Performance Magazine: Spring 2019 — Edition 1 by Detroit Symphony Orchestra

VOLUME XXVII • SPRING 2019

PERFORMANCE THE MAGAZINE OF THE DETROIT SYMPHONY ORCHESTRA

INSIDE Program Notes Soundwaves on the Airwaves

The orchestra beyond Orchestra Hall

Through Lines

Creative ideas in the DSO’s DNA

Meet the Musician Caroline Coade

Randall Hawes, trombone and bass trombone, backstage at Congregation Shaarey Zedek in Southfield during the William Davidson Neighborhood Concert Series

2018-2019 SEASON

We celebrate the DSO â&#x20AC;&#x201C; a world-class ensemble

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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 Welcome......................................................4 Orchestra Roster.........................................5

Soundwaves on the Airwaves

DSO Embraces Technology to Reach a Worldwide Audence

Meet the Musician Caroline Coade

16 Through Lines

Creative Ideas in the DSOâ&#x20AC;&#x2122;s DNA

20 Community and Learning 21 PROGRAM NOTES Read Performance anytime, anywhere at dso.org/performance

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Behind the Baton.........................................6 Board Leadership........................................8 Transformational Support........................10 Donor Roster............................................. 34 Maximize Your Experience....................... 44 DSO Administrative Staff......................... 46 Upcoming Concerts.................................. 50 ON THE COVER: Randall Hawes, Trombone For a feature story about the William Davidson Neighborhood Concert Series and more photos of DSO musicians, visit dso.org/stories.

Photo: Sarah Smarch

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WELCOME

This spring the DSO has an extraordinary, wide-ranging lineup of concerts in store, both here in the Max M. and Marjorie S. Fisher Music Center and throughout greater Detroit. Our 41st annual Classical Roots concerts celebrating African-American contributions in classical music will highlight works by this year’s honoree Robert Harris and our very first honoree from 2001 George Walker. In addition to Dr. Harris, we are thrilled to honor business leader and philanthropist Dr. William Pickard for his support of Classical Roots, the DSO, and our community at this year’s Celebration. The DSO welcomes four outstanding conductors on its Classical Series, beginning with André Raphel for Classical Roots and the DSO debut of Rafael Payare, who will conduct Mahler’s Fifth Symphony and Mozart’s Violin Concerto No. 5 with DSO Concertmaster Yoonshin Song as featured soloist. We will also have return engagements from conductors Mark Wigglesworth—a regular guest on the Orchestra Hall stage for the past 20 years—and Ludovic Morlot, who returns to the DSO for the first time since 2008 to conduct a program featuring the incredible Hélène Grimaud in Beethoven’s Fourth Piano Concerto. The orchestra will also “rock out” this spring, reprising The Music of David Bowie which we debuted at Meadowbrook in 2016, and—as part of the PNC Pops Series— perform hits by Huey Lewis, Blondie, Michael Jackson, Billy Joel, and more in The Big 80s. For those who prefer their pop music to be standards, the PNC Pops series offers Classic Broadway, featuring songs by Cole Porter, George Gershwin, Irving Berlin, Marvin Hamlisch, and Andrew Lloyd Webber. Outside the walls of the Max, the DSO and conductor David Danzmayr perform Schubert’s “Unfinished” Symphony No. 8 and Mendelssohn’s Violin Concerto with Blake Pouliot in Southfield, Macomb, and Beverly Hills as part of the William Davidson Neighborhood Concert Series. If chamber music is what you’re looking for this spring, DSO musicians will perform Beethoven’s Septet in Beverly Hills, Debussy’s String Quartet in Utica, and the music of Motown in Detroit. Beyond concerts with the orchestra, the DSO’s Paradise Jazz Series presents a fantastic double-bill program by clarinetist/saxophonist Anat Cohen and drummer Kendrick Scott. In the Peter D. and Julie F. Cummings Cube, Blue Note recording artist José James pays tribute to the legendary Bill Withers, New Music Detroit plays Steve Reich’s groundbreaking work Different Trains, and jazz and R&B singer Quiana Lynell performs songs from her debut album. All this in just two months! And we haven’t even mentioned any of our myriad education offerings. (See pg. 20 for a story about some wonderful in-school concerts the DSO performed in January.) So as spring blooms in Detroit, we invite you to join us and make the DSO your soundtrack for the season. We look forward to welcoming you! Anne Parsons President and CEO 4

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Mark Davidoff Chairman SPRING 2019

DONALD DIETZ

Dear Friends,

LEONARD SLATKIN, Music Director Laureate Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

Principal Pops Conductor

FIRST VIOLIN Yoonshin Song Concertmaster Katherine Tuck Chair Kimberly Kaloyanides Kennedy A ssociate Concertmaster Schwartz Shapero Family 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* 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 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 CELLO Wei Yu, Principal James C. Gordon Chair

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TERENCE BLANCHARD

NEEME JÄRVI

Fred A. and Barbara M. Erb Jazz Creative Director Chair

Music Director Emeritus

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*^ Mary Ann and Robert Gorlin Chair Paul Wingert* Victor and Gale Girolami Chair BASS Kevin Brown, Principal Van Dusen Family Chair Stephen Molina A ssistant Principal Linton Bodwin Stephen Edwards Christopher Hamlen Nicholas Myers HARP Patricia Masri-Fletcher Principal Winifred E. Polk Chair 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

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

TROMBONE Kenneth Thompkins, Principal David Binder Randall Hawes

E-FLAT CLARINET Laurence Liberson

PERCUSSION Joseph Becker, Principal Ruth Roby and Alfred R. Glancy III Chair Andrés Pichardo-Rosenthal A ssistant Principal William Cody Knicely Chair James Ritchie

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

PICCOLO Jeffery Zook OBOE Alexander Kinmonth Principal Jack A. and Aviva Robinson Chair Sarah Lewis Maggie Miller Chair Brian Ventura A ssistant Principal Monica Fosnaugh ENGLISH HORN Monica Fosnaugh Shari and Craig Morgan Chair

BASS TROMBONE Randall Hawes TUBA Dennis Nulty, Principal

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 Ryan DeMarco Department Head Noel Keesee Department Head Steven Kemp Department Head Matthew Pons Department Head Michael Sarkissian Department Head

LEGEND

* These members may voluntarily revolve seating within the section on a regular basis ~ extended leave ^ on sabbatical DSO PERFORMANCE MAGAZINE 5

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

Leonard Slatkin Internationally 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.

SPRING 2019

Jeff Tyzik

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

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.

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.

Samuel Frankel ◊ David Handleman, Sr.◊ Dr. Arthur L. Johnson ◊

James B. Nicholson 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

Nancy Schlichting, Officer at Large

Pamela Applebaum Janice Bernick, Governing Members Chair Marco Bruzzano Jeremy Epp, Orchestra Representative Samuel Fogleman Herman B. Gray, M.D.

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Nicholas Hood, III Daniel J. Kaufman Michael J. Keegan Bonnie Larson Arthur C. Liebler Xavier Mosquet Stephen Polk Bernard I. Robertson

◊ Deceased

Nancy M. Schlichting Sharon Sparrow, Orchestra Representative Shirley Stancato Arn Tellem Hon. Kurtis T. Wilder M. Roy Wilson David M. Wu, M.D.

SPRING 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 Robert Bluestein Suzanne Bluestein Penny B. Blumenstein Elizabeth Boone Gwen Bowlby Margaret Cooney Casey Karen Cullen Joanne Danto Stephen R. D’Arcy Maureen T. D’Avanzo Richard L. DeVore Afa Sadykhly Dworkin Annmarie Erickson James Farber Jennifer Fischer Aaron Frankel

Carolynn Frankel Christa Hoen-Funk Alan M. Gallatin Robert Gillette Jody Glancy Malik Goodwin Mary Ann Gorlin Laura Grannemann Antoinette G. Green Leslie Green Laura Hernandez-Romine Donald Hiruo Michele Hodges Julie Hollinshead Renato Jamett 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 Lydia Michael, NextGen Chair Lois A. Miller Daniel Millward Scott Monty Shari Morgan Frederick J. Morsches Sean M. Neall Eric Nemeth Maury Okun Shannon Orme, Orchestra Representative

Vivian Pickard William F. Pickard, Ph.D. Gerrit Reepmeyer Richard Robinson James Rose, Jr. Marc Schwartz Lois L. Shaevsky Thomas Shafer Margaret Shulman Cathryn M. Skedel, Ph.D. Ralph Skiano, Orchestra Representative 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* Orchestra Representative

Diana Golden Vice Chair, Membership

David Karp Member-at-Large

Kenneth Thompkins Orchestra Representative

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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.

FRIENDS, NEIGHBORS, GENEROUS DONORS

here’s nothing like a good neighbor, except maybe a good friend. Richard and Mona Alonzo and Robert and Mary Ann Gorlin are lucky enough to be both. For years, Mary Ann’s house was situated just behind the Alonzos’, and when the Alonzos moved, so did the Gorlins—right next door! The two couples share a great love of food, travel, and art, and they do everything together, including attending DSO concerts. L-R: Richard Alonzo, Mona Alonzo, The Alonzos even introduced Robert and Mary Ann Gorlin, and Robert Gorlin Mary Ann. “They were both single and we decided that they might get along,” Mona says. “So we asked them if they’d like to go to dinner.” Richard picks up the story, which actually ends quite quickly: “And that was it! They really hit it off.” The Alonzos and the Gorlins also share an interest in supporting the DSO’s mission. In 2015, Richard and Mona endowed the Principal Timpani chair held by Jeremy Epp; in late 2018, Robert and Mary Ann endowed a chair in the cello section held by Una O’Riordan. For the Alonzos, it was personal—they had gotten to know Jeremy in his early days in the orchestra, when they invited him to stay at their house while he searched for permanent housing. The Gorlins chose the cello section for their recent gift as a tribute to their grandson, a passionate amateur cellist. “We’ve been increasingly struck over the past several years by the symphony’s commitment to the community and how it gives back,” says Robert. “The symphony has really upped its game in terms of being an accessible and community-centered institution.” Mary Ann agrees, and adds: “We know that how Detroit goes, so goes the rest of Southeast Michigan.”

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SPRING 2019

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 Mary Ann & Robert Gorlin 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

CAROLINE COADE Viola

aroline Coade remembers the first time she was interviewed for Performance, back when she joined the DSO in 1996. “I was talking about driving my brand new car, my Ford Explorer, on I-696, and how terrifying that was,” she says. Pausing, she adds poignantly: “And now, that was four cars ago.” Coade’s vehicular turnover doesn’t only speak to her tenure in the viola section. It reflects the brutality of a commute familiar to many Metro Detroiters, whether they undertake it or not: the back-and-forth between the city and Ann Arbor, which can easily put 25,000 miles on the odometer every year. Coade treks the route to split time between her two robust careers: one as a full-time member of the DSO, and another as assistant professor of viola at the University of Michigan at the School of Music, Theatre & Dance (SMTD). Many professional musicians make teaching part of their work, and for Coade, there was hardly a doubt that she would form a strong commitment to education. “I first taught when I was 21 years old,” she says, recalling that her first job involved weekend instruction at Temple Music Prep in Philadelphia. “And I was so nervous about whether the kids would like me—let alone the teaching skills! But I quickly realized that it wasn’t about me; it was about passing along the gifts I received. And I actually found I was really good at teaching, and I really loved it.” When her career steered her to 12

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Michigan, Coade took up teaching at Wayne State University before moving to the University of Michigan. “I worked my way from lecturer, an adjunct position, to an assistant professor job,” she says. “Even though I don’t have a doctorate degree. I’ve leveraged my recruiting skills, my people skills, my DSO skills.” She passes along that hustle to her students, who, in addition to receiving top-notch musical training, work on public speaking skills and practice mock job interviews. “It’s so not about one-size-fits-all, or creating mini-Carolines,” Coade says. “It’s about helping each student be their best.” Recently, one student had a big win: 26-year-old Caleb Georges won third prize in the Senior Division of the 2019 Sphinx Competition on February 2. Coade’s students have gone on to Juilliard and Oberlin, and to symphony careers in Grand Rapids, Ann Arbor, and Toledo. But, she points out, they are also successful in other ways. One recent graduate earned a second degree in psycholSPRING 2019

ogy and is now a counselor with SMTD, using her psychology skills and music experience in tandem to help current students succeed. Others work in arts administration and management. “It used to be that people of my generation wanted a quartet job, or a teaching job, or an orchestra job,” Coade says. “But people want different things now, and the world is different now.” She’s here to help students be their best in an often chaotic job market. With the sliver of time she has free outside of her two careers, Coade can’t help but go all-in. She’s a competitive ballroom dancer, training and dancing with her longtime partner Clive Phillips. “I can’t believe I do something outside of this,” Coade says—gesturing to her instrument and an empty practice room—“that’s also competitive…and musical! But it’s an incredible hobby.” Back in the world of playing music rather than dancing to it, Coade never takes her success for granted. Even if you’ve never had the chance to speak to her, her passion and positivity are immediately noticeable when she takes her seat at the front of the stage. “I’m so close to the conductor that I’ve been able to hand Leonard a cough drop,” she laughs, referring to Music Director Laureate Leonard Slatkin. “It’s cozy up there. But the viola section is fabulous. And fun, too! We have a lot of respect for each other, and we get along really well. If that comes across to the audience then I’m thrilled.”

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SOUNDWAVES ON THE AIRWAVES HOW T HE DS O EMBR ACE S T ECHNOLO GY T O P ERFORM FOR A WORL DW IDE AUDIENCE

id you know that the Detroit Symphony Orchestra was the first to ever perform on a live radio broadcast? All the way back in 1922, music director Ossip Gabrilowitsch imagined the possibilities of an orchestra embracing modern technology to reach audiences in new ways. Now, nearly 100 years later, the technology has changed but the DSO’s embrace of it has not. When the symphony inaugurated the Live from Orchestra Hall webcast series in 2011, the thinking really wasn’t so different from Gabrilowitsch’s big idea in 1922: if the orchestra can find a way to bring the music to more people, why not do it? In 2017, six years into Live from Orchestra Hall’s lifespan, the webcasts reached 1 million cumulative views. That same year, the DSO expanded the webcasts’ reach by carrying them on Facebook Live, which allows Facebook users to

WATCH AND LISTEN 14

tune in more seamlessly—navigating to dso.org/live is easy enough, but clicking a link on Facebook while you’re already browsing is even easier. Once the infrastructure for Live from Orchestra Hall was in place, opportunities for using the webcast platform in creative ways immediately revealed themselves. The DSO established Replay, an on-demand platform of past webcasts available for anyone who contributes $50 or more to the Annual Fund. Thanks to the vision and support of the Mandell and Madeleine Berman Foundation, Live from Orchestra Hall grew to reach tens of thousands of schoolchildren with the Classroom Edition expansion, which adds Educational Concert Series performances to the list of live webcast offerings. And on several occasions the DSO has experimented with bringing the webcasts to public spaces—by

LIVE FROM ORCHESTRA HALL WEBCASTS

One performance of every Classical Series program is webcast live for free. Tune in online at dso.org/live, via Facebook Live, or via the Livestream app.

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ON LOCAL TV

Michigan Comcast customers can watch select Live from Orchestra Hall performances live on Xfinity Channel 900. Visit dso.org/broadcasts for more information. SPRING 2019

projecting them onto the side of the Max M. and Marjorie S. Fisher Music Center, for example, or by displaying them on the side of a mobile video truck at community spaces around Detroit. In late 2018, Live from Orchestra Hall’s reach increased further, thanks to a new partnership between the DSO and Comcast. Select Classical Series webcasts are now available to more than 1 million Michigan Comcast subscribers on Xfinity Channel 900. “It’s a way of giving people a chance to watch the DSO the way that they would watch a football game,” says Marc Geelhoed, DSO Director of Digital Initiatives. “That’s a powerful thing. Some tech-savvy people connect a laptop to their TV, or use their TV’s browser to watch webcasts, and we want people to continue doing those things. But that can be an obstacle, and this Comcast partnership takes away that obstacle.” Geelhoed works with the orchestra and guest artists to obtain approval for individual webcasts to be carried on Xfinity Channel 900, and he hopes that as many concerts as possible will find their way to fans’ TV sets. But for those who pine for the simpler times of Ossip Gabrilowitsch, never fear: the DSO still broadcasts on good old fashioned radio waves too. WRCJ, Detroit’s beloved classical and jazz radio station, broadcasts all Friday morning Coffee Concerts on the DSO Classical Series, as well as select Civic Youth Ensembles performances throughout the season. “We’re proud to be the lead

broadcast partners for the Detroit Symphony Orchestra,” says WRCJ Station Manager Dave Devereaux. “We like to create musical experiences for our listeners.” In 2016, the broadcasts went even further than the WRCJ radius thanks to the collaboration of several radio stations in west and northern Michigan. Simulcasts of the WRCJ signal can now be heard in East Lansing, Kalamazoo, Interlochen, Traverse City, Mackinaw City, Charlevoix, and Petoskey. “There’s nothing better than bringing live concerts by the DSO to the entire state of Michigan via our radio partners!” Devereaux adds. All of these efforts combine under the goal of making the DSO the most accessible orchestra on the planet. Some doubters worried that offering live webcasts would keep people from traveling to Orchestra Hall to see concerts in person. Others were concerned that digital and broadcast efforts like these are essentially “giving away” the music for free. But research offers rebuttals to both arguments: Orchestra Hall attendance is up, and knowledge of and affinity for the DSO has grown thanks to the ease of tuning in—which drives ticket sales, spurs donations, and sparks interest from foundations and other collaborators to grow these efforts even more. So, next time you can’t make it here to Orchestra Hall in person, tune in.

ON THE RADIO

ON DEMAND

WRCJ-FM broadcasts all Classical Series Coffee Concerts at 90.9 FM in Metro Detroit and online at wrcjfm.org. DSO fans in west and northern Michigan can also tune in, thanks to partnerships with several public radio stations. Visit dso.org/broadcasts. dso.org

Patrons who donate $50 or more to the Annual Fund gain access to DSO Replay, an on-demand archive of past Live from Orchestra Hall video performances. Visit dso.org/replay for more information, and make your gift today at dso.org/give. DSO PERFORMANCE MAGAZINE 15

THROUGH LINES

Creative ideas are part of the DSO’s DNA, for today and tomorrow

n a recent issue of Performance magazine, an article titled “New, Now” discussed the many conversations that orchestras and musical stakeholders have about programming new music. How should contemporary works and world premieres balance with the classics in the repertoire? What is the purpose of presenting new music, and what factors might inspire an orchestra to do so? And what does a commitment to performing new music do to define an ensemble and the people who play in it, lead it, and manage it? Many of these same questions can be asked (and should be asked, and are being asked) not only about music that is new, but about ideas that are new—or novel, or unique, or any combination thereof. Even though the orchestra tradition is based on performing works of the past, most orchestras are not content to stay in the box that is theoretically provided to them. Mahler and Mozart, yes, but also Motown and Muhly. In its mission to be the most accessible orchestra on the planet, the DSO is especially tuned to the need for creative thinking, innovative programming, LEE III and pushing the boundaries of what an orchestra is understood to be. In previous seasons, projects like Symphony in D, The Defiant Requiem, and the orchestra’s headline-making collaboration with Kid Rock have demonstrated to audiences worldwide that Detroit is where musical ideas are

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met with a yes rather than a no. The current 2018-2019 season is no exception to that rule: already the DSO has brought together superstars from the Deaf musical community to present The Deaf and Loud Symphonic Experience; reprised and expanded the far-reaching Chinese New Year concert and celebration throughout The Max; and performed with legendary rapper Nas at a show that explores not only the possibilities of the orchestral sound but the legacy of a trailblazing (and now 25-year-old) hiphop classic, Illmatic. And the thread continues to the recently-announced 2019-2020 Season, which also celebrates the centennial of Orchestra Hall. One program that has already captured wide attention is scheduled for April 2–4, 2020. Eric Jacobsen, formerly a member of the gleefully genre-bending ensembles Brooklyn Rider and The Knights, will conduct a trio of pieces that inform and investigate each other, hinged on Dvořák’s “New World” Symphony. Jacobsen and the DSO will present the world premiere of James Lee III’s Amer’ican, a new work that evaluates both the gifts and dangers of an appropriative work like Dvořák’s. The “New World” Symphony will follow, allowing the new and old to converse with each other. And on the second half, Gabriel Kahane’s emergency shelter intake form continues the discussion about what America is, who it belongs to, and who exists in it; SPRING 2019

the piece, for orchestra, mezzo-soprano, and chorus, is a rumination on homelessness and housing insecurity. “One of the challenges for me is that while I have a lot of political convictions, I think that art demands a certain amount of moral ambiguity in order not to be polemical or preachy,” Kahane said in an interview with The Oregonian ahead of the piece’s 2018 premiere with the Oregon Symphony. While the three pieces selected for this program were chosen to challenge listeners into thinking beyond the music, the music remains rich and beautiful in its own right—art may always be enjoyed for art’s sake, but layers inspired by big thinking can add to or

change what otherwise may be a conventional understanding. “Programs like this are what the DSO is all about,” says Vice President and General Manager Erik Rönmark. “Any repertoire will always be heard differently when put in a new context, and finding opportunities to present new music in compelling ways is something that we pride ourselves on. Curating programs like the ones we’re presenting in 2019-2020 KAHANE makes the work of a symphony orchestra even more exciting.” Another moment where the DSO will move beyond the standard is during the 2020 Classical Roots Celebration, conducted by Thomas Wilkins. Composer Nkeiru Okoye is writing a new work that

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tells the story of Detroit’s Black Bottom and Paradise Valley areas: historic African-American neighborhoods that were destroyed by highway and residential construction projects in the mid-20th century. The commission is made possible by a grant from the Virginia B. Toulmin Foundation. Loyal DSO fans are also paying close attention to the names of guest conductors brought in—and in some cases brought back—to lead the orchestra in 2019-2020. As the DSO continues its search for a new Music Director, every member of the oneDSO

family will have different items on his or her wishlist. But there are common priorities all of us share, including brilliant musicianship and a steadfast affirmation of the DSO’s commitment to OKOYE fresh ideas like the ones discussed here. Check out the box below to hear from a few DSO musicians about what an ideal Music Director would look like. In the meantime, enjoy the music—and ideas—that the DSO is proud to bring to the stage, the Detroit community, and the world.

IN THEIR OWN WORDS DSO musicians on the making of a good Music Director “ Technique is very important. The audience sees conductors’ backs, and these vivid movements. But from the front side, what we see, we have to have a clear beat. And: what are they able to do as Music Director? Think back to the Music Director we just had, and all of the great, new ideas we’ve had. Whoever we choose next needs to be able to pull things like that off.” —Jeremy Crosmer, cello “ It varies from person to person. But my ideal conductor would be someone who responds to our hall, and who can ‘play’ the orchestra in our hall. I also really respect a conductor who exerts control but doesn’t have to talk about every little thing.” —Randall Hawes, trombone “ As a horn player, something I like to see is someone who’s super confident— someone who knows exactly what they want and how to get it, with their body language and their hands. The last thing you want as a horn player is to see someone with fear in their eyes.” —Johanna Yarbrough, horn “ Someone who can really inspire us as musicians. Sometimes there’s a weird chemistry, but other times it’s automatic—there’s a ‘click.’” —Michael Ke Ma, Assistant Principal Bassoon 18

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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

COMMUNITY & LEARNING

“I think music brings peace to people.” “I’d never seen an orchestra, and the music was really perfect.” “This world is my reality, but music is my fantasy. I have my own story when I listen to music.”

ho doesn’t love a rave review? The three reactions above were from students who got to experience the DSO in a unique way—up close, personal, and in the auditoriums of their own schools. For decades the DSO has performed for students, both at Educational Concert Series performances in Orchestra Hall and at schools in all corners of Southeast Michigan. Records show in-school concerts taking place as early as 1922, and countless DSO fans and supporters recall falling in love with classical music because they heard it as part of the school curriculum or on field trips as children. In January, the DSO continued this important work with visits to Detroit School of Arts (an easy trip, as it’s located just behind the Max M. and Marjorie S. Fisher Music Center) and Stout Middle School in Dearborn. The program, titled “What is a Symphony?”, began with the biggest hit of them all: the opening of Beethoven’s Symphony No. 5. From there, Acting Assistant Conductor Yaniv Segal led the orchestra through selections from Bologne’s Symphony in F, Schubert’s Symphony No. 5, Mozart’s Symphony No. 40, and more, while explaining the historical development of the symphony genre and demonstrating how different sections come together to form a complete sound. “Any time we’re performing for a student audience, we think about 20

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#DSOIMPACT

the students first and what’s going to make this a meaningful, memorable occasion for them,” says Caen Thomason-Redus, the DSO’s Senior Director of Community and Learning. In this case, that means showing off a little bit of what symphony refers to in a name like Detroit Symphony Orchestra: what do the individual sections sound like? How do you get dozens of musicians to play in unison? How can a symphony make you feel? “All the arts touch you in a way that you don’t really realize until you have that ‘moment,’” says Matthew Kwiecien, Stout Middle School’s Director of Bands and Orchestras. “It’s life-changing.” As a music teacher, he gets to see kids have that “moment” while playing their own instruments, but a visit from a world class-symphony like the DSO is a rare treat. DSO cellist Jeremy Crosmer is as happy to play in school: “I love playing in schools. Playing for kids in their own environment is great, because they can be themselves.” After the concerts end, students talk excitedly while shuffling back to their classrooms. A moment where Segal asked the string musicians to play a passage from Britten’s Simple Symphony, first with bows and then pizzicato, is a big topic of conversation. And another rave review from two friends who were sitting next to each other: “If I had to rate them one to ten, I’d give them over a ten,” one student says. “Probably like a 2,000!” chimes in his buddy.

The DSO thanks the Paul M. Angell Family Foundation, The Clinton Family Fund, and Aaron & Carolynn Frankel for their support of this initiative.

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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

CLASSICAL SERIES CLASSICAL ROOTS Friday, March 8, 2019 at 10:45 a.m. • Saturday, March 9, 2019 at 8 p.m. at Orchestra Hall ANDRÉ RAPHEL, conductor • JACQUELINE ECHOLS, soprano CLASSICAL ROOTS CELEBRATION CHOIR ALEX SUTTON, Chorus Master • NORAH DUNCAN IV, Artistic Advisor BRAZEAL DENNARD CHORALE • ALICE MCALLISTER TILLMAN, Artistic Director

John Rosamond Johnson “Lift Every Voice and Sing”

(1873 - 1954) Classical Roots Celebration Choir

Lyrics by James Weldon Johnson Arr. Hale Smith

Adolphus Hailstork “O Praise The Lord”

(b.1941) Brazeal Dennard Chorale

Ysaÿe Barnwell “Wanting Memories”

(b.1946) Brazeal Dennard Chorale Yvonne Turner, soprano Sadarra Fields, alto Darrius Washington, tenor Christopher Peters, bass

Robert Harris Gloria for Mixed Choir, Soprano, (b.1938) and Orchestra

Gloria Laudamus te Domine Deus Que tollis Quoniam tu solus sanctus Jacqueline Echols, soprano Classical Roots Celebration Choir

Intermission George Walker Lyric for Strings

(1922 - 2018)

William Grant Still Symphony No. 1, “Afro-American”

(1895 - 1978)

I. Longing: Moderato assai II. Sorrow: Adagio III. Humor: Animato IV. Aspiration: lento, con risoluzione

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.

Friday performance’s recognition of American’s Veterans and Active Military is supported by

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Program Notes “Lift Every Voice and Sing” JOHN ROSAMOND JOHNSON (music) B. August 11, 1873, Jacksonville, FL D. November 11, 1954, New York, NY

JAMES WELDON JOHNSON (lyrics) B. June 17, 1871, Jacksonville, FL D. June 26, 1936, Wiscasset, ME

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

“L

ift Every Voice and Sing” was first performed, in poetry form, in commemoration of President Lincoln’s birthday on February 12, 1900, by a choir of 500 schoolchildren from the segregated Stanton School in Jacksonville, Florida—hometown of sibling creators John Rosamond and James Weldon Johnson. The poem was set to music five years later. Voicing the cry for liberation and affirmation for African-American people, the song was declared “The Negro National Anthem” by the NAACP in 1919. It gained new popularity as a protest song during the Civil Rights Movement and was entered into the Congressional Record in

“Lift Every Voice and Sing” JOHN ROSAMOND JOHNSON (music) JAMES WELDON JOHNSON (lyrics)

Lift every voice and sing, ‘Til earth and heaven ring, Ring with the harmonies of Liberty; Let our rejoicing rise High as the listening skies, Let it resound loud as the rolling sea. Sing a song full of the faith that the dark past has taught us, Sing a song full of the hope that the present has brought us; Facing the rising sun of our new day begun, Let us march on ‘til victory is won. Stony the road we trod, Bitter the chastening rod, Felt in the days when hope unborn had died; Yet with a steady beat, Have not our weary feet Come to the place for which our fathers sighed? We have come over a way that with tears has been watered, 22

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We have come, treading our path through the blood of the slaughtered, Out from the gloomy past, ‘Til now we stand at last Where the white gleam of our bright star is cast. God of our weary years, God of our silent tears, Thou who has brought us thus far on the way; Thou who has by Thy might Led us into the light, Keep us forever in the path, we pray. Lest our feet stray from the places, our God, where we met Thee, Lest, our hearts drunk with the wine of the world, we forget Thee; Shadowed beneath Thy hand, May we forever stand, True to our God, True to our native land.

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the 1990s as the official AfricanAmerican National Hymn. In his second autobiography Along This Way, James Weldon Johnson describes the emotion in writing “Lift Every Voice and Sing:” “I could not keep back the tears, and made no effort to do so.” He later reported that creating the song’s lyrics was the greatest satisfaction of his life. “Lift Every Voice and Sing” has been sung at the beginning of every Classical Roots concert since the event’s inauguration in 1978. Please see the included lyrics and join the Classical Roots Celebration Choir in singing this historic work.

“O Praise The Lord” ADOLPHUS HAILSTORK B. April 17, 1941, Rochester, NY

Scored for soprano, alto, tenor, and bass soloists and mixed choir. (Approx. 3 minutes)

riginally from Albany, NY, Adolphus Hailstork earned a doctorate in composition from Michigan State University and has since become a prolific composer of choral music and works for chamber ensembles, concert band, and orchestra. Some of his best-known compositions include Celebration (the first of Hailstork’s works to be recorded, on a release by the DSO), Out of the Depths, American Guernica, and Consort Piece. Hailstork was a Classical Roots honoree in 2003. “O Praise the Lord” is one of Hailstork’s most popular choral works. It has become a fixture in the modern spiritual repertoire, with a simple message of praise and an engaging, hypnotic use of counterpoint.

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“Wanting Memories” YSAŸE BARNWELL B. February 28, 1946, New York, NY

Scored for mixed choir. (Approx. 3 minutes)

saÿe Barnwell is a celebrated composer and musician best known for her decades-long membership in the African-American a cappella group Sweet Honey in the Rock, with whom she was a principal songwriter and female bass. She also holds degrees in speech pathology and public health, has appeared as an actress on film and TV, and has published two children’s books with accompanying music on CD. Barnwell’s best-known composition is “Wanting Memories,” written for Sweet Honey in the Rock as part of a suite of songs for a dance theater work titled Crossings. It is a powerful and inspiring piece focused on loss, memories, and hope; Barnwell dedicated it to her father while he was still alive, but when he died it took on new meaning. “In a sense,” she writes, “the song was an unconscious wish or prayer that actually came true.”

Gloria for Mixed Choir, Soprano, and Orchestra DR. ROBERT A. HARRIS B. January 9, 1938, Detroit, MI

Scored for soprano, mixed choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, and strings. (Approx. 28 minutes) DSO PERFORMANCE MAGAZINE 23

r. Robert A. Harris is a composer, conductor, and music educator born and raised in Detroit. He has served as a professor and choral director at many top colleges, most notably Northwestern University’s Bienen School of Music, where he worked for 35 years and is now professor emeritus. Harris’s Gloria was commissioned by the Westminster Presbyterian Church of Dayton, Ohio, and premiered there in 2006. Since then, the piece has received several performances around the country, including one at Lincoln Center with Harris conducting. The work is cast in five movements, each of a different character and complete within itself, yet contributing to the work as a whole. The first movement opens with a fanfare-like theme in the brass that establishes the character of the music that follows. The second movement begins and ends with rhythmic, textual exaltations that pass back and forth between the seconds of the chorus, and which embrace a short, contemplative middle section. The third movement is an intimate prayer with entreaties exchanged between the soprano soloist and chorus. The fourth movement is similarly intimate and introspective, and leads directly into the fifth movement, which begins with a broad opening chordal statement and continues towards a rhythmic midsection and majestic close. The work ends with the soprano solo intoning a dramatic Amen that leads to a quiet, contemplative close. These performances of Dr. Robert A. Harris’s Gloria will be DSO premieres.

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Lyric for Strings GEORGE WALKER B. June 27, 1922, Washington, DC D. August 23, 2018, Montclair, NJ

Scored for strings. (Approx. 6 minutes)

eorge Walker’s Lyric for Strings is hard to match in the modern literature for string orchestra. His most popular work, it is a string orchestra adaptation of the slow movement from the composer’s First String Quartet, first completed in 1946 and revised in 1990. The piece is a model of restraint and exquisite craftsmanship. A few quiet introductory measures set the tone for the main theme that gently descends, then rises in easy melodic steps among the first violins. It is joined by other voices in the string ensemble, then restated in a slightly different tonal inflection. The theme’s elements are examined in a searching central section that gains considerable urgency, coming to a peak of tension before making a long, well-ordered descent. When the main theme returns, it is given out by the violas while the violins trace a new embroidery around it. Walker’s instinct for designing natural peaks and valleys continues to the last measure in an unhurried, deeply satisfying codetta. The DSO most recently performed George Walker’s Lyric for Strings at a season-opening gala in September 2002, conducted by Thomas Wilkins. The DSO first performed the piece earlier that year, at the March 2002 Classical Roots concerts, also conducted by Wilkins.

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Symphony No. 1, “Afro-American” WILLIAM GRANT STILL B. May 11, 1895, Woodville, MS D. December 3, 1978, Los Angeles, CA

Scored for 3 flutes (1 doubling on piccolo), 2 oboes, English horn, 3 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, celeste, tenor banjo, and strings. (Approx. 30 minutes)

illiam Grant Still is remembered as a pioneering musician of the modern age. He was the first living African-American composer whose work was performed by a major symphony orchestra, and his most popular work—the present “Afro-American” Symphony—was the most-performed work by an American composer (African-American or otherwise) for more than 20 years in the middle of the 20th century. Besides the present work, Still composed more than 150 concert works, including symphonies, ballets, operas, chamber works, choral and solo vocal works, and arrangements of Negro spirituals. After the successful premiere of the “Afro-American” Symphony in 1930, citations from all over the country came his way, among them awards and honorary degrees too numerous to list. Still synthesized his musical experiences into a career that saw many firsts for African-American composers, and throughout his career he wrote constantly about the challenges facing America’s black citizens in contemporary society.

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The Symphony is a relatively conventional tonal work in four movements, but with distinctive jazz and blues elements folded in to give it a powerful new voice. Still successfully merged several elements of his own expertise: traditional symphonic sounds, which he knew well from composing and arranging for radio orchestras; big band jazz and blues riffs, which he crafted while working with popular artists like Paul Whiteman and W.C. Handy; and spirituals, which he grew up singing with his grandmother. Still’s notebooks also include alternate titles for the movements: Longing, Sorrow, Humor, and Aspiration. After completing the work, he linked each movement to verses from the poet Paul Laurence Dunbar, who was himself a trailblazer—one of the first and most notable African-American poets to reach mainstream popularity among both Black and white audiences. With its revolutionary history, deep connection to the African-American experience, and pure musical beauty, it’s no wonder that Still’s “Afro-American” Symphony has endured as a landmark of American culture. The DSO most recently performed William Grant Still’s Symphony No. 1, “Afro-American,” at Classical Roots in March 2009, conducted by Thomas Wilkins. The DSO first performed the piece in November 1963 as part of a concert celebrating the Emancipation Centennial, conducted by C. Valter Poole.

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Profiles ANDRÉ RAPHEL

dynamic and versatile conductor hailed for his profound musical performances, André Raphel is renowned for his technical brilliance. Raphel has led critically acclaimed festivals, world premieres, and commissioned works by Richard Danielpour, Jennifer Higdon, Kenneth Fuchs, Ellen Taaffe Zwilich, Uri Caine, and Hannibal Lokumbe. Named Conductor Laureate of the Wheeling Symphony Orchestra starting with the 2018-2019 season, Raphel led the orchestra as Music Director for 15 years. Other key positions have included Assistant Conductor to Kurt Masur at the New York Philharmonic for two years, Assistant Conductor of the Philadelphia Orchestra for six years, and Assistant Conductor of the Saint Louis Symphony Orchestra for six years. Raphel has appeared with most of the major American orchestras, including the Boston Symphony Orchestra, Chicago Symphony Orchestra, Cleveland Orchestra, and New York Philharmonic. In 2018, he returned to conduct the Philadelphia Orchestra. Raphel has led Germany’s Bamberg Symphony in two recordings for Bavarian Broadcasting. He made his Los Angeles debut conducting at the gala opening of The Broad museum. Raphel made his European debut with the Neubrandenburger Philharmonie and has also led the Moravska Philharmonie. He made his Carnegie Hall debut conducting the Orchestra of St. Luke’s in a concert celebrating the centennial of Marian Anderson. Among other numerous orchestras, he has appeared with the symphony orchestras of Atlanta, Baltimore, Milwaukee,

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Pittsburgh, Saint Louis, and Seattle. Born André Raphel Smith in Durham, North Carolina, he received his Bachelor of Music degree from the University of Miami. He pursued further study at Yale University where he earned his master’s degree. He studied conducting at the Curtis Institute of Music earning a diploma in conducting, and at The Juilliard School where he received an advanced certificate in orchestral conducting. Raphel is the recipient of numerous honors and awards which attest to his artistry. Among them, the Philadelphia Orchestra issued a special commemorative CD featuring William Grant Still’s Symphony No.1 with Raphel conducting. The North Carolina Senate awarded Raphel the “Order of the Long Leaf Pine” which is the state’s highest honor for a civilian. A ndré Raphel has previously

appeared with the DSO once, conducting at Classical Roots in March 2012

JACQUELINE ECHOLS

acqueline Echols is a lyric soprano who has earned great acclaim on both the opera and concert stages. Career highlights include the title role in La Traviata (with Washington National Opera and Palm Beach Opera), Gilda in Rigoletto (with North Carolina Opera), Pamina in Die Zauberflöte (with the Glimmerglass Festival), and Handel’s Messiah with the Memphis Symphony Orchestra. A native Detroiter, Echols debuted the role of Helen in the world premiere of The Summer King at Pittsburgh Opera in 2017 and reprised the role in Detroit SPRING 2019

with Michigan Opera Theatre in May 2018. Composed by Daniel Sonenberg with a libretto by Sonenberg and Daniel Nester (and additional lyrics by Mark Campbell), The Summer King tells the story of Negro Leagues baseball legend Josh Gibson, one of the greatest players in the sport’s history. Echols is a 2012 second prize winner at the Gerda Lissner International Vocal Competition. She completed her

Honoree Profiles DR. WILLIAM F. PICKARD

aGrange, Georgia-born entrepreneur William F. Pickard has been admiring art and culture since his youth, when his father and sisters sang in the church choir. In 1957, Pickard, then in 10th grade, moved to Flint, Michigan, with his family and became active in the youth NAACP—and a fan of NAACP Detroit President Arthur Johnson, who would later co-found Classical Roots in 1978. After graduating from Western Michigan University with a degree in social work, Pickard sought a master’s degree at University of Michigan. There, Pickard met then-music student James Frazier. “I lived in the same house with him at University of Michigan,” Pickard says “He was a rising star in black classical music.” Then, Pickard didn’t understand music as a career path and would ask Frazier what he could do with such a degree. But when Frazier, now a renowned conductor, recommended some music, Pickard understood the allure. Pickard’s affection for the arts strengthened further when he moved to Cleveland, Ohio, and began attending free shows of the Cleveland Orchestra and performances at Karamu House, the oldest AfricanAmerican theater in the country. After getting his doctorate degree at Ohio State University, Pickard took a job with the Cleveland Urban dso.org

master’s degree and artist diploma at the University of Cincinnati CollegeConservatory of Music, where she appeared as the Female Chorus in The Rape of Lucretia, the Countess in The Marriage of Figaro, Anne Truelove in The Rake’s Progress, and Pamina in The Magic Flute. T hese performances mark

Jacqueline Echols’s DSO debut

By Leslie Green League, and he later helmed the Cleveland NAACP. Now he was no longer just a fan of Arthur Johnson—he was a colleague. “Arthur L. Johnson helped me in every step of my life,” Pickard says. “He helped this community. He loved the arts, he loved music,” Pickard said. “He was a messenger when it came to ‘truth speaks to power.’” In 1971, Pickard moved to Detroit to teach at Wayne State University. “I came to Detroit and started cooking hamburgers, making $100 a week,” he explains. “You can imagine what happens on a Friday or Saturday night when your students walk in and see you wearing that stupid hat.” He was determined to find a ladder to climb. “Success is going from failure to failure with enthusiasm,” he says. “I’m not an engineer or a finance guy, but I know how to lead people.” In the early 1980s, Pickard decided to look into owning an auto dealership. Fearless, he secured a lunch with Henry Ford II. But the automaker said what he really needed was more suppliers. So, Pickard bought a few companies that expanded into Global Automotive Alliance, the first minorityowned group of tier-one and tier-two suppliers to Ford Motor Company, General Motors, and FCA. Pickard is also chairman of CEO of Bearwood Management Co., CEO Vitec LLC., co-managing partner of MGM Grand Detroit, and co-owner of Real Times Media, which owns five newspapers. Still, he gives credit to the community in which his businesses have flourished. Last year, he held his DSO PERFORMANCE MAGAZINE 27

“Thank You, Detroit” events, which included a gospel music performance at Orchestra Hall. And he demonstrates his love for the arts by donating his time as well as millions of dollars to community and cultural programs and institutions. Here in Detroit, that includes a $500,000 gift to the DSO to establish the Arthur L. Johnson African-American Artist Fund in 2011, as well as $1 million each to the Charles H. Wright Museum of African American History and Motown Museum last year. “I want to be a catalyst to help institutions become intentional about inclusion,” Pickard said. “I want them to be intentional about developing future black leaders.”

DR. ROBERT A. HARRIS

or composer and conductor Robert A. Harris, music isn’t an intangible force. “It’s just a such a part of my being,” he says. “It’s like have an appendage to my body. It’s what I react to. It’s what I think and feel. There’s something about the language of music and how it can communicate to people on a cerebral basis that’s exciting. I love teaching it. I love turning people on to it.” Over his lengthy career, Harris has served as director of choral activities at Wayne State and Michigan State universities, director of the Milwaukee Symphony Orchestra, guest conductor for numerous symphonies in the United States and abroad, and director of choral organizations and professor of conducting at the Northwestern University Bienen School of Music, where he now serves as professor emeritus. The 81-year-old has traveled to 21 countries as a conductor and choral specialist, conducting countless works in the repertoire. But his beginnings were humble. While Harris’s father was dutiful about singing tenor in the church choir, he was a millwright at the Ford River Rouge Plant. Harris’s mother was a homemaker. When Harris was a young child, he often plunked the family piano. Accordingly, at age 5, his parents decided he should take lessons from the pastor’s wife. Harris also became fascinated with the church choir director

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and the baton he waved about during performances. “I remember asking if I could have it,” Harris says. “He said, ‘when I buy a new one, I’ll give you this one.’ And he did. I was thoroughly enamored.” After piano, Harris wanted to play the saxophone but was directed to the clarinet, which he stuck with throughout college. He thought about studying to be a band director, but realized it was choral works that seized his heart. “There is something about singing great literature that was set to great poetry,” he says. “There’s an emotional connection when one sings that might be different than when one plays. Everybody sings before they learn to play.” After graduating from Wayne State University, Harris set out to be a junior high or high school teacher but was assigned an elementary school instead. He was disappointed but determined to make the best of it. “I decided I was going to make something happen with these children and develop choral ensembles that were very, very good,” Harris says. And he did. As his career grew and the ensembles he led became more prestigious (and older!), Harris was smart to leverage his confidence and connections into more opportunities. Once, after a rehearsal at Northwestern, Harris noticed a group of tourists from the China. He struck up a conversation and found himself offered an invitation to serve as a guest conductor and clinician for the Taipei Philharmonic Choral and Conducting Workshop. A similar thing happened when he was at a convention in Salt Lake City, Utah—he received an invitation to South Africa, and before long he had a visiting professorship at the University of South Africa Pretoria. Over the years, Harris has received more than 40 commissions from schools, churches, and other organizations. He compositions are performed regularly across the globe. The key to success? According to Harris: belief, hard work, and recognizing the importance of being in the right place at the right time. “Mediocrity is never going to get you anywhere,” he says. “You have to always be as professional as you can in your task and your demeanor.”

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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

CLASSICAL SERIES MAHLER SYMPHONY NO. 5

Thursday, March 14, 2019 at 7:30 p.m. Friday, March 15, 2019 at 8 p.m. Saturday, March 16, 2019 at 8 p.m. at Orchestra Hall RAFAEL PAYARE, conductor YOONSHIN SONG, violin Wolfgang Amadeus Mozart Violin Concerto No. 5 in A major, K. 219 (1756 - 1791) I. Allegro aperto II. Adagio III. Rondo: Tempo di menuetto Yoonshin Song, violin Intermission Gustav Mahler Symphony No. 5 in C-sharp minor (1860 - 1911) Part I: 1. Trauermarsch 2. S türmisch bewegt, mit grösster Vehemeng Part II: 3. Scherzo: Kräftig, night zu schnell Part III: 4. Adagietto, sehr langsam 5. Rondo - Finale: Allegro

This Classical Series performance is generously sponsored by

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

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DSO PERFORMANCE MAGAZINE 29

Program Notes P R O G R A M AT- A - G L A N C E GRAND FINALES: Two pieces with famous endings The Finale of Mozart’s Violin Concerto No. 5, a beloved Rondo, has given the whole piece a nickname: “The Turkish Concerto.” About halfway through the movement, a shift in both key and time signature pushes the music towards a decidedly “eastern” tone, one that felt highly exotic in Mozart’s time. Mozart would explore “Turkish” music further in his 1782 opera Die Entführung aus dem Serail and the 1783 Piano Sonata in A.

Violin Concerto No. 5 in A major, K. 219 WOLFGANG AMADEUS MOZART B. January 27, 1756, Salzburg, Austria D. December 5, 1791, Vienna, Austria

Scored for solo violin, 2 oboes, 2 horns, and strings. (Approx. 31 minutes)

etween April and December of 1775, Mozart wrote five concertos for solo violin and orchestra. The A major concerto, the fifth and last piece in this series, may have been fashioned for Gaetano Brunetti, a violinist who shared concertmaster duties with Mozart in the orchestra maintained by the PrinceArchbishop of Salzburg. The first movement of the concerto begins with the usual orchestral exposition, one whose several brief themes convey great enthusiasm. But the entrance of the solo violin changes the music’s character completely. Indeed, the featured instrument seems to have stumbled into the wrong composition, rhapsodizing in slow tempo over a murmuring accompaniment. Mozart once

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The penultimate movement of Mahler’s Symphony No. 5, the Adagietto, is perhaps the composer’s most famous composition. Most fans agree that it is a musical love letter to the composer’s wife Alma, to be paired with a love poem he wrote at the same time: How much I love you, you my sun, I cannot tell you that with words. I can only lament to you my longing and my love, my bliss!

again shifts gears and returns to the original tempo, allowing the movement to develop straightforwardly. The ensuing Adagio is more conventional, being concerned chiefly with the subject given out by the orchestra in the opening measures. But the finale, a rondo-form movement using a minuet melody as its recurring principal theme, has as its third episode a humorous interlude in “Turkish” style. The exotic fad constituted a popular strain of composition among Austrian musicians of the late eighteenth century, and Mozart toyed with it in his Piano Sonata in A major and the opera Die Entführung aus dem Serail in addition to the present work. The conclusion of this surprising passage returns us once more to the minuet theme, as though the Eastern excursion had been only a dream. The DSO most recently performed Mozart’s Violin Concerto No. 5 in March 2015, conducted by Cristian Măcelaru and featuring violinist Karen Gomyo. The DSO first performed the piece in March 1939, conducted by Eugene Ormandy and featuring violinist Robert Virovai. SPRING 2019

Symphony No. 5 in C-sharp minor GUSTAV MAHLER B. July 7, 1860, Kaliště, Bohemia (now Czech Republic) D. May 18, 1911, Vienna, Austria

Scored for 4 flutes (2 doubling on piccolo), 3 oboes, English horn, 3 clarinets (1 doubling on bass clarinet), E-flat clarinet, 3 bassoons (1 doubling on contrabassoon), 6 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 1 hour 12 minutes)

he monumental Symphony No. 5 is often considered a turning point in Gustav Mahler’s output. The first of Mahler’s works in thirteen years not to rely explicitly on a text, the Symphony No. 5 has nevertheless been connected to Mahler’s settings of poetry by Friedrich Rückert, specifically “Ich bin der Welt abhanden gekommen” (“I have become a stranger to the world”), a sentiment often considered fitting for this largely melancholy work. In five movements placed within three larger sections, the symphony’s expansiveness belies the leanness of the music. The opening trumpet fanfare, in C-sharp minor, suggests a relationship to Beethoven’s “fate motive” of the latter’s own fifth symphony. Mahler generally traced this type of fanfare back to his childhood, where he heard similar music from nearby army barracks. Funeral music follows, a persistent theme throughout Mahler’s work, which alternates with passages of stormy chromaticism. Continual re-orchestration of the dirge theme exploits the variety of tone colors possible with a large orchestra. The movement fades away with reminiscences of the fanfare. The storm of the second movement is

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punctuated by slow funereal themes related to those in the first movement. It ends, like the preceding movement, by disintegrating into thematic fragments and echoes. The Scherzo initially provides relief from the weighty opening movements. Simple and lyrical melodies suggest country dance music. Another trumpet fanfare reminds us of the symphony’s beginning, but the mood here is significantly brighter. Yet, the Scherzo’s generally light character disguises tremendous musical challenges and complicated counterpoint in the orchestra. The famous Adagietto is sometimes excerpted for performance, initially because the performance of the complete symphony was considered “too risky” for early-century audiences, and subsequently because of its sheer popularity. The diminutive title is a reference to the movement’s length, not a faster tempo—Mahler emphatically insisted on a “very slow” pulse. The radiant finale that follows stands in stark contrast to the serenity of the Adagietto, but close listening reveals themes from the second and fourth movements. This use of the same motives across all movements creates a cyclical structure typical of Mahler, uniting a great expanse of musical landscape into a coherent architectural whole. —Amy Kimura The DSO most recently performed Mahler’s Symphony No. 5 in February 2012, conducted by Leonard Slatkin. The DSO first performed the piece in November 1959, conducted by Paul Paray.

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Profiles RAFAEL PAYARE

enezuelan conductor Rafael Payare was recently named music director of the San Diego Symphony, beginning in the 2019-2020 Season. He currently serves as music director of the Ulster Orchestra, where he was appointed principal conductor in 2014. Payare has conducted many of the world’s leading orchestras, including Philharmonia Orchestra, the BBC Symphony Orchestra, the Royal Stockholm Philharmonic, Montreal Symphony Orchestra, and others. He enjoys a close relationship with Sinfonietta Cracovia in Poland, which recently named him as their honorary conductor. Payare has collaborated with a variety of notable soloists, including Daniil Trifonov, Frank Peter Zimmerman, Gil Shaham, Jean-Yves Thibaudet, Nikolai Lugansky, Christiane Karg, his wife Alisa Weilerstein, Nikolaj Znaider, Piotr Anderszewski, Elisabeth Leonskaja, Sergey Khachatryan, Jonathan Biss, and Dorothea Röschmann. Born in 1980 and a graduate of the celebrated El Sistema in Venezuela, Payare began his formal conducting studies in 2004 with José Antonio Abreu. He has conducted all the major orchestras in Venezuela, including the Simón Bolívar Orchestra. Having also served as Principal Horn of the Simon Bolivar Orchestra, he took part in many prestigious tours and recordings with conductors including Giuseppe Sinopoli, Claudio Abbado, Sir Simon Rattle, and Lorin Maazel. T hese performances mark Rafael

YOONSHIN SONG

Concertmaster Katherine Tuck Chair iolinist Yoonshin Song was born in South Korea, where she began her musical studies at age 5. Making her solo debut with the Seoul Philharmonic at age 11, she has since built a successful performing career throughout Korea, the United States, and Europe. As a soloist, she has performed with many orchestras around the world— including the DSO, the Houston Symphony Orchestra, the Utah Symphony Orchestra, New Mexico Philharmonic Orchestra, Bayreuth Festival Orchestra, the Paul Constantinescu Philharmonic Orchestra, Seoul Philharmonic Orchestra, and KBS Philharmonic Orchestra. Since 2012, Song has served as Concertmaster of the Detroit Symphony Orchestra, and has enjoyed close collaborations with inspiring guest artists such as Gil Shaham, Joshua Bell, and Jamie Laredo. She currently plays on a 1700 Vincenzo Rugeri violin on loan to her from a generous sponsor in Michigan.

 MOST RECENT APPEARANCE (AS

A SOLOIST) WITH THE DSO: July 2018, performing Saint-Saëns’s Introduction and Rondo capriccioso at Ford House (cond. Joshua Gersen)  FIRST APPEARANCE (AS A

SOLOIST) WITH THE DSO: May 2013, performing Brahms’s Violin Concerto (cond. Leonard Slatkin)

Payare’s DSO debut 32

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Gifts received between September 1, 2017 and December 1, 2018 Being a community-supported orchestra means you can play your part through frequent ticket purchases and generous annual donations. Your tax-deductible Annual Fund donation is an investment in the wonderful music at Orchestra Hall, around the neighborhoods and across the community. This honor roll celebrates those generous donors who made a gift of $1,500 or more to the DSO Annual Fund Campaign. If you have questions about this roster, or 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 James & Patricia Anderson Applebaum Family Foundation 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

Ehrling Society — Giving of $50,000 and more Mr. & Mrs. Richard A. Brodie Madeline & Sidney Forbes Marvin & Betty Danto Family Foundation Mary Ann & Robert Gorlin Mr. & Mrs. James Grosfeld Mrs. Bonnie Larson Mr. & Mrs. Matthew Lester

David & Valerie McCammon 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 34

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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

SPRING 2019

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 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

Dr. Herman & Mrs. Shirley Gray Judy & Kenneth Hale Charlene Handleman Ms. Nancy B. Henk Dr. Gloria Heppner Michael E. Hinsky & Tyrus N. Curtis Mr. & Mrs. Norman H. Hofley Jack◊ & Anne Hommes Renato & Elizabeth Jamett William & Story John Lenard & Connie Johnston Faye & Austin Kanter Mr. & Mrs. Norman D. Katz Mr. & Mrs. 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 Mrs. Jean Azar Dr. David Balle Mike & Pat Biber Rud◊ & Mary Ellen Boucher Claire P. & Robert N. Brown Mr. & Mrs. Marco Bruzzano Philip & Carol Campbell Dr. & Mrs. Charles G. Colombo Mr. James Schwyn & Mrs. Françoise Colpron Thomas W. Cook & Marie L. Masters Mr. & Mrs. Gary L. Cowger 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 Barbara & Alfred J. Fisher III Ms. Carol A. Friend Mrs. Janet M. Garrett 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. Doreen Hermelin Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. George Hill & Mrs. Kathleen TalbertHill Mr. Donald & Marcia Hiruo Mr. & Mrs. Peter Hollinshead Julius & Cynthia Huebner Foundation Mr. & Mrs. A. E. Igleheart Ms. Carole Ilitch Mr. & Mrs. Richard J. Jessup 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. Albert T. Nelson, Jr. David Robert & Sylvia Jean Nelson Jim & Mary Beth Nicholson Patricia & Henry Nickol Mr. & Mrs. Stanley Nycek 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 Elaine & Michael Serling Lois & Mark Shaevsky Mr. & Mrs. James H. Sherman William H. Smith John J. Solecki Richard Sonenklar & Gregory Haynes Mr. Gary Torgow Mr. William Waak 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

Joy & Allan Nachman Mr. & Mrs. Eric Nemeth Mr. & Mrs. David E. Nims William & Carol O’Neill Mr. & Mrs. Arthur T. O’Reilly Debra & Richard Partrich Ms. Lisa A. Payne Mr. & Mrs. Roger S. Penske Mr. & Mrs. Dave Redfield Barbara Gage Rex Dr. & Mrs. John Roberts Mr. & Mrs. Robert B. Rosowski Mr. R. Desmond Rowan Marjorie & Saul Saulson Mr. & Mrs. Kingsley G. Sears Mrs. Sharon Shumaker Mrs. Kathleen Straus & Mr. Walter Shapero Alice & Paul Tomboulian Ms. Marie Vanerian Mrs. Eva Von Voss 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 DSO PERFORMANCE MAGAZINE 35

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. John Axe Mr. & Mrs. Wayne J. Babbish Ms. Ruth Baidas 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 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 Don & Marilyn Bowerman Mr. Paul & Mrs. Lisa Brandt Mr. Anthony F. Brinkman Mr. & Mrs. Mark R. Buchanan Mr. & Mrs. Ronald F. Buck Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Mr. & Mrs. François Castaing 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. & Mrs. Robert W. Clark Nina & Richard Cohan Jack, Evelyn & Richard Cole Family Foundation Dr. & Mrs. Julius V. Combs Ms. Elizabeth Correa Patricia & William Cosgrove, Sr. Dr. & Mrs. Ivan Louis Cotman Mrs. Barbara Cunningham Suzanne Dalton & Clyde Foles Deborah & Stephen D’Arcy Fund Maureen & Jerry D’Avanzo 36

Barbara A. David Lillian & Walter Dean Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Diana & Mark Domin Paul ◊ & Peggy Dufault Mr. Roger Dye and Ms. Jeanne A. Bakale 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 Hon. Sharon Tevis Finch Ron Fischer◊ and Kyoko Kashiwagi 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 Randall L. & Nancy Caine Harbour Tina Harmon Mrs. Betty J. Harrell Cheryl A. Harvey Randall* & Kim Minasian Hawes Gerhardt A. Hein & Rebecca P. Hein Jeremiah* & Brooke Hess 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 Ms. Elizabeth Ingraham Nicki* & Brian Inman Sarah & Steven Jackson Mr. & Mrs. Ira J. Jaffe Mr. & Mrs. Charles R. Janovsky Mr. John S. Johns Paul & Marietta Joliat Mr. & Mrs. John Jullens Grace Kachaturof Diane & John Kaplan Betsy & Joel Kellman June K. Kendall Frederic & Stephanie Keywell

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Mrs. Frances King Mr. & Mrs. William P. Kingsley Mr. James Kirby Thomas & Linda Klein Mr. & Mrs. Ludvik F. Koci Mr. & Mrs. Robert Koffron 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 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. Mary McGough Ms. Camille McLeod Brian & Lisa Meer Dr. & Mrs. Donald A. Meier Dr. & Mrs. David Mendelson Olga Sutaruk Meyer Bruce & Mary Miller J.J. & Liz Modell Dr. Susan & Mr. Stephen* Molina Mr. & Mrs. Daniel E. Moore Lawrence Morawski Ms. A. Anne Moroun Mr. Frederick Morsches & Mr. Kareem George Ms. I. Surayyah R. Muwwakkil SPRING 2019

Edward & Judith Narens Mariam C. Noland & James A. Kelly Katherine & Bruce Nyberg Dr. & Mrs. Dongwhan Oh Lila & Randall Pappal Mrs. Margot Parker Mrs. Sophie Pearlstein Noel & Patricia Peterson Kris & Ruth Pfaehler Mr. & Mrs. Philip E. Pfahlert Mr. Dave Phipps Dr. Klaudia Plawny-Lebenbom William H. & Wendy W. Powers Reimer & Rebecca Priester Charlene & Michael Prysak Mr. & Mrs. Nicolas I. Quintana 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 Ms. Linda Rodney Seth & Laura Romine Michael & Susan Rontal Mr.◊ & Mrs. Gerald F. Ross Mr. Ronald Ross & Ms. Alice Brody 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 Nancy & Sam Shamie Shapero Foundation Ms. Margo Shulman Zon Shumway Dr. Les & Ellen Lesser Siegel 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 Mrs. E. Ray Stricker Mr. & Mrs. John Stroh III 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 Janis & William Wetsman/The Wetsman Foundation 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 Mr. Terence E. Adderley Joshua & Judith Adler Dr. & Mrs. Gary S. Assarian Dr. & Dr. Brian Bachynski Mrs. Mary Beattie◊ Mr. & Mrs. Stephen A. Bromberg Mr. & Mrs. Richard Burstein Dr. & Mrs. Glenn B. Carpenter Mr. Don Claphman Dr. Edward Mrs. Jamie Dabrowski Mrs. Kathryne Dahl Gordon & Elaine Didier Mr. & Mrs. Walter E. Douglas 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 Leslie Groves* Mr. Donald Guertin Mr. & Mrs. Michael Harding Ms. Barbara Heiler Mr. & Mrs. Paul Hillegonds Ms. Nadine Jakobowski

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Mr. Arthur Johns Carol & Rick Johnston Dr. Jean Kegler Ms. Ida King Aileen & Harvey Kleiman Tom & Beverly Klimko Mr. & Mrs. Victor Kochajda/Teal Electric Co. Ms. Sylvia Kojima Miss Kathryn Korns Mr. & Mrs. Kosch Mr. Michael Kuhne Mr. & Mrs. Paul Lieberman Mr. William Lynch Ms. June G Mackeil Mr. Robert L. Martin Mr. & Mrs. Joseph Mazzeo Ms. Florence Morris Mr. & Mrs. Germano Mularoni Mrs. Janet Pounds Mr. Ronald Puchalski Drs. Renato & Daisy Ramos Mr. and Mrs. Richard Rappleye 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. and Mrs. Donald and Janet Schenk Dr. Richard Schwartz Mr. and Mrs. Fred Secrest◊ Mr. Steve Secrest Robert A. Sedler Cynthia Shaw & Tom Kirvan Mr. Lawrence Shoffner Ms. Claudia Sills Mr. Mark Sims & Ms. Elaine Fieldman Dr. & Mrs. Choichi Sugawa David & Lila Tirsell Dennis and Jennifer Varian Dr. & Mrs. Thomas E. Verhelle Peter & Carol Walters Mr. Barry Webster Ms. Beverly Weidendorf Ms. Janet Weir Rudolf E. Wilhelm Fund And four who wish to remain anonymous

DSO PERFORMANCE MAGAZINE 37

CORPORATE AND FOUNDATION GIVING Giving of $500,000 & more SAMUEL & JEAN FRANKEL FOUNDATION

THE McGREGOR FUND

Giving of $200,000 & more

HUDSON-WEBBER FOUNDATION primary pereferred logo

4 color - 65% black spot color - pantone cool gray 9C

secondary

Giving of $100,000 & more

secondary - for use on dark backgrounds

2014 GM Design Corporate ID & Graphics

PAUL M. ANGELL FAMILY FOUNDATION

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THE RICHARD C. DEVEREAUX FOUNDATION

SPRING 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 Lear Corporation Richard & Jane Manoogian Foundation Wico Metal Products Matilda R. Wilson Fund

Giving of $20,000 & more American House Senior Living Communities Beaumont Health Chemical Bank Clinton Family Fund DeRoy Testamentary Foundation Flagstar Foundation Greektown Casino-Hotel

Henry Ford II Fund 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 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 Raymond James Stone Foundation of Michigan Suburban Collection Wells Fargo Advisors

Coffee Express Roasting Company 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 Howard & Howard Attorneys PLLC Japan Business Society of Detroit Foundation Josephine Kleiner Foundation Lakeside Opthamology Center 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 Schwartz Family Foundation Louis & Nellie Sieg Foundation 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 Aaron Copland Fund For Music, Inc. Aptiv Foundation The Boston Consulting Group Creative Benefit Solutions, LLC Benson & Edith Ford Fund Grant Thornton LLP Marjorie & Maxwell Jospey Foundation Michigan Ear Institute Resendes Design Group, LLC Rocket Fiber Sigmund & Sophie Rohlik Foundation Schaerer Architextural Interiors Mary Thompson Foundation Warner Norcross & Judd LLP

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DSO PERFORMANCE MAGAZINE 39

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 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

Share the music of the DSO with future generations INCLUDE THE DSO AS A BENEFICIARY IN YOUR WILL Remembering the DSO in your estate plans will support the sustainability and longevity of our Orchestra, so that tomorrow’s audience will continue to be inspired through unsurpassed musical experiences. If you value the role of the DSO — in your life and in our community — please consider making a gift through your will, trust, life insurance or other deferred gift. As a member, you will be invited to our annual 1887 Society Tea, recognized in Performance magazine, and receive a host of other benefits.

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

DSO PERFORMANCE MAGAZINE

SPRING 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◊ Dorthy A. and Larry L. Fobes Samuel & Laura Fogleman 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 ◊

Deceased

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 Milton & Lois ◊ Zussman Five who wish to remain anonymous

DSO PERFORMANCE MAGAZINE 41

YOU ARE PART OF THE DSO STORY. SHARE WITH US:

#IAMDSO

TRIBUTE GIFTS Gifts received September 1, 2018 to January 31, 2019 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 Alfred Glancy III Amanda Van Dusen and Curtis Blessing Business Leaders for Michigan Foundation Community Foundation for Southeast Michigan David and Christine Smith Eugene and Marcia Applebaum Family Foundation George and Mary Anne Zinn Hudson-Webber Foundation Jaffe, Raitt, Heuer & Weiss Julie Byczynski and Angus Gray Northern Trust Bank Richard Kughn World Heritage Foundation In Honor of Bonnie Witkin Stuart Stephen and Allison Kaplan In Honor of Caroline Coade Peter and Sarah Mandell Rajpal Matharu In Honor of Chester Stewart Lawrence Stewart In Honor of David LeDoux Dick & Gwen Bowlby Jerry and Virginia LeDoux

In Honor of Pamela Applebaum Phillip Wm. Fisher

In Honor of Margaret Wortley Maloney Sean Maloney

In Honor of Grandma June and Grandpa Hal Zhi Qiao

In Honor of Marie Slotnik Wade and Wade Schultheiss

In Honor of Gregory Staples Neil and Ilene Danziger

In Honor of Mark Davidoff Anita Lindsay

In Honor of Ingrid Brey Ruthanne Okun

In Honor of Pauline Mengebier Victor Cusumano

In Memory of Jack Hommes Ara and Diane Ekizian Janice Bennish Judith Milosic Sandra Pessina Tor Shwayder and Aimee Ergas

In Memory of Peter Gilbert Cheryl Bombassei Pam Rowland In Honor of Randy Hawes Greg Benson Randall and Kim Hawes

In Honor Jack Manko Barbara Asmus Brian Binder Caryl Litzenberger Tony Milano

In Honor of Richard and Franziska Raspa Nicole Raspa In Honor of Richard Magon Gabrielle Toupin

In Honor of James Garrett Timothy and Marianne LeVigne In Honor of James Ross Sarah Ross

In Memory of Ruth Terebelo Blackman Howard Hertz Howard and Robin Terebelo

In Memory of Donald McMilan Mary Ann Arsenault

In Honor of Jane Cory and Remus Boila David Martel Kimberly Blackwell Stefani Olds

In Memory of Severo de la Rosa Armada Jr. Christina Brown

In Memory of Edgar Aftergood Marianne Robin

In Honor of Janice Cohen Joel and Sheila Pitcoff

In Memory of Estelle Murray Karen Labenz Kelly Murray Lynne Murray

In Honor of Jim Nicholson Stanley and Judy Frankel

In Honor of Deborah Fleitz David Fleitz

In Memory of Fred Woolf Lawrence and Judith Weisman Neil and Ilene Danziger In Memory of Gary Becker Barbara Becker In Memory of Gertrude LaFerte Kirsten Bruso Martha Speer Robert Meyjes Robert Pringle

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In Memory of Sidney & Betty Finn Tama Gorman In Memory of Stephen Rappaport Nancy Thelen In Honor of Sue Hudson Gilbert Staffend and Ann Hoewing

In Honor of Joan Jacobs-Stein Janice Jacobs In Honor of Joseph and Joyce Firek Marc Firek In Honor of Joshua Halperin Debra Biasca In Honor of Margaret Mengebier Alison Metiva In Honor Margaret Spear Gretchen and Robert Wilbert

In Memory of Walter Louis Cohen Catherine Anderson Helen Marie Berg Jason Zimmerman Joanne Fisher Judith Wechsler Kristin Froehle Lynn Beckerman Monica Berton Robert Meisner Suzanne Anderson The Stanley L. & Phyllis Berger Family Foundation

DSO PERFORMANCE MAGAZINE 43

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 44

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. SPRING 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.

dso.org

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 45

A D M I N I S T R AT I V E S TA F F EXECUTIVE OFFICE Anne Parsons President and CEO James B. and Ann V. Nicholson Chair 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

Dennis Rottell Stage Manager Patrick Peterson Manager of Orchestra Personnel

Caen Thomason-Redus Senior Director of Community & Learning

ADVANCEMENT

Kiersten Alcorn Community Engagement Coordinator

Jill Rafferty Senior Director of Advancement Alex Kapordelis Campaign Director Jenni Clark Fundraising Events Specialist Joey Edmonds Campaign Research Specialist Stephanie Glazier Stewardship Coordinator Holly Gorecki Manager of Advancement Services Leslie Groves Major Gift Officer

ARTISTIC OPERATIONS ARTISTIC PLANNING

COMMUNITY & LEARNING

Chelsea Kotula Gift Officer, Institutional Giving

Mickayla Chapman Training Ensembles Recruitment and Operations Coordinator Debora Kang Manager of Education Programs Garrett Lefkowitz Training Programs Operations Coordinator Nelson Rodriguez Parada General Manager of Training Ensembles Clare Valenti Manager of Community Engagement

FINANCE

Juanda Pack Advancements Benefits Concierge

Jeremiah Hess Senior Director of Accounting & Finance

Susan Queen Corporate Giving Officer

Dawn Kronell Senior Accountant

Jessica Ruiz Director of Artistic Planning

Amanda Tew Data and Research Specialist

Amanda Lindstrom Gift Processing Coordinator

Alison Aquilina Cube Coordinator

Matthew Way Advancement Relations and Strategic Initiatives Manager

Sandra Mazza Senior Accountant

Christopher Harrington Managing Director of Paradise Jazz Series/Managing Director & Curator of @ The Max

Christina Biddle Popular and Special Programs Coordinator Catherine Miller Artistic Coordinator

COMMUNICATIONS Matthew Carlson Director of Communications and Media Relations

LIVE FROM ORCHESTRA HALL

Teresa Alden Digital Communications Manager

Marc Geelhoed Director of Digital Initiatives

Ben Breuninger Public Relations Manager

ORCHESTRA OPERATIONS

Emily Carter Sharpe Communications Coordinator

Kathryn Ginsburg Orchestra Manager

Sarah Smarch Communications Specialist

Heather Hart Rochon Director of Orchestra Personnel

DSO PERFORMANCE MAGAZINE

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

SPRING 2019

AUDIENCE DEVELOPMENT

SAFETY & SECURITY

Michael Frisco Director of Audience Development

George Krappmann Director of Safety & Security

Annick Busch Patron Loyalty Coordinator Lori Cairo Front of House Manager Sharon Gardner Carr Assistant Manager of Tessitura and Ticketing Operations Rebecca Godwin Marketing Coordinator LaHeidra Marshall Audience Development Coordinator James Sabatella Group Sales Manager

CATERING AND RETAIL SERVICES Christina Williams Director of Catering and Retail Services

Greg Schimizzi Chief of 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

PERFORMANCE Volume XXVII • Spring 2019

EDITOR Ben Breuninger bbreuninger@dso.org 313.576.5196

Dan Saunders Director of Facilities Management

PUBLISHER Echo Publications, Inc. Tom Putters

Chris Skillingstad Executive Chef

Frederico Augustin Facility Engineer

Nate Richter Bar Manager

Clarence Burnett Maintenance Supervisor

PROGRAM NOTES ANNOTATOR Charles Greenwell

Rita Sayegh Retail Manager

Matt Deneka Maintenance Technician

EVENTS AND RENTALS

Martez Duncan Maintenance Technician

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 Tommy Tatti Assistant Manager of Patron Sales & Service Sara Wabrowetz Lead Ticketing Specialist

dso.org

William Guilbault Maintenance Technician

(Unless otherwise noted)

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

Crystal King Maintenance Technician Daniel Speights Maintenance Technician

INFORMATION TECHNOLOGY

Read Performance anytime, anywhere at dso.org/performance

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.

DSO PERFORMANCE MAGAZINE 47

BE SURE TO VISIT ALL FOUR LEVELS OF THE WILLIAM DAVIDSON ATRIUM TO ENJOY

ART@THEMAX V Featuring work by Detroit artists Diana Alva, William Marcellus Armstrong and Jeff Harris, Maurice Greenia, Jr., Megan Heeres, Michael McGillis, Billy Mark, James Puntigam, Kathleen Rashid, Lauren Semivan, and Vito J. Valdez

JANUARY 11, 2019 TO APRIL 18, 2019

WITH GENEROUS SUPPORT FROM:

A portion of the sale price of these works will benefit the Detroit Symphony Orchestra. PLEASE ASK AT THE SHOP TO SEE A PRICE LIST. Art@TheMax is a collaboration between Essayâ&#x20AC;&#x2122;d and the Detroit Symphony Orchestra

CLASSICAL 2019-2020 SEASON • 100TH ANNIVERSARY OF ORCHESTRA HALL

YOUR DSO JOINED BY THE WORLD’S BEST ARTISTS

Joshua Bell CLASSICAL SERIES GENEROUSLY SPONSORED BY

Thomas Wilkins

RIBE SUBSC AY! TOD

Alisa Weilerstein

Leonard Slatkin

313.576.5111 dso.org/classical

UPCOMING CONCERTS & EVENTS TICKETS & INFO

313 . 576 . 5111 dso.org

CLASSICAL SERIES

PNC POPS SERIES

Mark Wigglesworth, conductor Simone Lamsma, violin

Doug LaBrecque, vocalist Lisa Vroman, vocalist

SIBELIUS VIOLIN CONCERTO Fri., Mar. 22 at 10:45 a.m. Sat., Mar. 23 at 8 p.m.

PARADISE JAZZ SERIES

ANAT COHEN AND KENDRICK SCOTT

CLASSIC BROADWAY Sun., Apr. 7 at 3 p.m.

CLASSICAL SERIES

BEETHOVEN’S PIANO CONCERTO NO. 4

Fri., Mar. 22 at 8 p.m.*

Ludovic Morlot, conductor Hélène Grimaud, piano

TINY TOTS CONCERT SERIES

Fri., Apr. 12 at 10:45 a.m. Sat., Apr. 13 at 8 p.m. Sun., Apr. 14 at 3 p.m.

FOX & BRANCH

Sat., Mar. 23 at 10 a.m. in The Cube*

YOUNG PEOPLE’S FAMILY CONCERT SERIES

CLASSICAL SERIES

VIVALDI’S GLORIA

Sat., Mar. 23 at 11 a.m.

Nicholas McGegan, conductor Avi Avital, mandolin Sherezade Panthaki, soprano Sara Hershkowitz, soprano Meg Bragle, mezzo-soprano

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES

Thu., Apr. 25 at 7:30 p.m. Fri., Apr. 26 at 8 p.m. Sat., Apr. 27 at 8 p.m.

BEETHOVEN LIVES UPSTAIRS Classical Kids Live!

SCHUBERT’S “UNFINISHED” SYMPHONY David Danzmayr, conductor Blake Pouliot, violin

Thu., Mar. 28 at 7:30 p.m. in Southfield Fri., Mar. 29 at 8 p.m. in Clinton Twp. Sun., Mar. 31 at 3 p.m. in Beverly Hills

PNC POPS SERIES

THE BIG 80s

Stuart Chafetz, conductor Nicole Parker, vocalist Aaron Finley, vocalist Fri., Apr. 5 at 8 p.m. Sat., Apr. 6 at 8 p.m. 50

DSO PERFORMANCE MAGAZINE

CLASSICAL SERIES

TCHAIKOVSKY’S PIANO CONCERTO NO. 2 Ben Glassberg, conductor Kirill Gerstein, piano Fri., May 3 at 10:45 a.m. Sat., May 4 at 8 p.m. Sun., May 5 at 3 p.m.

PARADISE JAZZ SERIES

THE SPRING QUARTET Fri., May 3 at 8 p.m.*

Esperanza Spalding, Jack DeJohnette, Joe Lovano, and Leo Genovese Live from Orchestra Hall

SPRING 2019

TINY TOTS CONCERT SERIES

PNC POPS SERIES

Featuring Joe Reilly and Friends

Jeff Tyzik, conductor

Sat., May 4 at 10 a.m. in The Cube*

Fri., May 17 at 10:45 a.m. & 8 p.m. Sat., May 18 at 8 p.m. Sun., May 19 at 3 p.m.

EARTH DAY IS EVERY DAY

YOUNG PEOPLE’S FAMILY CONCERT SERIES

“MAY THE 4TH BE WITH YOU…” Daniel Brier, conductor Sat., May 4 at 11 a.m.

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES

BEETHOVEN’S SYMPHONY NO. 8

REVOLUTION: THE BEATLES SYMPHONIC EXPERIENCE

CLASSICAL SERIES

NAGANO CONDUCTS BRUCKNER Kent Nagano, conductor Beatrice Rana, piano Fri., May 24 at 8 p.m. Sat., May 25 at 8 p.m.

PROKOFIEV Piano Concerto No. 3 BRUCKNER Symphony No. 3

Kensho Watanabe, conductor William Hagen, violin

CLASSICAL SERIES

Thu., May 9 at 7:30 p.m. in Southfield Fri., May 10 at 8 p.m. in Clinton Twp. Sun., May 12 at 3 p.m. in Beverly Hills

Simone Young, conductor Karl Pituch, horn Johanna Yarbrough, horn

BRAHMS SYMPHONY NO. 4

WU FAMILY ACADEMY EDUCATIONAL CONCERT SERIES

Thu., May 30 at 7:30 p.m. Fri., May 31 at 10:45 a.m. Sat., Jun. 1 at 8 p.m.

in collaboration with the DIA Enrico Lopez-Yañez, conductor

WEBERN Passacaglia HAYDN Concerto for Two Horns BRAHMS Symphony No. 4

LOOK. LISTEN. CONNECT.

Wed., May 15 at 10:30 a.m. & 11:45 a.m.

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES

MOZART’S “GREAT G MINOR” Daniel Blendulf, conductor Ralph Skiano, clarinet Robert Williams, bassoon

Thu., May 16 at 7:30 p.m. in West Bloomfield Fri., May 17 at 8 p.m. in Plymouth Sat., May 18 at 8 p.m. in Bloomfield Hills Sun., May 19 at 3 p.m. in Grosse Pointe

dso.org

PARADISE JAZZ SERIES

THE MOVIE MUSIC OF SPIKE LEE & TERENCE BLANCHARD Sun., Jun. 2 at 4 p.m.*

The Movie Music of Spike Lee & Terence Blanchard showcases the stunning scores and songs from eight Spike Lee films, featuring The Terence Blanchard Quintet, the DSO, and R&B powerhouse Ledisi.

*The DSO does not appear in this program

DSO PERFORMANCE MAGAZINE 51

Murray Perahia, piano T H U R S D AY

April 25 HILL AUDITORIUM 7:30 PM

“His sound can be pure gold, and he voices chords with a clarity that you have to hear to believe.” (Washington Post) Supporting Sponsors: Mr. and Mrs. Donald L. Morelock, Mr. and Mrs. Robert O. and Darragh H. Weisman, and Ann and Clayton Wilhite Patron Sponsor:

734.764.2538 ——— U M S . O R G

Heather Gates, in memory of Marian P. and David M. Gates Media Partners: WRCJ 90.9 FM and WGTE 91.3 FM