DSO Spring 2016 Performance Magazine - Edition 2 by Detroit Symphony Orchestra

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CONTENTS oneDSO

FEATURES

To Stage or Not to Stage

by Leonard Slatkin Meet the Musician: Kevin Brown 14 Community & Learning 39

PROGRAMS Concerts, artist biographies and program notes begin on page 20.

Read program notes anytime in Performance magazine online at dso.org/performance

Welcome from President & CEO and Chairman 4 Orchestra Roster

Board Leadership

Governing Members

Volunteer Council

Maximize Your Experience

DSO Administrative Staff

Volunteer Ushers

Annual Fund

Upcoming Concerts

THE DSO VOLUNTEER COUNCIL PRESENTS

Musical Feasts XXIX APRIL–DECEMBER, 2016 ——————————————— Join our incomparable DSO musicians and Gracious hosts for the finest of musical and dining experiences. View the 18 Feast descriptions at the Volunteer Council website DSO.org/VolunteerCouncil For availability and reservations, contact Volunteer Council office AT

313.576.5154 OR VOLUNTEERCOUNCIL@DSO.ORG

welcome

D E A R F R I E N D S, To our One DSO Family, At the DSO’s Annual Meeting this last December, we celebrated three wonderful seasons under the leadership of Chairman Emeritus Phillip Wm. Fisher. Phillip’s distinguished tenure was marked by a return to balanced finances and a focus on developing a cohesive culture, for which he coined the term “the One DSO family.” As a treasured audience member, you too are a member of our family! In the years ahead we will build on the legacy of our DSO by upholding the highest standards of musical excellence while continuing the quest for innovation, from how we educate the next generation and engage metro Detroit to how we embrace technology. Because of the developments we already have in place, a live digital recording of the Brahms Festival you experienced last month will be available on our in-house label Live From Orchestra Hall in May. Pre-orders are already available through iTunes. We are proud to mirror our advances in the digital sphere on stage by bringing you the very best contemporary music available today, with the fifth of our season’s five World Premieres scheduled April 14-16. Sarah Kirkland Snider, composer of Something for the Dark, is a recipient of another of our inspired projects: The Elaine Lebenbom Memorial Award for Female Composers, which is granted annually to a living woman composer, of any age or nationality, in the spirit of recognizing and supporting the creation of new orchestral works by women. Thanks to The William Davidson Neighborhood Concert Series, we’re also proud to offer you chamber orchestra music both traditional and new, presenting repertoire rarely if ever programmed for the Orchestra Hall stage. Don’t miss the subscription debut of Argentine composer Osvaldo Golijov’s Last Round this April. While our spring cover feature focuses on a work written more than a century ago, the DSO is committed to taking a fresh approach to the classics while honoring the artistry that makes them timeless. We encourage you to read Music Director Leonard Slatkin’s own case for the importance of opera in concert on page 12. We’re sure you’ll agree that Strauss’ seductive Salome is a wonderful way to close the concert hall season. Wishing you a spring full of beautiful music,

ANNE PARSONS MARK DAVIDOFF President & CEO Chairman

DETROIT SYMPHONY ORCHESTRA

SUPPORTING THE ARTS

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

WWW.HONIGMAN.COM

MARCH 20 â&#x20AC;&#x201C;JUNE 12, 2016 Tickets at DIA.org/Dance This exhibition has been organized by the Detroit Institute of Arts. Support has been provided by the National Endowment for the Humanities and the National Endowment for the Arts. Additional support has been provided by the Marjorie and Maxwell Jospey Foundation and an ADAA Foundation Curatorial Award and the Association of Art Museum Curators. Any views, fndings, conclusions, or recommendations expressed in this exhibition do not necessarily represent those of the National Endowment for the Humanities. Image: Dances (detail), 1914 or 1915, oil on canvas. Arthur Bowen Davies, American. Gift of Ralph Harman Booth

behind the baton LEONARD SLATKIN Music Director Music Directorship endowed by the Kresge Foundation Internationally acclaimed conductor Leonard Slatkin is Music Director of the Detroit Symphony Orchestra (DSO) and the Orchestre National de Lyon (ONL). He also maintains a rigorous schedule of guest conducting and is active as a composer, author and educator. Highlights of the 2015-16 season include a three-week Brahms festival with the DSO in February; engagements with the St. Louis Symphony, Pittsburgh Symphony, Los Angeles Philharmonic and NHK Symphony in Tokyo; debuts with Beijing’s China Philharmonic Orchestra and the Shanghai Symphony Orchestra; and a summer tour of Japan with the ONL. Slatkin’s more than 100 recordings have garnered seven Grammy awards and 64 nominations. His recent Naxos recordings include works by SaintSaëns, Ravel and Berlioz (with the ONL) and music by Copland, Rachmaninoff, Borzova, McTee and John Williams (with the DSO). In addition, he has recorded the complete Beethoven and Tchaikovsky symphonies with the DSO (available online as digital downloads at dso.org/recordings).

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 Declaration of Honor in Silver, the American Symphony Orchestra League’s Gold Baton Award and the 2013 ASCAP Deems Taylor Special Recognition Award for his book, Conducting Business. Slatkin has conducted virtually all of the leading orchestras in the world. As Music Director, he has held posts with the New Orleans, St. Louis, and National symphony orchestras, and he was Chief Conductor of the BBC Symphony Orchestra. He has served as Principal Guest Conductor of London’s Philharmonia and Royal Philharmonic, the Pittsburgh Symphony Orchestra, the Los Angeles Philharmonic at the Hollywood Bowl and the Minnesota Orchestra. For more information, visit leonardslatkin.com

JEFF TYZIK Principal Pops Conductor

Grammy Award winner Jeff Tyzik is one of America’s most sought-after pops conductors. Alongside his role as the DSO’s Principal Pops Conductor, 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 Seattle Symphony, the Oregon Symphony, The Florida Orchestra and the Rochester Philharmonic Orchestra. Highly sought after as a guest conductor, Tyzik has appeared with the Boston Pops, Cincinnati Pops, Toronto Symphony, Indianapolis Symphony, Philadelphia Orchestra and the Los Angeles Philharmonic. In May 2007, the Harmonia Mundi label released his recording of works by Gershwin with

DETROIT SYMPHONY ORCHESTRA

pianist Jon Nakamatsu and the RPO, which stayed in the Top 10 on the Billboard classical chart for over 3 months. As an accomplished composer and arranger, Tyzik has had his compositions recorded by major orchestras. He has also produced and composed theme music for many of the major TV networks and released six of his own albums.

LEONARD SLATKIN, Music Director

Music Directorship endowed by the Kresge Foundation

JEFF TYZIK, Principal Pops Conductor TERENCE BLANCHARD

NEEME JÄRVI

MICHELLE MERRILL

GABRIELA LENA FRANK

FIRST VIOLIN Yoonshin Song

CELLO Wei Yu

ENGLISH HORN Monica Fosnaugh

TROMBONE Kenneth Thompkins

CLARINET Ralph Skiano

David Binder Randall Hawes

Marci Gurnow†

BASS TROMBONE Randall Hawes

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

CONCERTMASTER Katherine Tuck Chair

Kimberly Kaloyanides Kennedy ASSOCIATE CONCERTMASTER Alan and Marianne Schwartz and Jean Shapero (Shapero Foundation) Chair

Hai-Xin Wu

ASSISTANT CONCERTMASTER Walker L. Cisler/Detroit Edison Foundation Chair

Jennifer Wey

ASSISTANT CONCERTMASTER

Marguerite Deslippe* Laurie Landers Goldman* Rachel Harding Klaus* Eun Park Lee* Adrienne Rönmark* Laura Soto* Greg Staples* Jiamin Wang* Mingzhao Zhou* SECOND VIOLIN Adam Stepniewski

ACTING PRINCIPAL The Devereaux Family Chair

Ron Fischer* Will Haapaniemi* Hae Jeong Heidi Han* Sheryl Hwangbo* Hong-Yi Mo* Alexandros Sakarellos* Joseph Striplin* Marian Tanau* Jing Zhang* VIOLA James VanValkenburg

ACTING PRINCIPAL Julie and Ed Levy, Jr. Chair

Caroline Coade

ACTING ASSISTANT PRINCIPAL

Hang Su Glenn Mellow Shanda Lowery-Sachs ~ Hart Hollman Han Zheng Alexander Mishnaevski PRINCIPAL EMERITUS

Music Director Emeritus

PRINCIPAL James C. Gordon Chair

Robert Bergman* David LeDoux* Peter McCaffrey* Haden McKay* Úna O’Riordan* Paul Wingert*

Victor and Gale Girolami Chair

Dahae Kim~

ASSISTANT PRINCIPAL Dorothy and Herbert Graebner Chair

BASS Kevin Brown

PRINCIPAL Van Dusen Family Chair (Meet the Musician on page 14!)

Assistant Conductor, Phillip and Lauren Fisher Community Ambassador

PRINCIPAL Robert B. Semple Chair PVS Chemicals Inc./Jim and Ann Nicholson Chair

Laurence Liberson

ASSISTANT PRINCIPAL

Shannon Orme E-FLAT CLARINET Laurence Liberson BASS CLARINET Shannon Orme

Barbara Frankel and Ronald Michalak Chair

Stephen Molina

ASSISTANT PRINCIPAL

Linton Bodwin Stephen Edwards Isaac Trapkus Larry Hutchinson HARP Patricia Masri-Fletcher PRINCIPAL Winifred E. Polk Chair

FLUTE David Buck

PRINCIPAL Women’s Association for the DSO Chair

Sharon Sparrow

ASSISTANT PRINCIPAL Bernard and Eleanor Robertson Chair

Jeffery Zook PICCOLO Jeffery Zook OBOE Alexander Kinmonth PRINCIPAL Jack A. and Aviva Robinson Chair

Geoffrey Johnson†

Maggie Miller Chair

BASSOON Robert Williams ^ PRINCIPAL

Victoria King Michael Ke Ma

ASSISTANT PRINCIPAL INTERIM ACTING PRINCIPAL

Marcus Schoon CONTRABASSOON Marcus Schoon HORN Karl Pituch PRINCIPAL

Music Alive Composer-in-Residence

PRINCIPAL

TUBA Dennis Nulty PRINCIPAL

PERCUSSION Joseph Becker

PRINCIPAL Ruth Roby and Alfred R. Glancy III Chair

Andrés Pichardo-Rosenthal ASSISTANT PRINCIPAL William Cody Knicely Chair

Joshua Jones

African-American Orchestra Fellow

TIMPANI Jeremy Epp

PRINCIPAL Richard and Mona Alonzo Chair

LIBRARIANS Robert Stiles PRINCIPAL

Ethan Allen PERSONNEL MANAGERS Heather Hart Rochon ORCHESTRA PERSONNEL MANAGER

Bryan Kennedy Scott Strong Johanna Yarbrough David Everson

Patrick Peterson

Mark Abbott

STAGE PERSONNEL Dennis Rottell

ASSISTANT PRINCIPAL

TRUMPET Hunter Eberly

PRINCIPAL Lee and Floy Barthel Chair

Kevin Good Stephen Anderson

ASSISTANT PRINCIPAL

William Lucas

Brian Ventura

ASSISTANT PRINCIPAL

Monica Fosnaugh

ASSISTANT ORCHESTRA PERSONNEL MANAGER

STAGE MANAGER

Steven Kemp

DEPARTMENT HEAD

Matthew Pons

DEPARTMENT HEAD

Michael Sarkissian DEPARTMENT HEAD

Ryan DeMarco

DEPARTMENT HEAD

William Richards

DEPARTMENT HEAD

LEGEND * These members may voluntarily revolve seating within the section on a regular basis † substitute musician ^ on sabbatical ~ extended leave

For photos and full bios of DSO musicians, go to dso.org/orchestra

PERFORMANCE MAGAZINE

detroit symphony orchestra, inc.

Current as of January 2016 with updates available online at dso.org.

LIFETIME MEMBERS

Samuel Frankel† David Handleman, Sr.†

Dr. Arthur L. Johnson† Clyde Wu, M.D.†

CHAIRMEN EMERITI

Alfred R. Glancy III Robert S. Miller, Jr. Peter D. Cummings

James B. Nicholson Stanley Frankel Phillip Wm. Fisher

DIRECTORS EMERITI

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

OFFICERS Mark A. Davidoff Chairman

Herman Frankel Paul Ganson Mort and Brigitte Harris Gloria Heppner, Ph.D. Hon. Damon J. Keith Richard P. Kughn Harold Kulish Dr. Melvin A. Lester David R. Nelson Robert E.L. Perkins, DDS

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.

Glenda D. Price, Ph.D.

Ralph J. Gerson

Anne Parsons

Janice Uhlig

Laura Marcero

James G. Vella

Vice Chair

President and CEO

Treasurer

Officer-at-Large

Arthur T. O’Reilly Secretary

BOARD OF DIRECTORS The Board of Directors is responsible for maintaining a culture of high engagement, accountability and strategic thinking. As fiduciaries, Directors oversee all DSO financial activities and assure that resources are aligned with the DSO mission.

Pamela Applebaum Robert H. Bluestein Richard L. DeVore Jeremy Epp* Orchestra Representative

James Farber

Chairman, Governing Members

Samuel Fogleman Monica Fosnaugh*

Orchestra Representative

Nicholas Hood, III Ronald M. Horwitz Chacona W. Johnson Michael J. Keegan William P. Kingsley Bonnie Larson Matthew B. Lester Arthur C. Liebler Ginny Lundquist

Xavier Mosquet Faye Alexander Nelson Stephen Polk Bernard I. Robertson Hon. Gerald E. Rosen Arn Tellem Hon. Kurtis T. Wilder M. Roy Wilson

Volunteer Council President

DETROIT SYMPHONY ORCHESTRA

† Deceased

BOARD OF TRUSTEES Richard Huttenlocher Chairperson

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 Devon Akmon Dan Angelucci Janet M. Ankers Suzanne Bluestein Penny B. Blumenstein Liz Boone Gwen Bowlby Joanne Danto Stephen D’Arcy Maureen T. D’Avanzo Karen Davidson Linda Dresner Afa S. Dworkin J. Mikel Ellcessor Jeremy Epp* Orchestra Representative

Annmarie Erickson Jennifer Fischer Aaron Frankel Robert Gillette Allan D. Gilmour

GOVERNING MEMBERS James C. Farber Chairperson

Governing Members is a philanthropic leadership group designed to provide unique, substantive, hands-on opportunities for leadership and access to a diverse group of valued stakeholders. Governing Members are ambassadors for the DSO and advocates for arts and culture in Detroit and throughout Southeast Michigan. This list reflects gifts received from September 1, 2014 through January 31, 2016. For more information about the Governing Members program, please call Dan Coleman at 313.576.5451

Jody Glancy Malik Goodwin Carol Goss Antoinette G. Green Leslie Green Deirdre Greene Groves Laura Hernandez-Romine Michele Hodges Ric Huttenlocher Sharad P. Jain Renee Janovsky Joey Jonna David Karp Joel D. Kellman James Lentini Jack Liang Josh Linkner Florine Mark Tonya Matthews David McCammon Lois A. Miller Daniel Millward James C. Mitchell, Jr.

Scott Monty Joseph Mullany Sean M. Neall Tom O’Brien Maury Okun Úna O’Riordan*

Arthur T. O’Reilly

David Karp

Chairman Emeritus

Janet and Norm Ankers Co-Vice Chairs, Gabrilowitsch Society

Jiehan Alonzo

Orchestra Representative

William F. Pickard Fair Radom Gerrit Reepmeyer Rick Robinson Lois L. Shaevsky Tom Shafer Margo Shulman Cathryn Skedel Stephen Strome Mark Tapper Ray Telang Michael R. Tyson Gwen Weiner Jennifer Whitteaker R. Jamison Williams Margaret Winters Ellen Hill Zeringue

Vice Chair, Communications

David Assemany Vice Chair, Programs

Vice Chair, Signature Events

Bonnie Larson

Maureen D’Avanzo

Frederick J. Morsches

Member-at-Large

Vice Chair, Nominating

Member-at-Large

Jan Bernick

Musician Liaison

Vice Chair, Annual Giving

David Everson* Johanna Yarbrough* Musician Liaison

GOVERNING MEMBERS Howard Abrams & Nina Dodge Abrams Mrs. Denise Abrash Dr. Roger & Mrs. Rosette Ajluni Mr. & Mrs. Robert A. Allesee Mr. & Mrs. Richard L. Alonzo Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Daniel & Rose Angelucci Mr. & Mrs. Norman Ankers Mr. & Mrs. Robert L. Anthony Drs. Kwabena & Jacqueline Appiah Mr. & Mrs. Eugene Applebaum Dr. & Mrs. Ali-Reza R. Armin

* Denotes DSO musician

Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook* Mr. Joseph Aviv & Mrs. Linda Wasserman Aviv Mr. & Mrs. John Axe Mrs. Jean Azar Ms. Ruth Baidas Nora Lee & Guy Barron Mr. & Mrs. Lee Barthel Mr. Mark Bartnik & Ms. Sandra J. Collins David & Kay Basler Mr. & Mrs. Martin S. Baum

Mr. & Mrs. Richard Beaubien Dr. & Mrs. Brian Beck Ms. Margaret Beck Mr. Chuck Becker Mrs. Cecilia Benner Mrs. Harriett Berg Mandell & Madeleine Berman Foundation Mr. & Mrs. Jeffrey A. Berner Drs. John & Janice Bernick Mr. and Mrs. Michael Biber Dr. George & Joyce Blum Penny & Harold Blumenstein Mr. & Mrs. Lawrence Bluth

Mr. & Mrs. John A. Boll, Sr. Mr. & Mrs. Jim Bonahoom Rud & Mary Ellen Boucher Don & Marilyn Bowerman Gwen & Richard Bowlby Mr. Anthony F. Brinkman Mr. & Mrs. Richard A. Brodie Mr. Scott Brooks Robert N. & Claire P. Brown Bowden & Elaine Brown Mr. & Mrs. Mark R. Buchanan Michael & Geraldine Buckles Dr. Carol S. Chadwick & Mr. H. Taylor Burleson

PERFORMANCE MAGAZINE

GOVERNING MEMBERS Ms. Evelyn Burton Julie Byczynski* & Angus Gray Philip & Carol Campbell Dr. & Mrs. Thomas E. Carson Mr. & Mrs. François Castaing Ronald & Lynda Charfoos Mr. Daniel Clancy Gloria & Fred Clark Mr. & Mrs. Robert W. Clark Dr. Thomas Clark & Annette Clark Nina & Richard Cohan Lois & Avern Cohn Jack, Evelyn & Richard Cole Family Foundation Dr. & Mrs. Charles G. Colombo Mrs. RoseAnn Comstock Mr. & Mrs. Thomas W. Cook Dr. & Mrs. Ivan Louis Cotman Mr. & Mrs. Gary L. Cowger Mr. Gary Cone & Ms. Aimée Cowher Mr. & Mrs. Raymond M. Cracchiolo Dorothy M. Craig Julie & Peter Cummings Mrs. Barbara Cunningham Suzanne Dalton & Clyde Foles Marvin & Betty Danto Family Foundation Joanne Danto & Arnold Weingarden Deborah & Stephen D’Arcy Fund Jerry P. & Maureen T. D’Avanzo Barbara A. David Margie Dunn & Mark Davidoff Lillian & Walter Dean Beck Demery Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Mr. Giuseppe Derdelakos Ms. Leslie Devereaux Mr. & Mrs. Richard L. DeVore Adel & Walter Dissett Mr. & Mrs. Mark Domin Donato Enterprises Linda Dresner & Ed Levy, Jr. Peggy Dufault Mr. Michael J. Dul Mr. & Mrs. Robert Dunn Mr. Roger Dye & Ms. Jeanne A. Bakale Edwin & Rosemarie Dyer Dr. Leo & Mrs. Mira Eisenberg Dr. & Mrs. A. Bradley Eisenbrey Mr. Lawrence Ellenbogen Marianne Endicott Donald & Marjory Epstein Mr. & Mrs. John M. Erb Mr. Sanford Hansell & Dr. Raina Ernstoff Mary Sue & Paul Ewing Jim & Margo Farber Mr. & Mrs. Oscar Feldman Mr. & Mrs. Anthony C. Fielek Mrs. Kathryn L. Fife Ms. Sharon Finch Mr. & Mrs. David Fischer Mrs. Marjorie S. Fisher Mr. & Mrs. Phillip Wm. Fisher Dr. Marjorie M. Fisher Ms. Mary D. Fisher Mr. Michael J. Fisher

Mr. Jay Fishman Mr. David Fleitz Mr. & Mrs. Samuel Fogleman Sidney & Madeline Forbes Mr. & Mrs. Edsel B. Ford II Dr. Saul & Mrs. Helen Forman Mr. & Mrs. Mark Frank Mr. Samuel Frank Barbara Frankel & Ronald Michalak Dale & Bruce Frankel Herman & Sharon Frankel Mr. & Mrs. Stanley Frankel Ms. Carol A. Friend & Mr. Mark T. Kilbourn Mr. & Mrs. Daniel E. Frohardt-Lane Sharyn & Alan Gallatin Lynn & Bharat Gandhi Mr. & Mrs. Eugene A. Gargaro, Jr. Mr. George Georges Mrs. Byron Gerson Mr. & Mrs. Ralph J. Gerson Drs. Lynda & Conrad Giles Mr. & Mrs. Robert W. Gillette Allan D. Gilmour & Eric C. Jirgens Mrs. Gale Girolami Dr. Kenneth & Roslyne Gitlin Ruth & Al Glancy Dr. & Mrs. Theodore Golden Dr. Robert T. Goldman Mr. Nathaniel Good Goodman Family Charitable Trust Dr. Allen Goodman & Dr. Janet Hankin Dr. & Mrs. Paul Goodman Mary Ann & Robert Gorlin Mr. Jason Gourley & Mrs. Rebekah Page-Gourley Ms. Jacqueline Graham Mr. Luke Ponder & Dr. Darla Granger Dr. Herman & Mrs. Shirley Gray Mrs. Jere Green Ms. Leslie Green Dr. & Mrs. Joe L. Greene Dr. & Mrs. Steven Grekin Mr. Jeffrey Groehn Ms. Janet Groening-Marsh Mr. & Mrs. James Grosfeld Mr. & Mrs. Robert Hage Alice Berberian Haidostian Judy & Kenneth Hale Robert & Elizabeth Hamel Randall L. & Nancy Caine Harbour Ms. Albertine Harmon Mrs. Betty J. Harrell Mr. & Mrs. Morton E. Harris Scott Harrison & Angela Detlor Mr. Lee V. Hart & Mr. Charles L. Dunlap Cheryl A. Harvey Gerhardt A. Hein & Rebecca P. Hein Ms. Nancy Henk Dr. Gloria Heppner Ms. Doreen Hermelin Mr. & Mrs. Ross Herron Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Jeremiah* & Brooke Hess Michael E. Hinsky &

DETROIT SYMPHONY ORCHESTRA

Tyrus N. Curtis Mr. & Mrs. Norman H. Hofley Lauri & Paul* Hogle Dr. Deanna & Mr. David B. Holtzman Jack & Anne Hommes Ms. Barbara Honner The Honorable Denise Page Hood & Reverend Nicholas Hood III Mr. & Mrs. Ronald Horwitz Mr. Matthew Howell & Mrs. Julie Wagner Mr. F. Robert Hozian Mr. & Mrs. Joseph L. Hudson, Jr. Richard H. & Carola Huttenlocher Mr. & Mrs. A. E. Igleheart Nicki* & Brian Inman Steven & Sarah Jackson Mr. James A. Jacob Ira & Brenda Jaffe Mr. Sharad P. Jain Mr. & Mrs. Richard J. Jessup William & Story John Mr. John S. Johns Chacona W. Johnson Mr. George Johnson Lenard & Connie Johnston Mr. Paul Joliat Mr. & Mrs. Joseph Jonna Mrs. Ellen D. Kahn Faye & Austin Kanter Ms. Cathleen Kapatos Danialle & Peter Karmanos, Jr. Mr. & Mrs. David Karp Mr. & Mrs. Norman D. Katz Dr. Laura Katz & Dr. Jonathan Pasko Mike & Katy Keegan Betsy & Joel Kellman Martin & Cis Maisel Kellman Michael E. Smerza & Nancy Keppelman Patrick J. Kerzic & Stephanie Germack Kerzic Dr. David & Mrs. Elizabeth Kessel The Stephanie & Frederic Keywell Family Fund Mrs. Frances King Mr. & Mrs. William P. Kingsley Mr. & Mrs. Harvey Kleiman Thomas & Linda Klein Mr. & Mrs. Ludvik F. Koci Ms. Margot Kohler Mr. David Kolodziej Dr. Harry & Mrs. Katherine Kotsis Robert C. & Margaret A. Kotz Barbara & Michael Kratchman Richard & Sally Krugel Mr. & Mrs. Harold Kulish Dr. Arnold Kummerow Mr. John Kunz Dr. & Mrs. Myron LaBan Mr. & Mrs. Robert LaBelle Dr. Raymond Landes & Dr. Melissa McBrien-Landes Drs. Lisa & Scott Langenburg Ms. Sandra Lapadot Ms. Anne T. Larin Mrs. Bonnie Larson Dolores & Paul Lavins Mr. Henry P. Lee

Marguerite & David Lentz Allan S. Leonard Max Lepler & Rex L. Dotson Mr. & Mrs. Ralph LeRoy, Jr. Dr. Melvin A. Lester Mr. & Mrs. Matthew Lester Mr. Daniel Lewis Mr. & Mrs. John D. Lewis Bud & Nancy Liebler Mr. Joseph Lile Mr. Gregory Liposky The Locniskar Group Mr. & Mrs. Eric C. Lundquist Daniel & Linda* Lutz Mr. Robert A. Lutz Mrs. Sandra MacLeod Mr. & Mrs. Charles W. Manke, Jr. Mervyn & Elaine Manning Mr. & Mrs. David S. Maquera, Esq. Michael & Laura Marcero Ms. Florine Mark Maureen & Mauri Marshall David & Valerie McCammon Dr. & Mrs. Peter M. McCann, M.D. Mr. & Mrs. Doug McClure Mr. & Mrs. Alonzo McDonald Alexander & Evelyn McKeen Patricia A. & Patrick G. McKeever Dr. & Mrs. Donald A. Meier Dr. & Mrs. David Mendelson Mrs. Thomas Meyer Thomas & Judith Mich Ms. Deborah Miesel Mr. & Mrs. Eugene A. Miller Mr. & Mrs. Leonard G. Miller Mr. & Mrs. Robert S. Miller Dr. Robert & Dr. Mary Mobley J.J. & Liz Modell Dr. Susan & Mr. Stephen* Molina Eugene & Sheila Mondry Foundation Mr. Lane J. Moore Mr. & Mrs. Craig R. Morgan Ms. A. Anne Moroun Ms. Florence Morris Mr. Frederick Morsches & Mr. Kareem George Cyril Moscow Xavier & Maeva Mosquet Mr. Joseph Mullany Drs. Barbara & Stephen Munk Joy & Allan Nachman Edward & Judith Narens Geoffrey S. Nathan & Margaret E. Winters David Robert & Sylvia Jean Nelson Mr. & Mrs. Albert T. Nelson, Jr. Mr. & Mrs. James B. Nicholson Jim & Mary Beth Nicholson Patricia & Henry Nickol Mr. & Mrs. David E. Nims Mariam C. Noland & James A. Kelly Katherine & Bruce Nyberg Mr. & Mrs. Stanley Nycek Mrs. Jo Elyn Nyman Mr. John J. O’Brien Dr. & Mrs. Dongwhan Oh Mr. & Mrs. Pat Olney Dr. William Oppat Mr. & Mrs. Joshua Opperer

Mr & Mrs. Arthur T. O’Reilly Andrea Page Mr. Randall Pappal Mrs. Margot Parker Anne Parsons* & Donald Dietz Mr. & Mrs. Richard G. Partrich Mrs. Sophie Pearlstein Mr. & Mrs. Roger S. Penske Mr. Charles Peters Mr. & Mrs. Bruce D. Peterson Mr. & Mrs. Kris Pfaehler Dr. William F. Pickard Mrs. Helen F. Pippin Dr. Klaudia Plawny-Lebenbom The Polk Family Mr. & Mrs. William Powers Dr. Glenda D. Price Reimer Priester Mr. & Mrs. David Provost Charlene & Michael Prysak Mr. Ronald Puchalski Fair Radom Mr. & Mrs. Richard Rappleye Mr. Richard Rapson Drs. Stuart & Hilary Ratner Ms. Ruth Rattner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Carol & Foster Redding Mr. & Mrs. Dave Redfield Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Denise Reske Mr. & Mrs. Lloyd E. Reuss Barbara Gage Rex Dr. & Mrs. John Roberts Bernard & Eleanor Robertson Aviva Robinson Mrs. Ann C. Rohr Seth & Laura Romine

Dr. Erik Rönmark* & Mrs. Adrienne Rönmark* Dulcie Rosenfeld Mr. & Mrs. Robert B. Rosowski Mr. & Mrs. Gerald F. Ross Jane & Curt Russell Dr. & Mrs. Alexander Ruthven Mrs. Lois J. Ryan Martie & Bob Sachs Dr. Mark & Peggy Saffer Mr. David Salisbury & Mrs. Terese Ireland Salisbury Hershel & Dorothy Sandberg Marjorie & Saul Saulson Mr. Robert Schaerer Ms. Martha A. Scharchburg & Mr. Bruce Beyer Dr. Sandy Koltonow & Dr. Mary Schlaff David & Carol Schoch Mr. & Mrs. Alan E. Schwartz Mr. & Mrs. Alan S. Schwartz Mr. & Mrs. Kingsley G. Sears Mr. Ken Seawell Mr. & Mrs. Fred Secrest Mr. Merton J. & Mrs. Beverly Segal Elaine & Michael Serling Mark & Lois Shaevsky Mr. Igal Shaham & Ms. Linda Zlotoff Mrs. Jean Shapero Mrs. Patricia Finnegan Sharf Ms. Cynthia Shaw Mr. & Mrs. Larry Sherman Mr. & Mrs. James H. Sherman Ms. Margaret Shulman Dr. Les & Mrs. Ellen Siegel Coco & Robert Siewert Mr. & Mrs. Donald R. Simon William & Cherie Sirois Dr. Cathryn Skedel & Mr. Daniel Skedel

VOLUNTEER COUNCIL EXECUTIVE COMMITTEE Ginny Lundquist President

The Volunteer Council strives to fulfill its mission as an active partner of the DSO in fundraising, as well as audience/membership expansion, youth music education and volunteer service. Because of the repeated financial success of its events, such as the Nutcracker Luncheon & Boutique and Musical Feasts, the Volunteer Council is proudly able to make significant donations to the DSO each year.

VOLUNTEER COUNCIL BOARD OF DIRECTORS

Jill Jordan

Chief Financial Officer

Diane Ekizian

Recording Secretary

Esther Lyons

Cindy & Leonard Slatkin William H. Smith Mr. & Mrs. Leonard W. Smith John J. Solecki Richard Sonenklar & Gregory Haynes Renate & Richard Soulen Dr. Gregory Stephens Mr. & Mrs. Cinton F. Stimpson III Dr. Mack Stirling Dr. & Mrs. Charles D. Stocking Mrs. Kathleen Straus & Mr. Walter Shapero Mrs. E. Ray Stricker Mr. & Mrs. John Stroh III Stephen & Phyllis Strome Mrs. Susan Svoboda & Mr. Bill Kishler Dorothy I. Tarpinian Shelley & Joel Tauber Dr. & Mrs. Howard Terebelo Mr. & Mrs. James W. Throop Carol & Larry Tibbitts Mr. & Mrs. John P. Tierney Alice & Paul Tomboulian Dr. Doris Tong & Dr. Teck M. Soo Mr. & Mrs. Michael Torakis Mr. Gary Torgow Barbara & Stuart Trager Mark & Janice Uhlig David Usher Dr. Vainutis Vaitkevicius Amanda Van Dusen & Curtis Blessing Mrs. Richard C. Van Dusen Mr. & Mrs. Charles B. Van Dusen Mr. James G. Vella Mrs. Inge Vincent Mr. Bill Vlasic Mrs. Eva Von Voss Mr. William Waak Dr. & Mrs. Ronald W. Wadle

Ellie Tholen

V. P. for Communications/ Public Relations

Beverly Williams V. P. for Membership

V.P. for Administrative/ Office Services

E. Jane Talia

Mary Beattie Gwen Bowlby Drew Esslinger Sandie Knollenberg Magda Moss

Dolores Reese Ann Marie Rowley Charlotte Worthen Eleanor (Coco) Siewert

Mr. Michael A. Walch & Ms. Joyce Keller Captain Joseph F. Walsh, USN (Ret.) Mr. & Mrs. Jonathan T. Walton Mr. Gary L. Wasserman & Mr. Charlie Kashner Mr. Todd Watson Mr. Patrick Webster S. Evan & Gwen Weiner Mr. Herman W. Weinreich Mr. & Mrs. Lawrence Weisberg Ambassador & Mrs. Ronald N. Weiser Arthur & Trudy Weiss Mr. Brian Wenzel Janis & William Wetsman/ The Wetsman Foundation Ms. Sharon Backstrom Mr. & Mrs. R. Jamison Williams Beverly & Barry Williams Dr. M. Roy & Mrs. Jacqueline Wilson Rissa & Sheldon Winkelman Dr. & Mrs. Ned Winkelman Mr. John Wolak Mr. Jonathan Wolman & Mrs. Deborah Lamm Mrs. Cathy Cromer Wood David & Bernadine Wu Ms. Andrea L. Wulf Mrs. Judith G. Yaker Mr. Michael Yessian Margaret S. York The Yousif Family Mr. & Mrs. Alan Zekelman Erwin & Isabelle Ziegelman Foundation Mr. & Mrs. Paul M. Zlotoff Mr. Richard D. Zimmerman Milton & Lois Zussman

Carol Marti

V. P. for Special Events

Marlene Bihlmeyer

V. P. for Youth Music Education

V. P. for Neighborhood/ Residency Ambassador

ORCHESTRA REPRESENTATIVES

Mark Abbott Dave Everson

Parliamentarian

Learn more about the Volunteer Council and their contributions to the DSO at dso.org/volunteercouncil PERFORMANCE MAGAZINE

feature story

TO STAGE OR NOT TO STAGE... By Leonard Slatkin

he scene is familiar. The audience is in place, the orchestra has tuned, and the lights come down. After the conductor enters and gives the downbeat, the curtain rises, and we are thrust into another dimension, one where reality dissipates and singing takes the place of verbal dialogue.

It is an amazing world when everything comes together. But opera can be calamitous when even one small aspect goes wrong. What gets forgotten these days, at least on several occasions, is that the name of the opera is associated with the composer of the music. How many regular visitors to the opera house actually know who wrote the libretto or the story on which the work is based? It is the music that drives the story, even though that might not have been how the sounds came into being. As long as I can remember, there has been a debate about the validity of presenting opera in concert: “It is against the wishes of those who wrote the work.” “The audience does not get the full impact of the drama.” “The intention is for the experience to be one of totality.” If that is the case, what are people doing with all those recordings at home, where there is no opportunity for the director, cast and orchestra to show up in the living room? Last season, the DSO presented Puccini’s Tosca. There were no sets, few props, and certainly no characters running around on our stage. The singers moved a little, and we tried to make sure that only the people involved in the action were on stage at any given time. The end result was, at least in my

opinion, wonderful. I received notes from longtime operagoers saying how much they appreciated being able to focus on the music. There is nothing quite like hearing a great orchestra play a fantastic score when freed from the confines of the pit. The sound is more present and reverberant, but can sometimes cover the voices. One has to pay attention to dynamics in quite a different way with the orchestra and singers onstage together. This year our opera is Salome, by Richard Strauss. It is basically a tone poem that happens to have singers in it. Orchestrally, one could not ask for a richer and more fulfilling score. There is not a lot of action in the work, so it is ideal for concert presentation. There may be those who really wanted to see the “Dance of the Seven Veils,” but this time, you are able to let the music take you to the place you want to imagine. About 12 years ago, I stumbled onto a performance where Herod did this dance. And of course, this brings us to the advantage of concert performance. We do not have to deal with high-art-minded productions by directors wanting to change anything they can. We have come to live in a visual age, but often these days, the eye cancels out what is heard. With our presentation, we will be able to totally focus on what Strauss wrote, while at the same time, still react to Oscar Wilde’s sordid story. The drama is inherent in the music, but we will also have surtitles so the audience can follow along as the young girl drives herself into total madness. I have had the opportunity to do both staged and concert performances of this work. They are equally appealing, but there is something special about the direct communication from all forces involved. This will be a very special experience for all of us. PERFORMANCE MAGAZINE

meet the musician

KEVIN BROWN PRINCIPAL BASS

VAN DUSEN FAMILY CHAIR

BY BRANDON COULTER As far as audition experiences go, everything seemed to fall into Kevin Brown’s favor as soon as he reached Detroit. His massive bass case passed by TSA with ease, a taxi SUV was waiting for him at the bustling Detroit Metro Airport and onlookers were interested in what he was doing. “You always get someone who asks ‘is that a piccolo?’” Kevin said. “Not here though. They would ask ‘are you going to the DSO?’ or ‘is that a double bass?’” He arrived at his room at the Inn on Ferry Street two days before his audition, giving him time to practice. Then came a knock at the door. “I remember thinking ’Oh no, somebody’s complaining about the sound,’” he said. It was a maintenance worker at the Inn who offered Kevin access to an open conference room. “Practicing in that space made me feel more comfortable,” Brown said. “Everything was just easy.” On the day of his audition, Kevin walked roughly a mile to Orchestra Hall with his bass, enjoying the May weather and feeling good. “I remember going into the hall and feeling like I was at home. My sound really worked in that space,” Kevin said. For him, things felt right in Detroit from the beginning, and he is here to stay. Originally from Northfield, Minn., Kevin returns to the Midwest after stints in both California and Texas. The majority of his life and education has been spent practicing and performing music, beginning on a viola da gamba (a baroque-era string instrument resembling a cello) strung up with bass strings at 3 years old and later studying with some of the best teachers in Minnesota courtesy of his mother, who is also a professional bass player. Four years of painstaking auditioning eventually brought him to Detroit. His strong audition for the

DETROIT SYMPHONY ORCHESTRA

DSO in 2014 won him the Principal Bass position (Van Dusen Family Chair), a product of exemplary performance and a pleasant experience in the city. While the DSO is Kevin’s first full-time job as a performer, he has had his share of experience since receiving his bachelor’s and master’s degrees from Rice University, performing extensively with the Houston Symphony and appearing with the Philadelphia Orchestra and Atlanta Symphony. For his upcoming performance of Vanhal’s Concerto for Double Bass and Orchestra (March 31-April 2), Kevin is doing everything he can to make his first solo performance shine. “[The piece] is in a different tuning,” he said. “It’s in solo tuning so everything is tuned a step up. I’m playing as if it’s in C-major, but it’s in D-major.” The bass is normally designed to be supportive and functional within the orchestra, blending underneath the other strings rather than projecting through. “It’s a different approach to playing altogether, but I enjoy it,” Brown said. His musical interest extends beyond just work, studying classical forms and performing with other groups in the area. Since earning his position as Principal Bass, Kevin has spent much of his free time exploring and experiencing Detroit. The balcony of his Midtown apartment offers a beautiful view of a city without a bad seat in the house, giving him the chance to see its revitalization firsthand. Since day one, Kevin’s experience with Detroit has been positive, and he sees himself fitting right in for the future. “I didn’t know a whole lot about the DSO when I took the audition,” Kevin said. “When I got here though, I felt more connected to everything…I enjoyed playing in the hall, the people, and the weather. It felt like returning home.”

Hope has a home. It’s called U of M.

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S AT U R D AY, J U N E 1 8 , 2 0 1 6

HONORING

John A. & Marlene L. Boll Proceeds from the event will support the Detroit Symphony Orchestra’s commitment to transforming the lives of children and youth across our region through music education. WWW.DSO.ORG/HEROES

PERFORMANCE MAGAZINE

maximize your experience OFFERINGS Volume XXIV Spring 2016, Issue 2

•

2015-16 Season

EDITOR

Gabrielle Poshadlo gposhadlo@dso.org 313.576.5196 P R O G R A M N O T E S A N N O T AT O R

Charles Greenwell C O V E R I L L U S T R AT I O N

Skidmore Studio Cover Concept: Skidmore Studio used graphic treatment utilizing negative shapes to suggest the head of John The Baptist in the train of Salome's skirt.

D S O A D M I N I S T R AT I V E O F F I C E S

Max M. & Marjorie S. Fisher Music Center 3711 Woodward Ave. Detroit, MI 48201 Phone: 313.576.5111 Fax: 313.576.5100 DSO Box Office: 313.576.5111 Box Office Fax: 313.576.5101 DSO Group Sales: 313.576.5130 Rental Info: 313.576.5050 Email: info@dso.org Website: dso.org Subscribe to our e-newlsetter via our website to receive updates and special offers. dso.org/performance Performance is published by the DSO and Design Scholar. To advertise in Performance, visit dsomag.com or email Linda Longe at linda@designscholar.com. ————————

To report an emergency during a concert, call 313.576.5199. To make special arrangements to receive emergency phone calls during a concert, ask for the house manager.

Priority Service for Our Members Subscribers and donors who make a gift of $1,000 or more annually receive priority assistance. Just visit the Patron Services Center on the second floor of the Max M. and Marjorie S. Fisher Music Center Atrium for help with tickets, exchanges, donations or any other DSO needs. Herman and Sharon Frankel Donor Lounge Governing Members who make a gift of $3,000 or more annually 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 Dan Coleman at 313.576.5451 or dcoleman@dso.org. Dine at the DSO Located on the second floor of Orchestra Hall, Paradise Lounge is open prior to most concerts featuring gourmet dinners, decadent desserts, classic cocktails, small production wines and craft beers. Bars are available throughout the Max M. and Marjorie S. Fisher Music Center prior to concerts and during intermission. For your convenience, you may place your beverage orders pre-concert and your drink will be waiting for you at intermission. Gift Certificates Give friends and loved ones a gift that ignites their soul—the experience of a DSO performance. Gift certificates are available in any denomination and may be used toward the purchase of DSO concert tickets. Visit the DSO Box Office or call 313.576.5111 for more information. RENT THE MAX The Max M. and Marjorie S. Fisher Music Center is an ideal setting for a variety of events and performances, including weddings, corporate gatherings, concerts and more. For information on renting the facility, please call 313.576.5050 or visit dso.org/rent. The elegance and versatility of The Max creates outstanding settings for a variety of special events—from galas & conventions to concerts, meetings and more!

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

MAX M. & MARJORIE S. FISHER MUSIC CENTER Home of the Detroit Symphony Orchestra

POLICIES Parking, Security and Lost & Found During M-1 Rail construction, valet parking is available for most concerts for $12 with vehicle drop-off and pick-up on Parsons Street near the corner of Woodward Avenue. Donor valet and pickup, (patrons who give $7,500+), is available at the stage door behind the Max M. and Marjorie S. Fisher Music Center. Parking is available for $7 in the Orchestra Place Parking Structure located on Parsons Street, with overflow in a nearby DSO lot. Handicap accessible parking is also available. Other parking options include Woodward Gardens on Woodward Avenue near Alexandrine Street and Wayne State University Parking near Whole Foods on John R Street. The DSO offers shuttle bus service to Coffee Concerts from select locations for $12. Please call 313.576.5130 for information. When purchasing tickets at the Box Office, DSO offers patrons one hour of free parking in the Orchestra Place Parking Structure during daytime box office hours. Lost & Found is located at the security desk by the stage entrance, and can be contacted at 313.576.5199. Accessibility Parking is available in the Orchestra Place Parking Structure for patrons with applicable permits. There are elevators, barrier-free restrooms and accessible seating in all areas of the Max M. and Marjorie S. Fisher Music Center. Security personnel are available at the entrances to help patrons requiring extra assistance in and out of vehicles. Hearing assistance devices are also available. Please see the House Manager or any usher for additional assistance. A Smoke-Free Environment The DSO is pleased to offer a smoke-free environment at the Max M. and Marjorie S. Fisher Music Center. Patrons who wish to smoke must do so outside the building. This policy also applies to electronic smoking devices such as e-cigarettes and personal vaporizers. An outdoor patio is also available on the second level of the Atrium Lobby.

House and Seating Policies All patrons must have a ticket to attend concerts at the Max M. and Marjorie S. Fisher Music Center, including children. The Max opens two hours prior to most DSO concerts. Most classical concerts feature free pre-concert talks or performances in Orchestra Hall for all ticket holders. The DSO makes every attempt to begin concerts on time. In deference to the comfort and listening pleasure of the audience, latecomers will be seated 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 Atrium. Please silence cell phones, alarms and other electronic devices. Patrons should speak to the House Manager to make special arrangements to receive emergency phone calls during a performance. Emergency Evacuation Procedure In the event of an emergency, locate the nearest exit sign and listen for announcements on the PA system. Please follow the directions of Orchestra Hall ushers and staff. For safety reasons, everyone should leave in an orderly fashion and please remain calm. Guests with disabilities will be escorted to the nearest exits by an usher. Elevators will not operate during an evacuation. Once you exit the building, proceed as far away from the premises as possible. Thank you for being prepared to respond calmly in the event of an emergency. Concert Cancellations In the case of inclement weather or other emergencies, visit dso.org or facebook.com/detroitsymphony, call the Box Office at 313.576.5111, or tune in to WJR 760 AM and WWJ 950 AM. Patrons will be notified of exchange options. The DSO is unable to offer refunds.

PERFORMANCE MAGAZINE

spotlight An important component of the DSOâ&#x20AC;&#x2122;s commitment to diversity, inclusion and accessibility is our Diversity & Inclusion Task Force.

The individuals you see pictured here are passionate members of our community who dedicate themselves, personally and professionally, to expanding opportunities for all Metro Detroiters. Led by New Detroit CEO Shirley Stancato, this group comes together to creatively support and challenge the DSO in its pursuit of being the most accessible orchestra on the planet. From hiring practices, to patron experiences, to professional development programs, all operations are discussed and steps for improvement are put into place. The DSO benefits from the expansive reach of the membersâ&#x20AC;&#x2122; backgrounds which include diversity consulting, arts and culture presenting, LGBT advocacy, community organizing, public/private partnerships and, leadership development, homeless services, and more. The DSO thanks this task force and the numerous community partners who support our efforts to bring the life-transforming benefits of music to as many people as possible! DETROIT SYMPHONY ORCHESTRA

making a difference COMPOSER REACHES OUT TO YOUTH Mohammed Fairouz and Maya Beiser spoke with students from the Frankel Jewish Academy following a rehearsal for the world premiere of Desert Sorrows. While listening to the piece, a student was inspired to sketch a visual depiction of some of the composition’s narrative themes. “I do my work in New York, Amsterdam, Dubai about 50 students each in English and in Arabic at and elsewhere, but it’s really in places like metro Woodworth Middle School in Dearborn. Detroit that you find the greatest reward,” says Ar“The DSO recognizes students are their future ab-American composer Mohammed Fairouz. patrons. The reactions of the students were primarThe Detroit Symphony Orchestra, with funding ily of surprise, that right here in Detroit is one of from Julie and Peter Cummings and the National the greatest orchestras in the world,” says Fairouz, Endowment for the Arts, commissioned Fairouz to who is hailed by The New York Times and BBC World create a concerto for Israeli-born cellist Maya Beiser. News as an important artistic voice and one of the In January, the DSO performed the world premiere of most talented composers of his time. His fourth Fairouz’s “Desert Sorrows” at Orchestra Hall at the symphony, “In the Shadow of No Towers,” about Max M. and Marjorie S. Fisher Music Center, Congre- American life after 9/11 premiered at Carnegie Hall gation Shaarey Zedek and the Macomb Center for in 2013. the Performing Arts, receiving an overwhelmingly While the DSO wants to expose youth to cultural positive response from the community. The perfor- differences and teach them how to celebrate those mances, part of the William Davidson Neighborhood differences, Caen Thomason-Redus says it is also Concert Series, are one example of the DSO’s com- important for kids to see someone like them doing mitment to community interaction and engagement. something successful that they enjoy. “When we did the concerto at Shaarey Zedek, “The Frankel students were riveted by Maya’s dethere were a large number of people from the Jewish scriptions of growing up in a kibbutz in Israel from community and many who came from the Arab com- which she could hear the Muslim call to prayer,” he munity. It was interesting to see this interaction in says. “They were fascinated that her family intera synagogue,” says Fairouz, 30. He adds that when acted positively with a variety of cultures and by the performance was done, both Jewish and Arab her service in the Israeli army where she was in a patrons expressed appreciation for his work. string quartet.” Maya Beiser has nine solo albums Yet more fun and even more important, says and has commissioned and performed hundreds of Fairouz, was when he and Beiser worked with chil- new works written for her by modern day’s leading dren in the community. About 30 students at Berk- composers. ley High School and eight from Jean and Samuel For his part, Fairouz challenged Woodworth Frankel Jewish Academy of Metropolitan Detroit in students’ notions about their cultural backgrounds. West Bloomfield attended rehearsals at Orchestra “People tend to think music is primarily European in Hall and had the opportunity to talk with the artists origin,” Thomason-Redus says, “but so many things afterward not only about their lives as a composer were developed in the Middle East.” and a musician but about their cultural experiences Mohammed made sure those students learned as well. In addition, Fairouz spoke to two classes of that. PERFORMANCE MAGAZINE

Leonard Slatkin, Music Director Jeff Tyzik, Principal Pops Conductor Neeme Järvi, Music Director Emeritus POPS SERIES

Mary Wilson of The Supremes— "Motown Memories" Friday, April 8, 2016 at 10:45 a.m. Saturday, April 9, 2016 at 8:00 p.m. Sunday, April 10, 2016 at 3:00 p.m. in Orchestra Hall MARY WILSON, vocalist JEFFREY REED, conductor MARK ZIER, Music Director/piano PARNELL MARCANO, vocals LUCY SHROPSHIRE, vocals DONZELL DAVIS, drums WINSTON BYRD, trumpet

Program to be announced from stage.

MARY WILSON

This Pops series performance is generously sponsored by with additional support from and The DSO can be heard on the Live From Orchestra Hall, Chandos, London, Mercury Records, Naxos and RCA labels.

DETROIT SYMPHONY ORCHESTRA

It was a vision of musical stardom as a Detroit teen that inspired Mary Wilson, along with Diana Ross and Florence Ballard, to found one of the most successful female singing groups in recording history, The Supremes. Since then, Wilson has gone on to be a part of dozens of hit records, has written a best-selling autobiography, performed on stage and screen, lectured and toured the world, and continues to be looked up to as a singer who set the standard for females in the recording industry. While growing up in Detroit’s Brewster Projects, a young Mary Wilson had long fantasized about being a performer, her love for singing having blossomed when she befriended Ballard, McGlown and Ross at

profiles age 13. Fueled by their mutual love of music and their ambition for stardom, the quartet formed a singing group, The Primettes, and became the sister group of The Primes, who saw two members go on to form The Tempations. When Betty left the group to get married, the girls recruited Barbara Martin. Together they auditioned for then fledgling Motown label and were eventually signed. Barbara dropped out of the group, and the remaining trio of Mary, Flo and Diane became known as The Supremes. At first, success eluded the girls, who recorded several albums before getting their first hit. In fact, they were dubbed the “No-Hit Supremes” until Motown founder Berry Gordy put them in touch with his top writing and producing team, Holland-Dozier-Holland. Four decades and 40 albums later, what once started as a dream has exceeded beyond Wilson’s wildest imagination. With an unprecedented 12 No. 1 hits, The Supremes set the precedent for super group success. In 1977, Mary knew it was time for her to pursue her own dream; Motown released Mary’s first solo album, “Mary Wilson,” which yielded the dance hit, “Red Hot,” in 1979. In 1992, Wilson released her first album in 13 years, “Walk the Line,” which produced the single “One Night With You.” To this day Wilson continues to tour under the moniker of Mary Wilson of The Original Supremes, and has performed for handfuls of celebrities and politicians all over the world, including at The White House. In 1988, The Supremes were inducted into the Rock & Roll Hall of Fame, receiving the prestigious Lifetime Achievement Award, which Wilson personally accepted. Seven years later, the Hall launched an exhibit of The Supremes’ gowns, curated by Wilson, for the museum’s opening in Cleveland.

JEFFREY REED

“A melody, a lyric, or a certain harmony can trigger memories,” says conductor Jeffrey Reed. Reed has been bringing back the memories as music director of the acclaimed Orchestra Kentucky. His concert presentations are singularly authentic, recreating the soundtracks of pop music’s greatest decades. From the 1940s to our time, his concerts celebrate anniversaries and popular music milestones, from Elvis, The Beatles and The Beach Boys to The Carpenters and beyond, drawing on some of the nation’s brightest musical talent. Reed has worked with Glen Campbell, Keith Emerson, Neil Sedaka, Peter Tork, Paul Williams and many others in appearances with his own orchestra and orchestras in St. Petersburg (Russia) and South Korea. He has twice appeared with the Royal Philharmonic at London’s Royal Albert Hall at the specific request of Neil Sedaka. In the U.S., Jeffrey Reed has conducted the orchestras of Alabama, Augusta, Charleston, Detroit, Louisville, Memphis, Nashville, Omaha, Portland (ME), South Bend, and Winston-Salem. In the coming season, his guest engagements include concerts with orchestras in Pittsburgh, Knoxville, Sacramento, and Riverside (CA). His pops programming has been nationally recognized. Bestselling author and marketer Seth Godin singled out Jeffrey Reed in his best-selling study of new creativity, “Small is the New Big.” Godin praised his “clever” concerts and praised the “totally different way” Reed approaches programming. Reed is the only musician featured in the book. In addition to his work with Orchestra Kentucky, Jeffrey Reed has also served as music director of the North Charleston Pops and the Murfreesboro Symphony.

PERFORMANCE MAGAZINE

Leonard Slatkin, Music Director Jeff Tyzik, Principal Pops Conductor Neeme Järvi, Music Director Emeritus

CLASSICAL SERIES

Ravishing Rachmaninoff Thursday, April 14, 2016 at 7:30 p.m. Friday, April 15, 2016 at 8:00 p.m. Saturday, April 16, 2016 at 8:00 p.m. in Orchestra Hall GIANCARLO GUERRERO, conductor * LISE DE LA SALLE, piano

Sarah Kirkland Snider Something for the Dark (b.1973)

Sergei Rachmaninoff Piano Concerto No. 1 in F-sharp minor, Op. 1 (1873-1943) Vivace Andante Allegro vivace Lise de la Salle, piano —INTERMISSION—

Igor Stravinsky Petrushka [1947 version] (1882-1971) The Shrovetide Fair Petrushka’s Cell The Moor's Cell The Fair (towards evening) *Giancarlo Guerro’s appearance is brought to you by Gabrilowitsch Society members Gwen and Richard Bowlby. To learn more about the Gabrilowitsch Society, see page 42.

This Classical series performance is generously sponsored by PVS Chemicals This performance will be webcast at dso.org/live Experience the concert again at dso.org/replay Live from Orchestra Hall is presented by and made possible by

DETROIT SYMPHONY ORCHESTRA

profiles GIANCARLO GUERRERO

Giancarlo Guerrero is Music Director of the Nashville Symphony and Principal Guest Conductor of The Cleveland Orchestra’s Miami Residency. Maestro Guerrero has led the Nashville Symphony to several GRAMMY® wins in recent years, including the category of Best Orchestral Performance in 2011. In the 2015/16 season, Guerrero makes debuts with the Pittsburgh Symphony, Copenhagen Philharmonic, NDR Hanover, Deutsche Radio Philharmonie and Bilbao Symphony Orchestra. He returns to the symphony orchestras of Cincinnati, Detroit and Indianapolis, West Australian Symphony Orchestra, Malaysian Philharmonic and Brussels Philharmonic. He will also return to the Eugene Symphony, where he was formerly music director, in celebration of the orchestra’s 50th anniversary. For many years he has maintained a close association with the São Paulo State Symphony Orchestra in Brazil and spent three weeks with the orchestra this summer. Guerrero has appeared with many of the prominent North American orchestras, including those of Boston, Cincinnati, Cleveland, Dallas, Detroit, Houston, Indianapolis, Milwaukee, Montreal, Philadelphia, Toronto and Vancouver, among others. He is also known to audiences of major summer festivals including the Hollywood Bowl (Los Angeles) and Blossom Music Festival (Cleveland). An advocate of new music and contemporary composers, Guerrero has collaborated with and championed the works of several of America’s most respected composers, including John Adams, John Corigliano, Osvaldo Golijov, Jennifer Higdon, Michael Daugherty, Roberto Sierra and Richard Danielpour. His recordings with the Nashville Symphony include releases of music by Danielpour and Sierra on the Naxos label, and Bela Fleck’s Banjo Concerto on Deutsche Grammophon. Guerrero, together with composer Aaron Jay Kernis, recently developed and guided the creation of Nashville Symphony’s Composer Lab & Workshop initiative to foster and promote new American orchestral music.

LISE DE LA SALLE

Born in Cherbourg, France in 1988, de la Salle began her career in performance at a young age, performing on Radio France at nine and winning First Prize of the Seventh International Contest of Ettlingen, Germany at 12. At 13, she made her concerto debut with Beethoven’s second concerto. From 1997-2004, de la Salle won numerous competitions, including First Prize in the 2004 Young Concert Artists International Auditions in New York. She was a student of Pascal Némirovski from 1998-2006 and also attended the post graduate cycle at the Conservatoire Supérieur de Paris. She is working closely with the conductors Fabio Luisi, James Conlon and Osmö Vanska amongst others. She has also played under the baton of Lorin Maazel, Sir Andrew Davis, Semyon Bychokov, Marek Janowski, Sir Neville Marriner, James Gaffigan, Lawrence Foster, Andrew Litton , Louis Langrée, Christoph König, Dennis Russell Davis, Peter Oundjian, Robin Ticciati, Rafael Frühbeck de Burgos and was fortunate enough to work with the late Sir Charles Mackerras. Her many festival appearances include the Ravinia Festival, La Roque d`Anthéron, Aspen Festival, Bad Kissingen Festival, Enesco Festival in Bucharest, Saint-Denis Festival, Les Folles Journées in Nantes, and Tokyo. A first disc dedicated to Ravel and Rachmaninov, unanimously acclaimed by critics, was the beginning of her cooperation with the record label Naïve Classique in 2002; four more CDs followed, all receiving several awards and great reviews. In 2011 her CD dedicated to Liszt was awarded the Diapason d’Or, ARTE “CD of the Month” and Grammophone Magazine’s “EDITORS CHOICE“. It received amongst others an outstanding review (“world class playing”) from International Record Review. In 2013, her last CD “a portrait” including a DVD “Lise de la Salle au theatre des bouffes du nord” celebrates her ten year anniversary with Naïve.

PERFORMANCE MAGAZINE

program notes Something for the Dark

SARAH KIRKLAND SNIDER B. October 8, 1973 in Princeton, New Jersey SCORED FOR 2 FLUTES, PICCOLO, 2 OBOES, ENGLISH HORN, 3 CLARINETS, 2 BASSOONS, CONTRABASSOON, 4 HORNS, 4 TRUMPETS, 3 TROMBONES, TUBA, TIMPANI, PERCUSSION, HARP, PIANO/ CELESTA AND STRINGS. (APPROX. 12 MINUTES)

Recently referred to as “among the brightest lights to emerge in recent seasons,” and “a potentially significant voice on the American music landscape,” Sarah Kirkland Snider is a composer of critically-acclaimed chamber, orchestral and choral music, and strikingly original art songs. She is also a co-director of New Amsterdam Records, a Brooklyn-based independent record label, and the non-profit presenting organization New Amsterdam Presents. Born and raised in Princeton, New Jersey, she has degrees from Wesleyan University and the Yale School of Music. Composers with whom she has studied include Aaron Jay Kernis, Ezra Laderman, Christopher Rouse and Justin Dello Joio. In addition to her work as a composer, Snider is a passionate advocate for new music in New York and beyond. From 2001 to 2007 she curated the Look and Listen Festival, a new music series set in modern art galleries. Snider is perhaps best known for Penelope, an orchestral song cycle based on the faithful wife from Homer’s Odyssey, with lyrics by playwright Ellen McLaughlin. Snider’s compositions, particularly her song cycles, frequently borrow from indie-rock and other pop musical idioms as well as classical chamber music forms and instrumentation. However, she stresses that she is not on some kind of a mission to combine rock and classical music, and frequently writes for more traditionally-minded groups. Including occasional rock idioms in her music is something which comes very naturally to her, possibly due to an upbringing that included playing classical music on the piano and cello while constantly hearing her parents play rock in the car and around the house, and never getting a message that one was better than the other. In her words, “I think of myself as having one musical voice that expresses itself in differ-

DETROIT SYMPHONY ORCHESTRA

ent ways and in different pieces. Different sides of my personality will come out more in certain circumstances.” Along with winning the Lebenbom Award, Snider has received many commissions and performances internationally, including those from the San Francisco Symphony Orchestra, the Hague Residentie Orchestra, the North Carolina Symphony, the Indianapolis Symphony Orchestra, the American Composers Orchestra, and the National Arts Centre Orchestra of Canada. Something for the Dark takes its title from a poem by Philip Levine, the Detroit-born, Pulitzer Prize-winning former U.S. Poet Laureate who was best known for his poems about The Motor City’s working class. The poem, written for Levine’s wife and entitled “For Fran,” reads in part as follows: “She packs the flower beds with leaves, Rags, dampened papers, ties with twine The lemon tree, but winter carves Its features on the uprooted stem…… My living wife, Frances Levine, Mother of Theodore, John, and Mark, Out of whatever we have seen We will make something for the dark.” In Snider’s words, “When I received the commission to write this piece, I thought I would try to write something about hope---it being an essential element of Detroit’s narrative of endurance, or indeed any [similar] narrative. Early into my sketches for the piece, I stumbled upon an idea that sounded to me like hope incarnate: a bold, noble, full-hearted little melody surrounded by sunlight and dignity and shiny things. I thought that maybe I would open the piece with it and then have the music journey through some adversity to find way back to an even bigger, bolder statement of optimism. Growth! Triumph! A happy ending! But that wasn’t what happened. The piece opens with the shiny statement of hope, and sets out on an uncertain journey to find it again, but can’t. Instead, it encounters strange new echoes of the motif in different, unfamiliar settings. It follows digressions, trying to resolve related but new musical arguments. Eventually it finds its way to solid ground, though this piece is quite a bit darker than where we began. But to my mind this arrival feels more trustworthy, more complete, more worthy of celebration because it feels more real. While writing the piece, I was reading some Detroit poets for their take on the city, and grew better acquainted with the work of Philip Levine.

program notes The last two lines of “For Fran” struck me as an apt taught at Columbia, Princeton, NYU, Brown, Tufts, motto for the kind of clear-eyed reflection on en- and the University of California at Berkeley. Aldurance that runs through his poems about Detroit. though he did not return to live in Detroit, its familIn preparing the flower beds for winter, Levine’s ial, social and economic world would remain cenwife becomes a symbol of the promise of renewal tral concerns of his poetry. His insightful portraits in general: ‘Out of whatever we have been/ We will of working-class Americans, and his examination make something for the dark.’ Levine has said that of his Jewish immigrant background have left a remuch of his poetry about Detroit was born of ‘the markable testimony of mid-20th-century American hope that [Detroit] might be reborn in side itself, life and work. He received a Pulitzer Prize in 1995, out of its own ruins, phoenix-like, rising out of its and two National Book Awards in 1980 and 1991. own ashes. Except I don’t see it in heroic terms. The For two years he served as chair of the Literature triumphs are small, personal, daily. Nothing grand- Panel of the National Endowment for the Arts, and ly heroic is taking place; just animals and men and was on the Board of Chancellors of the Academy flowers asserting their right to be, even in this most of American Poets from 2000 to 2006, later windevastated of American cities.’ Something for the ning the Wallace Stevens Award for proven mastery Dark is a meditation on the promise of renewal, in the art of poetry from the Academy in 2013. He and the hard-won wisdom that attends the small, was appointed Poet Laureate of the United States personal, daily triumphs of asserting one’s right to for the academic year 2011-2012. be. I extend my sincere gratitude to the David and These performances of Something for the Dark Elaine Lebenbom Foundation for the great honor of are a World Premiere. this commission, and for their work on behalf of —————— female composers in general.” Philip Levine (1928-2015), once described as Piano Concerto No. 1 in F# minor, “a poet of grit, sweat and labor,” was one of the foremost poetic voices of his generation. The son Op.1 of Russian-Jewish immigrants, he was born and SERGEI RACHMANINOFF raised in Detroit, and began working in the auto B. April 1, 1873 in Semyonovo, Russia factories when he was 14. His heroes were ordinary D. March 28, 1943 in Beverly Hills, California people who worked at hopeless jobs simply to stave SCORED FOR SOLO PIANO, 2 FLUTES, 2 off poverty. Noted for his interest in the grim realiOBOES, 2 CLARINETS, 2 BASSOONS, 4 ty of blue-collar work and workers, he resolved “to HORNS, 2 TRUMPETS, 3 TROMBONES, find a voice for the voiceless” while working in DeTIMPANI, PERCUSSION (CYMBALS AND troit’s auto plants during the 1950s. He once said, TRIANGLE) AND STRINGS. (APPROX. 26 “…while I was working in factories and also trying MINUTES) to write, I said to myself, nobody is writing the poetry of this world here; it doesn’t exist! Nobody was He is primarily remembered today as a composer of speaking for the people I was working with. I took a dark, rich, brooding music, but Rachmaninoff was foolish vow that I would speak for them, and that’s also one of the greatest piano virtuosos who ever what my life would be. It didn’t matter how long it lived, and was in his day regarded as a first-rate would take…and sure enough, I’ve gone and done conductor, particularly in the field of opera. His it. Or I’ve tried, anyway.” While studying at Wayne music was certainly conservative, particularly State University he fell in love with modern poetry, by standards of the first part of the 20th century, receiving bachelor’s and master’s degrees in En- but in his later years his style grew more subtle glish there. In the mid-1950s he received an MFA and inventive, more lean in its texture, with more from the University of Iowa, then won a fellowship dissonance than before, and with more angular to Stanford University. Shortly after that he began rhythms. The composer himself had this to say teaching at California State University, Fresno, re- about his creative process: “In my own compomaining there until 1992. Along the way he also sitions, no conscious effort has been made to be PERFORMANCE MAGAZINE

program notes original, or Romantic, or Nationalistic, or anything fluid, and is more in line with what became Rachelse. I write down on paper the music I hear within maninoff’s characteristic style. The revisions were me, as naturally as possible….I have never, to the completed by the time he left Russia in 1917, and best of my knowledge, imitated anyone. What I try the premiere of the new version was given in New to do when writing down my music is to make it say York in January of 1919 with the composer as solosimply and directly that which is in my heart when ist accompanied by the Russian Symphony Society I am composing.” He composed four formal piano Orchestra. Almost all authorities agree that the concertos during his career, and was the soloist at second version is far superior to the original, and the premiere of each one. of all the revisions Rachmaninoff made to various The work we know as Rachmaninoff’s First Con- works, this one was probably the most successful. certo was actually his second attempt at writing a Nevertheless, this concerto did not become popupiano concerto. In 1889 he started, but never fin- lar with the general public, mainly because by the ished, a concerto in C minor, the sketches for which time it was premiered, audiences were very familiar seem not to have survived. In 1890, while a student with the Second and Third Concertos and wanted at the Moscow Conservatory, the 17-year-old Rach- to hear those almost exclusively. For the record, maninoff began work on the F-sharp minor concer- the first-ever performance of the complete original to, completing what would become the first version version took place in Zurich, Switzerland in March the following year. In the spring of 1892 he played of 1993. the first movement of this fledgling concerto with The DSO last performed this work in November the Conservatory Orchestra, and as far as anyone 1998 with Dr. Leslie B. Dunner conducting and Jon can determine, this was probably the only time he Nakamatsu as soloist. It received its DSO premiere played any of the concerto in its original form. In in June 1954 at the Michigan State Fair June of 1892 Rachmaninoff was graduated from —————— the Conservatory and was awarded the Gold Medal, an honor that had been given previously to only Petrushka two other students. A month later he completed the IGOR STRAVINSKY concerto which would be published as his Opus B. June 5, 1882 in Oranienbaum [now Lomonosov], One. At the Moscow school, students were often near St. Petersburg advised to base their first attempts in a particular D. April 6, 1971 in New York City form on a specific older work, and in Rachmaninoff’s case it was Edvard Grieg”s great Romantic SCORED FOR 3 FLUTES (3RD DOUBLING concerto, which was a great favorite of his. What PICCOLO), 2 OBOES, ENGLISH Rachmaninoff did was to adapt the entire musiHORN, 3 CLARINETS (3RD DOUBLING BASS CLARINET), 2 BASSOONS, cal structure of the first and third movements of CONTRABASSOON, 4 HORNS, 3 TRUMPETS, the Grieg concerto and then build his music into 3 TROMBONES, TUBA, TIMPANI, it. By the end of the 1890s, however, RachmaniPERCUSSION (BASS DRUM, BASS DRUM noff dismissed this concerto as a student work and WITH ATTACHED CYMBALS, PAIRED CYMBALS, LARGE AND turned his back on it. Finally, in the fall of 1917, SMALL SUSPENDED CYMBAL, SNARE DRUM, TAM TAM, he returned to his early work and subjected it to TAMBOURINE, TRIANGLE, XYLOPHONE), HARP, TWO PIANOS a thorough revision with a concentration, intensi- AND STRINGS. (APPROX. 34 MINUTES) ty and speed which were remarkable. By this time the concerto was more than 25 years old, and in When La muse et le poète premiered in 1910, those intervening years his style had evolved and the career of the Russian composer Igor Stravinhis command of orchestral writing had grown sig- sky was just beginning. Just the previous year, he nificantly. The new version was now economical, ex- had received his first commission from the Ballets uberant and somewhat impetuous, but with most Russe, Sergei Diaghilev’s ballet company that of the melodies from the 1892 original left mostly brought the best Russian dancers to Paris. The intact. The piano part in the revised version is more resulting work, Stravinsky’s colorful score for The

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program notes Firebird, established the composer’s reputation throughout Europe. In 1910, Diaghilev visited the young composer in Switzerland to check on the progress on his second ballet. Stravinsky surprised him with a concert piece for piano and orchestra that he had written instead. Perhaps Stravinsky wrote the work in order to seek a way to break away from the musical influence of his teacher, Rimsky-Korsakov. Stravinsky had even thought of an evocative title for his new piece: Pétrouchka. This is the name of a stock figure that appears in puppet shows at Russian fairs, much like the character Punch of Punch and Judy. Diaghilev immediately recognized the makings of yet another ballet and worked out a scenario with Stravinsky, encouraging him to expand this piece into a longer score. The first scene of the ballet takes place at a busy fair in St. Petersburg: organ grinders, slightly tipsy partiers and a showman all cross the stage. To give a musical depiction of this event, Stravinsky cuts from one tune to another without transition, creating a disorienting collage of musical fragments bound only by small motives and pulsing, mechanical rhythms. To give authenticity to the scene, Stravinsky quotes several tunes, including a Russian Easter hymn and a popular song he heard an organ grinder play while he was in Paris. (He later discovered that the composer of the latter tune was still alive, and Stravinsky had to pay royalties whenever Pétrouchka was performed.) Two solo drummers play a roll to command the attention of the crowd, and an old magician, depicted by three bassoons, opens a box to reveal three puppets: Pétrouchka, a Ballerina and a Moor. The orchestra plays sliding, ghostly harmonies as the magician touches each puppet with his flute. To the crowd’s astonishment, the puppets come to life and perform a Russian dance. The joyful, buoyant tune features solo violin and piano. A drum roll also signals the next scene, which takes place inside Pétrouchka’s box. Consciousness has become a curse, because he now recognizes that his appearance is grotesque and ridiculous. Clarinets and piano play a biting, dissonant chord, in two different keys at the same time to portray his misery and anger. Although there were precedents for this famous “Pétrouchka Chord,” Stravinsky’s

bold decision to feature it as one of the ballet’s most important themes was completely novel. The piano’s rapid-fire arpeggiations give way to a bitter fanfare played by the cornets and trumpets, signifying Pétrouchka cursing himself and his life. His one consolation is his love for the Ballerina, but when he tries to woo her, she is frightened away by his antics. The next scene takes place in the box of the Moor, who is depicted in a slow, lumbering melody for bassoons and bass clarinet accompanied by pizzicato (plucked strings). The Ballerina enters, attracted to his strength and size, and the Moor’s tune is combined with a dry, ironic waltz as they dance together. A horrified Pétrouchka bursts onto the scene, signaled again by his trumpet call. The Moor, enraged at the interruption, draws his scimitar and chases him out of the box. The orchestra interrupts this crisis by suddenly returning to a full texture and electrifying rhythms reminiscent of the opening section. The crowd continues its festivities, oblivious to the puppet drama. Several characters make an appearance, including a bear (portrayed by two high clarinets and a tuba). As the reveling approaches a climax, Pétrouchka, the Moor, and the Ballerina leap out of their boxes and interrupt the party. The Moor stabs Pétrouchka and the orchestra freezes in an ethereal texture as he dies. The magician’s motive briefly returns, as he shows the crowd that Pétrouchka is only a puppet. As the indifferent crowd disperses and the orchestra trails off, Pétrouchka’s trumpet call returns. His ghost has reappeared and he thumbs his nose at the magician to show that, after all, he did have a human soul. Like The Firebird, Pétrouchka was an instant success. Many critics were taken aback by what was for them an unprecedented amount of dissonance, yet they also admired its appropriateness to an ironic and tragic story that takes place amidst an otherwise cheerful scene. This complexity, as well as the masterful orchestral colors it creates, has propelled Pétrouchka’s enduring success. The DSO last performed Pétrouchka in May 2009 with Hans Graf conducting. It received its DSO premiere in December 1951 with Jonel Perlea conducting at the Masonic Temple. PERFORMANCE MAGAZINE

Leonard Slatkin, Music Director Jeff Tyzik, Principal Pops Conductor Neeme Järvi, Music Director Emeritus

CLASSICAL SERIES

The Planets Friday, April 22, 2016 at 10:45 a.m. Saturday, April 23, 2016 at 8:00 p.m. Sunday, April 24, 2016 at 3:00 p.m. in Orchestra Hall PETER OUNDJIAN, conductor VADIM GLUZMAN, violin Women of the UMS CHORAL UNION • Scott Hanoian, Choral Director

With this concert, the DSO honors the memory of Ms. Bette J. Dyer.

Wolfgang Amadeus Mozart Overture to Don Giovanni, K. 527 (1756-1791) Dmitri Shostakovich Concerto for Violin and Orchestra No.2 in A minor, (1906-1975) Op.129 Moderato Adagio Adagio-Allegro Vadim Gluzman, violin —INTERMISSION—

Gustav Holst The Planets (1874-1934) Mars, The Bringer of War Venus, The Bringer of Peace Mercury, The Winged Messenger Jupiter, The Bringer of Jullity Saturn, The Bringer of Old Age Uranus, The Magician Neptune, The Mystic Women of the UMS Choral Union

This Classical series performance is generously sponsored by PVS Chemicals with additional support from

This performance will be webcast at dso.org/live

Experience the concert again at dso.org/replay

Live from Orchestra Hall is presented by and made possible by

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profiles PETER OUNDJIAN

VADIM GLUZMAN

Peter Oundjian is one of a growing number Vadim Gluzman’s extraordinary artistry brings of highly successful instrumentalists who largely back to life the glorious violinistic tradition of the abandon their chosen instrument in favor of a con- 19th and 20th centuries. His wide repertoire emducting career. In Oundjian's case the change was braces contemporary music and his performances necessitated by a repetitive are heard around the world through live broadcasts motion injury. He began as and a striking catalogue of award-winning recorda violinist, a high-profile ings exclusively for the BIS label. one at that, serving as The Israeli violinist appears regularly with the first violinist with the major orchestras such as the Chicago Symphony, famed Tokyo String Quartet. Philadelphia Orchestra, London Philharmonic, IsFrom 1995, he turned his rael Philharmonic, London focus to the baton and soon Symphony, Munich Philwas guest-conducting perharmonic, San Francisco formances with some of the Symphony, Minnesota Orleading American orchestras, including the Saint chestra and NHK Symphony. Louis (1998) and Houston Symphony (1999). On the His festival appearances podium his repertory has been broad, encompassinclude Verbier, Ravinia, ing works by composers from Mozart, Beethoven, Lockenhaus, Pablo Casals, Brahms, Tchaikovsky and Mahler to Rachmaninoff, Colmar, Jerusalem, and Ravel, Prokofiev, Shostakovich and the moderns. As the North Shore Chamber a member of the Tokyo String Quartet he played a Music Festival in Northbrook, Illinois, which was similarly broad range of works, including the com- founded by Gluzman and pianist Angela Yoffe, his plete quartets of Beethoven and Brahms. Oundji- wife and long-standing recital partner. an's many recordings are available from RCA, Vox, Following highly acclaimed recent performancDG, EMI, and Harmonia Mundi. es with Berlin Philharmonic and Cleveland OrchesPeter Oundjian was born in Toronto, Canada, tra, the 2015-16 season will see Mr. Gluzman makin 1955. From age seven, he studied violin with ing first appearances with the Boston Symphony Manoug Parikian in England, where he received his at the Tanglewood Festival under Christoph von general education. He had later studies there with Dohnányi and with the National Symphony in WashBéla Katona, and following work on several record- ington under Andrew Litton. He also performs with ings with Benjamin Britten, Oundjian developed an the Gewandhaus Orchestra conducted by Riccardo interest in conducting. Nevertheless, he kept his Chailly, the Konzerthausorchester Berlin, the City focus on the violin and enrolled at London's Roy- of Birmingham Symphony Orchestra, L’Orchestre al College of Music earning a gold medal for most de la Suisse Romande, the Detroit, Oregon and Ludistinguished student. He had further studies at zern Symphonies, as well as the Philharmonic OrJuilliard with Itzhak Perlman, Dorothy Delay, and chestras of Dresden, Stuttgart, St. Petersburg and Ivan Galamian. Monte Carlo. Gluzman will also appear in recitals After assuming duties in Toronto in 2004, in London, Jerusalem, Lyon and Kronberg. He will Oundjian was instrumental in helping resolve the lead performances with the Moscow Virtuosi, Sinorchestra's existing financial woes. Oundjian was fonietta Cracovia, and Vancouver Symphony, and appointed principal guest conductor of the Detroit will continue his collaboration with the ProMusica Symphony Orchestra in 2006. The following year he Chamber Orchestra in Columbus, Ohio, as Creative and the Toronto Symphony management signed an Partner and Principal Guest Artist. agreement extending his contract to 2012, then to Vadim Gluzman plays the extraordinary 1690 2017. He also became music director of the Royal ‘ex-Leopold Auer’ Stradivari, on extended loan to Scottish National Orchestra in 2012. him through the generosity of the Stradivari Society of Chicago. PERFORMANCE MAGAZINE

profiles UMS CHORAL UNION

Scott Hanoian, Conductor and Music Director

Arianne Abela, Assistant Conductor Formed in 1879 by a group of local universi- Jean Schneider and Scott VanOrnum, Accompanists ty and townspeople who gathered together for the Kathleen Operhall, Chorus Manager study of Handel’s Messiah, the UMS Choral Union Nancy Heaton, Librarian has performed with many of the world’s distin- Soprano I Soprano II Alto I Beth Baldner Lora Campredon guished orchestras and conductors in its 137-year Anne Busch Barbara Clayton Kristina Eden Anne Gray history. First led by Professor Henry Simmons Frieze Ali Hodges Karla Manson Jennifer Freese and then conducted by Professor Calvin Cady, the Margaret Dearden Shelley Garrett Elizabeth Mathie Keiko Goto Kathleen McEnnis group has performed Handel’s Messiah in Ann Arbor Petersen Schultz Diana Hubbard Kathleen Operhall annually since its first Messiah performance in De- Joy Meredith Hanoian Karen T. Isble Hanna Song cember 1879. Based in Ann Arbor under the aegis Katie Mysliwiec Ruth A. Theobald Emily Jennings Rachel Krupp Alana Price of UMS, the 175-voice Choral Union is known for Virginia A. Neisler Shayla McDermott Alice Tremont its definitive performances of large-scale works for Anna Sharples Renee Roederer chorus and orchestra. In May 2015, UMS announced the appointment —————— of Scott Hanoian as the Choral Union’s new music director and conductor. Hanoian’s inaugural season Overture to Don Giovanni, K. 527 in 2015–16 began by preparing the chorus for a WOLFGANG AMADEUS MOZART September performance of Beethoven’s Choral Fan- B. January 27, 1756 in Salzburg, Austria tasy with the Ann Arbor Symphony Orchestra con- D. December 5, 1791 in Vienna, Austria) | Overture ducted by Arie Lipsky. to Don Giovanni, K. 527 The UMS Choral Union was a participant chorus in a rare performance and recording of William BolSCORED FOR 2 FLUTES, 2 OBOES, 2 com’s Songs of Innocence and of Experience in Hill CLARINETS, 2 BASSOONS, 2 HORNS, Auditorium in April 2004 under the baton of Leonard 2 TRUMPETS, TIMPANI AND STRINGS. Slatkin. Naxos Records released a three-disc set of (APPROX. 7 MINUTES) this recording in October 2004, featuring the UMS Choral Union and U-M School of Music, Theatre & In 1786, Mozart was nearing the Dance ensembles. The recording won four Grammy peak of his powers and the height of his career. In Awards in 2006, including “Best Choral Performance” that year, not only had Figaro just been produced and “Best Classical Album.” The recording was also in Vienna it was also given in Prague, where public selected as one of The New York Times “Best Classical reception was wildly enthusiastic. Buoyed by this Music CDs of 2004.” Other recent highlights include success and eager for more, Mozart signed a cona recording project with the U-M School of Music, tract for a new opera with Pasquale Bondini, direcTheatre & Dance’s choral and orchestral ensembles tor of the Prague National Theatre. Satisfied with of a performance of the rarely-heard Oresteian Trilogy their collaboration on Figaro, Mozart turned once by Darius Milhaud conducted by Kenneth Kiesler. In again to his librettist Lorenzo Da Ponte, for a subMay 2013, chorus members joined the Detroit Sym- ject of his choosing. Da Ponte suggested the myth phony and Leonard Slatkin in a performance of Ives’s of Don Juan, and Mozart agreed. Symphony No. 4 as part of Carnegie Hall’s Spring for Da Ponte was to take his inspiration from a Music festival in New York. variety of sources, including the plays by Molière Participation in the UMS Choral Union remains and Goldoni, but he was particularly drawn to the open to all students and adults by audition. For libretto by Bertati for Gazzaniga’s opera (of the more information on how to audition, please email same name) which had been staged in Venice in choralunion@umich.edu, call 734.763.8997, or February, 1787. On October 29, 1787, the premiere visit www.ums.org/choralunion. of Don Giovanni took place with Mozart conduct-

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program notes ing, and the new work was most enthusiastically received by the Prague public. Its reception by the Viennese was somewhat cooler, the score being considered ‘difficult’. Although Mozart labeled Don Giovanni as a “dramma giocoso,” the Don’s sexual depravity is frequently the subject of dark, even vicious humor. The shafts of light and shade that alternate throughout the overture are a reflection of the psychological nuances that Da Ponte skillfully wove into the work’s libretto. Mozart wrote relatively few works in minor keys; his use of the key of D minor for this tale of the Don’s hellish punishment for his misdeeds is significant as it recalls other works in which he used the same key to equally dramatic effect. Notable examples are the Requiem (particularly the terrifying glimpses of hell in the Dies Irae) and the D minor Piano Concerto (No. 20, K. 466) which, while not a dramatic work, conveys the same overall mood of fury and revenge. The overture is constructed in sonata form, with the searing opening chords referencing the slain Commendatore’s appearance to the unrepentant Don in the penultimate scene of the opera. The tonality brightens in the exposition to D major, for the presentation of several lighter themes taken from earlier scenes. During the development section, major and minor keys vie uneasily for attention as these primary themes are reworked. The restatement of all the themes would then lead (in a performance of the complete opera) directly into the opening recitative and aria by Leporello, the Don’s squire; however, Mozart anticipated the need for concert performances of the overture and devised a separate major-key ending, reflecting the restoration of order and balance through the Don’s banishment to hell. The DSO last performed this work in March 2012 with Nicholas McGegan conducting. It received its DSO premiere in February 1917 at the Detroit Opera House with Weston Gales conducting. ——————

Violin Concerto No. 2 in A minor, Op. 129

DMITRI SHOSTAKOVICH B. September 26, 1906 in St. Petersburg, Russia D. August 9, 1975 in Moscow, Soviet Union

SCORED FOR SOLO VIOLIN, FLUTE, PICCOLO, 2 OBOES, 2 CLARINETS, 2 BASSOONS, CONTRABASSOON, 4 HORNS, TIMPANI, PERCUSSION AND STRINGS. (APPROX. 30 MINUTES) Few composers in history have been argued about with the intensity that has been given to Shostakovich since his death. The remarkable diversity of opinions about him seems to come from a lot of uncertainties about just what lies at the heart of his music. Many people feel that when they listen to most of his prodigious output there is a sense that there are messages hidden in the music, and are frustrated because there is a suspicion that those messages may never be entirely decoded. In the latter part of his life he suffered from chronic ill health, but refused to give up vodka and cigarettes. In 1958 he began to be bothered by a debilitating situation which greatly affected his right hand, and which eventually forced him to stop playing the piano. It was not until 1965 that this was diagnosed as polio. He had two serious heart attacks, one in 1966 and another in 1971, and on several occasions he suffered falls in which he broke both of his legs. With his usual trenchant and sardonic wit, he wrote to a friend in 1967: “Target achieved so far: 75% (right leg broken, left leg broken, right hand defective). All I need to do now is wreck the left hand and then 100% of my extremities will be out of order.” Although he continued to write marvelous and witty lighter music scores, in the last 20 or so years of his life his music became increasingly occupied with death. Following his first heart attack in 1966 there was an inconsolable quality which began to pervade his works, best typified by his claustrophobic and mind-numbing Symphony No. 14 (1969) which consists of settings for soloists and orchestra of several poems dealing with varPERFORMANCE MAGAZINE

program notes ious aspects of death, and which contains some of never find it. There is another cadenza here, quite his most extreme musical language. anguished and wild, after which the solo horn As was the case with its predecessor, the presents a very somber theme. This is interrupted Second Violin Concerto was inspired by and dedi- brutally by the beginning of the last movement, a cated to the great Russian violinist David Oistrakh, complex rondo in which the repeated sections have written as a 60th birthday present in 1967. When a decidedly bitter undertone, while the contrasting Shostakovich presented it to Oistrakh in Septem- sections are frenetic and uncomfortable. There is ber of that year, he was chagrined to find out that now a third cadenza in which the opening material he had made a mistake, and that it was actually is distorted and broken into fragments. The concerthe violinist’s 59th birthday, Oistrakh having been to ends with a contest between major and minor, born in 1908! Shostakovich was so apologetic the major mode winning the argument, but more that it brought out of him his First Violin Sonata, inconclusive than satisfying. finished the following year and first performed by The DSO last performed this work in January Oistrakh in early 1969. This concerto, written al- 1989 with Günther Herbig conducting and William de most 20 years after the First, and just a year after Pasquale as soloist. It received its DSO premiere in his first heart attack, was the beginning of the September 1987 in Ford Auditorium with Günther Herafore-mentioned series of late works in which the big conducting and William de Pasquale as soloist. composer seemed to be obsessed with his own —————— mortality, exhibiting here a very dark, introspective mood, spare and stark textures, sudden and The Planets almost frightening outbursts, repeating rhythmic GUSTAV HOLST cells, obscure thematic material, and an almost B. Sept. 21, 1874 in Cheltenham, England painful lyricism in the solo part. Like both of his D. May 25, 1934 in London, England Cello Concertos, this concerto features an unusually prominent horn part, often playing with very SCORED FOR 4 FLUTES, THE THIRD little accompaniment. More sparsely scored than PLAYER DOUBLING ON PICCOLO the First Concerto, it is much like the last String AND THE FOURTH ON BOTH PICCOLO Quartet, consisting mainly of slow music until the AND BASS FLUTE; 3 OBOES, THE very end. The new concerto was first performed unTHIRD PLAYER DOUBLING ON officially in early September of 1967, then given its BASS OBOE; ENGLISH HORN; 3 formal premiere later that month with the Moscow CLARINETS AND BASS CLARINET; 3 BASSOONS Philharmonic under the great Russian conductor AND CONTRABASSOON; 6 HORNS, 4 TRUMPETS, Kyril Kondrashin. The key of C-sharp minor is not 3 TROMBONES, TENOR TUBA AND BASS TUBA; a natural one for the violin, and might have been TIMPANI AND A LARGE BATTERY OF PERCUSSION; intended to recall Beethoven’s Op. 131 String Quar- CELESTA, ORGAN AND 2 HARPS; AND STRINGS. THE tet, Mahler’s Fifth Symphony, or Prokofiev’s Seventh SEVENTH PIECE ALSO SPECIFIES A CHORUS OF Symphony, a work which Shostakovich had always WOMEN’S VOICES. (APPROX. 55 MINUTES) been very fond of. The first movement has a degree of inscrutability to it, something common to many During the years just prior to World War I, Enof his late scores, and after beginning rather gently, glish composer Gustav Holst became interested reaches an agonized and dissonant climax. After in astrology and learned to cast horoscopes. The a development section in which the main themes diverse characters associated with the planets in are distorted, there ensues a long cadenza based both astrology and Roman mythology “suggested on the movement’s principal thematic material. music” to Holst. The result was The Planets, a The slow middle movement offers no relief from suite of seven short tone poems. The work proved the confusion, tension and sadness of the first, as immediately successful, catapulting its composer, if the violin was searching for something but can an obscure music teacher, to sudden fame.

DETROIT SYMPHONY ORCHESTRA

program notes For the reclusive Holst, this proved the worst unexpected traits. Among the more relaxed and possible fate. He abhorred the attention of the contemplative sections are “Saturn,” described press and public, and was relieved when his later by Holst as conveying not so much the physical decay of old age, but a vision of fulfillment; and music garnered less approval. Each of the seven movements that comprise “Neptune,” where the orchestra, playing hushed, Holst’s composition expresses a mood suggested reverent sonorities, is joined in the final passage by the astrological sign associated with its par- by a wordless chorus of women’s voices. The DSO last performed this work in May 2013 ticular planet. These pieces fall into two general types: scherzando movements, which are lively, with John Storgårds conducting alongside the brash and rhythmic; and quiet meditations of a re- Women of the Michigan State University Chorale mote, timeless nature. The former group includes and State Singers. It received its DSO premiere “Mars,” which opens The Planets in thunderous in February 1967 at Ford Auditorium with Sixten fashion; “Mercury,” with animated music appro- Erhling conducting alongside the Women of the priate to its namesake; “Jupiter,” whose character Rackham Symphony Chorus. derives in large part from the flavor of English folk song; and “Uranus,” with its eccentric, abrupt and

In memory of

Bette J. Dyer (1922-2015) The DSO is proud to honor the memory of longtime DSO fan Bette J. Dyer during this weekend’s performances, in thanks for the generous donation she recently left in her will. Born in Cleveland, Ohio in 1922, Dyer relocated to the Detroit area at a young age. Known for her industrious nature, she collected and restored antiques, and even took courses in auto mechanics and sailing. And of course, she loved classical music and the DSO. Dyer held season tickets for much of her adult life, and was first moved to make a financial contribution in 1989 with the campaign to restore Orchestra Hall. Beyond her fiscal generosity, she donated her time and expert secretarial skills to keeping the restoration team organized. Received during the holiday season, Bette Dyer’s gift is of the most meaningful sort the DSO is fortunate to receive, as it represents her legacy and her passion for music.

PERFORMANCE MAGAZINE

BOB BERNHARDT Leonard Slatkin, Music Director Jeff Tyzik, Principal Pops Conductor Neeme J채rvi, Music Director Emeritus POPS SERIES

The Beach Boys Sound "Pet Sounds" Turns 50! Friday, April 29, 2016 at 10:45 a.m. and 8:00 p.m. Saturday, April 30, 2016 at 8:00 p.m. Sunday, May 1, 2016 at 3:00 p.m. in Orchestra Hall PAPA DOO RUN RUN, band DON ZIRILLI, keyboards / vocals RANDELL KIRSCH, bass / vocals ADRIAN BAKER, guitar / vocals DENNY HARDWICK, guitar / vocals BOBBY "G" GOTHAR, guitar / vocals BO FOX, drums / vocals ROBERT BERNHARDT, conductor

Program to be announced from stage.

This Pops series performance is generously sponsored by with additional support from The DSO can be heard on the Live From Orchestra Hall, Chandos, London, Mercury Records, Naxos and RCA labels.

DETROIT SYMPHONY ORCHESTRA

With more than three decades of experience as a Music Director, conductor of Pops, and in the Opera pit, Louisville Orchestra Principal Pops Conductor Bob Bernhardt continues to bring his unique combination of easy style, infectious enthusiasm and wonderful musicianship to the city and orchestra he loves. Now in his 34th season with the LO, and 19th as Principal Pops Conductor, he accepted the post of Assistant Conductor in 1981 and has worked with the Louisville Orchestra in every season since. He is concurrently Principal Pops Conductor of the Chattanooga Symphony and Opera, where he previously spent 19 seasons as Music Director, and now is in his 23rd year with the company. He was recently named Principal Pops Conductor of the Grand Rapids Symphony in Michigan, and is also an Artist-in-Residence at Lee University in Cleveland, TN. In the past several seasons, Bob has made his conducting debut with the Baltimore Symphony, Dallas Symphony, Houston Symphony, Cincinnati Pops, Louisiana Philharmonic, Las Vegas Philharmonic, Florida Orchestra, Grand Rapids Symphony, and Santa Barbara Symphony, all of which were rewarded with return engagements. He has a continuing ten-year relationship with the Edmonton Symphony conducting there several times each season, and has returned as guest conductor with the Detroit Symphony, Seattle Symphony, Tucson Symphony and the Boston Pops. With the latter, he has been a frequent guest for twenty three years, making his debut there in 1992 at the invitation of John Williams. Last season, he returned to the podiums of Dallas (in Vail, CO), Boston, Detroit, Ed-

profiles monton, Florida, Grand Rapids, Las Vegas, Baltimore, Santa Barbara, Louisiana and Rochester. His professional opera career began with the Birmingham Opera in 1979, two years before he joined the Louisville Orchestra. He worked with Kentucky Opera for 18 consecutive seasons including six as its Principal Guest Conductor. With his own company in Chattanooga, he has conducted dozens of fully staged productions in a genre he adores. He has also been a frequent guest of the Nashville Opera. Born in Rochester, New York, he holds a Masters degree from the University of Southern California’s

School of Music where he studied with Daniel Lewis. He is also a Phi Beta Kappa, summa cum laude graduate of Union College in Schenectady, New York where he was an Academic All-American baseball player. (While not all the research is in, Bernhardt believes that he is the only conductor in the history of music to be invited to Spring Training with the Kansas City Royals. After four days, they suggested to him a life in music.) His two children, Alex and Charlotte, live in Seattle. He and his wife, Nora, live in Chattanooga, Tennessee.

PAPA DOO RUN RUN

Papa’s 1975 Top 40 hit “Be True To Your School” Formed in 1965, the now legendary California reached No. 1 in California. Their ground breaking band, PAPA DOO RUN RUN, quickly discovered CD “California Project” (1985) exploded onto the Billtheir forte—they sounded like the Beach Boys! board Hot 100 Chart at no. 17 and earned the band That sound led them to surf music icons, Jan & their second Gold Record and a Grammy Nomination. Dean, and from 1976-80 Papa toured North Amer- Additionally, Papa Doo Run Run appeared in, and reica with the duo. In the 80s Papa graduated from corded the soundtrack album for the CBS-TV movie J&D to the Beach Boys, and toured and recorded “Deadman’s Curve”. The band currently has 10 CD with members of that band throughout the next releases and a full length DVD. 2 decades. The group also had an unprecedented Today, Papa Doo Run Run still performs world15-year run as the "Celebrity House Band" at Dis- wide. Their act encompasses all the great Classic neyland from 1975-90! In the mid 80's Papa Doo Rock hits of the 60's and 70's, with a special embecame the darlings of corporate entertainment, phasis on their award winning re-creation of the hits performing at up to 150 corporate events a year! of the Beach Boys. Their best kept secret... Papa Doo Their fun packed show is still a favorite of dozens Run Run is who the Beach Boys call when they need of Fortune 500 companies. someone to fill in in their band. PERFORMANCE MAGAZINE

administrative staff EXECUTIVE OFFICE

Anne Parsons

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

Paul W. Hogle

Executive Vice President

Linda Lutz

Chief Financial Officer

Joy Crawford

Executive Assistant to the President and CEO

Orchestra Operations

Foundation and Government Relations Coordinator

Heather Hart Rochon

Jacqueline Garner

Director of Operations Orchestra Personnel Manager

Dennis Rottell

FACILITY OPERATIONS

Christopher Harrington

Patrick Peterson

Advancement Services Bree Kneisler

Advancement Services and Prospect Research Manager Advancement Services Coordinator

Artistic Planning

Richard Kryszko

Will Broner

Advancement Services Coordinator

oneDSO Campaign Director

Daniel Saunders

Director of Facilities Management

Audience Development Director of Audience Development

Margaret Cassetto

Larry Ensman

Front of House Manager

Frederico Augustin

Group Sales Manager

Maintenance Supervisor

Facility Engineer

Matt Deneka

Maintenance Technician

DeRon Wilson

Annick Busch

Patron Loyalty Coordinator

Steven Fronrath

Martez Duncan

Audience Development Coordinator

William Guilbault

Audience Development Associate

Crystal King

Assistant Manager of Tessitura and Ticketing Operations

Maintenance Technician Maintenance Technician Maintenance Technician

LaHeidra Marshall

Sharon Gardner Carr

Manager of Artistic Planning

Communications

Christopher Harrington

Gabrielle Poshadlo

Daniel Speights

Maintenance Technician

Catering And Retail Services Christina Williams

Michelle Koning

Greg Schimizzi Chief of Security

Managing Director of Paradise Jazz Series

Katherine Curatolo

Artistic Coordinator

Clare Valenti

Popular & Special Programming Coordinator

Director of Communications and Media Relations Web and Mobile Content Manager

Teresa Alden

Melvin Dismukes

Security Officer

Digital Communications Coordinator

Security Officer

Community And Learning

Individual Giving

Ronald Martin

Caen Thomason-Redus

Cassie Brenske

Director of Community and Learning

Leah Celebi

Manager of Education

Director of Advancement for Individual Giving

Dan Coleman

Norris Jackson

Security Officer

Johnnie Scott

Nelson Rodriguez-Parada

Advancement Events and Stewardship Officer

Senior Accountant

Juanda Pack

Accounting Specialist

Institutional Giving

INFORMATION TECHNOLOGY

General Manager of Training Ensembles

Elizabeth Lanni

Education Coordinator

Live From Orchestra Hall Eric Woodhams

Director of Digital Initiatives

Advancement Benefits Coordinator

Danielle Manley

Director of Advancement for Institutional Giving

Chelsea Kotula

Manager of Sponsor Benefits and Relations

DETROIT SYMPHONY ORCHESTRA

Kelsey Karl

Retail Manager

Events And Rentals

Don Killinger

Melissa Mateling

Nate Richter

Bar Manager

Holly Clement

Governing Members & Volunteer Relations Officer

Operations and Community Engagement Coordinator

Kyle Hanley

Executive Chef

FINANCE

Governing Members Gift Officer and Assistant Director of Planned Giving

Morgan Graby

Director of Catering and Retail Services

Security Officer

Laura Duda

Manager of Community Engagement

Nicki Inman

Julie Byczynski

Executive Assistant to the Music Director

General Manager and Artistic Administrator

Jessica Ruiz

PATRON DEVELOPMENT & ENGAGEMENT

Leslie Karr

Caitlin Bush

Erik RĂśnmark

Human Resources Director

Senior Director of Patron Development and Engagement

PATRON ADVANCEMENT & EXTERNAL RELATIONS

OFFICE OF THE GENERAL MANAGER

Denise Ousley

oneDSO Campaign

Assistant Orchestra Personnel Manager

Advancement Relations Associate

Advancement Assistant

HUMAN RESOURCES

Stage Manager

Elaine Curvin

Executive Assistant to the Executive Vice President

Anneke Leunk

Kathryn Ginsburg

Jeremiah Hess

Senior Manager of Events and Rentals

Sandra Mazza

Manager of Event Sales and Administration

Senior Director of Accounting & Finance Senior Accountant

Dawn Kronell

Karen McCombs

Connie Campbell

Ashley Powers

Event Sales Representative

Patron Sales And Service Molly Fidler

Manager, Patron Sales & Service

Michelle Marshall

Jody Harper

Director of Information Technology

Assistant Manager, Patron Sales & Service

Raâ&#x20AC;&#x2122;Jon Taylor

Taryn Sanford

Help Desk Administrator

Lead Ticketing Specialist

Natalie Boettcher

Lead Ticketing Specialist

Bavarian Radio Orchestra

Mariss Jansons by Peter Meisel

Mariss Jansons, conductor Leonidas Kavakos, violin Saturday, April 16 // 8 pm Hill Auditorium Of the three major orchestras based in Munich, the Bavarian Radio Orchestra is the most prominent, with a string of eminent music directors including Rafael Kubelik, Sir Colin Davis, Lorin Maazel, and, since 2003, Mariss Jansons. Leonidas Kavakos, who made his UMS debut last season with Yuja Wang, returns as soloist with the Korngold Violin Concerto. PROGRAM

Corigliano Korngold Dvoล รกk SP O NS O RED BY

Fantasia on an Ostinato Violin Concerto in D Major, Op. 35 Symphony No. 8 in G Major, B. 163 HOSTED BY

END OWED SUPPORT FROM

ME D IA PA RTN E RS

Mainstreet Ventures

Catherine S. Arcure Endowment Fund

WGTE 91.3 FM and WRCJ 90.9 FM

TICKETS ON SALE NOW UMS.ORG / 734.764.2538 UNIVERSITY OF MICHIGAN | ANN ARBOR

Watch for our 2016-17 season announcement on April 16! V I E W T H E F U L L S E A S O N L I S T I N G AT U M S . O R G . PERFORMANCE MAGAZINE

2016-17 SEASON SUBSCRIPTIONS ON SALE NOW

The Best Value. The Most Flexibility. The Greatest Music. PACKAGES START AT $90

Subscribe today at dso.org or call the Box Office at 313.576.5111!

LOOK OUT FOR 2017'S

M OZ A R T F E S T I VA L STA R R I N G

DETROIT SYMPHONY ORCHESTRA

DSO

SOLOISTS

community & learning

DSYO PROVIDES TRANSFORMATIVE EXPERIENCES FOR YOUTH

The DSO has a longstanding commitment to the youth of metro Detroit. DSO Young People’s Concerts have been a part of cherished childhood memories since the early 1900’s. Jazz Ensemble. Of her experience in our program, Kiana said, “I enjoy meeting all of the DSO musiTens of thousands of students attend or watch cians that come to work with us and help out. Just the Classroom Edition webcast of our Educational being part of something like DSYO is pretty amazConcert Series. Nearly fifty years ago, the DSO embarked upon its greatest commitment to enriching ing too. I am most definitely practicing a lot more and working to improve to young lives through music by creating the Detroit Sympho- “I enjoy meeting all of the move up and excel. The music ny Youth Orchestra. Initiated DSO musicians that come to is challenging, but I enjoy it with the substantial involveand I work really hard at it.” ment of DSO musicians and work with us and help out. Through dedicated staff developed over the years with and musicians, scholarship support from champions of Just being part of something support, and the extraormusic education like Clyde like DSYO is pretty dinary commitment of the and Helen Wu, the DSYO is now the centerpiece of the Wu entire oneDSO family, we are amazing too...” Family Academy for Learning providing transformative exand Engagement. As one of the top three ensem- periences for hundreds and thousands of youth bles of our Civic Youth Ensembles program, the across metro Detroit and beyond. Visit dso.org/ DSYO has a life-changing effect on students rewfa to learn more about the Wu Family Academy gardless of their intended career path. and consider what we can do for the youth that Kiana (pictured above) is one such student who is a violist in both the DSYO and our Creative matter to you! PERFORMANCE MAGAZINE

1887 society

BARBARA VAN DUSEN, Honorary Chair The 1887 Society is a tribute to the storied past of the Detroit Symphony Orchestra and recognizes those among our patrons with unique DSO histories who have made a legacy commitment to our work. Members receive recognition in each issue of Performance magazine and an annual society luncheon, as well as enjoying a special package of benefits throughout the DSO season. If you have arranged for a legacy gift, or for more information on ways to do so, please contact Dan Coleman at 313.576.5451. The Detroit Symphony Orchestra Board of Directors is pleased to honor the 1887 Society. These patrons, friends and subscribers have named the Orchestra in their estate plans. Ms. Doris Adler Dr. & Mrs. William C. Albert Mr. & Mrs. Robert A. Allesee Dr. Lourdes A. Andaya Mr. & Mrs. Eugene Applebaum Dr. Augustin & Nancy† Arbulu Ms. Charlotte Arkin† Ms. Sharon Backstrom Sally & Donald Baker Mr. & Mrs. Lee Barthel Mr. & Mrs. Mandell L. Berman Mrs. John G. Bielawski† Mrs. Betty Blair Robert T. Bomier† Gwen & Richard Bowlby Mr. Harry G. Bowles† William & Julia Bugera Dr. Cynthia Cassell Dr. & Mrs. Victor† J. Cervenak Eleanor A. Christie Ms. Mary Christner Lois & Avern Cohn Mrs. RoseAnn Comstock Mr. & Mrs. Thomas W. Cook Dorothy M. Craig Mr. & Mrs. John Cruikshank Ms. Mary Rita K. Cuddohy† Ms. Mattie L. Cunningham† Ms. Leslie C. Devereaux Mr. John Diebel Mr. Roger Dye & Ms. Jeanne A. Bakale Ms. Bette J. Dyer† Mr. & Mrs. Robert G. Eidson Marianne T. Endicott Ms. Dorothy Fisher Mrs. Marjorie S. Fisher Mr. Emory Ford, Jr.† Dr. Saul & Mrs. Helen Forman

Barbara Frankel & Ron Michalak Herman & Sharon Frankel Mrs. Rema Frankel† Jane French Dr. Byron P. & Marilyn Georgeson Mr. Joseph & Mrs. Lois Gilmore Victor† & Gale Girolami Ruth & Al Glancy Donna & Eugene Hartwig Dr. & Mrs. Gerhardt Hein Ms. Nancy B. Henk Mr. & Mrs. Thomas N. Hitchman Mrs. Patricia Hobar† Mr. & Mrs. Richard N. Holloway† Paul M. Huxley & Cynthia Pasky David & Sheri Jaffa Mr. & Mrs. Thomas H. Jeffs II Richard & Involut Jessup Ms. Carol Johnston Lenard & Connie Johnston Carol M. Jonson Drs. Anthony & Joyce Kales Faye & Austin Kanter Norb† & Carole Keller Dr. Mark & Mrs. Gail Kelley June K. Kendall Dimitri† & Suzanne Kosacheff Mr. & Mrs. Arthur J. Krolikowski Mary Clippert LaMont Mrs. Bonnie Larson Ann C. Lawson Mr. Phillip Leon† Allan S. Leonard Max Lepler & Rex L. Dotson

DETROIT SYMPHONY ORCHESTRA

Dr. Melvin A. Lester Mr. & Mrs.† Joseph Lile Mr. & Mrs. Eric C. Lundquist Harold Lundquist & Elizabeth Brockhaus Lundquist Roberta Maki Eileen & Ralph Mandarino Mr. Glenn Maxwell Mr. Leonard Mazerov Mary Joy McMachen, Ph.D. Mr. William G. Michael† Rhoda A. Milgrim John & Marcia Miller Jerald A. & Marilyn H. Mitchell Mr. & Mrs. L. William† Moll Craig & Shari Morgan Ms. I. Surayyah R. Muwwakkil Beverley Anne Pack Mr. Dale J. Pangonis Ms. Mary W. Parker Sophie Pearlstein Helen & Wesley Pelling Dr. William F. Pickard Mrs. Bernard E. Pincus Ms. Christina Pitts Mrs. Robert Plummer Mr. & Mrs. P. T. Ponta Ms. Linda Rankin & Mr. Daniel Graschuck Mr. & Mrs. Douglas J. Rasmussen Ms. Dorothy J. Reidel† Mr. & Mrs. Lloyd E. Reuss Barbara Gage Rex Ms. Marianne Reye Katherine D. Rines Bernard & Eleanor Robertson Ms. Barbara Robins Jack† & Aviva Robinson

Dr. Margaret Ryan Marjorie & Saul Saulson Mr. & Mrs. Donald & Janet Schenk Ms. Yvonne Shilla Stephanie & Fred Secrest Mr. & Mrs. Stephan† Sharf Ms. Marla Shelton Ms. June Siebert Dr. Melissa J. Smiley & Dr. Patricia A. Wren Ms. Marilyn Snodgrass† Mr. & Mrs. Walter Stuecken Mr. & Mrs. Alexander C. Suczek Ms. Mildred Tanner† Alice & Paul Tomboulian Mr. David Patria & Ms. Barbara Underwood Mrs. Richard C. Van Dusen Mr. & Mrs. Melvin VanderBrug Mr. & Mrs. George† C. Vincent Mr. & Mrs. Keith C. Weber Mr. Herman Weinreich John† & Joanne Werner Mr. & Mrs. Arthur Wilhelm Mrs. Michel Williams Ms. Nancy S. Williams† Mr. Robert S. Williams & Ms. Treva Womble Mr. Robert E. Wilkins† Ms. Barbara Wojtas Elizabeth B. Work Dr. & Mrs. Clyde Wu† Ms. Andrea L. Wulf Mr. Milton Zussman Five who wish to remain anonymous † Deceased

planned giving council

Planned Giving Council

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 annual briefings. LINDA WASSERMAN AVIV, Chair Mrs. Katana H. Abbott Mr. Christopher A. Ballard Ms. Sandra K. Campbell Mr. Henry M. Grix 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 Mr. Christopher M. Mann Mr. Curtis J. Mann Mrs. Mary Mansfield Mr. Mark Neithercut

Mrs. Alice R. Pfahlert Ms. Deborah J. Renshaw, CFP Mr. James P. Spica Mr. John N. Thomson, Esq. Mrs. Linda Wasserman Aviv Ms. Wendy Zimmer Cox

If you would like to join the DSO’s Planned Giving Council, please call Dan Coleman at 313-576-5451.

The Detroit Symphony Orchestra’s Volunteer Ushers Sandy Aasgaard Fran Alberts Dee Allison Karen Arendall William Arendall Susan Baran Catherine Beaumont Clara Belt Barbara Binder Valerie Binder Niels Boesen Dorisel Boggs Kathie Booth Barbara Borden Elaine Bozin Ann Brilliant Nelda Brogan Roy Brogan Alexander Brown Kenneth Brown Ruth Bruce Joseph Buese Janice Calligaris-Sur Stephanie Canty Ed Carey Bethany Carmody Hannah Carmody Kay Carmody Maria Caruso Martha Casey Elaine Chalom

Gloria Coles Gregg Coughlin Nancy Courtney Gerry Crowe Neal Dahlen James Demers Kari Deming Nancy Deming Diane DeVincent Brian Doefer Barbara Drake Kay Dubois Michael Easter Monica Easter Naomi Edwards Bob Emick Mary Ann Emick Joanna Endres Robert Endres Leslie Falvey Pam Faricy Joseph Fasi Michael Fenchel Marvin Fink Rosalind Fink Lester Floyd Carmen Freeman laurie fundukian Frank Gasiorek Cheryl Gastwirth Jeffrey Gebauer

Steven Gensterblum John Gibson Toni Gibson Jackie Giering Bruce Gilbert Nora Gilbert Elisa Giuliani David Groen Rosemary Gugino Rebeca Guzman Carla Hall Claudia Hawkins Mary Heppner Fay Herman Francine Hill Jolyn Hillebrand Cal Hoeksema Norma Hoeksema Diane Holden Jasmine Hollis Robert Holzhauer Jean Hornbacher Regina Hughes William Isenhour Barbara Iseppi Larry Jacobs Linda James Germaine Jarvis Rick Jayroe Sue Jayroe Gregory Johnson

Marva Johnson Earline Jones Rita Kaplan Nancy Karpus Kathleen Keener Katherine Klimas Carol Kupinski Mary Lafter Jane Latessa Lorraine Lavoie Edward Lesnau Maureen Lesnau Louise Less Joyce Lyons Rochelle Mailhot Consquela Marbury Christina Marchwica Mark Marchwica Jack Marshall Kisha Martin Henry McCoy Diane McLeod Marie Meleski Paul Michalsen Nancy Miller Emma Mitchell Peg Mixter Virginia Moore Jim Moylan Nellie Murphy Don Musser

Dorothy Musser Mary Myers Joan Nagrant Florkowski Nancy Betty Nelson Courtney Nicholls Marylou Ouellette Ann Pape Maureen Paraventi Bob Patton Alice Paul Cassandra Pettway Fedora Pruitt Brenda Purkiss Betsy Quick Karen Rademacher Elizabeth Reid Peggy Roberts Shirley Ross Jane Rousseau Edna Rubin Mona Ruggers Vincent Ruggers Susan Saroglia Pat Shannon Emanuel Sharpe Martha Shumaker Craig Sieferd Helen Smiley Chris Smith Kathy Smith

Mary Smith Steven Smith April Snively Jeff Spakowski Glenn Stadts Archer Stone Art Stone Jennifer Sutherland Joan Swain Marianne Szymborski Ira Richard Talbott Joan Tilford Dorothy Trent Virnestean Tubbs Sherry Turner Fred Van Every Lee Visci Janice Wargo Jerry Wargo Sanford Waxer Charles Weaver Cobe Weaver Karen Weaver Carolyn Wedepohl Ted Wedepohl Chuck Wendt Miles West John Wheeler Stan Wisniewski Mary Zelenock

PERFORMANCE MAGAZINE

the annual fund Gifts received between September 1, 2014 and January 31, 2016

Being a community-supported orchestra means you can play your part through frequent ticket purchases and generous annual donations. Your tax-deductible Annual Fund donation is an investment in the wonderful music at Orchestra Hall, around the neighborhoods and across the community. This honor roll celebrates those generous donors who made a gift of $1,500 or more to the DSO Annual Fund Campaign. If you have questions about this roster, or to make a donation, please contact 313.576.5114 or go to dso.org/donate. The Gabrilowitsch Society honors individuals who support us most generously at the $10,000 level and above.

JANET AND NORM ANKERS Co-Chairs

GIVING OF $250,000 & MORE

Mr. & Mrs. Lee Barthel

Mrs. Marjorie S. Fisher

Mandell & Madeleine Berman

Mr. & Mrs. Stanley Frankel

Foundation

Ruth & Al Glancy

Penny & Harold Blumenstein

Mr. & Mrs. Morton E. Harris

Julie & Peter Cummings

Danialle & Peter Karmanos, Jr.

Marvin & Betty Danto Family Foundation

Mr. & Mrs. James B. Nicholson

Max M. & Marjorie S. Fisher Foundation

Mrs. Richard C. Van Dusen

Eugene & Marcia Applebaum Family Foundation Ms. Leslie Devereaux Mr. & Mrs. Phillip Wm. Fisher

Emory M. Ford, Jr.+ Endowment Mrs. Sophie Pearlstein The Polk Family Cindy & Leonard Slatkin

GIVING OF $50,000 & MORE

Mr. & Mrs. Richard L. Alonzo Mrs. Cecilia Benner Mrs. RoseAnn Comstock Linda Dresner & Ed Levy, Jr. Mrs. Bonnie Larson

Mr. & Mrs. Matthew Lester Ms. Deborah Miesel Bernard & Eleanor Robertson

GIVING OF $25,000 & MORE

Ms. Sharon Backstrom Mr. & Mrs. John A. Boll, Sr. Mr. & Mrs. Richard A. Brodie Mr. & Mrs. Raymond M. Cracchiolo Joanne Danto & Arnold Weingarden Mrs. Kathryn L. Fife Mr. & Mrs. David Fischer Sidney & Madeline Forbes Barbara Frankel & Ronald Michalak

Herman & Sharon Frankel Mr. & Mrs. Eugene A. Miller Mr. & Mrs. Bruce D. Peterson Mr. & Mrs. Lloyd E. Reuss Mr. & Mrs. Alan E. Schwartz Mr. & Mrs. Larry Sherman Mr. & Mrs. Donald R. Simon Mr. James G. Vella

GIVING OF $100,000 & MORE

DSO MUSIC DIRECTOR OSSIP GABRILOWITSCH (1918 - 1936) Ossip Gabrilowitsch was an internationally known Russian pianist whose presence gave the DSO instant credibility. Additionally, he inspired the construction of Orchestra Hall. The building was erected in four months and 23 days after Gabrilowitsch threatened to quit unless he and his musicians had a permanent home. A friend to Mahler and Rachmaninoff, and son-in-law of Mark Twain, Gabrilowitsch himself possessed greatness.

DETROIT SYMPHONY ORCHESTRA

the annual fund GIVING OF $10,000 & MORE Mr. & Mrs. Robert A. Allesee Daniel & Rose Angelucci Mr. & Mrs. Norman Ankers Mr. Chuck Becker Mr. & Mrs. Robert H. Bluestein Mr. & Mrs. Jim Bonahoom Gwen & Richard Bowlby Michael & Geraldine Buckles Lois & Avern Cohn Mr. Gary Cone & Ms. Aimée Cowher Margie Dunn & Mark Davidoff Mr. & Mrs. Richard L. DeVore Marianne Endicott Jim & Margo Farber Dr. Marjorie M. Fisher Mr. Michael J. Fisher Mr. & Mrs. Samuel Fogleman Mr. & Mrs. Edsel B. Ford II Dr. Saul & Mrs. Helen Forman

GIVING OF $5,000 & MORE Mrs. Denise Abrash Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Drs. John & Janice Bernick Robert N. & Claire P. Brown Mr. & Mrs. François Castaing Mr. & Mrs. Gary L. Cowger Deborah & Stephen D’Arcy Fund Beck Demery Mr. & Mrs. John M. Erb Ms. Mary D. Fisher Mr. David Fleitz Allan D. Gilmour & Eric C. Jirgens Dr. Robert T. Goldman Goodman Family Charitable Trust † Deceased

Dale & Bruce Frankel Ms. Carol A. Friend & Mr. Mark T. Kilbourn Mr. & Mrs. Eugene A. Gargaro, Jr. Mrs. Byron Gerson Mr. & Mrs. Ralph J. Gerson Mrs. Gale Girolami Dr. Kenneth & Roslyne Gitlin Dr. Allen Goodman & Dr. Janet Hankin Mary Ann & Robert Gorlin Dr. Herman & Mrs. Shirley Gray Mr. & Mrs. James Grosfeld Dr. Gloria Heppner Ms. Doreen Hermelin Mr. & Mrs. Norman H. Hofley Lauri & Paul* Hogle Mr. & Mrs. Ronald Horwitz Richard H. & Carola Huttenlocher Mr. James A. Jacob Mr. Sharad P. Jain Chacona W. Johnson Lenard & Connie Johnston Faye & Austin Kanter

Mr. & Mrs. Norman D. Katz Mike & Katy Keegan Dr. David & Mrs. Elizabeth Kessel Dr. and Mrs. Myron LaBan Marguerite & David Lentz Mr. & Mrs. Ralph LeRoy, Jr. Dr. Melvin A. Lester Bud & Nancy Liebler Mr. & Mrs.† Joseph Lile Michael & Laura Marcero David & Valerie McCammon Mr. & Mrs. Doug McClure Alexander & Evelyn McKeen Dr. Robert & Dr. Mary Mobley Mr. & Mrs. Craig R. Morgan Cyril Moscow Xavier & Maeva Mosquet Geoffrey S. Nathan & Margaret E. Winters David Robert & Sylvia Jean Nelson Jim & Mary Beth Nicholson Patricia & Henry Nickol Mrs. Jo Elyn Nyman Anne Parsons* &

Donald Dietz Mr. Charles Peters Mr. & Mrs. Bruce D. Peterson Dr. William F. Pickard Ms. Ruth Rattner Jack+ & Aviva Robinson Martie & Bob Sachs Dr. Mark & Peggy Saffer Marjorie & Saul Saulson Elaine & Michael Serling Mark & Lois Shaevsky William H. Smith John J. Solecki Richard Sonenklar & Gregory Haynes Dr. Doris Tong & Dr. Teck M. Soo Mr. Gary L. Wasserman & Mr. Charlie Kashner Mr. Todd Watson Mr. & Mrs. R. Jamison Williams David & Bernadine Wu Mr. & Mrs. Paul M. Zlotoff

Mr. & Mrs. James† A. Green Judy & Kenneth Hale Mr. Lee V. Hart & Mr. Charles L. Dunlap Ms. Nancy Henk Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Michael E. Hinsky & Tyrus N. Curtis Mr. & Mrs. A. E. Igleheart Mr. & Mrs. Richard J. Jessup Michael E. Smerza & Nancy Keppelman Patrick J. Kerzic & Stephanie Germack Kerzic Mr. & Mrs. Harold Kulish Allan S. Leonard Mr. Daniel Lewis Mr. Gregory Liposky The Locniskar Group Mr. Robert A. Lutz Ms. Florine Mark

Patricia A. & Patrick G. McKeever Mr. & Mrs. Robert S. Miller Mr. Joseph Mullany Mr. & Mrs. Albert T. Nelson, Jr. Mr. & Mrs. David E. Nims Mr. & Mrs. Pat Olney Mr. & Mrs. Richard G. Partrich Mr. & Mrs. Roger S. Penske Mrs. Helen F. Pippin Dr. Glenda D. Price Mr. & Mrs. David Provost Barbara Gage Rex Dr. & Mrs. John Roberts Mr. & Mrs. Robert B. Rosowski Mrs. Lois J. Ryan Mrs. Patricia Finnegan Sharf Mr. & Mrs James H. Sherman Mr. & Mrs. Leonard W. Smith

Renate & Richard Soulen Mrs. E. Ray Stricker Mr. & Mrs. John Stroh III Mr. Gary Torgow David Usher Mrs. Eva Von Voss S. Evan & Gwen Weiner Arthur & Trudy Weiss Dr. & Mrs. Ned Winkelman Mrs. Judith G. Yaker Mr. Michael Yessian Margaret S. York Erwin & Isabelle Ziegelman Foundation Milton & Lois Zussman

Two who wish to remain anonymous

PERFORMANCE MAGAZINE

the annual fund GIVING OF $2,500 & MORE Howard Abrams & Nina Dodge Abrams 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* Mr. Joseph Aviv & Mrs. Linda Wasserman Aviv Mr. & Mrs. John Axe Mrs. Jean Azar Ms. Ruth Baidas Nora Lee & Guy Barron Mr. Mark Bartnik & Ms. Sandra J. Collins Mr. J. Addison Bartush+ David & Kay Basler Mr. & Mrs. Martin S. Baum Mr. & Mrs. Richard Beaubien Dr. & Mrs. Brian Beck Ms. Margaret Beck Mrs. Harriett Berg Mr. & Mrs. Jeffrey A. Berner Mr. and Mrs. Michael Biber Dr. George & Joyce Blum Mr. & Mrs. Lawrence Bluth Rud & Mary Ellen Boucher Don & Marilyn Bowerman Mr. Anthony F. Brinkman Mr. Scott Brooks Bowden & Elaine Brown Mr. & Mrs. Mark R. Buchanan Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Ms. Evelyn Burton Julie Byczynski* & Angus Gray Philip & Carol Campbell Dr. & Mrs. Thomas E. Carson Ronald & Lynda Charfoos Mr. Daniel Clancy Gloria & Fred Clark Mr. & Mrs. Robert W. Clark Dr. Thomas Clark & Annette Clark Nina & Richard Cohan Jack, Evelyn & Richard Cole Family Foundation Dr. & Mrs. Charles G. Colombo Mr. & Mrs. Thomas W. Cook Dr. & Mrs. Ivan Louis Cotman Dorothy M. Craig Mrs. Barbara Cunningham

Jerry P. & Maureen T. D’Avanzo Suzanne Dalton & Clyde Foles Barbara A. David Lillian & Walter Dean Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Mr. Giuseppe Derdelakos Adel & Walter Dissett Mr. & Mrs. Mark Domin Donato Enterprises Paul + & Peggy Dufault Mr. Michael J. Dul Mr. & Mrs. Robert Dunn Mr. Roger Dye & Ms. Jeanne A. Bakale Edwin & Rosemarie Dyer Dr. Leo & Mrs. Mira Eisenberg Dr. & Mrs. A. Bradley Eisenbrey Mr. Lawrence Ellenboger Donald & Marjory Epstein Mr. Sanford Hansell & Dr. Raina Ernstoff Mary Sue & Paul Ewing Mr. & Mrs. Oscar Feldman Mr. & Mrs. Anthony C. Fielek Ms. Sharon Finch Mr. Jay Fishman Mr. & Mrs. Mark Frank Mr. Samuel Frank Mr. & Mrs. Daniel E. Frohardt-Lane Sharyn & Alan Gallatin Lynn & Bharat Gandhi Mr. George Georges Drs. Lynda & Conrad Giles Mr. & Mrs. Robert W. Gillette Dr. & Mrs. Theodore Golden Mr. Nathaniel Good Dr. & Mrs. Paul Goodman Mr. Jason Gourley and Mrs. Rebekah Page-Gourley Ms. Jacqueline Graham Mr. Luke Ponder & Dr. Darla Granger Ms. Leslie Green Dr. & Mrs. Joe L. Greene Dr. & Mrs. Steven Grekin Mr. Jeffrey Groehn Ms. Janet Groening-Marsh Mr. & Mrs. Robert Hage Alice Berberian Haidostian Robert & Elizabeth Hamel Randall L. & Nancy Caine Harbour Ms. Albertine Harmon Mrs. Betty J. Harrell Scott Harrison & Angela Detlor Cheryl A. Harvey Gerhardt A. Hein &

DETROIT SYMPHONY ORCHESTRA

Rebecca P. Hein Mr. & Mrs. Ross Herron Jeremiah* & Brooke Hess Dr. Deanna & Mr. David B. Holtzman Jack & Anne Hommes Ms. Barbara Honner The Honorable Denise Page Hood & Reverend Nicholas Hood III Mr. Matthew Howell & Mrs. Julie Wagner Mr. F. Robert Hozian Mr. & Mrs. Joseph L. Hudson, Jr. Nicki* & Brian Inman Steven & Sarah Jackson Ira & Brenda Jaffe William & Story John Mr. John S. Johns Mr. George Johnson Mr. Paul Joliat Mr. & Mrs. Joseph Jonna Mrs. Ellen D. Kahn Ms. Cathleen Kapatos Mr. and Mrs. David Karp Dr. Laura Katz & Dr. Jonathan Pasko Betsy & Joel Kellman Martin & Cis Maisel Kellman The Stephanie & Frederic Keywell Family Fund Mrs. Frances King Mr. & Mrs. William P. Kingsley Mr. & Mrs. Harvey Kleiman Thomas & Linda Klein Mr. & Mrs. Ludvik F. Koci Ms. Margot Kohler Mr. David Kolodziej Dr. Harry & Mrs. Katherine Kotsis Robert C. & Margaret A. Kotz Barbara & Michael Kratchman Richard & Sally Krugel Dr. Arnold Kummerow Mr. John Kunz Mr. & Mrs. Robert LaBelle Dr. Raymond Landes & Dr. Melissa McBrien-Landes Drs. Lisa & Scott Langenburg Ms. Sandra Lapadot Ms. Anne T. Larin Dolores & Paul Lavins Mr. Henry P. Lee Max Lepler & Rex L. Dotson Mr. & Mrs. John D. Lewis Mr. & Mrs. Eric C. Lundquist Daniel & Linda* Lutz Mrs. Sandra MacLeod Mr. & Mrs.

Charles W. Manke, Jr. Mervyn & Elaine Manning Mr. & Mrs. David S. Maquera, Esq. Maureen & Mauri Marshall Dr. & Mrs. Peter M. McCann, M.D. Mr. & Mrs. Alonzo McDonald Dr. & Mrs. Donald A. Meier Dr. & Mrs. David Mendelson Mrs. Thomas Meyer Thomas & Judith Mich Mr. & Mrs. Leonard G. Miller J.J. & Liz Modell Dr. Susan & Mr. Stephen* Molina Eugene & Sheila Mondry Foundation Mr. Lane J. Moore Ms. A. Anne Moroun Ms. Florence Morris Mr. Frederick Morsches & Mr. Kareem George Drs. Barbara & Stephen Munk Joy & Allan Nachman Edward & Judith Narens Mariam C. Noland & James A. Kelly Katherine & Bruce Nyberg Mr. & Mrs. Stanley Nycek Mr. John J. O’Brien Mr & Mrs. Arthur T. O’Reilly Dr. & Mrs. Dongwhan Oh Dr. William Oppat Mr. & Mrs. Joshua Opperer David+ & Andrea Page Mr. Randall Pappal Mrs. Margot Parker Mr. & Mrs. Kris Pfaehler Dr. Klaudia Plawny-Lebenbom Mr. & Mrs. William Powers Reimer Priester Charlene & Michael Prysak Mr. Ronald Puchalski Fair Radom Mr. & Mrs. Richard Rappleye Mr. Richard Rapson Drs. Stuart & Hilary Ratner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Carol & Foster Redding Mr. & Mrs. Dave Redfield Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Denise Reske Mrs. Ann C. Rohr Seth & Laura Romine

the annual fund Dr. Erik Rönmark* & Mrs. Adrienne Rönmark* Norman+ & Dulcie Rosenfeld Mr. & Mrs. Gerald F. Ross Jane & Curt Russell Dr. & Mrs. Alexander Ruthven Mr. David Salisbury & Mrs. Terese Ireland Salisbury Hershel & Dorothy Sandberg Mr. Robert Schaerer Ms. Martha A. Scharchburg & Mr. Bruce Beyer Dr. Sandy Koltonow & Dr. Mary Schlaff David & Carol Schoch Mr. & Mrs. Alan S. Schwartz Mr. & Mrs. Kingsley G. Sears Mr. Ken Seawell Mr. & Mrs. Fred Secrest Mr. Merton J. & Mrs. Beverly Segal Mr. Igal Shaham

Ms. Linda Zlotoff Mrs. Jean Shapero Ms. Cynthia Shaw Ms. Margaret Shulman Dr. Les & Mrs. Ellen Siegel Coco & Robert Siewert William & Cherie Sirois Dr. Cathryn Skedel & Mr. Daniel Skedel Dr. Gregory Stephens Mr. & Mrs. Cinton F. Stimpson III Dr. Mack Stirling Dr. & Mrs. Charles D. Stocking Mrs. Kathleen Straus & Mr. Walter Shapero Stephen & Phyllis Strome Mrs. Susan Svoboda & Mr. Bill Kishler Dorothy I. Tarpinian Shelley & Joel Tauber Dr. & Mrs. Howard Terebelo Mr. & Mrs. James W. Throop

Carol & Larry Tibbitts Mr. & Mrs. John P. Tierney Alice & Paul Tomboulian Mr. & Mrs. Michael Torakis Barbara & Stuart Trager Mark & Janice Uhlig Dr. Vainutis Vaitkevicius Amanda Van Dusen & Curtis Blessing Mr. & Mrs. Charles B. Van Dusen Mr.+ & Mrs. George C. Vincent Mr. Bill Vlasic Mr. & Mrs.+ William Waak Dr. & Mrs. Ronald W. Wadle Mr. Michael A. Walch & Ms. Joyce Keller Captain Joseph F. Walsh, USN (Ret.) Mr. & Mrs. Jonathan T. Walton Mr. Patrick Webster Mr. Herman W. Weinreich

Mr. & Mrs. Lawrence Weisberg Ambassador & Mrs. Ronald N. Weiser Mr. Brian Wenzel Janis & William Wetsman/ The Wetsman Foundation Beverly & Barry Williams Dr. M. Roy & Mrs. Jacqueline Wilson Rissa & Sheldon Winkelman Mr. John Wolak Mr. Jonathan Wolman & Mrs. Deborah Lamm Mrs. Cathy Cromer Wood Ms. Andrea L. Wulf The Yousif Family Mr. & Mrs. Alan Zekelman Mr. Richard D. Zimmerman

GIVING OF $1,500 & MORE

Patricia & William Cosgrove, Sr Mr. & Mrs. Thomas Dart Gordon & Elaine Didier Mr. & Mrs. Henry Eckfeld Mr. Lawrence Ellenbogen Mr. & Mrs. Howard O. Emorey Ron Fischer* & Kyoko Kashiwagi Dr. Linda Golumbia, Ph.D Mr. & Mrs. Saul Green Mr. Donald Guertin Mary & Preston Happel Mr. & Mrs. Michael Harding Mr. & Mrs. Howard Heicklen Mr. & Mrs. Paul Hillegonds Ms. Elizabeth Ingraham Carolyn & Howard Iwrey Ms. Nadine Jakobowski Mr. & Mrs. Charles R. Janovsky Carol & Richard Johnston Dr. Jean Kegler June K. Kendall

Ms. Ida King Mr. James Kirby Mr. & Mrs. Thomas N. Klimko Mr. & Mrs. Victor Kochajda/ Teal Electric Co. Miss Kathryn Korns Mr. James Kors & Ms. Victoria King* Mr. & Mrs. Kosch Martin & Karen Koss Mr. Michael Kuhne Mr. Charles E Letts Drs. Donald & Diane Levine Margaret Makulski & James Bannan Dr. Arlene M. Marcy, M.D. Ms. Annette McGruder Ms. Camille McLeod Mr. & Mrs. Brian Meer Mr. & Mrs. Germano Mularoni Mr. & Mrs. Richard L. Norling Noel & Patricia Peterson Mr. Mark Phillips

Dr. & Mrs. Terry Podolsky Mrs. Hope Raymond Mr. & Mrs. George Roumell Mr. R. Desmond Rowan Mr. & Mrs. James P. Ryan Mr. & Mrs. Lawrence Schlack Mr. Lawrence Shoffner Zon Shumway Mr. Mark Sims & Ms. Elaine Fieldman Ralph & Peggy Skiano Mr. Michael J. Smith & Mrs. Mary C. Williams Dr. & Mrs. Choichi Sugawa Dr. Gytis Udrys Ms. Charlotte Varzi Dr. Stanley Waldon Ms. Janet Weir Frank & Ruth Zinn

Ms. Dorothy Adair Joshua & Judith Adler Mr. & Mrs. Ismael Ahmed Dr. & Mrs. Gary S. Assarian Drs. Richard & Helena Balon Mr. & Mrs. Dennis Bernard Ms. Kathleen Block Mr. & Mrs. G. Peter Blom Ms. Jane Bolender Ms. Liz Boone Mr. & Mrs. J. Bora Ms. Nadia Boreiko Mr. Paul & Mrs. Lisa Brandt Mr. & Mrs. Ronald F. Buck Mr. & Mrs. Richard Burstein Dr. & Mrs. Roger C. Byrd Ms. Sandra K. Campbell Mr. David Carroll Mr. Fred J. Chynchuk

Four who wish to remain anonymous

One who wishes to remain anonymous

This could be your message. Connect your message to Metro Detroit’s finest audiences. To advertise in the next edition of Performance Magazine, visit dsomag.com

PERFORMANCE MAGAZINE

corporate partners $500,000 AND MORE JIM NICHOLSON

CEO, PVS Chemicals

$200,000 AND MORE

GERARD M. ANDERSON

FAYE NELSON

President, Chairman and CEO, DTE Energy Corporation

President, DTE Energy Foundation

MARK FIELDS

President and CEO, Ford Motor Company

JAMES VELLA

President, Ford Motor Company Fund

$100,000 AND MORE

SERGIO MARCHIONNE

Chief Executive Officer, FCA

MARY BARRA

Chairman and CEO, General Motors Corporation

KEITH J. ALLMANN

President and CEO, MASCO Corporation

VIVIAN PICKARD

Director, General Motors Public Policy

MATTHEW J. SIMONCINI President and CEO, Lear Corporation

$50,000 AND MORE Target Corporation

$20,000 AND MORE

American House

Greektown Casino-Hotel

Senior Living

Macy’s

Communities

MGM Grand Detroit

Amerisure Insurance

Rock Ventures, LLC

DETROIT SYMPHONY ORCHESTRA

Talmer Bank and Trust

corporate partners $10,000 AND MORE

$5,000 AND MORE

Beaumont Health Delphi Foundation Dykema Edibles Rex Fifth Third Bank Greenleaf Trust Honigman Miller Schwartz & Cohn, LLP Huron Consulting Group KPMG LLP PNC Bank PricewaterhouseCoopers LLP REDICO Sandler Training Telemus Capital Partners, LLC Warner Norcross & Judd LLP Wolverine Packing Company

BASF Corporation The Boston Consulting Group Contractors Steel Company Creative Benefit Solutions, LLC Denso International America, Inc. Ernst and Young Midwest Medical Center St. John Providence Health System Suburban Collection Yessian Music

$1,000 AND MORE Avis Ford, Inc. Broder & Sachse Real Estate Services Chubb Group of Insurance Companies Coffee Express Roasting Company

CRStager Darling Bolt Company Delta Dental Plan of Michigan Dickinson Wright HEM Data Corporation Hotel St. Regis Howard & Howard Attorneys PLLC KlearSky Solutions, LLC Lakeside Ophthalmology Center Michigan First Credit Union Oswald Companies Plante and Moran, PLLC Post, Smythe, Lutz, & Ziel LLP Robert Swaney Consulting, Inc. Sachse Construction Schaerer Architextural Interiors Urban Science Applications

support from foundations and organizations The Detroit Symphony Orchestra acknowledges and honors the following foundations and organizations for their contributions to support the Orchestra’s performances, education programming, and other annual operations of the organization. This honor roll reflects both fulfillments of previous commitments and new gifts during the period beginning September 1, 2014 to January 31, 2016. We regret the omission of gifts received after this print deadline.

$500,000 AND MORE

$50,000 AND MORE

$5,000 AND MORE

The William M. Davidson Foundation Max M. & Marjorie S. Fisher Foundation Samuel & Jean Frankel Foundation

Marvin & Betty Danto Family Foundation William Randolph Hearst Foundation Richard & Jane Manoogian Foundation Michigan Council for Arts & Cultural Affairs National Endowment for the Arts The Taubman Foundation Matilda R. Wilson Fund

Benson & Edith Ford Fund Marjorie & Maxwell Jospey Foundation Herbert & Elsa Ponting Foundation Mary Thompson Foundation

$250,000 AND MORE The Andrew W. Mellon Foundation Community Foundation for Southeast Michigan Hudson-Webber Foundation John S. and James L. Knight Foundation The Kresge Foundation McGregor Fund

$100,000 AND MORE Fred A. & Barbara M. Erb Family Foundation Ford Foundation Detroit Symphony Orchestra Volunteer Council New Music USA League of American Orchestras

$25,000 AND MORE Children’s Hospital of Michigan Foundation DeRoy Testamentary Foundation Eleanor & Edsel Ford Fund Ann & Gordon Getty Foundation

$10,000 AND MORE Henry Ford II Fund Maxine & Stuart Frankel Foundation The Alice Kales Hartwick Foundation Myron P. Leven Foundation Oliver Dewey Marcks Foundation

$1,000 AND MORE Charles M. Bauervic Foundation Frank and Gertrude Dunlap Foundation Harold and Ruth Garber Family Foundation Clarence and Jack Himmel Fund James and Lynelle Holden Fund Japan Business Society of Detroit Foundation Ludwig Foundation Fund Meyer and Anna Prentis Family Foundation Sigmund and Sophie Rohlik Foundation Louis and Nellie Sieg Foundation Sills Foundation Don and Dolly Smith Foundation The Village Club Foundation Samuel L. Westerman Foundation Young Woman’s Home Association PERFORMANCE MAGAZINE

blockbuster fund Gifts received September 1, 2014 to January 31, 2016

Gifts to the Detroit Symphony Orchestra Blockbuster Fund support those exceptional projects, partnerships and performances that boldly advance the DSO’s mission “to be a leader in the world of classical music, embracing and inspiring individuals, families and communities through unsurpassed musical experiences.” Blockbuster gifts fund defining initiatives that are outside the annual budget such as touring, Live From Orchestra Hall webcasts, certain community engagement and education partnerships, and capital and technology infrastructure. Mr. and Mrs. Norman C. Ankers Mr. and Mrs. Lee Barthel Mr. & Mrs. Mandell L. Berman Blue Cross Blue Shield of Michigan Mr. and Mrs. Richard A. Brodie Mrs. RoseAnn Comstock Mr. and Mrs. Peter D. Cummings Mr. and Mrs. Jerry P. D’Avanzo

Mrs. Marjorie S. Fisher Mr. Michael J. Fisher Mr. & Mrs. Phillip Wm. Fisher Ford Motor Company Mr. Stephen Hudson Mr. Michael Jalving Japan Business Society of Detroit Foundation John S. and James L. Knight Foundation

tribute gifts

Mr. and Mrs. John Lesesne Mr. and Mrs. Matthew Lester McGregor Fund Michigan Lighting Systems East Ms. Deborah Miesel National Endowment for the Arts New Music USA and the League of American Orchestras

Mr. and Mrs. George Nyman Phillip and Elizabeth Filmer Memorial Charitable Trust Mr. Marc A. Schwartz Toyota Motor Engineering & Manufacturing North America WDET

Gifts received September 1, 2015 to January 31, 2016

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/tribute. In Honor of RICHARD AND MONA ALONZO Alan and Shirley Schlang In Honor of JOHN AND LINDA AXE Marianne Endicott In Memory of WILLIAM BAYER Betty Bayer In Memory of JAMES BRUNO John and Rebecca Bercini William Bielinkski Paul Bruno Shirley Bruno Harry and Pearl Gopoian Andrew Johns Diran and Patricia Kochyan Mihran Kochyan Lawrence and Susan Lankowsky Seymour and Norma Lankowsky Jeffry and Susan Palisin Lewis and Sharon Smith Bruce Thelen and Kathryn Flood Gary and Patricia Tibble John and Mary Ann Wheeler In Honor of Joanne Danto Lois and Avern Cohn

In Memory of Olga Dworkin Joseph and Sandra Knollenberg Robert and Sandra Moers Stanley and Gloria Nycek In Memory of NAOMI S. EDEN Eve Eden In Honor of PHILLIP WM. FISHER Aviva and Dean Friedman Ira and Brenda Jaffe Marc Schwartz and Emily Lamlenek In Honor of JAMES S. GARRETT Timothy and Marianne LeVigne In Honor of ALICE HAIDOSTIAN Esther Lyons In Memory of CAROL HORWITZ Jane Berg Gary and Judi Cooper Ralph and Erica Gerson Ira and Brenda Jaffe Professor Jerry Kazdan Barry and Linda Klein Julie Kraus

DETROIT SYMPHONY ORCHESTRA

Roger and Terran Leemis Richard and Brenda Neff David and Sylvia Nelson Gloria Siegel Anastasia Tessler Beverly and Gerald Viedrah W. William and Roseanne Winokur

In Memory of ELAINE LEBENBOM Ralle Rothman

In Memory of HAROLD C. L. JACKSON, JR. Ellen Barnes James and Edith Coussens Mark and Barbara Crowley Richard Davis Charles and Joanne Forbes Erwin and Barbara Gutenberg David and Laura Malik Les and Susan Schoonover David Thornbury and Judith Heinen Jerome Wahla Regina Wilking

In Memory of MACELLINE NOWICKI Marlene Bihlmeyer

In Honor of BERTRAND AND MURIEL JACOBS Janice and Bradley Jacobs In Honor of HAROLD KULISH Mary Lou Dudley In Memory of DAVID LEBENBOM Claude and Sandra Reitelman

In Honor of DAVID LEDOUX Jerry and Virginia Ledoux

In Memory of JEROME PASKOVITZ Stephanie Louis Mickie Rumaner In Memory of ALEX PEABODY Stephen Liroff and Mary Ellen Gaffney In Memory of FAY ANN RESNICK Helene Hoffman Ira and Mildred Wells In Memory of HARVEY ROBB Ruthie Mizel

venture fund Gifts received September 1, 2014 to January 31, 2016

Gifts to the Detroit Symphony Orchestra Venture Fund are contributions that support projects, partnerships and performances taking place in the current season. Venture gifts are generally on-time and non-renewable in nature and fund initiatives that are included in the annual budget such as DSO concerts, Civic Youth Ensembles, community engagement and partnerships, and DSO Presents and Paradise Jazz concert series. Ms. Veronica Agosta† Mr. and Mrs. Norman C. Ankers Mr. Braxton Blake and Ms. Freda Herseth Ms. Bette Dyer† Edsel And Eleanor Ford House Dr. Margo Farber and Mr. James Farber

Mrs. Marjorie S. Fisher Mr. & Mrs. Phillip Wm. Fisher Mr. and Mrs. Stanley Frankel Mr. and Mrs Richard N. Holloway† Jill Fox Revocable Trust Mr. and Mrs. Eric B. Larson Mr. John C. Leyhan†

Michael Willoughby & Associates Mr. and Mrs. James B. Nicholson Oakwood Healthcare David Page† Mrs. Sophie Pearlstein Mr. George A. Raymond†

Mr. and Mrs. Donald Schultz† Ms. Mildred Tanner Mr. Nicholas Thornton Ms. Sandra Thornton Mrs. Helen Walz-Gutowski Mr. Gary L. Wasserman and Mr. Charlie Kashner † Deceased

In Memory of JACK ROBINSON Berger, Ghersi & LaDuke PLC Eugene and Marcia Applebaum Stanley and Judy Frankel Ralph and Erica Gerson Merle and Shirley Harris Renee and Burt Mahler National Association of Chain Drug Stores David and Sylvia Nelson Graham and Sally Orley Barbara Roden Alan and Marianne Schwartz Lewis and Beverly Siegel Ted and Mary Ann Simon William and Janis Wetsman

In Memory of CLYDE AND HELEN WU Katherine Anslow Lee and Floy Barthel Cecilia Benner Mandell and Madeleine Berman Marlene Bihlmeyer Gust Bills and Effie Papadakis-Bills Craig and Christy Birch Harold and Penny Blumenstein Gregory Bonus and Linda Russell Richard and Gwen Bowlby Anita Boyer Julie Byczynski and Angus Gray Todd and Jill Campbell William Campbell Dr. Silas Cheuk Thomas Cliff Avern and Lois Cohn Martha and William Cox Friedrich and Hiroko Dalman Yuchuan Ding and Ning Yan Barbara Dursum Dr. Glen Elliott Marianne Endicott David Everson and Jill Jordan Christopher Felcyn Samuel and Laura Fogleman Ruth Frank Barbara Frankel and Ronald Michalak Stanley and Judy Frankel David and Lynn Galbenski Ralph and Erica Gerson Ellwyn and Johanna Gilbert Cozette Grabb Dr. Karen Hrapkiewicz Shyr-ing and Ellie Hu Roland Hwang Dr. Cathy Jen John and Marlene Boll Chacona Johnson Karen Katanick Francis and Lucy King

William and Dorothea Krieg Paul and Katherine Lam Raymond Landes and Mary McBrien Bud and Nancy Liebler Stuart and Patricia Lum Glen and Kelly Lutz Esther Lyons Malcolm and Cynthia MacDonald J. Thomas MacFarlane Richard and Florence McBrien Victoria McBrien H. and Venus Mighion Eugene and Lois Miller David and Sylvia Nelson Dr. Anke L. Nolting Stephen and Carol Park Anne Parsons and Donald Dietz Steven Peng Dr. Margaret Pierron Marilyn Pincus Ruth Rattner Ray and Jane Cracchiolo Claude and Sandra Reitelman Lloyd and Maurcine Reuss Raymond Robbins Charles and Patricia Rutherford Saul and Marjorie Saulson Alan and Marianne Schwartz William and Sally Shelden Gertrude Shiemke Tor Shwayder and Aimee Ergas Edward and Helen Sing June Songe John and Vivian Stroh Frances Tatarelli Peter and Ellen Thurber Roy and Diana Vagelos Barbara Van Dusen Arthur and Trudy Weiss Ching-Hsong and Su-Mei Wu Stephen Wu Atsushi and Barbara Yoshida George and Mary Anne Zinn

In Memory of MARY LUZ ZUBRIN Peter Zubrin

In Memory of SHELDON SANDWEISS Doreen Hermelin Jerry and Sharon Knoppow Moore, Stephens, Doeren & Mayhew James and Denise Parker In Honor of MARGARET SPEAR Gretchen and Robert Wilbert In Honor of KEN TUCKER Marty and Rose Reichman In Memory of GEORGE C. VINCENT Lee and Floy Barthel In Memory of ANN K. WARREN George Haggarty, Jr. Gerhardt and Rebecca Hein Mary Ann Oderman Michael and Carolyn Skaff

PERFORMANCE MAGAZINE

upcoming

CONCERTS POPS SERIES

CIVIC AND EDUCATION

CLASSICAL SERIES

MARY WILSON OF THE SUPREMES— MOTOWN MEMORIES Jeffrey Reed, conductor Mary Wilson, vocals Fri., April 8 at 10:45 AM Sat., April 9 at 8 PM Sun., April 10 at 3 PM

CIVIC JAZZ LIVE!* Fri., April 22 at 6:30 PM

THE LEGENDARY NIGEL KENNEDY Leonard Slatkin, conductor Nigel Kennedy, violin Fri., May 6 at 8 PM Sat., May 7 at 8 PM

TINY TOTS

SEAN DOBBINS AND FRIENDS— JAZZ MEETS DR. SEUSS* Music Box Sat., April 9 at 10 AM YOUNG PEOPLE’S FAMILY CONCERTS

DR. SEUSS’S THE SNEETCHES Michelle Merrill, conductor Michael Boudewyns, narrator Sat., April 9 at 11 AM CLASSICAL SERIES

RAVISHING RACHMANINOFF Giancarlo Guerrero, conductor Lise de la Salle, piano Thurs., April 14 at 7:30 PM Fri., April 15 at 10:45 AM Sat., April 16 at 8 PM CLASSICAL SERIES

THE PLANETS Peter Oundjian, conductor UMS Choral Union, chorus Vadim Gluzman, violin Fri., April 22 at 10:45 AM Sat., April 23 at 8 PM Sun., April 24 at 3 PM

DETROIT SYMPHONY ORCHESTRA

PARADISE JAZZ SERIES

ELIANE ELIAS* Fri., April 22 at 8 PM OTHER PRESENTERS

WSU MONDAYS AT THE MAX* Mon., April 25 at 7:30 PM In The Music Box CIVIC & EDUCATION

FOUR SEASONS OF MUSIC Michelle Merrill, conductor Wed., April 27 at 10:30 AM & 11:45 AM Thu., April 28 at 10:30 AM WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES

TCHAIKOVSKY & MOZART Cho-Liang Lin, conductor and violin Thus., April 28 at 7:30 PM at the Berman Center for Performing Arts Fri., April 29 at 8 PM at the Village Theater at Cherry Hill Sat., April 30 at 8 PM at Kirk in the Hills Sun., May 1 at 3 PM at Our Lady Star of the Sea POPS SERIES

THE BEACH BOYS SOUND Robert Bernhardt, conductor Papa Doo Run Run, band Fri., April 29 at 10:45 AM & 8 PM Sat., April 30 at 8 PM Sun., May 1 at 3 PM

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES

DVOŘÁK’S SEVENTH Rune Bermann, conductor Paul Huang, violin Thu., May 12 at 7:30 PM at Congregation Shaarey Zedek Fri., May 13 at 8 PM at Macomb Center for the Performing Arts Sun., May 15 at 3 PM at Seligman Performing Arts Center DSO PRESENTS

YO-YO MA & KATHRYN STOTT* Yo-Yo Ma, cello Kathryn Stott, piano Wed., May 18 at 7:30 PM CLASSICAL SERIES

BEETHOVEN’S “EMPEROR” CONCERTO Sir Andrew Davis, conductor Jeremy Denk, piano Fri., May 20 at 10:45 AM Sat., May 21 at 8 PM Sun., May 22 at 3 PM DSO PRESENTS

OM @ THE MAX Sat., May 21 at 10 AM

& EVENTS

at the

MAX M. AND MARJORIE S. FISHER MUSIC CENTER

CLASSICAL SERIES

POPS SERIES

PARADISE JAZZ SERIES

JOSHUA BELL RETURNS Leonard Slatkin, conductor Joshua Bell, violin Thu., May 26 at 7:30 PM Fri., May 27 at 8 PM

THE MUSIC OF U2 Brent Havens, conductor Brody Dolyniuk, vocalist Wed., June 8 at 7:30 PM

CIVIC & EDUCATION

IVAN MOSHCHUK* Thu., June 9 at 7:30 PM

SFJAZZ COLLECTIVE: THE MUSIC OF MICHAEL JACKSON* Miguel Zenón, alto saxophone David Sánchez, tenor saxophone Sean Jones, trumpet Robin Eubanks, trombone Warren Wolf, vibraphone, marimba Edward Simon, piano Matt Penman, bass Obed Calvaire, drums Fri., June 17 at 8 PM

WU FAMILY ACADEMY SHOWCASE* Sat., May 28 at 7 PM CLASSICAL SERIES

STRAUSS’ SEDUCTIVE SALOME Leonard Slatkin, conductor Lise Lindstrom, soprano Chris Merritt, tenor Jane Henschel, mezzo soprano Daniel Sutin, baritone Scott Ramsay, tenor Fri., June 3 at 8 PM Sun., June 5 at 3 PM

OTHER PRESENTERS

POPS SERIES

JOHN WILLIAMS FAVORITES & MORE Jeff Tyzik, conductor Fri., June 10 at 10:45 AM & 8 PM Sat., June 11 at 8 PM Sun., June 12 at 3 PM

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES

BEETHOVEN'S FIRST Karina Canellakis, conductor Jessica Rivera, soprano Thurs., July 21 at 7:30 p.m. at The Berman Center for the Performing Arts Fri., July 22 at 8 p.m. at The Village Theater at Cherry Hill Sat., July 23 at 8 p.m. at Kirk in the Hills Sun., July 24 at 3 p.m. at Our Lady Star of the Sea

*DSO does not appear on this program. • Programs and artists are subject to change. Live from Orchestra Hall webcasts at dso.org/live

TICKETS AND INFO:

313.576.5111 or dso.org PERFORMANCE MAGAZINE

Partnership Melissa

I have a mission. Every day I come to work focused on serving members of my community. My Client Advisor from FirstMerit’s Charitable Advisory Group understands this—imparting financial expertise and partnering with me so that I can continue to focus on my mission. Because when the business side of our organization is well cared for, I can better care for those in need.

TO L E A R N MOR E A B O U T F I R S T M E R I T P R I VA T E B A N K , C O N T A C T : Ken Duetsch II,

Senior Vice President, at 248-430-1255 or ken.duetsch@firstmerit.com. Follow the latest market trends @firstmerit_mkt

*Melissa reflects a composite of clients with whom we’ve worked; she does not represent any one person. Non-deposit trust products are not insured by the FDIC; are not deposits or obligations of FirstMerit Bank, N.A, or any of its affiliates; are not guaranteed by FirstMerit Bank, N.A. or any of its affiliates; and are subject to investment risk, including possible loss of principal invested.

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