DSO Performance magazine, February 2018 by Echo Publications, Inc.

VOLUME XXVI • FEBRUARY 2018

PERFORMANCE THE MAGAZINE OF THE DETROIT SYMPHONY ORCHESTRA

2017-2018 SEASON

DAPHNIS AND CHLOE FEB 8-9 CARNIVAL OF THE ANIMALS FEB 17-18 ORGAN SYMHPONY FEB 10-11 DEBUSSY: LA MER & FAUN FEB 22-23 AN AMERICAN IN PARIS FEB 16 SYMPHONIE FANTASTIQUE FEB 23-24

INSIDE A FRENCHMAN IN DETROIT Paul Paray’s Legacy

THE MAESTRO’S MEMORIES By Leonard Slatkin MADE POSSIBLE IN PART BY A GRANT FROM

PROGRAM NOTES ARTIST BIOGRAPHIES

Murray Perahia, piano Sunday, April 22 // 4 pm Hill Auditorium

“His sound can be pure gold, and he voices chords with a clarity that you have to hear to believe.” (Washington Post)

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2 0 17 -2 0 18 S E A S O N

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

CONTENTS

13 The Maestroâ&#x20AC;&#x2122;s Memories

12 Trivia! Guide to 14 Your French Festival

Test Your French Festival Knowledge

16 AinFrenchman Detroit By Peter Gutmann

20 ARTIST BIOGRAPHIES dso.org

Welcome......................................................4 Orchestra Roster.........................................5 Behind the Baton.........................................6 Board Leadership........................................8 Governing Members....................................9 Gabrilowitsch Society.............................. 50 Donor Roster............................................. 50 Maximize Your Experience....................... 58 DSO Administrative Staff......................... 60 CONCERTS:

Daphnis And Chloe................................... 23 February 8 & 9 Organ Symphony...................................... 28 February 10 & 11 An American in Paris............................... 32 February 16 Carnival of the Animals........................... 36 February 17 & 18 Debussy: La Mer & Faun......................... 40 February 22 & 23 Symphonie fantasique............................. 44 February 23, & 24 DSO PERFORMANCE MAGAZINE 3

WELCOME Bienvenue! DONALD DIETZ

We are thrilled to welcome you to our fifth annual winter festival, this year celebrating the music of France! Rather than focus on the music of one composer as we have in previous festivals, this year we highlight the music of one country, providing audiences a glimpse of France’s incredible variety of music and culture. So, why France in Detroit? Perhaps you could look no further than the founding of our city as a French settlement by Antoine de la Mothe Cadillac in 1701. Our French origins literally surround us, from the original name of our city, Fort Pontchartrain du Détroit (détroit: the strait), to some of our largest boulevards and avenues—Gratiot, Livernois, Lafayette, Cadieux, Dequindre, and so forth. Our orchestra has musical connections to France as well, most notably Paul Paray’s tenure with the DSO from 1951 to 1962, a legacy that can still be heard on our legendary recordings for the Mercury Living Presence series, still beloved more than a half-century later. (See pg. 16 for an article on Paray.) Music Director Leonard Slatkin has a wonderful connection with this music and recently concluded his tenure as music director of the Orchestre National de Lyon. He has programmed six concerts by our DSO, all featuring a rich variety of French classical music, from the Romantic-era triumphs of Berlioz and Saint-Saëns to the Impressionist innovations of Debussy and Ravel, with a few lesser heard gems and surprises along the way. We hope you’ll also take the time to experience the many festival events in The Cube and outside the Max M. and Marjorie S. Fisher Music Center that are sure to enhance our musical journey, including outstanding cabaret, pop, chamber music, film, and more. We thank our festival sponsor Varnum LLP in supporting these three weeks of Gallic culture. We look forward to seeing you on multiple occasions and hope you find the festival rewarding, fun, and a welcome respite from an astonishing winter. La musique est la vie!

Anne Parsons President and CEO 4

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Mark Davidoff, Board Chairman FEBRUARY 2018

LEONARD SLATKIN, Music Director Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

Principal Pops Conductor

FIRST VIOLIN Yoonshin Song Concertmaster Katherine Tuck Chair Kimberly Kaloyanides Kennedy Associate Concertmaster Alan and Marianne Schwartz and Jean Shapero (Shapero Foundation) Chair Hai-Xin Wu Assistant Concertmaster Walker L. Cisler/Detroit Edison Foundation Chair Jennifer Wey Assistant Concertmaster Marguerite Deslippe~ Laurie Landers Goldman* Rachel Harding Klaus* Eun Park Lee* Adrienne Rönmark* Laura Soto* Greg Staples* Jiamin Wang* Mingzhao Zhou* SECOND VIOLIN Sujin Lim Acting Principal The Devereaux Family Chair Adam Stepniewski Assistant Principal Ron Fischer* Will Haapaniemi* David and Valerie McCammon Chair Hae Jeong Heidi Han* David and Valerie McCammon Chair Sheryl Hwangbo* Hong-Yi Mo* Alexandros Sakarellos* Joseph Striplin* Marian Tanau* Jing Zhang* VIOLA Eric Nowlin Principal Julie and Ed Levy, Jr. Chair James VanValkenburg Assistant Principal Caroline Coade Hang Su Glenn Mellow Shanda Lowery-Sachs Hart Hollman Han Zheng

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

CELLO Wei Yu Principal James C. Gordon Chair Robert Bergman* Jeremy Crosmer* David LeDoux* Peter McCaffrey* Joanne Danto and Arnold Weingarden Chair Haden McKay* Úna O’Riordan* Paul Wingert* Victor and Gale Girolami Chair Open Assistant Principal Dorothy and Herbert Graebner Chair BASS Kevin Brown Principal Van Dusen Family Chair Stephen Molina Assistant Principal Linton Bodwin Stephen Edwards Christopher Hamlen HARP Patricia Masri-Fletcher Principal Winifred E. Polk Chair FLUTE Sharon Sparrow Acting Principal Bernard and Eleanor Robertson Chair Amanda Blaikie Morton and Brigitte Harris Chair Jeffery Zook David Buck ~ Principal Women’s Association for the DSO Chair PICCOLO Jeffery Zook OBOE Alexander Kinmonth Principal Jack A. and Aviva Robinson Chair Sarah Lewis Maggie Miller Chair Brian Ventura Assistant Principal Monica Fosnaugh

NEEME JÄRVI Music Director Emeritus

MICHELLE MERRILL Associate Conductor, Phillip and Lauren Fisher Community Ambassador

ENGLISH HORN Monica Fosnaugh Shari and Craig Morgan Chair CLARINET Andrea Levine † Acting Principal Jack Walters PVS Chemicals Inc./Jim and Ann Nicholson Chair Laurence Liberson Assistant Principal Shannon Orme Ralph Skiano~ Principal Robert B. Semple Chair E-FLAT CLARINET Laurence Liberson BASS CLARINET Shannon Orme Barbara Frankel and Ronald Michalak Chair BASSOON Robert Williams Principal Victoria King Michael Ke Ma Assistant Principal Marcus Schoon Alexander Davis African-American Orchestra Fellow CONTRABASSOON Marcus Schoon HORN Karl Pituch Principal Johanna Yarbrough Scott Strong Bryan Kennedy David Everson Assistant Principal Mark Abbott^ TRUMPET Hunter Eberly Principal Lee and Floy Barthel Chair Kevin Good Stephen Anderson Assistant Principal William Lucas

TROMBONE Kenneth Thompkins Principal David Binder Randall Hawes BASS TROMBONE Randall Hawes TUBA Dennis Nulty Principal PERCUSSION Joseph Becker Principal Ruth Roby and Alfred R. Glancy III Chair Andrés Pichardo-Rosenthal Assistant Principal William Cody Knicely Chair James Ritchie TIMPANI Jeremy Epp Principal Richard and Mona Alonzo Chair James Ritchie Assistant Principal LIBRARIANS Robert Stiles Principal Ethan Allen PERSONNEL MANAGERS Heather Hart Rochon Director of Orchestra Personnel Patrick Peterson Manager of Orchestra Personnel STAGE PERSONNEL Dennis Rottell Stage Manager Steven Kemp Department Head Matthew Pons Department Head Michael Sarkissian Department Head LEGEND

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

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BEHIND THE BATON

Leonard Slatkin

n 2017-18, internationally acclaimed conductor Leonard Slatkin celebrates his tenth and final season as Music Director of the Detroit Symphony Orchestra (DSO) before transitioning to the new role of Music Director Laureate, and his first season in the new role of Directeur Musical Honoraire with the Orchestre National de Lyon (ONL). He also welcomes the publication of his second book, Leading Tones: Reflections on Music, Musicians, and the Music Industry, and serves as jury chairman of the Besançon International Competition for Young Conductors. His guest-conducting schedule includes engagements with the St. Louis Symphony, National Symphony Orchestra, New York Philharmonic, Polish National Radio Orchestra, Deutsches SymphonieOrchester Berlin, and Finnish Radio Symphony Orchestra. Recent career highlights include a three-week tour of Asia with the DSO; tours of the U.S. and Europe with the ONL; a winter Mozart Festival in Detroit; and engagements with the St. Louis Symphony, WDR Symphony Orchestra in Cologne, Verdi Orchestra in Milan, and San Carlo Theatre Orchestra in Naples. Moreover, he served as chairman of the jury and conductor of the 2017 Van Cliburn International Piano Competition. 6

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Slatkin’s more than 100 recordings have garnered seven Grammy awards and 64 nominations. His recent Naxos recordings include works by SaintSaëns, Ravel, and Berlioz (with the ONL) and music by Copland, Rachmaninov, Borzova, McTee, and John Williams (with the DSO). In addition, he has recorded the complete Brahms, Beethoven, and Tchaikovsky symphonies with the DSO (available online as digital downloads). A recipient of the prestigious National Medal of Arts, Slatkin also holds the rank of Chevalier in the French Legion of Honor. He has received Austria’s Decoration of Honor in Silver, the League of American Orchestras’ Gold Baton Award, and the 2013 ASCAP Deems Taylor Special Recognition Award for his debut book, Conducting Business. Slatkin has conducted virtually all the leading orchestras in the world. As Music Director, he has held posts in New Orleans; St. Louis; Washington, DC; London (with the BBCSO); and Lyon, France. He has also served as Principal Guest Conductor in Pittsburgh, Los Angeles, Minneapolis, and Cleveland. For more information, visit leonardslatkin.com.

FEBRUARY 2018

SUPPORTING THE ARTS

We celebrate the DSO â&#x20AC;&#x201C; a world-class ensemble.

WWW.HONIGMAN.COM

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DSO PERFORMANCE MAGAZINE 7

Detroit Symphony Orchestra, Inc. LIFETIME MEMBERS

Samuel Frankel † David Handleman, Sr.† Dr. Arthur L. Johnson † Clyde Wu, M.D.†

DIRECTORS EMERITI

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

Paul Ganson Mort and Brigitte† Harris Gloria Heppner, Ph.D. Ronald M. Horwitz Hon. Damon J. Keith Richard P. Kughn Harold Kulish Dr. Melvin A. Lester David R. Nelson Robert E.L. Perkins, D.D.S.† Marilyn Pincus

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

Mark A. Davidoff Chairman

Faye Alexander Nelson, Treasurer

Ralph J. Gerson, Officer at Large

Glenda D. Price, Ph.D., Vice Chair

Arthur T. O’Reilly, Secretary

Janice Uhlig, Officer at Large

Anne Parsons, President & CEO

Chacona W. Baugh, Officer at Large

Pamela Applebaum Janice Bernick, Governing Members Chair Robert H. Bluestein Jeremy Epp, Orchestra Representative Samuel Fogleman Herman B. Gray, M.D.

Nicholas Hood, III Michael J. Keegan Bonnie Larson Matthew B. Lester Arthur C. Liebler Xavier Mosquet Stephen Polk Bernard I. Robertson

Hon. Gerald E. Rosen Nancy M. Schlichting Sharon Sparrow, Orchestra Representative Arn Tellem Hon. Kurtis T. Wilder M. Roy Wilson David M. Wu, M.D.

Ismael Ahmed Rosette Ajluni Richard Alonzo Janet M. Ankers Suzanne Bluestein Penny B. Blumenstein Elizabeth Boone Gwen Bowlby Joanne Danto Stephen R. D’Arcy Maureen T. D’Avanzo Karen Davidson Richard L. DeVore Afa Sadykhly Dworkin Annmarie Erickson James C. Farber Jennifer Fischer Aaron Frankel Alan M. Gallatin Robert Gillette Jody Glancy Malik Goodwin Antoinette G. Green Leslie Green

Laura Hernandez-Romine Michele Hodges Julie Hollinshead Renato Jamett Renee Janovsky Joseph Jonna John Jullens David Karp Joel D. Kellman Jennette Smith Kotila James P. Lentini, D.M.A. Linda Dresner Levy Joshua Linkner Florine Mark Tonya Matthews, Ph.D. David N. McCammon Lois A. Miller Daniel Millward Scott Monty Shari Morgan Frederick J. Morsches Joseph Mullany Sean M. Neall Eric Nemeth

Tom O’Brien Maury Okun Shannon Orme, Orchestra Representative Vivian Pickard William F. Pickard, Ph.D. Gerrit Reepmeyer James Ritchie, Orchestra Representative Richard Robinson Chad Rochkind James Rose, Jr. Lois L. Shaevsky Thomas Shafer Margaret Shulman Cathryn M. Skedel, Ph.D. Shirley R. Stancato Stephen Strome Mark Tapper Laura J. Trudeau Gwen Weiner Jennifer Whitteaker R. Jamison Williams Margaret E. Winters Ellen Hill Zeringue

OFFICERS

BOARD OF DIRECTORS

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

BOARD OF TRUSTEES

Richard Huttenlocher Chair

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

† Deceased

DSO PERFORMANCE MAGAZINE

CHAIRMEN EMERITI

Alfred R. Glancy III Robert S. Miller Peter D. Cummings James B. Nicholson Stanley Frankel Phillip Wm. Fisher

FEBRUARY 2018

GOVERNING MEMBERS Governing Members comprise a philanthropic leadership group designed to provide unique, substantive, hands-on opportunities for leadership and access to a diverse group of valued stakeholders. Governing Members are ambassadors for the DSO and advocates for arts and culture in Detroit and throughout Southeast Michigan. This list reflects gifts received from September 1, 2015 through August 31, 2017. For more information about the Governing Members program, please call 313.576.5114. Janice Bernick Chairwoman

James C. Farber Immediate Past Chair

Jiehan Alonzo Vice Chair, Signature Events

Suzanne Dalton Vice Chair, Annual Giving

Bonnie Larson Member-at-Large

Janet and Norm Ankers Co-Vice Chairs, Gabrilowitsch Society

Samantha Svoboda Vice Chair, Communications

David Everson* Musician Representative

Cathleen Clancy Vice Chair, Engagement

David Assemany Member-at-Large

Kenneth Thompkins* Musician Representative

Diana Golden Vice Chair, Membership

David Karp Member-at-Large

Howard Abrams & Nina Dodge Abrams Mrs. Denise Abrash Ms. Dorothy Adair Mr. & Mrs. George Agnello Dr. Roger & Mrs. Rosette Ajluni Mr. & Mrs. Robert A. Allesee Mr. & Mrs. Richard L. Alonzo Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Mr. & Mrs. James A. Anderson Daniel & Rose Angelucci Mr. & Mrs. Norman Ankers Mr. & Mrs. Robert L. Anthony Drs. Kwabena & Jacqueline Appiah Applebaum Family Foundation Pamela Applebaum Dr. & Mrs. Ali-Reza R. Armin Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook* Pauline Averbach & Charles Peacock Mr. Joseph Aviv & Mrs. Linda Wasserman Aviv Mrs. Jean Azar Mr. & Mrs. Wayne J. Babbish Ms. Sharon Backstrom Ms. Ruth Baidas Nora Lee & Guy Barron Mr. & Mrs. Lee Barthel Mr. Mark G. Bartnik & Ms. Sandra J. Collins W. Harold & Chacona W. Baugh Mr. & Mrs. Martin S. Baum Mrs. Mary Beattie Mr. & Mrs. Richard Beaubien Dr. & Mrs. Brian J. Beck

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Ms. Margaret Beck Mrs. Cecilia Benner Mrs. Harriett Berg Mandell & Madeleine Berman Foundation Mr. & Mrs. Dennis Bernard Mr. & Mrs. Jeffrey A. Berner Drs. John & Janice Bernick Mr. & Mrs. Michael Biber Martha & G. Peter Blom Mr. & Mrs. Robert H. Bluestein Dr. George & Joyce Blum Penny & Harold Blumenstein Nancy & Lawrence Bluth Mr. Timothy Bogan Mr. & Mrs. John A. Boll, Sr. Mr. & Mrs. Jim Bonahoom The Honorable Susan D. Borman & Mr. Stuart Michaelson Rud† & Mary Ellen Boucher Don & Marilyn Bowerman Gwen & Richard Bowlby Mr. Paul & Mrs. Lisa Brandt Mr. Anthony F. Brinkman Mr. & Mrs. Richard A. Brodie Claire & Robert N. Brown Mrs. Milena Brown Mr. & Mrs. Stephen Brownell Mr. & Mrs. Mark R. Buchanan Mr. & Mrs. Ronald F. Buck Michael & Geraldine Buckles Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Dr. & Mrs. Roger C. Byrd Philip & Carol Campbell Mrs. Carolyn Carr Dr. & Mrs. Thomas E. Carson Mr. & Mrs. François Castaing Ronald & Lynda Charfoos Mr. & Mrs. Andrew Christians

*Current DSO Musician or Staff

Michael & Cathleen Clancy Mr. Don Clapham Mr. & Mrs. Robert W. Clark Nina & Richard Cohan Lois & Avern Cohn Jack, Evelyn & Richard Cole Family Foundation Dr. & Mrs. Charles G. Colombo Mr. James Schwyn & Mrs. Françoise Colpron Mr. & Ms. Thomas Cook Patricia & William Cosgrove, Sr. Dr. & Mrs. Ivan Louis Cotman Mr. & Mrs. Gary L. Cowger Mr. & Mrs. Raymond M. Cracchiolo Julie & Peter Cummings Mrs. Barbara Cunningham Dr. Edward Dabrowski Suzanne Dalton & Clyde Foles Marvin & Betty Danto Family Foundation Joanne Danto & Arnold Weingarden Deborah & Stephen D’Arcy Fund Mr. & Mrs. Charles W. Dare Jerry P. & Maureen T. D’Avanzo Barbara A. David Margie Dunn & Mark Davidoff Lillian & Walter Dean Mr. & Mrs. Anthony Delsener Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Mr. Giuseppe Derdelakos Ms. Leslie C. Devereaux Mr. & Mrs. Richard L. DeVore Adel & Walter Dissett Diana & Mark Domin Eugene & Elaine C. Driker

Paul† & Peggy Dufault Mr. & Mrs. Robert Dunn Mr. Roger Dye & Ms. Jeanne A. Bakale Edwin & Rosemarie Dyer Mrs. George D. Dzialak Dr. Leo & Mrs. Mira Eisenberg Dr. & Mrs. A. Bradley Eisenbrey Randall & Jill* Elder Mr. Lawrence Ellenbogen Marianne T. Endicott Donald & Marjory Epstein Mr. & Mrs. John M. Erb Mr. Sanford Hansell & Dr. Raina Ernstoff Dave & Sandy Eyl Mr. Peter Falzon Jim & Margo Farber Ellie Farber Mr. & Mrs. Oscar Feldman Mr. & Mrs.† Anthony C. Fielek Mrs. Kathryn L. Fife Dr. Thomas Filardo & Dr. Nora Zorich Hon. Sharon Tevis Finch Barbara & Alfred J. Fisher III Mr. & Mrs. Phillip Wm. Fisher Dr. Marjorie M. Fisher & Mr. Roy Furman Ms. Mary D. Fisher Mr. Michael J. Fisher Mr. & Mrs. Samuel Fogleman Madeline & Sidney Forbes Emory M. Ford, Jr.† Endowment Mr. & Mrs. Edsel B. Ford II Dr. Saul & Mrs. Helen Forman Mark & Loree Frank Barbara Frankel & Ronald Michalak Dale & Bruce Frankel

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GOVERNING MEMBERS continued Herman & Sharon Frankel Mr. & Mrs. Stanley Frankel Mr. & Mrs. Aaron Frankel Ms. Carol A. Friend Kit & Dan Frohardt-Lane Sharyn & Alan Gallatin Mrs. Janet M. Garrett Byron† & Dorothy Gerson Mr. & Mrs. Ralph J. Gerson Allan D. Gilmour & Eric C. Jirgens Mrs. Gale Girolami Dr. Kenneth & Roslyne Gitlin Dr. & Mrs. Theodore Golden Dr. Robert T. Goldman Goodman Family Charitable Trust Dr. Allen Goodman & Dr. Janet Hankin Paul & Barbara Goodman Mary Ann & Robert Gorlin Ms. Jacqueline Graham Mr. Luke Ponder & Dr. Darla Granger Dr. Herman & Mrs. Shirley Gray Mr.† & Mrs. James A. Green Dr. & Mrs. Joe L. Greene Dr. & Mrs. Steven Grekin Mr. Jeffrey Groehn Mr. & Mrs. James Grosfeld Mr. & Mrs. Robert Hage Robert & Elizabeth Hamel Mary & Preston Happel Randall L. & Nancy Caine Harbour Tina Harmon Mrs. Betty J. Harrell Mr. & Mrs.† Morton E. Harris Mr. Lee V. Hart & Mr. Charles L. Dunlap Cheryl A. Harvey Randall* & Kim Minasian Hawes Gerhardt A. Hein & Rebecca P. Hein Ms. Nancy B. Henk Dr. Gloria Heppner Ms. Doreen Hermelin Mr. & Mrs. Ross Herron Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Jeremiah* & Brooke Hess Mr. George Hill & Mrs. Kathleen Talbert-Hill Michael E. Hinsky & Tyrus N. Curtis Mr. Donald & Marcia Hiruo Mr. & Mrs. Norman H. Hofley Mr. & Mrs. Peter Hollinshead Jack & Anne Hommes James Hoogstra & Clark Heath Ronald M. & Carol† Horwitz 10

Mr. Matthew Howell & Mrs. Julie Wagner Mr. F. Robert Hozian Mr. & Mrs. Joseph L. Hudson, Jr. Mr. & Mrs. Marshall L. Hutchinson Richard H. & Carola Huttenlocher Nicki* & Brian Inman Mr. & Mrs. Steven E. Jackson Mr. & Mrs. Ira J. Jaffe Mr. & Mrs. Charles R. Janovsky Mr. & Mrs. Richard J. Jessup William & Story John Mr. John S. Johns Mr. George G. Johnson Lenard & Connie Johnston Ms. Sydney Johnstone Mr. Paul Joliat Mr. & Mrs. Joseph Jonna Mr. John Jullens Grace & Evelyn Kachaturoff Ellen Kahn Faye & Austin Kanter Diane & John Kaplan Mr. & Mrs. Peter Karmanos, Jr. Judy & David Karp Mr. & Mrs. Norman D. Katz Dr. Laura Katz & Dr. Jonathan Pasko Mike & Katy Keegan Betsy & Joel Kellman June K. Kendall Michael E. Smerza & Nancy Keppelman Patrick J. Kerzic† & Stephanie Germack Dr. David & Mrs. Elizabeth Kessel Frederic & Stephanie Keywell Mrs. Frances King Mr. & Mrs. William P. Kingsley Samantha Svoboda & Bill Kishler Mr. George Klaetke Thomas & Linda Klein Mr. & Mrs. Ludvik F. Koci Ms. Margot Kohler Mr. David Kolodziej Mr. James Kors & Ms. Victoria King* Dr. Harry & Katherine Kotsis Robert C. & Margaret A. Kotz Barbara & Michael Kratchman Richard & Sally Krugel Mr. & Mrs. Harold Kulish Dr. Arnold Kummerow John & Marilyn Kunz Mr. & Mrs. Robert LaBelle Dr. Raymond Landes & Dr. Melissa McBrien-Landes Drs. Lisa & Scott Langenburg

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Ms. Sandra Lapadot Ms. Anne T. Larin Mrs. Bonnie Larson Dr. Lawrence O. Larson The Dolores & Paul Lavins Foundation Mr. Michael Lebenbom Marguerite & David Lentz Max Lepler & Rex L. Dotson Mr. & Mrs. Ralph LeRoy, Jr. Dr. Melvin A. Lester Mr. & Mrs. Matthew Lester Barbara & Carl Levin Drs. Donald & Diane Levine Linda Dresner & Ed Levy, Jr. Arlene & John Lewis Bud & Nancy Liebler Mr. & Mrs.† Joseph Lile Ms. Carol Litka The Locniskar Group Daniel & Linda* Lutz Bob & Terri Lutz Mrs. Sandra MacLeod Cis Maisel Margaret Makulski & James Bannan Mr. & Mrs. Charles W. Manke, Jr. Mervyn & Elaine Manning Mr. Anthony Marek Maurice Marshall Dr. & Mrs. Richard Martella David & Valerie McCammon Dr. & Mrs. Peter M. McCann, M.D. Mr. and Mrs. Doug McClure Mr. Anthony R. McCree Mr. & Mrs. Alonzo McDonald Mr. John McFadden Alexander & Evelyn McKeen Patricia A.† & Patrick G. McKeever Dr. & Mrs. Donald A. Meier Dr. & Mrs. David Mendelson Olga Sutaruk Meyer Thomas & Judith Mich Ms. Deborah Miesel Mr. and Mrs. Bruce A. Miller John & Marcia Miller Mr. & Mrs. Eugene A. Miller Mr. & Mrs. Robert S. Miller Dr. Robert & Dr. Mary Mobley Dr. Susan & Mr. Stephen* Molina Sheila Mondry Mr. & Mrs. Daniel E. Moore Shari & Craig Morgan Ms. A. Anne Moroun Mr. Frederick Morsches & Mr. Kareem George Cyril Moscow Xavier & Maeva Mosquet Drs. Barbara & Stephen Munk

Ms. I. Surayyah R. Muwwakkil Joy & Allan Nachman Edward & Judith Narens Geoffrey S. Nathan & Margaret E. Winters David Robert & Sylvia Jean Nelson Mr. & Mrs. Albert T. Nelson, Jr. Mr. & Mrs. Eric Nemeth Mr. & Mrs. James B. Nicholson Jim & Mary Beth Nicholson Patricia & Henry Nickol Mr. & Mrs. David E. Nims Mariam C. Noland & James A. Kelly Ms. Gabrielle Poshadlo & Mr. Dennis Nulty* Katherine & Bruce Nyberg Mr. & Mrs. Stanley Nyeck Mrs. Jo Elyn Nyman Dr. & Mrs. Dongwhan Oh Mr. & Mrs. Arthur T. O’Reilly Lila & Randall Pappal Mrs. Margot Parker Anne Parsons* & Donald Dietz Debra & Richard Partrich Ms. Lisa Payne Mrs. Sophie Pearlstein Mr. Charles Peters Mr. & Mrs. Bruce D. Peterson Noel & Patricia Peterson Mr. & Mrs. Kris Pfaehler Mr. & Mrs. Philip E. Pfahlert Benjamin B. Phillips Mr. Dave Phipps Dr. William F. Pickard Dr. Klaudia PlawnyLebenbom The Polk Family William H. & Wendy W. Powers Dr. Glenda D. Price Reimer & Rebecca Priester Mr. & Mrs. David Provost Charlene & Michael Prysak Mr. & Mrs. Richard Rappleye Drs. Stuart & Hilary Ratner Ms. Ruth Rattner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Mr. & Mrs. Dave Redfield Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Denise Reske Mr. & Mrs. Lloyd E. Reuss Barbara Gage Rex Dr. & Mrs. John Roberts Bernard & Eleanor Robertson Ms. Linda Rodney Seth & Laura Romine FEBRUARY 2018

Dr. Erik Rönmark* & Mrs. Adrienne Rönmark* Michael & Susan Rontal Mr. & Mrs. Robert B. Rosowski Mr.† & Mrs. Gerald F. Ross Mr. R. Desmond Rowan Jane & Curt Russell Dr. & Mrs.† Alexander G. Ruthven II Martie & Bob Sachs Dr. Mark & Peggy Saffer Linda & Leonard Sahn Mr. David Salisbury & Mrs. Terese Ireland Salisbury Dr. & Mrs. Hershel Sandberg Marjorie & Saul Saulson Ms. Martha A. Scharchburg & Mr. Bruce Beyer Dr. Sandy Koltonow & Dr. Mary Schlaff Nancy Schlichting & Pam Theisen Catherine & Dennis B. Schultz Mr. & Mrs. Alan E. Schwartz Sandy & Alan Schwartz Mr. & Mrs. Kingsley G. Sears Mr. Merton J. Segal Elaine & Michael Serling Lois & Mark Shaevsky Nancy & Sam Shamie

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Mr. Scott Shapero Mrs. Patricia Finnegan Sharf Mr. & Mrs. Larry Sherman Mr. & Mrs. James H. Sherman Sharon & Tom Shumaker Charitable Fund Dr. Les & Ellen Lesser Siegel Coco & Robert Siewert Mr. Norman Silk & Mr. Dale Morgan Mr. & Mrs. Donald R. Simon William & Cherie Sirois Dr. Cathryn & Mr. Daniel Skedel Cindy & Leonard* Slatkin William H. Smith John J. Solecki Richard Sonenklar & Gregory Haynes Dr. Gregory Stephens Barb & Clint Stimpson Nancy C. Stocking Dr. & Mrs. Gerald Stollman Mrs. Kathleen Straus & Mr. Walter Shapero Mrs. E. Ray Stricker Mr. & Mrs. John Stroh III David Szymborski & Marilyn Sicklesteel Ms. Dorothy Tarpinian Shelley & Joel Tauber

*Current DSO Musician or Staff

Mr. & Mrs. Arn Tellem Dr. & Mrs. Howard Terebelo Mr. & Mrs. Douglas J. Thompson Mr. & Mrs. James W. Throop Carol & Larry Tibbitts Mr. & Mrs. John P. Tierney Dr. Barry Tigay Mr. and Mrs. Paul Tobias Alice & Paul Tomboulian Dr. Doris Tong & Dr. Teck M. Soo Mr. Gary Torgow Barbara & Stuart Trager Mr. & Mrs. Thomas Trudeau Mark & Janice Uhlig Amanda Van Dusen & Curtis Blessing Mrs. Richard C. Van Dusen Charles & Sally Van Dusen Mr. James G. Vella Mrs. Eva Von Voss Mr. William Waak Dr. & Mrs. Ronald W. Wadle Captain Joseph F. Walsh, USN (Ret.) Mr. Michael A. Walch & Ms. Joyce Keller Mr. & Mrs. Jonathan T. Walton Mr. Gary L. Wasserman & Mr. Charlie Kashner

Mr. Patrick Webster S. Evan & Gwen Weiner Mr. Herman Weinreich Lawrence & Idell Weisberg Ambassador & Mrs. Ronald N. Weiser Janis & William Wetsman/ The Wetsman Foundation Barbara & David Whittaker Ms. Anne Wilczak Mr. & Mrs. R. Jamison Williams Beverly & Barry Williams Dr. M. Roy & Mrs. Jacqueline Wilson Ms. Mary Wilson Rissa & Sheldon Winkelman Dr. & Mrs. Ned Winkelman Mr. Jonathan Wolman & Mrs. Deborah Lamm Cathy Cromer Wood The Clyde & Helen Wu Family Drs. David & Bernadine Wu Ms. June Wu Ms. Andrea L. Wulf Mrs. Judith G. Yaker Margaret S. York Erwin & Isabelle Ziegelman Foundation Paul & Terese Zlotoff Milton & Lois† Zussman

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French Festival Quiz

1. What major French composer wrote the first score for a silent film? Bonus point if you can name the film. Second bonus point if you ever saw it. _____________________________________________________________ 2. What instruments did Hector Berlioz play? _____________________________________________________________ 3. Maurice Ravel wrote two piano concertos. Why is one of them for left hand only? _____________________________________________________________ 4. Who were “Les Six”? _____________________________________________________________ 5. Why do the French consider Cesar Franck a French composer? _____________________________________________________________

6. Where did the organ at the Auditorium in Lyon originally come from, and what great organists performed on it? _____________________________________________________________ 7. Name five American composers who studied with Nadia Boulanger in Paris. _____________________________________________________________ 8. Did the Detroit Symphony Orchestra ever have a French music director? _____________________________________________________________

BONUS: What Frenchman was Leonard Slatkin’s principal conducting teacher? See pg. 43 for answers _____________________________________________________________ 12

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FEBRUARY 2018

The Maestro’s Memories

New Directions, New Concepts BY LEONARD SLATKIN

IT WAS A CRAZY IDEA, but that is one of the reasons we still have music directors. After experiencing a couple of Detroit winters, it became clear to me that the most difficult time of year to sell tickets was during the month of February. Many of our regular subscribers had abandoned Motown for Florida or another more favorable climate. Given the arctic blasts and icy roads this time of year, who could blame them? Why not put on a festival, giving both the audience and orchestra an opportunity to delve into the life and music of a single composer? If we could incorporate a great number of works—full cycles of symphonies for example—perhaps there would be enough interest to make the project worthwhile. We started with Beethoven, naturally. In February 2013, our first winter music festival took place. My idea was to make the festival a complete experience, so we tackled all nine symphonies, the four overtures to Fidelio, and a couple other orchestral works. So far, there is nothing crazy about it, until you realize that we would play this repertoire over just three weekends. This meant that we had very limited rehearsal time to put all the music together. There were two performances of each program, with the exception of the Ninth Symphony, which we played three times. In addition, the symphonies would be recorded for commercial release. We saw fresh faces in the audience, and there was a true air of excitement in the hall. In addition, we added chamber music in venues around the community as well as a day devoted to performances of all 32 piano sonatas by students from music schools in our area. There were also some novelties in the foyer, mostly in the form of dso.org

food and refreshment. Each concert was preceded by a lecture about Beethoven related to the music to be heard that day and how his life affected his writing. Since we did not know if the initiative would work, we had to wait until 2015 to do another festival, this time devoted to the music of Tchaikovsky. We kept to the same format, including all the numbered symphonies as well as a complete cycle of his concerti. Clever videos were created as advance promotion pieces, going viral on the web. Now we had a mascot, Maddie the Matryoshka Doll. Once again, the response was tremendous, and we could make the festivals an integral part of each season. Brahms followed, and the DSO peformed his complete orchestral repertoire (excluding works with chorus). We recorded the major works on our Live from Orchestra Hall label and made them available for digital download. Last season it was Mozart, with concerti featuring soloists from the orchestra, and now we have three weeks devoted to music from France, where I was music director of the Orchestre National de Lyon for six seasons. Each year we expand our reach, the orchestra tackles the challenge, the staff fully engages, and the public keeps coming. Even though I will not be the music director starting next season, there will be another festival, this time devoted to a country in which at least one city empties out during the brutally cold month of February. Sometimes crazy is good. To borrow a line from a popular television series, “Winter Is Coming.” But for us, it is a time to look forward to.

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YOUR GUIDE TO

WEEK 1

Rush Hour Recital

Tue., Feb. 6 at 5:30 p.m. At WeWork Campus Martius Kick off the DSO’s French Festival with this free chamber music recital at a unique venue — conveniently scheduled for the end of the work day. CLASSICAL SERIES

Daphnis and Chloe

Leonard Slatkin, conductor Jean-Efflam Bavouzet, piano Thu., Feb. 8 at 7:30 p.m. Fri., Feb. 9 at 10:45 a.m.

Om @ Le Max

WEEK 2

Sun., Feb. 11 at 10:30 a.m. in The Cube Practice yoga to live chamber music by French composers.

DSO Neighborhood Chamber Recital

Mon., Feb. 12 at 7 p.m. At Steinway Piano Gallery of Detroit An evening of French chamber music performed by DSO musicians.

Valentine’s Day with Cyrille Aimée

Wed., Feb. 14 at 7 p.m. in The Cube “Massively talented international chanteuse” — New York Observer

Julien Labro

Thu., Feb. 15 at 7 p.m. in The Cube French-born Julien Labro is one of the foremost accordion and bandoneón players.

WEEK 3

A Wine & Music “Tour de France”

Wed., Feb. 21 at 7 p.m. in The Cube Sommelier and music expert Ron Merlino leads a wine tasting experience featuring rare French wines paired with live music. CLASSICAL SERIES

Debussy: La Mer & Faun Leonard Slatkin, conductor Renaud Capuçon, violin Thu., Feb. 22 at 7:30 p.m. Fri., Feb 23 at 10:45 a.m.

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CLASSICAL SERIES

Organ Symphony Leonard Slatkin, conductor George Li, piano • Jeffrey Walker, organ Sat., Feb. 10 at 8 p.m. Sun., Feb. 11 at 3 p.m.

Saturday Night Soirée Sat., February 10 at 10 p.m. in The Cube After the Organ Symphony show wraps up in Orchestra Hall, catch late-night chamber music performances by the Civic Youth Ensembles and local college musicians.

CLASSICAL SERIES

An American in Paris

Leonard Slatkin, conductor Michelle and Christina Naughton, piano Fri., Feb. 16 at 10:45 a.m. & 8 p.m.

Le Ciné Cube Screening of Round Midnight Sat., Feb. 17 at 5:30 p.m. in The Cube 1986 American-French musical drama that captures the Paris jazz scene of the ‘50s

Le Ciné Cube Film Shorts + Live Music by Andrew Alden Ensemble

CLASSICAL SERIES

Wu Family Academy Showcase

Fri., Feb. 16 at 10:30 p.m. in The Cube Silent French films with live music

Symphonie Fantastique Leonard Slatkin, conductor Renaud Capuçon, violin Fri., Feb. 23 at 8 p.m. Sat., Feb. 24 at 8 p.m.

Carnival of The Animals

Leonard Slatkin, conductor Michelle and Christina Naughton, piano Sat., Feb. 17 at 8 p.m. Sun., Feb. 18 at 3 p.m.

Sun., Feb. 25 at 2 p.m. in Orchestra Hall The DSO’s Civic Youth Ensembles showcase French music on the Orchestra Hall stage.

Les Nubians + DJ Cambeaux Sat., Feb. 24 at 9:30 p.m. in The Cube French sisters Hélène and Célia Faussart bring their distinctive Afropean, urban, R&B sound.

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A FRENCHMAN IN DETROIT Paul Paray, the “French” DSO, and the Mercury Living Presence Series BY PETER GUTMANN

n American in Paris makes sense— all us crude Yankees crave a touch of European class. But a Frenchman in Detroit? Why would an emissary of the world’s most refined culture come to Motown? Throughout its history, classical music developed in distinct national schools. While European artists occasionally would entrain for Russia or set sail for the New World, most were content to remain nestled in their own culture. But the modernity of the 20th 16

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century, with its advanced technology and increasingly global worldview, enabled a new era of pluralism. A contemporary composer may be German by birth, but her work will be performed in San Francisco, São Paulo, and Singapore, conducted by top maestros who are “from” just about everywhere. This wasn’t always the case: take Bach away from his Lutheran church, deprive Wagner of his German mythology, extract Tchaikovsky from his Slavic roots, and they never would have FEBRUARY 2018

produced the works for which we now revere them. These same composers all expected their music to be performed by artists immersed in those same traditions. And while the state of affairs is quite different now, there’s still something uniquely satisfying in hearing Mravinsky conduct Russian symphonies, Furtwängler lead German music, Beecham conjure the British, or the old La Scala sets of Italian operas. Their recordings have served (and will continue to serve) a crucial role in preserving the authentic sound of these distinct national traditions— which have largely disappeared, but which represent the way our favorite composers wanted their work to be played. All these records serve as crucial models for modern and future authentic performances. And what about the French? Pop quiz: the greatest French orchestra on record is in (a) Paris, (b) Marseilles, (c) Lyon, or (d) Detroit? The correct answer is (d). That’s right—the very essence of French musical culture is in the Motor City, or at least it was from 1952 to 1963. That’s when the Detroit Symphony Orchestra, led by the Frenchman Paul Paray, recorded a legendary series of LPs for Mercury’s Living Presence label. Paray was born into a musical family in 1886. Despite the interruptions of both World Wars (he spent most of the first dso.org

as a prisoner of war and the second with the Resistance), he established a solid reputation as a French conductor, heading orchestras in Lamoureux, Monte Carlo, and Paris. American guest stints led to his appointment as permanent conductor of the DSO. Their very first records prove that he quickly forged the ensemble into a truly great orchestra and transformed its sound into a version of those he had known in France. It’s especially remarkable that the fiercely proud French tradition should thrive in the heart of America, the melting pot that had a way of assimilating disparate trends. Indeed, the most famous French music has a unique sound, often described as impressionistic, much like the paintings of Monet and Renoir. It’s a valid analogy. Like that art, French impressionist music is concerned more with color effects than formal structure, as sensual melodies briefly appear before flitting away. While the overall effect is of subtle, blended mist, the sound is achieved through a layering of distinct instruments, much as in a Seraut painting in which the pastel atmosphere arises from dots of intense color. That’s what Paray gives us—not a sonic blur, but precise dabs of bold instrumental coloration. Just as brushstrokes are carefully placed, the DSO’s rhythm and articulation of individual notes are DSO PERFORMANCE MAGAZINE 17

always precise and luminously clear. In early 1953, Paray and the DSO cut their first records for Mercury, which had startled the hi-fi world in 1951 with the unprecedented clarity and musicality of an acclaimed series of albums using a single microphone and no equalization, filtering, mixing, or compression. The elegance of this approach was continued in late 1955 with multi-channel recordings using only three mics, each separately tracked on half-inch tape (later 35 mm film) and then mixed down to stereo. The result is not only astonishingly vivid, but manages to project a soundstage image that gives a wonderful sense of the atmosphere of the recording venues, which were chosen for their distinctive acoustics. Just as you can glean detail from an impressionist painting by looking closely at the canvas, Mercury’s sound provides aural glasses that let you approach and appreciate the quality of Paray’s intricately woven sonic fabric. Naturally, Paray brought an appropriate Gallic touch to the great French repertoire. His Debussy, Ravel, Chabrier, and Roussel are magnificent, beautifully capturing their elegance with a self-effacing confidence. The DSO complements Paray’s approach with superb playing, each instrument gleaming with individual pride yet perfectly nestled in the ensemble. Paray also produced unusually polished and convincing 18

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readings of overtures and light pieces, according them a respect usually reserved for more challenging music. Especially revealing are the symphonies of Saint-Saëns, Franck, and Berlioz. Although all three composers were French, their symphonies, a traditional German form, are cast in seething Teutonic mysticism and are usually played with dark, heavy drama. Paray, though, lightens the textures and emphasizes the interplay of instruments. He works similar wonders with Rachmaninov, Sibelius, and even Wagner, the epitome of German music and about as far from the French aesthetic as possible. Paray’s careful preparation, constant revision, and grueling work ethic produced pieces of true beauty: natural, accessible recordings that made it all seem so easy. And through this process, Paray created and preserved a slice of his native land in a most unlikely place, as geographically distant as can be. His DSO records prove his undeniable success. So vive Paray, Detroit, and its fabulous orchestra! Peter Gutmann is a media lawyer and classical music writer whose work has appeared in Goldmine magazine and Legal Times. The above piece is a revised version of an article published on his website Classical Notes, at classicalnotes.net/ columns/paray.html. FEBRUARY 2018

Varnum Attorney Eric Nemeth with the Detroit Symphony Orchestra—French Festival Mascots.

As a lifelong Detroiter, I am very proud to be associated with the Detroit Symphony Orchestra, both as a supporter through my law firm and as a new member of the Board of Trustees. Working closely with orchestra leadership and staff these past few months has provided me with a great appreciation for the passion, energy and creativity that set the DSO apart as a world-class orchestra and Detroit cultural gem. On behalf of Varnum, I invite you to enjoy the DSO’s winter festival featuring French composers, and I personally thank you for your support. I hope you will find yourself enriched and inspired by the performance of these timeless pieces. Eric Nemeth leads the tax practice at Varnum LLP

Legal Experience In Your Corner.® www.varnumlaw.com

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PROFILES JEAN-EFFLAM BAVOUZET

GEORGE LI

Award-winning pianist Jean-Efflam Bavouzet is a champion of lesser-known French music, notably that of Gabriel Pierné and Albéric Magnard, and serves as the International Chair in Piano at the Royal Northern College of Music. He is also Artistic Director of the Lofoten Piano Festival in Norway. Bavouzet records exclusively for Chandos, and his albums have won prizes from Gramophone and BBC Music Magazine, as well as a Diapason d’Or and Choc de l’année. Together with Manchester Camerata and Gábor Takács-Nagy, Bavouzet has recorded several of Haydn’s Piano Concertos. Other recent recordings include the complete Beethoven Sonatas and an ongoing project to record the Haydn Piano Sonatas. Bavouzet has performed with symphony orchestras around the world and regularly performs in recital at top venues like Wigmore Hall and The Louvre. In 2018, to mark the 100th anniversary of Debussy’s death, Bavouzet will perform an extended recital program of all of Debussy’s works, first at the Barbican Centre in London and again at the Perth International Arts Festival. Bavouzet was invited by Sir George Solti to give his debut with the Orchestre de Paris in 1995 and is widely considered to be the maestro’s last discovery. He won first prize in the International Beethoven Competition in Cologne as well as the Young Concert Artists Auditions in New York in 1986.

George Li made his orchestral debut as a soloist with the Xiamen Philharmonic Orchestra at the age of nine, and in the decades since he has won rave reviews at concerts around the globe. Also an enthusiastic chamber musician, Li possesses a great repertoire, from Haydn to Shostakovich and Brahms to Bolcom. Li won the Grand Prix Animato Piano Competition (with the Schumann Prize, the Brahms Prize, and the Audience Prize) in December 2014, earned a silver medal at the 2015 International Tchaikovsky Competition, and took home third prize in the 2015 U.S. Chopin Competition. In 2012, Li received the prestigious Gilmore Young Artist Award, becoming its youngest recipient. In 2010, he won first prize in the Young Concert Artists International audition, and he remains under management of the YCA. A resident of Lexington, Massachusetts, Li is frequently featured as guest artist on National Public Radio, and he has appeared on The Liz Walker Show and The Martha Stewart Show. At the age of 11, Li performed at Carnegie Hall as a featured pianist on the PBS series From the Top at Carnegie Hall. He is currently enrolled in the dual degree program at Harvard University and the New England Conservatory.

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CHRISTINA AND MICHELLE NAUGHTON FEB 17-18

Twin pianists Christina and Michelle Naughton, hailed by the Philadelphia Inquirer as “paired to perfection,” have captivated audiences worldwide with their stellar technique and musical communication. The Naughtons perform regularly with top symphony orchestras and in recital all around the globe. They look forward to their Lincoln Center debut in May 2018, as well as a busy festival schedule that includes the Gilmore Festival, Peggy Rockefeller Concerts, Portland Piano International, Virginia Arts Festival, and many others. The Naughtons released their debut record on the Warner Classics label— titled Visions—in February 2016. The album features music by Messiaen, Bach, and Adams, and was selected “Editor’s Choice” by Gramophone Magazine. Additionally, the Washington Post praised the Naughtons as one of the “greatest piano duos of our time” in their review. Born in Princeton, New Jersey to parents of European and Chinese descent, Christina and Michelle are graduates of The Juilliard School and the Curtis Institute of Music, where they were each awarded the Festorazzi Prize. They are Steinway Artists and currently reside in New York City.

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RENAUD CAPUÇON FEB 22-23 AND 23-24

Violinist Renaud Capuçon is beloved in his native France and wherever his busy schedule takes him—to symphony concerts, recitals, and chamber music performances at prestigious venues around the world. Born in Chambéry in 1976, Capuçon began his studies at the Conservatoire National Supérieur de Musique de Paris at the age of fourteen, winning numerous awards during his five years there. He then moved to Berlin and was awarded the Prize of the Berlin Academy of Arts. In 1997, he was invited by Claudio Abbado to become concertmaster of the Gustav Mahler Jugendorchester, which he led for three summers. He is currently Artistic Director of the Easter Festival in Aix-enProvence (which he founded in 2013) and was appointed Artistic Director of the Sommets Musicaux de Gstaad in 2016. Recording exclusively with Erato/ Warner Classics, Capuçon has built an extensive discography. His recording of Fauré’s complete chamber music for strings won the Echo Klassik Prize for chamber music in 2012, and his latest recording of contemporary concerti by Rihm, Dusapin, and Montovani was nominated the best recording by Victoires de la Musique 2017 and awarded the Echo Klassik Prize. Capuçon plays the Guarneri del Gesù “Panette” (1737) that belonged to Isaac Stern. In June 2011, he was appointed Chevalier dans l’Ordre National du Mérite and, in March 2016, Chevalier de la Légion d’honneur by the French government. DSO PERFORMANCE MAGAZINE 21

COMMUNIT Y & LE ARNING SATURDAY MORNINGS AT THE MAX ARE QUITE A SIGHT—AND SOUND. Hundreds of kids, of all ages, haul violins, clarinets, French horns, cellos, and more to rehearsal spaces throughout the building. They greet their friends, tune up, and get to work, learning and practicing music in a wide variety of groups, from flute ensembles to jazz combos. “I basically live in the hall,” says Larry Williams III, viola, not quite laughing. “And I’ve formed a lot of close-knit relationships with not only the other musicians here, but also the people that are on the board, and the security guards…it’s formed a sense of community for me, and family; it’s all love.” Larry is a member of the Detroit Symphony Youth Orchestra (DSYO), just one of more than a dozen Civic Youth Ensembles (CYE) that take over The Max every weekend. Founded in 1970, the DSYO is among the earliest offerings in the Detroit Symphony Orchestra’s nearly 50-year commitment to providing musical training to young people. “Working with professionals is working with the present, which is great,” says DSYO Conductor Oriol Sans, “but working with students is working with the future.” Amanda Blaikie, DSO flute (Morton and Brigette Harris Chair), agrees: “When I was their age, I needed mentors to look up to and encourage me…that I can inspire young, talented students makes my life as a musician truly fulfilling and gratifying.” Blaikie is referring in particular to the CYE Masterclass Series, in which young musicians can interact with and learn from DSO members one-on-one. Principal Trombone Kenneth Thompkins, Assistant Concertmaster Hai-Xin Wu

Amanda Blaikie (right) leading a masterclass with CYE flute students (Walker L. Cisler/Detroit Edison Foundation Chair), Principal Percussion Joe Becker (Ruth Roby and Alfred R. Glancy III Chair), and Úna O’Riordan, cello, have also lent their expertise to a new generation of performers. Saxophone alum Marcus Elliot—who returned to serve as Director of the Civic Jazz Band—looks back on his CYE days fondly: “It’s something I’ll never forget. Not only did I learn a lot about jazz, but I was really connected to a community of young musicians who are now doing amazing things.” Elliot is doing amazing things too, like traveling to Cuba, South Africa, Indonesia, and all corners of North America to perform with Karriem Riggins, James Carter, Talib Kweli, and others. Closer to home, you might have spotted him at Cliff Bell’s, where he leads the Marcus Elliot Quartet every Tuesday. It’s not Saturday mornings, but it’s still a sight—and sound—to behold. French Festival will conclude with a CYE Showcase concert at Orchestra Hall on February 25th. Over 100 students in the DSYO, Detroit Symphony Youth Wind Ensemble, and Detroit Symphony Youth Chorale will tackle French works by Ravel, Berlioz, Debussy, and more.

Learn more about the Civic Youth Ensembles at dso.org/cye 22

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LEONARD SLATKIN, Music Director Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

Principal Pops Conductor

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

NEEME JÄRVI Music Director Emeritus

MICHELLE MERRILL Associate Conductor, Phillip and Lauren Fisher Community Ambassador

CLASSICAL SERIES Daphnis And Chloe Thursday, February 8, 2018 at 7:30 p.m. Friday, February 9, 2018 at 10:45 a.m. in Orchestra Hall LEONARD SLATKIN, conductor JEAN-EFFLAM BAVOUZET, piano Maurice Ravel Menuet antique (1875 - 1937) Pavane pour une infante défunte Concerto in G major for Piano and Orchestra I. Allegramente II. Adagio assai III. Presto Jean-Efflam Bavouzet, piano Intermission Piano Concerto (Left Hand) in D major Jean-Efflam Bavouzet, piano Suite No. 2 from Daphnis et Chloé I. Lever du jour II. Pantomime III. Danse générale This Classical Series performance is generously sponsored by

Made possible in part by a grant from

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

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Program Notes All pieces by

MAURICE RAVEL B. March 7, 1875, Ciboure, France D. December 28, 1937, Paris, France

Menuet antique Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, harp, and strings. (Approx. 7 minutes)

he Menuet antique is both one of Maurice Ravel’s earliest and latest works. The composition for solo piano was completed in 1895, when Ravel was just 20 years old; but the orchestral version performed here was penned more than 30 years later, in 1929. The piece was originally written as a tribute to Emmanuel Chabrier (one of Ravel’s early patrons) and dedicated to pianist Ricardo Viñes, who gave its premiere. Ravel himself conducted the premiere of the orchestral version in 1930, leading the Lamoureux Orchestra. Ravel described the piece as a “somewhat retrograde work,” and titled it to match; strictly speaking, there were no minuets before the 16th century. But the composer was enamored with both the minuet form and the stories of ancient Greece, so in the Menuet antique we have a pleasant imagination of what a modern musician might play if dropped into antiquity—an impulse that Ravel also investigated in composing Daphnis and Chloe. These performances of Ravel’s Menuet antique will be DSO premieres.

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Pavane pour une infante défunte (Pavane for a Dead Princess) Scored for 2 flutes, oboe, 2 clarinets, 2 bassoons, 2 horns, harp, and strings. (Approx. 6 minutes)

he Pavane is a stately dance of Spanish origin. It flourished in the early 1500s, but latter-day composers have occasionally revived the form. None did so more successfully than Maurice Ravel, whose Pavane for a Dead Princess is the most famous Pavane in the orchestral literature. Ravel wrote the work as a piano solo in 1899. Although its title led many listeners to assume that he intended the piece as a kind of elegant funeral dirge, the composer insisted that his music actually meant to imagine a distant scene and time. “It is not a funeral lament for a dead child,” Ravel declared, “but an evocation of the Pavane which could have been danced by such a little princess as painted by Velasquez at the Spanish court.” In 1910, the composer made an excellent arrangement of the work for orchestra. The many unusual and exquisite shades of instrumental color that reimagine what was originally a brief keyboard piece confirm Ravel’s reputation as an exceptionally skilled and sensitive orchestrator. The DSO most recently performed Ravel’s Pavane for a Dead Princess during the March 2014 Florida Tour, conducted by Music Director Leonard Slatkin. The DSO first performed the piece in April 1922, conducted by Henri Verbrugghen.

FEBRUARY 2018

Concerto in G major for Piano and Orchestra Scored for solo piano, flute, piccolo, oboe, English horn, clarinet, E-flat clarinet, 2 bassoons, 2 horns, trumpet, trombone, timpani, percussion, harp, and strings. (Approx. 21 minutes)

he years-long physical decline of Maurice Ravel was one of the most tragic in the annals of music history. The composer suffered from a brain disease that left him lucid yet helpless, unable to write, speak, or play an instrument: full of ideas, yet no way to communicate them. But in 1929, Ravel was healthy, quite popular (particularly for his ballet Boléro), and financially stable following an American concert tour. In good spirits, he set out to create a long-postponed piano concerto—or two, rather, as the G major and D major (left hand) concerti were composed concurrently. The G major concerto, which he intended to perform himself, would be a showcase of both his pianistic and compositional talents. Some of the material came from works abandoned over the previous decade or so, and other parts were strongly influenced by an American export to Europe: Le Jaz Hot, the frantic swing of New Orleans. Overall it is a superbly constructed juxtaposition of American jazz, Iberian exoticism, and the modern piano sound of the 1920s. Though he sometimes struggled to blend the traditional with the popular, Ravel considered his piano concerto to be both his best and most characteristic work. But the dreadful illness that would eventually kill him had already set into Ravel as the composition was nearing completion. By 1931, when the piece was finished and ready for its debut, Ravel

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was no longer able to play the piano. He settled for conducting the premiere, with his friend Marguerite Long as the soloist. The DSO most recently performed Ravel’s Piano Concerto in G Major in October 2012, conducted by Music Director Leonard Slatkin and featuring pianist Gabriela Montero. The DSO first performed the piece in January 1933, conducted by Victor Kolar and featuring pianist Edward Bredshall.

Piano Concerto (Left Hand) in D major Scored for solo piano, 3 flutes (1 doubling on piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, E-flat clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 19 minutes)

uch of the significant left-hand piano music written in the 20th century owes its existence to the Austrian-born American pianist Paul Wittgenstein, who lost his right arm on the Russian front during World War I. Determined not to let this injury destroy his musical life, Wittgenstein developed an extraordinary technique with only his left hand and used his family’s wealth to commission one-handed piano works from notable composers, including Richard Strauss, Sergei Prokofiev, Benjamin Britten, and Maurice Ravel. Ravel found the challenge of writing for one hand particularly stimulating; his remarks preceding the premiere reveal an ambition to write a substantial piece, despite the digital limitations of the soloist: “… [the soloist’s limitation] poses a rather arduous problem for the composer… which is to maintain interest in a work of DSO PERFORMANCE MAGAZINE 25

Program Notes extended scope while utilizing such limited means. The fear of difficulty, however, is never as keen as the pleasure…of overcoming it.” The work, which is mostly grand and serious, is in a single movement, and follows a slow-fast-slow pattern. The opening evokes a mysterious atmosphere by using the lowest possible instruments in the orchestra: the basses playing their open strings alongside a solo contrabassoon. The latter instrument’s melody presents two important motives: a dotted rhythm that will eventually grow into the first theme, and a descending third that will become important in the center of the work. The introduction gradually grows in intensity and brightness, acting as a giant upbeat to the soloist’s entrance, which after a cadenza introduces the first theme. The solo piano soon offers a brief and lyrical second theme, and the orchestra and soloist join together in a transition that quotes the opening dotted rhythm. That transition leads to the arrival of a fast section in 6/8 time. A brief and playful melody in duple time follows, played by the high woodwinds and accompanied by the soloist. The middle section is an extended meditation on the descending third introduced at the opening. This is spun out into a theme that gradually builds in texture and activity; eventually the initial theme from the fast section becomes the accompaniment. A return to the slow section features an extended piano solo that touches on the lyrical theme from the opening, and leads to a triumphant conclusion. The DSO most recently performed Ravel’s Piano Concerto in D major in April 2014, conducted by Music Director Leonard Slatkin and featuring pianist Leon Fleisher. The DSO first performed the piece in January 1935, conducted by 26

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Victor Kolar and featuring pianist Paul Wittgenstein himself.

Suite No. 2 from Daphnis et Chloé Scored for 2 flutes (1 doubling on piccolo), alto flute, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, E-flat clarinet, 3 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, celeste, and strings. (Approx. 16 minutes)

aurice Ravel’s ballet Daphnis et Chloé was born of a long, stormy collaboration between the composer, choreographer Michel Fokine, and impresario Serge Diaghilev. As early as 1904, Fokine drafted a scenario from the pastoral romance by the third-century author Longus, about the abduction of the Greek maiden Chloé, her rescue from a band of pirates by the god Pan, and her joyous reunion with a shepherd boy, Daphnis. Fokine intended it as a vehicle to excise what he felt were irrelevant practices that had crept into Russian ballet, calling for a higher level of inspiration and stylistic unity between the elements of dance, music, scenery, and costume design. Fokine’s ideas were rejected by the management of the Russian Imperial Theater but won favor with Diaghilev, who was beginning to export Russian culture to the West. Ravel was awarded the commission to compose the Daphnis et Chloé score in 1908, but he spent about equal amounts of time composing and arguing with Fokine and Diaghilev. “Almost every night, [I] work until 3 a.m.,” he wrote. “What complicates things is that Folkine doesn’t know a word of French, and I only know how to swear in Russian.” FEBRUARY 2018

Composition and orchestration dragged on for three more years. Towards the end of the excruciating process, Ravel extracted two orchestral suites from the ballet score, a move that infuriated Folkine. But music fans can rejoice, as the Suite No. 2 is one of Ravel’s finest and most popular works. Informed by 18th century French paintings of antiquity, it is inspired by “the Greece of my dreams,” as Ravel once wrote. Comprising the third section of

the complete ballet, the Suite No. 2 is full of elastic tempos and sudden contrasts—perhaps an unintentional reflection of its turbulent composition? —Carl Cunningham The DSO most recently performed Ravel’s Suite No. 2 from Daphnis et Chloé in October 2013, conducted by Music Director Leonard Slatkin. The DSO first performed the piece in January 1925, conducted by Victor Kolar.

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2018-2019 SEASON AT ORCHESTRA HALL

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DSO PERFORMANCE MAGAZINE 27

LEONARD SLATKIN, Music Director Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

Principal Pops Conductor

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

NEEME JÄRVI Music Director Emeritus

MICHELLE MERRILL Associate Conductor, Phillip and Lauren Fisher Community Ambassador

CLASSICAL SERIES Organ Symphony Saturday, February 10, 2018 at 8 p.m. Sunday, February 11, 2018 at 3 p.m. in Orchestra Hall Leonard Slatkin, conductor George Li, piano Jeffrey Walker, organ Camille Saint-Saëns Marche héroïque, Op. 34 (1835 - 1921) Danse macabre, Op. 40 Piano Concerto No. 2 in G minor, Op. 22 I. Andante sostenuto II. Allegro scherzando III. Presto George Li, piano Intermission Symphony No. 3 in C minor, Op. 78, “Organ Symphony” I. Adagio – Allegro moderato – Poco adagio II. Allegro moderato - Presto – maestoso Jeffrey Walker, organ This Classical Series performance is generously sponsored by

Made possible in part by a grant from

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

DSO PERFORMANCE MAGAZINE

FEBRUARY 2018

Program Notes All pieces by

1921, conducted by Ossip Gabrilowitsch.

CAMILLE SAINTSAËNS

Danse macabre, Op. 40

B. October 9, 1835, Paris, France D. December 16, 1921, Algiers, Algeria

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 7 minutes)

Marche héroïque, Op. 34 Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, and strings. (Approx. 6 minutes)

“I

live in music as a fish lives in water,” Camille Saint-Saëns once said, later on adding “I produce my compositions as a tree produces apples.” In this regard he was in no way being pompous or egotistical, merely reflecting what was essentially true. Unlike most of his French contemporaries, he produced an enormous output in virtually every genre, including operas, symphonies, concerti, songs, sacred and secular choral music, chamber works, and solo piano music. The rarely-performed Marche héroïque was composed in 1871 as a memorial to Henri Regnault, a fine painter and singer who died a hero’s death in the Franco-Prussian War. Just a year before, Regnault had sung the title role in Saint-Saëns’ opera Samson et Dalila in a private performance which had been prepared as a tryout prior to the actual premiere. Saint-Saëns was heartbroken by the premature passing of his friend and colleague, and this stirring march bears eloquent witness to his feelings. The DSO most recently performed Saint-Saëns’ Marche héroïque in June 1970, conducted by C. Valter Poole. The DSO first performed the piece in April

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friend and disciple of Franz Liszt, Camille Saint-Saëns adapted many of the Hungarian pioneer’s new ideas to his own musical language, and Liszt’s influence is apparent in many of his works. One such innovation is the symphonic poem, a form which Liszt is usually credited with having invented. Saint-Saëns became the first Frenchman to take up the category, and in his footsteps followed Franck, Chausson, Duparc, and Dukas. Between his mid-30s and mid-40s, he composed four such works: Phaeton, Omphale’s Spinning Wheel, Young Hercules, and the present Danse macabre. This brilliant and colorful work began its life as a song, set to a poem of the same name by Henri Cazalis, a French physician, poet, and man of letters who seems to have had a predilection for gloomy subjects and pictures of death. The poem discusses Death playing a dance tune on his violin at midnight on Halloween, with skeletons running and leaping in their shrouds before scurrying back to their graves as the sun rises. The poem then ends with a truly amazing line: “Oh, the beautiful night for the poor world, and long live death and equality!” The DSO most recently performed Saint-Saëns’ Danse macabre in April 2017, conducted by Principal Pops Conductor Jeff Tyzik. The DSO first performed the piece in December 1915, conducted by Weston Gales. DSO PERFORMANCE MAGAZINE 29

Piano Concerto No. 2 in G minor, Op. 22 Scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, percussion, and strings. (Approx. 23 minutes)

amille Saint-Saëns demonstrated great skill at the piano as a young boy—while his age was still in the single digits, his mother wrote that he possessed “an imagination, an enthusiasm, and ease of assimilation which bordered on the marvelous.” As he grew older, in a France generally obsessed with opera, Saint-Saëns reinvented for the orchestral genre a purely French style. His five piano concertos, differing greatly in tone and inspiration, have as their aim the achievement of an ever more perfect balance between piano and orchestra, and are a remarkable demonstration of the art of writing for the keyboard. The Piano Concerto No. 2 was written for Saint-Saëns’ own use; however, the inspiration for its composition came from Anton Rubinstein, another keyboard wizard of the time. In 1868, Rubinstein played a series of concerto programs in Paris, with Saint-Saëns as conductor. So happy was he with their collaboration that Rubinstein suggested an additional concert, with the roles transposed: he would conduct, and Saint-Saëns would play the piano. Never wanting for inspiration, Saint-Saëns dashed off the G-minor Concerto in only three weeks, giving its premiere under Rubinstein’s direction at the Salle Playel in Paris on May 13, 1868. The first movement opens and closes with a tribute to the preludes of Bach, but as seen from a 19th century perspective. The main discourse between the piano and the orchestra, which follows, was based on a Tantum Ergo that

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Saint Saëns’ pupil Gabriel Fauré brought his teacher. “Give it to me! I can make something of it!” Saint-Saëns told his pupil, and so he did. There is no slow movement; rather, a Scherzo that is tinged with both humor and feeling. The finale is a devilishly swirling Tarentelle (marked Presto), which brings an initially austere work to a tumultuous close. The DSO most recently performed Saint-Saëns’ Piano Concerto No. 2 in January 2012, conducted by Music Director Leonard Slatkin and featuring pianist Conrad Tao. The DSO first performed the piece in February 1919, conducted by Ossip Gabrilowitsch and featuring pianist Vera Kaplun Aronson.

Symphony No. 3 in C minor, Op. 78, “Organ Symphony” Scored for 3 flutes (1 doubling on piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, piano (4 hands), organ, and strings. (Approx. 34 minutes)

n the 19th century the symphonic form flourished mostly in Germany and Austria, as French and Italian composers were generally focused on operas. Camille Saint-Saëns, a master of virtually every genre, is the leading French symphonist of the period, with five works in the form to his credit. But the Symphony No. 3 was actually not written for a French audience— rather, it was a commission from the London Philharmonic Society, where Saint-Saëns grew quite a fanbase while living in Britain to escape turmoil following the Franco-Prussian War. The commission came in 1886, the same summer during which Saint-Saëns’ mentor Franz Liszt died, and so the symphony is a tribute to the late FEBRUARY 2018

Hungarian. As a symphony by a composer who staunchly upheld French musical values against the encroaching tide of Wagnerism, the No. 3 is a poised, spacious work unfolding in a relaxed series of tableaux. Its lyrical slow movement, often criticized as saccharine, indeed shares the same sentimentality one admires in a Gounod opera or the quiet repose in French romantic organ music. The symphony includes parts for organ and piano duet, but uses them less as soloists than as coloristic elements of the orchestral ensemble. It follows a standard four-movement plan, but has only one central pause between the slow movement and Scherzo. Its main theme begins in the low violins

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with the same moody motto that opens Schubert’s Unfinished Symphony. The main themes of the first and second movements are later transformed, re-employed (in reverse order), and eventually combined as the two themes of the heroic double fugue that concludes the piece. —Carl Cunningham The DSO most recently performed Saint-Saëns’ Symphony No. 3, the “Organ Symphony,” in May 2012, conducted by Music Director Leonard Slatkin and featuring organist Craig Rifel. The DSO first performed the piece in March 1924, conducted by Ossip Gabrilowitsch and featuring organist Marcel Dupre.

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LEONARD SLATKIN, Music Director Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

Principal Pops Conductor

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

NEEME JÄRVI Music Director Emeritus

MICHELLE MERRILL Associate Conductor, Phillip and Lauren Fisher Community Ambassador

CLASSICAL SERIES An American in Paris Friday, February 16, 2018 at 10:45 a.m. & 8 p.m. in Orchestra Hall Leonard Slatkin, conductor Michelle Naughton, piano • Christina Naughton, piano Darius Milhaud (1892 - 1974) La Création du monde, Op. 81

Francis Poulenc Concerto for Two Pianos and Orchestra (1899 - 1963) in D minor

I. Allegro ma non troppo II. Larghetto III. Finale: Allegro molto Michelle Naughton, piano Christina Naughton, piano

Intermission Darius Milhaud A Frenchman in New York

Ne w York Com Serracao Sobre O Rio Hudson Os Claustros Cavalo E Coche No Central Park Times Square Jardins Nos Terracos Baseball No Estadio Yankee

George Gershwin (1898 - 1937) An American in Paris rev. F. Campbell-Watson

This Classical Series performance is generously sponsored by

Made possible in part by a grant from

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

DSO PERFORMANCE MAGAZINE

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Program Notes La Creation du Monde (The Creation of the World) DARIUS MILHAUD B. September 4, 1892, Aix-en-Provence, France D. June 22, 1974, Geneva, Switzerland

Scored for 2 flutes, piccolo, oboe, 2 clarinets, bassoon, horn, 2 trumpets, trombone, percussion, piano, alto saxophone, and strings. (Approx. 16 minutes)

losely associated with the avantgarde of the 1920s, Darius Milhaud was a pioneer in combining polytonality, jazz, popular styles, and aleatory (chance) techniques. He was also an extraordinary teacher who mentored dozens of younger composers, among them Iannis Xenakis, Karlheinz Stockhausen, Steve Reich, William Bolcom, Dave Brubeck, and Burt Bacharach, many of whom have been instrumental in promoting his music since his death in 1974. In 1920, Milhaud traveled to London and had his first exposure to American jazz, hitting a popular dance hall in the suburb of Hammersmith to hear pianist Billy Arnold and his American Novelty Jazz Band. It was a revelation to the 27-year-old musician, who then immersed himself in as much American popular music as possible, later writing about the experience in these poetic words: “The new music was extremely subtle in its use of timbre: the saxophone breaking in, squeezing out the juice of dreams, or the trumpet, dramatic and languorous by turns.” Toward the end of 1923, the Swiss writer Blaise Cendrars and the French cubist painter Fernand Leger proposed a new ballet which would use African

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creation myths as its subject matter, a work that would ultimately become La Creation du Monde. The logical choice to compose the music was Milhaud, who by this time had written several jazz-influenced compositions based on his new obsession. For the premiere, which took place in the famous Theatre des Champs-Elysees in October of 1923, Leger provided the costumes and stage sets, and Rolf de Mare, the director of the Ballets Suedois, created the choreography. The original costumes and sets still can be seen in various museums and galleries, and of course Milhaud’s extraordinary score (which he once described as “making use of the jazz style to convey a purely classical feeling”) has taken its place in the concert repertoire. The ballet itself, however, has rarely been revived, and then more out of curiosity than anything else. The DSO most recently performed Milhaud’s La Creation du Monde in October 2016, conducted by Music Director Leonard Slatkin. The DSO first performed the piece in December 1959, conducted by C. Walter Poole.

Concerto for Two Pianos and Orchestra in D minor FRANCIS POULENC B. January 7, 1899, Paris, France D. January 30, 1963, Paris, France

Scored for flute, piccolo, 2 oboes (1 doubling on English horn), 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, tuba, percussion, and strings. (Approx. 19 minutes)

rancis Poulenc was a largely selftaught composer with a love for the theater, and his exposure to Parisian DSO PERFORMANCE MAGAZINE 33

cultural life at a young age would later become useful in joining the group known as Les Six. This gaggle of artists—which also included Georges Auric, Louis Durey, Arthur Honegger, Darius Milhaud, and Germaine Tailleferre— aimed to divorce French music from both Impressionism and German influences, and to incorporate popular styles from around the world in their compositions. This concerto dates from the summer of 1932, and is generally regarded as marking the end of Poulenc’s early period of composition. Completed in just a few months, it is a perfect example of his generally light style: marked by simple, tuneful melodies; full of lively rhythms with changing meters; and using a basically tonal language spiced with dissonances. But Poulenc’s concertos are also significantly more inspired by the Classical period than those of some of his avant-garde contemporaries, and the present work is in many ways modeled after Mozart. Mozart himself wrote a concerto for two pianos, catalogued K. 365, and the slow movement of Poulenc’s piece is a direct allusion to Mozart’s famous Piano Concerto in C major, K. 467. “I have a veneration for the melodic line, and I prefer Mozart to all other composers,” Poulenc admitted in letter. Nevertheless, the piece is a Les Six classic for its peppy mood and perpetual motion. Jazzy elements dot in and out, and the dual soloists play almost constantly through the work. The DSO most recently performed Poulenc’s Concerto for Two Pianos and Orchestra in September 1993, conducted by Music Director Emeritus Neeme Järvi and featuring pianists Katia and Marielle Labèque. The DSO first performed the piece in January 1953, 34

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conducted by Paul Paray and featuring pianists Arthur Whittemore and Jack Lowe.

A Frenchman in New York DARIUS MILHAUD B. September 4, 1892, Aix-en-Provence, France D. June 22, 1974, Geneva, Switzerland

Scored for 3 flutes (1 doubling on piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, celeste, and strings. (Approx. 24 minutes)

ew York has always been a popular subject for writers and composers, but the title of Darius Milhaud’s A Frenchman in New York is no Big Appleinspired coincidence: commissioned by RCA Victor in 1962, the piece is a direct tribute to Gershwin’s famed An American in Paris. Though it isn’t performed nearly as often as its overseas counterpart, the piece is charming, graceful, and distinctly French. And it did receive a certain amount of notoriety, as the 1964 recording by Arthur Fiedler and the Boston Pops Orchestra was nominated for a Grammy Award. In writing the work, Milhaud said that he “…chose all of the peculiarities striking a foreigner in New York,” and each musical episode is full of imagination and affection. The final section about baseball, for example, contains a wonderfully eccentric fugue, which gives the feeling of a ball bouncing around, cutting off advancing baserunners. If there is a general contrast between An American in Paris and A Frenchman in New York, it might be that Gershwin’s approach is brash, theatrical, and emotional, whereas Milhaud’s is more genial and FEBRUARY 2018

abstract. These performances of Milhaud’s A Frenchman in New York will be DSO premieres.

An American in Paris GEORGE GERSHWIN B. September 26, 1898, New York, NY D. July 11, 1937, Los Angeles, CA

Scored for 3 flutes (1 doubling on piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, celeste, saxophones, and strings. (Approx. 17 minutes)

Ira) and his alma mater, the University of Michigan School of Music, Theatre & Dance. George and Ira produced huge bodies of work, often at a blistering pace, meaning that scores sometimes lack certain information or contain incomplete musical thoughts. The University of Michigan’s Gershwin Initiative has unified scholars, musicians, and members of the Gershwin family to revisit George and Ira’s music and settle longstanding scores (pun very much intended). The DSO most recently performed Gershwin’s An American in Paris in November 2014, conducted by Music Director Leonard Slatkin. The DSO first performed the piece in October 1957, conducted by Paul Paray.

n American in Paris was commissioned by the Philharmonic Symphony Society of New York, and was first performed by that orchestra under the direction of Walter Damrosch in December 1928. George Gershwin himself referred to the piece as a “rhapsodic ballet,” and went on to say, perhaps obviously, that his purpose was “to portray the impressions of an American visitor in Paris as he strolls around the city.” The beloved piece is well-known for its peppy, evocative score—which is at times as harsh as the titular city—as well as the addition of saxophones and four authentic Parisian taxi horns to the orchestra. These performances are among the first to feature a newly published, completely restored version of An American in Paris, one component of a recent project titled The George and Ira Gershwin Critical Edition. The initiative is a partnership between Todd Gershwin (great-nephew of brothers George and

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DSO PERFORMANCE MAGAZINE 35

LEONARD SLATKIN, Music Director Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

Principal Pops Conductor

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

NEEME JÄRVI Music Director Emeritus

MICHELLE MERRILL Associate Conductor, Phillip and Lauren Fisher Community Ambassador

CLASSICAL SERIES Carnival of the Animals Saturday, February 17, 2018 at 8 p.m. • Sunday, February 18, 2018 at 3 p.m. in Orchestra Hall Leonard Slatkin, conductor Michelle Naughton, piano • Christina Naughton, piano

Paul Dukas (1865 - 1935) The Sorcerer’s Apprentice

Camille Saint-Saëns Carnival of the Animals

(1835 - 1921) I. Introduction and Royal March of the Lion II. Hens and Roosters III. Horses of the Tartary (Fleet Animals) IV. Tortoises V. The Elephant VI. Kangaroos VII. Aquarium VIII. People With Long Ears IX. The Cuckoo in the Depths of the Forest X. Aviary XI. Pianists XII. Fossils XIII. The Swan XIV. Finale Michelle Naughton, piano Christina Naughton, piano

Intermission Erik Satie (1866 - 1925) Gymnopédie (1 & 3) Orchestrated by Claude Debussy Lent et grave Lent et douloureux

Jacques Offenbach (1819 - 1880) Gaîté Parisienne

With can-can dancers from Deborah’s Stage Door Center for the Performing Arts, Rochester Hills, MI This Classical Series performance is generously sponsored by

Made possible in part by a grant from

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

DSO PERFORMANCE MAGAZINE

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Program Notes The Sorcerer’s Apprentice PAUL DUKAS B. October 1, 1865, Paris, France D. May 17, 1935, Paris, France

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 cornets, 3 trombones, timpani, percussion, harp, and strings. (Approx. 10 minutes)

aul Dukas was not necessarily a capital-C Composer, as he earned much of his living as a music critic, teacher, and researcher. But the slimness of his portfolio is balanced by the fame and true creativity of his best-known work, The Sorcerer’s Apprentice. Though most of today’s listeners associate the piece with Disney’s Fantasia films (in which it was a centerpiece), The Sorcerer’s Apprentice was actually quite popular during Dukas’ lifetime as well—the DSO, for example, performed it about 40 times before the first Fantasia film was released in 1940. Much of the work’s expressive power can be attributed to its central theme, which, like the animated broom we all remember, gradually comes alive. As musicologist Manuela Schwartz observes, Dukas’s theme, which begins in an evocative passage featuring bassoon, accumulates rhythmic energy until it achieves “a steady flow of movement,” musically embodying the broom’s awakening and subsequent mischief. Eventually a huge wall of sound is built, recalling Wagner’s mighty Ring cycle (which Dukas admired); the brilliant clarity of the orchestration, with plenty of innovative twists, is just as delightful in the concert hall as it is on the movie screen.

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—Nathan Platte The DSO most recently performed Dukas’ The Sorcerer’s Apprentice in November 2015, conducted by Fabien Gabel. The DSO first performed the piece in January 1919, conducted by Ossip Gabrilowitsch.

Carnival of the Animals CAMILLE SAINT-SAËNS B. October 9, 1835, Paris, France D. December 16, 1921, Algiers, Algeria

Scored for flute (doubling on piccolo), clarinet, percussion, piano, celeste, and strings. (Approx. 22 minutes)

t was not enough that Saint-Saëns was a celebrated composer and first-rate concert pianist; he was also a superb organist, a fine conductor, and an author who wrote learned treatises about botany, zoology, astronomy, geology, and the archaeology of the Roman theatre. Not to mention his poetry hobby and his multilingualism—both qualities enabled by his near-endless travel. During said travels, in particular an unsuccessful concert tour of central Europe in late 1885, Saint-Saëns holed himself up in a small Austrian village where he composed this delightful and imaginative work. He may have intended it to be played by some of his students at the Niedermeyer School in Paris, where he had taught piano since 1861, but in any case it was first performed at a private concert in March of 1886 around Carnival time, and reprised a month later at a party organized by SaintSaëns’ mentor Franz Liszt. There appear to have been a few other private performances around this time, but Saint-Saëns was adamant that the work DSO PERFORMANCE MAGAZINE 37

not be published in his lifetime, fearing that its light-heartedness might harm his reputation as a “serious” composer. He did, however, specify in his will that the whole suite could be published after his death, and since its publication and first public performance in the 1920s it has become one of his most popular and frequently performed works. Each movement references or borrows from some inspiration that only a worldly polymath like Saint-Saëns might dream up. For example: “Hens and Roosters” uses the theme from a baroque harpsichord piece by JeanPhillipe Rameau; “Tortoise” lifts the famous can-can from Offenbach’s Orpheus in the Underworld, but slowed down to the pace of the titular animal; “Pianists” is a madcap re-creation of Niedermeyer piano students practicing their scales; and the finale is reminiscent of a 19th century American carnival. The DSO most recently performed Saint-Saëns’ Carnival of the Animals in November 2006, conducted by Thomas Wilkins. The DSO first performed the piece in March 1926, conducted by Victor Kolar.

Gymnopédies (1 & 3) ERIK SATIE B. May 17, 1866, Honfleur, France D. July 1, 1925, Arcueil, France

Orchestrated by CLAUDE DEBUSSY B. August 22, 1862, Saint-Germain-en-Laye, France D. March 25, 1918, Paris, France

Scored for 2 flutes, oboe, 4 horns, and strings.

rik Satie was a French composer and pianist whose spare, unconventional,

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colorful, weird, and often witty style was a major influence on 20th century music, particularly the early Parisian avant-garde and the ambient music of the 1970s. It was only after Satie’s death that his achievements began to be acknowledged, and he is now often regarded as a genius. He was not a prolific composer, and most of his relatively few works were for solo piano, including the three famous Gymnopédies of 1888. Allegedly, the pieces’ name was inspired by in interaction with the director of the Chat Noir cabaret, the acerbic Rodolphe Salis. Salis, probably looking for something to mock, asked Satie to state his occupation; more or less lacking one, the young artist replied “gymnopaedist,” an esoteric but stately-sounding word that apparently left Salis impressed. (“Gymnopaedia” were ancient Greek dances performed by men in the nude; Satie had apparently read a poem using the word but otherwise selected it at random.) In these and similar works, Satie treats his musical material as if was a piece of sculpture, viewing it from different angles by basically composing the same thing several times over, but with slight changes each time. The melodies of the pieces use deliberate but mild dissonances against the harmony, giving a somewhat melancholy effect which matches the performance instructions, which are to play each piece “painfully” (No. 1), “sadly” (No. 2), and “gravely” (No. 3). There is a wonderful sense of musical distillation here: no note is superfluous, nothing is rushed, and the pieces can produce a real sense of relaxation. In 1898, Claude Debussy produced an FEBRUARY 2018

orchestration of the first and last of these pieces, bringing an impressionistic touch to the originals but honoring their spare and spacious qualities. Like Satie, Debussy was an innovator, and he revolutionized what was already revolutionary by transforming the Gymnopédies into something altogether new. These performances of Erik Satie’s Gymnopédies 1 and 3, orchestrated by Claude Debussy, will be DSO premieres.

Gaîté Parisienne

JACQUES OFFENBACH B. June 20, 1819, Cologne, Germany D. October 5, 1880, Paris, France

Scored for 2 flutes (both doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 44 minutes)

acques (born Jakob) Offenbach was a German-born French composer, cellist, and impresario, remembered chiefly for over 90 operettas and his opera The Tales of Hoffmann, which was left uncompleted at his death. He was a strong influence on later operetta and light opera composers, among them Johann Strauss, Jr. and Arthur Sullivan. Offenbach originally earned fame and wealth as a cellist, but his primary

ambition was to write comic works for musical theater. He leased a small stage in Paris to present a series of smallscale pieces and became famous all over again, now as a composer and showbiz personality. Gioachino Rossini himself dubbed Offenbach “our little Mozart of the Champs-Élysées.” In the mid-1930s, more than 50 years after Offenbach’s death, the impresario Sol Hurok had the idea of turning the compoer’s most popular melodies into a ballet. He offered the commission to Manuel Rosenthal, another French conductor and composer, who pored over Offenbach’s huge output to look for the best bits of countless song and dance numbers. He was assisted by Jacques Brindejonc-Offenbach, the composer’s nephew, and presented the resulting score to choreographer Leonide Massine. The completed ballet, titled Gaîté Parisienne (literally, “Parisian Gaiety”), was an immediate hit. Performed in one act, but without a conventional narrative, it shows the amorous flirtations, lively dancing, and high spirits of a group of people who patronize a fashionable Paris café in the 1860s. The DSO most recently performed Offenbach’s Gaîté Parisienne in July 1983, conducted by Semyon Bychkov. The DSO first performed the piece in December 1939, conducted by Victor Kolar.

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DSO PERFORMANCE MAGAZINE 39

LEONARD SLATKIN, Music Director Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

Principal Pops Conductor

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

NEEME JÄRVI Music Director Emeritus

MICHELLE MERRILL Associate Conductor, Phillip and Lauren Fisher Community Ambassador

CLASSICAL SERIES Debussy: La Mer & Faun Thursday, February 22, 2018 at 7:30 p.m. Friday, February 23, 2018 at 10:45 a.m. in Orchestra Hall LEONARD SLATKIN, conductor RENAUD CAPUÇON, violin Henri Rabaud La Procession Nocturne, Op. 6 (1873 - 1949)

Camille Saint-Saëns Violin Concerto No. 3 in B minor, Op. 61 (1835 - 1921) I. Allegro non troppo II. Andantino quasi allegretto III . Molto moderato e maestoso - Allegro non troppo Renaud Capuçon, violin Intermission

Claude Debussy Prélude à l’Après-midi d’un faune (1862 - 1918) (Prelude to the Afternoon of a Faun)

La mer I. D e l’aube à midi sur la mer [From Dawn to Noon on the Sea] II. Jeux des vagues [Play of the Waves] III. Dialogue du vent et de la mer [Dialogue of Wind and Sea] This Classical Series performance is generously sponsored by

Made possible in part by a grant from

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

DSO PERFORMANCE MAGAZINE

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Program Notes La Procession Nocturne, Op. 6 HENRI RABAUD B. November 10, 1873, Paris, France D. September 11, 1949, Paris, France

Scored for 3 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 16 minutes)

enri Rabaud was a French conductor, composer, and cellist, who directed the Paris Opéra from 1914 to 1918 and the Paris Conservatoire from 1922 to 1941. Though he is not particularly celebrated today, a handful of his highly original works are popular in the French repertoire: especially the opera Marouf, Cobbler of Cairo and the present symphonic poem. Sub-titled “Symphonic Poem after Nikolaus Lenau,” La Procession Nocturne was written in 1910, inspired by the story of Faust and apparently in tribute to the Austrian poet whose Don Juan informed Richard Strauss’s symphonic poem of the same name. It begins in a mysterious and unsettled atmosphere, marked by a sorrowful chromaticism. The first theme is strongly reminiscent of the Prelude to Wagner’s Tristan and Isolde, and portrays Faust’s despair, the doubts which are tormenting him, and his increased suffering. Despite the approach of spring, he remains unmoved by the beauty of nature. Rabaud expresses Faust’s somber thoughts by repeating the Tristan theme over and over, and then introduces two other themes, one of quiet melancholy in the oboe, the other of heartbreaking desperation in the cellos. In the second

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section Faust becomes aware of a light which illuminates the depths of the forest, and shows him jealously watching a procession of happy pilgrims who are celebrating the night of the Festival of John the Baptist. The third section opens with an outburst from Faust in which he cries with burning tears; after a long silence, the chromatic themes from the first section return and are played by the full orchestra. Finally, Faust calms himself, and the conclusion of the work evokes the redemption of a sinner. The DSO most recently performed Rabaud’s La Procession Nocturne in March 1968, conducted by Paul Paray. The DSO first performed the piece in April 1931, conducted by Ilya Schkolnik.

Violin Concerto No. 3 in B minor, Op. 61 CAMILLE SAINT-SAËNS B. October 9, 1835, Paris, France D. December 16, 1921, Algiers, Algeria

Scored for 2 flutes (1 doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings. (Approx. 29 minutes)

amille Saint-Saëns produced such an enormous body of work that perhaps it is understandable—even fair—that only three of his ten concerti (one each for piano, violin, and cello) are regularly performed today. The B minor violin concerto, his third, was composed in 1880 and dedicated to the Spaniard Pablo de Sarasate, who presented the work’s premiere the following year. The piece’s virtues include an appealing, finely sculpted melody; a tasteful, DSO PERFORMANCE MAGAZINE 41

clear orchestral setting; and well-designed formal structure. After a brief tremolo in the strings and timpani, the violinist enters with an urgent, assertive opening theme that is extensively explored and developed before being taken up by the orchestra. The lyrical second theme, also introduced by the violin, flirts mesmerizingly with the pastel colors of a modal scale before coming gently to rest in E major. The slow movement is a charming song form, cast in 6/8 meter and employing long-short-long dotted rhythms usually associated with Italian music. And the finale tackles a bright staccato tune with hints of Spanish color—a nod to the original soloist, no doubt, and a reminder that the well-traveled Saint-Saëns composed the piece while visiting Spain. The DSO most recently performed Saint-Saëns’ Violin Concerto No. 3 at the March 2002 Classical Roots Celebration and Concert, conducted by Thomas Wilkins and featuring violinist Melissa White. The DSO first performed the piece in November 1916, conducted by Weston Gales and featuring violinist Hildegard Brandegee.

Prélude à l’Après-midi d’un faune (Prelude to the Afternoon of a Faun) CLAUDE DEBUSSY B. August 22, 1862, Saint-Germain-en-Laye, France D. March 25, 1918, Paris, France

Scored for 3 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, percussion, 2 harps, and strings. (Approx. 10 minutes)

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laude Debussy was something of a visual composer, often inspired by an image or scene that came to him via reading or daydreaming. His Prelude to the Afternoon of a Faun was informed by Stéphane Mallarmé’s esoteric poem of the same title. Like the poem, the music is precisely evocative in its details, though evasive when one attempts to grasp it with the aid of analytical tools. It begins with the entrance of a Chopin-esque theme in the winds, over pulsating string accompaniment, marking the first of three general segments. But to fall back on such terms as “sonata” or “song form” is to miss the mark. Debussy’s aim was, as he explained, “to achieve a music truly freed from motifs, or constructed on development…[music] which never goes back on itself…” In Prelude, he fulfilled his aim for the first time, and what the intellect cannot fully explain, the listening ear accepts with satisfaction. The DSO most recently performed Debussy’s Prelude to the Afternoon of a Faun in May 2014, conducted by Thierry Fischer. The DSO first performed the piece in February 1916, conducted by Weston Gales.

La Mer CLAUDE DEBUSSY B. August 22, 1862, Saint-Germain-en-Laye, France D. March 25, 1918, Paris, France

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 2 cornets, 3 trombones, tuba, timpani, percussion, 2 harps, and strings. (Approx. 23 minutes)

laude Debussy’s music is commonly described as impressionist, analogous to the breezy and colorful paintings FEBRUARY 2018

of Monet or Degas. Rather than presenting a narrative structure, as an earlier work might, the symphonic poem La Mer aims to be something of a quick snapshot, capturing the experience of a beach-walking visitor to the sea. Rather than listening for form in the work, then, audiences are invited to allow the individual moments of La Mer wash over them—noting how the music represents rushing wind, the easy lapping of waves, or the calm of early morning. Debussy notably (and beautifully) employs the whole-tone scale in La Mer, a trope that perfectly complements music meant to stoke the imagination or a approximate a daydream. Rather than the asymmetrical series of half-steps

French Festival Quiz

and whole-steps which characterize diatonic major and minor scales, the whole-tone scale is a symmetrical scale of whole-steps: C, D, E, F#, G#, A#, C. This symmetry makes it impossible to hear any one pitch as more important than any other, since every pitch relates to every other pitch by the same set of intervals. The result is a sense of tonal disorientation, a scale without horizon or gravitational pull—perfect for relaxing (or imagining relaxing) by the sea. The DSO most recently performed Debussy’s La Mer in November 2015, conducted by Fabien Gabel. The DSO first performed the piece in November 1936, conducted by Jose Iturbi.

Answers

First, take the quiz on page 12. 1. Camille Saint-Saëns typically earns this credit for his score to the 1908 film L’Assasinat du duc de Guise. 2. Guitar and flute. 3. Ravel’s “Left Hand” Concerto was commissioned by the Austrian pianist Paul Wittgenstein, whose right arm was amputated during World War I. 4. A group of early twentiethcentury Parisian composers whose music represents a reaction against impressionism and romanticism: Darius Milhaud, Francis Poulenc, Arthur Honegger, Louis Durey, Germaine Tailleferre, and Georges Auric. 5. Although Franck was born in Liège (in what is now Belgium and was then part of the United Kingdom of the Netherlands), dso.org

he lived most of his life in Paris, where he was a church organist and an influential professor at the Paris Conservatoire. He became a French citizen in 1872. 6. The organ came from the Trocadéro in Paris, and such musicians as Liszt, SaintSaëns, and Franck played it. 7. Aaron Copland, George Antheil, Elliott Carter, George Gershwin, Philip Glass, John Cage, Cole Porter, Quincy Jones, Virgil Thomson, Roy Harris, and Walter Piston, among others. 8. Yes. Frenchman Paul Paray was Music Director of the DSO from 1951 to 1962. BONUS: Slatkin studied under Jean Morel at The Juilliard School.

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LEONARD SLATKIN, Music Director Music Directorship endowed by the Kresge Foundation

JEFF TYZIK

Principal Pops Conductor

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

NEEME JÄRVI Music Director Emeritus

MICHELLE MERRILL Associate Conductor, Phillip and Lauren Fisher Community Ambassador

CLASSICAL SERIES Symphonie fantasique Friday, February 23, 2018 at 8 p.m. Saturday, February 24, 2018 at 8 p.m. in Orchestra Hall LEONARD SLATKIN, conductor RENAUD CAPUÇON, violin

Guillaume Connesson Flammenschrift (b. 1970) Maurice Ravel Sonata For Violin And Piano (1875 - 1937) Renaud Capuçon, violin arr. Yan Maresz

Tzigane for Violin and Orchestra Renaud Capuçon, violin Intermission

Hector Berlioz Symphonie fantastique, Op. 14 (1803 - 1869) I. R everies and Passions: Largo - Allegro agitato e appassionato assai II. A Ball: Waltz - Allegro non troppo III. In the Country: Adagio IV. M arch to the Scaffold: Allegretto non troppo V. Dream of the Witches’ Sabbath: Larghetto - Allegro This Classical Series performance is generously sponsored by

Made possible in part by a grant from

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

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Program Notes Flammenschrift

Sonata for Violin and Piano

GUILLAUME CONNESSON

MAURICE RAVEL

B. May 5, 1970, Boulogne-Billancourt, France

B. March 7, 1875, Ciboure, France D. December 28, 1937, Paris, France

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, 3 trombones, timpani, and strings. (Approx. 9 minutes)

ARR. YAN MARESZ

uillaume Connesson is one of the more widely-performed French composers of his generation, characterized by an accessible but highly individual style. He studied composition and orchestration at the Conservatoire de Paris and began racking up commissions beginning in the mid-1990s — among them 1997’s Supernova, written on a commission from the Montpelier Philharmonic, which won the Cardin Prize of the Institute of France in 1998. Flammenschrift (“Flaming Notes”), penned in 2012, is a tribute to German music. The piece was included on the 2016 Deutsche Grammophon disc Pour Sortir Au Jour, performed by the Brussels Philharmonic under Stéphane Denève, and the reviews describe it best: “[it] has everything to become a classic of the 21st century,” says Diapason, who awarded the album the coveted Diapason d’Or; De Standaard notes that the piece is successful due to Connesson’s “filmic, clever, [and] showy orchestral language.” The piece is in a neo-tonal style, perhaps a trademark of the composer’s, and is sure to win over fans of old and new music alike. These performances of Guillaume Connesson’s Flammenschrift will be DSO premieres.

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Scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, harp, celeste, and strings. (Approx. 17 minutes)

nspired by Béla Bartók’s violin sonatas, Maurice Ravel started work on his own sonata in 1923, but didn’t manage to finish it until 1927. He played the piano himself at the work’s Paris premiere, and stated that his aim in the work was to explore “the basic tonal incompatibility of violin and piano.” There is certainly some tension in the sonata, and overall the piece demonstrates a complexity and subtlety not always present in Ravel’s music. But it is the jazzy middle section that earned the sonata a place in the violin repertoire and distinguished it from less adventurous music written by Ravel’s contemporaries. Jazz was still young when the W.C. Handy blues band played a residency at one of Ravel’s favorite Parisian clubs, and the composer was fascinated by the style’s rhythms and barking improvisations. The sonata’s integration of this new sound is now considered one of the first examples of what would become a two-way street in 20th century music, and on a U.S. tour Ravel used this movement to convince critics that jazz was the way forward for American music. These performances of Ravel’s Sonata for Violin and Piano will be DSO premieres.

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Tzigane for Violin and Orchestra MAURICE RAVEL B. March 7, 1875, Ciboure, France D. December 28, 1937, Paris, France

Scored for solo violin, 2 flutes (1 doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, trumpet, percussion, harp, celeste, and strings. (Approx. 9 minutes)

y the early 1920s Maurice Ravel was a well-established composer, on his way to becoming one of his generation’s most significant. During this time his interest in the violin was very strong, but composition of his Sonata for Violin and Piano was moving very slowly, due in part to a serious case of writer’s block. Cue violinist Jelly d’Aranyi, who played Ravel’s fiercely difficult Sonata for Violin and Cello at a private event in London that the composer attended. Ravel was so impressed by d’Aranyi that he approached her after the concert and asked if she could play any gypsy melodies from her native Hungary. She obliged—or over-obliged, even, as the two stayed up until nearly five in the morning, d’Aranyi sawing away and Ravel completely mesmerized. Thus was born in Ravel’s imagination the work which he called Tzigane, the name deriving from a generic European term for gypsy. Virtuosity for its own sake was rarely a feature of Ravel’s music, but this dazzling showpiece is the chief exception. In it, Ravel pushed the technical capabilities of the violin right to the limit, while imitating as many tricks and characteristics of gypsy fiddling as he could imagine. The work is in two main

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sections, the first an unaccompanied cadenza for the soloist and the second a raucous frenzy of dances and musical fireworks. The DSO most recently performed Ravel’s Tzigane in July 2014, conducted by Michael Stern and featuring violinist Joshua Bell. The DSO first performed the piece in February 1937, conducted by Victor Kolar and featuring Yehudi Menuhin.

Symphonie fantastique, Op. 14 HECTOR BERLIOZ B. December 11, 1803, La Côte-Saint-André, France D. March 8, 1869, Paris, France

Scored for 2 flutes (1 doubling on piccolo), 2 oboes (1 doubling on English horn, 1 offstage), 2 clarinets (1 doubling on E-flat clarinet), 4 bassoons, 4 horns, 2 trumpets, 2 cornets, 3 trombones, 2 tubas, 2 timpani, percussion, 2 harps, and strings. (Approx. 55 minutes)

ore than a composer of colorful, dramatically charged music, Hector Berlioz was himself one of the most colorful figures of the nineteenth century. Much of his life reads like a Romantic novel, and its most fascinating chapter concerns the creation of his hallmark work, the Symphonie fantastique. Since Berlioz was a tireless writer of letters, memoirs, and articles, we can read much of this story in his own words. In 1827, the composer, then a struggling graduate of the Paris Conservatoire, attended a performance FEBRUARY 2018

of Shakespeare’s Hamlet by a troupe of English actors visiting Paris. In the role of Ophelia was a beautiful young actress named Harriet Smithson. As Berlioz relates in his Memoirs: “The impression made on my heart and mind by her extraordinary talent, nay her dramatic genius, was equaled only by the havoc wrought in me by the poet she so nobly interpreted. That is all I can say.” Well, not quite. In fact, Berlioz could, and did, say a great deal more. During the next three years he developed a desperate infatuation for Smithson and made several unsuccessful attempts to woo her. In 1830 he told his friend Humbert Ferrand that he was writing a “grand symphony in which the development of my infernal passion is to be depicted,” outlining a story-in-music in which a protagonist, haunted by a love he cannot have, attempts to poison himself with opium. He hangs on to life, however, and the powerful drug instead creates jarring hallucinations of “sorcerers and devils…a chorus [singing] the plainchant sequence of the dead.” Through an extraordinary set of circumstances, Harriet Smithson herself was in the audience at the 1832 premiere of the Symphonie fantastique. She

recognized Berlioz as he was ushered onstage for a bow, and had a shocking thought when a friend explained the piece’s concept: is this about me? The two met the next day, eventually married, and even more eventually divorced—though theirs was a fairly-tale meeting, the couple was essentially incompatible. But the musical expression of Berlioz’s passion proved more enduring than his union with Harriet Smithson. Symphonie fantastique remains one of the prime musical documents of nineteenth-century Romanticism and a composition of still startling originality. It was among the most detailed and poetic program symphonies yet composed, full of bewitching melodies and dramatic flair. Though the story surrounding its composition is too good to ignore, so is the piece itself; it remains, in every sense, one of the most fantastic musical experiences available. The DSO most recently performed Berlioz’s Symphonie fantastique in January 2015, conducted by Jun Märkl. The DSO first performed the piece in December 1919, conducted by Ossip Gabrilowitsch.

Give the gift of the DSO! Gift certificates are available in any denomination by calling the Box Office at 313.576.5111.

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DSO PERFORMANCE MAGAZINE 47

CELEBRATING YOUR LEGACY SUPPORT BARBARA VAN DUSEN, Honorary Chair

The 1887 Society honors individuals who have made a special legacy commitment to support the Detroit Symphony Orchestra. Members of the 1887 Society ensure that future music lovers will continue to enjoy unsurpassed musical experiences by including the DSO in their estate plans. If you have arranged a planned gift to support the DSO or would like more information on planned giving, please call 313.576.5114. Douglas Koschik Ms. Leslie C. Devereaux Ruth & Al Glancy Ms. Doris L. Adler Dr. & Mrs. William C. Albert Mr. & Mrs. Robert A. Allesee Dr. Lourdes V. Andaya Mr. & Mrs. Eugene Applebaum Dr. Augustin & Nancy† Arbulu Ms. Sharon Backstrom Sally & Donald Baker Mr. & Mrs. Lee Barthel Mr. Mark G. Bartnik & Ms. Sandra J. Collins Mary Beattie Stanley A. Beattie Mr.† & Mrs. Mandell L. Berman Mrs. Betty Blair Gwen & Richard Bowlby William & Julia Bugera Cynthia Cassell, Ph. D. Dr.† & Mrs. Victor J. Cervenak Eleanor A. Christie Ms. Mary Christner Lois & Avern Cohn Mrs. RoseAnn Comstock† Mr. & Ms. Thomas Cook Dorothy M. Craig Mr. & Mrs. John Cruikshank Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Ms. Leslie C. Devereaux Mr. John Diebel Mr. Roger Dye & Ms. Jeanne A. Bakale Mr. & Mrs. Robert G. Eidson Marianne T. Endicott Mrs. Rema Frankel† Patricia Finnegan Sharf Ms. Dorothy Fisher Mrs. Marjorie S. Fisher† Samuel & Laura Fogleman Dorothy A. and Larry L. Fobes Mr. Emory Ford, Jr.† Dr. Saul & Mrs. Helen Forman Barbara Frankel & Ron Michalak Herman & Sharon Frankel Jane French Mark & Donna Frentrup Janet M. Garrett Dr. Byron P. & Marilyn Georgeson Mr. Joseph & Mrs. Lois Gilmore Victor† & Gale Girolami David & Paulette Groen Mr. Harry G. Bowles† Donna & Eugene Hartwig Gerhardt A. Hein & Rebecca P. Hein 48

Ms. Nancy B. Henk Joseph L. Hickey Mr. & Mrs. Thomas N. Hitchman Andy Howell Carol Howell Paul M. Huxley & Cynthia Pasky David & Sheri Jaffa Mr. & Mrs. Thomas H. Jeffs II Mr. & Mrs. Richard J. Jessup Mr. George G. Johnson Lenard & Connie Johnston Ms. Carol Johnston Carol M. Jonson Drs. Anthony & Joyce Kales Faye & Austin Kanter Norb† & Carole Keller Dr. Mark & Mrs. Gail Kelley June K. Kendall Bette E. Kettelhut† Dimitri† & Suzanne Kosacheff Mr. & Mrs. Arthur J. Krolikowski Mary Clippert LaMont Mrs. Bonnie Larson Ann C. Lawson Allan S. Leonard Max Lepler & Rex L. Dotson Dr. Melvin A. Lester Mr. & Mrs.† Joseph Lile Harold Lundquist† & Elizabeth Brockhaus Lundquist Mr. & Mrs. Eric C. Lundquist Roberta Maki Eileen & Ralph Mandarino Judy Howe Masserang Mr. Glenn Maxwell Ms. Elizabeth Maysa Mary Joy McMachen, Ph.D. Judith Mich† Rhoda A. Milgrim Mr. & Mrs. Eugene A. Miller John & Marcia Miller Jerald A. & Marilyn H. Mitchell Mr.† & Mrs. L. William Moll Shari & Craig Morgan Ms. I. Surayyah R. Muwwakkil Geoffrey S. Nathan & Margaret E. Winters Beverley Anne Pack David† & Andrea Page Mr. Dale J. Pangonis Ms. Mary W. Parker Mrs. Sophie Pearlstein Helen & Wesley Pelling† Dr. William F. Pickard Mrs. Bernard E. Pincus

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†

Deceased

Ms. Christina Pitts Mrs. Robert Plummer Mr. & Mrs. P. T. Ponta Mrs. Mary Carol Prokop† Ms. Linda Rankin & Mr. Daniel Graschuck Mr. & Mrs. Douglas J. Rasmussen Deborah J. Remer Mr. & Mrs. Lloyd E. Reuss Barbara Gage Rex Ms. Marianne Reye Lori-Ann Rickard Katherine D. Rines Bernard & Eleanor Robertson Ms. Barbara Robins Jack† & Aviva Robinson Mr.† & Mrs. Gerald F. Ross Mr. & Mrs. George Roumell Dr. Margaret Ryan Marjorie & Saul Saulson Mr. & Mrs. Donald & Janet Schenk Ms. Yvonne Schilla Mr. & Mrs. Fred Secrest† Ms. Marla K. Shelton Edna J. Shin Ms. June Siebert Dr. Melissa J. Smiley & Dr. Patricia A. Wren Ms. Marilyn Snodgrass† Mr. & Mrs. Walter Stuecken Mr.† & Mrs. Alexander C. Suczek David Szymborski & Marilyn Sicklesteel Alice & Paul Tomboulian Mr. David Patria & Ms. Barbara Underwood Roger & Tina Valade Mrs. Richard C. Van Dusen Charles & Sally Van Dusen Mr. & Mrs. Melvin VanderBrug Mr.† & Mrs. George C. Vincent Christine & Keith C. Weber Mr. Herman Weinreich John† & Joanne Werner Mr. & Mrs. Arthur Wilhelm Mr. Robert E. Wilkins† Mrs. Michel Williams Ms. Nancy S. Williams† Mr. Robert S. Williams & Ms. Treva Womble Ms. Barbara Wojtas Elizabeth B. Work Dr. & Mrs. Clyde Wu† Ms. Andrea L. Wulf Mrs. Judith G. Yaker Milton & Lois† Zussman Five who wish to remain anonymous

FEBRUARY 2018

The DSO’s Planned Giving Council recognizes the region’s leading financial and estate professionals whose current and future clients may involve them in their decision to make a planned gift to the Detroit Symphony Orchestra. Members play a critical role in shaping the future of the DSO through ongoing feedback, working with their clients, supporting philanthropy and attending briefings twice per year. For more information or to join the PG Council, please call 313.576.5114.

LINDA WASSERMAN AVIV, Chair

Mrs. Katana H. Abbott Mr. Christopher A. Ballard Ms. Jessica B. Blake, Esq. Ms. Rebecca J. Braun Mrs. Jill Governale Mr. Henry Grix Mrs. Julie R. Hollinshead, CFA Mr. Mark W. Jannott, CTFA Ms. Jennifer A. Jennings Ms. Dawn Jinsky

Mrs. Shirley Kaigler Mr. Robert E. Kass Mr. Christopher L. Kelly Mr. Bernard S. Kent Ms. Yuh Suhn Kim Mr. Henry P. Lee Ms. Marguerite Munson Lentz J. Thomas MacFarlane Mr. Christopher M. Mann Mr. Curtis J. Mann

Mrs. Mary Mansfield Mr. Mark Neithercut Mrs. Alice R. Pfahlert Mr. Steven C. Pierce Ms. Deborah J. Renshaw, CFP Mr. James P. Spica Mr. David M. Thoms Mr. John N. Thomson, Esq. Mr. William Winkler Mrs. Wendy Zimmer Cox

T ICKE T VETERASNFOR FAMILYS &

SPECIAL OFFER TO AMERICA’S VETERANS, MADE POSSIBLE WITH A GRANT FROM FCA FOUNDATION Military Veterans and their families are invited to enjoy a night of music with the Detroit Symphony Orchestra. Join us at Orchestra Hall at the Max M. & Marjorie S. Fisher Music Center for Heroes Nights, using promo code HEROESNIGHT to access $10 tickets for the concerts listed below. Beethoven’s Seventh: March 23 & 24 at 8 p.m. The Doo Wop Project: May 18 & 19 at 8 p.m. The Doo Wop Project: May 20 at 3 p.m.

VISIT DSO.ORG OR CALL 313.576.5111 TO REDEEM Orchestra Hall • Max M. & Marjorie S. Fisher Music Center • 3711 Woodward Avenue, Detroit, MI 48201

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THE ANNUAL FUND

Gifts received between September 1, 2016 and December 1, 2017 Being a community-supported orchestra means you can play your part through frequent ticket purchases and generous annual donations. Your tax-deductible Annual Fund donation is an investment in the wonderful music at Orchestra Hall, around the neighborhoods and across the community. This honor roll celebrates those generous donors who made a gift of $1,500 or more to the DSO Annual Fund Campaign. If you have questions about this roster, or to make a donation, please contact 313.576.5114 or go to dso.org/donate.

The Gabrilowitsch Society honors individuals who support the DSO most generously at the $10,000 level and above. Janet and Norm Ankers, chairs

Giving of $250,000 and more Mr. & Mrs. Lee Barthel Penny & Harold Blumenstein Julie & Peter Cummings Mr. & Mrs. Stanley Frankel Mr. & Mrs.† Morton E. Harris

Mr. & Mrs. Peter Karmanos, Jr. Linda Dresner & Ed Levy, Jr. Mr. & Mrs. James B. Nicholson Mrs. Richard C. Van Dusen

Giving of $100,000 and more Mr. & Mrs. Richard L. Alonzo Applebaum Family Foundation Ms. Leslie C. Devereaux Mr. & Mrs. Phillip Wm. Fisher

Emory M. Ford, Jr.† Endowment Shari & Craig Morgan The Polk Family Cindy & Leonard* Slatkin

Giving of $50,000 and more Mr. & Mrs. James A. Anderson Mrs. Cecilia Benner Mandell & Madeleine Berman Foundation Mr. & Mrs. Richard A. Brodie Marvin & Betty Danto Family Foundation Mrs. Bonnie Larson

Mr. & Mrs. Matthew Lester Ms. Deborah Miesel Mr. & Mrs. Eugene A. Miller Bernard & Eleanor Robertson The Clyde & Helen Wu Family

Giving of $25,000 and more Ms. Sharon Backstrom W. Harold & Chacona W. Baugh Mr. & Mrs. Raymond M. Cracchiolo Joanne Danto & Arnold Weingarden Mrs. Kathryn L. Fife Madeline & Sidney Forbes Mr. & Mrs. Edsel B. Ford II Barbara Frankel & Ronald Michalak Mr. & Mrs. Aaron Frankel Herman & Sharon Frankel Mr. & Mrs. Ralph J. Gerson Grace & Evelyn Kachaturoff 50

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Mr. & Mrs. Norman D. Katz David & Valerie McCammon Ms. Ruth Rattner Mr. & Mrs. Lloyd E. Reuss Ms. Nancy Schlichting Mr. & Mrs. Alan E. Schwartz Mrs. Patricia Finnegan Sharf Mr. & Mrs. Larry Sherman Mr. & Mrs. Donald R. Simon Mr. & Mrs. Arn Tellem Mr. James G. Vella

†

Deceased

FEBRUARY 2018

Giving of $10,000 and more Mr. & Mrs. Robert A. Allesee Daniel & Rose Angelucci Mr. & Mrs. Norman Ankers Pamela Applebaum Drs. John & Janice Bernick Mr. & Mrs. Robert H. Bluestein Mr. & Mrs. John A. Boll, Sr. Mr. & Mrs. Jim Bonahoom Gwen & Richard Bowlby Mrs. Milena Brown Mr. and Mrs. Stephen Brownell Michael & Geraldine Buckles Michael & Cathleen Clancy Lois & Avern Cohn Margie Dunn & Mark Davidoff Mr. & Mrs. Richard L. DeVore Eugene & Elaine C. Driker Marianne T. Endicott Jim & Margo Farber Dr. Marjorie M. Fisher & Mr. Roy Furman Mr. Michael J. Fisher Mr. & Mrs. Samuel Fogleman Dr. Saul & Mrs. Helen Forman Dale & Bruce Frankel Byron† & Dorothy Gerson Mrs. Gale Girolami

Dr. Kenneth & Roslyne Gitlin Dr. Robert T. Goldman Dr. Allen Goodman & Dr. Janet Hankin Mary Ann & Robert Gorlin Dr. Herman & Mrs. Shirley Gray Mr. & Mrs. James Grosfeld Dr. Gloria Heppner Michael E. Hinsky & Tyrus N. Curtis Mr. & Mrs. Norman H. Hofley Jack & Anne Hommes Ronald M. & Carol† Horwitz Richard H. & Carola Huttenlocher Lenard & Connie Johnston Faye & Austin Kanter Mike & Katy Keegan Dr. David & Mrs. Elizabeth Kessel Marguerite & David Lentz Dr. Melvin A. Lester Bud & Nancy Liebler Mr. & Mrs.† Joseph Lile Mr. and Mrs. Doug McClure Alexander & Evelyn McKeen Dr. Robert & Dr. Mary Mobley Cyril Moscow Xavier & Maeva Mosquet Geoffrey S. Nathan & Margaret E. Winters

David Robert & Sylvia Jean Nelson Jim & Mary Beth Nicholson Patricia & Henry Nickol Mr. & Mrs. Stanley Nyeck Mrs. Jo Elyn Nyman Anne Parsons* & Donald Dietz Dr. William F. Pickard Dr. Erik Rönmark* & Mrs. Adrienne Rönmark* Martie & Bob Sachs Dr. Mark & Peggy Saffer Marjorie & Saul Saulson Elaine & Michael Serling Lois & Mark Shaevsky Mr. & Mrs. James H. Sherman William H. Smith John J. Solecki Richard Sonenklar & Gregory Haynes Dr. Doris Tong & Dr. Teck M. Soo Mr. Gary L. Wasserman & Mr. Charlie Kashner Mr. & Mrs. R. Jamison Williams Ms. Mary Wilson Drs. David & Bernadine Wu Mrs. Judith G. Yaker Paul & Terese Zlotoff Three who wish to remain anonymous

Giving of $5,000 and more Mrs. Denise Abrash Ms. Dorothy Adair Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Mrs. Jean Azar Mr. & Mrs. Michael Biber Claire & Robert N. Brown Mr. & Mrs. François Castaing Dr. & Mrs. Charles G. Colombo Thomas W. Cook & Marie L. Masters Mr. & Mrs. Gary L. Cowger Mr. & Mrs. Charles W. Dare Adel & Walter Dissett Mr. & Mrs. John M. Erb Mr. Sanford Hansell & Dr. Raina Ernstoff Mr. Peter Falzon Hon. Sharon Tevis Finch Barbara & Alfred J. Fisher III Ms. Mary D. Fisher Ms. Carol A. Friend Allan D. Gilmour & Eric C. Jirgens Goodman Family Charitable Trust Mr.† & Mrs. James A. Green Mr. Jeffrey Groehn

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Mr. Lee V. Hart & Mr. Charles L. Dunlap Ms. Nancy B. Henk Ms. Doreen Hermelin Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. George Hill & Mrs. Kathleen TalbertHill Mr. & Mrs. Peter Hollinshead Mr. & Mrs. Richard J. Jessup William & Story John Mr. George G. Johnson Judy & David Karp Michael E. Smerza & Nancy Keppelman Samantha Svoboda & Bill Kishler Mr. & Mrs. Harold Kulish John & Marilyn Kunz Dr. Raymond Landes & Dr. Melissa McBrien-Landes The Locniskar Group Bob & Terri Lutz Patricia A.† & Patrick G. McKeever Mr. & Mrs. Robert S. Miller Eugene & Sheila Mondry Foundation Mr. & Mrs. Albert T. Nelson, Jr. Mr. & Mrs. David E. Nims

*Current DSO Musician or Staff

Mr. & Mrs. Stanley Nycek Debra & Richard Partrich Ms. Lisa Payne Mr. Charles Peters Mr. & Mrs. Bruce D. Peterson Dr. Glenda D. Price Mr. & Mrs. David Provost Mr. & Mrs. Dave Redfield Dr. & Mrs. John Roberts Mr. & Mrs. Robert B. Rosowski Dr. & Mrs.† Alexander G. Ruthven II Mrs. Kathleen Straus & Mr. Walter Shapero Anne Stricker Mr. & Mrs. John Stroh III Alice & Paul Tomboulian Mr. Gary Torgow Mrs. Eva Von Voss Mr. William Waak S. Evan & Gwen Weiner Dr. & Mrs. Ned Winkelman Ms. June Wu Erwin & Isabelle Ziegelman Foundation Milton & Lois† Zussman One who wishes to remain anonymous DSO PERFORMANCE MAGAZINE 51

Giving of $2,500 and more Howard Abrams and Nina Dodge Abrams Mr. & Mrs. George Agnello Dr. Roger & Mrs. Rosette Ajluni Mr. & Mrs. Robert L. Anthony Drs. Kwabena & Jacqueline Appiah Dr. & Mrs. Ali-Reza R. Armin Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook* Pauline Averbach & Charles Peacock Mr. Joseph Aviv & Mrs. Linda Wasserman Aviv Mr. & Mrs. Wayne J. Babbish Ms. Ruth Baidas Nora Lee & Guy Barron Mr. Mark G. Bartnik & Ms. Sandra J. Collins Mr. & Mrs. Martin S. Baum Mrs. Mary Beattie Mr. & Mrs. Richard Beaubien Dr. & Mrs. Brian J. Beck Ms. Margaret Beck Mrs. Harriett Berg Mr. & Mrs. Dennis Bernard Mr. & Mrs. Jeffrey A. Berner Martha & G. Peter Blom Dr. George & Joyce Blum Nancy & Lawrence Bluth Mr. Timothy Bogan The Honorable Susan D. Borman & Mr. Stuart Michaelson Rud† & Mary Ellen Boucher Don & Marilyn Bowerman Mr. Paul & Mrs. Lisa Brandt Mr. Anthony F. Brinkman Mr. & Mrs. Mark R. Buchanan Mr. & Mrs. Ronald F. Buck Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Dr. & Mrs. Roger C. Byrd Philip & Carol Campbell Mrs. Carolyn Carr Dr. & Mrs. Thomas E. Carson Ronald & Lynda Charfoos Mr. & Mrs. Andrew Christians Mr. Don Clapham Mr. & Mrs. Robert W. Clark Nina & Richard Cohan Jack, Evelyn & Richard Cole Family Foundation Mr. James Schwyn & Mrs. Françoise Colpron Patricia & William Cosgrove, Sr. Dr. & Mrs. Ivan Louis Cotman Mrs. Barbara Cunningham Suzanne Dalton & Clyde Foles Deborah & Stephen D’Arcy Fund Jerry P. & Maureen T. D’Avanzo Barbara A. David 52

Lillian & Walter Dean Mr. & Mrs. Anthony Delsener Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Mr. Giuseppe Derdelakos Diana & Mark Domin Paul† & Peggy Dufault Mr. & Mrs. Robert Dunn Mr. Roger Dye & Ms. Jeanne A. Bakale Edwin & Rosemarie Dyer Mrs. George D. Dzialak Dr. Leo & Mrs. Mira Eisenberg Dr. & Mrs. A. Bradley Eisenbrey Randall & Jill* Elder Mr. Lawrence Ellenbogen Donald & Marjory Epstein Dave & Sandy Eyl Ellie Farber Mr. & Mrs. Oscar Feldman Mr. & Mrs.† Anthony C. Fielek Dr. Thomas Filardo & Dr. Nora Zorich Mark & Loree Frank Kit & Dan Frohardt-Lane Sharyn & Alan Gallatin Mrs. Janet M. Garrett Dr. & Mrs. Theodore Golden Paul & Barbara Goodman Ms. Jacqueline Graham Mr. Luke Ponder & Dr. Darla Granger Dr. & Mrs. Joe L. Greene Dr. & Mrs. Steven Grekin Mr. & Mrs. Robert Hage Robert & Elizabeth Hamel Mary & Preston Happel Randall L. & Nancy Caine Harbour Tina Harmon Mrs. Betty J. Harrell Cheryl A. Harvey Randall* & Kim Minasian Hawes Gerhardt A. Hein & Rebecca P. Hein Mr. & Mrs. Ross Herron Jeremiah* & Brooke Hess Mr. Donald & Marcia Hiruo James Hoogstra & Clark Heath Mr. Matthew Howell & Mrs. Julie Wagner Mr. F. Robert Hozian Mr. & Mrs. Joseph L. Hudson, Jr. Mr. & Mrs. Marshall L. Hutchinson Nicki* & Brian Inman Mr. & Mrs. Steven E. Jackson Mr. & Mrs. Ira J. Jaffe Mr. & Mrs. Charles R. Janovsky Mr. John S. Johns Ms. Sydney Johnstone Mr. Paul Joliat Mr. & Mrs. Joseph Jonna Mr. John Jullens

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Ellen Kahn Diane & John Kaplan Dr. Laura Katz & Dr. Jonathan Pasko Betsy & Joel Kellman June K. Kendall Patrick J. Kerzic† & Stephanie Germack Frederic & Stephanie Keywell Mrs. Frances King Mr. & Mrs. William P. Kingsley Thomas & Linda Klein Mr. & Mrs. Ludvik F. Koci Ms. Margot Kohler Mr. David Kolodziej Mr. James Kors & Ms. Victoria King* Dr. Harry & Katherine Kotsis Robert C. & Margaret A. Kotz Barbara & Michael Kratchman Richard & Sally Krugel Dr. Arnold Kummerow Mr. & Mrs. Robert LaBelle Drs. Lisa & Scott Langenburg Ms. Sandra Lapadot Ms. Anne T. Larin Dr. Lawrence O. Larson The Dolores & Paul Lavins Foundation Mr. Michael Lebenbom Max Lepler & Rex L. Dotson Mr. & Mrs. Ralph LeRoy, Jr. Barbara & Carl Levin Drs. Donald & Diane Levine Arlene & John Lewis Ms. Carol Litka Daniel & Linda* Lutz Mrs. Sandra MacLeod Cis Maisel Margaret Makulski & James Bannan Mr. & Mrs. Charles W. Manke, Jr. Mervyn & Elaine Manning Mr. Anthony Marek Maurice Marshall Dr. & Mrs. Richard Martella Dr. & Mrs. Peter M. McCann, M.D. Mr. Anthony R. McCree Mr. & Mrs. Alonzo McDonald Mr. John McFadden Dr. & Mrs. Donald A. Meier Dr. & Mrs. David Mendelson Olga Sutaruk Meyer Thomas & Judith Mich Mr. and Mrs. Bruce A. Miller John & Marcia Miller Dr. Susan & Mr. Stephen* Molina Mr. & Mrs. Daniel E. Moore Ms. A. Anne Moroun Mr. Frederick Morsches & Mr. Kareem George FEBRUARY 2018

Drs. Barbara & Stephen Munk Ms. I. Surayyah R. Muwwakkil Joy & Allan Nachman Edward & Judith Narens Mr. & Mrs. Eric Nemeth Mariam C. Noland & James A. Kelly Ms. Gabrielle Poshadlo & Mr. Dennis Nulty* Katherine & Bruce Nyberg Dr. & Mrs. Dongwhan Oh Mr. & Mrs. Arthur T. O’Reilly Lila & Randall Pappal Mrs. Margot Parker Mrs. Sophie Pearlstein Noel & Patricia Peterson Mr. & Mrs. Kris Pfaehler Mr. & Mrs. Philip E. Pfahlert Benjamin B. Phillips Mr. Dave Phipps Dr. Klaudia Plawny-Lebenbom William H. & Wendy W. Powers Reimer & Rebecca Priester Charlene & Michael Prysak Mr. & Mrs. Richard Rappleye Drs. Stuart & Hilary Ratner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Denise Reske Barbara Gage Rex Ms. Linda Rodney

Seth & Laura Romine Michael & Susan Rontal Mr.† & Mrs. Gerald F. Ross Mr. R. Desmond Rowan Jane & Curt Russell Linda & Leonard Sahn Mr. David Salisbury & Mrs. Terese Ireland Salisbury Dr. & Mrs. Hershel Sandberg Ms. Martha A. Scharchburg & Mr. Bruce Beyer Dr. Sandy Koltonow & Dr. Mary Schlaff Catherine & Dennis B. Schultz Sandy & Alan Schwartz Mr. & Mrs. Kingsley G. Sears Mr. Merton J. Segal Nancy & Sam Shamie Mr. Scott Shapero Dr. Les & Ellen Lesser Siegel Coco & Robert Siewert Mr. Norman Silk & Mr. Dale Morgan William & Cherie Sirois Dr. Cathryn & Mr. Daniel Skedel Dr. Gregory Stephens Barb & Clint Stimpson Nancy C. Stocking Dr. & Mrs. Gerald Stollman David Szymborski & Marilyn Sicklesteel Ms. Dorothy Tarpinian Shelley & Joel Tauber Dr. & Mrs. Howard Terebelo Mr. & Mrs. Douglas J. Thompson

Mr. & Mrs. James W. Throop Carol & Larry Tibbitts Mr. & Mrs. John P. Tierney Dr. Barry Tigay Mr. and Mrs. Paul Tobias Barbara & Stuart Trager Mr. & Mrs. Thomas Trudeau Mark & Janice Uhlig Amanda Van Dusen & Curtis Blessing Charles & Sally Van Dusen Dr. & Mrs. Ronald W. Wadle Captain Joseph F. Walsh, USN (Ret.) Mr. Michael A. Walch & Ms. Joyce Keller Mr. & Mrs. Jonathan T. Walton Mr. Patrick Webster Mr. Herman Weinreich Lawrence & Idell Weisberg Ambassador & Mrs. Ronald N. Weiser Janis & William Wetsman/The Wetsman Foundation Barbara & David Whittaker Ms. Anne Wilczak Beverly & Barry Williams Dr. M. Roy & Mrs. Jacqueline Wilson Rissa & Sheldon Winkelman Mr. Jonathan Wolman & Mrs. Deborah Lamm Cathy Cromer Wood Ms. Andrea L. Wulf Margaret S. York Three who wish to remain anonymous

Giving of $1,500 and more Joshua & Judith Adler Dr. & Mrs. Gary S. Assarian Dr. & Dr. Brian Bachynski Ms. Jane Bolender Mr. & Mrs. J. Bora Ms. Nadia Boreiko Mr. & Mrs. Richard Burstein Dr. & Mrs. Glenn B. Carpenter David & Michelle Carroll Mr. Fred J. Chynchuk Mrs. Elizabeth & Mr. C. Howard Crane Dr. & Mrs. Adnan S. Dajani Mr. & Mrs. Alfred J. Darold Gordon & Elaine Didier Mr. Patrick Doig Mr. & Mrs. Henry Eckfeld Mr. Howard O. Emorey Mr. & Mrs. Robert W. Gillette Mr. Joseph & Mrs. Lois Gilmore Mr. Donald Guertin Fran & Howard Heicklen Mr. & Mrs. Paul Hillegonds Ms. Elizabeth Ingraham Ms. Nadine Jakobowski Mr. Arthur Johns

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Robert & Sandra Johnson Carol & Richard Johnston Ms. Ida King Mr. James Kirby Mr. & Mrs. Harvey Kleiman Mr. & Mrs. Thomas N. Klimko Mr. & Mrs. Victor Kochajda/Teal Electric Co. Mr. & Mrs. Kosch Mr. & Mrs. William Kroger, Jr. Mr. Michael Kuhne Dr. Myron & Joyce LaBan Mr. Daniel Lewis Mr. & Mrs. Paul Lieberman Mr. & Mrs. Brian Meer Bruce & Mary Miller Ms. Florence Morris† Mr. & Mrs. Germano Mularoni Mr. John J. O’Brien Ms. Deborah Parker Dr.† & Mrs. Terry Podolsky Mr. Ronald Puchalski Drs. Renato & Daisy Ramos Mr. & Mrs. Richard Rapson Mr. Paul Robertson & Ms. Cheryl Mauro Mr. & Mrs. Leslie Rose

*Current DSO Musician or Staff

Mr. & Mrs. Hugh C. Ross Mr. & Mrs. George Roumell Nancy J. Salden Mr. & Mrs. Lawrence Schlack Mr. Steve Secrest Mr. & Mrs. William C. Shenefelt Mr. Lawrence Shoffner Ms. Margo Shulman Zon Shumway Ms. Claudia Sills Mr. Ariel Simon Mr. Mark Sims & Ms. Elaine Fieldman Ralph & Peggy Skiano Mr. Michael J. Smith & Mrs. Mary C. Williams Dr. & Mrs. Choichi Sugawa Ms. Joyce Sutherland David & Lila Tirsell Mr. Jim Van Eizenga William & Sandra Vanover Peter & Carol Walters Mr. Barry Webster Ms. Beverly Weidendorf Ms. Janet Weir Frank & Ruth Zinn

DSO PERFORMANCE MAGAZINE 53

CORPORATE PARTNERS $500,000 and more

JIM NICHOLSON CEO, PVS Chemicals

$200,000 and more

GERARD M. ANDERSON LYNETTE DOWLER President, Chairman President, and CEO, DTE Energy DTE Energy Corporation Foundation

SERGIO MARCHIONNE Chief Executive Officer, Fiat Chrysler Automobiles N.V.

SHANE KARR President, FCA Foundation

primary pereferred logo

4 color - 65% black spot color - pantone cool gray 9C

secondary

JIM HACKETT President & CEO, Ford Motor Company

JAMES VELLA President, Ford Motor Company Fund

MARY BARRA Chairman & Chief Executive Officer, General Motors Company

TERRY RHADIGAN Executive secondary - for use on dark backgrounds Director, Global Communications

2014 GM Design Corporate ID & Graphics

$100,000 and more

RICHARD L. DeVORE Regional President, PNC Bank, Detroit and Southeast Michigan

$20,000 and more

MATTHEW J. SIMONCINI President and CEO, Lear Corporation

American House Senior Living Communities Beaumont Health Chemical Bank Greektown Casino Hotel Honigman Miller Schwartz and Cohn LLP KPMG LLP

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KEITH J. ALLMANN President and CEO, MASCO Corporation

Macyâ&#x20AC;&#x2122;s Michigan Ear Institute MGM Grand Detroit Casino Rock Ventures, LLC Varnum LLP Wico Metal Products Wolverine Packing Company

FEBRUARY 2018

$10,000 and more Amerisure Insurance Creative Benefit Solutions, LLC Denso International America, Inc. Edibles Rex Fifth Third Bank Jaffe, Raitt, Heuer and Weiss Raymond James Suburban Collection UBS Financial Services Inc. Warner Norcross & Judd LLP

$5,000 and more American International Group The Boston Consulting Group Coffee Express Roasting Company Delphi Foundation Dickinson Wright LLP EY Grant Thornton LLP Metro Detroit Chevy Dealers PricewaterhouseCoopers LLP Schaerer Architextural Interiors Yessian Music $1,000 and more Arkay-Walker Paint Company Darling Bolt Company

Delta Dental Plan of Michigan HEM Data Corporation The Harmon Group Hotel St. Regis Howard & Howard Attorneys PLLC Lakeside Ophthalmology Center Madison Electric Company Michigan First Credit Union Morgan Stanley Oswald Companies Plante and Moran, PLLC Planterra PSLZ, LLP RBC Robert Swaney Consulting, Inc.

SUPPORT FROM FOUNDATIONS AND ORGANIZATIONS Giving of $500,000 and more The William M. Davidson Foundation Samuel & Jean Frankel Foundation Giving of $250,000 and more Community Foundation for Southeast Michigan Dresner Foundation Hudson-Webber Foundation John S. and James L. Knight Foundation The Kresge Foundation McGregor Fund The Andrew W. Mellon Foundation Giving of $100,000 and more Paul M. Angell Family Foundation The Richard C. Devereaux Foundation Fred A. & Barbara M. Erb Family Foundation Max M. & Marjorie S. Fisher Foundation Ford Foundation Detroit Symphony Orchestra Volunteer Council Giving of $50,000 and more Marvin & Betty Danto Family Foundation Ann and Gordon Getty Foundation

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William Randolph Hearst Foundation League of American Orchestras Richard & Jane Manoogian Foundation National Endowment for the Arts Michigan Council for Arts & Cultural Affairs Matilda R. Wilson Fund

Japan Business Society of Detroit Foundation Meyer and Anna Prentis Family Foundation Sigmund and Sophie Rohlik Foundation Mary Thompson Foundation

Giving of $25,000 and more Children’s Hospital of Michigan Foundation DeRoy Testamentary Foundation Eleanor & Edsel Ford Fund Henry Ford II Fund Giving of $10,000 and more Maxine & Stuart Frankel Foundation Marjorie and Maxwell Jospey Foundation Myron P. Leven Foundation Oliver Dewey Marcks Foundation Moroun Family Foundation Sage Foundation Giving of $5,000 and more Benson & Edith Ford Fund The Alice Kales Hartwick Foundation

Giving of $1,000 and more Charles M. Bauervic Foundation Frank and Gertrude Dunlap Foundation Clarence and Jack Himmel Fund James and Lynelle Holden Fund Josephine Kleiner Foundation Ludwig Foundation Fund Aline Underhill Orten Foundation The Loraine and Melinese Reuter Foundation Leslie and Regene Schmier Foundation Louis and Nellie Sieg Foundation Sills Foundation Samuel L. Westerman Foundation Save Our Symphony Wheeler Family Foundation, Inc. Young Woman’s Home Association

DSO PERFORMANCE MAGAZINE 55

TRANSFORMATIONAL SUPPORT The Detroit Symphony Orchestra would like to especially thank those who have made extraordinary multi-year gifts for general operations, endowment, capital improvements, and named chairs, ensembles or programs since the start of Blueprint 2023, our ten-year plan, in 2013.

FOUNDING FAMILIES Julie & Peter Cummings The Davidson-Gerson Family and the William Davidson Foundation The Richard C. Devereaux Foundation The Fisher Family and the Max M. & Marjorie S. Fisher Foundation Stanley & Judy Frankel and the Samuel & Jean Frankel Foundation Danialle & Peter Karmanos, Jr. James B. & Ann V. Nicholson and PVS Chemicals, Inc. Clyde & Helen Wu†

CHAMPIONS Mr. & Mrs. Richard L. Alonzo Mandell & Madeleine Berman Foundation Penny & Harold Blumenstein Mr. & Mrs. Raymond M. Cracchiolo Joanne Danto & Arnold Weingarden DTE Energy Foundation

The Fred A. & Barbara M. Erb Family Foundation Mr. & Mrs. Phillip Wm. Fisher Ford Motor Company Fund Mr. & Mrs.+ Morton E. Harris John S. and James L. Knight Foundation The Kresge Foundation Mrs. Bonnie Larson Linda Dresner & Ed Levy, Jr.

Mr. & Mrs. Lee Barthel Marvin & Betty Danto Family Foundation Herman & Sharon Frankel Ruth & Al Glancy

Bud & Nancy Liebler Richard & Jane Manoogian Foundation David & Valerie McCammon Mr. & Mrs. Eugene A. Miller

The Andrew W. Mellon Foundation Ms. Deborah Miesel Shari & Craig Morgan The Polk Family Bernard & Eleanor Robertson Stephen M. Ross Mrs. Richard C. Van Dusen

LEADERS Dr. William F. Pickard Jack+ & Aviva Robinson Mr. & Mrs. Alan E. Schwartz Paul & Terese Zlotoff

NOTABLE PROJECT SUPPORT The Detroit Symphony Orchestra acknowledges the following partners for their support of exceptional projects, partnerships, and performances that boldly advance the DSO’s mission to be a leader in the world of classical music. The DSO is headed to classrooms in Detroit and Warren this January thanks to the Paul M. Angell Family Foundation and Aaron and Carolyn Frankel’s support of in-school partnerships. Over 1,600 elementary and middle school students will experience a broad range of repertoire including Mozart’s overture to Don Giovanni and Beethoven’s Symphony No. 6 during this two-day tour. These students will also travel to Orchestra Hall for April’s Educational Concert Series, furthering our commitment to expanding access to classical music for students in Southeast Michigan Increased energy efficiency in Orchestra Hall and the campus of the Max were made possible by the generosity of long time DSO supporters Lee and Floy Barthel. Upgrades to our mechanical systems, including improvements to the HVAC systems and new LED lights on stage, help keep musicians and patrons comfortable while also providing cost and energy savings for the organization. Through a generous grant from the Phillip and Elizabeth Filmer Memorial Charitable Trust, Oakland County senior resident homes will receive 56

DSO PERFORMANCE MAGAZINE

free tickets and transportation to attend 2017-2018 William Davidson Neighborhood Concert Series performances. The Filmer Memorial Charitable Trust’s gift allows the DSO to deliver exceptional musical experiences for senior citizens in our community. DSO’s Soundcard student discount program has expanded to include Soundcard Sampler Weekends to improve Detroit K-12 student access to and participation in the arts through the support of General Motors. During three weekends of the 2017-2018 season, students interested in Soundcard can attend concerts for just $5, allowing the DSO to better serve the community through music and increase audience diversity. Familiar faces have appeared on the wall of the Max thanks to Chairman of the Board of Trustees Ric Huttenlocher and wife Carola. Portraits of DSO musicians and artistic leadership hang in the hallway connecting the oval lobby with the William Davidson Atrium, helping us celebrate the incredible talent and artistic leadership that make up the DSO and further the connection between the orchestra and our audience. † Deceased

FEBRUARY 2018

TRIBUTE GIFTS Gifts received September 1, 2017 to January 1, 2017 Tribute gifts to the Detroit Symphony Orchestra are made to honor accomplishments, celebrate occasions, and pay respect in memory or reflection. These gifts support current season projects, partnerships and performances such as DSO concerts, education programs, free community concerts and family programming. For information about making a tribute gift, please call 313.576.5114 or visit dso.org/donate.

In Memory of Eugene Applebaum Phillip & Lauren Fisher Anne Parsons & Donald Dietz

In Memory of Helen Calas Eleanora Soves

In Memory of Rosemarie Jeannero Christiane Polaczek Shawn Bonine Mary Cole Laurel Cummins William & Ada Griffith Nancy B Henk Don Jeannero Derek & Yelena Terenzi

In Honor of Hon. Avern Cohn Marc Schwartz & Emily Camiener

In Honor of Mary Beth Keifer David & Beverly Moser

In Memory of Evelynne Dewey Harriet Duus Kathryn Girard

In Honor of Raymond Landes & Melissa McBrien Victoria McBrien

In Memory of Lowell Everson Norman & Janet Ankers Marlene Bihlmeyer David & Madeline Booker Richard & Gwen Bowlby Lynn Brouwers Denise Burrows Marie Delewsky Thomas & Christine Eberts Marje Fecht Joseph & Sue Gibson David & Paulette Groen Paul & Julie Hull Barbara Humphries Mark Humphries Daniel & Linda Lutz David & Cathy Robertson Antonia Skatikat James & Shelley Spala Beth Tatigian

In Honor of David LeDoux Jerry & Virginia LeDoux

In Memory of Marianne Schwartz Pamela Applebaum The Applebaum Family Harold & Penny B. Blumenstein Maurice & Linda Binkow Alan & Denny Camiener Avern & Lois Cohn Kathy Cohn Fran Cook Stanley & Judy Frankel Linda Jacob Stanley & Rita Levy Anne Parsons & Donald Dietz Mark & Lois Shaevsky Walter Shapero & Kathleen Straus Susan Sivak Stevan & Joyce Uzelac Gwen & Evan Weiner Lawrence & Idell Weisberg David & Bernadine Wu

In Honor of Shanda Lowery-Sachs Al & Judy Lowery

In Honor of Kingsley Sears Philip Ventura

In Memory of Arthur Merkl Ronald & Tanya Martella Konstantinos & Diana Voutsinas

In Honor of Marie Slotnik Wade & Wade Schultheiss

In Memory of Marjorie S. Fisher Norman & Janet Ankers

In Memory of Nancy Pilorget Norman & Janet Ankers

In Memory of Deborah Fleitz David Fleitz

In Honor of Cheryl and Paul Robertson Don Rochlen

In Memory of Dawn Boesen Annual Potters Market LLC Vincent & Deborah Cannella

In Honor of James Garrett Timothy & Marianne LeVigne

In Honor of Kari Marie Nelson Ruthann & Harold Atkinson In Memory of Dr. Robert E. L. Perkins, DDS Anne Parsons & Donald Dietz In Honor of Philip and Alice Pfahlert Jonathan Berrie

In Honor of Robert and Margaret Smith Barbara Soyster In Honor of Margaret Spear Gretchen & Robert Wilbert In Loving Memory of Calvin L. Stevens Mr. & Mrs. Doug McClure In Memory and Honor of Lenore Ruth Stevens Roger & Rosette Ajluni In Honor of James Van Wagner Lynda & Richard Bucciarelli In Honor of Rachel Webers Peter Motzenbecker In Memory of Sam, Rose, Arnold, and Robert Werney Charles Werney

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DSO PERFORMANCE MAGAZINE 57

PERFORMANCE Volume XXVI Winter 2017 2017-2018 Season

OFFERINGS

EDITOR Ben Breuninger bbreuninger@dso.org 313.576.5196

Subscribers and donors who make a gift of $1,000 or more annually receive priority assistance. Just visit the Patron Services Center on the second floor of the Max M. & Marjorie S. Fisher Music Center Atrium for help with tickets, exchanges, donations, or any other DSO needs.

PUBLISHER Echo Publications, Inc. Thomas Putters PROGRAM NOTES ANNOTATOR Charles Greenwell (Unless otherwise noted) DSO ADMINISTRATIVE OFFICES Max M. & Marjorie S. 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: 313.576.5109 Rental Info: 313.576.5050 Email: info@dso.org Website: dso.org

PRIORITY SERVICE FOR OUR MEMBERS

HERMAN AND SHARON FRANKEL DONOR LOUNGE

Governing Members who make a gift of $3,000 or more annually enjoy complimentary beverages, appetizers, and desserts in the Donor Lounge, open 90 minutes prior to each concert through the end of intermission. For more information on becoming a Governing Member, contact Dan Coleman at 313.576.5451 or dcoleman@dso.org. DINE AT THE DSO

Located on the second floor of Orchestra Hall, Paradise Lounge is open prior to most concerts and features gourmet dinners, decadent desserts, classic cocktails, small production wines, and craft beers. Bars are available throughout the Max M. & Marjorie S. Fisher Music Center prior to concerts and during intermission. For your convenience, you may place your beverage orders pre-concert and your drink will be waiting for you at intermission.

For group ticket sales (groups of 10 or more), please contact James Sabatella, Group Sales Manager, at 313.576.5130 or jsabatella@dso.org. Subscribe to our e-newsletter via our website to receive updates and special offers. To advertise in Performance, please call 248.582.9690. To report an emergency during a concert, call 313.576.5199. To make special arrangements to receive emergency phone calls during a concert, ask for the house manager. Activities of the DSO are made possible in part with the support of the Michigan Council for Arts and Cultural Affairs and the National Endowment for the Arts.

RENT THE MAX The elegance and versatility of the Max M. & Marjorie S. Fisher Music Center creates an ideal setting for a variety of events and performances, including weddings, corporate gatherings, meetings, concerts, and more. MAX M. & MARJORIE S. FISHER MUSIC CENTER Home of the Detroit Symphony Orchestra

Call 313.576.5065 for more information.

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DSO PERFORMANCE MAGAZINE

FEBRUARY 2018

MA XIMIZE YOUR EXPERIENCE GIFT CERTIFICATES

Give friends and loved ones a gift that ignites their soul â&#x20AC;&#x201D; the experience of a DSO performance. Gift certificates are available in any denomination and may be used toward the purchase of DSO concert tickets. Visit the DSO Box Office or call 313.576.5111 for more information.

POLICIES

PARKING, SECURITY, AND LOST & FOUND

Valet parking is available for most concerts for $12, with vehicle drop-off and pick-up on Parsons Street. Donor valet and pick-up (available to patrons who give $7,500 annually) is available at the stage door behind the Max M. & Marjorie S. Fisher Music Center. Parking is available for $8 in the Orchestra Place Parking Structure located on Parsons Street, with overflow in a nearby DSO lot. Handicap accessible parking is also available. Other parking options include Woodward Gardens on Woodward Avenue near Alexandrine Street, and Wayne State University Parking near Whole Foods on John R Street. The DSO offers shuttle bus service to Coffee Concerts from select locations for $15. Please call 313.576.5130 for more information. ACCESSIBILITY

Handicap parking is available in the Orchestra Place Parking Structure for patrons with applicable permits. There are elevators, barrier-free restrooms, and accessible seating in all areas of the Max M. & Marjorie S. Fisher Music Center. Security personnel are available at all entrances to help patrons requiring extra assistance in and out of vehicles. Hearing assistance devices are also available. Please see the House Manager or any usher for additional assistance. A SMOKE-FREE ENVIRONMENT

The DSO is pleased to offer a smoke-free environment at the Max M. & Marjorie S. Fisher Music Center. Patrons who wish to smoke must do so outside the building. This policy also applies to electronic smoking devices such dso.org

as e-cigarettes and personal vaporizers. An outdoor patio is also available on the second level of the Atrium Lobby. HOUSE AND SEATING POLICIES

All patrons must have a ticket to attend concerts at the Max M. &Marjorie S. Fisher Music Center, including children. The Max opens two hours prior to most DSO concerts. Most Classical Series concerts feature free preconcert talks or performances in Orchestra Hall for all ticket holders. The DSO makes every attempt to begin concerts on time. In deference to the comfort and listening pleasure of the audience, latecomers will be seated at an appropriate pause in the music at the discretion of the house staff. Patrons who leave the hall before or during a piece will be reseated after the piece is completed. Latecomers may watch the performance on closed circuit television in the Atrium. Please silence cell phones, alarms, and other electronic devices. Patrons should speak to the House Manager to make special arrangements to receive emergency phone calls during a performance. EMERGENCY EVACUATION PROCEDURE

In the event of an emergency, locate the nearest exit sign and listen for announcements on the PA system. Please follow the directions of Orchestra Hall ushers and staff. For safety reasons, everyone should leave in an orderly fashion and please remain calm. Guests with disabilities will be escorted to the nearest exits by an usher. Elevators will not operate during an evacuation. Once you exit the building, proceed as far away from the premises as possible. Thank you for being prepared to respond calmly in the event of an emergency. CONCERT CANCELLATIONS

The DSO rarely cancels concerts. In the event of inclement weather or other emergencies, please visit dso.org, call the Box Office at 313.576.5111, or check the DSOâ&#x20AC;&#x2122;s social media pages for updates and information. Patrons will be notified of exchange options. The DSO is unable to offer refunds. DSO PERFORMANCE MAGAZINE 59

ADMINISTRATIVE STAFF EXECUTIVE OFFICE

Dennis Rottell Stage Manager

COMMUNITY & LEARNING

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

Leslie Karr Executive Assistant to the Music Director

Caen Thomason-Redus Senior Director of Community & Learning

Patrick Peterson Manager of Orchestra Personnel

Nelson Rodriguez Parada General Manager of Training Ensembles

ADVANCEMENT

Clare Valenti Manager of Community Engagement

Jill Elder Vice President and Chief Development Officer Linda Lutz Vice President and Chief Financial Officer Erik Rรถnmark Vice President and General Manager Joy Crawford Executive Assistant to the President and CEO Elaine Curvin Executive Assistant to the Vice President and CDO Caitlin Bush Advancement Relations Associate

ARTISTIC OPERATIONS ARTISTIC PLANNING Jessica Ruiz Director of Artistic Planning Christopher Harrington Managing Director of Paradise Jazz Series/Managing Director & Curator of @ The Max Christina Biddle Popular and Special Programs Coordinator Catherine Miller Artistic Coordinator

LIVE FROM ORCHESTRA HALL

Jill Rafferty Senior Director, Advancement

INDIVIDUAL & INSTITUTIONAL GIVING Chelsea Kotula Advancement Officer Marah Casey Advancement Officer Leslie Groves Major Gift Officer

STEWARDSHIP Bree Kneisler Associate Director of Campaign and Stewardship Jacqueline Garner Stewardship Manager Will Broner Advancement Services Coordinator Ashley Handy Stewardship Coordinator Sarah Hamel Advancement Events Designer Juanda Pack Advancements Benefits Concierge

COMMUNICATIONS

Debora Kang Manager of Education Programs Kiersten Alcorn Community Engagement Coordinator

FACILITY OPERATIONS Dan Saunders Director of Facilities Management Clarence Burnett Maintenance Supervisor Frederico Augustin Facility Engineer Matt Deneka Maintenance Technician Martez Duncan Maintenance Technician William Guilbault Maintenance Technician Crystal King Maintenance Technician Daniel Speights Maintenance Technician Greg Schimizzi Chief of Security Edward John Assistant Chief of Security

Marc Geelhoed Director of Digital Initiatives

Matthew Carlson Director of Communications and Media Relations

ORCHESTRA OPERATIONS

Teresa Alden Digital Communications Manager

Norris Jackson Security Officer

Kathryn Ginsburg Orchestra Manager

Ben Breuninger Public Relations Coordinator

Ronald Martin Security Officer

Heather Hart Rochon Director of Orchestra Personnel

Emily Carter Communications Coordinator

Johnnie Scott Security Officer

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Melvin Dismukes Security Officer

FEBRUARY 2018

Sarah Osen Audience Development Manager

Sandra Mazza Senior Accountant

Annick Busch Patron Loyalty Coordinator

Dawn Kronell Senior Accountant

LaHeidra Marshall Audience Development Coordinator

Denise Ousley Human Resources Director

Michelle Koning Web Manager

PATRON DEVELOPMENT & ENGAGEMENT

James Sabatella Group Sales Manager Sharon Gardner Carr Assistant Manager of Tessitura and Ticketing Operations

dso.org

Ashley Powers Event Sales Representative Stephanie McClung Coordinator of Event Sales & Administration

PATRON SALES AND SERVICE Molly Fidler Manager, Patron Sales & Service

MPHONY O R TRA

Michael Frisco Director of Audience Development

Catherine Deep Manager of Events and Rentals

AUDIENCE DEVELOPMENT

EVENTS AND RENTALS

Nicki Inman Senior Director of Patron Development & Engagement

Justine Smith Retail Manager

TRA

Ra’Jon Taylor Application Administrator

Nate Richter Bar Manager

To learn more aboutY Mbecoming an PHONY OR S usher or joining the DSO Ambassador Corps, please visit dso.org/ambassadors. AMBASSADOR ES

Jody Harper Director of Information Technology

Brent Foster Assistant Catering Manager

INFORMATION TECHNOLOGY

Chris Skillingstad Executive Chef

HUMAN RESOURCES

Christina Williams Director of Catering and Retail Services

to all the Detroit Symphony Orchestra’s volunteer ushers and retail shop volunteers.

Karen McCombs Accounting Specialist

CATERING AND RETAIL SERVICES

DETR

Michelle Wisler Payroll and Benefits Accountant

Thank You

Jeremiah Hess Senior Director of Accounting & Finance

Lori Cairo Front of House Manager

DETR

FINANCE

AMBASSADOR

Michelle Marshall Assistant Manager, Patron Sales & Service Tommy Tatti Lead Ticketing Specialist

DSO PERFORMANCE MAGAZINE 61

MAIN LIBRARY Presents

LEONARD SLATKIN LEADING TONES Sunday, February 25, 2018 - 2:00 p.m.

Enjoy an afternoon and book signing with Leonard Slatkin, Music Director of the Detroit Symphony Orchestra. He will discuss his career and his new book, Leading Tones. Main Library Clara Stanton Jones Friends Auditorium and Old Fine Arts 5201 Woodward Avenue Detroit, MI 48202 313.481-1339

www.detroitpubliclibrary.org

ENGAGED IN THE ARTS.

COMMITTED TO CULTURE.

IMPACTING OUR COMMUNITY. The Community Foundation for Southeast Michigan proudly supports the DSO as part of our mission to assist programs creating a lasting, positive impact on our communitiesâ&#x20AC;&#x2122; health.

CFSEM.org

313-961-6675

Impact. When you become a Laker, you look outward, focusing on others instead of yourself. With professors’ caring guidance, you learn how to make a meaningful, lasting difference. Then, as you go forward into the world, you’re ready to tackle challenges and make meaningful contributions. Like Michigan itself, your positive impact will be far reaching. That’s the Laker Effect.

gvsu.edu