DSO Performance magazine, Fall 2012 by Echo Publications, Inc.

Vol. XXI • 2012-2013 Season

Fall 2012

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

DSO’s new Song Meet Yoonshin Song, the DSO’s New Concertmaster

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Detroit Symphony Orchestra Board of Directors

Performance

officers

Volume XXI / Fall 2012 2012–13 Season

Editor Gabrielle Poshadlo gposhadlo@dso.org 313.576.5194

DSO Administrative Offices Max M. Fisher Music Center 3711 Woodward Ave. Detroit, MI 48201 Phone: 313.576.5100 Fax: 313.576.5101 DSO Box Office: 313.576.5111 Box Office Fax: 313.576.5101 DSO Group Sales: 313.576.5130 Rental Info: 313.576.5050 Email: info@dso.org Web site: dso.org Subscribe to our e-newsletter via our website to receive updates and special offers.

Stanley Frankel Chairman

Bruce D. Peterson First Vice Chair

Glenda D. Price, Ph. D Secretary

Arthur Weiss Treasurer

Phillip Wm. Fisher Officer At-Large

Lloyd E. Reuss Officer At-Large

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

Anne Parsons President & CEO

Directors Ralph J. Gerson‡

James C. Mitchell, Jr.

Daniel Angelucci

Alfred R. Glancy, III,‡ Chairman Emeritus

David Robert Nelson‡

Floy Barthel

Brigitte Harris

Ismael Ahmed Rosette Ajluni

Janet Ankers ‡

Herman Gray, M.D.

Performance is published by the DSO and Echo Publications, Inc. u Echo Publications, Inc. 248.582.9690 echopublications.com

Mrs. Mandell L. Berman

Gloria Heppner, Ph. D.

Tom Putters, president tom@echopublications.com

Elizabeth Boone

Toby Faber, advertising director To advertise in Performance, call 248.582.9690 or email info@echopublications.com Performance magazine online: dsoperformance.com u To report an emergency during a concert, call 313.576.5111. To make special arrangements to receive emergency phone calls during a concert, ask for the house manager. It is the policy of the Detroit Symphony Orchestra that concerts, activities and services are offered without regard to race, color, religion, national origin, handicap, age or gender. The DSO is an affirmative action, equal opportunity employer. Activities of the DSO are made possible in part with the support of the National Endowment for the Arts, the Michigan Council for Arts and Cultural Affairs and the City of Detroit. Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances.

Robert H. Bluestein

Penny B. Blumenstein‡ John A. Boll, Sr.

Richard A. Brodie Gary L. Cowger

Peter D. Cummings, Chairman Emeritus Stephen R. D’Arcy

Maureen T. D’Avanzo Mark Davidoff

‡

Sidney Forbes

Laura L. Fournier

Mrs. Harold Frank Barbara Frankel

Herman Frankel‡

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

Samuel Frankel†

Robert E.L. Perkins, D.D.S. William F. Pickard Stephen Polk

Ronald M. Horwitz ‡

Bernard I. Robertson‡

Sharad P. Jain

Jack A. Robinson‡

Renee Janovsky

Marjorie S. Saulson

Chacona Johnson‡

Alan E. Schwartz‡

Michael J. Keegan

Lois L. Shaevsky

Hon. Damon J. Keith

Mrs. Ray A. Shapero

William P. Kingsley

Jane F. Sherman

Joel D. Kellman

Linda Dresner

Jennifer Fischer

Arthur T. O’Reilly‡

Nicholas Hood, III

Bonnie Larson ‡

Marianne Endicott

James B. Nicholson,‡ Chairman Emeritus

Shelley Heron, Orchestra Representative

Richard P. Kughn ‡

Walter E. Douglas

Faye Alexander Nelson

‡

Karen Davidson

Paul Ganson

Sean M. Neall

Allan D. Gilmour

Robert Allesee

Wei Shen

Stephen Strome ‡

Harold Kulish

Michael R. Tyson Ann Marie Uetz

Laurence M. Liberson,‡ Orchestra Representative

Janice Uhlig

David Usher

Arthur C. Liebler‡

Barbara Van Dusen‡

Ralph J. Mandarino

Ted Wagner

Florine Mark

Hon. Kurtis T. Wilder

David N. McCammon

R. Jamison Williams

Edward Miller

Clyde Wu, M.D.‡

Lois A. Miller

‡

Executive Committee

Lifetime Members David Handleman, Sr.†

Dr. Arthur L. Johnson†

†Deceased dso.org

Perform ance / Vol . X XI / fall 201 2

Governing Members

Governing Members is a philanthropic leadership group designed to provide unique, substantive, hands-on opportunities for leadership and access to a diverse group of valued stakeholders. Governing Members are ambassadors for the DSO and advocates for arts and culture in Detroit and throughout Southeast Michigan. This list reflects gifts received from September 1, 2011 through September 10, 2012. For more information about the Governing Members program, please call Cassie Brenske, Governing Members Gift Officer at 313.576.5460.

officers

Arthur T. O’Reilly Chairperson Bonnie Larson Vice Chair, Engagement Mrs. Denise Abrash Mr. & Mrs. Richard L. Alonzo Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Mr. & Mrs. Eugene Applebaum Dr. & Mrs. Ali-Reza R. Armin Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook Mr. & Mrs. John Axe Jeanne Bakale & Roger Dye Mr. J. Addison Bartush Mr. & Mrs. Martin S. Baum Mary Beattie Mr. Chuck Becker Cecilia Benner Mr. & Mrs. Irving Berg Mrs. John G. Bielawski Barbra & Joe Bloch Dr. & Mrs. Duane Block Mr. & Mrs. Jim Bonahoom Dr. & Mrs. Rudrick E. Boucher Mr. & Mrs. S. Elie Boudt Gwen & Richard Bowlby Mr. Anthony F. Brinkman Mr. Scott Brooks Robert N. & Claire P. Brown Michael & Geraldine Buckles Mr. H. William Burdett, Jr. Mr. H. Taylor Burleson & Dr. Carol S. Chadwick Philip & Carol Campbell Mr. William N. Campbell Dr. & Mrs. Thomas E. Carson Mr. & Mrs. Francois Castaing Jack Perlmutter & Dan Clancy Gloria & Fred Clark Dr. Thomas Clark Lois & Avern Cohn Jack, Evelyn & Richard Cole Family Foundation Dr. & Mrs. Charles G. Colombo Mrs. RoseAnn Comstock Brian & Elizabeth Connors Dr. & Mrs. Ivan Louis Cotman Mr. & Mrs. Raymond M. Cracchiolo Mr. & Mrs. Thomas A. Cracchiolo Thomas & Melissa Cragg Ms. Mary Rita K. Cuddohy Marvin & Betty Danto Family Foundation Ms. Barbara L. Davidson Lillian & Walter Dean Mrs. Beck Demery Ms. Leslie Devereaux Ms. Barbara Diles Adel & Walter Dissett David Elgin Dodge Mr. & Mrs. Mark Domin Ms. Judith Doyle

Jan Bernick Vice Chair, Philanthropy

Maureen T. D’Avanzo Vice Chair, Membership

Mary K. Mansfield Vice Chair, Governance

Frederick J. Morsches Vice Chair, Communications

Eugene & Elaine Driker Paul & Peggy Dufault Mr. Robert Dunn Dr. & Mrs. A. Bradley Eisenbrey Mr. & Mrs. John M. Erb Mary Sue & Paul E. Ewing Stephen Ewing Mr. David Faulkner Mr. & Mrs. Oscar Feldman Mrs. Kathryn L. Fife Ron Fischer & Kyoko Kashiwagi Mr. & Mrs. Alfred J. Fisher, III Mrs. Marjorie S. Fisher Mr. & Mrs. Steven J. Fishman Mr. David Fleitz Mrs. Anne Ford Dr. Saul & Mrs. Helen Forman Dale & Bruce Frankel Rema Frankel Maxine & Stuart Frankel Ms. Carol A. Friend & Mr. Mark T. Kilbourn Mr. & Mrs. Daniel E. Frohardt-Lane Lynn & Bharat Gandhi Mr. & Mrs. William Y. Gard Dorothy & Byron Gerson Victor & Gale Girolami Dr. & Mrs. Kenneth W. Gitlin Dr. & Mrs. Theodore A. Golden Dr. Robert T. & Elaine Goldman Dr. Allen Goodman & Dr. Janet Hankin Mr. & Mrs. Mark Goodman Robert & Mary Ann Gorlin Mr. & Mrs. James A. Green Dr. & Mrs. Steven Grekin Mr. Jeffrey Groehn Mr. & Mrs. James Grosfeld Sylvia & Ed Hagenlocker Alice Berberian Haidostian Dr. Algea O. Hale Mr. Kenneth R. Hale Mr. Tim & Mrs. Rebecca Haller Robert & Elizabeth Hamel Mr. & Mrs. Preston Happel Randall L. & Nancy Caine Harbour Ms. Cheryl A. Harvey Mr. & Mrs. Demar W. Helzer Ms. Doreen Hermelin Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. & Mrs. Norman H. Hofley Jean Holland Dr. Deanna & Mr. David B. Holtzman Jack & Anne Hommes Mr. F. Robert Hozian Jean Wright & Joseph L. Hudson, Jr. Julius & Cynthia Huebner

Richard H. & Carola Huttenlocher Mr. & Mrs. A. E. Igleheart Mr. & Mrs. Richard J. Jessup Mr. John S. Johns Lenard & Connie Johnston Marjorie & Maxwell Jospey† Mrs. Ellen D. Kahn Faye & Austin Kanter Mr. & Mrs. Norman D. Katz Martin & Cis Maisel Kellman Rachel Kellman Mr. & Mrs. Bernard & Nina Kent Michael E. Smerza & Nancy Keppelman Mr. Patrick J. Kerzic & Stephanie Germack Kerzic Dr. David & Elizabeth Kessel Stephanie & Frederic Keywell Mrs. Frances King Mr. & Mrs. Ludvik F. Koci Mr. & Mrs. Donald Kosch Dr. Harry & Katherine Kotsis Robert C. & Margaret A. Kotz Mr. & Mrs. James A. Kurz David & Maria Kuziemko Mr. Myron & Joyce Joyce LaBan Dr. Raymond Landes & Dr. Melissa McBrien-Landes Ms. Anne T. Larin Dr. Klaudia Plawny- Lebenbom & Mr. Michael Lebenbom Mr. David Lebenbom Marguerite & David Lentz Allan S. Leonard Mr. & Mrs. Daniel Lewis Mr. & Mrs. Robert Liggett Mr. & Mrs. Joseph Lile The Locniskar Group Mr. & Mrs. Harry A. Lomason Mrs. Sandra MacLeod Mr. & Mrs. Charles W. Manke, Jr. Elaine & Mervyn Manning Dr. Peter McCann & Kathleen L. McKee Mr. & Mrs. Alonzo L. McDonald Alexander & Evelyn McKeen Patricia A. & Patrick G. McKeever Mrs. Susanne O. McMillan Dr. & Mrs. Donald A. Meier Dr. David & Mrs. Lauren Mendelson Mr. Roland Meulebrouck Mrs. Thomas Meyer Thomas & Judith Mich Bruce & Mary Miller Mr. & Mrs. Leonard G. Miller Dr. Robert & Dr. Mary Mobley Mr. Stephen & Dr. Susan Molina

Performance / Vol . X XI / Fall 201 2

Randall Hawes Musician Liaison Eugene & Sheila Mondry Mr. Lane J. Moore Mr. & Mrs. Craig R. Morgan Florence Morris Mr. Frederick J. Morsches Cyril Moscow Drs. Stephen & Barbara Munk Joy & Allan Nachman Edward & Judith Narens Geoffrey S. Nathan & Margaret E. Winters Denise & Mark Neville Mr. Geoffrey W. Newcomb Jim & Mary Beth Nicholson Patricia & Henry Nickol Mr. & Mrs. David E. Nims Arthur A. Nitzsche Mariam C. Noland & James A. Kelly Mr. & Mrs. Stanley Nycek Mrs. Jo Elyn Nyman David & Andrea Page Mr. & Mrs. Richard G. Partrich Mrs. Sophie Pearlstein Dr. & Mrs. Claus Petermann Mr. Charles L. Peters Donald & Jo Anne Petersen Mrs. Bernard E. Pincus Mrs. Helen F. Pippin Mr. & Mrs. Jack Pokrzywa Ms. Judith Polk Mrs. Anna Mary Postma Mr. & Mrs. William Powers Priester Foundation Mr. & Mrs. Nicolas I. Quintana Mr. & Mrs. Gary & Rhonda Ran Mr. & Mrs. Richard Rappleye Drs. Stuart & Hilary Ratner Ms. Ruth Rattner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Carol & Foster Redding Mr. David & Mrs. Jean Redfield Ms. Emily J. Reid & Hugh T. Reid Dr. Claude & Mrs. Sandra Reitelman Ms. Denise Reske Norman & Dulcie Rosenfeld Mr. & Mrs. Robert B. Rosowski Mr. & Mrs. Hugh C. Ross Martie & Bob Sachs Dr. Mark Saffer Dr. Hershel Sandberg Ruth & Carl Schalm Ms. Martha A. Scharchburg & Mr. Bruce Beyer Mr. & Mrs. Alan S. Schwartz Mr. & Mrs. Fred Secrest Mr. Merton J. & Beverly Segal Elaine & Michael Serling †Deceased

James C. Farber Vice Chair, Outreach Victoria J. King Musician Liaison Mr. & Mrs. Herbert Shanbaum Mr. Stephan Sharf Dr. Les & Mrs. Ellen Siegel Robert & Coco Siewert Mr. & Mrs. Donald R. Simon Mr. & Mrs. William Sirois Drs. Daniel J. & Sophie Skoney Mr. & Mrs. Leonard W. Smith Mr. & Mrs. S. Kinnie Smith, Jr. William H. & Patricia M. Smith John J. Solecki Mr. Richard Sonenklar & Mr. Gregory Haynes Renate & Richard Soulen Dr. Gregory E. Stephens Professor Calvin L. Stevens Mr. Clinton F. Stimpson, Jr. Dr. & Mrs. Charles D. Stocking Dr. & Mrs. Gerald H. Stollman Vivian Day & John Stroh III David Szymborski & Marilyn Sicklesteel D. I. Tarpinian Shelley & Joel Tauber Alice & Paul Tomboulian Mr. & Mrs. L. W. Tucker Amanda Van Dusen & Curtis Blessing Mr. & Mrs. Charles B. Van Dusen Mr. Robert VanWalleghem Mr. & Mrs. George C. Vincent Mr. & Mrs. William Waak Dr. & Mrs. Ronald W. Wadle Mr. & Mrs. Jonathan T. Walton Gary L. Wasserman & Charles A. Kashner Mr. Patrick A. Webster Mr. & Mrs. Herman W. Weinreich Mr. & Mrs. Lawrence Weisberg Mr. Donald Wells Janis & William M. Wetsman Mr. & Mrs. John Whitecar Mr. & Mrs. Barry Williams Dr. Amy M. Horton & Dr. Kim Allan Williams Mrs. Beryl Winkelman Rissa & Sheldon Winkelman Dr. & Mrs. Max V. Wisgerhof II Mr. & Mrs. Jonathan Wolman David & Bernadine Wu Ms. June Wu Dr. & Mrs. Robert E. Wurtz Mrs. Judith G. Yaker Dr. Alit Yousif & Mr. Kirk Yousif Mrs. Rita J. Zahler Mr. & Mrs. Alan Zekelman Mr. Paul M. Zlotoff & Mrs. Terese Sante Mrs. Paul Zuckerman† Milton & Lois Zussman dso.org

VOLUNTEER COUNCIL 2010-13 Officers Janet M. Ankers President Deborah Savoie President Elect Ellie Tholen Vice President for Public Relations Dr. Nora Sugintas Vice President for Membership Virginia Lundquist Vice President for Outreach Marvin D. Crawford Vice President for Administration & Finance Esther Lyons Recording Secretary Mary Beattie Corresponding Secretary

Board of Directors Katana Abbott Marlene Bihlmeyer Gwen Bowlby Gloria Clark Marvin D. Crawford Jill Jordan Sandie Knollenberg

Carnegie Hall is just around the corner… On Friday, May 10, 2013, the Detroit Symphony Orchestra returns to Carnegie Hall for the first time in 17 years to headline the ground-breaking Spring for Music Festival. We’re looking for 1,000 Detroiters to bring the spirit of Motown to the Big Apple for this one-night only special performance. Leonard Slatkin conducts all four of Charles Ives’ symphonies in one evening for the first time in Carnegie Hall’s history.

Deborah Meade Eva Meharry Lynn Miller Gloria Nycek Todd Peplinski

Order your tickets today at 313.576.5111. The best seats are on hold for our loyal patrons for a limited time only.

Charlotte Worthen Julie Zussman Kelly Hayes Ex-Officio (Immediate Past President) Eleanor Siewert Ex-Officio (Parliamentarian) Glenn Mellow Musician Liaison Randall Hawes Musician Liaison Chelsea Kotula Staff Liaison

dso.org

For information on the accompanying patron tour, including hotel accommodations, special events, and activities in New York, please call 313.576.5147.

Perform ance / Vol . X XI / fall 2012

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

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

First Violins

Yoonshin Song Concertmaster Katherine Tuck Chair

Kimberly A. Kaloyanides Kennedy Associate Concertmaster Alan and Marianne Schwartz and Jean Shapero (Shapero Foundation) Chair Hai-Xin Wu Assistant Concertmaster Walker L. Cisler/Detroit Edison Foundation Chair Beatriz Budinszky*

Marguerite Deslippe* Elias Friedenzohn*

Laurie Landers Goldman* Eun Park*

Adrienne Rönmark* Laura Soto*

Greg Staples* Second Violins

Adam Stepniewski Acting Principal The Devereaux Family Chair Ron Fischer*

Sheryl Hwangbo*

Rachel Harding Klaus* Hong-Yi Mo*

Robert Murphy* Bruce Smith*

Joseph Striplin* Marian Tanau* Alvin Score Violas

Alexander Mishnaevski+ Julie and Ed Levy, Jr. Chair James VanValkenburg++ Caroline Coade

Violoncellos

Oboes

Trumpets

Personnel Manager

Marcy Chanteaux++^ Dorothy and Herbert Graebner Chair

Shelley Heron Maggie Miller Chair

Kevin Good

William Lucas

Heather Hart Assistant Orchestra Personnel Manager

Trombones

Assistant Conductor

Robert deMaine+ James C. Gordon Chair

Robert Bergman* Victor and Gale Girolami Cello Chair Carole Gatwood* David LeDoux*

Peter McCaffrey* Haden McKay*

Úna O’Riordan* Paul Wingert* Basses

Stephen Molina Acting Principal Van Dusen Family Chair Linton Bodwin

Stephen Edwards

Larry Hutchinson Craig Rifel

Maxim Janowsky

Alexander Hanna+^ Richard Robinson^ Harp

Monica Fosnaugh English Horn

Monica Fosnaugh Clarinets

Theodore Oien+ Robert B. Semple Chair PVS Chemicals, Inc./ Jim and Ann Nicholson Chair

Laurence Liberson++ Shannon Orme

E-Flat Clarinet

Laurence Liberson Bass Clarinet

Shannon Orme Barbara Frankel and Ronald Michalak Chair Bassoons

Flutes

Victoria King

David Buck+ Women’s Association for the DSO Chair

Sharon Sparrow Acting Assistant Principal Jeffery Zook Piccolo

Jeffery Zook

Robert Williams+ John and Marlene Boll Chair

Stephen Anderson Acting Principal Lee and Floy Barthel Chair

Stephen Molina Orchestra Personnel Manager

Kenneth Thompkins+

Teddy Abrams

Randall Hawes

Stage Personnel

Nathaniel Gurin++

Bass Trombone Randall Hawes Tuba

Dennis Nulty+ Timpani

Frank Bonucci Stage Manager

Steven Kemp Department Head Matthew Pons Department Head

Michael Sarkissian Department Head

Brian Flescher ``#

Legend

Percussion

++ Assistant Principal

Joseph Becker+ Ruth Roby and Alfred R. Glancy III Chair William Cody Knicely Chair Librarians

Robert Stiles+ Ethan Allen

+ Principal

``# Substitute musician, Acting Principal ^ Extended Leave

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

§ African-American Orchestra Fellow

Michael Ke Ma++ Marcus Schoon

Garrett McQueen§ Contrabassoon Marcus Schoon French Horns Karl Pituch+

Bryan Kennedy

Corbin Wagner

Glenn Mellow

Johanna Yarbrough

Shanda Lowery-Sachs

David Everson++

Hart Hollman

Mark Abbott

Han Zheng

Brian Ventura++

Patricia Masri-Fletcher+ Winifred E. Polk Chair

Hang Su

Catherine Compton

Donald Baker+ Jack A. and Aviva Robinson Chair

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

Perform ance / Vol . X XI / Fall 201 2

dso.org

DIA-021_000040i_Fab_Bravo_7x4.8125_P.indd 3

9/7/12 11:14 AM

Diamonds.

The Gift that Guarantees A Symphony of Happiness.

dso.org

Perform ance / Vol . X XI / fall 2012

President’s Message Dear friends, Can you imagine the excitement 125 years ago when the first concert took place under the official name Detroit Symphony Orchestra? Did you know that the DSO was the first orchestra to broadcast a concert over the radio? These and many others facts will be showcased throughout the 12-13 season as we invite you to celebrate this orchestra’s fascinating history, while we simultaneously track our progress on the news of today that will ensure a vibrant tomorrow for one of America’s oldest orchestral institutions. In addition to your visits to Orchestra Hall and one (or more!) of our six neighborhood venues, we hope you’ll join more than 120,000 viewers from over 75 countries who experienced the DSO’s concerts last year via our Live from Orchestra Hall HD webcasts. On Oct. 6, you will also want to check out our first ever MaxCast during midtown’s exciting DLECTRICITY festival, when our Cirque de la Symphonie concert will be projected outdoors for all of Woodward Avenue to enjoy. And, come down and tell us what you think of our new Music Box program called Mix @ The Max (Oct. 5 and Dec. 12) where eclectic music is presented in a relaxed, social setting that includes sampling from some of Detroit’s great local eateries. Save the date! Please join us on May 10, 2013, when we hope you’ll be one of over 1,000 metroDetroiters who go on the road with Leonard Slatkin and the DSO as we make history again, performing all four Ives Symphonies in one extraordinary evening in New York’s Carnegie Hall. Thanks to the invitation we received to participate in the 2013 Spring for Music Festival, Detroit’s spirit will be on display for the world to see. Our participation was made possible by generous gifts from the General Motors Foundation and the William Davidson Foundation. We have much to celebrate and much more to do as the DSO musicians, board and staff aspire to enable many more years of inspiring and engaging communities through unsurpassed musical experiences. We are eager to involve you in this incredibly satisfying work, as it is because of and thanks to you, our community of patrons, that we will co-create the next 125 years of your DSO! Thank you, and please keep in touch in person and in writing, whether it be via letters, emails, Facebook, Twitter, whatever your communication method of choice! With all best wishes for an exciting new season,

News & Notes Slatkin as scribe

Since 2008 DSO Music Director Leonard Slatkin has captivated audiences on Orchestra Hall’s majestic stage, and now he shares his secrets to success on the podium with his recently-released book, “Conducting Business.” Drawing on his own experience on and off the podium, Slatkin brings the reader into the world of the baton, telling tales of some of the most fascinating figures in recent Conducting business musical history, including Leonard by Leonard slatkin Bernstein, John Williams, and Frank Sinatra. He takes readers to the world’s great concert halls, orchestras, and opera pits, as well as to soundstages in Hollywood. Covering everything from learning how to read music to standing in front of an orchestra for the first time, what to wear, and how to deal with the media, “Conducting Business” provides a unique look at a unique profession. Available at the Shop @ The Max, Amazon.com and all major book retailers for $27.99.

Join us in your neighborhood The DSO’s wildly successful Neighborhood Concert Series returns for its second season December 2012 in Beverly Hills, Bloomfield Hills, Dearborn, Grosse Pointe, Southfield and West Bloomfield Township. The cornerstone of the DSO’s new Neighborhood Residency Initiative, subscriptions to all four concerts in each neighborhood are only $75. Add tickets to Neighborhood Chamber Recitals for only $10 each when you order with your subscription. Visit dso.org/neighborhood for a full schedule of events. Beverly Hills Sunday afternoons at 3 p.m. Seligman Performing Arts Center on the Detroit Country Day School Campus Bloomfield Hills Saturday evenings at 8 p.m. Kirk in the Hills Presbyterian Church

Southfield Thursday evenings at 7:30 p.m. Congregation Shaarey Zedek West Bloomfield Township Thursday evenings at 7:30 p.m. Berman Center for the Performing Arts on the Eugene & Marcia Applebaum Jewish Community Campus

Dearborn Friday mornings at 10:45 a.m. Ford Community & Performing Arts Center Grosse Pointe Sunday afternoons at 3 p.m. Grosse Pointe Memorial Church

Anne Parsons 8

Performance / Vol . X XI / Fall 201 2

dso.org

Stream the Symphony! “Live From Orchestra Hall” returns for its second season to bring the DSO to a live global audience via HD webcast. Log on at dso.org/live or download the free DSO to Go mobile app to view the performance and pre-show hosted by Alex Trajano, as well as a full schedule of this season’s episodes. “Live from Orchestra Hall” is presented by the Ford Motor Company and the Knight Foundation and is produced in collaboration with Järvi Returns Detroit Public Television.

Watch online at dso.org/live or on the DSO

Saint-Saëns’ “Organ” Sym Friday, May 11, 10:45 a.m.

Sunday, April 1, 3 p.m.

Upcoming webcasts Opening Weekend Joshua Bell..................... Sunday, Sept. 30 at 3 p.m. “New World” Symphony Dvořák’s Cirque de la Symphonie................................. Saturday, Oct. 6 at 8 p.m. April 21, 8 p.m. Slatkin Conducts Boléro................................. Sunday, Oct. 14 atSaturday, 3 p.m. The Romance of Rachmaninoff.................... Sunday, Oct. 21 at 3 p.m. Sibelius’ Second Symphony........................... Friday, Oct. 26 atPictures 10:45 a.m. at an Exhibition Rodeo!................................................................ Sunday, Nov. 11 atSunday, 3 p.m. May 6, 3 p.m. von Oeyen Plays Schumann.......................... Sunday, Nov. 18 at 3 p.m.

The Pines of Rome Friday, May 18, 10:45 a.m.

Follow the DSO Meet the Musician:

Johanna Yarbrough

horn professor at Florida SO Fourth Horn Johanna State University, Yarbrough’s Yarbrough knew instantly passion for performance had that she was not a violinist. morphed into career ambition. Growing up in Tallahassee, After completing a bachelor’s Fla., the fifth grade Yarbrough degree in horn performance at required doughnuts at every the University of Alabama, a lesson if she were to show up. year abroad at the Norwegian And practicing? Forget it. Academy of Music in Oslo, “I had to really work hard to Norway, and a professional do it well,” said Yarbrough. studies certificate at the “I’ve never really been drawn to Colburn School in Los things that don’t come Angeles, Yarbrough won her naturally.” yarbrough 12th audition, joining the Based only on the fact her DSO in May, 2012. brother played tuba, she joined band the “I was living as a student in a dorm, next year. She selected the French horn because the band director told her it was the and in the three days it took to drive to Detroit from California I became an adult,” hardest to play. Being left-handed, she she said. “All of a sudden I had to choose assumed, perhaps prematurely, that she had a health care plan and had to find a place an advantage on this left-handed to live.” instrument. While Yarbrough has not yet settled on a “I have an oddly competitive spirit,” she permanent residence, she’s certain it will be said. “As it turned out, everyone kept telling somewhere downtown. me I was really good at playing the horn, “My mom is a city planner, so she and and I loved the attention. I think a real love I are both pretty excited for me to make my for the instrument came from that home downtown and be a part of Detroit’s encouragement. The love for music revitalization,” she said. developed upon hearing the horn lines of The 2012-13 season is Yarbrough’s first Strauss, Brahms, and Mahler.” full season with the DSO. By eighth grade, inspired greatly by her private teacher, Michelle Stebleton, the dso.org

Classical Music with Dave Wagner and Chris Felcyn Weekdays 6 am -7 pm wrcjfm.org A listener supported service of Detroit Public Schools and Detroit Public TV.

Perform ance / Vol . X XI / fall 2012

DSO: A History

(Part 1 of 3) June 1, 1919 Orchestra Hall construction begins at the behest of Gabrilowitsch.

December 19, 1887 Detroit Symphony Orchestra performs the first subscription concert of its first subscription season at the Detroit Opera House. Rudolph Speil was the conductor.

October 23, 1919 Ossip Gabrilowitsch conducts first concert in newly-built Orchestra Hall. November 16, 1919 First tour – Hill Auditorium, Ann Arbor. gales February 26, 1914 With funds provided by 10 ladies of Detroit society, the Detroit Symphony Orchestra performs a Demonstration Concert.

1887

Kalsow

1910 April 1910 The Detroit Symphony Orchestra performs the final subscription concert of what would be, for four years, its “last” season. Hugo Kalsow conducted — having been conductor from 1900 through 1910.

November 19, 1914 The Detroit Symphony Orchestra begins a new subscription season under the direction of first music director Weston Gales. Concerts are held at the Detroit Opera House.

1914

1918

November 7, 1918

Ossip Gabrilowitsch begins as second music director.

November 29, 1919 First tour outside of Michigan – Oberlin College in Oberlin, Ohio.

1920 December 8, 1920 First DSO performance at Carnegie Hall. December 18, 1920 First Young People’s Concerts, Victor Kolar conducts.

gabrilowitsch

Performance / Vol . X X I / fall 201 2

dso.org

gabrilowitsch

February 10, 1922 The Detroit Symphony Orchestra performs on WWJ Radio, the world’s first-ever broadcast of a program of symphonic music. November 5, 1923 Music Education expands with regular “Junior Concerts” for all Detroit Schools students, either live in Orchestra Hall or simultaneously broadcast over Detroit Public Schools Radio. Edith Rhetts is Educational Director

1923

Kolar

ghione

October 29, 1936 After the death of Ossip Gabrilowitsch on 14 Sept 1936, conducting responsibilities taken over by Assistant Conductor Victor Kolar.

March 15, 1946 Orchestra moves to Music Hall. 1948/1949 Henry H. Reichhold

November 4, 1937 Franco

disbands the Detroit Symphony Orchestra.

Ghione begins as Conductor. March 18, 1939 Final concert in Orchestra Hall before moving to Masonic Auditorium.

1936

1949-1950 & 1950-1951 No Detroit

Symphony Orchestra concerts.

1942

March 7, 1924 Dedication of the world’s most powerful concert organ, built by Casavant Frères. and donated by Mr. & Mrs. William H. Murphy.

1948

1942-1943 The Detroit Symphony Orchestra suspends operations “for the duration of the war.” 1943 Industrialist Henry H. Reichhold resurrects the Detroit Symphony Orchestra and appoints Karl Krueger as Music Director. 1951 Industrialist John B. Ford

Reichhold

implements his Detroit Plan, bringing together groups from Detroit business, labor and government in a landmark partnership in arts funding that re-established the Orchestra. The orchestra moves back to Masonic Auditorium.

krueger

Casavant Frères organ

Celebrating 125 years since its first concert at the Detroit Opera House, the DSO is proud to remember its long history of musical excellence on these pages. Collect all three issues of Performance to get the full story. To be continued…

dso.org

Perform ance / Vol . X XI / fall 201 2

oonshin Song has distinct memories of her mother playing Mozart records when she was young. “My mother was completely in love with classical music,” she remembers. So it seemed a natural progression that by 5 years old, Song had already begun violin and piano lessons. But while her early years may not have been typical, per se, her youthful aversion toward practicing certainly was. “I remember my kindergarten teacher putting candy inside my toy violin, and telling me I could only have it after a great performance” said Song. “Well... I wanted the candy” she added with a smile. By age 10, the saccharin temptations lurking within violin’s f-holes had apparently worked, since her instructor insisted she forego the piano in place of full-time pursuit of her violin studies. “He said that’s where I had more promise,” she said. “I hated to quit the piano, but it sounded fun to participate in competitions and see my photo in newspapers.” Since that fateful decision, that is exactly where her photo ended up, most recently as the Detroit Symphony Orchestra’s newest concertmaster. Song has also earned notoriety as the winner of the Stradivarius International Violin Competition and has earned prizes in the Lipizer International Violin Competition in Italy, Wieniawski International Violin Competition in Poland, Henry Marteau International Violin Competition in Germany, Young Concert Artists International Competition in New York and Ima Hogg International Competition in Houston. In her native South Korea, Song has won virtually all the major national competitions. She also received the David G. Whitecomb Foundation Award in New York. Just a year after adopting violin full time, Song made her solo debut with the Seoul Philharmonic at age 11, performing the Saint-Saëns Introduction 12

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DSO’s new Song

DSO Concertmaster Yoonshin Song has always known first chair is what she wanted by Gabrielle Poshadlo

and Rondo Capriccioso. On stage with an entire ensemble of professional musicians who’d been playing their instruments longer than she’d been alive, Song faced this seemingly intimidating situation with a fearlessness only a child could muster. “I don’t remember being nervous, but I do remember really liking my dress, it was green,” Song said. “I liked being on stage, then it was just fun. Sometimes

I miss that childlike fearlessness.” Song may claim she no longer feels fearless, but she certainly does appear that way. In 2004, at age 22, Song left Korea for the United States without knowing anyone at her destination. She wouldn’t visit her family again for three years. Once in the U.S., Song earned her master’s degree and Graduate diploma under the tutelage of Donald Weilerstein at New England Conservatory in Boston. She then went on to complete the Artist Diploma and Professional Study programs at the Manhatten School of Music, where she studied with Robert Mann and Glenn Dicterow, Concertmaster of the New York Philharmonic. In 2010, directly after completing her studies in New York, Song won a violin position with the St. Paul Chamber Orchestra where she has been ever since. Now facing a role that will be completely different from what she has been doing in the past couple of years, the greatest difference Song is anticipating is in the repertoire. “I had a wonderful time in St. Paul and lots of great music making, but the repertoire for a chamber orchestra is limited,” she said. “I look forward to the challenge of playing bigger music in a bigger role. I really feel like I can contribute more with the DSO.” She is also eager to work with Music Director Leonard Slatkin on a regular basis. “I really like the feeling of being close to the conductor and communicating with the other principals. I like to really know the score and play every note like it matters,” she said. With the beginning of the DSO season on Sept. 28, Song will make her performance debut as DSO concertmaster, when she will sit in a new chair on a new stage in a new concert hall surrounded by a new orchestra, all within a new city. But Song is not the least bit intimidated by this glut of changes or by her new job. “This is something I’ve been looking for,” she said. “And I can’t wait.” dso.org

Profiles Douglas Boyd Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Classical Series Thursday, October 25, 2012 at 7:30 p.m. Friday, October 26, 2012 at 10:45 a.m. * in Orchestra Hall Douglas Boyd, conductor Baiba Skride, violin Franz Schubert Selections from Rosamunde, D. 797 (1797-1828) Ballet Music No. 2 Entr’acte No. 3 Robert Schumann Concerto for Violin and Orchestra in D minor (1810-1856) In kräftigem, nicht zu schnellem Tempo Langsam Lebhaft, doch nicht schnell Baiba Skride, violin

I n t er m ission Jean Sibelius Symphony No. 2 in D major, Op. 43 (1865-1957) Allegretto Andante, ma rubato Vivacissimo Finale: Allegro moderato

*Denotes a webcast performance

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ynohpmyS ”nagrO“ ’snëaS-tniaS .m.a 54:01 ,11 yaM ,yadirF

snruteR ivräJ .m.p 3 ,1 lirpA ,yadnuS

emoR fo seniP ehT ynohpmyS ”dlroW weN“ s’kářovD .m.a 54:01 ,81 yaM ,yadirF .m.p 8 ,12 lirpA ,yadrutaS noitibihxE na ta serutciP .m.p 3 ,6 yaM ,yadnuS

This Classical Series concert is generously sponsored by

PVS Chemicals, Inc.

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

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In 10 seasons as Music Director of the Manchester Camerata, Douglas Boyd has transformed the orchestra into one of England’s finest. His live recordings as boyd conductor with the Manchester Camerata of the complete Beethoven Cycle, in addition to symphonies of Mahler and Mozart, have received universal critical acclaim. Like so many of Boyd’s performances, his debut with the Camerata at London’s fabled BBC Proms concerts was praised for clarity, vibrancy and musicality. Boyd and the Camerata returned to the Proms in July 2009 with an acclaimed program of Haydn and MacMillan, one of the many living composers he champions. In 2009, Douglas Boyd joined Switzerland’s oldest orchestra, The Musikkollegium Winterthur, as its Principal Conductor. Each season, he takes the orchestra on tour throughout Europe and has also undertaken several ambitious recording projects in Winterthur. The most recent release is of Schubert Symphonies No. 7 and No. 8. Boyd currently holds the title of Principal Guest Conductor with the City of London Sinfonia and also held a similar post with the Colorado Symphony until Spring 2011. From 2003 through 2009, Boyd served as Artistic Partner of the St. Paul Chamber Orchestra(SPCO), with whom he performed, recorded and toured regularly, including acclaimed performances at Carnegie Hall in New York and the Ojai Festival in California. Boyd’s recording of the Bach Concerti for Deutsche Grammophon marked his recording debut as director/soloist. In addition to numerous live recordings as Music Director with the Manchester Camerata on the AVIE label, Boyd has also recorded Schubert Symphonies (SPCO Media) and the works of George Tsontakis (E-1/KOCH International Classics) with the SPCO. The Second Violin Concerto on the Tsontakis recording received both a 2008 Grammy Award nomination and the prestigious Grawemeyer Award. In addition to current releases of Schubert, Mozart and Beethoven, recording projects with his orchestra in Winterthur include CDs of Bruckner, Mussorgsky, and Vaughan Williams. Perform ance / Vol . X XI / fall 201 2

Baiba Skride

Baiba Skride has appeared with such prestigious orchestras as the Sinfonieorchester des Bayerischen Rundfunk, Gewandhausorchester Leipzig, skride Tonhalle Orchester Zürich, Orchestre de Paris, Philharmonia Orchestra, Sydney Symphony and the U.S. orchestras of Philadelphia, Houston and Cincinnati. Conductors she regularly collaborates with include Charles Dutoit, Thierry Fischer, Paavo Järvi, Neeme Järvi, John Storgårds and with her peers, Andris Nelsons , Kirill Petrenko and Vasily Petrenko. Recent highlights included Baiba Skride’s much anticipated debut with the Berlin Philharmonic playing Berg “To the memory of an Angel” with Andris Nelsons. She opened her Mozart residency with the RTE National Symphony Dublin performing all Mozart violin concertos and the Sinfonia Concertante. Skride’s growing commitment to contemporary music sees her world premiere the double concerto by the Danish composer Hans Abrahamsen with the Royal Danish and the Swedish Chamber Orchestras, with her long established chamber music partner and sister Lauma Skride. The duo enjoys great international acclaim following tours of North America and Japan. European appearances include the Wigmore Hall London and Gewandhaus Leipzig. Skride just released a Brahms CD box with the Orfeo label, including the violin concerto with the Stockholm Philharmonic and Sakari Oramo, as well as the Brahms Hungarian Dances with Lauma Skride. Her celebrated discography includes a Tchaikovsky CD with the City of Birmingham Symphony Orchestra and Andris Nelsons, a duo recording with her sister (Schubert, Beethoven, Ravel), a solo violin disc (Ysaye, Bartok, Bach) and two concerto discs (Mozart, Schubert, M. Haydn; Shostakovich, Janacek), all for Sony. Skride was born into a musical Latvian family in Riga where she began her studies, transferring in 1995 to the Conservatory of Music and Theatre in Rostock. From November 2010 onwards Skride plays the Stradivarius Ex Baron Feilitzsch violin (1734), which is generously on loan to her from Gidon Kremer. 14

Perform ance / Vol . X XI / Fall 201 2

Program Notes

Two selections from Rosamunde FRANZ SCHUBERT

B. January 31, 1797 D. November 19, 1828

Scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and strings (approximately 15 minutes).

t was in the field of dramatic music that Schubert encountered more frustration than in any other. The combination of great dramatic sense and supreme lyrical gifts he possessed would make one think that he would have been a first-rate composer of dramatic music. What legislated against this was an inability in the area of long-range planning, and the lack of a sense of cumulative dramatic development. In addition, in the early 1820s there was in Vienna what was popularly referred to as “the Rossini craze,” meaning the extraordinary popularity of Rossini’s operas, as well as a lack of competent librettists. Nevertheless, throughout his tragically short life, Schubert never lost his enthusiasm for

writing dramatic music (mostly in the field of opera), but it was only in the incidental music he composed for the play Rosamunde that he achieved something of the highest quality which has endured to this day. The full name of this play was Rosamunde, Princess of Cypress, and its author was one Helmine von Chezy (1783-1856), an ambitious but supremely un-talented Berlin-born writer whose name is remembered only because of her connection with two major composers of the day: Carl Maria von Weber, for whom she wrote an incomprehensible libretto for the opera Euryanthe, and Schubert, whom she somehow persuaded to write a set of incidental music for Rosamunde. It must be said that, in spite of its disastrous libretto, Euryanthe actually enjoyed a successful premiere, but since then the dramatically unworkable plot has prevented it from achieving a place in the repertoire, even though the music is wonderful. In the case of Rosamunde, however, it was doomed from the start, achieved only two performances in December of 1823 which were savaged by the critics, after which the play itself

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disappeared, is presumed lost, and has never been produced since — which is probably a blessing. Happily, Schubert’s music has survived, and it is some of the most beautiful orchestral music he ever created. What was wrong with Chezy’s play? It was a ridiculous and unworkable story concerning pirates, shipwrecks, disguises, poisoned letters, mistaken identity and kidnapping, and of course Rosamunde herself, an 18-year-old princess who is reunited with the prince to whom she had been engaged since childhood — even though for most of the drama she is presumed to have died! It is a testament to Schubert’s unique genius that he was somehow inspired to write such marvelous music to such a terrible play. In addition, the production appears to have been put together at the last minute. Since Schubert also wrote most of the music at the last minute (mainly because of recurring bouts of illness), the dances were first rehearsed just 48 hours before the premiere. As if all of this were not enough, the prompt box a person had no experience at prompting, and was said to have made so many mistakes and given so many wrong cues that it is a wonder the company got through to the end of the play. But then, there is Schubert’s divine music, which is scored for soprano solo, chorus and orchestra. At these concerts you will hear the Ballet Music No. 2 and the Entr’acte No. 3, the two best-known of the 10 pieces which Schubert composed. The main theme of the Entr’acte was used again in one of his major string quartets, and in a modified form, in one of the Impromptus for solo piano. SO Shop @ The Ma x D recommends:

Schubert – Rosamunde (selections): Bernard Haitink conducting the Royal Concertgebouw Orchestra Amsterdam, Decca B0009726.

Violin Concerto in D minor ROBERT SCHUMANN

B. June 8, 1810 D. July 29, 1856

Scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings (approximately 31 minutes).

he circumstances surrounding the creation, presumed disappearance and ultimate rediscovery of Schumann’s only violin concerto constitute one of the most bizarre and fascinating stories in all of dso.org

music. This unjustly-neglected work was Schumann’s last major composition, and was written rapidly in Dusseldorf in the fall of 1853 for the celebrated Hungarian-born violinist, composer and conductor Joseph Joachim, for whom Schumann had recently written the Fantasy in C Major, Op. 131 for violin and piano. However, although he did give the first performance and many succeeding performances of the Fantasy, Joachim never performed the concerto. After completing the concerto, Schumann accepted some revisions to the work that were suggested by Joachim, and plans were made for a premiere the following year. Unfortunately, in that tragic year Schumann attempted to commit suicide by jumping from a bridge into the Rhine river, where he was rescued by some passing fishermen. He was forced to relinquish his position as Music Director in Dusseldorf, and committed himself to a mental institution. As a result, the projected premiere never took place and the concerto was not first performed until well into the 20th century. Initially, Joachim and Schumann’s wife Clara thought well of the concerto, but after Schumann’s death in the institution in 1856 they changed their minds, feeling that it was the product of a deranged and morbid mind and unworthy of the great composer. Although it was not published at the time, Joachim is said to have played the work privately from time to time for some of his friends, but insisted that it should be kept from the general public because of what he thought was an ineffective, unforgiving and very difficult solo part. Joachim died in 1907, and shortly before that he gave the music to the Prussian State Library in Berlin with the express instructions that it not be published until 100 years after Schumann’s death, meaning 1956. In the latter part of the 19th century Clara Schumann and Johannes Brahms had already decided not to include the concerto in the Complete Edition of Schumann’s works, although Brahms did include in a supplementary volume of the Edition a work which he called “Schumann’s last musical thought.” This was a theme on which Schumann had begun to compose variations in early 1854, claiming that the theme had been given to him by the spirits of Mendelssohn and Schubert, apparently not realizing that it was a melody he had already used in the slow movement of the concerto. In March of 1933 in London, Joachim’s two grand-nieces attended a séance. One of the nieces was Jelly d’Aranyi, a wellknown violinist in her own right. At this

Discover and Experience 2012-2013 Music Series 15 Stunning Concerts National & Local Artists A Welcoming Environment for Our Guests Sunday, September 30, 2012 – 7:30 PM

“A Day in the Life…Three Phantoms in Concert — Return”

From NYC, Craig Shulman, Kevin Gray, and Ted Keegan, who have played the lead role in over 4,000 performances of “Phantom of the Opera,” portray a day in the life of a Broadway star. Sunday, November 11, 2012 – 2:00 PM

Douglas Bruce, Concert Organist

Noted organist from Switzerland appears as part of his 10th USA tour, which includes the National Cathedral in Washington, D.C. Sunday, December 9, 2012 – 3:00 PM

“35th Annual Christmas Concert” Nardin Choirs, Melvin Rookus, Director Paul Bisaccia performs Tchaikovsky’s “Nutcracker,” Liszt’s “Christmas Tree Suite,” and others holiday favorites. Sunday, February 17, 2013 – 2:00 PM

Yuki & Tomoko Mack – Duo Pianists These two Michigan residents will dazzle you as they perform on two concert grand pianos. Sunday, April 7, 2013 – 2:00 PM

Brandon Ridenour, Trumpet Rich Ridenour, Concert Pianist

Father and son graduates of The Julliard School sparkle with artistry fused with a magical stage presence. Brandon joined the Canadian Brass in 2006 at the age of 20. Sunday, May 5, 2013 – 2:00 PM

“Chicago A Cappella”

Representing Chicago’s most accomplished soloists, this vocal ensemble moves the heart and soul with fun, innovating concerts.

2013 Summer Music Concerts “Wednesdays at Eight” June 19 through August 14

Nine One-Hour, Wednesday Evening Concerts Starting at 8:00 PM - Free Admission Held in our Air-Conditioned Sanctuary Artists announced in May, 2013 www.nardinpark.org

Nardin Park United Methodist Church

29887 West Eleven Mile Road, Farmington Hills, MI 48336 (Near the I-696 and Orchard Lake Road Exit)

248-476-8860 Concert Details at www.nardinpark.org Perform ance / Vol . X XI / fall 201 2

séance d’Aranyi claimed that she had heard the voice of Robert Schumann asking her to find the unpublished concerto and perform it. Then, she said, she heard the voice of her grand-uncle Joachim telling her where to find the concerto. Up to this time d’Aranyi claimed to have had absolutely no knowledge of the work. For some reason it took her three years to accomplish all of this, but she finally tracked the manuscript down in the Prussian State Library and managed to convince the curators that the concerto should be published and performed, even though the Nazi government was initially against the idea. When the government realized what a propaganda coup this could be, they agreed to the proposition. In July of 1937 the well-known German music publisher Schott then sent a copy of the score to Yehudi Menuhin, asking him for an opinion about the work. After playing it through with his sister Hepzibah, he stated that he thought it was the historically missing link of the violin literature, and planned to give the concerto its world premiere in San Francisco that October. Once again, Madame d’Aranyi entered the picture, claiming the right of first performance because of the spiritualist messages. This came to naught as well, as the copyright was held in Germany, and

the government there insisted that the first performance be given by a German violinist. After some editing of the solo part by the German violinist Georg Kulenkampff and the famous composer and theoretician Paul Hindemith (who was himself a fine violin and viola player), it was Kulenkampff who gave the first performance with the Berlin Philharmonic in November of 1937, recording the work shortly thereafter. Menuhin gave the U.S. premiere on December 6 of that year playing it with piano in Carnegie Hall, then gave the full version of the work with the St. Louis Symphony Orchestra on December 23. d’Aranyi gave the first performance in London the following year, with the BBC Symphony Orchestra. After all of this craziness, the concerto slid into semi-obscurity from the 1940s into the 1970s in spite of several fine recordings, but happily it has now become better known and finally is receiving the recognition and first-rate performances it deserves. SO Shop @ The Ma x D recommends:

Schumann – Violin Concerto: Joshua Bell, violin; Vladimir Ashkenazy conducting the Cleveland Orchestra, Decca B0004204.

Symphony No. 2 in D major, Op. 43 Jean [ Johan] ( Julius Christian) Sibelius

B. Dec. 8, 1865, (Hämeemlinna [Tavastehus], Finland) D. Sept. 20, 1957, ( Järvenpää, Finland)

Sibelius’ Second Symphony is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones and tuba, timpani and strings (approx. 44 minutes). “It is true I am a dreamer and a poet of nature; I love the sounds of the field and forest, waters and mountains.” —Jean Sibelius

innish symphonist Jean Sibelius (1865-1957) is known primarily for his cycle of seven rugged symphonies. While he lived well into the 20th century, his compositional output would cease altogether between 1920 and 1925, making him more of a contemporary of Claude Debussy, Gustav Mahler and Richard Strauss than an actual 20th-century composer. His musical style can best be described as late-Romantic nationalism; he was inspired by nature and the sounds of nature as well as Finnish folklore, particularly the great Finnish epic Kalevala. While his First Symphony owes much to Tchaikovsky in terms of its structure and design, his Second Symphony is an altogether different work; the new territory he explored here (particularly in the first movement) would represent a break with convention that would grow wider with each new addition to the genre. SO Shop @ The Ma x D recommends:

Sibelius – Symphony No. 2: Herbert von Karajan conducting the Berlin Philharmonic Orchestra, DG B0017022.

November 2012

Perform ance / Vol . X X I / fall 201 2

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Join the excitement!

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Music by Falla, Hindemith, Brahms & Bloch Co-sponsored by

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Richard Stoltzman, Clarinet with the Linden String Quartet and David Deveau, Piano Music by Beethoven, Bernstein, Sculthorpe & Mozart Co-sponsored by

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Perform ance / Vol . X XI / fall 201 2

Profiles Jeff Tyzik

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Pops Series

Friday, November 2, 2012 at 10:45 a.m. Saturday, November 3, 2012 at 8 p.m. in Orchestra Hall Jeff Tyzik, conductor Ann Hampton Callaway, vocalist Marvin Hamlisch A Marvin Hamlisch Celebration (b. 1944) Nobody Does It Better arr. Jeff Tyzik At the Ballet The Entertainer They’re Playing Our Song The Way We Were One What I Did For Love A Tribute to Barbra Streisand

Arlen/Koehler, A Sleepin’ Bee arr. Callaway/Cunliffe

Arthur Hamilton, Cry Me A River Arr. Chris Walden

Barbra Streisand Everybody Says Don’t arr. Rob Mounsey At the Same Time

Romberg/Hammerstein Lover Come Back To Me arr. Newsom/Barton Hamlisch/Bergman The Way We Were Arr. Ross/Lubbock Ann Hampton Callaway, vocalist

I n t er m ission

arr. David Shire Starting Here, Starting Now

Streisand/Williams Evergreen Lovland/Callaway I’ve Dreamed of You arr. Farber Styne/Merrill Don’t Rain On My Parade

arr. Jonathan Tunick People/Being Alive

Michel Legrand, A Piece of Sky Alan and Marilyn Bergman

Lane/Lerner & Ager/Yellen On A Clear Day/Happy Days This Pops Series performance is generously sponsored by

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

Perform ance / Vol . X X I / fall 201 2

Grammy Award winner Jeff Tyzik is recognized as one of America’s most innovative pops conductors, and is known for his brilliant arrangements, original programming, and tyzik engaging rapport with audiences of all ages. Now in his 19th season as Principal Pops Conductor of the Rochester Philharmonic Orchestra (RPO), Tyzik also serves as Principal Pops Conductor of the Oregon Symphony, the Vancouver Symphony Orchestra and the Florida Orchestra at the beginning of 2012. Over the course of his tenure with the RPO, he has written over 180 works for the orchestra. The RPO has taken the unusual step of inviting their principal pops conductor, a consummate musician, to appear as a guest conductor in the orchestra’s classical subscription series calendar on a regular basis. Tyzik led the world premiere of his original work New York Cityscapes with the Royal Scottish National Orchestra in June 2010. In the 2012-13 season Tyzik will conduct the RPO on the subscription series in the world premiere of his new suite: Images: Musical Impressions of an Art Gallery. Highly sought after as a guest conductor, Tyzik has recently appeared with orchestras such as the Boston Pops, the Cincinnati Pops, the New York Pops, the Philadelphia Orchestra at the Saratoga Performing Arts Center, the Los Angeles Philharmonic at the Hollywood Bowl, and the Dallas Symphony at the Vail Valley Music Festival. A native of Hyde Park, New York, Tyzik began his life in music at age 9, when he first picked up a cornet. He studied both classical and jazz throughout high school, and went on to earn both his bachelor’s and master’s degrees from the Eastman School of Music, where he studied composition/ arranging with Radio City Music Hall’s Ray Wright and jazz studies with the great band leader Chuck Mangione, both of whom profoundly impacted him as a musician. Tyzik spent the next few years working with Mangione, which led to an oppoprtunity to co-compose a trumpet concerto with friend and virtuoso trumpeter Allen Vizzutti to be recorded by pops legend Doc Severinsen. Tyzik currently serves on the Board of Managers of the Eastman School of Music.

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Ann Hampton Callaway

Ann Hampton Callaway is one of the leading champions of the great American Songbook, having made her mark as a singer, pianist, composer, lyricist, arranger, actress, educator, TV host and callaway producer. She is best known for Tony-nominated performance in the hit Broadway musical Swing! and for writing and singing the theme song to the hit TV series The Nanny. Callaway is a Platinum Award-winning writer whose songs are featured on six of Barbra Streisand’s recent CDs. The only composer to have collaborated with Cole Porter, she has also written songs with Carole King, Rolf Lovland and Barbara Carroll, to name a few.

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Callaway’s live performances showcase her warmth, spontaneous wit and passionate delivery of standards, jazz classics and originals. She is one of America’s most gifted improvisers, taking words and phrases from her audiences and creating songs on the spot, whether alone at a piano or with a symphony orchestra. Callaway has been a special guest performer with Wynton Marsalis and the Lincoln Center Jazz Orchestra, with Keith Lockhart and the Boston Pops at Symphony Hall and Tanglewood and is featured at many of the Carnegie Hall tributes. She has sung with more than 25 of the world’s top orchestras and big bands, and has performed for President Clinton in Washington, D.C. and at President Gorbachev’s Youth Peace Summit in Moscow. Callaway recently debuted her latest symphony show, “The Streisand Songbook,” with The Boston Pops and will tour the show with them in 2013.

She will also be performing the tribute with several symphonies around the country as well as with her trio. Callaway is featured on the new Arbor’s Records CD Johnny Mandel: the Man and His Music. Her recent solo CDs, “At Last, Blues in the Night, Slow” and “Signature” have received high critical acclaim. She has also been a guest performer on more than 40 CDs including Kenny Barron’s latest CD, “The Traveler.” Callaway made her feature film debut opposite Angelina Jolie and Matt Damon in the Robert De Niro film “The Good Shepherd,” performing the standard “Come Rain or Come Shine.” She recorded “Isn’t It Romantic?” and “The Nearness of You” in Wayne Wong’s “Last Holiday,” starring Queen Latifah. Callaway is currently writing songs for the upcoming movie musical “State of Affairs”, to be directed by Philip McKinley.

Perform ance / Vol . X XI / fall 201 2

Profiles Leonard Slatkin

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Classical Series Friday, November 9, 2012 at 10:45 a.m. Saturday, November 10, 2012 at 8 p.m. Sunday, November 11, 2012 at 3 p.m. * in Orchestra Hall Leonard Slatkin, conductor Robert Williams, bassoon Aaron Copland Rodeo Ballet in One Act + (1900-1990) John Williams The Five Sacred Trees: Concerto for (b. 1932) Bassoon and Orchestra + Eó Mugna Tortan Tree of Ross Craeb Uisnig Dathi Robert Williams, bassoon

I n t er m ission Sergei Rachmaninoff Symphony No. 1 in D minor, Op. 13 (1873-1943) Grave - Allegro ma non troppo Allegro animato Larghetto Allegro con fuoco

*Denotes a webcast performance

ppa elibom oG ot OSD eht no ro evil/gro.osd ta enilno hctaW

ynohpmyS ”nagrO“ ’snëaS-tniaS .m.a 54:01 ,11 yaM ,yadirF

+ Denotes a DSO premiere

snruteR ivräJ .m.p 3 ,1 lirpA ,yadnuS

emoR fo seniP ehT ynohpmyS ”dlroW weN“ s’kářovD .m.a 54:01 ,81 yaM ,yadirF .m.p 8 ,12 lirpA ,yadrutaS noitibihxE na ta serutciP .m.p 3 ,6 yaM ,yadnuS

This Classical Series concert is generously sponsored by

PVS Chemicals, Inc.

Perform ance / Vol . X XI / Fall 201 2

Internationally acclaimed American conductor Leonard Slatkin began his tenure as Music Director of the Detroit Symphony Orchestra in slatkin September of 2008. In addition to his role at the DSO, he serves as Music Director of the Orchestre National de Lyon in France, an appointment which began in August of 2011. He has also served as Principal Guest Conductor of the Pittsburgh Symphony since 2008. Slatkin’s first book, Conducting Business, was released this past summer. Following a 17-year tenure as Music Director of the Saint Louis Symphony Orchestra, Slatkin became Music Director of the National Symphony Orchestra in Washington, D.C. in 1996. Other positions in the United States have included Principal Guest Conductor of the Minnesota Orchestra, first Music Director of the Cleveland Orchestra’s summer series at the Blossom Music Festival; Principal Guest Conductor of the Los Angeles Philharmonic Orchestra at the Hollywood Bowl; and additional positions with the New Orleans Philharmonic and the Nashville Symphony Orchestra. Maestro Slatkin’s more than 100 recordings have been recognized with seven Grammy awards and 64 nominations. He has recorded with the Detroit Symphony Orchestra, National Symphony Orchestra, Saint Louis Symphony, Minnesota Orchestra, Nashville Symphony Orchestra, Chicago Symphony Orchestra, the New York Philharmonic, and numerous European ensembles. Throughout his career, Slatkin has demonstrated a continuing commitment to arts education and to reaching diverse audiences. He is the founder and director of the National Conducting Institute, and founded the Saint Louis Symphony Youth Orchestra while working with student orchestras across the United States. His engagements for the 2012-2013 season include the NHK Symphony, the Rotterdam Philharmonic, the Czech Philharmonic, the St. Louis Symphony, the Nashville Symphony and the State Symphony Orchestra of Russia. dso.org

Program Notes

Robert Williams

Robert Williams has been Principal Bassoonist of the Detroit Symphony Orchestra since September of 1974. Prior to that appointment he was solo bassoonist with the williams Winnipeg Symphony, Winnipeg CBC Orchestra, Colorado Philharmonic and Tucson Symphony. He has also played summer engagements with the Minnesota Orchestra and Boston Symphony at Tanglewood. In addition to his duties with the DSO, Williams plays in the CutTime Players, the Neo-Bubonic Bassoon Quartet, the DSO Bassoon Quartet, the DSO Woodwind Quintet, the Bellingham Music Festival and the Grand Teton Music Festival. He teaches at Wayne State University and has been on the music faculties of the Aspen Music School and Festival, University of Michigan, Michigan State University, the Grand Teton Orchestra Training Institute, Claremont Music Festival and the Utah Music Festival. He has also given master classes at Tanglewood, University of Michigan, Michigan State University and the University of Arizona. He has been featured guest artist at the University of Nebraska, Bowling Green State University, Arizona State University’s “Bassoon Days” in 2003, Fresno State University’s “Double Reed Days” in 2000 and the Glickman-Popkin Double Reed Camp in 1997. He played a joint recital with DSO Principal Oboist Don Baker at the 1998 International Double Reed Society convention in Evanston, Ill. Williams can be heard on all of the DSO recordings conducted by former Music Director Antal Dorati, including the award winning Rite of Spring and on the Chandos recordings led by Neeme Järvi. Fox Products released the new Neo-Bubonic Bassoon Quartet recording in 2003. He has just finished a new CD “Romanze of Weissenborn” of the works of Julius Weissenborn for bassoon and piano released on the Equilibrium label. A native of Tucson, Ariz., he graduated with honors from the University of Arizona and did post graduate work at the University of Southern California. His major bassoon teachers include Wendal Jones, Leonard Sharrow and Norman Herzberg. dso.org

Rodeo

AARON COPLAND

B. November 14, 1900 D. December 2, 1990

Scored for three flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani plus 4 percussion (playing bass drum, cymbals, glockenspiel, snare drum, triangle, whip, wood block and xylophone), piano, harp, and strings. (Approx. 32 minutes)

opland produced three ballet scores between 1938 and 1944, and all three helped to establish him as a vital and special voice in 20th-century American music, one who could reach out and touch the average listener in a way that no-one had done previously and few have done since. Billy the Kid, Rodeo, and Appalachian Spring created a uniquely American sound by using indigenous rhythms and songs, along with a palette of wide open harmonies which somehow managed to suggest the frontier days of the early American West. His most popular works are now part of our everyday lives. Billy the Kid and Rodeo are both celebrations of that American West, but Rodeo also managed to give us a new way of looking at ourselves and relations between men and women. When Copland was first approached by dancer and choreographer Agnes de Mille to write what would be his second “cowboy ballet,” he was initially reluctant, remembering the success which Billy the Kid had in 1938, and wondering if he could repeat it. In fact, the result of this collaboration became a landmark in American dance history. The actual commission for the ballet came from a most unlikely source, namely the Ballet Russe de Monte Carlo, a company with a solidly classical repertoire grounded in 19thcentury European tradition, and which had moved to the U.S. during World War II. This was part of Copland’s initial hesitation, as he could not imagine this company handling a modern American style of dancing. (For the record, Antal Dorati, former music director of the DSO, was at one time music director of the Ballet Russe de Monte Carlo.) Rodeo, subtitled The Courting at Burnt Ranch, was first performed at the Metropolitan Opera House in New York in October of 1942, and was a huge success, garnering no less than 22 curtain calls from a standing, cheering audience. The ballet

tells the story of the Cowgirl, a tomboy in search of love. Agnes de Mille later admitted that this character, who is a misfit among the people in her community, was based on her own life as a young woman. As she said, the Cowgirl “…acts like a boy, not to be a boy, but to be liked by the boys.” This Cowgirl, who is accomplished in all of the skills of a cowboy, wants to be attractive to the Head Wrangler on a ranch, and initially tries to impress him by being one of the boys. He is unimpressed by this, but at the end of the ballet, when she changes from her cowboy clothes into a lovely dress and shows a decidedly more feminine character, he falls for her in a big way. The ballet ends with the two of them engaging in a flamboyant kiss in the middle of the dancing. In de Mille’s words, it was “The Taming of the Shrew with cowboys,” and it is worth noting that she danced the role of the Cowgirl in the original production. In a later television interview, she said, “The theme is old, American and basic: how to get a suitable man.” Enough cannot be said about how much de Mille’s stunning, groundbreaking choreography contributed to the enormous success of Rodeo, and in so doing, revolutionized the whole concept of what ballet could be. The niece of legendary film director Cecil B. de Mille, she created a unique and eye-popping style of dancing for the men derived from horseback riding and cattle roping. She initially had great difficulty finding dancers for the new work because the technique of classical ballet did little to prepare them for the vigorous and sometimes awkward movements her choreography demanded. The ballet as originally staged consisted of five segments: Buckaroo Holiday, Ranch House Party, Corral Nocturne, Saturday Night Waltz, and Hoe-Down, along with some connecting material between the segments. When Copland created the very popular Four Dance Episodes from the ballet, he omitted the Ranch House Party segment and the connecting music, leaving the other four segments mostly intact. At these concerts you will have the rare opportunity to hear the ballet in its entirety. SO Shop @ The Ma x D recommends:

Copland – Rodeo: Leonard Slatkin conducting the St. Louis Symphony Orchestra, EMI 48645 or Antal Doráti conducting the Detroit Symphony Orchestra, Decca 448261.

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The Five Sacred Trees JOHN WILLIAMS

B. February 8, 1932

Scored for three flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani and four percussion (playing bass drum, bodhran, cymbals, glockenspiel, Hawaiian Pulli sticks, maracas, marimba, gong, ratchet, snare drum, tam-tam, tambourine, thin Japanese sticks, triangle, tubular bells, vibraphone, whip, wood block and xylophone), harp, piano, celesta and strings. (Approx. 26 minutes)

his five-movement bassoon concerto was written for Judith LeClair, the principal bassoonist of the New York Philharmonic in 1995, as part of the celebrations surrounding the orchestra’s 150th anniversary. The premiere was given by LeClair with Kurt Masur conducting the Philharmonic in April of that year. The work was inspired in part by the writings of the British poet and novelist Robert Graves. Many cultures have the concept of sacred trees in their folklore, and the subjects of the movements of this work are all from Celtic mythology. All of the quotes in the movements’ descriptions are from Mr. Williams’ own program notes. The first movement is Eo Mugna, named after the oak tree, and begins with a long and solemn bassoon solo. Once the orchestra enters, the music is very lyrical and almost mystical. “Eo Mugna, the great oak, whose roots extend to Connia’s Well in the ‘otherworld,’ stands guard over what is the source of the River Shannon and the font of all wisdom. The well is probably the source of Mugna and the sacred well.” The second movement is Tortan, a tree which is associated with magic, particularly witchcraft. This is cast in the form of a lively dance, with the violin imitating Celtic fiddling. “Tortan is a tree that has been associated with witches, and as a result, the fiddle appears, sawing away as it is conjoined with the music of the bassoon. The Irish bodhran drum assists.” The third movement, Eo Rossa (literally The Tree of Rossa) is named after the yew tree. This tree traditionally had power over destruction and rebirth, but here is portrayed in music that is very lean and spare and soft, and which begins with an extended harp solo. “The Tree of Ross (or Eo Rosa) is a yew, and although the yew is often referred to as a symbol of death and destruction, The 22

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Tree of Ross is often the subject of much rhapsodizing in the literature. It is referred to as ‘a mother’s good,’ ‘Diadem of the Angels,’ and ‘faggot of the sages.’ Hence the lyrical character of this movement, wherein the bassoon oncants [sic] and is accompanied by the harp.” The fourth movement is Craeb Uisnig, the ash tree, which was typically associated with conflict. It is the shortest and least melodic of the five movements, and contains music which is quite agitated and violent. “Craeb Uisnig is an ash, and has been described by Robert Graves as a source of strife. Thus, a ghostly battle, where all that is heard as the phantoms struggle is the snapping of twigs on the forest floor.” The final movement of the concerto, which follows the preceding movement without pause, is Dathi, a tree that was often the inspiration of poets. The music here is slow and melancholy, and ends with a grieving duet for bassoon and flute. “Dathi, which purportedly exercised authority over the poets, and was the last tree to fall, is the subject for the close of the piece. The bassoon soliloquizes as it ponders the secrets of the trees.” SO Shop @ The Ma x D recommends:

Williams – The Five Sacred Trees: Judith LeClair, bassoon; John Williams conducting the London Symphony Orchestra, Sony 62729.

Symphony No. 1 in D minor, Op. 13 SERGEI RACHMANINOFF

B. April 1, 1873 D. March 28, 1943

Scored for three flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, percussion (playing military drum, snare drum, bass drum, cymbals, triangle tambourine and tam-tam), and strings. (Approx. 43 minutes)

achmaninoff was only 22 when he wrote the first of his three symphonies, but he was already highly regarded in musical circles. Three years prior to this he had been graduated from the Moscow Conservatory with a Gold Medal in composition. Before composing this major work he had already taken some steps along the road to creating a symphony, the first being a Scherzo in F written when he was just 13, and the second being an Allegro in D minor which clearly was intended as the first movement of a full symphony. During his last year at the Conservatory Rachmaninoff

said that he had written a full symphony as an exercise, but the last three movements of the work — if indeed they actually existed — have been lost. This surviving Allegro movement, which was published posthumously, now stands alone under the title of Youth Symphony. The highly-anticipated premiere of the new symphony took place in March of 1897 in a Russian Symphony Society concert in St. Petersburg conducted by the well-known composer and conductor Alexander Glazunov. Unfortunately, the event proved to be a disaster, not just with regard to the performance itself, but even more important, in the effect that it had on the young and optimistic Rachmaninoff. The symphony made a terrible impression on almost everyone who was there, but it now seems certain that most of the blame for this can be attributed directly to Glazunov’s incompetent and unsympathetic conducting. Not only did he make a hash of the piece in rehearsal, but he apparently made a number of cuts in the score and even went so far as to change the orchestration in several places. Moreover, many people who were at the premiere had the opinion that Glazunov was inebriated, and considering how much alcohol he regularly consumed, this could easily have been the case. Rachmaninoff listened to the performance in a stairwell off to the side of the stage, at one point putting his hands over his ears in desperation and wondering how Glazunov could be doing such a terrible job and how the music, which he had come to be so proud of, could sound so awful. He did not stay for the full performance but fled the hall in the middle of the last movement, devastated and in shock from the experience. It would be almost three years before the impact and torment of the performance would leave him. Having the premiere of the new symphony in St. Petersburg was probably not a good idea either, the musical scene there having been dominated by a group of composers who had been taught by Rimsky-Korsakoff, and whose academic style of composition turned technical accomplishment into and end in itself. In addition, there was at the time a long-standing antagonism between the musical factions in St. Petersburg and Moscow. After listening to one of the new symphony’s mangled rehearsals, Rimsky said, “Forgive me, but I do not find this music at all agreeable,” summing up the feeling that Rachmaninoff ’s progressive use of symphonic form was against all of the ideas which Rimsky was teaching. Shortly after the premiere Rachmaninoff wrote a lengthy letter to a composer dso.org

colleague which said in part, “I am not at all affected by its lack of success, nor am I disturbed by the critical abuse. I am, however, deeply distressed and heavily depressed by the fact that my Symphony, though I loved it very much and love it still, did not please me at all after its first rehearsal.” Later in his life Rachmaninoff said to one his biographers about the effect the premiere had on him, “I returned to Moscow a changed man. The despair that filled my soul would not leave me. My dreams of a brilliant career lay shattered, and my hopes and confidence were destroyed. Agonizing hours spent in doubt and hard thinking brought me to the conclusion that I should give up composing.” The man was clearly shattered by the experience, and in fact did give up composing for almost three years, unable to produce any workable ideas in his seriously depressed mind. It was not until a nowfamous series of sessions in 1899 with a famous hypno-therapist named Nikolai Dahl brought him out of this state that he was able to regain his former prowess as a composer. The direct result of these sessions was his beloved Piano Concerto No. 2 which established his international fame. Although he spoke frequently about destroying the score, he never actually did so, but when he left Russia in 1917 to settle permanently in the West he did not take the score with him. It eventually disappeared and is now considered lost. Shortly after Rachmaninoff ’s death the instrumental parts were re-discovered in the archives of the Leningrad Conservatory Library, and using these and the twopiano arrangement of the symphony, a reconstruction of the full score was made in 1945. The second performance of the work — in effect its true premiere — was given in Moscow in October of 1945, and was a considerable success. The U.S.

premiere took place in March of 1948 with Eugene Ormandy conducting the Philadelphia Orchestra, the orchestra with which Rachmaninoff had established such a long and close relationship. The four movements of the symphony are unified by a single theme, stated immediately after the introduction to the first movement. Each of the following movements opens with a reference to this idea. What is most striking here is his unmistakable and distinctive voice, sometimes brooding and yearning, sometimes expansively lyrical, and

SO Shop @ The Ma x D recommends:

Rachmaninoff – Symphony No. 1: Leonard Slatkin conducting the St. Louis Symphony Orchestra, Vox 5034.

Grand Valley’s Fall Arts Celebration is a highly popular and much anticipated annual showcase for the arts, humanities, and liberal education in West Michigan. Please join us this fall for an entertaining and enlightening celebration.

GVSU Music Department presents

“Music for the ‘Era of Good Feelings’: Beethoven in Federalist America”

Poetry Night

“An Evening of Poetry and Conversation with Nikky Finney and B.H. Fairchild”

MONDAY, SEPTEMBER 10, 8 P.M. LOUIS ARMSTRONG THEATRE PERFORMING ARTS CENTER ALLENDALE CAMPUS

FRIDAY, OCTOBER 19, 7 P.M. 2ND FLOOR, L.V. EBERHARD CENTER ROBERT C. PEW GRAND RAPIDS CAMPUS

Distinguished Academic Lecturer

GVSU Music and Dance Faculty and Students present

Daniel Mendelsohn “Medea on the Jersey Shore: Tragedy and the Crisis of Reality in Contemporary Culture” THURSDAY, SEPTEMBER 20, 7 P.M. 2ND FLOOR, L.V. EBERHARD CENTER ROBERT C. PEW GRAND RAPIDS CAMPUS

Art Gallery Exhibition

“Forged in Metal: Deshi/Shihyou–Mentee/Mentor” Contemporary Japanese Jewelry

Home for the Holidays

sometimes powerful and energetic, which was to be a part of practically everything else he wrote in the course of his long and distinguished career. The stamp of originality is in all four of the movements, but nowhere as prominent as in the lush and beautiful slow movement.

OPENING RECEPTION THURSDAY, OCTOBER 4, 5–7 P.M. ART GALLERY PERFORMING ARTS CENTER ALLENDALE CAMPUS

Exhibition Dates: October 4–November 2

“The Baroque Splendor of Venice: Vivaldi’s The Four Seasons in Dance” MONDAY, OCTOBER 22, 8 P.M. LOUIS ARMSTRONG THEATRE PERFORMING ARTS CENTER ALLENDALE CAMPUS

A Fall Arts Celebration Holiday Gift

“Amahl and the Night Visitors” MONDAY, DECEMBER 3, 8 P.M. FOUNTAIN STREET CHURCH 24 FOUNTAIN STREET NE GRAND RAPIDS

Fall Arts events are free and open to the public. Seating is limited for these popular performances.

Media Sponsor:

John Morris Russell, conductor

December 21-23 For tickets and information call 313.576.5111 or visit dso.org dso.org

GRAND VALLEY STATE UNIVERSITY THANKS THE FOLLOWING SPONSORS FOR THEIR GENEROUS SUPPORT OF FALL ARTS CELEBRATION 2012: Ginny Gearhart and the Gearhart Family • Liesel and Hank Meijer Elaine and Larry Shay • Judy and Peter Theune John R. Hunting

•

Allendale Greatest Needs Fund of the Allendale Community Foundation

Perform ance / Vol . X XI / fall 2012

Profiles

Sir Andrew Davis Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Classical Series Friday, November 16, 2012 at 8 p.m. Sunday, November 18, 2012 at 3 p.m.* in Orchestra Hall Sir Andrew Davis, conductor Andrew von Oeyen, piano

Claude Debussy Images (1862-1918) I. Gigues II. Ibéria: 1. P ar les rues et par les chemins [Through Streets and Lanes] 2. L es parfums de la nuit [The Fragrances of the Night] 3. L e matin d’un jour de fête [Morning of a Feast-Day] III. Rondes de printemps [Spring Rounds]

I n t er m ission Robert Schumann Concerto for Piano and Orchestra (1810-1856) in A minor, Op.54 Allegro affettuoso Intermezzo: Andantino grazioso Allegro vivace Andrew von Oeyen, piano

Johann Sebastian Bach Passacaglia and Fugue in C minor, (1685-1750) BWV 582 + Transcribed Sir Andrew Davis *Denotes a webcast performance

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emoR fo seniP ehT ynohpmyS ”dlroW weN“ s’kářovD .m.a 54:01 ,81 yaM ,yadirF .m.p 8 ,12 lirpA ,yadrutaS noitibihxE na ta serutciP .m.p 3 ,6 yaM ,yadnuS

This Classical Series concert is generously sponsored by

PVS Chemicals, Inc.

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Sir Andrew Davis has served as music director and principal conductor of Lyric Opera of Chicago since 2000. He was named a vice president of Lyric’s Board of Directors in May 2011. Maestro Sir Davis Davis is conductor laureate of the Toronto Symphony Orchestra, conductor laureate of the BBC Symphony Orchestra and former music director of Glyndebourne Festival Opera. Davis serves as artistic advisor to the Besançon International Music Festival and is president of the jury for that festival’s 52nd International Competition for Young Conductors. With the BBC Symphony Orchestra, Maestro Davis has led concerts at the Proms and on tour to Hong Kong, Japan, the U.S., and Europe. He has conducted all of the world’s major orchestras, from the Chicago Symphony Orchestra to the Berlin Philharmonic and the Royal Concertgebouw, as well as at opera houses and festivals throughout the world, including the Metropolitan Opera, La Scala, and the Bayreuth Festival. Maestro Davis has a massive discography on the Chandos, Decca, Deutsche Grammophon, Warner Classics International, Capriccio, EMI, and CBS labels, among others. Davis currently records exclusively for Chandos Records. His first Chandos recording, Elgar’s Crown of India, was released in 2010. His recordings of Holst’s Beni Mora, Japanese Suite, and The Planets, and of York Bowen’s Symphonies No. 1 and 2 with the BBC Philharmonic; and of Delius’s Appalachia and Song of the High Hills with the BBC Symphony Orchestra, were issued in the first half of 2011. In 1992, Maestro Davis was made a Commander of the British Empire for his services to British music, and in 1999 he was made a Knight Bachelor in the New Year Honours List. In 1991, he received the Royal Philharmonic Society/Charles Heidsieck Music Award. Born in 1944 in Hertfordshire, England, Maestro Davis studied at King’s College, Cambridge, where he was an organ scholar before taking up the baton. His diverse repertoire ranges from Baroque to contemporary, and his vast conducting credits span the symphonic and operatic and choral worlds. dso.org

Andrew von Oeyen

Andrew von Oeyen has already established himself as one of the most captivating pianists of his generation. Since his debut at age 16 with the Los Angeles Philharmonic and Esavon oeyen Pekka Salonen, von Oeyen has performed to critical acclaim in recital and orchestral appearances around the world. Commanding an extensive and diverse repertoire, von Oeyen has performed the major concertos of the keyboard literature — Bartok, Barber, Beethoven, Brahms, Chopin, Liszt, Gershwin, Grieg, Mendelssohn, Mozart, Prokofiev, Rachmaninoff, Ravel, Schumann, Shostakovich, Tchaikovsky — with such ensembles as the Philadelphia Orchestra, Los Angeles Philharmonic, San Francisco Symphony, National Symphony, Detroit Symphony, Cincinnati Symphony, Saint Louis Symphony, Seattle Symphony, Atlanta Symphony, Berlin Symphony Orchestra, Singapore Symphony, Grant Park Orchestra, Ravinia Festival Orchestra, Utah Symphony, Rochester Philharmonic, Slovenian Philharmonic and Slovak Philharmonic. As both soloist and conductor he has led concerti and orchestral works by Haydn, Mozart, Beethoven, Ravel and Kurt Weill at Spoleto Festival USA. In 2009, von Oeyen performed at the U.S. Capitol with the National Symphony in “A Capitol Fourth,” reaching millions worldwide in the multi-award winning PBS live telecast. von Oeyen has appeared in recital at Wigmore Hall and Barbican Hall in London, Lincoln Center in New York, the Kennedy Center in Washington, amont many other famous venues. The 2011-12 season includes appearances with the Prague Philharmonia, Detroit Symphony, Orchestre Philharmonique de Marseille, Berlin Symphony Orchestra, Pacific Symphony, San Diego Symphony, Calgary Philharmonic, North Carolina Symphony, Oklahoma City Philharmonic, Omaha Symphony, Slovak Philharmonic, a tour with the Slovenian Philharmonic and recitals in the U.S., Austria, France, Italy, Spain and Japan. Born in the U.S. in 1979, von Oeyen began his piano studies at age 5 and made his solo orchestral debut at age 10. dso.org

Images for Orchestra CLAUDE DEBUSSY

B. August 22, 1862 D. March 25, 1918

Scored for three flutes, two piccolos, two oboes, oboe d’amore, English horn, three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, four trumpets, three trombones, tuba, timpani plus 4 percussion (playing castanets, cymbals, chimes, tenor drum, snare drum, tambourine, triangle and xylophone), two harps, piano, and strings. (Approx 35 minutes)

n this year of 2012 the music world celebrates the 150th anniversary of the birth of one of the most significant and influential composers, the celebrated French master Claude Debussy. He was one of a handful of composers who altered the course of Western music, initially doing so with his famous work for orchestra entitled Prelude to the Afternoon of a Faun, written in 1894. It was a stroke of revolutionary genius, lasting just a bit over 10 minutes, but it broke with all previous traditions and forever changed the way in which music was perceived. Debussy, like Beethoven before him, redefined what could be considered as music. For such an extraordinary man whose innovations changed music in such an extraordinary way, Debussy’s catalog of regularly-played orchestral works is surprisingly small. In addition to the Prelude, there are the Three Nocturnes, La Mer, and Iberia, all written in a span of about 15 years, from the early 1890s to 1908. There is also the ballet Jeux, but it has never been popular in the concert hall. The unique musical language which Debussy developed drew on a variety of sources, among them keyboard works from 18th-century France, a melodic tradition from 19th-century France, harmonic techniques of Mussorgsky and other Russian composers, five-tone and wholetone scales from Java and Cambodia, and folk songs from Spain, England and France. All of these influences affected his music over a considerable period of time, but his musical innovations were only colored by these elements, which simply gave Debussy the means to achieve his artistic goal, namely a way of changing music away from expression as an end in itself. In doing so he opened up a whole new road for musical language, based on the work of the Impressionist painters and Symbolist poets who flourished in Paris during his youth. As a result, his use of all of these influences

helped to restore a certain proportion and balance to the music of his day. Images for Orchestra was originally planned as a suite for two pianos, the movements at that time being titled Gigues tristes (Sad jigs), Iberia and Valses — portraits in sound of three different countries, England, Spain and France. However, he soon realized that the great range of orchestral color would bring the music much more in line with his ideas, and so he slowly orchestrated the pieces over a period of four years (1906-1912), and in the case of what he now called just Gigues, he is said to have had help from his friend and colleague Andre Caplet, but this is still controversial. The designation of Images is somewhat misleading, because even though Debussy frequently borrowed terms and expressions from painting, he had a great dislike of music that wanted to be purely pictorial. The real strength of his output is in the soundness of its expression, and the effect of reality he was after is achieved not by descriptive detail but by a broad evocative power. In the end, Gigues tristes became Gigues, Valses became Rondes de Printemps (Round dances of Spring), and Iberia remained the same. Images represents Debussy’s orchestral technique at its zenith: the instrumentation is dazzling and brilliant, but always disciplined and under control. In Iberia, he simply created music which no-one had ever heard before, and it is the most symphonically conceived of all of Debussy’s orchestral works, much more symphonic than programmatic. As well, the final grouping under one title seems to have been fairly arbitrary, especially when you consider that all three of the pieces had independent premieres, Iberia in February of 1910, Rondes de Printemps in March of 1910, and Gigues in January of 1913. Only Iberia had an enthusiastic premiere, and the other two pieces have never been as popular. Gigues. Even though Debussy dropped the “sad” adjective, there is something melancholy and moody about the music. As Caplet once said, it is “….a portrait of a soul in pain….a wounded soul [which] hides its sobs behind the mask and gestures of a grotesque marionette.” Rondes de Printemps. This piece is a joyous rhapsody on an old French folk song, and is the only one of the Images to be prefaced by an inscription, “Long live May! Welcome May with its rustic banners!” Iberia. Even though Debussy only spent one afternoon in Spain at a bullfight, he managed miraculously to evoke the spirit of a country he barely knew, or, as the Perform ance / Vol . X XI / fall 201 2

great Spanish composer Manuel de Falla put it, “truth without authenticity,” then went on find the work “….nothing short of miraculous when you consider that this music was written by a foreigner guided almost entirely by his visionary genius.” Iberia is itself in three parts, the vigorous and richly-textured outer movements (Along the streets and byways, and The morning of a holiday) framing a sensuous and highly atmospheric nocturne (The fragrances of the night). SO Shop @ The Ma x D recommends:

Debussy – Images: Jean Martinon conducting the ORTF National Orchestra, EMI 65235.

Piano Concerto in A minor, Op. 54

ROBERT SCHUMANN

B. June 8, 1810, Zwickau, Germany D. July 27, 1856, Endenich, Germany

Robert Schumann’s Piano Concerto in A minor had its premiere in Dresden, Germany, on December 4, 1845, with the composer’s wife Clara as soloist. Scored for solo piano, two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings (approx. 31 minutes).

t might have seemed the most natural thing in the world for Robert Schumann to write a piano concerto, but in fact he hesitated long before tackling one. After Beethoven, it must have seemed that the symphonic concerto could be carried no further, and for the virtuosos of the 1820s and ’30s, a concerto was a vehicle for solo display, with the orchestra relegated to the background. The problem, as Schumann realized, was to reestablish the balance between soloist and orchestra. As the piano had grown in range, stamina and reliability in the second quarter of the 19th century, the orchestra had not kept pace, and traveling virtuosos often preferred to show off their wares in solo compositions. In 1841, he wrote a single-movement Fantasy for piano and orchestra. His wife, Clara, was so taken with the work that she insisted on a run-through with the Gewandhaus Orchestra in Leipzig. She played it twice and pronounced it “marvelous.” The first movement is for all practical purposes monothematic, a falling phrase first introduced by the oboe being subtly varied without every losing its plaintive 26

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character. Schumann found the way out of the piano-concerto impasse by dissolving the barrier between the formal ritornello and the more capricious solo; henceforth, any instrument could speak in any tone of voice. The rest of the concerto does not comprise two movements, really, but one lengthy span, joined by a ghostly reminiscence of the first movement. The mood of the Intermezzo is playful, bantering, despite the almost comically passionate second theme. Even more than in the first movement, the piano and the orchestra are partners in a delicately balanced game, in which neither is allowed to run too far ahead. Schumann has been accused of running rhythmic patterns to death, especially in his orchestral works, but in the finale of this concerto, he manages to have his cake and eat it too. Built into the principal theme is a hint of ambiguity between the prevailing 3/4 measure and a 3/2, in which the pace is cut in half. This hint becomes explicit in the second theme, and there is much teasing between piano and orchestra over the sums of three plus three, versus two plus two plus two. The Detroit Symphony Orchestra last performed Schumann’s Piano concerto was last performed March 23-24, 2001, with Music Director Emeritus Neeme Järvi conducting and Leif Ove Andsnes as soloist. SO Shop @ The Ma x D recommends:

Schumann – Piano Concerto: Van Cliburn, piano; Fritz Reiner conducting the Chicago Symphony Orchestra, RCA 708283.

Passacaglia and Fugue in C minor, BWV 582

JOHANN SEBASTIAN BACH

B. March 21, 1685 D. July 28, 1750

(arr. ANDREW DAVIS)

B. February 2, 1944

Scored for two flutes, alto flute, piccolo, two oboes, English horn, 2 clarinets, Eb clarinet, bass clarinet, two bassoons, contrabassoon, four horns, two trumpets, three trombones, two timpani and percussion (playing bass drum, glockenspiel and vibraphone), celesta, piano, harp and strings. (Approx. 14 minutes)

ach was best known in his lifetime as a brilliant organist, organ consultant, and composer of organ works. When he was just in his teens he established an enviable

reputation for his remarkable creativity and the ability to integrate a wide variety of foreign styles into his organ compositions. In the latter part of his life he was greatly involved in consulting on organ projects, testing new organs, and dedicating organs in recitals. Bach got his first position when he was only 18, a well-paying job in the city of Arnstadt. A new organ had just been installed in the church there, and he was asked to examine the instrument. He acquitted himself so well that he was offered the post on the spot. The time he spent there was not the happiest, mainly due to a musically unenlightened congregation and a series of priests who complained about his rather florid improvisations, so after four years he left and eventually made his way to the court of Saxe-Weimar where he was appointed organist. It was during this tenure (1708-1717) that Bach wrote many of his greatest organ works, became very famous for his playing, and was regularly invited to play in other major churches and to give advice on organ building. There is an amusing story from this time which is a testament to just how remarkable his playing was and how extraordinary was his skill at improvising. Bach happened to be in Dresden at the same time as a French organist named Louis Marchant, and a competition was planned to see which was the better improviser. The day before the competition Marchant overheard Bach practicing and was so intimidated that he left Dresden on the spot. There are also examples of how uncommon Bach’s imagination was. He was constantly experimenting with new and unusual registrations (sound combinations) and chord structures, and even went so far as to put wood sticks in his mouth so that by leaning over the keyboard while still using his hands and feet he could play as many notes as humanly possible and could create sounds which nobody had ever heard before. He also gave lessons during much of his career, and he once told a student, “Just practice diligently and you will do very well. You have five fingers on each hand just as healthy as mine.” On another occasion he offered this advice: “Organ playing is nothing remarkable; all one has to do is hit the right notes at the right time and the instrument will play itself.” Bach was considered primarily the finest organ virtuoso of his day and only secondarily thought of as a composer. His mastery of the organ reached unprecedented heights, and listeners were constantly astounded by his unequalled manual dexterity, his phenomenal pedal technique, dso.org

and the absolute independence of his hands and feet. As one observer so beautifully put it, “….he ran over the pedal-keys with such agility that his feet seemed to have wings.” The works he left for the organ (and not all of them have survived) are so numerous and varied that they almost defy classification, but the content of all of these works ranges from deep sadness to exhilarating jubilation, from quiet meditation to powerful majesty, and from youthful exuberance to mature and deep expression. They all share the quality of sublime utterance, and offer infinitely more than mere human emotions and ideas. This magnificent work, one of Bach’s most important and influential organ compositions, seems to have been written either at the end of his years in Arnstadt or during his tenure at the court of Saxe-Weimar. The original manuscript is presumed lost, and we know the piece only through a number of different copies. The terms passacaglia and chaconne have had a checkered history, in some instances having been used almost interchangeably in spite of the efforts of various theorists to delineate them. Nevertheless, they both designate a kind of continuous variation form which is based on repetitive material. The passacaglia originated in early 17th-century Spain, at which time it was music played on the guitar either between stanzas or at the ends of songs, repeated many times and probably with improvised variations. As it was used by Bach and his contemporaries, it usually meant a work in triple meter (three beats to the bar) built upon a ground bass (a short theme played in the bass) which is repeated over and over while new material is created over it in the upper voices. Sometimes the theme migrates into the upper voices and then returns to the bass line. Typically the ground bass theme is a four-bar phrase, but in this work it is eight bars in length, and is stated at the beginning with no accompaniment from the upper voices — both features which make the work unusual. There follow no less than 20 variations, which build in intensity to Variation 12, after which come three quiet variations, then the final five variations cap it off. The passacaglia is followed without a break by an extraordinary double fugue (a fugue with two main subjects) in which the first four bars of the ground bass theme form the first subject, and a modified version of the last four bars form the second subject. A fugue is simply the most fully developed form of imitative counterpoint (two or more melodic lines sounding simultaneously) in which a theme is stated successively in all of

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the voices, then expanded, opposed, varied, and finally re-established. Bach’s ingenuity in dealing with all of these musical procedures in this glorious work is truly amazing. Because of the work’s remarkable richness it has been orchestrated by many well-known conductors and composers, among them Leopold Stokowski, Ottorino Respighi, Eugene Ormandy, and Sir Andrew Davis.

SO Shop @ The Ma x D recommends:

Bach (arr. Davis) – Passacaglia and Fugue in C minor, BWV 582: No recording currently available of the Davis transcription. Alternate recommendation: Stokowski transcription by José Serebrier, conducting the Bournemouth Symphony Orchestra, Naxos 8557883.

Perform ance / Vol . X XI / fall 2012

DSO Education Upcoming Performances For tickets, call 313.576.5111

Dr. Kenneth Thompson, conductor Friday, October 26 at 7:30 p.m. Orchestra Hall Join us for the opening performance by the Civic Wind Symphony and Chamber Music Ensembles as they perform works from all time periods. These ensembles will perform works by John Mackey, Percy Grainger, Ludwig von Beethoven and Antonin Dvorˇák, just to name a few.

The Civic in Concert Broadcast Series on WRCJ 90.9FM Civic Jazz Live! Civic Jazz Orchestra Sunday, October 28 at 7 p.m. Civic Wind Symphony Sunday, November 11 at Noon

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Civic Wind Symphony and Chamber Music Civic Jam Session Sunday, November 11 at 6 p.m. Cliff Bell’s, Detroit

Students and families are invited to the renowned Cliff Bell’s in Detroit for Civic Jam Sessions featuring students and faculty from Civic Jazz Studies. Students will have the opportunity to perform jazz standards with a house band made up of CYE Jazz Faculty while family and friends can relax, socialize and enjoy an evening of student-made music. Any and all students are welcome to this free event, so bring your horn, grab a friend and come down to Cliff Bell’s from 6-9 p.m. on the second Sunday of each month.

Hear the Detroit Symphony Orchestra’s most advanced youth ensembles — the Civic Orchestra, Civic Wind Symphony and the Civic Jazz Orchestra — in a series of occasional concert specials only on WRCJ 90.9 FM. Classical concerts are hosted by WRCJ’s Jimmy Rhoades and jazz concerts are hosted by Chris Felcyn and guitarist Mike Martin.

Civic Family Experience Join us for a festival experience at the Max. M. Fisher Music Center. For just one ticket, roam throughout the building to hear performances by 12 of our Civic Youth Ensembles. Ensembles will perform in the following order in The Music Box from 1 – 3 p.m.: Ellington Ensemble, Corea Combo, Marsalis Combo, New Orleans Ensemble, Creative Jazz Ensemble, Jazz Concert Band Ensembles will perform in the following order in Orchestra Hall from 3 – 6 p.m.: String Ensemble Allegro, String Ensemble Presto, Gabrilowitsch String Quartet, Sinfonia, Concert Orchestra, Philharmonic

Perform ance / Vol . X XI / Fall 201 2

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Sunday, November 4 from 1 – 6 p.m. Max M. Fisher Music Center

Civic Celebration Charles Burke, conductor / Norah Duncan, conductor Sean Dobbins, conductor / June Wu, piano Saturday, November 17 at 4 p.m. Orchestra Hall Join us for a celebration of Dr. and Mrs. Clyde Wu and their contribution to the success of the Civic Youth Ensembles. This performance will feature piano soloist June Wu, our Civic Orchestra, Civic Jazz Orchestra and the Wayne State Chorus. Works will include Mozart’s Piano Concerto No. 26, Beethoven’s Egmont Overture and Saint-Saens Organ Symphony just to name a few. Tickets: $5.

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General Information Parking Valet Parking is available on Woodward Avenue in front of the main entrance for $12 per vehicle. Secure Garage Parking is available for $7 per vehicle at the Orchestra Place Parking Deck on Parsons St. between Woodward Ave. and Cass Ave. For improved traffic flow, please enter Parsons St. from Cass Ave. DSO security personnel monitor the grounds of the Max and the parking deck, as well as surrounding streets during all events and concerts. The parking deck has reserved space for patrons with handicap permits. Parking for Coffee Concerts is also available in the Orchestra Place Parking Deck. The DSO offers shuttle bus service to Coffee Concerts from selected locations. Call 313.576.5130 for more information. Restrooms Men’s, women’s and family restrooms are located on all levels of the Atrium Lobby. Additional men’s and women’s restrooms are located on the Box Level of Orchestra Hall and on the lower level of the Main Floor. Refreshments Cash bar service and light refreshments are available in the atrium area of the Max M. Fisher Music Center 90

minutes prior to concert time and during intermission. We invite you to place your beverage orders with the bartenders prior to the start of the concert and your order will be waiting for you at intermission! Smoking The DSO is pleased to offer a smokefree environment at the Max M. Fisher Music Center. Smoking is not permitted anywhere inside the building. Patrons who wish to smoke must do so outside the building. An outdoor patio is also available on the second level of the Atrium Lobby. Accessibility Parking is available in the Orchestra Place Parking Deck for patrons with handicap permits. There are elevators, barrier-free restrooms and accessible seating in all areas of the Max M. Fisher Music Center. Security personnel are available at the entrances to assist handicapped patrons in and out of vehicles. Hearing assistance devices are available. Please see an usher prior to the performance. Late Seating Policy The DSO makes every attempt to begin concerts on time. In deference to the

comfort and listening pleasure of the audience, latecomers will be seated after the conclusion of the first work on the program. Patrons who leave the hall before or during a work will be reseated after the work is completed. Ushers will alert patrons as soon as it is possible to be seated. House lights are dimmed to indicate that the concert is about to begin. Latecomers will be able to watch the performance on closedcircuit television in the Atrium Lobby. Photography and Video Recording The DSO is active on many social media platforms. We encourage you to share your best pictures at www.facebook.com/detroitsymphony and your videos at www.youtube.com. Concert Cancellations To find out if a scheduled performance at the Max M. Fisher Music Center has been cancelled due to inclement weather, hazardous roads, power outages or other emergencies, call the Box Office at 313.576.5111, or tune in to WJR 760 AM and WWJ 950 AM. Pagers, Phones, Watches and Extraneous Sounds Cellular phones, pagers and alarm watches must be turned off while at the Max M. Fisher Music Center.

Patrons should speak to the House Manager to make special arrangements to receive emergency phone calls during a performance. The DSO thanks you for your cooperation in avoiding any extraneous sounds during the concerts. The hall microphones used to record the orchestra are extremely sensitive and will even record the sound of a wristwatch chime. Lost and Found See the House Manager or call 313.576.5199 during business hours. Gift Certificates Give friends and loved ones a gift that lasts all year long—the experience of a DSO performance. Gift certificates are available in any denomination and may be used toward the purchase of DSO concert tickets. Visit the DSO Box Office at the Max M. Fisher Music Center or call 313.576.5111 for more information. Max M. Fisher Music Center Rental Information The Max M. Fisher Music Center is an ideal setting for a variety of events and performances. For information on renting the facility, please call 313.576.5050. Rental information is also available online at www.dso.org/rent.

Administrative Staff Executive Office Anne Parsons President and CEO Paul W. Hogle Executive Vice President Patricia Walker Chief Operating Officer Rozanne Kokko Chief Finance and Business Officer Anne Wilczak Managing Director, Special Events and Projects Aja G. Stephens Executive Assistant to the President and CEO Orchestra Operations & Artistic Planning

Nicole New Manager of Popular and Special Programming Alice Sauro Director of Operations and Executive Assistant to the Music Director Education

Human Resources

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

Renecia Lowery Jeter Director of Human Resources

Joy Crawford Patron and Organizational Assistance Coordinator

Emily Lamoreaux General Manager of Civic Youth Ensembles Cecilia Sharpe Manager of Education Programs

Teddy Abrams Conducting Assistant

Facility Operations

Heather Hart Assistant Orchestra Personnel Manager Don Killinger Operations and Popular Programming Coordinator Stephen Molina Orchestra Personnel Manager

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Patron Development & Sales Angela Detlor Senior Director of Patron Development and Sales Holly Clement Senior Manager of Event Sales and Administration

Mike Spiegel Education and Jazz Studies Coordinator

Kathryn Ginsburg Artistic Coordinator

Dick Jacques Director of Information Technology Laura Lee Information Systems Specialist

Erik Rönmark Artistic Administrator

Kareem George Managing Director of Community Programs

Information Systems

Sue Black Facilities Coordinator Larry Ensman Maintenance Supervisor Greg Schmizzi Chief of Security

History/Archives Paul Ganson Historian Cynthia Korolov Archivist Patron & Institutional Advancement Reimer Priester Senior Director of Patron and Institutional Advancement Cassie Brenske Governing Members Gift Officer Marianne Dorais Foundation and Government Relations Officer

Finance

Chelsea Kotula Board and Volunteer Relations Coordinator

Donielle Hardy Controller

Ron Papke Corporate Relations Manager

Jeremiah Hess Director of Finance Sandra Mazza Accountant

Tiiko Reese-Douglas Acting Patron Service and Sales Manager Paul Yee Retail Sales Manager Patron Engagement & Loyalty Programs

Elaine Curvin Executive Assistant and Patron Teams Coordinator

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

Mona DeQuis Assistant Manager of Retail Sales

Will Broner Patron Acknowledgment and Gift Systems Coordinator

Chuck Dyer Manager of Group Sales and Corporate Sales

Connie Campbell Senior Manager of Patron Engagement

Christopher Harrington Patron Development and Sales Manager

Sharon Carr Assistant Manager of Patron Systems and Ticketing Operations

Jennifer Kouassi Front of House Manager Heather Mourer Neighborhood Audience Development Manager B.J. Pearson Senior Manager of Event Operations Gabrielle Poshadlo Patron Communications and Public Relations Manager Anna Savone Food and Beverage Manager

Lindsey Evert Loyalty Programs Manager La Heidra Marshall Patron Engagement Officer Marty Morhardt Patron Engagement Assistant Juanda Pack Patron Engagement Officer Alyce Sclafani Manager of Patron Systems and Analytics Eric Woodhams Manager of Digital Media and Engagement

Perform ance / Vol . X XI / fall 2012

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Distinguished Board Member Spotlight Ruth F. Frank

The DSO is proud to honor the dedication and commitment of long-time Board Member Ruth F. Frank. Frank, who has been an active member of this organization since 1952, is celebrating her 60th year of engagement with the DSO. Originally from upstate New York, Frank grew up listening to orchestral and jazz music from a young age. She was first introduced to the DSO by the General Motors series of broadcasts. Although she preferred to be playing outside at the time, Ruth quickly developed a passion for music. Following in the footsteps of her mother, a coloratura soprano, Frank’s instrument became the voice. She began to perform locally as an amateur jazz vocalist and attended Syracuse University as an undergraduate. Shortly after World War II, Frank

of names for follow-up. married Bloomfield Hills native In addition to her Harold L. Frank and began her fundraising efforts, Frank felt wedded life in the metro-Detroit particularly compelled to advocate suburbs. An amateur pianist, for the importance of music Harold shared his wife’s passion education. One of her most for the orchestral world and the distinguishable contributions to couple began attending Detroit the DSO was the installment of Symphony Orchestra the Harold L. and Ruth F. Frank performances in 1946. Frank Ruth F. Frank Student Scholarship fund that remembers the state of disrepair benefits youth who would that Orchestra Hall was in at the otherwise not be able to participate in the time, and the need for the orchestra to have orchestra’s education programs. To Mrs. a permanent home. After the DSO’s tenure Frank, music is incredible, wondrous, and at the Masonic Temple, Ford Auditorium, and various other locations, Frank joined the allows her to reflect on the beauty of life and nature. She could not imagine a world campaign for restoring Orchestra Hall as an without it. area chairman for the DSO Women’s The DSO would like to thank Frank for Association. She vividly recalls the hard decades of support and honor her continued work that went into making solicitations, service on the DSO Board of Directors. hosting fundraisers, and sifting through lists

The Annual Fund Gifts received between June 30, 2011 and September 10, 2012

Being a Community-Supported Orchestra means you can play your part through frequent ticket purchases and generous annual donations. Ticket sales cover only a fraction of DSO program costs so community contributions are essential to the Orchestra’s future survival. 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 a question about this roster, or for more information about how you can make a donation, please contact 313.576.5114 or dso.org/donate. Platinum Baton giving of $250,000 and more

The Mandell L. & Madeleine H. Berman Family Foundation

Mr. & Mrs. Stanley Frankel

Mr. & Mrs. James B. Nicholson

Gold Baton giving of $100,000 and more Julie & Peter Cummings

Mr. & Mrs. Phillip Fisher

Cindy & Leonard Slatkin

Mrs. Karen Davidson

Emory M. Ford, Jr. † Endowment

Mrs. Richard C. Van Dusen

Max M. & Marjorie S. Fisher Foundation

Bernard & Eleanor Robertson

Silver Baton giving of $50,000 and more Mr. & Mrs. Richard L. Alonzo

Penny & Harold Blumenstein

Herman & Sharon Frankel

Mr. & Mrs. Eugene Applebaum

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

Dr. & Mrs. Clyde Wu

Cecilia Benner

Mrs. Kathryn L. Fife

Mr. & Mrs. Richard A. Brodie

Sidney & Madeline Forbes

Mr. & Mrs. Alan E. Schwartz & Mrs. Jean Shapero

Mr. & Mrs. Raymond M. Cracchiolo

Ruth & Al Glancy

Marvin & Betty Danto Family Foundation

Mr. & Mrs. Morton E. Harris

Ms. Leslie Devereaux

The Polk Family

Linda Dresner & Ed Levy, Jr.

Mr. & Mrs. Lloyd E. Reuss

Mr. & Mrs. Lee Barthel

Giving of $25,000 and more

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† Deceased

Mr. & Mrs. Larry Sherman Mr. & Mrs. Donald R. Simon Arthur & Trudy Weiss

Perform ance / Vol . X XI / fall 201 2

Giving of $10,000 and more Mrs. Denise Abrash Mr. & Mrs. Robert A. Allesee Daniel & Rose Angelucci Mr. Chuck Becker Mr. & Mrs. Robert H. Bluestein Mr. & Mrs. Jim Bonahoom Ms. Liz Boone Michael & Geraldine Buckles Mr. & Mrs. Francois Castaing Lois & Avern Cohn Deborah & Stephen D’Arcy Fund Vivian Day & John Stroh III Marianne Endicott Jim & Margo Farber Mr. & Mrs. David Fischer Dr. Saul & Mrs. Helen Forman Dale & Bruce Frankel Rema Frankel Maxine & Stuart Frankel Foundation Dorothy & Byron Gerson

Giving of $5,000 and more Mr. & Mrs. Norman Ankers Drs. John & Janice Bernick Robert N. & Claire P. Brown Mr. & Mrs. Thomas A. Cracchiolo Jerry P. & Maureen T. D’Avanzo Mark Davidoff & Margie Dunn Ms. Barbara L. Davidson Lillian & Walter Dean Beck Demery David Elgin Dodge Mr. Peter & Kristin Dolan Mr. & Mrs. Walter E. Douglas Mr. & Mrs. Alfred J. Fisher, III Mr. & Mrs. Herbert Fisher Mr. Steven J. Fishman Mr. David Fleitz Mr. & Mrs. Gerry Fournier Mrs. Harold L. Frank Barbara Frankel & Ronald Michalak Mr. & Mrs. Ralph J. Gerson Victor & Gale Girolami Dr. Robert T. & Elaine Goldman Goodman Family Charitable Trust Dr. & Mrs. Herman Gray, Jr. Mr. & Mrs. James A. Green Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. & Mrs. Norman H. Hofley Jean Holland Mr. & Mrs. A. E. Igleheart Mr. & Mrs. Richard J. Jessup Marjorie† & Maxwell Jospey† Foundation Rachel Kellman

Mr. & Mrs. James Grosfeld Dr. Gloria Heppner Ms. Doreen Hermelin Mr. & Mrs. Ronald Horwitz Julius & Cynthia Huebner Foundation Mr. Sharad P. Jain Chacona & Arthur L.† Johnson Faye & Austin Kanter Mr. & Mrs. Norman D. Katz Mr. & Mrs. Bernard S. Kent Mrs. Bonnie Larson Mr. David Lebenbom Marguerite & David Lentz Dr. Melvin A. Lester Mr. & Mrs. Arthur C. Liebler Mr. Edward K. Miller Mr. & Mrs. Eugene A. Miller Cyril Moscow Geoffrey S. Nathan & Margaret E. Winters

Michael E. Smerza & Nancy Keppelman Mr. Patrick J. Kerzic & Stephanie Germack Kerzic Dr. David & Elizabeth Kessel Mr. & Mrs. William P. Kingsley Dr. Raymond Landes & Dr. Melissa McBrien-Landes The Locniskar Group Mr. & Mrs. Harry A. Lomason Elaine & Mervyn Manning David & Valerie McCammon Patricia A. & Patrick G. McKeever Mrs. Susanne O. McMillan Dr. Robert & Dr. Mary Mobley Drs. Stephen & Barbara Munk David R. & Sylvia Nelson Mr. & Mrs. Albert T. Nelson, Jr. Mr. & Mrs. David E. Nims Ms. Mariam C. Noland & Mr. James A. Kelly Mr & Mrs. Arthur T. O’Reilly Mr. & Mrs. Richard G. Partrich Donald & Jo Anne Petersen Fund Mrs. Helen F. Pippin Dr. Glenda D. Price Jane & Curt Russell Mr. & Mrs. Fred Secrest Elaine & Michael Serling Mr. Stephan Sharf Mr. & Mrs. Leonard W. Smith John J. Solecki Renate & Richard Soulen Professor Calvin L. Stevens Stephen & Phyllis Strome Amanda Van Dusen & Curtis Blessing

Perform ance / Vol . X X I / fall 201 2

Jim & Mary Beth Nicholson Patricia & Henry Nickol Mrs. Jo Elyn Nyman Anne Parsons & Donald Dietz Mr. & Mrs. Bruce D. Peterson Dr. William F. Pickard Mr & Mrs. Gary Ran Ms. Ruth Rattner Jack & Aviva Robinson Martie & Bob Sachs Marjorie & Saul Saulson Lois & Mark Shaevsky Mr. Richard A. Sonenklar & Mr. Gregory Haynes Anne Marie Uetz Mr. Robert VanWalleghem Mr. & Mrs. R. Jamison Williams Mr. & Mrs. Alan Zekelman Paul M. Zlotoff & Terese Sante Mrs. Paul Zuckerman†

Mr. & Mrs. Edward Wagner Mr. & Mrs. Jonathan T. Walton Janis & William M. Wetsman / The Wetsman Foundation J. Ernest & Almena Gray Wilde Fund Dr. Amy M. Horton & Dr. Kim Allan Williams Mrs. Beryl Winkelman David & Bernadine Wu Ms. June Wu Dr. & Mrs. Robert E. Wurtz Mr. John E. Young & Ms. Victoria Keys Mrs. Rita J. Zahler Milton & Lois Zussman

Giving of $2,500 and more Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Dr. & Mrs. Ali-Reza R. Armin Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook Mr. & Mrs. John Axe Jeanne Bakale & Roger Dye Mr. J. Addison Bartush Mr. & Mrs. Martin S. Baum Mary Beattie Mr. & Mrs. Irving Berg Mrs. John G. Bielawski Dr. & Mrs. Duane Block Dr. & Mrs. Rudrick E. Boucher Mr. & Mrs. S. Elie Boudt Gwen & Richard Bowlby Mr. Anthony F. Brinkman Mr. Scott Brooks Mr. H. William Burdett, Jr.

† Deceased

Mr. H. Taylor Burleson & Dr. Carol S. Chadwick Philip & Carol Campbell Mr. William N. Campbell Dr. & Mrs. Thomas E. Carson Jack Perlmutter & Daniel Clancy Gloria & Fred Clark Dr. Thomas Clark Jack, Evelyn & Richard Cole Family Foundation Dr. & Mrs. Charles G. Colombo Brian & Elizabeth Connors Dr. & Mrs. Ivan Louis Cotman Thomas & Melissa Cragg Ms. Mary Rita K. Cuddohy Mr. Richard Cummings Ms. Barbara Diles Adel & Walter Dissett Mr. & Mrs. Mark Domin Ms. Judith Doyle Eugene & Elaine Driker Paul & Peggy Dufault Mr. Robert Dunn Edwin & Rosemarie Dyer Dr. & Mrs. A. Bradley Eisenbrey Mr. & Mrs. John M. Erb Mary Sue & Paul E. Ewing Stephen Ewing Mr. David Faulkner Mr. & Mrs. Oscar Feldman Ron Fischer and Kyoko Kashiwagi Ms. Carol A. Friend & Mr. Mark T. Kilbourn Mr. & Mrs. Daniel E. Frohardt-Lane Lynn & Bharat Gandhi Mr. & Mrs. Paul Ganson Mr. & Mrs. William Y. Gard Allan D. Gilmour & Eric C. Jirgens Dr. & Mrs. Kenneth W. Gitlin dso.org

Dr. & Mrs. Theodore A. Golden Robert & Mary Ann Gorlin Dr. & Mrs. Steven Grekin Mr. Jeffrey Groehn Sylvia & Ed Hagenlocker Alice Berberian Haidostian Dr. Algea O. Hale Mr. Kenneth R. Hale Mr. & Mrs. Tim & Rebecca Haller Robert & Elizabeth Hamel Mr. & Mrs. Preston Happel Randall L. & Nancy Caine Harbour Ms. Cheryl A. Harvey Mr. & Mrs. Ross Haun Mr. & Mrs. Demar W. Helzer Dr. Deanna & Mr. David B. Holtzman Jack & Anne Hommes Mr. F. Robert Hozian Jean Wright & Joseph L. Hudson, Jr. Fund Richard H. & Carola Huttenlocher Mr. & Mrs. Charles R. Janovsky Mr. John S. Johns Lenard & Connie Johnston Mrs. Ellen D. Kahn Mr. & Mrs. Michael J. Keegan Betsy & Joel Kellman Martin & Cis Maisel Kellman The Stephanie & Frederic Keywell Family Fund Mrs. Frances King Mr. & Mrs. Ludvik F. Koci Dr. Harry & Katherine Kotsis Robert C. & Margaret A. Kotz Mr. & Mrs. Harold Kulish David & Maria Kuziemko Joyce LaBan Ms. Anne T. Larin Mr. & Mrs. William B. Larson Dr. Klaudia Plawny- Lebenbom & Mr. Michael Lebenbom Allan S. Leonard Mr. & Mrs. Daniel Lewis Mr. & Mrs. Joseph Lile Mrs. Florence LoPatin Dr. & Mrs. Charles Lucas Mrs. Sandra MacLeod Mr. & Mrs. Patrick Mansfield Dr. Peter McCann & Kathleen L. McKee Mr. & Mrs. Alonzo L. McDonald Alexander & Evelyn McKeen Dr. & Mrs. Donald A. Meier Dr. David & Mrs. Lauren Mendelson Mr. Roland Meulebrouck Mrs. Thomas Meyer Thomas & Judith Mich Bruce & Mary Miller Mr. & Mrs. Leonard G. Miller Mr. Stephen & Dr. Susan Molina Eugene & Sheila Mondry Foundation Mr. Lane J. Moore Mr. & Mrs. Craig R. Morgan Florence Morris Mr. Frederick J. Morsches Joy & Allan Nachman Edward & Judith Narens Denise & Mark Neville dso.org

Arthur A. Nitzsche Mr. & Mrs. Stanley Nycek David & Andrea Page Mrs. Sophie Pearlstein Dr. & Mrs. Claus Petermann Mr. Charles L. Peters Mrs. Bernard E. Pincus Mr. & Mrs. Jack Pokrzywa Ms. Judith Polk Mrs. Anna Mary Postma Mr. & Mrs. William Powers The Priester Foundation Mr. & Mrs. Nicolas I. Quintana Mr. & Mrs. Richard Rappleye Drs. Stuart & Hilary Ratner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Carol & Foster Redding Mr. & Mrs. David & Jean Redfield Ms. Emily J. Reid Mr. Hugh T. Reid Dr. Claude & Mrs. Sandra Reitelman Ms. Denise Reske Norman & Dulcie Rosenfeld Mr. & Mrs. Robert B. Rosowski Mr. & Mrs. Hugh C. Ross Dr. Mark Saffer Dr. Hershel Sandberg Ruth & Carl Schalm Ms. Martha A. Scharchburg & Mr. Bruce Beyer Mr. & Mrs. Alan S. Schwartz Mr. Merton J. & Beverly Segal Mr. & Mrs. Herbert Shanbaum The Honorable Walter Shapero & Ms. Kathleen N. Straus Dr. Les & Mrs. Ellen Siegel Robert & Coco Siewert Mr. & Mrs. William Sirois Drs. Daniel J. & Sophie Skoney Mr. & Mrs. S. Kinnie Smith, Jr.

William H. & Patricia M. Smith Dr. Gregory E. Stephens Mr. Clinton F. Stimpson, Jr. Dr. & Mrs. Charles D. Stocking Bernard & Barbara Stollman Dr. & Mrs. Gerald H. Stollman David Szymborski & Marilyn Sicklesteel D. I. Tarpinian Shelley & Joel Tauber Alice & Paul Tomboulian Mr. & Mrs. L. W. Tucker Mr. & Mrs. Charles B. Van Dusen Mr. & Mrs. George C. Vincent Mr. & Mrs. William Waak Dr. & Mrs. Ronald W. Wadle Gary L. Wasserman & Charles A. Kashner Mr. Patrick A. Webster Mr. & Mrs. Herman W. Weinreich Mr. & Mrs. Lawrence Weisberg Mr. Donald Wells Mr. & Mrs. John Whitecar Mr. & Mrs. Barry Williams Rissa & Sheldon Winkelman Dr. & Mrs. Max V. Wisgerhof II Mr. & Mrs. Jonathan Wolman Mrs. Judith G. Yaker Dr. Alit Yousif & Mr. Kirk Yousif

Giving of $1,500 and more Mr. & Mrs. G. Peter Blom Ms. Jane Bolender Don & Marilyn Bowerman Mr. Stephen V. Brannon Carol A. & Stephen A. Bromberg Mr. & Mrs. Bowden V. Brown Mr. & Mrs. John Courtney Mr. & Mrs. Gary L. Cowger John Diebel Edwin & Rosemarie Dyer

Dr. Leo & Mrs. Mira Eisenberg Mr. & Mrs. Lawrence Ellenbogen Mrs. Kathryn Ellis Harold & Ruth Garber Family Foundation Adele & Michael M. Glusac Mr. & Mrs. Robert Hage Dr. & Mrs. Anthony Hammer Dr. & Mrs. Gerhardt Hein Ms. Nancy B. Henk Mr. Max B. Horton, Jr. Mrs. Harriett H. Hull Mr. Richard Huttenlocher Dr. Jean Kegler Mr. & Mrs. Donald Kosch Mr. & Mrs. James A. Kurz Mrs. Willard V. Lampe Ms. Sandra S. Lapadot Mrs. Stephanie Latour Mr. & Mrs. Charles W. Manke, Jr. John E. & Marcia Miller Mr. Geoffrey W. Newcomb Mr. Joshua F. Opperer Mr. Randall Pappal Hope & Larry Raymond Barbara Gage Rex Mrs. Ann Rohr Mr. R. Desmond Rowan Mrs. Lois V. Ryan Mr. & Mrs. Michael Schultz Eugenia & Wanda Staszewski Mr. & Mrs. Andreas H. Steglich Dr. Lawrence L. Stocker† Dr. & Mrs. Howard Terebelo Barbara & Stuart Trager Ms. Patricia Walker Mrs. Lawrence M. Weiner Ms. Janet B. Weir Rudolf E. Wilhelm Fund Jerry Williams Mr. & Mrs. Warren G. Wood Ms. Gail M. Zabowski Frank & Ruth Zinn

Donor Spotlight

Richard and Jiehan Alonzo

In 2005, Richard Alonzo took a girl to the symphony on their first date. Seven years later, that woman is his wife and they’ve been attending the DSO ever since. “We have been so well received by so many people in the DSO community and I have made connections that will truly last a lifetime. I cannot say that about many other organizations that I’ve been involved in,” said Jiehan. Last year, Richard and Jiehan joined the newly formed Governing Members, a group of dedicated patrons who serve as voting members of the DSO. As subscribers Jiehan and Richard appreciate how the concert experience allows them to steady their fast-paced lives as young professionals. “Our culture promotes ‘more’ and ‘faster,’ but listening to classical music requires patience. It compels us to take a break from the balance of our lives, and we make that contract with ourselves when we attend the DSO” said Richard. Jiehan adds that she and Richard feel it is up to their generation to keep the legacy of cultural institutions like the DSO alive, and believe the DSO is important to Detroit’s renaissance. “If it isn’t us, then who will it be? I think everyone needs to ask his or her self that question. That is our main motivation,” she said. “We want to see the Orchestra grow, along with the community around it.”

Perform ance / Vol . X XI / fall 201 2

Corporate Supporters of the DSO $500,000 and more

PVS Chemicals, Inc.

Jim Nicholson

CEO, PVS Chemicals

$200,000 and more

Gerard M. Anderson

Fred Shell

President, Chairman and CEO, President, DTE Energy Corporation DTE Energy Foundation

Alan Mullaly

President & CEO, Ford Motor Company

James Vella

President, Ford Motor Company Fund

Daniel F. Akerson Chairman and CEO General Motors Corporation

Vivian Pickard President General Motors Foundation

Tetsuo Iwamura

President and CEO, American Honda Motor Co.

$100,000 and more

The Chrysler Foundation Timothy Wadhams President and CEO, MASCO Corporation

Melonie Colaianne

President, Masco Corporation Foundation

Gregg Steinhafel

Chairman, President and CEO, Target Corporation

$20,000 and more Adobe Systems Incorporated Art Van Furniture Delta Air Lines, Inc. General Motors Corporation

Macyâ&#x20AC;&#x2122;s MGM Grand Detroit Casino R.L.Polk & Co. REDICO

Comcast Cable Midwest Deloitte. Foley & Lardner LLP

$10,000 and more Honigman Miller Schwartz Cohn PriceWaterhouseCoopers LLP Telmus Capital Partners, LLC

$5,000 and more BASF Corporation Contractors Steel Company Denso International America, Inc. Flagstar Bank Lee Hecht Harrison Meritor

Performance / Vol . X X I / fall 201 2

Somerset Collection Talmer Bank and Trust

The Amerisure Companies University of Michigan Warner Norcross & Judd LLP

$1,000 and more Avis Ford, Inc. Burton-Share Management Company Fifth Third Bank Hare Express, Inc. Health Alliance Plan Meadowbrook Insurance Group

Mr. and Mrs. Christopher Ilitch Taylor Ballet Americana The ITB Group, Ltd. The Village Club Welker Bearing Company, Inc.

dso.org

Legacy Donors Members of THE Musical LEGACY Society

The Detroit Symphony Orchestra Board of Directors is pleased to honor and recognize the Musical Legacy Society. These patrons, friends and subscribers have named the Orchestra in their estate plans. For information about making a bequest or other planned gift to the DSO, please contact the Office of Patron and Institutional Advancement at 313.576.5400.

Corporate Spotlight

Doris L. Adler Dr. & Mrs. William C. Albert Mr. & Mrs. Robert A. Allesee Dr. Lourdes V. Andaya Dr. Agustin & Nancy Arbulu Sally & Donald Baker Mr. & Mrs. Lee Barthel Lillian & Don Bauder Mr. & Mrs. Robert A. Benton Michael & Christine Berns Mrs. Art Blair Robert T. Bomier Gwen & Richard Bowlby Mrs. J. Brownfain Dr. & Mrs. Victor J. Cervenak Eleanor A. Christie Mary F. Christner Lois & Avern Cohn Mrs. Robert Comstock Dorothy M. Craig Mr. & Mrs. John Cruikshank Ms. Leslie Devereaux John Diebel Jeanne Bakale & Roger Dye Ms. Bette J. Dyer Edwin & Rosemarie Dyer Mr. & Mrs. Robert G. Eidson

dso.org

Marianne Endicott Ms. Dorothy Fisher Marjorie S. Fisher Emory M. Ford, Jr. † Endowment Dr. Saul & Mrs. Helen Forman Barbara Frankel & Ronald Michalak Herman & Sharon Frankel Rema Frankel Jane French Dr. & Mrs. Byron P. Georgeson Mr. & Mrs. Joe & Lois Gilmore Ruth & Al Glancy Dorothy & Herbert† Graebner Donald Ray Haas† Donna & Eugene Hartwig Dr. & Mrs. Gerhardt Hein Ms. Nancy B. Henk Mr. & Mrs. Thomas N. Hitchman Mr. & Mrs. Richard N. Holloway David & Sheri Jaffa Mr. & Mrs. Thomas H. Jeffs II Lenard & Connie Johnston Drs. Anthony & Joyce Kales Faye & Austin Kanter June K. Kendall Ms. Selma Korn & Ms. Phyllis Korn Ms. Selma Korn

Honda

Dimitri & Suzanne Kosacheff Mr. & Mrs. Arthur Krolikowski Mr. Jim LaTulip Ann C. Lawson Allan S. Leonard Mr. Lester H. London Harold & Elizabeth Lundquist Roberta Maki John M. Malone, M.D. Mr. Glenn Maxwell Rhoda A. Milgrim John E. & Marcia Miller Mr. & Mrs. Jerald A. Mitchell Mr. & Mrs. L. William Moll Mr. & Mrs. Craig R. Morgan Mr. Dale J. Pangonis Ms. Mary W. Parker Paul M. Huxley & Cynthia J. Pasky Mrs. Sophie Pearlstein Mr. & Mrs. Wesley R. Pelling Mrs. Bernard E. Pincus Ms. Christina Pitts Mrs. Robert Plummer Mr. & Mrs. Peter T. Ponta Fair & Steven Radom Mr. & Mrs. Douglas J. Rasmussen Mr. & Mrs. Lloyd E. Reuss

With education and youth programs at the forefront of its philanthropic philosophy, Honda found partnering with the DSO to produce the Honda Power of Dreams program to be a natural extension of its community outreach. The result is a unique classical music education program for young people. This program is made available to students for whom string education is not currently available or opportunities are extremely limited. The program features a variety of

Barbara Gage Rex Ms. Marianne Reye Katherine D. Rines Bernard & Eleanor Robertson Jack & Aviva Robinson Dr. Margaret M. Ryan Mr. & Mrs. Fred Secrest Mr. Terrence Smith Mr. & Mrs. Walter C. Stuecken Mr. & Mrs. Alexander Suczek Caroline & Richard Torley Mr. Edward Tusset Mr. David Patria & Ms. Barbara A. Underwood Mrs. Jane Van Dragt Mrs. Richard C. Van Dusen Mr. & Mrs. Melvin VanderBrug Mr. & Mrs. George C. Vincent Mr. & Mrs. Keith C. Weber Mr. & Mrs. John F. Werner Mr. & Mrs. Arthur Wilhelm Mr. & Mrs. James A. Williams Mr. & Mrs. Robert S. Williams Ms. Barbara Wojtas Walter P. & Elizabeth B. Work Dr. & Mrs. Clyde Wu Ms. Andrea L. Wulf

opportunities for students to study classical Violin, Viola, Cello, and Bass through participation in various levels of group lessons, ensemble training, and individual lessons. “We’ve observed many of the kids involved with Power of Dreams entering the Civic Youth ensembles and making classical music an important part of their lives,” said Edward K. Miller, DSO Board Member and Senior Manager of Media and Industry Relations at Honda North America, Inc. “Statistics tell us that

students who receive music education are more likely to stay in school, and that is a cause Honda is very interested in perpetuating.” Miller explained that Power of Dreams is a part of Honda’s objective to be a company society wants to exist. In fact, he says that since the program’s inception, he’s been inspired to attend more DSO concerts himself. “It’s a great reminder that there’s no substitute for the DSO, or Orchestra Hall for that matter,” he said.

Perform ance / Vol . X XI / fall 201 2

Blockbuster Fund

Gifts Received between June 30, 2011 September 10, 2012 Gifts to the Detroit Symphony Orchestra Blockbuster Fund support those exceptional projects, partnerships and performances that boldly advance the DSO’s mission “to be a leader in the world of classical music, embracing and inspiring individuals, families and communities through unsurpassed musical experiences.” Blockbuster gifts fund defining initiatives that are outside the annual budget such as touring, “Live from Orchestra Hall” webcasts, certain community engagement and education partnerships, and capital and technology infrastructure. Mr. & Mrs. Lee Barthel Bloomfield Hills Country Club Julie & Peter Cummings The William M. Davidson Foundation Detroit 300 Conservancy Max M. & Marjorie S. Fisher

Foundation, Inc. Ms. Laurie Goldman Mr. Michael Jalving Mr. & Mrs. Norman D. Katz Dr. & Mrs. James W. Klein John S. & James L. Knight Foundation

Michigan Nonprofit Association Stuart & Linda Nelson Jim & Mary Beth Nicholson Mr. & Mrs. James B. Nicholson Olympia Entertainment, Inc. PVS Chemicals, Inc. Ms. Ruth Rattner

Mr. & Mrs. Larry Sherman Cindy & Leonard Slatkin Mr. Hang Su Mrs. Richard C. Van Dusen Mr. & Mrs. Brian Ventura Mr. & Mrs. Paul Wingert Mr. Hai-Xin Wu

Tribute Gifts

Gifts received between June 30, 2011 and September 10, 2012 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 programing. For information about making a Tribute Gift, please call 313.576.5114 or dso.org/tribute. In Honor of Ms. Pamela Applebaum Mr. Robert Lane and Ms. Lexa L. Leatherdale In Memory of Dr. Agustin Arbulu Mr. George J. Bedrosian, Esq. In Celebration of the Birthday of Eve Archinal Mr. David Wiese In Memory of Ms. Arda Barenholtz Mr. and Mrs. Adam Brode In Memory of Mrs. Gina Bedrosian Mrs. Elaine M. Hurley In Memory of Mr. Clarence Leo Belczynski Ms. Amanda Easterday In Honor of Drs. Janice & John Bernick Mr. Bruce Whitaker In Memory of Mr. Michael Brenan Mrs. Rachel Brennan In Memory of Mrs. Isabel Sue Buckner Drs. Conrad and Lynda Giles In Honor of Ms. Marilyn Cantin Ms. Denise Landers In Memory of Mr. Bruce Carter Ms. Nancy Lempinen In Memory of Mr. Charles W. Centner Mr. and Mrs. Jerry Zahler In Memory of Mr. Donald J. Channing Ms. Carolyn McDonald Mrs. Ethel Traurig Ms. Gail Kean Mr. and Mrs. Harold Mayer Ms. Judy Warren Mrs. Rose Lahiff Ms. Wilma Baskin In Honor of Ms. Marcy Chanteaux Mr. Tom Godell In Honor of Mrs. Maureen D’Avanzo Mr. Robert Lane and Ms. Lexa L. Leatherdale In Memory of Mr. Philip Charles Diamond Mr. and Mrs. Steve and Rose O’Brien In Celebration of the Birthday of Mr. Paul Dufault Mr. and Mrs. Claude W. Coates Mrs. Harold Gendelman In Honor of Leslie Fishman Ms. Marsha Billes

In Celebration of the Birthday of Mr. Sidney Forbes Mrs. Joan Erman In Memory of Mrs. Jean Frankel Barbara Frankel & Ronald Michalak Mr. & Mrs. Ralph J. Gerson In Honor of Sir James and Lady Jeanne Galway Libby Craig & Felix Karim In Celebration of Mr. Garrett, for Christmas Mr. and Mrs. Timothy LeVigne In Honor of the Clients and Friends of Gourwitz and Barr, PLLC Mr. Howard J. Gourwitz In Memory of Mr. Bruce Bryant Graden Ms. Barbara Munson In Honor of Mr. Scott Harrison Mr. Robert A. Holcomb Timm & Bonnie Kelly In Memory of Mr. Patrick Herbert Drs. Conrad and Lynda Giles In Memory of Ms. Vivian L. Hudson Ms. Caryl Brooker Mr. Howard Rundell Ms. Lori Nye In Honor of Mr. Lawrence Hutchinson Mr. and Mrs. Donald & Janet Schenk In Memory of Ms. Sharon Jablonski Ms. Anne Crimmins Mr. David L. Abramson In Memory of Mr. John W. Jickling Ms. Kathleen Irwin Mr. and Mrs. Richard J. Mosner In Honor of Mr. Buddy Kaufman’s Mozart Concerto Ms. Sher Kaplan In Memory of Peruz Kavafian Ms. Ani Kavafian In Memory of Ms. Sophie Kotula Ms. Catherine Kotula In Honor of Mr. Harold Kulish Ms. Mary Lou Dudley In Celebration of the Birthday of Mr. David Lebenbom Mr. and Mrs. Milton Lebenbom In Memory of Doris & Joseph Letourneau Letourneau Family In Honor of Mr. Dana Locniskar & Ms. Christine Beck Mr. Henry M. Grix Dr. and Mrs. Steven Grekin

Performance / Vol . X X I / fall 201 2

In Honor of Ms. Shanda LowerySachs Mr. Al Lowery Ms. Marty W. Cerier In Honor of Ms. Grace Lupas Mr. Cosmin Lucaci In Memory of Mr. Robert A. Malfroid Mrs. Barbara A. Malfroid In Celebration of the Birthdays of Joan and Doug Mann Ms. Arlene S. Mann In Memory of Mrs. Christine K. McNaughton Ms. Gloria Whelan Ms. Ruth Meyers Ms. Shannan Matsche Morris, Rowland, Prekel, & Lewinski, P.L.C. In Memory of Mr. Michael Merlini Ms. Patricia Gmeiner Dr. Robert & Dr. Mary Mobley In Honor of Mr. Maxwell Morrison Mr. and Mrs. Steve Morrison In Memory of Mr. John Moultrup Mrs. Helen Moultrup In Honor of Mr. James Nicholson Mr. and Mrs. Richard F. Brown In Honor of Mr. Bernard Okin Ms. Marcia Zacks Ms. Susan Jacobs In Memory of Ms. Anne L. Parcells Ms. Barbara R. Robey Dr. Dorothy M. Markey, M.D. Mr. and Mrs. Mark Brooks Dr. and Mrs. Donald R. Briggs Ms. Patricia Kelly Mr. Peter Nyboer In Honor of our daughter Lena Matthew and Kari Parnell In Honor of Joseph M. Pas & Maria C. Pas Ms. Frances M. Tatarelli In Memory of Ms. Dorothy Paul Mr. and Mrs. Mike Gritt In Memory of Mrs. Lucille Proctor Mr. Henry Proctor In Honor of Ms. Fair Radom Mr. & Mrs. R. Jamison Williams In Memory of Mr. Hugh B. Reid and Mrs. Emily D. Reid Ms. Emily J. Reid Mr. Hugh T. Reid In Memory of Ms. Rimar Mr. and Mrs. Shimon Edut

In Memory of Mrs. Mary Russell Dr. and Mrs. Edward S. Haenick Mr. and Mrs. James R. Pontius Mr. and Mrs. John A. Nitz Mr. and Mrs. Richard H. Cousins The Questers, Ellen Scripps Booth, Chapter 1049 In Memory of Kay & Jerome Russo Mr. and Mrs. Gregory Russo In Memory of Mrs. Helen Salamon Mr. Robert S. Salamon In Memory of Ms. Laura D. Sarkesian Mr. and Mrs. Alex Jemal Ms. Maureen Prest Ms. Susan Tondera In Memory of Ernest C. Schultz, Jr., MD Mrs. Cheryl Schultz In Honor of Mr. Alan E. Schwartz Jack & Aviva Robinson In Memory of Mrs. Lois Scott Raymond & Lois Scott In Honor of Mom & Dad Ms. Maya Shwayder In Celebration of the Marriage of Leonard Slatkin & Cindy McTee Mr. & Ms. Todd Gordon Penny & Harold Blumenstein Ms. Patricia Walker In Honor of Mr. Leonard Slatkin Ms. Melissa Eisenstat In Honor of Mr. John G. Smith Ms. Andrea Smith In Memory of Mr. Marlan Smith Mr. Daniel Horwitz In Memory of Mr. William Smith Mr. and Mrs. William Smith In Memory of Mrs. Marlene Spaulding Mr. Donald Ouellette and Ms. Peggy Innis Mr. and Mrs. Richard L. Vandewater Ms. Sandra Horton Mr. and Mrs. William Baxter In Memory of Mr. Albert Steger Ms. Beverly Schaefer In Memory of Ms. Meredith Stegman Mrs. Celia Copeland In Memory of Mr. Joeseph H. Stroud Mrs. Joe Stroud In Memory of Mr. Thomas Sullivan Ms. Christy Hoagland

dso.org

In Memory of Mrs. Elizabeth J. Tamagne Mrs. Elizabeth Tamagne In Memory of Mrs. Josephine Theriault Mr. & Mrs. Stanley Frankel In Memory of Mr. Robert J. Tucker Mrs. Brenda C. Tucker In Memory of Mr. Gerald Tugman Ms. Judith A. Tugman In Memory of Mrs. Phyllis Urwiller Mr. Kenneth L. Urwiller In Memory of Mrs. Ayten Uzman Mr. James C. Kors and Mrs. Victoria J. King In Honor of Mr. Sean Van Hentenryck Mr. and Mrs. Keith Van Hentenryck In Honor of Mr. and Mrs. Kevin & Barbara Verdugo Mr. and Mrs. William Ryan In Memory of Dr. Charles H. Vortriede Ms. Carol Mihalic Ms. Clarissa B. Lorenz Mrs. Geri Vortriede Ms. Katherine Worthington Mrs. Kenneth R. Mirjah Mr. and Mrs. Glen Moon Mr. and Mrs. Randall W. Worthington, Jr. In Honor of Bruce & Janey Wangen Ms. Jill Yakima In Memory of Mr. and Mrs. Milton & Helen Weber Mr. and Mrs. Donald Bell In Memory of Ms. Dorothy Wicke Ms. Nancy Hay In Honor of Mrs. Helen Wu Dr. Anke L. Nolting In Honor of Ms. Johanna Yarbrough Mr. Everett Yarbrough In Memory of Ms. Irene M. Yash Mr. and Mrs. Gregory Kaminski

Venture Fund

Gifts received between June 30, 2011 and September 10, 2012 Gifts to the Detroit Symphony Orchestra Venture Fund are contributions that support projects, partnerships and performances taking place in the current season. Venture gifts are generally one-time and non-renewable in nature and fund initiatives that are included in the annual budget such as DSO concerts, the Civic Youth Ensembles, certain community engagement and partnerships, and the DSO Presents and Paradise Jazz concert series. Venturists Mrs. Carol Edwards Haas Ms. Margaret Hall† Hudson-Webber Foundation Mr. Philip Leon David & Valerie McCammon Ms. Elizabeth Murr Ms. Ruth Wilkins Donors Mrs. Gere Baskin Ms. Elizabeth Beceden Mr. Carl Gardecki Ms. Christa M. Grix Mr. & Mrs. John C. Hammer Kroger Company Ms. Carole McNamara Mr. & Mrs. Stanley Rontal Mr. Roar Schaad Mrs. Richard D. Spear Mrs. Elizabeth Tamagne Mr. Phil Tedeschi dso.org

Support from Foundations and Organizations

The Detroit Symphony Orchestra acknowledges and honors the following foundations and organizations for their contributions to support the Orchestra’s performances, education programming, and other annual operations of the organization. This honor roll reflects both fulfillments of previous commitments and new gifts during the period beginning June 30, 2011 through September 10, 2012. We regret the omission of gifts received after this print deadline.

$500,000 and more Andrew W. Mellon Foundation Hudson-Webber Foundation Kresge Foundation Max M. and Marjorie S. Fisher Foundation William M. Davidson Foundation

$300,000 and more Community Foundation for Southeast Michigan McGregor Fund

$100,000 and more Ford Foundation Fred A. and Barbara M. Erb Family Foundation John S. and James L. Knight Foundation Samuel & Jean Frankel Foundation Surdna Foundation Volunteer Council of the Detroit Symphony Orchestra $50,000 and more DeRoy Testamentary Foundation Matilda R. Wilson Fund National Endowment for the Arts $10,000 and more Mr. & Mrs. Edsel B. Ford II/ Alice Kales Hartwick Foundation Henry Ford II Fund Ann and Gordon Getty Foundation Myron P. Leven Foundation Eleanor & Edsel Ford Fund Oliver Dewey Marcks Foundation Max and Victoria Dreyfus Foundation Philip and Elizabeth Filmer Memorial Michigan Council for Arts and Cultural Charitable Trust Affairs Sage Foundation Michigan Nonprofit Association Sally Mead Hands Foundation Moroun Family Foundation $5,000 and more Benson & Edith Ford Fund Mary Thompson Foundation Combined Federal Campaign Joseph and Suzanne Orley Foundation Herbert and Elsa Ponting Foundation The Lyon Family Foundation $2,500 and more Clarence & Jack Himmel Fund James & Lynelle Holden Fund

Sigmund & Sophie Rohlik Foundation The Loraine & Melinese Reuter Foundation $1,000 and more

Berry Foundation Charles M. Bauervic Foundation Frank & Gertrude Dunlap Foundation Japan Business Society of Detroit Foundation Jennifer Howell Harding Foundation

Samuel L. Westerman Foundation Tracy Foundation Village Club Foundation

Perform ance / Vol . X XI / fall 201 2

Upcoming events sunday

MONDAY

TUESDAY

WEDNESDAY

THURSDAY

FRIDAY

1 November

Host Your Event at Orchestra Hall or the Max M. Fisher Music Center

SATURDAY

DSO Pops Series The Way We Were Jeff Tyzik, conductor Ann Hampton Callaway, vocalist 10:45 a.m. OH

DSO Pops Special The Way We Were Jeff Tyzik, conductor Ann Hampton Callaway, vocalist 8 p.m. OH

Callaway Civic & Education Civic Jazz Studies 1 p.m. MB

Civic & Education Civic Classical Studies 3 p.m. OH

DSO Classical Series Rodeo! Leonard Slatkin, conductor Robert Williams, bassoon 10:45 a.m. OH

DSO Classical Series 10 Rodeo! Leonard Slatkin, conductor Robert Williams, bassoon 8 p.m. OH

Promusica Ray Chen, violinist 8:30 p.m. OH

Slatkin DSO Classical Series 11 Rodeo! Leonard Slatkin, conductor Robert Williams, bassoon 3 p.m. OH

DSO Classical Series 16 von Oeyen Plays Schumann Sir Andrew Davis, conductor Andrew von Oeyen, piano 8 p.m. OH

For rental information please call 313.576.5050 or visit dso.org/rent

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Civic & Education Civic Ensemble Celebration 4 p.m. OH

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von Oeyen

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DSO Classical Series 18 von Oeyen Plays Schumann Sir Andrew Davis, conductor Andrew von Oeyen, piano 3 p.m. OH

DSO Presents Shaolin Warriors 8 p.m.* OH

Young People’s Concert Beethoven & Friends 11 a.m. OH

*The DSO does not appear on this program.

DSO Pops Series The Music of Queen 8 p.m. OH

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Tiny Tots Concert Gemini 10 a.m. MB

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DSO Pops Series The Music of Queen 3 p.m. OH

DSO Classical Series 29 Rachmaninoff & Tchaikovsky Peter Oundjian, conductor Joyce Yang, piano 7:30 p.m. OH

DSO Classical Series 30 Rachmaninoff & Tchaikovsky Peter Oundjian, conductor Joyce Yang, piano 10:45 a.m. OH

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Paradise Jazz Series Al Jarreau with the DSO 8 p.m. OH

December

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Civic & Education Civic Jazz Live 6:45 p.m. MB

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Paradise Jazz Series A Creole Christmas Preservation Hall Jazz Band 8 p.m. OH

DSO Classical Series 8 Romeo & Juliet Susanna Mälkki, conductor Leila Josefowicz, violin 8 p.m. OH

Josefowicz DSO Classical Series 9 Romeo & Juliet Susanna Mälkki, conductor Leila Josefowicz, violin 3 p.m. OH

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DSO Classical Series 13 The Nutcracker Leonard Slatkin, conductor Heidi Grant Murphy, soprano 7:30 p.m. OH

DSO Classical Series 14 The Nutcracker Leonard Slatkin, conductor Heidi Grant Murphy, soprano 8 p.m. OH

DSO Presents Christmas Memories Debby Boone 8 p.m. OH

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Slatkin

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DSO Classical Series 16 Slatkin Conducts Nutcracker Leonard Slatkin, conductor Heidi Grant Murphy, soprano 3 p.m. Seligman Performing Arts Center

DSO Pops Series 23 Home for the Holidays John Morris Russell, conductor Andover High School Choir Grosse Pointe South Choir 3 p.m.

DSO Presents A Canadian Brass Christmas with the DSO 7:30 p.m. OH

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DSO Presents Kenny G 7:30 p.m.* OH

DSO Pops Series 21 Home for the Holidays John Morris Russell, conductor Andover High School Choir Grosse Pointe South Choir 10:45 a.m. & 8 p.m. OH

DSO Pops Series 22 Home for the Holidays John Morris Russell, conductor Andover High School Choir Grosse Pointe South Choir 3 p.m. & 8 p.m. OH

*The DSO does not appear on this program.

OH Orchestra Hall MB Music Box AH Allesee Hall ppa elibom oG ot OSD eht no ro evil/gro.osd ta enilno hctaW

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Webcast

For tickets visit dso.org or call 313.576.5111