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Vol. XXI • 2012-2013 Season

Fall 2012

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

DSO’s new Song Meet Yoonshin Song, the DSO’s New Concertmaster


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Detroit Symphony Orchestra Board of Directors

Performance

officers

Volume XXI / Fall 2012 2012–13 Season

Editor Gabrielle Poshadlo gposhadlo@dso.org 313.576.5194

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

Stanley Frankel Chairman

Bruce D. Peterson First Vice Chair

Glenda D. Price, Ph. D Secretary

Arthur Weiss Treasurer

Phillip Wm. Fisher Officer At-Large

Lloyd E. Reuss Officer At-Large

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

Anne Parsons President & CEO

Directors Ralph J. Gerson‡

James C. Mitchell, Jr.

Daniel Angelucci

Alfred R. Glancy, III,‡ Chairman Emeritus

David Robert Nelson‡

Floy Barthel

Brigitte Harris

Ismael Ahmed Rosette Ajluni

Janet Ankers ‡

Herman Gray, M.D.

Performance is published by the DSO and Echo Publications, Inc. u Echo Publications, Inc. 248.582.9690 echopublications.com

Mrs. Mandell L. Berman

Gloria Heppner, Ph. D.

Tom Putters, president tom@echopublications.com

Elizabeth Boone

Toby Faber, advertising director To advertise in Performance, call 248.582.9690 or email info@echopublications.com Performance magazine online: dsoperformance.com u To report an emergency during a concert, call 313.576.5111. To make special arrangements to receive emergency phone calls during a concert, ask for the house manager. It is the policy of the Detroit Symphony Orchestra that concerts, activities and services are offered without regard to race, color, religion, national origin, handicap, age or gender. The DSO is an affirmative action, equal opportunity employer. Activities of the DSO are made possible in part with the support of the National Endowment for the Arts, the Michigan Council for Arts and Cultural Affairs and the City of Detroit. Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances.

Robert H. Bluestein

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

Richard A. Brodie Gary L. Cowger

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

Maureen T. D’Avanzo Mark Davidoff

Sidney Forbes

Laura L. Fournier

Mrs. Harold Frank Barbara Frankel

Herman Frankel‡

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

Samuel Frankel†

Robert E.L. Perkins, D.D.S. William F. Pickard Stephen Polk

Ronald M. Horwitz ‡

Bernard I. Robertson‡

Sharad P. Jain

Jack A. Robinson‡

Renee Janovsky

Marjorie S. Saulson

Chacona Johnson‡

Alan E. Schwartz‡

Michael J. Keegan

Lois L. Shaevsky

Hon. Damon J. Keith

Mrs. Ray A. Shapero

William P. Kingsley

Jane F. Sherman

Joel D. Kellman

Linda Dresner

Jennifer Fischer

Arthur T. O’Reilly‡

Nicholas Hood, III

Bonnie Larson ‡

Marianne Endicott

James B. Nicholson,‡ Chairman Emeritus

Shelley Heron, Orchestra Representative

Richard P. Kughn ‡

Walter E. Douglas

Faye Alexander Nelson

Karen Davidson

Paul Ganson

Sean M. Neall

Allan D. Gilmour

Robert Allesee

Wei Shen

Stephen Strome ‡

Harold Kulish

Michael R. Tyson Ann Marie Uetz

Laurence M. Liberson,‡ Orchestra Representative

Janice Uhlig

David Usher

Arthur C. Liebler‡

Barbara Van Dusen‡

Ralph J. Mandarino

Ted Wagner

Florine Mark

Hon. Kurtis T. Wilder

David N. McCammon

R. Jamison Williams

Edward Miller

Clyde Wu, M.D.‡

Lois A. Miller

Executive Committee

Lifetime Members David Handleman, Sr.†

Dr. Arthur L. Johnson†

†Deceased dso.org

Perform ance / Vol . X XI / fall 201 2

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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. List reflects gifts received as of September 10, 2012. For more information about the Governing Members program, please call Cassie Brenske, Governing Members Gift Officer at 313.576.5460.

officers

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

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Jan Bernick Vice Chair, Philanthropy

Maureen T. D’Avanzo Vice Chair, Membership

Mary K. Mansfield Vice Chair, Governance

Frederick J. Morsches Vice Chair, Communications

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

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

Performance / Vol . X XI / Fall 201 2

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

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


VOLUNTEER COUNCIL 2010-13 Officers Janet M. Ankers President Deborah Savoie President Elect Ellie Tholen Vice President for Public Relations Dr. Nora Sugintas Vice President for Membership Virginia Lundquist Vice President for Outreach Marvin D. Crawford Vice President for Administration & Finance Esther Lyons Recording Secretary Mary Beattie Corresponding Secretary

Board of Directors Katana Abbott Marlene Bihlmeyer Gwen Bowlby Gloria Clark Marvin D. Crawford Jill Jordan Sandie Knollenberg

Carnegie Hall is just around the corner… On Friday, May 13, 2013, the Detroit Symphony Orchestra returns to Carnegie Hall for the first time in 17 years to headline the ground-breaking Spring for Music Festival. We’re looking for 1,000 Detroiters to bring the spirit of Motown to the Big Apple for this one-night only special performance. Leonard Slatkin conducts all four of Charles Ives’ symphonies in one evening for the first time in Carnegie Hall’s history.

Deborah Meade Eva Meharry Lynn Miller Gloria Nycek Todd Peplinski

Order your tickets today at 313.576.5111. The best seats are on hold for our loyal patrons for a limited time only.

Charlotte Worthen Julie Zussman Kelly Hayes Ex-Officio (Immediate Past President) Eleanor Siewert Ex-Officio (Parliamentarian) Glenn Mellow Musician Liaison Randall Hawes Musician Liaison Chelsea Kotula Staff Liaison

dso.org

For information on the accompanying patron tour, including hotel accommodations, special events, and activities in New York, please call 313.576.5147.

Perform ance / Vol . X XI / fall 2012

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

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

First Violins

Yoonshin Song Concertmaster Katherine Tuck Chair

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

Marguerite Deslippe* Elias Friedenzohn*

Laurie Landers Goldman* Eun Park*

Adrienne Rönmark* Laura Soto*

Greg Staples* Second Violins

Adam Stepniewski Acting Principal The Devereaux Family Chair Ron Fischer*

Sheryl Hwangbo*

Rachel Harding Klaus* Hong-Yi Mo*

Robert Murphy* Bruce Smith*

Joseph Striplin* Marian Tanau* Alvin Score Violas

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

Violoncellos

Oboes

Trumpets

Personnel Manager

Marcy Chanteaux++^ Dorothy and Herbert Graebner Chair

Shelley Heron Maggie Miller Chair

Kevin Good

William Lucas

Heather Hart Assistant Orchestra Personnel Manager

Trombones

Assistant Conductor

Robert deMaine+ James C. Gordon Chair

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

Peter McCaffrey* Haden McKay*

Úna O’Riordan* Paul Wingert* Basses

Stephen Molina Acting Principal Van Dusen Family Chair Linton Bodwin

Stephen Edwards

Larry Hutchinson Craig Rifel

Maxim Janowsky

Alexander Hanna+^ Richard Robinson^ Harp

Monica Fosnaugh English Horn

Monica Fosnaugh Clarinets

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

Laurence Liberson++ Shannon Orme

E-Flat Clarinet

Laurence Liberson Bass Clarinet

Shannon Orme Barbara Frankel and Ronald Michalak Chair Bassoons

Flutes

Victoria King

David Buck+ Women’s Association for the DSO Chair

Sharon Sparrow Acting Assistant Principal Jeffery Zook Piccolo

Jeffery Zook

Robert Williams+ John and Marlene Boll Chair

Stephen Anderson Acting Principal Lee and Floy Barthel Chair

Stephen Molina Orchestra Personnel Manager

Kenneth Thompkins+

Teddy Abrams

Randall Hawes

Stage Personnel

Nathaniel Gurin++

Bass Trombone Randall Hawes Tuba

Dennis Nulty+ Timpani

Frank Bonucci Stage Manager

Steven Kemp Department Head Matthew Pons Department Head

Michael Sarkissian Department Head

Brian Flescher ``#

Legend

Percussion

++ Assistant Principal

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

Robert Stiles+ Ethan Allen

+ Principal

``# Substitute musician, Acting Principal ^ Extended Leave

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

§ African-American Orchestra Fellow

Michael Ke Ma++ Marcus Schoon

Garrett McQueen§ Contrabassoon Marcus Schoon French Horns Karl Pituch+

Bryan Kennedy

Corbin Wagner

Glenn Mellow

Johanna Yarbrough

Shanda Lowery-Sachs

David Everson++

Hart Hollman

Mark Abbott

Han Zheng

6

Brian Ventura++

Patricia Masri-Fletcher+ Winifred E. Polk Chair

Hang Su

Catherine Compton

Donald Baker+ Jack A. and Aviva Robinson Chair

Orchestra member biographies can be found online at dso.org/orchestra.

Perform ance / Vol . X XI / Fall 201 2

dso.org


DIA-021_000040i_Fab_Bravo_7x4.8125_P.indd 3

9/7/12 11:14 AM

Diamonds.

The Gift that Guarantees A Symphony of Happiness.

dso.org

Perform ance / Vol . X XI / fall 2012

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President’s Message Dear friends, As I reflect on the 125 years since this great orchestra played its first note, I think about how the DSO was the first orchestra to broadcast a concert via radio, and how this concert hall has withstood the test of time, and it makes me so excited for what innovations the next 125 years will undoubtedly bring. We invite you to be a part of that future by taking advantage of a wealth of new initiatives. Join more than 100,000 viewers in some 70 countries by tuning in to the second full season of our “Live from Orchestra Hall” webcasts. Each classical program will be broadcast live worldwide and you can watch literally from anywhere using the new DSO to Go free mobile app. Join us in your own community with the second Neighborhood Concert Series in six metro Detroit venues, where engaged nearly 2,000 households in the inaugural season. Please join me in welcoming to the stage Concertmaster Yoonshin Song, Assistant Conductor Teddy Abrams, Principal Flute David Buck, Principal Percussionist Joe Becker, cellists David LeDoux and Peter McCaffrey, horn player Johanna Yarbrough, violinists Rachel Harding Klaus and Sheryl Hwangbo, and English horn player Monica Fosnaugh. These 10 talented new musicians are all beginning their first season with the DSO, as well as making their homes in Detroit, many of them just a stone’s throw from where you are sitting now. We hope you will take part in a host of special initiatives in store this season, including a new series of Mix @ The Max concerts (Oct. 5 and Dec. 12) featuring edgy acts in our intimate Music Box performance space. In October we will participate in the first annual DLECTRICITY festival and we will dedicate the entire month of February to immerse you in Beethoven’s nine prolific symphonies. In May we will return to Carnegie Hall for the first time in 17 years, thanks to generous gifts from General Motors and the Davidson Foundation, to become the very first orchestra to play all four Charles Ives symphonies in one program; a trip we hope you will all make with us! Of course with all this good news, there remains a gap between DSO expenses and revenue, which we are determined to close. You, our audience, make us a community supported orchestra, and we look forward to achieving our goals together to ensure this orchestra’s next 125 years are full of artistic excellence. Sincerely,

Anne Parsons 8

Performance / Vol . X XI / Fall 201 2

News & Notes Slatkin as scribe

Since 2008 DSO Music Director Leonard Slatkin has captivated audiences on Orchestra Hall’s majestic stage, and now he shares his secrets to success on the podium with his recently-released book, “Conducting Business.” Drawing on his own experience on and off the podium, Slatkin brings the reader into the world of the baton, telling tales of some of the most fascinating figures in recent Conducting business musical history, including Leonard by Leonard slatkin Bernstein, John Williams, and Frank Sinatra. He takes readers to the world’s great concert halls, orchestras, and opera pits, as well as to soundstages in Hollywood. Covering everything from learning how to read music to standing in front of an orchestra for the first time, what to wear, and how to deal with the media, “Conducting Business” provides a unique look at a unique profession. Available at the Shop @ The Max, Amazon.com and all major book retailers for $27.99.

Join us in your neighborhood The DSO’s wildly successful Neighborhood Concert Series returns for its second season December 2012 in Beverly Hills, Bloomfield Hills, Dearborn, Grosse Pointe, Southfield and West Bloomfield Township. The cornerstone of the DSO’s new Neighborhood Residency Initiative, subscriptions to all four concerts in each neighborhood are only $75. Add tickets to Neighborhood Chamber Recitals for only $10 each when you order with your subscription. Visit dso.org/neighborhood for a full schedule of events. Beverly Hills Sunday afternoons at 3 p.m. Seligman Performing Arts Center on the Detroit Country Day School Campus Bloomfield Hills Saturday evenings at 8 p.m. Kirk in the Hills Presbyterian Church

Southfield Thursday evenings at 7:30 p.m. Congregation Shaarey Zedek West Bloomfield Township Thursday evenings at 7:30 p.m. Berman Center for the Performing Arts on the Eugene & Marcia Applebaum Jewish Community Campus

Dearborn Friday mornings at 10:45 a.m. Ford Community & Performing Arts Center Grosse Pointe Sunday afternoons at 3 p.m. Grosse Pointe Memorial Church

dso.org


Watch online at dso.org/live or on the DSO to Go mobile app

Järvi Returns Sunday, April 1, 3 p.m.

Saint-Saëns’ “Organ” Symphony Friday, May 11, 10:45 a.m.

Stream the Symphony!

Dvořák’s “New World” Symphony The Pines of Rome Hall” returns its18, second Saturday,“Live AprilFrom 21, 8Orchestra p.m. Friday,for May 10:45 a.m. season to bring the DSO to a live global audience via webcast. Log on at dso.org/live or download the PicturesHD at an Exhibition free DSO to Go mobile app to view the performance Sunday, May 6, 3 p.m. 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 the Knight Foundation and is produced in collaboration with Detroit Public Television. Upcoming webcasts Opening Weekend Joshua Bell..................... Sunday, Sept. 30 at 3 p.m. Cirque de la Symphonie................................. Saturday, Oct. 6 at 8 p.m. Slatkin Conducts Boléro................................. Sunday, Oct. 14 at 3 p.m. The Romance of Rachmaninoff.................... Sunday, Oct. 21 at 3 p.m. Sibelius’ Second Symphony........................... Friday, Oct. 26 at 10:45 a.m. Rodeo!................................................................ Sunday, Nov. 11 at 3 p.m. von Oeyen Plays Schumann.......................... Sunday, Nov. 18 at 3 p.m.

Follow the DSO Meet the Musician:

Johanna Yarbrough

D

horn professor at Florida SO Fourth Horn Johanna State University, Yarbrough’s Yarbrough knew instantly passion for performance had that she was not a violinist. morphed into career ambition. Growing up in Tallahassee, After completing a bachelor’s Fla., the fifth grade Yarbrough degree in horn performance at required doughnuts at every the University of Alabama, a lesson if she were to show up. year abroad at the Norwegian And practicing? Forget it. Academy of Music in Oslo, “I had to really work hard to Norway, and a professional do it well,” said Yarbrough. studies certificate at the “I’ve never really been drawn to Colburn School in Los things that don’t come Angeles, Yarbrough won her naturally.” yarbrough 12th audition, joining the Based only on the fact her DSO in May, 2012. brother played tuba, she joined band the “I was living as a student in a dorm, and next year. She selected the French horn because the band director told her it was the in the three days it took to drive to Detroit from California I became an adult,” she hardest to play. Being left-handed, she said. “All of a sudden I had to choose a assumed, perhaps prematurely, that she had health care plan and had to find a place to an advantage to this left-handed live.” instrument. While Yarbrough has not yet settled on a “I have an oddly competitive spirit,” she permanent residence, she’s certain it will be said. “As it turned out, everyone kept telling somewhere downtown. me I was really good at playing the horn, “My mom is a city planner, so she and I and I loved the attention. I think a real love are both pretty excited for me to make my for the instrument came from that home downtown and be a part of Detroit’s encouragement. The love for music revitalization,” she said. developed upon hearing the horn lines of The 2012-13 season is Yarbrough’s first Strauss, Brahms, and Mahler.” full season with the DSO. By eighth grade, inspired greatly by her private teacher, Michelle Stebleton, the dso.org

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

Perform ance / Vol . X XI / fall 2012

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DSO: A History

(Part 1 of 3) June 1, 1919 Orchestra Hall construction begins at the behest of Gabrilowitsch.

December 19, 1887 Detroit Symphony Orchestra performs the first subscription concert of its first subscription season at the Detroit Opera House. Rudolph Speil was the conductor.

October 23, 1919 Ossip Gabrilowitsch conducts first concert in newly-built Orchestra Hall. November 16, 1919 First tour – Hill Auditorium, Ann Arbor. gales February 26, 1914 With funds provided by 10 ladies of Detroit society, the Detroit Symphony Orchestra performs a Demonstration Concert.

1897

Kalsow

1910 April 1910 The Detroit Symphony Orchestra performs the final subscription concert of what would be, for four years, its “last” season. Hugo Kalsow conducted — having been conductor from 1900 through 1910.

November 19, 1914 The Detroit Symphony Orchestra begins a new subscription season under the direction of first music director Weston Gales. Concerts are held at the Detroit Opera House.

1914

1918

November 7, 1918

Ossip Gabrilowitsch begins as second music director.

November 29, 1919 First tour outside of Michigan – Oberlin College in Oberlin, Ohio.

1920 December 8, 1920 First DSO performance at Carnegie Hall. December 18, 1920 First Young People’s Concerts, Victor Kolar conducts.

gabrilowitsch

10

Performance / Vol . X X I / fall 201 2

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gabrilowitsch

February 10, 1922 The Detroit Symphony Orchestra performs on WWJ Radio, the world’s first-ever broadcast of a program of symphonic music. November 5, 1923 Music Education expands with regular “Junior Concerts” for all Detroit Schools students, either live in Orchestra Hall or simultaneously broadcast over Detroit Public Schools Radio. Edith Rhetts is Educational Director

1923

Kolar

ghione

October 29, 1936 After the death of Ossip Gabrilowitsch on 14 Sept 1936, conducting responsibilities taken over by Assistant Conductor Victor Kolar.

March 15, 1946 Orchestra moves to Music Hall. 1948/1949 Henry H. Reichhold

November 4, 1937 Franco

disbands the Detroit Symphony Orchestra.

Ghione begins as Conductor. March 18, 1939 Final concert in Orchestra Hall before moving to Masonic Auditorium.

1936

1949-1950 & 1950-1951 No Detroit

Symphony Orchestra concerts.

1942

March 7, 1924 Dedication of the world’s most powerful concert organ, built by Casavant Frères. and donated by Mr. & Mrs. William H. Murphy.

1948

1942-1943 The Detroit Symphony Orchestra suspends operations “for the duration of the war.” 1943 Industrialist Henry H. Reichhold resurrects the Detroit Symphony Orchestra and appoints Karl Krueger as Music Director. 1951 Industrialist John B. Ford

Reichhold

implements his Detroit Plan, bringing together groups from Detroit business, labor and government in a landmark partnership in arts funding that re-established the Orchestra. The orchestra moves back to Masonic Auditorium.

krueger

Casavant Frères organ

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

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Y

oonshin Song has distinct memories of her mother playing Mozart records when she was young. “My mother was completely in love with classical music,” she remembers. So it seemed a natural progression that by 5 years old, Song had already begun violin and piano lessons. But while her early years may not have been typical, per se, her youthful aversion toward practicing certainly was. “I remember my kinder garden teacher putting candy inside my toy violin, and telling me I could only have it after a great performance” said Song. “Well... I wanted the candy” she added with a smile. By age 10, the saccharin temptations lurking within violin’s f-holes had apparently worked, since her instructor insisted she forego the piano in place of full-time pursuit of her violin studies. “He said that’s where I had more promise,” she said. “I hated to quit the piano, but it sounded fun to participate in competitions and see my photo in newspapers.” Since that fateful decision, that is exactly where her photo ended up, most recently as the Detroit Symphony Orchestra’s newest concertmaster. Song has also earned notoriety as the winner of the Stradivarius International Violin Competition and has earned prizes in the Lipizer International Violin Competition in Italy, Wieniawski International Violin Competition in Poland, Henry Marteau International Violin Competition in Germany, Young Concert Artists International Competition in New York and Ima Hogg International Competition in Houston. In her native South Korea, Song has won virtually all the major national competitions. She also received the David G. Whitecomb Foundation Award in New York. Just a year after adopting violin full time, Song made her solo debut with the Seoul Philharmonic at age 11, performing the Saint-Saëns Introduction 12

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DSO’s new Song

DSO Concertmaster Yoonshin Song has always known first chair to be the only one she really wanted by Gabrielle Poshadlo

and Rondo Capriccioso. On stage with an entire ensemble of professional musicians who’d been playing their instruments longer than she’d been alive, Song faced this seemingly intimidating situation with a fearlessness only a child could muster. “I don’t remember being nervous, but I do remember really liking my dress, it was green,” Song said. “I liked being on stage, then it was just fun. Sometimes

I miss that childlike fearlessness.” Song may claim she no longer feels fearless, but she certainly does appear that way. In 2004, at age 22, Song left Korea for the United States without knowing anyone at her destination. She wouldn’t visit her family again for three years. Once in the U.S., Song earned her master’s degree and Graduate diploma under the tutelage of Donald Weilerstein at New England Conservatory in Boston. She then went on to complete the Artist Diploma and Professional Study programs at the Manhatten School of Music, where she studied with Robert Mann and Glenn Dicterow, Concertmaster of the New York Philharmonic. In 2010, directly after completing her studies in New York, Song won a violin position with the St. Paul Chamber Orchestra where she has been ever since. Now facing a role that will be completely different from what she has been doing in the past couple of years, the greatest difference Song is anticipating is in the repertoire. “I had a wonderful time in St. Paul and lots of great music making, but the repertoire for a chamber orchestra is limited,” she said. “I look forward to the challenge of playing bigger music in a bigger role. I really feel like I can contribute more with the DSO.” She is also eager to work with Music Director Leonard Slatkin on a regular basis. “I really like the feeling of being close to the conductor and communicating with the other principals. I like to really know the score and play every note like it matters,” she said. With the beginning of the DSO season on Sept. 28, Song will make her performance debut as DSO concertmaster, when she will sit in a new chair on a new stage in a new concert hall surrounded by a new orchestra, all within a new city. But Song is not the least bit intimidated by this glut of changes or by her new job. “This is something I’ve been looking for,” she said. “And I can’t wait.” dso.org


Profiles Leonard Slatkin Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Classical Series Friday, September 28, 2012 at 8 p.m. Saturday, September 29, 2012 at 8 p.m. Sunday, September 30, 2012 at 3 p.m.* in Orchestra Hall Leonard Slatkin, conductor Joshua Bell, violin Sasha Cooke, mezzo soprano Leonard Bernstein Divertimento for Orchestra (1918-1990) Sennets and Tuckets Waltz Mazurka Samba Turkey Trot Sphinxes Blues March: “The BSO Forever” Symphony No. 1, “Jeremiah” Prophecy Profamation Lamentation Sasha Cooke, mezzo soprano

I n ter mission Overture to Candide Serenade Phaedras – Pausanias: Lento – Allegro Aristophanes: Allegretto Eryximachus: Presto Agathon: Adagio Socrates – Alcibiades: Molto tenuto – Allegro molto Vivace Joshua Bell, violin Floral stage arrangement generously donated by Blossoms in Birmingham, Mich. *Denotes a webcast performance

This Classical Series concert is generously sponsored by

PVS Chemicals, Inc.

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.

Internationally acclaimed American conductor Leonard Slatkin began his tenure as Music Director of the Detroit Symphony Orchestra in slatkin September of 2008. In addition to his role at the DSO, he serves as Music Director of the Orchestre National de Lyon in France, an appointment which began in August of 2011. He has also served as Principal Guest Conductor of the Pittsburgh Symphony since 2008. Slatkin’s first book, Conducting Business, was released this past summer. Following a 17-year tenure as Music Director of the Saint Louis Symphony Orchestra, Slatkin became Music Director of the National Symphony Orchestra in Washington, D.C. in 1996. Other positions in the United States have included Principal Guest Conductor of the Minnesota Orchestra, first Music Director of the Cleveland Orchestra’s summer series at the Blossom Music Festival; Principal Guest Conductor of the Los Angeles Philharmonic Orchestra at the Hollywood Bowl; and additional positions with the New Orleans Philharmonic and the Nashville Symphony Orchestra. Maestro Slatkin’s more than 100 recordings have been recognized with seven Grammy awards and 64 nominations. He has recorded with the Detroit Symphony Orchestra, National Symphony Orchestra, Saint Louis Symphony, Minnesota Orchestra, Nashville Symphony Orchestra, Chicago Symphony Orchestra, the New York Philharmonic, and numerous European ensembles. Throughout his career, Slatkin has demonstrated a continuing commitment to arts education and to reaching diverse audiences. He is the founder and director of the National Conducting Institute, and founded the Saint Louis Symphony Youth Orchestra while working with student orchestras across the United States. His engagements for the 2012-2013 season include the NHK Symphony, the Rotterdam Philharmonic, the Czech Philharmonic, the St. Louis Symphony, the Nashville Symphony and the State Symphony Orchestra of Russia.

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

dso.org

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Joshua Bell

Often referred to as the “poet of the violin,” Joshua Bell is one of the world’s most celebrated violinists. His restless curiosity, passion, universal appeal, and bell multi-faceted musical interests have earned him the rare title of “classical music superstar.” Bell’s most recent challenge is his appointment as the Music Director of the Academy of St Martinin-the-Fields, the first person to hold this post since Sir Neville Marriner formed the orchestra in 1958. Equally at home as a soloist, chamber musician, recording artist and orchestra leader, Bell’s fall 2012 highlights include a tour of South Africa, a European tour with the Academy of St Martin in the Fields and a European recital tour with Sam Haywood. Bell currently records exclusively for Sony Classical and since his first LP recording at age 18 on the Decca Label, he has recorded more than 40 CDs. Sony releases include “French Impressions” with pianist Jeremy Denk, “At Home With Friends,” “Vivaldi’s The Four Seasons” with The Academy of St Martin in the Fields and “The Tchaikovsky Concerto” with the Berlin Philharmonic, among others. Growing up in Bloomington, Ind., Bell received his first violin at age 4 after his parents, both mental health professionals, noticed him plucking tunes with rubber bands he had stretched around the handles of his dresser drawers. By 12 he was serious about the instrument, thanks in large part to the inspiration of renowned violinist and pedagogue Josef Gingold, who had become his beloved teacher and mentor. Two years later, Bell came to national attention in his highly acclaimed debut with Riccardo Muti and the Philadelphia Orchestra. His Carnegie Hall debut, an Avery Fisher Career Grant and a notable recording contract soon followed. In 1989, Bell received an Artist Diploma in Violin Performance from Indiana University where he currently serves as a senior lecturer at the Jacobs School of Music. Bell performs on a 1713 Huberman Stradivarius violin and uses a late 18th century French bow by Francois Tourte.

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Sasha Cooke

Radiant American mezzo-soprano Sasha Cooke caused a sensation as Kitty Oppenheimer in the Metropolitan Opera premiere of John cooke Adams’s Doctor Atomic. She was praised in The New Yorker for her “fresh, vital portrayal, bringing a luminous tone, a generously supported musical line, a keen sense of verbal nuance, and a flair for seduction.” A dedicated recitalist, Cooke was presented by Young Concert Artists in her widely acclaimed New York and Washington debuts at Carnegie’s Zankel Hall and at the Kennedy Center, as well as in concerts throughout the U.S. She has performed frequently with the New York Festival of Song at Merkin Concert Hall, and gave a duo recital with her husband, baritone Kelly Markgraf at Carnegie’s Weill Recital Hall under the auspices of the

Marilyn Horne Foundation. Previously at the Metropolitan Opera, where she was a member of the Lindemann Young Artists Development Program, Cooke appeared as the Sandman in a new production of Hansel and Gretel, broadcast live in high definition to cinemas across the United States and later released on DVD. Highlights of recent seasons include the world premieres of John Musto’s “Bastianello” and William Bolcom’s “Lucrezia” with the New York Festival of Song; Chausson’s Poème de l’amour et de la mer at Miller Theater; the Marilyn Horne Foundation’s 2007 Gala at Zankel Hall; and Mozart’s Mass in C Minor with the Mozart Academy of San Luis Obispo. A graduate of Rice University and the Juilliard School, Cooke also attended the Music Academy of the West, the Aspen Music Festival, the Ravinia Festival’s Steans Institute, the Wolf Trap Foundation, the Marlboro Music Festival, and Central City Opera’s Young Artist Training Program.

dso.org


Program Notes Divertimento for Orchestra LEONARD BERNSTEIN

B. August 25, 1918 D. October 14, 1990

Scored for four flutes (two doubling on piccolo), two oboes, English horn, two Bb clarinets, Eb clarinet, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba (doubling on euphonium), timpani and six percussion (playing bass drum, cymbals, four snare drums, tenor drum, drum set, triangle, tambourine, tam-tam, glockenspiel, xylophone, marimba, vibraphone, chimes, wood block, temple blocks, maracas, congas, two Cuban cowbells, three bongos and sand blocks), harp, piano and strings (approximately 15 minutes).

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f there ever was a Renaissance man in 20th-century music, that man was Leonard Bernstein. Composer, conductor, pianist, writer, teacher, lecturer and an unparalleled musical advocate to young people, he was the most famous and successful American musician of the last century, and in the eyes of many, the greatest musician this country has yet produced. Although his output both as composer and conductor was certainly uneven, nevertheless the impact the man had on classical music all over the world was enormous, due as much to his charismatic personality as to purely musical considerations. His now-legendary last-minute substitution for Bruno Walter in a nationally broadcast concert with the New York Philharmonic in November of 1943 put him squarely on the international music map, and in effect created the larger-than-life persona with which he remains indelibly linked to this day. Bernstein was born in Lawrence, Massachusetts and grew up in the Boston area, often going to concerts by the Boston Symphony Orchestra. Although he was probably unaware of it at the time, this activity certainly planted the seeds of what was to become a long and productive relationship with that great orchestra. He went to Tanglewood as a student in 1940, coming under the influence of Serge Koussevitsky, the long-time conductor of the orchestra. Later in his career he returned to Tanglewood as head of the orchestra and conducting programs, and in fact gave his final public performance there with the BSO in August of 1990, just days before his death. Given his long connection with Boston and its famous orchestra, it was only logical dso.org

that Bernstein should be commissioned to write a work for the BSO’s centennial in 1980. The result was this witty, clever, lighthearted, brilliantly scored and energetic work, still somewhat under-appreciated even today, but full of musical puns and allusions to the pieces which Bernstein heard as a young concert-goer in Symphony Hall. As he so eloquently put it, “It reflects my youthful experiences here where I heard my first orchestral music. I nearly fell out of my chair I was so excited!” Divertimento was first performed by the Boston Symphony Orchestra under Seiji Ozawa’s direction in September of 1980. The work consists of eight short movements, all based on two notes — B for Boston and C for Centennial — and Bernstein’s handling of this restricted thematic material is quite ingenious. The movements are: 1. Sennets and Tuckets, a Shakespearian stage direction for fanfares, in which there are references to Strauss’ Till Eulenspiegel and Stravinsky’s Petrushka. 2. Waltz, written just for the strings, but in the asymmetrical meter of 7/8 rather than the usual 3/4. 3. Mazurka, which now gives the wind section a chance to shine, with prominent passages for the oboes and bassoons. 4. & 5. are both dance movements, the first is a Samba (recalling some of the material from West Side Story); the second is called Turkey Trot, named for a popular dance in the early part of the 20th century. 6. Sphinxes is a tongue-in-cheek look at the techniques of twelve-tone, or serial, music, a harmonically advanced form of musical expression for which Bernstein had no fondness at all. 7. Blues now highlights the brass section, and gives the principal players an opportunity to show off what they can do in a basically popular idiom, with the integration of blues and symphonic styles brought off as only Bernstein can. 8. The last movement is titled In Memoriam and March: The BSO Forever. The movement begins with a solemn tribute to conductors and players who had died over the years, and ends with a raucous march, heavily influenced by Sousa, which brings back some music from the first movement and closes with an emphatic playing of the two notes of B and C simultaneously.  SO Shop @ The Ma x D recommends:

Bernstein – Divertimento: Leonard Slatkin conducting the BBC Symphony Orchestra, Chandos 9889.

Discover and Experience 2012-2013 Music Series 15 Stunning Concerts National & Local Artists A Welcoming Environment for Our Guests Sunday, September 30, 2012 – 7:30 PM

“A Day in the Life…Three Phantoms in Concert — Return”

From NYC, Craig Shulman, Kevin Gray, and Ted Keegan, who have played the lead role in over 4,000 performances of “Phantom of the Opera,” portray a day in the life of a Broadway star. Sunday, November 11, 2012 – 2:00 PM

Douglas Bruce, Concert Organist

Noted organist from Switzerland appears as part of his 10th USA tour, which includes the National Cathedral in Washington, D.C. Sunday, December 9, 2012 – 3:00 PM

“35th Annual Christmas Concert” Nardin Choirs, Melvin Rookus, Director Paul Bisaccia performs Tchaikovsky’s “Nutcracker,” Liszt’s “Christmas Tree Suite,” and others holiday favorites. Sunday, February 17, 2013 – 2:00 PM

Yuki & Tomoko Mack – Duo Pianists These two Michigan residents will dazzle you as they perform on two concert grand pianos. Sunday, April 7, 2013 – 2:00 PM

Brandon Ridenour, Trumpet Rich Ridenour, Concert Pianist

Father and son graduates of The Julliard School sparkle with artistry fused with a magical stage presence. Brandon joined the Canadian Brass in 2006 at the age of 20. Sunday, May 5, 2013 – 2:00 PM

“Chicago A Cappella”

Representing Chicago’s most accomplished soloists, this vocal ensemble moves the heart and soul with fun, innovating concerts.

2013 Summer Music Concerts “Wednesdays at Eight” June 19 through August 14

Nine One-Hour, Wednesday Evening Concerts Starting at 8:00 PM - Free Admission Held in our Air-Conditioned Sanctuary Artists announced in May, 2013 www.nardinpark.org

Nardin Park United Methodist Church

29887 West Eleven Mile Road, Farmington Hills, MI 48336 (Near the I-696 and Orchard Lake Road Exit)

248-476-8860 Concert Details at www.nardinpark.org Perform ance / Vol . X XI / fall 201 2

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Symphony No. 1 (“Jeremiah”) LEONARD BERNSTEIN

Scored for mezzo-soprano solo, three flutes (one doubling on piccolo), two oboes, english horn, three clarinets (one doubling on Eb clarinet), bass clarinet, 2 bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani and four percussion (playing bass drum, cymbals, snare drum, triangle, wood block and maracas), piano and strings (approximately 25 minutes).

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ernstein once wrote, “The work I have been writing all my life is about the struggle that is born of the crisis of our century, a crisis of faith.” In all of his three symphonies this exploration of faith and the struggle not to lose it is a recurring theme. Looking at his creative output, one sees how deeply his life was influenced by his Jewish heritage, by the Hebrew texts he learned as a child, and by the liturgical music he heard almost every week in Temple. In many of his works he seems to be trying to make some sort of contact with The Almighty. As Kate Chisholm so beautifully put it, “Bernstein’s creative journey…led him to a profound conclusion — that a renewal of faith in modern times requires a return to innocence, a shedding of the trappings of dogma and orthodoxy, and a fundamental belief in our common humanity.” In the “Jeremiah” Symphony, however, he does not put forth a solution to this crisis, but simply offers a means of dealing with it. The First Symphony was written for a competition sponsored by the New England Conservatory of Music with Serge Koussevitsky as chairman of the jury. It was given its premiere by the Pittsburgh Symphony Orchestra under the composer’s direction in January of 1944 with Jennie Tourel as soloist, and it was a great success. (For the record, it did not win the competition!) With this premiere, he began to be regarded as a major American symphonist. The work began its life as a singlemovement Lamentation for soprano and orchestra. After completing this he put it aside for some time, and when he returned to it for the competition he realized that, with considerable change, it would make the perfect finale to the symphony he had been thinking about. Once again, Bernstein himself provided remarkable insight into his creative process. “As for programmatic meanings, the intention is not one of literalness, but of emotional quality. Thus the first movement (Prophecy) aims only to parallel in feeling the intensity of the prophet’s pleas with his people; and the scherzo (Profanation) to give a general sense of the destruction and chaos brought on by 16

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the pagan corruption within the priesthood and the people. The third movement (Lamentation), being a setting of poetic text, is naturally a more literary conception. It is the cry of Jeremiah, as he mourns his beloved Jerusalem, ruined, pillaged and dishonored after his desperate attempts to save it.” Fritz Reiner, the conductor of the Pittsburgh Symphony Orchestra at the time of the work’s premiere, and Bernstein’s former conducting teacher at Curtis, tried to convince him to add a fourth movement which would end the symphony on a bright and positive note, but happily, Bernstein stood his creative ground.  SO Shop @ The Ma x D recommends:

Bernstein — Symphony No. 1, “Jeremiah”: Michelle DeYoung, soprano; Leonard Slatkin conducting the BBC Symphony Orchestra, Chandos 9889.

Overture to Candide

LEONARD BERNSTEIN

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, Eb clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani & 5 percussion (playing bass drum, cymbals, snare drum, tenor drum, triangle, glockenspiel and xylophone), harp and strings. (approximately 5 minutes). Many overtures have survived the works they were written for and have gone on to become independent concert pieces: think of the overtures by Mozart or Rossini or Verdi or Weber. In this category belongs the present work which has become one of the most popular and frequently-performed curtain raisers from the 20th century. This opera or operetta or musical comedy or theater piece or whatever you want to call it is based on the famous 18th-century novel Candide, or Optimism by the French writer Francois-Marie Arouet (1694-1778), who adopted the pen name of Voltaire. Following in the literary footsteps of Jonathon Swift’s Gulliver’s Travels, Candide is a masterpiece of satire and sarcasm and trenchant humor, and it is likely that Voltaire used the Swift novel as a source of inspiration. In spite of the persistent legend (now known to be false) that Voltaire wrote this work in just 3 days, no one is quite certain exactly when it was written, but it was published in 1759, and it is thought that he began the novel in 1757 or 1758. Space limitations do not permit any kind of detailed description of the plot, but suffice it to say here that it concerns the worldly travels and the awakening of a young man named Candide who goes from living a very sheltered and idyllic life style through a

series of adventures which bring about a slow and painful disillusionment as he observes and experiences many hardships in his life, and which ultimately cause him to seriously re-think his general optimistic outlook. Perhaps the book’s strongest point is the rejection of the idea, very popular in Voltaire’s day, that if there is a Creator, then he is the Greatest of All Possible Creators, and the world he created is therefore the Best of All Possible Worlds. Or, in the words of Alexander Pope, “Whatever is, is right.” What Voltaire also does is to debunk the notion, again very popular in his day, that all misery and misfortune and struggle are actually hallmarks of a greater good which we cannot possibly comprehend. What Candide finally gets from all of this is a realistic notion of how the world is, and how we all go about perceiving it. Although much of the novel is pure fiction, there are elements based on historical fact, such as the disastrous earthquake in Lisbon, Portugal in 1755. From its original production on Broadway in 1956 (a flop by those standards) through the 1999 Royal National Theater production and even beyond, Bernstein’s Candide went through an astonishing number of changes, re-writes, re-workings and alternate versions. Having survived all of these permutations, it has emerged as one of finest creations of its kind, and with a combination of lyrics variously contributed by Lillian Hellman, Richard Wilbur, Stephen Sondheim, John LaTouche, and Bernstein himself, among others, and Bernstein’s fresh, inventive and charming music, it can now take its place as a theater piece which is about as effervescent and entertaining as one can get. To paraphrase one of the ideas from the original, it may not be the Best of All Possible Stage Works, but it is mighty fine nevertheless.  SO Shop @ The Ma x D recommends:

Bernstein — Overture to Candide: Leonard Slatkin conducting the St. Louis Symphony Orchestra, EMI 48952 OR EMI 06626.

Serenade (after Plato’s Symposium) LEONARD BERNSTEIN

Scored for solo violin, timpani and five percussion (playing tambourine, xylophone, glockenspiel, suspended cymbal, chimes, triangle, snare drum, tenor drum, two Chinese blocks and two bass drums), harp and strings (approximately 31 minutes).

dso.org


I

n June of 1951, just after the death of Serge Koussevitsky, Bernstein was commissioned by the Koussevitsky Music Foundation to write an orchestral work in whatever form he deemed appropriate. He had been reading Plato earlier that year, but did not begin to compose the work—which he originally called a concerto— -until 1953, and when exactly he decided to base it on The Symposium is unclear. The work was given its premiere in Venice, Italy in September of 1954 with Isaac Stern as soloist and the composer conducting the Israel Philharmonic. The Symposium is a philosophical tract by the Greek writer Plato, dating from the end of the 4th century B.C. It is about the origins, nature and purpose of love, and is considered to be the basis of the concept of Platonic love. In it, love is examined from many aspects by a group of men attending a symposium (literally, a drinking party), during which each man is required to give a speech in praise of Love (Eros in Greek). Near the end of the gathering Socrates states that the highest purpose of love is to make men lovers of wisdom. Throughout his life Bernstein was concerned with understanding and strengthening the emotional ties which connect us, and once said “I feel, love, need and respect people above all else…..I believe in man’s unconscious, the deep spring from which comes his power to communicate and love.” He also described this work, in a set of notes written just after the score was completed, as follows: “There is no literal program for this Serenade. The music, like Plato’s dialogue, is a series of related statements in praise of love. The relatedness of the movements does not depend on common thematic material, but rather on a system whereby each movement evolves out of elements of the preceding one.” There are seven participants in the original, but Bernstein has telescoped this somewhat by portraying two of them together in the first and last movements, and has provided the listener with this guide to their contents, here slightly abbreviated and paraphrased. I. Phaedrus; Pausanias. Phaedrus begins the symposium with a lyrical oration in praise of Eros, the god of Love. Pausanias continues by describing the duality of the lover as compared with the beloved. II. Aristophanes. Aristophanes does not play the role of clown in this dialogue, but instead that of the bedtime storyteller, invoking the fairy-tale mythology of love. The atmosphere is one of quiet charm. III. Erixymathus. The physician speaks of bodily harmony as a scientific model for the workings of love patterns. This is an extremely short scherzo, born of a blend of dso.org

mystery and humor. IV. Agathon. Perhaps the most moving and famous speech of the dialogue, Agathon’s words in high praise of love embrace all aspects of love’s powers, charms and functions. This is a simple three-part song. V. Socrates; Alcibiades. Love as a demon is Socrates’ image for the profundity of love, and his seniority adds to the feeling of sobriety in an otherwise pleasant and friendly after-dinner discussion. The famous interruption by Alcibiades and his band of drunken revelers ushers in the final fast

section which ranges from agitation through jig-like dance music to joyful celebration. “If there is a hint of jazz in the celebration, I hope it will not be taken as anachronistic Greek party music, but rather the natural expression of a contemporary American composer imbued with the spirit of that timeless dinner party.”  SO Shop @ The Ma x D recommends:

Bernstein – Serenade: Joshua Bell, violin; David Zinman conducting the Philharmonia Orchestra, Sony 89358.

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Profiles Jeff Tyzik Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Pops Series

Friday, October 5, 2012 at 10:45 a.m. Saturday, October 6, 2012 at 8 p.m.* Sunday, October 7, 2012 at 3 p.m. in Orchestra Hall Jeff Tyzik, conductor Acrobatics: Alexander Streltsov Aloysia Gavre Christine Van Loo Elena Tsarkova Irina Burdetsky Vladimir Tsarkov

Dmitri Shostakovich Festive Overture, Op. 96

Camille Saint-Saëns Danse macabre, Op. 40

Georges Bizet “Dance Bohéme” from Suite No. 2 from Carmen Aram Khachaturian “Valse” from Suite from Masquerade Georges Bizet “Les Toréadors” from Suite No. 1 from Carmen Jeronimo Gimenez Intermezzo from La Boda de Luis Alonso Camille Saint-Saëns “Bacchanale” from Samson and Delilah

I n ter mission

Piotr Ilyich Tchaikovsky “Dance of the Swans” from Swan Lake, Op. 20a Reinhold Glière “Russian Sailor’s Dance” from The Red Poppy Aram Khachaturian “Sabre Dance” from Gayane

Jacques Offenbach “Can Can” from Orpheus in the Underworld

Manuel de Falla “Ritual Fire Dance” from El amor brujo

Bedrich Smetana “Dance of the Comedians” from The Bartered Bride arr. Hugo Riesenfeld Piotr Ilyich Tchaikovsky “Valse” from Suite from Swan Lake, Op. 20a

Jean Sibelius Finlandia, Op. 26, No. 7 Georges Bizet “Les Toréadors” from Suite No. 1 from Carmen

This Pops Series performance is generously sponsored by

*Denotes a webcast performance The DSO can be heard on the DSO, Chandos, London, Naxos, RCA and Mercury Record labels.

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Grammy Award winner Jeff Tyzik is recognized as one of America’s most innovative pops conductors, and is known for his brilliant arrangements, original programming, and tyzik engaging rapport with audiences of all ages. Now in his 19th season as Principal Pops Conductor of the Rochester Philharmonic Orchestra (RPO), Tyzik also serves as Principal Pops Conductor of the Oregon Symphony, the Vancouver Symphony Orchestra and the Florida Orchestra at the beginning of 2012. Over the course of his tenure with the RPO, he has written over 180 works for the orchestra. The RPO has taken the unusual step of inviting their principal pops conductor, a consummate musician, to appear as a guest conductor in the orchestra’s classical subscription series calendar on a regular basis. Tyzik led the world premiere of his original work New York Cityscapes with the Royal Scottish National Orchestra in June 2010. In the 2012-13 season Tyzik will conduct the RPO on the subscription series in the world premiere of his new suite: Images: Musical Impressions of an Art Gallery. Highly sought after as a guest conductor, Tyzik has recently appeared with orchestras such as the Boston Pops, the Cincinnati Pops, the New York Pops, the Philadelphia Orchestra at the Saratoga Performing Arts Center, the Los Angeles Philharmonic at the Hollywood Bowl, and the Dallas Symphony at the Vail Valley Music Festival. A native of Hyde Park, New York, Tyzik began his life in music at age 9, when he first picked up a cornet. He studied both classical and jazz throughout high school, and went on to earn both his bachelor’s and master’s degrees from the Eastman School of Music, where he studied composition/arranging with Radio City Music Hall’s Ray Wright and jazz studies with the great band leader Chuck Mangione, both of whom profoundly impacted him as a musician. Tyzik spent the next few years working with Mangione, which led to an oppoprtunity to co-compose a trumpet concerto with friend and virtuoso trumpeter Allen Vizzutti to be recorded by pops legend Doc Severinsen. Tyzik currently serves on the Board of Managers of the Eastman School of Music.

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Chamber Music Society of Detroit advert

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Profiles

Leonard Slatkin biography, see page 13.

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Classical Series

Friday, October 12, 2012 at 10:45 a.m. Saturday, October 13, 2012 at 8 p.m. Sunday, October 14, 2012 at 3 p.m.* in Orchestra Hall Leonard Slatkin, conductor Gabriela Montero, piano

Aaron Copland Dance Panels, A Ballet in Seven Sections (1900-1990) Introduction: Moderato (Tempo di Valzer) Allegretto con tenerezza Scherzando Pas de trois: Lento Con brio Con moto Molto ritimico Maurice Ravel Concerto in G major for Piano and Orchestra (1875-1937) Allegramente Adagio assai Presto Gabriela Montero, piano

I n ter mission

Aaron Copland El Salón México

Danzón Cubano

Maurice Ravel Boléro *Denotes a webcast performance

This Classical Series concert is generously sponsored by

PVS Chemicals, Inc.

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

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Perform ance / Vol . X XI / Fall 201 2

Gabriela Montero

Gabriela Montero’s visionary interpretations and unique improvisational gifts have won her a quickly expanding audience and devoted following around the world. In both recital montero and after performing a concerto, Gabriela often invites her audience to participate in asking for a melody for improvisations. It has long been a desire to take her improvisations to the next logical step of composition. Montero has enthusiastically embarked on this new phase of her career by composing a new work, ExPatria, for piano and orchestra. Her composition received its premiere performance in London and on tour in Germany with the Academy of St Martin in the Fields orchestra. Her multi-faceted talents were featured in these concerts, along with her new work as Montero performed Beethoven’s Emperor Concerto as well as her legendary solo improvisations. Montero’s recordings for EMI Classics are comprised of one disc of music by Rachmaninov, Chopin and Liszt and a second of her deeply felt and technically brilliant improvisations. Her EMI CD Bach and Beyond is a complete disc of improvisations on themes by Bach which topped the charts for several months. In February 2008 her follow up EMI recording of improvisations Baroque was nominated for a Grammy Award and released with great critical acclaim receiving 5-star reviews from BBC Music Magazine and Classic FM. Montero’s most recent recording Solatino released by EMI Classics in January, is devoted exclusively to works by Latin American composers. She selected the works of six composers, including Alberto Ginastera’s Piano Sonata No. 1 as well as her own improvisations on Latin themes. Born in Caracas,Venezuela, Montero gave her first public performance at the age of 5. At the age of 8 she made her concerto debut with the Simon Bolivar Youth Orchestra conducted by Jose Antonio Abreu and was granted a scholarship from the Venezuelan Government to study in the USA. She currently resides in Massachusetts with her two daughters. dso.org


Program Notes Dance Panels: A Ballet in Seven Sections AARON COPLAND

B. November 14, 1900 in New York, NY D. December 2, 1990 in Sleepy Hollow, NY

Scored for two flutes (one doubling alto flute, one doubling piccolo), one oboe, two clarinets, one bassoon, two horns, two trumpets, one trombone, two percussion (playing snare drum, cymbals, xylophone, triangle, field drum, glockenspiel, bass drum, wood block and temple blocks) and strings (approximately 27 minutes).

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opland wrote six ballets in the course of his illustrious career, three of which have become American classics: Appalachian Spring, Billy the Kid and Rodeo. By contrast, the other three (Grohg, Hear Ye! Hear Ye! and Dance Panels) are hardly known at all. Of these works for the dance, Grohg was the first (1925) and Dance Panels the last (1959, revised in 1962). The origins of Dance Panels go all the way back to 1944, when the celebrated choreographer Jerome Robbins, following on the great success of Leonard Bernstein’s ballet Fancy Free, approached Copland about the possibility of a collaboration on a work which was to be titled Bye-Bye Jackie, all about a young lad who joins the Navy. This project came to naught, but in 1954 Robbins directed the premiere production of Copland’s opera The Tender Land, at which time he again proposed a ballet, this time all about a bullfight, but the idea was never seriously considered. Then, in early 1959, the two men got together with a shared concept about a full-length ballet without a story line which would be based on a series of dances, mainly waltzes. Robbins formally commissioned the work from Copland in that year, and with the tentative title of Theater Waltzes, described the proposed work as follows: “The originating idea is to do a ballet which presents the style, youth, technical competence, theatrical qualities and personalities of the company [Robbins’ short-lived company called Ballets: U.S.A.] in pure dance terms. The technique is essentially classic ballet (in the way that Americans employ it) and to make the whole ballet a declarative statement — open, positive, inventive, joyous (rather than introspective) — a parade; a presentation; perhaps elegant, witty, tender and with a sure technique… It should say, this is

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Dance; it’s the way we use our European heritage (classic technique) in America.” Copland set to work on the ballet immediately, and hoped that it would be given its premiere at the famous Spoleto Festival in Spoleto, Italy that summer. Robbins asked that the orchestra be a small one, and Copland obliged by utilizing what is essentially a chamber ensemble with only six woodwinds and five brass. Then, a curious thing happened: Copland played the score on the piano for Robbins who

went into rehearsal right away, but when he began working with the company he could not remember the music — only the rhythmic counts — and became captivated by what the dancers were doing without the music. So it was that he continued in this vein and did not use Copland’s score at all. Nothing more happened until 1962, when the Bavarian State Opera in Munich asked Copland if they could mount the work as part of the celebrations surrounding the opening of their new house that November.

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Copland was asked to conduct the performance, and although he and the Opera’s management tried to get Robbins to do the choreography, he declined to do so. Heinz Rosen, the music director of the Opera, decided to stage it himself, and brought in two principals outside the company. Unfortunately, a whole string of problems ensued which undermined the performance, which was not a success, and as Copland sadly wrote in his diary, “Somebody, some day will make a good ballet out of the piece — it’s so very danceable, but I’m afraid it’s a lost cause here.” In 1965 the New York City Ballet mounted a version of the ballet with a bizarre story line under the title Shadow’d Ground, but it found no favor with audience or critics. Because of the fact there was no plot to the original, and because it is marvelously wellconstructed, it works beautifully as a concert work, and with the original title was given its first performance in this way as part of the Ojai Festival in California in May of 1966 conducted by Ingolf Dahl. The work consists of seven contrasting sections, each one of which has its own individual character, and the first and last sections which mirror each other are slow, quiet waltzes.  SO Shop @ The Ma x D recommends:

Copland – Dance Panels: Aaron Copland conducting the London Symphony Orchestra, Sony 47236.

Concerto in G major for Piano and Orchestra MAURICE RAVEL

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

Premiered January 14, 1932 by the Lamoureux Orchestra, conducted by Maurice Ravel, Marguerite Long, soloist. Scored for solo piano with piccolo, flute, oboe, English horn, two clarinets, two bassoons, two horns, trumpet, trombone, timpani, and percussion (triangle, side drum, cymbals, bass drum, tam-tam, wood-block, whip), harp and strings (approximately 23 minutes).

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rom the end of 1927 to April of 1928, French composer Maurice Ravel made a concert tour of the United States. French expatriate E. Robert Schmitz, president of Pro-Musica, Inc., a group that promoted contemporary music and dialogue between American and European musicians, organized the tour. Ravel was astonished at the generosity of his American hosts and their enthusiasm toward his music. Flush with his successes and with the sound of

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American orchestras and jazz bands fresh in his ears, he quickly conceived the idea of writing a piano concerto that he could play, and he even considered a worldwide tour. Ravel’s failing health and other responsibilities prevented him from immediately realizing this ambition. In 1929 he received a commission from the one-armed pianist Paul Wittgenstein, for whom he wrote his other major piano concerto — the Concerto for the Left Hand (1930) — and subsequent years were occupied with festivals and periods of rest ordered by his doctor to recover from exhaustion, the cause of which would eventually be traced to a possible brain tumor. Ravel finally completed his own Piano Concerto in 1931, and it would be one of his last compositions. Because he was too ill to perform the solo part at the premiere himself as planned, he conducted the orchestra while Marguerite Long, a pianist who specialized in contemporary music and had studied privately with Fauré, Debussy, and Ravel, played the piano. In his comments about the work, Ravel placed his Concerto within the classical tradition: “It was written very much in the spirit as those of Mozart and Saint-Saëns. The music of a concerto should, in my opinion, be light hearted and brilliant, and not aim at profundity or dramatic effects.” The work’s emphasis on lightness and clarity is evidenced by its orchestration, which calls for paired winds, a single trumpet and trombone, and 32 strings — an ensemble similar in size to one of Mozart’s concertos. In the first movement, Ravel uses the sections of sonata form to explore contrasts between many of the styles that interested him throughout his career. The piccolo introduces a buoyant first theme, while the piano creates a shimmering background by playing running triplets in two different keys in its highest register. The theme reflects the ancestry of the composer’s mother. It has a Basque flavor and may even quote segments from Basque tunes. The transitional material, which is slightly slower, takes on a Spanish flavor with its lowered second scale degree and incisive rhythms. Solo wind instruments respond with a theme characterized by “blue” notes — that is, lowered sevenths and thirds — that recall jazz and the music of George Gershwin, both of which Ravel heard and admired while in the United States. The development section returns to the original quick tempo, and features continuous runs in the piano, while the recapitulation transforms the opening material into a piano cadenza played against a hazy, impressionistic orchestral accompaniment.

The sense of free improvisation eventually spills over into the orchestra, leading to dreamy arpeggiations in the harp and upper winds, until the soloist returns to the original tempo and leads the orchestra to a resolute conclusion. In his booklet Le Coq et L’Arlequin (Cock and Harlequin) from 1918, writer Jean Cocteau outlined what he believed to be quintessentially French aesthetics of music, qualities he saw in the music of Erik Satie. These include an emphasis on clarity and lightness and a direct mode of expression that avoids bombast. These aesthetics are epitomized in the opening of Ravel’s second movement, an extended melody for solo piano. It finds poignant and expressive character through restraint. The dynamic rarely rises above the soft / piano level, and the solo melodic line is content to explore the middle range of the instrument. The composer stated that he modeled the movement after the slow movement of Mozart’s Clarinet Quintet. The solo is given a mild polyrhythmic bite through the interrelation of melody and accompaniment. The former has three quarter-beats per measure, while the latter plays a pattern, continuous through the movement, that suggests three eighth-notes per measure. A solo flute and strings enter just as the melody appears to be approaching a conclusion, and brief woodwind solos provide a transition to a more disquieted middle section. Eventually the English horn reprises the opening against a flowing accompaniment in the solo piano. The brilliant finale movement, in keeping with Ravel’s stated aesthetic aims, provides a light-hearted conclusion to the work. It constantly shifts in key and texture and cycles through a wealth of short themes. Like a spring-powered toy winding back to its original position, the movement concludes with the exact gesture that appeared at the opening. The Detroit Symphony Orchestra last performed Ravel’s Concerto for Piano and Orchestra in G major in February, 2008.  SO Shop @ The Ma x D recommends:

Ravel – Piano Concerto in G: Alicia de Larrocha, piano; Leonard Slatkin conducting the St. Louis Symphony Orchestra, RCA 60985.

El Salón México

AARON COPLAND

Scored for three flutes (one doubling piccolo), two oboes, english horn, two Bb clarinets, Eb clarinet, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three dso.org


trombones, tuba, timpani and four percussion (playing snare drum, wood block, guiro, cymbals, bass drum, xylophone, temple blocks and tambourin provencal), piano and strings (approximately 11 minutes).

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uring a visit to Germany in 1927, Copland wrote to a friend, “It seems a long time since anyone has written an Espana or a Bolero — the kind of brilliant piece that everyone loves.” It was almost 10 years before he produced El Salón México, but it quickly became one of the most popular and frequently-played short orchestral works by any American composer. It was first performed in a two-piano version in New York in October of 1935, with Copland and John Kirkpatrick at the keyboards. Then, its orchestral premiere came in August of 1937 in Mexico City with Carlos Chavez conducting the Orquesta Sinfonica de México. The first U.S. performance was part of an NBC radio broadcast in May of 1938 with the famous NBC Symphony Orchestra conducted by — of all people — Sir Adrian Boult. The first actual U.S. concert performance was given by Serge Koussevitsky and the Boston Symphony Orchestra in October of that year. About this brilliantly-scored and dynamic work, Mr. Copland has written as follows: “During my first visit to Mexico in the fall of 1932 I conceived the idea of writing a piece based on Mexican themes…From the very beginning, the idea of writing a work based on popular Mexican melodies was connected in my mind with a popular dance hall in Mexico City called Salón México… All that I could hope to do was to reflect the Mexico of the tourists, and that is why I thought of Salón México, because in that ‘hot spot’ one felt, in a very natural and unaffected way, a close contact with the Mexican people… Something of [their] spirit is what I hope to have put into my music.” When Copland first visited the dance hall he was quite taken aback when he was frisked by a guard before entering, but greatly amused by a sign on the wall which read: “Please don’t throw lighted cigarette butts on the floor so the ladies don’t burn their feet.” As he was writing the work he became concerned that as an “outsider” he might not be able to do what he intended: “I felt nervous about what the Mexicans might think of a ‘gringo’ meddling with their native melodies.” These fears were quickly put to rest when, “at the first of the final rehearsals I attended…as I entered the hall the orchestral players, who were in the middle of a Beethoven symphony, suddenly stopped what they were doing and began to dso.org

applaud vigorously.” That premiere performance on August 27, 1937 was a great critical and popular success, one local critic writing that “Copland has composed Mexican music…embodying the very elements of our folk song in the purest and most perfect form.” The work is based on several authentic Mexican folk tunes from two major collections he was given (not from any of the tunes he heard in the dance hall), but “based on” is the operative phrase, as Copland had no qualms about changing and adapting the originals as he saw fit. As he mentioned to Vivian Perlis for her

remarkable two-volume biography of the composer, “My purpose was not to quote literally, but to heighten without in any way falsifying the natural simplicity of the Mexican tunes.”  SO Shop @ The Ma x D recommends:

Copland — El Salón México: Antal Doráti conducting the Detroit Symphony Orchestra, Decca 466909.

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Danzón Cubano

AARON COPLAND

Scored for three flutes (one doubling piccolo), two oboes, English horn, two Bb clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani and four percussion (playing xylophone, wood block, cow bell, maracas, snare drum, whip, claves, guiro, bass drum, cymbals and Chinese blocks), piano and strings (approximately 7 minutes).

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n 1941, when it seemed likely that the U.S. might become directly involved in the armed conflicts in Europe and Asia, our government embarked on a scheme to strengthen the ties which already existed with our neighbors to the south. As part of this effort, Copland was dispatched as a kind of cultural ambassador on a friendship tour of nine Latin-American countries. In 1937 he had happily visited Cuba on the way home from the premiere of El Salón México in Mexico City, and the fond memories he had of that country made him eager to return to Havana. While there in 1941, he went to a large dance hall (rather like a Cuban version of Salón México) in which there were two orchestras playing at both ends of the hall. Copland decided to sit right in the middle so he could hear both ensembles at the same time, an arrangement which Charles Ives would have loved! During this visit Copland made quite a number of sketches of popular Cuban dance music. What eventually became the Danzón Cubano resulted from a commission from the League of American Composers for a concert in 1942 marking that organization’s 20th birthday. The original, two-piano version of the piece was given its premiere by the composer and Leonard Bernstein in December of that year in New York’s famous Town Hall. Copland came up with several titles for the work before settling on Danzón Cubano for the premiere of the orchestral version given by Reginald Stewart and the Baltimore Symphony Orchestra in February of 1946. Just as he had done with El Salón México, Copland wanted to utilize authentic native forms, rather than the commercialized Cuban ballroom dances of the day. Again, to quote Copland from the Vivian Perlis biography, “[the work] is based on Cuban dance rhythms, particularly the danzón, a stately dance quite different from the rhumba, conga and tango, and one that fulfills a function rather similar to that of the waltz in our own music, providing contrast to some of the more animated dances. The special charm of the danzón is a 24

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certain naïve sophistication. Its mood alternates between passages of rhythmic precision and a kind of non-sentimental sweetness under a nonchalant guise. Its success depends on being executed with precise rhythmic articulation.” Because of the demands of the orchestral version, Copland asked for a slower tempo than that of the two-piano original, and in so doing brought into sharper focus many of the intricacies and rhythmic complexities which make the work so fascinating. As to the overall concept of the piece, Copland has written, “I did not attempt to reproduce an authentic Cuban sound, but felt free to add my own touches of displaced accents and unexpected silent beats. In fact, I arranged one of the tunes in the traditional ‘blues rhythm,’ giving the final product something of an inter-American flavor.”  SO Shop @ The Ma x D recommends:

Copland - Danzón Cubano: Eduardo Mata conducting the Dallas Symphony Orchestra, EMI 81498.

Boléro

MAURICE RAVEL

B. Mar. 7, 1875 in Ciboure, Basses-Pyrénées, France D. Dec. 28, 1937 in Paris, France

The work is scored for piccolo, two flutes, two oboes (one doubling on oboe d’amore), English horn, two clarinets, E-flat clarinet, bass clarinet, two bassoons, contrabassoon, four horns, four trumpets, three trombones, soprano saxophone, tenor saxophone, tuba, timpani, percussion, harp, celeste and strings. (approximately 14 minutes). Ravel’s Boléro is certainly the composer’s most widely admired work, and it is arguably among the most popular and recognizable items in the 20th-century repertory. A few examples suffice to demonstrate the prominent position Boléro has occupied and continues to occupy in the popular consciousness: 25 commercial recordings of it were made in the 1930s alone, and countless have been released since that time; the music is the focal point of the 1934 box-office success Boléro, starring George Raft and Carol Lombard; in more recent pop culture, the final seduction scene of the romantic comedy 10, with Dudley Moore and Bo Derek, revolves around an LP recording of the work; and children in the late-1990s encountered the piece on the animated series Digimon, where it served as a recurring musical backdrop.

As with Daphnis et Chloé, one cannot talk about Boléro without making mention of dance, even though it is primarily known as a concert work. The composition’s title (which was originally “Fandango”) refers to the moderately slow, triple-meter Iberian dance form. Further, like Daphnis, Boléro was written as the musical accompaniment to a ballet — one that depicted, according to Ida Rubenstein, the ballerina who commissioned it, “a flamenco dancer exciting the admiration and lust of drinkers as she works herself into a frenzy on the table top.” Ravel called his Boléro “an experiment in a very special and limited direction. There are no contrasts, and invention is focused on the manner of execution.” The piece employs two melodies, each eight measures long. These are varied only in tone-color, as they are traded among the orchestra’s instrumental families. The snare drum’s consistent rhythm is never absent. With its musical vocabulary, Boléro prefigures future developments of minimalist composers such as Phillip Glass and Steve Reich. Like the best of their works, it has the power to evoke a pleasant sense of calm in their listeners. The DSO last performed Boléro in May 2011.  SO Shop @ The Ma x D recommends:

Ravel — Boléro: Leonard Slatkin conducting the St. Louis Symphony Orchestra, Telarc 80052 or Neeme Järvi conducting the Detroit Symphony Orchestra, Chandos 6615.

November 2012

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Profiles Olga Kern

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Classical Series Friday, October 19, 2012 at 8 p.m. Saturday, October 20, 2012 at 8 p.m. Sunday, October 21, 2012 at 3 p.m.* in Orchestra Hall Leonard Slatkin, conductor Olga Kern, piano

Sergei Rachmaninoff Caprice bohémien, Op. 12 (1873-1943)

The Isle of the Dead, Op. 29

I n ter mission Piano Concerto No. 3 in D minor, Op. 30 Allegro ma non tanto Intermezzo Finale Olga Kern, piano

*Denotes a webcast performance

This Classical Series concert is generously sponsored by

PVS Chemicals, Inc.

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

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Now recognized as one of her generation’s great pianists, Olga Kern’s career began a decade ago with her awardwinning gold-medal performance at the 11th Van Cliburn International Piano Kern Competition. Her second catapulting triumph came in New York City on May 4, 2004, with a highly acclaimed New York City recital debut at Carnegie’s Zankel Hall. In an unprecedented turn of events, Kern gave a second recital eight days later in Isaac Stern Auditorium at the invitation of Carnegie Hall. Kern made her London debut with the Royal Philharmonic Orchestra in November 2006 playing Shostakovich Piano Concerto No. 1 with Leonard Slatkin conducting. She returned to London in August of 2008 for her Proms Debut playing Rachmaninoff ’s Rhapsody on a Theme of Paganini with the Royal Philharmonic Orchestra and Leonard Slatkin conducting. Kern has performed in many of the world’s most important venues, including the Great Hall of the Moscow Conservatory, Symphony Hall in Osaka, Salzburger Festspielhaus, La Scala in Milan, Tonhalle in Zurich, and the Châtelet in Paris. Kern was born into a family of musicians with direct links to Tchaikovsky and Rachmaninoff and began studying piano at the age of five.  Winner of the first Rachmaninoff International Piano Competition when she was 17, she is a laureate of 11 international competitions and has toured throughout her native Russia, Europe, and the United States, as well as in Japan, South Africa, and South Korea.  Kern records exclusively for Harmonia Mundi. Her discography includes recordings of Tchaikovsky Piano Concerto No. 1 with the Rochester Philharmonic Orchestra and Christopher Seaman (2003), a Rachmaninoff recording of Corelli Variations and other transcriptions (2004), a recital disk with works by Rachmaninoff and Balakirev (2005), Chopin’s Piano Concerto No. 1 with the Warsaw Philharmonic and Antoni Wit (2006), Brahms Variations (2007) and a 2010 release of Chopin Piano Sonatas No. 2 and 3 (2010). Perform ance / Vol . X XI / fall 201 2

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Caprice bohémien, Op. 12 SERGEI RACHMANINOFF

B. April 1, 1873 in Semyonovo, near Velikiy Novgorod, Russia D. March 28, 1943 in Beverly Hills, CA

Scored for three flutes (one doubling piccolo), two oboes, english horn, two Bb clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani and five percussion (playing triangle, tambourine, snare drum, bass drum, cymbals), harp and strings (approximately 20 minutes).

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lthough primarily remembered today as a composer of dark, rich, brooding music, Rachmaninoff was also one of the greatest piano virtuosos who ever lived, and was in his day regarded as a first-rate conductor, particularly in the field of opera. He was one of the last great representatives of musical Romanticism, and early influences of Tchaikovsky, Rimsky-Korsakoff and other Russian composers were blended into what became a unique and personal idiom, featuring a striking gift for melody and harmony, an ingenious use of form, and a mastery of brilliant orchestration second to none. This work, which the composer described as a “Capriccio for Large Orchestra Based on Gypsy Themes,” was completed in August of 1894 and first performed in Moscow in November of the following year. Like Rimsky-Korsakoff ’s Capriccio espagnol, it consists of five sections which are closely connected (more so than in Rimsky’s famous work), and which display a cumulative development from beginning to end, with a principal theme being subjected to an ingenious form of continuous variation and growth. The Caprice bohémien also bears a relationship to Tchaikovsky’s well-known Capriccio italien, and like the Rimsky work, shows off a colorful and somewhat bombastic orchestration. The work was written less than two years after his opera Aleko, which is based on Pushkin’s poem The Gyspies, and is thought to have been a fond tribute to the wife of a good friend who was herself of Gypsy descent. The 21-year-old Rachmaninoff seemed to have been quite under the spell of this woman at the time. Moreover, there was a great interest in Gypsy things in Russia and parts of Europe during the end of the 19th century. The work begins with a typically dark and moody atmosphere featuring low woodwinds and low brass, and builds

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through a series of contrasts to a dazzling and impassioned climax, with the main themes being stated with great power and intensity, perhaps descriptive of the Gypsies’ great love of life.  SO Shop @ The Ma x D recommends:

Rachmaninoff — Caprice bohémien: Leonard Slatkin conducting the St. Louis Symphony Orchestra, Vox 3002.

The Isle of the Dead, Op. 29 SERGEI RACHMANINOFF

Scored for three flutes (one doubling piccolo), two oboes, english horn, two Bb clarinets, bass clarinet, two bassoons, contrabassoon, six horns, three trumpets, three trombones, tuba, timpani and two percussion (playing bass drum and cymbals), harp and strings (approximately 20 minutes).

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achmaninoff first saw Arnold Bocklin’s painting The Isle of the Dead in Paris in 1907. It immediately fired his imagination, and the work was completed in Dresden, Germany the following year. The composer himself conducted the premiere in Moscow in May of 1909. Later, in 1929, Rachmaninoff recorded the work for RCA with the Philadelphia Orchestra, a recording which has stood the test of time as one of the finest interpretations ever committed to disc. Arnold Bocklin (1827-1901) was a Swiss Symbolist painter whose works were very popular in central Europe in the early part of the 20th century. His pictures very often depict mythological or symbolic or otherworldly figures in a strange and fantastical world in which there is a strong obsession with death. Bocklin actually painted five versions of The Isle of the Dead between 1880 and 1886, and some authorities believe the image in the painting was modeled on a small island near Corfu. His dark and melancholy Romanticism struck a very sympathetic chord in Rachmaninoff, whose dark and melancholy Russian spirit pervaded virtually everything he composed. Bocklin never gave any explanation about the “meaning” of the painting, but he once described it as “a dream picture: it must produce such a stillness that one would be startled by a knock at the door.” Actually, Rachmaninoff saw a black-and-white reproduction of the painting in Paris, and when he later saw one of the real paintings he said that his first impression of the work had been so strong that had he seen the painting first he probably would never have

composed his musical portrait, which stands as one of his great masterpieces. All versions of The Isle of the Dead portray a figure shrouded in white (wife? mourner? priest?) who is in a rowboat with a draped coffin, going to a small, desolate and rocky island in a dead calm sea which is dominated by a dense grove of dark cypress trees, and whose cliffs are carved with tomb chambers. The boat is being rowed by a single, darkly-clad oarsman. Some critics have suggested that this could be a representation of the oarsman Charon in Greek mythology, rowing someone over the river Styx to the underworld. Although all five versions of the painting have roughly the same outline and detail, what is interesting is that the sky surrounding the mysterious little island gets lighter with each successive version, although the gloomy cast of the picture is little changed. The Isle of the Dead, particularly the final version, was immensely popular in the first part of the 20th century, and seemed to have cast some kind of a spell over everyone who saw it. Reproductions of the work were owned by people from such different walks of life as Freud, Lenin and even Hitler. Strindberg’s play The Ghost Sonata ends with an image of the painting accompanied by funereal music. In Mark Robson’s eponymous classic 1945 horror film (one of Boris Karloff ’s best), the very dark score is heavily influenced by the Rachmaninoff work, even going so far as to borrow themes and imitate the orchestration — but not going so far as to violate the copyright! For the record, in 1888 after creating the last of the five versions of the painting, Bocklin produced The Isle of Life, also showing a small island but with joy and happiness as the predominant emotions. The music begins in a very somber and dark vein in the unusual metre of 5/8 time, perhaps depicting the oarsman and the waves and the gently rocking boat, rises to an emotionally shattering climax, then subsides and ends as it began, shrouded in darkness with what seems to be the sound of endless rowing. As in so many of Rachmaninoff ’s works, there is prominent use of the Dies Irae chant from the Gregorian Mass for the Dead, a theme with which the composer was obsessed all through his life.  SO Shop @ The Ma x D recommends:

Rachmaninoff - The Isle of the Dead: Leonard Slatkin conducting the St. Louis Symphony Orchestra, Vox 3002.

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Piano Concerto No. 3 in D minor, Op. 30

Sergei Rachmaninoff

Premiered Nov. 28, 1909, in New York with the composer as soloist, accompanied by the New York Symphony Orchestra conducted by Walter Damrosch. Scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, cymbals, suspended cymbals, bass drum, snare drum and strings (approximately 44 minutes). Following in a line of exceptional Russian composers such as Tchaikovsky and Rimsky-Korsakov, Sergei Rachmaninoff ’s compositions are representative of late Russian Romanticism. He composed the third piano concerto for his first American tour and the work displays his phenomenal keyboard skills. The first movement opens with repeated, dotted rhythmic motive played by the orchestra. This swaying rhythm recurs throughout the piece, unifying all three movements. The piano enters after only two measures of introduction with a deceptively simple first theme. Once the piano has stated the theme it exchanges roles with the orchestra, playing rapid scalar and arpeggiated gestures while the orchestra plays the theme. After the first theme has been developed, the wind instruments provide hints of the material to come. The transition is dominated by the piano; however, the winds play a staccato figure related to the orchestra’s opening rhythmic gesture, a foreshadowing of the second theme. The second theme area is divided into two parts, the first featuring the staccato figure that was played by the winds in the transition, and the second a more lyrical melody played primarily by the piano. The development section works its way through a series of variations on the first theme material, gradually accelerating and increasing in volume. The final section of the movement is an extremely lengthy and difficult cadenza which takes the place of the recapitulation. This cadenza not only showcases the performer’s technical agility; it is also an integral part of the movement’s structure, restating elements of both theme areas. The second movement is a slow adagio and its title, “Intermezzo,” highlights the fact that this movement is an interlude between two thematically related movements. The violins play a falling phrase in the first measure that transforms into the dso.org

first theme. After thirty measures, the piano enters rather suddenly, finally taking up the sorrowful tune. The middle of this movement is broken up by a central scherzo-like section. Beginning in F-sharp minor, this fast waltz offers a distinct change of mood. An interesting part of this central section is the clarinet and bassoon melody, a metamorphosis of the first movement’s opening. This movement ends with a recollection of the melancholy mood and music of the movement’s opening before a large flourish in the piano leads the listener directly into the final movement. The finale is an exciting display of virtuosity and Romantic piano writing. It places the rhythmic and the lyrical into counterpoint with one another, constantly alternating between moments of rhythmic urgency and expansive lyrical melody as well as combining these two elements. The opening theme is based on the rhythmic motto from the first few measures of the first movement, and is first presented as fast, syncopated chords in the piano. This develops into a more majestic statement, followed by rhythmically insistent piano chords, before finally settling on a lyrical

version of this theme. The second theme is rhythmically urgent yet playful. A variant of the second theme is then presented as a happy, lyrical melody that leads into a central section. This section is comprised of four short variations on a light theme. These miniature variations are separated by a brief interlude that recalls the first movement. A recapitulation of the themes from the opening of this movement provides the necessary closure after the central section, however, Rachmaninoff continually peaks the listeners’ interest, this time by presenting both themes differently. This leads to a long, percussive coda that ends with a final, explosive bust of melody from both the piano and orchestra. The DSO last performed Rachmaninoff ’s Piano Concerto No. 3 in October 2009.  SO Shop @ The Ma x D recommends:

Rachmaninoff – Piano Concerto No. 3: Abbey Simon, piano; Leonard Slatkin conducting the St. Louis Symphony Orchestra, Vox 5008.

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Education Upcoming Performance Dates For tickets, call 313.576.5111 Victor S. Mangona

Civic Jazz Live! Civic Jazz Orchestra Sean Dobbins, conductor Friday, October 12 at 6:45 p.m. The Music Box See the stars of tomorrow and the legendary artists of today as the premiere Civic Jazz Orchestra performs Civic Jazz Live! prior to each Paradise Jazz Series Concert in The Music Box. The first Civic Jazz Live! performance of the season will be a double big band set with the Civic Jazz Orchestra and an ensemble from the Michigan State University Jazz Studies Program on October 12, 2012 at 6:45pm.

Civic Jam Session Sunday, October 14 at 6 p.m. Cliff Bell’s, Detroit On October 14th Students and families are invited to the renowned Cliff Bell’s in Detroit for the Civic Jam Sessions featuring students and faculty from Civic Jazz Studies. Students will have the opportunity to perform jazz standards with a house band made up of CYE Jazz Faculty while family and friends can relax, socialize and enjoy an evening of student-made music. Any and all students are welcome to this free event, so bring your horn, grab a friend and come down to Cliff Bell’s from 6-9:00 p.m. on the second Sunday of each month.

Civic Wind Symphony and Chamber Music Dr. Kenneth Thompson, conductor Friday, October 26 at 7:30 p.m. In Orchestra Hall On October 26th, join us for the opening performance by the Civic Wind Symphony and Chamber Music Ensembles as they perform works from all time periods. These ensembles will perform works by John Mackey, Percy Grainger, Ludwig von Beethoven and Antonín Dvorˇák, just to name a few.

CYE Season Kick-Off The DSO’s Civic Youth Ensembles kicked off its 43rd season on September 8 with fantastic and exciting season opening rehearsals. Nearly 700 students and parents joined the Civic Youth Ensemble conducting faculty, DSO Musicians and Board Members in the Max M. Fisher Music Center for the first rehearsal of the season. The Civic Youth Ensembles offers learning and performance opportunities for students of all ability levels-from middle school to college undergraduate students. The DSO educational staff, in partnership with the DSO musicians, have designed a challenging and engaging music education curriculum complete with several opportunities for one-on-one interaction with the DSO Musicians. We are also fortunate to announce that DSO Music Director, Leonard Slatkin, will return to the podium to work with several CYE ensembles throughout the season. Over 1,100 students participate in this program. If you know a young person who is interested in joining Civic Youth Ensembles, or for information on attending a concert, please visit dso.org/civic or email civic@dso.org.

Midori visiting Civic Youth Ensembles The DSO Civic Youth Ensembles is thrilled to announce that Midori Gotō will be visiting CYE for a day of master classes and rehearsals on October 13th. Midori will be leading a master class with the Civic Orchestra and Philharmonic on performance and college admission, providing the students with a unique perspective from an internationally acclaimed artist and educator. Midori has maintained an international presence for almost three decades, first as a performer, and increasingly as a musical community engagement advocate, and educator. She currently performs close to 100 concerts a year worldwide, leads varied community-involving and charitable projects, and serves on the violin faculty, as Distinguished Professor and Chair of the Strings Department, and Jascha Heifetz Chair in Violin at the USC Thornton School of Music. Fa m i ly fun DAYS AT T H E D S O Presented by

Target Young People’s Family Concerts Tiny Tots Concert for children Ages 2-6

ROCK O’WEEN WITH LEW ECHLIN & DADS WHO ROCK

Sun., Oct. 28, 2012 at 2 p.m. in the Music Box

Target Young People’s Family Concerts for children Ages 6 & up

SPOOKY STORIES: A DSO HALLOWEEN PARTY Sun., Oct. 28, 2012 at 3 p.m. in Orchestra Hall Teddy Abrams, conductor

For tickets, call 313.576.5111 or visit dso.org 28

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General Information Parking Valet Parking is available on Woodward Avenue in front of the main entrance for $12 per vehicle. Secure Garage Parking is available for $7 per vehicle at the Orchestra Place Parking Deck on Parsons St. between Woodward Ave. and Cass Ave. For improved traffic flow, please enter Parsons St. from Cass Ave. DSO security personnel monitor the grounds of the Max and the parking deck, as well as surrounding streets during all events and concerts. The parking deck has reserved space for patrons with handicap permits. Parking for Coffee Concerts is also available in the Orchestra Place Parking Deck. The DSO offers shuttle bus service to Coffee Concerts from selected locations. Call 313.576.5130 for more information. Restrooms Men’s, women’s and family restrooms are located on all levels of the Atrium Lobby. Additional men’s and women’s restrooms are located on the Box Level of Orchestra Hall and on the lower level of the Main Floor. Refreshments Cash bar service and light refreshments are available in the atrium area of the Max M. Fisher Music Center 90

minutes prior to concert time and during intermission. We invite you to place your beverage orders with the bartenders prior to the start of the concert and your order will be waiting for you at intermission! Smoking The DSO is pleased to offer a smokefree environment at the Max M. Fisher Music Center. Smoking is not permitted anywhere inside the building. Patrons who wish to smoke must do so outside the building. An outdoor patio is also available on the second level of the Atrium Lobby. Accessibility Parking is available in the Orchestra Place Parking Deck for patrons with handicap permits. There are elevators, barrier-free restrooms and accessible seating in all areas of the Max M. Fisher Music Center. Security personnel are available at the entrances to assist handicapped patrons in and out of vehicles. Hearing assistance devices are available. Please see an usher prior to the performance. Late Seating Policy The DSO makes every attempt to begin concerts on time. In deference to the

comfort and listening pleasure of the audience, latecomers will be seated after the conclusion of the first work on the program. Patrons who leave the hall before or during a work will be reseated after the work is completed. Ushers will alert patrons as soon as it is possible to be seated. House lights are dimmed to indicate that the concert is about to begin. Latecomers will be able to watch the performance on closedcircuit television in the Atrium Lobby. Photography and Video Recording The DSO is active on many social media platforms. We encourage you to share your best pictures at www.facebook.com/detroitsymphony and your videos at www.youtube.com. Concert Cancellations To find out if a scheduled performance at the Max M. Fisher Music Center has been cancelled due to inclement weather, hazardous roads, power outages or other emergencies, call the Box Office at 313.576.5111, or tune in to WJR 760 AM and WWJ 950 AM. Pagers, Phones, Watches and Extraneous Sounds Cellular phones, pagers and alarm watches must be turned off while at the Max M. Fisher Music Center.

Patrons should speak to the House Manager to make special arrangements to receive emergency phone calls during a performance. The DSO thanks you for your cooperation in avoiding any extraneous sounds during the concerts. The hall microphones used to record the orchestra are extremely sensitive and will even record the sound of a wristwatch chime. Lost and Found See the House Manager or call 313.576.5199 during business hours. Gift Certificates Give friends and loved ones a gift that lasts all year long—the experience of a DSO performance. Gift certificates are available in any denomination and may be used toward the purchase of DSO concert tickets. Visit the DSO Box Office at the Max M. Fisher Music Center or call 313.576.5111 for more information. Max M. Fisher Music Center Rental Information The Max M. Fisher Music Center is an ideal setting for a variety of events and performances. For information on renting the facility, please call 313.576.5050. Rental information is also available online at www.dso.org/rent.

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

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

Human Resources

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

Renecia Lowery Jeter Director of Human Resources

Joy Crawford Patron and Organizational Assistance Coordinator

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

Teddy Abrams Conducting Assistant

Facility Operations

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

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

Mike Spiegel Education and Jazz Studies Coordinator

Kathryn Ginsburg Artistic Coordinator

Dick Jacques Director of Information Technology Laura Lee Information Systems Specialist

Erik Rönmark Artistic Administrator

Kareem George Managing Director of Community Programs

Information Systems

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

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

Finance

Chelsea Kotula Board and Volunteer Relations Coordinator

Donielle Hardy Controller

Ron Papke Corporate Relations Manager

Jeremiah Hess Director of Finance Sandra Mazza Accountant

Elaine Curvin Executive Assistant and Patron Teams Coordinator Mona DeQuis Assistant Manager of Retail Sales Chuck Dyer Manager of Group Sales and Corporate Sales Christopher Harrington Patron Development and Sales Manager Jennifer Kouassi Front of House Manager Heather Mourer Neighborhood Audience Development Manager B.J. Pearson Senior Manager of Event Operations Gabrielle Poshadlo Patron Communications and Public Relations Manager Anna Savone Food and Beverage Manager

Patron Engagement & Loyalty Programs Scott Harrison Senior Director of Patron Engagement and Loyalty Programs Executive Producer of Digital Media Will Broner Patron Acknowledgment and Gift Systems Coordinator Connie Campbell Senior Manager of Patron Engagement Sharon Carr Assistant Manager of Patron Engagement Lindsey Evert Loyalty Programs Manager La Heidra Marshall Patron Engagement Officer Marty Morhardt Patron Engagement Assistant Juanda Pack Senior Patron Engagement Officer Tiiko Reese-Douglas Acting Patron Engagement Officer Eric Woodhams Manager of Digital Media and Engagement Alyce Sclafani Manager of Patron Systems and Analytics

Paul Yee Retail Sales Manager

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Distinguished Board Member Spotlight Ruth F. Frank

The DSO is proud to honor the dedication and commitment of long-time Board Member Ruth F. Frank. Frank, who has been an active member of this organization since 1952, is celebrating her 60th year of engagement with the DSO. Originally from upstate New York, Frank grew up listening to orchestral and jazz music from a young age. She was first introduced to the DSO by the General Motors series of broadcasts. Although she preferred to be playing outside at the time, Ruth quickly developed a passion for music. Following in the footsteps of her mother, a coloratura soprano, Frank’s instrument became the voice. She began to perform locally as an amateur jazz vocalist and attended Syracuse University as an undergraduate. Shortly after World War II, Frank

of names for follow-up. married Bloomfield Hills native In addition to her Harold L. Frank and began her fundraising efforts, Frank felt wedded life in the metro-Detroit particularly compelled to advocate suburbs. An amateur pianist, for the importance of music Harold shared his wife’s passion education. One of her most for the orchestral world and the distinguishable contributions to couple began attending Detroit the DSO was the installment of Symphony Orchestra the Harold L. and Ruth F. Frank performances in 1946. Frank Ruth F. Frank Student Scholarship fund that remembers the state of disrepair benefits youth who would that Orchestra Hall was in at the otherwise not be able to participate in the time, and the need for the orchestra to have orchestra’s education programs. To Mrs. a permanent home. After the DSO’s tenure Frank, music is incredible, wondrous, and at the Masonic Temple, Ford Auditorium, and various other locations, Frank joined the allows her to reflect on the beauty of life and nature. She could not imagine a world campaign for restoring Orchestra Hall as an without it. area chairman for the DSO Women’s The DSO would like to thank Frank for Association. She vividly recalls the hard decades of support and honor her continued work that went into making solicitations, service on the DSO Board of Directors. hosting fundraisers, and sifting through lists

The Annual Fund Gifts received between June 30, 2011 and September 10, 2012

Being a Community-Supported Orchestra means you can play your part through frequent ticket purchases and generous annual donations. Ticket sales cover only a fraction of DSO program costs so community contributions are essential to the Orchestra’s future survival. Your tax-deductible Annual Fund donation is an investment in the wonderful music at Orchestra Hall, around the neighborhoods, and across the community. This honor roll celebrates those generous donors who made a gift of $1,500 or more to the DSO Annual Fund Campaign. If you have a question about this roster, or for more information about how you can make a donation, please contact 313.576.5114 or dso.org/donate. Platinum Baton giving of $250,000 and more

The Mandell L. & Madeleine H. Berman Family Foundation

Mr. & Mrs. Stanley Frankel

Mr. & Mrs. James B. Nicholson

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

Mr. & Mrs. Phillip Fisher

Cindy & Leonard Slatkin

Mrs. Karen Davidson

Emory M. Ford, Jr. † Endowment

Mrs. Richard C. Van Dusen

Max M. & Marjorie S. Fisher Foundation

Bernard & Eleanor Robertson

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

Penny & Harold Blumenstein

Herman & Sharon Frankel

Mr. & Mrs. Eugene Applebaum

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

Dr. & Mrs. Clyde Wu

Cecilia Benner

Mrs. Kathryn L. Fife

Mr. & Mrs. Lloyd E. Reuss

Mr. & Mrs. Richard A. Brodie

Sidney & Madeline Forbes

Mr. & Mrs. Raymond M. Cracchiolo

Ruth & Al Glancy

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

Marvin & Betty Danto Family Foundation

Mr. & Mrs. Morton E. Harris

Ms. Leslie Devereaux

Chacona & Arthur L. Johnson†

Linda Dresner & Ed Levy, Jr.

The Polk Family

Mr. & Mrs. Lee Barthel

Giving of $25,000 and more

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† Deceased

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

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

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

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

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Patricia & Henry Nickol Mrs. Jo Elyn Nyman Anne Parsons & Donald Dietz Mr. & Mrs. Bruce D. Peterson Dr. William F. Pickard Mr & Mrs. Gary Ran Ms. Ruth Rattner Jack & Aviva Robinson Martie & Bob Sachs Marjorie & Saul Saulson Lois & Mark Shaevsky Mr. Richard A. Sonenklar & Mr. Gregory Haynes Anne Marie Uetz Mr. Robert VanWalleghem Mr. & Mrs. R. Jamison Williams Mr. & Mrs. Alan Zekelman Paul M. Zlotoff & Terese Sante Mrs. Paul Zuckerman†

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

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

Philip & Carol Campbell Mr. William N. Campbell Dr. & Mrs. Thomas E. Carson Jack Perlmutter & Daniel Clancy Gloria & Fred Clark Dr. Thomas Clark Jack, Evelyn & Richard Cole Family Foundation Dr. & Mrs. Charles G. Colombo Brian & Elizabeth Connors Dr. & Mrs. Ivan Louis Cotman Thomas & Melissa Cragg Ms. Mary Rita K. Cuddohy Mr. Richard Cummings Ms. Barbara Diles Adel & Walter Dissett Mr. & Mrs. Mark Domin Ms. Judith Doyle Eugene & Elaine Driker Paul & Peggy Dufault Mr. Robert Dunn Edwin & Rosemarie Dyer Dr. & Mrs. A. Bradley Eisenbrey Mr. & Mrs. John M. Erb Mary Sue & Paul E. Ewing Stephen Ewing Mr. David Faulkner Mr. & Mrs. Oscar Feldman Ron Fischer and Kyoko Kashiwagi Ms. Carol A. Friend & Mr. Mark T. Kilbourn Mr. & Mrs. Daniel E. Frohardt-Lane Lynn & Bharat Gandhi Mr. & Mrs. Paul Ganson Mr. & Mrs. William Y. Gard Allan D. Gilmour & Eric C. Jirgens Dr. & Mrs. Kenneth W. Gitlin Dr. & Mrs. Theodore A. Golden

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Robert & Mary Ann Gorlin Dr. & Mrs. Steven Grekin Mr. Jeffrey Groehn Sylvia & Ed Hagenlocker Alice Berberian Haidostian Dr. Algea O. Hale Mr. Kenneth R. Hale Mr. & Mrs. Tim & Rebecca Haller Robert & Elizabeth Hamel Mr. & Mrs. Preston Happel Randall L. & Nancy Caine Harbour Ms. Cheryl A. Harvey Mr. & Mrs. Ross Haun Mr. & Mrs. Demar W. Helzer Dr. Deanna & Mr. David B. Holtzman Jack & Anne Hommes Mr. F. Robert Hozian Jean Wright & Joseph L. Hudson, Jr. Fund Richard H. & Carola Huttenlocher Mr. & Mrs. Charles R. Janovsky Mr. John S. Johns Lenard & Connie Johnston Mrs. Ellen D. Kahn Mr. & Mrs. Michael J. Keegan Betsy & Joel Kellman Martin & Cis Maisel Kellman The Stephanie & Frederic Keywell Family Fund Mrs. Frances King Mr. & Mrs. Ludvik F. Koci Dr. Harry & Katherine Kotsis Robert C. & Margaret A. Kotz Mr. & Mrs. Harold Kulish David & Maria Kuziemko Joyce LaBan Ms. Anne T. Larin Mr. & Mrs. William B. Larson Dr. Klaudia Plawny- Lebenbom & Mr. Michael Lebenbom Allan S. Leonard Mr. & Mrs. Daniel Lewis Mr. & Mrs. Joseph Lile Mrs. Florence LoPatin Dr. & Mrs. Charles Lucas Mrs. Sandra MacLeod Mr. & Mrs. Patrick Mansfield Dr. Peter McCann & Kathleen L. McKee Mr. & Mrs. Alonzo L. McDonald Alexander & Evelyn McKeen Dr. & Mrs. Donald A. Meier Dr. David & Mrs. Lauren Mendelson Mr. Roland Meulebrouck Mrs. Thomas Meyer Thomas & Judith Mich Bruce & Mary Miller Mr. & Mrs. Leonard G. Miller Mr. Stephen & Dr. Susan Molina Eugene & Sheila Mondry Foundation Mr. Lane J. Moore Mr. & Mrs. Craig R. Morgan Florence Morris Mr. Frederick J. Morsches Joy & Allan Nachman Edward & Judith Narens Denise & Mark Neville Arthur A. Nitzsche dso.org

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

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

Giving of $1,500 and more Mr. & Mrs. G. Peter Blom Ms. Jane Bolender Don & Marilyn Bowerman Mr. Stephen V. Brannon Carol A. & Stephen A. Bromberg Mr. & Mrs. Bowden V. Brown Mr. & Mrs. John Courtney Mr. & Mrs. Gary L. Cowger John Diebel Edwin & Rosemarie Dyer Dr. Leo & Mrs. Mira Eisenberg

Mr. & Mrs. Lawrence Ellenbogen Mrs. Kathryn Ellis Harold & Ruth Garber Family Foundation Adele & Michael M. Glusac Mr. & Mrs. Robert Hage Dr. & Mrs. Anthony Hammer Dr. & Mrs. Gerhardt Hein Ms. Nancy B. Henk Mr. Max B. Horton, Jr. Mrs. Harriett H. Hull Mr. Richard Huttenlocher Dr. Jean Kegler Mr. & Mrs. Donald Kosch Mr. & Mrs. James A. Kurz Mrs. Willard V. Lampe Ms. Sandra S. Lapadot Mrs. Stephanie Latour Mr. & Mrs. Charles W. Manke, Jr. John E. & Marcia Miller Mr. Geoffrey W. Newcomb Mr. Joshua F. Opperer Mr. Randall Pappal Hope & Larry Raymond Barbara Gage Rex Mrs. Ann Rohr Mr. R. Desmond Rowan Mrs. Lois V. Ryan Mr. & Mrs. Michael Schultz Eugenia & Wanda Staszewski Mr. & Mrs. Andreas H. Steglich Dr. Lawrence L. Stocker† Dr. & Mrs. Howard Terebelo Barbara & Stuart Trager Ms. Patricia Walker Mrs. Lawrence M. Weiner Ms. Janet B. Weir Rudolf E. Wilhelm Fund Jerry Williams Mr. & Mrs. Warren G. Wood Ms. Gail M. Zabowski Frank & Ruth Zinn

Donor Spotlight

Richard and Jiehan Alonzo

In 2005, Richard Alonzo took a girl to the symphony on their first date. Seven years later, that woman is his wife and they’ve been attending the DSO ever since. “We have been so well received by so many people in the DSO community and I have made connections that will truly last a lifetime. I cannot say that about many other organizations that I’ve been involved in,” said Jiehan. Last year, Richard and Jiehan joined the newly formed Governing Members, a group of dedicated patrons who serve as voting members of the DSO. As subscribers Jiehan and Richard appreciate how the concert experience allows them to steady their fast-paced lives as young professionals. “Our culture promotes ‘more’ and ‘faster,’ but listening to classical music requires patience. It compels us to take a break from the balance of our lives, and we make that contract with ourselves when we attend the DSO” said Richard. Jiehan adds that she and Richard feel it is up to their generation to keep the legacy of cultural institutions like the DSO alive, and believe the DSO is important to Detroit’s renaissance. “If it isn’t us, then who will it be? I think everyone needs to ask his or her self that question. That is our main motivation,” she said. “We want to see the Orchestra grow, along with the community around it.”

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Corporate Supporters of the DSO $500,000 and more

PVS Chemicals, Inc.

Jim Nicholson

CEO, PVS Chemicals

$200,000 and more

Gerard M. Anderson

President, Chairman and CEO, DTE Energy Corporation

Alan Mullaly

Fred Shell

President & CEO, Ford Motor Company

President, DTE Energy Foundation

James Vella

President, Ford Motor Company Fund

$100,000 and more

Timothy Wadhams President and CEO, MASCO Corporation

Melonie Colaianne

President, Masco Corporation Foundation

Gregg Steinhafel

Chairman, President and CEO, Target Corporation

Sergio Marchionne Chairman and CEO Chrysler Group LLC

$20,000 and more Adobe Systems Incorporated Art Van Furniture Delta Air Lines, Inc. General Motors Corporation

Macy’s MGM Grand Detroit Casino R.L.Polk & Co. REDICO

American Honda Motor Co., Inc. Comcast Cable Midwest Deloitte.

$10,000 and more Foley & Lardner LLP Honigman Miller Schwartz Cohn Telmus Capital Partners, LLC

$5,000 and more BASF Corporation Contractors Steel Company Denso International America, Inc. Flagstar Bank Lee Hecht Harrison Meritor

Somerset Collection Talmer Bank and Trust

The Amerisure Companies University of Michigan Warner Norcross & Judd LLP

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

Mr. and Mrs. Christopher Ilitch Taylor Ballet Americana The ITB Group, Ltd. The Village Club Welker Bearing Company, Inc.


Legacy Donors Members of THE Musical LEGACY Society

The Detroit Symphony Orchestra Board of Directors is pleased to honor and recognize the Musical Legacy Society. These patrons, friends and subscribers have named the Orchestra in their estate plans. For information about making a bequest or other planned gift to the DSO, please contact the Office of Patron and Institutional Advancement at 313.576.5400.

Corporate Spotlight

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

dso.org

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

Honda North America, Inc.

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

With education and youth programs at the forefront of its philanthropic philosophy, Honda found partnering with the DSO to produce the Honda Power of Dreams program to be a natural extension of its community outreach. The result is a unique classical music education program for young people. This program is made available to students for whom string education is not currently available or opportunities are extremely

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

limited. The program features a variety of opportunities for students to study classical Violin, Viola, Cello, and Bass through participation in various levels of group lessons, ensemble training, and individual lessons. “We’ve observed many of the kids involved with Power of Dreams entering the Civic Youth ensembles and making classical music an important part of their lives,” said Edward K. Miller, DSO Board Member and Senior Manager of Media and Industry Relations at Honda North America, Inc.

“Statistics tell us that students who receive music education are more likely to stay in school, and that is a cause Honda is very interested in perpetuating.” Miller explained that Power of Dreams is a part of Honda’s objective to be a company society wants to exist. In fact, he says that since the program’s inception, he’s been inspired to attend more DSO concerts himself. “It’s a great reminder that there’s no substitute for the DSO, or Orchestra Hall for that matter,” he said.

Perform ance / Vol . X XI / fall 201 2

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Blockbuster Fund

Gifts Received between June 30, 2011 September 10, 2012 Gifts to the Detroit Symphony Orchestra Blockbuster Fund support those exceptional projects, partnerships and performances that boldly advance the DSO’s mission “to be a leader in the world of classical music, embracing and inspiring individuals, families and communities through unsurpassed musical experiences.” Blockbuster gifts fund defining initiatives that are outside the annual budget such as touring, “Live from Orchestra Hall” webcasts, certain community engagement and education partnerships, and capital and technology infrastructure. Mr. & Mrs. Lee Barthel Bloomfield Hills Country Club Julie & Peter Cummings The William M. Davidson Foundation Detroit 300 Conservancy Max M. & Marjorie S. Fisher

Foundation, Inc. Ms. Laurie Goldman Mr. Michael Jalving Mr. & Mrs. Norman D. Katz Dr. & Mrs. James W. Klein John S. & James L. Knight Foundation

Michigan Nonprofit Association Stuart & Linda Nelson Jim & Mary Beth Nicholson Mr. & Mrs. James B. Nicholson Olympia Entertainment, Inc. PVS Chemicals, Inc. Ms. Ruth Rattner

Mr. & Mrs. Larry Sherman Cindy & Leonard Slatkin Mr. Hang Su Mrs. Richard C. Van Dusen Mr. & Mrs. Brian Ventura Mr. & Mrs. Paul Wingert Mr. Hai-Xin Wu

Tribute Gifts

Gifts received between June 30, 2011 and September 10, 2012 Tribute Gifts to the Detroit Symphony Orchestra are made to honor accomplishments, celebrate occasions, and pay respect in memory or reflection. These gifts support current season projects, partnerships, and performances such as DSO concerts, education programs, free community concerts and family programing. For information about making a Tribute Gift, please call 313.576.5114 or dso.org/tribute. In Honor of Ms. Pamela Applebaum   Mr. Robert Lane and Ms. Lexa L. Leatherdale In Memory of Dr. Agustin Arbulu   Mr. George J. Bedrosian, Esq. In Celebration of the Birthday of Eve Archinal   Mr. David Wiese In Memory of Ms. Arda Barenholtz   Mr. and Mrs. Adam Brode In Memory of Mrs. Gina Bedrosian   Mrs. Elaine M. Hurley In Memory of Mr. Clarence Leo Belczynski   Ms. Amanda Easterday In Honor of Drs. Janice & John Bernick   Mr. Bruce Whitaker In Memory of Mr. Michael Brenan   Mrs. Rachel Brennan In Memory of Mrs. Isabel Sue Buckner   Drs. Conrad and Lynda Giles In Honor of Ms. Marilyn Cantin   Ms. Denise Landers In Memory of Mr. Bruce Carter   Ms. Nancy Lempinen In Memory of Mr. Charles W. Centner   Mr. and Mrs. Jerry Zahler In Memory of Mr. Donald J. Channing   Ms. Carolyn McDonald   Mrs. Ethel Traurig   Ms. Gail Kean   Mr. and Mrs. Harold Mayer   Ms. Judy Warren   Mrs. Rose Lahiff   Ms. Wilma Baskin In Honor of Ms. Marcy Chanteaux   Mr. Tom Godell In Honor of Mrs. Maureen D’Avanzo   Mr. Robert Lane and Ms. Lexa L. Leatherdale In Memory of Mr. Philip Charles Diamond   Mr. and Mrs. Steve and Rose O’Brien In Celebration of the Birthday of Mr. Paul Dufault   Mr. and Mrs. Claude W. Coates   Mrs. Harold Gendelman In Honor of Leslie Fishman   Ms. Marsha Billes

36

In Celebration of the Birthday of Mr. Sidney Forbes   Mrs. Joan Erman In Memory of Mrs. Jean Frankel   Barbara Frankel & Ronald Michalak   Mr. & Mrs. Ralph J. Gerson In Honor of Sir James and Lady Jeanne Galway   Libby Craig & Felix Karim In Celebration of Mr. Garrett, for Christmas   Mr. and Mrs. Timothy LeVigne In Honor of the Clients and Friends of Gourwitz and Barr, PLLC   Mr. Howard J. Gourwitz In Memory of Mr. Bruce Bryant Graden   Ms. Barbara Munson In Honor of Mr. Scott Harrison   Mr. Robert A. Holcomb   Timm & Bonnie Kelly In Memory of Mr. Patrick Herbert   Drs. Conrad and Lynda Giles In Memory of Ms. Vivian L. Hudson   Ms. Caryl Brooker   Mr. Howard Rundell   Ms. Lori Nye In Honor of Mr. Lawrence Hutchinson   Mr. and Mrs. Donald & Janet Schenk In Memory of Ms. Sharon Jablonski   Ms. Anne Crimmins   Mr. David L. Abramson In Memory of Mr. John W. Jickling   Ms. Kathleen Irwin   Mr. and Mrs. Richard J. Mosner In Honor of Mr. Buddy Kaufman’s Mozart Concerto   Ms. Sher Kaplan In Memory of Peruz Kavafian   Ms. Ani Kavafian In Memory of Ms. Sophie Kotula   Ms. Catherine Kotula In Honor of Mr. Harold Kulish   Ms. Mary Lou Dudley In Celebration of the Birthday of Mr. David Lebenbom   Mr. and Mrs. Milton Lebenbom In Memory of Doris & Joseph Letourneau   Letourneau Family In Honor of Mr. Dana Locniskar & Ms. Christine Beck   Mr. Henry M. Grix   Dr. and Mrs. Steven Grekin

Performance / Vol . X X I / fall 201 2

In Honor of Ms. Shanda LowerySachs   Mr. Al Lowery   Ms. Marty W. Cerier In Honor of Ms. Grace Lupas   Mr. Cosmin Lucaci In Memory of Mr. Robert A. Malfroid   Mrs. Barbara A. Malfroid In Celebration of the Birthdays of Joan and Doug Mann   Ms. Arlene S. Mann In Memory of Mrs. Christine K. McNaughton   Ms. Gloria Whelan   Ms. Ruth Meyers   Ms. Shannan Matsche   Morris, Rowland, Prekel, & Lewinski, P.L.C. In Memory of Mr. Michael Merlini   Ms. Patricia Gmeiner   Dr. Robert & Dr. Mary Mobley In Honor of Mr. Maxwell Morrison   Mr. and Mrs. Steve Morrison In Memory of Mr. John Moultrup   Mrs. Helen Moultrup In Honor of Mr. James Nicholson   Mr. and Mrs. Richard F. Brown In Honor of Mr. Bernard Okin   Ms. Marcia Zacks   Ms. Susan Jacobs In Memory of Ms. Anne L. Parcells   Ms. Barbara R. Robey   Dr. Dorothy M. Markey, M.D.   Mr. and Mrs. Mark Brooks   Dr. and Mrs. Donald R. Briggs   Ms. Patricia Kelly   Mr. Peter Nyboer In Honor of our daughter Lena   Matthew and Kari Parnell In Honor of Joseph M. Pas & Maria C. Pas   Ms. Frances M. Tatarelli In Memory of Ms. Dorothy Paul   Mr. and Mrs. Mike Gritt In Memory of Mrs. Lucille Proctor   Mr. Henry Proctor In Honor of Ms. Fair Radom   Mr. & Mrs. R. Jamison Williams In Memory of Mr. Hugh B. Reid and Mrs. Emily D. Reid   Ms. Emily J. Reid   Mr. Hugh T. Reid In Memory of Ms. Rimar   Mr. and Mrs. Shimon Edut

In Memory of Mrs. Mary Russell   Dr. and Mrs. Edward S. Haenick   Mr. and Mrs. James R. Pontius   Mr. and Mrs. John A. Nitz   Mr. and Mrs. Richard H. Cousins   The Questers, Ellen Scripps Booth, Chapter 1049 In Memory of Kay & Jerome Russo   Mr. and Mrs. Gregory Russo In Memory of Mrs. Helen Salamon   Mr. Robert S. Salamon In Memory of Ms. Laura D. Sarkesian   Mr. and Mrs. Alex Jemal   Ms. Maureen Prest   Ms. Susan Tondera In Memory of Ernest C. Schultz, Jr., MD   Mrs. Cheryl Schultz In Honor of Mr. Alan E. Schwartz   Jack & Aviva Robinson In Memory of Mrs. Lois Scott  Raymond & Lois Scott In Honor of Mom & Dad   Ms. Maya Shwayder In Celebration of the Marriage of Leonard Slatkin & Cindy McTee   Mr. & Ms. Todd Gordon  Penny & Harold Blumenstein   Ms. Patricia Walker In Honor of Mr. Leonard Slatkin   Ms. Melissa Eisenstat In Honor of Mr. John G. Smith   Ms. Andrea Smith In Memory of Mr. Marlan Smith   Mr. Daniel Horwitz In Memory of Mr. William Smith   Mr. and Mrs. William Smith In Memory of Mrs. Marlene Spaulding   Mr. Donald Ouellette and Ms. Peggy Innis   Mr. and Mrs. Richard L. Vandewater   Ms. Sandra Horton   Mr. and Mrs. William Baxter In Memory of Mr. Albert Steger   Ms. Beverly Schaefer In Memory of Ms. Meredith Stegman   Mrs. Celia Copeland In Memory of Mr. Joeseph H. Stroud   Mrs. Joe Stroud In Memory of Mr. Thomas Sullivan   Ms. Christy Hoagland

dso.org


In Memory of Mrs. Elizabeth J. Tamagne   Mrs. Elizabeth Tamagne In Memory of Mrs. Josephine Theriault   Mr. & Mrs. Stanley Frankel In Memory of Mr. Robert J. Tucker   Mrs. Brenda C. Tucker In Memory of Mr. Gerald Tugman   Ms. Judith A. Tugman In Memory of Mrs. Phyllis Urwiller   Mr. Kenneth L. Urwiller In Memory of Mrs. Ayten Uzman   Mr. James C. Kors and Mrs. Victoria J. King In Honor of Mr. Sean Van Hentenryck   Mr. and Mrs. Keith Van Hentenryck In Honor of Mr. and Mrs. Kevin & Barbara Verdugo   Mr. and Mrs. William Ryan In Memory of Dr. Charles H. Vortriede   Ms. Carol Mihalic   Ms. Clarissa B. Lorenz   Mrs. Geri Vortriede   Ms. Katherine Worthington   Mrs. Kenneth R. Mirjah   Mr. and Mrs. Glen Moon   Mr. and Mrs. Randall W. Worthington, Jr. In Honor of Bruce & Janey Wangen   Ms. Jill Yakima In Memory of Mr. and Mrs. Milton & Helen Weber   Mr. and Mrs. Donald Bell In Memory of Ms. Dorothy Wicke   Ms. Nancy Hay In Honor of Mrs. Helen Wu   Dr. Anke L. Nolting In Honor of Ms. Johanna Yarbrough   Mr. Everett Yarbrough In Memory of Ms. Irene M. Yash   Mr. and Mrs. Gregory Kaminski

Venture Fund

Gifts received between June 30, 2011 and September 10, 2012 Gifts to the Detroit Symphony Orchestra Venture Fund are contributions that support projects, partnerships and performances taking place in the current season. Venture gifts are generally 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 Mrs. Carol Edwards Haas Ms. Margaret Hall† Hudson-Webber Foundation Mr. Philip Leon David & Valerie McCammon Ms. Elizabeth Murr Ms. Ruth Wilkins Donors Mrs. Gere Baskin Ms. Elizabeth Beceden Mr. Carl Gardecki Ms. Christa M. Grix Mr. & Mrs. John C. Hammer Kroger Company Ms. Carole McNamara Mr. & Mrs. Stanley Rontal Mr. Roar Schaad Mrs. Richard D. Spear Mrs. Elizabeth Tamagne Mr. Phil Tedeschi dso.org

Support from Foundations and Organizations

The Detroit Symphony Orchestra acknowledges and honors the following foundations and organizations for their contributions to support the Orchestra’s performances, education programming, and other annual operations of the organization. This honor roll reflects both fulfillments of previous commitments and new gifts during the period beginning June 30, 2011 through September 10, 2012. We regret the omission of gifts received after this print deadline.

$500,000 and more Andrew W. Mellon Foundation Hudson-Webber Foundation Kresge Foundation Max M. and Marjorie S. Fisher Foundation William M. Davidson Foundation

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

$100,000 and more Ford Foundation Fred A. and Barbara M. Erb Family Foundation John S. and James L. Knight Foundation Samuel & Jean Frankel Foundation Surdna Foundation Volunteer Council of the Detroit Symphony Orchestra $50,000 and more DeRoy Testamentary Foundation Matilda R. Wilson Fund National Endowment for the Arts $10,000 and more Mr. & Mrs. Edsel B. Ford II/ Alice Kales Hartwick Foundation Henry Ford II Fund Ann and Gordon Getty Foundation Myron P. Leven Foundation Eleanor & Edsel Ford Fund Oliver Dewey Marcks Foundation Max and Victoria Dreyfus Foundation Philip and Elizabeth Filmer Memorial Michigan Council for Arts and Cultural Charitable Trust Affairs Sage Foundation Michigan Nonprofit Association Sally Mead Hands Foundation Moroun Family Foundation $5,000 and more Benson & Edith Ford Fund Mary Thompson Foundation Combined Federal Campaign Joseph and Suzanne Orley Foundation Herbert and Elsa Ponting Foundation The Lyon Family Foundation $2,500 and more Clarence & Jack Himmel Fund James & Lynelle Holden Fund

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

Berry Foundation Charles M. Bauervic Foundation Frank & Gertrude Dunlap Foundation Japan Business Society of Detroit Foundation Jennifer Howell Harding Foundation

Samuel L. Westerman Foundation Tracy Foundation Village Club Foundation

Perform ance / Vol . X XI / fall 201 2

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Upcoming events sunday

MONDAY

TUESDAY

WEDNESDAY

THURSDAY

FRIDAY

1 November

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

SATURDAY

DSO Pops Series The Way We Were Jeff Tyzik, conductor Ann Hampton Callaway, vocalist 10:45 a.m. OH

2

DSO Pops Special The Way We Were Jeff Tyzik, conductor Ann Hampton Callaway, vocalist 8 p.m. OH

3

Callaway Civic & Education Civic Jazz Studies 1 p.m. MB

4

5

6

8

Civic & Education Civic Classical Studies 3 p.m. OH

DSO Classical Series Rodeo! Leonard Slatkin, conductor Robert Williams, bassoon 10:45 a.m. OH

9

DSO Classical Series 10 Rodeo! Leonard Slatkin, conductor Robert Williams, bassoon 8 p.m. OH

Promusica Ray Chen, violinist 8:30 p.m. OH

Slatkin DSO Classical Series 11 Rodeo! Leonard Slatkin, conductor Robert Williams, bassoon 3 p.m. OH

12

13

15

DSO Classical Series 16 von Oeyen Plays Schumann Sir Andrew Davis, conductor Andrew von Oeyen, piano 8 p.m. OH

22

23

Civic & Education Civic Ensemble Celebration 4 p.m. OH

17

For rental information please call 313.576.5050 von Oeyen

DSO Pops Series The Music of Queen 3 p.m. OH

19

DSO Presents Shaolin Warriors 8 p.m.* OH

20

21

Tiny Tots Concert Gemini 10 a.m. MB

24

Young People’s Concert Beethoven & Friends 11 a.m. OH

*The DSO does not appear on this program.

DSO Pops Series The Music of Queen 8 p.m. OH

25

26

27

28

2

3

4

5

DSO Classical Series 29 Rachmaninoff & Tchaikovsky Peter Oundjian, conductor Joyce Yang, piano 7:30 p.m. OH

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

DSO Classical Series 30 Rachmaninoff & Tchaikovsky Peter Oundjian, conductor Joyce Yang, piano 10:45 a.m. OH

Paradise Jazz Series Al Jarreau with the DSO 8 p.m. OH

1

December

DSO Classical Series 18 von Oeyen Plays Schumann Sir Andrew Davis, conductor Andrew von Oeyen, piano 3 p.m. OH

DSO Classical Series 8 Romeo & Juliet Susanna Mälkki, conductor Leila Josefowicz, violin 8 p.m. OH

6

7

12

DSO Classical Series 13 The Nutcracker Leonard Slatkin, conductor Heidi Grant Murphy, soprano 7:30 p.m. OH

DSO Classical Series 14 The Nutcracker Leonard Slatkin, conductor Heidi Grant Murphy, soprano 8 p.m. OH

DSO Presents Christmas Memories Debby Boone 8 p.m. OH

19

20

DSO Pops Series 21 Home for the Holidays John Morris Russell, conductor Andover High School Choir Grosse Pointe South Choir 10:45 a.m. & 8 p.m. OH

DSO Pops Series 22 Home for the Holidays John Morris Russell, conductor Andover High School Choir Grosse Pointe South Choir 3 p.m. & 8 p.m. OH

26

27

28

29

Paradise Jazz Series A Creole Christmas Preservation Hall Jazz Band 8 p.m. OH Josefowicz DSO Classical Series 9 Romeo & Juliet Susanna Mälkki, conductor Leila Josefowicz, violin 3 p.m.

10

DSO Classical Series 16 Slatkin Conducts Nutcracker Leonard Slatkin, conductor Heidi Grant Murphy, soprano 3 p.m. Seligman Performing Arts Center

17

DSO Pops Series 23 Home for the Holidays John Morris Russell, conductor Andover High School Choir Grosse Pointe South Choir 3 p.m.

24

11

15

Slatkin DSO Presents A Canadian Brass Christmas with the DSO 7:30 p.m. OH

18

DSO Presents Kenny G 7:30 p.m.* OH *The DSO does not appear on this program.

25 OH Orchestra Hall MB Music Box AH Allesee Hall

For tickets visit dso.org or call 313.576.5111


whitney

dso.org

Perform ance / Vol . X XI / fall 201 2

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Dresner

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Performance / Vol . X XI / Fall 201 2

dso.org

Performance Magazine  

The official magazine of the Detroit Symphony Orchestra