DSO Performance Magazine | Fall 2011 by Detroit Symphony Orchestra

Vol. XX â&#x20AC;˘ 2011-2012 Season

Fall 2011

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

The Hot Seat: Getting to know your principal musicians

A C o m m u n i t y - S u p p or t e d O r c h e s t r a

Eat. Learn. Live. EXPERIENCE HEALTHY COOKING IN A WORLD-CLASS DEMONSTRATION KITCHEN â&#x20AC;&#x201C; ONLY AT HENRY FORD WEST BLOOMFIELD HOSPITAL Henry Ford West Bloomfield Hospital is proud to feature cooking classes in our 90-seat demonstration kitchen. Learn to prepare flavorful, nutritious meals from our renowned culinary team, including registered dietitians, physicians and chefs. Whether you have special medical needs or are just interested in healthy, everyday living, we have the class for you. Recipes for cancer treatment and prevention, gluten-free dishes, options for healthy senior living, solutions for diabetics and heart patients, and simple sushi ideas are just some of the topics we discuss. We even offer a DK KIDS program designed to educate children on making healthy food choices.

To view a full listing of classes or for more information, call (248) 325-3890 or visit HenryFordWestBloomfield.com.

Henry Ford West BloomField Hospital

Performance / Vol . X X / Fall 201 1

www.dso.org

Contents Performance Volume XX / Fall 2011 2011â&#x20AC;&#x201C;12 Season

Editor Gabrielle Poshadlo gposhadlo@dso.org 313.576.5194

DSO Administrative Offices Max M. Fisher Music Center 3711 Woodward Ave. Detroit, MI 48201 Phone: 313.576.5100 Fax: 313.576.5101 DSO Box Office: 313.576.5111 Box Office Fax: 313.576.5101 DSO Group Sales: 313.576.5130 Rental Info: 313.576.5050 Email: info@dso.org Web site: www.dso.org Subscribe to our e-newsletter via our website to receive updates and special offers. Performance is published by the DSO and Echo Publications, Inc. u Echo Publications, Inc. 248.582.9690 www.echopublications.com Tom Putters, president tom@echopublications.com Toby Faber, advertsing director To advertise in Performance, call 248.582.9690 or email info@echopublications.com Performance magazine online: www.dsoperformance.com u To report an emergency during a concert, call 313.576.5111. To make special arrangements to receive emergency phone calls during a concert, ask for the house manager. It is the policy of the Detroit Symphony Orchestra that concerts, activities and services are offered without regard to race, color, religion, national origin, handicap, age or gender. The DSO is an affirmative action, equal opportunity employer. Activities of the DSO are made possible in part with the support of the National Endowment for the Arts, the Michigan Council for Arts and Cultural Affairs and the City of Detroit.

Departments 4 Board of Directors 6 Orchestra Roster

Concerts

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

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

Cover Story

10 The Hot Seat: Getting to know your principal musicians

Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances. The DSO can be heard on the Chandos, Columbia, DSO, Koch, London, Naxos, Mercury Records and RCA labels.

www.dso.org

Performance / Vol . X X / Fall 201 1

Detroit Symphony Orchestra Board of Directors officers Stanley Frankel Chairman

Glenda D. Price, Ph. D Secretary

Lloyd E. Reuss Officer At-Large

Paul M. Huxley First Vice Chair

Arthur Weiss Treasurer

Clyde Wu, M.D. Officer At-Large

Marlies Castaing Second Vice Chair

Phillip Wm. Fisher Officer At-Large

Anne Parsons President & CEO

Directors Ismael Ahmed

Maureen T. D’Avanzo

Robert Allesee

Karen Davidson

Shelley Heron,‡ Orchestra Representative

Walter E. Douglas

Ronald M. Horwitz‡

Mark Davidoff

Rosette Ajluni

Daniel Angelucci Janet Ankers

Gloria Heppner, Ph. D.

‡

Floy Barthel

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

Penny B. Blumenstein

‡

John A. Boll, Sr.

Elizabeth Boone

Richard A. Brodie

Lynne Carter, M.D. Gary L. Cowger

Peter J. Dolan

Nicholas Hood, III

Linda Dresner

Sharad P. Jain

Jennifer Fischer

Dr. Arthur L. Johnson‡

Laura L. Fournier

Michael J. Keegan

Barbara Frankel

Joel D. Kellman

Ralph J. Gerson

Richard P. Kughn ‡

Marianne Endicott

Renee Janovsky

Sidney Forbes

Chacona Johnson

‡

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

Lois A. Miller

Wei Shen

James C. Mitchell, Jr.

James B. Nicholson, Chairman Emeritus

‡

Arthur T. O’Reilly‡

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

Paul Ganson

Lawrence M. Liberson,‡ Orchestra Representative

Bruce D. Peterson‡

William F. Pickard Stephen Polk

Mrs. Ray A. Shapero Jane F. Sherman

Shirley R. Stancato

Faye Alexander Nelson

Melvin A. Lester, M.D.‡

Brigitte Harris

Lois L. Shaevsky

David Robert Nelson

Bonnie Larson ‡

Alan E. Schwartz‡

David N. McCammon

‡

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

Marjorie S. Saulson

Jack A. Robinson‡

Sean M. Neall

Harold Kulish

‡

Ralph J. Mandarino

Arthur C. Liebler‡

Edward Miller

William P. Kingsley

Herman Frankel‡

Bernard I. Robertson‡

Florine Mark

Hon. Damon J. Keith

Mrs. Harold Frank

Harry A. Lomason, II

Stephen Strome

Michael R. Tyson Ann Marie Uetz David Usher

Barbara Van Dusen‡

R. Jamison Williams John E. Young ‡ Executive

Committee

Lifetime Members

Samuel Frankel†

David Handleman, Sr.†

†Deceased

Governing Members

Governing Members is a philanthropic leadership group designed to provide unique, substantive, hands-on opportunities for leadership and access to a diverse group of valued stakeholders. Governing Members are ambassadors for the DSO and advocates for arts and culture in Detroit and throughout Southeast Michigan. For more information on the Governing Members program, please call the Office of Patron Advancement at (313) 576-5400. Arthur T. O’Reilly Chairperson James C. Farber Vice Chair, Philanthropy Mr. & Mrs. Herbert A. Abrash Mr. & Mrs. Richard L. Alonzo Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Mr. & Mrs. Norman Ankers

Performance / Vol . X X / Fall 201 1

officers Jan Bernick Secretary

Maureen T. D’Avanzo Vice Chair, Membership

Bonnie Larson Vice Chair, Engagement

Frederick J. Morsches Vice Chair, Communications

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

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

Joseph & Barbra Bloch Mr. & Mrs. Jim Bonahoom Dr. & Mrs. Rudrick E. Boucher Gwen & Richard Bowlby Mr. Scott Brooks www.dso.org

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

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

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

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

VOLUNTEER COUNCIL 2010-12 Officers Janet M. Ankers President

Ken Beattie VP of Finance & Administration

Dr. Nora Sugintas VP of Membership

Esther Lyons Recording Secretary

Debbie Savoie VP of Projects

Ellie Tholen VP of Public Relations

Virginia Lu ndquist VP of Outreach

Mary Beattie Corresponding Secretary

Board of Directors

Marlene Bihlmeyer

Adel Dissett

Gloria Nycek

Ex-Officio:

Gwen Bowlby

Sandie Knollenberg

Todd Peplinski

Coco Siewert, Parliamentarian

Gloria Clark

Eva Meharry

Victoria Keys Young

Kelly Hayes, Immediate Past President

Lynn Miller www.dso.org

Performance / Vol . X X / Fall 2011

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

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

First Violins

Kimberly A. Kaloyanides Kennedy Acting Concertmaster Katherine Tuck Chair

Hai-Xin Wu Acting Associate Concertmaster Alan and Marianne Schwartz and Jean Shapero (Shapero Foundation) Chair Assistant Concertmaster Walker L. Cisler/Detroit Edison Foundation Chair

Beatriz Budinszky*

Marguerite Deslippe* Elias Friedenzohn* Joseph Goldman*

Laurie Landers Goldman* Eun Park*

Adrienne Rönmark* Laura Rowe*

LeAnn Toth*

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

John Thurman Victor and Gale Girolami Cello Chair Robert Bergman*

Ron Fischer*

Bruce Smith*

Joseph Striplin*

Lilit Danielyan* ^

William Lucas

Heather Hart Assistant Orchestra Personnel Manager

Trombones

Conducting Assistant

Brian Ventura++

Geoffrey Johnson§ Clarinets

Theodore Oien+ Robert B. Semple Chair

Shannon Orme

Basses

E-Flat Clarinet

Stephen Anderson Acting Principal Lee and Floy Barthel Chair

Charles Greenwell

Randall Hawes

Stage Personnel

Nathaniel Gurin++

Bass Trombone Randall Hawes Tuba

Dennis Nulty+

Laurence Liberson

Timpani

Maxim Janowsky

Bass Clarinet

Brian Jones+ ^

Shannon Orme Barbara Frankel and Ronald Michalak Chair

Percussion

Bassoons

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

Craig Rifel

Marshall Hutchinson Richard Robinson

Philip Dikeman++ ^ Piccolo

Jeffery Zook

Robert Williams+ John and Marlene Boll Chair

Eric Schweikert ``#

Eric Shin ``#

Victoria King

Ian Ding++ ^ William Cody Knicely Chair

Marcus Schoon

Librarians

Contrabassoon

Ethan Allen

Michael Ke Ma++

Marcus Schoon

Stephen Molina Orchestra Personnel Manager

Kenneth Thompkins+

Alexander Hanna+ Van Dusen Family Chair

Jeffery Zook

Alexander Mishnaevski+ Julie and Ed Levy, Jr. Chair

Kevin Good

Paul Wingert*

Sharon Wood Sparrow Acting Principal Women’s Association for the DSO Chair

Alvin Score

Shelley Heron Maggie Miller Chair

Laurence Liberson++

Flutes

Marian Tanau*

Personnel Manager

Úna O’Riordan*

Patricia Masri-Fletcher+ Winifred E. Polk Chair

Robert Murphy*

Trumpets

Donald Baker+ Jack A. and Aviva Robinson Chair

Haden McKay*

Carole Gatwood*

Harp

Hong-Yi Mo*

Oboes

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

Stephen Edwards

Adam Stepniewski Acting Principal The Devereaux Family Chair

Caroline Coade

Violoncellos

Linton Bodwin

Second Violins

James VanValkenburg++

Catherine Compton

Stephen Molina++

Greg Staples*

Violas

Hang Su

Robert Stiles+

Frank Bonucci Stage Manager

Larry Anderson Department Head Matthew Pons Department Head

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

French Horns Karl Pituch+

Bryan Kennedy

Corbin Wagner Mark Abbott

David Everson++ ~

Glenn Mellow

Shanda Lowery-Sachs Hart Hollman Han Zheng

Orchestra member biographies can be found online at www.dso.org/orchestra. 6

Performance / Vol . X X / Fall 201 1

www.dso.org

SPG91011_DSOad.pdf

9/19/11

8:32 PM

MICHIGAN THEATRES. 40 PLAYS. ONE CLICK. METATHEATRES.ORG

CMY

Professional theatre at its finest. ENTER TO WIN WIN a pair of season tickets to all 7 META theatres. One year. 40 great shows. A $2,800 value! Enter and find official rules at: METAtheatres.org/goldenticket NO PURCHASE NECESSARY. DEADLINE FOR ENTRIES IS NOV. 25. MUST BE 18 OR OLDER. www.dso.org

Performance / Vol . X X / Fall 2011

President’s Message Dear Friends, Welcome back to Orchestra Hall. A lot has happened since our sold out, standing room only performances last spring season. Over the months since then and in recent weeks, I have had the pleasure of connecting with DSO stakeholders as well as interested observers from across our metropolitan area, from Los Angeles to New York City, and even abroad, thanks to Leonard Slatkin’s new position as Music Director of the Orchestra Nationale de Lyon in France. At every encounter, I was impressed by feelings of optimism, encouragement and admiration for Detroit and particularly the DSO. So, as we proudly launch our 2011-12 season, we want you to know how very grateful we are to you, our patrons and audience members, for your loyalty, your passion and your enthusiastic support during such a difficult 2010-11 season. We’ve observed industry and business around us successfully reinventing and adapting to an ever-changing environment, consistently prepared to make adjustments and seek new pathways to success. The DSO has a vision for success that embraces the joy and inspiration only music can provide, celebrates music and musicians, and acknowledges the importance of engaging our community in ways that will ensure this community-supported orchestra will thrive in the years to come. You’ll notice that in addition to our offerings at Orchestra Hall, the DSO will regularly be performing in neighborhoods across metro Detroit. Thanks to a program introduced by Leonard Slatkin, Soundcards provide all access to students for our diverse Orchestra Hall performances. Through a partnership with DPTV, we are excited to be able to continue our HD Webcasts, “Live from Orchestra Hall,” presented by the Ford Motor Company Fund. It is the first part of what will be a digital suite sponsored by the Knight Foundation. And, thanks to our educational offerings and partnerships, over 1,000 young people will visit the Jacob Bernard Pincus Music Education Center each week to be mentored and inspired through performance learning opportunities. As we continue to work to mean more to more people, we hope you’ll enjoy the invaluable role you play in our collective story. We enter the 2011-12 season filled with hope and promise. Thank you for making the decision to join us! We hope to see you again soon. With best wishes, Anne Parsons President & CEO 8

Performance / Vol . X X / Fall 201 1

News & Notes Treble Maker

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

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

Announcing the DSO Volunteer Council’s Nutcracker Luncheon You won’t want to miss this refreshed version of the time-honored annual major fundraiser. You’ll be enchanted by excerpts from Tchaikovsky’s beloved Nutcracker Suite ballet, performed by members of Ballet Americana, who have performed with the DSO Civic Orchestra. Round out your holiday gift list with expanded inventory at Shop @ The Max or enter to win one of three gift certificates courtesy of Neiman Marcus. Join us for a sit-down luncheon on Tuesday, December 6 at the Dearborn Inn. Ticket prices are $150, $100 and $65, with proceeds to benefit the Detroit Symphony Orchestra. Gather some friends and call the Volunteer Council Office at 313.576.5154 to make your reservations. www.dso.org

Meet the Musician:

Úna O’Riordan Since Úna O’Riordan joined the DSO’s cello section in 2007 she has dedicated her free time to ensconcing herself in the community. Through the DSO’s Honda Power of Dreams String Music Project, she teaches students who otherwise wouldn’t have access to music education. She also maintains a private studio in Plymouth. Later this year she’d like to start an introductory chamber music program for intermediate students before high school age. “There’s so much emphasis on orchestra, which is wonderful,” she said. “But I want to give students access to a different, and equally gratifying, way of making music.” Outside of her work in the DSO and music education, she is a member of the contemporary music collective New Music Detroit and enjoys collaborating with other musicians in various genres and venues. O’Riordan is also excited to begin volunteering with St. Joseph Mercy’s Healing Arts program this fall, and will be organizing and performing in

occasional mini-concerts in the Ann Arbor hospital’s newlyrenovated lobby. “I want to add a little light to a place that isn’t always joyful,” she said. A first-generation Irish American, O’Riordan says a love of music runs in her family, and her passion for the cello began with a string demonstration in her kindergarten class. She received a Bachelor of Music with Distinction from the Eastman School of Music, where she was named an Arts Leadership Scholar. As a recipient of the Eckstein Grant, O’Riordan did her graduate studies at the Northwestern University School of Music, and performed with the Northwestern University Symphony Orchestra as the concerto competition winner. While completing her master’s degree, she was also Co-principal of the Civic Orchestra of Chicago.

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

Her Very Own Symphony of Light (Conductor not Required) Certified Diamonds & Colored Stones New & Estate Jewelry Fine Swiss Timepieces Bridal Jewelry & Giftware

facebook.com/ lalondejewelers

www.dso.org

Performance / Vol . X X / Fall 2011

The Hot Seat: Getting to know your principal musicians

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

Strings Kim Kaloyanides Kennedy, Acting Concertmaster Kennedy joined the DSO in 1998 and served as associate concertmaster for eight seasons before being appointed acting concertmaster in 2011. “I didn’t ever experience what it meant to be concertmaster while I sat associate, even though I thought I had,” she said. “People are looking to me to do more than just play violin. The concertmaster represents the orchestra, their goals, their heart; not just the sound we’re producing but who we are as a whole.” While Kennedy has no way of knowing whether her tenure as acting concertmaster will last six months or six years, she said she is focusing on what the orchestra needs right now. “I hope I’ll be 10

Performance / Vol . X X / Fall 201 1

able to offer the strength and boldness the section needs in a leader,” she said. In her 14th season with the DSO, Kennedy will perform as concert soloist twice this year. Adam Stepniewski, Acting Principal Second Violin Years before Stepniewski joined the DSO in 1991, a friend in Warsaw lent him a recording of the DSO with former Music Director Paul Paray, under whom the DSO became one of the country’s mostrecorded orchestras. Having served as fourth concertmaster with Radio Symphony Orchestra of Copenhagen, Denmark and Assistant Concertmaster with National Philharmonic in Warsaw, hearing the DSO was the first time Stepniewski had considered auditioning with an American

orchestra. Stepniewski said his goal this season as acting principal second violin is to help create a team dynamic within his section and with the other musicians. “An orchestra like the DSO is more than just music, it’s a tradition for the city and for the people,” he said. “Music helped my father, a French horn player, through World War II. I believe it can help Detroit, too.” Alexander Mishnaevski, Principal Viola Born in Moscow, Mishnaevski began studying the violin at age 6 at the renowned Central Music School of Moscow Tchaikovski Conservatory. He emigrated to the United States in 1973 and graduated from The Juilliard School in New York. While at Juilliard, Mishnaevski changed from violin to viola at the suggestion of Isaac Stern. Mishnaevski joined the DSO as principal violist in 1986. Prior, he also held the position of principal violist for the New York Chamber Orchestra, the New York Pro Arte Ensemble, Montreal’s McGill Chamber Orchestra and Orquestra Sinfonica de Xalapa in Mexico. Mishnaevski has performed in chamber music concerts and in recitals around the world and has collaborated on chamber music projects with eminent players including Isaac Stern, Schlomo Mintz, Joseph Silverstein, Schmuel Ashkenazy, Franz Helmerson, Joseph Swenson and the Colorado Quartet, just to name a few. Mishnaevski also teaches in his private studio, and has taught master classes and workshops in the U.S., Canada, Singapore, Taiwain, Korea, Hong, Kong, and Mexico. Robert deMaine, Pricipal Cello Named principal cellist of the DSO in 2002, Robert deMaine has been praised by The New York Times as “an artist who makes one hang on every note.” He has distinguished himself as one of the finest musicians of his generation, having performed to critical acclaim throughout the world, from Carnegie Hall to the Teatro Colón in Buenos Aires. Born into a musical family of French and Polish extraction, deMaine began musical studies at the age of 4 with his mother and sister, both accomplished www.dso.org

cellists. He made his solo debut at 10 with the Oklahoma City Symphony Orchestra, followed by his first full-length recital. DeMaine is the first prize-winner of several major international competitions, most notably the 1990 Irving M. Klein International Competition for Strings in San Francisco (the first cellist ever to win this important competition), as well as winning first prizes in major competitions in New York, St. Louis and Chicago. Alexander Hanna, Principal Bass Alexander Hanna was appointed principal double bass of the DSO in 2008. Throughout his adolescence, he followed his older brother’s and sister’s footsteps through music and was playing piano recitals when he was 4. He then began to sing, play cello and double bass among other instruments. Hanna made his solo debut with The Toledo Symphony when they invited him to perform piano and double bass concertos with them when he was 14 years old. In 2004 the Curtis Institute of Music accepted Hanna as a double bass player and he then decided to focus on classical music. Hanna was in constant demand during his college years as a substitute with the Minnesota Orchestra, the Philadelphia Chamber Orchestra, the Philadelphia Orchestra, the Pittsburgh Symphony and was principal bass of the Haddonfield (New Jersey) Symphony. Patti Masri-Fletcher, Principal Harp While harp is one of the easiest instruments to spot on the stage, compelling its angelic sound to compete with, say, the brass, takes a little muscle. “The thing about principal harp is that I’m the only one,” said Masri. “There is not a section to boost the sound.” After trying her hand at piano, violin, flute and guitar, MasriFletcher settled on the harp after attending an Oakland East Bay Symphony performance and couldn’t take her eyes off of the instrument. After studying harp performance in Oakland, Calif., she completed the eight-student graduate harp program at The Juilliard School. This will be Masri-Fletcher’s 23rd season with the DSO. “As an orchestra we come from various backgrounds, languages and cultures,” she said. “But when we www.dso.org

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

Woodwinds Sharon Sparrow, Acting Principal Flute Over the past few seasons, Sharon Sparrow has played nearly every position in the flute section of the DSO and understands better than most the uniqueness and challenges of each one. Having played second for 11 years, she has perfected that role providing stabilization of pitch, security of tone and unending support, both musically and personally. In recent seasons, sitting in the principal and assistant principal chairs allowed her a new and welcome freedom to express her inner musicality, having much more freedom on the numerous solo passages in which to experiment. “My favorite thing about playing principal is being able to express myself musically with every solo line and passage. I have so much to say musically, and playing principal gives me the liberty to use this voice,” she said. The only position Sparrow has not explored very much is the piccolo chair, coveted by the marvelous Jeffery Zook. For this season, Sparrow and Zook are holding up the section, and will be relying on many different players to fill in the gaps. Sparrow looks forward to playing principal again this season, and for each minute she is in that role she will be pouring out her musical voice with every line! Donald Baker, Principal Oboe Principal oboist Don Baker was already a seasoned principal when he joined the DSO in 1973. At 21, a fresh graduate from Oberlin University, he took on the role of principal oboe with the Dallas Symphony. “I feel very fortunate to have been able to play principal in two major orchestras,” he said. He said he’s addicted to the pressure, which in the oboe section is particularly great. Sitting in perfect center, the principal oboe is not only in the music director Leonard Slatkin’s direct line of vision, but must also play the tuning A note. “I play the first solo of the evening,” he said. “And then another about every 10 seconds after that.”

Theodore Oien, Principal Clarinet Theodore Oien joined the DSO as principal clarinet in 1988, after serving as second and e-flat clarinetist of the Denver Symphony, and as principal clarinet of the Winnipeg Symphony and the CBC Winnipeg Orchestras. A concerto soloist with the DSO at Orchestra Hall, Oien also appears as soloist with other North and South American orchestras, notably in Winnipeg with the Winnipeg Symphony Orchestra, in Greensburg with the Westmoreland Symphony, and in Montevideo with the National Symphony Orchestra of Uruguay. He has performed Copland’s Clarinet Concerto under the composer, and in November of 1999 was invited to perform at Lincoln Center in a concert featuring principal players from major orchestras of 50 nations, honoring the 50th anniversary of the Universal Declaration of Human Rights. Recent appearances with the DSO have included Strauss’ Due- Concertino and Martin’s Concerto for Seven Winds. He has recorded extensively for the record company Chandos with the DSO under Neeme Järvi and is heard on NPR’s Performance Today and weekly on General Motors Mark of Excellence. Robert Williams, Principal Bassoon The 2011-12 season will be Bob Williams’ 39th with the DSO. Williams joined the orchestra at just 24 years old. He already had several years’ experience as a principal bassoon under his belt. His career as a principal bassoonist began while substituting in the University of Arizona faculty quintet (where he was a student) and he also became principal in the Tucson Symphony Orchestra when the regular musician had to resign because of illness. After graduating, Williams spent two years as the solo bassoonist of the Winnipeg Symphony Orchestra before his move to Detroit. As a “frustrated clarinet player” during childhood, Williams said he first picked up the bassoon because no one else played it. “My best friend was first chair clarinet in eighth grade and I knew I’d never beat him and there were no other bassoon players!” he said.

Performance / Vol . X X / Fall 201 1

Brass Karl Pituch, Principal French Horn By the time Pituch was appointed principal horn in 2000 he was already familiar with Detroit’s story of decline. “I remember visiting in the 60’s to shop at Hudson’s downtown, a lot of people did that,” he said. “Since then I’ve watched the city decline and then come back, very slowly.” But even as Pituch watched Detroit struggle from afar, he watched the orchestra thrive. “As associate principal horn of the Dallas Symphony Orchestra before joining the DSO, I listened to the national radio broadcasts and heard how great the DSO was,” he said. “I’ve always wanted to work with Neeme Järvi and after seeing the great repertoire that he programmed, I decided to audition in Detroit.” Pituch has also served as principal horn with the Honolulu Symphony Orchestra, the Jacksonville Symphony, the Colorado Music Festival Orchestra and the Chautauqua Festival Orchestra. He served as a guest Principal Horn for the Los Angeles Philharmonic at the Edinburgh Music Festival in Scotland and at the Hollywood Bowl. Stephen Anderson, Acting Principal Trumpet Beginning his 19th season with the DSO, Anderson also begins his 19th season alongside his fellow DSO trumpet players. Formerly assistant principal trumpet, he has often played the principal part in cases of absence. Apart from the solos Anderson says sitting in the different chair will change little about his section’s dynamics. “I’ve played with the other DSO trumpeters for nearly 20 years. We know what each other is thinking and what we’re going to do next,” he said. “It’s so easy to count on them to play as a unit and as a team.” Prior to his tenure with the DSO, Anderson served as a trumpeter with the Dayton Philharmonic Orchestra and the Carillon Brass Quintet for two seasons, and taught trumpet at Wittenberg University in Springfield, Ohio. Anderson has also performed as a member of the New Mexico Symphony, San Diego Symphony, Santa Fe Opera Orchestra,

Performance / Vol . X X / Fall 201 1

Chicago Chamber Brass and Chicago Civic Orchestra. He frequently plays in various ensembles around the area, including the Detroit Chamber Winds and Strings. Kenneth Thompkins, Principal Trombone “There aren’t many trombone solos, but they do come up,” said Thompkins. “As principal I’ll get to play those, which is an honor.” One of his favorites? The three extensive trombone solos that anchor the first movement of Mahler’s Symphony No. 3. As a section, Thompkins explained it’s crucial to have a homogenous sound to support the rest of the brass and the orchestra as a whole, a responsibility he says makes his role all the more satisfying. “When you play in an orchestra you get to sink into the sound more so than in a band,” he said. “You get to savor those chords.” Thompkins was appointed principal trombone of the DSO by Neeme Järvi in 1997. Prior, he held positions in the Buffalo Philharmonic and the Florida Orchestra and performed with the New World Symphony. Dennis Nulty, Pricipal Tuba After trying his hand at the trumpet in sixth grade, Nulty picked up the tuba because, well, no one else in class was playing it yet. Nulty’s main responsibility is aiding the other brass in providing rhythm and pitch. “The tuba is more gregarious than other single instrument sections, often times I am used to support other instrument families” he said. An alumnus of the New World Symphony, Nulty was appointed principal tuba by Music Director Leonard Slatkin in 2009 while completing graduate studies at the New England Conservatory in Boston. As a freelance artist, he recorded a CD/DVD with Chris Botti and the Boston Pops Orchestra, and has performed frequently at historic Fenway Park, including opening ceremonies for game one of the 2007 World Series.

Percussion Eric Shin, Acting Principal Percussion Beginning his first season with the DSO, Eric Shin comes to the Midwest from a considerably more desirable climate; Hawaii, where he was the principal percussionist for the now-defunct Honolulu Symphony. An avid surfer, he says he is adjusting to middle America just fine. “I can tell already the DSO has a large following, that people are really proud of the symphony. There’s an overwhelming amount of support for classical music here.” Shin dabbled in guitar and piano before he settled on percussion, because it’s “so fun to make a bunch of noise.” Although he describes percussion as “just the sprinkles on the cake,” he stresses the importance of perfectionism in his role. “People tend to only notice percussion when we mess up,” he said. Eric Schweikert, Acting Principal Timpani Schweikert, who is also principal timpanist for the Fort Wayne Philharmonic, began his romance with classical music in elementary school as a cellist. “I wasn’t a very motivated practicer on the cello and thought the string bass looked cooler, but I didn’t want to carry one!” he joked. “How ironic that my entire adult life has been spent dealing with the much more cumbersome timpani.” He explained timpani plays a comparable role for percussion as bass plays for strings, but that its greater role is in support of the brass section. “I like playing the low, rumbling notes,” he said. “The audience can literally feel the sound.” While the 201112 season will be Schweikert’s first with the DSO, it won’t be his first time playing with the orchestra. He received that honor as a student at Interlochen. “I have a soft spot for the DSO because it was the first professional orchestra I ever played with,” he said. “And playing at Orchestra Hall is a great honor.”

www.dso.org

Profiles Leonard Slatkin Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Classical Series Saturday, October 8, 2011 at 8:00 p.m. Sunday, October 9, 2011 at 3:00 p.m. in Orchestra Hall

Leonard Slatkin, conductor Michel Camilo, piano

Fred A. and Barbara M. Erb Jazz Creative Director Chair

Gioachino Rossini Overture to Guillaume Tell (William Tell)

(1792-1868)

Michel Camilo Piano Concerto No. 2, “Tenerife”

(b. 1954) (North American Premiere) Ma estoso. Allegro deciso. Moderato. Vivace. Maestoso. Vivo Largo Allegro alla Danza Michel Camilo, piano

I ntermission

Hector Berlioz Symphonie fantastique, Op. 14

(1803-1869) I. Reveries and Passions: Largo – Allegro agitato e appassionato assai II A Ball: Waltz - Allegro non troppo III. In the Country: Adagio IV. March to the Scaffold: Allegretto non troppo V. Dream of the Witches’ Sabbath: Larghetto Allegro

Sponsors

PVS Chemicals, Inc.

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

www.dso.org

Internationally acclaimed American conductor Leonard Slatkin began his appointment as Music Director of the Detroit Symphony Orchestra in September of 2008. In addition to his post at the DSO, slatikin August 2011 marked the start of his tenure as Music Director of the Orchestre National de Lyon in France. In addition, Slatkin continues to serve as Principal Guest Conductor of the Pittsburgh Symphony Orchestra, a post that began in the fall of 2008. Following a 17-year tenure as Music Director of the Saint Louis Symphony Orchestra, Slatkin became Music Director of the National Symphony Orchestra in Washington, D.C. in 1996. Other positions in the United States have included Principal Guest Conductor of the Minnesota Orchestra, where he founded their “Sommerfest;” first Music Director of the Cleveland Orchestra’s summer series at the Blossom Music Festival, a post he held for nine years; Principal Guest Conductor of the Los Angeles Philharmonic Orchestra at the Hollywood Bowl for three seasons; and additional positions with the New Orleans Philharmonic and the Nashville Symphony Orchestra. Throughout his career, Slatkin has demonstrated a continuing commitment to arts education and to reaching diverse audiences. He is the founder and director of the National Conducting Institute, and advanced career development program for rising conductors, and founded the Saint Louis Symphony Youth Orchestra. This year, he spearheaded the DSO’s Soundcard initiative, an all-access student pass to every Classical, Pops and Jazz concert at Orchestra Hall, all season long. Maestro Slatkin’s more than 100 recordings have been recognized with seven Grammy awards and 64 nominations. He has recorded with the DSO, National Symphony Orchestra, Saint Louis Symphony, Minnesota Orchestra, Nashville Symphony Orchestra, Chicago Symphony Orchestra, and the New York Philharmonic. His engagements for the 2011-2012 season include Orchestre de la Suisse Romande, Seoul Philharmonic, NHK Symphony, a tour of Germany with the Deutsches Symphonie-Orchester Berlin, and the New World and National Symphony Orchestras in Washington, D.C. Performance / Vol . X X / Fall 201 1

Michel Camilo

A pianist with a brilliant technique and a composer that flavors his tunes with AfroCaribbean rhythms and jazz harmonies, Michel Camilo’s musical language is an expressive and exciting camilo way of combining his musical heritage with a rich, intelligent use of harmonic textures, jazz roots and his superb piano technique. His music is mainstream jazz first and foremost, propelled by an infectious Latin tinge and a contemporary sense of swing that reflects his joyously effervescent personality. Camilo was born in Santo Domingo, Dominican Republic. He studied for 13 years at the National Conservatory earning a degree of “Professorship in Music” and at the age of 16 became a member of the National Symphony Orchestra of his country. He moved to New York in 1979 where he continued his studies at Mannes and the Juilliard School. Since his 1985 Carnegie Hall debut he has become a prominent figure performing regularly at festivals throughout the United States, Europe, Japan, Asia, Middle East, South America and the Caribbean. His 18 recordings to date have been recognized with a Grammy award, an Emmy award, two Latin Grammy awards, two Grammy award nominations and two Premios de la Música (Spain). Career highlights include his two-year appointment as Jazz Creative Director Chair of the Detroit Symphony Orchestra, a five-year tenure as Musical Director of the Heineken Jazz Festival (Dominican Republic) and serving as president of the jury at the Montreux Jazz Solo Piano competition. Camilo performed the world premiere of his Concerto for Piano & Orchestra No. 2, “Tenerife,” commissioned by the Tenerife Auditorium, as guest soloist with the Tenerife Symphony Orchestra conducted by Lü Jiá. Mr. Camilo’s honors include Honorary Doctorates from Berklee College of Music (Boston), Universidad Nacional Pedro Henriquez Ureña, UTESA University of Santiago, as well as an Honorary Professorship and Honorary Doctorate from his Alma Mater, Universidad Autónoma de Santo Domingo, Dominican Republic.

Performance / Vol . X X / Fall 201 1

Program Notes Overture to the opera William Tell Gioachino Rossini

B. February 29, 1792, Pesaro, the Marches (now Italy) D. November 13, 1868, Passy, France

William Tell was first performed at the Paris Opéra on August 3, 1829. The overture is scored for piccolo, flute, two oboes (the second doubling English horn), two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, triangle, bass drum, cymbals and strings (approximately 12 minutes).

o composer in the first half of the 19th century enjoyed the extraordinary measure of success that belonged to Rossini. His contemporaries regarded him as the greatest Italian composer of his time. Other composers such as Bellini and Donizetti created personal styles, to be sure, but they worked in his shadow. Not until the coming of Verdi would Rossini be replaced as the center of Italian operatic life. It is quite ironic that for all the success of the William Tell overture in the concert hall, the opera itself has been more honored than it has been performed. By 1831, two years after its premiere, the original four acts had been trimmed to three; within Rossini’s lifetime, it became common to perform only the second act. While the opera was passing out of the repertoire and into the history books, its overture was becoming a concert-hall favorite. If the listener can put aside its modern associations with radio, television and cartoons, it becomes apparent that it is a remarkable piece of music, a more substantial overture than Rossini provided for any of his Italian operas. It does not share themes with the original version of the opera; but like the rest of the opera, it is dominated by musical motives derived from Swiss popular melodies. The overture is in four sections, clearly marked. In the first section, scored for five solo cellos (in addition to ripieno cellos and basses, and a pair of timpani) we hear – we can nearly see – the peaceful Swiss landscape that forms the backdrop for the opera (Rossini would employ a solo cello again at a key moment in the drama – Tell’s appeal to his son, “Sois immobile”, in the scene with the apple). The winds and high strings are held back until the next section, depicting the thunderstorm that had been rumbling in the distance.

The ranz des vaches of the alphorn is heard next, this exotic instrument being represented by the English horn, just as Berlioz would do in his Symphonie Fantastique. Interwoven with this simple melody, the flute presents a lovely birdsong. Then, the quickstep which to American audiences is still the trademark of the Lone Ranger: the joyous martial gallop that concludes the overture. While writing a new finale for a revival of the opera, Rossini himself underscored the meaning of this final section: the words he used to conclude the opera being “Victoire et liberté” (“Victory and liberty”). The fact that even overtures from Rossini operas rarely performed in the past 100 years have found a permanent home in the concert hall is testimony to their status as independent, integral compositions, not mere potpourris of tunes from their respective operas. Another reason for the persistence of Rossini overtures such as William Tell in the concert repertoire is their amazing orchestration. Rossini was a master at finding the perfect instrumental touches. He could pull out all the stops, to be sure, but he often worked with just a few instruments – particularly the winds – to remarkable effect. The DSO last performed Rossini’s Overture to the opera William Tell on a Meadow Brook concert in July, 2010, with JoAnn Falletta conducting. SO Shop @ The Ma x D recommends:

Rossini – William Tell Overture: Erich Kunzel and the Cincinnati Pops Orchestra, Telarc 80116.

Concerto for Piano & Orchestra No. 2, “Tenerife” Michel Camilo

B. April 4, 1954, Santo Domingo, Dominican Republic)

Michel Camilo’s Second Piano Concerto was commissioned by the Tenerife Auditorium and is scored for two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones and tuba, timpani plus five percussionists (playing Crotales, Tenor Drum, Bass Drum, Bell Tree, Cymbals (Pair), Finger Cymbals, Gong, Hi-Hat, Mark Tree, Piccolo Snare Drum, Snare Drum, Suspended Cymbal, Tambourine, Tom Toms in three pitches and Triangle) solo piano and strings (approximately 25 minutes).

www.dso.org

ichel Camilo has recorded in Solo, Duo, Trio, Sextet, Big Band and with Symphony Orchestras, as well as film soundtracks. He moves with ease between the worlds of Jazz, Latin and Classical music. The composer writes: This work is dedicated to Tenerife (Canary Islands) a special place where I have had so many unforgettable moments on each one of my visits. My intention was to compose about its great majesty, reflect on the warmth of its people and portray the vibrant light so full of contrasting texture and color which I have always perceived there. The piano concerto is written in three movements, each one presenting both the soloist and the orchestra with many challenges which serve as meeting points and ultimately help to achieve the concertante character. The first movement was inspired by a visit to El Teide, a volcano in Tenerife. This movement is divided in two sections, both introduced by a maestoso arising from a low sotto voce melody in the celli and contrabasses, ascending through an orchestral canon before reaching the angular rhythms of the allegro deciso. The second theme of the moderato with a more melodic character is first played by the piano and then reiterated by an orchestral tutti. Both thematic ideas will constantly intertwine and evolve. The second section of the first movement starts from the deep intensity of the initial maestoso, but this time around the vision of the volcano will be thoroughly explored with the piano contributing arpeggios and virtuoso octave passages. The final vivo arrives with its playful giocoso character which gradually will grow in strength towards the accelerando climax. The movement ends with an epilogue of three suspended reminiscences. The largo contrasts a translucent sostenuto cantabile with nuances and harmonic references to jazz, as well as the solitude of a piano and cello duet with the intense passion unleashed by an orchestral tutti. The third movement allegro alla danza gives the spotlight to a percussion ensemble of three tenor drums, cymbals and bass drum in order to reflect its festive spirit right from the start, demanding at times fast, light and precise articulation, as well as power and skill in navigating its polyrhythmic riches. With a contemporary point of view, this freely-based-on-a-rondóform movement also reprises the second theme of the first movement, and introduces an exotic and sensual melody at the piano echoed by oboe and bassoon, and

www.dso.org

accompanied by a suggestive ostinato rhythm on the strings and timpani which will bring us to the rousing crescendo finale. This performance by the DSO of Michel Camilo’s Piano Concerto No. 2, “Tenerife” marks the North American première of this work. © 2008 Michel Camilo - Redondo Music (BMI - SGAE). All Rights Reserved. SO Shop @ The Ma x D recommends:

Camilo – Piano Concerto No. 2, “Tenerife:” No recording currently available.

Symphonie fantastique, Op. 14 (Louis-)Hector Berlioz

B. December 11, 1803, La Côte St. André, Isere D. Paris, March 8, 1869

Hector Berlioz’s Symphonie fantastique was premiered on December 5, 1830 at the Salle du Conservatoire, Paris, with François-Antoine Habeneck conducting. Scored for two flutes (second doubling on piccolo), two oboes (second doubling on English horn), two clarinets (first doubling on E-flat clarinet), four bassoons, four

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

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

Saturday, December 3, 2011, 8 PM

Steven Isserlis, Cello Connie Shih, Piano

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

Saturday, January 7, 2012, 8 PM

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

To purchase tickets and for more information about upcoming concerts, please call (248) 855-6070 or visit www.ComeHearCMSD.org. Performance / Vol . X X / Fall 201 1

horns, four trumpets, three trombones, two tubas, two timpanists and four percussionists (playing bass drum, chimes, pair of cymbals, field drum, suspended cymbal), two harps and strings (approximately 49 minutes).

erlioz’s education came largely from his father Louis-Joseph Berlioz, a doctor of some distinction. In addition to French and Latin literature and geography, his father also gave him basic instruction on a musical instrument known as the flagolet. Later, Berlioz learned the flute and the guitar from local teachers. Berlioz never studied the piano and never learned to play more than a few chords at the keyboard. Beginning in 1827, Berlioz experienced a series of significant events that would profoundly affect his artistic development. The first of these occurred on September 11, 1827, when Berlioz attended a presentation of Hamlet by an English company at the Odéon theatre, with Miss Harriet Smithson playing Ophelia. Two further discoveries at this time are also of great importance. In March, 1828 Berlioz heard the music of Beethoven for the first time. In addition, Berlioz encountered Goethe’s Faust in 1827, and the impact was profound and immediate. These discoveries, however, were far more of a gradual nature than Berlioz’s discovery of

Miss Smithson, the “ideal woman” with whom he was suddenly and violently taken. He pursued her relentlessly for the next two years. By 1830, his passion for her had soured somewhat and the accumulated emotional tensions would be poured into his Symphonie fantastique. Berlioz’s Symphonie fantastique is the first work in the history of music to tap into the dark Romanticism that feeds on dreams, irrationality and the excesses of the unfettered imagination. In this work, Berlioz goes far beyond anything previously known in the field of symphonic writing. The fantastical structure of the opening movement, with its long and slow introduction and its complete disregard for established formal models, is without precedent. Above all, however, it is the new handling of timbre, or instrumental texture, that caused such a sensation in its day and which remains just as dramatic and novel today. Berlioz’s primary means of imposing structure throughout the work is through the device he called (drawing on the language of psychopathology) the idée fixe. As Berlioz explained in the printed program that he insisted on handing out at the premiere, this melody recurs with obsessive regularity in the mind of the “hero” (who is a musician), representing the image of his beloved which constantly changes in keeping with the hero’s

ch e s t r O ony n h p S y m Hap pe t i o s tr Ho n i g m a n a n d t he De r mance o Pe r f t a e r Where G

ra –

Recognized as one of Michigan’s premier law firms, Honigman Miller Schwartz and Cohn LLP provides exceptional legal services that help businesses and individuals succeed. We work in harmony with our clients to deliver the highest caliber solutions to achieve their objectives.

Performance / Vol . X X / Fall 201 1

emotional state or the situation in which the hero finds himself. The work is cast in five movements, each of which bears a subtitle. Comments in quotation marks are those of the composer. Rêveries and Passions (Visions. Passions) The first movement depicts “the artist” who takes opium and falls into a dreamlike state where he thinks of his beloved — “the ideal being of whom he has dreamed.” For him, she is linked to a musical idea, and both “the melodic image and its human model pursue him incessantly like a double idée fixe…. The passage from this state of melancholic reverie, interrupted by a few fits of unmitigated joy, to one of delirious passion, with its movements of fury and jealousy, its return of tenderness, its tears, its religious consolation — all this is the subject of the first movement.” Un Bal (A Ball) “The beloved’s image appears before him and troubles his soul.” According to the printed program “amidst the confusion of a brilliant festival, he finds the loved one again.” The beloved is represented by the same idée fixe, now transformed into a gentle waltz, played by the strings and harp. The accompanying strings occasionally play fragments of the opening melody, as if to suggest the ongoing festivities occurring in the background. Scène aux champs (In the Countryside) Calmed by the sound of shepherds piping in the distance (oboe and English horn), by “the quiet rustling of trees gently disturbed by the wind,” the artist begins to wonder if his beloved might be deceiving him. He feels “a mixture of hope and fear…ideas of happiness disturbed by black presentiments.” At the end of the movement, the attempt to resume the opening conversation (with one voice now missing and with only the rumble of timpani in its place) paints an extraordinary picture of despair and loneliness. Marche au supplice (March to the scaffold) “Having become certain that his love goes unrecognized, the artist poisons himself with opium.” However, instead of dying, he “dreams that he has killed the woman that he loves, that he is condemned, led to the scaffold, and that he is witnessing his own execution.” Songe d’une nuit du Sabbat (Dream of a witches’ Sabbath) The artist sees himself “in the midst of a frightful assembly of ghosts, sorcerers, monsters of every kind, all come together for his funeral.” The melody representing

Ho n i g m a n a n d t h e C

www.dso.org

rM e b m

his beloved (who is now no more than a common courtesan) is now “no more than the tune of an ignoble dance, trivial and grotesque…she takes part in the devilish orgy…funeral knell, burlesque parody of the Dies Irae” (“Day of Wrath,” a plainchant melody that was most likely written in the 13th century and has since been used in Catholic masses for the dead). Although written nearly two hundred years ago, Berlioz’s Symphonie fantastique remains an audacious and thrilling work and its effect on the following century was profound. Its exploitation of orchestral color

and its use of an external narrative in a dramatic program would influence composers for years to come. The DSO last performed Berlioz’s Symphonie fantastique for a Young People’s Concert in October 2009, with Charles Greenwell conducting. SO Shop @ The Ma x D recommends:

Berlioz – Symphonie Fantastique: Michael Tilson Thomas conducting the San Francisco Symphony, San Francisco Symphony 0033.

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

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

www.dso.org

Performance / Vol . X X / Fall 201 1

Profiles Jonathan Tunick Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Pops Series

An Evening of Rodgers and Hammerstein Friday, October 14, 2011 at 10:45 a.m. Saturday, October 15, 2011 at 8:00 p.m. Sunday, October 16, 2011 at 3:00 p.m. in Orchestra Hall

Jonathan Tunick, conductor / Diana Basmajian, director Shuler Hensley, baritone # / Kate Baldwin, mezzo-soprano+ Wayne State University Symphonic Choir,* Norah Duncan IV, director Music and Lyrics for this program by Richard Rodgers and Oscar Hammerstein II

Music by Richard Rodgers Overture from South Pacific (1902-1979) Lyrics by Oscar Hammerstein II (1847-1919) Arr. Jonathan Tunick

Orch. by Robert Russell Bennett Surrey with the Fringe on Top from Oklahoma + #

Arr. By Jonathan Tunick Mr. Snow from Carousel + Orch. by Don Walker If I Loved You from Carousel + # Orch. by Robert Russell Bennett A Wonderful Guy from South Pacific + * Orch. by Don Walker When the Children Are Asleep from Carousel + # Carousel #

Orch. by Don Walker Soliloquy from

Arr. Jonathan Tunick It Might As Well Be Spring from State Fair +

Orch. by Don Walker You’ll Never Walk Alone from Carousel #*

I n ter m ission

Richard Rodgers The Carousel Waltz from Carousel Orch. by Don Walker Orch. by Robert Russell Bennett There is Nothin’ Like A Dame from South Pacific #* Arr. Jonathan Tunick Out of My Dreams from Oklahoma + Orch. by Robert Russell Bennett Hello, Young Lovers from South Pacific +

Some Enchanted Evening from South Pacific + # Edelweiss from The Sound of Music #

It’s a Grand Night for Singing from State Fair + # * Oklahoma from Oklahoma + # *

Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances. The DSO can be heard on the DSO, Chandos, London, RCA and Mercury Record labels.

Performance / Vol . X X / Fall 201 1

Jonathan Tunick’s long Broadway career as orchestrator includes such titles as Company, Follies, A Little Night Music, Pacific Overtures, Sweeney Todd, Merrily We Roll Along, Into The Woods, Passion, The Frogs Tunick and Road Show, as well as films like Promises, Promises, A Catered Affair, LoveMusik, A Chorus Line, The Color Purple, Titanic and Nine. He has worked as composer and conductor of film scores for Mike Nichols, Franco Zeffirelli and Sidney Lumet, on titles like Blazing Saddles, Young Frankenstein and TV classics Murder, She Wrote and Columbo. He has worked as arranger and conductor on records by Bernadette Peters, Judy Collins, Itzhak Perlman, Placido Domingo, Johnny Mathis, Bette Midler, Barbra Streisand and Paul McCartney. Tunick’s recent album accompanying vocalist Kate Bush is due for release shortly. With his Tony, Emmy, Grammy and Academy Awards he is one of only eight people holding all four major awards. In 2009 he was elected to the Theatre Hall of Fame.

Kate Baldwin

Kate Baldwin is a veteran of Broadway and national stages alike. Her starring role in the recent revival of Yip Harburg’s and Burton Lane’s classic musical, Finian’s baldwin Rainbow, launched her into the same league as Broadway’s finest. She received 2010 Tony, Drama Desk and Outer Critic’s Circle Award nominations for her portrayal of Sharon McLonergan. Baldwin has appeared in the Broadway casts of The Full Monty, Thoroughly Modern Millie and Wonderful Town. She starred in the national tour of Irving Berlin’s White Christmas, Henry V at the Shakespeare Theatre of New Jersey, The Women at San Diego’s Old Globe, She Loves Me at the Willliamstown Theatre Festival, and South Pacific at Arena Stage, earning a Helen Hayes Award nomination. Her concert work includes several appearances with Stephen Sondheim as a featured performer in his critically acclaimed evening, “A Conversation with Stephen Sondheim.” She has appeared at the Chicago www.dso.org

Humanities Festival, as well as sung with the National Symphony Orchestra in Washington, DC, the Portland Symphony Orchestra, The Chesapeake Orchestra and the New York Pops. On television, her work includes a guest appearance on NBC’s “Law & Order: SVU” and a featured role in the PBS filming of Stephen Sondheim’s Passion. Her film work includes “Brooklyn Brothers Beat the Best” due out this Fall. Baldwin’s debut album on PS Classics entitled “Let’s See What Happens” features Lane and Harburg songs from both stage and feature films. She released her second recording in July 2011 entitled, “She Loves Him.” It celebrates the work of Pulitzer Prize and Tony-winning lyricist Sheldon Harnick and features him on five songs.

Shuler Hensley

Shuler Hensley won a Tony Award for his searing portrayal of Jud Fry in the Broadway revival of Oklahoma! for which he also received an Olivier in London. Other hensley Broadway appearances include Young Frankenstein, Tarzan, and Les Miserables. On film, Shuler was featured in Van Helsing, The Legend Of Zorro, and the upcoming Odd Thomas. Recent concert appearances with Michael Tilson Thomas include The Thomashevsky Project, with the New York Philharmonic, San Francisco and New World Symphonies (filmed for PBS), and the Philadelphia Orchestra. Shuler will return to San Francisco for performances of Schoenberg’s Survivor From Warsaw, again conducted by Tilson Thomas.

and in Germany, Poland and Australia. He was music director and principal organist for the Cathedral of the Most Blessed Sacrament for over 26 years, and in 1987 he was director of music Duncan for the visit of Pope John Paul II to Detroit. As a choral director, Duncan has presented concerts under the Cathedral Cultural Series with the Archdiocesan Chorus, and has collaborated in concerts with many Detroit area choral ensembles. Duncan has prepared choruses for the DSO, the Detroit Symphony Civic Orchestra and the Grosse Pointe Symphony Orchestra. In 2004 and 2005, he directed the Michigan Youth Choral Ensemble at Carnegie Hall. Duncan has received the Award for Excellence for Musical Direction from the American College Theater Festival, the Sr. Thea Bowman Award of the Archdiocese of Detroit, the Spirit of Detroit Award and the Mother Teresa Duchemin Award for exemplary community service. In 2006,

he became the first recipient of the DSO’s “Changing Lives through Music” Award. In 2008, Duncan received the Wayne State University Board of Governors Faculty Recognition Award for his contributions to academic excellence and scholarship.

Wayne State University Symphonic Chorus

The Wayne State University Symphonic Chorus is a mixed ensemble made up of the 34-voice WSU Concert Chorale and additional auditioned singers from the metro Detroit community. The Concert Chorale is a highly selected choral ensemble which performs literature of the 16th through 20th centuries, including compositions with orchestra and works in contemporary formats. The group has performed locally, regionally, nationally and internationally at American Choral Directors Association conventions, music educators conferences, and at festivals throughout Europe. The Wayne State University Symphonic Chorus has performed with the DSO, the Detroit Symphony Civic Orchestra, and at many local and regional choral festivals.

Norah Duncan IV

Norah Duncan IV is Associate Chair and Associate Professor of Music at Wayne State University, where he directs the WSU Concert Chorale and the WSU Symphonic Chorus, and coordinates many of the choral concerts presented by the Department of Music. Duncan received a Bachelor of Arts degree from the University of Detroit, a Master of Music degree from WSU, and a Doctor of Musical Arts degree from the University of Michigan. As an organist, Duncan has performed extensively in both the United States and Europe. Recently, he presented organ recitals throughout Michigan and Ohio, www.dso.org

Peter and Laurie Psarianos BUILDERS, RESTORATIONS, EXPERT ASSESSMENT LARGE COLLECTION OF QUALITY STRINGED INSTRUMENTS & BOWS QUALITY RENTALS, ACCESSORIES & MUSIC LIBRARY WWW.PSARIANOSVIOLINS.COM INFO@PSARIANOSVIOLINS.COM

79 E. MAPLE, TROY, MI 48083 TEL 248.689.8424 | FAX 248.689.6162 HOURS BY APPOINTMENT AT: 157 EAST HOOVER, ANN ARBOR, MI 48104 TEL 734.761-8423 | FAX 734.761.8450 24 HOUR MAIL ORDER & MESSAGE TOLL FREE: 1-800-697-VIOL

Performance / Vol . X X / Fall 201 1

Profiles Jerzy Semkow Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Classical Series Thursday, October 20, 2011 at 7:30 p.m. Friday, October 21, 2011 at 8:00 p.m. in Orchestra Hall

Jerzy Semkow, conductor Kirill Gerstein, piano

Carl Nielsen Helios Overture, Op. 17

Franz J. Liszt Piano Concerto No. 2 in A major

(1865-1931)

(1811-1886) Kirill Gerstein, piano

I n ter m ission

Piotr Ilyich Tchaikovsky Symphony No. 6 in B minor, Op. 74, (1840-1893) “Pathétique”

I. Adagio - Allegro non troppo II. Allegro con grazia III. Allegro molto vivace IV. Finale: Adagio lamentoso

Jerzy Semkow has won international acclaim through his appearances with the world’s leading orchestras and opera companies. His conducting posts have included tenures semkow as Music Director of the Saint Louis Symphony, Principal Conductor of the Royal Danish Opera and the Royal Danish Orchestra in Copenhagen, Music Advisor and Principal Conductor of the Rochester Philharmonic, Music Director of the Orchestra of RadioTelevisione Italiana (RAI) in Rome, and Artistic Director of the National Opera in Warsaw. Maestro Semkow has conducted many of the most renowned orchestras in Europe and America, including the Rochester Philharmonic, the Toronto Symphony, the Orchestre Philharmonique de Radio France, the Pittsburgh Symphony, the Utah Symphony and the Warsaw Philharmonic Orchestra. He has also conducted the Ensemble Orchestral de Paris, the Orchestre National de France and the Orchestre National de Lyon, among others. As an operatic conductor, Maestro Semkow’s engagements have included productions at the Teatro alla Scala in Milan, the Royal Opera House at Covent Garden, the Grand Theatre of Geneva, the Maggio Musicale in Florence, La Fenice in Venice, the Teatro del Opera of Rome and the Aix-en-Provence Festival. A prolific and award-winning recording artist, Maestro Semkow’s extensive discography includes the first complete original version of Mussorgsky’s “Boris Godunov” for EMI (a recording honored with several international awards) as well as major works of Tchaikovsky, Brahms and Mozart, among many others.

Sponsors

PVS Chemicals, Inc.

Get the most out of each concert by attending ConcerTalks, one hour prior to performances (excluding Coffee Concerts). ConcerTalks are informal and may include special guests, lectures and music that reveal interesting facts about the program and provide a behind-the-scenes look at the art of making music. Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances. The DSO can be heard on the DSO, Chandos, London, RCA and Mercury Record labels.

Performance / Vol . X X / Fall 201 1

Louis Langrée is Music Director of the Mostly Mozart Festival at Lincoln Center in New York, a position he has held since 2002 and has recently been appointed Langrée Chief Conductor of the Camerata Salzburg. During the 2011/12 season, Langrée will conduct three productions at the Wiener Staatsoper (Eugene Onegin, Le Nozze di Figaro, La Clemenza di Tito) and La Bohème at the Metropolitan Opera in New York. His many other orchestral engagements include re-invitations to the symphony orchestras in Sao Paulo, Detroit, St Louis and Baltimore and also to the Deutsche Kammerphilhamonie and Scottish Chamber Orchestra. Last season Langrée made two important debuts in Austria, at Wiener Staatsoper conducting La Bohème and with the Wiener Philharmoniker at the Mozartwoche in Salzburg. He also made his debuts with the Budapest Festival, St Louis and Cincinnati Symphony Orchestras. Langrée has worked with many other orchestras in North America, Europe and further afield, including Pittsburgh, Dallas, Orchestre de Paris, Orchestre de la Suisse Romande, Hallé, Netherlands Philharmonic, Santa Cecilia in Rome and Tokyo Philharmonic. He also regularly conducts period instrument orchestras such as the Freiburger Barockorchester, Orchestra of the Age of Enlightenment and Le Concert d’Astrée. He has held positions as Music Director of the Orchestre de Picardie, Orchestre Philharmonique de Liège, Opéra National de Lyon, and Glyndebourne Touring Opera. He has worked regularly at the Metropolitan Opera in New York and Glyndebourne Festival Opera. He has also conducted at La Scala, the Royal Opera House Covent Garden, Lyric Opera of Chicago, Dresden Staatsoper, Grand Théâtre in Geneva, Opéra-Bastille and Théâtre des Champs-Elysées in Paris and the Netherlands Opera in Amsterdam. Louis Langrée’s discography includes recordings for Virgin Classics, Universal and Naïve. Many of these have won awards including Diapason d’Or, Gramophone and Midem Classical. In 2006 he was appointed Chevalier des Arts et des Lettres by the French Ministry of Culture. www.dso.org

Kimberly Ann Kaloyanides Kennedy Acting Concertmaster Katherine Tuck Chair

Kimberly Ann Kaloyanides Kennedy won her coveted position as a violinist with the Detroit Symphony Orchestra at the age of 22. In 2003, Kennedy further realized her dream kennedy when she became Associate Concertmaster until being appointed Acting Concertmaster in 2011. Kennedy began studying violin at age 5 in Dayton, Ohio. As the daughter of a Minister of Music and church organist, she was allowed many chances to share from her heart in front of congregations. Her love of music became what undoubtedly would be her career as she pursued her studies at Brevard Music Center, Interlochen Arts Camp, Sarasota Music Festival, four summers at the Aspen Music Festival on Fellowship, three years at the Harid Conservatory in Boca Raton, Florida with Sergiu Schwartz and finally at the University of Michigan with Paul Kantor. Halfway through her senior year at University of Michigan, she joined the first violin section of the DSO. Throughout her training, Kennedy has received such honors as the Grand Prize in the National MTNA competition and first prize in the Greek Women’s National Competition in Chicago. She has participated in the Skokie Valley Concerto Competition, the Universtiy of Michigan Concerto Competition and the Harid Conservatory Concerto Competition. She was one of the few Americans invited to the International Violin Competition of Indianapolis in 1998. She enjoys performing chamber music regularly around Michigan with the Detroit Chamber Winds and Strings, CutTime Players and CutTime Sinfonica. Kennedy and her husband, Bryan Kennedy, second horn of the DSO, are strongly committed to this orchestra and to this region. They believe in the future of the DSO and intend to work diligently to ensure that it remains internationally renowned and artistically revered. Kimberly and Bryan live in Plymouth with their two beautiful children, Ethan and Lauren, two dogs and two cats. www.dso.org

Program Notes Wu Xing (“The Five Elements”) for instrumental ensemble (composed 1998-1999) Qigang Chen

B. 1951, Shanghai, China

Wu Xing was commissioned by Radio France in 1998. The work is scored for three flutes (the third doubling piccolo), three oboes (the third doubling English horn), three clarinets (the second doubling on E-flat clarinet and the third doubling on bass clarinet), three bassoons (the third doubling on contrabassoon), four horns, three trumpets, three trombones, tuba, four percussion (playing Temple blocks, Wood Blocks, Bamboo Wind Chimes, Bass Drum, Glockenspiel, Log Drum, Marimba, Metal Wind Chimes, Suspended Cymbal, Tam Tam, Triangle, Tubular Bells, Vibraphone and Xylophone), Harp and Celeste (approximately 10 minutes).

igang Chen began learning music as a child. At the time when Cultural Revolution broke out in China, he was studying at the Music Middle School of the Central Conservatory of Music in Beijing. His father, administrator of the Beijing Academy of Fine Arts, a famous calligrapher and painter, was immediately judged “bourgeois”, “anti-revolutionary”, and sent to a labor camp. Young Chen was kept in confinement for three years and underwent “ideological re-education.” Yet his passion for music remained unwavering: he continued learning composition and orchestration, in spite of a climate that was distinctly anti-cultural. In 1977, the Chinese government re-established the contest system for entering upper schools. Chen was one of the 26 candidates (among more than 2,000) who successfully passed the entry examination of the Central Conservatory of Music in Beijing. For five years he studied composition with Luo Zhonghong. In 1983, he was the first nominee at the National postgraduate contest and thus got the opportunity to go abroad and pursue a Master’s degree. And that was how he discovered France. For a period of four years he received a State grant which allowed him to study with Olivier Messiaen. In addition to Messaien, he simultaneously worked with Ivo Malec, Betsy Jolas, Claude Ballif and Claude Castérède. In 1987, Chen pursued a training course for composers at IRCAM as well as a musical composition course at the Academia Chigiana in Siena with Franco Donatoni. In

1988, Chen obtained the Diplôme supérieur de Composition at the Ecole Normale de Musique, by unanimous vote and with the congratulations of the jury. In 1989, he obtained the Diplôme de Musicologie at the University of Paris-IV Sorbonne. The composer writes: “This commission immediately raised all my interest, for the proposition coincided with a period of personal quest. The challenge pleased me and I took it up as a style exercise, supported by the pressure of the duration and making it a rule for new pressures to me. Such was the original idea which led me to write five pieces of two minutes each. Before I decided to go further in this process, I undertook to characterize each piece by one different symbol. From there was born the idea of representing the five elements (Wu Xing). Because according to the I Ching, five elements constitute the universe; this is to say metal, wood, water, fire and earth. In Chinese: Jin, Mu, Shui, Huo, Tu. To [be able to] characterize a symbol musically in an extremely short time and to present a tangible material in an abstract language were my lines of strength. But even more than that, [the goal was] to establish relationships between the materials, so that each element generated the next one as if the last was the consequence of the first.” This performance of Wu Xing is a Detroit Symphony Orchestra première. SO Shop @ The Ma x D recommends:

Chen – Wu Xing: Didier Benetti conducting the Orchestre National de France, Virgin 86358.

Havanaise for Violin and Orchestra, Op. 83 Camille Saint-Saëns

B. October 9, 1835, Paris D. December 16, 1921, Algiers

Saint-Saëns’ Havanaise is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings (approximately 11 minutes).

amille Saint-Saëns was a gifted, fluent and prolific composer who embodied in his works many of what are considered to be quintessentially “French” qualities, above all clarity and order. He impressed a whole generation with his intellectual mastery of Performance / Vol . X X / Fall 201 1

the art of music and his lucid interpretations at the keyboard. A frail, tubercular child, Camille was raised with the aid of his mother’s aunt (his father having died only a few months after his birth), who began to teach him piano when he was two and a half years old. He had perfect pitch and displayed the precocity of a Mozart by composing his first piano piece shortly after his third birthday. In 1846, at the age of 10, Camille made his formal debut at the Salle Playel with a program that included piano concertos by Beethoven and Mozart. As an encore, he offered to play any one of Beethoven’s piano sonatas — from memory! Saint-Saëns’ dazzling gifts won him the friendship and patronage of Pauline Viardot, Charles Gounod, Gioacchino Rossini and Hector Berlioz. Berlioz said of him: “He knows everything but lacks inexperience.” Franz Liszt was also much impressed by him as both a pianist and a composer. Saint-Saëns’ Havanaise in E major, Op. 83 for Violin and Orchestra, was composed in 1887, and was first performed by the violinist Marsick. It is based on the rhythm of the “Habanera,” a Cuban dance popular in the 19th century, which had arrived in Cuba from France, via Haïti. The habanera has a distinctive rhythm, which is notated thus: A distinctive feature of the original habanera is that it was sung as well as danced. The DSO last performed Saint-Saëns’ Havanaise in E Major for Violin and Orchestra in December, 2001, at a special concert conducted by Music Director Emeritus Neeme Järvi. SO Shop @ The Ma x D recommends:

Saint-Saëns – Havanaise: Janine Jansen, violin; Barry Wordsworth conducting Royal Philharmonic Orchestra, Decca B0002009.

Tzigane, for Violin and Orchestra

( Joseph-) Maurice Ravel

B. March 7, 1875, Ciboure, France D. December 28, 1937, Paris, France)

Ravel’s Tzigane is scored for two flutes (second doubling piccolo), two oboes, two clarinets, two bassoons, two horns, one trumpet, timpani (as well as the following percussion: Cymbals, Large and Small Suspended Cymbal, Orchestra Bells, Triangle), Celeste and strings (approximately 9 minutes). 26

Performance / Vol . X X / Fall 201 1

rench composer Maurice Ravel was an important innovator in pianistic style, an orchestrator of genius, a sophisticated harmonist and, on occasion, a bold and successful experimenter with musical form. His work is informed by sympathies with the worlds of children and of animals; with imagined exotic and antique life. With the death of Debussy in 1918, there were many who viewed Maurice Ravel as the leading figure in French music. His success with the public had grown steadily since the early Pavane pour une infante defunte and Jeux d’eau, both of which had quickly established themselves as favorites with pianists both at home and abroad. His next great success came with the production of L’heure espagnole at the Opéra-Comique in 1911; a year later, Daphnis et Chloé was staged and went into the touring repertory of the Ballets Russes. Ravel always felt an intense need for privacy. He made a mystery of the creative process, revealing a work only when the final touches had been applied to its composition. He felt music was his true vocation: “It’s lucky I’ve managed to write music, because I know perfectly well I should never have been able to do anything else.” The peculiar nature of Ravel’s creative mind demanded special conditions for the pursuit of that vocation. With Debussy, the creative process lay in evolution; with Ravel, it was in crystallization, and an exceptional spiritual stillness was necessary for the process to be accomplished. He worked in solitude and with great concentration. The music took shape on “long expeditions in the woods, whatever the weather; nightly walks across Paris;” then, abruptly, he would retreat from the world to transfer his work to paper. For Ravel, the mysterious was clearly understood to have a leading role in the process of composition. Ravel’s Tzigane was commissioned by and dedicated to the Hungarian violinist Jelly d’Aranyi, great-niece of the violin virtuoso Joseph Joachim. The original instrumentation was for violin and piano (with optional luthéal attachment). The first performance took place in London on April 26, 1924, with the dedicatee on violin and with Henri Gil-Marchex at the piano (with luthéal). The luthéal was a new piano attachment (first patented in 1919) with several tonecolor registrations that could be engaged by pulling stops above the keyboard. One of these stops had a cimbalom-like sound, which fit well with the gypsy-esque feel of the piece. The luthéal, however, did not last. In this sense Tzigane can be compared to Schubert’s Arpeggione Sonata, another piece which was written to promote an uncommon instrument, and when the

composition proved to be more popular than the instrument, the execution was shifted to another instrument (the cello, in Schubert’s case). Ravel soon orchestrated the piece, and this version was first performed on November 30, 1924 in Paris with the Concerts Colonne, under the direction of Gabriel Pierné. The title of the piece is derived from the generic European term for gypsy, although it does not use any authentic gypsy melodies. The “gypsy” style of the work was a kind of popular musical exoticism, comparable to the Spanish exoticism of Wagner’s day (as in Chabrier’s España) or the Turkish exoticism of Mozart’s day (as in the Rondo alla Turca). Tzigane opens with a long, slowly moving cadenza for the solo violin. There is a second cadenza, this time for harp, which precedes the central section of the work: a fiery gypsy melody for the violin. The music develops, through the employment of other melodies and dances of a gypsy flavor, into a sort of rhapsody and ends in a swirl of vibrant color and motion. The DSO last performed Ravel’s Tzigane in May of 2004, with Thomas Wilkins conducting a Young People’s Concert. SO Shop @ The Ma x D recommends:

Ravel – Tzigane: Janine Jansen, violin; Barry Wordsworth conducting Royal Philharmonic Orchestra, Decca B0002009.

Symphony No. 5 in C minor, Op. 67 Ludwig van Beethoven

B. December 15 or 16 (baptized, December 17), 1770, Bonn, Germany D. March 26, 1827, Vienna, Austria)

Beethoven’s Symphony No. 5 in C minor, Op. 67 was first performed on December 22, 1808, along with the Symphony No. 6 in F major, Op 68 (“Pastoral”); Beethoven conducted. It is scored for two flutes and piccolo, two oboes, two clarinets, two bassoons and contrabassoon, two horns two trumpets, three trombones, timpani and strings (approximately 36 minutes).

t is fitting that Beethoven’s greatest symphonic expression, the one that remains the most innovative and wondrous, the “consummate example of symphonic logic,” the Fifth Symphony, was finished in Vienna in 1808 at the peak of that city’s sociopolitical reactionary period. The symphony sounds inevitable and irrefutable, as though it flowed complete www.dso.org

from the composer’s pen; however, Beethoven did not create it overnight, and in fact, the work required a considerable gestation period. The composer actually began sketching it in 1800, even before beginning work on the Eroïca. The work is largely constructed on just two notes, with the first one being repeated three times. There is hardly a measure in the entire symphony in which this two-note formula (or a portion of it) does not appear in some recognizable form. The cyclical nature of Beethoven’s Fifth Symphony makes it a forerunner of later 19th-century cyclical symphonic compositions, such as César Franck’s Symphony in D minor and Franz Liszt’s Faust Symphony. Be that as it may, the first movement is far from being a mere mosaic of short motifs; in Beethoven’s hands, this very basic material becomes exceptionally long-breathed. The secret of the movement’s psychological impact lies in Beethoven’s total control of its progress: a bar more (or less) and the entire structure would begin to teeter. Marked Andante con moto, the second movement is the closest thing the Fifth has to a slow movement. On the surface, it seems like an old-fashioned set of double variations such as Franz Joseph Haydn might have written. The fact that Beethoven linked together the third and fourth movements, and that a portion of the third is repeated literally in the fourth, caused some speculation among early writers regarding a possible programmatic connection; however, the primary reason for this development has more to do with the cyclical factor and the summary nature of the fourth movement than any imagined program. While the last two movements as we know them now form a unit, this was not always to be so: there exist sketches for an abandoned finale in C minor, in 6/8 time, which was marked l’ultimo pezzo (“the last piece”). The solution that Beethoven arrived at instead — an unsettling Scherzo, in which strange mutterings alternate with passionate cries, dissolving into a C-major blaze, interrupted once by the phantom of the Scherzo – was one that appealed strongly to generations of composers to follow. Its lesson was not lost on Brahms, who exploited the minor-turned-to-major device in his First Symphony. Never before had a finale taken on such meaning and importance, resolving as it does all previous conflicts in triumphant optimism. As grand as the Finale is, it is not grandiose; it is poetic rather than rhetorical, logical rather than histrionic. Beethoven has sometimes been criticized as a poor orchestrator, and there are passages, certainly, that reflect the limitations of the instruments he was writing for at the time. www.dso.org

But no one who listens closely to the last two movements of the Fifth Symphony will doubt that he was sensitive to instrumental color. Who has more knowingly exploited the ability of the double basses to evoke a sense of mystery? And if musical sophisticates should find fault with the outbursts of trombones and contrabassoon, or the whoops of joy in the piccolo in the finale, would they care to suggest how these might be improved upon? The DSO first performed Beethoven’s Fifth Symphony on November 12, 1915, at the (old) Detroit Opera House (off Campus

Martius, likely the 1898 incarnation, as the original building from 1869 was destroyed by fire in 1897), in a program conducted by Weston Gales. The most recent DSO performance of this work was as part of a Target Family Concert in July, 2010, with Chelsea Tipton II conducting. SO Shop @ The Ma x D recommends:

Beethoven – Symphony No. 5: Carlos Kleiber conducting the Vienna Philharmonic Orchestra, Deutsche Grammophon 447400.

201 1

Grand Valley’s Fall Arts Celebration is a highly popular and much anticipated annual showcase for the arts, humanities, and liberal education in West Michigan.

GRAND VALLEY STATE UNIVERSITY PRESENTS

FALL ARTS CELEBRATION

Please join us this fall for an entertaining and enlightening celebration.

ENRICHING THE ARTS AND HUMANITIES IN WEST MICHIGAN

GVSU Music Department presents

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

Poetry Night

“An Evening of Poetry and Conversation with Ted Kooser and Terrance Hayes” friday, oCtober 21, 7 p.M. L.V. eberhard Center, 2nd fLoor robert C. pew grand rapidS CaMpuS

Monday, SepteMber 12, 8 p.M. LouiS arMStrong theatre perforMing artS Center aLLendaLe CaMpuS

Distinguished Academic Lecturer

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

GVSU Music and Dance Faculty and Students present

“The Spanish Tradition: Manuel de Falla, El Corregidor y la Molinera” Monday, oCtober 24, 8 p.M. LouiS arMStrong theatre perforMing artS Center aLLendaLe CaMpuS

thurSday, SepteMber 22, 7 p.M. L.V. eberhard Center, 2nd fLoor robert C. pew grand rapidS CaMpuS

A Fall Arts Celebration Holiday Gift

Art Gallery Exhibition

“Arte Argentino Actual/ Contemporary Argentine Art”

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

opening reCeption thurSday, oCtober 6, 5–7 p.M. art gaLLery perforMing artS Center aLLendaLe CaMpuS

Monday, deCeMber 5, 8 p.M. fountain Street ChurCh 24 fountain Street ne grand rapidS, Mi

exhibition dateS: oCtober 6–noVeMber 4

Media Sponsor:

GRAND VALLEY STATE UNIVERSITY THANKS THE FOLLOWING SPONSORS FOR THEIR COMMITMENT TO THE ARTS AND THEIR GENEROUS SUPPORT OF FALL ARTS CELEBRATION 2011: Ginny Gearhart and the Gearhart Family • Liesel and Hank Meijer Elaine and Larry Shay • Judy and Peter Theune

Fall Arts events are free and open to the public.

for CoMpLete SCheduLe and More detaiLed inforMation ViSit WWW.GVSU.EDU/FALLARTS/.

Performance / Vol . X X / Fall 201 1

Detroit Symphony Orchestra

Leonard Slatkin, Music Director

Make Orchestra Hall Your Home for the Holidays POPS SERIES

Presents

A Natalie MacMaster Christmas in Cape Breton

Holiday Classics

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

The Four Seasons!

Thur., Dec. 8 at 7:30 p.m. Sat., Dec. 10 at 8 p.m. Matthew Halls, conductor Nicola Benedetti, violin Bach Orchestral Suite No. 3 Handel Water Music Suite Vivaldi Four Seasons

HOME FOR THE HOLIDAYS Leonard Slatkin, conductor

Fri., Dec. 16 at 10:45 a.m. Sat., Dec. 17 at 3 p.m. & 8 p.m. Sun., Dec. 18 at 3 p.m.

Handelâ&#x20AC;&#x2122;s Messiah

Sat., Dec. 10 at 3 p.m. Sun., Dec. 11 at 3 p.m. Christopher Warren-Green, conductor Handelâ&#x20AC;&#x2122;s grand masterpiece, a timeless classic that is a moving musical experience and sure to bring in the season.

www.dso.org or Call 313.576.5111 28

Performance / Vol . X X / Fall 201 1

GROUPS OF 10 OR MORE please CALL 313.576.5130 www.dso.org

General Information Parking Valet Parking is available on Woodward Avenue in front of the main entrance for $12 per vehicle. Secure Garage Parking is available for $7 per vehicle at the Orchestra Place Parking Deck on Parsons St. between Woodward Ave. and Cass Ave. For improved traffic flow, please enter Parsons St. from Cass Ave. DSO security personnel monitor the grounds of the Max and the parking deck, as well a surrounding streets during all events and concerts. The parking deck has reserved space for patrons with handicap permits. Parking for Coffee Concerts is also available in the Orchestra Place Parking Deck. The DSO offers shuttle bus service to Coffee Concerts from selected locations. Call 313.576.5130 for more information.

during intermission. We invite you to place your beverage orders with the bartenders prior to the start of the concert and your order will be waiting for you at intermission! Smoking The DSO is pleased to offer a smokefree environment at the Max M. Fisher Music Center. Smoking is not permitted anywhere inside the building. Patrons who wish to smoke must do so outside the building. An outdoor patio is also available on the second level of the Atrium Lobby.

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

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

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

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

after the conclusion of the first work on the program. Patrons who leave the hall before or during a work will be reseated after the work is completed. Ushers will alert patrons as soon as it is possible to be seated. House lights are dimmed to indicate that the concert is about to begin. Latecomers will be able to watch the performance on closedcircuit television in the Atrium Lobby. Cameras and Tape Recorders Non-flash photography and video recording by silenced handheld devices are allowed during DSO performances. We encourage you to share your best pictures at www.facebook.com/ detroitsymphony. Concert Cancellations To find out if a scheduled performance at the Max M. Fisher Music Center has been cancelled due to inclement weather, hazardous roads, power outages or other emergencies, call the Box Office at 313.576.5111, or tune in to WJR 760 AM and WWJ 950 AM. Pagers, Phones, Watches and Extraneous Sounds Cellular phones, pagers and alarm watches must be turned off while at the Max M. Fisher Music Center. Patrons should speak to the House Manager to make special arrangements

to receive emergency phone calls during a performance. The DSO thanks you for your cooperation in avoiding any extraneous sounds during the concerts. The hall microphones used to record the orchestra are extremely sensitive and will even record the sound of a wristwatch chime. Lost and Found See the House Manager or call 313.576.5121 during business hours. Gift Certificates Give friends and loved ones a gift that lasts all year long—the experience of a DSO performance. Gift certificates are available in any denomination and may be used toward the purchase of DSO concert tickets. Visit the DSO Box Office at the Max M. Fisher Music Center or call 313.576.5111 for more information. Max M. Fisher Music Center Rental Information The Max M. Fisher Music Center is an ideal setting for a variety of events and performances. For information on renting the facility, please call 313.576.5050. Rental information is also available online at www.dso.org/rent.

Administrative Staff Executive Office

Education

History/Archives

Anne Parsons President and CEO

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

Paul Ganson Historian

Paul W. Hogle Executive Vice President Patricia Walker Chief Operating Officer Rozanne Kokko Chief Finance and Business Officer

Cameron Ferguson Civic Youth Ensembles Coordinator Emily Lamoreaux Manager of Civic Youth Ensembles

Cynthia Korolov Archivist

Paul Yee Retail Sales Manager

Patron & Institutional Advancement

Patron Engagement & Loyalty Programs

Reimer Priester Senior Director of Patron and Institutional Advancement

Aja G. Stephens Executive Assistant

Cecilia Sharpe Manager of Education Programs

Orchestra Operations & Artistic Planning

Facility Operations

Marianne Dorais Foundation and Government Relations Officer

Sue Black Facilities Coordinator

Bradley Schick Corporate Relations Manager

Larry Ensman Maintenance Supervisor

Patron Development & Sales

Erik Rönmark Artistic Administrator Kareem George Managing Director of Community Programs Kathryn Ginsburg Operations and Pops Coordinator Charles Greenwell Conducting Assistant Heather Hart Assistant Orchestra Personnel Manager Keith Koppmeier Director of Pops and Special Programs Stephen Molina Orchestra Personnel Manager Nicole New Artistic Liaison Alice Sauro Director of Operations and Executive Assistant to the Music Director

Greg Schimizzi Chief of Security Finance Donielle Hardy Controller Jeremiah Hess Director of Finance Sandra Mazza Accountant Nancy Prochazka Payroll Accountant Information Technology Dick Jacques Director of Information Technology Laura Lee Information Services Specialist

Gabrielle Poshadlo Publications and Constituent Communications Coordinator

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

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

Jennifer Kouassi Front of House Manager

Tiiko Reese-Douglas Patron Engagement Officer

Heather Mourer Neighborhood Audience Development Manager

Eric Woodhams Manager of Digital Media and Engagement

B.J. Pearson Senior Manager of Event Operations www.dso.org

Performance / Vol . X X / Fall 2011

The DSO Education Department — an ecosystem of music learning accessible • excellent • inspirational • diverse • empowering Super Saturdays

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

DSO @ Liggett

Civic Creative Jazz Ensemble

Civic Sinfonia

Detroit Symphony Orchestra

Educational Concert Series

Young People’s Concerts

Civic Philharmonic

Civic in Concert WRCJ

Civic Jazz Band

Orchestra Hall

Civic Wind Symphony

Allegro Civic String Orchestra

Pincus Education Center

Civic Orchestra

The Civic Experience

Civic Jazz Orchestra

Civic Baroque @ UPA

Leonard Slatkin

Tiny Tots

Civic Jazz Concert Band

Civic Chamber Music

Civic Creative Jazz Workshop

Music Learning Alliance

Civic Combo Program

CYE 2011-2012 Season Kick-off

Education Concert Series For more than 80 years the Education Concert Series (ECS) has introduced classical music to metro-Detroit school children with concerts featuring interactive classical programs for children in grades 3-8 and reaching 20,000 students annually. Performances last approximately 50 minutes. The series is composed of four free concerts at community schools and eight concerts performed at Orchestra Hall for $5 admission. For a registration information form for ECS, visit dso.org, email ecs@dso.org or call 313.576.5599. ECS concert Dates Oct. 4, 10 a.m. Detroit School of Arts Free Oct. 4, 7:30 p.m. Woodhaven High School Free Nov. 10, 10 a.m. Renaissance High School Free Nov. 11, 10 a.m. Spain Elementary-Middle School Free Feb. 1, 2012, 10 a.m. and 11:15 a.m. Orchestra Hall, open to the public Feb. 2, 2012, 10 a.m. and 11:15 a.m. Orchestra Hall, open to the public March 7, 2012, 10 a.m. and 11:15 a.m. Orchestra Hall March 8, 2012, 10 a.m. and 11:15 a.m. Orchestra Hall

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

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

Music Preparatory Division

Performance / Vol . X X / Fall 201 1

www.dso.org

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

4 pm

With an international reputation as one of the most popular brass ensembles today, Canadian Brass performs brass standards as well as a wide-ranging library of original arrangements created especially for them, including the works of Renaissance and Baroque masters, classical works, marches, holiday favorites, ragtime, Dixieland, big band, Broadway, and popular songs and standards. This Thanksgiving-weekend concert is sure to start your holidays off with a bang! Media Partner WRCJ 90.9 FM.