VOLUME XXVIII • WINTER 2019-2020
PERFORMANCE THE MAGAZINE OF THE DETROIT SYMPHONY ORCHESTRA
2019-2020 SEASON
INSIDE Program Notes Picture Perfect
New 4K camera system for DSO webcasts BOOK EXCERPT
DESTINY: 100 Years of Music, Magic, and Community at Orchestra Hall in Detroit By Mark Stryker
Meet the Musician Monica Fosnagh
Community & Learning Edith Rhetts Tilton, Trailblazer
Assistant Principal Percussion Andrés Pichardo-Rosenthal
Dessert Parlor
MAR 27
…at The Whitney.
Named after David Whitney’s daughter, Katherine Whitney McGregor, our intimate dessert parlor on the Mansion’s third floor features a variety of decadent cakes, tortes, and miniature desserts. The menu also includes chef-prepared specialties, pies, and “Drinkable Desserts.” Don’t miss the amazing Fri flaming 8 pm dessert station featuring Bananas Foster and Cherries Jubilee. Hill Auditorium
Reserve tonight’s table online at www.thewhitney.com or call 313-832-5700
Sir James Galway with Lady Jeanne Galway, flutes 4421 Woodward Ave., Detroit Michael McHale, piano
Presenting Sponsors: Emily Bandera and the Ken Fischer Legacy Endowment Fund
Patron Sponsor: Sally Kennedy, in memory of David Kennedy
734.764.2538 ——— U M S . O R G
Pre-Theater Menu
Available on performance date with today’s ticket. Choose one from each course:
FIRST COURSE Caesar Side Salad Chef’s Soup of the Day The Whitney Duet MAIN COURSE Grilled Lamb Chops Lake Superior Whitefish Pan Roasted “Brick” Chicken Sautéed Gnocchi
View current menus and reserve online at www.thewhitney.com or call 313-832-5700 4421 Woodward Ave., Detroit 2
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DESSERT Chocolate Mousse or Mixed Berry Sorbet with Fresh Berries $39.95
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2 0 19 -2 0 2 0 S E A S O N
PERFORMANCE The Detroit Symphony Orchestra, a leader in the world of classical music, embraces and inspires individuals, families, and communities through unsurpassed musical experiences.
CONTENTS Welcome......................................................4 Orchestra Roster.........................................5 Behind the Baton.........................................6
14 Picture Perfect
New 4K camera system for DSO webcasts
12 100 Years 16 DESTINY: of Music, Magic, and Meet the Musician Monica Fosnaugh
Community at Orchestra Hall in Detroit Book excerpt by Mark Stryker
20 Community & Learning 21 PROGRAM NOTES Read Performance anytime, anywhere at dso.org/performance
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Board Leadership........................................8 Transformational Support........................10 Donor Roster............................................. 38 Maximize Your Experience....................... 48 DSO Administrative Staff......................... 50 Upcoming Concerts.................................. 52 ON THE COVER: Assistant Principal Percussion Andrés Pichardo-Rosenthal (William Cody Knicely Chair) backstage in Orchestra Hall’s percussion storage room Photo: Sarah Smarch
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WELCOME DONALD DIETZ
Dear Friends,
As we continue to celebrate Orchestra Hall’s 100th birthday, we are reminded of the vision, innovation, and technology that have played significant roles throughout the DSO’s history. It’s our honor to be the current stewards of this legacy, offering exceptional artistic experiences week-in and week-out, here in The Max and all around our community. We are driven by a vision of creating broad, universal access to orchestral music, in both new ways and by continuing to grow the impact of our most critical innovations of the past decade. The DSO’s groundbreaking, free Live from Orchestra Hall webcasts presented by the Ford Motor Company Fund and made possible by Knight Foundation, along with the Classroom Edition expansion, have enjoyed exciting advancements this year, and we’re proud to report we have now reached over 2 million views worldwide since their inception in 2011. Thanks to support from the Knight Foundation and Al Glancy Technology Fund, we have upgraded our cameras and technology, enabling us to be among the first orchestras worldwide to implement 4K resolution. If you haven’t watched a DSO Live webcast lately, we invite you to check out the crystal-clear picture and the fabulous sound, as always, from our incredible orchestra. The William Davidson Neighborhood Concert Series and our DTE Energy Foundation Community Concerts, as well as partnerships with many others, take us out of our home to meet people where they live, in schools, hospitals, senior and community centers, places of worship, libraries, art galleries, and breweries…the list goes on and on! In 2020 we add an eighth community to the Neighborhood Series, heading downriver for two performances in Monroe. These concerts remain hugely popular, and while we love welcoming audiences to Orchestra Hall, we continue to believe it’s critical to reach new audiences by bringing music closer to homes throughout our communities. Our new initiative Detroit Harmony promises even greater access to music for our city’s schoolchildren. This program will be a unique, collaborative effort to put an instrument in the hands of every K-12 student and provide pathways to instruction for any child who wants to learn. At the same time, Detroit Harmony will bolster economic development, including bringing new jobs to teaching artists and skilled tradespeople to restore instruments, plus providing job training and professional development resources. We thank the Ralph C. Wilson, Jr. Foundation and the Max M. and Marjorie S. Fisher Foundation for their support of this planning phase of Detroit Harmony, and we invite all interested in partnering on this vital work to contact us at education@dso.org. Together, we can build something remarkable for Detroit! During the holidays, we are especially thankful for all you do to make what we do matter to more and more people every year. We hope you’ll consider giving the gift of music to someone you love, and we look forward to starting off 2020 with great anticipation of wonderful experiences to come. With all best wishes, Anne Parsons President and CEO 4
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Mark Davidoff Chairman WINTER 2019-2020
LEONARD SLATKIN, Music Director Laureate Music Directorship endowed by the Kresge Foundation
JEFF TYZIK
Principal Pops Conductor
FIRST VIOLIN Kimberly Kaloyanides Kennedy Interim Concertmaster Katherine Tuck Chair Hai-Xin Wu Interim A ssociate Concertmaster Schwartz Shapero Family Chair Jennifer Wey Fang A ssistant Concertmaster Walker L. Cisler/Detroit Edison Foundation Chair Marguerite Deslippe* Laurie Goldman* Rachel Harding Klaus* Eun Park Lee* Adrienne Rönmark* Laura Soto* Greg Staples* Jiamin Wang* Mingzhao Zhou* Yoonshin Song~ Concertmaster
SECOND VIOLIN Adam Stepniewski Acting Principal The Devereaux Family Chair Will Haapaniemi* David and Valerie McCammon Chair Hae Jeong Heidi Han* David and Valerie McCammon Chair Sheryl Hwangbo* Sujin Lim* Hong-Yi Mo* Alexandros Sakarellos* Drs. Doris Tong and Teck Soo Chair Joseph Striplin*~ Marian Tanau* Jing Zhang* Open, Principal VIOLA Eric Nowlin, Principal Julie and Ed Levy, Jr. Chair James VanValkenburg A ssistant Principal Caroline Coade Glenn Mellow Hang Su Shanda Lowery-Sachs Hart Hollman Han Zheng Mike Chen
TERENCE BLANCHARD
NEEME JÄRVI
Fred A. and Barbara M. Erb Jazz Creative Director Chair
Music Director Emeritus
CELLO Wei Yu, Principal James C. Gordon Chair Abraham Feder A ssistant Principal Dorothy and Herbert Graebner Chair Robert Bergman* Jeremy Crosmer* David LeDoux* Peter McCaffrey* Joanne Danto and Arnold Weingarden Chair Haden McKay* Úna O’Riordan* Mary Ann and Robert Gorlin Chair Paul Wingert* Victor and Gale Girolami Chair
BASS Kevin Brown, Principal Van Dusen Family Chair Stephen Molina A ssistant Principal Linton Bodwin Stephen Edwards Christopher Hamlen Nicholas Myers HARP Patricia Masri-Fletcher Principal Winifred E. Polk Chair FLUTE Sharon Sparrow A ssistant Principal Bernard and Eleanor Robertson Chair Amanda Blaikie Morton and Brigitte Harris Chair Jeffery Zook Open, Principal Women’s Association for the DSO Chair PICCOLO Jeffery Zook OBOE Alexander Kinmonth Principal Jack A. and Aviva Robinson Chair Sarah Lewis Maggie Miller Chair Monica Fosnaugh Open, A ssistant Principal
CLARINET Ralph Skiano Principal Robert B. Semple Chair Jack Walters PVS Chemicals Inc./Jim and Ann Nicholson Chair Laurence Liberson A ssistant Principal Shannon Orme E-FLAT CLARINET Laurence Liberson BASS CLARINET Shannon Orme Barbara Frankel and Ronald Michalak Chair BASSOON Robert Williams, Principal Victoria King Michael Ke Ma A ssistant Principal Marcus Schoon CONTRABASSOON Marcus Schoon HORN Karl Pituch, Principal Johanna Yarbrough Scott Strong Bryan Kennedy David Everson Assistant Principal Mark Abbott TRUMPET Hunter Eberly, Principal Lee and Floy Barthel Chair Kevin Good Stephen Anderson A ssistant Principal William Lucas Michael Gause African-American Orchestra Fellow TROMBONE Kenneth Thompkins, Principal David Binder Randall Hawes
BASS TROMBONE Randall Hawes TUBA Dennis Nulty, Principal PERCUSSION Joseph Becker, Principal Ruth Roby and Alfred R. Glancy III Chair Andrés Pichardo-Rosenthal A ssistant Principal William Cody Knicely Chair James Ritchie TIMPANI Jeremy Epp, Principal Richard and Mona Alonzo Chair James Ritchie A ssistant Principal LIBRARIANS Robert Stiles, Principal Ethan Allen PERSONNEL MANAGERS Heather Hart Rochon Director of Orchestra Personnel Patrick Peterson Manager of Orchestra Personnel STAGE PERSONNEL Dennis Rottell, Stage Manager Ryan DeMarco Department Head Noel Keesee Department Head Steven Kemp Department Head Matthew Pons Department Head Michael Sarkissian Department Head LEGEND * These members may voluntarily revolve seating within the section on a regular basis
~ Extended leave
ENGLISH HORN Monica Fosnaugh Shari and Craig Morgan Chair
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B E H I N D T H E B AT O N
Leonard Slatkin
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nternationally acclaimed conductor Leonard Slatkin is Music Director Laureate of the Detroit Symphony Orchestra (DSO) and Directeur Musical Honoraire of the Orchestre National de Lyon (ONL). He maintains a rigorous schedule of guest conducting throughout the world and is active as a composer, author, and educator. In the 2019-20 season, he will celebrate his 75th birthday year with several of the orchestras he has led over the course of his 50-year career, including the St. Louis Symphony Orchestra, National Symphony Orchestra, Nashville Symphony Orchestra, DSO, and ONL. Other highlights include return engagements with the Houston Symphony Orchestra, RTÉ National Symphony in Dublin, Toronto Symphony Orchestra, and NHK Symphony Orchestra in Tokyo; debuts with the KBS Symphony Orchestra in Seoul, NDR Radiophilharmonie in Hannover, and Würth Philharmonic in Künzelsau, Germany; and three weeks in Spain conducting orchestras in CastileLeón, Bilbao, and the Balearic Islands. Slatkin has received six Grammy awards and 33 nominations. His recent Naxos recordings include works by Saint-Saëns, Ravel, and Berlioz 6
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(with the ONL) and music by Copland, Rachmaninoff, Borzova, McTee, and John Williams (with the DSO). In addition, he has recorded the complete Brahms, Beethoven, and Tchaikovsky symphonies with the DSO (available online as digital downloads). A recipient of the prestigious National Medal of Arts, Slatkin also holds the rank of Chevalier in the French Legion of Honor. He has received Austria’s Decoration of Honor in Silver, the League of American Orchestras’ Gold Baton Award, and the 2013 ASCAP Deems Taylor Special Recognition Award for his debut book, Conducting Business. His second book, Leading Tones: Reflections on Music, Musicians, and the Music Industry, was published by Amadeus Press in 2017. Slatkin has conducted virtually all the leading orchestras in the world. As Music Director, he has held posts in New Orleans; St. Louis; Washington, DC; London (with the BBCSO); Detroit; and Lyon, France. He has also served as Principal Guest Conductor in Pittsburgh, Los Angeles, Minneapolis, and Cleveland. For more information, visit leonardslatkin.com.
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Jeff Tyzik
G
rammy Award winner Jeff Tyzik is one of America’s most innovative and sought-after pops conductors. Tyzik is recognized for his brilliant arrangements, 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 also serves as principal pops conductor of the Oregon Symphony, Florida Orchestra, and Rochester Philharmonic – a post he has held for 23 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. In May 2007, the Harmonia Mundi label released his recording of works by Gershwin with pianist Jon Nakamatsu and the RPO, which stayed in the Top 10 on the Billboard classical chart for over
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three months. Alex Ross of the New Yorker called it “one of the snappiest Gershwin discs in years.” 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. For more information, visit jefftyzik.com.
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Detroit Symphony Orchestra, Inc. Samuel Frankel ◊ David Handleman, Sr.◊ Dr. Arthur L. Johnson ◊
James B. Nicholson Clyde Wu, M.D.◊
CHAIRMEN EMERITI
Peter D. Cummings Phillip Wm. Fisher Stanley Frankel
Alfred R. Glancy III ◊ Robert S. Miller James B. Nicholson
DIRECTORS EMERITI
Robert A. Allesee Floy Barthel John A. Boll, Sr. Richard A. Brodie Lois & Avern Cohn Marianne Endicott Sidney Forbes Mrs. Harold Frank Barbara Frankel
Herman Frankel Paul Ganson Mort Harris Gloria Heppner, Ph.D. Ronald M. Horwitz Harold Kulish Dr. Melvin A. Lester David R. Nelson Marilyn Pincus
Lloyd E. Reuss Marjorie S. Saulson Alan E. Schwartz Jane Sherman David Usher Barbara Van Dusen Arthur A. Weiss, Esq.
Mark A. Davidoff Chairman
Faye Alexander Nelson Treasurer
Nancy Schlichting Officer at Large
Glenda D. Price, Ph.D. Vice Chair
Arthur T. O’Reilly Secretary
Janice Uhlig Officer at Large
Anne Parsons President & CEO
Ralph J. Gerson Officer at Large
LIFETIME MEMBERS
OFFICERS
BOARD OF DIRECTORS
The Board of Directors is 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.
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Pamela Applebaum Janice Bernick Governing Members Chair Marco Bruzzano Samuel Fogleman Herman B. Gray, M.D. Nicholas Hood III Daniel J. Kaufman Michael J. Keegan
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Bonnie Larson Arthur C. Liebler Xavier Mosquet Stephen R. Polk David T. Provost James Ritchie Orchestra Representative Bernard I. Robertson
◊ Deceased
Sharon Sparrow Orchestra Representative Shirley Stancato Arn Tellem Hon. Kurtis T. Wilder Dr. M. Roy Wilson David M. Wu, M.D.
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BOARD OF TRUSTEES Richard Huttenlocher, Chair The Board of Trustees infuses creative thinking and innovation into how the DSO strives to achieve both artistic vitality and organizational sustainability.
Ismael Ahmed Rosette Ajluni Richard Alonzo Robert Bluestein Suzanne Bluestein Penny B. Blumenstein Elizabeth Boone Gwen Bowlby Margaret Cooney Casey Karen Cullen Joanne Danto Stephen R. D’Arcy Maureen T. D’Avanzo Richard L. DeVore Afa Sadykhly Dworkin Annmarie Erickson James C. Farber Jennifer Fischer Aaron Frankel
Carolynn Frankel Christa Funk Alan M. Gallatin Robert Gillette Jody Glancy Malik Goodwin Mary Ann Gorlin Laura Grannemann Leslie Green Laura Hernandez-Romine Donald Hiruo Michele Hodges Julie Hollinshead Antoinette G. Hubbard Renato Jamett Joseph Jonna John Jullens David Karp Joel D. Kellman
Jennette Smith Kotila James P. Lentini, D.M.A. Linda Dresner Levy Joshua Linkner Florine Mark Tonya Matthews, Ph.D. David N. McCammon Lydia Michael NextGen Chair Lois A. Miller Daniel Millward Scott Monty Shari Morgan Frederick J. Morsches Sean M. Neall Eric Nemeth Maury Okun Vivian Pickard William F. Pickard, Ph.D.
Gerrit Reepmeyer Richard Robinson James Rose, Jr. Marc Schwartz Lois L. Shaevsky Thomas Shafer Margaret Shulman Cathryn M. Skedel, Ph.D. Ralph Skiano Orchestra Representative Mark Tapper Laura J. Trudeau Gwen Weiner Jennifer Whitteaker R. Jamison Williams Margaret E. Winters Johanna Yarbrough Orchestra Representative Ellen Hill Zeringue
MAESTRO CIRCLE EXECUTIVE COMMITTEE Janet and Norm Ankers, chairs
Cecilia Benner
Joanne Danto
Gregory Haynes
Bonnie Larson
Lois Miller
Richard Sonenklar
GOVERNING MEMBERS OFFICERS Janice Bernick Chairwoman
James C. Farber Immediate Past Chair
Jiehan Alonzo Vice Chair, Signature Events
Samantha Svoboda Vice Chair, Communications
Bonnie Larson Member at Large
Suzanne Dalton Vice Chair, Annual Giving
David Assemany Member at Large
David Everson Orchestra Representative
Diana Golden Vice Chair, Membership
Maureen D’Avanzo Member at Large
Kenneth Tompkins Orchestra Representative
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DSO PERFORMANCE MAGAZINE 9
T R A N S F O R M AT I O N A L S U P P O R T
SPOTLIGHT: THE HONORABLE AVERN COHN AND LOIS COHN “Detroit, the ‘Comeback City,’ would not be as successful were it not for the DSO,” says Lois Cohn, boldly and unambiguously. Lois and her husband, the Hon. Avern Cohn, have been at the core of our oneDSO family for decades, supporting a wide variety of initiatives that aim to position the orchestra at the center of Detroit’s revival and success. Most recently, their generosity includes landmark support of the Orchestra Hall centennial and a match of the Musicians Fund for Artistic Excellence – a groundbreaking 2017 endowment gift from our musicians (with one hundred percent participation) with a challenge for other donors to signal their support of the orchestra’s long-term stability. “The DSO’s performances have achieved national recognition for their variety, guest artists, and high quality musicianship,” Lois explains, signaling the reasons our DSO musicians established the fund and why the Cohns chose to contribute. “The efforts made by the members of our distinguished orchestra to reach out to all corners of our city gives so many Detroiters the opportunity to hear this great ensemble – and thanks to the work of our devoted musicians, thousands of students know what it’s like to pick up an instrument and make music!” Both Avern and Lois Cohn are DSO Directors Emeriti, a title that recognizes their service on our Board of Directors and their broad, longstanding support of our mission. Judge Cohn is a Senior U.S. District Judge and patron of arts and culture in Detroit; in addition to the DSO, he cherishes and supports the Detroit Institute of Arts, Michigan Opera Theatre, and Detroit Zoo. Lois, an avid art collector, is currently a consultant for Sotheby’s Auction House for the State of Michigan, and she also serves on the boards of Alternatives for Girls and the College for Creative Studies. Judge Cohn states: “It’s part of our civic duty to support the arts, because culture is at the core of a city’s health and reputation.” Lois agrees. “It is my opinion that Detroit would not be as well regarded as it is without the DSO,” she says. “I cannot think of any major city which does not embrace cultural endeavors, and we are right up there with the best.” Even more broadly, Avern and Lois simply can’t imagine a world without music, or their beloved home city without a musical anchor like the DSO. “Music is a major force in human society, whether it’s jazz, church music, hip-hop, or Beethoven,” Lois explains. “The DSO gives its energy and talent to our city. We all need the peace and joy that music brings us.”
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FOUNDING FAMILIES Julie & Peter Cummings The Davidson-Gerson Family and the William Davidson Foundation The Richard C. Devereaux 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. Linda Dresner & Ed Levy, Jr. James B. & Ann V. Nicholson and PVS Chemicals, Inc. Clyde & Helen Wu◊
CHAMPIONS Mr. & Mrs. Richard L. Alonzo Mandell & Madeleine Berman Foundation Penny & Harold Blumenstein Mr. & Mrs. Raymond M. Cracchiolo Joanne Danto & Arnold Weingarden Vera and Joseph Dresner Foundation DTE Energy Foundation The Fred A. & Barbara M. Erb Family Foundation Mr. & Mrs. Phillip Wm. Fisher Ford Motor Company Fund Mr. & Mrs.◊ Morton E. Harris
John S. & James L. Knight Foundation The Kresge Foundation Mrs. Bonnie Larson The Andrew W. Mellon Foundation Ms. Deborah Miesel Shari & Craig Morgan Dr. William F. Pickard The Polk Family Bernard & Eleanor Robertson Stephen M. Ross Mrs. Richard C. Van Dusen
LEADERS Applebaum Family Philanthropy Charlotte Arkin Estate Mr. & Mrs. Lee Barthel Marvin & Betty Danto Family Foundation Herman & Sharon Frankel Ruth & Al◊ Glancy Mary Ann & Robert Gorlin John C. Leyhan Estate Bud & Nancy Liebler
Richard & Jane Manoogian Foundation David & Valerie McCammon Mr. & Mrs. Eugene A. Miller Jack & Aviva Robinson◊ Martie & Bob Sachs Mr. & Mrs.◊ Alan E. Schwartz Drs. Doris Tong & Teck Soo Paul & Terese Zlotoff
BENEFACTORS Mr. & Mrs. Robert A. Allesee W. Harold & Chacona W. Baugh Robert & Lucinda Clement Lois & Avern Cohn Mary Rita Cuddohy Estate Margie Dunn & Mark Davidoff DSO Musicians Bette Dyer Estate Dr. Marjorie M. Fisher & Mr. Roy Furman Barbara Frankel & Ronald Michalak Victor◊ & Gale Girolami Fund Herbert & Dorothy Graebner◊ Mr. Richard Sonenklar & Mr. Gregory Haynes Ronald M. & Carol◊ Horwitz dso.org
◊ Deceased
Richard H. & Carola Huttenlocher Ann & Norman Katz Dr. Melvin A. Lester Florine Mark Michigan Council for Arts & Cultural Affairs Pat & Hank Nickol Ruth Rattner Mr. & Mrs. Lloyd E. Reuss Donald & Gloria Schultz Estate Mr. & Mrs. Fred Secrest◊ Jane & Larry Sherman Cindy McTee & Leonard Slatkin Marilyn Snodgrass Estate
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MEET THE MUSICIAN
MONICA FOSNAUGH Oboe and English Horn (Shari and Craig Morgan Chair)
O
boists tend to be a singular bunch – they get the privilege of tuning the entire orchestra before a performance begins, for example, and many staples of the repertoire feature the oboe in brief and beautiful passages that soar above the sound all alone. This is even more true for those musicians who play the oboe’s cousin the English horn; it certainly is for Monica Fosnaugh, who joined the DSO in 2012. “As a kid, I said ‘well, I want to play something no one else plays,’ and my dad told me I should play the oboe,” remembers Fosnaugh. “It’s funny that I’m an English horn player now, because in the whole orchestra I’m the only one.” A primer for the double reed uninitiated: the English horn is a woodwind instrument like the oboe, but it’s about 50% longer, meaning it has a deeper and mellower sound. If you aren’t solid on the specifics, don’t worry. “I’m always talking to people who ask what an English horn is,” says Fosnaugh. “Everyone has heard of a French horn, of course. And the English horn has the most confusing name of any instrument because it’s not English and it’s not really a horn.” According to the most common story, early English horns had a flared bell that made the instrument resemble long brass horns played by angels in medieval artwork, giving them the nickname “angelic horn.” But the Middle High German word for “angelic” sounded a lot like the Middle High German word for “English,” and before long the not-quitecorrect name had spread and stuck. Some of the most famous English
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horn passages can be found in Mahler’s Fourth Symphony, Ravel’s Piano Concerto in G major, and Dvořák’s “New World” Symphony. Fosnaugh offers an additional example that demonstrates a typical solo for the English horn: Berlioz’s Roman Carnival Overture, which the DSO performed in November. “Berlioz uses a melody from an aria in the Overture, and in the aria a tenor is singing to a woman he loves more than life itself. That passionate melody is placed into this shorter, more bombastic piece of music; after the fast introduction ends, the English horn comes in, and really my role is one of this Pavarotti-like tenor.” In fact, Fosnaugh thinks of her work as an English horn player as something of a character actor. “I don’t play everything all the time,” she says. “But I’m portraying something very specific when I do play, and I’m very exposed. So I want to give every piece of music the character that the composer has in mind.” These characters are often expressing love, a passionate melancholy, or a forlorn thoughtfulness – all thanks to the instrument’s rich, almost human sound. “One of my friends, an English horn player in another symphony, says it WINTER 2019-2020
really well – she says the instrument is like her own voice,” recalls Fosnaugh. “She feels like she’s singing. I can really relate to that.” Oboists, bassoonists, and English horn players will tell you that for all the beauty their instruments create, the Sisyphean craft of making reeds is a serious flipside. Reeds are their own meta-instrument, and nowhere else in the orchestra will you find players tasked with personally constructing a crucial piece of hardware. “You’re taking essentially a hollow piece of grass – it resembles bamboo, but it’s not – and you’re cutting it and splitting it and shaping it, then tying it to a tube and scraping it down until it vibrates,” Fosnaugh summarizes. Most violinists don’t make their own bows, and most baseball players
don’t make their own bats; when it’s pointed out that only Jedi from Star Wars are expected to build their own equipment, Fosnaugh retorts, “True, but a lightsaber lasts a lot longer than a reed!” When she’s not performing, practicing, or making reeds, Fosnaugh loves to get outside and go for long-distance runs. “I’ve been running since I was probably 12 or 13, and it’s my moving meditation,” she says. “I can just go out there and forget about everything else.” She even ran the Chicago Marathon this past fall. She also loves baking – especially pies, which she refers to as an “obsession” – and reading. “I love the novelist Haruki Murakami,” Fosnaugh says, quickly adding: “And I’ll read just about anything about a U.S. president.”
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DSO PERFORMANCE MAGAZINE 13
F E AT U R E S T O R Y
BY SARAH SMARCH
I
f you take the backstage stairs of positions can be reconfigured and cusThe Max to the basement and follow tomized for each individual webcast. the checkerboard floor, you’ll The new cameras perform find musicians’ dressing better in low light and offer rooms with vanity a clearer, more colorful tables, clothing image. racks, lockers, “We’re among coffee mugs, the first orchesand well-loved tras in the world foosball to have a 4K tables. camera Continue farsystem,” ther, turn two explains Marc corners, and Geelhoed, the A NE W ER A OF you’ll arrive at DSO’s Director LIVE FROM ORCHESTR A the door of a of Digital HALL WEBCASTS, small locked Initiatives. “And THANKS TO THE room all but the new cameras DSO’S UPGR ADED 4K unknown and unenprovide fantastic CAMER A SYSTEM tered by the general images. I ran into public. [Principal Clarinet] Ralph A plaque next to the door Skiano and he jokingly said reads “Alfred R. Glancy III Control ‘The image quality is so good that I’ll Room.” This 19-by-14-foot room is the have to find a way to play better to home of the DSO’s Live from Orchestra match it!’” Hall webcast series; since the series’ The DSO is a leader among orchesinception in 2011, the control station has tras worldwide in advancing enabled nearly 2 million viewers across accessibility through technology, and the globe to watch live DSO concerts we’ve always had a bit of a trailblazing wherever they are. streak. In 1922, under the baton of Ossip And now, it’s the command hub for an Gabrilowitsch, the DSO was the first improved technological backbone for the orchestra in the world to perform on a Live from Orchestra Hall experience, live radio broadcast. A dozen years including a new 4K ultra-high definition later, the beloved Ford Sunday Evening camera system. Hour radio concert series was inaugu Installed over the summer, the rated; these weekly performances were upgraded system includes new fiber-op- enjoyed by millions nationwide during tic wiring throughout The Max, new the series’ 8-year run. studio equipment for the control room, The new 4K camera system allows and eight state-of-the-art Panasonic the DSO to webcast at the same high AW-UE150 4K robotic cameras, which caliber at which the musicians perform. replace six older Sony models. The DSO As has happened many times in the has also created nine new camera posiDSO’s past, we’ve created the capacity to tions in Orchestra Hall (up from six, present exceptional artistry via technolcreating 15 total), meaning that camera ogy – in a way that does the artistry
PICTURE PERFECT
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justice while building new pathways for audience accessibility. And while the experience of listening to the orchestra on the radio – or today watching it in ultra-high definition – will always be different from attending a concert in the hall, technology can be used to create unique experiences for the viewer/listener that are just as powerful as sitting in the Dress Circle. “I saw Mahler online,” one recent webcast viewer commented. “Makes me want to go to Orchestra Hall!”
Making It Happen Patterson McKinney, now in his second season as a webcast director, stresses the importance the new system plays in the production process: “This system opens a new world of creative possibilities,” he says. “The movement of the cameras is much smoother and makes me more confident to program shots that really follow the progression of the music. So much is happening at any given time; there are so many different sounds and instruments, and now the cameras can capture and communicate more of that.”
Marc Geelhoed (foreground) and crew member Jonathan Laurie (background) during webcast production in the Alfred R. Glancy III Control Room dso.org
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In the basement, webcast director Habib Azar’s movements resemble those of the conductor upstairs on the stage: trained eyes moving quickly to different camera feeds, arms outstretched and pointing – though at monitors, not instrument sections – with
a performance onstage but isn’t actually broadcast to audiences’ screens. As assistant director, Geelhoed communicates with camera operators to jump from shot to shot. A system of camera presets forms the structure of this work – Camera 1 might have Preset 1 (or “P1”) trained on the Principal Oboe, for example. Geelhoed’s directions often sound like a game of Battleship gone awry, as he rapidly speaks letter and number combinations into his headset: “Send 4 to P3. Send 2 to P9, 1 P8, 4 P3,” and on and on, with as many as 1,200 shots called for a single concert. Webcasts also require a switcher, Controlling cameras during a recent Live from Orchestra Hall webcast two operators, and an audio engineer. facial expressions bouncing from tense The director tells the switcher to “take” focus to exaltation. a shot on camera, sending that shot to And just like the concert upstairs, the the live feed. The operators move the webcast needs robust preparation and cameras and the audio engineer monirehearsal. A director assigned to a webtors sound. cast will review the scores of the pieces It’s an incredible feat of teamwork to be performed and begin developing a and passion. “We want to provide the shot list. Crew members will place camviewer with visual cues – like the coneras throughout the hall accordingly, ductor’s face or the energy of the and a day or two before the webcast the musicians – so they can see how this entire team will assemble for a rungiant piece with so many parts comes through – a beat-for-beat rehearsal of together to make music,” explains the whole show that takes place during Geelhoed. Live from Orchestra Hall is presented by Ford Motor Company Fund. The technology upgrade was made possible by support from the Knight Foundation and the Al Glancy Technology Fund. The DSO’s new camera system was designed by the video team at the Dutch firm PolyCast. Local installation support was provided by Vortex Communications (fiber optic cabling), Thunder Valley Enterprise (fiber optic cabling and electrical work), Douglas Electric (electrical work), and the DSO’s stage crew members of IATSE Local 38. 16
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Around the World and Up the Street The intention of the Live from Orchestra Hall webcast series has always been to share the work of a world-class orchestra with a worldwide audience. Importantly, there’s no cost to viewers – anyone can participate as long as they have an internet connection. Audiences include classical music fans in all 50 states and well over 100 countries, but it also comprises tens of thousands of Detroit-area students who tune in to Classroom Edition webcasts and experience our Educational Concert Series right from their schools. But making something accessible is only part of the mission. Increasing accessibility is just as important, and a new partnership with the Detroit Community Technology Project is doing just that. Not all Detroiters have reliable access to high-speed wireless internet. Enter the Detroit Community Technology Project’s Equitable Internet Initiative (EII), which incubates neighborhood-governed community wireless networks in Detroit’s North End, Southwest, and Islandview neighborhoods in addition to Highland Park. Each network is also equipped with an intranet (a network still available to users even if an internet connection fails) designed by middle and high school students through the Next Gen Apps education program. These students also developed an app called Detroit Music Box for each neighborhood’s intranet. In partnership with the DSO, Detroit Music Box will now host high-definition video recordings of DSO performances in addition to other content. The most accessible orchestra on the planet teamed up with a group that puts accessibility first – meaning more music will be available to more people!
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The DSO thanks The John S. and James L. Knight Foundation for their incredible support of the Live from Orchestra Hall webcast series since its inception in 2011, as well as the recent gift that made this technology upgrade possible. In October 2018, the Knight Foundation announced a new $20 million investment in the arts in Detroit, including a $2.5 million grant to the Detroit Symphony Orchestra. In addition to continuing to support Live from Orchestra Hall, the grant has funded efforts to activate the Max M. and Marjorie S. Fisher Music Center by presenting multidisciplinary programming that attracts new audiences, transforming the façade of the building with digital content, and offering outdoor performances in Sosnick Courtyard. All of these initiatives are either in progress or coming soon. Other programs supported by the Knight Foundation include the 2015 world premiere of Tod Machover’s Symphony in D and the 2015 festivalMotown Meets The Big Easy. The DSO was also recognized in the 2017 Knight Arts Challenge with a grant to enable the orchestra to offer new “Mobile Maxcasts” – performances broadcast on a mobile video truck in community settings around Metro Detroit. DSO PERFORMANCE MAGAZINE 17
Excerpt
DESTINY
DESTINY
COM MUN ITY MAG IC, AND OF MUS IC, 100 YEA RS IN DET ROIT TRA HAL L AT ORC HES
COM MUN ITY MAG IC, AND OF MUS IC, 100 YEAR S
Community , Magic, and Years of Music illustrated Destiny: 100 it is a lavishly Hall in Detro home of at Orchestra Orchestra Hall, r 100 years of Written by forme book tracing hony Orchestra. reporter the Detroit Symp critic and arts Press music d the Free it behin Detro readers Destiny takes and the 1919 in Mark Stryker, hall building of the or Ossip scenes of the music direct under Age n years ues with the DSO’s first Golde The story contin Paradise Gabrilowitsch. renamed the the hall was for the 1941–1951, when destination became a major chronicles Theatre and The book then save jazz artists. supporters to country’s top ians and civic followed 1970, in the fight by music from demolition Hall and the Orchestra Hall of Orchestra ar restoration its historic home by the 20-ye of the DSO to n of retur on triumphant s the creati r in ly, the book detail r Music Cente in 1989. Final Marjorie S. Fishe under the roof the Max M. and activities present day rt halls and the 2003 and the ’s great conce the world way, the the of Along of one int of The Max. acoustics, Hall’s stra expanded footpr Orche the magic of building’s book explores corners of the little-known Hall, sheds light on it, Orchestra shows how Detro and y, y. histor same destin all share the and the DSO
wonders is one of the “Orchestra Hall — Yo-Yo Ma music world.” of our acoustic for these make a statue “They should d it.” oit who save people in Detr
AT ORCH ESTR
Stryker is a longtime journalist, music critic, and writer who covered classical and jazz music for the Detroit Free Press from 1995 to 2016. His new book, written in celebration of Orchestra Hall’s centennial year, is available now at Shop @ The Max. Read an excerpt from the chapter “Fifteen Performances for the Ages” below.
y time I just a gem… Ever . It’s “This hall is awe y time—I’m in return—ever aud — Hélène Grim perfection.”
r
Mark Stryke
417013
There have been countless extraordinary performances at Orchestra Hall during its 100-year history … I witnessed those from the 1990s to the present in my capacity as a music critic with the Detroit Free Press. The earlier performances were selected after consulting historical reviews and recordings. November 7, 1921 Composer Richard Strauss guest conducted the Detroit Symphony Orchestra in three of his tone poems written between 1888 and 1895: Don Juan, Till Eulenspiegel’s Merry Pranks, and Death and Transfiguration. Detroit News critic Robert Kelly called Strauss “the leader of modern music” and wrote that while the results in the opening work, Don Juan, were exquisite, the program accumulated power with each succeeding work. May 19, 1945 The Duke Ellington Orchestra broadcasts from the Paradise Theatre on this date as part of a weekly Saturday afternoon series of radio programs sponsored by the U.S. Treasury. The band – including such stars as Johnny Hodges, Rex Stewart, Lawrence Brown, and Sonny Greer – sounds 18
BY MARK STRYKER
— Neeme Järvi
DETR OIT A HALL IN
$24.95 -3 -1-7334170-1 5 > 5249
DESTINY: 100 Years of Music, Magic, and Community at Orchestra Hall in Detroit
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resplendent on the tape that has survived. Among the repertoire: “Solitude,” “Perdido,” “In a Sentimental Mood,” “Pitter Panther Patter,” “Subtle Slough,” and “Stomp Look and Listen.” October 25, 1980 Cellist Yo-Yo Ma made his debut at Orchestra Hall as part of a trio that included violinist Young-Uck Kim and pianist Emanuel Ax. Presented by the Chamber Music Society of Detroit, the trio played Mozart, Beethoven, and Dvořák. Detroit News critic Jay Carr wrote: “Ax-Kim-Ma. They sound like acronyms, but they play like an angel,” and about the cellist: “Ma’s tone and style are like none other I know today.” May 1, 2003 Michael Daugherty’s productive tenure as DSO composer-in-residence reached its peak with the world premiere of Fire and Blood, an inspired violin concerto that takes its inspiration from Diego Rivera’s Detroit Industry Murals at the Detroit Institute of Arts. Neeme Järvi conducted, with Detroit native Ida Kavafian the violin soloist. WINTER 2019-2020
Mark Stryker’s engagement as author of this commemorative publication was generously underwritten by Ann and James B. Nicholson. Additional support of this publication was underwritten by the Community Foundation for Southeast Michigan and Ford Motor Company Fund.
The DSO would like to thank the Honorable Avern Cohn and Lois Cohn, Bernard and Eleanor Robertson, Aaron and Carolynn Frankel, DTE Energy Foundation, Ford Motor Company Fund, and Varnum LLP for their leadership support of Orchestra Hall’s centennial, and all Centennial Club members who generously contributed.
Centennial Club Members Howard Abrams & Nina Dodge Abrams Mr. & Mrs. Robert A. Allesee James & Patricia Anderson Pamela Applebaum Ms. Joy Crawford & Mr. Richard Aude Ms. Ruth Baidas Mr. David Barnes Mr. & Mrs. Lee Barthel W. Harold & Chacona W. Baugh Gwen & Richard Bowlby Mr. & Mrs. Richard A. Brodie Philip & Carol Campbell Mr. Marvin D. Crawford Mr. & Mrs. Matthew P. Cullen Julie & Peter Cummings Joanne Danto & Arnold Weingarden Barbara A. David Margie Dunn & Mark Davidoff Mr. & Mrs. Ethan Davidson Lillian & Walter Dean Deloitte Ms. Leslie C. Devereaux Eugene & Elaine C. Driker Mr. Lee V. Hart & Mr. Charles L. Dunlap Edwin & Rosemarie Dyer Ellie Farber & Mitch Barnett Jim & Margo Farber Mr. & Mrs. Phillip Wm. Fisher Mr. & Mrs. Aaron Frankel Barbara Frankel & Ronald Michalak
Dale & Bruce Frankel Herman & Sharon Frankel Mr. & Mrs. Stanley Frankel Kit & Dan Frohardt-Lane Alan M. Gallatin Ms. Jody Glancy Ms. Jacqueline Graham Mr. & Mrs. James Grosfeld Mr. Sanford Hansell & Dr. Raina Ernstoff Mr. Morton E. Harris Cheryl A. Harvey Mr. Donald & Marcia Hiruo Mr. Matthew Howell & Mrs. Julie Wagner Richard H. & Carola Huttenlocher Renato & Elizabeth Jamett Mr. George G. Johnson Lenard & Connie Johnston Paul & Marietta Joliat Danialle & Peter Karmanos, Jr. Morgan & Danny Kaufman Betsy & Joel Kellman June K. Kendall Mr. David Kolodziej Dr. Sandy Koltonow & Dr. Mary Schlaff KPMG LLP Ms. Sandra Lapadot Dr. & Mrs. James P. Lentini Max Lepler & Rex L. Dotson Nicole & Matt Lester Linda Dresner & Ed Levy, Jr.
Mervyn & Elaine Manning Mr. & Mrs. Alonzo McDonald Olga Sutaruk Meyer Ms. I. Surayyah R. Muwwakkil Mr. & Mrs. Albert T. Nelson, Jr. Anne Parsons & Donald Dietz Debra & Richard Partrich Kathryn & Roger Penske Vivian Pickard The Polk Family Dr. Glenda D. Price Charlene & Michael Prysak Maurcine & Lloyd Reuss Mr. & Mrs. Robert B. Rosowski Martie & Bob Sachs Dr. & Mrs. Hershel Sandberg Save Our Symphony Deborah Savoie Nancy Schlichting & Pamela Theisen Mr. & Mrs. James H. Sherman John J. Solecki Richard Sonenklar & Gregory Haynes Alice & Paul Tomboulian Mrs. Richard C. Van Dusen Varnum LLP Beverly & Barry Williams Drs. David & Bernadine Wu Ms. Andrea L. Wulf Paul & Terese Zlotoff
As of October 31, 2019
Please call (313) 576-5114 or email friends@dso.org for more information about how to join the Centennial Club. dso.org
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DSO PERFORMANCE MAGAZINE 19
COMMUNITY & LEARNING
EDITH RHETTS TILTON, TRAILBLAZER
W
ith robust educational programming, the DSO is committed to making music accessible for children in the Detroit community and beyond. Much of our work in this area owes a debt to a leader of the past: Edith Rhetts Tilton. A devoted servant of fine music, Tilton was the DSO’s first education director – and possibly the first person in such a role at any American orchestra. Tilton was born in Salem, IN, and began traveling the country at age 18 to bring music appreciation classes to schools and communities. In 1922, after three blockbuster seasons at Detroit’s brand new Orchestra Hall, DSO music director Ossip Gabrilowitsch became aware of Tilton’s work. With the go-getting quality that first endeared him to go-getting Detroit, Gabrilowitsch insisted that Tilton be brought on as the DSO’s education director. Tilton accepted – and in doing so, more or less created a new set of priorities within American orchestras. A pioneer of her time, Tilton fully embraced the role and founded the DSO’s Educational Concert Series in 1922 and Young People’s Concerts in 1923. With close collaboration from associate conductor Victor Kolar, the DSO produced live educational performances for young people at Orchestra Hall and the Masonic Temple Auditorium – and reached thousands more by radio broadcast. Sound familiar? Nearly a century later, our Classroom Edition webcast series continues this important legacy in the modern era. Tilton and the DSO “clarified the music of the masters in terms understandable 20
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and entertaining” for children, wrote the Detroit Free Press. One 1940 estimate put the number of children reached through the concerts at 140,000 each year. Furthermore, a series of Tilton’s articles on symphony concerts for The Detroit News was published and used as part of the curriculum in local public schools. Her work set an example that was copied widely throughout the nation and that put the DSO on the map as a boundary-pushing ensemble. In addition to her work at the DSO, Tilton gave generously in time and labor to the Music Educators National Conference, the Michigan Committee for Music Appreciation, the scholarship committee of the Detroit Grand Opera Association, and the first National High School Orchestra, which was the seed of what we now know as the Interlochen Center for the Arts. Tilton’s indefatigable efforts have so richly benefited the city of Detroit, enhancing the experience of music for thousands of children, including the oneDSO family’s own William Davidson (1922-2009) and Max Fisher (1908-2005), who credit the educational concerts they heard as children in the 1930s with their lifelong involvement in the arts. Of Tilton, Caen Thomason-Redus, the DSO’s Senior Director of Community & Learning, remarks: “Many of the traits we consider so essential to the vitality of the DSO today – an eagerness to experiment, an unstoppable commitment to our community, and the deepest possible passion for music – were also her distinguishing traits. Tilton’s work foreshadowed much of the work that brings us great pride today, and it is an honor to carry on her tradition by making a true difference in the lives of young people.” WINTER 2019-2020
LEONARD SLATKIN, Music Director Laureate Music Directorship endowed by the Kresge Foundation
JEFF TYZIK
Principal Pops Conductor
TERENCE BLANCHARD
NEEME JÄRVI Music Director Emeritus
Fred A. and Barbara M. Erb Jazz Creative Director Chair
CLASSICAL SERIES HADELICH PLAYS PAGANINI
Friday, January 24, 2020 at 10:45 a.m. Saturday, January 25, 2020 at 8 p.m. Sunday, January 26, 2020 at 3 p.m. at Orchestra Hall JADER BIGNAMINI, conductor AUGUSTIN HADELICH, violin Niccolò Paganini Violin Concerto No. 1 in D major, Op. 6 (1782 - 1840) I. Allegro maestoso II. Adagio III. Rondo: Allegro spiritoso Augustin Hadelich, violin Intermission Hector Berlioz Symphonie fantastique, Op. 14 (1803 - 1869) I. R everies and Passions: Largo - Allegro agitato e appassionato assai II. A Ball: Waltz - Allegro non troppo III. In the Country: Adagio IV. M arch to the Scaffold: Allegretto non troppo V. Dream of the Witches’ Sabbath: Larghetto - Allegro
This Classical Series performance is generously sponsored by
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.
Friday morning’s recognition of America’s Veterans and Active Military is supported by
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DSO PERFORMANCE MAGAZINE 21
Program Notes P R O G R A M AT- A - G L A N C E DEMONS AT WORK In the tradition of European music, Niccolò Paganini is the original superstar. He played the violin in ways that seemed impossible, leading many to believe that he was blessed (or cursed) with gifts from the devil himself. Always enterprising, Paganini leaned into this mysterious reputation – he dressed in all black both on- and offstage, he adopted a dour expression and freakish mannerisms, and he relished in scandalous rumors like the one positing that he had murdered a woman he loved and used her intestine to craft a violin string. Berlioz’s Symphonie fantastique is a psychedelic journey of love, terror, passion, and hell, anchored in its back half by an opium trip leading to visions of a demonic bacchanal. The symphony’s main tune, which is beautiful and innocent at the outset, is now completely distorted: “It is now no more than a vulgar dance tune, trivial and grotesque,” writes Berlioz. “It is she who is coming to the sabbath...Roar of delight at her arrival...She joins the diabolical orgy...The funeral knell tolls, burlesque parody of the Dies irae, the dance of the witches.”
Violin Concerto No. 1 in D Major, Op. 6 Composed c. 1816-18 | Premiered March 1819
NICCOLÒ PAGANINI B. October 27, 1782, Genoa, Italy D. May 27, 1840, Nice, France
Scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, bassoon, contrabassoon, 2 horns, 2 trumpets, 3 trombones, timpani, percussion, and strings. (Approx. 26 minutes)
S
ome of the greatest works for instrumental soloists were written, not surprisingly, by people who could play that instrument themselves. When it comes to the violin, there is one man who puts all others in shadow: the Italian genius and genre-changing virtuoso Niccolò Paganini. Paganini was not called the “devil’s fiddler” for nothing: he
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single-handedly revolutionized violin technique, performing feats which no one had previously thought possible, and his phenomenal facility in executing double-stops and the brilliance of his harmonics mystified even the best professional violinists of the early nineteenth century. During his lifetime most of Paganini’s compositions could be played only by himself. But he was more than just a flashy player: critics always agreed that his work expressed great emotional depth in addition to jaw-dropping technical flair. Paganini’s first violin concerto was originally intended to be heard in E-flat Major. The orchestral parts were written in that key, but the solo part was written in D Major with instructions that the violin should be tuned a half-step higher so they would sound in E-flat. This was a practice known in the day as scordatura (Italian for mistuning), and it allowed the soloist to achieve effects sounding in WINTER 2019-2020
E-flat that would not be possible in standard tuning – a “cheat” of sorts that helped Paganini maintain his how does he do that? reputation. Two hundred or so years later, however, both orchestra and soloist play the concerto in D Major. The first movement is an almost uninterrupted display of virtuoso fireworks with only occasional stops to give the soloist a chance to catch their breath. The “weeping” second movement is a lyrical aria that tones down the special effects significantly and was supposedly an earnest attempt to render a famous actor of the day delivering an emotional speech. The last movement, with a memorable main theme, brings back the fireworks. The DSO most recently performed Paganini’s Violin Concerto No. 1 at Meadow Brook in July 2010, conducted by JoAnn Falletta and featuring violinist Chloe Hanslip. The DSO first performed the piece in April 1919, conducted by Ossip Gabrilowitsch and featuring violinist Jules Lepske.
Symphonie fantastique, Op. 14 Composed 1830 | Premiered December 1830
HECTOR BERLIOZ B. December 11, 1803, La Côte-Saint-André, France D. March 8, 1869, Paris, France
Scored for 2 flutes (1 doubling on piccolo), 2 oboes (1 doubling on English horn, 1 offstage), 2 clarinets (1 doubling on E-flat clarinet), 4 bassoons, 4 horns, 2 trumpets, 2 cornets, 3 trombones, 2 tubas, 2 timpani, percussion, 2 harps, and strings. (Approx. 55 minutes) dso.org
M
ore than a composer of flashy, dramatically charged music, Hector Berlioz was himself one of the most colorful figures of the nineteenth century. Much of his life reads like a Romantic novel, and its most fascinating chapter concerns the creation of his hallmark work, the Symphonie fantastique. Since Berlioz was a tireless writer of letters, memoirs, and articles, we can read much of this story in his own words. In 1827, the composer, then a struggling graduate of the Paris Conservatoire, attended a performance of Shakespeare’s Hamlet by a troupe of English actors visiting Paris. In the role of Ophelia was a beautiful young actress named Harriet Smithson. As Berlioz relates in his Memoirs: “The impression made on my heart and mind by her extraordinary talent, nay her dramatic genius, was equaled only by the havoc wrought in me by the poet she so nobly interpreted. That is all I can say.” Well, not quite. In fact, Berlioz could, and did, say a great deal more. During the next three years he developed a desperate infatuation for Smithson and made several unsuccessful attempts to woo her. In 1830 he told his friend Humbert Ferrand that he was writing a “grand symphony in which the development of my infernal passion is to be depicted,” outlining a story-in-music in which a protagonist, haunted by a love he cannot have, attempts to poison himself with opium. He hangs on to life, however, and the powerful drug instead creates jarring hallucinations of “sorcerers and devils…a chorus [singing] the plainchant sequence of the dead.” Through an extraordinary set of circumstances, Harriet Smithson herself was in the audience at the 1832
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premiere of the Symphonie fantastique. She recognized Berlioz as he was ushered onstage for a bow, and had a shocking thought when a friend explained the piece’s concept: is this about me? The two met the next day, eventually married, and even more eventually divorced – though theirs was a fairy-tale meeting, the couple was essentially incompatible. But the musical expression of Berlioz’s passion proved more enduring than his union with Harriet Smithson. Symphonie fantastique remains one of the prime musical documents of nineteenth-century Romanticism and a composition of still startling originality. It was among the most detailed and poetic program symphonies yet composed, full of bewitching melodies and dramatic flair. Though the story surrounding its composition is too good to ignore, so is the piece itself; it remains, in every sense, one of the most fantastic musical experiences available. Berlioz writes, in part, the following about each movement: I. Reveries and Passions: After the protagonist, a young artist, falls in love with a woman from afar, “The transitions from this state of dreamy melancholy, interrupted by occasional upsurges of aimless joy, to delirious passion, with its outbursts of fury and jealousy, its returns of tenderness, its tears, its religious consolations – all this forms the subject of the first movement.”
III. In the Country: “One evening in the countryside he hears two shepherds in the distance…[restoring] to his heart an unaccustomed feeling of calm and to give to his thoughts a happier coloring… But what if she betrayed him! This mingled hope and fear, these ideas of happiness, disturbed by dark premonitions, form the subject of the adagio.” IV. March to the Scaffold: “Convinced that his love is spurned, the artist poisons himself with opium. The dose of narcotic, while too weak to cause his death, plunges him into a heavy sleep accompanied by the strangest of visions. He dreams that he has killed his beloved, that he is condemned, led to the scaffold and is witnessing his own execution…” V. Dream of the Witches’ Sabbath: “In the midst of a hideous gathering of shades, sorcerers and monsters of every kind [have] come together for his funeral. Strange sounds, groans, outbursts of laughter; distant shouts which seem to be answered by more shouts. The beloved melody appears once more, but has now lost its noble and shy character…” The DSO most recently performed Berlioz’s Symphonie fantastique during the February 2018 French Festival, conducted by Leonard Slatkin. The DSO first performed the piece in December 1919, conducted by Ossip Gabrilowitsch.
II. A Ball: “The artist finds himself in the most diverse situations in life, in the tumult of a festive party…yet everywhere, whether in town or in the countryside, the beloved image keeps haunting him and throws his spirit into confusion.” 24
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Profiles JADER BIGNAMINI
J
AUGUSTIN HADELICH
ader Bignamini is Resident Conductor of Orchestra Sinfonica la Verdi in Milan, following his appointment as Assistant Conductor in 2010 by Riccardo Chailly. Highlights of Bignamini’s 2019-20 season include debuts with the Toronto, Houston, and Dallas symphonies; Minnesota Orchestra; Canadian Opera Company conducting Aida; Bayerische Staatsoper conducting La Traviata; and a return engagement with Stadttheater Klagenfurt conducting Eugene Onegin. He continues to tour with soprano Anna Netrebko and tenor Yusif Eyvasov. Other recent engagements include debuts at the Metropolitan Opera, Vienna State Opera, and Dutch National Opera conducting Madama Butterfly; La Traviata in Tokyo directed by Sofia Coppola; and recent engagements with Oper Frankfurt conducting La forza del destino and Santa Fe Opera conducting La Bohème. Recent concert and festival highlights have included return engagements with the Slovenian and Freiburg Philharmonic Orchestras, Maggio Musicale in Florence, the MITO Festival conducting Berlioz’s Messe Solennelle, and the opening concert of the Orchestra Filharmonica del Teatro Comunale di Bologna conducting Carmina Burana. Bignamini was born in Crema, Italy, and studied at the Piacenza Music Conservatory.
A
ugustin Hadelich is celebrated for his technique, poetic sensitivity, and gorgeous tone. He has performed with every major American orchestra as well as an ever-growing number of ensembles in the UK, Europe, and Asia. An active recitalist and chamber musician, Hadelich has appeared at Carnegie Hall, Amsterdam’s Concertgebouw, the Kennedy Center, the Louvre, and elsewhere, and his collaborators include Jeremy Denk, Kim Kashkashian, Cho-Liang Lin, Joyce Yang, Midori, and members of the Guarneri and Juilliard quartets. He is a co-founder and member of the H3 Trio, alongside pianist Martin Helmchen and cellist MarieElisabeth Hecker. Hadelich won a Grammy Award for his recording of Dutilleux’s Violin Concerto with the Seattle Symphony. Hadelich has received an Avery Fisher Career Grant, a Borletti-Buitoni Trust Fellowship, Lincoln Center’s Martin E. Segal Award, the inaugural Warner Music Prize, and an honorary doctorate from the University of Exeter. Born in Italy to German parents, Hadelich studied with Joel Smirnoff at The Juilliard School. He plays the 1723 “Ex-Kiesewetter” Stradivari violin, on loan from Clement and Karen Arrison through the Stradivari Society of Chicago. M OST RECENT APPEARANCE WITH
THE DSO: March 2018, performing Britten’s Violin Concerto No. 1 (cond. Jukka-Pekka Saraste)
M OST RECENT APPEARANCE
WITH THE DSO: October 2019, conducting a program of Glinka, Bruch, and Mahler.
F IRST APPEARANCE WITH THE DSO:
On the William Davidson Neighborhood Concert Series in April 2014, performing Beethoven’s Violin Concerto (cond. Andrew Litton)
F IRST APPEARANCE WITH THE
DSO: June 2018, conducting a concert version of Puccini’s Turandot. dso.org
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DSO PERFORMANCE MAGAZINE 25
LEONARD SLATKIN, Music Director Laureate Music Directorship endowed by the Kresge Foundation
JEFF TYZIK
TERENCE BLANCHARD
Principal Pops Conductor
Fred A. and Barbara M. Erb Jazz Creative Director Chair
NEEME JÄRVI Music Director Emeritus
CLASSICAL SERIES RAVEL’S SHÉHÉRAZADE
Thursday, January 30, 2020 at 7:30 p.m. Friday, January 31, 2020 at 8 p.m. Saturday, February 1, 2020 at 8 p.m. at Orchestra Hall JAMES GAFFIGAN, conductor ISABEL LEONARD, mezzo-soprano
Wolfgang Amadeus Mozart Overture from Die Entführung aus dem Serail, (1756 - 1791) K. 384 (The Abduction from the Seraglio)
Maurice Ravel Shéhérazade (1875 - 1937) I. Asie (Asia) II. L a Flûte enchantée (The Enchanted Flute) III. L’Indifférent (The Indifferent One) Isabel Leonard, mezzo-soprano Intermission
Alex Temple Liebeslied (b. 1983) Isabel Leonard, mezzo-soprano
Robert Schumann Symphony No. 4 in D minor, Op. 120 (1810 - 1856) [1851 version] I. Ziemlich langsam - Lebhaft II. Romanze: Siemlich langsam III. Scherzo: Lebhaft IV. Langsam – Lebhaft This Classical Series performance is generously sponsored by
Sunday’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.
Thursday night’s recognition of America’s Veterans and Active Military is supported by
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Program Notes P R O G R A M AT- A - G L A N C E THE EXOTIC AND THE OTHER A trend now called Exoticism saw European artists draw inspiration from what they believed to be authentic characteristics of far-off lands. But often their ideas were shrouded in fantasy, stereotypes, and a conviction that far-off lands were full of “Others” who are wholly unlike Europeans. Mozart’s The Abduction from the Seraglio is based on a European story about the supposed mystique and barbarism of Turkey, and musically it features the “Oriental” sounds of cymbals and percussion. Similarly, Ravel’s Shéhérazade looks at Arabian folktales through a European lens, and Ravel saw no issue with the fact that he never visited the places whose cultures he was supposedly influenced by. On his first trip to Morocco in 1935, Ravel was told by his host that the beautiful surroundings would surely lead to more music inspired by North Africa. He supposedly responded that if he were to write something Arabian, “it would be much more Arabian than all this!” Alex Temple’s Liebeslied, which takes its name from a European song style, somewhat reverses the Othering process and distorts the love songs of the “Western” world beyond recognition. For American audiences, these songs that are “ours” no longer register as such – forcing us to rethink what “ours” really means.
Overture from Die Entführung aus dem Serail, K. 384 (The Abduction from the Seraglio) Composed 1781-82 | Premiered July 1782
WOLFGANG AMADEUS MOZART B. January 27, 1756, Salzburg, Austria D. December 5, 1791, Vienna, Austria
Scored for flute (doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, percussion, and strings. (Approx. 6 minutes)
T
he first opera Mozart composed after moving to Vienna, The Abduction from the Seraglio was chiefly intended to make a favorable impression on Emperor Joseph II and his court, as well as the discerning members of Vienna’s musical society. It was composed to a
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German text, using spoken dialogue between the arias. Its subject matter – a European girl, rescued by her lover from a Turkish harem – was designed to demean and ridicule the Turks at a time when the Austrian emperor would be hosting a visit by the Grand Duke of Russia. They were to discuss plans to carve up portions of the encroaching Ottoman Empire, which had pushed its borders a great distance through the Balkans. Because of repeated delays in the grand duke’s arrival in Vienna, however, Mozart had nearly a full year to work on the opera, from July 1781 to May 1782. In keeping with Austrian traditions in imitating what they thought to be Turkish music, the blustery opening theme has several outbursts involving extra percussion instruments – triangle, bass drum, and cymbals. However, traditions borrowed from Italian opera are
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observed in the three-part, fast-slowfast design of the overture. Once the opening theme has made its way to a strong cadence, it gives way to a minorkey preview of the opening aria in the opera, the hero Belmonte’s lament for his captive lover. After that, the so-called Turkish music returns. The DSO most recently performed the Overture to The Abduction from the Seraglio during the February 2017 Mozart Festival, conducted by Leonard Slatkin. The DSO first performed the piece in February 1925, conducted by Victor Kolar.
Shéhérazade Composed 1902 | Premiered May 1904
MAURICE RAVEL B. March 7, 1875, Ciboure, France D. December 28, 1937, Paris, France
Scored for solo soprano, 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, celeste, and strings. (Approx. 19 minutes)
S
cheherazade (usually spelled Shéhérazade in French) is the heroine and narrator of the classic Middle Eastern folktale anthology Arabian Nights. Music fans tend to know her as the titular character of a suite by Rimsky-Korsakov (later turned into a ballet) or a song cycle by Maurice Ravel. That song cycle – the present piece – is actually Ravel’s second take on Scheherazade as source material. His first, composed in 1898, is an overture for an opera that was never finished; it received lousy reviews at its premiere and was shelved. Four years after the
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first Shéhérazade Ravel wrote the second, a four-song cycle inspired by the poetry of Tristan Klingsor, which was itself inspired by Rimsky-Korsakov’s suite. Ravel and Klingsor were friends and members of an artists group called Les Apaches; when Klingsor read the poetry aloud at a gathering, Ravel immediately asked if he could set the words to music. Shéhérazade’s first movement, Asie, is the largest and most elaborate of the three. The soprano quickly sets the tone by repeating the word “Asie” (Asia) and giving a fantastic account of what the continent is supposedly like. The orchestra follows her descriptions, providing colorful impressions of assassins and the mysterious otherness of the continent. La Flûte enchantée begins, as one might expect, with a flute melody. The tune returns a few times throughout the work, growing more yearning as the piece progresses. At first the music seems to depict a peaceful scene of two lovers, then suddenly with the words “mais moi” (but me) the narrator shatters the calm. Voice and music turn despondent as an unhappy wife longs for her true lover far away. The last song, L’Indifférent, treats the topic of unrequited love with an almost calm acceptance. Melodies in the wind reflect a sort of resigned distance between two people. Unable to bear the strain, the narrator finally invites her beloved to “Entre!” (Enter!), but the orchestra replies with only a soft pluck – the man simply walks away. The voice is left alone, bare and exposed, and as the beloved disappears into the distance the orchestra swells to remind us of the narrator’s loneliness. The DSO most recently performed Ravel’s Shéhérazade in April 2015, WINTER 2019-2020
conducted by Leonard Slatkin and featuring mezzo-soprano Isabelle Druet. The DSO first performed the piece in April 1921, conducted by Ossip Gabrilowitsch and featuring soprano Estelle Liebling.
foreground, and allows it to deform the mid-century love song almost beyond recognition. —Alex Temple These performances of Alex Temple’s Liebeslied will be DSO premieres.
Liebeslied
Symphony No. 4 in D minor, Op. 120 [1851 version]
Composed 2011 | Premiered October 2011
ALEX TEMPLE
Orig. version composed and premiered 1841 | Rev. version composed 1851, premiered 1853
B. August 26, 1983
Scored for amplified voice, electronics, flute, oboe, clarinet, bassoon, horn, trumpet, trombone, tuba, percussion, harp, piano, and strings. (Approx. 8 minutes)
ROBERT SCHUMANN B. June 8, 1810, Zwickau, Germany D. July 29, 1856, Endenich, Bonn, Germany
The composer writes the following about the piece: he love songs of the 1940s and ’50s are pleasant and lighthearted on the surface, but a closer look often reveals a deeper strangeness. Songs like “I Only Have Eyes For You,” “Till There Was You,” “Laura,” and “Some Enchanted Evening” paint a very unsettling picture of romance if you take the surreal imagery in their lyrics literally. They describe people who are blinded to the physical world by the intensity of their love, or by the fact that they have not yet found someone to bring that world to life – people who are haunted for years by visions of lovers lost, or of people they glimpsed only once and have never even spoken to. The music is similarly surreal, with its excessive reverb, rhythmic dislocation, and dynamic imbalance between the voice and the orchestra, and stylized, emotionally detached spoken-word passages. But the genre’s dreamlike quality is always subtle, covert, audible only to those who are listening for it. Liebeslied brings it to the
T
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Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. (Approx. 29 minutes)
R
obert Schumann was a central figure in the development of musical Romanticism in Germany. His highly expressive compositional style is most often remembered through his countless musical miniatures: songs and short piano features, many with endearing melodies and vigorous rhythms. But he also composed larger works, including four symphonies. The present one – his last – is probably his most innovative, but it was also controversial in its day. The reaction to the December 1841 premiere was tepid, and Schumann binned the symphony for a decade before revising it in 1851. Both Schumann and his wife Clara greatly preferred the 1851 version (and so did audiences, apparently, as it had a very successful premiere), but composer Johannes Brahms was attached to the 1841 version – so much so that he
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managed, against Clara’s wishes, to have it published. The differences between the two versions are mostly in the orchestration. Those in the pro-1841 camp argue that the doubling of parts in the 1851 version makes the piece sound thick and gray; 1851 fans enjoy the later version’s stately, heavy spirit. But in both versions, the glory of the Symphony No. 4 lies in its advanced structural design. Schumann attempted to link all four movements into a continuous work, unifying them by carrying themes from one movement over into the next. Many of the themes, especially in the first, second, and fourth movements, derive from a descending six-note thematic idea heard in the slow introduction at the very beginning of the symphony. In addition, the decorative violin solo heard at the center of the
slow movement is transformed and restated during the Trio section of the third movement. In its expressive character, the symphony rises from a mood of sober reflection at the outset to a sense of joyous triumph during the thrilling brassy coda at the end of the fourth movement. This exuberant mood, which was the hallmark of Schumann’s creative spirit during his youth, was happily retained during his final years. —Carl Cunningham The DSO most recently performed Schumann’s Symphony No. 4 on the William Davidson Neighborhood Concert Series in June 2019, conducted by Ankush Kumar Bahl. The DSO first performed the piece in January 1917, conducted by Weston Gales.
PARK AT THE MAX! Safe, secure, affordable parking is available at the DSO structure on Parsons Street every day, even non-concert days. On foot or on the QLine, enjoy easy access to Midtown Detroit, Little Caesars Arena, Comerica Park, Ford Field, restaurants, museums, and more!
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Profiles JAMES GAFFIGAN
ISABEL LEONARD
J
ames Gaffigan is chief conductor of the Lucerne Symphony Orchestra and principal guest conductor of the Netherlands Radio Philharmonic Orchestra, and he recently concluded his tenure as principal guest conductor of the Gurzenich Orchestra in Cologne. Earlier in his career he served as associate conductor of the San Francisco Symphony and assistant conductor of The Cleveland Orchestra. In addition to these titled positions, Gaffigan is in high demand to work with the leading orchestras and opera houses throughout North America, Europe, and Asia. In the United States, Gaffigan has guest conducted the Cleveland, Philadelphia and Minnesota Orchestras, the New York Philharmonic, and the Pittsburgh, St. Louis, National, Dallas, Cincinnati, Atlanta, Baltimore, and Milwaukee symphonies, among others. Gaffigan’s international career was launched when he was named a first prize winner at the 2004 Sir Georg Solti International Conducting Competition in Frankfurt, Germany. Born in New York City in 1979, Gaffigan attended the New England Conservatory of Music and the Shepherd School of Music at Rice University in Houston. MOST RECENT APPEARANCE
WITH THE DSO: January 2018, conducting a program of Liszt and Wagner and the world premiere of Britta Byström’s Many, Yet One
I
sabel Leonard is a Grammy Awardwinning American soprano who thrills audiences in the opera house and on the concert stage. She has appeared at the Vienna State Opera, Carnegie Hall, Glyndebourne Festival, Teatro Comunale di Bologna, and Aix-en-Provence Festival, among many others. Opera highlights include Rosina in Il barbiere di Siviglia, Angelina in La Cenerentola, Cherubino in Le nozze di Figaro, Dorabella in Così fan tutte, Charlotte in Werther, Blanche de la Force in Dialogues des Carmélites, Costanza in Griselda, and the title roles in La Périchole and Der Rosenkavalier. Leonard has had the great fortune of working with eminent conductors including Valery Gergiev, Seiji Ozawa, Antonio Pappano, Gustavo Dudamel, Esa-Pekka Salonen, Yannick Nézét-Seguin, Franz Welser-Möst, Edo de Waart, Marin Alsop, Sir Andrew Davis, and Michael Tilson Thomas. Leonard has won multiple Grammy Awards, most recently for Ravel’s Les sortilèges on Decca (2016) and The Tempest from The Metropolitan Opera on Deutsche Grammophon (2014). She has also appeared in film and on television. Leonard is the recipient of the Richard Tucker Award and is a proud supporter of the Prostate Cancer Foundation in honor of her late father, who died from the disease. T hese performances mark Isabel
Leonard’s DSO debut
FIRST APPEARANCE WITH THE
DSO: April 2010, conducting a program of Barber, Mozart, and Brahms dso.org
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DSO PERFORMANCE MAGAZINE 31
Text & Translations Maurice Ravel
Shéhérazade I. Asie (Asia) Asie, Asie, Asie, Vieux pays merveilleux des contes de nourrice Où dort la fantaisie comme une impératrice, En sa forêt tout emplie de mystère. Asie, je voudrais m’en aller avec la goëlette Qui se berce ce soir dans le port Mystérieuse et solitaire, Et qui déploie enfin ses voiles violettes Comme un immense oiseau de nuit dans le ciel d’or. Je voudrais m’en aller vers des îles de fleurs, En écoutant chanter la mer perverse Sur un vieux rythme ensorceleur. Je voudrais voir Damas et les villes de Perse Avec les minarets légers dans l’air. Je voudrais voir de beaux turbans de soie Sur des visages noirs aux dents claires; Je voudrais voir des yeux sombres d’amour Et des prunelles brillantes de joie En des peaux jaunes comme des oranges; Je voudrais voir des vêtements de velours Et des habits à longues franges. Je voudrais voir des calumets entre des bouches Tout entourées de barbe blanche; Je voudrais voir d’âpres marchands aux regards louches, Et des cadis, et des vizirs Qui du seul mouvement de leur doigt qui se penche Accordent vie ou mort au gré de leur désir. Je voudrais voir la Perse, et l’Inde, et puis la Chine, Les mandarins ventrus sous les ombrelles, Et les princesses aux mains fines, Et les lettrés qui se querellent Sur la poésie et sur la beauté; Je voudrais m’attarder au palais enchanté Et comme un voyageur étranger Contempler à loisir des paysages peints Sur des étoffes en des cadres de sapin, Avec un personnage au milieu d’un verger; Je voudrais voir des assassins souriants Du bourreau qui coupe un cou d’innocent Avec son grand sabre courbé d’Orient. 32
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Asia, Asia, Asia! Ancient, wonderful land of nursery stories Where fantasy sleeps like an empress, In her forest filled with mystery. Asia, I want to sail away on the schooner That rides in the harbor this evening Mysterious and solitary, And finally unfurls purple sails Like a vast nocturnal bird in the golden sky. I want to sail away to the islands of flowers, Listening to the perverse sea singing To an old bewitching rhythm. I want to see Damascus and the cities of Persia With their slender minarets in the air. I want to see beautiful turbans of silk Over dark faces with gleaming teeth; I want to see dark amorous eyes And pupils sparkling with joy In skins as yellow as oranges; I want to see velvet cloaks And robes with long fringes. I want to see long pipes in lips Fringed round by white beards; I want to see crafty merchants with suspicious glances, And cadis and viziers Who with one movement of their bending finger Decree life or death, at whim. I want to see Persia, and India, and then China, Pot-bellied mandarins under their umbrellas, Princesses with delicate hands, And scholars arguing About poetry and beauty; I want to linger in the enchanted palace And like a foreign traveler Contemplate at leisure landscapes painted On cloth in pinewood frames, With a figure in the middle of an orchard; I want to see murderers smiling While the executioner cuts off an innocent head With his great curved Oriental sabre. WINTER 2019-2020
Je voudrais voir des pauvres et des reines; Je voudrais voir des roses et du sang; Je voudrais voir mourir d’amour ou bien de haine. Et puis m’en revenir plus tard Narrer mon aventure aux curieux de rêves En élevant comme Sindbad ma vieille tasse arabe De temps en temps jusqu’à mes lèvres Pour interrompre le conte avec art…
I want to see paupers and queens; I want to see roses and blood; I want to see those who die for love or, better, for hatred. And then to return home later To tell my adventure to people interested in dreams Raising – like Sinbad – my old Arab cup From time to time to my lips To interrupt the narrative artfully…
II. La Flûte enchantée (The Enchanted Flute) L’ombre est douce et mon maître dort Coiffé d’un bonnet conique de soie Et son long nez jaune en sa barbe blanche. Mais moi, je suis éveillée encore Et j’écoute au dehors Une chanson de flûte où s’épanche Tour à tour la tristesse ou la joie. Un air tour à tour langoureux ou frivole Que mon amoureux chéri joue, Et quand je m’approche de la croisée Il me semble que chaque note s’envole De la flûte vers ma joue Comme un mystérieux baiser.
The shade is pleasant and my master sleeps In his conical silk hat With his long, yellow nose in his white beard. But I am still awake And from outside I listen to A flute song, pouring out By turns, sadness and joy. A tune by turns languorous and carefree Which my dear lover is playing, And when I approach the lattice window It seems to me that each note flies From the flute to my cheek Like a mysterious kiss.
III. L’Indifférent (The Indifferent One) Tes yeux sont doux comme ceux d’une fille, Jeune étranger, Et la courbe fine De ton beau visage de duvet ombragé Est plus séduisante encore de ligne. Ta lèvre chante sur le pas de ma porte Une langue inconnue et charmante Comme une musique fausse… Entre! Et que mon vin te réconforte… Mais non, tu passes Et de mon seuil je te vois t’éloigner Me faisant un dernier geste avec grâce, Et la hanche légèrement ployée Par ta démarche féminine et lasse… dso.org
Your eyes are soft as those of any girl, Young stranger, And the delicate curve Of your fine features, shadowed with down Is still more seductive in profile. On my doorstep your lips sing A language unknown and charming Like music out of tune… Enter! And let my wine comfort you… But no, you pass by And from my doorway I watch you go on your way Giving me a graceful farewell wave, And your hips gently sway In your feminine and languid gait… #IAMDSO
DSO PERFORMANCE MAGAZINE 33
LEONARD SLATKIN, Music Director Laureate Music Directorship endowed by the Kresge Foundation
JEFF TYZIK
TERENCE BLANCHARD
Principal Pops Conductor
NEEME JÄRVI Music Director Emeritus
Fred A. and Barbara M. Erb Jazz Creative Director Chair
TITLE SPONSOR:
POSITIVELY PIANO Sunday, February 2, 2020 at 3 p.m. at Orchestra Hall CONSTANTINE KITSOPOULOS, conductor KEVIN COLE, piano and vocals
Program to be announced from the stage
Presented by
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Profiles CONSTANTINE KITSOPOULOS
C
KEVIN COLE
onstantine Kitsopoulos currently serves as music director of the Festival of the Arts Boca and as general director of Chatham Opera. He is also general director of the New York Grand Opera and is working to bring opera, free and open to the public, back to New York’s Central Park. Kitsopoulous is equally at home on the opera, symphony, and musical theater stages, and he is a regular conductor of film concerts with live music. Kitsopoulos has developed semistaged productions of Mozart’s The Magic Flute, for which he has written a new translation, Don Giovanni, and La Bohème. On Broadway, he has been music director of Rodgers & Hammerstein’s Cinderella, The Gershwins’ Porgy and Bess, A Catered Affair, Coram Boy, Baz Luhrmann’s Production of Puccini’s La Bohème, Swan Lake, and Les Misérables. Kitsopoulos studied piano with Marienka Michna, Chandler Gregg, Edward Edson, and Sophia Rosoff. He studied conducting with Semyon Bychkov, Sergiu Commissiona, Gustav Meier, and his principal teacher Vincent La Selva.
K
evin Cole is an award-winning pianist, musical director, arranger, composer, vocalist, and archivist whose repertoire includes the best of American music – with a particular affinity for the work of George Gershwin. In addition to performing with the DSO, Cole appears with the Orchestre National Radio France, Utah Symphony Orchestra, and Chicago Symphony Orchestra (at Ravinia) this season. He has performed with top orchestras around the world and recently collaborated with artists like Sylvia McNair, Dawn Upshaw, Brian d’Arcy James, John Lithgow, and many others. Cole has recently served as a musical director for productions at Pasadena Play House, Michigan Ensemble Theatre, the San Francisco Shakespeare Festival, and Chicago’s Royal George Theatre. His 1995 disc Gershwin’s Oh, Kay! won Gramophone Musical Album of the Year; he has also released the solo piano recording Cole Plays Gershwin and the jazz combo album In The Words of Ira – The Songs of Ira Gershwin. T hese performances mark Kevin
Cole’s DSO debut
M OST RECENT APPEARANCE
WITH THE DSO: December 2019, conducting the DSO Presents performance Home Alone with the DSO F IRST APPEARANCE WITH THE
DSO: November 2006, conducting the DSO Presents performance The Wizard of Oz
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DSO PERFORMANCE MAGAZINE 35
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DSO PERFORMANCE MAGAZINE 37
THE ANNUAL FUND
Gifts received between September 1, 2018 and October 31, 2019 The DSO is a community-supported orchestra, meaning you can play your part through frequent ticket purchases, event support, 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 to make a donation, please contact 313.576.5114 or go to dso.org/donate.
Paray Society — Giving of $250,000 and more Mr. & Mrs. Lee Barthel Penny & Harold Blumenstein Julie & Peter Cummings Mr. & Mrs. Stanley Frankel 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
Dorati Society — Giving of $100,000 and more Mr. & Mrs. Richard L. Alonzo James & Patricia Anderson Applebaum Family Philanthropy Mr. & Mrs. Raymond M. Cracchiolo Ms. Leslie C. Devereaux Mr. & Mrs. Phillip Wm. Fisher Emory M. Ford, Jr.◊ Endowment
David & Valerie McCammon Shari & Craig Morgan The Polk Family Bernard & Eleanor Robertson Martie & Bob Sachs Cindy & Leonard* Slatkin Joanne Danto & Arnold Weingarden
Ehrling Society — Giving of $50,000 and more Mr. & Mrs. Richard A. Brodie Lois & Avern Cohn Marvin & Betty Danto Family Foundation Mary Ann & Robert Gorlin Mr. & Mrs. James Grosfeld Mrs. Bonnie Larson
Mr. & Mrs. Matthew Lester Mr. & Mrs. Eugene A. Miller The Clyde & Helen Wu Family Drs. David & Bernadine Wu Paul & Terese Zlotoff
Järvi Society — Giving of $25,000 and more Ms. Sharon Backstrom W. Harold & Chacona W. Baugh Mrs. Cecilia Benner Madeline & Sidney Forbes Mr. & Mrs. Edsel B. Ford II Mrs. Martha Ford Barbara Frankel & Ronald Michalak Herman & Sharon Frankel Mr. & Mrs. Aaron Frankel Mr. & Mrs. Ralph J. Gerson Ronald M. & Carol◊ Horwitz Richard H. & Carola Huttenlocher Betsy & Joel Kellman 38
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Bud & Nancy Liebler Mr. & Mrs. David Provost Maurcine & Lloyd Reuss Nancy Schlichting & Pamela Theisen Mr. & Mrs.◊ Alan E. Schwartz Mrs. Patricia Finnegan Sharf Mr. & Mrs. Larry Sherman Mr. & Mrs.◊ Donald R. Simon Dr. Doris Tong & Dr. Teck M. Soo Mr. & Mrs. Arn Tellem Mr. & Mrs. Gary Torgow Mr. James G. Vella And one who wishes to remain anonymous ◊
Deceased
WINTER 2019-2020
Gabrilowitsch Society — Giving of $10,000 and more Mr. & Mrs. Robert A. Allesee Mr. & Mrs. Norman Ankers Pamela Applebaum Drs. John & Janice Bernick John & Marlene Boll Gwen & Richard Bowlby Mr. & Mrs. Stephen Brownell Michael & Geraldine Buckles Margie Dunn & Mark Davidoff Eugene & Elaine C. Driker Mr. Sanford Hansell & Dr. Raina Ernstoff Mr. Peter Falzon Jim & Margo Farber Barbara & Alfred J. Fisher Dr. Marjorie M. Fisher & Mr. Roy Furman Mr. Michael J. Fisher Mr. & Mrs. Samuel Fogleman Dr. Saul & Mrs. Helen Forman Dale & Bruce Frankel Mr. & Mrs. Eugene A. Gargaro, Jr. Byron◊ & Dorothy Gerson Allan D. Gilmour & Eric C. Jirgens Mrs. Gale Girolami Dr. Kenneth & Roslyne Gitlin Dr. Robert T. Goldman Allen C. Goodman & Janet R. Hankin Dr. Herman & Mrs. Shirley Gray Judy & Kenneth Hale
Charlene Handleman Ms. Nancy B. Henk Dr. Gloria Heppner Michael E. Hinsky & Tyrus N. Curtis Mr. & Mrs. Norman H. Hofley Jack◊ & Anne Hommes Renato & Elizabeth Jamett Mr. & Mrs. Richard J. Jessup William & Story John Lenard & Connie Johnston Faye & Austin Kanter Mr. & Mrs. Norman◊ D. Katz Morgan & Danny Kaufman Mike & Katy Keegan Dr. David & Mrs. Elizabeth Kessel Marguerite & David Lentz Dr. Melvin A. Lester Mr. & Mrs.◊ Joseph Lile The Locniskar Group Stevens McClure Family Alexander & Evelyn McKeen Ms. Deborah Miesel Mr. & Mrs. Robert S. Miller Dr. Robert & Dr. Mary Mobley Cyril Moscow Xavier & Maeva Mosquet Geoffrey S. Nathan & Margaret E. Winters Mr. & Mrs. Albert T. Nelson, Jr.
Mrs. Denise Abrash Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Mrs. Jean Azar Dr. David Balle Mr. & Mrs. David Barnes Rud◊ & Mary Ellen Boucher Claire P. & Robert N. Brown Mr. & Mrs. Marco Bruzzano Philip & Carol Campbell Mr. & Mrs. Francois Castaing Mr. & Mrs. Andrew Christians Dr. & Mrs. Charles G. Colombo Mr. James Schwyn & Mrs. Françoise Colpron Thomas W. Cook & Marie L. Masters Mr. & Mrs. Gary L. Cowger Mr. & Mrs. Richard L. DeVore Adel & Walter Dissett Edwin & Rosemarie Dyer Mr. Lawrence Ellenbogen Marianne T. Endicott Mr. & Mrs. John M. Erb Mr. & Mrs.◊ Anthony C. Fielek Mrs. Janet M. Garrett Dr. & Mrs. Theodore Golden Goodman Family Charitable Trust
Mr.◊ & Mrs. James A. Green Mr. & Mrs. Robert Hage Mr. Lee V. Hart & Mr. Charles L. Dunlap Ms. Doreen Hermelin Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. George Hill & Mrs. Kathleen Talbert-Hill Mr. Donald & Marcia Hiruo Mr. & Mrs. Peter Hollinshead Mr. Matthew Howell & Mrs. Julie Wagner Mr. & Mrs. A. E. Igleheart Ms. Carole Ilitch Mr. George G. Johnson Judy & David Karp Michael E. Smerza & Nancy Keppelman Samantha Svoboda & Bill Kishler Barbara & Michael Kratchman Mr. & Mrs. Harold Kulish John & Marilyn Kunz Dr. Raymond Landes & Dr. Melissa McBrien-Landes Mr. Daniel Lewis Bob & Terri Lutz Patricia A.◊ & Patrick G. McKeever Dr. & Mrs. David Mendelson John & Marcia Miller
Jim & Mary Beth Nicholson Patricia & Henry Nickol Mr. & Mrs. Stanley Nycek Anne Parsons* & Donald Dietz Kathryn & Roger Penske Mr. & Mrs. Bruce D. Peterson Dr. Glenda D. Price Ms. Ruth Rattner Dr. Erik Rönmark* & Mrs. Adrienne Rönmark* Peggy & Dr. Mark B. Saffer Elaine & Michael Serling Lois & Mark Shaevsky Mr. & Mrs. James H. Sherman William H. Smith John J. Solecki Richard Sonenklar & Gregory Haynes Mr. William Waak Mr.◊ & Mrs. Jonathan T. Walton Mr. Gary L. Wasserman & Mr. Charlie Kashner S. Evan & Gwen Weiner Mr. & Mrs. R. Jamison Williams Ms. Mary Wilson And two who wish to remain anonymous
Giving of $5,000 and more
dso.org
*Current DSO Musician or Staff
Eugene & Sheila Mondry Foundation Mr. & Mrs. Daniel E. Moore Joy & Allan Nachman David Robert & Sylvia Jean Nelson Mr. & Mrs. Eric Nemeth Mr. & Mrs. Arthur T. O’Reilly Debra & Richard Partrich Ms. Lisa A. Payne Barbara Gage Rex Dr. & Mrs. John Roberts Mr. & Mrs. Robert B. Rosowski Mr. David Salisbury & Mrs. Terese Ireland Salisbury Marjorie & Saul Saulson Mr. & Mrs. Kingsley G. Sears Nancy & Sam Shamie Mrs. Sharon Shumaker Mrs. Kathleen Straus & Mr. Walter Shapero Alice & Paul Tomboulian Mr. & Mrs. Thomas Trudeau Ms. Marie Vanerian Peter & Carol Walters J Ernest & Almena Gray Wilde Fund Dr. & Mrs. Ned Winkelman Ms. June Wu Milton Y. Zussman And one who wishes to remain anonymous
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Deceased
DSO PERFORMANCE MAGAZINE 39
Giving of $2,500 & more Howard Abrams & Nina Dodge Abrams Mrs. Jennifer Adderley Mr. & Mrs. George Agnello Dr. Roger & Mrs. Rosette Ajluni Mr. & Mrs. Robert L. Anthony Drs. Kwabena & Jacqueline Appiah Dr. & Mrs. Ali-Reza R. Armin Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook* Pauline Averbach & Charles Peacock Mr. Joseph Aviv & Mrs. Linda Wasserman Mr. & Mrs. John Axe Mr. & Mrs. Wayne J. Babbish Dr. & Dr. Brian Bachynski Ms. Ruth Baidas Nora & Guy Barron Mr. Mark G. Bartnik & Ms. Sandra J. Collins Mr. & Mrs. Martin S. Baum Mr. & Mrs. Richard Beaubien Dr. & Mrs. Brian J. Beck Ms. Margaret Beck Ms. Therese Bellaimey Mr. & Mrs. Dennis Bernard Mr. & Mrs. Jeffrey A. Berner Martha & G. Peter Blom Dr. George & Joyce Blum Nancy & Lawrence Bluth Mr. Timothy Bogan Ms. Nadia Boreiko The Honorable Susan D. Borman & Mr. Stuart Michaelson Mr. Paul & Mrs. Lisa Brandt Mr. Anthony F. Brinkman Mr. & Mrs. Mark R. Buchanan Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Dr. & Mrs. Roger C. Byrd Mr. & Mrs. Brian C. Campbell Mrs. Carolyn Carr Dr. & Mrs. Thomas E. Carson Ronald & Lynda Charfoos Mr. Fred J. Chynchuk Mr. & Mrs. James Ciroli Mr. Don Clapham Mr. & Mrs. Robert W. Clark Nina & Richard Cohan Jack, Evelyn & Richard Cole Family Foundation Ms. Elizabeth Correa Patricia & William Cosgrove, Sr. Mrs. Barbara Cunningham Mr. & Mrs. Donald M. Cutler Dr. Edward & Mrs. Jamie Dabrowski 40
Suzanne Dalton & Clyde Foles Maureen & Jerry D’Avanzo Barbara A. David Lillian & Walter Dean Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Diana & Mark Domin Paul◊ & Peggy Dufault Mr. Roger Dye & Ms. Jeanne A. Bakale Dr. Leo & Mrs. Mira Eisenberg Dr. & Mrs. A. Bradley Eisenbrey Randall & Jill* Elder Ms. Laurie Ellis & Mr. James Murphy Donald & Marjory Epstein Mr. Drew Esslinger & Mr. Chris Syzmanski Dave & Sandy Eyl Ellie Farber & Mitch Barnett Mr. & Mrs. Oscar Feldman Mr. & Mrs. William Fetterman Hon. Sharon Tevis Finch Ron Fischer ◊ and Kyoko Kashiwagi Mark & Loree Frank Kit & Dan Frohardt-Lane Mr. & Mrs. Richard M. Gabrys Alan M. Gallatin Mr. George Georges Stephanie Germack Keith & Eileen Gifford Mr. Lawrence Glowczewski Steven Goldberg & Melissa Kahn Paul & Barbara Goodman Dr. William & Mrs. Antoinette Govier Ms. Jacqueline Graham Mr. Luke Ponder & Dr. Darla Granger Dr. & Mrs. Joe L. Greene Tina Harmon Mrs. Betty J. Harrell Cheryl A. Harvey Gerhardt A. Hein & Rebecca P. Hein Jeremiah* & Brooke Hess James Hoogstra & Clark Heath Mr. F. Robert Hozian Mr. & Mrs. Joseph L. Hudson, Jr. Mr. & Mrs. Marshall L. Hutchinson Ms. Elizabeth Ingraham Nicki* & Brian Inman Carolyn & Howard Iwrey Mr. & Mrs. Ira J. Jaffe Mr. Arthur Johns Mr. John S. Johns Mr. & Mrs. Paul Johnson Carol & Rick Johnston Paul & Marietta Joliat Mr. & Mrs. Michael Jones Mr. & Mrs. John Jullens
DSO PERFORMANCE MAGAZINE
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Deceased
Grace Kachaturof Diane & John Kaplan June K. Kendall Mrs. Frances King Mr. James Kirby Thomas & Linda Klein Tom & Beverly Klimko Mr. & Mrs. Ludvik F. Koci Mr. & Mrs. Robert Koffron Ms. Margot Kohler & Michael Froehlich Mr. David Kolodziej Ms. Susan Konop Mr. James Kors & Ms. Victoria King* George M. Krappmann* & Lynda Burbary-Krappmann Richard & Sally Krugel Dr. Arnold Kummerow Mr. & Mrs. Robert LaBelle Mary Clippert LaMont Drs. Lisa & Scott Langenburg Ms. Sandra Lapadot Ms. Anne T. Larin Dr. Lawrence O. Larson The Dolores & Paul Lavins Foundation Allan S. Leonard Max Lepler & Rex L. Dotson Mr. & Mrs. Ralph LeRoy, Jr. Mr. Charles E. Letts Mr. & Mrs. Robert K. Leverenz Barbara & Carl Levin Drs. Donald & Diane Levine Arlene & John Lewis Ms. Carol Litka Daniel & Linda* Lutz Mrs. Sandra MacLeod Cis Maisel Margaret Makulski & James Bannan Mr. & Mrs. Charles W. Manke, Jr. Mervyn & Elaine Manning Ms. Florine Mark Mr. & Mrs. Thomas Mark Maurice Marshall Dr. & Mrs. Richard Martella Dr. & Mrs. Peter M. McCann, M.D. Mr. Edward McClew Mr. Anthony R. McCree Mr. & Mrs. Alonzo McDonald Mr. John McFadden Ms. Mary McGough Ms. Camille McLeod Brian & Lisa Meer Dr. & Mrs. Donald A. Meier Olga Sutaruk Meyer Bruce & Mary Miller Mr. & Mrs. Randall Miller J.J. & Liz Modell WINTER 2019-2020
Dr. Susan & Mr. Stephen* Molina Lawrence Morawski Ms. A. Anne Moroun Mr. Frederick Morsches & Mr. Kareem George Ms. I. Surayyah R. Muwwakkil Mariam C. Noland & James A. Kelly Katherine & Bruce Nyberg Ellen & Larry Oshkaloff Mrs. Margot Parker Noel & Patricia Peterson Mr. & Mrs. Philip E. Pfahlert Mr. Dave Phipps Ms. Janet Pounds William H. & Wendy W. Powers Charlene & Michael Prysak Mr. & Mrs. Nicolas I. Quintana Dr. & Mrs. Morton Raban Jill M.* & Michael J. Rafferty Drs. Stuart & Hilary Ratner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Mr. & Mrs. Dave Redfield Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Denise Reske Ms. Linda Rodney Seth & Laura Romine Michael & Susan Rontal Mr. James Rose Mr.◊ & Mrs. Gerald F. Ross Mr. Ronald Ross & Ms. Alice Brody
Mr. R. Desmond Rowan Jane & Curt Russell Mr. & Mrs. James P. Ryan Linda & Leonard Sahn Dr. & Mrs. Hershel Sandberg Ms. Martha A. Scharchburg & Mr. Bruce Beyer Dr. Sandy Koltonow & Dr. Mary Schlaff Shirley Anne & Alan Schlang David & Carol Schoch Catherine & Dennis B. Schultz Sandy & Alan Schwartz Ms. Sandra Seligman Shapero Foundation Mr. Konstantin Shirokinsky Dr. Les & Ellen Lesser Siegel Mr. Norman Silk & Mr. Dale Morgan William & Cherie Sirois Dr. Cathryn & Mr. Daniel Skedel Mr. Michael J. Smith & Mrs. Mary C. Williams Dr. Gregory Stephens Barb & Clint Stimpson Nancy C. Stocking Dr. & Mrs. Gerald Stollman Dr. & Mrs. Choichi Sugawa Mr. & Mrs. John Stroh III Ms. Laurie Szczesny David Szymborski & Marilyn Sicklesteel Dr. Neil Talon Joel & Shelley Tauber
Dr. & Mrs. Howard Terebelo Mr. & Mrs. Douglas J. Thompson Mr. Norman Thorpe Mr. & Mrs. James W. Throop Mr. & Mrs. John P. Tierney Dr. Barry Tigay Mr. and Mrs. Paul Tobias Barbara & Stuart Trager Mark & Janice Uhlig Amanda Van Dusen & Curtis Blessing Charles & Sally Van Dusen Ms. Charlotte Varzi Mrs. Eva Von Voss Dr. & Mrs. Ronald W. Wadle Captain Joseph F. Walsh, USN (Ret.) Mr. Michael A. Walch & Ms. Joyce Keller Mr. Patrick Webster Mr. Herman Weinreich Ms. Anne Wilczak Beverly & Barry Williams Dr. M. Roy & Mrs. Jacqueline Wilson Rissa & Sheldon Winkelman Mr. Jonathan Wolman ◊ & Mrs. Deborah Lamm Cathy Cromer Wood Ms. Andrea L. Wulf Dr. Sandra & Mr. D. Johnny Yee Lucia Zamorano, M.D., PLC Mr. & Mrs. Alan Zekelman Mr. Peter Zubrin And six who wish to remain anonymous
Giving of $1,500 & more Dr. & Mrs. Gary S. Assarian Mr. & Mrs. Stephen A. Bromberg Dr. & Mrs. Glenn B. Carpenter Dr.◊ & Mrs. Ivan Louis Cotman Ms. Beatrice D’Ambrosio Mrs. Kathryne Dahl Ms. Joyce Delamarter Gordon & Elaine Didier Mr. & Mrs. Walter E. Douglas Mr. Howard O. Emorey Mrs. Janice Erichsen Mr. & Mrs. Robert W. Gillette Mr. Joseph & Mrs. Lois Gilmore Mr. & Mrs. Saul Green Anne & Eugene Greenstein Ms. Barbara Heiler Mr. & Mrs. Paul Hillegonds Ms. Nadine Jakobowski Dr. Jean Kegler Frederic◊ & Stephanie Keywell Ms. Ida King Dr. & Mrs. Edward L. Klarman Aileen & Harvey Kleiman
dso.org
Tom & Beverly Klimko Ms. Sylvia Kojima Miss Kathryn Korns Mr. & Mrs. Kosch Mr. & Mrs. William Kroger, Jr. Mr. Michael Kuhne Mr. Lawrence Larson Mr. & Mrs. Paul Lieberman Mr. William Lynch Ms. June G. Mackeil Mr. Robert L. Martin Mr. & Mrs. Joseph Mazzeo Ms. Rebecca McCabe Ms. Florence Morris Ms. Muriel Moskowitz Mr. & Mrs. Germano Mularoni Mrs. Ruth Nix Mr. Ronald Puchalski Drs. Renato & Daisy Ramos Mr. and Mrs. Richard Rappleye Mr. & Mrs. Richard Rapson Mrs. Hope Raymond Mr. & Mrs. John Rieckhoff
*Current DSO Musician or Staff
#IAMDSO
Mr. Paul Robertson & Mrs. Cheryl Robertson Mr. & Mrs. Hugh C. Ross Mr. & Mrs. George Roumell Nancy J. Salden Ms. Joyce E. Scafe Mr. and Mrs. Donald and Janet Schenk Dr. Richard Schwartz Mr. and Mrs. Fred Secrest ◊ Mr. Steve Secrest Robert A. Sedler Cynthia Shaw & Tom Kirvan Mr. Lawrence Shoffner Mr. Mark Sims & Ms. Elaine Fieldman Shirley R. Stancato Mr. & Mrs. Charles Tholen David & Lila Tirsell Dennis & Jennifer Varian Mr. Barry Webster Mr. & Mrs. Lawrence Weisberg Ms. Janet Weir Mr. Richard D. Zimmerman And five who wish to remain anonymous ◊
Deceased
DSO PERFORMANCE MAGAZINE 41
CORPORATE, FOUNDATION, AND GOVERNMENT GIVING Giving of $500,000 & more SAMUEL & JEAN FRANKEL FOUNDATION
Giving of $200,000 & more
p pere
4 color - 65% black spot color - pantone cool gray 9C
RALPH C. WILSON JR. FOUNDATION
sec
Giving of $100,000 & more
secondary - for use on dark backg
APPLEBAUM FAMILY PHILANTHROPY
THE PAUL M. ANGELL FAMILY FOUNDATION
2014 GM Design Corporate ID & Graphics
THE RICHARD C. DEVEREAUX FOUNDATION
HUDSON-WEBBER FOUNDATION
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Giving of $50,000 & more Marvin & Betty Danto Family Foundation League of American Orchestras Edward C. & Linda Dresner Levy Foundation Richard & Jane Manoogian Foundation Wico Metal Products Matilda R. Wilson Fund National Endowment for the Arts TCF Bank Wells Fargo Advisors
Giving of $20,000 & more American House Senior Living Communities Blue Star Catering Clinton Family Fund DeRoy Testamentary Foundation Edibles Rex Flagstar Foundation Eleanor & Edsel Ford Fund
Henry Ford II Fund MGM Grand Detroit Myron P. Leven Foundation Sun Communities Inc. Virginia B. Toulmin Foundation Varnum LLP Wolverine Packing Company
Giving of $10,000 & more
Giving of $1,000 & more
Beaumont Health Butzel Long Creative Benefit Solutions, LLC Denso International America, Inc. Maxine & Stuart Frankel Foundation Honigman LLP Jaffe, Raitt, Heuer & Weiss KPMG LLP Oliver Dewey Marcks Foundation Laskaris-Jamett Advisors of Raymond James Macy’s Mandell and Madeleine Berman Foundation Mary Thompson Foundation Stone Foundation of Michigan
Canon Solutions America Coffee Express Roasting Company Frank & Gertrude Dunlap Foundation EY Clarence & Jack Himmel Fund James & Lynelle Holden Fund Japan Business Society of Detroit Foundation Josephine Kleiner Foundation Lakeside Opthamology Center Ludwig Foundation Fund Madison Electric Company Michigan First Credit Union Plante & Moran, PLLC PSLZ, LLP Meyer & Anna Prentis Family Foundation Redford Lock Security Solutions The Loraine & Melinese Reuter Foundation Save Our Symphony Louis & Nellie Sieg Foundation The TUKTAWA Foundation Samuel L. Westerman Foundation Wheeler Family Foundation, Inc. And one who wishes to remain anonymous
Giving of $5,000 & more The Aaron Copland Fund For Music, Inc. Aptiv Foundation The Boston Consulting Group Benson & Edith Ford Fund Founders Brewing Co. Les Stanford Cadillac Marjorie & Maxwell Jospey Foundation Michigan Ear Institute Resendes Design Group, LLC Rocket Fiber Sigmund & Sophie Rohlik Foundation Schaerer Architextural Interiors Warner Norcross & Judd LLP
dso.org
#IAMDSO
DSO PERFORMANCE MAGAZINE 43
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. For more information or to join the PG Council, please call 313.576.5114.
Linda Wasserman, Chair Mrs. Katana H. Abbott* Mr. Joseph Aviv Mr. Christopher A. 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 R. Hollinshead, CFA Mr. Mark W. Jannott, CTFA
Ms. Jennifer A. 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* Ms. Marguerite Munson Lentz* J. Thomas MacFarlane Mr. Christopher M. Mann* Mr. Curtis J. Mann
Mrs. Mary Mansfield Mr. Mark Neithercut* Mrs. Alice R. Pfahlert Mr. Steven C. 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 Mrs. Wendy Zimmer Cox*
*Executive Committee Member
Share the music of the DSO with future generations INCLUDE THE DSO AS A BENEFICIARY IN YOUR WILL Remembering the DSO in your estate plans will support the sustainability and longevity of our Orchestra, so that tomorrow’s audience will continue to be inspired through unsurpassed musical experiences. If you value the role of the DSO – in your life and in our community – please consider making a gift through your will, trust, life insurance or other deferred gift. As a member, you will be invited to our annual 1887 Society High Tea Luncheon on Friday, June 12, 2020, recognized in Performance magazine, and receive a host of other benefits.
To learn more please call Alexander Kapordelis at 313.576.5198 or email akapordelis@dso.org
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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. If you have arranged a planned gift to support the DSO or would like more information on planned giving, please call 313.576.5114. 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 Ms. Sharon Backstrom Sally & Donald Baker Mr. & Mrs. Lee Barthel Mr. Mark G. Bartnik & Ms. Sandra J. Collins Mary Beattie ◊ Stanley A. Beattie Mr. & Mrs. Mandell L. Berman◊ Mrs. Betty Blair Gwen & Richard Bowlby Mr. Harry G. Bowles ◊ Mrs. Ellen Brownfain William & Julia Bugera Cynthia Cassell, Ph. D. Dr.◊ & Mrs. Victor J. Cervenak Eleanor A. Christie Ms. Mary Christner Gary Ciampa Robert & Lucinda Clement Lois & Avern Cohn Mrs. RoseAnn Comstock◊ Thomas W. Cook & Marie L. Masters Dorothy M. Craig Mr. & Mrs. John Cruikshank Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Ms. Leslie C. Devereaux Mr. John Diebel Mr. Roger Dye & Ms. Jeanne A. Bakale Mr. & Mrs. Robert G. Eidson Marianne T. Endicott Mrs. Rema Frankel◊ Patricia Finnegan Sharf Ms. Dorothy Fisher Mrs. Marjorie S. Fisher◊ Dorothy A. & Larry L. Fobes Samuel & Laura Fogleman Mr. Emory Ford, Jr.◊ Dr. Saul & Mrs. Helen Forman Barbara Frankel & Ron Michalak Herman & Sharon Frankel Jane French Mark and Donna Frentrup Janet M. Garrett Dr. Byron P. & Marilyn Georgeson Mr. Joseph & Mrs. Lois Gilmore Victor◊ & Gale Girolami Ruth & Al Glancy◊ David & Paulette Groen Rosemary Gugino
dso.org
◊
Donna & Eugene Hartwig Gerhardt A. Hein & Rebecca P. Hein Ms. Nancy B. Henk Joseph L. Hickey Mr. & Mrs. Thomas N. Hitchman Andy Howell Carol Howell Paul M. Huxley & Cynthia Pasky David & Sheri Jaffa Mr. & Mrs. Thomas H. Jeffs II Mr. & Mrs. Richard J. Jessup Mr. & Mrs. George 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 June K. Kendall Dimitri◊ & Suzanne Kosacheff Douglas Koschik Mr. & Mrs. Arthur J. Krolikowski Mary Clippert LaMont 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 Mr. & Mrs. Eric C. Lundquist Roberta Maki Eileen & Ralph Mandarino Judy Howe Masserang Mr. Glenn Maxwell 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 Geoffrey S. Nathan & Margaret E. Winters Beverley Anne Pack David◊ & Andrea Page Mr. Dale J. Pangonis Ms. Mary W. Parker Mrs. Sophie Pearlstein Helen & Wesley Pelling◊
Deceased
#IAMDSO
Dr. William F. Pickard 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 Barbara Gage Rex Ms. Marianne Reye Lori-Ann Rickard Katherine D. Rines Bernard & Eleanor Robertson Ms. Barbara Robins Jack◊ & Aviva Robinson Mr.◊ & Mrs. Gerald F. Ross Mr. & Mrs. George Roumell Dr. Margaret Ryan Marjorie & Saul Saulson Mr. & Mrs. Donald & Janet Schenk Ms. Yvonne Schilla Mr. & Mrs. Fred Secrest◊ Ms. Marla K. Shelton Edna J. Shin Ms. June Siebert Dr. Melissa J. Smiley & Dr. Patricia A. Wren Ms. Marilyn Snodgrass ◊ Mr. & Mrs. Walter Stuecken Mr.◊ & Mrs. Alexander C. Suczek David Szymborski & Marilyn Sicklesteel Alice & Paul Tomboulian Mr. David Patria & Ms. Barbara Underwood Roger & Tina Valade Mrs. Richard C. Van Dusen Charles & Sally Van Dusen Mr. & Mrs. Melvin VanderBrug Mr. & Mrs. George C. 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. & Mrs. Clyde Wu◊ Ms. Andrea L. Wulf Mrs. Judith G. Yaker Milton & Lois◊ Zussman Five who wish to remain anonymous DSO PERFORMANCE MAGAZINE 45
TRIBUTE GIFTS Gifts received September 1, 2019 to October 31, 2019 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.
In Honor In honor of Shaul Ben-Meir Larry & Priscilla Poese
In honor of Jacob Joyce Nora Maloy
In honor of Sharon & Stephen Dillon Benson & Susan Barr
In honor of Art Roffey & Gail Danto Hadley & Beverly Wine
In honor of Michael Farrell & Marc Herrick Walter & Adel Dissett
In honor of Sue & Tom Sweeney Dennis & Linda Kayes In honor of Dr. David Wu Paul & Lynn Liberman
In honor of Joseph Hartig Sylvia Lawson Joan Stein
In Memory In memory of C. Howard Crane C. Howard & Elizabeth Crane In memory of Max T. McKinney, D.O. MPHONY Marilyn McKinney SY
In memory of James M. Newcomer Mary Beresford Marianne Winters Norma Woods OR
TRA
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In memory of Josephine Pollzzie Amy Malko
AMBASSADOR
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AMBASSADOR
Thank You to all the Detroit Symphony Orchestra’s volunteer ushers and retail shop volunteers. To learn more about becoming an usher or joining the DSO Ambassador Corps, please visit dso.org/ambassadors.
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The Katherine McGregor Dessert Parlor
…at The Whitney.
Named after David Whitney’s daughter, Katherine Whitney McGregor, our intimate dessert parlor on the Mansion’s third floor features a variety of decadent cakes, tortes, and miniature desserts. The menu also includes chef-prepared specialties, pies, and “Drinkable Desserts.” Don’t miss the amazing flaming dessert station featuring Bananas Foster and Cherries Jubilee.
Reserve tonight’s table online at www.thewhitney.com or call 313-832-5700 4421 Woodward Ave., Detroit
On behalf of Varnum, welcome to the
Pre-Theater Menu DSO’S CENTENNIAL SEASON AT ORCHESTRA HALL! Available on performance date with today’s ticket. Choose one from each course:
FIRST COURSE Caesar Side Salad Eric Nemeth, partner and member of DSO Board of Trustees Chef’s Soup of the Day The Whitney Duet MAIN COURSE Grilled Lamb Chops Lake Superior Whitefish www.varnumlaw.com Pan Roasted “Brick” Chicken Sautéed Gnocchi
Legal Experience In Your Corner.®
Ann Arbor | Birmingham | Detroit | Grand Haven | Grand Rapids | Kalamazoo | Lansing | Novi DESSERT
View current menus and reserve online at dso.orgwww.thewhitney.com or call 313-832-5700
Chocolate Mousse or Mixed Berry Sorbet with Fresh Berries DSO PERFORMANCE MAGAZINE #IAMDSO $39.95
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WELCOME TO THE MAX
OUR HOME ON WOODWARD AVENUE
The Max M. and Marjorie S. Fisher Music Center is one of Detroit’s most notable cultural campuses. The Max includes three main performance spaces: historic Orchestra Hall, the Peter D. and Julie F. Cummings Cube (“The Cube”), and Robert A. and Maggie Allesee Hall. All are accessible from the centrally located William Davidson Atrium. The Jacob Bernard Pincus Music Education Center is home to the DSO’s Wu Family Academy and other music education offerings. The DSO is also proud to offer The Max as a performance and administrative space for several local partners, including Detroit Public Theatre, Detroit Youth Volume, and others.
Parking
The DSO Parking Deck is located at 81 Parsons Street. Self-parking in the garage costs $10 for most concerts; we take both cash and credit cards. Handicapped parking is available on the first and second floors of the garage. Note that handicapped parking spaces go quickly, so we recommend arriving early! Valet parking is also available for most concerts, starting at $14. The valet parking drop-off is located on Parsons Street across from St. Patrick Parish. Please note that valet parking is not available for Friday morning Coffee Concerts. Coming from the burbs? Get a ride and skip the parking hassle with shuttle bus service to Friday morning Coffee Concerts for $15. Call 313.576.5111 for more information.
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 on the first floor of the Atrium, and the Paradise Lounge on the second floor is a great place for the occasional restaurant pop-up, with lite bites at every concert. And yes, we have options for different dietary needs! Complimentary coffee and donuts are available throughout The Max during Friday morning Coffee Concerts. Head directly up to Paradise Lounge or the third floor for more seating and shorter lines. Bars are located on the first and third floors of the William Davidson Atrium and offer everything from trusty Diet Coke to beer, wine, specialty cocktails, and 48
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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
full-service spirits. The Paradise Lounge is also open for drinks before and during concerts. You’re welcome to take drinks to your seat at all performances except Friday morning Coffee Concerts, but food must remain in the William Davidson Atrium. Drink vouchers can be purchased with concert tickets at the Box Office for quicker check-out.
Shop @ The Max
The Shop @ The Max retail store is thoughtfully stocked with items at every price point, including DSO-specific merch and items from local brands like Rebel Nell jewelry and Pete’s Chocolate Co. The shop is located on the first floor of The Max, just outside the William Davidson Atrium in the hallway opposite the main staircase. Shop @ The Max is open before, during, and after most performances.
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, barrier-free 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. WINTER 2019-2020
POLICIES 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 as well.
The Max M. and Marjorie S. Fisher Music Center 3711 Woodward Avenue Detroit, MI 48201 Box Office:......................................................... 313.576.5111 Group Sales:......................................................313.576.5130 Administrative Offices:....................................313.576.5100 Facilities Rental Information:.........................313.576.5050 Visit the DSO online at dso.org For general inquiries, please email info@dso.org
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!
Priority Service for Our Members
We are proud to offer priority assistance to all DSO Subscribers, as well as donors at the Friend Premier level and higher. Visit the Patron Services Center on the second floor of The Max for help with tickets, exchanges, donations, or any other DSO needs.
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 313.576.5065 for more information. dso.org
TICKETS, EXCHANGES, AND CONCERT CANCELLATIONS All sales are final and non-
refundable. Even though we’ll miss you, we understand that plans can change unexpectedly, so the DSO offers flexible exchange and ticket donation options. Please contact the Box Office to exchange tickets. The Box Office can also help with all ticketing questions and concerns. 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. The DSO is unable to offer refunds for cancelled concerts.
CHILDREN We
love seeing young faces at The Max, but we get it: some of us are too young for Schoenberg. We recommend doing a little research about the music, performers, and themes for a performance when deciding whether it’s appropriate for kids. We also have special programming designed for kids and families – visit dso.org/ family to learn more! Please remember that all patrons (of any age) must have a ticket to attend concerts.
PHOTOGRAPHY AND RECORDING We
love a good selfie (don’t forget to 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. Note that flash photography, video recording, tripods, and cameras with detachable lenses are strictly prohibited.
PHONES Cell
phones: they’re your computer, your camera, your watch, your calendar...but they can also be the light shining in someone’s face or the cause of a musician playing the wrong note. 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!
SMOKING Smoking,
vaping, cigar puffing, and e-cigaretting are allowed only on the outdoor balcony off the second floor of the William Davidson Atrium. You’ll find the door along the north-facing wall to the right of the Patron Services Center.
#IAMDSO
DSO PERFORMANCE MAGAZINE 49
A D M I N I S T R AT I V E S TA F F EXECUTIVE OFFICE
Ezra Gans Artistic Operations Assistant
Hannah Engwall Public Relations Coordinator
Anne Parsons President and CEO James B. and Ann V. Nicholson Chair
Patrick Peterson Manager of Orchestra Personnel
Sarah Smarch Content Manager and Lead Storyteller
Jill Elder Vice President and Chief Development Officer Linda Lutz Vice President and Chief Financial Officer Erik Rรถnmark Vice President and General Manager Joy Crawford Executive Assistant to the President and CEO Elaine Curvin Executive Assistant to the Vice President and CDO
ARTISTIC OPERATIONS ARTISTIC PLANNING Christopher Harrington Managing Director of Paradise Jazz Series/Managing Director & Curator of @ The Max Jessica Ruiz Director of Artistic Planning Megan Belansky Popular and Special Programs Coordinator Catherine Miller Artistic Coordinator Goode Wyche Cube Coordinator
LIVE FROM ORCHESTRA HALL Marc Geelhoed Director of Digital Initiatives
ORCHESTRA OPERATIONS Kathryn Ginsburg Orchestra Manager Heather Hart Rochon Director of Orchestra Personnel Dennis Rottell Stage Manager
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Claudia Restrepo Orchestra and Training Programs Librarian
ADVANCEMENT Jill Rafferty Senior Director of Advancement Alex Kapordelis Campaign Director Jenni Clark Fundraising Events Specialist
COMMUNITY & LEARNING Caen Thomason-Redus Senior Director of Community & Learning Debora Kang Director of Education Kiersten Alcorn Community Engagement Coordinator
Joey Edmonds Campaign Research Specialist
Mickayla Chapman Training Ensembles Recruitment and Operations Coordinator
Presley Feezell Campaign Stewardship Coordinator
Hunter Janness Education Coordinator
Stephanie Glazier Stewardship Coordinator
Clare Valenti Manager of Community Engagement
Holly Gorecki Manager of Advancement Services Leslie Groves Major Gift Officer Amanda Lindstrom Fulfillment Coordinator, Individual Giving Juanda Pack Advancements Benefits Concierge Susan Queen Gift Officer, Corporate Giving Juliano Bitonti Stewart Major Gift Officer Amanda Tew Data and Research Specialist Matthew Way Advancement Relations and Strategic Initiatives Manager
COMMUNICATIONS Matthew Carlson Director of Communications and Media Relations Natalie Berger Content Coordinator
FINANCE Jeremiah Hess Senior Director of Accounting & Finance Sandra Mazza Senior Accountant Sara Wabrowetz Gift Processing Coordinator Michelle Wisler Payroll and Benefits Accountant
HUMAN RESOURCES Denise Ousley Human Resources Director Shuntia Perry Human Resources Coordinator
PATRON DEVELOPMENT & ENGAGEMENT Nicki Inman Senior Director of Patron Development & Engagement
Ben Breuninger Public Relations Manager
DSO PERFORMANCE MAGAZINE
WINTER 2019-2020
AUDIENCE DEVELOPMENT
SAFETY & SECURITY
Michael Frisco Director of Audience Development
George Krappmann Director of Safety & Security
Teresa Alden Digital Marketing Manager
Greg Schimizzi Chief of Security
Annick Busch Patron Loyalty Coordinator
Norris Jackson Security Officer
Lori Cairo Front of House Manager
Edward John Assistant Chief of Security
Sharon Gardner Carr Assistant Manager of Tessitura and Ticketing Operations
Ronald Martin Security Officer
Rebecca Godwin Marketing Coordinator Jay Holladay Digital Content Specialist LaHeidra Marshall Audience Development Coordinator
Johnnie Scott Security Officer
TECHNOLOGY & INFRASTRUCTURE Jody Harper Senior Director of Technology & Infrastructure
James Sabatella Group Sales Manager
FACILITY OPERATIONS
CATERING AND RETAIL SERVICES
Dan Saunders Director of Facilities Management
Christina Williams Director of Catering and Retail Services
Frederico Augustin Facility Engineer
Nate Richter Bar Manager Rita Sayegh Retail Manager
EVENTS AND RENTALS
Clarence Burnett Maintenance Supervisor
Martez Duncan Maintenance Technician William Guilbault Maintenance Technician
Ashley Powers Event Sales Representative
Crystal King Maintenance Technician
Kendall Snead Coordinator of Event Stales and Administration
Daniel Speights Maintenance Technician
PATRON SALES & SERVICE
INFORMATION TECHNOLOGY
Connor Mehren Box Office Administrator Tommy Tatti Assistant Manager of Patron Sales & Service
EDITOR Ben Breuninger bbreuninger@dso.org 313.576.5196 PUBLISHER Echo Publications, Inc. Tom Putters PROGRAM NOTES ANNOTATOR Charles Greenwell
(Unless otherwise noted)
To advertise in Performance, please call 248.582.9690, email info@echopublications.com or visit echopublications.com
Read Performance anytime, anywhere at dso.org/performance
Michelle Koning Web Manager RaJon Taylor Application Administrator 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.
Chantel Woodard Lead Ticketing Specialist
dso.org
Volume XXVIII • Fall 2019
Matt Deneka Maintenance Technician
Catherine Deep Manager of Events and Rentals
Michelle Marshall Manager, Patron Sales & Service
PERFORMANCE
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DSO PERFORMANCE MAGAZINE 51
UPCOMING CONCERTS & EVENTS TICKETS & INFO
313 . 576 . 5111 dso.org KEY
* The DSO does not appear on this program
HOSTED PARTNERSHIPS
EASTERN MICHIGAN UNIVERSITY CANDLELIGHT CONCERT Sun., Dec. 15 at 3:30 p.m.* DSO PRESENTS
HOME ALONE IN CONCERT
Constantine Kitsopoulos, conductor
Wed., Dec. 18 at 7:30 p.m.
PNC POPS SERIES
HOME FOR THE HOLIDAYS Stuart Chafetz, conductor Dee Donasco, vocalist
Fri., Dec. 20 at 10:45 a.m. & 8 p.m. Sat., Dec. 21 at 3 p.m. & 8 p.m. Sun., Dec. 22 at 3 p.m. & 7 p.m. WILLIAM DAVIDSON NEIGHBORHOOD
BIZET’S CARMEN
Mei-Ann Chen, conductor Sterling Elliott, cello
Thu., Jan. 9 at 7:30 p.m. in Southfield Fri., Jan. 10 at 8 p.m. in Clinton Twp. Sun., Jan. 12 at 3 p.m. in Beverly Hills BIZET Suite No. 1 from Carmen LALO Cello Concerto in D Minor FRANCK Symphony in D Minor
H Piece performed during DSO’s first season at Orchestra Hall, 1919-1920 WILLIAM DAVIDSON NEIGHBORHOOD
HANDEL’S “WATER MUSIC” Dmitry Sinkovsky, conductor, violin, countertenor
Thu., Jan. 16 at 7:30 p.m. in West Bloomfield Fri., Jan. 17 at 8 p.m. in Plymouth Sat., Jan. 18 at 8 p.m. in Bloomfield Hills Sun., Jan. 19 at 3 p.m. in Grosse Pointe PNC POPS SERIES
THE VINYL YEARS: A CLASSIC ROCK SONGBOOK Michael Krajewski, conductor Lori Zabka, Shem von Schroeck, and Micah Wilshire, vocalists
Fri., Jan. 17 at 10:45 a.m. & 8 p.m. Sat., Jan. 18 at 8 p.m. Sun., Jan. 19 at 3 p.m. CLASSICAL SERIES
HADELICH PLAYS PAGANINI Jader Bignamini, conductor Augustin Hadelich, violin
Fri., Jan. 24 at 10:45 a.m. Sat., Jan. 25 at 8 p.m. Sun., Jan. 26 at 3 p.m. PAGANINI Violin Concerto No. 1 BERLIOZ Symphonie FantastiqueH
PARADISE JAZZ SERIES
THE MUSIC OF LOUIS ARMSTRONG CAMILA MEZA +DSO STRING QUARTET Fri., Jan. 24 at 8 p.m.*
DSO PRESENTS DSO PRESENTS
THE MAGICAL MUSIC OF HARRY POTTER
CHINESE NEW YEAR
Sat., Jan. 11 at 8 p.m.
Tue., Jan. 28 at 7:30 p.m.*
Enrico Lopez-Yañez, conductor
52
DSO PERFORMANCE MAGAZINE
Shanghai Chinese Orchestra Zhejiang Shaoju Opera Theater
WINTER 2019-2020
FREE Live from Orchestra Hall webcast
Special $10 ticket offer for Veterans and Active Military (learn more at dso.org/military)
CLASSICAL SERIES
TINY TOTS SERIES
RAVEL’S SHÉHÉRAZADE
JAZZ, WIGGLE, AND GIGGLE WITH SEAN DOBBINS AND FRIENDS
Thu., Jan. 30 at 7:30 p.m. Fri., Jan. 31 at 8 p.m. Sat., Feb. 1 at 8 p.m.
Sat., Feb. 15 at 10 a.m. in The Cube*
James Gaffigan, conductor Isabel Leonard, mezzo-soprano
MO Z ART Overture to The Abduction from the Seraglio RAVEL Shéhérazade ALEX TEMPLE Liebeslied SCHUMANN Symphony No. 4H
PNC POPS SERIES
YOUNG PEOPLE’S FAMILY SERIES
MUSICAL HEROES
Yaniv Dinur, conductor
Sat., Feb. 15 at 11 a.m. CLASSICAL SERIES
POSITIVELY PIANO
BEETHOVEN’S SIXTH
Constantine Kitsopoulos, conductor Kevin Cole, piano
John Storgårds, conductor Alisa Weilerstein, cello
Sun., Feb. 2 at 3 p.m.
Fri., Feb. 21 at 8 p.m. Sat., Feb. 22 at 8 p.m. Sun., Feb. 23 at 3 p.m.
@ THE MAX
STORM LARGE Mon., Feb. 3 at 7 p.m. in The Cube* HOSTED PARTNERSHIPS
FINALS CONCERT 23RD ANNUAL SPHINX COMPETITION Sat., Feb. 8 at 7:30 p.m.* CLASSICAL SERIES
DEBUSSY AND RAVEL
Thomas Søndergård, conductor Bertrand Chamayou, piano Fri., Feb. 14 at 10:45 a.m. Sat., Feb. 15 at 8 p.m. Sun., Feb. 16 at 3 p.m. STRAVINSKY Symphony in 3 Movements RAVEL Piano Concerto for Left Hand POULENC Les animaux modèles DEBUSSY La Mer
dso.org
OU TI TARKIAINEN Midnight Sun Variations BARBER Concerto for Cello BE E THOVEN Symphony No. 6, “Pastorale”H
WU FAMILY ACADEMY EDUCATIONAL SERIES
HAPPY BIRTHDAY BEETHOVEN! Wed., Feb. 26 at 10:30 a.m. & 11:45 a.m. Thu., Feb. 27 at 10:30 a.m. WILLIAM DAVIDSON NEIGHBORHOOD
PIAZZOLLA’S THE FOUR SEASONS OF BUENOS AIRES Paolo Bortolameolli, conductor Angelo Xiang Yu, violin
Thu., Feb. 27 at 7:30 p.m. in West Bloomfield Fri., Feb. 28 at 8 p.m. in Plymouth Sat., Feb. 29 at 8 p.m. in Bloomfield Hills Sun., Mar. 1 at 3 p.m. in Grosse Pointe
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DSO PERFORMANCE MAGAZINE 53
ALISA WEILERSTEIN INON BARNATAN
&
BEETHOVEN: COMPLETE CELLO SONATAS
SATURDAY, MARCH 28
8:00 PM SIGNATURE SERIES Chamber Music Society of Detroit Seligman Performing Arts Center CMDETROIT.ORG | 313.335.3300
Unique Hands- On Exp eriences at epiphany studios Work with our artists to make your own glass piece! This workshop is a great opportunity to try something new and create a beautiful keepsake to remember the occasion by.
Register today at www.epiphanyglass.com/workshops
770 Orchard Lake Road, Pontiac, MI 48341 Call 248.745.3786 for more information.
WINTER PERFORMANCES 1.18 MOZART BIRTHDAY BASH
MOZART Famous Opera Choruses MOZART Violin Concerto No. 5 MOZART Symphony No. 29 Itamar Zorman, violin // David Lockington, conductor
3.14 - 15 BEST OF BROADWAY Featuring soloists from the University of Michigan School of Music, Theatre & Dance Yaniv Segal, conductor
3.21 WEST SIDE STORY
SEE YOU AT THE SYMPHONY dso.org
SYRSE Colección de Realidades MÁRQUEZ Danzón No. 2 SIERRA Concerto for Saxophones & Orchestra BERNSTEIN Symphonic Dances
from West Side Story
James Carter, saxophone // Timothy Muffitt, conductor
ANN ARBOR SYMPHONY ORCHESTRA Music in the Key of A2
®
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734.994.4801 | a2so.com
DSO PERFORMANCE MAGAZINE 55
C R E AT E PERMANENT POSITIVE CHANGE ____ In our 35-year history, the Community Foundation has granted $1 billion to achieve real and lasting impact in our region — all through thoughtful philanthropy. Join us in creating permanent, positive change for southeast Michigan.
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