Performance Magazine - Detroit Symphony Orchestra - October-December - 2021-2022 Season by Detroit Symphony Orchestra

Dessert Parlor

…at The Whitney.

ONE- OF-A- KIND HOLIDAY GIF TS FROM EPIPHANY

Named after David Whitney’s daughter, Katherine Whitney McGregor, our intimate dessert parlor on the Mansion’s third floor features a variety of decadent cakes, tortes, and miniature desserts. Thee menu also includes chef-prepared Th specialties, pies, and “Drinkable Desserts.” Don’t miss the amazing flaming dessert station featuring Bananas Foster and Cherries Jubilee.

at the Detroit Symphony Orchestra Distinctive handblown glass sculptures, La Ruche lighting, decanters, a variety of unique handmade gifts and more.

Reserve tonight’s table online at www.thewhitney.com or call 313-832-5700 The Shapero Lounge at the DSO 4421 Woodward Ave., Detroit Max M. & Marjorie S. Fisher Music Center 3711 Woodward Ave., Detroit, MI 48201

Call 248.745.3786 | epiphanyglass.com Hours || Open Fri:10am–4pm Sat: 10am–4pm Hours one hour|before and after performances in Orchestra Hall

Pre-Theater Menu

Available on performance date with today’s ticket. Choose one from each course:

FIRST COURSE Caesar Side Salad Chef’s Soup of the Day The Whitney Duet MAIN COURSE Grilled Lamb Chops Lake Superior Whitefish Pan Roasted “Brick” Chicken Sautéed Gnocchi

View current menus and reserve online at www.thewhitney.com or call 313-832-5700 4421 Woodward Ave., Detroit 2 2

DSO PERFORMANCE MAGAZINE DSO PERFORMANCE MAGAZINE

DESSERT Chocolate Mousse or Mixed Berry Sorbet with Fresh Berries $39.95

FALL 2019 FALL/WINTER 2021-2022

The Detroit Symphony Orchestra, a leader in the world of classical music, embraces and inspires individuals, families, and communities through unsurpassed musical experiences.

PERFORMANCE

FALL/WINTER • 2021-2022 SEASON

CONTENTS Welcome......................................................4 Orchestra Roster.........................................5 Behind the Baton.........................................6 Board Leadership........................................8

Jader 10 Sightlines: Bignamini puts his Vision into Motion

Maximize Your Experience....................... 50 Upcoming Concerts.................................. 54

ON THE COVER:

Program Notes

A new look for Performance magazine to usher in Jader Bignamini’s first full season as Music Director. Jader is pictured with guest artists Branford Marsalis (Nov. 12-14) and Hilary Hahn (Dec. 2-4). Photo of Jader Bignamini by Justin Milhouse.

Read Performance anytime, anywhere at dso.org/performance

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Donor Roster............................................. 40 DSO Administrative Staff......................... 52

16 Community & Learning 17

Transformational Support........................15

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DSO PERFORMANCE MAGAZINE 3

WELCOME SARAH SMARCH

Dear Friends, Can you remember? The last time you came to The Max, had your ticket scanned, and found your seat? The last time you watched as the lights went down, listened to the orchestra tune, and were filled with anticipation for that first note? As the DSO plays those initial measures of the concert, embrace the moment and reflect on how much you have missed this—how much we have all missed this: being in our world-renowned Orchestra Hall, sharing the experience with others, and taking part in live performances. It’s a feeling that can’t be replicated and has been missing for more than a year. And it’s back. Attending a concert isn’t a passive experience—it’s an engaging and participatory event. Here is where you hear and feel and experience and cherish what makes live music so special, and where you give that energy back to the performers on stage. While our virtual Digital Concerts last season allowed us to stay connected with audiences, our world class musicians would be the first to say that it hasn’t been the same; a central component has been missing: you. You join us at a momentous time in DSO history—the first full season with our magnificent Music Director Jader Bignamini. But you aren’t thinking about history right now. You are anticipating the experience, listening, and soaking it all in. Living in the moment. To be here now—to hear together—is something you’ll never forget. Welcome back—it’s great to have you here.

Anne Parsons President & CEO

DSO PERFORMANCE MAGAZINE

Mark Davidoff, Chair, Board of Directors

FALL/WINTER 2021-2022

DETROIT DETROIT SYMPHONY SYMPHONY ORCHESTRA ORCHESTRA AA COMMUNITY-SUP COMMUNITY-SUPPORTED PORTED ORCHESTRA ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR JADER BIGNAMINI MUSIC DIRECTOR

DETROIT DETROIT SYMPHONY SYMPHONY ORCHESTRA ORCHESTRA AA COMMUNITY-SUP COMMUNITY-SUPPORTED PORTED ORCHESTRA ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR JADER BIGNAMINI MUSIC DIRECTOR

JADER BIGNAMINI, Music Director

Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

Principal Pops Conductor

FIRST VIOLIN Kimberly Kaloyanides Kennedy

ACTING CONCERTMASTER Katherine Tuck Chair

Hai-Xin Wu

ACTING ASSOCIATE CONCERTMASTER Schwartz Shapero Family Chair

Jennifer Wey Fang

ASSISTANT CONCERTMASTER Walker L. Cisler/Detroit Edison Foundation Chair

Marguerite Deslippe* Laurie Goldman* Rachel Harding Klaus* Eun Park Lee* Adrienne Rönmark* Laura Soto* Greg Staples* Jiamin Wang* Mingzhao Zhou*

SECOND VIOLIN Adam Stepniewski

ACTING PRINCIPAL The Devereaux Family Chair

Will Haapaniemi*

David and Valerie McCammon Chair

Hae Jeong Heidi Han*

David and Valerie McCammon Chair

Sheryl Hwangbo Yu* Sujin Lim* Hong-Yi Mo*~ Alexandros Sakarellos*

Drs. Doris Tong and Teck Soo Chair

Marian Tanau* Alexander Volkov* Jing Zhang*

VIOLA Eric Nowlin

PRINCIPAL Julie and Ed Levy, Jr. Chair

James VanValkenburg ASSISTANT PRINCIPAL

Caroline Coade

Henry and Patricia Nickol Chair

Hang Su Glenn Mellow Shanda Lowery-Sachs Hart Hollman Han Zheng Mike Chen

TERENCE BLANCHARD

LEONARD SLATKIN

NEEME JÄRVI

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

Music Director Laureate

Music Director Emeritus

CELLO Wei Yu

PRINCIPAL James C. Gordon Chair

Abraham Feder

ASSISTANT PRINCIPAL Dorothy and Herbert Graebner Chair

ENGLISH HORN Monica Fosnaugh

TUBA Dennis Nulty

CLARINET Ralph Skiano

PERCUSSION Joseph Becker

Shari and Craig Morgan Chair

PRINCIPAL Robert B. Semple Chair

Robert Bergman* Jeremy Crosmer*

Jack Walters

David LeDoux* Peter McCaffrey*

Laurence Liberson

Victor and Gale Girolami Chair

Joanne Danto and Arnold Weingarden Chair

Úna O’Riordan*

Mary Ann and Robert Gorlin Chair

Cole Randolph*

African American Orchestra Fellow

BASS Kevin Brown

PRINCIPAL Van Dusen Family Chair

Stephen Molina

ASSISTANT PRINCIPAL

Linton Bodwin~ Christopher Hamlen Brandon Mason Nicholas Myers

HARP Patricia Masri-Fletcher PRINCIPAL Winifred E. Polk Chair

FLUTE Hannah Hammel PRINCIPAL

Amanda Blaikie

Morton and Brigitte Harris Chair

Sharon Sparrow

ASSISTANT PRINCIPAL Bernard and Eleanor Robertson Chair

Jeffery Zook

PICCOLO Jeffery Zook

Shari and Craig Morgan Chair

PVS Chemicals Inc./Jim and Ann Nicholson Chair ASSISTANT PRINCIPAL

Shannon Orme

E-FLAT CLARINET Laurence Liberson BASS CLARINET Shannon Orme

Barbara Frankel and Ronald Michalak Chair

ASSISTANT PRINCIPAL William Cody Knicely Chair

James Ritchie

TIMPANI Jeremy Epp

PRINCIPAL Richard and Mona Alonzo Chair

James Ritchie

ASSISTANT PRINCIPAL

LIBRARIANS Robert Stiles PRINCIPAL

Marcus Schoon Jaquain Sloan

PERSONNEL MANAGERS Patrick Peterson

ACTING PRINCIPAL

African American Orchestra Fellow

CONTRABASSOON Marcus Schoon

ASSISTANT PRINCIPAL

Mark Abbott

Ryan DeMarco

DEPARTMENT HEAD

Noel Keesee

DEPARTMENT HEAD

Steven Kemp

DEPARTMENT HEAD

Matthew Pons

TRUMPET Hunter Eberly

DEPARTMENT HEAD

PRINCIPAL Lee and Floy Barthel Chair

Kevin Good Stephen Anderson

ASSISTANT PRINCIPAL

TROMBONE Kenneth Thompkins PRINCIPAL

MANAGER OF ORCHESTRA PERSONNEL

STAGE MANAGER

PRINCIPAL

Johanna Yarbrough Scott Strong David Everson

David Binder

DIRECTOR OF ORCHESTRA PERSONNEL

Hannah Wetherholt

STAGE PERSONNEL Dennis Rottell

HORN Karl Pituch

Sarah Lewis

ASSISTANT PRINCIPAL

Andrés Pichardo-Rosenthal~

Ethan Allen

William Lucas

Monica Fosnaugh Open

PRINCIPAL Ruth Roby and Alfred R. Glancy III Chair

BASSOON Michael Ke Ma

OBOE Alexander Kinmonth

PRINCIPAL Jack A. and Aviva Robinson Chair

PRINCIPAL

Michael Sarkissian

DEPARTMENT HEAD

LEGEND * These members may voluntarily revolve seating within the section on a regular basis ~ Extended leave

Maggie Miller Chair

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DSO PERFORMANCE MAGAZINE 5

B E H I N D T H E B AT O N

MUSIC DIRECTORSHIP ENDOWED BY THE KRESGE FOUNDATION

ader Bignamini was introduced as the 18th music director of the Detroit Symphony Orchestra in January 2020, commencing with the 2020-2021 season. He kicked off his tenure as DSO Music Director with the launch of DSO Digital Concerts in September 2020, conducting works by Copland, Puccini, Tchaikovsky, and Saint-Georges. His infectious passion and artistic excellence set the tone for the season ahead, creating extraordinary music and establishing a close relationship with the orchestra. A jazz aficionado, he has immersed himself in Detroit’s rich jazz culture and the influences of American music. A native of Crema, Italy, Jader studied at the Piacenza Music Conservatory and began his career as a clarinetist with Orchestra Sinfonica La Verdi in Milan, later serving as the group’s resident conductor. Captivated by the symphonies of greats like Mahler and Tchaikovsky, Jader explored their complexity and power, puzzling out the role that each instrument played in creating a larger-than-life sound. When he conducted his first professional concert at the age of 28, it didn’t feel like a departure, but an arrival. In the years since, Jader has conducted some of the world’s most acclaimed orchestras and opera companies in venues across the globe including working with Riccardo Chailly on concerts of Mahler’s Eighth Symphony in 2013 and his concert debut at La Scala in 2015 for the opening season of La Verdi Orchestra. Recent highlights include debuts with the Houston, Dallas, and Minnesota symphonies; Osaka Philharmonic and Yomiuri Nippon Symphony Orchestra in Tokyo; with the Metropolitan Opera, Vienna State Opera, and Dutch National Opera (Madama Butterfly); Bayerische Staatsoper (La 6

DSO PERFORMANCE MAGAZINE

JUSTIN MILHOUSE

Jader Bignamini

Traviata); I Puritani in Montpellier for the Festival of Radio France; Traviata in Tokyo directed by Sofia Coppola; Andrea Chénier at New National Theatre in Tokyo; Rossini’s Stabat Mater at Rossini Opera Festival in Pesaro, Italy; Rossini’s Petite messe solennelle at Teatro dell’Opera in Rome; return engagements with Oper Frankfurt (La forza del destino) and Santa Fe Opera (La Bohème); Manon Lescaut at the Bolshoi; Traviata, Madama Butterfly, and Turandot at Arena of Verona; Il Trovatore and Aida at Rome’s Teatro dell’Opera; Madama Butterfly, I Puritani, and Manon Lescaut at Teatro Massimo in Palermo; Simon Boccanegra and La Forza del Destino at the Verdi Festival in Parma; Ciro in Babilonia at Rossini Opera Festival; and La Bohème, Madama Butterfly, and Elisir d’amore at La Fenice in Venice. When Jader leads an orchestra in symphonic repertoire, he conducts without a score, preferring to make direct eye contact with the musicians. He conducts from the heart, forging a profound connection with his musicians that shines through both onstage and off. He both embodies and exudes the excellence and enthusiasm that has long distinguished the DSO’s artistry. FALL/WINTER 2021-2022

Jeff Tyzik

Terence Blanchard

PRINCIPAL POPS CONDUCTOR

rammy Award winner Jeff Tyzik is one of America’s most innovative and sought-after pops conductors. Tyzik is recognized for his brilliant arrangements, original programming, and engaging rapport with audiences of all ages. In addition to his role as Principal Pops Conductor of the DSO, Tyzik holds The Dot and Paul Mason Principal Pops Conductor’s Podium at the Dallas Symphony Orchestra and serves as principal pops conductor of the Oregon Symphony, Florida Orchestra, and Rochester Philharmonic — a post he has held for over 20 seasons. Frequently invited as a guest conductor, Tyzik has appeared with the Boston Pops, Cincinnati Pops, Milwaukee Symphony, Pittsburgh Symphony, Toronto Symphony, Indianapolis Symphony, Philadelphia Orchestra, Los Angeles Philharmonic, and Royal Scottish National Orchestra. Committed to performing music of all genres, Tyzik has collaborated with such diverse artists as Megan Hilty, Chris Botti, Matthew Morrison, Wynonna Judd, Tony Bennett, Art Garfunkel, Dawn Upshaw, Marilyn Horne, Arturo Sandoval, The Chieftains, Mark O’Connor, Doc Severinsen, and John Pizzarelli. He has created numerous original programs that include the greatest music from jazz and classical to Motown, Broadway, film, dance, Latin, and swing. Tyzik holds Bachelor of Music and Master of Music degrees from the Eastman School of Music. Visit jefftyzik.com for more.

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FRED A. AND BARBARA M. ERB JAZZ CREATIVE DIRECTOR CHAIR

rumpeter, bandleader, composer, and educator Terence Blanchard has served as the DSO’s Fred A. and Barbara M. Erb Jazz Creative Chair since 2012. Blanchard has performed and recorded with many of jazz’s superstars and currently leads the celebrated E-Collective. He is also wellknown for his decades-long collaboration with filmmaker Spike Lee, scoring more than 15 of Lee’s movies since the early 1990s. 2018’s BlacKkKlansman earned Blanchard his first Academy Award nomination, with a second Academy Award nomination in 2021 for Da 5 Bloods. In and out of the film world, Blanchard has received 14 Grammy nominations and six wins, as well as nominations for Emmy, Golden Globe, Sierra, and Soul Train Music awards. Blanchard’s second opera Fire Shut Up in My Bones, based on the memoir of New York Times columnist Charles Blow, recently opened The Metropolitan Opera’s 2021-2022 season, making it the first opera by an African American composer to premiere at the Met. With a libretto by Kasi Lemmons, the opera was commissioned by Opera Theatre of Saint Louis where it premiered in 2019. The New York Times called it “inspiring,” “subtly powerful,” and “a bold affecting adaptation of Charles Blow’s work.” Blanchard’s first opera, Champion, also premiered to critical acclaim in 2013 in St. Louis and starred Denyce Graves with a libretto from Pulitzer Prize Winner Michael Cristofer. Visit terenceblanchard.com for more. DSO PERFORMANCE MAGAZINE 7

Detroit Symphony Orchestra, Inc. LIFETIME MEMBERS

CHAIRS EMERITI

DIRECTORS EMERITI

OFFICERS

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

Samuel Frankel◊ Stanley Frankel David Handleman, Sr.◊

Dr. Arthur L. Johnson◊ James B. Nicholson Clyde Wu, M.D.◊

Peter D. Cummings Phillip Wm. Fisher Stanley Frankel

Robert S. Miller James B. Nicholson

Floy Barthel Chacona Baugh Penny B. Blumenstein John A. Boll, Sr. Richard A. Brodie Lois & Avern Cohn Marianne Endicott Sidney Forbes Ruth Frank Barbara Frankel

Herman H. Frankel Dr. Gloria Heppner Ronald Horwitz Harold Kulish Bonnie Larson David McCammon David R. Nelson William F. Pickard, Ph.D. Marilyn Pincus Lloyd E. Reuss

Marjorie S. Saulson Alan E. Schwartz Jane Sherman David Usher Barbara Van Dusen Arthur A. Weiss

Mark A. Davidoff Chair

Hon. Kurtis T. Wilder (Ret.) Secretary

Arthur T. O’Reilly Officer at Large

Anne Parsons President & CEO

Ralph J. Gerson Officer at Large

Glenda D. Price, Ph.D. Officer at Large

David T. Provost Treasurer

Faye Alexander Nelson Officer at Large

Pamela Applebaum David Assemany Governing Members Chair Elena Centeio Richard L. DeVore Samuel Fogleman Aaron Frankel Herman B. Gray, M.D., M.B.A. Rev. Nicholas Hood III

Richard Huttenlocher Renato Jamett Trustee Chair Daniel J. Kaufman Michael J. Keegan Arthur C. Liebler Xavier Mosquet Stephen R. Polk Jay Ritchie Orchestra Representative

DSO PERFORMANCE MAGAZINE

◊ Deceased

Bernard I. Robertson Camilo Serna Shirley Stancato Nancy Tellem James G. Vella Dr. M. Roy Wilson David M. Wu, M.D. Johanna Yarbrough Orchestra Representative

FALL/WINTER 2021-2022

BOARD OF TRUSTEES Renato Jamett, Chair Trustees are a diverse group of community leaders who infuse creative thinking and innovation into how the DSO strives to achieve both artistic vitality and organizational sustainability.

Ismael Ahmed Richard Alonzo Hadas Bernard Janice Bernick Elizabeth Boone Gwen Bowlby Marco Bruzzano Margaret Cooney Casey Karen Cullen Joanne Danto Stephen R. D’Arcy Maureen T. D’Avanzo Jasmin DeForrest Afa Sadykhly Dworkin Peter Falzon James C. Farber Carolynn Frankel Christa Funk Robert Gillette Jody Glancy Malik Goodwin Mary Ann Gorlin Laura Hernandez-Romine Donald Hiruo

Michelle Hodges Julie Hollinshead John Jullens David Karp Joel D. Kellman Jennette Smith Kotila William Lentine Linda Dresner Levy Florine Mark Anthony McCree Kristen McLennan Lydia Michael Lois A. Miller Daniel Millward H. Keith Mobley Scott Monty Shari Morgan Sandy Morrison Frederick J. Morsches Jennifer Muse, NextGen Chair Nicholas Myers, Musician Representative Sean M. Neall Eric Nemeth

Maury Okun Vivian Pickard Gerrit Reepmeyer Richard Robinson James Rose, Jr. Laurie Rosen Elana Rugh Marc Schwartz Carlo Serraiocco Lois L. Shaevsky Mary Shafer Cathryn M. Skedel, Ph.D. Richard Sonenklar Scott Strong, Musician Representative Rob Tanner Yoni Torgow Laura J. Trudeau Gwen Weiner Donnell White Jennifer Whitteaker R. Jamison Williams Margaret E. Winters Ellen Hill Zeringue

MAESTRO CIRCLE EXECUTIVE COMMITTEE Janet & Norm Ankers, Chairs

Cecilia Benner

Joanne Danto

Gregory Haynes

Bonnie Larson

Lois Miller

Richard Sonenklar

GOVERNING MEMBERS EXECUTIVE COMMITTEE David Assemany, Chair Suzanne Dalton Maureen T. D’Avanzo

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Judy Doyle James C. Farber Diana Golden #IAMDSO

Marcia Hiruo Samantha Svoboda

DSO PERFORMANCE MAGAZINE 9

SIGHTLINES: Jader Bignamini puts his Vision into Motion Sarah Smarch

PHOTO BY JUSTIN MILHOUSE

DSO PERFORMANCE MAGAZINE

FALL/WINTER 2021-2022

“ The music director is really in charge of defining the orchestra’s sound. I think Jader’s dynamism plays into what we want to do and what we can do in this hall.” —Assistant Principal Timpani and Percussion Jay Ritchie

s the Detroit Symphony Orchestra returns to in-person concerts this season, DSO Music Director Jader Bignamini is establishing his vision at the helm of the orchestra. The orchestra is ready to take this journey. “Jader has clear, specific ideas about where he wants to take us artistically— and he is wasting no time in leading us in that direction,” says cellist Úna O’Riordan. “He is not afraid to take risks and try new things to achieve his goals, and those are some of the essential qualities of a great leader. The orchestra has a lot of faith in Jader’s artistic vision.” Jader makes a point of conducting performances from memory without a score on the podium. He stresses interaction and eye contact with the orchestra, enhancing his connection with the musicians, and the orchestra’s connection with the music. To help the musicians connect with Jader’s visual cues and eye contact, the DSO is, for the first time in decades, staging its musicians on risers this season. “The contact between the musicians during concerts has to be like breathing,” says Jader. “Being raised, there will be no barriers between the woodwinds, the percussion, and the strings and they will be able to play in a much more natural way.” Principal Trumpet Hunter Eberly is excited about the change. “Visual cues are huge from a conductor,” he says. “With Jader doing everything by memory he is very connected to the orchestra, whether it is small glances or large gestures, he is always communicating with us. For those of us in the back of the orchestra, these improved sight lines will help us catch those cues, build our understanding of what his expectations are, and build a strong musical connection.” For all that, the risers will take some getting used to. “This is a little bit of a

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leap of faith for us, as most members of the orchestra have not used risers here in Orchestra Hall,” says Úna. The risers were meticulously crafted by West End Studios in Delray, Detroit. The build was important, as was the wood that was used—maple—to ensure that the sound reflects off the risers in the same way that it does from Orchestra Hall’s stage. Prior to construction, the DSO’s Stage Crew built a to-scale model of the hall’s stage and the many different-size risers to help visualize the various layouts for different types of programming. (For example, a Mozart symphony versus a Mahler symphony— Mahler calls for a much larger orchestra.) The orchestra’s Artistic Advisory Committee was consulted, and the pieces were moved around the model, arranged and rearranged by the many hands who wanted to get a feel for this new way of playing. Orchestra Hall is known for its impeccable acoustics, so ensuring the musicians’ sounds can make the best use of their beloved space was also a consideration for Jader when implementing the change. There is no “try before you buy,” Úna says, since the risers must be custom-built. “It will be interesting to experience the change in balance between the various sections of the orchestra—the brass and woodwinds (now on risers) will be much higher, above the strings. It should make it easier for the orchestra to achieve greater dynamic control and play together.” So how will this seating change affect the audience’s concert-going experience? “With this new setup of the orchestra, I am sure the audience will have the feeling of being even closer to our musicians wherever they are seated in the hall,” Jader says. “They will be able to see all our players and hear them very brightly. Plus, the sound will be perfectly balanced. We have a great orchestra hall, and I believe this is the best way to bring out its acoustics to the fullest.”

DSO PERFORMANCE MAGAZINE 11

Orchestra Hall’s new risers under construction at West End Studios in Delray, Detroit. Photo by Sarah Smarch While Jader’s decision is focused on live performance, audiences at home will welcome the improved camera angles in the DSO’s Live from Orchestra Hall webcasts, which will make it easier to see the percussion, horns, and other musicians that sit toward the back of the stage. Jader is also taking a deep dive into fresh programming this season. Together with orchestra Vice President and General Manager Erik Rönmark, Jader is working to balance time-tested works that speak to the resilience of the human spirit in challenging times, while amplifying the voices of people of color and women composers and highlighting new music. “Contemporary music is so important for a symphony orchestra,” says Jader. “Music and art are like people’s thinking, which continues to develop and change. Music anticipates our way of thinking and that’s why we must support contemporary music—it’s our future. And remember that all music was contemporary music at one time.” 12

DSO PERFORMANCE MAGAZINE

The orchestra is not just preparing for a metaphorical journey with Jader as its new leader, but a literal one as well. For the first time in almost five years, the Detroit Symphony Orchestra will go on tour, playing four concerts in Florida—in Miami, West Palm Beach, Gainesville, and Sarasota—this January. “A great orchestra has the task of performing and spreading great music,” Jader says, explaining why the DSO is going on tour. “When you are on tour, you experience strong emotions all together, and the pride of being part of an orchestra like the DSO will charge our musicians. All together, we will be able to create musical moments of the highest level that will make us all grow musically and as people. “I know that Detroit is so proud to have an orchestra of this level, and we will be extremely happy to bring Detroit to the world. The tour program will show the high technical level of the orchestra. It will be a time of growth and pride for all of us.” n

FALL/WINTER 2021-2022

Some of the world’s most creative minds suffer from one of the most devastating conditions — bipolar disorder. Join us. Be a source of hope. Contribute now: PrechterProgram.org 734-763-4895

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DSO PERFORMANCE MAGAZINE 13

Join the DSO with family and friends at these holiday concerts PNC POPS

TITLE SPONSOR:

Stuart Chafetz, conductor Michael Preacely, vocalist

Fri., Dec. 17 at 10:45 & 8 p.m. Sat., Dec. 18 at 3 p.m. & 8 p.m. Sun., Dec. 19 at 3 p.m Share Detroit’s favorite holiday musical tradition with family and friends and thrill to the spectacle of the season. Stuart Chafetz returns to lead a sparkling celebration with carols and classics that sells out year after year – and yes, Virginia, there will be a Santa Claus!

PAR

I SE AD SE

R IE

DIANNE REEVES: CHRISTMAS TIME IS HERE Fri., Dec. 3 at 8 p.m.

Dianne Reeves is one of the preeminent jazz vocalists in the world today. She rings in the holiday season with music from her celebrated album, Christmas Time Is Here. Renowned for her breathtaking virtuosity and improvisational prowess, Reeves will warm your heart with holiday cheer. MADE POSSIBLE WITH SUPPORT FROM

DSO PRESENTS

HOME ALONE IN CONCERT Scott Terrell, conductor

Wed., Dec. 15 at 7:30 p.m. Enjoy one of the most beloved holiday films of all time projected on a giant screen in stunning high definition, accompanied by the Detroit Symphony Orchestra! Relive John Hughes’s charming and hilarious story about family, with John Williams’s captivating score and the young Macaulay Culkin, who captured the hearts of audiences worldwide.

FALL/WINTER 2021-2022 Buy tickets at dso.org or call 313.576.5111

DSO PERFORMANCE MAGAZINE

T R A N S F O R M AT I O N A L S U P P O R T The DSO is grateful to the donors who have made extraordinary multi-year, comprehensive gifts to support general operations, endowment, capital improvements, named chairs, ensembles, or programs. These generous commitments establish a solid foundation for the future of the DSO.

FOUNDING FAMILIES Julie & Peter Cummings The Davidson-Gerson Family and the William Davidson Foundation The Richard C. Devereaux Foundation The Fisher Family and the Max M. & Marjorie S. Fisher Foundation

Penny & Harold Blumenstein Mr. & Mrs. Phillip Wm. Fisher

Stanley & Judy Frankel and the Samuel & Jean Frankel Foundation Danialle & Peter Karmanos, Jr. Linda Dresner & Ed Levy, Jr. James B. & Ann V. Nicholson and PVS Chemicals, Inc. Clyde & Helen Wu◊

VISIONARIES

Shari & Craig Morgan Mrs. Richard C. Van Dusen

CHAMPIONS

Mr. & Mrs. Richard L. Alonzo Mandell & Madeleine Berman Foundation Mr. & Mrs. Raymond M. Cracchiolo Joanne Danto & Arnold Weingarden Vera and Joseph Dresner Foundation DTE Energy Foundation The Fred A. & Barbara M. Erb Family Foundation Ford Motor Company Fund Mr. & Mrs. Morton E. Harris◊

John S. & James L. Kinght Foundation The Kresge Foundation Mrs. Bonnie Larson The Andrew W. Mellon Foundation Ms. Deborah Miesel Dr. William F. Pickard The Polk Family Bernard & Eleanor Robertson Stephen M. Ross Family of Dr. Clyde and Helen Wu

LEADERS

Applebaum Family Philanthropy Charlotte Arkin Estate Mr. & Mrs. Lee Barthel Marvin & Betty Danto Family Foundation Adel & Walter Dissett Herman & Sharon Frankel Ruth & Al◊ Glancy Mary Ann & Robert Gorlin Ronald M. & Carol◊ Horwitz Richard H. & Carola Huttenlocher John C. Leyhan Estate

Bud & Nancy Liebler Richard & Jane Manoogian Foundation David & Valerie McCammon Mr. & Mrs. Eugene A. Miller Pat & Hank◊ Nickol Jack & Aviva Robinson◊ Martie & Bob Sachs Mr. & Mrs.◊ Alan E. Schwartz Drs. Doris Tong & Teck Soo Paul & Terese Zlotoff

BENEFACTORS Mr.◊ & Mrs. Robert A. Allesee W. Harold & Chacona W. Baugh Robert & Lucinda Clement Lois & Avern Cohn Mary Rita Cuddohy Estate Margie Dunn & Mark Davidoff DSO Musicians Bette Dyer Estate Marjorie S. Fisher Fund Dr. Marjorie M. Fisher & Mr. Roy Furman Barbara Frankel & Ronald Michalak Victor◊ & Gale Girolami Fund Herbert & Dorothy Graebner◊ Richard Sonenklar & Gregory Haynes

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Mr. & Mrs. David Jaffa Renato & Elizabeth Jamett Ann & Norman◊ Katz Dr. Melvin A. Lester◊ Florine Mark Michigan Council for Arts & Cultural Affairs Dr. Glenda D. Price Ruth Rattner Mr. & Mrs.◊ Lloyd E. Reuss Mr. & Mrs. Fred Secrest◊ Jane & Larry Sherman Cindy McTee & Leonard Slatkin Marilyn Snodgrass Estate Mr. James G. Vella ◊

Deceased

DSO PERFORMANCE MAGAZINE 15

COMMUNITY & LEARNING

INTENTIONAL COMMUNITY

n 2017, the DSO launched its Social Progress Initiative, affirming a commitment to continuous dialogue and action that leverages the power of music to improve the quality of life for the people of Detroit and beyond. Building on the foundations of the past, we recently expanded this vision into the Detroit Strategy—one pillar of which is the Detroit Neighborhood Initiative. The core of Neighborhood Initiative work in 2021 has been community partnership-building and listening. “We began by reaching out to organizations in the neighborhoods of Chandler Park and Southwest and asking them if they would partner with us and introduce us to their residents in community listening sessions. We have now met 63 community organizations,” says Karisa Antonio, DSO

Director of Social Innovation. The goal of meeting residents, listening, and learning about each neighborhood’s vibrant culture is to build sustainable relationships and co-create celebratory musical experiences with the people who live, work, and grow in each neighborhood. After twelve listening sessions, the DSO planned four neighborhood-driven Musical Experiences for summer 2021, including the first annual Chandler Park Community Arts and Music Festival on Detroit’s east side in collaboration with 27 community partners. By the time the festival came around in July, it had been over a year since 16

DSO PERFORMANCE MAGAZINE

“ Listening is something that a lot of people talk about, but we wanted to engage in listening that was about coming to an understanding of the people we were hearing, and an understanding of not just how much we are doing, but how well we are doing it and if anyone is actually better off.” — Karisa Antonio, DSO Director of Social Innovation students from the Civic Youth Ensembles Dresner Allegro Ensemble had performed before a live audience. With the encouragement of their CYE director Leslie DeShazor—beaming with pride—they took to the stage and performed for an attentive audience as eager to hear as they were to play. The festival also featured performances blending classical and urban music, spoken word poetry, and West African music and dance. Ceramics artists from the Pewabic Pottery street team demonstrated baking pottery, and community members tried violins with Sphinx, danced with Crescendo Detroit, and completed a musical scavenger hunt with the DSO. Of the 400 Detroiters in attendance at the event, more than half had never attended a performance by the Detroit Symphony Orchestra before. Sustainability is a critical foundation of the Detroit Neighborhood Initiative, so next summer will see the expansion to one additional neighborhood, allowing for continual engagement with residents met this year. Join us next summer to hear DSO musicians, celebrate community artists, meet local organizations, and get connected with musical resources for everyone in the family. Read more at dso.org/stories. The Detroit Neighborhood Initiative is supported by General Motors and The Stone Foundation of Michigan. PwC provided support for the July 10 Chandler Park event. FALL/WINTER 2021-2022

A COMMUNITY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA A COMMUNITY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

JADER BIGNAMINI, Music Director

Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

Principal Pops Conductor

TERENCE BLANCHARD

LEONARD SLATKIN

NEEME JÄRVI

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

Music Director Laureate

Music Director Emeritus

PVS CLASSICAL SERIES Title Sponsor:

DVOŘÁK & LEE: NEW WORLDS

Friday, October 29, 2021 at 8 p.m. Saturday, October 30, 2021 at 8 p.m. Sunday, October 31, 2021 at 3 p.m. in Orchestra Hall ERIC JACOBSEN, conductor ALEXANDRA DARIESCU, piano

George Enescu Concerto for Piano and Orchestra (1881 - 1955) Maestoso (US Premiere) Alexandra Dariescu, piano Clara Schumann Concerto for Piano and Orchestra (1819 – 1896) in A minor, Op.7 I. Allegro maestoso II. Romanze: Andante non troppo con grazia III. Finale: Allegro non troppo Alexandra Dariescu, piano

Intermission

James Lee, III Amer’ican (World Premiere) (b. 1975)

Antonín Dvořák Symphony No. 9 in E minor, Op. 95, (1841 - 1904) [old No. 5] “From the New World” I. Adagio - Allegro molto II. Largo III. Molto vivace IV. Allegro con fuoco

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

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DSO PERFORMANCE MAGAZINE 17

PROGRAM NOTES Concerto for Piano and Orchestra in D minor Composed c. 1897

GEORGE ENESCU B. August 19, 1881, George Enescu (formerly Liveni-Vârnav), Romania D. May 4, 1955, Paris, France

Scored for solo piano, 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, and strings. (Approx. 15 minutes)

emonstrating remarkable talent from a young age, George Enescu is regarded amongst the most illustrious Romanian musicians, known for his artistry as a composer, violinist, pianist, conductor, and educator. Born in August 1881 in the village of Liveni, Romania (later renamed “George Enescu” in his honor), he was a child prodigy who composed his first significant work at age five. At age seven, he became the youngest student ever admitted at the Vienna Conservatory, where he studied with Joseph Hellmesberger, Jr., Robert Fuchs, and Sigismund Bachrich. Three years later, he gave a private concert at the Court of Vienna, in the presence of Emperor Franz Joseph. In 1894 he became acquainted with Johannes Brahms, whose style he later emulated. Enescu studied at the Conservatoire de Paris from 1895 to 1899, presenting his first major work Poema Românǎ, in 1898 with the Colonne Orchestra conducted by Édouard Colonne. He made his United States conducting debut in January 1923, leading The Philadelphia Orchestra in a concert at Carnegie Hall. Though Enescu returned to the United States many times, much of his work remains lesser known in the US. Enescu’s Concerto for Piano and Orchestra in D minor is an unfinished work from around 1897. The one surviving movement, Maestoso, reflects a Brahms influence in style, with a rich,

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romantic quality. Enescu’s legacy endures in Romania: a museum in Bucharest honors his memory; the George Enescu Festival— founded by his friend and occasional collaborator, the late George Georgescu— has grown to become one of the largest festivals in Eastern Europe; both the symphony orchestra of Bucharest and the Bacǎu international airport hold his name; and he is immortalized on the five lei banknote. This performance marks the US premiere of George Enescu’s Concerto for Piano and Orchestra in D minor.

Concerto for Piano and Orchestra in A minor, Op. 7 Composed 1833-1835 | Premiered 1835

CLARA SCHUMANN B. September 13, 1819, Leipzig, Germany D. May 20, 1896, Frankfurt, Germany

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

orn Clara Wieck in September 1819, Clara Schumann is regarded as one of the most distinguished pianists of the Romantic era. She was raised in Leipzig, Germany, by musical parents: her father a professional pianist and educator and her mother an accomplished singer. Gifted from a young age, Clara’s father helped nurture her talents, and she began touring at age 11, finding success in Paris and Vienna. In January 1833, at age 13, Clara began composing a Piano Concerto in A minor, completing a single movement by that November. In 1834, Robert Schumann, her future husband, revised the orchestration. She performed the work in several concerts at age 14, later expanding it with two more movements, FALL/WINTER 2021-2022

including the original as the finale. The new first movement was completed in 1834, with the second movement following one year later. It was at this point that Clara again orchestrated the work, reverting to her original version from Robert’s revisions. She completed the work in September 1835, just ahead of her 16th birthday. Clara premiered the finished work in November 1835 with the Leipzig Gewandhaus Orchestra, conducted by Felix Mendelssohn and featuring herself as soloist. In 1840, she married Robert, with whom she also maintained a working relationship. In addition to premiering many works by her husband, Clara premiered works by Johannes Brahms, who both she and Robert considered a close friend and collaborator. After Robert’s early death in 1856, Clara continued to tour in Europe, frequently with the violinist Joseph Joachim and other chamber musicians. She later served as an influential educator at Dr. Hoch’s Konservatorium in Frankfurt and edited the publication of her husband’s work. Schumann died in Frankfurt in 1896, yet her compositions were met with renewed interest in the late 20th century. This performance marks the DSO premiere of Clara Schumann’s Concerto for Piano and Orchestra in A minor.

Amer’ican Composed 2019

James Lee III B. November 26, 1975, St. Joseph, Michigan Scored for 2 flutes (1 doubling on piccolo), 2 oboes (1 doubling on English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, and strings. (Approx. 13 minutes)

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James Lee III wrote the following about his work Amer’ican: mer’ican is my response to Dvořák’s New World Symphony and partially inspired by various representative paintings of indigenous Americans from the eighteenth century. The work opens with imaginary evocative scenes of Pre-Colombian America. This music evokes imagery of a couple of definitions of the Anishinaabeg/Anishinaabe Native American Indians from Michigan. There is a definition of the name, which is “Beings made out of nothing,” “People created by divine breath,” and “People from whence lowered.” From this last definition I have drawn inspiration from the indigenous tribes particularly on the East Coast and southern United States, especially the Shinnecock, Choctaw, Chickasaw, Creek, Wampanoag, and Yamasee Indians. The orchestral texture continues to become denser and grow in energy until “the good humans” (another definition) are created to full form and stature. Throughout the initial part of the work, the “Swing down, swing low” theme from Dvořák’s New World Symphony can be heard quoted. This appears in various forms throughout the composition. The most prominent element of this work is a four-note motive A-MER-I-CAN that personifies the aforementioned paintings of indigenous Americans from the eighteenth century. As the music progresses, there is a digression to Mesoamerica where the ancient ballgame Ulama was played in Mexico and in what is now known as the state of Arizona. The music depicts the simple fun of the game, but also conveys the brutal aspects of a game with a hard rubber ball that many times provoked injury and unfortunately, the losing team would also be killed in a ritual sacrifice. The music that conveys the ritualistic human sacrifice grows more frantic as if to suggest a presentiment of a foreboding imminent future. Crashing dissonant chords follow, which represent 1492 and an American continent that would forever be changed. The softly

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PROGRAM NOTES subdued strings serve as a background for the mournful and soulful solo double reed woodwind instruments of bassoon and oboe. In 1893, a newspaper interview quoted Dvořák as saying “I found that the music of the Negroes and of the Indians was practically identical,” and that “the music of the two races bore a remarkable similarity to the music of Scotland.” It is for this reason that I have also quoted the Negro Spiritual “Here’s One” whose melody is heard in the flute with a particular “Indian/Indigenous” coloring or sorrow. Soon after this, the opening material returns, followed by reminiscences of the Ulama ballgame in which music representing memories of unbridled freedom and exhilaration continues to grow into an explosive end. —James Lee III This performance marks the world premiere of James Lee III’s Amer’ican.

Symphony No. 9 in E minor, Op. 95, [old No. 5] “From the New World” Composed 1893 | Premiered December 1893

ANTONÍN DVOŘÁK B. September 8, 1841, Nelahozeves, Czech Republic D. May 1, 1904, Prague, Czech Republic

Scored for 2 flutes (1 doubling on piccolo), 2 oboes (1 doubling on English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, and strings. (Approx. 40 minutes)

ew things spark a more spirited discussion than trying to define what it means to be American. Antonín Dvořák found that out the hard way in May 1893, when he told a reporter for the New York Herald that he believed a truly American classical style should be built on African American folk music. The famous Bohemian composer had arrived in the United States only a few months earlier

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to take over as director of the National Conservatory of Music in New York, a relatively new venture funded by the progressive philanthropist Jeannette Thurber. Dvořák encountered the multicultural musical soundscape of New York and became convinced that the repertoire of spirituals, sorrow songs, Creole songs, and other styles of the African diaspora would prove to be the greatest source of inspiration for the next generation of American composers. Most white classical musicians disagreed—strongly. Perhaps the one defining property of American identity is its resistance to firm definition. Our political landscape still crackles with sharp disagreement about who or what “counts” as American, or how American history should be told. In the 1890s, those questions were as pertinent as ever. New constitutional amendments granted civil rights to African Americans, but state and local governments routinely eroded these rights. The military attacked and displaced Indigenous peoples. The federal government curbed immigration from Asia. Yet these groups were each making essential contributions—social, economic, and cultural—to the contours of American life that remain with us today. Dvořák wanted to channel that vitality into musical expression, the first result of which was his Ninth Symphony, “From the New World.” The New World Symphony, as it is often called, is one of the most frequently performed pieces of classical music ever written. The directness of its expression makes it immediately accessible, while its emotional breadth aligns with the composer’s kaleidoscope of influences. A theme sounded by the flute in the first movement echoes the spiritual “Swing Low, Sweet Chariot,” a song Dvořák learned from the African American baritone vocalist Harry T. Burleigh, a student at the conservatory and his one-time assistant. And it’s possible that the plaintive English horn melody of the Largo movement evokes the timbre of Burleigh’s voice. At the same time, we know that Dvořák was FALL/WINTER 2021-2022

deeply inspired by Henry Wadsworth Longfellow’s Song of Hiawatha, a subject he wanted to transform into an opera. The musicologist Michael Beckerman has shown that the Largo movement corresponds to “Hiawatha’s wooing,” while the scherzo depicts “Hiawatha’s wedding feast,” including the whirling dance of Pau-Puk Keewis. Although there is no concrete evidence proving it, Beckerman thinks that we might hear the finale as the great battle between PauPuk Keewis and Hiawatha. In an age of ubiquitous cinematic media, it is easy for us “hear” vivid stories in Dvořák’s symphony—either those from Longfellow’s poem or some of our own creation. The work’s original audiences had a far more difficult time. No one could decide if the music sounded truly American, or if it belonged to some other place altogether; situating it for a story was impossible. For Dvořák, however, the piece was the beginning of something new, not the final word. It might open the door to fresh channels of creative expression. Dvořák’s student, the African American composer Will

Marion Cook, once explained that Dvořák could not adequately capture the inner meanings of Black music as someone who had lived through the unthinkable struggles out of which it arose. “Soon, perhaps,” Cook wrote, thinking about the symphony, “will some native composer, hopefully of the future, take the pen, inspired by long repressed imagination, and paint glowing tone pictures of a radiant dawn—a dawn without passing— a day without a night.” And so the New World Symphony, like America itself, lives in a constant state of becoming. Both point continually toward new visions, toward a dawn without passing, and a day without a night. —D ouglas W. Shadle, Vanderbilt University The DSO most recently performed Antonín Dvořák’s Symphony No. 9 in E minor, “From the New World,” in March 2017, conducted by Manuel Lopez-Gomez on the William Davidson Neighborhood Concert Series. The DSO first performed the piece in January 1915, conducted by Weston Gales.

Antonín Dvořák’s New World Symphony by Douglas W. Shadle (2021, Oxford University Press)

Before Antonín Dvořák’s New World Symphony became one of the most universally beloved pieces of classical music, it exposed the deep wounds of racism at the dawn of the Jim Crow era while serving as a flashpoint in broader debates about the American ideals of freedom and equality. Drawing from a diverse array of historical voices, author Douglas W. Shadle’s richly textured account of the symphony’s 1893 premiere shows that even the classical concert hall could not remain insulated from the country’s racial politics. DSO patrons can save 30% on the title when purchased on the Oxford University Press website at global.oup.com using code AAFLYG6.

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DSO PERFORMANCE MAGAZINE 21

PROFILES ALEXANDRA DARIESCU

ERIC JACOBSEN

ianist and creator of “The Nutcracker and I,” Alexandra Dariescu stands out as an original voice whose fundamental values are shining a light on gender equality in both her concerto and recital programs as well as championing lesser-known works, advocating for diversity and inclusion. In 2017, Dariescu took the world by storm with her incredibly successful piano recital production “The Nutcracker and I,” an original ground-breaking multimedia performance for piano solo with dance and digital animation, which has since enjoyed international acclaim and has drawn thousands of young audiences into concert halls across Europe, Australia, China, the Emirates, and the US, realizing Dariescu’s vision of building bridges and making classical music more accessible to the wider public. In the 2020-21 season, Dariescu also premiered the revised pandemic-safe version, “The Nutcracker – reimagined” for solo piano, brass ensemble, narrator, and dance with the Royal Liverpool Philharmonic, making it one of the very few Nutcracker performances to happen in 2020. The first ever female Romanian pianist to perform at the Royal Albert Hall in London, Dariescu made her Carnegie Hall debut in 2012 and has since appeared in some of the most prestigious concert halls around the world. In demand as a soloist worldwide, Dariescu has performed to critical acclaim with the London Philharmonic Orchestra, the Royal Philharmonic Orchestra, BBC Symphony Orchestra, Orchestre National de France, Oslo Philharmonic, European Union Youth Orchestra, Utah Symphony Orchestra, Orchestre Symphonique de Quebec, and Sydney and Melbourne Symphony Orchestras, among others. Visit alexandradariescu.com for more.

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ailed by The New York Times as “an interpretive dynamo,” conductor and cellist Eric Jacobsen has built a reputation for engaging audiences with innovative and collaborative programming. In July 2021, he assumed the post of Music Director of the Virginia Symphony Orchestra, becoming the 12th music director in the orchestra’s 100-year history. Jacobsen is Artistic Director and conductor of The Knights and serves as the Music Director for the Orlando Philharmonic Orchestra. He founded the adventurous orchestra The Knights with his brother, violinist Colin Jacobsen, to foster the intimacy and camaraderie of chamber music on the orchestral stage. As conductor, Jacobsen has led the “consistently inventive, infectiously engaged indie ensemble” (The New York Times) at Central Park’s Naumburg Orchestral Concerts, Celebrate Brooklyn! Festival, (Le) Poisson Rouge, the 92nd Street Y, Carnegie Hall, and Lincoln Center; at major summer festivals such as Tanglewood, Ravinia, and Ojai; and on tour nationally and internationally. Recent collaborators include violinists Itzhak Perlman and Gil Shaham; singers Dawn Upshaw, Susan Graham, and Nicholas Phan; and pianists Emanuel Ax and Jean-Yves Thibaudet. In demand as a guest conductor, Jacobsen has led the symphony orchestras of Baltimore and Detroit, the New World Symphony, St. Paul Chamber Orchestra, the Deutsche Philharmonie Merck, and the Tonkunstler Orchestra, with whom Jacobsen appeared at Vienna’s legendary Musikverein. Visit jacobseneric.com for more.

FALL/WINTER 2021-2022

A COMMUNITY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA A COMMUNITY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

JADER BIGNAMINI, Music Director

Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

Principal Pops Conductor

TERENCE BLANCHARD

LEONARD SLATKIN

NEEME JÄRVI

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

Music Director Laureate

Music Director Emeritus

PVS CLASSICAL SERIES Title Sponsor:

JADER CONDUCTS RACHMANINOFF Thursday, November 4, 2021 at 7:30 p.m. Friday, November 5, 2021 at 10:45 a.m. Saturday, November 6, 2021 at 8 p.m. in Orchestra Hall JADER BIGNAMINI, conductor SERGEI BABAYAN, piano Sergei Rachmaninoff Piano Concerto No. 3 in D minor, Op. 30 (1873 - 1943) I. Allegro ma non tanto II. Intermezzo III. Finale Sergei Babayan, piano Intermission Johannes Brahms Symphony No. 2 in D major, Op. 73 (1833 - 1897) I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso (Quasi andantino) IV. Allegro con spirito

Additional support for Saturday’s performance is provided by the Musicians of the Detroit Symphony Orchestra’s Fund for Artistic Excellence.

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

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DSO PERFORMANCE MAGAZINE 23

PROGRAM NOTES Piano Concerto No. 3 in D minor, Op. 30 Composed 1909 | Premiered November 1909

SERGEI RACHMANINOFF B. March 20, 1873; Oneg, Russia D. March 28, 1943; Beverly Hills, California

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, and strings. (approx. 44 minutes).

ollowing in a line of exceptional Russian composers such as Tchaikovsky and Rimsky-Korsakov, Sergei Rachmaninoff’s compositions are representative of late Russian Romanticism. He composed the third piano concerto for his first American tour and the work displays his phenomenal keyboard skills. In fact, the concerto’s technical difficulty may have contributed to the work’s delayed entry to the popular repertoire. The first movement opens with a repeated, dotted rhythmic motive played by the orchestra. This swaying rhythm recurs throughout the piece, unifying all three movements. The folk-like melody inspires the piano to ‘sing’ the melody,

DSO PERFORMANCE MAGAZINE

reserving displays of technical virtuosity for a later time. Once the piano has stated the theme it exchanges roles with the orchestra, playing rapid scalar and arpeggiated gestures while the orchestra plays the theme. The second movement is a slow adagio and its title, “Intermezzo,” highlights the fact that this movement is an interlude between two thematically related movements. Although the Intermezzo recalls some material from the first movement, its main theme is not picked up by the other movements. The violins play a falling phrase in the first measure that transforms into the first theme. After thirty measures, the piano enters rather suddenly, finally taking up the sorrowful tune. The finale is an exciting display of virtuosity and Romantic piano writing. It places the rhythmic and the lyrical into counterpoint with one another, constantly alternating between moments of rhythmic urgency and expansive lyrical melody as well as combing these two elements. In the second theme, playfulness first transforms into a light, dreamlike passage before a rising chromatic passage takes the melody to a place that blends piano and string lyricism with light, rhythmic figures in the winds. A variant of the second theme is then presented as a happy, lyrical melody

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that leads into a central section. A recapitulation of the themes from the opening of this movement provides the necessary closure after the central section, however, Rachmaninoff continually peaks the listeners’ interest, this time by presenting both themes differently. This leads to a long, percussive coda that ends with a final, explosive bust of melody from both the piano and orchestra. The DSO most recently performed Sergei Rachmaninoff’s Piano Concerto No. 3 in D minor in October 2014, conducted by Leonard Slatkin and featuring Garrick Ohlsson. The DSO first performed the piece in February 1920, conducted Ossip Gabrilowitsch and featuring Alfred Cortot.

Symphony No. 2 in D major, Op. 73 Composed 1877 | Premiered December 1877

JOHANNES BRAHMS B. May 7, 1833, Hamburg, Germany D. April 3, 1897, Vienna, Austria

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings. (Approx. 39 minutes)

n 1876, Johannes Brahms won a 21-year struggle to complete his First Symphony. The wait was worth it, though—not just because the First is a remarkable work, but because getting it over with seemed to free the composer’s creative spirit. Suddenly, Brahms began the most productive period of his career, writing three more symphonies, three concertos, two major overtures, and numerous keyboard, vocal, choral, and chamber music masterworks over the next decade. While this D major symphony is obviously the work of the very same Brahms, its relaxed, genial character is sometimes as different from its

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predecessor, the frowning C minor symphony, as day is from night. It was composed in the sunny rural environment of Pörtschach, a remote lakeside village in the Carinthian Alps of Southern Austria. Biographer Karl Geiringer has recorded a characteristic quote on the symphony by Brahms’ close friend, the surgeon and amateur pianist Theodor Billroth: “It is all rippling streams, blue sky, sunshine, and cool green shadows. How beautiful it must be at Pörtschach!” Billroth’s comment is especially applicable to the easy, rocking themes that dominate the exposition of the first movement and to the gentle Austrian minuet that makes up the third movement. Though the first movement builds up a typical Brahmsian storm in its central development section and its lengthy coda, the themes set forth at the beginning of the movement are mostly lyrical and untroubled. But even here, Brahms’s stylistic fingerprints are clear in a motivic imitation that shadows the opening horn theme, as well as in the long, spun-out character of a subsidiary violin theme that soon follows. In his contrapuntal wizardry, Brahms combines the two themes when they return at the beginning of the recapitulation. The plaintive slow movement opens with one of Brahms’s heartfelt cello themes. Gorgeous touches of his unique orchestration abound in this movement, along with elusive harmonic colors. And the third movement is the gentlest of minuets, interspersed with two trios. Each of its sections becomes a variant of what came before and contrast is achieved by sudden changes in the pulse. The extroverted finale makes an oblique reference to the symphony’s two opening themes, then builds climax upon climax in a gigantic movement that concludes in a brassy display. — Carl R. Cunningham The DSO most recently performed Brahms’s Symphony No. 2 in November 2017, conducted by Fabien Gabel. The DSO first performed the work in April 1920, conducted by Ossip Gabrilowitsch.

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PROFILES Jader Bignamini biography, see page 6.

SERGEI BABAYAN

ianist Sergei Babayan is one of the leading pianists of our time. Hailed for his emotional intensity, bold energy, and remarkable levels of color, he brings a deep understanding and insight to an exceptionally diverse repertoire. Le Figaro has praised his “unequaled touch, perfectly harmonious phrasing and breathtaking virtuosity.” Le Devoir from Montreal put it simply: “Sergei Babayan is a genius. Period.” Babayan has collaborated with such conductors as Sir Antonio Pappano, David Robertson, Neeme Järvi, Yuri Temirkanov, Thomas Dausgaard, Tugan Sokhiev, and Dima Slobodeniouk. Over the years, he has performed with Valery Gergiev numerous times to great critical acclaim, including appearances at the International Festival “Stars of the White Nights,” the Moscow Easter Festival, the Barbican Centre with the London Symphony Orchestra, in St. Petersburg’s Mariinsky Theatre, the Great Hall of the Moscow Conservatory, Théâtre des Champs-Elyseés in Paris, at the Salzburg Festival, and at the Rotterdam Philharmonic-Gergiev Festival, where Babayan was artist-in-residence. In recent seasons, Mr. Babayan’s schedule included concert performances with the Leipzig Gewandhaus Orchestra, Bamberg Symphony Orchestra, Orchestre Philharmonique de Radio France, Mahler Chamber Orchestra, Toronto Symphony, Vancouver Symphony, and the Verbier Festival Orchestra, among others. Babayan regularly performs at many of the world’s most prestigious venues, including

DSO PERFORMANCE MAGAZINE

Amsterdam’s Concertgebouw, Carnegie Hall, London’s Wigmore Hall, the Vienna Konzerthaus, and the Zurich Tonhalle. At Konzerthaus Dortmund, he was a Curating Artist during the 2019-20 season. Babayan is a Deutsche Grammophon exclusive artist; his latest release Rachmaninoff (DG 2020) was hailed by the international press as a groundbreaking recording and received numerous awards including BBC Recording of the Month and CHOC Classica, which said “This musical journey, born out of a limitless imagination and thought in minute detail, is one big masterpiece.” His previous DG release of his own transcriptions for two pianos of works by Sergei Prokofiev with Martha Argerich as his partner (Prokofiev for Two; DG 2018), was praised by reviewers as “the CD one has waited for”(Le Devoir) and an “electrifying duo that leaves the listener in consternation” (Pianiste). Babayan’s performances have been broadcast by Radio France, BBC-TV, BBC Radio 3, NHK Satellite Television, and Medici TV. Born in Armenia into a musical family, Babayan began his studies there with Georgy Saradjev and continued at the Moscow Conservatory with Mikhail Pletnev, Vera Gornostayeva, and Lev Naumov. Following his first trip outside of the USSR in 1989, he won consecutive first prizes in several major international competitions including the Cleveland International Piano Competition, the Hamamatsu Piano Competition, and the Scottish International Piano Competition. An American citizen, he lives in New York City.

FALL/WINTER 2021-2022

A COMMUNITY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA A COMMUNITY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

JADER BIGNAMINI, Music Director

Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

Principal Pops Conductor

TERENCE BLANCHARD

LEONARD SLATKIN

NEEME JÄRVI

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

Music Director Laureate

Music Director Emeritus

PVS CLASSICAL SERIES Title Sponsor:

BIGNAMINI & BRANFORD Friday, November 12, 2021 at 8 p.m. Saturday, November 13, 2021 at 8 p.m. Sunday, November 14, 2021 at 3 p.m. in Orchestra Hall JADER BIGNAMINI, conductor BRANFORD MARSALIS, alto saxophone HANNAH HAMMEL, flute • SARAH LEWIS, oboe RALPH SKIANO, clarinet • MICHAEL MA, bassoon SCOTT STRONG, horn

Aaron Copland (1900 - 1990)

El Salón México

John Adams Concerto for Saxophone and Orchestra (b. 1947) I. Animato: tranquillo, suave II. Molto vivo: a hard, driving pulse Branford Marsalis, alto saxophone

Intermission

Jeff Scott Paradise Valley Serenade (World Premiere) (b. 1967) I. Dawn and Dusk II. Paradise Lost, but not Forgotten III. A Hug for Cab Calloway Hannah Hammel, flute Sarah Lewis, oboe Ralph Skiano, clarinet Michael Ma, bassoon Scott Strong, horn

George Gershwin (1898 - 1937) Arr. Robert Russell Bennett

Porgy and Bess; A Symphonic Picture

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

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DSO PERFORMANCE MAGAZINE 27

PROGRAM NOTES El Salón México Composed 1932–1936 | Premiered August 1937

AARON COPLAND B. November 14, 1900, Brooklyn, New York, NY D. December 2, 1990, Sleepy Hollow, NY

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, E-flat clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, and strings. (Approx. 11 minutes)

l Salón México marks Copland’s entrance into his populist phase, when he wanted to find a broader audience for contemporary music by using simpler harmonic melodies, often based on folk tunes, in a more accessible, but still sophisticated manner. The work’s genesis was a visit to Mexico in 1932, when composer Carlos Chávez brought Copland to a popular dance club called El Salón México. Copland described the scene, and its inspiration to him, in his autobiography: “Perhaps my piece might never have been written if it hadn’t been for the existence of the Salón México. I remember reading about it for the first time in a tourist guide book: ‘Harlem-type nightclub for the peepul [sic], grand Cuban orchestra. Three halls: one for people dressed in your way, one for people dressed in overalls but shod, and one for the barefoot.’ When I got there, I also found a sign on the wall which said: ‘Please don’t throw lighted cigarette butts on the floor so the ladies don’t burn their feet.’ […] In some inexplicable way, while milling about in those crowded halls, one really felt a live contact with the Mexican people—the electric sense one sometimes gets in far-off places, of suddenly knowing the essence of a people—their humanity, their separate shyness, their dignity and unique charm.” Copland determined he would write a

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“musical potpourri” that would convey his impression of the Mexican people. He realized that as an outsider he might miss the mark: “I felt nervous about what the Mexicans might think of a ‘gringo’ meddling with their native melodies.” But he discovered he needn’t worry when, “at the first of the final rehearsals that I attended … as I entered the hall the orchestral players, who were in the thick of a Beethoven symphony, suddenly stopped what they were doing and began to applaud vigorously.” The work was premiered by Chávez conducting the Mexico Symphony Orchestra on August 27, 1937 and was a critical and popular success. In creating his potpourri, Copland borrowed at least nine Mexican folk tunes from two collections he received during his trip, El Folklore y la Musica Mexicana edited by Ruben Campos and Cancionero Mexicano by Frances Toor. The work consists of an introduction and four major segments, alternating slow-fast-slow-fast. A trumpet solo following the introduction is the longest quoted melody from Compos’s collection, a tune called El Mosco. A slow “Mexican hat dance” segues into a lyrical, broad melody that ends with a repeated trumpet call, announcing the second, faster segment. This builds to a crashing close, followed by the so-called “siesta” section, introduced by a solo clarinet and violin. Lyrical, “sleepy” melodies alternate, followed by an insistent, rocking melody that gradually increases in tempo. The finale builds in rhythmic intensity and melodic complexity, when, as Copland writes, “I present the folk tunes simultaneously in their original keys and rhythms. The result is a kind of polytonality that achieves the frenetic whirl I had in mind before the end, when all is resolved with a plain unadorned triad.” —Barbara Heninger, courtesy of Redwood Symphony The DSO most recently performed El Salón México in October 2012, conducted by Leonard Slatkin. The DSO first performed the piece in December 1944, conducted by Karl Krueger. FALL/WINTER 2021-2022

Concerto for Saxophone and Orchestra

Composed 2013 | Premiered August 2013

JOHN ADAMS B. February 15, 1947, Worcester, MA

Scored for solo alto saxophone, 2 flutes, piccolo, 2 oboes, English horn, 3 clarinets (1 doubling on bass clarinet), 2 bassoons, 3 horns, 2 trumpets, 2 trombones, harp, keyboard, and strings. (Approx. 30 minutes) John Adams wrote the following about his work Concerto for Saxophone and Orchestra:

y Saxophone Concerto was composed in early 2013, the first work to follow the huge, three-hour oratorio, The Gospel According to the Other Mary. One would normally be hard put to draw lines between two such disparate creations. One deals with such matters as crucifixion, raising the dead, and the trials of battered women. The other has as its source my life-long exposure to the great jazz saxophonists, from the swing era through the likes of Coltrane, Eric Dolphy, and Wayne Shorter. Nonetheless there are peculiar affinities shared by both works, particularly in the use of modal scales and the way they color the emotional atmosphere of the music. Both works are launched by a series of ascending scales that energetically bounce back and forth among various modal harmonies. American audiences know the saxophone almost exclusively via its use in jazz, soul, and pop music. The instances of the saxophone in the classical repertory are rare, and the most famous appearances amount to only a handful of solos in works by Ravel (his Bolero and his orchestration of Mussorgsky’s Pictures at an Exhibition), by Prokofiev (Lieutenant Kijé Suite and Romeo and Juliet), Milhaud (La Création du Monde), and of course the “Jet Song” solo in Leonard Bernstein’s West Side Story, probably one of the most immediately recognizable five-note mottos in all of music. Beyond that, the

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saxophone appears to be an instrument that classical composers employ at best occasionally and usually only for “special” effect. It is hard to believe that an instrument that originated in such strait-laced circumstances—it was designed in the mid nineteenth century principally for use in military bands in France and Belgium and was intended to be an extension of the brass family—should have ended up as THE transformative vehicle for vernacular music (jazz, rock, blues, and funk) in the twentieth century. Nonetheless, its integration into the world of classical music has been a slow and begrudged one. Having grown up hearing the sound of the saxophone virtually every day—my father had played alto in swing bands during the 1930s and our family record collection was well stocked with albums by the great jazz masters—I never considered the saxophone an alien instrument. My 1987 opera Nixon in China is almost immediately recognizable by its sax quartet, which gives the orchestration its special timbre. I followed Nixon with another work, Fearful Symmetries, that also features a sax quartet in an even more salient role. In 2010, I composed City Noir, a jazz-inflected symphony that featured a fiendishly difficult solo part for alto sax, a trope indebted to the wild and skittish styles of the great bebop and post-bop artists such as Charlie Parker, Lennie Tristano, and Eric Dolphy. Finding a sax soloist who could play in this style but who was sufficiently trained to be able to sit in the middle of a modern symphony orchestra was a difficult assignment. But fortunately, I met Tim McAllister, who is quite likely the reigning master of the classical saxophone, an artist who while rigorously trained is also aware of the jazz tradition. When one evening during a dinner conversation Tim mentioned that during high school, he had been a champion stunt bicycle rider, I knew that I must compose a concerto for this fearless musician and risk-taker. His exceptional musical personality had been the key ingredient in performances and recordings of City Noir, and I felt that I’d only begun to scratch the DSO PERFORMANCE MAGAZINE 29

PROGRAM NOTES surface of his capacities with that work. A composer writing a violin or piano concerto can access a gigantic repository of past models for reference, inspiration, or even cautionary models. But there are precious few worthy concertos for saxophone, and the extant ones did not especially speak to me. But I knew many great recordings from the jazz past that could form a basis for my compositional thinking, among them Focus, a 1961 album by Stan Getz for tenor sax and an orchestra of harp and strings arranged by Eddie Sauter. Although clearly a “studio” creation, this album featured writing for the strings that referred to Stravinsky, Bartók, and Ravel. Another album, Charlie Parker and Strings, from 1950, although more conventional in format, nonetheless helped to set a scenario in my mind for way the alto sax could float and soar above an orchestra. Another album that I’d known since I was a teenager, New Bottle Old Wine, with Canonball Adderley and that greatest of all jazz arrangers, Gil Evans, remained in mind throughout the composing of the new concerto as a model to aspire to. Classical saxophonists are normally taught a “French” style of producing a sound with a fast vibrato very much at odds with the looser, grittier style of a jazz player. Needless to say, my preference is for the latter “jazz” style playing, and in the discussions we had during the creation of the piece, I returned over and over to the idea of an “American” sound for Tim to use as his model. Such a change is no small thing for a virtuoso schooled in an entirely different style of playing. It would be like asking a singer used to singing Bach cantatas to cover a Billie Holiday song. While the concerto is not meant to sound jazzy per se, its jazz influences lie only slightly below the surface. I make constant use of the instrument’s vaunted agility as well as its capacity for a lyrical utterance that is only a short step away from the human voice. The form of the concerto is a familiar one for those who know my orchestral pieces, as I’ve used it in my Violin Concerto, in “City Noir” and in my piano concerto Century Rolls. It begins with one long first part combining a fast 30

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movement with a slow, lyrical one. This is followed by a shorter second part, a species of funk-rondo with a fast, driving pulse. The concerto lasts roughly thirty-two minutes, making it an unusually expansive statement for an instrument that is still looking for its rightful place in the symphonic repertory. —John Adams This performance marks the DSO premiere of John Adams’s Concerto for Saxophone and Orchestra.

Paradise Valley Serenade Commissioned by the DSO

JEFF SCOTT B. 1967

Scored for solo woodwind quintet, 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, and strings. (Approx. 20 minutes) Jeff Scott wrote the following about his work Paradise Valley Serenade:

aradise Valley and Black Bottom, Detroit. For me, it wasn’t a question of whether I knew the history, but rather, why I didn’t. As I toured through the Charles H. Wright Museum of African American History, I thought…. Motown, check. Ford Motor Company, check. The Flame Show Bar? The Gotham Hotel? For me, not a notion. Paradise Theatre? The very venue that this newly commissioned work will premiere, or Orchestra Hall as we know it. I had no clue that it once operated as a jazz venue under this name. From 1941-1951, the Paradise Theatre hosted the who’s who of jazz royalty. Ella Fitzgerald, Duke Ellington, Billie Holiday, Count Basie, and more. This piece of local history was an entryway to a much larger story: a story of a once thriving African American community that grew from extremely humble beginnings during the Great Migration and out of the Great Depression, only to be razed in favor of “Urban Renewal” projects in the 1950s, 60s, and 70s. This work, Paradise Valley Serenade, FALL/WINTER 2021-2022

opens with a morning yawn and sunrise in “Dawn and Dusk.” The day has begun like most others and there is work to be done, like in any other urban American community. But unlike most communities, there is a cultural hub within that spews musical fire by night and draws the culturally curious to witness the flames. In the second movement, “Paradise Lost, but not Forgotten,” I envisioned an elder from the Paradise Valley or Black Bottom community, docilly telling the history to a grandchild. The story is told with great melancholy and even describes his/her witnessing of the demolition of the neighborhoods. That said, there is a pride in the telling, a feeling of fortitude and resilience. For the last movement, “A Hug for Cab Calloway,” I envisioned what it might have been like to see Cab Calloway live at the Paradise Theatre. With his swinging big band, double entendre lyrics, high energy dancing, and stage antics. — Jeff Scott This performance marks the world premiere of Jeff Scott’s Paradise Valley Serenade.

Porgy and Bess: A Symphonic Picture GEORGE GERSHWIN B. September 26, 1898, Brooklyn, NY D. July 11, 1937, Los Angeles, CA

Arr. ROBERT RUSSELL BENNETT B. June 15, 1894, Kansas City, KS D. August 18, 1981, New York, NY

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

lthough George Gershwin’s musicals were the toast of Broadway in the 1920s and 30s, the composer hoped to produce a stage work in a more dramatic

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vein that nevertheless avoided the mannerisms of European opera. He found a vehicle for such a work in the novel Porgy by South Carolina writer DuBose Heyward. Heyward’s book, which Gershwin read in 1926, told the story of a crippled Black man, Porgy, and his love for Bess, a beauty with a troubled past. Subsidiary characters include Bess’s dangerous lover Crown, a smoothtalking gambler and cocaine dealer known as Sporting Life, and Porgy’s wise and humane neighbors in the tenements on Charleston’s waterfront. Porgy & Bess, as Gershwin eventually called the work, received mixed reviews when it opened in New York in October 1935 and ran for 124 performances before closing at a financial loss. Today, it is recognized as one of the first distinctively American operas. Porgy and Bess: A Symphonic Picture, as Bennett called his arrangement, is a far-ranging adaptation of much of the opera’s finest music, and despite the reemergence of Gershwin’s own orchestral excerpts, it has become the standard Porgy and Bess concert suite. Bennett’s treatment includes music from the openings of both the first and second acts, the orchestral storm music, and transcriptions of some of the more familiar vocal numbers: “Summertime,” “I Got Plenty of Nuthin,” “Bess, You Is My Woman Now,” “It Ain’t Necessarily So,” and “I’m On My Way,” which concludes the opera. Faithful to the style and spirit of Gershwin’s music, Bennett’s score transposes to a symphonic medium the flavor of the blues, spirituals, and work songs of Southern Blacks on which Gershwin drew in composing Porgy and Bess. At the same time, it stands a fine example of the craft of modern orchestration. — Paul Schiavo The DSO most recently performed music from Gershwin’s Porgy & Bess in February 2019 conducted by Leonard Slatkin and featuring Laquita Mitchell, Derrick Parker, and the Wayne State Centennial Choir. The DSO first performed music from the opera in December 1939, conducted by Victor Kolar and featuring the Eva Jessye Choir.

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PROFILES Jader Bignamini biography, see page 6.

BRANFORD MARSALIS

rowing up in the rich environment of New Orleans as the oldest son of pianist and educator Ellis Marsalis, Branford Marsalis was drawn to music along with siblings Wynton, Delfeayo, and Jason. His first instrument, the clarinet, gave way to the alto and then the tenor and soprano saxophones when the teenage Branford began working in local bands. A growing fascination with jazz as he entered college gave him the basic tools to obtain his first major jobs, with trumpet legend Clark Terry and alongside Wynton in Art Blakey’s legendary Jazz Messengers. When the brothers left to form the Wynton Marsalis Quintet, the world of uncompromising acoustic jazz was invigorated. Branford formed his own quartet in 1986 and, with a few minor interruptions in the early years, has sustained the unit as his primary means of expression. Known for the telepathic communication among its uncommonly consistent personnel, its deep book of original music replete with expressive melodies and provocative forms, and an unrivaled spirit in both live and recorded performances, the Branford Marsalis Quartet has long been recognized as the standard to which other ensembles of its kind must be measured. Branford has not confined his music to the quartet context, however. Classical music inhabits a growing portion of Branford’s musical universe. A frequent soloist with classical ensembles, Branford has become increasingly sought after as a featured soloist with such acclaimed orchestras as the Chicago, Detroit, Düsseldorf, and North Carolina

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Symphonies and the Boston Pops, with a growing repertoire that includes compositions by Debussy, Glazunov, Ibert, Mahler, Milhaud, Rorem, and Vaughn Williams. Branford formed the Marsalis Music label in 2002, and under his direction it has documented his own music, talented new stars such as Miguel Zenón, and un-heralded older masters including one of Branford’s teachers, the late Alvin Batiste. Branford has also shared his knowledge as an educator, forming extended teaching relationships at Michigan State, San Francisco State, and North Carolina Central Universities and conducting workshops at sites throughout the United States and the world. As for other public stages, Branford spent a period touring with Sting, collaborated with the Grateful Dead and Bruce Hornsby, served as Musical Director of The Tonight Show Starring Jay Leno, and hosted National Public Radio’s widely syndicated Jazz Set. The range and quality of these diverse activities established Branford as a familiar presence beyond the worlds of jazz and classical music, while his efforts to help heal and rebuild New Orleans in the wake of Hurricane Katrina mark him as an artist with an uncommonly effective social vision. Some might gauge Branford Marsalis’s success by his numerous awards, including three Grammys and (together with his father and brothers) his citation as a Jazz Master by the National Endowment for the Arts. To Branford, however, these are only way stations along what continues to be one of the most fascinating and rewarding journeys in the world of music.

FALL/WINTER 2021-2022

A COMMUNITY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA A COMMUNITY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

JADER BIGNAMINI, Music Director

Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

Principal Pops Conductor

TERENCE BLANCHARD

LEONARD SLATKIN

NEEME JÄRVI

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

Music Director Laureate

Music Director Emeritus

TITLE SPONSOR:

THE STREISAND SONGBOOK FEATURING ANN HAMPTON CALLAWAY Friday, November 19, 2021 at 10:45 a.m. Saturday, November 20, 2021 at 8 p.m. Sunday, November 21, 2021 at 3 p.m. in Orchestra Hall MICHAEL KRAJEWSKI, conductor ANN HAMPTON CALLAWAY, vocalist

Program to be announced from the stage.

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DSO PERFORMANCE MAGAZINE 33

PROFILES MICHAEL KRAJEWSKI

ANN HAMPTON CALLAWAY

nown for his entertaining programs and engaging personality, Michael Krajewski is a much sought-after pops conductor in the US, Canada, and abroad. His twenty-year relationship with the Houston Symphony included seventeen years as Principal Pops Conductor. He also served as Principal Pops Conductor of the Long Beach Symphony for eleven years, Principal Pops Conductor of Atlanta Symphony for eight years, Music Director of the Philly Pops for six years, and Principal Pops Conductor of the Jacksonville Symphony for twenty-five years. Krajewski’s busy schedule as a guest conductor includes concerts with major and regional orchestras across the United States. In Canada he has appeared with the orchestras of Toronto, Ottawa, Vancouver, Calgary, Edmonton, Winnipeg, Regina, and Kitchener-Waterloo. Overseas, he has performed in Ireland, Spain, the Czech Republic, Iceland, Malaysia, and China. Born in Detroit, Krajewski studied music education at Wayne State University and conducting at the Cincinnati College-Conservatory of music. Krajewski now lives in Florida with his wife Darcy. In his spare time, he enjoys travel, photography, and solving crossword puzzles.

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nn Hampton Callaway is one of America’s most gifted and prolific artists. A leading champion of the great American Songbook, she’s made her mark as a singer, pianist, composer, lyricist, arranger, actress, educator, TV host, and producer. Voted by broadwayworld.com as “Performer of the Year” and two years in a row as “Best Jazz Vocalist,” Callaway is a born entertainer. Callaway’s unique singing style blends jazz and traditional pop, making her a mainstay in concert halls, theaters, and jazz clubs as well as in the recording studio, on television, and in film. She is best known for her Tony-nominated performance in the hit Broadway musical “Swing!” and for writing and singing the theme song to the hit TV series “The Nanny.” Callaway is a Platinum Awardwinning writer whose songs are featured on seven of Barbra Streisand’s recent CDs. The only composer to have collaborated with Cole Porter, she has also written songs with Carole King, Rolf Lovland, Amanda McBroom, and Shelby Lynn. Callaway has shared the stage with great artists from many genres including George Shearing, Dizzy Gillespie, Stevie Wonder, Dr. John, Liza Minnelli, Betty Buckley, Dianne Reeves, Dee Dee Bridgewater, Audra McDonald, Harvey Fierstein, Ramsey Lewis, Kurt Elling, and Michael Feinstein. Visit annhamptoncallaway.com for more.

FALL/WINTER 2021-2022

A COMMUNITY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA A COMMUNITY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

JADER BIGNAMINI, Music Director

Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

Principal Pops Conductor

TERENCE BLANCHARD

LEONARD SLATKIN

NEEME JÄRVI

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

Music Director Laureate

Music Director Emeritus

PVS CLASSICAL SERIES Title Sponsor:

JADER & HILARY HAHN Thursday, December 2, 2021 at 7:30 p.m. Friday, December 3, 2021 at 10:45 a.m. Saturday, December 4, 2021 at 8 p.m. at Orchestra Hall JADER BIGNAMINI, conductor HILARY HAHN, violin

Bedrich Smetana (1824 - 1884)

Overture to The Bartered Bride

Antonín Dvořák Concerto for Violin and Orchestra (1841 - 1904) in A minor, Op. 53 I. Allegro, ma non troppo II. Adagio, ma non troppo III. Finale: Allegro giocoso, ma non troppo Hilary Hahn, violin

Intermission

Bedřich Smetana “The Moldau,” No. 2 from Má vlast (1824 - 1884)

Florence Price Symphony No. 3 in C minor (1887 - 1953) I. Andante; Allegro II. Andante ma non troppo III. Juba IV. Scherzo. Finale

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

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PROGRAM NOTES Overture from The Bartered Bride Composed 1863-1866 | Premiered May 1866

BEDŘICH SMETANA B. March 2, 1824, Litomyšl, Bohemia (now Czech Republic) D. May 12, 1884, Prague, Bohemia (now Czech Republic)

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. (Approx. 7 minutes)

he Bohemian composer Bedřich Smetana is considered the father of Czech opera, a rather notable accomplishment given that Czech was not his first language. Born under Hapsburg rule, Smetana was schooled first in German, and only later in life was he able to study his hereditary tongue. In fact, when he was working on his second opera, he used a German translation of the text as an aid in composition. The Bartered Bride, which might more aptly be titled The Sold Bride, relates a comic tale of love and trickery. In brief, Marenka is in love with Jenik, but her parents plan to wed her to the son of Micha, a local landlord. Unknown to all but himself, Jenik is Micha’s long-lost son. Jenik allows the marriage broker to buy him off for a high price, but exacts a condition that Marenka be wed to “The eldest son of Micha.’” The broker agrees, thinking that Micha has only one son, but all ends happily when Jenik’s true heritage is revealed. Overtures to operas are usually written almost as afterthoughts, but Smetana was so taken with the story that he wrote the lively prelude before beginning any other work on the opera. The result is a piece that stands alone beautifully, yet still serves as a wonderful introduction to the work that made Smetana famous. — Geoff Kuenning

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The DSO most recently performed the Overture from The Bartered Bride in January 2017, conducted by Leonard Slatkin. The DSO first performed the work in January 1919, conducted by Ossip Gabrilowitsch.

Concerto for Violin and Orchestra in A minor, Op. 53 Composed 1879-1882 | Premiered October 1883

ANTONÍN DVOŘÁK B. September 8, 1841, Nelahozeves, Bohemia (now Czech Republic) D. May 1, 1904, Prague, Bohemia (now Czech Republic)

Scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. (Approx. 31 minutes)

ntonín Dvořák was encouraged to tackle a violin concerto by Joseph Joachim, one of the foremost violinists of the 19th century and a lifelong friend of Johannes Brahms (whose masterful violin concerto was written for Joachim). Although Joachim quite liked the early drafts that Dvořák shared, he found the final product troubling, mostly because it dispensed with the customary orchestral exposition. Joachim found excuses to not perform the work, which frustrated Dvořák; the composer eventually sought to premiere the work with a different violinist, and only years later would Joachim begin to see the piece’s beauty. The concerto opens with a pair of brief and dramatic orchestral statements—but not a true exposition!—presenting glimpses of the first movement’s principal theme. Each is answered by the solo violin. The featured instrument’s responses begin purposefully, taking up the orchestra’s material, but they end in cadenza-like rhapsodies. The orchestra’s third attempt yields a more complete

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thematic exposition, but the soloist soon rejoins the proceedings, leading a lively exploration of the principal subject and the more lyrical subsidiary idea. Dvořák offers only an abbreviated recapitulation of the opening material before continuing without pause into the central Andante. This second movement opens with music of hymnlike serenity, moves through more impassioned episodes, and finally returns to the tranquil vein in which it began. The finale is of altogether different character, suggesting the spirited village dances of Dvořák’s native Bohemia. The DSO most recently performed Dvořák’s Violin Concerto in A minor in June 2018, conducted by Christoph Konig and featuring violinist Veronika Eberle. The DSO first performed the work in January 1928, conducted by Victor Kolar and featuring violinist Gustav Kleiner.

The Moldau, No. 2 from Má vlast Composed 1874 | Premiered April 1875

BEDŘICH SMETANA B. March 2, 1824, Litomyšl, Bohemia (now Czech Republic) D. May 12, 1884, Prague, Bohemia (now Czech Republic)

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 11 minutes)

metana was a promising young pianist and composer when revolution shook Prague in 1848. The uprising against Austria’s Hapsburg rulers galvanized Smetana’s patriotic instincts, and the formerly apolitical musician now defended barricades and wrote inspirational Czech songs and marches. After the revolt failed, Smetana left to live and work in Sweden, where he enjoyed a measure of success as a composer, pianist, and conductor. In 1861, he was called home by the establishment in

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Prague of a National Theater dedicated to presenting Czech plays and operas. Smetana composed several operas and stage works on nationalist themes, including his final opera, Libuše. The work concluded with the heroine relating a vision in which she sees a series of scenes from Bohemia’s history. From this, Smetana conceived the idea of translating the vision into music — more specifically, into a large-scale orchestral composition. The work took the form of a cycle of six tone poems, each representing a different aspect of Bohemia or its national legends. Smetana gave the cycle the collective title Má Vlast, which means “My Fatherland.” The second piece of Má Vlast, Vltava (The Moldau), has become Smetana’s most famous orchestral composition, and it ranks among the finest tone poems of the nineteenth century. The piece takes its title from the great river that flows through Czechoslovakia, a body of water known to English speakers as the Moldau. Smetana’s tone poem is a hymn of praise to the river and, by extension, to his native country. Like all tone poems, it unfolds as a sort of musical narrative. In this case, the story is an imaginary journey down the stream, beginning at its source deep in the Bohemian forest. In the opening measures, running figures in the woodwinds suggest the flowing brooks and springs, which join to form the Moldau. As the Moldau courses down from the hills and into Czechoslovakia’s fertile valleys, it passes parties of hunters, a peasant celebration, and water nymphs playing in the moonlight, all of which are suggested in the music. The river and its melody then broaden before encountering the turbulent St. John’s Rapids, which lie shortly before Prague. Triumphantly, the Moldau flows past the capital and its ancient castles before disappearing in the distance. The DSO most recently performed Smetana’s The Moldau from Má vlast in November 2019 conducted by Enrico Lopez-Yañez. The DSO first performed the piece in March 1916 conducted by Weston Gales. DSO PERFORMANCE MAGAZINE 37

PROGRAM NOTES Symphony No. 3 in C minor Composed 1938-40 | Premiered November 1940

FLORENCE PRICE B. April 9, 1887, Little Rock, Arkansas D. June 3, 1953, Chicago, Illinois Scored for 3 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 22 minutes)

lorence Beatrice (Smith) Price was the most widely known African American woman composer from the 1930s until her death in 1953. After graduating as Valedictorian of her class at the age of 14, she enrolled at the New England Conservatory of Music— initially passing as Mexican to avoid racial discrimination—where she studied composition with George Chadwick and Frederick Converse. Price was the first Black female composer to have a symphony performed by a major American orchestra—her Symphony No. 1 in E minor, premiered by the Chicago Symphony Orchestra on June 15, 1933. The premiere brought instant recognition and accolades to Price, yet much of her music eventually fell into neglect due to “a dangerous mélange of segregation, Jim Crow laws, entrenched racism, and sexism.” (Women’s Voices for Change, 2013). Price’s compositions reflect a romantic nationalist style, while incorporating African American musical forms. Of her four symphonies, the Second has gone missing; the First is fairly conventional, reminiscent of Dvořák; and the Fourth is her most polished, more sedate, somewhat elegiac in character. The Third, from its opening measures, takes more risks, indulges some strange formal asymmetries, breaks into dissonances

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occasionally for their own sake, and also, in its third movement, engages African American idioms more expertly. While Price’s First Symphony may be more fully considered in the context of the Harlem Renaissance and the New Negro Movement of the 1920s and 30s, the Third Symphony was inspired by new philosophical, political, and social currents, stemming from the Chicago Renaissance, underway beginning in 1935. The Great Migration of Blacks from the South to Chicago (and Detroit), the Great Depression, and the adjustment to urban life provided vivid life experiences as subject matter for writers and artists including Langston Hughes, Richard Wright, Margaret Bonds, and Price, who had settled in Chicago from Little Rock, Arkansas in 1927. The Third Symphony omits the overtly Black themes and simple dance rhythms of the First and presents a modern approach to composition—a synthesis, rather than a retrospective view, of African American life and culture. It also nurtures some anger—we need not look too far into Price’s biography to imagine why the first important African American female symphonist may have wanted to rail against the world at this point in her career—yet also some playfulness and affection for jazz and ragtime idioms. Commissioned by the Works Progress Administration’s Federal Music Project during the Great Depression, Price’s Symphony No. 3 in C minor premiered at the Detroit Institute of Arts on November 6, 1940, by the Detroit Civic Orchestra (featuring members of the DSO) and conductor Valter Poole. This performance marks the DSO premiere of the piece. — Adapted from Kyle Gann, kylegann. com, under Creative Commons license.

FALL/WINTER 2021-2022

PROFILES Jader Bignamini biography, see page 6.

HILARY HAHN

hree-time Grammy Award-winning violinist Hilary Hahn melds expressive musicality and technical expertise with a diverse repertoire guided by artistic curiosity. Her barrier-breaking attitude towards classical music and her commitment to sharing her experiences with a global community have made her a fan favorite. Hahn is a prolific recording artist and commissioner of new works, and her 21 feature recordings have received every critical prize in the international press. As Virtual Artist-in-Residence with the Philharmonic Society of Orange County, Hahn performed three programs last season, including the world premiere of her newly composed cadenza to Mozart’s Violin Concerto No. 5. Hahn went on to perform the concerto with the Houston and Dallas Symphony Orchestras; in Dallas, she also delivered the keynote speech of the Second Annual Women in Classical Music Symposium. Hahn also took the time last season to perform the Dvořák Violin Concerto, appearing with both the Orchestre Philharmonique de Radio France and Frankfurt Radio Symphony Orchestra. In March 2021, Deutsche Grammophon released Hahn’s 21st album, Paris, recorded with Mikko Franck and the Orchestre Philharmonique de Radio France. Paris features the world premiere recording of Einojuhani Rautavaara’s Two Serenades, a piece written for Hahn and completed posthumously by Kalevi Aho, which Hahn premiered in 2019. The album also includes performances of Ernest Chausson’s Poème and Sergei Prokofiev’s Violin Concerto No. 1, a long-time signature piece of Hahn’s. A strong advocate for new music, Hahn has championed and commissioned works by a diverse array of contemporary

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composers. In the 2018-19 season, she premiered two new works written for her: Two Serenades, and Lera Auerbach’s Sonata No. 4: Fractured Dreams. The season was bookended by another major release: her most recent solo commission, 6 Partitas by the late Antón García Abril. García Abril, Auerbach, and Rautavaara had been contributing composers for In 27 Pieces: the Hilary Hahn Encores, Hahn’s Grammy Award-winning multiyear commissioning project to revitalize the duo encore genre. Hahn is a prolific and celebrated recording artist whose twenty feature albums on Decca, Deutsche Grammophon, and Sony have all opened in the top ten of the Billboard charts. Three of Hahn’s albums—her 2003 Brahms and Stravinsky concerto disc, a 2008 pairing of the Schoenberg and Sibelius concerti, and her 2013 recording of In 27 Pieces: the Hilary Hahn Encores— have been awarded Grammys. Jennifer Higdon’s Violin Concerto, which was written for Hahn and which she recorded along with the Tchaikovsky concerto, went on to win the Pulitzer Prize. Hahn is the subject of two documentaries by filmmaker Benedict Mirow: Hilary Hahn – A Portrait, filmed in 2004, and Hilary Hahn – Evolution of an Artist, which chronicles the subsequent 16 years of her career. Hahn has also participated in several non-classical productions. She was featured in the Oscar-nominated soundtrack to The Village and has collaborated on two records by the alt-rock band …And You Will Know Us by the Trail of Dead, on the album Grand Forks by Tom Brosseau, and on tour with folk-rock singer-songwriter Josh Ritter. In 2012, Hahn launched Silfra, a freeimprov project with experimental prepared-pianist Hauschka, following an intensive period of development. Visit hilaryhahn.com for more.

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THE ANNUAL FUND

Gifts Received between September 1, 2020 and August 31, 2021

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

PARAY SOCIETY - GIVING OF $250,000 & MORE Mr. & Mrs. Lee Barthel Penny & Harold Blumenstein Julie & Peter Cummings Ms. Leslie C. Devereaux Mr. & Mrs. Stanley Frankel

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

DORATI SOCIETY - GIVING OF $100,000 & MORE Mr. & Mrs. Richard L. Alonzo James & Patricia Anderson Mr. & Mrs. Raymond M. Cracchiolo Joanne Danto & Arnold Weingarden Emory M. Ford, Jr.◊ Endowment Mr. & Mrs. Phillip Wm. Fisher

David & Valerie McCammon Shari & Craig Morgan The Polk Family Bernard & Eleanor Robertson Drs. David & Bernadine Wu

EHRLING SOCIETY - GIVING OF $50,000 & MORE Mr. & Mrs. Richard A. Brodie Lois & Avern Cohn Mr. & Mrs. Ralph J. Gerson Mary Ann & Robert Gorlin Mr. & Mrs. James Grosfeld Richard H. & Carola Huttenlocher Mrs. Bonnie Larson

Nicole & Matt Lester Mr. & Mrs. Eugene A. Miller Nancy Schlichting & Pamela Theisen Donald R & Esther Simon Foundation Mr. & Mrs. Arn Tellem Paul & Terese Zlotoff

JÄRVI SOCIETY — GIVING OF $25,000 & MORE Pamela Applebaum Ms. Sharon Backstrom Mr. & Mrs. Edsel B. Ford II Mrs. Martha Ford Dale & Bruce Frankel Herman & Sharon Frankel Mr. & Mrs. Aaron Frankel Mr. & Mrs. Norman◊ D. Katz Betsy & Joel Kellman Mr. & Mrs. David Provost

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Ms. Ruth Rattner Martie & Bob Sachs Mr. & Mrs.◊ Alan E. Schwartz Mrs. Patricia Finnegan Sharf Mr. & Mrs. Larry Sherman Richard Sonenklar & Gregory Haynes Dr. Doris Tong & Dr. Teck M. Soo Mr. & Mrs. Gary Torgow Wolverine Packing Company And one who wishes to remain anonymous

◊

Deceased

FALL/WINTER 2021-2022

GABRILOWITSCH SOCIETY - GIVING OF $10,000 & MORE Mr.◊ & Mrs. Robert A. Allesee Mr. & Mrs. Norman Ankers Drs. Brian & Elizabeth Bachynski Mr. David Barnes W. Harold & Chacona W. Baugh Drs. John & Janice Bernick John & Marlene Boll Gwen & Richard Bowlby Mr. & Mrs. Stephen Brownell Michael & Geraldine Buckles Gail Danto & Art Roffey Margie Dunn & Mark Davidoff Mr. & Mrs. Richard L. DeVore Eugene & Elaine C. Driker Mr. Charles L. Dunlap & Mr. Lee V. Hart Mr. Peter Falzon Jim & Margo Farber Sally & Michael Feder Barbara & Alfred J. Fisher III Mr. Michael J. Fisher Mr. & Mrs. Samuel Fogleman Dr. Saul & Mrs. Helen Forman Barbara Frankel & Ronald Michalak Mr. & Mrs. Eugene A. Gargaro, Jr. Victor◊ & Gale Girolami Dr. Kenneth◊ & Roslyne Gitlin Ruth & Al◊ Glancy

Dr. Robert T. Goldman Dr. Herman & Mrs. Shirley Mann Gray Mr.◊ & Mrs. James A. Green Mr. & Mrs. Robert Hage Judy & Kenneth Hale Ms. Nancy B. Henk Michael E. Hinsky & Tyrus N. Curtis Mr. & Mrs. Norman H. Hofley Ronald M. & Carol◊ Horwitz Renato & Elizabeth Jamett Mr. & Mrs. Richard J. Jessup William & Story John Lenard & Connie Johnston Faye & Austin Kanter Morgan & Danny Kaufman Mr. & Mrs. Kosch Mr. & Mrs. Harold Kulish Mr. Daniel Lewis Bud & Nancy Liebler Mr. & Mrs.◊ Joseph Lile The Locniskar Group Alexander & Evelyn McKeen Ms. Deborah Miesel Dr. Robert & Dr. Mary Mobley Cyril Moscow Geoffrey S. Nathan & Margaret E. Winters

David Robert & Sylvia Jean Nelson Jim & Mary Beth Nicholson Patricia & Henry◊ Nickol Mr. & Mrs. Stanley Nycek George & Jo Elyn Nyman Anne Parsons* & Donald Dietz Debra & Richard Partrich Dr. Glenda D. Price Maurcine◊ & Lloyd Reuss Dr. Erik Rönmark* & Mrs. Adrienne Rönmark* Mr. & Mrs. Robert B. Rosowski Peggy & Dr. Mark B. Saffer Schwartz Shapero Family Elaine & Michael Serling Lois & Mark Shaevsky Mr. & Mrs. James H. Sherman William H. Smith Charlie & John Solecki Mr. & Mrs. John Stroh III Mr. James G. Vella Mr.◊ & Mrs. Jonathan T. Walton Gary L. Wasserman & Charles A. Kashner Mr. & Mrs. R. Jamison Williams Ms. Mary Wilson And four who wish to remain anonymous

GIVING OF $5,000 & MORE Mrs. Denise Abrash Mrs. Jennifer Adderley Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook* Mr. & Mrs. Jeffrey A. Berner Mr. & Mrs. Beznos Timothy J. Bogan Claire P. & Robert N. Brown Philip & Carol Campbell Mr. & Mrs. François Castaing Ms. Elena Centeio Mr. & Mrs. Andrew Christians Mr. Fred J. Chynchuk Dr. & Mrs. Charles G. Colombo Thomas W. Cook & Marie L. Masters Mr. & Mrs. Gary L. Cowger Mr. & Mrs. Charles W. Dare Mr. Lawrence Ellenbogen Marianne T. Endicott Mr. Sanford Hansell & Dr. Raina Ernstoff Mrs. Janet M. Garrett Allan D. Gilmour & Eric C. Jirgens Dr. & Mrs. Theodore Golden Goodman Family Charitable Trust

Dr. Gloria Heppner Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. George Hill & Mrs. Kathleen Talbert-Hill Mr. & Mrs. Peter Hollinshead Mr. Matthew Howell & Mrs. Julie Wagner Mr. & Mrs. A. E. Igleheart Mr. & Mrs. Kent Jidov Paul & Marietta Joliat June K. Kendall◊ Michael E. Smerza & Nancy Keppelman Barbara & Michael Kratchman Dr. Raymond Landes & Dr. Melissa McBrien-Landes Marguerite & David Lentz Max Lepler & Rex L. Dotson Mr. & Mrs. Robert K. Leverenz Bob & Terri Lutz Mrs. Sandra MacLeod Maurice Marshall Patricia A.◊ & Patrick G. McKeever Mr. & Mrs. Robert S. Miller Xavier & Maeva Mosquet Robert & Paulina Treiger Muzzin Joy & Allan Nachman

*Current DSO Musician or Staff

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Mr. & Mrs. Eric Nemeth Dr. William W. O’Neill Mr. & Mrs. Arthur T. O’Reilly Mr. & Mrs. Bruce D. Peterson William H. & Wendy W. Powers Charlene & Michael Prysak Mr. & Mrs. Dave Redfield Dr. & Mrs. John Roberts Mr. Ronald Ross & Ms. Alice Brody Mr. David Salisbury & Mrs. Terese Ireland Salisbury Marjorie & Saul Saulson Camilo Serna & Masami Hida Mrs. Sharon Shumaker Mr. & Mrs. Matthew Simoncini Dr. Cathryn & Mr. Daniel Skedel Barb◊ & Clint Stimpson Mrs. Kathleen Straus & Mr. Walter Shapero Mr. & Mrs. Paul Tobias Alice & Paul Tomboulian Mrs. Eva Von Voss Mr. William Waak Peter & Carol Walters S. Evan & Gwen Weiner Dr. & Mrs. Ned Winkelman ◊

Deceased

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GIVING OF $2,500 & MORE Howard Abrams◊ & Nina Dodge Abrams Mr. & Mrs. Robert L. Anthony Dr. & Mrs. Joel Appel Drs. Kwabena & Jacqueline Appiah Dr. & Mrs. Ali-Reza R. Armin Ms. Joy Crawford* & Mr. Richard Aude Pauline Averbach & Charles Peacock Mr. Joseph Aviv & Mrs. Linda Wasserman Mrs. Jean Azar Ms. Ruth Baidas Drs. Richard & Helena Balon Nora & Guy Barron Mr. Mark G. Bartnik & Ms. Sandra J. Collins Mr. Joseph Bartush Mr. & Mrs. Martin S. Baum Mr. & Mrs. Richard Beaubien Ms. Therese Bellaimey Mrs. Cecilia Benner Mr. & Mrs. Dennis Bernard Martha & G. Peter Blom Dr. George & Joyce Blum Nancy & Lawrence Bluth Ms. Kristin Bolitho Ms. Nadia Boreiko The Honorable Susan D. Borman & Mr. Stuart Michaelson Don & Marilyn Bowerman Mr. Anthony F. Brinkman Elaine & Bowden Brown Mr. & Mrs. Mark R. Buchanan Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Dr. & Mrs. Roger C. Byrd Mr. & Mrs. Brian C. Campbell Mrs. Carolyn Carr Dr. & Mrs.◊ Thomas E. Carson Ronald & Lynda Charfoos Mr. & Mrs. James Ciroli Mr. & Mrs. Robert W. Clark Nina & Richard Cohan Jack, Evelyn and Richard Cole Family Foundation Dr. & Mrs. Julius V. Combs Ms. Elizabeth Correa Patricia & William◊ Cosgrove, Sr. Mrs. Barbara Cunningham Dr. Edward & Mrs. Jamie Dabrowski Suzanne Dalton & Clyde Foles Deborah & Stephen D’Arcy Fund Maureen & Jerry◊ D’Avanzo Barbara A. David Lillian & Walter Dean Ms. Joyce Delamarter Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Adel & Walter Dissett Diana & Mark Domin Paul◊ & Peggy Dufault Mrs. Connie Dugger 42

Edwin & Rosemarie Dyer Dr. Leo & Mrs. Mira Eisenberg Dr. & Mrs. A. Bradley Eisenbrey Randall & Jill* Elder Ms. Laurie Ellias & Mr. James Murphy Mr. & Mrs. Earle E. Endelman Mrs. Marjory Epstein Mr. & Mrs. John M. Erb Dave & Sandy Eyl Ellie Farber & Mitch Barnett Fieldman Family Foundation Mr. and Mrs. Anthony C. Fielek◊ Hon. Sharon Tevis Finch Ron Fischer◊ & Kyoko Kashiwagi Ms. Joanne Fisher Dorothy A. & Larry L. Fobes Amy & Robert Folberg Dr. & Mrs. Franchi Kit & Dan Frohardt-Lane Mr.◊ & Mrs. Richard M. Gabrys Alan M. Gallatin Lynn & Bharat Gandhi Mr. Max Gates Stephanie Germack Mr. & Mrs. Robert W. Gillette Ms. Jody Glancy Barbara Martin Mr. Lawrence Glowczewski Paul & Barbara C. Goodman Dr. William & Mrs. Antoinette Govier Ms. Jacqueline Graham Mr. Luke Ponder & Dr. Darla Granger Mr. & Mrs. Saul Green Dr. & Mrs. Joe L. Greene Cheryl A. Harvey Ms. Barbara Heller Mr. Donald & Marcia Hiruo James Hoogstra & Clark Heath Mr. F. Robert Hozian Dr. Karen Hrapkiewicz Larry & Connie Hutchinson Mr. John S. Johns Mr. Arthur Johns Mr. George G. Johnson Carol & Rick Johnston Mr. & Mrs. Michael Jones Grace & Evelyn Kachaturoff Diane & John Kaplan Judy & David Karp Mike & Katy Keegan Betsy & Joel Kellman Dr. David & Mrs. Elizabeth Kessel Mrs. Frances King Mr. James Kirby Aileen & Harvey Kleiman Tom & Beverly Klimko Mr. & Mrs. Ludvik F. Koci Mr. & Mrs. Robert Koffron Ms. Susan Konop

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◊

Deceased

James Kors & Victoria King* Richard & Sally Krugel Mr. Michael Kuhne Mrs. Maria E. Kuznia Mr. & Mrs. Robert LaBelle Ms. Sandra Lapadot Ms. Anne T. Larin Dr. Lawrence O. Larson Allan S. Leonard Drs. Donald & Diane Levine Arlene & John Lewis Ms. Carol Litka Mr. John Lovegren & Mr. Daniel Isenschmid Daniel & Linda* Lutz Cis Maisel Margaret Makulski & James Bannan Mr. & Mrs. Charles W. Manke, Jr. Mervyn & Elaine Manning Ms. Florine Mark Mr. & Mrs. Thomas Mark Brian & Becky McCabe Dr. & Mrs. Peter M. McCann, M.D. Mr. Edward McClew Mr. Anthony R. McCree Mr. John McFadden Ms. Mary McGough Ms. Kristen McLennan Mr. & Mrs. Brian Meer Dr. & Mrs.◊ Donald A. Meier Dr. & Mrs. David Mendelson Bruce & Mary Miller Steve & Judy Miller Mr. & Mrs. Randall Miller J.J. & Liz Modell Dr. Susan & Mr. Stephen* Molina Eugene & Sheila Mondry Foundation Mr. & Mrs. Daniel E. Moore Ms. Sandra Morrison Mr. & Mrs. Germano Mularoni Ms. I. Surayyah R. Muwwakkil Mr. & Mrs. Albert T. Nelson, Jr. Ellen & Larry Oshkaloff Mrs. Margot Parker Ms. Lisa A. Payne Ms. Alice Pfahlert Benjamin B. Phillips Mr. Dave Phipps Mr. David Potter Jill M.* & Michael J. Rafferty Mr. & Mrs. Richard Rapson Drs. Stuart & Hilary Ratner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Mr. Tony Raymaker Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Barbara Gage Rex Mr. & Mrs. John Rieckhoff FALL/WINTER 2021-2022

Ms. Linda Rodney Seth & Laura Romine Michael & Susan Rontal Dr. and Mrs. Lewis Rosenbaum Mr.◊ & Mrs. Gerald F. Ross Jane & Curt Russell Linda & Leonard Sahn Dr. & Mrs. Hershel Sandberg Ms. Martha A. Scharchburg & Mr. Bruce Beyer Mr. & Mrs. Donald and Janet Schenk Dr. Sandy Koltonow & Dr. Mary Schlaff Shirley Anne & Alan Schlang Dr. Richard S. Schwartz Sandy & Alan Schwartz Ms. Sandra Seligman Mrs. Rosalind B. Sell Carlo & Nicole Serraiocco Shapero Foundation Mrs. Patricia Shaw

Dr. Les Siegel and Ellen Lesser Siegel Mr. Norman Silk & Mr. Dale Morgan William & Cherie Sirois Mr. Michael J. Smith & Mrs. Mary C. Williams Shirley R. Stancato Dr. Gregory Stephens Dr. Shironda Stewart Nancy C. Stocking Dr. & Mrs. Gerald Stollman Mrs. E. Ray Stricker Dr. & Mrs. Choichi Sugawa David Szymborski & Marilyn Sicklesteel Dr. Neil Talon Mr. Rob Tanner Joel & Shelley Tauber Dr. & Mrs. Howard Terebelo Mr. & Mrs. James W. Throop Dr. Barry Tigay Yoni & Rachel Torgow

Mrs. Marilyn Bishop Dr. & Mrs. Glenn B. Carpenter Ms. Sherri Davis Gordon & Elaine Didier Mr. Patrick Doig Mr. & Mrs. Walter E. Douglas Mr. Howard O. Emorey Mrs. Janice Erichsen Mr. Joseph & Mrs. Lois Gilmore Howard & Francina Graef Anne & Eugene Greenstein The Honorable Denise Page Hood & Reverend Nicholas Hood III Mr.◊ & Mrs. Joseph L. Hudson, Jr. Carole Keller Mr. & Mrs. Gerd H. Keuffel

Ms. Ida King Mr. Daniel Kline The Dolores & Paul Lavins Foundation Ms. Christine M. Leonard Mr. Robert L. Martin Dr. Van C. Momon, Jr. & Dr. Pamela Berry Ms. A. Anne Moroun Mrs. Ruth Nix Mr. & Mrs. Mark H. Peterson Drs. Renato & Daisy Ramos Mr. and Mrs. Rodney Rask Mrs. Hope Raymond Dr. and Mrs. Jerry Rosenberg Mr. & Mrs. George Roumell Dr. & Mrs. Richard S. Schwartz

Dr. Lourdes V. Andaya Pamela Applebaum Pauline Averbach & Charles Peacock Drs. Brian & Elizabeth Bachynski W. Harold & Chacona W. Baugh Mr. & Mrs. Martin S. Baum Ms. Marlene Bihlmeyer Gwen & Richard Bowlby Butzel Long Ms. Elena Centeio Margie Dunn & Mark Davidoff Deloitte Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Eugene & Elaine C. Driker Jim & Margo Farber

Max M. & Marjorie S. Fisher Foundation, Inc. Mr. & Mrs. Aaron Frankel Mr. & Mrs. Ralph J. Gerson Ms. Jody Glancy Mary Ann & Rob Gorlin Howard & Howard Attorneys PLLC Renato & Elizabeth Jamett Kenneth & Susan Konop Mrs. Karen Kotulis-Carter Barbara & Michael Kratchman Drs. Lisa & Scott Langenburg Laskaris-Jamett Advisors of Raymond James Drs. Donald & Diane Levine Alexander & Evelyn McKeen Patricia A.◊ & Patrick G. McKeever Mr. & Mrs. Eugene A. Miller

Barbara & Stuart Trager Mr. & Mrs. Thomas Trudeau Amanda Van Dusen & Curtis Blessing Charles & Sally Van Dusen Dr. & Mrs. Thomas E. Verhelle Mr. Michael A. Walch & Ms. Joyce Keller Mr. Patrick Webster Beverly & Barry Williams Dr. M. Roy & Mrs. Jacqueline Wilson Rissa & Sheldon Winkelman Mr. Jonathan Wolman◊ & Mrs. Deborah Lamm Cathy Cromer Wood Ms. June Wu Ms. Andrea L. Wulf Ms. Eileen Wunderlich Dr. Sandra & Mr. D. Johnny Yee Mr. & Mrs. Alan Zekelman Milton Y. Zussman And seven who wish to remain anonymous

GIVING OF $1,500 & MORE Mr. & Mrs. Kingsley G. Sears Mr. & Mrs. Fred Secrest◊ Mr. Steve Secrest Mrs. Andreas H. Steglich Mr. James G. Tibbetts David & Lila Tirsell Dennis & Jennifer Varian Ms. Janet Weir Janis & William Wetsman Mr. & Mrs. Richard Wigginton Hon. Kurtis T. Wilder (Ret.) Debra Wood Ms. Denise S. Young And one who wishes to remain anonymous

CYE50 GOLD CLUB Mr. & Mrs. James B. Nicholson Anne Parsons* & Donald Dietz Mr. Dave Phipps Sue & Bob Pilon Dr. Glenda D. Price Bernard & Eleanor Robertson Mr.◊ & Mrs. Gerald F. Ross Martie & Bob Sachs Nancy Schlichting & Pamela Theisen Mrs. Patricia Shaw Ms. Claudia Sills Mr. James G. Vella Mr.◊ & Mrs. Jonathan T. Walton Hon. Kurtis T. Wilder (Ret.) Drs. David & Bernadine Wu

*Current DSO Musician or Staff

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DSO PERFORMANCE MAGAZINE 43

CORPORATE, FOUNDATION, AND GOVERNMENT GIVING Giving of $500,000 & more

SAMUEL & JEAN FRANKEL FOUNDATION

Giving of $200,000 & more

Giving of $100,000 & more

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Giving of $50,000 & more Paul M. Angell Family Foundation Applebaum Family Philanthropy Marvin & Betty Danto Family Foundation Detroit Pistons League of American Orchestras Edward C. and Linda Dresner Levy Foundation Michigan Council for Arts and Cultural Affairs Milner Hotels Foundation National Endowment for the Arts

Giving of $20,000 & more American House Senior Living Residence Mandell and Madeleine Berman Foundation Blue Star Catering The Clinton Family Fund DeRoy Testamentary Foundation Eleanor & Edsel Ford Fund

Henry Ford II Fund Myron P. Leven Foundation MASCO Corporation Schneider-Engstrom Foundation Sun Communities Inc.

Giving of $10,000 & more Flagstar Foundation Marjorie and Maxwell Jospey Foundation KPMG LLP Laskaris-Jamett Advisors of Raymond James MGM Grand Detroit Oliver Dewey Marcks Foundation Stone Foundation Of Michigan Burton A. Zipser and Sandra D. Zipser Foundation

Giving of $5,000 & more

Giving of $1,000 & more

Aptiv Foundation Benson & Edith Ford Fund Butzel Long Geoinge Foundation Jaffe, Raitt, Heuer and Weiss PricewaterhouseCoopers LLP Sigmund and Sophie Rohlik Foundation Schaerer Architextural Interiors Speyer Foundation Warner Norcross + Judd

The Children’s Foundation Coffee Express Roasting Company Frank and Gertrude Dunlap Foundation James and Lynelle Holden Fund Japan Business Society of Detroit Foundation Josephine Kleiner Foundation Lakeside Ophthalmology Center Ludwig Foundation Fund Madison Electric Company Michigan First Credit Union Plante and Moran, PLLC Renaissance (MI) Chapter of the Links Save Our Symphony Louis & Nellie Sieg Foundation Samuel L. Westerman Foundation

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DSO PERFORMANCE MAGAZINE 45

The DSO’s Planned Giving Council recognizes the region’s leading financial and estate professionals whose current and future clients may involve them in their decision to make a planned gift to the Detroit Symphony Orchestra. Members play a critical role in shaping the future of the DSO through ongoing feedback, working with their clients, supporting philanthropy and attending briefings twice per year. For more information or to join the PG Council, please call 313.576.5114.

Linda Wasserman, Chair Mrs. Katana H. Abbott* Mr. Joseph Aviv Mr. Christopher A. Ballard* Ms. Jessica B. Blake, Esq. Ms. Rebecca J. Braun Mr. Timothy Compton Ms. Wendy Zimmer Cox* Mr. Robin D. Ferriby* Mrs. Jill Governale* Mr. Henry Grix* Mrs. Julie R. Hollinshead, CFA Mr. Mark W. Jannott, CTFA

Ms. Jennifer A. Jennings* Ms. Dawn Jinsky* Mrs. Shirley Kaigler* Mr. Robert E. Kass* Mr. Christopher L. Kelly Mr. Bernard S. Kent Ms. Yuh Suhn Kim Mr. Henry P. Lee* Ms. Marguerite Munson Lentz* J. Thomas MacFarlane Mr. Christopher M. Mann* Mr. Curtis J. Mann

Mrs. Mary Mansfield Mr. Mark Neithercut* Mrs. Alice R. Pfahlert Mr. Steven C. Pierce Ms. Deborah J. Renshaw, CFP Mr. James P. Spica Mr. David M. Thoms* Mr. John N. Thomson, Esq. Mr. Jason Tinsley* Mr. William Vanover Mr. William Winkler Mrs. Wendy Zimmer Cox*

*Executive Committee Member

Share the music of the DSO with future generations INCLUDE THE DSO AS A BENEFICIARY IN YOUR WILL Remembering the DSO in your estate plans will support the sustainability and longevity of our orchestra, so that tomorrow’s audience will continue to be inspired through unsurpassed musical experiences. If you value the role of the DSO – in your life and in our community – please consider making a gift through your will, trust, life insurance or other deferred gift.

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

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CELEBRATING YOUR LEGACY SUPPORT BARBARA VAN DUSEN, Honorary Chair

The 1887 Society honors individuals who have made a special legacy commitment to support the Detroit Symphony Orchestra. Members of the 1887 Society ensure that future music lovers will continue to enjoy unsurpassed musical experiences by including the DSO in their estate plans. If you have arranged a planned gift to support the DSO or would like more information on planned giving, please call 313.576.5114. Ms. Doris L. Adler Dr. & Mrs. William C. Albert Mr.◊ & Mrs. Robert A. Allesee Dr. Lourdes V. Andaya Mr. & Mrs. Eugene Applebaum◊ Dr. Augustin & Nancy◊ Arbulu Ms. Sharon Backstrom Sally & Donald Baker Mr. & Mrs. Lee Barthel Mr. Mark G. Bartnik & Ms. Sandra J. Collins Stanley A. Beattie Mr. & Mrs. Mandell L. Berman Virginia B. Bertram◊ Mrs. Betty Blair Ms. Rosalee Bleecker Mr. Joseph Boner Gwen & Richard Bowlby Mr. Harry G. Bowles◊ Mr. Charles Broh◊ Mrs. Ellen Brownfain William & Julia Bugera Cynthia Cassell, Ph. D. Eleanor A. Christie Ms. Mary Christner Mr. Gary Ciampa Robert & Lucinda Clement Lois & Avern Cohn Mrs. RoseAnn Comstock◊ Mr. Scott Cook, Jr. Mr. & Ms. Thomas Cook Dorothy M. Craig Mr. & Mrs. John Cruikshank Julie & Peter Cummings Joanne Danto & Arnold Weingarden Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Ms. Leslie C. Devereaux Mr. John Diebel◊ Mr. Stuart Dow Mr. Roger Dye & Ms. Jeanne A. Bakale Mr. & Mrs. Robert G. Eidson Marianne T. Endicott Patricia Finnegan Sharf Ms. Dorothy Fisher Mrs. Marjorie S. Fisher Mr. & Mrs. Phillip Wm. Fisher Dorothy A. & Larry L. Fobes Samuel & Laura Fogleman Mr. Emory Ford, Jr.◊ Dr. Saul & Mrs. Helen Forman Barbara Frankel & Ron Michalak Herman & Sharon Frankel Mrs. Rema Frankel◊ Jane French Mark & Donna Frentrup Janet M. Garrett Dr. Byron P. & Marilyn Georgeson Jim & Nancy Gietzen Mr. Joseph & Mrs. Lois Gilmore Victor◊ & Gale Girolami Ruth & Al◊ Glancy

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David & Paulette Groen Rosemary Gugino Donna & Eugene Hartwig Ms. Nancy B. Henk Joseph L. Hickey Mr. & Mrs. Thomas N. Hitchman Ronald M. & Carol◊ Horwitz Andy Howell Carol Howell Paul M. Huxley & Cynthia Pasky David & Sheri Jaffa Mr. & Mrs. Thomas H. Jeffs II Mr. & Mrs. Richard J. Jessup Mr. George G. Johnson Lenard & Connie Johnston Ms. Carol Johnston Ms. Carol Jonson Drs. Anthony & Joyce Kales Faye & Austin Kanter Norb◊ & Carole Keller Dr. Mark & Mrs. Gail Kelley June K. Kendall◊ Dimitri◊ & Suzanne Kosacheff Douglas Koschik Mr. & Mrs. Arthur J. Krolikowski Mary Clippert LaMont Ms. Sandra Lapadot Mrs. Bonnie Larson Ann C. Lawson◊ Allan S. Leonard Max Lepler & Rex L. Dotson Dr. Melvin A. Lester◊ Mr. & Mrs.◊ Joseph Lile Harold Lundquist◊ & Elizabeth Brockhaus Lundquist Mr. & Mrs. Eric C. Lundquist Roberta Maki Eileen & Ralph Mandarino Judy Howe Masserang Mr. Glenn Maxwell Ms. Elizabeth Maysa Mary Joy McMachen, Ph.D. Judith Mich◊ Rhoda A. Milgrim Mr. & Mrs. Eugene A. Miller John & Marcia Miller Jerald A. & Marilyn H. Mitchell Mr.◊ & Mrs. L. William Moll Shari & Craig Morgan Ms. I. Surayyah R. Muwwakkil Geoffrey S. Nathan & Margaret E. Winters Beverley Anne Pack David & Andrea Page◊ Mr. Dale J. Pangonis Ms. Mary W. Parker Mr. David Patria & Ms. Barbara Underwood Mrs. Sophie Pearlstein Helen & Wesley Pelling◊ Dr. William F. Pickard Mrs. Bernard E. Pincus

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Ms. Christina Pitts Mrs. Robert Plummer Mr. & Mrs. P. T. Ponta MRs. Mary Carol Prokop Ms. Linda Rankin & Mr. Daniel Graschuck Mr. & Mrs. Douglas J. Rasmussen Deborah J. Remer Mr. & Mrs.◊ Lloyd E. Reuss Barbara Gage Rex Ms. Marianne Reye Lori-Ann Rickard Katherine D. Rines Bernard & Eleanor Robertson Ms. Barbara Robins Jack & Aviva Robinson◊ Mr.◊ & Mrs. Gerald F. Ross Mr. & Mrs. George Roumell Marjorie & Saul Saulson Mr. & Mrs. Donald and Janet Schenk Ms. Yvonne Schilla Mr. & Mrs. Fred Secrest◊ Ms. Marla K. Shelton Edna J. Shin Ms. June Siebert Mr. & Mrs. Donald R. Simon◊ Dr. Melissa J. Smiley & Dr. Patricia A. Wren Ms. Marilyn Snodgrass◊ Mrs. Margot Sterren◊ Mr. & Mrs. Walter Stuecken Mr.◊ & Mrs. Alexander C. Suczek David Szymborski & Marilyn Sicklesteel Mrs. Rose Taksier Ms. Mary Evelyn Durden Teal◊ Alice & Paul Tomboulian Roger & Tina Valade Mrs. Jane Van Dragt◊ Mrs. Richard C. Van Dusen Charles & Sally Van Dusen Mr. & Mrs. Melvin VanderBrug Mr. & Mrs. George C. Vincent◊ Christine & Keith C. Weber Mr. Herman Weinreich◊ John◊ & Joanne Werner Mr. & Mrs. Arthur Wilhelm Mr. Robert E. Wilkins◊ Mrs. Michel Williams Ms. Nancy Williams◊ Mr. Robert S. Williams & Ms. Treva Womble Ms. Barbara Wojtas Elizabeth B. Work◊ Dr. & Mrs. Clyde Wu◊ Ms. Andrea L. Wulf Mrs. Judith G. Yaker Milton & Lois◊ Zussman And five who wish to remain anonymous

◊

Deceased

DSO PERFORMANCE MAGAZINE 47

TRIBUTE GIFTS Gifts received September 1, 2020 – August 31, 2021 Tribute gifts to the Detroit Symphony Orchestra are made to honor accomplishments, celebrate occasions, and pay respect in memory or reflection. These gifts support current season projects, partnerships and performances such as DSO concerts, education programs, free community concerts, and family programming. For information about making a tribute gift, please call 313.576.5114 or visit dso.org/donate.

In Honor David Ammer Christine Ammer

Donald Dietz Todd Gordon & Susan Feder

Sarah Lewis Joe & Lori Pray

Erik Rönmark Ms. Cassie Brenske

Milton & Anne Aptekar Mr. Ken Aptekar

John Dreifus Mr. Milton Feldberg

Shannon Lohr Ms. Lauren O’Neill

Sanda Lowery-Sachs Mr. & Mrs. Al Lowery

Ken Aptekar Ms. Lucy Aptekar

Abe Feder Paula Kahn Ms. Barbara Kirshbaum

Stephen MacLean Mr. & Mrs. Michael Feder

Leonard Slatkin & Leslie Karr Ms. Julia Sun

Sean H. Maloney Mr. Sean Maloney & Mrs. Laura Peppler-Maloney

Robert Slick Mrs. Giffin Robertson

Epifania Aranas Miss Audrey Aranas Jader Bignamini & Yuval Sharon Mrs. Ann Katz Lois Marie Brooks Ms. Pama Tavernier Leslie Burnett Ms. Brandy McCracken Barbara Buzzelli Ms. Beth S. Carlson Beth Carlson David & Barbara Buzzelli Michelle Chapman Mrs. Cherub Beard Cyrus Chestnut & Band Mr. Edward Sutter Caroline Coade Mr. Peter Mandell & Mrs. Sarah Coade Mandell

Lauren & Phillip Wm. Fisher Ms. Jennifer Granger David F. & Ellen J. Sherman Family Stanley Frankel Mr. & Mrs. Roger Burrows James S. Garrett Mr. & Mrs. Timothy LeVigne Diana & Ted Golden Anonymous Chris Harrington Ms. Chelsea S. Kotula Malika Harris Mrs. Malika Harris Gisela Hayes Ms. Vanessa Hayes Dr. Gloria Heppner Mr. & Mrs. Doug Allan

Brandon Mason Mr. & Ms. Chris Vanderberry Melissa McBrian & Ray Landes Ms. Victoria McBrien Peter McCaffrey Mr. & Mrs. Matthew Citron Elizabeth Jane McGill Ms. Mary McGill Nick Meyers Mrs. Mary Myers James B. Nicholson Mr. & Mrs. Allen Phillips The Parent Family Ms. Doris Malacarne

Hudson-Webber Foundation Mr. Michael Shaw

Anne Parsons Baltimore Community Foundation

Brian & Yukari Jones David & Marilyn Cummins

Anne Parsons Mr. & Mrs. Eugene Driker

The Jung Family Ms. Jasmine Walker

William Phelps Ms. Nisa Dillingham

David Keys Ms. Sarah Keys

Dane Philipsen Mr. Michael Philipsen

Conrad & Zosia Kudelko Ms. Tina Kudelko

Rip & Gail Rapson Ms. Sharon Zimmerman

Jerry Burman Mrs. Mary Jane Cassaday Katherine Capp Mr. Benjamin Capp Mr. Stephen Capp La Lawton Connie Mancini Mr. Russell Montgomerie Ms. Lynn C. Sirich

Gloria Clark Mr. & Mrs. Lee Barthel Ms. Marlene Bihlmeyer Mr. & Mrs. Richard Bowlby Mr. & Mrs. Walter Dissett Mr. & Mrs. Richard G. Partrich

J. Addison & Marion M. Bartush Mr. Joseph Bartush

Dorothy Carson Mr. & Mrs. Lee Barthel Gay & Joseph Pappin Amelia Whitehead

Herbert Couf Karen Couf-Cohen

James Bazakis Dr. Andrew Bazakis

Tom Cartmell Leslie Chumbley

Ralph Brody Timothy Gilson Ms. Kristie Kolakowski

Steve Cauzillo Craig Erikson

Suzanne Dalton Ms. Raluca I. Metea Joanne Danto & Arnold Weingarden Dr. Art Roffey & Ms. Gail Danto Sandy & Jim Danto Linda Powers Drieka DeGraff Ms. Jane Strauss

Marie Slotnik Mrs. Judith Schultheiss Juleen Sparks Mrs. Adrienne Sparks Sharon Sparrow Courtney A. Hardy Chuck Steelman Sami Abboud David & Xina Stewart Alice Buchalter Marian Tanau Maureen Baca Mark Valenti Julie Heidt Dave Wagner Mr. & Mrs. John P. Connolly Gary L. Wasserman & Charles A. Kashner Mr. & Mrs. Irwin L. Elson Barbara & Michael Kratchman John & Barbara White Katharina Campbell David Wu Dr. Marc Dunn Johanna Yarbrough Mr. Everett Yarbrough

In Memory

Rheba Adolph Ms. Amy Gilbert Marcia Applebaum Mr. & Mrs. Phillip Wm. Fisher Joan Balogh Ms. Joan Hoelaars Mrs. Fern Katz Ms. Lynn Popa

Tessie Cherpes Ms. Anna Flynn

DSO PERFORMANCE MAGAZINE

Mary Susan Clippert Tracy Kabeshita

Jerry D’Avanzo Mr. & Mrs. Norman Ankers Bloomfield Chase Homeowners Association Mr. & Mrs. Harold Blumenstein Mr. & Mrs. Gerald M. Cooper Ms. Jill B. Craig Dr. & Mrs. Joseph D’Avanzo Ms. Maureen Doherty Margie Dunn & Mark Davidoff

Debbie & John Erb Mr. & Mrs. Randall Hawes Bobbie & Ed Heineman Mr. George Helms Mrs. & Mr. Cynthia D. Johnson Jennifer & Gregory Kish Ms. Michelle Lindow Mr. & Mrs. David N. McCammon The Lisa & Brian Meer Foundation Mr. John Santeiu Jr. Ms. Charlotte Terry Roberta & Sheldon Toll Ms. Nicole Villarreal Mr. & Mrs. Joseph A. Bloch Brazeal W. & Maurice L. Dennard Mr. Wayne Brown & Mrs. Brenda Kee

FALL/WINTER 2021-2022

Rosemarie Dyer Mr. Edwin Dyer Ms. Becky Hetchler Mr. & Mrs. James B. Nicholson Juile Flashner Mr. & Mrs. Howard B. Levine Paul Ganson Ms. Judith Brien Richard Gause Ms. Connie Carey Ms. Joan Frank Dr. & Mrs. John A. Jennings Ms. Nicola McAleer Mr. & Mrs. Louis Phillips Dorothy Gerson Mr. Richard Ceresko Mrs. Julie Hollinshead Mr. & Mrs. Daniel Lutz Jeanne Gierak Mr. Brian Carney & Ms. Judith Herndon Ms. Maryann DiMartino Linda Giorgio Mr. & Mrs. William Reynolds Dr. Myron Ginsberg Ms. Lorraine Ford Kenneth Gitlin Mr. & Mrs. Harvey Brode Harold & Cindy Daitch Frieda Bailey Greene & Walter R. Greene, Jr. Mr. Walter Greene III & Mrs. Colleen Dolan-Greene Linda Gross Mr. Richard Thornton John Guinn Peggy Castine Munoz Gutierrez Ms. Lorraine Gutierrez Alice Berberian Haidostian Mr. & Mrs. Norman Ankers Ms. Gloria Baykian Anita & Greg Boyajian Detroit Armenian Women’s Club Ara & Diane Ekizian Ms. Sandra Jamian Dr. & Mrs. Harry Kezelian Mrs. Esther Lyons Mr. & Mrs. Mark Mardirosian Lisa & Brian Meer Foundation Sandra & Alice Nigoghosoian Dr. & Mrs. Ted Schwartzenfeld Ms. Kaitlin Sheehan Martin & Diana Shoushanian Mr. & Mr. Jeremy Stolberg Mort Harris Applebaum Family Philanthropy Mr. Morton E. Harris Ms. Marilyn Vender Bruce Hern Mrs. Jacquelyn Hess Mr. & Mrs. Richard Lundgren Gregory Kalin Ms. Cheryl Francis Ms. Christina Gibson Mr. Nick Grove Mr. Jay Mages Ms. Kimberly McGarry Sloane Potter Ms. Amena Tayyab Phyllis Katz Mr. Ronald M. Horwitz

Robert D. Kirlay Mr. Thomas Kiraly Hamayu no Konami Dr. Mieko Yoshihama Susan Clippert LaMont Anna & Paul Harmon Joyce Leopold Mr. Henry Y. Leopold Mel Lester Mr. & Mrs. James Parker Frederica Levinson Mr. & Mrs. Eugene Driker Norma Lynch Ms. June K. Kendall Mary Ella Walton May Ms. Pamela Micallef Jerrie McDonnell Arba-Donnell Charitable Foundation Fund Elizabeth Jane McGill Ms. Lynn Carmichael Mr. David McGill Ms. Elizabeth McGill Mr. & Mrs. Patrick O’Hara Ms. Janet Welch Rozanne McGraw Ms. Christine Boesen Ms. Janet Duco Ms. Josephine Duco Mr. John McElwee Virginia C McMillan Mr. & Mrs. Francis McMillan Anita Miller Ms. Judith Kirkeby Florence Miller Ms. Jolyn Hillebrand Ms. Florence Miller Mr. Charles Wehde Gene Mondry Mr. Mitchell Mondry Mr. Henry Myers Mrs. Paula Myers Judy Naturkas Mrs. Vickie Goethals Mr. & Mrs. Robert Steffy Helen Delores Nichilo Susan Konop Charles Novacek Ms. Sandra Novacek James M. O’Connell Mr. Dwight Angell Tom Cloos Mr. David Corbett Ms. Karen Erickson Robert & Ellen Franz Ms. Brigitte Hayhurst Ms. Barbara Clark Kuzina Mr. & Mrs. Patrick Lewis Paul & Nancy McNaughton Mr. Eugene McNerney Mr. & Mrs. Clarence Yox Mark Pacheco Mr. James Haslett Pat Packer Mr. & Ms. Tom Kalush Patricia & Gary Trapani Patrick D. Packer Mrs. & Mr. Carol Waldecker

Skeets William Kelly Mr. Sean M. Kelly

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Jane Parsons W. Harold & Chacona W. Baugh Blumenstein Family Foundation Ms. Beth S. Carlson Detroit Symphony Orchestra Members Fund Margie Dunn & Mark Davidoff Mrs. Marianne Endicott Todd Gordon & Susan Feder Mr. & Mrs. Phillip Wm. Fisher Stanley & Judith Frankel Family Foundation Mr. & Mrs. Ralph J. Gerson Ms. Mary Lambert Liebler Family Foundation Mr. & Mrs. Glenn Mellow Mr. Stephen R. Molina Joy & Allan Nachman Mr. & Mrs. James B. Nicholson Mr. & Mrs. David Provost Mr. & Mrs. Larry Sherman Mr. Robert R. Swaney Mrs. Nancy Tellem George Port Ms. Sandra Burditt Ms. Ann Cassidy Ms. Frances Jueds Mr. & Mrs. John R. Nicholson Mr. Fernando Szew Alice Richards Pryor Dr. George Pryor Thomas James Przybylski Ms. Nora Brennan-Cuphone Mr. & Ms. Neil Edelson Ms. Laura Gallagher Ms. Ann Kennedy Ms. Colleen Norek Jan & John Phillips MJ Rosenthal Alto Reed Ms. Lorraine Alcott Karen Appling Mr. Greg Ashforth Ms. Paula Bellovary Mr. Gary Breton Ms. Kira Carstensen Mr. Robert Cohen Mr. John Cuprisin Jess Delaney Ms. Barbara Detwiler Ms. Kathy DiCenzo Mr. Ross Dubois Ms. Cindy Cummings Fauser Ms. Lila Feinberg Mr. Kevin Gallahan Garfield Miotke Giving Fund Mr. Timothy Heiss Mr. Bob Hereford Mr. & Ms. Justin Hillian Mr. Alfred Hooker Ms. Suzette Jones Ms. Ewa Kedzierska Mr. Thomas F Klimek Mr. Daniel LaLonde Ms. Charlene Larson Ms. Debbie McGee Ms. Teresa McGinnis Mr. Rod Moseanko Mrs. Nancy Neumann Natalie & Bill Newman Family Ms. Sheila Orzechowski Ms. Susan Oueilette Ms. Sharon Poston Mr. Douglas Priestap Mr. Phil Purdy Ms. Bridget Roman Mr. John Ryan Ms. Rose Scaglia Mr. James Seidman Ms. Tina Sellers Ms. MaryLet Sklodowski Ms. Diane Smith Ms. Joyce Stanley Mr. & Mrs. Robert Stevens Mr. Paul Kareem Tayyar Ms. Dianne Teesdale Ms. Mary Watt Ms. Shelly Weiner

Mr. Brad Wenzel Ms. Charlene Whicker Ms. Jill Williams Mr. Ford Wong Bob Reid & Rosemary Waring Reid Ms. Julie Reddick Anni Richardson Mr. & Mrs. Mike Cesarz Peter Roddy Theresa Roddy Stanley & Jane Romatowski Dr. Nancy Valentini Dr. Steven S. Rosen Marcy Rosen Inge Schaerer Ms. Cathryn Sutherland Donald Schings Ms. Judy Schings John Robert Smith Mrs. Grace Brockett Mr. Chris Hickok Mr. Tim Hill Ms. Roberta Isaeff Mr. Chris King Mr. & Mrs. Daniel J. Lorts Ms. Chris Miles Ms. Janet Mitchell Ms. Patricia Morita Ms. Brigitte Murray Mrs. Debra Navin Geogre & Jo Elyn Nyman Premier Safety SAGE Publications, Inc. Mr. Marti Smith Mrs. Nancy C. Smith Ms. Mary Ellen Terao Zach Smith Ms. Barbara Snitz Joan Carol Stern Mr. Bradley Stern Roberta Stulberg Mrs. Margaret Bornstein Mr. & Mrs. Richard Burstein Elizabeth Fields Edie Goldman Andrew Gutman Wendy Handler Dr. & Mrs. David Schwartz Thomas Tang Ichen Huang Terry Teopas Patricia Babich Ms. Beverly Yocum Leon & Theresa Tew Holly Gorecki Frank Tinetti Mr. Ray Green Zeyn & Ayten Uzman Mr. James Akif Uzman Kathie vonSchwarz Mr. & Mrs. Ronald Spann James Waring Mrs. Marion Lusardi Frances West-Porchia Ms. Debra Usher Dr. Clyde & Helen Wu Dr. Barbara Yoshida Marion Wyatt Ms. Patricia Ali Tina Yee Ms. Lisa Schwartz

DSO PERFORMANCE MAGAZINE 49

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

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

Visit dso.org/yourvisit for full information on your concert experience.

Parking

Shop @ The Max

The DSO Parking Deck is located at 81 Parsons Street. Self-parking in the garage costs $10 for most concerts; we take both cash and credit cards. Handicapped parking is available on the first and second floors of the garage. Note that handicapped parking spaces go quickly, so we recommend arriving early!

As of October 2021, Shop @ The Max is currently closed. Please check dso.org for updates ahead of your visit.

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

Food and Drink As of October 2021, the DSO is offering beverage only concessions. Please check dso.org for the latest ahead of your concert. Bars are located on the first and third floors of the William Davidson Atrium and offer canned sodas (pop, if you prefer), beer, wine, and specialty cocktail mixes. While drinks may be taken to your concert seat, the DSO’s mask policy will be enforced when you are not actively drinking.

DSO PERFORMANCE MAGAZINE

Handicap Access and Hearing Assistance Accessibility matters. Whether you need ramp access for your wheelchair or are looking for sensoryfriendly concert options, we are thinking of you. The Max has elevators, barrier-free restrooms, and accessible seating on each level. Security staff are available at all entrances to help patrons requiring extra assistance in and out of vehicles. The DSO’s Sennheiser MobileConnect hearing assistance system is available for all performances in Orchestra Hall. You can use your own mobile device and headphones by downloading the Sennheiser MobileConnect app, or borrow a device by visiting the Patron Services Center on the second floor of the William Davidson Atrium. This system is made possible by the Michigan Ear Institute.

FALL/WINTER 2021-2022

POLICIES HEALTH & SAFETY The Max M. & Marjorie S. Fisher Music Center 3711 Woodward Avenue Detroit, MI 48201 Box Office:............................................. 313.576.5111 Group Sales:........................................... 313.576.5111 Administrative Offices:.........................313.576.5100 Facilities Rental Information:................313.576.5131 Visit the DSO online at dso.org For general inquiries, please email info@dso.org

SEATING Please note that all patrons (of any age)

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

TICKETS, EXCHANGES, AND CONCERT CANCELLATIONS All sales are final and non-

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

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

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

Rent The Max

refundable. Even though we’ll miss you, we understand that plans can change unexpectedly, so the DSO offers flexible exchange and ticket donation options. Please contact the Box Office to exchange tickets. The Box Office can also help with all ticketing questions and concerns. The DSO is a show-must-go-on orchestra! In the rare event a concert is cancelled, our website and social media feeds will announce the cancellation, and patrons will be notified of exchange options.

PHOTOGRAPHY AND RECORDING We love a

good selfie (don’t forget to share your experiences using @DetroitSymphony and #IAMDSO) but remember that photography can be distracting to musicians and audience members. Please be cautious and respectful if you wish to take photos. Note that flash photography, video recording, tripods, and cameras with detachable lenses are strictly prohibited.

PHONES Your neighbors and the musicians appreciate

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

SMOKING Smoking anywhere in The Max.

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

dso.org

• All guests must provide proof of full vaccination for COVID-19 or a negative COVID-19 test upon entry. • Guests must wear a mask, worn properly over the nose and mouth, unless they are actively eating or drinking. Masks must be worn regardless of vaccination status. • We have also instituted contactless e-ticketing this season to add another layer of safety. You will be asked to present the barcode for your e-tickets at the second entry point – after you present your vaccine or test results.

#IAMDSO

and vaping are not allowed

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

DSO PERFORMANCE MAGAZINE 51

A D M I N I S T R AT I V E S TA F F EXECUTIVE OFFICE Anne Parsons President and CEO James B. and Ann V. Nicholson Chair Jill Elder Vice President and Chief Development Officer Linda Lutz Vice President and Chief Financial Officer Erik Rönmark Vice President and General Manager Joy Crawford Executive Assistant to the President and CEO Elaine Curvin Executive Assistant to the Vice President and CDO

ARTISTIC OPERATIONS ARTISTIC PLANNING Christopher Harrington Senior Director & Curator, @ The Max/Managing Director, DSO Paradise Jazz Series

Bronwyn Hagerty Orchestra and Training Programs Librarian Hannah Wetherholt Manager of Orchestra Personnel

ADVANCEMENT Jill Rafferty Senior Director of Advancement Holly Gorecki Director of Advancement Operations Alex Kapordelis Campaign Director

Hannah Engwall Public Relations Manager

Juanda Pack Advancement Benefits Concierge

COMMUNITY AND LEARNING

Susan Queen Gift Officer, Corporate Giving Amanda Tew Data and Research Manager

EVENTS AND RENTALS Presley Feezell Manager of Events and Rentals

Marc Geelhoed Executive Producer of Live from Orchestra Hall

FACILITY OPERATIONS

Ezra Gans Artistic Operations Assistant

Matt Carlson Senior Director, Communications & Media Relations

Amanda Lindstrom Events Coordinator

LIVE FROM ORCHESTRA HALL

Dennis Rottell Stage Manager

COMMUNICATIONS

Natalie Berger Video Content Specialist

Jody Harper Senior Director of Building Operations

Patrick Peterson Director of Orchestra Personnel

Aaron Tockstein Database Administrator

Leslie Groves Major Gift Officer

BUILDING OPERATIONS

Kathryn Ginsburg Senior Director of Operations and Orchestra Manager

Ra’Jon Taylor Systems Administrator

Sarah Smarch Director of Content and Storytelling

Dasha Gilmore Artistic Coordinator

ORCHESTRA OPERATIONS

Michelle Koning Web Manager

Beth Carlson Stewardship Coordinator

Jessica Ruiz Director of Artistic Planning

Goode Wyche CUBE Coordinator

INFORMATION TECHNOLOGY

Ken Waddington Director of Facilities and Engineering Demetris Fisher Environmental Services Lead Robert Hobson Maintenance Lead Keith Kennedy Chief Engineer William Guilbault EVS Technician

Caen Thomason-Redus Senior Director of Community & Learning Karisa Antonio Director of Social Innovation Damien Crutcher Managing Director of Detroit Harmony Debora Kang Director of Education Clare Valenti Director of Community Engagement Kiersten Alcorn Manager of Community Engagement Connor Bulka Training Ensembles Recruitment & Communications Coordinator Angelina Cicchella Training Ensembles Operations Coordinator Joanna Goldstein Training Ensembles Student Development Coordinator

Lawrence Johnson EVS Technician

DSO PERFORMANCE MAGAZINE

FALL/WINTER 2021-2022

FINANCE Jeremiah Hess Senior Director of Accounting & Finance Erik Anundson Accounts Payable Coordinator Taylor Benjamin Gift Processing Coordinator Sandra Mazza Senior Accountant, Business Operations Michelle Wisler Payroll and Benefits Accountant

HUMAN RESOURCES Lisa Bradley Senior Director of Talent and Culture Mary Lambert Human Resources Generalist Shuntia Perry Human Resources Coordinator

MARKETING & AUDIENCE DEVELOPMENT Teresa Alden Director of Digital Marketing Sharon Gardner Carr Assistant Manager of Tessitura and Ticketing Operations

HOSPITALITY AND PATRON EXPERIENCE Christina Williams Director of Hospitality and Patron Experience Alison Reed, CVA Manager of Volunteer & Patron Experience Nate Richter Bar Manager

PATRON SALES AND SERVICE Michelle Marshall Manager, Patron Sales & Service

SAFETY & SECURITY George Krappmann Director of Safety and Security Norris Jackson Security Officer Edward John Security Manager Tony Morris Security Officer Johnnie Scott Security Officer Antonio Thomas Security Officer

PERFORMANCE Fall/Winter • 2021-2022 Season

EDITORS Matt Carlson mcarlson@dso.org

Hannah Engwall hengwall@dso.org

PUBLISHER Echo Publications, Inc. Tom Putters Cover design by Jay Holladay To advertise in Performance, please call 248.582.9690, email info@echopublications.com or visit echopublications.com

Jay Holladay Digital Content Specialist LaHeidra Marshall Audience Development Specialist Connor Mehren Marketing Coordinator

Read Performance anytime, anywhere at dso.org/performance

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

dso.org

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DSO PERFORMANCE MAGAZINE 53

U P CO M I N G CO N C ER T S & EVENTS TICKETS & INFO

3 1 3 . 5 76 . 5 1 11 o r d s o . o r g

PARADISE JAZZ SERIES

DIANNE REEVES: CHRISTMAS TIME IS HERE Dianne Reeves, vocalist Friday, December 3 at 8 p.m.* PVS CLASSICAL SERIES

DAWSON & BEETHOVEN Thomas Wilkins, conductor Vadim Gluzman, violin Friday, December 10 at 10:45 a.m. Saturday, December 11 at 8 p.m. Sunday, December 12 at 3 p.m. ADOLPHUS HAILSTORK Fanfare on “Amazing Grace” WILLIAM DAWSON Negro Folk Symphony LUDWIG VAN BEETHOVEN Violin Concerto YOUNG PEOPLE’S FAMILY CONCERTS

WINTER WONDERLAND

Thomas Wilkins, conductor Saturday, December 11 at 11 a.m. DSO PRESENTS

HOME ALONE IN CONCERT

Scott Terrell, conductor Wednesday, December 15 at 7:30 p.m. PNC POPS SERIES

HOME FOR THE HOLIDAYS Stuart Chafetz, conductor Michael Preacely, vocalist Friday, December 17 at 10:45 a.m. and 8 p.m. Saturday, December 18 at 3 and 8 p.m. Sunday, December 19 at 3 p.m.

WILLIAM DAVIDSON NEIGHBORHOOD

HAYDN’S “FAREWELL” SYMPHONY Dmitry Sinkovsky, conductor, violin & countertenor Thursday, January 6 at 7:30 p.m. in W. Bloomfield Friday, January 7 at 8 p.m. in Plymouth Saturday, January 8 at 8 p.m. in Bloomfield Hills Sunday, January 9 at 3 p.m. in Grosse Pointe ANTONIO VIVALDI Violin Concerto, RV 177 ARCANGELO CORELLI Concerto grosso, Op. 6, No. 11 TOMASO ALBINONI “Pianta bella” GEORGE FRIDERIC HANDEL “But who may abide the day of His coming” from Messiah JOSEPH HAYDN Symphony No. 45 “Farewell” PNC POPS SERIES

THE MUSIC OF BILLY JOEL Michael Cavanaugh, vocals & piano Enrico Lopez-Yañez, conductor Friday, January 7 at 10:45 a.m. Saturday, January 8 at 8 p.m. Sunday, January 9 at 3 p.m. PVS CLASSICAL SERIES

PICTURES AT AN EXHIBITION Jader Bignamini, conductor Joshua Roman, cello Thursday, January 13 at 7:30 p.m. GIOACHINO ROSSINI Overture to William Tell ANTONÍN DVOŘÁK Cello Concerto MODEST MUSSORGSKY/ORCH. RAVEL Pictures at an Exhibition WILLIAM DAVIDSON NEIGHBORHOOD

MOZART’S “PRAGUE” SYMPHONY

Dmitry Sinkovsky, conductor & violin Thursday, January 27 at 7:30 p.m. in Southfield Friday, January 28 at 8 p.m. in Monroe Sunday, January 30 at 3 p.m. in Beverly Hills ALL-MOZART PROGRAM Overture to The Marriage of Figaro Violin Concerto No. 3 Symphony No. 38 “Prague”

DSO PERFORMANCE MAGAZINE

FALL/WINTER 2021-2022

Hear. Together. PVS CLASSICAL SERIES

PVS CLASSICAL SERIES

Eun Sun Kim, conductor Pablo Sáinz-Villegas, guitar Thu., Feb. 3 at 7:30 p.m. Fri., Feb. 4 at 8 p.m. Sat., Feb. 5 at 8 p.m. TEXU KIM Dub-Sanjo JOAQUÍN RODRIGO Concierto de Aranjuez for Guitar and Orchestra SERGEI RACHMANINOFF Symphony No. 3 in A minor, Op. 44

Jader Bignamini, conductor Randall Goosby, violin Thu., Feb. 24 at 7:30 p.m. Fri., Feb.25 at 8 p.m. Sat., Feb. 26 at 3 p.m. GUSTAV MAHLER “Blumine” Movement from Symphony No. 1 in D major WOLFGANG AMADEUS MOZART Violin Concerto No. 5 in A major, K. 219 GUSTAV MAHLER Symphony No. 1 in D major, “Titan”

RACHMANINOFF & RODRIGO

PNC POPS SERIES

TROUPE VERTIGO: CIRQUE CARNAVAL Jeff Tyzik, conductor Troupe Vertigo, acrobats Fri., Feb 11 at 10:45 & 8 p.m. Sat., Feb 12 at 8 p.m. Sun., Feb 13 at 3 p.m. YOUNG PEOPLE’S FAMILY CONCERT SERIES

TROUPE VERTIGO

MAHLER’S “TITAN”

PARADISE JAZZ SERIES

WYNTON MARSALIS AND THE JAZZ AT LINCOLN CENTER ORCHESTRA Fri., Mar. 4 at 8 p.m.* Former DSO Erb Jazz chair Wynton Marsalis and the Jazz at Lincoln Center Orchestra make their highly-anticipated return to the Orchestra Hall stage to perform original compositions, arrangements, and music by beloved jazz giants!

Jeff Tyzik, conductor Sat., Feb. 12 at 11 a.m.

DECANTED

PVS CLASSICAL SERIES

Thursday, November 11 at 6 p.m.

BEETHOVEN SYMPHONY NO. 7 Jader Bignamini, conductor Hunter Eberly, trumpet Fri., Feb. 18 at 10:45 a.m. Sat., Feb. 19 at 8 p.m. Sun., Feb. 20 at 3 p.m. SAMUEL COLERIDGE-TAYLOR Symphonic Variations on an African Air, Op. 63 ALEXANDER ARUTIUNIAN Concerto for Trumpet and Orchestra LUDWIG VAN BEETHOVEN Symphony No. 7 in A major, Op. 92

An evening of fine wine and food pairings, curated by Music Director Jader Bignamini, plus a musical performance by members of the Detroit Symphony Orchestra. Proceeds will support the DSO’s continuing commitment to providing greater access to music and music education programs across our region.

KEY

* The DSO does not appear on this program Live from Orchestra Hall webcast

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DSO PERFORMANCE MAGAZINE 55

The Whitney Restaurant | Ghostbar | Gardens

Welcome Back

The Whitney is so proud to continue our long-lasting relationship with DSO concert-goers. Celebrating the art & beauty of Detroit is a core value for the Whitney and we are so pleased to be a part of your memorable experience. We want to celebrate your return to the Detroit performing arts scene by encouraging you to make another memory with us! Show us your ticket or this program any Sunday within 30 days of your event & enjoy $10 off per person on our 4-course dinner menu or our elegant Mansion tea service. We look forward to welcoming you to the Whitney on a Sunday soon! But for now… Enjoy the concert! 4421 Woodward Avenue, Detroit | 313-832-5700 | thewhitney.com27

Performance Magazine - Detroit Symphony Orchestra - October-December - 2021-2022 Season

Articles inside

Maximize Your Experience

Transformational Support

Behind the Baton

Welcome

Board Leadership