DSO Performance magazine, Winter 2012

Vol. XX • 2011-2012 Season

Winter 2012

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

SYmphony Electric

DSO Principal Viola adds rock to the repertoire

Eat. Learn. Live.

EXPERIENCE HEALTHY COOKING IN A WORLD-CLASS DEMONSTRATION KITCHEN – ONLY AT HENRY FORD WEST BLOOMFIELD HOSPITAL Henry Ford West Bloomfield Hospital is proud to feature cooking classes in our 90-seat demonstration kitchen. Learn to prepare flavorful, nutritious meals from our renowned culinary team, including registered dietitians, physicians and chefs.

Whether you have special medical needs or are just interested in healthy, everyday living, we have the class for you. Recipes for cancer treatment and prevention, gluten-free dishes, options for healthy senior living, solutions for diabetics and heart patients, and simple sushi ideas are just some of the topics we discuss. We even offer a DK KIDS program designed to educate children on making healthy food choices.

To view a full listing of classes or for more information, call (248) 325-3890 or visit HenryFordWestBloomfield.com.

Henry Ford West BloomField Hospital

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Perform ance / Vol . X X / Winter 201 2

www.dso.org

Contents Performance Volume XX / Winter 2012 2011–12 Season

Editor Gabrielle Poshadlo gposhadlo@dso.org 313.576.5194

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

Performance is published by the DSO and Echo Publications, Inc. u Echo Publications, Inc. 248.582.9690 www.echopublications.com Tom Putters, president tom@echopublications.com Toby Faber, advertsing director To advertise in Performance, call 248.582.9690 or email info@echopublications.com Performance magazine online: www.dsoperformance.com u To report an emergency during a concert, call 313.576.5111. To make special arrangements to receive emergency phone calls during a concert, ask for the house manager.

It is the policy of the Detroit Symphony Orchestra that concerts, activities and services are offered without regard to race, color, religion, national origin, handicap, age or gender. The DSO is an affirmative action, equal opportunity employer.

Activities of the DSO are made possible in part with the support of the National Endowment for the Arts, the Michigan Council for Arts and Cultural Affairs and the City of Detroit.

Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances.

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

Concerts

Concerts, artist biographies and program notes begin on page 13.

Also read program notes before concerts in Performance magazine online at www.dsoperformance.com

30 Education News 32 Donor Roster 38 Upcoming Concerts

Cover Story

10 Symphony Electric

DSO Principal Viola adds rock to the repertoire

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

Cover photo by Mark Burnham www.dso.org

Performance / Vol . X X / Winter 201 2

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Detroit Symphony Orchestra Board of Directors officers Stanley Frankel Chairman

Glenda D. Price, Ph. D Secretary

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

Marlies Castaing Vice Chair

Arthur Weiss Treasurer

Lloyd E. Reuss Officer At-Large

Bruce D. Peterson Vice Chair

Phillip Wm. Fisher Officer At-Large

Anne Parsons President & CEO

Directors Mark Davidoff

Ismael Ahmed

Karen Davidson

Rosette Ajluni

Robert Allesee

Daniel Angelucci Janet Ankers

Gloria Heppner, Ph. D.

‡

Floy Barthel

Mrs. Mandell L. Berman Robert H. Bluestein

Penny B. Blumenstein

‡

Walter E. Douglas

Shelley Heron, Orchestra Representative

Marianne Endicott

Ronald M. Horwitz ‡

Linda Dresner

Nicholas Hood, III

Jennifer Fischer

Paul M. Huxley ‡

Laura L. Fournier

Renee Janovsky

Sidney Forbes

Mrs. Harold Frank

Chacona Johnson‡

Elizabeth Boone

Richard A. Brodie

Lynne Carter, M.D. Gary L. Cowger

Peter D. Cummings, Chairman Emeritus

Herman Frankel

Hon. Damon J. Keith

Stephen R. D’Arcy

Maureen T. D’Avanzo

Allan D. Gilmour

William P. Kingsley

Lois A. Miller

Wei Shen

Mrs. Ray A. Shapero Jane F. Sherman

Stephen Strome ‡

Michael R. Tyson Ann Marie Uetz

Faye Alexander Nelson

David Usher

James B. Nicholson, Chairman Emeritus

‡

Richard P. Kughn ‡

Paul Ganson

Lawrence M. Liberson,‡ Orchestra Representative

Samuel

Lois L. Shaevsky

David Robert Nelson

Alfred R. Glancy, III,‡ Chairman Emeritus

Frankel†

David N. McCammon

‡

Joel D. Kellman

Barbara Van Dusen‡

Arthur T. O’Reilly‡

Ted Wagner

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

Harold Kulish

Hon. Kurtis T. Wilder R. Jamison Williams

William F. Pickard

Bonnie Larson ‡

Brigitte Harris

Alan E. Schwartz‡

Sean M. Neall

Ralph J. Gerson‡

Herman Gray, M.D.

Florine Mark

Marjorie S. Saulson

James C. Mitchell, Jr.

Michael J. Keegan

‡

Jack A. Robinson‡

Edward Miller

Sharad P. Jain

Barbara Frankel

John A. Boll, Sr.

Arthur C. Liebler‡

Ralph J. Mandarino

‡

Clyde Wu, M.D.‡

Stephen Polk

John E. Young

Bernard I. Robertson‡

‡ Executive

Lifetime Members David Handleman, Sr.†

Dr. Arthur L. Johnson†

Committee

†Deceased

VOLUNTEER COUNCIL 2010-13 Officers

Janet M. Ankers President

Ellie Tholen Vice President for Public Relations

Virginia Lundquist Vice President for Outreach

Esther Lyons Recording Secretary

Debbie Savoie Vice President for Projects

Dr. Nora Sugintas Vice President for Membership

Ken Beattie Vice President for Administration & Finance

Mary Beattie Corresponding Secretary

Marlene Bihlmeyer

Marvin D. Crawford

Gloria Nycek

Gwen Bowlby

Sandie Knollenberg

Todd Peplinski

Gloria Clark

Eva Meharry

Victoria Keys Young

Board of Directors

Lynn Miller

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Perform ance / Vol . X X / Winter 201 2

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

Governing Members

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

officers

Arthur T. O’Reilly Chairperson

Jan Bernick Vice Chair, Philanthropy

Maureen T. D’Avanzo Vice Chair, Membership

James C. Farber Vice Chair, Outreach

Mary K. Mansfield Vice Chair, Governance

Bonnie Larson Vice Chair, Engagement

Frederick J. Morsches Vice Chair, Communications

Randall Hawes Musician Liaison

Victoria J. King Musician Liaison

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

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

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

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

Performance / Vol . X X / winter 2012

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

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

First Violins

Kimberly A. Kaloyanides Kennedy Acting Concertmaster Katherine Tuck Chair

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

Beatriz Budinszky*

Marguerite Deslippe* Elias Friedenzohn*

Laurie Landers Goldman*

LeAnn Toth*

Haden McKay*

Adam Stepniewski Acting Principal The Devereaux Family Chair Ron Fischer*

Hong-Yi Mo*

Robert Murphy* Bruce Smith*

Alvin Score

Bass Clarinet

Stephen Molina++ Linton Bodwin

Bassoons

Patricia Masri-Fletcher+ Winifred E. Polk Chair Flutes

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

Jeffery Zook

Alexander Mishnaevski+ Julie and Ed Levy, Jr. Chair

Laurence Liberson

Shannon Orme Barbara Frankel and Ronald Michalak Chair

Alexander Hanna+ Van Dusen Family Chair

Piccolo

Lilit Danielyan* ^

Shannon Orme

Basses

Paul Wingert*

Philip Dikeman++ ^

Marian Tanau*

Laurence Liberson++

E-Flat Clarinet

Jeffery Zook

Joseph Striplin*

Theodore Oien+ Robert B. Semple Chair

Úna O’Riordan*

Harp

Second Violins

Hart Hollman

Carole Gatwood*

Richard Robinson ^

Greg Staples*

Shanda Lowery-Sachs

Robert Bergman*

Marshall Hutchinson

Laura Rowe*

Glenn Mellow

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

Craig Rifel

Adrienne Rönmark*

Caroline Coade

Marcy Chanteaux++ ^ Dorothy and Herbert Graebner Chair

Stephen Edwards

Eun Park*

James VanValkenburg++

Clarinets

Robert deMaine+ James C. Gordon Chair

Maxim Janowsky

Joseph Goldman*

Violas

Violoncellos

Oboes

Donald Baker+ Jack A. and Aviva Robinson Chair

Robert Williams+ John and Marlene Boll Chair Victoria King

Michael Ke Ma++ Marcus Schoon

Contrabassoon Marcus Schoon French Horns Karl Pituch+

Bryan Kennedy

Corbin Wagner Mark Abbott

David Everson++ ~

Trombones

Kenneth Thompkins+ Nathaniel Gurin++ Randall Hawes

Conducting Assistant Charles Greenwell Stage Personnel

Bass Trombone

Frank Bonucci Stage Manager

Tuba

Matthew Pons Department Head

Randall Hawes

Dennis Nulty+ Timpani

Eric Schweikert ``# Brian Jones+ ^ Percussion

Larry Anderson Department Head

Michael Sarkissian Department Head Legend

+ Principal

++ Assistant Principal

Eric Shin ``#

``# S ubstitute musician, Acting Principal

Ian Ding++ ^ William Cody Knicely Chair

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

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

Librarians

Robert Stiles+

^ Extended Leave

~ On Sabbatical

§ African-American Orchestra Fellow

Ethan Allen

Personnel Manager

Stephen Molina Orchestra Personnel Manager Heather Hart Assistant Orchestra Personnel Manager

Trumpets

Stephen Anderson Acting Principal Lee and Floy Barthel Chair Kevin Good

William Lucas

Shelley Heron Maggie Miller Chair Brian Ventura++

Geoffrey Johnson§

Han Zheng Hang Su

Catherine Compton

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

Perform ance / Vol . X X / Winter 201 2

www.dso.org

SPG91011_DSOad.pdf

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9/19/11

8:32 PM

C

Classical Music with

M

Y

CM

MY

CY

CMY

Dave Wagner and Chris Felcyn

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

www.dso.org

Performance / Vol . X X / winter 2012

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President’s Message Welcome back to Orchestra Hall! Winter is upon us and we’ve much to look forward to. I am pleased to report that we are fortunate to have the opportunity to build on several success stories from 2011 as we begin the DSO’s exciting journey into 2012. Strong leadership and partnerships will be recurring themes associated with these and other positive stories that will unfold in the months ahead.

In December we premiered our new Neighborhood Concert Series to enthusiastic crowds in Dearborn and Beverly Hills and in January, we added series in four additional Metro Detroit venues. As we strive to reach new, or reengage lapsed, audiences we are delighted to report that one third of these Neighborhood patrons are completely new to the DSO, and 80 percent have not subscribed in the past five years. We are well on our way towards achieving our goal to substantially grow the number of lives we touch and increase the frequency of service to each community member we meet.

In Orchestra Hall, we’ve watched students of all ages regularly enjoy concerts thanks to our successful new Soundcard all-access student pass. And well into the first full season of “Live from Orchestra Hall” DSO’s new HD webcasts presented in partnership with Detroit Public Television, audiences from a staggering 40 countries (and counting) regularly experience our classical orchestra performances. (I am told home schooled families are particularly delighted to incorporate our webcasts into their curriculum!)

We are thrilled that our friend and music director Leonard Slatkin chose to renew his commitment to the DSO and to Detroit with a contract extension through 2016, over the same weekend that he and composer Cindy McTee were married in their new metro Detroit home.

And while we lost a dear and longtime friend last November, in March we will dedicate our Classical Roots concerts to the late Arthur Johnson and celebrate our newest lifetime member of DSO’s Board of Directors.

While the success of the DSO is indelibly connected to the dedicated efforts of each of our DSO musicians, I’d like to take this opportunity to acknowledge Kim Kaloyanides Kennedy for the grace, poise and passion she offers us through her role as Acting Concertmaster. Kim’s generosity of spirit is paired with a fierce belief in the endless possibilities that lie before us.

Thanks to all of you, our loyal customers, for your support as we journey together towards a future enriched by enduring music, people and partnerships.

With all best wishes for a satisfying 2012,

Anne Parsons President & CEO 8

Perform ance / Vol . X X / Winter 201 2

News & Notes

Introducing the Neighborhood Concert Series!

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

DSO Bass Trombone releases solo recording The first recording to take place in the Music Box at the Max M. Fisher Music Center, DSO Bass Trombonist Randall Hawes has recently released his second solo recording, “Barn Burner.”

“It means a lot to me to play in that space,” said Hawes. “While it was being built, the crew gave me a hard hat so I could play there before it was even finished. Hopefully the CD will showcase the great acoustics in that room.”

The repertoire focuses largely on American composers, many of whom have a personal connection with Hawes. Quadrivalence, for example, was composed for Hawes in 1990 by William Rivard, his trombone teacher from Central Michigan University, where he earned a Bachelor of Music Education.

The Sonata for bass trombone and piano by Alec Wilder, on the other hand, is one of the most often performed pieces for bass trombone.

“Barn Burner” is the first recording of the piece with percussion.

Hawes’ next recording is already in the works and is due out next year.

Join the Volunteer Council for sartorial visions of Spring While the weather remains blustery it will be balmy at The Townsend Hotel in Birmingham on Thursday, March 1, 2012 when the DSO Volunteer Council presents its Spring fundraiser. Relax in a private luncheon setting as Saks Fifth Avenue presents “Trumpeting Spring: A Fashion Show of Spring Trends.”

Thursday, March 1, 2012 11 a.m. reception 12 p.m. luncheon and fashion show The Townsend Hotel, 100 Townsend St., Birmingham, Mich. $75-$125. Purchase tickets by calling 313.576.5154. www.dso.org

Meet the Musicians:

Robert Stiles and Ethan Allen

T

heir names are right there on the orchestra roster, just below the percussion section, and yet you may not know their faces, as they are only on stage between works. Members of the orchestra like any violinist or oboist, DSO Principal Librarian Robert Stiles and Librarian Ethan Allen perform each time their musician colleagues take the stage; not so much behind the scenes as on the page.

The Librarian’s rehearsal takes place on the second floor of the Max M. Fisher Music Center, where they can be found studying an orchestral score with their correction tools in hand, making additions and changes to the individual orchestra member’s parts to ensure that the score and parts match.

Robert and Ethan both play instruments, and occasionally perform with the orchestra (Ethan plays percussion, Robert plays double bass and piano) but that’s not why they are members of the orchestra. Their intricate knowledge of music, familiarity with the technical aspects of every instrument, and efforts to represent the composer’s intentions at the highest artistic standards is what makes them essential in putting together the concert experience.

Far in advance of each concert, the principal string players create and/ or confirm bowings for each piece of music and the librarians recreate these by marking each part in pencil for the other players. All potential problems in the music must be ironed out before the first rehearsal.

“The orchestra runs a tight rehearsal schedule, so the music has to be performance-ready at the first rehearsal to ensure an efficient use of the orchestra’s time,” said Allen, who joined the DSO in 2005.

Soon after Robert joined the DSO in 1999, one of his first objectives was to improve the dire storage condition of the orchestra’s music collection. He created a plan to transfer the materials into specially designed archival quality storage containers and oversaw their migration to the clean, temperature-controlled library where they are stored today. “Most of this music has had a pretty tough existence,” said Stiles, “but it’s still here and it is a privilege to help the orchestra bring this music to life.”

The Librarians have created and maintained a performance history database of over 14,000 DSO concerts. In addition www.dso.org

they obtained a Mellon Foundation grant to create a web-based search tool for the Archives and Library on the DSO’s website.

To explore the database, see http://tiny.cc/oi674.

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

by Gabrielle Poshadlo edits to the music on stage, the librarians

Performance / Vol . X X / winter 2012

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Symphony

Electric DSO Principal Viola adds rock to the repertoire

Photos by Mark Burnham

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Perform ance / Vol . X X / Winter 201 2

www.dso.org

by Gabrielle Poshadlo

I

t doesn’t look anything like a viola.

In fact, the five-string instrument DSO Principal Viola Alexander “Sasha” Mishnaevski performs with doesn’t really look like any other instrument, either. And yet it was inspired by the one he’s been playing nearly his entire life, a journey he depicts with “Symphony of Life,” his first recording on electric viola released this year.

“It attempts to tell the story of human life through the classical manner I’m used to, but translated to speak a broader language,” said Mishnaevski.

“LFC (Life Family Career),” for example (track No. 2 on the CD), begins with a din of an alarm clock, a phone ringing and a baby crying, depicting the hectic manner in which many people might start their day. It’s followed by a lilting, optimistic melody by the electric viola as if to say, “it’s all worth it.”

During the Orchestra’s performance with the original cast of Beatlemania six years ago, Mishnaevski was invited to play with the band for the first encore, “Back in the USSR.” Except when he took the stage with the Beatles tribute band, he wasn’t playing a viola. Instead, he was making his stage debut on electric guitar, which he’d only been practicing for two months before the event.

“The audience was going wild,” said Mishnaevski. “When we started playing ‘Birthday,’ the DSO musicians started to dance. It was amazing. That’s not something that happens at your typical symphony concert.”

Following that concert, Mishnaevski was hooked on the audience’s reaction to a departure from typical classical repertoire.

“I started thinking, how can I have that element of fun on stage that comes with playing something that connects with the audience in that way?”

Two years later, he’d commissioned a five-string electric viola from John Jordan of Jordan Electric Violins in California, who is known for making whimsical electric violins. The Hawaiian Koa instrument is built to the exact specifications of the 1765 Italian acoustic viola Mishnaevski has been playing for 23 years.

While the measurements of the electric viola mimic the acoustic one www.dso.org

exactly, making it easier for Mishnaevski to transition between the two instruments whenever necessary, the sound capabilities are completely different. The additional string, the E, allows the electric viola to play in the violin range as well as its own traditional one, and the electronics make the sound flexible to the use of special effects. Rather than depending on the relationship between the vibration of strings and the hollowed body of an acoustic instrument, the electric viola’s sound depends on the speakers, amplifier and the electronics feeding the sound into them. Two sensors beneath each string read the vibrations in stereo.

“I can distort the sound to imitate a saxophone, flute, oboe, guitar...the possibilities are endless,” said Mishnaevski.

He met Stuart Zaltz, composer and producer of “Symphony of Life” through a mutual friend, a twist of events Mishnaevski describes as fate.

“Stuart’s gigantic talent in composing plus classical training, with vast experience of being on stage in a rock ‘n’ roll scene for many years, I am very happy that the way we think and feel about music is completely in sync,” he said.

The friendship resulted in the creation of Two Circles Music Co. and the release of “Symphony of Life” CD. The CD’s light-hearted album cover features Mishnaevski and Zaltz standing together on an old-world cobblestone street in front of a modern-looking family that’s looking in a shop window.

Looking closely at the original artwork, you’ll discover fun details. For example, the shop addresses

correspond with Mishnaevski’s and Zaltz’s birth years and other surprises for the viewer to discover.

“We wanted to see how many people would notice. The dog beside the fire hydrant in the corner? We tried to get him to lift his leg for the photo but he just wouldn’t,” said Mishnaevski jokingly.

Mishnaevski made his performance debut on the Jordan viola in 2008 with Brent Lee’s composition of “Ruck and Rill,” performed with the Windsor Symphony Orchestra, conducted by John Morris Russell. The piece riffs on rock ‘n’ roll greats like Moody Blues, Pink Floyd and Jimi Hendrix. David Eaton recently created a piece for the five string viola and Sasha titled “Suite for Sasha,” with eight movements each composed in a different style — jazz, rock ‘n’ roll, classical and hiphop. Mishnaevski hopes to perform these two compositions with the DSO in future seasons.

“People always ask me what kind of music I play on the electric viola,” said Mishnaevski. “But really, I don’t even have a finger on the style it is. There is no category for it yet, but that is what makes it all new and exciting.”

The CD is available for purchase at Shop @ The Max and online at www.twocirclesmusicco.com Performance / Vol . X X / Winter 201 2

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Perform ance / Vol . X X / Winter 201 2

www.dso.org

Profiles Leonard Slatkin Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

classical Series Thursday, February 9, 2012 at 7:30 p.m.

Friday, February 10, 2012 at 10:45 a.m.

Saturday, February 11, 2012 at 8 p.m. in Orchestra Hall Leonard Slatkin, conductor Julian Rachlin, violin

Cindy McTee Einstein’s Dream (b. 1953)

Dmitri Shostakovich Violin Concerto No. 1 in A minor, Op. 99

(1906-1975) Nocturne Scherzo Passacaglia Burlesca Julian Rachlin, violin

I n t er mission

Sergei Rachmaninoff Symphonic Dances, Op. 45

(1873-1943) Non allegro Andante con moto (Tempo di valse) Lento assai – Allegro vivace

This Classical Series concert is generously sponsored by

PVS Chemicals, Inc.

Get the most out of each concert by attending pre-concert presentations, one hour prior to performances (excluding Coffee Concerts). The presentations are informal and may include special guests, lectures and music that reveal interesting facts about the program and provide a behind-the-scenes look at the art of making music.

Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances.

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

www.dso.org

Internationally acclaimed American conductor Leonard Slatkin began his appointment as Music Director of the Detroit Symphony Orchestra in September of 2008. In addition to his post at the DSO, slatkin August 2011 marked the start of his tenure as Music Director of the Orchestre National de Lyon in France.

In addition, Slatkin continues to serve as Principal Guest Conductor of the Pittsburgh Symphony Orchestra, a post that began in the fall of 2008.

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, where he founded their “Sommerfest;” first Music Director of the Cleveland Orchestra’s summer series at the Blossom Music Festival, a post he held for nine years; Principal Guest Conductor of the Los Angeles Philharmonic Orchestra at the Hollywood Bowl for three seasons; and additional positions with the New Orleans Philharmonic and the Nashville Symphony Orchestra.

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 advanced career development program for rising conductors, and founded the Saint Louis Symphony Youth Orchestra. This year, he spearheaded the DSO’s Soundcard initiative, an all-access student pass to every Classical, Pops and Jazz concert at Orchestra Hall, all season long.

Maestro Slatkin’s more than 100 recordings have been recognized with seven Grammy awards and 64 nominations. He has recorded with the DSO, National Symphony Orchestra, Saint Louis Symphony, Minnesota Orchestra, Nashville Symphony Orchestra, Chicago Symphony Orchestra, and the New York Philharmonic.

His engagements for the 2011-2012 season include Orchestre de la Suisse Romande, Seoul Philharmonic, NHK Symphony, a tour of Germany with the Deutsches Symphonie-Orchester Berlin, and the New World and National Symphony Orchestras in Washington, D.C. Performance / Vol . X X / Winter 201 2

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Julian Rachlin

Julian Rachlin is one of the most exciting and respected violinists of our time. For the last 23 years, he has been captivating audiences around the world with his distinctively rich sound, superb rachlin musicianship and outstanding interpretations. He has established close relationships with many of the most prestigious conductors and orchestras. Always willing to expend his musical horizons, Rachlin is also praised as a viola player and, most recently, as a conductor. This year marks the 11th anniversary of the internationally renowned “Julian Rachlin & Friends” festival held annually in Dubrovnik, Croatia, a platform for creative and vibrant projects with today’s leading musicians and actors. Besides delighting his audiences with his musical performances, Rachlin is also receiving recognition as a young philanthropist for his charity work as a UNICEF Goodwill Ambassador and his educational outreach.

Highlights of the current season include Rachlin’s debut with the Cleveland Orchestra and Franz Welser-Möst, the opening of the Philadelphia Orchestra season with Charles Dutoit, performances with the Israel Philharmonic Orchestra and Zubin Mehta, the Orchestra Filharmonica della Scala and Daniel Harding, as well as the Gewandhaus Leipzig and Josep Pons.

Rachlin will also appear with the DSO and Leonard Slatkin, the Rotterdam Philharmonic Orchestra and Yannick Nézet-Séguin, the Orchestre National de France and Daniele Gatti as well as the Melbourne and Sydney Symphony Orchestras led by Donald Runnicles.

Krzysztof Penderecki is currently writing a Double Concerto for Rachlin, which will be premiered at the Vienna Musikverein in 2012 with the Bavarian Radio Symphony Orchestra conducted by Mariss Jansons.

Rachlin’s recordings for Sony Classical, Warner Classics and Deutsche Grammophon have all been met with great acclaim.

Born in Lithuania in 1974, Rachlin immigrated to Vienna in 1978. He studied with the eminent pedagogue Boris Kuschnir at the Vienna Conservatory and took private lessons with Pinchas Zukerman. He gained international acclaim overnight in 1988 by winning the “Young Musician of the Year” Award at the Eurovision Competition in Amsterdam. He then became the youngest soloist ever to play with the Vienna Philharmonic, making his debut under Riccardo Muti.

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Einstein’s Dream Cindy McTee

B. Feb. 20, 1953 in Tacoma, Washington

Cindy McTee’s Einstein’s Dream is scored for flexatone, large suspended cymbal, medium suspended cymbal, bass drum, bell tree, castanets, chimes, glockenspiel, gong, maracas, mark tree, medium triangle, ratchet, small triangle, tam-tam, tubular bells, computer music recorded on CD, and strings.

C

omposed to celebrate the World Year of Physics (2005) with Einstein in the 21st Century as its theme, Einstein’s Dream consists of seven continuous sections.

The composer writes: 1. Warps and Curves in the Fabric of Space and Time “I require the clear constructions of Bach.” — Albert Einstein I’ve always enjoyed blending the past with the present — the old with the new — for example, placing antique and contemporary furniture side by side, or in the case of Einstein’s Dream, quoting Bach in the context of newly composed music. To pick up on Einstein’s dream of unification and to wrap that dream around present world conflicts, I have borrowed from a Bach chorale entitled, Wir glauben all’ an einen Gott (We all believe in one God), transposed to the key of “e” for Einstein.

The “relativity” of past and current musical idioms is intended to uncover new temporal relationships and engage multiple levels of memory in an environment of contrapuntal pluralism.

2. Music of the Spheres Music of the Spheres refers to music thought by Pythagoras and later classical and medieval philosophers to be produced by the movements of celestial bodies.

The “harmonious” intervals of the octave, perfect 5th, and perfect 4th (E - B - E, for example) represented a kind of cosmic harmony and unity of all that exists. In my Music of the Spheres the upper strings intone the previously heard Bach melody, this time harmonized only by a sustained octave in the celli and basses.

3. Chasing After Quanta “The more one chases after quanta, the better they hide themselves.” —Albert Einstein In composing this section, I relied on a computer music technique known as granular synthesis, the process of creating new sounds from tiny fragments of existing sounds called grains. Representing clouds of “acoustical quanta,” the granular sounds in

this section accompany a 12-tone, canonic (chasing), orchestral texture whose melodies are based on the notes of Bach’s name.

4. Pondering the Behavior of Light “If I were not a physicist, I would probably be a musician. I often think in music. I live my daydreams in music. I see my life in terms of music.” —Albert Einstein In speaking about his renowned theories, Einstein made it quite clear that music was the driving force behind his intuition and although recreational, violin playing also “stimulated intellectual growth” and sustained “the order and harmony that were the hallmarks of [his] science” – WonderWare, Inc. In the music of this section, huge, luscious triads are overtaken by tight, shimmering, octatonic clusters while the bass line falls in major and minor thirds to complete a 12-tone row. An extended violin solo based on the trumpet theme from Ives’ Unanswered Question is punctuated with computer music gestures reminiscent of earlier moments in the piece.

5. The Frantic Dance of Subatomic Particles Scurrying string melodies based on the Bach chorale tune are set against a palette of computer music sonorities derived from a recording of DSO Artistic Administrator, Victor Marshall, reading, “I require the clear constructions of Bach.” Using granular synthesis software, the words are broken up into myriad particles and rearranged to create a texture in which the words cannot be understood, just as the contours of an object cannot be seen on a molecular level.

Additional computer sounds are constructed from the sounds of clocks winding up, ticking, and breaking apart, accompanied by similar sounds from the percussion section of the orchestra.

6. Celestial Bells Using the same source recording employed in the previous section, the sounds of speech are transformed into bell sounds both through granular synthesis and by rebalancing and redistributing the sounds’ frequencies. The orchestra plays clusters of notes to match the detuned qualities of the bells, eventually imploding into a single note, E. 7. Wondering at the Secrets “To me, it is enough to wonder at the secrets.”

—Albert Einstein One of the most striking applications of granular synthesis is its ability to stretch sound in time without necessarily changing its pitch. In composing Einstein’s Dream, and in thinking about new temporal www.dso.org

experiences, I became very interested in the perceptual effect of time-stretching and decided to apply it to the same Bach chorale tune used throughout the work. Time-stretching is perhaps loosely analogous to the way in which Einstein’s equations of relativity predict that gravity, or the curvature of space-time by matter, not only stretches or shrinks distances, but also appears to slow down or dilate the flow of time. What most intrigued me about musical time-stretching was its ability to shift the listener’s attention toward the inner components of the sound – the harmonics and the overlapping resonant regions – as if inviting a kind of meditation to wonder at the secrets.

This performance of Einstein’s Dream is a DSO premiere.

SO Shop @ The Ma x D recommends:

McTee — Einstein’s Dream: no recording currently available.

Shostakovich completed his Violin Concerto No. 1 in 1948, just after the January — February purge of the AntiFormalism campaign, in which all classical music was declared worthless and which further decreed that all music should be non-elitist and written for the masses.

Postwar politics led Shostakovich to withhold his concerto for seven years, rather than risk violating this Communist Party edict. Two years following Stalin’s death brought the prospect of a more enlightened, liberal climate, and Shostakovich felt that perhaps it was finally safe to let his fellow

Russians hear this somber work, filled with gloom and dread — a mood which likely reflects the time and the country in which it was written.

Throughout this masterful work, the voice of the solo violin emerges clearly from the orchestral accompaniment.

Shostakovich ensured that more powerful sounds would not compete with the soloist by eliminating trumpets and trombones from his orchestration.

The Concerto is constructed according to a relatively uncommon four-movement plan, and opens with a long, meditative nocturne

gone to the gilmore

Violin Concerto No. 1 in A minor, Op. 99

Dmitri Shostakovich

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

Shostakovich scored his Violin Concerto No. 1 for three flutes (the third doubling on piccolo), three oboes (the third doubling on English horn), three clarinets (the third doubling on bass clarinet), three bassoons (the third doubling on contrabassoon), four horns, tuba, timpani plus two percussionists (playing Tam Tam, Tambourine and Xylophone), two harps, celeste and strings (approximately 36 minutes).

P

remiered on October 29, 1955 in Leningrad by violinist David Oistrakh (for whom the work was written) and the Leningrad Philharmonic under Yvegeny Mravinsky, the Violin Concerto No. 1 is a transitional work between the Ninth and Tenth Symphonies, incorporating the joy and vitality of the Ninth with the tragedy and depth of the Tenth.

Shostakovich’s other major orchestral works include 15 symphonies and six concertos. His symphonic work is complex and typically requires large orchestral forces.

His chamber music includes 15 string quartets, a piano quintet, two pieces for string octet, and two piano trios. For the piano, he wrote two solo sonatas, an early set of preludes, and a later set of 24 preludes and fugues. Other major works include three operas and music for a number of films.

www.dso.org

April 26 - May 12, 2012 TheGilmore.org Performance / Vol . X X / Winter 201 2

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in a slow tempo. The overall tone is subdued, with recurring two-note figures that communicate a feeling of sorrow, or perhaps foreboding. The central section makes use of the celesta (a keyboard instrument featuring graduated steel plates struck by hammers) to great effect, in order to temporarily lighten the atmosphere.

The second movement is a boisterous scherzo featuring frenzied, madcap impressions of Jewish folk dances.

Shostakovich would pay tribute to the melodic and harmonic inflections of this

ethnic music by imitating or evoking it in no fewer than three other works. The scherzo is also notable for an appearance of the ‘DSCH’ motif – a motif that recurs in many of the composer’s works and which is representational of Shostakovich himself.

The third movement is one of the most beautiful in all of Shostakovich’s music. It is a great arching passacaglia: a triple-time set of variations over a recurring bass passage, introduced at the beginning in the low strings. The beginning of this passacaglia is notable for the juxtaposition of the

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“invasion” or “Stalin” theme from the composer’s Seventh Symphony with the “fate” motif from Beethoven’s Fifth Symphony. The movement closes with an extended cadenza for the soloist that recalls material from the previous movements and forms a bridge to the finale.

The capricious, mostly festive fourth movement features brilliant passagework for the soloist and lively melodies in the orchestra – including a variant of the passacaglia theme, transformed through the use of faster rhythms and transposition to a higher register than in the previous movement.

Soloist David Oistrakh, writing for Sovetskaya Muzyka in July, 1956, described the Concerto as “innovational” and mentioned that it did not “fall easily into one’s hands.”

The DSO last performed Dmitri Shostakovich’s Violin Concerto No. 1 in April, 2005 with soloist Baiba Skribe and Music Director Emeritus Neeme Järvi conducting.

SO Shop @ The Ma x D recommends:

Shostakovich – Violin Concerto No. 1: Sarah Chang, violin; Simon Rattle conducting the Berlin Philharmonic Orchestra, EMI 46053.

Symphonic Dances, Op. 45 Sergei Rachmaninoff

B. April 1, 1873, Semyonovo D. March 28, 1943, Beverly Hills, CA

Scored for two flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, alto saxophone, four horns, three trumpets, three trombones, tuba, timpani plus five percussionists (playing Bass Drum, Chimes, Cymbals (pair), Drum, Orchestra Bells, Tam Tam, Tambourine, Triangle and Xylophone), harp, piano and strings (approximately 35 minutes).

T

he traditional division of a composer’s works into “early,” “middle” and “late” periods tends to be a relatively arbitrary business, but in Rachmaninoff ’s case there are three quite well-defined periods of creativity: the first consisting of works produced before 1897, when the failure of his First Symphony caused a drying-up of his compositional powers (notable works of this period apart from the symphony include the Op. 3 piano pieces and the First Piano Concerto); the second period, his most prolific (including the Second Symphony, the second and third piano concertos, the piano 16

Perform ance / Vol . X X / Winter 201 2

www.dso.org

preludes and Etudes-Tableaux, The Isle of the Dead, The Bells and the Vespers Op. 37); and the third period, after a silence of eight years, and which consists of just six major works: the Fourth Piano Concerto, Three Russian Folksongs, the Corelli Variations, the Rhapsody on a Theme of Paganini, the Third Symphony and, finally, the Symphonic Dances.

Rachmaninoff ’s late style is characterized by a more astringent approach – the long, flowing melodic lines and lush contrapuntal accompaniments typical of his earlier style are pared down considerably and the music is etched more sharply with what might be considered an ironic, almost bitter edge. His orchestration becomes more subtle and colorful, texture and rhythm are more tightly controlled and harmonies become more pungent.

Rachmaninoff ’s Symphonic Dances (1940), the composer’s last major work, bear a striking correspondence of mood and musical subject matter between the last movement and his earlier work, The Isle of the Dead, Op. 29. His use of the 13th century plainchant Dies Irae (“Day of Wrath”) is certainly one common denominator, the despairing, debilitating chromaticism another; and the chant of the Russian Orthodox Church is also a powerful

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Saturday, March 24 Pierre–Laurent Aimard, Piano Works by Schumann, Liszt, Kurtag and Debussy

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

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

and Get a Fourth Concert Free! Choose from: Saturday, March 31 Les Amies Nancy Allen, harp Cynthia Phelps, viola Carol Wincenc, flute Music by Debussy, Ravel and others

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

Performance / Vol . X X / Winter 201 2

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Carnegie Hall May 10, 2013

curiosity. At the very end of the score, Rachmaninoff wrote “I thank thee, Lord” as if he were aware that this might, perhaps, be his last opportunity to openly show his gratitude for the gifts that had been bestowed upon him. Mighty gifts they were, indeed.

The DSO last performed Sergei Rachmaninoff ’s Symphonic Dances, Op. 45

in November, 2008 with Peter Oundjian conducting.

SO Shop @ The Ma x D recommends:

Rachmaninoff — Symphonic Dances: Leonard Slatkin conducting the St. Louis Symphony Orchestra, Vox 3002..

Jeff Goldberg

common influence.

These dances abound with enigmas and ambiguities. The reference to ‘dance’ alone is a paradox, after all: dance is representational of rhythm, movement, life and joy; yet these particular dances are, if anything, a threepart celebration of approaching death.

The first dance, after a strikingly chromatic and forceful introduction, is in a ternary (A-B-A) form, in which a wellmarked and fairly straightforward marchlike theme is contrasted with a simple, plaintive and gently nostalgic melody, the effect of which is heightened by Rachmaninoff ’s use of the plangent alto saxophone for its first statement. What new fantastic vision led Rachmaninoff to explore such strange timbral effects as solo saxophone and wind band, solo piano and tutti strings in unison? Why, at the end of the first dance, did Rachmaninoff quote (in transfigured form) the “vengeance” motto from his First Symphony, (which would have been virtually unknown to audiences of the time, as he believed he had successful destroyed it) now made poignant by the glowing warmth of the orchestration and its transformation from the minor to the major mode?

As for the second dance, although not quick, it has a restless, nervous character born of ever-shifting chromatic harmonies and the tight thematic and textural organization of Rachmaninoff ’s final stylistic period. What is the program of this second dance – a haunted ballroom, a spectral waltz, menacing fanfares and icily chromatic woodwind meanderings subverting all attempts at free-ranging lyrical growth? All this, and more, makes the second dance by turns both romantic and menacing.

The third dance, the finale, is based upon two liturgical chants, the Dies Irae and the Znamenny “Blessed Be the Lord.” It is not surprising that the Dies Irae should figure in the Symphonic Dances – examples of its use, both overt and disguised, abound in Rachmaninoff ’s compositions; for example, the Rhapsody on a Theme of Paganini, The Isle of the Dead, the Second Symphony and the A minor Etude-Tableau Op. 39. Out of the musical battle that ensues between these opposing chants of death and life, the latter certainly emerges as an incontrovertible victor, disproving the widely held theory that Rachmaninoff was the eternal pessimist.

Resignation, despair, the awareness of death at the center of life – few composers have treated these themes with such intelligence, elegance and grace as Rachmaninoff.

We are left, however, with one final

Leonard Slatkin and the Detroit Symphony Orchestra have been invited to perform at the prestigious Spring For Music festival in Carnegie Hall on May 10, 2013. For their first concerts together in New York, Leonard Slatkin and the Orchestra will present the Four Symphonies of Charles Ives — all on a single night in a unique, three-part program! Showcasing the virtuosity of the Detroit Symphony under Leonard Slatkin, this tour-de-force performance that is already one of the music’s most anticipated events of 2013. Subscribers will be invited to a special Carnegie Preview concert in Orchestra Hall, and special tour packages will be available, so you can cheer your Detroit Symphony Orchestra at Carnegie Hall!

Order your tickets today at 313.576.5111.

The best seats are on hold for our loyal patrons for a limited time only.

For more information about traveling with us, call 313.576.5147. www.dso.org

Profiles Vijay Iyer

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Michel Camilo, Fred A. and Barbara M. Erb Jazz Creative Director Chair

paradise jazz Series Friday, February 17, 2012 at 8 p.m. in Orchestra Hall Gretchen Parlato, vocals Vijay Iyer, piano

Selections to be announced from the stage.

Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances.

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

Gretchen Parlato

An alumnus of the Thelonious Monk Institute, Parlato has been turning heads ever since she won the 2004 Thelonious Monk Institute International Vocal Competition, in Parlato which she displayed a musical individuality loaded with paradoxical powers. Since then she has toured worldwide to sold-out audiences. Her originality captivates musicians as well, prompting invitations to appear on over 50 recordings with the likes of Terence Blanchard, Kenny Barron, Terri Lynn Carrington and Esperanza Spalding.

Her latest recording, “The Lost and Found,” sees Parlato emerging as a thoughtful composer and lyricist. In fact, she wrote lyrics to several compositions such as Eigsti’s haunting “Without a Sound;” trumpeter Ambrose Akinmusire’s plaintive “Henya,” and Stephens’ suspenseful title track. In a duet on Hampton’s “Still,” Parlato’s gentle musing about compassion www.dso.org

and forgiveness is made more poignant by his raw vocals. “Alan created such a meditative and deceptively simple groove I wanted to write lyrics that were like a mantra. Something that in its repetition becomes extremely powerful. What better theme than love?”

Parlato is on an exploration, which leads the conversation among the band and makes for unexpected treasures. Inspired

by Wayne Shorter, one of her mentors, she wrote lyrics to his classic ’60s jazz composition “Juju.” The interaction between Parlato and saxophonist Stephens showcases her ability to use her voice as an instrument—blending with the horn while adding counterpoints. On “Without A Sound,” her haunting vocals seem to add another dimension to the remarkably textured harmony already created by Hodge layering three parts using only his electric bass. And on one of the disc’s most revealing moments, the singer shows her love for Brazilian music on Paulinho da Viola’s “Alo Alo.” A solo rendition, Parlato layers all of the percussion and sings all the vocals.”

Grammy-nominated composer-pianist Vijay Iyer was described by Pitchfork as “one of the most interesting and vital young pianists in jazz today,” by The New Yorker as one of Iyer “today’s most important pianists… extravagantly gifted… brilliantly eclectic,” and by Los Angeles Weekly as “a boundless and deeply important young star.” He was voted the 2010 Musician of the Year by the Jazz Journalists Association and named one of the “50 Most Influential Global Indians” by GQ India. Iyer has released 15 albums as a leader, most recently Tirtha (2011), Solo (2010), and the multiple-award-winning Historicity (2009), which features the Vijay Iyer Trio (Iyer, piano; Marcus Gilmore, drums; Stephan Crump, bass). Historicity was a 2010 Grammy Nominee for Best Instrumental Jazz Album, and was named #1 Jazz Album of the Year in The New York Times, The Los Angeles Times, the Chicago Tribune, the Detroit Metro Times, National Public Radio, PopMatters.com, the Village Voice Jazz Critics Poll, and the Downbeat International Critics Poll. The trio won the 2010 Echo Award (the “German Grammy”) for best international ensemble and the Downbeat Critics Poll for rising star small ensemble of the year.

Iyer has also collaborated with Steve Coleman, Roscoe Mitchell, Wadada Leo Smith, Rudresh Mahanthappa, Rez Abbasi, Craig Taborn, Ambrose Akinmusire, David Binney, Dafnis Prieto, Liberty Ellman, Steve Lehman, Butch Morris, George Lewis, Amina Claudine Myers, Miya Masaoka, Pamela Z, Dead Prez, Das Racist, Imani Uzuri, John Zorn, DJ Spooky, Karsh Kale, and Talvin Singh; filmmakers Haile Gerima and Bill Morrison; choreographer Karole Armitage; and poets Mike Ladd, Amiri Baraka, Charles Simic, and Robert Pinsky. His works have been performed

by Ethel, JACK, Brentano String Quartet, American Composers Orchestra, Hermès Ensemble, and Imani Winds. A polymath whose career has spanned the sciences, the humanities and the arts, Iyer holds a B.S. in Mathematics and Physics from Yale University, plus a Masters in Physics and a Ph.D. in Technology and the Arts from the University of California, Berkeley. He has published articles in Journal of Consciousness Studies, Wire, Music Perception, JazzTimes, and The Best Writing on Mathematics: 2010.

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Profiles

Leonard Slatkin biography, see page 13.

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

classical Series Friday, February 17, 2012 at 10:45 a.m.

Saturday, February 18, 2012 at 8 p.m. in Orchestra Hall Leonard Slatkin, conductor Emanuel Ax, piano

Wolfgang Amadeus Mozart Piano Concerto No. 22 in E-flat major,

(1756-1791) K. 482 Allegro Andante Rondo: Allegro

Emanuel Ax, piano

I n t er mission

Gustav Mahler Symphony No. 5 in C-sharp minor

(1860-1911) Part I: Trauermarsch St ürmisch bewegt, mit grösster Vehemeng Part II: Scherzo: Kräftig, night zu schnell Part III: Adagietto, sehr langsam Rondo - Finale: Allegro

This Classical Series concert is generously sponsored by

PVS Chemicals, Inc.

Get the most out of each concert by attending pre-concert presentations, one hour prior to performances (excluding Coffee Concerts). The presentations are informal and may include special guests, lectures and music that reveal interesting facts about the program and provide a behind-the-scenes look at the art of making music.

Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances.

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

20

Perform ance / Vol . X X / Winter 201 2

Emanuel Ax

Born in Lvov, Poland, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. His studies at the Juilliard School were supported Ax by the sponsorship of the Epstein Scholarship Program of the Boys Clubs of America, and he subsequently won the Young Concert Artists Award.

Additionally, he attended Columbia University, where he majored in French. Ax captured public attention in 1974 when he won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists followed four years later by the coveted Avery Fisher Prize.

Highlights of the 2011/12 season include return visits to the symphonies of Boston, Houston, Toronto, Philadelphia, Pittsburgh, Detroit, Cincinnati; New York, and Los Angeles Philharmonics and San Francisco Symphony with whom he will collaborate in the “American Mavericks” festival presented in San Francisco, Ann Arbor, Mich. and Carnegie Hall, N.Y. In Europe the season includes return visits to the Berlin Philharmonic, Royal Concertgebouw, Bayerischer Rundfunk, London Philharmonic, Chamber Orchestra of Europe and the Orchestre National de France under the batons of Sir Simon Rattle, Mariss Jansons, Sir John Eliot Gardiner, Vladimir Jurowski, Bernard Haitink and Sir Colin Davis.

In recognition of the bicentenaries of Chopin and Schumann in 2010 and in partnership with Barbican, Concertgebouw, Carnegie Hall, the Los Angeles Philharmonic and the San Francisco Symphony, Ax commissioned new works from composers Thomas Adés, Peter Lieberson and Stephen Prutsman for three recital programs presented in each of those cities with colleagues Yo-Yo Ma and Dawn Upshaw.

Ax has been an exclusive Sony Classical recording artist since 1987. Recent releases include Mendelssohn Trios with Yo-Yo- Ma and Itzhak Perlman, Strauss’s Enoch Arden narrated by Patrick Stewart, and discs of twopiano music by Brahms and Rachmaninoff with Yefim Bronfman. Ax has received Grammy Awards for the second and third volumes of his cycle of Haydn’s piano sonatas. www.dso.org

Program Notes Concerto No. 22 for Piano and Orchestra in E flat major, K. 482 Wolfgang Amadeus Mozart

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

Mozart’s Piano Concerto in E flat major, K. 482 was premiered on December 23, 1785 at the Burgtheater in Vienna. It is scored for flute, two clarinets, two bassoons, two horns, two trumpets, timpani and strings (approximately 33 minutes).

I

n 1781, the 25 year-old Mozart made a momentous decision. After serving for nine long, unhappy years as a court musician to the Archbishop of Salzburg (all the while looking in vain for a suitable position elsewhere), Mozart decided, against the wishes of his overbearing father, to give up this post and move to Vienna as a freelance musician — a most unusual move in those days. From that time until his death in 1791, Mozart made a living for his family by giving music lessons, playing concerts and recitals, selling works to publishers and writing operas for the stage.

During the winter of 1785, Mozart, his wife Constanze and their son Karl lived at No. 846 Schulerstrasse in Vienna.

Mozart’s father Leopold paid them a visit in February, writing to his daughter: “You may gather what a fine apartment your brother has from the fact that he pays 460 florins rent (about $230) per year.” While this was not a huge sum of money, it was certainly more than any member of the music-making Mozart family had been accustomed to spending.

The composers’ new-found affluence could be attributed to the concerts of his music that he himself organized each year during the Lenten season. These were presented at the Mehlgrube, an old, low-rent building that got its name from the flour warehouse that was housed in its basement. Mozart averaged about 150 subscribers and took home about 550 florins for the series — enough to make the rent on his comfortable new lodgings.

This was a happy time for Mozart. He was 29 and approaching the height of his powers; the Mehlgrube concerts allowed him a comfortable apartment and temporary relief from financial concerns; he had recently become a father; his own proud father was visiting, witnessing his son’s success; and, above all, the fickle Viennese were impressed enough by his genius to www.dso.org

attend his concerts – at least for the time being.

This happiness and contentment seems to have made its way into the Concerto No. 22 in E flat major, K. 482, particularly in the opening Allegro. Two years earlier, Mozart had written to his father: “The concertos are a happy medium between too easy and too difficult. They are brilliant, pleasing to the ear, without of course falling into emptiness.

Here and there are places which appeal exclusively to the connoisseurs, but it is so

done that the layman will be pleased too – without knowing why.”

Like many of Mozart’s early E flat works, the first movement begins with a majestic statement of the tonic triad, followed by a quiet, answering phrase, which is here given first to the oboes and horns, and then to the solo clarinets, with the violins providing bass support.

The center of gravity in this concerto is the slow movement, a series of variations with episodes on a mournful C minor melody.

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The music reaches a climax at the end of the third variation, where its passionate chromatic intensity gives way to a cadence in C minor. Poignant, syncopated rhythms in the oboes and clarinets then point the way to the beginning of the coda.

The third movement features a lively, folk-like tune that is tossed back and forth between piano and orchestra. The most unusual moment comes about four minutes into the movement, when the driving momentum that had been established gradually slows to a halt to make way for an extended slow section, featuring a tender, wistful melody that is a complete contrast from what preceded it. This gives the effect of a displaced slow movement, after which the original tempo and main theme return, giving way to a final cadenza before the work comes to a sparkling close.

The DSO last performed Mozart’s Piano Concerto No. 22 in E flat, K. 482 in a classical series concert given in March of 2007, with Garrick Ohlsson as soloist and Arild Remmereit conducting.

SO Shop @ The Ma x D recommends:

Mozart — Piano Concerto No. 22: Murray Perahia, piano & conducting the English Chamber Orchestra, Sony 42242.

supporting the most expansive of musical structures, and creating new instrumental combinations to enlarge the resources of the orchestra. He was one of the leading conductors of his day, and his tenure at the Vienna Opera set new standards for production and musical quality.

The crux of Mahler’s compositional art is the constant juxtaposition of doubt and belief, of darkness and immortality, of evil and goodness, of man’s tragedy and his salvation. Any affirmation one way or the other is short-lived; often, optimism is even

born of resignation. Only when the listener understands this dualism can Mahler’s music be fully understood, for it explains why one phrase is morbid, or sensuous, or Faustian, and the next saintly; why one section is the pinnacle of victory and the next a morass of hopelessness. It explains, too, why revelations are contradicted by absurdities. Mahler was willing to spread out before the listener all facets of the tragedy of life, including its mundanities and irrelevancies; and, at times, these contradictions have the effect of making the

Celebrating excellence.

Symphony No. 5 in C-Sharp minor Gustav Mahler

B. July 7, 1860, Kalischt, Bohemia D. May 18, 1911, Vienna, Austria

Mahler’s Fifth Symphony was completed in the summer of 1902 at Maiernigg on the Wörthersee.

It is scored for four flutes (third flute doubling on first piccolo; fourth flute doubling on second piccolo), three oboes and English horn, three clarinets (with the third doubling on bass clarinet and E-flat clarinet), three bassoons (with the third bassoon doubling on contrabassoon), six horns, four trumpets, three trombones and tuba, timpani plus four percussionists (playing bass drum with cymbal attachment, cymbals (pair), orchestra bells, slapstick, snare drum, suspended cymbal, tam-tam and triangle), harp and strings (approximately 72 minutes).

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

I

n his nine symphonies (a 10th was left incomplete) and orchestral songs, Gustav Mahler proved to be one of the last great composers in the Austro-German tradition.

Among his achievements can be counted the rejuvenation of the symphony through the addition of song; finding new ways of 22

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great moments seem even greater.

Mahler’s symphonies tend to follow the Beethovenian symphonic model: the first movement presents conflict and doubt, the inner movements are more introspective and reflective, and the finale renews the conflict with an attempt at resolution.

The attentive listener would approach the Fifth Symphony wisely by considering the deep reverence Mahler had for the music of Bach, as counterpoint in the manner of Bach abounds in the Fifth.

Mahler’s life had changed dramatically by 1902, when he composed the better part of this symphony. In November of 1901, he had made the acquaintance of the 20-year old Alma-Mari Schindler, the stepdaughter of the painter and secession member Carl Moll. Alma’s literary and musical knowledge left a strong impression on Mahler, and only a few weeks after their first meeting their engagement was a fait accompli, and they were married the following February. Shortly thereafter, Mahler also experienced artistic success when in early summer his Third Symphony received its first performance. These successes strengthened Mahler’s confidence as a composer and bolstered his general self-esteem. The Fifth Symphony, whose sketches dated back to the previous year, became the musical expression of this development. Not only was its expressive character entirely new, it also broke new ground with regard to the techniques of composition and instrumentation.

The symphony is cast in five movements and is divided into three parts, as follows: Part I 1. Trauermarsch. In gemessenem Schritt.

Streng. Wie ein Kondukt (Funeral March.

At a measured pace. Sternly. Like a funeral cortège), C sharp minor. As in the Second Symphony nine years earlier, the Fifth begins with a funeral march. Mahler’s symphonic hero is once again laid to rest, but this time in a mood of noble resignation. The movement’s two episodes differ greatly in character from each other, even though both make use of previous material.

2. Stürmisch bewegt. Mit grösster Vehemenz

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(Tempestuously. With the greatest vehemence), A minor. This sonata-form Allegro is the symphony’s true “first movement”, the development section of which is marked by spasms of rage and anguish rarely matched – or surpassed – in the entire symphonic repertoire.

Part II 3. Scherzo: Kräftig, nicht zu schnell (Vigorously, not too fast), D major. The change in tone is abrupt between the preceding Allegro and the sunny good humor of the third movement. At 819 bars, this is Mahler’s longest Scherzo, and one of the few he wrote in which there is no element of irony or parody.

Part III 4. Adagietto: Sehr langsam (Very slowly), F major. This celebrated movement, described by both Mahler and Alma (to the Dutch conductor Willem Mengelberg) as a loveletter from him to her, is a “song without words” for strings, discreetly accompanied by the harp. The theory of the Adagietto as a love-letter would explain the quotation in it of the ‘love-glance’ motif from Wagner’s Tristan und Isolde.

5. Rondo-Finale: Allegro – Allegro giocoso, D major. The first subject of the Rondo proper

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is a direct descendant from that of the finale of Beethoven’s Second Symphony. It was also Beethoven who inspired the hybrid form – half sonata, half rondo – and also from him that Mahler borrowed the idea of introducing fugal elements. Everything in this movement, Mahler said “revolves as though in a whirlwind or the tail of a comet”: the Adagietto theme returns in a quickened tempo, and Mahler quotes his Wunderhorn song about the song-contest between the cuckoo and the nightingale.

A chorale-theme for brass (which was first heard in D major during the second movement, and to which Alma objected in 1902) leads us to the ending apotheosis of the finale in an almost frightening display of high spirits.

The DSO first performed Mahler’s Fifth Symphony at Ford Auditorium on November 12, 1959, with Paul Paray conducting. The most recent DSO performance of this work was on January 8, 2006, with Peter Oundjian conducting. .

SO Shop @ The Ma x D recommends:

Mahler — Symphony No. 5: Gustavo Dudamel conducting the Simón Bolívar Youth Orchestra of Venezuela, Deutsche Grammophon B0009837.

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Profiles

Leonard Slatkin biography, see page 13.

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

classical Series

Friday, February 24, 2012 at 8 p.m.

Sunday, February 26, 2012 at 3 p.m. in Orchestra Hall Leonard Slatkin, conductor Andriana Chuchman, soprano Kyle Ketelsen, bass-baritone UMS Choral Union Michigan State University Children’s Choir

John Adams On the Transmigration of Souls

(b. 1947) UMS Choral Union Michigan State University Children’s Choir

I n t er mission

Johannes Brahms Ein deutsches Requiem, Op. 45 (1833-1897) [A German Requiem]

I. Chorus II. Chorus III. Baritone and Chorus IV. Chorus V. Soprano and Chorus VI. Baritone and Chorus VII. Chorus Andriana Chuchman, soprano Kyle Ketelsen, bass-baritone UMS Choral Union

This Classical Series concert is generously sponsored by

Get the most out of each concert by attending pre-concert presentations, one hour prior to performances (excluding Coffee Concerts). The presentations are informal and may include special guests, lectures and music that reveal interesting facts about the program and provide a behind-the-scenes look at the art of making music.

Non-flash photography and video recording by silenced hand-held devices are allowed during DSO performances.

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

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Perform ance / Vol . X X / Winter 201 2

Andriana Chuchman

This season, Canadian soprano Andriana Chuchman made her debuts at the Canadian Opera Company Olympia in Tales of Hoffmann and the Detroit Symphony in performances of the Brahms Requiem. She chuchman returned to the Toronto Symphony for performances of Mahler’s Symphony No. 8, the Michigan Opera Theater for staged performances of Orff ’s Carmina Burana and Menotti’s The Medium and as Susanna in Le Nozze di Figaro. This summer she appears at the Bard Music Festival, and next season she makes her debut at the Washington National Opera, and returns to both the Michigan Opera Theater and the Winnipeg Symphony Orchestra.

A graduate of the Ryan Opera Center at the Lyric Opera of Chicago, Chuchman has appeared on their main stage as Yum-Yum in The Mikado, Valencienne in The Merry Widow and in their productions of Die Frau ohne Shatten and Manon. She also sang student matinee performances of Adina in L’Elisir d’Amore and Susanna in Le Nozze di Figaro with the Ryan Opera Center.

As a member of the San Francisco Opera’s prestigious Merola Program, she appeared there as Barbarina in Le Nozze di Figaro, Carolina in Il Matrimonio Segreto, and in extensive excerpts as Blanche in Dialogues of the Carmelites and Clorinda in La Cenerentola.

In her native Canada, Chuchman made her Edmonton Opera debut as Marie in La Fille du Regiment, and has also appeared as Adina, and Lauretta in Gianni Schicchi.

She has also appeared as Pamina in Die Zauberflöte at the Manitoba Opera. Concert performances have included engagements with the Toronto Symphony, Prince George Symphony, and the Winnipeg Symphony Orchestra.

Born in Winnipeg, Manitoba, Canada, Chuchman received her Bachelor’s Degree in Voice Performance from the School of Music at the University of Manitoba. She was a prizewinner at the Finals of the 2009 Neue Stimmen Competition in Germany, and received a Sullivan Foundation Encouragement Award in 2007.

www.dso.org

Kyle Ketelsen

American bassbaritone Kyle Ketelsen is in regular demand by the world’s leading opera companies and orchestras for his vibrant and handsome stage presence and his ketelsen distinctive vocalism.

This season began with Teatro Comunale di Bologna’s Japanese tour as Escamillo in Carmen, sponsored by Fuji TV. Ketelsen appears on the stage of the Houston Grand Opera as Figaro in Il barbiere di Siviglia and as Don Fernando in Fedelio, at the Metropolitan Opera as Mr. Flint in Billy Budd, and at the Festival d’Aix-en-Provence in the title role of Le nozze di Figaro. His concert appearances include Brahms’ Requiem with the San Francisco Symphony and the DSO, a concert version of Fidelio with the National Symphony Orchestra under the baton of Christoph Eschenbach, Rossini’s Moïse et Pharaon with the Collegiate Chorale at Carnegie Hall, as well as a holiday program with the Madison Symphony.

Ketelsen has garnered great critical acclaim for his portrayals with the major American theaters, as well as theaters around the world. He made his Covent Garden debut as the Sprecher in Die Zauberflöte under Mackerras, where he has returned as Henrik in Carl Nielsen’s Maskarade in a new production by David Pountney, and in as Leporello in Don Giovanni under Sir Charles Mackerras. He made his debut with Teatro Carlo Felice in Genoa as Figaro, a role he later performed at the Gran Teatre del Liceu in Barcelona.

He made debuts with the St. Louis Symphony in Messiah under David Robertson, with the Chicago Symphony Orchestra in Stravinsky’s Pulcinella under the baton of Pierre Boulez, and with the Seattle Symphony in Mozart’s Requiem under Itzhak Perlman.

Ketelsen has won First Prize in several international vocal competitions, including the Metropolitan Opera National Council, the Richard Tucker Music Foundation (Career Grant), the George London Foundation, the Licia Albanese Puccini Foundation, the Sullivan Foundation, Opera Index, the MacAllister Awards, Fort Worth Opera, National Opera Association, Connecticut Opera and the Liederkranz Foundation. www.dso.org

Program Notes On the Transmigration of Souls (2002) John Adams

B. February 15, 1947

Commissioned by the New York Philharmonic with Lincoln Center and premiered by the orchestra at Avery Fisher Hall assisted by the New York Choral Artists and Brooklyn Children’s Chorus, Lorin Maazel conducting, on September 19, 2002.

Scored for full chorus, children’s choir, piccolo, three flutes (one doubling on piccolo), three oboes, two clarinets, bass clarinet, contrabass clarinet, two bassoons, contrabassoon, four horns, four trumpets, three trombones, two tubas, timpani plus four percussionists (playing glockenspiel, crotales, triangle, chimes, suspended cymbal and brake drums), piano, celeste, synthesizer, two harps and strings, plus prerecorded multi-channel soundtrack composed in collaboration with sound designer Mark Grey (approximately 27 minutes).

T

he New York Philharmonic presented On the Transmigration of Souls as the opening work of its 2002-03 Season, just over a year after the September 11 attacks on the World Trade Center. The work mourns those killed in the tragedy, while celebrating the heroism of the rescue workers who responded to the disaster, 403 of whom were among the 2,973 persons killed that day in the coordinated terrorist attacks.

“I knew immediately that I…wanted to do this piece,” Adams said, “in fact, I needed to do it…Being given the opportunity to make a work of art that would speak directly to people’s emotions allowed me not only to come to grips personally with all that had happened, but also gave me a chance to give something to others.”

Adams received the commission to compose the work in January of 2002, barely six months before rehearsals were to begin. The New York Philharmonic had originally programmed Beethoven’s Ninth Symphony as the first work on their 2002-03 Season, so the composer had a large orchestra and chorus already at his disposal. To these forces, he added additional instruments, a children’s choir and a prerecorded audio component.

Using homemade missing person signs that had been posted in the aftermath of the disaster as his starting point, Adams

began to extract fragments of text. He assembled 33 simple, direct statements from the signs, statements which by themselves communicated loss; once compiled, they conveyed a haunting, overwhelming emptiness. In addition to including “concrete” sounds – people walking, distant voices, cars, sirens, trucks, brakes squealing, doors shutting – the composer (working with audio designer Mark Grey) chose friends and relatives (based on individual vocal timbre) to read the various fragments of text for the audio soundtrack.

Adams had in mind something different from the standard requiem or memorial; rather, he envisioned a “memory space” where listeners could reflect on the event.

As regards the title of the work, Adams explains that the word “transmigration” refers to the “movement of the soul from one state to another…” not just “from living to dead, but also the change that takes place within the souls of those that stay behind, of those who suffer pain and loss, and then themselves come away from that experience transformed.”

The audience is gradually drawn into Adams’ unique soundscape by the audio soundtrack, which both opens and closes the work. A child’s voice begins to recite the word “missing” repeatedly, creating a hypnotic effect. The litany of victim’s names is gradually read (81 names having been randomly selected), creating a rhythmic counterpoint to the child’s chant as it recedes into the background.

A solo trumpet issues a plaintive cry, opening up a spiritual realm mixing hope, fear, and uncertainty. As the orchestral texture gradually becomes thinner, the contrabassoon intones an ominous pedal.

Out of nowhere, surging fortissimo waves of frenzied percussion and lyric brass recall the horror of the actual event.

The music then becomes simpler, and the chorus, singing in complete sentences, recalls memories of brothers, wives, friends, lovers. A second dramatic statement from the orchestra leads into a fanfareesque sequence for the chorus, with the words “Light” and “Love” being shouted as loudly as possible in alternation. The music gradually subsides and returns to the opening texture, with strings alone.

Dissonant tensions simmer beneath the surface, with Adams offering the listener no simple solution, no catharsis. The soundtrack closes the work with the litany of names and the final words: “I love you…”, as everyday street noises return the listener to the present.

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On the Transmigration of Souls is one of the first great musical works of the 21st century, and is especially important as it offers a vehicle for thinking about one of the most tragic events in our nation’s history. Today, more than ten years after the September 11 attacks, performances of this work aid the nation in coming to terms with both its grief and the growth that must come out of it. As Adams explains it, “modern people have learned all too well how to keep our emotions in check, and we know how to mask them with humor or irony. Music has a singular capacity to unlock those controls and bring us face-toface with our raw and uncensored feelings.

That is why during times when we are grieving or in need of being in touch with the core of our beings, we seek out those pieces which speak to us with that sense of gravitas and serenity.”

The DSO last performed John Adams’ On the Transmigration of Souls as part of the “DSO Unmasked” series in April, 2007 with the composer conducting.

SO Shop @ The Ma x D recommends:

Adams — On The Transmigration of Souls: Lorin Maazel conducting the New York Philharmonic Orchestra, Nonesuch 79816.

Ein Deutsches Requiem, Op. 45 Johannes Brahms

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

Brahms began work on a D minor Sonata for two pianos. This became a symphony, and when it seemed impossible to continue in that direction, Brahms salvaged the first movement for his Piano Concerto in D minor, and reworked the Scherzo as the second movement of the German Requiem, the largest-scale single work that he would compose.

With all of this as a background, it is somewhat difficult to accept either of the standard theories as to why the work was written in the first place: that it was a memorial for Robert Schumann, who died in 1856, or for Brahms’s beloved mother, who died in 1865. Brahms wrote and spoke little about the Requiem, but we do know that he responded to it as a musician, not as a believer.

Brahms’s German Requiem may be a sacred work, but it is non-liturgical; Brahms’s avoidance of narrowly Christian doctrine was deliberate. In fact, he said that in the title he would “gladly have left out ‘German’ and substituted ‘Human’”. It has also often been noted that the text of the work nowhere includes any mention of Christ.

The German Requiem is far from being any kind of Lutheran equivalent of the Catholic Requiem Mass, with its prayers to God and Christ for the souls of the departed, and its extended Dies Irae sequence describing the Day of Judgment.

What is certain is that in his choice of texts (from a variety of Biblical sources, including the Psalms, the Book of Ecclesiasticus, the epistles of St. Paul and the Book of Revelation), as well as in his setting, Brahms was able to transcend personal grief to produce a universal statement of acceptance, consolation and hope.

Brahms began with a four-movement scheme for the Requiem, which grew to five movements, then finally seven. They are as follows: I. Selig sind, die da Leid tragen (“Blessed are they that mourn”) (Chorus) Brahms begins his Requiem not with the traditional plea for God’s mercy on the faithful departed, but rather, with words of comfort for those left behind: “Blessed are they that mourn, for they shall be comforted.”

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

The first three movements of the German Requiem were first performed in Vienna on December 1, 1867; the six movements then extant (without “Ihr habt nun Traurigkeit”) were first performed on Good Friday 1868 at Bremen Cathedral; and the first performance of the completed work (in seven movements) was given on February 18, 1869, in Leipzig. The work is scored for soprano and baritone soloists; four-part chorus, and an orchestra consisting of two flutes and piccolo, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, tuba, timpani, harp, organ and strings (approximately 68 minutes).

I

n the North German Protestant tradition familiar to Brahms, there was no place for the traditional (Latin) Requiem Mass.

Martin Luther’s opposition to prayers and masses for the dead meant that any hint of either was firmly resisted in Lutheran places of worship.

Musically, the German Requiem has its beginnings in the 1850s, when the young 26

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

www.MarinersChurchofDetroit.org www.dso.org

II. Denn alles Fleisch, es ist wie Gras (“For all flesh is as grass”) (Chorus) The second movement is the one salvaged from the abandoned symphony: a sort of weighty march made to fit into the lugubrious triple meter of a Baroque sarabande. The orchestra here is present at full strength, but only reveals itself fully when the chorus, for the third time, calls out in horror, “For all flesh is grass.” To close the movement, Brahms offers the first of his mighty fugues in the Requiem which, though it is a little weightier than those of Handel (whom Brahms greatly admired), shares some of that composer’s grandeur.

III. Herr, lehre doch mich (“Lord, make me to know mine end”) (Baritone and Chorus) The solo baritone appears for the first time in the third movement, his stern phrases answered by the chorus like a congregation making its traditional responses. Brahms has the chorus end with a fugue, while the orchestra has a separate fugue of its own.

IV. Wie lieblich sind Deine Wohnungen (“How lovely is thy dwelling place”) (Chorus) With the fourth movement we reach the calm center of the Requiem. This movement has become the one most often sung as a separate anthem, and reveals Brahms as a master of the art of choral writing.

V. Ihr habt nun Traurigkeit (“And ye now therefore have sorrow”) (Soprano and Chorus) The fifth movement is the one Brahms added after the Requiem’s première, and has often been associated with his feelings for his mother. Several hints point to this connection, most notably, the sole appearance of the soprano soloist in the piece and, more tellingly, the choice of text: “I will comfort you as one whom his mother comforteth.”

VI. Denn wir haben hie keine bleibende Statt (“For here we have no continuing city”) (Baritone and Chorus) The sixth movement corresponds to the second in the sense that both are dramatic in nature, almost pictorial, but it differs in that it lacks symmetry. The baritone appears once more, this time as a messenger, bringing news of the resurrection of the dead. A full-on fugue follows, moving initially at a confident pace and gathering momentum in order to place full emphasis on the words “honor and power.” The final cadence, underscored by thundering timpani, is pure Handel; transformed by Brahms.

the Lord”) (Chorus) In the final movement of the Requiem, Brahms looks back to the beginning, in terms of both text and music. The first word we hear — “Selig” — is the same, and the music that accompanies it is a reflection of the first phrase from the first movement; however, the words “Selig sind, die da Leid tragen” are now replaced by “Selig sind die Toten” — so that “they that mourn” are brought together with “the dead which die in the Lord” in the same gentle benediction.

The DSO last performed Johannes Brahms’s Ein deutsches Requiem, Op. 45, in January, 1999, with Music Director Emeritus Neeme Järvi conducting.

SO Shop @ The Ma x D recommends:

Brahms – Requiem: Sir Georg Solti conducting the Chicago Symphony Orchestra, Deutsche Grammophon B0004127.

Celebration

CLASSICAL ROOTS Join us for the 2012 Classical Roots Celebration featuring a special tribute to Celebration founder

DR. ARTHUR L. JOHNSON Saturday, March 17, 2012

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

Celebration Honoree HALE SMITH, COMPOSER Featuring André Raphel, conductor Janice Chandler Eteme, soprano Brazeal Dennard Chorale Detroit Symphony Orchestra and the DSO premiere of Daniel Bernard Roumain’s

Dreamers, Dancers & PresiDents A Sphinx Consortium Commission

Chacona W. Johnson and Herman B. Gray, Celebration co-chairs Tickets begin at $150 To purchase tickets, or for more information, contact Aja G. Stephens, 313.576.5106 or visit www.dso.org

This is one event you don’t want to miss!

Presented by

VII. Selig sind die Toten, die in dem Herrn sterben (“Blessed are the dead, which die in www.dso.org

Performance / Vol . X X / winter 2012

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UMS Choral Union

Jerry Blackstone, Conductor and Musical Director Arian Khaefi, Assistant Conductor • Jean Schneider and Scott VanOrnum, Accompanists Kathleen Operhall, Chorus Manager • Nancy K. Paul, Librarian Donald Bryant, Conductor Emeritus Soprano Kathryn Borden Jamie Bott Debra Joy Brabenec Ann K. Burke Anne Busch Ann Cain-Nielsen Saya Callner Susan F. Campbell Cheryl Clarkson Marie Ankenbruck Davis Kristina Eden Emilia Fracz Jennifer Freese Keiko Goto Karen T. Isble Anne Jaskot Emily Jennings Alana Kirby Kay Leopold Patricia Lindemann Katherine Lu Natalie Lueth Sara McMullen-Laird Carole McNamara Toni Marie Micik # Erica Nelson Nancy K. Paul

Ann Payne Sara J. Peth Margaret Dearden Petersen Julie Pierce Camille Porter Katharine Roller Allie Schachter Erin L. SchefflerFranklin Joy C. Schultz Amy Smith Elizabeth Starr Jennifer Stevenson Ellen Storch Virginia A. ThorneHerrmann Barbara Hertz Wallgren Margie Warrick Barbara J. Weathers Mary Wigton * Alto Paula AllisonEngland Olga Astapova Carol Barnhart Dody Blackstone

Margy Boshoven Lorraine Buis Anne Casper Carole DeHart Valerie Delekta Melissa Doyle Katherine Fisher Grace K. Gheen Heidi Goodhart Johanna Grum Kat Hagedorn Linda Hagopian Sook Han Nancy Heaton Julie Anne Heikel Carol Kraemer Hohnke Laura Holladay Sue Johnson Katherine Klykylo Jessica Lehr Karla K. Manson # Linda Selig Marshall Beth McNally Marilyn Meeker* Carol Milstein Francesca Minonne Stephanie Normann Kathleen Operhall

MSU Children’s Choir and the CMS Children and Youth Choir Program

Sherry Root Cindy Shindledecker Susan Sinta Gayle Beck Stevens Ruth A. Theobald Carrie Throm Lauren Tian Alice E. Tremont Barbara Trevethan Cheryl Utiger Crystal VanKooten Sandra Wiley Susan Wortman Allison Anastasio Zeglis Tenor Michael Ansara Gary Banks Reed Blaylock Alex Bryan George Case Fr. Timothy J. Dombrowski Steven Fudge * Randy Gilchrist Roy Glover Arthur Gulick Marius P. Jooste

The Michigan State University Children’s Choir Program was created in 1993, concurrently with the inception of Michigan State University’s Community Music School. The Children’s Choir program was founded by Mary Alice Stollak, who served as the director of the program from 1993-2009, taking the program to astounding heights. Kristin Zaryski was appointed the Director of the Children and Youth Choir program in 2009 and continues the choir’s tradition of excellence.

The MSU Children’s Choir has performed at state, regional, and national choral conventions, including performances at Carnegie Hall and Orchestra Hall in Chicago and Detroit. They have appeared in concert with the Canadian Brass, Peter Nero and Marylin Horne. In addition to releasing 8 CD’s, the choir also recorded the GrammyAward winning Songs of Innocence & Expression by William Bolcom on the Naxos label under the direction of Leonard Slatkin.

The MSU Children’s Choir is one of six choirs within the MSU Community Music School Children and Youth Choir Program. Ensembles include: the Michigan State University Children’s Choir (ages 10-16), the CMS Singers (ages 9-14), Cantabile (ages 8-10) the Preparatory Choir (ages 7-9), the Young Women’s Chorus (ages 15-18), and the Young Men’s Chorus for young men with changing or changed voices. Each choir rehearses afterschool once a week, with the MSU Children’s Choir requiring additional rehearsals two Saturdays each month. The choirs learn and perform music from a diverse repertoire including traditional, classical, jazz, multicultural and musical theater, with an emphasis on beautiful, healthy singing and independent musicianship. They perform multiple times throughout the year within the community, including appearances with Michigan State University College of Music ensembles and musicians.

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Perform ance / Vol . X X / Winter 201 2

Ezra Keshet Arian Khaefi Bob Klaffke Andrew S. Kohler Mark A. Krempski # Richard Marsh Nicholas Mischel Nathan Reiff David Schnerer Ray Shuster Carl Smith Christopher Switzer Patrick Tonks William Scott Walters Bass Sam Baetzel Joseph Baldwin William Baxter William Boggs # Paul Bowling John Dryden Charlie Dwyer Don Faber Kenneth A. Freeman Christopher Friese Mark Goodhart Chris Hampson James Head

Zachery Kirkland Edward MakiSchramm Joseph D. McCadden James B. McCarthy Gerald Miller Brandon Pemberton Michael Peterson Victor Pinedo Michael Pratt James Rhodenhiser Michael Schachter Derek Shapiro William Shell Peter Shirts Rob Silversmith Donald Sizemore * William Stevenson Alex Sutton Terril O. Tompkins Thomas L. Trevethan John Van Bolt Alexander Von Hagen-Jamar Paul Venema * section leader # section coach

Michigan State University Children’s Choir Kristin Zaryski, director Susan Stinson, accompanist Camille Adams Hannah Albee Austin Barcy Ellie Beck Lauren Bertsch Anaiyah Brewer Erin Brynn Hannah Chappell Eryn Fleener Alyssa Ghose Natasha Ghose Mikaela Gould Sarah Graham Paige Grulke Victoria Fisher Hannah Hammersley Stacey Hannula Madisyn Harrison Emalee Hobbs Lauren Jewell Megann Knapp Kirstin Kribs Brooke Leinbaugh Andrea Lulich

Parker Mannon Kaitlin Marrison Elijah Martineau May Martineau Emma McIlhagga Abby McKay Lydia Mendel Ashley Meyers Hannah Meyers Brandon Miller Kelsey Mongoven Nina Monticello Roja Mullins Jovana Paripovic Meredith Pearce Abby Rider Samantha Schrader Kyria Shoemaker Mingxuan Sun Anna VanArsdayleHoot Tess VanEgeren Ewan Woolcock Jessica Yang www.dso.org

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

Parking for Coffee Concerts is also available in the Orchestra Place Parking Deck. The DSO offers shuttle bus service to Coffee Concerts from selected locations. Call 313.576.5130 for more information.

during intermission. We invite you to place your beverage orders with the bartenders prior to the start of the concert and your order will be waiting for you at intermission!

Smoking The DSO is pleased to offer a smokefree environment at the Max M. Fisher Music Center. Smoking is not permitted anywhere inside the building. Patrons who wish to smoke must do so outside the building. An outdoor patio is also available on the second level of the Atrium Lobby.

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

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

Hearing assistance devices are available. Please see an usher prior to the performance.

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

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

after the conclusion of the first work on the program. Patrons who leave the hall before or during a work will be reseated after the work is completed.

Ushers will alert patrons as soon as it is possible to be seated. House lights are dimmed to indicate that the concert is about to begin. Latecomers will be able to watch the performance on closedcircuit television in the Atrium Lobby.

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

Lost and Found See the House Manager or call 313.576.5199 during business hours.

Photography and Video Recording Non-flash photography and video recording by silenced handheld devices are allowed during DSO performances.

We encourage you to share your best pictures at www.facebook.com/ detroitsymphony and your coolest videos at www.youtube.com.

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

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

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

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

Patrons should speak to the House

Administrative Staff Executive Office

Education

Anne Parsons President and CEO

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

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

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

www.dso.org

Anna Savone Food and Beverage Manager

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

Paul Yee Retail Sales Manager

Cassie Brenske Governing Members Gift Officer

Patron Engagement & Loyalty Programs

Marianne Dorais Foundation and Government Relations Officer

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

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

Sandra Mazza Accountant

Elaine Curvin Executive Assistant

Nancy Prochazka Payroll Accountant

Mona DeQuis Assistant Retail Sales Manager

Information Technology

Chuck Dyer Group Sales and Corporate Sales Manager

Laura Lee Information Services Specialist

Gabrielle Poshadlo Patron Communications and Public Relations Manager

Cynthia Korolov Archivist

Jeremiah Hess Director of Finance

Dick Jacques Director of Information Technology

B.J. Pearson Senior Manager of Event Operations

History/Archives Paul Ganson Historian

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

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

Performance / Vol . X X / winter 2012

29

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

Max M. Fisher Music Center

Civic Creative Jazz Ensemble

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

DSO @ Liggett

Civic Sinfonia

Detroit Symphony Orchestra

Educational Concert Series

Pincus Education Center

Civic Orchestra

The Civic Experience

Civic Jazz Orchestra

Civic Baroque @ UPA

Young People’s Concerts

Civic Philharmonic

Civic in Concert WRCJ

Civic Jazz Band

Orchestra Hall

Civic Wind Symphony

The Civic Experience

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

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

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

Baroque Orchestra at University Prep High School This season, our newly formed Baroque Orchestra at University Prep High School (UPA) will perform on Orchestra Hall stage as an opening act for the Civic Orchestra. UPA Baroque Orchestra will be led by Mark Mutter.

The Civic Orchestra will perform Schubert’s Unfinished Symphony and Petrouchka by Stravinsky. Charles Burke, Artistic Director of Civic Youth Ensembles, will conduct the Civic Orchestra. The concert will take place on Friday, March 2, 2012 at 8:00 p.m.

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Perform ance / Vol . X X / Winter 201 2

Leonard Slatkin

Tiny Tots

Civic Jazz Concert Band

Civic Chamber Music

Civic Creative Jazz Workshop

Music Learning Alliance

Civic Combo Program

MLK Concert

Honda Battle of the Bands

Allegro Civic String Orchestra

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

www.dso.org

133rd

season

ums 11/12

Riccardo Muti conductor Pinchas Zukerman violin

Friday \ March 9 \ 8 pm Hill Auditorium \ Ann Arbor Riccardo Muti, the Chicago Symphony’s new music director, makes his first UMS appearance since 2006, conducting an all-Brahms program.

Violinist Pinchas Zukerman, recognized as a phenomenon for nearly four decades, returns to UMS for a performance of the Brahms Violin Concerto. “Youth sticks with some people… Zukerman seems the foreveryoung virtuoso: expressively resourceful, infectiously musical, technically impeccable, effortless. As usual, it was a joy to be in his musical company.” (Los Angeles Times) Sponsored by

PROGRAM

Brahms Brahms

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

Co-sponsored by Robert and Marina Whitman, Clayton and Ann Wilhite, James and Nancy Stanley, and Jay Zelenock in memory of Mary Kate Zelenock.

Media Partners WGTE 91.3 FM, WRCJ 90.9 FM, and Detroit Jewish News.

American Mavericks Festival Michael Tilson Thomas conductor Featuring:

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

Thursday-Sunday \ March Hill Auditorium \ Ann Arbor

22-25

As part of its centennial season, Michael Tilson Thomas and the San Francisco Symphony will present the second American Mavericks Festival, which will tour in its entirety to only two US venues: Hill Auditorium and Carnegie Hall. The 2012 festival celebrates the creative pioneering spirit and the composers who created a new American musical voice for the 20th century and beyond. These concerts will examine the music of John Cage, Morton Feldman, Carl Ruggles, Edgard Varèse, and Charles Ives, among others. Complete program details are available at www.ums.org.

This event is part of Pure Michigan Renegade.

The San Francisco Symphony residency is made possible with support from the Maxine and Stuart Frankel Foundation and the UMS Creative Ventures Leadership Fund.

The Saturday performance is sponsored by the Medical Community Endowment Fund.

Funded in part by The Andrew W. Mellon Foundation and by an award from the National Endowment for the Arts. Art Works.

Related education programs are funded by the John S. and James L. Knight Foundation.

Media Partners WGTE 91.3 FM, Ann Arbor’s 107one, WDET 101.9 FM, and Detroit Jewish News.

Call or click for tickets!

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

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

Legacy Donors Members of THE Musical LEGACY Society

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

Mr. Robert G. Abgarian† Doris L. Adler Dr. & Mrs. William C. Albert Mr. & Mrs. Robert A. Allesee Dr. Lourdes V. Andaya Dr. Agustin & Nancy Arbulu Jeanne Bakale & Roger Dye Sally & Donald Baker Mr. & Mrs. Lee Barthel Lillian & Don Bauder Mr. & Mrs. John D. Begnoche Bertram H. Behrens† Mr. & Mrs. Robert A. Benton Michael & Christine Berns Mrs. Art Blair Robert T. Bomier Richard & Gwen Bowlby Mrs. J. Brownfain Gladys Caldroney† Dr. & Mrs. Victor J. Cervenak Eleanor A. Christie Ms. Mary F. Christner Honorable Avern Cohn Mr.+ & Mrs. Robert Comstock Dorothy M. Craig Mr. & Mrs. John Cruikshank Ms. Leslie Devereaux Mr. & Mrs.+ John Diebel Ms. Bette J. Dyer Edwin & Rosemarie Dyer Mr. & Mrs. Robert G. Eidson Mrs. Charles Endicott Jean E. Fair† Ms. Dorothy Fisher Max M. Fisher† Mrs. John B. Ford, Jr.† Dr. Saul & Mrs. Helen Forman

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Perform ance / Vol . X X / Winter 201 2

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

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

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

† Deceased

www.dso.org

Supporters of the Detroit Symphony Orchestra

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

Giving of $100,000 and more

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

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

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

Mr. & Mrs. Harold Blumenstein

Mr. & Mrs. Phillip W. Fisher

Ms. Mary W. Parker

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

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

Mr. & Mrs. Bernard I. Robertson

Mr. & Mrs. Richard L. Alonzo

Mr. & Mrs. Sidney Forbes

Mr. & Mrs. Eugene A. Miller

Mr. & Mrs. Eugene Applebaum

Mr. & Mrs. Herman H. Frankel

The Polk Family

Mr. & Mrs. Francois Castaing

Ruth & Al Glancy

Mr. & Mrs. Alan E. Schwartz

Mr. & Mrs. Raymond M. Cracchiolo

Mr. & Mrs. Morton E. Harris

Mr. & Mrs. Larry Sherman

Marvin & Betty Danto Family Foundation

Mr. & Mrs. Richard P. Kughn

Mr. & Mrs. Donald R. Simon

Mr. & Mrs. Richard A. Manoogian

Mr. & Mrs. Arthur A. Weiss

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

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

Giving of $50,000 and more

Ms. Leslie Devereaux

Dr. & Mrs. Clyde Wu

Giving of $25,000 and more

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

† Deceased

Performance / Vol . X X / Winter 201 2

33

Giving of $5,000 and more

Ms. Nancy Keppelman & Mr. Michael Smerza

Mr. & Mrs. Leonard W. Smith

Mrs. Anne Bielawski

Mr. & Mrs. Robert A. Allesee

Mr. John J. Solecki

Joseph & Barbra Bloch

Mr. & Mrs. Robert N. Brown

Dr. & Mrs. David Kessel

Dr. & Mrs. Rudrick E. Boucher

Mr. & Mrs. Michael Buckles

Mr. William P. Kingsley

Mr. Richard A. Sonenklar & Mr. Gregory Haynes

Dr. & Mrs. Thomas E. Carson

Mr. & Mrs. Harry A. Lomason II

Mr. & Mrs. Richard Soulen

Mr. Scott Brooks

Mr. & Mrs. Jerry P. D’Avanzo

Dr. & Mrs. Charles Lucas

Professor Calvin L. Stevens

Mr. H. William Burdett, Jr.

Ms. Barbara Davidson

Mr. & Mrs. Mervyn H. Manning

Mr. & Mrs. Stephen Strome

Ms. Margaret H. Demant

Mr. & Mrs. David N. McCammon

David Usher

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

Mrs. Beck Demery

Mr. Ronald Michalak & Mrs. Barbara Frankel

Mr. & Mrs. Jonathan T. Walton

Mr. & Mrs. Philip Campbell

Mrs. Beryl Winkelman

Mr. William N. Campbell

Mr. Edward K. Miller

Drs. David M. & Bernadine Wu

Dr. Thomas Clark

Drs. Robert G. Mobley & Mary T. Mobley

Dr. & Mrs. Robert E. Wurtz

Mr. & Mrs. Brian G. Connors

Mr. John E. Young & Ms. Victoria Keys

Ms. Mary Rita K. Cuddohy

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

Mr. & Mrs. Abraham Zahler

Mr. & Mrs. Walter K. Dean

Mr. & Mrs. Albert Taylor Nelson, Jr.

Mr. & Mrs. Milton Y. Zussman

Mr. John F. Diebel

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

Mr. & Mrs. David R. Nelson

Mr. & Mrs. Richard Bowlby

Mr. Richard Cummings

Ms. Barbara Diles

Mr. & Mrs. David E. Nims

Giving of $2,500 and more

Mr. James A. Kelly & Ms. Mariam Noland

Mr. & Mrs. Richard Alonzo

Mr. & Mrs. Mark Domin

Dr. Lourdes V. Andaya

Ms. Judith Doyle

Mr. & Mrs. George Nyman

Mr. & Mrs. Norman Ankers

Mr. & Mrs. Eugene Driker

Mr. & Mrs. Arthur T. O’Reilly

Dr. & Mrs. Ali-Reza R. Armin

Paul & Peggy Dufault

Ms. Anne Parsons & Mr. Donald Dietz

Mr. & Mrs. Robert Armstrong

Mr. & Mrs. Cameron Duncan Mr. Robert Dunn

Mr. & Mrs. Richard G. Partrich

Mr. David Assemany & Mr. Jeffery Zook

Mr. & Mrs. Donald E. Petersen

Ms. Ruth Baidas

Mrs. Helen Pippin

Mr. & Mrs. Guy Barron

Dr. Glenda D. Price

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

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

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

Mr. David E. Dodge

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

Donor Spotlight

Jim and Margo Farber Against the recommendations of their friends in Washington DC, in 1987 Jim and Margo Farber moved to Grosse Pointe to set up roots and make a life for their family. One of the primary draws, interestingly, was the vibrant social scene of Downtown Detroit, which has been, and continues to be, central to their love and enjoyment of the region.

In 1988, as a part of their introduction to Detroit’s arts and entertainment opportunities, the Farbers become Paradise Jazz Series subscribers, but after a couple of years realized that their musical passion was more accurately reflected in the DSO’s Pops series performances, due in part to their love of the well-known conductor, Erich Kunzel.

Caught up in the excitement leading up to the festivities marking the completion of the Max M. Fisher Music Center, Jim and Margo became Annual

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Perform ance / Vol . X X / Winter 201 2

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

Fund donors in 2002. Since then, their generosity and involvement has only increased. Jim is now on the Governing Member’s Executive Committee, serving at Chair of the Outreach Committee.

Now, twenty-four years later, the Farbers have more than proven to their DC friends that their decision to move here was the right one. They would say that there is a lot of fun to be had in Detroit and that the DSO has been central to it the whole time.

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

www.dso.org

Mr. & Mrs. Robert C. Kotz

Ms. Jan J. Stokosa

Ms. Elizabeth J. Ingraham

Mr. & Mrs. Robert B. Rosowski

Mr. & Mrs. Harold Kulish

Mr. & Mrs. Bernard H. Stollman

Ms. Kathryn Korns

Mr. & Mrs. George T. Roumell

Mr. & Mrs. David Kuziemko

Dr. Gerald H. Stollman

Ms. Mary L. Kramer

Mr. R. Desmond Rowan

Mrs. Joyce LaBan

Mr. & Mrs. David Szymborski

Mr. & Mrs. Paul N. Lavins

Mr. & Mrs. Carl Schalm

Drs. Raymond V. Landes & Melissa McBrien

Ms. Dorothy Tarpinian

Mr. Charles Letts

Mr. & Mrs. Mark L. Schwartz

Mr. & Mrs. Joel D. Tauber

Dr. & Mrs. Stanley H. Levy

Mr. Ronald J. Smith

Ms. Anne T. Larin

Alice & Paul Tomboulian

Dr. Stephen Mancuso

Eugenia & Wanda Staszewski Dr. Lawrence L. Stocker

Dr. Klaudia Plawny- Lebenbom & Mr. Michael Lebenbom

Ms. Amanda Van Dusen & Mr. Curtis Blessing

Ms. Florine Mark Mrs. Christine K. McNaughton

Mrs. Dianne Szabla

Mr. & Mrs. George C. Vincent

Mr. & Mrs. Steven R. Miller

Dr. & Mrs. L. Murray Thomas

Mr. Allan S. Leonard

Mr. & Mrs. William Waak

Mrs. Sheila Mondry

Mr. & Mrs. John P. Tierney

Mr. & Mrs. Daniel Lewis

Dr. & Mrs. Ronald W. Wadle

Mr. & Mrs. Theodore Monolidis

Mr. & Mrs. L. W. Tucker

Mr. & Mrs. Robert Liggett

Mr. Patrick A. Webster

Ed & Judith Narens

Mr. & Mrs. Roger M. Van Weelden

Mr. & Dr. David K. Page

Ms. Patricia Walker

Mr. & Mrs. Noel L. Peterson

Mrs. Lori Wathen

Mrs. Anna Mary Postma

Mr. & Mrs. Alan P. Weamer

Mr. & Mrs. Larry Raymond

Mrs. Lawrence M. Weiner

Mrs. Jean Redfield

Ms. Cynthia L. Wilhelm

Ms. Barbara Gage Rex

Mr. Jerry Williams

Mrs. Ann Rohr

Mr. & Mrs. Frank Zinn

Mr. & Mrs. Joseph Lile

Mr. & Mrs. Herman Weinreich

Mrs. Florence LoPatin

Ms. Janet B. Weir

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

Mr. & Mrs. Lawrence Weisberg

Mrs. Mary K. Mansfield

Mr. & Mrs. John E. Whitecar

Mr. & Mrs. Alonzo L. McDonald

Dr. Kim Williams

Mr. & Mrs. Alexander McKeen

Mr. & Mrs. Sheldon Winkelman

Mr. & Mrs. Patrick G. McKeever

Dr. & Mrs. Max V. Wisgerhof

Dr. & Mrs. Donald A. Meier

Mr. & Mrs. Jonathan Wolman

Mr. Roland Meulebrouck

Mr. & Mrs. Warren G. Wood

Dr. & Mrs. Thomas F. Mich

Ms. June Kar Ming Wu

Ms. Deborah Miesel

Dr. Alit Yousif & Mr. Kirk Yousif

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

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

Mr. Charles L. Peters

Mr. Fred J. Chynchuk

Mr. & Mrs. Jack Pokrzywa

Mr. & Mrs. Frederick Clark

Mr. & Mrs. William Powers

Dr. & Mrs. Julius V. Combs

Mr. & Mrs. Nicolas I. Quintana

Mr. & Mrs. Gary L. Cowger

Drs. Yaddanapudi Ravindranath & Kanta Bhambhani

Ms. Dorothy Craig

Dr. & Mrs. Claude Reitelman

Mr. & Mrs. Stephen R. D’Arcy

Mr. & Mrs. Robert S. Sachs

Ms. Barbara A. David

Mr. & Mrs. Michael Schultz

Mr. & Mrs. Edwin Dyer

Mr. & Mrs. Alan S. Schwartz

Mr. & Mrs. Henry J. Eckfeld

Mr. & Mrs. Fred G. Secrest

Dr. Leo & Mrs. Mira Eisenberg

Mr. & Mrs. Herbert Shanbaum

Mr. & Mrs. Lawrence Ellenbogen

Mr. & Mrs. Paul W. Czamanske

The Honorable Walter Shapero

Mr. Howard O. Emorey

Dr. & Mrs. Les Siegel

Mr. & Mrs. Paul Ganson

Mrs. Eleanor A. Siewert

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

Mr. & Mrs. Richard Sloan

Mr. Donald J. Guertin

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

Dr. & Mrs. Gerhardt Hein

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

www.dso.org

The John S. and James L. Knight Foundation

Foundation Spotlight

Mr. & Mrs. William B. Larson

A generous gift from the John S. and James L. Knight Foundation has helped the Detroit Symphony Orchestra continue its rich legacy of broadcast innovation with a “trio” of new digital distribution channels, including Live from Orchestra Hall webcasts, the DSO to Go mobile smartphone app, and coming soon, downloadable digital albums recorded and produced in-house from live classical performances.

Some 25,000 listeners from more than 40 countries tuned in to the DSO’s Live from Orchestra Hall webcasts last year, doubling the classical series audience base and providing unparalleled global access to a major American symphony orchestra. Knight Foundation will support an additional 13 broadcasts through the end of the 2011-2012 season. A complete schedule will be available at www.dso.org/live.

The DSO is grateful to Knight Foundation for its continued commitment to Detroit and passionate interest in collaborating on new digital media endeavors. For more information, please visit www.knightfoundation.org.

“Live from Orchestra Hall” is produced in collaboration with Detroit Public Television. Scan the QR code to download the DSO to GO mobile app for your iPhone or Android device. Experience live webcasts, videos, news, artist bios and more, all from the palm of your hand!

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

† Deceased

Performance / Vol . X X / Winter 201 2

35

Support from Foundations and Organizations

The Detroit Symphony Orchestra acknowledges and honors the following foundations and organizations for their contributions to support the Orchestra’s performances, education programming, and other annual operations of the organization. This honor roll reflects both fulfillments of previous commitments and new gifts during the period beginning September 1, 2010 through December 19, 2011.

We regret the omission of gifts received after this print deadline.

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

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

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

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

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

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

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

36

Perform ance / Vol . X X / Winter 201 2

State of Michigan

www.dso.org

Corporate Supporters of the DSO $500,000 and more

PVS Chemicals, Inc.

Jim Nicholson

CEO, PVS Chemicals

$200,000 and more

Tetsuo Iwamura

Gerard M. Anderson

President and CEO, American Honda Motor Co.

President, Chairman and CEO, DTE Energy Corporation

Gregg Steinhafel

Fred Shell

Chairman, President and CEO, Target Corporation

President, DTE Energy Foundation

$100,000 and more

Alan Mullaly

President & CEO, Ford Motor Company

James Vella

President, Ford Motor Company Fund

Timothy Wadhams President and CEO, MASCO Corporation

Melonie Colaianne

President, Masco Corporation Foundation

Cynthia J. Pasky President & CEO, Strategic Staffing Solutions

Paul M. Huxley Chairman, Strategic Staffing Solutions

$20,000 and more Adobe Systems Incorporated Deloitte.

Delta Air Lines, Inc.

General Motors Corporation Macy’s

MGM Grand Detroit Casino Somerset Collection

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

$1,000 and more

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

Burton-Share Management Company Chase Card Services CN- Canadian National, North America’s Railroad

www.dso.org

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

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

Performance / Vol . X X / Winter 201 2

37

Upcoming events sunday

MONDAY

TUESDAY

WEDNESDAY

THURSDAY

February

1

Neighborhood Concert Lin Plays Mozart 7:30 p.m.

Berman Theatre, Bloomfield Hills

FRIDAY

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

5

6

7

Neighborhood Concert Lin Plays Mozart 3 p.m.

Grosse Pointe Memorial Church Sphinx15 Finals Concert 2 p.m. OH

3

Neighborhood Concert Lin Plays Mozart 8 p.m.

Kirk in the Hills

Reineke

8

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

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

15

16

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

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

Slatkin

12

19

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

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

13

14

20

21

22

23

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

4

28

29

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

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

Tiny Tots Concert 3 Gemini 10 a.m. MB Young People’s Concert Peter & the Wolf 11 a.m.

Civic Experience: Winter 1 1 p.m. OH DSO Classical Series Peter & the Wolf/ Alice in Wonderland 8 p.m.

OH

9

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

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

5

6

7

Neighborhood Concert 8 Silverstein Plays Beethoven And Mozart 7:30 p.m.

Berman Theatre, West Bloomfield

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

11

12

13

14

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

18

19

20

21

15

25

2

March

27

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

10

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

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

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

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

Ax

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

SATURDAY

2

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

Raphel

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

Neighborhood Concert 22 Beethoven’s “Emperor” 7:30 p.m.

Congregation Shaarey Zedek, Southfield

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

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

24

Classical Series Beethoven’s “Emperor” 8 p.m. OH Neighborhood Concert 25 Beethoven’s “Emperor” 3 p.m.

Seligman Performing Arts Center, Beverly Hills

38

26

Perform ance / Vol . X X / Winter 201 2

27

28 OH Orchestra Hall MB Music Box AH Allesee Hall

29

30

31

For tickets visit www.dso.org or call 313.576.5111

www.dso.org

Turn your donation into something lasting.

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

Visit CFSEM.org or call 1-888-WE-ENDOW for more information on how we can help.

Scan the QR Code to find out more.

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Reach Metro Detroit’s Best Audience.

Our high-quality publications deliver your message to a prime audience at a time when their minds are at ease and spirits high as they enjoy high caliber entertainment in Orchestra Hall and the Detroit Opera House — two of Detroit’s historic venues.

Patrons of live classical, pops and jazz music performances, world-class operas, as well as ballet and modern dance events are the readers of Performance and BRAVO magazines.

Metro Detroit’s Best Audience is comprised of influential business leaders, community leaders, and upscale residents living in some of the Midwest’s wealthiest communities.

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

The Detroit Symphony Orchestra’s 2011-2012 season is off to a tremendous start with substantial increases in ticket sales and contributions. The DSO has implemented innovative programs and initiatives to keep the orchestra at the forefront of Detroit’s economic rebirth. Join the DSO in the important role of providing our community with world-class entertainment, music education to area students, and fostering the image of Detroit as a world-class city.

Concerts are held in the historic and acoustically-superb Orchestra Hall on Woodward Avenue in Detroit’s thriving Midtown neighborhood. Performance magazine is provided free to patrons at all Classical, Pops, Jazz and special event concerts. Performance magazine reaches Metro Detroit’s Best Audience with over 225,000 readers in 3 issues throughout the season.

The Michigan Opera Theatre at the Detroit Opera House is Detroit’s premier venue for outstanding opera and internationally renowned dance performances. The lavish and historic Detroit Opera House hosts affluent patrons in its spectacular 40th season. The 2011-2012 opera season includes Carmina Burana, The Marriage of Figaro, The Pearl Fishers and I Pagliacci. The exciting 2011-12 dance series includes Alvin Ailey, The Nutcracker, Bad Boys of Dance and Swan Lake.

BRAVO is published twice per season, reaching Metro Detroit’s Best Audience of opera and dance patrons.

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