Performance Magazine - Fall Issue 1 - 2024–25 Season

Your DSO Family REALTOR®

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ON THE COVER: Tabita Berglund in the William Davidson Atrium (By Sarah Smarch)

Tabita Berglund in Orchestra Hall.

Hannah Hammel Maser, Principal Flute

Adam Rainey, Bass Trombone Una O’Riordan, Cello

WELCOME

Dear Friends,

Welcome to the 2024-2025 season by your Detroit Symphony Orchestra! Whether you are a longtime subscriber or this is your first experience at Orchestra Hall, we thank you for choosing to spend your time with us and hope you join us again soon.

The DSO’s PVS Classical Series under Music Director Jader Bignamini promises spectacular performances with an outstanding spectrum of composers and guest artists. We are so excited to continue plans to open each new season with an Opening Night Gala, which we reinaugurated last year for the first time in two decades. Jader conducts this year’s opener honoring the late Fred and Barbara Erb, whose endowment support has sustained our Fred A. Erb Jazz Creative Director Chair for the past two decades. The concert features former Erb Jazz Chair Branford Marsalis, equally at home in classical repertoire as he is on our Paradise Jazz Series. Jader returns this fall for Gershwin’s Rhapsody in Blue with pianist Wayne Marshall, Mahler’s Symphony No. 5, Barber’s Violin Concerto with Ray Chen, and excerpts from Tchaikovksy’s Nutcracker paired with Duke Ellington’s arrangements of that work.

Please also join us in welcoming two dynamic artists joining the DSO family this fall. New Principal Pops Conductor Enrico Lopez-Yañez is no stranger to Orchestra Hall audiences, and you may have seen him leading our concerts at St. Hedwig in the Southwest Detroit community as well. Enrico kicks off his tenure leading PNC Pops Series concerts The Music of Star Wars in October, Under the Streetlamp in November, and our beloved Home for the Holidays in December. New Principal Guest Conductor Tabita Berglund made an immediate connection with our musicians and audiences two seasons ago. This October, she will conduct a special program of music based on folk songs and folk tales that depict the sea, with works by Britten, Sibelius, and Anna Clyne, whose Time and Tides will be heard in its US Premiere with the exquisite violinist Pekka Kuusisto. For more on Tabita, please read our feature story in this issue.

Current Fred A. Erb Jazz Creative Director Chair Terence Blanchard is also back this season heading the amazing lineup of the DSO’s Paradise Jazz Series. The series launches in October with the legendary Chucho Valdés and his Royal Quartet and in December features a return visit from pianist Cyrus Chestnut in A Charlie Brown Christmas. Terence himself brings his impassioned, Grammy Award-winning A Tale of God’s Will: A Requiem for Katrina to the series this January—marking 20 years since Hurricane Katrina—a powerful evening-length work that you shouldn’t miss.

Jader’s debut recording with the DSO of Wynton Marsalis’s Blues Symphony —captured live in Orchestra Hall last December—is also set for release this January on the Pentatone label. As many of you who experienced it in-person can attest, the performance is full of spectacular ensemble and solo playing by your DSO musicians and passionately led by Jader. Stay tuned for more information on this great news!

Erik Rönmark

David T. Provost President and CEO Chair, Board of Directors

ENRICO

DETROIT SYMPHONY ORCHESTRA

LOPEZ-YAÑEZ Principal Pops Conductor

FIRST VIOLIN

Robyn Bollinger

CONCERTMASTER

Katherine Tuck Chair

Kimberly Kaloyanides Kennedy

ASSOCIATE CONCERTMASTER

Schwartz and Shapero Family Chair

Hai-Xin Wu

ASSISTANT CONCERTMASTER

Walker L. Cisler/Detroit Edison Foundation Chair

Jennifer Wey Fang

ASSISTANT CONCERTMASTER

Marguerite Deslippe*

Laurie Goldman*

Rachel Harding Klaus*

Eun Park Lee*

Adrienne Rönmark*

William and Story John Chair

Alexandros Sakarellos*

Drs. Doris Tong and Teck Soo Chair

Laura Soto*

Greg Staples*

Jiamin Wang*

Mingzhao Zhou*

SECOND VIOLIN

Adam Stepniewski

ACTING PRINCIPAL

The Devereaux Family Chair

Will Haapaniemi*

David and Valerie McCammon Chairs

Hae Jeong Heidi Han*

David and Valerie McCammon Chairs

Sheryl Hwangbo Yu*

Sujin Lim*

Hong-Yi Mo *

Marian Tanau*

Alexander Volkov*

Jing Zhang*

VIOLA

Eric Nowlin

PRINCIPAL

Julie and Ed Levy, Jr. Chair

James VanValkenburg

ASSISTANT PRINCIPAL

Janet and Norm Ankers Chair

Caroline Coade

Henry and Patricia Nickol Chair

Glenn Mellow

Hang Su

Hart Hollman

Han Zheng

Mike Chen

Harper Randolph §

CELLO

Wei Yu

PRINCIPAL

Abraham Feder ^

ASSISTANT PRINCIPAL

Dorothy and Herbert Graebner Chair

Robert Bergman*

JADER BIGNAMINI , Music Director

Music Directorship endowed by the Kresge Foundation

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

Jeremy Crosmer*

Victor and Gale Girolami Cello Chair

David LeDoux*

Peter McCaffrey*

Joanne Deanto and Arnold Weingarden Chair

Una O’Riordan*

Mary Ann & Robert Gorlin Chair

Cole Randolph*

Mary Lee Gwizdala Chair

BASS

Kevin Brown

PRINCIPAL

Van Dusen Family Chair

Stephen Molina

ASSISTANT PRINCIPAL

Christopher Hamlen*

Peter Hatch*

Vincent Luciano*

Brandon Mason*

HARP

Alyssa Katahara

PRINCIPAL

Winifred E. Polk Chair

FLUTE

Hannah Hammel Maser

PRINCIPAL

Alan J. and Sue Kaufman and Family Chair

Amanda Blaikie

Morton and Brigitte Harris Chair

Sharon Sparrow

ASSISTANT PRINCIPAL

Bernard and Eleanor Robertson Chair

Jeffery Zook

PICCOLO

Jeffery Zook

Shari and Craig Morgan Chair

OBOE

Alexander Kinmonth

PRINCIPAL

Jack A. and Aviva Robinson Chair

Sarah Lewis

ASSISTANT PRINCIPAL

Monica Fosnaugh

ENGLISH HORN

Monica Fosnaugh

CLARINET

Ralph Skiano

PRINCIPAL

Robert B. Semple Chair

Jocelyn Langworthy

ACTING SECOND CLARINET

Jack Walters

ASSISTANT PRINCIPAL

PVS Chemicals Inc./

Jim and Ann Nicholson Chair

Shannon Orme

TABITA

BERGLUND Principal Guest Conductor

E-FLAT CLARINET

Jack Walters

BASS CLARINET

Shannon Orme

Barbara Frankel and Ronald Michalak Chair

BASSOON

Conrad Cornelison

PRINCIPAL

Byron and Dorothy Gerson Chair

Cornelia Sommer

Jaquain Sloan

ACTING UTILITY BASSOON

CONTRABASSOON OPEN

HORN

Patrick Walle

ACTING PRINCIPAL HORN

David and Christine Provost Chair

Johanna Yarbrough ^

Scott Strong

Ric and Carola Huttenlocher Chair

OPEN

ASSISTANT PRINCIPAL

Kristi Crago

ACTING UTILITY HORN

Ben Wulfman

ACTING SECOND HORN

TRUMPET

Hunter Eberly

PRINCIPAL

Lee and Floy Barthel Chair

Austin Williams

James Vaughen

ASSISTANT PRINCIPAL

William Lucas

TROMBONE

Kenneth Thompkins

PRINCIPAL

Shari and Craig Morgan Chair

David Binder

Adam Rainey

Richard Sonenklar and Greg Haynes

Chair

BASS TROMBONE

Adam Rainey

TUBA

Dennis Nulty

PRINCIPAL

TIMPANI

Jeremy Epp

PRINCIPAL

Richard and Mona Alonzo Chair

James Ritchie

ASSISTANT PRINCIPAL

NA’ZIR MCFADDEN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

PERCUSSION

Joseph Becker

PRINCIPAL

Ruth Roby and Alfred R. Glancy III Chair

Andrés Pichardo-Rosenthal

ASSISTANT PRINCIPAL

William Cody Knicely Chair

James Ritchie

Luciano Valdes§

LIBRARIANS

Robert Stiles

PRINCIPAL

Ethan Allen

LEGACY CHAIRS

Principal Flute

Women’s Association for the DSO

Principal Cello

James C. Gordon

PERSONNEL MANAGERS

Patrick Peterson

ORCHESTRA MANAGER

Benjamin Tisherman

MANAGER OF ORCHESTRA PERSONNEL

Nolan Cardenas

AUDITION AND OPERATIONS COORDINATOR

STAGE PERSONNEL

Dennis Rottell

STAGE MANAGER

William Dailing

DEPARTMENT HEAD

Zach Deater

DEPARTMENT HEAD

Issac Eide

DEPARTMENT HEAD

Kurt Henry

DEPARTMENT HEAD

Matthew Pons

SENIOR AUDIO DEPARTMENT HEAD

Jason Tschantre

DEPARTMENT HEAD -

PAST MUSIC DIRECTORS

Leonard Slatkin

MUSIC DIRECTOR LAUREATE

Neeme Järvi

MUSIC DIRECTOR EMERITUS

LEGEND

* These members may voluntarily revolve seating within the section on a regular basis

^ Leave of Absence

§ African American Orchestra Fellow

BEHIND THE BATON

Jader Bignamini

MUSIC DIRECTORSHIP ENDOWED BY THE KRESGE FOUNDATION

Jader Bignamini was introduced as the 18th music director of the Detroit Symphony Orchestra in January 2020, commencing with the 2020–2021 season. His infectious passion and artistic excellence set the tone for the seasons 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, Bignamini studied at the Piacenza Music Conservatory and began his career as a musician (clarinet) with Orchestra Sinfonica La Verdi in Milan, later serving as the group’s resident conductor. Captivated by the music of legends like Mahler and Tchaikovsky, Bignamini 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, Bignamini 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 Opera de Paris conducting La forza del destino and with Deutsche Opera Berlin conducting Simon Boccanegra; appearances with the Pittsburgh and Toronto symphonies; 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 traviata); I puritani in Montpellier for the Festival of Radio France; La traviata in Tokyo directed by Sofia Coppola; return engagements with Oper Frankfurt (La forza del destino) and Santa Fe Opera (La bohème); Manon Lescaut at the Bolshoi; La 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 Bignamini 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 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.

Enrico Lopez-Yañez

PRINCIPAL POPS CONDUCTOR AND DEVEREAUX FAMILY CHAIR

Enrico Lopez-Yañez is Principal Pops Conductor of the Detroit Symphony Orchestra. He also serves in the same role with the Nashville and Pacific symphonies, and as Principal Conductor of the Dallas Symphony Presents. Lopez-Yañez has quickly established himself as one of the nation’s leading conductors of popular music and become known for his unique style of audience engagement. Also an active composer/arranger, he has been commissioned by prominent orchestras across the United States. Lopez-Yañez has conducted concerts with a broad spectrum of artists from Nas and Patti LaBelle to Itzhak Perlman, The Beach Boys, Kenny G, and more.

An advocate for Latin music, LopezYañez was the recipient of the 2023 “Mexicanos Distinguidos” Award by the Mexican government, an award granted to Mexican citizens living abroad for outstanding career accomplishments in their field.

As Artistic Director and Co-Founder of Symphonica Productions, LLC, LopezYañez curates and leads programs designed to cultivate new audiences. Symphonica’s show offerings range from pops shows to family and educational productions and have been performed by major orchestra across North America.

As a producer, composer, and arranger, Lopez-Yañez’s work can be heard on numerous albums including the UNESCO benefit album Action Moves People United and children’s music albums including The Spaceship that Fell in My Backyard and Kokowanda Bay

Follow Enrico online @enricolopezyanez

Terence Blanchard

FRED A. ERB JAZZ CREATIVE DIRECTOR CHAIR

Trumpeter, bandleader, composer, and educator

Terence Blanchard has served as the DSO’s Fred A. Erb Jazz Creative Director Chair since 2012. He is recognized globally as one of jazz’s most esteemed trumpeters and a prolific composer for film, television, opera, Broadway, orchestras, and his own ensembles, including the E-Collective and Turtle Island Quartet. Blanchard’s second opera, Fire Shut Up in My Bones, opened The Metropolitan Opera’s 2021–22 season, making it the first opera by an African American composer to premiere at the Met, and earning a Grammy for Best Opera Recording. With a libretto by Kasi Lemmons, the opera was commissioned by Opera Theatre of Saint Louis, where it premiered in 2019. Fire returned to the Met for a second run in April 2024. Blanchard’s first opera, Champion, premiered in 2013 and starred Denyce Graves with a libretto from Michael Cristofer. Its April 2023 premiere at the Met received a Grammy for Best Opera Recording. Blanchard has released 20 solo albums, garnered 15 Grammy nominations and eight wins, composed for more than 60 films including more than 20 projects with frequent collaborator Spike Lee, and received 10 major commissions. He is a 2024 NEA Jazz Master and member of the 2024 class of awardees for the American Academy of Arts and Letters, and currently serves as the Executive Artistic Director for SF Jazz. Visit terenceblanchard.com for more.

DETROIT SYMPHONY ORCHESTRA, INC.

LIFETIME DIRECTORS

Samuel Frankel◊

Stanley Frankel

David Handleman, Sr.◊

Dr. Arthur L. Johnson ◊

Floy Barthel

Chacona Baugh

Penny B. Blumenstein

Richard A. Brodie

Marianne Endicott

David T. Provost Chair

Erik Rönmark President & CEO

James B. Nicholson

Barbara Van Dusen

Clyde Wu, M.D.◊

CHAIRS EMERITI

Peter D. Cummings

Mark A. Davidoff

Phillip Wm. Fisher

DIRECTORS EMERITI

Sidney Forbes

Herman H. Frankel

Dr. Gloria Heppner

Ronald Horwitz

Harold Kulish

Bonnie Larson

Arthur C. Liebler

David McCammon

Marilyn Pincus

Glenda Price

OFFICERS OF THE BOARD OF DIRECTORS

Shirley Stancato Vice Chair

Laura Trudeau Treasurer

James G. Vella Secretary

Ric Huttenlocher Officer at Large

BOARD OF DIRECTORS

Stanley Frankel

Robert S. Miller

James B. Nicholson

Marjorie S. Saulson

Jane Sherman

Arthur A. Weiss

David Wu Officer at Large

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

Michael Bickers

Elena Centeio

Aaron Frankel

Herman B. Gray, M.D.

Laura Hernandez-Romine

Rev. Nicholas Hood III

Richard Huttenlocher

Renato Jamett, Trustee Chair

Daniel J. Kaufman

Keith Mobley, Governing Members Chair

Peter McCaffrey, Orchestra Representative

Xavier Mosquet

David Nicholson

Arthur T. O’Reilly

Stephen Polk

David Provost, Board Chair

Bernard I. Robertson

Shirley Stancato

BOARD OF TRUSTEES

Renato Jamett, Trustee Chair

Ismael Ahmed

Richard Alonzo

Hadas Bernard

Janice Bernick

Elizabeth Boone

Gwen Bowlby

Dr. Betty Chu

Karen Cullen

Joanne Danto

Stephen D’Arcy

Kenneth Thompkins, Orchestra Representative

Laura J. Trudeau

James G. Vella

David M. Wu, M.D.

Ellen Hill Zeringue

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.

Afa Sadykhly Dworkin

James C. Farber

Amanda Fisher

Linda Forte

Carolynn Frankel

Christa Funk

Robert Gillette

Jody Glancy

Malik Goodwin

Mary Ann Gorlin

Donald Hiruo

Michelle Hodges

Maureen T. D’Avanzo

Jasmin DeForrest

Cara Dietz

Julie Hollinshead

Sam Huszczo

Laurel Kalkanis

Jay Kapadia

David Karp

Joel D. Kellman

John Kim

Jennette Smith Kotila

Leonard LaRocca

William Lentine

Linda Dresner Levy

Gene LoVasco

Anthony McCree

Kristen McLennan

Tito Melega

Lydia Michael

H. Keith Mobley, Governing Members

Chair

Scott Monty

Sandy Morrison

Frederick J. Morsches

Jennifer Muse

Sean M. Neall

Eric Nemeth

Maury Okun

Jackie Paige

Vivian Pickard

Denise Fair Razo

Gerrit Reepmeyer

James Rose, Jr.

Laurie Rosen

Elana Rugh

Carlo Serraiocco

Lois L. Shaevsky

Elliot Shafer

Shiv Shivaraman

Dean Simmer

Richard Sonenklar

Rob Tanner

Yoni Torgow

Nate Wallace

Gwen Weiner

Donnell White

Jennifer Whitteaker

R. Jamison Williams

OUT OF THIS WORLD GUSTAV HOLST’S THE PLANETS

Gustav Holst’s ethereal The Planets has captivated audiences for more than a century with its vivid orchestral colors and profound sense of grandeur. The seven-movement work takes listeners on a celestial odyssey that explores the nature of unique astrological and Roman mythological figures associated with each of the planets in our solar system— excluding Earth and with Pluto yet to be discovered at the time.

The origins of The Planets are as fascinating as the work itself. It was the year 1913, and the then 39-year-old Holst was traveling for a holiday in Mallorca, Spain with friends and fellow composers Balfour Gardiner and Arnold Bax, and Arnold’s brother, the poet Clifford Bax. What originated as leisure soon transformed into a time of great creative inspiration for the ever-intellectual Holst: “We occupied the four corners of a carriage,” Clifford wrote later, “and while Gardiner was mastering the enigmas of a Spanish timetable, and my brother remembering all the necessary objects that he had forgotten to pack, Holst informed me that he had just become interested in astrology, and on such a congenial topic I discoursed at length.”

“AS A RULE, I ONLY STUDY THINGS THAT SUGGEST MUSIC TO ME…RECENTLY THE CHARACTER OF EACH PLANET SUGGESTED LOTS TO ME.”

—Gustav Holst

“personalities” manifested through various orchestral techniques. The suite runs an evocative gamut from lively, brash, and rhythmic scherzando movements to quiet meditations of a remote, timeless nature. “Mars, the Bringer of War” is soothed by “Venus, the Bringer of Peace;” animated “Mercury, the Winged Messenger” develops into the decadence of English-folk inspired “Jupiter, the Bringer of Jollity;” “Saturn, the Bringer of Old Age” creates a somber, contemplative mood that gives way to transfiguration, lightened by the eccentric and brass-heavy “Uranus, the Magician.” The final movement, “Neptune, the Mystic,” drifts in from silence to create a shapeless, otherworldly aura in which the orchestra, playing hushed, reverent sonorities, is joined in the final passage by a wordless chorus of women’s voices. As their haunting, unresolved refrain fades, audiences are left floating in a vast cosmic oblivion, inviting curiosity and introspection—a transcendental moment worth experiencing.

PVS CLASSICAL SERIES HOLST’S THE PLANETS

THURSDAY, NOVEMBER 7 AT 7:30 PM

FRIDAY, NOVEMBER 8 AT 8 PM

SATURDAY, NOVEMBER 9 AT 8 PM

Following the trip and for the rest of his life, Holst remained enthusiastic in his exploration of mysticism, eagerly studying the work of prominent astrologer Alan Leo. It is widely accepted that Leo’s book What is a Horoscope and How is it Cast? was a probable influence on Holst as he composed The Planets

Each of the seven movements expresses a mood suggested by the astrological sign associated with its particular planet, with the diverse

Alpesh Chauhan, conductor Johannes Moser, cello

THOMAS ADÈS Three-piece Suite from Powder Her Face

SAINT-SAËNS Cello Concerto No. 1 in A minor, Op. 33

HOLST The Planets

COLIN MATTHEWS Pluto, The Renewer

TICKETS AT DSO.ORG

FORCE OF NATURE

DETROIT WELCOMES

PRINCIPAL GUEST CONDUCTOR TABITA BERGLUND

By Hannah Engwall Elbialy

Hailing from the small mountain town of Røros, Norwegian conductor Tabita Berglund is just as at home surrounded by the elements of nature as on a concert stage.

An avid skier and hiker with a heart for environmental causes, Berglund cites the serenity of time outdoors as a vital contrast to her bustling career. “Spending time in nature and having a quiet place is very necessary in order to feed creativity,” says Berglund. “It’s in the silences, in the space between intensive periods, in that gap, that all my best ideas arrive.”

Widely recognized as one of the most exciting young talents in the world of classical music, Berglund begins her tenure with the DSO as Principal Guest Conductor in the 2024–25 season with an initial four-year contract.

Originally a cellist, Berglund first picked up the instrument at age seven, though had no aspirations to become a professional musician, instead intending to pursue mathematics. After high school, Berglund’s teacher persuaded her to apply for conservatory, where she “fell in love” with the world of music. “I went down that route and haven’t looked back.”

Following cello studies under Truls Mørk and performances with prestigious ensembles including the Oslo Philharmonic and the Bergen Philharmonic Orchestra, Berglund shifted focus to conducting in 2015—a decision that quickly proved transformative. “I applied by chance to a crash course in conducting, and right then and there, I knew that this was my destiny,” she recalls.

After graduating from the Norwegian Academy of Music in 2019, where she studied under Professor Ole Kristian Ruud, Berglund’s conducting career took off. Her talents were soon recognized with prestigious accolades, including the Neeme Järvi Prize at the Gstaad Conducting Academy.

Berglund’s connection with the DSO

was forged in January 2023 when she made her highly successful US debut at Orchestra Hall, conducting a program featuring works by Sibelius, Prokofiev, and Anna Thorvaldsdottir. The engagement was Berglund’s first appearance in several months, following a bout of illness and recovery from Long Covid, which left the conductor feeling unwell and low on energy as she began work with the orchestra. “What I remember is this overwhelming feeling of generosity and warmth. I felt so welcomed, and that gave me energy, and I felt so at home at once.”

During the performances, the chemistry between Berglund and the orchestra was palpable, and it became clear that this was the beginning of something special. “What struck me the first time I worked with the Detroit Symphony Orchestra is that this is an orchestra which knows that music matters,” Berglund reflects. “Their ambition to shape the future of their community through artistic excellence very much coincides with my belief that music has the power to change lives.”

In addition to her new role in Detroit, Berglund has an impressive list of current and upcoming engagements. She concluded her three-year tenure as Principal Guest Conductor of the Kristiansand Symphony Orchestra at the end of the 2023–24 season and is set to become the Principal Guest Conductor of the Dresdner Philharmonie in 2025–26. Recent and forthcoming highlights include debut performances with the Dallas Symphony Orchestra, Houston Symphony, Minnesota Orchestra, Philharmonia Orchestra, Orchestre de chambre de Paris, Swedish Radio Symphony Orchestra, and Salzburg Easter Festival, among many others. Berglund’s reach extends globally, and she collaborates regularly with notable orchestras across Europe. In November 2024, she is slated to make her debut in Asia with the Tokyo Metropolitan Symphony Orchestra.

Berglund’s artistry is also deeply informed by her commitment to the music of her Nordic homeland. She continues to champion the works of composers like Sibelius, Stenhammar, Tveitt, Nordheim, and Thorvaldsdottir, while also exploring a broad range of repertoire that includes everything from Mozart and Beethoven to Mahler, Lutosławski, and Britten.

Rooted in a spirit of continued exploration, she is guided by a deep curiosity to expand musical horizons. “I hope that journey will never stop. There’s so much music, and I hope to get a chance to taste as much as possible.”

As Principal Guest Conductor, Berglund will have an extended artistic collaboration with the DSO, conducting multiple programs each season. This October, she will lead the orchestra on a sea-inspired journey including the US premiere of Anna Clyne’s Time and Tides, a piece co-commissioned by the DSO, written for and performed by celebrated violinist Pekka Kuusisto. The program will also feature Britten’s Four Sea Interludes from Peter Grimes and Sibelius’s Lemminkäinen Suite. Berglund will return in March 2025 to conduct a program that includes Beethoven’s Piano Concerto No. 5 with

Cédric Tiberghien and Mussorgsky’s monumental Pictures at an Exhibition, which Berglund describes as, “one of my all-time favorite pieces.”

As Berglund embarks on this new adventure with the DSO, audiences can look forward to performances that are not only technically superb but also profoundly moving, reflecting the shared belief that music is a force for good in the world.

“There’s no point in making music if no one is listening. And I think music has the ability, if we do it right, to reach part of the human souls that no other art form or means of communication can.”

SEE TABITA CONDUCT AT ORCHESTRA HALL

PVS CLASSICAL SERIES SEA SCENES: SIBELIUS & BRITTEN

FRIDAY, OCTOBER 18 AT 10:45 AM

SATURDAY, OCTOBER 19 AT 8 PM

SUNDAY, OCTOBER 20 AT 3 PM

Tabita Berglund, conductor

Pekka Kuusisto, violin

BRITTEN Four Sea Interludes from Peter Grimes

ANNA CLYNE Time and Tides (US Premiere)

SIBELIUS Lemminkäinen Suite

PVS CLASSICAL SERIES PICTURES AT AN EXHIBITION

THURSDAY, MARCH 6 AT 7:30 PM

FRIDAY, MARCH 7 AT 8 PM

SATURDAY, MARCH 8 AT 8 PM

Tabita Berglund, conductor

Cédric Tiberghien, piano

BEETHOVEN Piano Concerto No. 5, “Emperor”

MUSSORGSKY/ARR. RAVEL Pictures at an Exhibition

The Fine Instrument Collection of the Detroit Symphony Orchestra

The Larson Piano, a Steinway Model D Concert Grand Piano, handmade in the New York Steinway Factory. Currently played by guest pianists. Contributed to the DSO in 2023 by Bonnie Larson.

David Tecchler cello, made in 1711 referred to as “The Bedetti” after a previous owner (Dominicus Montagna 1711). Currently played by Wei Yu, DSO Principal Cello. Contributed to the DSO in 2018 by Floy and Lee Barthel.

J.B. Guadagnini viola, made in 1757 (Joannes Baptifta Guadagnini Pia centinus fecit Mediolani 1757). Currently played by Eric Nowlin, DSO Principal Viola. Contributed to the DSO in 2019 by donors who wish to remain anonymous.

Become a Friend of the DSO

By LaToya Cross

Music is a gift that continues to enrich lives. It is the foundation of the work we do at the Max M. and Marjorie S. Fisher Music Center, and in the heart of each DSO musician—giving way to passionate, skilled performances week after week.

We want to bring you closer to the music with programming that encourages you to experience everything your DSO has to offer—in and outside of Orchestra Hall.

This deep dive into the DSO universe presents a community of friends with mutual enjoyment and respect for the beauty of music and its significance in daily life.

As a Friend of the DSO, you’ll go behind the scenes to experience member preview rehearsals where you’ll hear conductors collaborate with the orchestra, mix and mingle with composers and discuss their new work, engage with musicians in the elegant donor lounge, and have advanced access to concerts and specially curated musical experiences that take you from The Max to venues across the city.

you are here

Friends make everything possible, and this is all part of showing our appreciation for you and the work we do together!

DSO Friends feels like music, creation, community, impact.

YOUR SUPPORT MAKES

IT POSSIBLE:

“Inclusion and acceptance happen one small act at a time. I brought my nonverbal autistic son with a very busy body to a DSO Relaxed Open Rehearsal. We never would have been able to attend in a typical setting for fear of disruption. He doesn’t sit and watch TV or movies, but he sat for over an hour enthralled. I had to hold back tears; it was a touching experience as a parent to be able to do that for my son, something I never thought I would be able to do. My son’s life, education, and culture have changed. What you did for us today can’t be measured.”

*Relaxed events at the DSO are designed for individuals on the autism spectrum and those with other sensory sensitivities

LEARNING & ENGAGEMENT

Detroit Harmony

On the cusp of distributing their 1000th instrument, Detroit Harmony is entering a new phase

By Sarah Smarch

Inside the one-story brick building that sits on Cass Avenue behind the Orchestra Place Parking Garage, a new chapter is unfolding for Detroit Harmony.

Long called the Limo Building for the cars that were once parked there, the location also took turns as the DSO archives and telemarketing headquarters. With shifts in technology and the archives formally moved to Wayne State University’s Reuther Library, the space was ready for a new purpose: Detroit, meet your Detroit Harmony Building, affectionately coined the “DHB.”

Infrastructure may not be glamourous, but it’s a critical component for any mission, which allows day-to-day operations to be carried out successfully. Buildings also speak volumes; they are a tangible indicator of a strong foundation and show that roots have been laid for growth.

Students experience instruments firsthand at a Detroit Harmony instrument try-out table.

Having a physical home ensures an exact instrument inventory, greatly improving the ability to get instruments into student hands, and aids in staying abreast of which instruments require repair. Repairs can also take place onsite. Last spring, the DHB hosted a repair workshop for partner organization Detroit Suzuki to work with Cass Tech students and instructors, who were able to repair bridges on over 40 violins and violas and place them right back on the inventory shelf for pick up.

The DHB provides space for meetings and performances and has already become a community gathering space where core memories are built and students are gifted tools that will anchor their life development. This fall, a Concert Clothing Closet will also debut, where all DH and partner organization students can “shop” for needed concert apparel.

Staffing and partnerships have also grown. What started as a dedicated group with a vision for the future—far exceeding the bandwidth of the hands involved—has strategically expanded to bring that

vision into focus and will continue to do so. Originally made up of Detroit Harmony Managing Director Damien Crutcher and three partner organizations, the collective has increased to three full-time DSO Detroit Harmony staff members and 59 partner organizations. Detroit Harmony’s second large-scale instrument drive will take place this season.

Looking to the future, Detroit Harmony Partnerships & Services Coordinator Erin Faryniarz expresses what’s ahead for the program: “Our goal in the next few years is to organize a mobile music lessons program to even out the music lesson desert in some areas of the city and create equitable access to music teaching artists for all our DH instrument recipients.”

VISIT DSO.ORG TO LEARN MORE ABOUT DETROIT HARMONY

TRANSFORMATIONAL SUPPORT

The DSO is grateful to the donors who have made extraordinary endowment investments through the DSO Impact Campaign or multi-year, comprehensive gifts to support general operations, capital improvements, or special programs.

FOUNDING FAMILIES

Mr. & Mrs. Lee Barthel

Julie & Peter Cummings APLF

The Davidson-Gerson Family and the William Davidson Foundation

The Richard C. Devereaux Foundation

Erb Family and the Fred A. & Barbara M. Erb Family Foundation

The Fisher Family and the Max M. & Marjorie S. Fisher Foundation

Stanley & Judy Frankel and the Samuel & Jean Frankel Foundation

Mort & Brigitte Harris Foundation APLF

Danialle & Peter Karmanos, Jr.

Alan J. & Sue Kaufman and Family MM

Linda Dresner & Ed Levy, Jr. APLF

Shari & Craig Morgan APLF, MM

James B. & Ann V. Nicholson and PVS Chemicals, Inc. APLF

Bernard & Eleanor Robertson

Mrs. Richard C. Van Dusen

Ralph C. Wilson, Jr. Foundation

Clyde & Helen Wu◊

VISIONARIES

Mr. & Mrs.◊ Richard L. Alonzo APLF

Penny & Harold Blumenstein APLF

Mr. & Mrs. Phillip Wm. Fisher APLF, MM

Renato & Elizabeth Jamett MM

Mr. & Mrs. David Provost MM

Paul & Terese Zlotoff

CHAMPIONS

Janet & Norman Ankers

Mandell & Madeleine Berman Foundation APLF

Mr. & Mrs. David Cadieux

Mr. & Mrs. Raymond M. Cracchiolo

Joanne Danto & Arnold

Weingarden

Vera & Joseph Dresner Foundation

DTE Energy Foundation Ford Motor Company Fund

William & Story John

John S. & James L. Knight Foundation

The Kresge Foundation

Mrs. Bonnie Larson APLF

Lisa & Brian Meer

The Andrew W. Mellon Foundation

Ms. Deborah Miesel

Dr. William F. Pickard◊

The Polk Family

Stephen M. Ross

Nancy Schlichting & Pamela Theisen APLF

Richard Sonenklar and Gregory Haynes Philanthropic Fund MM

Family of Clyde & Helen Wu APLF

LEADERS

Applebaum Family Philanthropy

Charlotte Arkin Estate

Marvin & Betty Danto Family Foundation APLF

Adel & Walter Dissett MM

Herman & Sharon Frankel

Ruth & Al◊ Glancy

Mary Ann & Robert Gorlin APLF

Mary Lee Gwizdala

Ronald M. & Carol◊ Horwitz

Richard H. & Carola Huttenlocher MM

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

BENEFACTORS

Mr. & Mrs. Robert A. Allesee ◊

Mr. David Assemany

& Mr. Jeffery Zook APLF MM

W. Harold & Chacona W.

Baugh APLF

Gwen & Richard Bowlby MM

Robert & Lucinda Clement

Lois & Avern Cohn◊ MM

Jack, Evelyn, and Richard Cole Family Foundation

Mary Rita Cuddohy Estate

Margie Dunn & Mark

Davidoff APLF, MM

DSO Musicians MM

Bette Dyer Estate

Margo & Jim Farber MM

Michael & Sally Feder MM

Marjorie S. Fisher Fund MM

Dr. Marjorie M. Fisher

& Mr. Roy Furman

Ms. Mary D. Fisher

Mr. & Mrs. Aaron Frankel MM

Barbara Frankel◊ & Ronald

Michalak MM

Victor & Gale Girolami Fund

The Glancy Foundation, Inc. APLF

Herbert & Dorothy Graebner ◊

Mr. & Mrs. David Jaffa

Ann & Norman◊ Katz

Danny & Morgan Kaufman MM

Max Lepler & Rex Dotson MM

Dr. Melvin A. Lester ◊

Eugene & Jeanne LoVasco

Family

Florine Mark◊

Michigan Arts & Culture Council

Allan & Joy Nachman MM

Geoffrey S. Nathan & Margaret E. Winters◊ APLF, MM

Mariam C. Noland & James A.

Kelly APLF

Eric & Paula Nemeth

Roger & Kathy Penske APLF

Dr. Glenda D. Price

Ruth Rattner

Mr. & Mrs. Lloyd E. Reuss◊

Mr. & Mrs.◊ Paul Schaap

Mr. & Mrs. Fred Secrest◊

Jocelyn & Robert Shaffer ◊

Mr. & Mrs. Mark Shaevsky

Jane & Larry Sherman

Cindy McTee & Leonard Slatkin

Marilyn Snodgrass Estate

Mr. & Mrs. Arn Tellem APLF

Mr. James G. Vella MM

Eva von Voss and Family MM

KEY:

MM DSO Musicians Fund for Artistic Excellence

APLF Anne Parsons Leadership Fund

◊ Deceased

ENRICO LOPEZ-YAÑEZ Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

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

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

TABITA BERGLUND Principal Guest Conductor

PVS CLASSICAL SERIES

Title Sponsor:

NA’ZIR MCFADDEN Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

AN AMERICAN IN PARIS & BRANFORD MARSALIS

Thursday, September 26, 2024 at 7:30 p.m.

Friday, September 27, 2024 at 8 p.m. in Orchestra Hall

JADER BIGNAMINI, conductor BRANFORD MARSALIS, saxophone

John Stafford Smith The Star-Spangled Banner (1750 - 1836)

Lyrics by Francis Scott Key; arr. Arthur Luck

Joan Tower

Fanfare for the Uncommon Woman No. 6 (b. 1938)

Erwin Schulhoff Hot-Sonate for Alto Saxophone and Orchestra (1894 - 1942) Branford Marsalis, saxophone

George Gershwin Cuban Overture (1898 - 1937)

Intermission

Darius Milhaud Scaramouche, Op. 165c (1892 - 1974) Vif

Modere

Brazileira (Movement de Samba) Branford Marsalis, saxophone

Leonard Bernstein Three Dance Episodes from On the Town (1918 - 1990) The Great Lover

Lonely Town (Pas de deux)

Times Square

George Gershwin An American in Paris (1898 - 1937)

rev. F. Campbell-Watson

Friday’s concert is presented with additional support from Honigman LLP celebrating their commitment and their continued support to the arts and the DSO.

Friday’s performance will be webcast via our exclusive Live from Orchestra Hall series, presented by Ford Philanthropy. Technology support comes from the John S. and James L. Knight Foundation.

Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

ENRICO LOPEZ-YAÑEZ Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

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

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

Title Sponsor: PVS

TABITA BERGLUND Principal Guest Conductor

CLASSICAL SERIES

NA’ZIR MCFADDEN Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

OPENING NIGHT GALA

Saturday, September 28, 2024 at 7 p.m. in Orchestra Hall

JADER BIGNAMINI, conductor BRANFORD MARSALIS, saxophone

Rhiannon Giddens (b. 1977) Overture from Omar and Michael Abels (b. 1962)

John Williams “Escapades” from Catch Me If You Can (b. 1932) for Alto Saxophone and Orchestra

Closing In Reflections

Joy Ride

Branford Marsalis, saxophone

Leonard Bernstein

Three Dance Episodes from On the Town (1918 - 1990) The Great Lover

Lonely Town (Pas de deux)

Times Square

Darius Milhaud Scaramouche, Op. 165c (1892 - 1974) Vif

Modere

Brazileira (Movement de Samba)

Branford Marsalis, saxophone

George Gershwin An American in Paris (1898 - 1937)

rev. F. Campbell-Watson

Thank you to the musicians of the Detroit Symphony Orchestra, who are playing the September 28 concert as a donated service. We appreciate their continued support and generosity.

Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

PROGRAM AT-A-GLANCE | AN AMERICAN IN PARIS & BRANFORD MARSALIS / OPENING NIGHT GALA

A Night on the Town

The DSO opens its season with Jader Bignamini and Branford Marsalis evoking the best soundtrack of a cosmopolitan life. Travel from a smokey jazz club, to the hot lights of a scintillating cabaret; experience the roomfilling power of the concert hall and opera house drama. The journey takes us from Paris and Berlin to Rio and Havana, with a stop on Broadway for good measure. Saturday’s Opening Night Gala even has a dash of Hollywood glamour with the always sensational Marsalis performing John Williams. Welcome back to Orchestra Hall!

PROGRAM NOTES

Fanfare for the Uncommon Woman No. 6

Composed 2016 | Premiered 2016

JOAN TOWER

B. September 6, 1938, New Rochelle, New York

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion, keyboard, and strings. (Approx. 5 minutes)

The first Fanfare for the Uncommon Woman was written in 1986 using the same brass and percussion ensemble as Aaron Copland’s popular Fanfare for the Common Man (1942).

Written as both an homage to and parody of Copland’s famous World War II statement of power and strength, Tower’s fanfare offers tribute to women who are “adventurers and risk-takers.”

While the piece had political overtones, Tamara Bernstein reports that “the gutsy Fanfare for the Uncommon Woman quickly became a hit, and an historic feminist statement in music…” Tower states more modestly, “I think some people are not aware that there are no women composers on their concerts … Other than that, the music is the music and the fact that I’m a woman doesn’t make a difference to the music.” Her Fanfare, then, should be viewed as a celebration (and a reminder)

of women in music. In fact, there are six Fanfares for the Uncommon Woman total , each dedicated to an inspiring individual: No. 1—conductor Marin Alsop (currently with the ORF Vienna Radio Symphony Orchestra, among others), No. 2—Joan Briccetti (general manager, St. Louis Symphony, 1985–87), No. 3—Frances Richard (American Society of Composers, Authors, and Publishers director), No. 4— conductor JoAnn Falletta (currently with Buffalo Philharmonic), No. 5—arts patron Joan Harris, and No. 6—for conductor Marin Alsop once more and commissioned for the Baltimore Symphony Orchestra’s Centennial Season in 2016.

Musically, Tower’s Fanfare No. 6 starts with an incessant ticking (resembling a bomb or a clock) that abruptly transitions into an explosive rhythmic motive that influences the remainder of the piece.

This performance marks the DSO premiere of Joan Tower’s Fanfare for the Uncommon Woman No. 6.

Hot Sonate

Composed 1930 | Premiered 1930

ERWIN SCHULHOFF

B. June 8, 1894, Prague, Czechia

D. August 18, 1942, Weissenburg in Bayern, Germany

Scored for 2 flutes (one doubling alto flute and piccolo), 2 oboes (one doubling English horn), 2 clarinets (one doubling

bass clarinet), 2 bassoons (one doubling contrabassoon), 2 horns, 2 trumpets, tenor trombone, bass trombone, tuba, percussion, and jazz bass. (Approx. 15 minutes)

Erwin Schulhoff was a Czech composer and pianist, and one of the brightest figures in a generation of European musicians whose careers were prematurely ended by the rise of the Nazis in Germany.

Schulhoff’s works fall into no fewer than four distinct stylistic periods. His Hot Sonate was originally written for alto saxophone and piano in 1930 and falls squarely into the composer’s third stylistic period, which integrates modernist vocabulary and jazz with neoclassical and dance elements. It is Schulhoff in full jazz/cabaret mode, complete with fauxjazz syncopations and occasional rhythmic surprises. The work is in four parts, with the third part functioning as a bluesy slow movement.

The “hot” reference in the title comes from the improvisatory or “jazz” element that is part of the fabric of the work, which requires soloist and accompaniment to exercise a great deal of freedom while still remaining in sync with each other.

The DSO has performed Schulhoff’s Hot Sonate previously on one occasion, in December 2011 conducted by Thomas Wilkins and featuring Branford Marsalis on alto saxophone.

Cuban Overture

GEORGE GERSHWIN

Composed 1932 | Premiered 1932

B. September 26, 1898, Brooklyn, New York D. July 11, 1937, Beverly Hills, California

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

George Gershwin’s Cuban Overture was called Rhumba when it received its first performance on August 16, 1932.

Prior to Castro’s rise to power and the imposition of economic and cultural blockades between the US and Cuba, Havana was a popular vacation spot for Americans. There, most visitors found themselves entranced by the pulsating rhythms of the mambo, the rhumba, the conga, and other Cuban dances. One tourist who fell under their spell was George Gershwin, who visited Havana in 1932. The composer, already famous for his Broadway musicals and the exceptionally successful concert piece Rhapsody in Blue, was particularly impressed by the percussion instruments he encountered, and he brought several of these with him back to New York. Gershwin immediately resolved to use both these instruments and some of the characteristic Cuban rhythms in a symphonic setting.

The form of this piece bears little relation to that of the classical overture. Instead, it presents a succession of tunes in three broad sections. The first portion of the work is lively, its restless themes unfolding over a rhythmic accompaniment colored by the distinctive sounds of Latin percussion instruments. A brief cadenza - like solo for clarinet ushers in a slower central episode that contemplates a blues-tinged melody traded back and forth between the woodwinds and strings. In its development, this theme swells to an unexpected fullness. Suddenly, however, Gershwin breaks off, quickly recapturing the energy of the opening section and returning to its thematic material, which he now views from a new perspective. — Paul Schiavo

The DSO most recently performed George Gershwin’s Cuban Overture in June 2015, conducted by Jeff Tyzik. The DSO first performed the piece in October 1938, conducted by Jose Iturbi.

Scaramouche, Op. 165c

Composed 1937 | Premiered 1937

DARIUS MILHAUD

B. September 4, 1892, Aix-en-Provence, France

D. June 22, 1974, Geneva, Switzerland

Scored for solo alto saxophone, 2 flutes (one doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, percussion, and strings. (Approx. 9 minutes)

Themusic for Milhaud’s Scaramouche began as a score of incidental music for the early 1937 revival of Molière’s play Le Médecin volant (Op. 165). During the spring of 1937, famed piano pedagogue Marguerite Long commissioned Milhaud to arrange the music for two of her former students, Marcelle Meyer and Ida Jankelevitch, to play at the 1937 International Exposition in Paris. That version of the piece (Op. 165b) was so popular that Milhaud would later make two more arrangements: one for saxophone and orchestra (Op. 165c) and the other, commissioned by Benny Goodman, for clarinet and orchestra (Op. 165d).

Regardless of the version, the three-movement work highlights a number of the common traits found in Milhaud’s music. The sprightly first movement features an intricate network of polyphonic melodies playing against each other. The diatonic melodies and lively accompaniments recall Paris’s fascination with jazz during the years between the World Wars, while occasional moments of bitonality remind the listener that Milhaud was, after all, a modernist. The bluesy saxophone melody of the second movement floats over an accompaniment that sounds as if it were drawn from one of Milhaud’s numerous film scores. The final movement was one of numerous pieces inspired by Milhaud’s year-long stay in Brazil (1917–1918).

The DSO most recently performed

Milhaud’s Scaramouche in February 2007 at a Classical Roots concert, conducted by Thomas Wilkins and featuring Branford Marsalis as soloist. The DSO first performed the piece in October 1946.

On the Town: Three Dance Episodes

Composed 1945 | Premiered 1946

LEONARD BERNSTEIN

B. August 25, 1918, Lawrence, Massachusetts

D. October 14, 1990, New York, New York

Scored for flute (doubling on piccolo), oboe (doubling on English horn), 3 clarinets (one doubling on E-flat clarinet, one doubling on bass clarinet), 2 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, keyboard, and strings. (Approx. 10 minutes)

Themusical On the Town was the first Broadway showcase for four important talents: composer Leonard Bernstein, choreographer Jerome Robbins, and the songwriting team of Adolph Comden and Betty Green. Based on the 1944 Bernstein/Robbins ballet Fancy Free, this musical expanded the original into an energetic and carefree story of four sailors on 24-hour shore leave in New York. Bernstein’s first big hit is filled with vitality and imagination. It is daring, intelligent, and attractive music, and the opening of the sailors’ trio “New York, New York” is to this day often used as a lead-in or background for scenes of Manhattan. The show opened in December 1944, ran for 463 performances, and in the words of the critic for Newsweek magazine was “The most original and engaging musical to hit New York since Oklahoma.”

The DSO most recently performed Bernstein’s Three Dance Episodes from On the Town in July 2018, conducted by Joshua Gersen. The DSO first performed the piece in February 1989, conducted by Leslie B. Dunner.

An American in Paris

Composed 1928 | Premiered 1928

GEORGE GERSHWIN

B. September 26, 1898, New York, NY

D. July 11, 1937, Los Angeles, CA

Scored for 3 flutes (one doubling on piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 3 saxophones, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, keyboard, and strings. (Approx. 17 minutes)

AnAmerican in Paris was commissioned by the Philharmonic Symphony Society of New York and was first performed by that orchestra under the direction of Walter Damrosch in December 1928. George Gershwin himself referred to the piece as a “rhapsodic ballet,” and went on to say, perhaps obviously, that his purpose was “to portray the impressions of an American visitor in Paris as he strolls around the city.” The beloved piece is well-known for its peppy, evocative score—which is at times as harsh as the titular city—as well as the addition of saxophones and four authentic Parisian taxi horns to the orchestra.

The DSO most recently performed Gershwin’s An American in Paris in July 2018, conducted by Joshua Gersen. The DSO first performed the piece in February 1955, conducted by C. Valter Poole.

Overture from Omar

RHIANNON GIDDENS

B. 1977, Greensboro, NC

MICHAEL ABELS

B. 1962, Phoenix, AZ

Scored for 2 flutes (one doubling on alto flute), 2 oboes (one doubling on English horn), 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, contrabass trombone, timpani, percussion, harp, keyboard, and strings. (Approx. 4 minutes) Omar tells the story of Omar ibn Said, a Muslim African who was kidnapped by slavers and brought to the US in 1807. His

autobiography (now more than 200 years old) along with other manuscripts are one of the few surviving narratives by an enslaved person in the US and are preserved in the Library of Congress. The opera was commissioned by Spoleto Festival USA to world-renowned artist-singer-songwriter-historian Rhiannon Giddens, who in turn asked Abels to collaborate with her to compose this powerful work featuring rising operatic star Jamez McCorkle in the title role.

This performance marks the DSO premiere of Overture from Omar by Rhiannon Giddens and Michael Abels.

“Escapades” from  Catch Me If You Can JOHN WILLIAMS

B. February 8, 1932, Flushing, New York, NY

Scored for 3 flutes (one doubling on piccolo), 2 oboes (one doubling on English horn), 2 clarinets (one doubling on bass clarinet, plus an additional bass clarinet), 2 bassoons (one doubling on contrabassoon), 4 horns, 3 trumpets, 2 trombones, bass trombone, tuba, timpani, percussion, harp, keyboard, and strings. (Approx. 13 minutes)

Composer

John Williams created the score for Steven Spielberg’s 2002 film Catch Me If You Can, which tells the true story of Frank Abagnale Jr., a young con artist.

“Escapades” is a concert suite drawn from the film’s soundtrack, reflecting the jazzy, vibrant spirit of the 1960s. Each movement captures different facets of the film, from the thrilling chase between Abagnale and the FBI, to more introspective moments and the exuberant energy of Abagnale’s adventures. The alto saxophone, prominently featured, represents Abagnale’s charming yet elusive character.

Williams’s jazz-inflected orchestration, with lively brass and percussion,

effectively evokes the swinging energy of the era while also serving the film’s narrative. “Escapades” is a brilliant example of the composer’s skill in blending cinematic storytelling with symphonic form, making it a dynamic and engaging piece

PROFILES

For Jader Bignamini biography, see page 6.

BRANFORD MARSALIS

Branford Marsalis is an award-winning saxophonist, bandleader, featured classical soloist, and a film and Broadway composer. Over the span of his decades long career, he has become a multi award-winning artist with three Grammy Awards, and Emmy and Tony Award nominations, a citation by the National Endowment for the Arts as a Jazz Master, and an avatar of contemporary artistic excellence.

Marsalis is increasingly sought after as a featured soloist with acclaimed orchestras including the New York and Los Angeles philharmonics, and the Chicago, Detroit, North Carolina, and Düsseldorf symphonies, with a repertoire that includes compositions by Debussy, Glazunov, Ibert, Mahler, Milhaud, Rorem, Vaughan Williams, and John Williams. He has toured with chamber orchestras such as the Orpheus Chamber Orchestra, Chamber Orchestra of Philadelphia, and City Chamber Orchestra of Hong Kong. Emerging from the global pandemic in January 2022, Marsalis first returned to the New York Philharmonic to perform John Adams’s Saxophone Concerto, which highlighted his incredible agility and the instrument’s lyrical voice. Marsalis then launched a tour with the Orpheus Chamber Orchestra, in a program which explored the

for both the concert hall and the silver screen.

This performance marks the DSO premiere of “Escapades” from Catch Me If You Can by John Williams.

intersectionality of jazz and classical music with repertoire selections including Debussy’s jazz-inspired Rhapsody for alto saxophone and chamber orchestra. Later that year, he performed John Williams’s “Escapades” in Tanglewood’s celebration of Williams’s 90th birthday. In 2023, Marsalis performed with symphonies in Miami, Greensboro, Toledo, and Corpus Christi, as well as with the Warsaw Philharmonic and Calgary Philharmonic. Marsalis recently composed a symphony commissioned by the Kalamazoo Symphony Orchestra, which premiered in March 2024.

Even as he tours the world as a featured classical soloist, Marsalis continues to perform with The Branford Marsalis Quartet, which he formed in 1986. His work on Broadway has garnered a Drama Desk Award and Tony nominations for the acclaimed revivals of Children of a Lesser God, Fences, and A Raisin in the Sun. As a composer for film and television, his screen credits include original music composed for The Immortal Life of Henrietta Lacks starring Oprah Winfrey, Ma Rainey’s Black Bottom starring Viola Davis and Chadwick Boseman, Rustin starring Colman Domingo, and the Emmynominated Tulsa Burning: The 1921 Race Massacre

ENRICO LOPEZ-YAÑEZ Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

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

THE MUSIC OF STAR WARS

Friday, October 4, 2024 at 10:45 a.m. & 8 p.m.

Saturday, October 5, 2024 at 8 p.m.

Sunday, October 6, 2024 at 3 p.m. in Orchestra Hall

ENRICO LOPEZ-YAÑEZ,

conductor

John Williams Main Title from Star Wars

“Anakin’s Theme” from The Phantom Menace

“Across the Stars” from Attack of the Clones

“ Battle of the Heroes” from The Revenge of the Sith

“The Adventures of Han” from Solo: A Star Wars Story

Michael Giacchino

John Williams

Enrico Lopez-Yañez

Ludwig Göransson

“Jyn Erso & Hope” from Rogue One: A Star Wars Story

“Luke And Leia” from the Star Wars Saga

The Hebrides Shuffle Intermission

The Mandalorian Main Title arr. Todd Sheehan

John Williams

“Rey’s Theme” from The Force Awakens

“Speeder Chase” from The Rise of Skywalker

“Jabba the Hutt” from Star Wars

“Duel of the Fates” from The Phantom Menace

Michael Giacchino

John Williams

“ The Imperial Suite” from Rogue One: A Star Wars Story

“ Throne Room and End Title” from Star Wars Suite for Orchestra

PROGRAM AT-A-GLANCE | THE MUSIC OF STAR WARS

A Long Time Ago in a Galaxy Far, Far Away…

We all know what comes next. After nearly 50 years, the music of Star Wars is the most universally recognized music in the history of film; in our primarily visual culture, one could also make a reasonable argument that these movie and television scores are some of the most important orchestral works of our age. Largely written by the great John Williams, paired here with interesting recent entries by fellow Oscar winners Michael Giacchino and Ludwig Göransson, this music at its best evokes everything you want in a concert program—even if the only scenes you can see are the ones from your memories.

ENRICO LOPEZ-YAÑEZ Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

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

TERENCE BLANCHARD Fred A. Erb Jazz Creative Director Chair

TABITA BERGLUND Principal Guest Conductor

PVS CLASSICAL SERIES

Title Sponsor:

RHAPSODY IN BLUE

Friday, October 11, 2024 at 10:45 a.m.

Saturday, October 12, 2024 at 8 p.m.

Sunday, October 13, 2024 at 3 p.m. in Orchestra Hall

JADER BIGNAMINI, conductor

WAYNE MARSHALL, piano

NA’ZIR MCFADDEN Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

Leonard Bernstein Symphonic Dances from West Side Story (1918 - 1990) I. Prologue

II. “Somewhere”

III. Scherzo

IV. Mambo

V. Cha Cha

VI. Meeting Scene

VII. ”Cool” Fugue

VIII. Rumble

IX. Finale

George Gershwin Rhapsody in Blue (1898 - 1937) Wayne Marshall, piano arr. Ferde Grofé

Intermission

Samuel Coleridge-Taylor

Othello: Suite, Op. 79 (1875 - 1912) Dance

Children’s Intermezzo

Funeral March

Willow Song

Military March

Giuseppe Verdi Ballet Music from Act III of Macbeth (1813 - 1901)

Piotr Ilyich Tchaikovsky Romeo and Juliet, Overture-Fantasy (1840 - 1893)

Saturday’s performance will be webcast via our exclusive Live from Orchestra Hall series, presented by Ford Philanthropy. Technology support comes from the John S. and James L. Knight Foundation.

Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

PROGRAM AT-A-GLANCE | RHAPSODY IN BLUE

Shakespearean Rhapsody

Although the four Shakespeare-inspired works on this program were written over the course of a century for different types of stagings, all convey heightened instrumental drama worthy of the Bard.

The ballet from Verdi’s opera Macbeth was added 18 years after its premiere for a Paris production—de rigueur for opera in 19th-century France. Tchaikovsky’s Romeo & Juliet, Overture-Fantasy, a symphonic poem, was the first of the composer’s works inspired by Shakespeare—he would go on to write pieces based on The Tempest and Hamlet. Coleridge-Taylor’s Othello began as incidental music for a theatrical production at His Majesty’s Theatre in London’s West End. And leave it to Leonard Bernstein to collide Romeo & Juliet with Cuban mambo in Broadway’s West Side Story.

Rhapsody in Blue—not at all derived from Elizabethan theater—nevertheless showcases the intense theatricality of Gershwin’s style in its depiction of the urban hustle and bustle in the roaring twenties, and this year celebrates a century.

PROGRAM NOTES

Symphonic Dances from West Side Story

Composed 1957 | Premiered 1957 LEONARD BERNSTEIN

B. August 25, 1918, Lawrence, MA

D. October 14, 1990, New York, NY

Scoring varies by piece. (Approx. 23 minutes)

Justas Leonard Bernstein brought his theatrical sensibility to his symphonies, so did he make symphonic versions of his best-loved stage works, including Fancy Free, On the Town, and West Side Story. All three of these, along with the film music for Elia Kazan’s On the Waterfront, are “city scores,” as drama critic Brooks Atkinson once ably described them. In Atkinson’s estimation, and that of most audiences, West Side Story is the most enduring and the best of these.

“By the standards of Broadway, it looked unpropitious,” he wrote. “Instead of glamour, it offered the poverty-stricken life of Puerto Rican street gangs, and it did not conclude with romance and the cliché of living happily ever after.”

Although it was deliberately patterned after Romeo and Juliet, it dispensed with the wit and poetry of the Shakespeare

drama. In the beginning, some theatergoers were repelled by the ignobility of the West Side Story scene and complained that Broadway had betrayed them.

But enthusiasm travels fast and infects theatergoers everywhere, and it was not long before West Side Story was recognized as an achievement of the first order. Not the least of its many incarnations is the one for symphony orchestra, in which the composer was able to work out the musical implications of his themes without being bound by stage action or hampered by the limitations of a pit orchestra.

The DSO most recently performed Symphonic Dances from West Side Story in February 2019, conducted by Leonard Slatkin. The DSO first performed the work in April 1967, conducted by Yuri Krasnapolsky.

Rhapsody in Blue

Composed 1924 | Premiered 1924

GEORGE GERSHWIN

B. September 26, 1898, Brooklyn, New York D. July 11, 1937, Los Angeles, California

Scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, 3 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, strings, banjo, tenor saxophone, and 2 alto saxophones. (Approx. 15 minutes)

By early 1924, Gershwin was a big success on Broadway and highly regarded as a pianist. It was at this time that Paul Whiteman, the self-styled “King of Jazz,” and whose band had provided the background to Gershwin’s Blue Monday, began to conceive one of the most ambitious concerts of the Roaring Twenties, an “Experiment in Modern Music” to be held at the famous Aeolian Hall in New York on February 12. Gershwin had previously agreed to work with Whiteman, but forgot about the project in the midst of bustling theater commitments in 1924. Imagine his surprise, then, when he read in early January a newspaper article saying that he would be composing a “jazz concerto” for Whiteman’s ambitious concert!

The initial inspiration for the work, which was originally called American Rhapsody, came during a train trip to Boston. In a letter to his brother Ira the composer wrote, “it was on the train, with its steely rhythms and rattlety-bang…that I suddenly heard—and even saw on paper—the complete construction of the rhapsody from beginning to end. I then worked on the thematic material already in my mind and tried to conceive the composition as a whole.”

“I heard it as a musical kaleidoscope of America,” Gershwin continued, “of our vast melting pot, of our national pep, of our blues and our metropolitan madness. By the time I reached Boston, I had a definite plot of the piece, as distinguished from its actual substance.”

The “Experiment” concert as a whole was only a qualified success, mainly because the program lasted for almost three hours, and by the time the new Gershwin work appeared—the 24th work of 25 on the program—the audience was getting bored and restless with pieces that were not all that interesting. However, Rhapsody in Blue quickly made the audience sit up with a new jolt of

energy, and when it ended it was received with a standing ovation.

With this landmark work, American music came of age in the concert hall, and helped to establish American music as an important commodity, paving the way for general acceptance of the works of other composers of the day.

The DSO most recently performed Rhapsody in Blue in February 2020, conducted by Constantine Kitsopoulos and featuring Kevin Cole on piano. The DSO first performed the work in November 1934, conducted by Victor Kolar.

Othello

Composed 1909 | Premiered 1912

SAMUEL COLERIDGE-TAYLOR

B. August 15, 1875, Holborn, London, England D. September 1, 1912, Croydon, Surrey, England

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion, and strings. (Approx. 14 minutes)

SamuelColeridgeTaylor was an English composer, conductor, and political activist born in London’s Holborn borough in 1875. Raised in a musical family, he began studies at the Royal College of Music at age 15. Under professor Charles Stanford, Coleridge-Taylor completed his degree and honed his compositional prowess, progressing to become a prominent composer in the early 1900s.

Commissioned by great English actor and theatre impresario Herbert Beerbohm Tree to compose incidental music for His Majesty’s Theatre London’s production of the Shakespeare play Othello in 1909, Coleridge-Taylor composed the Othello suite in 1912 containing five movements and utilizing the incidental music he wrote for the play. The incidental music used in this suite is operatic and grand in style, containing both

funeral and military marches alongside lyrical, intimate moments with haunting melodies, energetic dances, and a “Children’s Intermezzo” that evokes calm and innocence. Shortly after the premiere of this work, Coleridge-Taylor died on September 1, 1912, of pneumonia contracted due to overwork at the age of 37. Despite his early demise, he is regarded as one of Britain’s top composers.

This performance marks the DSO premiere of Coleridge-Taylor’s Othello.

Ballet Music from Act III of Macbeth

Composed 1847 | Premiered 1847

GIUSEPPE VERDI

B. October 10, 1813, Le Roncole, Italy

D. January 27, 1901, Milan, Italy

Scored for flute, piccolo, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 4 trombones, timpani, percussion, and strings. (Approx. 10 minutes)

Untilthe late 1830s, Italian composer

Giuseppe Verdi lived a relatively peaceful life. He had spent his youth as an altar boy and organist at San Michele Arcangelo in Bussetto, Italy. He later studied composition with Vicenzo Lavigna, a composer and maestro at La Scala in Milan, and in 1836 was named music director of the Busseto Philharmonic. That same year, Verdi married his childhood sweetheart, Margherita Barezzi. They had two children together before tragedy struck in 1839, when one by one, the family fell ill. Margherita and the children died over the course of the year, changing Verdi’s life forever. In tribute to his family, the composer vowed never to write a comedy again and instead pursued mainly works of tragedy and drama. Verdi clung to the idea of inescapable destiny and wrote his tenth opera, Macbeth, in 1847, following the same theme. Macbeth is based on

Shakespeare’s play about the tragedy of political ambition, and Verdi worked closely with Francesco Maria Piave and later Andrea Maffei to create the libretto for this opera. Verdi was enthralled by the work of Shakespeare, stating that he was “one of my very special poets, and I have had him in my hands from earliest youth, and I read and re-read him continually.”

The original version of Macbeth did not include the ballet music heard on today’s program—this was added in 1865 when Verdi revised the opera for a Paris performance to fit the standard operatic form of the time. He created this ballet excerpt for the witches in Macbeth, and this scene included a combination of dance and mime presented in three distinct sections: an allegro dance around the cauldron, an andante section featuring Hecate miming the action, and culminating in a wild waltz that returns to one final dazzling cauldron dance.

The DSO previously performed Ballet Music from Act II of Macbeth just once, at Interlochen in 2023, conducted by Music Director Jader Bignamini.

Romeo and Juliet, Overture-Fantasy

Composed 1880 | Premiered 1886

PYOTR ILYICH TCHAIKOVSKY

B. May 7, 1840, Votkinsk, Russia

D. November 6, 1893, St. Petersburg, Russia

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 21 minutes)

Although his works are widely performed and enjoyed today, Tchaikovsky was plagued throughout his life by doubts about his talent and the worth of his music. Occasionally these would lead to prolonged depressions during which he was unable to bring himself to compose. A particularly acute

episode occurred in the summer of 1869, but with support and mentorship from composer Mily Alexeyevich Balakirev, Tchaikovsky resumed working.

Tchaikovsky, whose training had steeped him in the classical tradition, was at first mistrustful of the more progressive Balakirev, but the two men took a liking to each other when they finally met and soon began a fruitful exchange of musical ideas.

Balakirev suggested that Tchaikovsky consider an overture based on Shakespeare’s Romeo and Juliet. The tale of the tragic, star-crossed lovers would have been particularly inviting to Tchaikovsky. A highly sensitive and literate person, he also was beginning to realize that his own inability to find conjugal happiness would be a life-long

PROFILE

For Jader Bignamini biography, see page 6.

WAYNE MARSHALL

British

conductor, organist, and pianist Wayne Marshall is world-renowned for his musicianship and versatility on the podium and at the keyboard. He served as Chief Conductor of WDR Funkhaus Orchestra Cologne from 2014 to 2020, became Principal Guest Conductor of Orchestra Sinfonica di Milano Giuseppe Verdi in 2007, and is a celebrated interpreter of Gershwin, Bernstein, and other 20th century composers.

Marshall’s 2023–24 season included conducting debuts with the Vancouver Symphony, Nashville Symphony, Baltimore Symphony, and the Orchestra National de Lyon. In 2025, he will make his conducting debut in Japan with the Nagoya and Hiroshima symphony orchestras. As organ recitalist, he has an exceptionally varied repertoire and per-

torment. In any event, he set quickly to work and on November 29, 1869, wrote to Balakirev that the score was complete.

In devising music for the play, Tchaikovsky focused on three principal elements of the drama. The long introductory section conveys a sense of resigned spirituality very much in character with Shakespeare’s Friar Laurence. This is followed by a violent episode complete with cymbal crashes to represent the clash of Montague and Capulet swords. Finally, the love of Romeo and Juliet is presented in a soaring melody. —Paul Schiavo

The DSO most recently performed Tchaikovsky’s Romeo and Juliet, OvertureFantasy in February 2023, conducted by Han’Na Chang. The DSO first performed the piece in January 1916, conducted by Weston Gales.

forms worldwide.

Other recent conducting highlights include his critically acclaimed debut with the Berliner Philharmoniker at the Waldbuhne in 2021. He also made his debut with the Munich Philharmonic, Seattle Symphony, and Chicago Symphony. He conducted a widely praised new production of Porgy and Bess at the Theater an der Wien in 2020.

Marshall was honored with an OBE (Order of the British Empire) from Her Majesty the Queen’s New Year’s Honours list in 2021. In 2004, he received an Honorary Doctorate from Bournemouth University and became a Fellow of the Royal College of Music in 2010. In 2016, Marshall was awarded the prestigious Golden Jubilee Award, presented by the Barbados Government for his services to music. Marshall was proud to be an Ambassador of the London Music Fund from 2018 until 2021.

ENRICO LOPEZ-YAÑEZ Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

JADER BIGNAMINI , Music Director

Music Directorship endowed by the Kresge Foundation

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

TABITA BERGLUND Principal Guest Conductor

PVS CLASSICAL SERIES

Title Sponsor:

SEA SCENES: SIBELIUS & BRITTEN

Friday, October 18, 2024 at 10:45 a.m.

Saturday, October 19, 2024 at 8 p.m.

Sunday, October 20, 2024 at 3 p.m. in Orchestra Hall

TABITA BERGLUND, conductor

PEKKA KUUSISTO, violin

NA’ZIR MCFADDEN Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

Benjamin Britten Four Sea Interludes from Peter Grimes, (1913 - 1976) Op. 33a

I. Dawn: Lento e tranquillo

II. Sunday morning: Allegro spiritoso

III. Moonlight: Andante comodo e rubato

IV. Storm: Presto con fuoco

Anna Clyne Time and Tides, for Violin (b. 1980) and Chamber Orchestra

My True Lover’s Farewell – from England

Who Can Sail Without Wind? – from Finland

My Fair Young Love – from Scotland

The Golden Willow Tree – from America

Pekka Kuusisto, violin

Intermission

Jean Sibelius “Lemminkäinen and the Maidens of (1865 - 1957) the Island,” No. 1 from Legends, Op. 22

“ The Swan of Tuonela,” No. 2 from Legends, Op. 22

“ Lemminkäinen in Tuonela,” No. 3 from Legends, Op. 22

“ Lemminkäinen’s Return,” No. 4 from Legends, Op. 22

Saturday’s performance will be webcast via our exclusive Live from Orchestra Hall series, presented by Ford Philanthropy. Technology support comes from the John S. and James L. Knight Foundation.

Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

Breaking the Waves

Separated by the North and Baltic Seas, England and Finland share a great affinity for the expanse of water that surrounds each of them, and their music—including the Britten and Sibelius works on this program—and the folk songs and tales that inspired them are full of depictions of sailing, seaside fishing villages, and the people and creatures that call them home. Anna Clyne’s Time and Tides—heard here in its US premiere—is spun from four folk songs about sea life, including ones from England and Finland, and serves as a modern-day bridge, so to speak, between the two older works.

PROGRAM NOTES

Four Sea Interludes from Peter Grimes

Composed 1942 | Premiered 1945

BENJAMIN BRITTEN

B. November 22, 1913, Lowestoft, England

D. December 4, 1976, Aldeburgh, England

Scored for 2 flutes (both doubling piccolo), 2 oboes, 2 clarinets (one doubling on E-flat clarinet), 2 bassoons, contrabassoon, 4 horns, 2 trumpets, piccolo trumpet, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 16 minutes)

Benjamin Britten has emerged as one of the most important English composers of the 20th century, and one of the period’s most important operatic composers, regardless of nationality. Peter Grimes, which quickly entered the repertoire of opera companies worldwide, was a turning point in Britten’s career and marked his ascension to international prominence. Peter Grimes offers an ambivalent portrait of a reclusive fisherman and his strained interactions with his neighbors (complicated by the deaths of two apprentices under his tutelage).

The opening movement, “Dawn: Lento e tranquillo,” is taken from an optimistic point in the otherwise dark work, where Peter Grimes has just been found innocent in the death of his first apprentice; in many ways it represents a hopefulness for Grimes’s future. Like waves breaking upon the shore, the music returns again and again to the opening theme in the flute and strings, and alternates with a progressively menacing lower brass part

that foretells of future tragedy.

“Sunday morning: Allegro spiritoso” depicts a bustling scene where the townsfolk are preparing to go to church while two characters relax by the shore.

The third interlude, “Moonlight: Andante comodo e rubato,” is the most contemplative of the set and again reveals Britten’s fascination with repeated melodies and contrasting ideas. Saving the most dramatic contrast for last, the storm movement crashes into the calmness achieved by the third interlude. The timpani and the brass section take center stage, representing the archetypical and violent uprising of nature—a torrent during which Grimes’s boat is lost at sea. —Phil Duker

The DSO most recently performed Four Sea Interludes from Peter Grimes in May 2015 conducted by Joshua Weilerstein. The DSO first performed this piece in January 1956 at the Masonic Temple with Paul Paray conducting.

Time and Tides

US Premiere Composed 2023 | Premiered 2023

ANNA CLYNE

B. 1980, London, United Kingdom

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, trombone, tuba, timpani, percussion, and strings. (Approx. 25 minutes)

Grammy Award nominee Anna Clyne is one of the most in-demand composers today, working with orchestras, choreographers, filmmakers, and visual artists around the world. In the 2023–24 season, Clyne served as Composer-in-Residence

with the Helsinki Philharmonic Orchestra as part of their Artistic Team; as Composer-inResidence at the BBC Philharmonic; and as Artist-in-Residence with Symphony Orchestra of Castilla y León.

Clyne has been commissioned and presented by the world’s most dynamic and revered arts institutions and often collaborates on creative projects across the music industry.

Clyne’s music is represented on several labels and her works Prince of Clouds and Night Ferry were nominated for 2015 Grammy Awards. Her music is published exclusively by Boosey & Hawkes.

Of Time and Tides, Clyne writes the following:

“This collection of folk songs explores themes of boating, the oceans, and parting from loved ones. Each movement begins with a statement of the folk tune in its original form and I then spin it out through my own lens—harmonizing, orchestrating, and expanding upon the source material to create new narratives. The fifth and final movement, titled Farewell, weaves together elements of all four folk tunes heard in the previous movements. Time and Tides is dedicated to violinist Pekka Kuusisto. Special thanks to musicians Bruce Molsky and Aidan O’Rourke for sharing folk tunes from their native countries.”

This performance marks the US Premiere of Anna Clyne’s Time and Tides.

Lemminkäinen Suite, Op. 22 (“Four Legends from the Kalevala”)

Composed 1896 | Premiered 1896

JEAN SIBELIUS

B. December 8, 1865, Hämeenlinna, Finland

D. September 20, 1957, Järvenpää, Finland

Scoring varies by work. (Approx. 44 minutes)

During a two-year struggle to complete an opera entitled The Building of the Boat, based on the Finnish national epic the Kalevala, Sibelius’s output stagnated. A visit to Munich and Bayreuth and immersion in the writing and music of Richard Wagner re-inspired him. Upon returning to Finland, Sibelius began a fruitful period of composition. From autumn 1895 until the following spring, he worked on the Lemminkäinen Suite, a set of four tone poems based, like the opera, on the Kalevala, each depicting a legend from the epic.

Rather than follow an exact literary program, Sibelius chose to evoke the general atmosphere of each poem.

“Lemminkäinen and the Maidens of the Island” begins with a suggestion of mystery as Lemminkäinen’s boat lands. A recurring dance-like theme in the woodwinds evokes a folkish character, later acquiring a Dionysian momentum, perhaps a suggestion of Lemminkäinen’s amorous activities.

“The Swan of Tuonela,” which apparently originated as an overture to the abandoned opera, evokes a swan floating on the waters of the kingdom of death. By eliminating the flutes, trumpets, and clarinets, and adding bass clarinet and bass drum, Sibelius darkens the orchestral palette. An A-minor chord unfolds gradually through the strings, creating a singular atmosphere of death and dark waters. This forms the backdrop for the swan’s song, portrayed by the English horn, which emerges and then disappears into the depths. Here, as in “Maidens,” there are clear echoes of Wagner, particularly the operas Tristan and Isolde and Lohengrin.

In “Lemminkäinen in Tuonela” we find the hero descending into Tuonela with the aim of killing the swan. Once there, he is tricked, killed, and cruelly dismembered; his mother later finds the parts of his body and sews them back together. The

darkness of Tuonela in the previous movement is now depicted as an inferno, with tumultuous writing for the strings and cries from the woodwinds.

Lemminkäinen’s mother is depicted with a melancholy lullaby.

“Lemminkäinen’s Return,” often considered an expression of Finnish pride, is built from a single three-note motive of an ascending whole step and a descending

PROFILES

TABITA BERGLUND

DSO

Principal Guest Conductor, Tabita

Berglund is one of today’s most exciting, talented young conductors who is fast gaining a reputation for her alert, charismatic, and inspiring style. In the 2025–26 season, she becomes Principal Guest Conductor of Dresdner Philharmonie. She concluded her three-year tenure as Principal Guest Conductor of Kristiansand Symphony Orchestra at the end of the 2023–24 season.

Recent and forthcoming highlights include debut performances with the Dallas Symphony Orchestra, Houston Symphony, Minnesota Orchestra, Philharmonia Orchestra, Orchestre de chambre de Paris, Swedish Radio Symphony Orchestra and Salzburg Easter Festival, among many others.

HarrisonParrott represents Tabita Berglund for worldwide general management.

For more information on Berglund, see our feature story on page 10.

PEKKA KUUSISTO

Violinist, conductor, and composer

Pekka Kuusisto is renowned for his artistic freedom and fresh approach to repertoire. Kuusisto is Artistic Director of Norwegian Chamber Orchestra and

fourth. This motive is continually transformed, the frenzy of the hero’s return is depicted through gathering speed, brass fanfares, and finally a complete tutti in the closing moments. — Amy Kimura

The DSO most recently performed Sibelius’s Lemminkäinen Suite in November 2005, conducted by Neeme Järvi. The DSO first performed this piece in February 1964, conducted by Sixten Ehrling.

Principal Guest

Conductor & Artistic Co-Director of Helsinki Philharmonic Orchestra from the 2023–24 season. He is also a Collaborative Partner of San Francisco Symphony, and Artistic Best Friend of Die Deutsche Kammerphilharmonie Bremen.

In the 2023–24 season, Kuusisto performed with Mahler Chamber Orchestra, Leipzig Gewandhaus Orchester, Helsinki Philharmonic, San Francisco Symphony, Norwegian Chamber Orchestra, Los Angeles Philharmonic, NHK Symphony Orchestra Tokyo, and Boston Symphony Orchestra. As Council, Kuusisto also tours North America and Australia with American singer-songwriter Gabriel Kahane.

Kuusisto is an enthusiastic advocate of contemporary music and a gifted improviser and regularly engages with people across the artistic spectrum. Uninhibited by conventional genre boundaries and noted for his innovative programming, recent projects have included collaborations with Hauschka and Kosminen, Dutch neurologist Erik Scherder, pioneer of electronic music Brian Crabtree, eminent jazz-trumpeter Arve Henriksen, juggler Jay Gilligan, accordionist Dermot Dunne, and folk artist Sam Amidon.

Kuusisto plays the Antonio Stradivari Golden Period c.1709 ‘Scotta’ violin, generously loaned by an anonymous patron.

ENRICO LOPEZ-YAÑEZ

Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

JADER BIGNAMINI , Music Director

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

Music Directorship endowed by the Kresge Foundation

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

TABITA BERGLUND

Principal Guest Conductor

PARADISE JAZZ SERIES

CHUCHO

VALDÉS ROYAL QUARTET

Friday, October 18, 2024 at 8 p.m. in Orchestra Hall

CHUCHO VALDÉS, piano

HORACIO EL NEGRO HERNÁNDEZ, drums

JOSÉ ARMANDO GOLA, bass

ROBERTO JR. VIZCAINO, percussion

NA’ZIR MCFADDEN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

Program to be announced from the stage, artists subject to change

MADE POSSIBLE WITH SUPPORT FROM DownBeat magazine

PROGRAM AT-A-GLANCE | CHUCHO VALDÉS ROYAL QUARTET

Mambo Influenciado

It’s hard to overstate the importance and influence of pianist and composer Chucho Valdés in the worlds of jazz and AfroCuban music. NPR recently said he was “the past, present, and future of Cuban piano,” and praised “how his musical mind wanders from jazz to blues to haunting melodies.” 2024 marks 60 years since Valdés recorded his debut studio record, Jazz Nocturno, at the age of 22, and now in his 80s, he shows no signs of slowing down, releasing the latest with his Royal Quartet, Cuba & Beyond, on September 20. The Paradise Jazz Series is proud to open its 2024–2025 season with this legendary artist.

Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

PROFILES

CHUCHO VALDÉS

Cuban pianist, composer, and arranger

Chucho Valdés is the most influential figure in modern Afro-Cuban jazz. In a career spanning more than 60 years, both as a solo artist and bandleader, Valdés has distilled elements of the Afro-Cuban music tradition, jazz, classical music, rock, and more, into a deeply personal style.

Winner of seven Grammy and six Latin Grammy Awards, Valdés received a Lifetime Achievement Award from the Latin Academy of Recording Arts & Science. He was also inducted into the Latin Songwriters Hall of Fame.

Born in a family of musicians in Quivicán, Havana province, Cuba, on October 9, 1941, Dionisio Jesús “Chucho” Valdés Rodríguez has distilled elements of the Afro-Cuban music tradition, jazz, classical music, and rock into an organic, deeply personal style.

His first teacher was his father, the pianist, composer, and bandleader Ramón “Bebo” Valdés. By age three, Valdés was already playing on the piano melodies he heard on the radio—using both hands and in any key. He began taking lessons on piano, theory, and solfege at the age of five. He continued his formal musical education at the Conservatorio Municipal de Música de la Habana, from which he graduated at 14. A year later, Valdés formed his first jazz trio. In 1959, he debuted professionally with the band Sabor de Cuba. The ensemble, directed by his father, is widely considered one of the great orchestras in modern Cuban music.

Fittingly, Valdés made his early mark as the founder, pianist, and leading composer and arranger of another landmark

ensemble: the small big band Irakere (1973–2005). With its audacious mix of Afro-Cuban ritual music, Cuban dance, jazz, classical music, and rock, Irakere marked a before and after in Latin jazz. Irakere’s self-titled debut recording in the United States won a Grammy as Best Latin Recording in 1979.

While he remained with Irakere until 2005, Valdés launched a parallel career in 1998 as a solo performer and a smallgroup leader. It marked the beginning of an enormously fruitful period highlighted by albums such as Solo Piano (Blue Note, 1991), Solo: Live in New York (Blue Note, 2001), as well as quartet recordings such as Bele Bele en La Habana (Blue Note, 1998), Briyumba Palo Congo (Blue Note, 1999), New Conceptions (Blue Note, 2003), and Live at the Village Vanguard (Blue Note, 2000), which won a Grammy for Best Latin Jazz Album.

After leaving Irakere, Valdés also won Grammys for Juntos Para Siempre (Calle 54, 2007), the duet recording with his father, Bebo, and Chucho’s Steps (Comanche, 2010), which introduced his new group, the Afro-Cuban Messengers.

In 2022, Valdés won a Grammy and a Latin Grammy for Mirror Mirror, an album of duets by pianist and singer Eliane Elias with Valdés and the late great Chick Corea.

ENRICO LOPEZ-YAÑEZ Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

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

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

TABITA BERGLUND Principal Guest Conductor

PVS CLASSICAL SERIES

Title Sponsor:

NA’ZIR MCFADDEN Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

RACHMANINOFF & PROKOFIEV

Saturday, November 2, 2024 at 8 p.m.

Sunday, November 3, 2024 at 3 p.m. at Orchestra Hall

LEONARD SLATKIN, conductor OLGA KERN, piano

Daniel Slatkin Voyager 130

Sergei Rachmaninoff Piano Concerto No. 4 in G minor, Op. 40 (1873 - 1943)

I. Allegro vivace

II. Largo

III. Allegro vivace Olga Kern, piano

Intermission

Sergei Prokofiev Symphony No. 5 in B-flat major, Op. 100 (1891 - 1953) I. Andante

II. Allegro moderato

III. Adagio

IV. Allegro giocoso

Sunday’s performance will be webcast via our exclusive Live from Orchestra Hall series, presented by Ford Philanthropy. Technology support comes from the John S. and James L. Knight Foundation.

Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

PROGRAM AT-A-GLANCE | RACHMANINOFF & PROKOFIEV

Many Happy Returns

The DSO welcomes back Music Director Laureate Leonard Slatkin and celebrates his recent 80th birthday with a program recognizing a few of the artistic hallmarks of his time in Detroit. First up, Voyager 130 by Daniel Slatkin, whose In Fields written in honor of his father—was performed by the DSO at the orchestra’s 2018 Heroes Gala. Pianist Olga Kern, a regular guest with Slatkin on the podium, returns for the Fourth Concerto by Rachmaninoff, whose music they performed together on the DSO’s 2014 Florida Tour. The concert concludes with Prokofiev’s Symphony No. 5, which Slatkin conducted in May 2007, just a few months prior to being named DSO Music Director. Happy Birthday, Leonard!

PROGRAM NOTES

Voyager 130 DANIEL SLATKIN

B. May 16, 1994, St. Louis, Missouri

Scored for 3 flutes (one doubling on piccolo and alto flute), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, keyboard, and strings. (Approx. 14 minutes)

On Voyager 130, Daniel Slatkin writes the following:

“When searching for inspiration, I often turn to Beethoven, and as I listened to his string quartets, his 13th (Op. 130) particularly spoke to me. Upon further investigation of the work, I discovered that a recording of the fifth movement is included on the Golden Record, a disk featuring the ‘sounds of Earth,’ aboard both Voyager spacecrafts. The spark hit me immediately, and I decided to write a piece that tells the story of Voyager’s journey through space, with the Cavatina providing thematic material.

It begins on the launchpad, with the sounds of calculating computer systems created by electronic synthesizer, the sheer power of the rocket characterized by rumbling low strings and brass, mechanical sounds of tapping metal and wood, an original motif, and a single, staccato oboe, representing the

communications system aboard Voyager itself. Anticipation builds, with these systems growing louder and louder, until the rocket finally launches, unleashing a burst of energy and momentum.

The rocket’s fuselages fall away from Voyager, and it is in orbit. While marveling at the beauty of Earth from above, the first page of the Cavatina is played in its original string quartet form, accompanied by synthesizer sounds and a recording featured on the Golden Record. On it is a series of greetings spoken in dozens of languages, signifying the precious cargo Voyager is carrying—our identity. The Cavatina and original motif are presented in new arrangements, each one grander than the next, expressing the indescribable sights of this journey. The spacecraft passes Jupiter, Saturn, and Neptune. Suddenly, Voyager reaches the edge of our solar system. It is no longer traversing the beauty of the universe but rather a cold void. The dizzying feeling of being confronted by this enormity is expressed by the return of the Golden Record greetings, as well as sounds of nature. These are distorted and time-stretched, accompanied by icy, shivering strings, and a somber duet between French and English horns. The music builds to a climax that bursts with triumph, and out from it emerges peace, with the four principal string players playing a canon featuring new fragments of the Cavatina.

The sounds fade, except for quiet, high string harmonics, synthesizer effects and

the single oboe representing Voyager. As these sounds slowly drift away, we are left with Voyager all alone, floating ever deeper into the great beyond.”

This performance marks the DSO premiere of Daniel Slatkin’s Voyager 130.

Piano Concerto No. 4 in G minor, Op. 40

Composed 1926 | Premiered 1927

SERGEI RACHMANINOFF

B. April 1, 1873, Semyonovo, Russia

D. March 28, 1943, Beverly Hills, California

Scored for solo piano, 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, and strings. (Approx. 24 minutes)

Sergei

Rachmaninoff’s Fourth Piano Concerto is the least familiar of his five works for piano and orchestra. In a way, it has become the forgotten sibling between his heroic Third Piano Concerto and his ever-popular Rhapsody on a Theme of Paganini. It is also a work that required considerable perseverance on the part of the composer during a period of severe unrest and disruption in the normal course of his life.

There are indications that Rachmaninoff planned the Fourth Concerto as early as 1914 and may have begun composing some of its themes at that time. With the outbreak of World War I, however, unstable conditions in Russia prevented him from completing it. When Rachmaninoff and his family fled the destruction and chaos brought on by the revolution in 1918, he soon realized that his career as a composer would have to take second place to his need to earn a living as a touring pianist, and he did not resume work on the concerto for more than a decade.

The concerto opens with a robust fanfare from the orchestra, then settles into a relaxed theme that runs smoothly up and down the keyboard. After a lengthy

exploration of this theme and a quiet interlude by the English horn, the piano soloist introduces a pensive secondary theme, garnished with numerous chromatic tones.

In the placid slow movement, an introductory phrase from the piano gives way to the main theme in the strings, which is immediately taken up in more elaborate form by the soloist. This short theme permeates much of the movement, though other melodic ideas are brought into its slightly agitated middle section. The final movement is brilliant in its technical demands but lighter in character than the first movement, resembling a rondo in its alternation of various dance-like themes. Taken together, the three movements exhibit the imposing, heroic keyboard style Rachmaninoff developed, as well as the delicate, decorative filigree and the bedeviling capricious facets of his piano technique. — Carl R. Cunningham

The DSO most recently performed Rachmaninoff’s Piano Concerto No. 4 in October 2003, conducted by Neeme Järvi and featuring Yefim Bronfman as soloist. The DSO first performed this piece in July 1971 during the Meadow Brook Music Festival at the Michigan State Fair Grounds, conducted by Sixten Ehrling and featuring Vladimir Ashkenazy as soloist.

Symphony No. 5 in B-flat major, Op. 100

Composed 1944 | Premiered 1945

SERGEI PROKOFIEV

B. April 23, 1891, Sontsivka, Ukraine

D. March 5, 1953, Moscow, Russia

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, harp, piano, and strings. (Approx. 46 minutes)

SergeiProkofiev wrote his Symphony No. 5 at the Soviet Composers’ Retreat during the summer of 1944. “I conceived it as a symphony of the grandeur of the

human spirit,” he wrote. Though the retreat took pace in the pastoral city of Ivanovo—which was not targeted during World War II—intense fighting between the Axis powers and Soviet armed forces continued not far away. The symphony’s accessible style and unmistakable optimism suggest that the “human spirit” it extols is that of the Russian people nearing their hour of victory over the Nazi invaders.

Without fanfare or introduction, the main theme of the opening movement sounds in the flute and bassoon. Prokofiev explores this broadly flowing melody at length before presenting a second, rather more intimate and gracious subject in the oboes and flutes.

The scherzo - like second movement recalls the style of Prokofiev’s pre -Soviet period. We hear not only his characteristic humor (in the opening clarinet solo), but also the brittle textures, driving rhythms, and colorful, sometimes garish

PROFILES

LEONARD SLATKIN

Internationally

acclaimed conductor Leonard Slatkin is Music Director Laureate of the Detroit Symphony Orchestra, Directeur Musical Honoraire of the Orchestre National de Lyon (ONL), Conductor Laureate of the St. Louis Symphony Orchestra (SLSO), Principal Guest Conductor of the Orquesta Filarmónica de Gran Canaria, and Artistic Consultant to the Las Vegas Philharmonic. He maintains a rigorous schedule of guest conducting and is active as a composer, author, and educator.

To celebrate his 80th birthday, he is returning to orchestras he led as Music

orchestration that gained the composer considerable notoriety during the 1920s. There follows a lyrical Adagio, whose principal melody unfolds over an accompaniment of steady triplets in the strings. A contrasting central section moves toward darker thoughts, with anguished cries plummeting from the upper registers of the woodwinds.

A brief prelude in slow tempo, built around recollections of the symphony’s opening measures, introduces the finale. This movement also uses two principal subjects: a melody presented at the outset by Prokofiev’s favorite instrument, the clarinet, and a more pastoral idea heard in the flute and clarinet. These lighthearted themes are soon balanced by a soberer thought that rises hymn - like from the low strings midway through the movement.

The DSO most recently performed Prokofiev’s Symphony No. 5 in April 2019, conducted by Ludovic Morlot. The DSO first performed the piece in November 1946, conducted by Karl Krueger.

Director, including the DSO, ONL, SLSO, and National Symphony Orchestra (Washington, DC). Additional 2024-25 highlights include the New York Philharmonic, Nashville Symphony, North Carolina Symphony, Manhattan School of Music Symphony Orchestra, Eastman Philharmonia, National Symphony Orchestra (Ireland), Tokyo Metropolitan Symphony Orchestra, Osaka Philharmonic, Hiroshima Symphony Orchestra, Kristiansand Symfoniorkester, Jersusalem Symphony, and Opera Theatre of St. Louis. Moreover, his composition Schubertiade: An Orchestral Fantasy and his arrangement of Scarlatti keyboard sonatas are receiving world premieres this season.

Slatkin has received six Grammy

Awards and 35 nominations. Naxos recently reissued Vox audiophile editions of his SLSO recordings featuring the works of Gershwin, Rachmaninoff, and Prokofiev. Other Naxos recordings include Slatkin Conducts Slatkin —a compilation of pieces written by generations of his family—as well as works by SaintSaëns, Ravel, Berlioz, Copland, Borzova, McTee, and Williams.

A recipient of the National Medal of Arts, Slatkin also holds the rank of Chevalier in the French Legion of Honor. He has been awarded the Prix Charbonnier from the Federation of Alliances Françaises, Austria’s Decoration of Honor in Silver, and the League of American Orchestras’ Gold Baton.

OLGA KERN

Witha vivid onstage presence, dazzling technique, and keen musicianship, pianist Olga Kern is widely recognized as one of the great artists of her generation, captivating audiences and critics alike. A Steinway Artist, Kern is a laureate of several international competitions. In 2016, she was Jury Chairman of both Cliburn International Amateur Piano Competition and the first Olga Kern International Piano Competition, where she also holds the title of Artistic Director. In December 2021, Kern was Jury Chairman of the First Chopin Animato International Piano

competition in Paris, France. Kern frequently gives masterclasses and since 2017 has served on the piano faculty of the Manhattan School of Music. Also in 2017, Kern received the Ellis Island Medal of Honor (New York City). In 2019, she was appointed the Connie & Marc Jacobson Director of Chamber Music at the Virginia Arts Festival.

Kern has performed with many prominent orchestras, including the St. Louis Symphony Orchestra, the Pacific Symphony, the Baltimore Symphony, the Detroit Symphony Orchestra, the National Symphony Orchestra, and others. She was also a featured soloist on US tours with the Royal Philharmonic Orchestra and the Royal Scottish National Orchestra in 2018 and 2022, and during the 2017–18 season, served as Artist in Residence at the San Antonio Symphony.

Highlights of the 2023–24 season included Rachmaninoff’s four piano concertos and Rhapsody on a Theme of Paganini with the Austin Symphony, appearances with the Czech Philharmonic on a nationwide telecast, and tours of South Africa and Asia.

Kern’s discography includes a Harmonia Mundi recording of Tchaikovsky’s Piano Concerto No. 1 with the Rochester Philharmonic Orchestra and Christopher Seaman; her Grammy Award-nominated disc of Rachmaninoff’s Corelli Variations and other transcriptions; and Chopin’s Piano Concerto No. 1 with the Warsaw Philharmonic and Antoni Wit.

THE ANNUAL FUND

Gifts received between September 1, 2023 and August 31, 2024.

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.

Gabrilowitsch Society members support the Annual Fund at $10,000 and above annually. 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

Linda Dresner & Ed Levy, Jr.

Mr. & Mrs. Stanley Frankel

DORATI SOCIETY - GIVING OF $100,000 & MORE

Mr. & Mrs.◊ Richard L. Alonzo

James & Patricia Anderson

Mr. & Mrs. Raymond M. Cracchiolo

Joanne Danto & Arnold Weingarden

Mr. & Mrs. Phillip Wm. Fisher

EHRLING SOCIETY - GIVING OF $50,000 & MORE

Ms. Karol Foss

Mr. & Mrs. Aaron Frankel

Mr. & Mrs. Ralph J. Gerson

Mary Ann & Robert Gorlin

Ric & Carola Huttenlocher

Mrs. Bonnie Larson

JÄRVI SOCIETY — GIVING OF $25,000 & MORE

Ms. Sharon Backstrom

Mrs. Cecilia Benner

Mr. & Mrs. Stephen Brownell

Mrs. Marjory Epstein

Mr. Michael J. Fisher

Madeline & Sidney Forbes

Mr. & Mrs. Edsel B. Ford II/Henry Ford II Fund

Mrs. Martha Ford

Dale & Bruce Frankel

Mr. & Mrs. James Grosfeld

Ronald M. & Carol◊ Horwitz

Mr.◊ & Mrs. Norman D. Katz

Mr. Alan J. & Mrs. Sue Kaufman

Morgan & Danny Kaufman

Mary Lee Gwizdala

Mr. & Mrs. Peter Karmanos, Jr.

Mr. & Mrs. James B. Nicholson

Mr. & Mrs. David Provost

Barbara C. Van Dusen

Shari & Craig Morgan

The Polk Family

Bernard & Eleanor Robertson

Drs. David & Bernadine Wu

Paul & Terese Zlotoff

Nicole & Matt Lester

David & Valerie McCammon

Mr. & Mrs. Eugene A. Miller

Patricia & Henry Nickol◊

Mr. & Mrs. Arn Tellem

Xavier & Maeva Mosquet

Mr. David Nicholson

Ms. Ruth Rattner

Martie & Bob Sachs

Mr. & Mrs. James H. Sherman

Mr. & Mrs. Larry Sherman

Richard Sonenklar & Gregory Haynes Philanthropic Fund

Dr. Doris Tong & Dr. Teck M. Soo

Mr. & Mrs. Gary Torgow

Peter & Carol Walters

S. Evan & Gwen Weiner

Wolverine Packing Company

And one who wishes to remain anonymous

GABRILOWITSCH

Mr. & Mrs. Robert A. Allesee ◊

Diane Allmen

Dr. Lourdes V. Andaya

Janet & Norman Ankers

Pamela Applebaum

Drs. Brian & Elizabeth Bachynski

Drs. John ◊ & Janice Bernick

Gwen & Richard Bowlby

Michael & Geraldine Buckles

Ms. Elena Centeio

Thomas W. Cook & Marie L. Masters

Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer

Adel & Walter Dissett

Mr. Charles L. Dunlap & Mr. Lee V. Hart

Margie Dunn & Mark Davidoff

Margo & Jim Farber

Sally & Michael Feder

Amanda Fisher

Dr. Saul & Mrs. Helen Forman

Barbara Frankel◊ & Ronald Michalak

Herman & Sharon Frankel

Lynn & Bharat Gandhi

Girolami Family Charitable Trust ◊

Dr. Robert T. Goldman

Mr.◊ & Mrs. James A. Green

GIVING OF $5,000 & MORE

Mrs. Jennifer Adderley

Richard & Jiehan Alonzo

Dr. & Mrs. Joel Appel

Drs. Kwabena & Jacqueline Appiah

Mr. and Mrs. Arnold Aronoff

Mr. David Assemany & Mr. Jeffery Zook*

Ms. Ruth Baidas

Dr. David S. Balle

James A. Bannan

Mr. Joseph Bartush

W. Harold & Chacona W. Baugh

Mr. & Mrs. Martin S. Baum

Mr. & Mrs. Richard Beaubien

Ms. Therese Bellaimey

Mr. William Beluzo

Hadas & Dennis Bernard

Mr. & Mrs. Jeffrey A. Berner

Mr. Michael G. Bickers

Dr. George & Joyce Blum

Timothy J. Bogan

Ms. Debra Bonde

Ms. Nadia Boreiko

The Honorable Susan D. Borman

& Mr. Stuart Michaelson

Mr. & Mrs. Robert Hage

Judy ◊ & Kenneth Hale

Michael E. Hinsky & Tyrus N. Curtis

Mr.◊ & Mrs. Norman H. Hofley

Ms. Nicole Holmes

Ms. Carole Ilitch

Renato & Elizabeth Jamett

Mr. & Mrs. Richard J. Jessup

William & Story John

Lenard & Connie Johnston

Paul & Marietta Joliat

Betsy & Joel Kellman

Dr. David & Mrs. Elizabeth Kessel

Mr. & Mrs. Kosch

LeFevre Family

Bud & Nancy Liebler

Mr. & Mrs.◊ Joseph Lile

Dana Locniskar & Christine Beck

Dr. Stephen & Paulette Mancuso

Ms. Deborah Miesel

Dr. Robert & Dr. Mary Mobley

Cyril Moscow

Geoffrey S. Nathan & Margaret E. Winters ◊

David Robert ◊ & Sylvia Jean Nelson

Eric & Paula Nemeth

Mr. Anthony F. Brinkman

Sandra & Paul Butler

Dr. & Mrs. Roger C. Byrd

Richard Caldarazzo & Eileen Weiser

Mr. & Mrs. Brian C. Campbell

Philip & Carol Campbell

Mrs. Carolyn Carr

Mr.◊ & Mrs. François Castaing

Dr. Carol S. Chadwick & Mr. H. Taylor Burleson

Mr. Fred J. Chynchuk

Dr. & Mrs. Charles G. Colombo

Dr. & Mrs. Bryan & Phyllis Cornwall

Ms. Elizabeth Correa

Mr.◊ & Mrs. Gary L. Cowger

Mr. & Mrs. Matthew P. Cullen

Dr. Edward & Mrs. Jamie Dabrowski

Deborah & Stephen D’Arcy Fund

Maureen T. D’Avanzo

Lillian & Walter Dean

Mr. & Mrs. Richard L. DeVore

Dr. Anibal & Vilma Drelichman

Elaine C. Driker

Ms. Ruby Duffield

Jim & Mary Beth Nicholson

Gloria & Stanley Nycek

George & Jo Elyn Nyman

Debra & Richard Partrich

Kathryn & Roger Penske

Dr. Glenda D. Price

Dr. Heather Richter

Dr. Erik Rönmark* & Mrs. Adrienne

Rönmark*

Peggy & Dr. Mark B. Saffer

Elaine & Michael Serling

Lois & Mark Shaevsky

Mrs. Sharon Shumaker

Mr. Norman Silk & Mr. Dale Morgan

Mr. Steven Smith

Charlie & John Solecki

Mr. & Mrs. John Stroh III

Emily & Paul Tobias

Ms. Marie Vanerian

Mr. James G. Vella

Mr.◊ & Mrs. Jonathan T. Walton

Mr. & Mrs. R. Jamison Williams

Ms. Mary Wilson

And three who wish to remain anonymous *Current

Dr. & Mrs. A. Bradley Eisenbrey

Randall & Jill* Elder

Mr. Lawrence Ellenbogen

Ms. Laurie Ellias & Mr. James Murphy

Mr. & Mrs. John M. Erb

Fieldman Family Foundation

John & Karen Fischer

Dorothy A. & Larry L. Fobes

Dr. & Mrs. Franchi

Mr. & Mrs. Andrew Frick

Kit & Dan Frohardt-Lane

Mr.◊ & Mrs. Richard M. Gabrys

Myndi & Alan Gallatin

Mrs. Janet M. Garrett

Mr. Max Gates

Mr. & Mrs. James Gietzen

Keith & Eileen Gifford

Dr. & Mrs. Theodore Golden

Ms. Jacqueline Graham

Dr. Herman & Mrs. Shirley Mann Gray

Ms. Chris Gropp

Leslie Groves* & Joseph Kochanek

Robert & Elizabeth Hamel

Mr. Sanford Hansell & Dr. Raina Ernstoff

Mr. Eric J. Hespenheide & Ms. Judith V. Hicks

Mr. Donald & Marcia Hiruo

Mr. Matthew Howell & Mrs. Julie Wagner

Mr. & Mrs. Kent Jidov

Mr. George G. Johnson

Paul & Karen Johnson

Carol & Rick Johnston

Connie & Bill Jordan

Mr. & Mrs. Steven Kalkanis

Judy & David Karp

Mike & Katy Keegan

Mrs. Frances King

Dr. & Mrs. Edward L. Klarman

Dr. Sandy Koltonow & Dr. Mary Schlaff

Ms. Susan Deutch Konop

James Kors & Victoria King

Mr. David Lalain & Ms. Deniella OrtizLalain

Deborah Lamm

Dr. Raymond Landes & Dr. Melissa McBrien-Landes

Drs. Lisa & Scott Langenburg

Bill & Kathleen Langhorst

Mr. Leonard LaRocca

Max Lepler & Rex L. Dotson

Mr. & Mrs. Robert K. Leverenz

Drs. Donald & Diane Levine

Mr. & Mrs. Richard Lewnau

GIVING OF $2,500 & MORE

Mr. & Mrs. Joel Adelman

William Aerni & Janet Frazis

Mr. & Mrs. Robert L. Anthony

Dr. & Mrs. Ali-Reza R. Armin

Pauline Averbach & Charles Peacock

Mr. Joseph Aviv & Mrs. Linda Wasserman

Mrs. Jean Azar

Ellie & Mitch Barnett

Mr. Mark G. Bartnik & Ms. Sandra J. Collins

Nancy & Lawrence Bluth

The Achim & Mary Bonawitz Family

Rud ◊ & Mary Ellen Boucher

Don & Marilyn Bowerman

Mr. & Mrs. Mark R. Buchanan

Dr. Robert Burgoyne & Tova Shaban

Mr. & Mrs. Richard Burstein

Mr.◊ & Mrs. Robert J. Cencek

Ronald ◊ & Lynda Charfoos

Dr. Betty Chu

Mr. William Cole & Mrs. Carol Litka Cole

Mr. & Mrs. Brian G. Connors

Patricia & William ◊ Cosgrove, Sr.

Ms. Joy Crawford* & Mr. Richard Aude

Mrs. Barbara Cunningham

DeLuca Violin Emporium

Ms. Jane Deng

Michelle Devine & Brian Mahany

Mr. John Lovegren & Mr. Daniel Isenschmid

Bob & Terri Lutz

Daniel & Linda* Lutz

Mrs. Sandra MacLeod

Mr. & Mrs. Winom J. Mahoney

Maurice Marshall

Brian & Becky McCabe

Patricia A.◊ & Patrick G. McKeever

Dr. Susan & Mr. Stephen* Molina

Mr. & Mrs. Daniel E. Moore

Joy & Allan Nachman

Mr. & Mrs. Albert T. Nelson, Jr.

Ms. Jacqueline Paige & Mr. David Fischer

Benjamin B. Phillips

Mr. David Phipps & Ms. Mary Buzard

William H. & Wendy W. Powers

Charlene & Michael Prysak

Mrs. Anna M. Ptasznik

Drs. Yaddanapudi Ravindranath & Kanta Bhambhani

Mr. & Mrs. Dave Redfield

Mr. & Mrs. Gerrit Reepmeyer

Mr. & Mrs. Jon Rigoni

Dr. & Mrs. John Roberts

Ms. Linda Rodney

Seth & Laura Romine

Michael & Susan Rontal

Mr. & Mrs. Robert B. Rosowski

Mr. Ronald Ross & Ms. Alice Brody

Dr. Mark & Karen Diem

Dr. & Mrs. Thomas Ditkoff

Diana & Mark Domin

Ms. Felicia Donadoni

Ms. Marla Donovan

Paul◊ & Peggy Dufault

Hon. Sharon Tevis Finch

Ms. Joanne Fisher

Amy & Robert Folberg

Ms. Linda Forte & Mr. Tyrone Davenport

Mr. George Georges

Stephanie Germack

Thomas M. Gervasi

Dr. Kenneth ◊ & Roslyne Gitlin

Mr. Lawrence Glowczewski

Judie Goodman & Kurt Vilders

Dr. William & Mrs. Antoinette Govier

Ms. Ann Green

Diane & Saul Green

Anne & Eugene Greenstein

Sharon Lopo Hadden

Mr. & Mrs. Darby Hadley

Dr.◊ & Mrs. David Haines

Thomas & Kathleen Harmon

Cheryl A. Harvey

Ms. Barbara Heller

Mr. and Mrs. Robert Holcomb

Mr. Chris Sachs

Linda & Leonard Sahn

Mr. David Salisbury & Mrs. Terese Ireland

Salisbury

Marjorie Shuman Saulson

Ms. Joyce E. Scafe

Mr. & Mrs. Donald and Janet Schenk

Sandy Schreier

Robert & Patricia Shaw

Shiv Shivaraman

Mr. & Mrs. Matthew Simoncini

William & Cherie Sirois

Michael E. Smerza & Nancy Keppelman

Dr. Gregory Stephens

Mrs. Kathleen Straus & Mr. Walter Shapero

David Szymborski & Marilyn Sicklesteel

Joel & Shelley Tauber

Dr. & Mrs. Howard Terebelo

Dr. Barry Tigay

Yoni & Rachel Torgow

Charles ◊ & Sally Van Dusen

Mrs. Eva von Voss

Mr. Michael A. Walch & Ms. Joyce Keller

Gary L. Wasserman & Charles A. Kashner

Beverly & Barry Williams

Dr. & Mrs. Ned Winkelman

Ms. June Wu

Dr. Sandra & Mr. D. Johnny Yee

And one who wishes to remain anonymous

Mr. & Mrs. Peter Hollinshead

The Honorable Denise Page Hood & Reverend Nicholas Hood III

James Hoogstra & Clark Heath

Dr. Karen Hrapkiewicz

Larry & Connie Hutchinson

Sally Ingold

Ms. Elizabeth Ingraham

Carolyn & Howard Iwrey

Dr. Raymond E. Jackson & Dr. Kathleen Murphy

Mr. John S. Johns

Diane & John Kaplan

Lucy & Alexander* Kapordelis

Bernard & Nina Kent Philanthropic Fund

John Kim & Sabrina Hiedemann

Aileen & Harvey Kleiman

Thomas ◊ & Linda Klein

Tom ◊ & Beverly Klimko

Mr. & Mrs. Ludvik F. Koci

Mr. & Mrs. Robert Koffron

Douglas Korney & Marieta Bautista

Mr. Michael Kuhne

Mrs. Maria E. Kuznia

Mr. & Mrs. Robert LaBelle

Dr. & Mrs. Gerald Laker

Ms. Sandra Lapadot

Ms. Anne T. Larin

Dr. Lawrence O. Larson

Dr. Jonathan Lazar

Marguerite & David Lentz

Arlene & John Lewis

Mr. Dane Lighthart & Ms. Robyn Bollinger*

David & Clare Loebl

Mr. & Mrs. Eugene LoVasco

Mr. Sean Maloney & Mrs. Laura PepplerMaloney

Mr. & Mrs. Charles W. Manke, Jr.

Barbara J. Martin

Dr. & Mrs. Peter M. McCann, M.D.

Mr. Edward McClew

Mr. Anthony Roy McCree

Ms. Mary McGough

Ms. Kristen McLennan

Dr. & Mrs. David Mendelson

Mr. & Mrs. Randall Miller

Mr. & Mrs. Robert S. Miller

H. Keith Mobley

Dr. Van C. Momon, Jr. & Dr. Pamela Berry

Eugene & Sheila Mondry Foundation

Ms. Sandra Morrison

Ms. Jennifer Muse

Megan Norris & Howard Matthew

Lisa & Michael O’Brien

Mr. & Mrs. Robert Obringer

Mr. & Mrs. Arthur T. O’Reilly

Mr. Tony Osentoski & Mr. David Ogloza

GIVING OF $1,500 & MORE

Nina Dodge Abrams

Jacqueline D. Adams

Mrs. Lynn E. Adams

Dr. & Mrs. Gary S. Assarian

Mr. & Mrs. Russell Ayers

Mr. & Mrs. William C. Babbage

Drs. Richard & Helena Balon

Dr. & Mrs. William L. Beauregard

Mr. & Mrs. David W. Berry

Mr. and Mrs. John Bishop

John ◊ & Marlene Boll

Mr. & Mrs. Byron Canvasser

Steve & Geri Carlson

Mr. & Mrs. Robert J. Colombo

Catherine Compton

Mr. & Mrs. David Conrad

Mr. & Mrs. Alfred J. Darold

Gordon & Elaine Didier

Mrs. Connie Dugger

Mr. Howard O. Emorey

Mr. & Mrs. Francis A. Engelhardt

Burke & Carol Fossee

Mr. & Mrs. Randy G. Paquette

Cara Parsons Dietz

Mark Pasik & Julie Sosnowski

Priscilla & Huel Perkins

Peter & Carrie Perlman

Mr. & Mrs. William A. Reed

Dr. Claude & Mrs. Sandra Reitelman

Denise Reske

Mr. & Mrs. John Rieckhoff

The Steven Della Rocca Memorial Fund/ Courtenay A. Hardy

Ms. Patricia Rodzik

Mr. James Rose

Ms. Martha A. Scharchburg & Mr. Bruce Beyer

Shirley Anne & Alan Schlang

Joe & Ashley Schotthoefer

Catherine & Dennis B. Schultz

Dr. & Mrs. Richard S. Schwartz

Sandy ◊ & Alan Schwartz

Mrs. Rosalind B. Sell

Mr. Jeffrey S. Serman

Carlo & Nicole Serraiocco

Shapero Foundation

Bill* & Chris Shell

Dr. Les Siegel & Ellen Lesser Siegel

Dean P. & D. Giles Simmer

Ralph & Peggy Skiano

Mr. Michael J. Smith & Mrs. Mary C. Williams

Mr. Joseph & Mrs. Lois Gilmore

Allan D. Gilmour & Eric C. Jirgens

Mr. & Mrs. Matthew Goodman

Dr. Susan Harold

Jean Hudson

Mr. & Ms. Charles Jacobowitz

Carole Keller

Mr. & Mrs. Gerd H. Keuffel

Mr. & Mrs.◊ Gregory Knas

Mr. Robert Kosinski

Mr. & Mrs. Charles Laurencelle

Mr. Steven L. Lipton

Dr. & Mrs. Richard Miller

Steve & Judy Miller

Carolyn & J. Michael Moore

Muramatsu America Flutes

Mr. James Murawski

Dr. William W. O’Neill

Ken & Geralyn Papa

Anne Parsons ◊ & Donald Dietz

Mr. & Mrs. Mark H. Peterson

Mr. & Mrs. Richard Rapson

Ms. Susan Smith

Shirley R. Stancato

Peter & Patricia Steffes

Mrs. Andreas H. Steglich

Dr. & Mrs. Gerald Stollman

Mr. Jt Stout

Mr. & Mrs.◊ John Streit

Dr. & Mrs. Sugawa

Dr. Neil Talon

Mr. Rob Tanner

Barbara & Stuart Trager

Tom & Laura Trudeau

Gerald & Teresa Varani

Mr. William Waak

Dr.◊ & Mrs. Ronald W. Wadle

Richard P. & Carol A. Walter

Mr. Patrick Webster

Elizabeth & Michael Willoughby

Rissa & Sheldon Winkelman

Ms. Andrea L. Wulf

Ms. Eileen Wunderlich

Mr. & Mrs. Wesley Yee

Ms. Ellen Hill Zeringue

And six who wish to remain anonymous

Mr. & Mrs. Rodney Rask

Dr. Natalie Rizk

Ms. Carole Robb

Ms. Elana Rugh

Brian & Toni Sanchez-Murphy

Mr. & Mrs. Kingsley G. Sears

Elliot Shafer

Ms. Sandra Shetler

Donna & Robert Slatkin

Dr. & Mrs. Martin Tessler

David & Lila Tirsell

Dennis & Jennifer Varian

Mr. Barry Webster

Ms. Janet Weir

Ms. Joan Whittingham

Mr. & Mrs.◊ Richard Wigginton

Mr. Francis Wilson

Ms. Gail Zabowski

And three who wish to remain anonymous

TRIBUTE GIFTS

Gifts received between February 15, 2024 to August 31, 2024

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

In Honor

Jeffrey Andonian

Dr. & Mrs. James Andonian

Janet & Norm Ankers

Drs. David & Bernadine Wu

Janice Cohen & Richard

Place

Mrs. Sheila Pitcoff & Mr. Joel Pitcoff

Harold Daitch

Anne Klisman

Amelie & Jeffrey Allen

Ms. Jocelyn Allen

Mona Alonzo

Mr. & Mrs. Richard Alonzo

Max Lepler & Rex L. Dotson

Anna K. Bonde

Debra J. Bonde

Lois Cohn

Mrs. Bonnie Larson

Brian F. Costigan

Mrs. Mary Louise Costigan

John Dreifus

Bruce & Mikey Shlager, Jeff & Isabele Shlager, & Gary Shlager

Steve Geraci

Aliqae Geraci

Jean Getzen

Ms. Haley Getzen

Tony Gillett

Mrs. Lee Gillett

Ann Katz Ruth Rattner

Finnegan Kowel Gabrielle Kowal

Judy Frankel Andi Wolfe

Dr. Theodore Golden Eleanor Gabrys

Cesalee Morrow Kathy Morrow

Mr. & Mrs. James B. Nicholson Anonymous

Mr. Richard A.

Sonenklar & Mr.

Gregory Haynes

Mr. Antonio David Garcia

Dr. Teck M. Soo & Doris

Tong & Teck Soo Kelli Tumminello

In Memory

Gale Girolami

Mr. & Mrs. Mike Girolami

Barbara Ruth Goldstein

Mark Goldstein

Robert Goren

Sara & Tim Zwickl

Marion Harrison

Gregg Harrison

Mrs. Jane Hinkins

Sean Santos

William D. Hodgman

Brian Hodgman

Joan & George Hoelaars

Ms. Lynn Popa

Mr. Jack Horner

Miss Bonni Mittelstadt

Anita Lampcov

Mr. & Mrs. Richard M.

Cooper

Nancy, Jodie, Karen, & Bruce Lampcov

Jennie Lieberman

Carolyn Madden

Linda Michaels

Mrs. Lisa Rich

Vicki & Eddie

Rosenberg-Parach

Susan Schulman

Stuart Spilkevitz

Suzanne LaLonde

Larabell

Mary Bellore

John Boris

Mr. & Mrs. Tim

Connolly

Molly & Michael Distelrath

Mr. & Mrs. Michael T. Herrmann

Kathryn LaLonde

John Paul LaLonde

Christine Malbouef

Cindy Neese

Mr. John Paul

Mrs. Patricia Nickol

Mr. Robert Blackford & Mr. Geoff Nickol

Robert Loquercio

Mr. & Mrs. Neal E. Schmale

Ms. Sharon Sparrow

Ms. Courtenay A. Hardy

Mr. & Mrs. Noel L. Peterson

Mrs. Susan Hoffman

Mr. Michael Walch

Mrs. Gilda Jacobs

Judy & Bob Rubin

Phyllis Peters

Donald Riha

Feliz Resnick

Ms. Melanie Wells

Henry Romain

Mr. Robert E Scott

Sandra Schmid

Ms. Nancy Combs

Keith Keveney

Margaret Sellgren

Mary Jo Ellis

Mr. & Mrs. Lenard

Johnston

Coralyn F. Riley

Whitney Sale

Karen Stachelski

Mr. Steven G. Ward

Sharon Thomas

Mr. Steven Thomas

Nancy Williams

Ms. Sharon Backstrom

Thomas Zarro

Ms. Cynthia Laurence

CORPORATE,

AND GOVERNMENT GIVING

Giving of $500,000 & more

SAMUEL & JEAN FRANKEL FOUNDATION

Giving of $200,000 & more

STATE OF MICHIGAN

EMORY M. FORD JR. ENDOWMENT FUND

Giving of $100,000 & more

PAUL M. ANGELL FAMILY FOUNDATION

MARVIN & BETTY DANTO FAMILY FOUNDATION

Giving of $50,000 & more

William Randolph Hearst Foundation

The Kresge Foundation

Masco Corporation

Milner Hotels Foundation

National Endowment for the Arts

Donald R. Simon & Esther Simon Foundation

Myron P. Leven Foundation

Giving of $20,000 & more

MGM Grand Detroit

Eleanor & Edsel Ford Fund

Richard & Jane Manoogian Foundation

Stone Foundation of Michigan

Matilda R. Wilson Fund

Wolverine Packing

Mandell & Madeleine Berman Foundation

Giving of $10,000 & more

Honigman LLP

Applebaum Family Philanthropy

The Cassie Foundation

Geoinge Foundation

Huntington

Oliver Dewey Marcks Foundation

Penske Foundation, Inc.

Karen & Drew Peslar Foundation

Young Woman’s Home Association

Burton A. Zipser & Sandra D. Zipser Foundation

Giving of $5,000 & more

Sun Communities Inc.

Fisher Funeral Home & Cremation Services

Benson & Edith Ford Fund

James & Lynelle Holden Fund

Hylant Group

Marjorie & Maxwell Jospey Foundation

KPMG LLP

Lithia Motors, Inc.

Mary Thompson Foundation

Sigmund and Sophie Rohlik Foundation

Taft

Warner Norcross + Judd

HUB International

Giving of $1,000 & more

Coffee Express Roasting Company

Jack, Evelyn, & Richard Cole Family Foundation

Enterprise Holdings Foundation

EY

Frank & Gertrude Dunlap Foundation

Japan Business Society of Detroit Foundation

Ludwig Foundation Fund

Michigan First Credit Union

Plante Moran

Renaissance (MI) Chapter of the Links

Samuel L. Westerman Foundation

Anonymous

Louis & Nellie Sieg Foundation

CELEBRATING YOUR LEGACY SUPPORT

BARBARA VAN DUSEN, Honorary Chair

The 1887 Society honors individuals who have made a special legacy commitment to support the Detroit Symphony Orchestra. Members of the 1887 Society ensure that future music lovers will continue to enjoy unsurpassed musical experiences by including the DSO in their estate plans.

Ms. Doris L. Adler

Dr. & Mrs. William C. Albert

Mr. & Mrs. Robert A. Allesee ◊

Dr. Lourdes V. Andaya

Mr. & Mrs. Eugene Applebaum ◊

Dr. Augustin & Nancy ◊ Arbulu

Mr. David Assemany & Mr. Jeffery Zook

Ms. Sharon Backstrom

Sally & Donald Baker

Mr. & Mrs. Lee Barthel

Mr. Mark G. Bartnik & Ms. Sandra J. Collins

Stanley A. Beattie

Mr. Melvyn Berent & Ms. Barbara Spreitzer-Berent

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

CM Carnes

Dr. & Mrs.◊ Thomas E. Carson

Cynthia Cassell, Ph. D.

Eleanor A. Christie

Ms. Mary F. Christner

Mr. Gary Ciampa

Robert & Lucinda Clement

Lois & Avern Cohn ◊

Drs. William ◊ & Janet 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

Ms. Dorothy Fisher ◊

Mrs. Marjorie S. Fisher ◊

Mr. & Mrs. Phillip Wm. Fisher

Dorothy A. & Larry L. Fobes

Samuel & Laura Fogleman

Mr. Emory Ford, Jr.◊ Endowment

Dr. Saul & Mrs. Helen Forman

Barbara Frankel ◊ & Ron Michalak

Herman & Sharon Frankel

Mrs. Rema Frankel ◊

Jane French ◊

Mark & Donna Frentrup

Alan M. Gallatin

Janet M. Garrett

Dr. Byron P.◊ & Marilyn Georgeson

Jim & Nancy Gietzen

Mr. Joseph & Mrs. Lois Gilmore

Victor & Gale Girolami ◊

Ruth & Al◊ Glancy

David & Paulette Groen

Mr. Gerald Grum ◊

Rosemary Gugino

Mr. & Mrs. William Harriss

Donna & Eugene ◊ Hartwig

Gerhardt A. Hein ◊ & Rebecca

P. Hein

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

Ms. Carol Johnston

Lenard & Connie Johnston

Carol M. Jonson

Carol M. Jonson

Drs. Anthony & Joyce Kales

Faye & Austin ◊ Kanter

Norb ◊ & Carole Keller

Dr. Mark & Mrs. Gail Kelley

June K. Kendall◊

Dimitri ◊ & Suzanne Kosacheff

Douglas Koschik

Mr. & Mrs. Arthur J. Krolikowski ◊

Mary Clippert LaMont ◊

Ms. Sandra Lapadot

Mrs. Bonnie Larson

Ann C. Lawson ◊

Leslie Jean Lazzerin

Allan S. Leonard

Max Lepler & Rex L. Dotson

Dr. Melvin A. Lester ◊

Mr. & Mrs.◊ Joseph Lile

Eugene & Jeanne LoVasco Family

Eric & Ginny Lundquist

Harold Lundquist ◊ & Elizabeth Brockhaus 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◊

Joy & Allan Nachman

Geoffrey S. Nathan & Margaret E. Winters ◊

Beverley Anne Pack

David & Andrea Page ◊

Mr. Dale J. Pangonis

Ms. Mary Webber Parker ◊

Mr. David Patria & Ms. Barbara Underwood ◊

Mrs. Sophie Pearlstein ◊

Helen & Wesley Pelling ◊

Dr. William F. Pickard ◊

Mrs. Bernard E. Pincus

Ms. Christina Pitts

Mrs. Robert Plummer ◊

Mr. & Mrs. P. T. Ponta

Mrs. Mary Carol Prokop ◊

Ms. Linda Rankin & Mr. Daniel Graschuck

Mr. & Mrs. Douglas J. Rasmussen

Ms. Elizabeth Reiha ◊

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 Shuman Saulson

Ruth Saur Trust

Mr. & Mrs. Donald and Janet Schenk

Ms. Yvonne Schilla

David W. Schmidt ◊

Mr. & Mrs. Fred Secrest ◊

Mr. & Mrs. Robert L. Shaffer ◊

Patricia Finnegan Sharf

Ms. Marla K. Shelton

Edna J. Shin

Ms. June Siebert

Mr. & Mrs. Donald R. Simon ◊

Dr. Melissa J. Smiley & Dr. Patricia A. Wren

David & Sandra Smith

Ms. Marilyn Snodgrass ◊

Mrs. Margot Sterren ◊

Mr.◊ & Mrs. Walter Stuecken

Mr.◊ & Mrs. Alexander C. Suczek

David Szymborski & Marilyn Sicklesteel

Alice ◊ & Paul Tomboulian

Roger & Tina Valade

Charles ◊ & Sally Van Dusen

Barbara C. Van Dusen

Mr. & Mrs. Melvin VanderBrug

Mr. & Mrs. George C. Vincent ◊

Mr. Sanford Waxer ◊

Christine & Keith C. Weber

Mr. Herman Weinreich ◊

John ◊ & Joanne Werner

Mr.◊ & Mrs. Arthur Wilhelm

Mr. Robert E. Wilkins ◊

Mrs. Michel H. Williams

Ms. Nancy S. Williams ◊

Mr. Robert S. Williams & Ms. Treva Womble

Ms. Barbara Wojtas

Elizabeth B. Work◊

Dr. & Mrs. Clyde Wu ◊

Ms. Andrea L. Wulf

Mrs. Judith G. Yaker

Milton & Lois Zussman ◊

And six who wish to remain anonymous

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

Mrs. Katana H. Abbott*

Mr. Joseph Aviv

Mr. Christopher Ballard*

Ms. Jessica B. Blake, Esq.

Ms. Rebecca J. Braun

Mr. Timothy Compton

Ms. Wendy Zimmer Cox*

Mr. Robin D. Ferriby*

Mrs. Jill Governale*

Mr. Henry Grix*

Mrs. Julie Hollinshead, CFA

Mr. Mark W. Jannott, CTFA

Ms. Jennifer Jennings*

Ms. Dawn Jinsky*

Mrs. Shirley Kaigler*

Mr. Robert E. Kass*

Mr. Christopher L. Kelly

Mr. Bernard S. Kent

Ms. Yuh Suhn Kim

Mrs. Marguerite Munson Lentz*

Mr. J. Thomas MacFarlane

Mr. Christopher M. Mann*

Mr. Curtis J. Mann

Mrs. Mary K. Mansfield

Mr. Mark E. Neithercut*

Mr. Steve Pierce

Ms. Deborah J. Renshaw, CFP

Mr. James P. Spica

Mr. David M. Thoms*

Mr. John N. Thomson, Esq.

Mr. Jason Tinsley*

Mr. William Vanover

Mr. William Winkler

*Executive Committee Member

Share the music of the DSO with future generations

INCLUDE 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.

DETROIT SYMPHONY ORCHESTRA

YOUR EXPERIENCE AT 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, plus our outdoor green space, Sosnick Courtyard. 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.

Parking

The DSO Parking Deck is located at 81 Parsons Street. Self-parking in the garage costs $12 for most concerts (credit card payment only). Accessible parking is available on the first and second floors of the garage. Note that accessible parking spaces go quickly, so please arrive early!

Valet parking is also available for all patrons (credit card payment only), and a golf cart-style DSO Courtesy Shuttle is available for all patrons who need assistance entering The Max.

What Should I Wear?

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

Food and Drink

Concessions are available for purchase on the first floor of the William Davidson Atrium at most concerts, and light bites are available in the Paradise Lounge on the second floor. Bars are located on the first and third floors of the William Davidson Atrium and offer canned sodas (pop, if you prefer), beer, wine, and specialty cocktail mixes.

Patrons are welcome to take drinks to their seats at

all performances except Friday morning Coffee Concerts; food is not allowed in Orchestra Hall. Please note that outside food and beverages are prohibited.

Accessibility

Accessibility matters. Whether you need ramp access for your wheelchair or are looking for sensory-friendly concert options, we are thinking of you.

• The Max has elevators, barrierfree restrooms, and accessible seating on each level. Security staff are available at all entrances to help patrons requiring extra assistance in and out of vehicles.

• The DSO’s Sennheiser MobileConnect hearing assistance system is available for all performances in Orchestra Hall. You can use your own mobile device and headphones by downloading the Sennheiser MobileConnect app, or borrow a device by visiting the Box Office.

• Available at the Box Office during all events at The Max, William Davidson Neighborhood Concert Series venues, and chamber recitals, the DSO offers sensory toolkits to use free of charge, courtesy of the Mid-Michigan Autism Association. The kits contain items that can help calm or stimulate a person with a sensory processing

THE MAX M. & MARJORIE S. FISHER MUSIC CENTER 3711 Woodward Avenue Detroit, MI

Visit the DSO online at dso.org

For general inquiries, please email info@dso.org

difference, including noise-reducing headphones and fidget toys. The DSO also has a quiet room, available for patrons to use at every performance at The Max.

• A golf cart-style DSO Courtesy Shuttle is available for all patrons who need assistance entering The Max.

• Check out the Accessibility tab on dso.org/yourexperience to learn more

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!

Shop DSO Merchandise

Visit shopdso.org to purchase DSO and Civic Youth Ensembles merchandise anywhere, anytime!

The Herman and Sharon Frankel Donor Lounge

Governing Members can enjoy complimentary beverages, appetizers, and desserts in the Donor Lounge, open 90 minutes prior to each concert through the end of intermission. For more information on becoming a Governing Member, contact Cassidy Schmid at cschmid@dso.org.

Gift Certificates

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

Rent The Max

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

POLICIES

SEATING

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

TICKETS, EXCHANGES, AND CONCERT CANCELLATIONS

n All sales are final and non-refundable.

PHONES

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

PHOTOGRAPHY & RECORDING

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

n Even though we’ll miss you, we understand that plans can change unexpectedly, so the DSO offers flexible exchange and ticket donation options.

n Please contact the Box Office to exchange tickets and for all ticketing questions or concerns.

n The DSO is a show-must-go-on orchestra. In the rare event a concert is cancelled, our website and social media feeds will announce the cancellation, and patrons will be notified of exchange options.

We love a good selfie for social media (please share your experiences using @DetroitSymphony and #IAMDSO) but remember that having your device out can be distracting to musicians and audience members. Please be cautious and respectful if you wish to take photos or videos. Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

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

SMOKING

Smoking and vaping are not allowed anywhere in The Max.

ADMINISTRATIVE STAFF

EXECUTIVE OFFICE

Erik Rönmark

President and CEO

James B. and Ann V. Nicholson Chair

Jill Elder

Vice President and Chief Revenue Officer

Linda Lutz

Vice President and Chief Financial & Administrative Officer

Joy Crawford

Executive Assistant to the President and CEO

Serena Donadoni Executive Assistant to the Vice President and Chief Revenue Officer

Anne Parsons ◊ President Emeritus

ARTISTIC OPERATIONS

ARTISTIC PLANNING

Jessica Ruiz

Senior Director of Artistic Planning

Jessica Slais

Creative Director of Popular & Special Programming

Stephen Grady Jr. Program Manager, Popular & Special Programming

Lindzy Volk Artistic Manager

LIVE FROM ORCHESTRA HALL

Marc Geelhoed Executive Producer of Live from Orchestra Hall

ORCHESTRA OPERATIONS

Kathryn Ginsburg General Manager

Patrick Peterson Orchestra Manager

Dennis Rotell Stage Manager

Nolan Cardenas Auditions & Operations Coordinator

Bronwyn Hagerty Orchestra and Training Programs Librarian

Benjamin Tisherman Manager of Orchestra Personnel

ADVANCEMENT

Alex Kapordelis Senior Director of Advancement

Ali Huber Director of Donor Engagement

Colleen McLellan Director of Institutional & Legislative Partnerships

Cassidy Schmid Director of Individual Giving

Zach Suchanek Associate Director of Annual Giving

Bryana Hall Data & Research Specialist

Jane Koelsch Major Gift Officer

Francesca Leo Manager of Governance & Donor Engagement

Elizabeth McConnell Specialist, Donor Communications

Juanda Pack Advancement Benefits Concierge

Susan Queen Gift Officer, Corporate Giving

Bethany Simmerlein Grant Writer

Amanda Tew Major Gift Officer

Shay Vaughn Major Gift Officer

BUILDING OPERATIONS

Ken Waddington Senior Director of Facilities & Engineering

Teresa Beachem Chief Engineer

Demetris Fisher Manager of Environmental Services (EVS)

William Guilbault EVS Technician

Robert Hobson Chief Maintenance Technician

Aaron Kirkwood EVS Lead

Daniel Speights EVS Technician

EVENT AND PATRON EXPERIENCE

Christina Williams Director of Event & Patron Experience

Neva Kirksey Manager of Events & Rentals

Alison Reed, CVA Manager of Volunteer & Patron Experience

Andre Williams Beverage Program Manager

COMMUNICATIONS

Matt Carlson Senior Director of Communications & Media Relations

Sarah Smarch Director of Content & Storytelling

Natalie Berger Video Content Specialist

LaToya Cross Communications & Advancement Content Specialist

Hannah Engwall Elbialy Public Relations Manager

LEARNING & ENGAGEMENT

Karisa Antonio Senior Director of Social Innovation & Learning

Damien Crutcher Managing Director of Detroit Harmony

Debora Kang Director of Education

Clare Valenti Director of Community Engagement

Kiersten Alcorn Manager of Community Engagement

Chris DeLouis Manager of Learning, Student & Program Deveopment

Erin Faryniarz Detroit Harmony Partnerships & Services Coordinator

Samuel Hsieh Coordinator of Learning Operations

Kendra Sachs Manager of Learning, Enrollment & Communications

FINANCE

Agnes Postma Senior Director of Accounting & Finance

Adela Löw Director of Accounting & Financial Reporting

Tanisha Hester Accountant

Sandra Mazza Senior Accountant of Business Operations

Claudia Scalzetti Staff Accountant

HUMAN RESOURCES

Hannah Lozon Senior Director of Talent & Culture

Angela Stough Director of Human Resources

Shuntia Perry Recruitment & Employee Experience Specialist

INFORMATION TECHNOLOGY

William Shell Director of Information Technology

Pat Harris Systems Administrator

Michelle Koning Web Manager

Aaron Tockstein Database Administrator

MARKETING & AUDIENCE DEVELOPMENT

Connor Mehren Director of Growth Marketing

Juliana Nahas Director of Loyalty Marketing

Sharon Gardner Carr Tessitura Event Operations Manager

Jay Holladay Brand Graphic Designer

LaHeidra Marshall Direct Marketing Manager

Thomas Monks Loyalty Marketing Manager

Declan O’Neal Marketing & Promotions Coordinator

Kristin Pagels-Quinlan Digital Advertising Manager

PATRON SALES & SERVICE

Michelle Marshall Director of Patron Sales & Service

James Sabatella Group & Tourism Sales Manager

Valerie Jackson Group Sales Representative

SAFETY & SECURITY

George Krappmann Director of Safety & Security

Johnnie Scott Safety & Security Manager

Willie Coleman Security Officer

Joyce Dorsey Security Officer

Tony Morris Security Officer

Eric Thomas Security Officer & Maintenance Technician

PERFORMANCE

Hannah Engwall Elbialy, editor hengwall@dso.org

• ECHO PUBLICATIONS, INC. Tom Putters, publisher echopublications.com

•

Cover design by Jay Holladay

•

To advertise in Performance: visit echodetroit.com, call 248.582.9690 or email tom@echodetroit.com

Read Performance anytime! dso.org/performance Activities of the DSO are made possible in part with the support of the Michigan Arts & Culture Council and the National Endowment for the Arts.

UPCOMING CONCERTS & EVENTS

DEC 6–8 ELLINGTON & THE NUTCRACKER Ray Chen, violin

DEC 13–15 HOME FOR THE HOLIDAYS

NOVEMBER

PVS CLASSICAL SERIES RACHMANINOFF & PROKOFIEV NOV 2–3

PVS CLASSICAL SERIES HOLST’S THE PLANETS NOV 7–9

PNC POPS SERIES UNDER THE STREETLAMP NOV 15–17

PVS CLASSICAL SERIES MAHLER’S FIFTH SYMPHONY NOV 21–23

DECEMBER

PARADISE JAZZ SERIES A CHARLIE BROWN CHRISTMAS: CYRUS CHESTNUT AND FRIENDS

DEC 6

DEC 20–21 AT THE MOVIES: THE MUPPET CHRISTMAS CAROL

PVS CLASSICAL SERIES ELLINGTON & THE NUTCRACKER DEC 6–8

FAMILY SERIES LET IT SNOW! DEC 7

PNC POPS SERIES HOME FOR THE HOLIDAYS DEC 13–15

AT THE MOVIES THE MUPPET CHRISTMAS CAROL DEC 20-21

SPECIALS LESLIE ODOM, JR. THE CHRISTMAS TOUR DEC 22

JANUARY SPECIALS BRAHMS X RADIOHEAD JAN 8

AT THE MOVIES HARRY POTTER AND THE CHAMBER OF SECRETS™ IN CONCERT JAN 11-12

PVS CLASSICAL SERIES THE RITE OF SPRING JAN 16–18

TICKETS & INFO dso.org 313.576.5111

For complete program listings, including Live from Orchestra Hall webcast dates, visit dso.org