Performance Magazine - Spring Issue 3 - 2023–24 Season

Talented, connected, and rooted in music, families like the KannehMasons and Randolphs reach new artistic heights and inspire a new generation of

Concertmaster Robyn Bollinger (by Sarah Smarch), Don Was (by Gabi Porter), and Dmitry Sinkovsky (by Marco Borggreve).

The Randolph siblings as children, including DSO Cello Cole Randolph (bottom right) and African American Orchestra Fellow Harper Randolph (viola, center).

Dear Friends,

Welcome to Orchestra Hall or one of our Neighborhood Concert venues for a performance by your Detroit Symphony Orchestra! We are delighted that you have chosen to spend your time with the DSO and share in the magic of music.

As we reflect on the highlights of this season, we can’t help but feel immense gratitude for your continued support. From our highly successful Florida Tour to our Classical Roots Celebration where we honored the contributions of African Americans to classical music, thank you for being part of our journey.

As our season draws to a close, we look forward to many captivating performances. Music Director Jader Bignamini will close out the PVS Classical Series with two weekends of concerts beginning May 31 through June 2, when he will lead Richard Strauss’s transcendent Alpine Symphony, which the DSO will perform for the first time since 2001. The following weekend, we will welcome rising star Sheku Kanneh-Mason for Mieczysław Weinberg’s Cello Concerto and celebrate the centennial of Julia Perry’s birth with a brilliant piece by the prolific Kentucky-born composer. The season ends with Beethoven’s timeless Fifth Symphony.

On the PNC Pops Series, don’t miss the groovy sounds of Disco Fever conducted by Principal Pops Conductor Designate Enrico Lopez-Yañez and Disney & Broadway Favorites: The Magic of Menken conducted by Steven Reineke—two programs sure to have you dancing in your seat!

We’re also excited to bring the joy of music to Metro Detroit communities through our William Davidson Neighborhood Concert Series, which wraps up with performances featuring conductors Stephanie Childress and Gábor Takács-Nagy, soprano Erika Baikoff, and violinist William Hagen.

Looking ahead to the warmer months, our summer programming promises even more excitement, including our Summer Soirée featuring Black Violin, where we will party with purpose and support the DSO’s vision to ensure all people can experience their world through music. We’re also pleased to continue valued partnerships with The Henry Ford for Salute to America at Greenfield Village and Interlochen Center for the Arts.

As we embark on the musical adventures ahead, we invite you to join us in celebrating the power of music to inspire, uplift, and unite.

Please enjoy your concert, and we look forward to seeing you again soon!

Erik Rönmark

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

JEFF TYZIK

Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

DETROIT SYMPHONY ORCHESTRA

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

FIRST VIOLIN

Robyn Bollinger CONCERTMASTER

Katherine Tuck Chair

Kimberly Kaloyanides Kennedy

ASSOCIATE CONCERTMASTER

Schwartz and Shapero Family Chair

Hai-Xin Wu

ASSISTANT CONCERTMASTER

Walker L. Cisler/Detroit Edison Foundation Chair

Jennifer Wey Fang

ASSISTANT CONCERTMASTER

Marguerite Deslippe*

Laurie Goldman*

Rachel Harding Klaus*

Eun Park Lee*

Adrienne Rönmark*

William and Story John Chair

Alexandros Sakarellos*

Drs. Doris Tong and Teck Soo Chair

Laura Soto*

Greg Staples*

Jiamin Wang*

Mingzhao Zhou*

SECOND VIOLIN

Adam Stepniewski

ACTING PRINCIPAL

The Devereaux Family Chair

Will Haapaniemi*

David and Valerie McCammon Chairs

Hae Jeong Heidi Han*

David and Valerie McCammon Chairs

Elizabeth Furuta*

Sheryl Hwangbo Yu*

Daniel Kim*

Sujin Lim*

Hong-Yi Mo *

Marian Tanau*

Alexander Volkov*

Jing Zhang*

VIOLA

Eric Nowlin

PRINCIPAL

Julie and Ed Levy, Jr. Chair

James VanValkenburg

ASSISTANT PRINCIPAL

Janet and Norm Ankers Chair

Caroline Coade

Henry and Patricia Nickol Chair

Glenn Mellow

Hang Su

Hart Hollman

Han Zheng

Mike Chen

Harper Randolph §

JADER BIGNAMINI , Music Director

Music Directorship endowed by the Kresge Foundation

MCFADDEN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

CELLO

Wei Yu

PRINCIPAL

Abraham Feder

ASSISTANT PRINCIPAL

Dorothy and Herbert Graebner Chair

Robert Bergman*

Jeremy Crosmer*

Victor and Gale Girolami Cello Chair

David LeDoux*

Peter McCaffrey*

Joanne Deanto and Arnold Weingarden Chair

Una O’Riordan*

Mary Ann & Robert Gorlin Chair

Cole Randolph*

Mary Lee Gwizdala Chair

BASS

Kevin Brown

PRINCIPAL

Van Dusen Family Chair

Stephen Molina

ASSISTANT PRINCIPAL

Christopher Hamlen*

Peter Hatch*

Vincent Luciano*

Brandon Mason*

HARP

OPEN

PRINCIPAL

Winifred E. Polk Chair

FLUTE

Hannah Hammel Maser

PRINCIPAL

Alan J. and Sue Kaufman and Family Chair

Amanda Blaikie

Morton and Brigitte Harris Chair

Sharon Sparrow ^

ASSISTANT PRINCIPAL

Bernard and Eleanor Robertson Chair

Jeffery Zook

PICCOLO

Jeffery Zook

Shari and Craig Morgan Chair

OBOE

Alexander Kinmonth

PRINCIPAL

Jack A. and Aviva Robinson Chair

Sarah Lewis

ASSISTANT PRINCIPAL

Monica Fosnaugh

ENGLISH HORN

Monica Fosnaugh

JÄRVI

Music Director Laureate

Music Director Emeritus LEONARD SLATKIN

CLARINET

Ralph Skiano

PRINCIPAL

Robert B. Semple Chair

Jack Walters

PVS Chemicals Inc./

Jim and Ann Nicholson Chair

Shannon Orme

E-FLAT CLARINET

OPEN

BASS CLARINET

Shannon Orme

Barbara Frankel and Ronald Michalak Chair

BASSOON

Conrad Cornelison

PRINCIPAL

Byron and Dorothy Gerson Chair

Cornelia Sommer

Marcus Schoon

CONTRABASSOON

Marcus Schoon

HORN

OPEN

PRINCIPAL

David and Christine Provost Chair

Johanna Yarbrough

Scott Strong

Ric and Carola Huttenlocher Chair

David Everson

ASSISTANT PRINCIPAL

Mark Abbott

TRUMPET

Hunter Eberly

PRINCIPAL

Lee and Floy Barthel Chair

Austin Williams

William Lucas

TROMBONE

Kenneth Thompkins

PRINCIPAL

Shari and Craig Morgan Chair

David Binder

Adam Rainey

BASS TROMBONE

Adam Rainey

TUBA

Dennis Nulty

PRINCIPAL

TIMPANI

Jeremy Epp

PRINCIPAL

Richard and Mona Alonzo Chair

James Ritchie

ASSISTANT PRINCIPAL

PERCUSSION

Joseph Becker

PRINCIPAL

Ruth Roby and Alfred R. Glancy III Chair

Andrés Pichardo-Rosenthal

ASSISTANT PRINCIPAL

William Cody Knicely Chair

James Ritchie

Luciano Valdes§

LIBRARIANS

Robert Stiles

PRINCIPAL

Ethan Allen

LEGACY CHAIRS

Principal Flute

Women’s Association for the DSO

Principal Cello

James C. Gordon

Personnel Managers

Patrick Peterson

DIRECTOR OF ORCHESTRA PERSONNEL

Benjamin Tisherman

MANAGER OF ORCHESTRA PERSONNEL

Nolan Cardenas

AUDITION AND OPERATIONS

COORDINATOR

Stage Personnel

Dennis Rottell

STAGE MANAGER

Zach Deater

DEPARTMENT HEAD

Issac Eide

DEPARTMENT HEAD

Kurt Henry

DEPARTMENT HEAD

Matthew Pons

DEPARTMENT HEAD

Jason Tschantre

DEPARTMENT HEAD

LEGEND

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

^ On sabbatical

§ African American

Orchestra Fellow

BEHIND THE BATON

Jader Bignamini

MUSIC DIRECTORSHIP ENDOWED BY THE KRESGE FOUNDATION

Jader Bignamini was introduced as the 18th music director of the Detroit Symphony Orchestra in January 2020, commencing with the 2020–2021 season. His infectious passion and artistic excellence set the tone for the seasons ahead, creating extraordinary music and establishing a close relationship with the orchestra. A jazz aficionado, he has immersed himself in Detroit’s rich jazz culture and the influences of American music.

A native of Crema, Italy, Bignamini studied at the Piacenza Music Conservatory and began his career as a musician (clarinet) with Orchestra Sinfonica La Verdi in Milan, later serving as the group’s resident conductor. Captivated by the music of legends like Mahler and Tchaikovsky, Bignamini explored their complexity and power, puzzling out the role that each instrument played in creating a larger-than-life sound. When he conducted his first professional concert at the age of 28, it didn’t feel like a departure, but an arrival.

In the years since, Bignamini has conducted some of the world’s most acclaimed orchestras and opera companies in venues across the globe including working with Riccardo Chailly on concerts of Mahler’s Eighth Symphony in 2013 and his concert debut at La Scala in 2015 for the opening season of La Verdi Orchestra. Recent highlights include debuts with Opera de Paris conducting La Forza del Destino and with Deutsche Opera Berlin conducting Simon Boccanegra; appearances with the Pittsburgh and Toronto symphonies; debuts with the Houston, Dallas, and Minnesota symphonies; Osaka Philharmonic and Yomiuri Nippon Symphony Orchestra in Tokyo; with the Metropolitan Opera, Vienna State Opera, and Dutch National Opera (Madama Butterfly ); Bayerische Staatsoper (La Traviata); I Puritani in Montpellier for the Festival of Radio France; Traviata in Tokyo directed by Sofia Coppola; return engagements with Oper Frankfurt (La forza del destino) and Santa Fe Opera (La bohème); Manon Lescaut at the Bolshoi; Traviata, Madama Butterfly, and Turandot at Arena of Verona; Il Trovatore and Aida at Rome’s Teatro dell’Opera; Madama Butterfly, I Puritani, and Manon Lescaut at Teatro Massimo in Palermo; Simon Boccanegra and La Forza del Destino at the Verdi Festival in Parma; Ciro in Babilonia at Rossini Opera Festival; and La bohème, Madama Butterfly, and Elisir d’amore at La Fenice in Venice. When Bignamini leads an orchestra in symphonic repertoire, he conducts without a score, preferring to make direct eye contact with the musicians. He conducts from the heart, forging a profound connection with musicians that shines through both onstage and off. He both embodies and exudes the excellence and enthusiasm that has long distinguished the DSO’s artistry.

Jeff Tyzik

PRINCIPAL POPS CONDUCTOR

Grammy 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 Seattle Symphony, the Oregon Symphony, The Florida Orchestra, and the Rochester Philharmonic—where he celebrates his 30th season in 2023–2024. Frequently invited as a guest conductor, Tyzik has appeared with the Boston Pops, Cincinnati Pops, Milwaukee Symphony, Pittsburgh Symphony, Toronto Symphony, Indianapolis Symphony, The 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 Leslie Odom Jr., Megan Hilty, Chris Botti, Matthew Morrison, Wynonna Judd, Sutton Foster, 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.

Terence Blanchard

FRED A. ERB JAZZ CREATIVE DIRECTOR CHAIR

Trumpeter, bandleader, composer, and educator

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

DETROIT SYMPHONY ORCHESTRA, INC.

LIFETIME DIRECTORS

Samuel Frankel◊

Stanley Frankel

David Handleman, Sr.◊

Dr. Arthur L. Johnson ◊

James B. Nicholson

Floy Barthel

Chacona Baugh

Penny B. Blumenstein

Richard A. Brodie

Lois Cohn

Marianne Endicott

David T. Provost Chair

Erik Rönmark President & CEO

Anne Parsons, President Emeritus◊

Barbara Van Dusen

Clyde Wu, M.D.◊

Sidney Forbes

CHAIRS EMERITI

Peter D. Cummings

Mark A. Davidoff

Phillip Wm. Fisher

DIRECTORS EMERITI

Herman H. Frankel

Dr. Gloria Heppner

Ronald Horwitz

Harold Kulish

Bonnie Larson

Arthur C. Liebler

David McCammon

David R. Nelson

William F. Pickard, Ph.D.

Marilyn Pincus

Glenda D. Price, Ph.D.

OFFICERS OF THE BOARD OF DIRECTORS

Shirley Stancato Vice Chair

Laura Trudeau Treasurer

James G. Vella Secretary

Richard Huttenlocher Officer at Large

BOARD OF DIRECTORS

Stanley Frankel

Robert S. Miller

James B. Nicholson

Marjorie S. Saulson

Jane Sherman

Arthur A. Weiss

David M. Wu, M.D. Officer at Large

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

Michael Bickers

Elena Centeio

Aaron Frankel

Herman B. Gray, M.D., M.B.A.

Laura Hernandez-Romine

Rev. Nicholas Hood III

Renato Jamett, Trustee Chair

Daniel J. Kaufman

Michael J. Keegan

Peter McCaffrey, Orchestra Representative

H. Keith Mobley, Governing Members Chair

Xavier Mosquet

David Nicholson

Arthur T. O’Reilly

BOARD OF TRUSTEES

Stephen Polk

Bernard I. Robertson

Kenneth Thompkins, Orchestra Represenative

Ellen Hill Zeringue

Trustees are a diverse group of community leaders who infuse creative thinking and innovation into how the DSO strives to achieve both artistic vitality and organizational sustainability.

Ismael Ahmed

Richard Alonzo

Hadas Bernard

Janice Bernick

Elizabeth Boone

Gwen Bowlby

Dr. Betty Chu

Karen Cullen

Joanne Danto

Stephen D’Arcy

Maureen T. D’Avanzo

Jasmin DeForrest

Cara Dietz

Afa Sadykhly Dworkin

James C. Farber

Amanda Fisher

Linda Forte

Janet & Norm Ankers, Chairs

Carolynn Frankel

Christa Funk

Robert Gillette

Jody Glancy

Malik Goodwin

Mary Ann Gorlin

Peter Hatch, Orchestra Representative

Donald Hiruo

Michelle Hodges

Julie Hollinshead

Sam Huszczo

Laurel Kalkanis

Renato Jamett, Trustee Chair

Jay Kapadia

David Karp

Joel D. Kellman

John Kim

Jennette Smith Kotila

Leonard LaRocca

William Lentine

Linda Dresner Levy

Gene Lovasco

Vincent Luciano, Orchestra Representative

Brandon Mason, Orchestra Representative

Anthony McCree

Kristen McLennan

Tito Melega

Lydia Michael

H. Keith Mobley, Governing Members Chair

Scott Monty

Shari Morgan

Sandy Morrison

Frederick J. Morsches

Jennifer Muse

Sean M. Neall

Eric Nemeth

Maury Okun

Jackie Paige

Vivian Pickard

Denise Fair Razo

Gerrit Reepmeyer

James Rose, Jr.

MAESTRO CIRCLE EXECUTIVE COMMITTEE

Cecilia Benner

Joanne Danto

Gregory Haynes

Bonnie Larson

Laurie Rosen

Elana Rugh

Carlo Serraiocco

Lois L. Shaevsky

T. Elliot Shafer

Shiv Shivaraman

Dean P. Simmer

Richard Sonenklar

Rob Tanner

Yoni Torgow

Nathaniel Wallace

Gwen S. Weiner

Donnell White

Jennifer Whitteaker

R. Jamison Williams

Lois Miller

Richard Sonenklar

MEET THE MUSICIAN

Principal Cello Wei Yu

Asa young child growing up in Shanghai, Wei Yu fondly remembers his first encounter with Yo-Yo Ma: “I pointed to my parents and grandparents and said, ‘I want to be just like him!’ He was so mesmerizing. His persona, his chemistry had a huge impact on me.”

Fast forward two decades and Yu was sharing the stage with his childhood idol in his first concert with the New York Philharmonic—where he served in the cello section for seven seasons. Now as DSO Principal Cello, Yu performed with Ma again in 2023 for the orchestra’s Opening Night Gala—a full circle moment.

Yu’s tenure with the DSO has been marked by a confluence of exceptional talent, profound camaraderie, and remarkable music making. Fast approaching a decade of service, he has been a member of the orchestra since 2015, appointed by then-Music Director Leonard Slatkin.

Among Yu’s most treasured memories with the DSO are performances of Richard Strauss’s Don Quixote in May 2022, conducted by Music Director Jader Bignamini. “This work features both a virtuoso solo cello and a virtuoso solo viola part played by my dear colleague, Principal Viola Eric Nowlin,” said Yu. “Don Quixote is a piece on the top of my to-do list, and this was a high point in my musical career,” he continued. “There is a great dialogue between the instruments and a lot of layers to the cello part. When I approach the piece, I go down deeper and explore more possibility, colors, and expressions.”

In April, Detroit audiences will enjoy his interpretation of Tchaikovsky’s Variations on a Rococo Theme conducted by Shiyeon Sung at Orchestra Hall. “Although it is only 18 minutes in length, it illustrates a perfect combination of both virtuosity and warm lyricism,” said Yu. “The work wonderfully showcases the cello as an important solo instrument, and I can’t wait to share it with our audiences.”

This season, Yu’s passion for music education was on full display in February as he lent his talent to the DSO’s Civic Youth Ensembles, performing as soloist with the Detroit Symphony Youth Orchestra (DSYO) directed by DSO Assistant Conductor and Phillip and Lauren Fisher Community Ambassador Na’Zir McFadden.

In the 2024–2025 season, he will again feature with the orchestra, pairing up with Concertmaster Robyn Bollinger for Brahms’s robust and riveting Double Concerto, conducted by Bignamini.

Reflecting on his experience with the DSO, Yu highlights the privilege of collaboration. “I’m very blessed that I’m surrounded by all the world-class talent in our orchestra,” he said. “The artistry and integrity of my colleagues constantly inspires me. I also enjoy the camaraderie of the DSO, which is unmistakably characteristic of this institution. I am very proud to be part of this team.”

Yu in rehearsal with DSYO and conductor

Na’Zir McFadden

MUSIC BONDS

Talented, connected, and rooted in music, families like the Kanneh-Masons and Randolphs reach new artistic heights and inspire a new generation of musicians

By Hannah Engwall

Picture this: a charming home in a quiet area of Nottingham, England. Sunlight streams through the window as birds chirp outside and trees rustle in the wind. It’s the height of the Covid19 pandemic in 2020, and during a dark time for all, one exceptionally gifted family creates slivers of light in their corner of the world. Though times are difficult, the home is filled with music, laughter, and a sense of community, creating moments of hope and inspiration.

This scene is chronicled in the BBC1 documentary Imagine: This House Is Full of Music. With presenter Alan Yentob, the program follows the Kanneh-Mason family as they quarantined together in their home with seven siblings, two parents, and friend and Brazilian guitarist Plínio Fernandes, all under one roof. But the Kanneh-Masons are no ordinary family. The family is comprised of parents

Stuart, a business executive, and Kadiatu, author and former university lecturer; and children Isata, Braimah, Sheku, Konya, Jeneba, Aminata, and Mariatu. Ranging in ages from 14 to 27, each of the children is recognized for their incredible musical talent, which is nurtured by their parents and their shared love of the art. Decorated with awards and accolades for their albums and performances, each of the siblings boasts an impressive career for their young ages—prodigies on their respective instruments of violin, piano, and cello.

The children attended Walter Halls Primary and Early Years School and later Trinity Catholic School, both institutions where music was central to the curriculum. The elder children later progressed to London’s Royal Academy of Music, except for pianist Jeneba, who currently holds the Victoria Robey Scholarship at London’s Royal College of Music. Though neither pursued

The Randolph siblings as children

professional careers, both parents Stuart and Kadiatu played musical instruments to a high standard as children and believe strongly in the power of music education.

“Music is something that everyone can access and it’s so important for your mental health, your intelligence, sense of confidence and creativity, collaboration and teamwork, and enjoyment in life,” they jointly concluded in the documentary.

Absent of the live concerts and frequent musical collaborations they previously enjoyed, the pandemic lockdowns were difficult for the family, but they seized the opportunity to make the best of a trying time. They spent their time rehearsing and performing with one another from each room of their home, to outside in their garden and the streets of their neighborhood. Sharing the joy of music with each other, their socially distanced neighbors, and the world via livestream, the Kanneh-Masons exemplified what it means to thrive as a musical family, united in their shared bond of music and a profound support for one another.

“Inspiration is such an important thing and I think if you see someone who looks like you and is doing something to a high level, that can be one of the most inspiring things,” said Sheku. “That’s one of the main things that we try to do as musicians.”

Inspiring indeed, the family released their first collective album, Carnival, on Decca Classics in 2020 to great critical acclaim, and shortly after received the Global Award for Best Classical Artist. In addition to their celebrated performances as a full ensemble, each sibling fosters independent projects.

In 2016, cellist Sheku won the BBC Young Musician award, becoming the first ever Black competitor to take the top prize. In 2018, he became a household name after performing at the wedding of the Duke and Duchess of Sussex at Windsor Castle. His 2020 album, Elgar, with the London Symphony Orchestra and Sir Simon Rattle reached No. 8 in the main UK Official Album Chart, making him the first ever cellist to reach the UK Top 10.

Though classically trained, the family’s passion for diverse genres beyond the classical realm is evident, leading to wellrounded musical sensibilities and innovative new arrangements. They grew up playing everything from classical and reggae, to country western, rap, and rock n’ roll, with a special connection to Bob Marley’s message of universal love.

Like Marley, the family hopes to unite the world around music, infusing their imagination and infectious joy into performances that demystify classical music and make it accessible to a variety of audiences.

For their part, sisters Isata (the eldest) and Jeneba, both pianists, have also been finalists in the BBC Young Musician competition and have since forged successful careers with leading ensembles and orchestras. Isata is the recipient of the 2021 Leonard Bernstein Award and 2020 Opus Klassik award for best young artist. She made her Detroit Symphony Orchestra debut in June 2023 on the PVS Classical Series, performing Dohnányi’s Variations on a Nursery Tune under the direction of Music Director Jader Bignamini.

This season, both Sheku and Jeneba will also make their DSO debuts. On April 18, 19, and 21, Jeneba will perform Mozart’s Piano Concerto No. 23 in A

Sheku Kanneh-Mason Jeneba Kanneh-Mason

SEE JENEBA AND SHEKU WITH THE DSO:

William Davidson

Neighborhood Concert Series RAVEL’S MOTHER GOOSE

April 18–21 in Southfield, Monroe, and Beverly Hills

Simone Menezes, conductor

Jeneba Kanneh-Mason, piano

PVS Classical Series

BEETHOVEN’S FIFTH SYMPHONY

June 6–8 at Orchestra Hall

Jader Bignamini, conductor

Sheku Kanneh-Mason, cello

TICKETS & MORE INFO: DSO.ORG OR 313.576.5111

major on the William Davidson Neighborhood Concert Series in Southfield, Monroe, and Beverly Hills, marking her first appearance as a soloist in the United States. Led by Brazilian conductor Simone Menezes, the Mozart-centric program also includes Ibert’s Hommage à Mozart, Villa-Lobos’s Sinfonietta, and Ravel’s Ma mère l’oye (Mother Goose) suite.

“Mozart’s Piano Concerto No. 23 is a work which I love in part because its key of A major makes it so bright and joyous, but I’m also particularly drawn to the second movement with its operatic style,” said Jeneba. “It will be a privilege to collaborate with the conductor Simone Menezes and to be part of a really interesting and varied program of music. I’m hoping I will learn a lot from all the musicians and the whole experience!”

From June 6 through 8, Sheku performs Mieczysław Weinberg’s Cello Concerto at Orchestra Hall on the PVS Classical Series, conducted by Music Director Jader Bignamini. The program also includes Julia Perry’s A Short Piece for Orchestra and Beethoven’s timeless Fifth Symphony.

While the Kanneh-Masons are one example of a remarkable musical family, Detroit audiences frequently enjoy such talent closer to home in the Randolph twins: Cole and Harper.

Cole Randolph, cellist, previously served as an African American Orchestra Fellow with the DSO and now holds the Mary Lee Gwizdala Chair as a full-time member of the cello section following a successful audition in 2021.

Harper Randolph, violist, earned Third Prize in the 2022 Sphinx Competition and First Prize in the 2019 NYU Concerto Competition, and currently holds the DSO’s African American Orchestra Fellowship.

Growing up in Washington D.C., Cole and Harper enjoyed a vibrant musical upbringing. Their father dreamed of forming a family string quartet with the twins and their older siblings, violinists Clarke Randolph and Elliot Randolph. To fulfill the vision, in kindergarten, Cole took up cello and Harper took up viola.

“Our father is a composer and pianist, and wanted the level of joy and contentment that music brought to him to also be experienced by his children, even if we decided not to pursue music professionally down the road,” said Cole and Harper.

Young Cole and Harper with their mother

“Because of this, music was a mandatory study in our household. Exposing us to the arts at a young age was also very important to our parents because they understood that one cannot aspire to any career without having ever seen it or experienced it for themselves.”

Like the KannehMasons, the Randolph siblings would rehearse at home in their living room, filling their neighborhood with the sounds of music. As teenagers, they even took to the streets and busked on multiple occasions.

“Busking with our siblings was a very enjoyable experience,” they recalled. “Our success and confidence performing outside only grew from that point on. Being able to make money doing something that we loved, while also impacting people’s lives in a meaningful way shaped how we all saw our futures.”

“Some of the many values our parents instilled in us through playing instruments included creativity, hard work, expression, and discipline,” said Cole and Harper. “Continuously developing skills through practicing and performing requires focus and determination, and being as disciplined as one is required to be to succeed was, and is, not always fun. However, the ‘pain’ that comes with discipline is only temporary, while the results of being disciplined are eternal.”

Now fostering professional music careers, the siblings’ hard work has certainly paid off. “As adults, our motivation to improve comes from the inspiration we get when hearing each other practice and perform, as well as the inspiration we all get when performing together,” said Cole and Harper. “We hold a high regard for each other’s musicianship, which serves

as a unique internal motivation to always bring our best.”

Though an ocean away, the experiences of the Randolphs parallel those of the Kanneh-Masons in many ways. To be young, gifted, and Black in an industry where they have been historically underrepresented comes with challenges and tribulations, yet the adversity doesn’t deter them from pursuing—and accomplishing—their goals as musicians. Building on strong foundations, they put in the work to hone their craft, sharing the gift of music with the world, and serving as inspiration and representation for those pursuing music and beyond. If families like theirs demonstrate one thing, it’s this: that surrounding young people with love and support and fostering their passions provides immeasurable benefits, regardless of the paths they choose to pursue.

“The skills acquired through learning a musical instrument are useful not only in the music field, but also in other fields as well (math, science, etc.),” said Cole and Harper. “Our parents never forced us into any career path, and instead exposed us to many different options that allowed us to make an informed and wise choice when it was time to decide what we each wanted to pursue. We were always encouraged to find our own destiny’s path forward, and that is what we encourage parents to do with their children as well.”

Harper Randolph Cole Randolph

Sound EFFECT: Stories of DSO Impact

By LaToya Cross

As part of our mission to connect people with remarkable musical experiences in and outside of the Max M. and Marjorie S. Fisher Music Center (The Max) and historic Orchestra Hall, the DSO seeks to bring our supporters further inside the organization to better understand the people, place, and purpose of the work we do in support of our orchestra and the Detroit community.

The DSO impact is vast, from behind-thescenes curation to the presentations experienced onstage, and work being done across communities. At the heart of it all is you: our generous supporters and vision collaborators who uphold the collective commitment to uplift and support cultural institutions.

I love the DSO—it feels like family, and I’m passionate about the Impact Campaign because it is important work. Sound EFFECT illustrates this and the vast impact the DSO has throughout Metro Detroit.”

Danny Kaufman, DSO Impact Campaign Co-Chair

SCAN THE CODE TO LEARN MORE ABOUT THE IMPACT CAMPAIGN AND ACCESS YOUR SOUND EFFECT CONTENT TODAY!

With this in mind, we created Sound EFFECT, a DSO publication and extension of the DSO Impact Campaign that offers vivid storytelling with a deep dive into four themes: Community Connection, The Max (including Orchestra Hall), Artistic Excellence, and Education.

We hope you will enjoy reading Sound EFFECT and that it brings you greater understanding of the profound significance your investment in the DSO has on the work being done behind the scenes and across Southeast Michigan.

From music and community programming to our robust educational ecosystem, this is what it looks like to collaborate effectively and create lasting impact. We extend deep gratitude to you for helping to make this all possible!

Visit dso.org/impact to learn more about the Impact Campaign and read each issue of Sound EFFECT.

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.

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COMMUNITY & LEARNING

Middle School Honor Days

“ What a phenomenal experience! My son learned so much and really enjoyed working with the faculty. He ended the day feeling confident and proud. We are so grateful that he had the opportunity to participate!”

—Middle School Honor Days parent

By Francesca Leo

Each year, the DSO’s Civic Youth Ensembles (CYE) program unites middle school band and orchestra students from across the state of Michigan for the Middle School Honor Days—an event that has nearly tripled in size since 2022, providing transformative experiences for thousands of students.

The Honor Days program introduces these young students to the musical opportunities available through CYE and aims to spark inspiration around the many possibilities of studying music. What began as a recruitment tool has since developed into a wildly successful annual celebration. In 2023, 602 students were selected to participate in Middle School Honor Days out of 1,209 students nominated across 114 schools and private studios. With growing demand, the DSO will add a second Honor Day to the 2025 calendar, allowing more students to participate.

A typical Honor Day is jam-packed full of camaraderie and enriching musical experiences; including sideby-side rehearsals, Q&A sessions, and a chamber music concert with DSO musicians; culminating with a marathon-like concert showcasing the hard work of the day and the incredible talent of all nominated students.

Throughout the program, students are supported by CYE upperclassmen, college mentors, and knowledgeable DSO staff members, many of whom are musicians themselves.

The Honor Days experience is one that sticks with students well beyond their time in Orchestra Hall, and some students go on to audition for CYE to participate in an ensemble year-round. 10% of students from previous Middle School Honor Days are now currently musicians in the CYE program. With exponential growth and meaningful impact, there is great optimism surrounding the Honor Days program. At one of this year’s Middle School Honor Days on March 4, Orchestra Hall was at maximum capacity with standing room only—a powerful testament to the program’s great success and the commitment and dedication of all participating students and parents. As the program continues to thrive, the DSO is proud to shape the musical experiences of students throughout Michigan.

Principal Flute Hannah Hammel Maser works with a young flutist at Middle School Honor Days in 2023

Ken Thompson conducts students at Middle School Honor Days in 2024

JEFF TYZIK

Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

A

COMMU N I T Y -SU P P ORT E D

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

ORCHESTRA

JADER BIGNAMINI , Music Director

Music Directorship endowed by the Kresge Foundation

NA’ZIR MCFADDEN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

PVS CLASSICAL SERIES

Title Sponsor:

LEONARD SLATKIN

Music Director Laureate

BEETHOVEN’S FIFTH SYMPHONY

Friday, June 7, 2024 at 10:45 a.m. Friday, June 7, 2024 at 8 p.m.

Saturday, June 8, 2024 at 8: p.m. in Orchestra Hall

JADER BIGNAMINI, conductor

SHEKU KANNEH-MASON, cello

Julia Perry A Short Piece for Orchestra (1924 - 1979)

Mieczyslaw Weinberg Cello Concerto, Op. 43 (1919 - 1996) Adagio

Moderato lento

Allegro

Allegro Sheku Kanneh-Mason, cello

Intermission

Ludwig van Beethoven Symphony No. 5 in C minor, Op. 67 (1770 - 1827) I. Allegro con Brio

II. Andante con moto

III. Allegro

IV. Allegro

DIRECTOR

NEEME JÄRVI Music Director Emeritus

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

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

PROGRAM AT-A-GLANCE | BEETHOVEN’S FIFTH SYMPHONY

Reigning Glory

The “fate” motif is a musical concept that appears in many works by renowned composers, including those of Tchaikovsky and Beethoven. Beethoven’s Fifth Symphony opens with a celebrated four-note melody that he associates with fate, reappearing throughout the piece. Beethoven has come to represent the Romantic ideal of the artist-hero, that solitary and suffering individual who transcends trying circumstances by dint of genius and struggle.

Weinberg overcame tremendous adversity over the course of his life, particularly through his experience as a Jewish artist living in the Soviet Union under Joseph Stalin. His Cello Concerto is exemplative of his tumultuous and continuous journey through adversity, with its four movements instructed to be performed as “attacca,” or “without break.” Originally written for and dedicated to renowned cellist Mstislav Rostropovich, the piece is performed on this program by superstar cellist Sheku Kanneh-Mason, who has established himself as “nothing less than the future of classical music” (NPR).

Julia Perry’s brilliantly scored A Short Piece for Orchestra is boisterous and highly energized with edgy lyrical contrasts. Her compositional talent and career are prolific, though many of her works have tragically been lost to time and underrepresented throughout history due to her race and gender. We are committed to celebrating her artistry and performing her works, to honor her reigning glory.

PROGRAM NOTES

A Short Piece for Orchestra

Composed 1952 | Premiered 1952

JULIA PERRY

B. March 25, 1924, Lexington, KY

D. April 24, 1979, Akron, OH

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, percussion, keyboard, and strings. (Approx. 9 minutes)

Americancomposer, conductor, vocalist, and educator Julia Perry studied at the Westminster Choir College, and rose to prominence after receiving a scholarship to the Berkshire Music Center (now known as the Tanglewood Music Center) in 1951 to study under Luigi Dallapiccola. Following continued studies in Italy and France, Perry received many accolades— including the Prix Fontainebleau for her Viola Sonata and two Guggenheim Awards—and launched her international conducting and performance career through a series of European concerts under the United States Information Agency. Her compositional style was often described as “neoclassical,” and she wrote in all musical forms and used many

20th-century compositional techniques. Upon her return to the United States in 1959, her style evolved to reflect influence from the Civil Rights Movement. She consistently pushed the boundaries of race and gender during an era when few composers of her background were recognized. Despite health challenges following several strokes, Perry composed until her death, completing more than 100 works, though only 18 have been published, performed, or recorded.

Among these 18 is A Short Piece for Orchestra written in 1952. Although most of Perry’s works remain unknown, this piece was first recorded by the New York Philharmonic under the baton of William Steinberg in 1965. This piece’s energy clearly reflects its title: it is a boisterous, highly energized piece with edgy lyrical contrasts. Brilliantly scored, this piece takes the audience through a journey that seemingly ends in a haunting Lento section, but abruptly shifts back to the aggressive opening thunder the piece began with, creating a whiplashing effect on the audience.

This performance marks the DSO’s premiere of Julia Perry’s A Short Piece for Orchestra.

Cello Concerto, Op. 43

Composed 1948 | Premiered 1970

MIECZYSŁAW WEINBERG

B. 8 December 1919, Warsaw, Republic of Poland

D. 26 February 1996, Moscow, Russia

Scored for 3 flutes (one doubling on piccolo), 3 clarinets (one doubling on bass clarinet), 4 horns, 2 trumpets, bass trombone, timpani, and strings. (Approx. 34 minutes)

Mieczysław Weinberg was a Soviet composer of Polish-Jewish origin born in what was then known as the Republic of Poland in Warsaw. Having lived through both World War I and World War II, especially as a Jewish artist in the Soviet Union under Joseph Stalin, Weinberg overcame tremendous adversity over the course of his life. His musical compositions reflect the tragic events that heavily impacted him and represent a wide variety of genres and styles. Unfortunately, like many composers under Stalin’s rule, Weinberg’s work was obscured for many years. However, it has gained recognition and increased attention in the 21st century as there have been several festivals dedicated to his works, as well as recordings of his pieces released by large record labels and programmed by noted conductors over the past several years.

Weinberg’s Cello Concerto was commissioned by the Royal Philharmonic Society and was premiered by the Bournemouth Symphony in 1970, conducted by Edward Downes and featuring Mstislav Rostropovich as soloist, the cellist this concerto was written for and dedicated to. Ahead of the world premiere, Weinberg wrote a letter to Rostropovich describing the form of his concerto and the style of which he intended it to be performed. In this letter, Weinberg stated “The letter to Mr. Rostropovich, in which I have briefly described the form of my concerto, has been written in literary rather than in

musical terms. I have done it purposely in order to make certain musical situations in the score clearer and more suggestive. But it does not imply any literary or extra-musical meaning of my work. There is no such meaning in it, even if I speak of a ‘gay’ cello or ‘angry’ trumpets. It is simply a little picturesque way of pointing out contrasting sections so that the interpreters could more easily find the right approach to them.”

This concerto, although written in four main parts, is instructed to be performed without a break. His letter to Rostropovich further explains his intention for the piece: “It consists of four movements played ‘attacca’: Introduction, Four Episodes, Cantilena, and Finale. Introduction: I understand the note D repeated at one second intervals in an expressionless manner ‘indifferente’ as a moment of complete relaxation, or even absentmindedness. The performer abandons this state immediately when something else begins to happen in his part and will return to it several times in the course of the Introduction. The passing on from the state of absent-mindedness to that of concentration and the other way round is always abrupt. Several threads begin in the Introduction, but they never develop. You can see their character in the restrained dynamics and in such indications as ‘grazioso’ and ‘un poco buffo ma con eleganza,’ etc. Naturally ‘marziale’ is to be understood figuratively. It is indeed a very unreal march. The last moment of absent-mindedness is slightly different from the previous ones. Dynamic differences, grace-notes, etc. occur. It is as if the cello, forced to perform monotonous, boring repetitions, tried to diversify them and did it in a naïve, silly way. In this moment trumpets intervene to stop the cello and to shout out their ‘angry’ phrase. After a five-second rest the cello begins the first Episode ‘inviting’ a few instruments to a dialogue, which subsequently develops into a more animated music. Brasses put an end to it, as it was at the conclusion of the

introduction. Other Episodes unfold in a similar manner. Their character is always ‘grazioso,’ ‘scherzando,’ or the like. Only the interventions of the brasses are ‘serious’ too and such it will remain nearly until the end of the piece.”

This performance marks the DSO’s premiere of Mieczysław Weinberg’s Cello Concerto.

Symphony No. 5 in C minor

Composed 1808 | Premiered December 22, 1808

LUDWIG VAN BEETHOVEN

B. December 16, 1770, Bonn, Germany

D. March 26, 1827, Vienna, Austria

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, 3 trombones, timpani, and strings. (Approx. 36 minutes)

Noorchestral composition has gripped the popular imagination quite like Beethoven’s Fifth Symphony. Through countless performances, recordings and even parodies, the famous four-note motif that opens this work has become familiar to millions of people, including many who have little other knowledge of symphonic music.

Beethoven has come to represent for us the Romantic ideal of the artist-hero, that solitary and suffering individual who transcends trying circumstances by dint of genius and struggle. It is the Fifth Symphony, with its strife-torn first movement and triumphant finale. that gives this view its most vivid musical expression.

Of course, the concept of individual heroism was not just an abstraction for Beethoven, who was living through a tumultuous period as the titled aristocracy that had ruled Europe for centuries was under siege both politically and intellectually. Growing impatient with the comparatively delicate musical language of the preceding generation, the

composer struck out around 1803 on what he described to a friend as “a new path,” one that led to a dynamic expansion of virtually all aspects of his composing.

Beethoven’s “new path” led inevitably to his Symphony No. 5, completed in 1808. Significantly, the celebrated four-note motif that opens the work was present in his earliest sketches. This motif, the figure Beethoven associated with “fate,” dominates the first movement, and its brevity and rhythmic vigor account in no small part for the sense of agitation and momentum that prevail here. The pace relaxes only briefly for the lyrical second theme, and for the unusual oboe cadenza that embellishes the recapitulation.

The “Andante con moto” that follows is constructed as a fluid set of variations on not one but a pair of themes. This is an exceptionally beautiful movement. The alternation of the two subjects and their respective tonal centers yields a sense of variety and spaciousness, and the prevailing lyricism provides a timely contrast to the turbulent spirit of the opening movement, a few strong outbursts notwithstanding.

The ensuing scherzo is another matter. Here, the theme softly stated by the low strings in the opening measures seems ghostly and ominous, and its menacing aspect is confirmed moments later by a disturbing reappearance of the “fate” motif from the first movement. Following the central episode, or Trio section, in which the orchestra chases the rumbling basses and cellos in fugal imitation, the spectral dance resumes.

And then, Beethoven creates a moment of extraordinary drama. The ghostly dance freezes in mid-step as time and motion seem suspended. Slowly, its theme is taken and transformed measure by measure until, with a thrilling crescendo, the music bursts into the radiant C major finale. Trombones, making their first appearance in any familiar symphony, join the orchestra in a blaze of light and victory. The drama is not yet over, however. In the middle of this fourth

movement, we suddenly return to the “fate” motif and the ghostly atmosphere of the scherzo. That stroke, so widely admired by subsequent generations of composers, prepares a recapitulation not only of the movement’s themes but also of the dramatic passage from darkness to light, from despair to joy, which is the

PROFILES

“meaning” of the finale and the goal of the entire symphony.

The DSO most recently performed Beethoven’s Symphony No. 5 in October 2019, conducted by Michael Francis. The DSO first performed this piece in November 1915, conducted by Weston Gales.

For Jader Bignamini biography, see page 6.

SHEKU KANNEH-MASON

Cellist

Sheku KannehMason’s career and performances span the globe. Whether performing for children in a school hall, at an underground club, or in the world’s leading concert venues, KannehMason’s mission is to make music accessible to all. After winning the BBC Young Musician competition in 2016, Kanneh-Mason’s performance at the wedding of the Duke and Duchess of Sussex at Windsor Castle in 2018 was watched by two billion people worldwide.

Highlights of the 2023–24 season include the Last Night of the Proms with the BBC Symphony and Marin Alsop, and performances with the Los Angeles Philharmonic, Orchestre de Paris, Orquesta Nacional de España, National Symphony Orchestra of Ireland, Oslo Philharmonic, Chicago Symphony, Gävle Symphony, Royal Liverpool Philharmonic, Royal Philharmonic on tour in Germany, Cincinnati Symphony, New York Philharmonic, Detroit Symphony Orchestra, and San Francisco Symphony. With his sister, Isata, he appears in recital in Japan, Singapore, and South Korea, in addition to an extensive European recital tour.

Kanneh-Mason will also perform a series of duo recitals with guitarist Plínio Fernandes as well as continuing his solo cello recital tour in the US and Canada. He returns to Antigua, where he has family connections, as an ambassador for the

Antigua and Barbuda Youth Symphony Orchestra. Since his debut in 2017, KannehMason has performed every summer at the BBC Proms, including in 2020 when he gave a breath-taking recital performance with his sister Isata, to an empty auditorium due to the Covid-19 pandemic.

A Decca Classics recording artist, his 2022 album, Song, showcases his innately lyrical playing in a wide and varied range of arrangements and collaborations. Kanneh-Mason’s 2020 album, Elgar, reached No. 8 in the overall Official UK Album Chart, making him the first ever cellist to reach the UK Top 10. Sheet music collections of his performance repertoire along with his own arrangements and compositions are published by Faber.

Kanneh-Mason is a graduate of London’s Royal Academy of Music, where he studied with Hannah Roberts, and in May 2022 was appointed as the Academy’s first Menuhin Visiting Professor of Performance Mentoring. He is an ambassador for the Juvenile Diabetes Research Foundation, Future Talent, and Music Masters. Kanneh-Mason was appointed a Member of the Most Excellent Order of the British Empire (MBE) in the 2020 New Year’s Honours List. He plays a Matteo Goffriller cello from 1700, which is on indefinite loan to him.

Sheku Kanneh-Mason appears by arrangement with Enticott Music Management

Sheku Kanneh-Mason records exclusively for Decca Classics

Sheku plays a Matteo Goffriller cello from 1700 which is on indefinite loan to him

JEFF TYZIK

Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

A COMMU N I T Y -SU P P ORT E D ORCHESTRA

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

JADER BIGNAMINI , Music Director

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

Music Directorship endowed by the Kresge Foundation

NA’ZIR MCFADDEN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

LEONARD SLATKIN

Music Director Laureate

NEEME JÄRVI

Music Director Emeritus

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES

BEETHOVEN’S SEVENTH SYMPHONY

Thursday, June 13, 2024 at 7:30 p.m. at The Hawk in Farmington Hills

Friday, June 14, 2024 at 8 p.m. at Meyer Theatre in Monroe

Sunday, June 16, 2024 at 3 p.m. at Seligman Family Performing Arts Center in Beverly Hills

GÁBOR TAKÁCS-NAGY, conductor

WILLIAM HAGEN, violin

Ludwig van Beethoven Overture to King Stephen, Op. 117 (1770 - 1827)

Concerto for Violin and Orchestra in D major, Op. 61

I. Allegro ma non troppo

II. Larghetto

III. Rondo: Allegro William Hagen, violin

Intermission

Symphony No. 7 in A major, Op. 92

I. Poco sostenuto - Vivace

II. Allegretto

III. Presto

IV. Allegro con brio

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

PROGRAM AT-A-GLANCE | BEETHOVEN’S SEVENTH SYMPHONY

Beethoven’s Legacy

Beethoven revolutionized the orchestral world with big, bold, and ambitious works. He was a pivotal figure in transitioning music from traditional classical form to Romanticism, where personal expression gained a greater role. In 2020, the DSO and orchestras around the world celebrated Beethoven’s 250th birthday through a variety of Beethoven-inspired programs.

Many ask the question, “why continue to celebrate milestone birthdays of composers who passed away such a long time ago?” A simple answer is that it is a celebration of their role in shaping classical music and producing beloved works that are still frequently performed to this date. A more in-depth answer may include specific traits about the composer that make his story so compelling.

This creator—who overcame great personal suffering to become one of the greatest composers of all time; whose genius was incomprehensible to most; who believed in our intrinsic rights, our equality, our human brotherhood; who sought to uplift, just as much for himself as for the rest of us; who wasn’t afraid to share his sadness with us—was quintessentially a member of the human race. He aspired to be something greater than himself, and thus inspires us to do the same.

PROGRAM NOTES

Overture to King Stephen, Op. 117

Composed 1811 | Premiered 1812

LUDWIG VAN BEETHOVEN

B. December 1770, Bonn, Germany

D. March 26, 1827, Vienna, Austria

Scored for 2 flutes, 2 oboes, 2 clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, timpani, and strings. (Approx. 8 minutes)

Whenthe new imperial theater in Pest (part of modern-day Budapest) opened its doors to the public in February of 1812, the first audience was greeted by striking trumpet blasts from a piece composed especially for the occasion: Beethoven’s King Stephen Overture. The theater commissioned Beethoven to provide incidental music for King Stephen and the third play, The Ruins of Athens. With the theater scheduled to open in October of 1811, Beethoven hurriedly composed the overtures, choruses, and various other musical numbers for the plays in three weeks. Unfortunately, Beethoven’s impressive compositional speed proved unnecessary. The theater’s opening was delayed four

months.

Under eight minutes in length, Beethoven’s King Stephen Overture is an efficiently packaged work of musical wit and delight. It begins dramatically with four stark, sustained notes that descend somberly. This serious introductory mood is then deftly undermined by a solo flute passage featuring a cheerful melody over violin pizzicatos. This distinctive pattern suggests the cimbalom, a Hungarian dulcimer. After this episode, the four descending notes return more assertively, yet sobriety is foiled yet again. A clarinet playfully echoes the flute’s melody, and this second interruption serves to send the orchestra into a driving presto.

Functioning like the exposition section of a sonata-allegro form, the presto features two themes of contrasting natures. The first is a bouncy melody whose rhythmic verve springs from its alternation between on and off beat rhythmic accents. The second theme features smooth lyrical scalar lines. Some commentators have suggested that this second theme anticipates the famed “Ode to Joy” melody from the Ninth Symphony, although the tempo here is much faster.

After this second theme, the presto section is jarringly interrupted by a return of the music from the introduction—the four

notes ring out and the flute’s light-hearted melody is now recalled nostalgically by the oboe. This diversion from the presto, however, is fleeting and the quick tempo soon resumes. Before the final triumphant chords, however, Beethoven inserts one last surprise… —Nathan Platte

The DSO most recently performed Beethoven’s Overture to King Stephen in December 2005, conducted by R. Frühbeck de Burgos. The DSO first performed the piece in November 1925, conducted by Ossip Gabrilowitsch.

Concerto for Violin and Orchestra in D major, Op. 61

Composed 1806 | Premiered 1806

LUDWIG VAN BEETHOVEN

B. December 1770, Bonn, Germany

D. March 26, 1827, Vienna, Austria

Scored for solo violin, flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (Approx. 42 minutes)

Someof Beethoven’s works, for example the funeral march of the “Eroica” symphony and the brooding introductory of the Fourth Symphony, explored a vein of tragic feeling. In others, such the Fourth Piano Concerto, the driving energy of Beethoven’s writing was tempered by a leisurely, expansive mood—the same quality that dominates the first two movements of this concerto.

Five themes are introduced in the long orchestral exposition and four of them have a noble, spacious quality. (The remaining theme, a sudden dramatic outburst, is sparingly re-used to mark the beginning of the development section and the coda of the movement.) When the solo violin enters, all four themes are restated in combination with its decorative filigree. The orchestra is given its say in reworking these themes during the first half of the development, before the violin re-enters in a long, gracious solo, nudging the orchestra ever so gently toward a forceful restatement of the main theme, introducing the recapitulation, solo

cadenza, and coda.

The slow movement is an interlude of sheer beauty, set for a reduced ensemble of a few woodwinds and strings. It consists of a theme and five variations, decorated by increasingly elaborate solo passages that culminate in two simulated cadenzas. As in Beethoven’s Fifth Symphony and his last two piano concertos, it leads directly into the long, rollicking third movement. Like so many closing movements in the Classical era, this is set in the leaping dance rhythm of a gigue. It constitutes an extended sevenpart rondo based upon three themes, with still another solo cadenza before it is finished.

Beethoven composed the concerto for a benefit concert given by Franz Clement, an Austrian violin virtuoso who was the conductor of the orchestra at the Theater an der Wien.

The DSO most recently performed Beethoven’s Concerto for Violin and Orchestra in D major, Op. 61 in December 2021, conducted by Thomas Wilkins and featuring soloist Vadim Gluzman. The DSO first performed the piece in November 1923, conducted by Ossip Gabrilowitsch and featuring Ilya Schkolnik as soloist.

Symphony No. 7 in A major, Op. 92

Composed 1812 | Premiered 1812 LUDWIG VAN BEETHOVEN

B. December 1770, Bonn, Germany

D. March 26, 1827, Vienna, Austria

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (Approx. 36 minutes)

The first performance of Beethoven’s Symphony No. 7 took place five years after the joint premiere of his fifth and sixth symphonies, and it’s possible that absence made the audience’s hearts grow fonder—“All persons, however they had previously dissented from his music, now agreed to award him his laurels,” wrote biographer Anton Shindler about the

concert (which, interestingly, was co-organized by Johann Nepomuk Mälzel, inventor of the metronome). While not as well-known as the mighty fifth or ninth, Beethoven’s seventh is no less characteristic of the composer’s scope and style.

The work begins with what could be the longest symphony introduction ever, a staggering 62 bars marked “Poco sostenuto” (“somewhat sustained”). A solo flute then introduces the main theme, which is exuberantly repeated and developed over the course of the movement.

The second movement, the symphony’s most well-known, was so applauded at the work’s premiere that the ensemble encored it in its entirety. That fame persists as the movement is often performed as a standalone symphonic work, and during Beethoven’s lifetime it was even used to replace less-beloved movements in his other symphonies!

The third movement, a scherzo, begins with the main theme in the winds set off

by the timpani. The lively tempo is only briefly interrupted by a contrasting trio, with a melody based on an old Austrian pilgrim hymn. The movement concludes with five swift chords, but not before Beethoven restates the opening bars of the trio, perhaps a promise of repetition to come later.

The frenetic final movement tumbles and bounds towards a finale that English conductor Sir Donald Tovey called, “a triumph of Bacchic fury.” Some suggested that the composer was drunk when he composed the movement, to which Beethoven biographer Romain Rolland responds with a resounding affirmation: “intoxicated with poetry and genius!”

The DSO most recently performed Beethoven’s Symphony No. 7 in A major, Op. 92 in February 2022, conducted by Jader Bignamini. The DSO first performed the piece in April 1919, conducted by Ossip Gabrilowitsch.

UPCOMING CONCERTS

Ovation Celebration & Mangia

Tuesday, May 14, 2024, 10:30 a.m.

GROSSE POINTE UNITED METHODIST CHURCH

211 Moross Rd, Grosse Pointe Farms, MI 48236

No Admission Charge

Young Artist of the Year Concert

Thursday, May 30, 2024, 7:30 p.m.

Featuring: Gregory Turner, Piano and TMD Chamber Orchestra with Scott Hanoian, Conductor

ST. JAMES CATHOLIC CHURCH

46325 W 10 Mile Rd, Novi, MI 48374

No Admission Charge

Artists of the Year Concert

For program details, visit TuesdayMusicaleofDetroit.org or call 313-520-8663

Sunday, June 30, 2024, 3:00 p.m.

Featuring: DSO musician Hunter Eberly, Trumpet, with collaborative DSO artists Hai-Xin Wu, Violin and Zhihua Tang, Piano.

GROSSE POINTE UNITED METHODIST CHURCH

211 Moross Rd, Grosse Pointe Farms, MI 48236

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

PROFILES

GÁBOR TAKÁCS-NAGY

Born in Budapest, Gábor Takács-Nagy began studying the violin at the age of eight. As a student of the Franz Liszt Academy, he won First Prize in 1979 in the Jeno Hubay Violin Competition and later pursued studies with Nathan Milstein. He studied Bartók’s string quartets with Zoltán Székely, who was Bartók’s best friend and dedicatee of his second violin concerto. Takács-Nagy is considered one of today’s most authentic exponents of Hungarian music, and in particular, the music of Béla Bartók. In 1982, he was awarded the Liszt Prize, in March 2017 the prestigious Béla Bartók-Ditta Pasztory Prize, and in March 2021 the Érdemes Művész (Artist of Merit) award presented by the Hungarian government to artists who have promoted Hungarian national culture throughout their careers.

From 1975 to 1992, he was the founding member and leader of the acclaimed Takács Quartet, performing throughout the world with many legendary artists. In 2002, Takács-Nagy began conducting, and he became the Music Director of the Weinberger Kammerorchester in 2006 and the Music Director of the Verbier Festival Chamber Orchestra in 2007.

His previous conducting positions include Music Director of the MAV Symphony Orchestra Budapest (2010–2012), Music Director of Manchester Camerata (since 2011), Principal Guest Conductor of the Budapest Festival Orchestra (since 2012), and Principal Artistic Partner of the Irish Chamber Orchestra (2013–2017).

He is regularly invited to conduct the Orchestre National de Lyon, the Orchestra Philharmonique de Monte Carlo, the Orchestra Filarmonica de Bologna, l’Orchestre de l’Opéra de Toulon, the

Malaysian Philharmonic, the Calgary Philharmonic, and the Bilkent Symphony Orchestra, among others.

Takács-Nagy is the Professor of String Quartet at the Haute Ecole de Musique in Geneva, and in June 2012 he was awarded honorary membership of the Royal Academy of Music in London.

WILLIAM HAGEN

Riveting

American violinist William Hagen has appeared as a soloist with many of the world’s great orchestras including the Chicago Symphony, Chamber Orchestra of Europe, San Francisco Symphony, Frankfurt Radio Symphony, and many more. Already a seasoned international performer who has won friends around the world, William has been hailed as a “brilliant virtuoso…a standout” (The Dallas Morning News) whose playing is “… captivating, floating delicately above the orchestra” (Chicago Classical Review). He was the third-prize winner of the 2015 Queen Elisabeth International Music Competition, one of the highest-ranking Americans ever in the prestigious competition. Hagen performs on the 1732 “Arkwright Lady Rebecca Sylvan” Stradivarius, on generous loan from the Rachel Barton Pine Foundation.

Hagen’s recent performances include appearances with the Rochester Philharmonic and Asheville Symphony, and performances at the Ravinia, Grant Park, Sunriver, and Santa Fe chamber music festivals and Tippet Rise Art Center. Hagen’s 2023–2024 season highlights include performances for the Chamber Music Society of Fort Worth, Detroit Symphony Orchestra, a European tour with the Amsterdam Sinfonietta, and collaborations with cellist Andrei Ioniță, and pianists Orion Weiss and Albert

Cano-Smit. This season Hagen offers a new community engagement initiative that combines conversations with local gardening experts with an interactive performance and explores the ways in which music and nature are connected.

Hagen has performed with conductor Nicolas McGegan both at the Aspen Music Festival and with the Pasadena Symphony, and made his debut with the Oregon Symphony under Carlos Kalmar, performed with the Brussels Chamber Orchestra in Beijing and at the Aspen Music Festival with conductor Ludovic Morlot, and played recitals in Paris, Brussels, and at the Ravinia Festival. Collaborations include those with Steven Isserlis at Wigmore Hall, with Tabea Zimmermann at the Beethovenhaus in Bonn, with Gidon Kremer, Steven Isserlis, and Christian Tetzlaff in Germany, and in New York City with the Jupiter Chamber Players.

Since his debut with the Utah Symphony at age nine, Hagen has performed with conductors including Marin Alsop, Christian Arming, Miguel Harth-Bedoya, Michel Tabachnik, and Hugh Wolff. A native of Salt Lake City, Hagen first heard the violin when he was three and began taking lessons at age four with Natalie Reed, followed by Deborah Moench. At age 10, he began studying with Robert Lipsett at the Colburn School in Los Angeles, where he studied until the age of 17.

After studying at The Juilliard School for two years with Itzhak Perlman, Hagen returned to Los Angeles to continue studying with Robert Lipsett at the Colburn Conservatory. He then went on to study at the Kronberg Academy in Germany with Christian Tetzlaff. Hagen is an alumnus of the Verbier Academy in Switzerland, the Perlman Music Program, and the Aspen Music Festival. Enjoy the DSO from anywhere with Live from Orchestra Hall! View free, live webcasts of PVS Classical Series and Classroom Edition performances, plus Civic Youth Ensembles presentations.

LIVE FROM ORCHESTRA HALL

JEFF TYZIK

Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

A COMMU N I T Y -SU P P ORT E D ORCHESTRA

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

JADER BIGNAMINI , Music Director

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

Music Directorship endowed by the Kresge Foundation

NA’ZIR MCFADDEN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

LEONARD SLATKIN

Music Director Laureate

SUMMER SOIRÉE

NEEME JÄRVI

Music Director Emeritus

Party with Purpose: Champion the soundtrack of Detroit. Summer Soirée supports the DSO’s vision to ensure all people can experience their world through music.

BLACK VIOLIN

Saturday, June 15, 2024 at 7 p.m. in Orchestra Hall

KEV MARCUS, violin

WIL BAPTISTE , viola & vocals

NAT STOKES, drums

DJ SPS, turntable

LISTON GREGORY, keyboard

Program to be announced from stage.

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

PROGRAM AT-A-GLANCE – THE BLACK VIOLIN EXPERIENCE

Two-time Grammy nominated duo Black Violin joins forces with the DSO to present a mystifying musical fusion of exquisite classical sounds and exhilarating hip-hop beats. The Black Violin Experience, brought to life by Kev Marcus and Wil Baptiste, boldly merges centuries of music and unites audiences with a message of hope and possibility. Expect to be transported to a place where Mozart, Marvin Gaye, and Kendrick Lamar harmoniously coexist in immersive sound.

PROFILE

BLACK VIOLIN

For nearly two decades, Black Violin has been merging string arrangements with modern beats and vocals—and building bridges in communities along the way. Members Kev Marcus and Wil Baptiste first met in orchestra class at Dillard High School in Fort Lauderdale, becoming classically trained on the violin and viola through their high school and college careers. Post-college, they reconvened to produce beats for South Florida rappers, and began building an audience in local clubs. They later went on to win Showtime at the Apollo in 2005, and eventually sold out headline performances at venues across the country, including a sold-out two-night headline run at The Kennedy Center in 2018. NPR took note and declared, “their music will keep classical music alive for the next generation.”

Black Violin plays roughly 200 shows a year; many of which are performances for young, low-income students in urban communities. In the last year alone, the group has played for over 100,000 students with the goal of challenging stereotypes and preconceived notions of what a “classical musician” looks and sounds like. “The stereotypes are always there, embedded so deep in our culture,” says Baptiste. “Just by nature of our existence we challenge those ideas. It’s a unique thing that brings people together

who aren’t usually in the same room, and in the current climate, it’s good to bring people together.”

In 2019, the group launched the Black Violin Foundation Inc., a non-profit organization dedicated to empowering youth by providing access to quality music programs in their community. BVF believes that music and access to music programs should not be determined by race, gender, or socio-economic status. Black Violin Foundation’s inaugural program, The Musical Innovation Grant for Continuing Education, will provide scholarships to young music students to attend a program of their liking that fosters musical creativity and innovation.

JEFF TYZIK Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

A COMMU N I T Y -SU P P ORT E D

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

ORCHESTRA

JADER BIGNAMINI , Music Director

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

Music Directorship endowed by the Kresge Foundation

NA’ZIR MCFADDEN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

LEONARD SLATKIN Music Director Laureate

NEEME JÄRVI Music Director Emeritus

TITLE SPONSOR:

DISNEY & BROADWAY FAVORITES: THE MAGIC OF MENKEN

Friday, June 21, 2024 at 10:45 a.m. & 8 p.m.

Saturday, June 22, 2024 at 8 p.m.

Sunday, June 23, 2024 at 3 p.m. in Orchestra Hall

STEVEN REINEKE, conductor

Alan Menken Alan Menken Overture (arr. Michael Kosarin) (orch. Matt Podd)

Alan Menken/ Fabulous Baby, Glenn Slater from Sister Act

Alan Menken/ Santa Fe, Jack Feldman from Newsies (orch. Steven Reineke)

Alan Menken/ Part of Your World, Howard Ashman from The Little Mermaid (orch. Bruce Healey)

Alan Menken/ Poor Unfortunate Souls, Howard Ashman from The Little Mermaid (arr. Michael Kosarin)

Alan Menken/ Under the Sea, Howard Ashman from The Little Mermaid (orch. Thomas Pasatieri)

Alan Menken/ Colors of the Wind, Stephen Schwartz from Pocahontas (orch. Danny Troob)

Alan Menken/ Proud of Your Boy, Howard Ashman from Aladdin

Alan Menken/ Somewhere That’s Howard Ashman Green, from Little Shop of Horrors

Alan Menken/ Suddenly Seymour, Howard Ashman from Little Shop of (orch. Sam Shoup) Horrors

INTERMISSION

Alan Menken Orchestral Suite, (orch. Bruce Healey) from Hercules

Alan Menken/ Go the Distance, David Zippel from Hercules (orch. Bruce Healey)

Alan Menken/ God Help the Outcasts, Stephen Schwartz from The Hunchback of Notre Dame

Alan Menken/ Out There, from Stephen Schwartz The Hunchback of Notre Dame

Alan Menken/ Home, from Tim Rice Beauty and the Beast

Alan Menken/ If I Can’t Love Her, from Tim Rice Beauty and the Beast (orch. Danny Troob)

Alan Menken/ Beauty and the Beast, Tim Rice from Beauty and the Beast

Alan Menken/ A Whole New World, Howard Ashman from Aladdin (orch. William Kidd)

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

PROGRAM AT-A-GLANCE | DISNEY AND

The World of Alan Menken

BROADWAY FAVORITES

From Disney classics including The Little Mermaid, Aladdin, Beauty and the Beast, and Hercules, to Broadway smashes like Little Shop of Horrors, Sister Act, and Newsies, the music of eight-time Academy Award winner Alan Menken has become part of our world. The DSO has a longstanding history of performing Disney and Broadway favorites including the music of Menken, and this performance is a true celebration of his legacy in creating countless beloved songs that have been immortalized through the magic of Disney.

PROFILES

STEVEN REINEKE

Steven Reineke is one of North America’s leading conductors of popular music and is in his second decade as Music Director of The New York Pops at Carnegie Hall. Additionally, he is Principal Pops Conductor of the National Symphony Orchestra at the John F. Kennedy Center for the Performing Arts and Principal Pops Conductor of the Houston and Toronto Symphony Orchestras.

Reineke is a frequent guest conductor and can be seen on the podium with the Chicago, Philadelphia, Dallas, and Detroit symphony orchestras.

On stage, Reineke creates and collaborates with a range of leading artists from the worlds hip-hop, R&B, Broadway, television and rock including Maxwell, Common, Kendrick Lamar, Nas, Ne-Yo, Bob Weir, Trey Anastasio, Barry Manilow, Cynthia Erivo, Ben Rector, Cody Fry, Sutton Foster, Amos Lee, Dispatch, Jason Mraz, and Ben Folds, among others. In 2024, he led the National Symphony Orchestra (NSO) on PBS’s Next at the Kennedy Center featuring Ben Folds’s DeClassified with Jacob Collier, Laufey, and dodie. He was previously seen with the NSO on PBS on Great Performances with hip-hop legend Nas, performing his seminal album Illmatic.

In 2017, Reineke was featured on National Public Radio’s All Things Considered, leading the National Symphony Orchestra—in a first for the show’s 45-year history—performing live music excerpts in between news segments.

As the creator of hundreds orchestral arrangements, Reineke’s work is performed worldwide and can be heard on numerous Cincinnati Pops Orchestra recordings. His symphonic works Celebration Fanfare, Legend of Sleepy Hollow, and Casey at the Bat are performed frequently in North America, including performances by the New York Philharmonic and Los Angeles Philharmonic. His Sun Valley Festival Fanfare was used to commemorate the Sun Valley Summer Symphony’s pavilion, and his Festival Te Deum and Swan’s Island Sojourn were debuted by the Cincinnati Symphony and Cincinnati Pops Orchestras. His numerous wind ensemble compositions are published by the C.L. Barnhouse Company and are performed by concert bands perennially.

A native of Ohio, Reineke is a graduate of Miami University of Ohio (2020 Alumnus Distinguished Achievement Medal), where he earned bachelor of music degrees with honors in both trumpet performance and music composition. He currently resides in New York City with his husband Eric Gabbard.

JEFF TYZIK Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

A COMMU N I T Y -SU P P ORT E D ORCHESTRA

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

JADER BIGNAMINI , Music Director

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

Music Directorship endowed by the Kresge Foundation

NA’ZIR MCFADDEN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

LEONARD SLATKIN Music Director Laureate

NEEME JÄRVI

Music Director Emeritus

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES

BRITTEN & MENDELSSOHN

Thursday, July 11, 2024 at 7:30 p.m. at The Berman Center For The Performing Arts

Friday, July 12, 2024 at 8 p.m. at Plymouth First United Methodist Church

Saturday, July 13, 2024 at 8 p.m. at Kirk in the Hills Presbyterian Church

Sunday, July 14, 2024 at 3 p.m. at Our Lady Star of the Sea Catholic Church

STEPHANIE CHILDRESS, conductor

ERIKA BAIKOFF, soprano

Caroline Shaw Entr’acte (b. 1982)

Benjamin Britten Les Illuminations, Op. 18 (1913 - 1976)

I. Fanfare: Maestoso (poco presto)

II. Villes: Allegro energico

IIIa. Phrase: Lento ed estatico

IIIb. Antique: Allegretto, un poco mosso

IV. Royauté: Allegro maestoso

V. Marine: Allegro con brio

VI. Interlude: Moderato ma comodo

VII. Being Beauteous: Lento ma comodo

VIII. Parade: Alla marcia

IX. Départ: Largo mesto Erika Baikoff, soprano

Intermission

Felix Mendelssohn

Symphony No. 1 in C minor, Op. 11 (1809 - 1847) I. Allegro di molto

II. Andante

III. Menuetto: Allegro molto

IV. Allegro con fuoco

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

PROGRAM AT-A-GLANCE | BRITTEN & MENDELSSOHN

Through the Looking Glass

Literature and poetry have a longstanding history of inspiring orchestral works. From song cycles to instrumental programmatic works, storytelling is woven within the fabric of orchestral composition. Britten’s Les Illuminations was his first song cycle set to poetry written in a language other than English, the setting of Arthur Rimbaud’s Les Illuminations Scholars speculate that this was an attempt to free himself from a dependence upon native poets, especially during his time abroad in the US and Canada. Soprano Erica Baikoff, a recent graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, joins the DSO to “stretch gold from star to star” in this brilliant setting of French poetry. Mendelssohn’s First Symphony, written when he was just 15, dazzles with the fire of youth and is in many ways a symbol of the composer’s coming of age. Caroline Shaw’s Entr’acte shifts our perspective and takes us “to the other side of Alice’s looking glass in a kind of absurd, subtle, technicolor transition.”

PROGRAM NOTES

Entr’acte

Composed 2011 | Premiered 2011 CAROLINE SHAW

B. August 1, 1982, Greenville, NC

Scored for strings. (Approx. 11 minutes)

Caroline Shaw is a musician who moves among roles, genres, and mediums, trying to imagine a world of sound that has never been heard before but has always existed. She is the recipient of the 2013 Pulitzer Prize in Music, several Grammy Awards, an honorary doctorate from Yale, and a Thomas J. Watson Fellowship. She has worked with a range of artists including Rosalía, Renée Fleming, and Yo-Yo Ma, and she has contributed music to films and television series including Fleishman is in Trouble, Bombshell, Yellowjackets, Maid, Dark, and Beyonce’s Homecoming. Her favorite color is yellow, and her favorite smell is rosemary.

On Entr’acte, Caroline Shaw states: “Entr’acte was written in 2011 after hearing the Brentano Quartet play Haydn’s Op. 77 No. 2—with their spare and soulful shift to the D-flat major trio in the minuet. It is structured like a minuet and trio, riffing on that classical form but taking it a

little further. I love the way some music (like the minuets of Op. 77) suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle, technicolor transition.”

This performance marks the DSO premiere of Caroline Shaw’s Entr’acte

Les Illuminations, Op. 18

Composed 1939 | Premiered 1940

BENJAMIN BRITTEN

B. November 22, 1913, Lowestoft, United Kingdom

D. December 4, 1976, Aldeburgh, United Kingdom

Scored for solo soprano and strings. (Approx. 23 minutes)

Benjamin Britten was among England’s most important 20th century composers. He excelled in all forms of music, combining inventive technical skills with highly expressive feeling and remarkably practical, resourceful compositional habits. He is most remembered for a string of deeply felt operatic scores, whose wonderful sense of melody restored a leading position to opera in the English language. Britten was also a fine conductor and the

founder of the Aldeburgh Festival in East Anglia for the performance of works by himself and other British composers.

While the bulk of Britten’s song cycles are set to English poetry, his setting of nine poems from Arthur Rimbaud’s Les Illuminations was the first of four cycles employing other languages. Britten scholar Peter Evans suggests this might have been a conscious effort to free himself from a dependence upon native poets, especially since much of the cycle was composed during the time Britten contemplated and actually began his three-year trip abroad, traveling with his companion, tenor Peter Pears, in the United States and Canada.

Britten encountered Rimbaud’s symbolist poems in 1938 and completed them in October 1939, about six months after he arrived in the United States. The entire cycle was dedicated to soprano Sophie Wyss, who sang many of Britten’s early song cycles, including the premiere of Les

Illuminations in January 1940. Individual poems in the cycle are dedicated to others close to Britten: the plaintive “Interlude” dividing the cycle bears the initials of Elizabeth Mayer, an emigrant from Munich who provided lodging for Britten and Pears during their stay in Long Island, New York. The beguiling, seductive “Antique” is dedicated to Wolfgang (“Wulff”) Scherchen, son of the famed German conductor, with whom Britten formed a bond five years earlier at an ISCM festival in Florence. The passionate imagery of “Being Beauteous,” the most famous song in the cycle, brought a dedication to Pears.

Britten’s unerring compositional talent reveals itself in every song of this cycle, even at his youthful age of 26. Word, tone, and rhythm come together gracefully and with impeccable taste. And if Britten was indeed trying to free himself from British vocal traditions, some of these songs suggest an affinity for the mannerisms of

continental European song composers. The breathless pace of the hard-edged “Villes” and the gaily marching “Royauté” bring to mind the patter-song pace of a Poulenc song, while the quiet resignation of the closing “Départ” echoes the sad, reflective quality of a typical apotheosis by Richard Strauss. In his preface to the vocal score, commentator Edward Sackville West notes that Rimbaud’s verbal images are so elusive as to defy meaningful definition. Given that inherent condition, the expressive tone of Britten’s music provides as much interpretation as the listener might hope to glean from these poems.

On the instrumental side of the ledger, Britten’s choice of a pure string sound cushions the vocal line with a gleaming orchestral texture, paralleling the verbal imagery of the title. And the string orchestra is deployed with real variety and virtuosity, from its trumpet-like pattern in the opening “Fanfare” to the galloping, accompaniment of “Villes,” the diaphanous harmonics in “Phrase,” the duetting voice of a solo violin in “Antiques” and the thin bass line that is eventually distilled from the texture of “Parade.” — Carl R. Cunningham

The DSO most recently performed Britten’s Les Illuminations in July 2018, conducted by Michelle Merrill and featuring Sarah Shafer as soloist. The DSO first performed the piece in July 1968, conducted by Andre Kostelanetz and featuring Judith Raskin as soloist.

Symphony No. 1

Composed 1824 | Premiered 1824

FELIX MENDELSSOHN

B. February 3, 1809, Hamburg, Germany

D. November 4, 1847, Leipzig, Germany

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (Approx. 27 minutes)

The

1820s were, to say the least, an extraordinary decade in the history of the symphony genre. Beethoven’s

Symphony No. 9 premiered in early 1824, and his “Choral” symphony debuted in May of that year. Franz Schubert’s two masterworks of the genre, the B minor “Unfinished” symphony and the “Great” C major symphony, were both composed in the 1820s, though neither was performed until after Schubert’s death. And Hector Berlioz’s Symphonie Fantastique, the first programmatic symphony, was composed and premiered in 1830.

But let us not forget Felix Mendelssohn’s Symphony No. 1, premiered in 1824 and performed a handful of other times before the decade concluded. The normally traditional Mendelssohn departs from the conservative style of the late 18th century, pushing boundaries just as masterfully as Beethoven, Schubert, and Berlioz.

In the first movement, one can immediately hear the operatic drama and sudden changes of mood that would later characterize works by composers like Carl Maria von Weber. Also on display are elements of symphonic style clearly inspired by Mendelssohn’s knowledge of Mozart—the opening of the finale, for example, has more than a passing resemblance to the last movement of Mozart’s G minor symphony, K.550. Nevertheless, Mendelssohn’s own identity as a composer comes through with the brilliant orchestral style that would characterize many of his later symphonic works.

The DSO most recently performed Mendelssohn’s Symphony No. 1 in C minor in July 2018, conducted by Michelle Merrill. The DSO first performed the piece in July 1964, conducted by C. Valter Poole.

PROFILE

STEPHANIE CHILDRESS

Strong ideas, lucid communication, and intensely focused energy are among the qualities that define Stephanie Childress among today’s most compelling young musicians. Recently appointed Principal Guest Conductor of the Barcelona Symphony Orchestra, her musicianship and command of a broad scope of repertoire have led to renown on both sides of the Atlantic.

Inspired to start conducting due to her love of opera, the Franco-British conductor began the 2023–2024 season making her Hamburg Staatsoper debut in Die Entführung aus dem Serail and returning to Glyndebourne’s autumn season for Don Giovanni. Together they marked the latest milestone in the development of a fine Mozartian, hailed by the Guardian for the “lithe vitality” of her interpretation of Le nozze di Figaro at Glyndebourne and on tour last year. In the 2023–2024 season she will also make her conducting debut with Detroit Opera in Missy Mazzoli’s Breaking the Waves.

On the orchestral podium, Childress continues to be reinvited internationally and returns to the Barcelona and North Carolina symphonies. In North America, she will have debuts with the Cleveland Orchestra, Detroit Symphony Orchestra, and National Arts Centre Ottawa. In Europe, Childress will also make her first appearances with the Royal Philharmonic Orchestra, Ulster Orchestra, Royal Scottish National Orchestra, Polish National Radio Symphony Orchestra, and Dresden Philharmonic, and make her Japanese debut with the Yomiuri Nippon Symphony Orchestra.

2022–2023 season highlights included debuts with l’Orchestre national d’Île-deFrance, the Konzerthausorchester Berlin, and New World Symphony Orchestra, as well as returns to the North Carolina Symphony and l’Orchestre National de Montpellier. That season also marked the conclusion of her time as Assistant Conductor of the St. Louis Symphony Orchestra under Stéphane Denève and Music Director of the St. Louis Symphony Youth Orchestra, a post she held from September 2020.

Childress has very strong ties to the French cultural scene following her second-prize win at the 2020 inaugural conducting competition, La Maestra. Since then, she has conducted some of the top French orchestras including l’Orchestre de Paris, the Paris Mozart Orchestra, and l’Orchestre de Chambre de Paris. In September 2023, following her involvement as one of the first conducting fellows of l’Académie de l’Opéra de Paris, she made her debut at the Palais Garnier with l’Orchestre Pasdeloup for l’Opéra’s opening gala concert. In previous seasons, she has also made several exciting appearances with UK orchestras, including debuts with the London Symphony Orchestra, Philharmonia Orchestra, Royal Liverpool Philharmonic Orchestra, BBC Philharmonic Orchestra, and the London Mozart Players.

A passionate advocate for amplifying the role of music within today’s world, Childress previously undertook an artistic residence at the Villa Albertine, a network for arts and ideas spanning France and the United States. She is also a member of the Franco-British Young Leaders’ Program, created by the Franco-British Council to further cooperation across both sides of the Channel. Stephanie is an active supporter of the Tri-borough Music

Hub, an award-winning organization for music education. She has taken part in several programs with the association, including leading the junior string ensemble at an “Artists for Inclusivity” event and speaking at the Youth Music Conference 2020, held at the Royal College of Music.

ERIKA BAIKOFF

Russian American Soprano, Erika Baikoff, is a recent graduate of the Metropolitan Opera Lindemann Young Artist Development Program. As a Lindemann Young Artist, she sang the roles of Xenia in Mussorgsky’s Boris Godunov and Barbarina in Mozart’s Le nozze di Figaro At Nézet-Séguin’s invitation, she joined the Rotterdam Philharmonic Orchestra’s tour of Das Rheingold and was featured as the soprano soloist in Mahler’s Fourth Symphony with Rustioni and the Ulster Orchestra. Equally passionate about chamber music, she made her debuts with Schubertíada and the Chamber Music Society of Lincoln Center, both of which she will return to in future seasons. The 2023–2024 season includes debuts with the Houston Grand Opera, London Symphony Orchestra, and Ciclo de Lied.

From 2018 to 2020, Baikoff was a member of the Opéra National de Lyon Studio, where her roles included Le Feu/ Princesse/ Rossignol in Ravel’s L’Enfant et les Sortilèges, Juliet in Boris Blacher’s Romeo and Juliet, Anna in Verdi’s Nabucco, and the soprano solo in Mahler’s Fourth Symphony.

Baikoff is the first prize winner of the 2019 Helmut Deutsch Liedwettbewerb and the 10th Concours international de chant-piano Nadia et Lili Boulanger with her duo partner, Gary Beecher. Other awards include the 6th Prize, OratorioLied Prize, and Schubert Prize at the Tenor Viñas Contest, George London Award, Sullivan Foundation Career Development Grant, 2020 Metropolitan Opera National Council Auditions semi-finalist, Career Bridges Grant, Mondavi Young Artist Founders’ Prize, and the Bouchaine Young Artist Scholarship. Baikoff is an alum of the Atelier Lyrique at the Verbier Festival, where she sang Musetta in Puccini’s La bohème, and the Académie Vocal Residency of the Festival d’Aix-en-Provence. She holds a Bachelor of Arts in French Studies from Princeton University and a Master of Music from The Guildhall School of Music and Drama.

ROCKIN’ OUT WITH THE DETROIT SYMPHONY ORCHESTRA

BY LATOYA CROSS

Drumsticks used as a conductor’s

baton. Audience members rushing to the stage. A post-concert line of fans vying for the full set list. Group selfies with the band.

This is just a glimpse of the scene in Orchestra Hall when rock music radiates from the stage.

The fusion of the genre with the symphonic stylings of the Detroit Symphony Orchestra is an experience of epic proportions. Last October, legendary rock star Stewart Copeland of The Police fame delivered a high-energy concert with the orchestra performing hits including “Roxanne,” “Don’t Stand So Close to Me,” and “Message in a Bottle.” The one-night celebration featured Copeland on drums, Amy Keys, Carmel Helene, and Ashley Támar on vocals, and Armand SabalLecco on bass.

Audience members were committed to every lyric and the antics that amplified the night, including Copeland transitioning roles from drummer to conductor and

leading the orchestra with his drumsticks before tossing them into the audience; patron excitement erupting through the hall.

The musical pandemonium hit once again when Mick Adams graced the stage with the Windborne band, the DSO, and conductor Brent Havens for The Music of the Rolling Stones later in the season.

“There were packs of people dressed in Hot Lips logos and standing in the lobby, chatting with other fans. Once the concert began, it wasn’t long before Mick Adams had the audience on their feet, dancing along,” recalls Declan O’Neal, concert attendee. “For this concert, we were encouraged to get loud and cheer for our orchestra as they played. People were eager to dance and stand closer to the energy pulsating from the stage. It’s truly an experience like no other.”

At the top of February, the rock/soul sounds of Go Now! The Music of The Moody Blues under the baton of Michael Krajewski filled Orchestra Hall with a

two-night engagement featuring drummer Gordy Marshall and vocalist Mick Wilson. Patrons were treated to an orchestral blend of hits such as “Isn’t Life Strange,” “Nights in White Satin,” “Tuesday Afternoon,” and “Go Now.”

DSO flutist Amanda Blaikie had an exhilarating experience during the weekend concerts, performing a massive five-minute solo.

“There was blues, scales—some improv— and three charts that said stand, sit, stand... so I was probably up and down like eight times during each show. It was wild and so much fun,” she expressed in a post-concert social media video. “The crowd went wild. We had two sold out shows. I never had to stand up and play jazz rock flute into a mic. It was amazing!”

Part of classical music’s appeal is the way it can slip into any genre and add captivating instrumental elements that pull audience members into deep emotion; and its ability to paint vivid scenes through melody. In April, the DSO delivered progressive rock with The Music of Pink Floyd. Fan favorites like “Learning to Fly,” “Money,” “Comfortably Numb,” and selections from The Wall were played live in Orchestra Hall, allowing fans to enjoy the classics in a unique and memorable way.

Fused with electric blues, folk, rhythm and blues, and even country, rock is musical gumbo. There’s a fiery soul to it that ignites energy and an air of freeness, making for a concert adventure you don’t want to miss.

Your seat awaits this summer as the DSO performs Music of Elvis with Frankie Moreno on July 26. Moreno is known to electrify the stage with, “the style of the Rat Pack and the showmanship of an Elvis Presley performance,” as described in a Maryland Theatre Guide concert review of Vegas Nights with Frankie Moreno.

A five-time “Headliner of the Year” entertainer and multi-instrumentalist, Moreno will bring out the King of Rock’s notable moves and distinct vocal arrangements to pay tribute to his legacy. Under the baton of DSO Principal Pops Conductor Designate Enrico Lopez-Yañez, the celebration features big hits such as “King for a Night” and “All Shook Up,” to name a few.

In January 2025, Composer/Conductor/ Producer Steve Hackman shakes things up with an eclectic classical-rock presentation in Orchestra Hall, merging Radiohead’s Ok Computer album and Johannes Brahms’s Symphony No. 1 The performance offers a re-imagined experience of each work through the lens of the other, exploring the explosive tension and deep pathos they have in common. (Fun note: Hackman also brought the musical fusion of Beethoven and Coldplay to Orchestra Hall with the DSO. These presentations lean into the classical genre, but at the DSO, you can find delight in pairings you wouldn’t expect.)

From hits by Elvis, to Radiohead with Brahms and beyond, don’t miss these exciting celebrations of rock with your Detroit Symphony Orchestra!

ROCK OUT IN ORCHESTRA HALL!

MUSIC OF ELVIS WITH FRANKIE MORENO Friday, July 26, 2024

BRAHMS X RADIOHEAD with Steve Hackman Wednesday, January 8, 2025

Tickets: dso.org or 313.576.5111

Steve Hackman

The Fine Instrument Collection of the Detroit Symphony Orchestra

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

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

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

THE ANNUAL FUND

Gifts received between September 1, 2022 and February 29, 2024.

The DSO is a community-supported orchestra, and you can play your part through frequent ticket purchases and generous annual donations. Your tax-deductible Annual Fund donation is an investment in the wonderful music at Orchestra Hall, around the neighborhoods, and across the community. This honor roll celebrates those generous donors who made a gift of $1,500 or more to the DSO Annual Fund 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

Linda Dresner & Ed Levy, Jr.

DORATI SOCIETY - GIVING OF $100,000 & MORE

Mr. & Mrs.◊ Richard L. Alonzo

James & Patricia Anderson

Mr. & Mrs. Raymond M. Cracchiolo

Joanne Danto & Arnold Weingarden

Mr. & Mrs. Phillip Wm. Fisher

EHRLING SOCIETY - GIVING OF $50,000 & MORE

Mr. & Mrs. Richard A. Brodie

Lois & Avern ◊ Cohn

Ms. Karol Foss

Mr. & Mrs. Aaron Frankel

Mr. & Mrs. Ralph J. Gerson

Mary Ann & Robert Gorlin

Mr. & Mrs. James Grosfeld

Mr.◊ & Mrs. Norman H. Hofley

JÄRVI SOCIETY — GIVING OF $25,000 & MORE

Ms. Sharon Backstrom

Mrs. Cecilia Benner

Mr. & Mrs. Stephen Brownell

Dr. Mark & Karen Diem

Mrs. Marjory Epstein

Mr. Michael J. Fisher

Madeline & Sidney Forbes

Mr. & Mrs. Edsel B. Ford II

Mrs. Martha Ford

Dale & Bruce Frankel

Ronald M. & Carol◊ Horwitz

Mr.◊ & Mrs. Norman D. Katz

Mr. Alan J. & Mrs. Sue Kaufman

Morgan & Danny Kaufman

David* & Arlene Margolin

Mr. & Mrs. Stanley Frankel

Mr. & Mrs. Peter Karmanos, Jr.

Mr. & Mrs. James B. Nicholson

Mr. & Mrs. David Provost

Mrs. Richard C. Van Dusen

Shari & Craig Morgan

The Polk Family

Bernard & Eleanor Robertson

Drs. David & Bernadine Wu

Paul & Terese Zlotoff

Ric & Carola Huttenlocher

Mrs. Bonnie Larson

Nicole & Matt Lester

David & Valerie McCammon

Mr. & Mrs. Eugene A. Miller

Patricia & Henry ◊ Nickol

Mr. & Mrs. Arn Tellem

Steven & Beth Margolin

Xavier & Maeva Mosquet

Mr. David Nicholson

Ms. Ruth Rattner

Martie & Bob Sachs

Mrs. Patricia Finnegan Sharf

Mr. & Mrs. James H. Sherman

Mr. & Mrs. Larry Sherman

Nancy & Alan* Simons

Richard Sonenklar & Gregory Haynes

Dr. Doris Tong & Dr. Teck M. Soo

Mr. & Mrs. Gary Torgow

Peter & Carol Walters

S. Evan & Gwen Weiner

And one who wishes to remain anonymous

GABRILOWITSCH SOCIETY

Mr. & Mrs. Robert A. Allesee ◊

Diane Allmen

Dr. Lourdes V. Andaya

Janet & Norman Ankers

Pamela Applebaum

Drs. Brian & Elizabeth Bachynski

Drs. John ◊ & Janice Bernick

Ms. Debra Bonde

Gwen & Richard Bowlby

Michael & Geraldine Buckles

Ms. Elena Centeio

Thomas W. Cook & Marie L. Masters

Gail Danto & Art Roffey

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

Adel & Walter Dissett

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

Jim & Margo Farber

Sally & Michael Feder

Dr. Saul & Mrs. Helen Forman

Barbara Frankel◊ & Ronald Michalak

Herman & Sharon Frankel

Mrs. Janet M. Garrett

Victor & Gale Girolami ◊

Ruth & Al◊ Glancy

Dr. Robert T. Goldman

GIVING OF $5,000 & MORE

Mrs. Denise Abrash

Mrs. Jennifer Adderley

Richard & Jiehan Alonzo

Dr. & Mrs. Joel Appel

Mr. David Assemany & Mr. Jeffery Zook*

Mr. & Mrs. William C. Babbage

Ms. Ruth Baidas

James A. Bannan

Dr. David S. Balle

James A. Bannan

Mr. Patrick Barone

Mr. Joseph Bartush

W. Harold & Chacona W. Baugh

Ms. Therese Bellaimey

Mr. William Beluzo

Hadas & Dennis Bernard

Mr. & Mrs. Jeffrey A. Berner

Mr. Michael G. Bickers

Timothy J. Bogan

Ms. Nadia Boreiko

Mr. Anthony F. Brinkman

Claire P. & Robert N. Brown

Dr. & Mrs. Roger C. Byrd

Richard Caldarazzo & Eileen Weiser

Philip & Carol Campbell

Mrs. Carolyn Carr

Mr.◊ & Mrs. François Castaing

Mr. & Mrs. Andrew Christians

Mr.◊ & Mrs. James A. Green

Mary Lee Gwizdala

Mr. & Mrs. Robert Hage

Judy ◊ & Kenneth Hale

Ms. Nancy B. Henk◊

Michael E. Hinsky & Tyrus N. Curtis

Ms. Carole Illitch

Renato & Elizabeth Jamett

Mr. & Mrs. Richard J. Jessup

William & Story John

Lenard & Connie Johnston

Dr. David & Mrs. Elizabeth Kessel

Mr. & Mrs. Kosch

Bud & Nancy Liebler

Mr. & Mrs.◊ Joseph Lile

Dana Locniskar & Christine Beck

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

Mr. Fred J. Chynchuk

Dr. & Mrs. Charles G. Colombo

Ms. Elizabeth Correa

Mr.◊ & Mrs. Gary L. Cowger

Dr. Edward & Mrs. Jamie Dabrowski

Mr. & Mrs. Charles W. Dare

Lillian & Walter Dean

Mr. & Mrs. Richard L. DeVore

Dr. Anibal & Vilma Drelichman

Elaine C. Driker

Ms. Ruby Duffield

Margie Dunn & Mark Davidoff

Randall & Jill* Elder

Dr. & Mrs. A. Bradley Eisenbrey

Mr. Lawrence Ellenbogen

Ms. Laurie Ellias & Mr. James Murphy

Marianne T. Endicott

Mr. & Mrs. John M. Erb

Mr. Peter Falzon

Fieldman Family Foundation

Dr. & Mrs. Franchi

Ms. Marci Frick

Mr.◊ & Mrs. Richard M. Gabrys

Alan M. Gallatin

Mr. Max Gates

Ambassador Yousif B. Ghafari & Mrs. Mara Kalnins-Ghafari

Allan D. Gilmour & Eric C. Jirgens

George & Jo Elyn Nyman

Debra & Richard Partrich

Kathryn & Roger Penske

Dr. Glenda D. Price

Dr. Heather Richter

Dr. Erik Rönmark* & Mrs. Adrienne Rönmark*

Mr. & Mrs. Robert B. Rosowski

Peggy & Dr. Mark B. Saffer

Mr. & Mrs. Alan E. Schwartz ◊

Elaine & Michael Serling

Lois & Mark Shaevsky

William H. Smith ◊

Charlie & John Solecki

Mr. & Mrs. John Stroh III

Joel & Shelley Tauber

Emily & Paul Tobias

Ms. Marie Vanerian

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

Dr. & Mrs. Theodore Golden

Goodman Family Charitable Trust

Dr. Herman & Mrs. Shirley Mann Gray

Ms. Chris Gropp

Leslie Groves* & Joseph Kochanek

Mr. Sanford Hansell & Dr. Raina Ernstoff

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

Mr. Donald & Marcia Hiruo

Mr. Matthew Howell & Mrs. Julie Wagner

Mr. & Mrs. Kent Jidov

Mr. George G. Johnson

Paul & Karen Johnson

Carol & Rick Johnston

Paul & Marietta Joliat

Mr. & Mrs. Steven Kalkanis

Judy & David Karp

Mike & Katy Keegan

Betsy & Joel Kellman

John Kim & Sabrina Hiedemann

Dr. & Mrs. Edward L. Klarman

Dr. Sandy Koltonow & Dr. Mary Schlaff

Ms. Susan Deutch Konop

Barbara & Michael Kratchman

Richard & Sally Krugel

Deborah Lamm

Dr. Raymond Landes & Dr. Melissa McBrien-Landes

Bill & Kathleen Langhorst

Mr. Leonard LaRocca

LeFevre Family

Max Lepler & Rex L. Dotson

Mr. & Mrs. Robert K. Leverenz

Bob & Terri Lutz

Daniel & Linda* Lutz

Mrs. Sandra MacLeod

Mr. & Mrs. Winom J. Mahoney

Cis Maisel

Dr. Stephen & Paulette Mancuso

Maurice Marshall

Patricia A.◊ & Patrick G. McKeever

Joy & Allan Nachman

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

Charlene & Michael Prysak

Drs. Yaddanapudi Ravindranath & Kanta

Bhambhani

Mr. & Mrs. Dave Redfield

Mr. & Mrs. Gerrit Reepmeyer

Dr. & Mrs. John Roberts

The Steven Della Rocca Memorial Fund/ Courtenay A. Hardy

Ms. Patricia Rodzik

Michael & Susan Rontal

Mr. Ronald Ross & Ms. Alice Brody

Mr. Chris Sachs

Mr. David Salisbury & Mrs. Terese Ireland Salisbury

Marjorie Shuman Saulson

Lucia Zamorano, M.D. GIVING OF $5,000 & MORE,

Mr. & Mrs. Matthew Simoncini

William & Cherie Sirois

Michael E. Smerza & Nancy Keppelman

Mrs. Kathleen Straus & Mr. Walter Shapero

David Szymborski & Marilyn Sicklesteel

Dr. & Mrs. Howard Terebelo

Dr. Barry Tigay

Alice ◊ & Paul Tomboulian

Charles ◊ & Sally Van Dusen

Mrs. Eva von Voss

Mr. Michael A. Walch & Ms. Joyce Keller

Dr. & Mrs. Ned Winkelman

Cathy Cromer Wood

Ms. June Wu

Ms. Gail Zabowski

Ms. Jacqueline Paige & Mr. David Fischer

Mr. David Phipps & Ms. Mary Buzard

William H. & Wendy W. Powers

GIVING OF $2,500 & MORE

Nina Dodge Abrams

Mr. Juan Alvarez

Mr. & Mrs. Robert L. Anthony

Drs. Kwabena & Jacqueline Appiah

Mr. Eduardo Arciniegas

Dr. & Mrs. Ali-Reza R. Armin

Pauline Averbach & Charles Peacock

Mr. Joseph Aviv & Mrs. Linda Wasserman

Mrs. Jean Azar

Ellie & Mitch Barnett

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

Mr. & Mrs. Martin S. Baum

Mr. & Mrs. Richard Beaubien

Mr. Abraham Beidoun

Dr. George & Joyce Blum

Nancy & Lawrence Bluth

Ms. Kristin Bolitho

John ◊ & Marlene Boll

The Achim & Mary Bonawitz Family

The Honorable Susan D. Borman & Mr.

Stuart Michaelson

Don & Marilyn Bowerman

Mr. & Mrs. Mark R. Buchanan

Dr. Robert Burgoyne & Tova Shaban

Virginia Burkel

Sandra & Paul Butler

Mr. & Mrs. Brian C. Campbell

Dr. & Mrs.◊ Thomas E. Carson

Mr.◊ & Mrs. Robert J. Cencek

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

Burleson

Ronald ◊ & Lynda Charfoos

Dr. Betty Chu

Mr. William Cole & Mrs. Carol Litka Cole

Mr. & Mrs. Brian G. Connors

Dr. & Mrs. Bryan & Phyllis Cornwall

Patricia & William ◊ Cosgrove, Sr.

Ms. Joy Crawford* & Mr. Richard Aude

Mr. & Mrs. Matthew P. Cullen

Mrs. Barbara Cunningham

Suzanne Dalton & Clyde Foles

Deborah & Stephen D’Arcy Fund

Sandy Schreier

Robert & Patricia Shaw

Mr. Norman Silk & Mr. Dale Morgan

Maureen T. D’Avanzo

DeLuca Violin Emporium

Dr. & Mrs. Thomas Ditkoff

Diana & Mark Domin

Ms. Felicia Donadoni

Ms. Marla Donovan

Paul◊ & Peggy Dufault

Edwin & Rosemarie ◊ Dyer

Mr. & Mrs. John M. Erb

Dave & Sandy Eyl

Hon. Sharon Tevis Finch

John & Karen Fischer

Ms. Joanne Fisher

Dorothy A. & Larry L. Fobes

Amy & Robert Folberg

Mr. & Ms. Henry Ford III

Ms. Linda Forte & Mr. Tyrone Davenport

Kit & Dan Frohardt-Lane

Lynn & Bharat Gandhi

Stephanie Germack

Thomas M. Gervasi

Mr. & Mrs. James Gietzen

Mr. & Mrs. Robert W. Gillette

Dr. Kenneth ◊ & Roslyne Gitlin

Ms. Jody Glancy

Mr. Lawrence Glowczewski

Dr. William & Mrs. Antoinette Govier

Ms. Jacqueline Graham

Dr. Darla Granger & Mr. Luke Ponder

Diane & Saul Green

Anne & Eugene Greenstein

Sharon Lopo Hadden

Dr.◊ & Mrs. David Haines

Robert & Elizabeth Hamel

Thomas & Kathleen Harmon

Cheryl A. Harvey

Ms. Barbara Heller

Ms. Karla Henry-Morris & Mr. William H. Morris

Ms. Doreen Hermelin

Mr. & Mrs. Peter Hollinshead

The Honorable Denise Page Hood &

Reverend Nicholas Hood III

James Hoogstra & Clark Heath

Mr. F. Robert Hozian

Dr. Karen Hrapkiewicz

Sam G. Huszczo

Larry & Connie Hutchinson

Ms. Elizabeth Ingraham

Carolyn & Howard Iwrey

Dr. Raymond E. Jackson & Dr. Kathleen Murphy

Mr. John S. Johns

Mr. William & Mrs. Connie Jordan

Diane & John Kaplan

Lucy & Alexander* Kapordelis

Bernard & Nina Kent Philanthropic Fund

Mrs. Frances King

Aileen & Harvey Kleiman

Thomas ◊ & Linda Klein

Tom ◊ & Beverly Klimko

Mr. & Mrs. Ludvik F. Koci

Mr. & Mrs. Robert Koffron

Douglas Korney & Marieta Bautista

James Kors & Victoria King

Ms. Jennette Smith Kotila

George M. Krappmann* & Lynda BurburyKrappmann

Mr. Michael Kuhne

Mr. & Mrs. Robert LaBelle

Dr. & Mrs. Gerald Laker

Mr. David Lalain & Ms. Deniella OrtizLalain

Drs. Lisa & Scott Langenburg

Ms. Sandra Lapadot

Ms. Anne T. Larin

Dr. Lawrence O. Larson

Dr. Jonathan Lazar

Mr. Henry P. Lee ◊

Drs. Donald & Diane Levine

Arlene & John Lewis

Mr. Dane Lighthart & Ms. Robyn Bollinger*

David & Clare Loebl

Mr. John Lovegren & Mr. Daniel Isenschmid

Mr. Sean Maloney & Mrs. Laura PepplerMaloney

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

Melissa & Tom Mark

Barbara J. Martin

Brian & Becky McCabe

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

Mr. Edward McClew

Mr. Anthony Roy McCree

Ms. Mary McGough

Ms. Kristen McLennan

Dr. Donald & Barbara Meier

Dr. & Mrs. David Mendelson

Mr. & Mrs. Randall Miller

Mr. Keith Mobley

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. Frederick Morsches & Mr. Kareem George

Ms. Jennifer Muse

Ms. I. Surayyah R. Muwwakkil

Mr. & Mrs. George Nicholson

Megan Norris & Howard Matthew

Lisa & Michael O’Brien

Mr. & Mrs. Robert Obringer

Mr. & Mrs. Arthur T. O’Reilly

Mr. Tony Osentoski & Mr. David Ogloza

Terry E. Packer

Mr. & Mrs. Randy G. Paquette

Mark Pasik & Julie Sosnowski

GIVING OF $1,500 & MORE

Ms. Jacqueline Adams

Mrs. Lynn E. Adams

Mr. & Mrs. Joel Adelman

William Aerni & Janet Frazis

Dr. & Mrs. Gary S. Assarian

Drs. Richard & Helena Balon

Mr. & Mrs. David W. Berry

Mr. and Mrs. John Bishop

Mr. & Mrs. Richard Burstein

Mr. & Mrs. Byron Canvasser

Steve & Geri Carlson

Mr. & Mrs. Robert J. Colombo

Catherine Compton

Mr. & Mrs. David Conrad

Mr. & Mrs. John Courtney

Gordon & Elaine Didier

Mr. & Mrs. Walter E. Douglas

Mrs. Connie Dugger

Mr. Howard O. Emorey

Burke & Carol Fossee

Dr. & Ms. E. Bruce Geelhoed

Frank & Elyse Germack

Mr. Joseph & Mrs. Lois Gilmore

Mr. & Mrs. Stanley Hirt

Jean Hudson

Priscilla & Huel Perkins

Peter & Carrie Perlman

Ms. Alice Pfahlert

Benjamin B. Phillips

Mr. & Mrs. William A. Reed

Dr. Claude & Mrs. Sandra Reitelman

Denise Reske

Mr. & Mrs. John Rieckhoff

Mr. & Mrs. Jon Rigoni

Ms. Linda Rodney

Seth & Laura Romine

Mr.◊ & Mrs. Gerald F. Ross

Linda & Leonard Sahn

Ms. Joyce E. Scafe

Ms. Martha A. Scharchburg & Mr. Bruce Beyer

Mr. & Mrs. Donald and Janet Schenk

Shirley Anne & Alan Schlang

Joe & Ashley Schotthoefer

Catherine & Dennis B. Schultz

Sandy ◊ & Alan Schwartz

Mrs. Rosalind B. Sell

Mr. Jeffrey S. Serman

Carlo & Nicole Serraiocco

Shapero Foundation

Bill* & Chris Shell

Dr. Les Siegel & Ellen Lesser Siegel

Dean P. & D. Giles Simmer

Ralph & Peggy Skiano

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

Ms. Susan Smith

Shirley R. Stancato

Peter & Patricia Steffes

Mr. & Ms. Charles Jacobowitz

Ms. Nadine Jakobowski

Dr. & Mrs. Leonard B. Johnson

Dr. Judith Jones

Carole Keller

Mr. & Mrs. Gerd H. Keuffel

Elissa & Daniel Kline

Mr. & Mrs.◊ Gregory Knas

Mr. Robert Kosinski

Mr. & Mrs. William Kroger, Jr.

Mr. & Mrs. Richard Manning

Steve & Brenda Mihalik

Dr. & Mrs. Richard Miller

Carolyn & J. Michael Moore

Muramatsu America Flutes

Dr. William W. O’Neill

Rachel L. & Joshua F. Opperer

Ken & Geralyn Papa

Anne Parsons ◊ & Donald Dietz

Mr. & Mrs. Mark H. Peterson

Mrs. Anna M. Ptasznik

Mr. & Mrs. Richard Rapson

Drs. Renato & Daisy Ramos

Mr. & Mrs. Rodney Rask

Ms. Elana Rugh

Mrs. Andreas H. Steglich

Dr. Gregory Stephens

Mr. Mark Stewart & Mr. Anonio GamezGalaz

Nancy C. Stocking

Dr. & Mrs. Gerald Stollman

Mr. & Mrs.◊ John Streit

Dr. & Mrs. Choichi Sugawa

Dr. Neil Talon

Mr. Rob Tanner

Mr. & Mrs. James W. Throop ◊

Yoni & Rachel Torgow

Barbara & Stuart Trager

Tom & Laura Trudeau

Amanda Van Dusen & Curtis Blessing

Gerald & Teresa Varani

Mr. William Waak

Dr.◊ & Mrs. Ronald W. Wadle

Richard P. & Carol A. Walter

Mr. Patrick Webster

David R. Weinberg, Ph.D.

Beverly & Barry Williams

Elizabeth & Michael Willoughby

Rissa & Sheldon Winkelman

Ms. Andrea L. Wulf

Ms. Eileen Wunderlich

Dr. Sandra & Mr. D. Johnny Yee

Mr. & Mrs. Wesley Yee

Ms. Ellen Hill Zeringue

And nine who wish to remain anonymous

Mr. & Mrs. James P. Ryan

Brian & Toni Sanchez-Murphy

Dr. & Mrs. Hershel Sandberg

Ms. Rosemarie Sandel

Dr. & Mrs. Richard S. Schwartz

Mr. & Mrs. Kingsley G. Sears

Ms. Sandra Shetler

Mr. Konstantin Shirokinskiy

Ms. Sandra Shetler

Mr. Jon Steiger

Mr. Jt Stout

Ms. Amanda Tew*

David & Lila Tirsell

Dennis & Jennifer Varian

Mr. Barry Webster

Ms. Janet Weir

Janis & William Wetsman/The Wetsman

Foundation

Ms. Joan Whittingham

Mr. & Mrs.◊ Richard Wigginton

Mr. Francis Wilson

Mr. & Mrs. Michael Zerkich

And one who wishes to remain anonymous

TRIBUTE GIFTS

Gifts received – November 16, 2023 – February 29, 2024

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

Dr. Lourdes V. Andaya

Adel & Walter Dissett

Jeffrey Andonian

Dr. & Mrs. James Andonian

Mr. David Assemany

Mr. Mark McManus

Mark Blaquiere & Cathey Ann Fears

Ms. Sonya Perchikovsky

Harriet & Dick Cooper

Ms. Sonya Perchikovsky

Mr. James S. Garrett

Mr. & Mrs. Timothy LeVigne

Mozart Hunter

Mr. & Mrs. Christopher Hunter

Mrs. Ann Katz

Ms. Ruth Rattner

Thomas Barick

Michael Banks

Mr. Thomas Barick

M. Patricia Finn

Jill Law

Margaret Lawrence

Ellen Link

Geraldine Markel

Janice Milhem

Dave Spratt

Gladys & Julius Barr

Mr. & Mrs. Benson J. Barr

Marcus Belgrave

Hugh & Kathy Leal

Dr. John Bernick

Ilene Fruitman

Ann Kyzar

Lloyd Cheney

Mrs. Marcia Cheney

Stuart & Therese Dow

Sarah Reimers

John Dreifus

John Aoun

Mr. & Ms. Rob

Bloomberg

Bella Brokenthal

Michele Chapnick

John & Sharon Cini

Couzens, Lansky, Fealk, Ellis, Roeder & Lazar, P.C.

Jeff & Mary Dragon

Cheryl Dworman

Joanne Fisher

Mr. Michael Ma

Mr. Andrew Richner

Faye & Seymour Okun

Ms. Ruthanne Okun

Madeline O’Neill

Mr. & Mrs. Reginald O’Neal

William & Ann Ramroth

Erica Seidel

James Rose III

Mr. & Mrs. James Rose Jr.

In Memory

Mr. & Ms. Stuart Freedland

Terry Holmes

Mrs. Joann Honigman

Dr. & Mrs. Joseph Jacobson

Lilly Jacobson

Ms. Naomi Laker

Mr. & Mrs. Robb Lippitt

Myra Lipton

Dr. & Mrs. Lawrence

Mendelsohn

Joy & Allan Nachman

Dr. Arthur Rose

Eli Saulson

Kim R. Saxe

Ms. Lori Schechter

Loretta Schuster

Joan Shanley

Pamela Shanley

Amy Shefman

David Traitel

Carol Wolfe

Dr. & Mrs. Philip Wolok

Ms. Esther Young

Mr. Eugene Driker

Driker Family Foundation

Sophia Holley Ellis & Oscar Holley

Timothy Holley

Mrs. Helen Fildew

Ms. Paula-Rose Stark

Dr. Doreen Ganos

Dr. Meghan G. Liroff

Mrs. Gale Girolami

Lynn Bogart

Bill Goodman

Ms. Susan Gzesh

Robert Goren

Gayle R. Beck

Mr. Robert Goren

Cathryn Hondros

Denise McGuire

Kendra Miller

Sally Murphy

Sheila Murphy

Mr. & Mrs. David L. Osher

David Reeves

Mr. & Mrs. Howard

Rosen

Ms. Susan Solarz

Patricia Hoff

Seth Hoff

Steve Kemp

Cassie Brenske

Carole Keller

Ms. Bree Kneisler

Shanda Lowery-Sachs

Vickie, David, & Rollie

Edwards

Mr. & Mrs. Al Lowery

Drs. David & Bernadine

Wu

Marion W. Pahl

Pahl Zinn

Richard May

Mr. & Ms. Don Witsil

Marie Slotnik

Mrs. Judith Schultheiss

Johanna Wayne

Ms. Marsha Billes

Haixin Wu

Yuson Jung & James J. Kim

Jay Zerwekh

Elaine C. Driker

Anne Parsons The Clinton Family Fund

Patricia Paruch

David Paruch

Alex Peabody Anonymous

Gilbert Pendolino

Melissa Hood

Mrs. Barbara Pendolino

Mrs. Debra Rodriguez

Sandra Toenjes

James Saindon

Mr. John Saindon

Sharon Singer

Mrs. Tracy Phillips

Al Steger

Ms. Kathleen Baltman

Anne Marie Stricker

Torben L. Winther

Bob Tronstein

Steve Tronstein

Richard Tschirhart

Mr. & Mrs. Ferid Ahmed

Paul Barach

Mr. & Mrs. Shimon Edut

Donna Raphael

Allyson Reinhardt

Mr. Richard Tanghe

Ayten & Nasut Uzman

James Akif Uzman

Giving of $500,000 & more

SAMUEL & JEAN FRANKEL FOUNDATION

Giving of $200,000 & more

Giving of $100,000 & more

MARVIN & BETTY DANTO FAMILY FOUNDATION

EMORY M. FORD JR. ENDOWMENT FUND

Giving of $50,000 & more

The Paul M. Angell Family Foundation

Huntington

MASCO Corporation

MGM Grand Detroit

Milner Hotels Foundation

National Endowment for the Arts

Penske Foundation, Inc.

Donald R. Simon & Esther Simon Foundation

Matilda R. Wilson Fund

Giving of $20,000 & more

Mandell & Madeleine Berman Foundation

Eleanor & Edsel Ford Fund

Henry Ford II Fund

JPMorgan Chase

Myron P. Leven Foundation

Michigan Arts & Culture Council

Stone Foundation of Michigan

Wolverine Packing

Giving of $10,000 & more

Cassie Family Foundation

Geoinge Foundation

Honigman LLP

Laskaris-Jamett Advisors

Oliver Dewey Marcks Foundation

Karen & Drew Peslar Foundation

Sun Communities Inc.

Varnum LLP

Burton A. Zipser & Sandra D. Zipser Foundation

Giving of $5,000 & more

Applebaum Family Philanthropy

Creative Benefit Solutions, LLC

Fisher Funeral Home & Cremation Services

Benson & Edith Ford Fund

Hylant Group

Marjorie & Maxwell Jospey Foundation

KPMG LLP

Meemic

Sigmund & Sophie Rohlik Foundation

Taft Law

Warner Norcross + Judd LLP

Wisne Charitable Foundation

Giving of $1,000 & more

Coffee Express Roasting Company

The Cassie Family Foundation

Jack, Evelyn, & Richard Cole Family Foundation

Frank & Gertrude Dunlap Foundation

Enterprise Holdings Foundation

EY

James & Lynelle Holden Fund

Japan Business Society of Detroit Foundation

Josephine Kleiner Foundation

Dolores & Paul Lavins Foundation

Ludwig Foundation Fund

Madison Electric Company

Michigan First Credit Union

Plante Moran

Renaissance (MI) Chapter of the Links

Louis & Nellie Sieg Foundation

Samuel L. Westerman Foundation

CELEBRATING YOUR LEGACY SUPPORT

BARBARA VAN DUSEN, Honorary Chair

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

Ms. Doris L. Adler

Dr. & Mrs. William C. Albert

Mr. & Mrs. Robert A. Allesee ◊

Dr. Lourdes V. Andaya

Mr. & Mrs. Eugene Applebaum ◊

Dr. Augustin & Nancy ◊ Arbulu

Mr. David Assemany

& Mr. Jeffery Zook*

Ms. Sharon Backstrom

Sally & Donald Baker

Mr. & Mrs. Lee Barthel

Mr. Mark G. Bartnik

& Ms. Sandra J. Collins

Stanley A. Beattie

Mr. & 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 F. Christner

Mr. Gary Ciampa

Robert & Lucinda Clement

Drs. William ◊ & Janet Cohn

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

Ms. Dorothy Fisher ◊

Mrs. Marjorie S. Fisher ◊

Mr. & Mrs. Phillip Wm. Fisher

Dorothy A. & Larry L. Fobes

Samuel & Laura Fogleman

Mr. Emory Ford, Jr.◊ Endowment

Dr. Saul & Mrs. Helen Forman

Barbara Frankel ◊ & Ron Michalak

Herman & Sharon Frankel

Mrs. Rema Frankel ◊

Jane French ◊

Mark & Donna Frentrup

Alan M. Gallatin

Janet M. Garrett

Dr. Byron P.◊ & Marilyn Georgeson

Jim & Nancy Gietzen

Mr. Joseph & Mrs. Lois Gilmore

Victor ◊ & Gale Girolami

Ruth & Al◊ Glancy

David & Paulette Groen

Mr. Gerald Grum ◊

Rosemary Gugino

Mr. & Mrs. William Harriss

Donna & Eugene Hartwig

Ms. Nancy B. Henk

Joseph L. Hickey

Mr. & Mrs. Thomas N. Hitchman

Ronald M. & Carol◊ Horwitz

Andy Howell

Carol Howell◊

Paul M. Huxley & Cynthia Pasky

David & Sheri Jaffa

Mr. & Mrs. Thomas H. Jeffs II

Mr. & Mrs. Richard J. Jessup

Mr. George G. Johnson

Ms. Carol Johnston

Lenard & Connie Johnston

Carol M. Jonson

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

Eric & Ginny Lundquist

Harold Lundquist ◊ & Elizabeth Brockhaus Lundquist

Roberta Maki

Eileen & Ralph Mandarino

Judy Howe Masserang

Mr. Glenn Maxwell

Ms. Elizabeth Maysa ◊

Mary Joy McMachen, Ph.D.

Judith Mich ◊

Rhoda A. Milgrim

Mr. & Mrs. Eugene A. Miller

John & Marcia Miller

Jerald A. & Marilyn H. Mitchell

Mr.◊ & Mrs. L. William Moll

Shari & Craig Morgan

Ms. I. Surayyah R. Muwwakkil

Joy & Allan Nachman

Geoffrey S. Nathan & Margaret E. Winters

Beverley Anne Pack

David & Andrea Page ◊

Mr. Dale J. Pangonis

Ms. Mary Webber Parker ◊

Mr. David Patria & Ms. Barbara Underwood ◊

Mrs. Sophie Pearlstein ◊

Helen & Wesley Pelling ◊

Dr. William F. Pickard

Mrs. Bernard E. Pincus

Ms. Christina Pitts

Mrs. Robert Plummer ◊

Mr. & Mrs. P. T. Ponta

Mrs. Mary Carol Prokop ◊

Ms. Linda Rankin & Mr. Daniel Graschuck

Mr. & Mrs. Douglas J. Rasmussen

Ms. Elizabeth Reiha ◊

Deborah J. Remer

Mr. & Mrs. Lloyd E. Reuss ◊

Barbara Gage Rex ◊

Ms. Marianne Reye

Lori-Ann Rickard

Katherine D. Rines

Bernard & Eleanor Robertson

Ms. Barbara Robins

Jack & Aviva Robinson ◊

Mr.◊ & Mrs. Gerald F. Ross

Mr. & Mrs. George Roumell

Marjorie Shuman Saulson

Ruth Saur Trust

Mr. & Mrs. Donald and Janet Schenk

Ms. Yvonne Schilla

David W. Schmidt ◊

Mr. & Mrs. Fred Secrest ◊

Mr. & Mrs. Robert L. Shaffer ◊

Patricia Finnegan Sharf

Ms. Marla K. Shelton

Edna J. Shin

Ms. June Siebert

Mr. & Mrs. Donald R. Simon ◊

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

David & Sandra Smith

Ms. Marilyn Snodgrass ◊

Mrs. Margot Sterren ◊

Mr. & Mrs. Walter Stuecken

Mr.◊ & Mrs. Alexander C. Suczek

David Szymborski & Marilyn Sicklesteel

Alice ◊ & Paul Tomboulian

Roger & Tina Valade

Charles ◊ & Sally Van Dusen

Mrs. Richard C. Van Dusen

Mr. & Mrs. Melvin VanderBrug

Mr. & Mrs. George C. Vincent ◊

Mr. Sanford Waxer ◊

Christine & Keith C. Weber

Mr. Herman Weinreich ◊

John ◊ & Joanne Werner

Mr.◊ & Mrs. Arthur Wilhelm

Mr. Robert E. Wilkins ◊

Mrs. Michel 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

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

Mrs. Katana H. Abbott*

Mr. Joseph Aviv

Mr. Christopher Ballard*

Ms. Jessica B. Blake, Esq.

Ms. Rebecca J. Braun

Mr. Timothy Compton

Ms. Wendy Zimmer Cox*

Mr. Robin D. Ferriby*

Mrs. Jill Governale*

Mr. Henry Grix*

Mrs. Julie Hollinshead, CFA

Mr. Mark W. Jannott, CTFA

Ms. Jennifer Jennings*

Ms. Dawn Jinsky*

Mrs. Shirley Kaigler*

Mr. Robert E. Kass*

Mr. Christopher L. Kelly

Mr. Bernard S. Kent

Ms. Yuh Suhn Kim

Mrs. Marguerite Munson Lentz*

Mr. J. Thomas MacFarlane

Mr. Christopher M. Mann*

Mr. Curtis J. Mann

Mrs. Mary K. Mansfield

Mr. Mark E. Neithercut*

Mr. Steve Pierce

Ms. Deborah J. Renshaw, CFP

Mr. James P. Spica

Mr. David M. Thoms*

Mr. John N. Thomson, Esq.

Mr. Jason Tinsley*

Mr. William Vanover

Mr. William Winkler

*Executive Committee Member

Share the music of the DSO with future generations

INCLUDE THE DSO AS A BENEFICIARY IN YOUR WILL

Remembering the DSO in your estate plans will support the sustainability and longevity of our orchestra, so that tomorrow’s audience will continue to be inspired through unsurpassed musical experiences. If you value the role of the DSO—in your life and in our community—

please consider making a gift through your will, trust, life insurance, or other deferred gift.

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

DETROIT SYMPHONY ORCHESTRA

YOUR EXPERIENCE AT THE MAX

Our Home on Woodward Avenue

The Max M. and Marjorie S. Fisher Music Center is one of Detroit’s most notable cultural campuses. The Max includes three main performance spaces: historic Orchestra Hall, the Peter D. and Julie F. Cummings Cube (The Cube), and Robert A. and Maggie Allesee Hall, plus our outdoor green space, Sosnick Courtyard. All are accessible from the centrally located William Davidson Atrium. The Jacob Bernard Pincus Music Education Center is home to the DSO’s Wu Family Academy and other music education offerings. The DSO is also proud to offer The Max as a performance and administrative space for several local partners.

Parking

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

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

What Should I Wear?

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

Food and Drink

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

Patrons are welcome to bring drinks to their seats at

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

Accessibility

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

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

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

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

THE MAX M. & MARJORIE S. FISHER MUSIC CENTER

3711 Woodward Avenue Detroit, MI 48201

Box

Visit the DSO online at dso.org

For general inquiries, please email info@dso.org

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

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

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

WiFi

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

Shop DSO Merchandise

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

The Herman and Sharon Frankel Donor Lounge

Governing Members can enjoy complimentary beverages, appetizers, and desserts in the Donor Lounge, open 90 minutes prior to each concert through the end of intermission. For more information on becoming a Governing Member, contact 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/rentals or call 313.576.5131 for more information.

POLICIES

SEATING

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

TICKETS, EXCHANGES, AND CONCERT CANCELLATIONS

n All sales are final and non-refundable.

PHONES

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

PHOTOGRAPHY & RECORDING

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

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

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

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

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

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

SMOKING

Smoking and vaping are not allowed anywhere in The Max.

ADMINISTRATIVE STAFF

EXECUTIVE OFFICE

Erik Rönmark

President and CEO

James B. and Ann V. Nicholson Chair

Jill Elder Vice President and Chief Revenue Officer

Linda Lutz Vice President and Chief Revenue & Financial Officer

Joy Crawford Executive Assistant to the President and CEO

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

Anne Parsons ◊ President Emeritus

ARTISTIC OPERATIONS

ARTISTIC PLANNING

Jessica Ruiz

Senior Director of Artistic Planning

Jessica Slais Creative Director of Popular & Special Programming

Stephen Grady Jr. Manager of Jazz & @ The Max

Lindzy Volk Artist Liaison

William Dailing Department Head

Zach Deater Department Head

Isaac Eide Department Head

Kurt Henry Department Head

Matthew Pons Senior Audio Department Head

Dennis Rottell Stage Manager

Jason Tschantre Department Head

LIVE FROM ORCHESTRA HALL

Marc Geelhoed Executive Producer of Live from Orchestra Hall

ORCHESTRA OPERATIONS

Kathryn Ginsburg General Manager

Patrick Peterson Director of Orchestra Personnel & Operations

Benjamin Brown Production Manager

Nolan Cardenas Auditions & Operations Coordinator

Benjamin Tisherman Manager of Orchestra Personnel

LIBRARY

Robert Stiles Principal Librarian

Ethan Allen Assistant Principal Librarian

Bronwyn Hagerty Orchestra and Training Programs Librarian

ADVANCEMENT

Alex Kapordelis Senior Director of Advancement

Ali Huber Director of Donor Engagement

Colleen McLellan Director of Institutional & Legislative Partnerships

Cassidy Schmid Director of Individual Giving

Amanda Tew Director of Advancement Operations

Leslie Groves Major Gift Officer

Bryana Hall Data & Research Specialist

Jane Koelsch Major Gift Officer

Francesca Leo Manager of Governance and Donor Engagement

Elizabeth McConnell Stewardship Coordinator

Juanda Pack Advancement Benefits Concierge

Susan Queen Gift Officer, Corporate Giving

Joseph Sabatella Fulfillment Coordinator

Alice Sheppard Event Coordinator

Bethany Simmerlein Grant Writer

Shay Vaughn Major Gift Officer

BUILDING OPERATIONS

Ken Waddington Senior Director of Facilities & Engineering

Cedric Allen EVS Technician

Teresa Beachem Chief Engineer

Demetris Fisher Manager of Environmental Services (EVS)

William Guilbault EVS Technician

Robert Hobson Chief Maintenance Technician

Aaron Kirkwood EVS Lead

Daniel Speights EVS Technician

EVENT AND PATRON EXPERIENCE

Christina Williams Director of Event & Patron Experience

Neva Kirksey Manager of Events & Rentals

Alison Reed, CVA Manager of Volunteer & Patron Experience

Andre Williams Beverage Manager

COMMUNICATIONS

Matt Carlson Senior Director of Communications & Media Relations

Sarah Smarch Director of Content & Storytelling

Natalie Berger Video Content Specialist

LaToya Cross Communications & Advancement Content Specialist

Hannah Engwall Public Relations Manager

COMMUNITY & LEARNING

Karisa Antonio

Senior Director of Social Innovation & Learning

Damien Crutcher Managing Director of Detroit Harmony

Debora Kang Director of Education

Clare Valenti Director of Community Engagement

Kiersten Alcorn Manager of Community Engagement

Chris DeLouis Training Ensembles Operations Coordinator

Crystal Gause Coordinator of Engagement Operations

Joanna Goldstein Manager of Programs & Student Development

Erin Faryniarz Detroit Harmony Partnerships & Services Coordinator

Kendra Sachs Training Ensembles Recruitment & Communications Coordinator

FINANCE

Agnes Postma Senior Director of Accounting & Finance

Adela Löw Director of Accounting & Financial Reporting

Sandra Mazza Senior Accountant of Business Operations

Claudia Scalzetti Staff Accountant

Julia Strickland Payroll & Benefits Accountant

HUMAN RESOURCES

Hannah Lozon Senior Director of Talent & Culture

Jacquez Gray Director of Diversity, Equity & Inclusion

Angela Stough Director of Human Resources

Shuntia Perry Recruitment & Employee Experience Specialist

INFORMATION TECHNOLOGY

William Shell Director of Information Technology

Pat Harris Systems Administrator

Michelle Koning Web Manager

Aaron Tockstein Database Administrator

MARKETING & AUDIENCE DEVELOPMENT

Charle s Buchanan Senior Director of Marketing & Audience Development

Teresa Alden Director of Growth Marketing

Sharon Gardner Carr Tessitura Event Operations Manager

Jay Holladay Brand Graphic Designer

LaHeidra Marshall Direct Marketing Manager

Connor Mehren Growth Marketing Manager

Declan O’Neal Marketing & Promotions Coordinator

Kristin Pagels-Quinlan Digital Advertising Manager

PATRON SALES & SERVICE

Michelle Marshall Director of Patron Sales & Service

Rolande Edwards Patron Sales & Service Manager

James Sabatella

Group & Tourism Sales Manager

Valerie Jackson Group Sales Representative

SAFETY & SECURITY

George Krappmann Director of Safety & Security

Johnnie Scott

Safety & Security Manager

Willie Coleman

Security Officer

Joyce Dorsey Security Officer

Tony Morris

Security Officer

Eric Thomas Security Officer & Maintenance Technician

PERFORMANCE

UPCOMING CONCERTS & EVENTS

MOZART & THE SEASONS MAY 3–5

THE GOONIES IN CONCERT

JUNE 26–27

MAY2024

PVS CLASSICAL SERIES MOZART & THE SEASONS

Fri. May 3 – Sun. May 5

PVS CLASSICAL SERIES MAHLER’S NINTH

Fri. May 10 – Sat. May 11

PNC POPS SERIES DISCO FEVER

Fri. May 17 – Sun. May 19

chamber recital DEBUSSY & RAVEL

Mon. May 20

chamber recital BRAHMS & BARTÓK

Fri. May 24 – Sun. May 26

PARADISE JAZZ SERIES DON WAS & THE PAN DETROIT ENSEMBLE

Fri. May 24

PVS CLASSICAL SERIES STRAUSS’S ALPINE SYMPHONY

Fri. May 31 – Sun. Jun. 2

SUMMER SOIRÉE WITH BLACK VIOLIN JUNE 15

JUNE2024

PVS CLASSICAL SERIES BEETHOVEN’S FIFTH

Thu. Jun. 6 – Sat. Jun. 8

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES BEETHOVEN’S SEVENTH

Thu. Jun. 13 – Sun. Jun. 16

SUMMER SOIRÉE BLACK VIOLIN

Sat. Jun. 15

chamber recital SCHUBERT & BLACK ANGELS Mon. Jun. 17

PNC POPS SERIES DISNEY & BROADWAY FAVORITES

Fri. Jun. 21 – Sun. Jun. 23

SPECIAL EVENT THE GOONIES IN CONCERT

Wed. Jun. 26 – Thu. Jun. 27

JULY2024

chamber recital QUARTET FOR THE END OF TIME

Tue. Jul. 9

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES BRITTEN & MENDELSSOHN

Thu. Jul. 11 – Sun. Jul. 14

SPECIAL EVENT BEN RECTOR & CODY FRY Wed. Jul. 24

SPECIAL EVENT MUSIC OF ELVIS WITH FRANKIE MORENO Fri. Jul. 26

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

Your investment makes the DSO a place where people of all ages belong, feel welcome, and are inspired. Give today at dso.org/donate to bring our community together through music.