Performance magazine – Fall Issue 1 – 2022-23 Season

PERFORMANCE

10 The DSO Welcomes Robyn Bollinger

The

Community & Learning 17-40

Program Notes

Read Performance anytime, anywhere at dso.org/performance

The Detroit Symphony Orchestra impacts lives through the power of unforgettable musical experiences by sustaining a world class orchestra for our city and the global community.

ON THE COVER: DSO Concertmaster Robyn Bollinger, plus 2022-2023 season guest artists Jonathon Heyward (photo by Laura Thiesbrummel), Daniil Trifonov (photo by Dario Acosta), and Michelle Merrill.

Dear Friends, Welcome to Orchestra Hall for the 2022-2023 season by your Detroit Symphony Orchestra! Thank you to all who returned last year, and to those who are coming back for the first time since the pan demic began—we missed you! If this is your first experience with the DSO, we thank you for choosing to spend your time with us and hope you join us again soon.

The DSO’s new season of PVS Classical Series concerts under Music Director Jader Bignamini promises spectacular performances across a wide spectrum of composers and guest artists. This fall, Jader conducts Mahler’s mighty Symphony No. 2 for the first time and continues his survey of works by Florence Price and Joseph Bologne/Chevalier de Saint-Georges. The Mahler 2 concerts will feature a pair of outstanding singers, soprano Janai Brugger and mezzo-soprano J’Nai Bridges, and Jader will be joined by acclaimed pianists Emanuel Ax and Daniil Trifonov for the second piano concertos of Chopin and Brahms, respectively. We also welcome back three supremely talented guest conductors, Matthias Pintscher, Enrique Mazzola, and Jonathon Heyward, who in July was named music director of the Baltimore Symphony one week after making his DSO debut on the William Davidson Neighborhood Concert Series.

Our PNC Pops Series is also strong, with Principal Pops Conductor Jeff Tyzik leading two programs this fall— Prohibition and Sci-Fi Spectacular—and former Associate Conductor Michelle Merrill returns to Orchestra Hall for our annual Home for the Holidays concerts. Trumpeter and composer Terence Blanchard, the DSO’s Fred A. Erb Jazz Creative Director Chair, kicks off our Paradise Jazz Series, with highlights in the coming months including Arturo O’Farrill with the Afro-Latin Jazz Ensemble and A Charlie Brown Christmas with Cyrus Chestnut and Friends. Young People’s Family Concerts offer Halloween at Hogwarts and Tale of the Firebird, and Tiny Tots—for our youngest concertgoers—returns to The Cube for the first time since 2019.

With such a huge variety, we have made it even easier to experience all the DSO has to offer while also providing a high level of scheduling flexibility. These days, we under stand it’s harder for some of you to commit to a big subscription of concerts over a long period of time. So, with our Create Your Own series, you can pick three or four concerts with easy return and exchange options if your plans change. And for the first time, you can select concerts across our many different series. Visit dso.org/create to get started.

Lastly, join us in extending a big Detroit welcome this fall to six new DSO musicians who all won their auditions over the past year: Concertmaster Robyn Bollinger (Katherine Tuck Chair), Violins Elizabeth Furuta and Daniel Kim, Principal Bassoon Conrad Cornelison (Byron and Dorothy Gerson Chair), Bass Trombone Adam Rainey, and Flute Fellow Shantanique Moore. We also welcome new DSO Assistant Conductor and Detroit Symphony Youth Orchestra Music Director Na’Zir McFadden (Phillip and Lauren Fisher Community Ambassador). Learn more about these wonderful musicians at dso.org and read on for this issue’s cover story introducing the DSO’s new concertmaster.

Enjoy your concert!

Erik Rönmark Mark Davidoff, Chair President and CEO Board of Directors

FIRST VIOLIN

Robyn Bollinger

CONCERTMASTER

Katherine Tuck Chair

Kimberly Kaloyanides Kennedy

ASSOCIATE CONCERTMASTER

Schwartz and Shapero Family Chair

Hai-Xin Wu

ASSISTANT CONCERTMASTER

Walker L. Cisler/Detroit Edison Foundation Chair

Jennifer Wey Fang

ASSISTANT CONCERTMASTER

Marguerite Deslippe*

Laurie Goldman*

Rachel Harding Klaus*

Eun Park Lee*

Adrienne Rönmark*

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

SECOND VIOLIN

Adam Stepniewski

ACTING PRINCIPAL

The Devereaux Family Chair

Will Haapaniemi*

David and Valerie McCammon Chairs

Hae Jeong Heidi Han*

David and Valerie McCammon Chairs

Elizabeth Furuta*

Sheryl Hwangbo Yu*

Daniel Kim*

Sujin Lim*

Hong-Yi Mo *

Alexandros Sakarellos* Drs. Doris Tong and Teck Soo Chair

Marian Tanau* Alexander Volkov* Jing Zhang*

VIOLA

Eric Nowlin

PRINCIPAL

Julie and Ed Levy, Jr. Chair

James VanValkenburg

ASSISTANT PRINCIPAL

Caroline Coade

Henry and Patricia Nickol Chair

Glenn Mellow

Hang Su

Shanda Lowery-Sachs

Hart Hollman

Han Zheng Mike Chen

DETROIT SYMPHONY ORCHESTRA

DETROIT SYMPHONY ORCHESTRA

CELLO

Wei Yu

PRINCIPAL

Abraham Feder

ASSISTANT PRINCIPAL

Dorothy and Herbert Graebner Chair

Robert Bergman*

Jeremy Crosmer*

Victor and Gale Girolami Cello Chair

David LeDoux*

Peter McCaffrey* Joanne Deanto and Arnold Weingarden Chair

Una O’Riordan* Mary Ann & Robert Gorlin Chair Cole Randolph*

BASS

Kevin Brown

PRINCIPAL Van Dusen Family Chair

Stephen Molina ASSISTANT PRINCIPAL Christopher Hamlen Brandon Mason Nicholas Myers^

HARP OPEN  PRINCIPAL Winifred E. Polk Chair

FLUTE

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

Amanda Blaikie Morton and Brigitte Harris Chair

Sharon Sparrow ASSISTANT PRINCIPAL Bernard and Eleanor Robertson Chair

Jeffery Zook Shantanique Moore §

PICCOLO

Jeffery Zook Shari and Craig Morgan Chair

OBOE

Alexander Kinmonth PRINCIPAL Jack A. and Aviva Robinson Chair

Sarah Lewis ASSISTANT PRINCIPAL Monica Fosnaugh

ENGLISH HORN

Monica Fosnaugh Shari and Craig Morgan Chair

CLARINET

Ralph Skiano PRINCIPAL Robert B. Semple Chair Jack Walters PVS Chemicals Inc./ Jim and Ann Nicholson Chair Shannon Orme

E-FLAT CLARINET

OPEN

BASS CLARINET

Shannon Orme Barbara Frankel and Ronald Michalak Chair

BASSOON

Conrad Cornelison PRINCIPAL Byron and Dorothy Gerson Chair Michael Ke Ma ASSISTANT PRINCIPAL Marcus Schoon Jaquain Sloan §

CONTRABASSOON Marcus Schoon

HORN Karl Pituch PRINCIPAL Johanna Yarbrough

Scott Strong Ric and Carola Huttenlocher Chair

David Everson ASSISTANT PRINCIPAL Mark Abbott

TRUMPET

Hunter Eberly PRINCIPAL Lee and Floy Barthel Chair

Stephen Anderson ASSISTANT PRINCIPAL William Lucas

TROMBONE

Kenneth Thompkins PRINCIPAL David Binder Adam Rainey

BASS TROMBONE

Adam Rainey

TUBA Dennis Nulty PRINCIPAL

TIMPANI

Jeremy Epp PRINCIPAL Richard and Mona Alonzo Chair James Ritchie ASSISTANT PRINCIPAL

PERCUSSION

Joseph Becker

PRINCIPAL Ruth Roby and Alfred R. Glancy III Chair Andrés Pichardo-Rosenthal ASSISTANT PRINCIPAL William Cody Knicely Chair James Ritchie

LIBRARIANS

Robert Stiles PRINCIPAL Ethan Allen

LEGACY CHAIRS

Principal Flute Women’s Association for the DSO Principal Cello James C. Gordon

Personnel Managers

Patrick Peterson DIRECTOR OF ORCHESTRA PERSONNEL Benjamin Tisherman MANAGER OF ORCHESTRA PERSONNEL Nolan Cardenas AUDITION AND OPERATIONS COORDINATOR

Stage Personnel

Dennis Rottell STAGE MANAGER

William Dailing DEPARTMENT HEAD

Ryan DeMarco DEPARTMENT HEAD

Kurt Henry DEPARTMENT HEAD

Steven Kemp DEPARTMENT HEAD

Matthew Pons DEPARTMENT HEAD

LEGEND

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

^ Extended Leave

§ African American Orchestra Fellow

MUSIC DIRECTOR

E D ORCHESTRA

JA DER BIGNA M I NI MUSIC DIRECTOR

A COMMU N I T Y -SU P P ORT E D ORCHESTRA

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

TERENCE BLANCHARD Fred A. Erb Jazz Creative Director Chair

NEEME JÄRVI Music Director Emeritus

LEONARD SLATKIN Music Director Laureate

JEFF TYZIK Principal Pops Conductor

Jader Bignamini

MUSIC DIRECTORSHIP ENDOWED BY THE KRESGE FOUNDATION

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

A native of Crema, Italy, Jader studied at the Piacenza Music Conservatory and began his career as a musician (clarinet) with Orchestra Sinfonica La Verdi in Milan, later serving as the group’s resident con ductor. Captivated by the symphonies of greats like Mahler and Tchaikovsky, Jader explored their complexity and power, puzzling out the role that each instrument played in creating a larger-than-life sound. When he conducted his first professional concert at the age of 28, it didn’t feel like a departure, but an arrival.

In the years since, Jader has conducted

some of the world’s most acclaimed orchestras and opera companies in venues across the globe including work ing with Riccardo Chailly on concerts of Mahler’s Eighth Symphony in 2013 and his concert debut at La Scala in 2015 for the opening season of La Verdi Orchestra. Recent highlights include debuts with The Cleveland Orchestra, New Jersey Symphony Orchestra, Dallas Symphony Orchestra, and Minnesota Orchestra; the Osaka Philharmonic and Yomiuri Nippon Symphony Orchestra in Tokyo; Madama Butterfly with the Metropolitan Opera, Vienna State Opera, and Dutch National Opera; Gianni Schicchi with Canadian Opera Company; Rigoletto with Oper Frankfurt; La Traviata with Bayerische Staatsoper; I Puritani in Montpellier for the Festival of Radio France; Traviata in Tokyo directed by Sofia Coppola; Andrea Chénier at New National Theatre in Tokyo; Rossini’s Stabat Mater at Rossini Opera Festival in Pesaro, Italy; Rossini’s Petite messe solennelle at Teatro dell’Opera in Rome; return engagements with Oper Frankfurt (La forza del destino) and Santa Fe Opera (La Bohème); Manon Lescaut at the Bolshoi; Traviata, Madama Butterfly, and Turandot at Arena of Verona; Il Trovatore and Aida at Rome’s Teatro dell’Opera; Madama Butterfly, I Puritani, and Manon Lescaut at Teatro Massimo in Palermo; Simon Boccanegra and La Forza del Destino at the Verdi Festival in Parma; and La Bohème, Madama Butterfly, and Elisir d’amore at La Fenice in Venice.

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

Jeff Tyzik

PRINCIPAL POPS CONDUCTOR

Grammy Award

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

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

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

Visit jefftyzik.com for more.

Terence Blanchard

FRED A. ERB JAZZ CREATIVE DIRECTOR CHAIR

Trumpeter, bandleader, composer, and educator Terence Blanchard has served as the DSO’s Fred A. Erb Jazz Creative Director Chair since 2012. Blanchard has performed and recorded with many of jazz’s superstars and currently leads the celebrated E-Collective. He is also wellknown for his decades-long collaboration with filmmaker Spike Lee, scoring more than 15 of Lee’s movies since the early 1990s. 2018’s BlacKkKlansman earned Blanchard his first Academy Award nomination, with a second Academy Award nomination in 2021 for Da 5 Bloods. In and out of the film world, Blanchard has received 14 Grammy nominations and six wins, as well as nominations for Emmy, Golden Globe, Sierra, and Soul Train Music awards.

Blanchard’s second opera Fire Shut Up in My Bones, based on the memoir of New York Times columnist Charles Blow, opened The Metropolitan Opera’s 20212022 season, making it the first opera by an African American composer to premiere at the Met. With a libretto by Kasi Lemmons, the opera was commissioned by Opera Theatre of Saint Louis where it premiered in 2019. The New York Times called it “inspiring,” “subtly powerful,” and “a bold affecting adaptation of Charles Blow’s work.” Blanchard’s first opera, Champion, also premiered to critical acclaim in 2013 in St. Louis and starred Denyce Graves with a libretto from Pulitzer Prize Winner Michael Cristofer. Visit terenceblanchard.com for more.

DETROIT SYMPHONY ORCHESTRA, INC.

LIFETIME MEMBERS

Samuel Frankel◊

Stanley Frankel

David Handleman, Sr.◊

Dr. Arthur L. Johnson ◊ James B. Nicholson

Clyde Wu, M.D.◊

Floy Barthel

Chacona Baugh

Penny B. Blumenstein

Richard A. Brodie

Lois Cohn Marianne Endicott

CHAIRS EMERITI

Peter D. Cummings

Phillip Wm. Fisher

Stanley Frankel

DIRECTORS EMERITI

Sidney Forbes

Barbara Frankel

Herman H. Frankel Dr. Gloria Heppner

Ronald Horwitz

Harold Kulish

Bonnie Larson

David McCammon

David R. Nelson

William F. Pickard, Ph.D. Marilyn Pincus

Lloyd E. Reuss

Robert S. Miller

James B. Nicholson

Marjorie S. Saulson

Alan E. Schwartz

Jane Sherman Barbara Van Dusen Arthur A. Weiss

Mark A. Davidoff Chair

Erik Rönmark President & CEO

David T. Provost Vice Chair

OFFICERS OF THE BOARD OF DIRECTORS

Faye Alexander Nelson Treasurer

Hon. Kurtis T. Wilder (Ret) Secretary

Pamela Applebaum Officer at Large

Ralph J. Gerson Officer at Large Glenda D. Price, Ph.D. Officer at Large

BOARD OF DIRECTORS

Shirley Stancato Officer at Large

James G. Vella Officer at Large

Directors are responsible for maintaining a culture of accountability, resource development, and strategic thinking. As fiduciaries, Directors oversee the artistic and cultural health and strategic direction of the DSO.

David Assemany, Governing Members Chair

Elena Centeio

Aaron Frankel

Herman B. Gray, M.D., M.B.A.

Laura HernandezRomine

Rev. Nicholas Hood III Richard Huttenlocher Renato Jamett, Trustee Chair

Daniel J. Kaufman

Michael J. Keegan

Arthur C. Liebler

Xavier Mosquet

Arthur T. O’Reilly

Stephen Polk

Bernard I. Robertson Scott Strong, Orchestra Representative Nancy Tellem

Laura J. Trudeau

Dr. M. Roy Wilson

David M. Wu, M.D. Johanna Yarbrough, Orchestra Representative

BOARD OF TRUSTEES

Renato Jamett, Chair

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

Renato Jamett, Trustee Chair

Ismael Ahmed Richard Alonzo

Hadas Bernard Janice Bernick

Elizabeth Boone Gwen Bowlby Marco Bruzzano

Margaret Cooney Casey Karen Cullen Joanne Danto Stephen D’Arcy Maureen T. D’Avanzo Jasmin DeForrest

Afa Sadykhly Dworkin James C. Farber Linda Forte Carolynn Frankel Maha Freij

Christa Funk Robert Gillette Jody Glancy Malik Goodwin Mary Ann Gorlin Donald Hiruo Michelle Hodges Julie Hollinshead John Jullens David Karp Joel D. Kellman

Jennette Smith Kotila Leonard LaRocca William Lentine Linda Dresner Levy Florine Mark Anthony McCree Kristen McLennan Tito Melega

Lydia Michael

Lois A. Miller Daniel Millward H. Keith Mobley Scott Monty Shari Morgan Sandy Morrison Frederick J. Morsches

Jennifer Muse, NextGen Chair Nicholas Myers, Musician Representative Sean M. Neall Eric Nemeth Maury Okun Vivian Pickard Denise Fair Razo Gerrit Reepmeyer Richard Robinson James Rose, Jr. Laurie Rosen

Elana Rugh Marc Schwartz Carlo Serraiocco Lois L. Shaevsky Mary Shafer Cathryn M. Skedel, Ph.D. Ralph Skiano, Musician Representative Richard Sonenklar Rob Tanner Yoni Torgow Gwen Weiner Donnell White Jennifer Whitteaker R. Jamison Williams Margaret E. Winters Ellen Hill Zeringue

Janet & Norm Ankers, Chairs

MAESTRO CIRCLE EXECUTIVE COMMITTEE

Cecilia Benner Joanne Danto

Gregory Haynes Bonnie Larson

Lois Miller Richard Sonenklar

MEET NEW DSO CONCERTMASTER

ROBYN BOLLINGER

In July, the Detroit Symphony Orchestra announced ROBYN BOLLINGER as its next Concertmaster (Katherine Tuck Chair) to commence with the 20222023 season. She will be one of six new musicians in the DSO this fall, joining Principal Bassoon Conrad Cornelison (Byron and Dorothy Gerson Chair), violinists Elizabeth Furuta and Daniel Kim, bass trombone Adam Rainey, and flute fellow Shantanique Moore. We sat down with Robyn ahead of her appointment to discuss all things music, her love of the violin, what she is looking forward to in Detroit, and what it means to be the youngest female concertmaster in the United States.

By HANNAH ENGWALL ANd SARAH SMARCH

Anative of Philadelphia, Robyn grew up in a classical music household, with her dad, Blair, a bass trombonist in the Philadelphia Orchestra, and her mom, Gerry, an educator and violist in The Philly Pops. Growing up backstage, she went to her first rehearsal at just two weeks old, and at age two, took an interest in playing the viola herself. “My mom got to go out at night and wear a long black dress and play the viola, so I wanted to go out at night and wear a long black dress

and play viola,” she said.

Robyn’s parents gifted her a violin ahead of her fourth birthday. The idea was that she would start with a smaller instru ment and then size-up to viola, but that change never came. “I always enjoyed practicing. I loved a challenge, figuring things out, and improving. The violin quickly became my identity,” she said.

She began violin lessons at the Settlement Music School in Philadelphia, and in fifth grade, began homeschooling to allow for more time to practice. Her teacher was Kimberly Fisher, Principal Second Violin of the Philadelphia Orchestra, who was a major influence at the time. Robyn made her Philadelphia Orchestra debut at age 12, and has since performed regularly as a soloist, recitalist, and chamber musi cian across the United States.

She earned both her bachelor’s and master’s degrees with academic honors from the New England Conservatory in Boston and went on to become a faculty member at the conservatory’s preparatory school, as well as Brandeis University in the Boston area, where she has lived for the last 12 years.

A lover of violin repertoire, Robyn is also celebrated for her series of solo multi media performance projects. She received a prestigious Fellowship from the Lenore Annenberg Arts Fellowship Fund for CIACCONA: The Bass of Time, an exam ination of the history and legacy of Bach’s famed chaconne for solo violin. Furthermore, she was recognized with an Entrepreneurial Musicianship Grant from the New England Conservatory for her Project Paganini featuring the twen ty-four Caprices of Paganini. Most recently, she was awarded a historic EarlyCareer Musician Fellowship from Dumbarton Oaks Museum in Washington, D.C. to research and prepare her next mul timedia project, Encore! Just One More, which is slated to debut in a future season.

Creating a cohesive narrative around the

music with historic images, animation, voiceover narration, and live remarks, the multimedia projects give a compact history of context on the music’s relevance and importance, in unique venues and perfor mance spaces. Through them, Robyn is interested in channeling an empathic pro cess: “Empathy is an essential part of interpretation. I want to understand not only the construction, but also what the composer was thinking—what do they want me to do here? Why was this music important in this time?”

She cites Bach's Ciaccona from Partita No. 2 in D minor as a poignant reference for this connection. It is believed the piece was written by Bach in memory of his first wife after she passed away. “There’s no

“As Concertmaster, I’m the designated delegate to the conductor, and I also hope to be a liaison between the orchestra and the community.”

hard proof for that, but loss is so intrinsic in the music,” Robyn said. “This piece was my grandfather's favorite, and he requested that I play it at his memorial service. The experience forever changed that music for me. Part of the project is that I invite people to remember their own loss and that this music is universal. Whether it's Bach's loss, my loss, or your loss—we can all be in that moment together—and that’s something special that music can do.”

Robyn is keen to maintain her sense of connection and relationships as she con tinues in her new role. As Concertmaster, she plays a large part in tuning the orches tra before concerts. “During tuning, I’m usually looking around, making eye con tact, and smiling at people to wish them

good luck. When I’ve done that with other orchestras, I sometimes get weird looks, but in Detroit, everybody smiles back.”

Ahead of her move to Detroit, Robyn had an appreciation for the DSO. She grew up listening to DSO recordings and was familiar with the orchestra’s strong repu tation for programming contemporary music. She was also aware that the DSO has had two previous female concertmas ters in Yoonshin Song (2012–2019) and Emmanuelle Boisvert (1989–2011). “I’m joining a long line of strong female leader ship—not just from the concertmaster chair—and I’m really privileged to carry that on,” she said.

The significance of Robyn’s status as the youngest female concertmaster in the United States is not lost on her: “This is a huge honor and an incredible responsibil ity. There are still relatively few female concertmasters in the classical music industry and I’m proud to carry the torch. I hope to be a role model, not only for my colleagues, but also for young people who may see part of themselves in my story.”

Relishing the support she has received from the concertmaster community and her colleagues, Robyn feels optimistic about her new role and is eager to get to work.

“I believe strongly in legacy, and my first order of business is to learn a lot more,” she said. “People in leadership positions sometimes fall into a trap of thinking, ‘I’m here, I’m going to change things, we’re going to do things my way,’ but that’s not my value system. I have ideas and things that I want to accomplish, but I’m really invested in the community and understanding what I’m joining so that I can represent it in the best way pos sible and continue the legacy.”

In developing that legacy, she is excited to embrace and evolve the DSO sound with her colleagues, Music Director Jader Bignamini and new Assistant Conductor (Phillip and Lauren Fisher Community Ambassador) Na’Zir McFadden, a fellow Philadelphia native.

“I’m interested in the content of sound— is it deep, is it colorful? The only way to talk about sound is in metaphor, but sound is incredibly inspiring,” she said. “I look forward to working with Jader and learn ing more about his color palette. He’s not afraid to ask for details, and that makes for a much more refined and specific sound. In rehearsals we have limited time, and it can be tempting to gloss over things, but he’s not interested in glossing. I love that though, because when you roll up your sleeves and work, you get a better product.”

She continued, “Jader and I make a good team because of our investment in relationships, which makes for a more united experience. With some conductors, it can feel like the orchestra is just going through the motions or following direc tions, but with Jader, it feels like we’re all in it together.”

Robyn is also focused on settling into her new city. She and her husband, Dane, have moved to a home with a practice room above the garage and a fenced in back yard for their dog, Schroeder, an appreciated feature coming from a Boston apartment. She is enthusiastic about embracing Detroit’s arts and culture scene, from grabbing a pastry at Midtown favorite Warda Pa ^ tisserie, to exploring the work of Detroit-born fashion designer Tracy Reese. “People speak about how much energy there is in this city, and I’m really passionate about being part of its continued growth,” she said.

“As Concertmaster, I’m the designated delegate to the conductor, and I also hope to be a liaison between the orchestra and the community. Everything I’ve said about getting to know the orchestra absolutely applies to the city, because I do see that as part of my role. Before I do anything, I need to know the history, values, and culture of where I am. I’m excited to go to restaurants, schools, and other cultural institutions to understand the soul of Detroit and learn how I can use my role to strengthen the DSO’s relationship to our city.”

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

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

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

MAKE AN IMPACT

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

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

Fund Honors Anne Parsons’s Legacy

Itis a beautiful thing when a connected community proactively supports one another through triumphs and trials. Time and time again, our supporters have shown up and rallied for the foundational mission of the DSO: to impact lives through the power of unforgettable musical experiences by sustaining a world-class orchestra for our city and global community.

DSO President Emeritus Anne Parsons passed away this spring following a coura geous battle with cancer, but her memory lives on as we look to the future of the DSO. Anne imagined a community-driven and inspirational orchestra ener gized to take the magic of musical connection beyond the concert hall and bring rich mel odies and universal themes to local audiences. With tenacious drive and through genuine relationship building, the desire for the DSO to be visible and acces sible throughout Metro Detroit and beyond gained substantial support from the community; and, together, our shared vision has become a flourishing reality.

Learn more about the fund dso.org/parsonsfund

Through the Anne Parsons Leadership Fund, and avid sup port from DSO donors and leadership contributors includ ing the Mort and Brigitte Harris Foundation, we will unite to carry on Anne’s spirit, resilience, and influence. This endowed fund will ensure that the vision for the DSO as a community-supported as well as a community-supporting institution will continue in perpetuity.

The Anne Parsons Leadership Fund serves as a promise to honor and build upon Anne’s legacy. Through this support, the DSO will always remain deeply rooted in the cultural fabric of Detroit—committed to delivering the inspiration of music and human connection to all.”

Erik Rönmark, DSO President and CEO

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

FOUNDING FAMILIES

Mr. & Mrs. Lee Barthel

Julie & Peter CummingsAPLF

The Davidson-Gerson Family and the William Davidson Foundation

The Richard C. Devereaux Foundation

Erb Family and the Fred A. and Barbara M. Erb Family Foundation

The Fisher Family and the Max M. & Marjorie S. Fisher Foundation

Stanley & Judy Frankel and the Samuel & Jean Frankel Foundation

Danialle & Peter Karmanos, Jr.

Mort & Brigitte Harris FoundationAPLF

Linda Dresner & Ed Levy, Jr.APLF

James B. & Ann V. Nicholson and PVS Chemicals, Inc.APLF

Bernard & Eleanor Robertson Mrs. Richard C. Van Dusen

Ralph C. Wilson, Jr. Foundation

Clyde & Helen Wu◊

VISIONARIES

Mr. & Mrs. Richard L. AlonzoAPLF

Penny & Harold BlumensteinAPLF

Mr. & Mrs. Phillip Wm. FisherAPLF, MM

Alan J. & Sue Kaufman and FamilyMM

Shari & Craig MorganAPLF, MM

CHAMPIONS

Mandell & Madeleine Berman FoundationAPLF

Mr. & Mrs. Raymond M. Cracchiolo

Joanne Danto & Arnold Weingarden

Vera & Joseph Dresner Foundation

DTE Energy Foundation

Ford Motor Company Fund

Mr. & Mrs. Morton E. Harris◊

John S. & James L. Knight Foundation

The Kresge Foundation

Mrs. Bonnie LarsonAPLF

The Andrew W. Mellon Foundation

Ms. Deborah Miesel

Dr. William F. Pickard

The Polk Family Stephen M. Ross

Family of Clyde & Helen WuAPLF

LEADERS

Applebaum Family Philanthropy

Charlotte Arkin Estate

Marvin & Betty Danto Family FoundationAPLF

Adel & Walter DissettMM

Herman & Sharon Frankel Ruth & Al◊ Glancy

Mary Ann & Robert GorlinAPLF

Ronald M. & Carol◊ Horwitz

Richard H. & Carola HuttenlocherMM

John C. Leyhan Estate

Bud & Nancy Liebler

Richard & Jane Manoogian Foundation

David & Valerie McCammon

Mr. & Mrs. Eugene A. Miller Pat & Hank◊ Nickol Jack & Aviva Robinson◊ Martie & Bob Sachs

Mr. & Mrs.◊ Alan E. Schwartz Drs. Doris Tong & Teck Soo Paul & Terese Zlotof

BENEFACTORS

Mr.◊ & Mrs. Robert A. Allesee

Mr. David Assemany & Mr. Jeffery ZookAPLF, MM

W. Harold & Chacona W. BaughAPLF Robert & Lucinda Clement Lois & Avern CohnMM

Mary Rita Cuddohy Estate

Margie Dunn & Mark DavidoffAPLF, MM DSO MusiciansMM

Bette Dyer Estate

Marjorie S. Fisher FundMM

Dr. Marjorie M. Fisher & Mr. Roy Furman

Mr. & Mrs. Aaron FrankelMM

Barbara Frankel & Ronald MichalakMM

Victor◊ & Gale Girolami Fund

The Glancy Foundation, Inc.APLF

Herbert & Dorothy Graebner◊ Laurie Lindamulder Harris

Richard Sonenklar & Gregory HaynesMM

Mr. & Mrs. David Jaffa

Renato & Elizabeth JamettMM

Allan & Joy NachmanMM Ann & Norman◊ Katz

Dr. Melvin A. Lester◊ Florine Mark

Michigan Arts & Culture Council

Dr. Glenda D. Price

Ruth Rattner

Mr. & Mrs.◊ Lloyd E. Reuss

Mr. & Mrs. Fred Secrest◊

Jane & Larry Sherman

Cindy McTee & Leonard Slatkin

Marilyn Snodgrass Estate

Mr. and Mrs. Arn Tellem APLF

Nancy Schlichting & Pamela TheisenAPLF

Mr. James G. VellaMM

Eva von Voss and FamilyMM

MM: DSO Musicians Fund for Artistic Excellence

APLF: Anne Parsons Leadership Fund

COMMUNITY & LEARNING

SENZA: WITHOUT LIMITATIONS

The DSO is working alongside students to realize their dreams and fulfill their potential through a new program, Senza. Meaning “without” in Italian, Senza is built to create a space for students without limitations, a space to examine and reject assumptions based on race, ethnicity, culture, socioeconomic status, disability, gender identity, and other societal markers. The program is built for and with students who hold a broad range of experiences.

In fall 2021, after a nine-month planning phase, the DSO’s Community and Learning team was delighted to launch Senza: a professional development music program that offers a personalized curriculum of courses, mentorship, cultural experiences, community engagement, practical experience, and networking for selected high school students. Driven by participants’ experiences and goals, the program prioritizes the involvement and participation of students from communities currently underrepresented in classical music.

Senza is made possible by generous funding from the Andrew W. Mellon Foundation and falls under the DSO’s Civic Youth Ensembles (CYE) umbrella.

Last season, the DSO celebrated 50 years of CYE, and now proudly continues this rich tradition of music education with expanded Senza offerings in the new season.

While the program is individually responsive, there is also a substantial teamwork component. Senza is specifically designed to build a strong cohort of high school students who learn, lead, and grow together over their time in the program, and continue their involvement into their post-graduation years, through peer support and mentorship of new participants.

In the 2021-2022 season, eight Senza students were selected by application and audition from a pool of incoming 8th and 9th grade CYE musicians. In the 20222023 season, the number will increase to 12 students.

Previous Senza activities included CYE ensemble and chamber music participation, individual mentorship, team meetings, workshops with collegiate level educators, group trips to DSO performances, and performances at community engagement events, including the premiere of an original composition, Kaleidoscope, at the Durfee Innovation Event Center.

Additionally, five Senza students attended Interlochen Arts Camp or Blue Lake Fine Arts Camp this summer: Seth Banks (trumpet), Ethan Banks (trumpet), Isaiah Thomason-Redus (horn), and Milan Forrester (violin) attended Interlochen, and Jordan Harris (trumpet) attended Blue Lake. For four out of the five students, it was their first summer music camp experience of this caliber.

“We are tremendously proud of our first group of Senza students,” said DSO Director of Education Debora Kang. “Their artistic progress has been remarkable, and just as much as our students have grown by working with our educators, our educators have grown by working with our students. We are grateful to continue this program in the new season and look forward to positively impacting more lives through Senza.”

Visit dso.org to learn more about Senza

Senza students perform Kaleidoscope at Durfee Innovation Center, June 2022

DETROIT SYMPHONY ORCHESTRA

A COMMU N I T Y -SU P P ORT E D ORCHESTRA

JADER BIGNAMINI , Music Director

JA DER B I G

Music Directorship endowed by the Kresge Foundation

M

JEFF TYZIK Principal Pops Conductor

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

LEONARD SLATKIN

Music Director Laureate

PVS CLASSICAL SERIES

Title Sponsor:

AX PERFORMS CHOPIN, LA MER & BOLÉRO

Friday, September 30, 2022 at 8 p.m. Saturday, October 1, 2022 at 8 p.m. Sunday, October 2, 2022 at 3 p.m. in Orchestra Hall

JADER BIGNAMINI, conductor EMANUEL AX, piano

John Stafford Smith The Star-Spangled Banner (1750 - 1836)

Lyrics by Francis Scott Key; arr. Arthur Luck

Michael Abels Emerge (DSO co-commission) (b.1962)

N

MUSIC DIRECTOR

NEEME JÄRVI

Music Director Emeritus

Frédéric Chopin Piano Concerto No. 2 in F minor, Op. 21 (1810 - 1849)

I. Maestoso

II. Larghetto

III. Allegro vivace Emanuel Ax, piano

Intermission

Claude Debussy La mer (1862 - 1918)

I. De l’aube à midi sur la mer [From Dawn to Noon on the Sea]

II. Jeux des vagues [Play of the Waves]

III. Dialogue du vent et de la mer [Dialogue of Wind and Sea]

Maurice Ravel Boléro (1875 - 1937)

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

PROGRAM

AX PERFORMS CHOPIN, LA MER

Something Old, Something New, Something Borrowed, Something Blue

Our 2022-2023 season kicks off with a program of orchestral favorites. First up, a new work from Michael Abels: Emerge You may have heard his music recently in Jordan Peele films including Get Out, Us, and Nope.

Next, beloved pianist Emanuel Ax returns to Orchestra Hall to perform Chopin’s Piano Concerto No. 2, which despite its numbering, was the first concerto the renowned composer ever wrote.

Debussy’s La mer was inspired by the depiction of the sea in paintings and literature, with The Great Wave by Japanese artist Katsushika Hokusai chosen as the cover of the original manuscript score. In many cultures, water represents life, birth, refreshment, fertility, and new beginnings, apropos for this weekend’s occasion.

Closing the program is Ravel’s beloved Boléro, which began as Fandango but was later retitled—borrowing the name of a slow, sensual triple meter Spanish couple’s dance often accompanied by castanets and guitar. The piece was so unconventional for its time that during its premiere in Paris in 1928, a woman in the audience began chanting “Au fou! Au fou!” (“The Madman! The Madman!”) to which Ravel responded, “That lady...she understood.”

PROGRAM NOTES

Emerge

Composed 2022 (DSO co-commission) | Premiered 2022

MICHAEL ABELS

B. 1962

Scored for 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets (one doubling E-flat clarinet), 2 bassoons (one doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (approx. 9 minutes)

Michael Abels wrote the following about Emerge: Emerge is a piece that imagines a group of highly trained musicians getting back together after a long break, remembering both the exhilaration and the discipline of performing together. The piece begins with a section that evokes a sunrise on a group of musicians all play ing independently. They gradually all team up to play a powerful, energetic cre scendo, but that dissipates into softer section built on solo playing of bluesy phrases that keep happening in canon, rather than in unison. The middle of the piece is a placid, lyrical episode with graceful, independent string lines flowing underneath it. That kicks off a volley of

rising scales back and forth between the strings and the winds. When the brass get involved, the strings are finally able to play a melody all together in unison above them. The scale volley becomes faster until it finally comes together, and this sets up an exuberant coda which, despite some shades of difficulty and frustration, is absolutely triumphant.

This performance marks the DSO’s premiere of Emerge by Michael Abels.

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

Composed 1829 | Premiered 1830 FREDERIC CHOPIN

B. March 1, 1810, Zelazowa, Poland

D. October 17, 1849, Paris, France

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, bass trombone, timpani, and strings. (approx. 30 minutes)

The year 1829 found Frederic Chopin a young graduate of the Warsaw Conservatory seeking to establish him self in the musical world. He was talented, ambi tious, and in love, and all three of these

qualities found reflection in his first significant composition using orchestra, the Piano Concerto in F minor, Op. 21. Chopin performed this work to great acclaim in Warsaw, Vienna, and Paris the following year, and these triumphs launched his career. Although known as his Second Piano Concerto, this piece predates Chopin’s Concerto in E minor, Op. 11 by about half a year, which has been desig nated his “Piano Concerto No. 1.” The two concertos were published and numbered in reverse order of their chronology (as were Beethoven’s first two piano concertos).

Although it is a youthful work, the F minor concerto reveals a skilled com poser who has already found a distinctive musical voice (one of the most distinctive of the nineteenth century, indeed).

Hearing this piece, we can admire the 19 year old’s sure grasp of the concerto form, but even more impressive, we also detect the most original and distinctive elements of Chopin’s mature style: the themes that are by turns dreamy and pas sionate, the yearning melancholy of his harmonies, and the brilliant flashes of pianistic ornamentation.

The concerto begins in classical fash ion, with a paragraph for the orchestra. Here, the first theme conveys that restless agitation so prized by the early Romantics. A second subject, introduced by the woodwinds, provides lyrical contrast. With the entrance of the soloist, the orchestra is relegated to a supporting role, as the expressive and technical capabilities of the piano are displayed to fine effect.

Chopin once declared that the ensuing Larghetto was inspired by his love for a young singer he had met at the Conservatory, an admission which has delighted romantically inclined listeners. Beginning with a long and tender theme that appears after a brief orchestral intro duction, the movement builds to a passionate soliloquy for the pianist over dramatic tremolo figures in the strings.

The third movement juxtaposes a bittersweet melody (punctuated by vigorous orchestral comments) with a central epi sode dominated by the rhythms of Poland’s national dance, the mazurka

The DSO most recently performed Chopin’s Piano Concerto No. 2 in F major, Op. 21 in May 2013, conducted by John Storgårds and featuring pianist Rafal Blechacz. The DSO first performed the piece in March 1919, conducted by Ossip Gabrilowitsch and featuring pianist Bendetson Netzorg.

La mer

Composed 1903-1905 | Premiered 1905 CLAUDE DEBUSSY

B. August 22, 1862, Saint-Germain-en-Laye, France D. March 25, 1918, Paris, France

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 2 cornets, 3 trombones, tuba, timpani, percussion, 2 harps, and strings. (approx. 23 minutes)

C

laude Debussy’s music is commonly described as impressionist, analo gous to the breezy and colorful paintings of Monet or Degas. Rather than pre senting a narrative structure, as an earlier work might, the symphonic poem La mer aims to be something of a quick snapshot, capturing the experience of a beach-walking visitor to the sea. Rather than listening for form in the work, then, audiences are invited to allow the individual moments of La mer wash over them—noting how the music represents rushing wind, the easy lapping of waves, or the calm of early morning.

Debussy notably (and beautifully) employs the whole-tone scale in La mer, a trope that perfectly complements music meant to stoke the imagination or an approximate a daydream. Rather than the

asymmetrical series of half-steps and whole-steps which characterize diatonic major and minor scales, the whole-tone scale is a symmetrical scale of wholesteps: C, D, E, F-sharp, G-sharp, A-sharp, C. This symmetry makes it impossible to hear any one pitch as more important than any other, since every pitch relates to every other pitch by the same set of inter vals. The result is a sense of tonal disorientation, a scale without horizon or gravitational pull—perfect for relaxing (or imagining relaxing) by the sea.

The DSO most recently performed Debussy’s La mer in February 2020, con ducted by Thomas Søndergård. The DSO first performed the piece in November 1936, conducted by Jose Iturbi.

Boléro

Composed 1922-1928 | Premiered 1928 MAURICE RAVEL

B. March 7, 1875, Ciboure, Basses-Pyrénées, France

D. Dec. 28, 1937, Paris, France

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, harp, keyboard, soprano saxophone, tenor saxophone, and strings. (approx. 14 minutes)

In 1927, Ida Rubinstein (1885-1960) commis sioned Ravel to orchestrate Isaac Albéniz’s set of piano pieces Iberia for her ballet troupe. Unable to secure copyright permission, Ravel decided instead to write his own music, resulting in this, his most beloved work. Ravel’s original title for the piece was Fandango, but realizing that this dance’s traditional gradual increase in speed was contrary to his compositional plan, he retitled his work Boléro— the name of a slow, sensual triple meter Spanish couple’s dance often accompanied

by castanets and guitar. Rubinstein’s per formance, in its smoky Spanish setting, enjoyed immediate success. Nijinska’s choreography was set in a tavern where a female dancer on a table gathers the attention of the men in the bar. Gradually, one then another of the men joins her while the excitement builds until violence erupts near the end. Despite the ballet’s appeal, it was not until her exclusive per formance right lapsed and the piece was presented in concert and broadcast on radio that Boléro’s popularity exploded.

The piece begins with the suppressed sizzle of an almost inaudible solo snare drum luring the dancers onto the floor with its signature two-measure castanet-inspired rhythm. The strings pluck a chordal accompaniment in imitation of a Spanish guitar. Like the waltz, this dance is in triple time built on units of three beats, but Boléro’s riveting, incessantly driving feel is very different. The piece gets louder and louder as other orchestral instruments join the snare to trace the increasing passion and power of the dance, yet it never speeds up or slows down.

Ravel was a master of orchestral color, on which Boléro thrives. The piece con tains only two melodic ideas (representing the female and male dancers). The first 16-bar melody begins in measure three with the flute and is then repeated by clar inet; the second motive appears with the bassoon and is again mirrored by clarinet. These two seductive melodic personali ties, one serpentine, the other more insistent, alternate 18 times in pairs. Every instrument in the ensemble offers its ver sion as either a solo or in magical combinations that often make it hard to identify their constituent parts. The whole musical exegesis hypnotizes and levitates the listener through the power of repeti tion. At the ecstatic climax of the piece, a second snare joins, taking the crescendo over the top, trombone smears add pas sion, and the key shifts suddenly from the C major that characterized the first fifteen minutes to a surprising E major, and then

the piece comes to a crashing finish.

Ravel was mystified by the success of this work—one that he viewed as a rather simple experiment against orchestral con ventions (one incessant rhythm, no melodic development, and to top it, off the piece ends in a different key than it starts).

PROFILES

Jader Bignamini biography, see page 6.

EMANUEL AX

Born to Polish parents in what is today Lviv, Ukraine, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. Ax made his New York debut in the Young Concert Artists Series, and in 1974 won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975, he won the Michaels Award of Young Concert Artists, followed four years later by the Avery Fisher Prize.

In fall 2021, he resumed a post-Covid touring schedule that included concerts with the Colorado, Pacific, Cincinnati, and Houston symphonies, as well as Minnesota, Los Angeles, New York, Philadelphia, and Cleveland orchestras. 2022-23 will include a tour with Itzhak Perlman and friends, and a continuation of the “Beethoven for 3” touring and recording project with partners Leonidas Kavakos and Yo-Yo Ma, this year on the west coast.

In recital, he can be heard in Palm Beach, Los Angeles, St. Louis, Chicago, Washington DC, Houston, Las Vegas, and New York, and with orchestras in Atlanta, Detroit, Boston, San Francisco, San Diego, New York, Naples, Portland (OR), Toronto,

Yet Boléro’s remarkable popularity has endured.

The DSO most recently performed Ravel’s Boléro in January 2016, conducted by Leonard Slatkin. The DSO first per formed the piece in February 1930, conducted by Eugene Goossens.

Philadelphia, Pittsburgh, and Cleveland. Touring in Europe in the fall and spring includes concerts in Germany, the United Kingdom, Switzerland, and France.

Ax has been a Sony Classical exclusive recording artist since 1987 and following the success of the Brahms Trios with Kavakos and Ma, the trio launched an ambitious, multi-year project to record all the Beethoven Trios and Symphonies arranged for trio, of which the first two discs have recently been released. He has received Grammy Awards for the second and third volumes of his cycle of Haydn’s piano sonatas. He has also made a series of Grammy-winning recordings with cel list Yo-Yo Ma of the Beethoven and Brahms sonatas for cello and piano. In the 2004-05 season, Ax contributed to an International Emmy Award-Winning BBC documentary commemorating the Holocaust that aired on the 60th anniver sary of the liberation of Auschwitz. In 2013, Ax’s recording, Variations, received the Echo Klassik Award for Solo Recording of the Year (19th Century Music/Piano).

Ax is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Skidmore College, New England Conservatory of Music, Yale University, and Columbia University.

DETROIT SYMPHONY ORCHESTRA

COMMU N

JEFF TYZIK

Principal Pops Conductor

T

POWERHOUSE

By Raymond Scott

-SU P P ORT E D ORCHESTRA

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

Fred A. Erb Jazz Creative Director Chair

JA DER B I G NA

LEONARD SLATKIN Music Director Laureate

NEEME JÄRVI

Music Director Emeritus

TITLE SPONSOR:

Prohibition: From Moulin Rouge to Boardwalk Empire

Friday, October 7, 2022 at 10:45 a.m. Saturday, October 8, 2022 at 8 p.m. Sunday, October 9, 2022 at 3 p.m. in Orchestra Hall

JEFF TYZIK, conductor

MYRA MAUD, vocalist • BRONSON NORRIS MURPHY, vocalist

MADISON CLAIRE PARKS, vocalist • ERIC METZGAR, drummer

PROHIBITION

a Schirmer Theatrical/Greenberg Artists co-production Arrangements by Jeff Tyzik

JONNY

By Frederick Hollander

MY CANARY HAS CIRCLES UNDER HIS EYES

Music by Jack Golden, Lyrics by Ted Koehler and Eddie Pola

PUT A TAX ON LOVE

Music by Gilbert Wolfe and Harry Warren, Lyrics by Al Dubin

WHAT’LL I DO

By Irving Berlin

HALLELUJAH

Music by Vincent Youmans, Lyrics by Leo Robin and Clifford Grey

DIZZY FINGERS

By Edward Elzear “Zez” Confrey

LA VIE EN ROSE

Music by Louis Guglielmi, Lyrics by Edith Piaf

DE TEMPS EN TEMPS

By André Hornez and Paul Misraki

LA CONGA BLICOTI

Music by Jen Charles, André Giot de Badet, and Armando Bega Orefiche

TWILIGHT IN TURKEY

By Raymond Scott

ALABAMA SONG from The Rise and Fall of the City of Mahagonny Music by Kurt Weill, Lyrics by Bertolt Brecht

MACK THE KNIFE from The Threepenny Opera Music by Kurt Weill, Lyrics by Bertolt Brecht

BEI MIR BIST DU SCHöN Music by Sholom Secunda, Lyrics by Jacob Jacobs; English version by Saul Chaplin and Sammy Cahn

Intermission

BLACK BOTTOM STOMP

By Ferdinand Joseph “Jelly Roll” Morton

DOIN’ THE UPTOWN LOWDOWN Music by Harry Revel and Mack Gordon

ST. LOUIS BLUES

By William Christopher Handy

SWEET GEORGIA BROWN Music by Ben Bernie and Maceo Pinkard, Lyrics by Kenneth Casey

ALL ARRANGEMENTS AND IMAGERY LICENSED BY SCHIRMER THEATRICAL, LLCProgram subject to change

AT AN ARABIAN HOUSE PARTY

By Raymond Scott

BROTHER, CAN YOU SPARE A DIME Music by Jay Gorney, Lyrics by Edgar Yipsel Harburg

WE’RE IN THE MONEY Music by Harry Warren, Lyrics by Al Dubin

DREAM A LITTLE DREAM OF ME Music by Fabian Andre and Wilbur Schwandt, Lyrics by Gus Kahn

MIDNIGHT, THE STARS AND YOU By James Campbell, Reginald Connelly and Harry M. Woods

ON THE SUNNY SIDE OF THE STREET Music by Jimmy McHugh, Lyrics by Dorothy Fields

SHOUT FOR HAPPINESS Music by John Hart and Tom Blight

PUTTIN’ ON THE RITZ

By Irving Berlin

PROGRAM AT-A-GLANCE | PROHIBITION: CABARETS & SPEAKEASIES OF THE ERA

The Prohibition Blues

The Prohibition era in the United States began in 1920 with the passing of the Volstead Act and the 18th amendment banning the manufacturing, transportation, and selling of intoxicating liquors. The amendment followed a century of increasingly restrictive alcohol legislation inspired by religious revivalism, the rise of alcoholism and its detriment to family life, and the need to save grain to produce food during the war. However, this legislation proved difficult to enforce and contributed to an increase of bootlegging and speakeasies. Artists were greatly influenced by this era, and many songs were written and performed to address the impact that Prohibition had on their daily lives. Eddie Cantor’s “Put a Tax on Love” references the increase of income taxes as a result of prohibition, while “My Canary Has Circles Under His Eyes” by Jack Golden refers to the increase in nightclubs and party life just shy of the repeal of Prohibition in 1933.

PROFILES

MYRA MAUD

Myra

Maud was born in Paris, with roots in Madagascar and Martinique, making for a unique musical style.

Career highlights include starring as the great Josephine Baker in the French movie Ballade De Printemps, por traying Nala in the German musical Der König Der Löwen (The Lion King), and per forming during the opening celebration of the Women’s Soccer World Cup in 2011 in Frankfurt.

In 2010, Maud received a platinum record in South Africa for her album, AfriFrans, and is currently working on a new album with Lutz Krajenski.

BRONSON NORRIS MURPHY

Kentucky native Bronson

Norris Murphy is best known for roles in Andrew Lloyd Webber musicals including Cats, The Phantom of the Opera, Love Never Dies: The Phantom Returns, and UNMASKED: The Music of Andrew Lloyd Webber.

As an advocate for music literacy, Bronson serves as an active voice and acting teacher who maintains regular classroom hours in NYC and hosts

workshops across the country. Murphy currently serves as the Associate Artistic Director for Kentucky’s Official Outdoor Musical: The Stephen Foster Story.

MADISON CLAIRE PARKS

Madison Claire Parks has established her self as a prominent force for the next generation of classical leading ladies. Parks is best known for starring as Luisa in the historic Off-Broadway production of The Fantasticks for more than 400 perfor mances. She recently returned to Off-Broadway to star as Genevieve in Stephen Schwartz’s revised New York pre miere of The Baker’s Wife with J2 Spotlight at Theatre Row, singing the iconic Meadowlark role.

ERIC METZGAR

Metzgar grew up in Rochester, New York, and studied jazz at the Eastman School of Music. He runs a successful studio for drums and per cussion in New York City, teaching a broad range of styles carefully tailored to each student. Metzgar regularly performs with many of today’s jazz luminaries.

Eric

Jeff Tyzik biography, see page 7.

DETROIT SYMPHONY ORCHESTRA

A COMMU N I T Y -SU P P ORT E D ORCHESTRA

JEFF TYZIK Principal Pops Conductor

JA DER B I G NA M I N

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

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

LEONARD SLATKIN Music Director Laureate

PVS CLASSICAL SERIES

Title Sponsor:

JADER CONDUCTS MOZART’S PRAGUE SYMPHONY

Thursday, October 13, 2022 at 7:30 p.m. Friday, October 14, 2022 at 10:45 a.m. Saturday, October 15, 2022 at 8 p.m. in Orchestra Hall

JADER BIGNAMINI, conductor KIAN SOLTANI, cello

MUSIC DIRECTOR

NEEME JÄRVI Music Director Emeritus

Sergei Prokofiev Classical Symphony, Op. 25 (Symphony No. 1) (1891 - 1953)

I. Allegro con brio

II. Larghetto

III. Gavotte: Non troppo allegro

IV. Finale: Molto vivace

Franz Joseph Haydn Concerto for Cello and Orchestra (1732 - 1809) in C major, H.VIIb:1

I. Moderato

II. Adagio III. Allegro molto Kian Soltani, cello Intermission

Joseph Bologne, Symphony No.2, Overture Chevalier de Saint-Georges to “L’Amant anonyme,” Op. 11, No. 2 (1745 - 1799) Allegro presto Andante Presto

Wolfgang Amadeus Mozart Symphony No. 38 in D major, K. 504, “Prague” (1756 - 1791)

I. Adagio - Allegro II. Andante

III. Presto

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

PROGRAM AT-A-GLANCE | JADER CONDUCTS MOZART’S PRAGUE SYMPHONY

Back to the Classics

Pedagogical lineage is the foundation of classical music. This program is representative of the strong lineage of Classicalera titans and their continued influence on prominent composers throughout the ages. Haydn’s Cello Concerto No. 1 is reminiscent of the baroque ritornello form and exhibits the then-emerging traditional structure of the sonata allegro form which has since become a standard of many symphonic works. Haydn inspired Mozart, with whom he studied, and Saint-Georges, who conducted or played in most of the Paris premieres of Haydn’s symphonies. Prokofiev’s Symphony No. 1 was partially inspired by his teacher at the St. Petersburg Conservatory, Nikolai Tcherepnin, who was keen on teaching his students about the proper way to conduct works by (you guessed it) Haydn. Written while Prokofiev was on holiday in the countryside and in hiding from the violent street fights during the February Revolution in Petrograd, the Classical Symphony also features influences of Mozart with light, airy scoring and a fast-paced first and final movement.

PROGRAM NOTES

Classical Symphony, Op. 25 (Symphony No. 1)

Composed 1916-17 | Premiered April 1918

SERGEI PROKOFIEV

B. 11 April 1891, Sontsovka, Ukraine D. 5 March 1953, Moscow, Russia

Scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. (Approx. 13 minutes)

While none of Sergei Prokofiev’s works created a scandal compa rable to the premiere of Stravinsky’s The Rite of Spring, the Scythian Suite, Op. 20 (1914-15) certainly furthered Prokofiev’s reputation as a radical com poser. Considering this, it is not difficult to imagine the shock created by his apparent about-face with the Haydn-esque Classical Symphony, Op. 25. Naturally, this work is often discussed alongside the neo-classi cal works of Stravinsky, but it is important to realize that Prokofiev composed the Classical Symphony nearly two years before Stravinsky began Pulcinella, his first work in this vein.

Perhaps the most defining characteris tic of Prokofiev’s symphony concerns the fact that he composed it away from the piano, thus rejecting his usual practice.

Prokofiev made his reputation as a virtuoso pianist (performing his own concertos and sonatas), and his playing was notori ously percussive and aggressive. Not surprisingly, his ideas were usually pia nistic in conception, even if they were not intended for the piano. As he once remarked, composing away from the piano had a liberating effect, and indeed there is hardly a trace of his characteristi cally pianistic writing in the Classical Symphony.

Concerning his approach to the work, Prokofiev described his intentions as fol lows: “I thought that if Haydn were alive today, he would compose just as he did before, but at the same time would include something new in his manner of composition. I wanted to compose such a symphony: a symphony in the classical style.” The work is one of Prokofiev’s most popular, no doubt as he intended it to be. Ultimately, its title not only suggests the composer’s models, but also his desire to write a piece of “classical music” that would endure like so many works of the late 18th century.

The DSO most recently performed Prokofiev’s Classical Symphony in March 2022 on the William Davidson Neighborhood Concert Series, conducted by Ari Pelto. The DSO first performed the piece in January 1935, conducted by Victor Kolar.

Concerto for Cello and Orchestra in C major, H.VIIb:1

Composed 1761| Premiered 1765

JOSEPH HAYDN

B. March 31, 1732, Rohrau, Austria

D. May 31, 1809, Vienna, Austria

Scored for solo cello, 2 oboes, 2 horns, and strings. (approx. 25 minutes)

Of the three Viennese classical masters, Haydn—who otherwise had much less interest in the concerto than either Mozart or Beethoven—was the only one to write works for cello and orchestra. The most likely explanation for this is that, as Kapellmeister to Prince Nikolaus Esterházy, Haydn worked closely with many excellent instrumentalists in the prince’s orchestra. Concertos were welcome additions to the programs of the twice-weekly musical “academies,” for which so many of Haydn’s symphonies were written. (It should be noted that many of Haydn’s early symphonies also contain extended, almost concerto-like, instrumental solos.)

The Concerto in C major, the first of Haydn’s two cello concertos, was written about two decades before the D major work. For many years, this concerto was thought to be lost; only its first two mea sures were known from the handwritten catalog Haydn had kept of his own works. Even more frustrating, this catalog con tained not one but two almost identical incipits (opening measures) for concertos in C major. In 1961, Czech musicologist Oldřich Pulkert discovered a set of parts in Prague that corresponded to one of the two incipits. It was published and, of course, immediately taken up by cellists everywhere. As for the other C major incipit, it could have been a simple mis take (Haydn could have notated the theme from memory and didn’t remember it exactly) or a discarded variant.

On stylistic grounds, scholars have dated the C major concerto from between

1762 and 1765; it is certainly an early work, from the first years of Haydn’s tenure at Eszterháza (1761-1790). It belongs to that transitional period between Baroque and Classicism whose greatest representative, Carl Philipp Emanuel Bach (1714-1788), had a strong influence on the young Haydn. The continuity of the rhythmic pulse and the numerous identical repeats of the first movement’s main theme are definitely Baroque features, while the shape of the musical gestures points to the emergence of a new style that would later be known as Classicism.

The original cello part shows that the soloist was expected to play along with the orchestra during tutti passages, reinforcing the bass line. The solo part is extremely demanding, with rapid pas sagework that frequently ascends to the instrument’s highest register. The second movement Adagio, in which the winds are silent, calls for an exceptionally beautiful tone, and the last movement for uncom mon brilliance and stamina. Surely the first cellist of Haydn’s orchestra, Joseph Weigl, must have been one of the out standing players of his time.

The DSO most recently performed Haydn’s Concerto for Cello and Orchestra in May 2022 on the William Davidson Neighborhood Concert Series, conducted by Yue Bao and featuring cellist Pablo Ferrández. The DSO first performed the piece in November 1964, conducted by Sixten Ehrling and featuring cellist Mihaly Virizlay.

Symphony No. 2, Overture to “L’Amant anonyme,” Op. 11, No. 2

Composed 1778-79 JOSEPH BOLOGNE, CHEVALIER DE SAINT-GEORGES

B. December 25, 1745, Baillif, Guadeloupe D. June 10, 1799, Paris, France

Scored for 2 oboes, bassoon/continuo, 2 horns, and strings. (approx. 8 minutes)

Like his Symphony No. 1, Saint-Georges’s

Symphony No. 2 was written while he was the conductor of the Concert des Amateurs. This was a post he had taken over from life-long friend and mentor (and possible composition teacher)

François Gossec, who had left the Concert des Amateurs in 1773 to helm the Concert Spirituel. That Gossec left the direction of this ensemble in SaintGeorges’s capable hands is a testament to the latter’s musical skill and incredible work ethic, which allowed him to enter the highest social circles of 18th century Parisian society.

Born the son of a French plantation owner and a woman enslaved to him, Nanon, Joseph Bologne, Chevalier de Saint-Georges first rose to prominence as a champion fencer. Knowing that a boy of mixed heritage faced a dim future in his birthplace of Guadeloupe in the Caribbean, Joseph was brought to Paris at the age of 7 by his father to receive an aristocratic education—not just in fencing, but also in courtly dance and horseback riding. At 13, he was enrolled at the Academie royal polytechnique des armes et de l’equita tion under Nicolas Texier de la Boëssière, where his superior speed and agility earned him the reputation as one of the academy’s top students. Later, his skill with a blade allowed him to become known as one of the finest swordsmen in all of Europe, besting the best-known fencers of the day in high profile duels. After defeating Alexandre Picard, who openly taunted Saint-Georges’s skin color, SaintGeorges’s father gifted him a horse and buggy, indicative of the financial support Joseph and his mother received through out his father’s life. At a time when most slave owners disowned the children they fathered with their slaves, the opposite was true for Saint-Georges.

By all accounts, Saint-Georges was a gentleman of the highest order. His good looks and charm earned him the affection of the Parisian elites—especially with

women, with whom he was very popular. He maintained a close friendship with Marie Antoinette, and even gave her music lessons. Though he was never allowed to marry, Saint-Georges earned a reputation as a Don Juan of the Parisian salons. He rarely ever lost his temper in public unless thoroughly provoked by insults over his race, which he never tolerated.

In total, Saint-Georges wrote 14 violin concertos, 18 string quartets, three violin sonatas, a sonata for harp and flute, six sonatas for two violins, two symphonies and eight symphonie-concertantes, all written and published between 1771 and 1779. He turned his attention to writing operas almost exclusively after 1780, a genre in which he found less success.

His Symphony No. 2 was written sometime in 1778-79 and features a three-movement structure as opposed to the more traditional four. A year after its composition, Saint-Georges used the entire symphony as the overture for his opera, L'Amant anonyme, which is unfortu nately lost. The work demonstrates Saint-Georges’s clear grasp of the Classical period aesthetic— distinct tex tures, and an emphasis on melody with varying accompanying figures.

The opening movement begins with an energetic theme in D major, propelled by an eighth-note accompaniment played by the lower strings. Its playful and dancelike secondary theme is presented by the first violins doubled by the oboe, with the second violins and violas answering in graceful quarter note figures. The devel opment is written in a Sturm und Drang (storm and stress) style, featuring a brooding unison passage of fast runs before turning to a songful and melancholy theme set in E minor. Saint-Georges never dwells on these darker moments for too long, as the music returns to its lively state as the movement closes.

The second movement features a plain tive melody set in D minor—played first by the violins and answered a bar later by the violas and cellos. This imitative texture is present throughout. Though very simply

composed, this music does not lack the emotional depth that Saint-Georges was famous for achieving in his slow movements.

The finale is a joyous, energetic, and vivacious piece of music, written in 6/8 meter. Reminiscent of an Italian tarantella, this movement derives its sense of for ward motion by an almost constant presence of eighth notes. The development also maintains the energy of the opening but in the darker key of D minor. A playful, Haydn-esque imitative passage between the violin sections segues directly into the recapitulation. The movement ends just as it began—boisterous and full of life. —Michael Divino

This performance marks the DSO pre miere of Joseph Bologne, Chevalier De Saint-Georges’s Symphony No. 2.

Symphony No. 38 in D major, K. 504, “Prague” Composed 1786 | Premiered 1786

WOLFGANG AMADEUS MOZART

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

Scored for 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (approx. 23 minutes)

Mozart’s relationship with the people of Prague marks a happy period in the otherwise sad tale of his last years. While Vienna was growing indifferent to both the man and his music, Prague couldn’t seem to get enough of either. The “Prague” Symphony—which was actually written in Vienna at the end of 1786—is more difficult to perform and more conceptually advanced than any of Mozart’s previous efforts in the genre. By this time the symphony was expected to provide significant artistic weight and depth, rather than merely serve as a col lection of pleasant sounds with which to open or close a concert.

The most noticeable feature of the first

movement is the motivic chromatic figure that opens the Allegro section, which is gradually transformed and becomes the primary thematic material of the move ment. In a break from standard sonata form, the first movement does not contain a secondary theme; rather, the opening theme continues to be developed through the end of the exposition and recapitulation sections, when it unfolds completely into an expression of pure joy.

Typical of Mozart in his later sympho nies, the second movement is also in sonata form, instead of making use of a simpler ternary (or A-B-A) structure. With its slow tempo and distinctive melodic material, the listener can easily discern not only the main sections of the move ment, but also the reworking of the original melodic material in the development section. By the time the first theme makes its reappearance in the recapitulation, the accompaniment has changed entirely, with the theme entering surreptitiously in the flutes and violins midway through a phrase played by the oboes, bassoons, and horns.

The Presto final movement, with its opera buffa -like themes, is reminiscent at times of The Marriage of Figaro. It opens at a relentless pace and does not let up. Yet in spite of the lighthearted and comedic tone, the finale features the use of understated and intricate counterpoint, with much of the music’s forward motion coming from the tension created when two voices play melodies in overlapping phrases. Nowhere is the buffa style more apparent than in the development, which begins with loud orchestral outbursts alternating with softer passages of imitative counterpoint in the flutes and oboes. By the time the opening theme returns it has incorporated this outburst from the development, lead ing the work to a jubilant, exhilarating conclusion.

The DSO most recently performed Mozart’s “Prague” Symphony as part of the Mozart Festival in January and February 2017, conducted by Leonard Slatkin. The DSO first performed the piece in October 1946, conducted by Karl Krueger.

PROFILES

KIAN SOLTANI

Hailed by The Times as a “remarkable cellist” and described by Gramophone as “sheer perfection,” Kian Soltani’s playing is characterized by a depth of expression, sense of individuality, and technical mastery, alongside a charismatic stage presence and ability to create an immedi ate emotional connection with his audience. He is now invited by the world’s leading orchestras, conductors, and recital promoters, propelling him from rising star to one of the most talked about cellists performing today.

In the 2021-22 season, Soltani debuted with orchestras including the Accademia Nazionale di Santa Cecilia, Czech Philharmonic, ORF Vienna Radio, Orchestra della Svizzera Italiana, WDR, and Barcelona and Pittsburgh symphony orchestras. He returned to the London and Israel philharmonic orchestras, Vienna Symphony, Staatskapelle Berlin, and Tonhalle Zurich, among others. Furthermore, Soltani embarked on exten sive orchestral touring including with the West-Eastern Divan Orchestra and Daniel Barenboim, St. Petersburg Philharmonic Orchestra and Yuri Temirkanov, ORF Vienna Radio Symphony Orchestra and Marin Alsop, and Royal Philharmonic Orchestra and Vasily Petrenko.

Recent orchestral highlights include the Vienna Philharmonic, London Philharmonic, Berlin Staatskapelle, NCPA Orchestra, Boston Symphony, and Chicago Symphony Orchestra. Soltani was Artistin-Residence at the Schleswig-Holstein Musik Festival in July 2021, at which he curated concerts including a Persian evening with the Shiraz Ensemble. Soltani commenced a multi-year residency with Junge Wilde at Konzerthaus Dortmund in

fall 2018. As a recitalist, Soltani has recently performed at Carnegie Hall, Salzburg and Lucerne festivals, Wigmore Hall, and the Boulez Saal, where he was invited to curate an evening of cello music.

In 2017, Soltani signed an exclusive recording contract with Deutsche Grammophon. His first disc, Home comprising works for cello and piano by Schubert, Schumann, and Reza Vali—was released to international acclaim in 2018, with Gramophone describing the recording as “sublime.” Soltani has since recorded discs including the Dvorˇák and Tchaikovsky Piano Trios with Lahav Shani and Renaud Capucon, recorded live at Aix Easter Festival in 2018 (Warner Classics) and Dvořák’s Cello Concerto with the Staatskapelle Berlin and Daniel Barenboim in August 2020.

During the entirety of 2020, Soltani worked on his latest disc with Deutsche Grammophon, which was released in October 2021. The disc, entitled Cello Unlimited, is a celebration of the cello and film music.

Born in Bregenz, Austria in 1992 to a family of Persian musicians, Soltani began playing the cello at age four and was 12 when he joined Ivan Monighetti’s class at the Basel Music Academy. He was chosen as an Anne-Sophie Mutter Foundation scholarship holder in 2014 and completed his further studies as a member of the Young Soloist Programme at Germany’s Kronberg Academy. He received addi tional important musical training at the International Music Academy in Liechtenstein.

Soltani plays “The London, ex Boccherini” Antonio Stradivari cello, kindly loaned to him by a generous spon sor through the Beares International Violin Society.

Your Favorite Podcast Is Back

Season four of Between 2 Stands is back with new episodes in the

First launched in May 2020 as a web series, the Between 2 Stands (B2S) podcast takes listeners on a journey inside the minds of DSO musicians and special guests, with hosts Abraham Feder (Assistant Principal Cello, Dorothy and Herbert Graebner Chair), Andrés Pichardo-Rosenthal (Assistant Principal Percussion,

WHY DID YOU CREATE THE SHOW?

B2S is an accessible and enjoyable experience that creates a new level of engagement with our community. People who aren’t familiar with going to the symphony can sometimes feel intimidated while attending a concert. We wanted to break through the barrier between the stage and the audience so listeners can feel like they know us more personally. By sharing unique tidbits about ourselves and our fellow musicians, we hope to make Orchestra Hall feel like a home.

William Cody Knicely Chair), and Scott Strong (Horn, Ric and Carola Huttenlocher Chair). See below for B2S musings from Abe, Andrés, and Scott, and be sure to tune in to the new season! New episodes drop every first Monday of the month at 7 p.m. ET on your favorite podcasting platforms. Learn more at dso.org/between2stands

WHAT ARE YOUR FAVORITE MOMENTS SO FAR?

One of our favorite moments was hosting a pre-concert lecture before a performance at Orchestra Hall. Not only did it give audiences a musician’s perspective on the concert they were about to hear, but it also showcased the versatility of B2S and the many ways we can connect with listeners. Another highlight: the games! We’ve gotten a real kick out of “terms of enfearment” (Seasons 2 and 3) and “punch a composer in the face” (Season 1, Episode 1).

WHAT HAVE YOU LEARNED FROM YOUR GUESTS THAT YOU DIDN’T KNOW BEFORE? Every time we interview someone, we learn something new—whether it’s about the person, the instrument, or music history, there are always informative takeaways. Our interview with Wynton Marsalis was a window to jazz players of another era and we learned tons of incredible history. We love showcasing the general humanity of each guest and appreciating each other as musicians across a wide range of genres.

Create Your Own Package!

FOLLOW THE GUYS’ PICKS, OR CHOOSE FOR YOURSELF AT DSO.ORG/CREATE

OCTOBER 14

Terence Blanchard with Tarriona “Tank” Ball & the Turtle Island Quartet

NOVEMBER 11-13

Jader Conducts Mahler’s “Resurrection” Symphony

DECEMBER 1-3 Shostakovich’s Violin Concerto & Schumann

JUNE 8-10

Strauss’ Also Sprach Zarathustra & Dueñas Performs Lalo

DETROIT SYMPHONY ORCHESTRA

A COMMU N I T Y -SU P P ORT E D ORCHESTRA

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

HOT LATIN SOUNDS WITH THE MAMBO KINGS Sunday, October 16, 2022 at 3 p.m. in Orchestra Hall

ROBERT BERNHARDT, conductor

MAMBO KINGS:

Richard DeLaney, music director and piano

Wilfredo (Freddy) Colón , drums, timbales, and bongos

John Viavattine, saxophone

Hector Diaz , bass Tony Padilla , congas

Program to include:

I

Richard Delaney - Melodia

Dave Brubeck / arr. Richard Delaney - Blue Rondo à la Turk

Richard Delaney – Nostalgia

Guillermo Castillo / arr. Richard Delaney - Tres Lindas Cubanas

Astor Piazzolla / arr. Richard Delaney - Milonga del Ángel

Rafael Hernández Marín / arr. Richard Delaney - El cumbanchero

II

Lennon-McCartney / arr. Richard Delaney - Day Tripper

Richard Delaney - Marinera

Richard Delaney - Danzón

Michel Camilo - Caribe

Tito Puente / arr. Richard Delaney - Oye Cómo Va

Program subject to change

PROGRAM AT-A-GLANCE | HOT LATIN SOUNDS WITH THE MAMBO KINGS

A Pan-American Musical Journey

Audiences across the United States have enjoyed an explosive blend of Afro-Cuban rhythms and jazz improvisation courtesy of the Mambo Kings since their formation in the mid 1990s. Making their orchestral debut in 1997 with Jeff Tyzik, the group unites this afternoon with in-demand pops conductor Robert Bernhardt to present a range of repertoire from the sultry melancholy of Astor Piazzolla to the burning Afro-Cuban jazz of Tito Puente.

JA DER B I G NA M I N I MUSIC DIRECTOR

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

NEEME JÄRVI Music Director Emeritus

LEONARD SLATKIN Music Director Laureate

JEFF TYZIK

Principal Pops Conductor

TITLE SPONSOR:

PROFILES

ROBERT BERNHARDT

In the 2021-22 season, conductor Bob Bernhardt celebrated 40 years as Principal Pops Conductor with the Louisville Orchestra. He is concur rently Principal Pops Conductor of the Grand Rapids Symphony and Music Director Emeritus and Principal Pops Conductor of the Chattanooga Symphony and Opera. Formerly, he was Principal Conductor/Artistic Director of the Rochester Philharmonic, Music Director and Conductor of the Tucson Symphony, Music Director and Conductor of the Chattanooga Symphony and Opera, Principal Guest Conductor of Kentucky Opera, Music Director and Conductor of the Amarillo Symphony, and Artistic Director of the Lake Placid Sinfonietta. Since 2006, he has been the conductor of the Symphony Under the Sky Festival with the Edmonton Symphony, and a frequent guest conductor annually on several of their sub scription series.

He debuted with the Boston Pops in 1992 at John Williams’s invitation and has returned there often. He hs appeared fre quently as a guest conductor with the Baltimore Symphony, Detroit Symphony, Cincinnati Pops, Pittsburgh Symphony, Dallas Symphony, Seattle Symphony, St. Louis Symphony, and others. In the world of pops, he has worked with scores of stars from Broadway, Rock & Roll, and the American Songbook: from Brian Stokes Mitchell and Kelli O’Hara, and the Beach Boys and Wynonna, to Jason Alexander and Ben Folds. A lover of opera, he conducted productions with Kentucky Opera for 18 consecutive seasons, and for 19 seasons with his own company in Chattanooga, as well as many guest conducting engage ments with the Nashville Opera.

THE MAMBO KINGS

The Mambo Kings, together since 1995, are enjoying great success as Upstate New York’s foremost Latin jazz ensemble, and have rapidly earned a national reputation for their explo sive blend of Afro Cuban rhythms and jazz improvisation.

Since their orchestral debut in 1997 with the Rochester Philharmonic and Conductor Jeff Tyzik, Mambo Kings have appeared at the Bravo! Vail Valley Music Festival and in pops concerts with orchestras in Baltimore, Vancouver, Detroit, Dallas, Naples (FL), and Portland (OR), among others, performing original compositions and arrangements by pianist Richard DeLaney.

As a quintet, Mambo Kings have appeared as featured soloists at the Xerox Rochester International Jazz Fest, the Music in the Mountains Festival in Colorado, the Lewiston (NY) Jazz Fest, and the Big Sky Arts Fest in Bozeman, MT.

More recently, the 2019 season featured performances with the Alabama Symphony, a sold-out concert at the Grant Park Music Festival in Chicago, and a show with the Des Moines Symphony. The band weathered the 2020-21 season with online performances with the Austin, Buffalo, and West Michigan orchestras, and a live performance with the Virginia Symphony to wrap up the year.

Mambo Kings released their third self-produced recording, Nostalgia, in July of 2008. Nostalgia, along with their previ ous releases— Live! (2005) and Marinera (2003)—continues to receive radio airplay throughout North America and Puerto Rico.

N

T

DETROIT SYMPHONY ORCHESTRA

A COMMU N I T Y -SU P P ORT E D ORCHESTRA

JADER BIGNAMINI , Music Director

JA DER B I G NA M I N

Music Directorship endowed by the Kresge Foundation

MUSIC DIRECTOR

JEFF TYZIK Principal Pops Conductor

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

LEONARD SLATKIN

Music Director Laureate

PVS CLASSICAL SERIES

Title Sponsor:

NEEME JÄRVI

Music Director Emeritus

BEETHOVEN’S THIRD AND MENDELSSOHN’S VIOLIN CONCERTO

Friday, October 21, 2022 at 8 p.m. Saturday, October 22, 2022 at 8 p.m. Sunday, October 23, 2022 at 3 p.m. in Orchestra Hall

MATTHIAS PINTSCHER, conductor BENJAMIN BEILMAN, violin

Olga Neuwirth Masaot/Clocks without Hands (b. 1968)

Felix Mendelssohn Concerto for Violin and Orchestra (1809 - 1847) in E minor, Op. 64

I. Allegro molto appassionato

II. Andante

III. Allegretto non troppo - Allegro molto vivace Benjamin Beilman, violin

Intermission

Ludwig van Beethoven Symphony No. 3 in E-Flat major, Op. 55, “Eroica” (1770 - 1827)

I. Allegro con brio

II. Marcia funebre: Adagio assai

III. Scherzo: Allegro vivace

IV. Finale: Allegro molto

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

PROGRAM AT-A-GLANCE | BEETHOVEN’S THIRD & MENDELSSOHN’S VIOLIN CONCERTO

Excellence Takes Time

In the context of compositional masterpieces, time really is of the essence. Much like the aging of fine wine, great compositional ideas need time to evolve. Beethoven’s “Eroica” Symphony—one of his most prominent and renowned works—arose after a six-month period of compositional silence, a rarity for Beethoven’s usual creative pace.

Mendelssohn’s Violin Concerto in E minor took six years to complete, during which time he was experiencing feelings of self-doubt, the pressure of writing his third symphony, and an unhappy relocation to Berlin due to a request from King Frederick William IV of Prussia.

The commission of the opening piece on this program, Olga Neuwirth’s Masaot/Clocks without Hands, was delayed for five years, in which time Neuwirth drew connections between the ghost of Mahler and the spirit of her grandfather. Although she never knew her grandfather, this piece represented her journey to “find the unfindable” in him, causing her to stumble into the elusiveness of memory and time.

PROGRAM NOTES

Masaot/Clocks without Hands

Composed 2014 | Premiered 2015

OLGA NEUWIRTH

B. August 4, 1968, Graz, Austria

Scored for 3 flutes (one doubling piccolo), 3 oboes, 3 clarinets (one doubling E-flat clarinet and one doubling bass clarinet), 2 bassoons, contrabassoon, 3 horns, 3 trumpets, 2 trombones, bass trombone, tuba, percussion, celesta, and strings (approx. 20 minutes)

Olga Neuwirth wrote the following about Masaot/Clocks without Hands : In 2010 the Vienna Philharmonic asked me to write an orchestral work for the 100th anniversary of Gustav Mahler’s death. As I had to finish two operas by the end of 2011, I had to decline.

When the commission was postponed until 2015, I decided I did not want to drop the idea from 2010 of reflecting on Mahler. In the interim, my grandfather, whom I had never met and whom I only knew through photos and my grandmother’s stories, appeared to me in a dream. In the sunlit meadow of the Danube, with its rip pling water, the wind moved myriads of green blades of grass in a strip of tangled

reeds. My grandfather was standing in the midst of the grass, and playing one song after another to me on an old crackling tape recorder. He said: “From the start, I was strikingly different. I was an outsider and never entirely fit into my Austrian surroundings. All my life I had the feeling of being excluded. Listen to these songs: this is my story.” He had fallen out of time and was sharing this with me.

This dream had moved me so much that I wanted to process it by writing a composition.

Masaot/Clocks without Hands can be seen as a poetic reflection on how memo ries fade. The piece combines recurrent fragments of melodies from very different places and experiences from my grandfather’s life. The composition develops a “grid” in which song fragments resound and are recombined. Concurrently, there is a “musical object,” based on metro nome beats, that makes time audible and perceptible. Just like on a spinning carou sel, these metronome beats appear and disappear. Yet unlike on a carousel, they do not remain the same; they change each time through a slight shift in context and the superposition of various tempi.

Through this “ticking of the metronome,” through this time’s externally regulated pulsation, time itself becomes a subjec tively timeless realm of the subconscious.

Ultimately, time appears to dissolve: clocks without hands.

My grandfather was born in a city by the sea that had had a turbulent history: at times the city was under Venetian rule, while at others it was under CroatianHungarian rule. He later grew up in the Danube River Basin, on the border between Croatia and Hungary. Thus this piece was for me about the many different (musical) stories heard and carried to sea by the river: in my case, the Danube.

Back to Mahler. After its world pre miere, his First Symphony was called “Katzenmusik” (caterwauling or cacoph ony) and criticized for eclecticism.

But that was precisely what interested me, and I wanted to explore this musical phenomenon.

I wanted to look back at the world of Kakanian heritage from the perspective of my present life. In the search for identity and origin.

Masaot/Clocks without Hands evolved out of the multi-voiced sound of my frag mented origins and my desire for an uninterrupted flow, determined through out the piece by constantly interchanging cells. In Masaot/Clocks without Hands I try to respond to the idea of someone having “several homelands,” namely, by compos ing music that is both native and foreign. Familiar and unfamiliar sounds, beyond any form of Kakanian nostalgia, in the impossible attempt to stop time by composing.

This performance marks the DSO premiere of Olga Neuwirth’s Masaot/Clocks without Hands

Concerto for Violin and Orchestra in E minor, Op. 64

Composed 1838-1844 | Premiered 1845

FELIX MENDELSSOHN

B. February 3, 1809, Hamburg, Germany

D. November 4, 1847, Leipzig, Germany

Scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, bassoons, 2 horns, 2 trumpets, timpani, and strings. (approx. 27 minutes)

Felix Mendelssohn’s E minor violin con certo (his second) was written over a period of six years, and completed a mere three before his death. It remains the composer’s last large orchestral work. It was dedicated to the violin virtuoso Ferdinand David and benefited greatly from suggestions that David offered. Months after the work’s premiere, a second virtuoso—Joseph Joachim, Mendelssohn’s teenage protégé—per formed it in Dresden, and Joachim remained a champion of the concerto for the rest of his life.

Many scholars noted that the concerto creatively breaks with established con ventions in the opening bars of the first movement. Instead of having the full orchestra introduce the first theme before the soloist’s entrance, Mendelssohn reverses the order, allowing the solo violin to waft the opening melancholy theme over gently pulsing string arpeggios before building to a dramatic orchestral tutti. In contrast to the haunting beauty of the first theme, the second theme is char acterized by a warm melody in the clarinets and flutes. And instead of moving directly from the development section into a recapitulation of the two main themes, Mendelssohn cleverly inserts a dazzling cadenza, which serves as an elegant and unexpected transition between the two sections.

The second movement follows directly on the heels of the first, with a lone, plain tive bassoon solo carrying the listener from one movement into the next. The musical structure of the movement fol lows a standard three-part A-B-A form, but within this simple pattern, Mendelssohn spins some of his most exquisitely conceived melodies. The finale is a bubbly, sparkling concoction that pushes the soloist’s virtuosity further and further as the movement progresses. Transparent orchestral textures allow clear projection of the acrobatic solo line, and the nimble coda drives both the

orchestra and soloist towards an exhila rating conclusion.

The DSO most recently performed Mendelssohn’s Violin Concerto in E minor at a DSO Digital Concert in May 2021, con ducted by Jader Bignamini and featuring violinist Midori. The DSO first performed the piece in March 1916, conducted by Weston Gales and featuring violinist Francis MacMillen.

Symphony No. 3 in E-Flat

major, Op. 55, “Eroica”

Composed 1803-1804 | Premiered 1805

LUDWIG VAN BEETHOVEN

B. December 1770, Bonn, Germany

D. March 26, 1827, Vienna, Austria

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, timpani, and strings. (approx. 47 minutes)

The sharp “hammer stroke” chords that open Beethoven’s “Eroica” symphony are a genre-bending and even humorous imitation of the three loud chords heard in countless tiny, frivolous Italian sinfonias composed in Naples and Milan in the 1730s. In their original context, they were simply used to silence a noisy audience, but Beethoven boldly made them into structural pillars that recur throughout the first movement of the “Eroica.” This nicely encapsulates what makes the sym phony so groundbreaking: Beethoven doesn’t veer from the pre-established musical path per se, but he kicks up so much dust that his genius is laid bare.

The “Eroica” maintains many elements of the symphonic traditions in a fairly straightforward way—at least on paper. It opens with a simple theme that rocks gently up and down the notes of the E-flat major triad. The horn trio in the middle of the Scherzo observes the standard prac tice of featuring the wind instruments in that section of the movement. And, despite its huge architecture and

extraordinary technical demands, the “Eroica” is a work in which the sound of the string choir is still a basic orchestra element.

But in practice, there was nothing at all like the “Eroica” in 1804. The piece’s unam biguous hugeness, dramatic emphasis, and a sense of self-importance were all new. It was the longest symphony ever written at the time. And it boldly shifted emphasis from the first movement to the last, creat ing the idiom that would become known as the “finale symphony”—the fugal end of Mozart’s “Jupiter” Symphony offers the only real precedent for Beethoven’s “Eroica” in this regard.

Though the first-movement exposition is set forth as a typical set of short, pithy themes, the energy gathered in them fore tells the scope of the musical structure

Beethoven has in store. But developmental proceedings are suddenly interrupted by a brand-new theme, in the quite foreign key of E minor. Beethoven then gradually intro duces the opening triadic theme in a variety of tonalities that eventually lead back to the main key of E-flat major and a recapitulation of all the thematic material. He appends a long coda to the movement, reintroducing the new theme as one of its dramatic events.

The slow movement beautifully contrasts somber, heroic, and elegiac sentiments, and the Scherzo is a virtuosic and even hilarious romp—with pizzicato string effects, contrasting horn colors in the trio section, and stubborn syncopations and changes of meter. The exuberant spir its can be capped only by the climactic variations Beethoven uses to conclude the “Eroica,” which we now recognize as the bridge between the Classical and Romantic periods. And of course, Beethoven ends the movement with another set of fierce “ham merstroke” chords. —Carl R. Cunningham

The DSO most recently performed Beethoven’s Symphony No. 3 at a DSO Digital Concert in December 2020, con ducted by Jader Bignamini. The DSO first performed the piece in January 1919, con ducted by Ossip Gabrilowitsch.

PROFILES

MATTHIAS PINTSCHER

Matthias

Pintscher is the Music Director of the Ensemble Intercontemporain in Paris. In 2020-21, Pintscher also began a three-season appoint ment as the Cincinnati Symphony Orchestra’s new Creative Partner. Known equally as one of today’s foremost com posers, Pintscher’s works are frequently commissioned and performed by major international orchestras.

Pintscher opened his 2021-22 season as the “Theme Composer” of Suntory Hall’s 2021 festival, including the world pre miere of his work neharot, which he conducted with the Tokyo Symphony Orchestra. In January 2022, his violin con certo written for Leila Josefowicz, Assonanza II, was premiered by the Cincinnati Symphony under Pintscher’s baton. In recent seasons, Pintscher has begun to conduct staged operas, and recently returned to the Staatsoper Unter den Linden in Berlin to lead Lohengrin, for which he gave the production’s premiere.

Pintscher has held many titled positions, most recently as the BBC Scottish Symphony Orchestra’s Artist-inAssociation for nine seasons. In 2018-19, he served as the Season Creative Chair for the Tonhalle-Orchester Zürich, as well as Artist-in-Residence at the Los Angeles Chamber Orchestra. He was Principal Conductor of the Lucerne Festival Academy Orchestra from 2016-2018.

Pintscher began his musical training in conducting, studying with Pierre Boulez and Peter Eötvös in his early twenties, during which time composing soon took a more prominent role in his life. Pintscher’s music is championed by some of today’s finest performing artists, orchestras, and

conductors. He is published exclusively by Bärenreiter. Pintscher has been on the composition faculty of the Juilliard School since 2014.

BENJAMIN BEILMAN

Benjamin Beilman has won international praise both for his pas sionate performances and deep rich tone. Highlights of Beilman’s 2021-22 season included perfor mances of the Samuel Coleridge-Taylor concerto with the Indianapolis, Toledo, and Charlotte symphonies, as well as the pre miere a new violin concerto by Chris Rogerson with the Kansas City Symphony and Gemma New. In Europe, recent high lights include performances with the Swedish Radio Symphony and Elim Chan, the Antwerp Symphony and Krzysztof Urbański, the Toulouse Symphony and Tugan Sokhiev, and the Trondheim Symphony and Han-Na Chan. He also returned to the BBC Scottish Symphony, and the Tonkünstler Orchestra, with whom he has recorded a concerto by Thomas Larcher.

Beilman studied with Almita and Roland Vamos at the Music Institute of Chicago, Ida Kavafian and Pamela Frank at the Curtis Institute of Music, and Christian Tetzlaff at the Kronberg Academy, and has received many prestigious accolades including a Borletti-Buitoni Trust Fellowship, an Avery Fisher Career Grant, and a London Music Masters Award. He has an exclusive recording contract with Warner Classics and released his first disc, Spectrum, for the label in 2016, fea turing works by Stravinsky, Janáček and Schubert. Beilman plays the “Engleman” Stradivarius from 1709 generously on loan from the Nippon Music Foundation.

JEFF TYZIK

DETROIT SYMPHONY ORCHESTRA

TERENCE BLANCHARD

TITLE SPONSOR:

THE MUSIC OF ABBA

Friday, October 28, 2022 at 8 p.m. Saturday, October 29, 2022 at 8 p.m. Sunday, October 30, 2022 at 3 p.m. in Orchestra Hall

MICHAEL KRAJEWSKI, conductor RAJATON

AILI IKONEN, soprano • ESSI WUORELA, soprano SOILA SARIOLA, alto • HANNU LEPOLA, tenor AHTI PAUNU, baritone • JUSSI CHYDENIUS, bass

All composed by Ulvaeus / Andersson / Anderson

arr. Kiiski ABBA Medley

arr. Kuusisto Dancing Queen - Money, Money, MoneyOne of Us

arr. Lepola Head Over Heels

arr. Kiiski S.O.S.

arr. Vanska Take a Chance On Me

arr. Kiiski Chiquitita

arr. Kiiski Mamma Mia

INTERMISSION

arr. Kuusisto People Need Love – an ABBA Symphonic Medley

arr. Kuusisto When All Is Said and Done

arr. Kiiski Knowing Me, Knowing You

arr. Chydenius Fernando

arr. Vanska Gimme! Gimme! Gimme!

arr. Kuusisto Does Your Mother Know - The Winner Takes It All –Thank You For the Music Program subject to change

JA DER B I G NA M I N I MUSIC DIRECTOR

A COMMU N I T Y -SU P P ORT E D ORCHESTRA

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

Fred A. Erb Jazz Creative Director Chair

NEEME JÄRVI Music Director Emeritus

LEONARD SLATKIN Music Director Laureate

Principal Pops Conductor

PROGRAM AT-A-GLANCE | THE MUSIC OF ABBA

Mamma Mia...Here We Go Again!

Music of Swedish supergroup ABBA (comprised of A gnetha Fältskog, B jörn Ulvaeus, B enny Andersson, and A nni-Frid Lyngstad) returns to Orchestra Hall. Now a global household name, the band first rose to prominence after their Eurovision Song Contest-winning performance of “Waterloo” in 1974.

During ABBA’s golden years between 1972 and 1982, the group consisted of two married couples (Fältskog and Ulvaeus, and Lyngstad and Andersson). As their popularity increased, their personal lives suffered, eventually leading to the collapse of both marriages and ultimately the group’s separation in 1982.

In 1999, the music of ABBA was adapted into a stage musical titled Mamma Mia! The production toured worldwide and is among the top-ten longest running Broadway and West End productions. In 2008, the musical was made into a film of the same title, engaging a new generation with the timeless magic of ABBA. In this tribute, conductor Michael Krajewski conducts a set of the band’s top hits. Get ready to unleash your inner dancing queen!

PROFILES

MICHAEL KRAJEWSKI

Known for his enter taining programs and engaging personality, Michael Krajewski is a much sought-after pops conductor in the US, Canada, and abroad.

His twenty-year relationship with the Houston Symphony included 17 years as Principal Pops Conductor. He also served as Principal Pops Conductor of the Long Beach Symphony for 11 years, Principal Pops Conductor of Atlanta Symphony for eight years, Music Director of the Philly Pops for six years, and Principal Pops Conductor of the Jacksonville Symphony for 25 years.

Krajewski’s busy schedule as a guest conductor includes concerts with major and regional orchestras across the United States. In Canada, he has appeared with the orchestras of Toronto, Ottawa, Vancouver, Calgary, Edmonton, Winnipeg, Regina, and Kitchener-Waterloo. Overseas, he has performed in Ireland, Spain, the Czech Republic, Iceland, Malaysia, and China.

Krajewski has conducted concerts featuring notable musicians and entertainers from many diverse styles of music. He has worked with classical luminaries

such as vocalist Marilyn Horne, flutist James Galway, pianist Alicia de Larrocha, and guitarists Pepe and Angel Romero.

In the field of popular music, he has performed with Roberta Flack, Judy Collins, Art Garfunkel, Kenny Loggins, Ben Folds, Rufus Wainright, Jason Alexander, Patti Austin, Sandi Patty, Megan Hilty, Matthew Morrison, Doc Severinsen, the Preservation Hall Jazz Band, The Chieftains, Chicago, Pink Martini, and Big Bad Voodoo Daddy.

Born in Detroit, Krajewski studied music education at Wayne State University and conducting at the Cincinnati CollegeConservatory of music. He was an Antal Dorati Fellowship Conductor with the Detroit Symphony Orchestra and subsequently served as the DSO’s assistant conductor for four years. Krajewski now lives in Florida with his wife Darcy. In his spare time, he enjoys travel, photography, and solving crossword puzzles.

RAJATON

The Finnish word Rajaton translates as “boundless”—a word that so accurately describes the way this six-voice a cappella ensemble approaches music. Regularly performing around a hundred concerts and workshops each year, Rajaton exposes their audiences to the kind of diversity of

repertoire, singing style, and stage pre sentation that has made them a phenomenon on the world stage.

Performing at concert halls, churches, jazz, and choral festivals, this distinct group of musicians approaches all styles of music with the same level of commit ment and integrity, making it difficult to imagine an audience that they could not inspire, or a type of music they could not make their own. In their native Finland, Rajaton is a bona fide pop phenomenon,

successfully bridging the gap that often exists between classical and mainstream convention.

Rajaton has released 16 different albums. In 2017, Rajaton celebrated 20 years of music-making with one double platinum, three platinum, and eight gold records in Finland under their belt, as their worldwide record sales draw over 400,000 copies altogether.

Ever seeking new artistic challenges, the group has grown immeasurably through collaborations with other a cap pella artists, including The King’s Singers and The Real Group, as well as produc tions with film directors and choreographers. But it is perhaps their deep passion for choral art, their gener osity of spirit, and their sheer enjoyment of singing that has won the hearts and acclaim of audiences and critics every where. Their energy—infectious; their ability to entertain and inspire—Rajaton!

THE ANNUAL FUND

Gifts received between September 1, 2021 and August 31, 2022.

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

PARAY SOCIETY - GIVING OF $250,000 & MORE

Mr. & Mrs. Lee Barthel

Penny & Harold Blumenstein

Julie & Peter Cummings

Ms. Leslie C. Devereaux

Emory M. Ford, Jr.◊ Endowment

Mr. & Mrs. Stanley Frankel

DORATI SOCIETY - GIVING OF $100,000 & MORE

Mr. & Mrs. Richard L. Alonzo

James & Patricia Anderson

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

Mr. & Mrs. Phillip Wm. Fisher

EHRLING SOCIETY - GIVING OF $50,000 & MORE

Mr. & Mrs. Richard A. Brodie

Lois & Avern ◊ Cohn

Mr. & Mrs. Aaron Frankel

Mr. & Mrs. Ralph J. Gerson

Mary Ann & Robert Gorlin

Mr. & Mrs. James Grosfeld Ric & Carola Huttenlocher Renato & Elizabeth Jamett

JÄRVI SOCIETY — GIVING OF $25,000 & MORE

Pamela Applebaum

Ms. Sharon Backstrom

Mrs. Cecilia Benner

Mr. & Mrs. Edsel B. Ford II/Henry Ford II Fund

Mrs. Martha Ford Dale & Bruce Frankel

Herman & Sharon Frankel

Mr. Steven Goldsmith

Ronald M. & Carol◊ Horwitz

Mr.◊ & Mrs. Norman D. Katz

Morgan & Danny Kaufman Betsy & Joel Kellman

Mr. & Mrs. David Provost

Mr. & Mrs. Morton E. Harris ◊

Mr. & Mrs. Peter Karmanos, Jr. Linda Dresner & Ed Levy, Jr. Mr. & Mrs. James B. Nicholson Mrs. Richard C. Van Dusen

David & Valerie McCammon Shari & Craig Morgan The Polk Family Bernard & Eleanor Robertson

Drs. David & Bernadine Wu

Mrs. Bonnie Larson Nicole & Matt Lester

Mr. & Mrs. Eugene A. Miller Patricia & Henry ◊ Nickol Nancy Schlichting & Pamela Theisen Donald R. & Esther Simon Foundation

Mr. & Mrs. Arn Tellem Paul & Terese Zlotoff

Ms. Ruth Rattner Martie & Bob Sachs

Mr. & Mrs.◊ Alan E. Schwartz

Mrs. Patricia Finnegan Sharf

Mr. & Mrs. James H. Sherman

Mr. & Mrs. Larry Sherman Richard Sonenklar & Gregory Haynes

Mr. & Mrs. John Stroh III

Dr. Doris Tong & Dr. Teck M. Soo

Mr. & Mrs. Gary Torgow Wolverine Packing Company And one who wishes to remain anonymous

OF $10,000

Mr.◊ & Mrs. Robert A. Allesee

Dr. Lourdes V. Andaya

Janet & Norman Ankers

Drs. Brian & Elizabeth Bachynski

Mr. David Barnes

W. Harold & Chacona W. Baugh Drs. John & Janice Bernick

Gwen & Richard Bowlby

Mr. & Mrs. Stephen Brownell

Michael & Geraldine Buckles

Ms. Elena Centeio

Thomas W. Cook & Marie L. Masters

Gail Danto & Art Roffey

Eugene & Elaine C. Driker

Mr. Charles L. Dunlap & Mr. Lee V. Hart Margie Dunn & Mark Davidoff

Dr. & Mrs. A. Bradley Eisenbrey

Mr. Peter Falzon

Jim & Margo Farber

Sally & Michael Feder

Barbara & Alfred J. Fisher III

Mr. Michael J. Fisher

Dr. Saul & Mrs. Helen Forman

Barbara Frankel & Ronald Michalak

Mr. & Mrs. Eugene A. Gargaro, Jr.

GIVING OF $5,000 & MORE

Mr. & Mrs. Robert Armstrong

Dr. David S. Balle

Ms. Debra Bonde

Claire P. & Robert N. Brown

Mr. & Mrs. Andrew Christians

Mr. Lawrence Ellenbogen

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

Mr. & Mrs. Peter Hollinshead

Mr. Matthew Howell & Mrs. Julie Wagner

Paul & Marietta Joliat

Dr. David & Mrs. Elizabeth Kessel

Dr. Raymond Landes & Dr. Melissa McBrien-Landes

Max Lepler & Rex L. Dotson

Mrs. Sandra MacLeod

Xavier & Maeva Mosquet

Mr. & Mrs. Albert T. Nelson, Jr.

Charlene & Michael Prysak

Mr. Ronald Ross & Ms. Alice Brody

Marjorie Shuman Saulson

Mr. Norman Silk & Mr. Dale Morgan

MORE

Victor ◊ & Gale Girolami

Ruth & Al◊ Glancy

Dr. Robert T. Goldman

Dr. Herman & Mrs. Shirley Mann Gray

Mr.◊ & Mrs. James A. Green

Mr. & Mrs. Robert Hage Judy ◊ & Kenneth Hale

Ms. Nancy B. Henk

Michael E. Hinsky & Tyrus N. Curtis

Mr.◊ & Mrs. Norman H. Hofley

Mr. & Mrs. Richard J. Jessup

William & Story John Lenard & Connie Johnston

Dr. David & Mrs. Elizabeth Kessel

Mr. Daniel Lewis

Bud & Nancy Liebler

Mr. & Mrs.◊ Joseph Lile

Dana Locniskar & Christine Beck

Alexander & Evelyn McKeen

Ms. Deborah Miesel

Dr. Robert & Dr. Mary Mobley

Cyril Moscow

Xavier & Maeva Mosquet

Geoffrey S. Nathan & Margaret E. Winters

David Robert & Sylvia Jean Nelson

Eric & Paula Nemeth

Jim & Mary Beth Nicholson

Gloria & Stanley Nycek

George & Jo Elyn Nyman

Debra & Richard Partrich

Dr. Glenda D. Price

Maurcine ◊ & Lloyd Reuss

Seth & Laura Romine

Dr. Erik Rönmark* & Mrs. Adrienne Rönmark*

Mr. & Mrs. Robert B. Rosowski

Peggy & Dr. Mark B. Saffer

Schwartz Shapero Family

Elaine & Michael Serling

Lois & Mark Shaevsky

William H. Smith

Charlie & John Solecki

Mr. & Mrs. Paul Tobias

Mr. James G. Vella

Mr.◊ & Mrs. Jonathan T. Walton

Gary L. Wasserman & Charles A. Kashner

Mr. & Mrs. R. Jamison Williams

Ms. Mary Wilson

And three who wish to remain anonymous

Michael E. Smerza & Nancy Keppelman

Ms. June Wu

Mrs. Denise Abrash

Mrs. Jennifer Adderley

Richard & Jiehan Alonzo

Mr. David Assemany & Mr. Jeffery Zook*

Ms. Therese Bellaimey

Mr. & Mrs. Dennis Bernard

Mr. & Mrs. Jeffrey A. Berner

Timothy J. Bogan

John ◊ & Marlene Boll

Ms. Nadia Boreiko

Mr. Anthony F. Brinkman

Philip & Carol Campbell

Mrs. Carolyn Carr

Mr. & Mrs. François Castaing

Mr. Fred J. Chynchuk

Bob & Rebecca Clark

Dr. & Mrs. Charles G. Colombo

Ms. Elizabeth Correa

Mr. & Mrs. Gary L. Cowger

Mrs. Barbara Cunningham

Mr. & Mrs. Charles W. Dare

Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer

Mr. & Mrs. Richard L. DeVore

Adel & Walter Dissett

Ms. Ruby Duffield

Marianne T. Endicott

Mr. & Mrs. Francis A. Engelhardt

Fieldman Family Foundation

Mrs. Janet M. Garrett

Allan D. Gilmour & Eric C. Jirgens

Dr. Kenneth ◊ & Roslyne Gitlin

Dr. & Mrs. Theodore Golden Goodman Family Charitable Trust

Mr. Sanford Hansell & Dr. Raina Ernstoff

Dr. Gloria Heppner

Ms. Doreen Hermelin Elanah Nachman Hunger

Mr. & Mrs. A. E. Igleheart

Mr. & Mrs. Kent Jidov Carol & Rick Johnston

Faye & Austin Kanter Judy & David Karp

Mike & Katy Keegan

Barbara & Michael Kratchman

Richard & Sally Krugel

Mr. & Mrs. Harold Kulish

Bill & Kathleen Langhorst

Mr. & Mrs. Robert K. Leverenz

Daniel & Linda* Lutz

Bob & Terri Lutz

Mr. & Mrs. Winom J. Mahoney

Dr. Stephen & Paulette Mancuso

Maurice Marshall

Mr. Edward McClew

Patricia A.◊ & Patrick G. McKeever Ms. Evelyn Micheletti

Mr. Frederick Morsches & Mr. Kareem George Robert & Paulina Treiger Muzzin Joy & Allan Nachman

Dr. William W. O’Neill

Mr. David Phipps & Ms. Mary Buzard

William H. & Wendy W. Powers Drs. Yaddanapudi Ravindranath & Kanta Bhambhani

Mr. & Mrs. Dave Redfield

Dr. & Mrs. John Roberts Steven Della Rocca Memorial Fund/ Courtenay A Hardy

Mr. David Salisbury & Mrs. Terese Ireland Salisbury

GIVING OF $2,500 & MORE

Nina Dodge Abrams

Mr. & Mrs. Joel Adelman

Mr. & Mrs. Robert L. Anthony

Dr. & Mrs. Joel Appel

Drs. Kwabena & Jacqueline Appiah

Dr. & Mrs. Ali-Reza R. Armin

Pauline Averbach & Charles Peacock

Mr. Joseph Aviv & Mrs. Linda Wasserman Mrs. Jean Azar

Nora & Guy Barron

Mr. Mark G. Bartnik & Ms. Sandra J. Collins Mr. Joseph Bartush

Mr. & Mrs. Martin S. Baum

Mr. & Mrs. Richard Beaubien Martha ◊ & G. Peter Blom

Dr. George & Joyce Blum

Nancy & Lawrence Bluth

The Achim & Mary Bonawitz Family

The Honorable Susan D. Borman & Mr. Stuart Michaelson

Don & Marilyn Bowerman

Mr. & Mrs. Marco Bruzzano

Mr. & Mrs. Mark R. Buchanan Dr. & Mrs. Roger C. Byrd

Mr. & Mrs. Brian C. Campbell

Dr. & Mrs.◊ Thomas E. Carson Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Ronald & Lynda Charfoos

Nina & Richard Cohan

Jack, Evelyn and Richard Cole Family Foundation

Patricia & William ◊ Cosgrove, Sr. Ms. Joy Crawford* & Mr. Richard Aude

Robert J. Crutcher Family Trust

Dr. Edward & Mrs. Jamie Dabrowski

Suzanne Dalton & Clyde Foles

Maureen & Jerry ◊ D’Avanzo

Mr. & Mrs. Donald and Janet Schenk

Mrs. Sharon Shumaker

Mr. & Mrs. Matthew Simoncini

Barb ◊ & Clint Stimpson

Mrs. Kathleen Straus & Mr. Walter Shapero Joel & Shelley Tauber

Alice ◊ & Paul Tomboulian

Mrs. Eva von Voss

Mr. William Waak

Peter & Carol Walters

S. Evan & Gwen Weiner

Dr. & Mrs. Ned Winkelman Cathy Cromer Wood

And one who wishes to remain anonymous

Lillian & Walter Dean

Dr. & Mrs. Thomas Ditkoff Diana & Mark Domin Paul◊ & Peggy Dufault Edwin & Rosemarie ◊ Dyer

Dr. Leo & Mrs. Mira Eisenberg Randall & Jill* Elder

Ms. Laurie Ellias & Mr. James Murphy Mrs. Marjory Epstein

Mr. & Mrs. John M. Erb Dave & Sandy Eyl Ellie Farber & Mitch Barnett Hon. Sharon Tevis Finch Ms. Joanne Fisher

Dorothy A. & Larry L. Fobes Amy & Robert Folberg

Ms. Linda Forte & Mr. Tyrone Davenport Mr. Fred Hunter & Mrs. Viva Foster Dr. & Mrs. Franchi Kit & Dan Frohardt-Lane

Mr.◊ & Mrs. Richard M. Gabrys Alan M. Gallatin

Lynn & Bharat Gandhi Mr. Max Gates

Stephanie Germack Thomas M. Gervasi

Mr. & Mrs. James Gietzen

Mr. & Mrs. Robert W. Gillette

Ms. Jody Glancy

Mr. Lawrence Glowczewski Paul & Barbara C. Goodman Dr. William & Mrs. Antoinette Govier Ms. Jacqueline Graham Mr. & Mrs. Saul Green

Dr. & Mrs. Joe L. Greene Anne & Eugene Greenstein Sharon Lopo Hadden Robert & Elizabeth Hamel

Cheryl A. Harvey

Ms. Barbara Heller

Dr. William Higginbotham III MD

Mr. Donald & Marcia Hiruo

The Honorable Denise Page Hood & Reverend Nicholas Hood III James Hoogstra & Clark Heath

Mr. F. Robert Hozian

Dr. Karen Hrapkiewicz

Larry & Connie Hutchinson

Ms. Carole Ilitch

Dr. Raymond E. Jackson & Dr. Kathleen Murphy

Mr. Arthur Johns

Mr. John S. Johns

Mr. George G. Johnson

Paul & Karen Johnson

Mr. William & Mrs. Connie Jordan

Mr. & Mrs. John Jullens

Diane & John Kaplan

Bernard & Nina Kent Philanthropic Fund

Mrs. Frances King

Dr. & Mrs. Edward L. Klarman

Tom ◊ & Beverly Klimko

Mr. & Mrs. Ludvik F. Koci

Mr. & Mrs. Robert Koffron

Dr. Sandy Koltonow & Dr. Mary Schlaff

Ms. Susan Konop

Douglas Korney & Marieta Bautista

James Kors & Victoria King*

Mr. Michael Kuhne

Mrs. Maria E. Kuznia

Mr. & Mrs. Robert LaBelle

Dr. & Mrs. Gerald Laker

Mr. David Lalain & Ms. Deniella Ortiz-Lalain

Drs. Lisa & Scott Langenburg Ms. Sandra Lapadot

Ms. Anne T. Larin

Dr. Lawrence O. Larson

Drs. Donald & Diane Levine

Arlene & John Lewis

Ms. Carol Litka

Mr. & Mrs. David H. Loebl

Mr. John Lovegren & Mr. Daniel Isenschmid Cis Maisel

James A. Bannan

Mr. & Mrs. Charles W. Manke, Jr. Ms. Florine Mark

Mr. & Mrs. Thomas Mark Brian & Becky McCabe

Dr. & Mrs. Peter M. McCann, M.D.

Mr. Anthony R. McCree

Ms. Mary McGough

Ms. Kristen McLennan

Dr. Donald & Barbara Meier

Dr. & Mrs. David Mendelson

Olga Sutaruk Meyer

Bruce & Mary Miller

John & Marcia Miller

Mr. & Mrs. Randall Miller

Steve & Judy Miller

J.J. & Liz Modell

Dr. Susan & Mr. Stephen* Molina

Dr. Van C. Momon, Jr. & Dr. Pamela Berry

Eugene & Sheila Mondry Foundation

Mr. & Mrs. Daniel E. Moore

Ms. A. Anne Moroun

Ms. Sandra Morrison

Mr. & Mrs. Germano Mularoni

Ms. I. Surayyah R. Muwwakkil

Mariam C. Noland & James A. Kelly

GIVING OF $1,500 & MORE

William Aerni & Janet Frazis

Dr. & Mrs. Gary S. Assarian

Drs. Richard & Helena Balon

Mr. & Mrs. David W. Berry

Mrs. Marilyn Bishop

Ms. Kristin Bolitho

Mr. & Mrs. Richard Burstein

Mr. & Mrs. Byron Canvasser

Steve & Geri Carlson

Mr. & Mrs. Tom Compton

Ms. Laurie DeMond-Rosen

Gordon & Elaine Didier

Mr. & Mrs. Walter E. Douglas

Mrs. Connie Dugger

Ms. Jodie Elrod

Mr. Howard O. Emorey

Mr. Joseph & Mrs. Lois Gilmore

Howard & Francina Graef

Jean Hudson

Ms. Nadine Jakobowski

Megan Norris & Howard Matthew

Mr. & Mrs. Robert Obringer

Mr. & Mrs. Arthur T. O’Reilly Terry E. Packer

Mark Pasik & Julie Sosnowski Wolfgang & Kristine Peterman

Ms. Alice Pfahlert

Benjamin B. Phillips

Drs. Stuart & Hilary Ratner

Mr. Tony Raymaker

Mr. & Mrs. William A. Reed

Mr. & Mrs. Gerrit Reepmeyer

Mr. & Mrs. John Rieckhoff

Ms. Linda Rodney

Michael & Susan Rontal

Mr.◊ & Mrs. Gerald F. Ross

Ms. Elana Rugh

Linda & Leonard Sahn

Ms. Martha A. Scharchburg & Mr. Bruce Beyer

Shirley Anne & Alan Schlang

Joe & Ashley Schotthoefer Sandy & Alan Schwartz

Mrs. Rosalind B. Sell

Mr. Jeffrey S. Serman Carlo & Nicole Serraiocco Nancy & Sam Shamie Shapero Foundation

Robert & Patricia Shaw

Dr. Les Siegel & Ellen Lesser Siegel William & Cherie Sirois

Mr. Michael J. Smith & Mrs. Mary C. Williams

Ms. Susan Smith Shirley R. Stancato

Carole Keller

Ms. Ida King

Elissa & Daniel Kline

Miss Kathryn Korns

Ms. Jennette Smith Kotila

Mr. & Mrs. William Kroger, Jr.

Mrs. Mary Ann LaMonte

Ms. Christine M. Leonard

Mr. Jeffrey Marraccini

Barbara J. Martin

Steve & Brenda Mihalik

Mr. & Mrs. George Nicholson

Mrs. Ruth Nix

Mr. & Mrs. Mark H. Peterson

Drs. Renato & Daisy Ramos

Mr. & Mrs. Rodney Rask

Cheryl & Paul Robertson

Mr. & Mrs. George Roumell

Mr. & Mrs. James P. Ryan

Dr. & Mrs. Hershel Sandberg

Dr. Gregory Stephens

Mr. Mark Stewart & Mr. Anonio Gamez-Galaz

Nancy C. Stocking

Dr. & Mrs. Gerald Stollman

Dr. & Mrs. Choichi Sugawa

David Szymborski & Marilyn Sicklesteel Dr. Neil Talon

Mr. Rob Tanner

Sandra & Frank Tenkel

Dr. & Mrs. Howard Terebelo

Mr. & Mrs. James W. Throop Dr. Barry Tigay

Gregory Tocco & Erin Sears

Yoni & Rachel Torgow

Barbara & Stuart Trager

Tom & Laura Trudeau

Amanda Van Dusen & Curtis Blessing

Charles & Sally Van Dusen

Dr.◊ & Mrs. Ronald W. Wadle

Mr. Michael A. Walch & Ms. Joyce Keller

Mr. Patrick Webster

David R. Weinberg, Ph.D. Beverly & Barry Williams

Rissa & Sheldon Winkelman

Deborah Lamm

Ms. Andrea L. Wulf

Ms. Eileen Wunderlich

Dr. Sandra & Mr. D. Johnny Yee

Ms. Gail Zabowski

Lucia Zamorano, M.D. Ms. Ellen Hill Zeringue

Milton Y. Zussman ◊

And seven who wish to remain anonymous

Ms. Joyce E. Scafe

Dr. & Mrs. Richard S. Schwartz

Mr. & Mrs. Kingsley G. Sears

Ms. Sandra Shetler

Mr. Konstantin Shirokinskiy

Mrs. Andreas H. Steglich

Mr. & Mrs.◊ John Streit

Mr. William Thom

David & Lila Tirsell

Dennis & Jennifer Varian

Ms. Janet Weir

Janis & William Wetsman/The Wetsman Foundation

Mr. & Mrs.◊ Richard Wigginton

Dr. M. Roy & Mrs. Jacqueline Wilson

Mr. Peter Zubrin

And two who wish to remain anonymous

*Current DSO Musician or Staff

symphony orchestra

CELEBRATING YOUR LEGACY SUPPORT

BARBARA VAN DUSEN, Honorary Chair

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

Ms. Doris L. Adler

Dr. & Mrs. William C. Albert

Mr.◊ & Mrs. Robert A. Allesee

Dr. Lourdes V. Andaya

Mr. & Mrs. Eugene Applebaum ◊ Dr. Augustin & Nancy ◊ Arbulu

Mr. David Assemany & Mr. Jeffery Zook

Ms. Sharon Backstrom

Sally & Donald Baker

Mr. & Mrs. Lee Barthel

Mr. Mark G. Bartnik & Ms. Sandra J. Collins

Stanley A. Beattie

Mr. & Mrs. Mandell L. Berman ◊ Mrs. Betty Blair

Ms. Rosalee Bleecker

Mr. Joseph Boner

Gwen & Richard Bowlby

Mr. Harry G. Bowles ◊

Judith Mich ◊

Mrs. Ellen Brownfain

William & Julia Bugera CM Carnes

Cynthia Cassell, Ph. D. Eleanor A. Christie

Ms. Mary F. Christner

Mr. Gary Ciampa

Robert & Lucinda Clement Lois & Avern ◊ Cohn

Mrs. RoseAnn Comstock◊

Mr. Scott Cook, Jr.

Mr. & Ms. Thomas Cook

Dorothy M. Craig

Mr. & Mrs. John Cruikshank

Julie & Peter Cummings

Joanne Danto & Arnold Weingarden

Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer

Ms. Leslie C. Devereaux

Mr. John Diebel◊

Mr. Stuart Dow

Katherine D. Rines

Mr. Roger Dye & Ms. Jeanne A. Bakale

Mr. & Mrs. Robert G. Eidson Marianne T. Endicott

Mrs. Rema Frankel◊

Virginia B. Bertram ◊

Patricia Finnegan Sharf

Ms. Dorothy Fisher ◊

Mrs. Marjorie S. Fisher ◊

Mr. & Mrs. Phillip Wm. Fisher

Dorothy A. & Larry L. Fobes

Samuel & Laura Fogleman

Mr. Emory Ford, Jr.◊ Endowment

Dr. Saul & Mrs. Helen Forman Barbara Frankel & Ron Michalak

Herman & Sharon Frankel

Jane French

Mark & Donna Frentrup

Mr. Alan M. Gallatin

Janet M. Garrett

Dr. Byron P. & Marilyn Georgeson

Jim & Nancy Gietzen

Mr. Joseph & Mrs. Lois Gilmore Victor ◊ & Gale Girolami Ruth & Al◊ Glancy David & Paulette Groen Rosemary Gugino

Mr. & Mrs. William Harriss Donna & Eugene Hartwig

Ms. Nancy B. Henk

Joseph L. Hickey

Mr. & Mrs. Thomas N. Hitchman Ronald M. & Carol◊ Horwitz

Andy Howell

Carol Howell

Paul M. Huxley & Cynthia Pasky David & Sheri Jaffa

Mr. & Mrs. Thomas H. Jeffs II Mr. & Mrs. Richard J. Jessup

Mr. George G. Johnson Lenard & Connie Johnston

Ms. Carol Johnston

Carol M. Jonson

Drs. Anthony & Joyce Kales

Faye & Austin Kanter

Norb ◊ & Carole Keller

Dr. Mark & Mrs. Gail Kelley

Dr. Mark & Mrs. Gail Kelley

June K. Kendall◊

Dimitri ◊ & Suzanne Kosacheff

Douglas Koschik

Mr.◊ & Mrs. Arthur J. Krolikowski

Mary Clippert LaMont ◊

Ms. Sandra Lapadot

Mrs. Bonnie Larson Ann C. Lawson ◊

Allan S. Leonard

Max Lepler & Rex L. Dotson

Dr. Melvin A. Lester ◊

Mr. & Mrs.◊ Joseph Lile

Harold Lundquist ◊ & Elizabeth Brockhaus Lundquist

Eric & Ginny Lundquist

Roberta Maki

Eileen & Ralph Mandarino Judy Howe Masserang

Ms. Marilyn Snodgrass ◊

Ms. Elizabeth Maysa

Mary Joy McMachen, Ph.D. Judith Mich ◊

Rhoda A. Milgrim

Mr. & Mrs. Eugene A. Miller John & Marcia Miller

Jerald A. & Marilyn H. Mitchell

Mr.◊ & Mrs. L. William Moll Shari & Craig Morgan

Ms. I. Surayyah R. Muwwakkil◊ Joy & Allan Nachman

Mr. Herman Weinreich ◊

Beverley Anne Pack David & Andrea Page ◊ Edna J. Shin

Mr. Dale J. Pangonis

Ms. Mary Webber Parker ◊

Mr. John Diebel◊

Mrs. Sophie Pearlstein ◊ Helen & Wesley Pelling ◊

Dr. William F. Pickard

Mrs. Bernard E. Pincus

Ms. Christina Pitts

Mrs. Robert Plummer ◊

Mr. & Mrs. P. T. Ponta

Mrs. Mary Carol Prokop ◊

Ms. Linda Rankin & Mr. Daniel Graschuck

Mr. & Mrs. Douglas J. Rasmussen Deborah J. Remer

Mr. & Mrs.◊ Lloyd E. Reuss

Mr. Robert E. Wilkins ◊

Ms. Marianne Reye

Lori-Ann Rickard

Bernard & Eleanor Robertson

Ms. Barbara Robins

Jack & Aviva Robinson ◊

Mr.◊ & Mrs. Gerald F. Ross

Mr. & Mrs. George Roumell

Marjorie Shuman Saulson Mr. & Mrs. Donald & Janet Schenk

Ms. Yvonne Schilla

Mr. & Mrs. Fred G. Secrest ◊ Ms. Marla K. Shelton

Ms. June Siebert

Mr. & Mrs. Donald R. Simon ◊

Ms. Marilyn Snodgrass ◊

Mrs. Margot Sterren ◊

Mr. & Mrs. Walter Stuecken

Mr.◊ & Mrs. Alexander C. Suczek

David Szymborski & Marilyn Sicklesteel

Alice ◊ & Paul Tomboulian

Roger & Tina Valade Charles & Sally Van Dusen

Mr. & Mrs. Melvin VanderBrug

Mrs. Inge A. Vincent ◊ Christine & Keith C. Weber

Mr. Herman Weinreich ◊ John ◊ & Joanne Werner

Mr.◊ & Mrs. Arthur Wilhelm

Mr. Robert E. Wilkins ◊

Mrs. Michel Williams

Ms. Nancy S. Williams ◊

Mr. Robert S. Williams & Ms. Treva Womble

Ms. Barbara Wojtas

Elizabeth B. Work◊

Dr. Melissa J. Smiley & Dr. Patricia A. Wren

Ms. Andrea L. Wulf

Mrs. Judith G. Yaker

Milton & Lois Zussman ◊

And seven who wish to remain anonymous"

◊ Deceased

CORPORATE,

AND GOVERNMENT GIVING

Giving of $500,000 & more

SAMUEL & JEAN FRANKEL FOUNDATION

Giving of $200,000 & more

Giving of $100,000 & more

MARVIN & BETTY DANTO FAMILY FOUNDATION

Giving of $50,000 & more

Paul M. Angell Family Foundation Broder Sachse

Marvin & Betty Danto Family Foundation Edward C. & Linda Dresner Levy Foundation MASCO Corporation

MGM Grand Detroit Milner Hotels Foundation Penske Foundation, Inc.

Giving of $20,000 & more

Mandell & Madeleine Berman Foundation

Blue Star Catering

The Clinton Family Fund

DeRoy Testamentary Foundation

Eleanor & Edsel Ford Fund

Henry Ford II Fund

Hudson-Webber Foundation

Myron P. Leven Foundation

Schneider-Engstrom Foundation

Wolverine Packing Company

Giving of $10,000 & more

Laskaris-Jamett Advisors of Raymond James Oliver Dewey Marcks Foundation Stone Foundation of Michigan Sun Communities Inc.

Burton A. Zipser & Sandra D. Zipser Foundation

Giving of $5,000 & more

Applebaum Family Philanthropy Creative Benefit Solutions

Benson & Edith Ford Fund

Honigman LLP

Jaffe, Raitt, Heuer and Weiss

Marjorie & Maxwell Jospey Foundation

PNC Bank – Southeast Florida KPMG LLP

Sigmund & Sophie Rohlik Foundation Speyer Foundation

Warner Norcross + Judd

And one who wishes to remain anonymous

Giving of $1,000 & more

The Children’s Foundation

Coffee Express Roasting Company

Frank & Gertrude Dunlap Foundation Enterprise Holdings Foundation EY

James and Lynelle Holden Fund

Japan Business Society of Detroit Foundation

Josephine Kleiner Foundation

Dolores & Paul Lavins Foundation

Ludwig Foundation Fund

Madison Electric Company

Michigan First Credit Union

Plante and Moran, PLLC

Renaissance (MI) Chapter of the Links

Save Our Symphony

Louis & Nellie Sieg Foundation

Samuel L. Westerman Foundation

And one who wishes to remain anonymous

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

Linda Wasserman, Chair

Mrs. Katana H. Abbott*

Mr. Joseph Aviv

Mr. Christopher Ballard*

Ms. Jessica B. Blake, Esq.

Ms. Rebecca J. Braun

Mr. Timothy Compton

Ms. Wendy Zimmer Cox*

Mr. Robin D. Ferriby*

Mrs. Jill Governale*

Mr. Henry Grix*

Mrs. Julie Hollinshead, CFA

Mr. Mark W. Jannott, CTFA

Ms. Jennifer Jennings*

Ms. Dawn Jinsky*

Mrs. Shirley Kaigler*

Mr. Robert E. Kass*

Mr. Christopher L. Kelly

Mr. Bernard S. Kent

Ms. Yuh Suhn Kim

Mr. Henry P. Lee*

Mrs. Marguerite Munson Lentz*

Mr. J. Thomas MacFarlane

Mr. Christopher M. Mann*

Mr. Curtis J. Mann

Mrs. Mary K. Mansfield

Mr. Mark E. Neithercut*

Mr. Steve Pierce

Ms. Deborah J. Renshaw, CFP

Mr. James P. Spica

Mr. David M. Thoms*

Mr. John N. Thomson, Esq.

Mr. Jason Tinsley*

Mr. William Vanover

Mr. William Winkler

*Executive Committee Member

Share the music of the DSO with future generations

INCLUDE THE DSO AS A BENEFICIARY IN YOUR WILL

Remembering the DSO in your estate plans will support the sustainability and longevity of our orchestra, so that tomorrow’s audience will continue to be inspired through unsurpassed musical experiences. If you value the role of the DSO—in your life and in our community—

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

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

TRIBUTE GIFTS

Gifts received March 1, 2021 - August 31, 2022

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

The DSO wishes to thank those who donated in memory of President Emeritus Anne Parsons. Please visit dso.org/rememberinganne for the full list of donors.

In Honor

Caroline Coade

Teal Vickery

Bruce & Martha Clinton

John Brennan Todd Ethridge

Dorothy Hoopingarner

Denny Helzer

David Helzer

Martha Blom

Ms. Kristin Malone

Diane C. Bousquette

Mr. William Bousquette

Mr. & Mrs. Samuel G. Salloum

Dr. Glenn B Carpenter

Mr. Doyle Mosher

Dr. & Mrs. Scott A. Tyler

Hon. Avern L. Cohn

Edward C. & Linda Dresner Levy Foundation Dr. & Mrs. Theodore Golden Mrs. Bonnie A. Larson

Mrs. Barbara Levin Drs. David M. & Bernadine E. Wu

Mrs. Ilene Dunn

The Fisher Family and the TGF staff

John Fildew

Mr. & Mrs. Frederick F. Fordon

Ruth M. Frank

Ms. Nancy Dodge

William Hodgman

Mr. & Mrs. Gary Spicer

Ms. Holly Yoshinari

Jack Holmes

Karen Peterson

Bobbie & Joe Lewis

Mr. & Mrs. Bruce Naidoff

Mr. & Mrs. Mark McCammon Mrs. Maureen T. D'Avanzo

Lynn Miller

Mr. & Mrs. J Claibourne Kelly

In Memory

Thomas E. Horn

Dr. Daniel Paul Horn

Allen Ledyard

Mr. & Mrs. Paul Laughlin

Mado O. Lie

Mrs. Mary Brown Mrs. Patricia Cosgrove Mr. Charles W. Dyer Mrs. Marianne T. Endicott

Helene Lublin Evan & Talya Kadlovski Mr. & Mrs. David Mazzola

Orlene Kreger Makinson

Mr. George Troia

Melvin Poger Ms. Robyn Anspach

Dr. Aryabala Ray Prasad

Mr. Craig Carlson

Mr. Cliff Coleman

Ms. Elizabeth DuMouchelle

Mr. Robert M. Guard Ms. Anette Haeusler Ms. Tamara Hartke Mrs. Kara Hocking Mrs. Sandra Needle Dr. Theodore Pantos Terry Prasad Mr. & Ms. James Ranger Ms. Sue Sarin

Mr. James B. Nicholson

Mr. & Mrs. Stanley Frankel

Virginia Schramm

Mr. & Mr. Edward MakiSchramm

Robert & Margaret Smith

Mr. & Mrs. Thomas G. Soyster

Dr. James O. Sawyer IV & Dr. Linda Sawyer Ms. Susan Squires Ms. Leslie Swanson Mrs. Heidi Vitso Ms. Geraldine P. Brown Mr. Howard Yerman

Bob Sabourin

Mr. & Mrs. Jim Barry

Ross Tatro Ms. Linda Tatro

Mr. Norman Thorpe Mr. & Mrs. Andrew Isola

James Waring

Mr. Mark McPartlin Mr. Mark Burgeson

Vegga Wimmer Ms. Heather Bokram

Clyde & Helen Wu Mrs. Barbara Van Dusen

Elkhonon Yoffe Mr. & Mrs. Mark Benson

John E. Young, Jr. Mrs. Sarah Duck Mrs. Marianne T. Endicott Mongirdas/Anderes Families Ann & Bryan Gilligan Mr. & Mrs. William Gilligan

WELCOME TO THE MAX

Our Home on Woodward Avenue

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

THE MAX M. & MARJORIE S. FISHER MUSIC CENTER

3711 Woodward Avenue Detroit, MI 48201

Box Office: 313.576.5111

Group Sales: 313.576.5111

Administrative Offices: 313.576.5100

Facilities Rental Info: 313.576.5131

Visit the DSO online at dso.org For general inquiries, please email info@dso.org

Parking

The DSO Parking Deck is located at 81 Parsons Street. Self-parking in the garage costs $10 for most concerts (credit card payment only). Accessible parking is available on the first and second floors of the garage. Note that handicapped parking spaces go quickly, so please arrive early!

What Should I Wear?

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

Food and Drink

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

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

Please note that outside food and beverages are prohibited.

Handicap Access and Hearing Assistance

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

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

The DSO’s Sennheiser MobileConnect hearing assistance system is available for all performances in Orchestra Hall. You can use your own mobile device and headphones by downloading the Sennheiser MobileConnect app, or borrow a device by visiting the Patron Services Center on the second floor of the William Davidson Atrium. This system is made possible by the Michigan Ear Institute.

WiFi

Complimentary WiFi is available throughout The Max. Look for the DSOGuest network on your device. And be sure to tag your posts with #IAMDSO!

Shop @ The Max

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

The Herman and Sharon Frankel Donor Lounge

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

Gift Certificates

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

Rent The Max

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

BERLIN PHILHARMONIC IN ANN ARBOR

Nov 18-19 | Hill

Fri Nov 18 // 8 pm

Program includes Mozart’s Violin Concerto, Erich Korngold’s only symphony, and Andrew Norman’s Unstuck.

“Kirill Petrenko has a way of hearing deep into textures and harmonies that is really quite startling. He gives us X-ray ears.” (Gramophone)

Principal

TICKETS

Sat Nov 19 // 8:30 pm

Features Mahler’s Symphony No. 7

POLICIES

HEALTH & SAFETY

n The DSO no longer requires audiences to provide proof of COVID-19 vaccination or a negative COVID-19 test to attend performances.

n Masks are optional although strongly recommended at DSO performances, particularly when Wayne County and surrounding communities are in the high or “red” category as defined by the CDC.

n We ask all audience members to do their part to create a safe environment for everyone and encourage those who are not feeling well to stay home.

n We will continue to communicate our policies to ticketholders in advance of their concerts and will provide updates should protocols change throughout the season.

SEATING

Please note that all patrons (of any age) must have a ticket to attend concerts. If the music has already started, an usher will ask you to wait until a break before seating you. The same applies if you leave Orchestra Hall and re-enter. Most performances are broadcast (with sound) on a TV in the William Davidson Atrium.

TICKETS, EXCHANGES, AND CONCERT CANCELLATIONS

n All sales are final and non-refundable.

n Even though we’ll miss you, we understand that plans can change unexpectedly, so the DSO offers flexible exchange and ticket donation options.

n Please contact the Box Office to exchange tickets and for all ticketing questions or concerns.

n The DSO is a show-must-go-on orchestra. In the rare event a concert is cancelled, our website and social media feeds will announce the cancellation, and patrons will be notified of exchange options.

PHONES

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

PHOTOGRAPHY & RECORDING

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

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

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

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

SMOKING

Smoking and vaping are not allowed anywhere in The Max.

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

Kirill

, chief

ADMINISTRATIVE STAFF

EXECUTIVE OFFICE

Erik Rönmark

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

Jill Elder

Vice President and Chief Revenue Officer

Linda Lutz

Vice President and Chief Financial and Administrative Officer

Joy Crawford

Executive Assistant to the President and CEO

Anne Parsons ◊

President Emeritus

ARTISTIC OPERATIONS

ARTISTIC PLANNING

Jessica Ruiz

Senior Director of Artistic Planning

Jessica Slais

Creative Director of Popular and Special Programming

D. Kenji Lee

Jazz and @ THE MAX Coordinator

Claudia Scalzetti Artistic Coordinator

Lindzy Volk

Artist Liaison

Goode Wyche

Manager of Jazz and @ THE MAX

LIVE FROM ORCHESTRA HALL

Marc Geelhoed

Executive Producer of Live from Orchestra Hall

ORCHESTRA OPERATIONS

Kathryn Ginsburg

General Manager

Patrick Peterson

Director of Orchestra Personnel

Dennis Rottell Stage Manager

Benjamin Brown Production Manager

Nolan Cardenas Audition and Operations Coordinator

Bronwyn Hagerty Orchestra and Training Programs Librarian

Benjamin Tisherman Manager of Orchestra Personnel

ADVANCEMENT

Alex Kapordelis Senior Director, Campaign

Jill Rafferty

Senior Director of Advancement

Amanda Tew Director, Advancement Operations

Beth Carlson Stewardship Coordinator

Damaris Doss

Major Gift Officer

Leslie Groves

Major Gift Officer

Ali Huber

Signature Events Manager

Jane Koelsch Fulfillment Coordinator

Amanda Lindstrom Events Coordinator

Colleen McLellan Institutional Gift Officer

Juanda Pack Advancement

Benefits Concierge

Susan Queen Gift Officer, Corporate Giving

Cassidy Schmid

Manager of Campaign Operations

Shalynn Vaughn Major Gift Officer

BUILDING OPERATIONS

Ken Waddington

Senior Director of Facilities and Engineering

Demetris Fisher Chief EVS Technician

William Guilbault EVS Technician

Robert Hobson Chief Maintenance Technician

Keith Kennedy Chief Engineer

CATERING AND RETAIL SERVICES

Christina Williams Director of Patron and Event Experience

Neva Kirksey Manager of Events and Rentals

Alison Reed, CVA Manager of Volunteer and Patron Experience

Andre Williams Beverage Manager

COMMUNICATIONS

Matt Carlson

Senior Director, Communications and Media Relations

Sarah Smarch Director of Content and Storytelling

Natalie Berger Video Content Specialist

LaToya Cross Communications and Advancement Content Specialist

Hannah Engwall Public Relations Manager

Francesca Leo Public Relations Coordinator

COMMUNITY & LEARNING

Karisa Antonio Director of Social Innovation

Damien Crutcher Managing Director of Detroit Harmony

Debora Kang Director of Education

Clare Valenti Director of Community Engagement

Kiersten Alcorn

Manager of Community Engagement

Chris DeLouis Training Ensembles Operations Coordinator

Joanna Goldstein Training Ensembles Student Development Coordinator

Anne Leech Detroit Strategy Specialist

Catherine Moore Detroit Harmony Operations Coordinator

Kendra Sachs

Training Ensembles Recruitment and Communications Coordinator

FINANCE

Adela Löw

Director of Accounting and Financial Reporting

Sandra Mazza

Senior Accountant, Business Operations

Sarah Nawrot Accounting Clerk

HUMAN RESOURCES

Hannah Lozon

Senior Director of Talent and Culture

Mary Lambert Human Resources Generalist

Shuntia Perry Human Resources Coordinator

INFORMATION TECHNOLOGY

William Shell

Director of Information Technology

Michelle Koning Web Manager

Len Messing Systems Administrator

Aaron Tockstein Database Administrator

MARKETING & AUDIENCE DEVELOPMENT

Charles Buchanan

Senior Director of Marketing and Audience Development

Teresa Alden Director of Growth and Acquisition

Rebecca Villarreal Director of Subscriptions and Loyalty

Dorian Dillard Marketing and Promotions Coordinator

Jay Holladay Brand Graphic Designer

LaHeidra Marshall Audience Development Specialist

Connor Mehren Digital Marketing Strategist

Kristin Pagels Content Marketing Strategist

PATRON SALES & SERVICE

Michelle Marshall Director of Patron Sales and Service

Sharon Gardner Carr Assistant Manager of Tessitura and Ticketing Operations

Rollie Edwards

Patron Sales and Service Specialist

James Sabatella Group and Patron Services Specialist

SAFETY & SECURITY

George Krappmann Director of Safety and Security

Willie Coleman Security Officer

Norris Jackson Security Officer

Tony Morris Security Officer

Johnnie Scott Safety and Security Manager

Antonio Thomas Security Officer

PERFORMANCE

Winter • 2021-2022 Season

Hannah Engwall, editor hengwall@dso.org

•

ECHO PUBLICATIONS, INC. Tom Putters, publisher James Van Fleteren, designer echopublications.com

•

Cover design by Jay Holladay

•

To advertise in Performance: call 248.582.9690 or email info@echopublications.com

Read Performance anytime! dso.org/performance

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

UPCOMING CONCERTS & EVENTS

PVS CLASSICAL SERIES SHOSTAKOVICH’S VIOLIN CONCERTO & SCHUMANN

Thu, Dec 1 – Sat, Dec 3

YOUNG PEOPLE’S FAMILY CONCERT SERIES WHAT IS GROOVE?

Sat, Dec 3

YOUNG PEOPLE’S FAMILY CONCERT SERIES TALE OF THE FIREBIRD Sat, Dec 3

PVS CLASSICAL SERIES MENDELSSOHN'S FIRST PIANO CONCERTO & DVOŘÁK'S EIGHTH'S SYMPHONY

Fri, Dec 9 – Sun, Dec 11

PARADISE JAZZ SERIES A CHARLIE BROWN CHRISTMAS – CYRUS CHESTNUT & FRIENDS

Fri, Dec 9

DSO PRESENTS HOME ALONE IN CONCERT

Wed, Dec 14

PNC POPS SERIES HOME FOR THE HOLIDAYS

Fri, Dec 16 – Sun, Dec 18

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES MOZART, MONTGOMERY & MORE

Thu, Jan 5 – Sunday, Jan 8

PNC POPS SERIES TWIST & SHOUT: THE MUSIC OF THE BEATLES— A SYMPHONIC EXPERIENCE

Fri, Jan 6 – Sun, Jan 8

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES REINECKE’S FLUTE CONCERTO

Thu, Jan 12 – Sun, Jan 15

Cyrus Chestnut December 9

Welcome Back

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

�e Whitney Early Evening Menu is back!

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

�e Whitney: Detroit’s first choice for pre-concert dining.

*Not available on Saturdays. Can not be combined with any other discounts or promotions*