he played with the authorities in order to survive, and which allowed his genius to fill many of his works with veiled musical messages, entirely missed by officialdom but picked up instantly by friends and colleagues who were musically literate and discerning. He was an amazingly resilient person who somehow found the ability to weather not one but two of the most scathing denunciations which any composer ever received, and then recover from those attacks by writing works which pleased the authorities but which concealed statements in the music not at all favorable to the Stalinist regime. The first attack in 1936, which was contained in an article in Pravda entitled “Muddle Instead of Music,” resulted in the production of the Fifth Symphony, one of his most popular and frequently-performed works. The second, in 1948, resulted in a series of film scores and patriotic cantatas which seemed to please everybody. It was not until the infamous dictator Stalin died in 1953 that Shostakovich once again felt able to write music which was complex and challenging and true to his high ideals. It was this more liberal atmosphere which saw the completion of the Tenth Symphony in the summer and fall of that historic year. For years it was assumed that he had composed the entire work during those months, but there is now ample evidence that he in fact began the work as early as 1951, and may have even made sketches before that which found their way into the new symphony. In any case, he formed a brittle association with the new regime, which appeared to need his support almost as much as he needed theirs. The premiere of the Tenth in Leningrad on December 17, 1953 with the composer’s great colleague Yevgeny Mravinsky conducting the Leningrad Philharmonic, and the next performance in Moscow some 12 days later, received immediate and enthusiastic public acclaim. However, the official verdict on the work had to wait until the following spring after an intensive three-day seminar in Moscow. Boris Schwarz, in his great book entitled Music and Musical Life in Soviet Russia, 1917-1970, says the debate “…seemed to transcend the significance of the work and centered on a vital principle: the right of

an artist to express himself, individually rather than collectively, subjectively rather than objectively, without bureaucratic interference or tutelage.” Shostakovich was vindicated, and was named “People’s Artist of the U.S.S.R,” the highest honor which the government could confer. We will probably never know for sure how long ideas for the Tenth Symphony had been percolating in its composer’s mind. Elizabeth Wilson, in her admirable 1994 biography entitled “Shostakovich: A Life remembered,” states that reminiscences of people close to him show without question that he was working on the symphony in 1951, and there are even sketches of an unfinished violin sonata from 1946 in the Shostakovich Archives whose themes are close or identical to those in the first movement of the Tenth. Whatever the case, the Tenth is generally regarded as the finest of his 15 symphonies, and one of the greatest symphonies written in the 20th century. Like most of his symphonies, there seems to be some kind of a struggle going on under the surface, and, in spite of all he had to deal with politically and governmentally, one can also chart an unerring path of development from the First Symphony, written when he was just 19, to the 15th Symphony, composed in his 65th year. If, indeed, Shostakovich was working on the Tenth in1951, this brings up the interesting question of just how much that is in the work sprang from Stalin’s death in 1953, or was it perhaps a case of his mental flood gates releasing what had been pent up in his artistic conscience for so many years—eight years, to be exact, since the Ninth Symphony appeared: the longest hiatus between any two of his symphonies. To be sure, after Stalin’s death, he produced a series of new works which would definitely not have been acceptable under the old, oppressive regime, some of which had been lying in a drawer somewhere for years. Certainly, in this great work, Shostakovich summed up his ideas on the symphonic form up to that time, and seemed to be looking forward to an unfettered and enlightened time, free from political restraints. Then, of course, there is the matter of an extramusical program here, or what this symphony is “about.” One can turn to the highly controversial 1969 book Testimony, purported to be the memoirs of the composer as collected by musicologist Solomon Volkov, but which, ever since its publication, has been seemingly vindicated and then condemned PERFORM ANCE / VOL . X XII / SPRING 2014

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many times over. What Shostakovich supposedly said here is, “I couldn’t write an apotheosis to Stalin. I simply couldn’t. I knew what I was in for when I wrote the Ninth [meaning the bitter 1948 denunciation], but I did depict Stalin in the Tenth. I wrote it right after Stalin’s death, and no one has yet guessed what the Symphony is about. It’s about Stalin and the Stalin years. The second movement, the scherzo, is a musical portrait of Stalin, roughly speaking. Of course, there are many things in it, but that is the basis.” Later on, when asked about programmatic content, he replied in his typically non-committal fashion, “In this composition I wanted to portray human emotions and passions….let people listen and guess for themselves.” The symphony begins with an extraordinarily long, Mahler-like movement, which contains roughly half of the music in the work, and which seems to paint the picture of a bleak, barren and ruined landscape, perhaps psychological, perhaps real. It is one his greatest and most chilling creations, and has prompted many to wonder if there was anything religious about, but when Shostakovich was once asked if he believed in God, he replied, “No, and I am very sorry about it.” Nevertheless, he maintains to a phenomenal degree a continuous tension and sustained intensity, based on a haunting and almost funereal bass line. One of the opening themes is a quote from a song which was written in 1952, based on a Pushkin poem which begins with the words “What is in my name?” In total and almost frightening contrast, there follows a brutal, hell-fire scherzo, only four minutes long, but full of a searing intensity which is almost unbearable to listen to, and which is, in the words of Robert Markow, “…the musical equivalent of a tornado ride through hell.” The third movement, which may be considered the emotional and philosophical core of the symphony, is another Mahler-like utterance, a dark and mysterious nocturne which bears some autobiographical content. For the first time there appears a motif, D-Eb-C-B, which is a musical code for the composer’s name written in German. Along side this there is another theme, E-A-E-D-A, which, again in code, spells out the first name of an Azerbaijani pianist and composer named Elmira Nazirova, who studied with Shostakovich in 1947, and who provided him with a romantic but chaste inspiration for a number of years, including an extended correspondence during the time the Tenth Symphony was being written. The finale begins with one of the longest slow 28

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introductions in any symphony, but whose ominous, foreboding mood is suddenly lifted by the appearance of a sprightly theme, very dance-like in nature, which continues to the end of the symphony, and which tries to lift the severe tone of all that has gone before with an unexpected cheerfulness. As the movement comes to an end, the timpani hammers out the four-note Shostakovich motif, and the work sweeps to a powerful and hairraising conclusion, seemingly asserting the composer’s triumph over the soulless, dehumanizing regime he had to endure for so many years. In short, the Tenth Symphony is a devastating portrait of what life was like under Stalin’s heel, not just for the composer but also for millions of his fellow countrymen. In the words of writer Ray Blokker, “Here is the heart of Shostakovich. In this work he opens his soul to the world, revealing its tragedy and profundity, but also its resilience and strength.” Finally, as the esteemed English conductor and Shostakovich authority Mark Wigglesworth once wrote, “… there is no sense of relief at the end of this work, just a triumphant assertion that, despite the continued presence of tyranny, an individual with a strong enough spirit can survive. Only Shostakovich can be so optimistic, pessimistic and ultimately realistic in one work without any sense of contradiction. It is what makes all of his symphonies such vital chronicles of the 20th century.”

Concerto in D major for Piano (Left Hand Alone) and Orchestra MAURICE RAVEL

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

Premiered January 17, 1933 by pianist Paul Wittgenstein with the Paris Symphony Orchestra conducted by the composer. Scored for three flutes (3rd doubling on piccolo), two oboes, English horn, E-flat clarinet, two B-flat clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani and four percussionists (bass drum, cymbals, snare drum, tam tam, wood block, triangle), harp, and strings (approx. 19 minutes).

M

uch of the significant left-hand piano music written in the 20th century owes its existence to the Austrian-born American pianist Paul Wittgenstein (1887–1961), who lost his right arm at the Russian front during World War I. Determined not to let this injury destroy his musical life, Wittgenstein developed an

extraordinary technique with only his left hand and used his family’s wealth to commission one-handed piano works from notable composers, including Richard Strauss, Serge Prokofiev, Benjamin Britten, and Maurice Ravel. Ravel found the challenge of writing for one hand particularly stimulating. His remarks preceding the premiere reveal an ambition to write a substantial piece, despite the digital limitations of the soloist: “…[the soloist’s limitation] poses a rather arduous problem for the composer…which is to maintain interest in a work of extended scope while utilizing such limited means. The fear of difficulty, however, is never as keen as the pleasure…of overcoming it.” The concerto’s grand and serious tone is evidenced by Ravel’s choice to use a fullsized orchestra: triple woodwinds, including a contrabassoon and English horn, and a full complement of brass and percussion. The work is in a single movement, and follows a slow–fast–slow pattern whose design might be best described as one sonata encased inside another. The opening evokes a mysterious atmosphere by using the lowest possible instruments of the orchestra: the contrabasses playing their open strings, and a solo contrabassoon. The latter instrument’s melody presents two important motives: a dotted rhythm that will eventually grow into the first theme, and a descending third that will become important in the center of the work. The introduction gradually grows in intensity and brightness, acting as a giant upbeat to the soloist’s entrance, which after a cadenza introduces the first theme. The solo piano soon offers a brief and lyrical second theme, and the orchestra and soloist join together in a transition that quotes the opening dotted rhythm. The transition leads to the arrival of a fast section in a fast 6/8 time. Ravel claimed that the section was inspired by jazz, and the use of altered thirds and a lowered 7th might suggest jazz influence, though present-day listeners might hear a stronger influence in Ravel’s love of Spanish music. A brief and playful melody in duple time follows, played by the high woodwinds and accompanied by the soloist. The middle section is an extended meditation on the descending third introduced at the opening. This is spun out into a theme that gradually builds in texture and activity; eventually the initial theme from the fast section becomes the accompaniment. A return to the slow section features an extended piano solo that touches on the lyrical theme from the opening and leads to a triumphant conclusion.

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Maximize Your Experience Priority Service for our Members Subscribers and donors who give $1,000 or more annually receive priority assistance. Just visit the Member Center on the second floor of the Max M. Fisher Atrium for help with tickets, exchanges, donations, or any other DSO needs. Herman and Sharon Frankel Donor Lounge Governing Members who give $3,000 or more annually enjoy complimentary beverages, appetizers, and desserts in the Donor Lounge, open 45 minutes prior to each concert through to the end of intermission. For more information on becoming a Governing Member call Cassie Brenske at 313.576.5460. A Taste of the DSO Located on the second floor of Orchestra Hall, Paradise Lounge will be open prior to most concerts featuring small plates paired with classic cocktails, small production wines, and craft beers. Bars will continue to be available throughout the Max M. Fisher Music Center prior to concerts and during intermission. For your convenience, you may place your beverage orders pre-concert and your drink will be waiting for you at intermission.

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Music Center. Security personnel are available at the entrances to help patrons requiring extra assistance in and out of vehicles. Hearing assistance devices are also available. Please see the House Manager or any usher for additional assistance. House and Seating Policies All patrons must have a ticket to attend concerts at the Max M. Fisher Music Center, including children. The Max M. Fisher Music Center opens two hours prior to most DSO concerts. Most classical concerts feature free pre-concert talks or performances in Orchestra Hall for all ticket holders. The DSO makes every attempt to begin concerts on time. In deference to the comfort and listening pleasure of the audience, latecomers will be seated at an appropriate pause in the music at the discretion of the house staff. Patrons who leave the hall before or during a work will be reseated after the work is completed. Latecomers will be able to watch the performance on closed circuit television in the Atrium Lobby. Please turn off all cell phones, alarms, and other electronic devices. Patrons should speak to the House Manager to make special arrangements to receive emergency phone calls during a performance.

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ADMINISTRATIVE STAFF EXECUTIVE OFFICE

COMMUNITY PROGRAMS

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EDUCATION

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OFFICE OF THE GENERAL MANAGER Erik Rönmark, General Manager and Artistic Administrator Artistic Planning Kathryn Ginsburg, Artistic Manager Christopher Harrington, Managing Director of Paradise Jazz Series Jessica Ruiz, Assistant Artistic Administrator Orchestra Operations

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DSO Education The DSO Performs at Martin Luther King Jr. High School in Detroit The Education Department began the New Year with a full orchestra performance at Detroit’s Martin Luther King Jr. High School on January 15th. Musicians were welcomed by 1,200 high school students who enjoyed a program honoring Dr. Martin Luther King. This performance was the first in the newly renovated performing arts space, and was the first in-school orchestra performance that the school has hosted in 30 years.

Engagement with Detroit School of Arts The DSO has been working closely with the Detroit School of Arts to create a full complement of engagement offerings for their high school students. Throughout the rest of the school year, over 230 fine and performing arts students will attend Classical Series rehearsals with DSO musicians.

YOUR STAGE AWAITS

Orchestra  •  Jazz  •  Band  Adult Ensembles  •  Chamber Music Music Theory Classes  •  Piano Lab

2014-15 Auditions

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civic@dso.org 313.576.5467

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DSO Outreach in Detroit Schools The Detroit Symphony Orchestra is proud to announce that since December, both individual musicians and large chamber ensembles have performed in 11 Detroit Public Schools! With the goal of providing support for music education that is already taking place in Detroit, DSO musicians are scheduled to visit Detroit School of Arts, Martin Luther King High Jr. High School, Cass Technical High School, Renaissance High School, Spain Elementary-Middle School, and Munger Elementary-Middle School to conduct sectionals and master classes with instrumental music students throughout the rest of the school year. In order to provide increased engagement opportunities to classical music for the students without school music programs, the DSO partners with the Beyond Basics programs to provide horizon broadening experiences for Detroit Public elementary students who participate in the Beyond Basics literacy programs. Currently scheduled are visits to Burton International Academy, SampsonWebber Leadership Academy, Thirkell Elementary School and the Mann Learning Community. DSO string players will continue to engage participants at Gompers ElementaryMiddle School, Maybury Elementary School and Detroit Community Elementary School through a partnership with the Sphinx Overture program. The Sphinx Overture program provides access to free group violin lessons for students throughout Flint and Detroit. DSO.ORG


The Annual Fund Gifts received between September 1, 2012 and January 31, 2014

Being a Community-Supported Orchestra means 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 a question about this roster, or for more information about how you can make a donation, please contact 313.576.5114 or dso.org/donate. The Gabrilowitsch Society honors individuals who support us most generously at the $10,000 level and above. Janet and Norm Ankers, chairs

Giving of $250,000 and more

Mr. & Mrs. Lee Barthel Giving of $100,000 and more The Mandell L. & Madeleine H. Berman Family Foundation Julie & Peter Cummings

Mr. & Mrs. Stanley Frankel

Mr. & Mrs. James B. Nicholson

Mrs. Marjorie S. Fisher

Ruth & Al Glancy

Mr. & Mrs. Phillip Wm. Fisher

Mrs. Richard C. Van Dusen

Emory M. Ford, Jr. Endowment †

Giving of $50,000 and more Mr. & Mrs. Richard L. Alonzo Mr. & Mrs. Eugene Applebaum Penny & Harold Blumenstein Mrs. RoseAnn Comstock

Marvin & Betty Danto Family Foundation Ms. Leslie Devereaux Sidney & Madeline Forbes The Polk Family

Bernard & Eleanor Robertson Cindy & Leonard Slatkin Mr. & Mrs. R. Jamison Williams Dr. & Mrs. Clyde Wu

Giving of $25,000 and more Anonymous Mr. & Mrs. John A. Boll, Sr. Mr. & Mrs. Richard A. Brodie Mr. Gary Cone & Ms. Aimée Cowher Mr. & Mrs. Raymond M. Cracchiolo Linda Dresner & Ed Levy, Jr. Mrs. Kathryn L. Fife

Mr. & Mrs. David Fischer Herman & Sharon Frankel Mr. & Mrs. Morton E. Harris Chacona W. Johnson Mrs. Bonnie Larson Ms. Deborah Miesel Mr. & Mrs. Eugene A. Miller

Mr. & Mrs. Bruce D. Peterson Mr. & Mrs. Alan E. Schwartz & Mrs. Jean Shapero Mr. & Mrs. Larry Sherman Mr. & Mrs. Donald R. Simon

Robert & Mary Ann Gorlin Dr. & Mrs. Herman Gray, Jr. Mr. & Mrs. James Grosfeld Dr. Gloria Heppner Ms. Doreen Hermelin Lauri & Paul Hogle Mr. & Mrs. Ronald Horwitz Richard H. & Carola Huttenlocher Mr. Sharad P. Jain Faye & Austin Kanter Mr. & Mrs. Norman D. Katz Mr. & Mrs. Michael J. Keegan Mr. & Mrs. Bernard S. Kent Mr. David Lebenbom Marguerite & David Lentz Dr. Melvin A. Lester Mr. & Mrs. Arthur C. Liebler Michael & Laura Marcero David & Valerie McCammon Mr. & Mrs. Robert S. Miller Cyril Moscow Mr. Joseph Mullany Geoffrey S. Nathan & Margaret E. Winters Jim & Mary Beth Nicholson

Jo Elyn Nyman Anne Parsons & Donald Dietz Mr. & Mrs. Richard G. Partrich Mr. Charles Peters Dr. William F. Pickard Dr. Glenda D. Price Mr. & Mrs. Gary Ran Ms. Ruth Rattner Mr. & Mrs. Lloyd E. Reuss Jack & Aviva Robinson Martie & Bob Sachs Marjorie & Saul Saulson Mark & Lois Shaevsky Mr. Stephan Sharf † Mr. David Sherbin Richard Sonenklar & Gregory Haynes Mr. & Mrs. John Stroh III Dr. Doris Tong & Dr. Teck M. Soo Mr. Robert VanWalleghem Arthur & Trudy Weiss Paul & Terese Zlotoff Milton & Lois Zussman

Giving of $10,000 and more Mr. & Mrs. Robert A. Allesee Daniel & Rose Angelucci Mr. & Mrs. Norman Ankers Mr. Chuck Becker Mr. & Mrs. Robert H. Bluestein Mr. & Mrs. Jim Bonahoom Gwen & Richard Bowlby Michael & Geraldine Buckles Lois & Avern Cohn Mark Davidoff & Margie Dunn Marianne Endicott Jim & Margo Farber Dr. Marjorie Fisher Mr. & Mrs. Samuel Fogleman Mr. & Mrs. Edsel B. Ford II Dr. Saul & Mrs. Helen Forman Barbara Frankel & Ronald Michalak Dale & Bruce Frankel Ms. Carol A. Friend & Mr. Mark T. Kilbourn Lynn & Bharat Gandhi Mr. & Mrs. Eugene A. Gargaro, Jr. Dorothy & Byron† Gerson Mr. & Mrs. Ralph J. Gerson Mrs. Gale Girolami DSO.ORG

† Deceased

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Distinguished Board Member Spotlight Stephen Strome

Stephen Strome, former Chairman and CEO of Handleman Company has been a valuable member of our Board of Directors from 2009 to 2013, in addition to his active participation on our Board of Trustees. While he has been an active member of the DSO’s Finance Committee for a number of years, Steve is best known amongst the DSO family as the Chairman of the 2012 Recapitalization Task Force. The DSO’s Recapitalization Task Force was commissioned to discuss, debate, research, author, and advance a credible, comprehensive blueprint for the DSO’s long-term financial viability. Mr. Strome was appointed by Stanley Frankel to lead a group of Board, orchestra and staff members charged with documenting a pathway to balanced financial operations. During this six month long process, the task force’s work

was described as collaborative, arduous, thoughtful and creative. This plan, now known as Blueprint 2023, was unanimously adopted by the Board of Directors and presented by Mr. Strome to the Governing Membership at the December 2012 Annual Meeting. Since then, it has played an integral role in the DSO’s budget development and will serve as a guide for replenishing the DSO’s unrestricted endowment in current and future years. Steve has now transitioned to the DSO’s newly formed Board of Trustees, a group whose purpose is to infuse creative thinking and innovation into how the DSO strives to achieve both artistic vitality and organizational sustainability. The DSO extends its gratitude to Steve for his leadership, passion and continued support.

Giving of $5,000 and more Richard & Jiehan Alonzo

Goodman Family Charitable Trust

Elaine & Mervyn Manning

Dr. Mark & Peggy Saffer

Drs. John & Janice Bernick

Dr. Allen Goodman & Dr. Janet Hankin

Ms. Florine Mark

Elaine & Michael Serling

Mr. & Mrs. James A. Green

Alexander & Evelyn McKeen

John J. Solecki

Patricia A. & Patrick G. McKeever

Renate & Richard Soulen

Susanne O. McMillan

Ms. Wanda & Ms. Eugenia Staszewski

Robert N. & Claire P. Brown Mr. & Mrs. Gary L. Cowger Deborah & Stephen D’Arcy Fund Jerry P. & Maureen T. D’Avanzo Ms. Barbara Davidson Beck Demery Dr. & Mrs. A. Bradley Eisenbrey Ron Fischer & Kyoko Kashiwagi Mr. & Mrs. Alfred J. Fisher, III Mr. & Mrs. Herbert Fisher Mr. & Mrs. Steven Fishman Mr. David Fleitz Mrs. Harold L. Frank Allan D. Gilmour & Eric C. Jirgens Dr. Kenneth & Roslyne Gitlin Dr. Robert T. Goldman

Ms. Nancy Henk Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. & Mrs. Norman H. Hofley Mr. & Mrs. A. E. Igleheart Mr. & Mrs. Charles R. Janovsky Mr. & Mrs. Richard J. Jessup Michael E. Smerza & Nancy Keppelman Dr. David & Elizabeth Kessel Mr. & Mrs. Richard P. Kughn Mr. & Mrs. Harold Kulish Allan S. Leonard

Mr. Roland Meulebrouck John & Marcia Miller Dr. Robert & Dr. Mary Mobley Mr. & Mrs. Xavier Mosquet David R. & Sylvia Nelson Mr. & Mrs. Albert T. Nelson, Jr. Patricia & Henry Nickol Mr. & Mrs. David E. Nims Mariam C. Noland & James A. Kelly Mr & Mrs. Arthur T. O’Reilly Donald & Jo Anne Petersen Fund Mrs. Helen F. Pippin

The Locniskar Group Mr. & Mrs. Harry A. Lomason

Professor Calvin L. Stevens Stephen & Phyllis Strome David Usher Mr. & Mrs. Jonathan T. Walton Gary L. Wasserman S. Evan & Gwen Weiner

Mr. & Mrs. John Whitecar Mrs. Beryl Winkelman Ms. June Wu Dr. & Mrs. Robert E. Wurtz Mr. & Mrs. Alan Zekelman

Dr. & Mrs. John Roberts

Giving of $2,500 and more Anonymous Dr. & Mrs. Roger M. Ajluni Dr. Lourdes V. Andaya Dr. & Mrs. Ali-Reza R. Armin Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook Mr. & Mrs. John Axe Ms. Ruth Baidas Mr. John Barbes Mr. J. Addison Bartush David & Kay Basler Mr. & Mrs. Martin S. Baum Mary Beattie Ms. Margaret Beck Mrs. Harriett Berg Mrs. John G. Bielawski+ Mr. & Mrs. Lawrence Bluth Ms. Jane Bolender Ms. Nadia Boreiko

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Dr. & Mrs. Rudrick E. Boucher Mr. Anthony F. Brinkman Mr. Scott Brooks Mr. & Mrs. Mark R. Buchanan Mr. H. William Burdett, Jr. Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Philip & Carol Campbell Dr. & Mrs. Thomas E. Carson Mr. Daniel Clancy & Mr. Jack Perlmutter Gloria & Fred Clark Jack, Evelyn & Richard Cole Family Foundation Dr. & Mrs. Charles G. Colombo Mr. & Mrs. Thomas W. Cook Dr. & Mrs. Ivan Louis Cotman Thomas & Melissa Cragg Suzanne Dalton & Clyde Foltyn Mr. Christopher Danato

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Dr. Joseph Daniel & Mr. Alfredo Silvestre Mr. & Mrs. Colin Darke Barbara A. David Lillian & Walter Dean Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Mr. & Ms. Ric L. DeVore Adel & Walter Dissett Mr. & Mrs. Mark Domin Mr. & Mrs. Walter E. Douglas Ms. Judith Doyle Eugene & Elaine Driker Paul+ & Peggy Dufault Mr. & Mrs. Robert Dunn Jeanne Bakale & Roger Dye Mrs. George D. Dzialak Dr. Leo & Mrs. Mira Eisenberg Ms. Jennifer Engle Mr. & Mrs. John M. Erb

† Deceased

Sanford Hansell & Dr. Raina Ernstoff Mary Sue & Paul E. Ewing Mr. David Faulkner Mr. & Mrs. Oscar Feldman Mr. & Mrs. Daniel E. Frohardt-Lane Mr. & Mrs. Paul Ganson Dr. & Mrs. Theodore Golden Mr. Nathaniel Good Mr. Jason Gourley & Mrs. Rebekah Page-Gourley Dr. & Mrs. Steven Grekin Mr. Jeffrey Groehn Alice Berberian Haidostian Dr. Algea Hale Mr. Kenneth Hale Mr. & Mrs. Tim & Rebecca Haller Robert & Elizabeth Hamel Erie-St Clair Clinic Mr. Lorne Hanley Randall L. & Nancy Caine Harbour DSO.ORG


Scott Harrison & Angela Detlor Mr. Lee V. Hart & Mr. Charles L. Dunlap Cheryl A. Harvey Dr. & Mrs. Gerhardt Hein Mr. & Mrs. Demar W. Helzer Dr. Deanna & Mr. David B. Holtzman Jack & Anne Hommes Mr. Matthew Howell & Mrs. Julie Wagner Mr. F. Robert Hozian Jean Wright & Joseph L. Hudson, Jr. Fund Julius & Cynthia Huebner Foundation Ira & Brenda Jaffe Mr. John S. Johns Mr. George Johnson Lenard & Connie Johnston Mrs. Ellen D. Kahn Betsy & Joel Kellman Martin & Cis Maisel Kellman Mr. Patrick J. Kerzic & Stephanie Germack Kerzic The Stephanie & Frederic Keywell Family Fund Mrs. Frances King Thomas & Linda Klein Mr. & Mrs. Thomas N. Klimko Margot Kohler Ms. Rozanne Kokko Dr. Harry & Katherine Kotsis Robert C. & Margaret A. Kotz Mr. Julius Kusey Mr. & Mrs. David Kuziemko Joyce LaBan Dr. Raymond Landes & Dr. Melissa McBrien-Landes Mr. James M. Landis, Jr. Ms. Sandra Lapadot Ms. Anne T. Larin Dolores & Paul Lavins Dr. Klaudia Plawny-Lebenbom Max Lepler & Rex L. Dotson Mr. & Mrs. John D. Lewis Mrs. Melissa Liberty Mr. & Mrs. Robert Liggett Mr. & Mrs. Joseph Lile Mr. Gregory Liposky Dr. & Mrs. Charles Lucas Mr. Robert A. Lutz Mrs. Sandra MacLeod Dr. & Mrs. Donald MacQueen Margaret Makulski & James Bannan Mr. & Mrs. Charles W. Manke, Jr. Mr. & Mrs. Patrick Mansfield Mr. & Mrs. David S. Maquera Esq Maureen & Mauri Marshall Dr. & Mrs. Peter M. McCann M.D. Ms. LeAnne McCorry Mr. & Mrs. Alonzo McDonald Dr. & Mrs. Donald A. Meier Dr. & Mrs. David Mendelson Mrs. Thomas Meyer Mr. Louis Milgrom Bruce & Mary Miller Mr. & Mrs. Leonard G. Miller Mr. Stephen & Dr. Susan Molina DSO.ORG

Eugene & Sheila Mondry Foundation Mr. & Mrs. Craig R. Morgan Ms. A. Anne Moroun Ms. Florence Morris Mr. Frederick Morsches Dr. Stephen & Dr. Barbara Munk Mr. Bruce Murphy Joy & Allan Nachman Edward & Judith Narens Mr. & Mrs. Mark Neville Joanna P. Morse & Arthur A. Nitzsche Mr. Thomas Norris Mr. & Mrs. Stanley Nycek Mr. & Mrs. Joshua Opperer David & Andrea Page Mrs. Margot Parker Dr. & Mrs. Claus Petermann Mrs. Bernard E. Pincus Mr. & Mrs. Jack Pokrzywa Ms. Judith Polk William & Wendy Powers Mrs. Susan Priester Mr. & Mrs. Nicolas I. Quintana Ms. Michele Rambour Mr. Richard Rapson Drs. Stuart & Hilary Ratner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Carol & Foster Redding Mr. & Mrs. Dave Redfield Dr. Claude & Mrs. Sandra Reitelman Mr. Jason Remisoski Denise Reske Barbara Gage Rex Mrs. Ann C. Rohr Seth & Laura Romine Norman & Dulcie Rosenfeld Mr. & Mrs. Robert B. Rosowski Mr. & Mrs. Hugh C. Ross Mr. R. Desmond Rowan Jane & Curt Russell Mrs. Lois V. Ryan Dr. Hershel Sandberg Ruth & Carl Schalm Ms. Martha A. Scharchburg & Mr. Bruce Beyer Mr. & Mrs. Alan S. Schwartz Mr. & Mrs. Kingsley G. Sears Mr. & Mrs. Fred Secrest Mr. Merton J. & Beverly Segal Mrs. Jean Shapero Ms. Cynthia Shaw Mr. & Mrs. James H. Sherman Dr. Les & Mrs. Ellen Siegel Coco & Robert Siewert Mr. & Mrs. William Sirois William H. & Patricia M. Smith Mr. & Mrs. S. Kinnie Smith, Jr. Dr. Gregory Stephens Mr. Clinton F. Stimpson, Jr. Dr. & Mrs. Charles D. Stocking Mr. & Mrs. Ray Stone Mrs. Kathleen Straus & Mr. Walter Shapero David Szymborski & Marilyn Sicklesteel

Dorothy I. Tarpinian Shelley & Joel Tauber Mr. & Mrs. James W. Throop Alice & Paul Tomboulian Mr. & Mrs. Michael Torakis Barbara & Stuart Trager Mrs. L.W. Tucker Mark & Janice Uhlig Amanda Van Dusen & Curtis Blessing Mr. & Mrs. Charles B. Van Dusen Mr. & Mrs. George C. Vincent Ms. Phyllis Vroom Mr. & Mrs. William Waak Dr. & Mrs. Ronald W. Wadle Ann Kirk Warren Mr. Patrick Webster Mr. Herman W. Weinreich Mr. & Mrs. Lawrence Weisberg Ambassador & Mrs. Ronald N. Weiser Janis & William M. Wetsman / The Wetsman Foundation Dr. Amy M. Horton & Dr. Kim Allan Williams Beverly & Barry Williams Rissa & Sheldon Winkelman Mr. Jonathan Wolman & Mrs. Deborah Lamm Mr. & Mrs. Warren G. Wood Mrs. Judith G. Yaker Dr. Alit Yousif & Mr. Kirk Yousif

Giving of $1,500 and more Anonymous Mr. & Mrs. Howard Abrams Joshua & Judith Adler Mrs. Thomas V. Angott, Sr. Mr. & Mrs. Robert L. Anthony Mr. & Mrs. Arnold Aronoff Dr. & Mrs. Gary S. Assarian Mr. & Mrs. Joseph Aviv Mr. Mark Bartnik & Ms. Sandra J. Collins Mr. & Mrs. James V. Bellanca, Jr. Mr. & Mrs. Jeffrey A. Berner Linda & Maurice S. Binkow Dr. & Mrs. George L. Blum Mr. Timothy J. Bogan Mr. & Mrs. J. Bora The Honorable Susan D. Borman & Mr. Stuart Michaelson Don & Marilyn Bowerman Mrs. Ethel Brandt Mr. & Mrs. Gerald Bright Carol & Stephen A. Bromberg Ronald & Lynda Charfoos Fred J. Chynchuk Mrs. Patricia Cravens Mrs. Barbara Cunningham Mr. Michael J. Dul Mr. Charles Dyer Mr. & Mrs. Henry Eckfeld Mr. & Mrs. Howard O. Emorey Stephen Ewing Mr. & Mrs. Anthony C. Fielek Mr. Samuel Frank Mr. & Mrs. Geoghegan Drs. Lynda & Conrad Giles Dr. & Mrs. Paul Goodman Dr. & Mrs. Joe L. Greene Ms. Janet Groening-Marsh †Deceased

Mr. Donald Guertin Mr. & Mrs. Robert Hage Donna & Eugene Hartwig Mr. Michael E. Hinsky & Tyrus N. Curtis Ms. Barbara Honner Ms. Elizabeth Ingraham Ms. Nadine Jakobowski Mr. & Mrs. Randel Jamerson Mr. Dick Jansson Carol & Richard Johnston Mr. Paul Joliat Jean Kegler June K. Kendall Ms. Ida King Mr. & Mrs. William P. Kingsley Mr. & Mrs. Harvey Kleiman Suzanne Kosacheff Mr. & Mrs. Kosch Martin & Karen Koss Mr. & Mrs. William Kroger, Jr. Richard & Sally Krugel Dr. Francesca LaPlante-Sosnowsky Mrs. Stephanie Latour Mr. & Mrs. Daniel Lutz Dr. Amit & Dr. Meeta Mohindra Dr. Van C. Momon Jr & Dr. Pamela Berry Ms. Sascha Montross Mr. Michael Nicholson Dr. & Mrs. Dongwhan Oh Mr. Randall Pappal Mr. & Mrs. Robert Parys Noel & Patricia Peterson Dr. & Mrs. Thomas Piskorowski Mr. & Mrs. Charles Polzin Mrs. Heinz C. Prechter Charlene & Michael Prysak Mr. Ronald Puchalski Mrs. Hope Raymond Mr. Luis Resto Mrs. Ann Rosenthal Mr. & Mrs. Gerald F. Ross Mr. Allen Ross Mr. & Mrs. George Roumell Mr. & Mrs. Lee Runk David & Terese Ireland Salisbury Mr. & Mrs. R. Hamilton Schirmer Mr. Lawrence Shoffner Mrs. Fredrick M. Sibley Mr. Barry Siegel & Mrs. Debra BernsteinSiegel Mr. & Mrs. Ronald & Dorothy Smith Mr. Michael J. Smith & Mrs. Mary C. Williams Mr. Robert Stawski Mr. & Mrs. Andreas H. Steglich Dr. & Mrs. Choichi Sugawa Ms. Lois Swartzell Dr. & Mrs. Howard Terebelo Mr. & Mrs. John P. Tierney Ms. Angela Topacio Dr. John Tu Dr. Gytis Udrys Dr. Vainutis Vaitkevicius Ms. Janet Weir Mr. Marshall Widick Rudolf E. Wilhelm Fund Ms. Amelia Wilhelm Mrs. Myongsik Yun & Mr. John C. Grant Mr. Richard D. Zimmerman Frank & Ruth Zinn

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33


Corporate Supporters of the DSO $500,000 and more

Jim Nicholson

CEO, PVS Chemicals

$200,000 and more

Gerard M. Anderson

Faye Nelson

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

Alan Mullaly

President & CEO, Ford Motor Company

James Vella

President, Ford Motor Company Fund

Mary Barra Chairman and CEO General Motors Corporation

Vivian Pickard President General Motors Foundation

$100,000 and more

The Chrysler Foundation

Brands of Chrysler Group LLC

Tetsuo Iwamura

President and CEO, American Honda Motor Co.

$50,000 and more Blue Cross Blue Shield MGM Grand Detroit Casino Scott Shuptrine Interiors

Delphi Foundation Dykema Fifth Third Bank Honigman Miller Schwartz & Cohn, LLP Huron Consulting Group $5,000 and more

BASF Corporation Creative Benefit Solutions, LLC Contractors Steel Company Denso International America, Inc. Flagstar Bank

34

President and CEO, MASCO Corporation

Melonie Colaianne

President, MASCO Corporation Foundation

Gregg Steinhafel

Chairman, President and CEO, Target Corporation

$20,000 and more Amerisure Insurance Macy’s Global Automotive Alliance R. L. Polk and Co. Greektown Casino Rock Ventures, LLC UHY Advisors MI, Inc. $10,000 and more KPMG LLP Talmer Bank and Trust PNC Bank Telemus Capital Partners, LLC PricewaterhouseCoopers LLP University of Michigan REDICO Warner Norcross and Judd LLP St. John Providence Health System

Foley and Lardner LLP Meritor One Detroit Center Severstal North America Steinway Piano Gallery of Detroit UBS

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Keith J. Allmann

$1,000 and more Ash Stevens Inc. Avis Ford, Inc. Dickinson Wright PLLC Health Alliance Plan Huntington Bancshares Michigan KlearSky Solutions, LLC Lakeside Ophthalmology Center Lambert, Edwards & Associates

Meadowbrook Insurance Group Michigan First Credit Union Midwest Health Center, P.C. Schaerer Architextural Interiors SKF USA Spiratex Company Urban Science Applications DSO.ORG


Support from Foundations and Organizations

The Detroit Symphony Orchestra acknowledges and honors the following foundations and organizations for their contributions to support the Orchestra’s performances, education programming, and other annual operations of the organization. This honor roll reflects both fulfillments of previous commitments and new gifts during the period beginning September 1, 2012 through January 31, 2014. We regret the omission of gifts received after this print deadline.

$500,000 and more William Davidson Foundation Max M. & Marjorie S. Fisher Foundation Samuel & Jean Frankel Foundation Kresge Foundation

$250,000 and more The Andrew W. Mellon Foundation Community Foundation for Southeast Michigan Hudson-Webber Foundation McGregor Fund

$100,000 and more Fred A. and Barbara M. Erb Family Foundation Ford Foundation John S. and James L. Knight Foundation Detroit Symphony Orchestra Volunteer Council $50,000 and more Matilda R. Wilson Fund National Endowment for the Arts $25,000 and more

Corporate Spotlight General Motors Foundation

S

ince its inception in 1976, the General Motors Foundation has donated hundreds of millions of dollars to vital nonprofits focusing mainly in the areas of education, health and human services, environment, and community development. For years, the GM Foundation has also worked to raise the national profile of Detroit’s vibrant cultural institutions through grants and awareness programs that touch tourists, students and Detroit residents alike. Last season, the GM Foundation helped make possible the DSO’s participation in the “Spring for Music” festival at Carnegie Hall in New York City through a $350,000 grant. This season, the GM Foundation continued its decades long support of the DSO through a $400,000 grant to make possible the DSO’s 10-day Florida tour that took place in late February and early March 2014. For more information on the GM Foundation, please visit gm.com/ gmfoundation.

Ann & Gordon Getty Foundation DeRoy Testamentary Foundation Eleanor & Edsel Ford Fund Global Village Charitable Trust Sage Foundation Michigan Council for Arts & Cultural Affairs $10,000 and more

$5,000 and more

Maxine & Stuart Frankel Foundation Alice Kales Hartwick Foundation Henry Ford II Fund Moroun Family Foundation Myron P. Leven Foundation Oliver Dewey Marcks Foundation

Benson & Edith Ford Fund Lyon Family Foundation Marjorie & Maxwell Jospey Foundation Mary Thompson Foundation One Detroit Center Young Woman’s Home Association

$1,000 and more Aline Underhill Orten Foundation Berry Foundation Charles M. Bauervic Foundation Clarence & Jack Himmel Fund Don & Dolly Smith Foundation Drusilla Farwell Foundation Frank & Gertrude Dunlap Foundation James & Lynelle Holden Fund Japan Business Society of Detroit Foundation DSO.ORG

Jennifer Howell Harding Foundation Ledgeways Charitable Trust The Loraine & Melinese Reuter Foundation Sigmund & Sophie Rohlik Foundation Samuel L. Westerman Foundation Louis & Nellie Sieg Foundation Sandy Family Foundation Sills Foundation

† Deceased

Vivian Pickard, President of the General Motors Foundation, speaks at the first DSO Florida Tour at the Kravis Center in West Palm Beach, Florida.

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35


1887 Society Spotlight

Shape the century ahead as a member of The 1887 Society

C

onducted by Rudolph Speil, the Detroit Symphony Orchestra performed its first concert at the Detroit Opera House on December 19, 1887. On this date, the orchestra began its inaugural season as the 4th oldest symphony orchestra in the nation. Formerly the Musical Legacy Society, the 1887 Society is a tribute to the storied past of the Detroit Symphony Orchestra and recognizing those among our patrons with unique DSO histories and have made a legacy commitment to our work. In planning a gift for the Orchestra in your will, trust, insurance, or life income

arrangement, you have recognized the DSO in a way typically reserved for family members. This is an incredible statement of trust and devotion—one for which we are deeply honored and take very seriously. Members of the 1887 Society receive recognition in each issue of Performance magazine and an annual society luncheon, as well as enjoying a special package of benefits throughout the DSO season. If you have arranged for a legacy gift, or for more information on ways to do so, please contact Jessica Luther, Planned Giving Associate, at 313.576.5052.

The Detroit Symphony Orchestra Board of Directors is pleased to honor the 1887 Society, formerly known as the Musical Legacy Society. These patrons, friends and subscribers have named the Orchestra in their estate plans. For information about making a bequest or other planned gift to the DSO, please contact the Office of Patron and Institutional Advancement at 313.576.5052. Anonymous Ms. Doris Adler Dr. & Mrs. William C. Albert Mr. and Mrs. Robert A. Allesee Dr. Lourdes A. Andaya Mr. & Mrs. Eugene Applebaum Dr. Augustin & Nancy† Arbulu Sally & Donald Baker Mr. & Mrs. Lee Barthel Donald & Lillian Bauder Mr. & Mrs. Robert† Benton Mr. & Mrs. Mandell L. Berman Mrs. Art Blair Robert T. Bomier Gwen & Richard Bowlby Mrs. Katherine Cervenak Eleanor A. Christie Ms. Mary Christner Lois & Avern Cohn Mrs. RoseAnn Comstock Mr. & Mrs. Thomas W. Cook Dorothy M. Craig Mr. & Mrs. John Cruikshank Ms. Leslie Devereaux Mr. John Diebel Jeanne Bakale & Roger Dye Ms. Bette J. Dyer Edwin & Rosemarie Dyer

36

Mr. and Mrs. Robert G. Eidson Marianne T. Endicott Ms. Dorothy Fisher Mr. Emory Ford, Jr.† Dr. Saul & Mrs. Helen Forman Barbara Frankel & Ron Michalak Herman & Sharon Frankel Jane French Dr. Byron P. and Marilyn Georgeson Mr. Joseph & Mrs. Lois Gilmore Ruth & Al Glancy Harry J. Bowles Charitable Trust† Donna & Eugene Hartwig Dr. & Mrs. Gerhardt Hein Ms. Nancy B. Henk Mr. & Mrs. Thomas N. Hitchman Mr. and Mrs. Richard N. Holloway Paul M. Huxley & Cynthia Pasky David & Sheri Jaffa Mr. & Mrs. Thomas H. Jeffs II Lenard & Connie Johnston Drs. Anthony & Joyce Kales Faye & Austin Kanter Dr. Mark & Mrs. Gail Kelley June K. Kendall

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Dimitri † & Suzanne Kosacheff Mr. & Mrs. Arthur Krolikowski Ann C. Lawson Allan S. Leonard Lester H. London Walter D. & Nadine H. Ludwig† Mr. & Mrs. Eric C. Lundquist Harold Lundquist & Elizabeth Brockhaus Lundquist Roberta Maki Eileen & Ralph Mandarino Mr. Glenn Maxwell Mr. Leonard Mazerov Rhoda A. Milgrim John & Marcia Miller Jerald A. & Marilyn H. Mitchell Mr. & Mrs. L. William Moll Craig & Shari Morgan Mr. Dale J. Pangonis Ms. Mary W. Parker Sophie Pearlstein Helen & Wesley Pelling Dr. William F. Pickard Mrs. Bernard E. Pincus Ms. Christina Pitts Mrs. Robert Plummer Mr. & Mrs. P. T. Ponta Fair & Steven† Radom Mr. & Mrs. Douglas J. Rasmussen

Mr. & Mrs. Lloyd E. Reuss Barbara Gage Rex Ms. Marianne Reye Katherine D. Rines Bernard & Eleanor Robertson Jack & Aviva Robinson Dr. Margaret Ryan Mr. & Mrs. Donald and Janet Schenk Stephanie & Fred Secrest Mr. Stephan Sharf† Mr. & Mrs. Walter Stuecken Mr. & Mrs. Alexander C. Suczek Mr. Edward Tusset Mr. David Patria & Ms. Barbara Underwood Mrs. Richard C. Van Dusen Mr. & Mrs.Melvin VanderBrug Mr. & Mrs. George C. Vincent Mr. & Mrs. Keith C Weber Mr. Herman Weinreich John & Joanne Werner Mr. & Mrs. Arthur Wilhelm Mrs. Michel Williams Mr. Robert S. Williams Ms. Treva Womble Elizabeth B. Work Dr. & Mrs. Clyde Wu Ms. Andrea L. Wulf

† Deceased

Andrea Wulf

T

he 1887 Society is proud to recognize Andrea Wulf in this month’s legacy donor spotlight. Music has always been a part of Andrea’s life and family history, going back to the first performance Ossip Gabrilowitsch conducted in the brand new Orchestra Hall. Among the musicians in that historic performance was Andrea’s grandfather: John Wulf. Emigrating from Oldenburg, Germany in 1906, John played bass with the Philadelphia Symphony until 1919, when he moved his family to Detroit to play for the legendary Gabrilowitsch. John remained with the DSO until his retirement in1951. John’s passing in October of 1971, less than 2 months before his 100th birthday, coincided with the beginning of the “Save Orchestra Hall” campaign; friends and family members gave memorial gifts to restore the hall that had been his home for so long. Andrea’s musical family traditions colored her childhood with the sounds and stories of great orchestras. She fondly remembers her father’s tales of being an usher with several other musicians’ children, on Belle Isle for the DSO’s summer performances and every Saturday morning her father turning up the stereo so loud that classical music and opera reached every corner of the house. Andrea serves on the Board of Trustees at Henry Ford Macomb Hospital and is President of the Michigan State University Eastern Wayne County Alumni Club. Her legacy connection to the Detroit Symphony Orchestra has inspired her to find ways to weave her civic interests together. With her help, the DSO has provided chamber music recitals at Henry Ford Macomb Hospital and currently planning an event with her MSU alumni club. Given the role the DSO has played in Andrea’s family story, planning a gift for the orchestra in her trust was an easy decision, allowing her to join her father and her grandfather in the Wulf Family legacy at the DSO for all time. DSO.ORG


Tribute Gifts

Gifts received between September 1, 2013 and January 31, 2014

Tribute Gifts to the Detroit Symphony Orchestra are made to honor accomplishments, celebrate occasions, and pay respect in memory or reflection. These gifts support current season projects, partnerships, and performances such as DSO concerts, education programs, free community concerts and family programing. For information about making a Tribute Gift, please call 313.576.5114 or visit dso.org/tribute. In Honor of David Assemany & Jeff Zook Ms. Anna Cohn In Memory of Judge Edward Avadenka Ms. Jacqueline Dauw Ms. Sarah Kiffner Mrs. Jodi Klucevek In Honor of Tracy & Doug Blatt Mr. & Mrs. John D. Lewis In Honor of Caroline Coade Dr. & Mrs. George Coade In Honor of Tish & Gary Colett Mr. & Mrs. John D. Lewis In Memory of Beverly Colman Mrs. Doreen Hermelin In Memory of Mary Rita Cuddohy Mr. Michael Slawnik In Honor of Peter Cummings Ms. Jane L. Cummings In Memory of Lucy Debol Mr. & Mrs. George Kerney In Honor of Dr. & Mrs. Anthony Deluca Mr. & Mrs. Louis E. Black Dr. & Mrs. Donald Ketai In Honor of Ann & Michael Disser Mr. & Mrs. John D. Lewis In Memory of Paul Dufault Mrs. Mary Ann Barkach Mr. & Mrs. James Blanchard Mr. Paul J. Blizman

Dr. Beverly Campbell Claude & Joann Coates Mr. & Mrs. Armando DeCapite Ms. Mary Kay Doran Mr. & Mrs. Harold Gendelman Ruth & Al Glancy Dr. & Mrs. Christopher Higgins Mr. & Mrs. Stephen Higgins Mr. & Mrs. Robert W. Marr Jr Mrs. Bridgett Ray Ms. Christine Sauve Ms. Midori Savage Mr. & Mrs. Daniel Stepek Ms. Audrey Torello Mr. & Mrs. Wil Viviano Mrs. Deborah J. Weatherston Mr. & Mrs. Jerry Zahler

In Honor of Clients & Friends of Gourwitz & Barr, PLLC Mr. & Mrs. Benson J. Barr Mr. Howard Gourwitz

In Honor of Lindsey Evert Mr. Erik Rönmark In Honor of Phillip & Lauren Fisher Mr. & Mrs. Richard Zussman In Memory of Annette Fisher Mr. Jim Fisher In Honor of Saul & Helen Forman Dr. & Mrs. Roger M. Ajluni In Honor of James S. Garrett Mr. & Mrs. Timothy LeVigne Ms. Jeanne Paton In Memory of Byron Gerson Mr. & Mrs. Morton E. Harris In Memory of Shyrle Gilbert Ms. Betty Jo Janeway In Honor of Roslyne & Kenneth Gitlin Mrs. Sandra Moers

Venture Fund

Gifts received between September 1, 2012 and January 31, 2014

Gifts to the Detroit Symphony Orchestra Venture Fund are contributions that support projects, partnerships and performances taking place in the current season. Venture gifts are generally one-time and non-renewable in nature and fund initiatives that are included in the annual budget such as DSO concerts, the Civic Youth Ensembles, certain community engagement and partnerships, and the DSO Presents and Paradise Jazz concert series. Venturists, $1,000 Mr. & Mrs. Sherman C. Barton Gwen & Richard Bowlby Harry G. Bowles Charitable Trust Mr. Walter B. Bridgforth Chrysler Corporation Lois & Avern Cohn Elie Wine Company Gail & Rice Productions Inc. Junior Achievement of Southeastern Michigan Mr. David Lebenbom Marvin & Betty Danto Family Foundation Mrs. Phyllis McLean

DSO.ORG

Ms. Deborah Miesel Dr. William Pickard Ms. Ruth Rattner Dr. Doris Tong & Dr. Teck M. Soo William Davidson Foundation Dr. & Mrs. Clyde Wu Donors Mr. & Mrs. Barnes Mr. & Mrs. Sheldon N. Kaftan M Studio Music Shop, Inc. Mr. & Mrs. Harold Silk Cindy & Leonard Slatkin

In Memory of Thomas Arthur Makris Mrs. Linda Makris

In Honor of Zivia Grekin Dr. & Mrs. Steven Grekin

In Memory of Dr. John M. Malone Mr. & Mrs. Mark A. Malone

In Honor of Sean Van Hentenryck Mr. & Mrs. Keith Van Hentenryck

In Memory of Walter McCarthy, Jr. Mrs. Sara Ingold

On behalf of Tracy Hoffman Mr. Christopher Cocozzoli

On Behalf of Patricia Metz Mr. John Harris

In Honor of Dr. Jean Kegler Ms. Jean Kegler

In Honor of Jim Nicholson Mr. & Mrs. Stanley Frankel

In Honor of Kimberly Kaloynides Kennedy Mr. Wendell Wood

In Honor of Kathy & Thomas Quilter Mr. & Mrs. John D. Lewis

In Honor of Vicki King Ms. Andra Barr

In Honor of John & Arlene Redfield Richard S. & Jane L. Schwartz

In Memory of Rachel Kotcher Ms. Ellen Hickman Ms. Elissa Wagman In Honor of Harold Kulish Ms. Mary Dudley In Honor of David LeDoux Mr. & Mrs. Jerry Ledoux In Honor of Lisa Rattner & Diego Focanti Mr. & Mrs. Sidney Katz In Honor of Shanda LowerySachs Mr. & Mrs. Al Lowery

In Honor of Al & Harriet Saperstein Ms. Susan Mazer-Smith In Honor of Sandra Seligman & Gilbert Glassberg Mrs. Sandra Moers In Memory of Stephan Sharf Ms. Audrie Friedman

In Memory of Andreas “Tracy” Steglich Mr. Roy Adams Jane Carroll Mr. William Dalrymple Mr. & Mrs. Dick Dills Mr. & Mrs. Frederick Duerk Mrs. Denise Ferman Ms. Theresa Gebara Dr. Sonia Just Ms. Mary Ellen Lemire Jaime Liechty Ms. Karen Linnell Mr. & Mrs. Matt Maury Ms. Judy Olds Ms. Linda Popovic Mr. William Potvin Mr. Leopold F. Schmidt Mr. & Mrs. Jon Schopf Mr. Gordon S. White, Jr. & Mrs. Patricia Driscoll-White In Honor of John Streit Ms. Karen Day In Honor of Barbara Van Dusen Ms. Katherine Van Dusen In Honor of James Van Valkenberg Mrs. Linda Makris In Honor of Karen & John Watson Mr. & Mrs. John D. Lewis

In Memory of Richard Sharpe Mr. & Mrs. Ernest W. Upton

In Memory of Beryl Winkelman Mr. & Mrs. David M. Thoms

In Honor of Ruth Shogren Mr. Charles Cron

In Honor of Dr. David Wu Mrs. Jean Gates

In Honor of Patricia Spitzley Mr. Daniel Minadeo

Blockbuster Fund

Gifts Received between September 1, 2012 and January 31, 2014 Gifts to the Detroit Symphony Orchestra Blockbuster Fund support those exceptional projects, partnerships and performances that boldly advance the DSO’s mission “to be a leader in the world of classical music, embracing and inspiring individuals, families and communities through unsurpassed musical experiences.” Blockbuster gifts fund defining initiatives that are outside the annual budget such as touring, “Live from Orchestra Hall” webcasts, certain community engagement and education partnerships, and capital and technology infrastructure. Mr. & Mrs. Mark Abbott Ms. Michelle Andonian Mr. & Mrs. Christopher Bancroft Mr. & Mrs. Lee Barthel Mr. & Mrs. Robert H. Bluestein Lois & Avern Cohn Mr. & Mrs. Ethan Davidson DTE Energy Foundation Mrs. Marjorie S. Fisher Mr. & Mrs. Phillip Wm. Fisher Sidney & Madeline Forbes Ford Motor Company Barbara Frankel & Ronald Michalak Herman & Sharon Frankel

Mr. & Mrs. Stanley Frankel Ruth & Al Glancy Mr. & Mrs. Raymond Goodson Mr. & Mrs. Morton E. Harris Mr. Michael Jalving Danialle & Peter Karmanos Mr. & Mrs. Norman D. Katz John S. and James L. Knight Foundation League of American Orchestras Max M. & Marjorie S. Fisher Foundation Mayesh Wholesale Florist, Inc.

Michigan Nonprofit Association Midtown Detroit, Inc. Mr. & Mrs. Robert S. Miller Momentum Worldwide Mr. & Mrs. Michael F. Neidorff Mr. & Mrs. Stuart Nelson New Music USA Jo Elyn Nyman Olympia Entertainment Martie & Bob Sachs Mr. & Mrs. Larry Sherman Cindy & Leonard Slatkin Mr. & Mrs. Don Stone William Davidson Foundation Mr. & Mrs. George C. Vincent

PERFORM ANCE / VOL . X XII / SPRING 2014

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UPCOMING EVENTS SUNDAY

MONDAY

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WEDNESDAY

3

Neighborhood Chamber Recital Mozart & Beethoven 7 p.m. Steinway Gallery of Detroit

Webcast

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DSO Classical Series 6 Leon Fleisher Leonard Slatkin, conductor Leon Fleisher, piano 3 p.m.

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DSO Chamber Recital DSO Brass Quintet 7:30 p.m. at Bloomfield Twp Public Library

7

Mix@TheMax Storm Large 9 p.m. MB

FRIDAY

SATURDAY

DSO Classical Series 4 Leon Fleisher Leonard Slatkin, conductor Leon Fleisher, piano 10:45 a.m. OH

DSO Classical Series 5 Leon Fleisher Leonard Slatkin, conductor Leon Fleisher, piano 8 p.m. OH

Civic & Education MB Civic Jazz Live! 6:15 p.m. Fleisher

8

DSO Presents Yo-Yo Ma with the DSO 7:30 p.m. OH ynohpmyS ”nagrO“ ’snëaS-tniaS .m.a 54:01 ,11 yaM ,yadirF

Paradise Jazz Series McCoy Tyner Quartet 8 p.m. OH

10

DSO Pops Series 11 Bugs Bunny at the Symphony II 10:45 a.m. & 8 p.m. OH

12

17

18

19

Neighborhood Series 24 Beethoven Violin Concerto Andrew Litton, conductor Augustin Hadelich, violin 7:30 p.m. at Congregation Shaarey Zedek

DSO Classical Series 25 Beethoven Violin Concerto Andrew Litton, conductor Augustin Hadelich, violin 10:45 a.m.  & 8 p.m. OH

9

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

THURSDAY

2

April 2014

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

TUESDAY

DSO Volunteer Council 1 Trumpeting Spring 11 a.m. at Shenandoah Golf & Country Club

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Ma DSO Pops Series Bugs Bunny at the Symphony II 3 p.m. OH

13

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

14

15

20

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

21

22

16

Hadelich

232

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

Other Presenters Forgotten Harvest Comedy Night 8 p.m. OH

26

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snruteR ivräJ .m.p 3 ,1 lirpA ,yadnuS

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Om @ The Max 2 10:30 a.m. MB

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28

DSO Classical Series Beethoven Violin Concerto Andrew Litton, conductor Augustin Hadelich, violin 3 p.m. OH Civic & Education Civic Family Experience 1 p.m. OH MB

4

Civic & Education Civic Showcase 7:15 p.m. OH

29

30

DSO Classical Series 1 Lortie Plays Chopin Thierry Fischer, conductor Louis Lortie, piano 7:30 p.m. OH

Civic & Education MB Civic Jazz Live! 6:15 p.m.

DSO Classical Series Lortie Plays Chopin 3 Thierry Fischer, conductor Louis Lortie, piano 8 p.m. OH

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Paradise Jazz Series Eddie Palmieri 8 p.m. OH

Lortie

5

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

6

7

Neighborhood Series Mozart and Haydn Ward Stare, conductor Elena Urioste, violin 7:30 p.m. Berman Center for the Performing Arts

8

12

13

DSO Pops Series Patriotic Pops Jeff Tyzik, conductor 10:45 a.m. & 8 p.m. OH

9

Neighborhood Series Mozart and Haydn 8 p.m. at Village Theatre at Cherry Hill, Canton ProMusica 8:30 p.m OH

Urioste

11

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AH

DSO Pops Series Patriotic Pops Jeff Tyzik, conductor 3 p.m. OH

DSO Classical Series Lortie Plays Chopin 2 Thierry Fischer, conductor Louis Lortie, piano 10:45 a.m. OH

Tiny Tots 10 a.m. MB

10

Young People’s 11 a.m. OH Neighborhood Series Mozart and Haydn 8 p.m. at Kirk in the Hills DSO Pops Series Patriotic Pops 8 p.m. OH

14

15

DSO Classical Series 16 Bronfman Plays Beethoven Leonard Slatkin, conductor Yefim Bronfman, piano 10:45 a.m. OH

DSO Classical Series 17 Bronfman Plays Beethoven Leonard Slatkin, conductor Yefim Bronfman, piano 8 p.m. OH

21

DSO Classical Series Elgar Cello Concerto 22 Carlos Kalmar, conductor Zuill Bailey, cello 7:30 p.m. OH

Neighborhood Series Elgar Cello Concerto 23 Carlos Kalmar, conductor Zuill Bailey, cello 10:45 a.m. at Ford Community Performing Arts Center, Dearborn

DSO Classical Series Elgar Cello Concerto 24 Carlos Kalmar, conductor Zuill Bailey, cello 8 p.m. OH

DSO Classical Series 30 Mahler’s Third Symphony Leonard Slatkin, conductor UMS Choral Union Michigan State University Children’s Choir Elizabeth Bishop, mezzo-soprano 8 p.m. OH

DSO Classical Series 31 Mahler’s Third Symphony Leonard Slatkin, conductor UMS Choral Union Michigan State University Children’s Choir Elizabeth Bishop, mezzo-soprano 8 p.m. OH

Neighborhood Series Mozart and Haydn 3 p.m. at Grosse Pointe Memorial Church Bronfman DSO Classical Series 18 Bronfman Plays Beethoven Leonard Slatkin, conductor Yefim Bronfman, piano 3 p.m. OH

19

20

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

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Neighborhood Series Elgar Cello Concerto 25 Carlos Kalmar, conductor Zuill Bailey, cello 3 p.m. at Seligman Performing Arts Center, Beverly Hills

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Bailey

26

27

28

29

For tickets visit dso.org or call 313.576.5111 Slatkin

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The Whitney 2013-2014 Season Pre Fixe Theater Menu $39 First Course APPle FriSee

“Best Pre and Post Theater Dinner Venue”

Michigan apples, Spiced Walnuts, and Blue Cheese over Blonde Frisee Green Tea Vinaigrette

The WhiTney DueT

Soup du jour or Shrimp bisque paired with Organic baby greens, heirloom tomatoes and cucumbers tossed in herb vinaigrette

CheSAPeAke BAy luMP CrAB CAke With lemon Beurre Blanc

Second Course: POMeGrAnATe BrAiSeD VeAl CheekS Goat Cheese whipped potatoes, heirloom carrots, pomegranate chutney

ChArGrilleD SWOrDFiSh

Autumn wild rice, seared escarole, herb Pistou, sundried tomato broth

CriSPy Skin DuCk BreAST

Butternut squash puree, roasted cherry duck jus, Garlic confit fingerling potatoes

WilD MuShrOOM riSOTTO

Grilled asparagus, dehydrated tomatoes

Dessert: DeSSerT TriO

A rotating variety of delicious desserts

Ghostbar serving dessert and cocktails after the show TheWhitney.com

313-832-5700

4421 Woodward Ave., Detroit

DSO Performance Spring 2014  

The program guide magazine of the Detroit Symphony Orchestra, spring 2014.

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