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
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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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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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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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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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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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NY AR S 100 YE SIC OF MU , MA GIC MM UN , AN D CO
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. Marjori under the es and M. viti the Max t day acti s and the the presen cert hall the 2003 and great con the way, the world’s The Max. Along ustics, of one of t of Hall’s aco footprin Orchestra expanded building’s magic of the of the s s ner lore l, own cor book exp hestra Hal little-kn on Orc , t roit sheds ligh how Det destiny. and shows the same history, all share and the DSO
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wonders one of the Yo-Yo Ma ra Hall is .” — “Orchest sic world ustic mu of our aco for these a statue ould make o saved it.” “They sh Detroit wh people in
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
ker
Mark Stry
$24.95 3 34170-1- 5 >
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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
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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. FALL 2019
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. 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 PICTURES aT aN EXHIBITION Friday, November 15, 2019 at 10:45 a.m. Saturday, November 16, 2019 at 8 p.m. Sunday, November 17, 2019 at 3 p.m. at Orchestra Hall LEONaRD SLaTKIN, conductor • mILES mYKKaNEN, tenor Hector Berlioz (1803 - 1869) mohammed Fairouz (b. 1985)
Roman Carnival Overture, Op. 9★ Another Time, A Symphony of Songs on Four Poems by W.H. Auden (world premiere) Arrival (Calypso) Second Thoughts Departure: Stop All the Clocks Return: Warm and Still Miles Mykkanen, tenor
Intermission modest mussorgsky (1839 - 1881)
Orchestrated by maurice Ravel arr. Leonard Slatkin
Pictures at an Exhibition
Introduction: Promenade I. Gnomus Promenade II. Il vecchio castello Promenade III. Tuileries IV. Bydlo Promenade V. Ballet of Little Chicks in their Shells VI. Two Polish Jews Promenade VII. Limoges VIII. Catacombae - Cum mortius in lingua mortua IX. Baba-Yaga - The Hut on Hen’s Legs X. The Great Gate of Kiev
★ 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.
Friday’s recognition of America’s Veterans and Active Military is supported by
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DSO perfOrmance magazine 21
Program Notes P ro g r a m At - a - Gl a nce
Based On… Mohammed Fairouz’s Another Time and Mussorgsky’s Pictures at an Exhibition are both concrete musical interpretations of nonmusical source material. Fairouz reinterprets the poetry of W.H. Auden, and he is not the first composer to do so. Benjamin Britten wrote a version of “Funeral Blues” as incidental music for a production of the Auden play The Ascent of F6, then arranged it as a cabaret tune for solo voice and piano; composer and musicologist Peter Dickinson took on “My second thoughts condemn” for his Three Comic Songs in 1960; and Ned Rorem set
Roman Carnival Overture, Op. 9 Composed 1844 | Premiered February 1844
HECTOR BERLIOZ B. December 11, 1803, La Côte-Saint-André, France D. March 8, 1869, Paris, France
Scored for 2 flutes (1 doubling on piccolo), 2 oboes (1 doubling on English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 cornets, 3 trombones, timpani, percussion, and strings. (Approx. 9 minutes)
H
ector Berlioz’s Roman Carnival Overture features music from the composer’s opera Benvenuto Cellini. Although the opera fizzled after its premiere in 1838, the overture was met with a decidedly warmer reception and soon became one of Berlioz’s most popular works, both in its orchestral form and as a four-hand piano arrangement. The work follows Berlioz’s favorite
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seven of the poet’s works in his 1990 piece The Auden Poems. Mussorgsky’s Pictures at an Exhibition contributes to a centuries-old tradition of writing music inspired by and evocative of visual art. Debussy’s Nocturnes are inspired by James Whistler’s impressionistic painting of a falling firework; Rachmaninoff’s Isle of the Dead evokes a haunting image of the same name by Arnold Böcklin. And composers as diverse as Liszt, Respighi, and Stephen Sondheim have all translated the visual to the musical.
overture format with a rousing opening section that quickly makes way for a slower one, culminating in a fast, jubilant ending. A burst of festive music taken from the opera’s carnival scene sets the work in motion, after which an extended English horn solo begins the slower section with music from the love duet. This theme passes through the violas and horns as the faster carnival music begins to reassert itself with quick, scalar themes in the woodwinds, announcing its full-fledged return. The work continues to build in intensity after this point, although Berlioz introduces a few surprises along the way. At one point the music builds to a climax only to pause suddenly for a fugal section, delaying the overture’s triumphant, glorious conclusion. The DSO most recently performed Berlioz’s Roman Carnival Overture in October 2015, conducted by Leonard Slatkin. The DSO first performed the work in December 1915, conducted by Weston Gales. fall 2019
Another Time, A Symphony of Songs on Four Poems by W.H. Auden (world premiere) MOHAMMED FAIROUZ B. November 1, 1985, New York, NY
Scored for solo tenor, 3 flutes (1 doubling on piccolo), 3 oboes, 3 clarinets, 3 bassoons, 4 horns, 4 trumpets, 3 trombones, timpani, percussion, harp, piano, and strings. (Approx. 16 minutes)
M
ohammed Fairouz is celebrated for his fearless merging of music and social action, as well as his obsession with literary and philosophical source material. He is one of the mostperformed composers of his generation and has worked in virtually every genre, including opera, symphonies, vocal and choral settings, and chamber and solo works. His most recent collaboration with Leonard Slatkin and the Detroit Symphony Orchestra is the 2016 cello concerto Desert Sorrows, written for Maya Beiser. The work explores the stories of four angels whose mythology is shared between Judaism, Christianity, and Islam. As the title explains, Another Time is one of Fairouz’s many works based on text found in classic literature. W.H. Auden is simultaneously one of the most revered and derided poets of the 20th century – a master whose ironic and self-indulgent style is transformative to one reader and cloddish to another. But what Auden gets right he gets very right. Classic verses from “Funeral Blues” and “For the Time Being” join the remarkable book-length poem The Age of Anxiety and
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the play The Ascent of F6 in the modern canon, and Fairouz is not the first composer to transliterate Auden’s stark text to music for the stage. Fairouz focuses on four relatively popular Auden works: “Calypso,” “Funeral Blues,” an untitled poem generally known by its first line “My second thoughts condemn,” and an untitled poem/song sometimes known as “Song” or by its first line “Warm are the still and lucky miles.” Each is full of the poet’s characteristic bleakness and cunning – note the “poor fat old banker,” the “dry dumb past.” Even the would-be sentimental pageantry of a funeral is boiled down to one dark, undisputable phrase: “He is Dead.” The DSO proudly presents the world premiere of Mohammed Fairouz’s Another Time at these performances.
Pictures at an Exhibition Composed 1874 | Ravel Version Orchestrated 1922
MODEST MUSSORGSKY B. March 21, 1839, Karevo, Russia D. March 28, 1881, Saint Petersburg, Russia
Orchestrated by MAURICE RAVEL B. March 7, 1875, Ciboure, France D. December 28, 1937, Paris, France
Scored for 3 flutes (2 doubling on piccolo), 3 oboes (1 doubling on English horn), 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba (doubling on tenor tuba), timpani, percussion, 2 harps, celeste, alto saxophone, euphonium, and strings. (Approx. 28 minutes)
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DSO Performance magazine 23
M
odest Mussorgsky composed Pictures at an Exhibition for solo piano in 1874 as a tribute to his recently deceased friend, the artist Viktor Hartmann. Rendered in the composer’s characteristically idiosyncratic style, the colorful musical depictions of Hartmann’s artwork prompted Mikhail Tushmalov to orchestrate individual movements from the work in 1886. Over the next century and a quarter, many orchestrators and arrangers would follow Tushmalov’s example. Pictures at an Exhibition has been orchestrated approximately 30 different times, notwithstanding various non-orchestral renditions that range from Emerson, Lake & Palmer’s prog rock version to an arrangement for accordion trio. But the most famous of these is Maurice Ravel’s 1922 version, which has its roots in a commission from the wealthy conductor Serge Koussevitsky. Ravel, a master orchestrator, uses a huge ensemble in his version and gives the entire work a jolt of Impressionist color. Notably, he tweaks the “Promenade” theme – which comes and goes as the listener “walks” from artwork to artwork – and removes it altogether at various points. Koussevitsky’s commission also gave him sole conducting rights for several years, which contributed to the Pictures orchestration craze. The “Promenade” theme is set in constantly shifting meters and conjures images of the bulky, often disheveled Mussorgsky shambling between the ten artworks. Changes in tonality, tempo, and orchestration reflect the viewer’s changing moods from painting to painting, and the music tends to reflect the contents and themes of each work as well.
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I. Gnomus – the drawing that inspired this movement was intended to be used on a Christmas decoration and is described in an exhibition catalog as depicting “a kind of nutcracker, a gnome into whose mouth you put a nut to crack.” The music is full of strange harmonies and melodic jumps that depict the erratic behavior of a pint-sized fantasy creature. II. Il vecchio castello (The old castle) – Hartmann sketched two castles while traveling in France. One of the most celebrated aspects of Ravel’s orchestration is his use of the alto saxophone to give out the melody, which reminds one of a folksy bard. III. Tuileries – a sketch of Paris’s Tuileries Garden, which stretches more than half a mile in front of the Louvre. The music suggests the playing and squealing of children and the nannies attempting to corral them. IV. Bydlo – the word bydlo is Polish for “cattle” and is sometimes used to refer to a cart pulled by oxen. Mussorgsky’s original piano version begins fortissimo, but several orchestrators – including Ravel – choose to begin and end the movement softly to create the illusion that the cart is approaching and then driving away. V. Ballet of Little Chicks in their Shells – Hartmann’s sketch here is actually a design for an opera, Trillby, which includes a scene in which young students at a theater school scamper about in canary costumes. VI. Two Polish Jews (a.k.a. Samuel Goldenberg and Schmuyle) – based on drawings of two Jewish men, one rich and one poor. The music suggests Jewish melodies and a bouncing conversation between the two subjects, marked most notably by a whiny trumfall 2019
pet representing the poor man. VII. Limoges – named for the French city of Limoges, especially its market hall. Hartmann completed more than 150 watercolors of the market, most of which are humorous slice-of-life portraits. In the one Mussorgsky set to music we can hear the fracas of two women fighting with each other. VIII. Catacombae – Cum mortius in lingua mortua – a trip to the Parisian catacombs, where skulls are stacked high in passageways under the city streets. Mussorgsky wrote Cum mortius in lingua mortua (With the dead a dead language) in the manuscript, signaling a macabre rendition of the “Promenade” theme. IX. Baba-Yaga – The Hut on Hen’s Legs – the Hartmann sketch is of a clock representing the home of the
child-eating Russian witch Baba-Yaga, which is a squat hut atop long chicken legs. The creepy music swirls about violently. X. The Great Gate of Kiev – Hartmann’s sketch was actually an entry into a public contest to design a triumphal gate honoring the Russian emperor Alexander II. The music is heroic and characteristically Russian, aided by Ravel’s choice to inflect dark woodwind tones into a section inspired by Orthodox chants. The DSO most recently performed Ravel’s orchestration of Pictures at an Exhibition in December 2014, conducted by Andrey Boreyko. The DSO first performed Ravel’s version in December 1927, conducted by Victor Kolar.
Profiles For Leonard Slatkin’s biography please see pg. 6
Miles Mykkanen
M
iles Mykkanen is an American tenor who recently completed his graduate studies at The Juilliard School and was selected as a winner of the 2019 Metropolitan Opera National Council Auditions. Mykkanen’s performances have been praised by The New York Times as “focused” and by Opera News as “a knockout.” Mykkanen makes his Metropolitan Opera debut this winter in the company’s new William Kentridge production of
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Wozzeck with Yannick Nézet-Séguin. He also debuts at the Festival d’Aixen-Provence in L’incoronazione di Poppea directed by Ted Huffman under the baton of Leonardo García Alarcón. Highlights from recent seasons include the Pulitzer Prize-winning opera Silent Night with Minnesota Opera, Ariadne auf Naxos with The Cleveland Orchestra, West Side Story with the New York Philharmonic (and DSO Music Director Laureate Leonard Slatkin), and Berlioz’s Roméo et Juliette with the American Symphony Orchestra. Mykkanen has performed the title role of Candide with Arizona Opera and Palm Beach Opera as well as at the Ravinia and Tanglewood festivals.
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DSO Performance magazine 25
Profiles Mykkanen frequently appears with Steven Blier, Michael Barrett, and the New York Festival of Song, and also has collaborated with Juilliard415, the Mostly Mozart Festival Orchestra, New World Symphony, Philadelphia Chamber Music Society, and Chamber Music Society of Lincoln Center. He is a champion of new music and has given the world premieres of Ricky Ian Gordon’s TwentySeven, Jack Perla’s Shalimar the Clown, and Matthew Aucoin’s Crossing.
Mykkanen is a 2019 Sara Tucker Study Grant winner, youngARTS Gold winner, and the recipient of prizes from the Sullivan Foundation, Toulmin Foundation, Novick Career Advancement Grant, and the Joseph W. Polisi Award. He earned his bachelor’s and master’s degrees at The Juilliard School under the tutelage of Cynthia Hoffmann. These performances mark Miles
Mykkanen’s DSO debut
Text Mohammed Fairouz Another Time, A Symphony of Songs on Four Poems by W.H. Auden Arrival (Calypso) From Auden’s “Calypso” Driver drive faster and make a good run Down the Springfield Line under the shining sun. Fly like an aeroplane, don’t pull up short Till you brake for Grand Central Station, New York. For there in the middle of the waiting-hall Should be standing the one that I love best of all. If he’s not there to meet me when I get to town I’ll stand on the side-walk with tears rolling down. For he is the one that I love to look on, The acme of kindness and perfection.
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He presses my hand and he says he loves me, Which I find a admirable peculiarity. The woods are bright green on both sides of the line, The trees have their loves though they’re different from mine. But the poor fat old banker in the sun-parlour car Has no one to love him except his cigar. If I were the Head of the Church or the State, I’d powder my nose and just tell them to wait. For love’s more important and powerful than Ever a priest or a politician.
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He was my North, my South, my East and West, My working week and my Sunday rest, My noon, my midnight, my talk, my song; I thought that love would last forever: I was wrong.
Second Thoughts From untitled Auden poem My second thoughts condemn And wonder how I dare To look you in the eye. What right have I to swear Even at one a.m. To love you till I die?
The stars are not wanted now; put out every one, Pack up the moon and dismantle the sun, Pour away the ocean and sweep up the wood; For nothing now can ever come to any good.
Earth meets too many crimes For fibs to interest her; If I can give my word, Forgiveness can recur Any number of times In Time. Which is absurd.
Return: Warm and Still From Auden’s “Song”
Tempus fugit. Quite. So finish up your drink. All flesh is grass. It is. But who on earth can think With heavy heart or light Of what will come of this?
Warm are the still and lucky miles, White shores of longing stretch away, The light of recognition fills The whole great day, and bright The tiny world of lovers’ arms.
Departure: Stop All the Clocks From Auden’s “Funeral Blues” Stop all the clocks, cut off the telephone, Prevent the dog from barking with a juicy bone, Silence the pianos and with muffled drum Bring out the coffin, let the mourners come. Let aeroplanes circle moaning overhead Scribbling on the sky the message “He is Dead.” Put crepe bows round the white necks of the public doves, Let the traffic policemen wear black cotton gloves.
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Silence invades the breathing wood Where drowsy limbs a treasure keep, Now greenly falls the learned shade Across the sleeping brows And stirs their secret to a smile. Restored! Returned! The lost are borne On seas of shipwreck home at last: See! In the fire of praising burns The dry dumb past, and we The life-day long shall part no more.
“Calypso,” “My Second Thoughts Condemn,” “Warm and Still are the Lucky Miles,” and “Funeral Blues” by W.H. Auden Used by permission of Curtis Brown, Ltd. Copyrights © 1939 All Rights reserved.
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DSO Performance magazine 27
LEONARD SLATKIN, Music Director Laureate Music Directorship endowed by the Kresge Foundation
JEFF TYZIK
TERENCE BLANCHARD
Principal Pops Conductor
NEEME JÄRVI Music Director Emeritus
Fred A. and Barbara M. Erb Jazz Creative Director Chair
TITLE SPONSOR:
LEgENDS: THE PaUL SImON SONgBOOK a Schirmer Theatrical/Greenberg Artists co-production Arrangements by Jeff Tyzik Presented by
Friday, November 22, 2019 at 10:45 a.m. and 8 p.m. Saturday, November 23, 2019 at 8 p.m. Sunday, November 24, 2019 at 3 p.m. at Orchestra Hall JEFF TYZIK, conductor PaUL LOREN, vocals • EmILY DRENNaN, vocals DaNIEL BERRYmaN, vocals • SHUBH SaRaN, guitar ERIC mETZgaR, drums • maRK mINOOgIaN, bass GRACELAND Music by Paul Simon MRS. ROBINSON Music by Paul Simon SCARBOROUGH FAIR/CANTICLE Music by Paul Simon and Art Garfunkel, based on the traditional English ballad HOMEWARD BOUND Music by Paul Simon CECILIA Music by Paul Simon EL CONDOR PASA (IF I COULD) Music by Daniel Alomia Robles, Paul Simon, and Jorge Milchberg; English Lyrics by Paul Simon 59TH STREET BRIDGE SONG Music by Paul Simon THE SOUND OF SILENCE Music by Paul Simon AMERICA Music by Paul Simon THE BOXER Music by Paul Simon KODACHROME Music by Paul Simon - Intermission -
YOU CAN CALL ME AL Music by Paul Simon TAKE ME TO THE MARDI GRAS Music by Paul Simon 50 WAYS TO LEAVE YOUR LOVER Music by Paul Simon MOTHER AND CHILD REUNION Music by Paul Simon STILL CRAZY AFTER ALL THESE YEARS Music by Paul Simon LOVES ME LIKE A ROCK Music by Paul Simon BRIDGE OVER TROUBLED WATER Music by Paul Simon ALL ARRANGEMENTS LICENSED BY SCHIRMER THEATRICAL, LLC SCHIRmER THEaTRICaL
Concert, Film & Stage GREENBERG ARTISTS
Creative Team Robert Thompson, Producer Jeff Tyzik, Producer & Arranger Jami Greenberg, Producer & Booking Agent Alyssa Foster, Producer Mary Helen Gustafson, Assistant Producer
november is community Support month. Learn more and make a gift now at dso.org/donate. Friday evening and Sunday’s recognition of America’s Veterans and Active Military is supported by 28
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faLL 2019
Profiles For Jeff Tyzik’s biography please see pg. 7
Paul Loren
P
aul Loren is a singer, songwriter, producer, and consummate entertainer leading a new generation of soulful crooners. A native New Yorker, Loren was raised on the rich legacy of soul, classic pop, and the Great American Songbook, and in those musical idioms he feels most at home. Taking elements from early R&B, jazz, and Brill Building pop, he crafts his music with an ear towards timelessness. Citing influences like Ray Charles, Aretha Franklin, and Tony Bennett, Loren is known for his smooth sound and expressive stage presence. He has accompanied Brendan James on a national tour and regularly performs at Joe’s Pub at the Public in New York City. He has appeared on The Tonight Show Starring Jimmy Fallon and performed at New York Fashion Week and the legendary Stax Museum in Memphis, Tennessee. His new single, “(Gonna Take) A Little Time,” is out now. Learn more at paulloren.com. These performances mark Paul
Loren’s DSO debut
Emily Drennan
E
mily Drennan is a singer, actress, producer, composer, and voiceover artist originally from Oklahoma. She has had the great fortune of performing as a soloist at Carnegie Hall, Lincoln Center, and Radio City Music Hall; she has also
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performed with orchestras across the United States, including the Indianapolis Symphony Orchestra, the Long Beach Symphony, and others. Drennan’s stage and theater credits include the New York Spectacular Starring The Rockettes, the off-Broadway hits Voca People and Toxic Audio, and a touring production of Mamma Mia! She was named a National Presidential Scholar in the Arts in 1998. Her debut album, Two-Way Street, was released in 2012; her latest album is A Mother Daughter Christmas, a collaboration with her mother Patti Drennan. These performances mark Emily
Drennan’s DSO debut
Daniel Berryman
D
aniel Berryman, a University of Michigan alumnus, is an American singer and actor. He was most recently seen with the St. Louis Symphony Orchestra celebrating 100 years of the St. Louis Municipal Opera Theatre, more commonly known as The Muny, under the direction of Ben Whitely. Berryman’s theater credits include national tours of Les Misérables and The Sound of Music; regional productions of Sweeney Todd, Hello Dolly!, The Most Happy Fella, and Rent; and New York productions of Call Me Madame, The Golden Apple, The Fantasticks, and more. These performances mark Daniel
Berryman’s DSO debut
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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 Fri., Dec. 6 at 8 p.m.*
YOUng peOpLe’S famiLY SerieS
WINTER WONDERLAND Kelly Corcoran, conductor
Sat., Dec. 7 at 11 a.m. Favorites from Frozen, The Polar Express, Tchaikovsky’s Nutcracker, and more.
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.
DSO preSenTS
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
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 mENDELSSOHN VIOLIN CONCERTO Thursday, December 5, 2019 at 7:30 p.m. Friday, December 6, 2019 at 10:45 a.m. Saturday, December 7, 2019 at 8 p.m. at Orchestra Hall JUaNJO mENa, conductor • JamES EHNES, violin Franz Joseph Haydn (1732 - 1809)
Felix mendelssohn (1809 - 1847)
Symphony No. 44 in E minor, “Trauersinfonie” I. Allegro con brio II. Menuet: Allegretto, canon in diapason III. Adagio IV. Presto Concerto for Violin and Orchestra in E minor, Op. 64 I. Allegro molto appassionato II. Andante III. Allegretto non troppo - Allegro molto vivace James Ehnes, violin
Intermission Franz Schubert (1797 - 1828)
Symphony No. 9 in C major, D. 944 [old Nos. 7 and 9] “The Great”★ I. Andante - Allegro, ma non troppo II. Andante con moto III. Scherzo: Allegro vivace IV. Allegro vivace
★ 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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Program Notes P ro g r a m At - a - Gl a nce A Romantic Progression Haydn (1732 – 1809)
Schubert (1797 – 1828)
Mendelssohn (1809 – 1847)
1772 Haydn’s Symphony No. 44 was written squarely in the Classical period, but within the German sturm und drang movement that emphasized intense emotionality and foreshadowed Romanticism.
1826 Schubert’s “Great” C major Symphony – with its unprecedented length and bold trombones – furthers the transition from the Classical period into the Romantic.
1844 Mendelssohn’s Violin Concerto was written at the height of Romanticism. He notably does away with the Classical practice of using the orchestra to preview the soloist’s entrance.
Symphony No. 44 in E minor, “Trauersinfonie” Composed 1772 | Premiere date unknown
FRANZ JOSEPH HAYDN B. March 31, 1732, Rohrau, Austria D. May 31, 1809, Vienna, Austria
Scored for 2 oboes, bassoon, 2 horns, and strings. (Approx. 22 minutes)
I
n 1766, Joseph Haydn was promoted to the post of Kapellmeister, in charge of all musical activities at the court of Prince Nicolaus Esterházy. The splendor of the Easterházy establishment rivaled – if not exceeded – that of the Austrian Imperial Court itself. Already possessing a palace at Eisenstadt on the Hungarian border and a vast town house in Vienna, Prince Nicolaus transformed a modest hunting lodge on the muddy plains of Hungary into a glorious rococo palace named Esterháza. Haydn was expected to write music for all these venues, lead an orchestra composed of some of Europe’s finest virtuosos, and
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carry out day-to-day administrative tasks. It was a job for a superman, but Haydn promptly rose to the challenge. Despite all the claims on his time, his creative genius burst into full flower, producing symphonies and chamber music that set new standards for the period. Marooned in “my desert,” as he called the remote Esterháza, and rarely able to travel even as far as Vienna, the composer dug deep into himself for inspiration, creating symphonies rich in passionate expression, dramatic intensity, and technical experimentation. The Symphony No. 44, a classic of Haydn’s Sturm und Drang (storm and stress) period, opens dramatically with four emphatic notes played in unison, driving the entire sonata-form first movement forward. They are immediately answered by a gentle string phrase, setting a pattern of strong dynamic contrasts between loud and soft in this work. With delicious form, Haydn suddenly halts his race to the finish line on a melodramatic chord and inserts a marvelous canon on the four fall 2019
notes. In an unusual switch for this period, Haydn moved his minuet from its customary third position to the second movement. Languishing downward, the trio section features a virtuosic high solo horn line. The slow movement is worth waiting for: it is a ravishing song for muted violins and one of Haydn’s loveliest adagios. Interestingly, this movement is in the major mode – E major – and is the most serene and untroubled part of the work. Haydn was a devout Catholic, and the fact that he requested this music for his funeral suggests death held no terrors for him. The Presto finale returns us to the drama of the first movement with even greater intensity. Lively imitative counterpoint and rhythmic cross-play between instruments increase the excitement of music that hardly stops for breath until it stops for good. The DSO most recently performed Haydn’s Symphony No. 44 in April 2013, conducted by Christopher WarrenGreen. The DSO first performed the piece in November 1970, conducted by Henry Lewis.
Concerto for Violin and Orchestra in E minor, Op. 64 Composed 1838-1844 | Premiered 1845
FELIX MENDELSSOHN B. February 3, 1809, Hamburg, Germany D. November 4, 1847, Leipzig, Germany
Scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (Approx. 27 minutes)
F
elix Mendelssohn’s E minor violin concerto, his second, was written over a period of six years, and dso.org
completed a mere three before his death. It remains the composer’s last large orchestral work. It was dedicated to the violin virtuoso Ferdinand David and benefited greatly from suggestions that David offered. Months after the work’s premiere, a second virtuoso – Joseph Joachim, Mendelssohn’s teenage protégé – performed it in Dresden, and Joachim remained a champion of the concerto for the rest of his life. Many scholars note that the concerto creatively breaks with established conventions in the opening bars of the first movement. Instead of having the full orchestra introduce the first theme before the soloist’s entrance, Mendelssohn reverses the order, allowing the solo violin to waft the opening melancholy theme over gently pulsing string arpeggios before building to a dramatic orchestral tutti. In contrast to the haunting beauty of the first theme, the second theme is characterized by a warm melody in the clarinets and flutes. And instead of moving directly from the development section into a recapitulation of the two main themes, Mendelssohn cleverly inserts a dazzling cadenza, which serves as an elegant and unexpected transition between the two sections. The second movement follows directly on the heels of the first, with a lone, plaintive bassoon solo carrying the listener from one movement into the next. The musical structure of the movement follows a standard three-part A-B-A form, but within this simple pattern, Mendelssohn spins some of his most exquisitely conceived melodies. The finale is a bubbly, sparkling concoction that pushes the soloist’s virtuosity further and further as the movement progresses. Transparent orchestral textures allow clear projection of the
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acrobatic solo line, and the nimble coda drives both the orchestra and soloist towards and exhilarating conclusion. The DSO most recently performed Mendelssohn’s Violin Concerto in E minor on the William Davidson Neighborhood Concert Series in March 2019, conducted by David Danzmayr and featuring violinist Blake Pouliot. The DSO first performed the piece in March 1916, conducted by Weston Gales and featuring violinist Francis MacMillen.
Symphony No. 9 in C major, D. 944, “The Great” Composed 1825-1826 | Premiered 1839
FRANZ SCHUBERT B. January 31, 1797, Vienna, Austria D. November 19, 1828, Vienna, Austria
Scored for 2 f lutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings. (approx. 50 minutes)
F
ranz Schubert’s “Great” C major symphony was once forgotten and might long have remained so but for a remarkable stroke of fortune. In 1838 Robert Schumann, then a young musician and an ardent admirer of Schubert’s songs and chamber music, visited Vienna and called on Ferdinand Schubert, the late composer’s brother. To Schumann’s astonishment, his host showed him a trunk full of manuscripts — “a fabulous pile,” Schumann reported — which Franz Schubert had left unpublished at his death. Among these was the score to the C major symphony that we enjoy so much today. Schumann, realizing the enormity of the find, brought the work to the attention of
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the publishers Breitkopf & Härtl, and through them to Felix Mendelssohn, then the conductor of the renowned Gewandhaus Orchestra in Leipzig. Under Mendelssohn’s direction, that ensemble played the symphony for the first time on March 21, 1839. It would be pleasing to report that the symphony was instantly recognized as the masterpiece that it is held to be today, but the work met resistance at its first performance. As was often the case during Schubert’s lifetime, the chief complaint was the symphony’s length. Of course, the “greatness” of the symphony — its sense of grandeur and power — would be impossible were it not worked out on a very large scale. And to today’s listeners there is nothing sprawling or ungainly about this symphony; its cogent discourse gives no sense that Schubert is wasting notes. A slow introduction to a sonata-allegro first movement begins, with Schubert evading endings and moving quickly away from resting points. The powerful rhythmic drive almost never lets up. In the oboe melody of the second movement, the lyricism contrasts with confident march-like sections that alternate between major and minor. The middle section features a violin theme, gradually winding down until a soft horn calls for a return of the oboe theme. Even the third movement Scherzo of this symphony is quite large in scale, though not heavy in character. The dance-like, triple meter scherzo develops a variety of themes from jolly stacatto to more lyrical passages. The scale of this movement sets up the finale, another sonata-form movement propelled by a relentlessly cheerful rhythmic drive. The movement opens with two short motives — a dotted figure and a triplet — that will play an important role throughout fall 2019
the movement, appearing separately and together. A bit later, a clear statement of four repeated notes in the unison horns become another important thematic foundation. The DSO most recently performed
Schubert’s Symphony No. 9 in January 2014, conducted by Leonard Slatkin. The DSO first performed the piece in February 1920, conducted by Ossip Gabrilowitsch.
Profiles Juanjo Mena
J
uanjo Mena is one of Spain’s most distinguished international conductors. He currently serves as principal conductor of the Cincinnati May Festival and associate conductor of the Spanish National Orchestra. Mena has performed with many of North America’s top orchestras including the Chicago Symphony Orchestra, New York Philharmonic, Boston Symphony Orchestra, and Toronto Symphony Orchestra. In Europe, he has conducted the Berliner Philharmoniker, London Philharmonic Orchestra, Danish National Symphony Orchestra, and others. Festival appearances include Grant Park Music Festival, Tanglewood Music Festival, and White Nights Festival in St. Petersburg. His operatic work includes The Flying Dutchman, Salome, Elektra, and Strauss’s Ariadne auf Naxos. He previously served as chief conductor of the BBC Philharmonic, with whom he made several recordings, including Manuel de Falla’s opera La Vida Breve, a Gabriel Pierné release, which was a Gramophone Editor’s Choice. Other recordings include works by Albéniz and Montsalvatge. Born in Vitoria-Gasteiz, Spain, Mena dso.org
attended the Madrid Royal Conservatory where he studied under Carmelo Bernaola and Enrique García Asensio. He also studied conducting with Sergiu Celibidache in Munich on a GuridiBernaola scholarship. In 1997, the Basque Government selected Mena to form the Youth Orchestra of Euskal Herria. He subsequently became associate conductor of the Euskadi Symphony Orchestra. These performances mark Juanjo
Mena’s DSO debut
James Ehnes
J
ames Ehnes is a Grammy Awardwinning violinist lauded for his stunning virtuosity and unfaltering musicality. He has performed in over 35 countries on five continents, appearing regularly in the world’s great concert halls and with many celebrated orchestras and conductors. He currently holds an artist residency with the Dallas Symphony Orchestra and made his debut with the London Philharmonic Orchestra in spring 2019. Recent highlights include performances with the San Francisco Symphony, London Symphony Orchestra, Munich
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Philharmonic, and MET Orchestra at Carnegie Hall under the baton of Gianandrea Noseda. Ehnes has an extensive discography and has won many awards for his recordings, including a Grammy Award (2019) for his live recording of Aaron Jay Kernis’s Violin Concerto with the Seattle Symphony Orchestra and Ludovic Morlot, and a Gramophone Award for his live recording of the Elgar Concerto with the Philharmonia Orchestra and Sir Andrew Davis. Born in Brandon, Manitoba, Ehnes became a protégé of noted Canadian violinist Francis Chaplin and continued his studies under Sally Thomas at the Meadowmount School of Music and The
Juilliard School. He is a Fellow of the Royal Society of Canada and in 2010 was appointed a Member of the Order of Canada. Ehnes was awarded the 2017 Royal Philharmonic Society Award in the Instrumentalist category. Ehnes plays the “Marsick” Stradivarius of 1715. M OST RECENT APPEARANCE
WITH THE DSO: May 2017, performing James Newton Howard’s Concerto for Violin and Orchestra (cond. Cristian Măcelaru) F IRST APPEARANCE WITH THE
DSO: July 2000, performing Brahm’s Violin Concerto (cond. Roberto Minczuk)
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
We celebrate the DSO – a world-class ensemble
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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 ◊
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*Current DSO Musician or Staff
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Deceased
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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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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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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
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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. 46
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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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! 52
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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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.
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