Performance magazine – Fall Issue 2 – 2022-23 Season

Welcomes Robyn Bollinger

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!

Mark Davidoff, Chair President and CEO Board of Directors

Erik Rönmark

JEFF TYZIK

Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

DETROIT SYMPHONY ORCHESTRA

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

Music Director Laureate

Music Director Emeritus

FIRST VIOLIN

Robyn Bollinger

CONCERTMASTER

Katherine Tuck Chair

Kimberly Kaloyanides Kennedy ASSOCIATE CONCERTMASTER Schwartz and Shapero Family Chair

Hai-Xin Wu

ASSISTANT CONCERTMASTER Walker L. Cisler/Detroit Edison Foundation Chair

Jennifer Wey Fang ASSISTANT CONCERTMASTER

Marguerite Deslippe* Laurie Goldman* Rachel Harding Klaus* Eun Park Lee* Adrienne Rönmark* 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

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

BIGNA M

MUSIC DIRECTOR

NEEME JÄRVI

LEONARD SLATKIN

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

Mark A. Davidoff Chair

Erik Rönmark President & CEO

David T. Provost Vice Chair

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

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

MAESTRO CIRCLE EXECUTIVE COMMITTEE

Janet & Norm Ankers, Chairs

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.

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.

Learn more about the fund dso.org/parsonsfund

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

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

JEFF TYZIK Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

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

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

DER B

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

PVS CLASSICAL SERIES

Title Sponsor:

NA

MUSIC DIRECTOR

NEEME JÄRVI Music Director Emeritus

TRIFONOV PERFORMS BRAHMS’ SECOND PIANO CONCERTO

Thursday, November 3, 2022 at 7:30 p.m. Friday, November 4, 2022 at 10:45 a.m. Saturday, November 5, 2022 at 8 p.m. in Orchestra Hall

JADER BIGNAMINI, conductor DANIIL TRIFONOV, piano

William Grant Still Festive Overture (1895 - 1978)

Florence Price Symphony No. 1 in E Minor (1887 - 1953)

I. Allegro non troppo

II. Largo, maestoso

III. Juba Dance

IV. Finale

Intermission

Johannes Brahms Piano Concerto No. 2 in B-flat major, Op. 83 (1833 - 1897)

I. Allegro non troppo

II. Allegro appassionato

III. Andante

IV. Allegretto grazioso Daniil Trifonov, piano

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

LEONARD SLATKIN Music Director Laureate

NA’ZIR MCFADDEN Assistant Conductor Phillip and Lauren Fisher Community Ambassador

AT-A-GLANCE – BRAHMS’ SECOND PIANO CONCERTO

Redefining success

Success can present itself in many different ways. William Grant Still and Florence Price are two prominent composers whose works have only begun to reach the level of recognition they have long deserved. Their orchestral pieces are often programmed together based on similarity in compositional influences—Still and Price even attended the same elementary school in Little Rock, Arkansas, a few years apart. Although both composers received awards and a degree of acclaim, they continued to face an abundance of barriers to success as racial injustices made it difficult for their careers to thrive.

Johannes Brahms’s second piano concerto was a success in its own right—it had to be for his ego’s sake. The reception of his first piano concerto was disastrous—the audience hated the concerto so much that some even began hissing after its conclusion. After a nearly 20-year hiatus, Brahms decided to try composing a piano concerto once more, stating that “a second one will sound very different.” He remained true to his word, and this concerto was extremely well-received— allowing Brahms to breathe a great sigh of relief.

PROGRAM NOTES

Festive Overture

Composed 1944 | Premiered 1944

WILLIAM GRANT STILL

B. May 11, 1895, Woodville, MS

D. December 3, 1978, Los Angeles, CA

Scored for 3 flutes (one doubling piccolo), 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 10 minutes)

In 1944, the Cincinnati Symphony celebrated their 50th anniversary by sponsoring a competition for “Best Overture,” with a prize of a $1,000 War Bond. The submissions were anonymous and the judges, some of America’s top conductors and composers, were unanimous in their choice: William Grant Still’s Festive Overture.

Why an overture, and an overture to what, exactly? The form’s roots lay in Baroque opera, where it was an introductory 3-movement work (fast-slow-fast), also often called a “symphony.” The terms were interchangeable until the Classical era, when the opera overture shed the last two movements, and the

multi-movement form developed into the symphony as we now know it. Beethoven and the early Romantics began writing free-standing overtures, not to specific operas, but evoking familiar stories or well-known places—stories that audi ences could play out in their own imaginations. Thus, they became sin gle-movement pieces designed to evoke a sense of impending drama, a hint of nar rative, and a musical backdrop to imagined scenes. That the Festive Overture sounds like a movie score is not only because Still had extensive experience in Hollywood (arranging music for Lost Horizon and Pennies from Heaven, among others), but also because the style is baked into the overture form itself—and it’s a great way to start a concert.

Still was born in Woodville, Mississippi in 1895 and grew up in Little Rock, Arkansas, showing extraordinary musical ability from an early age. He attended Wilberforce University and later the Oberlin Conservatory, but left to pursue the task of making a living. In 1916, he played with W.C. Handy’s band in Memphis. After a stint in the army, he went to New York and found work playing with Fletcher Henderson, Handy, Paul Whiteman, and in the groundbreaking

“Shuffle Along” revue. He also pursued composition studies with George Chadwick (a very conservative composer of the “New England School”) and arch-modernist Edgar Varése—an inter esting double influence. He moved to Los Angeles in 1934.

Chadwick had urged him to explore the American musical landscape and this he did, producing a large and impressive body of work in all mediums—sympho nies, operas, chamber music—much of which deals with the Black experience in America. He is often referred to by the double-edged sobriquet “Dean of African American Composers”—which points both to the respect he commanded and the subtle (or blatant) othering (one rarely hears Aaron Copland labeled the “Dean of Jewish American Composers,” for exam ple) that Black artists have always faced in American concert music. —Paul Epstein

This performance marks the DSO’s debut of William Grant Still’s Festive Overture

Symphony No. 1

Composed 1932 | Premiered 1933

FLORENCE PRICE

B. April 9, 1887, Little Rock, AR D. June 3, 1953, Chicago, IL

Scored for 2 piccolos, 2 flutes, 2 clarinets, 2 oboes, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, and strings. (Approx. 38 minutes)

excelled academically, graduating valedictorian of her high school class in 1903. Later that year, she enrolled at the New England Conservatory—a choice, she once explained, determined by lack of opportunity in the Jim Crow south—and earned diplomas in organ performance and piano pedagogy in just three years. Price returned to Arkansas, where over the next two decades (save for a brief period in Atlanta) she maintained a pri vate piano studio, taught music at segregated academies, composed piano works for her students, and raised two daughters.

Life for Price and her family changed dramatically in the mid-1920s. At that time, she attempted to grow her career by entering some of her piano music into national competitions designed to support African American composers. She ulti mately walked away with several prizes, earning a national reputation as a signifi cant voice in the ongoing Black Renaissance. Racist violence in Little Rock escalated to such a degree, however, that in 1927 Price and her family relocated to Chicago, where she would remain for the rest of her life.

Composer

Florence B. Price (1887–1953) was just over forty years old when she began writing her first orchestral works: a tone poem called Ethiopia’s Shadow in America and the Symphony in E Minor. It was a bold endeavor that would become one of the most rewarding of her career.

Born in Little Rock at the dawn of the Jim Crow era, Price displayed extraordi nary musical talent at a young age and

Chicago’s South Side offered Price an especially rich cultural environment in which thriving communities of Black writers, dancers, and musicians had developed robust platforms for creative expression. Building on her previous successes, Price drew inspiration from this environment while composing two orchestral compositions for another round of contests and received prizes for both—first prize for the symphony and honorable mention for the tone poem. Without a direct commission, however, securing a performance of either piece posed a significant challenge.

Through the assistance of Maude Roberts George, a leading South Side music critic and benefactor, Price’s sym phony caught the attention of Chicago Symphony Orchestra conductor Frederick Stock, who premiered the piece in June

1933. Price thus became the first African American woman to hear her orchestral music performed by a major orchestra. And she would go on to write three more symphonies, three concertos, and over half a dozen other orchestral pieces, all of which are appearing on concert stages around the world today.

Price’s Symphony in E Minor follows the genre’s standard four-movement outline, with two dramatic movements framing a slow, introspective second movement and a dance-inspired third. Price’s musical language across the symphony draws from several stylistic influences, particu larly the lush orchestration of the late Romantics, the melodic contours of spirituals, the pious expressivity of hymnody, and, in the third movement, the rhythms of an African-derived dance called the Juba. Price’s integration of these styles into a distinctive compositional language would continue to define her approach to orches tral writing throughout a long and distinguished career—one that began with a leap of faith in a new city and a vigorous determination to achieve personal artistic ideals. —Doug Shadle

The DSO first performed Florence Price’s Symphony No. 1 in February 1993, conducted by Leslie B. Dunner. The DSO most recently performed this work in November 2016, conducted by Michelle Merrill.

Piano Concerto No. 2 in B-flat major, Op. 83

Composed 1878–1881 | Premiered 1881

JOHANNES BRAHMS

B. May 7, 1833, Hamburg, Germany

D. April 3, 1897, Vienna, Austria

Scored for solo piano, 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. (Approx. 50 minutes)

As a child, Johannes Brahms chose to focus his piano study on the works of Bach and Beethoven. Later in life, Brahms remarked: “Anything which was dear to

me in my youth has remained so ever since.” Evidence of Brahms’s statement can be seen in his compositions, for the composer’s works adhere primarily to classical forms despite being written in the Romantic era. The classical nature of Brahms’s compo sitions earned him a reputation as a guardian of German tradition.

Despite this status, Brahms’s Piano Concerto No. 2 rejects tradition in several respects. Compared to other concertos, this work requires greater endurance and strength on the part of the soloist. The concerto is much longer than any classical concerto and employs four movements instead of the usual three movement format. In the first movement, Brahms introduces the soloist relatively early on, instead of waiting until after the orchestral exposition, and expands the traditional sonata form. Similarly, the scherzo form of the second movement is enlarged through increased thematic development. The last movement, a rondo, makes full use of the larger Romantic orchestra, creating a sense of weight that is absent in the lighter rondos of classical concertos.

Brahms completed his second piano concerto in 1881 after three years of com position. Always a deliberate and cautious worker—he worked on his first symphony for more than 20 years—Brahms was hes itant to finish a second concerto after the poor reception of his Piano Concerto No. 1 of 1859. However, the premiere of the second concerto, with the composer as soloist, was a resounding success and the piece soon became part of the standard repertoire.

The DSO most recently performed Brahms’s Piano Concerto No. 2 in February 2016, conducted by Leonard Slatkin and featuring pianist Hélène Grimaud. The DSO first performed the piece in March 1920, conducted by Ossip Gabrilowitsch and featuring pianist Arthur Rubinstein.

PROFILES

For Jader Bignamini biography, see page 6.

DANIIL TRIFONOV

Grammy Awardwinning Russian pianist Daniil Trifonov (dan-EEL TREE-fon-ov)— Musical America’s 2019 Artist of the Year—has made a spectacular ascent of the classical music world, as a solo artist, champion of the concerto rep ertoire, chamber and vocal collaborator, and composer. Combining consummate technique with rare sensitivity and depth, his performances are a perpetual source of awe.

With Transcendental, the Liszt collection that marked his third title as an exclusive Deutsche Grammophon artist, Trifonov won the Grammy Award for Best Instrumental Solo Album of 2018. Fall 2020 brought the release of Silver Age, an album of Russian solo and orchestral piano music by Scriabin, Prokofiev, and Stravinsky, recorded with Valery Gergiev and the Mariinsky Orchestra. This fol lowed 2019’s Destination Rachmaninov: Arrival, for which Trifonov received a 2021 Grammy nomination. Presenting the com poser’s First and Third Concertos, Arrival represents the third volume of the Deutsche Grammophon series he recorded with the Philadelphia Orchestra and Nézet-Séguin, following Destination Rachmaninov: Departure, named BBC Music ’s 2019 Concerto Recording of the Year, and Rachmaninov: Variations, a 2015 Grammy nominee. Deutsche Grammophon has also issued Chopin Evocations, which pairs the composer’s works with those by the 20th-century composers he influenced, and Trifonov: The Carnegie Recital, the pianist’s first recording as an exclusive Deutsche Grammophon artist; capturing Trifonov’s

sold-out 2013 Carnegie Hall recital debut live, the album scored him his first Grammy nomination.

Highlights of recent seasons include a multi-faceted, season-long tenure as 2019-2020 Artist-in-Residence of the New York Philharmonic, featuring a collabora tion with Jaap van Zweden and the New York premiere of Trifonov’s own Piano Quintet, and a seven-concert, season-long Carnegie Hall “Perspectives” series, crowned by a performance of the pianist’s own piano concerto with Gergiev and the Mariinsky Orchestra. As well as curating similar series at the Vienna Konzerthaus and in San Francisco, Trifonov played Tchaikovsky’s Piano Concerto No. 1 under Muti in the historic gala finale of the Chicago Symphony’s 125th anniversary celebrations; launched the New York Philharmonic’s 2018-19 season; headlined complete Rachmaninoff concerto cycles at the New York Philharmonic’s Rachmaninoff Festival and with London’s Philharmonia Orchestra and the Munich Philharmonic; undertook season-long residencies with the Berlin Philharmonic and at Vienna’s Musikverein, where he appeared with the Vienna Philharmonic and gave the Austrian premiere of his own Piano Concerto; and headlined the Berlin Philharmonic’s famous New Year’s Eve concert under Sir Simon Rattle.

Born in Nizhny Novgorod in 1991, Trifonov began his musical training at the age of five and went on to attend Moscow’s Gnessin School of Music as a student of Tatiana Zelikman, before pur suing his piano studies with Sergei Babayan at the Cleveland Institute of Music. He has also studied composition, and continues to write for piano, chamber ensemble, and orchestra.

-SU

DETROIT SYMPHONY ORCHESTRA

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

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

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

JEFF TYZIK Principal Pops Conductor

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

NA’ZIR MCFADDEN Assistant Conductor Phillip and Lauren Fisher Community Ambassador

PVS CLASSICAL SERIES

Title Sponsor:

LEONARD SLATKIN Music Director Laureate

NEEME JÄRVI Music Director Emeritus

JADER CONDUCTS MAHLER’S “RESURRECTION” SYMPHONY

Friday, November 11, 2022 at 8 p.m. Saturday, November 12, 2022 at 8 p.m. Sunday, November 13, 2022 at 3 p.m. in Orchestra Hall

JADER BIGNAMINI, conductor

JANAI BRUGGER, soprano

J’NAI BRIDGES, mezzo-soprano

OPERA MODO AND AUDIVI, choir

Gustav Mahler Symphony No. 2 in C minor, “Resurrection” (1860 - 1911)

I. Allegro maestoso

II. Andante moderato

III. In ruhig fliessender Bewegung

IV. Urlicht

V. Scherzo

Janai Brugger, soprano

J’Nai Bridges, mezzo-soprano

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.

Hope, resurrected...

Gustav Mahler wore his emotions on his sleeve. He was in a state of constant existential battle grappling with the concept of fate, so much so that it created an abundance of emotional and physical suffering throughout his life. This made finding joy incredibly difficult for the composer—he wrote two of his famous Kindertotenlieder (Songs on the Death of Children) shortly after the birth of his second daughter.

Enthralled by existentialist philosophy, the conception of this symphony came to Mahler in a hallucinatory vision of his own funeral as he was surrounded by dozens of floral arrangements following a successful premiere. Mahler viewed resurrection as the destiny of all humankind and an explanation of the pain and suffering of the human experience: life beyond death. The first movement of this symphony represents a fundamental human question: “What now? What is this life—and this death? Do we have an existence beyond it?” This question is answered in the final movement: “He who called you will give you eternal life.” Composing this symphony was therapeutic for Mahler’s anxieties about his own mortality, and it served as a shining beacon of hope that life never truly ends.

PROGRAM NOTES

Symphony No. 2 in C minor, “Resurrection”

Composed 1888-1894 | Premiered 1895

GUSTAV MAHLER

B. July 7, 1860, Kališt, Bohemia

D. May 18, 1911, Vienna, Austria

Scored for 2 solo voices, mixed chorus, 4 flutes and piccolos, 4 oboes (2 doubling on English horn), 3 clarinets, 2 E-flat clarinets, bass clarinet, 4 bassoons, 2 contrabassoons, 10 horns, 10 trumpets, 4 trombones, tuba, timpani, 2 harps, organ, and strings. (Approx. 1 hour, 17 minutes)

Mahler completed his Second Symphony, after some six years of labor, in 1894. During the time he was at work on this score, he was under the spell of the anthology of folk poetry known as The Youth’s Magic Horn (Des Knaben Wunderhorn), which he had discovered in 1886. These verses struck a responsive chord in Mahler’s imagination. Almost immediately, he began to compose songs to the poems in the collection, and continued to do so intermittently for the next decade and a half.

The Magic Horn songs form the creative core of Mahler’s early maturity. In striving to capture the particular qualities of the verses—their alternately earthy and deli cate tone, their intimations of magic,

eroticism and death, and wise innocence—the composer found his own musical voice. It was a voice of nostalgic longing and macabre humor, of shimmer ing textures and shrill outcries; it spoke the most refined musical language as well as the vernacular dialects of marches and dance tunes. Far from remaining the sole property of the songs, those style traits found their way into the composer’s instrumental works. The same qualities that sound so clearly throughout The Youth’s Magic Horn are heard in Mahler’s Second, Third, and Fourth Symphonies as well.

The Second Symphony, however, derives more from the songs than just its spirit and general style. Its third movement is a symphonic fantasy on music from one of Mahler’s Magic Horn settings, while the fourth movement presents another in a version with an alto soloist.

But the Magic Horn contributions, important as they are, form only part of a larger vision, which the entire symphony reveals. Mahler, like Beethoven and Tchaikovsky before him, wrote several of his symphonies as dramatic portrayals of his own spiritual struggles. A Jewish man who was strongly attracted to the tenets of the Catholic Church (he was baptized, but was never secure in his faith), Mahler was intensely concerned with religious questions. Chief among these was the issue of mortality and death, and its

conquest became the programmatic theme of the Second Symphony. The Magic Horn poems, though frequently dealing with death and the afterlife, did not treat these subjects with the vigor that Mahler required. But at the funeral of the famed conductor Hans von Bülow, Mahler heard The Resurrection, a poem by the German writer Friedrich Klopstock (1724-1802), and it inspired in him a vision of divine compassion and eternal life. Klopstock’s verses became the text for the finale and provided a dramatic focus for the entire symphony.

The opening movement is, by Mahler’s own account, a “Todtenfeier”—a funeral rite. This characterization, however, does not sufficiently convey the tremendous drama of the music, which presents in imaginative terms a desperate struggle with mortality. Mahler’s spine chilling first subject, made up of several related motives, is opposed by a second theme rising comfortingly in a major tonality in the strings. The development of these contrasting materials is such that the out come of their apparent struggle is uncertain until the final bars, when a hopeful major triad is pushed cruelly downward to its minor form by a pitiless trumpet. As the symphony’s initial chapter closes, death seems triumphant.

The next two movements present “flashbacks” to the recently ended life. First comes an Andante, offering memo ries of happiness and innocence. The music is reminiscent of Haydn.

The scherzo like third movement regards life with a cynical eye for its plea sures. Its flowing melodies have undeniable charm, like the glittering things of this world, but at the same time convey a hint of decadence and the gro tesque. Before long, as Mahler once explained, “the bustle of existence becomes horrible...life strikes one as meaningless, a frightful ghost.” The sug gestion of a more noble kind of existence, heard in the stirring fanfare that appears suddenly midway through the movement,

fails to alter the course of the music. At last, there is a great cry of protest. The music is adapted from the Magic Horn setting of Saint Anthony’s futile sermon to the fish, which, like the pleasure seekers of Mahler’s world, hear but do not heed calls to virtue.

The final parts of the symphony offer contrasting visions of resurrection. The Urlicht song of the fourth movement, though sung by an alto soloist, expresses the faith of a child, simple and serene. This is a far cry from the apocalyptic rep resentation of the finale, which opens with a tumultuous outburst followed by recol lections of earlier movements; an idea derived from Beethoven’s Ninth Symphony. In broadly arching fanfares the dead are called to life. They stream forth, as Mahler described, “in endless procession. The great and the small, kings and beggars, righteous and godless,” in the long orchestral march that follows.

The march music gives way at last to a comforting motive, symbolic of resurrec tion, rising sweetly in the strings. And once again there are fanfares—not only for the brass offstage, but also for the more dulcet tones of flute and piccolo. As the chorus enters with the assuring verses of Klopstock’s hymn, we under stand that forgiveness; love and eternal life is to be mankind’s final reward. The “resurrection” theme swells in the orchestra, leading to another vocal episode, featuring the soprano and alto soloists. Slowly the hymn grows in power until it reaches its climactic affirmation: “Rise again, my heart. / What you have con quered will bear you to God.” — Paul Schiavo

The DSO most recently performed Mahler’s “Resurrection” Symphony in December 2015, conducted by Leonard Slatkin and featuring soprano Melissa Citro, mezzo-soprano Kelley O’Connor, and the Wayne State University Chorus. The DSO first performed the piece in November 1922, conducted by Ossip Gabrilowitsch.

PROFILES

For Jader Bignamini biography, see page 6.

JANAI BRUGGER

American soprano

Janai Brugger’s recent engagements include Mahler’s Fourth Symphony with Yannick Nézet-S éguin and The Philadelphia Orchestra, and the role of Pamina in Die Zauberflote for performances at Palm Beach Opera’s first Outdoor Opera Festival. She made her US television debut with a Laura Karpman composition for the soundtrack of HBO’s renowned Lovecraft Country, and more recently appeared as Michaëla in Carmen at Cincinnati Opera. In the Netherlands, she appeared at Dutch National Opera in their acclaimed Missa in tempore Belli (Haydn) conducted by Lorenzo Viotti and directed by Barbora Horáková, and returned to the Metropolitan Opera of New York for fur ther performances as Clara in Porgy and Bess

.

2021-2022 season engagements included Mahler’s Second Symphony with CBSO under Mirga Gražinyte • -Tyla; Zerlina in Don Giovanni in concert with the Boston Symphony Orchestra at Tanglewood Festival under Andris Nelsons; Servillia in La Clemenza di Tito at Ravinia Festival under James Conlon; Kaddish (also at Ravinia Festival) with Marin Alsop, and Hayden’s The Creation at Grant Park Music Festival with Carlos Kalmar.

Brugger’s symphonic engagements this season include Elgar’s The Kingdom with American Symphony Orchestra at Carnegie Hall, Beethoven’s Choral Fantasy and Mass in C with Louis Langree at Cincinnati Symphony Orchestra, Haydn’s Theresienmesse at Grant Park Music Festival, Mahler’s Fourth Symphony with Los Angeles Philharmonic, and the Philadelphia Orchestra under the baton of Mirga Gražinyte • -Tyla.

In her native Chicago, she starred in Emmy Award-winning composer Laura Karpman’s multimedia setting of Langston Hughes’s epic 1961 poem, Ask your Mama, with Chicago Sinfonietta. She made her Salzburg Festival debut in Beethoven’s Ninth Symphony with musicAeterna conducted by Teodor Currentzis, and journeyed to St. Petersburg to record the work. Early in her career, she sang as High Priestess in Aida with the Los Angeles Philharmonic at the Hollywood Bowl under the baton of Gustavo Dudamel.

Other roles in Brugger’s repertoire include Juliette in Roméo et Juliette, Norina in Don Pasquale, Nanetta in Falstaff, Musetta in La boheme, and Glauce in Medea. She appeared as Pamina in Barrie Kosky’s celebrated cinematic production of Die Zauberflote at Los Angeles Opera. Brugger obtained a master’s degree from the University of Michigan, where she studied with the late Shirley Verrett. She earned her bachelor’s degree from DePaul University, participated in The Merola Opera Program at San Francisco Opera, and went onto become a young artist at Los Angeles Opera for two seasons.

J’NAI BRIDGES

American mezzo-so prano J’Nai Bridges, known for her “plushvoiced mezzo-soprano” (The New York Times), and “calmly commanding stage presence” (The New Yorker ) has graced the world’s top opera and concert stages.

The 2022-23 season will spotlight Bridges in one of her signature roles as Carmen with debut engagements at the Arena di Verona, Canadian Opera Company, and a return to Dutch National Opera, and Lyric Opera of Chicago. As a

native of Tacoma, Washington, Bridges eagerly anticipates her Seattle Opera debut in a concert performance of Samson et Delilah as Delilah in January 2023. Additional concert engagements include a world premiere by Carlos Simon in April 2023 with the National Symphony Orchestra. Bridges’s recital engagements for the season begin with the perfor mance of a world premiere by Jimmy Lopez at 92NY in December, and continue through 2023 at Washington University, Thomasville Center for the Arts, The Cliburn, Wallis Annenberg Center for the Performing Arts, San Francisco Performances, and the Mondavi Center in Davis, California.

Bridges’s 2021-22 season highlights included numerous world premiere engagements as a guest artist in The Kennedy Center’s 50th Anniversary Season. Bridges’s time in Washington D.C. also included performances with The National Philharmonic in the world pre miere of Adolphus Hailstork’s A Knee on the Neck, and Mozart’s Requiem, and her first performance of the Verdi Requiem with the Cathedral Choral Society. She also appeared with the Amarillo Symphony as a guest artist in a world premiere piece by Chris Rogerson enti tled Sacred Earth.

During the worldwide pandemic, she emerged as a leading figure in classical music’s shift toward conversations of inclusion and racial justice in the per forming arts. In 2022, she was announced as one of the Kennedy Center’s NEXT50 cultural leaders. Bridges led a highly suc cessful panel on race and inequality in opera with the Los Angeles Opera that drew international acclaim. In early 2021, Bridges was featured in the Converse shoe brand’s All Stars Campaign for its Breaking Down Barriers collection. Bridges also performed with the Los Angeles Philharmonic under the baton of Gustavo Dudamel for two epi sodes of the digital SOUND/STAGE series, and as part of the Global Citizen

movement’s Global Goal campaign, a program which also included Coldplay, Shakira, and Usher.

Bridges earned her Master of Music degree from Curtis Institute of Music and her Bachelor of Music degree in vocal performance from the Manhattan School of Music.

OPERA MODO AND AUDIVI

Detroit-based

Opera MODO is dedicated to creating opportunities for young and emerging artists. Founded in 2011, Opera MODO brings opera to the people through intriguing and modern productions of classical and contemporary operas.

Collaborating with local performers and businesses in Detroit, Opera MODO offers an intimate experience to engage audiences through storytelling, musical integrity, and innovative process. They support the future of opera by giving young, non-managed, professional sing ers an opportunity to gain experience. They present opera in an intimate setting, allowing the audience to engage with the performers, and specialize in setting standard repertoire in new and imagina tive settings, bringing new life to favorite stories.

Audivi is a professional vocal ensemble based in Detroit, Michigan. Founded in 2013, Audivi sings music of all eras, with a special emphasis on new and early music, and has premiered works by many composers. Its members have sung and recorded with a panoply of Grammywinning vocal ensembles, and Audivi has performed around the country.

Audivi has given the Detroit metro area premieres of Monteverdi’s 1610 Vespers and a historically informed version of Bach’s Mass in B minor. Audivi has per formed at regional ACDA and AGO conventions and serves as a professional chorus for the Detroit Symphony Orchestra, including recent performances of Puccini’s Turandot, Vivaldi’s Gloria, and Handel’s Messiah.

JEFF TYZIK

DETROIT SYMPHONY ORCHESTRA

TITLE SPONSOR:

SCI-FI SPECTACULAR: STAR WARS, STAR TREK, & BEYOND!

Friday, November 18, 2022 at 10:45 a.m.

Saturday, November 19, 2022 at 8 p.m.

Sunday, November 20, 2022 at 3 p.m. in Orchestra Hall

JEFF TYZIK , conductor

Jerry Goldsmith (1929 - 2004) Star Trek Through the Years arr. Calvin Custer

Sir Arthur Bliss Music from Things To Come (1891 - 1975) IV. Attack on the Moon Gun arr. Christopher Palmer V. Epilogue

John Williams “The Imperial March” from Star Wars (b. 1932) Episode V: The Empire Strikes Back

Alan Silvestri (b. 1950) Back to the Future — Suite for Orchestra

John Williams “Princess Leia’s Theme” from (b. 1932) Star Wars Episode IV: A New Hope

“Adventures on Earth” from E.T.

Intermission

Richard Strauss Also Sprach Zarathustra, Op. 30 from (1864 - 1949) 2001: A Space Odyssey

Johann Strauss II (1825 - 1899) On the Beautiful Blue Danube, Op. 314

John Williams “Across the Stars” from Star Wars (b. 1932) Episode II: Attack of the Clones

Excerpts from Close Encounters of the Third Kind

Danny Elfman (b. 1953) Batman Theme

John Williams (b. 1932) “Yoda’s Theme” from Star Wars Episode V: The Empire Strikes Back Main Title from Star Wars

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

NA’ZIR MCFADDEN Assistant Conductor Phillip and Lauren Fisher Community Ambassador

Principal Pops Conductor

PROGRAM AT-A-GLANCE – SCI-FI SPECTACULAR: STAR WARS, STAR TREK, & BEYOND!

Where no man has gone before

Science fiction has long influenced popular culture—with references appearing in songs by Daft Punk, The Killers, Blondie, Radiohead, Sufjan Stevens, and Elton John’s famous “Rocket Man.” The first recorded science fiction film was French filmmaker Georges Méliès’s A Trip to the Moon in 1902, exhibiting revolutionary special effects and editing techniques for its time. This film heavily influenced the future of sci-fi films, including 2001: Space Odyssey, Planet of the Apes, and the infamous Star Wars and Star Trek sagas.

Not only have these films helped shape the science fiction genre in popular culture, but they also had a transformational effect in the world of music. Renowned composers John Williams (Star Wars) and Jerry Goldsmith (Star Trek) have set a strong precedent for film scoring, with their expansive orchestration and memorable themes defining the popular sagas across generations. Classical music has also had an impact on science fiction—the ever-popular 2001: Space Odyssey theme is borrowed from an excerpt of Richard Strauss’s Also sprach Zarathustra, a beloved piece that the DSO has performed more than 30 times. Science fiction allows artists of all mediums to explore the unknown, delve into fantasies, and go “where no man has gone before.”

JEFF TYZIK Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

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

NA’ZIR MCFADDEN Assistant Conductor Phillip and Lauren Fisher Community Ambassador

PVS CLASSICAL SERIES

Title Sponsor:

SHOSTAKOVICH’S VIOLIN CONCERTO & SCHUMANN

Thursday, December 1, 2022 at 7:30 p.m.

Friday, December 2, 2022 at 8 p.m. Saturday, December 3, 2022 at 8 p.m. in Orchestra Hall

ENRIQUE MAZZOLA , conductor BAIBA SKRIDE, violin

Robert Schumann Overture to Genoveva, Op. 81 (1810 - 1856)

Dmitri Shostakovich Violin Concerto No. 2 in C-sharp minor, Op. 129 (1906 - 1975) I. Moderato II. Adagio III. Adagio-Allegro Baiba Skride, violin

Intermission

Robert Schumann Symphony No. 3 in E-flat major, Op. 97, “Rhenish” (1810 - 1856) I. Lebhaft II. Scherzo: Sehr mässig III. Nicht schnell IV. Feierlich V. Lebhaft

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.

DER B I G NA M I N I MUSIC DIRECTOR

NEEME JÄRVI Music Director Emeritus LEONARD SLATKIN Music Director Laureate

PROGRAM AT-A-GLANCE – SHOSTAKOVICH’S VIOLIN CONCERTO & SCHUMANN

Against all odds

Both Robert Schumann and Dmitri Shostakovich had to overcome many obstacles throughout their careers. Schumann, a celebrated pianist, was repeatedly criticized for his lack of understanding of orchestration and failing to utilize the orchestra’s full potential in his works. Shostakovich suffered many personal hardships including a battle with alcoholism, self-doubt, compositional blocks, a heart attack, and living in constant fear of the civil unrest of his country. Combined, this prevented him from playing the piano, which once served as a proving ground of his many compositional masterpieces.

Shostakovich’s Violin Concerto No. 2 served as a revival of sorts and represented the composer’s emotional journey. The fourth movement is said to represent a triumph over tragedy, with undertones of “forced rejoicing” and a musical statement that Shostakovich had prevailed over his many hardships. Schumann’s Symphony No. 3—nicknamed the “Rhenish” symphony as an homage to the Rhine River—proved critics wrong in one fell swoop, demonstrating his mastery of orchestral writing across each movement. Despite the doubts he battled throughout his career, this symphony begins and ends with an unshakeable sense of self-confidence, establishing him as a titan of orchestration.

PROGRAM NOTES

Overture to Genoveva, Op. 81

Composed 1849 | Premiered June 25, 1850

ROBERT SCHUMANN

B. June 8, 1810, Zwickau, Germany

D. July 29, 1856, Endenich, Germany

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. (Approx. 9 minutes)

Golo to look after his wife Genoveva. The two stay-at-homes almost have a love affair, but Genoveva repels Golo’s advances, and he, in revenge, finds Siegfried and tells him that his wife has been unfaithful. In the original version of the tale, Genoveva is banished to the forest, but Schumann provides a happy ending in which she is exonerated and Golo is sent into exile.

Schumann

flirted briefly with the notion of writing an opera on the folk tale of Mazeppa, which later inspired a tone poem from Liszt and an opera from Tchaikovsky. In search of something more Germanic, he hit on the legend of St. Genevieve, a popular tale at the time. The composer asked his friend Robert Reinick to provide a libretto, but they had a falling out. Next, he approached the poet Friedrich Hebbel, but he found working with Schumann so exasperating that the composer finally had to write his own text.

The story involves Siegfried, who departs on crusade, leaving his friend

The opera drew some applause at its premiere in Leipzig in 1850, but the reviews were mixed, and critics have spent 150 years adding their clods of earth to its coffin. The Overture, which Schumann dashed off in five days, is an exception to the criticism that the opera is not dramatic. It is full of gloom and muf fled thunder, and the slow introduction gives a sharp miniature portrait of Genoveva’s sufferings.

The DSO most recently performed Schumann’s Overture to Genoveva in May 2000, conducted by Neeme Järvi. The DSO first performed the piece in December 1919, conducted by Ossip Gabrilowitsch.

Violin Concerto No. 2 in C-sharp minor, Op. 129 Composed 1967 | Premiered 1967

DMITRI SHOSTAKOVICH

B. September 26, 1906 in St. Petersburg, Russia

D. August 9, 1975 in Moscow, Soviet Union

Scored for solo violin, flute, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, timpani, percussion, and strings. (Approx. 31 minutes)

Few composers in history have been argued about with the intensity that has been given to Shostakovich since his death. The remarkable diversity of opinions about him seems to come from a lot of uncertainties about just what lies at the heart of his music. Many people feel that when they listen to most of his prodigious output there is a sense that there are messages hidden in the music, and are frustrated because there is a suspicion that those messages may never be entirely decoded. His music shows influences of composers he most admired, among them Bach in his fugues and passacaglias, Beethoven in the late quartets, Mahler in the symphonies, and Berg in his use of musical codes and quotations. Among Russian composers he particularly admired Mussorgsky, whose operas Boris Godunov and Khovanshchina he re-orchestrated.

In the latter part of his life, he suffered from chronic ill health, but refused to give up vodka and cigarettes. In 1958, he began to feel bothered by a debilitating situation which greatly affected his right hand, and which eventually forced him to stop play ing the piano. It was not until 1965 that this was diagnosed as polio. He had two seri ous heart attacks, one in 1966 and another in 1971, and on several occasions, suf fered falls in which he broke both of his legs. With his usual trenchant and sar donic wit, he wrote to a friend in 1967: “Target achieved so far: 75% (right leg

broken, left leg broken, right hand defec tive). All I need to do now is wreck the left hand and then 100% of my extremities will be out of order.” Although he continued to write marvelous and witty lighter music scores, in the last 20 or so years of his life his music became increasingly occupied with death.

As was the case with its predecessor, the Second Violin Concerto was inspired by and dedicated to the great Russian vio linist David Oistrakh, written as a 60th birthday present in 1967. When Shostakovich presented it to Oistrakh in September of that year, he was chagrined to find out that he had made a mistake, and that it was actually the violinist’s 59th birthday, Oistrakh having been born in 1908! Shostakovich was so apologetic that it brought out of him his First Violin Sonata, finished the following year and first performed by Oistrakh in early 1969. This concerto, written almost 20 years after the First, and just a year after his first heart attack, was the beginning of the aforementioned series of late works in which the composer seemed to be obsessed with his own mortality, exhibit ing here a very dark, introspective mood, spare and stark textures, sudden and almost frightening outbursts, repeating rhythmic cells, obscure thematic material, and an almost painful lyricism in the solo part. Like both of his Cello Concertos, this concerto features an unusually prominent horn part, often playing with very little accompaniment. The key of C-sharp minor is not a natural one for the violin, and might have been intended to recall Beethoven’s Op. 131 String Quartet, Mahler’s Fifth Symphony, or Prokofiev’s Seventh Symphony, a work which Shostakovich had always been very fond of. The first movement has a degree of inscrutability to it, something common to many of his late scores, and after begin ning rather gently, reaches an agonized and dissonant climax. After a development section in which the main themes are dis torted, there ensues a long cadenza based on the movement’s principal thematic

material. The slow middle movement offers no relief from the confusion, ten sion, and sadness of the first, as if the violin was searching for something but can never find it. There is another cadenza here, quite anguished and wild, after which the solo horn presents a very somber theme. This is interrupted bru tally by the beginning of the last movement, a complex rondo in which the repeated sections have a decidedly bitter undertone, while the contrasting sections are frenetic and uncomfortable. There is now a third cadenza in which the opening material is distorted and broken into fragments. The concerto ends with a contest between major and minor, the major mode winning the argument, but more inconclusive than satisfying.

The DSO most recently performed Shostakovich’s Violin Concerto No. 2 in April 2016, conducted by Peter Oundjian and featuring violinist Vadim Gluzman. The DSO first performed the piece in September 1987, conducted by Günther Herbig and featuring violinist William de Pasquale.

Symphony No. 3 in E-flat major, Op. 97, “Rhenish”

Composed 1850 | Premiered 1851 ROBERT SCHUMANN

B. June 8, 1810, Zwickau, Germany D. July 29, 1856, Endenich, Germany Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. (Approx. 31 minutes)

As a newly installed municipal music director, Robert Schumann wrote this symphony two months after settling with his wife Clara in Düsseldorf on the Rhine River—a picturesque setting that accounts for the work’s nickname. The composer, who took just five weeks to complete the symphony, originally labeled its second movement “morning on the Rhine.”

The piece begins without an introduc tion, the only one of Schumann’s four symphonies to be launched so abruptly. The principal theme has an irresistible momentum, created by the conflict between three-beat and six-beat meter. The oboe and clarinet present a second theme in G minor before being overtaken by the violins. Despite the heavy orches tration, the first movement is a single outburst of joy, reaching its peak near the end as the horns join in chorus to reiter ate a tune that never grows stale, however often it recurs.

The second and third movements offer relief from these high spirits, like similarly placed interludes in the symphonies of Johannes Brahms—an example of how Schumann influenced his younger associ ate. The slow second movement is followed by a songlike intermezzo with a warm glow—a style of orchestration that we can, in retrospect, label “Brahmsian.”

Movements four and five form a unit. Voices are hushed in contemplation in the former, which was inspired by the eleva tion of Cologne’s archbishop to cardinal—a ceremony the Schumann’s attended. His manuscript note designated this section to be played “in the manner of an accompaniment to a solemn ceremony.”

Voices no longer are muted in the robust final movement, where they burst forth with a shout. Schumann was a devoted student of Bach, and here he pays homage in a credible recreation of Baroque tex tures and motifs. The trombones have so far been held in reserve, and as soon as they are heard listeners are transported into a higher realm. A timeless rite is enacted, with trumpets breaking the still ness as it draws to a close, ushering in a joyful dance in which earth and heaven are joined. — Michael Fleming

The DSO most recently performed Schumann’s Symphony No. 3 in January 2013, conducted by Leonard Slatkin. The DSO first performed the piece in February 1923, conducted by Ossip Gabrilowitsch.

ENRIQUE MAZZOLLA

Renowned as an expert interpreter and cham pion of bel canto opera, and a specialist in French repertoire and early Verdi, Italian conductor Enrique Mazzola is in demand worldwide as both an operatic and sym phonic conductor. He is Music Director at Lyric Opera of Chicago and Principal Guest Conductor at Deutsche Oper Berlin. In May 2022, Mazzolla was named the first ever Conductor in Residence at the Bregenzer Festspiele, underlining his close relationship with the Festival, having made his Bregenz debut in 2016 for an orchestral concert. From 2012 to 2019, Mazzola served as Artistic & Music Director of the Orchestre National d’Île de France. Reflecting his significant contribution to musical life in France, he was made a Chevalier de l’ordre des Arts et des Lettres in October 2018.

Plans for the 2022-23 season with Lyric Opera of Chicago include productions of Verdi’s Ernani and Don Carlos, Rossini’s Le comte Ory ,and a gala performance for the Chicago premiere of Kevin Puts’s The Brightness of Light with Renée Fleming and Rod Gilfry. This season will also see return engagements with the Orchestre National de France, Detroit Symphony, and the London Philharmonic Orchestra. On the operatic stage, Mazzolla will return to Opernhaus Zurich (Roberto Devereux), Dutch National Opera (Maria Stuarda), Deutsche Oper Berlin (Massenet’s Hérodiade in concert), and the Bregenzer Festival (Madama Butterfly & Ernani ).

An accomplished interpreter of contem porary music, he has commissioned and premiered several works with Orchestre National d’Ile de France and has led many other premieres with major European orchestras.

BAIBA SKRIDE

Baiba

Skride’s natural approach to music-making has endeared her to many of today’s most important conductors and orches tras. She performs regularly with orchestras including the Berliner Philharmoniker, Gewandhausorchester Leipzig, Boston Symphony Orchestra, Chicago Symphony Orchestra, New York Philharmonic, Concertgebouworkest, Symphonieorchester des Bayerischen Rundfunks, Orchestre de Paris, London Symphony Orchestra, Royal Stockholm Philharmonic Orchestra, Oslo Philharmonic, Sydney Symphony Orchestra, and NHK Symphony Orchestra.

Highlights of the 2022-23 season include Shostakovich’s violin concerto No. 2, which she will perform and record on the Deutsche Grammophon label with Andris Nelsons and the Boston Symphony Orchestra, the UK premiere of Victoria Borisova-Ollas’s violin concerto A Portrait of a Lady by Swan Lake with Cristian Măcelaru and the BBC Symphony Orchestra, and Gubaidulina’s Offertorium with the NHK Symphony Orchestra.

Skride is an internationally sought-after chamber musician and commits to the long-established duo with her sister, Lauma Skride. She is one of the founding members of the Skride Quartet.

Skride’s latest album, Violin Unlimited, was released in May 2022. She plays the Yfrah Neaman Stradivarius, kindly on loan by the Neaman family through the Beare’s International Violin Society.

JEFF TYZIK Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

JADER BIGNAMINI , Music Director

Music Directorship endowed by the Kresge Foundation

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

NA’ZIR MCFADDEN Assistant Conductor

Phillip and Lauren Fisher Community Ambassador

PVS CLASSICAL SERIES

Title Sponsor:

LEONARD SLATKIN Music Director Laureate

NEEME JÄRVI Music Director Emeritus

Friday, December 9, 2022 at 10:45 a.m.

Saturday, December 10, 2022 at 8 p.m. Sunday, December 11, 2022 at 3 p.m. in Orchestra Hall

JONATHON HEYWARD, conductor YEOL EUM SUN, piano

Tania León Pasajes (co-commissioned by the Detroit Symphony Orchestra)

Felix Mendelssohn Piano Concerto No. 1 in G minor, Op. 25 (1809 - 1847)

I. Molto allegro con fuoco

II. Andante

III. Presto - Molto allegro e vivace Yeol Eum Sun, piano

Intermission

Antonín Dvorˇák Symphony No. 8 in G major, Op. 88 (1841 - 1904)

I. Allegro con brio

II. Adagio

III. Allegretto grazioso

IV. Allegro ma non troppo

Tania León’s Pasajes was commissioned with support by New Music USA’s Amplifying Voices program, which is powered by the Sphinx Ventures Fund, with additional support from ASCAP and the Sorel Organization.

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 – MENDELSSOHN’S FIRST PIANO CONCERTO & DVOŘÁK’S EIGHTH SYMPHONY

Agents of change

Premiering a piece serves as an opportunity for both the composer and the performers to tell a new story. Tania Le ón’s Pasajes (Spanish for “passages”) was commissioned with support by New Music USA’s Amplifying Voices program, which fosters collaboration toward racial and gender equity in new orchestral music. In respect of the artistic process, Le ón left much to the imagination and a very brief semblance of program notes, stating that “each passage in the piece is a fresh idea.”

Felix Mendelssohn’s Piano Concerto No. 1 is an unconventional meta-concerto that stretches musical expectations—the composer once described it as “quite wild” in a letter to his father following the Munich premiere. It was so ferocious that one Erard piano on which the work was performed 30 times in a row allegedly became “possessed by the music,” unable to stop playing it even without a pianist. According to an anecdote by Hector Berlioz, it had to be chopped up and burned.

Dvořák’s Symphony No. 8 has been described by critics as “the most intimate and original” of all his symphonies. Dvořák’s Czech heritage is embodied within the orchestral simplicity and lack of intricate counterpoint contributing to a rustic air. This composition served as Dvořák’s rebellion against the German oppression of the Czech people during the Hapsburg Dynasty; a beautifully bold portrayal of Dvořák’s cultural pride; and statement that change is coming, and change is good.

PROGRAM NOTES

Pasajes

Composed 2022 | Premiered 2022 TANIA LEÓN

B. May 14, 1943, Havana, Cuba

Scored for 3 flutes (one doubling piccolo), 3 oboes (one doubling english horn), 3 clarinets (one doubling bass clarinet), 3 bassoons (one doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, keyboard, and strings. (Approx. 15 minutes)

Tania León’s Pasajes recalls scenes from her life growing up, including a song reminis cent of the melodies of Latin American cultures, rhythms indicating the pulse of Caribbean culture, and the dances of carnaval. This piece was co-commissioned by the Detroit Symphony Orchestra, with the Arkansas Symphony Orchestra as the lead commis sioner. The premiere of this piece was given by the ASO in Little Rock, Arkansas on April 9 and 10, 2022, conducted by

Akiko Fujimoto.

Born in Havana, Cuba, composer and conductor Tania León settled in New York in 1967. She has played important roles at Dance Theater of Harlem, Brooklyn Philharmonic, American Composers Orchestra, and the New York Philharmonic (as New Music Advisor). León is the founder and artistic director of Composers Now. Notable commissions include works for the New York Philharmonic, Los Angeles Philharmonic, and the International Contemporary Ensemble. Her orchestral work Stride, commissioned by the New York Philharmonic, was awarded the 2021 Pulitzer Prize in Music. In July 2022, she was named a recipient of the 45th Annual Kennedy Center Honors for lifetime artis tic achievements. León’s other honors include induction into the American Academy of Arts and Letters; recognition from the Fromm, Koussevitzky, and Guggenheim Foundations; ASCAP’s Victor Herbert Award; and a 2018 United States Artists Fellowship. Her works have received Grammy and Latin Grammy nominations for Best Contemporary

Classical Composition. Pasajes was com missioned with support by New Music USA’s Amplifying Voices program, which fosters collaboration toward racial and gender equity in new orchestral music, and has over thirty orchestras from across the United States signed up to pre miere new works co-commissioned from nine of today’s leading composers: Valerie Coleman, Juan Pablo Contreras, Vijay Iyer, Tania León, Jessie Montgomery, Brian Raphael Nabors, Nina Shekhar, Tyshawn Sorey, and Shelley Washington. Each of the composer’s pieces will be performed by a minimum of four orches tras. This performance marks the DSO premiere of Pasajes by Tania León.

Piano Concerto No. 1 in G minor, Op. 25 Composed 1830-1831 | Premiered 1831

FELIX MENDELSSOHN

B. February 3, 1809, Hamburg, Germany D. November 4, 1847, Leipzig, Germany

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (Approx. 20 minutes)

In 1829, the 19-year-old Felix Mendelssohn embarked on a six-year tour that would establish his reputation as one of Europe’s finest musi cians. Prodigy, polymath, and child of privilege, Mendelssohn not only composed some of his finest pieces during these travels—among them the “Scottish” and “Italian” symphonies, the Hebrides Overture, and the Piano Concerto No. 1—he also produced a witty and entertaining travel memoir and many beautifully accomplished watercolors. On the way, he totally won over the British musical establishment, increased his visibility in German cities outside his native Berlin, and spent a lengthy and productive stretch in Italy. In Paris, Mendelssohn met the 25-year-old Berlioz and his slightly

younger colleagues Liszt and Chopin. Together, along with their contemporary Robert Schumann, their work would set the trajectory of music’s development from the death of Beethoven (1827) to the end of the century.

In 1829, Mendelssohn played Beethoven’s Fifth Piano Concerto, the “Emperor,” in Edinburgh, on the Scottish leg of his journey. Within the year, he had begun to sketch out his own concerto, which is filled with echoes of the older work, especially in its sonority—the com plex, shiny piano colors against a powerful orchestral sound emphasizing winds and brass. It also follows Beethoven’s lead in the attempt to break the frame that had enclosed the concerto since its earliest development. In contrast to traditional concerto procedure, in which the soloist’s entrance is preceded by a long orchestral “pre-exposition” of all the movement’s basic material, Beethoven, radically, begins the “Emperor” with an explosive confrontation between the piano and the orchestra— though the concerto then proceeds through a rather lengthy pre-exposition before the piano is heard again.

Mendelssohn dispenses with this preexpo completely: instead, the orchestra provides a short, impulsive lead-in after which the piano and orchestra proceed directly—in tandem and in opposition—to the dramatic unfolding of themes, count er-themes, and triumphant conclusions. Modern audiences can hardly be expected to feel the shock that the first listeners to the piece must have felt, but we can cer tainly pick up the dramatic vibe.

Mendelssohn further tightens up the drama by condensing the events within the first movement so it ends a little sooner than one might expect, with a sense of a drama yet unresolved; he then provides compelling transitions between the movements, and a flashback to the first movement right before the finale’s brilliant conclusion. —Paul Epstein

The DSO most recently performed

Mendelssohn’s Piano Concerto No. 2 in October 2015, conducted by Hans Graf and featuring pianist Ingrid Fliter. The DSO first performed the piece in November 1921, conducted by Ossip Gabrilowitsch and featuring pianist Ernest Hutchison.

Symphony No. 8 in G major, Op. 88

Composed 1889 | Premiered February 1890 ANTONÍN DVOŘÁK

B. September 8, 1841, Nelahozeves, Bohemia (Now Czech Republic)

D. May 1, 1904, Prague, Bohemia (Now Czech Republic)

Scored for 2 flutes (one doubling on piccolo), 2 oboes (one doubling on English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings. (Approx. 36 minutes)

in the typical classical symphony. A long, energetic transition leads to the second subject, which emerges from the dying tone of a brief horn solo. A heroic third theme completes the exposition of the movement’s material, which Dvoř ák pro ceeds to develop with energy and imagination.

The ensuing Adagio is exceptionally rich in moods and ideas. Moving fluidly between minor and major harmonies, as well as between intimate and grandiose expression, it is by turns grave and play ful. Although the 3/4 meter and broad A B A format of the following movement indicate a scherzo, its relaxed pace and wistful sadness are more in character with the intermezzo movements that Brahms favored for his symphonies.

Antonín

Dvoř ák spent the first two decades of his career working in relative obscurity, but by the 1880s he had found a champion: Johannes Brahms, who promoted Dvoř ák throughout Europe and earned him steady commissions and a fine repu tation. The 1889 Symphony No. 8 mirrors both Dvoř ák’s content state of mind and the tranquil Czech countryside where he composed it. It is one of the composer’s sunniest works, characteristically blend ing symphonic technique and local Bohemian color.

The first movement is in the bright key of G major, but Dvoř ák breaks with con vention by beginning in the minor mode, with a melody that exploits the rich timbre of the cellos. This passage serves as a prelude to the movement’s principal theme (announced by the flute), but with out being a distinctly separate section, as

An arresting trumpet fanfare heralds the finale. Once again, Dvoř ák enlists the cellos, which present a broad theme related not only to the preceding trumpet call, but also to the flute melody of the first movement. Several variations of this melody follow, but Dvoř ák breaks the con ventional pattern of strophic variations to inject a cheerful little march in a minor key, as well as a frenzied sonata-formstyle development section. A rousing coda brings the work to a tumultuous close.

—Paul Schiavo

The DSO most recently performed Dvoř ák’s Symphony No. 8 on the William Davidson Neighborhood Concert Series in June 2015, conducted by Marcelo Lehninger. The DSO first performed the piece in December 1937, conducted by Victor Kolar.

PROFILES

JONATHON HEYWARD

Jonathon Heyward currently serves as Music Director Designate of the Baltimore Symphony Orchestra and will begin his five-year contract in the 2023-24 season. Heyward’s selection was unanimous from the Baltimore Symphony Music Director Search Committee, comprised of BSO musicians, staff, and community mem bers. In March 2022, Heyward made his debut with Baltimore Symphony Orchestra in three performances that included the first-ever performance of Shostakovich’s Symphony No. 15. Quickly re-engaged, he returned in April to lead a Benefit Concert for Ukraine at the Meyerhoff.

Currently in his second year as a Chief Conductor of the Nordwestdeutsche Philharmonie, in summer 2021, Heyward took part in an intense, two-week resi dency with the National Youth Orchestra of Great Britain, which led to a highly acclaimed BBC Proms debut. He made his DSO debut in July 2022 on the William Davidson Neighborhood Concert Series.

Heyward’s recent symphonic guest conducting highlights in the United Kingdom include debuts and re-invitations with the London Symphony, BBC National Orchestra of Wales, BBC Symphony, Royal Scottish National Orchestra, and Scottish Chamber Orchestra. In continental Europe, amongst Heyward’s recent debuts are collaborations with the Castilla y León in Spain; Basel Symphony, and Orchestre de Chambre de Lausanne in Switzerland; Brussels Philharmonic, SymfonieOrkest Vlaanderen and Antwerp Symphony in Belgium; Philharmonie Zuidnederland in the Netherlands; and Kristiansand Symphony in Norway.

YEOL EUM SON

Multi-award-winning South Korean pianist

Yeol Eum Son is highly regarded as a brilliant virtuoso whose playing has a rare balance between enormous kinetic energy and substantial gravity. An avid chamber musician, Son was appointed Artistic Director of Music in PyeongChang in 2018, programming music for both summer and winter Olympic events.

As soloist, Son has collaborated with major ensembles worldwide including the New York Philharmonic , Mariinsky Theatre Orchestra, Czech Philharmonic, Gürzenich-Orchester Köln, Konzerthausorchester Berlin, Dresdner Philharmoniker, Deutsche Radio Philharmonie Saarbrücken, Tonkunstler Orchestra at the Grafenegg Festival, Bergen Philharmonic, CBSO, Aurora Orchestra, Orchestre Philharmonique de Radio France, Orchestre de la Suisse Romande, KBS Symphony Orchestra, Moscow Virtuosi, St. Petersburg, Belgrade, Zagreb, Sofia Philharmonic, and RTV Slovenia Symphony Orchestra, among others.

Across the 2022-2023 season, Son will feature as Artist in Residence with the Residentie Orchestra in the Hague. Other season highlights include debuts with the BBC National Orchestra of Wales, Scottish Chamber Orchestra, Finnish Radio Symphony, NDR Radiophilharmonie Hanover, Orquesta Sinfónica del Principado de Asturias, and Musikkollegium Winterthur. Beyond Europe, this year Australian and Asian audiences will have the opportunity to hear Son live for her concerti debuts with the Melbourne, Sydney, Tasmanian, and Singapore Symphony Orchestras.

JEFF TYZIK Principal Pops Conductor Program and artists subject to change

SYMPHONY ORCHESTRA

SPONSOR:

HOME FOR THE HOLIDAYS

Friday, December 16, 2022 at 10:45 a.m. & 8 p.m.

Saturday, December 17, 2022 at 3 p.m. & 8 p.m. Sunday, December 18, 2022 at 3 p.m. & 7 p.m. in Orchestra Hall

MICHELLE MERRILL, conductor • NIKKI RENÉE DANIELS, soprano BLOOMFIELD HILLS HIGH SCHOOL CHORALE & THE JILLS – JESSICA RILEY, director

Nigel Hess A Christmas Overture

Irving Berlin I’ve Got My Love to Keep Me Warm arr. Jim Gray Nikki Renée Daniels

Pyotr Ilyich Tchaikovsky / Peanut Brittle Brigade Duke Ellington / Billy Strayhorn arr. Jeff Tyzik

Lucas Richman Hanukkah Festival Overture Richard Rodgers / My Favorite Things

Oscar Hammerstein Nikki Renée Daniels

Mykola Leontovich / Carol of the Bells Peter Wilhousky arr. Richard Hayman

Pietro Yon G é su Bambino arr. David Itkin Nikki Renée Daniels

Pyotr Ilyich Tchaikovsky In the Pine Forest Dance of the Sugar Plum Fairy Georges Bizet Farandole from L’Arlésienne Suite No. 2

INTERMISSION

John Williams Merry Christmas, Merry Christmas Bloomfield Hills High School Bloomfield Chorale & The Jills arr. Jack Gold & Marty Paich Jingle Bells Nikki Renée Daniels

Albert Hague / Theodor Geisel You’re a Mean One, Mr. Grinch arr. Gary Fry Nikki Renée Daniels

John Debney Suite from Elf arr. Victor Pesavento Bloomfield Hills High School Bloomfield Chorale & The Jills Leroy Anderson Sleigh Ride arr. John Rutter The Twelve Days of Christmas

Bloomfield Hills High School Bloomfield Chorale & The Jills arr. Matthew Jackfert I Saw Three Ships

Donald Fraser This Christmastide (Jessye’s Carol) Nikki Renée Daniels

Bloomfield Hills High School Bloomfield Chorale & The Jills arr. David T. Clydesdale O Holy Night Nikki Renée Daniels

Bloomfield Hills High School Bloomfield Chorale & The Jills

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

NA’ZIR MCFADDEN Assistant Conductor Phillip and Lauren Fisher Community Ambassador

PROGRAM AT-A-GLANCE – HOME FOR THE HOLIDAYS

The most wonderful time of the year

The holiday season represents a period of warmth, togetherness, good spirits...and the occasional chestnut roasting on an open fire. Many artists have released holiday albums, and the number of holiday songs grows exponentially with each passing year. From Bing Crosby to Boyz II Men, holiday music transcends genres, contributing to the joy of the season and serving as the soundtrack to many fond memories. It plays in the background of holiday movies and holiday parties, and as friends and families gather to celebrate beloved traditions. Music enhances the magic of the season, an unbridled time that so many of us look forward to all year.

PROFILES

MICHELLE MERRILL

Michelle Merrill inspires audiences throughout the country with her sharply detailed and vibrant perfor mances. A passionate and dynamic artist, she served four years as the Assistant and then Associate Conductor of the Detroit Symphony Orchestra, where she also car ried the title of Phillip and Lauren Fisher Community Ambassador. In addition to her growing guest conducting schedule, Merrill currently serves as the Music Director of the Coastal Symphony of Georgia, where she has ignited the growth and expansion of the orchestra’s offerings both on and off the stage.

Merrill’s most recent and upcom ing engagements include the National Symphony Orchestra, San Francisco Opera, National Arts Centre Orchestra (Ottawa), Minnesota Orchestra, Dallas Symphony Orchestra, River Oaks Chamber Orchestra, Cincinnati Pops Orchestra, Milwaukee Symphony Orchestra, Iceland Symphony Orchestra, Toledo Symphony Orchestra, and others.

Merrill is a proud recipient of a 2016 Solti Foundation US Career Assistance Award as well as the prestigious 2013 Ansbacher Conducting Fellowship, as awarded by members of the Vienna Philharmonic and the American Austrian Foundation, which enabled her to be in residence at the world-renowned Salzburg Festival.

NIKKI RENÉE DANIELS

Nikki Renée Daniels recently starred in the Tony Award winning revival of Company, on Broadway. Other recent credits include Hamilton (Angelica Schuyler) at the CIBC Center in Chicago and The Book of Mormon (Nabulungi) on Broadway. Nikki has also been seen on Broadway as Clara in the 2012 Tony Award winning revival of The Gershwins’ Porgy and Bess, Fantine in Les Miserablés and in Nine, Aida, Little Shop of Horrors, The Look of Love, Promises, Promises, Anything Goes, and Lestat. She made her New York City Opera debut as Clara in Porgy and Bess.

Other New York credits include Martha Jefferson in 1776 at City Center Encores! and Rose Lennox in The Secret Garden at David Geffen Hall. Her film and televi sion credits include The Other Woman, Chappelle’s Show, Madam Secretary, and The Sound of Music: Live

Nikki has performed as a soloist with many symphony orchestras across the country and Canada.

Nikki has performed as a soloist with many symphony orchestras across the United States and Canada. She holds a BFA from the University of Cincinnati, College-Conservatory of Music. Her debut CD, Home, is available on iTunes. For more information, please visit nikkireneedan iels.com and follow her on social media at @nikkireneesings.

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

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

OF $10,000 & 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

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. 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

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

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

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

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

GOVERNMENT

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

DSO

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

value the role of the

community—

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

learn more please call Alexander Kapordelis at 313.576.5198

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.

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 Honor 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

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.

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!

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

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

Kirill Petrenko, chief conductor Nov 18-19 | Hill Auditorium

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 Sponsors:

TICKETS AT

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

ADMINISTRATIVE

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

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

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

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

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

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

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

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

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

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

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.

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

Yeol Eum Son December 9-11

Baiba Skride December 1-3

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