Performance Magazine - Fall Issue 2 - 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

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.

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

Maureen T. D’Avanzo

Jasmin DeForrest

Cara Dietz

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

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

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CHAMPIONS

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Weingarden

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Ms. Deborah Miesel

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LEADERS

Applebaum Family Philanthropy

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Martie & Bob Sachs

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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

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Mary Rita Cuddohy Estate

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Davidoff APLF, MM

DSO Musicians MM

Bette Dyer Estate

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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

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Family

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Michigan Arts & Culture Council

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Kelly APLF

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Mr. & Mrs. Lloyd E. Reuss◊

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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

Devereaux Family Chair

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

TITLE SPONSOR:

MUSIC OF THE KNIGHTS

Friday, October 25, 2024 at 10:45 a.m.

Saturday, October 26, 2024 at 8 p.m.

Sunday, October 27, 2024 at 3 p.m. in Orchestra Hall

NA’ZIR McFADDEN, conductor

SCOTT COULTER, vocals

BLAINE KRAUSS, vocals

CAMPBELL WALKER FIELDS, vocals

JOHN BOSWELL, piano

Program to be announced from the stage.

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

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

PROGRAM AT-A-GLANCE | MUSIC OF THE KNIGHTS

Royalty With a Touch of Razzle-Dazzle

Experience music’s royalty with your favorite selections from Sir Andrew Lloyd Webber, Sir Elton John, and Sir Paul McCartney. These musicians were knighted by Queen Elizabeth II for their undeniable service to music and the arts, and their contributions have shaped genres from rock to Broadway to pop into what they are today. Sir Webber has composed some of the most beloved and iconic musicals including The Phantom of the Opera. Sir John exemplified virtuosic piano playing, melodic writing, and dramatic stage presence during his multi-decade career as a soloist and film music composer. Sir McCartney began his influential career in The Beatles, but his contributions continue as a soloist and collaborator. This program honors the holy grails of their royally regarded musical legacy—but we’ll leave the chainmail and swords at home.

PROFILE

NA’ZIR MCFADDEN

Americanconductor

Na’Zir McFadden is the Assistant Conductor and Phillip & Lauren Fisher Community Ambassador of the Detroit Symphony Orchestra.

McFadden also serves as Music Director of the Detroit Symphony Youth Orchestra. Together this season they will present three programs—exploring the masterworks of Sibelius, Schubert, Beethoven, Takashi Yoshimatsu, and Einojuhani Rautavaara.

Establishing his presence on the classical music scene, McFadden’s 2024–25 season includes debuts with the Boston Symphony Orchestra, Baltimore Symphony Orchestra, Nashville Symphony, and The No Name Pops (formerly the Philly Pops) at Marian Anderson Hall in Philadelphia’s Kimmel Center. He will also return to the New Mexico Philharmonic and the Philadelphia Ballet, in addition to several engagements with the Detroit Symphony Orchestra.

In summer 2024, McFadden was invited by the Boston Symphony Orchestra as one of two 2024 Tanglewood Music Center Conducting Fellows. As a fellow, he conducted the Tanglewood Music Center Orchestra in several performances, and participated in masterclasses led by

Andris Nelsons, Alan Gilbert, Thomas Wilkins, and Dima Slobodeniouk.

In the 2022–23 season, McFadden made his subscription debut with the Detroit Symphony Orchestra, alongside bass-baritone Davóne Tines and clarinetist Anthony McGill. In March 2024, he conducted the DSO’s Classical Roots program, premiering two new works by composers Billy Childs and Shelley Washington.

Other career highlights include debuts with the North Carolina Symphony, Utah Symphony Orchestra, Kalamazoo Symphony Orchestra, and Philadelphia Ballet. Additionally, McFadden led a recording project with the Civic Orchestra of Chicago—featuring Hilary Hahn as co-collaborator and soloist.

In 2020, McFadden was named the inaugural Apprentice Conductor of the Philadelphia Ballet, a position he held until 2022. He also served as the Robert L. Poster Conducting Apprentice of the New York Youth Symphony from 2020 to 2021.

At the age of 16, McFadden conducted his hometown orchestra—The Philadelphia Orchestra—in their “Pop-Up” series, meeting their Music Director Yannick Nézet-Séguin, who has been a mentor ever since. The Philadelphia Inquirer praised his “great stick [baton] technique and energetic presence on the podium” in their concert review.

SCOTT COULTER

Scott Coulter, one of New York’s most honored vocalists, has received five MAC Awards (Manhattan Association of Cabarets & Clubs), five Bistro Awards, and two Nightlife Awards for Outstanding Vocalist. He has performed at most of NYC’s top rooms including Birdland, 54 Below, The Oak Room at the Algonquin, and Feinstein’s at The Regency, where he spent a record-setting eight months performing the revue 11 O’Clock Numbers at 11 O’Clock, which he also co-created, directed, and musically arranged. His self-titled debut album won the 2003 MAC Award for Outstanding Recording and was chosen as the best recording of the year by TheatreMania and Cabaret Scenes magazines. Coulter was director and star of A Christmas Carol: The Symphonic Concert in its world premiere with the Baltimore Symphony Orchestra and reprised his performance in the Emmy-nominated PBS production. Coulter earned an Emmy nomination for his performance in American Song at NJPAC and a Grammy nomination as a featured vocalist on the album Sondheim Unplugged: The NYC Sessions. Coulter regularly performs in concert both as a solo artist and with a variety of legendary performers including Sheena Easton and Academy Award-winning composer Stephen Schwartz. Scott is creator, arranger and director of several touring shows including Music of the Knights, The Wonderful Music of Oz, Blockbuster Broadway!, and, for The ASCAP Foundation, Jerry Herman: The Broadway Legacy Concert. Along with Michael Kerker and ASCAP, he’s a regular producer/director of Michael Feinstein’s Standard Time at Carnegie Hall. Coulter, along with Dave Gaebler, is a co-producer of the Jessica Hendy/Brianna Barnes musical Walking With Bubbles, which received a 2023 Drama Desk Award nomination and won an Off-Broadway Alliance Award. The show’s cast album

is produced by Coulter and Vibecke Dahle Dellapolla. Coulter and Gaebler are also on the producing teams of the Broadway musicals Water for Elephants and Suffs (Tony Award winner for Best Book of a Musical and Best Score). Coulter is founder/owner of Spot-On Entertainment and Spot-On Arts Academy and is a resident director of programming at 54 Below (Broadway’s Supper Club) in NYC. He is the artistic director of the Pocono Mountains Music Festival and founder of the Pocono Pops! He is a proud graduate of the Cincinnati College-Conservatory of Music, which honored him with the CCM Young Alumni Award in 2010 and CCM’s Distinguished Service Award in 2020.

BLAINE KRAUSS

Blaine

Krauss is currently starring in Hamilton as Alexander Hamilton after a year on tour as the standby for both Hamilton and Burr. He appeared in the second season of Pose during his time in The Cher Show on Broadway. Previously, he was seen as Lola in Kinky Boots, shortly after making his Broadway debut in the smash hit Natasha, Pierre & The Great Comet of 1812. He traveled the world as Simba in The Lion King and starred in the Radio City Summer Spectacular. Krauss regularly performs with symphonies around the globe and is a regular performer at Feinstein’s/54 Below, where his acclaimed solo show From the Soul garnered him a Bistro Award. In 2011, his talents led him to be a feature performer for the largest commemoration of 9/11 outside of the US at the Trocadero in Paris, France. In 2010, he was selected to be one of 20 Presidential Scholars in the Arts by the White House and the Presidential Scholar Commission. His theatrical credits include Godspell and Spelling Bee at the West Virginia Public Theatre, Evita, Into the Woods, Civil War, Make Me A Song, Chess, and Jean Valjean in CCM’s Les Misérables. Krauss is a proud graduate

of the University of Cincinnati CollegeConservatory of Music.

CAMPBELL WALKER FIELDS

Campbell Walker Fields is versatile singer and keyboardist with equal comfort on concert, musical theatre, and arena stages. His professional career began when cast at the age of nine as Artful Dodger in Lyric Theatre of Oklahoma’s 2011 production of Oliver! Soon after, he played JoJo in Seussical the Musical at the University of Oklahoma, and Foo (Lost Boy) in the seven-week run of the world premiere Dallas Theatre Center production of the musical Fly. Other Lyric credits include the role of Slim in Oklahoma!, and productions of Mary Poppins, Big Fish, and Les Misérables. In the summer of 2016, he appeared on NBC’s America’s Got Talent, making it to the middle judge cuts round. He has performed as soloist with symphony orchestras including Abilene Philharmonic, The Signature Symphony, and the OKC Philharmonic, where he was featured artist in The Christmas Show and Independence Day concerts Red White & Boom. Commercial work includes the feature film Home Run and TV and print commercials for SandRidge Energy, and he is regularly invited to perform at special events and galas. Since 2018, he has been part of the all-star faculty for the Pocono

Mountains Performing Arts Camp, where he both teaches and shares the stage with a rotating cast of Broadway luminaries including Lisa Howard, Klea Blackhurst, Nellie McKay, Kelli Rabke, and Savion Glover. Campbell is a graduate of Classen School for Advanced Studies in Oklahoma City and a National Anthem favorite with Thunder audiences.

JOHN BOSWELL

John Boswell has served as musical director for Judy Collins, Andy Williams, Bob Newhart, Scott Coulter, Maude Maggart, Faith Prince, Carmen Cusack, Babbie Green, Jason Graae, and a host of other fine talents. Boswell played the role of Moose in the national tour of Crazy for You and has appeared on The Tonight Show, Today Show, CBS This Morning, Regis and Kathie Lee, and General Hospital, and was the piano playing hands of Nancy McKeon on the sit-com The Facts of Life. Recent symphonic concert appearances include Jerry Herman: The Broadway Legacy Concert, Blockbuster Broadway!, She ena Easton and Scott Coulter: The Spy Who Loved Me, and Music of the Knights Broadway/Off-Broadway credits include Crazy for You, The Secret Garden, and Liza: Steppin’ Out at Radio City. Boswell has eight albums of original piano music and a ninth on the way. While a student at UCLA, he received the Frank Sinatra Award for popular instrumentalists.

ENRICO LOPEZ-YAÑEZ

Principal Pops Conductor

Devereaux Family Chair

DETROIT SYMPHONY ORCHESTRA

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

TERENCE BLANCHARD

TABITA BERGLUND Principal Guest Conductor

Fred A. Erb Jazz Creative Director Chair NA’ZIR MCFADDEN Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

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

HOLST’S

THE PLANETS

Thursday, November 7, 2024 at 7:30 p.m.

Friday, November 8, 2024 at 8 p.m.

Saturday, November 9, 2024 at 8 p.m. at Orchestra Hall

ALPESH CHAUHAN , conductor

JOHANNES MOSER , cello

WAYNE STATE UNIVERSITY TREBLE CHOIR

Dr. Brandon Waddles, director

Thomas Adès Three-piece Suite from Powder Her Face (b. 1971)

Camille Saint-Saëns Cello Concerto No. 1 in A minor, Op. 33 (1835 - 1921) In one movement Johannes Moser, cello

Intermission

Gustav Holst The Planets (1874 - 1934) I. Mars, The Bringer of War

II. Venus, The Bringer of Peace

III. Mercury, The Winged Messenger

IV. Jupiter, The Bringer of Jollity

V. Saturn, The Bringer of Old Age

VI. Uranus, The Magician

VII. Neptune, The Mystic

Colin Matthews Pluto, the Renewer (b. 1946)

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.

PROGRAM AT-A-GLANCE | HOLST’S THE PLANETS

Cosmic Connections

The first half of this program features contrasting yet harmonious works from Thomas Adès and Camille Saint-Saëns. The Three-piece Suite from Powder Her Face evokes the seduction and scandal of the opera from which it is derived. From delicately layered orchestration to fragmented rhythms and harmonies, Adès creates a vast soundscape with vivid imagery. Saint-Saëns then brings the elegance and emotional depth to balance the first half of the program with one of his most famous works, Cello Concerto No. 1.

On the second half, Gustav Holst becomes our galactic guide on a tour of The Planets, where we encounter war, peace, jollity, old age, magic, and mysticism. Pluto, the Renewer composed by Colin Matthews will complete our journey. These works personify our solar system—giving each planet visceral emotional attributes and unique identities. We are brought through the entirety of the human experience, both on Earth with Adès and Saint-Saëns and in outer space with Holst and Matthews.

PROGRAM NOTES

Three-piece Suite from Powder Her Face

Composed 1995 | Premiered 1995

THOMAS ADÈS

B. March 1, 1971, London, United Kingdom

Scored for 3 flutes (one doubling on piccolo), 3 oboes, 3 clarinets (one doubling on bass clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, piano, and strings. (Approx. 12 minutes)

British composer

Thomas Adès’s Powder Her Face is an opera that quickly became infamous for its provocative subject matter and vivid musical language. Based on the scandalous life of Margaret Campbell, Duchess of Argyll, the opera recounts her fall from high society in a story rife with gossip, betrayal, and sexual controversy. While the opera is known for its explicit themes, Adès’s music is just as striking— at times sensuous, grotesque, and darkly humorous.

In the Three-piece Suite, Adès showcases inventive orchestration and theatrical flair. The suite opens with a jittery, syncopated dance that immediately sets the tone for the Duchess’ decadent world. In the second movement, Adès merges elegance and distortion, using chromatic slides and off-kilter rhythms to

give the music an unsettling character. The final movement brings the suite to a haunting close, as the once-glamorous world of the Duchess disintegrates into isolation and ruin.

Adès, one of the leading composers of his generation, has often been praised for his ability to combine traditional forms with new harmonic language. In the Three-piece Suite, he manipulates the waltz with postmodern wit, using dissonance and fragmented gestures to reveal the darker side of his characters. This suite offers a powerful glimpse into both the opera’s narrative and Adès’s unique voice, full of irony, biting humor, and poignant tragedy.

This performance marks the DSO premiere of Thomas Adès’s Three-piece Suite from Powder Her Face

Cello Concerto No. 1 in A minor, Op. 33

Composed 1872 | Premiered 1873

CAMILLE SAINT-SAËNS

B. October 9, 1835, Paris, France

D. December 16, 1921, Algiers, Algeria

Scored for solo cello, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (Approx. 19 minutes)

There is little sign of exertion in Camille Saint-Saëns’s A minor cello concerto— none of the struggle against odds that mark Elgar’s concerto, for example, or the

heartiness of Dvořák’s. At a stroke, Saint-Saëns does away with the “concerto problem” that befuddled some of his predecessors. Instead of making the soloist sit while the orchestra lines out the themes, he allows the cello to enter at once, with only a preliminary thump from the orchestra to establish the key. The soloist’s opening statement is a masterpiece of compression, containing two elements that will be worked over thoroughly: a passage of tumbling triplets in the instrument’s sonorous tenor register, and a rising and falling semitone in the bass. The orchestra plays the role of a Gilbert and Sullivan chorus, chiming in when the soloist has had their say, and just as quickly stepping back to blend into the scenery.

Following the pattern of his own previous concertos, Saint-Saëns consolidates the traditional three movements into one. Doing the duty of a speedy slow movement or a slow scherzo is a minuet, delicately scored and articulated, with the cello providing a tune that turns out to be a cousin of the opening movement’s second theme. The cello part catches up more and more in the spirit of a dance, finally spinning off into a cadenza.

This could go on forever, but with a solemn strain in the bass, the cello announces the finale. Triplets roll up and down the scale, and a repeated semitone figure is transformed into a new-old theme. Until now, Saint-Saëns has held the cello back from a full display of virtuosity, but here he turns it loose, to range from the top of its register to the bottom, to leap strings, to show off a variety of bowings. The mood becomes giddier, and in the orchestra, an A major theme emerges. The cello clinches the new key with a genuinely new tune, a sonorous one, but hardly has it sounded when it is time to depart, as the orchestra dutifully closes the door.

The DSO most recently performed Saint-Saëns’s Cello Concerto No. 1 in

January 2019, conducted by Pablo Rus Broseta and featuring DSO Principal Cello Wei Yu as soloist. The DSO first performed the piece in December 1918, featuring cellist Philipp Abbas (the conductor is unknown).

The Planets, Op. 32

Composed 1916 | Premiered 1918

GUSTAV HOLST

B. Cheltenham, England, September 21, 1874

D. London, England, May 25, 1934

Scored for 4 flutes (two doubling on piccolo, one doubling on bass flute), 3 oboes (one doubling on bass oboe), English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 3 trombones, tenor tuba, bass tuba, 2 timpani, percussion, celesta, organ, 2 harps, strings, and off-stage chorus. (Approx. 55 minutes)

During the years just prior to World War I, Gustav Holst became interested in astrology and learned to cast horoscopes. The diverse characters associated with the planets in both astrology and Roman mythology did “suggest music” to Holst. The result was The Planets, a suite of seven short tone poems. The work proved immediately successful, catapulting its composer, hitherto an obscure music teacher, to sudden fame. For the reclusive Holst, this proved the worst possible fate. He abhorred the attention of the press and public and was relieved when his later music garnered less approval. The Planets, however, retained its popularity throughout his lifetime and long afterwards.

Each of the seven movements that comprise Holst’s composition expresses a mood suggested by the astrological sign associated with its particular planet. These pieces fall into two general types: scherzando movements, which are lively, brash and rhythmic; and quiet meditations of a remote, timeless nature. The former

group includes “Mars,” which opens The Planets in thunderous fashion; “Mercury,” with animated music appropriate to its namesake; “Jupiter,” whose character derives in large part from the flavor of English folk song; and “Uranus.” Among the more relaxed and contemplative sections are “Venus;” “Saturn,” described by Holst as conveying not so much the physical decay of old age, but a vision of fulfillment; and “Neptune,” where the orchestra, playing hushed, reverent sonorities, is joined in the final passage by a wordless chorus of women’s voices.

Despite these two broad groupings, each “planet” is distinct in both general tone and thematic material, a few well- chosen melodic cross- references notwithstanding. Holst’s musical invention serves remarkably well for delineating the character of each movement. Other details of compositional craftsmanship also contribute to the vividness of Holst’s zodiac portrayals. Among them, we can admire the deft handling of syncopated rhythms and unusual meters; the haunting modal melodies of its slow movements; and brilliant and original orchestration. — Paul Schiavo

The DSO most recently performed movements from Holst’s The Planets during an Educational Concert Series performance in November 2023, conducted by Na’Zir McFadden. The DSO first performed the piece in February 1967, conducted by Sixten Ehrling.

Pluto, the Renewer

Composed 2000 | Premiered 2000

COLIN MATTHEWS

B. February 13, 1946, London, England

Scored for 2 flutes, piccolo, alto flute, 2 oboes, English horn, bass oboe, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 3 trombones, 2 tubas, 2 timpanis, percussion, 2 harps, celesta, organ, and strings. (Approx. 6 minutes)

Of Pluto, the Renewer, Colin Matthews writes the following:

“When Kent Nagano asked me to add Pluto to The Planets I had mixed feelings. To begin with, The Planets is a very satisfying whole, and one which makes perfect musical sense. Neptune ends the work in a way wholly appropriate for Holst—an enigmatic composer, always likely to avoid the grand gesture if he could do something unpredictable instead. How could I begin again, after the music has completely faded away as if into outer space? And, even though Pluto was discovered four years before Holst’s death in 1934, I am certain that he never once thought to write an additional movement (he was in any case decidedly ambivalent about the work’s huge popularity). In addition, the matter of Pluto’s status as a planet has for some time been in doubt—it may well be reclassified (together with its tiny satellite Charon) as no more than one of the largest of the many Kuyper Belt objects beyond the orbit of Neptune. Another intriguing fact about Pluto is that its elliptical orbit means that for the past 20 years it has been nearer to us than Neptune. Yet the challenge of trying to write a new movement for The Planets without attempting to impersonate Holst eventually proved irresistible.

It quickly became clear that it would be pointless to write a movement that was even more remote than Neptune unless the whole orchestra were to join the chorus off-stage. Nor did I feel that I should rely on the astrological significance of Pluto, which is more than a little ambiguous. (Not that astrologers seem to have problems with a minute planet that they have only just become aware of.) In any case I am a thoroughgoing sceptic as far as astrology is concerned—I suspect that Holst’s interest too was pretty peripheral—and, apart from choosing the title Pluto, the Renewer, left that aspect to one side. The only possible way to carry on from where Neptune leaves off is not

to make a break at all, and so Pluto begins before Neptune has quite faded. And it is very fast—faster even than Mercury: solar winds were my starting point. The movement soon took on an identity of its own, following a path which I seemed to be simply allowing to proceed as it would: in the process I came perhaps closer to Holst than I had expected, although at no point did I think to write pastiche. At the end the music disappears, almost as if Neptune had been quietly continuing in

PROFILES

ALPESH CHAUHAN

British conductor Alpesh Chauhan is Principal Guest Conductor of the Düsseldorfer Symphoniker and Music Director of Birmingham Opera Company.

Forthcoming 2024–25 season highlights include debuts with the Stavanger, Detroit, and Vancouver symphony orchestras; Orchestre National de Belgique; PhilZuid; and Orchestre de Auvergne, including at the Evian Festival. He returns to the Oslo Philharmonic; City of Birmingham, Melbourne, and Adelaide symphony orchestras; BBC Scottish; BBC Philharmonic; Ulster Orchestra; and Orchestra de La Fenice. With his Dusseldorf orchestra, he conducts Das Lied von der Erde, as well as opening their new season with Korngold’s Symphony. Chauhan is particularly well-known for his interpretations of the late Romantic and 20th-century repertoire, and also champions contemporary composers including Thomas Adès, Anna Clyne, Chaya Czernowin, Henri Dutilleux, Osvaldo Golijov, Sofia Gubaidulina, Zakir Hussain, Nicole Lizée, Jessie Montgomery, John Psathas, Steve Reich, Mark Simpson, and George Walker.

In the field of opera, alongside the

the background.

Pluto is dedicated to the memory of Holst’s daughter Imogen, with whom I worked for many years until her death in 1984, and who I suspect would have been both amused and dismayed by this venture.”

The DSO previously performed Matthews’s Pluto, the Renewer just once, in September 2004, conducted by Miguel Harth-Bedoya.

recently critically acclaimed productions of New Year and Rheingold, other notable opera titles include Shostakovich’s Lady Macbeth of Mtsensk, West Side Story, and productions of Turandot, including at the Palau de les Arts Reina Sofía in Valencia.

A keen advocate of music education for young people, Chauhan is a patron of Awards for Young Musicians, a UK charity supporting talented young people from disadvantaged backgrounds on their musical journeys.

Former Associate Conductor of BBC Scottish Symphony—with whom he appeared at the BBC Proms in 2022—he continues to appear regularly as a guest conductor, and currently partners with them on a Tchaikovsky cycle with Chandos Records. Their first two albums were released to critical acclaim in 2023 and 2024.

Born in Birmingham, Chauhan studied cello at the Royal Northern College of Music in Manchester before continuing at the Royal Northern College of Music to pursue the prestigious Master’s Conducting Course. Chauhan received an OBE in Queen Elizabeth II’s 2022 New Year’s Honours for Services to the Arts and was conferred an Honorary Fellow of the RNCM in 2024. In 2022, he received the Conductor Award from the Italian National Association of Music Critics for ‘Miglior Direttore.’

JOHANNES MOSER

Hailed by Gramophone magazine as “one of the finest among the astonishing gallery of young virtuoso cellists,” German-Canadian cellist Johannes Moser has performed with the world’s leading orchestras including the Berliner Philharmoniker, New York Philharmonic, Los Angeles Philharmonic, Chicago Symphony, BBC Philharmonic at the Proms, London Symphony, Symphonieorchester des Bayerischen Rundfunks, Koninklijk Concertgebouworkest, Tonhalle Orchestra Zurich, Tokyo NHK Symphony, and Philadelphia and Cleveland orchestras; and with conductors of the highest level including Riccardo Muti, Lorin Maazel, Mariss Jansons, Valery Gergiev, Zubin Mehta, Vladimir Jurowski, Franz WelserMöst, Christian Thielemann, Pierre Boulez, Paavo Järvi, Semyon Bychkov, Yannick Nézet-Séguin, and Gustavo Dudamel.

His recordings include the concertos by Dvořák, Lalo, Elgar, Lutosławski, Dutilleux, Tchaikovsky, Thomas Olesen, and Fabrice Bollon (electric cello), which have gained him the prestigious Preis der Deutschen Schallplattenkritik and the Diapason d’Or. In 2022, Moser released a highly innovative new album on the Platoon label featuring six new commissions for electric cello, alongside multi-layered arrangements of works for cello ensemble utilizing Dolby Atmos’s revolutionary new audio technology, and about which The Strad commented: “… there’s no questioning Moser’s ambition, nor the sheer sense of verve with which he pulls it all off…”. Alone Together is one of the first classical music albums to use multi-tracking so extensively.

Moser is renowned for his efforts to expand the reach of the classical genre to all audiences, and his passionate involvement in commissioning new works for his instrument. Moser performs on an Andrea Guarneri Cello from 1694 from a private collection.

UPCOMING CONCERTS

Crisp Musical Notes

Tuesday, November 12, 2024, 10:30 a.m.

Featuring: Dalos Grobe, Organ • Colin Payne, Composer Joseph Deller, Violin and String Ensemble • Student Leaguer WESTMINSTER PRESBYTERIAN CHURCH

17567 Hubbell St. (at Outer Drive) Detroit 48235

No Admission Charge

Holiday Concert and Luncheon

Tuesday, December 10, 2024, 7:30 p.m.

Featuring: Cathy Sherwin, Flute Duo • Hiroko Ohtani, Solo Piano Student Leaguer • Christmas Singalong LUTHERAN CHURCH OF THE REDEEMER

1800 W. Maple Rd., Birmingham 48009

Tickets required: TuesdayMusicaleofDetroit.org or call 313-520-8663

Seasonal Cheer

Tuesday, January 14, 2024, 3:00 p.m.

Featuring: Yuki Mack, Piano Chris DeLouis, Saxophone and Piano Collaborator

Maria Lord-Kniveton, Bassoon, Clarinet and Piano Trio

Bernice Van Husen Piano Award Recipient • Student Leaguer

GROSSE POINTE UNITED METHODIST CHURCH

211 Moross Road, Grosse Pointe Farms, MI 48236

No Admission Charge

ENRICO LOPEZ-YAÑEZ

Principal Pops Conductor

Devereaux Family Chair

DETROIT SYMPHONY ORCHESTRA

JADER BIGNAMINI , Music Director

Music Directorship endowed by the Kresge Foundation

TERENCE BLANCHARD

TABITA BERGLUND Principal Guest Conductor

Fred A. Erb Jazz Creative Director Chair NA’ZIR MCFADDEN Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

UNDER THE STREETLAMP

Friday, November 15, 2024 at 10:45 a.m. Saturday, November 16, 2024 at 8 p.m. Sunday, November 17, 2024 at 3 p.m. in Orchestra Hall

ENRICO LOPEZ-YAÑEZ, conductor

Program to be announced from the stage.

For Enrico Lopez-Yañez biography, see page 7.

PROGRAM AT-A-GLANCE | UNDER THE STREETLAMP

Timeless Hits

Broadway stars gather under the stage lights of Orchestra Hall for an energetic performance with crisp harmonies, exhilarating choreography, and nostalgic melodies. Under the Streetlamp connects new and old memories, transporting us back to the first time we heard songs by The Drifters, Roy Orbison, Nat King Cole, The Beach Boys, and The Beatles. As former cast members of Jersey Boys, the performers on this program dazzle with selections by Frankie Valli and the Four Seasons, and are certain to get audiences on their feet.

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

ENRICO LOPEZ-YAÑEZ

Principal Pops Conductor

Devereaux Family Chair

DETROIT SYMPHONY ORCHESTRA

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

TERENCE BLANCHARD

TABITA BERGLUND Principal Guest Conductor

Fred A. Erb Jazz Creative Director Chair NA’ZIR MCFADDEN Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

PVS CLASSICAL SERIES

Title Sponsor:

MAHLER’S FIFTH SYMPHONY

Thursday, November 21, 2024 at 7:30 p.m.

Friday, November 22, 2024 at 8 p.m.

Saturday, November 23, 2024 at 8 p.m. at Orchestra Hall

JADER BIGNAMINI , conductor

Franz Joseph Haydn Symphony No. 100 in G major, “Military” (1732 - 1809) Adagio - Allegro Allegretto

Menuet: Moderato Presto

Intermission

Gustav Mahler Symphony No. 5 in C-sharp minor (1860 - 1911)

Part I:

1. Trauermarsch

2. Stürmisch bewegt, mit grösster Vehemeng

Part II:

3. Scherzo: Kr äftig, night zu schnell

Part III:

4. Adagietto, sehr langsam

5. Rondo - Finale: Allegro

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.

Symphony Spectacular

We’re in our element for this one. Following the success of Haydn’s 1791 “Surprise” Symphony, the composer felt pressure to compose an encore. And that he did, honing his skill of balancing humor and gravity for his follow up, the “Military” Symphony, which opens tonight’s program. With this masterwork, Haydn pushed the boundaries of the Classical era symphony in terms of structure and orchestration, paving the way for Romantic era composers like Mahler. In his Symphony No. 5, Mahler takes us on an episodic journey evoking profound emotion and expression. For good reason, this is regarded as one of Mahler’s most iconic works, brought to life here under the masterful baton of Music Director Jader Bignamini.

For Jader Bignamini biography, see page 6.

PROGRAM NOTES

Symphony No. 100 in G major, “Military”

Composed 1794 | Premiered 1794

FRANZ JOSEPH HAYDN

B. March 31, 1732, Rohrau, Lower Austria D. May 31, 1809, Vienna, Austria

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, percussion, and strings. (Approx. 22 minutes)

The“Military” Symphony —so called because of the composer’s use of distinctive percussion (triangle, cymbals, and bass drum, then known as “Turkish”) and the marchlike second movement—was written during Haydn’s second visit to London. A lyrical and rich slow introduction takes a brief foray into G minor, marked by a tutti entrance. After coming to a forceful resting point on the dominant, the Allegro proper begins with a sweet and lively tune in the woodwinds, echoed eight bars later in the strings. A return to this theme is quickly interrupted with a transition to the second theme. The development begins after a two-bar pause, then gradually builds on material from the second theme. What seems initially to be a clear recapitulation quickly breaks down into a simultaneous coda, bringing the movement to a close.

The military march, lyrical rather than

rigorous, is reinforced by interjections from the “Turkish” percussion section. A heavy focus on the woodwinds is made richer by Haydn’s use of the clarinet, which was not unheard of at the time of writing, but neither was it an established orchestral voice. Dividing the viola section into two parts adds further to the remarkably full sound of this movement. The most striking moment here is the bugle call, leading to a stormy venture into the distant key of A-flat.

The Minuet is robust in flavor and straightforward in form, but exceptionally elegant at the same time, with intriguing chromatic lines and subtle melodic and harmonic twists. The graceful Trio, unusually, remains in the tonic. A brief dotted passage in the midst of the grace and ease of this section reminds us that we are still listening to the “Military” Symphony.

Plays on what is essentially a single theme make up the entirety of the electrifying final movement, in which much of the excitement derives from unexpected harmonic and instrumental twists and turns, tense moments of silence, sprightly dialogues between winds and strings, and a return to the ringing and crashing color of the “Turkish” percussion.

The DSO most recently performed Haydn’s “Military” Symphony in April 2011, conducted by Rafael Frühbeck de Burgos. The DSO first performed the piece in December 1926, conducted by Ossip Gabrilowitsch.

Symphony No. 5 in C-sharp minor

Composed 1902 | Premiered 1904

GUSTAV MAHLER

B. July 7, 1860, Kaliště, Bohemia (now Czech Republic)

D. May 18, 1911, Vienna, Austria

Scored for 4 flutes (two doubling on piccolo), 3 oboes, English horn, 3 clarinets (one doubling on bass clarinet), E-flat clarinet, 3 bassoons (one doubling on contrabassoon), 6 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 1 hour 12 minutes)

Themonumental Symphony No. 5 is often considered a turning point in Gustav Mahler’s output. It departs significantly from the previous four “Wunderhorn Symphonies,” so called because they contain references to poems in Des Knaben Wunderhorn (The Boy’s Magic Horn), an 18th century collection of German folk literature. The first of Mahler’s works in 13 years not to rely explicitly on a text, the Symphony No. 5 has nevertheless been connected to Mahler’s settings of poetry by Friedrich Rückert, specifically “Ich bin der Welt abhanden gekommen” (“I have become a stranger to the world”), a sentiment often considered fitting for this largely melancholy work.

In five movements placed within three larger sections, the symphony’s expansiveness belies the leanness of the music. Its pervasive polyphonic textures may reflect Mahler’s recent acquisition of an edition of Bach’s complete works. The opening trumpet fanfare, in C-sharp minor, suggests a relationship to Beethoven’s “fate motive” of the latter’s own Fifth Symphony. Mahler generally traced this type of fanfare back to his childhood, where he heard similar music from nearby army barracks. Funeral music follows, a persistent theme throughout Mahler’s work, which alternates with passages of stormy

chromaticism. Continual re-orchestration of the dirge theme exploits the variety of tone colors possible with a large orchestra. The movement fades away with reminiscences of the fanfare. The storm of the second movement is punctuated by slow funereal themes related to those in the first movement. It ends, like the preceding movement, by disintegrating into thematic fragments and echoes. The Scherzo initially provides relief from the weighty opening movements. Simple and lyrical melodies suggest country dance music. Another trumpet fanfare reminds us of the symphony’s beginning, but the mood here is significantly brighter. Yet, the Scherzo’s generally light character disguises tremendous musical challenges and complicated counterpoint in the orchestra.

The famous Adagietto is sometimes excerpted for performance, initially because the performance of the complete symphony was considered “too risky” for early-century audiences, and subsequently because of its sheer popularity. The diminutive title is a reference to the movement’s length, not a faster tempo—Mahler emphatically insisted on a “very slow” pulse. Written in F major and scored only for strings and harp, the soaring, hyper-expressive beauty of this movement is believed to be a love letter to Mahler’s wife Alma. It is the only movement of the symphony marked by a single mood rather than by persistent change. The radiant finale that follows stands in stark contrast to the serenity of the Adagietto, but close listening reveals themes from the second and fourth movements. This use of the same motives across all movements creates a cyclical structure typical of Mahler, uniting a great expanse of musical landscape into a coherent architectural whole. — Amy Kimura

The DSO most recently performed Mahler’s Symphony No. 5 in March 2019, conducted by Rafael Payare. The DSO first performed the piece in November 1959, conducted by Paul Paray.

ENRICO LOPEZ-YAÑEZ

Principal Pops Conductor Devereaux Family Chair

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

PARADISE JAZZ SERIES

A CHARLIE BROWN CHRISTMAS: CYRUS CHESTNUT AND FRIENDS

Friday, December 6, 2024 at 8 p.m. at Orchestra Hall

CYRUS CHESTNUT, piano HALEY DRIVER, vocals

HERMAN BURNEY, bass KELTON NORRIS, drums

NA’ZIR MCFADDEN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

MADE POSSIBLE WITH SUPPORT FROM DownBeat magazine

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

PROGRAM AT-A-GLANCE

A CHARLIE BROWN CHRISTMAS: CYRUS CHESTNUT AND FRIENDS

That’s What Christmas is All About

Gather your Peanuts Gang for a concert of A Charlie Brown Christmas tunes reimagined by acclaimed jazz pianist Cyrus Chestnut. Vince Guaraldi’s original music has been infused with Chestnut’s signature soulful swing, recontextualizing nostalgic songs like “Linus and Lucy,” “Christmas Time is Here,” and “O Tannenbaum” with jazzy harmonies, rhythms, instrumentation, and solos. Chestnut invites us to experience this timeless classic through a new lens—perfect for creating unforgettable holiday memories at Orchestra Hall.

PROFILES

CYRUS CHESTNUT

Born in 1963, Cyrus Chestnut started his musical career at the age of three, playing piano at the Mount Calvary Star Baptist Church at the age of six in his hometown of Baltimore, Maryland. By age nine, he was studying classical music at the Peabody Preparatory Institute in Baltimore. In the fall of 1981, Chestnut began jazz education in Boston, Massachusetts at the Berklee College of Music. In 1985, he earned a degree in jazz composition and arranging. While at Berklee, Chestnut was awarded the Eubie Blake Fellowship and the Oscar Peterson, Quincy Jones, and Count Basie awards for exceptional performance standards. After Berklee, Chestnut further honed his craft as a sideman with some of the legendary and leading musicians in the business including Jon Hendricks, Michael Carvin, Donald Harrison, Terence Blanchard, Wynton Marsalis, Branford Marsalis, Delfeayo Marsalis, Freddie Hubbard, Benny Golson, Curtis Fuller, Regina Cater, Chick Corea, Jimmy Heath, James Moody, Joe Williams, Isaac Hayes, Kathleen Battle, and Dizzy Gillespie. His association with Betty Carter, which began in 1991, significantly affected his outlook and approach to music, confirming his already iconoclastic instincts.

In 2000, Chestnut was given a great honor to pay tribute to his favorite cartoonist, Charles Schulz, and first jazz influence, Vince Guaraldi, in his interpretation of the classic A Charlie Brown Christmas, which celebrated Mr. Schulz’s 50th year of writing the saga of Charlie Brown. Vanessa Williams, Brian McKnight, The Manhattan Transfer, and the Boys Choir of Harlem were a few of the participants in this star-studded record.

Chestnut regularly collaborates as a soloist with the country’s leading big bands, and has recorded with the likes of Bette Midler, Freddy Cole, and many others too numerous to name. He continually uses the trio format to extend, elaborate, and refine the basic conception of the jazz rhythm section. In his own words, “This country and this art form are founded on the basic principles of freedom, whereby a person is able to think, say, or play what he or she chooses.

Throughout the years as I look at history, all of my predecessors, regardless of what the environment was, shared freely their thoughts and feelings in a swinging, musical way on the bandstand. They swung hard and made the listeners feel better leaving than when they arrived. This is the tradition I intend to preserve.”

HALEY DRIVER

Haley Driver, a dynamic emerging singer originally from St. Louis, now calls New York home. Her musical journey has taken her from Jazz St. Louis and the St. Louis Cabaret Conference to iconic venues like Don’t Tell Mama and Birdland Cast Party in NYC. Notably, she performed at The Green Room 42 as a member of Ari Axelrod’s Life is a Cabaret: A Class Series and was seen as a backup singer and dancer for singer-songwriter Elle Winter on PIX 11. In the winter of 2024, she debuted her solo show, Introducing: Haley Driver, at The Blue Strawberry in St. Louis. In February, she performed “River’s Invitation” from her upcoming debut EP alongside jazz legends Buster Williams, Cyrus Chestnut, and Lenny White as a part of A Celebration of Black History Month, Curated by Charlotte Small at The New School. The end of Driver’s musical journey at The New School culminated in her senior recital featuring esteemed musicians Cyrus Chestnut, Riza Printup, Mark Lewandowski, and Willie Jones III. In May 2024, she graduated with a degree in Jazz and Contemporary Music and anticipates the release of her debut EP in fall 2024.

HERMAN BURNEY

Herman Burney is a native of Washington, DC, but was raised in the arts-nurturing state of North Carolina, where he grew up listening to Mahalia Jackson, Aretha Franklin, and James Cleveland. During his early years, Burney played clarinet, drums, and tuba, and later took up electric bass for a “hardcore funk group” in high school. After meeting jazz titan George Duvivier in 1987, Burney finally settled on his beloved double bass. Burney has traveled all over the world to establish an impressive list of performance credentials as bassist for Nnenna Freelon, Marcus Roberts, Freddy Cole, Natalie Cole, Wynton Marsalis, Frank Wess, and many others of equal

renown. Following tours in Japan and Russia, Burney mixed his first and second albums. The first was titled First Fruits and the second, Offering, contains mostly original tunes. An avid educator, Burney has previously taught at George Washington University and the Sitar Arts Center in Washington, DC.

KELTON NORRIS

Originally from Raleigh, Mississippi, DC-based drummer and music educator Kelton Norris is known across the DC jazz scene for his fiery and collaborative playing. Norris currently teaches at several locations across the tri-state area, including Sidwell Friends School, International School of Music, and Shepherd University. Norris is an educator who bases his teachings on the history of music and instrumental technique, as well as the goals and aspirations of each individual student. He maintains a fulltime performance schedule and has performed with such artists as Sharon Clark, Jose Andre Montano, Jessica Boykin-Settles, Hamiet Bluiett, Cyrus Chestnut, Vincent Gardner, Allyn Johnson, Afro-Blue, Levon Mikaelian, Rodney Whitaker, Warren Wolf, Thad Wilson, Paul Bollenback, Herman Burney Jr., Ron Blake, Victor Provost, Elijah Jamal Balbed, Shannon Gunn, and many more. As a member of the EJB Quartet, Norris is a winner of the 2020 DC Prix, an international jazz competition presented by the DC Jazz Festival. Norris received his undergraduate degree from the University of Southern Mississippi in Music Education and Masters in Jazz Performance from Northern Illinois University.

THIS IS HOW WE JAZZ

DSO’s Paradise Jazz Series has been a staple in programming since the 1990s

BY LATOYA CROSS

Jazz is about dialogue and feeling, working together, pairing a note with an abstract idea then collaborating with other musicians to execute the performance. There are technical aspects and theory, but instinct shines.

“There’s a vibe thing,” says Darell “Red” Campbell Jr., jazz musician and DSO Creative Jazz Band instructor. “Music keeps evolving, and my approach is being able to mix up styles. So, I’ll take hip-hop and put it with classical music, and same with jazz—electronic versus acoustic.”

Jazz roots anchor Detroit from Baker’s Keyboard Lounge on Livernois—a staple in Detroit for live jazz—to the Orchestra Hall stage on Woodward, where the essence of the historic Paradise Theatre resurfaces through the Detroit Symphony Orchestra’s Paradise Jazz Series, a staple of DSO programming since 1999 now co-curated by the orchestra’s Fred A. Erb Jazz Creative

Director Chair Terence Blanchard. To date, the DSO holds the record of being the only major American orchestra to present a jazz series on its main stage.

“Terence and the Paradise Jazz Series

“At the DSO, programming ranges from avantgarde to traditional; vocal jazz groups to emerging artists on the scene. The versatile approach absolutely goes hand in hand with the jazz genre: multilayered, multigenerational, and incredibly visceral!”

—LULU FALL, VOCAL ARTIST

bring a variety of performers to Detroit who are at multiple points in their career,” says musician and DSO collaborator Kris Johnson. “And to see acts led by my peers like Endea Owens and Brandee Younger billed alongside acts like Herbie Hancock and Ravi Coltrane is a testament to the vision that this series has for providing a diverse and robust selection of performances meant to lift and bring to the forefront the vast talent within the jazz genre.”

The 2024–2025 Paradise Jazz season features six concerts in Orchestra Hall, with an artist lineup including: Terence Blanchard, Cyrus Chestnut and Friends, SFJAZZ Collective musicians, Ron Carter, Chucho Valdés Royal Quartet, and Cecile McLorin Salvant.

It’s not rare to spot music enthusiasts having an impromptu photo shoot on the grand stairwell in the William Davidson Atrium or posing under the bronzed Orchestra Hall banner hanging over the hall’s entrance.

“I find myself looking at the intricate details in the hall: ceiling, light fixtures, ornamental elements, even my neighbors,” says Lulu Fall, local vocal artist. “Audiences at the DSO are incredibly attentive, in tune with the programming, and I love that there’s a sense of pride that seeps from the patrons. This absolutely adds to the program I’m attending and elevates the emotional and physical experience that I have.”

It becomes a moment of connection ahead of making their way to their seats in Orchestra Hall for two hours of jazz, from traditional to avant-garde.

Audience members swayed in their seats, stood to their feet, and grooved when Endea Owens and The Cookout recently came to Orchestra Hall with powerful vocalists J. Hoard and Shenel Johns. The double-billed concert also featured drummer, composer, and producer Makaya McCraven with Detroit’s Urban Art Orchestra—a 22-piece band that fuses funk, jazz, bebop, and soul led by saxophonist De’Sean Jones.

“There’s this connection between an audience and musician that’s very special; sometimes magical,” expressed Blanchard. “When you talk about the energy of live jazz concerts, you can’t beat it.”

That’s just a teaser of the good times. Each concert brings something different musically and artistically; but the element that remains is: “Everyone attending a jazz concert at the DSO will be mesmerized and know they belong,” Johnson says. “There’s no audience like a Detroit audience!”

With jazz, musically, there is a destination, but the route can come in an abstract and improvisational form. Quality, consistency, and imagination are essential, and that’s the level of artistry brought to the stage each season.

ENRICO LOPEZ-YAÑEZ

Principal Pops Conductor

Devereaux Family Chair

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:

ELLINGTON & THE NUTCRACKER

Friday, December 6, 2024 at 10:45 a.m.

Saturday, December 7, 2024 at 8 p.m.

Sunday, December 8, 2024 at 3 p.m. at Orchestra Hall

JADER BIGNAMINI , conductor RAY CHEN , violin

MCFADDEN Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

Carlos Simon Four Black American Dances (b. 1990) I. Ring Shout

II. Waltz

III. Tap!

IV. Holy Dance

Samuel Barber Concerto for Violin and Orchestra, Op. 14 (1910 - 1981) Allegro Andante

Presto in moto perpetuo

Ray Chen, violin

Intermission

Pyotr Ilyich Tchaikovsky Selections from The Nutcracker (1840 - 1893) Tchaikovsky - Overture

Edward Kennedy “Duke” Ellington Ellington - Overture (1899 - 1974) Tchaikovsky - Dance of the Mirlitons

Billy Strayhorn Ellington - Toot Tootie Toot (1915 - 1967) Tchaikovsky - Waltz of the Flowers adapted by Jeff Tyzik Ellington - Dance of the Floreadores

Tchaikovsky - Dance of the Sugar Plum Fairy

Ellington - Rum Cherry

Tchaikovsky - March Ellington - Brittle Brigade

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 | ELLINGTON & THE NUTCRACKER

A Nutcracker Double-Feature

We start our dance-themed program off strong with Carlos Simon’s Four Black American Dances, a glimpse into the vast and diverse world of dance traditions including the ring shout, waltz, tap, and holy dance. Movement is deeply woven into the stories and experiences of Black American communities, and Simon’s work speaks to its relevance in both turbulent and triumphant times. Rounding out the first half, acclaimed soloist Ray Chen plays Samuel Barber’s Violin Concerto—a piece characterized by incredible lyricism from the beginning and a contrasting virtuosic third movement.

Two Nutcrackers are in store after intermission with special curation by Music Director Jader Bignamini: Tchaikovsky’s original selections from The Nutcracker Suite mixed with Duke Ellington and Billy Strayhorn’s jazz-infused rendition, arranged by former DSO Principal Pops Conductor Jeff Tyzik. Tchaikovsky’s original music is familiar and highly regarded, setting a baseline before hearing it recontextualized with saxophones and swing. We’ll get the best of both worlds: a Sugar Plum Fairy and a Sugar Rum Cherry.

PROGRAM NOTES

Four Black American Dances

Composed 2023 | Premiered 2023

CARLOS SIMON

B. 1986, Washington, DC

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

On Four Black American Dances, Carlos Simon writes the following:

“Dance has always been a part of any culture. Particularly in Black American communities, dance is and has been the fabric of social gatherings. There have been hundreds, perhaps thousands of dances created over the span of American history that have originated from the social climate of American slavery, Reconstruction and Jim Crow. This piece is an orchestral study of the music that is associated with the Ring Shout, the Waltz, Tap Dance, and the Holy Dance. All of these dances are but a mere representation of the wide range of cultural and social differences within the Black American communities.

I. Ring Shout: A ring shout is an ecstatic, transcendent religious ritual, first practiced by enslaved Africans in the West Indies and the United States, in which worshipers move in a circle while shuffling and stomping their feet and clapping their

hands. To evoke the celebratory nature of this dance, I have asked the percussionist to use a large stick on a wooden floorboard paired with fast moving passages in the strings and woodwinds.

II. Waltz: Cotillion balls existed for ‘upper-class’ families as they allowed aristocratic families to vie for better marriage prospects for their daughters. However, cotillion balls were segregated and expensive, and did not include Black Americans. Debutante balls finally appeared in Black social circles during the 1930s, in large part due to the efforts of Black sororities, fraternities, and growing number of affluent Black Americans. The waltz was the dance of choice in these environments.

III. Tap!: Tap dance is a form of dance characterized by using the sounds of tap shoes striking the floor as a form of percussion. For this movement, I have emulated the sound of the tap with the side rim of the snare drum in the percussion section. The strings play in very short, disconnected passages alongside the brass drawing on jazz harmonies.

IV. Holy Dance: Protestant Christian denominations, such as The Church of God in Christ (C.O.G.IC.), Pentecostal Assemblies of God, Apostolic, and Holiness Church, among many others, are known for their exuberant outward expressions of worship. The worship services in these churches will often have joyous dancing, spontaneous shouting,

and soulful singing. The music in these worship services is a vital vehicle in fostering a genuine spiritual experience for the congregation. This movement calls on the vibrant, celebratory character that still exists in many churches today. I have composed music that mimics the sound of a congregation “speaking in tongues” (murmuring in an unknown spiritual language) by asking the orchestra to play in a semi-improvised manner. Often referred to as a ‘praise break,’ the music propels forward continuously with the trombone section at the helm. The section moves to a climatic ending with the plagal ‘Amen’ cadence.”

This performance marks the DSO premiere of Carlos Simon’s Four Black American Dances.

Concerto for Violin and Orchestra, Op. 14

Composed 1939 | Premiered 1941

SAMUEL BARBER

B. March 9, 1910, West Chester, PA

D. Jan 23, 1981, New York, NY

Scored for solo violin, 2 flutes (one doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, percussion, piano, and strings. (Approx. 25 minutes)

SamuelBarber began writing his sole violin concerto while traveling in Switzerland in 1939 and completed it in the Pocono Mountains of his native Pennsylvania after leaving Europe with the approach of World War II. The piece was commissioned by industrialist Samuel Simeon Fels with the intention that it would be premiered by Fels’s ward, a young violinist named Iso Briselli. But when Briselli excitedly showed the piece to his teacher Albert Meiff—a close friend of Fels’s—Meiff was unimpressed, and wrote to Fels, imploring him to ask Barber if Meiff could rewrite parts of the concerto. Barber did

not budge, but ultimately Briselli backed away from the piece, and it was instead premiered by Albert Spalding. The lengthy four-way correspondence involving Barber, Fels, Briselli, and Meiff is a juicy bit of music-world drama, but the concerto it concerns is ultimately conservative and fastidiously orchestrated, like much of Barber’s best work.

The first movement is in a standard sonata form, opening with a transparent, long-spun solo violin theme. When this has run its course, the clarinet takes up a puckish second theme, then the violin returns with a rhythmically active theme, marked by numerous bounding-bow passages. The first two themes are rigorously developed before the first theme returns in a major orchestral climax, signaling the recapitulation.

A smoothly rising oboe melody at the beginning of the slow movement imparts an eastern flavor, and as this gradually fades away it is joined by a horn theme. Meanwhile, the solo violin dominates the freely designed central section of the movement. The soloist then takes up the oboe theme and the horn theme, bringing the movement to a close.

The perpetual-motion finale is not only a tour de force for the solo violin, but for the orchestra as well. It is a fleet, lightfooted movement cast in a rondo form, challenging for all the players onstage.

Carl R. Cunningham

The DSO most recently performed Barber’s Violin Concerto in June 2022, conducted by Jader Bignamini and featuring violinist Gil Shaham. The DSO first performed the piece in January 1965, conducted by Sixten Ehrling and featuring violinist Jaime Laredo.

Selections

from The Nutcracker Suite, Op. 71a

Composed 1892 | Premiered 1892

PYOTR ILYICH

TCHAIKOVSKY

B. May 7, 1840, Votkinsk, Russia

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

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

Fewworks in classical music are as synonymous with the holiday season as

Tchaikovsky’s The Nutcracker. Originally composed as a ballet, the suite extracted from it has achieved its own fame, becoming a concert favorite independent of the stage production. Tchaikovsky’s score is a celebration of orchestral color, charm, and dance, filled with vivid character sketches and memorable tunes.

The Nutcracker Suite draws from some of the ballet’s most iconic moments, beginning with the lively overture, which immediately transports listeners to the world of magical Christmas Eve adventures with young Clara. The suite features beloved dances like the delicate Dance of the Sugar Plum Fairy, in which the celesta takes center stage. The Waltz of the Flowers brings a grand, sweeping close to the suite, demonstrating Tchaikovsky’s gift for lush melody and elegant orchestration.

Though The Nutcracker was not immediately successful at its premiere, both the ballet and the suite have since become some of Tchaikovsky›s most enduring works, celebrated for their festive spirit and emotional warmth. The suite, in particular, continues to capture the imagination of audiences young and old, whether through its seasonal performances or in film and television adaptations.

In December 2023, the DSO performed the entirety of Tchaikovsky’s The Nutcracker ballet, conducted by Damon Gupton and featuring James Rose Jr. as narrator. The DSO first performed music from The Nutcracker in January 1916, conducted by Weston Gales.

The Nutcracker Suite

Composed 1960 | Premiered 1960

PYOTR ILYICH TCHAIKOVSKY

B. May 7, 1840, Votkinsk, Russia

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

EDWARD KENNEDY “DUKE” ELLINGTON

B. April 29, 1899, Washington, DC

D. May 24, 1974, New York, NY

BILLY STRAYHORN

B. November 29, 1915, Dayton, OH

D. May 31, 1967, New York, NY

Scored for 2 flutes, oboe, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, percussion, alto/tenor saxophone, jazz bass, drum set, and strings.

Composed in 1960, Duke Ellington and Billy Strayhorn’s jazz-infused reinterpretation of Tchaikovsky’s The Nutcracker Suite takes the familiar themes of the original ballet and transforms them into a lively, rhythmically charged masterpiece, showcasing the genius of both composers as well as the versatility of big band jazz. Each movement in the suite reimagines Tchaikovsky’s music through the lens of Ellington and Strayhorn’s sophisticated harmonic language and energetic rhythms. The overture becomes a syncopated fanfare, while the playfully renamed Sugar Rum Cherry is recast as a sultry, bluesy number featuring growling brass and laid-back swing. Toot Tootie Toot (based on the Dance of the Reed Flutes) transforms the delicate ballet theme into a bright and snappy tune with lively saxophones, while Brittle Brigade (derived from the March) becomes a crisp, driving number full of Ellington’s signature brass sounds and rhythmic surprises.

In Ellington and Strayhorn’s hands, and with new arrangement by former DSO Principal Pops Conductor Jeff Tyzik, The Nutcracker becomes a suite filled with wit, verve, and unmistakable personality, blending the elegance of Tchaikovsky’s original with the irresistible energy of mid-century jazz.

PROFILES

For Jader Bignamini biography, see page 6.

RAY CHEN

Violinist and online personality Ray Chen redefines what it means to be a classical musician in the 21st century. With a global reach that enhances and inspires a new classical audience, Chen’s remarkable musicianship transmits to millions around the world, reflected through his engagements both online and with the foremost orchestras around the world. Beyond the performing arts, his work has also contributed to philanthropy, popular culture, and educational technology. Initially coming to attention via the Yehudi Menuhin (2008) and Queen Elizabeth (2009) competitions, of which he was First Prize winner, he has built a profile in Europe, Asia, and the US, as well as his native Australia. Signed in 2017 to Decca Classics, the summer of 2017 saw the recording of the first album of this partnership with the London Philharmonic as a succession to his previous three critically acclaimed albums on SONY, the first of which (Virtuoso) received an ECHO Klassik Award. Profiled as “one to watch” by The Strad and Gramophone magazines, his profile has grown to encompass his featuring in the Forbes list of 30 most influential Asians under 30, appearing in major online TV series Mozart in the Jungle, a multi-year partnership with Giorgio Armani (who designed the cover of his Mozart album with Christoph Eschenbach), and performing at major media events such as France’s Bastille Day, the Nobel Prize Concert in Stockholm, and the BBC Proms. He has appeared with the London Philharmonic Orchestra, National Symphony Orchestra, Leipzig

Gewandhausorchester, Munich Philharmonic, Filarmonica della Scala, Orchestra Nazionale della Santa Cecilia, Los Angeles Philharmonic, SWR Symphony, New York Philharmonic, San Francisco Symphony, Pittsburgh Symphony, Berlin Radio Symphony, and Bavarian Radio Chamber Orchestra. He works with conductors such as Riccardo Chailly, Vladimir Jurowski, Sakari Oramo, Manfred Honeck, Daniele Gatti, Kirill Petrenko, Krystof Urbanski, and Juraj Valcuha.

Recently, Chen co-founded Tonic, an independent startup that aims to motivate musicians and learners around the world to practice their craft together. Although new, the innovative app has cultivated a highly engaged and supportive community and is available to download on iOS and Android. He is an ambassador for SONY Electronics, a music consultant for Riot Games—the leading esports company best known for League of Legends —and has been featured in Vogue magazine. He released his own design of a violin case for the industry manufacturer GEWA and proudly plays Thomastik Infeld strings. His commitment to music education is paramount and he inspires the younger generation of music students with his series of self-produced videos combining comedy, education, and music. Born in Taiwan and raised in Australia, Chen was accepted to the Curtis Institute of Music at age 15, where he studied with Aaron Rosand and was supported by Young Concert Artists. He plays the 1714 “Dolphin” Stradivarius violin on loan from the Nippon Music Foundation. This instrument was once owned by the famed violinist Jascha Heifetz.

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