2015 Tchaikovsky Festival Program by Detroit Symphony Orchestra

#TchaikFest

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Table of Contents

The Tchaikovsky Festival project is supported in part by an award from the National Endowment for the Arts.

Departments

Concerts

4 5 8 9 10 12 15 16 58 60 70

Directors and Trustees Governing Members Volunteer Council

Feb. 12 & 13: PathĂŠtique ........................24 Feb. 14 & 15: Piano Concerto ................30

Orchestra Roster

Feb. 20: Romeo & Juliet .........................36

DSO Staff

Feb. 21 & 22: Symphony No. 5 ...............41

Festival Events Welcome Letter

Feb. 26 & 27: Symphony No. 4 ...............46 Feb. 28 & Mar. 1: 1812 Overture ............51

Feature Story General Information Donor Roster Upcoming Concerts

Unless otherwise noted, program notes were written by Charles Greenwell.

Classical Music with Dave Wagner and Chris Felcyn Weekdays 6am-7pm

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A listener supported service of Detroit Public Schools and Detroit Public Television.

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Detroit Symphony Orchestra, Inc. LIFETIME DIRECTORS Samuel Frankel † David Handleman, Sr.†

Dr. Arthur L. Johnson † Clyde Wu, M.D.

CHAIRMEN EMERITI Peter D. Cummings

Stanley Frankel

Robert S. Miller

Alfred R. Glancy III James B. Nicholson

DIRECTORS EMERITI Robert A. Allesee Floy M. Barthel Madeleine H. Berman John A. Boll, Sr. Richard A. Brodie Lois and Avern Cohn Marianne T. Endicott Sidney Forbes Ruth Frank Barbara Frankel

Herman H. Frankel Paul Ganson Mort and Brigitte Harris Gloria Heppner Hon. Damon J. Keith Richard P. Kughn Harold Kulish Dr. Melvin A. Lester Robert E.L. Perkins, DDS. Marilyn Pincus

Lloyd E. Reuss Jack A. Robinson Marjorie Saulson Alan E. Schwartz Jean S. Shapero David Usher Barbara C. Van Dusen Arthur A. Weiss, Esq.

OFFICERS 2014-2015 Phillip Wm. Fisher, Chairman Mark A. Davidoff, Vice Chair, Financial Operations and Sustainability, Treasurer

Arthur T. O’Reilly, Officer-at-large, Secretary

Dr. Herman Gray, Vice Chair, Philanthropy

Glenda D. Price, Ph.D., Vice Chair, Governance and Human Resources

Michael J. Keegan, Vice Chair, Strategy and Innovation

Anne Parsons, President & CEO James B. and Ann Nicholson Chair

BOARD OF DIRECTORS 2014-2015 The Board of Directors is responsible for maintaining a culture of high engagement, accountability and strategic thinking. As fiduciaries, Directors of the Board oversee all DSO financial activities and assure that resources are aligned with the DSO mission. Robert H. Bluestein Maureen T. D’Avanzo Richard L. DeVore James C. Farber, Chairman, Governing Members Samuel Fogleman Ralph J. Gerson Randall Hawes, Orchestra Representative Rev. Nicholas Hood III Ronald M. Horwitz

Úna O’Riordan, Orchestra Representative Chacona W. Johnson William P. Kingsley Bonnie Larson Matthew B. Lester, Chairman, Board of Trustees Arthur C. Liebler Laura Marcero Xavier Mosquet Joseph Mullany David R. Nelson

Faye A. Nelson Stephen R. Polk Bernard I. Robertson Hon. Gerald E. Rosen Deborah Savoie, Volunteer Council President David Sherbin Ann Marie Uetz Janice Uhlig James G. Vella Hon. Kurtis T. Wilder Dr. M. Roy Wilson Clyde Wu, M.D. † Deceased

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BOARD OF TRUSTEES Matthew B. Lester, Chairman

The Board of Trustees is tasked with shepherding the long-term strategy of the DSO to fully implement the organization’s entrepreneurial capabilities while developing and presenting new strategies and objectives.

Ismael Ahmed Rosette Ajluni Devon Akmon Daniel Angelucci Janet Ankers Penny B. Blumenstein Elizabeth Boone Gwen Bowlby Joanne Danto Stephen R. D’Arcy Karen Davidson Linda Dresner Eugene Driker J. Mikel Ellcessor Annmarie Erickson Jennifer Fischer Sven O. Gierlinger Allan D. Gilmour Malik Goodwin Carol Goss

Antoinette Green Leslie Green Robert Gillette Deirdre Groves Michele Hodges Richard H. Huttenlocher Sharad Jain Renee R. Janovsky Joseph Jonna Joel D. Kellman Jack Liang Joshua Linkner Virginia Lundquist Florine Mark David McCammon Lois A. Miller James C. Mitchell Jr Scott Monty Sean M. Neall Tom O’Brien

Maury Okun Dr. William Pickard Gerrit Reepmeyer Richard Robinson Chad Rochkind Laura Hernandez-Romine Afa Sadykly Veronika Scott Lois Shaevsky Jane Sherman Stephen Strome Mark Tapper Michael R. Tyson Dana Warg Gwen S. Weiner Jennifer Whitteaker R. Jamison Williams Dr. Margaret E. Winters

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. This list reflects gifts received from February 1, 2014 through February 1, 2015. For more information about the Governing Members program, please call Cassie Brenske at 313.576.5460.

OFFICERS James C. Farber Chairman Jan Bernick Vice-Chair, Philanthropy & Stewardship

Arthur T. O’Reilly Chairman Emeritus

Jiehan Alonzo Vice-Chair, Engagement

Frederick J. Morsches Member at Large

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Maureen T. D’Avanzo Vice-Chair, Outreach & Recruitment

Bonnie Larson Member at Large

Kenneth Thompkins Musician Liaison

Johanna Yarbrough Musician Liaison

GOVERNING MEMBERS Howard Abrams & Nina Dodge Abrams Joshua & Judith Adler Mrs. Roger M. Ajluni Ann G. Aliber Mr. & Mrs. Richard L. Alonzo Richard & Jiehan Alonzo Daniel & Rose Angelucci Mr. & Mrs. Norman Ankers Mr. & Mrs. Robert L. Anthony Mr. & Mrs. Eugene Applebaum Dr. & Mrs. Ali-Reza R. Armin Mr. David Assemany & Mr. Jeffery Zook Mr. & Mrs. John Axe Ms. Sharon Backstrom Ms. Ruth Baidas Nora Lee & Guy Barron Mr. & Mrs. Lee Barthel Mr. Mark Bartnik & Ms. Sandra J. Collins Mr. J. Addison Bartush David & Kay Basler Mr. & Mrs. Martin S. Baum Mary Beattie Ms. Margaret Beck Mr. Chuck Becker Mrs. Harriett Berg Mandell & Madeleine Berman Foundation Drs. John & Janice Bernick Mr. & Mrs. Robert H. Bluestein George & Joyce Blum Penny & Harold Blumenstein Mr. & Mrs. Lawrence Bluth Dr. & Mrs. Jason H. Bodzin Mr. & Mrs. John A. Boll, Sr. Mr. & Mrs. Jim Bonahoom Dr. & Mrs. Rudrick E. Boucher Don & Marilyn Bowerman Gwen & Richard Bowlby Mr. Anthony F. Brinkman Mr. & Mrs. Richard A. Brodie Mr. Scott Brooks Mr. & Mrs. Mark R. Buchanan Michael & Geraldine Buckles Mr. H. William Burdett, Jr. Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Julie Byczynski & Angus Gray Philip & Carol Campbell Dr. & Mrs. Thomas E. Carson Mr. Daniel Clancy & Mr. Jack Perlmutter Gloria & Fred Clark Lois & Avern Cohn Jack, Evelyn & Richard Cole Family Foundation Dr. & Mrs. Charles G. Colombo Mrs. RoseAnn Comstock Mr. & Mrs. Thomas W. Cook Dr. & Mrs. Ivan Louis Cotman Mr. & Mrs. Gary L. Cowger Mr. Gary Cone & Ms. Aimée Cowher Mr. & Mrs. Raymond M. Cracchiolo Thomas & Melissa Cragg Julie & Peter Cummings Mrs. Barbara Cunningham Suzanne Dalton & Clyde Foles Christopher & Pamela Danato Dr. Joseph D. Daniel & Mr. Alfredo Silvestre

Joanne Danto & Arnold Weingarden Marvin & Betty Danto Family Foundation Deborah & Stephen D’Arcy Fund Jerry P. & Maureen T. D’Avanzo Barbara A. David Margie Dunn & Mark Davidoff Lillian & Walter Dean Beck Demery Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Ms. Leslie Devereaux Mr. & Mrs. Richard L. DeVore Adel & Walter Dissett Mr. & Mrs. Mark Domin Linda Dresner & Ed Levy, Jr. Eugene & Elaine Driker Paul + & Peggy Dufault Mr. Michael J. Dul Mr. & Mrs. Robert Dunn Mr. Roger Dye & Ms. Jeanne A. Bakale Edwin & Rosemarie Dyer Dr. Leo & Mrs. Mira Eisenberg Dr. & Mrs. A. Bradley Eisenbrey Marianne Endicott Mr. & Mrs. John M. Erb Sanford Hansell & Dr. Raina Ernstoff Mary Sue & Paul Ewing Jim & Margo Farber Mr. David Faulkner Mr. & Mrs. Anthony C. Fielek Mrs. Kathryn L. Fife Mr. & Mrs. David Fischer Ron Fischer & Kyoko Kashiwagi Mr. & Mrs. Alfred J. Fisher, III Mr. & Mrs. Herbert Fisher Max M. & Marjorie S. Fisher Foundation Mrs. Marjorie S. Fisher Dr. Marjorie M. Fisher Ms. Mary D. Fisher Mr. Michael J. Fisher Mr. & Mrs. Phillip Wm. Fisher Mr. & Mrs. Steven Fishman Mr. David Fleitz Mr. & Mrs. Samuel Fogleman Sidney and Madeline Forbes Emory M. Ford, Jr. + Endowment Dr. Saul & Mrs. Helen Forman Barbara Frankel & Ronald Michalak Dale & Bruce Frankel Herman & Sharon Frankel Mr. & Mrs. Stanley Frankel Maxine & Stuart Frankel Ms. Carol A. Friend & Mr. Mark T. Kilbourn Mr. & Mrs. Daniel E. Frohardt-Lane Lynn & Bharat Gandhi Mr. & Mrs. Eugene A. Gargaro, Jr. Dorothy & Byron+ Gerson Mr. & Mrs. Ralph J. Gerson Drs. Lynda & Conrad Giles Allan D. Gilmour & Eric C. Jirgens Mrs. Gale Girolami Dr. Kenneth & Roslyne Gitlin Ruth & Al Glancy Dr. & Mrs. Theodore Golden Dr. Robert T. Goldman Mr. Nathaniel Good Dr. Allen Goodman & Dr. Janet Hankin Goodman Family Charitable Trust

Robert & Mary Ann Gorlin Mr. Jason Gourley & Mrs. Rebekah Page-Gourley Dr. & Mrs. Herman Gray, Jr. Mr. & Mrs. James A. Green Dr. & Mrs. Steven Grekin Mr. Jeffrey Groehn Mr. & Mrs. James Grosfeld Alice Berberian Haidostian Mr. Kenneth Hale Robert & Elizabeth Hamel Randall L. & Nancy Caine Harbour Mrs. Betty J Harrell Mr. & Mrs. Morton E. Harris Scott Harrison & Angela Detlor Mr. Lee V. Hart & Mr. Charles L. Dunlap Cheryl A. Harvey Dr. & Mrs. Gerhardt Hein Mr. & Mrs. Demar W. Helzer Ms. Nancy Henk Dr. Gloria Heppner Ms. Doreen Hermelin Mr. & Mrs. Ross Herron Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. Michael E. Hinsky & Tyrus N. Curtis Mr. & Mrs. Norman H. Hofley Lauri & Paul Hogle Dr. Deanna & Mr. David B. Holtzman Jack & Anne Hommes Ms. Barbara Honner Mr. & Mrs. Ronald Horwitz Mr. Matthew Howell & Mrs. Julie Wagner Mr. F. Robert Hozian Mr. & Mrs. Joseph L. Hudson, Jr. Julius & Cynthia Huebner Foundation Richard H. & Carola Huttenlocher Mr. & Mrs. A. E. Igleheart Nicki & Brian Inman Ira & Brenda Jaffe Mr. Sharad P. Jain Mr. & Mrs. Richard J. Jessup Mr. John S. Johns Chacona W. Johnson Mr. George Johnson Lenard & Connie Johnston Mr. & Mrs. Joseph Jonna Mrs. Ellen D. Kahn Faye & Austin Kanter Mr. & Mrs. Norman D. Katz Mr. & Mrs. Michael J. Keegan Betsy & Joel Kellman Martin & Cis Maisel Kellman Michael E. Smerza & Nancy Keppelman Mr. Patrick J. Kerzic & Stephanie Germack Kerzic Dr. David & Elizabeth Kessel The Stephanie & Frederic Keywell Family Fund Mrs. Frances King Mr. & Mrs. Russell King Mr. & Mrs. William P. Kingsley Thomas & Linda Klein Ms. Margot Kohler Dr. Harry & Katherine Kotsis Robert C. & Margaret A. Kotz Mr. & Mrs. Harold Kulish Mr. & Mrs. James A. Kurz dso.org

David & Maria Kuziemko Mr. Dennis & Michele La Porte Joyce LaBan Dr. Raymond Landes & Dr. Melissa McBrien-Landes Drs. Lisa & Scott Langenburg Ms. Sandra Lapadot Ms. Anne T. Larin Mrs. Bonnie Larson Dolores & Paul Lavins Mr. David Lebenbom+ Mr. Henry P. Lee Marguerite & David Lentz Allan S. Leonard Max Lepler & Rex L. Dotson Mr. & Mrs. Ralph LeRoy, Jr. Dr. Melvin A. Lester Mr. & Mrs. Matthew Lester Mr. Daniel Lewis Mr. & Mrs. John D. Lewis Mr. & Mrs. Arthur C. Liebler Mr. & Mrs. Joseph Lile Mr. Gregory Liposky The Locniskar Group Daniel & Linda Lutz Mr. Robert A. Lutz Mrs. Sandra MacLeod Mr. & Mrs. Charles W. Manke, Jr. Mervyn & Elaine Manning Mr. & Mrs. David S. Maquera Esq Michael & Laura Marcero Ms. Florine Mark Maureen & Mauri Marshall David & Valerie McCammon Dr. & Mrs. Peter M. McCann M.D. Ms. LeAnne McCorry Mr. & Mrs. Alonzo McDonald Alexander & Evelyn McKeen Patricia A. & Patrick G. McKeever Susanne O. McMillan Dr. & Mrs. Donald A. Meier Dr. & Mrs. David Mendelson Mrs. Thomas Meyer Thomas & Judith Mich Ms. Deborah Miesel Mr. Louis Milgrom John & Marcia Miller Mr. & Mrs. Eugene A. Miller Mr. & Mrs. Leonard G. Miller Mr. & Mrs. Robert S. Miller Dr. Robert & Dr. Mary Mobley Mr. & Mrs. Jeremy Modell Dr. Susan & Mr. Stephen Molina Eugene & Sheila Mondry Foundation Mr. & Mrs. Craig R. Morgan Ms. Florence Morris Mr. Frederick Morsches Cyril Moscow Mr. & Ms. Xavier Mosquet Mr. Joseph Mullany Dr. Stephen & Dr. Barbara Munk Joy & Allan Nachman Ed & Judie Narens Geoffrey S. Nathan & Margaret E. Winters David R. & Sylvia Nelson Mr. & Mrs. Albert T. Nelson, Jr. Mr. & Mrs. James B. Nicholson Jim & Mary Beth Nicholson Patricia & Henry Nickol Mr. & Mrs. David E. Nims Joanna P. Morse & Arthur A. Nitzsche Mariam C. Noland & James A. Kelly dso.org

Mr. & Mrs. Stanley Nycek Mrs. Jo Elyn Nyman Dr. & Mrs. Dongwhan Oh Mr. & Mrs. Joshua Opperer Mr & Mrs. Arthur T. O’Reilly David+ & Andrea Page Mr. Randall Pappal Mrs. Margot Parker Anne Parsons & Donald Dietz Mr. & Mrs. Richard G. Partrich Mrs. Sophie Pearlstein Mr. & Mrs. Roger S. Penske Mr. Charles Peters Mr. & Mrs. Bruce D. Peterson Mr. and Mrs. Kris Pfaehler Dr. William F. Pickard Mrs. Bernard E. Pincus Mrs. Helen F. Pippin Dr. Klaudia Plawny-Lebenbom The Polk Family Mr. & Mrs. William Powers Dr. Glenda D. Price Reimer Priester Mrs. Susan Priester Mr. Ronald Puchalski Ms. Michele Rambour Mr. & Mrs. Richard Rappleye Mr. Richard Rapson Drs. Stuart & Hilary Ratner Ms. Ruth Rattner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Carol & Foster Redding Mr. & Mrs. Dave Redfield Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Mr. Jason Remisoski Denise Reske Mr. Luis Resto Mr. & Mrs. Lloyd E. Reuss Barbara Gage Rex Dr. & Mrs. John Roberts Bernard & Eleanor Robertson Jack & Aviva Robinson Mrs. Ann C. Rohr Laura & Seth Romine Dr. Erik Rönmark & Mrs. Adrienne Rönmark Norman & Dulcie Rosenfeld Mr. & Mrs. Robert B. Rosowski Mr. R. Desmond Rowan Jane & Curt Russell Mr. & Mrs. James P. Ryan Mrs. Lois V. Ryan Martie & Bob Sachs Dr. Mark & Peggy Saffer Dr. Hershel Sandberg Marjorie & Saul Saulson Ms. Martha A. Scharchburg & Mr. Bruce Beyer Ms. Mary Schlaff David & Carol Schoch Mr. & Mrs. Alan E. Schwartz & Mrs. Jean Shapero Mr. & Mrs. Alan S. Schwartz Mr. & Mrs. Kingsley G. Sears Mr. & Mrs. Fred Secrest Mr. Merton J. & Beverly Segal Elaine & Michael Serling Mark & Lois Shaevsky Mr. Igal Shaham Mrs. Jean Shapero Ms. Cynthia Shaw

Abbe & David Sherbin Mr. & Mrs. Larry Sherman Mr. & Mrs. James H. Sherman Dr. Les & Mrs. Ellen Siegel Coco & Robert Siewert Mr. & Mrs. Donald R. Simon William & Cherie Sirois Mr. & Mrs. Leonard W. Smith Mr. Michael J. Smith & Mrs. Mary C. Williams Mr. & Mrs. S. Kinnie Smith, Jr. William H. & Patricia M. Smith John J. Solecki Richard Sonenklar & Gregory Haynes Renate & Richard Soulen Dr. Gregory Stephens Mr. Clinton F. Stimpson, Jr. Dr. Mack Stirling Dr. & Mrs. Charles D. Stocking Mr. & Mrs. Ray Stone Mrs. Kathleen Straus & Mr. Walter Shapero Mr. & Mrs. John Stroh III Stephen & Phyllis Strome Dorothy I. Tarpinian Shelley & Joel Tauber Dr. & Mrs. Howard Terebelo Alice & Paul Tomboulian Dr. Doris Tong & Dr. Teck M. Soo Mr. & Mrs. Michael Torakis Mark & Janice Uhlig David Usher Dr. Vainutis Vaitkevicius Amanda Van Dusen & Curtis Blessing Mrs. Richard C. Van Dusen Mr. & Mrs. Charles B. Van Dusen Mr. Robert VanWalleghem Mr. James G. Vella Mr. & Mrs. George C. Vincent Mr. & Mrs. William Waak Dr. & Mrs. Ronald W. Wadle Mr. & Mrs. Edward Wagner Mr. Michael A. Walsh & Ms. Joyce Keller Mr. & Mrs. Jonathan T. Walton Gary L. Wasserman S. Evan & Gwen Weiner Mr. Herman W. Weinreich Mr. & Mrs. Lawrence Weisberg Ambassador & Mrs. Ronald N. Weiser Arthur & Trudy Weiss Janis & William Wetsman/The Wetsman Foundation Mr. & Mrs. John Whitecar Beverly & Barry Williams Mr. & Mrs. R. Jamison Williams Dr. M. Roy Wilson Dr. & Mrs. Ned Winkelman Rissa & Sheldon Winkelman Mr. Jonathan Wolman & Mrs. Deborah Lamm Ms. Cathy Cromer Wood Dr. & Mrs. Clyde Wu David & Bernadine Wu June Kar Ming Wu Dr. & Mrs. Robert E. Wurtz Mrs. Judith G. Yaker The Yousif Family Mr. & Mrs. Alan Zekelman Dr. & Mrs. Seymour Ziegelman Paul M. Zlotoff Milton & Lois Zussman

SUPPORTING THE ARTS Honigman is proud to support the DSO, one of our communityâ&#x20AC;&#x2122;s outstanding cultural institutions. We applaud our many colleaguesâ&#x20AC;&#x2122; current service as Directors and Trustees, and as Gabrilowitsch Society and Governing Members leaders. In particular, we honor our founding partner Alan E. Schwartz for his more than 50 years of service on the DSO board.

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VOLUNTEER COUNCIL 2013-15 EXECUTIVE COMMITTEE Deborah Savoie, President

Julie Zussman, Recording Secretary

Lori Knollenberg, Acting V.P. for Membership

Ginny Lundquist, President-Elect and Executive Vice President

Esther Lyons, V.P. for Administrative/Office Services

E. Jane Talia, V.P. for Neighborhood/Residency Ambassador

Debra Partrich, Chief Financial Officer

Ellie Tholen, V.P. for Communication/ Public Relations

Karla Sherry, V.P. for Special Events Marlene Bihlmeyer, V.P. for Youth Music Education

BOARD OF DIRECTORS Mary Beattie Gwen Bowlby Gina Rene Bryant

Drew Esslinger Laura Fogleman Sandie Knollenberg

Volunteer Council Liaison Lindsey Evert 8

Susan Manser Magda Moss Dolores Reese

Charlotte Worthen Coco Siewert, Parliamentarian

Orchestra Liaisons Mark Abbott Dave Everson dso.org

Leonard Slatkin, Music Director Music Directorship endowed by the Kresge Foundation Jeff Tyzik, Principal Pops Conductor Terence Blanchard, Fred A. and Barbara M. Erb Jazz Creative Director Chair Neeme Järvi, Music Director Emeritus Michelle Merrill, Assistant Conductor, Phillip and Lauren Fisher Community Ambassador Gabriela Lena Frank, Music Alive Composer-in-Residence First Violin Yoonshin Song CONCERTMASTER Katherine Tuck Chair Kimberly Kaloyanides Kennedy ASSOCIATE CONCERTMASTER Alan and Marianne Schwartz and Jean Shapero (Shapero Foundation) Chair Hai-Xin Wu ASSISTANT CONCERTMASTER Walker L. Cisler/Detroit Edison Foundation Chair Jennifer Wey ASSISTANT CONCERTMASTER Marguerite Deslippe* Rachel Harding Klaus* Laurie Landers Goldman* Eun Park Lee* Adrienne Rönmark* Laura Soto* Greg Staples* Jiamin Wang* Second Violin Adam Stepniewski ACTING PRINCIPAL The Devereaux Family Chair Ron Fischer* Will Haapaniemi* Hae Jeong Heidi Han* Sheryl Hwangbo* Hong-Yi Mo* Robert Murphy* Alexandros Sakarellos* Joseph Striplin* Marian Tanau* Jing Zhang* Mingzhao Zhou* Viola James VanValkenburg ACTING PRINCIPAL Julie and Ed Levy, Jr. Chair Caroline Coade ACTING ASSISTANT PRINCIPAL Hang Su Glenn Mellow Shanda Lowery-Sachs Hart Hollman Han Zheng Alexander Mishnaevski PRINCIPAL EMERITUS dso.org

Cello Wei Yu PRINCIPAL James C. Gordon Chair Dahae Kim ASSISTANT PRINCIPAL Dorothy and Herbert Graebner Chair Robert Bergman* David LeDoux* Peter McCaffrey* Haden McKay* Úna O’Riordan* Paul Wingert*^ Victor and Gale Girolami Chair Bass Kevin Brown PRINCIPAL Van Dusen Family Chair Stephen Molina ASSISTANT PRINCIPAL Linton Bodwin Stephen Edwards Larry Hutchinson Harp Patricia Masri-Fletcher PRINCIPAL Winifred E. Polk Chair Flute David Buck PRINCIPAL Women’s Association for the DSO Chair Jung-Wan Kang+ Sharon Sparrow ASSISTANT PRINCIPAL Bernard and Eleanor Robertson Chair Jeffery Zook Piccolo Jeffery Zook Oboe Open PRINCIPAL Jack A. and Aviva Robinson Chair Geoffrey Johnson+ Maggie Miller Chair Brian Ventura ASSISTANT PRINCIPAL Monica Fosnaugh

English Horn Monica Fosnaugh

Bass Trombone Randall Hawes

Clarinet Ralph Skiano PRINCIPAL Robert B. Semple Chair Open PVS Chemicals Inc./Jim and Ann Nicholson Chair Laurence Liberson ASSISTANT PRINCIPAL Shannon Orme

Tuba Dennis Nulty PRINCIPAL

E-Flat Clarinet Laurence Liberson Bass Clarinet Shannon Orme Barbara Frankel and Ronald Michalak Chair Bassoon Robert Williams PRINCIPAL Victoria King Michael Ke Ma ASSISTANT PRINCIPAL Marcus Schoon Contrabassoon Marcus Schoon Horn Karl Pituch PRINCIPAL Bryan Kennedy Scott Strong Johanna Yarbrough David Everson ASSISTANT PRINCIPAL Mark Abbott Trumpet Hunter Eberly PRINCIPAL Lee and Floy Barthel Chair Kevin Good Stephen Anderson ASSISTANT PRINCIPAL William Lucas Trombone Kenneth Thompkins PRINCIPAL Reed Capshaw+ Randall Hawes

Percussion Joseph Becker PRINCIPAL Ruth Roby and Alfred R. Glancy III Chair Andrés Pichardo-Rosenthal ASSISTANT PRINCIPAL William Cody Knicely Chair Joshua Jones African-American Orchestra Fellow Timpani Jeremy Epp PRINCIPAL Librarians Robert Stiles PRINCIPAL Ethan Allen Personnel Managers Stephen Molina Orchestra Personnel Manager Heather Hart Rochon Assistant Orchestra Personnel Manager Stage Personnel Dennis Rottell Stage Manager Steven Kemp Department Head Matthew Pons Department Head Michael Sarkissian Department Head Legend * These members may voluntarily revolve seating within the section on a regular basis + substitute musician ^ on sabbatical

ADMINISTRATIVE STAFF EXECUTIVE OFFICE Anne Parsons, President and CEO James B. and Ann Nicholson Chair Paul W. Hogle, Executive Vice President

Caitlin Bush, Advancement Services Coordinator COMMUNICATIONS Gabrielle Poshadlo, Director of Communications and Media Relations

Greg Schimizzi, Chief of Security Melvin Dismukes, Security Officer Norris Jackson, Security Officer Ronald Martin, Security Officer Johnnie Scott, Security Officer

Asia Rapai, Public Relations Coordinator

FINANCE

Anne Wilczak, Managing Director of Special Events and Projects

Corinne Wiseman, Digital Communications Coordinator

Jeremiah Hess, Senior Director of Accounting & Finance

Joy Crawford, Executive Assistant to the President and CEO

Sharon Gardner Carr, Assistant Manager of Tessitura and Ticketing Operations

Linda Lutz, Chief Financial Officer

Elaine Curvin, Executive Assistant to the Executive Vice President ARTISTIC & OPERATIONS Erik Rönmark, General Manager and Artistic Administrator ARTISTIC PLANNING Jessica Ruiz, Manager of Artistic Planning Christopher Harrington, Managing Director of Paradise Jazz Series Katherine Curatolo, Artistic Coordinator Clare Valenti, Popular & Special Programming Coordinator COMMUNITY PROGRAMS Kareem George, Managing Director of Community Programs Don Killinger, Operations & Community Engagement Coordinator LIVE FROM ORCHESTRA HALL Eric Woodhams, Director of Digital Initiatives ORCHESTRA OPERATIONS Kathryn Ginsburg, Director of Operations Dennis Rottell, Stage Manager Leslie Karr, Executive Assistant to the Music Director Stephen Molina, Orchestra Personnel Manager Heather Hart Rochon, Assistant Orchestra Personnel Manager ADVANCEMENT & EXTERNAL RELATIONS Scott Harrison, Vice President of Advancement and External Relations

Cassie Brenske, Director of Advancement for Individual Giving Lindsey Evert, Advancement Projects Manager / @ The Max Producer Chelsea Kotula, Advancement and Board Campaign Manager Juanda Pack, Advancement Benefits Coordinator INSTITUTIONAL GIVING Allegra Hale, Corporate Relations Coordinator Anneke Leunk, Foundation and Government Relations Coordinator oneDSO CAMPAIGN Julie Byczynski, oneDSO Campaign Director Jessica Luther, oneDSO Campaign and Planned Giving Manager EDUCATION Emily Lamoreaux, Director of Education Henry Windham III, Training Programs Manager Abbey Springer, Training Programs Coordinator FACILITY OPERATIONS Nicholas Thornton, Director of Facilities Management Larry Ensman, Maintenance Supervisor Frederico Augustin, Facility Engineer Martez Duncan, Maintenance Technician Ryan Ensman, Night Shift Leader William Guilbault, Maintenance Technician

Bree Kneisler, Advancement Services and Prospect Research Manager

Crystal King, Maintenance Technician

Sandra Mazza, Senior Accountant Roná Simmons, Staff Accountant

INDIVIDUAL GIVING

ADVANCEMENT SERVICES

Will Broner, Advancement Services Coordinator

Linda Kunath, Senior Accountant

Daniel Speights, Maintenance Technician

INFORMATION TECHNOLOGY Jody Harper, Director of Information Technology Ra’Jon Taylor, Help Desk Administrator PATRON DEVELOPMENT AND ENGAGEMENT Nicki Inman, Senior Director of Patron Development and Engagement AUDIENCE DEVELOPMENT Christopher Harrington, Director of Audience Development Margaret Cassetto, Front of House Manager Chuck Dyer, Manager of Group and Corporate Sales Mallory Schirr, Audience Development Coordinator LaHeidra Marshall, Audience Development Associate Tiiko Reese-Douglas, Patron Loyalty Coordinator CATERING AND RETAIL SERVICES Christina Williams, Director of Catering and Retail Services Michael Polsinelli, Executive Chef Kelsey Karl, Retail Manager Nate Richter, Bar Manager EVENTS AND RENTALS Holly Clement, Senior Manager of Events and Rentals Ashley Powers, Event Sales Representative Connie Campbell, Manager of Event Sales and Administration PATRON SALES AND SERVICE Michelle Marshall, Assistant Manager of Patron Sales & Service Martha Morhardt, Patron Development Assistant Taryn Sanford, Lead Ticketing Specialist dso.org

Chicago Symphony Winds Musicians of the Chicago Symphony Orchestra & Guests Sunday, March 22, 4:00 pm Rackham Auditorium PROGRAM Mozart Mozart

Serenade in c minor, K. 388 Serenade in B-flat Major, K. 361 (“Gran Partita”)

EN DOWED SUP P ORT FROM THE

Charles A. Sink Memorial Fund

Seoul Philharmonic Orchestra Myung-Whun Chung, conductor Sunwook Kim, piano Thursday, April 23, 7:30 pm Hill Auditorium PROGRAM Beethoven Brahms

Piano Concerto No. 5 in E-flat Major, Op. 73 (“Emperor”) Symphony No. 4 in e minor, Op. 98

SPONSORED BY

ENDOWED SUPPORT FROM THE

H. Gardner and Bonnie Ackley Endowment Fund

Richard Goode PIANO

Sunday, April 26, 4 pm Hill Auditorium PROGRAM Mozart Beethoven Brahms Debussy Schumann

Adagio in b minor, K. 540 Sonata No. 24 in F-sharp Major, Op. 78 Eight Piano Pieces, Op. 76 Children’s Corner Humoreske, Op. 20

SUPPORTED BY

Natalie Matoninović and Mr. and Mrs. Donald L. Morelock

TICKETS ON SALE NOW UMS.ORG / 734.764.2538 UNIVERSITY OF MICHIGAN | ANN ARBOR

MEDIA PARTNER : WGTE 91.3 FM

FESTIVAL EVENTS

CHAMBER MUSIC RECITALS

Tues., Feb. 3 at 7 p.m. at Steinway Gallery in Commerce Township Tues., Feb. 10 at 7 p.m. at Lorenzo Cultural Center in Macomb Tchaikovsky String Quartet No. 3 String Sextet in D minor, “Souvenir de Florence”

PANEL DISCUSSION: TCHAIK TALK

Wed., Feb. 11 at 7 p.m. in the Music Box The DSO will host a panel discussion in partnership with Affirmations (a Ferndale-based LGBT resource organization) on the topic of Tchaikovsky’s rumored homosexuality and how it affected his life and work. Moderator: Dr. John Corvino, Chair and Professor of Philosophy at WSU Panelists: Nancy M. Schlichting, Chief Executive Officer of Henry Ford Health System; Dr. Jonathan Anderson, Assistant Professor of Composition at WSU; Leonard Slatkin, Music Director of the DSO CLASSICAL SERIES CONCERT

PATHÉTIQUE

Leonard Slatkin, conductor Olga Kern, piano Thu., Feb. 12 at 7:30 p.m. Fri., Feb. 13 at 8 p.m. Tchaik Tchat: Leonard Slatkin gives an overview of the festival Tchaikovsky Marche Solennelle Piano Concerto No. 2 Symphony No. 6, “Pathétique” 12

CLASSICAL SERIES CONCERT

PIANO CONCERTO

Leonard Slatkin, conductor Olga Kern, piano Sat., Feb. 14 at 8 p.m. Sun., Feb. 15 at 3 p.m. Tchaik Tchat: Michael Makin, Professor of Slavic Languages and Literatures, UofM Tchaikovsky Marche Slave Piano Concerto No. 1 Symphony No. 1, “Winter Dreams” CLASSICAL SERIES CONCERT

ROMEO & JULIET

Leonard Slatkin, conductor Fri., Feb. 20 at 10:45 a.m. & 8 p.m. Tchaik Tchat at 7 p.m.: Beth Genné, Professor of Dance, UofM Tchaikovsky Romeo and Juliet Fantasy Overture Suite from Swan Lake Symphony No. 3, “Polish” CLASSICAL SERIES CONCERT

SYMPHONY NO. 5

Leonard Slatkin, conductor Olga Kern, piano Sat., Feb. 21 at 8 p.m. Sun., Feb. 22 at 3 p.m. Tchaik Tchat: Webcast Artistic Director Oriol Sans Tchaikovsky Overture to Voyevoda Piano Concerto No. 3 Symphony No. 5

“Live from Orchestra Hall” webcasts at dso.org/live dso.org

CLASSICAL SERIES CONCERT

FOURTH SYMPHONY

Leonard Slatkin, conductor Julian Rachlin, violin Thu., Feb. 26 at 7:30 p.m. Fri., Feb. 27 at 8 p.m. Tchaik Tchat: UofM students will give a recital of arias and songs Tchaikovsky Polonaise from Eugene Onegin Violin Concerto Symphony No. 4 CLASSICAL SERIES CONCERT

1812 OVERTURE

Leonard Slatkin, conductor Narek Hakhnazaryan, cello Sat., Feb. 28 at 8 p.m. Sun., Mar. 1 at 3 p.m. Tchaik Tchat: Janine Lanza, Associate Professor of History at WSU speaks about the history behind the 1812 Overture Tchaikovsky Symphony No. 2, “Little Russian” Nocturne Variations on a Rococo Theme 1812 Overture CIVIC AND EDUCATION

CIVIC SHOWCASE Fri., Mar. 6 at 7:15 p.m.

CIVIC WIND ENSEMBLE

Dr. Kenneth Thompson, conductor Maslanka Symphony No. 4

PatronCard At each event, stop by the Member Center to get your card punched and get rewarded for being part of the Festival!

Free Festival PatronCard! Pick up your Free Festival PatronCard at the Member Center or Box Office. At each event, stop by the Member Center to get your card punched and get rewarded for being part of the Festival! TWO EVENTS: commemorative sticker FOUR EVENTS: digital download of Tchaikovsky’s Symphony No. 5 SIX EVENTS: Get a hand-painted Russian nesting doll set!

THE GREAT TCHAIKOVSKY QUIZ Look for our Tchaikovsky Festival mascot, the Matryoshka doll, throughout this program booklet for quiz questions about the great Tchaikovsky. Stumped? See page 57 for answers.

CIVIC YOUTH ORCHESTRA

Andres Moran, guest conductor Tchaikovsky Coronation March Rachmaninoff Symphonic Dances

Tchaik Tchats Join Tchaikovsky music, history and dance experts 1 hour prior to afternoon and evening concerts in Orchestra Hall for informative conversations about the composer and his work.

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February 6 – May 17, 2015 Free with museum admission

5 2 0 0 W O O D WA R D AV E . D E T R O I T, M I 4 8 2 0 2 • D I A . O R G General museum admission is free for residents of Wayne, Oakland and Macomb counties

Make a Joyful Noise: Renaissance Art and Music at Florence Cathedral is organized by the High Museum of Art, Atlanta, in collaboration with the Opera di Santa Maria del Fiore, Florence, Italy. The exhibition is made possible by the National Endowment for the Arts. Funding for the conservation of the Cantoria has been provided by Friends of Florence. In Detroit, generous support has been provided by Anthony L. Soave. Additional support has been provided by Carol and Peter Walters and Kathleen and Robert Rosowski. Above: Fragment of a Choral Leaf: Framed Historiated ‘S’ with the Pentecost, Matteo di Filippo Torelli, 1420-1422, ink, tempera, and gold leaf on parchment. Detroit Institute of Arts

dso.org

A MESSAGE FROM MUSIC DIRECTOR

LEONARD SLATKIN

hat is it that makes Piotr Ilyich Tchaikovsky one of the most beloved of composers? Certainly he had a penchant for the great tune. His mastery of writing for the ballet is unparalleled among the great composers. The works for solo instrument tax even the most gifted of today’s virtuosi. The operas are some of that form’s grandest statements for the stage. And he was one of the most interesting symphonists of the 19 th century. So is it any wonder that he has never gone out of fashion? The journey of the Russian was not an easy one. Tchaikovsky had to overcome all manner of abuse as a student. In fact, he started off as a simple civil servant, only coming to music a bit later. The death of two of his closest friends as well as his mother had profound effects upon his persona. He struggled with his sexuality to the point of having to take a wife in order to disguise his true feelings. More interestingly, as his colleagues were creating a true national school of composition, he found himself involved more and more in the abstract nature of the musical art. But his musical diversity is something that makes him treasured in virtually all aspects of his work. At home with all forms, whether opera, chamber music, ballet or symphony, Tchaikovsky accomplished things not done by Beethoven, Brahms, Schumann or pretty much any composer before, save Mozart. And yet, this multi-musical platforming can come under heavy criticism, as his musical language seemed simplistic at the time and certainly not dso.org

characteristic of the Russian school of composition. We can easily divide up the six numbered symphonies into two distinct groups. There first three are slight throwbacks, with portrayals of his heritage, and contain the nationalism that he would abandon. In these works there is no question that the world of dance dominates. Indeed, all of his symphonies have been turned into successful ballets. With the Fourth Symphony, and its opening Fate motive, Tchaikovsky moves into a very different world. All of a sudden, darkness inhabits his musical persona, one that will culminate in the “Pathetique.” It is with this final work that he attempts to express his long repressed depression and in the great last movement, reach a poignancy unparalleled at the time. The concerti, on the other hand, show little of this side, as almost all of them are meant as virtuoso vehicles for the soloists. What is amazing is how his mastery informs each of the works for piano and orchestra. Sure, we all know the first, but when one sees how Tchaikovsky integrates the soloist and orchestra in the next two concerti, we become aware of the medium as not just a show-off genre but a true collaboration. During our festival, the DSO will embrace several of Tchaikovsky’s symphonic utterances. Most are familiar to orchestra and audience, but along the way, there are several discoveries to be made.

Visit dso.org/TchaikFest to see a video introduction with Leonard Slatkin 15

Things That Rise in the Heart BY RICHARD FREED

chaikovsky achieved enormous popularity throughout the world during his own lifetime, and that popularity has never really waned, particularly in the United States, where his music received major attention early in his career. Both of his two completed piano concertos had their world premieres in our country (No. 1 in Boston, in 1875, No. 2 in New York, in 1881); between those two events, in 1879, when Tchaikovsky was still in his thirties, his Third Symphony was performed in New York, barely more than three years after its premiere in Moscow. He was in New York himself in May 1891, to conduct his own music in the celebratory concerts opening Carnegie Hall, which began on May 5. He wrote home to his nephew “Bobyk” Davidov that he was “ten times more famous here than in Europe,” and it might be said that the four concerts in which he took part at Carnegie Hall (one of them on his 51st birthday) and the two subsequent ones in Philadelphia and Baltimore constituted the first American Tchaikovsky Festival — the first anywhere, in fact, and the only one in which the composer himself took part. In the middle of the last century, however, there was in certain circles an undisguised disdain for

Tchaikovsky’s music. Unsophisticated listeners accepted it all too easily, it was said, because it made no demands on them, but simply provided “instant rewards.” Well, he was never one of those composers who told disappointed listeners, “You cannot expect to understand my music in a single hearing: you must listen again and again until you find the proper response.” Like his idol Mozart, he understood that it is the composer’s responsibility to make his music attractive enough to encourage further hearings. But another charge was that he was too facile a tunesmith, a creator of melodies that were all too adaptable for use in popular songs, as demonstrated again and again in the late 1930s and early ’40s. There were lots of those Tchaikovsky-derived songs, all right, in addition to occasional excerpts from some of the composer’s concert works, arranged for dance band. Among the remembered songs, with texts ranging from merely clumsy to downright embarrassing in their gooey texts, were “The Isle of May,” whose words were fitted to the slow movement of the D major String Quartet, and “Our Love,” to the big tune in the overture-fantasy Romeo and Juliet. “Tonight We Love” put words to the first theme in the B-flat dso.org

minor Piano Concerto. The motto theme in the ballet Swan Lake was graced with an inane text to become “Daydreaming of a Night with You.” The expansive theme in the first movement of the final symphony, the Pathétique, served for two different pop masterworks: “Now and Forever” and “The Story of a Starry Night.” The two themes in the second movement dso.org

of the Fifth became “Moon Love” and “Long May We Love,” respectively. (The latter melody was used also, without words and rather closer to the composer’s original treatment, as the theme music for John Nesbitt’s radio series and movie “shorts” called The Passing Parade; the theme from the Pathétique introduced an afternoon radio soap opera.) 17

Things That Rise in the Heart To be sure, there was an existing tradition of putting words to tunes from great concert works, but most such efforts celebrated the respective original composers on a somewhat higher level, both musically and in the chosen texts. In 1921 Sigmund Romberg composed the Broadway show Blossom Time, based on music of Schubert. In 1944 Robert Wright and George Forrest brought out their Song of Norway, adapting familiar works of Grieg, and in 1953 the same team gave us Kismet, using music of Borodin. Even Beethoven wasn’t immune to this sort of thing: back in 1840, the year of Tchaikovsky’s birth, Friedrich Silcher published his song arrangements of tunes from

Beethoven’s symphonies and sonatas, with piano accompaniment, and texts by Schiller, Uhland and some lesser known poets. The impetus may have been on a higher level — Lieder, after all, not tavern music: Silcher was said to be afraid Beethoven’s immortal melodies would be forgotten if confined to their original settings — but his project was misguided, totally gratuitous, and fittingly regarded as a mere curiosity. The pop songs based on Tchaikovsky were of lesser worth, with more modest aims. They too are almost entirely forgotten now, and not likely to intrude in a listener’s memory to spoil the enjoyment of the respective original works, but they did no lasting damage, and may even have had some unexpectedly beneficial consequences. In the 1930s and ’40s, more than a few individuals unacquainted with classical music bought the printed music for “Moon Love” and the other songs mentioned here to play on their pianos, and/or the recordings to play on their phonographs; some of them were interested enough to follow up on the name Tchaikovsky, and got hooked on the power, emotion and color those tunes took on when delivered as the composer had set them down, drawing on the resources of a large orchestra. dso.org

Those new converts, many of whom went on to explore beyond Tchaikovsky and give music a part in their lives, could not have had a better guide. When it comes to exploiting those orchestral resources, the names usually invoked are those of Berlioz, Rimsky-Korsakov, Richard Strauss and Ravel, but Tchaikovsky (who heard Berlioz’s concerts in St. Petersburg in 1867 and profoundly admired him) was a match for any of them — and not only in his imaginativeness and skill, but in his innate tastefulness as well. His extraordinary gift for infectious tunes was matched by his utter mastery of orchestration, with particular distinction in his writing for the winds, and while he composed with passion and emotion, his avoidance of excess was a constant and effective factor in securing the response he was after, from both his musicians and his audiences. He was a thoroughly trained professional in the very highest sense, with a profound understanding of the practicalities involved and little patience with anything resembling vulgarity. He was in fact one of the most self-critical of all the great composers, but on some occasions he did undertake to explain and defend himself. His Fourth Symphony, long regarded as one of his greatest works, is a classic example of the eventually beloved masterwork whose premiere was a failure. Following that of the Fourth, which took place in Moscow, in February 1878, his former pupil Sergei Taneyev, who had by then become a trusted colleague and friend, wrote to him that the Fourth had failed because it was really “program music,” and as such “debased the noble form” of the symphony. Tchaikovsky, despite dso.org

his self-critical bent, roused himself to a vigorous defense — not against the charge of having written “program music,” but against the more damning one that such an approach somehow “debased the noble form.” “Of course my Symphony is program music,” he wrote, “but I could not put the program into words …. Isn’t a program precisely what one would expect from a symphony, the most lyrical of musical forms? Should it not express everything that words cannot — things that rise in the heart and cry out for expression? In my innocence I thought the idea behind my Symphony was so plain that everyone would grasp it, or at any rate its chief outlines, without the need of a written program …. I don’t express any new thought, and haven’t even tried to. The idea … is basically a reflection of Beethoven’s Fifth — not the musical content, of course, but the central plan. Must I tell you that the Fifth not only has a program, but such an obvious one that everybody agrees about it? The same ought to apply to my Symphony; if you haven’t grasped the program there, all it proves is that I am no Beethoven — and I won’t dispute that!” From a less accomplished composer, or a less sincere one, that reference to “things that rise in the heart and cry out for expression” might have been shrugged off as embarrassing sentimentality, but from Tchaikovsky it rings as true as Beethoven’s inscription in the score of the Missa solemnis, usually translated as “From the heart, may it also go to the heart.” The emotion in his music makes its effect because it is genuine and unforced. The Fourth has a finale built largely on a well-known Russian folk 19

Things That Rise in the Heart song. Tchaikovsky used folk tunes in many of his compositions, from the earliest to the latest, but he was not a “nationalist” in the sense that Mily Balakirev and his group were (the “Mighty Five,” comprising RimskyKorsakov, Borodin, Mussorgsky, Cui and Balakirev himself). Not that there was any sense of opposition or antagonism: he was friendly, collegial and sometimes effusively congratulatory toward RimskyKorsakov, and he accepted Balakirev as a mentor, in the composition of his early tone poem Fatum, the more familiar Romeo and Juliet and the later Manfred Symphony. Several of the folk melodies he used in his works, in fact, came from Balakirev’s published collection. His relationships with colleagues from other countries were also notably friendly. He formed a friendship with Saint-Saëns early on, when the Frenchman visited Moscow and they actually danced in a costumed but very privately performed little ballet, with Nikolai Rubinstein playing their jointly composed music on the piano. His admiration for Bizet and Delibes was openly and emphatically declared, and in a gathering in Leipzig, at the home of the violinist Adolf Brodsky, who had given the premiere of his Violin Concerto, he met both Brahms (with whom he shared the same birthday, though Brahms was seven years his senior) and Grieg. Anna Brodsky, the violinist’s wife, left us a charming description of that event, in which she remarked on the musical quality of Tchaikovsky’s voice and observed that “Tchaikovsky and Brahms had never met before. It would be difficult to find two men more unlike. Tchaikovsky, a nobleman by birth, had something elegant and 20

refined in his whole bearing, and the greatest courtesy of manner …” In that meeting, Tchaikovsky happily formed a far more positive impression of Brahms than he had held before, and he attended the premiere of the Double Concerto. They met again in Hamburg, in 1889, when Tchaikovsky conducted his Fifth Symphony there and Brahms showed his respect by giving him an actually frank evaluation of the work. His impression of Grieg was a still happier one, and he wrote a brief but warm-hearted statement in admiration of the Norwegian master and his music, which program annotators love to quote even now. In January 1892 Tchaikovsky was in Hamburg again, to conduct the German premiere of his opera Evgeny Onegin. Gustav Mahler, then 31 years old, was director of the Opera there, and had been rehearsing the work for a month to have his troops ready for Tchaikovsky to take over. Henry-Louis de La Grange, in the first volume of his exhaustively detailed biography of Mahler, tells us: “Tchaikovsky was to conduct; he reached Hamburg the day before the premiere and led the final rehearsal. He returned to the opera house the same night, and Mahler’s conducting of Tannhäuser filled him with admiration. The newspapers announced the next morning that, amazed by the exceptional care with which Mahler had rehearsed Onegin, Tchaikovsky had decided to let him conduct. “In a letter to his nephew Bobyk, Tchaikovsky admitted that because of certain changes in the recitative he had lost the beat several times at the rehearsal. He added, ‘By the way, the local conductor is by no means the usual mediocrity, but a real genius dso.org

dying to conduct the premiere.’ “On the evening of the premiere, Mahler was invited … to a big supper, where he had a long conversation with the Russian composer, who recalled meeting him in Leipzig [four years earlier]. Mahler described him to [his sister] Justi as ‘an elderly gentleman, very likable, with elegant manners, who seems quite rich …’” Less than two years later, the funereal character of Tchaikovsky’s final symphony, the Pathétique, combined with his mysterious death nine days after the work’s premiere to create an unusual interest in the work. Mahler, during his brief tenure as conductor of the New York Philharmonic (1909-1911), complained that his American audiences demanded the work too frequently — but he had apparently (though perhaps not consciously) taken the work as template for the last of his own symphonies which he brought to completion, his Ninth, whose premiere took place after his death. Apart from general interest in the Pathétique itself, there was, perhaps understandably, speculation that Tchaikovsky had composed it as a conscious farewell to life. Despite all the evidence to the contrary, that romantic notion never entirely disappeared, and has given rise to numerous theories and fantastic tales over the years. As late as the 1970s, a particularly wild concoction appeared: Tchaikovsky did himself in on the orders of a group of fellow law school alumni, in order to avoid a scandal involving himself and the nephew of a duke. Although this was eventually refuted, it was given credence in at least two major biographies published before the end of the 20th century and in one of the most respected musical dso.org

Apart from general interest in the Pathétique itself, there was, perhaps understandably, speculation that Tchaikovsky had composed it as a conscious farewell to life. reference sources. Perhaps the unexpected character and content of the Pathétique encouraged a credulous receptiveness toward such fantasies, but Tchaikovsky’s life was filled with real drama, leaving no need for fictional embellishment. Despite his inborn predilection, he considered marrying the Belgian soprano Désirée Artòt, but she chose a different husband and Tchaikovsky, more or less against his own will, married a woman he barely knew (she had been one of his pupils at the Moscow Conservatory which now bears his name), with predictably disastrous consequences (possibly as close as he ever came to actual suicide). Shortly before that ill-advised marriage, he began receiving a generous subsidy which freed him from the chore of teaching, from a wealthy widow who stipulated that they never meet in person, but who in their correspondence became such an intimate friend that the two of them engineered a symbolic link between their two families by marrying her son to his niece. Tchaikovsky attended that 21

Things That Rise in the Heart wedding, in 1884; his benefactress Nadezhda von Meck, preserving her original stipulation, was in Canness. Six years later she cut him off without a word; he no longer needed her allowance, but her withdrawal from his life was a painful shock. And there was his punishing doubt in the worth of his creative efforts, while in his travels, which he seldom enjoyed, he presented an urbane and confident, solicitous character that endeared him to everyone he met. Together with the unembellished facts of the Pathétique’s premiere and the composer’s death, these are the ingredients of a Russian novel. What is more to the point in the present context is that all-Tchaikovsky

…He composed two works under the same title which otherwise have no connection with each other, either in their musical content or their subject matter. concerts, and even extended Tchaikovsky festivals, have not been rarities, because there has always been a responsive audience for them. In the present festival, Leonard Slatkin, who has given Tchaikovsky a prominent place in his repertory throughout his career, is conducting all six of the numbered symphonies; with distinguished soloists, he is giving us all the piano concertos, the Violin Concerto, and the Rococo Variations 22

for cello and orchestra, and among the shorter works are some pieces that are only rarely encountered. The Second Piano Concerto is being performed in its full, uncut form, with the extended solos for violin and cello in its slow movement; the Third is given as the composer left it: a single movement, without Taneyev’s unauthorized “completion,” assembled after Tchaikovsky’s death by filling out the Andante and Finale published as Op. 79. One of those seldom heard shorter pieces, the Overture to the opera The Voyevoda, is a reminder of a curiosity that is almost certainly unique to this composer’s catalogue of works: at the beginning of his creative activity, and again near the end of it, he composed two works under the same title which otherwise have no connection with each other, either in their musical content or their subject matter. The earlier of the two Voyevodas, designated Op. 3, was Tchaikovsky’s first completed attempt at writing an opera. It was based on the play A Dream on the Volga, by Alexander Ostrovsky, who, as Charles Greenwell advises in his program note, took part with Tchaikovsky in creating part of the libretto. Tchaikovsky withdrew the opera after its few performances in 1869, and recycled parts of it in other works. In 1886, however, he composed some incidental music for the Ostrovsky play itself, to which he did not assign an opus number. The opera was not published until 1953. The other Voyovoda, labeled Op. 78 when it was published posthumously, is the last of Tchaikovsky’s symphonic poems. He called it a “symphonic ballad,” probably because it was based on a ballad by the Polish poet Adam Mickiewicz, which has a dso.org

setting, characters, plot and overall mood utterly different from the Ostrovsky play on which the Op. 3 opera was based. Like that opera, it was withdrawn by the composer, but in this instance he changed his mind about that, and in any event the piece was significant for him because of its orchestration. On his way to the United States to take part in the opening of Carnegie Hall, in 1891, Tchaikovsky discovered the newly invented instrument called the celesta during a stopover in Paris, and he was determined to be the first composer to introduce it in Russia. To that end he had a celesta shipped to him in secret, so that he would not have to worry, as he said, about having Glazunov or Rimsky-Korsakov beat him to it: he included it in the scoring of the orchestral Voyevoda, and he conducted the premiere during the first half of a concert in Moscow on November 18, 1891. He did not even wait for the concert to end, but during the intermission he declared that “such rubbish ought never to have been written,” and announced his intention to destroy the score, an action he took the very next day. He later came to feel, however, that his own clumsy conducting had been responsible for his poor impression of the work, and he gave his approval for its publication (from parts the concert manager, none other than Alexander Siloti, had carefully preserved). Publication, however, did not take place until 1897, four years after his death. Meanwhile, he had scheduled a concert for March 1892, four months after that unfortunate one in Moscow, in which he would have introduced the “symphonic ballad,” and with it the celesta, to St. Petersburg. He had not prepared a concert suite from dso.org

either of his two earlier ballets (Swan Lake or The Sleeping Beauty), but for this occasion he assembled a suite from his unfinished score for The Nutcracker, which of course includes what is still the most famous use of the celesta by any composer, at any time. The Nutcracker Suite, with the Dance of the Sugarplum Fairy as its third movement, was given its premiere in St. Petersburg under his baton on March 19, 1892; the score for the entire ballet was completed two weeks later, and the first production was also given in St. Petersburg, on December 18 of that year. The survival of the Op. 78 Voyevoda is worth mentioning here beyond the oddity of the totally unrelated works sharing the same title. It demonstrates Tchaikovsky’s imaginativeness on several levels, his professionalism in respect to high standards, and his modesty in acknowledging his weaknesses in areas other than composing. If he sometimes had episodes of self-doubt or tended to lose confidence in himself, his enthusiastic listeners never wavered, and their number has held more than steady over the generations. Alec Wilder (1907-1980), a unique figure in our own country’s music (composer of sophisticated songs — for which he always created his own tunes — and chamber music, mostly for winds; author of the landmark study American Popular Song), spoke for millions when he remarked, with his characteristic brevity and directness, “I like Tchaikovsky: he always takes me where I like to go.” Visit dso.org/TchaikFest to watch a video about Tchaikovsky’s life and times, starring webcast co-host Charles Greenwell 23

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Jeff Tyzik, Principal Pops Conductor Terence Blanchard, Jazz Creative Director Gabriela Lena Frank, Music Alive Composer-in-Residence

Thursday, February 12, 2015 at 7:30 p.m. Friday, February 13, 2015 at 8 p.m. in Orchestra Hall LEONARD SLATKIN, conductor OLGA KERN, piano Piotr Ilyich Tchaikovsky (1840-1893)

Coronation March Piano Concerto No. 2 in G major, Op. 44 Allegro brillante e molto vivace Andante non troppo Allegro con fuoco Olga Kern, piano

INTERMISSION Symphony No. 6 in B minor, Op. 74, “Pathétique” Adagio - Allegro non troppo Allegro con grazia Allegro molto vivace Finale: Adagio lamentoso This performance will be webcast at dso.org/live

This Classical series performance is generously sponsored by

Olga Kern’s performances are sponsored in part by Gwen and Richard Bowlby Greektown Casino-Hotel is the official hotel sponsor of the 2015 Tchaikovsky Festival

Get the most out of each classical 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. The DSO can be heard on the Live From Orchestra Hall, Chandos, London, Mercury Records, Naxos and RCA labels.

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PROFILES LEONARD SLATKIN Leonard Slatkin is Music Director of the Detroit Symphony Orchestra and the Orchestre National de Lyon, France. During the 2013-14 season, he conducted at Krzysztof Penderecki’s 80th birthday celebration in Warsaw, recorded with Anne Akiko Meyers and the London Symphony, and appeared with the Chicago Symphony, the Pittsburgh Symphony and the St. Louis Symphony. He also toured China and Japan with the Orchestre National de Lyon and led the Detroit Symphony Orchestra in concerts across southern Florida. Highlights of the 2014-15 season include a collaborative celebration of his 70th birthday on both sides of the Atlantic, a three-week Tchaikovsky festival in Detroit, a Brahms symphony cycle in Lyon, and engagements with the New York Philharmonic, Tokyo’s NHK Symphony Orchestra and the Deutsches Symphonie-Orchester Berlin. Slatkin’s more than 100 recordings have won seven Grammy awards and earned 64 nominations. With the Orchestre National de Lyon, he has embarked on recording cycles of the Rachmaninoff piano concerti featuring Olga Kern and the symphonic works of Maurice Ravel and Hector Berlioz. With the Detroit Symphony, he has released a digital box set of the Beethoven symphonies and plans to offer the concerti and symphonies of Tchaikovsky in the future. Slatkin has received the USA’s prestigious National Medal of Arts, the League of American Orchestra’s Gold Baton Award and several ASCAP awards. He has earned France’s Chevalier of the Legion of Honor, Austria’s Declaration of Honor in Silver, dso.org

and honorary doctorates from The Juilliard School, Indiana University, Michigan State University and Washington University in St. Louis. He is also the recipient of a 2013 ASCAP Deems Taylor Special Recognition Award for his book, Conducting Business. Slatkin has served as Music Director of the St. Louis Symphony Orchestra and the National Symphony Orchestra in Washington, D.C., and as Chief Conductor of the BBC Symphony Orchestra in London. He has held Principal Guest Conductor positions with the Royal Philharmonic Orchestra, the Los Angeles Philharmonic, the Philharmonia Orchestra of London and the Pittsburgh Symphony Orchestra. Founder and director of the National Conducting Institute and the St. Louis Symphony Youth Orchestra, Slatkin continues his conducting and teaching activities at the Indiana University Jacobs School of Music, the Manhattan School of Music and The Juilliard School. Born in Los Angeles to a distinguished musical family, he is the son of conductor-violinist Felix Slatkin and cellist Eleanor Aller, founding members of the famed Hollywood String Quartet. He began his musical studies on the violin and studied conducting with his father, followed by Walter Susskind at Aspen and Jean Morel at The Juilliard School. Olga Kern biography, see page 31.

PROGRAM NOTES Coronation March (Marche solennelle) PIOTR ILYICH TCHAIKOVSKY B. May 7, 1840 in Votkinsk, Russia D. November 6, 1893 in St. Petersburg, Russia SCORED FOR 3 FLUTES, PICCOLO, 3 OBOES, ENGLISH HORN, 2 CLARINETS, 2 BASSOONS, 4 HORNS, 2 TRUMPETS, 3 TROMBONES, TUBA, TIMPANI, PERCUSSION (SNARE DRUM, CYMBALS, BASS DRUM & TRIANGLE), HARP AND STRINGS. (APPROX. 5 MINUTES)

he Grand Duke Alexander Alexandrovich Romanov was the second son of Tsar Nicholas II, and when his elder brother died in 1865 he unexpectedly became heir to the Russian throne. Then, when his father was assassinated in March of 1881, Alexander became His Imperial Majesty Tsar Alexander III. For the coronation ceremonies, scheduled for May of 1883, Tchaikovsky, who was in Paris that March working on the orchestration of his opera Mazeppa, was commissioned by the Mayor of Moscow to write two works, a cantata (which was entitled Moscow), and Coronation March for large orchestra. Even considering the importance of this occasion, Tchaikovsky was very upset that he had to interrupt work on the opera, and let several people — including his publisher — know of his feelings. Nevertheless, a royal commission could not be ignored. This commission was no accident: Alexander was a great admirer of Tchaikovsky’s music, and members of the royal family frequently attended performances of his operas and ballets. Moreover, the composer’s merits were rewarded by having been given the Order of St. Vladimir as well as a lifetime pension, and he also received a valuable ring as a personal

gift from the Tsar. Tchaikovsky’s premature death was reported to have greatly distressed the royal family, and it was Tsar Alexander himself who ordered that Tchaikovsky be given a state funeral. In spite of his displeasure, the march was finished in three weeks’ time, and was first performed as scheduled in May under the direction of Sergei Taneyev with the simple title Coronation March. Subsequent performances were entitled Festival March, and when it was put in Tchaikovsky’s catalog of works, it was listed as Festival Coronation March. When he made his first trip to the U.S. in May of 1891 to celebrate the opening of Carnegie Hall, he conducted the work himself, now with the title of Marche solennelle, or Solemn March. In this short but majestic work, Tchaikovsky naturally included a quotation from the Russian national anthem, God Save the Tsar, and the work begins with a reminiscence — intentional or not — of the Hallelujah chorus from Handel’s Messiah. During the modern Soviet era, Russian performances and recordings of the march omitted the excerpts from the Tsarist national anthem, and replaced them with material used earlier in the work. Then, beginning with the inauguration of Dmitri Medvedev in 2008, a truncated version of the march has been played to accompany the entrance of the incoming president, the music ending well before the appearance of the old national anthem. The DSO last performed the Coronation March in July 1993 with Neeme Järvi conducting, during a Tchaikovsky Festival. The DSO premiere took place in December of 1974 with Andre Kostelanetz conducting at Ford Auditorium. dso.org

Piano Concerto No. 2 in G Major, Op. 44 SCORED FOR SOLO PIANO, 2 FLUTES, 2 OBOES, 2 CLARINETS, 2 BASSOONS, 4 HORNS, 2 TRUMPETS, TIMPANI AND STRINGS. (APPROX. 37 MINUTES)

fter finishing work on the galley proofs of his opera The Maid of Orleans in September of 1879, Tchaikovsky felt strongly that he needed a complete break from his work, and accordingly went to his sister’s estate in Kamenka with the avowed purpose of doing nothing. This scheme did not last long, however, and soon his letters began to talk about things such as “a kind of indefinable dissatisfaction” and boredom. After trying to do nothing for a couple of weeks he mentioned being “absolutely incapable of going for long without working,” while at the same time a new musical idea was beginning to take shape in his fertile mind. As he worked on the new inspiration he was able to write “Today I started to do something, and the boredom just flew away. I have begun to write a new piano concerto. The work on it will not be rushed, and there is not the least chance that I could strain or tire myself out.” Nevertheless, this attempt to stave off boredom was only partially successful, and even though he only worked leisurely on the new concerto in the morning, he reported that “the composition is something of an effort.” He kept at it, and by the first of November the first movement was almost complete. He continued to work on the concerto even when he later visited Paris and Rome, and the whole piece was completed in May of 1880. By this time the First Piano Concerto had become very popular, and Nikolai Rubinstein had long since made amends with dso.org

Tchaikovsky by performing the work wherever he could, and this added greatly to its popularity. During a visit to Moscow, the composer had been greatly impressed by a performance Rubinstein gave of his Piano Sonata, and decided to dedicate the new concerto to him, but he still wanted to have Rubinstein’s reaction to the work. This time, the pianist was quite cautious with his comments, suggesting tactfully that the piano part was perhaps too episodic and was engaged too much of the time in a dialogue with the orchestra rather than being mostly in the foreground. Unfortunately, Rubinstein did not live long enough to play the concerto, and it fell to his brother Anton to conduct what everybody thought was the first performance with Sergei Taneyev as soloist, in the first symphony concert of the Arts and Industrial Exhibition which took place in Moscow in May of 1882. The audience greeted the concerto with warm applause, but in the words of Tchaikovsky’s brother Modest, “…it was difficult to determine whether the applause was intended for the composer or the soloist.” Shortly thereafter, Taneyev weighed in with some criticisms of his own, mainly that the first two movements were too long, and that the violin and cello solos in the second movement detracted from the piano part. Tchaikovsky was understandably irritated by this, wondering why no one had bothered to make these comments prior to the performance. He eventually did make several revisions for a performance he conducted some six years later, and

THE GREAT TCHAIKOVSKY QUIZ What was #

Tchaikovsky’s first composition?

said that he was now finally satisfied with the work. He was nevertheless baffled by the concerto’s lack of popularity, believing it to be one his best works. It was about this time that the composer received the startling news that the May 1882 outing was not the first performance, but that, like the First Concerto, it had received its premiere hearing in the U.S., this time in November of 1881 in New York, with Theodore Thomas conducting the orchestra of the New York Philharmonic Society, and with the English virtuoso Madeleine Schiller as soloist. Apparently, nobody connected with this performance was aware that it was the world premiere, as nowhere in Thomas’ memoirs is there any mention of the occasion or in the list of first performances he had conducted. After the Moscow performance, Alexander Siloti, a brilliant pianist and one of Tchaikovsky’s former pupils, suggested a series of revisions to the score, among which was the elimination of most of the violin and cello solos in the second movement. Four years after Tchaikovsky’s death these revisions found their way into a new published version of the concerto, which stood for years as the “authentic” version of the work, and is the version which will be heard at these performances. It can be said that this Second Concerto may lack the exuberance and drama of No. 1, but contains more lyricism and charm. The DSO last performed Piano Concerto No. 2 in January of 2005 with Neeme Järvi conducting and Alexander Markovich as soloist. The DSO premiere took place in November of 1920 at Orchestra Hall with Ossip Gabrilowtisch conducting and Yolanda Mero as soloist.

Symphony No. 6 in B minor, Op. 74, “Pathétique” TCHAIKOVSKY’S SYMPHONY NO. 6 WAS HIS FINAL WORK IN THE GENRE, AND WAS COMPOSED BETWEEN THE MONTHS OF FEBRUARY AND AUGUST 1893. IT IS SCORED FOR 3 FLUTES (THIRD DOUBLING PICCOLO), 2 OBOES, 2 CLARINETS, 2 BASSOONS, 4 HORNS, 2 TRUMPETS, 3 TROMBONES, TUBA, TIMPANI, BASS DRUM, CYMBALS, TAM-TAM AND STRINGS (APPROX. 47 MINUTES).

yotr Ilyich Tchaikovsky was a Russian composer of the Romantic era. His wide-ranging output includes symphonies, operas, ballets, instrumental and chamber music and songs. Born into a middle-class family, Tchaikovsky began piano studies at the age of 5. He was educated for a career as a civil servant, despite his obvious musical gifts. He pursued music against his family’s wishes, entered the St. Petersburg Conservatory in 1862, and graduated in 1865. This Western-style training set him apart from the nationalistic group of young Russian composers known as “The Five” and with whom his professional relationship was mixed at best. Although he enjoyed many popular successes, Tchaikovsky was never emotionally secure and his life was shaped by periods of personal crisis and depression. Contributing factors were likely his suppressed homosexuality (and fear of exposure), his disastrous marriage and the abrupt collapse of the one enduring relationship of his adult life, his 13-year association with the wealthy widow

THE GREAT TCHAIKOVSKY QUIZ # Whom did Tchaikovsky

consider the greatest composer? dso.org

(and his patroness) Nadezhda von Meck. His sudden death at the age of 53 was long thought to be due to cholera; recent scholarship suggests that he may have poisoned himself under orders from a secret “court of honor,” which sought to conceal his homosexual relationship with a young member of the aristocracy. There have been a number of theories as to a possible “hidden program” in the “Pathétique” symphony, going back to the first performance of the work, when Rimsky-Korsakov asked Tchaikovsky whether there was a program to the new symphony. Tchaikovsky admitted that there was, but he refused to divulge it. A note found among the composer’s papers indicates that death was indeed on his mind. “The ultimate essence of the plan of the symphony is LIFE,” he wrote. “First part — all impulsive passion, confidence, thirst for activity. Must be short. (Finale: DEATH — result of collapse.) Second part love; third disappointments; fourth ends dying away (also short).” Biographer John Warrack notes that Pateti eskaja (the Russian equivalent of “Pathétique”) is translated more accurately as “passionate,” “emotional” or even “suffering,” rather than “pathetic.” First drafts of the work were completed as early as the spring of 1891; however, some (or all) of the work was deemed inferior by Tchaikovsky, who tore up the manuscript. The work we know today was sketched out between February and April of 1893 and was orchestrated in August of the same year. Though the symphony initially received a mixed critical reception, conductor Eduard Napravnik brought dso.org

it to the attention of the music-loving world when he included it on a memorial concert for the composer on November 18 of that same year. The symphony’s opening sonata movement begins with a slow, gloomy introduction in the bassoons and low strings. The thematic motive introduced here becomes the pleading main theme, which is worked out rigorously before giving way to a relaxed second theme in the violins. The development section bursts upon the scene in an agitated contrapuntal frenzy, which climaxes in the return of the first theme, then the second theme. A solemn processional serves as coda to the movement. The two middle movements are among Tchaikovsky’s finest examples of symphonic waltzes and marches. The second movement waltz is distinguished by the use of a 5/4 rather than a 3/4 meter, which extends the sweeping arc of its phrases. A moody trio section (in minor mode) provides contrast to this lyrical outpouring. In the manic third movement march, carefully calculated waves of relentless growth erupt into shattering orchestral climaxes. Low strings and bassoon set the tone for the sad, dejected music of the finale, a startling departure from the exuberant finales typical of most 19th century symphonies — most notably those by Tchaikovsky himself. The DSO last performed Symphony No. 6 in October of 2011 with Jerzy Semkow conducting. The DSO premiere took place in November of 1918 at Arcadia Auditorium with Ossip Gabrilowtisch conducting. Video introductions to each symphony are available at dso.org/TchaikFest 29

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Jeff Tyzik, Principal Pops Conductor Terence Blanchard, Jazz Creative Director Gabriela Lena Frank, Music Alive Composer-in-Residence

Saturday, February 14, 2015 at 8 p.m. Sunday, February 15, 2015 at 3 p.m. in Orchestra Hall LEONARD SLATKIN, conductor OLGA KERN, piano Piotr Ilyich Tchaikovsky Marche Slave, Op. 31 (1840-1893) Piano Concerto No. 1 in B-flat minor, Op. 23 Allegro non troppo e molto maestoso Andantino semplice Allegro con fuoco Olga Kern, piano INTERMISSION Symphony No. 1, G minor, Op. 13 “Winter Dreams” Allegro tranquillo Adagio cantabile ma non tanto Scherzo: Allegro scherzando giocoso Finale: Andante lugubre - Allegro moderato - Allegro maestoso This performance will be webcast at dso.org/live

This Classical series performance is generously sponsored by

Olga Kern’s performances are sponsored in part by Gwen and Richard Bowlby Greektown Casino-Hotel is the official hotel sponsor of the 2015 Tchaikovsky Festival

dso.org

PROFILES Leonard Slatkin biography, see page 25.

OLGA KERN Olga Kern is now recognized as one of her generation’s great pianists. With her vivid stage presence, passionately confident musicianship and extraordinary technique, the striking Russian pianist continues to captivate fans and critics alike. Kern was born into a family of musicians with direct links to Tchaikovsky and Rachmaninoff and began studying piano at the age of five. She jumpstarted her U.S. career as the first woman in over 30 years to receive the Gold Medal at the Van Cliburn International Piano Competition in Fort Worth, Texas. First prize winner of the Rachmaninoff International Piano Competition at the age of 17, Kern is a laureate of many international competitions and tours throughout Russia, Europe, the United States, Japan, South Africa and South Korea. Kern is also a corresponding member of the Russian Academy of Sciences, Division of the Arts. In the 2014-2015 season, Kern performs with the NHK Symphony, Orchestre National De Lyon, New Mexico Philharmonic, the symphonies of Detroit, Nashville, Colorado, Madison, Austin, Mobile and Santa Rosa, and will give recitals in Seattle and Louisville, and alongside star American soprano Renée Fleming in Boston and Washington, DC. Last season, Kern performed with the Detroit and Cincinnati symphonies, New Mexico Philharmonic, Orquestra Sinfônica do Estado de São Paulo and gave solo recitals in California, New York, San Francisco and Vancouver.

dso.org

Kern’s performance career has brought her to many of the world’s most important venues, including Carnegie Hall, Lincoln Center, the Great Hall of the Moscow Conservatory, Symphony Hall in Osaka, Salzburger Festspielhaus, La Scala in Milan, Tonhalle in Zurich and the Châtelet in Paris. Kern’s discography includes Harmonia Mundi recordings of the Tchaikovsky Piano Concerto No. 1 with the Rochester Philharmonic Orchestra and Christopher Seaman (2003), her Grammy Nominated recording of Rachmaninoff’s Corelli Variations and other transcriptions (2004), a recital disk with works by Rachmaninoff and Balakirev (2005), Chopin’s Piano Concerto No. 1 with the Warsaw Philharmonic and Antoni Wit (2006), Brahms Variations (2007) and a 2010 release of Chopin Piano Sonatas No. 2 and 3 (2010). Most recently, SONY released their recording of Kern performing the Rachmaninoff Sonata for Cello and Piano with cellist Sol Gabetta. She was also featured in the award-winning documentary about the 2001 Cliburn Competition, Playing on the Edge, as well as Olga’s Journey, Musical Odyssey in St. Petersburg and in They Came to Play.

THE GREAT TCHAIKOVSKY QUIZ # Which work hurtled

3 Tchaikovsky to

international stardom?

PROGRAM NOTES Marche Slave, Op. 31 PIOTR ILYICH TCHAIKOVSKY B. May 7, 1840 in Votkinsk, Russia D. November 6, 1893 in St. Petersburg, Russia SCORED FOR 2 FLUTES, 2 PICCOLOS, 2 OBOES, 2 CLARINETS, 2 BASSOONS, 4 HORNS, 2 TRUMPETS, 2 CORNETS, 3 TROMBONES, TUBA, TIMPANI, PERCUSSION (BASS DRUM, CYMBALS, SNARE DRUM & TAM-TAM) AND STRINGS. (APPROX. 10 MINUTES)

n 1875, long-standing discontent within the Ottoman Empire erupted into a major war, and in June of the following year Serbia and Montenegro declared war on Turkey. The Russians had always distrusted the Ottoman Empire, and by the fall, many volunteer Russian soldiers were entering the conflict mainly to support the Balkan side. As the Turkish victories increased, Serbia begged the major European powers to help negotiate an end to the conflict. At the same time the celebrated Russian pianist Nikolai Rubinstein organized a benefit concert to raise money for the wounded Serbian veterans. Rubinstein asked Tchaikovsky, known to be a sympathizer of the Slavonic cause, to compose something for the occasion, and he responded with this rousing march, written in just five days. His original title for the work was SerboRussian March, but it was quickly changed to Slavonic March, and in the West it is generally known by its French title of Marche Slave. The work, which is remarkable for a surprising amount of subtlety and even humor, is based on several Serbian folk tunes with the Tsarist Russian anthem thrown in for symbolic support. The benefit concert was given in November of 1876 in Moscow, and the march was a

resounding success, members of the audience weeping openly, jumping on their seats with cheering and ecstatic cries of support for the soldiers. It was so successful, in fact, that it had to be repeated, and the same ovation broke out a second time! The DSO last performed Marche Slave on a classical subscription program in January of 1930 with Victor Kolar conducting. The DSO premiere took place in February of 1922 with Ossip Gabrilowtisch conducting.

Piano Concerto No. 1 in Bb minor, Op. 23 SCORED FOR SOLO PIANO, 2 FLUTES, 2 OBOES, 2 CLARINETS, 2 BASSOONS, 4 HORNS, 2 TRUMPETS, 3 TROMBONES, TIMPANI AND STRINGS. (APPROX. 32 MINUTES)

ecause the First Piano Concerto is among the most beloved and frequently performed concertos in any form, it is always startling to discover that it was brought into being through very negative circumstances. Tchaikovsky finished the first draft of the work in December of 1874 and, not being a first-rate pianist, sought the advice of someone eminently qualified as a keyboard artist. The logical choice was his trusted colleague and mentor Nikolai Rubinstein, one of the great piano virtuosos of the day, and the man who had given the 24-year-old Tchaikovsky the post of Professor of Harmony at the Moscow Conservatory when it opened in 1865. Accordingly, the two men got together on Christmas Eve in 1874 for the express purpose of allowing Rubinstein to hear the new concerto. Rubinstein sat in stony silence as Tchaikovsky played through the entire work, and when it dso.org

was ended he launched into a tirade of criticism and invective (“worthless and unplayable, clumsy, badly written, many passages manufactured and guilty of plagiarism, vulgar, only two or three pages were worth preserving”) which left the younger man stunned, unable to speak and extremely angry. Tchaikovsky left the room and Rubinstein followed him, repeating some of his most scathing comments, and told him that if he would make wholesale revisions to the score, he, Rubinstein would consider performing it. Whatever insecurities Tchaikovsky might have had previously seemed to vanish in the heat of this exchange, and most uncharacteristically, he shouted at Rubinstein that he would not alter a single note and would have the work published exactly as it was — and so he did. However, the work was extensively revised for its second publication in 1889, and this is the version that has been known and loved ever since. One of the more interesting aspects of this story is that the work was given its world premiere not in Russia or even in Europe, but in Boston in October of 1875. The soloist was the great German pianist and conductor Hans von Bulow, and the orchestra was conducted by Benjamin Johnson Lang, a pupil of Franz Liszt who lived in nearby Salem, Massachusetts. The performance was an enormous success, and even though some critics found it less than wonderful, the audience took it immediately to heart. The Russian premiere took place in St. Petersburg in November of that year, and the Moscow premiere took place a month later with pianist/ composer Sergei Taneyev as soloist. The conductor on that occasion, amazingly enough, was Nikolai dso.org

Rubinstein, the very same man who had so greatly criticized the work less than a year earlier. In 1878 the breach with Rubinstein was healed to a certain extent, but only after the pianist admitted that he had been dead wrong about the concerto, and agreed to make amends by playing the work all over Europe. Rubinstein had, of course, made a dreadful mistake, but for all of his later efforts on the concerto’s behalf, Tchaikovsky never really forgave him. The famous main theme of the first movement is based on a Ukrainian folk song which Tchaikovsky once heard from a street singer, and another Ukrainian folk song comes into play in the last movement. In the fast portion of the second movement a French chanson is alluded to, a song which Tchaikovsky and his brothers used to sing all the time in the early 1870s. The DSO last performed Piano Concerto No. 1 in May of 2011 with Leonard Slatkin conducting and Olga Kern as soloist. The DSO premiere took place in December of 1918 at Arcadia Auditorium with Ossip Gabrilowtisch conducting and Olga Samaroff as soloist.

Symphony No. 1 in G minor, Op. 13 (“Winter Dreams”) SCORED FOR 3 FLUTES, PICCOLO, 2 OBOES, 2 CLARINETS, 2 BASSOONS, 4 HORNS, 2 TRUMPETS, 3 TROMBONES, TUBA, TIMPANI, PERCUSSION (BASS DRUM & CYMBALS) AND STRINGS. (APPROX. 44 MINUTES)

he symphonies of Tchaikovsky are richly scored and very demanding technically, and display a remarkable and highly individual amalgam of Russian characteristics 33

and Western symphonic structure. In the case of his first three symphonies, we find many unusual features, a desire on his part for affirmation from his teachers and mentors, and an unease on their part due to what they expected him to compose and what he actually did. There is, of course, the question of an influence of native folk music in his output. About this, he once wrote: “…as far as the Russian element in my music is concerned, i.e. the relationship between the national songs and my melodies and harmonies, this is because I grew up in the backwoods, from earliest childhood saturated with the indescribable beauty of the characteristic traits of Russian folk music.” In this regard it can be said that Tchaikovsky embodied the character and spirit of 19thcentury Russia like no one else. One of the more fascinating aspects of his symphonic output was that, for quite some time, he was famous and beloved for half of this output, a situation which has no parallels in music. Igor Stravinsky unearthed the Second and Third Symphonies in the 1930s to use in guest conducting appearances, and until then they were virtually unknown in the West. The First Symphony had in fact been performed by the Boston Symphony Orchestra in 1934, but numbers 2 and 3 had to wait for decades before being heard. The main reason for this was that the great popularity of his last three symphonies simply overshadowed the first three. That these first three symphonies gradually became known can be attributed first to recordings and then to occasional performances, and by now their inspiration and craftsmanship are beyond question. A first symphony can be an 34

obstacle to many composers (witness how long it took Brahms to produce his first offering in the genre), and for somebody like Tchaikovsky, who came to music relatively late in his life in a country which had no symphonic tradition, the prospect of such an undertaking must have been daunting. While a student at the St. Petersburg Conservatory he had written some short orchestral works, but before attempting to produce a symphony the most substantial works he had written were three concert overtures, works in which form was not of paramount importance. When he was graduated from the Conservatory in January of 1866, he was immediately taken on as an instructor of music theory. Shortly thereafter, he was thrown into a terrible fit of depression when Cesar Cui, a composer, one of his colleagues, and the least well known of the group of composers known as The Five, wrote a review of his early works and declared that Tchaikovsky had no talent whatsoever. It sent the young lad into a tailspin, in which he kept telling himself that what Cui had written was true. As he gradually calmed down from this state of self-doubt, he went back to work with a manic zeal which began to undermine his health. He became very nervous, and suffered from constant headaches, bouts of insomnia, hallucinations, nightmares, and a feeling of numbness in his hands and legs. By the end of July he had a nervous breakdown, and when a doctor was called in to treat him, the doctor prescribed complete rest with no more composing for the near

THE GREAT TCHAIKOVSKY QUIZ # Name the first of

Tchaikovsky’s three ballets. dso.org

future, telling family friends that the young man had been “on the verge of madness.” This frightened Tchaikovsky to such an extent that he did stop composing for a time, and never again overworked himself to such a degree. He resumed work on the symphony in March of 1866, completing the draft that June, and finishing the orchestration in November. During this period he showed the draft to two of his former professors, one of whom was Anton Rubinstein (the brother of Nikolai), and to his dismay both men severely criticized what he had written and asked for major changes before it would be ready for performance. After making numerous revisions during the orchestration process, he finally finished the symphony and again showed it to his mentors. This time, the two inner movements were deemed suitable for performance, but not the outer two. In December Nikolai Rubinstein conducted a performance of the scherzo (the third movement) in Moscow, and it was a complete failure. However, in February of the following year Rubinstein conducted the second and third movements in St. Petersburg, and things went a bit better: the audience reception was at least lukewarm, and one critic mentioned how melodious and skillfully orchestrated the music was. The first complete performance of the symphony took place in February of 1868, and this time there was considerable enthusiasm for the work, particularly the second movement. In spite of this, Tchaikovsky decided that the symphony needed a great deal more revision, and this was implemented before it was finally published in 1875. Right from the start it was Tchaikovsky’s intention to subtitle the work Winter Dreams, and he also gave dso.org

subtitles to the first two movements, Dreams of a Winter Journey, and Land of Desolation, Land of Mists. All of these subtitles, however, were meant to be descriptive in a very broad sense, and not in any way programmatic like many of his later works. Although this fascinating symphony appears to have caused the composer more problems and anguish than anything else he wrote, it was always one of his favorites (because it was his first attempt at a symphony?), and in spite of being aware of its shortcomings, he once wrote, “Although it is immature in many respects, it is essentially better and richer in content than many other, more mature works.” Among the many highlights of the work are the way the first movement marvelously suggests the almost endless Russian winter landscape and the traveler’s dreams; the extraordinary beauty of the second movement, in effect a nocturne filled with subtle and telling touches and reminiscences of an early overture to Ostrovsky’s drama The Storm; the effervescent and witty third movement, reminiscent of Mendelssohn, but with a characteristic Tchaikovsky waltz as its trio; and the lengthy finale, which uses a Russian folk song, The Gardens Bloomed, as a basic inspiration, and which comes to a very exciting and convincing conclusion. The DSO last performed Symphony No. 1 in November of 2004 with Hans Graf conducting. The DSO premiere took place in January of 1932 at Orchestra Hall with Victor Kolar conducting.

THE GREAT TCHAIKOVSKY QUIZ # Tchaikovsky’s first

degree at university was in what subject? 35

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Jeff Tyzik, Principal Pops Conductor Terence Blanchard, Jazz Creative Director Gabriela Lena Frank, Music Alive Composer-in-Residence

Friday, February 20, 2015 at 10:45 a.m. & 8 p.m. in Orchestra Hall LEONARD SLATKIN, conductor Piotr Ilyich Tchaikovsky Romeo and Juliet Fantasy Overture (1840-1893) Suite from Swan Lake, Op. 20a Scène Valse Dance of the Swans Scène Spanish Dance Neapolitan Dance Hungarian Dance, Czardas INTERMISSION Symphony No. 3 in D major, Op. 29, “Polish” Introduzione ed allegro - Moderato assai (Tempo marcia funebre) Alla tedesca: Allegro moderato e semplice Andante elegiaco Scherzo: Allegro vivo Finale: Allegro con fuoco (Tempo di polacca) This performance will be webcast at dso.org/live

This Classical series performance is generously sponsored by

Greektown Casino-Hotel is the official hotel sponsor of the 2015 Tchaikovsky Festival

dso.org

Leonard Slatkin biography, see page 25.

PROGRAM NOTES Romeo and Juliet Fantasy Overture PIOTR ILYICH TCHAIKOVSKY B. May 7, 1840 in Votkinsk, Russia D. November 6, 1893 in St. Petersburg, Russia

PREMIERED ON MARCH 16, 1870 IN MOSCOW, NIKOLAI RUBINSTEIN CONDUCTING THE ORCHESTRA OF THE RUSSIAN MUSIC SOCIETY. SCORED FOR PICCOLO AND 2 FLUTES, 2 OBOES AND ENGLISH HORN, 2 CLARINETS, 2 BASSOONS, 4 HORNS, 2 TRUMPETS, 3 TROMBONES, TIMPANI, BASS DRUM AND CYMBALS, HARP, AND STRINGS. (APPROX. 21 MINUTES)

lthough his works are widely performed and enjoyed today, Tchaikovsky was plagued throughout his life by doubts about his talent and the worth of his music. Occasionally these would lead to prolonged depressions during which he was unable to bring himself to compose. A particularly acute episode occurred in the summer of 1869. Tchaikovsky had recently suffered scathing receptions of several major works and was so dejected by their failure that he destroyed most of the music. He then stopped composing, complaining in October, “not one passable musical idea has entered my head in months.” But Tchaikovsky had a new ally and mentor, one whose encouragement prompted him to resume working. Mily Alexeyevich Balakirev was a composer of comparatively modest talent, but he had an enormous impact on the development of 19th-century Russian music. He became the leader and spokesman of a group of nationalist composers that would eventually include Borodin, Rimsky-Korsakov and Mussorgsky, and he was tireless in dso.org

arguing for a new kind of music, one based on dramatic ideas rather than abstract classical modes imported from Western Europe. Balakirev suggested that Tchaikovsky consider an overture based on Shakespeare’s Romeo and Juliet. The tale of the tragic, star-crossed lovers would have been particularly inviting to Tchaikovsky. A highly sensitive and literate person, he also was beginning to realize that his own inability to find conjugal happiness would be a life-long torment. Shakespeare’s unhappy couple must have seemed like kindred spirits. In any event, he set quickly to work and on November 29, 1869, wrote to Balakirev that the score was complete. In devising music for the play, Tchaikovsky focused on three principal elements of the drama. The long introductory section conveys a sense of resigned spirituality very much in character with Shakespeare’s Friar Laurence. This is followed by a violent episode complete with cymbal crashes to represent the clash of Montague and Capulet swords. Finally, the love of Romeo and Juliet is presented in a soaring melody. Balakirev, ironically, was not happy with the work. The opening was too tame, he said, and the love theme lacked ardor! Early audiences evidently agreed. The overture was received with indifference at its first performance in Moscow and fared no better (and sometimes far worse) in

THE GREAT TCHAIKOVSKY QUIZ # What piece did

Tchaikovsky conduct at the opening concert of Carnegie Hall?

the West. But Tchaikovsky lived to see that judgment reversed, and today his Romeo and Juliet is among the most popular works in the orchestral repertory. The DSO last performed the Romeo and Juliet Fantasy Overture in December of 2012 with Susanna Mälkki conducting. The DSO premiere took place in December of 1918 at Arcadia Auditorium with Ossip Gabrilowtisch conducting. Program note by Paul Schiavo © 2003.

Suite from Swan Lake SCORED FOR 3 FLUTES, PICCOLO, 2 OBOES, 2 CLARINETS, 2 BASSOONS, 4 HORNS, 2 TRUMPETS, 2 CORNETS, 3 TROMBONES, TUBA, TIMPANI, PERCUSSION (BASS DRUM, CYMBALS & TRIANGLE) AND STRINGS. (APPROX. 30 MINUTES)

he first performance of what is still considered to be the quintessential ballet was a disaster of such epic proportions that it took Tchaikovsky’s death and the subsequent renewal of interest in his life and works to bring about a second production. That premiere took place in Moscow at the celebrated Bolshoi Theater in March of 1877, and it was a failure for a number of reasons: the production overall was very shoddy; the choreography was uninspired and uninteresting; the prima ballerina was next to incompetent; the orchestra, inadequately rehearsed, simply could not handle the technical and musical demands of what was a very strong and inventive score; and that wonderful score was tampered with so as to include a number of dances by hack composers of the day. The genesis of what is now the most popular of classical ballets is more mundane. In 1875, the director of one of the other theaters in Moscow

asked Tchaikovsky to write music for a full-length ballet inspired in the main by a well-known German fairy tale. Mainly because of the financial reward, Tchaikovsky agreed, but he also had been wanting for some time to try his hand in this genre. He wrote at an uncommonly slow pace, and by the time the score was finished almost a year had gone by and he had actually become bored with writing the work. Then came the premiere, which, in spite of everything, actually did please a segment of the audience. The various folk legends on which the story was based were quite old, and usually had something to do with hunters finding swans, who beg the hunters not to shoot them, then at some point the swans are transformed into beautiful maidens who eventually marry the hunters. Following the premiere, various revisions were made to the choreography — and even the music — by leading ballerinas of the day, demands to which Tchaikovsky surprisingly agreed. As a result, the ballet became more and more disjointed and difficult to follow, and performances virtually stopped. In 1880, a new choreographic version was created for the Bolshoi Theatre, but even though it remained in the company’s repertoire for three years, it was not successful and eventually was dropped from active performance. Then, with the great successes of The Sleeping Beauty (1890) and The Nutcracker (1892) on the boards, plans were made to mount an entirely new production in St. Petersburg. This eventually took place one year after Tchaikovsky’s premature death in 1893, and was the work of the famed choreographer Marius Petipa and his assistant Lev Ivanov, who sought to create a memorial program of the composer’s music at the famous Maryinsky Theater. This gala dso.org

production took place in the winter of 1895, was an absolute triumph, and Swan Lake was finally revealed as an unquestioned masterpiece, and has taken its place as a work of great historical importance in the development of modern ballet. The DSO last performed the Suite from Swan Lake on a classical subscription concert in December of 1944 with Karl Krueger conducting. This was the only other subscription concert performance in DSO history.

Symphony No. 3 in D Major, Op. 29 (“Polish”) SCORED FOR 3 FLUTES, PICCOLO, 2 OBOES, 2 CLARINETS, 2 BASSOONS, 4 HORNS, 2 TRUMPETS, 3 TROMBONES, TUBA, TIMPANI AND STRINGS (APPROX. 44 MINUTES)

ery little is known about the background and origins of this symphony. What we do know from the manuscript score is that it was begun in early June of 1875 and finished in early August. By March of that year Tchaikovsky was in such unstable condition over the rejection of his first piano concerto that his doctors ordered him to get away from his immediate surroundings and to not even think about composing or touching a piano. He did leave town, but did not follow his physicians’ other mandates. We will never know what was going through his mind during these months, but whatever he was feeling he did find the strength and courage to start the new symphony, although he seems to have been more cautious in following academic protocol, at least in the outer movements. For Tchaikovsky, the work was completed in an unusually short period of time. In June he went to the estate of a close friend

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named Vladimir Shilovsky where he completed the sketches, then went to the estate of another close friend where he orchestrated the fourth and fifth movements in just five days, and finally went to see his brother-in-law where he orchestrated the other three movements in a week’s time. He returned to Moscow in early November for rehearsals, and the symphony received its premiere performance on the 19th of the month conducted by Nikolai Rubinstein (yes, the same man who had so savagely criticized the First Piano Concerto!), as part of the first concert of the season by the Russian Musical Society. This performance was only moderately successful, and in a letter to RimskyKorsakov he wrote, “It seems to me that the work does not contain any particularly successful ideas, but as regards form and workmanship it is a step forward. I am most pleased with the first movement and the two scherzos, the second of which is so difficult that it was not as well played as it might have been had there been more rehearsal time. On the whole, however, I was generally satisfied.” The first performance in St. Petersburg occurred the following January, conducted by the great Edward Napravnik. This time Tchaikovsky was able to report, “My symphony went very well and had considerable success. I was called out and applauded in a very friendly way.” Napravnik, by the way, would become one of the major interpreters of Tchaikovsky’s music, giving first performances of five of his operas, outstanding performances of many of his orchestral works, and conducting the premiere of the Pathétique

THE GREAT TCHAIKOVSKY QUIZ # Where is “Little

Russia?”

Symphony after the composer’s death. Nevertheless, in a subsequent letter to his brother, Tchaikovsky complained that “The press…has been rather cold to my new symphony. They are all agreed that it contains nothing new and that I am beginning to repeat myself. Is this really true?” He was being unduly — but typically — harsh on himself, as one critic called the symphony, “…one of the outstanding musical works of the last ten years, not just in Russia but in all of Europe.” The first performance of the symphony in Great Britain was at the famous Crystal Palace in London in 1899 conducted by Sir August Manns, who seems to have been the one who tacked the inappropriate nickname “Polish” on to the work, ostensibly because of the recurring Polish dance rhythms in the final movement. This was a misnomer for several reasons, among them the fact that Western listeners had come to regard Chopin’s use of the polonaise as a symbol of Polish independence, and thought that Tchaikovsky’s use of the dance was in a similar vein. In point of fact, in Tsarist Russia the polonaise was a kind of musical code for the Romanov dynasty, and by extension, Russian imperialism. In addition, he wrote to his benefactress, Nadezhda von Meck, that when the great German conductor Hans Richter wanted to perform the symphony with the Vienna Philharmonic in 1878, it was rejected after one rehearsal as being too difficult and “too Russian.” Like the Rhenish Symphony of Robert Schumann, this Third Symphony has five movements instead of the usual four, here with a central slow movement bookended by two scherzos. That the Schumann work might have been an influence on Tchaikovsky is not fanciful, as it was one of the works which deeply impressed him during his student days 40

at the St. Petersburg Conservatory. The first movement begins almost like a funeral march, but then speeds up to a strong statement of the first theme, followed by a graceful dancelike second theme, then a third theme in the style of a spirited folk dance. In spite of its rather somber beginning, the movement is quite cheerful. The second movement, marked Alla tedesca (in the German style), is a gentle waltz somewhat reminiscent of the Austrian peasant dance called a Laendler, and can almost be regarded as a whimsical parody of the dance. The lovely third movement is also in 3/4 time, a nostalgic waltz with hints of irony. The fourth movement is a true scherzo, recalling once again the charming scherzos of Mendelssohn. Of interest here is the trio, which is basically a repeated note in the horn, over which the new theme is stated in several different keys. This trio was based on material from a cantata which Tchaikovsky wrote in 1872 to commemorate the two hundredth anniversary of the birth of Peter the Great. The finale is a spirited and vigorous affair, bearing the designation Tempo di Polacca, or “in the tempo of a polonaise,” here referring not so much to any Polish national flavor but the unrestrained energy and vitality of the well-known dance. The movement ends with a powerful coda, featuring an elaborate contrapuntal treatment of its main theme. The DSO last performed Symphony No. 3 in March of 1975 with Paul Freeman conducting. This was the only other subscription concert performance in DSO history. DSO Principal Horn Karl Pituch explains the famous Symphony No. 5 horn solo at dso.org/TchaikFest dso.org

Leonard Slatkin, Music Director

Neeme JĂ¤rvi, Music Director Emeritus

Jeff Tyzik, Principal Pops Conductor Terence Blanchard, Jazz Creative Director Gabriela Lena Frank, Music Alive Composer-in-Residence

Saturday, February 21, 2015 at 8 p.m. Sunday, February 22, 2015 at 3 p.m. in Orchestra Hall LEONARD SLATKIN, conductor OLGA KERN, piano Piotr Ilyich Tchaikovsky Overture to The Voyevoda, Op. 3 (1840-1893) Piano Concerto No. 3 in E-flat major, Op. 75 Olga Kern, piano INTERMISSION Symphony No. 5 in E minor, Op. 64 Andante - Allegro con anima Andante cantabile con alcuna licenza Valse: Allegro moderato Finale: Andante maestoso - Allegro vivace

This performance will be webcast at dso.org/live

This Classical series performance is generously sponsored by

Olga Kernâ&#x20AC;&#x2122;s performances are sponsored in part by Gwen and Richard Bowlby Greektown Casino-Hotel is the official hotel sponsor of the 2015 Tchaikovsky Festival

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Leonard Slatkin biography, see page 25. Olga Kern biography, see page 31.

PROGRAM NOTES Overture to The Voyevoda PIOTR ILYICH TCHAIKOVSKY B. May 7, 1840 in Votkinsk, Russia D. November 6, 1893 in St. Petersburg, Russia SCORED FOR 3 FLUTES, 3 OBOES, ENGLISH HORN, 3 CLARINETS, BASS CLARINET, 2 BASSOONS, 4 HORNS, 2 TRUMPETS, 3 TROMBONES, TUBA, TIMPANI, SNARE DRUM, HARP, CELESTA AND STRINGS. (APPROX. 10 MINUTES)

chaikovsky’s student years at the St. Petersburg Conservatory did little to prepare him for operatic composition, and in the 1860s there were precious few models by other Russian composers. Small wonder, then, that his first attempt at writing an opera was an uncomfortable one, and produced a work which, although it was well received at its premiere in 1869, was subsequently destroyed by the composer, one of the first examples of his life-long insecurity. However, the man had a fine dramatic instinct which would rise to greatness later on when his sympathies were fully involved. This opera was based on the play A Dream on the Volga by the distinguished Russian dramatist Alexander Ostrovsky (1823-1886), and was first performed at the Bolshoi Theater in Moscow in 1869. Ostrovsky made significant contributions to the development of Russian theater, writing at the time of the most important stage in the theater’s development, a time during which the realistic school was dominant in all of Russian literature. This was the period during which Dostoyevsky, Tolstoy and Turgenev were creating a

Hear DSO Assistant Conductor Michelle Merrill speak about Tchaikovsky’s love for Mozart at dso.org/TchaikFest body of prose fiction which has had few equals. It was Tchaikovsky who approached Ostrovsky about writing a libretto based on his play, and even though it would seem unlikely that this celebrated writer would even think of collaborating on this virtually unknown composer’s first opera, within three months of the contact Ostrovsky produced a libretto for the first act, which was no doubt a measure of the significant impact Tchaikovsky had already made on the cultural scene in Moscow. Furthermore, Ostrovsky said he would be happy to write the entire libretto. Work on the music of what was now called The Voyevoda began in March of 1867, but progress was very slow, and of all things, Tchaikovsky somehow managed to lose Ostrovsky’s manuscript, and when the playwright was asked to write it again he agreed, but it took him a very long time to do so. In the meantime, Tchaikovsky went ahead with the project as best he could and wound up creating most of the text himself, in the process adapting a number of works from his student days. As mentioned, the opera was first performed at the Bolshoi Theatre in February of 1869, and was greeted warmly by the audience, which gave Tchaikovsky no less than 15 curtain calls. Nevertheless, it is tempting to think of this response as enthusiasm and encouragement for the young, first-time opera composer rather than as a comment on the quality of the music, which was inconsistent at best. In addition, the plot of the Ostrovsky original was really too diffuse to be an effective opera libretto, and Tchaikovsky’s abridgement of it made dso.org

the plot confusing and uneventful. Following just five more performances the opera was withdrawn. Several years later Tchaikovsky destroyed the full score, and the work was not heard of again until 1937, when a reconstruction was made using surviving sketches along with the original orchestral and choral parts. It was reconstructed a second time in 1949, this time with a newly-devised libretto. It has rarely been performed since. However, a good deal of the music found its way into Tchaikovsky’s next opera, The Oprichnik, as well as into the justly-famous 1812 Overture and the ballet Swan Lake. The plot of the play and opera is a melodramatic story about an elderly and ruthless Provincial Governor named Shaligin (the Voyevoda) who becomes enamored of two women, one of whom is married. He imprisons both of them, and their respective partners’ joint attempt at rescue while Shaligin is out of town is thwarted by his unexpected return, but then the two couples are saved by the improbable appearance of a new Voyevoda who has been sent to replace the unscrupulous Shaligin. The DSO last performed this work in April of 1997 with Neeme Järvi conducting. This was the only other subscription concert performance in DSO history.

Piano Concerto No. 3 in Eb Major, Op. 75 SCORED FOR SOLO PIANO, 3 FLUTES, PICCOLO, 2 OBOES, 2 CLARINETS, 2 BASSOONS, 4 HORNS, 2 TRUMPETS, 3 TROMBONES, TUBA, TIMPANI AND STRINGS. (APPROX. 16 MINUTES)

lthough he was quite a good pianist, Tchaikovsky rarely composed at the keyboard, his usual dso.org

habit being to think in terms of the orchestra or whatever instrumental combination he was writing for. In an 1878 letter to his patroness Nadezhda von Meck, he said “I believe the piano should be used in only three ways: first, as a solo instrument; second, joined in battle with the orchestra; and third, as an accompaniment, that is, like the background of a picture.” This concerto was begun in May of 1893, and was left unfinished when Tchaikovsky died unexpectedly in the fall of that year. It was originally planned as a standard concerto in three movements, each of which was adapted from an abandoned Symphony in Eb which he had sketched earlier. By the time of the composer’s death only the first movement was complete, and the other two movements were completed from Tchaikovsky’s sketches by Sergei Taneyev, who published them separately as an Andante and Finale, Op. posth. 79. The Symphony in Eb was begun in 1891, worked on sporadically the following year and then left in sketch form until the spring of 1893, when Tchaikovsky decided to convert three of the symphony’s four movements into a new piano concerto. This was not done, however, until he had completed his sketches for the Sixth Symphony (the Pathétique). All three movements were completed in July, but left in outline form. Apparently Tchaikovsky did not enjoy writing this concerto, as he left a note on the last page which reads, “The end, thanks be to God!” At the same time he seems to have had doubts about what he called the “disgraceful length” of the concerto as a whole,

THE GREAT TCHAIKOVSKY QUIZ # Where was the first

8 performance of the First Piano Concerto given? 43

and decided then to complete just the first movement, referring to it as an Allegro de concert or a Konzertstueck (Concert Piece). He then showed the movement to Sergei Taneyev, on whom he relied for technical keyboard advice, Taneyev finding the piano part lacking in virtuosity. Tchaikovsky had also mentioned to Ziloti that if Taneyev had a low opinion of the work he would destroy it. Happily, he did not do this, as he ultimately did not question Taneyev’s assessment, but also wanted to show the work to French keyboard artist Louis Diemer, to whom the work was ultimately dedicated. There was also a trend for similar works by Russian composers, among them Balakirev’s First Piano Concerto or Rimsky-Korsakov’s only piano concerto. During what would be Tchaikovsky’s last visit to Moscow in October of 1893, he once again showed the work to Taneyev (no word on any verdict then), and still intended to get the work to Diemer for his comments. Sadly, less than a month later Tchaikovsky was dead. It was intended that Taneyev would play the completed first movement on the first anniversary of the composer’s death, but this could not take place because the score and parts were not ready. It was not published until December of 1894, and was eventually performed in St. Petersburg in January of 1895 at a concert of the Russian Musical Society; Taneyev was the soloist and the conductor was the great Edward Napravnik. In his diary, Taneyev wrote, “Played well, but had little success. Called back only once.” Despite Tchaikovsky’s stated intentions made before his death, there has always been a debate about what form the concerto might have taken had he lived to complete it. The Andante and Finale which Taneyev 44

put together must be looked on as his own arrangement of what was otherwise Tchaikovsky’s unfinished sketches. Considering the composer’s doubts about the quality of the music, there have also been thoughts about whether or not Taneyev should have even attempted a completion, and whether these two movements deserve to be played along with Tchaikovsky’s own first movement. Most pianists have preferred to play just that first movement. As was the case with the first movements of Tchaikovsky’s first two piano concertos, this one-movement torso has three main themes: the first is very lively, the second is more lyrical, and the third is in the nature of an energetic folk dance. There is a typical cadenza for the soloist, and the music ends with a vigorous closing section. These performance of Piano Concerto No. 3 are a DSO subscription concert premiere.

Symphony No. 5 in E Minor, Op. 64 TCHAIKOVSKY’S SYMPHONY NO. 5 IN E MINOR WAS FIRST PERFORMED IN ST. PETERSBURG ON NOVEMBER 17, 1888, WITH THE COMPOSER CONDUCTING. IT IS SCORED FOR 3 FLUTES AND PICCOLO, 2 OBOES, 2 CLARINETS, 2 BASSOONS, 4 HORNS, 2 TRUMPETS, 3 TROMBONES, TUBA, TIMPANI AND STRINGS (APPROX. 50 MINUTES).

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

movement of the Fifth, (his first new symphony in almost a decade): “Introduction: Complete resignation before Fate, or (which is the same), before the inscrutable predestination of Providence. Allegro: (I) Murmurs, doubts, plaints, reproaches against XXX. (II) Shall I throw myself in the embraces of faith?” Tchaikovsky seems to be referring here to his homosexuality, a phenomenon that he cloaks elsewhere in his writings as “Z” or “that,” and with which he never came to terms. References to “Providence” or “Fate” also run through Tchaikovsky’s later writings. The attentive listener can trace in the composer’s last three symphonies the evolution of his psyche with respect to that which was unchangeable in himself: struggle in the Fourth and resignation in the Fifth, followed by grim acceptance in the Sixth. Even when the work was complete, Tchaikovsky remained ambivalent about it. He later confided to his patroness, Nadezhda von Meck, that there seemed to be “something repellent” in the Fifth; “some exaggerated color, some insincerity or fabrication…which the public instinctively recognizes.” The real problem is that the symphony straddles an uncomfortable grey area, psychologically. It is at once neither as straightforward as the Fourth nor as integrated as the Sixth. In every respect (and in spite of the composer’s own misgivings) Tchaikovsky’s Fifth is as coherent a work as he ever wrote. However, not yet having come fully to terms with “Fate” or “Providence,” the composer was unsure how he should present himself to the public. The first movement introduces the dso.org

“motto” theme that runs throughout the work, before proceeding to a fully worked-out sonata scheme in which the motto figures not at all. The second movement is an operatic duet sans paroles, the leading voice being the solo horn. The composer purportedly wrote the words “O, que je t’aime! O mon amie! O how I love…If you love me…With desire and passion” over this languorous melody; its intent is clear enough even without the accompanying verbiage. The first-movement motto twice interrupts this passionate outpouring; after its first intrusion the mood is reestablished; after the second the spell becomes broken, and the movement ends shortly thereafter. The waltz that was only hinted at in the first movement comes to life in the third as a fully developed concert waltz. Although the motto makes a brief, quiet reappearance, the composer stamps it out with the movement’s final chords. A surprise awaits the listener as the finale opens: here is the motto theme transformed, inexplicably, into a major key, its once spectral accompaniment now evolved into full, sustained chords. The motto returns repeatedly, finally in the guise of a triumphal march. This might suggest that the tragic events of the work’s opening have now been overcome, or have they? The DSO last performed Symphony No. 5 in October of 2013 with Leonard Slatkin conducting. The DSO premiere took place in November of 1919 at Orchestra Hall with Ossip Gabrilowtisch conducting.

THE GREAT TCHAIKOVSKY QUIZ # How many movements

9 are there in the 3rd Piano Concerto?

Leonard Slatkin, Music Director

Neeme J채rvi, Music Director Emeritus

Jeff Tyzik, Principal Pops Conductor Terence Blanchard, Jazz Creative Director Gabriela Lena Frank, Music Alive Composer-in-Residence

Thursday, February 26, 2015 at 7:30 p.m. Friday, February 27, 2015 at 8 p.m. in Orchestra Hall LEONARD SLATKIN, conductor JULIAN RACHLIN, violin Piotr Ilyich Tchaikovsky Polonaise from Eugene Onegin, Op. 24 (1840-1893) Concerto for Violin and Orchestra in D major, Op. 35 Allegro moderato Canzonetta: Andante Finale: Allegro vivacissimo INTERMISSION Symphony No. 4 in F minor, Op. 36 Andante sostenuto Andantino in modo di canzona Scherzo: Pizzicato ostinato Finale: Allegro con fuoco This performance will be webcast at dso.org/live

This Classical series performance is generously sponsored by

Greektown Casino-Hotel is the official hotel sponsor of the 2015 Tchaikovsky Festival

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PROFILES Leonard Slatkin biography, see page 25.

JULIAN RACHLIN For the last 24 years, Julian Rachlin has been captivating audiences around the world with his distinctively rich sound, superb musicianship and outstanding interpretations. He has established close relationships with many of the most prestigious conductors and orchestras. Always willing to expand his musical horizons, Rachlin is also praised as a viola player and, most recently, as a conductor. For 12 years, Rachlin has been leading the internationally renowned “Julian Rachlin & Friends” festival in Dubrovnik, Croatia, a platform for creative and vibrant projects with leading musicians and actors. Besides delighting his audiences with his musical performances, Rachlin is also receiving recognition as a young philanthropist for his charity work as a UNICEF Goodwill Ambassador and his educational outreach. Recent engagements include appearances with the Munich Philharmonic and Lorin Maazel, the Mariinsky Orchestra and Valery Gergiev, the London Philharmonic and Andrey Boreyko, as well as the Bavarian State Orchestra with Zubin Mehta and Kirill Petrenko. As conductor, he led, among others, the Czech Philharmonic and the Israel Philharmonic. He is also touring Europe with the Leipzig Gewandhaus Orchestra and Riccardo Chailly, and is performing in China with the China Philharmonic, the Shanghai Symphony and the Guangzhou dso.org

Symphony under Long Yu. As conductor, Rachlin is appearing this season with orchestras including the Royal Northern Sinfonia, the Orchestre Philharmonique de Nice, the Moscow Virtuosi, the Zurich Chamber Orchestra and the Orchestra della Svizzera Italiana. In honor of Krzysztof Penderecki’s 80th birthday, Rachlin performed a series of concerts in Warsaw, as well as the Asian Premiere of the Concerto Doppio at the Beijing Music Festival. Rachlin’s recordings for Sony Classical, Warner Classics and Deutsche Grammophon have all been met with great acclaim. Born in Lithuania in 1974, Rachlin immigrated to Vienna in 1978. He studied with the eminent pedagogue Boris Kuschnir at the Vienna Conservatory and took private lessons with Pinchas Zukerman. He gained international acclaim overnight in 1988 by winning the “Young Musician of the Year” Award at the Eurovision Competition in Amsterdam. He then became the youngest soloist ever to play with the Vienna Philharmonic, making his debut under Riccardo Muti. Since September 1999, Rachlin has been on the faculty at the Konservatorium Wien University. Rachlin plays the 1704 “ex Liebig” Stradivari, on loan to him courtesy of the Dkfm. Angelika Prokopp Privatstiftung. He also plays the 1757 Viola by Giovanni Battista Guadagnini on loan to him, courtesy of the del Gesù Foundation, Liechtenstein.

PROGRAM NOTES Polonaise from Eugene Onegin PIOTR ILYICH TCHAIKOVSKY B. May 7, 1840 in Votkinsk, Russia D. November 6, 1893 in St. Petersburg, Russia SCORED FOR 2 FLUTES, 2 OBOES, 2 CLARINETS, 2 BASSOONS, 4 HORNS, 2 TRUMPETS, 3 TROMBONES, TIMPANI AND STRINGS. (APPROX. 4 MINUTES)

lthough only two of Tchaikovsky’s operas (Eugene Onegin and The Queen of Spades) are well-known outside of Russia, he actually wrote more operas than any other musical genre. He wrote operas at every stage of his career, and it would be fair to say that these operas delineate his development as a composer, even when they don’t always represent the best of his work. Onegin was the fifth of his 10 operas, and has always been the most popular and most frequently performed. The opera is based on the glorious verse novel of the same name by Alexander Pushkin (1799-1837), one of the greatest of all Russian writers, and the man generally credited with having established the language of modern Russian poetry. Onegin is probably Pushkin’s masterpiece, and is considered to be the first true Russian novel because of his realistic presentation of Russian life and character. Tchaikovsky himself, with the help of a colleague, fashioned the libretto by using selected scenes from the novel, choosing the scenes that most strongly involved the emotional world and actions of the main characters. The opera is uniquely

THE GREAT TCHAIKOVSKY QUIZ # Why do we play the

1812 Overture on the Fourth of July?

Russian, but with a universality which appeals to all cultures. None of the characters is easy to identify with, yet their emotions and interactions ring very true. It is a powerful, nostalgic story about youth and the effects of youthful feelings and decisions, and the Pushkin original also deals with the conflicts between the decadent mores of high society in St. Petersburg and the simple, wholesome life of a rural family. From the Pushkin novel, Tchaikovsky created deeply felt character portraits, and realized with supreme sensitivity the inner worlds of his characters. The story basically concerns itself with a selfish young man (Onegin) who lives to regret his cavalier rejection of a young woman’s love, and his careless and thoughtless incitement of a fatal duel which kills his best friend. The final act of the opera opens with this exhilarating Polonaise, representing the height of a fancy-dress ball which the worldweary Onegin attends after returning from a long stay abroad. There he meets a great beauty, the wife of a wealthy nobleman, whom he comes to recognize as the Tatyana whose declarations of love he had spurned many years earlier, an action he now bitterly regrets. The DSO last performed Polonaise from Eugene Onegin in July of 1993 with Jerzy Semkow conducting, during a Tchaikovsky Festival. That was the work’s only other appearance on a subscription series.

Concerto for Violin and Orchestra in D major, Op. 35 PREMIERED DECEMBER 4, 1881 IN VIENNA WITH SOLOIST ADOLF BRODSKY AND HANS RICHTER CONDUCTING THE VIENNA PHILHARMONIC. SCORED FOR SOLO VIOLIN, 2 FLUTES, 2 OBOES, 2 CLARINETS, 2 BASSOONS, dso.org

4 HORNS, 2 TRUMPETS, TIMPANI AND STRINGS (APPROX. 33 MINUTES).

chaikovsky is known for his distinctive compositional style that artfully combines elements of the Western European musical tradition with that of his native Russia. His violin concerto is one of the most famous and technically challenging works for the instrument. It was written in 1878 during the composer’s stay at a Swiss resort off of Lake Geneva where he was suffering from the effects of his brief and unfortunate marriage to Antonina Milyukova. The inspiration to compose this piece most likely came from his pupil, violinist Yosif Kotek, whom he frequently accompanied on the piano. The concerto was completed in a month and was ultimately dedicated to the violinist Leopold Auer who, ironically enough, initially declared it unplayable, a view that was widely held until the work’s premiere in 1881. In one notable review, the influential music critic Eduard Hanslick claimed that the violin in this work was not played but rather “beaten black and blue.” Indeed, along with Brahms’s Violin Concerto from the same year, this work set out to push the technical boundaries of the instrument and to redefine violin virtuosity. In the first movement of the work, thematic material is developed in turn by both the soloist and the orchestra. After a short orchestral introduction, the violin enters with the main theme rather than restating introductory material. After further interplay with orchestra and a dynamic virtuosic passage, the soloist leads the ensemble into a grand statement of the principal melody. The second movement features a beautiful display of dialogue between the soloist and woodwinds while the finale betrays

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the composer’s nationalist sentiments through the inclusion of a Russian folk dance. Toward the end of the movement, heightened interplay between the orchestra and the soloist brings the piece to a dramatic and exciting close. The DSO last performed Concerto for Violin and Orchestra in April of 2008 with Peter Oundjian conducting and Hilary Hahn as soloist. The DSO premiere took place in January of 1917 at the Detroit Opera House with Weston Gales conducting and David Hochstein as soloist.

Symphony No. 4 in F minor, Op. 36 PREMIERED BY THE RUSSIAN MUSICAL SOCIETY UNDER THE DIRECTION OF NIKOLAI RUBINSTEIN IN FEBRUARY 1868. SCORED FOR PICCOLO, 2 FLUTES, 2 OBOES, 2 B-FLAT CLARINETS, 2 BASSOONS, 4 HORNS, 2 TRUMPETS, 3 TROMBONES, TUBA, TIMPANI, TRIANGLE, CYMBALS, BASS DRUM AND STRINGS (APPROX. 44 MINUTES).

“I adore terribly this child of mine; it is one of only a few works with which I have not experienced disappointment … this is my best symphonic work” — so spoke Piotr Ilyich Tchaikovsky regarding his monumental Fourth Symphony. Considering the circumstances surrounding the inspiration for the work, though, it is surprising Tchaikovsky felt such affection. By the time Tchaikovsky began writing his Fourth Symphony in 1877, he had exchanged vows with Antonina Milyukova, a young Russian conservatory student. This is somewhat perplexing

THE GREAT TCHAIKOVSKY QUIZ How many versions of #

11Romeo and Juliet did Tchaikovsky write?

considering Tchaikovsky’s supposed homosexuality. Whatever the reason for the union — perhaps a chance to silence innuendos regarding his sexual orientation — it dissolved within a year. During his marriage, however, one of Tchaikovsky’s most triumphant works was written — a tribute to his beliefs regarding musical creation. In a letter to his patroness and friend, Madame Nadezhda von Meck, Tchaikovsky muses: “At the moment of creation the artist needs complete quiet. The artist’s work, even that of the musician, is always objective. Those are mistaken who think that the creative artist can express his feelings through his artistic medium while he is experiencing them. Sad as well as joyous feelings are always expressed, as it were, in retrospect … In short, the artist leads two lives: that of the ordinary human being and that of the artist; and these two lives do not always run parallel.” Tchaikovsky dedicated the work to “my dearest friend” — a reference to von Meck — and at times referred to the piece as “our symphony.” Musically, Tchaikovsky’s Fourth Symphony hinges on a recurring “Fate” motive — recalling the opening theme of Beethoven’s Fifth Symphony. Tchaikovsky included the following programmatic description of the work in a letter to von Meck: I. The introduction is the kernel, the quintessence, the chief thought of the whole work. The main idea, first heard in the trumpets and then in the horns, is Fate, the inexorable power that hampers our search for happiness … The main theme of the Allegro describes feelings of depression and haplessness. Would it not be better to forsake reality and lose oneself in dream?… A sweet and tender dream enfolds me, a serene and radiant presence leads me on, until all that 50

was dark and joyless is forgotten … But no, these are but dreams. Fate returns to waken us, and we see that life is an alternation of grim reality and fugitive dreams of happiness. II. The second movement shows another aspect of sadness. Here is the melancholy feeling that overcomes us when we sit weary and alone at the end of the day. The book we pick up slips from our fingers, and a procession of memories passes by in review. We remember happy times of youth as well as moments of sorrow. We regret what is past, but have neither the courage nor the will to begin a new life … There is a bittersweet comfort in losing oneself in the past … III. Here are only the capricious arabesques and indeterminate shapes that come into one’s mind with a little wine. The mood is neither sad nor gay… One may envision a drunken peasant singing a street song, or hear a military band passing in the distance. These are disconnected pictures... with no connection to reality. IV. If you find no joy in yourself, look around you. Go to the people: See how they can enjoy life and give themselves up to festivity. But hardly have we had a moment to enjoy this when Fate, relentless and untiring, makes his presence known. In their revelry, the others take no notice… There is still happiness, simple and naive; rejoice in the happiness of others and you can still live. The DSO last performed Symphony No. 4 in June of 2013 with Leonard Slatkin conducting. The DSO premiere took place in February of 1917 at the Detroit Opera House with Weston Gales conducting.

THE GREAT TCHAIKOVSKY QUIZ # How did

Tchaikovsky die?

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Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Jeff Tyzik, Principal Pops Conductor Terence Blanchard, Jazz Creative Director Gabriela Lena Frank, Music Alive Composer-in-Residence

Saturday, February 28, 2015 at 8 p.m. Sunday, March 1, 2015 at 3 p.m. in Orchestra Hall LEONARD SLATKIN, conductor NAREK HAKHNAZARYAN, cello Piotr Ilyich Tchaikovsky Symphony No. 2 in C minor, Op. 17, (1840-1893) “Little Russian” Andante sostenuto - Allegro vivo Andantino marziale, quasi moderato Scherzo Finale: Moderato assai INTERMISSION Six Morceaux, Op.19: Nocturne for Cello and Orchestra in C-sharp minor Narek Hakhnazaryan, cello Variations on a Rococo Theme for Cello and Orchestra, Op. 33 Narek Hakhnazaryan, cello 1812 Overture (Overture solennelle), Op. 49 This performance will be webcast at dso.org/live

This Classical series performance is generously sponsored by

Greektown Casino-Hotel is the official hotel sponsor of the 2015 Tchaikovsky Festival

PROFILES Leonard Slatkin biography, see page 25.

NAREK HAKHNAZARYAN Narek Hakhnazaryan was awarded the Gold Medal at the 2011 XIV International Tchaikovsky Competition, the most prestigious prize given to a cellist. Hailed a “seasoned phenom” by the Washington Post, and praised for his “intense focus and expressive artistry” by The New York Times, Hakhnazaryan has since established himself as one of the finest cellists of his generation. In 2014, he was invited to join the prestigious BBC New Generation Artists scheme. Hakhnazaryan has played with some of the world’s finest orchestras including the Chicago Symphony, London Symphony, Rotterdam Philharmonic, Toronto Symphony and Mariinsky orchestras, Filarmonica della Scala Milan and Orchestre National de Toulouse, and with conductors such as Gergiev, Valcuha, Koopman, van Zweden, Sokhiev, Neeme Järvi, Spivakov, Pletnev, Robertson, Belohlávek. In chamber and duo recitals he has performed in halls such as Zankel Hall (Carnegie Hall), Salle Pleyel Paris, Wigmore Hall, Berlin Konzerthaus, Vienna Konzerthaus, Amsterdam Concertgebouw, Oji Hall Tokyo, Jordan Hall (Boston) and at the Aspen, Ravinia, Tivoli, MecklenburgVorpommern, City of London and Verbier Festivals. In the 2014-15 season Hakhnazaryan appears with the Detroit Symphony and the Los Angeles Chamber Orchestra, and makes 52

his debut with the Frankfurt Radio Symphony, Helsinki Philharmonic, and New Zealand Symphony orchestras, in recital at the Lucerne Festival and at the Dvorák Festival Prague with the Czech Philharmonic. Other highlights this season include returns to the Seoul Philharmonic, a tour of Japan for recitals and concerts with the Mariinsky Orchestra and Valery Gergiev, a piano trio tour with Sergey and Lusine Khachatryan across many of the major European concert halls including Vienna’s Konzerthaus and Amsterdam’s Concertgebouw, a recital with Igor Levit at the Philharmonie Essen, and his debut in London’s Royal Festival Hall, where he will play the Dvorák Concerto with the London Philharmonic Orchestra. Mentored by Mstislav Rostropovich, Narek was the only cellist invited to travel on behalf of the Mstislav Rostropovich Foundation. As First Prize winner in the 2008 Young Concert Artists International Auditions, Hakhnazaryan debuted in the Young Concert Artists Series in New York at Carnegie’s Zankel Hall, and at the Kennedy Center in Washington, DC. Hakhnazaryan was born in 1988 in Yerevan, Armenia, into a family of musicians: his father is a violinist and his mother is a pianist. His early studies were at the SayatNova School of Music in Yerevan with Zareh Sarkisyan. At the age of 12, Hakhnazaryan began studies at the Moscow Conservatory with Alexey Seleznyov, and went on to work with Lawrence Lesser at the New England Conservatory of Music in Boston.

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PROGRAM NOTES Symphony No. 2 in C minor, Op. 17, “Little Russian” (1872, rev. 1879-80) THE ORIGINAL VERSION OF THE SYMPHONY WAS FIRST PERFORMED ON FEB. 7, 1873 IN MOSCOW WITH NIKOLAI RUBINSTEIN CONDUCTING. THE REVISED VERSION WAS FIRST PERFORMED ON FEB. 12, 1881 IN ST. PETERSBURG WITH KARL ZIKE CONDUCTING. SCORED FOR 2 FLUTES, PICCOLO, 2 OBOES, 2 CLARINETS, 2 BASSOONS, 4 HORNS, 2 TRUMPETS, 3 TROMBONES, TUBA, TIMPANI, CYMBALS, BASS DRUM, TAM-TAM AND STRINGS (APPROX. 35 MINUTES).

ike Rimsky-Korsakov’s Skazka, Tchaikovsky’s Second Symphony began as a summer project while the composer was away from home. Tchaikovsky visited his sister Aleksandra and her husband in Kamenka many times throughout his life, but his stay during the summer of 1872 would prove particularly influential after the composer decided to incorporate folk themes from the region into his new symphony. Kamenka, or Kamianka as it is known now, is located in the Ukraine, and the region’s historic sobriquet of “Little Russia” would soon be applied by music critic Nikolai Kashkin to Tchaikovsky’s Second Symphony. While Tchaikovsky did not select the title himself, he did grant folk melodies pride of place within the symphony’s structure. In the opening bars of the work, Tchaikovsky introduces a Ukrainian version of “Down by Mother Volga,” an austere and melancholy melody played by unaccompanied French horn. The second movement, in which Tchaikovsky substitutes a light and moderately paced march in place of a

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conventional slow movement, one can hear the second folk melody, “Keep on Spinning, My Spinner,” played by clarinet and flute. Like the first folk melody, the third is similarly featured at the beginning of a movement, in this case the finale. The setting, however, is radically different. Instead of featuring the melody as an unadorned solo, Tchaikovsky presents “The Crane” as a triumphant chorale for full orchestra. Musicologist Richard Taruskin has noted that Tchaikovsky’s thick orchestration and rhythmic setting of this melody deftly alludes to a familiar finale from another C minor symphony — namely Beethoven’s Fifth. As for the selection of “The Crane,” Tchaikovsky humorously thanked Petr Kozidub, the steward of the Kamenka estate who enthusiastically hummed the tune as Tchaikovsky worked on the symphony. Tchaikovsky’s Second Symphony enjoyed such success at its 1873 Moscow premiere that an encore performance was speedily arranged. Despite its immediate success, Tchaikovsky was not entirely satisfied with his Second Symphony. Over the ensuing years, he complained that each movement troubled him in either structure or instrumentation. After completing his Third and Fourth Symphonies, Tchaikovsky returned to the Second in 1879, having deemed the work “immature and mediocre.” While staying in Rome, Tchaikovsky revised the symphony over three days, dramatically altering the form and melodic content of the outer movements. Despite these changes, Tchaikovsky wisely kept the folk melodies that had characterized the original. The DSO last performed Symphony No. 2 in November of 2012 with Peter Oundjian conducting. 53

The DSO premiere took place in December of 1926 at Orchestra Hall with Ossip Gabrilowtisch conducting. Note by Nathan Platte, Ph.D. candidate in musicology at the University of Michigan School of Music, Theatre & Dance

Nocturne for Cello and Orchestra SCORED FOR SOLO CELLO AND STRINGS. (APPROX. 4 MINUTES)

chaikovsky was never very comfortable with his teaching duties at the Moscow Conservatory, as they left him far less time to compose than he would have liked. On the plus side, however, was his ability to meet and interact with some fine musicians of the day, among them Wilhelm Carl Friedrich Fitzenhagen, a professor of cello at the school, a fine chamber music player, and also the principal cellist of the Imperial Orchestra in Moscow. Fitzenhagen had played in the premiere performances of all three of Tchaikovsky’s string quartets, and like the composer, was rather shy and introverted, but this in no way hindered the creation of a good relationship, both personal and professional, between the two men. It was for Fitzenhagen that Tchaikovsky wrote his delightful Rococo Variations in 1876 (see below). Later, in 1888, the cellist asked for some short works which he could add to his solo repertoire, and Tchaikovsky obliged by arranging the Andante cantabile from his First String Quartet, and the Nocturne from the Six Pieces for Solo Piano, Op. 19. The Andante cantabile — in various guises — became one of the composer’s best-known works, while the Nocturne fell by the wayside and was not published until 1956. The Six Pieces were commissioned by Tchaikovsky’s publisher, Peter

Jurgenson, a man of great energy and business acumen, who by the time he died in 1904 had established something of an empire in the world of Russian music publishing. These performances of Nocturne for Cello and Orchestra are a DSO premiere.

Variations on a Rococo Theme, Op. 33 SCORED FOR SOLO CELLO, 2 FLUTES, 2 OBOES, 2 CLARINETS, 2 BASSOONS, 2 HORNS AND STRINGS. (APPROX. 18 MINUTES)

his lovely and charming work is one of several written by Tchaikovsky which recall the language and style of the Classical period. (Other works in this vein include the Serenade for Strings and the “Mozartiana” Suite.) He had a special fondness for music of the late 18th century, particularly Mozart, whom he often referred to as “the greatest of all composers” and “the Christ in music,” but his reverence seems to have been inspired more by what he saw as the artistic purity of that era, as well as a longing for its poise and elegance. These feelings would certainly explain the profusion in his output of minuets and other pieces harkening back to the 18th century, but these adventures almost always wind up being about three-quarters Tchaikovsky and one-quarter source, with the components blending together to form something new and distinctive. This set of variations is the closest Tchaikovsky ever came to writing an actual cello concerto, but the theme is not Rococo in origin, but an original creation in the Rococo style. Rather than trying to duplicate anything from that mid-18th-century period, he seems to be portraying a kind of fantasy about its grace and charm. One would never guess it from the happiness dso.org

and delightful quality of the music, but this was a very difficult time for the 36-year-old composer. Among other things, he was just about to enter into a disastrous marriage with one of his students, hoping that this situation would “cure” him of his homosexuality, while at the same time inwardly realizing that this would never happen. He was also quite depressed at the time over the failure of his fourth opera, Vakula the Smith in St. Petersburg, and the failure of his overture-fantasy Romeo and Juliet in both Paris and Vienna. All of this happened within a couple of weeks in December of 1876, but as he now knew that composing was the best antidote to depression and self-doubt, he returned to work on an opera based on Shakespeare’s Othello (which he soon abandoned), and created the Rococo Variations. As alluded to earlier, this was one of several works which Tchaikovsky wrote for his friend and colleague Wilhelm Fitzenhagen, a fine and greatly-admired cellist whom the composer met at the Imperial Conservatory in Moscow in 1870. Several years later when Fitzenhagen asked him to write a work for cello and orchestra, Tchaikovsky responded immediately with this splendid work, scoring it for what is essentially a Mozart orchestra. Because he had very little experience in dealing with the cello as a solo instrument, he naturally asked Fitzenhagen for advice, but the cellist (who was also a sometimes composer) apparently regarded Tchaikovsky’s manuscript as a starting point, and made substantial alterations to the original. By the time of the premiere in Moscow in December of 1877, with the cellist’s revisions, Tchaikovsky had gone ahead with his fateful marriage, shortly thereafter abandoning his young wife and going to Switzerland in an attempt to restore dso.org

his emotional and psychological equilibrium. When he returned to Moscow over a year later, he found to his astonishment that the Variations had been published with Fitzenhagen’s changes, and at that point it was practically impossible to un-do the revised version. Tchaikovsky’s publisher had written to him in Switzerland about all of this, saying “Horrible Fitzenhagen insists on changing your cello piece. He wants to ‘cello it up’ and claims you gave him permission. Good God! Tchaikovsky revised and corrected by Fitzenhagen!!” Tchaikovsky, in one of his habitual bouts of self-doubt, seems to have decided that Fitzenhagen knew what he was doing, and so the work was published that way, both in the orchestral version and the one for cello and piano. Basically, the Fitzenhagen revisions made the cello part more virtuosic, eliminated one of the variations and changed the order of the remaining ones. After a successful performance of the work in Wiesbaden, Germany in 1879, FItzenhagen wrote to Tchaikovsky and explained that he revised the variations’ order because one of them, originally early in the work, seemed to go better later on because of its ability to draw applause. In the 20th century a Russian cellist named Victor Kubatsky made the astonishing discovery, on the basis of X-ray experiments, that Tchaikovsky’s manuscript had simply been inked over, and as a result, the original version was finally published and recorded. Nevertheless, most cellists still use the Fitzenhagen version which is a technically demanding showpiece, the cheerful and light-hearted intentions of Tchaikovsky showing through nonetheless. The DSO last performed this work in February of 2005 with Neeme Järvi conducting and Robert deMaine 55

as soloist. The DSO premiere took place in February of 1919 at Arcadia Auditorium with Ossip Gabrilowtisch conducting and Philipp Abbas as soloist.

1812 Overture, Op. 49 PIOTR ILYICH TCHAIKOVSKY B. May 7, 1840 in Votkinsk, Russia D. November 6, 1893 in St. Petersburg, Russia

SCORED FOR 3 FLUTES, PICCOLO, 3 OBOES, ENGLISH HORN, 2 CLARINETS, 2 BASSOONS, 4 HORNS, 2 TRUMPETS, 2 CORNETS, 3 TROMBONES, TUBA, TIMPANI, PERCUSSION (BASS DRUM, CYMBALS, SNARE DRUM, TRIANGLE, TAMBOURINE AND CHIMES) AND STRINGS. (APPROX. 16 MINUTES)

n 1789, composer Giuseppe Sarti (1729-1802), in his capacity as Court Conductor to Catherine the Great, wrote a Te Deum to celebrate the Russian capture of Otchakov from the Turks. The work called for cannon, bells and fireworks to supplement the orchestra, and was performed outdoors both at Catherine’s palace and in St. Petersburg. In early 1880, when Tchaikovsky was commissioned by Nicholas Rubinstein to write a patriotic work which would celebrate the 25th anniversary of Tsar Alexander II’s accession to the throne, and then coincide with the Arts and Industry Exposition in Moscow and with the consecration of the Cathedral of the Saviour there, there was clearly a precedent for the use of cannon, bells and a brass band along with an orchestra. The event being commemorated was the battle of Borodino, a small village on the Dnieper River about 100 miles from Moscow. It was there in September of 1812 that Napoleon’s Grand Army forced the Russians into retreat after a terrible battle, after which the Russian general in command had no choice but to abandon Moscow to the invaders. It was, however, a classic pyrrhic

victory: ignoring warnings about how severe Russian winters could be, Napoleon stayed there far too long in the mistaken belief that the Russian army was on the verge of surrender. His army did not leave Moscow until late October, and by the time it crossed into Poland in mid-December, what had once been a force of 100,000 men was reduced to less than 40,000. A prominent French general at the time summed up the situation poetically when he wrote, “General Famine and General Winter, rather than Russian bullets, conquered the Grand Army.” Rubinstein wanted Tchaikovsky to compose a grand work for just one of the three festive occasions mentioned above, but the composer was decidedly unenthusiastic. Rubinstein persisted, and Tchaikovsky, who always had trouble saying no to a friend, agreed to write a piece about the 1812 events, and finished this overture by October, the consecration ceremony having been scheduled for the following summer — and what an event it would have been: an outdoor performance in the great square near the Cathedral, with cannon fire and the bells of the new church and hundreds of other bells in the Kremlin towers joining in. Unfortunately, Rubinstein did not live to conduct the overture, as he died in March of 1881 just days after Alexander II had been killed by terrorist bombs in St. Petersburg. As a result, the overture was not played at the Cathedral consecration, but was first performed in August of 1882 as part of the Exposition celebrations. It was actually performed indoors — not quite what the original plans had called for! The DSO last performed the 1812 Overture on a subscription series in May of 1994 with Neeme Järvi conducting. The DSO premiere took place in October of 1922 with Ossip Gabrilowtisch conducting. dso.org

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Tickets start at $15. Call 313.576.5111 or visit dso.org for full program details and tickets. Andres Moran, guest conductor Tchaikovsky Coronation March Rachmaninoff Symphonic Dances, Op. 45

Civic Youth Orchestra Dr. Kenneth Thompson, conductor Maslanka Symphony No. 4

Wind Ensemble Wind Ensemble & Civic Youth Orchestra Friday, March 6, 2015 at 7:15 p.m. In Orchestra Hall

CIVIC SHOWCASE

UPCOMING YOUTH ORCHESTRA PERFORMANCE 1.

2. 3.

4. 5. 6.

7. 8. 9.

A Song entitled ”Our Mama in St. Petersburg,” composed when he was four and a half. His younger sister, who was three, assisted in writing this short piece. Mozart The First Symphony, from 1868. However Tchaikovsky was not satisfied with the composition and re-wrote it. Swan Lake Law. He studied at the School for Jurisprudence in St. Petersburg for nine years. The Coronation March (Marche Solonelle). This occurred on May 5th, 1891. The Symphony Society Orchestra was also led by its music director, Walter Damrosch. This was the nickname of the Ukraine. Boston in 1875. Tchaikovsky only completed one movement. The composer and friend Sergei Taneyev completed the remaining two movements from sketches and other material.

10. The work is about the FrancoRussian war of 1812 so there is no musical connection to the United States. In 1974, Arthur Fiedler performed it at the Esplanade with the Boston Pops. Ever the showman, he incorporated the cannons and fireworks. The performance was broadcast nationally and a tradition was born. 11. There are three and each is quite different. It is the third that is easily the most popular. 12. The first reports cited cholera, from drinking a glass of contaminated water. However recent research leans more to suicide, possibly due to small ingestions of arsenic. Tchaikovsky was involved with another man, whose family threatened to inform the Czar unless the composer killed himself. Unless Tchaikovsky’s body is exhumed, we will never know.

Answers to the Great Tchaikovsky Quiz

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BARBAR A VAN DUSEN, Honorary Chair

he 1887 Society is a tribute to the storied past of the Detroit Symphony Orchestra and recognizes those among our patrons with unique DSO histories who have made a legacy commitment to our work. Members receive recognition in each issue of Performance magazine and an annual society luncheon, as well as enjoying a special package of benefits throughout the DSO season. If you have arranged for a legacy gift, or for more information on ways to do so, please contact Jessica Luther, Planned Giving Manager, at 313.576.5052. The Detroit Symphony Orchestra Board of Directors is pleased to honor the 1887 Society. These patrons, friends and subscribers have named the Orchestra in their estate plans. Ms. Doris Adler Dr. & Mrs. William C. Albert Mr. & Mrs. Robert A. Allesee Dr. Lourdes A. Andaya Mr. & Mrs. Eugene Applebaum Dr. Augustin & Nancy Arbulu Ms. Sharon Backstrom Sally & Donald Baker Mr. & Mrs. Lee Barthel Mr. & Mrs. Mandell L. Berman Mrs. John G. Bielawski† Mrs. Betty Blair Robert T. Bomier Gwen & Richard Bowlby Mr. Harry G. Bowles† William & Julia Bugera Dr. & Mrs. Victor J. Cervenak Eleanor A. Christie Ms. Mary Christner Lois & Avern Cohn Mrs. RoseAnn Comstock Mr. & Mrs. Thomas W. Cook Dorothy M. Craig Mr. & Mrs. John Cruikshank Ms. Leslie C. Devereaux Mr. John Diebel Mr. Roger Dye & Ms. Jeanne A. Bakale Ms. Bette J. Dyer Mr. & Mrs. Robert G. Eidson Marianne T. Endicott Mr. & Mrs. Stephan† Sharf Ms. Dorothy Fisher Mrs. Marjorie S. Fisher Mr. Emory Ford, Jr.† Dr. Saul & Mrs. Helen Forman Barbara Frankel & Ron Michalak Herman & Sharon Frankel Mrs. Rema Frankel† Jane French Dr. Byron P. & Marilyn Georgeson Mr. Joseph & Mrs. Lois Gilmore Ruth & Al Glancy dso.org

† Deceased

Donna & Eugene Hartwig Dr. & Mrs. Gerhardt Hein Ms. Nancy B. Henk Mr. & Mrs. Thomas N. Hitchman Mrs. Patricia Hobar† Mr. & Mrs. Richard N. Holloway Paul M. Huxley & Cynthia Pasky David & Sheri Jaffa Mr. & Mrs. Thomas H. Jeffs II Richard & Involut Jessup Lenard & Connie Johnston Ms. Carol Johnston Carol M. Jonson Drs. Anthony & Joyce Kales Faye & Austin Kanter Norb+ & Carole Keller Dr. Mark & Mrs. Gail Kelley June K. Kendall Dimitri+ & Suzanne Kosacheff Mr. & Mrs. Arthur J. Krolikowski Mary Clippert LaMont Mrs. Bonnie Larson Ann C. Lawson Mr. Phillip Leon† Allan S. Leonard Dr. Melvin A. Lester Harold Lundquist & Elizabeth Brockhaus Lundquist Mr. & Mrs. Eric C. Lundquist Roberta Maki Eileen & Ralph Mandarino Mr. Glenn Maxwell Mr. Leonard Mazerov Rhoda A. Milgrim John & Marcia Miller Jerald A. & Marilyn H. Mitchell Mr. & Mrs. L. William† Moll Craig & Shari Morgan Beverley Anne Pack Mr. Dale J. Pangonis Ms. Mary W. Parker Sophie Pearlstein Helen & Wesley Pelling

Dr. William F. Pickard Mrs. Bernard E. Pincus Ms. Christina Pitts Mrs. Robert Plummer Mr. & Mrs. P. T. Ponta Ms. Linda Rankin & Mr. Daniel Graschuck Mr. & Mrs. Douglas J. Rasmussen Mr. & Mrs. Lloyd E. Reuss Barbara Gage Rex Ms. Marianne Reye Katherine D. Rines Bernard & Eleanor Robertson Ms. Barbara Robins Jack & Aviva Robinson Dr. Margaret Ryan Mr. & Mrs. Donald & Janet Schenk Stephanie & Fred Secrest Ms. Marla Shelton Ms. June Siebert Mr. & Mrs. Walter Stuecken Mr. & Mrs. Alexander C. Suczek Alice & Paul Tomboulian Mr. David Patria & Ms. Barbara Underwood Mrs. Richard C. Van Dusen Mr. & Mrs. Melvin VanderBrug Mr. & Mrs. George C. Vincent Mr. & Mrs. Keith C. Weber Mr. Herman Weinreich John & Joanne Werner Mr. & Mrs. Arthur Wilhelm Mr. Michel Williams Ms. Nancy S. Williams† Mr. Robert S. Williams Ms. Barbara Wojtas Ms. Treva Womble Elizabeth B. Work Dr. & Mrs. Clyde Wu Ms. Andrea L. Wulf Mr. Milton Zussman

The Annual Fund

Gifts received between September 1, 2013 and January 31, 2015 Being a Community-Supported Orchestra means you can play your part through frequent ticket purchases and generous annual donations. Your tax-deductible Annual Fund donation is an investment in the wonderful music at Orchestra Hall, around the neighborhoods, and across the community. This honor roll celebrates those generous donors who made a gift of $1,500 or more to the DSO Annual Fund Campaign. If you have a question about this roster, or to make a donation, please contact 313.576.5114 or dso.org/donate.

The Gabrilowitsch Society honors individuals who support us most generously at the $10,000 level and above. Janet and Norm Ankers, chairs

Giving of $250,000 and more Mandell & Madeleine Berman Foundation Julie & Peter Cummings Max M. & Marjorie S. Fisher Foundation

Ruth & Al Glancy Mr. & Mrs. Stanley Frankel Mr. & Mrs. James B. Nicholson Mrs. Richard C. Van Dusen

Mrs. Marjorie S. Fisher Giving of $100,000 and more Mr. & Mrs. Phillip Wm. Fisher Emory M. Ford, Jr.â&#x20AC; Endowment Mr. & Mrs. Morton E. Harris

Mrs. Bonnie Larson Mrs. Sophie Pearlstein The Polk Family

Giving of $50,000 and more Mr. & Mrs. Richard L. Alonzo

Ms. Leslie Devereaux

Mr. & Mrs. Lee Barthel

Linda Dresner & Ed Levy, Jr.

Mrs. Cecilia Benner

Ms. Deborah Miesel

Penny & Harold Blumenstein

Bernard & Eleanor Robertson

Mrs. RoseAnn Comstock

Dr. & Mrs. Clyde Wu

Marvin & Betty Danto Family Foundation

â&#x20AC; Deceased

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Giving of $25,000 and more Mr. & Mrs. Eugene Applebaum Mr. & Mrs. John A. Boll, Sr. Mr. & Mrs. Richard A. Brodie Mr. Gary Cone & Ms. Aimée Cowher Mr. & Mrs. Raymond M. Cracchiolo Mrs. Kathryn L. Fife Mr. & Mrs. David Fischer Sidney & Madeline Forbes Barbara Frankel & Ronald Michalak Herman & Sharon Frankel Mr. & Mrs. Ralph J. Gerson

Mr. Daniel Lewis Mr. & Mrs. Eugene A. Miller Mr. & Mrs. Bruce D. Peterson Mr. & Mrs. Lloyd E. Reuss Mr. & Mrs. Alan E. Schwartz & Mrs. Jean Shapero Mr. & Mrs. Larry Sherman Mr. & Mrs. Donald R. Simon Mr. James G. Vella Mr. & Mrs. Paul M. Zlotoff

Giving of $10,000 and more Daniel & Rose Angelucci Mr. & Mrs. Norman Ankers Mr. Chuck Becker Mr. & Mrs. Robert H. Bluestein Mr. & Mrs. Jim Bonahoom Gwen & Richard Bowlby Michael & Geraldine Buckles Lois & Avern Cohn Margie Dunn & Mark Davidoff Mr. & Mrs. Richard L. DeVore Marianne Endicott Jim & Margo Farber Dr. Marjorie M. Fisher Mr. & Mrs. Samuel Fogleman Mr. & Mrs. Edsel B. Ford II Dr. Saul & Mrs. Helen Forman Dale & Bruce Frankel Ms. Carol A. Friend & Mr. Mark T. Kilbourn Mr. & Mrs. Eugene A. Gargaro, Jr. Dorothy & Byron † Gerson Mrs. Gale Girolami Mary Ann & Robert Gorlin Dr. & Mrs. Herman Gray, Jr. Mr. & Mrs. James Grosfeld Dr. Gloria Heppner Ms. Doreen Hermelin Mr. & Mrs. Norman H. Hofley Lauri & Paul¥ Hogle Mr. & Mrs. Ronald Horwitz Richard H. & Carola Huttenlocher Mr. Sharad P. Jain Chacona W. Johnson Faye & Austin Kanter Mr. & Mrs. Norman D. Katz dso.org

¥ DSO Musician or Staff Member

Mr. & Mrs. Michael J. Keegan Mr. David Lebenbom † Marguerite & David Lentz Mr. & Mrs. Ralph LeRoy Jr Dr. Melvin A. Lester Mr. & Mrs. Matthew Lester Bud & Nancy Liebler Michael & Laura Marcero David & Valerie McCammon Dr. Robert & Dr. Mary Mobley Cyril Moscow Geoffrey S. Nathan & Margaret E. Winters David R. & Sylvia Nelson Jim & Mary Beth Nicholson Mariam C. Noland & James A. Kelly Mrs. Jo Elyn Nyman Anne Parsons¥ & Donald Dietz Mr. & Mrs. Richard G. Partrich Mr. Charles Peters Dr. William F. Pickard Ms. Ruth Rattner Jack & Aviva Robinson Martie & Bob Sachs Dr. Mark & Peggy Saffer Marjorie & Saul Saulson Mark & Lois Shaevsky Abbe & David Sherbin Richard Sonenklar & Gregory Haynes Dr. Doris Tong & Dr. Teck M. Soo Mr. Robert VanWalleghem Arthur & Trudy Weiss Mr. & Mrs. John Whitecar Mr. & Mrs. R. Jamison Williams

Giving of $5,000 and more Richard & Jiehan Alonzo Drs. John & Janice Bernick Mr. & Mrs. Gary L. Cowger Deborah & Stephen D’Arcy Fund Jerry P. & Maureen T. D’Avanzo Joanne Danto & Arnold Weingarden Beck Demery Mr. & Mrs. John M. Erb Ron Fischer¥ & Kyoko Kashiwagi Mr. & Mrs. Alfred J. Fisher, III Mr. & Mrs. Herbert Fisher Ms. Mary D. Fisher Mr. Michael J. Fisher Mr. & Mrs. Steven Fishman Mr. David Fleitz Allan D. Gilmour & Eric C. Jirgens Dr. Kenneth & Roslyne Gitlin Dr. Robert T. Goldman Goodman Family Charitable Trust Dr. Allen Goodman & Dr. Janet Hankin

Mr. & Mrs. James A. Green Mr. Lee V. Hart & Mr. Charles L. Dunlap Ms. Nancy Henk Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. & Mrs. A. E. Igleheart Mr. & Mrs. Richard J. Jessup Lenard & Connie Johnston Michael E. Smerza & Nancy Keppelman Mr. Patrick J. Kerzic & Stephanie Germack Kerzic Dr. David & Elizabeth Kessel Mrs. Frances King Mr. & Mrs. Harold Kulish The Locniskar Group Ms. Florine Mark Alexander & Evelyn McKeen Patricia A. & Patrick G. McKeever Susanne O. McMillan John & Marcia Miller Mr. & Mrs. Robert S. Miller Mr. & Mrs. Craig R. Morgan Mr. & Ms. Xavier Mosquet Mr. Joseph Mullany

Mr. & Mrs. Albert T. Nelson, Jr. Patricia & Henry Nickol Mr. & Mrs. David E. Nims Mr & Mrs. Arthur T. O’Reilly Mr. & Mrs. Roger S. Penske Mrs. Bernard E. Pincus Mrs. Helen F. Pippin Dr. Glenda D. Price Dr. & Mrs. John Roberts Mrs. Lois J. Ryan Elaine & Michael Serling Mr. & Mrs. Leonard W. Smith John J. Solecki Renate & Richard Soulen Mr. & Mrs. John Stroh III David Usher Mr. & Mrs. Jonathan T. Walton Gary L. Wasserman S. Evan & Gwen Weiner Dr. & Mrs. Ned Winkelman David & Bernadine Wu Ms. June Wu Dr. & Mrs. Robert E. Wurtz Dr. & Mrs. Seymour Ziegelman Milton & Lois Zussman

Giving of $2,500 and more Howard Abrams & Nina Dodge Abrams Joshua & Judith Adler Dr. Roger & Rosette Ajluni Ann G. Aliber Mr. & Mrs. Robert L. Anthony Dr. & Mrs. Ali-Reza R. Armin Mr. David Assemany & Mr. Jeffery Zook¥ Mr. & Mrs. John Axe Ms. Sharon Backstrom Ms. Ruth Baidas Nora Lee & Guy Barron Mr. Mark Bartnik & Ms. Sandra J. Collins Mr. J. Addison Bartush David & Kay Basler Mr. & Mrs. Martin S. Baum Mary Beattie Ms. Margaret Beck Mrs. Harriett Berg George & Joyce Blum Mr. & Mrs. Lawrence Bluth Dr. & Mrs. Jason H. Bodzin Dr. & Mrs. Rudrick E. Boucher 62

Don & Marilyn Bowerman Mr. Anthony F. Brinkman Mr. Scott Brooks Mr. & Mrs. Mark R. Buchanan Mr. H. William Burdett, Jr. Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Julie Byczynski¥ & Angus Gray Philip & Carol Campbell Dr. & Mrs. Thomas E. Carson Mr. Daniel Clancy & Mr. Jack Perlmutter † Gloria & Fred Clark Dr. Thomas Clark & Annette Clark Jack, Evelyn & Richard Cole Family Foundation Dr. & Mrs. Charles G. Colombo Mr. & Mrs. Thomas W. Cook Dr. & Mrs. Ivan Louis Cotman Thomas & Melissa Cragg Mrs. Barbara Cunningham Suzanne Dalton & Clyde Foles Dr. Joseph D. Daniel & Mr. Alfredo Silvestre

Barbara A. David Lillian & Walter Dean Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Adel & Walter Dissett Mr. & Mrs. Mark Domin Christopher & Pamela Donato Eugene & Elaine Driker Paul† & Peggy Dufault Mr. Michael J. Dul Mr. & Mrs. Robert Dunn Mr. Roger Dye & Ms. Jeanne A. Bakale Edwin & Rosemarie Dyer Dr. Leo & Mrs. Mira Eisenberg Dr. & Mrs. A. Bradley Eisenbrey Sanford Hansell & Dr. Raina Ernstoff Mary Sue & Paul Ewing Mr. David Faulkner Mr. & Mrs. Anthony C. Fielek Mr. & Mrs. Daniel E. FrohardtLane Lynn & Bharat Gandhi Drs. Lynda & Conrad Giles † Deceased

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Dr. & Mrs. Theodore Golden Mr. Nathaniel Good Mr. Jason Gourley & Mrs. Rebekah Page-Gourley Dr. & Mrs. Steven Grekin Mr. Jeffrey Groehn Alice Berberian Haidostian Mr. Kenneth Hale Robert & Elizabeth Hamel Randall L. & Nancy Caine Harbour Mrs. Betty J Harrell Scott Harrison¥ & Angela Detlor Cheryl A. Harvey Dr. & Mrs. Gerhardt Hein Mr. & Mrs. Demar W. Helzer Mr. & Mrs. Ross Herron Mr. Michael E. Hinsky & Tyrus N. Curtis

Dr. Deanna & Mr. David B. Holtzman Jack & Anne Hommes Ms. Barbara Honner Mr. Matthew Howell & Mrs. Julie Wagner Mr. F. Robert Hozian Mr. & Mrs. Joseph L. Hudson, Jr. Julius & Cynthia Huebner Foundation Nicki ¥ & Brian Inman Ira & Brenda Jaffe Mr. John S. Johns Mr. George Johnson Mr. & Mrs. Joseph Jonna Mrs. Ellen D. Kahn Betsy & Joel Kellman Martin & Cis Maisel Kellman The Stephanie & Frederic Keywell Family Fund

Mr. & Mrs. Russell King Mr. & Mrs. William P. Kingsley Thomas & Linda Klein Ms. Margot Kohler Dr. Harry & Katherine Kotsis Robert C. & Margaret A. Kotz Mr. & Mrs. James A. Kurz David & Maria Kuziemko Mr. Dennis & Michele La Porte Joyce LaBan Dr. Raymond Landes & Dr. Melissa McBrien-Landes Drs. Lisa & Scott Langenburg Ms. Sandra Lapadot Ms. Anne T. Larin Dolores & Paul Lavins Mr. Henry P. Lee Allan S. Leonard Max Lepler & Rex L. Dotson

Foundation Spotlight

THE NATIONAL ENDOWMENT FOR THE ARTS This February, as the Detroit Symphony Orchestra presents the Tchaikovsky Festival, an array of additional digital features will be available to local and global audiences to enrich their experience of the festival. Each Orchestra Hall program, featuring Tchaikovsky’s six symphonies and other major orchestral works, will be webcast to a live worldwide audience via Live From Orchestra Hall HD webcasts. A festival micro-site, found at dso.org/TchaikFest, plays host to a digital program book including commentary from Leonard Slatkin and music critic Richard Freed, as well as a library of original video content, offering behind the scenes access and features on Tchaikovsky’s life and works. This project is supported by an award from the National Endowment for the Arts, through the Art Works grant program. The NEA’s Art Works grants are the Arts Endowment’s primary means of directly supporting the nation’s nonprofit organizations and the work they do to bring the arts to communities throughout the country. Art Works grants support the creation of art, public engagement with art, lifelong learning in the arts, and the enhancement of the livability of communities through the arts. In this round of the program, the NEA received 1,515 eligible applications under the Art Works category across 13 artistic fields, requesting more than $76 million in funding. Of those applications, 886 were recommended for grants totaling $25.8 million. The National Endowment for the Arts was established by Congress in 1965 as an independent agency of the federal government. To date, the NEA has awarded more than $5 billion to support artistic excellence, creativity, and innovation for the benefit of individuals and communities. The NEA extends its work through partnerships with state arts agencies, local leaders, other federal agencies, and the philanthropic sector. To join the discussion on how art works, visit the NEA at arts.gov. dso.org

¥ DSO

Musician or Staff Member

Mr. & Mrs. John D. Lewis Mr. & Mrs. Joseph Lile Daniel & Linda¥ Lutz Mr. Robert A. Lutz Mrs. Sandra MacLeod Mr. & Mrs. Charles W. Manke, Jr. Mervyn & Elaine Manning Mr. & Mrs. David S. Maquera Esq Maureen & Mauri Marshall Dr. & Mrs. Peter M. McCann Ms. LeAnne McCorry Mr. & Mrs. Alonzo McDonald Dr. & Mrs. Donald A. Meier Dr. & Mrs. David Mendelson Mrs. Thomas Meyer Thomas & Judith Mich Mr. Louis Milgrom Mr. & Mrs. Leonard G. Miller Mr. & Mrs. Jeremy Modell Dr. Susan & Mr. Stephen¥ Molina Eugene & Sheila Mondry Foundation Ms. Florence Morris Mr. Frederick Morsches Dr. Stephen & Dr. Barbara Munk Joy & Allan Nachman Ed & Judie Narens Joanna P. Morse & Arthur A. Nitzsche Mr. & Mrs. Stanley Nycek Dr. & Mrs. Dongwhan Oh Mr. & Mrs. Joshua Opperer David† & Andrea Page Mr. Randall Pappal Mrs. Margot Parker Mr. & Mrs. Kris Pfaehler Dr. Klaudia Plawny-Lebenbom Mr. & Mrs. Jack Pokrzywa Mr. & Mrs. William Powers Mrs. Susan Priester

Reimer Priester Mr. Ronald Puchalski Ms. Michele Rambour Mr. & Mrs. Richard Rappleye Mr. Richard Rapson Drs. Stuart & Hilary Ratner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Carol & Foster Redding Mr. & Mrs. Dave Redfield Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Mr. Jason Remisoski Denise Reske Barbara Gage Rex Mrs. Ann C. Rohr Seth & Laura Romine Dr. Erik Rönmark¥ & Mrs. Adrienne Rönmark Norman† & Dulcie Rosenfeld Mr. & Mrs. Robert B. Rosowski Mr. R. Desmond Rowan Jane & Curt Russell Mr. & Mrs. James P. Ryan Dr. Hershel Sandberg Ms. Martha A. Scharchburg & Mr. Bruce Beyer Dr. Sandy Koltonow & Dr. Mary Schlaff David & Carol Schoch Mr. & Mrs. Alan S. Schwartz Mr. & Mrs. Kingsley G. Sears Mr. & Mrs. Fred Secrest Mr. Merton J. & Beverly Segal Mr. Igal Shaham Mrs. Jean Shapero Ms. Cynthia Shaw Mr. & Mrs. James H. Sherman Dr. Les & Mrs. Ellen Siegel Coco & Robert Siewert William & Cherie Sirois William H. & Patricia M. Smith

Mr. Michael J. Smith & Mrs. Mary C. Williams Mr. & Mrs. S. Kinnie Smith, Jr. Dr. Gregory Stephens Mr. & Mrs. C. F. Stimpson Dr. Mack Stirling Dr. & Mrs. Charles D. Stocking Mr. & Mrs. Ray Stone Mrs. Kathleen Straus & Mr. Walter Shapero Stephen & Phyllis Strome Dorothy I. Tarpinian Shelley & Joel Tauber Dr. & Mrs. Howard Terebelo Alice & Paul Tomboulian Mr. & Mrs. Michael Torakis Mark & Janice Uhlig Dr. Vainutis Vaitkevicius Amanda Van Dusen & Curtis Blessing Mr. & Mrs. Charles B. Van Dusen Mr. & Mrs. George C. Vincent Mr. & Mrs. William Waak Dr. & Mrs. Ronald W. Wadle Mr. & Mrs. Edward Wagner Mr. Michael A. Walsh & Ms. Joyce Keller Mr. Herman W. Weinreich Mr. & Mrs. Lawrence Weisberg Ambassador & Mrs. Ronald N. Weiser Janis & William Wetsman/The Wetsman Foundation Beverly & Barry Williams Dr. M. Roy Wilson Rissa & Sheldon Winkelman Mr. Jonathan Wolman & Mrs. Deborah Lamm Mr. Warren G. Wood Mrs. Judith G. Yaker The Yousif Family Mr. & Mrs. Alan Zekelman

Giving of $1,500 and more Mr. & Mrs. Ismael Ahmed Dr. Edward Alpert Dr. & Mrs. Gary S. Assarian John & Carol Aubrey Mr. & Mrs. Joseph Aviv Drs. Richard & Helena Balon Mr. John Barbes Mr. & Mrs. Jeffrey A. Berner Linda & Maurice S. Binkow Ms. Jane Bolender Mr. & Mrs. J. Bora Ms. Nadia Boreiko Ms. Julie Borman

Mrs. Ethel Brandt Mr. Paul Brandt/P&B Building Co. Mr. & Mrs. Stephen A. Bromberg Ms. Evelyn Burton Steve & Geri Carlson Mr. & Mrs. Richard H. Carr Mr. David Carroll Ronald & Lynda Charfoos Mr. Fred J. Chynchuk Dr. & Mrs. Richard H. Cohan Mr. & Mrs. Brian G. Connors Mr. & Mrs. Thomas A. Cracchiolo

Mr. & Mrs. Alfred J. Darold Gordon & Elaine Didier Mr. & Mrs. Henry Eckfeld Mr. & Mrs. Howard O. Emorey Stephen Ewing Mr. Samuel Frank Ms. Marilyn R. Galloway Mrs. Janet M. Garrett Mr. & Mrs. Joe & Lois Gilmore Andrew Glassberg & Barbara Martin Dr. Linda Golumbia Dr. & Mrs. Paul Goodman † Deceased

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Mr. & Mrs. Luke Ponder Dr. & Mrs. Joe L. Greene Mr. Donald Guertin Mr. & Mrs. Robert Hage Mr. & Mrs. Michael Harding Donna & Eugene Hartwig Mr. & Mrs. Howard Heicklen Jeremiah¥ & Brooke Hess Ms. Elizabeth Ingraham Ms. Nadine Jakobowski Mr. & Mrs. Randel Jamerson Mr. & Mrs. Charles R. Janovsky Mr. Paul Joliat Jean Kegler June K. Kendall Mr. James Kirby Mr. & Mrs. Harvey Kleiman Mr. & Mrs. Thomas N. Klimko Mr. & Mrs. Victor Kochajda/Teal Electric Co. Miss Kathryn Korns Mr. James Kors & Ms. Victoria King¥ Mr. & Mrs. Kosch Martin & Karen Koss

Barbara & Michael Kratchman Richard & Sally Krugel Mr. Michael Kuhne Dr. Arnold Kummerow Mr. John Kunz Mr. & Mrs. Robert LaBelle Mr. Lawrence Larson Mr. Charles Letts Drs. Donald & Diane Levine Jeffrey & Marsha Miro Dr. Amit & Dr. Meeta Mohindra Dr. Van C. Momon Jr & Dr. Pamela Berry Ms. Sascha Montross Mr. & Mrs. Scott Monty Mr. & Mrs. Geoffrey W. Newcomb Mrs. Ruth Nix Mr. & Mrs. Richard L. Norling In Memory of Joan C. O’Brien Mr. & Mrs. Robert Parys Noel & Patricia Peterson Charlene & Michael Prysak Mrs. Hope Raymond Mr. & Mrs. Gerald F. Ross

Mr. & Mrs. Hugh C. Ross Mr. & Mrs. George Roumell Mr. David & Mrs. Terese Ireland Salisbury Mr. Wayne Sherman Mr. Lawrence Shoffner Marci & Marv Shulman Mrs. Fredrick M. Sibley Ted & Mary Ann Simon Mr. Mark Sims & Ms. Elaine Fieldman Dr. & Mrs. Robert Sokol Mr. & Mrs. Andreas H. Steglich Dr. & Mrs. Choichi Sugawa Mr. & Mrs. James W. Throop Mr. & Mrs. John P. Tierney Dr. John Tu Mr. Patrick Webster Ms. Janet Weir Max & Mary Wisgerhof Drs. William & Prudentia Worth Mr. Richard D. Zimmerman Frank & Ruth Zinn Barbara Zitzewitz

Blockbuster Fund

Gifts received September 1, 2013 to January 31, 2015 Gifts to the Detroit Symphony Orchestra Blockbuster Fund support those exceptional projects, partnerships and performances that boldly advance the DSO’s mission “to be a leader in the world of classical music, embracing and inspiring individuals, families and communities through unsurpassed musical experiences.” Blockbuster gifts fund defining initiatives that are outside the annual budget such as touring, Live from Orchestra Hall webcasts, certain community engagement and education partnerships, and capital and technology infrastructure. Mr. & Mrs. Mark Abbott Mr. Teddy Abrams All Seasons West Bloomfield American Jewelry & Loan Mr. Jeffrey Antaya Baldwin Public Library Mr. & Mrs. Lee Barthel Bloomfield Township Public Library Mr. & Mrs. Richard A. Brodie Cabaret (313) Children’s Hospital of Michigan Clark Hill P.L.C. Mr. & Mrs. Peter D. Cummings Dr. Joseph D. Daniel & Mr. Alfredo Silvestre Mr. Alex DeCamp Deloitte Detroit 300 Conservancy DTE Energy Foundation Jim & Margo Farber dso.org

¥ DSO

Musician or Staff Member

Mrs. Marjorie S. Fisher Mr. & Mrs. Phillip Wm. Fisher Sidney & Madeline Forbes Ford Motor Company Barbara Frankel & Ronald Michalak Mr. & Mrs. Herman H. Frankel Mr. & Mrs. Morton E. Harris Hartford Memorial Baptist Church Honigman Miller Schwartz & Cohn LLP Mr. Michael Jalving John S. and James L. Knight Foundation Mrs. Bonnie Larson League of American Orchestras Lee Hecht Harrison Mr. & Mrs. Matthew Lester McGregor Fund Michigan Municipal League Ms. Deborah Miesel

Mr. & Mrs. Eugene A. Miller Mr. & Mrs. Robert S. Miller Momentum Worldwide Geoffrey S. Nathan & Margaret E. Winters New Music USA Mr. & Mrs. George Nyman Olympia Entertainment Phillip & Elizabeth Filmer Memorial Charitable Trust Mr. Reimer Priester Mr. & Mrs. Robert S. Sachs Mr. & Mrs. Alan S. Schwartz Mr. Marc A. Schwartz Mr. & Mrs. Larry Sherman Ms. Margaret Smith Trinity Senior Living Communities Mr. & Mrs. George C. Vincent Mr. Gary L. Wasserman WDET

Corporate Supporters of the DSO $500,000 and more

Jim Nicholson

CEO, PVS Chemicals

$200,000 and more

Gerard M. Anderson

President, Chairman and CEO, DTE Energy Corporation

Faye Nelson President, DTE Energy Foundation

Mark Fields

James Vella

President & CEO, President, Ford Motor Company Fund Ford Motor Company

Mary Barra

Chairman and CEO General Motors Corporation

Vivian Pickard President General Motors Foundation

$100,000 and more

The Chrysler Foundation

Brands of Chrysler Group LLC

Keith J. Allmann

President and CEO, MASCO Corporation

$50,000 and more Target Corporation

Melonie Colaianne

President, MASCO Corporation Foundation

$20,000 and more

American House Senior Living Communities Amerisure Insurance Global Automotive Alliance Greektown Casino Macyâ&#x20AC;&#x2122;s MGM Grand Detroit Casino Rock Ventures, LLC dso.org

$10,000 and more Butzel Long Delphi Foundation Dykema Honigman Miller Schwartz & Cohn, LLP Huron Consulting Group KPMG LLP Lear Corporation Oakwood Healthcare PNC Bank PricewaterhouseCoopers LLP REDICO St. John Providence Health System Talmer Bank and Trust Telemus Capital Partners, LLC University of Michigan Warner Norcross & Judd LLP Wolverine Packing Company

$5,000 and more BASF Corporation Contractors Steel Company Creative Benefit Solutions, LLC Denso International America, Inc. Flagstar Bank Midwest Medical Center One Detroit Center $1,000 and more The Aquarium Shop Avis Ford, Inc. Coffee Express Roasting Company CRStager Darling Bolt Company Delta Dental Plan of Michigan Dickinson Wright LLP

Foley & Lardner LLP Hotel St. Regis Huntington National Bank KlearSky Solutions, LLC Lakeside Ophthalmology Center Lambert, Edwards & Associates Madison Electric Company Meadowbrook Insurance Group Michigan First Credit Union Plante and Moran, PLLC PSLZ, LLP Save Our Symphony Schaerer Architextural Interiors Urban Science Applications

Support from Foundations and Organizations

The Detroit Symphony Orchestra acknowledges and honors the following foundations and organizations for their contributions to support the Orchestra’s performances, education programming, and other annual operations of the organization. This honor roll reflects both fulfillments of previous commitments and new gifts during the period beginning September 1, 2013 and January 31, 2015. We regret the omission of gifts received after this print deadline. $500,000 and more The William M. Davidson Foundation Max M. & Marjorie S. Fisher Foundation Samuel & Jean Frankel Foundation $250,000 and more The Andrew W. Mellon Foundation Community Foundation for Southeast Michigan Detroit Symphony Orchestra Volunteer Council Hudson-Webber Foundation John S. and James L. Knight Foundation The Kresge Foundation McGregor Fund $100,000 and more Fred A. & Barbara M. Erb Family Foundation Ford Foundation National Endowment for the Arts

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$50,000 and more Matilda R. Wilson Fund Michigan Council for Arts & Cultural Affairs $25,000 and more Ann & Gordon Getty Foundation Children’s Hospital of Michigan Foundation DeRoy Testamentary Foundation Eleanor & Edsel Ford Fund $10,000 and more Maxine and Stuart Frankel Foundation Alice Kales Hartwick Foundation Moroun Family Foundation Myron P. Leven Foundation Oliver Dewey Marcks Foundation Sage Foundation $5,000 and more Benson & Edith Ford Fund Henry Ford II Fund Herbert & Elsa Ponting Foundation

Marjorie & Maxwell Jospey Foundation Mary Thompson Foundation Young Woman’s Home Association $1,000 and more Charles M. Bauervic Foundation Clarence & Jack Himmel Fund Don & Dolly Smith Foundation Frank & Gertrude Dunlap Foundation James & Lynelle Holden Fund Japan Business Society of Detroit Foundation Ledgeways Charitable Trust Loraine & Melinese Reuter Foundation Louis & Nellie Sieg Foundation Ludwig Foundation Fund Meyer & Anna Prentis Family Foundation Samuel L. Westerman Foundation Sigmund & Sophie Rohlik Foundation Sills Foundation The Village Club 67

Performance

7PMVNF 99*** t 5DIBJLPWTLZ 'FTUJWBM 2015 2014–15 Season Editor Gabrielle Poshadlo gposhadlo@dso.org 313.576.5194 Assistant Editor Asia Rapai arapai@dso.org 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: dso.org Subscribe to our e-newsletter via our website to receive updates and special offers. Performance is published by the DSO and Echo Publications, Inc. — Echo Publications, Inc. 248.582.9690 echopublications.com Tom Putters, president tom@echopublications.com Toby Faber, advertising director To advertise in Performance, call 248.582.9690 or email info@echopublications.com dsoperformance.com — To report an emergency during a concert, call 313.576.5119. 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 Equal Opportunity Employer.

Venture Fund

Gifts received September 1, 2013 to January 31, 2015 Gifts to the Detroit Symphony Orchestra Venture Fund are contributions that support projects, partnerships and performances taking place in the current season. Venture gifts are generally onetime and non-renewable in nature and fund initiatives that are included in the annual budget such as DSO concerts, Civic Youth Ensembles, community engagement and partnerships, and DSO Presents and Paradise Jazz concert series. Ms. Janet Allen Mrs. John G. Bielawski † Mr. Harry G. Bowles† Mr. Walter B. Bridgforth Hon. & Mrs. Avern Cohn Edsel & Eleanor Ford House Mrs. Rema Frankel † Mr. & Mrs. Herman H. Frankel Mr. & Mrs. Stanley Frankel Gail & Rice Productions Inc Mrs. Patricia Hobar † Jill Fox Revocable Trust Danialle & Peter Karmanos Mr. & Mrs. Eric B. Larson Mr. David Lebenbom † Mr. & Mrs. Jerry Ledoux Mr. Philip Leon † M Studio Music Shop, Inc. Marvin & Betty Danto Family Foundation Michael Willoughby & Associates Ms. Nihal Mouhidden † Mrs. Sophie Pearlstein Dr. William Pickard Ms. Ruth Rattner Mr. & Mrs. Stephan † Sharf Mr. & Mrs. Harold Silk Mr. Leonard Slatkin Mr. & Mrs. R. Jamison Williams

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

† Deceased

dso.org

Tribute Gifts

Gifts received between September 1, 2014 and end to January 31, 2015 Tribute Gifts to the Detroit Symphony Orchestra are made to honor accomplishments, celebrate occasions, and pay respect in memory or reflection. These gifts support current season projects, partnerships, and performances such as DSO concerts, education programs, free community concerts and family programing. For information about making a Tribute Gift, please call 313.576.5114 or visit dso.org/tribute. In Memory of John Beceden Betty Beceden In Memory of George Bedrosian Dr. Augustin Arbulu Mr. Brian Einhorn

In Memory of Joan Flohr Mrs. Marjorie Deacon Mr. William Kohn James & Katharine Stasevich

In Memory of Bette Borin Mrs. Barbara Frankel & Mr. Ronald Michalak

In Memory of Eleanor Gamble Delta Dental Plan of Michigan Mark & Sandra Haasis Health Alliance Plan J.U.S.T. Foundation

In Memory of Irene M. Broner Mr. Will Broner

In Honor of James S. Garrett The LeVigne Family

In Honor of Caroline Coade Dr. & Mrs. George Coade

In Memory of Louis Geisling Mr. & Mrs. Lee G. Sobotka

In Memory of David Cocagne Ms. Geraldine Barlage

In Memory of Helen Gilbride Mrs. Sheila Book Mr. & Mrs. John H. Fildew Mr. & Mrs. John Nicholson

In Memory of Marvin Crawford, Sr. Mrs. Alice Haidostian Anne Parsons & Donald Dietz Mr. & Mrs. Thomas Maguire Eloise F. Tholen In Honor of Maureen & Jerry Dâ&#x20AC;&#x2122;Avanzo Yale & Anna Levin In Honor of Avi Davidoff & Amanda Bunn Daniel & Linda Lutz In Memory of Ronald Davidoff Stanley & Judy Frankel In Honor of Phillip Wm. Fisher Mr. & Mrs. Tom Goldberg In Memory of Victor Donati Ms. Laurie Cardinale Mr. & Mrs. Daniel J. Donati Mrs. Jackie L. Fullenkamp Ms. Janet Hunt Mr. & Mrs. James A. Laugal Mr. & Mrs. Alexander McKeen Mrs. Julie Oliver The Crate & Barrel Family Mr. Michael Tuchman Mr. & Mrs. Irwin Vogel Mr. & Mrs. Robert Wendling In Memory of Ed Drey Reverend Catherine M. Beaumont In Honor of the Eichenhorn Family Mrs. Ralle K. Rothman

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In Memory of Teresa Giulani Reverend Catherine M. Beaumont In Honor of Ruth Krathwohl Mr. Brian Carney & Ms. Judith Herndon In Honor of Harold Kulish Ms. Mary Dudley In Honor of Juanita Latimer Lee & Diana Warshay In Memory of Morton R. Lazar Mr. & Mrs. Stuart Frankel Mr. Scott Hamburger In Memory of David Lebenbom Atrium Centers, Inc. Mr. & Mrs. Lee Barthel Mr. & Mrs. Harold Blumenstein Mrs. Gloria Cohen Mr. & Mrs. Joshua D. Eichenhorn Mr. & Mrs. Isidor Eisenberg Feinberg Consulting, Inc Dr. Dexter Fields MD Health Care Association of Michigan Ms. Mary House Ms. Darlene Maneli The Peplinski Group Mr. & Mrs. Karl Schaefer Ms. Sharon Schuster In Memory of Allen Ledyard Mr. & Mrs. Paul Laughlin In Memory of Ronald E. Milner Mr. & Mrs. H. Richard Fruehauf Jr

In Memory of Mildred Moss Dr. & Mrs. Hershel Sandberg In Memory of Eleanor Ruth Murray Ms. Susan L Meek In Honor of James B. Nicholson Richner & Richner LLC In Memory of Paul Paray Mr. Tom Godell In Honor of Michele Rambour & Gary Glenn Daniel & Jane Lehman In Memory of Nina Schneyer Dr. & Mrs. Seth R. Eaton MD Mr. & Mrs. David Friedlander Ms. Julie A Rodecker Donna & Lawrence Sklar Sheila & Steve Urman In Honor of Margaret Spear Mr. & Mrs. Robert J. Wilbert In Memory of Inez Stevens Mr. & Mrs. Donald Isaacs Ms. Florence L. Kalenius Mr. & Mrs. Casimer C. Marzec Ms. Karen Stevens In Memory of Gerald Thome Ms. Megan Lizbinski In Honor of Alex Trajano Walter RĂśnmark In Memory of L. Warren Tucker Mrs. Sandra Tucker In Honor of Barbara Van Dusen Dr. & Mrs. James W. Gell In Memory of William Vassell Mrs. Kaleope Allen Mrs. Violet Newton In Honor of Mr. Alvin B. Waddles Adult Learning Institute In Honor of our clients and associates Michael Willoughby & Associates In Honor of Clyde & Helen Wu Mrs. Barbara Van Dusen

UPCOMING CONCERTS

AT THE MAX M. FISHER MUSIC CENTER

Thomas Wilkins, conductor Gregory Walker, violin Charlotte Blake Alston, narrator Brazeal Dennard Chorale, chorus Fri., Mar. 6 at 10:45 a.m. Sat., Mar. 7 at 8 p.m.

CIVIC & EDUCATION

CIVIC SHOWCASE

Civic Youth Orchestra & Civic Wind Ensemble Pre-Concert performance at 6 p.m. Fri., Mar. 6 at 7:15 p.m.*

CIVIC & EDUCATION

BEETHOVEN LIVES UPSTAIRS

Sat., Mar. 14 at 11 a.m. Michelle Merrill, conductor

NEIGHBORHOOD SERIES

SIBELIUS & GRIEG

John Storgårds, conductor David Buck, flute Thu., Mar. 19 at 7:30 p.m. at Congregation Shaarey Zedek, Southfield Fri., Mar. 20 at 10:45 a.m. Community & Performing Arts Center, Dearborn Sun., Mar 22 at 3 p.m. at Seligman Performing Arts Center, Beverly Hills

CIVIC FAMILY EXPERIENCE

CIVIC & EDUCATION

NEIGHBORHOOD SERIES

Civic Jazz Orchestra conductor Fri., Mar. 20 at 6:15 p.m.*

Civic Youth Ensembles Sun., Mar. 8 at 1 p.m.*

MOZART CLARINET CONCERTO

Douglas Boyd, conductor Ralph Skiano, clarinet Thu., Mar. 12 at 7:30 p.m. at the Berman Center for the Performing Arts, West Bloomfield Fri., Mar. 13 at 8 p.m. Theater at Cherry Hill, Canton Sat., Mar. 14 at 8 p.m. Presbyterian Church, Bloomfield Hills Sun., Mar. 15 at 3 p.m. the Sea, Grosse Pointe Woods

POPS SERIES

NATALIE MacMASTER

Michelle Merrill, conductor Natalie MacMaster, fiddle Fri., Mar. 13 at 10:45 a.m. & 8 p.m. Sat., Mar. 14 at 8 p.m. Sun., Mar. 15 at 3 p.m.

TINY TOTS CONCERTS

KRIS JOHNSON’S JAZZ EXPRESS Sat., Mar. 14 at 10 a.m.* in the Music Box 70

YOUNG PEOPLE’S FAMILY CONCERTS

CIVIC JAZZ LIVE!

PARADISE JAZZ SERIES

WAYNE SHORTER QUARTET Fri., Mar. 20 at 8 p.m.*

CLASSICAL SERIES

GOMYO PLAYS MOZART Cristian Macelaru, conductor violin Fri., Mar. 27 at 10:45 a.m. Sat., Mar. 28 at 8 p.m. Sun., Mar. 29 at 3 p.m. Ligeti Concert Românesc Mozart Webern Passacaglia Schumann

*DSO does not appear on this program.

CLASSICAL ROOTS

Programs and artists are subject to change

CLASSICAL SERIES

DSO PRESENTS

EDDIE PALMIERI LATIN JAZZ BAND

Friday, March 27, 2015 at 8 p.m.*

OTHER PRESENTERS

WSU MONDAYS AT THE MAX

Mon., Mar. 30 at 7:30 p.m.* dso.org

For tickets, call 313.576.5111 or visit dso.org

DSO PRESENTS

CLASSICAL SERIES

Fri., Apr. 3, 2015 at 7:30 p.m.*

Wed., Apr. 8, 2015 at 7 p.m.

conductor violin Sharon Robinson, cello Fri., Apr. 24 at 8 p.m. Sat., Apr. 25 at 8 p.m. Mozart Overture to The Magic Flute André Previn Double Concerto Bruckner

In partnership with the DIA

CIVIC & EDUCATION

POPS SERIES

Civic Youth Ensembles Sun., Apr. 26 at 1 p.m.*

TAKE 6

DSO PRESENTS

LA CENTINELA Y LA PALOMA

(THE KEEPER AND THE DOVE)

GOLDEN AGE OF BROADWAY

Bob Bernhardt, conductor vocalist vocalist Fri., Apr. 10 at 10:45 a.m. Sat., Apr. 11 at 8 p.m. Sun., Apr. 12 at 3 p.m.

CLASSICAL SERIES

BRUCKNER’S FOURTH

CIVIC FAMILY EXPERIENCE NEIGHBORHOOD SERIES

MOZART & TCHAIKOVSKY conductor violin Sharon Robinson, cello Sun., Apr. 26 at 3 p.m. at Seligman Performing Arts Center, Beverly Hills

EXOTIC ADVENTURES

OTHER PRESENTERS

violin Simon Mulligan, piano Thu., Apr. 16 at 7:30 p.m. Fri., Apr. 17 at 10:45 a.m. Sat., Apr. 18 at 8 p.m. Ravel Shéhérazade Ginastera Ravel Two Hebraic Melodies Ginastera Ravel Shéhérazade Song Cycle Ginastera Suite from Estancia

University Orchestra and Choral Showcase Mon., Apr. 27 at 7:30 p.m.*

conductor Isabelle Druet, mezzo soprano

CIVIC & EDUCATION

CIVIC JAZZ LIVE! Civic Jazz Orchestra conductor Fri., Apr. 17 at 6:15 p.m.*

PARADISE JAZZ SERIES

JOHN & GERALD CLAYTON DUO Fri., Apr. 17 at 8 p.m.* dso.org

WSU MONDAYS AT THE MAX

NEIGHBORHOOD SERIES

MOZART & MORE

Joshua Weilerstein, conductor piano Thu., Apr. 30 at 7:30 p.m. at Congregation Shaarey Zedek, Southfield Fri., May 1 at 10:45 a.m. Community & Performing Arts Center, Dearborn

CIVIC & EDUCATION

CIVIC SHOWCASE

Civic Youth Orchestra & Civic Wind Ensemble Fri., May 1 at 7:15 p.m.* Pre-Concert at 6 p.m.

“Live from Orchestra Hall” webcasts at dso.org/live 71

Legacy William

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TO L E A R N MOR E A B O U T F I R S T M E R I T P R I VA T E B A N K , C O N T A C T :

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