Prix-Fixe Theater Menu $39.00 per person. Available only pre/post theatre. Choose one from each course.
First Course
½ WEDGE SALAD Bacon, Bleu Cheese, Tomato, Ranch Dressing
GOLDEN ONION SOUP Havarti Cheese Crouton
EGGPLANT BRUSCHETTA
Second Course
PEPERCORN ENCRUSTED NEW YORK STRIP Bleu Cheese cream, Wilted Garlic Spinach
SAUTÉED MICHIGAN WHITEFISH Sundried Traverse City Cherries, Mushrooms, butter and Grand Traverse Riesling Autumn Wild Rice
BASIL MARINATED GRILLED CHICKEN Red Pepper coulis, Roasted Carnival Cauliflower
EGGPLANT LASAGNA Portofino sauce
STUFFED ROCK LOBSTER TAIL ($10 supplemental charge) Baked with Blue Crab, Exotic Mushroom, Vanilla Gelee, Haricot vert
Third Course
PASTRY CHEF ERIC’S WHIM SORBET WITH RASPBERRY SAUCE
The Whitney Dessert Parlor
and temptation always awaits at... Sweets & Spirits. Cakes & Tarts from Executive Pastry Chef Eric
4421 Woodward Avenue | 313-832-5700 | thewhitney.com
The Detroit Symphony Orchestra, a leader in the world of classical music, embraces and inspires individuals, families and communities through unsurpassed musical experiences.
CONTENTS oneDSO
FEATURES
12
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.
20
Read program notes anytime in Performance magazine online at dso.org/performance
Welcome from President & CEO and Chairman 4 Orchestra Roster
7
Board Leadership
8
Governing Members
9
Volunteer Council
11
Maximize Your Experience
16
DSO Administrative Staff
36
Volunteer Ushers
41
Annual Fund
42
Upcoming Concerts
50
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
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DETROIT SYMPHONY ORCHESTRA
SUPPORTING THE ARTS
We celebrate the DSO – a world-class ensemble.
WWW.HONIGMAN.COM
MARCH 20 –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
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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
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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
Officer-at-Large
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
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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
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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
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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
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feature story
feature story
TO STAGE OR NOT TO STAGE... By Leonard Slatkin
T
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
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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
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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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PERFORMANCE MAGAZINE
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maximize your experience OFFERINGS Volume XXIV Spring 2016, Issue 1
•
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.
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spotlight An important component of the DSO’s commitment to diversity, inclusion and accessibility is our Diversity & Inclusion Task Force.
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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 members’ 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
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Leonard Slatkin, Music Director Jeff Tyzik, Principal Pops Conductor Neeme Järvi, Music Director Emeritus
POPS SERIES
Friday, March 11, 2016 at 10:45 a.m. & 8:00 p.m. Saturday, March 12, 2016 at 8:00 p.m. Sunday, March 13, 2016 at 3:00 p.m. in Orchestra Hall JEFF TYZIK, conductor • CATHIE RYAN, vocalist Leroy Anderson Irish Suite The Irish Washerwoman The Last Rose of Summer The Girl I Left Behind Me with Cathie Ryan arr. and adpt. Peata Beag do Mháthar Cathie Ryan Band & Jeff Tyzik Rick Kemp Somewhere Along the Road arr. Cathie Ryan Band & Jeff Tyzik Cathie Ryan & John Doyle Carrick-a-rede arr. Cathie Ryan Band & Jeff Tyzik Mairéad Ní Mhaonaigh Mo Nion O arr. Cathie Ryan Band & JeffTyzik arr. Tyzik Johnny Be Fair —INTERMISSION— Karine Polwart Follow the Heron arr. Cathie Ryan Band & Jeff Tyzik Cathie Ryan The Wild Flowers arr. and adpt. Cathie Ryan Band Lament of the Three Marys & Jeff Tyzik
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Cathie Ryan Grandma’s Song Laura Smith I’m a Beauty arr. Cathie Ryan Band & Jeff Tyzik Cathie Ryan/John Doyle Grace O’Malley arr. Cathie Ryan Band & Jeff Tyzik Cathie Ryan So, Here’s to You Kate Rusby Walk the Road arr. Cathie Ryan Band & Jeff Tyzik
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.
profile Jeff Tyzik’s bio appears on page 6.
CATHIE RYAN
For more than 25 years, including five solo albums, countless musical collaborations and multiple awards, Cathie Ryan has been in the vanguard of Irish music. She is blessed with a voice of luminous clarity and a gift for unearthing gems from Irish and American song traditions, creating her own heart-stirring originals, and for showcasing writers whose work deserves wider recognition. Wrap this musical integrity into a consummate entertainer and it is no wonder the Wall Street Journal calls her music, “a revelation.” Cathie is a captivating performer whose shows are renowned for their intimacy and power, as well as her witty banter. “There is nothing like a live show. I love the energy, the give and take, of being
with an audience. And I love to have fun up there!” she says. Cathie happily shares the stage, and the show, with her award-winning band. Featuring Patsy O’Brien on guitar, Matt Mancuso on fiddle, and Brian Melick on percussion, the band weaves subtle arrangements and harmonies around Cathie’s vocals and match her charming repartee with dazzling sets of traditional tunes. Cathie Ryan Band has built a loyal following by touring internationally and singing “songs of the heart.” They have been featured on national and public television throughout the world. Their radio highlights include NPR’s Mountain Stage and Thistle and Shamrock, PRI’s The World, BBC in England and Northern Ireland, Radio Scotland, and RTÉ and RnaG in Ireland. Cathie’s fifth CD, Through Wind and Rain, is bringing her music to a much wider audience. When not singing, Cathie leads tours of Ireland for Rick Steves’ Europe. PERFORMANCE MAGAZINE
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Leonard Slatkin, Music Director Jeff Tyzik, Principal Pops Conductor Neeme Järvi, Music Director Emeritus
CLASSICAL SERIES
Friday, March 18, 2016 at 10:45 a.m. in Orchestra Hall Saturday, March 19, 2016 at 8:00 p.m. in Orchestra Hall in Orchestra Hall THOMAS DAUSGAARD, conductor • SIMON TRPČESKI, piano Carl Nielsen Helios Overture, Op. 17 (1865-1931) Franz J. Liszt Piano Concerto No. 2 in A major (1811-1886) Simon Trpčeski, piano —INTERMISSION— Jean Sibelius Symphony No. 1 in E minor, Op. 39 (1865-1957) Andante, ma non troppo - Allegro energico Andante, ma non troppo lento Scherzo: Allegro Finale (quasi una fantasia): Andante - Allegro molto
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
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.
profiles THOMAS DAUSGAARD
Thomas Dausgaard is Chief Conductor Designate of the BBC Scottish Symphony Orchestra, Chief Conductor of the Swedish Chamber Orchestra, Principal Guest Conductor of the Seattle Symphony, Honorary Conductor of the Orchestra della Toscana (ORT) and Honorary Conductor of the Danish National Symphony Orchestra, having previously served as its Principal Conductor from 2004–2011. He is renowned for his creativity and innovation in programming, the excitement of his live performances, and his extensive catalogue of critically-acclaimed recordings. He regularly appears with many of the world’s leading orchestras including the Munich Philharmonic, Leipzig Gewandhaus Orchestra, Staatskapelle Dresden, Philharmonia Orchestra, London Symphony Orchestra, BBC Symphony and the Orchestre Philharmonique de Radio France. He began his North American career assisting Seiji Ozawa, and has since appeared with The Cleveland Orchestra, Boston Symphony, Toronto Symphony and the Montreal Symphony, among others. He is also a regular visitor to Asia and Australia and appears at a number of festivals, including the BBC Proms, the Salzburg Festival, Mostly Mozart and Tanglewood. As a recording artist, he enjoys long-standing relationships with the BIS and Da Capo labels and has made well over 50 CDs, including complete cycles of symphonies by Beethoven, Schubert, Schumann and Rued Langgaard. “Opening Doors”, his ongoing series for BIS with the Swedish Chamber Orchestra, has consistently won praise for performances of 19th-century repertoire more usually associated with symphony orchestras. He has been awarded the Cross of Chivalry by the Queen of Denmark, and elected to the Royal Academy of Music in Sweden. His interests beyond music are wide-ranging, and include a fascination with the life and culture of remote communities: he has visited head-hunting tribes in Borneo, volun-
teered as a farmer in China and stayed with villagers on an island in the South Pacific. Currently he lives in Denmark with his family. SIMON TRPCESKI
Macedonian pianist Simon Trpčeski has established himself as one of the most remarkable musicians to have emerged in recent years, performing with many of the world’s greatest orchestras and captivating audiences worldwide. Mr. Trpčeski is praised not only for his impeccable technique and delicate expression, but also for his warm personality and commitment to strengthening Macedonia’s cultural image. Mr. Trpčeski is a frequent soloist in the UK with the London Symphony, City of Birmingham Symphony, the Philharmonia and Halle, the Royal Liverpool and the London Philharmonic orchestras. Other engagements with major European ensembles include the Royal Concertgebouw, Russian National and Bolshoi Theatre orchestras, NDR Sinfonieorchester Hamburg, DSO and RSO Berlin, WDR Cologne, MDR Leipzig, Tonkünstler Orchestra in Vienna, the Danish National Symphony Orchestra and the Rotterdam, Strasbourg, Royal Stockholm, Helsinki, Oslo, Royal Flanders and St. Petersburg philharmonic orchestras. In North America he has performed with the New York and Los Angeles Philharmonics, The Philadelphia and Cleveland orchestras and the Boston, San Francisco, Pittsburgh, Chicago, Toronto and Baltimore symphony orchestras, among others. Elsewhere he has performed with the New Japan, Seoul and Hong Kong Philharmonics, Sydney, Adelaide and Melbourne symphony orchestras, and has toured with the New Zealand Symphony. The 2015/16 season sees Mr. Trpčeski continuing to perform at the highest level across the globe. Elsewhere, he returns to play with the San Francisco, Atlanta, Vancouver and Detroit Symphony Orchestra, Rotterdam Philharmonic and Orquestra Sinfónica Portuguesa. PERFORMANCE MAGAZINE
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program notes Helios Overture, Op. 17
CARL NIELSEN B. June 9, 1865, Sortelung near Nørre Lyndelse on Funen D. October 3, 1931, Copenhagen). NIELSEN’S HELIOS OVERTURE OP. 17 IS SCORED FOR 3 FLUTES (THE THIRD DOUBLING ON PICCOLO), 2 OBOES, 2 CLARINETS, 2 BASSOONS, 4 HORNS, 3 TRUMPETS, 3 TROMBONES, TUBA, TIMPANI AND STRINGS (APPROX. 12 MINUTES)
ment of it is in no way impeded by not knowing the program, which is a depiction of feeling rather than action. It is constructed in three large sections, the first and last forming a slow introduction and epilogue, while the central sonata section is based on a march-like theme. Nielsen provided a brief hint as to the program: “Silence and darkness — then the sun rises with a joyous song of praise — it wanders its golden way — and sinks quietly into the sea. The work was last performed by the DSO under Jerzy Semkow in October, 2011. It received its DSO debut in January 1969 at Ford Auditorium with Sixten Ehrling conducting.
Danish composer Carl Nielsen was born in 1865, the same year as Finnish composer Jean Sibelius. —————— He came from a humble background; his father was a house decorator and village musician. The Piano Concerto No. 2 in A major composer was the seventh of 12 children. After his FRANZ LISZT studies in Copenhagen, Nielsen joined the Royal B. October 22, 1811, Raiding Danish Orchestra as a violinist and played under D. July 31, 1886, Bayreuth Johan Svendsen in the first performance of his own first symphony. He was to succeed Svendsen as the LISZT’S CONCERTO IN A MAJOR orchestra’s conductor in 1906. IS SCORED FOR 3 FLUTES (THE In 1902, Nielsen signed a contract with the THIRD DOUBLING ON PICCOLO), publisher Wilhelm Hansen that allowed him to 2 OBOES, 2 CLARINETS, 2 go to Athens, Greece to join his wife Anne Marie BASSOONS, 2 HORNS, 2 TRUMPETS, Carl-Nielsen, who was one of the first sculptors al3 TROMBONES, TUBA, TIMPANI, lowed to make copies of the statues in the Acropolis. CYMBALS (PAIR) AND STRINGS Nielsen’s stay in Athens gave him the inspiration (APPROX. 22 MINUTES) for a work depicting the sun rising and setting over the Aegean Sea, an overture which he called Helios. Franz Liszt was a Hungarian composer, pianist and He began work on it in March of 1903, and finished teacher. As a composer, he developed new methit on April 23 of that same year. ods that anticipated some 20th-century ideas and Nielsen maintained a sensible attitude with re- procedures; he evolved the method of “transformagard to program music, acknowledging music’s ex- tion of themes” as part of his revolution in musical pressive qualities while remaining somewhat skep- form and invented the symphonic poem. He was the tical of its ability to depict a specific scenario. “If greatest piano virtuoso of his time, using his senone limits oneself to a brief suggestion or title, the sational technique and magnetic personality for his music may illuminate and set off from many angles own effect as well as to spread (through his piano and in several ways,” he wrote. “But the program transcriptions) the music of other composers. As a or the title must in itself contain a motive of feeling conductor and teacher he became the most influor movement, never of thinking or concrete action.” ential figure of the New German School dedicated Nielsen’s Overture fits the aforementioned re- to progress in music. quirements perfectly. While the title refers to the While Liszt wrote only two numbered piano Greek sun god Helios, the Overture stands on its concertos, he decisively influenced the course of own as a musical work, and the listener’s enjoy-
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program notes the modern piano concerto through the more than elusive quality is part of what makes the concerto 20 other works he composed for piano and orches- so intriguing, and this should come as no surprise: tra, no two of which are alike. Several of these are from the opening notes, Liszt promises the listener based on previously-written themes: from Berlioz’ a work that is out-of-the-ordinary, and Franz Liszt Lélio, Beethoven’s Ruins of Athens, Hungarian folk was never one to under deliver on a promise. melodies and, for the Totentanz, the plainchant The DSO last performed this work under the Dies Irae. direction of Jerzy Semkow in October 2011 and The two piano concertos span two eras of Kirill Gerstein as soloist. It received its DSO debut Liszt’s life: the “virtuoso years,” as Alan Walker in April 1920 with Ossip Gabrilowitsch conducting called them in his biography of the composer, and and as soloist. the later period when Liszt was at Weimar, occupied primarily with orchestral music. Liszt actually —————— began the Concerto in A major in 1839 – before the E-flat major Concerto – but he did not complete it Symphony No. 1 in E minor, Op. 39 until 1861, after having reworked it several times. JEAN SIBELIUS By the time he had completed the work, Liszt had B. December 8, 1865 in Hameenlinna, Finland become a master of the orchestra, having completD. September 20, 1957 in Jarvenpaa, Finland ed not only his series of symphonic poems, but also the Faust and Dante symphonies. SCORED FOR 2 FLUTES, 2 Many scholars have tried to fit the Second PICCOLOS, 2 OBOES, 2 CLARINETS, Piano Concerto into one preconceived form or an2 BASSOONS, 4 HORNS, 3 other, but by the time Liszt finished revising it he TRUMPETS, 3 TROMBONES, TUBA, had moved beyond such notions. Yet again, Liszt TIMPANI, PERCUSSION (BASS DRUM, attempted to transcend traditional forms, composCYMBALS, TRIANGLE), HARP AND ing a single long movement, which draws its energy STRINGS (APPROX. 38 MINUTES) from the metamorphosis of various themes. In one sense, this piece is best understood not as a conSibelius’ emergence as a symphonist coincided certo, but as a tone poem or a rhapsody for piano with a very repressive period in Finland’s long domand orchestra, for which no known program exists. ination by Imperialist Russia. This produced a lot Liszt did not divide this work into movements, of unrest and revolutionary activity, and united the allowing the listener to hear this great expanse of Finns with the Swedes in a strong determination to music in more than one way. For a first approach, overturn this oppression. In 1898 a man named Nione might try to hear the concerto in four large kolai Bobrikov arrived to take up his duties as Govsections: a slow introduction and first movement; a ernor-General of what was then the Grand Duchy of scherzo that introduces a new, leaping theme (later Finland. In February of the following year he issued tamed); a slow movement leading directly out of an infamous Manifesto which severely restricted this, in which a solo cello plays a role equal to that the Finns’ freedom of speech and assembly, put a of the piano; and a finale, in which the melancholy choke-hold on the press, forced young men into the theme that opened the work is presented in march military, made Russian a compulsory second lanrhythm, punctuated by fanfares. guage, and in effect reduced Finland’s autonomy In returning to the work, the listener may find to almost zero. the previous interpretation to be incomplete or Slowly but emphatically a groundswell of resisperhaps oversimplified. What seemed at first to be tance built up over the years until in 1904, Bobrikov an accompaniment turns out to be a melody, and was assassinated in the Finnish Senate—much vice versa; melodies appear and disappear; what like Julius Caesar in Rome in an earlier time. Beseemed at first to be the boundaries of clearly cause of the powerful and tragic intensity of this delineated sections begin to fuzz and blur. This PERFORMANCE MAGAZINE
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program notes First Symphony, and the ultimately heroic intensity Sibelius’ place in music, it is essential to realize of the Second Symphony, for a long time Finns tend- that not only was he the first great creative mued to look on these two works as complementary, sician in Finland, his First Symphony was the first portraying bitter and undying resistance and fore- important symphonic music to come from northern casting liberation and triumph. Europe, and in which the spirit of the North became While there may be some truth to this, it would fully embodied for the first time. Here was a new be equally valid to look on the two symphonies as voice and a language new to the world coming from a portrait of Sibelius’ great struggle in his mid-30s the least-known of the Nordic countries. He arrived to find his unique musical voice and throw off the without any advance notice with a fully-developed conventions of European late Romanticism, which, national music, a music which would prove to be of of course, he eventually did. Indeed, the Finnish universal significance, due in part to the fact that biographer Karl Ekman overlooked the patriotic its roots lay very deep in the Finnish soil. As a result, implications to similarly suggest that the personal his fellow Finns began to understand that here was program involved here was “…a profound human a man who was one of them, but who had created document of the struggle of a soul full of conflict for a new musical language in which he could express its salvation.” The English writer Cecil Gray once the aspirations and hopes of their nation, feelings referred to this symphony as “…the last of an old and thoughts—that they all shared, but until now line, rather than the first of a had to keep to themselves. new,” but this is not entirely His music was nothing accurate. Certainly one can There are enormous contrasts less than an expression of say that the First Symphony is modern man coming to grips the capstone of this period in in the work, reaching from with the young 20th century, Sibelius’ development, but at subtleties to passionate and and while others were content the same time it was a signifto bask in the glow of late Roicant first step into the sym- explosive outbursts and just manticism, he was uniquely phonic world, made with the able to discern the harsh and about everything else in enthusiasm of a still young unsettling features of what but already mature composer. lay ahead in the new century. between. It can be said that with Sibelius’ music is very often this work he took leave of the somber in its nature, someold century just as Beethoven times even bordering on the said goodbye to the preceding one with his First tragic, and the tremendous elemental sweep of Symphony, both composers having done so as an his greatest works has frequently been attributed acknowledgement of having taken from the past all to his love and affinity for the grandeur of nature that could be meaningfully used before setting off in Finland. While he wrote his symphonies in an in a new direction. There are enormous contrasts attempt to win international recognition, it was in the work, reaching from subtleties to passionate his works based on Finnish legends—particularly and explosive outbursts and just about everything those contained in the national epic called the Kaelse in between. In this regard, a recollection by one levala—which garnered him a reverence from his of his pupils is particularly telling. He told Sibel- fellow countrymen rarely accorded a living composius how gripped he always was upon returning to er. The Helsinki Institute was renamed in his honor, Finland over the Baltic Sea, and seeing the granite his birthdays were celebrated as state events, and rocks emerging from the blue waters was reminded on his 80th birthday a postage stamp was issued that many years ago this was the home of the Vi- bearing his portrait. kings. To which Sibelius replied, “Yes, and when we Sibelius wrote seven symphonies, and it was see those granite rocks we know why we are able to in them that his unique genius found its most treat the orchestra as we do.” To really understand characteristic and most personal expression. His
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program notes approach to the symphonic form was highly in- than part of a continuous progression. This feature dividual, and he used just as much of traditional is most evident in the long, sustained notes (called symphonic structure as suited his needs. Though pedal points) in the second movement and the he has often been criticized as being a relic of ringing pizzicato chords in the third. The symphony post-Romanticism, he actually broke away from is cyclical, in that the last movement repeats methe long utterances of Mahler and Bruckner, pre- lodic material from the first three, but usually with ferring to work instead with shorter motifs and a different instrumentation. The movements also more terse form of symphonic development. During tend to rely on orchestral timbre and texture, raththe fall of 1898, after returning to Finland from an er than harmonic patterns, as a means of support. extended stay in Germany, Sibelius began work on There is one other feature that makes his approach his First Symphony, which he finished the following to form quite unusual: instead of presenting melospring when he was 33. In April of 1899 he con- dies in their whole state at first, fragmenting them ducted the first performance of the work with the in development sections, and then putting them Helsinki Philharmonic before an enthusiastic audi- back together in recapitulations, he tends to beence which applauded vigorously after each move- gin and end with fragments, stating the melodies ment, after which the critics were unanimous in whole in the middle. their praise. Unfortunately, this original version no The exciting and powerful Scherzo is very longer exists. Being a perfecrugged and gruff, and in a tionist who was obsessed with startling reversal of normal Sibelius created seven revisions, it is thought that practice, the violins and vioSibelius actually burned the las produce a series of rhythmanuscript, leaving virtually eloquent symphonies which mic beats to underpin the no information about his first are a unique and wonderful main theme which is actually thoughts on the score other played by the timpani! The than mentioning the writers trio, by contrast, is very tenamalgam of classical who inspired its images of der and nostalgic, and when economy and passionate nature. A revised version was the Scherzo material comes completed in the summer of back, the two elements briefly Romantic gestures. 1900, and was first performed combine before the dynamic that July by the Helsinki orending. In the final movement, chestra, this time conducted marked quasi una fantasia by the eminent Robert Kajanus, as the first concert (like a fantasy), Sibelius clearly is announcing that in a lengthy tour throughout Scandinavia and the he is doing something quite out of the ordinary, and continent, when the new symphony received gen- instead of a normal symphonic form, uses a kind eral acclaim. of musical narrative which raises previously-heard Sibelius created seven eloquent symphonies material to a fever pitch along with screaming recthat are a unique and wonderful amalgam of clas- itative-like passages, lyrical and sorrowful passagsical economy and passionate Romantic gestures. es, musical chases and even silences as dramatic The marvel of this First Symphony is the innova- elements. When all is said and done, the symphony tive and intricate structure of all four movements, comes to its intense conclusion with the same two characteristics which set him apart from other sullen pizzicato chords which were heard at the end symphonists of his generation. The Symphony be- of the first movement. gins with a long, brooding clarinet solo, the first The DSO last performed this work in April 2001 of numerous such passages in the woodwinds and with Leif Segerstam conducting. It received its DSO strings. The harmonic underpinning of the melo- debut in January 1928 with Georg Schneevoigt condies is unusually static, as if he wanted the listener ducting. to focus on each chord as a separate entity rather PERFORMANCE MAGAZINE
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Leonard Slatkin, Music Director Jeff Tyzik, Principal Pops Conductor Neeme Järvi, Music Director Emeritus
CLASSICAL SERIES
Saturday, April 2, 2016 at 8:00 p.m. in Orchestra Hall in Orchestra Hall MICHELLE MERRILL, conductor • KEVIN BROWN, double bass
Antonín Dvořák Carnival Overture, Op. 92 (1841-1904) Walter Piston Suite from The Incredible Flutist (1894-1976) Johann Baptist Vanhal (1739-1813)
Concerto for Double Bass and Orchestra in D major Allegro moderato Adagio Allegro Kevin Brown, double bass
—INTERMISSION— Ludwig van Beethoven Symphony No. 6 in F major, Op. 68, “Pastorale” (1770-1827) Awakening of cheerful feelings on arriving in the country: Allegro ma non troppo Scene by the brook: Andante molto mosso Merry assembly of country folk: Allegro Thunderstorm: Allegro Shepherd’s Song - Happy, grateful feelings after the storm: Allegretto
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
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.
profiles MICHELLE MERRILL
Assistant Conductor Phillip and Lauren Fisher Community Ambassador Michelle Merrill is in her second season as Assistant Conductor of the Detroit Symphony Orchestra. She made her debut with the DSO conducting an educational webcast that reached over 50,000 students in classrooms throughout the nation. Recent and upcoming engagements include the Jacksonville Symphony Orchestra, Symphoria (Syracuse), Sacramento Philharmonic, Great Lakes Chamber Orchestra and the Northeastern Pennsylvania Philharmonic, where she formerly served as Assistant Conductor. As the Assistant Conductor of the DSO, she helps plan and conduct over 30 concerts per season, including her classical subscription debut in April 2016. Merrill also gives KEVIN BROWN, Principal Bass VAN DUSEN FAMILY CHAIR
Minnesota native Kevin Brown began playing the double bass at age 3. He has since gone on to perform with esteemed ensembles across the United States and Europe, in a burgeoning career that now leads him back home to the Midwest as principal bassist of the DSO. Kevin began his collegiate studies with Peter Lloyd at the University of Minnesota, but ultimately completed his bachelor’s and master’s degrees at Rice University as a student of renowned pedagogue Paul Ellison. Upon completing his degrees he went on to work with David Moore at the University of Southern California. While a student at Rice, Kevin performed extensively with the Houston Symphony, and joined them on tours to New York and Moscow. In 2009 he won the International Society of Bassists Orchestral Competition, which earned him a week in the bass section of the Philadelphia Orchestra, and in
pre-concert lectures, leads adult music education seminars and participates in hosting the Live from Orchestra Hall webcast series that is watched in more than 100 countries. In 2013 Merrill was awarded the prestigious Ansbacher Conducting Fellowship by members of the Vienna Philharmonic and the American Austrian Foundation, which enabled her to be in residence at the Salzburg Festival. A strong advocate of new music, Merrill recently collaborated with composer Gabriela Lena Frank and soprano Jessica Rivera on Frank’s work La Centinela y la Paloma (The Keeper and the Dove), as a part of numerous community programs related to the recent Diego Rivera and Frida Kahlo exhibition at the Detroit Institute of Arts. Additionally, her work in the 2011-12 season with Voices of Change was part of a program later named as one of Dallas Morning News critic Scott Cantrell’s Top Ten Classical Performances of 2011.
2011 he was selected to give a solo performance at the Kennedy Center as part of their Conservatory Project. Before his appointment to the DSO, Kevin also appeared as Guest Principal Bass of the Atlanta Symphony. Kevin has spent many of his summers performing at celebrated music festivals both nationally and abroad, including Tanglewood, Schleswig-Holstein, and Le Domaine Forget in Quebec. His keen interest in Baroque music partially led him to pursue study of historical performance practice at the Accademia di Musica Antica in Brunico, Italy. He also studied at the International Summer School of Early Music in Valitice, Czech Republic, and with private tutors in Vienna, Austria.
Purchasing DSO tickets is easier than ever! Use your smartphone or tablet to explore the DSO’s new mobile site at dso.org.
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program notes Carnival Overture, Op. 92
ANTONÍN DVOŘÁK B. Sept. 8, 1841, Nelahozeves, Bohemia D. May 1, 1904, Prague, Czech Republic DVOŘÁK CONDUCTED THE FIRST PERFORMANCE OF HIS CARNIVAL OVERTURE AT A CONCERT IN PRAGUE, APRIL 28, 1892. THE SCORE CALLS FOR 2 FLUTES AND PICCOLO, 2 OBOES AND ENGLISH HORN, 2 CLARINETS, 2 BASSOONS, 4 HORNS, 2 TRUMPETS, 3 TROMBONES, TUBA, TIMPANI, CYMBALS, TAMBOURINE, TRIANGLE, HARP, AND STRINGS. (APPROX. 9 MINUTES)
Life was sweet for Dvořák as his 50th birthday approached in 1891. Whether the composer was feeling philosophical that year, we can only surmise. But more than one commentator has seen his cycle Nature, Life, and Love, composed in 1891, as the product of midlife musing. The Carnival Overture forms the middle panel in this triptych and was composed between July and September 1891. All three parts, including the Overtures In Nature’s Realm and Otello, were performed for the first time at a concert in Prague in April 1892, a farewell for the composer before he departed for the New World. The Carnival Overture plunges directly into the festivities, whirling the listeners along before they have half a chance to demur. Only once is the celebratory mood broken: before taking up the development of his themes, Dvořák pauses for a reflective interlude in slow tempo, mulling over the “nature” theme – based on a series of rocking thirds – that recurs in all three overtures in the set. For a moment we can savor woodwind writing as luscious as any Dvořák ever penned, but suddenly, the party begins again, and there will not be a moment’s rest until the final chords. The DSO last performed this workat Stony Creek Metro Park in June 2014 with Brett Mitchell conducting. It received its DSO debut in February 1920 with Ossip Gabrilowitsch conducting.
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Suite from The Incredible Flutist
WALTER PISTON B. January 24, 1894 in Rockland, Maine D. November 12, 1976 in Belmont, Massachusetts SCORED FOR 2 FLUTES, PICCOLO, 2 OBOES, ENGLISH HORN, 2 CLARINETS, BASS CLARINET, 2 BASSOONS, CONTRABASSOON, 4 HORNS, 3 TRUMPETS, 3 TROMBONES, TUBA, TIMPANI, PERCUSSION (BASS DRUM, CYMBALS, GLOCKENSPIEL, TAMBOURINE, CASTANETS, SNARE DRUM & TRANGLE), PIANO AND STRINGS. (APPROX. 17 MINUTES)
Walter Hamor Piston, Jr. was an American composer, theorist and teacher of the front rank in mid20th century America. His grandfather, Antonio Pistone, emigrated to this country from Italy in the mid-19th century, in the process dropping the final “e” of the family name. Young Walter initially trained as an engineer, but he was artistically inclined from an early age, and later studied painting, architectural drawing and American history. For a time, he also worked as a draftsman for the Boston Elevated Railway. Along the way he learned enough piano and violin technique to earn a living by playing both those instruments in dance bands, and later on played the violin in orchestras led by Georges Longy, the principal oboist of the Boston Symphony Orchestra, founder of the Longy School of Music, and a great friend to contemporary composers. He enlisted in the Navy during World War I, and after teaching himself rapidly to play the saxophone, was assigned to play the instrument in a Navy band. While on duty, he taught himself to play most all of the other wind instruments, later recalling, “They were just lying around, and no one minded if you picked them up and found out what they could do.” He was admitted to Harvard in 1920, where he studied counterpoint, harmony, composition and music history, often working as an assistant to many of the music professors, and conducting the student orchestra. In 1924, after
program notes graduating summa cum laude from Harvard, he won a fellowship which allowed him to go to Paris where he studied composition with Nadia Boulanger and Paul Dukas, and violin with Georges Enescu. Returning to the U.S. two years later, he joined the music faculty at Harvard, remaining there until 1960 as a professor, composer and author. He was given a full professorship in 1944, and in 1951 was named Naumburg Professor of Music. He was a remarkable and highly respected teacher, and among his many students were such luminaries as Leonard Bernstein, Elliott Carter, Irving Fine, Harold Shapero, John Harbison, and Leroy Anderson. As a composer, he was among the first generation of American symphonists who established a world-wide reputation, along with Aaron Copland, Samuel Barber Roy Harris, Roger Sessions and William Schuman. His ideas about American nationalism in music still resound to this day. He once wrote, “The self-conscious striving for nationalism gets in the way of the establishment of a strong American school of composition, and even of significant individual expression. If composers will increasingly strive to perfect themselves in the art of music and will follow only those paths of expression which seem to take them the true way, the matter of a national school will take care of itself.” On another occasion he said, “The major problem for the composer must be to preserve and develop his individuality. He must resist the temptation to follow this or that fashion, and must find what it is he wishes to say in music and how best to say it, subjecting his work to the severest self-criticism.” Piston made his mark as a symphonist somewhat later than many of his colleagues, winning the New York Music Critics’ Circle Award in 1943 for his Second Symphony, a powerful work of immense appeal which still speaks directly to the listener. He later won two Pulitzer Prizes, in 1947 for his Third Symphony, and in 1961 for his Seventh Symphony. In between those two awards, he also won the Naumburg Recording Award for his Fourth Symphony, which was premiered by Antal Dorati and the [then] Minneapolis Symphony Orchestra in 1951. In addition, his Sixth Symphony was included in the programs of the Boston Symphony
Orchestra when, in 1956, it became the first American orchestra to tour the Soviet Union. The man fully understood the capacities of each orchestral instrument, making them sound their best, and once said, “…I have always composed music from the point of view of the performers. I believe in the contribution of the player to the music as written.” Between 1933 and 1955 Piston wrote four important books about music which have become classics in their respective fields. They are Principles of Harmonic Analysis, Counterpoint, Orchestration and Harmony, the last of which has gone through several editions, has been translated into several languages, and with amendments made by a later author, is still widely used by teachers and students. For the record, Piston’s handwriting and musical notation were so extraordinarily neat (undoubtedly due to his early years as a draftsman), that most of his orchestral scores were printed as facsimiles of his manuscripts, and he also wrote all of the musical examples in his textbooks. When he died in 1976, his obituary in The New York Times said, in part, that he was a composer “…who thoroughly mastered the ground principles of his art; who knew what he wanted to do and how to do it; and whose basis was a thorough command of counterpoint and form, on which was superimposed brilliant treatment of the orchestra.” As a tribute to one of New England’s most distinguished sons, his library and desk are on permanent display in the Piston Room of the Boston Public Library. The Incredible Flutist was premiered at a Boston Pops concert under Arthur Fiedler’s direction in May of 1938. The choreography was created by Hans Wiener, who wrote the scenario and who appeared on stage as part of his troupe of dancers. By all accounts it was a huge success, and although the ballet as a whole is now seldom performed, the concert suite which Piston later prepared and which was given its first performance by Fritz Reiner and the Pittsburgh Symphony Orchestra in November of 1940, has become a great favorite with audiences everywhere. The story of this delightful fantasy-ballet concerns the arrival in a sleepy town, “anywhere” in America, of a traveling circus. PERFORMANCE MAGAZINE
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program notes As the ballet begins, the town is awakening from its afternoon siesta: merchants and others are returning to work, shoppers are returning to the stores, and there are the usual daily squabbles among the townsfolk. But what is this? An offstage march is heard, which heralds the arrival of the Circus Band, closely followed by all of the circus acts and the colorful performers. Among them are the Barker, the Jugglers, the Snake Dancer, the Monkey Trainer with her Monkeys, the Crystal Gazer, and, of course, the eponymous Flutist, whose music charms and casts a spell over everybody— even the local snake charmer! By eight o’clock that evening love is in the air, most of the people are lured into romantic activity, and couples young and old are all over the place, including a rich widow and a merchant, along with the flutist and one of the merchant’s daughters. As his magical flute leads a dance among the gathered townspeople, the widow faints when she is discovered kissing the merchant, but just at the critical moment the Band strikes up, the Flutist breaks his spell and the circus vanishes into the night, just as mysteriously as it arrived. There are two marvelous sound effects in the work: first, members of the orchestra let out loud cheers when the Band marches in; and later on, the barking of a couple of dogs is imitated, also by players on stage. These were apparently improvised at the premiere by enthusiastic members of the Boston Pops, and became such a hit that they were incorporated into the score. The DSO last performed this work in May 1991 with Neeme Järvi conducting. It received its DSO debut in December 1941 at the Masonic Temple with Victor Kolar conducting.
Double Bass Concerto in Eb Major
JOHANN BAPTIST VANHAL B. May 12, 1739 in Nove Nechanice, Bohemia [now Czech Republic] D. August 20, 1813 in Vienna, Austria SCORED FOR SOLO DOUBLE BASS, 2 OBOES, 2 HORNS AND STRINGS (APPROX. 19 MINUTES).
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It is a curious fact of history that Haydn, Mozart and Beethoven— three of the greatest composers there ever have been—all arrived on the scene in very close proximity to one another in the 18th century. Because of their extraordinary achievements and the adulation which has been afforded them over the years, we have a situation in which a number of lesser but very gifted composers in that era have been under-appreciated (in some cases, actually overlooked), and, had they lived at a different time, might be considered in the upper echelons of musical history. Such was the case with the Bohemian composer Vanhal, who, it can be argued, was among the finest musicians in the latter half of the 18th century, but because of the circumstances just mentioned, is hardly known at all in our time. In addition, to this day there is no accurate and complete accounting of all of his compositions, and no thorough and insightful biography of the man whose symphonies are, in the words of the English music historian Charles Burney, “among the most complete and perfect compositions for many instruments which the art of music can boast.” In spite of a new thematic catalog which was published in 1988, the exact number of his compositions can only be estimated. One reason for this is that his earliest works, written in the 20 years or so before he went to Vienna, are all lost. In any case, he was a remarkably prolific composer, and attributed to him are at least 73 symphonies, 100 string quartets (perhaps the greatest outpouring of this genre in history), 250 sacred works (including almost 50 masses), a large number of instrumental and vocal works, and a great number of concertos, among them 19 for harpsichord, 15 for violin, 11 for flute, 9 for organ, and 2 for double bass. It is a sad fact that most of his sacred music remains unpublished, and little is known about it other than the names of the churches or monasteries for whom the works were written. We know him today as Johann Baptist Vanhal, but he may have been born as Jan Ignatius Vanhal, and during his life was known variously as Vanhall, Wanhall and Wanhal, the spelling which he and some of
program notes his publishers used. (In the late 20th century the Czech variant Jan Krtitel Vanhal was introduced, but it appears not to be correct.) All the extant evidence shows that Vanhal was one of the finest composers of his time: innovative, highly imaginative and boldly original, and that he definitely contributed significantly not just to the development of musical style in Vienna, but to music in Europe as well. His compositions were performed all over the world—even here in the U.S.—and he was highly regarded by his peers, chief among them Mozart and Haydn. Vanhal was born in a small town in Bohemia, into serfdom in a Czech peasant family. He received his first musical training from members of his family, becoming highly proficient as a violinist and organist from an early age, and being able to earn a living early on as a village organist and choirmaster. He also learned German while very young, this being a requirement for anyone thinking about pursuing a career either in Vienna or Germany. When he was 21 he was taken by his wealthy patroness to Vienna where he flourished, due in large part to his intelligence and commanding personality. Within just a few years he was able to free himself from bondage, and from the great number of works he produced began to be recognized as one of the most important symphony composers of his time. He soon came to the attention of a wealthy and ambitious nobleman from Dresden named Riesch who had come to Vienna looking for someone to become director of music at his fledgling musical establishment. Riesch was so impressed with the young Vanhal that he financed an extended stay in Italy for him in order that he learn from the best composers there, become familiar with the great aristocratic courts, and eventually return to Dresden to take up the new position. While in Italy, mainly in Rome and Venice, he appears to have written some operas, but if so, they are all lost. After almost two years in Italy, Vanhal returned to Vienna, and declined Riesch’s court position without ever explaining why. Because of this, a number of rumors surfaced saying that Vanhal had become mentally unbalanced and depressed, but the available evidence tends to in-
dicate that this was not the case. For several years after his return to Vienna, Vanhal had the support of Count Ladislus Erdody, a wealthy Croatian nobleman, and travelled on occasion between Vienna and one of the Count’s palaces, all the time continuing to write symphonies, chamber music and sacred works. In the late 1770s, as the musical tastes of the Viennese public began to change, Vanhal stopped composing symphonies, then string quartets, and the focus of his composing shifted from the nobility, fewer of whom could afford orchestras, to the public, whose interest in keyboard music was increasing rapidly. He also began to cultivate the opportunities offered by the nascent Viennese publishing industry, whereby he could gain ever-increasing control over the distribution of his works, and during this period almost 300 of his compositions were published in this way. For the last 30 years of his life he did not work for any patron, and was probably the first significant Viennese composer to make a living as a freelance composer, teacher and performer, becoming in the process one of Vienna’s most respected, influential and important citizens. In 1784 there is an account of his playing the cello in a string quartet, the other members of which were Haydn, Mozart and Dittersdorf! After 1787 he appears to have stopped performing in public, but was financially secure from the royalties of his publications. He died at the age of 74, still recognized and admired by the Viennese public. In spite of his relative obscurity, he did leave a very special legacy: by turning down Baron Riesch’s position in 1770 he in effect became one of the first active participants in a new social order, and thereby created his own peaceful Viennese version of the French Revolution. The DSO last performed this work in February 1983 at Ford Auditorium with Eric Knight conducting and Robert Gladstone as soloist. It received its DSO debut in January 1971 at Ford Auditorium with Sixten Ehrling conducting and Robert Gladstone as soloist.
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program notes Symphony No.6 in F major, Op.68, “Pastorale” LUDWIG VAN BEETHOVEN B. December 1770, Bonn, Germany D. March 26, 1827, Vienna, Austria
PREMIERED AT THE THEATER AN DER WIEN, VIENNA, DECEMBER 22, 1808. SCORED FOR PICCOLO, TWO FLUTES, TWO OBOES, TWO CLARINETS, TWO BASSOONS, TWO HORNS, TWO TRUMPETS, TWO TROMBONES, TIMPANI AND STRINGS. (APPROX. 40 MINUTES) In the Wiener Zeitung of December 17, 1808, the concert or Akademie of December 22 was announced: “On Thursday, December 22, Ludwig van Beethoven will have the honor to give a musical Akademie in the Theateran-der-Wien. All the pieces are of his composition, entirely new, and not yet heard in public…Beginning at half past six o’clock.” This extraordinary concert, lasting more than four hours in a bitterly cold hall, thus presented the first performances of Beethoven’s Symphony No.5 in C minor, his Symphony No.6 in F major (later known as the “Pastoral”), and the Fourth Piano Concerto. Preparations for such a massive undertaking did not go well. Apparently Beethoven was so angry with the orchestra at times that the musicians demanded he leave the room during rehearsals. With generally insufficient time for rehearsal for such a demanding program, the performance of the Choral Fantasia suffered most, at one point things went so badly that the performers had to start again. The pianist Czerny reported that Beethoven made some slight changes to both symphonies “during the performance,” (probably the rehearsals), since he had never heard them before, and later sent a list of corrections to the publisher Breitkopf and Härtel for incorporation into their edition. This kind of one-off concert was typical in Vienna in the 1800s. Occasional concerts were the rule rather than exception, though concerts of this
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scale were most unusual. It was not until later that subscription concerts emerged as the primary vehicle for presentation of symphonic concerts in Vienna, a tradition that continues today with the subscription concerts of the Vienna Philharmonic Orchestra, organized by the Gesellschaft der Musikfreunde. Beethoven’s Symphony No.6 is unusual in that it is written in five movements, with the last three performed without a break. Composed at the same time as the Symphony No.5, in which the third and fourth movements are also performed without a break, we can see Beethoven’s innovative treatment of form in the “Pastoral” Symphony. Although all the other symphonies are in four movements, Beethoven explored different movement schemes of many kinds, especially in his later quartets and piano sonatas. The influence of this type of formal innovation can be seen in Berlioz’ “Symphonie Fantastique” (also in five movements), and later in the nineteenth century in a number of Mahler’s symphonies. The programmatic nature of the “Pastoral” Symphony is well known. Each movement has its own title, though as Beethoven himself wrote on the handbill for the 1808 concert, they were “more the expression of feeling than painting.” Beethoven’s achievement of incorporating the extra-musical with the sublime in this symphony accounts for its popular reception in the nineteenth century. At the first performance, not surprisingly the Fifth Symphony received greater acclaim. With the benefit of hindsight, however, we can view Beethoven’s exploration of the symphonic medium presented in this concert as providing the seeds for the two principal schools of symphonic composition that would emerge later in the nineteenth century, in the absolute music of composers such as Schumann and Brahms, and in the program symphonies and symphonic poems of composers such as Berlioz, Liszt and Richard Strauss. The DSO last performed this work during a Beethoven Festival in February 2013 with Leonard Slatkin conducting. It received its DSO debut in February 1920 with Ossip Gabrilowitsch conducting.
profile BRENT HAVENS
Leonard Slatkin, Music Director Jeff Tyzik, Principal Pops Conductor Neeme Järvi, Music Director Emeritus
DSO PRESENTS
Music of the Rolling Stones Wednesday, April 6, 2016 at 7:30 p.m. in Orchestra Hall
BRENT HAVENS, conductor, arranger BRODY DOLYNIUK, vocals, guitar DAN CLEMENS, bass, background vocals POWELL RANDOLPH, drums, background vocals GEORGE CINTRON, guitar, background vocals JUSTIN AVERY, keyboards, background vocals
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.
Berklee-trained arranger/conductor Brent Havens has written music for orchestras, feature films and virtually every kind of television. His TV work includes movies for networks such as ABC, CBS and ABC Family Channel Network, commercials, sports music for networks such as ESPN and even cartoons. Havens has also worked with the Doobie Brothers and the Milwaukee Symphony, arranging and conducting the combined group for Harley Davidson’s 100th Anniversary Birthday Party Finale attended by over 150,000 fans. He has worked with some of the world’s greatest orchestras including the Royal Philharmonic in London, the Cincinnati Symphony Orchestra, the Minnesota Orchestra, the Pittsburgh Symphony, the Indianapolis Symphony Orchestra, the Houston Symphony, the Atlanta Symphony, the Baltimore Symphony, the Dallas Symphony, the Fort Worth Symphony, the Nashville Symphony, the Buffalo Philharmonic and countless others. In 2013 Havens conducted the Malaysian Philharmonic for the Music of Michael Jackson show there and returned to Kuala Lumpur in 2014 with the Music of Led Zeppelin and 2015 with the Music of Queen. Havens recently completed the score for the film “Quo Vadis,” a Premier Pictures remake of the 1956 gladiator film. In 2013 he worked with the Baltimore Symphony and the NFL’s Baltimore Ravens to arrange and produce the music for the Thanksgiving Day halftime show between the Ravens and Pittsburgh Steelers, adapting both classical music and rock songs into a single four minute show. Havens is Arranger/Guest Conductor for twelve symphonic rock programs – the Music of Led Zeppelin, the Music of the Doors, the Music of Pink Floyd, the Music of the Eagles, the Music of Queen, the Music of Michael Jackson, the Music of The Who, The Music of Whitney Houston, the Music of The Rolling Stones, the Music of U2 and most recently the Music of Journey! Havens also premiered a full orchestral show for Lou Gramm, The Voice of Foreigner with Lou singing out front. PERFORMANCE MAGAZINE
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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
36
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
Ra’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
37
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
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DETROIT SYMPHONY ORCHESTRA
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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
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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.
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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
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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
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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
Two who wish to remain anonymous
PERFORMANCE MAGAZINE
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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
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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
45
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
46
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 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 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
47
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
48
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
49
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
50
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
51
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.
Member FDIC
2801_FM16