Performance - Spring 2022 by Detroit Symphony Orchestra

Experience Springtime w it h e p ip h a ny a t t h e D S O Distinctive handblown glass sculptures, La Ruche lighting, decanters, a variety of unique handmade gifts and more.

The Shapero Lounge Max M. & Marjorie S. Fisher Music Center 3711 Woodward Ave., Detroit, MI 48 201

Call 248.745.3786 | epiphanyglass.com Hours: Open one hour before and after performances in Orchestra Hall

The Detroit Symphony Orchestra impacts lives through the power of unforgettable musical experiences by sustaining a world class orchestra for our city and the global community.

PERFORMANCE

WINTER • 2021-2022 SEASON

CONTENTS Welcome......................................................4 Orchestra Roster.........................................5 Behind the Baton.........................................6 Board Leadership........................................8 Donor Spotlight........................................ 14

10 Going the Distance

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

Impacting Lives & Sustaining a World Class Orchestra

Donor Roster............................................. 36 Maximize Your Experience....................... 46

DSO Administrative Staff......................... 48

Community & Learning The DSO in Southwest Detroit

17 Program Notes Read Performance anytime, anywhere at dso.org/performance

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Upcoming Concerts.................................. 50 ON THE COVER: DSO musicians were recently photographed in a variety of Detroit locations to herald the announcement of the 2022-2023 season. Pictured, from top: Cole Randolph, Cello Shannon Orme, Bass Clarinet Michael Ke Ma, Acting Principal Bassoon Johanna Yarbrough, Horn Andrés Pichardo-Rosenthal, Assistant Principal Percussion Musician photos by C. Taylor Crothers Music Director Jader Bignamini, photo by Sarah Smarch

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WELCOME

Welcome! With spring in bloom, your Detroit Symphony Orchestra is wrapping up an extraordinary season—the first full year of programs with Jader Bignamini and an entire season with our audiences—with you—here, back where you belong. Music gives us a reason to come together—to hear, to learn, to find solace, to inspire, and to find inspiration. Whether this is your first concert this season, or your tenth, we thank you for choosing to spend your time with the DSO. A concert is a true exchange between performers and audience, and Jader’s connection to both is creating unforgettable musical experiences every week he’s in Detroit. This spring don’t miss Jader’s first-ever performances conducting Beethoven’s Ninth Symphony (May 12-15) and new collaborations with pianist Jean-Yves Thibaudet (May 20-22) and violinist Gil Shaham (June 10-12). The closing week also features two works by Wynton Marsalis—Fanfare and Blues Symphony—that Jader is particularly excited to share with you. We conclude the 50th anniversary celebration of the DSO’s Civic Youth Ensembles April 29 to May 1 with an entire weekend of performances by all 14 groups of talented young musicians from across our region, plus special events including open rehearsals and master classes. With over 4,000 alumni, the DSO’s training ensembles are a pivotal opportunity in the lives of our children, inspiring multiple generations in Detroit and far beyond. Visit dso.org/cye50 for more information. The DSO will commemorate 80 years since Orchestra Hall opened as the Paradise Theatre with the April 30 debut of the Paradise Jazz Big Band featuring Fred A. Erb Jazz Creative Director Chair Terence Blanchard and led by trumpeter and arranger Kris Johnson, former Director of the Civic Jazz Orchestra and a CYE alum himself. The all-star band will be playing music by the jazz giants who graced the stage of the Paradise between 1941 and 1951. Make sure too to swing by The Cube, made possible with support by Peter D. and Julie F. Cummings, which has reopened its doors for the first time in two years, offering a dynamic mix of jazz, pop, spoken word, chamber music, and more. We also invite you to join us on Saturday, June 18, for the return of our annual Heroes Gala, when we honor the remarkable people who impact the vision, values, and success of the DSO. This year, we recognize our dear friends and community philanthropists Linda Dresner and Ed Levy, whose support has guaranteed artistic excellence on the Orchestra Hall stage and in the community, while ensuring sustainability for their beloved DSO for generations to come. Ed and Linda are longtime Classical Series concertgoers, so we are thrilled to share that Jader will be on the podium that evening to conduct what is sure to be a special, one-nightonly program. Wishing you all the best — enjoy the concert!

Erik Rönmark President & CEO 4

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SARAH SMARCH

Dear Friends,

Mark Davidoff, Chair, Board of Directors SPRING 2021-2022

DETROIT SYMPHONY ORCHESTRA

AA COMMUNITY-SUPPORTE COMMUNITY-SUPPORTEDD ORCHESTRA ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR JADER BIGNAMINI MUSIC DIRECTOR

DETROIT DETROIT SYMPHONY SYMPHONY ORCHESTRA ORCHESTRA AA COMMUNITY-SUPPORTE COMMUNITY-SUPPORTEDD ORCHESTRA ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR JADER BIGNAMINI MUSIC DIRECTOR

JADER BIGNAMINI, Music Director

Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

Principal Pops Conductor

FIRST VIOLIN Kimberly Kaloyanides Kennedy

ACTING CONCERTMASTER Katherine Tuck Chair

Hai-Xin Wu

ACTING ASSOCIATE CONCERTMASTER Schwartz and Shapero Family Chair

Jennifer Wey Fang ASSISTANT CONCERTMASTER Walker L. Cisler/Detroit Edison Foundation Chair

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

SECOND VIOLIN Adam Stepniewski ACTING PRINCIPAL The Devereaux Family Chair

Will Haapaniemi*

David and Valerie McCammon Chairs

Hae Jeong Heidi Han*

David and Valerie McCammon Chairs

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

Drs. Doris Tong and Teck Soo Chair

Marian Tanau* Alexander Volkov* Jing Zhang*

VIOLA Eric Nowlin PRINCIPAL Julie and Ed Levy, Jr. Chair

James VanValkenburg ASSISTANT PRINCIPAL

Caroline Coade Henry and Patricia Nickol Chair

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

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TERENCE BLANCHARD

LEONARD SLATKIN

NEEME JÄRVI

Fred A. Erb Jazz Creative Director Chair

Music Director Laureate

Music Director Emeritus

CELLO Wei Yu PRINCIPAL

Abraham Feder

ASSISTANT PRINCIPAL Dorothy and Herbert Graebner Chair

Robert Bergman* Jeremy Crosmer*

Victor and Gale Girolami Cello Chair

ENGLISH HORN Monica Fosnaugh

Shari and Craig Morgan Chair

TUBA Dennis Nulty PRINCIPAL

CLARINET Ralph Skiano

TIMPANI Jeremy Epp

Jack Walters

James Ritchie

PRINCIPAL Robert B. Semple Chair

PVS Chemicals Inc./ Jim and Ann Nicholson Chair

PRINCIPAL Richard and Mona Alonzo Chair ASSISTANT PRINCIPAL

David LeDoux* Peter McCaffrey*

Laurence Liberson Shannon Orme

PERCUSSION Joseph Becker

Una O’Riordan*

E-FLAT CLARINET Laurence Liberson

Andrés Pichardo-Rosenthal

BASS CLARINET Shannon Orme

James Ritchie

Joanne Deanto and Arnold Weingarden Chair Mary Ann & Robert Gorlin Chair

Cole Randolph*

BASS Kevin Brown PRINCIPAL Van Dusen Family Chair

Stephen Molina ASSISTANT PRINCIPAL

Christopher Hamlen Brandon Mason Nicholas Myers

HARP Patricia Masri-Fletcher PRINCIPAL Winifred E. Polk Chair

FLUTE Hannah Hammel 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

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ASSISTANT PRINCIPAL

Barbara Frankel and Ronald Michalak Chair

BASSOON Michael Ke Ma

PRINCIPAL Ruth Roby and Alfred R. Glancy III Chair ASSISTANT PRINCIPAL William Cody Knicely Chair

LIBRARIANS Robert Stiles PRINCIPAL

Ethan Allen

ACTING PRINCIPAL

Marcus Schoon^ Jaquain Sloan §

CONTRABASSOON Marcus Schoon^

PERSONNEL MANAGERS Patrick Peterson

DIRECTOR OF ORCHESTRA PERSONNEL

STAGE PERSONNEL Dennis Rottell

HORN Karl Pituch

STAGE MANAGER

PRINCIPAL

Johanna Yarbrough Scott Strong

Ric and Carola Huttenlocher Chair

David Everson ASSISTANT PRINCIPAL

Mark Abbott

Ryan DeMarco

DEPARTMENT HEAD

Noel Keesee

DEPARTMENT HEAD

Steven Kemp

DEPARTMENT HEAD

Matthew Pons

DEPARTMENT HEAD

Michael Sarkissian

DEPARTMENT HEAD

TRUMPET Hunter Eberly PRINCIPAL Lee and Floy Barthel Chair

Kevin Good Stephen Anderson ASSISTANT PRINCIPAL

William Lucas TROMBONE Kenneth Thompkins PRINCIPAL

David Binder

LEGEND * These members may voluntarily revolve seating within the section on a regular basis ^ On sabbatical ~ Extended leave § African American Orchestra Fellow

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

MUSIC DIRECTORSHIP ENDOWED BY THE KRESGE FOUNDATION

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

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JUSTIN MILHOUSE

Jader Bignamini

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

Jeff Tyzik

Terence Blanchard

PRINCIPAL POPS CONDUCTOR

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

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FRED A. ERB JAZZ CREATIVE DIRECTOR CHAIR

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

Detroit Symphony Orchestra, Inc. LIFETIME MEMBERS

CHAIRS EMERITI

DIRECTORS EMERITI

OFFICERS

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

Samuel Frankel◊ Stanley Frankel David Handleman, Sr.◊

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

Peter D. Cummings Phillip Wm. Fisher Stanley Frankel

Robert S. Miller James B. Nicholson

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

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

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

Mark A. Davidoff Chair

Hon. Kurtis T. Wilder (Ret.) Secretary

Shirley Stancato Officer at Large

Erik Rönmark President & CEO

Pamela Applebaum Officer at Large

James G. Vella Officer at Large

David T. Provost Vice Chair

Ralph J. Gerson Officer at Large

Faye Alexander Nelson Treasurer

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

David Assemany Governing Members Chair Elena Centeio Richard L. DeVore Aaron Frankel Herman B. Gray, M.D., M.B.A. Laura Hernandez-Romine Rev. Nicholas Hood III

Richard Huttenlocher Renato Jamett Trustee Chair Daniel J. Kaufman Michael J. Keegan Arthur C. Liebler Xavier Mosquet Arthur T. O’Reilly Stephen R. Polk

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Bernard I. Robertson Scott Strong Orchestra Representative Nancy Tellem Laura J. Trudeau Dr. M. Roy Wilson David M. Wu, M.D. Johanna Yarbrough Orchestra Representative

SPRING 2021-2022

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

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

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

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

MAESTRO CIRCLE EXECUTIVE COMMITTEE Janet & Norm Ankers, Chairs

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Cecilia Benner

Joanne Danto

Gregory Haynes

Bonnie Larson

Lois Miller

Richard Sonenklar

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DSO PERFORMANCE MAGAZINE 9

GOING THE DISTANCE

Impacting Lives & Sustaining a World Class Orchestra

Sarah Smarch

he Detroit Symphony Orchestra’s new mission statement is built upon two verbs: impact and sustain. The orchestra “impacts lives through the power of unforgettable musical experiences by sustaining a world class orchestra for our city and the global community.” In music, “sustain” is the heart of an instrument’s sound: between its percussive beginning and gradual fading away. The sustain pedal on a piano frees notes to vibrate, allowing every single string of the instrument to harmonize sympathetically with the notes being played. For a music institution, the word denotes something at the same time more essential and complex. The goal of the orchestra is to ring out clearly, and keep ringing out, inspiring, enlightening, and inviting the broadest possible audience — based on an understanding that musical excellence has no value unless it finds an audience to impact. The mission demands not just “musical excellence” but “musical 10

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excellence…for our city and the global community.” The 2022-2023 PVS Classical Series, announced in March along with the PNC Pops Series and Young Peoples Family Concert Series, includes 20 symphonic programs — ten led by Music Director Jader Bignamini. In many ways, the DSO’s emphasis on sustainability and impact permeates the entire repertoire, defined by its deliberate mix of new and old, the world-renowned and the under-represented. “We have combined historic masterpieces such as Mahler Symphony No. 2, Brahms 4, Tchaikovsky 4, and Strauss’s Also sprach Zarathustra,” says Jader, “with less performed but valuable works such as Florence Price’s First Symphony and Dora Pejačević’s Symphony in F sharp-minor.” Price’s symphony combines elements from the Romantic symphonic tradition with hymn-like melodies and the rhythms of Black music to create a SPRING 2021-2022

distinctly American style, to be played on a program with William Grant Still’s Festive Overture and Brahms’s Second Piano Concerto with Daniil Trifonov. “Historically, there are works that have not been given the attention they deserve. We want our audiences to experience these beautiful pieces that rightfully belong in the main season of the greatest symphonic orchestras.” Beautiful pieces like the symphony by Pejačević, a pioneering Croatian female composer at the turn of the 20th century. “Dora had an excellent sense of orchestral color and a gift with rhythm and melody,” says Jader. The symphony—presented on a program with Mussorgsky’s Night on Bald Mountain and Grieg’s Piano Concerto featuring Alexander Gavrylyuk—was written in 1916-1917 while the composer volunteered as a nurse during World War I. Pejačević’s letters at the time explain the desire to distance herself from the aristocratic class of her birth: “Faced with misery in the world, the like of which there has never been, their thoughts remain exactly as they were before the

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War…devoid of all higher feelings, far from all big ideas, any kind of humanity, or any social progress.” Dora was undoubtedly drawn to the collective experience music allows for. DSO President and CEO Erik Rönmark describes this experience as “a space for us to pause amid the world’s uncertainties, reflect on who we are, and connect to our shared humanity.” Juxtaposed against the roadpavers of centuries past, the season also features 14 works by living composers, including two world premieres and six DSO-commissioned works. Says Jader, “We are really close to the new generation of composers, and we will continue to support them; they understand the musical language of the future. Sharing new works with our audience is our investment in the future of classical music.” Among the commissions is a new work, Snapshots, by Jessie Montgomery, co-commissioned by the DSO as part of New Music USA’s Amplifying Voices project to support racial and gender equity in classical music. Jader counts Montgomery as one of his favorite contemporary composers, “Jessie is incredibly talented and innovative, and I am so proud to have already conducted two of her pieces. The orchestra has been excited and committed to learning her music, and audiences are enthusiastic to hear it.” Eleven PNC Pops programs were also announced with DSO Principal Pops Conductor Jeff Tyzik leading three: Prohibition, a multimedia musical journey through the era with music channeling Rudy Vallée, Josephine Baker, Kurt Weill, and King Oliver; Sci-Fi Spectacular: Star Wars, Star Trek, and Beyond!, with music from iconic sci-fi film DSO PERFORMANCE MAGAZINE 11

scores; and Twist & Shout: The Music of the Beatles, a program celebrating The Beatles in America. This spring, The Peter D. and Julie F. Cummings Cube reopened after a two-year hiatus. Since 2016, The Cube has signatured a multidisciplinary aesthetic that aims to reflect the cultural personality and diverse communities of Detroit. The black box theater gives stage to regional, national, and local talent whose artistic skills spread across world music, hip-hop, funk, jazz, poetry, and everything in between–staying true to its intent on being an accessible space. “Curation is a really important aspect because it’s about building a community gathering place where all people in the local community can have great musical experiences in whatever genre,” says Goode Wyche III, DSO’s Manager of Jazz and @ The Max. “What’s really cool is that a lot of times when The Cube has events, there’ll be a classical concert going on. That’s impactful because the classical audience sticks their head in The Cube saying, ‘Hey what’s going on in here,’ and The Cube audience asks the same about Orchestra Hall. It brings people together.” Many components work in tandem to sustain the orchestra itself, among them: commitment and growth. For the first time since the COVID-19 pandemic hit Michigan in February 2020, orchestra auditions for open positions were held. In total, five auditions for seven open positions will have been facilitated by the close of the 2021-2022 season, as well as an audition cycle for two African American Orchestra Fellows. This winter, Jader awarded DSO tenure to Principal Flute Hannah Hammel, Assistant Principal Oboe Sarah Lewis, Violin Alexander Volkov, and Bass Brandon Mason. “Having an orchestra of tenured musicians bakes in a sense of lifelong commitment to the orchestra and organization: carrying on musical traditions, growing as an ensemble, and working together to create the best possible conditions for music-making,” says Brandon. After a year-long probationary period every new orchestra member plays

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through, the musicians got a green light to grow their roots in Detroit. When you consider that it is not unusual for tenured musicians to spend the remainder of their career with the same organization, the process makes sense: it’s serious business. As Hannah puts it, “Tenure is the final step in feeling confident to call this orchestra and city your forever home;” the new status recognizes each as a critical part of the DSO’s artistic vision and signals the institution’s investment in the future. Asked “Why pursue tenure at the DSO?,” the musicians pointed to the caliber of their colleagues, the great sound they achieve together, and Jader’s leadership. But no less important was the nature of the organization. Alexander values the DSO’s commitment to engaging with audiences across the city, “It is an exciting characteristic,” he says. “I believe that our duty is to give performances that will have audiences returning for more, encouraging their families and friends to join a community that has revolved around art for over 100 years in this corner of the country.” Read more about the impact of our Detroit Neighborhood Initiative on page 16.

SUBSCRIBE NOW TO THE 2022-2023 SEASON AT DSO.ORG SPRING 2021-2022

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DSO PERFORMANCE MAGAZINE 13

DONOR SPOTLIGHT

Nowlin

“ It has been such a delight getting to know Ed and Linda, and to share their love of music. Not only are they leaders at the DSO, but they are passionate concertgoers, which is reflected in their engagement and enthusiasm when attending. I cannot think of better people to be involved in the DSO family.” —Eric Nowlin, Principal Viola, Julie and Ed Levy, Jr. Chair

Ed Levy, Jr. and Linda Dresner: A Stylish Heart for Service A hero doesn’t always wear a cape. Cliché, yes. But the fabric that threads the hero aesthetic is a heart for service. In times of supportive need, a hero is willing to take action. This type of leadership contributed to the resurrection of the DSO’s historic home, Orchestra Hall, following a Save Orchestra Hall campaign that cultivated a coalition of DSO musicians, fans, and Detroit residents advocating for the preservation of the music and cultural institution. Supporters demonstrated through a series of marches, sidewalk performances, and donations. Ed Levy, Jr. and his late wife Julie were major supporters of that campaign. Together, they also established endowment support for the chair of the Principal Viola, known as the Julie and Ed Levy, Jr. Chair, currently held by Eric Nowlin. Today, Ed, the CEO of Edw. C. Levy Co., and his second wife, fashion icon Linda Dresner, continue their dedication to the flourishing of the DSO. Linda serves as a member of the Board of Trustees and Ed, whose affinity for classical music developed as a student in Detroit Public Schools, can often be seen giving standing ovations during concerts at Orchestra Hall.

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The DSO is proud to honor the couple at this year’s Heroes Gala on Saturday, June 18 for their unwavering support, cultural impact, and societal influence. Ed and Linda’s generosity continue to amplify and evolve the organization’s artistic, educational, and community programs.

SPRING 2021-2022

T R A N S F O R M AT I O N A L S U P P O R T The DSO is grateful to the donors who have made extraordinary endowment investments through the DSO Impact Campaign or multi-year, comprehensive gifts to support general operations, capital improvements, or special programs.

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

Mr. & Mrs. Richard L. Alonzo Penny & Harold Blumenstein Mr. & Mrs. Phillip Wm. FisherMM

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

VISIONARIES

Alan J. & Sue Kaufman and FamilyMM Shari & Craig MorganMM Mrs. Richard C. Van Dusen

CHAMPIONS

Mandell & Madeleine Berman Foundation Mr. & Mrs. Raymond M. Cracchiolo Joanne Danto & Arnold Weingarden Vera and Joseph Dresner Foundation DTE Energy Foundation Ford Motor Company Fund Mr. & Mrs. Morton E. Harris◊ John S. & James L. Knight Foundation The Kresge Foundation

LEADERS

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

Mr.◊ & Mrs. Robert A. Allesee Mr. David Assemany & Mr. Jeffery Zook MM W. Harold & Chacona W. Baugh Robert & Lucinda Clement Lois & Avern Cohn MM Mary Rita Cuddohy Estate Margie Dunn & Mark Davidoff MM Adel & Walter Dissett MM DSO Musicians MM Bette Dyer Estate Marjorie S. Fisher Fund MM Dr. Marjorie M. Fisher & Mr. Roy Furman

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◊

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

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

BENEFACTORS

Mr. & Mrs. Aaron Frankel MM Barbara Frankel & Ronald Michalak MM Victor◊ & Gale Girolami Fund The Glancy Foundation, Inc. Herbert & Dorothy Graebner◊ Richard Sonenklar & Gregory Haynes MM Mr. & Mrs. David Jaffa Renato & Elizabeth Jamett MM Allan & Joy Nachman MM Ann & Norman◊ Katz Morgan & Danny Kaufman MM Dr. Melvin A. Lester◊

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Deceased

Florine Mark Michigan Arts & Culture Council Dr. Glenda D. Price Ruth Rattner Mr. & Mrs.◊ Lloyd E. Reuss Nancy Schlichting & Pamela Theisen Mr. & Mrs. Fred Secrest◊ Jane & Larry Sherman Cindy McTee & Leonard Slatkin Marilyn Snodgrass Estate Mr. James G. Vella MM Eva von Voss and Family MM

DSO PERFORMANCE MAGAZINE 15 DSO Musicians Fund for Artistic Excellence

COMMUNITY & LEARNING

BUILDING RELATIONSHIPS IN SOUTHWEST DETROIT O

n February 9, the DSO held a free community concert at St. Hedwig Catholic Church in Southwest Detroit. It was an inspired performance by our world class orchestra in an exquisite venue, but that wasn’t the only thing that made the evening special. This event was a hallmark moment for an effort that has been ongoing since the development of the DSO’s Social Progress Initiative in 2017. The initiative affirms a commitment to continuous dialogue and action that leverages the power of music to improve the quality of life for the people of Detroit and beyond. This aspirational vision has since coalesced into specific actions—like the St. Hedwig concert—that comprise the DSO’s Detroit Neighborhood Initiative. The Neighborhood Initiative’s core is a commitment to community partnership-building and listening. This work began in 2020 with community listening sessions in the neighborhoods of Chandler Park and Southwest and has since grown to involve more than 100 organizations. The goal of meeting residents, listening, and learning about each neighborhood’s vibrant culture is to build sustainable relationships and co-create celebratory musical experiences with the people who live, work, and grow in each neighborhood. Each element of the St. Hedwig Musical Experience was responsive to the DSO’s growing understanding of and respect for the incredible community of Southwest 16

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Detroit, an area where more than half of residents identify as Hispanic or Latinx. The evening’s conductor, Nashville Symphony Principal Pops Conductor Enrico Lopez-Yañez, addressed the audience in both Spanish and English, offering insight into each piece with humor, grace, and wit. The program included sacred and popular favorites by Latin American composers Ernesto Lecuona, Zequinha Abreu, Vinicio Meza, and Ary Barroso, plus works by Johann Sebastian Bach and Georges Bizet. Pelea de gallos, a classic piece by Juan S. Garrido, came alive with audience participation and a traditional performance by dancers from Ballet Folklorico Moyocoyani Izel. At the end of the program, the DSO presented local music education partners with some of the first instruments collected from the fall instrument drive that was part of the orchestra’s Detroit Harmony program. The effort brought us one step closer to our goal of putting an instrument in the hand of every K-12 student in the city of Detroit who wants to learn to play. Nearly 300 people attended the St. Hedwig event—more than one-third who saw a DSO concert for the first time. The DSO will continue to bring these musical experiences to communities across Detroit, with the next Detroit Neighborhood Initiative concert slated to take place at Greater Grace Temple in Northwest Detroit on April 30 at 7 p.m. The Detroit Neighborhood Initiative is supported by General Motors and the W.K. Kellogg Foundation. The city of Detroit’s Office of Arts, Culture, and Entrepreneurship partnered with the DSO for the February 9 event and the performance was sponsored by General Motors. SPRING 2021-2022

A COMMUNITY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA A COMMUNITY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

JADER BIGNAMINI, Music Director

Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

Principal Pops Conductor

TERENCE BLANCHARD

LEONARD SLATKIN

NEEME JÄRVI

Fred A. Erb Jazz Creative Director Chair

Music Director Laureate

Music Director Emeritus

PVS CLASSICAL SERIES Title Sponsor:

BEETHOVEN PIANO CONCERTO NO. 4 Thursday, April 7, 2022 at 7:30 p.m. Friday, April 8, 2022 at 10:45 a.m. Saturday, April 9, 2022 at 8 p.m. at Orchestra Hall KAZUSHI ONO, conductor PAUL LEWIS, piano Franz Schubert (1797 - 1828)

Overture to Die Zauberharfe, D. 644, “Rosamunde”

Ludwig van Beethoven Piano Concerto No. 4 in G major, Op. 58 (1770 - 1827) I. Allegro moderato II. Andante con moto III. Rondo: Vivace Paul Lewis, piano Intermission Antonín Dvořák Symphony No. 7 in D minor, Op. 70 (1841 - 1904) I. Allegro maestoso II. Poco adagio III. Scherzo: Vivace IV. Finale: Allegro

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

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DSO PERFORMANCE MAGAZINE 17

PROGRAM NOTES Overture to Die Zauberharfe, D. 644, “Rosamunde” Composed 1820 | Premiered August 1820

FRANZ SCHUBERT B. January 31, 1797, Vienna, Austria D. November 19, 1828, Vienna, Austria

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. (Approx. 10 minutes)

uring his lifetime, Schubert enjoyed some modest success as a composer of songs, piano pieces, and chamber music. This was offset, however, by his repeated failures in the field of theater music, where he most hoped to establish his reputation. Schubert’s numerous attempts to write a successful opera ran aground on the shoals of dramatic weakness (the composer had a knack for choosing hackneyed librettos), and the same can be said of his other foray into the theater, his incidental music to Rosamunde, Princess of Cypress. This last was a play by the woefully inept Helmina von Chézy. The work concerns a Cypriot princess; a governor who tries first to force her into marriage and then to usurp her power by more nefarious means; a mysterious stranger who is actually a prince in disguise; and a preposterous resolution of all the drama’s tensions in the final scene. The initial production of Rosamunde took place in Vienna in December 1823, at which time the play received scathing reviews and folded after just two performances. But the musical numbers—songs, choruses, entr’actes, and two ballet scenes—which Schubert composed to supplement the stage action, have proved more durable. In particular, its overture has earned a secure place in the orchestral literature. This work did not originate with Rosamunde, however. Lacking sufficient time to write an

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original prelude to Chézy’s play prior to its 1823 premiere, Schubert borrowed one he had previously composed for his opera Die Zauberharfe (The Magic Harp), which closed after just eight performances in Vienna in 1820. Though more properly called the Overture to Die Zauberharfe, this composition has become irretrievably associated with Rosamunde. By any name, it constitutes one of Schubert’s most satisfying orchestral works. Like most Classical-period overtures, it takes the form of an introduction in moderate tempo leading to a livelier main body of music. The prelude juxtaposes portentous chords at the start and close (their weight and grave character are reminiscent of Beethoven) with a lilting melody given mainly to the woodwinds. The Allegro that follows yields a sonata-form design, with statement, “development” and reprise of several attractive melodies. The DSO most recently performed Schubert’s Overture to Die Zauberharfe in November 1999, conducted by Itzhak Perlman. The DSO first performed the piece in December 1916, conducted by Weston Gales.

Piano Concerto No. 4 in G major, Op. 58 Composed 1805-1806 | Premiered December 1808

LUDWIG VAN BEETHOVEN B. December 1770, Bonn, Germany D. March 26, 1827, Vienna, Austria

Scored for solo piano, flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (Approx. 34 minutes)

he 1808 mega-concert that served as the premiere of Beethoven’s fifth and sixth symphonies, Choral Fantasy, present Piano Concerto No. 4, and other works is certainly a “time machine” moment for many classical music fans—oh to have SPRING 2021-2022

been a fly on the wall! The concerto and two symphonies performed that night are landmarks in Beethoven’s artistic development, marking (to some) the firmest transition from the Classical period to the burgeoning Romantic. The gentle, song-like character of the piano concerto, especially its opening movement, attests to the spirit of what later became known as Romanticism. Beethoven also nearly established a precedent by opening the concerto with a quiet solo phrase, rather than reserving the entire first exposition of the themes for the orchestra alone. Though many composers soon followed Beethoven’s lead, only Mozart anticipated him in this practice, with a keyboard solo at the opening of his youthful Piano Concerto No. 9. The orchestra resumes its traditional exposition, but in one of Beethoven’s interesting rhythmic games, the main theme is set off-center by one note, adding tension until it is resolved at the end of each phrase. Tonal relationships are also colorful and broadly romantic, not only in the main theme but in the minor-key intermediate theme leading the orchestra to its closing group. When the piano returns, it embellishes and varies the themes with delicate filigree, adding a new subsidiary theme of its own. The slow movement is one of the most personal, intense, innovative moments in all the Beethoven literature. It pits the agitated, dramatic strings against an intervening series of plaintive phrases in the piano. Ultimately, the calm prevails as the piano proceeds into a figurative passage and the close of the movement. A free adaptation of established forms also occurs in the finale. Instead of being a normal five-part rondo, the movement is expanded with developmental episodes interspersed with various themes. But the light fanciful character of the music is maintained throughout much of its lacy keyboard figuration and playful melodies. The DSO most recently performed Beethoven’s Piano Concerto No. 4 in G major in April 2019, conducted by Ludovic Morlot and featuring pianist dso.org

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Hélène Grimaud. The DSO first performed the piece in February 1920, conducted by Ossip Gabrilowitsch and featuring pianist Winifred Christie.

Symphony No. 7 in D minor, Op. 70 Composed 1884-85 | Premiered April 1885

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

Scored for 2 flutes (1 doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets,3 trombones, timpani, and strings. (Approx. 38 minutes)

f ever the image of Brahms was implanted on the music of Dvořák, it was in his Seventh Symphony in D minor. In no other Dvořák symphony is there such a sense of a lonely hero struggling against the dark forces of fate. Dvořák’s reverence for Brahms dates back 11 years before this work, when Brahms (along with conductor Johann Herbeck and critic Eduard Hanslick) nominated the obscure young Bohemian composer for the Austrian State Stipend in 1874. The cash award, the honor and the support of the famed composer eventually won Dvořák a Viennese publisher and a window on the world that led to international performances and great fame during the last 30 years of his life. A decade after the award, he was invited to London to conduct three performances of his music at Royal Albert Hall, St. James Hall and the Crystal Palace. An invitation to conduct at Birmingham’s Three Choirs Festival in Worcester soon followed, along with an important commission for a new symphony from the London Philharmonic Society. Dvořák’s letters during the winter of 1884–85 reveal that the spirit of Brahms was indeed looking over his shoulder as he composed this symphony. They also indicate that he planned it as a far more DSO PERFORMANCE MAGAZINE 19

heroic work than any of his six earlier symphonies. Dvořák biographer Eric Clapham quotes him as writing: “I am occupied at present with my new symphony, and wherever I go I think of nothing but my work, which must be capable of stirring the world, and may God grant that it will!” The very serious, tightly knit sonata forms Dvořák composed in the two outer movements most strongly reflect the muscularity of Brahms’ musical style, especially Brahms’ Third Symphony, which was composed just two years earlier than Dvořák’s D minor Symphony. By nature, Dvořák was a supreme melodist with a penchant for dance melodies—two aspects of music which are antagonistic to the organic developmental processes of large symphonic forms. But the opening movement of this symphony begins quietly with a somber theme in the lower strings that builds upon its basic idea in several large musical sentences. Eventually, the woodwinds—mainly clarinets—introduce a lilting second theme and, finally, the full orchestra returns to conclude the exposition with the principal theme, this time in the major key. The two themes are pitted against each other in a fairly brief though

substantial development. Then, Dvořák reverses the dynamic sequence in the recapitulation, returning the main theme full force, followed by the lyrical second theme and a coda based on the first theme. This coda ends the movement quietly, notwithstanding an intervening climax. The two middle movements more readily identify Dvořák’s Bohemian heritage. The slow movement is a string of song-like melodies, interrupted by turbulent episodes, that follow each other in no specified order. The movement is rounded off by a return of the first two melodies at the end. The third movement is a typical Dvořákian scherzo, whose stamping cross-rhythms suggest the Bohemian dance called a Furiant. Like the first movement, the finale is again a sonata form cast in a heroic mould. But where the first movement ends quietly in a tone of resignation, this movement turns from the minor to the major key, culminating in a victorious climax. The DSO most recently performed Dvořák’s Symphony No. 7 in D minor in May 2016, conducted by Rune Bergmann. The DSO first performed the piece in February 1932, conducted by Victor Kolar.

PROFILES KAZUSHI ONO

azushi Ono’s musical influence and vision span and connect continents and cultures, with roles as Music Director of Tokyo Metropolitan Symphony Orchestra (TMSO) and Orquestra Simfònica de Barcelona i Nacional de Catalunya (OBC), and as Artistic Director of the New National Theatre Tokyo (NNTT). He has toured Europe extensively with TMSO, visiting six cities in eleven days in 2015, and brought OBC to Japan in 2019 with a new production of Turandot for NNTT, as well as orchestral concerts. 20

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From the 2022-23 season, Kazushi will take up the position of Music Director of the Brussels Philharmonic. He is passionate about new music and has commissioned many works and projects, such as Mark-Anthony Turnage’s Hibiki, which premiered at Suntory Hall before featuring at the 2017 BBC Proms. He instigated NNTT’s first commissioning scheme, dedicated to Japanese composers, which has so far included operas Asters by Akira Nishimura (2019) and Dai Fujikura’s A Dream of Armageddon (2020). Ono established himself internationally with orchestras such as the London Symphony Orchestra, BBC Symphony Orchestra, London Philharmonic SPRING 2021-2022

Orchestra, Brussels Philharmonic, Orchestre de Paris, Orchestre de la Suisse Romande, Seoul Philharmonic, and Houston Symphony, where his performance of Russian repertoire was described by the Houston Chronicle as “a first-rate concert steeped in stormy emotions, fragile beauty, and wide-screen grandeur.” From 2008 to 2017, Ono served as Principal Conductor of Opéra National de Lyon, attracting international acclaim with landmark performances of works such as Prokofiev’s The Gamblers, Berg’s Lulu, and Wagner’s Parsifal. Further operatic highlights include Honegger’s Jeanne d’Arc au Bûcher, directed by Romeo Castellucci (Ono’s last production in Lyon, which was subsequently revived at La Monnaie), the 2017 premiere of Arnulf Hermann’s Der Mieter at Frankfurt Opera, and Prokofiev’s The Fiery Angel in Warsaw and at the Aix Festival (directed by Mariusz Treliński). Before being appointed in Lyon, Kazushi was Music Director of Theatre Royal de la Monnaie (2002–2008), taking up the baton from Antonio Pappano. In 2017 he was awarded ‘Officier de l’ordre des Arts et des Lettres’ by French cultural minister Françoise Nyssen, adding to the prestigious Asahi Prize in January 2015, for his contribution to the development and progress of Japanese society.

PAUL LEWIS

aul Lewis is one of the foremost interpreters of the Central European piano repertoire, with his performances and recordings of Beethoven and Schubert receiving universal critical acclaim. He was awarded CBE for his services to music, and the sincerity and depth of his musical approach have won him fans around the world. This global popularity is reflected in the world-class orchestras with whom he works, including the Berlin Philharmonic, Chicago Symphony, London Symphony,

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Philharmonia, Bavarian Radio Symphony, NHK Symphony, New York Philharmonic, LA Philharmonic, Royal Concertgebouw, and Leipzig Gewandhaus orchestras. His close relationship with Boston Symphony Orchestra led to his selection as the 2020 Koussevitzky Artist at Tanglewood. With a natural affinity for Beethoven and relentless pursuit of understanding his works, Lewis has been central to celebrations of the composer’s 250th anniversary year around the world. He took part in the BBC’s three-part documentary Being Beethoven and will perform a concerto cycle at Tanglewood during summer 2022. He has performed the cycle all over the world, including with Orquestra Simfonica Camera Musicae, the Melbourne Symphony, São Paulo State Symphony, and Royal Flemish Philharmonic orchestras, and was the first pianist to play the complete cycle in a single season at the BBC Proms in 2010. Beyond many award-winning Beethoven recordings, his discography with Harmonia Mundi also demonstrates his characteristic depth of approach in Romantic repertoire such as Schumann, Mussorgsky, Brahms, and Liszt. In chamber music, he is a regular at Wigmore Hall, having played there more than 100 times, and was one of the artists selected to play at the hall’s Lunchtime Series at the start of the pandemic. He works closely with tenor Mark Padmore in lied recitals around the world—they have recorded three Schubert song cycles together. Lewis is co-Artistic Director of Midsummer Music, an annual chamber music festival held in Buckinghamshire, UK. He is a passionate advocate for music education and the festival offers free tickets to local schoolchildren. He also gives masterclasses around the world alongside his concert performances. He studied with Joan Havill at Guildhall School of Music and Drama in London before going on to study privately with Alfred Brendel. In 2021, Paul Lewis became an Irish citizen.

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A COMMUNI TY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA A COMMUNI TY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

JADER BIGNAMINI, Music Director

Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

Principal Pops Conductor

TERENCE BLANCHARD

LEONARD SLATKIN

NEEME JÄRVI

Fred A. Erb Jazz Creative Director Chair

Music Director Laureate

Music Director Emeritus

PVS CLASSICAL SERIES Title Sponsor:

SALOME’S SEDUCTION Friday, April 22, 2022 at 8 p.m. Saturday, April 23, 2022 at 8 p.m. at Orchestra Hall FABIEN GABEL, conductor NICOLAS ALTSTAEDT, cello Mel Bonis Salomé, Op.100 (1858 - 1937) Anders Hillborg Concerto for Cello and Orchestra (b. 1954) Nicolas Altstaedt, cello

Intermission

Richard Strauss “Salome’s Dance” from Salome, Op. 54 (1864 - 1949) Florent Schmitt (1870 - 1958)

La Tragedie de Salomé, Op. 50

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

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SPRING 2021-2022

PROGRAM NOTES Salomé, Op. 100 Published 1909

MEL BONIS B. January 21, 1858, Paris, France D. March 18, 1937, Sarcelles, France

Scored for 2 flutes (1 doubling on piccolo), 1 oboe, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, harp, and strings. (Approx. 5 minutes)

he career as a composer of Mélanie (Mel) Domange, née Bonis, was in full swing in the twenty years leading up to World War I. Her talents spanned nearly all the musical genres, except for opera, and she used her own favorite instrument, the piano, in her most acclaimed works. Often championing her own compositions, she wrote works for solo piano—including the first of her “Women of Legend” series: Phœbé, Viviane, and Salomé in 1909—as well as chamber music pieces in which the flute played an important role. Her Piano Quartet No. 1 (1905), written in a Faurean vein, appears to be her biggest success, however. After completing her studies at the Paris Conservatoire (1876-1881, with Ernest Guiraud, Auguste Bazille, and César Franck), she managed to have songs and piano pieces printed by various publishers and in 1910 became the first woman on the board of the Society of Music Composers. However, the Great War put an end to her public exposure as a composer, and she then devoted herself essentially to religiously inspired works (for organ or voice) and educational pieces. She left a large number of unpublished works that reveal a skilled composer and orchestrator, who was unjustly neglected during her lifetime. The introduction and finale of Bonis’s Salomé are evocative of a caravan in the distance with a slow five-beat rhythm accentuated by the basses. The entire piece thrives on the alternation of atmosphere: slow syncopations are followed by light-footed glissandi; haunting and mysterious psalmodies accompany

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sensual passages; and surprising changes in tempo make passion and destruction determine the musical form. This performance marks the DSO premiere of Mel Bonis’s Salomé, Op. 100.

Concerto for Cello and Orchestra Composed 2020 | Premiered October 2020

ANDERS HILLBORG B. 1954

Scored for solo cello, flute, piccolo, 2 oboes, clarinet, bass clarinet, 2 horns, 2 trumpets, percussion, and strings. (Approx. 27 minutes)

nders Hillborg gained his first musical experience singing in choirs and through involvement with various forms of improvised music. From 1976 to 1982, he studied counterpoint, composition, and electronic music at the Royal College of Music in Stockholm. His teachers included Gunnar Bucht, Lars-Erik Rosell, Arne Mellnäs, and Pär Lindgren, with guest lecturer Brian Ferneyhough also serving as an important source of inspiration for the composer. Apart from occasional teaching positions, Hillborg has been a full-time freelance composer since 1982 with an extensive sphere of activity covering orchestral, choral, and chamber music, as well as music for films and pop music. Hillborg’s first Cello Concerto was written for cellist Nicolas Altstaedt and commissioned by the Detroit Symphony Orchestra, Stavanger Symphony Orchestra, Münchner Philharmoniker, Cello Biennale Amsterdam, Antwerp Symphony, Sinfonieorchester Basel, and the Quebec Symphony Orchestra, with the kind support of Margarit Jacobs. The piece is characterized by the intimacy of its scoring, and a direct and paired-back simplicity of expression. Much of the work’s 27-minute span is scored for strings alone, with dazzling virtuosity eschewed in favor of long, soaring DSO PERFORMANCE MAGAZINE 23

PROGRAM NOTES cantabile lines—the soloist’s rich and resonant low C string is only utilized at a few key moments. This ravishingly beautiful, glacial soundscape occasionally ruptures—we hear a fragment of renaissance polyphony as if through gauze, and later a frenzied, surreal outburst for full orchestra leads to a moment of crisis—but the prevailing mood is one of vast space, loneliness, and longing. This performance marks the United States premiere of Anders Hillborg’s Concerto for Cello and Orchestra.

“Salome’s Dance” from Salome, Op. 54 Composed 1903-1904 | Premiered December 1905

RICHARD STRAUSS B. June 11, 1864, Munich, Germany D. September 8, 1949, GarmischPartenkirchen, Germany

Scored for 3 flutes (1 doubling on piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, E-flat clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, 2 timpani, percussion, harp, celeste, and strings. (Approx. 9 minutes)

trauss’s sensational and groundbreaking opera, Salome, was based on a play of the same name by the Irish-born author Oscar Wilde (1854-1900). One of the main things which Wilde presented in his play—and which later attracted Strauss so much—was the great significance of the famous dance, placing it at the very center of the action. In Strauss’s Salome, the harmony makes use of extended tonality, tonal ambiguity, chromaticism, unusual modulations, and polytonality. Everything is tied together by a series of Wagner-like leitmotifs, and some of the major characters and psychological themes even have keys associated with them. No matter the mood at any point in the opera, Strauss, with his phenomenal genius for 24

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descriptive music, not only found the right orchestral colors to convey it to the listener with overwhelming intensity, but also did so with an imaginative power, which was completely new to opera in 1905. Salome was first performed at the famous Semper Opera House in Dresden in December of 1905, with its combination of Christian biblical, erotic, and murderous themes shocking and disturbing the first audiences. Despite strong moralistic objections, the premiere was a sensational success, and the work was performed at 50 other opera houses within two years. Gustav Mahler, at that time director of the Vienna Court Opera, regarded Salome as “…one of the greatest masterpieces of our time,” and was so outraged by the Viennese censor refusing to allow performances that he threatened to resign his position there, but was ultimately dissuaded from doing so by Strauss himself. (The Viennese premiere finally took place in October of 1918.) Needless to add, this controversy simply drew more attention and more audiences to the opera. Kaiser Wilhelm II once reportedly stated, “I like this fellow Strauss, but Salome will do him a lot of damage,” to which Strauss replied, “The damage enabled me to build my villa in Garmisch.” The DSO most recently performed “Salome’s Dance” from Strauss’s Salome in May 2001, conducted by Stefan Sanderling. The DSO first performed the piece in February 1936, conducted by Victor Kolar.

La Tragedie de Salomé, Op. 50 Composed 1907 | Revised 1910

FLORENT SCHMITT B. September 28, 1870, Meurthe-etMoselle, France D. August 17, 1958, Neuilly-sur-Seine, France

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, SPRING 2021-2022

percussion, 2 harps, celeste, and strings. (Approx. 21 minutes)

ithout question, La Tragédie de Salomé is Florent Schmitt’s most famous work. Originally composed in 1907 for the American dancer Loie Fuller and the Théâtre des Arts, Salomé was based on a poem by Robert d’Humières. Schmitt expanded the orchestration in 1910, dedicating the work then to Stravinsky, who said the piece “has given me greater joy than any work I have heard in a long time.” The composition became popular with companies including the Ballets Russes and the Paris Opéra, but is most often performed today as a symphonic suite. Schmitt’s Salomé became famous from the very start—recognized by music critics and audiences alike as one of the best examples of French tone painting. It is also the composer’s best-known

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“orientalist” work—a bright star in a constellation that also includes other femme fatale heroines such as Cléopâtre, Abisag, Salammbô, and Oriane. It is also the composition of Schmitt’s that has enjoyed the most commercial recordings over the years. Beginning in 1929-30—when the first two recordings were waxed within a few months of one another—and continuing up to the present day, there have been no fewer than 19 commercial recordings made of this music. True to Schmitt’s independent style, the piece bursts with color and dynamism, evoking the swirling waters of the Dead Sea below Herod’s palace and culminating in a dramatic climax. —Excerpts from Phillip Nones The DSO most recently performed Schmitt’s La Tragedie de Salomé in April 1972, conducted by Sixten Ehrling. The DSO first performed the piece in December 1952, conducted by Paul Paray.

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PROFILES FABIEN GABEL

abien Gabel has established an international career of the highest caliber, appearing with orchestras including the London Philharmonic Orchestra, Orchestre de Paris, Minnesota Orchestra, NDR Elbphilharmonie Orchester, San Francisco Symphony Orchestra, Tonkünstler-Orchester, Oslo Philharmonic, Cleveland Orchestra, Seoul Philharmonic, and Melbourne Symphony Orchestra. Praised for his dynamic style and sensitive approach to the score, he is best known for his eclectic repertoire choices ranging from core symphonic works and new music, to championing lesser-known composers of the 19th and 20th centuries. Gabel began 2021-22 giving the season opening concerts of the Tonkünstler-Orchester in Vienna. Other highlights of the season include his debuts with NDR Radiophilharmonie, Stavanger Symphony, Luzerner Sinfonieorchester, Malmö Symphony, and Orchestre Philharmonique du Luxembourg, and his return to the City of Birmingham Symphony Orchestra where he appears regularly. With the Orquesta Sinfónica de Galicia, he gives the Spanish premiere of the complete version of Tomasi’s trumpet concerto with Håkan Hardenberger. In North America, he continues his established relationships with Minnesota Orchestra and the symphony orchestras of Houston and Detroit. He is highly in demand in his native France with Orchestre de Paris, Orchestre National de France, Orchestre Philharmonique de Radio France, Orchestre Philharmonique du Capitole de Toulouse, and Orchestre Philharmonique de Monte Carlo. Having attracted international attention in 2004 as the winner of the Donatella Flick conducting competition, Gabel was assistant conductor of the London Symphony Orchestra 2004-2006. He was music director of Orchestre Symphonique de Québec from

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2012-2021 and Orchestre Francais de Jeunes from 2017-2021. Born in Paris to a family of accomplished musicians, Gabel began playing the trumpet at the age of six and honed his skills at the Conservatoire National Supérieur de Musique de Paris and Hochschule für Musik Karlsruhe. He played with various Parisian orchestras under prominent conductors such as Pierre Boulez, Sir Colin Davis, Riccardo Muti, Seiji Ozawa, Simon Rattle, and Bernard Haitink before embarking on his conducting career.

NICOLAS ALTSTAEDT

erman-French cellist Nicolas Altstaedt is one of the most sought after and versatile artists today. As a soloist, conductor, and artistic director, he performs repertoire spanning from early music to the contemporary, playing on period and modern instruments. Altstaedt was Artist in Focus at the Alte Oper in Frankfurt and Artist in Residence at the SWR Symphonieorchester with Teodor Currentzis in 2019-20. Other recent highlights include concerto debuts with Washington’s National Symphony Orchestra and Japan’s NHK and Yomiuri Nippon Symphony Orchestras, and a tour with B’Rock and René Jacobs. He has received numerous prizes including the Beethovenring Bonn 2015 and Musikpreis der Stadt Duisburg 2018. His most recent recording for his Lockenhaus Festival garnered the BBC Music Magazine 2020 Chamber Award and Gramophone Award 2020. He received the BBC Music Magazine Concerto Award 2017 for his recording of CPE Bach Concertos on Hyperion with Arcangelo and Jonathan Cohen and the Edison Klassiek 2017 for his Recital Recording with Fazil Say on Warner Classics. Altstaedt is a recipient of the Credit Suisse Award in 2010 and was a BBC New Generation Artist 2010-2012. SPRING 2021-2022

A COMMUNI TY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA A COMMUNI TY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

JADER BIGNAMINI, Music Director

Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

Principal Pops Conductor

TERENCE BLANCHARD

LEONARD SLATKIN

NEEME JÄRVI

Fred A. Erb Jazz Creative Director Chair

Music Director Laureate

Music Director Emeritus

TITLE SPONSOR:

IN THE AIR TONIGHT: A SYMPHONIC CELEBRATION OF GENESIS & PHIL COLLINS Sunday, April 24, 2022 at 3 p.m. at Orchestra Hall STUART CHAFETZ, conductor AARON FINLEY, vocalist* BROOK WOOD, vocalist^ All works arr. & orch. Sam Shoup Tony Banks, Phil Collins, Mike Rutherford

Turn It on Again*

That’s All^

No Reply at All*

Collins

I Missed Again^

One More Night

Another Day in Paradise*^

I Don’t Care Anymore*

Sussudio*^

Follow You, Follow Me*^

Intermission Banks, Collins, Rutherford

Abacab^ Invisible Touch*

Collins

In the Air Tonight*^

Hold on My Heart*^

Banks, Collins, Rutherford Collins

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Throwing It All Away Don’t Lose My Number^ Take Me Home*^

DSO PERFORMANCE MAGAZINE 27

PROFILES STUART CHAFETZ

tuart Chafetz is the Principal Pops Conductor of the Columbus Symphony and the newly appointed Principal Pops Conductor of the Chautauqua and Marin symphonies. Chafetz, a conductor celebrated for his dynamic and engaging podium presence, is increasingly in demand with orchestras across the continent and this season Chafetz will be on the podium in Detroit, Houston, Milwaukee, Naples, Philly Pops, Cincinnati Pops, and Pittsburgh. He enjoys a special relationship with The Phoenix Symphony, where he leads multiple programs annually. He previously held posts as resident conductor of the Milwaukee Symphony Orchestra and associate conductor of the Louisville Orchestra. As principal timpanist of the Honolulu Symphony for twenty years, Chafetz would also conduct annual performances of The Nutcracker with Ballet Hawaii and principals from the American Ballet Theatre. It was during that time that Chafetz led numerous concerts with the Maui Symphony and Pops. He’s led numerous Spring Ballet performances at the world-renowned Jacobs School of Music at Indiana University. In the summers, Chafetz spends his time at the Chautauqua Institution, where he conducts the annual Fourth of July and Opera Pops. Chafetz makes his home near San Francisco, CA, with his wife Ann Krinitsky. Chafetz holds a bachelor’s degree in music performance from the CollegeConservatory of Music at the University of Cincinnati and a master’s from the Eastman School of Music.

AARON FINLEY

orn and raised in Montana, Aaron Finley’s career has spanned from coast to coast as a professional actor and singer. Educated at Pacific Lutheran University in Seattle, he quickly became 28

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at top-tier talent in the Pacific Northwest, appearing in productions of Jesus Christ Superstar (Jesus/Judas), Rent (Roger), Fiddler on the Roof (Perchik), Hairspray (Link Larkin), It Shoulda Been You (Greg Madison), and The Gypsy King (Drago). Among his other regional roles, Finley originated the role of Billy in the new musical Diner, based on the Barry Levinson film, with music and lyrics by Sheryl Crow and direction by Kathleen Marshall. Finley made his Broadway debut in 2013, starring as Drew Boley in Rock of Ages. In 2015, he took over the role of leading man Brian Howard in It Shoulda Been You, directed by David Hyde Pierce. Among his other work in New York, he participated in a lab production of George Takei’s new musical, Allegiance. In the fall of 2016, Finley took over the role of Charlie Price in Kinky Boots. He has been performing a pops symphony concert celebrating the music of the 1980s and Phil Collins across North America. Currently, Finley can be seen in the smash hit Moulin Rouge on Broadway.

BROOK WOOD

ew York City-based singer-songwriter Brook Wood is known for the songs “Drive,” “Drift,” and “Setting of The Sun” with Jeremy Schonfeld; “Damn Your Happiness” and “Home is Where The Heartbreak Is” with Luke Denison; and for her cover of Idina Menzel’s “Gorgeous.” She regularly performs at venues across the United States and recently toured in Florida with Neil Berg’s Fifty More Years of Rock and Roll and 113 Years of Broadway. In February 2022, Wood debuted at the Urban Country Jam festival in New York City.

SPRING 2021-2022

A COMMUNI TY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA A COMMUNI TY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

JADER BIGNAMINI, Music Director

Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

Principal Pops Conductor

TERENCE BLANCHARD

LEONARD SLATKIN

NEEME JÄRVI

Fred A. Erb Jazz Creative Director Chair

Music Director Laureate

Music Director Emeritus

TITLE SPONSOR:

Friday, May 6, 2022 at 10:45 a.m. Saturday, May 7, 2022 at 8 p.m. Sunday, May 8, 2022 at 3 p.m. at Orchestra Hall JEFF TYZIK, conductor CHESTER GREGORY, DARREN LORENZO, and MICHAEL LYNCHE, vocalists KINGS OF SOUL

a Schirmer Theatrical/Greenberg Artists co-production Arrangements by Jeff Tyzik SOUL MAN, by Isaac Hayes and David Porter As Recorded by Sam & Dave

LOVE’S THEME, by Barry White As Recorded by Barry White

CAN’T GET NEXT TO YOU, by Norman Whitfield and Barrett Strong As Recorded by The Temptations

BACK STABBERS, by Leon Huff, Gene McFadden, and John Whitehead As Recorded by the O’Jays

LONELY TEARDROPS, by Roquel Davis, Berry Gordy, and Gwen Fuqua As Recorded by Jackie Wilson

MOVE ON UP, by Curtis Mayfield As Recorded by Curtis Mayfield

SHOP AROUND, by Berry Gordy and William Robinson As Recorded by Smokey Robinson

ME AND MRS. JONES, by Kenneth Gamble, Leon Huff, and Cary Gilbert As Recorded by Billy Paul

MY GIRL, by William Robinson and Ronald White As Recorded by The Temptations

YOU’LL NEVER FIND, by Kenneth Gamble and Leon Huff As Recorded by Lou Rawls

NIGHT TIME IS THE RIGHT TIME, by James Oden and Roosevelt Sykes As Recorded by Ray Charles

JUST MY IMAGINATION, by Norman Whitfield and Barrett Strong As Recorded by The Temptations

GET READY, by William Robinson As Recorded by The Temptations

CLOSE THE DOOR, by Kenneth Gamble and Leon Huff, As Recorded by Terry Pendergrass

TRY A LITTLE TENDERNESS, by James Campbell, Reginald Connelly, and Harry Woods As Recorded by Otis Redding

LET’S GET IT ON, by Marvin Gaye and Edward Townsend As Recorded by Marvin Gaye

HARD TO HANDLE, by Otis Redding, Allen Alvoid Jones Jr, and Alvertis Isbell As Recorded by Otis Redding MAN’S WORLD, by James Brown and Betty Jean Newsome As Recorded by James Brown STAND BY ME, by Ben E. King, Jerry Leiber, and Mike Stoller As Recorded by Ben E. King DANCE TO THE MUSIC, by Sylvester Stewart As Recorded by Sly and the Family Stone

Intermission

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LOVE AND HAPPINESS, by Al Green and Mabon Lewis Hodges As Recorded by Al Green ROCK WITH YOU, by Rodney Lynn Temperton As Recorded by Michael Jackson YOUR LOVE KEEPS LIFTING ME HIGHER, by Gary Jackson, Carl Smith and Raynard Miner As Recorded by Jackie Wilson ALL ARRANGEMENTS LICENSED BY SCHIRMER THEATRICAL, LLC Creative Team Robert Thompson, Producer Jeff Tyzik, Producer & Arranger Jami Greenberg, Producer & Booking Agent Alyssa Foster, Producer Sophie Frankle, Associate Producer DSO PERFORMANCE MAGAZINE 29

PROFILES Jeff Tyzik bio, see page 6

MICHAEL LYNCHE

merican Idol Michael Lynche is a new breed of soul singer with completely classic influences. Traces of Donny Hathaway, Al Green, Luther Vandross, Sam Cooke, and James Brown all seem to flash in this uniquely talented performer. Undeniable charisma, well-crafted song arrangements and a voice soaked in soul give “Big Mike”—as he’s affectionately known—class all his own. A New York City resident for the last 15+ years, this Florida native rose from obscurity as a finalist on season 9 of the hit phenomenon, American Idol. After wowing millions of fans with his comforting and powerful voice and performing throughout the United States as part of the American Idol LIVE! Tour, Big Mike has released two studio albums, toured as an opening act for Boyz II Men, Lalah Hathaway, Faith Evans, and Lyfe Jennings, and toured the world with his honest storytelling brand of soul music. Since 2012, Big Mike has been a frequent featured guest vocalist with Jeff Tyzik and his hit “Let’s Dance!” show. With the perfect repertoire to showcase his dynamic song range, “Let’s Dance!” has been performed with orchestras all over the US and Canada, including the Dallas Symphony, Utah Symphony, Calgary Philharmonic, Toronto Symphony, Detroit Symphony Orchestra, and more. Tyzik has been an incredible mentor for Michael over the years, recognizing a passion and drive in the big man that has made his own career successful. The two have spent the last years collaborating on new, sensational soul inspired pops concerts including “R&B Legends,” “Kings of Soul,” and “Dancing in the Street — The Music of Motown.”

DARREN LORENZO

arren Lorenzo is a veteran performer hailing from Atlanta, Georgia. Lorenzo has appeared in numerous productions 30

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both nationally and internationally. He received his B.A. in Mass Communications at Clark Atlanta University and further trained with Broadway Theatre Project at the University of South Florida, and with Theatre Emory of Emory University. He has wowed audiences with roles on cruise ships and in Las Vegas, and multiple regional, off Broadway, Broadway, national, and international touring productions of After Midnight, Vegas the Show, Legally Blonde, Saturday Night Fever, Madagascar, Smokey Joes Cafe, No Strings, Fosse, Hair, Tony and Tina’s Wedding, Once on This Island, What The World Needs Now, and several gospel tours throughout Europe. In addition to acting and singing, he also works as a writer, producer, teacher, and director, and performs with various club date and corporate Top 40, R&B/soul, and jazz bands.

CHESTER GREGORY

hester “C.H.E.S.S.” Gregory is emerging on the scene with his critically acclaimed hit “The Doppler Effect (It’s Me),” which already earned Grammy consideration. This power ballad equates the result of the doppler effect to the plight of relationships. “Colors are changing but I’m still remaining, the person I have to be.” Sonically, his style is a fusion of New Vintage Pop and soul: a blend of modern sounds, with a classic approach, resulting in songs that have been described as timeless. This charismatic artist has already collaborated with many greats in the industry and is well-known for his stellar vocals and rousing stage presence. He has collaborated with Ledisi, PJ Morton, Phil Collins, Da Genius, MaliMusic, 88-Keys, 9th Wonder, The Pocket Queen, Cory Henry, and Chance The Rapper. Television appearances include The View, The Daily Show with Jon Stewart, Crazy Ex Girlfriend, and Hairspray. SPRING 2021-2022

A COMMUNITY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA A COMMUNITY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

JADER BIGNAMINI, Music Director

Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

Principal Pops Conductor

TERENCE BLANCHARD

LEONARD SLATKIN

NEEME JÄRVI

Fred A. Erb Jazz Creative Director Chair

Music Director Laureate

Music Director Emeritus

PVS CLASSICAL SERIES Title Sponsor:

BIGNAMINI CONDUCTS BEETHOVEN 9 Thursday, May 12, 2022 at 7:30 p.m. Friday, May 13, 2022 at 8 p.m. Saturday, May 14, 2022 at 8 p.m. Sunday, May 15, 2022 at 3 p.m. at Orchestra Hall JADER BIGNAMINI, conductor AILYN PÉREZ, soprano SASHA COOKE, mezzo-soprano SAIMIR PIRGU, tenor LUIZ-OTTAVIO FARIA, bass OPERA MODO & AUDIVI, choirs Hannah Lash (b. 1981)

In Hopes of Finding the Sun Intermission

Ludwig van Beethoven Symphony No. 9 in D minor, Op. 125, “Choral” (1770 - 1827) I. Allegro ma non troppo, un poco maestoso II. Molto vivace III. Adagio molto e cantabile IV. Presto - Allegro assai - Allegro assai vivace

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

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DSO PERFORMANCE MAGAZINE 31

PROGRAM NOTES In Hopes of Finding the Sun Premiered May 2019

HANNAH LASH B. November 22, 1981

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 1 trombone, timpani, and strings. (Approx. 15 minutes)

ailed by The New York Times as “striking and resourceful…handsomely brooding,” Hannah Lash’s music has been performed at Carnegie Hall, Los Angeles’s Walt Disney Concert Hall, Lincoln Center, the Times Center in Manhattan, the Chicago Art Institute, Tanglewood Music Center, Harvard University, The Aspen Music Festival & School, The Chelsea Art Museum, and on the American Opera Project’s stage in New York City. Commissions include The Fromm Foundation, the Boston Symphony Orchestra, Saint Paul Chamber Orchestra, Carnegie Hall, Chamber Music Northwest, the McKim Fund in the Library of Congress, Cabrillo Festival of Contemporary Music, American Composers Orchestra, Columbia University’s Miller Theatre, The Naumburg Foundation, the Los Angeles Chamber Orchestra, the Arditti Quartet, the Great Lakes Chamber Music Festival, the Colorado Music Festival, the Aspen Music Festival and School, and others. Lash has received numerous honors and prizes, including the ASCAP Morton Gould Young Composer Award, a Charles Ives Scholarship (2011) and Fellowship (2016) from the American Academy of Arts and Letters, a Fromm Foundation Commission, a Chamber Music America Classical Commissioning Grant, a fellowship from Yaddo Artist Colony, the Naumburg Prize in Composition, the Barnard Rogers Prize in Composition, and the Bernard and Rose Sernoffsky Prize in Composition. Lash’s In Hopes of Finding the Sun was 32

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commissioned by and dedicated to Symphony Tacoma, generously underwritten by Laurie Sorensen and Carroll L. Bryan II. Of the piece, the composer writes the following: “Writing a piece that is connected in some way to Beethoven’s Ninth Symphony is not something a composer can take lightly. I wanted to make a piece that would be highly personal, not something that leaned too heavily on Beethoven’s masterpiece. But at the same time, I felt compelled to use a few points of departure from Beethoven: ways in which my work would touch on Beethoven’s before moving in its own direction. So, I decided on two very particular elements: the descending motive from the first movement, and the Schiller poem. I wrote my own text, using the fire image from the Schiller as my inspiration: Sky-bound. We ate fire, closing our eyes against the searing; We come, ashes light as air, buffeting upward in hopes of finding the sun; Purify! Efface!; Dancing: enraptured,; We dissolve.” This performance marks the DSO premiere of Hannah Lash’s In Hopes of Finding the Sun.

Symphony No. 9 in D minor, Op. 125 Composed 1824 | Premiered May 1824

LUDWIG VAN BEETHOVEN B. December 16, 1770, Bonn, Germany D. March 26, 1827, Vienna, Austria

Scored for choir, soprano, mezzo-soprano, tenor, bass, 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, percussion, and strings. (Approx. 67 minutes)

he story of Beethoven at the premiere of the Ninth Symphony is one of the most beloved tales from the history of Western music. While examining the score of his symphony intently following the concert, the deaf Beethoven was taken by the arm and SPRING 2021-2022

gently turned so that he could see that which he could not hear or did not notice: the cheers and applause of an elated audience. The poignant anecdote not only bespeaks triumph in the face of adversity, but also embodies the central message of Schiller’s text as sung in the symphony’s finale: “Joy, bright spark of divinity… thy magic power reunites all that custom has divided.” The response of the audience proved that deafness had neither divided Beethoven from the world nor diminished his powers of musical expression. On the contrary, his composition, his “bright spark of divinity,” provided the conduit through which artist and audience were emotionally reunited. Much of the symphony’s excitement derives from Beethoven’s ability to begin each movement with a stirring musical gesture that immediately focuses our attention upon the present. In the first movement, this is accomplished through a striking perfect fifth sonority, sustained by tremolo strings beneath jagged melodic figures that anticipate the style of Bruckner. The second movement begins with a repeated and accented rhythmic motive whose intensity is enhanced by the powerful silence that surrounds the initial statements of the motive. (Dvořák uses a similar musical device in the third movement of his Ninth Symphony.) In contrast to the nervous rhythmic energy of the preceding two movements, the third movement enchants the ear through warm, beautiful orchestral sonorities. From out of an introductory passage for woodwind choir, Beethoven seamlessly extends its opalescent aura through an expansive and exquisite melody sung by strings and winds. Shattering this tranquility with an orchestral “thunderclap,” the fourth movement features a gruff recitative-like passage in the lower strings. During this section, excerpts from the preceding movements are briefly recalled and rejected before a new melodic idea, the immortal “Ode to Joy” theme, is born and developed by the orchestra and chorus. In addition to the Ninth’s colossal musical statement, Beethoven’s final symphony carries immense social and dso.org

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political baggage. Since that first performance, the work has been used to celebrate and commemorate significant events around the globe, in both good times and bad. In Japan, the Ninth helps ring in each New Year; and its fourth movement is used in most Olympic opening ceremonies. Many listeners today remember Leonard Bernstein’s stirring rendition of the symphony that heralded the fall of the Berlin Wall in 1989. Here Bernstein instructed chorus and soloists that Schiller’s word “Freude” [joy] was to be replaced by “Freiheit” [freedom]. More recently, the “Ode to Joy” has become the anthem of the European Union and memorial concerts featuring the Ninth reaffirmed the resilience of human unity and goodwill in the wake of the September 11th tragedies. Regardless of the symphony’s complex status as a cultural icon, it is the Ninth’s profound emotional power that continues to attract and enthrall listeners the world over. Responding to the thrilling entrance of the chorus in the final movement, a critic at the 1824 premiere described the symphony in terms that still echo resonantly today: “Finally…the full chorus also intones the song in praise of joy with majestic splendor. Then the glad heart opens itself widely to the feeling of delight in this spiritual enjoyment, and a thousand voices rejoice: ‘Hail! Hail! to the divine music! Honor! Praise! and thanks to its worthiest high priest!’” —Nathan Platte The DSO most recently performed Beethoven’s Symphony No. 9 in D minor in May 2017, conducted by Leonard Slatkin and featuring UMS Choral Union (chorus), Abigail Nims (mezzo-soprano), Hila Plitmann (soprano), Peixin Chen (bass), Rachelle Durkin (soprano), and Sean Panikkar (tenor). The DSO first performed the piece in March 1927, conducted by Ossip Gabrilowitsch, and featuring Detroit Symphony Chorale (ensemble), Lois Johnston (soprano), Robert Quait (tenor), and Royal Dadmun (baritone).

DSO PERFORMANCE MAGAZINE 33

PROFILES Jader Bignamini bio, see page 6

AILYN PÉREZ

nternationally celebrated for her signature artistry, soprano Ailyn Pérez is the winner of the 2012 Richard Tucker Award, the first Hispanic recipient in the award’s history. Career highlights include Violetta (La traviata) at Opernhaus Zürich, the Hamburgische Staatsoper, Staatsoper Berlin, Bayerische Staatsoper, San Francisco Opera, Teatro alla Scala, and the Royal Opera House – Covent Garden. Pérez then went on to appear at Covent Garden in the same season, as the title role in Massenet’s Manon, and for her role debut as Liù (Turandot). Other highlights include Thaïs, Mimì and Musetta (La bohème), and Juliette (Roméo et Juliette) at The Metropolitan Opera; Adina (L’elisir d’amore) for the Bayerische Staatsoper, Deutsche Oper Berlin, Wiener Staatsoper, and Washington National Opera; Contessa Almaviva (Le nozze di Figaro) for Houston Grand Opera (having made her house debut there as Desdemona in Otello); Tatyana Bakst in the world premiere of Jake Heggie’s Great Scott (featured on an acclaimed Erato recording release) and Manon for The Dallas Opera; house debuts at the Bolshoi Theatre as Mimì (La bohème) and at Glyndebourne as Alice Ford; Contessa Almaviva (Le nozze di Figaro) and Marguerite (Faust) for Hamburgische Staatsoper; Marguerite (Faust) in Santa Fe and Amelia Grimaldi Simon Boccanegra at Teatro alla Scala and Staatsoper Berlin, and also opposite Leo Nucci at Opernhaus Zürich.

SASHA COOKE

wo-time Grammy Award-winning mezzo-soprano Sasha Cooke is sought after by the world’s leading orchestras, opera companies, and chamber music ensembles for her versatile repertoire and commitment to new music. In the 2021-2022 season, Cooke 34

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returns to the Metropolitan Opera both for her role debut as Cherubino in Le nozze di Figaro, under the baton of James Gaffigan, and as Eduige in Rodelinda, under the baton of Harry Bicket. On the concert stage, she joins the Minnesota Orchestra for Mahler’s Lieder eines fahrenden Gesellen and subsequently for Mahler’s Symphony No. 8, the latter conducted by Osmo Vänskä. Additionally, she performs Michael Tilson Thomas’s Meditations on Rilke with the Los Angeles Philharmonic, conducted by the composer; Nadia Boulanger’s Faust et Hélène with the Houston Symphony, led by Fabien Gabel; Berlioz’s Béatrice et Bénédict with the Festival de la Côte Saint-André, led by John Nelson; Mahler’s Symphony No. 2 Resurrection with the Oregon Symphony; Jake Heggie’s The Work at Hand and Elgar’s Sea Pictures with the St. Louis Symphony Orchestra, led by Gemma New; Mahler’s Lieder eines fahrenden Gesellen with the New World Symphony; and a holiday concert with the Wheeling Symphony Orchestra. Finally, she gives a solo recital at the Tucson Desert Song Festival, joined by pianist Myra Huang, where she premieres a new work by Jennifer Higdon. This season also marks the release of Cooke’s new CD, entitled how do I find you, on the Pentatone label.

SAIMIR PIRGU

lbanian tenor Saimir Pirgu has performed at and continues a close association with the world’s finest opera houses and festivals including Teatro alla Scala, Wiener Staatsoper, Royal Opera House Covent Garden, Metropolitan Opera, Staatsoper Berlin, Bayerische Staatsoper, Gran teatre del Liceu, Arena di Verona, and Salzburger Festspiele. This 2021-22 season highlights include SPRING 2021-2022

Steva (Jenufa) at the Royal Opera House, Covent Garden, Chevalier des Grieux (Manon) with Opera de Lyon at the Théâtre des Champs-Elysées, Il Duca di Mantova (Rigoletto) at the Gran teatre del Liceu and Staatsoper Berlin, Rodolfo (La bohème) at Teatro Colón, and Tamino (Die Zauberflöte) at Wiener Staatsoper. During previous seasons, Pirgu has sung Macduff at the Bayerische Staatsoper, Pinkerton in Madama Butterfly at Opernhaus Zürich, as well as role debuts including the title role of a new production of Les contes d’Hoffmann at Opernhaus Zürich and Kát’a Kabanová at the Teatro dell’Opera di Roma. In 2009 Pirgu was awarded the Franco Corelli Prize of the Teatro delle Muse of Ancona for his performance in La traviata, and in 2013 he was awarded the prestigious Pavarotti d’Oro. The DVD/Blu-Ray recording of Król Roger from the Royal Opera House Covent Garden with Pirgu as Shepherd received a nomination in the Best Opera Recording category at the 59th Annual Grammy Awards in 2016.

LUIZ-OTTAVIO FARIA

uiz-Ottavio Faria made his operatic debut in the title role of Tom, in Un ballo in maschera with the legendary tenor Carlo Bergonzi, Fernando Teixeira, and Stefka Evstatieva at Theatro Municipal do Rio de Janeiro and the Theatro Municipal de Sao Paulo, directed by Maestro Isaac Karabtchevsky. Since his auspicious debut, the distinguished basso’s career in concert and opera performances has taken him around the globe, especially to Europe, the US, Canada, Mexico, and Brazil. Faria recently made a triumphant debut with a critically acclaimed performance in the title role of Banco in Macbeth at the Teatro Alla Scala di Milano and Marcel in Meyerbeer’s Les Huguenots at Carnegie Hall with the Opera Orchestra of New York. Faria’s repertoire extends from Seneca in L’ Incoronazione di Poppea, to the dso.org

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high priest of the hebrews, Zaccaria, in Verdi’s Nabucco. His vast operatic portrayals of more than 30 roles include Ramfis and King (Aida), Sparafucile (Rigoletto), Alvise (La Gioconda), Banco (Macbeth), Ferrando (Il Trovatore), Sarastro (The Magic Flute), and Colline (La Boheme). One of America’s leading basses, Faria has appeared with the world’s major operatic and symphonic organizations. He has worked with notable and distinguished conductors and stage directors including Franco Zeffirelli, Riccardo Frizza, Jose Maria Florencio, Giancarlo del Monaco, Giuliano Carella, Robert Lyall, Roberto Abbado, Isaac Karabtchevsky, Saverio Marconi, Will Cruchtfield, Enrique Batiz, Franco Ripa di Meana, Silvio Barbato, Bia Lessa, Yoav Talmi, and Henning Brockhaus.

OPERA MODO

pera MODO is a new and exciting opera company in Detroit, dedicated to creating opportunities for young and emerging artists. Founded in 2011 in Princeton, New Jersey, Opera MODO brings opera to the people through intriguing and modern productions of classical to contemporary operas.

AUDIVI

udivi is a professional vocal ensemble based in Detroit. Founded in 2013, Audivi sings music of all eras, with a special emphasis on new and early music, and has premiered works by many composers. Its members have sung and recorded with a panoply of Grammy-winning vocal ensembles, and Audivi has performed around the country. Audivi has given the Detroit metro area premieres of Monteverdi’s 1610 Vespers of the Blessed Virgin and a historicallyinformed version of Bach’s Mass in B minor. Audivi has performed at regional ACDA and AGO conventions and serves as a professional chorus for the Detroit Symphony Orchestra, including recent performances of Puccini’s Turandot, Vivaldi’s Gloria, and Handel’s Messiah. DSO PERFORMANCE MAGAZINE 35

THE ANNUAL FUND

Gifts Received between September 1, 2020 and February 28, 2022

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

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

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

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

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

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

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

JÄRVI SOCIETY — GIVING OF $25,000 & MORE Pamela Applebaum Ms. Sharon Backstrom Mrs. Cecilia Benner Mr. & Mrs. Edsel B. Ford II Mrs. Martha Ford Dale & Bruce Frankel Herman & Sharon Frankel Mr. Steven Goldsmith Ronald M. & Carol◊ Horwitz Mr.◊ & Mrs. Norman D. Katz Betsy & Joel Kellman 36

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Mr. & Mrs. David Provost Ms. Ruth Rattner Martie & Bob Sachs Mr. & Mrs.◊ Alan E. Schwartz Mrs. Patricia Finnegan Sharf Mr. & Mrs. James H. Sherman Mr. & Mrs. Larry Sherman Richard Sonenklar & Gregory Haynes Dr. Doris Tong & Dr. Teck M. Soo Mr. & Mrs. Gary Torgow Anonymous ◊

Deceased

SPRING 2021-2022

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

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

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

GIVING OF $5,000 & MORE Mrs. Denise Abrash Mrs. Jennifer Adderley Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook* Dr. David S. Balle Ms. Therese Bellaimey Mr. & Mrs. Dennis Bernard Mr. & Mrs. Jeffrey A. Berner Timothy J. Bogan Ms. Debra Bonde Mr. Anthony F. Brinkman Claire P. & Robert N. Brown Philip & Carol Campbell Mrs. Carolyn Carr Mr. & Mrs. François Castaing Ms. Elena Centeio Mr. & Mrs. Andrew Christians Mr. Fred J. Chynchuk Mr. & Mrs. James Ciroli Dr. & Mrs. Charles G. Colombo Mr. & Mrs. Gary L. Cowger Mrs. Barbara Cunningham Mr. & Mrs. Charles W. Dare Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Adel & Walter Dissett Mr. Lawrence Ellenbogen Marianne T. Endicott Mr. & Mrs. Francis A. Engelhardt Fieldman Family Foundation Mrs. Janet M. Garrett Allan D. Gilmour & Eric C. Jirgens Dr. & Mrs. Theodore Golden Goodman Family Charitable Trust

Mr. Sanford Hansell & Dr. Raina Ernstoff Dr. Gloria Heppner Ms. Doreen Hermelin Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. George Hill & Mrs. Kathleen Talbert-Hill Mr. Donald & Marcia Hiruo Mr. & Mrs. Peter Hollinshead Mr. Matthew Howell & Mrs. Julie Wagner Mr. & Mrs. A. E. Igleheart Mr. & Mrs. Kent Jidov Carol & Rick Johnston Paul & Marietta Joliat Judy & David Karp Mike & Katy Keegan June K. Kendall◊ Dr. David & Mrs. Elizabeth Kessel Barbara & Michael Kratchman Richard & Sally Krugel Dr. Raymond Landes & Dr. Melissa McBrien-Landes Bill & Kathleen Langhorst Marguerite & David Lentz Allan S. Leonard Max Lepler & Rex L. Dotson Mr. & Mrs. Robert K. Leverenz Daniel & Linda* Lutz Bob & Terri Lutz Mrs. Sandra MacLeod Mr. & Mrs. Winom J. Mahoney Maurice Marshall Ms. Mary McGough Patricia A.◊ & Patrick G. McKeever Mr. Frederick Morsches & Mr. Kareem George

*Current DSO Musician or Staff

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Xavier & Maeva Mosquet Robert & Paulina Treiger Muzzin Joy & Allan Nachman Dr. William W. O’Neill Mr. & Mrs. Arthur T. O’Reilly Ms. Lisa A. Payne Mr. & Mrs. Bruce D. Peterson Mr. David Phipps & Ms. Mary Buzard William H. & Wendy W. Powers Charlene & Michael Prysak Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Mr. & Mrs. Dave Redfield Dr. & Mrs. John Roberts Mr. Ronald Ross & Ms. Alice Brody Mr. David Salisbury & Mrs. Terese Ireland Salisbury Marjorie & Saul◊ Saulson Mr. & Mrs. Donald and Janet Schenk Camilo Serna & Masami Hida Mrs. Sharon Shumaker Mr. Norman Silk & Mr. Dale Morgan Mr. & Mrs. Matthew Simoncini Dr. Cathryn & Mr. Daniel Skedel Michael E. Smerza & Nancy Keppelman Barb◊ & Clint Stimpson Mrs. Kathleen Straus & Mr. Walter Shapero Mrs. E. Ray Stricker Alice & Paul Tomboulian Mrs. Eva von Voss Mr. William Waak Peter & Carol Walters S. Evan & Gwen Weiner Dr. & Mrs. Ned Winkelman Cathy Cromer Wood ◊

Deceased

DSO PERFORMANCE MAGAZINE 37

GIVING OF $2,500 & MORE Nina Dodge Abrams Mr. & Mrs. Robert L. Anthony Dr. & Mrs. Joel Appel Drs. Kwabena & Jacqueline Appiah Dr. & Mrs. Ali-Reza R. Armin Pauline Averbach & Charles Peacock Mr. Joseph Aviv & Mrs. Linda Wasserman Mrs. Jean Azar Mr. & Mrs. Wayne J. Babbish Ms. Ruth Baidas Drs. Richard & Helena Balon James A. Bannan Nora & Guy Barron Mr. Mark G. Bartnik & Ms. Sandra J. Collins Mr. Joseph Bartush Mr. & Mrs. Martin S. Baum Mr. & Mrs. Richard Beaubien Martha◊ & G. Peter Blom Dr. George & Joyce Blum Nancy & Lawrence Bluth Ms. Kristin Bolitho The Achim & Mary Bonawitz Family Ms. Nadia Boreiko The Honorable Susan D. Borman & Mr. Stuart Michaelson Don & Marilyn Bowerman Elaine & Bowden Brown Mr. & Mrs. Mark R. Buchanan Dr. & Mrs. Roger C. Byrd Mr. & Mrs. Brian C. Campbell Dr. & Mrs.◊ Thomas E. Carson Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Ronald & Lynda Charfoos Mr. & Mrs. Robert W. Clark Nina & Richard Cohan Jack, Evelyn and Richard Cole Family Foundation Dr. & Mrs. Julius V. Combs Ms. Elizabeth Correa Patricia & William◊ Cosgrove, Sr. Ms. Joy Crawford* & Mr. Richard Aude Robert J. Crutcher Family Trust Dr. Edward & Mrs. Jamie Dabrowski Suzanne Dalton & Clyde Foles Deborah & Stephen D’Arcy Fund Maureen & Jerry◊ D’Avanzo Barbara A. David Lillian & Walter Dean Ms. Joyce Delamarter Diana & Mark Domin Paul◊ & Peggy Dufault Mrs. Connie Dugger Edwin & Rosemarie◊ Dyer Dr. Leo & Mrs. Mira Eisenberg Randall & Jill* Elder Ms. Laurie Ellias & Mr. James Murphy Mr. & Mrs. Earle E. Endelman Mrs. Marjory Epstein Mr. & Mrs. John M. Erb Dave & Sandy Eyl Ellie Farber & Mitch Barnett 38

Hon. Sharon Tevis Finch Ms. Joanne Fisher Dorothy A. & Larry L. Fobes Amy & Robert Folberg Dr. & Mrs. Franchi Kit & Dan Frohardt-Lane Mr.◊ & Mrs. Richard M. Gabrys Alan M. Gallatin Lynn & Bharat Gandhi Mr. Max Gates Stephanie Germack Thomas M. Gervasi Mr. & Mrs. James Gietzen Mr. & Mrs. Robert W. Gillette Ms. Jody Glancy Mr. Lawrence Glowczewski Paul & Barbara C. Goodman Dr. William & Mrs. Antoinette Govier Ms. Jacqueline Graham Mr. & Mrs. Saul Green Dr. & Mrs. Joe L. Greene Sharon Lopo Hadden Cheryl A. Harvey Ms. Barbara Heller James Hoogstra & Clark Heath Mr. F. Robert Hozian Dr. Karen Hrapkiewicz Larry & Connie Hutchinson Ms. Carole Ilitch Dr. Raymond E. Jackson & Dr. Kathleen Murphy Mr. Arthur Johns Mr. John S. Johns Mr. George G. Johnson Paul & Karen Johnson Mr. & Mrs. Michael Jones Mr. & Mrs. John Jullens Grace & Evelyn Kachaturoff Diane & John Kaplan Bernard & Nina Kent Philanthropic Fund Mrs. Frances King Mr. James Kirby Dr. & Mrs. Edward L. Klarman Aileen & Harvey Kleiman Tom & Beverly Klimko Mr. & Mrs. Ludvik F. Koci Mr. & Mrs. Robert Koffron Dr. Sandy Koltonow & Dr. Mary Schlaff Ms. Susan Konop James Kors & Victoria King Mr. Michael Kuhne Mrs. Maria E. Kuznia Mr. & Mrs. Robert LaBelle Dr. & Mrs. Gerald Laker Drs. Lisa & Scott Langenburg Ms. Sandra Lapadot Ms. Anne T. Larin Dr. Lawrence O. Larson Drs. Donald & Diane Levine Arlene & John Lewis Ms. Carol Litka Mr. & Mrs. David H. Loebl Mr. John Lovegren & Mr. Daniel

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Deceased

Isenschmid Cis Maisel Dr. Stephen & Paulette Mancuso Mr. & Mrs. Charles W. Manke, Jr. Mervyn & Elaine Manning Ms. Florine Mark Mr. & Mrs. Thomas Mark Barbara J. Martin Brian & Becky McCabe Dr. & Mrs. Peter M. McCann, M.D. Mr. Edward McClew Mr. Anthony R. McCree Mr. John McFadden Ms. Kristen McLennan Mr. & Mrs. Brian Meer Dr. Donald & Barbara Meier Dr. & Mrs. David Mendelson Olga Sutaruk Meyer Bruce & Mary Miller Mr. & Mrs. Randall Miller Steve & Judy Miller J.J. & Liz Modell Dr. Susan & Mr. Stephen* Molina Dr. Van C. Momon, Jr. & Dr. Pamela Berry Eugene & Sheila Mondry Foundation Mr. & Mrs. Daniel E. Moore Ms. Sandra Morrison Mr. & Mrs. Germano Mularoni Ms. I. Surayyah R. Muwwakkil Mr. & Mrs. Albert T. Nelson, Jr. Mariam C. Noland & James A. Kelly Mr. & Mrs. Robert Obringer Ellen & Larry Oshkaloff Mrs. Margot Parker Mr. Mark Pasik Ms. Alice Pfahlert Benjamin B. Phillips Mr. Luke Ponder & Dr. Darla Granger Mr. David Potter Jill M.* & Michael J. Rafferty Mr. & Mrs. Richard Rapson Drs. Stuart & Hilary Ratner Mr. Tony Raymaker Mr. & Mrs. William A. Reed Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Mr. & Mrs. John Rieckhoff Ms. Linda Rodney Michael & Susan Rontal Mr.◊ & Mrs. Gerald F. Ross Ms. Elana Rugh Jane & Curt Russell Linda & Leonard Sahn Dr. & Mrs. Hershel Sandberg Ms. Martha A. Scharchburg & Mr. Bruce Beyer Shirley Anne & Alan Schlang Sandy & Alan Schwartz Ms. Sandra Seligman Mrs. Rosalind B. Sell Carlo & Nicole Serraiocco Nancy & Sam Shamie Shapero Foundation SPRING 2021-2022

Robert & Patricia Shaw Dr. Les Siegel & Ellen Lesser Siegel William & Cherie Sirois Mr. Michael J. Smith & Mrs. Mary C. Williams Ms. Susan Smith Dr. Gregory Stephens Dr. Shironda Stewart Nancy C. Stocking Dr. & Mrs. Gerald Stollman Dr. & Mrs. Choichi Sugawa David Szymborski & Marilyn Sicklesteel Dr. Neil Talon Mr. Rob Tanner Joel & Shelley Tauber

Sandra & Frank Tenkel Dr. & Mrs. Howard Terebelo Mr. & Mrs. James W. Throop Dr. Barry Tigay Gregory Tocco & Erin Sears Yoni & Rachel Torgow Barbara & Stuart Trager Mr. & Mrs. Thomas Trudeau Amanda Van Dusen & Curtis Blessing Charles & Sally Van Dusen Dr. & Mrs. Thomas E. Verhelle Dr.◊ & Mrs. Ronald W. Wadle Mr. Michael A. Walch & Ms. Joyce Keller Mr. Patrick Webster David R. Weinberg, Ph.D.

Dr. & Mrs. Gary S. Assarian Mr. & Mrs. David W. Berry Mrs. Marilyn Bishop Ms. Liz Boone Mr. & Mrs. Richard Burstein Dr. & Mrs. Glenn B. Carpenter Mr. & Mrs. Tom Compton Ms. Sherri Davis Ms. Laurie DeMond-Rosen Gordon & Elaine Didier Mr. Patrick Doig Mr. & Mrs. Walter E. Douglas Jodie Elrod Mr. Howard O. Emorey Mrs. Janice Erichsen Mr. Joseph & Mrs. Lois Gilmore Howard & Francina Graef Anne & Eugene Greenstein Dr. William Higginbotham III MD The Honorable Denise Page Hood & Reverend Nicholas Hood III Jean Hudson Ms. Nadine Jakobowski

Mr. William Jordan Carole Keller Mr. & Mrs. Gerd H. Keuffel Ms. Ida King Elissa & Daniel Kline Mrs. Mary Ann LaMonte The Dolores & Paul Lavins Foundation Ms. Christine M. Leonard Mr. Jeffrey Marraccini Mr. Robert L. Martin Ms. Evelyn Micheletti Steve & Brenda Mihalik Ms. A. Anne Moroun Mr. & Mrs. George Nicholson Mrs. Ruth Nix Terry E. Packer Mr. & Mrs. Mark H. Peterson Drs. Renato & Daisy Ramos Mr. & Mrs. Rodney Rask Mrs. Hope Raymond Cheryl & Paul Robertson Dr. & Mrs. Jerry Rosenberg Mr. & Mrs. George Roumell

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

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

Beverly & Barry Williams Dr. M. Roy & Mrs. Jacqueline Wilson Rissa & Sheldon Winkelman Mr. Jonathan Wolman◊ & Mrs. Deborah Lamm Ms. Andrea L. Wulf Ms. Eileen Wunderlich Dr. Sandra & Mr. D. Johnny Yee Lucia Zamorano, M.D. Mr. & Mrs. Alan Zekelman Milton Y. Zussman And eight who wish to remain anonymous

GIVING OF $1,500 & MORE Mr. and Mrs. James P. Ryan Ms. Joyce E. Scafe Dr. & Mrs. Richard S. Schwartz Mr. & Mrs. Kingsley G. Sears Mr. & Mrs. Fred Secrest◊ Mr. Steve Secrest Ms. Sandra Shetler Mr. Konstantin Shirokinskiy Mrs. Andreas H. Steglich Mr. & Mrs.◊ John Streit Mr. William Thom Mr. James G. Tibbetts David & Lila Tirsell Dennis & Jennifer Varian Ms. Janet Weir Janis & William Wetsman Mr. & Mrs. Richard Wigginton Hon. Kurtis T. Wilder (Ret.) Debra Wood Ms. Denise S. Young And two who wish to remain anonymous

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

*Current DSO Musician or Staff

dso.org

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DSO PERFORMANCE MAGAZINE 39

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

SAMUEL & JEAN FRANKEL FOUNDATION

Giving of $200,000 & more

Giving of $100,000 & more

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

Giving of $20,000 & more Mandell and Madeleine Berman Foundation Blue Star Catering The Clinton Family Fund DeRoy Testamentary Foundation Eleanor & Edsel Ford Fund Edsel B. Ford II Fund

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

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

Giving of $5,000 & more

Giving of $1,000 & more

Benson & Edith Ford Fund Butzel Long Creative Benefit Solutions Geoinge Foundation Jaffe, Raitt, Heuer and Weiss PricewaterhouseCoopers LLP Sigmund and Sophie Rohlik Foundation Schaerer Architextural Interiors Speyer Foundation Warner Norcross + Judd And one who wishes to remain anonymous

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

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DSO PERFORMANCE MAGAZINE 41

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

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

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

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

*Executive Committee Member

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

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

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CELEBRATING YOUR LEGACY SUPPORT BARBARA VAN DUSEN, Honorary Chair

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

dso.org

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

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

#IAMDSO

Deceased

DSO PERFORMANCE MAGAZINE 43

TRIBUTE GIFTS Gifts received January 1, 2022 - February 28, 2022 Tribute gifts to the Detroit Symphony Orchestra are made to honor accomplishments, celebrate occasions, and pay respect in memory or reflection. These gifts support current season projects, partnerships and performances such as DSO concerts, education programs, free community concerts, and family programming. For information about making a tribute gift, please call 313.576.5114 or visit dso.org/donate.

In Honor Linton Bodwin Nancy Yee Hart Hollman John Thompson & Irene Lazarchuck

Anne Parsons Dr. Lillian Bauder Mr. Frank E. Salomon

Tom Kozina & Denise Figlewicz Dianne Lattemann

Debby Pearlberg Abby Eisenberg

Virginia Schramm Edward & Roger Maki-Schramm

Mary B. Moll Anonymous

In Memory Martha Blom Sandra Danucci Kathryn Clemans Beaumont Pain Clinic Staff Hon. Avern Cohn W. Harold & Chacona W. Baugh Ms. Ruth K. Broder Ronald & Lynda Charfoos Julie & Peter Cummings Joanne Danto & Arnold Weingarden Hon. Nancy Edmunds & Mr. William Edmunds Mr. & Mrs. Stanley Frankel Mr. & Mrs. Ralph J. Gerson Dr. & Mrs. Theodore Golden Mr. Aaron Goldstein Mrs. Judith Goodman Jean Hudson Mr. Walter Kozar Mrs. Bonnie A. Larson Edward C. & Linda Dresner Levy Foundation Josephine Mondrala Mr. & Ms. Donald Price Dr. Erik Rönmark* & Mrs. Adrienne Rönmark* Mr. & Mrs. Steve Rotter Mr. Thomas Schehr Marc Schwartz & Emily Camiener Lois & Mark Shaevsky

Mr. and Mrs. Reginald E. Crocker, Sr. Mrs. Carol Lewis Illene Dunn Penny & Harold Blumenstein Joanne Danto & Arnold Weingarden Fisher Family and the TFG Staff Daniel & Linda* Lutz Sandy & Alan Schwartz John Fildew Mr. Alan Ackerman Mr. & Mrs. Peter Fein Mr. & Mrs. Frederick F. Fordon Ariadne Lie Lisa Tallman Helmle Lisa P. Jorgensen Markevich Lawrence Jonas Ms. Carol Litka

Mado Lie Mrs. Patricia Cosgrove Mrs. Loretta Cwiek Joanne Danto & Arnold Weingarden Mr. Charles Dyer Vicki McBrien Mr. & Mrs. James B. Nicholson Paul J. Morsches Jr. Sandy & Alan Schwartz Jane Reiman Mrs. Anne Reinman Norman Thorpe Robert Anthony Ms. Sarah Chisholm Mr. & Mrs. David A. Field Ms. Kathryn Goldsmith Mr. & Mrs. Keough Camilla, Ross, Oliver, Stella & Alastair McGeehin Ms. Eliza Parkinson Mr. Robert Thorpe

John Kapp Darla Bastron Ms. Ellen J. Dellavedova Janet & John Quinn Ernest Laster Mr. & Mrs. Ernest Howell

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Maximize the Arts. Arts and culture matter. The Community Foundation can work with you to maximize your support for the Detroit Symphony Orchestra to create a lasting impact.

313.961.6675 | cfsem.org

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

THE MAX M. & MARJORIE S. FISHER MUSIC CENTER 3711 Woodward Avenue Detroit, MI 48201 Box Office:............................ 313.576.5111 Group Sales:.......................... 313.576.5111 Administrative Offices:........313.576.5100 Facilities Rental Info:............ 313.576.5131 Visit the DSO online at dso.org For general inquiries, please email info@dso.org

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

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

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

Food and Drink As of October 2021, the DSO is offering beverage only concessions. Please check dso.org for the latest ahead of your concert. Bars are located on the first and third floors of the William Davidson Atrium and offer canned sodas (pop, if you prefer), beer, wine, and specialty cocktail mixes.

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

Handicap Access and Hearing Assistance 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, barrier-free restrooms, and accessible seating on each level. Security staff are available at all entrances to help patrons requiring extra assistance in and out of vehicles. 46

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The DSO’s Sennheiser MobileConnect hearing assistance system is available for all performances in Orchestra Hall. You can use your own mobile device and headphones by downloading the Sennheiser MobileConnect app, or borrow a device by visiting the Patron Services Center on the second floor of the William Davidson Atrium. This system is made possible by the Michigan Ear Institute.

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

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

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

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

SPRING 2021-2022

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

POLICIES HEALTH & SAFETY

• All guests must provide proof of full vaccination for COVID-19 or a negative COVID-19 test upon entry. • Effective March 28, 2022: Masks are optional for all patrons attending events at The Max. The DSO will continue to follow recommendations from public health experts on indoor gatherings and preventing the spread of COVID-19 and may make additional changes or reinstitute mask requirements if necessary. • We have also instituted contactless e-ticketing this season. You will be asked to present the barcode for your e-tickets at the second entry point – after you present your vaccine or test results.

SEATING

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

dso.org

TICKETS, EXCHANGES, AND CONCERT CANCELLATIONS

PHONES

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

PHOTOGRAPHY AND RECORDING

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

#IAMDSO

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

SMOKING

Smoking and vaping are not allowed anywhere in The Max.

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.

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

DSO PERFORMANCE MAGAZINE 47

A D M I N I S T R AT I V E S TA F F EXECUTIVE OFFICE

ADVANCEMENT

INFORMATION TECHNOLOGY

Erik Rönmark President and CEO James B. and Ann V. Nicholson Chair

Alex Kapordelis Senior Director, Campaign

William Shell Director of Information Technology

Jill Elder Vice President and Chief Revenue Officer

Holly Gorecki Director of Advancement Operations

Linda Lutz Vice President and Chief Financial and Administrative Officer

Beth Carlson Stewardship Coordinator

Joy Crawford Executive Assistant to the President and CEO Elaine Curvin 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 Alexandra Luke Artist Liason Claudia Scalzetti Artistic Coordinator Goode Wyche Manager of Jazz and @ The Max

LIVE FROM ORCHESTRA HALL Marc Geelhoed Executive Producer of Live from Orchestra Hall

Jill Rafferty Senior Director of Advancement

Damaris Doss Major Gift Officer Leslie Groves Major Gift Officer

Michelle Koning Web Manager Aaron Tockstein Database Administrator

COMMUNICATIONS Matt Carlson Senior Director, Communications and Media Relations

Ali Huber Signature Events Manager

Sarah Smarch Director of Content and Storytelling

Jane Koelsch Fulfillment Coordinator

Natalie Berger Video Content Specialist

Amanda Lindstrom Events Coordinator

LaToya Cross Communications and Advancement Content Specialist

Colleen McLellan Institutional Gift Officer Juanda Pack Advancement Benefits Concierge Susan Queen Gift Officer, Corporate Giving

Hannah Engwall Public Relations Manager

COMMUNITY AND LEARNING

Cassidy Schmid Manager of Campaign Operations

Caen Thomason-Redus Senior Director of Community & Learning

Amanda Tew Data and Research Manager

Karisa Antonio Director of Social Innovation

BUILDING OPERATIONS

Damien Crutcher Managing Director of Detroit Harmony

EVENTS AND RENTALS Presley Feezell Manager of Events and Rentals

Debora Kang Director of Education

FACILITY OPERATIONS

Clare Valenti Director of Community Engagement

Kathryn Ginsburg General Manager

Ken Waddington Director of Facilities and Engineering

Kiersten Alcorn Manager of Community Engagement

Patrick Peterson Director of Orchestra Personnel

Demetris Fisher Chief EVS Technician

Dennis Rottell Stage Manager

William Guilbault EVS Technician

Connor Bulka Training Ensembles Recruitment and Communications Coordinator

Ezra Gans Artistic Operations Assistant

Robert Hobson Chief Maintenance Technician

Bronwyn Hagerty Orchestra and Training Programs Librarian

Keith Kennedy Chief Engineer

ORCHESTRA OPERATIONS

DSO PERFORMANCE MAGAZINE

Joanna Goldstein Training Ensembles Student Development Coordinator

SPRING 2021-2022

FINANCE Jeremiah Hess Senior Director of Accounting and Finance Adela Löw Director of Accounting and Financial Reporting Erik Anundson Accounts Payable Coordinator Sandra Mazza Senior Accountant, Business Operations Ashley Simon Gift Processing Coordinator Michelle Wisler Payroll and Benefits Accountant

CATERING AND RETAIL SERVICES Christina Williams Director of Hospitality and Patron Experience Alison Reed, CVA Manager of Volunteer and Patron Experience Nate Richter Bar Manager

PATRON SALES AND SERVICE Sharon Gardner Carr Assistant Manager of Tessitura and Ticketing Operations

HUMAN RESOURCES

Rollie Edwards Lead Patron Services Representative

Hannah Lozon Senior Director of Talent and Culture

Michelle Marshall Manager of Patron Sales and Services

Mary Lambert Human Resources Generalist

James Sabatella Group and Patron Services Specialist

Shuntia Perry Human Resources Coordinator

MARKETING & AUDIENCE DEVELOPMENT Charles Buchanan Senior Director of Marketing and Audience Development Teresa Alden Director of Growth and Acquisition

Winter • 2021-2022 Season

EDITORS Matt Carlson mcarlson@dso.org

Hannah Engwall hengwall@dso.org

Tommy Tatti Manager of Box Office Operations

PUBLISHER Echo Publications, Inc. Tom Putters

SAFETY & SECURITY

Cover design by Jay Holladay

George Krappmann Director of Safety and Security Willie Coleman Security Officer Norris Jackson Security Officer

Jay Holladay Brand Graphic Designer

Tony Morris Security Officer

LaHeidra Marshall Audience Development Specialist

Johnnie Scott Safety and Security Manager

Connor Mehren Digital Marketing Strategist

PERFORMANCE

To advertise in Performance, please call 248.582.9690, email info@echopublications.com or visit echopublications.com

Read Performance anytime, anywhere at dso.org/performance

Antonio Thomas Security Officer

Kristin Pagels Content Marketing Strategist

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

dso.org

#IAMDSO

DSO PERFORMANCE MAGAZINE 49

Hear. Together.

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

3 1 3 . 5 76 . 5 1 11 o r d s o . o r g WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES

RACHMANIOFF: SYMPHONY NO. 2 Kahchun Wong, conductor Michelle Cann, piano

Thu., Apr. 28 at 7:30 p.m. in Beverly Hills Fri., Apr. 29 at 8 p.m. in Monroe Sun., May 1 at 3 p.m. in Beverly Hills FLORENCE PRICE Piano Concerto in One Movement SERGEI RACHMANINOFF Symphony No. 2 in E minor, Op. 27

PARADISE JAZZ SERIES

PARADISE JAZZ SERIES BIG BAND

PVS CLASSICAL SERIES

SAINT-GEORGES & MOZART 39 Xian Zhang, conductor Karen Gomyo, violin

Thu., May 26 at 7:30 p.m. Fri., May 27 at 10:45 a.m. Sat., May 28 at 8 p.m. ELIZABETH OGONEK In Silence CHEVALIER DE SAINT-GEORGES Violin Concerto No. 1 in C major, Op. 5 WOLFGANG AMADEUS MOZART Symphony No. 39 in E-flat major, K. 543

FEAT. TERENCE BLANCHARD/ DIRECTED BY KRIS JOHNSON

PNC POPS SERIES

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES

Stars of Broadway’s Jersey Boys and Motown: The Musical harmonize classics from The Crests, The Flamingos, and The Four Seasons all the way to Jason Mraz and Maroon 5.

Sat., Apr. 30 at 8 p.m.

SAINT-GEORGES AND MOZART

Yue Bao, conductor • Pablo Ferrández, cello

Thu., May 5 at 7:30 p.m. in West Bloomfield Fri., May 6 at 8 p.m. in Plymouth Sat., May 7 at 8 p.m. Bloomfield Hills Sun., May 8 at 3 p.m. Grosse Pointe CHEVALIER DE SAINT-GEORGES Symphony No. 2, Op. 2, No. 2 JOSEPH HAYDN Concerto for Cello and Orchestra in C Major WILLIAM GRANT STILL Danzas de Panama WOLFGANG AMADEUS MOZART Symphony No. 35 in D major, K. 385, “Haffner”

PVS CLASSICAL SERIES

THIBAUDET: RAVEL’S PIANO CONCERTO IN G Jader Bignamini, conductor Jean-Yves Thibaudet, piano Eric Nowlin, viola • Wei Yu, cello

Fri., May 20 at 10:45 Sat., May 21 at 8 p.m. Sun., May 22 at 3 p.m. CARLOS SIMON Fate Now Conquers MAURICE RAVEL Concerto in G major for Piano and Orchestra RICHARD STRAUSS Don Quixote, Op. 35

THE DOO WOP PROJECT Damon Gupton, conductor

Wed., Jun. 1 at 7:30 p.m.

PNC POPS SERIES

SUMMER BLOCKBUSTERS Damon Gupton, conductor

Fri., Jun. 3 at 10:45 & 8 p.m. Sat., Jun. 4 at 8 p.m. Sun., Jun 4 at 3 p.m. Enter summer with the best music from film composers—such as John Williams and Hans Zimmer—and some of the top-grossing summer movies of all time, including Aladdin, Gladiator, and Raiders of the Lost Ark.

PVS CLASSICAL SERIES

GIL SHAHAM RETURNS Jader Bignamini, conductor Gil Shaham, violin

Fri., Jun. 10 at 8 p.m. Sat., Jun. 11 at 8 p.m. Sun., Jun 12 at 8 p.m. WYNTON MARSALIS Fanfare SAMUEL BARBER Violin Concerto, Op. 14 WYNTON MARSALIS Blues Symphony

Live from Orchestra Hall webcast 50

DSO PERFORMANCE MAGAZINE

SPRING 2021-2022

We’re so glad you’re back! The Whitney is so proud to continue our long-lasting relationship with DSO concert-goers. Celebrating the art & beauty of Detroit a core for The andrelationship we are so pleased The Whitney is so is proud tovalue continue our Whitney long-lasting with DSO concertto be a part of your memorable experience. goers. Celebrating the art & beauty of Detroit is a core value for The Whitney and we are so pleased be in, a part of yourlove memorable As the winter bluestoroll we would to inviteexperience. you to cozy up and enjoy our very special 2 course Warm up to Winter menu. An ideal meal As the winter in, we would love to invite you to cozy up and enjoy our very special 2 priorblues to anroll exceptional evening out in Detroit’sperforming art scene. course Warm to Winter menu. meal prior to an exceptional evening out in Detroit’s Make up another memory at An theideal iconic Whitney mansion blanketed by snow. DineMake on perfectly by our culinary team! blanketed by snow. performing art scene. anothercomposed memory atplates the iconic Whitney mansion Dine on perfectly composed plates by our culinary team! Dinner prices run from $29 to $49, this Dinner prices run from $29 to $49, this menu is offered menu Thursday is offered and Thursday Friday 5:00 –and 6:00PM and4:00 Sunday 4:00 – 7:00PM Fridayand 5:00 – 6:00PM Sunday – 7:00PM look forward welcomingyou youtotoThe theWhitney Whitneysoon! soon! WeWe look forward totowelcoming 4421 Woodward Ave Detroit, MI 48201 4421 Woodward Ave., Detroit, MI 48201

313 832 5700

Performance - Spring 2022

Articles inside

Board Leadership

Donor Roster

Welcome

Transformational Support

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Behind the Baton

Donor Spotlight