DSO Performance Magazine | Fall 2011

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PERFORMANCE THE MAGAZINE OF THE DETROIT SYMPHONY ORCHESTRA

The Hot Seat: Getting to know your principal musicians

A C O M M U N I T Y - S U P P OR T E D O R C H E S T R A

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CONTENTS PERFORMANCE Volume XX / Fall 2011 2011–12 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: www.dso.org Subscribe to our e-newsletter via our website to receive updates and special offers.

Performance is published by the DSO and Echo Publications, Inc. !

Echo Publications, Inc. 248.582.9690 www.echopublications.com Tom Putters, president tom@echopublications.com Toby Faber, advertsing director To advertise in Performance, call 248.582.9690 or email info@echopublications.com Performance magazine online: www.dsoperformance.com !

To report an emergency during a concert, call 313.576.5111. To make special arrangements to receive emergency phone calls during a concert, ask for the house manager.

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

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

Departments 4 Board of Directors 6 Orchestra Roster

Concerts

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

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

Cover Story

10 The Hot Seat: Getting to know your principal musicians

Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances.

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

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Detroit Symphony Orchestra BOARD OF DIRECTORS OFFICERS Stanley Frankel Chairman

Glenda D. Price, Ph. D Secretary

Lloyd E. Reuss Officer At-Large

Paul M. Huxley First Vice Chair

Arthur Weiss Treasurer

Clyde Wu, M.D. Officer At-Large

Marlies Castaing Second Vice Chair

Phillip Wm. Fisher Officer At-Large

Anne Parsons President & CEO

DIRECTORS Ismael Ahmed

Maureen T. D’Avanzo

Robert Allesee

Karen Davidson

Shelley Heron,‡ Orchestra Representative

Walter E. Douglas

Ronald M. Horwitz‡

Mark Davidoff

Rosette Ajluni

Daniel Angelucci Janet Ankers

Gloria Heppner, Ph. D.

‡

Floy Barthel

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

Penny B. Blumenstein

‡

John A. Boll, Sr.

Elizabeth Boone

Richard A. Brodie

Lynne Carter, M.D. Gary L. Cowger

Peter J. Dolan

Nicholas Hood, III

Linda Dresner

Sharad P. Jain

Jennifer Fischer

Dr. Arthur L. Johnson‡

Laura L. Fournier

Michael J. Keegan

Barbara Frankel

Joel D. Kellman

Ralph J. Gerson

Richard P. Kughn ‡

Marianne Endicott

Renee Janovsky

Sidney Forbes

Chacona Johnson

‡

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

Lois A. Miller

Wei Shen

James C. Mitchell, Jr.

James B. Nicholson, Chairman Emeritus

‡

Arthur T. O’Reilly‡

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

Paul Ganson

Lawrence M. Liberson,‡ Orchestra Representative

Bruce D. Peterson‡

William F. Pickard Stephen Polk

Mrs. Ray A. Shapero Jane F. Sherman

Shirley R. Stancato

Faye Alexander Nelson

Melvin A. Lester, M.D.‡

Brigitte Harris

Lois L. Shaevsky

David Robert Nelson

Bonnie Larson ‡

Alan E. Schwartz‡

David N. McCammon

‡

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

Marjorie S. Saulson

Jack A. Robinson‡

Sean M. Neall

Harold Kulish

‡

Ralph J. Mandarino

Arthur C. Liebler‡

Edward Miller

William P. Kingsley

Herman Frankel‡

Bernard I. Robertson‡

Florine Mark

Hon. Damon J. Keith

Mrs. Harold Frank

Harry A. Lomason, II

Stephen Strome

Michael R. Tyson Ann Marie Uetz David Usher

Barbara Van Dusen‡

R. Jamison Williams John E. Young ‡ Executive

Committee

LIFETIME MEMBERS

Samuel Frankel†

David Handleman, Sr.†

† Deceased

GOVERNING MEMBERS

Governing Members is a philanthropic leadership group designed to provide unique, substantive, hands-on opportunities for leadership and access to a diverse group of valued stakeholders. Governing Members are ambassadors for the DSO and advocates for arts and culture in Detroit and throughout Southeast Michigan. For more information on the Governing Members program, please call the Office of Patron Advancement at (313) 576-5400.

Arthur T. O’Reilly Chairperson James C. Farber Vice Chair, Philanthropy Mr. & Mrs. Herbert A. Abrash Mr. & Mrs. Richard L. Alonzo Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Mr. & Mrs. Norman Ankers

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OFFICERS Jan Bernick Secretary

Maureen T. D’Avanzo Vice Chair, Membership

Bonnie Larson Vice Chair, Engagement

Frederick J. Morsches Vice Chair, Communications

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

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

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

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

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

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

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

VOLUNTEER COUNCIL 2010ďšş12 OFFICERS Janet M. Ankers President

Ken Beattie VP of Finance & Administration

Dr. Nora Sugintas VP of Membership

Esther Lyons Recording Secretary

Debbie Savoie VP of Projects

Ellie Tholen VP of Public Relations

Virginia Lu ndquist VP of Outreach

Mary Beattie Corresponding Secretary

BOARD OF DIRECTORS

Marlene Bihlmeyer

Adel Dissett

Gloria Nycek

Ex-Officio:

Gwen Bowlby

Sandie Knollenberg

Todd Peplinski

Coco Siewert, Parliamentarian

Gloria Clark

Eva Meharry

Victoria Keys Young

Kelly Hayes, Immediate Past President

Lynn Miller WWW.DSO.ORG

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

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

First Violins

Kimberly A. Kaloyanides Kennedy A C Katherine Tuck Chair

Hai-Xin Wu A A C Alan and Marianne Schwartz and Jean Shapero (Shapero Foundation) Chair A C Walker L. Cisler/Detroit Edison Foundation Chair

Beatriz Budinszky*

Marguerite Deslippe* Elias Friedenzohn* Joseph Goldman*

Laurie Landers Goldman* Eun Park*

Adrienne Rönmark* Laura Rowe*

LeAnn Toth*

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

John Thurman Victor and Gale Girolami Cello Chair Robert Bergman*

Ron Fischer*

Bruce Smith*

Joseph Striplin*

Lilit Danielyan* ^

William Lucas

Heather Hart Assistant Orchestra Personnel Manager

Trombones

Conducting Assistant

Brian Ventura++

Geoffrey Johnson§ Clarinets

Theodore Oien+ Robert B. Semple Chair

Shannon Orme

Basses

E-Flat Clarinet

Stephen Anderson A P Lee and Floy Barthel Chair

Charles Greenwell

Randall Hawes

Stage Personnel

Nathaniel Gurin++

Bass Trombone Randall Hawes Tuba

Dennis Nulty+

Laurence Liberson

Timpani

Maxim Janowsky

Bass Clarinet

Brian Jones+ ^

Shannon Orme Barbara Frankel and Ronald Michalak Chair

Percussion

Bassoons

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

Craig Rifel

Marshall Hutchinson Richard Robinson

Philip Dikeman++ ^ Piccolo

Jeffery Zook

Robert Williams+ John and Marlene Boll Chair

Eric Schweikert ``#

Eric Shin ``#

Victoria King

Ian Ding++ ^ William Cody Knicely Chair

Marcus Schoon

Librarians

Contrabassoon

Ethan Allen

Michael Ke Ma++

Marcus Schoon

Stephen Molina Orchestra Personnel Manager

Kenneth Thompkins+

Alexander Hanna+ Van Dusen Family Chair

Jeffery Zook

Alexander Mishnaevski+ Julie and Ed Levy, Jr. Chair

Kevin Good

Paul Wingert*

Sharon Wood Sparrow A P Women’s Association for the DSO Chair

Alvin Score

Shelley Heron Maggie Miller Chair

Laurence Liberson++

Flutes

Marian Tanau*

Personnel Manager

Úna O’Riordan*

Patricia Masri-Fletcher+ Winifred E. Polk Chair

Robert Murphy*

Trumpets

Donald Baker+ Jack A. and Aviva Robinson Chair

Haden McKay*

Carole Gatwood*

Harp

Hong-Yi Mo*

Oboes

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

Stephen Edwards

Adam Stepniewski A P The Devereaux Family Chair

Caroline Coade

Violoncellos

Linton Bodwin

Second Violins

James VanValkenburg++

Catherine Compton

Stephen Molina++

Greg Staples*

Violas

Hang Su

Robert Stiles+

Frank Bonucci Stage Manager

Larry Anderson Department Head Matthew Pons Department Head

Michael Sarkissian Department Head Legend + Principal ++ Assistant Principal ``# Substitute musician, Acting Principal ^ Extended Leave * These members may voluntarily revolve seating within the section on a regular basis. ~ On Sabbatical § African-American Orchestra Fellow For a roster of the substitute musicians appearing on stage, visit www.dso.org.

French Horns Karl Pituch+

Bryan Kennedy

Corbin Wagner Mark Abbott

David Everson++ ~

Glenn Mellow

Shanda Lowery-Sachs Hart Hollman Han Zheng

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

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President’s Message Dear Friends, Welcome back to Orchestra Hall. A lot has happened since our sold out, standing room only performances last spring season. Over the months since then and in recent weeks, I have had the pleasure of connecting with DSO stakeholders as well as interested observers from across our metropolitan area, from Los Angeles to New York City, and even abroad, thanks to Leonard Slatkin’s new position as Music Director of the Orchestra Nationale de Lyon in France. At every encounter, I was impressed by feelings of optimism, encouragement and admiration for Detroit and particularly the DSO. So, as we proudly launch our 2011-12 season, we want you to know how very grateful we are to you, our patrons and audience members, for your loyalty, your passion and your enthusiastic support during such a difficult 2010-11 season. We’ve observed industry and business around us successfully reinventing and adapting to an ever-changing environment, consistently prepared to make adjustments and seek new pathways to success.

The DSO has a vision for success that embraces the joy and inspiration only music can provide, celebrates music and musicians, and acknowledges the importance of engaging our community in ways that will ensure this community-supported orchestra will thrive in the years to come.

You’ll notice that in addition to our offerings at Orchestra Hall, the DSO will regularly be performing in neighborhoods across metro Detroit.

Thanks to a program introduced by Leonard Slatkin, Soundcards provide all access to students for our diverse Orchestra Hall performances.

Through a partnership with DPTV, we are excited to be able to continue our HD Webcasts, “Live from Orchestra Hall,” presented by the Ford Motor Company Fund. It is the first part of what will be a digital suite sponsored by the Knight Foundation.

And, thanks to our educational offerings and partnerships, over 1,000 young people will visit the Jacob Bernard Pincus Music Education Center each week to be mentored and inspired through performance learning opportunities.

As we continue to work to mean more to more people, we hope you’ll enjoy the invaluable role you play in our collective story. We enter the 2011-12 season filled with hope and promise.

Thank you for making the decision to join us!

We hope to see you again soon.

With best wishes, Anne Parsons President & CEO 8

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News & Notes Treble Maker

Uh-oh, Here Comes Treble!

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

Shop @ The Max is open before and after each concert and during intermission.

Stream the Symphony!

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

Announcing the DSO Volunteer Council’s Nutcracker Luncheon You won’t want to miss this refreshed version of the time-honored annual major fundraiser. You’ll be enchanted by excerpts from Tchaikovsky’s beloved Nutcracker Suite ballet, performed by members of Ballet Americana, who have performed with the DSO Civic Orchestra.

Round out your holiday gift list with expanded inventory at Shop @ The Max or enter to win one of three gift certificates courtesy of Neiman Marcus.

Join us for a sit-down luncheon on Tuesday, December 6 at the Dearborn Inn. Ticket prices are $150, $100 and $65, with proceeds to benefit the Detroit Symphony Orchestra. Gather some friends and call the Volunteer Council Office at 313.576.5154 to make your reservations.

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MEET THE MUSICIAN:

Úna O’Riordan Since Úna O’Riordan joined the DSO’s cello section in 2007 she has dedicated her free time to ensconcing herself in the community. Through the DSO’s Honda Power of Dreams String Music Project, she teaches students who otherwise wouldn’t have access to music education. She also maintains a private studio in Plymouth. Later this year she’d like to start an introductory chamber music program for intermediate students before high school age. “There’s so much emphasis on orchestra, which is wonderful,” she said. “But I want to give students access to a different, and equally gratifying, way of making music.”

Outside of her work in the DSO and music education, she is a member of the contemporary music collective New Music Detroit and enjoys collaborating with other musicians in various genres and venues.

O’Riordan is also excited to begin volunteering with St. Joseph Mercy’s Healing Arts program this fall, and will be organizing and performing in

occasional mini-concerts in the Ann Arbor hospital’s newlyrenovated lobby. “I want to add a little light to a place that isn’t always joyful,” she said.

A first-generation Irish American, O’Riordan says a love of music runs in her family, and her passion for the cello began with a string demonstration in her kindergarten class. She received a Bachelor of Music with Distinction from the Eastman School of Music, where she was named an Arts Leadership Scholar. As a recipient of the Eckstein Grant, O’Riordan did her graduate studies at the Northwestern University School of Music, and performed with the Northwestern University Symphony Orchestra as the concerto competition winner. While completing her master’s degree, she was also Co-principal of the Civic Orchestra of Chicago.

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

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The Hot Seat: Getting to know your principal musicians

A

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

STRINGS Kim Kaloyanides Kennedy, Acting Concertmaster Kennedy joined the DSO in 1998 and served as associate concertmaster for eight seasons before being appointed acting concertmaster in 2011.

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

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able to offer the strength and boldness the section needs in a leader,” she said. In her 14th season with the DSO, Kennedy will perform as concert soloist twice this year.

Adam Stepniewski, Acting Principal Second Violin Years before Stepniewski joined the DSO in 1991, a friend in Warsaw lent him a recording of the DSO with former Music Director Paul Paray, under whom the DSO became one of the country’s mostrecorded orchestras.

Having served as fourth concertmaster with Radio Symphony Orchestra of Copenhagen, Denmark and Assistant Concertmaster with National Philharmonic in Warsaw, hearing the DSO was the first time Stepniewski had considered auditioning with an American

orchestra. Stepniewski said his goal this season as acting principal second violin is to help create a team dynamic within his section and with the other musicians. “An orchestra like the DSO is more than just music, it’s a tradition for the city and for the people,” he said. “Music helped my father, a French horn player, through World War II. I believe it can help Detroit, too.”

Alexander Mishnaevski, Principal Viola Born in Moscow, Mishnaevski began studying the violin at age 6 at the renowned Central Music School of Moscow Tchaikovski Conservatory. He emigrated to the United States in 1973 and graduated from The Juilliard School in New York. While at Juilliard, Mishnaevski changed from violin to viola at the suggestion of Isaac Stern. Mishnaevski joined the DSO as principal violist in 1986. Prior, he also held the position of principal violist for the New York Chamber Orchestra, the New York Pro Arte Ensemble, Montreal’s McGill Chamber Orchestra and Orquestra Sinfonica de Xalapa in Mexico.

Mishnaevski has performed in chamber music concerts and in recitals around the world and has collaborated on chamber music projects with eminent players including Isaac Stern, Schlomo Mintz, Joseph Silverstein, Schmuel Ashkenazy, Franz Helmerson, Joseph Swenson and the Colorado Quartet, just to name a few.

Mishnaevski also teaches in his private studio, and has taught master classes and workshops in the U.S., Canada, Singapore, Taiwain, Korea, Hong, Kong, and Mexico.

Robert deMaine, Pricipal Cello Named principal cellist of the DSO in 2002, Robert deMaine has been praised

by The New York Times as “an artist who makes one hang on every note.” He has distinguished himself as one of the finest musicians of his generation, having performed to critical acclaim throughout the world, from Carnegie Hall to the Teatro Colón in Buenos Aires. Born into a musical family of French and Polish extraction, deMaine began musical studies at the age of 4 with his mother and sister, both accomplished WWW.DSO.ORG

cellists. He made his solo debut at 10 with the Oklahoma City Symphony Orchestra, followed by his first full-length recital.

DeMaine is the first prize-winner of several major international competitions, most notably the 1990 Irving M. Klein International Competition for Strings in San Francisco (the first cellist ever to win this important competition), as well as winning first prizes in major competitions in New York, St. Louis and Chicago.

Alexander Hanna, Principal Bass Alexander Hanna was appointed principal double bass of the DSO in 2008.

Throughout his adolescence, he followed his older brother’s and sister’s footsteps through music and was playing piano recitals when he was 4. He then began to sing, play cello and double bass among other instruments. Hanna made his solo debut with The Toledo Symphony when they invited him to perform piano and double bass concertos with them when he was 14 years old. In 2004 the Curtis Institute of Music accepted Hanna as a double bass player and he then decided to focus on classical music. Hanna was in constant demand during his college years as a substitute with the Minnesota Orchestra, the Philadelphia Chamber Orchestra, the Philadelphia Orchestra, the Pittsburgh Symphony and was principal bass of the Haddonfield (New Jersey) Symphony.

Patti Masri-Fletcher, Principal Harp While harp is one of the easiest instruments to spot on the stage, compelling its angelic sound to compete with, say, the brass, takes a little muscle. “The thing about principal harp is that I’m the only one,” said Masri. “There is not a section to boost the sound.” After trying her hand at piano, violin, flute and guitar, MasriFletcher settled on the harp after attending an Oakland East Bay Symphony performance and couldn’t take her eyes off of the instrument. After studying harp performance in Oakland, Calif., she completed the eight-student graduate harp program at The Juilliard School. This will be Masri-Fletcher’s 23rd season with the DSO. “As an orchestra we come from various backgrounds, languages and cultures,” she said. “But when we WWW.DSO.ORG

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

WOODWINDS Sharon Sparrow, Acting Principal Flute Over the past few seasons, Sharon Sparrow has played nearly every position in the flute section of the DSO and understands better than most the uniqueness and challenges of each one. Having played second for 11 years, she has perfected that role providing stabilization of pitch, security of tone and unending support, both musically and personally. In recent seasons, sitting in the principal and assistant principal chairs allowed her a new and welcome freedom to express her inner musicality, having much more freedom on the numerous solo passages in which to experiment. “My favorite thing about playing principal is being able to express myself musically with every solo line and passage. I have so much to say musically, and playing principal gives me the liberty to use this voice,” she said. The only position Sparrow has not explored very much is the piccolo chair, coveted by the marvelous Jeffery Zook. For this season, Sparrow and Zook are holding up the section, and will be relying on many different players to fill in the gaps. Sparrow looks forward to playing principal again this season, and for each minute she is in that role she will be pouring out her musical voice with every line!

Donald Baker, Principal Oboe Principal oboist Don Baker was already a seasoned principal when he joined the DSO in 1973. At 21, a fresh graduate from Oberlin University, he took on the role of principal oboe with the Dallas Symphony. “I feel very fortunate to have been able to play principal in two major orchestras,” he said. He said he’s addicted to the pressure, which in the oboe section is particularly great. Sitting in perfect center, the principal oboe is not only in the music director Leonard Slatkin’s direct line of vision, but must also play the tuning A note. “I play the first solo of the evening,” he said. “And then another about every 10 seconds after that.”

Theodore Oien, Principal Clarinet Theodore Oien joined the DSO as principal clarinet in 1988, after serving as second and e-flat clarinetist of the Denver Symphony, and as principal clarinet of the Winnipeg Symphony and the CBC Winnipeg Orchestras. A concerto soloist with the DSO at Orchestra Hall, Oien also appears as soloist with other North and South American orchestras, notably in Winnipeg with the Winnipeg Symphony Orchestra, in Greensburg with the Westmoreland Symphony, and in Montevideo with the National Symphony Orchestra of Uruguay.

He has performed Copland’s Clarinet Concerto under the composer, and in November of 1999 was invited to perform at Lincoln Center in a concert featuring principal players from major orchestras of 50 nations, honoring the 50th anniversary of the Universal Declaration of Human Rights. Recent appearances with the DSO have included Strauss’ Due- Concertino and Martin’s Concerto for Seven Winds. He has recorded extensively for the record company Chandos with the DSO under Neeme Järvi and is heard on NPR’s Performance Today and weekly on General Motors Mark of Excellence.

Robert Williams, Principal Bassoon The 2011-12 season will be Bob Williams’ 39th with the DSO. Williams joined the orchestra at just 24 years old.

He already had several years’ experience as a principal bassoon under his belt. His career as a principal bassoonist began while substituting in the University of Arizona faculty quintet (where he was a student) and he also became principal in the Tucson Symphony Orchestra when the regular musician had to resign because of illness. After graduating, Williams spent two years as the solo bassoonist of the Winnipeg Symphony Orchestra before his move to Detroit.

As a “frustrated clarinet player” during childhood, Williams said he first picked up the bassoon because no one else played it. “My best friend was first chair clarinet in eighth grade and I knew I’d never beat him and there were no other bassoon players!” he said.

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BRASS Karl Pituch, Principal French Horn By the time Pituch was appointed principal horn in 2000 he was already familiar with Detroit’s story of decline.

“I remember visiting in the 60’s to shop at Hudson’s downtown, a lot of people did that,” he said. “Since then I’ve watched the city decline and then come back, very slowly.” But even as Pituch watched Detroit struggle from afar, he watched the orchestra thrive.

“As associate principal horn of the Dallas Symphony Orchestra before joining the DSO, I listened to the national radio broadcasts and heard how great the DSO was,” he said. “I’ve always wanted to work with Neeme Järvi and after seeing the great repertoire that he programmed, I decided to audition in Detroit.” Pituch has also served as principal horn with the Honolulu Symphony Orchestra, the Jacksonville Symphony, the Colorado Music Festival Orchestra and the Chautauqua Festival Orchestra. He served as a guest Principal Horn for the Los Angeles Philharmonic at the Edinburgh Music Festival in Scotland and at the Hollywood Bowl.

Stephen Anderson, Acting Principal Trumpet Beginning his 19th season with the DSO, Anderson also begins his 19th season alongside his fellow DSO trumpet players.

Formerly assistant principal trumpet, he has often played the principal part in cases of absence. Apart from the solos Anderson says sitting in the different chair will change little about his section’s dynamics. “I’ve played with the other DSO trumpeters for nearly 20 years. We know what each other is thinking and what we’re going to do next,” he said. “It’s so easy to count on them to play as a unit and as a team.” Prior to his tenure with the DSO, Anderson served as a trumpeter with the Dayton Philharmonic Orchestra and the Carillon Brass Quintet for two seasons, and taught trumpet at Wittenberg University in Springfield, Ohio.

Anderson has also performed as a member of the New Mexico Symphony, San Diego Symphony, Santa Fe Opera Orchestra,

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Chicago Chamber Brass and Chicago Civic Orchestra. He frequently plays in various ensembles around the area, including the Detroit Chamber Winds and Strings.

Kenneth Thompkins, Principal Trombone “There aren’t many trombone solos, but they do come up,” said Thompkins. “As principal I’ll get to play those, which is an honor.” One of his favorites? The three extensive trombone solos that anchor the first movement of Mahler’s Symphony No. 3. As a section, Thompkins explained it’s crucial to have a homogenous sound to support the rest of the brass and the orchestra as a whole, a responsibility he says makes his role all the more satisfying. “When you play in an orchestra you get to sink into the sound more so than in a band,” he said.

“You get to savor those chords.” Thompkins was appointed principal trombone of the DSO by Neeme Järvi in 1997. Prior, he held positions in the Buffalo Philharmonic and the Florida Orchestra and performed with the New World Symphony.

Dennis Nulty, Pricipal Tuba After trying his hand at the trumpet in sixth grade, Nulty picked up the tuba because, well, no one else in class was playing it yet. Nulty’s main responsibility is aiding the other brass in providing rhythm and pitch. “The tuba is more gregarious than other single instrument sections, often times I am used to support other instrument families” he said. An alumnus of the New World Symphony, Nulty was appointed principal tuba by Music Director Leonard Slatkin in 2009 while completing graduate studies at the New England Conservatory in Boston. As a freelance artist, he recorded a CD/DVD with Chris Botti and the Boston Pops Orchestra, and has performed frequently at historic Fenway Park, including opening ceremonies for game one of the 2007 World Series.

PERCUSSION Eric Shin, Acting Principal Percussion Beginning his first season with the DSO, Eric Shin comes to the Midwest from a considerably more desirable climate; Hawaii, where he was the principal percussionist for the now-defunct Honolulu Symphony.

An avid surfer, he says he is adjusting to middle America just fine. “I can tell already the DSO has a large following, that people are really proud of the symphony. There’s an overwhelming amount of support for classical music here.” Shin dabbled in guitar and piano before he settled on percussion, because it’s “so fun to make a bunch of noise.” Although he describes percussion as “just the sprinkles on the cake,” he stresses the importance of perfectionism in his role.

“People tend to only notice percussion when we mess up,” he said.

Eric Schweikert, Acting Principal Timpani Schweikert, who is also principal timpanist for the Fort Wayne Philharmonic, began his romance with classical music in elementary school as a cellist. “I wasn’t a very motivated practicer on the cello and thought the string bass looked cooler, but I didn’t want to carry one!” he joked.

“How ironic that my entire adult life has been spent dealing with the much more cumbersome timpani.”

He explained timpani plays a comparable role for percussion as bass plays for strings, but that its greater role is in support of the brass section. “I like playing the low, rumbling notes,” he said. “The audience can literally feel the sound.” While the 201112 season will be Schweikert’s first with the DSO, it won’t be his first time playing with the orchestra. He received that honor as a student at Interlochen. “I have a soft spot for the DSO because it was the first professional orchestra I ever played with,” he said. “And playing at Orchestra Hall is a great honor.”

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Profiles Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Michel Camilo, Fred A. and Barbara M. Erb Jazz Creative Director Chair

PARADISE JAZZ SERIES

Stanley Clarke Band

Thursday, November 3, 2011 at 8:00 p.m. in Orchestra Hall Stanley Clarke, bass Ronald Bruner, Jr., drums Ruslan Sirota, keyboards Zach Brock, violin Selections will be announced from the stage.

The Paradise Jazz Series is generously sponsored by

Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances.

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

Stanley Clarke

2011 Grammy winner Stanley Clarke was barely out of his teens when he exploded into the jazz world as a consummate bassist in 1971. Fresh out of the Philadelphia Academy CLARKE of Music, he arrived in New York City and immediately landed jobs with many famous bandleaders.

Clarke led the “bass revolution” of the ’70s, bringing the instrument to the height of respectability and paving the way for its use by soloists. Among his many accomplishments, Clarke is credited with pioneering the slap technique and inventing two new instruments: the piccolo bass and the tenor bass.

Clarke’s creativity has been recognized and rewarded in every way imaginable: gold and platinum records, Grammy Awards, Emmy Awards, virtually every readers and critics poll in existence, and more. He was Rolling Stone’s very first Jazzman of the Year, and bassist winner of Playboy’s Music Award for 10 straight years. This year he won a Grammy Award for Best Contemporary WWW.DSO.ORG

Jazz Album, “The Stanley Clarke Band.”

The first bassist to headline international tours, he was sought out by the likes of Jeff Beck, Ronnie Wood and Keith Richards for numerous projects. He is also a composer, arranger, producer, bandleader and performer of over 60 film and television scores including “Boys N the Hood,” “What’s Love Got to Do With It,” “Romeo Must Die” and “The Transporter” among so many others.

Clarke also successfully launched the Roxboro Entertainment Group label in 2011, featuring debut albums from guitarist Lloyd Gregory; multi-instrumentalist Kennard Ramsey; keyboardist Sunnie Paxson; and keyboardist Ruslan Sirota. His Stanley Clarke Foundation continues to award scholarships to educate promising young musicians. Clarke’s newest release ( June 2010) is “The Stanley Clarke Band” with Ruslan Sirota and Ronald Bruner, Jr.

Ronald Bruner, Jr.

Ronald Bruner, Jr., 27, is a secondgeneration drummer extraordinaire. His earliest influence was his father, Ronald Bruner, Sr., a world-class drummer, who has performed and recorded with Diana

Ross, the Temptations and Gladys Knight.

Although a dynamic fixture in Stanley Clarke’s touring band for five years, Bruner has also performed with George Duke, BRUNER Lee Ritenour, Suicidal Tendencies, Wayne Shorter and many more. Bruner is probably one of the most important young drummers on the scene today and many compare his innovation, technique and skill to that of the legendary drummer Tony Williams. Clarke observes, “drummers young and old look in Ronald’s direction and they are all taking noticed of this young power house.” Bruner co-wrote, arranged and performed with Clarke on “How’s the Weather Up There” for The Stanley Clarke Band 2011 Grammy-winning Best Contemporary Jazz Album. He also performed on many of the other album’s tracks. Bruner is currently finishing up his first solo album.

Ruslan Sirota

At just 27 years old, acoustic pianist/ composer/arranger Ruslan Sirota has already traveled the world, playing with some of the biggest SIROTA names in classical and pop music. Born in the Ukraine, he was exposed early in his youth to American Jazz and improvisation, and now shows an intelligence and understanding of the genre way beyond his years. “Ruslan is becoming a recognizable force in the music world,” Stanley Clarke notes. “He is one of the few musicians I’m aware of that knows a thousand songs. He has a unique understanding of the Jazz language.” Ruslan brings an unparalleled contribution in piano performances, not only on keyboard but with his profound melodic techniques on the acoustic piano. On the 2011 Grammywinning album, The Stanley Clarke Band, he wrote “Soldiers” and performs on almost all tracks. Ruslan has a self-titled solo album coming out November 2011 that has him playing duets with renowned pianists Chick Corea and George Duke. It will be released

by Roxboro Entertainment Group.

Profiles continue on next page…

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Zach Brock

One of the most virtuosic and emotive voices of contemporary jazz violin, Zach Brock has followed a path that not only embraces jazz, but also classical, BROCK world, and popular music. From critical acclaim as a bandleader to international exposure in collaborations with Stanley Clarke, Grazyna Auguscik,

and Frank Vignola, Brock continues to gain admiration from both jazz purists and music enthusiasts alike. Brock’s repertoire includes re-workings of songs by Jimi Hendrix, John Coltrane, Phil Markowitz, and Zbigniew Seifert, in addition to an evolving catalogue of his own compositions.

His latest CD The Magic Number, with bassist Matt Wigton and drummer Fred Kennedy, offers a telling glimpse of why Brock is being heralded as “the pre-eminent improvising violinist of his generation.”

(Neil Tesser, Chicago Examiner)

THE VALUE OF TRUE ARTISTRY CAN’T BE MEASURED. WE SHOULD KNOW.

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.

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Profiles Joana Carneiro

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

CLASSICAL SERIES Friday, November 4, 2011 at 10:45 a.m.

Friday, November 4, 2011 at 8:00 p.m. in Orchestra Hall Joana Carneiro, conductor Xuefei Yang, guitar

Osvaldo Golijov

Sidereus

Joaquín Rodrigo

Concierto de Aranjuez for Guitar and Orchestra

(b. 1960)

(1901-1999)

I. Allegro con spirito II. Adagio III. Allegro gentile Xuefei Yang, guitar

I N T ER M ISSION Piotr Ilyich Tchaikovsky (1840-1893)

Symphony No. 5 in E minor, Op. 64

Andante – Allegro con anima Andante cantabile con alcuna licenza Valse: Allegro moderato Finale: Andante maestoso – Allegro vivace

The Coffee Series is generously sponsored by

The Detroit Symphony Orchestra would like to thank the 2011 Corporate Council for their contribution to this performance and to the community at large.

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

Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances.

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

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Joana Carneiro has attracted considerable attention as one of the most outstanding young conductors working today. In January 2009 she was named Music Director of the Berkeley Symphony, becoming CARNEIRO only the third music director in the 40-year history of the orchestra. She currently serves as official guest conductor of the Gulbenkian Orchestra.

International highlights of previous seasons include appearances with the Ensemble Orchestral de Paris, Norkopping Symphony, Prague Philharmonia and the Orchestra Sinfonica del Teatro la Fenice at the Venice Biennale, as well as the Macau Chamber Orchestra and Beijing Orchestra at the International Music Festival of Macau. In the Americas, she has led the Sao Paulo State Symphony, Puerto Rico Symphony, Indianapolis Symphony, Los Angeles Chamber Orchestra, New World Symphony, Grant Park Music Festival and Manhattan School of Music, among others.

In addition to her Cincinnati Opera debut, Ms. Carneiro has conducted with the Chicago Opera Theater and at La Cité de la Musique in Paris. In 2010, she led performances at the Sydney Festival, which won Australia’s Helpmann Award for Best Symphony Orchestra Concert in 2010.

In addition she has served as assistant conductor to Esa-Pekka Salonen in Paris and led critically-acclaimed performances of Philippe Boesmans’s Julie in Bolzano, Italy.

A native of Lisbon, she began her musical studies as a violist before receiving her conducting degree from the Academia Nacional Superior de Orquestra in Lisbon.

Ms. Carneiro received her masters degree in orchestral conducting from Northwestern University, and pursued doctoral studies at the University of Michigan as a Helen Wu Graduate Fellow in conducting.

Ms. Carneiro is the 2010 recipient of the Helen M. Thompson Award, conferred by the League of American Orchestras to recognize and honor music directors of exceptional promise. In March 2004, Ms. Carneiro was decorated by the President of the Portuguese Republic, Jorge Sampaio, with the Commendation of the Order of the Infante Dom Henrique.

This program marks Carneiro’s debut performance with the DSO. PERFORMANCE / VOL . X X / FALL 201 1

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Xuefei Yang

Beijing-born, UKbased, Xuefei Yang is acclaimed as one of the world’s finest classical guitarists. Born following the Cultural Revolution, an era when Western music and instruments were YANG banned, she was the first guitarist in China to enter music school, and became the first to launch an international professional career. She then went on to become the first Chinese student to be awarded a full postgraduate scholarship to study at London’s Royal Academy of Music Yang enjoys a truly international career, performing worldwide as a soloist, chamber musician and with leading orchestras. Her success has led her to be invited to many prestigious venues in China, the United Kingdom and the United States.

During the 2011/12 season, Yang will perform with the New Zealand Symphony Orchestra, Detroit Symphony Orchestra, Barcelona Symphony, the Hallé Orchestra, China National Philharmonic and Guangzhou Symphony Orchestra. In recital she performs throughout the U.S. and in addition to solo recitals, Yang will perform with the Elias String Quartet and give duo recitals with cellist Jian Wang. She will collaborate with tenor Ian Bostridge in a recital at Wigmore Hall, London.

Yang records exclusively for EMI Classics. Her debut album, “Romance de Amor,” won a gold disc in Hong Kong, and her second, “40 Degrees North,” was selected as Editor’s Choice in Gramophone magazine. Her third was a concerto album recorded with the Barcelona Symphony Orchestra, conducted by Eiji Oue, featuring the music of Rodrigo’s Concerto de Aranjuez and a new Albeniz Concerto by Stephen Goss commissioned by EMI for Yang. Yang’s fourth recording, featuring the music of J.S. Bach, will be released by EMI in February 2012.

Yang has also appeared on numerous radio and television programs including BBC Radio 4 Woman’s Hour, the BBC Proms, a BBC documentary, “The Story of Guitar,” and China Central Television, who made a biographical documentary on Yang.

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Program Notes Sidereus

OSVALDO GOLIJOV

B. December 5, 1960

Scored for two flutes, oboe, English horn, two clarinets (second doubling on bass clarinet), two bassoons (second doubling on contrabassoon), two horns, piccolo trumpet, trumpet, trombone, bass trombone, tuba, timpani and strings (approximately 9 minutes).

O

svaldo Golijov was raised in an Eastern European Jewish household in La Plata, Argentina. His mother was a piano teacher; his father, a physician.

Golijov was raised in an atmosphere rich in classical chamber music, Jewish liturgical and klezmer music and the “new” tango of Astor Piazzolla.

Golijov studied piano at the local conservatory and took composition lessons with Gerardo Gandini before moving to Israel in 1983, where he studied with Mark Kopytman at the Jerusalem Rubin Academy.

In Jerusalem he found himself immersed in the disparate musical elements that abounded in the city. He moved to the United States in 1986, earning his Ph.D. at the University of Pennsylvania, where he studied with George Crumb. He was later a fellow at Tanglewood, where he studied with Oliver Knussen.

In June, 2008, Golijov was the League of American Orchestras’ first choice for commissining a work when former president and CEO Henry Fogel retired.

Fogel’s distinguished career in orchestra management included the New York Philharmonic, the National Symphony Orchestra and the Chicago Symphony Orchestra, in addition to his service with the League. Sidereus was commissioned in Fogel’s honor by a consortium of 35 American orchestras, including the DSO. The title of Golijov’s commission is drawn from a book by Galileo, Sidereus Nuncius, or “Starry Messenger,” which was written by the astronomer upon observing the moon through a telescope, and later observing the moons of Jupiter. This was a turning-point in religious history, as it challenged man’s God-given position at the center of the universe and ultimately led to Galileo’s censure by the Vatican. Golijov reflects that while “the moon is still good for love and lovers and poets, a scientific observation can lead us to entirely new realizations.”

The composer writes: “For the ‘Moon’ theme, I used a melody

with a beautiful, open nature, a magnified scale fragment that my good friend and longtime collaborator, accordionist Michael Ward Bergeman came up with some years ago when we both were trying to come up with ideas for a musical depiction of the sky in Patagonia. I then looked at that theme as if through the telescope and under the microscope, so that the textures, the patterns from which the melody emerges and into which it dissolves, point to a more molecular, atomic reality.”

The composer intentionally scored the work for modest forces — double winds and brass, percussion, and a modest string section — in order to make it performable by as many American orchestras as possible.

Sidereus opens with a series of broad, dark chords in the brass and strings. Motoric figures in the strings and winds bring the listener to a somber, soaring melody which begins in the woodwinds and which is then developed and passed among other sections of the orchestra. Contrasting material is introduced and then the principal theme reappears, bringing the work to a quiet close.

These performances of Osvaldo Golijov’s Sidereus are a DSO premiere.

DSO SHOP @ THE MA X RECOMMENDS:

Golijov – Sidereus: no recording currently available.

Concierto de Aranjuez for Guitar and Orchestra JOAQUÍN RODRIGO

B. November 22, 1901, Sagunto, Spain D. July 6, 1999, Madrid, Spain

Scored for solo guitar, two flutes (one doubling on piccolo), two oboes (second doubling on English horn), two clarinets, two bassoons, two horns, two trumpets and strings (approx. 22 minutes).

J

oaquín Rodrigo, one of Spain’s most renowned composers, was born in Sagunto in the province of Valencia, Spain, on November 22, 1902. He credited his blindness (the result of a diphtheria infection at age 3) with turning him to the study of music.

In 1927, he went to Paris where he was admitted to the Ecole Normale de Musique as a pupil of Paul Dukas, and with whom he studied for five years. He returned to Spain in 1933, and was presented with a Conde de Cartagena scholarship that enabled him to resume his studies in Paris. Following a period of travel in Germany, Austria and WWW.DSO.ORG

Peter and Laurie Psarianos

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Switzerland, the composer returned to Spain in 1936, at the beginning of the Spanish Civil War. Three years later he would take up permanent residence in Madrid, where the premiere of his Concierto de Aranjuez for Guitar and Orchestra would bring him immediate fame.

Rodrigo composed a number of works in which the guitar plays a central role, notably the Fantasía para un Gentilhombre of 1955 and the Concierto Andaluz (1969), for four guitars and orchestra, as well as a Sonata and a series of songs and Villancicos for voice and guitar. All of Rodrigo’s compositions of any kind have one characteristic in common — the blind musician’s heightened sensitivity to musical timbre and sonority.

Aranjuez was a royal city south of Madrid, where Spanish kings vacationed during the 18th century. The concerto’s sunny tone seems to represent a nostalgic look backward, at a time when Spain was just beginning to emerge from a period of devastating civil war.

The concept of a concerto for an instrument with a sound as transparent as that of the guitar raises the issue of how to balance the instrument’s delicate sound against that of the orchestra. Rodrigo handles the balance masterfully. With the exception of a few brief, climactic tutti sections, the orchestra is scored deftly and WWW.DSO.ORG

plays a falseta, an elaborate interlude, after which the orchestra takes up the main theme in a passionate, lyrical outburst reminiscent of Salud’s music in Falla’s La Vida Breve, before leading to an ethereal conclusion.

The third movement is based on a memorable tune that suggests a triple-meter version of the 16th century song De los álamos vengo. This tune is tossed around, transposed into different keys and ultimately presented in a score of variations, all with a light-hearted grace that justifies the movement’s indication of Allegro gentile.

The lone voice of the solo guitar reappears to have the last — as well as the first — word, and concludes the concerto.

The DSO last performed Rodrigo’s Concierto de Aranjuez for Guitar and Orchestra in April of 2006, as part of a runout concert with JoAnn Falletta conducting.

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serves primarily to reinforce or echo figures played by the guitar.

The first movement, introduced somewhat unexpectedly by the solo guitar, is built from a handful of idiomatic gestures, including punteado (picked ornamentation in running scales) and rasgueados (strumming). From the movement’s opening, the guitarist strums a pattern that changes between 6/8 and 3/4, a rhythmic alternation that continues throughout the movement. While this metric lilt may be familiar to some listeners (thanks perhaps to Leonard Bernstein’s song “America,” from West Side Story), the technique has deep roots in Andalusian music, with notated examples dating back as far as the 16th century.

In the ravishing second movement (Adagio), the guitar plays a harplike accompaniment to the beautiful theme initiated by the English horn. The mood of the movement as a whole is not so much the slow, stately pace that is suggested by adagio as it is a contemplative, rhapsodic soliloquy decorated with the turns, trills and the repetition of notes characteristic of cante flamenco or cante hondo. It has been suggested that the doleful character of this melody may have been a response to the miscarriage suffered by the composer’s wife shortly before the movement was written.

In the middle of the movement the guitar

DSO SHOP @ THE MA X RECOMMENDS:

Rodrigo – Concierto de Aranjuez: Xuefei Yang, guitar; Eiji Oue conducting the L’Orquestra Simfònica de Barcelona i Nacional de Catalunya, EMI 98361.

Symphony No. 5 in E Minor, Op. 64 PIOTR ILYICH TCHAIKOVSKY

B. Kaminsko-Votinsk, May 7, 1840 D. November 6, 1893, St. Petersburg, Russia

Tchaikovsky’s Symphony No. 5 in E Minor was first performed in St. Petersburg on November 17, 1888, with the composer conducting. It is scored for three flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani and strings (approximately 50 minutes).

N

one of Tchaikovsky’s symphonies caused him as much anxiety as his fifth. By the mid-1880s, his professional career was flourishing; his instrumental and vocal works were being performed around the world and he had even been awarded a lifetime pension by the Czar. A hectic life of constant travel would soon take him as far afield as New York.

The composer left the following cryptic notes in reference to the first movement of the Fifth, (his first new symphony in almost a decade): “Introduction: Complete resignation before Fate, or (which is the same), before the inscrutable predestination of Providence. Allegro: (I) Murmurs, doubts, plaints, reproaches against XXX. (II) Shall I throw myself in the embraces of faith?”

Tchaikovsky seems to be referring here to PERFORMANCE / VOL . X X / FALL 201 1

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his homosexuality, a phenomenon that he cloaks elsewhere in his writings as “Z” or “that,” and with which he never came to terms. References to “Providence” or “Fate” also run through Tchaikovsky’s later writings.

The attentive listener can trace in the composer’s last three symphonies the evolution of his psyche with respect to that which was unchangeable in himself: struggle in the Fourth and resignation in the Fifth, followed by grim acceptance in the Sixth.

Even when the work was complete, Tchaikovsky remained ambivalent about it.

He later confided to his patroness, Nadezhda von Meck, that there seemed to be “something repellent” in the Fifth; “some exaggerated color, some insincerity or fabrication…which the public instinctively recognizes.”

The real problem is that the symphony straddles an uncomfortable grey area, psychologically. It is at once neither as straightforward as the Fourth nor as integrated as the Sixth. In every respect (and in spite of the composer’s own misgivings) Tchaikovsky’s Fifth is as coherent a work as he ever wrote. However, not yet having come fully to terms with “Fate” or “Providence,” the composer was unsure how he should present himself to the public.

The first movement introduces the “motto” theme that runs throughout the work, before proceeding to a fully workedout sonata scheme in which the motto figures not at all. Unlike the martial brass motif of the Fourth, the motto of the Fifth is tentative, hesitant, stated at the outset in fragments in the lowest register of the clarinets and only later evolving into an actual melody. Though is does not return verbatim in the first movement, it remains omnipresent thanks to the instrumentation in which the first subject initially appears – clarinet and bassoon in octaves – and by the accompaniment figures that introduce both this and the second theme. While the entire movement is in triple rhythm, only gradually does the listener feel the underlying pulse of the waltz, a seemingly harmless vehicle which, in Tchaikovsky’s hands, could encompass a full range of emotions — though often with a sinister undertone.

The second movement is an operatic duet sans paroles, the leading voice being the solo horn. The composer purportedly wrote the words “O, que je t’aime! O mon amie! O how I love…If you love me…With desire and passion” over this languorous melody; its intent is clear enough even without the accompanying verbiage. The firstmovement motto twice interrupts this passionate outpouring; after its first intrusion the mood is reestablished; after the second the spell becomes broken, and the movement ends shortly thereafter.

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The waltz that was only hinted at in the first movement comes to life in the third as a fully developed concert waltz. Although the motto makes a brief, quiet reappearance, the composer stamps it out with the movement’s final chords.

A surprise awaits the listener as the finale opens: here is the motto theme transformed, inexplicably, into a major key, its once spectral accompaniment now evolved into full, sustained chords. The motto returns repeatedly, finally in the guise of a triumphal march. This might suggest that

the tragic events of the work’s opening have now been overcome, or have they?

The DSO first performed Tchaikovsky’s Symphony No. 5 in E minor, Op. 64 on November 20, 1919, with Ossip Gabrilowitsch conducting.

DSO SHOP @ THE MA X RECOMMENDS:

Tchaikovsky – Symphony No. 5: Neeme Järvi conducting the Gothenburg Symphony Orchestra, BIS 1408.

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

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

Saturday, December 3, 2011, 8 PM

Steven Isserlis, Cello Connie Shih, Piano

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

Saturday, January 7, 2012, 8 PM

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

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

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Profiles Chris Botti

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

POPS SERIES

An Evening with Chris Botti

Saturday, November 12, 2011 at 8:00 p.m.

Sunday, November 13, 2011 at 3:00 p.m. in Orchestra Hall

Jeff Tyzik, conductor Chris Botti, trumpet

Selections will be announced from the stage.

Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances.

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

Jeff Tyzik

Acclaimed and innovative pops conductor, Jeff Tyzik, is known for his unique arrangements and programming that appeal to audiences of all ages. He began his life in music at age 9, when he TYZIK 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 and jazz.

Tyzik is serving in his 17th year as principal Pops conductor for Rochester Philharmonic Orchestra. His influential relationship has been appreciated by the Rochester audiences and he has written over 160 works for their orchestra. He also serves as the principal Pops conductor for the Vancouver Symphony Orchestra in British Columbia and the Oregon Symphony Orchestra in Portland. He is a sought after guest conductor, appearing with orchestras

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including Boston Pops, the New York Pops, the Philadelphia Orchestra at the Saratoga Performing Arts Center, the Detroit Symphony Orchestra, the Toronto Symphony, and many others.

During his career, Tyzik has co-composed a trumpet concerto with friend and virtuoso trumpeter Allen Vizzutti to be recorded by pops legend Doc Severinsen. He has produced a Grammy Award-winning album, The Tonight Show Band with Doc Severinsen, Vol. 1. As a talented composer and arranger his works have been recorded by the London Symphony Orchestra, the Rochester Philharmonic Orchestra and the Summit Brass; groups including Erich Kunzel and the Cincinnati Pops Orchestra, the RPO, the Vancouver Symphony Orchestra, and Doc Severinsen with the Royal Philharmonic Orchestra in London.

He has also produced and composed theme music for many of the major television networks, including ABC, NBC, HBO, and Cinemax, and released six of his own albums on Capitol, Polygram and Amherst Records.

Tyzik was born in New York, where he still resides today with his wife Jill.

Since the release of his 2004 critically acclaimed CD, “When I Fall In Love,” Chris Botti has become the largest selling American jazz instrumental artist.

BOTTI His success has crossed over to audiences usually reserved for pop music and his ongoing association with PBS has led to four No. 1 jazz albums, as well as multiple Gold, Platinum and Grammy Awards.

Over the past three decades, he has recorded and performed with the best in music including Frank Sinatra, Sting, Josh Groban, Michael Buble, Paul Simon, Joni Mitchell, John Mayer, Andrea Bocelli, Joshua Bell and Aerosmith’s Steven Tyler.

Hitting the road for more than 250 days per year, Chris and his incredible band have performed with many of the finest symphonies, at some of the world’s most prestigious venues, including performances at the World Series and Nobel Peace Prize Ceremony.

People magazine voted Chris one of the 50 Most Beautiful People in 2004.

November is DSO COMMUNITY SUPPORT MONTH

Your opportunity to give to the annual fund and be a part of all that we do throughout metro Detroit.

Make Your Gift Today. Ask Us How! PERFORMANCE / VOL . X X / FALL 201 1

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Profiles Leonard Slatkin

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

CLASSICAL SERIES Thursday, November 17, 2011 at 7:30 p.m.

Friday, November 18, 2011 at 10:45 a.m.

Saturday, November 19, 2011 at 8:00 p.m.

Sunday, November 20, 2011 at 3:00 p.m. in Orchestra Hall Leonard Slatkin, conductor Sir James Galway, flute / Lady Jeanne Galway, flute Marina Piccinini, flute / Sharon Wood Sparrow, flute Jeffery Zook, piccolo / Hai-Xin Wu, violin Barbara Ogar, flute, flute choir director Antonio Vivaldi Concerto for Piccolo and Orchestra (1678-1741) in C major, RV. 443 Allegro Largo Allegro Jeffery Zook, piccolo

Johann Sebastian Bach Brandenburg Concerto No. 4 in G major, (1685-1750) BWV 1049 Allegro Andante Presto Marina Piccinini, flute Sharon Wood Sparrow, flute Hai-Xin Wu, violin

Paquito D’Rivera Gran Danzón (The Bel-Air Concerto) Marina Piccinini, flute

I N T ER M IS SION

Wolfgang Amadeus Mozart Flute Concerto No. 2 in D major, K. 314 (1756-1791)

Allegro aperto Andante ma non troppo Allegro Sir James Galway, flute

Wolfgang Amadeus Mozart The Magic Flutes (1756-1791)

arr. David Overton

Adagio-Allegro con brio Minuet Allegro Sir James Galway, flute Lady Jeanne Galway, flute

David Overton Galway Fair This Classical Series concert is generously sponsored by

PVS Chemicals, Inc.

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

Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances.

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

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Internationally acclaimed American conductor Leonard Slatkin began his critically-acclaimed tenure as Music Director of the Detroit Symphony Orchestra in September of 2008. In addition to his post at the DSO, he SLATIKIN serves as Music Director of the Orchestre National de Lyon (ONL) in France, an appointment which began in August 2011. Slatkin also continues to serve as Principal Guest Conductor of the Pittsburgh Symphony Orchestra, a post that began in the fall of 2008.

Following a 17-year post as Music Director of the Saint Louis Symphony Orchestra, Slatkin became Music Director of the National Symphony Orchestra in Washington, D.C. in 1996. Other positions in the United States have included Principal Guest Conductor of the Minnesota Orchestra, where he founded their “Sommerfest;” first Music Director of the Cleveland Orchestra’s summer series at the Blossom Music Festival, an appointment he held for nine years; Principal Guest Conductor of the Los Angeles Philharmonic Orchestra at the Hollywood Bowl for three seasons; and additional positions with the New Orleans Philharmonic and the Nashville Symphony Orchestra.

Throughout his career, Mr. Slatkin has demonstrated a continuing commitment to arts education and to reaching diverse audiences. He founded the Saint Louis Symphony Youth Orchestra, and was founder and director of the National Conducting Institute, an advanced career development program for rising conductors. This year, he spearheaded the DSO’s Soundcard initiative, an all-access student pass to every Classical, Pops and Jazz concerts at Orchestra Hall, all season long.

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

His engagements for the 2011-2012 include Orchestre de la Suisse Romande, Seoul Philharmonic, NHK Symphony, a tour of Germany with the Deutsches SymphonieOrchester Berlin, the New World and National Symphony Orchestras in Washington, D.C. WWW.DSO.ORG

Sir James Galway

Sir James Galway is regarded as both the supreme interpreter of the classical flute repertoire and a consummate entertainer whose appeal crosses all musical boundaries. Sir GALWAY James has made himself a legend, a modern musical master whose virtuosity on the flute is equaled only by his limitless ambitions and vision.

With over 30 million albums sold, Sir James has endeared himself to millions worldwide and is a tireless promoter of the arts through his extensive touring. Arguably the busiest man in classical music, the 201112 season sees Galway appearing all over the world in concert —nd opening the season with a tour of China, Korea and Japan. An extensive tour of North America follows, including performances with the Pittsburgh, Dallas, Detroit, Roanoke and Montreal symphonies, as well as recital performances in New York, Toronto and the American Midwest. European engagements include performances with the Orchestre National de Lyon and a New Years Concert with the Zurich Kammerorchestra.

Sir James studied in London and Paris before embarking on his orchestral career with such prestigious orchestras such as the Sadlers Wells and Royal Covent Garden Operas, The BBC, Royal Philharmonic and London Symphony Orchestra, before taking up the coveted position of solo flautist with the Berlin Philharmonic under Herbert von Karajan.

Since launching his successful career as a soloist in 1975, his busy touring schedule sees him performing with the world’s leading orchestras and most prestigious conductors. From Galway’s lips have come definitive treatments of classical repertoire and masterworks by Bach, Vivaldi and Mozart. He also features contemporary music in his programs, including new flute works commissioned by him and for him by composers such as Adamo, Amram, Bolcom, Corigliano, Heath, Lieberman and Maazel.

Double Flute Suite for two flutes and piano, written for Sir James and Lady Galway by the Northern Irish composer Philip Hammond and an Irish concerto by Bill Whelan (composer of River Dance) will premiere in the 2011-12 season.

Program Notes

Concerto for Piccolo and Orchestra in C major, RV 443 ANTONIO VIVALDI

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

Vivaldi’s Concerto in C major is scored for solo flautino (represented here by the piccolo), continuo and strings (approximately 12 minutes).

A

baker’s son, Antonio Vivaldi was the most influential and original Italian composer of his generation, and his works laid the foundation for the mature Baroque concerto. His contributions to musical style, violin technique and orchestration were considerable. He was also a pioneer of what would later be known as program music.

Vivaldi wrote most of his works for the women’s orchestra of the Pio Ospedale della Pietà, an orphanage for girls where he worked from 1703 to 1715 and again from 1723 to 1740. After meeting Emperor Charles VI Vivaldi moved to Vienna, hoping for a permanent position in the Emperor’s court; however, the Emperor died shortly after Vivaldi’s arrival. The composer,

having no steady source of income, later died a pauper.

Though Vivaldi’s music was well-received during his lifetime it declined in popularity following his death, and it did not experience a revival until the mid-20th century.

This concerto was part of a large cache of Vivaldi manuscripts that were discovered in the 1920s and 1930s. It is unclear exactly when the composer wrote the work or when it was first performed.

Of Vivaldi’s nearly 500 concertos, three call for the solo part to be played by a flautino. The identity of this “little flute” was long in dispute, but the consensus today is that it was actually the sopranino recorder, pitched an octave above the alto instrument and transposing in the same manner as the piccolo. In two of the operas Vivaldi wrote for the court of Mantua during his period of residence there as director of music (1718 – 1720), he included flautino parts. While it is possible that the concertos have a Mantuan origin, it is equally possible that they were intended either for the Pietà or for a private customer. These days, the concertos are typically performed on the modern piccolo.

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See insert for additional artists profiles.

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PERFORMANCE / VOL . X X / FALL 201 1

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In the first movement (and later in the third), Vivaldi employs a musical form known as ritornello. This involves a theme that is sounded by the orchestra at the work’s opening and several times again throughout the course of the movement.

These tutti statements by the orchestra are linked by episodes featuring the solo instrument. In this movement, Vivaldi’s ritornello is marked by uneven rhythms, while the solo episodes are distinguished by scalar passages and bravura passagework.

The second movement opens with a haunting melody in the minor key, introduced at the outset by the piccolo and accompanied by the strings. The soloist restates this extended, plaintive tune several times, adding ornamentation and variation with each repetition, and the movement closes quietly.

The third movement Allegro molto once again features a ritornello construction, with a sparkling, trilling theme of such brilliance that the composer was inspired to begin two of the three solo episodes with similar figuration.

While the virtuosic passagework given to the soloist cannot escape comparison with Vivaldi’s violin concertos, the lyrical passages remind one of Vivaldi’s close involvement (both as composer and as manager) with opera. With his operatic music being rarely performed these days, it is fortunate that Vivaldi’s habit of borrowing from himself has led to the preservation of some of his best operatic arias.

The DSO last performed Antonio Vivaldi’s Concerto for Piccolo and Orchestra in C major, RV.443 in a Classical series concert given in November of 2008 with Ludovic Morlot conducting.

DSO SHOP @ THE MA X RECOMMENDS:

Vivaldi – Piccolo Concerto in C Major: William Bennett, flute; Neville Marriner conducting the Academy St. Martin-inthe-Fields, Decca B0006627.

Brandenburg Concerto No. 4 in G major, BWV 1049 JOHANN SEBASTIAN BACH

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

Bach’s Brandenburg Concerto No. 4 in G major is scored for solo violin, two solo flutes, strings and continuo (approximately 17 minutes).

J

ohann Sebastian Bach was a German composer, organist, harpsichordist, violist and violinist whose works for choir,

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orchestra and solo instruments represent the summation of the Baroque period in music.

During his lifetime, Bach’s reputation rested mainly upon his extraordinary skill as a keyboard virtuoso; only after his death was his extraordinary genius as a composer fully appreciated.

Bach composed his Brandenburg Concerto No. 4 around 1720. The collection of six concertos, composed for different groups of instruments, got their name from the fact that Bach sent them to Christian Ludwig, Margrave of Brandenburg in about 1721, as a résumé of sorts. At the time, Bach was music director at the court of Leopold of Anhalt-Cöthen, but he was always looking for an opportunity for advancement.

The concertos apparently didn’t impress Bach’s prospective employer much, as they lay untouched in Christian Ludwig’s library until his death 13 years after Bach had presented them to him, at which time they were inventoried as part of the estate at a value of four groschen each — a mere few cents.

Happily, the works survived and were preserved by the noted music theorist and teacher Johann Philipp Kirnberger, a student of Bach, and the scores later became part of the collection of the Royal Library in Berlin. They were “rediscovered” during the revival of interest in Bach’s music in the 19th century, published in 1850, and have since become known as pinnacles of Baroque instrumental music.

Although he had composed large instrumental sections for parts of his cantatas, the Brandenburg Concertos represent the first time that Bach (who was now 36) attempted to compose purely instrumental music on such a large scale. By utilizing the best formal and stylistic elements of his predecessors and by adding a touch of his own genius, Bach brought the principle of the Concerto Grosso to its greatest elevation.

The Fourth Brandenburg Concerto utilizes three solo instruments: a violin and two flutes. The solo violin part is quite virtuosic in the first and third movements; in the second movement, the violin provides a bass when the concertino group plays unaccompanied. The work is in three movements: Allegro, Andante and Presto.

Bach would later adapt the Fourth Brandenburg Concerto as the last of his set of six harpsichord concertos (the concerto for harpsichord, two recorders and strings in F major, BWV 1057). As well as taking on most of the solo violin’s role, the harpsichord also takes over some of the recorders’ parts in the Andante, plays a basso continuo role and occasionally adds a fourth line of counterpoint to what was

originally a three-part instrumental texture.

It is more than a mere transcription.

Ten of Bach’s 20 children would eventually reach maturity. Of these, his sons Wilhelm Friedemann, Carl Philipp Emanuel, Johann Christoph Friedrich and Johann Christian all made their mark as composers. His sons kept Bach’s legacy alive for a generation after his death, irrespective of the difference in their own musical styles.

Mozart, Beethoven and Chopin all professed reverence for the music of J.S. Bach, and with the Berlin revival of the St. Matthew Passion by Felix Mendelssohn in 1829, there was renewed interest in his music. Bach now occupies his rightful place in music history, as a brilliant keyboard virtuoso whose compositions represent the summation of the Baroque period.

The DSO last performed Bach’s Brandenburg Concerto No. 4 in G major in December of 2004, with Nicholas McGegan conducting.

DSO SHOP @ THE MA X RECOMMENDS:

Bach – Brandenburg Concerto No. 4: Neville Marriner conducting the Academy St. Martin-in-the-Fields, EMI 85792.

Gran Danzón, Concerto for Flute and Orchestra (“The Bel Air Concerto”) (2001) PAQUITO D’RIVERA

B. Havana, Cuba June 4, 1948

Scored for solo flute, piccolo, English horn, clarinet, bassoon, tenor saxophone, French horn, two trumpets, trombone, tuba harp and piano/celeste. Timpani and three percussion, playing bass drum, bongo drums, claves, guiro, marimba, orchestra bells, rain stick, snare drum, suspended cymbal, timbales, triangle and xylophone; strings (approximately 20 minutes).

P

aquito D’Rivera was a child prodigy who first began to learn music with his father, Tito D’Rivera, a well-known classical saxophonist and conductor in Cuba.

D’Rivera grew up in Cuba, playing both saxophone and clarinet, and performing with the National Symphony Orchestra at a young age.

When D’Rivera was 7 years old, he became the youngest artist ever to endorse a musical instrument, when he signed on with the Selmer music company.

By the 1980s, D’Rivera began to feel increasingly dissatisfied with the constraints placed on his music by the Cuban authorities. While on tour in Spain in 1981 he sought asylum with the American WWW.DSO.ORG

([WUDRUGLQDU\ +ROLGD\V Elegante Holidays.

H O M E Â E N T E R T A I N I N G C O R P O R A T E Â E V E N T S Â F O R M A L Â G A T H E R I N G S

30425 Â STEPHENSON Â HWY. Â MADISON Â HEIGHTS, Â MI Â 48071 embassy, leaving his homeland, wife and child behind in search of a better life. He promised himself and his family that he would find a way for them to join him.

Upon arriving in the United States, D’Rivera found that there were many people willing to help him and his family, among them Dizzy Gillespie, David Amram and Bruce Lundvall, who gave him his first solo recording opportunity.

D’Rivera quickly earned respect among the American jazz elite and was introduced to the jazz scene at some of the most prestigious jazz clubs and concert halls in New York. He became a phenomenon following the release of his first two solo albums, “Paquito Blowin’� ( June, 1981) and “Mariel� ( July, 1982).

The danzĂłn was created in 1879 by Miguel Failde, a cornet player from the city of Matanzas. It is a direct descendant of the danzas and contradanzas that were played in ballrooms in the colonial days of Cuba. At that time, a typical dance orchestra might have included a cornet, a couple of violins, a couple of clarinets, an ophicleide or valve trombone, a couple of timbales and a guiro.

Later on, this instrumentation was expanded to include violins, a piano, double-bass and flute.

The composer writes: “When Marina Piccinini asked me to WWW.DSO.ORG

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write a flute concerto for her, I immediately thought of basing the piece on the Cuban flute, a wooden instrument of five keys and six holes that has played a major role in the typical orchestras of my country as well as in the development of the national dance, the danzĂłn. “The central theme of this concerto is based on the rhythmic cell of the danzĂłn, the cinquillo cubano, and on la clave, which is the foundation of almost all Cuban music. However, other national patterns and elements of African origin are to be found throughout the piece, as well as small phrases and quotations that are reminiscent of old folkloric and popular themes. The second most important instrument in this work is the humble guiro (gourd) combining with the Cuban timbales (drums) and contrabass to provide the rhythm-machine that moves the Charanga as well as the feet of the dancers in the ballroom (and probably in the concert hall, too!). “The title Gran DanzĂłn was borrowed from Astor Piazzolla’s Gran Tango. The subtitle ‘The Bel Air Concerto’ was an idea of Marina’s, who knows of my passion for those classic automobiles of the 1950’s, about which I’ve often dreamt. Now I am the proud owner of a rebuilt 1957 Chevrolet Bel Air, which I drive around when not on tour.

“Finally, this is my best way of paying tribute to the legendary danzoneros of the island Columbus called ‘la tierra mas Hermosa que ojos humans vieran’ — “the most beautiful land that human eyes will ever see.

These performances of Paquito D’Rivera’s Gran DanzĂłn (“The Bel Air Concertoâ€?) are a Detroit Symphony Orchestra premiere.

DSO SHOP @ THE MA X RECOMMENDS:

Paquito D’Rivera – Gran Danzon: no recording currently available.

Flute Concerto No. 2 in D major, K. 285d [314]

WOLFGANG AMADEUS MOZART

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

Mozart’s Flute Concerto No. 2 in D major is scored for two oboes, two horns, strings and solo flute (approximately 20 minutes).

M

ozart wrote his Flute Concerto No. 2 in D major in Mannheim, in 1778.

The work was not originally written for the PERFORMANCE / VOL . X X / FALL 2011

23

DSO SHOP @ THE MA X RECOMMENDS:

Mozart – Flute Concerto No. 2 in D Major: Sir James Galway, flute; Neville Marriner conducting the Academy St. Martin-inthe-Fields, RCA 59409.

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Galway Fair

DAVID OVERTON

Magic Flutes

MOZART, ARR. OVERTON

Galway Fair is scored for two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, tuba, timpani, snare drum, flute choir and solo flute(s) (approximately 5 minutes).

Magic Flutes is scored for two oboes, two clarinets, two bassoons, two horns, strings, and solo flutes (approximately 27 minutes).

D

avid Overton is a British arranger and composer working with artists in the classical music field, including Sir James Galway and the Kings Singers. Also known as a conductor, he has led ensembles at venues such as the Royal Festival Hall, Cadogan Hall, London and Symphony Hall Birmingham. He is also known for his work as a choral trainer.

“Galway Fair” was premiered on the opening gala concert of the Pittsburgh Symphony’s 35th season, which was titled titled “A Little Knight Music.” Sir James and his wife Lady Jeanne were the soloists, and they were joined by members of the

Pittsburgh Flute Academy Flute Choir.

Speaking to the press before the premiere, Sir James said: “When I saw the score of ‘Galway Fair,’ I thought he’d dug up some old Irish sheet music, but he [Overton] wrote the tune.”

For Sir James and Lady Jeanne, David Overton has also concocted a three movement suite of Mozart themes, the full title of which is “The Magic Flutes, for two Flutes and Orchestra.” The subtitle reads “A journey through the works of Wolfgang Amadeus Mozart, devised and freely arranged for two solo flutes and orchestra for James and Jeanne Galway by David Overton.”

In this potpourri, Mozart’s unforgettable themes are skillfully woven together to produce a full four-movement suite.

Overton makes use of a great number of the Master’s melodies, which often appear in dizzying succession, the next sometimes only a few bars after the previous one. Since the title is “The Magic Flutes,” there are naturally recurring references to Die Zauberflöte, but the complete work is brimming with tunes from all strands of Mozart’s oeuvre. It could make the basis for a challenging musical quiz for Mozart buffs!

These performances of “Galway Fair” and “The Magic Flutes” are DSO premieres.

DETROIT SYMPHONY ORCHESTRA

LEONARD SLATKIN, Music Director

Make Orchestra Hall Your Home for the Holidays PRESENTS

A NATALIE MACMASTER CHRISTMAS IN CAPE BRETON

Monday, Dec. 5 at 8 p.m.*

*The DSO does not appear on this program.

THE FOUR SEASONS!

HOLIDAY CLASSICS

flute at all; rather, it is a transposition of a C major oboe concerto that he composed some time earlier for the Salzburg performer Giuseppe Ferlendis. The autograph score was lost, but a set of 18th-century parts was discovered in Salzburg in 1920 and the work was published in 1948.

Around 1778, Mozart received a commission from a wealthy Dutch amateur of the flute, who is referred to in Mozart’s letters as “De Jean” – probably a phonetic version of the surname of one Willem Britten De Jong. Mozart was supposed to compose for him three flute quartets and three concertos for the flute. It would seem that the composer’s inspiration flagged before he could finish the commissions, however, for only two quartets survive from this period (though Mozart does mention three in his letters), and there are no more than two concertos, the G major K. 313 and the D major concerto, K. 314. After Mozart completed the G major flute concerto his inspiration seems to have run dry; he created a second concerto for flute by transposing the earlier Oboe concerto up a step and making some revisions to both the solo and orchestral parts. He also changed the tempo of the slow movement from Adagio to Andante.

The first movement begins with a ritornello, the purpose of which seems to be to provide a springboard for the antics of the flute, which it does admirably. Mozart has a particular knack for giving his soloist a phrase that seems slightly out of context, turning it first this way and then that, always trying to amuse.

The second movement Andante falls into the style of woodwind writing that Mozart explored to the fullest in The Magic Flute: solemn, and not a little self-conscious. The orchestra is treated as soberly as the soloist, providing a firm foundation from which the flautist can deliver his impassioned aria.

The principal theme of the third movement bears a resemblance to Blonde’s aria “Welche Wonne, Welche Lust” from The Abduction from the Seraglio. While in the latter the melody is treated with Germanic earnestness, here Mozart is all high spirits, even presenting the jaunty tune twice in smart succession.

The DSO last performed Mozart’s Flute Concerto No. 2 in D major, K. 285d [314] in May of 2009 as part of an Education Concert Series.

POPS SERIES

HOME FOR THE HOLIDAYS Leonard Slatkin, conductor

Fri., Dec. 16 at 10:45 a.m.

Sat., Dec. 17 at 3 p.m. & 8 p.m.

Sun., Dec. 18 at 3 p.m.

HANDEL’S MESSIAH

Thur., Dec. 8 at 7:30 p.m.

Sat., Dec. 10 at 8 p.m.

Sat., Dec. 10 at 3 p.m.

Sun., Dec. 11 at 3 p.m.

Matthew Halls, conductor Nicola Benedetti, violin

Christopher Warren-Green, conductor

Bach Orchestral Suite No. 3 Handel Water Music Suite No. 1 Vivaldi The Four Seasons

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Handel’s grand masterpiece, a timeless classic that is a moving musical experience and sure to bring in the season.

OR CALL

313.576.5111 WWW.DSO.ORG

Profiles Mason Bates

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Friday, November 25, 2011 at 8:00 p.m.

Saturday, November 26, 2011 at 8:00 p.m.

Sunday, November 27, 2011 at 3:00 p.m. in Orchestra Hall Leonard Slatkin, conductor Mason Bates, electronica Mason Bates The B-Sides: Five Pieces for Orchestra (b. 1977) & Electronica I. Broom of the System II. Aerosol Melody (Hanalei) III. Gemini in the Solar Wind IV. Temescal Noir V. Warehouse Medicine Mason Bates, electronica

Franz Schubert Symphony No. 8 in B minor, D.759, (1797-1828) “Unfinished” Allegro Moderato Andante con Moto

I N T ER M ISSION Sergei Rachmaninoff Symphony No. 3 in A minor, Op. 44 (1873-1943)

Lento – Allegro moderato Adagio ma non troppo Allegro

This Classical Series concert is generously sponsored by

The music of Mason Bates fuses innovative orchestral writing, imaginative narrative forms, the harmonies of jazz and the rhythms of techno.

Frequently performed by orchestras large BATES and small, his symphonic music has been the first to receive widespread acceptance for its expanded palette of electronic sounds, and it is championed by leading conductors such as Michael Tilson Thomas, Leonard Slatkin, and John Adams. He has become a visible advocate for bringing new music to new spaces, whether through institutional partnerships such as his residency with the Chicago Symphony, or through his classical/DJ project Mercury Soul, which has transformed spaces ranging from commercial clubs to Frank Gehry-designed concert halls into exciting, hybrid musical events drawing over 1,000 people.

This season, Riccardo Muti and the Chicago Symphony premiere Alternative Energy, an “energy symphony” that spans four movements and hundreds of years.

Another major commission, Mass Transmission, premiered at the San Francisco Symphony’s Mavericks Festival, and the composer serves as this season’s Project San Francisco artist-in-residence at the SFS. The London Symphony Orchestra and Michael Tilson Thomas recently recorded Mothership, and the work was subsequently premiered at the Sydney Opera House by the YouTube Symphony to an online audience of 1.8 million.

Appearing on programs from the Detroit Symphony to Portugal’s famed Casa da Musica is The B-Sides, a dance suite that drops into five surreal landscapes. Many purely acoustic works complement his diverse catalogue, such as Desert Transport, recently conducted by Marin Alsop at the Cabrillo Festival, and Observer in the Magellanic Cloud, which toured with the superstar chorus Chanticleer.

PVS Chemicals, Inc.

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

Leonard Slatkin biography, see page 20.

Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances.

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

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PERFORMANCE / VOL . X X / FALL 2011

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Program Notes The B-Sides: Five Pieces for Orchestra and Electronica MASON BATES

B. January 23, 1977, Philadelphia, Pennsylvania

Scored for two flutes (second doubling on piccolo), two oboes (second doubling on English horn), two clarinets (second doubling on bass clarinet) E-flat clarinet (doubling on bass clarinet), two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba; timpani and three percussionists (playing Bass

Broom of the System Aerosol Melody (Hanalei) Gemini in the Solar Wind Temescal Noir Warehouse Medicine

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GRAND VALLEY STATE UNIVERSITY PRESENTS

FALL ARTS CELEBRATION

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ENRICHING THE ARTS AND HUMANITIES IN WEST MICHIGAN

GVSU Music Department presents

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

Poetry Night

“An Evening of Poetry and Conversation with Ted Kooser and Terrance Hayes�

FRIDAY, OCTOBER 21, 7 P.M. L.V. EBERHARD CENTER, 2ND FLOOR ROBERT C. PEW GRAND RAPIDS CAMPUS

MONDAY, SEPTEMBER 12, 8 P.M. LOUIS ARMSTRONG THEATRE PERFORMING ARTS CENTER ALLENDALE CAMPUS

Distinguished Academic Lecturer

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

Drum, Large Broom, Castanets, Crash Cymbals, Djembe, Glockenspiel, Marimba, Oil Drum, Sandpaper Blocks, Snare Drum, Suspended Cymbal, Tambourine, Triangle, Typewriter, Vibraphone, Wood Block), harp, piano (doubling celeste), strings and electronica (approximately 20 minutes).

GVSU Music and Dance Faculty and Students present

“The Spanish Tradition: Manuel de Falla, El Corregidor y la Molinera�

THURSDAY, SEPTEMBER 22, 7 P.M. L.V. EBERHARD CENTER, 2ND FLOOR ROBERT C. PEW GRAND RAPIDS CAMPUS

MONDAY, OCTOBER 24, 8 P.M. LOUIS ARMSTRONG THEATRE PERFORMING ARTS CENTER ALLENDALE CAMPUS

Art Gallery Exhibition

A Fall Arts Celebration Holiday Gift

“Arte Argentino Actual/ Contemporary Argentine Art�

“Gloria: Music of the Holiday Season from Grand Valley�

OPENING RECEPTION THURSDAY, OCTOBER 6, 5–7 P.M. ART GALLERY PERFORMING ARTS CENTER ALLENDALE CAMPUS

MONDAY, DECEMBER 5, 8 P.M. FOUNTAIN STREET CHURCH 24 FOUNTAIN STREET NE GRAND RAPIDS, MI

EXHIBITION DATES: OCTOBER 6–NOVEMBER 4 GRAND VALLEY STATE UNIVERSITY THANKS THE FOLLOWING SPONSORS FOR THEIR COMMITMENT TO THE ARTS AND THEIR GENEROUS SUPPORT OF FALL ARTS CELEBRATION 2011: *LQQ\ *HDUKDUW DQG WKH *HDUKDUW )DPLO\ ú /LHVHO DQG +DQN 0HLMHU (ODLQH DQG /DUU\ 6KD\ ú -XG\ DQG 3HWHU 7KHXQH

Fall Arts events are free and open to the public.

FOR COMPLETE SCHEDULE AND MORE DETAILED INFORMATION VISIT WWW.GVSU.EDU/FALLARTS/.

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Media Sponsor:

M

ason Bates is an American composer of symphonic music. An innovator in orchestration and large-scale form, Bates is perhaps best-known for his integration of electronica into the modern symphony orchestra.

Born in Philadelphia, Bates was raised in Richmond, Va., where he attended St. Christopher’s School. He graduated from the Columbia University-Juilliard School Exchange Program with a BA in music composition and English literature. His teachers have included John Corigliano, David Del Tredici and Samuel Adler. Bates has worked closely with conductors such as Leonard Slatkin, Michael Tilson Thomas and composer/conductor John Adams. He is currently the Mead composer-in-residence for the Chicago Symphony Orchestra.

The idea for The B-Sides came about during the intermission for a San Francisco Symphony Concert in November, 2007.

Conductor Michael Tilson Thomas invited the composer backstage to discuss the possibility of a new commission. He had in mind a series of five pieces, focusing on texture and sonority, similar to Schoenberg’s Five Pieces for Orchestra. The concept intrigued Bates, as it was the opposite from anything he had so far composed. “I had often imagined a suite of concise, off-kilter symphonic pieces, that would incorporate the grooves and theatrics of electronica in a highly focused manner,� Bates writes in his note to the piece. “So, like the forgotten bands from the flipside of an old piece of vinyl, The B-Sides offers brief landings on a variety of peculiar planets, unified by a focus on fluorescent orchestral sonorities and the morphing rhythms of electronica.�

The composer has provided the following description of The B-Sides: “The first stop is the dusky, circuit-board landscape of ‘Broom of the System.’ To the ticking of a future clock, our broom — brought to life by sandpaper blocks and, at one point, an actual broom — quietly and anonymously keeps everything running, like a chimney-sweep in a huge machine. The title is from a short-story collection by David Foster Wallace, though one could place the fairy-like broom in Borges’ Anthology of Fantastic Zoology. “The ensuing ‘Aerosol Melody (Hanalei)’ blooms on the North shore of Kauai, where a gentle, bending melody evaporates at cadence points. Djembe and springy pizzicati populate the strange fauna of this purely acoustic movement, inspired by several trips with the Fleishhacker family.

The lazy string glissandi ultimately put the movement, beachside, to sleep. “Gemini in the Solar Wind’ is a reWWW.DSO.ORG

imagination of the first American spacewalk, using actual communication samples from the 1965 Gemini IV voyage provided by NASA. In this re-telling, clips of words, phrases, and static from the original are rearranged to show Ed White, seduced by the vastness and mystery of space, deliriously unhooking from the spacecraft to drift away blissfully.

“The final vision of the coast of Northern California drops us down close to home.

The initial grit of ‘Temescal Noir,’ like the Oakland neighborhood of the title, eventually shows its subtle charm in hazy, jazz-tinged hues. Unbothered by electronics, this movement receives some industrious help in the rhythm department by a typewriter and oil drum. At its end, the broom returns in a cameo, again altering the tempo, and this propels us into “Warehouse Medicine.” An homage to techno’s birthplace — the empty warehouses of Detroit — the final stop on The B-Sides gives no quarter. Huge brass swells and outof-tune pizzicati emulate some of the visceral sonorities of techno, and on this pounding note The B-Sides bows out.

“The work is dedicated to Michael Tilson Thomas, whose impromptu composition lessons informed the work to an enormous degree, in addition to the countless concerts I have experienced while living in the Bay Area.

These performances of Mason Bates’ The B-Sides are a DSO premiere.

DSO SHOP @ THE MA X RECOMMENDS:

Mason Bates – The B-Sides: no recording currently available.

Symphony No. 8 in B minor, D. 759 “Unfinished” FRANZ PETER SCHUBERT

B. January 31, 1797, Vienna D. November 19, 1828, Vienna

Franz Schubert began his Symphony No. 8 in B minor on October 30, 1822, and abandoned it later that year with only two movements complete. Johann Herbeck conducted the first performance in Vienna on December 17, 1865.

The work is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani and strings.

M

uch confusion exists in the numbering of Schubert’s symphonies, the last of which is listed in most catalogs as No. 9; the “Unfinished” is now generally recognized as No. 8; his 7th (which exists as a full draft in four movements, with the first 110 bars fully WWW.DSO.ORG

scored) has been “completed” at least three separate times. In addition, a sketch of still another “unfinished” Schubert symphony (composed during the last months of his life), insubstantial but musically tantalizing, has actually been completed by musicologist and Schubert expert Brian Newbould; it is numbered as the 10th.

The reason for much of this confusion is that the widespread recognition of Schubert’s genius was incredibly slow. Some of his shorter works were printed immediately following his death in 1828, but the manuscripts of many of the longer ones (whose existence was not widely known) remained hidden for years in the cabinets and file boxes of Schubert’s family, friends and even his publishers. Even some of Schubert’s friends were unaware of the scope of his work and for many years he was mainly regarded as the “prince of song.”

The most important step towards the recovery of Schubert’s neglected works was undoubtedly the journey to Vienna which Sir George Grove (widely known for the Grove Dictionary of Music and Musicians) and Sir Arthur Sullivan made in the autumn of 1867. The travellers rescued seven symphonies from oblivion, the incidental music to Rosamunde, some of the Masses and operas, some of the chamber works, and a vast quantity of miscellaneous pieces and songs. This important expedition led to widespread public interest in Schubert’s work.

Theories abound as to why Schubert abandoned what, for all intents and purposes, seemed to be a perfectly good symphony, making no effort whatsoever to complete it. Some have theorized that the symphony had in fact been finished, but that the last movement was lost; others maintain that he intended it to be a two-movement work (a theory that has also been refuted). A third theory, more plausible, is put forth by American musicologist Martin Chusid, who claims that by 1822 Schubert had fallen under the musical influence of Beethoven.

Upon reaching the third movement of his B-minor symphony, he realized that it was all too similar to Beethoven’s Second Symphony. There seemed no good way to resolve the problem, so the composer set the work aside, half-finished, and moved on.

To anyone used to the 18th-century definition of a symphony, the opening of the “Unfinished” would have been bewildering indeed. The opening measures — a low murmur in the cellos and basses — strike one at first as the prelude to a standard Allegro movement (along the lines of Haydn’s Paukenschlag Symphony). But as the movement continues in the same inexorable

vein, the listener realizes that Schubert has not merely written another symphony — he has rethought the genre.

Most apparent in the Andante con moto is Schubert’s extraordinary gift for melody — no surprise to those who know him primarily as a composer of song. But what drives the movement is not only melody; it is the interplay between melody and accompaniment: a gentle, pizzicato bass for the first theme, an anguished and offbeat figure for the second. Counterpoint may not have been Schubert’s strength, but when he makes use of it, as he does here, he invests it with the same raw power as Beethoven did.

While many attempts have been made to include Schubert as part of the Romantic movement in music, in the last analysis he must be counted among the Classical composers. Even though his youthful exuberance caused him at times to modify or distort established Classical forms, he would have been unable to dispense with them entirely, as was later the tendancy with the Romantics. Except for his Fourth Symphony, none of his works has a subtitle of his authorship, nor any program; none is labelled with extra-musical hints. On the contrary, Schubert’s work grew more conventional as he matured.

The DSO last performed Schubert’s Symphony No. 8 in B minor in May, 2010, with Sir Roger Norrington conducting.

DSO SHOP @ THE MA X RECOMMENDS:

Schubert – Symphony No. 8 in B minor, “Unfinished”: Charles Mackerras conducting the Scottish Chamber Orchestra, Telarc 80502.

Symphony No. 3 in A minor, Op. 44 SERGEI RACHMANINOFF

B. April 1, 1873, Semyonovo D. March 28, 1943, Beverly Hills, CA

Sergei Rachmaninoff ’s Symphony No. 3 in A minor was premiered November 6, 1936, with Leopold Stokowski conducting the Philadelphia Orchestra. The score calls for two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, harp, celeste and strings (Approximately 39 minutes).

S

ergei Vasilievich Rachmaninoff was a Russian composer, pianist and conductor.

As a composer, he was one of the last great representatives of late Russian romanticism.

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Early influences of Tchaikovsky, RimskyKorsakov and other Russians were transmuted into a thoroughly personal style which included a pronounced lyricism, a striking gift for melody, expressive breadth, structural ingenuity and a tonal palette of rich, distinctive orchestral colors.

Rachmaninoff was born into a noble family of Tatar descent, one that had been in the service of the Czars since the 16th century. At the age of 4 his mother began to give him piano lessons. Sergei later studied at the St. Petersburg Conservatory, then moved alone to Moscow to study piano under Zverev and Siloti. In his early years he showed great promise as a composer, writing the one-act opera Aleko while still a student.

In Moscow he met Tchaikovsky, who became an important mentor to him.

Tchaikovsky’s sudden death in 1893 was a shock to Rachmaninoff, who composed a Trio élégiaque in his memory.

In spite of his misgivings with regard to the changing musical trends of his time, Rachmaninoff did some careful calculating while composing the Third Symphony.

Significant thematic relationships form bridges between the three movements.

Sketches for the work go back to 1931 and, in one instance, to a point much earlier in the composer’s career. The end result is a powerful and yet sentimental work from a 28

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mature composer at the height of his powers, who succeeded in reining in some of the emotional excesses found in his problematic Symphony No. 1 in D minor and his emotionally charged Symphony No. 2 in E minor.

Rachmaninoff ’s Third Symphony is a more modern work than either of his preceding symphonies. Its themes and harmonic structure are more subtle and complex, and the works’ advanced style hints strongly at the composer’s final orchestral masterpiece, the eerie, astringent, darklyhued Symphonic Dances.

Though large in form, the opening movement maintains a classical balance: a brief introduction is followed by a sonataallegro with two main themes; then a development and recapitulation. The main theme draws the listener’s interest immediately due partly to its modal character, which is extensively examined before the cellos state a lyrical second theme.

A vibrant closing episode leads directly into an absorbing development of the main theme. The opening motto signals the return of all the themes in the recapitulation. The movement ends with the motto, plucked quietly by the strings.

The slow movement begins and also ends with a variant of the phrase, seemingly transformed into a mirror image of its first-

movement profile. The central section of the movement is a brisk scherzo, following the same plan as the composer’s Third Piano Concerto. The slow section returns to close the movement, with the phrase plucked quietly by the strings.

The longest of the three movements, the finale, is essentially another large sonataform movement, featuring a fugal development of its dance-like main theme.

Other themes insinuate their way into the movement, including the main theme from the slow movement and the motto from the opening movement. Whether intentionally or out of unconscious habit, the ubiquitous Dies Irae (“Day of Wrath”) plainchant melody makes its presence known throughout the symphony, and finds itself competing with the motto for control over the symphony’s closing pages.

The DSO last performed Rachmaninoff ’s Symphony No. 3 in A minor in March of 2004, conducted by Music Director Emeritus Neeme Järvi.

DSO SHOP @ THE MA X RECOMMENDS:

Rachmaninoff – Symphony No. 3: Leonard Slatkin conducting the St. Louis Symphony Orchestra, Vox 5034.

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DGGLWLRQDO ELRV IRU )HVWLYDO RI ÁXWHV LW LV XQGHWHUPLQHG LI WKLV ZLOO EH DQ LQVHUW RU SDUW RI WKH ERRN 73 at the National Diploma from the Royal Academy of Music Lady Jeanne Galway Flute Association convention She is cofounder Lady Jeanne Galway is one of the leading female flute soloists of the decade. Her touring schedule regularly takes her to many major American cities to perform as soloist with orchestras such as GALWAY Chicago, Philadelphia, Pittsburgh, Seattle, Denver and the National Symphony. Internationally, she has appeared in the cultural capitals of the world including London, New York, Milan, Rome, Vienna, Salzburg, Zurich, Dublin, Belfast, Tokyo, Beijing and Singapore.

Lady Galway appears regularly as the premiere flute duo partner with her husband, Sir James Galway. In spring 2012 Lady Galway will tour South America in recital with her husband, giving master classes along the way.

In addition to her highly successful career as a soloist, Lady Galway is an accomplished chamber musician, touring regularly with her trio Zephyr (pianist Jonathan Feldman and cellist Darrett Adkins). Alongside their concert performances, they enjoy sharing their expertise as a group with the chamber musicians of tomorrow. The group’s first recording, Zephyr - Winds of Romance, includes works by Haydn, Martinu and Weber.

Her versatile concert engagements include performances in the presence of The Empress of Japan, HRH The Earl and Countess of Wessex, TRH The Duke and Duchess of Kent, The Queen of Norway, The Queen of Spain and most recently, while on tour in Israel, a private performance for President Shimon Peres.

Lady Galway dedicates much of her time to working with the younger generation through her articles, master classes and recordings. She is co-founder of the Galway Junior Network, an interactive website aimed towards the younger, less advanced flutist, offering tips and advice on flute playing, performing and career management. Both Sir James and Lady Galway direct their International Flute School in Weggis, Switzerland each summer, which gives them the opportunity to personally nurture students of all levels.The 1st James Galway International Flute Competition will be held in Belfast, Northern Ireland in June 2012, in collaboration with the Ulster Orchestra, BBC Northern Ireland, Northern Ireland Tourist Board and the Northern Ireland Arts Council.

Jeffery Zook

Jeffery Zook has been a member of the Detroit Symphony Orchestra flute section since 1992. His formal musical studies began at the Interlochen Arts Academy and WWW.DSO.ORG continued at the University of Michigan. In 1988, he received the coveted Recitalists’

in London.

A prizewinner in many competitions, including the National Flute Association Young Artists Competition and William Byrd National Concerto Competition in Flint, Michigan, Mr. ZOOK Zook has also been the recipient of a grant from the National Endowment for the Advancement of the Arts.

Mr. Zook made his soloist debut with the DSO as a senior in high school, performing Mozart’s Concerto in C for Flute and Harp with harpist Yolanda Kondonassis at Ford Auditorium in 1982. Twenty years later, with Maestro Neeme Järvi conducting, he took the stage at Orchestra Hall to perform Vivaldi’s Piccolo Concerto.

From 2001–2007 he co-hosted a chamber music festival, “Concerts in the Barn at Applewood,” at his Ontario farm home in Dyer’s Bay with DSO Caroline Coade, violist, and Kerstin Allvin, harpist. In 2002, this group traveled and performed throughout Morocco and were featured on the nation’s television network.

As a recording artist, Mr. Zook has recorded extensively for the Music Minus One label and is featured with DSO flutist Sharon Sparrow on the popular band method book: Do It! Play in Band. In 2002, he teamed up with harpist Kerstin Allvin to produce Comfort and Joy! A Musical Celebration of Holiday Music for Flute and Harp.

He has taught at the University of Michigan and is currently on the faculty of Oakland University. He is also the current president of the Southeast Michigan Flute Association (SEMFA).

Sharon Sparrow

Sharon Sparrow has been a flutist with the Detroit Symphony for the past 11 years, most recently completing a year as Principal Flutist after winning a highly competitive international audition. An active SPARROW orchestral, solo and chamber musician in Michigan and the United States, Ms. Sparrow has been noted for her artistry, exquisite tone and musical interpretations.

In addition to her positions in Detroit, she has also performed with the Eastern Philharmonic Orchestra, Memphis Symphony, Fort Wayne Philharmonic, and the Hong Kong Philharmonic.

A much sought after clinician, Ms. Sparrow has taught master classes at Oberlin Conservatory, the Orchestral Flute Institute, University of Michigan, Interlochen Arts Academy and most recently in New York City

of the Detroit Flute Connection with her colleague, Jeffery Zook, whom she is currently working on a series of duets with based on Telemann’s Fantasies for Solo Flute. A dedicated advocate of musical education, she strives to promote awareness and enjoyment of classical music in all her endeavors, especially with children, and recently began a series of classes entitled “All Things Musical ”.

In October, Ms. Sparrow wrote and hosted a DSO show “A Musical Safari” for their Education Concert Series for school aged children of Metro Detroit. Last August in NYC at the NFA convention, her presentation entitled “6 Weeks To Finals” sparked much interest in her unique guide to orchestral auditioning, and her book of the same title should be available sometime within the year.

She received her Bachelor of Music from the Juilliard School and her Master of Music from Mannes College of Music, both in New York City. Ms. Sparrow was privileged to study under Julius Baker, Thomas Nyfenger and Geoffrey Gilbert.

Sharon resides in Grosse Pointe, Michigan with her two children, Hannah and Zachary.

Hai Xin Wu

The talented violinist, Hai Xin Wu joined the Detroit Symphony Orchestra in July 1995 and was appointed Assistant Concertmaster of DSO in June 2004.

Previously he has performed throughout the WU United States, Europe and his native China. At the age of 12, Wu was selected as the violin soloist of the Chinese Young Artists’ group to tour the former Yugoslavia. In May 1995, he made his Carnegie Hall debut in New York City, performing the Paganini Violin Concerto with the New York Concert Senior Orchestra.

Wu was also featured as soloist with the Pro Arte Chamber Orchestra in its 25th Anniversary Gala Concert in Alice Tully Hall, Lincoln Center, with the Manhattan Chamber Orchestra on its recording and Midwest tour, with Bergen Philharmonic (New Jersey), among the others.

Wu has won many competitions including the Waldo Mayo Violin Competition, the Friends of Bergen Philharmonic Orchestra Competition and the Manhattan School of Music Concerto Competition, as well as a special prize in the 2002 Lipizer International Competition. He earned his Bachelor of Music degree from the Manhattan School of Music as a scholarship student of Ariana Bronne.

In addition to performing with the DSO, Wu often plays with various chamber groups, such as thePERFORMANCE Detroit Chamber / VOL . XWinds X / FALL and 201 1 29 Strings and the Cuttime Players. From 1998-

DETROIT SYMPHONY ORCHESTRA

LEONARD SLATKIN, Music Director

Make Orchestra Hall Your Home for the Holidays POPS SERIES

PRESENTS

A NATALIE MACMASTER CHRISTMAS IN CAPE BRETON

HOLIDAY CLASSICS

Monday, Dec. 5 at 8 p.m.*

THE FOUR SEASONS!

Thur., Dec. 8 at 7:30 p.m.

Sat., Dec. 10 at 8 p.m.

Matthew Halls, conductor Nicola Benedetti, violin Bach Orchestral Suite No. 3 Handel Water Music Suite Vivaldi Four Seasons

HOME FOR THE HOLIDAYS Leonard Slatkin, conductor

Fri., Dec. 16 at 10:45 a.m.

Sat., Dec. 17 at 3 p.m. & 8 p.m.

Sun., Dec. 18 at 3 p.m.

HANDEL’S MESSIAH

Sat., Dec. 10 at 3 p.m.

Sun., Dec. 11 at 3 p.m.

Christopher Warren-Green, conductor Handel’s grand masterpiece, a timeless classic that is a moving musical experience and sure to bring in the season.

www.dso.org OR CALL 313.576.5111 28

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GROUPS OF 10 OR MORE PLEASE CALL 313.576.5130 WWW.DSO.ORG

GENERAL INFORMATION Parking Valet Parking is available on Woodward Avenue in front of the main entrance for $12 per vehicle. Secure Garage Parking is available for $7 per vehicle at the Orchestra Place Parking Deck on Parsons St. between Woodward Ave. and Cass Ave. For improved traffic flow, please enter Parsons St. from Cass Ave. DSO security personnel monitor the grounds of the Max and the parking deck, as well a surrounding streets during all events and concerts. The parking deck has reserved space for patrons with handicap permits.

Parking for Coffee Concerts is also available in the Orchestra Place Parking Deck. The DSO offers shuttle bus service to Coffee Concerts from selected locations. Call 313.576.5130 for more information.

during intermission. We invite you to place your beverage orders with the bartenders prior to the start of the concert and your order will be waiting for you at intermission!

Smoking The DSO is pleased to offer a smokefree environment at the Max M. Fisher Music Center. Smoking is not permitted anywhere inside the building. Patrons who wish to smoke must do so outside the building. An outdoor patio is also available on the second level of the Atrium Lobby.

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

Accessibility Parking is available in the Orchestra Place Parking Deck for patrons with handicap permits. There are elevators, barrier-free restrooms and accessible seating in all areas of the Max M. Fisher Music Center. Security personnel are available at the entrances to assist handicapped patrons in and out of vehicles.

Hearing assistance devices are available. Please see an usher prior to the performance.

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

Late Seating Policy The DSO makes every attempt to begin concerts on time. In deference to the comfort and listening pleasure of the audience, latecomers will be seated

after the conclusion of the first work on the program. Patrons who leave the hall before or during a work will be reseated after the work is completed.

Ushers will alert patrons as soon as it is possible to be seated. House lights are dimmed to indicate that the concert is about to begin. Latecomers will be able to watch the performance on closedcircuit television in the Atrium Lobby.

Cameras and Tape Recorders Non-flash photography and video recording by silenced handheld devices are allowed during DSO performances.

We encourage you to share your best pictures at www.facebook.com/ detroitsymphony.

Concert Cancellations To find out if a scheduled performance at the Max M. Fisher Music Center has been cancelled due to inclement weather, hazardous roads, power outages or other emergencies, call the Box Office at 313.576.5111, or tune in to WJR 760 AM and WWJ 950 AM. Pagers, Phones, Watches and Extraneous Sounds Cellular phones, pagers and alarm watches must be turned off while at the Max M. Fisher Music Center.

Patrons should speak to the House Manager to make special arrangements

to receive emergency phone calls during a performance. The DSO thanks you for your cooperation in avoiding any extraneous sounds during the concerts. The hall microphones used to record the orchestra are extremely sensitive and will even record the sound of a wristwatch chime.

Lost and Found See the House Manager or call 313.576.5121 during business hours.

Gift Certificates Give friends and loved ones a gift that lasts all year long—the experience of a DSO performance. Gift certificates are available in any denomination and may be used toward the purchase of DSO concert tickets. Visit the DSO Box Office at the Max M. Fisher Music Center or call 313.576.5111 for more information.

Max M. Fisher Music Center Rental Information The Max M. Fisher Music Center is an ideal setting for a variety of events and performances. For information on renting the facility, please call 313.576.5050. Rental information is also available online at www.dso.org/rent.

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Gabrielle Poshadlo Publications and Constituent Communications Coordinator

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

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

Jennifer Kouassi Front of House Manager

Tiiko Reese-Douglas Patron Engagement Officer

Heather Mourer Neighborhood Audience Development Manager

Eric Woodhams Manager of Digital Media and Engagement

B.J. Pearson Senior Manager of Event Operations WWW.DSO.ORG

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The DSO Education Department — an ecosystem of music learning DFFHVVLEOH Ȅ H[FHOOHQW Ȅ LQVSLUDWLRQDO Ȅ GLYHUVH Ȅ HPSRZHULQJ Super Saturdays

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

DSO @ Liggett

Civic Creative Jazz Ensemble

Civic Sinfonia

Detroit Symphony Orchestra

Educational Concert Series

Young People’s Concerts

Civic Philharmonic

Civic in Concert WRCJ

Civic Jazz Band

Orchestra Hall

Civic Wind Symphony

Allegro Civic String Orchestra

Pincus Education Center

Civic Orchestra

The Civic Experience

Civic Jazz Orchestra

Civic Baroque @ UPA

Leonard Slatkin

Tiny Tots

Civic Jazz Concert Band

Civic Chamber Music

Civic Creative Jazz Workshop

Music Learning Alliance

Civic Combo Program

CYE 2011-2012 Season Kick-off

Education Concert Series For more than 80 years the Education Concert Series (ECS) has introduced classical music to metro-Detroit school children with concerts featuring interactive classical programs for children in grades 3-8 and reaching 20,000 students annually. Performances last approximately 50 minutes. The series is composed of four free concerts at community schools and eight concerts performed at Orchestra Hall for $5 admission.

For a registration information form for ECS, visit dso.org, email ecs@dso.org or call 313.576.5599.

ECS CONCERT DATES Oct. 4, 10 a.m. Detroit School of Arts Free Oct. 4, 7:30 p.m. Woodhaven High School Free Nov. 10, 10 a.m. Renaissance High School Free Nov. 11, 10 a.m. Spain Elementary-Middle School Free Feb. 1, 2012, 10 a.m. and 11:15 a.m. Orchestra Hall, open to the public Feb. 2, 2012, 10 a.m. and 11:15 a.m. Orchestra Hall, open to the public March 7, 2012, 10 a.m. and 11:15 a.m. Orchestra Hall March 8, 2012, 10 a.m. and 11:15 a.m. Orchestra Hall

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

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

Music Preparatory Division

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WWW.DSO.ORG

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

4 pm

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

Sponsored by

Media Partner WRCJ 90.9 FM.

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

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

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

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

PROGRAM

PROGRAM

London Philharmonic Orchestra Vladimir Jurowski conductor Janine Jansen violin

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

Pintscher Mozart Tchaikovsky

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

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

Messiaen

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

Funded in part by an award from the National Endowment for the Arts.

Art Works.

Media Partners WGTE 91.3 FM and WDET 101.9 FM.

Call or click for tickets!

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

WWW.DSO.ORG

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L D MEMBERS OF THE MUSICAL LEGACY SOCIETY

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

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

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

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

WWW.DSO.ORG

S   D S O

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

Giving of $100,000 and more

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

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

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

Penny & Harold Blumenstein

Linda Dresner & Ed Levy, Jr.

Bernard & Eleanor Robertson

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

Mr. & Mrs. Phillip Fisher

Dr. & Mrs. Clyde Wu

Ms. Leslie Devereaux

Ruth & Al Glancy

Giving of $50,000 and more

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

Mr. & Mrs. Morton E. Harris

Mr. & Mrs. Donald Simon

Mr. & Mrs. Eugene Applebaum

Dr. Gloria Heppner

Arthur & Trudy Weiss

Mr. & Mrs. Francois Castaing

Mr. & Mrs. Richard P. Kughn

Mrs. Robert C. Comstock

Richard & Jane Manoogian Foundation

Mr. & Mrs. Raymond M. Cracchiolo

The Polk Family

Marvin & Betty Danto Family Foundation

Jack & Aviva Robinson

Herman & Sharon Frankel

Mr. & Mrs. Larry Sherman

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

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

† Deceased

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

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

Marjorie & Maxwell Jospey Foundation

Mr. & Mrs. Jonathan T. Walton

Ms. Margaret H. Demant

Mr. & Mrs. Herman W. Weinreich

John & Ann Diebel

Michael E. Smerza & Nancy Keppelman

Mrs. Beryl Winkelman

Ms. Barbara Diles David Elgin Dodge

David & Elizabeth Kessel

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

Diana & Mark Domin

Mr. William P. Kingsley

Ms. Judith Doyle

Mr. & Mrs. Harry A. Lomason II

Giving of $2,500 and more

Dr. & Mrs. Charles Lucas

Richard & Jiehan Alonzo

Elaine & Mervyn Manning

Dr. Lourdes V. Andaya

David & Valerie McCammon

Mr. & Mrs. Norman Ankers

Mr. Edward K. Miller

Dr. & Mrs. Ali-Reza R. Armin

Dr. & Mrs. Robert G. Mobley

Mr. David Assemany

Dr. Stephen and Dr. Barbara Munk

Ms. Ruth Baidas

David R. & Sylvia Nelson

Nora Lee & Guy Barron

Patricia & Henry Nickol

Martin & Marcia Baum

Ms. Mariam Noland and Mr. James Kelly

Ken & Mary Beattie

Ms. Jo Elyn Nyman

Mrs. John G. Bielawski

Mr. & Mrs. Arthur T. O’Reilly

Joseph & Barbra Bloch

Mr. & Mrs. Richard G. Partrich

Dr. & Mrs. Rudrick E. Boucher

Ms. Carol A. Friend & Mr. Mark Kilbourn

Mr. & Mrs. Donald E. Petersen

Gwen & Richard Bowlby

Mr. & Mrs. Daniel E. Frohardt-Lane

Dr. Glenda D. Price

Mr. Anthony F. Brinkman

Lynn & Bharat Gandhi

Jane Russell

Mr. Scott Brooks

Mr. & Mrs. William Y. Gard

Martie and Bob Sachs

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

Dr. & Mrs. Kenneth W. Gitlin

Philip & Carol Campbell

Robert & Mary Ann Gorlin

Elaine & Michael Serling

Ms. Nancy Henk

John J. Solecki

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

Mr. Richard A. Sonenklar Richard & Renate Soulen

Jean Holland

Dr. Calvin L. Stevens

Mr. & Mrs. Richard J. Jessup

Stephen & Phyllis Strome David Usher

Dr. & Mrs. John Bernick

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

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

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

Donor Spotlight

Richard and Mona Alonzo

Richard and Mona Alonzo have been devoted Detroit Symphony Orchestra subscribers for more than 30 years, in fact you can still find them in the same dress circle seats they purchased all those years ago. They first started attending concerts in 1969 at Ford Auditorium, when they moved to Richard’s native Detroit from Nashville in 1968. “My wife was a subscriber to the Nashville Symphony, so we couldn’t wait to start supporting the DSO when we got to Michigan,” said Richard.

Dick and Mona made their first of many philanthropic contributions in 1988. “I hardly remember that gift now since we’ve only increased our giving since then,” said Dick. “We’re hoping Detroit’s having a come-back and if you’re going to have a great city, you need a great symphony.”

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

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

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

WWW.DSO.ORG

Giving of $1,500 and more

Mr. & Mrs. Roger Van Weelden

Thomas & Judith Mich

Drs. Brian and Elizabeth Bachynski

Mr. & Mrs. William Waak

Ms. Deborah Miesel

Mr. J. Addison Bartush

Mrs. Lori Wathen

Bruce & Mary Miller

Linda & Maurice S. Binkow

Alan & Jean Weamer

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

Mr. & Mrs. G. Peter Blom

Mrs. Lawrence M. Weiner

Mr. Timothy J. Bogan

Rudolf E. Wilhelm Fund

Ms. Florence Morris

Ms. Jane Bolender

Jerry Williams

Mr. Frederick J. Morsches

Mr. Stephen V. Brannon

Beverly & Hadley Wine

Denise & Mark Neville

Mr. & Mrs. Gerald Bright

Frank & Ruth Zinn

Mr. & Mrs. Stanley Nycek

Carol A. & Stephen A. Bromberg

Mrs. Margot C. Parker

Ronald & Lynda Charfoos

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

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

The Honorable Walter Shapero

Mr. Richard Huttenlocher

Mr. Stephan Sharf

Mr. & Mrs. A. E. Igleheart

Coco & Robert Siewert

Ms. Elizabeth J. Ingraham

Mr. & Mrs. William Sirois

Ms. Kathryn Korns

Mr. & Mrs. Richard Sloan

Ms. Mary L. Kramer

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

Dolores & Paul Lavins

William H. & Patricia M.† Smith

Mr. Charles Letts

Dr. Gregory E. Stephens

Dr. & Mrs.† Stanley H. Levy

Mr. Clinton F. Stimpson, Jr.

Dr. Stephen Mancuso

Dr.† & Mrs. Charles D. Stocking

Mrs. John N. McNaughton

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

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

WWW.DSO.ORG

† Deceased

Foundation Spotlight

Mr. & Mrs. Alonzo L. McDonald

MADELEINE (MADGE) AND MANDELL (BILL) BERMAN

The Mandell L. and Madeleine H. Berman Foundation The Detroit Symphony Orchestra’s relationship with Mandell (Bill) and Madeleine (Madge) Berman began 32 years ago. They were large contributors to the restoration campaign in 1986 and later to the building campaign that spanned from 1994-2003.

Their foundation has also played the leading role in supporting the Civic Wind Ensemble, an integral part of the Detroit Symphony Orchestra’s education program. The Bermans’ support is vital to furthering the DSO’s goal to culturally enrich southeast Michigan and engage our children with music training and exposure to programs that build future audiences.

Fittingly, the Civic Wind Ensemble performed most recently at the opening of the Berman Theater at the West Bloomfield Jewish Community Center in May, along with DSO’s Civic Orchestra and guest artist Patti LuPone. The Ensemble’s next performance is on Nov. 5 during the Fall Civic Experience I at 1 p.m.

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S  F  O

The Detroit Symphony Orchestra acknowledges and honors the following foundations and organizations for their contributions to support the Orchestra’s performances, education programming, and other annual operations of the organization. This honor roll reflects both fulfillments of previous commitments and new gifts during the period beginning September 1, 2010 through August 31, 2011. We regret the omission of gifts received after this print deadline.

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

$300,000 and More

Corporate Spotlight

TARGET CORPORATION

The DSO is pleased to recognize the support and commitment of Target Corporation. As a corporate partner, Target has helped the DSO present free family-friendly summer programming offered throughout the metro Detroit community. Target is one of the DSO’s largest corporate supporters whose contribution continues to evolve.

Since the day Target opened its doors in 1962, the company has dedicated five percent of its income to partnering with organizations to make positive changes in the community through education, the arts, social services and volunteerism. Today that equals more than $3 million every week.

Target believes in the power of partnerships with leading institutions and organizations to foster creativity, promote learning and build stronger communities.

Like these partnerships, Target signature programs are designed to inspire learning and enlighten children and families.

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Community Foundation for Southeast Michigan Ford Foundation McGregor Fund

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

Myron P. Leven Foundation

Eleanor and Edsel Ford Fund

Oliver Dewey Marcks Foundation

Ann and Gordon Getty Foundation

Metlife Foundation

Sally Mead Hands Foundation

Sage Foundation

The Alice Kales Hartwick Foundation

State of Michigan

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

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

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

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C S   DSO $500,000 and More

PVS Chemicals, Inc.

Jim Nicholson

CEO, PVS Chemicals

$100,000 and More

President, Chairman and CEO, DTE Energy Corporation

Gerard M. Anderson

Fred Shell President, DTE Energy Foundation

President & CEO, Ford Motor Company

Timothy Wadhams

Melonie Colaianne

Cynthia J. Pasky

President and CEO, MASCO Corporation

President, Masco Corporation Foundation

Alan Mullaly

President & CEO, Strategic Staffing Solutions

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

$1,000 and more

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

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

WWW.DSO.ORG

James Vella

President, Ford Motor Company Fund

Paul M. Huxley Chairman, Strategic Staffing Solutions

Tetsuo Iwamura

President and CEO, American Honda Motor Co.

Gregg Steinhafel

Chairman, President and CEO, Target Corporation

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

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

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UPCOMING EVENTS SUNDAY

MONDAY

TUESDAY

WEDNESDAY

THURSDAY

2

November

1

FRIDAY

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

3

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

SATURDAY

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

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

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

11

Pops Special Chris Botti 8 p.m. OH

12

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

18

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

19

5

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

6

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

13

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

7

8

9

10

15

16

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

Bianchi Pops Special Chris Botti 3 p.m. OH

14

Galway

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

20

21

22

23

24

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

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

1

Civic Jazz Live 6:30 p.m.

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

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

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

29

30 December

28

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

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

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

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

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

Marsalis

5

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

6

7

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

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

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

8

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

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

Benedetti

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

12

13

14

15

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

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

19

20

21

22

23

24

26

27

28

29

30

31

Honda Power of Dreams 7 p.m. OH

25

OH Orchestra Hall MB Music Box AH Allesee Hall

38

PERFORM ANCE / VOL . X X / FALL 201 1

For tickets visit www.dso.org or call 313.576.5111

WWW.DSO.ORG

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And the state will give back.

So you want to give to improve neighborhoods, support the arts, even make greener parks. The Community Foundation for Southeast Michigan can help and can keep your donation giving for generations to come. And until the end of the year, when you give, the state will give back too. But hurry, your state tax credit expires after December 31, 2011.

Visit CFSEM.org or call 1- 888-WE-ENDOW for more information about how to take advantage of the state of Michigan tax credit.

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