Performance Magazine Spring by Detroit Symphony Orchestra

Vol. XX â&#x20AC;˘ 2011-2012 Season

Spring 2012

Performance T h e M a g a z i n e o f t h e D e t r o i t S y m p h o n y O r c h e st r a

20 Year Salute

The DSO Celebrates a Milestone for Salute to America in Greenfield Village

SPROUTING THIS YEAR BUILDING A GREENHOUSE IN WEST BLOOMFIELD is only natural. At Henry Ford West Bloomfield Hospital, we believe building that greenhouse is a refreshing move forward in health care. This year, our patients can enjoy a new and more active role in their recovery process. The Henry Ford West Bloomfield Hospital Greenhouse will provide our patients, as well as the community, valuable experience and information on how to manage chronic diseases through healthy growing, cooking and eating practices. We like to think of it as a new kind of care, from the ground up. By offering agriculture as therapy and nutrition for our patients, Henry Ford West Bloomfield Hospital truly is designed to keep you well.

To learn more and track our opening, call (248) 325-1000 or log on to HenryFordWestBloomfield.com.

Perform ance / Vol . X X / spring 201 2

www.dso.org

Contents Performance Volume XX / Winter 2012 2011â&#x20AC;&#x201C;12 Season

Editor Gabrielle Poshadlo gposhadlo@dso.org 313.576.5194

DSO Administrative Offices Max M. Fisher Music Center 3711 Woodward Ave. Detroit, MI 48201 Phone: 313.576.5100 Fax: 313.576.5101 DSO Box Office: 313.576.5111 Box Office Fax: 313.576.5101 DSO Group Sales: 313.576.5130 Rental Info: 313.576.5050 Email: info@dso.org Web site: www.dso.org Subscribe to our e-newsletter via our website to receive updates and special offers. Performance is published by the DSO and Echo Publications, Inc. u Echo Publications, Inc. 248.582.9690 www.echopublications.com Tom Putters, president tom@echopublications.com Toby Faber, advertsing director To advertise in Performance, call 248.582.9690 or email info@echopublications.com Performance magazine online: www.dsoperformance.com u To report an emergency during a concert, call 313.576.5111. To make special arrangements to receive emergency phone calls during a concert, ask for the house manager. It is the policy of the Detroit Symphony Orchestra that concerts, activities and services are offered without regard to race, color, religion, national origin, handicap, age or gender. The DSO is an affirmative action, equal opportunity employer. Activities of the DSO are made possible in part with the support of the National Endowment for the Arts, the Michigan Council for Arts and Cultural Affairs and the City of Detroit. Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances.

Departments 4 Board of Directors 6 Orchestra Roster 8 News & Notes 29 General Information/Staff

Concerts

Concerts, artist biographies and program notes begin on page 13. Also read program notes before concerts in Performance magazine online at www.dsoperformance.com

30 Education News 32 Donor Roster 38 Upcoming Concerts

Cover Story

10 20 Year Salute The DSO Celebrates a Milestone for Salute to America in Greenfield Village

The DSO can be heard on the Chandos, Columbia, DSO, Koch, London, Naxos, Mercury Records and RCA labels.

Cover photo by Mark Burnham www.dso.org

Perform ance / Vol . X X / spring 201 2

Detroit Symphony Orchestra Board of Directors officers

Stanley Frankel Chairman

Glenda D. Price, Ph. D Secretary

Lloyd E. Reuss Officer At-Large

Bruce D. Peterson Vice Chair

Arthur Weiss Treasurer

Melvin A. Lester, M.D. Officer At-Large

Phillip Wm. Fisher Officer At-Large

Anne Parsons President & CEO

Directors

Ismael Ahmed

Mark Davidoff

Robert Allesee

Walter E. Douglas

Shelley Heron,‡ Orchestra Representative

Marianne Endicott

Ronald M. Horwitz ‡

Daniel Angelucci Janet Ankers

Gloria Heppner, Ph. D.

Karen Davidson

Rosette Ajluni

‡

Floy Barthel

Mrs. Mandell L. Berman Robert H. Bluestein

Penny B. Blumenstein

‡

John A. Boll, Sr.

Elizabeth Boone

Richard A. Brodie

Lynne Carter, M.D. Gary L. Cowger

Peter D. Cummings, Chairman Emeritus Stephen R. D’Arcy

Maureen T. D’Avanzo

Linda Dresner

Nicholas Hood, III

Jennifer Fischer

Sharad P. Jain

Laura L. Fournier

Chacona Johnson

Barbara Frankel

Hon. Damon J. Keith

Paul Ganson

William P. Kingsley

Sidney Forbes

Mrs. Harold Frank

Michael J. Keegan

David N. McCammon

Lois L. Shaevsky

Edward Miller Lois A. Miller

Sean M. Neall

‡

Herman Frankel‡

Joel D. Kellman

Ralph J. Gerson

Richard P. Kughn ‡

Alfred R. Glancy, III,‡ Chairman Emeritus

Bonnie Larson ‡

Brigitte Harris

Arthur C. Liebler‡

Arthur T. O’Reilly

Laurence M. Liberson, Orchestra Representative

William F. Pickard Stephen Polk

Bernard I. Robertson‡ Jack A. Robinson‡

Lifetime Members

Frankel†

David Handleman, Sr.†

Jane F. Sherman

Stephen Strome ‡

David Usher

Robert E.L. Perkins, D.D.S.

Herman Gray, M.D.

Wei Shen

James B. Nicholson, Chairman Emeritus ‡

‡

Mrs. Ray A. Shapero

Michael R. Tyson

‡

Allan D. Gilmour

Alan E. Schwartz‡

David Robert Nelson‡

Faye Alexander Nelson

Harold Kulish

Samuel

Marjorie S. Saulson

Florine Mark

James C. Mitchell, Jr.

Renee Janovsky

‡

Ralph J. Mandarino

Dr. Arthur L. Johnson†

Ann Marie Uetz

Barbara Van Dusen‡ Ted Wagner

Hon. Kurtis T. Wilder R. Jamison Williams Clyde Wu, M.D.‡ John E. Young ‡

Executive Committee

†Deceased

Governing Members

Governing Members is a philanthropic leadership group designed to provide unique, substantive, hands-on opportunities for leadership and access to a diverse group of valued stakeholders. Governing Members are ambassadors for the DSO and advocates for arts and culture in Detroit and throughout Southeast Michigan. For more information on the Governing Members program, please call the Office of Patron Advancement at 313.576.5460.

officers

Arthur O’Reilly Chairperson Bonnie Larson Vice Chair, Engagement Mr. & Mrs. Herbert A. Abrash Mr. & Mrs. Richard L. Alonzo Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Mr. & Mrs. Eugene Applebaum Dr. & Mrs. Ali-Reza R. Armin Mr. & Mrs. Robert Armstrong

Jan Bernick Vice Chair, Philanthropy Mary K. Mansfield Vice Chair, Governance Mr. David Assemany & Mr. Jeffery Zook Jeanne Bakale & Roger Dye Nora Lee & Guy Barron Mr. J. Addison Bartush Mr. & Mrs. Martin S. Baum Ken & Mary Beattie Donald & Carol Bell

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Maureen T. D’Avanzo Vice Chair, Membership

Frederick J. Morsches Vice Chair, Communications Cecilia Benner Mrs. John G. Bielawski Leo & Betty Blazok Joseph & Barbra Bloch Mr. Jim Bonahoom Dr. & Mrs. Rudrick E. Boucher Mr. & Mrs. S. Elie Boudt

James C. Farber Vice Chair, Outreach

Randall Hawes Musician Liaison

Victoria J. King Musician Liaison

Gwen & Richard Bowlby Mr. Anthony F. Brinkman Mr. Scott Brooks Robert N. & Claire P. Brown Michael & Geraldine Buckles Mr. H. William Burdett, Jr. Dr. Carol S. Chadwick & Mr. H. Taylor Burleson

Philip & Carol Campbell Mr. William N. Campbell Dr. & Mrs. Thomas E. Carson Mr. & Mrs. Francois Castaing Dr. Thomas Clark Lois & Avern Cohn Jack, Evelyn & Richard Cole Family Foundation www.dso.org

Governing Members Mrs. Robert Comstock Brian & Elizabeth Connors Dr. & Mrs. Ivan Louis Cotman Mr. & Mrs. Raymond M. Cracchiolo Ms. Mary Rita K. Cuddohy Mr. Richard Cummings Joanne Danto & Arnold Wiengarden Marvin & Betty Danto Family Foundation Ms. Barbara L. Davidson Lillian & Walter Dean Ms. Margaret H. Demant Mrs.Beck Demery Ms. Leslie Devereaux Ms. Barbara Diles David Elgin Dodge Mr. & Mrs. Mark Domin Ms. Judith Doyle Eugene & Elaine Driker Paul & Peggy Dufault Rosanne & Sandy Duncan Mr. Robert Dunn Ms. Bette J. Dyer Dr. & Mrs. A. Bradley Eisenbrey Mr. & Mrs. John M. Erb Mary Sue & Paul E. Ewing Mr. David Faulkner Mr. & Mrs. Oscar Feldman Mrs. Kathryn Fife Ron Fischer & Kyoko Kashiwagi Mr. & Mrs. Herbert Fisher Marjorie S. Fisher Mr. & Mrs. Steven J. Fishman Mr. David Fleitz Emory M. Ford, Jr. + Endowment Dr. Saul & Mrs. Helen Forman Rema Frankel Dale & Bruce Frankel Maxine & Stuart Frankel Ms. Carol A. Friend & Mr. Mark T. Kilbourn Mr. & Mrs. Daniel E. Frohardt-Lane

Mr. & Mrs. William Y. Gard Dorothy & Byron Gerson Gale & Victor Girolami Dr. & Mrs. Kenneth W. Gitlin Dr. Robert T. & Elaine Goldman Mr. & Mrs. Mark Goodman Dr. Allen Goodman & Dr. Janet Hankin Robert & Mary Ann Gorlin Mr. James A. Green Dr. & Mrs. Steven Grekin Mr. Jeffrey Groehn Mr. & Mrs. James Grosfeld Alice Berberian Haidostian Dr. Algea O. Hale Mr. Robert Hamel Randall L. & Nancy Caine Harbour Ms. Cheryl A. Harvey Mr. & Mrs. Ross Haun Mr. & Mrs. Demar W. Helzer Ms. Nancy B. Henk Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Jean Holland Dr. Deanna & Mr. David B. Holtzman Jack & Anne Hommes Mr. F. Robert Hozian Jean Wright & Joseph L. Hudson, Jr. Julius & Cynthia Huebner Richard H. & Carola Huttenlocher Mr. & Mrs. A. E. Igleheart Mr. & Mrs. Richard J. Jessup Mr. John S. Johns Lenard & Connie Johnston Mr. Maxwell Jospey+ Faye & Austin Kanter Mr. & Mrs. Norman D. Katz Martin & Maisel Kellman Rachel Kellman Mariam C. Noland & James A. Kelly Michael E. Smerza & Nancy Keppelman Dr. & Mrs. David Kessel Stephanie & Frederic Keywell

Mrs. Frances King Mr. & Mrs. Ludvik F. Koci Dr. & Mrs. Harry N. Kotsis Robert C. & Margaret A. Kotz David & Maria Kuziemko Joyce LaBan Dr. Raymond Landes & Dr. Melissa McBrien-Landes Drs. Scott & Lisa Langenburg Ms. Anne T. Larin Mr. & Mrs. William B. Larson Mr. David Lebenbom Dr. Klaudia PlawnyLebenbom & Mr. Michael Lebenbom Marguerite & David Lentz Allan S. Leonard Mr. & Mrs. Daniel Lewis Mr. & Mrs. Robert Liggett Mr. & Mrs. Joseph Lile Mrs. Florence LoPatin Dr. & Mrs. Charles Lucas Mr. Charles W. Manke, Jr. Elaine & Mervyn Manning Richard & Jane Manoogian Foundation Mr. & Mrs. Alonzo L. McDonald Patricia A. & Patrick G. McKeever Mrs. Susanne O. McMillan Dr. & Mrs. Donald A. Meier Mr. Rol& Meulebrouck Thomas & Judith Mich Ms. Deborah Miesel Bruce & Mary Miller Mr. & Mrs. Leonard G. Miller Dr. Robert & Dr. Mary Mobley Dr. Susan B. Molina Mr. & Mrs. Craig R. Morgan Ms. Florence Morris Cyril Moscow Dr. Stephen & Dr. Barbara Munk Joy & Allan Nachman Geoffrey S. Nathan & Margaret E. Winters Denise & Mark Neville Jim & Mary Beth Nicholson

continued

Patricia & Henry Nickol Mr. & Mrs. David E. Nims Mr. & Mrs. Stanley Nycek Mrs. Jo Elyn Nyman Mrs. Margot C. Parker Mr. Richard G. Partrich Mrs. Sophie Pearlstein Dr. & Mrs. Claus Petermann Mr. Charles L. Peters Donald & Jo Anne Petersen Fund Mrs. Helen F. Pippin Mr. & Mrs. Jack Pokrzywa Mr. & Mrs. William Powers Mr. & Mrs. Nicolas I. Quintana Ms. Ruth Rattner Drs. Y. Ravindranath & Kanta Bhambhani Emily Reid Dr. Claude & Mrs. Sandra Reitelman Jane & Curt Russell Martie & Bob Sachs Mr. Mark Saffer Ms. Martha A. Scharchburg & Mr. Bruce Beyer Mr. & Mrs. Michael Schultz Mr. & Mrs. Alan S. Schwartz Mr. & Mrs. Fred Secrest Mr. Merton J. & Beverly Segal Elaine & Michael Serling Mr. & Mrs. Herbert Shanbaum Kathleen N. Straus & Walter Shapero Mr. Stephan Sharf Dr. Les & Mrs. Ellen Siegel Mr. & Mrs. Robert Siewert Mr. & Mrs. Donald R. Simon Mr. & Mrs. William Sirois Mr. & Mrs. Richard Sloan Mr. & Mrs. S. Kinnie Smith, Jr. William H. & Patricia M. Smith Mr. & Mrs. Leonard W. Smith John J. Solecki Mr. Richard A. Sonenklar & Mr. Gregory Haynes Renate & Richard Soulen

Dr. Gregory E. Stephens Professor Calvin L. Stevens Mr. Clinton F. Stimpson, Jr. Dr. & Mrs. Charles D. Stocking Ms. Jan J. Stokosa Bernard & Barbara Stollman Dr. Gerald H. Stollman Mr. & Mrs. John Stroh III David Szymborski & Marilyn Sicklesteel D. I. Tarpinian Shelley & Joel Tauber Alice & Paul Tomboulian Amanda Van Dusen & Curtis Blessing Mr. Robert VanWalleghem Mr. & Mrs. George C. Vincent Mr. & Mrs. William Waak Dr. & Mrs. Ronald W. Wadle Mr. Jonathan T. Walton Mr. Patrick A. Webster Mr. & Mrs. Herman W. Weinreich Mr. & Mrs. Lawrence Weisberg Mr. & Mrs. John Whitecar Dr. Amy M. Horton & Dr. Kim Allan Williams Mr. & Mrs. Barry Williams Mrs. Beryl Winkelman Dr. & Mrs. Max V. Wisgerhof Mr. & Mrs. Jonathan Wolman David & Bernadine Wu Ms. June Wu Drs. David M. & Bernadine Wu Dr. & Mrs. Robert E. Wurtz Dr. Alit Yousif & Mr. Kirk Yousif Mrs. Rita J. Zahler Mr. & Mrs. Alan Zekelman Paul M. Zlotoff Mrs. Paul Zuckerman Milton & Lois Zussman

VOLUNTEER COUNCIL 2010-13 Officers

Janet M. Ankers President

Ellie Tholen Vice President for Public Relations

Virginia Lundquist Vice President for Outreach

Esther Lyons Recording Secretary

Debbie Savoie Vice President for Projects

Dr. Nora Sugintas Vice President for Membership

Ken Beattie Vice President for Administration & Finance

Mary Beattie Corresponding Secretary

Katana Abbott

Sandie Knollenberg

Gwen Bowlby

Eva Meharry

Marlene Bihlmeyer Gloria Clark

Marvin D. Crawford www.dso.org

Jill Jordan

Deborah Meade Lynn Miller

Board of Directors Gloria Nycek

Todd Peplinski

Charlotte Worthen

Victoria Keys Young Julie Zussman

Kelly Hayes Ex-Officio (Immediate Past President) Eleanor Siewert Ex-Officio (Parliamentarian)

Glenn Mellow Musician Liaison Randall Hawes Musician Liaison

Chelsea Kotula Staff Liaison

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Leonard Slatkin, Music Director Music Directorship endowed by the Kresge Foundation

Michel Camilo, Fred A. and Barbara M. Erb Jazz Creative Director Chair Neeme Järvi, Music Director Emeritus

First Violins

Kimberly A. Kaloyanides Kennedy Acting Concertmaster Katherine Tuck Chair

Hai-Xin Wu Acting Associate Concertmaster Alan and Marianne Schwartz and Jean Shapero (Shapero Foundation) Chair Assistant Concertmaster Walker L. Cisler/Detroit Edison Foundation Chair

Beatriz Budinszky*

Joseph Goldman*

Adam Stepniewski Acting Principal The Devereaux Family Chair Ron Fischer*

Hong-Yi Mo*

Paul Wingert*

Harp

Bruce Smith*

Joseph Striplin* Marian Tanau*

E-Flat Clarinet

Laurence Liberson Bass Clarinet

Shannon Orme Barbara Frankel and Ronald Michalak Chair Bassoons

Robert Williams+ John and Marlene Boll Chair Victoria King

Michael Ke Ma++ Marcus Schoon

Contrabassoon Marcus Schoon

Bryan Kennedy

Piccolo

Alexander Mishnaevski+ Julie and Ed Levy, Jr. Chair

Shannon Orme

Flutes

Philip Dikeman++ ^

Lilit Danielyan* ^

Laurence Liberson++

French Horns

Jeffery Zook

Alvin Score

Theodore Oien+ Robert B. Semple Chair

Patricia Masri-Fletcher+ Winifred E. Polk Chair

Sharon Wood Sparrow Acting Principal Women’s Association for the DSO Chair

Robert Murphy*

Úna O’Riordan*

Richard Robinson ^

Second Violins

Catherine Compton

Haden McKay*

Marshall Hutchinson

LeAnn Toth*

Hang Su

Peter McCaffrey*

Craig Rifel

Greg Staples*

Han Zheng

David LeDoux*

Stephen Edwards

Laura Rowe*

Hart Hollman

Carole Gatwood*

Linton Bodwin

Adrienne Rönmark*

Shanda Lowery-Sachs

Robert Bergman*

Maxim Janowsky

Eun Park*

Glenn Mellow

Douglas Cornelsen PVS Chemicals, Inc./ Jim and Ann Nicholson Chair

Stephen Molina++

Laurie Landers Goldman*

Caroline Coade

Marcy Chanteaux++ ^ Dorothy and Herbert Graebner Chair

Alexander Hanna+ Van Dusen Family Chair

Elias Friedenzohn*

James VanValkenburg++

Clarinets

Robert deMaine+ James C. Gordon Chair

Basses

Marguerite Deslippe*

Violas

Violoncellos

Jeffery Zook Oboes

Karl Pituch+

Corbin Wagner Mark Abbott

David Everson++ ~

Trombones

Kenneth Thompkins+ Nathaniel Gurin++ Randall Hawes

Conducting Assistant Charles Greenwell Stage Personnel

Bass Trombone

Frank Bonucci Stage Manager

Tuba

Matthew Pons Department Head

Randall Hawes

Dennis Nulty+ Timpani

Eric Schweikert ``# Brian Jones+ ^ Percussion

Larry Anderson Department Head

Michael Sarkissian Department Head Legend

+ Principal

++ Assistant Principal

Eric Shin ``#

``# S ubstitute musician, Acting Principal

Ian Ding++ ^ William Cody Knicely Chair

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

Jacob Nissly+ ^ Ruth Roby and Alfred R. Glancy III Chair

Librarians

Robert Stiles+

^ Extended Leave

~ On Sabbatical

§ African-American Orchestra Fellow

Ethan Allen

Personnel Manager

Stephen Molina Orchestra Personnel Manager Heather Hart Assistant Orchestra Personnel Manager

Trumpets

Stephen Anderson Acting Principal Lee and Floy Barthel Chair Kevin Good

William Lucas

Donald Baker+ Jack A. and Aviva Robinson Chair Shelley Heron Maggie Miller Chair Brian Ventura++

Geoffrey Johnson§

Orchestra member biographies can be found online at www.dso.org/orchestra.

Perform ance / Vol . X X / spring 201 2

www.dso.org

SPG91011_DSOad.pdf

9/19/11

8:32 PM

Classical Music with

CMY

Dave Wagner and Chris Felcyn

Weekdays 6 am -7 pm wrcjfm.org A listener supported service of Detroit Public Schools and Detroit Public TV.

www.dso.org

Perform ance / Vol . X X / spring 2012

President’s Message Dear friends, The DSO’s focus on our mission “to be a leader in the world of classical music, embracing and inspiring individuals, families and communities through unsurpassed musical experiences” has reached new levels of intensity. As we enter the third quarter of our operating season, we are so encouraged by the pervasive, positive energy we feel surrounding the DSO. We have enjoyed capacity crowds in Orchestra Hall as well as in the neighborhoods. More young people have been exposed to classical music through DSO concerts uniquely designed for them, and DSO musicians have regularly coached sectionals for our Civic Youth Ensembles participants. Our new Soundcard program has enabled students to attend every Orchestra Hall concert and Avanti, an exciting new week-long music camp led by DSO musicians, will be launched this July. Our free live webcasts have reached more than 40 countries, with a cumulative viewership of approximately 65,000 and over 3,000 people have downloaded our mobile app. Special thanks go to our friends at Detroit Public Television, the Knight Foundation and the Ford Motor Company Fund for partnering with us in one of the newest and most exciting ways the DSO is becoming the most accessible orchestra on the planet! This year’s special events will serve record numbers, starting with our March Classical Roots tribute to Arthur Johnson, our June Hero’s gala recognizing the community leadership of Lloyd Reuss, and of course, the extraordinary Kid Rock concert taking place at the Fox Theatre in May. Thousands of metro Detroiters and their families will enjoy the DSO in idyllic settings this summer, so secure your tickets now for concerts at Greenfield Village in Dearborn or the Ford House in Grosse Pointe. We are so pleased to share news of our successful recruitment of new artistic talent to join the DSO family. Auditions will continue through July. Please join me in welcoming cellists David LeDoux and Peter McCaffrey to our stage. All of this would not be possible without broad and deep support from our very generous community. Ticket sales provide a small portion of the operating costs of any orchestra, and the DSO will only be able to continue to provide these vital activities in a viable way, through your participation. We thank those of you who have so generously contributed to our annual fund, and if your name does not currently appear on pages 30 to 37, we hope we can inspire you to join us in the pursuit of the DSO’s mission. With gratitude, Anne Parsons 8

Performance / Vol . X X / spring 201 2

News & Notes

Kid Rock concert to raise $1 million for DSO

On Saturday, May 12, 2012, at 8 p.m., the unprecedented pairing of Kid Rock, Leonard Slatkin, “America’s Music Director,” and the men and women of the Detroit Symphony Orchestra will take the stage at Detroit’s historic Fox Theatre for a one-night only, standing-room-only fundraising concert to raise a critical $1 million for the Orchestra. The idea was originally conceived by Kid Rock and Rock Ventures Founder Dan Gilbert Kid Rock to help save the DSO. Kid Rock, the Fox Theatre, Leonard Slatkin, and the DSO are volunteering their services for concert. Proceeds from the concert will be directed to the DSO, which also funds outreach, engagement, and community service work in schools, hospitals, retirement centers, places of worship, and community centers across Southeastern Michigan.

Celebrate 25 years of Musical Feasts! Now embarking on the 25th season, the Volunteer Council’s Musical Feasts is continuing its successful long run from March to December in 2012, thanks to our generous hosts and the support of our DSO musicians. Co-chairing Musical Feasts XXV are Marlene Bihlmeyer and Debra Partrich, both of Bloomfield Hills. Consider an intimate afternoon or evening set in a unique location (often an elegant private home) featuring a performance by our gifted DSO musicians, followed by unparalleled culinary offerings. In addition to making your own plans, this is a wonderful way to celebrate a special occasion with a friend or family member! Prices range from $60 to $300 per person, with proceeds benefitting the Detroit Symphony Orchestra. Log on www.dso.org to view the entire descriptive booklet. Make your reservations with the Volunteer Council by calling 313-576-5154.

Watch online at dso.org/live or on the DSO to Go mobile app

Järvi Returns Sunday, April 1, 3 p.m.

Saint-Saëns’ “Organ” Symphony Friday, May 11, 10:45 a.m.

Dvořák’s “New World” Symphony The Pines of Rome Saturday, April 21, 8 p.m. Friday, May 18, 10:45 a.m. Pictures at an Exhibition Sunday, May 6, 3 p.m.

www.dso.org

Meet the Musician:

By Kristine Schultz

Hai-Xin Wu

or Hai-Xin Wu, playing the violin has always been a part of his life. Wu began studying the violin at age 5 at the Shanghai Conservatory of Music in his native China. His passion for music and his drive for excellence kept him on the path to pursuing his dream. Wu recalls a deal he made with his parents in those early days where he promised them that if he ever didn’t “make the cut” in his wu auditions, he would go back to pursuing academics. A graduate of the Manhattan School of Music in New York, Wu joined the DSO violin section in July 1995, and was appointed Assistant Concertmaster in 2004. Currently, as Acting Associate

Concertmaster, he considers it a privilege to play alongside Acting Concertmaster, Kimberly Kaloyanides Kennedy, as she delicately creates the sound that sets the tone for the section. Wu sits in the Concertmaster chair for pops and educational concerts when Kennedy is not performing. When asked which chair he prefers, Wu shared that “Every one of the musicians is a world class performer. I’d be honored to have the opportunity to play in any chair.” Since 1997, Wu has been sharing his love of music with students in the Civic Youth Ensembles. Joined by DSO Cellist Paul Wingert, Wu helps young people in the

chamber music program explore music at a deeper level. “These kids have a pure, unbridled passion for music,” said Wu. “I want them to go beyond just the notes, and feel the energy that is expressed through the music.” Wu, along with several other DSO musicians, lead sectionals and coach chamber groups. Wu also teaches private lessons to chamber students, while serving as Adjunct Faculty at Wayne State University in the Department of Music. For Wu, it’s about making classical music more accessible to people. “If you give an excellent performance with strong conviction people will get excited about the music,” said Wu. Wu and his wife Zhihua Tang live in Ann Arbor with their dog Molly. Wu is a true Tigers fan! It brought him great joy last season when the Tigers beat the Yankees in the playoffs.

LaLonde Jewelers ad

www.dso.org

Perform ance / Vol . X X / spring 2012

20 Year

Salute

The DSO Celebrates a Milestone for Salute to America in Greenfield Village

Performance / Vol . X X / spring 201 2

www.dso.org

by Gabrielle Poshadlo

ince the tradition began in July of 1993, nearly a half million music lovers have gathered at Greenfield Village for the DSO’s Salute to America concerts. This year the orchestral display of patriotism returns for the 20th year, a celebration of one of the longest-standing partnerships between two Detroit cultural institutions. In honor of that partnership, it seems appropriate to share how it first began. For two decades, thousands of Michiganders have woven their way through The Henry Ford Museum’s Greenfield Village — many of them in patriotic costume — to set up a picnic in the open field and watch the sun set behind the stage. At each one of those concerts the cannons have boomed to Tchaikovsky’s 1812 Overture and fireworks have burst on cue as the Orchestra brings the evening to a close. Larry Hutchinson, a bassist with the DSO for 29 years has experienced the entire history of the event, and has gathered many personal memories along the way. “Perhaps my favorite memory was when my daughter’s middle school choir sang a really unique arrangement of the ‘Star Spangled Banner. They were invited for two seasons and it was a really special experience for the kids.” Hutchinson’s wedding anniversary ( July 1) nearly always falls on a Salute to America night, and once conductor Thom Wilkins announced from stage that Hutchinson is lucky because he nearly always has a cheap date option. This year’s July 1 concert will mark their 34th. While the first showing in July of 1993 was an immediate success with nearly 15,000 audience members in attendance across just two concerts, Salute to America’s early years were not without hiccups. The partnership with the DSO was conceived during the summer of 1992 when Jim Johnson, Senior Manager of Creative Programs for Greenfield Village, was working on “The Summer Festival,” a series of programming aimed at ramping up summer attendance at the Village. With no experience producing an orchestral www.dso.org

concert, or anything like, he admits the partnership was ambitious. “The Fourth of July concerts were a new and radical departure from what we’d done before,” said Jim Johnson, Senior Manager of Creative Programs for Greenfield Village. “The week before the concerts is a walk in the park now, but not at the beginning; at the beginning there were tears.” Hutchinson remembers a torrential rain storm in the early years when the Orchestra huddled on stage waiting it out, afraid to get their instruments wet. When the musicians were warned the roof of the stage structure may buckle due to collecting water, the entire orchestra was forced to wade through a deep puddle, instruments in hand, back to their dressing room 60 feet away. That first year drew larger crowds than expected, with a program including the late Ernie Harwell (sportscaster for the Detroit Tigers for 42 years) narrating “Casey at the Bat.” After experimenting with the Village Green space in front of Town Hall, where 7,000-8,000 audience members fit less than comfortably, the event later moved to the open field. There, both available space and audiences grew. Since then, crowds have increased to 25,000-30,000 people per season. “Now visitors can experience Greenfield Village on their way down to the field,” said Johnson. “Over the years we’ve found a really nice balance of responsibility between each organization.” As a special treat in celebration of the 20th anniversary of the event, Music Director Leonard Slatkin will be conducting the Salute to America on the Fourth of July for the first time. Concerts this year are scheduled for June 30 and July 1, 3 and 4. The Orchestra will perform such

patriotic favorites as Tchaikovsky’s 1812 Overture, the Salute to the Armed Forces and more. Tickets for all Salute to America performances will go on sale May 1.

Ernie Harwell, 2001

Perform ance / Vol . X X / spring 201 2

www.dso.org

Profiles Neeme Jarvi Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

classical Series Thursday, March 29, 2012 at 7:30 p.m. Saturday, March 31, 2012 at 8 p.m. Sunday, April 1, 2012 at 3 p.m. * in Orchestra Hall Neeme Järvi, conductor Hélène Grimaud, piano

Johannes Brahms Piano Concerto No. 1 in D minor, Op. 15 (1833-1897) Maestoso Adagio Rondo: Allegro non troppo Hélène Grimaud, piano

I n ter mission Richard Wagner (1813-1883) arr. Henk de Vlieger

Die Meistersinger: An Orchestral Tribute

*This performance will be webcast to a global audience via the “Live from Orchestra Hall” series.

This Classical Series concert is generously sponsored by

PVS Chemicals, Inc.

Get the most out of each classical concert by attending pre-concert presentations, one hour prior to performances (excluding Coffee Concerts). The presentations are informal and may include special guests, lectures and music that reveal interesting facts about the program and provide a behind-the-scenes look at the art of making music. The DSO can be heard on the DSO, Chandos, London, Naxos, RCA and Mercury Record labels.

www.dso.org

Neeme Järvi, the DSO’s celebrated Music Director for 15 years, is the Music Director Emeritus of the orchestra. Following his appointment in 1990, Maestro Järvi led the DSO to new Järvi artistic and institutional heights, attracting audiences in record numbers, leading acclaimed concerts, national and international tours, radio broadcasts and award-winning recordings. Under his leadership, the DSO became a symbol for the rebirth of Detroit. Järvi is the second-longest serving music director in the organization’s history. Järvi is Chief Conductor of the Residentie Orkest (The Hague), Conductor Laureate and Artistic Advisor of the New Jersey Symphony Orchestra, Music Director Emeritus of the DSO, Principal Conductor Emeritus of the Gothenburg Symphony Orchestra, First Principal Guest Conductor of the Japan Philharmonic Orchestra and Conductor Laureate of the Royal Scottish National Orchestra. Since September 2010, Järvi has been the Music Director of Estonian National Symphony Orchestra (ERSO). During his long and highly successful career, Järvi has conducted many of the world’s most prominent orchestras, including the Berlin Philharmonic, Royal Concertgebouw, Philharmonia, Czech Philharmonic, Zürich Tonhalle and BBC Symphony Orchestras, the Orchestre de Paris, Orchestre de la Suisse Romande, the major orchestras of Scandinavia and the symphony orchestras of Sydney and Melbourne in Australia. In the U.S. he has appeared with the New York Philharmonic, Chicago Symphony, San Francisco Symphony, Boston Symphony and Philhadelphia Orchestras. Maestro Järvi has amassed a distinguished recording repertoire that includes more than 400 discs on the Deutsche Grammophon, Chandos, BIS, Orfeo, EMI and BMG labels, as well as on the DSO’s independent label. He has recorded complete symphony cycles of Wilhelm Stenhammar and Hugo Alfvén; Niels Gade and Carl Nielsen, Sibelius, Brahms and Franz Schmidt, Martinů and Dvořák, Estonian composers Arvo Pärt and Eduard Tubin; Glazunov, Prokofiev and Shostakovich and many others. Järvi holds an honorary doctorate of Humane Letters from Detroit’s Wayne State University. Perform ance / Vol . X X / spring 201 2

Hélène Grimaud

For pianist Hélène Grimaud music is a limitless passion. A truly multi-faceted and charismatic artist, Grimaud regularly appears with the Berliner Philharmoniker, grimaud Symphonieorchester des Bayerischen Rundfunks, Philharmonia Orchestra and Münchner Philharmoniker, and many in North America. She has performed with three generations of conductors, including Kurt Masur, Bernard Haitink, Esa-Pekka Salonen and Neeme Järvi, to name a few. She was soloist at the Last Night of the BBC Proms 2008. In 2010, Grimaud appeared as Artiste Etoile in four concerts at the Lucerne Festival. An international recital tour encompassing Europe, U.S. and Japan dominated her 2010-2011 season with repertoire ranging from Mozart to Bartòk. In between recitals Grimaud performed in Moscow with the Orchestre Philharmonique de Radio France, in St. Petersburg with the Kirov Orchestra, in Beijing with the China National Symphony Orchestra, in Germany with the Munich Philharmonic and in the U.S. with the San Francisco Symphony and Philadelphia Orchestras. An exclusive Deutsche Grammophon recording artist since 2002, Grimaud has a string of imaginative and highly successful albums featuring music by Mozart, Berg, Liszt and Bartòk. Grimaud is also featured on two DVD releases including 2010 ECHO Klassik award winning DVD of Rachmaninov’s Second Piano Concerto with Claudio Abbado and the Lucerne Festival Orchestra, and Ravel’s Piano Concerto in G major with Vladimir Jurowski and the Chamber Orchestra of Europe. In 2009, Grimaud received the Musikfest Bremen Award. She was appointed “Chevalier dans l’Ordre National du Mérite” in 2008 and in 2005, she won the ECHO “Instrumentalist of the Year” Award. Author of two successful books, “Variations Sauvages” and “Leçons Particulières,” she champions many charitable causes, including the Wolf Conservation Center which she founded in upper New York State in 1999, the International Children’s Camp Villa San Souci, the Worldwide Fund for Nature and Amnesty International. 14

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Program Notes Piano Concerto No. 1 in D minor, Op. 15 Johannes Brahms

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

Scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings (approximately 42 minutes)

rahms himself was a pianist of extraordinary talent, and he had undoubtedly had many ideas for piano concertos over the years. He was also the most highly self-critical of all the great composers, and any early attempts at a piano concerto likely met with the same fate as did some 20-odd string quartets, before he relented and published what is now known as his “first” quartet: if they did not meet his high standards, they would have simply been destroyed. The two piano concertos that survived this relentless self-criticism provide the attentive listener with as panoramic a view of Brahms-the-composer as one could hope for, appearing as they did at opposite ends of a period spanning nearly 25 years. The first concerto is the work of a young romantic — bold, tempestuous and outwardly emotional; the second belies the serene hand of an accomplished master who, though he may have abandoned extremes, did not turn away from either originality or expression. As with his Symphony in C minor, Brahms’ D minor Piano Concerto underwent an extended gestation period — a fact which the seamless unity of the finished product manages to conceal. No one would guess, given the work’s epic seriousness and grandeur, that this was in fact the work of a very young man; yet it was begun when the composer was only 21. The composer had originally conceived the work in 1854 as a sonata for two pianos, though Robert Schumann (who described Brahms’ piano sonatas as “veiled symphonies”) had predicted that the piano would soon prove to be too limited a medium for the young composer. Ironically, it was while in the midst of creating this initial work that Schumann’s prophecy came to pass. A mere few weeks after beginning the piece, Brahms complained to the violinist Joachim that even two pianos were becoming inadequate for the work’s requirements. A short time later the two-piano sonata

was abandoned, but its opening movement returned, after considerable reworking, as the beginning of a D minor symphony. Marking as it did Brahms’ first foray into the field of orchestration, this effort also proved unsatisfactory and within about a year of its inception, the material was given a third lease on life as a piano concerto. By 1856, Brahms had extracted the sarabande which had formed the slow movement of the original sonata (and which was to resurface, years later, as part of the German Requiem), and replaced it instead with a newly composed Adagio followed by a rondo. Though he regarded the finished work as the product of an amateur, Brahms nevertheless felt ready to publicly unveil the new concerto by the beginning of 1859. The concerto was well-received at its premier in Hannover with Brahms himself as the soloist; however, a performance in Leipzig a week later turned out to be an absolute fiasco. It was, in fact, a public humiliation the likes of which Brahms had never known before and would never experience again. The musicians, who didn’t understand the work, greeted it in rehearsal with a stony silence; following the performance, audience members not only didn’t applaud, they actually hissed. The repercussions of this performance were so severe that the work was rejected by the prestigious publishing house of Breitkopf und Härtel when it was offered to them for publication more than a year after. Brahms calmly (and accurately) predicted that after a few further revisions the work would achieve popularity; it is now a standard of the concerto repertoire. The monumental first movement, marked Maestoso, is a majestic structure that is stormy and dark in the beginning, where in a protracted orchestral passage the strings state the main theme over a chilling timpani roll, before the entrance of the solo piano. The piano’s opening statement is highly dramatic, but the solo part becomes, later in the movement, gentler and more expressive. Following an elaborate development section there is a brilliant coda, which closes the movement. Brahms once hinted that the serene slow movement, Adagio, was inscribed Benedictus qui venit in nomine Domine (“Blessed is he who comes in the name of the Lord”) as a tribute to Robert Schumann. Brahms first met Robert and Clara Schumann in 1853, the year before he began work on the concerto; some early critics associated the Latin inscription with Robert Schumann, www.dso.org

who was called “Dominus” (“Lord”) by his inner circle of admirers. Contemporary scholars, however, view it as a reference to the composer’s not-quite-suppressed love for Clara Schumann, pointing out his statement in a letter to her: “I am also painting a lovely portrait of you; it is to be the Adagio.” Regardless, Brahms here seems to pay homage to both Clara and Robert by musically projecting his love – and his pain – in this romanza-like movement. The result is a personal, intimate outpouring; reverent and songlike; it is interrupted only once by a passionate outburst. Three themes alternate throughout the spirited rondo finale, whose rough humor recalls the gypsy music that Brahms first learned from the Hungarian violinist Joachim, with whom he first met the Schumanns. The second theme sounds somewhat like a variation of the first, while the third turns into a brief fugato midmovement. Following a lengthy cadenza – the first of two – the first theme becomes transformed into a sprightly march, which closes the work. The DSO last performed Johannes Brahms’ Piano Concerto No. 1 in D minor on a Classical Series concert given on November 30, 2008 with Mark Wigglesworth conducting. Stephen Hough was the piano soloist. SO Shop @ The Ma x D recommends:

textures, rich harmonies and subtle orchestration, and also for their elaborate use of leitmotifs: musical themes that are associated with individual characters, places, ideas or other plot elements. Unlike most other composers, Wagner wrote both the music and the libretto for every one of his stage works. Traditional operatic thought was transformed through Wagner’s concept of the Gesamtkunstwerk, or “total art work,” the aim of which was to achieve the complete

synthesis of all the poetic, musical, visual and dramatic arts, and which the composer announced in a series of essays published between 1849 and 1852. Wagner realized this idea most fully in the first half of his monumental operatic tetralogy Der Ring des Nibelungen (“The Ring of the Nibelung”); however, his thoughts on the relationship between music and drama would later change, and he would reintroduce some traditional operatic concepts into his later works.

MORE WAYS TO SEARCH. MORE WAYS TO FIND.

Brahms – Piano Concerto No. 1: Hélène Grimaud, piano, Kurt Sanderling conducting the Staatskapelle Berlin, Erato 21633.

Die Meistersinger: An Orchestral Tribute Richard Wagner

B. May 22, 1813, Leipzig, Germany D. February 13, 1883, Venice, Italy

arr. Henk de Vlieger

Scored for three flutes (third doubling on piccolo), two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani and four percussion (playing bass drum, crash cymbals, glockenspiel, tenor drum and triangle), harp and strings (approximately 52 minutes).

ichard Wagner was a German composer, conductor, theatre director and essayist, primarily known for his operas or “music dramas,” as he later referred to them. Wagner’s operas, particularly those of his later period, are noted for their complex

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Wagner pioneered advances in musical language, such as extreme chromaticism and sudden shifts in tonal centers, which greatly influenced the development of classical music. In fact, the composition of his opera Tristan und Isolde is generally thought to mark the beginning of modern music. Wagner’s influence was considerable and far-reaching, and spread beyond music into philosophy, literature, the visual arts and theatre. Thanks to generous patronage from King Ludwig II of Bavaria, he had his own opera house built, the Bayreuther Festspielhaus, which he himself designed after classic Greek amphitheatres, and which included many novel design features. It was there that the Ring and Parsifal were premièred and where today an annual festival of his works is held. All this was achieved despite a life characterized by political exile, turbulent love affairs, poverty and repeated flight from his creditors. Wagner’s combative personality and his outspoken views on music, politics and society made him a controversial figure throughout his entire life. Die Meistersinger von Nürnberg occupies a special place among Wagner’s music dramas. Not only is it his only “comic” opera, its plot is not based upon a myth or saga. The characters are mere mortals, and at least one of them, Hans Sachs, actually existed. The plot is set within the historical context of 16th century Nuremburg and deals, at its core, with the relationship between the artist, tradition and society. Wagner’s libretto employs verse lines that are longer than in previous works, and make use of more traditional rhyme patterns. Die Meistersinger is also different from Wagner’s other operas in terms of its musical construction and language. In his earlier works, including most of Der Ring des Nibelungen and Tristan und Isolde, Wagner developed a musical language marked by short phrases and pronounced chromaticism. This last characteristic was most highly developed in Tristan, in which tonality is stretched nearly to the breaking point. However, in Die Meistersinger, Wagner returns to a predominantly diatonic idiom, and the opera’s most important moments, such as Walther’s Prize Song are set simply in the key of C major. Wagner also makes use of brilliant counterpoint throughout the score. The orchestral forces Wagner calls for in Die Meistersinger are comparatively modest, particularly when compared with his other operas. The vivid Romantic tone colors of the English horn and bass clarinet are absent from this score. Be that as it may, the combination of ingenious instrumental touches and sparkling orchestration make 16

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UPCOMING CONCERTS Richard Goode, Piano Saturday, April 14, 2012 at 8 PM Seligman Performing Arts Center, Beverly Hills “ Richard Goode is one of the finest pianists in the world. Few can match his unfailingly beautiful tone, effortless technical command, interpretive insight and total emotional commitment to the music he plays.” —Washington Post Beethoven: Sonata in E-flat major, Op. 31 No. 3 Brahms: Seven Fantaisies, Op. 116 Chopin: Nocturne in E-flat major, Op. 55, No. 2 Scherzo No. 3 in C-sharp minor, Op. 39 Waltz in A-flat major, Op. 64, No. 3 Waltz in C-sharp minor, Op. 64, No. 2 Waltz in F major, Op. 34, No. 3 Ballade No. 3 in A-flat major, Op. 47

Matthias Goerne, Baritone Leif Ove Andsnes, Piano Saturday, April 28, 2012 at 8 PM Seligman Performing Arts Center, Beverly Hills “ Andsnes is a pianist of magisterial elegance, power, and insight.” —The New York Times “ Baritone Matthias Goerne was a superb soloist…his voice glowing with a rich velvet tone.” —The Australian Two master artists perform a program of songs by Gustav Mahler and Dmitri Shostakovich, including excerpts from Mahler’s “Das Knaben Wunderhorn,” “Rückert Lieder,” “Kindertotenlieder” and excerpts from Shostakovich’s “Michelangelo Suite.” u Pre-Concert Talk, 6:45 - 7:30 p.m. Dr. Steven Rings, University of Chicago

Seligman Performing Arts Center, 22305 West 13 Mile Road (at Lahser Road), Beverly Hills

Tickets by phone: 248-855-6070 or online: www.ComeHearCMSD.org www.dso.org

These performances of Die Meistersinger: An Orchestral Tribute are a DSO premiere. SO Shop @ The Ma x D recommends:

Wagner/De Vlieger — Die Meistersinger: An Orchestral Tribute: Neeme Järvi conducting the Royal Scottish National Orchestra, Chandos 5092. www.dso.org

Carnegie Hall May 10, 2013

this opera one of the most accessible of Wagner’s entire oeuvre. Wagner may have intended his music for the theatre, but he conceived and constructed it from a symphonic model. Just as in a classical symphony, Wagner introduces themes and motifs which are then organized and developed according to established patterns. This makes his music particularly adaptable for use in symphonic concerts. Realizing this, the Dutch percussionist and arranger Henk de Vlieger arranged three symphonic syntheses of Wagner’s operas in the 1990s: The Ring, an orchestral adventure; Parsifal, an orchestral quest and Tristan und Isolde, an orchestral passion. In order to do this, de Vlieger extracted the most important sequences from these operas and set them in a new symphonic context. Vocal lines were omitted or (when needed), were replaced by instruments. In order to give these arrangements a coherent musical argument, he synthesized new connections between the extracted passages, working in Wagner’s natural stylistic language. In 2005, de Vlieger turned his attention to Die Meistersinger, creating Meistersinger, an orchestral tribute. The arrangement is comprised of 11 extracts that form an orchestral suite from the opera and which flow into each other without interruption. Through de Vlieger’s attention to thematic coherence, motivic development and melodic recurrence, the finished product could be regarded as a large symphonic poem, or even as a symphony. Meistersinger, an orchestral tribute was first performed in Moscow on September 29, 2006, conducted by Eri Klas. The arrangement is dedicated to Maestro Edo de Waart. The 11 extracts which make up the arrangement are as follows: 1. Vorspiel I 2. Versammlung der Meistersinger 3. Gesang der Lehrbuben 4. Sachsens Monolog 5. Vorspiel III 6. Taufspruch 7. Züge der Zünfte 8. Tanz der Lehrbuben 9. Aufzug der Meistersinger 10. Walthers Preislied 11. Schlußgesang

Carnegie Hall is just around the corner… On Friday, May 13, 2013, the Detroit Symphony Orchestra returns to Carnegie Hall for the first time in 17 years to headline the ground-breaking Spring for Music Festival. We’re looking for 1,000 Detroiters to bring the spirit of Motown to the Big Apple for this one-night only special performance. Leonard Slatkin conducts all four of Charles Ives’ symphonies in one evening for the first time in Carnegie Hall’s history. Order your tickets today at 313.576.5111. The best seats are on hold for our loyal patrons for a limited time only. For information on the accompanying patron tour, including hotel accommodations, special events, and activities in New York, please call 313.576.5147.

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save the date 06.09.12

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Honigman is pleased to support the Detroit Symphony Orchestra. For more information, please contact Frederick (Fritz) Morsches at 313.465.7040 or fmorsches@honigman.com.

DSO Heroes Gala and Concert june ninth • two thousand twelve max m. fisher music center

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Profiles Brad Mehldau

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Michel Camilo, Fred A. and Barbara M. Erb Jazz Creative Director Chair

Paradise jazz Series Thursday, April 5, 2012 at 8 p.m. in Orchestra Hall Joshua Redman/Brad Mehldau Duo Selections to be announced from the stage.

The Paradise Jazz Series is generously sponsored by

The DSO can be heard on the DSO, Chandos, London, Naxos, RCA and Mercury Record labels.

Joshua Redman

Joshua Redman is one of the most acclaimed and charismatic jazz artists to have emerged in the 1990s. Born in Berkeley, Calif., he is the son of legendary saxophonist Dewey Redman and dancer redman Renee Shedroff. He was exposed at an early age to a variety of music and instruments and began playing clarinet at age 9 before switching to what became his primary instrument, the tenor saxophone, one year later. The early influences of John Coltrane, Ornette Coleman, Cannonball Adderley and his father, Dewey Redman, among others, drew Redman deeper into music. Although Joshua loved playing the saxophone, he never seriously considered becoming a professional musician until he relocated to Brooklyn in 1991 and quickly found himself immersed in the New York jazz scene. He began jamming with some of the leading jazz musicians of his generation. In November of that year, Redman won the prestigious Thelonious Monk International Saxophone Competition. Redman later began touring and recording with jazz masters including his father, Jack www.dso.org

DeJohnette, Charlie Haden, Elvin Jones, Joe Lovano, Pat Metheny, Paul Motian, and Clark Terry. Now fully committed to his music, Redman signed with Warner Bros. Records and issued his first, self-titled album in the spring of 1993 earning Redman his first Grammy nomination. With the 1994 release of “MoodSwing,” he introduced his first permanent band including pianist Brad Mehldau, bassist Christian McBride and drummer Brian Blade. In 2002, Redman formed The Elastic Band, an electrified, groove-based trio which debuted on the 2002 releases “yaya3” and “Elastic.” The band added Drummer Jeff Ballard resulting in the 2005 release of their Grammynominated “Momentum” with Nonesuch Records. Starting in late 2009, Joshua began performing with the James Farm band which infuses traditional acoustic jazz with a modern sound. Redman has been nominated for two Grammys and has garnered top honors in critics and readers polls of DownBeat, Jazz Times, The Village Voice and Rolling Stone. He wrote and performed the music for Louis Malle’s final film Vanya on 42nd Street, and is both seen and heard in the Robert Altman film Kansas City.

Jazz pianist Brad Mehldau has recorded and performed extensively since the early 1990s. Mehldau has most consistently performed in the trio format. Starting in 1996, his group released mehldau a series of five albums on Warner Bros. Records entitled “The Art of the Trio.” Mehldau also has a solo piano recording entitled Elegiac Cycle, and an album called “Places” that includes both solo piano and trio songs. Other recordings include “Largo,” a collaborative effort with musician and producer Jon Brion and “Anything Goes,” with bassist Larry Grenadier and drummer Jorge Rossy. In addition to his trio and solo projects, Mehldau has performed with jazz musicians like saxophonist Joshua Redman, Pat Metheny, Charlie Haden and Lee Konitz. For more than a decade, he has collaborated with guitarists Peter Bernstein and Kurt Rosenwinkel and tenor saxophonist Mark Turner. Mehldau has played on recordings like Willie Nelson’s Teatro and singersongwriter Joe Henry’s Scar. His music has appeared in several movies, including Stanley Kubrick’s Eyes Wide Shut and Wim Wender’s Million Dollar Hotel. He composed an original soundtrack for the French film, Ma Femme Est Une Actrice. Two of Mehldau’s compositions were commissioned by Carnegie Hall for voice and piano, The Blue Estuaries and The Book of Hours: Love Poems to God, and performed in the spring of 2005 with acclaimed classical soprano, Renee Fleming. In March 2007, Mehldau’s piano concerto The Brady Bunch Variations for piano and orchestra debuted at Theatre du Chatelet in Paris with Orchestre national d’Ile-de-France. Mehldau was appointed curator of an annual four-concert jazz series at London’s prestigious Wigmore Hall during its 2009-2010 and 2010-2011 seasons, with Mehldau performing in two of the four concerts. In January 2010, Carnegie Hall announced the 2010-2011 season-long residency by Mehldau as holder of the Richard and Barbara Debs Composer’s Chair at Carnegie Hall, the first jazz artist to hold this position since it was established in 1995.

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Profiles

Michael Krajewski Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

pops Series Viva Italia! Friday, April 13, 2012 at 10:45 a.m. Saturday, April 14, 2012 at 8 p.m. Sunday, April 15, 2012 at 3 p.m. in Orchestra Hall Michael Krajewski, conductor Poperazzi Vocal Trio:* Janien Valentine • George DeMott • Cody Shawn Gay

arr. Robert Wendel Balli il Tarantella!

Giuseppe Verdi “Brindisi” from La Traviata*

Giacomo Puccini “O mio babbino caro” from Gianni Schicchi Janien Valentine

Cesare Andrea Bixio Mamma arr. Joel Matthys

Gioachino Rossini “Largo al factotum” from The Barber of Seville arr. Nelson

arr. Nelson Salute to the Italian Tenor George DeMott

Carol Bayer Sager The Prayer* arr. William Ross

Giacomo Puccini “Nessun dorma” from Turandot*

Luigi Denza Funiculi Funicula* arr. Giancarlo Chiaramello

I n ter mission

Domenico Modungo & That’s Volare Franco Migliacci arr. Fred Barton

Maury Yeston “Be Italian” from Nine arr. John Wasson Janien Valentine

Mario Frangoulis, Sometimes I Dream Giacomo Puccini George DeMott arr. Joel Matthys

Nino Rota Music from The Godfather arr. Gregory Prechel

arr. Tim Berens Sinatra Suite Cody Shawn Gay

arr. Joel Matthys Singing Italian Songs*

Bob Crewe, Bob Gaudio Selections from Jersey Boys* and Judy Parker arr. Steven Reineke Louis Prima Jump Jive Boogie Woogie* arr. John Wasson

The DSO can be heard on the DSO, Chandos, London, Naxos, RCA and Mercury Record labels.

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Known for his entertaining programs and clever humor, Michael Krajewski is a much sought-after conductor of symphonic pops. He is the principal pops conductor of the Houston Symphony, the Jacksonville Symphony krajewski Orchestra, and the Atlanta Symphony Orchestra — the first to hold such a title in Atlanta. As a guest conductor, Krajewski has performed with the Boston Pops, the Cincinnati Pops Orchestra and the Hollywood Bowl Orchestra. Other guest conducting appearances include the San Francisco, Dallas, Baltimore, Detroit, Indianapolis, Seattle, Phoenix and National symphonies, as well as many other orchestras across the United States. In Canada he has led the National Arts Centre Orchestra, the Calgary Philharmonic, and the Edmonton, Kitchener-Waterloo and Winnipeg symphonies. Other international appearances include performances with the Hong Kong Philharmonic, Iceland Symphony Orchestra and the Ulster Orchestra in concerts in Belfast and Dublin. Krajewski is the conductor of the video Silver Screen Serenade with violinist Jenny Oaks Baker that aired worldwide on BYU Broadcasting. He has led the Houston Symphony on two holiday albums: “Glad Tidings” and “Christmas Festival.” Krajewski’s collaborative programs have included such artists as flutist James Galway, mezzo Marilyn Horne, pianist Alicia de Larochha, guitarist Angel Romero, and pop artists Roberta Flack, Judy Collins, Art Garfunkel, Kenny Loggins, Ben Folds, Doc Severinsen, Patti Austin, Sandi Patty, Ann Hampton Callaway, the Preservation Hall Jazz Band, The Chieftains, Pink Martini, Rockapella, Cirque de la Symphonie, Classical Mystery Tour and Big Bad Voodoo Daddy. With degrees from Wayne State University in Detroit and the University of Cincinnati College-Conservatory of Music, Krajewski furthered his training at the Pierre Monteux Domaine School for Conductors. He was a Dorati Fellowship Conductor with the DSO and later served as that orchestra’s assistant conductor. He was resident conductor of the Florida Symphony and for 11 years served as music director of the Modesto Symphony Orchestra. Krajewski lives in Orlando, Florida with his wife Darcy. When not conducting he enjoys travel, photography and crossword puzzles. www.dso.org

Poperazzi

Poperazzi’s Symphony Pops shows feature a captivating and varied span of musical styles celebrating the music of Italy and songs popularized by Italian Americans. The group has performed across the U.S. and Canada including New Year’s Eve with Atlanta Symphony as well as Houston, Edmonton, Jacksonville, Pasadena, Modesto, Detroit, and Naples. Recently, they were featured on a PBS broadcast from Madison, Wisc. In addition to performing at sea on cruise lines as well as corporate events internationally, Poperazzi enjoys headline entertaining at casino showrooms in their home base of Las Vegas. Tenor Cody Shawn Gay joins Poperazzi from Las Vegas, where he currently performs up and down the Las Vegas “Strip” bringing with him a diverse range of singing talents, which have delivered him to worldwide destinations from Tokyo to Berlin. Cody studied vocal performance and musical theater at several universities in the U.S. as well as at the University of Urbino, Italy, where he played title roles in many of his favorite plays including Jekyll and Hyde and Phantom. Classically trained tenor George DeMott is a mix of classic masculinity and charm by capturing the essence of great singers from days gone by with his unique contemporary style. Singing opera to pop and everything in between, his performances have captured the hearts of listeners around the world. He has performed several classic Tenor roles and has also been the winner of several awards and competitions that include the 1993 Metropolitan Opera National Council Audition’s regional finals in Los Angeles and he was also a recipient of the National Italian-American Foundation’s Luciano Pavarotti Scholarship. Soprano Janien Valentine started her professional career at 16 when she landed her first recording contract with Amherst Records. Numerous singing awards later she decided to board a train to New York City where she landed her first audition for the hit Las Vegas show, “Starlight Express.” She has starred in three world premier musicals including Notre Dame De Paris, Men Are From Mars, Woman Are From Venus and most recently, Carmen.

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THE VALUE OF TRUE ARTISTRY CAN’T BE MEASURED. WE SHOULD KNOW.

New from Shop@The Max It’s a Spartan! It’s a Wolverine! No, it’s a DSO fan. Sport your alliance to all three with the new DSO Heavyweight tee from Jansport. This comfy, 100% cotton shirt has a sassy crew neck with long sleeves. Available in blue and green, sizes small through XXL $24.95 Visit Shop@The Max in the Orchesra Hall lobby before concerts and during intermission.

Perform ance / Vol . X X / spring 2012

Profiles Leonard Slatkin

Internationally acclaimed American conductor Leonard Slatkin began his appointment as Music Director of the Classical Series Detroit Symphony Orchestra in September Friday, April 20, 2012 at 8 p.m. of 2008. In addition to Saturday, April 21, 2012 at 8 p.m.* his post at the DSO, slatkin in Orchestra Hall August 2011 marked the start of his tenure as Music Director of Leonard Slatkin, conductor the Orchestre National de Lyon in France. Jeffrey Biegel, piano In addition, Slatkin continues to serve as Principal Guest Conductor of the Pittsburgh University Musical Society Choral Union Symphony Orchestra, a post that began in the fall of 2008. Following a 17-year tenure as Music Ludwig van Beethoven Fantasia in C minor for Piano, Chorus, Director of the Saint Louis Symphony (1770-1827) and Orchestra, Op. 80, “Choral Fantasy” Orchestra, Slatkin became Music Director Adagio of the National Symphony Orchestra in Fi nal: Allegro - Allegretto ma non troppo, Washington, D.C. in 1996. Other positions quasi andante con moto in the United States have included Principal Jeffrey Biegel, piano Guest Conductor of the Minnesota University Musical Society Choral Union Orchestra, where he founded their “Sommerfest;” first Music Director of the William Bolcom Prometheus** Cleveland Orchestra’s summer series at the (b. 1938) I. What was thy pity’s recompense? Blossom Music Festival, a post he held for II. Titan! To thee the strife was giv’n nine years; Principal Guest Conductor of III. Thy God-like crime was to be kind the Los Angeles Philharmonic Orchestra at Jeffrey Biegel, piano the Hollywood Bowl for three seasons; and University Musical Society Choral Union additional positions with the New Orleans Philharmonic and the Nashville Symphony Orchestra. I n ter mission Throughout his career, Slatkin has demonstrated a continuing commitment Antonín Dvorˇák Symphony No. 9 in E minor, Op. 95, to arts education and to reaching diverse (1841-1904) “From the New World” audiences. He is the founder and director Adagio - Allegro molto of the National Conducting Institute, an Largo advanced career development program for Molto vivace rising conductors, and founded the Saint Allegro con fuoco Louis Symphony Youth Orchestra. This year, he spearheaded the DSO’s Soundcard initiative, an all-access student pass to every *This performance will be webcast to a global audience Classical, Pops and Jazz concert at Orchestra via the “Live from Orchestra Hall” series. Hall, all season long. Maestro Slatkin’s more than 100 **DSO Co-Commission recordings have been recognized with seven Grammy awards and 64 nominations. He has recorded with the DSO, National Symphony This Classical Series concert is generously sponsored by Orchestra, Saint Louis Symphony, Minnesota Orchestra, Nashville Symphony Orchestra, Chicago Symphony Orchestra, and the New PVS Chemicals, Inc. York Philharmonic. His engagements for the 2011-2012 season include Orchestre de la Suisse Romande, Get the most out of each classical concert by attending pre-concert presentations, one hour prior to performances Seoul Philharmonic, NHK Symphony, (excluding Coffee Concerts). The presentations are informal and may include special guests, lectures and music that a tour of Germany with the Deutsches reveal interesting facts about the program and provide a behind-the-scenes look at the art of making music. Symphonie-Orchester Berlin, and the New The DSO can be heard on the DSO, Chandos, London, Naxos, RCA and Mercury Record labels. World and National Symphony Orchestras in Washington, D.C. Leonard Slatkin, Music Director

Performance / Vol . X X / spring 201 2

Neeme Järvi, Music Director Emeritus

www.dso.org

Jeffrey Biegel

Jeffrey Biegel is one of today’s most respected artists with a multi-faceted career as a pianist, recording artist, composer and arranger. His electrifying technique and mesmerizing touch biegel has received critical acclaim and garners praise worldwide. Known for his standard-setting performances, Biegel’s performances for the 2011-2012 season include his adaptation of pop legend Neil Sedaka’s Manhattan Intermezzo for piano and orchestra with Orchestra Kentucky and the World Premiere of Ellen Taaffe Zwilich’s Shadows for piano and orchestra with a consortium led by the Louisiana Philharmonic Orchestra. His recent recordings include A Steinway Christmas Album and Bach On A Steinway for the Steinway label and Leroy Anderson’s Concerto in C conducted by Detroit Symphony Orchestra (DSO) Musical Director Leonard Slatkin with the BBC Concert Orchestra, to name a few. In 2010, Biegel performed two world premieres with the Pacific Symphony Orchestra including Richard Danielpour’s Mirrors for Piano and Orchestra and William Bolcom’s Prometheus for Piano, Orchestra and Chorus. Joined by violinist Kinga Augustyn and DSO cellist Robert deMaine, Biegel created Trio21. For their inaugural season 2011-2012, they will perform a new work commissioned exclusively for Trio21 by the celebrated composer, Kenneth Fuchs. Biegel’s career is marked by bold, creative achievements. In the late 1990’s, he initiated the first live internet recitals in New York and Amsterdam, and assembled a consortium of more than 25 orchestras to celebrate the millennium with the premiere of Ellen Taaffe Zwilich’s Millennium Fantasy for piano and orchestra. In 2006, he joined 18 co-commissioning orchestras for Lowell Liebermann’s Concerto no. 3 for piano and orchestra, which was composed exclusively for him. Born a second-generation American, Biegel’s roots are of Russian and Austrian heritage. Until the age of three, he could neither hear, nor speak, until corrected by surgery. The ‘reverse Beethoven’ phenomenon can explain his life in music, having heard only vibrations in his formative years.

www.dso.org

Program Notes Fantasia in C minor for Piano, Chorus and Orchestra, Op. 80 “Choral Fantasy” Ludwig van Beethoven

B. December 15 or 16 (baptized: December 17), 1770, Bonn, Germany D. March 26, 1827, Vienna, Austria

Scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings, with mixed chorus and solo piano (approximately 18 minutes)

n December 22, 1808, Beethoven gave a concert for his own benefit at the Theater-an-der-Wien. He was given use of the venue for free, in return for his performance at a charity concert only a few weeks earlier. He chose to fill the program with his latest works, including the Fifth and Sixth symphonies, three movements from his Mass in C major, the Fourth Piano Concerto and the concert aria ‘Ah perfido.’ As if all this were not enough, he also left himself time to improvise at the keyboard. Just a few weeks before the concert, however, Beethoven was inspired to compose a brilliant finale to this program, one which would not only make use of orchestra and piano, but which would also employ voices. He had been thinking about writing such a work for some time; now, with a benefit program of his own works before him, he decided to make the most of the opportunity. Beethoven wrote the new work with incredible speed; not in a single night (as he thought about claiming to his publisher), but probably in the space of about three weeks. The Fantasia took shape in some 75 pages of sketches before Beethoven set to work on the full score. Since this program of new works came together so quickly and involved so many varied forces, it was inevitable that something unexpected should occur. On the day of the concert the ink was still damp on some of the parts, there had not been enough time to adequately rehearse all the new works, and there had even been the threat of a musician’s strike during early rehearsals. In rehearsal, Beethoven had instructed the musicians to disregard one repeat mark in the work which later, in performance, he himself (as piano soloist), observed. Disaster followed; happily, he was able to hear what was happening and he stopped the musicians, beginning the work anew. He later apologized to the orchestra.

The work was still so new that the opening piano part of the Fantasia hadn’t yet been written down: Beethoven had improvised it on the spot. The work can be broken into four sections: an introduction, followed by a theme with variations; a return to the introduction and then a choral treatment of the variation theme. While this analysis does not take into account all the varied changes in tempo, it is still easily followed, and the variation theme, however subtly disguised, is always recognizable. It is taken from a song titled Gegenliebe which Beethoven composed in 1795; however, it required a new text in order to be used in the Fantasia. Beethoven’s pupil Schindler (who was not always the most reliable source) claimed that new words were written by Christoph Kuffner, but since alternative text is known to exist for some sections this claim is doubtful. The most exhilarating feature of the Fantasia is in Beethoven’s combination of Emperor Concerto-style piano writing coupled with Choral Symphony-style vocal writing. In fact, the work as a whole fascinates listeners because it so vividly foreshadows effects Beethoven used in his Ninth Symphony, particularly at the twiceemphasized change of harmony on ‘Und Kraft,’ – just as he was later to set ‘Vor Gott’ from the Ode to Joy. Coincidentally, the Gegenliebe tune follows a similar stepwise construction as would later be used for the now-famous Ode melody. While the variations move through a kaleidoscope of styles (a couple of which incorporate references to popular musical tastes of the day), there is also a March variation that anticipates the tenor solo from the Ninth. Whether innovator, showman, or a little of both, Beethoven knew that a truly special work was needed to cap off that extraordinary program of December 22, 1808. In a fit of inspiration (which would later pave the way for the Ninth Symphony) the Choral Fantasy was born. The most recent DSO performance of Beethoven’s Fantasia in C minor for Piano, Chorus and Orchestra, Op. 80 was in September 1986, at a Subscription concert conducted by Günther Herbig. SO Shop @ The Ma x D recommends:

Beethoven – Choral Fantasy: PierreLaurent Aimard, piano, Nikolaus Harnoncourt conducting the Chamber Orchestra of Europe, Teldec 60602.

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Prometheus

William Bolcom

(b. 1938)

Prometheus is scored for three flutes (third doubles as piccolo), two oboes, English horn, two B-flat clarinets and bass clarinet, two bassoons and contrabassoon, four horns in F, three trumpets in C, two trombones and bass trombone, tuba, celesta, timpani, four percussionists, SATB chorus, solo piano and strings.

he composer writes: It is undeniable that our century and millennium have not gotten off to an auspicious start, with Sept. 11, 2001, our worldwide economic crisis, and all the ills the 20th century has foisted on the 21st. The ancient legend of Prometheus is a perfect metaphor for our time; in it the god is chained to a rock with a huge bird gnawing at his vitals, which are eternally renewed and eternally destroyed each day. To much of the rest of the world the West is Prometheus, whose fire has fueled the technological expansion of the last 500 years — electricity, steam, oil, the atom, and the computer. The sense of power we’ve all gained thereby has simultaneously pulled us away from religion, and freed of its restraint, we in the West have brought ourselves to a level of technical sophistication unknown to any other era. We’ve wedged our way into almost-divine capability, unlike Prometheus who, as a god, was born with it — but at a price. We are now all Prometheus, chained to our rock of technological dependency; there is no question that our unprecedented advance has given the world enormous benefits we have no desire of relinquishing – nor should we — but we are enjoined to see the dark side of this bounty. George Gordon, Lord Byron (17881824) is, with Percy Bysshe Shelley and William Blake, among the first poets to speak of the new interest in science of his era. His poem, Prometheus, coming as it does from the early industrial revolution, examines the antipodes we are haplessly hurled between constantly as well as the West’s altruism that has fueled so much of the modern world’s predicament. When I was requested to write the present work for the same forces as Beethoven’s Choral Fantasy, I felt the piano part would be ideal in portraying Prometheus’ eternal agony; my Prometheus is perhaps the antithesis of the joyous mood of the Beethoven (you will hear tonight) but is not devoid of hope, particularly if it points us to begin to understand our situation. This piece is 24

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dedicated to that hope. The opening piano solo evoking Prometheus’ eternal struggle against his chains precedes the first stanza of Byron’s poem, in a contoured, unpitched recitation by the chorus with the piano. This is followed by an apocalyptic fanfare from the orchestra and the first statement, in falling brass triads, of the central motive of the piece; the piano returns, gently this time, with the rest of the orchestra, moving toward a climax. The subsequent solo piano passage depicting the giant bird’s attacks points toward the first movement’s quiet closing. Movement II, marked in the score “lively; like sparks,” involves for the first time the entire ensemble of piano, chorus, and orchestra; in it Prometheus’ inescapable fate is shown. A short piano interlude derived from the work’s opening ensues, followed by the chorus and orchestra lamenting both Prometheus’ fate and Zeus’ regretful meting of his dire punishment by lightning bolts, portrayed by the piano. The movement ends on a tragic note, employing the earlier triadic motive in a quiet ending, which flows attacca into the final section. The chorus, alone for the first time, intones “Thy Godlike crime was to be kind,” in antiphony with the brass. Here, again with piano and the rest of the orchestra, follows the meditation at the core of the poem: “Like thee, Man is in part divine, / A troubled stream from a pure source.” After the strife of the rest of Prometheus comes a peace derived from greater understanding that I feel we will someday acquire, and for which I pray fervently. This performance of Bolcom’s Prometheus is a DSO premiere. SO Shop @ The Ma x D recommends:

Bolcom – Prometheus: no recording currently available..

Symphony No. 9, in E Minor (‘From the New World’)

Antonín (Leopold) Dvořák

B. September 8, 1841, Nelahozeves, Czech Republic D. May 1, 1904, Prague, Czech Republic

Dvořák’s Symphony No. 9 ‘From the New World’ was first performed on December 16, 1893 at Carnegie Hall, with Anton Seidl conducting. It is scored for two flutes (the second doubling on piccolo), two oboes (the second doubling on English horn), two clarinets, two bassoons, four horns, two trumpets, three trombones,

tuba, timpani, triangle, cymbals and strings (approximately 40 minutes).

ntonín Dvořák, along with Bedřich Smetana and Leoš Janáček, is regarded as one of the greatest composers of the nationalist movement that sprang up in what was then referred to as Bohemia. Of these three, he achieved the most successful reconciliation of a national idiom with the symphonic tradition, absorbing native folk influences and finding effective ways of using them in orchestral, choral, chamber and operatic music. There was hardly a musical form he did not attempt. Dvořák’s works are characterized throughout by an abundance of invention and a sense of ease and spontaneity of expression. As a composer, Dvořák was neither a conservative nor a radical. He combined a profound admiration for the Classical composers with a keen interest in contemporary developments. His music displays a variety of influences: Czech and American folk music; earlier composers whose work he particularly admired, notably Mozart, Haydn, Beethoven and Schubert; Wagner; and his close friend Brahms. In June of 1891, Dvořák was invited by Mrs. Jeannette Thurber to take up the directorship of the National Conservatory of Music in New York, at the then princely salary of $15,000 a year. Mrs. Thurber’s aim in inviting him was twofold: she wanted a famous name, rather than an administrator, for her conservatory, and she hoped Dvořák would succeed in founding a distinctly American “school” of composition. Dvořák arrived in New York in 1892 to assume his new post. Although Mrs. Thurber’s financial difficulties and the composer’s intense homesickness would ultimately result in a relatively short tenure, he would produce several important compositions that reflected his experiences and emotional investment in the music and life of the New World. The most enduring of these was his ninth and final symphony. Taken as a whole, the symphony represents the composer’s ingenious effort to internalize what he perceived to be “America’s music” and render it in broad, symphonic gestures. Dvořák was particularly fascinated with the culture and music of both Native Americans and African-Americans. From Harry Burleigh, an African-American student at the National Conservatory, he learned spirituals and plantation songs. Although the majority of his interactions with Native Americans came after the composition of the symphony, Dvořák studied transcriptions of Native American music provided to him by Henry Krehbiel, an Ann Arbor, Mich. native who had become a prominent music www.dso.org

critic in New York. The evidence of this exposure can be heard in the music, particularly in the second movement’s melancholy English horn solo (which emulates the feel of an African-American spiritual) and in the finale’s primary theme, which in its melodic inflection and terse rhythmic energy suggests Native American song. If in terms of intellectual subtlety the New World is not quite the equal of the 7th or 8th symphonies, it lacks nothing in the directness and vivid quality of its ideas or their integration. Following its triumph, Dvořák would turn his back on symphonic form and would focus his inspiration on his last two string quartets, his great Cello Concerto and the symphonic poems that were to occupy him in later years. The work is in four movements, as follows: The first movement begins with a slow introduction in which descending melodic lines are punctuated by ominous horn calls. With the start of the Allegro section, the orchestral forces gather tempestuous energy that culminates in an emphatic statement of the primary theme carried by trombones and basses to the final measures. The second movement is panoramic in the breadth of its phrasing and expressive content. The openness of the initial brass chorale always strikes the ear as new and fresh while the English horn solo that follows remains one of the most moving passages in the repertoire. Dvořák explained that the third movement depicts ‘Hiawatha’s Wedding Feast’ from Longfellow’s poem and the listener might imagine Native American drums in the strings. The finale opens with a repeated, tension-building gesture that leads directly into a defiant theme for trumpets and horns. The secondary theme is a gentle solo for clarinet, providing contrast, but things really get interesting when the primary theme from the first movement returns to settle accounts with the primary theme from the finale. The symphony’s final chord is both understated and unexpected. The DSO first performed Dvořák’s Symphony No. 9 in E minor “From the New World” on February 26, 1914, with Weston Gales conducting. The most recent DSO performance took place on a Classical series concert in April 2011 with Leonard Slatkin conducting. SO Shop @ The Ma x D recommends:

Dvořák – Symphony No. 9, “From the New World”: Neeme Järvi conducting the Scottish National Orchestra, Chandos 8510. www.dso.org

UMS Choral Union

Jerry Blackstone, Conductor and Musical Director Arian Khaefi, Assistant Conductor Jean Schneider and Scott VanOrnum, Accompanists Kathleen Operhall, Chorus Manager Nancy K. Paul, Librarian Donald Bryant, Conductor Emeritus Soprano Kathryn Borden Jamie Bott Debra Joy Brabenec Anne Busch Carol Callen Saya Callner Susan F. Campbell Young Cho Cheryl D. Clarkson Elizabeth Crabtree Marie Ankenbruck Davis Carrie Deierlein Kristina Eden Emilia Fracz Karen T. Isble Anne Jaskot Emily Jennings Kyoung Kim Alana Kirby Patricia Lindemann Katherine Lu Natalie Lueth Loretta Lovalvo Sara McMullen-Laird Carole C. McNamara Toni Marie Micik # Ann Ophoff Ann Orwin Nancy K. Paul Ann Payne Sara J. Peth Margaret Dearden Petersen Julie L. Pierce Camille Porter Allie Schachter Erin L. Scheffler- Franklin Mary Schieve Joy C. Schultz Amy Smith Elizabeth Starr Ellen Storch Sue Ellen Straub Virginia A. ThorneHerrmann Barbara Hertz Wallgren Margie Warrick Barbara J. Weathers Mary Wigton* Alto Paula Allison-England Carol Barnhart Dody Blackstone

Margy Boshoven Carole DeHart Elise Demitrack Melissa Doyle Marilyn Finkbeiner Katherine Fisher Grace K. Gheen Siri Gottlieb Johanna Grum Linda Hagopian Sook Han Nancy Heaton Lisa Hills Laura Holladay Stacey Hoopes Josephine Kasa-Vubu Jean Leverich Cynthia Lunan Karla K. Manson# Marilyn Meeker* Nicole Michelotti Carol Milstein Francesca Minonne Kathleen Operhall Hannah Martha Reincke Beverly Slater Hanna Song Katherine Spindler Ruth A. Theobald Lauren Tian Alice E. Tremont Barbara Trevethan Cheryl Utiger Alice VanWambeke Rachelle Barcus Warren Iris Wei Mary Beth Westin Allison Anastasio Zeglis Tenor Michael Ansara Gary Banks John Beresford Reed Blaylock Alex Bryan George Case Fr. Timothy J. Dombrowski Steven Fudge* Randy Gilchrist Arthur Gulick Marius P. Jooste Ezra Keshet Arian Khaefi Bob Klaffke

Andrew S. Kohler Mark A. Krempski# Richard Marsh Nicholas Mischel Nathan Reiff David Schnerer Ray Shuster Christopher Switzer Patrick Tonks William Scott Walters Bass Sam Baetzel Joseph Baldwin William Baxter William Boggs# Paul Bowling John Dryden Charlie Dwyer Don Faber Kenneth A. Freeman Christopher Friese Mark Goodhart Chris Hampson James Head Zachery Kirkland Edward Maki-Schramm Joseph D. McCadden James B. McCarthy Gerald Miller Brandon Pemberton Michael Peterson Michael Pratt James Rhodenhiser Michael Schachter Derek Shapiro William Shell Peter Shirts Rob Silversmith Donald Sizemore* Jeff Spindler Alex Sutton Terril O. Tompkins Thomas L. Trevethan John Van Bolt Alexander Von HagenJamar Paul Venema *section leader #section coach

Perform ance / Vol . X X / spring 2012

Profiles Kraig Parker

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

pops series A Tribute to Elvis Friday, April 27, 2012 at 10:45 a.m. Saturday, April 28, 2012 at 8 p.m. in Orchestra Hall Bryan English, conductor Kraig Parker, vocalist Randee Lee, guitar • Randy Cates, bass guitar Rod Foster, drums • Scott Morris, piano Genevieve Dew, vocals • Rheda K. Solo, vocals all songs arranged by Bryan English 2001 (Also Sprach Zarathustra) That’s Alright Burnin’ Love You Gave me a Mountain In the Ghetto Something Love me Tender Never Been to Spain Kentucky Rain One Night You’ve Lost that Lovin Feeling Bridge Over Troubled Water All Shook Up If I Can Dream

I n ter mission

Prelude to Act II See See Rider Lawdy, Lawdy The Wonder of You Sweet Caroline I’ll Remember You Teddy Bear/Don’t Be Cruel I Just Can’t Help Believing What Now My Love Blue Suede Shoes/Hound Dog/Jailhouse Rock My Way Suspicious Minds How Great Thou Art American Trilogy Can’t Help Falling in Love That’s Alright (vamp mm. 23-32)

The DSO can be heard on the DSO, Chandos, London, Naxos, RCA and Mercury Record labels.

Performance / Vol . X X / spring 201 2

From Las Vegas to London, Kraig Parker has been called the “ultimate image of Elvis Presley.” He has astonished crowds for over 15 years with his amazing tribute to the “King of Rock and parker Roll.” All ages are “shook up” by Parker’s amazing likeness to Elvis Presley in look, voice, moves and stage presence. There is screaming, there is swooning and there is the trademark scarf giveaway. This exciting tribute performance has left audiences stunned, thrilled and hungry for more. Unlike many imitators, Parker hits the stage with a full Las Vegas style show band. He has performed with some of Presley’s original singers such as The Jordanaires, The Stamps Quartet and the Sweet Inspirations. In addition, several of Presley’s original body guards as well as Loanne Parker, widow of Colonel Tom Parker, have welcomed Parker as a premier tribute to Presley and a good friend. Even critics have stated this is as good as it gets... “Elvis would be proud!” Prior to performing as Presley, Parker led various rock bands and recording projects, but never seemed to find his niche in the music business until he donned a rhinestone jumpsuit and portrayed the King at an office party. From then on, he knew he was meant to play the role of Presley. Since forming the project in 1996, Parker and his Royal Tribute Band and Orchestra toured around the world in major venues such as sports arenas, concert halls, performing arts theatres, casinos and fairs.

Bryan English

Bryan English holds degrees from Texas Christian University and the University of North Texas, where he received his Doctor of Musical Arts degree. Dr. English is the conductor/ English arranger for Kraig Parker’s Symphonic Tribute to Elvis, and has also conducted the Buffalo Philharmonic, the Phoenix Symphony, the Fort Worth Symphony, and the Northeast Orchestra. His performing credits include the Willie Nelson and George Strait bands, the Dallas www.dso.org

Wind Symphony, Tim Ries of the Rolling Stones, Brad Leali, Maria Schneider, the Shelley Carrol Big Band, the North Texas One O’Clock Lab Band, the Texas Wind Symphony, the San Angelo Symphony, and the Fort Worth Symphony. He also composes soundtracks for the Starz Network’s award-winning website www. HowItShouldHaveEnded.com. Dr. English is also the Creative Director for the Dallasbased, modern big band, the Mad Men Swing Band. His solo album, “Collage,” features a jazzy compilation of modern instrumental music and is available on iTunes.

Celebrating excellence.

Grand Valley STaTe UnIVerSITy celebraTeS The ImaGInaTIon, creaTIVITy, and beaUTy of The fIne arTS. We appreciate the performances that inspire and enlighten us. And, we applaud the artists who share our passion for excellence and our commitment to personal achievement. gvsu.edu | (616) 331-2025 The DSO would like to congratulate Principal Tuba Dennis Nulty on receiving his tenure this season. The 2011-12 season marks his third year with the orchestra. This achievement makes Nulty, 32, the newest tenured member of the DSO since violinists Adrienne Rönmark and Hong-Yi Mo were awarded tenure in 2009.

Reach Metro Detroit’s Best Audience For advertising rates and availability in upcoming issues call (248) 582-9690.

www.echopublications.com online edition www.dsoperformance.com

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Perform ance / Vol . X X / spring 201 2

Education

Victor S. Mangona

The DSO Education Department — an ecosystem of music learning accessible • excellent • inspirational • diverse • empowering Upcoming CYE Concerts

Victor S. Mangona

April 5 Civic Jazz Live! Civic Jazz Band and Combo B 6:45 p.m. in The Music Box April 15 Civic Jazz Jam Session 6 p.m. at Cliff Bells April 22 Chamber Music and Civic Orchestra 2 p.m. in Orchestra Hall

To learn more about the DSO’s Civic Youth Ensemble programs, including upcoming concert and audition information, please visit www.dso.org/civic or email civic@dso.org CYE Rehearses: Wind Studies: Tuesdays Jazz Studies: Wednesdays Classical Studies: Saturdays The DSO Civic Youth Ensembles are tuition-based programs that operate during the school year. Financial assistance opportunities are available. 28

Perform ance / Vol . X X / spring 201 2

May 12 Civic Spring Experience I 1-4 p.m. in the Max M. Fischer Music Center May 13 Civic Spring Experience II 1-4 p.m. in the Max M. Fischer Music Center May 26 Race for the Cure — New Orleans Ensemble 8:30 a.m. on Woodward Ave

In-School Education Concerts Detroit Symphony Orchestra April 11, 2012 at North Farmington High School at 1 p.m. conducted by Jeffrey Pollock Detroit Symphony Orchestra April 25, 2012 at University Prep Academy – Mark Murray Elementary School at 1 p.m. conducted by Rick Robinson

John sobczak

Audition Now for the 2012-13 Season

May 4 Civic Jazz Live! Civic Jazz Orchestra 6:15 p.m. in The Music Box Patricia Lay-dorsery

Reflecting the Detroit Symphony Orchestra’s commitment to developing the next generation of musicians and music supporters, the Civic Youth Ensembles have established themselves as Michigan’s most comprehensive pre-professional training program. The Civic Youth Ensembles offer training and performance opportunities for students of all ability levels-from middle school to college undergraduate students in the following areas: Wind, Classical, and Jazz Studies. All students benefit from one-onone interaction with DSO musicians, internationally renowned artists all while performing in the state of the art facilities of the Max M. Fisher Music Center-including historic Orchestra Hall. We invite you to join our ever-expanding Civic Youth Ensembles family.

Power of Dreams Concert

May 6, 2012 at 7 p.m. in Orchestra Hall Free Admission

www.dso.org

General Information Parking Valet Parking is available on Woodward Avenue in front of the main entrance for $12 per vehicle. Secure Garage Parking is available for $7 per vehicle at the Orchestra Place Parking Deck on Parsons St. between Woodward Ave. and Cass Ave. For improved traffic flow, please enter Parsons St. from Cass Ave. DSO security personnel monitor the grounds of the Max and the parking deck, as well as surrounding streets during all events and concerts. The parking deck has reserved space for patrons with handicap permits. Parking for Coffee Concerts is also available in the Orchestra Place Parking Deck. The DSO offers shuttle bus service to Coffee Concerts from selected locations. Call 313.576.5130 for more information. Restrooms Men’s, women’s and family restrooms are located on all levels of the Atrium Lobby. Additional men’s and women’s restrooms are located on the Box Level of Orchestra Hall and on the lower level of the Main Floor. Refreshments Cash bar service and light refreshments are available in the atrium area of the Max M. Fisher Music Center 90

minutes prior to concert time and during intermission. We invite you to place your beverage orders with the bartenders prior to the start of the concert and your order will be waiting for you at intermission! Smoking The DSO is pleased to offer a smokefree environment at the Max M. Fisher Music Center. Smoking is not permitted anywhere inside the building. Patrons who wish to smoke must do so outside the building. An outdoor patio is also available on the second level of the Atrium Lobby. Accessibility Parking is available in the Orchestra Place Parking Deck for patrons with handicap permits. There are elevators, barrier-free restrooms and accessible seating in all areas of the Max M. Fisher Music Center. Security personnel are available at the entrances to assist handicapped patrons in and out of vehicles. Hearing assistance devices are available. Please see an usher prior to the performance. Late Seating Policy The DSO makes every attempt to begin concerts on time. In deference to the

comfort and listening pleasure of the audience, latecomers will be seated after the conclusion of the first work on the program. Patrons who leave the hall before or during a work will be reseated after the work is completed. Ushers will alert patrons as soon as it is possible to be seated. House lights are dimmed to indicate that the concert is about to begin. Latecomers will be able to watch the performance on closedcircuit television in the Atrium Lobby.

Patrons should speak to the House Manager to make special arrangements to receive emergency phone calls during a performance. The DSO thanks you for your cooperation in avoiding any extraneous sounds during the concerts. The hall microphones used to record the orchestra are extremely sensitive and will even record the sound of a wristwatch chime. Lost and Found See the House Manager or call 313.576.5199 during business hours.

Photography and Video Recording The DSO is active on many social media platforms. We encourage you to share your best pictures at www.facebook.com/detroitsymphony and your videos at www.youtube.com.

Gift Certificates Give friends and loved ones a gift that lasts all year long—the experience of a DSO performance. Gift certificates are available in any denomination and may be used toward the purchase of DSO concert tickets. Visit the DSO Box Office at the Max M. Fisher Music Center or call 313.576.5111 for more information.

Concert Cancellations To find out if a scheduled performance at the Max M. Fisher Music Center has been cancelled due to inclement weather, hazardous roads, power outages or other emergencies, call the Box Office at 313.576.5111, or tune in to WJR 760 AM and WWJ 950 AM.

Max M. Fisher Music Center Rental Information The Max M. Fisher Music Center is an ideal setting for a variety of events and performances. For information on renting the facility, please call 313.576.5050. Rental information is also available online at www.dso.org/rent.

Pagers, Phones, Watches and Extraneous Sounds Cellular phones, pagers and alarm watches must be turned off while at the Max M. Fisher Music Center.

Administrative Staff Executive Office Anne Parsons President and CEO Paul W. Hogle Executive Vice President Patricia Walker Chief Operating Officer Rozanne Kokko Chief Finance and Business Officer Anne Wilczak Managing Director, Special Events and Projects Aja G. Stephens Executive Assistant to the President and CEO Orchestra Operations & Artistic Planning Erik Rönmark Artistic Administrator

Information Systems

Education

Laura Lee Information Systems Specialist

Holly Clement Senior Manager of Event Sales and Administration

Human Resources

Joy Crawford Patron and Organizational Assistance Coordinator

Charles Burke Senior Director of Education Artistic Director of Civic Youth Ensembles Cameron Ferguson Civic Youth Ensembles Coordinator Emily Lamoreaux Manager of Civic Youth Ensembles Cecilia Sharpe Manager of Education Programs Mike Spiegel Education Coordinator

Kareem George Managing Director of Community Programs

Facility Operations

Kathryn Ginsburg Artistic Coordinator

Larry Ensman Maintenance Supervisor

Charles Greenwell Conducting Assistant Heather Hart Assistant Orchestra Personnel Manager Stephen Molina Orchestra Personnel Manager Nicole New Manager of Popular and Special Programming

Patron Development & Sales Angela Detlor Acting Director of Patron Development and Sales

Alice Sauro Director of Operations and Executive Assistant to the Music Director

Sue Black Facilities Coordinator

Greg Schmizzi Chief of Security Finance Donielle Hardy Controller

Dick Jacques Director of Information Technology

Renecia Lowery Jeter Director of Human Resources History/Archives Paul Ganson Historian Cynthia Korolov Archivist Patron & Institutional Advancement Reimer Priester Senior Director of Patron and Institutional Advancement Cassie Brenske Governing Members Gift Officer Marianne Dorais Foundation and Government Relations Officer Chelsea Kotula Board and Volunteer Relations Coordinator

Jeremiah Hess Director of Finance

Alyce Sclafani Patron and Institutional Advancement Coordinator

Sandra Mazza Accountant

Aysha Siddique Corporate Relations Manager

Elaine Curvin Executive Assistant Mona DeQuis Assistant Manager of Retail Sales Chuck Dyer Manager of Group Sales and Corporate Sales Christopher Harrington Patron Development and Sales Manager Jennifer Kouassi Front of House Manager Heather Mourer Neighborhood Audience Development Manager B.J. Pearson Senior Manager of Event Operations Gabrielle Poshadlo Patron Communications and Public Relations Manager Anna Savone Food and Beverage Manager

Patron Engagement & Loyalty Programs Scott Harrison Senior Director of Patron Engagement and Loyalty Programs Executive Producer of Digital Media Will Broner Patron Engagement Officer Connie Campbell Senior Manager of Patron Engagement Sharon Carr Assistant Manager of Patron Engagement Lindsey Evert Loyalty Programs Manager La Heidra Marshall Patron Engagement Officer Marty Morhardt Patron Engagement Assistant Juanda Pack Senior Patron Engagement Officer Tiiko Reese-Douglas Patron Engagement Officer Erica Schuler Patron Acknowledgment and Gift Systems Coordinator Eric Woodhams Manager of Digital Media and Engagement

Paul Yee Retail Sales Manager

Nancy Prochazka Accountant www.dso.org

Perform ance / Vol . X X / spring 2012

Legacy Donors Members of THE Musical LEGACY Society

The Detroit Symphony Orchestra Board of Directors is pleased to honor and recognize the Musical Legacy Society. These patrons, friends, and subscribers have named the Orchestra in their estate plans. For information about making a bequest or other planned gift to the DSO, please contact the Office of Patron and Institutional Advancement at 313.576.5400. Robert G. Abgarian† Doris L. Adler Dr. & Mrs. William C. Albert Mr. & Mrs. Robert A. Allesee Dr. Lourdes V. Andaya Anonymous Dr. Agustin & Nancy Arbulu Jeanne Bakale & Roger Dye Sally & Donald Baker Mr. & Mrs. Lee Barthel Lillian & Don Bauder Mrs. Doris Beauvais† Bertram Behrens† Mr. & Mrs. Robert A. Benton Michael & Christine Berns Mrs. Art Blair Robert T. Bomier Gwen & Richard Bowlby Mrs. J. Brownfain Ilse & Roy Calcagno Gladys L. Caldroney† Dr. & Mrs. Victor J. Cervenak Eleanor A. Christie Mary F. Christner Lois & Avern Cohn Mrs. Robert Comstock Dorothy M. Craig Mr. & Mrs. John Cruikshank Ms. Leslie Devereaux John & Ann Diebel Jeanne Bakale & Roger Dye Ms. Bette J. Dyer Edwin & Rosemarie Dyer Mr. & Mrs. Robert G. Eidson Marianne Endicott Jean E. Fair† Ms. Dorothy Fisher Max M.† & Marjorie S. Fisher Emory M. Ford, Jr. † Mrs. John B. Ford, Jr.† Dr. Saul & Mrs. Helen Forman Barbara Frankel & Ronald Michalak Herman & Sharon Frankel Rema Frankel Jane French Dr. & Mrs. Byron P. Georgeson Ruth & Al Glancy Dorothy & Herbert Graebner†

Perform ance / Vol . X X / spring 201 2

Donald Ray Haas† Mr. David Handleman† Donna & Eugene Hartwig Dr. & Mrs. Gerhardt Hein Ms. Nancy B. Henk Mr. & Mrs. Thomas N. Hitchman Betty Q. Hoard† Mr. Gordon V. Hoialmen† Mr. & Mrs. Richard N. Holloway David & Sheri Jaffa Mr. & Mrs. Thomas H. Jeffs II Lenard & Connie Johnston Drs. Anthony & Joyce Kales Faye & Austin Kanter June K. Kendall Mr. Raymond L. Kizer† Ms. Phyllis Korn Ms. Selma Korn Dimitri & Suzanne Kosacheff Mr. & Mrs. Arthur Krolikowski Mr. Jim LaTulip Ms. Thelma M. Lauderbaugh Ann C. Lawson Allan S. Leonard Ms. Lila Logan† Mr. Lester H. London Harold & Elizabeth Lundquist Roberta Maki John M. Malone, M.D. Ms. Bonita J. Marshall† Mr. Glenn Maxwell Ms. Jane C. Mckee Rhoda A. Milgrim John E. & Marcia Miller Mr. & Mrs. Jerald A. Mitchell Mr. & Mrs. L. William Moll Mrs. Peters Oppermann† Mr. Dale J. Pangonis Ms. Mary W. Parker Paul M. Huxley & Cynthia J. Pasky Mrs. Sophie Pearlstein Elizabeth Pecsenye† Mr. & Mrs. Wesley R. Pelling Ms. Esther E. Peters† Mrs. Dorothy M. Pettit† Mrs. Bernard E. Pincus Ms. Christina Pitts Mrs. Robert Plummer

Mr. & Mrs. Peter T. Ponta Edith S. Quintana† Fair & Steven Radom Mr. & Mrs. Douglas J. Rasmussen George A. Raymond† Ms. Rhoda N. Reed† Mr. & Mrs. Lloyd E. Reuss Barbara Gage Rex Ms. Marianne Reye Katherine D. Rines Bernard & Eleanor Robertson Jack & Aviva Robinson Mrs. Ruth Rothschild† Dr. Margaret M. Ryan Mrs. Shirley W. Sarver† Mr. & Mrs. Fred Secrest Robert & Dorothy Selik† Mr. Lee W. Slazinski† Mr. Terrence Smith Ms. Violet Spitzer† Mr. & Mrs. Mark C. Stevens† Mr. & Mrs. Walter C. Stuecken Mr. & Mrs. Alexander Suczek Mrs. Elizabeth Tamagne† Margaret D. Thurber† Caroline & Richard Torley Mr. Edward Tusset Mr. David Patria & Ms. Barbara A. Underwood Mrs. Jane Van Dragt Mrs. Richard C. Van Dusen Mr. & Mrs. Melvin VanderBrug Mr. & Mrs. George C. Vincent Ms. Margaret Watkins† Mr. & Mrs. Hubert P. Watson† Mr. & Mrs. Keith C. Weber Mr. & Mrs. John F. Werner Mr. & Mrs. Arthur Wilhelm Mr. & Mrs. James A. Williams Ms. Barbara Wojtas Mrs. Treva Womble Ms. Helen Woolfenden† Walter P. & Elizabeth B. Work Dr. & Mrs. Clyde Wu Ms. Andrea L. Wulf † Deceased

www.dso.org

The Annual Fund Gifts received between January 1, 2011 and February 29, 2012

Being a Community-Supported Orchestra means you can play your part through frequent ticket purchases and generous annual donations. Ticket sales cover only a fraction of DSO program costs so community contributions are essential to the Orchestra’s future survival. 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 a question about this roster, or for more information about how you can make a donation, please contact 313.576.5114 or www.dso.org/donate Platinum Baton giving of $250,000 and more

Mr. & Mrs. Stanley Frankel

Mr. & Mrs. James B. Nicholson

Gold Baton giving of $100,000 and more Mr. & Mrs. Lee Barthel

Max M. & Marjorie S. Fisher Foundation

Ms. Cynthia J. Pasky & Mr. Paul M. Huxley

The Mandell L. & Madeleine H. Berman Family Foundation

Emory M. Ford, Jr. Endowment

Cindy and Leonard Slatkin

The Edward & Helen Mardigian Foundation

Mrs. Richard C. Van Dusen

Mr. & Mrs. Richard L. Alonzo

Ms. Leslie Devereaux

Ms. Mary W. Parker

Penny & Harold Blumenstein

Linda Dresner & Ed Levy, Jr.

Bernard & Eleanor Robertson

Mr. & Mrs. John A. Boll, Sr.

Mr. & Mrs. Phillip Fisher

Dr. & Mrs. Clyde Wu

Mr. & Mrs. Eugene Applebaum

Herman & Sharon Frankel

Mr. & Mrs. Francois Castaing

Ruth & Al Glancy

Mr. & Mrs. Alan E. Schwartz & Mrs. Jean Shapero

Mr. & Mrs. Raymond M. Cracchiolo

Mr. & Mrs. Morton E. Harris

Marvin & Betty Danto Family Foundation

Mr. & Mrs. Richard P. Kughn

Sidney & Madeline Forbes

Mr. & Mrs. Richard A. Manoogian

Mr. & Mrs. Peter D. Cummings

†

Silver Baton giving of $50,000 and more

Giving of $25,000 and more

Mr. & Mrs. Larry Sherman Mr. & Mrs. Donald R. Simon Arthur & Trudy Weiss

The Polk Family

Giving of $10,000 and more Mr. & Mrs. Herbert A. Abrash

Mr. & Mrs. James Grosfeld

Jim & Mary Beth Nicholson

Daniel & Rose Angelucci

Dr. Gloria Heppner

Mr. and Mrs. George Nyman

Mr. Donald Bauder & Dr. Lillian Bauder

Mr. & Mrs. Ronald Horwitz

Anne Parsons & Donald Dietz

Cecilia Benner

Doreen Hermelin

Mr. & Mrs. Bruce D. Peterson

Leo & Betty Blazok

Julius & Cynthia Huebner Foundation

Dr. William F. Pickard

Mr. & Mrs. Robert H. Bluestein

Mr. Sharad P. Jain

Ms. Ruth Rattner

Mr. & Mrs. Jim Bonahoom

Faye & Austin Kanter

Mr. & Mrs. Lloyd E. Reuss

Ms. Liz Boone & Mr. Toby Barlow

Mr. & Mrs. Norman D. Katz

Jack & Aviva Robinson

Mr. & Mrs. Richard A. Brodie

Mr. & Mrs. Bernard S. Kent

Marjorie & Saul Saulson

The Honorable & Mrs. Avern Cohn

Mrs. Bonnie Larson

Mark & Lois Shaevsky

Mrs. Marianne Endicott

Mr. David Lebenbom

Mr. & Mrs. John Stroh III

Mrs. Kathryn Fife

Marguerite & David Lentz

Mr. Robert VanWalleghem

Dr. Saul & Mrs. Helen Forman

Dr. Melvin A. Lester

Mr. & Mrs. R. Jamison Williams

Dale & Bruce Frankel

Mr. & Mrs. Arthur C. Liebler

Mr. & Mrs. Alan Zekelman

Mrs. Rema Frankel

Mr. & Mrs. Eugene A. Miller

Paul M. Zlotoff

Maxine & Stuart Frankel Foundation

Geoffrey S. Nathan & Margaret E. Winters

Mrs. Paul Zuckerman

Dorothy & Byron Gerson www.dso.org

† Deceased

Perform ance / Vol . X X / spring 201 2

Giving of $5,000 and more

Mr. & Mrs. A. E. Igleheart

Jane & Curt Russell

Jeanne Bakale & Roger Dye

Mr. & Mrs. Robert A. Allesee

Mr. & Mrs. Richard J. Jessup

Mr. & Mrs. Fred Secrest

Anonymous

Chacona & Arthur L.† Johnson

Elaine & Michael Serling

Mr. J. Addison Bartush

Mr. Maxwell Jospey†

Mr. Stephan Sharf

Mr. & Mrs. Martin S. Baum

Mrs. Jacob Kellman

Mr. & Mrs. Leonard W. Smith

Ken & Mary Beattie

Michael E. Smerza & Nancy Keppelman

John J. Solecki

Mrs. John G. Bielawski

Mr. Richard A. Sonenklar & Mr. Gregory Haynes

Joseph & Barbra Bloch

Dr. & Mrs. David Kessel

Dr. & Mrs. Rudrick E. Boucher

Mr. & Mrs. William P. Kingsley

Renate & Richard Soulen

Mr. & Mrs. S. Elie Boudt

Mr. & Mrs. Harry A. Lomason

Professor Calvin L. Stevens

Gwen & Richard Bowlby

Dr. & Mrs. Charles Lucas

Mr. & Mrs. Stephen Strome

Mr. Anthony F. Brinkman

Elaine & Mervyn Manning

David Usher

David & Valerie McCammon

Mr. & Mrs. Edward Wagner

Patricia A. & Patrick G. McKeever

Mr. & Mrs. Jonathan T. Walton

Mrs. Susanne O. McMillan

J. Ernest & Almena Gray Wilde Fund

Mr. Ronald Michalak & Mrs. Barbara Frankel

Dr. Amy M. Horton & Dr. Kim Allan Williams

Mr. Edward K. Miller

Mrs. Beryl Winkelman

Dr. Robert & Dr. Mary Mobley

Drs. David M. & Bernadine Wu

Dr. Stephen & Dr. Barbara Munk Mr. & Mrs. Albert Taylor Nelson, Jr.

Mr. John E. Young & Ms. Victoria Keys

David R. & Sylvia Nelson

Mrs. Rita J. Zahler

Mr. & Mrs. David E. Nims

Milton & Lois Zussman

Ms. Mariam Noland & Mr. James. Kelly

Giving of $2,500 and more

Mr & Mrs. Arthur T. O’Reilly

Richard & Jiehan Alonzo

Mr. & Mrs. Richard G. Partrich

Dr. Lourdes V. Andaya

Dr. & Mrs. John Bernick Robert N. & Claire P. Brown Michael & Geraldine Buckles Jerry P. & Maureen T. D’Avanzo Mark Davidoff & Margie Dunn Ms. Barbara L. Davidson Beck Demery David Elgin Dodge Mr. Peter & Kristin Dolan Mr. & Mrs. Walter E. Douglas Jim & Margo Farber Mr. & Mrs. David Fischer Mr. & Mrs. Herbert Fisher Mr. Steven J. Fishman Mr. & Mrs. Gerry Fournier Mrs. Harold L. Frank Mr. & Mrs. Ralph J. Gerson Allan D. Gilmour & Eric C. Jirgens Dr. Robert T. & Elaine Goldman Dr. Allen Goodman & Dr. Janet Hankin Goodman Family Charitable Trust Dr. & Mrs. Herman Gray, Jr. Mr. & Mrs. James A. Green Ms. Nancy B. Henk Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Jean Holland

Donald & Jo Anne Petersen Fund Mrs. Helen F. Pippin Dr. Glenda D. Price

Donor Spotlight

Alan E. Schwartz

The DSO would like to honor the dedication and commitment of Alan E. Schwartz, who has served on the DSO’s board for more than 50 years. He and his wife, Marianne, are an integral part of the DSO’s history and also that of Detroit. A founding partner of Honigman, Miller, Schwartz and Cohn, Mr. Schwartz joined the DSO family as a board member in 1959, making the Orchestra one of many recipients of his selfless leadership. Mr. Schwartz has served many roles at the DSO, including Vice Chairman, Chairman of the Finance committee, and Treasurer. During his tenure on the Executive and Endowment Committees of the Board, he made important contributions to the restoration of Orchestra Hall and to opening the Max M. Fisher Music Center. In 2003, Marianne and Alan endowed the Associate Concertmaster Chair. They also supported of the DSO’s world renowned recordings. One can transparently see Mr. Schwartz’s impact in all areas of community service. His quiet and impactful leadership takes many forms in the organizations that serve as the cornerstones of cultural life in

Perform ance / Vol . X X / spring 201 2

Mr. & Mrs. Norman Ankers Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook

Mr. Scott Brooks Mr. H. William Burdett, Jr. Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Philip & Carol Campbell Mr. William N. Campbell Dr. & Mrs. Thomas E. Carson Dr. Thomas Clark Jack, Evelyn & Richard Cole Family Foundation Brian & Elizabeth Connors Ms. Mary Rita K. Cuddohy Mr. Richard Cummings Lillian & Walter Dean Ms. Margaret H. Demant Ms. Barbara Diles Mr. & Mrs. Mark Domin Ms. Judith Doyle Eugene & Elaine Driker Paul & Peggy Dufault Mr. Robert Dunn Mr. & Mrs. Irving Dworkin

Detroit. Whether advising other Investment Committee members on traditional investment theory or leading generative governance discussions at board level, his soft spoken style and Marianne and Alan E. Schwartz commitment to best practices has made our institutions better. The Detroit charitable culture would not be the same without his involvement. “I’ve been privileged to witness his wise counsel with another community giant, my father (of blessed memory),” said board member Phillip Wm. Fisher. “Whether the task at hand was advising Presidents of nations or organizations, my father consistently turned to Alan for his dynamic insights and brutal objective advice. They were inseparable friends and staunch allies. Alan filled the void in my life when my father passed away and I needed a dynamic advisor, mentor and friend. My personal, family, business and philanthropic life has greater meaning because of his gentle support. He asks nothing in return, just insisting that we live up to our own potential to help others.”

Dr. & Mrs. A. Bradley Eisenbrey Mr. & Mrs. John M. Erb Mary Sue & Paul E. Ewing Mr. David Faulkner Mr. & Mrs. Oscar Feldman Ron Fischer Mr. David Fleitz Ms. Carol A. Friend & Mr. Mark T. Kilbourn Mr. & Mrs. Daniel E. Frohardt-Lane Mr. & Mrs. William Y. Gard Gale & Victor Girolami Dr. & Mrs. Kenneth W. Gitlin Robert & Mary Ann Gorlin Mr. Jeffrey Groehn Alice Berberian Haidostian Dr. Algea O. Hale Mr. Robert Hamel Randall L. & Nancy Caine Harbour Ms. Cheryl A. Harvey Mr. & Mrs. Ross Haun Mr. & Mrs. Demar W. Helzer Dr. Deanna & Mr. David B. Holtzman Jack & Anne Hommes Mr. F. Robert Hozian Jean Wright & Joseph L. Hudson, Jr. Fund Richard H. & Carola Huttenlocher Mr. & Mrs. Charles R. Janovsky www.dso.org

Mr. John S. Johns

Mr. & Mrs. Herbert Shanbaum

Mr. Max B. Horton, Jr.

Eugenia & Wanda Staszewski

Lenard & Connie Johnston

Kathleen N. Straus & Walter Shapero

Mr. Richard Huttenlocher

Mr. & Mrs. Andreas H. Steglich

Mrs. Ellen D. Kahn

Dr. Les & Mrs. Ellen Siegel

Dr. Jean Kegler

Dr. Lawrence L. Stocker

Mr. & Mrs. Michael J. Keegan

Coco & Robert Siewert

Mrs. Stephanie Latour

Mrs. Dianne Szabla

Betsy & Joel Kellman

Mr. & Mrs. William Sirois

Mr. Charles Letts

Dr. & Mrs. Howard Terebelo

The Stephanie & Frederic Keywell Family Fund

Mr. & Mrs. S. Kinnie Smith, Jr.

Ms. Florine Mark

Dr. & Mrs. L. Murray Thomas

William H. & Patricia M. Smith

John E. & Marcia Miller

Mr. & Mrs. John P. Tierney Barbara & Stuart Trager

Mrs. Frances King

Dr. Gregory E. Stephens

Eugene & Sheila Mondry Foundation

Mr. & Mrs. Ludvik F. Koci

Mr. Clinton F. Stimpson, Jr.

Edward & Judith Narens

Ms. Patricia Walker

Dr. & Mrs. Harry N. Kotsis

Dr. & Mrs. Charles D. Stocking

Mr. & Dr. David K. Page

Mrs. Lori Wathen

Robert C. & Margaret A. Kotz

Ms. Jan J. Stokosa

Noel & Patricia Peterson

Alan & Jean Weamer

Mr. & Mrs. Harold Kulish

Bernard & Barbara Stollman

Mrs. Anna Mary Postma

Mrs. Lawrence M. Weiner

David & Maria Kuziemko

Dr. Gerald H. Stollman

Hope & Larry Raymond

Ms. Janet B. Weir

David Szymborski & Marilyn Sicklesteel

Mrs. Jean Redfield

Rudolf E. Wilhelm Fund

Mrs. Ann Rohr

Jerry Williams

D. I. Tarpinian

Mr. & Mrs. George Roumell

Rissa & Sheldon Winkelman

Ms. Anne T. Larin

Shelley & Joel Tauber

Ruth & Carl Schalm

Frank & Ruth Zinn

Mr. & Mrs. William B. Larson

Alice & Paul Tomboulian

Mr. Ronald J. Smith

Dr. Klaudia Plawny- Lebenbom & Mr. Michael Lebenbom

Amanda Van Dusen & Curtis Blessing

Allan S. Leonard

Mr. & Mrs. George C. Vincent

Mr. & Mrs. Daniel Lewis

Mr. & Mrs. William Waak

Mr. & Mrs. Robert Liggett

Dr. & Mrs. Ronald W. Wadle

Mr. & Mrs. Joseph Lile

Mr. Patrick A. Webster

Mrs. Florence LoPatin

Mr. & Mrs. Herman W. Weinreich

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

Mr. & Mrs. Lawrence Weisberg

Mrs. Mary K. Mansfield

Mr. & Mrs. John Whitecar

Mr. & Mrs. Alonzo McDonald

Mr. & Mrs. Barry Williams

Alexander & Evelyn McKeen

Dr. & Mrs. Max V. Wisgerhof II

Dr. & Mrs. Donald A. Meier

Mr. & Mrs. Jonathan Wolman

Mr. Roland Meulebrouck

Mr. & Mrs. Warren G. Wood

Thomas & Judith Mich

Dr. & Mrs. Robert E. Wurtz

Ms. Deborah Miesel

Dr. Alit Yousif & Mr. Kirk Yousif

Dr. Raymond Landes & Dr. Melissa McBrien-Landes

Bruce & Mary Miller Mr. & Mrs. Leonard G. Miller Dr. Susan B. Molina & Mr. Stephen R. Molina Mr. Frederick J. Morsches Mr. & Mrs. Craig R. Morgan Ms. Florence Morris Joy & Allan Nachman Denise & Mark Neville Patricia & Henry Nickol Mr. & Mrs. Stanley Nycek Mrs. Margot C. Parker Mrs. Sophie Pearlstein Robert E. L. Perkins, D.D.S. Dr. & Mrs. Claus Petermann Mr. Charles L. Peters Mr. & Mrs. Jack Pokrzywa Mr. & Mrs. William Powers Mr. & Mrs. Nicolas I. Quintana Drs. Y. Ravindranath & Kanta Bhambhani Dr. Claude & Mrs. Sandra Reitelman Martie & Bob Sachs Mr. Mark Saffer Ms. Martha A. Scharchburg & Mr. Bruce Beyer Mr. & Mrs. Michael Schultz Mr. & Mrs. Alan S. Schwartz Mr. Merton J. & Beverly Segal

www.dso.org

Giving of $1,500 and more Dr. & Mrs. Ali-Reza R. Armin Drs. Brian & Elizabeth Bachynski Linda & Maurice S. Binkow Mr. & Mrs. G. Peter Blom Ms. Jane Bolender Don & Marilyn Bowerman Mr. Stephen V. Brannon Mr. & Mrs. Gerald Bright Carol A. & Stephen A. Bromberg Mrs. John N. McNaughton† Ronald & Lynda Charfoos Dr. & Mrs. Julius V. Combs Mr. & Mrs. Gary L. Cowger Deborah & Stephen D’Arcy Fund Ms. Barbara A. David John & Ann Diebel Mr. & Mrs. Henry Eckfeld Dr. Leo & Mrs. Mira Eisenberg Mr. & Mrs. Lawrence Ellenbogen Mrs. Kathryn Ellis Mr. & Mrs. Howard O. Emorey Stephen Ewing Harold & Ruth Garber Family Foundation

Michigan Council for Arts and Cultural Affairs

Foundation Spotlight

Joyce LaBan

The Michigan Council for Arts and Cultural Affairs (MCACA) is a statewide body established in 1991 as the successor agency to the Michigan Council for the Arts. In addition to advocating for all forms of art across the state, MCACA coordinates grants to arts and culture organizations, cities and municipalities, and other nonprofit organizations to encourage, develop and facilitate an enriched environment of artistic, creative and cultural activity in Michigan. In December 2011, MCACA awarded $2 million in grants for arts and culture for 2012. The DSO was one of four organizations to receive the largest available grant award of $20,000. The remaining funds were allocated for 218 grants to nonprofit arts and cultural organizations, educational institutions and municipalities in 41 counties across the state for operational and project support as well as for regional agencies to re-grant as mini-grants. MCACA executive director John Bracey estimates that in 2012, 45 million people will attend the programs or exhibits offered by these organizations. “The communities receiving these awards gain so much more than their dollar value,” Bracey said. “These grants enhance education, stimulate cultural tourism, and strengthen communities statewide by impacting local economies and creating a better quality of life. Of course the work of the DSO has been amazing over the years. They do so much for our image, not just in Detroit but all of Michigan and we are proud to call them partners.” The DSO has been a grateful recipient of MCACA’s grant programs since 1998. Over the years, MCACA has provided the DSO with funding for capital and restoration projects, as well as unrestricted grants that support the heart of our operations — artistic, education, outreach, community revitalization — and are so critical to the DSO’s ability to fulfill our mission to serve the community.

Mr. & Mrs. Paul Ganson Mr. Donald J. Guertin Dr. & Mrs. Gerhardt Hein

† Deceased

Perform ance / Vol . X X / spring 201 2

Turn your donation into something lasting.

If you want to make parks greener, improve neighborhoods, even support the arts, the Community Foundation for Southeast Michigan can help. And keep your donation giving for generations to come.

Visit CFSEM.org or call 1-888-WE-ENDOW for more information on how we can help. Scan the QR Code to find out more.

Performance / Vol . X X / spring 201 2

www.dso.org

Corporate Supporters of the DSO $500,000 and more

PVS Chemicals, Inc.

Jim Nicholson

CEO, PVS Chemicals

$200,000 and more

Tetsuo Iwamura

Gerard M. Anderson

President and CEO, American Honda Motor Co.

President, Chairman and CEO, DTE Energy Corporation

Fred Shell

President, DTE Energy Foundation

$100,000 and more

Alan Mullaly

President & CEO, Ford Motor Company

James Vella

President, Ford Motor Company Fund

Timothy Wadhams President and CEO, MASCO Corporation

Melonie Colaianne

President, Masco Corporation Foundation

Cynthia J. Pasky

Paul M. Huxley

President & CEO, Strategic Staffing Solutions

Chairman, Strategic Staffing Solutions

Gregg Steinhafel

Chairman, President and CEO, Target Corporation

$20,000 and more Adobe Systems Incorporated Deloitte. Delta Air Lines, Inc.

General Motors Corporation Macy’s MGM Grand Detroit Casino

Amerisure Honigman Miller Schwartz Cohn

$10,000 and more PriceWaterhouseCoopers LLP Telemus Capital Partners, LLC

$5,000 and more

$1,000 and more

American Express BASF Corporation Contractors Steel Company Denso International America, Inc Lee Hecht Harrison Meritor

Avis Ford, Inc. Burton-Share Management Company Chase Card Services Canadian National, North America’s Railroad

www.dso.org

R.L. Polk & Co. Somerset Collection

arner Norcross & Judd LLP Wolverine Packing Company

DuMouchelles Art Galleries Co. Fifth Third Bank Global Village Charitable Trust Health Alliance Plan Illitch Holdings, Inc. Meadowbrook Insurance Group Michigan First Credit Union

Midwest Health Center, P.C. Radar Industries, Inc. Schwab Fund for Charitable Giving STI Fleet Services – Detroit The Village Club Welker Bearing Company

Perform ance / Vol . X X / spring 201 2

Blockbuster Fund

Gifts received between January 1, 2011 and February 29, 2012 Gifts to the Detroit Symphony Orchestra Blockbuster Fund support those exceptional projects, partnerships, and performances that boldly advance the DSO’s mission “to be a leader in the world of classical music, embracing and inspiring individuals, families and communities through unsurpassed musical experiences.” Blockbuster gifts fund defining initiatives that are outside the annual budget such as touring, Live from Orchestra Hall webcasts, certain community engagement and education partnerships, and capital and technology infrastructure. Anonymous Mr. & Mrs. Lee Barthel Max M. & Marjorie S. Fisher Foundation Mr. & Mrs. Phillip Fisher Mr. & Mrs. Stanley Frankel

Sally Mead Hands Foundation Mr. Michael Jalving Dr. & Mrs. James W. Klein John S. & James L. Knight Foundation Mr. & Mrs. Stuart Nelson

Mr. & Mrs. James B. Nicholson PVS Chemicals, Inc. Talmer Bank and Trust Mr. Brian Ventura

Tribute Gifts

Gifts received between January 1, 2011 and February 29, 2012 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 www.dso.org/tribute. in memory of Frank Annetta, Jr. Mrs. Frank A. Annetta Mr. & Mrs. Ainar Ayala NYX Incorporated in honor of Pamela Applebaum Mr . Robert Lane & Ms. Lexa L. Leatherdale in memory of Nancy Arbulu Mr . George J. Bedrosian, Esq. with birthday wishes for Eve Archinal Mr. David Wiese in honor of George & Georgina Bedrosian Mr. & Mrs. H. Thomas Hunt Ms. Barbara Patek in memory of Gina Bedrosian Dr. Agustin Arbulu Ms. Irene Bury Ms. Lori Godoshian Mr. Charles Handley Mr. & Mrs. Robert G. Hodges Mr. & Mrs. H. Thomas Hunt Mrs. Elaine M. Hurley Mrs. Lynda Logan Ms. Leona G. Nowakowski Ms. Barbara Patek Ms. Susan Plochinski Ms. Constance R. Reza Mr. & Mrs. Jack A. Robinson Ms. Mary Christina Sullivan Ms. Virginia Vartanian in memory of Jane F. Beer Mr . Gary R. Greenbaum & Ms. Diane Korn Ms. Dana Smith Pratt in memory of Clarence Leo Belczynski Ms. Amanda Easterday in memory of Anna K. Bonde Ms. Debra Bonde in memory of Michael Brennan Mrs. Rachel Brennan in honor of Marilyn Cantin Ms. Denise Landers in memory of Bruce Carter Ms. Nancy Lempinen in memory of Donald J. Channing Ms. Wilma Baskin Ms. Gail Kean Mrs. Rose Lahiff Mr. & Mrs. Harold Mayer Ms. Carolyn McDonald Mrs. Ethel Traurig Ms. Judy Warren

on behalf of Marcy Chanteaux Mr. Tom Godell with birthday wishes for Patrick L. Daly Mr. Joseph Hutting & Ms. Judith Gardner in honor of Maureen D’Avanzo Mr. Robert Lane & Ms. Lexa L. Leatherdale in memory of Philip Charles Diamond Mr. & Mrs. Steve & Rose O’Brien in honor of the Musicians of the Detroit Symphony Orchestra Ms. Brenda Pangborn with birthday wishes for Paul Dufault Mr. & Mrs. Claude W. Coates Mrs. Harold Gendelman in celebration of Joan Emerick & Peter Saldana Mr. & Mrs. Lloyd Nelson in honor of Leslie Fishman Ms. Marsha Billes with birthday wishes for Sid Forbes Mrs. Joan Erman in honor of Barbara Frankel & Ronald Michalak Ms. Laurie Frankel in honor of Herman & Sharon Frankel Ms. Laurie Frankel in honor of Sir James & Lady Jeanne Galway Ms . Libby Craig & Mr. Felix Karim in celebration of Mr. Garrett, for Christmas Mr. & Mrs. Timothy LeVigne in memory of Aubrey Goldman, MD Dr . David Anderson & Dr. Beth Goldman in honor of the Clients & Friends of Gourwitz & Barr, PLLC Mr. Howard J. Gourwitz in appreciation of Scott Harrison Dr. & Mrs. Timm L. Kelly in memory of Vivian L. Hudson Ms. Caryl Brooker Ms. Lori Nye Mr. Howard Rundell in honor of Larry Hutchinson Mr. & Mrs. Donald Schenk

Performance / Vol . X X / spring 201 2

in memory of Sharon Jablonski Mr. David L. Abramson Ms. Anne Crimmins in honor of Buddy Kaufman Ms. Sher Kaplan in memory of Peruz Kavafian Ms. Ani Kavafian in memory of Sophie Kotula Ms. Catherine Kotula in honor of Harold Kulish Mary Lou Dudley with birthday wishes for David Lebenbom Mr. & Mrs. Milton Lebenbom in memory of Doris & Joseph Letourneau Ms. Ellen Letourneau in memory of Rita Levy Mr s. Barbara Frankel & Mr. Ronald Michalak Ms. Laurie Frankel in honor of Shanda Lowery-Sachs Ms. Marty W. Cerier Mr. Al Lowery in memory of Robert Malfroid Mrs. Barbara A. Malfroid with birthday wishes for Joan & Doug Mann Ms. Arlene S. Mann in memory of Christine K McNaughton Ms. Shannan Matsche Ms. Ruth Meyers Ms. Gloria Whelan Mo rris, Rowland, Prekel, & Lewinski, P.L.C. in memory of Anne Parcells Dr. & Mrs. Donald R. Briggs Mr. & Mrs. Mark Brooks Ms. Patricia Kelly Dr. Dorothy M. Markey, M.D. Mr. Peter Nyboer Ms. Barbara R. Robey in honor of our daughter Lena Mr. Matthew Parnell in memory of Harry Partrich Sandra & Robert Moers in honor of the Honorable David Paruch Petrella Brown, PLC in honor of Joseph M. Pas & Maria C. Pas Ms. Frances M. Tatarelli in memory of Doris L. Peters Ms. Patricia Nemeth

in memory of Lucille Proctor Mr. Henry Proctor in memory of Donald L. Race Mrs. Loren Hoffman in honor of Fair Radom Mr. & Mrs. R. Jamison Williams in memory of Hugh B. Reid & Emily D. Reid Emily J. Reid in memory of Mrs. Rimar Mr. & Mrs. Shimon Edut in memory of Kay & Jerome Russo Mr. & Mrs. Gregory Russo in memory of Helen Salamon Mr. Robert S. Salamon in celebration of the Schreiber & Golodner wedding Dr. & Mrs. Mark Zwiren in memory of Ernest C. Schultz, Jr., MD Anonymous Mr . Dennis Aurand & Ms. Cara Bagley-Aurand Drs. Richard & Helena Balon Ms. Lisa Burgess Ms. Loretta E. Canto Mr. & Mrs. Carl A. Culver Mr. & Mrs. William R. Derwin Ms. Sally A. Doyle Mrs. Nicole Duncan Ms. Carol Frate Mr. & Mrs. Timothy P. Gaskill Mr. & Mrs. John C. Germain, Jr. Mr. Okko Huising Ms. Carol Hunsanger Mr. & Mrs. Jack J. Jagoe Ms. Yongguang Liang Mr. Dana Locniskar Ms. Lorraine H. McPherson Ms. Parul Patel Plum Hollow Country Club Mr. & Mrs. Howard Roff Mrs. Cheryl Schultz Ms. Wilma Shea Mr. & Mrs. Kevin D. Shultis Mr. John E. Simpson Ms. Jackie Thornlow Ms. Betty Wagner Mr. & Mrs. David S. Yates in memory of Lois Scott Mr. Raymond W. Scott in memory of Ann Shorr Sandra & Robert Moers in honor of Mom & Dad Ms. Maya Shwayder www.dso.org

in celebration of Leonard Slatkin & Cindy McTeeâ&#x20AC;&#x2122;s wedding Mr. & Mrs. Harold Blumenstein Mr. & Ms. Todd Gordon Ms. Patricia Walker in honor of Leonard Slatkin Mr. & Mrs. Ralph J. Gerson in memory of Marlan Smith Mr. Daniel Horwitz in memory of William Smith Mr. & Mrs. William Smith in memory of Albert Steger Ms. Beverly Schaefer in memory of Meredith Stegman Mrs. Celia Copeland in memory of Thomas Sullivan Ms. Christy Hoagland in memory of Robert J Tucker Mrs. Brenda C. Tucker in memory of Gerald Tugman Ms. Judith A. Tugman in memory of Phyllis Urwiller Mr. Kenneth L. Urwiller in honor of Sean Van Hentenryck Mr. & Mrs. Keith Van Hentenryck in memory of Charles H. Vortriede Ms. Carol Mihalic Mr. & Mrs. Glen Moon Ms. Katherine Worthington Mr. & Mrs. Randall W. Worthington, Jr. in honor of Bruce & Janey Wangen Ms. Jill Yakima in memory of Dorothy Wicke Ms. Nancy Hay

Venture Fund

Gifts received between January 1, 2011 and February 29, 2012 Gifts to the Detroit Symphony Orchestra Venture Fund are contributions that support projects, partnerships, and performances taking place in the current season. Venture gifts are generally one-time and non-renewable in nature and fund initiatives that are included in the annual budget such as DSO concerts, the Civic Youth Ensembles, certain community engagement and partnerships, and the DSO Presents and Paradise Jazz concert series. Venturists Mrs. Doris Beauvais+ Mrs. Carol Edwards Haas Ms. Margaret Hall+ Le ague of American Orchestras and the American Society of Composers, Authors & Publishers David & Valerie McCammon The Andrew W. Mellon Foundation MGM Grand Detroit Casino Ms. Elizabeth Murr Cindy and Leonard Slatkin Ms. Ruth Wilkins Donors Mr. Carl Gardecki Ms. Laurie Goldman Mr. and Mrs. John C. Hammer Ms. Carole McNamara Anne Parsons & Donald Dietz Ms. Korin Sharp and Mr. Neil Hunt Mr. Hang Su Mr. Phil Tedeschi Mr. Paul Wingert Mrs. James R. Wolfe Mr. Hai-Xin Wu

www.dso.org

Support from Foundations and Organizations

The Detroit Symphony Orchestra acknowledges and honors the following foundations and organizations for their contributions to support the Orchestraâ&#x20AC;&#x2122;s performances, education programming, and other annual operations of the organization. This honor roll reflects both fulfillments of previous commitments and new gifts during the period beginning January 1, 2011 through February 29, 2012. We regret the omission of gifts received after this print deadline.

$500,000 and more Samuel and Jean Frankel Foundation Kresge Foundation

$300,000 and more Community Foundation for Southeast Michigan Ford Foundation McGregor Fund Andrew W. Mellon Foundation

$100,000 and more Max M. & Marjorie S. Fisher Foundation Hudson-Webber Foundation John S. & James L. Knight Foundation $50,000 and more Fred A. and Barbara M. Erb Foundation National Endowment for the Arts Surdna Foundation Matilda R. Wilson Fund $10,000 and more Max and Victoria Dreyfus Foundation Philip and Elizabeth Filmer Memorial Charitable Trust Eleanor & Edsel Ford Fund Henry Ford II Fund Ann and Gordon Getty Foundation Sally Mead Hands Foundation $5,000 and more Benson & Edith Ford Fund The Lyon Family Foundation Joseph and Suzanne Orley Foundation Herbert & Elsa Ponting Foundation Mary Thompson Foundation $2,500 and more The Cole Family Foundation Combined Federal Campaign Gatewood Foundation, Inc. Clarence and Jack Himmel Fund James and Lynelle Holden Fund Loraine & Melinese Reuter Foundation

Alice Kales Hartwick Foundation Myron P. Leven Foundation Oliver Dewey Marcks Foundation Moroun Family Foundation Sage Foundation State of Michigan

$1,000 and more Berry Foundation Frank & Gertrude Dunlap Foundation Harold and Ruth Garber Family Foundation Japan Business Society of Detroit Foundation Tracy Foundation The Village Club Samuel L. Westerman Foundation

Perform ance / Vol . X X / spring 201 2

133rd

season

ums 11/12

American Mavericks Festival

Michael Tilson Thomas conductor Featuring:

Paul Jacobs organ | Jeremy Denk piano Mason Bates electronica | Jessye Norman soprano Joan LaBarbara & Meredith Monk vocalists St. Lawrence String Quartet | Emanuel Ax piano

Thursday-Sunday \ March Hill Auditorium \ Ann Arbor

22-25

The 2012 festival celebrates the creative pioneering spirit and the composers who created a new American musical voice for the 20th century and beyond. Complete program details are available at www.ums.org. This event is part of Pure Michigan Renegade. Presented with major support from the UMS Creative Ventures Leadership Fund. Funded in part by The Andrew W. Mellon Foundation, the John S. and James L. Knight Foundation, and the National Endowment for the Arts. Art Works.

Media Partners WGTE 91.3 FM, Ann Arbor’s 107one, WDET 101.9 FM, and Detroit Jewish News.

leader and violin

Sunday \ April 22 \ 4 pm Hill Auditorium \ Ann Arbor PROGRAM

Beethoven Beethoven Beethoven

Coriolan Overture, Op. 62 (1807) Violin Concerto in D Major, Op. 61 (1806) Symphony No. 7 in A Major, Op. 92 (1811-12)

The Ford Honors Program recognizes the longtime generous support of UMS’s Education Program by Ford Motor Company Fund and Community Services. DTE Energy Foundation Educator and School of the Year Awards are sponsored by

Concertmasters Bank of Ann Arbor, Tom and Kathy Goldberg, and University of Michigan Health System. Leaders Mainstreet Ventures and Miller, Canfield, Paddock & Stone, P.L.C. Media Partners WGTE 91.3 FM, WRCJ 90.9 FM, and Detroit Jewish News.

Coming Soon… 134th UMS Season 12/13 Visit www.ums.org beginning in mid-April for details.

Call or click for tickets!

734.764.2538 \ www.ums.org Hours: Mon-Fri: 9 am to 5 pm, Sat: 10 am to 1 pm.

Ad #3 — DSO Performance Magazine First Proof of Ad Due: Wed, Sept 14 Size: 8.375” x 10.875” Color: Full color Ad Runs: October

Perform ance / Vol X X / spring 201 216 Final Ad .Due: Fri, Sept

www.dso.org

Because to me, the first 65 years or so was just a warm-up to the good stuff.

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