Performance magazine – Winter Issue 1 – 2022-23 Season

Dear Friends,

Welcome to Orchestra Hall! Whether it’s your first concert or your fiftieth, thank you for joining us to experience the joy of music with your Detroit Symphony Orchestra.

As we begin a new year, we also reflect on the successes of 2022. At our Annual Meeting in December, we were thrilled to announce a tenth consecutive balanced budget and renewed support for our DSO Impact Campaign, ensuring our organization remains a cultural beacon in Detroit for generations. We also celebrated the passionate leadership of Music Director Jader Bignamini. Under Jader, our orchestra shines, creating indelible musical moments that invigorate our creative spirit. This Spring, Jader will conduct programs with pianists Alexander Gavrylyuk (February 23-25) and George Li (March 24-26), and violinist Anne Akiko Meyers (March 30-April 1), plus the world premiere of Carlos Simon’s Trombone Concerto with DSO Principal Trombone Ken Thompkins in May. The DSO continues to push boundaries with innovative programming. From a concert by the DSO Cello Section fusing classical repertoire with pop hits in The Cube on February 9—to The Princess Bride in Concert on Valentine’s Day and the Classical Roots Celebration in March (read our cover story in this issue)—the DSO spans genres and interests, uniting us all around a shared community in a love of music.

The William Davidson Neighborhood Concert Series returns for a twelfth year, bringing DSO performances and chamber recitals to seven Metro Detroit communities from January to June. Highlights include Reinecke’s Flute Concerto with DSO Principal Flute Hannah Hammel Maser and appearances by saxophonist Timothy McAllister, violinist Tai Murray, and conductor/violinist/countertenor Dmitry Sinkovsky. Jader will make his Neighborhood debut this May, conducting music by Paganini and Tchaikovsky in Southfield, Monroe, and Beverly Hills.

We also acknowledge renewed organizational leadership with the announcement of David T. Provost as the DSO’s new Chair of the Board of Directors. In addition to David’s election at our Annual Meeting, we paid tribute to outgoing Chair Mark Davidoff. Across Mark’s seven years of exemplary leadership, he’s left an undeniable impression on our organization, and we are forever grateful for his immeasurable contributions to making the DSO the thriving organization we know today. Mark has set a remarkable precedent that we will strive to uphold. We’re delighted to work together to make our orchestra the best it can be by securing continued financial stability through the DSO Impact Campaign, advocating for our robust education programs, and celebrating the jewel that we have in Orchestra Hall and The Max.

We look forward to welcoming you for a great year of spectacular performances!

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

NA’ZIR MCFADDEN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

FIRST VIOLIN

Robyn Bollinger

CONCERTMASTER

Katherine Tuck 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

Shanda Lowery-Sachs Hart Hollman Han Zheng Mike Chen

DETROIT SYMPHONY ORCHESTRA

DETROIT SYMPHONY ORCHESTRA

JADER BIGNAMINI , Music Director

Music Directorship endowed by the Kresge Foundation

TERENCE BLANCHARD

Music Director Laureate JEFF TYZIK Principal Pops Conductor

Fred A. Erb Jazz Creative Director Chair

CELLO

Wei Yu PRINCIPAL Abraham Feder 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 Shari and Craig Morgan Chair

CLARINET

Ralph Skiano PRINCIPAL Robert B. Semple Chair 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

Music Director Emeritus

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

William Dailing DEPARTMENT HEAD

Ryan DeMarco DEPARTMENT HEAD Kurt Henry DEPARTMENT HEAD

Steven Kemp

DEPARTMENT HEAD Matthew Pons DEPARTMENT HEAD

LEGEND

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

^ Extended Leave

§ African American Orchestra Fellow

NEEME JÄRVI

LEONARD SLATKIN

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

Stanley Frankel

Robert S. Miller

James B. Nicholson

DIRECTORS EMERITI

Floy Barthel

Chacona Baugh

Penny B. Blumenstein

Richard A. Brodie

Lois Cohn

Marianne Endicott

Sidney Forbes Barbara Frankel

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

OFFICERS OF THE BOARD OF DIRECTORS

Lloyd E. Reuss

Marjorie S. Saulson

Alan E. Schwartz

Jane Sherman Arthur A. Weiss

Renato Jamett, Trustee Chair

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.

Maha Freij

Christa Funk

Ismael Ahmed Richard Alonzo Hadas Bernard Janice Bernick Elizabeth Boone Gwen Bowlby Dr. Betty Chu Karen Cullen Joanne Danto Stephen D’Arcy Maureen T. D’Avanzo

Robert Gillette Jody Glancy Malik Goodwin Mary Ann Gorlin

Donald Hiruo Michelle Hodges

Julie Hollinshead

Sam Huszczo

John Jullens

Florine Mark Anthony McCree

Kristen McLennan

Tito Melega

Lydia Michael H. Keith Mobley Scott Monty Shari Morgan Sandy Morrison

Frederick J. Morsches

Laurie Rosen Elana Rugh Marc Schwartz Carlo Serraiocco Lois L. Shaevsky Mary Shafer

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

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

Shirley Stancato Officer at Large

BOARD OF DIRECTORS

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.

Dave Everson Orchestra

Representative

Richard Huttenlocher

Renato Jamett

Trustee Chair

Stephen Polk

Bernard I. Robertson

Jasmin DeForrest Afa Sadykhly Dworkin James C. Farber

Abe Feder, Musician Representative Linda Forte Carolynn Frankel

Laurel Kalkanis Jay Kapadia David Karp

Joel D. Kellman John Kim Jennette Smith Kotila

Leonard LaRocca William Lentine Linda Dresner Levy

Jennifer Muse, NextGen Chair

Sean M. Neall

Eric Nemeth Maury Okun Jackie Paige Vivian Pickard Denise Fair Razo Gerrit Reepmeyer

James Rose, Jr.

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

Michael Bickers

Amanda Blaikie

Orchestra Representative Elena Centeio

Aaron Frankel

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

Laura HernandezRomine

Rev. Nicholas Hood III

Daniel J. Kaufman

Michael J. Keegan

Xavier Mosquet David Nicholson Arthur T. O’Reilly

Nancy Tellem

Laura J. Trudeau

David M. Wu, M.D. Ellen Hill Zeringue

David Assemany, Governing Members Chair

Janet & Norm Ankers, Chairs Cecilia Benner Joanne Danto Gregory Haynes Bonnie Larson Lois Miller Richard Sonenklar

classical roots Beyond the music

By Hannah Engwall

This March, the DSO will honor composer and pianist Anthony Davis and Reverend Dr. Charles G. Adams at the 22ND ANNUAL ARTHUR L. JOHNSON-HONORABLE DAMON JEROME KEITH CLASSICAL ROOTS

CELEBRATION. Originated in 1978, Classical Roots honors African American composers, musicians, educators, and leaders for lifetime achievement and raises funds to support the DSO’s African American music and musician development programs.

This year’s Classical Roots concerts will be conducted by DSO Assistant Conductor Na’Zir McFadden and include John Rosamond Johnson’s Lift Every Voice and Sing (arr. Roland Carter) and Florence Price’s Concert Overture No. 2 alongside works by contemporary Black artists: You Have the Right to Remain Silent by Anthony Davis and Concerto No. 1: SERMON, an array of music and literary texts assembled by bass-baritone Davóne Tines.

We sat down with Davis and Tines to discuss their works and what it means to be part of Classical Roots.

Davis’s You Have the Right to Remain Silent is a four-movement concerto inspired by the composer’s own experience of “driving while Black” in the 1970s. A person matching Davis’s description had robbed a bank, and in a case of mistaken identity, Davis and his wife were pulled over by police.

“To have a policeman point a gun at you is scary, and it showed me how perilous it is that certain assumptions were made,” said Davis. “For Black people, particularly Black males of a certain age, this is something that we all experience while driving.”

Davis emerged physically unharmed, but the encounter left a lasting impression that he later channeled in You Have the Right to Remain Silent.

In the piece’s first movement,

Interrogation, Davis explores the vulnerability of the solo instrument’s relationship to the orchestra. “When I began the project, the first thing I thought about was the orchestra interrogating the clarinetist. The piece starts almost as if it’s in the middle of a scene—I wanted this feeling of being plunged into something right away.”

With the DSO at Classical Roots, the piece will feature Anthony McGill, Principal Clarinet of the New York Philharmonic and a champion of Davis’s work in recent years. McGill previously performed at Classical Roots in 2021, under conductor William Eddins.

“McGill is a brilliant clarinetist who brings a certain vulnerability and emotion to the piece,” said Davis. “With him, the clarinet becomes a

character, and he finds moments of real lyricism.”

Alongside avant-garde pioneer Earl Howard on the Kurzweil synthesizer, McGill explores multiphonics and other more extended techniques on the contra-alto clarinet.

In the Incarceration movement, we hear the speech rhythms of the complete Miranda warning accompanied by percussion, expanding upon the haunting “you have the right to remain silent” refrain that is prominent throughout the work.

The final movement, Dance of the Other, expresses what it’s like to walk or dance in someone else’s shoes. “It’s about the hope for transcending these negative experiences, and the fact that we can empathize,” said Davis.

“When the piece begins, it has the percussion and the clarinet. It’s almost like an African folk song, which is what I wanted to evoke. There’s a sense of the hopefulness in that, and the idea of reclaiming one’s innocence—meaning innocence at all levels: in terms of being charged with a crime, and then innocence in terms of not being jaded, not being so affected by these experiences that we can’t accept love or compassion from others.”

For Tines, Concerto No. 1: SERMON was born of an invitation he received in late 2020 to perform with The Philadelphia Orchestra.

The original invitation was to do John Adams’s The Wound-Dresser, but Tines felt compelled to go in a different direction.

“I wanted to explore what else I could I say with this opportunity to sing something in the contemporary vein, but that was also truer to what I felt like I needed to say at that time in our collective history, which was some sort of statement that dealt head-on with this revitalized racial reckoning. Concerto No. 1: SERMON was my attempt to speak honestly in this context where art about Black trauma was being expected.”

For the work, Tines assembled an array of music and literary texts, including musical selections by Davis (“You Want the Truth, but You Don’t Want to Know” from X: The Life and Times of Malcolm X ) and John Adams, along with a piece Tines co-wrote with Igée Dieudonné and Matthew Aucoin. The texts include excerpts by James Baldwin, Langston Hughes, and Detroit poet jessica Care moore, who is also featured in the performance.

Tines originally met moore during his

Anthony McGill performs at a 2021 Classical Roots concert (by Sarah Smarch)

Internationally renowned poet, playwright, performance artist, and producer jessica Care moore (by Kennette Lamar, Annistique Photography)

residency at Detroit Opera, which culminated in May 2022 with his performance in the title role of Davis’s X: The Life and Times of Malcolm X . With Moore, Tines felt an immediate connection, one that grew as he became more familiar with her work and the broader network of artists that she was a part of. “I realized the depth of her love for her city, and her conviction about telling the truth of her experience.”

Concerto No. 1: SERMON draws audiences in with the proclamation that “I am going to shake heaven and earth,” something that Tines achieves not through anger or aggression, but through a simple display of humanity and emotion. The piece aims to hold a mirror to the audience, inviting them to interrogate why it is even necessary to make art that calls out the degradation of humanity.

“Jessica is able to address Black lived experience in a very direct, clear, and poetic way,” said Tines. “Having her writing as the centerpiece does exactly what we need it to do—turn the proposition on its head and say yes, I’m here, proving my humanity to you, but why is it even necessary for me to do that in the first place?”

Through previous collaborations, Davis and Tines have built a strong mutual respect and appreciation for one another.

“He’s an incredible artist and I really enjoy working with him,” said Davis of Tines. “He’s been a real trailblazer in devising and transforming the role of what the opera singer/soloist is supposed to be by creating his own programs using other music to tell a different kind of story.”

Of Davis, Tines shares similar admiration: “Anthony is a genius in many ways. He creates music that is at the intersection of so many different ideas, histories, aesthetics, and ways of being, and I find myself contending with those

intersections as well. It was amazing to meet somebody who had done such incredible work to coalesce the diversity of their experience and the Black experience and make that incarnate within a classical music context, generations before myself.”

Born in 1951, Davis has been active for decades as a composer, educator, and pianist, and in the 1990s, took part in the DSO’s Unisys African American Composer Residency Program. Both he and Tines look forward to continuing the legacy of African American music at the DSO with Classical Roots.

“I’ve enjoyed my experiences in Detroit and am excited to bring this piece to the city,” said Davis. “Detroit is a serious center for African and African American music from R&B and jazz to classical, and Classical Roots sheds light on the fact that African Americans are deeply involved in classical music and that it is part of our whole spectrum of expression.”

Tines echoed Davis’s sentiments: “All of the people that I’ve engaged with in Detroit are very passionate and curious about what’s going on in their city. There’s a certain je ne sais quois about the Detroit energy and spirit that is unique from other places. I’ve seen a certain kind of unified identity that also is unable to fully articulate itself, but you can actually feel it. And that’s something I’m thrilled to experience again.”

“I’m very glad that the work that I make, that engages identity, can be experienced in a context where people are open minded in that way. Concerto No. 1:

SERMON is very direct to the exact context in which Classical Roots is also trying to make change, and I hope that I’m able to show a contemporary method for addressing the necessity for equitable engagement of other histories by predominantly white institutions. I hope that the work strikes a chord with people to try to interrogate how they are contributing to making change.”

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

Davóne Tines

Jeffery Zook & David Assemany: Living Legacy

An acclaimed musician and educator, DSO Flute and Piccolo Jeffery Zook (Shari and Craig Morgan Chair) is currently in his 30th season with the orchestra. Together with his husband, DSO Governing Member Chair David Assemany, the pair gives back to the organization that has given them so much.

It was within the DSO universe that they first met in 1996 and fell in love. Since then, the DSO has been a constant presence in their lives— evolving from a patron and musician-only based relationship to high-level donor status.

The harmonious oneDSO culture initially cultivated by DSO Chair Emeritus Phillip Fisher inspired Zook and Assemany to deepen their investment in the prosperity of the DSO. Assemany became a Governing Member from the beginning and is now serving in his third year as Chair of the Governing Members. His ambassadorial role is essential to the artistic and cultural health and strategic direction of the DSO.

When the Musicians Fund was established, I immediately knew I wanted us to contribute because I feel strongly that excellence is the most important one of the DSO’s core values. Without excellence, nothing is going to be successful. It was also important to us to give a gift to the Anne Parsons Leadership Fund while Anne was still alive. We respected her immensely and were grateful that we were able to do that before she passed away.”

David Assemany, Governing Member Chair

Living at the intersection of music and community, the sociable duo impacts everyone they meet. They open their home as an entertainment venue for student recitals, open mics, workshops, musical feasts, and fundraisers. As DSO advocates, their legacy gifts to the DSO Musicians Fund for Artistic Excellence and the Anne Parsons Leadership Fund contribute to the future sustainability of Detroit’s world-class orchestra.

Within their world of music, advocacy, and community-building through the arts, Dave and Jeff are building a living legacy with their purposeful generosity.

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. and 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

CHAMPIONS

Mandell & Madeleine Berman Foundation APLF

Mr. and Mrs. Raymond M. Cracchiolo

Joanne Danto & Arnold Weingarden

Vera and Joseph Dresner Foundation

DTE Energy Foundation Ford Motor Company Fund

Mr. and Mrs. Morton E. Harris ◊

John S. & James L. Knight Foundation

The Kresge Foundation

Mrs. Bonnie Larson APLF

Brian Meer & Lisa Keramedjian Meer

The Andrew W. Mellon Foundation

Ms. Deborah Miesel Dr. William F. Pickard

The Polk Family Stephen M. Ross Family of Clyde and 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

Paul & Terese Zlotof

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 Davidoff APLF, MM

DSO Musicians MM

Bette Dyer Estate

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 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. and 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

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.

DETROIT SYMPHONY ORCHESTRA

JADER BIGNAMINI , Music Director

Music Directorship endowed by the Kresge Foundation

Sensory-Friendly Spotlight: Relaxed Open Rehearsals

The Detroit Symphony Orchestra is an inclusive and culturally relevant community where all people can experience their world through music. Each season, the DSO holds Relaxed Open Rehearsals and sensory-friendly events for individuals who may not feel comfortable in a traditional concert environment. Special focus is given to audience members on the autism spectrum and those with other sensory sensitivities.

The culture of attending live performances can be unforgiving for those who are unable to conform to the standard concert etiquette of quietly sitting still for extended periods, including those who may express emotions such as joy or excitement through vocalization. The DSO’s Relaxed Open Rehearsals aim to remove barriers, enabling participants to be themselves and enjoy a musical experience in a safe and judgement-free environment.

Kiersten Alcorn, the DSO’s Community Engagement Manager, is passionate about the organization’s commitment to advancing accessibility measures. “This programming is so important because it embodies our mission of cultivating an inclusive community

and musical experiences that are accessible to all,” said Alcorn. “Through this work, more people can enjoy the magic of the Detroit Symphony Orchestra in ways that empower our community and prioritize comfort and safety.”

On September 22, 2022, 50 attendees enjoyed a Relaxed Open Rehearsal as DSO musicians prepared for a weekend of DTE Community Concerts under the baton of DSO Assistant Conductor Na’Zir McFadden (Phillip & Lauren Fisher Community Ambassador). Attendees had access to resources to prepare for the event including a program guide, social story, and Spotify playlist to hear selections in advance. The DSO removed barriers to this event by hosting a limited number of audience members and providing other accommodations including noisereducing headphones and fidgets, a quiet area to take a break from the rehearsal if needed, and the opportunity to see and touch instruments beforehand.

The event was well received by those who attended, and filled a community need that is sometimes overlooked. “It is an environment where it feels safe to enjoy the music/experience in the way each of us enjoys it—some clapping, some singing, some helping the conductor, and some just listening in a way not usually available to us,” said one attendee.

The DSO looks forward to hosting more Relaxed Open Rehearsals in the future and continuing efforts to promote accessibility throughout The Max and community venues. Thanks to a donation from the Mid-Michigan Autism Association, the DSO now offers sensory toolkits (including noise-cancelling headphones and fidget toys) and a quiet room, available for patrons to use at every performance, beyond the dedicated sensory-friendly events. Visit the Accessibility tab at dso.org/yourexperience to learn more.

TWIST & SHOUT: THE MUSIC OF THE BEATLES – A SYMPHONIC EXPERIENCE

Friday, January 6, 2023 at 10:45 a.m. & 8 p.m. Saturday, January 7, 2023 at 8 p.m. Sunday, January 8, 2023 at 3 p.m. in Orchestra Hall

JEFF TYZIK, conductor PAUL LOREN, vocals • COLIN SMITH, vocals RICK BRANTLEY, vocals • OSCAR RODRIGUEZ, guitar BRIAN KILLEEN, bass • JORDAN ROSE, drums

arr. Jeff Tyzik She Loves You Please Please Me Drive My Car And I Love Her Norwegian Wood (This Bird Has Flown) Do You Want To Know A Secret Eight Days A Week Michelle Eleanor Rigby If I Fell I Feel Fine Ro ck ‘N Roll Music You Really Got A Hold On Me Twist and Shout

All music under license from Sony/ ATV Music Publishing LLC and MPL Music Publishing. All photos under license from The Beatles Book Photo Library. The show is not endorsed by or connected to Apple Corps or The Beatles.

INTERMISSION Day Tripper We Can Work It Out Love Me Do Yesterday Nowhere Man Can’t Buy Me Love A Hard Day’s Night Here, There and Everywhere Yellow Submarine You Can’t Do That All You Need Is Love

Karisa Antonio, the DSO’s Director of Social Innovation, guides participants as they interact with instruments ahead of the Relaxed Open Rehearsal on September 22

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

JEFF TYZIK Principal Pops Conductor

PROGRAM AT-A-GLANCE | TWIST AND SHOUT

Ticket to Ride

The Beatles’ major legacy and revolutionary impact on popular music cannot be overstated. The group made their first appearance in Detroit on September 6, 1964 at Olympia Stadium, and appeared at the stadium once more just two years later in 1966. The Beatles’ unique name was influenced by Buddy Holly and The Crickets in that the band was interested in naming themselves after an insect. John Lennon applied his tongue-in-cheek humor to devise a punnier moniker, and thus “The Beatles” was born. Although Paul McCartney and Ringo Starr are widely known as the band’s rhythm section, they were not the original members. At first, the rhythm section consisted of Stu Stucliffe on bass—one of John Lennon’s friends from art school—and Pete Best on drums, a Liverpool contemporary who left after being angered by one of their record contracts. Paying tribute to the band’s legendary discography, this program will make you get up and dance, with popular tunes that will be stuck in your head “Eight Days a Week.”

PROFILES

Jeff Tyzik biography, see page 7.

A native New Yorker, singer-songwriter Paul Loren feels most at home in the rich legacy of soul, classic pop, and the Great American Songbook. Taking elements from early R&B, jazz, and Brill Building pop, he crafts his music with an ear towards timelessness. He completed his first headline tour in 2019, and has performed with artists including The Temptations, Brendan James, and American Idol winner Taylor Hicks.

Irish born vocalist Colin Smith has led a musical life as varied as it is impressive. While signed on RCA Records, Smith’s former band, Mrnorth, toured with the likes of The Who, Van Halen, Sheryl Crow, and Journey. As a solo artist, he has collaborated with Alicia Keys and Christina Aguilera, and performed on Saturday Night Live.

A dynamic performing artist and songwriter, Rick Brantley has toured the world with artists including John Hiatt, Kiefer Sutherland, Zac Brown, and Brandy Clark, as well as headlining his own solo shows. Brantley continues to add to his impressive portfolio, producing acclaimed records with artists like Rob Baird and Justin Halpin, and directing music videos in his down time.

Guitarist Oscar Rodriguez has produced projects including Jukebox The Ghost, Jon The Guilt, and Rikki Will, in addition to hundreds of songs for the YouTube Audio Library, the Facebook Sound Collection, Marmoset Music, and Premium Beat. He is a co-founder of Track Tribe, a music and media collective, and often collaborates with drummer and vocalist Zach Jones.

Bassist Brian Killeen studied with the great Avishai Cohen and attended William Paterson University’s jazz program, and has since worked with artists including Rachel Platten, A Great Big World, Liz Longley, Barnaby Bright, and Caleb Hawley. He has served as the long-time bass chair for the Big Apple Circus, and has performed on The Today Show and in the Broadway production of The Cher Show

Drummer Jordan Rose has worked with artists including Theo Katzman, Cory Wong, Caleb Hawley, Darren Criss, Charlie Puth, Pomplamoose, Charlie Hunter, Jeff Coffin, Joe Louis Walker, Louis Cato, Rufus Wainwright, Ruel, SZA, and Maddie Poppe, and has performed in Dear Evan Hansen on Broadway.

DSO

commitment

years,

—Na’Zir McFadden

MEET NA’ZIR MCFADDEN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador, and Music Director of the Detroit Symphony Youth Orchestra

Commencing with the 2022-2023 season, American conductor Na’Zir McFadden is the Assistant Conductor and Phillip & Lauren Fisher Community Ambassador of the Detroit Symphony Orchestra.

In this role, he works closely with Music Director Jader Bignamini and guest conductors on both the PVS Classical Series and William Davidson Neighborhood Concert Series. He also leads pre-concert lectures at Orchestra Hall and conducts a variety of programs on the Educational Concert Series, Young People’s Family Concert Series, and PNC Pops Series.

In fall 2022, he led DTE Community Concerts at five venues across Metro Detroit, powered by the DTE Energy Foundation. The yearly tradition signaled the start of the new season, and for McFadden, the start of his role with the DSO.

Previously, McFadden was the inaugural Apprentice Conductor of the Philadelphia Ballet Orchestra from 2020 to 2022, where he worked with Music Director Beatrice Jona Affron. He also served as the Robert L. Poster Conducting Apprentice of the New York Youth Symphony from 2020 to 2021.

PVS Classical Series

CLASSICAL ROOTS

March 3-4

Young People’s Family Concert Series

SYMPHONIC SUPERHEROES

March 11

YOUNG PERSON’S GUIDE TO THE ORCHESTRA

May 20

PNC Pops Series

THE MUSIC OF ELTON JOHN FEATURING MICHAEL CAVANAUGH

May 13

RESPECT: A TRIBUTE TO ARETHA FRANKLIN

May 26-28

“Not only have I been inspired by the stellar performances given by the

through the

but also by its

to preserving the highest of artistic standards while imagining a new bright future for classical music. I am eager to work and learn alongside Music Director Jader Bignamini and the many guest conductors who will visit the DSO.”

DETROIT SYMPHONY ORCHESTRA

ORCHESTRA

Music Directorship endowed by the Kresge Foundation

MCFADDEN

JEFF TYZIK Principal Pops Conductor

PVS CLASSICAL SERIES

JÄRVI

PROGRAM AT-A-GLANCE | SIBELIUS & PROKOFIEV

Forces of Nature

Metacosmos sets the tone for a thrilling experience where audiences will encounter a great depth of emotion and symphonic mastery. This piece is constructed around the natural balance of chaos and beauty, contemplating how elements can come together in utter chaos to create a unified, structured whole. Despite a long period of dismay from the criticism received upon the premiere of his Cello Concerto No. 1, Prokofiev joined forces with Mstislav Rostropovich to compose the masterpiece of a concerto that is his Sinfonia Concertante for Cello & Orchestra. The work channeled the energy of critics to fuel production of this now-standard component of the solo cello repertoire. Sibelius’s Symphony No. 1 is a symphonic gem, created from the chaos of breaking free of tradition and following a flight of inspiration to channel and assert pride in his Finnish culture. Each of these unique pieces is a force to experience in Orchestra Hall, harnessing the chaos of the outer world into symphonic masterpieces.

SIBELIUS’ FIRST SYMPHONY & PROKOFIEV

Thursday, January 19, 2023 at 7:30 p.m.

Friday, January 20, 2023 at 10:45 a.m.

Saturday, January 21, 2023 at 8 p.m. in Orchestra Hall

TABITA BERGLUND, conductor EDGAR MOREAU, cello

Anna Thorvaldsdottir Metacosmos (b. 1977)

Sergei Prokofiev Sinfonia concertante for (1891 - 1953) Cello and Orchestra, Op. 125

I. Andante

II. Allegro giusto

III. Andante con moto - Allegretto - Allegro marcato

Edgar Moreau, cello

Intermission

Jean Sibelius Symphony No. 1 in E minor, Op. 39 (1865 - 1957)

I. Andante, ma non troppo - Allegro energico

II. Andante, ma non troppo lento

III. Scherzo: Allegro

IV. Finale (quasi una fantasia): AndanteAllegro molto

PROGRAM NOTES

Saturday’s

Metacosmos

Composed 2017 | Premiered 2017

ANNA THORVALDSDOTTIR

B. July 11, 1977, Iceland

Scored for 2 flutes, piccolo, alto flute, 2 oboes, english horn, 3 clarinets, bass clarinet, 4 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 trombones, 2 tubas, percussion, and strings. (Approx. 14 minutes)

On

Metacosmos, composer Anna Thorvaldsdottir writes the following: “Metacosmos is constructed around the natural balance between beauty and chaos—how elements can come together in (seemingly) utter chaos to create a unified, structured whole. The idea and inspiration behind the piece, which is connected as much to the human experience as to the universe, is the speculative metaphor of falling into a black hole—the unknown— with endless constellations and layers of opposing forces connecting and communicating with each other, expanding and contracting, projecting a struggle for power as the different sources pull on you and you realize that you are being drawn into a force that is beyond your control.

As with my music generally, the inspiration behind Metacosmos is not something I am trying to describe through the piece—to me, the qualities of the music are first and foremost musical. When I am inspired by a particular element or quality, it is because I perceive it as musically interesting, and the qualities I tend to be inspired by are often structural, like proportion and flow, as well as relationships of balance between details within a larger structure, and how to move in perspective between the two— the details and the unity of the whole.”

This performance marks the DSO premiere of Anna Thorvaldsdottir’s Metacosmos.

Sinfonia Concertante for Cello & Orchestra

Composed 1950-1951 | Premiered February 18, 1952

SERGEI PROKOFIEV

B. April 23, 1891, Sontsivka, Ukraine

D. March 5, 1953, Moscow, Russia

Scored for 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, keyboard, and springs. (Approx. 37 minutes)

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.

Title Sponsor:

JADER BIGNAMINI , Music Director

TERENCE BLANCHARD Fred A. Erb Jazz Creative Director Chair

NA’ZIR

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

NEEME

Music Director Emeritus LEONARD SLATKIN Music Director Laureate

Sergei Prokofiev’s

Sinfonia Concertante for Cello and Orchestra is a major work—and one of his only two cello concertos in existence. Divided into three movements, the cello part is virtuosic, giving the soloist a great task of endurance with few breaks throughout the piece. Prokofiev’s first cello concerto, premiered in Moscow in 1938, was not well-received by the audience. This was partially due to its level of difficulty compared to Prokofiev’s other works, as well as the soloist’s interpretation of the piece during the premiere. The aftermath of this performance caused Prokofiev to remove the concerto from his repertoire completely—and the work was never officially published. In fact, Prokofiev never heard the piece again until it was performed by cellist Mstislav Rostropovich in the Small Hall at the Moscow Conservatory in 1947—a performance that Prokofiev attended, moving him to the point of offering to revise the concerto for Rostropovich.

Prior to the concerto revisions, Prokofiev wrote a cello sonata for Rostropovich, and upon hearing its premiere immediately began re-working his first concerto for the cellist. Prokofiev was so enthralled by Rostropovich’s playing that the collaboration between the two of them became transformational in developing new (soon-to-be) standard repertoire for the cello.

Rostropovich spent a few summers with the composer reworking and revising the concerto. In essence, Prokofiev’s second cello concerto was a complete re-working of his first, with Rostropovich giving its premiere in February of 1952 under the temporary title of “Cello Concerto No. 2.” Despite a successful premiere, Prokofiev was still not entirely

happy with the work and continued to revise both the score and the title. The piece’s final form was presented with the Russian title “Sinfonia-Kontster,” meaning “Symphony Concerto” or “Sinfonia Concertante,” as it is known today. This title is representative of a genre present in the late-18th and early-19th centuries where more than one instrument carried the solo parts throughout—essentially a form of a “group concerto.” Although this piece is a concerto for solo cello and orchestra, it includes solos and melodies arising from within different sections of the orchestra, all supporting the work as a whole and intertwining with the solo cello lines.

Although he initially composed his first cello concerto during a happier part of his life—he was returning home to Moscow after several years of living in Paris—its success was largely due to Rostropovich’s input on the second version. During the time of its premiere in 1952, Prokofiev’s health was failing, and he was growing profoundly distraught and depressed by the severity of the censorship of his compositions by the Central Committee of the Communist Party and Stalin’s regime. With Rostropovich’s help, the initial passion and enthusiasm of the first cello concerto continued to shine through this work, despite the many hardships Prokofiev faced at the time. Prokofiev died a year after the premiere in 1953, ironically one hour before Stalin’s passing—an ironic twist of fate that remained true to the unfortunate narrative Prokofiev had suffered with Stalin during his final years. This performance marks the DSO premiere of Prokofiev’s Sinfonia Concertante for Cello and Orchestra.

Symphony No. 1 in E Minor, Op. 39

Composed 1898-1899 | Premiered April 26, 1899

JEAN SIBELIUS

B. December 8, 1865, Tavastehus, Finland D. September 20, 1957, Jarvenpää, Finland

Scored for 2 flutes (both doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 38 minutes)

Symphony have been pointed out. Indeed, the scholar Cecil Gray sees in the symphony a struggle of Finland against Russia, the principal themes being Russian and the subsidiary ones Finnish. In fact, the resemblance to Borodin is more apparent on paper than in performance, and the only movement that sounds strongly Russian is the Andante, with its drooping main theme, reminiscent of Tchaikovsky.

Sibelius

began work on his First Symphony in 1898. After its premiere a year later, critic Richard Faltin, writing in the Nya Pressen, remarked that Sibelius moved in symphonic form “with remarkable freedom, following the flight of his inspiration and permitting himself such departures from its discipline as he considers fitting. Few specifically Finnish characteristics are to be found in the symphony: the composer speaks the language of all mankind, yet a tongue that is none the less his own.”

A month later, Sibelius was awarded a grant of 2,500 marks from the State Fund for the encouragement of Finnish composers.

Still more significant was the fact that, a year after its premiere, the First Symphony was taken on a European tour by the Helsinki Orchestra, culminating in an appearance at the World Exposition in Paris. This came at a time when Russia had tightened its grip on Finland, and the issue of Finnish nationalism had become acute. The crowds at the Paris concerts may have been small, but Sibelius’s music had been well received in other cities on the tour. He had asserted, however quietly, that Finland was a land with a culture of its own.

The similarities between the principal theme of the first movement and the corresponding one in Borodin’s First

Apparent at once is Sibelius’s mastery of symphonic structure, not in the sense of pouring his own materials into a preset outline, but in taking possession of the symphonic tradition and turning it to his own purposes. His achievement is most unassailable in the first movement, which moves surely, without a hint of padding or stitching. Already, there is a hint of his characteristic telescoping of form, in a development that is blended so unobtrusively into a shortened reprise that the listeners are hardly aware when they have crossed the border.

The melodic material of the Andante may belong to the era of overstuffed furniture and high collars, but Sibelius’s treatment of it is anything but commonplace. The Scherzo is energetic but never in haste.

The last movement is less secure, its main subject not quite distinctive enough for extensive treatment, and the second subject is too sentimental for some tastes. Especially welcome are the parallels between the first and last movements: the introductory clarinet theme of the first movement transformed into a cry of the full orchestra in the finale, and the same quiet ending for both, on a pizzicato chord.

Michael Fleming

The DSO most recently performed Sibelius’s Symphony No. 1 in March 2016, conducted by Thomas Dausgaard. The DSO first performed the work in January 1928, conducted by Georg Schneevoigt.

DETROIT SYMPHONY ORCHESTRA

TABITA BERGLUND

EDGAR MOREAU

Tabita

Berglund is one of today’s most exciting, talented young conductors who is fast gaining a reputation for her alert, charismatic and inspiring style.

Berglund is currently Principal Guest Conductor of the Kristiansand Symphony Orchestra, appointed to this post following her debut engagement with the orchestra in 2020.

Highlights of 2022-23 include Berglund’s London debut with the Philharmonia (Royal Festival Hall) and season-opening debut concerts with Germany’s Sinfonieorchester Wuppertal. Berglund also makes her debut with the BBC Scottish Symphony Orchestra, Orchestre National du Capitole de Toulouse, Malmö Symphony Orchestra and Orquesta Sinfonica de RTVE in Madrid, while return visits include the Royal Stockholm Philharmonic, Finnish Radio Symphony, and Bergen Philharmonic orchestras, as well as her fourth guest appearance each with the Hallé and Royal Scottish National Orchestra.

Berglund graduated in 2019 from the Orchestral Conducting Masters course at the Norwegian Academy of Music and originally trained as a cellist before switching her focus to conducting. She was the 2018–20 star of the Talent Norway program and is a past recipient of the Gstaad Conducting Academy’s Neeme Järvi Prize. Berglund’s debut CD, on which she conducts the Oslo Philharmonic with violinist Sonoko Miriam Welde, was released in 2021 (LAWO) and subsequently nominated for a Norwegian Grammy (Spellemann) in the 2022 Classical Music category.

cellist Edgar Moreau won First Prize in the 2014 Young Concert Artists International Auditions and was awarded six Special Prizes after capturing Second Prize and the prize for Best Performance of the Commissioned Work at the International Tchaikovsky Competition under the chairmanship of Valery Gergiev. At the Rostropovitch Cello Competition in Paris in 2009, he received the Prize for the Most Promising Contestant.

Celebrated

PVS CLASSICAL SERIES

Moreau regularly performs with acclaimed conductors and world-renowned orchestras including the Roma Santa Cecilia Orchestra, Filarmonica della Scala, London Symphony Orchestra, Philharmonia Orchestra, Royal Philharmonic, Los Angeles Philharmonic, Seattle Symphony, The Philadelphia Orchestra, and others. He is frequently invited to notable festivals including Verbier, Salzburg, Gstaad, Montreux, and others.

An Erato exclusive artist, Edgar Moreau released his debut album, Play, in 2014 with pianist Pierre-Yves Hodique. His follow-up, Giovincello, featured baroque concertos with the ensemble Il Pomo d’Oro and Riccardo Minasi and won an ECHO Klassik Award in 2016. He has also recorded Debussy’s sonatas and trios and a duo album with David Kadouch with works by Franck, Poulenc, Strohl, and De la Tombelle. His latest release is a recording of Gulda and Offenbach concertos with Les Forces Majeures and Raphaël Merlin.

Moreau plays on a David Tecchler cello from 1711. His bow was made by Dominique Peccatte.

BRAHMS’ FIRST PIANO CONCERTO & BARTÓK

Friday, February 3, 2023 at 10:45 a.m.

Friday, February 3, 2023 at 8 p.m. Saturday, February 4, 2023 at 8 p.m. in Orchestra Hall

LEONARD SLATKIN, conductor GARRICK OHLSSON, piano

Igor Stravinsky Symphonies of Wind Instruments (1882 - 1971)

Béla Bartók Music for Strings, Percussion, and Celesta (1881 - 1945) I. Andante tranquillo II. Allegro III. Adagio IV. Allegro molto

Intermission

Johannes Brahms Piano Concerto No. 1 in D minor, Op. 15 (1833 - 1897) I. Maestoso II. Adagio III. Rondo: Allegro non troppo Garrick Ohlsson, piano

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.

Title Sponsor:

JA DER B I G NA M I N I MUSIC DIRECTOR

A COMMU N I T Y -SU P P ORT E D ORCHESTRA

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 JEFF TYZIK Principal Pops Conductor

PROGRAM AT-A-GLANCE | BRAHMS’ FIRST PIANO CONCERTO & BARTÓK

Stay True to Your Roots

One thing that Stravinsky, Brahms, and Bartók all had in common was an unshakeable sense of confidence. Although each composer dealt with occasional self-doubt, they never failed to honor their roots and remain true to themselves. Brahms’s Piano Concerto No. 1—played here by Garrick Ohlsson, who this season celebrates 50 years of performing with the DSO—masterfully demonstrates the composer’s ability to capture and convey deep, human emotions. The orchestral accompaniment is structured with an intention to “deepen and intensify his arguments” within the music. Although Bartók’s influences came almost exclusively from his Hungarian heritage, he was criticized by his home country for his modern interpretations. Nevertheless, he clung to these folk melodies and showcased them, especially in his Music for Strings, Percussion, and Celesta. Stravinsky’s Symphonies of Wind Instruments was not intended to please audiences, rather to pay tribute, in his own way, to composer Claude Debussy. Stravinsky was no stranger to criticism, and he knew that this piece would receive the respect and appreciation it deserved in due time. It is because of the strong conviction and determination of these composers that we are afforded the opportunity to perform and enjoy their masterful works today.

PROGRAM NOTES

Symphonies of Wind Instruments

Composed 1920 | Premiered 1921

IGOR STRAVINSKY

B. June 17, Oranienbaum (now Lomonosov), Russia

D. April 6, 1971, New York, New York

Scored for 3 flutes, 2 oboes, english horn, 3 clarinets, 3 bassoons (one doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, and tuba. (Approx. 9 minutes)

Like many composers of his time, Igor Stravinsky’s compositional style shifted after the conclusion of World War I.

This post-war period prompted a transition from late Romanticism to Neoclassicism, where the inflated musical ideas of Romanticism were contrasted, questioned, and distorted.

The concept of Stravinsky’s Symphonies of Wind Instruments stemmed from a piece he initially wrote in memorium of Claude Debussy two years after his death upon request by La Revue Musicale. This piece was to appear in a tribute volume of the Revue magazine for Debussy alongside contributions by other prominent

composers of the time. Stravinsky enthusiastically accepted this request, stating that “the musicians of my generation and I myself owe the most to Debussy.”

Stravinsky’s memorial piece was initially submitted as a chorale arranged for piano solo, which he re-orchestrated and expanded shortly after its submission into a larger body of work that consisted of a series of contrasting musical episodes. Some of these episodes were newly composed, and others were drawn from the composer’s previous compositional renderings. This expansion formulated the Symphonies of Wind Instruments, and the original chorale he wrote for Debussy’s memorial tribute can be heard at the end of this piece.

Although this piece is now widely referred to as the most important work for a large wind ensemble from the 20th century, its premiere in 1921 was very poorly received. Stravinsky’s intention for this composition was as follows: “The homage that I intended to pay to the memory of the great musician ought not to be inspired by his musical thought. On the contrary, I desired rather to express myself in a language essentially my own... [this work was] not meant ‘to please’ an audience or rouse its passions. I had hoped however, that it would appeal to

those in whom a purely musical receptivity outweighed the desire to satisfy emotional cravings.” However, the London premiere led by conductor Serge Koussevitzky sparked disgust and disapproval from both the crowd and the critics—the audience laughed, complained, hissed, and sniffed at the phrases throughout the initial performance.

Although Stravinsky anticipated some backlash following this premiere, the strong reaction prompted him to re-orchestrate the initial scoring, substituting flute and clarinet with its original alto flute and basset horn instrumentation to enhance the effects of sharper articulations and “bitier” abrupt chords throughout. This updated instrumentation reflects a wind section that has been pulled from a symphony orchestra rather than that of a standard wind ensemble.

This piece consists of only three tempi with a precise relationship to one another: slow, medium, and fast presented in 2:3:4 ratios of speed increasing from mm. 72, to 104, to a final 144, indicative of Stravinsky’s meticulate and mathematical methodology in his compositions. As the musical episodes continue to alternate and evolve throughout the piece, the final chorale begins to trickle in, with a full-clarity presentation at the end, bringing the tribute to Debussy to a serene conclusion.

This performance marks the DSO premiere of Stravinsky’s Symphonies of Wind Instruments.

Music for Strings, Percussion, and Celesta

Composed 1936 | Premiered January 21, 1937

BÉLA BARTÓK

B. March 25, 1881, Nagyszentmiklós, Hungary

D. September 26, 1945, New York, New York

Scored for piano, harp, timpani, percussion, xylophone, celesta, and strings. (Approx. 32 minutes)

By the mid-1930s, Bartók had established himself as one of the most

important composers of his time. He remained little known in his native Hungary, where his works were infrequently performed, but regularly attacked for their cosmopolitan modernity. (Surprisingly, Bartók, who often referred to Hungarian folk music in his compositions, was chided in his homeland for failing to produce “nationalist” music.) Elsewhere in Europe, however, the composer was winning admirers, particularly among other musicians.

One of these was Paul Sacher, conductor of the excellent chamber orchestra in Basle, Switzerland. Sacher, was—and remained for many years—a devoted advocate of modern music. He commissioned works from several of the century’s leading composers, including Bartók, who wrote his masterful Music for Strings, Percussion, and Celesta for the Basle Chamber Orchestra in 1936.

Music for Strings, Percussion, and Celesta combines the energy and rhythmic drive of Bartók’s early music with a bracing sense of compositional rigor and formal unity. Much of the work springs from a single germinal motif, and thematic cross-references bind together its four movements. In fashioning this score, Bartók dispensed with the variegated aural colors of the wind instruments in favor of the more homogeneous timbre offered by a double string orchestra; to this he added piano, harp, timpani, xylophone, celesta, and various percussion instruments. From this ensemble he extracted strikingly original aural colors. The first of the work’s four movements opens with a sinuous theme given out by the violas. This subject is taken up by the other strings in turn, each entrance adding a strand to an increasingly dense and intricate web of echoic counterpoint. The music expands to a riveting central climax, whereupon Bartók quite literally reverses course. Inverting the theme— that is, reversing its contours, so that the melodic line falls where it formerly

ascended, and vice versa—he leads the music back to its point of origin. Slowly the textures thin out, the dynamics levels fade toward silence, and the range of melody and counterpoint constrict at last to a single tone. The movement thus describes a broad formal arch, at once simple and beautiful in shape.

In contrast to the narrow thematic focus and austere contrapuntal discourse of this opening, the second movement presents an extraordinarily energetic and varied surface. Bartók calls forth seemingly all the instrumental colors and textures at his disposal and enlivens the proceedings with antiphonal statements and answers between the orchestra’s two string choirs. The third movement provides an example of the atmospheric “night music” that Bartók occasionally composed. Here the nocturnal air seems mysterious, even eerie. And amid its clicks, rustling, and other unusual sonorities, we hear numerous recollections of the writhing theme that opened the work.

The finale begins as a lively and rhythmically complex peasant dance and climaxes with a reappearance of the theme from the first movement, which Bartók proceeds to clothe in rich chorale harmonies. Apart from this, the composer presents a generous succession of melodic ideas, most of them evoking the sound of the Hungarian folk dances he knew and loved so well.

The DSO most recently performed Bartók’s Music for Strings, Percussion, and Celesta in November 2003, conducted by Philippe Jordan. The DSO first performed the work in December 1956, conducted by Paul Paray.

Piano Concerto No. 1 in D minor, Op. 15

Composed 1858 | Premiered January 22, 1859

JOHANNES BRAHMS

B. May 7, 1833, Hamburg, Germany D. April 3, 1897, Vienna, Austria

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. (Approx. 42 minutes)

LikeBrahms’s C minor Symphony, the D minor Concerto had an extended gestation period that involved a considerable metamorphosis. Brahms conceived the work as a symphony in 1854, but set himself the exercise of writing a preliminary draft for two pianos. (He followed the same procedure with the Haydn Variations nearly 20 years later.) However, he could not easily adapt the piano texture of the work to an orchestral style, so he decided to turn it into a concerto. In doing so, he set aside the funeral march he had composed for the work, using it later in the German Requiem, and wrote a vigorous new rondo as the concerto’s closing movement.

The concerto opens with a chilling timpani roll, introducing a strident, trillladen theme in the strings. Two subsidiary themes relieve some of the tension, but a more insistent return of the trill theme announces the second and more complete thematic exposition, this one featuring the piano in an even-flowing Bach-like theme set against the cutting orchestral trills. Once this thematic material has been worked out, the key changes to a sunnier F major and the piano blooms forth in a broad, expressive, and quite Romantic second theme.

The piano leads off the stormy development, thundering down the keyboard in leaping octaves. When this section has run

its course, a series of loudly-hammered chords announces the recapitulation. With the thorough craftsmanship and unfailing invention that is a Brahmsian trait, all six themes presented in the two expositions are again heard, but in different relationships between the piano and orchestra.

The serene slow movement originally bore the inscription (in Latin): “Blessed is he who cometh in the name of the Lord.” Brahms first met Robert and Clara Schumann in 1853, the year before he commenced work on the concerto, and some early writers associated the Latin inscription with Schumann, who was called “Dominus” (“Lord”) by his circle of admirers. However, modern scholars see it as a reference to the composer’s semi-suppressed love for Clara Schumann, citing Brahms’s statement in a letter to her: “I am also painting a lovely portrait of you; it is to be the Adagio.” Indeed, this movement is a very personal,

intimate outpouring of beautiful music: reverent, song-like and interrupted only once by a passionate outburst.

Three themes—in D minor, F major, and B-flat major, respectively—alternate throughout the spirited closing rondo, whose rough humor shines through Brahms’s frowning visage. The second theme sounds like a variation of the first, while the third turns into a short fugato at the center of the movement. Following a lengthy solo cadenza (the first of two), the first theme is transformed into a jolly D major march.

The DSO most recently performed Brahms’s Piano Concerto No. 1 in February 2015, conducted by Leonard Slatkin and featuring pianist Hélène Grimaud. The DSO first performed the work in January 1922, conducted by Ossip Gabrilowitsch and featuring pianist Richard Buhlig.

PROFILES

LEONARD SLATKIN

Internationally acclaimed conductor Leonard Slatkin is Music Director Laureate of the Detroit Symphony Orchestra (DSO), Directeur Musical Honoraire of the Orchestre National de Lyon (ONL), and Conductor Laureate of the St. Louis Symphony Orchestra. He maintains a rigorous schedule of guest conducting throughout the world and is active as a composer, author, and educator.

Slatkin has received six Grammy Awards and 35 Grammy Award nominations. His latest recording is the world premiere of Alexander Kastalsky’s Requiem for Fallen Brothers,

commemorating the 100th anniversary of the armistice ending World War I. Other recent Naxos releases include works by Saint-Saëns, Ravel, and Berlioz (with the ONL) and music by Copland, Rachmaninoff, Borzova, McTee, and John Williams (with the DSO). In addition, he has recorded the complete Brahms, Beethoven, and Tchaikovsky symphonies with the DSO (available online as digital downloads).

A recipient of the prestigious National Medal of Arts, Slatkin also holds the rank of Chevalier in the French Legion of Honor. He has received the Prix Charbonnier from the Federation of Alliances Françaises, Austria’s Decoration of Honor in Silver, the League of American Orchestras’ Gold Baton Award, and the 2013 ASCAP Deems Taylor Special

Recognition Award for his debut book, Conducting Business. His second book, Leading Tones: Reflections on Music, Musicians, and the Music Industry, was published by Amadeus Press in 2017. He is working on a third volume, Classical Crossroads: The Path Forward for Music in the 21st Century.

Slatkin has conducted virtually all the leading orchestras in the world. As Music Director, he has held posts in New Orleans; St. Louis; Washington, DC; London (with the BBCSO); Detroit; and Lyon, France. He has also served as Principal Guest Conductor in Pittsburgh, Los Angeles, Minneapolis, and Cleveland.

GARRICK OHLSSON

orchestras; in recital in San Francisco, Los Angeles, and Houston; at the Ravinia and Tanglewood summer festivals; and in a tour in the US with Kirill Gerstein. The 2022-23 season includes orchestra performances in Boston, Minneapolis, San Diego, Spain, Poland, and the Czech Republic.

DETROIT SYMPHONY ORCHESTRA

FRANK & THE GREAT LADIES OF SONG

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

Saturday, February 11, 2023 at 8 p.m. Sunday, February 12, 2023 at 3 p.m. in Orchestra Hall

Pianist

Garrick Ohlsson has established himself worldwide as a musician of magisterial interpretive and technical prowess. Although long regarded as one of the world’s leading exponents of the music of Chopin, Ohlsson commands an enormous repertoire ranging over the entire piano literature and he has come to be noted for his masterly performances of the works of Mozart, Beethoven, and Schubert, as well as the Romantic repertoire. To date, he has at his command more than 80 concertos, ranging from Haydn and Mozart to works of the 21st century.

A frequent guest with the orchestras in New Zealand and Australia, Ohlsson accomplished a seven-city recital tour across Australia just prior to the closure of the concert world due to COVID-19. Since that time and as a faculty member of San Francisco Conservatory of Music, he has kept music alive for several organizations with live or recorded recital streams. Since the re-opening of concert activity in summer 2021, he has appeared with the Indianapolis, Atlanta, Dallas, Seattle, Toronto, and Cleveland

An avid chamber musician, Ohlsson has collaborated with the Cleveland, Emerson, Tokyo, and Takacs string quartets, and began the 2022-23 season with a US tour with Poland’s Apollon Musagete quartet. Together with violinist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the San Francisco-based FOG Trio. Ohlsson has appeared in recital with such legendary artists as Magda Olivero, Jessye Norman, and Ewa Podleś. Ohlsson can be heard on the Arabesque, RCA Victor Red Seal, Angel, BMG, Delos, Hänssler, Nonesuch, Telarc, Hyperion, and Virgin Classics labels.

A native of White Plains, NY, Ohlsson began his piano studies at the age of 8, at the Westchester Conservatory of Music; at 13 he entered The Juilliard School. He has been awarded first prizes in the Busoni and Montreal Piano competitions, the Gold Medal at the International Chopin Competition in Warsaw (1970), the Avery Fisher Prize (1994), the University Musical Society Distinguished Artist Award in Ann Arbor, MI (1998), the Jean Gimbel Lane Prize in Piano Performance from the Northwestern University Bienen School of Music (2014), and the Gloria Artis Gold Medal for cultural merit from the Polish Deputy Culture Minister.

ENRICO LOPEZ-YAÑEZ, conductor

TONY DESARE, piano & vocals

CAPATHIA JENKINS, vocals

Program to be announced from the stage

PROGRAM AT-A-GLANCE | FRANK SINATRA & THE GREAT LADIES OF SONG

Sinatra Takes the Motor City

Frank Sinatra, affectionately known as “Ol’ Blue Eyes,” dazzled audiences across the world with his charisma, silky smooth and effortless voice, good looks, and hit songs. Sinatra is among the world’s best-selling musical artists, having recorded well over 1,200 songs. While Sinatra traveled the world throughout his career, he only visited Michigan three times—in 1946 and 1965 for performances, and again in 1980 when he was presented with a brand-new 1981 Chrysler Imperial by his friend Lee Iacocca, Chrysler’s Chairman at the time. This presentation was in gratitude for Sinatra’s agreement to help promote the car. And promote the car he did—through the song “It’s Time” and with the collaboration of a specialty “Glacier Blue Crystal” Imperial edition to match the color of his signature blue eyes. In this performance, the DSO brings Sinatra hit songs back to the Motor City, featuring critically-acclaimed vocalists Tony DeSare and Capathia Jenkins.

I T Y

JA DER B I G NA M I N I MUSIC DIRECTOR

A COMMU N I T Y -SU P P ORT E D ORCHESTRA

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

JEFF TYZIK Principal Pops Conductor

PROFILES

ENRICO LOPEZ-YAÑEZ

Enrico

Lopez-Yañez is Principal Pops Conductor of the Nashville Symphony, where he leads the symphony’s pops and family series.

Lopez-Yañez is quickly establishing himself as one of the nation’s leading conductors of popular music and becoming known for his unique style of audience engagement. An active composer and arranger, Lopez-Yañez has been commissioned to write for the Cincinnati Pops Orchestra, Houston Symphony, San Diego Symphony, and Omaha Symphony, and has had works performed by orchestras including the Detroit Symphony Orchestra, Florida Orchestra, Ft. Worth Symphony, Indianapolis Symphony, Rochester Philharmonic, Seattle Symphony, and Utah Symphony, among others.

In the upcoming season, Lopez-Yañez will collaborate with artists including Aida Cuevas, The Beach Boys, Ben Folds, Renée Elise Goldsberry, Vanesa Williams, and Pink Martini. Lopez-Yañez will appear with the Baltimore Symphony, Buffalo Philharmonic, Pittsburgh Symphony, The Philadelphia Orchestra, Phoenix Symphony, San Francisco Symphony, and Seattle Symphony as well as make return appearances with the Dallas Symphony, Indianapolis Symphony, Omaha Symphony, Pacific Symphony, San Diego Symphony, and Utah Symphony.

As Artistic Director and Co-Founder of Symphonica Productions, LLC, LopezYañez curates and leads programs designed to cultivate new audiences.

Symphonica’s productions have been described as “incredibly special–and something that needs to become the new norm” (Lima Symphony ). Symphonica Productions is also a sheet music publishing house, representing a diverse range of

genres and composers including Grammy Award nominee Clarice Assad, Andres Soto, Charles Cozens, and Vinicio Meza.

As a producer, composer, and arranger, Lopez-Yañez’s work can be heard on numerous albums including the UNESCO benefit album Action Moves People United and children’s music albums including The Spaceship that Fell in My Backyard and Kokowanda Bay.

TONY DESARE

Tony DeSare performs with infectious joy, wry playfulness, and robust musicality. Named a Rising Star Male Vocalist in DownBeat magazine, DeSare has lived up to this distinction by winning critical and popular acclaim for his concert performances throughout North America and abroad.

From jazz clubs to Carnegie Hall, to Las Vegas—headlining with Don Rickles—and major symphony orchestras, DeSare has brought his fresh take on old school class around the globe. DeSare has four top ten Billboard jazz albums under his belt and has been featured on the CBS Early Show, NPR’s A Prairie Home Companion, and The Today Show. DeSare has also collaborated with YouTube icons Postmodern Jukebox. DeSare’s Lush Life recording debuted at No. 3 on the Billboard Traditional Jazz Chart and he released Song Diaries Vol. 2 in early 2022, now streaming on all platforms.

DeSare is also an award-winning composer who won first place in the USA Songwriting Contest. He also wrote the theme song for the motion picture, My Date With Drew, several broadcast commercials, and has composed the full soundtracks for the Hallmark Channel’s Love Always, Santa, Lifetime’s Nanny Nightmare, and Lifetime’s new A Welcome Home Christmas. His sound is romantic,

swinging and sensual, but what sets DeSare apart is his ability to write original material that sounds fresh and contemporary, yet pays homage to the Great American Songbook. Tony DeSare is a Yamaha Artist.

CAPATHIA JENKINS

Brooklyn-born and raised actress and vocalist Capathia Jenkins most recently starred as Medda in the hit Disney production of Newsies on Broadway. She made her Broadway debut in The Civil War, where she created the role of Harriet Jackson. She then starred in the Off-Broadway 2000 revival of Godspell, where she wowed audiences with her stirring rendition of Turn Back, O Man, which can still be heard on the original cast recording. She returned to Broadway in The Look of Love and was critically acclaimed for her performances of the Bacharach/David hits. Jenkins then created the roles of The Washing Machine in Caroline, or Change and Frieda May in Martin Short’s Fame Becomes Me, where she sang “Stop the

Show” and brought the house down every night.

In 2007, she went back to Off-Broadway and starred in (mis) Understanding Mammy: The Hattie McDaniel Story, for which she was nominated for a Drama Desk Award. She was also seen in Nora Ephron’s Love, Loss, and What I Wore.

An active concert artist, Jenkins has appeared with orchestras around the world including the Cleveland Orchestra, Houston Symphony, Pittsburgh Symphony (with Marvin Hamlisch), National Symphony, Atlanta Symphony, Seattle Symphony, Utah Symphony, Minnesota Orchestra, and others. In 2011, Jenkins had the great honor of performing in the “Broadway Ambassadors to Cuba” concert as part of the Festival De Teatro De La Habana. Jenkins has been a guest soloist with Peter Nero and the Philly Pops and with the Cincinnati Pops.

Her television credits include 30 Rock, The Practice, The Sopranos, and Law & Order: Special Victims Unit. She can be seen in the 2012 film Musical Chairs, directed by Susan Seidelman, and heard on film soundtracks including Nine, Chicago, and Legally Blonde 2.

JA DER

DETROIT SYMPHONY ORCHESTRA

A

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

JADER BIGNAMINI , Music Director

Music Directorship endowed by the Kresge Foundation

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

PVS CLASSICAL SERIES

NEEME JÄRVI Music Director Emeritus LEONARD SLATKIN Music Director Laureate

PROGRAM AT-A-GLANCE | SHOSTAKOVICH’S FIFTH SYMPHONY & ANNA CLYNE’S GLASSLANDS

Go Where There Are No Guarantees

Many great orchestral works have blossomed out of a fearless leap of faith. Shostakovich’s Fifth Symphony was an attempt for rehabilitation in Stalin’s regime, where he was at risk of facing persecution due to his lack of compliance in conservative musical traditions. Shostakovich brilliantly parodied a sense of rejoicing in a traditional Romantic-era style—a risky move that would have proved dangerous had it not been flawlessly executed. After a long period of selfdoubt, Tchaikovsky sought guidance from composer Mily Alexeyevich Balakirev, leading to the writing of his renowned Romeo and Juliet Fantasy Overture. Ironically, Balakirev was unhappy with the work after its premiere, claiming it lacked depth and emotion. Tchaikovsky lived to see his work pay off, and its love theme is now present in countless films, advertisements, TV shows, and more. Composer Anna Clyne has been described as “fearless” by NPR and as a “composer of uncommon gifts and unusual methods” by The New York Times, and the world premiere of her saxophone concerto by Jess Gillam will showcase these critically acclaimed traits. The works on this program demonstrate that through fearlessness and resilience, one may find wild and wonderful success.

SHOSTAKOVICH’S FIFTH SYMPHONY & SAXOPHONE CONCERTO WORLD PREMIERE

Saturday, February 18, 2023 at 8 p.m. Sunday, February 19, 2023 at 3 p.m. in Orchestra Hall

HAN-NA CHANG, conductor JESS GILLAM, saxophone

Piotr Ilyich Tchaikovsky Romeo and Juliet Fantasy Overture (1840 - 1893)

Anna Clyne Glasslands (World Premiere) (b. 1980) Jess Gillam, saxophone

Intermission

Dmitri Shostakovich Symphony No. 5 in D minor, Op. 47 (1906 - 1975) I. Moderato

II. Allegretto III. Largo IV. Allegro non troppo

Sunday’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 NOTES

Romeo and Juliet

Fantasy Overture

Composed 1880 | Premiered May 1, 1886

PYOTR ILYICH TCHAIKOVSKY

B. May 7, 1840, Votkinsk, Russia

D. November 6, 1893, Saint Petersburg, Russia

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 21 minutes)

Though he is enormously celebrated today, Tchaikovsky was plagued throughout his life by doubts about his talent and the worth of his music. Occasionally, he would suffer periods of malaise and selfdoubt that prevented him from composing at all, and a particularly acute episode hit him in the summer of 1869. Tchaikovsky had recently suffered scathing receptions of several major works and was so dejected by their failure that he destroyed most of the music. “Not one passable musical idea has entered my head in months,” he wrote that October.

But Tchaikovsky found a new ally and

mentor, one whose encouragement prompted him to resume working.

Mily Alexeyevich Balakirev was a composer of comparatively modest talent, but he had an enormous impact on the development of 19th-century Russian music. He became the leader and spokesman of a group of nationalist composers that would eventually include Borodin, Rimsky-Korsakov, and Mussorgsky, and he was tireless in arguing for a new kind of music, one based on dramatic ideas rather than abstract classical modes imported from Western Europe. Tchaikovsky, whose training had steeped him in the classical tradition, was at first mistrustful of Balakirev’s school of thought. But the two men took a liking to each other when they met in person, and soon began a fruitful exchange of musical ideas.

Balakirev suggested that Tchaikovsky consider an overture based on Shakespeare’s Romeo and Juliet. The tale of the tragic, star-crossed lovers would have been particularly inviting to Tchaikovsky, who was highly sensitive and very well-read. In devising music for the play, Tchaikovsky focused on three principal elements of the drama. The long introductory section conveys a sense of

DSO PERFORMANCE MAGAZINE 35 34 DSO PERFORMANCE MAGAZINE WINTER 2022–2023 dso.org #IAMDSO

resigned spirituality, very much in character with Shakespeare’s Friar Laurence. A violent episode follows this, complete with cymbal crashes, to represent the clash of Montague and Capulet swords. Finally, the love of Romeo and Juliet is presented in a soaring melody—the one we all know from countless films, television shows, advertisements, and so on. Balakirev, ironically, was not happy with the work. The opening was too tame, he said, and the love theme lacked ardor! Early audiences evidently agreed. The overture was received with indifference at its first performance in Moscow and fared no better (and sometimes far worse) in the West. But Tchaikovsky lived to see that judgment reversed, and today his Romeo and Juliet Overture is among the most popular works in the orchestral repertory.

The DSO most recently performed Tchaikovsky’s Romeo and Juliet Fantasy Overture during the Tchaikovsky Festival in February 2015, conducted by Leonard Slatkin. The DSO first performed the piece in January 1916, conducted by Weston Gales.

Glasslands Composed 2022 | Premiered 2022

ANNA CLYNE

B. March 9, 1980, London, United Kingdom

Scored for solo saxophone, 2 flutes (one doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, trombone, tuba, percussion, and strings. (Approx. 25 minutes)

Grammy Award nominee

Anna Clyne is one of the most in-demand composers today, working with orchestras, choreographers, filmmakers, and visual artists around the world. She currently serves as Composerin-Residence with the Philharmonia Orchestra and the Trondheim Symphony Orchestra, and will serve in the same role

with the Helsinki Philharmonic Orchestra next season.

Clyne has been commissioned and presented by the world’s most dynamic and revered arts institutions, including the Barbican, Carnegie Hall, Kennedy Center, Los Angeles Philharmonic, MoMA, Philharmonie de Paris, Royal Concertgebouw Orchestra, San Francisco Ballet, and the Sydney Opera House; and her music has opened such events as the Edinburgh International Festival, The Last Night of the Proms, and the New York Philharmonic’s 2021–2022 season.

Clyne often collaborates on creative projects across the music industry, including Between the Rooms, a film with choreographer Kim Brandstrup and LA Opera, as well as the Nico Project at the Manchester International Festival, a stage work about pop icon Nico’s life that featured Clyne’s reimagining of The Marble Index for orchestra and voices. Clyne has also reimagined tracks from Thievery Corporation’s The Cosmic Game for the electronica duo with orchestra, and her music has been programmed by such artists as Björk.

Several recent projects have explored Clyne’s fascination with visual arts, including Color Field, inspired by the artwork of Mark Rothko; Abstractions, inspired by five contemporary artworks; and Woman Holding a Balanc e, a film collaboration with artist Jyll Bradley. Other recent collaborators include such notable musicians as Martin Fröst, Pekka Kuusisto, and Yo-Yo Ma.

Clyne’s music is represented on several labels and her works Prince of Clouds and Night Ferry were nominated for Grammy Awards in 2015. Her cello concerto, DANCE, recorded by soloist Inbal Segev, the London Philharmonic Orchestra, and Marin Alsop, has garnered more than seven million plays on Spotify. Clyne’s music is published exclusively by Boosey & Hawkes.

Clyne’s Glasslands conjures an imaginary world of three realms governed by

the banshee—a female spirit who, in Irish folklore, heralds the death of a family member, usually by wailing, shrieking, or keening in the silence of the night.

This performance marks the world premiere of Glasslands by Anna Clyne, with Jess Gillam as soloist.

Symphony No. 5 in D minor, Op. 47

Composed 1937 | Premiered November 21, 1937

DMITRI SHOSTAKOVICH

B. September 25, 1906, St. Petersburg, Russia D. August 9, 1975, Moscow, Russia

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, E-flat clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, orchestra bells, snare drum, tam-tam, triangle, xylophone, two harps, piano, celeste, and strings. (Approx. 46 minutes)

ASoviet composer at the height of communist rule in his native Russia, Shostakovich is the prime example of a creative artist forced to operate within a totalitarian system. Though subject matter and style were often dictated by the government, he managed to produce works of great strength and beauty.

During the notorious Stalinist purges of the 1930s, when more than 10 million people were executed or exiled, Shostakovich was severely rebuked for his experimental Fourth Symphony, which the State deemed not to be proper music. The composer was forced to make a difficult decision: either face artistic (and possibly personal) persecution or compromise his standards in favor of “rehabilitation.” After several years of political anonymity, he staked his entire salvation on a single work, the Fifth Symphony.

With this work, composed between April 18 and July 20, 1937, Shostakovich produced a broad, expansive fourmovement symphony very much in the 19th-century Romantic tradition. Dissonance gave way to a firmly rooted tonality, and experimentation to strict symphonic form. The composer said that his Fifth Symphony was conceived “lyrically from beginning to end,” to suggest the progress of a life’s journey from tragedy to a climactic finale of optimism and joy.

Throughout history, artists have thumbed their noses at authorities who were too dense to see through parody and satire, and Shostakovich was no different. Of the finale, Shostakovich wrote in his memoirs (smuggled out of Russia after the composer’s death): “The rejoicing is forced, created under threat...It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering, ‘Our business is rejoicing, our business is rejoicing.’ What kind of apotheosis is that? You have to be a complete oaf not to hear that.”

Critical and popular reaction to the Fifth Symphony, however, was almost hysterically enthusiastic and the piece has since become one of Shostakovich’s most popular works, a favorite of audiences around the globe.

The DSO most recently performed Shostakovich’s Symphony No. 5 in May 2015, conducted by Hannu Lintu. The DSO first performed the piece in February 1945, conducted by Karl Krueger.

GILLAM

HAN-NA CHANG

Han-Na

Chang is Artistic Leader and Chief Conductor of the Trondheim Symfoniorkester & Opera in Norway since 2017, and newly appointed Erste Gastdirigentin (Principal Guest Conductor) of the Symphoniker Hamburg—Laeiszhalle Orchester. She first gained international recognition for her precocious musical gifts at the age of 11, when she won the First Prize and the Contemporary Music Prize at the Fifth Rostropovich International Cello Competition in Paris in 1994, awarded unanimously by the jury led by Mstislav Rostropovich. Her international career took off, and she became an in-demand recitalist and soloist with the world’s top orchestras. Having developed an intense interest in and deep passion for the symphonic repertoire during her late teens and early twenties, she made her formal conducting debut in 2007, at the age of 24, and has since then focused her artistic output exclusively on conducting.

Chang started her tenure as the Artistic Leader and Chief Conductor of the Trondheim Symfoniorkester & Opera in 2017. Prior to this appointment, she served as the orchestra’s Principal Guest Conductor from 2013-2017. She also served as the Music Director of the Qatar Philharmonic Orchestra during the 20132014 season, culminating in their successful and critically acclaimed performance at the 2014 BBC Proms in London. In 2009, she founded and launched the Absolute Classic Festival at Sungnam Arts Center in South Korea and served as its Artistic Director until 2014.

As a guest conductor, Chang’s upcoming appearances include the Danish National Symphony Orchestra, Rotterdam and Oslo

philharmonic orchestras, Royal Scottish National Orchestra, Singapore, Atlanta, Vancouver, Detroit, and Milwaukee symphony orchestras, and others. She has worked with orchestras including the Oslo Philharmonic, Sächsische Staatskapelle Dresden, WDR Sinfonieorchester Köln, Bamberger Symphoniker, the Toronto, Hamburg, Singapore, Tokyo, Cincinnati, St. Louis, Indianapolis, Seattle, Gothenburg, Malmo and Iceland symphony orchestras, the Royal Liverpool Philharmonic Orchestra, Minnesota Orchestra, and others. As a cellist, Chang has performed with all the major orchestras including the Berliner Philharmoniker, New York and Los Angeles philharmonics, London Symphony Orchestra, Symphonieorchester des Bayerischen Rundfunks, Münchner Philharmoniker, The Philadelphia Orchestra, and others. Her cello recordings, exclusively for the Warner Music label, have recieved Grammy Award nominations and won two ECHO Klassik awards, the Caecilia and Cannes Classical awards, and a Gramophone Concerto of the Year accolade, among others, and remain world-wide bestsellers.

Chang was born in Suwon, South Korea in December 1982. At the age of 6, she received her first cello lesson. Her family moved to New York in 1993 in order to support her continuing studies at The Juilliard School, and she has lived in New York since. At the age of 10, she also started studying with Mischa Maisky, who remains her most important influence, and she counts Mstislav Rostropovich and Giuseppe Sinopoli among the most influential mentors of her formative years.

Chang read Philosophy at Harvard University.

Hailing

from Ulverston in Cumbria, Jess Gillam is animating the music world with her outstanding talent and infectious personality.

She has been forging her own adventurous path since she shot to fame as the first saxophonist to reach the finals of BBC Young Musician and became the youngest ever soloist to perform at the Last Night of the Proms. Passionate about inspiring and bringing joy to people through music, Gillam invites audiences on journeys of musical discovery through her electrifying performances and eclectic programming.

As well as performing around the world, Gillam is a presenter on television and radio. She became the youngest ever presenter for BBC Radio 3 with the launch of her own weekly show, This Classical Life. She has also been a guest presenter for BBC Radio 2 and co-hosted a miniseries for BBC Radio 4’s Today Programme. Keen to explore the creative output of her home county, Gillam presented a series of Cumbrian Chats on BBC Radio Cumbria. Gillam is the first ever saxophonist to be signed exclusively to Decca Classics and both of her albums reached No.1 in the UK Classical Music Charts. Her debut album was listed in The Times Top 100 albums of 2019. She has been the recipient of a Classic BRIT Award, has been nominated for The Times Breakthrough Award and was awarded an MBE in the Queen’s Birthday Honours list 2021 for Services to Music.

A free spirit in style and character, Gillam is an advocate for the power of music in society. She is passionate about inspiring and bringing joy to people through music and during lockdown, she formed her “Virtual Scratch Orchestra,”

inviting musicians of any standard to come together to play music virtually with her. Over 2,000 people from around 30 different countries took part in the two projects. Gillam is a patron for Awards for Young Musicians and London Music Fund and enjoys working and performing with young musicians.

She has performed in prestigious concert halls and with world-class orchestras around the globe including the NDR Hannover, Gothenburg Symphony Orchestra, Iceland Symphony Orchestra, Minnesota Symphony Orchestra, Munich Philharmonic, Lahti Symphony Orchestra, and others. She also enjoys touring with her newly formed Jess Gillam Ensemble, bringing together a group of brilliant musicians who share her bold, uplifting, and open-minded approach. Gillam has performed live at the BAFTAs to millions of viewers at home.

Gillam is currently Artist in Residence at the Wigmore Hall, a European Concert Hall Organisation (ECHO) Rising Star which sees her performing at many of the top concert halls across Europe, and she continues to promote her own concert series, bringing international talent to her hometown of Ulverston.

Gillam is a Vandoren UK Artist and became the youngest ever endorsee for Yanagisawa Saxophones at age 13.

THE ANNUAL FUND

Gifts received between September 1, 2021 and November 30, 2022.

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

Mr. & Mrs. Lee Barthel

Penny & Harold Blumenstein

Julie & Peter Cummings

Ms. Leslie C. Devereaux

Linda Dresner & Ed Levy, Jr.

DORATI SOCIETY - GIVING OF $100,000 & MORE

Mr. & Mrs. Richard L. Alonzo

James & Patricia Anderson

Mr. & Mrs. Raymond M. Cracchiolo

Joanne Danto & Arnold Weingarden

Mr. & Mrs. Phillip Wm. Fisher

EHRLING SOCIETY - GIVING OF $50,000 & MORE

Mr. & Mrs. Richard A. Brodie

Lois & Avern ◊ Cohn

Mr. & Mrs. Aaron Frankel

Mr. & Mrs. Ralph J. Gerson

Mary Ann & Robert Gorlin

Mr. & Mrs. James Grosfeld

Ric & Carola Huttenlocher

Renato & Elizabeth Jamett

JÄRVI SOCIETY — GIVING OF $25,000 & MORE

Pamela Applebaum

Ms. Sharon Backstrom

Mrs. Cecilia Benner

Mr. Michael J. Fisher

Madeline & Sidney Forbes

Mr. & Mrs. Edsel B. Ford II/Henry Ford II Fund

Mrs. Martha Ford

Dale & Bruce Frankel

Mr. Steven Goldsmith

Ronald M. & Carol◊ Horwitz

Mr.◊ & Mrs. Norman D. Katz

Morgan & Danny Kaufman

Betsy & Joel Kellman

Emory M. Ford, Jr.◊ Endowment

Mr. & Mrs. Stanley Frankel

Mr. & Mrs. Peter Karmanos, Jr.

Mr. & Mrs. James B. Nicholson

Mrs. Richard C. Van Dusen

David & Valerie McCammon

Shari & Craig Morgan

The Polk Family

Bernard & Eleanor Robertson

Drs. David & Bernadine Wu

Mrs. Bonnie Larson

Nicole & Matt Lester

Mr. & Mrs. Eugene A. Miller

Patricia & Henry ◊ Nickol

Nancy Schlichting & Pamela Theisen

Donald R. & Esther Simon Foundation

Mr. & Mrs. Arn Tellem

Paul & Terese Zlotoff

Mr. & Mrs. David Provost

Ms. Ruth Rattner

Martie & Bob Sachs

Mr. & Mrs.◊ Alan E. Schwartz

Mrs. Patricia Finnegan Sharf

Mr. & Mrs. James H. Sherman

Mr. & Mrs. Larry Sherman

Richard Sonenklar & Gregory Haynes

Mr. & Mrs. John Stroh III

Dr. Doris Tong & Dr. Teck M. Soo

Mr. & Mrs. Gary Torgow

And one who wishes to remain anonymous ◊

GABRILOWITSCH SOCIETY - GIVING OF $10,000 & MORE

Mr.◊ & Mrs. Robert A. Allesee

Dr. Lourdes V. Andaya

Janet & Norman Ankers

Drs. Brian & Elizabeth Bachynski

W. Harold & Chacona W. Baugh

Drs. John & Janice Bernick

Dr. George & Joyce Blum

Gwen & Richard Bowlby

Mr. & Mrs. Stephen Brownell

Michael & Geraldine Buckles

Ms. Elena Centeio

Thomas W. Cook & Marie L. Masters

Gail Danto & Art Roffey

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

Eugene ◊ & Elaine C. Driker

Mr. Charles L. Dunlap & Mr. Lee V. Hart

Margie Dunn & Mark Davidoff

Mr. Peter Falzon

Jim & Margo Farber

Sally & Michael Feder

Barbara & Alfred J. Fisher III

Dr. Saul & Mrs. Helen Forman

Barbara Frankel & Ronald Michalak

Mrs. Janet M. Garrett

Victor ◊ & Gale Girolami

GIVING OF $5,000 & MORE

Mrs. Denise Abrash

Mrs. Jennifer Adderley

Richard & Jiehan Alonzo

Mr. David Assemany & Mr. Jeffery Zook*

Ms. Ruth Baidas

Dr. David S. Balle

Mr. Patrick Barone

Ms. Therese Bellaimey

Mr. & Mrs. Dennis Bernard

Mr. & Mrs. Jeffrey A. Berner

Timothy J. Bogan

John ◊ & Marlene Boll

Ms. Debra Bonde

Ms. Nadia Boreiko

Mr. Anthony F. Brinkman

Claire P. & Robert N. Brown

Philip & Carol Campbell

Mrs. Carolyn Carr

Mr. & Mrs. François Castaing

Mr. & Mrs. Andrew Christians

Mr. Fred J. Chynchuk

Bob & Rebecca Clark

Dr. & Mrs. Charles G. Colombo

Ms. Elizabeth Correa

Ruth & Al◊ Glancy

Dr. Robert T. Goldman

Dr. Herman & Mrs. Shirley Mann Gray

Mr.◊ & Mrs. James A. Green

Mr. & Mrs. Robert Hage

Judy ◊ & Kenneth Hale

Ms. Nancy B. Henk

Michael E. Hinsky & Tyrus N. Curtis

Mr.◊ & Mrs. Norman H. Hofley

Mr. & Mrs. Richard J. Jessup

William & Story John

Lenard & Connie Johnston

Dr. David & Mrs. Elizabeth Kessel

Mr. Daniel Lewis

Bud & Nancy Liebler

Mr. & Mrs.◊ Joseph Lile

Dana Locniskar & Christine Beck

Alexander & Evelyn McKeen

Ms. Deborah Miesel

Dr. Robert & Dr. Mary Mobley

Cyril Moscow

Geoffrey S. Nathan & Margaret E. Winters

David Robert & Sylvia Jean Nelson

Eric & Paula Nemeth

Jim & Mary Beth Nicholson

Gloria & Stanley Nycek

George & Jo Elyn Nyman

Debra & Richard Partrich

Dr. Glenda D. Price

Maurcine ◊ & Lloyd Reuss

Seth & Laura Romine

Dr. Erik Rönmark*

& Mrs. Adrienne Rönmark*

Mr. & Mrs. Robert B. Rosowski

Peggy & Dr. Mark B. Saffer

Schwartz Shapero Family

Elaine & Michael Serling

Lois & Mark Shaevsky

William H. Smith

Charlie & John Solecki

Mr. & Mrs. Paul Tobias

Mr. James G. Vella

Mr.◊ & Mrs. Jonathan T. Walton

Gary L. Wasserman & Charles A. Kashner

S. Evan & Gwen Weiner

Mr. & Mrs. R. Jamison Williams

Ms. Mary Wilson

And four who wish to remain anonymous

Mr. & Mrs. Gary L. Cowger

Mrs. Barbara Cunningham

Mr. & Mrs. Charles W. Dare

Mr. & Mrs. Richard L. DeVore

Adel & Walter Dissett

Ms. Ruby Duffield

Dr. & Mrs. A. Bradley Eisenbrey

Mr. Lawrence Ellenbogen

Marianne T. Endicott

Mr. & Mrs. Francis A. Engelhardt

Fieldman Family Foundation

Mr.◊ & Mrs. Richard M. Gabrys

Alan M. Gallatin

Allan D. Gilmour & Eric C. Jirgens

Dr. Kenneth ◊ & Roslyne Gitlin

Dr. & Mrs. Theodore Golden

Goodman Family Charitable Trust

Mr. Sanford Hansell & Dr. Raina Ernstoff

Dr. Gloria Heppner

Ms. Doreen Hermelin

Mr. Eric J. Hespenheide

& Ms. Judith V. Hicks

Mr. & Mrs. Peter Hollinshead

Mr. Matthew Howell & Mrs. Julie Wagner

Elanah Nachman Hunger

Mr. & Mrs. A. E. Igleheart

Mr. & Mrs. Kent Jidov

Carol & Rick Johnston

Paul & Marietta Joliat

Faye & Austin Kanter

Judy & David Karp

Mike & Katy Keegan

Barbara & Michael Kratchman

Richard & Sally Krugel

Mr. & Mrs. Harold Kulish

Dr. Raymond Landes & Dr. Melissa McBrien-Landes

Bill & Kathleen Langhorst

Mr. Leonard LaRocca

Max Lepler & Rex L. Dotson

Mr. & Mrs. Robert K. Leverenz

Daniel & Linda* Lutz

Bob & Terri Lutz

Mrs. Sandra MacLeod

Mr. & Mrs. Winom J. Mahoney

Dr. Stephen & Paulette Mancuso

Maurice Marshall

Mr. Edward McClew

Patricia A.◊ & Patrick G. McKeever

Ms. Evelyn Micheletti

Mr. Frederick Morsches

& Mr. Kareem George

Xavier & Maeva Mosquet

Robert & Paulina Treiger Muzzin

Joy & Allan Nachman

Mr. & Mrs. Albert T. Nelson, Jr.

Dr. William W. O’Neill

Anne Parsons ◊ & Donald Dietz

Mr. David Phipps & Ms. Mary Buzard

William H. & Wendy W. Powers Charlene & Michael Prysak

Drs. Yaddanapudi Ravindranath & Kanta Bhambhani

Mr. & Mrs. Dave Redfield Dr. Heather Richter

Dr. & Mrs. John Roberts Steven Della Rocca Memorial Fund/ Courtenay A Hardy

Mr. Ronald Ross & Ms. Alice Brody

Mr. David Salisbury & Mrs. Terese Ireland Salisbury Marjorie Shuman Saulson

Mr. & Mrs. Donald and Janet Schenk Robert & Patricia Shaw

Mrs. Sharon Shumaker

Mr. Norman Silk & Mr. Dale Morgan Mr. & Mrs. Matthew Simoncini

Michael E. Smerza & Nancy Keppelman

Mrs. Kathleen Straus & Mr. Walter Shapero

Joel & Shelley Tauber

Alice ◊ & Paul Tomboulian

Mrs. Eva von Voss

Mr. William Waak

Peter & Carol Walters

Dr. & Mrs. Ned Winkelman

Cathy Cromer Wood

Ms. June Wu

And one who wishes to remain anonymous

GIVING OF $2,500 & MORE

Nina Dodge Abrams

Mr. & Mrs. Joel Adelman

Mr. Juan Alvarez

Mr. & Mrs. Robert L. Anthony

Dr. & Mrs. Joel Appel

Drs. Kwabena & Jacqueline Appiah

Dr. & Mrs. Ali-Reza R. Armin

Pauline Averbach & Charles Peacock

Mr. Joseph Aviv & Mrs. Linda Wasserman

Mrs. Jean Azar

James A. Bannan

Nora & Guy Barron

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

Mr. Joseph Bartush

Mr. & Mrs. Martin S. Baum

Mr. & Mrs. Richard Beaubien

Mr. Abraham Beidoun

Martha ◊ & G. Peter Blom

Nancy & Lawrence Bluth

The Achim & Mary Bonawitz Family

The Honorable Susan D. Borman & Mr. Stuart Michaelson

Don & Marilyn Bowerman

Mr. & Mrs. Marco Bruzzano

Mr. & Mrs. Mark R. Buchanan

Dr. & Mrs. Roger C. Byrd

Mr. & Mrs. Brian C. Campbell

Dr. & Mrs.◊ Thomas E. Carson

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

Burleson

Ronald & Lynda Charfoos

Nina & Richard Cohan

Jack, Evelyn and Richard Cole Family

Foundation

Mr. William Cole & Mrs. Carol Litka Cole

Mr. & Mrs. Brian G. Connors

Patricia & William ◊ Cosgrove, Sr.

Ms. Joy Crawford* & Mr. Richard Aude

Robert J. Crutcher Family Trust

Dr. Edward & Mrs. Jamie Dabrowski

Suzanne Dalton & Clyde Foles

Maureen & Jerry ◊ D’Avanzo

Lillian & Walter Dean

Dr. & Mrs. Thomas Ditkoff

Diana & Mark Domin

Paul◊ & Peggy Dufault

Edwin & Rosemarie ◊ Dyer

Dr. Leo & Mrs. Mira Eisenberg

Randall & Jill* Elder

Ms. Laurie Ellias & Mr. James Murphy Mrs. Marjory Epstein

Mr. & Mrs. John M. Erb

Dave & Sandy Eyl

Ellie Farber & Mitch Barnett

Hon. Sharon Tevis Finch Ms. Joanne Fisher

Dorothy A. & Larry L. Fobes

Amy & Robert Folberg Ms. Linda Forte & Mr. Tyrone Davenport Dr. & Mrs. Franchi Ms. Marci Frick

Kit & Dan Frohardt-Lane

Lynn & Bharat Gandhi Mr. Max Gates

Stephanie Germack

Thomas M. Gervasi

Mr. & Mrs. James Gietzen

Mr. & Mrs. Robert W. Gillette

Ms. Jody Glancy

Mr. Lawrence Glowczewski

Paul & Barbara C. Goodman

Dr. William & Mrs. Antoinette Govier

Ms. Jacqueline Graham

Mr. & Mrs. Saul Green

Dr. & Mrs. Joe L. Greene

Anne & Eugene Greenstein

Sharon Lopo Hadden

Dr. & Mrs. David Haines

Robert & Elizabeth Hamel

Cheryl A. Harvey

Ms. Barbara Heller

Dr. William Higginbotham III MD

Mr. Donald & Marcia Hiruo

The Honorable Denise Page Hood &

Reverend Nicholas Hood III

James Hoogstra & Clark Heath

Mr. F. Robert Hozian

Dr. Karen Hrapkiewicz

Mr. Fred Hunter & Mrs. Viva Foster

Larry & Connie Hutchinson Ms. Carole Ilitch Dr. Raymond E. Jackson & Dr. Kathleen Murphy Mr. Arthur Johns Mr. John S. Johns Mr. George G. Johnson

Paul & Karen Johnson

Mr. William & Mrs. Connie Jordan Mr. & Mrs. John Jullens

Diane & John Kaplan

Bernard & Nina Kent Philanthropic Fund Mrs. Frances King

Dr. & Mrs. Edward L. Klarman

Aileen & Harvey Kleiman

Tom ◊ & Beverly Klimko

Mr. Joseph Kochanek

Mr. & Mrs. Ludvik F. Koci

Mr. & Mrs. Robert Koffron

Dr. Sandy Koltonow & Dr. Mary Schlaff Ms. Susan Konop

Douglas Korney & Marieta Bautista

James Kors & Victoria King

George M. Krappmann & Lynda Burbury-Krappmann

Mr. Michael Kuhne Mrs. Maria E. Kuznia

Mr. & Mrs. Robert LaBelle

Dr. & Mrs. Gerald Laker

Mr. David Lalain & Ms. Deniella

Ortiz-Lalain

Drs. Lisa & Scott Langenburg

Ms. Sandra Lapadot

Ms. Anne T. Larin

Dr. Lawrence O. Larson

Mr. Henry P. Lee

Drs. Donald & Diane Levine

Arlene & John Lewis

Mr. & Mrs. David H. Loebl

Mr. John Lovegren & Mr. Daniel Isenschmid ◊

GIVING OF $2,500 & MORE, CONTINUED

Cis Maisel

Mr. & Mrs. Charles W. Manke, Jr. Ms. Florine Mark

Melissa & Tom Mark

Brian & Becky McCabe

Dr. & Mrs. Peter M. McCann, M.D. Mr. Anthony Roy McCree Ms. Mary McGough Ms. Kristen McLennan

Dr. Donald & Barbara Meier Dr. & Mrs. David Mendelson

Olga Sutaruk Meyer

Bruce & Mary Miller

John & Marcia Miller

Mr. & Mrs. Randall Miller

Steve & Judy Miller

J.J. & Liz Modell

Dr. Susan & Mr. Stephen* Molina

Dr. Van C. Momon, Jr. & Dr. Pamela Berry

Eugene & Sheila Mondry Foundation

Mr. & Mrs. Daniel E. Moore

Ms. A. Anne Moroun

Ms. Sandra Morrison

Mr. & Mrs. Germano Mularoni

Ms. Jennifer Muse

Ms. I. Surayyah R. Muwwakkil

Mariam C. Noland & James A. Kelly

Megan Norris & Howard Matthew

Mr. & Mrs. Robert Obringer

Mr. & Mrs. Arthur T. O’Reilly

Terry E. Packer

Mark Pasik & Julie Sosnowski

Ms. Pricilla Perkins

Mr. Peter Perlman

Wolfgang & Kristine Peterman Ms. Alice Pfahlert Benjamin B. Phillips

GIVING OF $1,500 & MORE

William Aerni & Janet Frazis

Dr. & Mrs. Gary S. Assarian

Drs. Richard & Helena Balon

Mr. & Mrs. David W. Berry

Mrs. Marilyn Bishop

Ms. Kristin Bolitho

Mr. & Mrs. Richard Burstein

Mr. & Mrs. Byron Canvasser

Steve & Geri Carlson

Mr. & Mrs. Tom Compton

Ms. Laurie DeMond-Rosen

Gordon & Elaine Didier

Mr. & Mrs. Walter E. Douglas

Mrs. Connie Dugger

Ms. Jodie Elrod

Mr. Howard O. Emorey

Mr. Joseph & Mrs. Lois Gilmore

Howard & Francina Graef

Mr. & Mrs. Stanley Hirt

Jill M.* & Michael J. Rafferty

Drs. Stuart & Hilary Ratner

Mr. Tony Raymaker

Mr. & Mrs. William A. Reed

Mr. & Mrs. Gerrit Reepmeyer

Dr. Claude & Mrs. Sandra Reitelman

Denise Reske

Mr. & Mrs. John Rieckhoff

Ms. Linda Rodney

Michael & Susan Rontal

Mr.◊ & Mrs. Gerald F. Ross

Ms. Elana Rugh

Linda & Leonard Sahn

Ms. Martha A. Scharchburg

& Mr. Bruce Beyer

Shirley Anne & Alan Schlang

Joe & Ashley Schotthoefer

Catherine & Dennis B. Schultz

Sandy & Alan Schwartz

Mrs. Rosalind B. Sell Mr. Jeffrey S. Serman

Carlo & Nicole Serraiocco

Nancy & Sam Shamie Shapero Foundation

Bill & Chris Shell Dr. Les Siegel & Ellen Lesser Siegel

Dean P. & D. Giles Simmer

William & Cherie Sirois

Mr. Michael J. Smith & Mrs. Mary C. Williams

Ms. Susan Smith

Shirley R. Stancato

Peter & Patricia Steffes Dr. Gregory Stephens

Mr. Mark Stewart & Mr. Anonio Gamez-Galaz Nancy C. Stocking

Dr. & Mrs. Gerald Stollman

Dr. & Mrs. Choichi Sugawa

David Szymborski & Marilyn Sicklesteel Dr. Neil Talon Mr. Rob Tanner

Sandra & Frank Tenkel

Dr. & Mrs. Howard Terebelo Mr. & Mrs. James W. Throop Dr. Barry Tigay

Gregory Tocco & Erin Sears Yoni & Rachel Torgow

Barbara & Stuart Trager Tom & Laura Trudeau

Amanda Van Dusen & Curtis Blessing Charles & Sally Van Dusen

Gerald & Teresa Varani

Dr.◊ & Mrs. Ronald W. Wadle

Mr. Michael A. Walch & Ms. Joyce Keller Mr. Patrick Webster

David R. Weinberg, Ph.D. Janis & William Wetsman/ The Wetsman Foundation

Beverly & Barry Williams Elizabeth & Michael Willoughby Rissa & Sheldon Winkelman

Deborah Lamm Ms. Andrea L. Wulf

Ms. Eileen Wunderlich

Dr. Sandra & Mr. D. Johnny Yee

Mr. & Mrs. Wesley Yee Ms. Gail Zabowski

Lucia Zamorano, M.D. Ms. Ellen Hill Zeringue Milton Y. Zussman ◊

And seven who wish to remain anonymous

Jean Hudson

Ms. Nadine Jakobowski

Carole Keller

Ms. Ida King

Elissa & Daniel Kline

Miss Kathryn Korns

Ms. Jennette Smith Kotila

Mr. and Mrs. William Kroger, Jr.

Mrs. Mary Ann LaMonte

Ms. Christine M. Leonard

Mr. Jeffrey Marraccini

Barbara J. Martin

Steve & Brenda Mihalik

Muramatsu America Flutes

Mr. & Mrs. George Nicholson

Mrs. Ruth Nix

Mr. & Mrs. Mark H. Peterson

Drs. Renato & Daisy Ramos

Mr. & Mrs. Rodney Rask

Cheryl & Paul Robertson

Mr. & Mrs. George Roumell

Mr. & Mrs. James P. Ryan

Dr. & Mrs. Hershel Sandberg

Ms. Joyce E. Scafe

Dr. & Mrs. Richard S. Schwartz

Mr. & Mrs. Kingsley G. Sears

Ms. Sandra Shetler

Mrs. Andreas H. Steglich

Mr. Jt Stout

Mr. & Mrs.◊ John Streit

Mr. William Thom

David & Lila Tirsell

Dennis & Jennifer Varian

Ms. Janet Weir

Mr. & Mrs.◊ Richard Wigginton

Dr. M. Roy & Mrs. Jacqueline Wilson Mr. Peter Zubrin

And two who wish to remain anonymous

*Current

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

DETROIT SYMPHONY ORCHESTRA

Giving of $500,000 & more SAMUEL & JEAN FRANKEL FOUNDATION

Giving of $200,000 & more

Giving of $100,000 & more

MARVIN & BETTY DANTO FAMILY FOUNDATION

MICHIGAN STATE POLICE

Giving of $50,000 & more

Paul M. Angell Family Foundation

Broder Sachse

Marvin & Betty Danto Family Foundation

Edward C. & Linda Dresner Levy Foundation

MASCO Corporation

MGM Grand Detroit Milner Hotels Foundation Penske Foundation, Inc.

Giving of $20,000 & more

Mandell & Madeleine Berman Foundation

Blue Star Catering

The Clinton Family Fund

DeRoy Testamentary Foundation

Eleanor & Edsel Ford Fund

Henry Ford II Fund

Hudson-Webber Foundation

Michigan Council for Arts & Cultural Affairs

Myron P. Leven Foundation

Schneider-Engstrom Foundation

Wolverine Packing Company

Giving of $10,000 & more

Laskaris-Jamett Advisors of Raymond James

Oliver Dewey Marcks Foundation

Karen & Drew Peslar Foundation Stone Foundation of Michigan Sun Communities Inc.

Burton A. Zipser & Sandra D. Zipser Foundation

Giving of $5,000 & more

Applebaum Family Philanthropy

Creative Benefit Solutions

Benson & Edith Ford Fund

Honigman LLP

Jaffe, Raitt, Heuer and Weiss

Marjorie & Maxwell Jospey Foundation

PNC Bank – Southeast Florida

KPMG LLP

Sigmund & Sophie Rohlik Foundation

Speyer Foundation

Warner Norcross + Judd

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

Save Our Symphony

Louis & Nellie Sieg Foundation

Samuel L. Westerman Foundation

And one who wishes to remain anonymous

TRIBUTE GIFTS

Gifts received September 1, 2021 - October 31, 2022

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

Mr. Peter D. Cummings

Mr. and Mrs. Larry Sherman

Denise Figlewicz and Thomas Kozina

Ms. Dianne Lattemann

Mrs. Linda Lutz

Dr. and Mrs. Sheldon N. Kaftan

Alex Marshall Mr. and Mrs. Richard Marshall

Mr. Stanley Nycek Mr. and Mrs. Richard G. Partrich

In Memory

Mr. Hai-Xin Wu Dr. Yuson Jung

Mr. Jeffery Zook Dr. Yan Yin

Mr. John A. Boll, Sr. Ms. Joanne Danto and Dr. Arnold Weingarden

Mrs. Sylvia Graham Nick Brien

Mrs. Geraldine Kruse Paul and Ronia Kruse

Mrs. Mado O. Lie Ms. Paula-Rose Stark

Mr. Joseph J. Plaza Jr. Mr. and Mrs. Jerome J. Skiba Mrs. Arlene Rose Mr. and Mrs. Seymour Dubrinsky

Mrs. Annette K. Sipher Mrs. Edna Freier

Mr. Ross Tatro Ms. Linda Tatro

Mr. Alexander Thomas Ms. Joanne Danto and Dr. Arnold Weingarden David and Meredith Kaplan Mr. and Mrs. David Sillman Dr. and Mrs. Martin Tessler Dr. and Mrs. Martin L. Weissman

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. This system is made possible by the Michigan Ear Institute.

• 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.

To report an emergency during a concert, immediately notify an usher or DSO staff member. If an usher or DSO staff member is not available, please contact DSO Security at 313.576.5199

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 Audition 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

Beth Carlson Stewardship Coordinator

Damaris Doss

Major Gift Officer

Leslie Groves Major Gift Officer

Ali Huber

Signature Events Manager

Jane Koelsch Fulfillment Coordinator

Colleen McLellan Institutional Gift Officer

Juanda Pack Advancement Benefits Concierge

Susan Queen

Gift Officer, Corporate Giving

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

CATERING AND RETAIL SERVICES

Christina Williams

Director of Patron and Event Experience

Neva Kirksey Manager of Events and Rentals

Alison Reed, CVA Manager of Volunteer and Patron Experience

Andre Williams Beverage Manager

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

Erin Dowler Detroit Harmony Operations Assistant

Joanna Goldstein Training Ensembles Student Development Coordinator

Anne Leech

Detroit Strategy Specialist

Kendra Sachs Training Ensembles

Recruitment and Communications Coordinator

FINANCE

Michelle Cooper

Senior Director of Accounting and Finance

Adela Löw

Director of Accounting and Financial Reporting

Sandra Mazza

Senior Accountant, Business Operations

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

Len Messing Systems Administrator

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

Dorian Dillard Marketing and Promotions Coordinator

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

Sharon Gardner Carr Assistant Manager of Tessitura and Ticketing Operations

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

Norris Jackson Security Officer

Tony Morris Security Officer

Johnnie Scott Safety and Security Manager

Antonio Thomas Security Officer

PERFORMANCE

Winter • 2021-2022 Season

Hannah Engwall, editor hengwall@dso.org

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

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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 Council for Arts and Cultural Affairs and the National Endowment for the Arts.

SPHINX

SYMPHONY ORCHESTRA WITH EXIGENCE (EUGENE ROGERS, MUSIC DIRECTOR)

Tito Muñoz, conductor Aundi Marie Moore, soprano

Detroit’s Sphinx Organization celebrates its 25th anniversary with a program featuring works by African American and Latinx composers.

Auditorium (Ann Arbor) Principal Sponsors: Ken Fischer Legacy Endowment Fund