Performance Magazine - Spring Issue 1 - 2022-23 Season

The Whitney

Welcome Back

�e Whitney is so proud to continue our long-lasting relationship with DSO concert-goers. Celebrating the art & beauty of Detroit is a core value for �e Whitney and we are so pleased to be a part of your memorable experience.

�e Whitney Early Evening Menu is back!

Enjoy a 2 course meal at �e Whitney Wednesday, �ursday and Friday from 5-7 pm, and on Sunday from 4-7 pm!

�e Whitney: Detroit’s first choice for pre-concert dining.

*Not available on Saturdays. Can not be combined with any other discounts or promotions*

Program Notes

ON THE COVER: Music Director Jader Bignamini (by Justin Milhouse), Principal Trombone Ken Thompkins (by Sarah Smarch), and composer Carlos Simon (by Terrance Ragland)

Dear Friends,

Welcome to Orchestra Hall! Thank you for joining us to experience together the joy of live music. As we enter the warmer months, we have much to look forward to: From world premieres (check out our cover story on Carlos Simon’s new concerto), to strengthening meaningful partnerships, and celebrating with friends at our summer and autumn galas.

We invite you to join us on June 17 as we honor developer, philanthropist, and DSO Chair Emeritus Peter D. Cummings at our eleventh Heroes Gala and Benefit Concert. The Heroes Gala recognizes the remarkable people who impact the vision, values, and success of the DSO and raises funds to support the DSO’s commitment to transforming the lives of young people through music education. This year’s concert will feature a truly remarkable collaboration as Music Director Jader Bignamini conducts the DSO and two of today’s most acclaimed artists, Michael Feinstein and Jean-Yves Thibaudet, in a two-piano program of 20th century American music.

Peter’s three decades of extraordinary leadership have shaped our organization in profound ways, from his six years as Chair of the Board of Directors to his instrumental support of the expansion of Orchestra Hall’s campus, which transformed the DSO’s home into a 21st century performing arts and music education center, The Max. You may also recognize Peter’s name on one of our venues: the Peter D. and Julie F. Cummings Cube (The Cube), the DSO’s black box performance space that presents curated arts programming across musical and artistic genres. Together with his wife Julie, Peter was instrumental in the development of The Cube, creating a venue that is not only accessible, but also relevant to the many communities that the DSO serves.

On July 22 and 23, we look forward to adding another chapter to our storied history with Interlochen Center for the Arts as we return for our annual residency at the camp. Our partnership with Interlochen means so much to our musicians and staff, many of whom experienced firsthand the impact that it has on young people’s lives. The residency will see DSO musicians leading master classes and rehearsing side by side with young students, plus a DSO concert and performance by Interlochen’s World Youth Symphony Orchestra, both conducted by Jader.

We also anticipate the start of our new 2023-2024 season, which Jader will kick off in style in September with an all-star opening week. First, we welcome renowned violinist Gil Shaham for two concerts on the PVS Classical Series before the week culminates with a one-night-only Opening Night Gala featuring one of the most celebrated artists of our time, cellist Yo-Yo Ma. For more, visit dso.org.

We hope you’ll join us for what are sure to be exceptional, one-of-a-kind moments!

Erik Rönmark David T. Provost President and CEO Chair, Board of Directors

JEFF TYZIK

Principal Pops Conductor

FIRST VIOLIN

Robyn Bollinger CONCERTMASTER

Katherine Tuck Chair

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

CELLO

Wei Yu PRINCIPAL

Abraham Feder

CLARINET

Ralph Skiano PRINCIPAL

Robert B. Semple Chair

Kimberly Kaloyanides Kennedy

ASSOCIATE CONCERTMASTER

Schwartz and Shapero Family Chair

Hai-Xin Wu

ASSISTANT CONCERTMASTER

Walker L. Cisler/Detroit Edison Foundation Chair

Jennifer Wey Fang

ASSISTANT CONCERTMASTER

Marguerite Deslippe*

Laurie Goldman*

Rachel Harding Klaus*

Eun Park Lee*

Adrienne Rönmark*

Alexandros Sakarellos*

Drs. Doris Tong and Teck Soo Chair

Laura Soto*

Greg Staples*

Jiamin Wang*

Mingzhao Zhou*

SECOND VIOLIN

Adam Stepniewski

ACTING PRINCIPAL

The Devereaux Family Chair

Will Haapaniemi*

David and Valerie McCammon Chairs

Hae Jeong Heidi Han*

David and Valerie McCammon Chairs

Elizabeth Furuta*

Sheryl Hwangbo Yu*

Daniel Kim*

Sujin Lim*

Hong-Yi Mo *

Marian Tanau*

Alexander Volkov*

Jing Zhang*

VIOLA

Eric Nowlin

PRINCIPAL

Julie and Ed Levy, Jr. Chair

James VanValkenburg

ASSISTANT PRINCIPAL

Caroline Coade

Henry and Patricia Nickol Chair

Glenn Mellow

Hang Su

Hart Hollman

Han Zheng

Mike Chen

ASSISTANT PRINCIPAL

Dorothy and Herbert Graebner Chair

Robert Bergman*

Jeremy Crosmer*

Victor and Gale Girolami Cello Chair

David LeDoux*

Peter McCaffrey*

Joanne Deanto and Arnold Weingarden Chair

Una O’Riordan* Mary Ann & Robert Gorlin Chair

Cole Randolph*

BASS

Kevin Brown

PRINCIPAL Van Dusen Family Chair

Stephen Molina

ASSISTANT PRINCIPAL

Christopher Hamlen

Brandon Mason

Nicholas Myers^

HARP OPEN

PRINCIPAL

Winifred E. Polk Chair

FLUTE

Hannah Hammel Maser

PRINCIPAL Alan J. and Sue Kaufman and Family Chair

Amanda Blaikie

Morton and Brigitte Harris Chair

Sharon Sparrow

ASSISTANT PRINCIPAL

Bernard and Eleanor Robertson Chair

Jeffery Zook

Shantanique Moore §

PICCOLO

Jeffery Zook

Shari and Craig Morgan Chair

OBOE

Alexander Kinmonth

PRINCIPAL Jack A. and Aviva Robinson Chair

Sarah Lewis

ASSISTANT PRINCIPAL

Monica Fosnaugh

ENGLISH HORN

Monica Fosnaugh

Jack Walters

PVS Chemicals Inc./ Jim and Ann Nicholson Chair

Shannon Orme

E-FLAT CLARINET OPEN

BASS CLARINET

Shannon Orme

Barbara Frankel and Ronald Michalak Chair

BASSOON

Conrad Cornelison

PRINCIPAL

Byron and Dorothy Gerson Chair

Michael Ke Ma

ASSISTANT PRINCIPAL

Marcus Schoon

Jaquain Sloan §

CONTRABASSOON

Marcus Schoon

HORN

Karl Pituch

PRINCIPAL

Johanna Yarbrough

Scott Strong

Ric and Carola Huttenlocher Chair

David Everson

ASSISTANT PRINCIPAL

Mark Abbott

TRUMPET

Hunter Eberly

PRINCIPAL

Lee and Floy Barthel Chair

Stephen Anderson

ASSISTANT PRINCIPAL

William Lucas

TROMBONE

Kenneth Thompkins

PRINCIPAL

David Binder

Adam Rainey

BASS TROMBONE

Adam Rainey

TUBA

Dennis Nulty

PRINCIPAL

TIMPANI

Jeremy Epp

PRINCIPAL

Richard and Mona Alonzo Chair

James Ritchie

ASSISTANT PRINCIPAL

PERCUSSION

Joseph Becker

PRINCIPAL

Ruth Roby and Alfred R. Glancy III Chair

Andrés Pichardo-Rosenthal

ASSISTANT PRINCIPAL

William Cody Knicely Chair

James Ritchie

LIBRARIANS

Robert Stiles

PRINCIPAL

Ethan Allen

LEGACY CHAIRS

Principal Flute

Women’s Association for the DSO

Principal Cello

James C. Gordon

Personnel Managers

Patrick Peterson

DIRECTOR OF ORCHESTRA PERSONNEL

Benjamin Tisherman

MANAGER OF ORCHESTRA PERSONNEL

Nolan Cardenas

AUDITION AND OPERATIONS

COORDINATOR

Stage Personnel

Dennis Rottell

STAGE MANAGER

Zach Deater

DEPARTMENT HEAD

Issac Eide

DEPARTMENT HEAD

Kurt Henry DEPARTMENT HEAD

Steven Kemp

DEPARTMENT HEAD

Matthew Pons

DEPARTMENT HEAD

Jason Tschantre

DEPARTMENT HEAD

LEGEND

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

^ Extended Leave

§ African American Orchestra Fellow

Jader Bignamini

MUSIC DIRECTORSHIP ENDOWED BY THE KRESGE FOUNDATION

Jader Bignamini was introduced as the 18th music director of the Detroit Symphony Orchestra in January 2020. The DSO’s 2022-2023 season marks his second full year as DSO Music Director, and his infectious passion and artistic excellence have set the tone for the DSO on stage, establishing a close relationship with the orchestra and creating extraordinary music together. A jazz aficionado, he has immersed himself in Detroit’s rich jazz culture and the influences of American music.

A native of Crema, Italy, Jader studied at the Piacenza Music Conservatory and began his career as a musician (clarinet) with Orchestra Sinfonica La Verdi in Milan, later serving as the group’s resident conductor. Captivated by the symphonies of greats like Mahler and Tchaikovsky, Jader explored their complexity and power, puzzling out the role that each instrument played in creating a larger-than-life sound. When he conducted his first professional concert at the age of 28, it didn’t feel like a departure, but an arrival.

In the years since, Jader has conducted

some of the world’s most acclaimed orchestras and opera companies in venues across the globe including working with Riccardo Chailly on concerts of Mahler’s Eighth Symphony in 2013 and his concert debut at La Scala in 2015 for the opening season of La Verdi Orchestra. Recent highlights include debuts with The Cleveland Orchestra, New Jersey Symphony Orchestra, Dallas Symphony Orchestra, and Minnesota Orchestra; the Osaka Philharmonic and Yomiuri Nippon Symphony Orchestra in Tokyo; Madama Butterfly with the Metropolitan Opera, Vienna State Opera, and Dutch National Opera; Gianni Schicchi with Canadian Opera Company; Rigoletto with Oper Frankfurt; La Traviata with Bayerische Staatsoper; I Puritani in Montpellier for the Festival of Radio France; Traviata in Tokyo directed by Sofia Coppola; Andrea Chénier at New National Theatre in Tokyo; Rossini’s Stabat Mater at Rossini Opera Festival in Pesaro, Italy; Rossini’s Petite messe solennelle at Teatro dell’Opera in Rome; return engagements with Oper Frankfurt (La forza del destino) and Santa Fe Opera (La Bohème); Manon Lescaut at the Bolshoi; Traviata, Madama Butterfly, and Turandot at Arena of Verona; Il Trovatore and Aida at Rome’s Teatro dell’Opera; Madama Butterfly, I Puritani, and Manon Lescaut at Teatro Massimo in Palermo; Simon Boccanegra and La Forza del Destino at the Verdi Festival in Parma; and La Bohème, Madama Butterfly, and Elisir d’amore at La Fenice in Venice.

When Jader leads an orchestra in symphonic repertoire, he conducts without a score, preferring to make direct eye contact with the musicians. He conducts from the heart, forging a profound connection with his musicians that shines through both onstage and off. Jader both embodies and exudes the excellence and enthusiasm that has long distinguished the DSO’s artistry.

Jeff Tyzik

PRINCIPAL POPS CONDUCTOR

Grammy Award winner Jeff Tyzik is one of America’s most innovative and sought-after pops conductors. Tyzik is recognized for his brilliant arrangements, original programming, and engaging rapport with audiences of all ages. In addition to his role as Principal Pops Conductor of the DSO, Tyzik holds The Dot and Paul Mason Principal Pops Conductor’s Podium at the Dallas Symphony Orchestra and serves as principal pops conductor of the Oregon Symphony, Florida Orchestra, and Rochester Philharmonic—a post he has held for over 20 seasons.

Frequently invited as a guest conductor, Tyzik has appeared with the Boston Pops, Cincinnati Pops, Milwaukee Symphony, Pittsburgh Symphony, Toronto Symphony, Indianapolis Symphony, The Philadelphia Orchestra, Los Angeles Philharmonic, and Royal Scottish National Orchestra.

Committed to performing music of all genres, Tyzik has collaborated with such diverse artists as Megan Hilty, Chris Botti, Matthew Morrison, Wynonna Judd, Tony Bennett, Art Garfunkel, Dawn Upshaw, Marilyn Horne, Arturo Sandoval, The Chieftains, Mark O’Connor, Doc Severinsen, and John Pizzarelli. He has created numerous original programs that include the greatest music from jazz and classical to Motown, Broadway, film, dance, Latin, and swing. Tyzik holds Bachelor of Music and Master of Music degrees from the Eastman School of Music.

Visit jefftyzik.com for more.

Terence Blanchard

FRED A. ERB JAZZ CREATIVE DIRECTOR CHAIR

Trumpeter, bandleader, composer, and educator Terence Blanchard has served as the DSO’s Fred A. Erb Jazz Creative Director Chair since 2012. Blanchard has performed and recorded with many of jazz’s superstars and currently leads the celebrated E-Collective. He is also wellknown for his decades-long collaboration with filmmaker Spike Lee, scoring more than 15 of Lee’s movies since the early 1990s. 2018’s BlacKkKlansman earned Blanchard his first Academy Award nomination, with a second Academy Award nomination in 2021 for Da 5 Bloods. In and out of the film world, Blanchard has received 14 Grammy nominations and six wins, as well as nominations for Emmy, Golden Globe, Sierra, and Soul Train Music awards.

Blanchard’s second opera Fire Shut Up in My Bones, based on the memoir of New York Times columnist Charles Blow, opened The Metropolitan Opera’s 20212022 season, making it the first opera by an African American composer to premiere at the Met. With a libretto by Kasi Lemmons, the opera was commissioned by Opera Theatre of Saint Louis where it premiered in 2019. The New York Times called it “inspiring,” “subtly powerful,” and “a bold affecting adaptation of Charles Blow’s work.” Blanchard’s first opera, Champion, also premiered to critical acclaim in 2013 in St. Louis and starred Denyce Graves with a libretto from Pulitzer Prize Winner Michael Cristofer. Visit terenceblanchard.com for more.

DETROIT SYMPHONY ORCHESTRA, INC.

LIFETIME DIRECTORS

Samuel Frankel◊

Stanley Frankel

David Handleman, Sr.◊

Dr. Arthur L. Johnson ◊

James B. Nicholson

Anne Parsons, President Emeritus◊

Barbara Van Dusen

Clyde Wu, M.D.◊

CHAIRS EMERITI

Peter D. Cummings

Mark A. Davidoff

Phillip Wm. Fisher

DIRECTORS EMERITI

Stanley Frankel

Robert S. Miller

James B. Nicholson

loy Barthel

Chacona Baugh

Penny B. Blumenstein

Richard A. Brodie

Lois Cohn

Marianne Endicott

Sidney Forbes

Herman H. Frankel

Dr. Gloria Heppner

Ronald Horwitz

Bonnie Larson

Arthur C. Liebler

Harold Kulish

David McCammon

David R. Nelson

William F. Pickard, Ph.D.

Marilyn Pincus

Lloyd E. Reuss

Marjorie S. Saulson

Alan E. Schwartz

Jane Sherman

Arthur A. Weiss

OFFICERS OF THE BOARD OF DIRECTORS

David T. Provost Chair

Erik Rönmark President & CEO

Faye Alexander Nelson Vice Chair

Laura Trudeau Treasurer

James G. Vella Secretary

Ralph J. Gerson Officer at Large

BOARD OF DIRECTORS

Glenda D. Price, Ph.D. Officer at Large

Shirley Stancato Officer at Large

Directors are responsible for maintaining a culture of accountability, resource development, and strategic thinking. As fiduciaries, Directors oversee the artistic and cultural health and strategic direction of the DSO.

David Assemany, Governing Members Chair

Michael Bickers

Amanda Blaikie, Orchestra Representative

Elena Centeio

Dave Everson, Orchestra Representative

Aaron Frankel

Herman B. Gray, M.D., M.B.A.

Laura HernandezRomine

Rev. Nicholas Hood III

Richard Huttenlocher

Renato Jamett, Trustee Chair

Daniel J. Kaufman

Michael J. Keegan

Xavier Mosquet

David Nicholson

Arthur T. O’Reilly

Stephen Polk

Bernard I. Robertson

Nancy Tellem

David M. Wu, M.D.

Ellen Hill Zeringue

BOARD OF TRUSTEES

Renato Jamett, Chair

Trustees are a diverse group of community leaders who infuse creative thinking and innovation into how the DSO strives to achieve both artistic vitality and organizational sustainability.

Renato Jamett, Trustee Chair

Ismael Ahmed

Richard Alonzo

Hadas Bernard

Janice Bernick

Elizabeth Boone

Gwen Bowlby

Marco Bruzzano

Dr. Betty Chu

Margaret Cooney Casey

Karen Cullen

Joanne Danto

Stephen D’Arcy

Maureen T. D’Avanzo

Jasmin DeForrest

Afa Sadykhly Dworkin

James C. Farber

Abe Feder, Musician

Representative

Linda Forte

Carolynn Frankel

Maha Freij

Christa Funk

Robert Gillette

Jody Glancy

Mary Ann Gorlin

Donald Hiruo

Michelle Hodges

Julie Hollinshead

Sam Huszczo

John Jullens

Laurel Kalkanis

Jay Kapadia

David Karp

Joel D. Kellman

John Kim

Jennette Smith Kotila

Leonard LaRocca

William Lentine

Linda Dresner Levy

Florine Mark

Anthony McCree

Kristen McLennan

Tito Melega

Lydia Michael

Lois A. Miller

H. Keith Mobley

Scott Monty

Shari Morgan

Sandy Morrison

Frederick J. Morsches

Jennifer Muse, NextGen Chair

Sean M. Neall

Eric Nemeth

Maury Okun

Jackie Paige

Vivian Pickard

Denise Fair Razo

Gerrit Reepmeyer

Richard Robinson

James Rose, Jr.

Laurie Rosen

Elana Rugh

Marc Schwartz

Carlo Serraiocco

Lois L. Shaevsky

Mary Shafer

Ralph Skiano, Musician Representative

Richard Sonenklar

Rob Tanner

Yoni Torgow

Gwen Weiner

Donnell White

Jennifer Whitteaker

R. Jamison Williams

Margaret E. Winters

MAESTRO CIRCLE EXECUTIVE COMMITTEE

Cecilia Benner

Joanne Danto

Gregory Haynes

Bonnie Larson

Lois Miller

Richard Sonenklar

Janet & Norm Ankers, Chairs

WORLD PREMIERE: TROUBLED WATER

The DSO brings Carlos Simon’s new work to life

By Hannah Engwall

This May, under Music Director Jader Bignamini, the DSO will perform the world premiere of Grammynominated composer, curator, and activist Carlos Simon’s new trombone concerto, Troubled Water. Written for DSO Principal Trombone Kenneth Thompkins, the piece is inspired by the many stories, accounts, and experiences of enslaved people seeking freedom at any cost on the Underground Railroad. We sat down with Simon and Thompkins to learn more.

“In January 2020, Ken asked me to write a piece for him about the Underground Railroad,” said Simon. “Michigan was one of the last states for enslaved people to reach before getting to freedom in Canada, and it was important for us to tell this story.”

The work was initially conceived as a small chamber work for piano and trombone, but eventually evolved to a concerto. “I now had

use of the full orchestra,” said Simon. “And not just any orchestra— this is the DSO, so it was really a dream to have 25 minutes to play with this amazing orchestra and to utilize the masterful skills of Ken Thompkins.”

During the creation process, Thompkins would walk along the Detroit Riverwalk in the cold winter months, passing by The Gateway to Freedom, the international memorial to the Underground Railroad by Ed Dwight in Hart Plaza. Thompkins passed the statue many times without paying much attention, until one day pausing for a closer look.

He examined the bronze sculpture and the faces of the freedom seekers awaiting transport to Canada—faces of fear, anguish, and hope—bursting with emotion. He began to think about what it was like in Detroit in the 19th century. What did the river look like? Where did they stay?

SIMON

“Water is such an important element of the travel of enslaved people to freedom,” said Thompkins. “Most of the major Underground Railroad routes are along the river or waterways. Musically, you think about water and the many types of elements that could be used in a composition. When I thought of a composer and their use of color to bring the orchestra to life to evoke the emotions that someone might feel going through this experience, I thought of Carlos because he’s a very colorful, deep composer.”

As the piece developed, Simon and Thompkins continued to center on the first-hand sensory experience of people seeking freedom. In the dead of night, as they were moving, what did they see? The stars? And what did they hear? We know that Harriet Tubman used the call of an owl to alert refugees and freedom seekers that it was safe to come out

of hiding and continue their journey, a sound which Simon recreates in the orchestral texture of Troubled Water.

“The use of the owl call really sheds light on the ingenuity of these amazing people,” said Simon. “It’s a different aspect that we don’t normally hear in the story of the Underground Railroad.”

“It’s so easy to look at things twodimensionally and not see the full humanity of a group of people,” added Thompkins. “By fleshing out these types of stories and looking at things differently, hopefully we’ll bring more humanity to our culture and have less fear and more empathy.”

“For my take, as a composer, I think it’s important to document the times in which we live,” added Simon. “You can’t really do that without bringing issues to the forefront that happened in history and drawing a correlation. I’ve always wanted to understand how I fit within the historical landscape as a Black man, as a Black composer, and as an American.”

“Performing a commission is completely different than performing a work that’s been done before and written for someone else. Many themes in this music are based on spirituals, so this is music that, in some form, I’ve heard all my life. To be able to bring this to the concert stage as a concerto is great. There’s a lot of personal investment for me to honor this music in a way that’s appropriate and tells a story that is personal and human and relatable to everybody.”

— KENNETH THOMPKINS, DSO Principal Trombone

Simon is the current Composer-inResidence for the John F. Kennedy Center for the Performing Arts and has completed commissions for the likes of the New York and Los Angeles philharmonics. His latest album, Requiem for the Enslaved, is a multi-genre musical tribute to commemorate the stories of the 272 enslaved men, women, and children sold in 1838 by Georgetown University, and was nominated for a 2023 Grammy Award for Best Contemporary Classical Composition.

“All music was once new music,” said Simon. “It’s important to understand that for the art form to live on, new works have to be created.”

“People have different stories and the stories that we’re telling each other through music are beyond words,” added Thompkins. “It’s getting into emotions— we can express things we can’t say. Each generation, each group of people, has different things that need to be expressed and keep on evolving. I’m always excited to hear different pieces, new pieces, new

compositions. It’s a great honor to be involved with a commissioning project and I’m very happy to be doing this with Carlos, Jader, and my DSO colleagues, who are extremely sensitive, attentive, and musical,” said Thompkins. “I always compare the DSO to driving a Porsche and a Cadillac at the same time—you have that power and then you have the luxury—it’s just fantastic.”

A DSO member since 1997, Thompkins took part in the DSO’s African American Orchestra Fellowship and was appointed to his role by then-Music Director Neeme Järvi. He has since enjoyed a strong career in Detroit and passes his knowledge to the next generation of musicians through performances and master classes at institutions including the University of Michigan.

Simon is also connected to the U of M as an alum, and in 2021 received the Sphinx Medal of Excellence, the highest honor bestowed by the Detroit-based Sphinx Organization, recognizing

extraordinary classical Black and Latinx musicians.

“It’s sort of a dream come true because this is my first commission with the DSO,” said Simon. “I’m over the moon and cannot wait to hear my music in Orchestra Hall, the same hall where I attended many concerts as a graduate student.” He also looks forward to working with Bignamini for the first time.

“Jader is a fantastic musician, so he has extremely high standards,” said Thompkins. “Whenever you start working on a new piece of music, there will always be something that changes your perspective. Conductors are often the person that’s going to hear it a little bit differently than you as a soloist may hear it, or maybe even Carlos. It’s always interesting to have that dynamic—that third person involved on the podium. That interaction is always very fascinating.”

So as composers, musicians, and conductors may all hear something different, Simon invites audiences to attend the premiere with an open mind and open ears. The piece evokes sounds of natural elements and transportation, while also referencing traditional spirituals like “Steal Away” and “Wade in the Water.”

“I come from a very long line of preachers,” said Simon. “I saw how powerful leadership was in the community through the church and how important it was for people who were looking for a sense of connection and empowerment. That music has the ability to connect people and put a mirror up in front of the audience and reflect something that they may not have seen—and to choose to really be honest. I grew up in church and saw my father preach every Sunday, putting a mirror in front of his congregation and saying, ‘this is what I see, and I think you could be better,’ and that’s something I draw from every day through my music and lifestyle.”

Though Troubled Water includes familiar sounds, Simon hopes that audiences will

also have a new experience with the music. “I like to think of music as going to an art exhibit,” said Simon. “When an artist depicts something from real life, it’s not always a literal representation of the thing—it can be more abstracted. That’s what I envision for this piece. I want to use different tools like the quotes from the spirituals to enhance one’s understanding of the Underground Railroad.”

“In American culture, what people see on TV of African Americans is often negative,” added Thompkins. “If you look at Civil Rights footage that is commonly shown, people are being abused or you might see a lynching or a bombing. I remember when I was a kid and I saw Roots and how traumatic it was seeing people treated like that. Part of this story is to tell a different side of Black people in America. There’s also love, courage, hope, ingenuity, and bravery. This is not only a message of the Underground Railroad, but also a message of hope.”

Friday, May 5, 2023 at 10:45 a.m.

Saturday, May 6, 2023 at 8 p.m.

Sunday, May 7, 2023 at 3 p.m. in Orchestra Hall

JADER BIGNAMINI CONDUCTOR

KENNETH THOMPKINS TROMBONE

JOHANNES BRAHMS Variations on a Theme by Haydn

CA RLOS SIMON Troubled Water for Trombone and Orchestra (World Premiere, commissioned by the DSO)

LUDWIG VAN BEETHOVEN Symphony No. 8

Giving Back and Creating Impact: DSO appoints Danny Kaufman as Co-Chair of the DSO Impact Campaign

Danny Kaufman has always been a fan of classical and jazz music. Among his fondest childhood memories are car rides listening to classical music with his father and school trips to the Detroit Symphony Orchestra. He even dabbled with playing the piano and trumpet, but a young Danny’s attention eventually shifted to something that was visibly paramount in their household: philanthropy.

In addition to carrying the family legacy in business as the third-generation President of Burns & Wilcox and Executive Vice President for its parent company, H.W. Kaufman Group, Danny holds a special place in his heart for community-rooted missions, including his and the Kaufman family’s support of the DSO.

Danny’s involvement with the institution has spread across committees, including co-chairing Decanted (the organization’s annual fine wine and music event) with his wife Morgan and serving on the DSO’s Board of Directors and now as Co-Chair of the DSO Impact Campaign. Together with DSO Campaign Chair and Board Chair Emeritus Phillip Wm. Fisher, the pair will ignite a final push to drive the campaign to its goal of $75 million in endowment.

At the top of Danny’s to-do list is building a pipeline of multi-generational support that attracts a broad range of patrons and establishes a flourishing donor base reflective of his generation. He also understands the value of engaging youth through arts and music education. He identifies both Detroit Harmony (with its mission to put an instrument in the hands of every student who wants to learn to play) and the DSO’s William Davidson Neighborhood Concert Series as key areas of amplification to further engage people with the organization. Thanks to Danny’s visionary leadership, the DSO will continue to mobilize communities and create sustainable impact for generations to come.

The vitality and longevity of the DSO depends on the next generation of investors, and we need that. It’s important to get skin in the game. So, I’m going to do all I can to get my generation and future generations involved and engaged in the DSO in all ways.”

—Danny Kaufman, DSO Impact Campaign Co-Chair

The DSO is grateful to the donors who have made extraordinary endowment investments through the DSO Impact Campaign or multi-year, comprehensive gifts to support general operations, capital improvements, or special programs.

FOUNDING FAMILIES

Mr. & Mrs. Lee Barthel

Julie & Peter Cummings APLF

The Davidson-Gerson Family and the William Davidson Foundation

The Richard C. Devereaux Foundation

Erb Family and the Fred A. & Barbara M. Erb Family Foundation

The Fisher Family and the Max M. & Marjorie S. Fisher Foundation

Stanley & Judy Frankel and the Samuel & Jean Frankel Foundation

Danialle & Peter Karmanos, Jr.

Mort & Brigitte Harris Foundation APLF

Linda Dresner & Ed Levy, Jr.APLF

James B. & Ann V. Nicholson and PVS Chemicals, Inc. APLF

Bernard & Eleanor Robertson

Mrs. Richard C. Van Dusen

Ralph C. Wilson, Jr. Foundation

Clyde & Helen Wu◊

VISIONARIES

Mr. & Mrs. Richard L. AlonzoAPLF

Penny & Harold BlumensteinAPLF

Mr. & Mrs. Phillip Wm. FisherAPLF,MM

Alan J. & Sue Kaufman and Family MM

Shari & Craig Morgan APLF, MM

Paul & Terese Zlotoff

CHAMPIONS

Mandell & Madeleine Berman Foundation APLF

Mr. & Mrs. Raymond M. Cracchiolo

Joanne Danto & Arnold Weingarden

Vera & Joseph Dresner Foundation

DTE Energy Foundation

Ford Motor Company Fund

Mr. & Mrs. Morton E. Harris ◊

John S. & James L. Knight Foundation

The Kresge Foundation

Mrs. Bonnie Larson APLF

Brian & Lisa Meer

The Andrew W. Mellon Foundation

Ms. Deborah Miesel

Dr. William F. Pickard

The Polk Family

Stephen M. Ross

Family of Clyde & Helen Wu APLF

LEADERS

Applebaum Family Philanthropy

Charlotte Arkin Estate

Marvin & Betty Danto Family Foundation APLF

Adel & Walter Dissett MM

Herman & Sharon Frankel

Ruth & Al◊ Glancy

Mary Ann & Robert Gorlin APLF

Ronald M. & Carol◊ Horwitz

Richard H. & Carola

Huttenlocher MM

John C. Leyhan Estate

Bud & Nancy Liebler

Richard & Jane Manoogian Foundation

David & Valerie McCammon

Mr. & Mrs. Eugene A. Miller

Pat & Hank◊ Nickol

Jack & Aviva Robinson◊

Martie & Bob Sachs

Mr. & Mrs.◊ Alan E. Schwartz

Drs. Doris Tong & Teck Soo

BENEFACTORS

Mr.◊ & Mrs. Robert A. Allesee

Mr. David Assemany & Mr. Jeffery Zook APLF, MM

W. Harold & Chacona W. Baugh

APLF

Robert & Lucinda Clement

Lois & Avern Cohn MM

Jack, Evelyn, and Richard Cole

Family Foundation

Mary Rita Cuddohy Estate

Margie Dunn & Mark DavidoffAPLF, MM

DSO Musicians MM

Bette Dyer Estate

Michael & Sally Feder

Marjorie S. Fisher Fund MM

Dr. Marjorie M. Fisher & Mr. Roy Furman

Ms. Mary D. Fisher

Mr. & Mrs. Aaron Frankel MM

Barbara Frankel & Ronald Michalak MM

Victor ◊ & Gale Girolami Fund

The Glancy Foundation, Inc. APLF

Herbert & Dorothy Graebner ◊

Richard Sonenklar & Gregory

Haynes MM

Mr. & Mrs. David Jaffa

Renato & Elizabeth Jamett MM

Max Lepler & Rex Dotson MM

Allan & Joy Nachman MM

Ann & Norman◊ Katz

Dr. Melvin A. Lester ◊

Florine Mark

Michigan Arts & Culture Council

Dr. Glenda D. Price

Ruth Rattner

Mr. & Mrs.◊ Lloyd E. Reuss

Mr. & Mrs. Fred Secrest◊

Jane & Larry Sherman

Cindy McTee & Leonard Slatkin

Marilyn Snodgrass Estate

Mr. & Mrs. Arn Tellem APLF

Nancy Schlichting & Pamela

Theisen APLF

Mr. James G. Vella MM

Eva von Voss and Family MM

Key:

MM DSO Musicians Fund for Artistic Excellence

APLF Anne Parsons Leadership Fund

◊ Deceased

A student plays a violin at a Detroit Harmony event, the Allegro Ensemble enjoys a day at The Max, the Bucket Band performs during Black History Month.

Empowering Detroit Students Through Music

By Francesca Leo

The DSO’s Detroit Harmony program is making meaningful strides in its goal to provide music education and put an instrument in the hands of every K-12 student in Detroit who wishes to play. First announced in 2019, the program has since collected thousands of new and used instruments thanks to generous donations from people across Michigan. In December, Detroit Harmony Managing Director Damien Crutcher and his team distributed some of the refurbished instruments to Mr. Denzel Donald’s 5th and 6th grade students at Detroit Prep—joy could be felt throughout the classroom.

In continuing efforts to increase access to music education and performance opportunities for Detroit students, the DSO’s Community & Learning team supports in-school ensembles including the Detroit Pistons Bucket Band and the Vera and Joseph Dresner Foundation Allegro Ensemble. The Allegro Ensemble, directed by Maria Bucco and assisted by Camille Jones, is a tuition-free entry-level violin group providing training, instruments, and educational materials to students at Ellington Conservatory of

Music & Art at Beckham Academy. The Bucket Band, led by Darell “Red” Campbell, is a percussion ensemble that teaches students percussion techniques and musical principles in a fun and creative way—by performing on buckets. In February, the Bucket Band performed for a Detroit Pistons Black History Month event at the Detroit Institute of Arts, and in March during a Pistons game at Little Caesars Arena. In December, the Allegro Ensemble visited Orchestra Hall for an Educational Concert Series performance, which for most students was their first orchestral concert. They enjoyed Box Level seats, met DSO musicians, and held a class in the DSO’s Pincus Music Education Center. On April 30, both ensembles will celebrate a season of hard work by performing alongside other Civic Youth Ensembles students in the CYE Family Experience showcase.

By creating opportunities for meaningful engagement with music, the DSO empowers students to create lasting memories and build a bright musical future.

For students in Detroit Public Schools, the DSO’s Detroit Harmony program and in-school ensembles are making musical wishes come true.

JEFF TYZIK Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

JADER BIGNAMINI , Music Director Music Directorship endowed by the Kresge Foundation

PVS CLASSICAL SERIES

Title Sponsor:

JADER CONDUCTS STRAVINSKY’S FIREBIRD

Thursday, March 30, 2023 at 7:30 p.m.

Friday, March 31, 2023 at 8 p.m.

Saturday, April 1, 2023 at 8 p.m. in Orchestra Hall

JADER BIGNAMINI, conductor ANNE AKIKO MEYERS, violin

Aram Khachaturian Adagio of Spartacus and Phrygia from Spartacus (1903 - 1978)

Arturo Márquez Fandango

(b. 1950) Folia Tropical Plegaria (Chacona)

Fandaguito

Anne Akiko Meyers, violin

Intermission

Arturo Márquez Danzón No. 2

(b. 1950)

Igor Stravinsky Suite from The Firebird [1919 version] (1882 - 1971)

Introduction and Dance of the Firebird Dance of the Princesses

Infernal Dance of King Kastchei

Berceuse

Finale

JA

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

NA’ZIR MCFADDEN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

NEEME JÄRVI Music Director Emeritus

LEONARD SLATKIN Music Director Laureate

Saturday’s performance will be webcast via our exclusive Live From Orchestra Hall series, presented by Ford Motor Company Fund and made possible by the John S. and James L. Knight Foundation.

PROGRAM AT-A-GLANCE | JADER CONDUCTS STRAVINSKY’S FIREBIRD

A Flair for the Dramatic

Storytelling exists within the fabric of our humanity. We are exposed to stories in nearly every aspect of our lives—from the stories we are read before bed as children to the stories we hear from the media, our friends and colleagues, and the many stories we tell ourselves about the world around us. Each of the pieces on this program are based on a story. Aram Khachaturian’s ballet Spartacus—perhaps the most well-known story on the program—is based on the ancient Roman tale about the Thracian gladiator who led the largest slave revolt against Rome around 70 BCE. His Adagio depicts the romantic reunion between lovers Spartacus and Phrygia, reunited after the uprising and after Phrygia was rescued from slavery.

Arturo Márquez tells stories through each note of his Fandango and Danzon No. 2, from the rhythmic dances of the solo violin depicting mariachi music and recalling the early history of the genre in the first movement of Fandango to the nostalgic evocation of Mexico City dance parlors and ballrooms in Veracruz in Danzon No. 2. Completing the program is Stravinsky’s The Firebird suite, based on a fantastic tale of Prince Ivan. The powerful impact of stories on each of these works help composers craft a stunning masterpiece of music that audiences may interpret in their own unique ways.

PROGRAM NOTES

Adagio of Spartacus and Phrygia from Spartacus

Composed 1954 | Premiered 1956

ARAM KHACHATURIAN

B. June 6, 1903, Tbilisi, Georgia

D. May 1, 1978, Moscow, Russia

Scored for 3 flutes (one doubling piccolo), 2 oboes, english horn, 3 clarinets (one doubling bass clarinet), 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, piano, and strings. (Approx. 9 minutes)

Aram Khachaturian was born into an Armenian family in Tbilisi, Georgia in 1903. The son of a bookbinder, his musical identity and talent developed slowly but steadily throughout his life. When he went off to college in Moscow in 1921, he studied biology instead of music, but continued taking private cello lessons as a side interest. However, his musical talent and passion were undeniable, and his musical skills developed to a level that admitted him into the Moscow Gnesin Academy of Music in 1922 to study cello, and later the Moscow Conservatory in 1926, where he studied music composition and quickly became a rising star. Khachaturian joined Nikolai Miaskovsky’s composition class in 1929 to

pursue his graduate studies, and before his graduation in 1934, he had already experienced successful premieres of his Symphony No. 2 in A minor and his Piano Concerto in D-flat major, establishing himself as the “leading Soviet composer of his generation.”

Khachaturian’s Spartacus is known to be the composer’s “most sweeping ballet” and one of his greatest creations. It was the last of his three ballets and was premiered in Leningrad in December of 1956. It was based on the tale of the Thracian gladiator who led the largest slave revolt against ancient Rome around 70 BCE, a story recorded by Greek philosophers and historians Plutarch and Appian. The libretto for this ballet was written by Nikolai Volkov, and while the music of ancient Rome was unknown in style, Khachaturian’s approach to the score aimed to clearly capture the drama of the plot and its parallels to modern society. Khachaturian stated, “I believe that the theme of Spartacus and the slave uprising in ancient Rome has great importance and appeal today. I thought of Spartacus as a monumental fresco describing the mighty avalanche of the antique rebellion of the slaves on behalf of human rights ... The era of Spartacus was an important one in the history of mankind. Today, when most of the world’s oppressed people are waging an intense struggle for national

liberation and independence, the immortal image of Spartacus has acquired particular significance. When I composed the score of the ballet and tried to capture the atmosphere of ancient Rome in order to bring to life the images of the remote past, I never ceased to feel the spiritual affinity of Spartacus to our own time.”

The success of this ballet led to Khachaturian compiling suites of music from the score to be made available for performance by orchestras between 1955-1957. His second suite included the Adagio of Spartacus and Phrygia, a standalone piece that is widely performed today. This piece appears in the second act of the ballet and expresses the passion and depth of emotions experienced when the two are reunited after the uprising, and after Phrygia’s rescue from slavery. Throughout the piece, the oboe introduces and plays the lyrical “love theme” accompanied by the strings and harp. A call and response is introduced later in the piece by the upper strings and upper woodwinds, which one can imagine emulates a heartfelt, loving exchange between Spartacus and Phrygia upon their reunion. Later, the love theme is taken over by a solo violin accompanied by two clarinets, and the piece ends with the strings unifying in the original key and slowly dying away after one final, loving swell.

This performance marks the DSO premiere of Khachaturian’s Adagio from Spartacus

Fandango

Composed 2018-2021 | Premiered August 24, 2021

ARTURO MÁRQUEZ

B. December 20, 1950, Álamos, Mexico

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 30 minutes)

OnFandango, composer Arturo Márquez writes the following:

“The Fandango is known worldwide as

a popular Spanish dance and specifically, as one of the fundamental parts (Palos) of flamenco. Since its appearance around the 18th century, various composers such as S. de Murcia, D. Scarlatti, L. Bocherini, Padre Soler, W. A. Mozart, among others, have included Fandango in concert music. What little is known in the world is that immediately upon its appearance in Spain, the Fandango moves to the Americas where it acquires a personality according to the land that adopts and cultivates it. Today, we can still find it in countries such as Ecuador, Colombia, and Mexico, in the latter and specifically in the state of Veracruz and in the Huasteca area, part of 7 states in eastern Mexico, the Fandango acquires a tinge different from the Spanish genre; for centuries, it has been a special festival for musicians, singers, poets and dancers. Everyone gathers around a wooden platform to stamp their feet, sing, and improvise tenth-line stanza of the occasion. It should be noted that Fandango and Huapango have similar meanings in our country.

In 2018, I received an email from violinist Anne Akiko Meyers, a wonderful musician, where she proposed to me the possibility of writing a work for violin and orchestra that had to do with Mexican music. The proposal interested and fascinated me from that very moment, not only because of Maestra Meyers’s emotional aesthetic proposal, but also because of my admiration for her musicality, virtuosity and, above all, for her courage in proposing a concert so out of the ordinary. I had already tried, unsuccessfully, to compose a violin concerto some 20 years earlier with ideas that were based on the Mexican Fandango. I had known this music since I was a child, listening to it in the cinema, on the radio and listening to my father, a mariachi violinist, (Arturo Márquez Sr.) interpret huastecos and mariachi music. Also, since the 90s I have been present admiring the Fandango in

various parts of Mexico. I would like to mention that the violin was my first instrument when I was 14 years old (1965). Curiously, I studied it in La Puente California in Los Angeles County where fortunately this work [was] premiered with the wonderful Los Angeles Philharmonic under the direction of my admired Gustavo Dudamel. Beautiful coincidence as I have no doubt that Fandango was danced in California in the 18th and 19th centuries.

Fandango for violin and orchestra is formally a concerto in three movements: Folia Tropical, Plegaria (Prayer) (Chaconne), and Fandanguito.

The first movement, Folia Tropical, has the form of the sonata or traditional classical concert: Introduction, exposition with its two themes, bridge, development, and recapitulation. Folias are ancient dances that come from Portugal and Spain. However, also the root and meaning of this word takes us to the French word “Folie,” or “madness.”

The second movement: Plegaria pays tribute to the huapango mariachi together with the Spanish Fandango, both in its rhythmic and emotional parts. It should be noted that one of the Palos del Flamenco Andaluz is precisely a Malagueña and Mexico also has a huapango honoring Malaga. I do not use traditional themes but there is a healthy attempt to unite both worlds; that is why this movement is the fruit of an imaginary marriage between the Huapango-Mariachi and Pablo Sarasate, Manuel de Falla and Issac Albeniz, three of my beloved and admired Spanish composers.

The third movement Fandanguito is a tribute to the famous Fandangito Huasteco. The music of this region is composed of violin, jarana huasteca (small rhythm guitar), and huapanguera (low guitar with 5 orders of strings). This third movement is a totally free elaboration of the Huasteco Fandanguito, but it maintains many of its rhythmic characteristics. It demands a great virtuosity from the soloist, and it is the music that I have kept

in my heart for decades.

I think that for every composer it is a real challenge to compose new works from old forms, especially when this repertoire is part of the fundamental structure of classical music. On the other hand, composing in this 2020 pandemic was not easy due to the huge human suffering. Undoubtedly my experience with this work during this period has been intense and highly emotional but, I have to mention that I have preserved my seven capital principles: tonality, modality, melody, rhythm, imaginary folk tradition, harmony, and orchestral color.”

This performance marks the DSO premiere of Márquez’s Fandango.

Danzon No. 2

Composed 1994 | Premiered 1994

ARTURO MÁRQUEZ

B. December 20, 1950, Álamos, Mexico

Scored for 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, piano, and strings. (Approx. 10 minutes)

The music of Mexican composer Arturo Márquez has been gaining currency with orchestras and audiences throughout his homeland and around the world. He is best known for his series of danzóns, works based on a Cuban dance that migrated to Veracruz, Mexico. Márquez’s Danzón No. 2, in particular, is one of the most popular and frequently performed works written after 1950 from Latin America.

In February 2006, Arturo Márquez received the Medalla de Oro al Mérito de Bellas Artes (Gold Medal of Merit in the Fine Arts), the highest honor given to artists by Mexico’s Bellas Artes.

Marquez wrote the following notes for the premiere of Danzón No. 2 :

“The idea of writing Danzón No. 2 originated in 1993 during a trip to Malinalco with the painter Andrés Fonseca and the dancer Irene Martínez, both of whom

[have] a special passion for the danzón, which they were able to transmit to me from the beginning, and also during later trips to Veracruz and visits to the Colonia Salon in Mexico City. From these experiences onward, I started to learn the danzón’s rhythms, its form, its melodic outline, and to listen to the old recordings by Acerina Mariano Merceron and his Danzonera Orchestra. I was fascinated and I started to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality and qualitative seriousness, a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world; we can fortunately still see this in the embrace between music and dance that occurs in the State of Veracruz and in the dance parlors of Mexico City.

Danzón No. 2 endeavors to get as close as possible to the dance, to its nostalgic melodies, to its wild rhythms, and although it violates its intimacy, its form and its harmonic language, it is a very personal way of paying my respects and expressing my emotions towards truly popular music.”

—Elizabeth Schwartz

This performance marks the DSO premiere of Márquez’s Danzon No. 2.

Suite from The Firebird (1919 version)

Composed 1909-1910 | Premiered 1910 |

Revised 1919

IGOR STRAVINSKY

B. June 17, 1882, Lomonosov, Russia

D. April 6, 1971, New York, NY

Scored for 2 flutes (one doubling on piccolo), 2 oboes (one doubling on English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, piano, and strings. (Approx. 19 minutes)

Igor Stravinsky’s association with Serge Diaghilev and his Ballets Russes lasted two decades and proved one of the most fruitful artistic collaborations in history. Through Diaghilev, the composer met some of the leading creative figures of the day, and for the Ballet Russes Stravinsky produced most of the works that secured his fame. The first, and arguably most famous, is the score for the ballet The Firebird, which premiered in 1910. Stravinsky extracted two concert suites from the full score— one in 1911, and then a “revision” in 1919. The second version is generally regarded as the “standard” today.

The Firebird relates a fantastic tale. Wandering alone in a deep wood, Prince Ivan, son of the Czar, comes upon the mythical Firebird. Quickly he captures her, but when she offers a magic feather as ransom, he frees her. Continuing on his way, the prince encounters thirteen princesses, who are under the spell of Kastchei, a demon of terrible power (in his presence women are made captive and men turned to stone). When the princesses flee, Ivan follows them into Kastchei’s castle and soon is captured. But he remembers the feather, and its magic renders Kastchei’s spells harmless. The Firebird appears and shows the prince an egg containing the monster’s soul. Ivan smashes it, destroying Kastchei and freeing the princesses.

The suite unfolds in five movements. The first three set the scene and introduce the principal characters of the fairytale drama. The initial measures suggest Prince Ivan wandering in the forest; an air of mystery and menace permeates the music of the low strings, the horn figures, and especially the eerie glissando harmonics in the strings. Next comes the dance of the Firebird, which sounds every bit as colorful and fantastic as the creature itself.

The second movement gives us music

of the princesses, their gentle demeanor conveyed in a song-like melody played by the oboe to harp accompaniment. These dulcet sounds give way suddenly, however, to the “Infernal Dance of King Kastchei.” The demon is suggested in angular rhythms and harsh outbursts, particularly from the brass. This entire sequence is brilliantly orchestrated, and we can scarcely imagine today the impact it must have made on audiences in 1910.

Of entirely different character is the “Berceuse,” a haunting lullaby rather oriental in tone. A brief sequence of falling

PROFILE

ANNE AKIKO MEYERS

string tremolos leads to the finale. Its melody, announced by the horn and gradually taken up by the full orchestra, is repeated in ever more sonorous instrumentation, building to an imposing climax in the final measures.

The DSO most recently performed Stravinsky’s The Firebird in December 2022 on the Young People’s Family Concert Series, conducted by Na’Zir McFadden. The DSO first performed the piece in November 1926, conducted by Ossip Gabrilowitsch.

Anne

Akiko Meyers has enraptured audiences around the world for decades. Regularly performing on the leading stages, Meyers has collaborated with many of today’s most important composers, resulting in significant works for the violin. She has made close to 40 recordings, many of them debuting at #1 on the Billboard charts, which are staples of classical music radio stations and streaming platforms.

A champion of living composers, Meyers has inspired and regularly collaborates with composers including Mason Bates, Jakub Ciupiński, John Corigliano, Michael Daugherty, Jennifer Higdon, Samuel Jones, Morten Lauridsen, Arturo

Márquez, Wynton Marsalis, Akira Miyoshi, Arvo Pärt, Gene Pritsker, Einojuhani

Rautavaara, Somei Satoh, Adam

Schoenberg, and Joseph Schwantner.

Meyers’s recent and upcoming premieres include Fandango by Arturo

Márquez with Gustavo Dudamel and the Los Angeles Philharmonic; cadenzas by John Corigliano for the Beethoven Violin

Concerto with Keith Lockhart at the

Brevard Music Festival; and Michael Daugherty’s Blue Electra about Amelia Earhart with Gianandrea Noseda and the National Symphony, at the Kennedy Center.

Meyers is highly acclaimed as a television and recording artist who was the top-selling traditional classical instrumental soloist of the year in 2014 and the only classical artist for NPR’s 100 best song list in 2017. John Williams personally chose Meyers to perform Schindler’s List for a Great Performances PBS telecast and Arvo Pärt invited her to perform at the opening ceremony concerts of his new center and concert hall in Estonia.

Outside of traditional classical, Meyers has collaborated with a diverse array of artists including jazz icons Chris Botti and Wynton Marsalis; pop-era act Il Divo; and singer Michael Bolton. She has been featured in profiles or performances on The Tonight Show, CBS Sunday Morning, CBS’s The Good Wife, MSNBC’s Countdown with Keith Olbermann, NPR’s Morning Edition and All Things Considered, and has curated “Living American” on Sirius XM Radio’s Symphony Hall.

Meyers performs on the Ex-Vieuxtemps Guarneri del Gesù, dated 1741, considered by many to be the finest sounding violin in existence.

DETROIT SYMPHONY ORCHESTRA

JEFF TYZIK Principal Pops Conductor

PVS CLASSICAL SERIES

Title Sponsor:

BEETHOVEN’S THIRD PIANO CONCERTO & BRUCKNER’S FOURTH

Friday, April 14, 2023 at 8 p.m.

Saturday, April 15, 2023 at 8 p.m.

Sunday, April 16, 2023 at 3 p.m. in Orchestra Hall

MARKUS STENZ, conductor

STEPHEN HOUGH, piano

Ludwig van Beethoven Piano Concerto No. 3 in C minor, Op. 37 (1770 - 1827)

I. Allegro con brio

II. Largo

III. Rondo: Allegro Stephen Hough, piano

Intermission

Anton Bruckner Symphony No. 4 in E-flat major, “Romantic” (1824 - 1896) (1880; second definitive version) ed. Nowak

I. Bewegt, nicht zu schnell

II. Andante - andante quasi allegretto

III. Scherzo: Bewegt

IV. Finale: Bewegt, doch nicht zu schnell

Saturday’s performance will be webcast via our exclusive Live From Orchestra Hall series, presented by Ford Motor Company Fund and made possible by the John S. and James L. Knight Foundation.

MUSIC DIRECTOR

JADER BIGNAMINI , Music Director Music Directorship endowed by the Kresge Foundation

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

NA’ZIR MCFADDEN Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

NEEME JÄRVI Music Director Emeritus

LEONARD SLATKIN Music Director Laureate

PROGRAM AT-A-GLANCE | BEETHOVEN’S THIRD PIANO CONCERTO & BRUCKNER’S FOURTH Standing Upon the Shoulders of Giants

Beethoven’s Third Piano Concerto and Bruckner’s Fourth Symphony are beloved works in the classical canon—each work bringing its own unique challenges, stunning moments, grandeur, and triumphs throughout. Beethoven’s Third Piano Concerto was written after hearing Mozart’s Piano Concerto No. 24 in C minor at an outdoor concert while walking with the renowned composer-pianist Johann Baptist Cramer. He had always admired Mozart, and this concerto awoke something musically within Beethoven. He composed his third Piano Concerto in the same key—C minor—and strung out the composition process across a lengthy three and a half years.

Bruckner’s Symphony No. 4 “Romantic” is the only symphony he wrote out of nine to which he gave a subtitle. Although he himself was essentially not a “romantic” composer, this symphony evocated Teutonic Romanticism, and years later he developed a plot for this monumental work to further its romantic imagery. The programmatic description of the opening was described by Bruckner himself as “Medieval city—Daybreak—Morning calls sound from the city towers—the gates open—On proud horses the knights burst out into the open, the magic of nature envelops them—forest murmurs—bird song—and so the Romantic picture develops further…”

PROGRAM NOTES

Piano Concerto No. 3

in C minor, Op. 37

Composed 1800 | Premiered April 1803

LUDWIG VAN BEETHOVEN

B. December 1770, Bonn, Germany

D. March 26, 1827, Vienna, Austria

Scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (Approx. 34 minutes)

In1799, Beethoven attended a performance of Mozart’s great C minor Piano Concerto, K. 491, his 24th, at a concert given in the ballroom of Vienna’s Augarten Park. His companion that day was another pianist and composer, Johann Cramer, and as the concerto ended, Beethoven was heard to exclaim: “Cramer, Cramer! We shall never do anything like that!”

Despite this pejorative remark, Mozart’s work was regularly on Beethoven’s mind— sometimes simply as beautiful music, but often as a sort of standard to be matched or challenge to be met. So, it is unsurprising that Beethoven composed a concerto in the same key about a year after hearing Mozart’s turbulent 24th.

The Piano Concerto No. 3 occupies an intermediate position, in style as well as

chronology, among Beethoven’s five works in this genre. Its formal outline resembles the Classical model followed so closely in his first two piano concertos, yet there are unmistakable signs of the bold departures which would mark Beethoven’s succeeding works of this kind. The scale is larger and more symphonic than any 18th century concerto, distant tonal relationships are skillfully exploited, and the development of the thematic material is accomplished with a thoroughness typical of Beethoven’s mature style.

The long first movement unfolds under the pervasive influence of C minor, a key Beethoven associated with pathos and desperate struggle. Here, the principal theme is forged from two dramatically opposed ideas: in the first four measures, the strings present a rather brusque and ominous motif which, after being echoed a step higher by the winds, is followed at once by a more lyrical and impassioned idea. The coexistence of such diverse and powerful elements accounts for much of the energy and tension Beethoven achieves here.

The ensuing Largo is in the remote and traditionally “serene” key of E major. Following the stormy outbursts of the first movement, its almost religious tranquility is all the more effective. And with the

concluding Rondo, Beethoven returns us to C minor, but not to the dramatic struggles of the first movement. The opening theme sounds, rather, quite lively. Alternating with episodes of more sunny music, the melody develops with an inventive flair characteristic of Beethoven’s best music. It forms the subject for a striking fugato passage and later, transformed to C major and 6/8 time, launches the rollicking coda passage that brings the work to a close.

The DSO most recently performed Beethoven’s Piano Concerto No. 3 in May 2018, conducted by John Storgårds and featuring pianist Louis Lortie. The DSO first performed the piece in April 1922, conducted by Ossip Gabrilowitsch and featuring pianist William Bachaus.

Symphony No. 4 in E-flat major, “Romantic”

Composed 1874 | Premiered February 20, 1881

ANTON BRUCKNER

B. September 4, 1824, Ansfelden, Austria

D. October 11, 1896, Vienna, Austria

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, and strings. (Approx. 70 minutes)

Itis unclear why Bruckner added the subtitle “Romantic” to his Fourth Symphony (his only symphony to be given such a descriptive title). There is nothing explicitly programmatic about the piece as a whole, and it is no more “romantic” than any of his other symphonies. It has been said, however, that Wagner’s Lohengrin sparked the composition of the Fourth Symphony and that, for Bruckner, Wagner—and Lohengrin in particular—epitomized romanticism in music. This conclusion is bolstered by the fact that, when once asked the meaning behind this title, Bruckner offered the following: “A citadel

of the Middle Ages. Daybreak. Reveille sounds from the tower. The gates open. Knights on proud chargers leap forth. The magic of nature surrounds them.” Yet, when confronted with the same question on a different occasion, the composer simply responded, “I don’t know myself what I had in mind.”

Whatever its intent, the Fourth Symphony enjoyed an enthusiastic reception in the years following its premiere, even prompting a performance of the work in the United States (a first for Bruckner). By this time, however, Bruckner was approaching 60, and as the conductor Hans Richter recalled of a rehearsal leading up to the Viennese premiere: “His works were performed hardly anywhere. When the symphony was over, Bruckner came up to me. He was radiant with enthusiasm and happiness. I felt him put something into my hand. ‘Take this and drink a mug of beer to my health,’ he said.” Not wanting to insult the composer, Richter took the coin—a “tip” for conducting a good rehearsal—later attaching it to his watch chain as a memento.

The symphony begins with a horn-call that dominates the entire first movement and later returns at the end of the finale. Also heard throughout the movement is the composer’s signature two-plus-three rhythmic motif (one-two, one-two-three; one-two, one-two-three, etc.). Referred to by some as the “Bruckner rhythm,” this rhythmic figure provides the basis for the opening movement’s greatest musical climax.

The ensuing Andante, which Bruckner once described as a “pilgrims’ nocturnal march,” is solemn and dream-like. A lyrical melody in the cello, a hushed chorale, and a beautiful viola melody provide the principal musical material.

The third movement Scherzo is one of the composer’s most recognized pieces of music, often performed on its own as an encore. Here, Bruckner depicts what appears to be a hunting scene in the country, replete with prominent horn calls and the characteristic “Bruckner rhythm.” The

trio, by contrast, is simple and rustic, meant to portray the members of a hunting party dancing in the forest during an afternoon meal.

The Finale, opening in a rather ominous B flat minor, showcases abrupt shifts in mood, tempo, and orchestral color. Although disorienting at times, the overall effect is one of an increasing orchestral

PROFILES

MARKUS STENZ

Stenz has held several high-profile positions including Principal Conductor of the Netherlands Radio Philharmonic Orchestra (2012-2019), Principal Guest of the Baltimore Symphony Orchestra (2015-2019), and Conductor-InResidence of the Seoul Philharmonic Orchestra (2016-2021). He was General Music Director of the City of Cologne and Gürzenich-Kapellmeister for 11 years, conducting Mozart’s Don Giovanni; Wagner’s Ring cycle, Lohengrin, Tannhäuser, and Die Meistersinger von Nürnberg ; Janáček’s Jenůfa and Katya Kábanová; and Eötvös’s Love and other Demons.

He made his opera debut in 1988 at Teatro La Fenice in Venice. After a recent and highly successful Mozart and Strauss concert, he returned last season to conduct two concert weeks with repertoire including Mozart, Schumann, and Wagner, and will return this season and beyond for productions of Wagner’s Der fliegende Holländer and Berg’s Wozzeck.

In 2018, Stenz conducted Schreker’s Die Gezeichneten at the Bayerische Staatsoper Munich and was due to return in 2021 for Fidelio before it was cancelled due to the pandemic. 2018 also saw the longawaited world première of Kurtág’s Fin de partie at Teatro alla Scala Milan (where he also had a great success conducting Strauss’s Elektra) followed by

force that culminates in a climactic return of the horn-call from the first movement.

Stephanie Heriger

The Detroit Symphony Orchestra most recently performed Bruckner’s Symphony No. 4 in April 2015, conducted by Leonard Slatkin. The DSO first performed the piece in October 1963, conducted by Eugen Jochum.

Markusperformances of the Kurtág for Dutch National Opera and, most recently, its French première at Opéra National de Paris.

After a recent appearance at the Deutsche Oper Berlin with Britten’s Death in Venice, Stenz returned last season to conduct Britten’s A Midsummer Night’s Dream, and this season will conduct Offenbach’s Les contes d’Hoffmann.

The 2022-23 season also sees Stenz’s debut with the Orchestra dell’Academia Nazionale di Santa Cecilia in Rome. He is delighted to return to the New Japan Philharmonic Orchestra as well as to three orchestras where he previously held positions: Netherlands Radio Philharmonic Orchestra, Seoul Philharmonic Orchestra, and the Gürzenich-Orchester Köln. Elsewhere in Europe, he will conduct a Wagner evening with Nina Stemme in Budapest, the Vienna Radio Symphony Orchestra at Linz Brucknerfest, and the Badische Staatskapelle Karlsruhe. In the US, he makes his debut with the Milwaukee Symphony Orchestra and returns to the Oregon Symphony and the Indianapolis Symphony Orchestra.

Further ahead, he looks forward to returning to Orchestre National de Lyon and Dutch National Opera. Following a very successful debut with the City of Birmingham Symphony Orchestra with Mahler’s Symphony No. 2 in 2022, he will return to the CBSO in the 2023-24 season.

Stenz’s most recent CD release was Bruckner’s Symphony No. 7 with the Stavanger Symphony Orchestra and other

recent highlights include concerts with the MDR Leipzig Radio Symphony Orchestra, Dortmund and Luxembourg philharmonic orchestras, Orchestre National de Lyon, Bergen Philharmonic, and Barcelona Symphony Orchestra.

While with the Gürzenich-Orchester Köln, Stenz received the prize for “The Best Concert Programme of the 2003-04 Season,” as well as initiating a number of youth and educational projects such as “Experiment Klassik,” “3. Akt,” and the concert live-recording project “GO live.”

STEPHEN HOUGH

Named by The Economist as one of Twenty Living Polymaths, Sir Stephen Hough combines a distinguished career as a pianist with those of composer and writer. He was the first classical performer to be awarded a MacArthur Fellowship, was made a Commander of the Order of the British Empire (CBE) in the New Year Honours 2014, and was awarded a Knighthood for Services to Music in the Queen’s Birthday Honours 2022.

In the 2022-23 season, Hough performs over 90 concerts across five continents. Concerto highlights include returns to the

Concertgebouworkest, Cincinnati, the National Symphony Orchestra, BBC Symphony and Philharmonia orchestras, and the National Symphony Orchestra, Taiwan. 2023 Artist in Residence with Orquestra Sinfônica do Estado de São Paulo, Hough performs the complete Rachmaninoff concertos in Brazil as well as in Australia with the Sydney and Adelaide symphony orchestras. He is also Artist in Association with the Iceland Symphony Orchestra, with whom he tours the UK in spring 2023. Recent highlights include the New York Philharmonic, Dallas, and Atlanta symphony orchestras; Singapore and Finnish Radio symphony orchestras; Wiener Symphoniker, Orchestre National de France; London Philharmonic Orchestra; and City of Birmingham Symphony Orchestra.

Hough is a regular guest at festivals including Salzburg, Mostly Mozart, Edinburgh, La Roque-d’Anthéron, Aldeburgh, and the BBC Proms, where he has made 29 appearances. Recent recitals include Wigmore Hall (the UK’s first live classical music concert in a major venue following the 2020 nationwide pandemic lockdown), Royal Festival Hall, Caramoor, Toronto, Tallinn, Gstaad, and Manchester’s Bridgewater Hall, while 2022-23 highlights include New York (The 92nd Street Y), Paris, Sydney, Atlanta, and Sage Gateshead.

This season, Live from Orchestra Hall is back with more programming than ever before! View free, live webcasts of PVS Classical Series, Paradise Jazz Series, and Classroom Edition performances, plus Civic Youth Ensembles presentations.

DETROIT SYMPHONY ORCHESTRA

JEFF TYZIK Principal Pops Conductor

PVS CLASSICAL SERIES

Title Sponsor:

HADELICH & STRAVINSKY

Thursday, April 27, 2023 at 7:30 p.m.

Friday, April 28, 2023 at 10:45 a.m.

Saturday, April 29, 2023 at 8 p.m. in Orchestra Hall

JOANN FALLETTA, conductor AUGUSTIN HADELICH, violin

Brian Raphael Nabors Upon Daybreak

Joseph Bologne, Violin Concerto in A major, Op.5, No.2 Chevalier de Saint-Georges Augustin Hadelich, violin (1745 - 1799)

Intermission

Igor Stravinsky Concerto for Violin and Orchestra in D major (1882 - 1971) (1961 version)

Toccata

Aria I

Aria II

Capriccio

Augustin Hadelich, violin

Zoltán Kodály Dances of Galánta (1882 - 1967)

Lento - maestoso

Allegretto moderato

Allegretto moderato

Allegro con moto, grazioso

Allegro

Allegro

Allegro

Allegro vivace

Saturday’s performance will be webcast via our exclusive Live From Orchestra Hall series, presented by Ford Motor Company Fund and made possible by the John S. and James L. Knight Foundation.

JADER BIGNAMINI , Music Director Music Directorship endowed by the Kresge Foundation

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

NA’ZIR MCFADDEN Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

NEEME JÄRVI Music Director Emeritus

LEONARD SLATKIN Music Director Laureate

PROGRAM AT-A-GLANCE | HADELICH & STRAVINSKY The Virtuosic Violinist

In an incredible tour-de-force, violinist Augustin Hadelich presents two violin concerti on the same program in drastically contrasting styles. Bookending this program is a the DSO premiere of a DSO-commissioned work, Upon Daybreak by Brian Raphael Nabors—inspired by what music would sound like in a world without hatred or malice—and Zoltán Kodály’s Dances of Galánta, a piece inspired by Hungarian folk melodies heard in his childhood and emulating the rhapsodic character of the sounds of Galánta, the first village he visited in his journey to document this music.

Saint-Georges’s Violin Concerto No. 2 in A major, Op. 5, although historically undocumented, was believed to have been composed between 1774-1775 and premiered by the composer himself with the Concert des Amateurs in the late 1770s. It is a work composed with a high level of virtuosity, written to showcase his own incredible talent on the violin and setting a precedent for the great violin virtuosos of the 19th century. Stravinsky, being suspicious of virtuosos in general, was reluctant to write a concerto for renowned violinist Samuel Dushkin after being encouraged to do so by his publishing house. He was met with a degree of doubt at his own ability to write a work to this level for the violin, an instrument in which he did not feel as at home with as others. After assurance that Dushkin would serve as a collaborator in creating this work, Stravinsky decided to pursue it. In fact, Dushkin ended up learning something from Stravinsky through this collaboration—a chord which was initially rendered unplayable. Hadelich masterfully performs these two works side-by-side, demonstrating the power of virtuosity and the violin through the ages.

PROGRAM NOTES

Upon Daybreak

Composed 2022 | Premiered October 2022 (DSO co-commission)

BRIAN RAPHAEL NABORS

B. 1991, Birmingham, AL

Scored for 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 trombones, tuba, timpani, percussion, harp, piano, and strings. (Approx. 15 minutes)

Brian Raphael Nabors is a composer of emotionally enriching music that tells exciting narratives with vibrant themes and colorful harmonic language. With an eclectic musical palate and crafty compositional technique to match, Nabors’s music draws from combinations of jazz, funk, R&B, and Gospel, with the flair of contemporary classical music. Nabors’s music has been performed by the Boston, Atlanta, Nashville, Cincinnati, Fort Worth, and Munich symphony orchestras. His music has been performed at many events across the US, including National Orchestral Institute (NOI), and the Tanglewood Music Festival.

He was named a 2019 composer fellow in the American Composer’s Orchestra Earshot program with the Detroit Symphony Orchestra; a 2019 composer fellow with the Nashville Symphony Orchestra’s Composer Lab; and 2019 cycle five grand prizewinner of the Rapido! National Composition Contest. Nabors is also a 2020 Fulbright scholarship recipient to Sydney, Australia, studying with composer Carl Vine at the Sydney Conservatorium of Music.

Nabors’s Upon Daybreak was co-commissioned by the DSO as part of the Amplifying Voices project, which supports racial and gender equity in classical music. Amplifying Voices is a New Music USA initiative, which is powered by the Sphinx Ventures Fund, with additional support from ASCAP and the Sorel Organization.

Of Upon Daybreak, Nabors writes the following: “For many years I’ve sat and contemplated what music in a world without hatred or malice would sound like. I imagine this picturesque utopia with sound that engulfs the listener with abundant joy; an everlasting serenade; an ode of triumph. This work is deeply inspired by the rapturous words of Dr. Maya

Angelou in her poem ‘A Brave, Starting Truth.’ I am filled with great awe at the thought of finally arriving at the ‘day of peacemaking’ in which she describes so beautifully. What a glorious day that will be ‘when we come to it.’”

This performance marks the DSO premiere of Nabors’s Upon Daybreak

Violin Concerto No. 2 in A major, Op. 5, No. 2

JOSEPH BOLOGNE, CHEVALIER DE SAINT-GEORGES

B. December 25, 1745, Baillif, Guadeloupe

D. June 10, 1799, Paris, France

Scored for solo violin, 2 oboes, 2 horns, and strings. (Approx. 21 minutes)

Likemany of his works, Joseph Bologne, Chevalier de SaintGeorges’s Violin Concerto No. 2 in A major was written while he was the conductor of the Concert des Amateurs. This was a post he had taken over from life-long friend and mentor (and possible composition teacher) François Gossec, who had left the Concert des Amateurs in 1773 to helm the Concert Spirituel. That Gossec left the direction of this ensemble in Saint-Georges’s capable hands is a testament to the latter’s musical skill and incredible work ethic, which allowed him to enter the highest social circles of 18th century Parisian society.

Saint-Georges’s Violin Concerto in A major is a large-scale work published around 1775. Its opening movement is composed in a melodically rich concerto-sonata form, presenting four distinct themes in the orchestral exposition before the soloist takes them and runs. The soloist soon introduces a new theme which is accompanied only by the violins, producing a lighter texture reminiscent of the Baroque-era concerto grosso. This opening Allegro moderato movement is

substantial, lasting around 12 minutes (over half of the length of the full concerto).

The second movement, Largo, portrays Saint-Georges’s lyrical gifts through the movement’s gently rocking rhythms and pervasive peacefulness, making it representative of an instrumental lullaby. The violin cadenza appears in this movement, a unique compositional decision suggesting that Saint-Georges preferred improvising in a slower, lyrical style since the concerto was written for himself to premiere. The finale, Rondeau, is based on the recurring, infectious main dance-like theme first introduced by the soloist and orchestral violin section, and then echoed by the full orchestra. The returns of this theme throughout the movement are separated by contrasting episodes, and of the three episodes, the middle one composed in A minor is arguably the most interesting. This episode contains irregular six-bar phrases, a brief excursion into the key of C major, and a drone-like technique reminiscent of a musette. The final episode of this movement dazzles the audience with an impressive arpeggiation pattern and bravura passages, bringing the piece home with the breathtaking virtuosity of the soloist.

This performance marks the DSO premiere of Chevalier de Saint-Georges’s Violin Concerto No. 2 in A major.

Concerto for Violin and Orchestra in D major (1961 version)

Composed 1931 | Premiered October 1931

IGOR STRAVINSKY

B. June 17, 1882, Oranienbaum [now Lomonosov], Russia

D. April 6, 1971, New York

Scored for 2 flutes, piccolo, 2 oboes, english horn, 3 clarinets, E-flat clarinet, 3 bassoons (one doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, and strings. (Approx. 22 minutes)

While writing this concerto, Stravinsky consulted violinist Samuel Dushkin on a particularly formidable musical statement, which consisted of three notes spread over two and a half octaves to be performed simultaneously and employing a triple-stop technique where three of the violin’s four strings are played at once. The surprised Dushkin told Stravinsky it was simply not playable. But when Dushkin called Stravinsky later that day to admit the chord could be navigated on the violin, the overturning of impossibility had a profound impact on the final work. Stravinsky, who described the unusual chord as his “passport” to the Concerto, opens every movement with the chord, as it provides the thematic kernel from which the rest of the concerto unfolds.

In a spirit akin to Stravinsky’s famed neo-classical works like Pulcinella, the Violin Concerto recalls older musical forms while simultaneously exploring new musical terrain. Stravinsky explained that elements of the concerto may even be related to J.S. Bach: “The subtitles of my Concerto—Tocatta, Aria, Capriccio —may suggest Bach, and so, in a superficial way, might the musical substance. I am very fond of the Bach Concerto for Two Violins, as the duet of the soloist with a violin from the orchestra in the last movement may show. But my Concerto employs other duet combinations too, and the texture is almost always more characteristic of chamber music than of orchestral music.”

Indeed, Stravinsky pointedly avoids the common concerto practice of contrasting the lone, solo virtuoso against the full orchestra. Although Stravinsky scored the work for a large orchestra, the quality of the sound remains intimate and chamberlike. Instead of piling winds and brass for thunderous orchestral tuttis, Stravinsky uses constantly shifting combinations of solo instrumentalists to create an endlessly varied soundscape of lucid sonorities in which the violinist plays. In

further deference to the chamber music aesthetic, Stravinsky has the violin soloist play for nearly the entire concerto, yet never grants the soloist the spotlight of the cadenza. As Stravinsky noted, “I did not compose a cadenza, not because I did not care about exploiting the violin virtuosity, but because the violin in combination was my real interest.” As a result, Stravinsky’s Concerto for Violin offers an exciting reconception of the concerto medium. In place of the typical “soloist versus orchestra” opposition, Stravinsky’s concerto paradoxically showcases the solo violin by integrating it within a chamber-music texture, and then allowing its characteristic voice to illuminate the ensemble. — Nathan Platte

The DSO most recently performed Stravinsky’s Concerto for Violin and Orchestra in D major in June 2017, conducted by Paul Watkins and featuring violinist Leila Josefowicz on the William Davidson Neighborhood Concert Series. The DSO first performed the piece in January 1939, conducted by Franco Ghione and featuring violinist Ilya Schkolnik.

Dances of Galánta

Composed 1933 | Premiered October 23, 1933

ZOLTÁN KODÁLY

B. December 16, 1882, Kecskemét, Hungary

D. March 6, 1967, Budapest, Hungary

Scored for 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, percussion, and strings. (Approx. 16 minutes)

Zoltán

Kodály joined Béla Bartók in the monumental task of collecting and transcribing Hungarian folk music, and Galánta was the first village he visited to write down the melodies he had heard in his childhood. He celebrated the village in his composition Dances of Galánta, written for the 80th anniversary of the Budapest Philharmonic.

In his biography of the composer, Kodály

scholar Lazlo Eosze refers to the overall design of the work as an introduction, a free five-part rondo followed by an even longer coda. But people who have heard the rhapsodies of Liszt and Bartók might also recognize the familiar lassu/friss (slow/fast) design of a typical Hungarian rhapsody.

The rhapsodic character of the piece is further defined by the elastic tempos that permeate the piece and the lonely, yearning quality of its melodies. In the introduction, successive incantations by the cellos, horn and oboe are answered by rushing passages in the strings, finally culminating in a long clarinet solo that evolves into a cadenza—and from there into the main theme of the rondo. This long, winding main theme returns twice in full-orchestra settings, each time preceded by faster-paced episodes. The flute against an accompaniment of pizzicato

PROFILES

JOANN FALLETTA

Grammy Award-winning conductor JoAnn

Falletta serves as Music Director of the Buffalo Philharmonic, Music Director Laureate of the Virginia Symphony, Principal Guest Conductor of the Brevard Music Center, and Artistic Adviser of the Hawaii Symphony. Recently named as one of the 50 great conductors of all time by Gramophone magazine, she is hailed for her work as a conductor, recording artist, audience builder and champion of American composers.

As Music Director of the Buffalo Philharmonic, Falletta became the first woman to lead a major American ensemble and has been credited with bringing the Philharmonic to an unprecedented level of national and international prominence. The Buffalo Philharmonic has

strings leads the first one, while a short oboe solo heralds the second, which is highlighted by the colorful sound of tinkling orchestra bells.

Pitted against the pull toward everfaster tempos, the final return of the main theme breaks off, giving way to a syncopated rhythm announcing the beginning of the coda. This chain of exuberant dances roughly divides itself into four sections, including a droll conversation among the clarinet, flute, bassoon, and cellos. The main theme of the slow rondo briefly interrupts the music’s headlong dash toward its final cadence. — Carl

R. Cunningham

The DSO most recently performed Kodály’s Dances of Galánta in June 2022, conducted by Kerem Hasan. The DSO first performed the piece in January 1939, conducted by Franco Ghione.

become one of the leading recording orchestras for Naxos, with two Grammy Award-winning recordings. This season, the BPO performs at Carnegie Hall for a centennial celebration of former BPO Music Director Lukas Foss. The orchestra also travels to Florida for their fifth tour of the state under Falletta’s leadership.

With a discography of over 120 titles, Falletta is a leading recording artist for Naxos. She has won two individual Grammy Awards, including the 2021 Grammy Award for Best Choral Performance as Conductor of the Buffalo Philharmonic in the world premiere Naxos recording, Richard Danielpour’s “The Passion of Yeshua.” In 2019, she won her first individual Grammy Award as Conductor of the London Symphony in the Best Classical Compendium category for Spiritualist, her fifth world premiere recording of the music of Kenneth Fuchs. Her Naxos recording of John Corigliano’s Mr. Tambourine Man: Seven

Poems of Bob Dylan with the BPO received two Grammy Awards in 2008, and her 2020 Naxos recording with the BPO of orchestral music of Florent Schmitt received the prestigious Diapason d’Or Award.

Falletta is a member of the esteemed American Academy of Arts and Sciences, and has served by Presidential appointment as a Member of the National Council on the Arts during the Bush and Obama administrations. She has introduced over 500 works by American composers, including well over 100 world premieres. ASCAP has honored her as “a leading force for music of our time.” In 2019, Faletta was named Performance

Today’s first Classical Woman of The Year.

After earning her bachelor’s degree at Mannes, Falletta received master’s and doctoral degrees from The Juilliard School.

AUGUSTIN HADELICH

Augustin Hadelich is one of the great violinists of our time. Known for his phenomenal technique, insightful and persuasive interpretations, and ravishing tone, he tours extensively around the world. He has performed with all the major American orchestras as well as the Berliner

Philharmoniker, Concertgebouworkest, Orchestre National de France, London

Philharmonic Orchestra, Seoul

Philharmonic Orchestra, NHK Symphony Orchestra Tokyo, and many others.

As this season’s Artist-in-Residence of the WDR Sinfonieorchester Köln, Hadelich began the season by joining the orchestra on a summer festival tour to London, Hamburg, Amsterdam, and Bonn, in addition to other festival appearances in Aspen, Lucerne, and Salzburg. He returns to the NDR Elbphilharmonie Orchestra in Hamburg as its Associate Artist, and performs on tour with the Bergen

Philharmonic Orchestra and Orchestre symphonique de Montréal. In June 2023, he will join the Lucerne Symphony Orchestra on a concert tour to South Korea.

Hadelich is the winner of a 2016 Grammy Award—“Best Classical Instrumental Solo”— for his recording of Dutilleux’s Violin Concerto, L’Arbre des songes, with the Seattle Symphony and Ludovic Morlot (Seattle Symphony MEDIA). A Warner Classics Artist, his most recent release is Recuerdos, a Spain-themed album featuring works by Sarasate, Tarrega, Prokofiev, and Britten with the WDR Sinfonieorchester Köln and Cristian Măcelaru. Other albums for Warner Classics include Paganini’s 24 Caprices (2018); the Brahms and Ligeti violin concertos with the Norwegian Radio Orchestra under Miguel Harth-Bedoya (2019); and the Grammy-nominated Bohemian Tales, which includes the Dvoř ák Violin Concerto with the Symphonieorchester des Bayerischen Rundfunks conducted by Jakub Hrůša (2020).

Hadelich, now an American and German citizen, was born in Italy, to German parents. He studied with Joel Smirnoff at New York’s Juilliard School. Hadelich made a significant career leap in 2006 when he won the International Violin Competition in Indianapolis. Other distinctions include an Avery Fisher Career Grant (2009); a Borletti-Buitoni Trust Fellowship in the UK (2011); an honorary doctorate from the University of Exeter in the UK (2017); and being voted “Instrumentalist of the Year” by Musical America (2018).

Hadelich is on the violin faculty of the Yale School of Music at Yale University. He plays a violin from 1744 by Giuseppe Guarneri del Gesù, known as “Leduc, ex Szeryng,” on loan from the Tarisio Trust.

DETROIT SYMPHONY ORCHESTRA

TERENCE BLANCHARD

HOLLYWOOD ROCKS

Friday, April 21, 2023 at 10:45 a.m. & 8 p.m.

Saturday, April 22, 2023 at 8 p.m. in Orchestra Hall

STUART CHAFETZ, conductor

JULIE REIBER, vocals

BRYCE RYNESS, vocals

Program to be announced from the stage

PROGRAM AT-A-GLANCE | HOLLYWOOD ROCKS

Blockbusters and the Symphony

Imagine if silent films were truly silent—what emotions and intentions would be lost in each scene without its beloved instrumental accompaniment? Music adds an important dimension to film, and the two art forms together have the power to invoke an additional element of unspoken emotions within the audience. It contributes elements of drama, suspense, intrigue, romance, and much more to already thrilling and captivating cinematic scenes.

The DSO has a longstanding history of performing live score accompaniment to movies including Home Alone, The Princess Bride, RESPECT, and more. In addition to the film in concert experiences, the DSO has presented numerous concerts consisting of film score favorites that have emerged as standalone musical hits from movies such as the Star Wars saga, Harry Potter, and the best of Disney movies. In this concert, the DSO performs iconic songs from both memorable movies and binge-worthy series including Mad Men, Tommy, A Star Is Born, Rocketman, Bohemian Rhapsody, Back to the Future, Rock of Ages, and Yesterday.

JADER BIGNAMINI , Music Director Music Directorship endowed by the Kresge Foundation

Fred A. Erb Jazz Creative Director Chair

NA’ZIR MCFADDEN Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

NEEME JÄRVI Music Director Emeritus LEONARD SLATKIN Music Director Laureate

JEFF TYZIK Principal Pops Conductor

PROFILES

STUART CHAFETZ

Stuart Chafetz is the Principal Pops

Conductor of the Columbus Symphony and Principal Pops Conductor of the Chautauqua and Marin symphonies. He also enjoys a special relationship with The Phoenix Symphony, where he leads multiple programs annually.

He has had the privilege to work with renowned artists including Leslie Odom Jr., En Vogue, Kenny G, David Foster with Catherine McPhee, The O’Jays, Chris Botti, 2 Cellos, Hanson, Rick Springfield, Michael Bolton, Kool & The Gang, Jefferson Starship, America, Little River Band, Brian McKnight, Roberta Flack, George Benson, Richard Chamberlain, The Chieftains, Jennifer Holliday, John Denver, Marvin Hamlisch, Thomas Hampson, Wynonna Judd, Jim Nabors, Randy Newman, Jon Kimura Parker, and Bernadette Peters. He previously held posts as resident conductor of the Milwaukee Symphony Orchestra, associate conductor of the Louisville Orchestra, and principal timpanist of the Honolulu Symphony. Chafetz holds a bachelor’s degree in music performance from the College-Conservatory of Music at the University of Cincinnati and a master’s from the Eastman School of Music.

JULIE REIBER

Julie Reiber’s versatility allows her to play a wide range of roles and sing in many styles.

Classically trained with a BFA in Vocal Performance and a minor in Acting from Western Washington University, Reiber has performed roles including Maureen in the National Tour of RENT, Rose Stopnick in Tony Kushner’s Caroline or Change at the Guthrie Theater in Minneapolis, and Betty

Haynes in the classic White Christmas at the Walnut Street Theatre in Philadelphia. Other favorite regional performances include Connie Bradshaw in the world premiere performance of Tales of the City at A.C.T. in San Francisco, singing the music of the Scissor Sisters as well as Cathy in Jason Robert Brown’s The Last Five Years at the Berkshire Theatre Festival, Turn Back O Man in Godspell at the Paper Mill Playhouse, and Amneris in AIDA (Henry Award Best Supporting Actress) at The Arvada Center.

Her debut solo album, Love Travels, was released in April 2012. Recorded at the legendary Avatar Studios, the album is a fusion of Broadway, pop, folk, and R&B/soul.

BRYCE RYNESS

Bryce Ryness began his professional career in a seemingly inauspicious way—as a business major at the University of Southern California and member of the collegiate a cappella group The SoCal VoCals. Since then, he has enjoyed a multi-decade career boasting five Broadway shows, twelve television appearances, seven OffBroadway shows, three cast albums, two personal albums, and playing more than 50 cities on two different national tours.

On Broadway, he garnered critical acclaim as Miss Trunchbull in the record-breaking, final company of Matilda, and has performed in HAIR (2009 Tony Award-winning revival; Woof, Drama Desk nominated), First Date, Leap of Faith, Legally Blonde: The Musical, Peter Pan Live!, It Could Be Worse, and Shades of Blue. His OffBroadway productions include HAIR, Crossing Brooklyn, Sleeping Beauty Wakes, and Floyd Collins

As a vocalist, he has been featured as principal soloist with the Boston Pops, Houston Symphony, Atlanta Symphony, Hollywood Bowl, and others.

DETROIT SYMPHONY ORCHESTRA

TERENCE BLANCHARD

PVS CLASSICAL SERIES

Title Sponsor:

BEETHOVEN’S EIGHTH & SIMON’S TROMBONE CONCERTO

Friday, May 5, 2023 at 10:45 a.m.

Saturday, May 6, 2023 at 8 p.m.

Sunday, May 7, 2023 at 3 p.m. in Orchestra Hall

JADER BIGNAMINI, conductor KENNETH THOMPKINS, trombone

Johannes Brahms Variations on a Theme by Joseph Haydn, Op. 56a (1833 - 1897)

Chorale St. Antoni: Andante

Variation I: Poco più animato

Variation II: Più vivace

Variation III: Con moto

Variation IV: Andante con moto

Variation V: Vivace

Variation VI: Vivace

Variation VII: Grazioso

Variation VIII: Presto non troppo

Finale: Andante

Carlos Simon Troubled Water for Trombone and Orchestra (b. 1990) (World Premiere, commissioned by the DSO) Kenneth Thompkins, trombone

Intermission

Ludwig van Beethoven Symphony No. 8 in F major, Op. 93 (1770 - 1827)

I. Allegro vivace con brio

II. Allegretto scherzando

III. Tempo di menuetto

IV. Allegro vivace

James L. Knight Foundation.

Saturday’s performance will be webcast via our exclusive Live From Orchestra Hall series, presented by Ford Motor Company Fund and made possible by the John S. and

JADER BIGNAMINI , Music Director Music Directorship endowed by the Kresge Foundation

Fred A. Erb Jazz Creative Director Chair

NA’ZIR MCFADDEN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

NEEME JÄRVI Music Director Emeritus

LEONARD SLATKIN Music Director Laureate

JEFF TYZIK

Principal Pops Conductor

PROGRAM AT-A-GLANCE |

BEETHOVEN’S EIGHTH & SIMON’S TROMBONE CONCERTO Inspiration Is Everywhere

In 1870, composer Johannes Brahms was approached by his friend and musicologist Carl Ferdinand Pohl with the discovery of a score for a woodwind octet piece that was believed to be an unknown work composed by the great Franz Joseph Haydn. Intrigued by this opportunity to revive the music of one of his compositional idols, he copied down the second movement of this work and wrote a set of theme and variations on it for two pianos. Later music scholars deemed the original melody used as not being composed by Haydn, but the work served as inspiration for a great tribute to the renowned composer. Each movement of Beethoven’s Symphony No. 8 represents a different origin of inspiration, with the clearest being the second movement. This movement was inspired by the newly invented metronome by his friend Nepomuk Mälzel and served as a parody of the device, with the movement ending in a 64th note motive interrupting the steady 16th note rhythm, reminiscent of a mechanical malfunction.

The world premiere of Carlos Simon’s Troubled Water for DSO Principal Trombone Kenneth Thompkins was inspired by the Underground Railroad, since Michigan marked one of the last spots for enslaved individuals to reach before reaching freedom in Canada. This piece was inspired by the many stories, accounts, and experiences of the Underground Railroad as told by enslaved people and abolitionists. Inspiration is everywhere, if we open ourselves up to receive it.

PROGRAM NOTES

Variations on a Theme by Joseph Haydn, Op. 56a

Composed 1873 | Premiered November 2, 1873

JOHANNES BRAHMS

B. May 7, 1833, Hamburg, Germany

D. April 3, 1897, Vienna, Austria

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, timpani, and strings. (Approx. 19 minutes)

Ascompared with his more progressive, even revolutionary moments, Brahms’s Variations on a Theme by Joseph Haydn reveal the conservative, backwards-looking side of the composer. These variations are strict in the sense that each one (save the finale) has an exact proportional correspondence to the theme. While reverting to this style was somewhat anachronistic—considering the more radical variations written by Brahms’s contemporaries — the composer was nevertheless able to provide his own unique mark on a traditional genre.

In a strict set of variations, the theme

provides the structural basis for what is subsequently heard, particularly how the phrases are shaped. The theme for this set was based on the “Chorale St. Antoni,” which Brahms attributed to Haydn— although many scholars have since doubted this, leading some to refer to the work as the Saint Anthony Variations

The first variation introduces a brilliant technique that is employed in many of the later ones as well: the opening melody in the violins is accompanied by a countermelody in the lower strings, and in the sixth bar the two melodies switch places, so that the cellos play the melody while the countermelody is in the upper strings. This kind of flip-flopping of the melodies, known as invertible counterpoint, reaches back to earlier compositional practice of the Baroque era. The technique is repeated in the third, fourth, fifth, and seventh variations, as well as the finale, where Brahms employs a ground bass that is repeated throughout until the close.

The DSO most recently performed Brahms’s Variations on a Theme by Haydn in May 2017 on the Young People’s Family Concert Series, conducted by Michelle Merrill. The DSO first performed the work in March 1917, conducted by Weston Gales.

Troubled Water for Trombone and Orchestra

Composed 2022 | World Premiere

CARLOS SIMON

B. 1986, Washington, DC

Scored for solo trombone, 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 2 trombones, bass trombone, tuba, timpani, percussion, harp, and strings. (Approx. 20 minutes)

OfTroubled Water, composer Carlos Simon writes the following:

“In January 2020, Kenneth Thompkins of the Detroit Symphony Orchestra asked me to write a concerto for him as the principal trombonist of the orchestra. He suggested a piece about the Underground Railroad since Michigan was one of the last states for enslaved persons to reach before getting to freedom in Canada. The Underground Railroad was a network of clandestine routes and safe houses established in the United States during the early- to mid-19th century. It was used by enslaved African Americans primarily to escape into free states and Canada. The piece is inspired by the many stories, accounts, and experiences told by many enslaved people and abolitionists.

I. Bird Calls

We know that Harriet Tubman used the call of an owl to alert refugees and her freedom seekers that it was safe to come out of hiding and continue their journey. It would have been the Barred Owl, or as it is sometimes called, a “hoot owl.” To evoke the nature of this call, I have used the trombones in the orchestra to mimic the sound of the “hoot owl” coupled with short bird calls in the woodwind section.

II. By Water

The “Saltwater Railroad” refers to the coastal waterway followed by many enslaved people escaping from the Southern slave states into the Britishcontrolled Bahamas. The saltwater railroad served a similar function as the

Underground Railroad, a land pathway, that allowed enslaved people to flee to northern states and ultimately to Canada. For this movement, I have used the rhythmic motion of the traditional barcarolle to imitate moving through water along with the melody from the spiritual, “Steal Away.”

III. Wade

Wade in the water, Wade in the water, God’s gonna trouble the water

“Wade in the Water” is possibly the most well-known spiritual that was birthed out of the horrors of slavery. The song originated in the southern US in the mid-1800s, as a spiritual sung by enslaved African Americans. In those communities, spirituals were more than just expressions of religious devotion. Some spirituals would be sung to alert freedom-seekers when it was safest to escape, without slaveholders (“masters”) knowing that information was being communicated. The lyrics of ‘Wade in the Water’ reference the Biblical story of the Israelites crossing the river Jordan, but the lyrics also remind those seeking freedom to walk in the rivers along their journey, so that tracking dogs and slavecatchers could not follow their footprints or their scent.

I decided to quote the melody with the brass section under a bed of chaotic, agitated moving passages in the woodwinds and strings to ‘trouble the water.’ A short fugal passage leads to a climatic ending playing the main theme.”

This performance marks the world premiere of Simon’s Troubled Water.

Symphony No. 8 in F major, Op. 93

Composed 1812 | Premiered February 1814

LUDWIG VAN BEETHOVEN

B. December 1770, Bonn, Germany

D. March 26, 1827, Vienna, Austria

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (Approx. 27 minutes)

Beethoven typically composed symphonies in pairs: a larger one paired with a smaller, lighter one. In 1812, he completed

both his seventh and eighth symphonies; the seventh was premiered in 1813 to great success, but the eighth, premiered a year later, received a tepid response. This frustrated Beethoven enormously, and he would spend the rest of his life defending the lighthearted eighth symphony (which he called “my little one”) as it was overshadowed by the seventh.

The symphony is the only one Beethoven composed without a movement in the minor mode, and the work follows neither 18th nor 19th century forms. The first movement is robust and conventional enough, but the second is a brisk Allegretto scherzando —a fast segment that would normally be in the third slot rather than the second. This movement is a parody of the newly invented

PROFILE

metronome, which was conceived by Beethoven’s friend Nepomuk Mälzel. The even staccato 16th notes continue steadily throughout the movement until they’re shaken by a 64th note motif reminiscent of a mechanical malfunction.

The third movement would normally be a scherzo, but Beethoven instead uses a minuet. The symphony’s playful attitude is here led by the trumpet and drum, which begin the main theme a bar “too early” as though lost in a daydream. And the fast, lighthearted finale is characterized by an elaborate and lengthy coda; in fact, the coda is longer than the rest of the movement.

The DSO most recently performed Beethoven’s Symphony No. 8 in May 2019, conducted by Kensho Watanabe on the William Davidson Neighborhood Concert Series. The DSO first performed the piece in January 1920, conducted by Victor Kolar.

For Jader Bignamini biography, see page 6.

KENNETH THOMPKINS

Kenneth

Thompkins was appointed Principal

Trombone of the Detroit Symphony Orchestra by Neeme Järvi. Prior to this appointment, he held positions in the Buffalo Philharmonic and the Florida Orchestra and performed with the New World Symphony under the direction of Michael Tilson Thomas. A former participant in the DSO’s African American Orchestra Fellowship program, he has been a mentor to several orchestra fellows over the years.

Thompkins has been invited to perform and conduct master classes at many music schools, including the Curtis Institute of Music, Mannes College, the University of Michigan, and Interlochen Arts Academy. An active chamber musician, Thompkins performs frequently in recital and is a member of Detroit Chamber Winds & Strings. Thompkins has performed concertos with both the Detroit Symphony

Orchestra and New World Symphony.

Thompkins has toured Europe with the Los Angeles Philharmonic, and has also performed with the Toronto Symphony Orchestra, San Francisco Symphony, New York Philharmonic, and the Chicago Symphony Orchestra. He can be heard on recordings by Detroit Chamber Winds, the Los Angeles Philharmonic, and the Detroit Symphony Orchestra. His solo trombone recording Sonatas, Songs, and Spirituals features the music of Alec Wilder, Philip Wharton, Stephen A. Taylor, and William Grant Still. Sonatas, Songs, and Spirituals is the winner of The American Prize in Instrumental Performance, 2018-2019. He has also contributed a chapter to The Brass Player’s Cookbook: Creative Recipes for a Successful Performance.

Thompkins received his bachelor’s degree from Northwestern University, where he studied with the late Frank Crisafulli of the Chicago Symphony, and a Master of Music degree from Temple University, where he studied with Eric Carlson of the Philadelphia Orchestra.

THE ANNUAL FUND

Gifts received between September 1, 2021 and February 28, 2023

The DSO is a community-supported orchestra, and 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 would like to make a donation, please contact 313.576.5114 or go to dso.org/donate.

PARAY SOCIETY - GIVING OF $250,000 & MORE

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Burton A. Zipser & Sandra D. Zipser Foundation

Giving of $5,000 & more

Applebaum Family Philanthropy

Creative Benefit Solutions

Benson & Edith Ford Fund

Marjorie & Maxwell Jospey Foundation

KPMG LLP

Sigmund & Sophie Rohlik Foundation

Speyer Foundation

Taft

Warner Norcross + Judd

Wisne Charitable Foundation

And one who wishes to remain anonymous

Giving of $1,000 & more

The Children’s Foundation

Coffee Express Roasting Company

Frank & Gertrude Dunlap Foundation

Enterprise Holdings Foundation

EY

James and Lynelle Holden Fund

Japan Business Society of Detroit Foundation

Josephine Kleiner Foundation

Dolores & Paul Lavins Foundation

Ludwig Foundation Fund

Madison Electric Company

Michigan First Credit Union

Plante and Moran, PLLC

Renaissance (MI) Chapter of the Links

Louis & Nellie Sieg Foundation

Samuel L. Westerman Foundation

And one who wishes to remain anonymous

CELEBRATING YOUR LEGACY SUPPORT

BARBARA VAN DUSEN, Honorary Chair

The 1887 Society honors individuals who have made a special legacy commitment to support the Detroit Symphony Orchestra. Members of the 1887 Society ensure that future music lovers will continue to enjoy unsurpassed musical experiences by including the DSO in their estate plans.

Ms. Doris L. Adler

Dr. & Mrs. William C. Albert

Mr.◊ & Mrs. Robert A. Allesee

Dr. Lourdes V. Andaya

Mr. & Mrs. Eugene Applebaum ◊

Dr. Augustin & Nancy ◊ Arbulu

Mr. David Assemany & Mr. Jeffery Zook

Ms. Sharon Backstrom

Sally & Donald Baker

Mr. & Mrs. Lee Barthel

Mr. Mark G. Bartnik & Ms. Sandra J. Collins

Stanley A. Beattie

Mr. & Mrs. Mandell L. Berman ◊

Mrs. Betty Blair

Ms. Rosalee Bleecker

Mr. Joseph Boner

Gwen & Richard Bowlby

Mr. Harry G. Bowles ◊

Judith Mich ◊

Mrs. Ellen Brownfain

William & Julia Bugera

CM Carnes

Cynthia Cassell, Ph. D.

Eleanor A. Christie

Ms. Mary F. Christner

Mr. Gary Ciampa

Robert & Lucinda Clement

Lois & Avern ◊ Cohn

Mrs. RoseAnn Comstock◊

Mr. Scott Cook, Jr.

Mr. & Ms. Thomas Cook

Dorothy M. Craig

Mr. & Mrs. John Cruikshank

Julie & Peter Cummings

Joanne Danto & Arnold Weingarden

Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer

Ms. Leslie C. Devereaux

Mr. John Diebel◊

Mr. Stuart Dow

Katherine D. Rines

Mr. Roger Dye & Ms. Jeanne A. Bakale

Mr. & Mrs. Robert G. Eidson

Marianne T. Endicott

Mrs. Rema Frankel

Virginia B. Bertram

Patricia Finnegan Sharf

Ms. Dorothy Fisher

Mrs. Marjorie S. Fisher

Mr. & Mrs. Phillip Wm. Fisher

Dorothy A. & Larry L. Fobes

Samuel & Laura Fogleman

Mr. Emory Ford, Jr.◊ Endowment

Dr. Saul & Mrs. Helen Forman

Barbara Frankel & Ron Michalak

Herman & Sharon Frankel

Jane French

Mark & Donna Frentrup

Mr. Alan M. Gallatin

Janet M. Garrett

Dr. Byron P. & Marilyn Georgeson

Jim & Nancy Gietzen

Mr. Joseph & Mrs. Lois Gilmore

Victor ◊ & Gale Girolami

Ruth & Al◊ Glancy

David & Paulette Groen

Rosemary Gugino

Mr. & Mrs. William Harriss

Donna & Eugene Hartwig

Ms. Nancy B. Henk

Joseph L. Hickey

Mr. & Mrs. Thomas N. Hitchman

Ronald M. & Carol◊ Horwitz

Andy Howell

Carol Howell

Paul M. Huxley & Cynthia Pasky

David & Sheri Jaffa

Mr. & Mrs. Thomas H. Jeffs II

Mr. & Mrs. Richard J. Jessup

Mr. George G. Johnson

Lenard & Connie Johnston

Ms. Carol Johnston

Carol M. Jonson

Drs. Anthony & Joyce Kales

Faye & Austin Kanter

Norb ◊ & Carole Keller

Dr. Mark & Mrs. Gail Kelley

Dr. Mark & Mrs. Gail Kelley

June K. Kendall◊

Dimitri ◊ & Suzanne Kosacheff

Douglas Koschik

Mr.◊ & Mrs. Arthur J. Krolikowski

Mary Clippert LaMont ◊

Ms. Sandra Lapadot

Mrs. Bonnie Larson

Ann C. Lawson ◊

Allan S. Leonard

Max Lepler & Rex L. Dotson

Dr. Melvin A. Lester ◊

Mr. & Mrs.◊ Joseph Lile

Harold Lundquist ◊ & Elizabeth

Brockhaus Lundquist

Eric & Ginny Lundquist

Roberta Maki

Eileen & Ralph Mandarino

Judy Howe Masserang

Ms. Marilyn Snodgrass ◊

Ms. Elizabeth Maysa

Mary Joy McMachen, Ph.D.

Judith Mich ◊

Rhoda A. Milgrim

Mr. & Mrs. Eugene A. Miller

John & Marcia Miller

Jerald A. & Marilyn H. Mitchell

Mr.◊ & Mrs. L. William Moll

Shari & Craig Morgan

Ms. I. Surayyah R. Muwwakkil◊

Joy & Allan Nachman

Mr. Herman Weinreich ◊

Beverley Anne Pack

David & Andrea Page ◊

Edna J. Shin

Mr. Dale J. Pangonis

Ms. Mary Webber Parker ◊

Mr. John Diebel◊

Mrs. Sophie Pearlstein ◊

Helen & Wesley Pelling ◊

Dr. William F. Pickard

Mrs. Bernard E. Pincus

Ms. Christina Pitts

Mrs. Robert Plummer ◊

Mr. & Mrs. P. T. Ponta

Mrs. Mary Carol Prokop ◊

Ms. Linda Rankin & Mr. Daniel Graschuck

Mr. & Mrs. Douglas J. Rasmussen

Deborah J. Remer

Mr. & Mrs.◊ Lloyd E. Reuss

Mr. Robert E. Wilkins ◊

Ms. Marianne Reye

Lori-Ann Rickard

Bernard & Eleanor Robertson

Ms. Barbara Robins

Jack & Aviva Robinson ◊

Mr.◊ & Mrs. Gerald F. Ross

Mr. & Mrs. George Roumell

Marjorie Shuman Saulson

Mr. & Mrs. Donald & Janet Schenk

Ms. Yvonne Schilla

Mr. & Mrs. Fred G. Secrest ◊

Ms. Marla K. Shelton

Ms. June Siebert

Mr. & Mrs. Donald R. Simon ◊

Ms. Marilyn Snodgrass ◊

Mrs. Margot Sterren ◊

Mr. & Mrs. Walter Stuecken

Mr.◊ & Mrs. Alexander C. Suczek

David Szymborski & Marilyn Sicklesteel

Alice ◊ & Paul Tomboulian

Roger & Tina Valade

Charles & Sally Van Dusen

Mr. & Mrs. Melvin VanderBrug

Mrs. Inge A. Vincent ◊

Christine & Keith C. Weber

Mr. Herman Weinreich ◊

John ◊ & Joanne Werner

Mr.◊ & Mrs. Arthur Wilhelm

Mr. Robert E. Wilkins ◊

Mrs. Michel Williams

Ms. Nancy S. Williams ◊

Mr. Robert S. Williams & Ms. Treva Womble

Ms. Barbara Wojtas

Elizabeth B. Work◊

Dr. Melissa J. Smiley & Dr. Patricia A. Wren

Ms. Andrea L. Wulf

Mrs. Judith G. Yaker

Milton & Lois Zussman ◊

And seven who wish to remain anonymous ◊ Deceased

The DSO’s Planned Giving Council recognizes the region’s leading financial and estate professionals whose current and future clients may involve them in their decision to make a planned gift to the Detroit Symphony Orchestra. Members play a critical role in shaping the future of the DSO through ongoing feedback, working with their clients, supporting philanthropy and attending briefings twice per year.

Linda Wasserman, Chair

Mrs. Katana H. Abbott*

Mr. Joseph Aviv

Mr. Christopher Ballard*

Ms. Jessica B. Blake, Esq.

Ms. Rebecca J. Braun

Mr. Timothy Compton

Ms. Wendy Zimmer Cox*

Mr. Robin D. Ferriby*

Mrs. Jill Governale*

Mr. Henry Grix*

Mrs. Julie Hollinshead, CFA

Mr. Mark W. Jannott, CTFA

Ms. Jennifer 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*

Mrs. Marguerite Munson Lentz*

Mr. J. Thomas MacFarlane

Mr. Christopher M. Mann*

Mr. Curtis J. Mann

Mrs. Mary K. Mansfield

Mr. Mark E. Neithercut*

Mr. Steve Pierce

Ms. Deborah J. Renshaw, CFP

Mr. James P. Spica

Mr. David M. Thoms*

Mr. John N. Thomson, Esq.

Mr. Jason Tinsley*

Mr. William Vanover

Mr. William Winkler

*Executive Committee Member

Share the music of the DSO with future generations

INCLUDE THE DSO AS A BENEFICIARY IN YOUR WILL

Remembering the DSO in your estate plans will support the sustainability and longevity of our orchestra, so that tomorrow’s audience will continue to be inspired through unsurpassed musical experiences. If you value the role of the DSO—in your life and in our community—

please consider making a gift through your will, trust, life insurance, or other deferred gift.

To learn more please call Alexander Kapordelis at 313.576.5198 or email akapordelis@dso.org

TRIBUTE GIFTS

Gifts received between November 1, 2022 and February 28, 2023

Tribute gifts to the Detroit Symphony Orchestra are made to honor accomplishments, celebrate occasions, and pay respect in memory or reflection. These gifts support current season projects, partnerships and performances such as DSO concerts, education programs, free community concerts, and family programming. For information about making a tribute gift, please call 313.576.5114 or visit dso.org/donate.

The DSO wishes to thank those who donated in memory of President Emeritus Anne Parsons. Please visit dso.org/rememberinganne for the full list of donors.

In Honor

Peter and Julie Cummings

The Clinton Family Fund

Abe and Cheryl Feder

Ms. Barbara Lorry

Mr. James S. Garrett

Timothy & Marianne LeVigne

Ms. Jeanne Paton

Sylvia G. Graham

Ms. Jacqueline Graham

Mr. Kenneth Grunow

Ms. Margaret Grunow

Mr. Michael Hanson

Ms. Jennie Wenger

Mrs. Barbara Hardesty

Ms. Tiffany Worthington

Jo Isaacson, MD Robert Granadier

Ms. Lacy Jewell

Ms. Heather Tomlinson

Mrs. Ann Katz

Ms. Ruth Rattner

Ms. June Kendall John & Candace Vaphiadis

Mr. Allen Ledyard

Mr. & Mrs. Paul Laughlin

Mr. Larwrence Liberson

Mrs. Pamela Esser

Mr. Stephen Molina

Ms. Barbara Bloedow

Mr. & Mrs. Michael Feder

Daniel Steinman

In Memory

Mr. Lloyd Cheny

Mrs. Marcia Cheney

Fred and Gloria Clark

Marriet Clark Webber

Ms. Helen Fildew

Mr. & Mrs. William Gilbride

Marc Lie

Parcival Lie

Angelika Morawski

Ms. Lisa Suida

Mr. Michael Tesner

Ms. Cindy Wilson

Mrs. Barbara Frankel

Mr. Dean Allan & Ms. Maya Slickis

Ms. Pamela Applebaum

Mrs. Stacey Armstrong

Mr. & Mrs. John Beiter

Mr. & Mrs. Stanley Bershad

Mr. & Mrs. Harold Blumenstein

Mr. & Mrs. John Dupps Jr.

Mr. Charles W. Dyer

Mr. & Mrs. Bernard R. Edelson

Mrs. John Ellis

Jim & Margo Farber

Ms. Lisa Scholnick Feinbloom

Dr. & Mrs. Paul Goodman

Mr. Howard J. Gourwitz

Allan & Sydell Grant

Paul Grant & Alyssa Jones

Paul & Francine Hack

Ms. Heather Hamilton

Bill & Ellen Kestenberg

Mr. Joel Kirsch

Mr. and Ms. Bruce J. Lazar

Gregg & Sheryl Nathanson

Ms. Lynn Rosenthal

David & Carol Schooch

Ms. Nancy Wiltsie

Mr John Guinn

Ms. Peggy Spencer Castine

Ms. Joan Hoelaars

Ms. Lynn Popa

Mrs. Carol Horwitz

Laurie Horwitz

Dr. Jo D. Isaacson

Ms. Sylvia Lee

Ms. Marsha Pinson

Mr. John R. Kuhn

Nathan Taylor

Mr. Henry P. Lee

Ms. Kerstyn Zalesin

Ms. Benita Lee

Ms. Andrea Levine

Miss Michele Saxon

Mr. Daniel D. Lublin

Ms. Joyce Berman & Mr. Dan Carol

Mrs. Susan Spelker

Ms. Marianne Masserang

Michael & Doris Burke

Denise Juif-Pomerleau

Robert Ling

Jim & Maureen Marchand

Treca Zdybek

Anne Parsons

Dr. Lillian Bauder

Paul & Laurie Burgoyne

The Clinton Family Fund

Ms. Deborah Lamm

Ms. Patricia Mooradian

Ms. Carol Schoch

Mrs. Mary J. Moll

Mrs. Harriet Port

Mr. Maury Okun

Ms. Ruthanne Okun

Mrs. Jill Rafferty

Ms. Linda Holloway

Mr. & Mrs. William Ramroth

Ms. Erica Siedel

Mrs. Marilyn Schorer

Marc Lie

Ms. Maria Slotnick

Mrs. Judith Schultheiss

Mr. Richard A. Sonenklar

Mr. Antonio David Garcia

Mr. George Popow

Ms. Martha Cheadle

Robert D’Aoust

Ms. Lisa Frazzini

Kelly Galea

Ms. Michele Genuise

Greater Kansas City Community Foundation

Mr. & Mrs. Robert J. Holton

June Martin

ST Microelectronics

Thomas S. Richards

Mr. James Amar

Mr. & Mrs. Robert Davisson

Mr. & Mrs. James Francis

Mr. Michael Modelski

Mr. & Mrs. David Paruch

Mr. William Rittinger

Mrs. Patricia K. Rittinger

Mrs. Alice Tomboulain

Paul Tomboulain

Ayten & Zeyn Uzman

Mr. James Akif Uzman

Mr. Charles Van Dusen Robert Scoville

Dr. & Mrs. Clyde Wu

Mrs. Cynthia MacDonald

Mr. James Zann

Mr. & Ms. Dave Beaupre

UPCOMING CONCERTS & EVENTS

Leila Josefowicz & Mendelssohn’s Symphony No. 3

May 19–20

TICKETS & INFO

313.576.5111 or dso.org

CHAMBER RECITAL STRING QUARTET: SHOSTAKOVICH & PROKOFIEV

Mon, Apr 24 at 7 PM

PVS CLASSICAL SERIES HADELICH & STRAVINSKY

Thu, Apr 27 - Sat, Apr 29

PVS CLASSICAL SERIES BEETHOVEN’S EIGHTH & SIMON’S TROMBONE CONCERTO

Fri, May 5 - Sun, May 7

chamber recital LATIN AMERICAN WINDS

Tue, May 9 at 7 PM

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES TCHAIKOVSKY & PAGANINI

Thu, May 11 - Sun, May 14

PNC POPS SERIES THE MUSIC OF ELTON JOHN FEATURING MICHAEL CAVANAUGH

Sat, May 13 at 8 PM

PVS CLASSICAL SERIES LEILA JOSEFOWICZ & MENDELSSOHN’S SYMPHONY NO. 3

Fri, May 19 - Sat, May 20

TINY TOTS (Ages 2-5) EARTH DAY IS EVERY DAY

Sat, May 20 at 10 AM

YOUNG PEOPLE’S FAMILY CONCERT SERIES (Ages 6+) BRITTEN’S YOUNG PERSON’S GUIDE TO THE ORCHESTRA

Sat, May 20 at 11 AM

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES MENDELSSOHN’S “ITALIAN” SYMPHONY

Thu, May 25 - Sun, May 28

PNC POPS SERIES RESPECT: A TRIBUTE TO ARETHA FRANKLIN

Fri, May 26 - Sun, May 28

Respect: A Tribute to Aretha Franklin

May 26-28

Two Pianos: Who Could Ask for Anything More?

June 17

PVS CLASSICAL SERIES JADER CONDUCTS TCHAIKOVSKY’S FOURTH SYMPHONY

Fri, June 2 - Sun, June 4

classical BIGNAMINI CONDUCTS STRAUSS’ ALSO SPRACH ZARATHUSTRA

Thu, June 8 - Sat, June 10

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES BEETHOVEN’S “EMPEROR” CONCERTO

Thu, June 15 - Sun, June 18

TWO PIANOS: WHO COULD ASK FOR ANYTHING MORE?

Sat, June 17

For complete program listings, including Live from Orchestra Hall webcast dates, visit dso.org

WELCOME TO THE MAX

Our Home on Woodward Avenue

The Max M. and Marjorie S. Fisher Music Center is one of Detroit’s most notable cultural campuses. The Max includes three main performance spaces: historic Orchestra Hall, the Peter D. and Julie F. Cummings Cube (The Cube), and Robert A. and Maggie Allesee Hall. All are accessible from the centrally located William Davidson Atrium. The Jacob Bernard Pincus Music Education Center is home to the DSO’s Wu Family Academy and other music education offerings. The DSO is also proud to offer The Max as a performance and administrative space for several local partners, including Detroit Youth Volume.

Parking

The DSO Parking Deck is located at 81 Parsons Street. Self-parking in the garage costs $10 for most concerts (credit card payment only). Accessible parking is available on the first and second floors of the garage. Note that handicapped parking spaces go quickly, so please arrive early!

What Should I Wear?

You do you! We don’t have a dress code, and you’ll see a variety of outfit styles. Business casual attire is common, but sneakers and jeans are just as welcome as suits and ties.

Food and Drink

Concessions are available for purchase on the first floor of the William Davidson Atrium at most concerts, and light bites are available in the Paradise Lounge on the second floor. Bars are located on the first and third floors of the William Davidson Atrium and offer canned sodas (pop, if you prefer), beer, wine, and specialty cocktail mixes.

Patrons are welcome to bring drinks to their seats at all performances except Friday morning Coffee Concerts; food is not allowed in Orchestra Hall. Please note that outside food and beverages are prohibited.

Accessibility

Accessibility matters. Whether you need ramp access for your wheelchair or are looking for sensory-friendly concert options, we are thinking of you.

• The Max has elevators, barrierfree restrooms, and accessible seating on each level. Security staff are available at all entrances to help patrons requiring extra assistance in and out of vehicles.

• The DSO’s Sennheiser MobileConnect hearing assistance system is available for all performances in Orchestra Hall. You can use your own mobile device and headphones by downloading the Sennheiser MobileConnect app, or borrow a device by visiting the Box Office.

• Available at the Box Office during all events at The Max, the DSO offers sensory toolkits to use free of charge, courtesy of the Mid-Michigan Autism Association. The kits contain items that can help calm or stimulate a person with a sensory processing difference, including noise-reducing headphones and fidget toys. The DSO also has a quiet room, available for patrons to use at every performance

• Check out the Accessibility tab on dso.org/yourexperience to learn more

THE MAX M. & MARJORIE S. FISHER MUSIC CENTER

3711 Woodward Avenue

Detroit, MI 48201

Box Office: 313.576.5111

Group Sales: 313.576.5111

Administrative Offices: 313.576.5100

Facilities Rental Info: 313.576.5131

Visit the DSO online at dso.org

For general inquiries, please email info@dso.org

WiFi

Complimentary WiFi is available throughout The Max. Look for the DSOGuest network on your device. And be sure to tag your posts with #IAMDSO!

Shop @ The Max

Our brick and mortar shop is closed, but DSO fans can visit dso.org/shop to purchase DSO merchandise anytime!

The Herman and Sharon Frankel Donor Lounge

Governing Members can enjoy complimentary beverages, appetizers, and desserts in the Donor Lounge, open 90 minutes prior to each concert through the end of intermission. For more information on becoming a Governing Member, contact Leslie Groves at 313.576.5451 or lgroves@dso.org.

Gift Certificates

Gift certificates are available in any denomination and may be used towards tickets to any DSO performance. Please contact the Box Office for more information.

Rent The Max

Elegant and versatile, The Max is an ideal setting for a variety of events and performances: weddings, corporate gatherings, meetings, concerts, and more. Visit dso.org/rentals or call 313.576.5131 for more information.

POLICIES HEALTH & SAFETY

n The DSO no longer requires audiences to provide proof of COVID-19 vaccination or a negative COVID-19 test to attend performances.

n Masks are optional although strongly recommended at DSO performances, particularly when Wayne County and surrounding communities are in the high or “red” category as defined by the CDC.

n We ask all audience members to do their part to create a safe environment for everyone and encourage those who are not feeling well to stay home.

n We will continue to communicate our policies to ticketholders in advance of their concerts and will provide updates should protocols change throughout the season.

SEATING

Please note that all patrons (of any age) must have a ticket to attend concerts. If the music has already started, an usher will ask you to wait until a break before seating you. The same applies if you leave Orchestra Hall and re-enter. Most performances are broadcast (with sound) on a TV in the William Davidson Atrium.

TICKETS, EXCHANGES, AND CONCERT CANCELLATIONS

n All sales are final and non-refundable.

n Even though we’ll miss you, we understand that plans can change unexpectedly, so the DSO offers flexible exchange and ticket donation options.

n Please contact the Box Office to exchange tickets and for all ticketing questions or concerns.

n The DSO is a show-must-go-on orchestra. In the rare event a concert is cancelled, our website and social media feeds will announce the cancellation, and patrons will be notified of exchange options.

PHONES

Your neighbors and the musicians appreciate your cooperation in turning your phone to silent and your brightness down while you’re keeping an eye on texts from the babysitter or looking up where a composer was born!

PHOTOGRAPHY & RECORDING

We love a good selfie (please share your experiences using @DetroitSymphony and #IAMDSO) but remember that photography

can be distracting to musicians and audience members. Please be cautious and respectful if you wish to take photos.

Flash photography, video recording, tripods, and cameras with detachable lenses are strictly prohibited.

NOTE: By entering event premises, you consent to having your likeness featured in photography, audio, and video captured by the DSO, and release the DSO from any liability connected with these materials. Visit dso.org for more.

SMOKING

Smoking and vaping are not allowed anywhere in The Max.

ADMINISTRATIVE STAFF

EXECUTIVE OFFICE

Erik Rönmark President and CEO

James B. and Ann V. Nicholson Chair

Jill Elder Vice President and Chief Revenue Officer

Linda Lutz

Vice President and Chief Financial and Administrative Officer

Joy Crawford

Executive Assistant to the President and CEO

Serena Donadoni Executive Assistant to the Vice President and Chief Revenue Officer

Anne Parsons ◊ President Emeritus

ARTISTIC OPERATIONS ARTISTIC PLANNING

Jessica Ruiz

Senior Director of Artistic Planning

Jessica Slais Creative Director of Popular and Special Programming

D. Kenji Lee Jazz and @ The Max Coordinator

Claudia Scalzetti Artistic Coordinator

Lindzy Volk Artist Liaison

Goode Wyche

Manager of Jazz and @ The Max

LIVE FROM ORCHESTRA HALL

Marc Geelhoed

Executive Producer of Live from Orchestra Hall

ORCHESTRA OPERATIONS

Kathryn Ginsburg General Manager

Patrick Peterson

Director of Orchestra Personnel

Dennis Rottell Stage Manager

Benjamin Brown Production Manager

Nolan Cardenas Auditions and Operations Coordinator

Bronwyn Hagerty Orchestra and Training Programs Librarian

Benjamin Tisherman Manager of Orchestra Personnel

ADVANCEMENT

Alex Kapordelis Senior Director, Campaign

Jill Rafferty

Senior Director of Advancement

Audrey Kelley Director of Executive and Board Operations

Amanda Tew Director, Advancement Operations

Damaris Doss

Major Gift Officer

Leslie Groves Major Gift Officer

Ali Huber

Signature Events Manager

Jane Koelsch Data and Research Specialist

Colleen McLellan Institutional Gift Officer

Juanda Pack Advancement Benefits Concierge

Susan Queen Gift Officer, Corporate Giving

Joseph Sabatella Fulfillment Coordinator

Cassidy Schmid Manager of Campaign Operations

Shalynn Vaughn Major Gift Officer

BUILDING OPERATIONS

Ken Waddington Senior Director of Facilities and Engineering

Cedric Allen EVS Technician

Teresa Beachem Chief Engineer

Demetris Fisher Manager of Environmental Services (EVS)

William Guilbault EVS Technician

Robert Hobson Chief Maintenance Technician

Daniel Speights EVS Technician

EVENT AND PATRON EXPERIENCE

Christina Williams

Director of Patron and Event Experience

Neva Kirksey Manager of Events and Rentals

Alison Reed, CVA Manager of Volunteer and Patron Experience

COMMUNICATIONS

Matt Carlson

Senior Director, Communications and Media Relations

Sarah Smarch Director of Content and Storytelling

Natalie Berger

Video Content Specialist

LaToya Cross Communications and Advancement Content Specialist

Hannah Engwall Public Relations Manager

Francesca Leo Public Relations Coordinator

COMMUNITY

LEARNING

&

Karisa Antonio

Director of Social Innovation

Damien Crutcher

Managing Director of Detroit Harmony

Debora Kang

Director of Education

Clare Valenti

Director of Community Engagement

Kiersten Alcorn

Manager of Community Engagement

Chris DeLouis Training Ensembles Operations Coordinator

Joanna Goldstein

Training Ensembles

Student Development Coordinator

Kendra Sachs

Training Ensembles

Recruitment and Communications Coordinator

FINANCE

Adela Löw Director of Accounting and Financial Reporting

Sandra Mazza Senior Accountant, Business Operations

Hoang Duong Accounting Clerk Assistant

Dina Hardeman-McCoy Payroll and Benefits Accountant

Sarah Nawrot Accounting Clerk

HUMAN RESOURCES

Hannah Lozon Senior Director of Talent and Culture

Angela Stough Director of Human Resources

Shuntia Perry Recruitment and Employee Experience Specialist

INFORMATION

TECHNOLOGY

William Shell Director of Information Technology

Michelle Koning Web Manager

Aaron Tockstein Database Administrator

MARKETING & AUDIENCE DEVELOPMENT

Charles Buchanan Senior Director of Marketing and Audience Development

Teresa Alden Director of Growth and Acquisition

Rebecca Villarreal Director of Subscriptions and Loyalty

Sharon Gardner Carr Assistant Manager of Tessitura and Ticketing Operations

Jay Holladay Brand Graphic Designer

Crystal Mann Loyalty Marketing Strategist

LaHeidra Marshall Marketing Projects Specialist

Connor Mehren Digital Marketing Strategist

Kristin Pagels-Quinlan Content Marketing Strategist

PATRON SALES & SERVICE

Michelle Marshall Director of Patron Sales and Service

Rollie Edwards Patron Sales and Service Specialist

James Sabatella Group and Patron Services Specialist

SAFETY & SECURITY

George Krappmann Director of Safety and Security

Willie Coleman Security Officer

Naomi Howard Security Officer

Tony Morris Security Officer

Johnnie Scott Safety and Security Manager

PERFORMANCE

Winter • 2021-2022 Season

Hannah Engwall, editor hengwall@dso.org

•

ECHO PUBLICATIONS, INC. Tom Putters, publisher James Van Fleteren, designer echopublications.com

•

Cover design by Jay Holladay

•

To advertise in Performance: call 248.582.9690 or email info@echopublications.com

Read Performance anytime! dso.org/performance

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

The Community Foundation is dedicated to supporting and enhancing the arts in southeast Michigan.

For decades, we have partnered and collaborated with organizations like the Detroit Symphony Orchestra along with other hyperlocal projects to enrich our region through the arts.

We have helped hundreds of donors who want to support local arts and culture find the best way to make a lasting impact.

MAKE AN IMPACT

When you are ready to make a lasting impact on arts and culture, the Community Foundation is here to help. Visit: cfsem.org/arts-culture or call 313.961.6675

JUNE 10-24, 2023

Emerson String Quartet Michigan Final Farewell