DSO Winter 2015 Performance Magazine - Edition 1 by Detroit Symphony Orchestra

Winter 2015, Issue 1

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Volume XXIV 2015-16 Season

THE MAGAZINE OF THE DETROIT SYMPHONY ORCHESTRA

World Premiere

DESERT SORROWS Page 12

I N S I D E

Meet Hunter Eberly | Making a Difference Program Notes | Donor Spotlights

P E R F O R M A N C E D E T R O I T

S Y M P H O N Y

M A G A Z I N E O R C H E S T R A

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

CONTENTS oneDSO

FEATURES

Desert Sorrows

World Premiere Meet the Musician: Hunter Eberly 15 Community & Learning 46

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

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

Welcome from President & CEO and Executive Vice President 4 Orchestra Roster

Board Leadership

Governing Members

Volunteer Council

Maximize Your Experience

DSO Administrative Staff

Donor Roster

Volunteer Ushers

Gabrilowitsch Society

Upcoming Concerts

Featuring conductors Leonard Slatkin & Jeff Tyzik and American Idol finalist Michael Lynche! Televised live from Orchestra Hall by Detroit Public Television

To purchase party packages and concert tickets, please visit dso.org/nye or call 313.576.5111. Proceeds benefit the DSO

welcome

D E A R F R I E N D S, We are so happy to welcome you to Orchestra Hall this season. As we celebrate a refreshed culture and continuous progress toward stronger organizational capacity, we are reminded of all we have to be thankful for. We live in a time of voracious change, and we are energized by the forward motion of our city and its many diverse communities. Our home here in Orchestra Hall and at the Max M. and Marjorie S. Fisher Music Center sits at the epicenter of a city we are so proud to serve and we look forward to furthering our contributions to the economic redevelopment and creative excellence of our vibrant Midtown neighborhood. This season is a prime example of how artistic partnerships can foster a comprehensive experience for you, our audience. In November you experienced the premiere of Symphony in D, which was the culmination of a year’s work partnering with and engaging Detroit’s communities to define through music what, exactly, our city sounds like. The click clack of Henry Ford’s first engine opened the piece that built to a finale starring two poets, an electronic music duo, an African drummer and our new friends from the Detroit Achievement Academy and American House Senior Living Communities. The work that garnered minutes of standing ovation would not have been the same without these important collaborations. In January, we will present another of this season’s six world premieres with Desert Sorrows by Arab-American composer Mohammed Fairouz, thanks to the support of Peter and Julie Cummings. This project is also supported in part by an award from the National Endowment for the Arts. The composer was inspired by his own heritage, writing a musical vocalization of ancient stories told for generations around camp fires in the desert. Written for Israeli-American cellist Maya Beiser, the success of this project was dependent on a cross-cultural artistic partnership. We encourage you to read the composer’s own words about the making of the piece on page 12. If you’ve yet to make plans for New Year’s Eve, we invite you to visit dso.org/nye to learn about how you can be part of a live television audience that evening through our alliance with Detroit Public Television. Along with the New Year, we celebrate the tenure of our Chairman, Phillip Wm. Fisher. His three years as our leader are marked by three consecutive years of balanced finances and an ardent belief in culture as the bedrock of a healthy organization. This December we announce how our partnership with Phillip is evolving and who succeeds him as our chairman of the board. Please join us in celebrating Phillip’s outstanding leadership and impact on our one DSO family. Wishing you a safe and happy holiday season,

ANNE PARSONS PAUL HOGLE President & CEO Executive Vice President & Acting CEO during sabbatical periods

DETROIT SYMPHONY ORCHESTRA

SUPPORTING THE ARTS

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

A recipient of the prestigious National Medal of Arts, Slatkin also holds the rank of Chevalier in the French Legion of Honor. He has received Austria’s Declaration of Honor in Silver, the American Symphony Orchestra League’s Gold Baton Award and the 2013 ASCAP Deems Taylor Special Recognition Award for his book, Conducting Business. Slatkin has conducted virtually all of the leading orchestras in the world. As Music Director, he has held posts with the New Orleans, St. Louis, and National symphony orchestras, and he was Chief Conductor of the BBC Symphony Orchestra. He has served as Principal Guest Conductor of London’s Philharmonia and Royal Philharmonic, the Pittsburgh Symphony Orchestra, the Los Angeles Philharmonic at the Hollywood Bowl and the Minnesota Orchestra.

JEFF TYZIK Principal Pops Conductor

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

DETROIT SYMPHONY ORCHESTRA

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

LEONARD SLATKIN, Music Director

Music Directorship endowed by the Kresge Foundation

JEFF TYZIK, Principal Pops Conductor TERENCE BLANCHARD

NEEME JÄRVI

MICHELLE MERRILL

GABRIELA LENA FRANK

FIRST VIOLIN Yoonshin Song

CELLO Wei Yu

ENGLISH HORN Monica Fosnaugh

TROMBONE Kenneth Thompkins

CLARINET Ralph Skiano

David Binder Randall Hawes

Marci Gurnow†

BASS TROMBONE Randall Hawes

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

CONCERTMASTER Katherine Tuck Chair

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

Hai-Xin Wu

ASSISTANT CONCERTMASTER Walker L. Cisler/Detroit Edison Foundation Chair

Jennifer Wey

ASSISTANT CONCERTMASTER

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

ACTING PRINCIPAL The Devereaux Family Chair

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

Music Director Emeritus

PRINCIPAL James C. Gordon Chair

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

Victor and Gale Girolami Chair

Dahae Kim~

ASSISTANT PRINCIPAL Dorothy and Herbert Graebner Chair

BASS Kevin Brown

PRINCIPAL Van Dusen Family Chair

Stephen Molina

ASSISTANT PRINCIPAL

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

FLUTE David Buck

PRINCIPAL Women’s Association for the DSO Chair

Sharon Sparrow

ASSISTANT PRINCIPAL Bernard and Eleanor Robertson Chair

VIOLA James VanValkenburg

Jeffery Zook

Caroline Coade

PICCOLO Jeffery Zook

ACTING PRINCIPAL Julie and Ed Levy, Jr. Chair ACTING ASSISTANT PRINCIPAL

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

OBOE Alexander Kinmonth PRINCIPAL Jack A. and Aviva Robinson Chair

Geoffrey Johnson†

Maggie Miller Chair

Brian Ventura

ASSISTANT PRINCIPAL

Monica Fosnaugh

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

Assistant Conductor, Phillip and Lauren Fisher Community Ambassador

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

Laurence Liberson

ASSISTANT PRINCIPAL

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

Barbara Frankel and Ronald Michalak Chair

BASSOON Robert Williams PRINCIPAL

Victoria King Michael Ke Ma

ASSISTANT PRINCIPAL

Marcus Schoon CONTRABASSOON Marcus Schoon HORN Karl Pituch PRINCIPAL

Bryan Kennedy Scott Strong Johanna Yarbrough David Everson

ASSISTANT PRINCIPAL

Mark Abbott TRUMPET Hunter Eberly

PRINCIPAL Lee and Floy Barthel Chair (Meet the Musician on page 15!)

Kevin Good Stephen Anderson

ASSISTANT PRINCIPAL

Music Alive Composer-in-Residence

PRINCIPAL

TUBA Dennis Nulty PRINCIPAL

PERCUSSION Joseph Becker

PRINCIPAL Ruth Roby and Alfred R. Glancy III Chair

Andrés Pichardo-Rosenthal ASSISTANT PRINCIPAL William Cody Knicely Chair

Joshua Jones

African-American Orchestra Fellow

TIMPANI Jeremy Epp

PRINCIPAL Richard and Mona Alonzo Chair

LIBRARIANS Robert Stiles PRINCIPAL

Ethan Allen PERSONNEL MANAGERS Heather Hart Rochon ORCHESTRA PERSONNEL MANAGER

Patrick Peterson

ASSISTANT ORCHESTRA PERSONNEL MANAGER

STAGE PERSONNEL Dennis Rottell STAGE MANAGER

Steven Kemp

DEPARTMENT HEAD

Matthew Pons

DEPARTMENT HEAD

Michael Sarkissian DEPARTMENT HEAD

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

detroit symphony orchestra, inc.

Current as of November 2015

LIFETIME MEMBERS

Samuel Frankel† David Handleman, Sr.†

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

CHAIRMEN EMERITI

Peter D. Cummings Stanley Frankel Alfred R. Glancy III

Steve Miller James B. Nicholson

DIRECTORS EMERITI

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

OFFICERS Phillip Wm. Fisher

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

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

Mark A. Davidoff

Anne Parsons

Vice Chair, Financial Operations & Sustainability

President & CEO (Ex-Officio)

Dr. Herman B. Gray

Arthur T. O’Reilly

Vice Chair, Philanthropy

Officer-at-large, Secretary

Michael J. Keegan

Glenda D. Price, Ph.D.

Vice Chair, Strategy & Innovation

Vice Chair, Governance & Human Resources

Chairman

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

Robert H. Bluestein Maureen T. D’Avanzo Richard L. DeVore Jeremy Epp* Orchestra Representative

James Farber

Chairman, Governing Members

Ronald M. Horwitz

David Robert Nelson

William P. Kingsley

Faye Alexander Nelson

Bonnie Larson

Stephen Polk

Matthew B. Lester

Bernard I. Robertson

Chairman, Board of Trustees

Arthur C. Liebler

Samuel Fogleman Monica Fosnaugh*

Ginny Lundquist

Ralph J. Gerson Nicholas Hood, III

Orchestra Representative

Hon. Gerald E. Rosen Janice Uhlig

Volunteer Council President

James G. Vella

Laura Marcero

Hon. Kurtis T. Wilder

Xavier Mosquet

M. Roy Wilson

Joe Mullany

† Deceased

DETROIT SYMPHONY ORCHESTRA

BOARD OF TRUSTEES Matthew B. Lester Chairman

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

Ismael Ahmed Rosette Ajluni Devon Akmon Dan Angelucci Janet M. Ankers Penny B. Blumenstein Liz Boone Gwen Bowlby Joanne Danto Stephen D’Arcy Karen Davidson Linda Dresner Afa S. Dworkin J. Mikel Ellcessor Jeremy Epp* Orchestra Representative

Annmarie Erickson Jennifer Fischer Aaron Frankel Sven Gierlinger Robert Gillette Allan D. Gilmour Malik Goodwin Carol Goss

GOVERNING MEMBERS James C. Farber Chairperson

Governing Members is a philanthropic leadership group designed to provide unique, substantive, hands-on opportunities for leadership and access to a diverse group of valued stakeholders. Governing Members are ambassadors for the DSO and advocates for arts and culture in Detroit and throughout Southeast Michigan. This list reflects gifts received from September 1, 2014 through November 24, 2015. For more information about the Governing Members program, please call Dan Coleman at 313.576.5451

Antoinette G. Green Leslie Green Deirdre Greene Groves Michele Hodges Ric Huttenlocher Sharad P. Jain Renee Janovsky Joey Jonna Joel D. Kellman James Lentini Jack Liang Josh Linkner Florine Mark Tonya Matthews David McCammon Lois A. Miller Daniel Millward James C. Mitchell, Jr. Scott Monty Sean M. Neall Tom O’Brien Maury Okun Úna O’Riordan*

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

Arthur T. O’Reilly

Jan Bernick, Vice Chair

Janet and Norm Ankers

Bonnie Larson

Orchestra Representative

Chairman Emeritus

Co-Chairs, Gabrilowitsch Society

Jiehan Alonzo

Vice Chair, Engagement Committee

Maureen D’Avanzo

Philanthropy & Stewardship

Member-at-Large

Frederick J. Morsches Member-at-Large

Ken Thompkins* Musician Liaison

Vice Chair, Outreach & Recruitment

Johanna Yarbrough*

Mary Beattie Mr. & Mrs. Richard Beaubien Ms. Margaret Beck Mr. Chuck Becker Mrs. Cecilia Benner Mrs. Harriett Berg Mandell & Madeleine Berman Foundation Mr. & Mrs. Jeffrey A. Berner Drs. John & Janice Bernick Mr. and Mrs. Joseph A. Bloch Mr. & Mrs. Robert H. Bluestein Dr. George & Joyce Blum

Penny & Harold Blumenstein Mr. & Mrs. Lawrence Bluth Mr. & Mrs. John A. Boll, Sr. Mr. & Mrs. Jim Bonahoom Dr. & Mrs. Rudrick E. Boucher Don & Marilyn Bowerman Gwen & Richard Bowlby Mr. Anthony F. Brinkman Mr. & Mrs. Richard A. Brodie Mr. Scott Brooks Bowden & Elaine Brown Mr. & Mrs. Mark R. Buchanan Michael & Geraldine Buckles

Musician Liaison

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

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

PERFORMANCE MAGAZINE

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

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

DETROIT SYMPHONY ORCHESTRA

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

Mr. Joseph Lile Mr. Gregory Liposky The Locniskar Group Mr. & Mrs. Eric C. Lundquist Daniel & Linda Lutz Mr. Robert A. Lutz Mrs. Sandra MacLeod Mr. & Mrs. Charles W. Manke, Jr. Mervyn & Elaine Manning Mr. & Mrs. David S. Maquera, Esq. Michael & Laura Marcero Ms. Florine Mark Maureen & Mauri Marshall David & Valerie McCammon Dr. & Mrs. Peter M. McCann, M.D. Mr. & Mrs. Alonzo McDonald Alexander & Evelyn McKeen Patricia A. & Patrick G. McKeever Susanne O. McMillan Dr. & Mrs. Donald A. Meier Dr. & Mrs. David Mendelson Mrs. Thomas Meyer Ms. Deborah Miesel John & Marcia Miller Mr. & Mrs. Eugene A. Miller Mr. & Mrs. Robert S. Miller Dr. Robert & Dr. Mary Mobley J.J. & Liz Modell Dr. Susan & Mr. Stephen Molina Eugene & Sheila Mondry Foundation Mr. Lane J. Moore Mr. & Mrs. Craig R. Morgan Ms. Florence Morris Mr. Frederick Morsches Cyril Moscow Xavier & Maeva Mosquet Mr. Joseph Mullany Dr. Stephen & Dr. Barbara Munk Joy & Allan Nachman Edward & Judith Narens Geoffrey S. Nathan & Margaret E. Winters David Robert & Sylvia Jean Nelson Mr. & Mrs. Albert T. Nelson, Jr. Mr. & Mrs. James B. Nicholson Jim & Mary Beth Nicholson Patricia & Henry Nickol Mr. & Mrs. David E. Nims Mariam C. Noland & James A. Kelly Bruce & Katherine Nyberg Mr. & Mrs. Stanley Nycek Mrs. Jo Elyn Nyman Mr. John J. O’Brien Dr. & Mrs. Dongwhan Oh Dr. William Oppat Mr. & Mrs. Joshua Opperer Mr & Mrs. Arthur T. O’Reilly Mrs. Andrea Page Mr. Randall Pappal Mrs. Margot Parker Anne Parsons & Donald Dietz Mr. & Mrs. Richard G. Partrich Mrs. Sophie Pearlstein Mr. & Mrs. Roger S. Penske Mr. Charles Peters Mr. & Mrs. Bruce D. Peterson Mr. & Mrs. Kris Pfaehler Dr. William F. Pickard Mrs. Helen F. Pippin

Dr. Klaudia Plawny-Lebenbom The Polk Family Mr. & Mrs. William Powers Dr. Glenda D. Price Reimer Priester Mr. & Mrs. David Provost Charlene & Michael Prysak Mr. Ronald Puchalski Fair & Steven Radom Mr. & Mrs. Richard Rappleye Mr. Richard Rapson Drs. Stuart & Hilary Ratner Ms. Ruth Rattner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Carol & Foster Redding Mr. & Mrs. Dave Redfield Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Denise Reske Mr. & Mrs. Lloyd E. Reuss Barbara Gage Rex Dr. & Mrs. John Roberts Bernard & Eleanor Robertson Jack & Aviva Robinson Mrs. Ann C. Rohr Seth & Laura Romine Dr. Erik Rönmark* & Mrs. Adrienne Rönmark* Mrs. Dulcie Rosenfeld Mr. & Mrs. Robert B. Rosowski Mr. & Mrs. Gerald F. Ross Mr. R. Desmond Rowan Jane & Curt Russell Dr. & Mrs. Alexander Ruthven Mrs. Lois J. Ryan Mr. & Mrs. James P. Ryan

Martie & Bob Sachs Dr. Mark & Peggy Saffer Mr. David Salisbury & Mrs. Terese Ireland Salisbury Hershel & Dorothy Sandberg Marjorie & Saul Saulson Mr. Robert Schaerer Ms. Martha A. Scharchburg & Mr. Bruce Beyer Dr. Sandy Koltonow & Dr. Mary Schlaff David & Carol Schoch Mr. & Mrs. Alan E. Schwartz & Mrs. Jean Shapero Mr. & Mrs. Alan S. Schwartz Mr. & Mrs. Kingsley G. Sears Mr. & Mrs. Ken Seawell Mr. & Mrs. Fred Secrest Mr. Merton J. & Mrs. Beverly Segal Elaine & Michael Serling Mark & Lois Shaevsky Mr. Igal Shaham & Ms. Linda Zlotoff Mr. & Mrs. Alan E. Schwartz & Mrs. Jean Shapero Mrs. Patricia Finnegan Sharf Ms. Cynthia Shaw Mr. & Mrs. Larry Sherman Mr. & Mrs. James H. Sherman Ms. Margaret Shulman Dr. Les & Mrs. Ellen Siegel Coco & Robert Siewert Mr. & Mrs. Donald R. Simon William & Cherie Sirois Dr. Cathryn Skedel & Mr. Daniel Skedel Cindy & Leonard Slatkin Mr. & Mrs. Leonard W. Smith

William H. Smith John J. Solecki Richard Sonenklar & Gregory Haynes Renate & Richard Soulen Dr. Gregory Stephens Mr. & Mrs. C. F. Stimpson Dr. Mack Stirling Dr. & Mrs. Charles D. Stocking Mrs. Kathleen Straus & Mr. Walter Shapero Mr. & Mrs. John Stroh III Stephen & Phyllis Strome Mrs. Susan Svoboda & Mr. Bill Kishler Dorothy I. Tarpinian Shelley & Joel Tauber Dr. & Mrs. Howard Terebelo Mr. & Mrs. James W. Throop Carol & Larry Tibbitts Alice & Paul Tomboulian Dr. Doris Tong & Dr. Teck M. Soo Mr. Gary Torgow Barbara & Stuart Trager Mrs. Sandra Tucker Mark & Janice Uhlig David Usher Dr. Vainutis Vaitkevicius Amanda Van Dusen & Curtis Blessing Mrs. Richard C. Van Dusen Mr. & Mrs. Charles B. Van Dusen Mr. James G. Vella Mr. & Mrs. George C. Vincent Mr. Bill Vlasic Mr. & Mrs. William Waak Dr. & Mrs. Ronald W. Wadle Captain Joseph F. Walsh, USN (Ret.)

Mr. Michael A. Walch & Ms. Joyce Keller Mr. & Mrs. Jonathan T. Walton Mr. Gary L. Wasserman & Mr. Charlie Kashner Mr. Patrick Webster S. Evan & Gwen Weiner Mr. Herman W. Weinreich Mr. & Mrs. Lawrence Weisberg Ambassador & Mrs. Ronald N. Weiser Arthur & Trudy Weiss Mr. Brian Wenzel Janis & William Wetsman/ The Wetsman Foundation Mr. & Mrs. R. Jamison Williams Beverly & Barry Williams Dr. M. Roy & Mrs. Jacqueline Wilson Rissa & Sheldon Winkelman Dr. & Mrs. Ned Winkelman Mr. John Wolak Mr. Jonathan Wolman & Mrs. Deborah Lamm Mr. Warren G. Wood Dr. Clyde Wu † David & Bernadine Wu Ms. Andrea L. Wulf Mrs. Judith G. Yaker Mr. Michael Yessian Margaret S. York The Yousif Family Mr. & Mrs. Alan Zekelman Erwin & Isabelle Ziegelman Foundation Mr. & Mrs. Paul M. Zlotoff Milton & Lois Zussman *Staff/Musician

spotlight JANET AND NORM ANKERS CO-CHAIRS, GABRILOWITSCH SOCIETY

Blind dates are not often viewed through rose-colored glasses, but when it comes to Janet and Norm Ankers, they should be. The Ankers are longtime supporters of the DSO and serve as co-chairs of the recently established Gabrilowitsch Society. They were brought together through a blind date when Norm invited Janet to see the DSO at Meadow Brook Music Festival, and they got to know each other to the tune of Carmina Burana. “For us the DSO has always stood for spectacular music played by spectacular musicians,” said Norm. Following that evening, their engagement to each other and the DSO blossomed. Janet joined the Volunteer Council, spearheading its strategic planning, and serving as VC President for three years. Norm serves on the DSO’s Re-Development Task Force. Together, they’ve helped establish the

Gabrilowitsch Society, which celebrates cornerstone supporters at $10,000 and more. “Any donation to the DSO is a worthwhile donation. For those whose financial circumstances have allowed them to give especially generously, it is important for us to recognize their contributions— particularly in these times when there are so many demands on their philanthropy,” Norm said. The Society celebrated its inaugural year in 2014 by creating the “Gabrilowitsch Society Affair.” This year the event was held atop the Madison Building Downtown, with a sneak preview of Symphony in D. PERFORMANCE MAGAZINE

VOLUNTEER COUNCIL EXECUTIVE COMMITTEE Ginny Lundquist President

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

VOLUNTEER COUNCIL BOARD OF DIRECTORS

Jill Jordan

Chief Financial Officer

Diane Ekizian

Recording Secretary

Esther Lyons

Ellie Tholen

V. P. for Communications/ Public Relations

Beverly Williams V. P. for Membership

V.P. for Administrative/ Office Services

E. Jane Talia

Mary Beattie Gwen Bowlby Drew Esslinger Sandie Knollenberg Magda Moss

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

Carol Marti

V. P. for Special Events

Marlene Bihlmeyer

V. P. for Youth Music Education

V. P. for Neighborhood/ Residency Ambassador

ORCHESTRA REPRESENTATIVES

Mark Abbott Dave Everson

Parliamentarian

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

THE DSO VOLUNTEER COUNCIL PRESENTS

Musical Feasts

XXIX

MARCH–DECEMBER, 2016 ——————————————— Join our incomparable DSO musicians and gracious hosts for the finest dining experience. Reserve a seat starting February 2016! CONTACT VOLUNTEER COUNCIL OFFICE AT 313.576.5154 OR VOLUNTEERCOUNCIL@DSO.ORG

DETROIT SYMPHONY ORCHESTRA

World Premiere

DESERT SORROWS The Composer’s Perspective

Photo by Samantha West

The World Premiere of Desert Sorrows was commissioned by the DSO for Maya Beiser and made possible with generous support from Julie F. and Peter D. Cummings

As the sun sets on the desert, camp fires ple of the desert,” Fairouz said. “We share this stolight the night sky, calling tribes of Islam rytelling gene, which lends to the theatricality we bring to the music. This is a piece with a narrative.” together each evening. By the fireside, the The drama comes from the relationship betribes share stories that ignite their heritage, tween the cello and the orchestra, he said. From spreading it from generation to generation. Mozart, to Beethoven, to Tchaikovsky, everyone bor“This is the DNA that keeps the tribe alive,” said Arab-American Composer Mohammed Fairouz, who brings tradition and his heritage to life with the world premiere of Desert Sorrows. Just as Desert Sorrows keeps the fireside storytelling alive, Fairouz said much of his work is based in the traditional forms. “When people come to the concert hall, they like to hear something that they are familiar with. I use the traditional forms, the harmonious language of the Middle East and the West that have been used beautifully for thousands of years,” he said. “I try to innovate in the story, the content; not innovate the form. People are more able to access it and appreciate it. Then you can do much more radical things, if you don’t insist on reinventing the wheel.” The majority of Fairouz’s works are large and theatrical in scope, including extensive work on operas and musical theater, with two operas to debut in 2017 and 2018. He often builds his work around the unique offerings of a particular artist. The melodic voice of Desert Sorrows is Israeli-American cellist Maya Beisier, who had previously worked with Fairouz and connected him with the DSO for this project. “There is a sound we share. Maya is an Israeli-American, I’m an Arab-American. We’re both peo-

rows the idea of the individual and the collective. “I really believe in the inherent theatricality of the traditional forms. They have survived the test of time because of the inherent storytelling,” Fairouz said. Composing from a place of loss and then newfound love, Fairouz’s Desert Sorrows tells the story of the apocalypse, judgment and finally the resurrection of the soul into an “ecstatic paradise.” “As a cumulative whole, the challenge with this piece is sort of the same challenge you have in works like Mahler’s Fifth Symphony,” he said. “The challenge is to chart a journey from darkness into light.” Fairouz started at the beginning, writing the initial notes of the first movement until he got nearly half way through it and began to struggle. He then moved on to write the entire second movement about the graves, or in Arabic, “Al Maccaber,” as the movement is titled. “Graves are, in the Quranic tradition at least, places where he or she who is in the grave visits until the final hour, the final judgment. It’s a transitional place, which is important because the movement transitions between the first and third movements,” Fairouz said. With this understanding, he returned to finish the first movement, creating the transition, bridging the two—the first 20 minutes continue PERFORMANCE MAGAZINE

without a pause. ab-American population in the country. “I had half written this piece about the end of “There is a sub-theme to this piece for large the world,” he said. “How do I transition it into this symphonic forces, as it is being written by an Arplace about the heavens?” ab-American composer for an Israeli-American He was stumped. He needed to compose the cellist. What better place to deliver this message finale, which was to be an evocation of the heavens, than for the largest population in the U.S,” Fairouz incorporating the Quranic idea of the rivers and said. “So we had the idea of bringing something to gardens of heaven. Stumped, that is, until he met Detroit and linking it to a performance and, say, a the person to whom he would later dedicate Desert discussion at the Arab-American National Museum Sorrows—Faisal Al-Juburi—“with everlasting loy- [in Dearborn]. Prominent Arab-American artists alty, respect and love.” and thinkers can join in a discussion with promi“I felt so much joy upon getting to know Faisal nent Jewish-American artists and thinkers, such as as both a dear friend and artistic collaborator that Leonard Slatkin and Maya Beiser.” I was able to write the finale Outside of the Orchestra “I really believe in – the most unbridled joyful muHall performance on January sic that I’ve ever written in my Desert Sorrows will also the inherent theatricality 16, life,” Fairouz said. be performed at the ConAs this rare connection ingregation Shaarey Zedek of the traditional forms. spired Fairouz, another strong synagogue in Southfield as emotion influenced the story part of the DSO’s William DaThey have survived the of the final movement, which vidson Neighborhood Concert test of time because of the Series on January 14. is written in memory of Prince Saud Al-Faisal, a mentor to “…We all know Slatkin inherent storytelling,” Fairouz who passed away in is a very talented conductor, July 2015. and Maya is a very talented Fairouz said. “Part of it is joining new cellist. This is a real opporlove with old loss. I had a sense of renewal and tunity for some real community counterpoint to be that I was meeting someone new, and also lost an happening,” Fairouz said. old mentor,” he said. “The music should tell a story Through this work with the DSO, Fairouz wants that is moving and beautiful and ugly and human, to communicate that art is about creating experibut like a Shakespeare play, you should still be able ences for people. to cry and laugh.” “Everything we do is fundamentally about peoDesert Sorrows was commissioned by the DSO ple,” he said. “…There are certain things where for Beiser and made possible through the generous the reinvention of the wheel is unnecessary and imsupport of Julie F. and Peter D. Cummings (DSO possible. When it comes to people, it’s completely Chairman Emeritus), whom Fairouz said has a impossible. It’s the reason Shakespeare is so vital clear passion for the DSO. In addition to writing the today as he was in Elizabethan times and throughpiece for Beiser, Fairouz looked forward to working out the centuries. Because he writes about these with Music Director Leonard Slatkin. universal truths that are never changing.” “We always wanted to work together as conducFairouz said he has infinite gratitude to the tor and composer,” he said. “…Not all conductors DSO and Cummings for making the commission have a sense of the composer’s sensitivity. I was happen, to Beiser for realizing it and to Slatkin for very inspired and grateful to Leonard Slatkin for helping him bring it to life. setting me free to do what I needed to do creatively.” “Any orchestra doing a number of premieres Fairouz said Cummings, Beiser and Slatkin generating this incredible community of new music agreed that there would be no better place to debut building that the DSO is doing, is something that a piece by an Arab-American composer, performed any composer would want to be a part of,” he said. by an Israeli-American cellist, than in Detroit, “But also any cellist like Maya Beiser would want with its surrounding communities hosting a large to be a part of, as she does new work. So this is a Jewish-American population and the largest Ar- perfect confluence on so many levels.”

DETROIT SYMPHONY ORCHESTRA

meet the musician HUNTER EBERLY Principal Trumpet Lee and Floy Barthel Chair

Just before Hunter Eberly was born in Muskegon, Mich., his father debated whether he should leave for hunting season, as he did every year. With the doctor’s warning that his son would be born early, Mr. Eberly stayed home, missing opening day of the season and waiting a couple more weeks for the birth of his son. The wait was worth it as Hunter was born ready to carry on his family’s hunting tradition. Twenty years later, Hunter and his wife Kimberly recently welcomed their own son Archer into the world, near opening day of bow hunting season. “I prefer bow hunting,” Eberly said. “When you’re shooting there are a lot of similarities between the mechanics and the repetition of playing ing the endurance to make it through the piece.” trumpet. Breathing is actually very helpful. It’s Eberly had the chance to work directly with strengthened what I’ve learned when it comes to John Williams when the composer conducted the being really focused.” 2014 Heroes concert with Steven Spielberg. While Hunter enjoys the Michigan outdoors, he “It was definitely fun getting to play with him on also spent much of his time growing up playing the podium,” Eberly said. “There are tons of great music, thanks to his mother, a musician, who en- trumpet parts in his movie music. This piece is a couraged him to play piano when he was 3. lot different…He wrote it from a more personal The focus and dedication he learned from both position. It doesn’t exactly sound like John Williams, hunting and playing an instrument gave him the but you can find fragments that do sound like [film confidence necessary to win the DSO’s Principal scores].” Trumpet position in 2013. As he prepares for the solo, he said the entire Prior to the DSO, Hunter was Principal Trumpet piece is a challenge. of the Jacksonville Symphony and performed with “It’s very difficult,” Eberly said. “It kind of showthe Los Angeles Philharmonic, Malaysian Philhar- cases everything the trumpet can do, covering the monic Orchestra, Shenzhen Symphony Orchestra entire range from low to high.” (China) and Antalya Symphony (Turkey). This piece is also part of a DSO recording proj“It’s great to be back after growing up in the ect of Williams’ complete concerti. woods on the west side of the state, then trying “You could say it’s my debut recording as a soloL.A. and then Florida,” he said. “I like to fish during ist,” he said. “I’m looking forward to that.” summer, and camp or anything that gets me outAnd when Eberly performs the concerto, he can doors and into the woods or on the water.” bet that Kim and Archer will be watching at OrWhile Eberly took time this summer to enjoy the chestra Hall or even at home through the Live from outdoors with his family, he also began practicing Orchestra Hall webcast. John Williams’ Trumpet Concerto to prepare for his “When Archer is awake, he’ll see me on the webDSO subscription concert solo debut, in January. cast and yell ‘Dad’ and buzz his lips,” Eberly said. “At the beginning of summer I started focusing “If you ask him what Daddy says, he also buzzes his on it intensely,” he said. “There are so many notes lips; he knows I play trumpet.” and so many different sections…I was also build- Learn more about Hunter Eberly at dso.org/orchestra. PERFORMANCE MAGAZINE

maximize your experience OFFERINGS Volume XXIV Winter 2015, Issue 1

•

2015-16 Season

EDITOR

Asia Rapai arapai@dso.org 313.576.5196 P R O G R A M N O T E S A N N O T AT O R

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

Skidmore Studio Cover Concept:For generations, the stories of Islam were told and passed on around desert campfires. The three sections of the flame represent the three movements of “Desert Sorrows” and also draw their shape from the architecture of Mosques and Minarets. Inside the flame are figures around a fire.

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

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

Priority Service for Our Members Subscribers and donors who make a gift of $1,000 or more annually receive priority assistance. Just visit the Patron Services Center on the second floor of the Max M. and Marjorie S. Fisher Music Center Atrium for help with tickets, exchanges, donations or any other DSO needs. Herman and Sharon Frankel Donor Lounge Governing Members who make a gift of $3,000 or more annually enjoy complimentary beverages, appetizers and desserts in the Donor Lounge, open 90 minutes prior to each concert through the end of intermission. For more information on becoming a Governing Member, contact Dan Coleman at 313.576.5451 or dcoleman@dso.org. Dine at the DSO Located on the second floor of Orchestra Hall, Paradise Lounge is open prior to most concerts featuring gourmet dinners, decadent desserts, classic cocktails, small production wines and craft beers. Bars are available throughout the Max M. and Marjorie S. Fisher Music Center prior to concerts and during intermission. For your convenience, you may place your beverage orders pre-concert and your drink will be waiting for you at intermission. Gift Certificates Give friends and loved ones a gift that ignites their soul—the experience of a DSO performance. Gift certificates are available in any denomination and may be used toward the purchase of DSO concert tickets. Visit the DSO Box Office or call 313.576.5111 for more information. RENT THE MAX The Max M. and Marjorie S. Fisher Music Center is an ideal setting for a variety of events and performances, including weddings, corporate gatherings, concerts and more. For information on renting the facility, please call 313.576.5050 or visit dso.org/rent. The elegance and versatility of The Max creates outstanding settings for a variety of special events—from galas & conventions to concerts, meetings and more!

To report an emergency during a concert, call 313.576.5119. To make special arrangements to receive emergency phone calls during a concert, ask for the house manager. Activities of the DSO are made possible in part with the support of the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs.

DETROIT SYMPHONY ORCHESTRA

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

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

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

PERFORMANCE MAGAZINE

spotlight

DENSO International America, Inc. The Detroit Symphony Orchestra is proud to spotlight DENSO International America, Inc. as an outstanding corporate partner in the metro Detroit community. DENSO is a leading global automotive supplier of advanced technology, systems and components in the areas of thermal, powertrain control, electronics and information and safety. In conjunction with its pioneering character and core focus of developing people, DENSO also has a considerable commitment to arts and culture with generous partnerships among several community-serving organizations.

DETROIT SYMPHONY ORCHESTRA

DENSO’s support of the DSO dates back more than two decades, starting in 1989. The connection is unique, with many of DENSO’s senior engineering and technology leaders having strong classical music ties and even formal training as musicians. DENSO considers the arts a critical component of educational development and is proud to support educational initiatives at the DSO, as well as join a leading ensemble of corporate partners who value the DSO’s impact in the community through the Business Alliance program. The DSO thanks DENSO for making music and education possible in our community this season.

making a difference Wu Family Academy Expands Horizons for Tens of Thousands of Students Midtown Detroit is home to more than one premier orchestra. With an average age of 16, the extraordinary students who make up the Detroit Symphony Youth Orchestra (DSYO) rehearse every Saturday at the Max M. and Marjorie S. Fisher Music Center. Violinist Maya Balaji, 16, is proud to have earned a spot in the DSYO, which is part of the Wu Family Academy for Learning and Engagement. “I’ve worked so hard for this audition every year, so I feel like working hard does pay off, and that’s very important for later in life,” she said. “My favorite part is definitely the music that we get to play. In our schools we are not introduced to such high-level music. For the students that require that level of music, this organization is influential and important.” Violinist Kevin Yuan, 14, agrees that being in the ensemble is a welcomed challenge. “I like to be around people who are better than me so I can learn from them and they motivate me to become better and to practice more,” he said. “The conductors instruct me how to listen to other people and how playing in an ensemble with multiple people can help me learn to be a better team player.” The DSYO, Civic Jazz Orchestra (CJO) and Detroit Symphony Youth Wind Ensemble (DSYWE) are the premier performing groups of the Civic Youth Ensembles, which also encompass a dozen training ensembles made up of students from fourth graders through sophomores in college. The once-in-a-lifetime opportunities that students such as Maya and Kevin have experienced would not be possible without the generosity of

the Wus and support from gifts to the DSO’s Annual Fund. With a mission to change lives by expanding the understanding of the arts, empowering creative decisions and sparking a passion for music that will last a lifetime, the DSO’s Wu Family Academy carries on the legacy of Dr. Clyde and Helen Wu who both passed away in 2015. With a deep understanding for music’s transformative qualities in children, the Wus developed a music education program that has since touched tens of thousands of young lives. “Dr. Wu and Mrs. Wu would always attend my concerts, and I would see them all the time sitting in the box seats,” Balaji said. “It just really goes to show that they were supportive of everybody. I could always see them enjoying the concerts. They created such a beneficial organization. For me it’s impacted me so much because it allows me to talk and meet very intellectual people, get introduced to difficult music and it fills that void for me. I would really like to thank Dr. Wu especially because DSO has been such a great part of my life.” The program provides students not only with scholarships and new opportunities in the arts, but it also provides one-on-one time with esteemed DSO musicians during rehearsals and sectionals. Through live and digital partnerships, handson music education and training in classrooms, communities and virtual settings, the Wu Family Academy cultivates relationships that will change lives today, and the trajectory of the community tomorrow. Read more about the Wus on page 46 and learn more about the Wu Family Academy at dso.org/wfa.

PERFORMANCE MAGAZINE

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

CLASSICAL SERIES

Mahler’s “Resurrection” Saturday, December 5, 2015 at 8:00 p.m. Sunday, December 6, 2015 at 3:00 p.m. in Orchestra Hall LEONARD SLATKIN, conductor MELISSA CITRO, soprano KELLEY O’CONNOR, mezzo soprano WAYNE STATE UNIVERSITY SYMPHONIC CHORUS

Leonard Slatkin Kinah* (b. 1944) —INTERMISSION—

Gustav Mahler Symphony No. 2 in C minor, “Resurrection” (1860-1911) Allegro maestoso Andante moderato In ruhig fliessender Bewegung Urlicht Scherzo Melissa Citro, soprano Kelley O’Connor, mezzo soprano Wayne State University Symphonic Chorus

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

and made possible by

Get the most out of each Classical 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. The DSO can be heard on the Live From Orchestra Hall, Chandos, London, Mercury Records, Naxos and RCA labels.

DETROIT SYMPHONY ORCHESTRA

profiles MELISSA CITRO

KELLEY O’CONNOR

Melissa Citro’s recent engagements include her debut with the San Francisco Opera as Freia in Das Rheingold, and Gutrune in Götterdämmerung, and her role debut as Sieglinde in Wagner’s Die Walküre with the Virginia Opera. Last season she covered Senta in Der Fliegende Hollander with San Francisco Opera, and returned to the Metropolitan Opera where she covered Renee Fleming in the title role in Dvořák’s Rusalka. Prior to that she joined the San Francisco Opera and the Metropolitan Opera casts of The Makropulous Case, where she covered Karita Mattila as Emilia, and made her role debut as Senta in Lyric Opera of Kansas City’s production of Der Fliegende Hollander. In the summer of 2009, Citro made her debut with Glimmerglass Opera as Magda Sorel in Menotti’s The Consul. Citro made her international debut in the title role of Janáček’s Jenůfa in Calixto Bieito’s acclaimed production for the Stuttgart Opera in 2008. Other past engagements have included Fiordiligi in Cosi fan Tutte with San Francisco Opera’s Merola Program and Western Opera Theater and the High Priestess in Rameau’s Hippolytus and Aricia with Opera Theatre of Saint Louis. Citro was a Grand Finals Winner of the 2001 Metropolitan Opera National Council Auditions. Additional awards have included the George London Award, the Richman Award from Opera Theatre of Saint Louis and the first place winner of the Mario Lanza Competition. Citro was a scholarship winner at the Westminster Choir College and the Juilliard School.

Possessing a voice of uncommon allure, musical sophistication far beyond her years, and intuitive and innate dramatic artistry, the Grammy Award-winning mezzo-soprano Kelley O’Connor has emerged as one of the most compelling performers of her generation. During the 2015-16 season, the California native’s impressive calendar includes Mahler’s Second Symphony with Robert Spano and the Atlanta Symphony Orchestra, Andrew Litton and the Colorado Symphony, Leonard Slatkin and the Detroit Symphony Orchestra, Michael Tilson Thomas and the San Francisco Symphony, Mahler’s Third Symphony with Franz Welser-Möst and the Cleveland Orchestra, and Giancarlo Guerrero leading the Nashville Symphony, Mahler’s Das Lied von der Erde with Donald Runnicles at the Grand Tetons Music Festival, Lieberson’s Neruda Songs with Robert Spano and the Minnesota Orchestra, and Berlioz’s Roméo et Juliette with Leonard Slatkin and the Saint Louis Symphony Orchestra. O’Connor’s operatic highlights include performances of Suzuki in Madama Butterfly in a new production by Lillian Groag at the Boston Lyric Opera and at the Cincinnati Opera under the baton of Ramón Tebar, Ursule in Berlioz’s Béatrice et Bénédict at Opera Boston, Meg Page in Falstaff with the Santa Fe Opera, and Hippolyta in A Midsummer Night’s Dream at the Lyric Opera of Chicago and the Canadian Opera Company. O’Connor’s international debuts include the Proms Festival with Jirí Belohlávek and the BBC Symphony Orchestra in performances of Mahler’s Eighth Symphony and the Edinburgh International Festival with James Conlon and the BBC Scottish Symphony Orchestra in performances of Adams’s El Niño. For Leonard Slatkin’s profile, see page 6 ——————

PERFORMANCE MAGAZINE

rosters WAYNE STATE UNIVERSITY SYMPHONIC CHORUS

NOAH HORN, conductor ERIC TAYLOR, assistant conductor GERRIE BALL, accompanist

Soprano Samantha Adkins Asia Anderson* Gina Aula Keiara Bell Summer Bonds Danielle Brown Jala Buckley* Laura Burger Esther Charleston* Courtney Chase Sheren Deza Marion Duncan* Meggan Ellis Deborah Frontzcak* Kathleen Gage* Kari Hart Zeinab Hassan Kathleen Augustine* Kathleen Keyes Karen Larkins* Nicole Lassiter Anna Loftus Katelin Madaski Theresa Mahan Cameron McGillis Amy McGuckin Sarah Noble Monica Pritchard* Emily Sharp-Gay* Marcelline Shivers* Linda Simpson* Kiwana Smith* Brianna Wetherington Alexandria Zambelli

Alto Althea Anderson* Elizabeth Anderson Serafina Belletini Erica Birth Angelina Cicchella Phristan Cowans Marilyn Duncan-Taylor* Christine El-Hage Alyson Elliott Kara George Jordin Gerst Emily Gietzen Tierra Jones* Noor Jumaa Maria Lograsso Brooklyn McLaury Alison Miller Marisa Miller Cara Niemi Madelyn Sly Aretha Smiley Meara Thierry Denise Thomas Emily Verde* Stephanie Volke Marah Wahbeh Kyâ&#x20AC;&#x2122;Ana Waters Samantha Westlake Aaron Whitaker* Kayla Williams Sharon York* Natasha Zahor

DETROIT SYMPHONY ORCHESTRA

DETROIT CHORAL SOCIETY*

DR. NORAH DUNCAN IV, conductor ERIC TAYLOR, assistant conductor EMILY VERDE, accompanist

Tenor Andrew Awabdeh John Blanchard* Avery Eckert Matthew Engler* Ben Findlan George Gullen* James Heraty* Noah Horn Efraim Keramaris Taran Knight* Anthony Kostecki Charles Moore Darryl Mopkins* Sean Neal Connor Newton Thomas Papich Hussam Sareini Alec Sheldon Wallace Shelton* Dalas Stewart Christopher Stockman Matt Strachan Eric Taylor Gregory Urbiel* Michael Urso James VanRysseghem Richar Young

Bass Samuel Beale Paul Clauson John Collins Jacob Cross Justin David* Jack Day* Keith Dinkins* Norah Duncan IV* Mitchell Ford Bilal Hammad Andrew Harnadek Timothy Higle Carl Horn Gerald Hymer Bryan Iglesias Jacek Kasjan William Keener* Marcus Kirkland Anthony Koch Michael La Bella Dennis Landis* Ted Miklas Michael Miller Lawrence Milz Matthew Mollison Andrew Neer Dylan Nelson Ashod Oshagan Christopher Peters Ryan Rutkowski Jamie Smith* Cameron Stapp Ray Tejada* Mike Warholak* Nate Weil James Zdanowski Joe Zelewski

program notes Kinah

LEONARD SLATKIN B. Sept. 1, 1944 in Los Angeles, CA SCORED FOR METAL PERCUSSION, 2 HARPS, CELESTE, PIANO, 4 HORNS AND STRINGS, PLUS OFF-STAGE FLUGELHORN, TRUMPET, VIOLIN AND CELLO. (APPROX. 14 MINUTES)

Leonard Slatkin’s father, Felix Slatkin, was considered one of the most versatile musicians ever to work in Hollywood. He achieved fame as a superb violinist, as an outstanding conductor of both standard symphonic fare and appealing arrangements of lighter music, and as the leader of a string quartet widely regarded as one of the finest of its time. During his career he won wide acclaim and respect for his innovative and inspired contributions to the world of recorded sound. Born in St. Louis in 1915, he began studying the violin at age nine, began working professionally the following year, and eventually won a scholarship to the famed Curtis Institute in Philadelphia. He joined the St. Louis Symphony Orchestra at age 17, and soon became assistant concertmaster and formed a chamber orchestra of young musicians. In 1935 he won a competition that included a solo appearance with the Hollywood Bowl Orchestra, and it was there that he met cellist Eleanor Aller, whom he later married. He moved to Los Angeles to become a studio musician, and was soon hired as concertmaster of the 20th Century Fox Orchestra, beginning an involvement that lasted the rest of his life, during which he performed on the soundtracks of hundreds of films. Slatkin and Aller were married in 1939, shortly after she had become the principal cellist of the Warner Brothers Orchestra. At this time the couple formed the legendary Hollywood String Quartet, becoming the first major quartet to see its reputation made chiefly by recordings. In 1941 Slatkin became conductor of the Army Air Force Tactical Command Orchestra at the Santa Ana Air Force Base, an organization which raised over 100 million dollars in war bonds. His conducting career included the founding of the Concert

Arts Orchestra and numerous appearances with the Hollywood Bowl Orchestra. He was Frank Sinatra’s concertmaster and conductor of choice during the 1950s, also providing the famous singer with musical direction. When Slatkin died prematurely of a heart attack in 1963, the entire Hollywood/Los Angeles music world went into shock and mourning, as he had become, by that time, practically irreplaceable. Like her husband, Eleanor Aller Slatkin was a superb and versatile musician, dealing with solo work, chamber music, orchestral playing, motion pictures and television, and able to encompass the classics, pop music and even rock-and-roll with equal ease. Born in New York in 1917, she came from a musical Russian émigré family in which her father, grandfather and one uncle were all fine cellists, and another uncle was the wellknown conductor Modest Altschuler (the family’s original name). Her father gave her cello lessons from age nine, and within a year she had won a first prize in a competition. At 12 she won another competition which earned her an appearance at Carnegie Hall, and shortly after that she was awarded a scholarship to the Juilliard School of Music. Her family and friends played chamber music regularly, and on one occasion an executive of Warner Brothers came to listen. He said the studio’s orchestra needed a principal cellist. She auditioned, and after a grueling week of examinations won the position with flying colors. So she became—at just 19—the youngest person ever to have been awarded such a position, one she held for over 30 years. Her brother, pianist Victor Aller, was also the orchestra’s manager, and their father played in the ensemble for some time. Her career at Warner Brothers was extraordinary: among other things, Erich Korngold wrote his very difficult cello concerto for her to play in the 1946 film Deception, and she gave the concert premiere of the work with the Los Angeles Philharmonic. Besides playing on the soundtracks of countless films, on other occasions she also accompanied stars such as Ella Fitzgerald, Lena Horne and Frank Sinatra. In 1972 she moved to 20th Century Fox, becoming principal cellist in their orchestra until 1985. While there, John Williams wrote a major solo for her in the PERFORMANCE MAGAZINE

program notes music to Steven Spielberg’s classic Close Encoun- ments. This leads to a short and fast interlude, ters of the Third Kind. Her work with Felix in the once again using the first four notes of the Double Hollywood String Quartet (1947-1961) was no less Concerto’s slow movement. Various unusual sound remarkable, and the group was famous not only effects interrupt. After this burst of activity, the for compelling performances of the classic reper- elegy melody returns, this time transformed into tory but also for strong promotion of 20th-century a canon. As the textures thicken, the four-note momusic. In 1958 the quartet won a Grammy for its tif becomes agitated and repetitive, with flurries recordings of the late string quartets of Beethoven. of sound coming from almost all the instruments. She was active as a freelance sessions player un- To conclude, when the activity dies down, a distil shortly before her death in Los Angeles in 1995, tant violin and cello play the first few passages of and was chair of the string department at DePaul Brahms’ second movement, but do not complete their phrases, a reminder that the public never University from 1968 to 1970. About the present work, Leonard Slatkin has heard my parents’ interpretation of the piece. The written the following “This work is dedicated to the last utterance of the two soloists utilizes the final memory of my parents, Felix Slatkin and Eleanor bars of the Andante, with a brief silence occurring Aller. On February 6, 1963, my parents rehearsed just before a dark, bell-like sound in the orchestra the Brahms Double Concerto with the Los Angeles brings the work to an end. ‘Kinah’ is the Hebrew word for ‘Elegy,’ and Doctors Symphony Orchestra. It was to be the first time that my father Felix, a violinist, and his wife although we were not a devout family, there was Eleanor, a cellist, would play this work in public. always something of our Jewish heritage felt in the There was a great deal of anticipation for this per- Slatkin household. I can only hope that this short formance, as the two were regarded as part of the work, about 14 minutes long, pays appropriate homage to my parents.” elite of the Hollywood musical establishment. These performances of Slatkin’s Kinah are a I was 19 years old and not sure of what I was going to do with the rest of my life as far as world premiere. a career was concerned. Attending the rehearsal seemed a chore, but I saw that everyone there was —————— mesmerized by the pair’s incredible way with this piece. We all knew that the concert would be an Symphony No. 2 in C minor, evening to treasure. Alas, the performance never took place, as my dad died two nights later at the “Resurrection” age of 47. The respect he was shown was evident GUSTAV MAHLER in the memorial service held two days later, when B. July 7, 1869 in Kalischt, Bohemia (now the 1,500 people showed up to pay their respects, in- Czech Republic) cluding Frank Sinatra. I really never had time to D. May 18, 1911 in Vienna, Austria mourn, and so it seemed right for me to compose this brief elegy as a tribute to both my parents. SCORED FOR SOPRANO SOLO, My father would have turned 100 this December ALTO SOLO, CHORUS, 4 FLUTES, 4 [2015] and my mom would have been 98. PICCOLOS, 4 OBOES, 2 ENGLISH The piece is scored for metal percussion inHORNS, 5 CLARINETS, 2 E-FLAT struments, two harps, celeste, piano, four horns CLARINETS, BASS CLARINET, 4 and strings. There are also off-stage instruments BASSOONS, CONTRABASSOON, 10 including a flugelhorn, trumpet, violin and cello. HORNS, 8 TRUMPETS, 4 TROMBONES, TUBA, 2 The chord sounded at the opening comprises notes TIMPANI, PERCUSSION (BASS DRUM, CYMBALS, taken from the slow movement of the Brahms TRIANGLE, SNARE DRUM, GLOCKENSPIEL, TAM-TAMS, concerto. The flugelhorn intones the elegy itself, BELLS AND RUTE), 2 HARPS, ORGAN AND STRINGS. followed by a steady build-up in the other instru- (APPROX. 80 MINUTES)

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program notes Mahler’s Second Symphony, known popularly as the “Resurrection” Symphony (a title which the composer did not create), was composed between 1888 and 1894, and first performed in 1895. Along with the Eighth Symphony, this was Mahler’s most successful and popular work during his lifetime, and established his lifelong vision of an afterlife. Several of Mahler’s symphonies revolve around a struggle with some spiritual problems that are resolved in the last movement. In this work, the problem is that of finding some peace of mind while dealing with human mortality, outrage at the omnipotence of death, and a haunting awareness of the fragility of life. The resolution here is nothing less than an affirmation of the Christian belief of turning to God and a powerful belief in resurrection and immortality. Mahler was fascinated by such concepts as existentialism, the meaning of life and death, and what happens to us after we die. He attempted throughout his life to come to grips with these and other issues, and worked out his questions as best he could through his music, the whole process resulting in his unique and sublime inspiration. As it turned out, his quest for answers and the whole matter of an afterlife were much more existential and less overtly religious in nature. The Second Symphony did not gain popularity immediately, but achieved success only after the premiere of his Third Symphony in 1902, which was not only better understood initially, but represented his first substantial success with a new symphony. The first movement of the Second Symphony seems to show that Mahler was trying to become a part of the grand symphonic tradition, and it represents a major step away from the First Symphony and a new way of dealing with the symphonic poem, which was the predominant orchestral form of the late 19th century, and which certainly helped to shape all of Mahler’s subsequent works. The premiere of the Second Symphony in Berlin in December of 1895 effectively marked the beginning of Mahler’s career as a composer. It took Mahler a long time to bring the Second Symphony to completion, beginning in 1887 when he was 27 and still working on the First Symphony, and ending in 1894. What became the first movement of the symphony started life as a

symphonic poem entitled Totenfeier (Funeral Rite) completed in 1888. It was an amazing achievement for a 28-year-old composer, but after much uncertainty for five years about whether to let this work stand alone or become the first movement of a symphony, in 1893 he composed the second and third movements. Earlier on, Mahler had completed Carl Maria von Weber’s unfinished opera Die drei Pintos with great success, and after the first performance he had been given a large number of garlands and wreaths. While looking at this floral profusion he suddenly had a vision of himself lying dead in a casket, and it was this vision that was the immediate inspiration for Totenfeier. The almost-five-year hiatus in composition was because Mahler’s new duties as director of the Royal Opera House in Budapest occupied most of his time, and the summers were not at all productive. Right after composing the second and third movements, Mahler set a song called Urlicht from the Knaben Wunderhorn collection for alto solo, but it took a while before he included it in the new symphony. For some time he had been contemplating using a chorus in the final movement, but was reluctant to do so, fearing comparisons with Beethoven’s Ninth. In early 1894 the celebrated German conductor and pianist Hans von Bulow died, and during the memorial service in March there was sung a setting of a Resurrection Chorale by the poet Friederich Klopstock. Hearing this struck Mahler like a bolt of lightning, and he realized he had found the perfect solution to ending his new symphony: he used the first two stanzas of the Klopstock poem and wrote the rest himself. In doing so, he combined Christian ideals with contemporaneous thought, and brought forth a picture of Judgment Day not as the traditional fire and brimstone, but with a great sense of love and acceptance. The DSO last performed Mahler’s “Resurrection” in May 2007 with Rafael Frühbeck de Burgos conducting, vocalists soprano Dominique Labelle and mezzo soprano Sara Mingardo, and the UMS Choral Union singing chorus. The DSO first performed this piece in November 1922 with Ossip Gabrilowtisch conducting.

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

DAVE KOZ DSO PRESENTS

Dave Koz and Friends Christmas Tour 2015*

With Special Guests Jonathan Butler, Candy Dulfer & Bill Medley

Monday, December 7, 2015 at 7:30 p.m. in Orchestra Hall

Program to be announced from stage

Flash photography is prohibited during the performance *DSO does not appear on this program

DETROIT SYMPHONY ORCHESTRA

In the 25 years since the release of his self-titled solo debut album, saxophonist Dave Koz has received nine GRAMMY nominations, had nine No. 1 albums on Billboard’s Current Contemporary Jazz Albums chart, toured the world and has been honored with a star on the Hollywood Walk of Fame. Collaborations: 25th Anniversary Collection, Koz’s latest album on Concord Records, features three brand new tracks—“Good Foot” with Jeff Lorber, “(Your Love Keeps Lifting Me) Higher and Higher” with Kenny Lattimore and Rick Braun and “Let It Go” (from Frozen) with Sturken & Rogers —plus previously recorded collaborations with Barry Manilow (who recently tapped Koz as opener on his One Last Time! tour of the U.S.), Luther Vandross, Stevie Nicks, Stevie Wonder, Toby Keith, Herb Alpert, Rod Stewart, David Benoit and Scott Bradlee’s Postmodern Jukebox, among others. In the course of his career, Koz has also played with such artists as Burt Bacharach, Ray Charles, Natalie Cole, Celine Dion, Shelby Lynne, Kenny Loggins, U2 and Michael McDonald. A platinum-selling artist, he is also known as a humanitarian, entrepreneur, radio host and instrumental music advocate. Koz completed a four-year term on the GRAMMY Foundation Artists Committee and has served as National Trustee for the National Academy of Recording Arts & Sciences.

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

CLASSICAL SERIES /

NEIGHBORHOOD CONCERT SERIES

Mozart and Beethoven Thursday, December 10, 2015 at 7:30 p.m. Friday, December 11, 2015 at 10:45 a.m. in Orchestra Hall CASE SCAGLIONE, conductor AUGUSTIN HADELICH, violin

Wolfgang Amadeus Mozart Symphony No. 25 in G minor, K. 183 (1756-1791) Allegro con brio Andante Menuetto Allegro Dmitri Shostakovich Violin Sonata No.1 (1906-1975) Andante Orchestrated by Allegretto Michail Zinman; Largo - Andante - Largo Percussion arranged by Augustin Hadelich, violin Andrei Pushkarev —INTERMISSION—

Ludwig van Beethoven Overture to Coriolan, Op. 62 (1770-1827) Franz Joseph Haydn Symphony No. 94 in G major, “Surprise” (1732-1809) Adagio cantabile - Vivace assai Andante Menuetto: Allegro molto Allegro di molto This Classical series performance is generously sponsored by PVS Chemicals This performance will be webcast at dso.org/live Experience the concert again at dso.org/replay Live from Orchestra Hall is presented by

a and made possible by

profiles CASE SCAGLIONE

seldom encountered in a single artist. In 2014-15, Case Scaglione made his official subWith this season’s addition of the Chicago scription debut with the New York Philharmonic and Pittsburgh symphonies, Hadelich will have in his final season as the orchestra’s Associate appeared with every major orchestra and chamber Conductor—a position that orchestra in the U.S., several on numerous occawas revived especially for him sions. He has also performed at Blossom, Britt, by Music Director Alan Gilbert. Chautauqua (where he made his American debut He also received high critical in 2001), Eastern Music Festival, the Hollywood acclaim for his concerts with Bowl, Marlboro and Tanglewood. Dallas Symphony in both the Also an enthusiastic reorchestra’s ReMix and sub- citalist, Hadelich’s numerous scription series. appearances include Carnegie Elsewhere, Scaglione Hall, Concertgebouw in Amhas recently conducted the sterdam, The Frick Collection in Baltimore Symphony Orchestra, Luzerner Sinfo- New York and Kennedy Center nieorchester, Kristiansand Symphony and Roches- in Washington, D.C. His April ter Philharmonic orchestras. Since his professional 2014 performance/premiere of conducting debut with The Cleveland Orchestra in David Lang’s 35-minute solo 2010, he has also appeared as a guest conduc- violin work, mystery sonatas, at tor with the St. Louis Symphony, Orchestra of St. Carnegie’s Zankel Hall was a resounding success. Luke’s, and the Houston, Colorado and Jacksonville Hadelich’s first major orchestral recording, symphony orchestras. featuring the violin concertos of Jean Sibelius and A regular visitor to Asia, Scaglione has conduct- Thomas Adès (Concentric Paths) with Hannu Lintu ed concerts with the Shanghai Symphony, Guang- conducting the Royal Liverpool Philharmonic Orzhou Symphony and China Philharmonic orchestras, chestra, was released to great acclaim in March and later this season he returns to the Hong Kong 2014 on the AVIE label. The disc has been nominatPhilharmonic for a third consecutive year. ed for a Gramophone Award, and was listed by NPR As Music Director of the Young Musicians on their Top 10 Classical CDs of 2014. Foundation Debut Orchestra of Los Angeles (2008The 2006 Gold Medalist of the International 11), Scaglione was the driving force behind the Violin Competition of Indianapolis, Hadelich is the artistic growth and diversification of the organi- recipient of an Avery Fisher Career Grant (2009), a zation, and founded their educational outreach Borletti-Buitoni Trust Fellowship in the UK (2011) program ‘360° Music.’ Passionate about music and Lincoln Center’s Martin E. Segal Award (2012). education, he has a regular teaching relationship —————— with the Juilliard School. Scaglione studied under David Zinman at the American Academy of Conducting at Aspen, where Symphony No. 25 in G minor, K. he won the James Conlon Prize. He was awarded 183 the Aspen Conducting Prize in 2010 and in 2011 WOLFGANG AMADEUS MOZART received the Conductor’s Prize from the Solti Foun- B. January 27, 1756 in Salzburg, Austria dation US. D. December 5, 1791 in Vienna, Austria AUGUSTIN HADELICH

Augustin Hadelich has established himself as one of the great violinists of his generation. His remarkable consistency throughout the repertoire, from Bach and Beethoven to Ligeti and Adès, is

DETROIT SYMPHONY ORCHESTRA

SCORED FOR 2 OBOES, 2 BASSOONS, 4 HORNS AND STRINGS. (APPROX. 24 MINUTES)

program notes In the 18th century, there was clearly no need becoming individualized. It is moreover one his first to distinguish between different symphonies by works to show complete artistic maturity, and one the same person to the degree that is common to- of only two symphonies he composed in a minor key, day. The concept that all symphonies should have the other being the sublime Symphony No. 40, also unique personalities of their own did not become in G minor. The use of minor keys in symphonies was widespread until Beethoven’s time. Until then, most quite rare in the 18th century, but instead of being symphonies were enough alike in scope and intent looked on as a forerunner of the Romantic spirit, as to be almost interchangeable to their audiences. this work can better be regarded as part of a sudThis situation began to change in the 1770s when den outburst of minor-key symphonies which took Mozart and Haydn, among others, began to write place in the late 1760s and early 1770s. The great symphonies which were noticeably individualized Haydn and other lesser lights produced at this time and different from one another. The symphony as a number of minor-key symphonies characterized we know it today had its origin in Italy where it was by stormy and even nervous drama, restlessness of first used as a three-part opera overture. When spirit, and melodies which tended to jump around Mozart began writing symphonies he followed this rather than follow a normal smooth path. These arrangement, and in fact many of his early sym- were part of the so-called Sturm und Drang (Storm phonies bear the sub-title of “Overture.” He wrote and Stress) movement, and much has been made of more symphonies than anything else in the purely the similarity between Haydn’s Symphony No. 39 in instrumental realm, over 50 in all, the first being G minor and this Mozart work: they are in the same produced when he was just eight. During his time key and same style, and most unusually, include not the symphony broke away from its original use in op- the usual two but four horns in the instrumentation, era and gained a new and independent life. Mozart thus extending the harmonic range. There are, howwrote most of his symphonies for a specific purpose, ever, two unusual features in the Mozart work: first, and his early efforts in the genre were a fascinating where he carries over from the first movement into mixture of various styles of the day, written in a way the second a decidedly somber atmosphere by using that would please local audiences. The majority of bassoons instead of the usual flutes; and second, his symphonies were written prior to 1774, with the unlike most minor-key symphonies of that time in greatest concentration occurring between 1770 and which the last movement is in a major key, here 1775, when he wrote no less than 36 symphonies, the last movement is in the minor, and carries the what one scholar referred to as “an attack of sym- Sturm und Drang feeling right to the end. phony fever!” He did not stop writing symphonies The DSO last performed Mozart’s 25th Symphoafter this, however; rather, the demands of his ca- ny in October 2006 with Kwamé Ryan conducting. reer along with social and musical realities of the The DSO first performed this piece in October day pointed him mainly in the direction of opera and 1969 at the Ford Auditorium with Sixten Ehrling the piano concerto. Mozart’s stylistic development conducting. closely paralleled the development of the Classical style as a whole, the main characteristics of —————— which are clarity, balance and transparency. From his earliest years, he had a remarkable sponge-like Sonata for Violin in G Major, gift for imitating music he had heard, all of which Op. 134 was transformed and funneled into his unique and DMITRI SHOSTAKOVICH special musical language. In addition, during the [ARR. MIKHAIL ZINMAN & ALEXEI PUSHKAREV] last ten or so years of his life, he also was exploring B. Sept. 25, 1906 in St. Petersburg, Russia chromatic harmony to a degree which was almost D. Aug. 9, 1975 in Moscow, Russia unparalleled at the time. This early symphony in G minor was written when SCORED FOR VIOLIN SOLO, STRINGS AND PERCUSMozart was 17 years old, and stands out among his SION. (APPROX. 30 MINUTES) works as a good example of how symphonies were PERFORMANCE MAGAZINE

program notes Although he is known to the work to Oistrakh. The unofficial premiere took place general public as one of the great in January of 1969 with pianist Moshe Vainberg in symphonists of the 20th century, the auditorium of the Russian Union of Composers, Shostakovich’s chamber music out- and the official premiere, with the great Russian piput—particularly his extraordinary anist Sviatoslav Richter at the keyboard, took place 15 string quartets—represents the in May in the Large Hall of the Moscow Conservatory. more private, personal and often experimental asIt is a very somber work, the result of the compects of his compositional force. His penetrating cre- poser’s failing health and a generalized bitterness ativity helped to advance the art of chamber music toward the oppressive Soviet system of government, in the last century, and his work in the genre helped but it also very clear in its sonic construction and to sustain him and his fellow musicians through the is very moving. Just as in most of his late works, most difficult and trying times imaginable in Stalin- Shostakovich is exploring new musical territory, ist Russia. More is the pity, then, that this part of his here incorporating elements of serial technique prolific output is so little known to most music lov- which he had previously avoided. It is a very forers, as it gives us remarkable insight into the man’s ward-looking composition in that it does not follow psyche and most deeply-held thoughts and emo- any established set of rules or traditional means of tions. His chamber music—again, particularly the expression, and in so doing manages to synthesize string quartets —is of amazing power, and deeply nearly two centuries of musical practices. Originally affects performers and listeners alike, as it express- the three movements were entitled Pastorale, Allees every possible emotion in the human spectrum. gro furioso, and Variations on a Theme, but when In this portion of his music, it is rather surprising the work was published they were simply given that he was apparently not particularly drawn to the Roman numerals. The first movement begins with form of the sonata. There are just two for piano (his a nod to serial technique in which all 12 notes of instrument), one each for cello, violin and viola, and the chromatic scale are sounded before the violin an unfinished sonata for violin. The 1968 Violin So- enters with an unsettled and tense first theme. The nata might never have been written had it not been mood is grim, even threatening, as is typical of for the wonderful musicianship and personality of Shostakovich’s late works, particularly the last sevthe great Russian violinist David Oistrakh. Oistrakh eral string quartets. A second theme appears which had collaborated with the composer on several of is somewhat march-like, even cynical, and then the his major works, giving suggestions and insight as first theme reappears in a new guise. There follows only an experienced performer could, and it was for a section in which the violin glides down repeatedly this towering virtuoso that Shostakovich composed from its higher range over very icy harmonies in the his Second Violin Concerto in 1967, intending it as a accompaniment, and also uses some playing near 60th birthday present. In Oistrakh’s words, “Dmitri the bridge to create an almost ghostly atmosphere. had been wanting to write a new, second concer- There is a great deal of freedom with meter, and very to for me as a present for my 60th birthday. There effective use of augmentation and diminution of the was, however, an error of one year in his timing, and opening tone-row. Tension is built up throughout the the new concerto was ready for my 59th birthday. movement, and gives way to passionate and angry Shortly afterwards, Dmitri seemed to think that, sentiments in the second movement. This movehaving made a mistake, he ought to correct it, and ment begins with a theme which seems to be heroic, that is how he came to write the Sonata. I had not but it is only a façade, the music quickly becoming been expecting it, although I had long hoped that anxious, even abrasive and violent. There is a gritty he would write a violin sonata.” It was in August and relentless quality to the music, which comes of 1968, immediately after finishing his 12th String from the angularity in its rhythmic, dynamic and Quartet, that Shostakovich began work on the sona- tonal aspects. A waltz even appears, holding the ta, hoping to make good his chronological “mistake,” promise of relief from the tension, but never sucand finished it the following October, dedicating the ceeds in doing so. A new tone-row is heard, using

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program notes ever-shorter note values, and the movement comes to a very sarcastic and abrupt conclusion. It is probably no accident that this movement was written just as Soviet forces were invading Czechoslovakia in 1968. The third (and longest) movement is set as a grand passacaglia, a variation form which goes all the way back to the Baroque era. Over a somber introduction, the violin plays the dark passacaglia theme pizzicato, after which come no less than 13 variations, some sinister, some playful, some simple, some thoughtful, and even one resembling a chorale, all of which demonstrate Shostakovich’s mastery of technical and emotional manipulation. Toward the end a powerful re-statement of the theme is made, after which the march-like music from the second movement returns, as does the eerie but nostalgic music of the first movement and the work ends as it fades into the cold and unsettling night. As with so much of late Shostakovich, we are not quite sure where the musical journey has ended, and are surrounded by a puzzling and disturbing ambiguity. The present version for violin solo and string orchestra was created in 2005 by the Russian violinist Mikhail Zinman for his own use. These performances of Shostakovich’s Violin Sonata are a DSO premiere. ——————

Overture to Coriolan, Op. 62 LUDWIG VAN BEETHOVEN B. Dec. 1770 in Bonn, Germany D. March 26, 1827 in Vienna, Austria

SCORED FOR 2 FLUTES, 2 OBOES, 2 CLARINETS, 2 BASSOONS, 2 HORNS, 2 TRUMPETS, TIMPANI AND STRINGS. (APPROX. 8 MINUTES) In 1807, Beethoven composed an overture to Heinrich von Collin’s tragic play Coriolan. The play, originally performed on November 24, 1802 with musical interludes arranged from Mozart’s Idomeneo, is on the same subject as Shakespeare’s Coriolanus. The title character in this story, a Roman nobleman, has his ambitions frus-

trated because of his arrogance towards the common Roman citizens. He decides to aid the Roman’s enemies, the Volscians. After being sought out by his wife, daughter, and son, he tries to negotiate a peace treaty instead, and is killed by the Volscians for his treachery. The Coriolan Overture was first performed in March 1807, in two concerts at the palace of Prince Lobkowitz, one of Beethoven’s patrons. The overture was brought together with the play in a performance on April 24, 1807. The Coriolan Overture is a piece dominated by mood – anger, destruction, and ultimately, despair. The introductory passage is one of the most unusual in Beethoven; it provides little clue regarding meter or tempo. The principal theme is then introduced at a point of metric irregularity and uncertainty. This theme shows unusual rhythmic independence, and contains a number of accents which conflict with the prevailing meter. The rhythmic independence of one of the motives in this theme is strikingly presented at the conclusion of the overture, where it is gradually expanded and modified to close the piece in one of Beethoven’s gloomy C minor moods. The DSO last performed this piece in June at the Seligman Performing Arts Center in Beverly Hills as part of the William Davidson Neighborhood Concert Series with Marcelo Lehninger conducting. The DSO first performed this piece in March 1916 with Weston Gales conducting. ——————

Symphony No. 94 in G Major, “Surprise” FRANZ JOSEPH HAYDN B. March 31, 1732 in Rohrau, Austria D. May 31, 1809 in Vienna, Austria

SCORED FOR 2 FLUTES, 2 OBOES, 2 BASSOONS, 2 HORNS, 2 TRUMPETS AND STRINGS. (APPROX. 24 MINUTES) Haydn was a classic example of a self-made man. Life threw him entirely on his PERFORMANCE MAGAZINE

program notes own resources, and with steadfast determination he worked his way up from very humble circumstances to become one of the most celebrated artists of his time and one of the greatest composers in history. What helped him achieve this was an eternal optimism which allowed him to be at peace with himself and the world. He was also one of the most prolific, astonishingly fertile and inventive composers who ever lived, and one of the most highly-skilled craftsman in all of music. As far as we can tell, he wrote 106 symphonies, 70 string quartets (a genre which he essentially created), 60 piano sonatas, dozens of piano trios, 25 operas, about a dozen masses, 4 oratorios (of which, The Creation is one of the supreme achievements), a great number of songs and hundreds of smaller works. He enlarged, extended and re-shaped virtually every genre in which he worked, and his symphonies are a remarkable example of his development of a particular form, marked by deep feeling, drama, elegance and wit. Haydn is often referred to as “the father of the symphony”. There are few more heart-warming episodes in music history than the story of Haydn’s two visits to London, and how this came about. He had spent most of his composing career—some 28 years— in provincial obscurity as court composer for the wealthy and culturally-aware Prince Nikolaus Eszterhazy, even as his reputation grew throughout Europe. When the Prince died in 1790, his culturally-unaware son Anton largely disbanded the family musical establishment, at which point Haydn moved to Vienna and immediately received many tantalizing employment offers. The most attractive one came from a German-born violinist and impresario named Johann Peter Salomon, who offered Haydn a large sum of money to come to London to present some new compositions in an extended series of concerts. Making his first-ever trip outside Austria, Haydn arrived in England on New Year’s Day 1791, and the first set of what proved to be wildly successful concerts began that March. Suddenly, he found himself the center of attention in a major foreign capital, where he was entertained by the nobility and by the royal family; became Dr. Haydn with an honorary degree from Oxford; through performances, benefit concerts, teaching and publications became wealthy beyond his dreams; and received the plau-

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dits of his fellow musicians and a large number of music lovers. The London years in Haydn’s career (1791-1792 and 1794-1795) were distinguished by a remarkable number of masterpieces in all genres, but when looked at as a whole, it is his last 12 symphonies which have consistently been public favorites and which seem to contain more than any other form the true essence of the man’s personality. Curiously, the true chronological order of these “London” or “Salomon” symphonies is not the order by which they are known, the first six having been composed in the order 96, 95, 93, 94, 98 and 97. These extraordinary works represent the zenith of his art as a symphonist: the freedom, the variety of form and richness of invention make each symphony a unique and entirely fresh experience, none of which was lost on his extremely enthusiastic English audiences. For the record, the orchestral forces which Salomon offered Haydn were far beyond what he had had at Eszterhaza, the basic orchestra containing 12 to 16 violins, four violas, five cellos and four double basses, along with a standard complement of winds (but no clarinets), and with a trombone used during the first season to strengthen the bass line. At the time the finest players in London were employed at the rival Professional Concert Series, but by rigorous training Salomon and Haydn forged on orchestra of impeccable ensemble and deep musical understanding. The Symphony No. 94 was first performed under Haydn’s direction in March of 1792, and is still probably the most popular of these 12 great works. In English the work’s sub-title is “Surprise,” but in German it is called “The Symphony with the Timpani Beat,” referring of course to the unexpected loud drum note which occurs in a quiet passage in the second movement. Haydn was a great musical humorist, a fact that his contemporaries knew and loved, and it was Mozart who summed it up when he said that Haydn “can amuse and shock, arouse laughter and deep emotion as no one else can.” The DSO last performed Haydn’s “Surprise” in March 2013 at an Educational Concert with Teddy Abrams conducting. The DSO first performed this piece in January 1925 with Victor Kolar conducting.

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

SPECIAL

Handel’s “Messiah” Saturday, December 12, 2015 at 8:00 p.m. Sunday, December 13, 2015 at 3:00 p.m. in Orchestra Hall NATHALIE STUTZMANN, conductor EMÖKE BARATH, soprano^ | SARA MINGARDO, mezzo soprano✝ LAWRENCE WILIFORD, tenor* | BURAK BILGILI, bass~ MICHIGAN STATE UNIVERSITY CHORALE

George Frideric Handel Messiah (1685-1759) 1. Sinfonia PART I 2. Accompagnato: “Comfort ye, my people”* 3. Air: “Ev’ry valley shall be exalted”* 4. Chorus: “And the Glory of the Lord” 5. Accompagnato: “Thus saith the Lord, the Lord of Host”~ 6. Air: “But who may abide the day of His coming”✝ 7. Chorus: “And he shall purify” Recitative: “Behold, a virgin shall conceive”✝ 8. Air and Chorus: “O thou that tellest good tidings of Zion”✝ 9. Accompagnato: For behold, darkness shall cover the earth”~ 10. Air: “The people that walked in darkness”~ 11. Chorus: “For unto us a child is born” 12. Pifa (Pastoral Symphony) Recitative: “There were shepherds abiding in the field”^ 13. Accompagnato: “And lo, the angel of the Lord came upon them” Recitative: “And the angel said unto them”^ 14. Accompagnato: “And suddenly, there was with the angel”^ 15. Chorus: “Glory to God in the highest” 16. Air: “Rejoice greatly, O daughter of Zion”^ Recitative: “Then shall the eyes of the blind be open’d”✝ 17. Duet: “He shall feed his flock like a shepherd”^✝ 18. Chorus: “His yoke is easy, and His burthen is light” —INTERMISSION—

PERFORMANCE MAGAZINE

PART II 19. Chorus: “Behold the Lamb of God” 20. Air: “He was despised”✝ 21. Chorus: Surely, He hath bourne our griefs and carried our sorrows” 22. Chorus: “And with His stripes we are healed” 23. Chorus: “All we like sheep, have gone astray” 24. Accompagnato: “All they that see Him, laugh Him to scornr*” 25. Chorus: “He trusted in God” 26. Accompagnato: “Thy rebuke hath broken His heart”* 27. Arioso: “Behold and see if there be any sorrow”* 28. Accompagnato: “He was cut off out of the Land of the living”* 29. Air: “But Thou didst not leave His soul in hell”* 30. Chorus: “Lift up your heads” 34a. Air: “How beautiful are the feet of him”^ 36. Air: “Why do the nations so furiously rage together”~ 37. Chorus: “Let us break their bonds asunder” Recitative: “He that dwelleth in heaven”* 38. Air: “Thou shalt break them with a rod of iron”* 39. Chorus: “Hallelujah” PART III 40. Air: “I know that my Redeemer liveth”^ 41. Chorus: “Since by man came death” 42. Accompagnato: “Behold, I tell you a mystery~ 43. Air: “The trumpet shall sound and the dead shall be rais’d”~ Recitative: “Then shall be brought to pass”✝ 44. a. Duet: “O death, where is they sting”✝* Recitative: “Then shall be brought to pass”✝ b. Duet “O death, where is thy sting?”✝* 45. Chorus: “But thanks be to God” 46. Air: “If God be for us”^ 47. Chorus: “Worthy is the Lamb that was slain” 48. Chorus: “Amen”^✝*~ This Classical series performance is generously sponsored by PVS Chemicals Experience the concert again at dso.org/replay Get the most out of each Classical 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. The DSO can be heard on the Live From Orchestra Hall, Chandos, London, Mercury Records, Naxos and RCA labels.

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profiles NATHALIE STUTZMANN

Nathalie Stutzmann’s charismatic musicianship and the unique combination of rigour and fantasy that characterizes her style has been recognized by her peers, audiences and critics alike. She has recently been announced as Associate Artist of the Sao Paulo State Symphony Orchestra. The three-year collaboration will begin in September 2016 and will be multi-dimensional, drawing on her talents both as a contralto and as a conductor. Stutzmann is also Associate Artist with the Orchestre de Chambre de Paris and Artist-in-Residence with the Royal Liverpool Philharmonic Orchestra for the 2015-16 season. Stutzmann sings regularly with the world’s greatest conductors and orchestras and is acclaimed for her performances of Mahler. Recent engagements include Mahler’s Symphony No. 3 with Berlin Philharmonic, Frankfurt Radio Symphony and Sao Paulo State Symphony. Stutzmann is a highly-praised recitalist, performing all over the world with the Swedish pianist Inger Södergren, with whom she has recorded several song cycles by Schubert, Schumann, Brahms, Poulenc and Chausson among others. Recent recitals include at Muziekgebouw Amsterdam, la Monnaie, Brussels and Gulbenkian Foundation, Lisbon, and a Japan tour to celebrate the re-release by Warner/Erato of their earlier recording of the three Schubert song cycles. Parallel to her many concerts as a singer, she devotes part of her season to her own chamber orchestra, Orfeo 55, created in 2009 and in residence at the Arsenal in Metz. EMÖKE BARATH

Hungarian soprano Emöke Barath began her musical education studying the piano and harp. She began singing at the age of 18 following the teaching of Professor Julia Paszthy at the Franz Liszt Academy in Budapest. In 2009, she received the third prize at the 44th Anton Dvorak International Competition (Czech Republic).

In 2011, she won the First Prize and the Award of the Public at the Second International Singing Competition for Baroque Opera in Innsbruck (Austria). The same year, she won the Grand Prix of Verbier Festival Academy (Switzerland). She was also awarded the prestigious Junio Prima Primissima Prize in Hungary. Early on, she was invited to perform as soloist in many festivals and venues as famous as the Palace of Arts and the Budapest State Opera in Hungary, the Theater an der Wien, the Amsterdam Concertgebouw, the Théâtre des Champs-Elysées, the Opéra Royal de Versailles in France and the Verbier festival in Switzerland, among others. In January 2015, she recorded the role Ormindo in Händel’s Partenope with Il Pomo d’Oro conducted by Riccardo Minasi for Warner (alongside Karina Gauvin and Philippe Jaroussky). The recording will be released in February 2016. BURAK BILGILI

From the time of his professional operatic debut at the Teatro alla Scala in 2002 as Don Alfonso in Lucrezia Borgia, bass Burak Bilgili has enjoyed a busy international career. Recent engagements include Zaccaria in Nabucco with the Auckland Symphony and the Washington National Opera, Dvorak’s Stabat Mater with the National Symphony, Ramfis in Aida with Edmonton Opera, Quasimodo in Bizet’s Notre Dame with The American Symphony Orchestra, Procida in Vespri Siciliani with the Caramoor Festival, and a return to Savonlinna Festival for the world premiere of La Fenice, among others. Concert engagements include Dvořák’s Stabat Mater with the New York Choral Society at Carnegie Hall, and Janacek’s Glagolitic Mass with the Atlanta Symphony. In 2002 he debuted as Raimondo in Lucia di Lammermoor with Rome Opera and Palm Beach Opera and Sparafucile in Baltimore Opera’s Rigoletto. PERFORMANCE MAGAZINE

profiles Other highlights of previous seasons include Faure’s Requiem in France with the Lyon Symphony Orchestra and Istanbul European Choir and solo recitals at the 25th and 28th International Istanbul Music Festival as part of the Young Soloist Series. SARA MINGARDO

groups in the US and Canada. His recent concert appearances include Handel’s Messiah with the Louisiana Philharmonic, Philharmonia Baroque Orchestra, Toronto Symphony, and Tafelmusik Baroque Orchestra and the Evangelist in the St. Matthew Passion with the Calgary Philharmonic, Orchestre Métropolitain, and Toronto Bach Consort, among others. Operatic highlights from recent seasons include making his Canadian Opera Company leading role debut in Mozart’s Così Fan Tutte as Ferrando on five hours’ notice. Also with the Canadian Opera Company he has appeared as Francis Flute in Britten’s A Midsummer Night’s Dream and Roy in James Rolfe’s Swoon. He has also performed with Toronto’s Opera Atelier as Belmonte and Pedrillo in Die Entführung aus dem Serail. Wiliford has recorded projects on the ATMA Classique, Centrediscs and NAXOS labels, such as the St. John Passion with Les Voix Baroques and the Arion Chamber Orchestra under the direction of Alex Weimann; Ash Roses, songs by Canadian composer Derek Holman; and his debut solo recording Divine Musick: The Late Works for Tenor and Harp by Benjamin Britten.

Alto Sara Mingardo studied with Franco Ghitti at the Benedetto Marcello Music Conservatory in her native Venice and completed her training at the Accademia Chigiana in Siena. Her career was launched in 1987 when she won the Concorso Toti dal Monte and, in the same year, she made her stage debut as Fidalma in a production of Cimarosa’s Il matrimonio segreto in Avezzano. Soon after that she began appearing on the major stages of Italy and Europe, performing at the Salzburg Festival as well as at the Festival d’Aix-en-Provence. A prominent role in her career is reserved for early music, which she frequently performs with ensembles and such conductors as Rinaldo Alessandrini, John Eliot Gardiner, Emmanuelle Haïm, Marc Minkowski, Roger Norrington, Christophe Rousset and Jordi Savall. She also performs with traditional symphony orchestras, including the Berlin Philharmonic, the London and Boston —————— Symphony Orchestras and the Orchestre National de France. She enjoyed a close partnership with Claudio Abbado, with whom she collaborated on Messiah his Pergolesi cycle and recorded Mozart’s Requi- GEORGE FRIDERIC HANDEL em. In May and June 2014 Mingardo sang the role B. February 23, 1685, Halle, Germany of Penelope in Monteverdi’s Il ritorno d’Ulisse in D. April 14, 1759, London, England patria at Zurich Opera. In 2009 the Italian Music SCORED FOR 2 OBOES, 2 BASCritics’ Association honored Mingardo with the SOONS, TIMPANI, STRINGS AND Premio Abbiati. CONTINUO, WITH VOCAL SOLOISTS LAWRENCE WILIFORD (SOPRANO, CONTRALTO, TENOR, Lauded for his luminous projection, lyrical sensiBASS) AND CHOIR. (APPROX. 120 tivity and brilliant coloratura, American-CanadiMINUTES) an tenor Lawrence Wiliford is in high demand in George Frideric Handel first appeared on the concert, opera and recital repertoire ranging from London scene in 1711, with his opera Rinaldo, the works by Monteverdi to contemporary composers. first Italian-language opera to be composed for the Wiliford’s concert engagements encompass English stage. Over the next three decades, opera the major symphony orchestras and early music would become the darling of the nobility, then the

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program notes scorn of intellectuals and pamphleteers, and finally relief of the Prisoners in the several Gaols, and for an outcast. Handel’s own circumstances ebbed and the support of Mercer’s Hospital in Stephen Street, flowed with the rise and fall of opera’s fortunes. By and of the Charitable infirmary on the inns Quay, 1741, his last opera, Deidamia, failed and Handel on Monday the 12th of April, will be performed at was half-determined to return to his native Ger- the Music Hall in Fishamble Street, Mr. Handel’s many. “Handel says he will do nothing next winter,” new Grand oratorio, called the MESSIAH, in which wrote Charles Jennens to a friend in July of that year the Gentleman of the Choirs of both Cathedrals regarding “Messiah,” “but I hope I shall persuade will assist, with some Concertos on the organ by Mr. him to set another scripture Collection I have made Handel.” for him, and perform it for his own Benefit in PasThe performance was postponed until April 13, sion Week. I hope he will lay out his whole Genius when it was given to a packed house. The oratorio and skill upon it, that the composition may excel all was, according to a review in the Dublin Journal, his former Compositions, as the subject excels every “the most finished piece of Music…The sublime, the other subject.” Grand, and the Tender, adapted to the most elevated, Jennens was a skilled librettist and his assem- majestic, and moving Words, conspired to transport bly of biblical texts for “Messiah” was the work of and charm the ravished Heart and ear.” There was one who both understood something of theology and a repeat performance in June, after which Handel knew what could be tellingly set to music. He had returned to England. With this success behind him, some help: the outlines of “Messiah” were deter- Handel was determined that “Messiah” would be mined by the Anglican Book of Common Prayer. Part heard in London. A Lenten performance was schedI was drawn from the Christmas services; Part II uled at Covent Garden for 1743, but even before it from those for Holy Week, Easter, Ascensiontide and took place, anti-Handel partisans began slinging Whitsunday; and Part III from the order for the Burial stones. Religious zealots, their convictions perhaps of the Dead. Handel was not one to compose without mixed with the existing malice against Handel, dea reason and had it not been for an invitation by the cried the performance of an oratorio with scriptural lord lieutenant of Ireland to visit that country, the words in a playhouse. The charges and counterlibretto for “Messiah” might have gone begging. As charges became so strident that Handel advertised it was, Handel put aside any thought of returning the work not under the title “Messiah,” which would to Germany, and spent the summer of 1741 at work have been too inflammatory, but simply as a sacred on “Messiah.” oratorio. The score was started on August 22 and finDespite the best efforts of Handel’s defenders, ished on September 14. Handel set out for Dublin on “Messiah” was slow to catch on in England. It was November 1st, taking with him his copyist and the not until Handel presented the work at the foundling scores of works to be performed in Ireland during Hospital in 1750 that the public sentiment began to the coming season. After a stop en route in Ches- turn in its favor. The first performance, with Handel ter, where members of the cathedral choir struggled presiding at the Hospital’s new organ, was the socito read through some of the “Messiah” choruses, ety event of the season. For every season thereafter, Handel reached the Irish capital on November 18th. until his death, Handel conducted “Messiah” at the He quickly became a celebrity in a city more hospi- foundling Hospital, and the revisions of airs made table to his talents than London. Handel’s concert for those performances are the ones most commonly series began just before Christmas, with a perfor- heard today. mance of L’Allegro, il penseroso ed il moderato. This The DSO last performed “Messiah” in December was repeated in the New Year, followed by “Acis 2013 with Jean-Marie Zeitouni conducting. and Galatea,” “Alexander’s Feast” and “Esther”. The DSO first performed this piece in January Meanwhile, Handel was assembling the choristers 1919 at the Arcadia Auditorium with Julius Sturm for the premiere of “Messiah.” The announcement conducting. was printed in the Dublin Journal of March 27: “for PERFORMANCE MAGAZINE

profiles THE VON TRAPPS Leonard Slatkin, Music Director Jeff Tyzik, Principal Pops Conductor Neeme Järvi, Music Director Emeritus

DSO PRESENTS

Holiday Celebration with The von Trapps Tuesday, December 15, 2015 at 7:30 p.m. in Orchestra Hall

Program to be announced from stage

*DSO does not appear on this program

Made possible with sponsorship from

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Meet The von Trapps, the next generation. Siblings Sofia (26), Melanie (24), Amanda (23) and August (20), the great-grandchildren of the Captain and Maria von Trapp, are reinventing the legacy of their birthright for the modern age. Dancing in Gold is the first of three EPs of entirely original material that The von Trapps plan to send out into the world over the next two years. For their first foray into the studio in their new incarnation, the siblings sought out a kindred spirit, approaching Israel Nebeker, the lead singer and songwriter of Blind Pilot, to produce the album. Inspired by the work of artists such as Fleet Foxes, Beach House, Sufjan Stevens, Françoise Hardy, and the Beach Boys, the harmonic folk-pop that sings out of Dancing in Gold is 21st-century von Trapp, inventive, earnest and exquisite. Their performances make room for melodicas and ukuleles, lyrics that can unspool in ten languages, twinges of Appalachia and Portlandia, some shout-outs to the Mamas & Papas, all filtered through the DNA of the most beloved musical ever, The Sound of Music. They have toured extensively, from Beijing’s Forbidden City to the Sydney Opera House, performed with major symphonies across the country, appeared on Oprah, and recorded with artists such as Wayne Newton and Rufus Wainwright. For the past few years, The von Trapps have been frequent guest performers with Pink Martini, the globetrotting pop sensation. The two groups collaborated on Pink Martini’s eighth studio album, Dream a Little Dream, 2014. Emboldened by that collaboration, and burgeoning with new ideas, The von Trapps cast off on their own to trailblaze a new musical path.

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

DSO PRESENTS

Home Alone with the DSO

Wednesday, December 16, 2015 at 7:30 p.m. in Orchestra Hall TWENTIETH CENTURY FOX Presents A JOHN HUGHES Production A CHRIS COLUMBUS Film

HOME ALONE MACAULAY CULKIN JOE PESCI DANIEL STERN JOHN HEARD and CATHERINE O’HARA Music by JOHN WILLIAMS Film Editor RAJA GOSNELL Production Designer JOHN MUTO Director of Photography JULIO MACAT Executive Producers MARK LEVINSON & SCOTT ROSENFELT and TARQUIN GOTCH Written and Produced by JOHN HUGHES Directed by CHRIS COLUMBUS

Ever since Home Alone appeared, it has held a unique place in the affections of a very broad public. Director Chris Columbus brought a uniquely fresh and innocent approach to this delightful story, and the film has deservedly become a perennial at Holiday time. I took great pleasure in composing the score for the film, and I am especially delighted that the magnificent Detroit Symphony Orchestra has agreed to perform the music in a live presentation of the movie. I know I speak for everyone connected with the making of the film in saying that we are greatly honored by this event… and I hope that tonight’s audience will experience the renewal of joy that the film brings with it, each and every year.

Soundtrack Album Available on CBS Records, Cassettes and Compact Discs Color by DELUXE® Film screening of Home Alone courtesy of Twentieth Century Fox. © 1990 Twentieth Century Fox Film Corporation. All Rights Reserved.

John Williams

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profiles JOHN WILLIAMS

In a career spanning five decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage, and he remains one of our nation’s most distinguished and contributive musical voices. He has composed the music for more than one hundred films, including all seven Star Wars films, the first three Harry Potter films, Superman, Memoirs of a Geisha, Home Alone and The Book Thief. His 40-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. the Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Saving Private Ryan and Lincoln. Williams has composed themes for four Olympic Games. He served as music director of the Boston Pops Orchestra for 14 seasons and remains their Laureate Conductor. He has composed numerous works for the concert stage including two symphonies, and concertos commissioned by many of America’s most prominent orchestras. Williams has received five Academy Awards and 49 Oscar nominations (making him the second-most nominated person in the history of the Oscars), seven British Academy Awards, 22 Grammys, four Golden Globes, and five Emmys. In 2003, he received the Olympic Order (the IOC’s highest honor) for his contributions to the Olympic movement. In 2004, he received the Kennedy Center Honor, and in 2009 he received the National Medal of Arts, the highest award given to artists by the U.S. Government. CONSTANTINE KITSOPOULOS

Constantine Kitsopoulos has made a name for himself as a conductor whose musical experiences comfortably span the worlds of opera and symphony, where he conducts in such venues as Carnegie Hall, Alice Tully Hall and Royal Albert Hall, and musical theater, where he can be found leading orchestras on Broadway. Kitsopoulos is in his third season as music director of the Queens Symphony Orchestra and continues as general director of Chatham Opera, which he founded in 2005. This season Kitsopoulos also makes debuts with the New York Pops, Colorado

DETROIT SYMPHONY ORCHESTRA

Symphony, Pittsburgh Symphony, Houston Symphony, Elgin Symphony and Westchester Philharmonic. Previous season’s operatic highlights include the DiCapo Opera Theatre’s production of Gounod’s Faust and all three versions of Puccini’s Madama Butterfly, the Hong Kong Municipal Opera production of Bizet’s Carmen in both Hong Kong and Beijing, and Gluck’s Orefeo ed Euridice at Alice Tully Hall. Kitsopoulos also served as music director of the world premiere of Ed Dixon’s Fanny Hill at the Goodspeed Opera House in Connecticut, where he created the productions orchestrations as well. In addition to his orchestral and classical commitments, Kitsopoulos is much in demand as a theatre conductor, both on Broadway and nationwide. This past season, Kitsopoulos was conductor and music director for the Tony nominated musical “A Catered Affair.” Other musical theatre highlights include serving as Music Director and Principal Conductor of Baz Luhrmann’s highly acclaimed production of Puccini’s “La Bohème” and conducting Matthew Bourne’s Broadway production of Tchaikovsky’s “Swan Lake.” PRODUCTION CREDITS Home Alone – Film with Live Orchestra produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Production Coordinator: Rob Stogsdill Worldwide Representation: IMG Artists, LLC Technical Director: Mike Runice Marketing Coordinator: Dan Barry Music Composed by John Williams Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Ramiro Belgardt Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for Home Alone has been adapted for live concert performance. With special thanks to: Twentieth Century Fox, Chris Columbus, David Newman, John Kulback, and Mark Graham.

profiles Members of the DETROIT CHORAL SOCIETY and Members of the WAYNE STATE UNIVERSITY SYMPHONIC CHORUS NORAH DUNCAN IV, conductor ERIC TAYLOR, assistant conductor EMILY VERDE, accompanist

Sopranos Samantha Adkins Asia Anderson Kathleen Augustine Keira Bell Jala Buckley Esther Charleston Sheren Deza Marion Duncan Kathleen Gage Kari Hart Karen Larkins Nicole Lassiter Amy McGuckin Monica Pritchard Emily Sharp-Gay Marcelline Shivers Linda Simpson Kiwana Smith

Altos Althea Anderson Serafina Belletini Marilyn Duncan-Taylor Meggan Ellis Dawn Giblin Tierra Jones Denise Thomas Emily Verde Calebria Webb Samantha Westlake Aaron Whitaker Kayla Williams Sharon York Natasha Zahor

Tenors Justin David Joshua Davis Donald Gay Taran Knight Darryl Mopkins Wallace Shelton Dalas Stewart Eric Taylor Gregory Urbiel James Vanrysseghem Richar Young

Basses Keith Dinkins Norah Duncan IV Timothy Higle Jacek Jasjan William Keener Dennis Landis Michael Miller Ryan Rutkowski Jamie Smith Ray Tejada Michael Warholak Nathaniel Weil

Purchasing DSO tickets is easier than ever! Use your smartphone or tablet to explore the DSOâ&#x20AC;&#x2122;s new mobile site at dso.org.

PERFORMANCE MAGAZINE

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

Home for the Holidays! Friday, December 18, 2015 at 10:45 a.m. & 8:00 p.m. Saturday, December 19, 2015 at 3:00 p.m. & 8:00 p.m. Sunday, December 20, 2015 at 3:00 p.m. & 7:00 p.m. in Orchestra Hall THOMAS WILKINS, conductor ALISON BUCHANAN, soprano * Bloomfield Hills High School Chamber Choir & The Jills, JESSICA RILEY, director ✝ Grosse Pointe South High School “The Pointe Singers”, CHRISTOPHER D. PRATT, director ^ James Beckel, Jr. A Christmas Fanfare Leroy Anderson Sleigh Ride Sean O’Loughlin A Season for Joy Hark! The Herald Angels Sing! Patapan It Came Upon the Midnight Clear Joy to the World arr. Fleischer arr. Robert Wendel arr. Joseph Joubert

I Wonder As I Wander * Christmas a la Valse! Christmas Spiritual Medley * —INTERMISSION—

Jerry Herman arr. Robert Wendel

We Need A Little Christmas ✝^

John Rutter The Very Best Time of Year ✝^ arr. Hale Smith This Little Light of Mine * Robert Wendel A Chanukah Overture arr. Dana Friedman Maoz Tzur and Robert Wendel Rock of my Security (Rock of Ages) Al HaNisim I Have A Little Dradle S’vivon arr. Larry Hochman, Songs of Freedom ✝^ Brian Stokes Mitchell, Judith Clurman Georges Bizet Adolphe-Charles Adam arr. David T. Clydesdale Leroy Anderson

“Farandole” from L’Arlésienne Suite No. 2 O Holy Night *✝^ A Christmas Festival ✝^

Generously sponsored by with additional support from

DETROIT SYMPHONY ORCHESTRA

and

THOMAS WILKINS

Thomas Wilkins is Principal Conductor of the Hollywood Bowl Orchestra, holding a titled position there since 2008; in the spring of 2014 he became Principal Conductor. Additionally he has served since 2005 as Music Director of the Omaha Symphony. In fall 2013, he renewed his contract with the Omaha Symphony through the 2017-18 season. He also holds the Germeshausen Family and Youth Concert Conductor chair with the Boston Symphony. Following his highly successful first season with the Boston Symphony, the Boston Globe named him among the “Best People and Ideas of 2011.” In 2014, Wilkins received the prestigious “Outstanding Artist” award at the Nebraska Governor’s Arts Awards, for his significant contribution to music in the state. Wilkins has led orchestras throughout the U.S., including the Cleveland Orchestra, Atlanta Symphony, Rochester Philharmonic, Cincinnati Symphony, Dallas Symphony, Houston Symphony, Buffalo Philharmonic, Baltimore Symphony, Utah Symphony and the National Symphony in Washington, D.C., to name a few. Past positions also included resident conductor of the Detroit Symphony Orchestra. He continues to make frequent appearances with the Philadelphia Orchestra, Indianapolis Symphony, San Diego Symphony and New Jersey Symphony. Last season, Wilkins returned to the National Symphony Orchestra for a two-week festival of American music and dance, as well as a collaboration with world renowned cellist Yo-Yo Ma at Wolf Trap, the NSO’s summer home.

program notes ALISON BUCHANAN

Known for a “luscious voice with incredible richness and clarity” soprano Alison Buchanan has been regaling audiences around the world with her versatility, musicality and “depth of emotion.” Buchanan’s recent schedule has taken her to Zimbabwe for two performances at the Harare International Festival, to Brazil performing with Marin Alsop with the São Paulo Symphony Orchestra as Serena in Porgy & Bess, to Barbados performing in a holiday pops concert with members of the New York Philharmonic, the Boston and Atlanta Symphonies conducted by Maestro Thomas Wilkins. Other highlights include making her Kennedy Center debut singing Knoxville Summer 1915 with the Apollo Orchestra. Buchanan sang the role of Janthe in the opera Der Vampyr with the American Symphony Orchestra at Carnegie Hall, conducted by Leon Bolstein. Buchanan made her debut as Tosca for the Sedieres Festival in France and created the role of Nu Wa a Chinese earth mother, in the opera Confuscious Says by Richard Taylor, which was commissioned for the Beiijing Olympics. Buchanan joined ROH2 (the contemporary arm of the Royal Opera House, Covent Garden) for performances at the Linbury Theater of YES by Errollyn Wallen and Bonnie Greer. Countess Buchanan was invited by conductor Sir Colin Davis to perform with the European Youth Orchestra on a tour of Beethoven’s Missa Solemnis performing in Paris, at the Flâneries Musicales d’Été de Reims Festival and at the Rheingau Festival. She was then invited to join Sir Colin Davis to sing the Missa Solemnis with the Bayerischer Rundfunk Orchestra in Munich.

BLOOMFIELD CHORALE & THE JILLS Alo, Izzy Bates, Liz Bates, Mike Behe, Erin Berg, Lizzy Buyers, Sam Charles, Scarlett Clark, Malcolm Cooper, Claudia Costigan, Joe Doherty, Andrew Eichenhorn, Miles Emerson, Caitlin Fox, Maddie Franklin, Victorie Hart, John Hashmi, Afreen

Jaksen, Ally Johnston, Lily Kenum, Carson King, Morgan Krear, Alex Kunz, Michael Lee, Andrew Lohitsa, Amith Miklas, Katie Ochs, Lily Olson, Max Oray, Valedie Parr, Arleigh Paul, Thomas Phillips, Michelle Powell, Laney Ramanathan,

Sadhna Recknagel, Anna Reed, Hannah Rubin, Jake Sicking, Daria Singer, Jordyn Singh, Gurleen Stavropoulos, Panayiotis Taigman, Jeremy Tuthill, Cassidy Weberman, Elana Wester, Kelly Wicklund, Kaleb Wyley, Brooke

GROSSE POINTE SOUTH HIGH SCHOOL “THE POINTE SINGERS” Adriana Agosta Zaria Aikens Benjamin Aldrich James Alltop Emmett Altland Madeline Arkison Anthony Attard Maia Baldwin Melody Balos Julia Barnes Noah Bellovich Marius Bochis Jessica Boehmer Zachary Boulahanis Luke Bove Grace Brandon Rachel Brooks Bianca Calisi Gino Calisi Anna Christinidis Antonina Cinnamond Virginia Cinnamond Owen Clexton Rachel Cline Hannah Connors Ellen Connors Scarlett Constand Grace Cupolo Anthony Dasaro-Semaan Mollie DeBrunner Gillian Eliot Lanie Fitzpatrick

Lauren Fleckenstein Emily Fleming Adam Fox Tiffany Furicchia Sean Gates Allison Graff Elizabeth Hampton Katherine Jeup Michael Joseph Noah Karcher Chloe Kelly Grayson Kennedy Devon Krasner Cinderella Ksebati Liesel Lagrou Lily Lathon Aleina Lemanski Audrey Leo Evangelia Lianos William Lianos Frances Mackethan Jerome Manning Alissa Martin Hailey Martin Alana Maynard Ethan McComas Deirdre McKeever Patrick McKeever Samantha McLeod Eion Meldrum Destin Mingledoff Ian Murphy Alexandra Niforos

Sarah Nurullah Iyla O’Connor John O’Dell Julia O’Halla Evelyn Pacifici Elise Peabody Maya Petropoulos Jacob Piazza Nathan Powell Abigail Reid Mary Reinman Gwyneth Rennell Meghan Richardson Rachel Rogers Elizabeth Rooney Faith Simpson Alaina Spratt Muriel Steinke Thomas Thams Hannah Thompson Madeline Thompson Emma Tripp Calyx Turco Amelia Turco Adam VanOsdol Donald Vercruysse Thomas Wacker Zoe Wagstaff Grace Walsh Morgan Wilson Leah Wilson Claire Yonkus Sydney Yonkus

PERFORMANCE MAGAZINE

administrative staff EXECUTIVE OFFICE Anne Parsons

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

Paul W. Hogle

Executive Vice President

Linda Lutz

Chief Financial Officer

Anne Wilczak

Managing Director of Special Events and Projects

Joy Crawford

Executive Assistant to the President and CEO

Elaine Curvin

Executive Assistant to the Executive Vice President

OFFICE OF THE GENERAL MANAGER Erik RĂśnmark

General Manager and Artistic Administrator

oneDSO Campaign

Kathryn Ginsburg

Julie Byczynski

PATRON DEVELOPMENT & ENGAGEMENT

FACILITY OPERATIONS

Senior Director of Patron Development and Engagement

Maintenance Supervisor

Audience Development

Frederico Augustin

Christopher Harrington

Facility Engineer

Director of Audience Development

Martez Duncan

Margaret Cassetto

Maintenance Technician

Front of House Manager

Ryan Ensman

DeRon Wilson

Maintenance Technician

Group Sales Manager

William Guilbault

LaHeidra Marshall

Maintenance Technician

Audience Development Associate

Crystal King

Sharon Gardner Carr

Director of Operations

Heather Hart Rochon

Orchestra Personnel Manager

Dennis Rottell Stage Manager

Leslie Karr

Executive Assistant to the Music Director

Patrick Peterson

Assistant Orchestra Personnel Manager

PATRON ADVANCEMENT & EXTERNAL RELATIONS Bree Kneisler

Daniel Speights

Will Broner

Greg Schimizzi Chief of Security

Advancement Services and Prospect Research Manager Advancement Services Coordinator

Caitlin Bush

Jessica Ruiz

Communications

Managing Director of Paradise Jazz Series

Katherine Curatolo Artistic Coordinator

Clare Valenti

Popular & Special Programming Coordinator

Larry Ensman

Maintenance Technician

Advancement Relations Associate

Christopher Harrington

oneDSO Campaign Director

Advancement Services

Artistic Planning Manager of Artistic Planning

Gabrielle Poshadlo

Director of Communications and Media Relations

Asia Rapai

Public Relations Coordinator

Michelle Koning

Web and Mobile Content Manager

Teresa Alden

Maintenance Technician

Melvin Dismukes Security Officer

Norris Jackson Security Officer

Ronald Martin Security Officer

Johnnie Scott Security Officer

FINANCE

Jeremiah Hess

Senior Director of Accounting & Finance

Nicki Inman

Assistant Manager of Tessitura and Ticketing Operations

Catering And Retail Services Christina Williams

Director of Catering and Retail Services

Kyle Hanley

Executive Chef

Nate Richter Bar Manager

Kelsey Karl

Retail Manager

Events And Rentals Holly Clement

Senior Manager of Events and Rentals

Connie Campbell

Community And Learning

Digital Communications Coordinator

Sandra Mazza

Senior Accountant

Manager of Event Sales and Administration

Caen Thomason-Redus

Individual Giving

Dawn Kronell

Ashley Powers

Director of Community and Learning

Leah Celebi

Manager of Education

Cassie Brenske

Director of Advancement for Individual Giving

Dan Coleman

Senior Accountant

Karen McCombs

Accounting Specialist

Manager of Community Engagement

Governing Members Gift Officer and Assistant Director of Planned Giving

INFORMATION TECHNOLOGY

Don Killinger

Juanda Pack

Director of Information Technology

Laura Duda

Operations and Community Engagement Coordinator

Nelson Rodriguez-Parada General Manager of Training Ensembles

Elizabeth Lanni

Education Coordinator

Jody Harper

Event Sales Representative

Patron Sales And Service Molly Fidler

Manager, Patron Sales & Service

Michelle Marshall

Assistant Manager, Patron Sales & Service

Advancement Benefits Coordinator

Raâ&#x20AC;&#x2122;Jon Taylor

Institutional Giving

Help Desk Administrator

Taryn Sanford

Danielle Manley

HUMAN RESOURCES

Natalie Boettcher

Director of Advancement for Institutional Giving

Chelsea Kotula

Live From Orchestra Hall

Manager of Sponsor Benefits and Relations

Eric Woodhams

Anneke Leunk

Director of Digital Initiatives

Orchestra Operations

Foundation and Government Relations Coordinator

DETROIT SYMPHONY ORCHESTRA

Denise Ousley

Human Resources Director

Lead Ticketing Specialist Lead Ticketing Specialist

Royal Philharmonic Orchestra Pinchas Zukerman, principal guest conductor and violin Monday, January 11 // 7:30 pm Hill Auditorium PROGRAM

Beethoven Beethoven Elgar

Egmont Overture, Op. 84 Violin Concerto in D Major, Op. 61 “Enigma” Variations, Op. 36

gvsu AD SUPPO RTE D BY

Gil Omenn and Martha Darling and by Max Wicha and Sheila Crowley MED IA PARTN E RS

WGTE 91.3 FM and WRCJ 90.9 FM

The Last Sonatas

Sir András Schiff,

PIANO

Tuesday, February 16 // 7:30 pm Thursday, February 18 // 7:30 pm Saturday, February 20 // 8 pm Sir András Schiff performs the final three sonatas by Mozart, Beethoven, Haydn, and Schubert over the course of three concerts presented in Rackham and Hill Auditoriums in Ann Arbor. I N D I V I DUA L CON C ERT S AR E S U P PORTED BY

Joel Howell and Linda Samuelson, Natalie Matovinović, Jeffrey MacKie-Mason and Janet Netz, and Carl Cohen MED I A PA RT N ER S

WGTE 91.3 FM and WRCJ 90.9 FM

TICKETS ON SALE NOW

UMS.ORG / 734.764.2538 UNIVERSITY OF MICHIGAN | ANN ARBOR PERFORMANCE MAGAZINE

community & learning

Some 20 years ago, then DSO Board Chairman Peter Cummings sought a chairman for his Education Committee, envisioning education and training as defining hallmarks of the DSO. Mr. Cummings chose a board member with a deep understanding for music’s transformative qualities in children—Dr. Wu. Together with his wife Helen, Clyde would develop a music education program that has since touched tens of thousands of young lives. Through what is now named the Wu Family Academy for Learning and Engagement, the DSO welcomes hundreds of student musicians each week. The DSO is proud to carry on Clyde’s legacy by exercising music’s power to inform, enrich and, perhaps most importantly, to delight.

On November 14 at the Max M. and Marjorie S. Fisher Music Center, a memorial service was hosted in celebration of Clyde and Helen, who both passed away this year, featuring musicians of the Detroit Symphony Youth Orchestra performing a program chosen by Dr. Wu himself. Select DSO musicians also joined the students for a fitting tribute to the architects of the DSO’s industry-leading music education program, followed by a reception in The Music Box that featured the Civic Jazz Orchestra. At the request of the Wu family, donations may be made to the DSO in support of the Wu Family Academy.

C______________________ IVIC YOUTH ENSEMBLES

upcoming events

Civic Jazz Live! Civic Jazz Orchestra Fri., Jan. 29 at 6:30 PM CYE Family Experience Performances Philharmonic Orchestra, Concert Orchestra, Sinfonia String Orchestra, Arco String Orchestra, Symphonic Band, Concert Jazz Band, Creative Jazz Ensemble Sun., March 6 at 2 PM

DETROIT SYMPHONY Y________________ OUTH ORCHESTRA Young People’s Family Concert Santa’s Little Helpers Sat., Dec. 12 at 11 AM Wu Family Academy Showcase Fri., Feb. 26 at 7 PM

TICKETS START AT $15. Call 313.576.5111 or visit dso.org for full program details and tickets.

DETROIT SYMPHONY ORCHESTRA

spotlight DSO in the Community

Musicians of the Detroit Symphony Orchestra have a range of opportunities to work in small ensembles that go beyond Orchestra Hall and have a direct impact upon thousands of lives. As a community-supported orchestra, the DSO thanks the following partners for their significant commitment to bringing DSO musicians into the community throughout the orchestra season!

Chamber ensembles perform for residents at American House Senior Living Communities across Metro Detroit. The dedication of American House to connect their residents with the DSO is evident each year when hundreds of residents are treated to a concert live at Orchestra Hall.

Beaumont Health values the ways in which live performances by DSO musicians add to the ambience in their lobby and waiting areas. Thanks to the Arts for the Spirit program at Beaumont Health, many patients can also view DSO webcasts during their hospitalization. Children’s Hospital of Michigan Foundation supports the integration of DSO musicians into pediatric music therapy sessions, as seen in the photo above featuring DSO Clarinet Shannon Orme.

DSO musicians also perform in celebration of special events at Children’s Hospital of Michigan. Examples range from performing whether it’s for children trick-or-treating on Halloween at the hospital, to performing for children and their families during the holidays at an annual gift giving event called “Snowpile.” Musicians also bring attention to an annual Cereal Drive through their performances.

The Ford Motor Company Fund seeks to give a diverse audience front row access to DSO performances. Their support touches and inspires thousands through DSO-on-the-GO, from the Ford Resource and Engagement Center in Southwest Detroit (pictured here), to community locations across metro Detroit PERFORMANCE MAGAZINE

1887 society

BARBARA VAN DUSEN, Honorary Chair

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

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

DETROIT SYMPHONY ORCHESTRA

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

† Deceased

Katherine D. Rines Bernard & Eleanor Robertson Ms. Barbara Robins Jack† & Aviva Robinson Dr. Margaret Ryan Mr. & Mrs. Donald & Janet Schenk Ms. Yvonne Schilla Stephanie & Fred Secrest Mr. & Mrs. Stephan† Sharf Ms. Marla Shelton Ms. June Siebert Dr. Melissa J. Smiley & Dr. Patricia A. Wren Mr. & Mrs. Walter Stuecken Mr. & Mrs. Alexander C. Suczek Alice & Paul Tomboulian Mr. David Patria & Ms. Barbara Underwood Mrs. Richard C. Van Dusen Mr. & Mrs. Melvin VanderBrug Mr. & Mrs. George C. Vincent Mr. & Mrs. Keith C. Weber Mr. Herman Weinreich John† & Joanne Werner Mr. & Mrs. Arthur Wilhelm Mrs. Michel Williams Ms. Nancy S. Williams† Mr. Robert S. Williams Ms. Barbara Wojtas Ms. Treva Womble Elizabeth B. Work Dr. & Mrs. Clyde Wu† Ms. Andrea L. Wulf Mr. Milton Zussman

planned giving council

Planned Giving Council The DSO’s Planned Giving Council recognizes the region’s leading financial and estate professionals whose current and future clients may involve them in their decision to make a planned gift to the Detroit Symphony Orchestra. Members play a critical role in shaping the future of the DSO through ongoing feedback, working with their clients, supporting philanthropy and attending annual briefings. LINDA WASSERMAN AVIV, Chair Mrs. Katana H. Abbott Mr. Christopher A. Ballard Mr. Henry M. Grix Mr. Mark W. Jannott, CTFA Ms. Jennifer A. Jennings Ms. Dawn Jinsky

Mrs. Shirley Kaigler Mr. Robert E. Kass Mr. Christopher L. Kelly Mr. Bernard S. Kent Ms. Yuh Suhn Kim Mr. Henry P. Lee

Ms. Marguerite Munson Lentz Mr. Christopher M. Mann Mr. Curtis J. Mann Mrs. Mary Mansfield Mr. Mark Neithercut Ms. Deborah J. Renshaw, CFP

Mr. James P. Spica Mr. John N. Thomson, Esq. Mrs. Linda Wasserman Aviv Ms. Wendy Zimmer Cox

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

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

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

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

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

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

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

PERFORMANCE MAGAZINE

the annual fund Gifts received between September 1, 2014 and November 24, 2015

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

JANET AND NORM ANKERS Co-Chairs

GIVING OF $250,000 & MORE

Mandell & Madeleine Berman Foundation

Mrs. Marjorie S. Fisher

Mr. & Mrs. Lee Barthel

Ruth & Al Glancy

Penny & Harold Blumenstein

Mr. & Mrs. Morton E. Harris

Julie & Peter Cummings

Danialle & Peter Karmanos, Jr.

Marvin & Betty Danto Family Foundation

Mr. & Mrs. James B. Nicholson

Max M. & Marjorie S. Fisher Foundation

Mrs. Richard C. Van Dusen

Ms. Leslie Devereaux Mr. & Mrs. Phillip Wm. Fisher Emory M. Ford, Jr.â&#x20AC; Endowment Mrs. Sophie Pearlstein

The Polk Family Cindy & Leonard Slatkin Dr. & Mrs. Clyde Wu â&#x20AC;

GIVING OF $50,000 & MORE

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

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

GIVING OF $25,000 & MORE

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

Barbara Frankel & Ronald Michalak Mr. & Mrs. Ralph J. Gerson Mr. & Mrs. Eugene A. Miller Mr. & Mrs. Bruce D. Peterson Mr. & Mrs. Lloyd E. Reuss Mr. & Mrs. Alan E. Schwartz & Mrs. Jean Shapero Mr. & Mrs. Larry Sherman Mr. & Mrs. Donald R. Simon Mr. James G. Vella

GIVING OF $100,000 & MORE

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

DETROIT SYMPHONY ORCHESTRA

Mr. & Mrs. Stanley Frankel

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

GIVING OF $5,000 & MORE Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Drs. John & Janice Bernick Dr. Robert N. & Claire P. Brown Mr. & Mrs. François Castaing Mr. & Mrs. Gary L. Cowger Deborah & Stephen D’Arcy Fund Jerry P. & Maureen T. D’Avanzo Beck Demery Mr. & Mrs. John M. Erb Ron Fischer* & Kyoko Kashiwagi Ms. Mary D. Fisher Mr. David Fleitz Allan D. Gilmour & Eric C. Jirgens Dr. Kenneth & Roslyne Gitlin

Mr. & Mrs. Edsel B. Ford II Dr. Saul & Mrs. Helen Forman Dale & Bruce Frankel Ms. Carol A. Friend & Mr. Mark T. Kilbourn Mr. & Mrs. Eugene A. Gargaro, Jr. Mrs. Dorothy Gerson Mrs. Gale Girolami Dr. Allen Goodman & Dr. Janet Hankin Mary Ann & Robert Gorlin Dr. & Mrs. Herman Gray, Jr. Mr. & Mrs. James Grosfeld Dr. Gloria Heppner Ms. Doreen Hermelin Mr. & Mrs. Norman H. Hofley Lauri & Paul* Hogle Mr. & Mrs. Ronald Horwitz Richard H. & Carola Huttenlocher Mr. James A. Jacob Mr. Sharad P. Jain

Chacona W. Johnson Lenard & Connie Johnston Faye & Austin Kanter Mr. & Mrs. Norman D. Katz Mike & Katy Keegan Marguerite & David Lentz Mr. & Mrs. Ralph LeRoy, Jr. Dr. Melvin A. Lester Bud & Nancy Liebler Michael & Laura Marcero David & Valerie McCammon Alexander & Evelyn McKeen Dr. Robert & Dr. Mary Mobley Cyril Moscow Geoffrey S. Nathan & Margaret E. Winters David Robert & Sylvia Jean Nelson Jim & Mary Beth Nicholson Patricia and Henry Nickol Mrs. Jo Elyn Nyman Anne Parsons* & Donald Dietz Mr. Charles Peters

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

Dr. Robert T. Goldman Goodman Family Charitable Trust Mr. & Mrs. James† A. Green Judy & Kenneth Hale Mr. Lee V. Hart & Mr. Charles L. Dunlap Ms. Nancy Henk Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Michael E. Hinsky & Tyrus N. Curtis Mr. & Mrs. A. E. Igleheart Mr. & Mrs. Richard J. Jessup Michael E. Smerza & Nancy Keppelman Patrick J. Kerzic & Stephanie Germack Kerzic Dr. David & Mrs. Elizabeth Kessel Mrs. Frances King Mr. & Mrs. Harold Kulish Allan S. Leonard Mr. Daniel Lewis

Mr. & Mrs.† Joseph Lile Mr. Gregory Liposky The Locniskar Group Mr. Robert A. Lutz Ms. Florine Mark Patricia A. & Patrick G. McKeever Susanne O. McMillan John & Marcia Miller Mr. & Mrs. Robert S. Miller Mr. & Mrs. Craig R. Morgan Xavier & Maeva Mosquet Mr. Joseph Mullany Mr. & Mrs. Albert T. Nelson, Jr. Patricia & Henry Nickol Mr. & Mrs. David E. Nims Mr. & Mrs. Richard G. Partrich Mr. & Mrs. Roger S. Penske Mrs. Helen F. Pippin Dr. Glenda D. Price Mr. & Mrs. David Provost Dr. & Mrs. John Roberts

Mr. & Mrs. Robert B. Rosowski Mrs. Lois J. Ryan Mrs. Patricia Finnegan Sharf Mr. & Mrs. Leonard W. Smith Renate & Richard Soulen Mr. & Mrs. John Stroh III Mr. Gary Torgow David Usher Mr. & Mrs. Jonathan T. Walton S. Evan & Gwen Weiner Arthur & Trudy Weiss Dr. & Mrs. Ned Winkelman Mrs. Judith G. Yaker Mr. Michael Yessian Margaret S. York Erwin & Isabelle Ziegelman Foundation Milton & Lois Zussman Two who wish to remain anonymous

PERFORMANCE MAGAZINE

the annual fund GIVING OF $2,500 & MORE Howard Abrams & Nina Dodge Abrams Dr. Roger & Mrs. Rosette Ajluni Mr. & Mrs. Robert L. Anthony Drs. Kwabena & Jacqueline Appiah Dr. & Mrs. Ali-Reza R. Armin Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook* Mr. Joseph Aviv & Mrs. Linda Wasserman Aviv Mr. & Mrs. John Axe Mrs. Jean Azar Ms. Ruth Baidas Nora Lee & Guy Barron Mr. Mark Bartnik & Ms. Sandra J. Collins Mr. J. Addison Bartush† David & Kay Basler Mr. & Mrs. Martin S. Baum Mary Beattie Mr. & Mrs. Richard Beaubien Dr. & Mrs. Brian Beck Ms. Margaret Beck Mrs. Harriett Berg Mr. & Mrs. Jeffrey A. Berner Dr. George & Joyce Blum Mr. & Mrs. Lawrence Bluth Dr. & Mrs. Rudrick E. Boucher Don & Marilyn Bowerman Mr. Anthony F. Brinkman Mr. Scott Brooks Bowden & Elaine Brown Mr. & Mrs. Mark R. Buchanan Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Ms. Evelyn Burton Julie Byczynski* & Angus Gray Philip & Carol Campbell Dr. & Mrs. Thomas E. Carson Gloria & Fred Clark Mr. & Mrs. Robert W. Clark Dr. Thomas Clark & Annette Clark Nina & Richard Cohan Jack, Evelyn & Richard Cole Family Foundation Dr. & Mrs. Charles G. Colombo Mr. & Mrs. Thomas W. Cook Dr. & Mrs. Ivan Louis Cotman Dorothy M. Craig Mrs. Barbara Cunningham Suzanne Dalton & Clyde Foles

Barbara A. David Lillian & Walter Dean Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Adel & Walter Dissett Mr. & Mrs. Mark Domin Donato Enterprises Paul† & Peggy Dufault Mr. Michael J. Dul Mr. & Mrs. Robert Dunn Mr. Roger Dye & Ms. Jeanne A. Bakale Edwin & Rosemarie Dyer Dr. Leo & Mrs. Mira Eisenberg Dr. & Mrs. A. Bradley Eisenbrey Donald & Marjory Epstein Mr. Sanford Hansell & Dr. Raina Ernstoff Mary Sue & Paul Ewing Mr. & Mrs. Oscar Feldman Mr. & Mrs. Anthony C. Fielek Mr. Jay Fishman Mr. & Mrs. Mark Frank Mr. Samuel Frank Mr. & Mrs. Daniel E. Frohardt-Lane Sharyn & Alan Gallatin Lynn & Bharat Gandhi Mr. George Georges Drs. Lynda & Conrad Giles Mr. & Mrs. Robert W. Gillette Dr. & Mrs. Theodore Golden Mr. Nathaniel Good Dr. & Mrs. Paul Goodman Mr. Jason Gourley & Mrs. Rebekah Page-Gourley Ms. Jacqueline Graham Ms. Leslie Green Mr. & Mrs. Luke Ponder Dr. & Mrs. Steven Grekin Mr. Jeffrey Groehn Ms. Janet Groening-Marsh Mr. & Mrs. Robert Hage Alice Berberian Haidostian Robert & Elizabeth Hamel Randall L. & Nancy Caine Harbour Ms. Albertine Harmon Mrs. Betty J. Harrell Scott Harrison* & Angela Detlor Cheryl A. Harvey Dr. & Mrs. Gerhardt Hein Mr. & Mrs. Ross Herron Jeremiah* & Brooke Hess Dr. Deanna & Mr. David B. Holtzman Jack & Anne Hommes Ms. Barbara Honner

DETROIT SYMPHONY ORCHESTRA

The Honorable Denise Page Hood & Reverend Nicholas Hood III Mr. Matthew Howell & Mrs. Julie Wagner Mr. F. Robert Hozian Mr. & Mrs. Joseph L. Hudson, Jr. Nicki* & Brian Inman Steven & Sarah Jackson Ira & Brenda Jaffe Mr. & Mrs. William H. John Mr. John S. Johns Mr. George Johnson Mr. & Mrs. Joseph Jonna Mrs. Ellen D. Kahn Ms. Cathleen Kapatos Mr. & Mrs. David Karp Dr. Laura Katz Betsy & Joel Kellman Martin & Cis Maisel Kellman The Stephanie & Frederic Keywell Family Fund Mr. & Mrs. William P. Kingsley Mr. & Mrs. Harvey Kleiman Thomas & Linda Klein Mr. & Mrs. Ludvik F. Koci Ms. Margot Kohler Mr. David Kolodziej Dr. Harry & Mrs. Katherine Kotsis Robert C. & Margaret A. Kotz Barbara & Michael Kratchman Richard & Sally Krugel Dr. Arnold Kummerow Mr. John Kunz Dr. Raymond Landes & Dr. Melissa McBrien-Landes Drs. Lisa & Scott Langenburg Ms. Sandra Lapadot Ms. Anne T. Larin Dolores & Paul Lavins Mr. Henry P. Lee Max Lepler & Rex L. Dotson Mr. & Mrs. John D. Lewis Mr. & Mrs. Eric C. Lundquist Daniel & Linda* Lutz Mrs. Sandra MacLeod Mr. & Mrs. Charles W. Manke, Jr. Mervyn & Elaine Manning Mr. & Mrs. David S. Maquera, Esq. Maureen & Mauri Marshall Dr. & Mrs. Peter M. McCann, M.D. Mr. & Mrs. Alonzo McDonald Dr. & Mrs. Donald A. Meier Dr. & Mrs. David Mendelson

Mrs. Thomas Meyer Thomas† & Judith Mich J.J. & Liz Modell Dr. Susan & Mr. Stephen* Molina Eugene & Sheila Mondry Foundation Mr. Lane J. Moore Ms. Florence Morris Mr. Frederick Morsches & Mr. Kareem George Dr. Stephen & Dr. Barbara Munk Joy & Allan Nachman Edward & Judith Narens Mariam C. Noland & James A. Kelly Bruce & Katherine Nyberg Mr. & Mrs. Stanley Nycek Mr. John J. O’Brien Dr. & Mrs. Dongwhan Oh Dr. William Oppat Mr. & Mrs. Joshua Opperer Mr & Mrs. Arthur T. O’Reilly David† & Andrea Page Mr. Randall Pappal Mrs. Margot Parker Mr. & Mrs. Kris Pfaehler Dr. Klaudia Plawny-Lebenbom Mr. & Mrs. William Powers Reimer Priester Charlene & Michael Prysak Mr. Ronald Puchalski Fair & Steven Radom Mr. & Mrs. Richard Rappleye Mr. Richard Rapson Drs. Stuart & Hilary Ratner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Carol & Foster Redding Mr. & Mrs. Dave Redfield Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Denise Reske Barbara Gage Rex Mrs. Ann C. Rohr Seth & Laura Romine Norman† & Dulcie Rosenfeld Mr. & Mrs. Gerald F. Ross Mr. R. Desmond Rowan Jane & Curt Russell Dr. & Mrs. Alexander Ruthven Mr. & Mrs. James P. Ryan Mr. David Salisbury & Mrs. Terese Ireland Salisbury Hershel & Dorothy Sandberg Mr. Robert Schaerer

the annual fund Ms. Martha A. Scharchburg & Mr. Bruce Beyer Dr. Sandy Koltonow & Dr. Mary Schlaff David & Carol Schoch Mr. & Mrs. Alan S. Schwartz Mr. & Mrs. Kingsley G. Sears Mr. & Mrs. Ken Seawell Mr. & Mrs. Fred Secrest Mr. Merton J. & Mrs. Beverly Segal Mr. Igal Shaham & Ms. Linda Zlotoff Mr. & Mrs. Alan E. Schwartz & Mrs. Jean Shapero Ms. Cynthia Shaw Mr. & Mrs. James H. Sherman Ms. Margaret Shulman Dr. Les & Mrs. Ellen Siegel Coco & Robert Siewert

William & Cherie Sirois Dr. Cathryn Skedel & Mr. Daniel Skedel Dr. Gregory Stephens Mr. & Mrs. C. F. Stimpson Dr. Mack Stirling Dr. & Mrs. Charles D. Stocking Mrs. Kathleen Straus & Mr. Walter Shapero Stephen & Phyllis Strome Mrs. Susan Svoboda & Mr. Bill Kishler Dorothy I. Tarpinian Shelley & Joel Tauber Dr. & Mrs. Howard Terebelo Mr. & Mrs. James W. Throop Carol & Larry Tibbitts Alice & Paul Tomboulian Mr. & Mrs. Michael Torakis Barbara & Stuart Trager

Mark & Janice Uhlig Dr. Vainutis Vaitkevicius Amanda Van Dusen & Curtis Blessing Mr. & Mrs. Charles B. Van Dusen Mr. & Mrs. George C. Vincent Mr. Bill Vlasic Mrs. Eva Von Voss Mr. & Mrs. William Waak Dr. & Mrs. Ronald W. Wadle Captain Joseph F. Walsh, USN (Ret.) Mr. Michael A. Walch & Ms. Joyce Keller Mr. Patrick Webster Mr. Herman W. Weinreich Mr. & Mrs. Lawrence Weisberg Ambassador & Mrs. Ronald N. Weiser

GIVING OF $1,500 & MORE

Gordon & Elaine Didier Mr. & Mrs. Henry Eckfeld Mr. Lawrence Ellenbogen Mr. & Mrs. Howard O. Emorey Ms. Marilyn R. Galloway Mrs. Janet M. Garrett Mr. Joseph & Mrs. Lois Gilmore Dr. Linda Golumbia, Ph.D Mr. & Mrs. Saul Green Dr. & Mrs. Joe L. Greene Mr. Donald Guertin Mary & Preston Happel Mr. & Mrs. Michael Harding Donna & Eugene Hartwig Mr. & Mrs. Howard Heicklen Mr. & Mrs. Paul Hillegonds Ms. Elizabeth Ingraham Carolyn & Howard Iwrey Mr. & Mrs. Charles R. Janovsky Carol & Richard Johnston Mr. Paul Joliat Dr. Jean Kegler June K. Kendall Ms. Ida King Mr. & Mrs. Thomas N. Klimko Mr. & Mrs. Victor Kochajda/

Teal Electric Co. Miss Kathryn Korns Mr. James Kors & Ms. Victoria King* Mr. & Mrs. Kosch Mr. Michael Kuhne Mr. & Mrs. Robert LaBelle Mr. Lawrence Larson Mr. Charles E Letts Drs. Donald & Diane Levine Margaret Makulski & James Bannan Dr. Arlene M. Marcy, M.D. Ms. Annette McGruder Ms. Camille McLeod Thomas & Judith Mich Jeffrey & Marsha Miro Mr. & Mrs. Germano Mularoni Mr. & Mrs. Richard L. Norling Noel & Patricia Peterson Mr. Mark Phillips Dr. & Mrs. Terry Podolsky Mrs. Hope Raymond Dr. Erik Rönmark* & Mrs. Adrienne Rönmark* Mr. & Mrs. Hugh C. Ross

Mr. & Mrs. Ismael Ahmed Dr. & Mrs. Gary S. Assarian Carol & John Aubrey Drs. Richard & Helena Balon Mr. & Mrs. Dennis Bernard Linda & Maurice S. Binkow Ms. Jane Bolender Ms. Liz Boone Mr. & Mrs. J. Bora Ms. Nadia Boreiko Mr. Paul & Mrs. Lisa Brandt Mr. & Mrs. Stephen A. Bromberg Mr. & Mrs. Ronald F. Buck Steve & Geri Carlson Mr. David Carroll Ronald & Lynda Charfoos Mr. Fred J. Chynchuk Mr. & Mrs. Thomas A. Cracchiolo Mr. & Mrs. Alfred J. Darold Mr. & Mrs. Thomas Dart

Mr. Brian Wenzel Janis & William Wetsman/ The Wetsman Foundation Beverly & Barry Williams Dr. M. Roy & Mrs. Jacqueline Wilson Rissa & Sheldon Winkelman Mr. John Wolak Mr. Jonathan Wolman & Mrs. Deborah Lamm Ms. Cathy Cromer Wood Ms. Andrea L. Wulf The Yousif Family Mr. & Mrs. Alan Zekelman Four who wish to remain anonymous

Mr. & Mrs. Lawrence Schlack Mr. Wayne Sherman Mr. Lawrence Shoffner Marci & Marv Shulman Zon Shumway Mr. Mark Sims & Ms. Elaine Fieldman Ralph & Peggy Skiano Mr. & Mrs. Andreas H. Steglich Dr. & Mrs. Choichi Sugawa Mr. & Mrs. John P. Tierney Dr. Gytis Udrys Ms. Charlotte Varzi Dr. Stanley Waldon Ms. Janet Weir Drs. William & Prudentia Worth Frank & Ruth Zinn Barbara Zitzewitz Two who wish to remain anonymous

† Deceased * Staff/Musician

PERFORMANCE MAGAZINE

corporate partners $500,000 AND MORE JIM NICHOLSON

CEO, PVS Chemicals

$200,000 AND MORE

GERARD M. ANDERSON

FAYE NELSON

President, Chairman and CEO, DTE Energy Corporation

President, DTE Energy Foundation

MARK FIELDS

President and CEO, Ford Motor Company

JAMES VELLA

President, Ford Motor Company Fund

$100,000 AND MORE

SERGIO MARCHIONNE Chief Executive Officer, FCA

MARY BARRA

Chairman and CEO, General Motors Corporation

VIVIAN PICKARD

Director, General Motors Public Policy

KEITH J. ALLMANN

President and CEO, MASCO Corporation

$50,000 AND MORE Target Corporation

$20,000 AND MORE

American House Senior Living Communities

Greektown Casino-Hotel

Amerisure Insurance

MGM Grand Detroit

Global Automotive Alliance

Rock Ventures, LLC

DETROIT SYMPHONY ORCHESTRA

Macy’s

corporate partners $10,000 AND MORE

$5,000 AND MORE

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

BASF Corporation Contractors Steel Company Creative Benefit Solutions, LLC DENSO International America, Inc. Flagstar Bank Midwest Medical Center Suburban Collection Yessian Music

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

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

support from foundations and organizations The Detroit Symphony Orchestra acknowledges and honors the following foundations and organizations for their contributions to support the Orchestra’s performances, education programming, and other annual operations of the organization. This honor roll reflects both fulfillments of previous commitments and new gifts during the period beginning September 1, 2014 to November 24, 2015. We regret the omission of gifts received after this print deadline.

$500,000 AND MORE

$50,000 AND MORE

$5,000 AND MORE

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

Marvin & Betty Danto Family Foundation Matilda R. Wilson Fund

$250,000 AND MORE

$25,000 AND MORE

Benson & Edith Ford Fund Herbert & Elsa Ponting Foundation Marjorie & Maxwell Jospey Foundation Mary Thompson Foundation Young Woman’s Home Association

The Andrew W. Mellon Foundation Community Foundation for Southeast Michigan Hudson-Webber Foundation John S. and James L. Knight Foundation The Kresge Foundation McGregor Fund

Ann & Gordon Getty Foundation Children’s Hospital of Michigan Foundation DeRoy Testamentary Foundation Eleanor & Edsel Ford Fund Michigan Council for Arts & Cultural Affairs

$100,000 AND MORE

$10,000 AND MORE

Fred A. & Barbara M. Erb Family Foundation Ford Foundation National Endowment for the Arts Detroit Symphony Orchestra Volunteer Council

The Alice Kales Hartwick Foundation Henry Ford II Fund Maxine & Stuart Frankel Foundation Moroun Family Foundation Myron P. Leven Foundation Oliver Dewey Marcks Foundation

$1,000 AND MORE Charles M. Bauervic Foundation Clarence & Jack Himmel Fund Frank & Gertrude Dunlap Foundation Harold & Ruth Garber Family Foundation James & Lynelle Holden Fund Japan Business Society of Detroit Foundation The Loraine & Melinese Reuter Foundation Louis & Nellie Sieg Foundation Ludwig Foundation Fund Meyer & Anna Prentis Family Foundation Samuel L. Westerman Foundation Sigmund & Sophie Rohlik Foundation Sills Foundation The Village Club PERFORMANCE MAGAZINE

blockbuster fund Gifts received September 1, 2014 to November 24, 2015

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

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

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

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

tribute gifts Gifts received January 1, 2015 to November 24, 2015

Tribute Gifts to the Detroit Symphony Orchestra are made to honor accomplishments, celebrate occasions, and pay respect in memory or reflection. These gifts support current season projects, partnerships and performances such as DSO concerts, education programs, free community concerts and family programming. For information about making a Tribute Gift, please call 313.576.5114 or visit dso.org/tribute. In Memory of LOUIS ABUNDIS Darwin and Kay Johnson In Honor of JANET ANKERS Robert and Sandra Moers In Memory of CHARLOTTE ARKIN Harold and Penny Blumenstein Patti Ann and Wendy Sue Gordon Jamie and Roz Topolski In Memory of CARL H. BARTZ Jean Klarich In Honor of DR. JOHN BERNICK Maureen and Jerry D’Avanzo In Honor of MR. and MRS. HAROLD BLUMENSTEIN Mervyn and Elaine Manning In Memory of ROBERT BOMIER Gwen and Richard Bowlby In Memory of BETTE BORIN Barbara Frankel and Ronald Michalak In Honor of CASSIE BRENSKE Martie and Bob Sachs In Memory of JAMES BRUNO John and Rebecca Bercini William Bielinkski

Paul Bruno Shirley Bruno Harry and Pearl Gopoian Andrew Johns Diran and Patricia Kochyan Mihran Kochyan Lawrence and Susan Lankowsky Seymour and Norma Lankowsky Jeffry and Susan Palisin Lewis and Sharon Smith Bruce Thelen and Kathryn Flood Gary and Patricia Tibble In Memory of DAVID COCAGNE Geraldine Barlage In Honor of ROBERT and SHIRLEY CRANBURY Carole Young In Memory of MARVIN CRAWFORD, SR. James and Dyora Kinsey In Honor of JULIE CUMMINGS Robert and Sandra Moers In Memory of ISABEL DANVILLE Walter and Barbara Rothwell In Memory of SHEILAH DEKROUB V. Maureen Armstrong Mary Klimek

DETROIT SYMPHONY ORCHESTRA

In Memory of BARBARA DILES Gwen and Richard Bowlby In Honor of ABIGAIL LEE DUDEN Stanley and Judy Frankel In Honor of CHUCK DYER Elizabeth Landers In Honor of LOWELL EVERSON Suzanne Kaplan In Honor of DR. PAUL FEINBERG Stanley and Judy Frankel In Memory of THOMAS M. FINN Ms. Mary House In Honor of PHILLIP WM. FISHER Aviva and Dean Friedman Ira and Brenda Jaffe Marc Schwartz and Emily Lamlenek In Memory of PAULINE FORMAN ROBB Rosette and Roger Ajluni Sue Berke Manuel and Irva Bermudez Theodore and Susan Goodwin Pamela Greller Ricki Sue Martin Linda Merkle Marlene Miller Michael and Elaine Serling

Joel Silberblatt Delano and Esther Small Sue Tabashnik Esther Young Sam and Laurie Zeidman In Honor of RUTH FRANK Stephen Adise and Gale Frank-Adise Stephen and Caroline Chinlund Thomas and Bonnie Jean Dawson Sheldon and Harriett Fuller Bruce and Suzy Gershenson Ross Hanley Ruth Kositchek Kurt and Martha Neumann Anne Parsons and Donald Dietz Marilyn Pincus Stanley and Susan Schwartz In Honor of ELIAS FRIEDENZOHN Lawrence and Rona Pasik In Memory of DR. MYRON GINSBERG Michael Bauer and Karen Schaefer Alan Baum Sheldon Blair George and Virginia Dodd Lorraine Ford Judith Ginsberg Howard and Meredith Goldberg Eugene and Anne Greenstein Sanford and Adrienne Guss Arnold and Anna Hyman

venture fund Gifts received September 1, 2014 to November 24, 2015

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

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

Michael Willoughby & Associates Mr. and Mrs. James B. Nicholson Oakwood Healthcare Mrs. Sophie Pearlstein Mr. and Mrs. Donald Schultz† Mr. and Mrs. Alan E. Schwartz

Ms. Sandra Thornton

Mark Kaplan and Heather Platt Joanne Liebow Steven and Catherine Podvoll Alan and Maxine Rosenbaum Carol Singer Elaine Waldman Sandra White Lonny and Gail Zimmerman

In Memory of MILDRED MOSS Hershel and Dorothy Sandberg

In Memory of JORDAN RAIDER Edna Rubin

Maureen Walters Larry and Arlene Weingarden

In Memory of ELEANOR RUTH MURRAY Susan Meek

In Memory of WALTER and PATRICIA REINKE Sandra and Russell Ayers

In Honor of JAMES B. NICHOLSON Richner & Richner, LLC

In Memory of JEAN RUTHVEN Dr. Alexander Ruthven

In Memory of ROSALIE VORTRIEDE Jim Eagle Christine Fleming Craig and Marian Hollidge August and Geri Vortriede

In Memory of MACELLINE NOWICKI Marlene Bihlmeyer

In Honor of DR. MARK and PEGGY SAFFER Henry and Trudi Wineman

In Honor of MR. and MRS. JAMES GROSFELD Mervyn and Elaine Manning In Memory of JACQUELINE HOFF Lawrence and Mary Epstein In Memory of JAMES A. JOHNSTON Terry Clissold Mark and Dorene D’Angelo Mark and Diana Domin Nicholas and Ann Kondak Mrs. Dimitry Turin In Memory of DAVID LEBENBOM Atrium Centers, Inc. Lee and Floy Barthel Harold and Penny Blumenstein Richard and Cherie Chosid Gloria and Martin Cohen Joshua and Emily Eichenhorn Isidor Eisenberg Feinberg Consulting, Inc Health Care Association of Michigan Darlene Maneli Jeff Schade Karl and Rhea Schaefer Sharon Schuster In Honor of ESTHER LYONS Robert and Sandra Moers In Memory of RONALD E. MILNER H. Richard and Janet Fruehauf

In Memory of ALEX PEABODY Harriet Ackerman Jean Battjes-Harley Carol Berul William and Susan Conway Kenneth and Janet Davis Dr. Khurshid Ghani Kenneth and Kimberly Levin Kathleen Mcclanaghan James and Florene McMurtry John and Sharon Niedermaier Northpointe Pediatrics, P.C. Susan Pollock David Rosenman Robert and Deborah Ross Walter and Carolyn Schmidt Anne Marie Stricker Hans Stricker Elena Taraman In Memory of JACK PERLMUTTER Frederick and Gloria Clark Alan and Sandra Schwartz In Honor of ANDRÉS PICHARDO-ROSENTHAL Karla Jaeger In Memory of EVELYN PLOTNICK Bob and Gloria Ellis Janet Meister

In Honor of MR. & MRS. ALAN SCHWARTZ Stanley and Judy Frankel In Honor of JIMMY SHERMAN Doug and Karol Ross In Honor of SKIP and BEV SIEGEL Les and Ellen Siegel In Honor of LEONARD SLATKIN Community Chorus of Detroit Ruth Rattner In Honor of ISABEL FRANCIS SMITH Susan Stieber In Memory of JUANITA SMITH Lynne Waskin In Memory of DR. CALVIN STEVENS Rosette and Roger Ajluni In Memory of MARJORIE TERTHER Joan Policastro In Memory of ZEYN NASUT UZMAN Sevil Akman Patrick and Tosca Cooney Betsy Miller

Mrs. Helen Walz-Gutowski † Deceased

In Memory of HELEN WU Cecilia Benner Mandell and Madeleine Berman Marlene Bihlmeyer Harold and Penny Blumenstein Richard and Gwen Bowlby William Campbell Thomas Cliff Avern and Lois Cohn Martha and William Cox Marianne Endicott David Everson and Jill Jordan Christopher Felcyn Samuel and Laura Fogleman Barbara Frankel and Ronald Michalak Stanley and Judy Frankel Ralph and Erica Gerson Raymond Landes and Mary McBrien Landes Bud and Nancy Liebler Victoria McBrien H. and Venus Mighion Eugene and Lois Miller Dr. Anke L. Nolting Anne Parsons and Donald Dietz Dr. Margaret Pierron Marilyn Pincus Lloyd and Maurcine Reuss Saul and Marjorie Saulson Tor Shwayder and Aimee Ergas Edward and Helen Sing Peter and Ellen Thurber Arthur and Trudy Weiss

PERFORMANCE MAGAZINE

upcoming

CONCERTS Classical Series MAHLER’S “RESURRECTION” Leonard Slatkin, conductor Wayne State University Symphonic Chorus Melissa Citro, soprano Kelley O’Connor, mezzo soprano Sat., Dec. 5 at 8pm Sun., Dec. 6 at 3pm DSO Presents DAVE KOZ CHRISTMAS TOUR 2015 Mon., Dec. 7 at 7:30pm* Classical Series MOZART AND BEETHOVEN Case Scaglione, conductor Augustin Hadelich, violin Thurs., Dec. 10 at 7:30pm Fri., Dec. 11 at 10:45am Tiny Tots Concerts GRATITUDE STEEL BAND Sat., Dec. 12 at 10am* Young People’s Family concerts SANTA’S LITTLE HELPERS Detroit Symphony Youth Orchestra Detroit Children’s Choir Saturday, December 12 at 11:00am*

DETROIT SYMPHONY ORCHESTRA

Classical Series HANDEL’S “MESSIAH” Nathalie Stutzmann, conductor Sat., Dec. 12 at 8pm Sun., Dec. 13 at 3pm William Davidson Neighborhood Concert Series MOZART AND BEETHOVEN Case Scaglione, conductor Augustin Hadelich, violin Sun., Dec. 13 at 3pm at Seligman Performing Arts Center, Beverly Hills DSO Presents HOLIDAY CELEBRATION The von Trapps Tues., Dec. 15 at 7:30pm* DSO Presents HOME ALONE WITH THE DSO Constantine Kitsopoulos, conductor Wed., Dec. 16 at 7:30pm Pops Series HOME FOR THE HOLIDAYS Thomas Wilkins, conductor Fri., Dec. 18 at 10:45am & 8pm Sat., Dec. 19 at 3pm and 8pm Sun., Dec. 20 at 3pm and 7pm

DSO and DPTV Present NEW YEAR’S EVE BASH Leonard Slatkin, conductor Jeff Tyzik, conductor Michael Lynche, vocalist Thurs., Dec. 31 at 8pm to 2am William Davidson Neighborhood Concert Series VIVALDI’S FOUR SEASONS James Feddeck, conductor Chee-Yun Kim, violin Thurs., Jan. 7 at 7:30pm at The Berman Center for the Performing Arts, W. Bloomfield Fri., Jan. 8 at 8pm at The Village Theater at Cherry Hill, Canton Sat., Jan. 9 at 8pm at Kirk in the Hills Presbyterian Church, Bloomfied Hills Sun., Jan. 10 at 3pm at Our Lady Star of the Sea, Grosse Pointe Woods Pops Series CLASSIC BROADWAY Stuart Chafetz, conductor Michele Ragusa, vocalist John Cudia, vocalist Fri., Jan. 8 at 10:45am and 8pm Sat., Jan. 9 at 8pm Sun., Jan. 10 at 3pm

& EVENTS

at the

MAX M. AND MARJORIE S. FISHER MUSIC CENTER

William Davidson Neighborhood Concert Series MOZART’S “PRAGUE” SYMPHONY Leonard Slatkin, conductor Maya Beiser, cello Thurs., Jan. 14 at 7:30pm at Congregation Shaarey Zedek, Southfield Fri., Jan. 15 at 8pm at The Macomb Center for The Performance Arts, Clinton Township Classical Series MOZART’S “PRAGUE” SYMPHONY Leonard Slatkin, conductor Maya Beiser, cello Sat., Jan. 16 at 8pm Classical Series SLATKIN CONDUCTS BOLERO Leonard Slatkin, conductor Marina Piccinini, flute Hunter Eberly, trumpet Thurs., Jan. 21 at 7:30pm Fri., Jan. 22 at 10:45am Sat., Jan. 23 at 8pm

Tiny Tots Concerts GEMINI PRESENTS GOOD MISCHIEF Sat., Jan. 23 at 10am* Young People’s Family Concerts WILD WILD WEST Sat., Jan. 23 at 11am Classical Series TCHAIKOVSKY WITH ZNAIDER Nikolaj Znaider, conductor and violin Fri., Jan. 29 at 10:45am Sat., Jan. 30 at 8pm Wu Family Academy CIVIC JAZZ LIVE! Dr. Andrew Bishop, conductor Fri., Jan. 29 at 6:30pm* Paradise Jazz Series BILLY CHILDS Fri., Jan. 29 at 8pm*

Classical Series BRAHMS FESTIVAL: SYMPHONY NO. 4/ VIOLIN CONCERTO Leonard Slatkin, conductor Baiba Skride, violin Thurs., Feb. 11 at 7:30pm Fri., Feb. 12 at 8pm Classical Series BRAHMS FESTIVAL: SYMPHONY NO. 3/ DOUBLE CONCERTO Leonard Slatkin, conductor Baiba Skride, violin Danjulo Ishizaka, cello Sat., Feb. 13 at 8pm Sun., Feb. 14 at 3pm DSO Presents AMBROSE AKINMUSIRE QUARTET Wed., Feb. 17 at 7pm* Mix @ The Max BRAHMS, BEARDS & BURLESQUE Thurs., Feb. 18 at 7pm*

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

TICKETS AND INFO:

313.576.5111 or dso.org PERFORMANCE MAGAZINE

Legacy William

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