VOLUME XXVII • WINTER 2018-2019
PERFORMANCE THE MAGAZINE OF THE DETROIT SYMPHONY ORCHESTRA
2018-2019 SEASON
INSIDE n
Program Notes
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ew, Now N New Music in a New Era
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A Slam Dunk Ensemble CYE’s Bucket Band
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eet the Musician M Robert Stiles
The DSO’S Ralph Skiano pitches in at Keep Growing Detroit during the annual Day of Service
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2 0 18 -2 0 19 S E A S O N
PERFORMANCE The Detroit Symphony Orchestra, a leader in the world of classical music, embraces and inspires individuals, families, and communities through unsurpassed musical experiences.
CONTENTS
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12 Meet the Musician Robert Stiles
Now 14 New, New Music in a New Era
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A Slam Dunk Ensemble CYE’s Bucket Band in Partnership with the Detroit Pistons
20 Community and Learning 21 PROGRAM NOTES Read Performance anytime, anywhere at dso.org/performance
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Welcome......................................................4 Orchestra Roster.........................................5 Behind the Baton.........................................6 Board Leadership........................................8 Transformational Support........................10 Donor Roster............................................. 38 Maximize Your Experience....................... 48 DSO Administrative Staff......................... 50 Upcoming Concerts.................................. 52 ON THE COVER: Ralph Skiano, Principal Clarinet (Robert B. Semple Chair), was one of many musicians, staff, and board members to volunteer at the DSO’s sixth annual Day of Service on Friday, October 19. The DSO partnered with three organizations— Keep Growing Detroit, Friends for the Animals of Metro Detroit, and Children’s Hospital of Michigan—to give back to the community that supports the orchestra. Photo: Sarah Smarch DSO PERFORMANCE MAGAZINE 3
WELCOME DONALD DIETZ
Dear Friends,
Having the world-class DSO musicians perform in Orchestra Hall most weekends during our season is such a tremendous asset for our great city and state. Many of the members of the orchestra have come to Detroit from all around the world, choosing to make music here and become part of the fabric of our lives. They build careers and families, they teach in our universities, they play music in our communities. We love sharing their stories, both on stage and off, and they couldn’t do any of it without you. Last year the musicians themselves invested financially in the DSO, with each member contributing to an endowment gift of $100,000. Principal Trombone Kenneth Thompkins gave because “the people of Detroit deserve the best.” Assistant Concertmaster Hai-Xin Wu says “it shows that we are all in this together,” while cellist Peter McCaffrey gave because he believes “the artistic excellence of the DSO makes Detroit a better city.” If you feel as they do, we ask that you join them in support of the DSO Musicians Artistic Excellence Fund. Together, we can build a bright future for music in our city. In addition to concerts in Orchestra Hall, DSO musicians regularly perform in schools as part of PNC Bank’s Grow Up Great initiatives and our own Wu Family Academy programs, play for young people at Children’s Hospital of Michigan and seniors at American House residences, and give lessons to students in our Civic Youth Ensembles. As we anticipate the Civic Youth Ensembles’ (CYE) 50th anniversary in 2021, we continue to explore new ways to widen our reach in bringing music instruction to students of our region. Thanks to support from the Dresner Foundation, we were able to expand CYE into DPSCD schools last year, launching an entry-level violin program for third graders at Duke Ellington Conservatory. This year we have partnered with the Detroit Pistons to create a new CYE percussion ensemble—the Detroit Pistons Bucket Band—at Spain Elementary–Middle School. See the feature article in this issue for more! During your visit to Orchestra Hall, we invite you to take in the magnificent artwork on display as part of our ongoing Art @ The Max series, generously supported by The Eugene and Marcia Applebaum Family Foundation, and we urge you to attend one of the many intimate performances in the Peter D. & Julie F. Cummings Cube, where Curated Urban Boundless Experiences are the norm! Wishing you a wonderful holiday season and a happy and peaceful new year!
Anne Parsons President and CEO 4
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Mark Davidoff Chairman WINTER 2018-2019
LEONARD SLATKIN, Music Director Laureate Music Directorship endowed by the Kresge Foundation
JEFF TYZIK
Principal Pops Conductor
TERENCE BLANCHARD
NEEME JÄRVI
Fred A. and Barbara M. Erb Jazz Creative Director Chair
Music Director Emeritus
FIRST VIOLIN Yoonshin Song Concertmaster Katherine Tuck Chair Kimberly Kaloyanides Kennedy A ssociate Concertmaster Alan and Marianne Schwartz and Jean Shapero (Shapero Foundation) Chair Hai-Xin Wu A ssistant Concertmaster Walker L. Cisler/Detroit Edison Foundation Chair Jennifer Wey Fang A ssistant Concertmaster Marguerite Deslippe* Laurie Landers Goldman* Rachel Harding Klaus* Eun Park Lee* Adrienne Rönmark* Laura Soto* Greg Staples* Jiamin Wang* Mingzhao Zhou*
Abraham Feder A ssistant Principal Dorothy and Herbert Graebner Chair Robert Bergman* Jeremy Crosmer* David LeDoux* Peter McCaffrey* Joanne Danto and Arnold Weingarden Chair Haden McKay* Úna O’Riordan* Paul Wingert* Victor and Gale Girolami Chair
SECOND VIOLIN Adam Stepniewski Acting Principal Will Haapaniemi* David and Valerie McCammon Chair Hae Jeong Heidi Han* David and Valerie McCammon Chair Sheryl Hwangbo* Sujin Lim* Hong-Yi Mo* Alexandros Sakarellos* Drs. Doris Tong and Teck Soo Chair Joseph Striplin* Marian Tanau* Jing Zhang* Open, Principal The Devereaux Family Chair
HARP Patricia Masri-Fletcher Principal Winifred E. Polk Chair
BASS Kevin Brown, Principal Van Dusen Family Chair Stephen Molina A ssistant Principal Linton Bodwin Stephen Edwards Christopher Hamlen Nicholas Myers
FLUTE Sharon Sparrow Acting Principal Bernard and Eleanor Robertson Chair Amanda Blaikie Morton and Brigitte Harris Chair Jeffery Zook Open, Principal Women’s Association for the DSO Chair Adam Sadberry African-American Orchestra Fellow
VIOLA Eric Nowlin, Principal Julie and Ed Levy, Jr. Chair James VanValkenburg A ssistant Principal Caroline Coade Glenn Mellow Hang Su Shanda Lowery-Sachs Hart Hollman Han Zheng Mike Chen
PICCOLO Jeffery Zook
CELLO Wei Yu, Principal James C. Gordon Chair
ENGLISH HORN Monica Fosnaugh Shari and Craig Morgan Chair
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CLARINET Ralph Skiano Principal Robert B. Semple Chair Jack Walters PVS Chemicals Inc./Jim and Ann Nicholson Chair Laurence Liberson A ssistant Principal Shannon Orme E-FLAT CLARINET Laurence Liberson BASS CLARINET Shannon Orme Barbara Frankel and Ronald Michalak Chair BASSOON Robert Williams, Principal Victoria King Michael Ke Ma A ssistant Principal Marcus Schoon CONTRABASSOON Marcus Schoon HORN Karl Pituch, Principal Johanna Yarbrough Scott Strong Bryan Kennedy David Everson Assistant Principal Mark Abbott TRUMPET Hunter Eberly, Principal Lee and Floy Barthel Chair Kevin Good Stephen Anderson A ssistant Principal William Lucas Michael Gause African-American Orchestra Fellow
TROMBONE Kenneth Thompkins, Principal David Binder Randall Hawes BASS TROMBONE Randall Hawes TUBA Dennis Nulty, Principal PERCUSSION Joseph Becker, Principal Ruth Roby and Alfred R. Glancy III Chair Andrés Pichardo-Rosenthal A ssistant Principal William Cody Knicely Chair James Ritchie TIMPANI Jeremy Epp, Principal Richard and Mona Alonzo Chair James Ritchie A ssistant Principal LIBRARIANS Robert Stiles, Principal Ethan Allen PERSONNEL MANAGERS Heather Hart Rochon Director of Orchestra Personnel Patrick Peterson Manager of Orchestra Personnel STAGE PERSONNEL Dennis Rottell, Stage Manager Steven Kemp Department Head Matthew Pons Department Head Michael Sarkissian Department Head
OBOE Alexander Kinmonth Principal Jack A. and Aviva Robinson Chair Sarah Lewis Maggie Miller Chair Brian Ventura A ssistant Principal Monica Fosnaugh
* These members may voluntarily revolve seating within the section on a regular basis
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B E H I N D T H E B AT O N
Leonard Slatkin
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nternationally acclaimed conductor Leonard Slatkin is Music Director Laureate of the Detroit Symphony Orchestra (DSO) and Directeur Musical Honoraire of the Orchestre National de Lyon (ONL). He maintains a rigorous schedule of guest conducting throughout the world and is active as a composer, author, and educator. Highlights of the 2018-19 Season include a tour of Germany with the ONL; a three-week American Festival with the DSO; the Kastalsky Requiem project commemorating the World War I Centennial; Penderecki’s 85th birthday celebration in Warsaw; five weeks in Asia leading orchestras in Guangzhou, Beijing, Osaka, Shanghai, and Hong Kong; and the Manhattan School of Music’s 100th anniversary gala concert at Carnegie Hall. He will also conduct the Moscow Philharmonic, Balearic Islands Symphony, Orchestre Philharmonique de Radio France, Louisville Orchestra, Berner Symphonieorchester, Pittsburgh Symphony, St. Louis Symphony, RTÉ National Symphony in Ireland, and Monte Carlo Symphony. Slatkin has received six Grammy awards and 33 nominations. His recent Naxos recordings include works by
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Saint-Saëns, Ravel, and Berlioz (with the ONL) and music by Copland, Rachmaninov, Borzova, McTee, and John Williams (with the DSO). In addition, he has recorded the complete Brahms, Beethoven, and Tchaikovsky symphonies with the DSO (available online as digital downloads). A recipient of the prestigious National Medal of Arts, Slatkin also holds the rank of Chevalier in the French Legion of Honor. He has received Austria’s Decoration of Honor in Silver, the League of American Orchestras’ Gold Baton Award, and the 2013 ASCAP Deems Taylor Special Recognition Award for his debut book, Conducting Business. His second book, Leading Tones: Reflections on Music, Musicians, and the Music Industry, was published by Amadeus Press in 2017. Slatkin has conducted virtually all the leading orchestras in the world. As Music Director, he has held posts in New Orleans; St. Louis; Washington, DC; London (with the BBCSO); Detroit; and Lyon, France. He has also served as Principal Guest Conductor in Pittsburgh, Los Angeles, Minneapolis, and Cleveland. For more information, visit leonardslatkin.com.
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Jeff Tyzik
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rammy Award winner Jeff Tyzik is one of America’s most innovative and sought-after pops conductors. Tyzik is recognized for his brilliant arrangements, original programming, and engaging rapport with audiences of all ages. In addition to his role as Principal Pops Conductor of the DSO, Tyzik holds The Dot and Paul Mason Principal Pops Conductor’s Podium at the Dallas Symphony Orchestra and also serves as principal pops conductor of the Oregon Symphony, Florida Orchestra, and Rochester Philharmonic — a post he has held for 23 seasons. Frequently invited as a guest conductor, Tyzik has appeared with the Boston Pops, Cincinnati Pops, Milwaukee Symphony, Pittsburgh Symphony, Toronto Symphony, Indianapolis Symphony, Philadelphia Orchestra, Los Angeles Philharmonic, and Royal Scottish National Orchestra. In May 2007, the Harmonia Mundi label released his recording of works by Gershwin with pianist Jon Nakamatsu and the RPO, which stayed in the Top 10 on the Billboard classical chart for over
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three months. Alex Ross of the New Yorker called it “one of the snappiest Gershwin discs in years.” Committed to performing music of all genres, Tyzik has collaborated with such diverse artists as Megan Hilty, Chris Botti, Matthew Morrison, Wynonna Judd, Tony Bennett, Art Garfunkel, Dawn Upshaw, Marilyn Horne, Arturo Sandoval, The Chieftains, Mark O’Connor, Doc Severinsen, and John Pizzarelli. He has created numerous original programs that include the greatest music from jazz and classical to Motown, Broadway, film, dance, Latin, and swing. Tyzik holds Bachelor of Music and Master of Music degrees from the Eastman School of Music. For more information, visit jefftyzik.com.
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Detroit Symphony Orchestra, Inc. LIFETIME MEMBERS
CHAIRMEN EMERITI
DIRECTORS EMERITI
OFFICERS
BOARD OF DIRECTORS
The Board of Directors is responsible for maintaining a culture of high engagement, accountability and strategic thinking. As fiduciaries, Directors oversee all DSO financial activities and assure that resources are aligned with the DSO mission.
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Samuel Frankel † David Handleman, Sr.†
Dr. Arthur L. Johnson † Clyde Wu, M.D.†
Alfred R. Glancy III Robert S. Miller Peter D. Cummings
James B. Nicholson Stanley Frankel Phillip Wm. Fisher
Robert A. Allesee Floy Barthel Mrs. Mandell L. Berman† John A. Boll, Sr. Richard A. Brodie Lois and Avern Cohn Marianne Endicott Sidney Forbes Mrs. Harold Frank Barbara Frankel Herman Frankel
Paul Ganson Mort and Brigitte† Harris Gloria Heppner, Ph.D. Ronald M. Horwitz Hon. Damon J. Keith Richard P. Kughn Harold Kulish Dr. Melvin A. Lester David R. Nelson Robert E.L. Perkins, D.D.S.† Marilyn Pincus
Lloyd E. Reuss Jack A. Robinson† Marjorie S. Saulson Alan E. Schwartz Jean Shapero† Jane Sherman David Usher Barbara Van Dusen Arthur A. Weiss, Esq.
Mark A. Davidoff Chairman
Faye Alexander Nelson, Treasurer
Ralph J. Gerson, Officer at Large
Glenda D. Price, Ph.D., Vice Chair
Arthur T. O’Reilly, Secretary
Janice Uhlig, Officer at Large
Anne Parsons, President & CEO
Chacona W. Baugh, Officer at Large
Pamela Applebaum Janice Bernick, Governing Members Chair Robert H. Bluestein Marco Bruzzano Jeremy Epp,* Orchestra Representative Samuel Fogleman
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Herman B. Gray, M.D. Nicholas Hood, III Daniel J. Kaufman Michael J. Keegan Bonnie Larson Matthew B. Lester Arthur C. Liebler Xavier Mosquet Stephen Polk
† Deceased
Bernard I. Robertson Hon. Gerald E. Rosen Nancy M. Schlichting Sharon Sparrow,* Orchestra Representative Arn Tellem Hon. Kurtis T. Wilder M. Roy Wilson David M. Wu, M.D. WINTER 2018-2019
BOARD OF TRUSTEES Richard Huttenlocher, Chair The Board of Trustees is tasked with shepherding the long-term strategy of the DSO to fully implement the organization’s entrepreneurial capabilities while developing and presenting new strategies and objectives.
Ismael Ahmed Rosette Ajluni Richard Alonzo Janet M. Ankers Suzanne Bluestein Penny B. Blumenstein Elizabeth Boone Gwen Bowlby Joanne Danto Stephen R. D’Arcy Maureen T. D’Avanzo Karen Davidson Richard L. DeVore Afa Sadykhly Dworkin Annmarie Erickson James C. Farber Jennifer Fischer Aaron Frankel
Alan M. Gallatin Robert Gillette Jody Glancy Malik Goodwin Antoinette G. Green Leslie Green Laura Hernandez-Romine Michele Hodges Julie Hollinshead Renato Jamett Renee Janovsky Joseph Jonna John Jullens David Karp Joel D. Kellman Jennette Smith Kotila James P. Lentini, D.M.A. Linda Dresner Levy
Joshua Linkner Florine Mark Tonya Matthews, Ph.D. David N. McCammon Lois A. Miller Daniel Millward Scott Monty Shari Morgan Frederick J. Morsches Joseph Mullany Sean M. Neall Eric Nemeth Tom O’Brien Maury Okun Shannon Orme,* Orchestra Representative Vivian Pickard William F. Pickard, Ph.D. Gerrit Reepmeyer
Richard Robinson James Rose, Jr. Lois L. Shaevsky Thomas Shafer Margaret Shulman Cathryn M. Skedel, Ph.D. Ralph Skiano,* Orchestra Representative Shirley R. Stancato Stephen Strome Mark Tapper Laura J. Trudeau Gwen Weiner Jennifer Whitteaker R. Jamison Williams Margaret E. Winters Ellen Hill Zeringue
GABRILOWITSCH SOCIETY OFFICERS Janet and Norm Ankers, chairs Cecilia Benner Greg Haynes Bonnie Larson Lois Miller Ric Sonenklar
GOVERNING MEMBERS OFFICERS Janice Bernick Chairwoman
James C. Farber Immediate Past Chair
Jiehan Alonzo Vice Chair, Signature Events
Suzanne Dalton Vice Chair, Annual Giving
Maureen D’Avanzo Member-at-Large
Janet and Norm Ankers Co-Vice Chairs, Gabrilowitsch Society
Samantha Svoboda Vice Chair, Communications
Bonnie Larson Member-at-Large
Cathleen Clancy Vice Chair, Engagement
David Assemany Member-at-Large
David Everson* Musician Representative
Diana Golden Vice Chair, Membership
David Karp Member-at-Large
Kenneth Thompkins* Musician Representative
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*Current DSO Musician or Staff
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T R A N S F O R M AT I O N A L S U P P O R T
In building our long-term strategic plan, Blueprint 2023, our Orchestra community concluded that a truly sustainable DSO would require a shared commitment to growing our permanent endowment. The Detroit Symphony Orchestra is grateful to the donors who have made extraordinary multi-year, comprehensive gifts to support general operations, endowment, capital improvements, named chairs, ensembles, or programs. These generous commitments establish a solid foundation for the future of the DSO. A strong endowment does more than secure the financial future for the DSO. It will also help us to achieve artistic excellence – attracting and retaining the best musicians, guaranteeing our education and youth programs for the future, and serving our city as one of its greatest cultural assets. The result will be heard in the continued warmth and clarity of our orchestra, in strong ticket sales and growing donor support, and in more people with increased access to and participation in music. To learn more about this critical effort, please contact Jill Elder, Vice President and Chief Development Officer, at jelder@dso.org.
THE CINDY AND LEONARD SLATKIN EMERGING ARTISTS FUND
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he opening of the DSO’s classical series October 5 to 7 in Orchestra Hall had much to celebrate beyond the usual anticipation and excitement that each new season brings. The DSO welcomed back violinist Gil Shaham for the first time since 2013; the orchestra welcomed three new musicians and L-R: Hank and Pat Nickol, Cindy McTee and Leonard two new African-American Slatkin, and Jane and Larry Sherman Fellows; and we all welcomed Leonard Slatkin back as Music Director Laureate following an incredible decade at the helm of the DSO. Leonard’s impact will resonate for many years to come, and one way will be through endowment. The DSO has established the Cindy and Leonard Slatkin Emerging Artists Fund thanks to their donation to the oneDSO campaign. The Slatkins’ gift will provide support for one up-and-coming artist to perform with the orchestra each season. Designed as a challenge, Leonard and Cindy were joined by Ann and Norman Katz, Florine Mark, Pat and Hank Nickol, Ruth Rattner, and Jane and Larry Sherman in support of this endeavor. Leonard and Cindy personally thanked each of them for their generosity backstage during opening weekend. The DSO is grateful to Leonard, Cindy, and all those who joined them in support of the Emerging Artists Fund.
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FOUNDING FAMILIES Julie & Peter Cummings The Davidson-Gerson Family and the William Davidson Foundation The Richard C. Devereaux Foundation The Fisher Family and the Max M. & Marjorie S. Fisher Foundation Stanley & Judy Frankel and the Samuel & Jean Frankel Foundation Danialle & Peter Karmanos, Jr. James B. & Ann V. Nicholson and PVS Chemicals, Inc. Clyde & Helen Wu†
CHAMPIONS Mr. & Mrs. Richard L. Alonzo Mandell & Madeleine Berman Foundation Penny & Harold Blumenstein Mr. & Mrs. Raymond M. Cracchiolo Joanne Danto & Arnold Weingarden Vera and Joseph Dresner Foundation DTE Energy Foundation The Fred A. & Barbara M. Erb Family Foundation Mr. & Mrs. Phillip Wm. Fisher Ford Motor Company Fund Mr. & Mrs.+ Morton E. Harris
John S. & James L. Knight Foundation The Kresge Foundation Mrs. Bonnie Larson Linda Dresner & Ed Levy, Jr. The Andrew W. Mellon Foundation Ms. Deborah Miesel Shari & Craig Morgan The Polk Family Bernard & Eleanor Robertson Stephen M. Ross Mrs. Richard C. Van Dusen
LEADERS Applebaum Family Foundation Charlotte Arkin Estate Mr. & Mrs. Lee Barthel Marvin & Betty Danto Family Foundation Herman & Sharon Frankel Ruth & Al Glancy John C. Leyhan Estate Bud & Nancy Liebler Richard & Jane Manoogian Foundation
David & Valerie McCammon Mr. & Mrs. Eugene A. Miller Dr. William F. Pickard Jack† & Aviva Robinson Martie & Bob Sachs Mr. & Mrs.† Alan E. Schwartz Drs. Doris Tong & Teck Soo Paul and Terese Zlotoff
BENEFACTORS Mr. & Mrs. Robert A. Allesee W. Harold & Chacona W. Baugh Robert & Lucinda Clement Mary Rita Cuddohy Estate Margie Dunn & Mark Davidoff DSO Musicians Bette Dyer Estate Dr. Marjorie M. Fisher & Mr. Roy Furman Barbara Frankel & Ronald Michalak Victor † & Gale Girolami Fund Herbert & Dorothy Graebner Ronald M. and Carol† Horwitz Richard H. & Carola Huttenlocher dso.org
Ann & Norman Katz Dr. Melvin A. Lester Florine Mark Michigan Council for Arts and Cultural Affairs Pat & Hank Nickol Ruth Rattner Mr. & Mrs. Lloyd E. Reuss Donald & Gloria Schultz Estate Mr. & Mrs. Fred Secrest† Jane and Larry Sherman Cindy McTee & Leonard Slatkin Marilyn Snodgrass Estate DSO PERFORMANCE MAGAZINE 11
MEET THE MUSICIAN
ROBERT STILES Principal Librarian “My job is to make music come to life,” says Principal Librarian Robert Stiles, rather matter-of-factly. He isn’t invoking some vague, exaggerated cliché — his job, and the job of all orchestra librarians, is to serve as the conduit between notes on pages, the conductors, and the musicians who will read and play those notes. Stacks of scores can’t become beautiful sounds without someone to manage them. You’ve probably seen Stiles’ name, as well as the name of fellow DSO Librarian Ethan Allen, towards the end of the orchestra roster, just past the Timpani section. They are tenured members of the orchestra like every violinist or oboist, but their role is to make the players’ jobs possible, rather than to play themselves. The work generally involves collaborating with principal musicians (and occasionally conductors) to add, check, or proofread string bowings, page turns, and other details of a score. Without a correct, easy-to-read set of parts and scores, even the best musician will struggle onstage. “We go part-by-part, page-by-page,” Stiles comments. “Sometimes it’s very straightforward, other times you get caught in the weeds a little bit.” For example, there may be differences in articulation, string markings, dynamics, or other details in different editions of a score. Or a conductor might request a change from the podium at rehearsal, and the librarians will make the changes 12
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and/or additions to the parts and scores used for performances. “A lot of pieces have publishing errors,” Stiles adds, “and some of these date back hundreds of years. We have lists of these that we share with our library colleagues around the world. If one is preparing Tchaikovsky’s Sixth, for example, there are numerous changes to be made in the woodwind parts because of the way things were notated at the time. Usually it’s not really the composer’s fault — it just happens that whoever was doing the typesetting or engraving made some mistakes.” And while the word “librarian” comes with the job, Stiles points out that orchestra librarians have more in common with composers than they do with bookish types who replenish the stacks. Orchestra librarians often work very closely with composers in bringing a new work to life. “In fact, on many occasions we’ve helped composers make extensive changes to their piece. “I think of myself as a musician first and foremost,” Stiles continues, adding he frequently performs with the DSO, the Michigan Opera Theatre, and other ensembles as a double bassist or pianist. An orchestra librarian speaks the WINTER 2018-2019
language of the score – and while there are still shelves and shelves of material to keep track of, a broad knowledge of music and the challenges that performing musicians face is critical. “The word ‘library’ to me in this context means ‘place that has materials,’” says Stiles. “If I play with the orchestra here, or play with Michigan Opera Theatre down the street, it sort of helps the two sides of the brain — the librarian side and the performer side — feel a little bit more grounded.” And, just as advances in technology have changed most careers, the advent of digitization and mass file storage has had a huge impact on Stiles’ work. “There are composers that work electronically start to finish,” he points out, a truly recent innovation in orchestral music’s centuries-long history. “And as librarians, we’ve been able to archive a lot of materials we already have — we have copies of scores that we can reference off-site, or files we can access to print an extra string part if someone forgets one.” Outside of his work in the library and as a performing musician, Stiles keeps it simple: hiking, biking, working in the yard, and spending time with his wife and son are his preferred stress relievers far away from the bow markings and dotted 16th notes. But he can’t talk about his downtime for long before swinging the pendulum back to the stacks. “I look at my job, and working at the DSO, as a great privilege. I hope we can create a legacy with what we’ve managed to do here: digital preservation work, raising the standard of music preparation, and improving the quality of materials we put onstage.” dso.org
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DSO PERFORMANCE MAGAZINE 13
New, Now Programming new music in a new era
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or years now, members of the orchestra world — musicians and orchestra staff, but also conductors, composers, concertgoers, critics, and fans — have worked on a knot of difficult questions about the state of symphonic music. What is the role of an orchestra in its community? What should the concert experience be like? Who represents the next generation of the genre, both onstage and in the audience? And, critically: what music should orchestras perform? The question is simple, but its answer can be dauntingly complicated. Everyone will have his or her own perspective based on taste, politics, pride, history, and ticket sales. While very few people would advocate tossing Tchaikovsky in the bin, fewer still can answer how to blend tried-andtrue programming with lesser-known historic works, works by living composers, and works that are brand new. And what about works that are truly “challenging” — dealing with difficult subject matter, or perhaps even difficult to listen to according to most people’s preferences? THE DSO HAS LONG COMMITTED ITSELF to performing works by living
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composers, and, when given the opportunity, works that are wholly new, commissioned by the orchestra for their world premieres. The orchestra has performed works by many of the most prominent composers working presently, including Mason Bates, Joan Tower, Nico Muhly, and Christopher Rouse; recent commissions include pieces by Chris Cerrone, Steven Bryant, Gabriela Lena Frank, and others. Many Detroiters will remember Tod Machover’s Symphony in D, a sprawling project that aimed to capture the essence of Detroit in a symphonic work that also included ambient audio, spoken word, electronic sounds, and other elements. “I think that Detroit audiences have always been very open to new music,” says Erik Rönmark, DSO Vice President and General Manager. In addition to helping program DSO seasons, Rönmark is also a founding member of the aptlynamed ensemble New Music Detroit. “Orchestras have always been about performing works in the canon, but also works by living composers, some of which will hopefully enter the canon in the future. Our job, in looking at a season, is to make sure that the art form stays vibrant.” WINTER 2018-2019
And while audiences here in Detroit are usually happy to give new works a listen, conversations about programming can still be tricky. “The worst thing you can do is to program contemporary music for the wrong reasons, out of a sense of duty,” said Alan Gilbert in his memorable Royal Philharmonic Lecture in 2015, when he served as Music Director of the New York Philharmonic. “What’s important is that every piece has its place in creating the maximum resonance…The point is never that every piece will necessarily be a masterwork that will go down in the ages, or that every audience member will love every piece, but that there is always a compelling motivation behind every piece’s placement.” At the DSO, a “compelling motivation” can take many forms — but it is always sought when crafting a night at the concert hall. Music Director Laureate Leonard Slatkin, renowned for his commitment to American composers and programming new music, has led many of the DSO’s most recent efforts to keep concert programs contemporary. “All art was, at one time, new,” Slatkin observes. “Who knows what future generations will make of the early part of the 21st century?” dso.org
THE CURRENT SEASON KEEPS THINGS, WELL, CURRENT. Slatkin’s signature conducting engagement at the DSO is American Panorama, the three-week Winter Music Festival in February. The festival includes works by Cindy McTee, Joan Tower, John Williams, Steve Reich, John Luther Adams (the Pulitzer Prizewinning Become Ocean), and Philip Glass, as well as the world premiere of a DSO-commissioned work by Kristin Kuster. Elsewhere in the season, the DSO performs Andrew Norman’s Play, Daníel Bjarnason’s acclaimed new Violin Concerto, Sebastian Currier’s Divisions, Anna Clyne’s “Three Sisters” Concerto for Violin, and the world premiere of a new work by Juliet Palmer, most recent recipient of the orchestra’s Elaine Lebenbom Memorial Award for Female Composers. “Composers energize and expand a living tradition of classical music,” says Juliet Palmer. “People have been making music for thousands of years and will continue to do so in ways and forms unimaginable to us now. Without a constantly evolving repertoire, the orchestra is like a conversation in a graveyard: an historical curiosity, but irrelevant to the burning questions of today.” DSO PERFORMANCE MAGAZINE 15
A SLAM DUNK ENSEMBLE
In one Detroit school students are learning music in a unique way thanks to an assist from the Detroit Pistons
“What’s a tempo?,” Darell “Red” Campbell asks his Detroit Pistons Bucket Band students, perched atop his bucket at Spain Elementary-Middle School. The students offer up a variety of responses, and after they land on the correct definition — “how fast or slow something is” — he points his drum sticks at each student in turn, prompting each to repeat the definition. The students quickly answer, paying close attention to their charismatic leader in Nike Air Jordan high tops. In partnership with the Detroit Pistons and the Detroit Public Schools Community District (DPSCD), the DSO’s Civic Youth Ensembles (CYE) has launched a bucket band this fall that 16
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includes a dozen Spain Elementary students in its inaugural year. The partnership includes provision of instruments and music instruction, plus future performances at Orchestra Hall, trips to Pistons games, and, potentially, some interaction with Pistons players. “Music is a powerful way to reach kids and inspire their creativity,” said Detroit Pistons Vice Chairman Arn Tellem. “We are pleased to help support the creation of the new bucket band and hope it galvanizes a passion for music that leads to even greater achievement. I can’t wait to see them perform this season.” Red’s goal as a bucket band instructor is to enable kids to see what they’re WINTER 2018-2019
capable of, something he learned himself as an inaugural student in the Civic Jazz Ensemble in 1998. “CYE takes kids and teaches them to play at a professional level,” he says. “It’s an incredible transition to experience. Playing buckets takes teamwork, and the rapid improvisation it requires encourages elastic thinking—thinking on your feet—which is invaluable in life.” A multi-instrumentalist who splits his time gigging around Detroit and teaching in the DSO’s Civic Jazz program, Red is thrilled to be the first bucket band instructor: “I love the musical ingenuity. People have been playing music on creative instruments and buckets for a long time. Remember Fat Albert’s bucket band in the ‘70s? There’s a guy downtown who makes his living out on the sidewalk with two buckets, two cymbals, and sticks. I’m not going to lie: I’ve joined him before! I’ve been playing buckets since I was a baby, and now I’m teaching kids how to do it.” Accessibility is a key component of the DSO’s plans to expand its music training programs to include this bucket band. No prior training is required to play a bucket, though students will also learn how to read music notation, and gain basic musicianship skills, such as following a conductor, which will prepare them to join more advanced orchestral or jazz ensembles as their skills develop. Unlike most CYE programs, which take place at the Max, the Pistons Bucket Band is taught at the kids’ school, providing another level of access to dso.org
students who may not otherwise be able to participate. The DSO’s commitment to providing music training programs in DPSCD schools began in 2017 with the launch of the Dresner Foundation Allegro Ensemble, for entry-level violinists in the third grade at DPSCD’s Duke Ellington Conservatory of Music and Art. This partnership has enabled the DSO to instruct 61 students and is completely free of charge for participants, including instruction, instruments, and administrative support to recruit students and host auditions at local schools. Students who play in either the Dresner Foundation Allegro Ensemble or Detroit Pistons Bucket Band are guaranteed scholarships if they wish to continue their training in more advanced Civic ensembles. Tina Rowan, Executive Director of Accent Pontiac, an El Sistema-inspired music program that uses music as a vehicle for social change, says that teachers report improved behavior and
test scores by students who play in their program, which includes a bucket band in the Pontiac Public School System. Rowan believes buckets are a unique DSO PERFORMANCE MAGAZINE 17
vehicle for teaching musicianship because of their accessibility: “Buckets are an immediate entry point to music-making. Kids can leave their first session already having played a song. Student leadership is required of each participant due to call and response rhythm exercises, wherein each student takes a turn creating a rhythm that the rest of the class than has to repeat.” The DSO will utilize similar techniques in their instruction. “Buckets are disruptive,” says Caen ThomasonRedus, DSO Senior Director of Community and Learning, “because they get past the perceptions people may have about what it takes to be a musician. The program brings music that may have already caught people’s attention, that they likely have already encountered, into the classroom; attending a sporting event is one of the places people may have experienced bucket music. It was a natural partnership with the Pistons.” “Bucket bands immediately introduce students to higher level ensemble concepts,” said Alex Laing, Principal Clarinet with the Phoenix Symphony and DSO African-American Fellow from 1999 to 2001. Laing founded The Leading Tone, an after-school program in South Central Phoenix utilizing bucket bands to explore music as a context for student development. “If you put a flute in front of someone with no prior training there might be trepidation. ‘How do I hold it? How do I blow it?’ People understand what bucket 18
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music is and what it sounds like, allowing them to start playing in an ensemble almost instantaneously, and building a very quick pathway to learn about coordinating your body with a group, and coordinating your intention as a member contributing to a whole.” Bucket bands also provide an outlet for a student’s voice, Red says, “Playing buckets helps kids express emotion. They can beat what they’re feeling on the bucket.” Two weeks into instruction, Red asks his students what they’ve learned so far and answers range from technique (where to hit the bucket to get the best sound and how to hold the sticks), to skills like cooperation, teamwork, and how to listen. What does bucket music sound like to the Detroit Pistons Bucket Band players? “It sounds like a TNT explosion,” says 5th grader Mariah Smith. “Like a herd of motorcycles. It sounds like King Kong!” WINTER 2018-2019
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COMMUNITY & LEARNING
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early 50 years ago, the Detroit Symphony Orchestra made a commitment to providing musical training to the young people of southeast Michigan with the founding of the Civic Youth Ensembles (CYE), part of the Wu Family Academy of Learning and CYE ALUM DAMIEN CRUTCHER
Engagement. As these years have passed, CYE alumni have grown to include those who can still be seen and heard inside Orchestra Hall. Though violinist Lucy Alessio had attended many performances in Orchestra Hall, she first heard of CYE through her lessons with DSO Assistant Concertmaster Hai-Xin Wu. She soon became Concertmaster of the Detroit Symphony Youth Orchestra (DSYO). “It’s more than just knowing the notes: it’s working with the director, knowing your section…it made me inspired week by week.” Lucy is now pursuing her master’s in music performance from Wayne State University while working as Program Assistant to the DSO’s Educational Concert Series, helping to reach young audiences. While a student at Cass Technical High School in the 1980s, Damien Crutcher played with the orchestra, then under the direction of Dr. Leslie Dunner. Damien notes how important this was to his experience as a young AfricanAmerican musician. As conductor for 20
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#DSOIMPACT
both the Civic Concert Band and the Detroit Community Concert Band, he now works with both the next generation of musicians and amateur adults who have sought out the opportunity to continue performing. Some current DSO musicians got their start in CYE, including horn player Bryan Kennedy and violinists Adrienne Rönmark and Greg Staples. DSO violinist Rachel Harding Klaus joined CYE in 1994 with her sisters. “I remember sharing a stand with a friend who I am now in the DSO with. It’s very special to think about the fact that we have been playing in ensembles together for over 2O years.” she says. “It’s also special to think about how the DSO is the orchestra I grew up listening to. People I looked up to on stage back then are now my colleagues.” Now, her own children play in CYE. “I feel very blessed.” Of course, not all Civic alums go on to become professional musicians. But it’s likely most have similar fond memories.
DSO VIOLINISTS ADRIENNE RÖNMARK, GREG STAPLES, AND CAROLINE COADE, AND HORN PLAYER BRYAN KENNEDY, ALL CYE ALUMNI
As CYE’s 50th anniversary approaches, we want to hear from alumni around the world: What do you remember and how did being a part of the Civic Youth Ensembles help your life? Please visit wufamilyacademy.org/cyealumni to let us know. WINTER 2018-2019
LEONARD SLATKIN, Music Director Laureate Music Directorship endowed by the Kresge Foundation
JEFF TYZIK
Principal Pops Conductor
TERENCE BLANCHARD
NEEME JÄRVI Music Director Emeritus
Fred A. and Barbara M. Erb Jazz Creative Director Chair
CLASSICAL SERIES STRAUSS: DER ROSENKAVALIER Friday, December 14, 2018 at 10:45 a.m. Saturday, December 15, 2018 at 8 p.m. at Orchestra Hall NIKOLAJ SZEPS-ZNAIDER, conductor JEAN-GUIHEN QUEYRAS, cello Johann Strauss, Jr. Overture to Die Fledermaus (1825 - 1899)
Robert Schumann Concerto for Cello and Orchestra (1810 - 1856) in A minor, Op. 129 I. Nicht zu schnell II. Langsam III. Sehr lebhaft Jean-Guihen Queyras, cello Intermission Robert Schumann Overture to Manfred, Op. 115 (1810 - 1856)
Richard Strauss Suite from Der Rosenkavalier, Op. 59 (1864 - 1949) I. Attire of the Rose Cavalier and Duet II. Ochs-Walzes III. Tenor Aria IV. [Breakfast Scene] V. Terzett VI. [Closing Duet] This Classical Series performance is generously sponsored by
Saturday’s performance will be webcast via our exclusive Live From Orchestra Hall series, presented by Ford Motor Company Fund and made possible by the John S. and James L. Knight Foundation.
This performance’s recognition of American’s Veterans and Active Military is supported by
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Program Notes P R O G R A M AT- A - G L A N C E Robert Schumann (1810-1856) Johann Strauss, Jr. (1825-1899) Richard Strauss (1864-1949)
Romantic Period Modern Period Robert Schumann was one of the great musical heroes of Romanticism, a wide-ranging artistic and cultural movement that celebrates individuality, emotion, and the sublime. Compared to the Classical music of Haydn and Mozart that preceded it, Romantic music is often more dramatic, stylized, and eccentric. Though he lived and worked in the thick of the Romantic era, Johann Strauss, Jr. is best known for his “light music”—especially operettas, waltzes, and polkas. These popular styles gained new respect during the 19th century, as the Industrial Revolution created a bourgeois class with both money and cultural influence. Richard Strauss straddled the 19th and 20th centuries, as well as the shift from the Romantic era to the Modern one—in which composers embraced chromaticism and nontraditional sounds. Although Richard Wagner is noted for his use of chromaticism, scholar Alex Ross points to the premiere of Strauss’s Salome in 1905 as the moment that “killed the 19th century.”
Overture to Die Fledermaus JOHANN STRAUSS, JR. B. October 25, 1825, Vienna, Austria D. June 3, 1899, Vienna, Austria Scored for 2 flutes (1 doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion, and strings. (Approx. 9 minutes)
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n the second half of the 18th century, under the reform-minded rule of Emperor Joseph II, many central European composers experimented with adapting the opera form—grand, complex, expensive, and exclusive—to a genre more accessible to middle- and working-class audiences. The result was the Singspiel, championed by Mozart, which found a spiritual successor in the French operetta form about a century later.
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And when this new French style— somewhat analogous to the modern stage musical—became popular, it swung back to Austria and Germany, catching the attention of many composers looking to expand their repertoire. Chief among these was Johann Strauss, Jr., already famous for his waltzes, marches, and polkas. Strauss’s Fledermaus, his second operetta, came in 1874, and it has stood as a classic ever since. The Overture distills some of the sharpest melodies from the operetta, which takes place during a whirlwind evening of deception, partying, and mixed identities. The decades following Strauss have been called the Silver Age of Viennese operetta. Historically, this time coincides with the final years of the Hapsburg Empire, a society on the brink of dissolution. In both plot and music, these works recycle the glories of the past but never quite reach them. WINTER 2018-2019
The DSO most recently performed the Overture to Strauss’s Die Fledermaus in March 2018 at the 40th Annual Classical Roots concerts, conducted by Joseph Young. The DSO first performed the piece in February 1922, conducted by Victor Kolar.
Concerto for Cello and Orchestra in A minor, Op. 129 ROBERT SCHUMANN B. June 8, 1810, Zwickau, Germany D. July 29, 1856, Bonn, Germany Scored for solo cello, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (Approx. 26 minutes)
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n 1850, Robert Schumann and his wife Clara moved to Düsseldorf, where Robert was offered the music directorship of the city’s Music Society. They arrived to fanfare and celebratory concerts on September 2—remarkably, the same date that Schumann completed the draft of his lone cello concerto. While it was not published for several years and never performed during the composer’s lifetime, the concerto is quite beloved today, and revealing of Schumann’s mature style in the last creative outpouring before his death. Schumann struggled with mental health issues for most of his life and attempted suicide in 1854; however, it would be a mistake to interpret the work as a product of a tortured artist. Rather, the concerto recalls a composer at the height of his prowess and success. The concerto follows the standard three-movement form, although without pauses between movements. Instead, key and tempo changes mark the shift
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from one movement to the next. The first movement, Nicht zu schnell, opens with three chords (A minor, D minor, A minor). The gesture establishes a melancholy tone of the movement and provides the opening thematic material for the cello, which enters with these chords as its only introduction. The simplicity of the string accompaniment allows the soloist to shine; complex contrapuntal musical arguments are scarce, although they become more prevalent as the movement continues. Schumann instead relies on harmonic color combined with the soloist’s lyricism. The opening material returns suddenly and the cello solo becomes more virtuosic, marking the climax of the movement. The second movement (Langsam) begins seamlessly, its pastoral character signaled by a striking modulation to F major, a rolling triplet accompaniment plucked by the strings, and the beautiful simplicity of the cello melody. Note especially Schumann’s juxtaposition of plucked upper strings with the bowed sound of the cello section to accompany the solo. Schumann plays with the orchestral texture during this short movement to highlight the soloist’s beauty of tone and phrasing. Soon the tempo picks up and the ensemble begins the finale. The winds quote melodic ideas from the first movement, while Schumann features the virtuosity of the soloist by requiring fast register changes, quick sixteenth note and triplet passages, and chromatics. The DSO most recently performed Schumann’s Cello Concerto in September 2008, conducted by Arild Remmereit and featuring cellist Robert deMaine. The DSO first performed the piece in February 1936, conducted by Victor Kolar and featuring cellist Gregor Piatigorsky. DSO PERFORMANCE MAGAZINE 23
Overture to Manfred, Op. 115 ROBERT SCHUMANN B. June 8, 1810, Zwickau, Germany D. July 29, 1856, Bonn, Germany Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, timpani, and strings. (Approx. 12 minutes)
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omanticism, the 18th and 19th century artistic movement that emphasizes emotion and individualism, captured every corner of western creativity: not just music or literature, but music and literature, plus painting, philosophy, theater, and more. Robert Schumann, a quintessential Romantic composer, was particularly plugged into the movement’s literary scene, and even attempted a career as a novelist before settling on music. In 1848, Schumann was offered an opportunity to write incidental music for a stage presentation of Lord Byron’s Manfred, and he involved himself passionately in the project. The resulting Manfred: Dramatic Poem with Music in Three Parts includes the present Overture and 15 additional numbers for orchestra. Byron’s original Manfred is a three-act poem whose title character is a classic Romantic anti-hero: misanthropic, reclusive, and tormented by guilt; his author once described him as “half dust and half deity.” Schumann may have seen a bit of himself in Manfred, as both man and character were complex, hypersensitive, and beholden to extreme emotions. Much of the incidental music represents Schumann’s most imaginative and deeply felt output, and the Overture stands by itself as an inspired example of creation: a tight, compact, and superbly argued symphonic drama which is not only one of the great gems of the Romantic orchestral repertoire,
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but in the eyes of many is Schumann’s finest orchestral work. Every theme, every harmony, every gesture is in some way a reflection of Manfred’s passionate and tormented character. The DSO most recently performed Schumann’s Overture to Manfred in May 2016, conducted by then-Music Director Leonard Slatkin (now Music Director Laureate). The DSO first performed the piece in February 1926, conducted by Ossip Gabrilowitsch.
Suite from Der Rosenkavalier, Op. 59 RICHARD STRAUSS B. June 11, 1864, Munich, Germany D. September 8, 1949, GarmischPartenkirchen, Germany Scored for 3 flutes (1 doubling on piccolo), 3 oboes (1 doubling on English horn), 3 clarinets (1 doubling on E-flat clarinet), bass clarinet, 3 bassoons (1 doubling on contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, celesta, and strings. (Approx. 21 minutes)
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ichard Strauss was besieged with requests for concert excerpts from the opera Der Rosenkavalier almost immediately after the show’s Dresden premiere on January 26, 1911. He never took up the task himself, but in 1945 he permitted others to assemble and submit suites anonymously. The suite that was selected and published that year was likely arranged by the Polish conductor Artur Rodziński, then music director of the New York Philharmonic. The suite highlights the action of the opera in six large, continuous sections, mostly set in chronological order to parallel their occurrence in the full WINTER 2018-2019
production. It begins with the Prelude and opening love scene between the young nobleman, Octavian, and the lonely, aging Marschallin, the Princess von Werdenberg. This is followed by the glorious second-act music in which Octavian presents the silver rose to the debutante Sophie von Faninal, on behalf of her arranged marriage to the Marschallin’s boorish country cousin, Baron Ochs von Lechernau. This music, replete with bittersweet harmonies for the celesta and harp, flows into the loveat-first-sight duet between Sophie and Octavian. The suite’s third and fourth sections are taken from music where the opportunistic conspirators, Annina and Valzacchi, trap and publicly embarrass the trysting lovers, and Ochs sings his
famed waltz tune, “Ohne mich, jeder Tag” (“Without me, every day would be long for you”). The final two sections are presented in reverse order from the stage version: the gorgeous lyrical trio and duet involving the Marschallin, Octavian, and Sophie precedes the riotous waltz humiliating the corrupt, lecherous Ochs. The suite not only encapsulates the story line of the opera, but the opulent score celebrating the sentimental post-Romantic tradition in such lustrous musical style. The DSO most recently performed Strauss’s Suite from Der Rosenkavalier in October 2015, conducted by then-Music Director Leonard Slatkin (now Music Director Laureate). The DSO first performed the piece in January 1917, conducted by Weston Gales.
Profiles NIKOLAJ SZEPS-ZNAIDER Danish musician Nikolaj Szeps-Znaider performs at the highest level as both conductor and virtuoso violin soloist with the world’s most distinguished orchestras. He has been Principal Guest Conductor of the Mariinsky Orchestra SZEPS-ZNAIDER since 2010 and was previously Principal Guest Conductor of the Swedish Chamber Orchestra. This season and next, Szeps-Znaider returns to the Orchestre National de Lyon, Detroit Symphony Orchestra, Montreal Symphony Orchestra, City of Birmingham Symphony Orchestra, Chicago Symphony Orchestra, Cleveland Orchestra, and Luxembourg dso.org
Philharmonic, and debuts with the Semperoper Dresden and the Hamburg Opera. He also continues his Nielsen project with the Odense Symphony Orchestra, conducting and recording the Danish composer’s complete symphonies. Szeps-Znaider’s extensive discography includes the Nielsen Concerto with Alan Gilbert and the New York Philharmonic, Elgar’s Concerto in B minor with the late Sir Colin Davis and the Staatskapelle Dresden, and award-winning recordings of the Brahms and Korngold concertos with Valery Gergiev and the Vienna Philharmonic. Szeps-Znaider has also recorded the complete works of Brahms for violin and piano with Yefim Bronfman. Szeps-Znaider is passionate about supporting the next generation of DSO PERFORMANCE MAGAZINE 25
musical talent and spent ten years as Founder and Artistic Director of the annual Nordic Music Academy summer school, and is now President of the Nielsen Competition, which takes place every three years in Odense, Denmark. MOST RECENT APPEARANCE WITH THE DSO: January 2018, conducting a program with music by Mozart and Elgar. F IRST APPEARANCE WITH THE
DSO: January 2016, conducting a program with music by Mendelssohn and Tchaikovsky, and leading Mozart’s Violin Concerto No. 1 from the violin.
JEAN-GUIHEN QUEYRAS Jean-Guihen Queyras is a French cellist born in Montreal who enjoys a busy career as an orchestra soloist, chamber musician, and solo performer. QUEYRAS He has worked with many of the world’s top orchestras, including the Orchestre de Paris, NHK Symphony Orchestra, Tonhalle Zürich, Philadelphia Orchestra, and others. He is a regular soloist with several early music ensembles, including Freiburg Baroque and Akadamie für Alte Musik Berlin. He also serves as a professor at the Musikhochschule Freiburg and artistic co-director of the
Rencontres Musicales de Haute-Provence. Queyras’s repertoire incorporates a number of contemporary works, and he has presented several world premieres, including Ivan Fedele’s cello concerto (with the Orchestre National de France conducted by Leonard Slatkin) and Gilbert Amy’s cello concerto (with the Tokyo Symphony Orchestra). His focus on repertoire for solo cello led him to devise and perform several series of concerts featuring suites by Bach alongside new commissioned works by György Kurtág, Jonathan Harvey, Misato Mochizuki, Gilbert Amy, Ichiro Nodaira, and Ivan Fedele. Queyras records extensively for Harmonia Mundi. Highlights include the award-winning complete Bach solo Suites in 2008 (which earned a Diapason d’Or and other prizes), an album of Debussy and Poulenc with pianist Alexandre Tharaud in that same year, and Beethoven’s complete works for cello and piano with pianist Alexander Melnikov in 2014. Earlier this year, he teamed up with Tharaud again to release an album of cello sonatas and excerpts of the Hungarian Dances by Brahms for Warner Classics. Queyras has played a cello made by Gioffredo Cappa in 1696, on loan from Mécénat Musical Société Générale, since 2005. These performances mark JeanGuihen Queyras’s DSO debut.
Go behind the scenes at the Detroit Symphony Orchestra! Visit dso.org/stories for articles, photos, and videos featuring DSO musicians, programs of the Wu Family Academy, and more!
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LEONARD SLATKIN, Music Director Laureate Music Directorship endowed by the Kresge Foundation
JEFF TYZIK
Principal Pops Conductor
TERENCE BLANCHARD
NEEME JÄRVI Music Director Emeritus
Fred A. and Barbara M. Erb Jazz Creative Director Chair
TITLE SPONSOR:
HOME FOR THE HOLIDAYS Friday, December 21, 2018 at 10:45 a.m. & 8 p.m. Saturday, December 22, 2018 at 3 p.m. & 8 p.m. Sunday, December 23, 2018 at 3 p.m. & 7 p.m. at Orchestra Hall LAWRENCE LOH, conductor MEREDITH LUSTIG, soprano BLOOMFIELD HILLS HIGH SCHOOL BLOOMFIELD CHORALE & THE JILLS* JESSICA RILEY, director LAKE ORION HIGH SCHOOL CHORALE AND CHAMBER CHOIR† BRYCE THOMPSON, director
Leroy Anderson A Christmas Festival
Max Reger Maria Wiegenlied, Op. 76, No. 52 Meredith Lustig, soprano arr. Bill Holcombe Festive Sounds of Hanukah orch. Carson Rothrock Hanukah My Dreidel S’Vivon (Spin Dreidel) Hanukah, Oh Hanukah
Victor Herbert “March of the Toys” from Babes in Toyland trans. by F. Campbell Watson
Mel Torme The Christmas Song arr. Carmen Dragon Meredith Lustig, soprano Piotr Ilyich Tchaikovsky Suite No. 1 from The Nutcracker, Op. 71a Overture Chinese Dance Arabian Dance Trepak
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Adolphe-Charles Adam O Holy Night arr. William Ryden Meredith Lustig, soprano
Dmytrovich Mykola Leontovich Carol of the Bells and Peter Wilhousky arr. Richard Hayman
Intermission
John Williams “Merry Christmas, Merry Christmas” lyrics by Leslie Bricusse from Home Alone *†
Jule Styne Christmas Waltz arr. Carmen Dragon Meredith Lustig, soprano John Debney Suite from Elf *† arr. Victor Pesavento
Alan Silvestri “When Christmas Comes to Town” arr. Gary Fry from Polar Express *† Meredith Lustig, soprano
arr. John Rutter The Twelve Days of Christmas *†
Leroy Anderson Sleigh Ride
arr. Arthur Harris We Wish You a Merry Christmas *† Meredith Lustig, soprano
Presented by
With additional support from
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The Twelve Days of Christmas (singalong) On the ___ day of Christmas, my true love gave to me… 1st A partridge in a pear tree 2nd Two turtle doves 3rd Three French hens 4th Four calling birds 5th Five gold rings 6th Six geese a-laying 7th Seven swans a-swimming 8th Eight maids a-milking 9th Nine ladies dancing 10th Ten lords a-leaping 11th Eleven pipers piping 12th Twelve drummers drumming
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Profiles LAWRENCE LOH
MEREDITH LUSTIG
Lawrence Loh is the inaugural Music Director of Symphoria (Syracuse, NY) and recently-appointed Music Director of the West Virginia Symphony. He concluded his 12-year tenure as Music Director of the LOH Northeastern Pennsylvania Philharmonic in 2017. In 2015, he concluded a decade-long association with the Pittsburgh Symphony Orchestra, where he was promoted from Assistant to Associate and later Resident Conductor. While in Pittsburgh, Lawrence Loh was also the Music Director of the Pittsburgh Youth Symphony Orchestra. Having a particular affinity for pops programming, Loh has been engaged for repeat performances with Chris Botti, Idina Menzel, Ann Hampton Callaway, the Texas Tenors, and more. He is particularly adept at conducting concerts synchronizing live orchestral music with film, and has led Pixar in Concert, Disney in Concert, Wizard of Oz, and Singin’ in the Rain shows around the world. Loh received his Artist Diploma in Orchestral Conducting from Yale, his Masters in Choral Conducting from Indiana University, and his BA and Certificate of Management Studies from the University of Rochester. He was born in southern California to Korean parents and raised in Carlisle, PA.
Meredith Lustig is a singer and actress with a wide-ranging repertoire. Equally comfortable on opera stages, appearing in musicals, performing as a soloist with symphony orchestras, and in intimate jazz LUSTIG and cabaret clubs, Lustig earned her Bachelors and Masters degrees at The Juilliard School and is currently based in New York City. Recent highlights include starring as Blanche DuBois in A Streetcar Named Desire with Opera Company Middlebury, performing Dan Forrest’s Jubilate Deo at Carnegie Hall, performing Bernstein’s Mass with the Chicago Symphony Orchestra, and the premiere of her co-created Shakespearean cabaret Cupid Painted Blind with 23Arts and The Catskill Jazz Factory. Lustig has also appeared with Virginia Opera, Syracuse Opera, Gulshore Opera, the American Modern Ensemble, New York City Ballet, the Dallas Symphony Orchestra, and others. She was formerly a Resident Artist with Pittsburgh Opera and has enjoyed multiple summers as a Young Artist with the Glimmerglass Festival. Lustig is a 2012 District winner and 2013 third place Regional winner of the Metropolitan Opera National Council Auditions, a 2015 semi-finalist in the American Traditions Competition, and the first recipient of the Juilliard Novick Career Grant in 2011.
MOST RECENT APPEARANCE WITH THE DSO: February 2017, conducting A Night at the Academy Awards on the PNC Pops Series IRST APPEARANCE WITH THE DSO: F April 2007, conducting X-Men™ Meet the Symphony on the Young People’s Family Concert Series dso.org
These performances mark Meredith Lustig’s PNC Pops Series debut
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LEONARD SLATKIN, Music Director Laureate Music Directorship endowed by the Kresge Foundation
JEFF TYZIK
TERENCE BLANCHARD
Principal Pops Conductor
Fred A. and Barbara M. Erb Jazz Creative Director Chair
NEEME JÄRVI Music Director Emeritus
TITLE SPONSOR:
VEGAS AND THE RAT PACK Friday, January 18, 2019 at 10:45 a.m. Saturday, January 19, 2019 at 8 p.m. Sunday, January 20, 2019 at 3 p.m. at Orchestra Hall MATT CATINGUB, conductor/vocals/piano STEVE MORETTI, drums ANITA HALL, vocals
Program to be announced from the stage
Presented by
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With additional support from
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Profiles MATT CATINGUB Matt Catingub wears many hats: saxophonist, woodwind artist, conductor, pianist, vocalist, performer, composer, and arranger. Catingub is the Artistic Director and co-founder of the Macon Pops (GA) and has also served as Artistic Director and Conductor of the Glendale Pops in Los Angeles and the CATINGUB Hawaii Pops, as well as the Festival Pops Conductor of the New Hampshire Music Festival. He has also held the Principal Pops Conductor positions of the Honolulu Symphony, the Hawaii Symphony, and the New Mexico Symphony. Catingub wrote, arranged, and performed music for the George Clooney film Good Night, and Good Luck, making an onscreen appearance as a bandleader. The film’s soundtrack, which features Dianne Reeves and a band including Catingub, won a Grammy Award for Best Jazz Vocal Album. Catingub has also enjoyed success as the leader of his big band, Big Kahuna and the Copa Cat Pack, which has toured the world with Rosemary Clooney and backed notable artists including Michael Feinstein, Linda Eder, Lionel Hampton, and others.
STEVE MORETTI Drummer, percussionist, and producer Steve Moretti is a two-time Grammy Award nominee and winner of two Telly Awards. He has enjoyed an extensive dso.org
recording career, playing on more than 30 albums (and counting), and made his big screen debut playing live in the 2014 Clint Eastwood film Jersey Boys. A regular guest of symphony orchestras, Moretti has appeared with the Long Beach Symphony, Omaha Symphony, and others; he is also co-founder, president, and CEO of Macon Pops (GA), an innovative pops orchestra created by Moretti and Matt Catingub.
ANITA HALL Anita Hall is an award-winning vocalist and entertainer currently based in Indianapolis. Before moving to Indiana in 2010, Hall lived in Hawaii for HALL more than 20 years, where she became highly sought after for her diverse talents: she can easily change gears from country to jazz, rock to Broadway, and beyond. Hall has enjoyed a long and fulfilling partnership with Matt Catingub and Steve Moretti. As a working trio, they have performed pops programs with top symphonies all over the United States. a Grammy nomination and was awarding the Hawaii Music Award for Inspirational CD of the Year. ď ŽM OST RECENT APPEARANCE WITH THE DSO: Matt Catingub, Steve Moretti, and Anita Hall have previously appeared on the PNC Pops Series once, for a program of Love is All You Need in January 2017
MORETTI
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LEONARD SLATKIN, Music Director Laureate Music Directorship endowed by the Kresge Foundation
JEFF TYZIK
TERENCE BLANCHARD
Principal Pops Conductor
Fred A. and Barbara M. Erb Jazz Creative Director Chair
NEEME JÄRVI Music Director Emeritus
CLASSICAL SERIES SHOSTAKOVICH 8 Saturday, January 26, 2019 at 8 p.m. Sunday, January 27, 2019 at 3 p.m. at Orchestra Hall KARINA CANELLAKIS, conductor LISE DE LA SALLE, piano Robert Schumann Concerto for Piano and Orchestra (1810 - 1856) in A minor, Op. 54 I. Allegro affettuoso II. Intermezzo: Andantino grazioso III. Allegro vivace Lise de la Salle, piano Intermission Dmitri Shostakovich Symphony No. 8 in C minor, Op. 65 (1906 - 1975) I. Adagio - Allegro non troppo II. Allegretto III. Allegro non troppo IV. Largo V. Allegretto
This Classical Series performance is generously sponsored by
Saturday’s performance will be webcast via our exclusive Live From Orchestra Hall series, presented by Ford Motor Company Fund and made possible by the John S. and James L. Knight Foundation.
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Program Notes P R O G R A M AT- A - G L A N C E CLOSE TO THEIR HEARTS: Two pieces with powerful personal meaning Karina Canellakis’s conducting career jumped to lightspeed after a last-minute call to the stage in 2014. Then serving as Assistant Conductor of the Dallas Symphony Orchestra, she was asked to fill in for music director Jaap van Zweden, who was injured and unable to conduct. The piece? Shostakovich’s Symphony No. 8, an hour-long behemoth full of emotion and tragic energy. Not only had Canellakis never conducted the piece before, the substitution was so last-minute that there was no time for even a single rehearsal. Lise de la Salle his performed and recorded much of Schumann’s extensive piano oeuvre, and she holds his lone Piano Concerto especially dear. “It is the quintessence of Romanticism,” she writes. “A piece that makes us travel through all manner of life’s emotions!” In particular, she points to Schumann’s obsession with two Romantic “characters” that formed his self-identity: the surging, active Florestan and the circular, contemplative Eusebius.
Concerto for Piano and Orchestra in A minor, Op. 54 ROBERT SCHUMANN B. June 8, 1810, Zwickau, Germany D. July 29, 1856, Bonn, Germany Scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings (Approx. 31 minutes)
B
y the mid-1800s, the piano had grown in range, stamina, and reliability, and the role of the pianist had reached new levels of star power— thanks in part to the boundary-busting piano concertos written by Ludwig Van Beethoven at the very beginning of the century. In the new, post-Beethoven world, the piano was king, and not all composers were capable of writing compelling concertos for the instrument. Robert Schumann’s oeuvre includes dozens of works for piano, but strikingly only one piano concerto. Perhaps the
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post-Beethoven question—where do piano concertos go from here?—rattled around in his head like it did in those of other composers; nevertheless, he answered it by aiming to reestablish balance between the soloist and the ensemble at a time when pianists often left orchestras in the dust. The A minor piano concerto began as a fantasy for piano and orchestra and was extended into a full concerto at the urging of Schumann’s wife Clara. The first movement is for all practical purposes monothematic, a falling phrase first introduced by the oboe being subtly varied without every losing its plaintive character. Schumann found the way out of the piano concerto impasse by dissolving the barrier between the formal ritornello and the more capricious solo; henceforth, any instrument could speak in any tone of voice. The rest of the concerto does not comprise two movements, really, but one lengthy span, joined by a ghostly DSO PERFORMANCE MAGAZINE 33
reminiscence of the first movement. The mood of the Intermezzo is playful and bantering, despite the almost comically passionate second theme. Even more than in the first movement, the piano and the orchestra are partners in a delicately balanced game, in which neither is allowed to run too far ahead. In the first theme of the finale, Schumann builds a hint of ambiguity between the prevailing 3/4 measure and a 3/2, in which the pace is cut in half. This hint becomes explicit in the second theme, and there is much teasing between piano and orchestra over the sums of three plus three versus two plus two plus two. —Michael Fleming The DSO most recently performed Schumann’s Piano Concerto in November 2012, conducted by Sir Andrew Davis and featuring pianist Andrew von Oeyen. The DSO first performed the piece in March 1919, conducted by Ossip Gabrilowitsch and featuring pianist Eleanor Spencer.
Symphony No. 8 in C minor, Op. 65 DMITRI SHOSTAKOVICH B. September 25, 1906, Saint Petersburg, Russia D. August 9, 1975, Moscow, Russia Scored for 4 flutes (2 doubling on piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, E-flat clarinet, 3 bassoons (1 doubling on contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, and strings. (Approx. 61 minutes)
D
mitri Shostakovich spent many of the most productive years of his career under the thumb of the Stalin regime, expected to use his talents for patriotic,
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state-approved musical means. He often subverted these restraints, sometimes quite subtly, but today a great degree of nuance is required to understand the composer’s intentions from piece to piece: was he willingly complacent with the state, or was he just trying to survive? Did producing music rubber-stamped by the USSR, however cleverly or carefully incendiary, bring him joy—or should it have? Shostakovich’s seventh and eighth symphonies ask these (and other) questions most pressingly, as both pieces were written during the height of World War II. The Symphony No. 7 (commonly called the “Leningrad Symphony”) reflects the horror of the two-year siege of Shostakovich’s native Leningrad, in which more than 3 million Soviet soldiers and an estimated 1 million civilians died. The symphony evoked not just the brutality of the siege, but Shostakovich’s hopeful vision of Soviet victory and ultimate peace—and it earned him huge favor from the government, who named him Honored Artist of the USSR in 1942. By that time, and into 1943, the Russian front had started to turn in favor of the Soviets, and the state expected Shostakovich’s Symphony No. 8 to continue his heroic, pro-Soviet streak. Not so. Rather than a glorious paean to the advance of the Soviet forces, Shostakovich had created a tragic, brooding, epic work that offered little solace for the devastating toll that the war had exacted on the country. Official reaction to the new Symphony was icy: reviews ranged from disappointed to openly hostile; Izvestia and Pravda, the leading Soviet publications, printed nothing at all on the premiere. It was given again, in Novosibirsk in February 1944 and in liberated Leningrad the following December, but then labeled as WINTER 2018-2019
“not recommended for performance” by the government and effectively banned. Today, the symphony is regarded as one of Shostakovich’s most monumental and deeply moving creations, a profound cry against the inhumanity of war. Biographers Dmitri and Ludmilla Sollertinsky aptly write that “among the Symphony’s five movements, not one brings relief; each is deeply tragic.” The first movement includes two contrasting ideas within its main theme group: a powerful motive driven by stabbing rhythms, and a smooth funeral melody in the violins. The second and third movements embody different demonic aspects of war: the grotesque military march and the relentlessly pounding machine. The ferocious Allegretto could well be a parody of goose-stepping German storm troopers, while the Allegro non troppo, built from little more than an incessant mechanical rhythm and shrieking woodwind chords, evokes some remorseless engine of battle. The juggernaut pauses for a series of fearsome trumpet calls in
the middle of the third movement, but the mechanistic music returns, and is whipped to an enormous climax out of which emerges a shattering drum roll as the bridge to the fourth movement—a stark, funereal passacaglia. The finale, which follows without pause, takes as its principal material a gliding, rather innocuous theme offered by the solo bassoon. This is given an energetic working-out until it is interrupted by a threatening recall of the sinister stabbing motive that opened the symphony. The ending, made from the smashed atoms of the bassoon’s theme, is slow and quiet and hesitant. Heroism and victory are forgotten after war’s blast, Shostakovich seems to say. Compassion and exhaustion remain. —Dr. Richard E. Rodda The DSO most recently performed Shostakovich’s Symphony No. 8 in November 2003, conducted by Günther Herbig. The DSO first performed the piece in January 1997, conducted by then-Music Director Neeme Järvi (now Music Director Emeritus).
Profiles KARINA CANELLAKIS Karina Canellakis was recently appointed Chief Conductor of the Netherlands Radio Philharmonic Orchestra, beginning in the 2019-2020 CANELLAKIS Season. She first made headlines in 2014 filling in for Jaap van Zweden on Shostakovich’s Symphony No. 8 with the Dallas Symphony Orchestra, where she was then serving as Assistant Conductor. dso.org
Since then, she made her European debut in 2015 conducting the Chamber Orchestra of Europe, and won the Sir Georg Solti Conducting Award in 2016. Recent highlights of Canellakis’s skyrocketing career include appearances with the Orchestre de Paris, National Orchestra of Spain, Danish National Orchestra, Bamberger Symphoniker, Los Angeles Philharmonic, Seattle Symphony Orchestra, and many others. She has also appeared at the BBC Proms and in the opera pit with Zürich Opera, Curtis Opera Theare, and others. Canellakis began her musical career DSO PERFORMANCE MAGAZINE 35
Profiles as a violinist, and was encouraged to take up conducting by Sir Simon Rattle while she played as a member of the Berlin Philharmonic’s OrchesterAkademie. In addition to appearing frequently as a soloist, Canellakis played regularly with the Chicago Symphony Orchestra and served as guest concertmaster of the Bergen Philharmonic. Born and raised in New York City, Canellakis now enjoys a busy international career and is fluent in English, French, German, and Italian. She graduated from the Curtis Institute of Music and The Juilliard School, and counts Alan Gilbert and Fabio Luisi as major mentors. MOST RECENT APPEARANCE WITH THE DSO: Karina Canellakis has previously conducted the DSO once, in July 2016, for a William Davidson Neighborhood Concert Series program including works by Stravinsky, Barber, Mozart, and Beethoven.
LISE DE LA SALLE Born in Cherbourg, France, Lise de la Salle began her career at a young age, performing on Radio France at age nine and winning First Prize of the Seventh International Contest of Ettlingen, DE LA SALLE Germany at 12. She earned international acclaim in 2005, at the age of 16, when Gramophone
selected the Naïve CD compilation of her Bach and Liszt recordings as Recording of the Month. Since then, she has appeared with many of the world’s leading orchestra, including the Chicago Symphony Orchestra, Boston Symphony Orchestra, Los Angeles Philharmonic, and others. She served as the first Artist-in-Residence of the Zürich Opera at the invitation of Fabio Luisi, who also conducted her London Symphony Orchestra debut in 2016. de la Salle’s recordings for the Naïve label include, among others, a 2003 disc of Rachmaninoff and Ravel, a 2007 CD and DVD with music by Mozart and Prokofiev, and a 2010 all-Chopin recording with Staatskapelle Dresden conducted by Fabio Luisi. In 2011, she released a Liszt recording in connection to the Liszt Bicentennial, which won the Diapason d’Or and Gramophone’s Editor’s Choice Award. At age 11, de la Salle received special permission to enter the Paris Conservatory to study with Pierre Réach. She graduated in 2001 and subsequently enrolled in the postgraduate cycle with Bruno Rigutto. Since 1997, she has worked closely with Pascal Nemirovski and studied with Genevieve Joy-Dutilleux. M OST RECENT APPEARANCE WITH THE DSO: Lise de la Salle has previously appeared with the DSO once, performing Rachmaninoff’s Piano Concerto No. 1 in April 2016 (cond. Giancarlo Guerrero)
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Gifts received between September 1, 2017 and August 31, 2018 Being a community-supported orchestra means you can play your part through frequent ticket purchases, event contributions, 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. If you have questions about this roster, or to make a donation, please contact 313.576.5114 or go to dso.org/donate.
Paray Society — Giving of $250,000 and more Mr. & Mrs. Lee Barthel Penny & Harold Blumenstein Julie & Peter Cummings Mr. & Mrs. Stanley Frankel Mr. & Mrs.† Morton E. Harris
Mr. & Mrs. Peter Karmanos, Jr. Linda Dresner & Ed Levy, Jr. Mr. & Mrs. James B. Nicholson Mrs. Richard C. Van Dusen
Dorati Society — Giving of $100,000 and more Mr. & Mrs. Richard L. Alonzo Applebaum Family Foundation James & Patricia Anderson Mr. & Mrs. Raymond M. Cracchiolo Ms. Leslie C. Devereaux Mr. & Mrs. Phillip Wm. Fisher Emory M. Ford, Jr.† Endowment
Shari & Craig Morgan The Polk Family Bernard & Eleanor Robertson Martie & Bob Sachs Cindy & Leonard* Slatkin Joanne Danto & Arnold Weingarden
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Ms. Deborah Miesel Mr. & Mrs. Eugene A. Miller The Clyde & Helen Wu Family Mrs. Judith G. Yaker Paul & Terese Zlotoff
Järvi Society — Giving of $25,000 and more Ms. Sharon Backstrom W. Harold & Chacona W. Baugh Mrs. Cecilia Benner Mrs. Kathryn L. Fife Mr. & Mrs. Edsel B. Ford II Barbara Frankel & Ronald Michalak Herman & Sharon Frankel Mr. & Mrs. Aaron Frankel Mr. & Mrs. Ralph J. Gerson Ronald M. & Carol† Horwitz Richard H. & Carola Huttenlocher Bud & Nancy Liebler 38
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Dr. William F. Pickard Maurcine & Lloyd Reuss Nancy Schlichting Mr. & Mrs.† Alan E. Schwartz Mrs. Patricia Finnegan Sharf Mr. & Mrs. Larry Sherman Mr. & Mrs. Donald R. Simon Dr. Doris Tong & Dr. Teck M. Soo Mr. & Mrs. Arn Tellem Mr. James G. Vella And one who wishes to remain anonymous
†
Deceased
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Gabrilowitsch Society — Giving of $10,000 and more Janet and Norm Ankers, chairs
Giving of $10,000 and more Mr. & Mrs. Robert A. Allesee Mr. & Mrs. Norman Ankers Pamela Applebaum Drs. John & Janice Bernick Mr. & Mrs. Robert H. Bluestein John & Marlene Boll Mr. & Mrs. Jim Bonahoom Gwen & Richard Bowlby Mr. & Mrs. Stephen Brownell Michael & Geraldine Buckles Michael & Cathleen Clancy Lois & Avern Cohn Margie Dunn & Mark Davidoff Eugene & Elaine C. Driker Mr. Peter Falzon Jim & Margo Farber Dr. Marjorie M. Fisher & Mr. Roy Furman Mr. Michael J. Fisher Mr. & Mrs. Samuel Fogleman Dr. Saul & Mrs. Helen Forman Dale & Bruce Frankel Mr. & Mrs. Eugene A. Gargaro, Jr. Byron† & Dorothy Gerson Allan D. Gilmour & Eric C. Jirgens Mrs. Gale Girolami Dr. Kenneth & Roslyne Gitlin Dr. Robert T. Goldman
Allen C. Goodman & Janet R. Hankin Mary Ann & Robert Gorlin Dr. Herman & Mrs. Shirley Gray Judy & Kenneth Hale Charlene Handleman Dr. Gloria Heppner Michael E. Hinsky & Tyrus N. Curtis Mr. & Mrs. Norman H. Hofley Jack† & Anne Hommes Renato & Elizabeth Jamett Lenard & Connie Johnston Faye & Austin Kanter Mr. & Mrs. Norman D. Katz Mr. Daniel J. Kaufman Mike & Katy Keegan Dr. David & Mrs. Elizabeth Kessel Marguerite & David Lentz Dr. Melvin A. Lester Mr. & Mrs.† Joseph Lile The Locniskar Group Stevens McClure Family Alexander & Evelyn McKeen Mr. & Mrs. Robert S. Miller Dr. Robert & Dr. Mary Mobley Cyril Moscow Xavier & Maeva Mosquet Geoffrey S. Nathan & Margaret E. Winters
Mrs. Denise Abrash Ms. Dorothy Adair Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Daniel & Rose Angelucci Mrs. Jean Azar Mike & Pat Biber Claire P. & Robert N. Brown Philip & Carol Campbell Mr. & Mrs. François Castaing Dr. & Mrs. Charles G. Colombo Thomas W. Cook & Marie L. Masters Mr. & Mrs. Gary L. Cowger Mr. & Mrs. Charles W. Dare Mr. & Mrs. Richard L. DeVore Adel & Walter Dissett Edwin & Rosemarie Dyer Mr. & Mrs. John M. Erb Marianne T. Endicott Mr. Sanford Hansell & Dr. Raina Ernstoff Mr. Peter Falzon Hon. Sharon Tevis Finch Barbara & Alfred J. Fisher III Ms. Mary D. Fisher Ms. Carol A. Friend Goodman Family Charitable Trust Mr.† & Mrs. James A. Green
Mr. Jeffrey Groehn Mr. & Mrs. Robert Hage Mr. Lee V. Hart & Mr. Charles L. Dunlap Ms. Nancy B. Henk Ms. Doreen Hermelin Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. George Hill & Mrs. Kathleen Talbert-Hill Mr. & Mrs. Peter Hollinshead Julius & Cynthia Huebner Foundation Mr. & Mrs. A. E. Igleheart Mr. & Mrs. Richard J. Jessup William & Story John Mr. George G. Johnson Judy & David Karp Michael E. Smerza & Nancy Keppelman Samantha Svoboda & Bill Kishler Mr. & Mrs. Harold Kulish John & Marilyn Kunz Dr. Raymond Landes & Dr. Melissa McBrien-Landes Mr. Daniel Lewis Bob & Terri Lutz Patricia A.† & Patrick G. McKeever John & Marcia Miller Eugene & Sheila Mondry Foundation Mr. & Mrs. Eric Nemeth
Mr. & Mrs. Albert T. Nelson, Jr. David Robert & Sylvia Jean Nelson Jim & Mary Beth Nicholson Patricia & Henry Nickol Mr. & Mrs. Stanley Nycek Mrs. Jo Elyn Nyman Anne Parsons* & Donald Dietz Mr. Charles Peters Mr. & Mrs. Bruce D. Peterson Dr. Glenda D. Price Mr. & Mrs. David Provost Ms. Ruth Rattner Dr. Erik Rönmark* & Mrs. Adrienne Rönmark* Peggy & Dr. Mark B. Saffer Marjorie & Saul Saulson Elaine & Michael Serling Lois & Mark Shaevsky Mr. & Mrs. James H. Sherman John J. Solecki Richard Sonenklar & Gregory Haynes Mr. Gary Torgow Mr. Gary L. Wasserman & Mr. Charlie Kashner Mr. & Mrs. R. Jamison Williams Ms. Mary Wilson Drs. David & Bernadine Wu And two who wish to remain anonymous
Giving of $5,000 and more
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*Current DSO Musician or Staff
Mr. & Mrs. David E. Nims William & Carol O’Neill Mr. & Mrs. Arthur T. O’Reilly Debra & Richard Partrich Ms. Lisa A. Payne Mr. & Mrs. David Provost Mr. & Mrs. Dave Redfield Dr. & Mrs. John Roberts Mr. & Mrs. Robert B. Rosowski Mr. R. Desmond Rowan Dr. & Mrs.† Alexander G. Ruthven II Mrs. Sharon Shumaker Mrs. Kathleen Straus & Mr. Walter Shapero Mrs. E. Ray Stricker Mr. & Mrs. John Stroh III Alice & Paul Tomboulian Mr. Gary Torgow Ms. Marie Vanerian Mrs. Eva Von Voss Mr. William Waak S. Evan & Gwen Weiner Dr. & Mrs. Ned Winkelman Ms. June Wu Erwin & Isabelle Ziegelman Foundation Milton Y. Zussman And one who wishes to remain anonymous
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Giving of $2,500 and more Howard Abrams & Nina Dodge Abrams Mr. & Mrs. George Agnello Dr. Roger & Mrs. Rosette Ajluni Mr. & Mrs. Robert L. Anthony Drs. Kwabena & Jacqueline Appiah Dr. & Mrs. Ali-Reza R. Armin Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook* Pauline Averbach & Charles Peacock Mr. Joseph Aviv & Mrs. Linda Wasserman Aviv Mr. & Mrs. Wayne J. Babbish Ms. Ruth Baidas Ms. Jeanne A. Bakale & Mr. Roger Dye Nora & Guy Barron Mr. Mark G. Bartnik & Ms. Sandra J. Collins Mr. & Mrs. Martin S. Baum Mr. & Mrs. Richard Beaubien Dr. & Mrs. Brian J. Beck Ms. Margaret Beck Dr. & Mrs. Richard H. Bell Mrs. Harriett Berg Mr. & Mrs. Dennis Bernard Mr. & Mrs. Jeffrey A. Berner Martha & G. Peter Blom Dr. George & Joyce Blum Nancy & Lawrence Bluth Mr. Timothy Bogan Ms. Nadia Boreiko The Honorable Susan D. Borman & Mr. Stuart Michaelson Rud† & Mary Ellen Boucher Don & Marilyn Bowerman Mr. Paul & Mrs. Lisa Brandt Mr. Anthony F. Brinkman Mr. & Mrs. Marco Bruzzano Mr. & Mrs. Mark R. Buchanan Mr. & Mrs. Ronald F. Buck Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Dr. & Mrs. Roger C. Byrd Mrs. Carolyn Carr Dr. & Mrs. Thomas E. Carson Dr. Lynne F. Carter & Mr. Terrance Carter Ronald & Lynda Charfoos Mr. & Mrs. Andrew Christians Mr. Fred J. Chynchuk Mr. Don Clapham Mr. & Mrs. Robert W. Clark Nina & Richard Cohan Jack, Evelyn & Richard Cole Family Foundation Mr. James Schwyn & Mrs. Françoise Colpron Dr. & Mrs. Julius V. Combs Ms. Elizabeth Correa Patricia & William Cosgrove, Sr. Dr. & Mrs. Ivan Louis Cotman Mrs. Barbara Cunningham Dr. Edward & Mrs. Jamie Dabrowski Suzanne Dalton & Clyde Foles 40
Deborah & Stephen D’Arcy Fund Maureen & Jerry D’Avanzo Barbara A. David Lillian & Walter Dean Mr. & Mrs. Anthony Delsener Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Mr. Giuseppe Derdelakos Diana & Mark Domin Paul† & Peggy Dufault Mr. & Mrs. Robert Dunn Mrs. George D. Dzialak Dr. Leo & Mrs. Mira Eisenberg Dr. & Mrs. A. Bradley Eisenbrey Randall & Jill* Elder Mr. Lawrence Ellenbogen Ms. Laurie Ellis & Mr. James Murphy Donald & Marjory Epstein Mr. Drew Esslinger & Mr. Chris Syzmanski Dave & Sandy Eyl Ellie Farber Mr. & Mrs. Oscar Feldman Mr. & Mrs.† Anthony C. Fielek Dr. Thomas Filardo & Dr. Nora Zorich Mark & Loree Frank Kit & Dan Frohardt-Lane Mrs. Janet M. Garrett Stephanie Germack Ms. Jody Glancy Dr. & Mrs. Theodore Golden Paul & Barbara Goodman Ms. Jacqueline Graham Mr. Luke Ponder & Dr. Darla Granger Dr. & Mrs. Joe L. Greene Dr. & Mrs. Steven Grekin Robert & Elizabeth Hamel Mary & Preston Happel Randall L. & Nancy Caine Harbour Tina Harmon Mrs. Betty J. Harrell Cheryl A. Harvey Randall* & Kim Minasian Hawes Gerhardt A. Hein & Rebecca P. Hein Mr. & Mrs. Ross Herron Mr. Donald & Marcia Hiruo James Hoogstra & Clark Heath Mr. Matthew Howell & Mrs. Julie Wagner Mr. F. Robert Hozian Mr. & Mrs. Joseph L. Hudson, Jr. Mr. & Mrs. Marshall L. Hutchinson Nicki* & Brian Inman Sarah & Steven Jackson Mr. & Mrs. Ira J. Jaffe Mr. & Mrs. Charles R. Janovsky Mr. John S. Johns Ms. Sydney Johnstone Paul & Marietta Joliat Mr. & Mrs. John Jullens Ellen Kahn Diane & John Kaplan Dr. Laura Katz & Dr. Jonathan Pasko
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Betsy & Joel Kellman June K. Kendall Frederic & Stephanie Keywell Mrs. Frances King Grace Kachaturoff Mr. James Kirby Thomas & Linda Klein Mr. & Mrs. Ludvik F. Koci Ms. Margot Kohler Mr. David Kolodziej Ms. Susan Konop Mr. James Kors & Ms. Victoria King* Dr. Harry & Katherine Kotsis Robert C. & Margaret A. Kotz George M. Krappmann* & Lynda Burbary-Krappmann Barbara & Michael Kratchman Richard & Sally Krugel Dr. Arnold Kummerow Mr. & Mrs. Robert LaBelle Drs. Lisa & Scott Langenburg Ms. Sandra Lapadot Ms. Anne T. Larin Dr. Lawrence O. Larson The Dolores & Paul Lavins Foundation Max Lepler & Rex L. Dotson Mr. & Mrs. Ralph LeRoy, Jr. Barbara & Carl Levin Drs. Donald & Diane Levine Arlene & John Lewis Ms. Carol Litka Daniel & Linda* Lutz Mrs. Sandra MacLeod Cis Maisel Margaret Makulski & James Bannan Mr. & Mrs. Charles W. Manke, Jr. Mervyn & Elaine Manning Mr. Anthony Marek Maurice Marshall Dr. & Mrs. Richard Martella Dr. & Mrs. Peter M. McCann, M.D. Mr. Anthony R. McCree Mr. & Mrs. Alonzo McDonald Mr. John McFadden Ms. Camille McLeod Dr. & Mrs. Donald A. Meier Dr. & Mrs. David Mendelson Olga Sutaruk Meyer Thomas & Judith Mich Bruce & Mary Miller J.J. & Liz Modell Dr. Susan & Mr. Stephen* Molina Mr. & Mrs. Daniel E. Moore Ms. A. Anne Moroun Mr. Frederick Morsches & Mr. Kareem George Drs. Barbara & Stephen Munk Ms. I. Surayyah R. Muwwakkil Joy & Allan Nachman Edward & Judith Narens Mariam C. Noland & James A. Kelly WINTER 2018-2019
Katherine & Bruce Nyberg Mr. John J. O’Brien Dr. & Mrs. Dongwhan Oh Lila & Randall Pappal Mrs. Margot Parker Mrs. Sophie Pearlstein Noel & Patricia Peterson Kris & Ruth Pfaehler Mr. & Mrs. Philip E. Pfahlert Benjamin B. Phillips Mr. Dave Phipps Dr. Klaudia Plawny-Lebenbom William H. & Wendy W. Powers Reimer & Rebecca Priester Charlene & Michael Prysak Jill M.* & Michael J. Rafferty Mr. & Mrs. Richard Rappleye Drs. Stuart & Hilary Ratner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Denise Reske Barbara Gage Rex Ms. Linda Rodney Seth & Laura Romine Michael & Susan Rontal Mr.† & Mrs. Gerald F. Ross Mr. Ronald Ross & Ms. Alice Brody Mr. R. Desmond Rowan Jane & Curt Russell Linda & Leonard Sahn Mr. David Salisbury & Mrs. Terese Ireland Salisbury
Dr. & Mrs. Hershel Sandberg Ms. Martha A. Scharchburg & Mr. Bruce Beyer Dr. Sandy Koltonow & Dr. Mary Schlaff David & Carol Schoch Catherine & Dennis B. Schultz Sandy & Alan Schwartz Mr. & Mrs. Kingsley G. Sears Mr. Merton J. Segal Nancy & Sam Shamie Shapero Foundation Ms. Margo Shulman Zon Shumway Dr. Les & Ellen Lesser Siegel Robert & Coco Siewert Mr. Norman Silk & Mr. Dale Morgan William & Cherie Sirois Dr. Cathryn & Mr. Daniel Skedel Mr. Michael J. Smith & Mrs. Mary C. Williams Dr. Gregory Stephens Barb & Clint Stimpson Nancy C. Stocking Dr. & Mrs. Gerald Stollman Dr. & Mrs. Choichi Sugawa Ms. Laurie Szczesny David Szymborski & Marilyn Sicklesteel Dr. Neil Talon Ms. Dorothy Tarpinian Joel & Shelley Tauber Dr. & Mrs. Howard Terebelo Mr. & Mrs. Douglas J. Thompson Mr. Norman Thorpe Mr. & Mrs. James W. Throop
Carol & Larry Tibbitts Mr. & Mrs. John P. Tierney Dr. Barry Tigay Mr. and Mrs. Paul Tobias Barbara & Stuart Trager Mr. & Mrs. Thomas Trudeau Mark & Janice Uhlig Amanda Van Dusen & Curtis Blessing Charles & Sally Van Dusen Dr. & Mrs. Ronald W. Wadle Captain Joseph F. Walsh, USN (Ret.) Mr. Michael A. Walch & Ms. Joyce Keller Mr. & Mrs. Jonathan T. Walton Mr. Patrick Webster Mr. Herman Weinreich Lawrence & Idell Weisberg Ambassador & Mrs. Ronald N. Weiser Janis & William Wetsman/The Wetsman Foundation Barbara & David Whittaker Ms. Anne Wilczak Beverly & Barry Williams Dr. M. Roy & Mrs. Jacqueline Wilson Rissa & Sheldon Winkelman Mr. Mark Wojtas Mr. Jonathan Wolman & Mrs. Deborah Lamm Cathy Cromer Wood Ms. Andrea L. Wulf Margaret S. York Mr. & Mrs. Alan Zekelman And five who wish to remain anonymous
Giving of $1,500 and more Joshua & Judith Adler Dr. & Mrs. Gary S. Assarian Dr. & Dr. Brian Bachynski Mrs. Mary Beattie† Ms. Jane Bolender Mr. & Mrs. J. Bora Mr. & Mrs. Stephen A. Bromberg Mr. & Mrs. Richard Burstein Dr. & Mrs. Glenn B. Carpenter David & Michelle Carroll Mrs. Elizabeth & Mr. C. Howard Crane Dr. Edward Mrs. Jamie Dabrowski Dr. & Mrs. Adnan S. Dajani Mr. & Mrs. Alfred J. Darold Gordon & Elaine Didier Mr. Patrick Doig Mr. & Mrs. Henry Eckfeld Mr. Howard O. Emorey Mr. William Fetterman Mr. & Mrs. Robert W. Gillette Mr. Joseph & Mrs. Lois Gilmore Ruth & Al Glancy Ms. Sandra Seligman Anne & Eugene Greenstein Mr. Donald Guertin Mr. & Mrs. Michael Harding Fran & Howard Heicklen Mr. & Mrs. Paul Hillegonds Ms. Elizabeth Ingraham
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Ms. Nadine Jakobowski Mr. Arthur Johns Robert & Sandra Johnson Carol & Rick Johnston Ms. Ida King Aileen & Harvey Kleiman Tom & Beverly Klimko Mr. & Mrs. Victor Kochajda/Teal Electric Co. Miss Kathryn Korns Mr. & Mrs. Kosch Mr. & Mrs. William Kroger, Jr. Mr. Michael Kuhne Dr. Myron & Joyce LaBan Mr. & Mrs. Paul Lieberman Mr. William Lynch Ms. June G Mackeil Mr. & Mrs. Joseph Mazzeo Mr. & Mrs. Brian Meer Ms. Florence Morris Mr. & Mrs. Germano Mularoni Ms. Deborah Parker Dr.† & Mrs. Terry Podolsky Mrs. Janet Pounds Mr. Ronald Puchalski Drs. Renato & Daisy Ramos Mr. & Mrs. Richard Rapson Mrs. Hope Raymond Mr. & Mrs. John Rieckhoff Mr. Paul Robertson & Mrs. Cheryl Robertson
*Current DSO Musician or Staff
Mr. & Mrs. Leslie Rose Mr. James Rose Dr. & Mrs. Jerry Rosenberg Mr. & Mrs. Hugh C. Ross Mr. & Mrs. George Roumell Nancy J. Salden Mr. & Mrs. Lawrence Schlack Mr. Steve Secrest Robert A. Sedler Cynthia Shaw & Tom Kirvan Mr. & Mrs. William C. Shenefelt Mr. Lawrence Shoffner Ms. Claudia Sills Mr. Ariel Simon Mr. Mark Sims & Ms. Elaine Fieldman Ralph & Peggy Skiano Dr. & Mrs. Choichi Sugawa Ms. Joyce Sutherland David & Lila Tirsell Mr. Jim Van Eizenga William & Sandra Vanover Dr. & Mrs. Thomas E. Verhelle Peter & Carol Walters Mr. Barry Webster Ms. Beverly Weidendorf Ms. Janet Weir Rudolf E. Wilhelm Fund Frank & Ruth Zinn And three who wish to remain anonymous DSO PERFORMANCE MAGAZINE 41
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THE RICHARD C. DEVEREAUX FOUNDATION
WINTER 2018-2019
Giving of $50,000 & more Marvin & Betty Danto Family Foundation William Randolph Hearst Foundation League of American Orchestras Edward C. & Linda Dresner Levy Foundation Richard & Jane Manoogian Foundation Michigan Council for Arts & Cultural Affairs Wico Metal Products Matilda R. Wilson Fund
Giving of $20,000 & more American House Senior Living Communities Beaumont Health Chemical Bank DeRoy Testamentary Foundation Flagstar Foundation Greektown Casino-Hotel Henry Ford II Fund
Lear Corporation Macy’s MGM Grand Detroit National Endowment for the Arts Rock Ventures, LLC Varnum LLP Wolverine Packing Company
Giving of $10,000 & more
Giving of $1,000 & more
Amerisure Insurance Creative Benefit Solutions, LLC Denso International America, Inc. Edibles Rex Maxine & Stuart Frankel Foundation Honigman Miller Schwartz and Cohn LLP Jaffe, Raitt, Heuer & Weiss KPMG LLP Myron P. Leven Foundation Oliver Dewey Marcks Foundation Milner Hotels Foundation Laskaris-Jamett Advisors of Raymond James Stone Foundation of Michigan
Charles M. Bauervic Foundation Darling Bolt Company Delta Dental Plan of Michigan Dickinson Wright LLP Frank & Gertrude Dunlap Foundation EY HEM Data Corporation Clarence & Jack Himmel Fund James & Lynelle Holden Fund Hotel St. Regis Howard & Howard Attorneys PLLC Japan Business Society of Detroit Foundation Josephine Kleiner Foundation Ludwig Foundation Fund Madison Electric Company Michigan First Credit Union Plante & Moran, PLLC PSLZ, LLP Meyer & Anna Prentis Family Foundation The Loraine & Melinese Reuter Foundation Save Our Symphony Leslie & Regene Schmier Foundation Schwartz Family Foundation Louis & Nellie Sieg Foundation Sills Foundation Robert Swaney Consulting, Inc. Samuel L. Westerman Foundation Wheeler Family Foundation, Inc. Young Woman’s Home Association And one who wishes to remain anonymous
Giving of $5,000 & more The Boston Consulting Group Coffee Express Roasting Company Benson & Edith Ford Fund Grant Thornton LLP Marjorie & Maxwell Jospey Foundation Michigan Ear Institute O’Brien - Sullivan Funeral Homes Inc Sigmund & Sophie Rohlik Foundation Schaerer Architextural Interiors Mary Thompson Foundation Warner Norcross & Judd LLP
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DSO PERFORMANCE MAGAZINE 43
The DSO’s Planned Giving Council recognizes the region’s leading financial and estate professionals whose current and future clients may involve them in their decision to make a planned gift to the Detroit Symphony Orchestra. Members play a critical role in shaping the future of the DSO through ongoing feedback, working with their clients, supporting philanthropy and attending briefings twice per year. For more information or to join the PG Council, please call 313.576.5114.
LINDA WASSERMAN AVIV, Chair Mrs. Katana H. Abbott Mr. Joseph Aviv Mr. Christopher A. Ballard Ms. Jessica B. Blake, Esq. Ms. Rebecca J. Braun Mr. Timothy Compton Dorothy A. & Larry L. Fobes Mrs. Jill Governale Mr. Henry Grix Mrs. Julie R. Hollinshead, CFA Mr. Mark W. Jannott, CTFA Ms. Jennifer A. Jennings
Ms. Dawn Jinsky Mrs. Shirley Kaigler Mr. Robert E. Kass Mr. Christopher L. Kelly Mr. Bernard S. Kent Ms. Yuh Suhn Kim Mr. Henry P. Lee Ms. Marguerite Munson Lentz J. Thomas MacFarlane Mr. Christopher M. Mann Mr. Curtis J. Mann Mrs. Mary Mansfield
Mr. Mark Neithercut Mrs. Alice R. Pfahlert Mr. Steven C. Pierce Ms. Deborah J. Renshaw, CFP Mr. James P. Spica Mr. David M. Thoms Mr. John N. Thomson, Esq. Mr. William Vanover Mr. William Winkler Mrs. Wendy Zimmer Cox
PLANNED GIVING SPOTLIGHT
Dorothy and Larry Fobes Dorothy and Larry Fobes are both retired from decades-long careers at Ford Motor Company. Larry later joined the staff at Wayne State University. In that role, he created, co-produced, and hosted an Emmy-award winning television series in partnership with Detroit Public Television. What’s your earliest memory of seeing the DSO? We moved to the Detroit region in 1972. Within a few years we had series tickets to hear the DSO at Ford Auditorium. We were both working long hours, and dinner at Charley’s Crab in the Pontchartrain Hotel, followed by a DSO concert, was a great Friday night. What’s the best thing about living in Southeast Michigan? We like being among people who get things done: whether it is building great cars, renewing Detroit, or ensuring that our arts institutions continue and thrive. Like all major urban centers, we’ve had 44
DSO PERFORMANCE MAGAZINE
some tough times, but we work through them, and move on as stronger and better than before. Why was it important for you to give? The DSO has provided great value and pleasure for us over the years, and we want to help ensure that it is able to provide the same — and hopefully even greater — value and pleasure for future generations. We believe the arts are a critical component of any successful city. Arts programming must be available to everyone, whether that person is attending a live concert in the most expensive box seat or watching a free webcast. Ticket prices aren’t enough to fulfill these future missions. Planned giving is our way of helping. †
Deceased
WINTER 2018-2019
CELEBRATING YOUR LEGACY SUPPORT BARBARA VAN DUSEN, Honorary Chair
The 1887 Society honors individuals who have made a special legacy commitment to support the Detroit Symphony Orchestra. Members of the 1887 Society ensure that future music lovers will continue to enjoy unsurpassed musical experiences by including the DSO in their estate plans. If you have arranged a planned gift to support the DSO or would like more information on planned giving, please call 313.576.5114. Ms. Doris L. Adler Dr. & Mrs. William C. Albert Mr. & Mrs. Robert A. Allesee Dr. Lourdes V. Andaya Mr. & Mrs. Eugene Applebaum Dr. Augustin & Nancy† Arbulu Ms. Sharon Backstrom Sally & Donald Baker Mr. & Mrs. Lee Barthel Mary Beattie Stanley A. Beattie Mr.† & Mrs. Mandell L. Berman Mrs. Betty Blair Gwen & Richard Bowlby William & Julia Bugera Cynthia Cassell, Ph. D. Dr.† & Mrs. Victor J. Cervenak Eleanor A. Christie Ms. Mary Christner Lois & Avern Cohn Mrs. RoseAnn Comstock Thomas W. Cook & Marie L. Masters Dorothy M. Craig Mr. & Mrs. John Cruikshank Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Ms. Leslie C. Devereaux Mr. John Diebel Mr. Roger Dye & Ms. Jeanne A. Bakale Mr. & Mrs. Robert G. Eidson Marianne T. Endicott Mrs. Rema Frankel† Patricia Finnegan Sharf Ms. Dorothy Fisher Mrs. Marjorie S. Fisher† Samuel & Laura Fogleman Dorothy A. and Larry L. Fobes Mr. Emory Ford, Jr.† Dr. Saul & Mrs. Helen Forman Barbara Frankel & Ron Michalak Herman & Sharon Frankel Jane French Janet M. Garrett Dr. Byron P. & Marilyn Georgeson Mr. Joseph & Mrs. Lois Gilmore Victor† & Gale Girolami Ruth & Al Glancy David & Paulette Groen Mr. Harry G. Bowles† Donna & Eugene Hartwig Gerhardt A. Hein & Rebecca P. Hein Ms. Nancy B. Henk Joseph L. Hickey
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Mr. & Mrs. Thomas N. Hitchman Andy Howell Carol Howell Paul M. Huxley & Cynthia Pasky David & Sheri Jaffa Mr. & Mrs. Thomas H. Jeffs II Mr. & Mrs. Richard J. Jessup Mr. & Mrs. George Johnson Lenard & Connie Johnston Ms. Carol 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 Mrs. Bonnie Larson Ann C. Lawson Allan S. Leonard Max Lepler & Rex L. Dotson Dr. Melvin A. Lester Mr. & Mrs.† Joseph Lile Harold Lundquist† & Elizabeth Brockhaus Lundquist Mr. & Mrs. Eric C. Lundquist Roberta Maki Eileen & Ralph Mandarino Judy Howe Masserang Mr. Glenn Maxwell Mary Joy McMachen, Ph.D. Judith Mich† Rhoda A. Milgrim Mr. & Mrs. Eugene A. Miller John & Marcia Miller Jerald A. & Marilyn H. Mitchell Mr.† & Mrs. L. William Moll Shari & Craig Morgan Ms. I. Surayyah R. Muwwakkil Geoffrey S. Nathan & Margaret E. Winters Beverley Anne Pack David† & Andrea Page Mr. Dale J. Pangonis Ms. Mary W. Parker Mrs. Sophie Pearlstein Helen & Wesley Pelling† Dr. William F. Pickard Mrs. Bernard E. Pincus Ms. Christina Pitts
Mrs. Robert Plummer Mr. & Mrs. P. T. Ponta Mrs. Mary Carol Prokop† Ms. Linda Rankin & Mr. Daniel Graschuck Mr. & Mrs. Douglas J. Rasmussen Deborah J. Remer Mr. & Mrs. Lloyd E. Reuss Barbara Gage Rex Ms. Marianne Reye Lori-Ann Rickard Katherine D. Rines Bernard & Eleanor Robertson Ms. Barbara Robins Jack† & Aviva Robinson Mr.† & Mrs. Gerald F. Ross Mr. & Mrs. George Roumell Dr. Margaret Ryan Marjorie & Saul Saulson Mr. & Mrs. Donald & Janet Schenk Ms. Yvonne Schilla Mr. & Mrs. Fred Secrest† Ms. Marla K. Shelton Edna J. Shin Ms. June Siebert Dr. Melissa J. Smiley & Dr. Patricia A. Wren Ms. Marilyn Snodgrass† Mr. & Mrs. Walter Stuecken Mr.† & Mrs. Alexander C. Suczek David Szymborski & Marilyn Sicklesteel Alice & Paul Tomboulian Mr. David Patria & Ms. Barbara Underwood Roger & Tina Valade Mrs. Richard C. Van Dusen Charles & Sally Van Dusen Mr. & Mrs. Melvin VanderBrug Mr.† & Mrs. George C. Vincent Christine & Keith C. Weber Mr. Herman Weinreich John† & Joanne Werner Mr. & Mrs. Arthur Wilhelm Mr. Robert E. Wilkins† Mrs. Michel Williams Ms. Nancy S. Williams† Mr. Robert S. Williams & Ms. Treva Womble Ms. Barbara Wojtas Elizabeth B. Work Dr. & Mrs. Clyde Wu† Ms. Andrea L. Wulf Mrs. Judith G. Yaker Steven Dee Yeutter Milton & Lois† Zussman Five who wish to remain anonymous DSO PERFORMANCE MAGAZINE 45
THANK YOU TO LAST SEASON’S EVENT SPONSORS! SAVE THE DATE: NEW YEAR’S EVE CELEBRATION • DEC. 31, 2018 THE MUSIC OF WHITNEY HOUSTON Judy & Stanley Frankel
SAVE THE DATE: CLASSICAL ROOTS 2019 • MARCH 8 & 9 Judy & Stanley Frankel Ann & Jim Nicholson T H E
S A T U R D A Y
DATE
JUNE 23, 2018
Danialle & Peter Karmanos, Jr.
Marjorie S. Fisher Fund of the Community Foundation for Southeast Michigan
SAVE THE DATE: HEROES GALA 2019 • JUNE 22
FINAL.indd 1
3/19/18 8:51 PM
TRIBUTE GIFTS Gifts received June 1, 2018 to September 1, 2018 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 Memory of Donald Bauder Anne Parsons & Donald Dietz In Memory of Mary Beattie Gwen & Dick Bowlby Jill Jordan & David Everson Felicia & Dwayne Mack Meredith Nelson Jan & Richard Raison Rose Marie & Gerald Switzer Wendy Rollin & Jerry Piasecki Household
In Honor of Penny & Harold Blumenstein Carolyn Greenberg In Memory of Mario DiFiore Dick & Gwen Bowlby Mario & Jane Iacobelli In Memory of Alex Domin Sue & William Kondak Anne Sullivan Cathy & Philip Tomaszewski
In Honor of Margaret Beauregard Carol Singer
In Memory of Bill Fay Pamela Ayres
In Memory of Ruth Terebelo Blackman Howard Hertz
In Memory of Ron Fischer Anne Parsons & Donald Dietz Judy & John Marx Natsuko & Choichi Sugawa
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† Deceased
In Memory of Jack Hommes Catherine Hande In Memory of Joan C. O’Brien John J. O’Brien In Honor of Anne Parsons Clinton Family Fund In Honor of Greg Staples Neil and Ilene Danziger In Honor of Arnold Weingarden Gail Danto & Art Roffey In Memory of Fred Woolf Laurie Dubin Nancy & Stephen Glasser Ruth & Irwin Kahn Rhoda Milgrim George & Nancy Nicholson
WINTER 2018-2019
AMERICAN PANORAMA A DSO WINTER FESTIVAL
FEBRUARY 8-24, 2019
TICKETS START AT
$15
SIX CONCERTS IN ORCHESTRA HALL AMERICAN PANORAMA
Leonard Slatkin, conductor Wei Yu, cello Fri., Feb. 8 at 10:45 a.m. & 8 p.m. MUSIC BY GOULD, JOAN TOWER, BERNSTEIN, TH OMSON, GROFÉ
A JOHN WILLIAMS CELEBRATION Leonard Slatkin, conductor Alexander Kinmonth, oboe Sat., Feb. 9 at 8 p.m. Sun., Feb. 10 at 3 p.m. MUSIC BY JOHN WILLIAMS
APPALACHIAN SPRING Leonard Slatkin, conductor Jean-Yves Thibaudet, piano Thu., Feb. 14 at 7:30 p.m. Fri., Feb. 15 at 10:45 a.m.
MUSIC BY CINDY MCTEE, BE RNSTEIN, BARBER, COPLAND
GERSHWIN’S PORGY & BESS
Leonard Slatkin, conductor Jean-Yves Thibaudet, piano Laquita Mitchell, soprano Derrick Parker, bass-baritone Sat., Feb. 16 at 8 p.m. Sun. Feb. 17 at 3 p.m. MUSIC BY GERSHWIN
WEST SIDE STORY Leonard Slatkin, conductor Kimberly Kaloyanides Kennedy, violin Ralph Skiano, clarinet Thu., Feb. 21 at 7:30 p.m. Fri., Feb. 22 at 8 p.m. MUSIC BY KRISTIN KUSTER, CAGE, BARBER, BE RNSTEIN
MAXIMUM MINIMAL
Leonard Slatkin, conductor Joseph Becker, percussion Andrés Pichardo-Rosenthal, percussion Jeremy Epp, timpani • James Ritchie, timpani Sat., Feb. 23 at 8 p.m. Sun., Feb. 24 at 3 p.m. MUSIC BY STEVE REICH, PHILIP GLASS, JOHN LUTHER ADAMS
PLUS MORE OFFERINGS IN THE CUBE AND THE COMMUNITY! ORDER YOUR TICKETS NOW!
dso.org • 313.576.5111 GROUPS OF 10 OR MORE CALL 313.576.5130
GENEROUSLY SPONSORED BY Prices, artists, dates and programs subject to change.
WELCOME TO THE MAX
OUR HOME ON WOODWARD AVENUE
The Max M. and Marjorie S. Fisher Music Center is one of Detroit’s most notable cultural campuses. The Max includes three main performance spaces: historic Orchestra Hall, the Peter D. and Julie F. Cummings Cube (“The Cube”), and Robert A. and Maggie Allesee Hall. All are accessible from the centrally located William Davidson Atrium. The Jacob Bernard Pincus Music Education Center is home to the DSO’s Wu Family Academy and other music education offerings. The DSO is also proud to offer The Max as a performance and administrative space for several local partners, including Detroit Public Theatre, Detroit Youth Volume, and others.
Parking Self-parking is available for $10 at the Orchestra Place Parking Structure (81 Parsons Street), with designated handicap spaces available on the ground level. Valet parking is available for $14 at most concerts. Complimentary donor valet is offered to donors who give $7,500 annually, with drop-off and pick-up located at the stage door behind The Max. The DSO offers shuttle bus service to Coffee Concerts from select locations for $15. Please call 313.576.5130 for more information.
What Should I Wear? The DSO has no dress code. Patrons can expect to see a variety of outfit styles, and all visitors are encouraged to wear what makes them most comfortable. While business professional and business casual attire are common, jeans and sneakers are as appropriate as suits and ties.
Food and Drink Food and beverages are available for purchase at most performances, either from stations throughout the William Davidson Atrium or at the Paradise Lounge. A full-service restaurant offering gourmet meals prepared by Executive Chef Chris Skillingstad, the Paradise Lounge is located on the second floor of The Max and open prior to most Orchestra Hall concerts. For more information, or to make a reservation, please call 313.576.5488 or email paradiselounge@dso.org. Patrons are welcome to bring drinks to their 48
DSO PERFORMANCE MAGAZINE
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
seats at all performances except Friday morning Coffee Concerts, and drink orders may be placed before or during a performance to be picked up at intermission. Food is not allowed in Orchestra Hall. Please note that outside food and beverages are prohibited.
Shop @ The Max The Shop @ The Max retail store is located on the first floor of The Max, just outside of the William Davidson Atrium in the hallway opposite the main staircase. Shop @ The Max is open before, during, and after most performances.
Handicap Access and Hearing Assistance The Max M. and Marjorie S. Fisher Music Center is fully handicap-accessible, and the DSO aims to accommodate all patrons regardless of abilities or needs. There are elevators, barrier-free restrooms, and accessible seating in all areas of The Max. Security personnel 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. Patrons may visit the Patron Services Center on the second floor to check out a mobile device and earbuds, or to seek assistance in downloading the Sennheiser MobileConnect app on their own device. The system is made possible by the Michigan Ear Institute. WINTER 2018-2019
POLICIES SEATING The DSO makes every attempt to begin The Max M. and Marjorie S. Fisher Music Center 3711 Woodward Avenue Detroit, MI 48201 Box Office:................................................313.576.5111 Group Sales:............................................ 313.576.5130 Administrative Offices:.......................... 313.576.5100 Facilities Rental Information:...............313.576.5050 Visit the DSO online at dso.org For general inquiries, please email info@dso.org
Priority Service for Our Members We are proud to offer priority assistance to all DSO Subscribers, as well as donors who give $1,000 annually. Visit the Patron Services Center on the second floor of The Max for help with tickets, exchanges, donations, or any other DSO needs.
The Herman and Sharon Frankel Donor Lounge Governing Members who give $3,000 annually can enjoy complimentary beverages, appetizers, and desserts in the Donor Lounge, open 90 minutes prior to each concert through the end of intermission. For more information on becoming a Governing Member, contact Leslie Groves at 313.576.5451 or lgroves@dso.org.
Gift Certificates Gift certificates are available in any denomination and may be used towards tickets to any DSO performance. Please contact the Box Office for more information.
Rent The Max Elegant and versatile, The Max is an ideal setting for a variety of events and performances: weddings, corporate gatherings, meetings, concerts, and more. Visit dso.org/rent or call 313.576.5065 for more information.
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concerts on time. In deference to the comfort and listening pleasure of the audience, latecomers will be seated at an appropriate pause in the music at the discretion of the house staff. Patrons who leave the hall before or during a piece will be reseated after the piece is completed. Latecomers may watch the performance on closed circuit television in the William Davidson Atrium.
TICKETS, EXCHANGES, AND CONCERT CANCELLATIONS All patrons, regardless of age,
must have a ticket to attend DSO performances. All sales are final and non-refundable. In lieu of refunds, the DSO offers a flexible exchange and ticket donation policy. Tickets of equal or lesser value may be exchanged up to the day before the performance without fees. Patrons must pay the per-ticket difference if exchanging into a more expensive performance. Please contact the Box Office to exchange or donate tickets. The DSO rarely cancels concerts. In the event of inclement weather or other emergencies, please visit dso.org, contact the Box Office, or check the DSO’s social media pages for updates and information. Patrons will be notified of exchange options. The DSO is unable to offer refunds for cancelled concerts.
CHILDREN Educational Concert Series, Young
People’s Family Concerts, and Tiny Tots performances are specially designed for children and families. While the DSO does not enforce a universal age limit, please review program details to determine whether a performance is appropriate for children. All patrons must have a paid ticket regardless of age. Any person causing a disturbance to surrounding audience members will be asked to leave the performance area by an usher.
PHOTOGRAPHY AND RECORDING Photography
can be distracting to musicians and audience members, so please be cautious and respectful if you wish to take photos. Note that flash photography, video recording, tripods, and cameras with detachable lenses are strictly prohibited.
MOBILE DEVICES Use of smartphones and other
electronic devices can be distracting to musicians and audience members. You may be asked by an usher to store your device.
SMOKING Smoking, including the use of e-cigarettes and personal vaporizers, is prohibited throughout The Max. Patrons who wish to smoke must do so outside the building. Smoking is permitted on the second-floor outdoor patio near the Patron Services Center. DSO PERFORMANCE MAGAZINE 49
A D M I N I S T R AT I V E S TA F F
EXECUTIVE OFFICE
Patrick Peterson Manager of Orchestra Personnel
Debora Kang Manager of Education Programs
Anne Parsons President and CEO James B. and Ann V. Nicholson Chair
Dennis Rottell Stage Manager
Garrett Lefkowitz Training Programs Operations Coordinator
ADVANCEMENT
Nelson Rodriguez Parada General Manager of Training Ensembles
Jill Elder Vice President and Chief Development Officer Linda Lutz Vice President and Chief Financial Officer Erik Rรถnmark Vice President and General Manager Joy Crawford Executive Assistant to the President and CEO Elaine Curvin Executive Assistant to the Vice President and CDO
ARTISTIC OPERATIONS ARTISTIC PLANNING Christopher Harrington Managing Director of Paradise Jazz Series/Managing Director & Curator of @ The Max
Jill Rafferty Senior Director of Advancement Jenni Clark Fundraising Events Specialist
Clare Valenti Manager of Community Engagement
Stephanie Glazier Stewardship Coordinator
FINANCE
Leslie Groves Major Gift Officer
Jeremiah Hess Senior Director of Accounting & Finance
Chelsea Kotula Advancement Officer Juanda Pack Advancements Benefits Concierge Matthew Way Advancement Relations and Strategic Initiatives Manager
COMMUNICATIONS Matthew Carlson Director of Communications and Media Relations
Jessica Ruiz Director of Artistic Planning
Teresa Alden Digital Communications Manager
Christina Biddle Popular and Special Programs Coordinator
Ben Breuninger Public Relations Manager
Catherine Miller Artistic Coordinator Yaniv Segal Acting Assistant Conductor
Emily Carter Sharpe Communications Coordinator Sarah Smarch Communications Specialist
LIVE FROM ORCHESTRA HALL
COMMUNITY & LEARNING
Marc Geelhoed Director of Digital Initiatives
Caen Thomason-Redus Senior Director of Community & Learning
ORCHESTRA OPERATIONS
Kiersten Alcorn Community Engagement Coordinator
Kathryn Ginsburg Senior Director of Operations and Orchestra Manager Heather Hart Rochon Director of Orchestra Personnel
50
Mickayla Chapman Training Ensembles Recruitment and Operations Coordinator
DSO PERFORMANCE MAGAZINE
Dawn Kronell Senior Accountant Amanda Lindstrom Gift Processing Coordinator Sandra Mazza Senior Accountant Michelle Wisler Payroll and Benefits Accountant
HUMAN RESOURCES Denise Ousley Human Resources Director Shuntia Perry Human Resources Coordinator
PATRON DEVELOPMENT & ENGAGEMENT Nicki Inman Senior Director of Patron Development & Engagement
AUDIENCE DEVELOPMENT Michael Frisco Director of Audience Development Annick Busch Patron Loyalty Coordinator Lori Cairo Front of House Manager Sharon Gardner Carr Assistant Manager of Tessitura and Ticketing Operations WINTER 2018-2019
LaHeidra Marshall Audience Development Coordinator James Sabatella Group Sales Manager
CATERING AND RETAIL SERVICES Christina Williams Director of Catering and Retail Services Chris Skillingstad Executive Chef Nate Richter Bar Manager Justine Smith Retail Manager
EVENTS AND RENTALS Catherine Deep Manager of Events and Rentals Ashley Powers Event Sales Representative Stephanie McClung Coordinator of Event Sales & Administration
PATRON SALES & SERVICE Michelle Marshall Manager, Patron Sales & Service Rebecca Godwin Lead Ticketing Specialist Tommy Tatti Assistant Manager of Patron Sales & Service Sara Wabrowetz Lead Ticketing Specialist
SAFETY & SECURITY
Norris Jackson Security Officer Edward John Assistant Chief of Security Ronald Martin Security Officer Johnnie Scott Security Officer
TECHNOLOGY & INFRASTRUCTURE Jody Harper Senior Director of Technology and Infrastructure
FACILITY OPERATIONS Dan Saunders Director of Facilities Management Frederico Augustin Facility Engineer Clarence Burnett Maintenance Supervisor Matt Deneka Maintenance Technician Martez Duncan Maintenance Technician William Guilbault Maintenance Technician
PERFORMANCE Volume XXVII Winter 2018-2019 EDITOR Ben Breuninger bbreuninger@dso.org 313.576.5196 PUBLISHER Echo Publications, Inc. Thomas Putters PROGRAM NOTES ANNOTATOR Charles Greenwell (Unless otherwise noted) To advertise in Performance, please call 248.582.9690.
Crystal King Maintenance Technician Daniel Speights Maintenance Technician
INFORMATION TECHNOLOGY Michelle Koning Web Manager RaJon Taylor Application Administrator
Activities of the DSO are made possible in part with the support of the Michigan Council for Arts and Cultural Affairs and the National Endowment for the Arts.
George Krappmann Director of Safety &Security Greg Schimizzi Chief of Security
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DSO PERFORMANCE MAGAZINE 51
UPCOMING CONCERTS & EVENTS TICKETS & INFO
313 . 576 . 5111 dso.org
CLASSICAL SERIES
PARADISE JAZZ SERIES
John Storgårds, conductor Pekka Kuusisto, violin
Fri., Dec. 7 at 8 p.m.*
TCHAIKOVSKY SYMPHONY NO. 4 Fri., Nov. 16 at 10:45 a.m. Sat., Nov 17 at 8 p.m. Sun., Nov 18 at 3 p.m.
CYRUS CHESTNUT TRIO: A CHARLIE BROWN CHRISTMAS @THE MAX
JEFF “TAIN” WATTS TRIO
ANTHEIL Over the Plains DANÍEL BJARNASON Violin Concerto TCHAIKOVSKY Symphony No. 4
Fri., Dec. 7 at 10 p.m. in The Cube*
TINY TOTS CONCERT SERIES
JAZZ MEETS DR. SEUSS
DSO PRESENTS
Sat., Dec. 8 at 10 a.m. in The Cube*
VIENNA BOYS CHOIR: CHRISTMAS IN VIENNA
YOUNG PEOPLE’S FAMILY CONCERT SERIES
Sun., Nov. 25 at 7 p.m.*
THE SNOWMAN
WU FAMILY ACADEMY EDUCATIONAL CONCERT SERIES
BY RAYMOND BRIGGS Vinay Parameswaran, conductor
THE TALE OF THE FIREBIRD
Sat., Dec. 8 at 11 a.m.
Rei Hotoda, conductor
Wed., Nov. 28 at 10:30 a.m. & 11:45 a.m.
@ THE MAX
PNC POPS SERIES
STORM LARGE: HOLIDAY ORDEAL
George Daugherty, conductor
CLASSICAL SERIES
BUGS BUNNY AT THE SYMPHONY II
Mon., Dec. 10 at 7 p.m. in The Cube*
STRAUSS: DER ROSENKAVALIER
Fri., Nov. 30 at 10:45 a.m. Sat., Dec. 1 at 8 p.m. Sun., Dec. 2 at 3 p.m.
LOONEY TUNES and all related characters and elements are trademarks of and © Warner Bros. Entertainment Inc. TOM AND JERRY and all related characters and elements are trademarks of and © Turner Entertainment Co. (s18)
CLASSICAL SERIES
BEETHOVEN’S FIFTH
Carlos Miguel Prieto, conductor Christian Tetzlaff, violin Thu., Dec. 6 at 7:30 p.m. Fri., Dec. 7 at 10:45 a.m. Sat., Dec. 8 at 8 p.m.
BRAHMS Concerto for Violin BEETHOVEN Symphony No. 5 52
DSO PERFORMANCE MAGAZINE
Nikolaj Znaider, conductor Jean-Guihen Queyras, cello Fri., Dec. 14 at 10:45 a.m. Sat., Dec. 15 at 8 p.m.
J. STRAUSS Overture to Die Fledermaus SCHUMANN Cello Concerto in A minor, Op. 129 SCHUMANN Overture to Manfred R. STRAUSS Suite from Der Rosenkavalier DSO PRESENTS
HOME ALONE WITH THE DSO Richard Kaufman, conductor Wed., Dec. 19 at 7:30 p.m. Live from Orchestra Hall
WINTER 2018-2019
PNC POPS SERIES
PNC POPS SERIES
Lawrence Loh, conductor Meredith Lustig, vocalist
Matt Catingub, conductor & vocalist Anita Hall, vocalist Steve Moretti, drums
Fri., Dec. 21 at 10:45 a.m. & 8 p.m. Sat., Dec. 22 at 3 p.m. & 8 p.m. Sun., Dec. 23 at 3 p.m. & 7 p.m.
Fri., Jan. 18 at 10:45 a.m. Sat., Jan. 19 at 8 p.m. Sun., Jan. 20 at 3 p.m.
DSO PRESENTS
PARADISE JAZZ SERIES
HOME FOR THE HOLIDAYS
NEW YEAR’S EVE CONCERT & BASH — THE MUSIC OF WHITNEY HOUSTON
VEGAS AND THE RAT PACK
THE MUSIC OF JOHN COLTRANE Fri., Jan. 18 at 8 p.m.*
Mon., Dec. 31 at 10 p.m.
Poncho Sanchez and James Carter
WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES
CLASSICAL SERIES
TCHAIKOVSKY’S “LITTLE RUSSIAN” SYMPHONY
SHOSTAKOVICH 8
Karina Canellakis, conductor Lise de la Salle, piano
Ken-David Masur, conductor Edgar Moreau, cello
Sat., Jan. 26 at 8 p.m. Sun., Jan. 27 at 3 p.m.
Thu., Jan. 10 at 7:30 p.m. in Southfield Fri., Jan. 11 at 8 p.m. in Clinton Twp. Sun., Jan. 13 at 3 p.m. in Beverly Hills
SCHUMANN Concerto for Piano SHOSTAKOVICH Symphony No. 8
GLINKA Overture to Ruslan and Ludmilla TCHAIKOVSKY Symphony No. 2 DVOŘÁK Cello Concerto
HOSTED PARTNERSHIPS
WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES
BEETHOVEN SYMPHONY NO. 2 Pablo Rus Broseta, conductor Wei Yu, cello
Thu., Jan. 17 at 7:30 p.m. in W. Bloomfield Fri., Jan. 18 at 8 p.m. in Plymouth Sat., Jan. 19 at 8 p.m. in Bloomfield Hills Sun., Jan. 20 at 3 p.m. in Grosse Pointe
STRAVINSKY Concerto in D SAINT-SAËNS Cello Concerto No. 1 BEETHOVEN Symphony No. 2 dso.org
FINALS CONCERT
22ND ANNUAL SPHINX COMPETITION Sat., Feb 2 at 7:30 p.m.*
@ THE MAX
VALENTINE’S DAY WITH BRIANNA THOMAS
Thu., Feb. 14 at 7 p.m. in The Cube*
DSO PRESENTS
CHINESE NEW YEAR Tue., Feb. 12 at 7 p.m.*
An exhilarating event showcasing the rich history of Chinese music.
*The DSO does not appear in this program
DSO PERFORMANCE MAGAZINE 53
BE SURE TO VISIT ALL FOUR LEVELS OF THE WILLIAM DAVIDSON ATRIUM TO ENJOY
ART@THEMAX IV Featuring work by Detroit artists Jetshri Bhadviya, Sophie Eisner, Ed Fraga, Susan Goethel Campbell, Megan Heeres, Kate Levy, George Rahme, Kathleen Rashid, and Clinton Snider.
CLINTON SNIDER, TANGLED KNOTS
SEPTEMBER 23 TO DECEMBER 23, 2018
WITH GENEROUS SUPPORT FROM:
Art @ the Max is a collaboration between Essay’d and the Detroit Symphony Orchestra. A portion of the sale price of these works will benefit the DSO. Visit Shop @ The Max retail store, located on the first floor just south of the box office, to see a price list.
ENGAGED IN THE ARTS.
COMMITTED TO CULTURE.
IMPACTING OUR COMMUNITY.
The Community Foundation for Southeast Michigan proudly supports the DSO as part of our mission to assist organizations creating a lasting, postive impact in our region.
CFSEM.org
313-961-6675
The Katherine McGregor Dessert Parlor
…at The Whitney.
Named after David Whitney’s daughter, Katherine Whitney McGregor, the new secondfloor dessert parlor features a variety of decadent cakes, tortes, and miniature desserts. The menu also includes chef-prepared specialties, pies, and frozen treats, and you won’t want to miss the amazing flaming dessert station featuring Bananas Foster and strawberries Grand Marnier.
JOIN US AFTER TONIGHT’S PERFORMANCE AND ENJOY A
FLAMING BANANAS FOSTER AT HALF PRICE!
Reservations 313-832-5700 4421 Woodward Ave., Detroit • www.TheWhitney.com