Performance Magazine Fall 2019 - Issue 2

VOLUME XXVIII • FALL 2019

PERFORMANCE THE MAGAZINE OF THE DETROIT SYMPHONY ORCHESTRA

INSIDE Program Notes Making Sense of Sound

The science behind Orchestra Hall’s flawless acoustics BOOK EXCERPT

DESTINY: 100 Years of Music, Magic, and Community at Orchestra Hall in Detroit

By Mark Stryker

Meet the Musician Stephen Molina

Community & Learning The DSO’s return to Interlochen

Interim Concertmaster Kimberly Kaloyanides Kennedy and her violin in the Paradise Lounge

2019-2020 SEASON

Dessert Parlor

…at The Whitney.

ONE- OF-A- KIND HOLIDAY GIF TS FROM EPIPHANY

Named after David Whitney’s daughter, Katherine Whitney McGregor, our intimate dessert parlor on the Mansion’s third floor features a variety of decadent cakes, tortes, and miniature desserts.

The menu also includes chef-prepared specialties, pies, and “Drinkable Desserts.” Don’t miss the amazing flaming dessert station featuring Bananas Foster and Cherries Jubilee.

at the Detroit Symphony Orchestra Distinctive handblown glass sculptures, La Ruche lighting, decanters, a variety of unique handmade gifts and more.

Reserve tonight’s table online at www.thewhitney.com or call 313-832-5700 The Shapero Lounge at the DSO 4421 Woodward Ave., Detroit Max M. & Marjorie S. Fisher Music Center 3711 Woodward Ave., Detroit, MI 48201

Call 248.745.3786 | epiphanyglass.com Hours | Fri:10am–4pm | Sat: 10am–4pm

Pre-Theater Menu

Available on performance date with today’s ticket.

Choose one from each course:

FIRST COURSE Caesar Side Salad Chef’s Soup of the Day The Whitney Duet MAIN COURSE Grilled Lamb Chops Lake Superior Whitefish Pan Roasted “Brick” Chicken Sautéed Gnocchi

View current menus and reserve online at www.thewhitney.com or call 313-832-5700 4421 Woodward Ave., Detroit 2

DSO PERFORMANCE MAGAZINE

DESSERT Chocolate Mousse or Mixed Berry Sorbet with Fresh Berries $39.95

FALL 2019

2 0 19 -2 0 2 0 S E A S O N

PERFORMANCE The Detroit Symphony Orchestra, a leader in the world of classical music, embraces and inspires individuals, families, and communities through unsurpassed musical experiences.

CONTENTS Welcome......................................................4 Orchestra Roster.........................................5 Behind the Baton.........................................6

14 Making Sense of Sound The science behind Orchestra Hall’s flawless acoustics

12 100 Years 16 DESTINY: of Music, Magic, and Meet the Musician Stephen Molina

Community at Orchestra Hall in Detroit Book excerpt by Mark Stryker

20 Community and Learning 21 PROGRAM NOTES

Board Leadership........................................8 Transformational Support........................10 Donor Roster............................................. 38 Maximize Your Experience....................... 48 DSO Administrative Staff......................... 50 Upcoming Concerts.................................. 52 ON THE COVER: Interim Concertmaster Kimberly Kaloyanides Kennedy (Katherine Tuck Chair) and her violin in the Paradise Lounge Photo: Sarah Smarch

Read Performance anytime, anywhere at dso.org/performance

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DSO PERFORMANCE MAGAZINE 3

WELCOME

DONALD DIETZ

To our ever-expanding DSO family,

Thank you for joining us and allow us to be the first to welcome you to Orchestra Hall as we celebrate its 100th birthday! For a century, the DSO – together with Orchestra Hall, and now the Max M. and Marjorie S. Fisher Music Center – has attracted and inspired people to incredible creativity and action. Throughout this centennial year, we will revisit the hall’s history, exploring what makes it such a great space for music and community, while we look boldly towards our future.

The 2019–2020 Classical Series begins with a recreation of the first concert ever performed at Orchestra Hall, and elsewhere in the season we’ve programmed many works that were also played on this stage a century ago, reminding us of the timeless endurance and power of music. From intimate Mozart to bold Mahler and the latest contemporary music, the entire Classical season will allow us to revel in the sublime acoustics of Orchestra Hall.

Our PNC Pops Series, William Davidson Neighborhood Concert Series, Young People’s Family Concerts, Cube programming, and special events will also add to the celebration in their own ways, demonstrating all that a great orchestra can do when it has an iconic home as spectacular, versatile, and inviting as Orchestra Hall.

The Paradise Jazz Series, which we began in 1999 to honor the legacy of Orchestra Hall’s life as the Paradise Theatre from 1941–1951, celebrates its 20th anniversary this year. Later this winter we’re excited to present the Duke Ellington Orchestra and a Tribute to Louis Armstrong – especially fitting during the hall’s centennial, as both jazz titans were among the first to perform on the Paradise stage.

We hope that this season-long exploration of Orchestra Hall’s history is much more than a look back, and we thank the many individuals and partner institutions who have already made this centennial celebration a success.

But the Orchestra Hall story is not just a DSO story. It’s a Detroit story. This stage has hosted and continues to host the world’s greatest musical performers and has been the foundation for educating generations of inspiring young talent. The most important stories about Orchestra Hall are yet to be written by all of us.

Whether this is your first time to Orchestra Hall or you’re in your favorite seat, we invite you to share your Orchestra Hall stories with us on social media using #IAMDSO, or by emailing stories@dso.org. The DSO continues to embrace our role as stewards for this remarkable place and we are humbled by the opportunity to share this experience with you.

Enjoy!

Anne Parsons President and CEO 4

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Mark Davidoff Chairman FALL 2019

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

JEFF TYZIK

Principal Pops Conductor

FIRST VIOLIN Kimberly Kaloyanides Kennedy Interim Concertmaster Katherine Tuck Chair Hai-Xin Wu Interim A ssociate Concertmaster Schwartz Shapero Family Chair Jennifer Wey Fang A ssistant Concertmaster Walker L. Cisler/Detroit Edison Foundation Chair Marguerite Deslippe* Laurie Goldman* Rachel Harding Klaus* Eun Park Lee* Adrienne Rönmark* Laura Soto* Greg Staples* Jiamin Wang* Mingzhao Zhou* Yoonshin Song~ Concertmaster

SECOND VIOLIN Adam Stepniewski Acting Principal The Devereaux Family Chair Will Haapaniemi* David and Valerie McCammon Chair Hae Jeong Heidi Han* David and Valerie McCammon Chair Sheryl Hwangbo* Sujin Lim* Hong-Yi Mo* Alexandros Sakarellos* Drs. Doris Tong and Teck Soo Chair Joseph Striplin* Marian Tanau* Jing Zhang* Open, Principal VIOLA Eric Nowlin, Principal Julie and Ed Levy, Jr. Chair James VanValkenburg A ssistant Principal Caroline Coade Glenn Mellow Hang Su Shanda Lowery-Sachs Hart Hollman Han Zheng Mike Chen

TERENCE BLANCHARD

NEEME JÄRVI

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

Music Director Emeritus

CELLO Wei Yu, Principal James C. Gordon Chair Abraham Feder A ssistant Principal Dorothy and Herbert Graebner Chair Robert Bergman* Jeremy Crosmer* David LeDoux* Peter McCaffrey* Joanne Danto and Arnold Weingarden Chair Haden McKay* Úna O’Riordan* Mary Ann and Robert Gorlin Chair Paul Wingert* Victor and Gale Girolami Chair

BASS Kevin Brown, Principal Van Dusen Family Chair Stephen Molina A ssistant Principal Linton Bodwin Stephen Edwards Christopher Hamlen Nicholas Myers HARP Patricia Masri-Fletcher Principal Winifred E. Polk Chair FLUTE Sharon Sparrow A ssistant Principal Bernard and Eleanor Robertson Chair Amanda Blaikie Morton and Brigitte Harris Chair Jeffery Zook Open, Principal Women’s Association for the DSO Chair PICCOLO Jeffery Zook OBOE Alexander Kinmonth Principal Jack A. and Aviva Robinson Chair Sarah Lewis Maggie Miller Chair Monica Fosnaugh Open, A ssistant Principal

CLARINET Ralph Skiano Principal Robert B. Semple Chair Jack Walters PVS Chemicals Inc./Jim and Ann Nicholson Chair Laurence Liberson A ssistant Principal Shannon Orme E-FLAT CLARINET Laurence Liberson BASS CLARINET Shannon Orme Barbara Frankel and Ronald Michalak Chair BASSOON Robert Williams, Principal Victoria King Michael Ke Ma A ssistant Principal Marcus Schoon CONTRABASSOON Marcus Schoon HORN Karl Pituch, Principal Johanna Yarbrough Scott Strong Bryan Kennedy David Everson Assistant Principal Mark Abbott TRUMPET Hunter Eberly, Principal Lee and Floy Barthel Chair Kevin Good Stephen Anderson A ssistant Principal William Lucas Michael Gause African-American Orchestra Fellow TROMBONE Kenneth Thompkins, Principal David Binder Randall Hawes

BASS TROMBONE Randall Hawes TUBA Dennis Nulty, Principal PERCUSSION Joseph Becker, Principal Ruth Roby and Alfred R. Glancy III Chair Andrés Pichardo-Rosenthal A ssistant Principal William Cody Knicely Chair James Ritchie TIMPANI Jeremy Epp, Principal Richard and Mona Alonzo Chair James Ritchie A ssistant Principal LIBRARIANS Robert Stiles, Principal Ethan Allen PERSONNEL MANAGERS Heather Hart Rochon Director of Orchestra Personnel Patrick Peterson Manager of Orchestra Personnel STAGE PERSONNEL Dennis Rottell, Stage Manager Ryan DeMarco Department Head Noel Keesee Department Head Steven Kemp Department Head Matthew Pons Department Head Michael Sarkissian Department Head LEGEND * These members may voluntarily revolve seating within the section on a regular basis

~ Leave of absence

ENGLISH HORN Monica Fosnaugh Shari and Craig Morgan Chair

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DSO PERFORMANCE MAGAZINE 5

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

Leonard Slatkin

I

nternationally acclaimed conductor Leonard Slatkin is Music Director Laureate of the Detroit Symphony Orchestra (DSO) and Directeur Musical Honoraire of the Orchestre National de Lyon (ONL). He maintains a rigorous schedule of guest conducting throughout the world and is active as a composer, author, and educator.

In the 2019-20 season, he will celebrate his 75th birthday year with several of the orchestras he has led over the course of his 50-year career, including the St. Louis Symphony Orchestra, National Symphony Orchestra, Nashville Symphony Orchestra, DSO, and ONL. Other highlights include return engagements with the Houston Symphony Orchestra, RTÉ National Symphony in Dublin, Toronto Symphony Orchestra, and NHK Symphony Orchestra in Tokyo; debuts with the KBS Symphony Orchestra in Seoul, NDR Radiophilharmonie in Hannover, and Würth Philharmonic in Künzelsau, Germany; and three weeks in Spain conducting orchestras in CastileLeón, Bilbao, and the Balearic Islands.

Slatkin has received six Grammy awards and 33 nominations. His recent Naxos recordings include works

by Saint-Saëns, Ravel, and Berlioz 6

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(with the ONL) and music by Copland, Rachmaninoff, Borzova, McTee, and John Williams (with the DSO). In addition, he has recorded the complete Brahms, Beethoven, and Tchaikovsky symphonies with the DSO (available online as digital downloads).

A recipient of the prestigious National Medal of Arts, Slatkin also holds the rank of Chevalier in the French Legion of Honor. He has received Austria’s Decoration of Honor in Silver, the League of American Orchestras’ Gold Baton Award, and the 2013 ASCAP Deems Taylor Special Recognition Award for his debut book, Conducting Business. His second book, Leading Tones: Reflections on Music, Musicians, and the Music Industry, was published by Amadeus Press in 2017.

Slatkin has conducted virtually all the leading orchestras in the world.

As Music Director, he has held posts in New Orleans; St. Louis; Washington, DC; London (with the BBCSO); Detroit; and Lyon, France. He has also served as Principal Guest Conductor in Pittsburgh, Los Angeles, Minneapolis, and Cleveland. For more information, visit leonardslatkin.com.

FALL 2019

Jeff Tyzik

G

rammy Award winner Jeff Tyzik is one of America’s most innovative and sought-after pops conductors.

Tyzik is recognized for his brilliant arrangements, original programming, and engaging rapport with audiences of all ages. In addition to his role as Principal Pops Conductor of the DSO, Tyzik holds The Dot and Paul Mason Principal Pops Conductor’s Podium at the Dallas Symphony Orchestra and also serves as principal pops conductor of the Oregon Symphony, Florida Orchestra, and Rochester Philharmonic – a post he has held for 23 seasons.

Frequently invited as a guest conductor, Tyzik has appeared with the Boston Pops, Cincinnati Pops, Milwaukee Symphony, Pittsburgh Symphony, Toronto Symphony, Indianapolis Symphony, Philadelphia Orchestra, Los Angeles Philharmonic, and Royal Scottish National Orchestra. In May 2007, the Harmonia Mundi label released his recording of works by Gershwin with pianist Jon Nakamatsu and the RPO, which stayed in the Top 10 on the Billboard classical chart for over

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three months. Alex Ross of the New Yorker called it “one of the snappiest Gershwin discs in years.”

Committed to performing music of all genres, Tyzik has collaborated with such diverse artists as Megan Hilty, Chris Botti, Matthew Morrison, Wynonna Judd, Tony Bennett, Art Garfunkel, Dawn Upshaw, Marilyn Horne, Arturo Sandoval, The Chieftains, Mark O’Connor, Doc Severinsen, and John Pizzarelli. He has created numerous original programs that include the greatest music from jazz and classical to Motown, Broadway, film, dance, Latin, and swing. Tyzik holds Bachelor of Music and Master of Music degrees from the Eastman School of Music. For more information, visit jefftyzik.com.

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DSO PERFORMANCE MAGAZINE 7

Detroit Symphony Orchestra, Inc. LIFETIME MEMBERS

CHAIRMEN EMERITI

DIRECTORS EMERITI

OFFICERS

BOARD OF DIRECTORS

The Board of Directors is responsible for maintaining a culture of accountability, resource development and strategic thinking.

As fiduciaries, Directors oversee all DSO financial activities, risk, and strategy, and assuring that resources are aligned with the DSO mission.

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

James B. Nicholson Clyde Wu, M.D.◊

Peter D. Cummings Phillip Wm. Fisher Stanley Frankel

Alfred R. Glancy III ◊ Robert S. Miller James B. Nicholson

Robert A. Allesee Floy Barthel Mrs. Mandell L. Berman◊ John A. Boll, Sr. Richard A. Brodie Lois & Avern Cohn Marianne Endicott Sidney Forbes Mrs. Harold Frank Barbara Frankel Herman Frankel

Paul Ganson Mort & Brigitte◊ Harris Gloria Heppner, Ph.D. Ronald M. Horwitz Hon. Damon J. Keith◊ Richard P. Kughn◊ Harold Kulish Dr. Melvin A. Lester David R. Nelson Robert E.L. Perkins, D.D.S.◊ Marilyn Pincus

Lloyd E. Reuss Jack A. Robinson◊ Marjorie S. Saulson Alan E. Schwartz Jean Shapero◊ Jane Sherman David Usher Barbara Van Dusen Arthur A. Weiss, Esq.

Mark A. Davidoff Chairman

Faye Alexander Nelson Treasurer

Nancy Schlichting Officer at Large

Glenda D. Price, Ph.D. Vice Chair

Arthur T. O’Reilly Secretary

Janice Uhlig Officer at Large

Anne Parsons President & CEO

Ralph J. Gerson Officer at Large

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

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

◊ Deceased

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

FALL 2019

BOARD OF TRUSTEES Richard Huttenlocher, Chair The Board of Trustees is tasked with shepherding the long-term strategy of the DSO to fully implement the organization’s entrepreneurial capabilities while developing and presenting new strategies and objectives.

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

Carolynn Frankel Christa Funk Alan M. Gallatin Robert Gillette Jody Glancy Malik Goodwin Mary Ann Gorlin Laura Grannemann Leslie Green Laura Hernandez-Romine Donald Hiruo Michele Hodges Julie Hollinshead Antoinette G. Hubbard Renato Jamett Joseph Jonna John Jullens David Karp Joel D. Kellman

Jennette Smith Kotila James P. Lentini, D.M.A Linda Dresner Levy Joshua Linkner Florine Mark Tonya Matthews, Ph.D. David N. McCammon Lydia Michael NextGen Chair Lois A. Miller Daniel Millward Scott Monty Shari Morgan Frederick J. Morsches Sean M. Neall Eric Nemeth Mary Okun Shannon Orme Orchestra Representative Vivian Pickard

William F. Pickard, Ph.D. Gerrit Reepmeyer Richard Robinson James Rose, Jr. Marc Schwartz Lois L. Shaevsky Thomas Shafer Margaret Shulman Cathryn M. Skedel, Ph.D. Ralph Skiano Orchestra Representative Mark Tapper Laura J. Trudeau Gwen Weiner Jennifer Whitteaker R. Jamison Williams Margaret E. Winters Ellen Hill Zeringue

MAESTRO CIRCLE EXECUTIVE COMMITTEE Janet and Norm Ankers, chairs

Cecilia Benner

Joanne Danto

Greg Haynes

Bonnie Larson

Lois Miller

Ric Sonenklar

GOVERNING MEMBERS OFFICERS Janice Bernick Chairwoman

James C. Farber Immediate Past Chair

Jiehan Alonzo Vice Chair, Signature Events

Samantha Svoboda Vice Chair, Communications

Bonnie Larson Member at Large

Suzanne Dalton Vice Chair, Annual Giving

David Assemany Member at Large

David Everson Orchestra Representative

Diana Golden Vice Chair, Membership

Maureen D’Avanzo Member at Large

Kenneth Tompkins Orchestra Representative

David Karp Member at Large

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DSO PERFORMANCE MAGAZINE 9

T R A N S F O R M AT I O N A L S U P P O R T

SPOTLIGHT: BONNIE LARSON AND THE BONNIE ANN AND ROBERT C. LARSON GUEST PIANIST FUND “For me, it is a privilege to help provide a lasting legacy for an institution like the Detroit Symphony,” says longtime DSO fan and supporter Bonnie Larson. Bonnie made her first gift to the orchestra – as part of efforts to restore Orchestra Hall – in 1986, and her connection to the oneDSO family has only deepened since then. She has been a member of the Board of Directors for twelve years and many patrons will recognize her as a namesake of the Bonnie Ann and Robert C. Larson Guest Pianist Fund, which helps bring the best pianists in the world to Orchestra Hall to perform with the DSO. Why pianists? In part because of Bonnie’s family history: her mother’s maiden name was Grinnell, as in Grinnell Brothers – the storied Detroit-based piano design and manufacturing company. Native Detroiters might remember the Grinnell Brothers Music House at 1515 Woodward Avenue, and Grinnell Brothers pianos were everywhere in the company’s 1960s heyday.

“I have many memories of my grandfather sitting at the piano and playing, and of course my sisters and I all took piano lessons growing up,” Bonnie says. Music was part of the fabric of her family, and she can’t imagine life without it. “It is my dream that everyone is able to have the opportunity to be inspired and delighted by music,” she explains.

The Larson Guest Pianist Fund is one part of Bonnie’s commitment to making that dream a reality. Each year, the fund sponsors a piano-forward program on the Classical Series, marked by visits from piano luminaries like Jeremy Denk, Louis Schwizgebel, and Emanuel Ax. “It’s an extraordinary experience,” says Bonnie, who refuses to name any one artist’s visit as her favorite. She simply loves them all.

This year, the experience should be approximately three times as extraordinary, as the Larson Guest Pianist Fund supports the Classical Series’ Opening Weekend program – a dramatic evening that recreates the first concert performed at Orchestra Hall in 1919. Two pianos face each other downstage as twin sisters Christina and Michelle Naughton perform Mozart’s Concerto for Two Pianos, then two become three as David Fung joins the Naughtons for Bach’s Concerto No. 2 for Three Pianos. “I’m thrilled,” Bonnie says excitedly. “It’s so wonderful to celebrate Orchestra Hall with programs like this one.”

For Bonnie and so many other members of the oneDSO family, what happens on the Orchestra Hall stage is life-changing and even world-changing. “I think most people would agree that we’re seeing a true renaissance in Detroit today,” Bonnie says. “And we have to ask ourselves the question: what are the components that make a great city? I feel that the hallmark of a great city is its cultural institutions.

Music and art are the heart and the soul.”

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FALL 2019

FOUNDING FAMILIES Julie & Peter Cummings The Davidson-Gerson Family and the William Davidson Foundation The Richard C. Devereaux Foundation The Fisher Family and the Max M. & Marjorie S. Fisher Foundation Stanley & Judy Frankel and the Samuel & Jean Frankel Foundation Danialle & Peter Karmanos, Jr. Linda Dresner & Ed Levy, Jr. James B. & Ann V. Nicholson and PVS Chemicals, Inc. Clyde & Helen Wu◊

CHAMPIONS Mr. & Mrs. Richard L. Alonzo Mandell & Madeleine Berman Foundation Penny & Harold Blumenstein Mr. & Mrs. Raymond M. Cracchiolo Joanne Danto & Arnold Weingarden Vera and Joseph Dresner Foundation DTE Energy Foundation The Fred A. & Barbara M. Erb Family Foundation Mr. & Mrs. Phillip Wm. Fisher Ford Motor Company Fund Mr. & Mrs.◊ Morton E. Harris

John S. & James L. Knight Foundation The Kresge Foundation Mrs. Bonnie Larson The Andrew W. Mellon Foundation Ms. Deborah Miesel Shari & Craig Morgan Dr. William F. Pickard The Polk Family Bernard & Eleanor Robertson Stephen M. Ross Mrs. Richard C. Van Dusen

LEADERS Applebaum Family Foundation Charlotte Arkin Estate Mr. & Mrs. Lee Barthel Marvin & Betty Danto Family Foundation Herman & Sharon Frankel Ruth & Al◊ Glancy Mary Ann & Robert Gorlin John C. Leyhan Estate Bud & Nancy Liebler

Richard & Jane Manoogian Foundation David & Valerie McCammon Mr. & Mrs. Eugene A. Miller Jack & Aviva Robinson◊ Martie & Bob Sachs Mr. & Mrs.◊ Alan E. Schwartz Drs. Doris Tong & Teck Soo Paul & Terese Zlotoff

BENEFACTORS Mr. & Mrs. Robert A. Allesee W. Harold & Chacona W. Baugh Robert & Lucinda Clement Lois & Avern Cohn Mary Rita Cuddohy Estate Margie Dunn & Mark Davidoff DSO Musicians Bette Dyer Estate Dr. Marjorie M. Fisher & Mr. Roy Furman Barbara Frankel & Ronald Michalak Victor◊ & Gale Girolami Fund Herbert & Dorothy Graebner◊ Mr. Richard Sonenklar & Mr. Gregory Haynes Ronald M. & Carol◊ Horwitz dso.org

◊ Deceased

Richard H. & Carola Huttenlocher Ann & Norman Katz Dr. Melvin A. Lester Florine Mark Michigan Council for Arts & Cultural Affairs Pat & Hank Nickol Ruth Rattner Mr. & Mrs. Lloyd E. Reuss Donald & Gloria Schultz Estate Mr. & Mrs. Fred Secrest◊ Jane & Larry Sherman Cindy McTee & Leonard Slatkin Marilyn Snodgrass Estate

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DSO PERFORMANCE MAGAZINE 11

MEET THE MUSICIAN

STEPHEN MOLINA Assistant Principal Bass

S

tephen Molina joined the DSO in 1976, as Aldo Ceccato was about to turn over the music director role to Antal Dorati. The orchestra’s home was Ford Auditorium on the Detroit riverfront, where the DSO had been based since 1956, and the Renaissance Center was rapidly rising skyward next door. A little more than a mile up Woodward Avenue, Orchestra Hall had been saved from demolition, but new concerns emerged – how could the historic venue be restored, and who would pay for it?

“When I first saw Orchestra Hall there were actually holes in the walls and birds around,” Molina remembers. “The floor was messed up and uneven. It was dusty no matter how often they cleaned it – there was always dust.”

But, slowly and surely, the money came in and the plans materialized.

The DSO moved back to a refurbished, holes-patched Orchestra Hall in 1989, and additional restoration and beautification work took place over the next several years. Molina remembers Ford Auditorium, for what it’s worth, as “difficult,” but he does credit the midcentury theater for its comfy seats.

Among the musicians who remember the move from Ford Auditorium into the restored Orchestra Hall, Molina offers a unique perspective. For more than three decades – in addition to performing in the bass section – he held roles in the orchestra’s personnel office, which manages musician schedules, payroll, and

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auditions, and also serves as a liaison between musicians and management.

Molina was offered his first role in the personnel office in 1983, and he retired from his position as Orchestra Personnel Manager in 2015 while remaining as the DSO’s Assistant Principal Bass.

Now, after performing at Orchestra Hall nearly twice as long as he performed anywhere else, Molina calls the venue “a treasured place.” He, like many others, can’t say enough about the hall’s remarkable sound. “It’s very easy to play softly onstage and know that that sound is traveling to the back of the Hall, and that you can play crisply and cleanly,” he FALL 2019

says. “You don’t have to overdo it.”

When Orchestra Hall entered a new phase yet again – to expand and become part of the Max M. and Marjorie S. Fisher Music Center – Molina, particularly while wearing his personnel manager hat, was thrilled. “Prior to The Max being built … I don’t know if you’re aware, but to make do they put trailers alongside the building,” he remembers, describing the cramped and inelegant makeshift backstage accommodations for musicians.

Molina can’t help but smile and chuckle about the inconveniences of the past, because for a musician the primary goal is always making music. Yes, he remembers a bizarre instance where his bass was stolen (and later recovered, don’t worry) from a storage closet in the early Orchestra Hall days, but

more than that he remembers sublime moments onstage. “I think of Neeme Järvi’s first performances with us, just fantastic,” he says. “I think of playing A Soldier’s Tale with Peter Oundjian and my colleagues. Just recently, we did a Vivaldi program with a small group on stage, and I think of the excitement from the crowd.”

Outside of playing music, Molina has always been very athletic, and he still makes lots of time for biking, yoga, and tennis. He likes the challenge of exercise and the competition of sports. But he also finds a useful metaphor: “You know, I always like to look at sports. And if you think about the orchestra in that way, and about Orchestra Hall, well, we have the greatest arena – musically – in the country.”

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DSO PERFORMANCE MAGAZINE 13

MAKING SENSE OF SOUND T HE S CIENCE BEHIND ORCHE S T R A H A L L’S FL AW L E S S AC OUS T IC S

BY BEN BREUNINGER

ONE OF THE MOST COMMON REFRAINS among DSO fans, musicians, staff, collaborators, and insiders is that Orchestra Hall is “acoustically perfect” or very close to it.

For example: “Orchestra Hall is like a friend giving your notes a hug as you play,” says the DSO’s Bill Lucas, trumpet. Former principal guest conductor Peter Oundjian called it a “miracle;” Yo-Yo Ma declared it “one of the wonders [of the] music world.”

The hall’s superb sound is touted so widely – and so frequently – that it’s something of a mantra; people just know it’s good, in the same way they know that Beethoven went deaf or that the Lions wear Honolulu Blue. But how perfect is the sound really? And what factors contribute to the

Five HEAD acoustics Measurement Systems, shaped like human heads, were placed throughout Orchestra Hall at a rehearsal of Brahms’s Symphony No. 4 to collect acoustical data 14

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FALL 2019

supposedly excellent acoustics for which Orchestra Hall is so praised? Anyone with a fine ear can declare that the hall sounds great, but it takes an acoustics expert to explain how and why.

Enter the Detroit office of the German company HEAD acoustics, a leading provider of test systems for evaluating and troubleshooting sound quality. HEAD’s work in Michigan mostly relates to automotive interiors, but their futuristic technology is a perThe fly tower above the Orchestra Hall stage, which houses fect fit for decoding Orchestra acoustic reflector panels installed during the Hall’s restoration Hall’s top-notch sound. This spring, HEAD placed five mea Orchestra Hall is also sized beautisurement devices – shaped like human fully – not too big, not too small. heads – throughout the auditorium and Cramped halls allow indirect sound to onstage to gather data during a DSO bounce around too much, creating noise; rehearsal. At this September’s expansive halls allow sound to die out Centenary Sound Lab event, they before it can reach the furthest corners. brought a new toy: the HEAD Visor, which allows users to visualize how Happy Accidents sound interacts with the hall’s interior.

Two of Orchestra Hall’s “secret weap After reviewing HEAD’s analysis and ons” are located directly above and consulting with other experts – including below the stage. Architect C. Howard Jaffe Holden, a leading acoustics firm Crane designed the building with flexithat has worked with the DSO for bility in mind, so he included two decades – the results are in. features that would aid in the production of operas and plays: a fly tower high Shape and Size above the stage, and an empty space Like many other theaters lauded for called a “trap room” (because it’s accestheir great acoustics, Orchestra Hall is sible via trapdoor) below. built in the “shoebox” style – a rectangle, essentially, though it has slightly curving Shoebox Fan walls that some experts call “lyric” STAGE style. Shoebox halls tend to allow for a STAGE great balance of direct sound (which leaps from the stage in straight, uninterrupted paths) and indirect sound (which bounces and reflects before dying down), especially compared to “fan” style halls that gained popularity in the A “shoebox” style layout (left) and a “fan” style middle of the 20th century because they layout (right) offer better sight lines. dso.org

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DSO PERFORMANCE MAGAZINE 15

While these features are rarely used for their original intended purposes, they greatly improve the “warmth” of Orchestra Hall’s sound. This is because low-frequency bass sounds (like those produced by cellos, basses, and timpani) have time to resonate above and below the stage before being pushed out into the seats, which makes them sound richer and more blended.

As an added bonus, the resonance created by these two features allows musicians onstage to hear each other much more effectively – an extremely rare quality, even among concert halls that sound great from the auditorium.

No Bad Seats Another result of Orchestra Hall’s size, shape, and special features is that the sound is excellent in virtually all areas of the auditorium – even seating sections underneath the balcony and boxes, which usually suffer from poor acoustics in similar theaters.

Analysis by HEAD acoustics proves what many DSO fans have known for years: that every seating section sounds great, but some areas have unique “flavors.” And amazingly, the differences are extremely slight. Visual spectrograms of sound samples collected

throughout Orchestra Hall (below) reveal only minor variations, which means that the sound in a supposedly “good” area of the Hall is all but indistinguishable from the sound anywhere else.

The X Factor Other seemingly negligible details also account for Orchestra Hall’s spot-on acoustics, including the hardness of its plaster walls and the particulars of its ornamentation. But as Mark Stryker – former Detroit Free Press critic and the closest thing to a professional Orchestra Hall fan as one can be – puts it, “formal analysis has its limit.” Pore over the details all you want, but sometimes you have to chalk it up to the term we stole from the French: je ne sais quoi.

Another term works well too: magic.

Yes, it’s a cliché. But the beauty of a magic trick isn’t that it makes us believe in magic – it’s that it makes us say how did they do that?

The DSO extends special thanks to the following for their assistance and contributions to this article: • HEAD acoustics, Inc., especially Wade Bray and Mike Stephan • JaffeHolden Acoustics, especially Russell Cooper • Mark Stryker, Paul Ganson, Scott Reilly, Marc Geelhoed, and Sarah Smarch

Spectrograms represent sound samples collected from (L-R) Main Floor A, the Box Level, the Upper Balcony, and directly in front of the stage; only slight section-to-section differences are apparent 16

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Excerpt

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DESTINY: 100 Years of Music, Magic, and Community at Orchestra Hall in Detroit Community Magic, and illustrated of Music, 100 Years is a lavishly home of Destiny: in Detroit Hall, tra Hall er Orchestra at Orches years of tten by form 100 Wri ing tra. book trac ny Orches reporter Sympho and arts ic roit crit Det sic the ind the e Press mu ders beh takes rea Detroit Fre and the ker, Destiny the hall in 1919 ip Mark Stry g of ctor Oss ldin dire bui sic the rs er mu scenes of Age und h the yea t Golden e tinues wit DSO’s firs story con the Paradis sch. The renamed Gabrilowit hall was for the when the destination cles 1941–1951, a major n chroni and became sts. The book the to save Theatre arti ters por jazz top civic sup country’s followed ans and in 1970, by musici l and the the fight demolition hestra Hal Hall from home tion of Orc Orchestra historic ear restora DSO to its by the 20-y tion of rn of the ant retu ails the crea triumph book det Center in sic the , Mu er Finally roof e S. Fish in 1989.

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BY MARK STRYKER

Stryker is a longtime journalist, music critic, and writer who covered classical and jazz music for the Detroit Free Press from 1995 to 2016. His new book, published by the DSO in celebration of Orchestra Hall’s centennial year, is available now at Shop @ The Max. Read an excerpt from the introduction below. me Järvi

OIT IN DE TR RA HA LL

— Nee I ery time a gem… Ev ll is just awe. It’s “This ha e—I’m in very tim return—e Grimaud .” — Hélène on cti rfe pe

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Mark Stry

$24.95 3 34170-1- 5 >

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13

The first concert I heard at Orchestra Hall was in October 1995. I had come to Detroit to interview for a job at the Detroit Free Press as an arts reporter and classical music critic. I was excited to end the day by hearing music director Neeme Järvi lead the Detroit Symphony Orchestra through music of Berlioz, Bruch, and Mendelssohn. I remember driving along a lonely stretch of Woodward Avenue, parking across the street from the hall in a dimly lit lot. I took in the bleak surroundings as I walked toward a shockingly small building. Then I crashed into the uncomfortable crush of people crammed into the tiny, oval lobby.

Processing all of this, I said to myself, “Why in the hell is the orchestra playing here?”

But then I got my first glimpse of the jewel-box interior. The soft and silky colors were so inviting, the ornamentation and lighting so lovely, and the dimensions so cozy that I began to reconsider my first impressions. I settled into my seat. The concertmaster took the stage. Out strode Järvi. Applause. Bows. Downbeat.

The instant the music hit the air I knew exactly why the DSO was playing at 18

DSO PERFORMANCE MAGAZINE

Orchestra Hall: the sound. Vibrant, warm, clear, seductive, and intimate, it leapt off the stage with such immediacy that the distance between the musicians and audience collapsed in a blink. I felt like I was sitting onstage next to the podium.

The hall offered nonpareil acoustics for a symphony orchestra: the perfect balance of reverberance, clarity, and dynamic range. The strings, winds, and brass blended into a glowing halo of sound that hung in the air like a vision.

Yet the details – the suave solo clarinet rising out of the ensemble, the bracing snap of the timpani, the noble sighs of unison violins – were as crisp as high-definition video. When the orchestra whispered, it was as if the musicians were sharing secrets with me alone. When the players roared, the sound was bold and burnished but never blaring.

Orchestra Hall was magic – one of the finest concert halls in the world. Just as it was the day it opened on October 23, 1919. Just as it remains in 2019 as it turns 100 years old.

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Mark Stryker’s engagement as author of this commemorative publication was generously underwritten by Ann and James B. Nicholson.

Additional support of this publication was underwritten by the Community Foundation for Southeast Michigan and Ford Motor Company Fund.

The DSO would like to thank the Honorable Avern Cohn and Lois Cohn, Bernard and Eleanor Robertson, and Varnum LLP for their leadership support of Orchestra Hall’s centennial, and all Centennial Club members who generously contributed.

Centennial Club Members Howard Abrams & Nina Dodge Abrams Mr. & Mrs. Robert A. Allesee James & Patricia Anderson Pamela Applebaum Ms. Joy Crawford & Mr. Richard Aude Ms. Ruth Baidas Mr. David Barnes Mr. & Mrs. Lee Barthel W. Harold & Chacona W. Baugh Gwen & Richard Bowlby Mr. & Mrs. Richard A. Brodie Philip & Carol Campbell Mr. Marvin D. Crawford Mr. & Mrs. Matthew P. Cullen Julie & Peter Cummings Joanne Danto & Arnold Weingarden Barbara A. David Margie Dunn & Mark Davidoff Mr. & Mrs. Ethan Davidson Lillian & Walter Dean Deloitte Ms. Leslie C. Devereaux Eugene & Elaine C. Driker Mr. Lee V. Hart & Mr. Charles L. Dunlap Edwin & Rosemarie Dyer Jim & Margo Farber Mr. & Mrs. Phillip Wm. Fisher Mr. & Mrs. Aaron Frankel Barbara Frankel & Ronald Michalak

Dale & Bruce Frankel Herman & Sharon Frankel Mr. & Mrs. Stanley Frankel Kit & Dan Frohardt-Lane Ms. Jody Glancy Ms. Jacqueline Graham Mr. & Mrs. James Grosfeld Mr. Sanford Hansell & Dr. Raina Ernstoff Mr. Morton E. Harris Cheryl A. Harvey Mr. Donald & Marcia Hiruo Mr. Matthew Howell & Mrs. Julie Wagner Richard H. & Carola Huttenlocher Renato & Elizabeth Jamett Mr. George G. Johnson Lenard & Connie Johnston Paul & Marietta Joliat Danialle & Peter Karmanos, Jr. Morgan & Danny Kaufman June K. Kendall Mr. David Kolodziej Dr. Sandy Koltonow & Dr. Mary Schlaff KPMG LLP Dr. & Mrs. James P. Lentini Nicole & Matt Lester Linda Dresner & Ed Levy, Jr. Mervyn & Elaine Manning Mr. & Mrs. Alonzo McDonald Olga Sutaruk Meyer

Ms. I. Surayyah R. Muwwakkil Mr. & Mrs. Albert T. Nelson, Jr. Anne Parsons & Donald Dietz Debra & Richard Partrich Kathryn & Roger Penske Vivian Pickard The Polk Family Dr. Glenda D. Price Charlene & Michael Prysak Maurcine & Lloyd Reuss Mr. & Mrs. Robert B. Rosowski Martie & Bob Sachs Dr. & Mrs. Hershel Sandberg Save Our Symphony Deborah Savoie Nancy Schlichting & Pamela Theisen Mr. & Mrs. James H. Sherman John J. Solecki Richard Sonenklar & Gregory Haynes Alice & Paul Tomboulian Mrs. Richard C. Van Dusen Varnum LLP Beverly & Barry Williams Drs. David & Bernadine Wu Ms. Andrea L. Wulf Paul & Terese Zlotoff

As of August 31, 2019

Please call (313) 576-5114 or email friends@dso.org for more information about how to join the Centennial Club.

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DSO PERFORMANCE MAGAZINE 19

COMMUNITY & LEARNING

T

his July, the DSO met up with an old friend: Interlochen Center for the Arts, the idyllic music and arts institute not far from Traverse City. The visit marked the first time the DSO has played a full orchestra concert at Interlochen since 2006, and the trip up north was actually a four-day residency that also included masterclasses, sectionals, and a side-by-side concert with students.

The DSO’s association with Interlochen dates to 1926, when Orchestra Hall hosted 275 members of the National High School Honors Orchestra – an ensemble organized by Joseph Maddy, who would later incorporate the summer camp and arts institute that Interlochen has become. The relationship between the two organizations continued to grow and became especially strong in the 1960s and ’70s, and beginning in 1991 the DSO appeared at Interlochen annually until a hiatus in 2006.

Several DSO musicians have their own connections to Interlochen as former students, teachers, or both.

Cellist Úna O’Riordan, for example, remembers a lesson with Paul Wingert when she attended Interlochen as a camper in the early ’90s. Thirty or so years later, O’Riordan and Wingert are both members of the DSO cello section, and Wingert has his own stories about attending Interlochen as a student in the ’70s. “Going to Interlochen and being surrounded by music – the immersive experience – was very important for me,” O’Riordan reflects. “It was the start of my career.”

The new partnership that brought the DSO’s return to Interlochen also deepens the bond between the two organizations. “We are now partnering 20

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directly with Interlochen in a comprehensive effort to send more students from our Civic Youth Ensembles (CYE) to summer camp,” explains Caen Thomason-Redus, the DSO’s Senior Director of Community & Learning.

“From beginning violinists in our schoolbased Dresner Foundation Allegro

Ensemble to members of our top-level Detroit Symphony Youth Orchestra.”

Fifteen CYE students attended this summer, participating in a range of Interlochen program. CYE parent Cher Coner, whose twin seventh grade sons – Cody and Dominic, both violinists – attended Interlochen for two weeks, says she is overwhelmed with gratitude for the opportunity: “It was a growing experience for our whole family. When I went to pick them up from camp, I attended their final concert, and I wanted to cry. I was shocked and impressed by how much they learned in two weeks! I kept saying wow.”

With both storied institutions entering a new phase of collaboration, we can only look forward to more summer days and wow moments up north.

The DSO thanks the following for their support of our partnership with Interlochen: Butzel Long, Joanne Danto & Arnold Weingarden, Elaine & Eugene C. Driker, Charlene Handleman, Mr. & Mrs. Paul Hooberman, Betsy & Joel Kellman, Nicole & Matt Lester, Shari & Craig Morgan, Hon. Kurtis T. Wilder, Drs. David & Bernadine Wu, Mrs. Richard C. Van Dusen, and one who wishes to remain anonymous.

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

JEFF TYZIK

Principal Pops Conductor

TERENCE BLANCHARD

NEEME JÄRVI Music Director Emeritus

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

CLASSICAL SERIES STRAUSS: DEATH AND TRANSFIGURATION Saturday, October 26, 2019 at 8 p.m.

Sunday, October 27, 2019 at 3 p.m. at Orchestra Hall JURAJ VALČUHA, conductor JULIAN RACHLIN, violin

Sergei Prokofiev Suite from The Love for Three Oranges, Op. 33a

(1891 - 1953) I. Les Ridicules II. Le Magicien Tchelio et Fata Morgana jouent aux cartes III. March IV. Scherzo V. Le Prince et la princesse VI. Le Fuite Violin Concerto No. 2 in G minor, Op. 63 I. Allegro moderato II. Andante assai III. Allegro, ben marcato Julian Rachlin, violin Intermission Richard Strauss Tod und Verklärung (1864 - 1949) (Death and Transfiguration), Op. 24H

H Performed during Orchestra Hall’s first season in 1919-1920

This Classical Series performance is generously sponsored by

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

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DSO PERFORMANCE MAGAZINE 21

Program Notes P R O G R A M AT- A - G L A N C E

TWO TITANS’ DSO DEBUTS Two of the most famous composers of the 20th century, Richard Strauss and Sergei Prokofiev, both performed with the DSO at Orchestra Hall during the symphony’s “Golden Age” from 1919-1939.

Strauss conducted a concert of his own music on November 7, 1921. The program included the three tone poems Don Juan, Till Eulenspiegel’s Merry Pranks, and Death and Transfiguration – which the DSO had already performed several times during Orchestra Hall’s first two seasons and which is presented tonight.

Suite from The Love for Three Oranges, Op. 33a Composed 1918-19 | Premiered November 1925

SERGEI PROKOFIEV B. April 23, 1891, Sontsivka, Ukraine D. March 5, 1953, Moscow, Russia

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 3 bassoons (1 doubling on contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, and strings. (Approx. 15 minutes)

S

ergei Prokofiev began work on his satirical opera The Love for Three Oranges on a commission from the Chicago Opera Association. The composer’s source material is the Italian fable L’amore delle tre melarance by playright Carlo Gozzi; despite the piece’s Italian roots, its libretto is in French. After several delays, the work finally reached the stage in October 1921 and enjoyed a

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Prokofiev made his DSO debut on February 11, 1938. A fine pianist, the composer performed his Second Piano Sonata and – with the DSO and Victor Kolar – his Piano Concerto No. 1. Kolar also conducted Prokofiev’s Symphony No. 1 (“Classical Symphony”).

somewhat mixed reaction: “The Chicagoans were both proud and embarrassed to be presenting a ‘modernist premiere,’” Prokofiev later wrote. The opera fared much better at the Mariynsky Theater in Russia, and the march from opera’s second act quickly became a popular concert piece.

In 1924, Prokofiev extracted the march and five other orchestral interludes from The Love for Three Oranges into the present concert suite. Its initial movement introduces a kind of comic Greek chorus: a group of “Eccentrics” who observe, comment on, and occasionally intervene in the action.

Prokofiev’s music for them, heard at the very start of the opera, is raucous and lyrical by turns, but always with a strong suggestion of his characteristic sardonic humor.

The opera’s villains are a magician, Tchelio, and the evil sorceress Fata Morgana. We meet them as they play cards, where the outcome of the game will supposedly determine the fate of FALL 2019

their nemesis the young Prince. Here Prokofiev strikes a suitably menacing and supernatural tone. Then comes the famous march, one of the most popular pieces Prokofiev ever wrote, and the scintillating Scherzo that serves in the opera as an interlude between two scenes in the third act.

The fifth movement brings a bit of tender love music, as the Prince meets the Princess for whom he is destined.

Near the end of the opera, Fata Morgana’s agents have been apprehended and sentenced to hang. At the last minute, however, they manage to escape, their flight accompanied by the madcap music that closes the suite.

—Paul Schiavo The DSO most recently performed Prokofiev’s Suite from The Love for Three Oranges in February 1992, conducted by Neeme Järvi. The DSO first performed the piece in January 1941, conducted by Victor Kolar.

Violin Concerto No. 2 in G minor, Op. 63 Composed 1935 | Premiered December 1935

SERGEI PROKOFIEV B. April 23, 1891, Sontsivka, Ukraine D. March 5, 1953, Moscow, Russia

Scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (Approx. 26 minutes)

P

rokofiev wrote his second violin concerto two years after returning home from a decade in Paris. Yet, as a tireless traveler, he worked on the concerto in bits and pieces while on the road. “The number of places in which I wrote the concerto shows the kind of nomadic concert-tour life I led then,” he writes. “The main theme of the first

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movement was written in Paris, the first theme of the second movement at Voronezh, the orchestration was finished in Baku, and the premiere was given in Madrid.” Robert Soetens, the violinist for whom the piece was written, carried its international streak even further with performances around the world through the midcentury and all the way into the 1970s.

The piece’s melodic warmth and romantic lyricism are characteristic of Prokofiev’s music after his repatriation, when he moved away from modernist experiments without sacrificing his compositional voice.

Fans of 1920s Prokofiev need not fear: there are still plenty of brittle textures, driving rhythms, and moments of dry humor here.

The concerto sticks to Classical principles and a smaller, 18th centurysized ensemble. The first movement is in straightforward sonata form, with its main theme announced by the soloist playing a plaintive, five-beat motive alone. The second theme is also given out by the solo violin, now accompanied softly by orchestral strings. The development of these two melodies, which is extensive and energetic, makes considerable demands on the soloist.

The second movement is entirely different. After two measures of introduction, the violin enters with a song-like theme in E-flat major, deceptive in its apparent simplicity, over an arpeggiated accompaniment. The entire movement unfolds in a nearly unbroken stream of melody, with several subsidiary threads that are related closely to the main one.

The vigorous finale follows a traditional rondo pattern. Dance rhythms enliven the recurring principal theme,

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DSO PERFORMANCE MAGAZINE 23

and the soloist again needs considerable virtuosity.

—Paul Schiavo The DSO most recently performed Prokofiev’s Violin Concerto No. 2 on the William Davidson Neighborhood Concert Series in May 2018, conducted by Eric Jacobsen and featuring violinist Alexi Kennedy. The DSO first performed the piece in February 1939, conducted by Victor Kolar and featuring violinist Jascha Heifetz.

Tod und Verklärung (Death and Transfiguration), Op. 24 Composed 1888-89 | Premiered June 1890

RICHARD STRAUSS B. June 11, 1864, Munich, Germany D. September 8, 1949, GarmischPartenkirchen, Germany

Scored for 3 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, and strings. (Approx.

24 minutes)

D

eath seems like an inappropriate subject for a composer who’s just turned 24. But the young Richard Strauss was caught in the vapors of Franz Liszt, Richard Wagner, and the “music of the future,” so we must imagine that nothing felt off limits. Strauss was relatively unknown when he began writing Death and Transfiguration in 1888, but that changed quickly in 1889 when he assumed the music directorship of the Staatskapelle Weimar. The premiere of Don Juan in November 1889 established Strauss’s national reputation and propelled him to the ranks of Germany’s

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leading young musical talents; the following spring, the premiere of Death and Transfiguration cemented this new fame.

Strauss sought to reconnect several competing currents of European Romanticism, and he needed to find novel ways of doing it. “New ideas must seek new forms,” he said, almost as a motto, and narrative quickly became his ally as he worked to create original musical trajectories.

Death and Transfiguration has a clear and imagistic narrative, recalled by Strauss here: “It occurred to me to present in the form of a tone poem the dying hours of a man who had striven towards the highest idealist aims, maybe indeed those of an artist. The sick man lies in bed, asleep, with heavy irregular breathing; friendly dreams conjure a smile on the features of the deeply suffering man; he wakes up; he is once more racked with horrible agonies; his limbs shake with fever – as the attack passes and the pains leave off, his thoughts wander through his past life; his childhood passes before him, the time of his youth with its strivings and passions and then, as the pains already begin to return, there appears to him the fruit of his life’s path, the conception, the ideal which he has sought to realize…”

And then: “The hour of death approaches, the soul leaves the body in order to find gloriously achieved in everlasting space those things which could not be fulfilled here below.”

The work begins with music that matches the irregular breathing Strauss describes above: soft, pulsing notes from the strings and timpani.

The work’s main lyrical theme is based on a descending scale and is first played by a solo violin – it feels agitated and feverish, conjuring images of the dying FALL 2019

man. Later the flute takes up the theme and it briefly becomes peaceful, but before long it plunges into agony once more. It’s not difficult to picture the man writhing on his deathbed as the music bounces from nostalgic to painful to explosive.

Then, a new idea arrives: the titular transfiguration theme, which leaves behind the hero’s turmoil and turns the piece towards its radiant ending. A sweeping upward glissando and pulse deep within the orchestra mark the moment of death. Slowly, beginning in the horns, the

transfiguration theme builds – or rather rises – to one of the most serene codas in all of western music.

In 1949, six decades after his 24th birthday, Strauss lay on his deathbed and announced to his daughter-in-law: “It’s a funny thing, dying is just as I composed it in Death and Transfiguration.”

The DSO most recently performed Strauss’s Death and Transfiguration in April 2010, conducted by Hans Graf.

The DSO first performed the piece in December 1919, conducted by Ossip Gabrilowitsch.

Profiles JURAJ VALČUHA

J

uraj Valčuha currently serves as music director of the Teatro di San Carlo in Naples and as first guest conductor of the Konzerthaus Orchester in Berlin. He previously served as chief conductor of the Orchestra Sinfonica Nazionale della Rai in Turin, where he made a significant impact on the orchestra’s profile both nationally and internationally.

Valčuha studied composition and conducting in Bratislava, St Petersburg, and Paris. His made his début with the Orchestre National de France in 2005, and since then he has led esteemed orchestras across Europe, North America, and Asia. On the opera stage, Valčuha has conducted The Love for Three Oranges, Faust, Elektra, Tosca, Carmen, Lady Macbeth of Mtsensk, and

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Bluebeard’s Castle, among other highlights.

Highlights of Valčuha’s work in 20182019 included return engagements with the New York Philharmonic, productions of Janacek’s Katja Kabanova and Wagner’s Die Walküre at Teatreo di San Carlo, Salome in Bologna, a tour of the Baltics with the Konzerthausorchester Berlin, and concerts with the BBC Symphony Orchestra, San Francisco Symphony, and Dallas Symphony Orchestra. Later this year he will appear with the Minnesota Orchestra, Orchestra Sinfonica Nazionale della Rai, Orchestra Dell’Accademia Nazionale di Santa Cecilia, and Orchestra e Coro del Teatro San Carlo.  Juraj Valčuha has previously

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appeared with the DSO once, conducting a program of Liadov, Korngold, and Rachmaninoff in November 2017

DSO PERFORMANCE MAGAZINE 25

Profiles JULIAN RACHLIN

J

ulian Rachlin is a violinist, violist, and conductor who maintains a prominent career as a soloist and also serves as principal guest conductor of the Royal Northern Sinfonia (Gateshead, England), Turku Philharmonic Orchestra, and Kristiansand Symphony Orchestra. He also leads the Julian Rachlin & Friends festival in Palma de Mallorca.

Rachlin recently completed a violin residency at the Prague Spring Festival and a cycle at the Vienna Musikverein.

Other recent performance highlights include appearances with the St. Petersburg Philharmonic Orchestra and Yuri Temirkanov, Filarmonica della Scala and Riccardo Chailly, Munich Philharmonic and Zubin Mehta, Philharmonia Orchestra and Jakub Hrůša, Orchestra del Maggio Musicale and Vladimir Ashkenazy, and Vienna Symphony Orchestra and Lahav Shani.

Rachlin recently made his North American conducting debut at the Grand Teton National Festival.

Born in Lithuania, Rachlin emigrated to Vienna in 1978. He studied with Boris

Kuschnir at the Vienna Conservatory and with Pinchas Zukerman. After winning the Young Musician of the Year Award at the Eurovision Competition in 1988, he became the youngest soloist ever to play with the Vienna Philharmonic, debuting under Riccardo Muti. He joined the violin faculty at the Music and Arts University of Vienna in 1999.

Rachlin is a UNICEF Goodwill Ambassador and is committed to educational outreach and charity work.

He plays the 1704 “ex Liebig” Stradivarius and a 1785 Lorenzo Storioni viola, on loan to him courtesy of the Dkfm Angelika Prokopp Privatstiftung Foundation. His strings are kindly sponsored by Thomastik-Infeld. M OST RECENT APPEARANCE

WITH THE DSO: The February 2015 Tchaikovsky Festival, performing Tchaikovsky’s Violin Concerto (cond. Leonard Slatkin)  FIRST APPEARANCE WITH THE

DSO: March 1999, performing Sibelius’s Violin Concerto (cond.

Neeme Järvi)

Thank you to the musicians of the Detroit Symphony Orchestra who are playing the Saturday, October 26 concert as a donated service.

We appreciate their continued support and generosity.

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

JEFF TYZIK

Principal Pops Conductor

TERENCE BLANCHARD

NEEME JÄRVI Music Director Emeritus

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

TITLE SPONSOR:

JASON ALEXANDER Saturday, November 2, 2019 at 8 p.m.

Sunday, November 3, 2019 at 3 p.m. at Orchestra Hall JASON ALEXANDER ROBERT BERNHARDT, conductor TODD SCHROEDER, pianist, musical director CARRIE SCHROEDER, guest soloist

Program to be announced from the stage.

Presented by

NOVEMBER IS COMMUNITY SUPPORT MONTH. LEARN MORE AND MAKE A GIFT NOW AT DSO.ORG/DONATE.

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DSO PERFORMANCE MAGAZINE 27

Profiles JASON ALEXANDER

T

hough best known for his award-winning, nine-year stint as the now iconic George Costanza of television’s Seinfeld, Jason Alexander has achieved international recognition for a career noted for its extraordinary diversity: from lauded performances on stage, screen, and television to his extensive works as a writer, composer, director, producer, and acting teacher.

Alexander began as a teenager doing commercials for television and radio.

While still in college, he made his Broadway debut in the original cast of the Hal Prince/Stephen Sondheim musical Merrily We Roll Along. He continued starring on Broadway in the original casts of Kander and Ebb’s The Rink, Neil Simon’s Broadway Bound, Rupert Holmes’ Accomplice, and his Tony Award-winning performance in Jerome Robbins’ Broadway. Jason also authored the libretto for that show, which won the Tony Award for Best Musical.

Alexander’s many films include Pretty Woman, Jacob’s Ladder, Love Valor Compassion, Rocky and Bullwinkle, Dunston Checks In, The Hunchback of Notre Dame, and Shallow Hal. Additionally, he directed the feature films For Better or Worse and Just Looking. He also directed television episodes of Seinfeld, Til Death, Everybody Hates Chris, Mike and Molly, Criminal Minds, and Franklin & Bash. His direction of the music video for Brad Paisley’s “Online” won him a Country Music Award.

Aside from Seinfeld, Alexander has starred in and produced the series Bob

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Patterson, Listen Up, and Hit the Road.

Other notable roles include Friends, Two and a Half Men, Old Christine, Criminal Minds, Monk, Curb Your Enthusiasm, and Young Sheldon.

Jason tours the country as a speaker, comedian, and symphony artist. In his spare time, he is also an award-winning magician, children’s book author, poker champion, political and social activist, martial artist, ceramicist, teacher, and a husband to artist Daena Title and proud dad of his sons, Gabriel and Noah.  These performances mark Jason

Alexander’s DSO debut

ROBERT BERNHARDT

B

ob Bernhardt is musical director emeritus and principal pops conductor of the Chattanooga Symphony and Opera, where he served as music director and conductor for 19 seasons.

Concurrently, Bernhardt is in his 20th year as principal pops conductor of the Louisville Orchestra and was recently named principal pops conductor of the Grand Rapids Symphony. He is also an artist-in-residence at Lee University and conductor of the Lee Symphony. A lover of all genres of music, he is equally at home in symphonic, operatic, pops, and educational performances.

Bernhardt made his Carnegie Hall debut in 1978 and his Boston Pops debut in 1992, at the personal invitation of John Williams. He has been a frequent guest conductor at the Boston Pops in the nearly 30 years since, and this year he returns to the Edmonton Symphony Orchestra as conductor of their Symphony Under the Sky Festival.

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Bernhardt has recorded for Vanguard, First Edition, Carlton Classics, and RPO. A lover of opera, he has conducted staged productions of Don Giovanni, La Traviata, Rigoletto, La Bohème, Il Trovatore, The Flying Dutchman, The Marriage of Figaro, The Magic Flute, Carmen, Tosca, and many more, as well as numerous Gilbert and Sullivan operettas and the musical My Fair Lady.

Born in Rochester, NY, Bernhardt holds a master’s degree with Honors from the University of Southern California School of Music, where he studied with Daniel Lewis. He was a Phi Beta Kappa, summa cum laude graduate of Union College, where he was also an Academic All-American Baseball Player and captain of the school’s soccer team.

He and his wife, Nora, live in Signal Mountain, TN. M OST RECENT APPEARANCE WITH

THE DSO: June 2019, leading Brass Transit on the PNC Pops Series F IRST APPEARANCE WITH THE

DSO: August 1995, leading Broadway Then and Now at a special concert in Vail, CO

TODD SCHROEDER

T

 These performances mark Todd

odd Schroeder sits beneath his porkpie hat having the time of his life. He is a pianist, composer, director, producer, arranger, songwriter, and certainly one of the hardest working music directors in the world – with the LA Stage Alliance Ovation Award for Best Musical Direction and broadwayworld.com Musical Director of the Year award under his belt.

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Schroeder has collaborated with superstars like Jason Alexander, Leslie Odom Jr., Tom Jones, Rita Coolidge, Sam Harris, Postmodern Jukebox, and more; for more than 25 years he has worked closely with the legendary Angela Lansbury, including her recent performance in Mary Poppins Returns.

Schroeder has also music directed and performed with various artists on TV shows like The Oprah Winfrey Show and The Late Late Show. He has served as music or vocal director for several live shows, including Disney’s Aladdin: A Musical Spectacular, Universal Parks and Resorts’ Sing On Tour, and Universal Studios Japan’s Wicked.

Schroeder has composed music for film, TV, and theater, including the Ovation Award-winning off-Broadway hit HAM: A Musical Memoir with Sam Harris.

Other composition credits include Unbeatable: A Bold New Musical, Longing4Love.com, and his brand new musical Wallace, das Musical: The True Story of William Wallace.

Schroeder is the proud founder of the Todd Schroeder Young Artist Grant, an annual scholarship presented to graduating high school students who wish to pursue careers in the arts.

Schroeder’s DSO debut

CARRIE SCHROEDER

C

arrie Schroeder is best known for her role as Dr. Sigourney Gaines, aka Dr. Mom, creator and Mom to Frankie the teenage android on Nickelodeon’s I Am Frankie.

Originally from Australia, Schroeder

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attended Charles Sturt University in New South Wales, where she received her Bachelor of Arts in Acting for the Stage and Screen. After graduating, she played Eva in the Sydney production and subsequent Australian tour of And Then They Came For Me and toured Singapore in Once Upon a Fairytale Christmas. She made her film debut in Jessica and has appeared on Australian television in Neighbours, Offspring, and H2O, Just Add Water. Since moving to Los Angeles in 2012, one of her highlights was shooting the holiday-themed movie Santa Stole Our Dog in which the legendary Ed Asner played Santa Claus. In between film and television projects, Schroeder enjoys

getting back to her theatrical roots.

Notable Los Angeles theatre credits include Alison in John Osborne’s Look Back in Anger and Margot Wendice in Dial M For Murder, for which she was honored to receive a Broadway World nomination for Best Actress.

In addition to her acting career, Carrie is also an accomplished mezzo soprano.

She first sang with Jason Alexander and the Boston Pops at Symphony Hall in 2013, and continues to enjoy many more symphony engagements with Jason. T hese performances mark Carrie

Schroeder’s DSO debut

November is Community Support Month!

The DSO is a community-supported orchestra and your gift is essential to our success.

Your Annual Fund contribution today provides for all that the DSO does in Orchestra Hall, throughout Metro Detroit, across the country, and around the world. To give, stop by one of the tables in the William Davidson Atrium during your concert, call the DSO Friends Helpline at 313.576.5114, email us at friends@dso.org, or visit dso.org/donate.

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FALL 2019

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

JEFF TYZIK

Principal Pops Conductor

TERENCE BLANCHARD

NEEME JÄRVI Music Director Emeritus

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

November is Community Support Month.

Learn more and make a gift now at dso.org/donate.

CLASSICAL SERIES TCHAIKOVSKY’S FIRST CONCERTO Thursday, November 7, 2019 at 7:30 p.m.

Friday, November 8, 2019 at 10:45 a.m.

Saturday, November 9, 2019 at 8 p.m. in Orchestra Hall DALIA STASEVSKA, conductor SIMON TRPČESKI, piano

Julia Wolfe Fountain of Youth (b. 1958)

Pyotr Ilyich Tchaikovsky Piano Concerto No. 1 in B-flat minor, Op. 23H

(1840 - 1893) I. Allegro non troppo e molto maestoso II. Andantino semplice III. Allegro con fuoco Simon Trpceski, piano Intermission Jean Sibelius Symphony No. 1 in E minor, Op. 39 (1865 - 1957) I. Andante, ma non troppo - Allegro energico II. Andante, ma non troppo lento III. Scherzo: Allegro IV. Finale (quasi una fantasia): Andante Allegro molto

H Performed during Orchestra Hall’s first season in 1919-1920

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

Thursday’s recognition of America’s Veterans and Active Military is supported by

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DSO PERFORMANCE MAGAZINE 31

Program Notes P R O G R A M AT- A - G L A N C E BREAKTHROUGHS

Tchaikovsky and Sibelius on the brink of fame Tchaikovsky had mixed success in his early career and was very sensitive to criticism. By the 1860s he finally began to emerge as a celebrated composer, but depression and cynicism always plagued him. Nothing illustrates this dichotomy better than the Piano Concerto No. 1: on the one hand, it was a massive success that raised Tchaikovsky’s profile; on the other, private criticism of the work from Tchaikovsky’s colleagues filled the composer with self-doubt.

Fountain of Youth Composed 2019 | Premiered April 2019

JULIA WOLFE B. December 18, 1958, Philadelphia, PA

Scored for 3 flutes (all doubling on piccolo), 3 oboes, 3 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, 1 tuba, timpani, percussion, harp, piano, electric bass, and strings. (Approx. 12 minutes)

J

ulia Wolfe’s newest work was co-commissioned by New World Symphony and Carnegie Hall with a consortium of orchestras: the Cincinnati Symphony Orchestra, Dallas Symphony Orchestra, Detroit Symphony Orchestra, Pittsburgh Symphony Orchestra, and San Francisco Symphony.

The composer writes the following about the piece: “People have searched for the fountain of youth for thousands of years.

The thought was that if you bathed in or drank from the fountain of youth you

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Sibelius’s career was on the rise at the very end of the 19th century, and a jolt of Finnish patriotism inspired the composer to write his Symphony No. 1. But Sibelius didn’t just pen a stunning work – he marketed it well, tapping into anti-Russian, proFinnish sentiment in his homeland. Sibelius therefore became not only a notable composer but a national hero after the work’s successful premiere.

would be transformed, rejuvenated.

My fountain of youth is music, and in this case I offer the orchestra a sassy, rhythmic, high energy swim.”

— Julia Wolfe These performances mark the DSO premiere of Julia Wolfe’s Fountain of Youth.

Piano Concerto No. 1 in B-flat minor, Op. 23 Composed 1874-75 | Premiered October 1875

PYOTR ILYICH TCHAIKOVSKY B. May 7, 1840, Votkinsk, Russisa D. November 6, 1893, Saint Petersburg, Russia

Scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings.

(Approx. 33 minutes)

A

t the time of its composition, the world’s most popular piano concerto was also one of the most controversial.

During his eighth year as a faculty member at the Moscow Conservatory, FALL 2019

Tchaikovsky invited Nicholas Rubinstein – the founding director of the conservatory and the intended soloist for Tchaikosky’s first entry into the piano concerto genre – to comment on an incomplete draft of the new work in a private reading. Rubinstein heaped abuse upon the concerto, declaring it “unplayable” and “vulgar.” When Rubinstein urged Tchaikovsky to make certain changes, the stubborn composer refused; he would finish the piece and publish it as it stood.

In the rift that ensued, Rubinstein lost a golden opportunity to give the first performance of what was to become the most frequently played piano concerto in the entire repertoire. Instead, Tchaikovsky granted Hans von Bülow the privilege, leading to an acclaimed world premiere in Boston.

Despite its immense popularity and immediate public acceptance, the form of the First Piano Concerto has always puzzled musical scholars and may have been the cause of Rubinstein’s complaints. The huge piano chords and the bold orchestral theme at the outset are set in a different tonality than the rest of the first movement. They never recur anywhere in the concerto, leaving the impression that Tchaikovsky missed a chance to give one of his greatest tunes a triumphant reprise.

The body of the concerto begins with a quick, skipping octave melody derived from a Ukrainian folk song Tchaikovsky had noted down in his sketchbooks. Following a bravura solo passage for the pianist (the second of many in the concerto), the woodwinds and piano introduce a yearning second theme, highlighted in an extended cadenza. Intertwining a song-like third theme, Tchaikovsky builds a developmental interplay as the movement dso.org

draws to a close.

The slow movement begins as a song-like melody stated in the flute over a simple string accompaniment, then taken up by the piano. Its middle section and repetition are decorated with a filigreed accompaniment, largely by the piano. The central portion of the movement suddenly becomes a daredevil light-fingered scherzo, anticipating a device Béla Bartók employed in his Third Piano Concerto 70 years later.

The serene opening melody returns to round off the movement.

The finale is charging rondo, whose broad, flaming second theme becomes the subject of a thrilling coda. Its bold grandeur balances the majestic theme that opened the first movement.

The DSO most recently performed Tchaikovsky’s Piano Concerto No. 1 in November 2016, playing the “1879” version at the request of soloist Kirill Gerstein, conducted by Jun Märkl.

The DSO first performed the work at an all-Tchaikovsky concert in January 1916, with Weston Gales conducting and Kathryn Goodson on the piano.

Symphony No. 1 in E minor, Op. 39 Composed 1898-99 | Premiered April 1899

JEAN SIBELIUS B. December 8, 1865, Hämeenlinna, Finland D. September 20, 1957, Järvenpää, Finland

Scored for 2 flutes (both doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, 1 tuba, timpani, percussion, harp, and strings. (Approx.

38 minutes)

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DSO PERFORMANCE MAGAZINE 33

A

fter the premiere of Jean Sibelius’s Symphony No. 1 in 1899, critic Richard Faltin remarked that the composer moved “with remarkable freedom, following the flight of his inspiration and permitting himself such departures from its discipline as he considers fitting. Few specifically Finnish characteristics are to be found in the symphony: the composer speaks the language of all mankind, yet a tongue that is none the less his own.”

An icon of Finnish identity, Sibelius continued to push his music forward as his homeland fought for independence from Russia. A year after its premiere, the Symphony No. 1 was taken on a European tour by the Helsinki Orchestra, culminating in an appearance at the World Exposition in Paris. The crowds at the Paris concerts were small, but Sibelius’s music had been well received in other cities on the tour. He had asserted, however quietly, that Finland was a land with a culture of its own.

Apparent at once is Sibelius’s mastery of symphonic structure, not in the sense of pouring his own materials into a preset outline, but in taking possession of the symphonic tradition and turning it to his own purposes. His achievement is unassailable in the first

movement, which moves surely, without a hint of padding or stitching. Already, there is a hint of his characteristic telescoping of form, in a development that is blended so unobtrusively into a shortened reprise that the listeners are hardly aware when they have crossed the border.

The melodic material of the Andante may belong to the era of overstuffed furniture and high collars, but Sibelius’s treatment of it is anything but commonplace and the Scherzo is energetic but never in haste. The last movement is less secure; its main subject is not quite distinctive enough for extensive treatment, and the second subject may be too sentimental for some tastes. Especially welcome are the parallels between the first and last movements: the introductory clarinet theme of the first movement transforms into a cry of the full orchestra in the finale, and the same quiet ending for both comes on a pizzicato chord.

The DSO most recently performed Sibelius’ Symphony No. 1 in March 2016, conducted by Thomas Dausgaard. The DSO first performed the piece in January 1928, conducted by Georg Schneevoigt.

Profiles DALIA STASEVSKA

D

alia Stasevska was appointed Principal Guest Conductor of the BBC Symphony Orchestra in July 2019.

She has built a reputation for conducting a wide range of music, from core orchestral repertoire to contemporary music; but

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her chief passion remains opera. She made her debut at Norske Opera with Lucia di Lammermoor and will return this season for Madam Butterfly. She has also appeared with Kungliga Opera Stockholm, Opéra de Toulon, and the Finnish National Opera. In 2018, she earned great acclaim for Höstsonaten at the Baltic Sea Festival in Stockholm, featuring Anne-Sofie von Otter.

FALL 2019

On the concert stage, Stasevska is a regular with the Oslo Philharmonic, Swedish Radio Symphony, Trondheim Symfoniorkester, and Lahti Symphony.

Highlights this season include debuts with the Dallas Symphony Orchestra, National Arts Centre in Ottawa, Royal Liverpool Philharmonic Orchestra, Hallé Orchestra, Lausanne Chamber Orchestra, Luzerner Sinfonieorchester, and Barcelona Symphony Orchestra. She will also embark on a tour to Australia to conduct the Melbourne Symphony Orchestra and the West Australian Symphony Orchestra.

Stasevska is a champion of young musicians and is the founder and Artistic Director of the Kamarikesä Festival in Helsinki.

Born in Kiev, Ukraine into a FinnishUkrainian family of painters, she was educated as a violinist and composer at the Tampere Conservatoire and the Sibelius Academy. Her teachers include Jorma Panula, Leif Segerstam, Hannu Lintu, Jukka-Pekka Saraste, Susanna Mälkki, Mikko Franck, and Sakari Oramo. T hese performances mark Dalia

Stasevska’s DSO debut

SIMON TRPČESKI

S

imon Trpčeski is a Macedonian pianist known for his impeccable technique and delicate expression.

Trpčeski has performed with the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, The Philadelphia Orchestra, The Cleveland Orchestra, and many others. As a soloist in the United dso.org

Kingdom, he frequently features with the London Symphony Orchestra, Royal Liverpool Philharmonic Orchestra, and Hallé Orchestra. Elsewhere, he has performed with the Hong Kong Philharmonic and Sydney Symphony Orchestra, and toured with the New Zealand Symphony. Festival appearances include Verbier, Aspen Music Festival, and BBC Proms.

He enjoys frequent collaborations with Daniel Müller-Schott, Marin Alsop, Lionel Bringuier, Thomas Dausgaard, Gustavo Dudamel, Jakob Hrůša, Vladimir Jurowski, Susanna Mälkki, and others.

He has recorded prolifically to widespread acclaim and has been recognized with Diapason d’Or and Gramophone accolades. His most recent recording for Onyx Classics features Prokofiev’s Piano Concertos Nos. 1 and 3.

Trpčeski is praised for strengthening the cultural image of his homeland. With support from KulturOp — Macedonia’s leading cultural and arts organization — and the Ministry of Culture, he works regularly with young musicians to cultivate the country’s next generation of talent. In 2017, he debuted Makedonissimo, a folk-based collaboration with Pande Shahov celebrating the music, culture, and people of Macedonia.

He also holds a Presidential Order of Merit and was the first-ever recipient of the title “National Artist of Macedonia.”

Born in 1979, Trpčeski is a graduate of the School of Music at the University of St. Cyril and St. Methodius in Skopje, Macedonia, where he studied with Boris Romanov. S imon Trpčeski has previously

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appeared with the DSO once, in March 2016, performing Liszt’s Piano Concerto No. 2 (cond.

Thomas Dausgaard) DSO PERFORMANCE MAGAZINE 35

MAKE ORCHESTRA HALL

Your Home for the Holidays DSO PRESENTS

THE SWINGLES: WINTER TALES Sat., Nov. 30 at 8 p.m.* A banquet of folk- and jazz-inspired original songs served alongside classic carols, and more. The seven young London-based singers that make up today’s Swingles are driven by the same innovative spirit that has defined the fivetime Grammy® winners since they first made waves as The Swingle Singers in the 1960s.

PNC POPS SERIES

HOME FOR THE HOLIDAYS Stuart Chafetz, conductor • Dee Donasco, vocalist

Fri., Dec. 20 at 10:45 a.m. & 8 p.m.

Sat., Dec. 21 at 3 p.m. & 8 p.m.

Sun., Dec. 22 at 3 p.m. & 7 p.m.

Share Detroit’s favorite holiday musical tradition with family and friends and thrill to the spectacle of the season. Stuart Chafetz leads a sparkling celebration with carols and classics that sells out year after year – and yes, Virginia, there will be a Santa Claus!

PARADISE JAZZ SERIES

THE DUKE ELLINGTON ORCHESTRA

YOUNG PEOPLE’S FAMILY SERIES

WINTER WONDERLAND Sat., Dec. 7 at 11 a.m.

Fri., Dec. 6 at 8 p.m.*

Favorites from Frozen, The Polar Express, Tchaikovsky’s Nutcracker, and more.

CLASSICAL SERIES

DSO PRESENTS

HANDEL’S MESSIAH

Ruth Reinhardt, conductor Deanna Breiwick, soprano • Eve Gigliotti, mezzo soprano Jonathan Johnson, tenor • Davóne Tines, bass-baritone

Fri., Dec. 13 at 8 p.m.

Sat., Dec. 14 at 8 p.m.

HOME ALONE IN CONCERT

Constantine Kitsopoulos, conductor

Wed., Dec. 18 at 7:30 p.m.

313.576.5111 • dso.org *The DSO does not appear on this program

We celebrate the DSO – a world-class ensemble

www.honigman.com

We’ve redesigned our website!

Take a look around at the new dso.org dso.org

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DSO PERFORMANCE MAGAZINE 37

THE ANNUAL FUND

Gifts received between September 1, 2018 and August 31, 2019 The DSO is a community-supported orchestra, meaning you can play your part through frequent ticket purchases, event support, and generous annual donations. Your tax-deductible Annual Fund donation is an investment in the wonderful music at Orchestra Hall, around the neighborhoods and across the community. This honor roll celebrates those generous donors who made a gift of $1,500 or more to the DSO Annual Fund Campaign. If you have questions about this roster, or to make a donation, please contact 313.576.5114 or go to dso.org/donate.

Paray Society — Giving of $250,000 and more Mr. & Mrs. Lee Barthel Penny & Harold Blumenstein Julie & Peter Cummings Mr. & Mrs. Stanley Frankel Mr. & Mrs.◊ Morton E. Harris

Mr. & Mrs. Peter Karmanos, Jr. Linda Dresner & Ed Levy, Jr. Mr. & Mrs. James B. Nicholson Mrs. Richard C. Van Dusen

Dorati Society — Giving of $100,000 and more Mr. & Mrs. Richard L. Alonzo James & Patricia Anderson Applebaum Family Foundation Mr. & Mrs. Raymond M. Cracchiolo Ms. Leslie C. Devereaux Mr. & Mrs. Phillip Wm. Fisher Emory M. Ford, Jr.◊ Endowment

David & Valerie McCammon Shari & Craig Morgan The Polk Family Bernard & Eleanor Robertson Martie & Bob Sachs Cindy & Leonard* Slatkin Joanne Danto & Arnold Weingarden

Ehrling Society — Giving of $50,000 and more Mr. & Mrs. Richard A. Brodie Lois & Avern Cohn Marvin & Betty Danto Family Foundation Mary Ann & Robert Gorlin Mr. & Mrs. James Grosfeld

Mrs. Bonnie Larson Mr. & Mrs. Matthew Lester Mr. & Mrs. Eugene A. Miller The Clyde & Helen Wu Family Paul & Terese Zlotoff

Järvi Society — Giving of $25,000 and more Ms. Sharon Backstrom W. Harold & Chacona W. Baugh Mrs. Cecilia Benner Madeline & Sidney Forbes Mr. & Mrs. Edsel B. Ford II Mrs. Martha Ford Barbara Frankel & Ronald Michalak Herman & Sharon Frankel Mr. & Mrs. Aaron Frankel Mr. & Mrs. Ralph J. Gerson Ronald M. & Carol◊ Horwitz Richard H. & Carola Huttenlocher 38

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Bud & Nancy Liebler Maurcine & Lloyd Reuss Nancy Schlichting & Pamela Theisen Mr. & Mrs.◊ Alan E. Schwartz Mrs. Patricia Finnegan Sharf Mr. & Mrs. Larry Sherman Mr. & Mrs. Donald R. Simon Dr. Doris Tong & Dr. Teck M. Soo Mr. & Mrs. Arn Tellem Mr. James G. Vella And one who wishes to remain anonymous

◊

Deceased

FALL 2019

Gabrilowitsch Society — Giving of $10,000 and more Mr. & Mrs. Robert A. Allesee Mr. & Mrs. Norman Ankers Pamela Applebaum Drs. John & Janice Bernick John & Marlene Boll Gwen & Richard Bowlby Mr. & Mrs. Stephen Brownell Michael & Geraldine Buckles Phillip & Carol Campbell Margie Dunn & Mark Davidoff Eugene & Elaine C. Driker Mr. Sanford Hansell & Dr. Raina Ernstoff Mr. Peter Falzon Jim & Margo Farber Barbara & Alfred J. Fisher Dr. Marjorie M. Fisher & Mr. Roy Furman Mr. Michael J. Fisher Mr. & Mrs. Samuel Fogleman Dr. Saul & Mrs. Helen Forman Dale & Bruce Frankel Mr. & Mrs. Eugene A. Gargaro, Jr. Byron◊ & Dorothy Gerson Allan D. Gilmour & Eric C. Jirgens Mrs. Gale Girolami Dr. Kenneth & Roslyne Gitlin Dr. Robert T. Goldman Allen C. Goodman & Janet R. Hankin Dr. Herman & Mrs. Shirley Gray

Judy & Kenneth Hale Charlene Handleman Ms. Nancy B. Henk Dr. Gloria Heppner Michael E. Hinsky & Tyrus N. Curtis Mr. & Mrs. Norman H. Hofley Jack◊ & Anne Hommes Renato & Elizabeth Jamett William & Story John Lenard & Connie Johnston Faye & Austin Kanter Mr. & Mrs. Norman◊ D. Katz Morgan & Danny Kaufman Mike & Katy Keegan Dr. David & Mrs. Elizabeth Kessel Marguerite & David Lentz Dr. Melvin A. Lester Mr. & Mrs.◊ Joseph Lile The Locniskar Group Stevens McClure Family Alexander & Evelyn McKeen Ms. Deborah Miesel Mr. & Mrs. Robert S. Miller Dr. Robert & Dr. Mary Mobley Cyril Moscow Xavier & Maeva Mosquet Geoffrey S. Nathan & Margaret E. Winters Mr. & Mrs. Albert T. Nelson, Jr.

Mrs. Denise Abrash Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Mrs. Jean Azar Dr. David Balle Mr. & Mrs. David Barnes Rud◊ & Mary Ellen Boucher Claire P. & Robert N. Brown Mr. & Mrs. Marco Bruzzano Mr. & Mrs. Francois Castaing Mr. & Mrs. Andrew Christians Dr. & Mrs. Charles G. Colombo Mr. James Schwyn & Mrs. Françoise Colpron Thomas W. Cook & Marie L. Masters Mr. & Mrs. Gary L. Cowger Mr. & Mrs. Richard L. DeVore Adel & Walter Dissett Edwin & Rosemarie Dyer Mr. Lawrence Ellenbogen Marianne T. Endicott Mr. & Mrs. John M. Erb Mrs. Janet M. Garrett Goodman Family Charitable Trust Mr.◊ & Mrs. James A. Green Mr. & Mrs. Robert Hage

Mr. Lee V. Hart & Mr. Charles L. Dunlap Ms. Doreen Hermelin Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. George Hill & Mrs. Kathleen Talbert-Hill Mr. Donald & Marcia Hiruo Mr. & Mrs. Peter Hollinshead Mr. & Mrs. A. E. Igleheart Ms. Carole Ilitch Mr. & Mrs. Richard J. Jessup Mr. George G. Johnson Judy & David Karp Michael E. Smerza & Nancy Keppelman Samantha Svoboda & Bill Kishler Barbara & Michael Kratchman Mr. & Mrs. Harold Kulish John & Marilyn Kunz Dr. Raymond Landes & Dr. Melissa McBrien-Landes Mr. Daniel Lewis Bob & Terri Lutz Patricia A.◊ & Patrick G. McKeever Dr. & Mrs. David Mendelson John & Marcia Miller Eugene & Sheila Mondry Foundation

Jim & Mary Beth Nicholson Patricia & Henry Nickol Mr. & Mrs. Stanley Nycek Anne Parsons* & Donald Dietz Kathryn & Roger Penske Mr. & Mrs. Bruce D. Peterson Dr. Glenda D. Price Mr. & Mrs. David Provost Ms. Ruth Rattner Dr. Erik Rönmark* & Mrs. Adrienne Rönmark* Peggy & Dr. Mark B. Saffer Elaine & Michael Serling Lois & Mark Shaevsky Mr. & Mrs. James H. Sherman William H. Smith John J. Solecki Richard Sonenklar & Gregory Haynes Mr. Gary Torgow Mr. William Waak Mr.◊ & Mrs. Jonathan T. Walton Mr. Gary L. Wasserman & Mr. Charlie Kashner S. Evan & Gwen Weiner Mr. & Mrs. R. Jamison Williams Ms. Mary Wilson Drs. David & Bernadine Wu And two who wish to remain anonymous

Giving of $5,000 and more Mr. & Mrs. Daniel E. Moore Joy & Allan Nachman David Robert & Sylvia Jean Nelson Mr. & Mrs. Eric Nemeth Mr. & Mrs. Arthur T. O’Reilly Debra & Richard Partrich Ms. Lisa A. Payne Barbara Gage Rex Dr. & Mrs. John Roberts Mr. & Mrs. Robert B. Rosowski Mr. R. Desmond Rowan Mr. David Salisbury & Mrs. Terese Ireland Salisbury Marjorie & Saul Saulson Mr. & Mrs. Kingsley G. Sears Mrs. Sharon Shumaker Mrs. Kathleen Straus & Mr. Walter Shapero Alice & Paul Tomboulian Mr. & Mrs. Thomas Trudeau Ms. Marie Vanerian Peter & Carol Walters J Ernest & Almena Gray Wilde Fund Dr. & Mrs. Ned Winkelman Ms. June Wu Milton Y. Zussman And one who wishes to remain anonymous ◊

dso.org

*Current DSO Musician or Staff

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Deceased

DSO PERFORMANCE MAGAZINE 39

Giving of $2,500 and more Howard Abrams & Nina Dodge Abrams Mrs. Jennifer Adderley Mr. & Mrs. George Agnello Dr. Roger & Mrs. Rosette Ajluni Mr. & Mrs. Robert L. Anthony Drs. Kwabena & Jacqueline Appiah Dr. & Mrs. Ali-Reza R. Armin Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook* Pauline Averbach & Charles Peacock Mr. Joseph Aviv & Mrs. Linda Wasserman Mr. & Mrs. John Axe Mr. & Mrs. Wayne J. Babbish Dr. & Dr. Brian Bachynski Ms. Ruth Baidas Nora & Guy Barron Mr. Mark G. Bartnik & Ms. Sandra J. Collins Mr. & Mrs. Martin S. Baum Mr. & Mrs. Richard Beaubien Dr. & Mrs. Brian J. Beck Ms. Margaret Beck Ms. Therese Bellaimey Mr. & Mrs. Dennis Bernard Mr. & Mrs. Jeffrey A. Berner Martha & G. Peter Blom Dr. George & Joyce Blum Nancy & Lawrence Bluth Mr. Timothy Bogan Ms. Nadia Boreiko The Honorable Susan D. Borman & Mr. Stuart Michaelson Mr. Paul & Mrs. Lisa Brandt Mr. Anthony F. Brinkman Mr. & Mrs. Mark R. Buchanan Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Dr. & Mrs. Roger C. Byrd Mr. & Mrs. Brian C. Campbell Mrs. Carolyn Carr Dr. & Mrs. Thomas E. Carson Ronald & Lynda Charfoos Mr. Fred J. Chynchuk Mr. & Mrs. James Ciroli Mr. Don Clapham Mr. & Mrs. Robert W. Clark Nina & Richard Cohan Jack, Evelyn & Richard Cole Family Foundation Ms. Elizabeth Correa Patricia & William Cosgrove, Sr. Mrs. Barbara Cunningham Dr. Edward & Mrs. Jamie Dabrowski Suzanne Dalton & Clyde Foles 40

Maureen & Jerry D’Avanzo Barbara A. David Lillian & Walter Dean Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Diana & Mark Domin Paul◊ & Peggy Dufault Mr. Roger Dye and Ms. Jeanne A. Bakale Dr. Leo & Mrs. Mira Eisenberg Dr. & Mrs. A. Bradley Eisenbrey Randall & Jill* Elder Ms. Laurie Ellis & Mr. James Murphy Donald & Marjory Epstein Mr. Drew Esslinger & Mr. Chris Syzmanski Dave & Sandy Eyl Ellie Farber & Mitch Barnett Mr. & Mrs. Oscar Feldman Mr. & Mrs. William Fetterman Mr. & Mrs.◊ Anthony C. Fielek Hon. Sharon Tevis Finch Ron Fischer ◊ and Kyoko Kashiwagi Mark & Loree Frank Kit & Dan Frohardt-Lane Mr. George Georges Stephanie Germack Keith & Eileen Gifford Steven Goldberg & Melissa Kahn Dr. & Mrs. Theodore Golden Paul & Barbara Goodman Dr. William & Mrs. Antoinette Govier Ms. Jacqueline Graham Mr. Luke Ponder & Dr. Darla Granger Dr. & Mrs. Joe L. Greene Tina Harmon Mrs. Betty J. Harrell Cheryl A. Harvey Gerhardt A. Hein & Rebecca P. Hein Jeremiah* & Brooke Hess James Hoogstra & Clark Heath Mr. Matthew Howell & Mrs. Julie Wagner Mr. F. Robert Hozian Mr. & Mrs. Joseph L. Hudson, Jr. Mr. & Mrs. Marshall L. Hutchinson Ms. Elizabeth Ingraham Nicki* & Brian Inman Carolyn & Howard Iwrey Mr. & Mrs. Ira J. Jaffe Mr. Arthur Johns Mr. John S. Johns Mr. & Mrs. Paul Johnson Carol & Rick Johnston Paul & Marietta Joliat

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◊

Deceased

Mr. & Mrs. John Jullens Grace Kachaturof Diane & John Kaplan Betsy & Joel Kellman June K. Kendall Mrs. Frances King Mr. James Kirby Thomas & Linda Klein Tom & Beverly Klimko Mr. & Mrs. Ludvik F. Koci Mr. & Mrs. Robert Koffron Ms. Margot Kohler & Michael Froehlich Mr. David Kolodziej Ms. Susan Konop Mr. James Kors & Ms. Victoria King* George M. Krappmann* & Lynda Burbary-Krappmann Richard & Sally Krugel Dr. Arnold Kummerow Mr. & Mrs. Robert LaBelle Mary Clippert LaMont Drs. Lisa & Scott Langenburg Ms. Sandra Lapadot Ms. Anne T. Larin Dr. Lawrence O. Larson The Dolores & Paul Lavins Foundation Allan S. Leonard Max Lepler & Rex L. Dotson Mr. & Mrs. Ralph LeRoy, Jr. Mr. Charles E. Letts Mr. & Mrs. Robert K. Leverenz Barbara & Carl Levin Drs. Donald & Diane Levine Arlene & John Lewis Ms. Carol Litka Daniel & Linda* Lutz Mrs. Sandra MacLeod Cis Maisel Margaret Makulski & James Bannan Mr. & Mrs. Charles W. Manke, Jr. Mervyn & Elaine Manning Ms. Florine Mark Mr. & Mrs. Thomas Mark Maurice Marshall Dr. & Mrs. Richard Martella Dr. & Mrs. Peter M. McCann, M.D. Mr. Edward McClew Mr. Anthony R. McCree Mr. & Mrs. Alonzo McDonald Mr. John McFadden Ms. Mary McGough Ms. Camille McLeod Brian & Lisa Meer Dr. & Mrs. Donald A. Meier Olga Sutaruk Meyer FALL 2019

Bruce & Mary Miller Mr. & Mrs. Randall Miller J.J. & Liz Modell Dr. Susan & Mr. Stephen* Molina Lawrence Morawski Ms. A. Anne Moroun Mr. Frederick Morsches & Mr. Kareem George Ms. I. Surayyah R. Muwwakkil Mariam C. Noland & James A. Kelly Katherine & Bruce Nyberg Ellen & Larry Oshkaloff Mrs. Margot Parker Noel & Patricia Peterson Mr. & Mrs. Philip E. Pfahlert Mr. Dave Phipps Ms. Janet Pounds William H. & Wendy W. Powers Charlene & Michael Prysak Mr. & Mrs. Nicolas I. Quintana Dr. & Mrs. Morton Raban Jill M.* & Michael J. Rafferty Drs. Stuart & Hilary Ratner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Mr. & Mrs. Dave Redfield Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Denise Reske Ms. Linda Rodney Seth & Laura Romine Michael & Susan Rontal Mr. James Rose

Mr.◊ & Mrs. Gerald F. Ross Mr. Ronald Ross & Ms. Alice Brody Jane & Curt Russell Mr. & Mrs. James P. Ryan Linda & Leonard Sahn Dr. & Mrs. Hershel Sandberg Ms. Martha A. Scharchburg & Mr. Bruce Beyer Dr. Sandy Koltonow & Dr. Mary Schlaff Shirley Anne & Alan Schlang David & Carol Schoch Catherine & Dennis B. Schultz Sandy & Alan Schwartz Ms. Sandra Seligman Nancy & Sam Shamie Shapero Foundation Mr. Konstantin Shirokinsky Dr. Les & Ellen Lesser Siegel Mr. Norman Silk & Mr. Dale Morgan William & Cherie Sirois Dr. Cathryn & Mr. Daniel Skedel Dr. Gregory Stephens Barb & Clint Stimpson Nancy C. Stocking Dr. & Mrs. Gerald Stollman Dr. & Mrs. Choichi Sugawa Mr. & Mrs. John Stroh III Ms. Laurie Szczesny David Szymborski & Marilyn Sicklesteel Dr. Neil Talon Joel & Shelley Tauber

Dr. & Mrs. Howard Terebelo Mr. & Mrs. Douglas J. Thompson Mr. Norman Thorpe Mr. & Mrs. James W. Throop Mr. & Mrs. John P. Tierney Dr. Barry Tigay Mr. and Mrs. Paul Tobias Barbara & Stuart Trager Mark & Janice Uhlig Amanda Van Dusen & Curtis Blessing Charles & Sally Van Dusen Ms. Charlotte Varzi Mrs. Eva Von Voss Dr. & Mrs. Ronald W. Wadle Captain Joseph F. Walsh, USN (Ret.) Mr. Michael A. Walch & Ms. Joyce Keller Mr. Patrick Webster Mr. Herman Weinreich Ms. Anne Wilczak Beverly & Barry Williams Dr. M. Roy & Mrs. Jacqueline Wilson Rissa & Sheldon Winkelman Mr. Jonathan Wolman & Mrs. Deborah Lamm Cathy Cromer Wood Ms. Andrea L. Wulf Lucia Zamorano, M.D., PLC Mr. & Mrs. Alan Zekelman Mr. Peter Zubrin And six who wish to remain anonymous

Giving of $1,500 and more Dr. & Mrs. Gary S. Assarian Mr. & Mrs. Stephen A. Bromberg Dr. & Mrs. Glenn B. Carpenter Dr.◊ & Mrs. Ivan Louis Cotman Ms. Beatrice D’Ambrosio Mrs. Kathryne Dahl Ms. Joyce Delamarter Gordon & Elaine Didier Mr. & Mrs. Walter E. Douglas Mr. Howard O. Emorey Mrs. Janice Erichsen Mr. & Mrs. Robert W. Gillette Mr. Joseph & Mrs. Lois Gilmore Mr. & Mrs. Saul Green Ms. Barbara Heiler Mr. & Mrs. Paul Hillegonds Ms. Nadine Jakobowski Dr. Jean Kegler Frederic◊ & Stephanie Keywell Ms. Ida King Dr. & Mrs. Edward L. Klarman Aileen & Harvey Kleiman Tom & Beverly Klimko

dso.org

Ms. Sylvia Kojima Miss Kathryn Korns Mr. & Mrs. Kosch Mr. & Mrs. William Kroger, Jr. Mr. Michael Kuhne Mr. Lawrence Larson Mr. & Mrs. Paul Lieberman Mr. William Lynch Ms. June G. Mackeil Mr. Robert L. Martin Mr. & Mrs. Joseph Mazzeo Ms. Rebecca McCabe Ms. Florence Morris Ms. Muriel Moskowitz Mr. & Mrs. Germano Mularoni Mrs. Ruth Nix Mr. Ronald Puchalski Drs. Renato & Daisy Ramos Mr. and Mrs. Richard Rappleye Mr. & Mrs. Richard Rapson Mrs. Hope Raymond Mr. & Mrs. John Rieckhoff Mr. Paul Robertson & Mrs. Cheryl Robertson

*Current DSO Musician or Staff

#IAMDSO

Mr. & Mrs. Hugh C. Ross Mr. & Mrs. George Roumell Nancy J. Salden Ms. Joyce E. Scafe Mr. and Mrs. Donald and Janet Schenk Dr. Richard Schwartz Mr. and Mrs. Fred Secrest◊ Mr. Steve Secrest Robert A. Sedler Cynthia Shaw & Tom Kirvan Mr. Lawrence Shoffner Mr. Mark Sims & Ms. Elaine Fieldman Shirley R. Stancato Mr. & Mrs. Charles Tholen David & Lila Tirsell Dennis & Jennifer Varian Mr. Barry Webster Mr. & Mrs. Lawrence Weisberg Ms. Janet Weir Mr. Richard D. Zimmerman And five who wish to remain anonymous ◊

Deceased

DSO PERFORMANCE MAGAZINE 41

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

THE McGREGOR FUND

Giving of $200,000 & more

primary pereferred logo

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

RALPH C. WILSON JR. FOUNDATION

secondary

Giving of $100,000 & more secondary - for use on dark backgrounds

THE PAUL M. ANGELL FAMILY FOUNDATION

2014 GM Design Corporate ID & Graphics

THE RICHARD C. DEVEREAUX FOUNDATION

HUDSON-WEBBER FOUNDATION

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DSO PERFORMANCE MAGAZINE

FALL 2019

Giving of $50,000 & more Marvin & Betty Danto Family Foundation William Randolph Hearst Foundation League of American Orchestras Edward C. & Linda Dresner Levy Foundation Richard & Jane Manoogian Foundation Wico Metal Products Matilda R. Wilson Fund Wells Fargo Advisors

Giving of $20,000 & more American House Senior Living Communities Eugene & Marcia Applebaum Family Foundation Chemical Bank Clinton Family Fund DeRoy Testamentary Foundation Edibles Rex Flagstar Foundation Eleanor & Edsel Ford Fund

Henry Ford II Fund MGM Grand Detroit Myron P. Leven Foundation National Endowment for the Arts Sun Communities Inc. Virginia B. Toulmin Foundation Varnum LLP Wolverine Packing Company

Giving of $10,000 & more

Giving of $1,000 & more

Beaumont Health Butzel Long Creative Benefit Solutions, LLC Denso International America, Inc. Maxine & Stuart Frankel Foundation Honigman LLP Jaffe, Raitt, Heuer & Weiss KPMG LLP Oliver Dewey Marcks Foundation Laskaris-Jamett Advisors of Raymond James Macy’s Mandell and Madeleine Berman Foundation Mary Thompson Foundation Stone Foundation of Michigan

Canon Solutions America Coffee Express Roasting Company Frank & Gertrude Dunlap Foundation EY Clarence & Jack Himmel Fund James & Lynelle Holden Fund Japan Business Society of Detroit Foundation Josephine Kleiner Foundation Lakeside Opthamology Center Ludwig Foundation Fund Madison Electric Company Plante & Moran, PLLC PSLZ, LLP Meyer & Anna Prentis Family Foundation Redford Lock Security Solutions The Loraine & Melinese Reuter Foundation Save Our Symphony Louis & Nellie Sieg Foundation The TUKTAWA Foundation Samuel L. Westerman Foundation Wheeler Family Foundation, Inc. And one who wishes to remain anonymous

Giving of $5,000 & more The Aaron Copland Fund For Music, Inc. Amerisure Insurance Aptiv Foundation The Boston Consulting Group Benson & Edith Ford Fund Founders Brewing Co. Les Stanford Cadillac Marjorie & Maxwell Jospey Foundation Resendes Design Group, LLC Rocket Fiber Sigmund & Sophie Rohlik Foundation Schaerer Architextural Interiors Warner Norcross & Judd LLP

dso.org

#IAMDSO

DSO PERFORMANCE MAGAZINE 43

The DSO’s Planned Giving Council recognizes the region’s leading financial and estate professionals whose current and future clients may involve them in their decision to make a planned gift to the Detroit Symphony Orchestra. Members play a critical role in shaping the future of the DSO through ongoing feedback, working with their clients, supporting philanthropy and attending briefings twice per year. For more information or to join the PG Council, please call 313.576.5114.

Linda Wasserman, Chair Mrs. Katana H. Abbott* Mr. Joseph Aviv Mr. Christopher A. Ballard* Ms. Jessica B. Blake, Esq. Ms. Rebecca J. Braun Mr. Timothy Compton Ms. Wendy Zimmer Cox* Mr. Robin D. Ferriby* Mrs. Jill Governale* Mr. Henry Grix* Mrs. Julie R. Hollinshead, CFA Mr. Mark W. Jannott, CTFA

Ms. Jennifer A. Jennings* Ms. Dawn Jinsky* Mrs. Shirley Kaigler* Mr. Robert E. Kass* Mr. Christopher L. Kelly Mr. Bernard S. Kent Ms. Yuh Suhn Kim Mr. Henry P. Lee* Ms. Marguerite Munson Lentz* J. Thomas MacFarlane Mr. Christopher M. Mann* Mr. Curtis J. Mann

Mrs. Mary Mansfield Mr. Mark Neithercut* Mrs. Alice R. Pfahlert Mr. Steven C. Pierce Ms. Deborah J. Renshaw, CFP Mr. James P. Spica Mr. David M. Thoms* Mr. John N. Thomson, Esq. Mr. Jason Tinsley* Mr. William Vanover Mr. William Winkler Mrs. Wendy Zimmer Cox*

*Executive Committee Member

Share the music of the DSO with future generations INCLUDE THE DSO AS A BENEFICIARY IN YOUR WILL Remembering the DSO in your estate plans will support the sustainability and longevity of our Orchestra, so that tomorrow’s audience will continue to be inspired through unsurpassed musical experiences.

If you value the role of the DSO – in your life and in our community – please consider making a gift through your will, trust, life insurance or other deferred gift.

As a member, you will be invited to our annual 1887 Society High Tea Luncheon on Friday, June 12, 2020, recognized in Performance magazine, and receive a host of other benefits.

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

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DSO PERFORMANCE MAGAZINE

FALL 2019

CELEBRATING YOUR LEGACY SUPPORT BARBARA VAN DUSEN, Honorary Chair

The 1887 Society honors individuals who have made a special legacy commitment to support the Detroit Symphony Orchestra. Members of the 1887 Society ensure that future music lovers will continue to enjoy unsurpassed musical experiences by including the DSO in their estate plans. If you have arranged a planned gift to support the DSO or would like more information on planned giving, please call 313.576.5114.

Ms. Doris L. Adler Dr. & Mrs. William C. Albert Mr. & Mrs. Robert A. Allesee Dr. Lourdes V. Andaya Mr. & Mrs. Eugene Applebaum Dr. Augustin & Nancy◊ Arbulu Ms. Sharon Backstrom Sally & Donald Baker Mr. & Mrs. Lee Barthel Gary Ciampa Mr. Mark G. Bartnik & Ms. Sandra J. Collins Mary Beattie ◊ Stanley A. Beattie Mr. & Mrs. Mandell L. Berman◊ Mrs. Betty Blair Gwen & Richard Bowlby Mrs. Ellen Brownfain William & Julia Bugera Cynthia Cassell, Ph. D. Dr.◊ & Mrs. Victor J. Cervenak Eleanor A. Christie Ms. Mary Christner Robert & Lucinda Clement Lois & Avern Cohn Mrs. RoseAnn Comstock◊ Thomas W. Cook & Marie L. Masters Dorothy M. Craig Mr. & Mrs. John Cruikshank Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Ms. Leslie C. Devereaux Mr. John Diebel Mr. Roger Dye & Ms. Jeanne A. Bakale Mr. & Mrs. Robert G. Eidson Marianne T. Endicott Mrs. Rema Frankel◊ Patricia Finnegan Sharf Ms. Dorothy Fisher Mrs. Marjorie S. Fisher◊ Samuel & Laura Fogleman Mr. Emory Ford, Jr.◊ Dr. Saul & Mrs. Helen Forman Barbara Frankel & Ron Michalak Herman & Sharon Frankel Jane French Mark & Donna Frentrup Janet M. Garrett Dr. Byron P. & Marilyn Georgeson Jim & Nancy Gietzen Mr. Joseph & Mrs. Lois Gilmore Victor◊ & Gale Girolami Ruth & Al Glancy◊ David & Paulette Groen Mr. Harry G. Bowles ◊ Donna & Eugene Hartwig

dso.org

◊

Gerhardt A. Hein & Rebecca P. Hein Ms. Nancy B. Henk Joseph L. Hickey Mr. & Mrs. Thomas N. Hitchman Andy Howell Carol Howell Paul M. Huxley & Cynthia Pasky David & Sheri Jaffa Mr. & Mrs. Thomas H. Jeffs II Mr. & Mrs. Richard J. Jessup Mr. & Mrs. George Johnson Lenard & Connie Johnston Ms. Carol Johnston Carol M. Jonson Drs. Anthony & Joyce Kales Faye & Austin Kanter Norb ◊ & Carole Keller Dr. Mark & Mrs. Gail Kelley June K. Kendall Dimitri◊ & Suzanne Kosacheff Douglas Koschik Mr. & Mrs. Arthur J. Krolikowski Mary Clippert LaMont Mrs. Bonnie Larson Ann C. Lawson ◊ Allan S. Leonard Max Lepler & Rex L. Dotson Dr. Melvin A. Lester Mr. & Mrs.◊ Joseph Lile Harold Lundquist◊ & Elizabeth Brockhaus Lundquist Mr. & Mrs. Eric C. Lundquist Roberta Maki Eileen & Ralph Mandarino Judy Howe Masserang Mr. Glenn Maxwell Ms. Elizabeth Maysa Mary Joy McMachen, Ph.D. Judith Mich◊ Rhoda A. Milgrim Mr. & Mrs. Eugene A. Miller John & Marcia Miller Jerald A. & Marilyn H. Mitchell Mr.◊ & Mrs. L. William Moll Shari & Craig Morgan Ms. I. Surayyah R. Muwwakkil Geoffrey S. Nathan & Margaret E. Winters Beverley Anne Pack David◊ & Andrea Page Mr. Dale J. Pangonis Ms. Mary W. Parker Mrs. Sophie Pearlstein Helen & Wesley Pelling◊ Dr. William F. Pickard

Deceased

#IAMDSO

Mrs. Bernard E. Pincus Ms. Christina Pitts Mrs. Robert Plummer Mr. & Mrs. P. T. Ponta Mrs. Mary Carol Prokop ◊ Ms. Linda Rankin & Mr. Daniel Graschuck Mr. & Mrs. Douglas J. Rasmussen Deborah J. Remer Mr. & Mrs. Lloyd E. Reuss Barbara Gage Rex Ms. Marianne Reye Lori-Ann Rickard Katherine D. Rines Bernard & Eleanor Robertson Ms. Barbara Robins Jack◊ & Aviva Robinson Mr.◊ & Mrs. Gerald F. Ross Mr. & Mrs. George Roumell Dr. Margaret Ryan Marjorie & Saul Saulson Mr. & Mrs. Donald & Janet Schenk Ms. Yvonne Schilla Mr. & Mrs. Fred Secrest◊ Ms. Marla K. Shelton Edna J. Shin Ms. June Siebert Dr. Melissa J. Smiley & Dr. Patricia A. Wren Ms. Marilyn Snodgrass ◊ Mr. & Mrs. Walter Stuecken Mr.◊ & Mrs. Alexander C. Suczek David Szymborski & Marilyn Sicklesteel Alice & Paul Tomboulian Mr. David Patria & Ms. Barbara Underwood Roger & Tina Valade Mrs. Richard C. Van Dusen Charles & Sally Van Dusen Mr. & Mrs. Melvin VanderBrug Mr.◊ & Mrs. George C. Vincent Christine & Keith C. Weber Mr. Herman Weinreich John◊ & Joanne Werner Mr. & Mrs. Arthur Wilhelm Mr. Robert E. Wilkins ◊ Mrs. Michel Williams Ms. Nancy S. Williams◊ Mr. Robert S. Williams & Ms. Treva Womble Ms. Barbara Wojtas Elizabeth B. Work Dr. & Mrs. Clyde Wu◊ Ms. Andrea L. Wulf Mrs. Judith G. Yaker Milton & Lois◊ Zussman Five who wish to remain anonymous DSO PERFORMANCE MAGAZINE 45

TRIBUTE GIFTS Gifts received April 1, 2019 to August 31, 2019 Tribute gifts to the Detroit Symphony Orchestra are made to honor accomplishments, celebrate occasions, and pay respect in memory or reflection. These gifts support current season projects, partnerships and performances such as DSO concerts, education programs, free community concerts and family programming.

For information about making a tribute gift, please call 313.576.5114 or visit dso.org/donate.

In Honor

In Memory

In Honor of Richard L. Alonzo Ralph J. & Erica Gerson

In Memory of Carolyn Barnett-Goldstein Nancy Adler

In Honor of Professor Ella Atkins Adult Learning Institute In Honor of David Everson Jill Jordan

In Memory of Carol Diehr Daniel & Janet DeRyckere Elmer Diehr Susan Diehr

In Honor of Dr. Gloria Heppner Mary & Doug Allan

In Memory of Alfred R. Glancy III Mr. & Mrs. H.W. Klinger

In Honor of David LeDoux Jerry & Virginia LeDoux

In Memory of Honorable Damon Keith Cecile Keith Brown, Debra Keith, & Gilda Keith

In Honor of Sarah Lewis Dale & Jeannette Lewis

In Memory of Richard Keramedjian Randall Hawes & Kim Minasian Hawes

In Honor of Jim B. Nicholson DTE Energy Foundation In Honor of Alice R. Pryor George Pryor

In Memory of Richard P. Kughn Maryann Listman

In Honor of Marian Tanau Maureen & Stephen Baca M SY

In Memory of Joyce R. Leopold Henry Y. Leopold TRA

DETR

ES

OI

T

OR

CH

In Honor of Dr. Howard Terebelo Marcia Freedman

PHONY

In Honor of Dottie Taylor AMBASSADOR Mary Anne Corey MPHONY O R

OI

ES TRA

DETR

CH

T

SY

AMBASSADOR

Thank You to all the Detroit Symphony Orchestra’s volunteer ushers and retail shop volunteers.

To learn more about becoming an usher or joining the DSO Ambassador Corps, please visit dso.org/ambassadors.

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DSO PERFORMANCE MAGAZINE

In Memory of James M. Newcomer Sandra Hampton Gordon Holmes Martha Y. Newcomer Paul Newcomer Mario Rede James & Carol Rillema In Memory of Barbara Robinson Audrey Bernstein Terry Brown Jim & Carol Dunlap Stefany L. Freeman Shirley Ginther Dr. & Mrs. Kenneth Levin Arthur & Marjorie Levine Daniel & Miriam Medow Jerome Moss Michele Rosenblum Paul & Renee Schreibman Robert Shattner Nancy Swanborg In Memory of Edward Schreiber John & Susan Fowler Collette Rosner & Carolyn Shreiber In Memory of Leonard W. Shebses Circle of Friends Group In Memory of Betty Weideman Drake Weideman In Memory of Illene Wenner Tena Bobrin Herbert Cohen Sharlan Douglas Eric Henrickson Cynthia Johnson Eric Johnston Vonnie Miller Susan Perlstein Denise & Gary Rosenthal Stagecrafters Roz Winer Gregory & Therese Wisnewski In Memory of Dr. Clyde & Helen Wu Atsushi & Barbara Yoshida In Memory of Mary Luz Zubrin Peter Zubrin

FALL 2019

Experience the exquisite artistry of the DSO in a uniquely intimate way. Each feast promises different musical, culinary, and architectural marvels to hear, taste, and behold, and you are invited!

UPCOMING MUSICAL FE ASTS Birmingham – $300 Sun., Dec. 1, 2019 Mr. Dana Locniskar & Ms. Christine Beck

Detroit – $250 Sat., May 2, 2020 Ana & Matthew Way and Lucy & Alex Kapordelis

Detroit Athletic Club – $150 Mon., Jan. 20, 2020 Elizabeth & Renato Jamett Dmitry Sinkovsky, guest conductor and soloist, will perform repertoire for two violins, joined by a DSO musician.

Lake Angeles – $250 Sun., Jun. 7, 2020 Story & Bill John West Bloomfield – $250 Tue., Jul. 14, 2020 Jeremy Zeltzer & Kevin Dennis

LEARN MORE AND MAKE YOUR RESERVATIONS TODAY AT:

dso.org/musicalfeasts

All proceeds from the Musical Feasts will benefit the DSO and its mission.

On behalf of Varnum, welcome to the

DSO’S CENTENNIAL SEASON AT ORCHESTRA HALL! Eric Nemeth, partner and member of DSO Board of Trustees

Legal Experience In Your Corner.®

www.varnumlaw.com

Ann Arbor | Birmingham | Detroit | Grand Haven | Grand Rapids | Kalamazoo | Lansing | Novi

WELCOME TO THE MAX

OUR HOME ON WOODWARD AVENUE

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

Parking Self-parking is available for $10 at the Orchestra Place Parking Structure (81 Parsons Street), with designated handicap spaces available on the ground level. Valet parking is available for $14 at most concerts. Complimentary donor valet is offered to donors who give $7,500 annually, with drop-off and pick-up located at the stage door behind The Max. The DSO offers shuttle bus service to Coffee Concerts from select locations for $15. Please call 313.576.5130 for more information.

What Should I Wear?

The DSO has no dress code. Patrons can expect to see a variety of outfit styles, and all visitors are encouraged to wear what makes them most comfortable. While business professional and business casual attire are common, jeans and sneakers are as appropriate as suits and ties.

Food and Drink Concessions are available for purchase on the first floor of the William Davidson Atrium at most concerts, and light bites are available in the Paradise Lounge on the second floor. Some events feature pop-ups from local restaurants as well. Drinks can be purchased at bars throughout the William Davidson Atrium and inside the Paradise Lounge.

Patrons are welcome to bring drinks to their

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DSO PERFORMANCE MAGAZINE

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

seats at all performances except Friday morning Coffee Concerts, and drink orders may be placed before or during a performance to be picked up at intermission. Food is not allowed in Orchestra Hall.

Please note that outside food and beverages are prohibited.

Shop @ The Max The Shop @ The Max retail store is located on the first floor of The Max, just outside of the William Davidson Atrium in the hallway opposite the main staircase. Shop @ The Max is open before, during, and after most performances.

Handicap Access and Hearing Assistance The Max M. and Marjorie S. Fisher Music Center is fully handicap-accessible, and the DSO aims to accommodate all patrons regardless of abilities or needs. There are elevators, barrier-free restrooms, and accessible seating in all areas of The Max. Security personnel are available at all entrances to help patrons requiring extra assistance in and out of vehicles.

The DSO’s Sennheiser MobileConnect hearing assistance system is available for all performances in Orchestra Hall. Patrons may visit the Patron Services Center on the second floor to check out a mobile device and earbuds, or to seek assistance in downloading the Sennheiser MobileConnect app on their own device.

FALL 2019

POLICIES SEATING The DSO makes every attempt to begin The Max M. and Marjorie S. Fisher Music Center 3711 Woodward Avenue Detroit, MI 48201 Box Office:................................................313.576.5111 Group Sales:............................................ 313.576.5130 Administrative Offices:.......................... 313.576.5100 Facilities Rental Information:...............313.576.5050 Visit the DSO online at dso.org For general inquiries, please email info@dso.org

Priority Service for Our Members We are proud to offer priority assistance to all DSO Subscribers, as well as donors who give $1,000 annually. Visit the Patron Services Center on the second floor of The Max for help with tickets, exchanges, donations, or any other DSO needs.

The Herman and Sharon Frankel Donor Lounge

TICKETS, EXCHANGES, AND CONCERT CANCELLATIONS All patrons, regardless of age,

must have a ticket to attend DSO performances. All sales are final and non-refundable. In lieu of refunds, the DSO offers a flexible exchange and ticket donation policy.

Tickets of equal or lesser value may be exchanged up to the day before the performance without fees. Patrons must pay the per-ticket difference if exchanging into a more expensive performance. Please contact the Box Office to exchange or donate tickets.

The DSO rarely cancels concerts. In the event of inclement weather or other emergencies, please visit dso.org, contact the Box Office, or check the DSO’s social media pages for updates and information. Patrons will be notified of exchange options. The DSO is unable to offer refunds for cancelled concerts.

CHILDREN Educational Concert Series, Young

Governing Members who give $3,000 annually can enjoy complimentary beverages, appetizers, and desserts in the Donor Lounge, open 90 minutes prior to each concert through the end of intermission. For more information on becoming a Governing Member, contact Leslie Groves at 313.576.5451 or lgroves@dso.org.

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

Rent The Max Elegant and versatile, The Max is an ideal setting for a variety of events and performances: weddings, corporate gatherings, meetings, concerts, and more. Visit dso.org/rent or call 313.576.5065 for more information. dso.org

concerts on time. In deference to the comfort and listening pleasure of the audience, latecomers will be seated at an appropriate pause in the music at the discretion of the house staff. Patrons who leave the hall before or during a piece will be reseated after the piece is completed. Latecomers may watch the performance on closed circuit television in the William Davidson Atrium.

People’s Family Concerts, and Tiny Tots performances are specially designed for children and families.

While the DSO does not enforce a universal age limit, please review program details to determine whether a performance is appropriate for children. All patrons must have a paid ticket regardless of age. Any person causing a disturbance to surrounding audience members will be asked to leave the performance area by an usher.

PHOTOGRAPHY AND RECORDING Photography

can be distracting to musicians and audience members, so please be cautious and respectful if you wish to take photos. Note that flash photography, video recording, tripods, and cameras with detachable lenses are strictly prohibited.

MOBILE DEVICES Use of smartphones and other

electronic devices can be distracting to musicians and audience members. You may be asked by an usher to store your device.

SMOKING Smoking, including the use of e-cigarettes

and personal vaporizers, is prohibited throughout The Max. Patrons who wish to smoke must do so outside the building. Smoking is permitted on the second-floor outdoor patio near the Patron Services Center.

#IAMDSO

DSO PERFORMANCE MAGAZINE 49

A D M I N I S T R AT I V E S TA F F EXECUTIVE OFFICE

Ezra Gans Artistic Operations Assistant

Sarah Smarch Communications Specialist

Anne Parsons President and CEO James B. and Ann V. Nicholson Chair

Patrick Peterson Manager of Orchestra Personnel

COMMUNITY & LEARNING

Jill Elder Vice President and Chief Development Officer Linda Lutz Vice President and Chief Financial Officer Erik Rรถnmark Vice President and General Manager Joy Crawford Executive Assistant to the President and CEO Elaine Curvin Executive Assistant to the Vice President and CDO

ARTISTIC OPERATIONS ARTISTIC PLANNING Christopher Harrington Managing Director of Paradise Jazz Series/Managing Director & Curator of @ The Max Jessica Ruiz Director of Artistic Planning Megan Belansky Popular and Special Programs Coordinator Catherine Miller Artistic Coordinator Goode Wyche Cube Coordinator

LIVE FROM ORCHESTRA HALL Marc Geelhoed Director of Digital Initiatives

Claudia Restrepo Orchestra and Training Programs Librarian

ADVANCEMENT Jill Rafferty Senior Director of Advancement Alex Kapordelis Campaign Director Jenni Clark Fundraising Events Specialist Joey Edmonds Campaign Research Specialist Presley Feezell Campaign Stewardship Coordinator Stephanie Glazier Stewardship Coordinator Holly Gorecki Manager of Advancement Services Leslie Groves Major Gift Officer Chelsea Kotula Gift Officer, Institutional Giving Amanda Lindstrom Fulfillment Coordinator, Individual Giving Juanda Pack Advancements Benefits Concierge Susan Queen Gift Officer, Corporate Giving Amanda Tew Data and Research Specialist Matthew Way Advancement Relations and Strategic Initiatives Manager

COMMUNICATIONS ORCHESTRA OPERATIONS Kathryn Ginsburg Orchestra Manager Heather Hart Rochon Director of Orchestra Personnel Dennis Rottell Stage Manager 50

Matthew Carlson Director of Communications and Media Relations Ben Breuninger Public Relations Manager Hannah Engwall Public Relations Coordinator

DSO PERFORMANCE MAGAZINE

Caen Thomason-Redus Senior Director of Community & Learning Debora Kang Director of Education Kiersten Alcorn Community Engagement Coordinator Mickayla Chapman Training Ensembles Recruitment and Operations Coordinator Hunter Janness Education Coordinator Garrett Lefkowitz Training Programs Operations Coordinator Clare Valenti Manager of Community Engagement

FINANCE Jeremiah Hess Senior Director of Accounting & Finance Dawn Kronell Senior Accountant Sandra Mazza Senior Accountant Sara Wabrowetz Gift Processing Coordinator Michelle Wisler Payroll and Benefits Accountant

HUMAN RESOURCES Denise Ousley Human Resources Director Shuntia Perry Human Resources Coordinator

PATRON DEVELOPMENT & ENGAGEMENT Nicki Inman Senior Director of Patron Development & Engagement

FALL 2019

AUDIENCE DEVELOPMENT Michael Frisco Director of Audience Development

SAFETY & SECURITY George Krappmann Director of Safety & Security

Teresa Alden Digital Marketing Manager

Greg Schimizzi Chief of Security

Annick Busch Patron Loyalty Coordinator

Norris Jackson Security Officer

Lori Cairo Front of House Manager

Edward John Assistant Chief of Security

Sharon Gardner Carr Assistant Manager of Tessitura and Ticketing Operations

Ronald Martin Security Officer

Rebecca Godwin Marketing Coordinator LaHeidra Marshall Audience Development Coordinator James Sabatella Group Sales Manager

CATERING AND RETAIL SERVICES Christina Williams Director of Catering and Retail Services Nate Richter Bar Manager Rita Sayegh Retail Manager

EVENTS AND RENTALS Catherine Deep Manager of Events and Rentals Ashley Powers Event Sales Representative Kendall Snead Coordinator of Event Sales & Administration

PATRON SALES & SERVICE Michelle Marshall Manager, Patron Sales & Service Connor Mehren Box Office Administrator Tommy Tatti Assistant Manager of Patron Sales & Service Chantel Woodward Lead Ticketing Specialist

dso.org

Johnnie Scott Security Officer

TECHNOLOGY & INFRASTRUCTURE

PERFORMANCE Volume XXVIII • Fall 2019

Jody Harper Senior Director of Technology & Infrastructure

EDITOR Ben Breuninger bbreuninger@dso.org 313.576.5196

FACILITY OPERATIONS

PUBLISHER Echo Publications, Inc. Tom Putters

Dan Saunders Director of Facilities Management Frederico Augustin Facility Engineer Clarence Burnett Maintenance Supervisor Matt Deneka Maintenance Technician Martez Duncan Maintenance Technician

PROGRAM NOTES ANNOTATOR Charles Greenwell

(Unless otherwise noted)

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

William Guilbault Maintenance Technician Crystal King Maintenance Technician Daniel Speights Maintenance Technician

Read Performance anytime, anywhere at dso.org/performance

INFORMATION TECHNOLOGY Michelle Koning Web Manager RaJon Taylor Application Administrator

#IAMDSO

Activities of the DSO are made possible in part with the support of the Michigan Council for Arts and Cultural Affairs and the National Endowment for the Arts.

DSO PERFORMANCE MAGAZINE 51

UPCOMING CONCERTS & EVENTS TICKETS & INFO

313 . 576 . 5111 dso.org KEY

* The DSO does not appear on this program

H Piece performed during DSO’s first season at Orchestra Hall, 1919-1920

CLASSICAL SERIES

BEETHOVEN SYMPHONY NO. 5: A CENTENNIAL CELEBRATION

Michael Francis, conductor Christina Naughton, Michelle Naughton, and David Fung, piano

Fri., Oct. 4 at 8 p.m.

Sat., Oct. 5 at 8 p.m.

Sun., Oct. 6 at 3 p.m.

WEBER Overture to OberonH MOZART Concerto for Two PianosH BACH Concerto No. 2 for Three PianosH BEETHOVEN Symphony No. 5 H

PNC POPS SERIES

QUEENS OF SOUL

Jeff Tyzik, conductor Shayna Steele, vocalist Kelley Levesque, vocalist Brie Cassil, vocalist

Fri., Oct. 11 at 10:45 a.m. & 8 p.m.

Sat., Oct. 12 at 8 p.m.

Sun., Oct. 13 at 3 p.m.

CLASSICAL SERIES

MAHLER SYMPHONY NO. 4 Jader Bignamini, conductor Yoonshin Song, violin Janai Brugger, soprano

Thu., Oct. 17 at 7:30 p.m.

Fri., Oct. 18 at 8 p.m.

Sat., Oct. 19 at 8 p.m.

GLINKA Overture to Russlan and LudmillaH BRUCH Violin ConcertoH MAHLER Symphony No. 4 ORCHESTRA HALL CENTENNIAL

A CENTURY OF POPS

Leslie Dunner, conductor Abraham Feder, cello Danielle Wright, mezzo-soprano

Wed., Oct. 23 at 7:30 Commemorate “Orchestra Hall Day” with music by Leonard Bernstein, Duke Ellington, John Williams, and more!

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DSO PERFORMANCE MAGAZINE

CLASSICAL SERIES

STRAUSS: DEATH AND TRANSFIGURATION Juraj Valčuha, conductor Julian Rachlin, violin

Sat., Oct. 26 at 8 p.m.

Sun., Oct. 27 at 3 p.m.

PR OKOFIEV Suite from The Love for Three Oranges PROKOFIEV Violin Concerto No. 2 ST R AUSS Tod und Verklärung (Death and Transfiguration)H

TINY TOTS SERIES

SHAKE, RATTLE, AND ROLL

Sat., Nov. 2 at 10 a.m. in The Cube* YOUNG PEOPLE’S FAMILY SERIES

THE GHOST OF ORCHESTRA HALL Chelsea Gallo, conductor Éva-Sarai Vesprini, actor Gavin George, piano

Sat., Nov. 2 at 11 a.m.

PNC POPS SERIES

JASON ALEXANDER

Robert Bernhardt, conductor Todd Schroeder, pianist, musical director Carrie Schroeder, guest soloist

Sat., Nov. 2 at 8 p.m.

Sun., Nov. 3 at 3 p.m.

CLASSICAL SERIES

TCHAIKOVSKY’S FIRST CONCERTO Dalia Stasevska, conductor Simon Trpčeski, piano

Thu., Nov. 7 at 7:30 p.m.

Fri., Nov. 8 at 10:45 a.m.

Sat., Nov. 9 at 8 p.m.

JULIA WOLFE Fountain of Youth TCHAIKOVSKY Piano Concerto No. 1H SIBELIUS Symphony No. 1 FALL 2019

FREE Live from Orchestra Hall webcast

Special $10 ticket offer for Veterans and Active Military (learn more at dso.org/military)

CLASSICAL SERIES

CLASSICAL SERIES

PICTURES AT AN EXHIBITION

MENDELSSOHN VIOLIN CONCERTO

Leonard Slatkin, conductor Miles Mykkanen, tenor

Juanjo Mena, conductor James Ehnes, violin

Fri., Nov. 15 at 10:45 a.m.

Sat., Nov. 16 at 8 p.m.

Sun., Nov. 17 at 3 p.m.

Thu., Dec. 5 at 7:30 p.m.

Fri., Dec. 6 at 10:45 a.m.

Sat., Dec. 7 at 8 p.m.

BERLIOZ Roman Carnival OvertureH MOHAMMED FAIROUZ Another Time

HAYDN Symphony No. 44, “Trauersinfonie” MENDELSSOHN Violin Concerto H SCHUBERT Symphony No. 9, “The Great”H

(World Premiere)

MUSSORGSKY/ARR. RAVEL Pictures at an Exhibition

WU FAMILY ACADEMY EDUCATIONAL SERIES

NEW WORLD SYMPHONY – FINDING THE AMERICAN VOICE

Fri., Dec. 6 at 8 p.m.*

Enrico Lopez-Yañez, conductor

Wed., Nov. 20 at 10:30 a.m. & 11:45 a.m.* Composer Antonín Dvořák was inspired by a trip across America in the late 1800s, which led to his New World Symphony. Discover the stories and melodies of Dvořák’s new world.

PNC POPS SERIES

LEGENDS: THE PAUL SIMON SONGBOOK Jeff Tyzik, conductor • Paul Loren, vocalist

Fri., Nov. 22 at 10:45 a.m. & 8 p.m.

Sat., Nov. 23 at 8 p.m.

Sun., Nov. 24 at 3 p.m.

DSO PRESENTS

THE SWINGLES Sat., Nov. 30 at 8 p.m.* The Swingles evoke ice-bound worlds, blankets of snow, and fireside singalongs.

The seven young London-based singers that make up today’s Swingles are driven by the same innovative spirit that has defined the five-time Grammy® winners since they first made waves as The Swingle Singers in the 1960s.

dso.org

PARADISE JAZZ SERIES

THE DUKE ELLINGTON ORCHESTRA Relive the swinging days of the Paradise Theatre. The Duke Ellington Orchestra – the only ensemble directly carrying on the tradition from Duke himself – returns to the Orchestra Hall stage to perform celebrated classics!

TINY TOTS SERIES

UNCLE GERRY AND FRIENDS Sat., Dec. 7 at 10 a.m. in The Cube* YOUNG PEOPLE’S FAMILY SERIES

WINTER WONDERLAND Kelly Corcoran, conductor

Sat., Dec. 7 at 11 a.m.

CLASSICAL SERIES

HANDEL’S MESSIAH

Ruth Reinhardt, conductor Deanna Breiwick, soprano Eve Gigliotti, mezzo soprano Jonathan Johnson, tenor Russell Braun, bass-baritone

Fri., Dec. 13 at 8 p.m.

Sat., Dec. 14 at 8 p.m.

HANDEL Messiah

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DSO PERFORMANCE MAGAZINE 53

Don Giovanni October 19 – 27, 2019

Champion March 28 – April 5, 2020

Sweeney Todd November 16 – 24, 2019

2019-2020

Opera Series AT THE DETROIT OPERA HOUSE

SUBSCRIBE TODAY!

SINGLE TICKETS ALSO ON SALE NOW!

MichiganOpera.org or 313.237.7464

2019 Fall Opera Season Sponsor

2020 Spring Opera Season Sponsor

Pagliacci May 9 – 17, 2020

Gianni Schicchi February 29 – March 1, 2020 At the Macomb Center

NOV 20 Wed 7:30 pm Hill Auditorium

Orchestre Métropolitain de Montréal Yannick Nézet-Séguin, conductor and piano Joyce DiDonato, mezzo-soprano

Magazine 2019-2020 season PROGRAM 0 Mozart Ch’io mi scordi di te? (positioned Mozart away from“Parto, eachparto” other) from La Clemenza di Tito Bruckner

Symphony No. 4 in E-flat Major

Corporate Sponsor:

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734.764.2538 ——— U M S . O R G

The Katherine McGregor Dessert Parlor

…at The Whitney.

Named after David Whitney’s daughter, Katherine Whitney McGregor, our intimate dessert parlor on the Mansion’s third floor features a variety of decadent cakes, tortes, and miniature desserts.

The menu also includes chef-prepared specialties, pies, and “Drinkable Desserts.” Don’t miss the amazing flaming dessert station featuring Bananas Foster and Cherries Jubilee.

Reserve tonight’s table online at www.thewhitney.com or call 313-832-5700 4421 Woodward Ave., Detroit dso.org

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DSO PERFORMANCE MAGAZINE 55

C R E AT E PERMANENT POSITIVE CHANGE ____ In our 35-year history, the Community Foundation has granted $1 billion to achieve real and lasting impact in our region — all through thoughtful philanthropy.

Join us in creating permanent, positive change for southeast Michigan.

cfsem.org /myimpact