DSO Performance Magazine_winter1 by Detroit Symphony Orchestra

Vol. XX â&#x20AC;˘ 2011-2012 Season

Winter 2012

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

SYmphony Electric

DSO Principal Viola adds rock to the repertoire

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Henry Ford West BloomField Hospital

Perform ance / Vol . X X / Winter 201 2

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

Editor Gabrielle Poshadlo gposhadlo@dso.org 313.576.5194

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

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

Concerts

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

30 Education News 32 Donor Roster 38 Upcoming Concerts

Cover Story

10 Symphony Electric DSO Principal Viola adds rock to the repertoire

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

Cover photo by Mark Burnham www.dso.org

Performance / Vol . X X / Winter 201 2

Detroit Symphony Orchestra Board of Directors officers Stanley Frankel Chairman

Glenda D. Price, Ph. D Secretary

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

Marlies Castaing Vice Chair

Arthur Weiss Treasurer

Lloyd E. Reuss Officer At-Large

Bruce D. Peterson Vice Chair

Phillip Wm. Fisher Officer At-Large

Anne Parsons President & CEO

Directors Mark Davidoff

Ismael Ahmed

Karen Davidson

Rosette Ajluni

Robert Allesee

Daniel Angelucci Janet Ankers

Gloria Heppner, Ph. D.

‡

Floy Barthel

Mrs. Mandell L. Berman Robert H. Bluestein

Penny B. Blumenstein

‡

Walter E. Douglas

Shelley Heron, Orchestra Representative

Marianne Endicott

Ronald M. Horwitz ‡

Linda Dresner

Nicholas Hood, III

Jennifer Fischer

Paul M. Huxley ‡

Laura L. Fournier

Renee Janovsky

Sidney Forbes

Mrs. Harold Frank

Chacona Johnson‡

Elizabeth Boone

Richard A. Brodie

Lynne Carter, M.D. Gary L. Cowger

Peter D. Cummings, Chairman Emeritus

Herman Frankel

Hon. Damon J. Keith

Stephen R. D’Arcy

Maureen T. D’Avanzo

Allan D. Gilmour

William P. Kingsley

Lois A. Miller

Wei Shen

Mrs. Ray A. Shapero Jane F. Sherman

Stephen Strome ‡

Michael R. Tyson Ann Marie Uetz

Faye Alexander Nelson

David Usher

James B. Nicholson, Chairman Emeritus

‡

Richard P. Kughn ‡

Paul Ganson

Lawrence M. Liberson,‡ Orchestra Representative

Samuel

Lois L. Shaevsky

David Robert Nelson

Alfred R. Glancy, III,‡ Chairman Emeritus

Frankel†

David N. McCammon

‡

Joel D. Kellman

Barbara Van Dusen‡

Arthur T. O’Reilly‡

Ted Wagner

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

Harold Kulish

Hon. Kurtis T. Wilder R. Jamison Williams

William F. Pickard

Bonnie Larson ‡

Brigitte Harris

Alan E. Schwartz‡

Sean M. Neall

Ralph J. Gerson‡

Herman Gray, M.D.

Florine Mark

Marjorie S. Saulson

James C. Mitchell, Jr.

Michael J. Keegan

‡

Jack A. Robinson‡

Edward Miller

Sharad P. Jain

Barbara Frankel

John A. Boll, Sr.

Arthur C. Liebler‡

Ralph J. Mandarino

‡

Clyde Wu, M.D.‡

Stephen Polk

John E. Young

Bernard I. Robertson‡

‡ Executive

Lifetime Members David Handleman, Sr.†

Dr. Arthur L. Johnson†

Committee

†Deceased

VOLUNTEER COUNCIL 2010-13 Officers

Janet M. Ankers President

Ellie Tholen Vice President for Public Relations

Virginia Lundquist Vice President for Outreach

Esther Lyons Recording Secretary

Debbie Savoie Vice President for Projects

Dr. Nora Sugintas Vice President for Membership

Ken Beattie Vice President for Administration & Finance

Mary Beattie Corresponding Secretary

Marlene Bihlmeyer

Marvin D. Crawford

Gloria Nycek

Gwen Bowlby

Sandie Knollenberg

Todd Peplinski

Gloria Clark

Eva Meharry

Victoria Keys Young

Board of Directors

Lynn Miller

Perform ance / Vol . X X / Winter 201 2

Kelly Hayes – Ex-Officio (Immediate Past President) Eleanor Siewert – Ex-Officio (Parliamentarian) www.dso.org

Governing Members

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

officers

Arthur T. Oâ&#x20AC;&#x2122;Reilly Chairperson

Jan Bernick Vice Chair, Philanthropy

Maureen T. Dâ&#x20AC;&#x2122;Avanzo Vice Chair, Membership

James C. Farber Vice Chair, Outreach

Mary K. Mansfield Vice Chair, Governance

Bonnie Larson Vice Chair, Engagement

Frederick J. Morsches Vice Chair, Communications

Randall Hawes Musician Liaison

Victoria J. King Musician Liaison

Mr. & Mrs. Herbert A. Abrash Richard & Jiehan Alonzo Mr. & Mrs. Richard L. Alonzo Dr. Lourdes V. Andaya Mr. & Mrs. Eugene Applebaum Dr. & Mrs. Ali-Reza R. Armin Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook Jeanne Bakale & Roger Dye Nora Lee & Guy Barron Mr. & Mrs. Martin S. Baum Ken & Mary Beattie Don & Carol Bell Cecilia Benner Mrs. John G. Bielawski Mrs. Betty Blazok Joseph & Barbra Bloch Dr. & Mrs. Rudrick E. Boucher Gwen & Richard Bowlby Mr. Scott Brooks Robert N. & Claire P. Brown Michael & Geraldine Buckles Mrs. Doreen Bull Mr. H. William Burdett, Jr. Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Mr. William N. Campbell Philip & Carol Campbell Dr. & Mrs. Thomas E. Carson Dr. Thomas Clark Lois & Avern Cohn Jack, Evelyn & Richard Cole Family Foundation Mrs. Robert Comstock Brian & Elizabeth Connors Dr. & Mrs. Ivan Louis Cotman Mr. & Mrs. Raymond M. Cracchiolo Ms. Mary Rita K. Cuddohy Mr. Richard Cummings Mr. Marvin Danto Joanne Danto & Arnold Wiengarden Mr. & Mrs. James H. Danto Ms. Barbara Davidson Lillian & Walter Dean Ms. Margaret H. Demant Beck Demery Ms. Leslie Devereaux Ms. Barbara Diles David Elgin Dodge Mr. Peter & Kristin Dolan Mr. & Mrs. Mark Domin Ms. Judith Doyle Eugene & Elaine Driker Paul & Peggy Dufault Rosanne & Sandy Duncan Mr. Robert Dunn Ms. Bette J. Dyer Dr. & Mrs. A. Bradley Eisenbrey www.dso.org

Mr. & Mrs. John M. Erb Mary Sue & Paul E. Ewing Mr. David Faulkner Mr. & Mrs. Oscar Feldman Mr. Ron Fischer & Kyoko Kashiwagi Mrs. Max M. Fisher Mr. & Mrs. Herbert Fisher Mr. Steven J. Fishman Emory M. Ford, Jr. Dr. Saul & Mrs. Helen Forman Maxine & Stuart Frankel Dale & Bruce Frankel Rema Frankel Ms. Carol A. Friend & Mr. Mark T. Kilbourn Mr. & Mrs. Daniel E. Frohardt-Lane Mr. & Mrs. William Y. Gard Dorothy & Byron Gerson Gale & Victor Girolami Dr. & Mrs. Kenneth W. Gitlin Dr. & Mrs. Robert Goldman Mr. & Mrs. Mark Goodman Dr. Allen Goodman & Dr. Janet Hankin Mr. Robert Gorlin & Mary Ann DeMattia Mr. & Mrs. James A. Green Dr. & Mrs. Steven Grekin Mr. Jeffrey Groehn Mr. & Mrs. James Grosfeld Alice Berberian Haidostian Dr. Algea O. Hale Mr. Robert Hamel Randall L. & Nancy Caine Harbour Ms. Cheryl A. Harvey Mr. & Mrs. Ross Haun Ms. Nancy B. Henk Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Dr. Jean Holland Dr. Deanna & Mr. David B. Holtzman Jack & Anne Hommes Mr. F. Robert Hozian Jean Wright & Joseph L. Hudson, Jr. Julius & Cynthia Huebner Mr. & Mrs. Richard J. Jessup Mr. John S. Johns Lenard & Connie Johnston Mrs. Ellen D. Kahn & Mr. George M. Zeltzer Faye & Austin Kanter Mr. & Mrs. Norman D. Katz Jacob & Rachel Kellman Michael E. Smerza & Nancy Keppelman Dr. & Mrs. David Kessel Mrs. Frances King Dr. Harry & Katherine Kotsis Robert C. & Margaret A. Kotz David & Maria Kuziemko

Joyce LaBan Dr. Raymond Landes & Dr. Melissa McBrien-Landes Drs. Scott & Lisa Langenburg Anne T. Larin Dr. Klaudia Plawny- Lebenbom & Mr. Michael Lebenbom Mr. David Lebenbom Marguerite & David Lentz Mr. Allan S. Leonard Mr. & Mrs. Daniel Lewis Mr. & Mrs. Robert Liggett Mrs. Florence LoPatin Dr. & Mrs. Charles Lucas Mr. & Mrs. Charles W. Manke, Jr. Elaine & Mervyn Manning Mr. & Mrs. Richard A. Manoogian Mrs. Susan O. McMillan Mr. Ronald Meulebrouck Mr. & Mrs. Alonzo McDonald Patricia A. & Patrick G. McKeever Dr. & Mrs. Donald A. Meier Thomas & Judith Mich Ms. Deborah Miesel John E. & Marcia Miller Mr. & Mrs. Leonard G. Miller Bruce & Mary Miller Dr. Robert & Dr. Mary Mobley Dr. Susan B. Molina & Mr. Stephen R. Molina Mrs. Sheila Mondry Mr. & Mrs. Craig R. Morgan Ms. Florence Morris Dr. Stephen & Dr. Barbara Munk Joy & Allan Nachman Geoffrey S. Nathan & Margaret E. Winters Denise & Mark Neville Mr. & Mrs. James M. Nicholson Patricia & Henry Nickol Mr. & Mrs. David E. Nims Ms. Mariam Noland & Mr. James. Kelly Mr. & Mrs. Stanley Nycek Ms. Jo Elyn Nyman Mrs. Margot C. Parker Mr. & Mrs. Richard G. Partrich Mrs. Sophie Pearlstein Dr. & Mrs. Claus Petermann Mr. Charles L. Peters Mr. & Mrs. Donald E. Petersen Mrs. Helen Pippin Mr. & Mrs. Jack Pokrzywa Mr. & Mrs. William Powers Mr. & Mrs. Nicolas I. Quintana Ms. Ruth Rattner Drs. Y. Ravindranath & Kanta Bhambhani Emily Reid

Dr. Claude & Mrs. Sandra Reitelman Jane Russell Martie & Bob Sachs Debbie & Mike Savoie Mr. & Mrs. Michael Schultz Mr. & Mrs. Fred Secrest Elaine & Michael Serling Mr. & Mrs. Herbert Shanbaum The Honorable Walter Shapero Mr. Stephan Sharf Dr. Les & Mrs. Ellen Siegel Mr. & Mrs. Robert Siewert Mr. & Mrs. Donald R. Simon Mr. & Mrs. William Sirois Mr. & Mrs. Richard Sloan Mr. & Mrs. S. Kinnie Smith, Jr. Mr. & Mrs. Leonard W. Smith William H. Smith Mr. John J. Solecki Mr. Richard A. Sonenklar & Mr. Gregory Haynes Richard & Renate Soulen Dr. Gregory E. Stephens Professor Calvin L. Stevens Mr. Clinton F. Stimpson, Jr. Dr. & Mrs. Charles D. Stocking Ms. Jan J. Stokosa Bernard & Barbara Stollman Dr. Gerald H. Stollman Mr. & Mrs. John Stroh III David Szymborski & Marilyn Sicklesteel Ms. Dorothy Tarpinian Mr. & Mrs. Joel D.Tauber Mr. Robert VanWalleghem Mr. & Mrs. George C. Vincent Mr. & Mrs. William Waak Dr. & Mrs. Ronald W. Wadle Mr. & Mrs. Jonathan T. Walton Mr. Patrick A. Webster Mr. & Mrs. Herman W. Weinreich Mr. & Mrs. Lawrence Weisberg Mr. & Mrs. John Whitecar Mrs. Beryl Winkelman Dr. & Mrs. Max V. Wisgerhof Mr. & Mrs. Jonathan Wolman David & Bernadine Wu Ms. June Kar Ming Wu Dr. & Mrs. Robert E. Wurtz Dr. Alit Yousif & Mr. Kirk Yousif Mrs. Rita J. Zahler Mr. & Mrs. Alan Zekelman Seymour Ziegelman Mr. Paul M. Zlotoff Mrs. Paul Zuckerman Milton & Lois Zussman

Performance / Vol . X X / winter 2012

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

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

First Violins

Kimberly A. Kaloyanides Kennedy Acting Concertmaster Katherine Tuck Chair

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

Beatriz Budinszky*

Marguerite Deslippe* Elias Friedenzohn*

Laurie Landers Goldman*

LeAnn Toth*

Haden McKay*

Adam Stepniewski Acting Principal The Devereaux Family Chair Ron Fischer*

Hong-Yi Mo*

Robert Murphy* Bruce Smith*

Alvin Score

Bass Clarinet

Stephen Molina++ Linton Bodwin

Bassoons

Patricia Masri-Fletcher+ Winifred E. Polk Chair Flutes

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

Jeffery Zook

Alexander Mishnaevski+ Julie and Ed Levy, Jr. Chair

Laurence Liberson

Shannon Orme Barbara Frankel and Ronald Michalak Chair

Alexander Hanna+ Van Dusen Family Chair

Piccolo

Lilit Danielyan* ^

Shannon Orme

Basses

Paul Wingert*

Philip Dikeman++ ^

Marian Tanau*

Laurence Liberson++

E-Flat Clarinet

Jeffery Zook

Joseph Striplin*

Theodore Oien+ Robert B. Semple Chair

Úna O’Riordan*

Harp

Second Violins

Hart Hollman

Carole Gatwood*

Richard Robinson ^

Greg Staples*

Shanda Lowery-Sachs

Robert Bergman*

Marshall Hutchinson

Laura Rowe*

Glenn Mellow

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

Craig Rifel

Adrienne Rönmark*

Caroline Coade

Marcy Chanteaux++ ^ Dorothy and Herbert Graebner Chair

Stephen Edwards

Eun Park*

James VanValkenburg++

Clarinets

Robert deMaine+ James C. Gordon Chair

Maxim Janowsky

Joseph Goldman*

Violas

Violoncellos

Oboes

Donald Baker+ Jack A. and Aviva Robinson Chair

Robert Williams+ John and Marlene Boll Chair Victoria King

Michael Ke Ma++ Marcus Schoon

Contrabassoon Marcus Schoon French Horns Karl Pituch+

Bryan Kennedy

Corbin Wagner Mark Abbott

David Everson++ ~

Trombones

Kenneth Thompkins+ Nathaniel Gurin++ Randall Hawes

Conducting Assistant Charles Greenwell Stage Personnel

Bass Trombone

Frank Bonucci Stage Manager

Tuba

Matthew Pons Department Head

Randall Hawes

Dennis Nulty+ Timpani

Eric Schweikert ``# Brian Jones+ ^ Percussion

Larry Anderson Department Head

Michael Sarkissian Department Head Legend

+ Principal

++ Assistant Principal

Eric Shin ``#

``# S ubstitute musician, Acting Principal

Ian Ding++ ^ William Cody Knicely Chair

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

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

Librarians

Robert Stiles+

^ Extended Leave

~ On Sabbatical

§ African-American Orchestra Fellow

Ethan Allen

Personnel Manager

Stephen Molina Orchestra Personnel Manager Heather Hart Assistant Orchestra Personnel Manager

Trumpets

Stephen Anderson Acting Principal Lee and Floy Barthel Chair Kevin Good

William Lucas

Shelley Heron Maggie Miller Chair Brian Ventura++

Geoffrey Johnson§

Han Zheng Hang Su

Catherine Compton

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

Perform ance / Vol . X X / Winter 201 2

www.dso.org

SPG91011_DSOad.pdf

9/19/11

8:32 PM

Classical Music with

CMY

Dave Wagner and Chris Felcyn

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

www.dso.org

Performance / Vol . X X / winter 2012

President’s Message Welcome back to Orchestra Hall! Winter is upon us and we’ve much to look forward to. I am pleased to report that we are fortunate to have the opportunity to build on several success stories from 2011 as we begin the DSO’s exciting journey into 2012. Strong leadership and partnerships will be recurring themes associated with these and other positive stories that will unfold in the months ahead. In December we premiered our new Neighborhood Concert Series to enthusiastic crowds in Dearborn and Beverly Hills and in January, we added series in four additional Metro Detroit venues. As we strive to reach new, or reengage lapsed, audiences we are delighted to report that one third of these Neighborhood patrons are completely new to the DSO, and 80 percent have not subscribed in the past five years. We are well on our way towards achieving our goal to substantially grow the number of lives we touch and increase the frequency of service to each community member we meet. In Orchestra Hall, we’ve watched students of all ages regularly enjoy concerts thanks to our successful new Soundcard all-access student pass. And well into the first full season of “Live from Orchestra Hall” DSO’s new HD webcasts presented in partnership with Detroit Public Television, audiences from a staggering 40 countries (and counting) regularly experience our classical orchestra performances. (I am told home schooled families are particularly delighted to incorporate our webcasts into their curriculum!) We are thrilled that our friend and music director Leonard Slatkin chose to renew his commitment to the DSO and to Detroit with a contract extension through 2016, over the same weekend that he and composer Cindy McTee were married in their new metro Detroit home. And while we lost a dear and longtime friend last November, in March we will dedicate our Classical Roots concerts to the late Arthur Johnson and celebrate our newest lifetime member of DSO’s Board of Directors. While the success of the DSO is indelibly connected to the dedicated efforts of each of our DSO musicians, I’d like to take this opportunity to acknowledge Kim Kaloyanides Kennedy for the grace, poise and passion she offers us through her role as Acting Concertmaster. Kim’s generosity of spirit is paired with a fierce belief in the endless possibilities that lie before us. Thanks to all of you, our loyal customers, for your support as we journey together towards a future enriched by enduring music, people and partnerships. With all best wishes for a satisfying 2012,

Anne Parsons President & CEO 8

Perform ance / Vol . X X / Winter 201 2

News & Notes

Introducing the Neighborhood Concert Series!

The DSO is pleased to announce that the inaugural season of its Neighborhood Concert Series is in full swing in six metro Detroit neighborhoods: Beverly Hills, Bloomfield Hills, Dearborn, Grosse Pointe, Southfield and West Bloomfield Township. Playing both encore performances from the Orchestra Hall stage and unique repertoire, you can now find the DSO right in your own backyard. The DSO opened the season in December to packed houses at the Ford Community and Performing Arts Center in Dearborn and the Seligman Performing Arts Center at the Detroit Country Day School in Beverly Hills. View the complete concert schedule in all six neighborhoods at www.dso.org/neighborhood. Tickets are still available for all venues but are going fast! Contact the box office at the Max M. Fisher Music Center today to reserve yours for just $25.

DSO Bass Trombone releases solo recording The first recording to take place in the Music Box at the Max M. Fisher Music Center, DSO Bass Trombonist Randall Hawes has recently released his second solo recording, “Barn Burner.” “It means a lot to me to play in that space,” said Hawes. “While it was being built, the crew gave me a hard hat so I could play there before it was even finished. Hopefully the CD will showcase the great acoustics in that room.” The repertoire focuses largely on American composers, many of whom have a personal connection with Hawes. Quadrivalence, for example, was composed for Hawes in 1990 by William Rivard, his trombone teacher from Central Michigan University, where he earned a Bachelor of Music Education. The Sonata for bass trombone and piano by Alec Wilder, on the other hand, is one of the most often performed pieces for bass trombone. “Barn Burner” is the first recording of the piece with percussion. Hawes’ next recording is already in the works and is due out next year.

Join the Volunteer Council for sartorial visions of Spring While the weather remains blustery it will be balmy at The Townsend Hotel in Birmingham on Thursday, March 1, 2012 when the DSO Volunteer Council presents its Spring fundraiser. Relax in a private luncheon setting as Saks Fifth Avenue presents “Trumpeting Spring: A Fashion Show of Spring Trends.” Thursday, March 1, 2012 11 a.m. reception 12 p.m. luncheon and fashion show The Townsend Hotel, 100 Townsend St., Birmingham, Mich. $75-$125. Purchase tickets by calling 313.576.5154. www.dso.org

Meet the Musicians:

Robert Stiles and Ethan Allen

heir names are right there on the orchestra roster, just below the percussion section, and yet you may not know their faces, as they are only on stage between works. Members of the orchestra like any violinist or oboist, DSO Principal Librarian Robert Stiles and Librarian Ethan Allen perform each time their musician colleagues take the stage; not so much behind the scenes as on the page. The Librarian’s rehearsal takes place on the second floor of the Max M. Fisher Music Center, where they can be found studying an orchestral score with their correction tools in hand, making additions and changes to the individual orchestra member’s parts to ensure that the score and parts match. Robert and Ethan both play instruments, and occasionally perform with the orchestra (Ethan plays percussion, Robert plays double bass and piano) but that’s not why they are members of the orchestra. Their intricate knowledge of music, familiarity with the technical aspects of every instrument, and efforts to represent the composer’s intentions at the highest artistic standards is what makes them essential in putting together the concert experience. Far in advance of each concert, the principal string players create and/ or confirm bowings for each piece of music and the librarians recreate these by marking each part in pencil for the other players. All potential problems in the music must be ironed out before the first rehearsal. “The orchestra runs a tight rehearsal schedule, so the music has to be performance-ready at the first rehearsal to ensure an efficient use of the orchestra’s time,” said Allen, who joined the DSO in 2005. Soon after Robert joined the DSO in 1999, one of his first objectives was to improve the dire storage condition of the orchestra’s music collection. He created a plan to transfer the materials into specially designed archival quality storage containers and oversaw their migration to the clean, temperature-controlled library where they are stored today. “Most of this music has had a pretty tough existence,” said Stiles, “but it’s still here and it is a privilege to help the orchestra bring this music to life.” The Librarians have created and maintained a performance history database of over 14,000 DSO concerts. In addition www.dso.org

they obtained a Mellon Foundation grant to create a web-based search tool for the Archives and Library on the DSO’s website. To explore the database, see http://tiny.cc/oi674. They helped acquire a grant to digitize 30 years of radio broadcasts and concert recordings that were originally recorded onto reel-to-reel tapes and were in grave danger of loss due to their age. Also, in collaboration with Wayne State University, the DSO Library’s collection of music Ethan Allen and Robert Stiles created under the Works must handle their tasks with the highest Progress Administration (WPA) was artistic standards. Although this behinddigitized. See http://tiny.cc/tt473. the-scenes work is rarely seen by audiences, The diverse nature of the librarians’ role it is always heard whenever the DSO makes them a part of the DSO’s past, takes the stage. present and future. From maintaining historical artifacts, to making last minute by Gabrielle Poshadlo edits to the music on stage, the librarians

Performance / Vol . X X / winter 2012

Symphony

Electric DSO Principal Viola adds rock to the repertoire

Photos by Mark Burnham

Perform ance / Vol . X X / Winter 201 2

www.dso.org

by Gabrielle Poshadlo

t doesn’t look anything like a viola. In fact, the five-string instrument DSO Principal Viola Alexander “Sasha” Mishnaevski performs with doesn’t really look like any other instrument, either. And yet it was inspired by the one he’s been playing nearly his entire life, a journey he depicts with “Symphony of Life,” his first recording on electric viola released this year. “It attempts to tell the story of human life through the classical manner I’m used to, but translated to speak a broader language,” said Mishnaevski. “LFC (Life Family Career),” for example (track No. 2 on the CD), begins with a din of an alarm clock, a phone ringing and a baby crying, depicting the hectic manner in which many people might start their day. It’s followed by a lilting, optimistic melody by the electric viola as if to say, “it’s all worth it.” During the Orchestra’s performance with the original cast of Beatlemania six years ago, Mishnaevski was invited to play with the band for the first encore, “Back in the USSR.” Except when he took the stage with the Beatles tribute band, he wasn’t playing a viola. Instead, he was making his stage debut on electric guitar, which he’d been practicing for the last two months. “The audience was going wild,” said Mishnaevski. “When we started playing ‘Birthday,’ the DSO musicians started to dance. It was amazing. That’s not something that happens at your typical symphony concert.” Following that concert, Mishnaevski was hooked on the audience’s reaction to a departure from typical classical repertoire. “I started thinking, how can I have that element of fun on stage that comes with playing something that connects with the audience in that way?” Two years later, he’d commissioned a five-string electric viola from John Jordan of Jordan Electric Violins in California, who is known for making whimsical electric violins. The Hawaiian Koa instrument is built to the exact specifications of the 1765 Italian acoustic viola Mishnaevski has been playing for 23 years. www.dso.org

While the measurements of the electric viola mimic the acoustic one exactly, making it easier for Mishnaevski to transition between the two instruments whenever necessary, the sound capabilities are completely different. The additional string, the E, allows the electric viola to play in the violin range as well as its own traditional one, and the electronics make the sound flexible to the use of special effects. Rather than depending on the relationship between the vibration of strings and the hollowed body of an acoustic instrument, the electric viola’s sound depends on the speakers, amplifier and the electronics feeding the sound into them. Two sensors beneath each string read the vibrations in stereo. “I can distort the sound to imitate a flute, oboe, guitar...the possibilities are endless,” said Mishnaevski. He met Stuart Zaltz, composer and producer of “Symphony of Life” through a mutual friend, a twist of events Mishnaevski describes as fate. “Stuart’s gigantic talent in composing plus classical training, with vast experience of being on stage in a rock ‘n’ roll scene for many years, I am very happy that the way we think and feel about music is completely in sync,” he said. The friendship that resulted from this project is depicted light-heartedly on the “Symphony of Life” album cover. Mishnaevski and Zaltz stand together on an old-world cobblestone street in front of a modern-looking family that’s looking in a shop window.

Looking closely at the original artwork, you’ll discover fun details. For examples, the shop addresses correspond with Mishnaevski’s and Zaltz’s birth years and the pan-handling accordion player sitting off to the side is actually Zaltz in disguise. “We wanted to see how many people would notice. The dog beside the fire hydrant in the corner? We tried to get him to lift his leg for the photo but he just wouldn’t,” said Mishnaevski. Mishnaevski made his performance debut on the Jordan viola in 2008 with Brent Lee’s composition of “Ruck and Rill,” performed with the Windsor Symphony Orchestra, conducted by John Morris Russell. The piece riffs on rock ‘n’ roll greats like Moody Blues, Pink Floyd and Jimi Hendrix. Mishnaevski hopes to perform the piece with the DSO in future seasons. “People always ask me what kind of music I play on the electric viola,” said Mishnaevski. “But really, I don’t even have a finger on the style it is. There is no category for it yet, but that is what makes it all new and exciting.”

Performance / Vol . X X / Winter 201 2

Perform ance / Vol . X X / Winter 201 2

www.dso.org

Profiles Bob Bernhardt Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

pops Series Friday, January 13, 2012 at 10:45 a.m. Saturday, January 14, 2012 at 8 p.m. Sunday, January 15, 2012 at 3 p.m. in Orchestra Hall Robert Bernhardt, conductor Ann Hampton Callaway, vocalist* Ted Rosenthal, piano ^ George Gershwin Strike Up the Band (1898-1937) arr. Frank Campbell-Watson George Gershwin Rhapsody in Blue ^ arr. Ferde Grofé

George & Ira Gershwin Lady Be Good*

Stanley Styne, Donald Kahn, A Beautiful Friendship/Love Walked In* George & Ira Gershwin

George & Ira Gershwin Embraceable You* George & Ira Gershwin The Man I Love*

I n termission

Henry Mancini Moon River arr. Marty Gold

Harold Arlen & Ted Koehler Let’s Fall In Love*

Richard Rodgers & Lorenz Hart With A Song In My Heart*

Duke Ellington & Manny Kurtz In A Sentimental Mood*

Jule Styne & Sammy Cahn Just In Time*

Sigmund Romberg & Lover Come Back to Me* Oscar Hammerstein II

Ann Hampton Callaway Create A Song Harold Arlen & Johnny Mercer Blues In the Night*

Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances. The DSO can be heard on the DSO, Chandos, London, RCA and Mercury Record labels.

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Conductor Bob Bernhardt brings a unique combination of infectious enthusiasm, a style of ease and a depth of musicianship to the podium. Equally at home with symphonic masterworks, opera Bernhardt and popular music in a variety of genres, Bernhardt’s conducting activity reflects his versatility and broad musical taste. He is Music Director Emeritus of the Chattanooga Symphony and Opera, having recently completed a 19-year tenure as Music Director. Bernhardt is also Principal Pops Conductor of the Louisville Orchestra where he celebrates his 30-year association with that orchestra during the 2011-12 season. He has previously served as Artistic Director and Principal Conductor of the Rochester Philharmonic, Music Director and Conductor of the Tucson Symphony, and Principal Guest Conductor of Kentucky Opera. Bernhardt began his professional career with the Louisville Orchestra in 1981 as Assistant Conductor, and has worked with the Orchestra every year since. For the past 15 years he has served as its Principal Pops Conductor. Bernhardt also hosts and conducts a three-concert series he founded in the late 1980s titled “NightLites,” which presents themed programs of a variety of musical genres in a creative, informative and engaging format. As a guest conductor, Bernhardt appears several times each season with the Edmonton Symphony where he conducts Light Classics, Pops and holiday programs and hosts their four-day Symphony Under the Sky Festival. He is also a frequent and regular guest conductor with the Boston Pops. Other guest conducting engagements include appearances with the symphony orchestras of Colorado, Detroit, Houston, Nashville, Pittsburgh, Phoenix, St. Louis, Seattle, Tucson, the Pacific Symphony and the Iceland Symphony, among others. Bernhardt made his Carnegie Hall debut in 1978 in a series of concerts with PDQ Bach. During the summer of 2011, Bernhardt made his debuts with the Baltimore Symphony and the Dallas Symphony and appeared with the Boston Pops. In addition to his commitments in Louisville, during the 201112 season Bernhardt will also lead the Pops series in Chattanooga and guest conduct the Cincinnati Pops and the Detroit, Edmonton, Santa Barbara and Tucson symphony orchestras. Performance / Vol . X X / Winter 201 2

Ann Hampton Callaway

Ann Hampton Callaway is an insatiable creative spirit. As a champion of the great American Songbook, she has made her mark as a singer, pianist, composer, lyricist, Callaway arranger, actress, educator, TV host and producer. A born entertainer, her unique singing style blends jazz and traditional pop, making her a mainstay in concert halls, theaters and jazz clubs as well as in the recording studio, on television, and in film. She is best known for Tony-nominated performance in the hit Broadway musical “Swing!” and for writing and singing the theme song to the hit TV series, “The Nanny.” Callaway is a Platinum Award winning writer whose songs are featured on five of Barbra Streisand’s recent CDs. The only composer to have collaborated with Cole Porter, she has also written songs with Carole King, Rolf Lovland and Barbara Carroll. Callaway’s live performances showcase her warmth, spontaneous wit and passionate delivery of standards, jazz classics and originals. Callaway has been a special guest performer with Wynton Marsalis and the Lincoln Center Jazz Orchestra, with Keith Lockhart and the Boston Pops at Symphony Hall and Tanglewood and is featured at many of the Carnegie Hall tributes. She has sung with more than 25 of the world’s top orchestras and big bands, and has performed for President Clinton in Washington, D.C. and at President Gorbachev’s Youth Peace Summit in Moscow. Callaway performed with her sister, Broadway star Liz Callaway, in their award-winning show “Sibling Revelry” at London’s Donmar Warehouse, and has performed twice in Berlin’s famed Philharmonie Hall by special invitation. In February, Callaway will release her most powerful recording to date called, “At Last” on Telarc Records. Her recent CDs, “Signature,” “Slow,” and “Blues in the Night” have received high critical acclaim. Ann’s other recordings include “Easy Living,” “To Ella With Love,” “After Ours,” “Bring Back Romance,” “Ann Hampton Callaway,” and the award-winning live recording “Sibling Revelry.” Callaway has also been a guest performer on more than 40 CDs, including Kenny Barron’s latest CD, “The Traveler.”

Perform ance / Vol . X X / Winter 201 2

Callaway made her feature film debut opposite Angelina Jolie and Matt Damon in “The Good Shepherd”, performing the standard “Come Rain or Come Shine” and recorded “Isn’t It Romantic?” and “The Nearness of You” in “Last Holiday”, starring Queen Latifah. Callaway is currently writing songs for the upcoming movie

musical “State of Affairs,” to be directed by Philip McKinley. Still in the fundraising stages, she has produced and hosted two TV specials with guests Liza Minnelli and Christine Ebersole for WTTW National to lead up to her PBS series “Singer’s Spotlight With Ann Hampton Callaway.”

gone to the gilmore

April 26 - May 12, 2012 TheGilmore.org

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REVIVING 5,000 YEARS OF CIVILIZATION. SHEN YUN. For Chinese, the words evoke a sense of wonder, magic, and the divine. To audiences who have seen it, they recall the experience of a lifetime—a moment so powerfully beautiful it touches the soul. Discover the glory of a fantastically rich culture, that of classical China, brought to life through brilliantly choreographed dance and mesmerizing, all-original orchestral compositions. Magnificently costumed dancers—the world’s elite— move in poetic arrangements that evoke pastoral beauty, imperial drama, and the glory of an ancient civilization. This season, discover what art was meant to be. Discover Shen Yun.

“Superb! Every performance was stunning.” — WNYC

“Brilliant choreography... extravagantly beautiful.” — BroadwayWorld.com

“Incredible.” — MSNBC FOR 5,000 YEARS in China, culture was heralded as a divine gift. Its glory was long the inspiration of countless artists and poets, until this heritage was nearly lost… Based in New York, Shen Yun Performing Arts seeks to revive this once-majestic tradition by creating a production worthy in its beauty of this noble history—something that enriches the lives of audiences in powerful, lasting ways.

Jan 26 - 29, 2012 Detroit Opera House HOTLINE: (888) 880-4110 www.DetShows.com

ALL-NEW 2012 SHOW WITH LIVE ORCHESTRA

ShenYun2012.com | DetShows.com

Presented by MI Falun Dafa Association

Profiles Hélène Bouchez Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

classical Series Friday, January 20, 2012 at 8 p.m. Saturday, January 21, 2012 at 8 p.m. Sunday, January 22, 2012 at 3 p.m.* in Orchestra Hall Hélène Bouchez, conductor Conrad Tao, piano

Claude Debussy Danse (1862-1918) orch. Maurice Ravel Claude Debussy La Soirée Dans Grenade from Estampes orch. Henri Büsser Camille Saint-Saëns Piano Concerto No. 2 in G minor, Op. 22 (1835-1921) Andante sostenuto Allegro scherzando Presto Conrad Tao, piano

I n termission César Franck Symphony in D minor (1822-1890) Lento - Allegro non troppo Allegretto Allegro non troppo *denotes “Live from Orchestra Hall” webcast performance

This Classical Series concert is generously sponsored by

PVS Chemicals, Inc.

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

Perform ance / Vol . X X / Winter 201 2

Conducting a wide repertoire from baroque to contemporary music, Hélène Bouchez appears as a guest conductor of orchestras around the world and has worked with leading music directors such as Pierre Bouchez Boulez, Leonard Slatkin, Kurt Masur, Marin Alsop and Rafaël Frübeck de Burgos. In France, she is guest at the “Folle Journée de Nantes”, and conducts orchestras such as Orchestre National d’Ile-de-France, and Orchestre de l’Opéra de Rouen. She premiered “The Verfügbar aux Enfers” from Germaine Tillion at the Théatre du Châtelet in Paris. With the Orchestre Philharmonique de Radio-France, Hélène Bouchez recorded “Homo Loquax” with narrator Isabelle Autissier. This recording was awarded “Coups de Coeur de l’Académie Charles Cros”. She also conducted Orchestre Lyrique Avignon Provence, Orchestre PoitouCharentes, Orchestre de Picardie, Orchestre Symphonique de Vichy, the Lyon XXI Century Ensemble, the Sillages Ensemble, and the Syntax Ensemble for contemporary music, Orchestre Philharmonique de Nice, the Russian Camerata, and the Amiens Brass Ensemble. She is also guest at the Nancyphonies Festival. Bouchez has conducted many world premieres and has collaborated with French composers such as Philippe Leroux, François Paris, and Thierry Blondeau. She is a regular guest at the Manca Festival in Nice and at “Aujourd’hui Musiques Festival” (Perpignan). In the U.S., Bouchez conducted the National Symphony Orchestra and the Fort Wayne Philharmonic Orchestra. In 2004, she was invited for a two-month residency at Tanglewood where she conducted a sharedlive broadcast concert with Kurt Masur. Previously, she was invited at the Cabrillo Festival of Contemporary Music held by Marin Alsop. Abroad, she worked with Pierre Boulez at the Lucerne Festival and conducted his Notations. She also performed with the Sarajevo Philharmonic Orchestra, the Szombathely Symphony and the Sofia Symphony Orchestra. In France, she conducted Orchestre National de Lyon. She was previously resident conductor of Orchestre Symphonique de Lyon and of the Orchestre de l’Université Claude Bernard. www.dso.org

Conrad Tao

Hailed by renowned music critic Harris Goldsmith as “the most exciting prodigy to ever come my way,” 17-yearold Chinese-American pianist Conrad Tao was found playing children’s songs on the piano at Tao 18 months of age. Born in Urbana, Ill., he gave his first piano recital at age 4, and at age 8, made his concerto debut performing Mozart’s Piano Concerto in A major. Tao is currently a Gilmore Young Artist, an honor awarded every two years to single out the most promising of the new generation of U.S. pianists. Tao has appeared as soloist with the Philadelphia Orchestra, the Russian National Orchestra, the Baltimore, Dallas, and San Francisco symphonies, among others. He has given solo recitals at the Louvre Museum in Paris, the Ravinia Festival, the Aspen Festival, the Verbier Festival, UC Berkeley’s Cal Performance Series, the Gilmore Series and has toured Italy, Mexico, Chile, Russia, China and Singapore. Highlights of Tao’s 2011-12 season include an immediate reengagement with Utah Symphony, DSO debut, 11 concerto performances in Florida, a European recital tour including recitals in Paris, Berlin, Munich and Southampton and concerts with orchestras in Mexico, Brazil, and Poland. As an accomplished composer, Tao is an eight-time consecutive winner of the ASCAP Morton Gould Young Composer award, since 2004. His first piano concerto, The Four Elements for Piano and Orchestra, was commissioned by the ProMusica Chamber Orchestra of Columbus, Ohio and premiered in October 2007. In June, the White House Commission on Presidential Scholars and the Department of Education named Tao a U.S. Presidential Scholar in the Arts and the National Foundation for Advancement in the Arts YoungArts program awarded him a gold medal in music. Tao currently attends the Columbia University-Juilliard School joint degree program and studies piano with Dr. Yoheved Kaplinsky and Dr. Choong Mo Kang.

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Program Notes Danse

Claude-Achille Debussy

B. August 22, 1862, St. Germain-en-Laye D. March 25, 1918, Paris

orch. Maurice Ravel

Ravel scored Debussy’s Danse for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and three percussion (playing bass drum, crotales, cymbals (pair), snare drum, tambourine and triangle), harp and strings (approximately six minutes).

rench composer Claude Debussy, along with Maurice Ravel, was one of the most prominent figures working within the field of what has come to be known as impressionist music (though he himself disliked the term intensely when it was applied to his own compositions). He produced a body of orchestral and piano works unusually independent of traditional norms in form, harmony and coloring, while in his songs and single opera achieved a new degree of psychological penetration through understatement. His music is noted for its sensory aspect and how it is not usually centered around a single key or pitch. Debussy grew up in a poor family in the Paris suburbs where he heard ancient liturgical church music as often as he heard the standard classical repertoire that formed the basis at the time for French musical education. He attended the Paris Conservatoire, winning the Prix de Rome (the institution’s highest honor) in 1884, but found the requirements that came with it to be stifling and quickly sought his own musical path. Debussy’s inspiration came primarily from a diverse array of sources, including non-European music and visual art. He was especially attuned to the work of the Symbolist poets, such as Baudelaire, Mallarmé, Verlaine and Rimbaud; their dreamlike imagery and subtle nuances of expression found resonance with the musical world he sought to create. Debussy’s Danse was originally written for solo piano under the title Tarantelle Styrienne. It was not published until 1890, when financial hardship forced the composer to sell several of his earlier works to publishers; it was reissued in 1903 under the current title. In 1923, Jean Jobert took over the firm of Fromont, the publisher of Debussy’s early works; to mark the occasion, Jobert commissioned Maurice Ravel to

orchestrate two of Debussy’s piano pieces. Ravel chose two dances, letting the Sarabande (from the 1901 suite Pour le piano, which was actually composed in 1894) form a stately counterpart to the lively cross-rhythms of Danse. The work’s sudden and bold harmonic shifts and liberal use of chords comprised of unusual intervals (such as what today would be called “ninth” chords) hint at some of the radical ideas the composer would explore in greater depth as he matured. The vigorous rhythms of the work are characteristic of the form known as the Tarantelle, a frenzied dance in 6/8 time that was supposed to have been performed in an effort to fight off the drowsiness that comes after being bitten by a tarantula, hence the name that was applied to the dance. Ravel, who had great regard for Debussy in spite of the competitive nature of their relationship, orchestrated the work during the winter of 1922-23. The DSO last performed Claude Debussy’s Danse in the orchestration by Maurice Ravel in February of 2008, with Gilbert Varga conducting. SO Shop @ The Ma x D recommends:

Debussy – Danse (Tarantelle styrienne): Jean Martinon conducting the ORTF National Orchestra, EMI 65240.

La Soirée dans Grenade from Estampes

Claude-Achille Debussy

B. August 22, 1862, St. Germain-en-Laye D. March 25, 1918, Paris

orch. Henri Büsser

Büsser scored Debussy’s La Soirée dans Grenade for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and two percussion, celeste, harp and strings (approximately six minutes).

rench composer and conductor Pierre Boulez declared Debussy to be “the start of the 20th century.” His reimagining of melody and form and his quest for a new musical language had an enormous impact on composers who followed. When Debussy was born, his parents were running a china shop. His father subsequently became a travelling salesman, a printer’s assistant and later a clerk, while his mother worked for a time as a seamstress. The unsettled life of the young Debussy reached a climax with the Paris Commune of 1871, when his father was Performance / Vol . X X / Winter 201 2

imprisoned for revolutionary activities. By this time he was already studying piano with one Mme. Mauté (who happened to be the mother-in-law of French poet Paul Verlaine), who was undoubtedly quick to realize the high quality of the talent that was before her. In October 1872 Debussy was accepted into the Paris Conservatoire. By 1874, he was already playing Chopin’s F-minor concerto and a career as a virtuoso seemed likely, but in both 1878 and 1879 his efforts in the piano examinations fell short and those dreams were abandoned. At the end of 1880 he joined the composition class of Guiraud, under whose guidance he won the Prix de Rome in 1884 with his cantata L’enfant prodigue. Debussy had already travelled to Italy, Vienna and Russia in the company of Tchaikovsky’s patroness, Madame von Meck, but he did not enjoy the required stay at the Villa Medici that accompanied the Prix de Rome: he remained there for just the minimum permitted period of two years. Following his sojourn in Rome, in 1888 and 1889 he visited Bayreuth, and also in the latter year was enthralled by the experience of the Javanese gamelan (a large instrumental ensemble formed largely of indigenous percussion instruments) which he saw and heard at the World Exhibition in Paris. The highly coloristic, impressionistic (the composer intensely disliked this label when applied to his music) nature of Debussy’s music led many who heard his piano pieces to imagine them as being scored for orchestra. This occurred fairly frequently during the composer’s lifetime, and in at least a couple of cases, led him to produce his own orchestrations when he found the results of others to be less-than-satisfactory. Orchestral transcriptions of Debussy’s piano works were prepared by a number of his contemporaries (several of whom also happened to be conductors or composers in their own right), including Maurice Ravel, Roger-Ducasse, Bernardino Molinari, André Caplet and Henri Büsser. Büsser was another graduate of the Paris Conservatoire and also won the Prix de Rome for music, just a few years after Debussy, in 1893. He studied organ with Cesar Franck, was personal secretary for a time to Charles Gounod and was later a protégé of Jules Massenet. At the personal request of Debussy, Büsser led the fourth and numerous subsequent performances of Debussy’s opera, Pelléas et Mélisande. Büsser became a composer in his own right, and later taught composition at the Paris Conservatoire. In addition to orchestrating Debussy’s Petite Suite in 1907, he also 18

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orchestrated La Soirée dans Grenade from Estampes, probably at around the same time. Debussy’s La Soirée dans Grenade was originally written for solo piano as the middle movement of the three-movement suite Estampes, the outer movements being Pagodes and Jardins sous la pluie. La Soirée dans Grenade makes use of the Arabic scale and mimics guitar strumming to evoke images of Granada, Spain. At the time he wrote the work, the composer’s only experience in Spain was a few hours spent in San Sebastián. In spite of this, Spanish composer Manuel de Falla said of Soirée: “There is not even one measure of this

music that is borrowed from the Spanish folklore, and yet the entire composition, in its most minute details, admirably conveys Spain.” This performance of Claude Debussy’s La Soirée dans Grenade from Estampes as orchestrated by Henri Büsser is a DSO première. SO Shop @ The Ma x D recommends:

Debussy - La Soirée Dans Grenade from Estampes: Jun Märkl conducting the Lyon National Orchestra, Naxos 8572568.

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Opus 3 Piano Series

Purchase an Opus 3 Piano Series Subscription…. Saturday, March 24 Pierre–Laurent Aimard, Piano Works by Schumann, Liszt, Kurtag and Debussy

Saturday, April 14 Richard Goode, Piano Works by Schumann, Brahms and Chopin

Saturday, April 28 Matthias Goerne, Baritone Leif Ove Andsnes, Piano Songs of Mahler and Shostakovich

and Get a Fourth Concert Free! Choose from: Saturday, March 24 Les Amies Nancy Allen, harp Cynthia Phelps, viola Carol Wincenc, flute Music by Debussy, Ravel and others

Saturday, May 19 Windscape Works for wind quintet by J.S. Bach, Mozart, Beethoven and others

All concerts take place at 8 PM at Seligman Performing Arts Center, 13 Mile & Lahser Roads, Beverly Hills Purchase by phone at 248-855-6070 or online at www.ComeHearCMSD.org/Charm

Piano Concerto No. 2 in G minor, Op. 22

Camille Saint-Saëns

B. October 9, 1835, Paris D. December 16, 1921, Algiers

Saint-Saëns’ Piano Concerto No. 2 is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, cymbals (pair) and strings (approximately 23 minutes).

amille Saint-Saëns was a gifted, fluent and prolific composer who embodied in his works many of what are considered to be quintessentially “French” qualities, above all clarity and order. He impressed an entire generation with his intellectual mastery of the art of music and his lucid interpretations at the keyboard. While still a child, Saint-Saëns had the sort of facility at the piano that provoked both admiration and jealousy. He first approached the keyboard at the tender age of 2, sounding one pitch after another, listening intently each time as the sound faded away. His first piano lessons came

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from his great-aunt, but his musical personality seems to have also been influenced by his mother, who in his own words had “an imagination, an enthusiasm, and ease of assimilation which bordered on the marvelous.” At a time when music in France was generally obsessed with opera, Saint-Saëns reinvented for the orchestral genre a purely French style to which Ravel and the Group des Six were to be the heirs. Few other composers between the years 1853 to 1900 could boast a catalogue of works as rich in quantity as in quality. His five piano concertos, differing greatly in tone and inspiration, have as their aim the achievement of an ever more perfect balance between piano and orchestra, and are a remarkable demonstration of the art of writing for the keyboard. The Piano Concerto No. 2, like his four others, was written for Saint-Saëns’ own use; however, the inspiration for its composition came from another keyboard wizard of the time: Anton Rubinstein. The two met in 1858, when Saint-Saëns impressed his colleague by sight-reading his Ocean Symphony at the keyboard, and from that point forward the two became close

friends. In 1868, Rubinstein played a series of concerto programs in Paris, with SaintSaëns as conductor. So happy was he with their collaboration that Rubinstein suggested an additional concert, with the roles transposed: he would conduct and Saint-Saëns would play the piano. Never wanting for inspiration, Saint-Saëns dashed off the G-minor Concerto in only three weeks, giving its premiere under Rubinstein’s direction at the Salle Playel in Paris on May 13, 1868. Saint-Saëns did not have sufficient time to prepare for the first performance, and he admitted that he played “very badly…except for the Scherzo, which was an immediate success…it did not go well.” Within a generation, however, the work made its way into the concerto repertoire, and later, when many of Saint-Saëns’ works had fallen into oblivion in the years following his death, this was one that survived. The first movement opens and closes with a tribute to the preludes of Bach, but as seen from a 19th century perspective. This is no fluke; Saint-Saëns was a famed performer of Bach, who managed to win over even the doubting Berlioz. The main discourse Performance / Vol . X X / Winter 201 2

between the piano and the orchestra was actually based, however, on a Tantum Ergo which Fauré had brought to Saint-Saëns while he was in the midst of writing the concerto. “Give it to me! I can make something of it!” Saint-Saëns told his pupil; and so he did: There is no slow movement; rather, a Scherzo that is tinged with both humor and feeling, seemingly haunted by either Puck or Queen Mab; Mendelssohn or Berlioz. The finale is a devilishly swirling Tarentelle (marked Presto), which brings an initially austere work to a tumultuous close. The DSO last performed Saint-Saëns’ Piano Concerto No. 2 in G minor in April, 1994 at a subscription concert conducted by Music Director Emeritus Neeme Järvi. SO Shop @ The Ma x D recommends:

Saint-Saëns – Piano Concerto No. 2: Jean-Yves Thibaudet, piano; Charles Dutoit conducting the L’Orchestre de la Suisse Romande, Decca B0009744.

Symphony in D minor

César (-Auguste-JeanGuillaume-Hubert) Franck

B. December 10, 1822, Liège, Belgium D. November 8, 1890, Paris, France

to Franck’s career in composition was offset in part by the encouraging response to his Trios Op. 1, written over the course of the previous three years and which appeared in the spring of 1843. Subscribers included several established composers, among them Giacomo Meyerbeer, Franz Liszt, Gaetano Donizetti, Frederic Chopin and Ambroise Thomas. In 1853, Franck was appointed organist of the church of Saint Jean-Saint François du Marais, which possessed an early organ by the brilliant builder Aristide Cavaillé-Coll, to whose firm Franck became attached as an “artistic representative.” The beginning of a

new phase in Franck’s career has been attributed to his appointment early in 1858 as organist of the newly completed basilica of Sainte Clotilde, where he inaugurated one of Cavaillé-Coll’s finest instruments on December 19, 1859. Franck’s chief concern was to provide music for the service; however, it was his ability to improvise after the service that quickly became a public attraction. Some of these improvisations appeared in tangible form in his first major work for the organ, the Six pièces, which were completed over the following two years. Franck’s individual compositional style is

Celebrating excellence.

Franck’s Symphony in D minor was composed between 1886 and 1888. The work was premiered February 17, 1889 at the Paris Conservatoire, with Jules Garcin conducting. Scored for two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, two trumpets, two cornets, three trombones, tuba, timpani, harp and strings (approximately 41 minutes).

ésar Franck was born in Liège, in the French-dominated Walloon district of what would later become Belgium. In October of 1830, Franck’s father, NicolasJoseph, enrolled him in the Liège Conservatory, where he quickly distinguished himself with honors in music theory and piano. The Franck family moved to Paris in May of 1835, recitals before Parisian audiences in those days being de rigueur for any pianist planning a solo career. Franck began studies at the Paris Conservatoire on October 4, 1837 and subsequently received honors for his studies in piano (1838) and counterpoint (1840). When his studies in organ produced only a second prix (1841), however, his father decided to withdraw him from his studies in order to concentrate on his career as a virtuoso pianist, and the family returned to Belgium. What might have been a serious setback

Perform ance / Vol . X X / Winter 201 2

Grand Valley STaTe UnIVerSITy celebraTeS The ImaGInaTIon, creaTIVITy, and beaUTy of The fIne arTS. We appreciate the performances that inspire and enlighten us. And, we applaud the artists who share our passion for excellence and our commitment to personal achievement. gvsu.edu | (616) 331-2025

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not easily defined as there were numerous influences on his work. An analysis of his Symphony in D minor reveals influences of Beethoven as well as the late romantic harmonic language of Wagner and Liszt. This ability to synthesize innovation with tradition could be said to be Franck’s trademark. Completed only two years before the composer’s death, the symphony favors a three-movement scheme over the fourmovement plan of classical times. As is often the case with Beethoven, however, the movements share themes, the end result being a greater feel of unity. The entire first movement is in classic sonata form, but the transitions between tempos, the extended chromatic harmonies, modulations to distant keys and extreme shifts in orchestral color are all attributable to the composer’s more contemporary influences. The second movement Allegretto opens with pizzicato strings accompanied by harp, which forms the backdrop for a haunting English horn solo. This melody is then accompanied by the violas, before giving way to duets with clarinet and horn. This movement is dual-purpose: Franck combines a slow Andante with a faster Scherzo, effectively telescoping the traditional four-movement symphonic plan into three. At the end of the movement, Franck pairs the English horn melody with string triplet figures from the “scherzo” sequence, creating a mood that is at once serene and anxious. The finale reintroduces themes from the first and second movements in cyclic fashion, which helps to unify the work as a whole. The movement opens strikingly in D major, in sharp contrast to the minor keys employed in the previous movements. As the movement progresses, the once plaintive English horn melody returns, this time to mark the beginning of the development section. This theme reappears later in full brass and woodwind garb, no longer plaintive but now majestic and triumphant. To close the thematic cycle, Franck reintroduces in the strings the second theme from the first movement, and the symphony ends decisively in the major mode. The DSO last performed César Franck’s Symphony in D minor in September of 2008, with Arild Remmereit conducting. SO Shop @ The Ma x D recommends:

Franck – Symphony in D: Pierre Monteux conducting the Chicago Symphony Orchestra, RCA 67897.

UPCOMING CONCERT

Shanghai Quartet with

Peter Serkin, Piano Saturday, February 11, 2012 at 8:00 p.m. Seligman Performing Arts Center, Beverly Hills Mozart: String Quartet in B-flat major, K. 458, “Hunt” Bright Sheng: Dance Capriccio for Piano and String Quartet (world premiere) Brahms: Piano Quintet in F minor, Op. 34 Sponsored by u Pre-Concert Talk by Dr. Steven Rings, 6:45 – 7:30 p.m.

Tickets: $43 - $75, students $25. For information and tickets, please call 248-855-6070 or visit www.ComeHearCMSD.org

Peter and Laurie Psarianos BUILDERS, RESTORATIONS, EXPERT ASSESSMENT LARGE COLLECTION OF QUALITY STRINGED INSTRUMENTS & BOWS QUALITY RENTALS, ACCESSORIES & MUSIC LIBRARY WWW.PSARIANOSVIOLINS.COM INFO@PSARIANOSVIOLINS.COM

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79 E. MAPLE, TROY, MI 48083 TEL 248.689.8424 | FAX 248.689.6162 HOURS BY APPOINTMENT AT: 157 EAST HOOVER, ANN ARBOR, MI 48104 TEL 734.761-8423 | FAX 734.761.8450 24 HOUR MAIL ORDER & MESSAGE TOLL FREE: 1-800-697-VIOL

Performance / Vol . X X / Winter 201 2

Profiles Hans Graf Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Classical Series

Saturday, January 28, 2012 at 8 p.m.* in Orchestra Hall

Hans Graf, conductor Karl Pituch, horn Carl Maria von Weber Invitation to the Dance (1786-1826) orch. Hector Berlioz Wolfgang Amadeus Mozart Horn Concerto No. 4 in E-flat major, K.495 (1756-1791) Allegro moderato Romanza: Andante Rondo: Allegro vivace Karl Pituch, horn Carl Maria von Weber Overture to Oberon (1786-1826)

I n termission Robert Schumann Symphony No. 2 in C major, Op. 61 (1810-1856) Sostenuto assai - Allegro ma non troppo Scherzo: Allegro vivace Adagio expressivo Allegro molto vivace

*denotes “Live from Orchestra Hall” webcast performance

This Classical Series concert is generously sponsored by

PVS Chemicals, Inc.

Perform ance / Vol . X X / Winter 201 2

Known for his wide range of repertoire and creative programming, the distinguished Austrian conductor Hans Graf is one of today’s most highly respected musicians. Graf was chosen to graf be the Music Director of the Houston Symphony in 2000 and began his tenure with the Orchestra in September 2001. Prior to his appointment in Houston, he was the Music Director of the Calgary Philharmonic for eight seasons and held the same post with the Orchestre National Bordeaux Aquitaine for six years. He also led the Salzburg Mozarteum Orchestra from 1984 to 1994. Graf ’s recent and upcoming guest engagements include appearances with the Cleveland and Philadelphia Orchestras; the New York and Los Angeles Philharmonics; the Boston, San Francisco, St. Louis, Cincinnati, Detroit, Dallas, Baltimore, Vancouver, Indianapolis and National symphonies and the St. Paul Chamber Orchestra; among others. Graf made his Carnegie Hall debut with the Houston Symphony in January 2006 and returned to Carnegie leading the Orchestra of St. Luke’s in March 2007. Graf and the Houston Symphony return to Carnegie Hall once again in May 2012 to participate in Carnegie’s Spring for Music festival. Internationally, Graf conducts in the foremost concert halls of Europe, Japan and Asia. Recent and upcoming international appearances include the Vienna Philharmonic, Vienna Symphony, Royal Concertgebouw Orchestra and Leipzig Gewandhaus Orchestra as well as the St. Petersburg Philharmonic, Deutsches Symphony Orchestra, Bavarian Radio Orchestra, Rotterdam Philharmonic, Budapest Festival Orchestra, Netherlands Radio Philharmonic, Sydney Symphony, Hong Kong Philharmonic and Malaysian Philharmonic. Born in 1949 near Linz, Graf studied violin and piano as a child. He earned diplomas in piano and conducting from the Musikhochschule in Graz and continued his conducting studies with Franco Ferrara in Siena, Sergiu Celibidache in Bologna and Arvid Jansons in Weimar and Leningrad. Graf served as the Music Director of the Iraqi National Symphony Orchestra in Baghdad during the 1975-76 season and www.dso.org

the following year began coaching at the Vienna State Opera. His international career was launched in 1979 when he was awarded first prize at the Karl Böhm Competition.

Karl Pituch

Karl Pituch was named Principal Horn of the DSO in 2000. In 1988, he finished as one of the top five hornists at the 37th International Music Competition in Munich, Germany. Pituch was the grand pituch prize winner at the 1989 American Solo Horn Competition and has been a finalist at many other solo competitions. Before joining the DSO, Pituch was Associate Principal Horn with the Dallas Symphony Orchestra, Principal Horn with the Honolulu Symphony Orchestra, the Jacksonville Symphony, the Colorado Music Festival Orchestra and the Chautauqua Festival Orchestra. He served as a guest Principal Horn for the Los Angeles Philharmonic at the Edinburgh Music Festival in Scotland and at the Hollywood Bowl. He also served as guest Principal Horn with the Cincinnati Symphony Orchestra on their European Tour in 2004 and the Grand Teton Festival Orchestra in Jackson Hole, Wy. Pituch can be heard on many recordings with the Dallas, San Francisco and Honolulu Symphony Orchestras. As a soloist, Pituch has performed with orchestras in Japan, Hawaii, Colorado, Oklahoma, Arkansas, Ohio, Florida and Michigan. He has been a frequent guest artist at numerous horn conferences and has served as a judge in the American Horn Competition. An active chamber musician, Pituch was a member of the Spring Wind Quintet for 11 years and participated in chamber music festivals in Marlboro, Vt.; Crested Butte, Colo.; Kapalua, Maui; Kazusa, Japan (with the Center City Brass Quintet); and Freden, Germany (with the American Horn Quartet). Pituch earned his bachelor’s degree from the University of Toledo where he studied with Mary Kihslinger. He also studied with Froydis Wekre of the Oslo Philharmonic and Dale Clevenger of the Chicago Symphony. For seven years, he was the horn instructor at the University of Hawaii.

www.dso.org

Program Notes Invitation to the Dance

Carl Maria von Weber

B. November 18, 1786, Eutin, Germany D. June 5, 1826, London, England

orch. Hector Berlioz

Scored for flute, piccolo, two oboes, two clarinets, four bassoons, four horns, two trumpets, two cornets, three trombones, timpani, two harps and strings (approximately 11 minutes)

arl Maria von Weber was a German composer, conductor, pianist, guitarist and critic. A founder of the Romantic movement in Germany, he was also one of its leading composers. Weber’s Invitation to the Dance was originally conceived as a piano piece in rondo form. Weber wrote it in 1819 and dedicated it to his wife Caroline, after they had been married only a few months. A brilliant pianist himself, Weber labeled the work “rondeau brilliante.” It is one of the first examples – if not the first ever – of the “concert waltz,” a waltz intended to be listened to, rather than danced. It was also the first piece that was a programmatic description of the dancers themselves. The piece tells the story of a couple at a grand ball, where a young man politely asks a girl for a dance. They take several turns around the room together and then politely part ways. Weber actually provided his wife and dedicatee with a detailed, bar-by-bar synopsis of the entire scenario as he had imagined and composed it. In 1841, Hector Berlioz was asked to contribute to a production of Weber’s opera Der Freischütz which was being given at the Paris Opéra. At that time, it was customary in France that operas contain a ballet in the second act, which was not always by the same composer. Berlioz was a great admirer of Weber’s, and had been disappointed on more than one occasion in his quest to meet him. He referred repeatedly to Weber’s works in his own Treatise on Instrumentation. Berlioz agreed to participate, but only on the condition that the opera be performed complete and unadapted, and that it contain only music by Weber. For the ballet sequence, Berlioz orchestrated the piano score of Invitation to the Dance, and in the process transposed the work from D-flat major to D major, making the piece more accessible to the orchestra and giving it a brighter sound. He called the ballet

“L’Invitation à la valse,” which is sometimes incorrectly applied to the original piano work. Berlioz’s orchestration took on something of a life of its own, separate from the opera for which it was intended. In later years, he frequently conducted his orchestration of Invitation in concert. Coincidentally, the instrumentation he used is similar to that which he employed in the “Un bal” movement of his own Symphonie fantastique. The DSO last performed Hector Berlioz’s orchestration of Weber’s Invitation to the Dance in November of 1941, conducted by Franz Allers. SO Shop @ The Ma x D recommends:

Weber – Invitation to the Dance: Fritz Reiner conducting the Chicago Symphony Orchestra, RCA 68160.

Concerto in E flat for Horn and Orchestra, K. 495

Wolfgang Amadèus Mozart

B. January 27, 1756, Salzburg, Austria D. December 5, 1791, Vienna, Austria

According to Mozart’s own catalogue of his works, this concerto dates from June 26, 1786. It has long been considered to be the last of four concertos that he wrote for the instrument; however, recent scholarship indicates that it was the second work in the group. The score calls for solo horn, two oboes, two horns and strings (approximately 15 minutes).

ozart composed the E-flat Horn Concerto (K. 495) in 1786, just two months after completing his great opera buffà The Marriage of Figaro. He was nearing the peak of his powers and of his career: not only had Figaro just been produced in Vienna, the previous year (1785) saw the composition of his set of six string quartets dedicated to his “most dear friend” Joseph Haydn, and the year following (1787) would include the premières of his opera Don Giovanni and his Symphony No. 38 in D Major (“Prague”), fittingly enough, as it were, in Prague. There were other positive developments for Mozart in 1787. That November, he was appointed Imperial Chamber Composer in Vienna as a successor to Christoph Willibald Gluck (at, however, a Performance / Vol . X X / Winter 201 2

lesser salary). If nothing else was known about Mozart, one could ascertain from his piano concertos the composer’s deep passions, his capacious (though hardly conventional) mind and his ability to seem many things to different people. Likewise, it is possible to discern in the works he composed for others something of their personalities and musical accomplishments. That Mozart and the horn player Joseph Leutgeb were on terms of easy familiarity is apparent on the surface. In the D Major Concerto that Mozart wrote for him in 1782 (K. 412), there is running commentary in the score in Italian, poking fun at the horn player with the same lowbrow humor that was Mozart’s delight. The score for this concerto, K.495 (which Mozart entered in his catalog as composed “for Leutgeb”) was written in blue, red, green and black inks — again, most likely to taunt the dedicatee. However, if the horn concertos themselves are taken as evidence, Leutgeb was certainly no slouch as a performer. There is tender feeling in these works, as well as passage work intended to show off dexterity of both hand and lip. On the modern valved horn, these more contorted passages flow easily, thanks largely to the improvements to the instrument. On the natural horn of Mozart’s time, listeners would have quickly noticed the player’s skill (or lack thereof ) at hand stopping, since notes that are played “stopped” sound brassy and have a somewhat muffled tone. By its very nature, the hand horn had something of a dual personality: it was dignified and stately in its lower range, vivacious and elegant in the upper. Both sides of the instrument’s personality are showcased in the first movement of the work, where Mozart takes care to avoid anticipating the soloist’s entrance in the orchestra. He is careful to shine the spotlight on the soloist, keeping the orchestral instruments out of his (or her) way melodically and on a different plane rhythmically. Romanza is the designation for the slow movement, as with the Concerto K.447. The word turns up occasionally in the piano concertos as well, but here its use seems to point to an especially personal kind of expression; an identification between player and instrument. In terms of construction, this is the simplest sort of quasi-sonata movement. However, it demands the greatest attention to phrasing and tone – another indication that Leutgeb was more than the “donkey” that Mozart called him on occasion. In addition to dexterity, the player’s comic 24

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talents are called upon in the finale, where the horn plays something of a game of orchestral hide-and-seek. Here, Mozart does not demand the same level of technical agility as in the first movement; rather, he tests the soloist’s endurance and his ability to remain in character, whatever the circumstances. The DSO first performed Mozart’s Horn Concerto in E flat K.495 on February 13, 1982 with Raymond Leppard conducting and Eugene Wade as soloist. The most recent DSO performance took place on August 4, 2001 at Meadow Brook Music Festival, with Peter Oundjian conducting and Karl Pituch as soloist. Köchel Number: refers to the catalog of Mozart’s complete works as devised by Ludwig Köchel (1800-1877). Romanza: (It.) Romance. A romanza is a short instrumental piece, song-like in character. ‘Stopped’ horn: a playing technique used by the performer of the early hand (or valveless) horn, which consisted of closing the bell of the instrument with the right hand and using additional breath support to achieve the desired pitch. This technique was necessary to produce pitches that were not ‘natural’ to the instrument as it was normally played.

Sonata (scheme): a formal structure consisting of three main sections: an exposition (where thematic material is presented), a development (where thematic material is subjected to a process of expansion and/or change) and recapitulation (where thematic material is re-presented, usually (but not always) in its original form. SO Shop @ The Ma x D recommends:

Mozart – Horn Concerto No. 4: Dennis Brain, horn; Herbert von Karajan conducting the Philharmonia Orchestra, EMI 65936.

Overture to Oberon

Carl Maria von Weber

B. November 18, 1786, Eutin, Germany D. June 5, 1826, London, England

Scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and strings (approximately 10 minutes)

eber’s operas Der Freischütz, Euryanthe and Oberon greatly influenced the development of the Romantic opera in Germany. Der Freischütz came www.dso.org

Ho n

to be known as the first German “nationalist” opera, Euryanthe developed leitmotiv technique to an unprecedented degree, and Oberon anticipated Mendelssohn’s incidental music for A Midsummer Night’s Dream. Weber was in declining health when he accepted the commission for his last opera, Oberon, or the Elf-King’s Oath. This was to be the composer’s first and only opera in English. He undertook the project, a commission from the actor-impresario Charles Kemble, for financial reasons, against the wishes of his doctor. Weber travelled to London to complete the music, and even learned English, in order to be better able to follow the score. However, the pressure and stress of rehearsals, social engagements and composing extra numbers ruined his health, and he died in London of tuberculosis on June 5, 1826, a scant two months after the première. Critics have suggested that the composer might have lived to return home, if only his English opera had not been a dismal failure. The reasons for this failure are primarily ascribed to the text which the composer had as his starting point. James Robinson Planché’s inept libretto was based on a masque by William Sotheby, which in turn combined elements from Villeneuve’s story Huon de Bordeaux and Wieland’s poem Oberon. The end result could flimsy at best, the story being littered with principal actors who do not even sing but rather speak their parts. After the first performances, Weber had planned to undertake significant revisions to the work, but sadly he did not live long enough to begin them. Numerous revisions of the work, including a complete translation of the text from English into German, were made in the years following Weber’s death, but Oberon has never managed to hold a place in the operatic repertoire. This is unfortunate, as from a musical perspective it is one of Weber’s most delightful scores, described enthusiastically by critic Percy Scholes as fresh and original throughout and entirely different from Weber’s other works. The Overture has happily met with a far better fate than the opera itself and is characterized from beginning to end by an almost intoxicating sweetness. In it, Weber makes use of material from the opera, and also incorporates motives from the incidental music he wrote in 1818 for Gehe’s tragedy Heinrich IV. The English critic Sir Donald Francis Tovey, who dismissed the libretto as “the merest twaddle” found the Overture to be “a gorgeous masterpiece of operatic orchestration.” This sentiment is shared by musicians and concertgoers alike, many of www.dso.org

whom have found this, Weber’s last work for orchestra, to also be his finest. The DSO last performed the overture to Carl Maria von Weber’s opera Oberon in October, 2008, under the direction of Günther Herbig. SO Shop @ The Ma x D recommends:

Weber – Overture to Oberon: Neeme Järvi conducting the Philharmonia Orchestra, Chandos 8766.

Symphony No. 2 in C major, Op. 61

Robert Alexander Schumann

B. June 8, 1810, Zwickau, Saxony D. July 29, 1856, Endenich, near Bonn)

Schumann’s Second Symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones timpani and strings (approximately 34 minutes).

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

Performance / Vol . X X / winter 2012

obert Schumann was a German composer, aesthete and influential music critic. In many ways, Schumann represents the quintessential Romantic composer, with his emphasis on self-expression, pronounced lyricism and interest in extra-musical associations (particularly those of a literary nature). Schumann had originally intended to pursue a career as a virtuoso pianist, having been assured by his teacher, Friedrich Wieck, that he could become one of the finest keyboard artists in Europe after only a few years of study with him. However, a hand injury prevented those hopes from being realized, after which he decided to focus his energies on composition. Until 1840, Schumann’s published compositions were written exclusively for the piano. Later, he composed works for piano and orchestra, songs, four symphonies, an opera and other orchestral, choral and chamber works. He also wrote extensively, and his writings about music appeared primarily in the Neue Zeitschrift für Musik (“New Journal for Music”), a Leipzig-based publication that he co-founded. In 1840, after a protracted and bitter court battle with his teacher (Wieck), Schumann married Wieck’s daughter, Clara, herself a concert pianist and composer. She would later give the premieres of many of Schumann’s piano works. In a letter to Mendelssohn dated September, 1845, Schumann closed by saying “For days my head has been a whirl of trumpets and drums in C. I don’t know what will come of it.” What eventually came of it was his Second Symphony in C major, which was fully sketched by the end of December and which received its first performance (with Mendelssohn conducting) on November 5, 1846. The Second Symphony was written at a time when the composer was making a determined effort to recover his mental health, which had suffered its first major blow in 1844. Schumann’s fear of insanity and his struggle against mental illness were transmuted by his sheer genius into a work which has at its core an inner struggle against the forces of darkness and fear which threaten to overpower the individual. In the opening bars of the slow introduction, an uncertain balance is struck between the two primary motives, which are played simultaneously: the motive of light and hope is played by the brass, while the motive of darkness and doubt is heard in the strings. Many of the later themes evolve from these two motives. The Allegro is constructed from two strong, vigorous themes. The mood of the development

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section is one of great conflict; here the battle of the will to survive is at its height. The struggle continues in the quicksilver Scherzo, which is pervaded by an atmosphere of agitation and uncertainty. Two contrasting trio sections appear, both of which are influenced by the “darkness” motive, but the movement closes triumphantly, with the brass quoting the motive of light. The lovely Adagio that follows is tinged with romantic charm and yearning melancholy. In the finale, the spirit of hope

wins the day, as the motive of light brings the work to a confident close. The DSO last performed Robert Schumann’s Symphony No. 2 in C major, Op. 61 in December of 2007, in a Classical Series concert with Sir Roger Norrington conducting. SO Shop @ The Ma x D recommends:

Schumann – Symphony No. 2: George Szell conducting the Cleveland Orchestra, Sony 62349.

Celebration

ClassiCal roots Join us for the 2012 Classical Roots Celebration featuring a special tribute to Celebration founder

DR. ARthuR L. Johnson saturday, March 17, 2012

6:30 p.m. Strolling Dinner • 8 p.m. Concert 10 p.m. Dessert and Dancing Afterglow Black tie

Celebration Honoree hALe sMith, CoMposeR Featuring André Raphel, conductor Janice Chandler-eteme, soprano Brazeal Dennard Chorale Detroit symphony orchestra and the Dso premiere of Daniel Bernard Roumain’s symphony for Dreamers, Dancers & presidents A sphinx Consortium Commission Chacona W. Johnson and herman B. Gray, Celebration co-chairs tickets begin at $150 to purchase tickets, or for more information, contact Aja G. stephens, 313.576.5106 or visit www.dso.org

this is one event you don’t want to miss! Presented by

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Profiles Steven Reineke Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

pops Series Saturday, February 4, 2012 at 8 p.m. Sunday, February 5, 2012 at 2 p.m. in Orchestra Hall Steven Reineke, conductor Rachael York, soprano* Mike Eldred, tenor^

Barry White Love’s Theme arr. Tim Berens Cole Porter I’ve Got You Under My Skin* Arr. Stan Applebaum

Richard Rodgers Medley of Selections Arr. Jeff Steinberg I Have Dreamed Bewitched, Bothered and Bewildered If I Loved You^

Ennio Morricone Cinema Paradiso Suite Arr. Victor Vanacore

Eric Carmen Almost Paradise from Footloose*^ Arr. Tim Berens

Selections from Dirty Dancing Previte/DeNicola/Markowitz/ I’ve Had the Time of My Life Barry Gordy Do You Love Me?* ^ Arr. Tim Berens

Alex North Unchained Melody Various /Arr. Tim Berens Elephant Love Medley from Moulin Rouge *^

I n termission

Barry Manilow Copacabana Arr. Tim Berens

Frank Wildhorn Sarah from Civil War ^

Jule Styne The Music That Makes Me Dance from Funny Girl*

Irving Berlin Anything You Can Do from Annie Get Your Gun* ^

Dolly Parton I Will Always Love You Arr. Tim Berens

John Kander/Arr. Tim Berens Gimme Love from Kiss of the Spider Woman

James Horner My Heart Will Go On from Titanic* Arr. Steven Reineke

Lovland/Graham You Raise Me Up^ Arr. Arnie Roth

Henry Mancini Moon River from Breakfast at Tiffany’s* ^ Arr. Ralph Hermann

Steven Reineke’s boundless enthusiasm and exceptional artistry have made him one of the nation’s most sought-after pops conductors, composers and arrangers. Reineke reineke is the newly appointed Principal Pops Conductor of the National Symphony Orchestra at The Kennedy Center for the Arts and Music Director of The New York Pops at Carnegie Hall. In addition, he serves as Principal Pops Conductor of the Long Beach and Modesto Symphony Orchestras. Reineke is a frequent guest conductor with The Philadelphia and Toronto Symphony Orchestras, and this season he returned to the Boston Pops and made his Cleveland Orchestra debut at Blossom Music Center. His guest conducting appearances include the Edmonton, Vancouver, Detroit and Ft. Worth Symphony Orchestras. As the creator of more than 100 orchestral arrangements for the Cincinnati Pops Orchestra, Reineke’s work has been performed worldwide, and can be heard on numerous Cincinnati Pops Orchestra recordings on the Telarc label. Reineke is also an established symphonic composer. His works “Celebration Fanfare,” “Legend of Sleepy Hollow” and “Casey at the Bat” are performed frequently in North America, with recent performances by the New York Philharmonic and Los Angeles Philharmonic. In August 2008 his “Sun Valley Festival Fanfare” debuted with the Sun Valley Summer Symphony to commemorate the opening of the orchestra’s new pavilion. In 2005 his “Festival Te Deum” and “Swan’s Island Sojourn” were performed by the Cincinnati Symphony and Cincinnati Pops respectively. The Cincinnati Enquirer said of “Festival Te Deum:” “Melodious and joyous, it had antiphonal brass in the balconies, organ, full orchestra and wonderful choral passages.” His numerous wind ensemble compositions are published by the C.L. Barnhouse Company and are performed by concert bands around the world. A native of Ohio, Reineke is a graduate of Miami University of Ohio, where he earned bachelor of music degrees with honors in both trumpet performance and music composition. He currently resides in New York City.

Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances. The DSO can be heard on the DSO, Chandos, London, RCA and Mercury Record labels.

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Performance / Vol . X X / winter 2012

Mike Eldred

One of North America’s most indemand and beloved tenors, Mike Eldred has thrilled audiences in concert halls, on Broadway, and on recordings, radio and television. Eldred eldred appeared on Broadway in “Les Misérables” in the role of Jean Valjean. He also starred as Tony in the Nashville Symphony’s production of “West Side Story,” earning international praise as “arguably the best Tony on record.” The cast recording featuring Eldred was released on Naxos International. In 2010 Eldred starred as the Tenor in the national concert tour of “Handel’s Messiah Rocks.” He has performed in concert with many of North America’s symphony orchestras including Seattle, Toronto, Indianapolis, Dallas, Baltimore, Kansas City, Long Beach, Chicago, Cincinnati, Oklahoma City, Houston, Fort Worth, Edmonton and Nashville. Eldred was featured in the PBS Soundstage concert DVD entitled Dennis DeYoung and

the Music of Styx, Live with Symphony Orchestra. Eldred’s other notable Broadway and national tour credits include the original cast of the Tony-nominated “The Civil War” and the 25th Anniversary tour of “Jesus Christ Superstar.” Eldred’s performance awards include Tennessean Actor of the Year, Nashville Scene’s Best Musical Theatre Performer, and a nomination for the Nashville Music Awards Male Vocalist of the Year. Eldred has shared the stage with award-winning recording artists including Stevie Wonder, Garth Brooks, Amy Grant, Trisha Yearwood, Jim Brickman, Luther Vandross, Vince Gill, BeBe & CeCe Winans, Michael Bolton, Dennis DeYoung and Wynonna. He is proud to call Nashville, Tenn. his home. Eldred’s solo holiday CD favorite “Let it Begin” has received accolades from around the world and his solo recording “Me,” featuring songs from many of his favorite roles, is well-respected in the musical theater world. In 2009 Eldred produced and starred in a DVD entitled “Amazing Place, the Nature of Music” for his Montana-based production company Artists New Media.

Mariners’ Church of Detroit The Maritime Sailors’ Cathedral “A House of Prayer for All People”

Services Every Sunday 8:30 a.m. The Holy Communion, with Organ Music 11:00 a.m. The Holy Communion Sung by the Church’s Professional Choir For a schedule of special services and recitals please visit

Rachel York

Rachel York is a dynamic and versatile actress, singer, dancer and comedienne. She is best known for her critically acclaimed Broadway performances in “City of Angels,” “Les Misérables,” York “Victor/Victoria,” “The Scarlet Pimpernel,” “Sly Fox,” and “Dirty Rotten Scoundrels.” Rachel also turned heads on television with her courageous portrayal of Lucille Ball in the CBS movie, “Lucy.” York got her first big break playing the seductive and playful role of Mallory in the original Tony Award-winning production of “City of Angels.” Since then York has gone on to give inspiring Broadway performances as Fantine in “Les Misérables;” Norma Cassidy in “Victor/Victoria” with Julie Andrews; Marguerite in “The Scarlet Pimpernel;” Miss Fancy in “Sly Fox” with Richard Dreyfuss; and Christine Colgate in “Dirty Rotten Scoundrels” with Jonathan Pryce. In concert, Rachel’s numerous appearances include “The Sound of Music” at the Hollywood Bowl with the Los Angeles Philharmonic under the direction of John Mauceri, the National Symphony and the Pittsburgh Pops under the direction of conductor Marvin Hamlisch, and “Broadway Showstoppers” with Peter Nero and the Philly Pops. She has performed with the San Francisco Symphony, Minnesota Orchestra, Utah Symphony, St. Louis Symphony and numerous other ensembles. Rachel’s debut solo album, “Let’s Fall in Love,” was named one of the Top Ten Vocal CDs of the year by Talkin’ Broadway. She can also be heard on the soundtrack of “Billy Bathgate,” the live in concert recording of “Broadway Showstoppers: Best of the Tonys” with Peter Nero and the Philly Pops, and the original cast recordings of “City of Angels,” “Putting It Together,” and many others.

You can also read program notes before concerts in Performance magazine online at www.dsoperformance.com

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General Information Parking Valet Parking is available on Woodward Avenue in front of the main entrance for $12 per vehicle. Secure Garage Parking is available for $7 per vehicle at the Orchestra Place Parking Deck on Parsons St. between Woodward Ave. and Cass Ave. For improved traffic flow, please enter Parsons St. from Cass Ave. DSO security personnel monitor the grounds of the Max and the parking deck, as well a surrounding streets during all events and concerts. The parking deck has reserved space for patrons with handicap permits. Parking for Coffee Concerts is also available in the Orchestra Place Parking Deck. The DSO offers shuttle bus service to Coffee Concerts from selected locations. Call 313.576.5130 for more information.

during intermission. We invite you to place your beverage orders with the bartenders prior to the start of the concert and your order will be waiting for you at intermission! Smoking The DSO is pleased to offer a smokefree environment at the Max M. Fisher Music Center. Smoking is not permitted anywhere inside the building. Patrons who wish to smoke must do so outside the building. An outdoor patio is also available on the second level of the Atrium Lobby.

Restrooms Men’s, women’s and family restrooms are located on all levels of the Atrium Lobby. Additional men’s and women’s restrooms are located on the Box Level of Orchestra Hall and on the lower level of the Main Floor.

Accessibility Parking is available in the Orchestra Place Parking Deck for patrons with handicap permits. There are elevators, barrier-free restrooms and accessible seating in all areas of the Max M. Fisher Music Center. Security personnel are available at the entrances to assist handicapped patrons in and out of vehicles. Hearing assistance devices are available. Please see an usher prior to the performance.

Refreshments Cash bar service and light refreshments are available in the atrium area of the Max M. Fisher Music Center 90 minutes prior to concert time and

Late Seating Policy The DSO makes every attempt to begin concerts on time. In deference to the comfort and listening pleasure of the audience, latecomers will be seated

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

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

Photography and Video Recording Non-flash photography and video recording by silenced handheld devices are allowed during DSO performances. We encourage you to share your best pictures at www.facebook.com/ detroitsymphony and your coolest videos at www.youtube.com.

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

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

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

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

Administrative Staff Executive Office

Education

Anne Parsons President and CEO

Charles Burke Senior Director of Education Artistic Director of Civic Youth Ensembles

Paul W. Hogle Executive Vice President Patricia Walker Chief Operating Officer Rozanne Kokko Chief Finance and Business Officer Aja G. Stephens Executive Assistant to the President and CEO Orchestra Operations & Artistic Planning Erik Rönmark Artistic Administrator Kareem George Managing Director of Community Programs Kathryn Ginsburg Artistic Coordinator Charles Greenwell Conducting Assistant Heather Hart Assistant Orchestra Personnel Manager Stephen Molina Orchestra Personnel Manager Nicole New Manager of Popular and Special Programming Alice Sauro Director of Operations and Executive Assistant to the Music Director

Cameron Ferguson Civic Youth Ensembles Coordinator Emily Lamoreaux Manager of Civic Youth Ensembles Cecilia Sharpe Manager of Education Programs Mike Spiegel Education Coordinator Facility Operations Sue Black Facilities Coordinator Larry Ensman Maintenance Supervisor Greg Schimizzi Chief of Security Finance Donielle Hardy Controller

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Anna Savone Food and Beverage Manager

Patron & Institutional Advancement Reimer Priester Senior Director of Patron and Institutional Advancement

Paul Yee Retail Sales Manager

Cassie Brenske Governing Members Gift Officer

Patron Engagement & Loyalty Programs

Marianne Dorais Foundation and Government Relations Officer

Scott Harrison Senior Director of Patron Engagement and Loyalty Programs Executive Producer of Digital Media

Alyce Sclafani Patron and Institutional Advancement Coordinator Patron Development & Sales Angela Detlor Acting Director of Patron Development and Sales Anne Wilczak Director of Events and Patron Experience Holly Clement Senior Manager of Event Sales and Administration

Sandra Mazza Accountant

Elaine Curvin Executive Assistant

Nancy Prochazka Payroll Accountant

Mona DeQuis Assistant Retail Sales Manager

Information Technology

Chuck Dyer Group Sales and Corporate Sales Manager

Laura Lee Information Services Specialist

Gabrielle Poshadlo Patron Communications and Public Relations Manager

Cynthia Korolov Archivist

Jeremiah Hess Director of Finance

Dick Jacques Director of Information Technology

B.J. Pearson Senior Manager of Event Operations

History/Archives Paul Ganson Historian

Jennifer Kouassi Front of House Manager Heather Mourer Neighborhood Audience Development Manager

Will Broner Patron Engagement Officer Connie Campbell Senior Manager of Patron Engagement Sharon Carr Assistant Manager of Patron Engagement Joy Crawford Patron Fulfillment Specialist Lindsey Evert Loyalty Programs Coordinator La Heidra Marshall Patron Engagement Officer Marty Morhardt Patron Engagement Assistant Juanda Pack Senior Patron Engagement Officer Tiiko Reese-Douglas Patron Engagement Officer Eric Woodhams Manager of Digital Media and Engagement

Performance / Vol . X X / winter 2012

The DSO Education Department — an ecosystem of music learning accessible • excellent • inspirational • diverse • empowering Super Saturdays

Max M. Fisher Music Center

Civic Creative Jazz Ensemble

Honda Power of Dreams String Project Civic Concert Orchestra Presto Civic String Orchestra

DSO @ Liggett

Civic Sinfonia

Detroit Symphony Orchestra

Educational Concert Series

Pincus Education Center

Civic Orchestra

The Civic Experience

Civic Jazz Orchestra

Civic Baroque @ UPA

Young People’s Concerts

Civic Philharmonic

Civic in Concert WRCJ

Civic Jazz Band

Orchestra Hall

Civic Wind Symphony

The Civic Experience

The Detroit Symphony Orchestra will give a concert in honor of Dr. Martin Luther King Jr. at Cass Technical High School for the entire student body on Tuesday, January 17, 2012. Acclaimed conductor Chelsea Tipton will guest conduct the DSO.

The Civic Experience offers a musical festival atmosphere, in which different Civic Youth Ensembles perform at staggered times. With one ticket, attendees can enjoy a variety of civic classical and jazz concerts. Concertgoers are invited to stroll to each performance of these incredible young performers. Please join us for our Winter Experience concerts on Mar. 3 and 4 from 1-4 p.m. in the Max M. Fisher Music Center. Tickets are available at www.dso.org.

Honda will sponsor 12 high school seniors from the Detroit School of Arts to travel to Atlanta, GA allowing them to participate in the Honda Battle of the Bands. The 12 band students will have the opportunity to audition for and possibly receive scholarships to Historical Black Colleges and Universities. During the trip, the students will attend a college fair, perform during the Honda Battle of the Bands VIP reception, tour Clark Atlanta University and Morehouse College and visit the Dr. Martin Luther King Jr. Memorial.

Baroque Orchestra at University Prep High School This season, our newly formed Baroque Orchestra at University Prep High School (UPA) will perform on Orchestra Hall stage as an opening act for the Civic Orchestra. UPA Baroque Orchestra will be led by Mark Mutter. The Civic Orchestra will perform Schubert’s Unfinished Symphony and Petrouchka by Stravinsky. Charles Burke, Artistic Director of Civic Youth Ensembles, will conduct the Civic Orchestra. The concert will take place on Friday, March 2, 2012 at 8:00 p.m.

Perform ance / Vol . X X / Winter 201 2

Leonard Slatkin

Tiny Tots

Civic Jazz Concert Band

Civic Chamber Music

Civic Creative Jazz Workshop

Music Learning Alliance

Civic Combo Program

MLK Concert

Honda Battle of the Bands

Allegro Civic String Orchestra

Saturday March 3rd Civic Youth Ensembles Winter Experience 1-4 p.m. in the Max M. Fisher Music Building 1 p.m. Music Box Jazz Concert Band and Combo C Tad Weed, conductor 2:15 p.m. Orchestra Hall Wind Symphony Dr. Ken Thompson, conductor 3:15 p.m. Orchestra Hall Philharmonic Dr. Ken Thompson, conductor Sunday March 4th Civic Youth Ensembles Winter Experience 1-4 p.m. in the Max M. Fisher Music Building 1 p.m. Music Box Creative Jazz Ensemble and Creative Jazz Workshop Rayse Biggs and Kurt Krahnke, conductors 1 p.m. Orchestra Hall String Ensemble Allegro Cecelia Sharpe, conductor 1:30 p.m. Orchestra Hall String Ensemble Presto Nick Karpinsky, conductor 2:15 p.m. Orchestra Hall Sinfonia Charles Burke, conductor 3:15 p.m. Orchestra Hall Concert Orchestra Tim Cibor, conductor

www.dso.org

133rd

season

ums 11/12

Riccardo Muti conductor Pinchas Zukerman violin

Friday \ March 9 \ 8 pm Hill Auditorium \ Ann Arbor Riccardo Muti, the Chicago Symphony’s new music director, makes his first UMS appearance since 2006, conducting an all-Brahms program. Violinist Pinchas Zukerman, recognized as a phenomenon for nearly four decades, returns to UMS for a performance of the Brahms Violin Concerto. “Youth sticks with some people… Zukerman seems the foreveryoung virtuoso: expressively resourceful, infectiously musical, technically impeccable, effortless. As usual, it was a joy to be in his musical company.” (Los Angeles Times) Sponsored by

PROGRAM

Brahms Brahms

Violin Concerto in D Major, Op. 77 (1878) Symphony No. 2 in D Major, Op. 73 (1877)

Co-sponsored by Robert and Marina Whitman, Clayton and Ann Wilhite, James and Nancy Stanley, and Jay Zelenock in memory of Mary Kate Zelenock. Media Partners WGTE 91.3 FM, WRCJ 90.9 FM, and Detroit Jewish News.

American Mavericks Festival Michael Tilson Thomas conductor Featuring:

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

Thursday-Sunday \ March Hill Auditorium \ Ann Arbor

22-25

As part of its centennial season, Michael Tilson Thomas and the San Francisco Symphony will present the second American Mavericks Festival, which will tour in its entirety to only two US venues: Hill Auditorium and Carnegie Hall. The 2012 festival celebrates the creative pioneering spirit and the composers who created a new American musical voice for the 20th century and beyond. These concerts will examine the music of John Cage, Morton Feldman, Carl Ruggles, Edgard Varèse, and Charles Ives, among others. Complete program details are available at www.ums.org. This event is part of Pure Michigan Renegade. The San Francisco Symphony residency is made possible with support from the Maxine and Stuart Frankel Foundation and the UMS Creative Ventures Leadership Fund. The Saturday performance is sponsored by the Medical Community Endowment Fund. Funded in part by The Andrew W. Mellon Foundation and by an award from the National Endowment for the Arts. Art Works.

Related education programs are funded by the John S. and James L. Knight Foundation. Media Partners WGTE 91.3 FM, Ann Arbor’s 107one, WDET 101.9 FM, and Detroit Jewish News.

Call or click for tickets!

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

Ad #3 — DSO Performance Magazine First Proof of Ad Due: Wed, Sept 14 Final Ad Due: Fri, Sept 16 Size: 8.375” x 10.875” Color: Full color Ad Runs: October

Legacy Donors Members of THE Musical LEGACY Society

The Detroit Symphony Orchestra Board of Directors is pleased to honor and recognize the Musical Legacy Society. These patrons, friends and subscribers have named the Orchestra in their estate plans. For information about making a bequest or other planned gift to the DSO, please contact the Office of Patron and Institutional Advancement at 313.576.5400. Mr. Robert G. Abgarian† Doris L. Adler Dr. & Mrs. William C. Albert Mr. & Mrs. Robert A. Allesee Dr. Lourdes V. Andaya Dr. Agustin & Nancy Arbulu Jeanne Bakale & Roger Dye Sally & Donald Baker Mr. & Mrs. Lee Barthel Lillian & Don Bauder Mr. & Mrs. John D. Begnoche Bertram H. Behrens† Mr. & Mrs. Robert A. Benton Michael & Christine Berns Mrs. Art Blair Robert T. Bomier Richard & Gwen Bowlby Mrs. J. Brownfain Gladys Caldroney† Dr. & Mrs. Victor J. Cervenak Eleanor A. Christie Ms. Mary F. Christner Honorable Avern Cohn Mr.+ & Mrs. Robert Comstock Dorothy M. Craig Mr. & Mrs. John Cruikshank Ms. Leslie Devereaux Mr. & Mrs.+ John Diebel Ms. Bette J. Dyer Edwin & Rosemarie Dyer Mr. & Mrs. Robert G. Eidson Mrs. Charles Endicott Jean E. Fair† Ms. Dorothy Fisher Max M. Fisher† Mrs. John B. Ford, Jr.† Dr. Saul & Mrs. Helen Forman

Perform ance / Vol . X X / Winter 201 2

Barbara Frankel Herman Frankel Rema Frankel Jane French Dr. & Mrs. Byron P. Georgeson Ruth & Al Glancy Mr.+ & Mrs. Herbert J. Graebner Donald Ray Haas Margaret D. Hall Estate† Mr. David Handleman, Sr.† Donna & Eugene Hartwig Dr. Gerhardt Hein Nancy Henk Mr. & Mrs. Thomas N. Hitchman Betty Q. Hoard† Gordon V. Hoialmen Estate Mr. & Mrs. Richard N. Holloway David & Sheri Jaffa Mr. & Mrs. Thomas H. Jeffs II Mr, & Mrs. Lenard Johnston Drs. Anthony & Joyce Kales Austin A. Kanter June K. Kendall Raymond L. Kizer, Jr.† Ms. Phyllis Korn & Ms. Selma Korn Mr.+ & Mrs. Dimitir Kosacheff Mr. & Mrs. Arthur Krolikowski Jim LaTulip Thelma M. Lauderburgh† Ann C. Lawson Allan S. Leonard Lila I. Logan† Lester H. London Elizabeth M. Lundquist Roberta Maki John M. Malone, M.D.

Ms. Bonita J. Marshall† Mr. Glenn Maxwell Miss Jane C. McKee Ms. Rhoda A. Milgrim John E. & Marcia Miller Jerald A. & Marilyn H. Mitchell Mr. & Mrs. L. William Moll Mr. & Mrs. Craig R. Morgan Mrs. Peters Oppermann† Mr. Dale J. Pangonis Ms. Mary W. Parker Ms. Cynthia J. Pasky & Paul Huxley Sophie Pearlstein Helen & Wesley Pelling Esther E. Peters† Mrs. Dorothy M. Pettit† Elizabeth Pexsenye† Mrs. Bernard E. Pincus Christina Pitts Carol Plummer Mr. & Mrs. P. T. Ponta Edith S. Quintana† Fair & Steven+ Radom Douglas J. Rasmussen George A. Raymond† Ms. Rhoda N. Reed† Mr. & Mrs. Lloyd E. Reuss Barbara Gage Rex Ms. Marianne Reye Katherine D. Rines Bernard & Eleanor Robertson Jack & Aviva Robinson Ruth Rothschild† Dr. Margaret Ryan Mrs. Shirley W. Sarver† Stephanie & Fred Secrest

Robert Selik† Lee William Slazinski Terrence Smith Violet Spitzer† Mrs. Mark C. Stevens† Mr. & Mrs. Walter Stuecken Mr. & Mrs. Alexander Suczek Mrs. Elizabeth J. Tamagne† Margaret D. Thurber† Caroline & Richard Torley Mr. Edward Tusset Barbara A. Underwood Mrs. Harold Van Dragt Mrs. Richard C. Van Dusen Barbara & Mel VanderBrug Mr. and Mrs. George C. Vincent Ms. Margaret Watkins† Hubert & Elsie+ Watson Keith & Christine Weber John & Joanne Werner Mr. & Mrs. Arthur Wilhelm Mr.+ & Mrs. James A. Williams Ms. Barbara Wojtas Treva Womble Ms. Helen Woolfenden† Elizabeth B. Work Dr. & Mrs. Clyde Wu Ms. Andrea L. Wulf

† Deceased

www.dso.org

Supporters of the Detroit Symphony Orchestra

Annual contributions from generous patrons are what sustains the Detroit Symphony Orchestra. Ticket revenues throughout the season provide only a small portion of the funding needed to support the performances, educational programs, and community projects that the DSO presents each year. The honor roll below reflects those generous donors who have made a gift of $1,500 or more in annual operating support (in the most recent season in which they made the gift) to the DSO Annual Fund Campaign between September 2010 and December 2011. If you have a question about this roster or for more information on how you can help secure the future of the DSO, please contact 313.576.5114. Giving of $100,000 and more

Mr. & Mrs. Lee Barthel Mandell L. & Madeleine H. Berman Family Foundation Mr. & Mrs. Peter D. Cummings Marjorie S. Fisher Fund

Emory M. Ford, Jr. † Mrs. Samuel Frankel Mr. & Mrs. Stanley Frankel The Edward & Helen Mardigian Foundation

Mr. & Mrs. James B. Nicholson Ms. Cynthia J. Pasky & Mr. Paul M. Huxley Cindy and Leonard Slatkin Mrs. Richard C. Van Dusen

Mr. & Mrs. Harold Blumenstein

Mr. & Mrs. Phillip W. Fisher

Ms. Mary W. Parker

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

Mr. Edward C. Levy, Jr. & Ms. Linda Dresner

Mr. & Mrs. Bernard I. Robertson

Mr. & Mrs. Richard L. Alonzo

Mr. & Mrs. Sidney Forbes

Mr. & Mrs. Eugene A. Miller

Mr. & Mrs. Eugene Applebaum

Mr. & Mrs. Herman H. Frankel

The Polk Family

Mr. & Mrs. Francois Castaing

Ruth & Al Glancy

Mr. & Mrs. Alan E. Schwartz

Mr. & Mrs. Raymond M. Cracchiolo

Mr. & Mrs. Morton E. Harris

Mr. & Mrs. Larry Sherman

Marvin & Betty Danto Family Foundation

Mr. & Mrs. Richard P. Kughn

Mr. & Mrs. Donald R. Simon

Mr. & Mrs. Richard A. Manoogian

Mr. & Mrs. Arthur A. Weiss

Mr. & Mrs. James Grosfeld Mr. & Mrs. Morton E. Harris Dr. Gloria Heppner Doreen Hermelin Mr. & Mrs. Julius J. Huebner Mr. Sharad P. Jain Mrs. Chacona Johnson Faye & Austin Kanter Mr. & Mrs. Norman D. Katz Mr. & Mrs. Bernard S. Kent Mrs. Bonnie Larson Mr. David Lebenbom Mr. & Mrs. David W. Lentz Dr. Melvin A. Lester Mr. & Mrs. Arthur C. Liebler Mr. James C. Mitchell, Jr. Drs. Geoffrey S. Nathan & Margaret E. Winters

Mr. & Mrs. James M. Nicholson Anne Parsons & Donald Dietz Mr. & Mrs. Bruce D. Peterson Dr. William F. Pickard Ms. Ruth Rattner Mr. & Mrs. Lloyd E. Reuss Jack & Aviva Robinson Mr. & Mrs. Saul Saulson Mr. & Mrs. Mark Shaevsky Mr. & Mrs. John W. Stroh III Mr. Robert VanWalleghem Mr. & Mrs. R. Jamison Williams Mr. & Mrs. Alan Zekelman Mr. Paul M. Zlotoff Mrs. Helen Zuckerman

Giving of $50,000 and more

Ms. Leslie Devereaux

Dr. & Mrs. Clyde Wu

Giving of $25,000 and more

Giving of $10,000 and more Mr. & Mrs. Herbert A. Abrash Mr. & Mrs. Daniel Angelucci Mr. Donald Bauder & Dr. Lillian Bauder Mrs. Cecilia Benner Leo † & Betty Blazok Mr. & Mrs. Robert H. Bluestein Mr. & Mrs. Jim Bonahoom Ms. Elizabeth Boone & Mr. Toby Barlow Mr. & Mrs. Richard A. Brodie The Honorable & Mrs. Avern Cohn Mrs. Marianne Endicott Mrs. Kathryn Fife Dr. & Mrs. Saul Z. Forman Mr. & Mrs. Bruce H. Frankel Mrs. Rema Frankel Mr. & Mrs. Stuart Frankel Mr. & Mrs. Byron Gerson www.dso.org

† Deceased

Performance / Vol . X X / Winter 201 2

Giving of $5,000 and more

Ms. Nancy Keppelman & Mr. Michael Smerza

Mr. & Mrs. Leonard W. Smith

Mrs. Anne Bielawski

Mr. & Mrs. Robert A. Allesee

Mr. John J. Solecki

Joseph & Barbra Bloch

Mr. & Mrs. Robert N. Brown

Dr. & Mrs. David Kessel

Dr. & Mrs. Rudrick E. Boucher

Mr. & Mrs. Michael Buckles

Mr. William P. Kingsley

Mr. Richard A. Sonenklar & Mr. Gregory Haynes

Dr. & Mrs. Thomas E. Carson

Mr. & Mrs. Harry A. Lomason II

Mr. & Mrs. Richard Soulen

Mr. Scott Brooks

Mr. & Mrs. Jerry P. D’Avanzo

Dr. & Mrs. Charles Lucas

Professor Calvin L. Stevens

Mr. H. William Burdett, Jr.

Ms. Barbara Davidson

Mr. & Mrs. Mervyn H. Manning

Mr. & Mrs. Stephen Strome

Ms. Margaret H. Demant

Mr. & Mrs. David N. McCammon

David Usher

Dr. Carol S. Chadwick & Mr. H. Taylor Burleson

Mrs. Beck Demery

Mr. Ronald Michalak & Mrs. Barbara Frankel

Mr. & Mrs. Jonathan T. Walton

Mr. & Mrs. Philip Campbell

Mrs. Beryl Winkelman

Mr. William N. Campbell

Mr. Edward K. Miller

Drs. David M. & Bernadine Wu

Dr. Thomas Clark

Drs. Robert G. Mobley & Mary T. Mobley

Dr. & Mrs. Robert E. Wurtz

Mr. & Mrs. Brian G. Connors

Mr. John E. Young & Ms. Victoria Keys

Ms. Mary Rita K. Cuddohy

Mr. Frederick J. Morsches Drs. Stephen A. & Barbara H. Munk

Mr. & Mrs. Abraham Zahler

Mr. & Mrs. Walter K. Dean

Mr. & Mrs. Albert Taylor Nelson, Jr.

Mr. & Mrs. Milton Y. Zussman

Mr. John F. Diebel

Mr. & Mrs. Peter J. Dolan Mr. & Mrs. James C. Farber Mr. & Mrs. David Fischer Mr. & Mrs. Herbert Fisher Mr. Steven J. Fishman Mr. & Mrs. Gerry Fournier Mrs. Harold L. Frank Barbara Frankel & Ronald Michalak Mr. & Mrs. Ralph J. Gerson Mr. Allan D. Gilmour & Mr. Eric C. Jirgens Dr. Allen Goodman & Dr. Janet Hankin Mr. & Mrs. Mark Goodman Dr. & Mrs. Herman Gray, Jr. Mr. & Mrs. James A. Green Mr. Eric J. Hespenheide & Ms. Judith Hicks Dr. Jean Holland Mr. & Mrs. Ronald Horwitz Mr. & Mrs. Richard J. Jessup Mr. & Mrs. Maxwell Jospey+

Mr. & Mrs. David R. Nelson

Mr. & Mrs. Richard Bowlby

Mr. Richard Cummings

Ms. Barbara Diles

Mr. & Mrs. David E. Nims

Giving of $2,500 and more

Mr. James A. Kelly & Ms. Mariam Noland

Mr. & Mrs. Richard Alonzo

Mr. & Mrs. Mark Domin

Dr. Lourdes V. Andaya

Ms. Judith Doyle

Mr. & Mrs. George Nyman

Mr. & Mrs. Norman Ankers

Mr. & Mrs. Eugene Driker

Mr. & Mrs. Arthur T. O’Reilly

Dr. & Mrs. Ali-Reza R. Armin

Paul & Peggy Dufault

Ms. Anne Parsons & Mr. Donald Dietz

Mr. & Mrs. Robert Armstrong

Mr. & Mrs. Cameron Duncan Mr. Robert Dunn

Mr. & Mrs. Richard G. Partrich

Mr. David Assemany & Mr. Jeffery Zook

Mr. & Mrs. Donald E. Petersen

Ms. Ruth Baidas

Mrs. Helen Pippin

Mr. & Mrs. Guy Barron

Dr. Glenda D. Price

Mr. J. A. Bartush Mr. & Mrs. Martin S. Baum

Mrs. Jane Russell Mr. & Mrs. Michael B. Serling Mr. Stephan Sharf

Mr. & Mrs. William K. Beattie Dr. & Mrs. John Bernick

Mr. David E. Dodge

Mr. & Mrs. Irving Dworkin Ms. Bette J. Dyer Dr. A. Bradley Eisenbrey Mr. & Mrs. John M. Erb Mr. Paul E. & Mrs. Mary Sue Ewing Mr. & Mrs. Stephen E. Ewing Mr. David Faulkner Mr. & Mrs. Oscar Feldman Ms. Carol A. Friend & Mr. Mark Kilbourn Mr. & Mrs. Daniel E. Frohardt-Lane

Donor Spotlight

Jim and Margo Farber Against the recommendations of their friends in Washington DC, in 1987 Jim and Margo Farber moved to Grosse Pointe to set up roots and make a life for their family. One of the primary draws, interestingly, was the vibrant social scene of Downtown Detroit, which has been, and continues to be, central to their love and enjoyment of the region. In 1988, as a part of their introduction to Detroit’s arts and entertainment opportunities, the Farbers become Paradise Jazz Series subscribers, but after a couple of years realized that their musical passion was more accurately reflected in the DSO’s Pops series performances, due in part to their love of the well-known conductor, Erich Kunzel. Caught up in the excitement leading up to the festivities marking the completion of the Max M. Fisher Music Center, Jim and Margo became Annual

Perform ance / Vol . X X / Winter 201 2

Mr. & Mrs. William Y. Gard Mr. & Mrs. Victor Girolami Dr. & Mrs. Kenneth W. Gitlin Dr. & Mrs. Robert T. Goldman Mr. Robert Gorlin Dr. & Mrs. Steven Grekin Mr. Jeffrey Groehn Mrs. Alice B. Haidostian Dr. Algea O. Hale Jim and margo farber

Fund donors in 2002. Since then, their generosity and involvement has only increased. Jim is now on the Governing Member’s Executive Committee, serving at Chair of the Outreach Committee. Now, twenty-four years later, the Farbers have more than proven to their DC friends that their decision to move here was the right one. They would say that there is a lot of fun to be had in Detroit and that the DSO has been central to it the whole time.

Mr. Robert Hamel Mr. & Mrs. Randall L. Harbour Mr. & Mrs. Ross Haun Mr. & Dr. David B. Holtzman Mr. & Mrs. Jack Hommes Mr. F. Robert Hozian Mr. & Mrs. Joseph L. Hudson, Jr. Mr. & Mrs. Charles R. Janovsky Mr. & Mrs. John S. Johns Mr. & Mrs. Lenard Johnston Mr. & Mrs. Michael J. Keegan Mr. & Mrs. Joel Kellman Mrs. Frances King Dr. & Mrs. Harry N. Kotsis

www.dso.org

Mr. & Mrs. Robert C. Kotz

Ms. Jan J. Stokosa

Ms. Elizabeth J. Ingraham

Mr. & Mrs. Robert B. Rosowski

Mr. & Mrs. Harold Kulish

Mr. & Mrs. Bernard H. Stollman

Ms. Kathryn Korns

Mr. & Mrs. George T. Roumell

Mr. & Mrs. David Kuziemko

Dr. Gerald H. Stollman

Ms. Mary L. Kramer

Mr. R. Desmond Rowan

Mrs. Joyce LaBan

Mr. & Mrs. David Szymborski

Mr. & Mrs. Paul N. Lavins

Mr. & Mrs. Carl Schalm

Drs. Raymond V. Landes & Melissa McBrien

Ms. Dorothy Tarpinian

Mr. Charles Letts

Mr. & Mrs. Mark L. Schwartz

Mr. & Mrs. Joel D. Tauber

Dr. & Mrs. Stanley H. Levy

Mr. Ronald J. Smith

Ms. Anne T. Larin

Alice & Paul Tomboulian

Dr. Stephen Mancuso

Eugenia & Wanda Staszewski Dr. Lawrence L. Stocker

Dr. Klaudia Plawny- Lebenbom & Mr. Michael Lebenbom

Ms. Amanda Van Dusen & Mr. Curtis Blessing

Ms. Florine Mark Mrs. Christine K. McNaughton

Mrs. Dianne Szabla

Mr. & Mrs. George C. Vincent

Mr. & Mrs. Steven R. Miller

Dr. & Mrs. L. Murray Thomas

Mr. Allan S. Leonard

Mr. & Mrs. William Waak

Mrs. Sheila Mondry

Mr. & Mrs. John P. Tierney

Mr. & Mrs. Daniel Lewis

Dr. & Mrs. Ronald W. Wadle

Mr. & Mrs. Theodore Monolidis

Mr. & Mrs. L. W. Tucker

Mr. & Mrs. Robert Liggett

Mr. Patrick A. Webster

Ed & Judith Narens

Mr. & Mrs. Roger M. Van Weelden

Mr. & Dr. David K. Page

Ms. Patricia Walker

Mr. & Mrs. Noel L. Peterson

Mrs. Lori Wathen

Mrs. Anna Mary Postma

Mr. & Mrs. Alan P. Weamer

Mr. & Mrs. Larry Raymond

Mrs. Lawrence M. Weiner

Mrs. Jean Redfield

Ms. Cynthia L. Wilhelm

Ms. Barbara Gage Rex

Mr. Jerry Williams

Mrs. Ann Rohr

Mr. & Mrs. Frank Zinn

Mr. & Mrs. Joseph Lile

Mr. & Mrs. Herman Weinreich

Mrs. Florence LoPatin

Ms. Janet B. Weir

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

Mr. & Mrs. Lawrence Weisberg

Mrs. Mary K. Mansfield

Mr. & Mrs. John E. Whitecar

Mr. & Mrs. Alonzo L. McDonald

Dr. Kim Williams

Mr. & Mrs. Alexander McKeen

Mr. & Mrs. Sheldon Winkelman

Mr. & Mrs. Patrick G. McKeever

Dr. & Mrs. Max V. Wisgerhof

Dr. & Mrs. Donald A. Meier

Mr. & Mrs. Jonathan Wolman

Mr. Roland Meulebrouck

Mr. & Mrs. Warren G. Wood

Dr. & Mrs. Thomas F. Mich

Ms. June Kar Ming Wu

Ms. Deborah Miesel

Dr. Alit Yousif & Mr. Kirk Yousif

Mr. & Mrs. Bruce A. Miller Mr. Leonard G. Miller Dr. Susan B. Molina & Mr. Stephen R. Molina Mr. & Mrs. Craig R. Morgan Ms. Florence Morris Mr. & Mrs. Allan Nachman Denise & Mark Neville Mr. & Mrs. Henry Nickol Mr. & Mrs. Stanley Nycek Mrs. Margot C. Parker Mrs. Sophie Pearlstein Robert E. L. Perkins, D.D.S. Dr. Claus Petermann

Giving of $1,500 and more Drs. Brian & Elizabeth Bachynski Mr. & Mrs. Maurice S. Binkow Mr. & Mrs. G. Peter Blom Mr. Timothy J. Bogan Ms. Jane Bolender Ms. Marilyn Bowerman Mr. Stephen V. Brannon Mr. & Mrs. Gerald Bright Mr. Anthony F. Brinkman Mr. & Mrs. Stephen A. Bromberg Mrs. Doreen G. Bull Mr. & Mrs. Ronald B. Charfoos

Mr. Charles L. Peters

Mr. Fred J. Chynchuk

Mr. & Mrs. Jack Pokrzywa

Mr. & Mrs. Frederick Clark

Mr. & Mrs. William Powers

Dr. & Mrs. Julius V. Combs

Mr. & Mrs. Nicolas I. Quintana

Mr. & Mrs. Gary L. Cowger

Drs. Yaddanapudi Ravindranath & Kanta Bhambhani

Ms. Dorothy Craig

Dr. & Mrs. Claude Reitelman

Mr. & Mrs. Stephen R. D’Arcy

Mr. & Mrs. Robert S. Sachs

Ms. Barbara A. David

Mr. & Mrs. Michael Schultz

Mr. & Mrs. Edwin Dyer

Mr. & Mrs. Alan S. Schwartz

Mr. & Mrs. Henry J. Eckfeld

Mr. & Mrs. Fred G. Secrest

Dr. Leo & Mrs. Mira Eisenberg

Mr. & Mrs. Herbert Shanbaum

Mr. & Mrs. Lawrence Ellenbogen

Mr. & Mrs. Paul W. Czamanske

The Honorable Walter Shapero

Mr. Howard O. Emorey

Dr. & Mrs. Les Siegel

Mr. & Mrs. Paul Ganson

Mrs. Eleanor A. Siewert

Mr. & Mrs. Britton L. Gordon, Jr.

Mr. & Mrs. Richard Sloan

Mr. Donald J. Guertin

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

Dr. & Mrs. Gerhardt Hein

Mr. William H. Smith Dr. Gregory E. Stephens Mr. & Mrs. Clinton F. Stimpson III Mrs. Charles D. Stocking

www.dso.org

The John S. and James L. Knight Foundation

Foundation Spotlight

Mr. & Mrs. William B. Larson

A generous gift from the John S. and James L. Knight Foundation has helped the Detroit Symphony Orchestra continue its rich legacy of broadcast innovation with a “trio” of new digital distribution channels, including Live from Orchestra Hall webcasts, the DSO to Go mobile smartphone app, and coming soon, downloadable digital albums recorded and produced in-house from live classical performances. Some 25,000 listeners from more than 40 countries tuned in to the DSO’s Live from Orchestra Hall webcasts last year, doubling the classical series audience base and providing unparalleled global access to a major American symphony orchestra. Knight Foundation will support an additional 13 broadcasts through the end of the 2011-2012 season. A complete schedule will be available at www.dso.org/live. The DSO is grateful to Knight Foundation for its continued commitment to Detroit and passionate interest in collaborating on new digital media endeavors. For more information, please visit www.knightfoundation.org. “Live from Orchestra Hall” is produced in collaboration with Detroit Public Television. Scan the QR code to download the DSO to GO mobile app for your iPhone or Android device. Experience live webcasts, videos, news, artist bios and more, all from the palm of your hand!

Ms. Nancy B. Henk Mr. Max B. Horton, Jr. Mr. Richard Huttenlocher Mr. & Mrs. Addison E. Igleheart

† Deceased

Performance / Vol . X X / Winter 201 2

Support from Foundations and Organizations

The Detroit Symphony Orchestra acknowledges and honors the following foundations and organizations for their contributions to support the Orchestraâ&#x20AC;&#x2122;s performances, education programming, and other annual operations of the organization. This honor roll reflects both fulfillments of previous commitments and new gifts during the period beginning September 1, 2010 through December 19, 2011. We regret the omission of gifts received after this print deadline.

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

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

$100,000 and more Max M. & Marjorie S. Fisher Foundation, Inc. The Edward & Helen Mardigian Foundation Masco Corporation Foundation $50,000 and more The Mandell L. and Madeleine H. Berman Foundation Fred A. and Barbara M. Erb Foundation National Endowment for the Arts Surdna Foundation Matilda R. Wilson Fund $10,000 and more The Max and Victoria Dreyfus Foundation Philip and Elizabeth Filmer Memorial Charitable Trust Edsel B. Ford II Fund Eleanor & Edsel Ford Fund Henry Ford II Fund Ann and Gordon Getty Foundation Sally Mead Hands Foundation

The Alice Kales Hartwick Foundation Myron P. Leven Foundation Oliver Dewey Marcks Foundation MetLife Foundation Moroun Family Foundation Sage Foundation

$5,000 and more Benson & Edith Ford Fund The Lyon Family Foundation Joseph and Suzanne Orley Foundation Herbert & Elsa Ponting Foundation Sigmund & Sophie Rohlik Foundation Mary Thompson Foundation J. Ernest and Almena Gray Wilde Foundation

$1,000 and more Charles M. Bauervic Foundation Berry Foundation Combined Federal Campaign Frank & Gertrude Dunlap Foundation Harold and Ruth Garber Family Foundation Japan Business Society of Detroit Foundation Meyer and Anna Prentis Family Foundation Joseph & Rose Rontal Foundation Louis and Nellie Sieg Foundation The Village Club Samuel L. Westerman Foundation

$2,500 and more Ajemian Foundation Gatewood Foundation, Inc. Clarence & Jack Himmel Fund

Perform ance / Vol . X X / Winter 201 2

State of Michigan

www.dso.org

Corporate Supporters of the DSO $500,000 and more

PVS Chemicals, Inc.

Jim Nicholson

CEO, PVS Chemicals

$200,000 and more

Tetsuo Iwamura

Gerard M. Anderson

President and CEO, American Honda Motor Co.

President, Chairman and CEO, DTE Energy Corporation

Gregg Steinhafel

Fred Shell

Chairman, President and CEO, Target Corporation

President, DTE Energy Foundation

$100,000 and more

Alan Mullaly

President & CEO, Ford Motor Company

James Vella

President, Ford Motor Company Fund

Timothy Wadhams President and CEO, MASCO Corporation

Melonie Colaianne

President, Masco Corporation Foundation

Cynthia J. Pasky President & CEO, Strategic Staffing Solutions

Paul M. Huxley Chairman, Strategic Staffing Solutions

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

General Motors Corporation Macyâ&#x20AC;&#x2122;s

MGM Grand Detroit Casino Somerset Collection

$10,000 and more Honigman Miller Schwartz Cohn Telemus Capital Partners, LLC PriceWaterhouseCoopers LLP Wolverine Packing Company $5,000 and more

$1,000 and more

American Express Amerisure Insurance BASF Corporation Contractors Steel Company Denso International America, Inc. Meritor

Burton-Share Management Company Chase Card Services CN- Canadian National, North Americaâ&#x20AC;&#x2122;s Railroad

www.dso.org

Community Foundation for Southeast Michigan DuMouchelles Art Galleries Co. Global Village Charitable Trust Health Alliance Plan Illitch Holdings, Inc.

Meadowbrook Insurance Group Michigan First Credit Union Midwest Health Center, P.C. Radar Industries, Inc. STI Fleet Services-Detroit

Performance / Vol . X X / Winter 201 2

Upcoming events sunday

MONDAY

TUESDAY

WEDNESDAY

THURSDAY

February

Neighborhood Concert Lin Plays Mozart 7:30 p.m. Berman Theatre, Bloomfield Hills

FRIDAY

Lin Pops Special Love Will Keep Us Together 2 p.m. OH

Neighborhood Concert Lin Plays Mozart 3 p.m. Grosse Pointe Memorial Church Sphinx15 Finals Concert 2 p.m. OH

Neighborhood Concert Lin Plays Mozart 8 p.m. Kirk in the Hills

Reineke

DSO Classical Series 10 Ravishing Rachmaninoff Leonard Slatkin, conductor Julian Rachlin, violin 10:45 a.m. OH

DSO Classical Series 11 Ravishing Rachmaninoff Leonard Slatkin, conductor Julian Rachlin, violin 8 p.m. OH

DSO Classical Series 17 Ax & Mozart/ Slatkin & Mahler Leonard Slatkin, conductor Emanuel Ax, violin 10:45 a.m. OH Civic Jazz LIVE! 6:30 p.m.

DSO Classical Series 18 Ax & Mozart/ Slatkin & Mahler Leonard Slatkin, conductor Emanuel Ax, violin 8 p.m. OH

Slatkin

Mondays at The Max with Wayne State Jazz Big Band 7:30 p.m. MB

Mondays at The Max with Wayne State Chamber Winds & Orchestra 7:30 p.m.

Chuchman DSO Classical Series 26 Brahms’ Requiem Leonard Slatkin, conductor Andriana Chuchman, soprano Kyle Ketelsen, bass-baritone UMS Choral Union Michigan State University Children’s Choir 3 p.m. OH

DSO Classical Series 24 Brahms’ Requiem Leonard Slatkin, conductor Andriana Chuchman, soprano Kyle Ketelsen, bass-baritone UMS Choral Union Michigan State University Children’s Choir 8 p.m. OH

DSO Classical Series Civic Orchestra: Peter & the Wolf/ 1 Stravinsky’s Petrushka Alice in Wonderland 8 p.m. OH Leonard Slatkin, conductor Hila Plitman, soprano 7:30 p.m. OH

Tiny Tots Concert 3 Gemini 10 a.m. MB Young People’s Concert Peter & the Wolf 11 a.m. Civic Experience: Winter 1 1 p.m. OH DSO Classical Series Peter & the Wolf/ Alice in Wonderland 8 p.m. OH

Pops Series A Sci-Fi Spectacular Jack Everly, conductor George Takei, narrator 8 p.m. OH

Plitman Mondays at The Max with Wayne State Concert Band and Wind Symphony 7:30 p.m. MB

Neighborhood Concert 8 Silverstein Plays Beethoven And Mozart 7:30 p.m. Berman Theatre, West Bloomfield

Pops Series A Sci-Fi Spectacular Jack Everly, conductor George Takei, narrator 10:45 a.m. OH

Neighborhood Concert Silverstein Plays Beethoven And Mozart 3 p.m. Grosse Pointe Memorial Church

March

Paradise Jazz Series Gretchen Parlato/ Vijay Iyer 8 p.m. OH

Neighborhood Concert Silverstein Plays Beethoven And Mozart 8 p.m. at Kirk in the Hills

Silverstein Pops Series A Sci-Fi Spectacular Jack Everly, conductor George Takei, narrator 3 p.m. OH

Pops Special 4 Love Will Keep Us Together Steve Reineke, conductor 8 p.m. OH

DSO Classical Series 9 Ravishing Rachmaninoff Leonard Slatkin, conductor Julian Rachlin, violin 7:30 p.m. OH

Civic Youth Ensembles Civic Experience: Winter 2 1 p.m. OH

SATURDAY

Classical Series 16 Classical Roots André Raphel, conductor Janice Chandler-Eteme, soprano Brazeal Dennard Chorale 10:45 a.m. OH

Raphel

ProMusica: Benjamin Grosvenor 8:30 p.m. OH

Neighborhood Concert 22 Beethoven’s “Emperor” 7:30 p.m. Congregation Shaarey Zedek, Southfield

Neighborhood Concert 23 Beethoven’s “Emperor” 10:45 a.m. at Ford Center for the Performing Arts, Dearborn

Classical Series 17 Classical Roots André Raphel, conductor Janice Chandler-Eteme, soprano Brazeal Dennard Chorale 8 p.m. OH

Classical Series Beethoven’s “Emperor” 8 p.m. OH Neighborhood Concert 25 Beethoven’s “Emperor” 3 p.m. Seligman Performing Arts Center, Beverly Hills

Perform ance / Vol . X X / Winter 201 2

28 OH Orchestra Hall MB Music Box AH Allesee Hall

For tickets visit www.dso.org or call 313.576.5111

www.dso.org

Turn your donation into something lasting.

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

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

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

Around here, making residents happy never gets old. Situated on a scenic 35-acre campus in Dearborn, Henry Ford Village provides comfort, convenience and value in a variety of senior living options. From easy access to the best dining, shopping and entertainment in Southeast Michigan to a host of unique on-site services, amenities and activities, Henry Ford Village is far from the typical senior living community. Here, you’ll ﬁnd vibrant, active adults in pursuit of fulﬁlling independent living. Visit henryfordvillage.com or call 1-800-768-0953 to schedule your personal visit today!

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