Performance Magazine - Spring Issue 2 - 2023–24 Season

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

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

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

Dear Friends,

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

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

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

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

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

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

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

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

Erik Rönmark

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

JEFF TYZIK

Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

DETROIT SYMPHONY ORCHESTRA

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

FIRST VIOLIN

Robyn Bollinger CONCERTMASTER

Katherine Tuck Chair

Kimberly Kaloyanides Kennedy

ASSOCIATE CONCERTMASTER

Schwartz and Shapero Family Chair

Hai-Xin Wu

ASSISTANT CONCERTMASTER

Walker L. Cisler/Detroit Edison Foundation Chair

Jennifer Wey Fang

ASSISTANT CONCERTMASTER

Marguerite Deslippe*

Laurie Goldman*

Rachel Harding Klaus*

Eun Park Lee*

Adrienne Rönmark*

William and Story John Chair

Alexandros Sakarellos*

Drs. Doris Tong and Teck Soo Chair

Laura Soto*

Greg Staples*

Jiamin Wang*

Mingzhao Zhou*

SECOND VIOLIN

Adam Stepniewski

ACTING PRINCIPAL

The Devereaux Family Chair

Will Haapaniemi*

David and Valerie McCammon Chairs

Hae Jeong Heidi Han*

David and Valerie McCammon Chairs

Elizabeth Furuta*

Sheryl Hwangbo Yu*

Daniel Kim*

Sujin Lim*

Hong-Yi Mo *

Marian Tanau*

Alexander Volkov*

Jing Zhang*

VIOLA

Eric Nowlin

PRINCIPAL

Julie and Ed Levy, Jr. Chair

James VanValkenburg

ASSISTANT PRINCIPAL

Janet and Norm Ankers Chair

Caroline Coade

Henry and Patricia Nickol Chair

Glenn Mellow

Hang Su

Hart Hollman

Han Zheng

Mike Chen

Harper Randolph §

JADER BIGNAMINI , Music Director

Music Directorship endowed by the Kresge Foundation

MCFADDEN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

CELLO

Wei Yu

PRINCIPAL

Abraham Feder

ASSISTANT PRINCIPAL

Dorothy and Herbert Graebner Chair

Robert Bergman*

Jeremy Crosmer*

Victor and Gale Girolami Cello Chair

David LeDoux*

Peter McCaffrey*

Joanne Deanto and Arnold Weingarden Chair

Una O’Riordan*

Mary Ann & Robert Gorlin Chair

Cole Randolph*

Mary Lee Gwizdala Chair

BASS

Kevin Brown

PRINCIPAL

Van Dusen Family Chair

Stephen Molina

ASSISTANT PRINCIPAL

Christopher Hamlen*

Peter Hatch*

Vincent Luciano*

Brandon Mason*

HARP

OPEN

PRINCIPAL

Winifred E. Polk Chair

FLUTE

Hannah Hammel Maser

PRINCIPAL

Alan J. and Sue Kaufman and Family Chair

Amanda Blaikie

Morton and Brigitte Harris Chair

Sharon Sparrow ^

ASSISTANT PRINCIPAL

Bernard and Eleanor Robertson Chair

Jeffery Zook

PICCOLO

Jeffery Zook

Shari and Craig Morgan Chair

OBOE

Alexander Kinmonth

PRINCIPAL

Jack A. and Aviva Robinson Chair

Sarah Lewis

ASSISTANT PRINCIPAL

Monica Fosnaugh

ENGLISH HORN

Monica Fosnaugh

JÄRVI

Music Director Laureate

Music Director Emeritus LEONARD SLATKIN

CLARINET

Ralph Skiano

PRINCIPAL

Robert B. Semple Chair

Jack Walters

PVS Chemicals Inc./

Jim and Ann Nicholson Chair

Shannon Orme

E-FLAT CLARINET

OPEN

BASS CLARINET

Shannon Orme

Barbara Frankel and Ronald Michalak Chair

BASSOON

Conrad Cornelison

PRINCIPAL

Byron and Dorothy Gerson Chair

Cornelia Sommer

Marcus Schoon

CONTRABASSOON

Marcus Schoon

HORN

OPEN

PRINCIPAL

David and Christine Provost Chair

Johanna Yarbrough

Scott Strong

Ric and Carola Huttenlocher Chair

David Everson

ASSISTANT PRINCIPAL

Mark Abbott

TRUMPET

Hunter Eberly

PRINCIPAL

Lee and Floy Barthel Chair

Austin Williams

William Lucas

TROMBONE

Kenneth Thompkins

PRINCIPAL

Shari and Craig Morgan Chair

David Binder

Adam Rainey

BASS TROMBONE

Adam Rainey

TUBA

Dennis Nulty

PRINCIPAL

TIMPANI

Jeremy Epp

PRINCIPAL

Richard and Mona Alonzo Chair

James Ritchie

ASSISTANT PRINCIPAL

PERCUSSION

Joseph Becker

PRINCIPAL

Ruth Roby and Alfred R. Glancy III Chair

Andrés Pichardo-Rosenthal

ASSISTANT PRINCIPAL

William Cody Knicely Chair

James Ritchie

Luciano Valdes§

LIBRARIANS

Robert Stiles

PRINCIPAL

Ethan Allen

LEGACY CHAIRS

Principal Flute

Women’s Association for the DSO

Principal Cello

James C. Gordon

Personnel Managers

Patrick Peterson

DIRECTOR OF ORCHESTRA PERSONNEL

Benjamin Tisherman

MANAGER OF ORCHESTRA PERSONNEL

Nolan Cardenas

AUDITION AND OPERATIONS

COORDINATOR

Stage Personnel

Dennis Rottell

STAGE MANAGER

Zach Deater

DEPARTMENT HEAD

Issac Eide

DEPARTMENT HEAD

Kurt Henry

DEPARTMENT HEAD

Matthew Pons

DEPARTMENT HEAD

Jason Tschantre

DEPARTMENT HEAD

LEGEND

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

^ On sabbatical

§ African American

Orchestra Fellow

BEHIND THE BATON

Jader Bignamini

MUSIC DIRECTORSHIP ENDOWED BY THE KRESGE FOUNDATION

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

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

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

Jeff Tyzik

PRINCIPAL POPS CONDUCTOR

Grammy Award winner Jeff Tyzik is one of America’s most innovative and sought-after pops conductors. Tyzik is recognized for his brilliant arrangements, original programming, and engaging rapport with audiences of all ages. In addition to his role as Principal Pops Conductor of the DSO, Tyzik holds The Dot and Paul Mason Principal Pops Conductor’s Podium at the Dallas Symphony Orchestra and serves as principal pops conductor of the Seattle Symphony, the Oregon Symphony, The Florida Orchestra, and the Rochester Philharmonic—where he celebrates his 30th season in 2023–2024. Frequently invited as a guest conductor, Tyzik has appeared with the Boston Pops, Cincinnati Pops, Milwaukee Symphony, Pittsburgh Symphony, Toronto Symphony, Indianapolis Symphony, The Philadelphia Orchestra, Los Angeles Philharmonic, and Royal Scottish National Orchestra. Committed to performing music of all genres, Tyzik has collaborated with such diverse artists as Leslie Odom Jr., Megan Hilty, Chris Botti, Matthew Morrison, Wynonna Judd, Sutton Foster, Tony Bennett, Art Garfunkel, Dawn Upshaw, Marilyn Horne, Arturo Sandoval, The Chieftains, Mark O’Connor, Doc Severinsen, and John Pizzarelli. He has created numerous original programs that include the greatest music from jazz and classical to Motown, Broadway, film, dance, Latin, and swing. Tyzik holds Bachelor of Music and Master of Music degrees from the Eastman School of Music. Visit jefftyzik.com for more.

Terence Blanchard

FRED A. ERB JAZZ CREATIVE DIRECTOR CHAIR

Trumpeter, bandleader, composer, and educator

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

DETROIT SYMPHONY ORCHESTRA, INC.

LIFETIME DIRECTORS

Samuel Frankel◊

Stanley Frankel

David Handleman, Sr.◊

Dr. Arthur L. Johnson ◊

James B. Nicholson

Floy Barthel

Chacona Baugh

Penny B. Blumenstein

Richard A. Brodie

Lois Cohn

Marianne Endicott

David T. Provost Chair

Erik Rönmark President & CEO

Anne Parsons, President Emeritus◊

Barbara Van Dusen

Clyde Wu, M.D.◊

Sidney Forbes

CHAIRS EMERITI

Peter D. Cummings

Mark A. Davidoff

Phillip Wm. Fisher

DIRECTORS EMERITI

Herman H. Frankel

Dr. Gloria Heppner

Ronald Horwitz

Harold Kulish

Bonnie Larson

Arthur C. Liebler

David McCammon

David R. Nelson

William F. Pickard, Ph.D.

Marilyn Pincus

Glenda D. Price, Ph.D.

OFFICERS OF THE BOARD OF DIRECTORS

Shirley Stancato Vice Chair

Laura Trudeau Treasurer

James G. Vella Secretary

Richard Huttenlocher Officer at Large

BOARD OF DIRECTORS

Stanley Frankel

Robert S. Miller

James B. Nicholson

Marjorie S. Saulson

Jane Sherman

Arthur A. Weiss

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

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

Michael Bickers

Elena Centeio

Aaron Frankel

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

Laura Hernandez-Romine

Rev. Nicholas Hood III

Renato Jamett, Trustee Chair

Daniel J. Kaufman

Michael J. Keegan

Peter McCaffrey, Orchestra Representative

H. Keith Mobley, Governing Members Chair

Xavier Mosquet

David Nicholson

Arthur T. O’Reilly

BOARD OF TRUSTEES

Stephen Polk

Bernard I. Robertson

Kenneth Thompkins, Orchestra Represenative

Ellen Hill Zeringue

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

Ismael Ahmed

Richard Alonzo

Hadas Bernard

Janice Bernick

Elizabeth Boone

Gwen Bowlby

Dr. Betty Chu

Karen Cullen

Joanne Danto

Stephen D’Arcy

Maureen T. D’Avanzo

Jasmin DeForrest

Cara Dietz

Afa Sadykhly Dworkin

James C. Farber

Amanda Fisher

Linda Forte

Janet & Norm Ankers, Chairs

Carolynn Frankel

Christa Funk

Robert Gillette

Jody Glancy

Malik Goodwin

Mary Ann Gorlin

Peter Hatch, Orchestra Representative

Donald Hiruo

Michelle Hodges

Julie Hollinshead

Sam Huszczo

Laurel Kalkanis

Renato Jamett, Trustee Chair

Jay Kapadia

David Karp

Joel D. Kellman

John Kim

Jennette Smith Kotila

Leonard LaRocca

William Lentine

Linda Dresner Levy

Gene Lovasco

Vincent Luciano, Orchestra Representative

Brandon Mason, Orchestra Representative

Anthony McCree

Kristen McLennan

Tito Melega

Lydia Michael

H. Keith Mobley, Governing Members Chair

Scott Monty

Shari Morgan

Sandy Morrison

Frederick J. Morsches

Jennifer Muse

Sean M. Neall

Eric Nemeth

Maury Okun

Jackie Paige

Vivian Pickard

Denise Fair Razo

Gerrit Reepmeyer

James Rose, Jr.

MAESTRO CIRCLE EXECUTIVE COMMITTEE

Cecilia Benner

Joanne Danto

Gregory Haynes

Bonnie Larson

Laurie Rosen

Elana Rugh

Carlo Serraiocco

Lois L. Shaevsky

T. Elliot Shafer

Shiv Shivaraman

Dean P. Simmer

Richard Sonenklar

Rob Tanner

Yoni Torgow

Nathaniel Wallace

Gwen S. Weiner

Donnell White

Jennifer Whitteaker

R. Jamison Williams

Lois Miller

Richard Sonenklar

MEET THE MUSICIAN

Principal Cello Wei Yu

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

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

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

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

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

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

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

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

Yu in rehearsal with DSYO and conductor

Na’Zir McFadden

MUSIC BONDS

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

By Hannah Engwall

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

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

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

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

The Randolph siblings as children

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

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

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

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

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

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

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

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

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

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

Sheku Kanneh-Mason Jeneba Kanneh-Mason

SEE JENEBA AND SHEKU WITH THE DSO:

William Davidson

Neighborhood Concert Series RAVEL’S MOTHER GOOSE

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

Simone Menezes, conductor

Jeneba Kanneh-Mason, piano

PVS Classical Series

BEETHOVEN’S FIFTH SYMPHONY

June 6–8 at Orchestra Hall

Jader Bignamini, conductor

Sheku Kanneh-Mason, cello

TICKETS & MORE INFO: DSO.ORG OR 313.576.5111

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

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

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

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

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

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

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

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

Young Cole and Harper with their mother

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

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

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

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

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

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

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

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

Harper Randolph Cole Randolph

Sound EFFECT: Stories of DSO Impact

By LaToya Cross

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

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

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

Danny Kaufman, DSO Impact Campaign Co-Chair

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

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

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

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

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

The DSO is grateful to the donors who have made extraordinary endowment investments through the DSO Impact Campaign or multi-year, comprehensive gifts to support general operations, capital improvements, or special programs.

FOUNDING FAMILIES

Mr. & Mrs. Lee Barthel

Julie & Peter Cummings APLF

Gerson Family and the William Davidson Foundation

The Richard C. Devereaux Foundation

Erb Family and the Fred A. and Barbara M. Erb Family Foundation

The Fisher Family and the Max M. & Marjorie S. Fisher Foundation

Stanley & Judy Frankel and the Samuel & Jean Frankel Foundation

Danialle & Peter Karmanos, Jr.

Mort & Brigitte Harris Foundation APLF

Linda Dresner & Ed Levy, Jr.APLF

Shari & Craig Morgan APLF,MM

James B. & Ann V. Nicholson and PVS Chemicals, Inc. APLF

Bernard & Eleanor Robertson

Mrs. Richard C. Van Dusen

Ralph C. Wilson, Jr. Foundation

Clyde & Helen Wu◊

VISIONARIES

Mr. & Mrs. Richard L. AlonzoAPLF

Penny & Harold Blumenstein APLF

Mr. & Mrs. Phillip Wm. FisherAPLF,MM

Alan J. & Sue Kaufman and Family MM

Christine & David ProvostMM

Paul & Terese Zlotoff

CHAMPIONS

Janet & Norman Ankers

Mandell & Madeleine Berman Foundation APLF

Mr. and Mrs. David Cadieux

Mr. and Mrs. Raymond M. Cracchiolo

Joanne Danto & Arnold Weingarden

Vera and Joseph Dresner Foundation

DTE Energy Foundation

Ford Motor Company Fund

Mr. and Mrs. Morton E. Harris◊

William & Story John

John S. & James L. Knight Foundation

The Kresge Foundation

Mrs. Bonnie Larson APLF

Lisa & Brian Meer

The Andrew W. Mellon Foundation

Ms. Deborah Miesel

Dr. William F. Pickard

The Polk Family

Stephen M. Ross

Family of Clyde and Helen Wu APLF

LEADERS

Applebaum Family Philanthropy

Charlotte Arkin Estate

Marvin & Betty Danto Family Foundation APLF

Adel & Walter DissettMM

Herman & Sharon Frankel

Ruth & Al◊ Glancy

Mary Ann & Robert Gorlin APLF

Mary L. Gwizdala

Ronald M. & Carol◊ Horwitz

Richard H. & Carola

Huttenlocher MM

John C. Leyhan Estate

Bud & Nancy Liebler

Richard & Jane Manoogian Foundation

David & Valerie McCammon

Mr. & Mrs. Eugene A. Miller

Pat & Hank◊ Nickol

Jack & Aviva Robinson◊

Martie & Bob Sachs

Mr. & Mrs. Alan E. Schwartz◊

Drs. Doris Tong & Teck Soo

BENEFACTORS

Mr. & Mrs. Robert A. Allesee ◊

Mr. David Assemany & Mr. Jeffery Zook APLF,MM

W. Harold & Chacona W. Baugh APLF

Gwen & Richard Bowlby

Robert & Lucinda Clement

Lois & Avern◊ CohnMM

Jack, Evelyn, and Richard Cole

Family Foundation

Mary Rita Cuddohy Estate

Margie Dunn & Mark DavidoffAPLF,MM

DSO MusiciansMM

Bette Dyer Estate

Michael & Sally Feder MM

Marjorie S. Fisher FundMM

Dr. Marjorie M. Fisher & Mr. Roy Furman

Ms. Mary D. Fisher

Mr. & Mrs. Aaron Frankel MM

Barbara Frankel◊ & Ronald Michalak MM

Victor ◊ & Gale Girolami Fund

The Glancy Foundation, Inc. APLF

Herbert & Dorothy Graebner ◊

Richard Sonenklar & Gregory HaynesMM

Mr. & Mrs. David Jaffa

Renato & Elizabeth JamettMM

Max Lepler & Rex DotsonMM

Allan & Joy NachmanMM

Mariam C. Noland & James A. KellyAPLF

Ann & Norman◊ Katz

Dr. Melvin A. Lester ◊

Florine Mark◊

Michigan Arts & Culture Council

Geoffrey S. Nathan & Margaret E. Winters APLF,MM◊

Roger & Kathy Penske APLF

Dr. Glenda D. Price

Ruth Rattner

Mr. & Mrs. Lloyd E. Reuss◊

Dr. and Mrs.◊ Paul Schaap

Mr. & Mrs. Fred Secrest◊

Mr. & Mrs. Mark Shaevsky

Jane & Larry Sherman

Cindy McTee & Leonard Slatkin

Marilyn Snodgrass Estate

Mr. and Mrs. Arn Tellem APLF

Nancy Schlichting & Pamela Theisen APLF

Mr. James G. VellaMM

Eva von Voss and Family MM

Key:

MM DSO Musicians Fund for Artistic Excellence

APLF Anne Parsons Leadership Fund

◊ Deceased

COMMUNITY & LEARNING

Middle School Honor Days

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

—Middle School Honor Days parent

By Francesca Leo

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

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

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

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

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

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

Ken Thompson conducts students at Middle School Honor Days in 2024

JASON SEBER

DETROIT SYMPHONY ORCHESTRA

Jason Seber recently completed his sixyear tenure as Associate Conductor of the Kansas City Symphony.

JEFF TYZIK

Principal Pops Conductor

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

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

American orchestras, including the Charleston Symphony, Cleveland Pops, Colorado Symphony, and Houston Symphony, among others.

NA’ZIR MCFADDEN

Prior to his appointment with the Kansas City Symphony, Seber served as Education and Outreach Conductor of the Louisville Orchestra from 2013 to 2016 and Music Director of the Louisville Youth Orchestra from 2005 to 2016. Seber has guest conducted many leading North

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

PVS CLASSICAL SERIES

Title Sponsor:

LEONARD SLATKIN

Music Director Laureate

NEEME JÄRVI

Music Director Emeritus

A passionate advocate of music education, Seber recently led the Honors Performance Series Orchestra in performances at Carnegie Hall (2018 and 2022), Royal Festival Hall in London (2019), and the Sydney Opera House (2017).

Seber has performed with classical artists including Jinjoo Cho, Paul Jacobs,

MOZART & THE SEASONS

Thursday, May 2, 2024 at 7:30 p.m. at Wharton Center for Performing Arts, East Lansing, MI

Friday, May 3, 2024 at 8 p.m.

Saturday, May 4, 2024 at 8 p.m.

Sunday, May 5, 2024 at 3 p.m. in Orchestra Hall

JADER BIGNAMINI, conductor ROBYN BOLLINGER, violin

Michael Abels More Seasons (b.1962)

Astor Piazzolla The Four Seasons of Buenos Aires (1921 - 1992) Otoño Porteño (Buenos Aires Autumn)

Arr. Leonid Desyatnikov Invierno Porteño (Buenos Aires Winter)

Primavera Porteña (Buenos Aires Spring)

Verano Porteño (Buenos Aires Summer) Robyn Bollinger, violin

Intermission

Wolfgang Amadeus Mozart

Symphony No. 41 in C major, K. 551, “Jupiter” (1756 - 1791)

I. Allegro vivace

II. Andante cantabile

III. Allegretto

IV. Molto allegro

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

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

PROGRAM AT-A-GLANCE | MOZART & THE SEASONS

Seasons and More Seasons

Vivaldi’s The Four Seasons is a monumental work that has appeared in countless commercials, television shows, and films throughout the 21st century, so it is no surprise that the work has influenced prominent composers including Michael Abels and Astor Piazzolla. Abels’s More Seasons is described by the composer as his own spin on early Baroque music, subjecting the themes of Vivaldi’s “Spring” and “Summer” “to maniacal, Minimalist abuses,” and calling it “Vivaldi in a Mixmaster.” Piazzolla’s Four Seasons of Buenos Aires takes a tango-inspired work and combines it with elements easily recognizable from Vivaldi’s model with subtle differences—one being that each season only receives one movement instead of three short movements. Mozart’s final symphony was finished in the fall of 1788, just a few years before his death, and became known as “Jupiter” due to its portrayal of the noble character of the Roman god of the same name. Much like Vivaldi’s The Four Seasons, Mozart’s Symphony No. 41 has achieved immortality and continues to be a beloved piece in our modern world.

PROGRAM NOTES

More Seasons

Composed 1999 MICHAEL ABELS

B. 1962

Scored for 2 flutes (one doubling piccolo), 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, keyboard, and strings. (Approx. 12 minutes)

2023

Pulitzer Prize winner and Emmy and Grammy-nominated composer Michael Abels is best known for his genre-defying scores for the Jordan Peele films Get Out, Us, and Nope. The score for Us won a World Soundtrack Award, the Jerry Goldsmith Award, a Critics Choice nomination, multiple critic awards, and was named “Score of the Decade” by The Wrap. Both Us and Nope were shortlisted for the Oscar for Best Original Score. In 2022, Abels’s music was honored by the Vancouver International Film Festival, the Middleburg Film Festival, and the Museum of the Moving Image. Nope was awarded Best Score for a Studio Film by the Society of Composers & Lyricists. Other recent projects include the films Bad Education,

Nightbooks, and the docu-series Allen v. Farrow. Current releases include Chevalier (Toronto International Film Festival) and Landscape with Invisible Hand (Sundance 2022), his second collaboration with director Cory Finley. Current projects include The Burial (Amazon) and a series for Disney+.

Abels’s creative output also includes many concert works, including the choral song cycle At War With Ourselves for the Kronos Quartet, the Grammy-nominated Isolation Variation for Hilary Hahn, and Omar, an opera co-composed with Grammy-winning recording artist Rhiannon Giddens, which was named by The New York Times as one of the 10 Best Classical Performances of 2022.

Abels describes More Seasons as his “own spin” on early Baroque music, subjecting the themes of Vivaldi’s “Spring” and “Summer” “to maniacal, Minimalist abuses,” and calling it “Vivaldi in a Mixmaster.”

This performance marks the DSO premiere of Michael Abels’s More Seasons.

The Four Seasons of Buenos Aires

Composed 1969 | Premiered 1969

ASTOR PIAZZOLLA/ ARR. DESYATNIKOV

B. March 11, 1921, Mar del Plata, Argentina

D. July 4, 1992, Buenos Aires, Argentina

Scored for solo violin and strings. (Approx. 26 minutes)

Whenmusic lovers hear the phrase “The Four Seasons,” they immediately associate them with Antonio Vivaldi’s memorable work. Vivaldi ingeniously uses a colorful, programmatic musical language to interweave natural topics into a tapestry of sound that infuses the listener with the sense that they are there, that they are actually experiencing each season in turn. Composers ever since have referenced his masterpiece; Astor Piazzolla joined these ranks when he composed his own Cuatro Estaciones Porteñas (The Four Seasons of Buenos Aires).

Piazzolla was a marvelous composer with a distinctive musical sound that combined jazz and the Argentinian tango of his native land together with classical forms and 20th century harmonic ideas. In its final shape, The Four Seasons of Buenos Aires takes a tango-inspired work by Piazzolla and combines it with elements easily recognizable from Vivaldi’s model. Not only does it share with Vivaldi the general concept of depicting four seasons in music, but it also presents a solo violin featured within an orchestral texture in highly virtuosic style. Yet initially, this work was written for a folk ensemble, not at all for virtuoso violin. The first to perform it was the composer’s own folk/ chamber ensemble, specialists in nuevo tango

In Vivaldi’s The Four Seasons, each season includes three short movements. Piazzolla’s variation gives each season only one movement. Each of Piazzolla’s

seasons, however, contains several sections that depict different moods within the single movement. The “Summer” movement, for example, contrasts the sassy, rhythmic tango with remnants of the Italian Baroque. An extended, melancholy cello solo dominates the first section of the “ Fall” season. Slow, sultry, yet intensely rhythmic, “Winter” gives the solo violinist the perfect opportunity for cadenza-like displays of virtuosity. Even more quotes from Vivaldi, this time from his “Summer,” are woven seamlessly into Piazzolla’s intensely emotional “Winter” tango. In contrast, “Spring” in Buenos Aires is filled with excitement and a rhythmic electricity that propels the work to its brilliant conclusion. —Dr. Beth Fleming

The DSO most recently performed The Four Seasons of Buenos Aires in March 2020, conducted by Paolo Bortolameolli and featuring violinist Angelo Xiang Yu. The DSO first performed the piece in March 2017, conducted by Manuel LopezGomez and featuring violinist Yoonshin Song.

Symphony No. 41 in C major, K. 551, “Jupiter”

Composed 1788 | Premiered circa 1791

WOLFGANG AMADEUS MOZART

B. January 27, 1756, Salzburg, Austria

D. December 5, 1791, Vienna, Austria

Scored for 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (Approx. 23 minutes)

WhenMozart began writing symphonies at the age of eight, the form was in its infancy and was not at all the exalted musical expression it later became. He was not necessarily an innovator, but over the years his genius turned the once humble form into one of great subtlety, variety, and expressive power, and the symphony rose from an insignificant concert opener to become the focal point of

orchestral programs.

The title “Jupiter” was not attached to Mozart’s C major symphony by the composer himself, but was reportedly the idea of a concert organizer named Johann Peter Salomon, who added the title after Mozart’s death. Salomon’s sobriquet after the Roman god Jupiter Optimus Maximus (“Jupiter Best and Greatest”) is considered particularly appropriate to the triumphant quality of the symphony’s two outer movements and is a meaningful (if not entirely intentional) nod to Mozart’s fame, which would begin to skyrocket shortly after his passing.

The first movement of “Jupiter” contrasts strident militaristic themes with gentle, tender ones, developing elaborately over nearly 100 measures. Typical of Mozart, it is rich in the number and variety of thematic ideas. The slow movement is delicate, tinted with muted violins and lacy melodies. It is at once poignant

and deeply felt. The minuet and Trio are also notably gentle, both built around yearning chromatic melodies. Whether consciously or not, the first four melody notes of the Trio anticipate the shape of the four-note theme that dominates the finale.

The finale is celebrated for Mozart’s feat of superimposing fugal counterpoint upon a sonata movement. At various points in the movement, Mozart takes themes presented earlier and lets them chase each other as in a fugue. This display of contrapuntal wizardry has held audiences, composers, and musical scholars in awe for more than two centuries.

The DSO most recently performed Mozart’s Symphony No. 41 in March 2021, conducted by Domingo Hindoyan. The DSO first performed the piece in December 1916, conducted by Weston Gales.

UPCOMING CONCERTS

Ovation Celebration & Mangia

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

GROSSE POINTE UNITED METHODIST CHURCH

211 Moross Rd, Grosse Pointe Farms, MI 48236 No Admission Charge

Young Artist of the Year Concert

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

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

ST. JAMES CATHOLIC CHURCH

46325 W 10 Mile Rd, Novi, MI 48374 No Admission Charge

Artists of the Year Concert

For program details, visit TuesdayMusicaleofDetroit.org

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

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

GROSSE POINTE UNITED METHODIST CHURCH

211 Moross Rd, Grosse Pointe Farms, MI 48236

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

PROFILES

For Jader Bignamini biography, see page 6.

ROBYN BOLLINGER

Daring, versatile, and charismatic,

American violinist Robyn Bollinger is Concertmaster of the Detroit Symphony Orchestra. Equally at home as soloist, chamber musician, orchestral leader, and pedagogue, Bollinger is an artist at the forefront of classical music. She made her debut with The Philadelphia Orchestra at age 12 and regularly performs with orchestras across the United States. Past highlights include engagements with the Boston Pops and the symphony orchestras of Brevard, California, Charleston, Grand Tetons Music Festival, Helena, Illinois, Indian Hill, Knoxville, and Symphony in C. In 2019, Bollinger gave the world premiere of Artifacts, a four-movement violin concerto commissioned by the California Symphony by composer Katherine Balch and written specifically for Bollinger.

A sought-after collaborator and recitalist, Bollinger is a popular figure on chamber music stages around the world. She is a returning participant at the acclaimed Marlboro Music Festival and has been featured in numerous national tours with Musicians from Marlboro. She has toured in Midori’s Music Sharing International Community Engagement

Program “ICEP” in Japan, performing in recital in Osaka’s Phoenix Hall, Tokyo’s Oji Hall, and Tokyo National Arts Center.

A noted leader and ensemble player, Bollinger has been a frequent Guest Concertmaster with the Pittsburgh Symphony and has made Guest Concertmaster appearances with the Indianapolis Symphony and St. Bart’s Music Festival Orchestra. She is a former member of A Far Cry, the Boston-based, democratically run chamber orchestra, and she has appeared on Grammynominated commercial recordings with both the Pittsburgh Symphony and A Far Cry.

Bollinger is a devoted educator, having presented masterclasses at the Cincinnati Conservatory, the Longy School of music, University of California Bakersfield, Temple University Preparatory School, and a unique masterclass examining classical music in the context of Aristotle at the University of Tennessee Chattanooga. She is a former faculty member at New England Conservatory Preparatory School in Boston and Brandeis University. She earned both her bachelor’s and master’s degrees with academic honors from the New England Conservatory of Music. Her major teachers included Soovin Kim, Miriam Fried, Paul Biss, Paul Kantor, and Lyle Davidson. Bollinger currently plays on a 1697 G. B. Rogeri violin on generous loan from a private collector and a 2013 Benoit Rolland bow commissioned specially for her.

JEFF TYZIK

Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

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

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

JADER BIGNAMINI , Music Director

Music Directorship endowed by the Kresge Foundation

NA’ZIR MCFADDEN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

PVS CLASSICAL SERIES

Title Sponsor:

LEONARD SLATKIN

Music Director Laureate

NEEME JÄRVI

Music Director Emeritus

MAHLER’S NINTH SYMPHONY

Friday, May 10, 2024 at 8 p.m.

Saturday, May 11, 2024 at 8 p.m. in Orchestra Hall

JADER BIGNAMINI, conductor

Gustav Mahler Symphony No. 9 in D major (1860 - 1911) I. Andante comodo

II. Im Tempo eines gemächlichen Ländlers

III. Rondo - Burleske

IV. Adagio

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

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

PROGRAM AT-A-GLANCE | MAHLER’S NINTH SYMPHONY

A Symphonic Farewell

Mahler was keenly aware of the “curse of the ninth,” a superstition linking the completion of a ninth symphonic work to a composer’s imminent death. In what is most likely a reference to Beethoven and Bruckner, Mahler wrote, “It seems that the ninth is the limit. He who wants to go beyond it must pass away. It seems as if something might be imparted to us in the tenth for which we are not yet ready. Those who have written a ninth have stood too near to the hereafter.” Because of this superstition, Mahler prepared a final compositional trilogy of works consisting of his Das Lied von der Erde (The Song of the Earth) and the ninth and tenth symphonies. The connections between these three works and their date of composition have made it all too tempting to view them as pointing toward death—a “farewell” trilogy or the final testament of a dying man. Two years before he composed the Ninth Symphony, he suffered the death of his young daughter, was diagnosed with a serious heart condition, and discovered a heartbreaking affair between his wife Alma and architect Walter Gropius. Within a year of this discovery, Mahler passed away—after composing his tenth and final symphony. During composition of the tenth, he concluded, “Now the danger is past.”

PROGRAM NOTES

Symphony No. 9 in D major

Composed 1909 | Premiered June 26, 1912

GUSTAV MAHLER

B. July 7, 1860, Iglau, Bohemia

D. May 18, 1911, Vienna, Austria

Scored for 4 flutes, piccolo, 4 oboes (one doubling English horn), 4 clarinets (one doubling e-flat clarinet), bass clarinet, 4 bassoons (one doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, and strings. (Approx. 87 minutes)

“Gustav Mahler was a saint,” said Arnold Schoenberg at the 1912 memorial address honoring the revered composer and conductor, who had died the year before at age 50. In 1911, Schoenberg dedicated his important treatise on harmony, Harmonielehre, to the memory of Mahler. One might add another epitaph: prophet. For many, Mahler’s music prophesized not only aspects of his own life, but also future developments in music of the 20th century.

These impressions of Mahler have shaped our understanding of his life and music. Indeed, Mahler’s music enjoyed limited success during his own lifetime,

and though championed by several prominent composers of the early 20th century, it was not until the “Mahler Mania” of the 1960s that his compositions garnered popular and critical acclaim, especially in the United States. Thanks in large part to conductor Leonard Bernstein—who both preached Mahler’s prophetic qualities and recorded seminal interpretations of his music—Mahler became one of the most frequently performed symphonic composers. As one scholar puts it, “Bernstein redrew the map with Mahler at dead center, a paradigm shift that has affected our sense of music ever since. Mahler at the center, rather than at the margins, has changed the way every orchestra plans its seasons and the way historians view the 20th century.” Mahler’s emerging historical role as a mediator between the Germanic musical tradition and early 20th century modernism led to his symphonies acquiring canonic status.

Mahler’s final compositional trilogy, comprised of Das Lied von der Erde (The Song of the Earth) and the ninth and tenth symphonies, explores similar musical and philosophical issues. The composer had, after all, suffered serious personal blows in 1907, two years before he composed the Ninth Symphony: his beloved elder daughter, Maria, died at the age of 4; he resigned an untenable position at the

Vienna Court Opera; and he was diagnosed with a serious heart condition. By 1910, his marriage to Alma, who would soon begin an affair with Bauhaus architect Walter Gropius, was deteriorating, and within a year Mahler would be dead.

Mahler provided few clues concerning the meaning of his late works. Most revealing are comments scribbled on compositional sketches or manuscripts, such as those that appear in connection with the first movement of the Ninth Symphony: “O Youth! Lost! O Love! Vanished!” and in the finale, “O Beauty, O Love, Farewell, Farewell.” Indeed, Mahler’s opinions about divulging “extra-musical” or programmatic insights into his music changed over time. His early symphonies, from the so-called Wunderhorn years, initially carried descriptive titles and detailed programs that Mahler later withdrew, while his later symphonies bore no such information. Nonetheless, musicians, critics, and listeners alike have long connected the Ninth Symphony with ideas surrounding death, perhaps in part because of the slow, mournful movement with which the piece ends.

As Leonard Bernstein famously noted, “The Ninth is the ultimate farewell…the closest we have ever come, in any work of art, to experiencing the very act of dying, of giving it all up.”

Quite aside from such notions, Mahler’s Ninth Symphony powerfully reflects the philosophies and aesthetics of the composer and his time through a mature musical language. The first movement is ripe with romantic nostalgia. Rooted in D major, this movement seems to pick up harmonically and thematically where Mahler’s monumental Das Lied von der Erde left off. The opening rhythm, presented by cellos and a horn repeatedly intoning the same pitch, returns during crucial structural moments in the movement, including its climax. This rhythm has been likened to the irregular beating of a diseased heart and, thus, to Mahler’s

own heart condition. A new theme gradually emerges in the second violins; accumulating momentum through a series of fragments played by strings, harp, clarinets, and stopped horns. The organic growth of the themes marks one of Mahler’s greatest compositional achievements. This music is rich with allusions and quotations, not just from Mahler’s own music, but also from other compositions, including Beethoven’s “Les Adieux” (“Farewell”) Sonata for piano.

The second movement, presented in the tempo and character of a relaxed Ländler or Austrian folk dance, begins with a deliberate, jocular theme. Soon, however, it takes on the flavor of a dance of death with angular leaps, unexpected tempo changes, and complex textural combinations. The ensuing “Rondo-Burleske” offers a wide range of moods and ideas, including popular and folk-like musical gestures. Fugal techniques mix with marches and grotesque angry passages with more tender moments. This movement also displays Mahler’s lifelong interest in counterpoint, taking his studies of Bach to new heights.

The final adagio opens with a hymn-like unison theme in the violin, recalling the lush musical language of both Bruckner and Wagner. The movement gradually disintegrates, seemingly resisting death and foregoing traditional bombast for reserved acquiescence. Mahler makes one final self-allusion, played by the first violins, to his Kindertotenlieder. The music continues to evaporate, dying away until only the performers’ breath remains. — Michael Mauskapf

The DSO most recently performed Mahler’s Symphony No. 9 in December 2017, conducted by Leonard Slatkin. The DSO first performed the piece in December 1969, conducted by Alexander Gibson.

For Jader Bignamini biography, see page 6.

JEFF TYZIK Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

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

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

JADER BIGNAMINI , Music Director

Music Directorship endowed by the Kresge Foundation

NA’ZIR MCFADDEN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

LEONARD SLATKIN

Music Director Laureate

MUSIC DIRECTOR

NEEME JÄRVI Music Director Emeritus

TITLE SPONSOR:

DISCO FEVER

Friday, May 17, 2024 at 10:45 a.m.

Saturday, May 18, 2024 at 8 p.m.

Sunday, May 19, 2024 at 3 p.m. in Orchestra Hall

ENRICO LOPEZ-YAÑEZ,

conductor

MAIYA SYKES, vocalist

B.SLADE, vocalist

A Fifth of Beethoven arr. Enrico Lopez-Yañez

I’m So Excited

Ring My Bell

Get Your Booty Tonight

That’s the Way (I Like It)

The Hustle

Kool & the Gang Medley

Car Wash

I Will Survive

Intermission

Bee Gees Medley

Dancing

It’s Raining Men

Le Freak

I’m Coming Out

Disco Inferno

Brick House

Donna Summer Medley

All arrangements by Enrico Lopez-Yañez except “A Fifth of Beethoven” arr. James Burden

Additional support for Saturday’s performance is provided by Henry Ford Health

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

PROGRAM AT-A-GLANCE | DISCO FEVER

Boogie Wonderland in the Motor City

From the Motown era to the rise of techno in the mid 1980s, Detroit’s musical landscape underwent a vibrant—and sometimes overlooked—period of evolution. Before disco’s mainstream explosion in the ‘70s, Detroit clubs were filled with the music of funk bands. As journalist Ashley Zlatopolsky wrote in 2014, “The city was awash in four-piece R&B groups who later incorporated full ensembles consisting of trumpets, trombones, drums, guitars, pianos, and vocals. Once strings were added in, the disco sound began to emerge.” Later, Michigan-born artists like The Belleville Three and Eddie Fowlkes mixed influences of disco, dance, progressive, and house music to form the foundation of techno. Today’s program celebrates disco’s role in this rich musical legacy, with groovy hits including “That’s the Way (I Like It),” “It’s Raining Men,” “We Are Family,” “I Will Survive,” “Stayin’ Alive,” and many more.

PROFILES

ENRICO LOPEZ-YAÑEZ

Enrico

Lopez-Yañez is the Principal Pops Conductor of the Nashville Symphony and Pacific Symphony, as well as the Principal Conductor of the Dallas Symphony Presents. In the 2024–2025 season, Lopez-Yañez will begin his role as Principal Pops Conductor (Devereaux Family Chair) of the Detroit Symphony Orchestra. Lopez-Yañez is quickly establishing himself as one of the nation’s leading conductors of popular music and becoming known for his unique style of audience engagement. Also an active composer and arranger, he has been commissioned to write for the Cincinnati Pops Orchestra, Houston Symphony, San Diego Symphony and Omaha Symphony, and has had his works performed by orchestras including the Atlanta Symphony, Baltimore Symphony, Detroit Symphony Orchestra, Indianapolis Symphony, National Symphony, Phoenix Symphony, Seattle Symphony, and Utah Symphony, among others.

Lopez-Yañez has conducted concerts with a broad spectrum of artists including Nas, Patti LaBelle, Ledisi, Itzhak Perlman, Stewart Copeland, Kenny Loggins, Trisha Yearwood, Kelsea Ballerini, Leslie Odom Jr., Renee Elise Goldsberry, Portugal. The

Man, Cody Fry, Hanson, The Beach Boys, Kenny G, and more. Lopez-Yañez also conducts the annual Let Freedom Sing! Music City July 4th fireworks show, which is televised annually on CMT, reaching millions of viewers across the nation.

This season Lopez-Yañez will collaborate with artists including Ben Rector, Cypress Hill, Tituss Burgess, Vanessa Williams, Lyle Lovett, Jefferson Starship, Guster, Ben Folds, and Arturo Sandoval. He will appear with the Minnesota Orchestra and Milwaukee Symphony, as well as make return appearances with the Indianapolis Symphony, National Symphony, The Philadelphia Orchestra, San Diego Symphony, San Francisco Symphony, and more. Previously, LopezYañez has appeared with orchestras throughout North America including the Baltimore Symphony, Cincinnati Symphony, Houston Symphony, Pittsburgh Symphony, and the Seattle Symphony, among others.

Lopez-Yañez is the recipient of the 2023 “Mexicanos Distiguidos” Award by the Mexican government, an award granted to Mexican citizens living abroad for outstanding career accomplishments in their field. As an advocate for Latin music, he has arranged and produced shows for Latin Fire, Mariachi Los Camperos, and The Three Mexican Tenors, and collaborated with artists including Aida Cuevas and Lila Downs.

As Artistic Director and Co-Founder of Symphonica Productions, LLC, LopezYañez curates and leads programs designed to cultivate new audiences, including pops, family, and educational productions. As a sheet music publishing house, Symphonica Productions represents a diverse offering of genres and composers, including Grammy Award nominee Clarice Assad, Sverre Indris Joner, Andres Soto, Charles Cozens, Vinicio Meza, and more.

As a producer, composer, and arranger, Lopez-Yañez’s work can be heard on numerous albums including the UNESCO benefit album Action Moves People United and children’s music albums including The Spaceship that Fell in My Backyard, winner of the John Lennon Songwriting Contest, Hollywood Music and Media Awards, and Family Choice Awards; and Kokowanda Bay, winner of a Global Media Award as well as a Parents’ Choice Award.

Connect on social media @enricolopezyanez or visit enricolopezyanez. com for more information.

MAIYA SYKES

Maiya

Sykes is a classically trained vocalist, producer, vocal arranger, and entrepreneur who studied independently with Nina Simone and Betty Carter. After graduating from Yale University, she furthered her musical education at the Musicians Institute in Los Angeles, California Sykes has provided back-up vocals for artists including the Black Eyed Peas, Macy Gray, Fantasia, Joss Stone, Michael Buble, Leona Lewis, and Rita Ora. She was a featured backup singer for Macy Gray in her live show for more than five years. She recently provided back vocals and was featured in the Oscar award winning film La La Land

B.SLADE

Singer. Songwriter. Producer. Actor. CEO. Visionary. Philanthropist. Imagineer. Two-time Emmy Award-winner and four-time Grammy Awardnominated artist B.Slade is called to write, produce, and perform alongside his musical idols, from Janet Jackson and Patti Labelle to Snoop Dogg and Kim Burrell. He began his journey over 20 years ago and has since written and produced over 300 songs. B.Slade plays multiple instruments and has an unmatched vocal range—so respected that he tours with Patti LaBelle (as featured vocalist and percussionist) and is a featured vocalist on select dates with Prince’s former band, The New Power Generation.

As a highly sought-after songwriter and producer, B.Slade has written or produced for artists including Chaka Khan (“I Love Myself”), Sheila E. (“Fiesta”), Snoop Dogg (“Words Are Few,” with a music video that garnered over 2 million YouTube plays), Faith Evans (“Paradise”), and Angie Fisher, for which he wrote and co-produced her 2014 debut smash hit single, “I.R.S.,” garnering Fisher’s first Grammy Award nomination and B.Slade’s third. B.Slade has also collaborated with artists including Chris Brown, Kanye West, Janet Jackson, Ty Dolla Sign, Ledisi, Eric Benet, and many more.

B.Slade also penned the theme song and incidental music for the OWN Network television series Flex & Shanice, starring husband and wife Flex Alexander and Shanice Wilson. He also wrote and co-produced Shanice’s songs “Gotta Blame Me” and “We Can Fly,” which appeared on the series, and featured B.Slade on co-lead vocals. B.Slade later co-directed (with Logan Alexander) and choreographed the music video for “Gotta Blame Me.” B.Slade also co-wrote and co-performed the theme song to the hit TV show, One On One (also starring Flex Alexander), with Shanice.

JEFF TYZIK

DETROIT SYMPHONY ORCHESTRA

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

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

JADER BIGNAMINI , Music Director

Music Directorship endowed by the Kresge Foundation

NA’ZIR MCFADDEN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

LEONARD SLATKIN

Music Director Laureate

PARADISE JAZZ SERIES

DON WAS & THE PAN-DETROIT ENSEMBLE

Friday, May 24, 2024 at 8 p.m. in Orchestra Hall

DON WAS, double bass

DAVE MCMURRAY, saxophone and flute

LUIS RESTO, keyboards

STEFFANIE CHRISTI’AN, vocals

VINCENT CHANDLER, trombone

MAHINDI MAASI, auxiliary percussion

JOHN DOUGLAS, trumpet

JEFF CANADY, drums

WAYNE GERARD, guitar

NEEME JÄRVI

Music Director Emeritus

Program to be announced from the stage, artists subject to change

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

MADE POSSIBLE WITH SUPPORT FROM DownBeat magazine

PROGRAM AT-A-GLANCE | DON WAS & THE PAN-DETROIT ENSEMBLE

Was, Is, and Always Will Be

Born and raised in Detroit, Don Was is a six-time Grammy Award-winning bassist, record producer, and president of the legendary jazz label, Blue Note Records. As a co-founder of the group Was (Not Was), he has long sought to weave the city’s rich legacy of jazz, R&B, and rock n’ roll into a new, exotic strain of music. His latest band, The Pan-Detroit Ensemble, is a further step in that quest.

Was has worked with a wide array of artists ranging from Bob Dylan, The Rolling Stones, Bonnie Raitt, John Mayer, and Willie Nelson to Wayne Shorter, Charles Lloyd, Dr. Lonnie Smith, and Robert Glasper. In 1995, he won the Grammy Award for Producer of the Year. Was holds an incredible musical legacy in the city of Detroit and beyond, and is a beloved star in the worlds of jazz, rock, and the blues.

PROFILES

DON WAS

Born

in Detroit, Michigan, Don Was grew up listening to Detroit blues, jazz music, and The Rolling Stones. He went on to form the group Was (Not Was) with school friend David Weiss (David Was), noted for their success in the 1980s. Now widely recognized as a record producer, Don Was has worked with artists including Bob Dylan, The Rolling Stones, Bonnie Raitt, Iggy Pop, Ziggy Marley, the B-52s, Elton John, Garth Brooks, Lucinda Williams, Old Crow Medicine Show, John Mayer, Ringo Starr, Willie Nelson, Brian Wilson, Kris Kristofferson, and Aaron Neville. He has earned multiple Grammy Awards

including Producer of the Year in 1995. Was has served as musical director or consultant on several motion pictures including Thelma and Louise, The Rainmaker, Hope Floats, Phenomenon, Tin Cup, Honeymoon in Vegas, 8 Seconds, Switch, The Freshman, Days of Thunder, Boys on the Side, and Toy Story. In 1995, he earned a British Academy Film Award (BAFTA) for Best Original Score in recognition of his compositions for the film Backbeat. In 1997, he directed and produced the documentary I Just Wasn’t Made for These Times, about former Beach Boy Brian Wilson. The film debuted at the Sundance Film Festival and won the San Francisco Film Festival’s Golden Gate Award. He has served as President of the legendary jazz label, Blue Note Records, since January 2012.

JEFF TYZIK Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

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

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

JADER BIGNAMINI , Music Director

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

Music Directorship endowed by the Kresge Foundation

NA’ZIR MCFADDEN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

PVS CLASSICAL SERIES

Title Sponsor:

LEONARD SLATKIN

Music Director Laureate

NEEME JÄRVI

Music Director Emeritus

BRAHMS’S VIOLIN CONCERTO

Friday, May 24, 2024 at 10:45 a.m.

Saturday, May 25, 2024 at 8 p.m.

Sunday, May 26, 2024 at 3 p.m. in Orchestra Hall

DAVID AFKHAM, conductor

VERONIKA EBERLE, violin

Johannes Brahms Concerto for Violin and Orchestra (1833 - 1897) in D major, Op. 77

I. Allegro non troppo

II. Adagio

III. Allegro giocoso, ma non troppo vivace Veronika Eberle, violin

Intermission

Béla Bartók Concerto for Orchestra (1881 - 1945)

I. Introduzione: Andante non troppo - Allegro vivace

II. Giuoco delle coppie: Allegretto scherzando

III. Elegia: Andante non troppo

IV. Intermezzo interrotto: Allegretto

V. Finale: Pesante - Presto

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

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

PROGRAM AT-A-GLANCE | BRAHMS’S VIOLIN CONCERTO

The Symphony’s Shining Stars

Anyone with a hint of affinity for classical music is likely familiar with the works of Brahms and Bartók, two remarkable artists instrumental in the development of orchestral music in the 19th and 20th centuries. On this program, Veronika Eberle, hailed as “a star performer” by the Los Angeles Times, shines in Brahms’s monumental Violin Concerto in D major, performed on a 1693 Stradavarius violin.

Toward the end of his life, Bartók was undergoing long-term treatment for leukemia. Upon learning of his condition, the composer’s friends began to commission works that would become some of his final masterpieces. One of those friends was Serge Koussevitzky, who visited Bartók in a New York hospital with a $1,000 check to commission a new orchestral piece, which ultimately became his Concerto for Orchestra. This unique form of concerto allows each instrument within the orchestra to shine through a variety of solo moments, celebrating the incredible talent from within the ensemble. Though he did not live to see its full success, the Concerto’s 1944 premiere brought fame to Bartók at the very end of his life.

PROGRAM NOTES

Violin Concerto in D major, Op. 77

Composed 1878 | Premiered January 1, 1879

JOHANNES BRAHMS

B. May 7, 1833, Hamburg, Germany D. April 3 1897, Vienna

Scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. (Approx. 40 minutes)

Brahms’s Violin Concerto was famously declared by Josef Hellmesberger to be “not for, but against the violin.”

There is a certain amount of irony to the statement, as the term concerto derives from the Latin concertare, which means “to contend with.” Early concertos featured a “dispute” between the ritornelli, which were passages played by the orchestra, and virtuosic episodes by the solo instrument. Broadening this concept somewhat, Brahms’s work can be understood as a conflict between the solo and orchestra, but also between earlier and later concerto styles.

The sentiment of contrast is immediately clear from the initial entrance of the solo violin. As an outsider to the softer texture that preceded it, the solo enters harshly, arpeggiating harmonies and

striking block chords with abandon. It is not until its second theme that the solo softens and supplies a melody with the accompaniment of the other strings. Yet, this peace is not long-lasting, as the solo soon bursts forth from the mellifluous secondary theme to harsh chords once again. The violin thus finds itself pulled between passages of melodious harmony and reckless abandon. The closing “tranquilo” represents a momentary unification, as the violin moves from the foreground and blends imperceptibly into the orchestra as the movement ends.

The andante movement presents two conflicting approaches to slow-movement composition. First, the movement displays a characteristically gentle quality, with the solo instrument providing a soothing melody with accompaniment in the strings. Second, the movement reflects an older sentimental style characterized by a highly figured solo line with expressive changes in tempo and rhythm, accompanied with punctuated, operatic recitative-style chords in the orchestra. The contrasts that are highlighted in the opening movement are explored through these two modes. The movement begins with the theme played in the oboe and the solo violin soon enters and takes up the thread. However, the B section of the movement is characterized by virtuosic rhythms and arpeggios in the violin. The

orchestral accompaniment tries to keep up with the changes and ultimately attempts to restore the violin part into its earlier, tuneful role. The return of abbreviated A features a struggle between the melodiousness of the first A section and virtuosity of the B. The movement ends with the solo violin occupying a prominent role with the orchestra accompanying, unlike the first movement which ended with the solo blending in.

The final movement makes explicit the reference to the original concept of concertate, as it reflects a Baroque-style approach to composition. The opening ritornello, as well as the interspersed virtuosic episodes, bears a strong resemblance to the third movement of Vivaldi’s “Autumn” concerto. Much like the Vivaldi, the orchestra can be heard as reflecting a harvest festival, including a hunt, with the frantic attempts of the quarry to escape depicted by the violin solo. In the Vivaldi, the unfortunate fox is captured. Here, one may feel free to decide whether Brahms’s fox is more nimble.

The DSO most recently Brahms’s Concerto for Violin and Orchestra in December 2018, conducted by Carlos Miguel Prieto and featuring violinist Christian Tetzlaff. The DSO first performed the piece in November 1921, conducted by Ossip Gabrilowitsch and featuring violinist Ilya Schkolnik.

Concerto for Orchestra

Composed 1943 | Premiered December 1944

BÉLA BARTÓK

B. March 25, 1881, Sânnicolau Mare, Romania D. September 26, 1945, New York, NY

Scored for 3 flutes (1 doubling on piccolo), 3 oboes (1 doubling on English horn), 3 clarinets (1 doubling on bass clarinet), 3 bassoons (1 doubling on contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, and strings. (Approx. 36 minutes)

By 1943, four years had passed since Béla Bartók fled his war-threatened Hungary for the United States. Those four years were not kind to him: he knew little English, he was falling into poverty for lack of long-term employment, and he was in the beginning stages of leukemia (which would ultimately claim his life two years later). Friends heard of Bartók’s plight and began to commission works that became some of his final masterpieces. Serge Koussevitzky visited Bartók in a New York hospital with a $1,000 commission for a new orchestral piece, which would become the Concerto for Orchestra.

Bartók composed the work between August 15 and October 8, 1943, at a sanitarium in upstate New York while recuperating from the initial phases of his illness. Koussevitzky conducted the premiere with the Boston Symphony Orchestra on December 1, 1944, and the acclaim it received suddenly brought the ailing composer fame at the very end of his life.

Though the Concerto for Orchestra has certain traits that recall symphonic forms, the idea of a work featuring many different orchestral soloists has its origins in certain Baroque ensemble concertos dating back to the early 18th century. And while this orchestral concerto is harmonically far more transparent than Bartók’s music of the 1920s and early 1930s, it is imbued with thematic and rhythmic traits he developed over his lifetime. A short, mysterious introduction is followed by three main themes in the opening movement—an urgent, thrusting theme in the strings, an almost static theme in the woodwinds, and a commanding theme that rises fugally through various sections of the brass choir. All three are explored during a brisk development, and the first and third themes are restated before the movement ends abruptly.

The celebrated “Game of the Pairs” comes next, successively featuring pairs of instruments in the woodwind and brass sections in lighthearted duets. The third movement is one of Bartók’s many mysterious “night music” pieces, recalling thematic motives from the introduction to the first movement in an eerie, exotic orchestral setting. The fourth movement opens with a quaint modal melody in the oboe, but the music gradually dissolves into a trio section, full of raucously trilling

PROFILE

DAVID AFKHAM

David Afkham is Chief Conductor and Artistic Director of the Orquestra y Coro Nacional de España since September 2019, following a highly successful tenure as the orchestra’s Principal Conductor since 2014. Born in Freiburg, Germany in 1983, Afkham is in high demand as a guest conductor with some of the world’s finest orchestras and opera houses, and has established a reputation as one of the most sought-after conductors to emerge from Germany in recent years.

Afkham began piano and violin lessons at the age of six in his native Freiburg. At 15, he entered the city’s University of Music to pursue studies in piano, music theory, and conducting, and continued his studies at the Liszt School of Music in Weimar. Afkham was the first recipient of the Bernard Haitink Fund for Young Talent and assisted Bernard Haitink in major projects including symphony cycles with the Chicago Symphony, Concertgebouworkest, and London Symphony Orchestra. He was the winner of the 2008 Donatella Flick Conducting Competition in London and was the inaugural recipient of the Nestle and Salzburg Festival Young Conductors Award in 2010. He was Assistant Conductor of the Gustav

trumpets and slithering trombone glissandos. The lengthy finale picks up the energy of the opening movement, gathering it into a grand, brilliant climax. —Carl Cunningham

The DSO most recently performed Bartók’s Concerto for Orchestra in June 2019, conducted by Leonard Slatkin. The DSO first performed the piece in December 1953, conducted by Antal Doráti.

Mahler Jungendorchester from 2009 to 2012.

Highlights of Afkham’s guest conducting projects include appearances with the Boston Symphony Orchestra at Tanglewood, Chicago Symphony, Minnesota Orchestra, Pittsburgh Symphony, Cleveland Orchestra, and Los Angeles Philharmonic, as well as the Mostly Mozart Festival in New York. In Europe, Afkham has guest conducted the London Symphony Orchestra, Philharmonia Orchestra, Concertgebouw Orchestra, Staatskapelle Berlin, Deutsches Symphonie-Orchester Berlin, Staatskapelle Dresden, Orchestre National de France, Gothenburg Symphony, and Swedish Radio Symphony. On tour, he has performed with the Chamber Orchestra of Europe, Deutscher Kammerphilharmonie, and Mahler Chamber Orchestra, among others.

VERONIKA EBERLE

Veronika Eberle’s exceptional talent and the poise and maturity of her musicianship have been recognized by many of the world’s finest orchestras, venues, and festivals, as well as by some of the most eminent conductors.

Sir Simon Rattle’s introduction of Eberle

at age 16 to a packed Grosses Festspielhaus at the 2006 Salzburg Easter Festival (in a performance of the Beethoven concerto with the Berliner Philharmoniker) brought her to international attention. Key orchestra collaborations since then include the London Symphony (Rattle), Concertgebouw (Holliger), New York Philharmonic (Gilbert), Montreal Symphony (Nagano), Munich Philharmonic and Gewandhaus Orchestras (Langree), Rundfunk Sinfonieorchester Berlin (Janowski), Hessischer Rundfunk Sinfonieorchester (P. Järvi), Bamberger Symphoniker (Ticciati, Nott), Tonhalle Orchester Zurich (M. Sanderling), NHK Symphony (Kout,

Stenz, Norrington), and Rotterdam Philharmonic (Rattle, Gaffigan, Nézet-Seguin).

Born in Donauwörth, Southern Germany, she started violin lessons at the age of six, and four years later became a junior student at the Richard Strauss Konservatorium in Munich with Olga Voitova. After studying privately with Christoph Poppen for a year, she joined the Hochschule in Munich, where she studied with Ana Chumachenco from 2001 to 2012.

Eberle plays on a violin made by the Italian violin maker Antonio Giacomo Stradivari in 1693, which was made available to her on generous loan by the Reinhold Würth Musikstiftung.

LIVE FROM ORCHESTRA HALL

Enjoy the DSO from anywhere with Live from Orchestra Hall!

View free, live webcasts of PVS

Classical Series and Classroom

Edition performances, plus Civic Youth Ensembles presentations.

JEFF TYZIK Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

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

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

JADER BIGNAMINI , Music Director

JA DER B I G NA M I N I MUSIC

Music Directorship endowed by the Kresge Foundation

NA’ZIR MCFADDEN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

PVS CLASSICAL SERIES

Title Sponsor:

LEONARD SLATKIN

Music Director Laureate

STRAUSS’S ALPINE SYMPHONY

Friday, May 31, 2024 at 8 p.m.

Saturday, June 1, 2024 at 8 p.m.

Sunday, June 2, 2024 at 3 p.m. in Orchestra Hall

JADER BIGNAMINI, conductor NEMANJA RADULOVIĆ, violin

Aram Khachaturian Concerto for Violin and Orchestra (1903 - 1978) I. Allegro con fermezza II. Andante sostenuto III. Allegro vivace Nemanja Radulović, violin

Intermission

DIRECTOR

NEEME JÄRVI

Music Director Emeritus

Richard Strauss Eine Alpensinfonie (An Alpine Symphony), Op. 64 (1864 - 1949)

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

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

PROGRAM AT-A-GLANCE | ALPINE SYMPHONY

An Epic Debut

Richard Strauss’s An Alpine Symphony was the composer’s last and largest orchestral work. The piece has all the powers needed for an experience of awe—music for an ascent to the height of the world. The extravagant resources required by the score have made the work complicated and expensive to produce, and and the fact that it was unveiled in a Europe gripped by World War I all but ensured that it would have scant hope for performances in the years immediately following its 1915 premiere. Today, each performance remains a special moment to be cherished. Also on this program, Nemanja Radulović makes his DSO debut with none other than the epic Khachaturian Violin Concerto—the composer’s first and only concerto for violin, which captures the fiery essence of the soloist and concludes with a thrilling finale based on Armenian folk music.

PROGRAM NOTES

Violin Concerto in D minor

Composed 1940 | Premiered November 16, 1940

ARAM KHACHATURIAN

B. June 6, 1903, Tbilisi, Georgia

D. May 1, 1978, Moscow, Russia

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 35 minutes)

Whenthe latest compositions began to come out of the Soviet Union near the end of World War II, Aram Khachaturian quickly became a worldwide favorite. Here was a composer who could entertain audiences with music that was tuneful, positive, and accessible. He was a Soviet-Armenian composer who achieved international fame with the two-minute “Sabre Dance” from his ballet Gayane. Many scholars place him alongside Prokofiev and Shostakovich as one of the three giants of 20th-century Russian music. For a person who had such extraordinary popularity, he had a rather unusual beginning. He was born into a poor family in Tbilisi, the largest city in the Russian state of Georgia. In his youth he was fascinated by the folk music he heard around him, and it was not until he entered the famous Gnessin State Musical College in Moscow when he was 19 that he even learned how to read music. Due to his remarkable progress at Gnessin, he was admitted to the Moscow Conservatory in 1929, where he initially studied composition and orchestration. While there, he developed an interest in great Russian composers of the past such as Glinka, Borodin, and Rimsky-Korsakov, as well as music of the French

Impressionists. Khachaturian graduated from the conservatory in 1934, the same year he wrote his First Symphony. By 1939, his reputation was solidly established, and he went to Armenia to study the country’s folk music and dance in greater depth. He later became a professor of music at both of his alma maters in Moscow, along the way holding important posts at the Russian Composers’ Union. He joined the Communist Party in 1943, but temporarily fell out of favor some five years later. Composers of that era, particularly during the brutal and murderous reign of Josef Stalin, were expected to produce music that conformed to party ideology.

Although he was born in Georgia (as was Stalin) and lived most of his life in Moscow, Khachaturian was ethnically Armenian, and had an extraordinary knack for blending the exciting rhythms and soaring melodies of his Armenian heritage into the traditional forms of Russian romanticism. For a time, this kept him in the good graces of the Soviet authorities. However, after World War II, the Composers’ Union dramatically tightened its grip, and in 1948 an infamous decree was issued which, among other things, severely condemned Shostakovich, Prokofiev, and Khachaturian, accusing them of “formalism” and “modernism” and being “anti-popular.” All three of these great composers were forced to apologize in public for their supposed transgressions.

It was only after Stalin’s death in 1953 that Khachaturian and many others felt free to compose once again in their own styles and idioms. In this case, the man never really strayed from a basically tonal language, although he was not averse to including dissonances to spice up the musical landscape. Khachaturian’s only violin concerto was completed in 1940 and is dedicated to the great Russian violinist

David Oistrakh, who gave the work its first performance in Moscow. The concert was part of a 10-day festival of Soviet music. Oistrakh gave Khachaturian considerable advice regarding the violin part and went so far as to reject the composer’s original long first-movement cadenza, replacing it with a fine cadenza of his own devising. The concerto was very well received, won the Stalin Prize for the Arts in 1941, and initially became a staple of 20th-century violin repertoire. The first movement begins with a short orchestral introduction, after which the solo violin introduces a vigorous first theme, followed by a very expressive second theme. There are two cadenzas in the movement that bracket the development section, the first quite short and the second much longer. The principal themes return, and the movement ends with a brief coda, or concluding section. The musical and emotional heart of the concerto is to be found in the intensely beautiful second movement, one of whose themes comes from a funeral song that Khachaturian composed for a 1938 film entitled Zangezur. The movement is remarkable for its variety of moods, most of them bittersweet, and the wide-ranging, highly expressive writing for the soloist. A sense of grief pervades the music here, and the movement ends in a very bleak and unsettling mood. In great contrast, the last movement is one of the most ebullient and vivacious finales in any violin concerto and is strongly influenced by Armenian folk music. To tie the music together, the main theme of this movement is based on the lyrical second theme of the first movement.

The DSO most recently performed Khachaturian’s Violin Concerto in D minor in November 2015, conducted by Fabien Gabel and featuring violinist Yoonshin Song. The DSO first performed the piece in March 1960 at Ford Auditorium with Paul Paray conducting and Mischa Elman as soloist.

Eine Alpensinfonie (An Alpine Symphony), Op. 64

Composed 1911–1915 | Premiered October 28, 1915

RICHARD STRAUSS

B. June 11, 1864, Munich, Germany

D. September 8, 1949, GarmischPartenkirchen, Bavaria

Scored for 4 flutes (2 doubling piccolo), 4 oboes (1 doubling English horn and 1 doubling bass oboe), 4 clarinets (1 doubling bass clarinet and 1 doubling E-flat clarinet), 4 bassoons (1 doubling contrabassoon), 8 horns, 4 trumpets, 4 trombones, 2 tubas, 2 timpani, percussion, 2 harps, organ, and strings. (Approx. 47 minutes)

Inspired by his childhood experiences in the Alpine, Strauss called his composition Eine Alpensinfonie (“An Alpine Symphony”), but the work offers no trace of traditional symphonic structure. Rather, it unfolds in a single extended movement encompassing 21 distinct episodes. Strauss gave descriptive headings to each section of the piece, and together these provide a narrative outline relating the events of a day spent climbing in the Alps. Such a single-movement narrative composition is actually a tone poem. Strauss probably chose to call his work a symphony in recognition of its grand scale and imposing character.

The episodes that comprise An Alpine Symphony and relate the music’s narrative, or program, are:

Night: Over a sustained bass tone, a descending scale figure falls to the lowest register of the orchestra. From there, a series of chords arises, solemn and massive like the mountain that now lies in darkness. Gradually the music brightens, rising in pitch and growing more animated.

Sunrise: The morning star clears the peaks to the sound of a soaring theme set forth by the entire orchestra.

The Ascent: Strauss signals the climbing party’s departure with a vigorous theme introduced by the string choir and soon taken up by the rest of the ensemble. Horn calls from the off-stage brass choir suggest another party hailing from a distance.

Entering the Wood: Against arcing figuration from the violins, horns and trombones give out a more subdued theme. The music darkens noticeably as the hikers plunge into a dense forest. Birds, represented by several woodwind instruments, are heard calling in the trees.

Wandering Beside a Brook: As the hikers come upon a mountain creek, the music grows more serene, flowing on a stream of lush string sound and mellifluous harmonies.

At a Waterfall: The gentle brook suddenly crescendos into a mighty torrent, and the climbers gaze upon a waterfall, its cascading foam sparkling in the sun. Strauss’s glittering orchestration includes iridescent sounds for violins, harps, and percussion.

Apparition: Here Strauss permits himself a Romantic daydream, imagining a water sprite appearing beneath a rainbow formed by the waterfall. The music is appropriately fantastic in character.

On Flowering Meadows: The composer adopts a more earthy tone as his hikers push on to a bloom-laden meadow. The sunny, ardent music of this brief section gives way to . . .

On the Pasture: . . . the sound of cowbells. The climbers are passing a herdsman and his cattle grazing in a high pasture. More bird songs are heard, as are what seem to be rasping sounds of cicadas and a wide-stepping melody redolent of yodeling.

Through Thicket and Undergrowth on the Wrong Path: A flowing melody suggests the progress of the party. Soon, however, the music’s texture grows dense and the harmonies darker as the climbers fight their way through thick brush, trying

to recover the path they have lost.

On the Glacier: A sudden recurrence of the chordal motif heard in the initial episode, now in the strong collective voice of the trombones, tells us that the climbers have broken clear of the undergrowth and onto a glacier, where the mountain appears to them in its full majesty.

Dangerous Moments: The music subsides to thin texture of string tremolo, over which bassoon and a succession of other instruments give out hesitant, nervous phrases. The party is now on the steep path of the final ascent. The climbing is perilous, and the music suggests that vertigo may be a real problem.

At the Summit: A mighty phrase from the brass signals the arrival on the mountaintop. Quickly, though, the music grows quiet, until just a lone oboe is heard. Only gradually does the magnificence of the view make itself fully felt, and the music swells majestically.

Vision: Strauss declined to specify exactly what the title of this section referred to, so each listener can supply a vision of his or her imagining. Musically, the episode entails an inventive fantasy using a variety of motifs heard elsewhere in the piece.

Mists Arise: The “Vision” climaxes in a powerful chord, from which strange swirling sonorities emerge.

The Sun Gradually is Obscured: The music grows still and opaque.

Elegy: A mournful tone overtakes the proceedings, with a solo for English horn sounding the keynote.

Calm Before the Storm: A quiet timpani roll ushers in a series of hesitant woodwind solos creating an air of presentiment. A few birds cry apprehensively.

Thunder and Storm, Descent: Thunder rolls, winds rise, and rain lashes the party. Strauss’s tempest extends the tradition of musical storms to which Vivaldi, Beethoven, and many other composers have contributed.

Sunset: The storm passes, and the

climbers look back at the mountain glowing in the sunset. Once again, the chordal motif heard in the opening section of the work sounds in the brass to begin this episode.

Fading Tones: As darkness falls, the mountain fades from view. The falling scale figure from the opening section, now heard in the brass, initiates a recollection of the most ecstatic melodic ideas that have been heard during the course of the work.

PROFILE

For Jader Bignamini biography, see page 6.

NEMANJA RADULOVIĆ

Serbian-French violinist Nemanja Radulović champions the power of music to bring people together with his unique energy and candor, thrilling virtuosity, depth of expression, and adventurous programming. His hotly anticipated BBC Proms debut in 2019 with the Bournemouth Symphony Orchestra was conducted by Kirill Karabits and featured Barber’s Violin Concerto. Signed exclusively to Warner Classics in 2021, Radulović’s releases on the label include Roots (debut, 2022) and an album featuring Beethoven’s Violin Concerto and Radulović’s own arrangement of Beethoven’s famed ‘Kreutzer’ Sonata (2023). Winner of the 2015 Echo Klassik Award for Newcomer of the Year, Radulović has amassed a legion of loyal fans around the globe, who have enjoyed his performances with many of the world’s leading orchestras. His recent and forthcoming highlights include debut engagements with the New York Philharmonic, Philharmonia Orchestra, Los Angeles Chamber Orchestra,

Night: A varied reprise of the opening section brings the great work to a close, with the chordal emblem of the mountain sounding through the aural darkness.

The DSO most recently performed Strauss’s An Alpine Symphony in May 2001, conducted by Neeme Järvi. The DSO first performed this piece in December 1992, also conducted by Neeme Järvi.

Deutsche Kammerphilharmonie Bremen, the Hallé Orchestra, and the Orchestre Symphonique de Québec; an extensive UK tour with the Gävle Symphony Orchestra and Jaime Martín; and sold-out performances with his ensemble, Double Sens, at diverse venues across Europe. An increasingly active recitalist on the international circuit, Radulović has an equal passion for the intimacy of chamber music and has performed at notable venues around the world. He has won several international violin competitions and has been recognized with accolades including International Revelation of the Year by the Victoires de la musique classique in 2005, an Honorary Doctorate from the University of Arts in Niš, Serbia, an ELLE Style Award for Musician of the Year in 2015, and a 2017 Chevalier de l’Ordre des Arts et des Lettres appointment. Born in Serbia in 1985, Radulović studied at the Faculty of Arts and Music in Belgrade, Saarlandes Hochschule für Musik und Theater in Saarbrücken, Stauffer Academy in Cremona with Salvatore Accardo, and Conservatoire de Paris with Patrice Fontanarosa.

The Fine Instrument Collection of the Detroit Symphony Orchestra

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

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

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

THE ANNUAL FUND

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

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

PARAY SOCIETY - GIVING OF $250,000 & MORE

Mr. & Mrs. Lee Barthel

Penny & Harold Blumenstein

Julie & Peter Cummings

Ms. Leslie C. Devereaux

Linda Dresner & Ed Levy, Jr.

DORATI SOCIETY - GIVING OF $100,000 & MORE

Mr. & Mrs.◊ Richard L. Alonzo

James & Patricia Anderson

Mr. & Mrs. Raymond M. Cracchiolo

Joanne Danto & Arnold Weingarden

Mr. & Mrs. Phillip Wm. Fisher

EHRLING SOCIETY - GIVING OF $50,000 & MORE

Mr. & Mrs. Richard A. Brodie

Lois & Avern ◊ Cohn

Ms. Karol Foss

Mr. & Mrs. Aaron Frankel

Mr. & Mrs. Ralph J. Gerson

Mary Ann & Robert Gorlin

Mr. & Mrs. James Grosfeld

Mr.◊ & Mrs. Norman H. Hofley

JÄRVI SOCIETY — GIVING OF $25,000 & MORE

Ms. Sharon Backstrom

Mrs. Cecilia Benner

Mr. & Mrs. Stephen Brownell

Dr. Mark & Karen Diem

Mrs. Marjory Epstein

Mr. Michael J. Fisher

Madeline & Sidney Forbes

Mr. & Mrs. Edsel B. Ford II

Mrs. Martha Ford

Dale & Bruce Frankel

Ronald M. & Carol◊ Horwitz

Mr.◊ & Mrs. Norman D. Katz

Mr. Alan J. & Mrs. Sue Kaufman

Morgan & Danny Kaufman

David* & Arlene Margolin

Mr. & Mrs. Stanley Frankel

Mr. & Mrs. Peter Karmanos, Jr.

Mr. & Mrs. James B. Nicholson

Mr. & Mrs. David Provost

Mrs. Richard C. Van Dusen

Shari & Craig Morgan

The Polk Family

Bernard & Eleanor Robertson

Drs. David & Bernadine Wu

Paul & Terese Zlotoff

Ric & Carola Huttenlocher

Mrs. Bonnie Larson

Nicole & Matt Lester

David & Valerie McCammon

Mr. & Mrs. Eugene A. Miller

Patricia & Henry ◊ Nickol

Mr. & Mrs. Arn Tellem

Steven & Beth Margolin

Xavier & Maeva Mosquet

Mr. David Nicholson

Ms. Ruth Rattner

Martie & Bob Sachs

Mrs. Patricia Finnegan Sharf

Mr. & Mrs. James H. Sherman

Mr. & Mrs. Larry Sherman

Nancy & Alan* Simons

Richard Sonenklar & Gregory Haynes

Dr. Doris Tong & Dr. Teck M. Soo

Mr. & Mrs. Gary Torgow

Peter & Carol Walters

S. Evan & Gwen Weiner

And one who wishes to remain anonymous

GABRILOWITSCH SOCIETY

Mr. & Mrs. Robert A. Allesee ◊

Diane Allmen

Dr. Lourdes V. Andaya

Janet & Norman Ankers

Pamela Applebaum

Drs. Brian & Elizabeth Bachynski

Drs. John ◊ & Janice Bernick

Ms. Debra Bonde

Gwen & Richard Bowlby

Michael & Geraldine Buckles

Ms. Elena Centeio

Thomas W. Cook & Marie L. Masters

Gail Danto & Art Roffey

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

Adel & Walter Dissett

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

Jim & Margo Farber

Sally & Michael Feder

Dr. Saul & Mrs. Helen Forman

Barbara Frankel◊ & Ronald Michalak

Herman & Sharon Frankel

Mrs. Janet M. Garrett

Victor & Gale Girolami ◊

Ruth & Al◊ Glancy

Dr. Robert T. Goldman

GIVING OF $5,000 & MORE

Mrs. Denise Abrash

Mrs. Jennifer Adderley

Richard & Jiehan Alonzo

Dr. & Mrs. Joel Appel

Mr. David Assemany & Mr. Jeffery Zook*

Mr. & Mrs. William C. Babbage

Ms. Ruth Baidas

James A. Bannan

Dr. David S. Balle

James A. Bannan

Mr. Patrick Barone

Mr. Joseph Bartush

W. Harold & Chacona W. Baugh

Ms. Therese Bellaimey

Mr. William Beluzo

Hadas & Dennis Bernard

Mr. & Mrs. Jeffrey A. Berner

Mr. Michael G. Bickers

Timothy J. Bogan

Ms. Nadia Boreiko

Mr. Anthony F. Brinkman

Claire P. & Robert N. Brown

Dr. & Mrs. Roger C. Byrd

Richard Caldarazzo & Eileen Weiser

Philip & Carol Campbell

Mrs. Carolyn Carr

Mr.◊ & Mrs. François Castaing

Mr. & Mrs. Andrew Christians

Mr.◊ & Mrs. James A. Green

Mary Lee Gwizdala

Mr. & Mrs. Robert Hage

Judy ◊ & Kenneth Hale

Ms. Nancy B. Henk◊

Michael E. Hinsky & Tyrus N. Curtis

Ms. Carole Illitch

Renato & Elizabeth Jamett

Mr. & Mrs. Richard J. Jessup

William & Story John

Lenard & Connie Johnston

Dr. David & Mrs. Elizabeth Kessel

Mr. & Mrs. Kosch

Bud & Nancy Liebler

Mr. & Mrs.◊ Joseph Lile

Dana Locniskar & Christine Beck

Alexander & Evelyn McKeen

Ms. Deborah Miesel

Dr. Robert & Dr. Mary Mobley

Cyril Moscow

Geoffrey S. Nathan & Margaret E. Winters ◊

David Robert & Sylvia Jean Nelson

Eric & Paula Nemeth

Jim & Mary Beth Nicholson

Gloria & Stanley Nycek

Mr. Fred J. Chynchuk

Dr. & Mrs. Charles G. Colombo

Ms. Elizabeth Correa

Mr.◊ & Mrs. Gary L. Cowger

Dr. Edward & Mrs. Jamie Dabrowski

Mr. & Mrs. Charles W. Dare

Lillian & Walter Dean

Mr. & Mrs. Richard L. DeVore

Dr. Anibal & Vilma Drelichman

Elaine C. Driker

Ms. Ruby Duffield

Margie Dunn & Mark Davidoff

Randall & Jill* Elder

Dr. & Mrs. A. Bradley Eisenbrey

Mr. Lawrence Ellenbogen

Ms. Laurie Ellias & Mr. James Murphy

Marianne T. Endicott

Mr. & Mrs. John M. Erb

Mr. Peter Falzon

Fieldman Family Foundation

Dr. & Mrs. Franchi

Ms. Marci Frick

Mr.◊ & Mrs. Richard M. Gabrys

Alan M. Gallatin

Mr. Max Gates

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

Allan D. Gilmour & Eric C. Jirgens

George & Jo Elyn Nyman

Debra & Richard Partrich

Kathryn & Roger Penske

Dr. Glenda D. Price

Dr. Heather Richter

Dr. Erik Rönmark* & Mrs. Adrienne Rönmark*

Mr. & Mrs. Robert B. Rosowski

Peggy & Dr. Mark B. Saffer

Mr. & Mrs. Alan E. Schwartz ◊

Elaine & Michael Serling

Lois & Mark Shaevsky

William H. Smith ◊

Charlie & John Solecki

Mr. & Mrs. John Stroh III

Joel & Shelley Tauber

Emily & Paul Tobias

Ms. Marie Vanerian

Mr. James G. Vella

Mr.◊ & Mrs. Jonathan T. Walton

Gary L. Wasserman & Charles A. Kashner

Mr. & Mrs. R. Jamison Williams

Ms. Mary Wilson

And four who wish to remain anonymous

Dr. & Mrs. Theodore Golden

Goodman Family Charitable Trust

Dr. Herman & Mrs. Shirley Mann Gray

Ms. Chris Gropp

Leslie Groves* & Joseph Kochanek

Mr. Sanford Hansell & Dr. Raina Ernstoff

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

Mr. Donald & Marcia Hiruo

Mr. Matthew Howell & Mrs. Julie Wagner

Mr. & Mrs. Kent Jidov

Mr. George G. Johnson

Paul & Karen Johnson

Carol & Rick Johnston

Paul & Marietta Joliat

Mr. & Mrs. Steven Kalkanis

Judy & David Karp

Mike & Katy Keegan

Betsy & Joel Kellman

John Kim & Sabrina Hiedemann

Dr. & Mrs. Edward L. Klarman

Dr. Sandy Koltonow & Dr. Mary Schlaff

Ms. Susan Deutch Konop

Barbara & Michael Kratchman

Richard & Sally Krugel

Deborah Lamm

Dr. Raymond Landes & Dr. Melissa McBrien-Landes

Bill & Kathleen Langhorst

Mr. Leonard LaRocca

LeFevre Family

Max Lepler & Rex L. Dotson

Mr. & Mrs. Robert K. Leverenz

Bob & Terri Lutz

Daniel & Linda* Lutz

Mrs. Sandra MacLeod

Mr. & Mrs. Winom J. Mahoney

Cis Maisel

Dr. Stephen & Paulette Mancuso

Maurice Marshall

Patricia A.◊ & Patrick G. McKeever

Joy & Allan Nachman

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

Charlene & Michael Prysak

Drs. Yaddanapudi Ravindranath & Kanta

Bhambhani

Mr. & Mrs. Dave Redfield

Mr. & Mrs. Gerrit Reepmeyer

Dr. & Mrs. John Roberts

The Steven Della Rocca Memorial Fund/ Courtenay A. Hardy

Ms. Patricia Rodzik

Michael & Susan Rontal

Mr. Ronald Ross & Ms. Alice Brody

Mr. Chris Sachs

Mr. David Salisbury & Mrs. Terese Ireland Salisbury

Marjorie Shuman Saulson

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

Mr. & Mrs. Matthew Simoncini

William & Cherie Sirois

Michael E. Smerza & Nancy Keppelman

Mrs. Kathleen Straus & Mr. Walter Shapero

David Szymborski & Marilyn Sicklesteel

Dr. & Mrs. Howard Terebelo

Dr. Barry Tigay

Alice ◊ & Paul Tomboulian

Charles ◊ & Sally Van Dusen

Mrs. Eva von Voss

Mr. Michael A. Walch & Ms. Joyce Keller

Dr. & Mrs. Ned Winkelman

Cathy Cromer Wood

Ms. June Wu

Ms. Gail Zabowski

Ms. Jacqueline Paige & Mr. David Fischer

Mr. David Phipps & Ms. Mary Buzard

William H. & Wendy W. Powers

GIVING OF $2,500 & MORE

Nina Dodge Abrams

Mr. Juan Alvarez

Mr. & Mrs. Robert L. Anthony

Drs. Kwabena & Jacqueline Appiah

Mr. Eduardo Arciniegas

Dr. & Mrs. Ali-Reza R. Armin

Pauline Averbach & Charles Peacock

Mr. Joseph Aviv & Mrs. Linda Wasserman

Mrs. Jean Azar

Ellie & Mitch Barnett

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

Mr. & Mrs. Martin S. Baum

Mr. & Mrs. Richard Beaubien

Mr. Abraham Beidoun

Dr. George & Joyce Blum

Nancy & Lawrence Bluth

Ms. Kristin Bolitho

John ◊ & Marlene Boll

The Achim & Mary Bonawitz Family

The Honorable Susan D. Borman & Mr.

Stuart Michaelson

Don & Marilyn Bowerman

Mr. & Mrs. Mark R. Buchanan

Dr. Robert Burgoyne & Tova Shaban

Virginia Burkel

Sandra & Paul Butler

Mr. & Mrs. Brian C. Campbell

Dr. & Mrs.◊ Thomas E. Carson

Mr.◊ & Mrs. Robert J. Cencek

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

Burleson

Ronald ◊ & Lynda Charfoos

Dr. Betty Chu

Mr. William Cole & Mrs. Carol Litka Cole

Mr. & Mrs. Brian G. Connors

Dr. & Mrs. Bryan & Phyllis Cornwall

Patricia & William ◊ Cosgrove, Sr.

Ms. Joy Crawford* & Mr. Richard Aude

Mr. & Mrs. Matthew P. Cullen

Mrs. Barbara Cunningham

Suzanne Dalton & Clyde Foles

Deborah & Stephen D’Arcy Fund

Sandy Schreier

Robert & Patricia Shaw

Mr. Norman Silk & Mr. Dale Morgan

Maureen T. D’Avanzo

DeLuca Violin Emporium

Dr. & Mrs. Thomas Ditkoff

Diana & Mark Domin

Ms. Felicia Donadoni

Ms. Marla Donovan

Paul◊ & Peggy Dufault

Edwin & Rosemarie ◊ Dyer

Mr. & Mrs. John M. Erb

Dave & Sandy Eyl

Hon. Sharon Tevis Finch

John & Karen Fischer

Ms. Joanne Fisher

Dorothy A. & Larry L. Fobes

Amy & Robert Folberg

Mr. & Ms. Henry Ford III

Ms. Linda Forte & Mr. Tyrone Davenport

Kit & Dan Frohardt-Lane

Lynn & Bharat Gandhi

Stephanie Germack

Thomas M. Gervasi

Mr. & Mrs. James Gietzen

Mr. & Mrs. Robert W. Gillette

Dr. Kenneth ◊ & Roslyne Gitlin

Ms. Jody Glancy

Mr. Lawrence Glowczewski

Dr. William & Mrs. Antoinette Govier

Ms. Jacqueline Graham

Dr. Darla Granger & Mr. Luke Ponder

Diane & Saul Green

Anne & Eugene Greenstein

Sharon Lopo Hadden

Dr.◊ & Mrs. David Haines

Robert & Elizabeth Hamel

Thomas & Kathleen Harmon

Cheryl A. Harvey

Ms. Barbara Heller

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

Ms. Doreen Hermelin

Mr. & Mrs. Peter Hollinshead

The Honorable Denise Page Hood &

Reverend Nicholas Hood III

James Hoogstra & Clark Heath

Mr. F. Robert Hozian

Dr. Karen Hrapkiewicz

Sam G. Huszczo

Larry & Connie Hutchinson

Ms. Elizabeth Ingraham

Carolyn & Howard Iwrey

Dr. Raymond E. Jackson & Dr. Kathleen Murphy

Mr. John S. Johns

Mr. William & Mrs. Connie Jordan

Diane & John Kaplan

Lucy & Alexander* Kapordelis

Bernard & Nina Kent Philanthropic Fund

Mrs. Frances King

Aileen & Harvey Kleiman

Thomas ◊ & Linda Klein

Tom ◊ & Beverly Klimko

Mr. & Mrs. Ludvik F. Koci

Mr. & Mrs. Robert Koffron

Douglas Korney & Marieta Bautista

James Kors & Victoria King

Ms. Jennette Smith Kotila

George M. Krappmann* & Lynda BurburyKrappmann

Mr. Michael Kuhne

Mr. & Mrs. Robert LaBelle

Dr. & Mrs. Gerald Laker

Mr. David Lalain & Ms. Deniella OrtizLalain

Drs. Lisa & Scott Langenburg

Ms. Sandra Lapadot

Ms. Anne T. Larin

Dr. Lawrence O. Larson

Dr. Jonathan Lazar

Mr. Henry P. Lee ◊

Drs. Donald & Diane Levine

Arlene & John Lewis

Mr. Dane Lighthart & Ms. Robyn Bollinger*

David & Clare Loebl

Mr. John Lovegren & Mr. Daniel Isenschmid

Mr. Sean Maloney & Mrs. Laura PepplerMaloney

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

Melissa & Tom Mark

Barbara J. Martin

Brian & Becky McCabe

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

Mr. Edward McClew

Mr. Anthony Roy McCree

Ms. Mary McGough

Ms. Kristen McLennan

Dr. Donald & Barbara Meier

Dr. & Mrs. David Mendelson

Mr. & Mrs. Randall Miller

Mr. Keith Mobley

J.J. & Liz Modell

Dr. Susan & Mr. Stephen* Molina

Dr. Van C. Momon, Jr. & Dr. Pamela Berry

Eugene & Sheila Mondry Foundation

Mr. & Mrs. Daniel E. Moore

Ms. Sandra Morrison

Mr. Frederick Morsches & Mr. Kareem George

Ms. Jennifer Muse

Ms. I. Surayyah R. Muwwakkil

Mr. & Mrs. George Nicholson

Megan Norris & Howard Matthew

Lisa & Michael O’Brien

Mr. & Mrs. Robert Obringer

Mr. & Mrs. Arthur T. O’Reilly

Mr. Tony Osentoski & Mr. David Ogloza

Terry E. Packer

Mr. & Mrs. Randy G. Paquette

Mark Pasik & Julie Sosnowski

GIVING OF $1,500 & MORE

Ms. Jacqueline Adams

Mrs. Lynn E. Adams

Mr. & Mrs. Joel Adelman

William Aerni & Janet Frazis

Dr. & Mrs. Gary S. Assarian

Drs. Richard & Helena Balon

Mr. & Mrs. David W. Berry

Mr. and Mrs. John Bishop

Mr. & Mrs. Richard Burstein

Mr. & Mrs. Byron Canvasser

Steve & Geri Carlson

Mr. & Mrs. Robert J. Colombo

Catherine Compton

Mr. & Mrs. David Conrad

Mr. & Mrs. John Courtney

Gordon & Elaine Didier

Mr. & Mrs. Walter E. Douglas

Mrs. Connie Dugger

Mr. Howard O. Emorey

Burke & Carol Fossee

Dr. & Ms. E. Bruce Geelhoed

Frank & Elyse Germack

Mr. Joseph & Mrs. Lois Gilmore

Mr. & Mrs. Stanley Hirt

Jean Hudson

Priscilla & Huel Perkins

Peter & Carrie Perlman

Ms. Alice Pfahlert

Benjamin B. Phillips

Mr. & Mrs. William A. Reed

Dr. Claude & Mrs. Sandra Reitelman

Denise Reske

Mr. & Mrs. John Rieckhoff

Mr. & Mrs. Jon Rigoni

Ms. Linda Rodney

Seth & Laura Romine

Mr.◊ & Mrs. Gerald F. Ross

Linda & Leonard Sahn

Ms. Joyce E. Scafe

Ms. Martha A. Scharchburg & Mr. Bruce Beyer

Mr. & Mrs. Donald and Janet Schenk

Shirley Anne & Alan Schlang

Joe & Ashley Schotthoefer

Catherine & Dennis B. Schultz

Sandy ◊ & Alan Schwartz

Mrs. Rosalind B. Sell

Mr. Jeffrey S. Serman

Carlo & Nicole Serraiocco

Shapero Foundation

Bill* & Chris Shell

Dr. Les Siegel & Ellen Lesser Siegel

Dean P. & D. Giles Simmer

Ralph & Peggy Skiano

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

Ms. Susan Smith

Shirley R. Stancato

Peter & Patricia Steffes

Mr. & Ms. Charles Jacobowitz

Ms. Nadine Jakobowski

Dr. & Mrs. Leonard B. Johnson

Dr. Judith Jones

Carole Keller

Mr. & Mrs. Gerd H. Keuffel

Elissa & Daniel Kline

Mr. & Mrs.◊ Gregory Knas

Mr. Robert Kosinski

Mr. & Mrs. William Kroger, Jr.

Mr. & Mrs. Richard Manning

Steve & Brenda Mihalik

Dr. & Mrs. Richard Miller

Carolyn & J. Michael Moore

Muramatsu America Flutes

Dr. William W. O’Neill

Rachel L. & Joshua F. Opperer

Ken & Geralyn Papa

Anne Parsons ◊ & Donald Dietz

Mr. & Mrs. Mark H. Peterson

Mrs. Anna M. Ptasznik

Mr. & Mrs. Richard Rapson

Drs. Renato & Daisy Ramos

Mr. & Mrs. Rodney Rask

Ms. Elana Rugh

Mrs. Andreas H. Steglich

Dr. Gregory Stephens

Mr. Mark Stewart & Mr. Anonio GamezGalaz

Nancy C. Stocking

Dr. & Mrs. Gerald Stollman

Mr. & Mrs.◊ John Streit

Dr. & Mrs. Choichi Sugawa

Dr. Neil Talon

Mr. Rob Tanner

Mr. & Mrs. James W. Throop ◊

Yoni & Rachel Torgow

Barbara & Stuart Trager

Tom & Laura Trudeau

Amanda Van Dusen & Curtis Blessing

Gerald & Teresa Varani

Mr. William Waak

Dr.◊ & Mrs. Ronald W. Wadle

Richard P. & Carol A. Walter

Mr. Patrick Webster

David R. Weinberg, Ph.D.

Beverly & Barry Williams

Elizabeth & Michael Willoughby

Rissa & Sheldon Winkelman

Ms. Andrea L. Wulf

Ms. Eileen Wunderlich

Dr. Sandra & Mr. D. Johnny Yee

Mr. & Mrs. Wesley Yee

Ms. Ellen Hill Zeringue

And nine who wish to remain anonymous

Mr. & Mrs. James P. Ryan

Brian & Toni Sanchez-Murphy

Dr. & Mrs. Hershel Sandberg

Ms. Rosemarie Sandel

Dr. & Mrs. Richard S. Schwartz

Mr. & Mrs. Kingsley G. Sears

Ms. Sandra Shetler

Mr. Konstantin Shirokinskiy

Ms. Sandra Shetler

Mr. Jon Steiger

Mr. Jt Stout

Ms. Amanda Tew*

David & Lila Tirsell

Dennis & Jennifer Varian

Mr. Barry Webster

Ms. Janet Weir

Janis & William Wetsman/The Wetsman

Foundation

Ms. Joan Whittingham

Mr. & Mrs.◊ Richard Wigginton

Mr. Francis Wilson

Mr. & Mrs. Michael Zerkich

And one who wishes to remain anonymous

TRIBUTE GIFTS

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

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

In Honor

Dr. Lourdes V. Andaya

Adel & Walter Dissett

Jeffrey Andonian

Dr. & Mrs. James Andonian

Mr. David Assemany

Mr. Mark McManus

Mark Blaquiere & Cathey Ann Fears

Ms. Sonya Perchikovsky

Harriet & Dick Cooper

Ms. Sonya Perchikovsky

Mr. James S. Garrett

Mr. & Mrs. Timothy LeVigne

Mozart Hunter

Mr. & Mrs. Christopher Hunter

Mrs. Ann Katz

Ms. Ruth Rattner

Thomas Barick

Michael Banks

Mr. Thomas Barick

M. Patricia Finn

Jill Law

Margaret Lawrence

Ellen Link

Geraldine Markel

Janice Milhem

Dave Spratt

Gladys & Julius Barr

Mr. & Mrs. Benson J. Barr

Marcus Belgrave

Hugh & Kathy Leal

Dr. John Bernick

Ilene Fruitman

Ann Kyzar

Lloyd Cheney

Mrs. Marcia Cheney

Stuart & Therese Dow

Sarah Reimers

John Dreifus

John Aoun

Mr. & Ms. Rob

Bloomberg

Bella Brokenthal

Michele Chapnick

John & Sharon Cini

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

Jeff & Mary Dragon

Cheryl Dworman

Joanne Fisher

Mr. Michael Ma

Mr. Andrew Richner

Faye & Seymour Okun

Ms. Ruthanne Okun

Madeline O’Neill

Mr. & Mrs. Reginald O’Neal

William & Ann Ramroth

Erica Seidel

James Rose III

Mr. & Mrs. James Rose Jr.

In Memory

Mr. & Ms. Stuart Freedland

Terry Holmes

Mrs. Joann Honigman

Dr. & Mrs. Joseph Jacobson

Lilly Jacobson

Ms. Naomi Laker

Mr. & Mrs. Robb Lippitt

Myra Lipton

Dr. & Mrs. Lawrence

Mendelsohn

Joy & Allan Nachman

Dr. Arthur Rose

Eli Saulson

Kim R. Saxe

Ms. Lori Schechter

Loretta Schuster

Joan Shanley

Pamela Shanley

Amy Shefman

David Traitel

Carol Wolfe

Dr. & Mrs. Philip Wolok

Ms. Esther Young

Mr. Eugene Driker

Driker Family Foundation

Sophia Holley Ellis & Oscar Holley

Timothy Holley

Mrs. Helen Fildew

Ms. Paula-Rose Stark

Dr. Doreen Ganos

Dr. Meghan G. Liroff

Mrs. Gale Girolami

Lynn Bogart

Bill Goodman

Ms. Susan Gzesh

Robert Goren

Gayle R. Beck

Mr. Robert Goren

Cathryn Hondros

Denise McGuire

Kendra Miller

Sally Murphy

Sheila Murphy

Mr. & Mrs. David L. Osher

David Reeves

Mr. & Mrs. Howard

Rosen

Ms. Susan Solarz

Patricia Hoff

Seth Hoff

Steve Kemp

Cassie Brenske

Carole Keller

Ms. Bree Kneisler

Shanda Lowery-Sachs

Vickie, David, & Rollie

Edwards

Mr. & Mrs. Al Lowery

Drs. David & Bernadine

Wu

Marion W. Pahl

Pahl Zinn

Richard May

Mr. & Ms. Don Witsil

Marie Slotnik

Mrs. Judith Schultheiss

Johanna Wayne

Ms. Marsha Billes

Haixin Wu

Yuson Jung & James J. Kim

Jay Zerwekh

Elaine C. Driker

Anne Parsons The Clinton Family Fund

Patricia Paruch

David Paruch

Alex Peabody Anonymous

Gilbert Pendolino

Melissa Hood

Mrs. Barbara Pendolino

Mrs. Debra Rodriguez

Sandra Toenjes

James Saindon

Mr. John Saindon

Sharon Singer

Mrs. Tracy Phillips

Al Steger

Ms. Kathleen Baltman

Anne Marie Stricker

Torben L. Winther

Bob Tronstein

Steve Tronstein

Richard Tschirhart

Mr. & Mrs. Ferid Ahmed

Paul Barach

Mr. & Mrs. Shimon Edut

Donna Raphael

Allyson Reinhardt

Mr. Richard Tanghe

Ayten & Nasut Uzman

James Akif Uzman

Giving of $500,000 & more

SAMUEL & JEAN FRANKEL FOUNDATION

Giving of $200,000 & more

Giving of $100,000 & more

MARVIN & BETTY DANTO FAMILY FOUNDATION

EMORY M. FORD JR. ENDOWMENT FUND

Giving of $50,000 & more

The Paul M. Angell Family Foundation

Huntington

MASCO Corporation

MGM Grand Detroit

Milner Hotels Foundation

National Endowment for the Arts

Penske Foundation, Inc.

Donald R. Simon & Esther Simon Foundation

Matilda R. Wilson Fund

Giving of $20,000 & more

Mandell & Madeleine Berman Foundation

Eleanor & Edsel Ford Fund

Henry Ford II Fund

JPMorgan Chase

Myron P. Leven Foundation

Michigan Arts & Culture Council

Stone Foundation of Michigan

Wolverine Packing

Giving of $10,000 & more

Cassie Family Foundation

Geoinge Foundation

Honigman LLP

Laskaris-Jamett Advisors

Oliver Dewey Marcks Foundation

Karen & Drew Peslar Foundation

Sun Communities Inc.

Varnum LLP

Burton A. Zipser & Sandra D. Zipser Foundation

Giving of $5,000 & more

Applebaum Family Philanthropy

Creative Benefit Solutions, LLC

Fisher Funeral Home & Cremation Services

Benson & Edith Ford Fund

Hylant Group

Marjorie & Maxwell Jospey Foundation

KPMG LLP

Meemic

Sigmund & Sophie Rohlik Foundation

Taft Law

Warner Norcross + Judd LLP

Wisne Charitable Foundation

Giving of $1,000 & more

Coffee Express Roasting Company

The Cassie Family Foundation

Jack, Evelyn, & Richard Cole Family Foundation

Frank & Gertrude Dunlap Foundation

Enterprise Holdings Foundation

EY

James & Lynelle Holden Fund

Japan Business Society of Detroit Foundation

Josephine Kleiner Foundation

Dolores & Paul Lavins Foundation

Ludwig Foundation Fund

Madison Electric Company

Michigan First Credit Union

Plante Moran

Renaissance (MI) Chapter of the Links

Louis & Nellie Sieg Foundation

Samuel L. Westerman Foundation

CELEBRATING YOUR LEGACY SUPPORT

BARBARA VAN DUSEN, Honorary Chair

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

Ms. Doris L. Adler

Dr. & Mrs. William C. Albert

Mr. & Mrs. Robert A. Allesee ◊

Dr. Lourdes V. Andaya

Mr. & Mrs. Eugene Applebaum ◊

Dr. Augustin & Nancy ◊ Arbulu

Mr. David Assemany

& Mr. Jeffery Zook*

Ms. Sharon Backstrom

Sally & Donald Baker

Mr. & Mrs. Lee Barthel

Mr. Mark G. Bartnik

& Ms. Sandra J. Collins

Stanley A. Beattie

Mr. & Mrs. Mandell L. Berman ◊

Virginia B. Bertram ◊

Mrs. Betty Blair

Ms. Rosalee Bleecker

Mr. Joseph Boner

Gwen & Richard Bowlby

Mr. Harry G. Bowles ◊

Mr. Charles Broh ◊

Mrs. Ellen Brownfain

William & Julia Bugera

CM Carnes

Cynthia Cassell, Ph. D.

Eleanor A. Christie

Ms. Mary F. Christner

Mr. Gary Ciampa

Robert & Lucinda Clement

Drs. William ◊ & Janet Cohn

Lois & Avern ◊ Cohn

Mrs. RoseAnn Comstock◊

Mr. Scott Cook, Jr.

Mr. & Ms. Thomas Cook

Dorothy M. Craig ◊

Mr. & Mrs. John Cruikshank

Julie & Peter Cummings

Joanne Danto & Arnold

Weingarden

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

Ms. Leslie C. Devereaux

Mr. John Diebel◊

Mr. Stuart Dow

Mr. Roger Dye & Ms. Jeanne A. Bakale

Mr. & Mrs. Robert G.◊ Eidson

Marianne T. Endicott

Ms. Dorothy Fisher ◊

Mrs. Marjorie S. Fisher ◊

Mr. & Mrs. Phillip Wm. Fisher

Dorothy A. & Larry L. Fobes

Samuel & Laura Fogleman

Mr. Emory Ford, Jr.◊ Endowment

Dr. Saul & Mrs. Helen Forman

Barbara Frankel ◊ & Ron Michalak

Herman & Sharon Frankel

Mrs. Rema Frankel ◊

Jane French ◊

Mark & Donna Frentrup

Alan M. Gallatin

Janet M. Garrett

Dr. Byron P.◊ & Marilyn Georgeson

Jim & Nancy Gietzen

Mr. Joseph & Mrs. Lois Gilmore

Victor ◊ & Gale Girolami

Ruth & Al◊ Glancy

David & Paulette Groen

Mr. Gerald Grum ◊

Rosemary Gugino

Mr. & Mrs. William Harriss

Donna & Eugene Hartwig

Ms. Nancy B. Henk

Joseph L. Hickey

Mr. & Mrs. Thomas N. Hitchman

Ronald M. & Carol◊ Horwitz

Andy Howell

Carol Howell◊

Paul M. Huxley & Cynthia Pasky

David & Sheri Jaffa

Mr. & Mrs. Thomas H. Jeffs II

Mr. & Mrs. Richard J. Jessup

Mr. George G. Johnson

Ms. Carol Johnston

Lenard & Connie Johnston

Carol M. Jonson

Drs. Anthony & Joyce Kales

Faye & Austin ◊ Kanter

Norb ◊ & Carole Keller

Dr. Mark & Mrs. Gail Kelley

June K. Kendall◊

Dimitri ◊ & Suzanne Kosacheff

Douglas Koschik

Mr. & Mrs. Arthur J. Krolikowski ◊

Mary Clippert LaMont

Ms. Sandra Lapadot

Mrs. Bonnie Larson

Ann C. Lawson ◊

Allan S. Leonard

Max Lepler & Rex L. Dotson

Dr. Melvin A. Lester ◊

Mr. & Mrs.◊ Joseph Lile

Eric & Ginny Lundquist

Harold Lundquist ◊ & Elizabeth Brockhaus Lundquist

Roberta Maki

Eileen & Ralph Mandarino

Judy Howe Masserang

Mr. Glenn Maxwell

Ms. Elizabeth Maysa ◊

Mary Joy McMachen, Ph.D.

Judith Mich ◊

Rhoda A. Milgrim

Mr. & Mrs. Eugene A. Miller

John & Marcia Miller

Jerald A. & Marilyn H. Mitchell

Mr.◊ & Mrs. L. William Moll

Shari & Craig Morgan

Ms. I. Surayyah R. Muwwakkil

Joy & Allan Nachman

Geoffrey S. Nathan & Margaret E. Winters

Beverley Anne Pack

David & Andrea Page ◊

Mr. Dale J. Pangonis

Ms. Mary Webber Parker ◊

Mr. David Patria & Ms. Barbara Underwood ◊

Mrs. Sophie Pearlstein ◊

Helen & Wesley Pelling ◊

Dr. William F. Pickard

Mrs. Bernard E. Pincus

Ms. Christina Pitts

Mrs. Robert Plummer ◊

Mr. & Mrs. P. T. Ponta

Mrs. Mary Carol Prokop ◊

Ms. Linda Rankin & Mr. Daniel Graschuck

Mr. & Mrs. Douglas J. Rasmussen

Ms. Elizabeth Reiha ◊

Deborah J. Remer

Mr. & Mrs. Lloyd E. Reuss ◊

Barbara Gage Rex ◊

Ms. Marianne Reye

Lori-Ann Rickard

Katherine D. Rines

Bernard & Eleanor Robertson

Ms. Barbara Robins

Jack & Aviva Robinson ◊

Mr.◊ & Mrs. Gerald F. Ross

Mr. & Mrs. George Roumell

Marjorie Shuman Saulson

Ruth Saur Trust

Mr. & Mrs. Donald and Janet Schenk

Ms. Yvonne Schilla

David W. Schmidt ◊

Mr. & Mrs. Fred Secrest ◊

Mr. & Mrs. Robert L. Shaffer ◊

Patricia Finnegan Sharf

Ms. Marla K. Shelton

Edna J. Shin

Ms. June Siebert

Mr. & Mrs. Donald R. Simon ◊

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

David & Sandra Smith

Ms. Marilyn Snodgrass ◊

Mrs. Margot Sterren ◊

Mr. & Mrs. Walter Stuecken

Mr.◊ & Mrs. Alexander C. Suczek

David Szymborski & Marilyn Sicklesteel

Alice ◊ & Paul Tomboulian

Roger & Tina Valade

Charles ◊ & Sally Van Dusen

Mrs. Richard C. Van Dusen

Mr. & Mrs. Melvin VanderBrug

Mr. & Mrs. George C. Vincent ◊

Mr. Sanford Waxer ◊

Christine & Keith C. Weber

Mr. Herman Weinreich ◊

John ◊ & Joanne Werner

Mr.◊ & Mrs. Arthur Wilhelm

Mr. Robert E. Wilkins ◊

Mrs. Michel Williams

Ms. Nancy Williams ◊

Mr. Robert S. Williams & Ms. Treva Womble

Ms. Barbara Wojtas

Elizabeth B. Work◊

Dr. & Mrs. Clyde Wu ◊

Ms. Andrea L. Wulf

Mrs. Judith G. Yaker

Milton & Lois Zussman ◊

And five who wish to remain anonymous

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

Mrs. Katana H. Abbott*

Mr. Joseph Aviv

Mr. Christopher Ballard*

Ms. Jessica B. Blake, Esq.

Ms. Rebecca J. Braun

Mr. Timothy Compton

Ms. Wendy Zimmer Cox*

Mr. Robin D. Ferriby*

Mrs. Jill Governale*

Mr. Henry Grix*

Mrs. Julie Hollinshead, CFA

Mr. Mark W. Jannott, CTFA

Ms. Jennifer Jennings*

Ms. Dawn Jinsky*

Mrs. Shirley Kaigler*

Mr. Robert E. Kass*

Mr. Christopher L. Kelly

Mr. Bernard S. Kent

Ms. Yuh Suhn Kim

Mrs. Marguerite Munson Lentz*

Mr. J. Thomas MacFarlane

Mr. Christopher M. Mann*

Mr. Curtis J. Mann

Mrs. Mary K. Mansfield

Mr. Mark E. Neithercut*

Mr. Steve Pierce

Ms. Deborah J. Renshaw, CFP

Mr. James P. Spica

Mr. David M. Thoms*

Mr. John N. Thomson, Esq.

Mr. Jason Tinsley*

Mr. William Vanover

Mr. William Winkler

*Executive Committee Member

Share the music of the DSO with future generations

INCLUDE THE DSO AS A BENEFICIARY IN YOUR WILL

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

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

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

DETROIT SYMPHONY ORCHESTRA

YOUR EXPERIENCE AT THE MAX

Our Home on Woodward Avenue

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

Parking

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

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

What Should I Wear?

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

Food and Drink

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

Patrons are welcome to bring drinks to their seats at

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

Accessibility

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

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

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

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

THE MAX M. & MARJORIE S. FISHER MUSIC CENTER

3711 Woodward Avenue Detroit, MI 48201

Box

Visit the DSO online at dso.org

For general inquiries, please email info@dso.org

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

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

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

WiFi

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

Shop DSO Merchandise

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

The Herman and Sharon Frankel Donor Lounge

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

Gift Certificates

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

Rent The Max

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

POLICIES

SEATING

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

TICKETS, EXCHANGES, AND CONCERT CANCELLATIONS

n All sales are final and non-refundable.

PHONES

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

PHOTOGRAPHY & RECORDING

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

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

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

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

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

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

SMOKING

Smoking and vaping are not allowed anywhere in The Max.

ADMINISTRATIVE STAFF

EXECUTIVE OFFICE

Erik Rönmark

President and CEO

James B. and Ann V. Nicholson Chair

Jill Elder Vice President and Chief Revenue Officer

Linda Lutz Vice President and Chief Revenue & Financial Officer

Joy Crawford Executive Assistant to the President and CEO

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

Anne Parsons ◊ President Emeritus

ARTISTIC OPERATIONS

ARTISTIC PLANNING

Jessica Ruiz

Senior Director of Artistic Planning

Jessica Slais Creative Director of Popular & Special Programming

Stephen Grady Jr. Manager of Jazz & @ The Max

Lindzy Volk Artist Liaison

William Dailing Department Head

Zach Deater Department Head

Isaac Eide Department Head

Kurt Henry Department Head

Matthew Pons Senior Audio Department Head

Dennis Rottell Stage Manager

Jason Tschantre Department Head

LIVE FROM ORCHESTRA HALL

Marc Geelhoed Executive Producer of Live from Orchestra Hall

ORCHESTRA OPERATIONS

Kathryn Ginsburg General Manager

Patrick Peterson Director of Orchestra Personnel & Operations

Benjamin Brown Production Manager

Nolan Cardenas Auditions & Operations Coordinator

Benjamin Tisherman Manager of Orchestra Personnel

LIBRARY

Robert Stiles Principal Librarian

Ethan Allen Assistant Principal Librarian

Bronwyn Hagerty Orchestra and Training Programs Librarian

ADVANCEMENT

Alex Kapordelis Senior Director of Advancement

Ali Huber Director of Donor Engagement

Colleen McLellan Director of Institutional & Legislative Partnerships

Cassidy Schmid Director of Individual Giving

Amanda Tew Director of Advancement Operations

Leslie Groves Major Gift Officer

Bryana Hall Data & Research Specialist

Jane Koelsch Major Gift Officer

Francesca Leo Manager of Governance and Donor Engagement

Elizabeth McConnell Stewardship Coordinator

Juanda Pack Advancement Benefits Concierge

Susan Queen Gift Officer, Corporate Giving

Joseph Sabatella Fulfillment Coordinator

Alice Sheppard Event Coordinator

Bethany Simmerlein Grant Writer

Shay Vaughn Major Gift Officer

BUILDING OPERATIONS

Ken Waddington Senior Director of Facilities & Engineering

Cedric Allen EVS Technician

Teresa Beachem Chief Engineer

Demetris Fisher Manager of Environmental Services (EVS)

William Guilbault EVS Technician

Robert Hobson Chief Maintenance Technician

Aaron Kirkwood EVS Lead

Daniel Speights EVS Technician

EVENT AND PATRON EXPERIENCE

Christina Williams Director of Event & Patron Experience

Neva Kirksey Manager of Events & Rentals

Alison Reed, CVA Manager of Volunteer & Patron Experience

Andre Williams Beverage Manager

COMMUNICATIONS

Matt Carlson Senior Director of Communications & Media Relations

Sarah Smarch Director of Content & Storytelling

Natalie Berger Video Content Specialist

LaToya Cross Communications & Advancement Content Specialist

Hannah Engwall Public Relations Manager

COMMUNITY & LEARNING

Karisa Antonio

Senior Director of Social Innovation & Learning

Damien Crutcher Managing Director of Detroit Harmony

Debora Kang Director of Education

Clare Valenti Director of Community Engagement

Kiersten Alcorn Manager of Community Engagement

Chris DeLouis Training Ensembles Operations Coordinator

Crystal Gause Coordinator of Engagement Operations

Joanna Goldstein Manager of Programs & Student Development

Erin Faryniarz Detroit Harmony Partnerships & Services Coordinator

Kendra Sachs Training Ensembles Recruitment & Communications Coordinator

FINANCE

Agnes Postma Senior Director of Accounting & Finance

Adela Löw Director of Accounting & Financial Reporting

Sandra Mazza Senior Accountant of Business Operations

Claudia Scalzetti Staff Accountant

Julia Strickland Payroll & Benefits Accountant

HUMAN RESOURCES

Hannah Lozon Senior Director of Talent & Culture

Jacquez Gray Director of Diversity, Equity & Inclusion

Angela Stough Director of Human Resources

Shuntia Perry Recruitment & Employee Experience Specialist

INFORMATION TECHNOLOGY

William Shell Director of Information Technology

Pat Harris Systems Administrator

Michelle Koning Web Manager

Aaron Tockstein Database Administrator

MARKETING & AUDIENCE DEVELOPMENT

Charle s Buchanan Senior Director of Marketing & Audience Development

Teresa Alden Director of Growth Marketing

Sharon Gardner Carr Tessitura Event Operations Manager

Jay Holladay Brand Graphic Designer

LaHeidra Marshall Direct Marketing Manager

Connor Mehren Growth Marketing Manager

Declan O’Neal Marketing & Promotions Coordinator

Kristin Pagels-Quinlan Digital Advertising Manager

PATRON SALES & SERVICE

Michelle Marshall Director of Patron Sales & Service

Rolande Edwards Patron Sales & Service Manager

James Sabatella

Group & Tourism Sales Manager

Valerie Jackson Group Sales Representative

SAFETY & SECURITY

George Krappmann Director of Safety & Security

Johnnie Scott

Safety & Security Manager

Willie Coleman

Security Officer

Joyce Dorsey Security Officer

Tony Morris

Security Officer

Eric Thomas Security Officer & Maintenance Technician

PERFORMANCE

UPCOMING CONCERTS & EVENTS

MOZART & THE SEASONS MAY 3–5

THE GOONIES IN CONCERT

JUNE 26–27

MAY2024

PVS CLASSICAL SERIES MOZART & THE SEASONS

Fri. May 3 – Sun. May 5

PVS CLASSICAL SERIES MAHLER’S NINTH

Fri. May 10 – Sat. May 11

PNC POPS SERIES DISCO FEVER

Fri. May 17 – Sun. May 19

chamber recital DEBUSSY & RAVEL

Mon. May 20

chamber recital BRAHMS & BARTÓK

Fri. May 24 – Sun. May 26

PARADISE JAZZ SERIES DON WAS & THE PAN DETROIT ENSEMBLE

Fri. May 24

PVS CLASSICAL SERIES STRAUSS’S ALPINE SYMPHONY

Fri. May 31 – Sun. Jun. 2

SUMMER SOIRÉE WITH BLACK VIOLIN JUNE 15

JUNE2024

PVS CLASSICAL SERIES BEETHOVEN’S FIFTH

Thu. Jun. 6 – Sat. Jun. 8

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES BEETHOVEN’S SEVENTH

Thu. Jun. 13 – Sun. Jun. 16

SUMMER SOIRÉE BLACK VIOLIN

Sat. Jun. 15

chamber recital SCHUBERT & BLACK ANGELS Mon. Jun. 17

PNC POPS SERIES DISNEY & BROADWAY FAVORITES

Fri. Jun. 21 – Sun. Jun. 23

SPECIAL EVENT THE GOONIES IN CONCERT

Wed. Jun. 26 – Thu. Jun. 27

JULY2024

chamber recital QUARTET FOR THE END OF TIME

Tue. Jul. 9

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES BRITTEN & MENDELSSOHN

Thu. Jul. 11 – Sun. Jul. 14

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

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

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

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