DSO Performance magazine Winter 2018-2019 by Echo Publications, Inc.

VOLUME XXVII • WINTER 2018-2019

PERFORMANCE THE MAGAZINE OF THE DETROIT SYMPHONY ORCHESTRA

2018-2019 SEASON

INSIDE n

Program Notes

ew, Now N New Music in a New Era

A Slam Dunk Ensemble CYE’s Bucket Band

eet the Musician M Robert Stiles

The DSO’S Ralph Skiano pitches in at Keep Growing Detroit during the annual Day of Service

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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

12 Meet the Musician Robert Stiles

Now 14 New, New Music in a New Era

A Slam Dunk Ensemble CYE’s Bucket Band in Partnership with the Detroit Pistons

20 Community and Learning 21 PROGRAM NOTES Read Performance anytime, anywhere at dso.org/performance

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Welcome......................................................4 Orchestra Roster.........................................5 Behind the Baton.........................................6 Board Leadership........................................8 Transformational Support........................10 Donor Roster............................................. 38 Maximize Your Experience....................... 48 DSO Administrative Staff......................... 50 Upcoming Concerts.................................. 52 ON THE COVER: Ralph Skiano, Principal Clarinet (Robert B. Semple Chair), was one of many musicians, staff, and board members to volunteer at the DSO’s sixth annual Day of Service on Friday, October 19. The DSO partnered with three organizations— Keep Growing Detroit, Friends for the Animals of Metro Detroit, and Children’s Hospital of Michigan—to give back to the community that supports the orchestra. Photo: Sarah Smarch DSO PERFORMANCE MAGAZINE 3

WELCOME DONALD DIETZ

Dear Friends,

Having the world-class DSO musicians perform in Orchestra Hall most weekends during our season is such a tremendous asset for our great city and state. Many of the members of the orchestra have come to Detroit from all around the world, choosing to make music here and become part of the fabric of our lives. They build careers and families, they teach in our universities, they play music in our communities. We love sharing their stories, both on stage and off, and they couldn’t do any of it without you. Last year the musicians themselves invested financially in the DSO, with each member contributing to an endowment gift of $100,000. Principal Trombone Kenneth Thompkins gave because “the people of Detroit deserve the best.” Assistant Concertmaster Hai-Xin Wu says “it shows that we are all in this together,” while cellist Peter McCaffrey gave because he believes “the artistic excellence of the DSO makes Detroit a better city.” If you feel as they do, we ask that you join them in support of the DSO Musicians Artistic Excellence Fund. Together, we can build a bright future for music in our city. In addition to concerts in Orchestra Hall, DSO musicians regularly perform in schools as part of PNC Bank’s Grow Up Great initiatives and our own Wu Family Academy programs, play for young people at Children’s Hospital of Michigan and seniors at American House residences, and give lessons to students in our Civic Youth Ensembles. As we anticipate the Civic Youth Ensembles’ (CYE) 50th anniversary in 2021, we continue to explore new ways to widen our reach in bringing music instruction to students of our region. Thanks to support from the Dresner Foundation, we were able to expand CYE into DPSCD schools last year, launching an entry-level violin program for third graders at Duke Ellington Conservatory. This year we have partnered with the Detroit Pistons to create a new CYE percussion ensemble—the Detroit Pistons Bucket Band—at Spain Elementary–Middle School. See the feature article in this issue for more! During your visit to Orchestra Hall, we invite you to take in the magnificent artwork on display as part of our ongoing Art @ The Max series, generously supported by The Eugene and Marcia Applebaum Family Foundation, and we urge you to attend one of the many intimate performances in the Peter D. & Julie F. Cummings Cube, where Curated Urban Boundless Experiences are the norm! Wishing you a wonderful holiday season and a happy and peaceful new year!

Anne Parsons President and CEO 4

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Mark Davidoff Chairman WINTER 2018-2019

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

JEFF TYZIK

Principal Pops Conductor

TERENCE BLANCHARD

NEEME JÄRVI

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

Music Director Emeritus

FIRST VIOLIN Yoonshin Song Concertmaster Katherine Tuck Chair Kimberly Kaloyanides Kennedy A ssociate Concertmaster Alan and Marianne Schwartz and Jean Shapero (Shapero Foundation) Chair Hai-Xin Wu A ssistant Concertmaster Walker L. Cisler/Detroit Edison Foundation Chair Jennifer Wey Fang A ssistant Concertmaster Marguerite Deslippe* Laurie Landers Goldman* Rachel Harding Klaus* Eun Park Lee* Adrienne Rönmark* Laura Soto* Greg Staples* Jiamin Wang* Mingzhao Zhou*

Abraham Feder A ssistant Principal Dorothy and Herbert Graebner 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

SECOND VIOLIN Adam Stepniewski Acting Principal Will Haapaniemi* David and Valerie McCammon Chair Hae Jeong Heidi Han* David and Valerie McCammon Chair Sheryl Hwangbo* Sujin Lim* Hong-Yi Mo* Alexandros Sakarellos* Drs. Doris Tong and Teck Soo Chair Joseph Striplin* Marian Tanau* Jing Zhang* Open, Principal The Devereaux Family Chair

HARP Patricia Masri-Fletcher Principal Winifred E. Polk Chair

BASS Kevin Brown, Principal Van Dusen Family Chair Stephen Molina A ssistant Principal Linton Bodwin Stephen Edwards Christopher Hamlen Nicholas Myers

FLUTE Sharon Sparrow Acting Principal Bernard and Eleanor Robertson Chair Amanda Blaikie Morton and Brigitte Harris Chair Jeffery Zook Open, Principal Women’s Association for the DSO Chair Adam Sadberry African-American Orchestra Fellow

VIOLA Eric Nowlin, Principal Julie and Ed Levy, Jr. Chair James VanValkenburg A ssistant Principal Caroline Coade Glenn Mellow Hang Su Shanda Lowery-Sachs Hart Hollman Han Zheng Mike Chen

PICCOLO Jeffery Zook

CELLO Wei Yu, Principal James C. Gordon Chair

ENGLISH HORN Monica Fosnaugh Shari and Craig Morgan Chair

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CLARINET Ralph Skiano Principal Robert B. Semple Chair Jack Walters PVS Chemicals Inc./Jim and Ann Nicholson Chair Laurence Liberson A ssistant Principal Shannon Orme E-FLAT CLARINET Laurence Liberson BASS CLARINET Shannon Orme Barbara Frankel and Ronald Michalak Chair BASSOON Robert Williams, Principal Victoria King Michael Ke Ma A ssistant Principal Marcus Schoon 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 A ssistant Principal William Lucas Michael Gause African-American Orchestra Fellow

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 A ssistant Principal William Cody Knicely Chair James Ritchie TIMPANI Jeremy Epp, Principal Richard and Mona Alonzo Chair James Ritchie A ssistant 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

OBOE Alexander Kinmonth Principal Jack A. and Aviva Robinson Chair Sarah Lewis Maggie Miller Chair Brian Ventura A ssistant Principal Monica Fosnaugh

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

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B E H I N D T H E B AT O N

Leonard Slatkin

nternationally acclaimed conductor Leonard Slatkin is Music Director Laureate of the Detroit Symphony Orchestra (DSO) and Directeur Musical Honoraire of the Orchestre National de Lyon (ONL). He maintains a rigorous schedule of guest conducting throughout the world and is active as a composer, author, and educator. Highlights of the 2018-19 Season include a tour of Germany with the ONL; a three-week American Festival with the DSO; the Kastalsky Requiem project commemorating the World War I Centennial; Penderecki’s 85th birthday celebration in Warsaw; five weeks in Asia leading orchestras in Guangzhou, Beijing, Osaka, Shanghai, and Hong Kong; and the Manhattan School of Music’s 100th anniversary gala concert at Carnegie Hall. He will also conduct the Moscow Philharmonic, Balearic Islands Symphony, Orchestre Philharmonique de Radio France, Louisville Orchestra, Berner Symphonieorchester, Pittsburgh Symphony, St. Louis Symphony, RTÉ National Symphony in Ireland, and Monte Carlo Symphony. Slatkin has received six Grammy awards and 33 nominations. His recent Naxos recordings include works by

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Saint-Saëns, 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. His second book, Leading Tones: Reflections on Music, Musicians, and the Music Industry, was published by Amadeus Press in 2017. Slatkin has conducted virtually all the leading orchestras in the world. As Music Director, he has held posts in New Orleans; St. Louis; Washington, DC; London (with the BBCSO); Detroit; and Lyon, France. He has also served as Principal Guest Conductor in Pittsburgh, Los Angeles, Minneapolis, and Cleveland. For more information, visit leonardslatkin.com.

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Jeff Tyzik

rammy Award winner Jeff Tyzik is one of America’s most innovative and sought-after pops conductors. Tyzik is recognized for his brilliant arrangements, original programming, and engaging rapport with audiences of all ages. In addition to his role as Principal Pops Conductor of the DSO, Tyzik holds The Dot and Paul Mason Principal Pops Conductor’s Podium at the Dallas Symphony Orchestra and also serves as principal pops conductor of the Oregon Symphony, Florida Orchestra, and Rochester Philharmonic — a post he has held for 23 seasons. Frequently invited as a guest conductor, Tyzik has appeared with the Boston Pops, Cincinnati Pops, Milwaukee Symphony, Pittsburgh Symphony, Toronto Symphony, Indianapolis Symphony, Philadelphia Orchestra, Los Angeles Philharmonic, and Royal Scottish National Orchestra. In May 2007, the Harmonia Mundi label released his recording of works by Gershwin with pianist Jon Nakamatsu and the RPO, which stayed in the Top 10 on the Billboard classical chart for over

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three months. Alex Ross of the New Yorker called it “one of the snappiest Gershwin discs in years.” Committed to performing music of all genres, Tyzik has collaborated with such diverse artists as Megan Hilty, Chris Botti, Matthew Morrison, Wynonna Judd, Tony Bennett, Art Garfunkel, Dawn Upshaw, Marilyn Horne, Arturo Sandoval, The Chieftains, Mark O’Connor, Doc Severinsen, and John Pizzarelli. He has created numerous original programs that include the greatest music from jazz and classical to Motown, Broadway, film, dance, Latin, and swing. Tyzik holds Bachelor of Music and Master of Music degrees from the Eastman School of Music. For more information, visit jefftyzik.com.

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Detroit Symphony Orchestra, Inc. LIFETIME MEMBERS

CHAIRMEN EMERITI

DIRECTORS EMERITI

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.

Samuel Frankel † David Handleman, Sr.†

Dr. Arthur L. Johnson † Clyde Wu, M.D.†

Alfred R. Glancy III Robert S. Miller Peter D. Cummings

James B. Nicholson Stanley Frankel Phillip Wm. Fisher

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 Marco Bruzzano Jeremy Epp,* Orchestra Representative Samuel Fogleman

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Herman B. Gray, M.D. Nicholas Hood, III Daniel J. Kaufman Michael J. Keegan Bonnie Larson Matthew B. Lester Arthur C. Liebler Xavier Mosquet Stephen Polk

† Deceased

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. WINTER 2018-2019

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.

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

Richard Robinson James Rose, Jr. Lois L. Shaevsky Thomas Shafer Margaret Shulman Cathryn M. Skedel, Ph.D. Ralph Skiano,* Orchestra Representative Shirley R. Stancato Stephen Strome Mark Tapper Laura J. Trudeau Gwen Weiner Jennifer Whitteaker R. Jamison Williams Margaret E. Winters Ellen Hill Zeringue

GABRILOWITSCH SOCIETY OFFICERS Janet and Norm Ankers, chairs Cecilia Benner Greg Haynes Bonnie Larson Lois Miller Ric Sonenklar

GOVERNING MEMBERS OFFICERS Janice Bernick Chairwoman

James C. Farber Immediate Past Chair

Jiehan Alonzo Vice Chair, Signature Events

Suzanne Dalton Vice Chair, Annual Giving

Maureen D’Avanzo Member-at-Large

Janet and Norm Ankers Co-Vice Chairs, Gabrilowitsch Society

Samantha Svoboda Vice Chair, Communications

Bonnie Larson Member-at-Large

Cathleen Clancy Vice Chair, Engagement

David Assemany Member-at-Large

David Everson* Musician Representative

Diana Golden Vice Chair, Membership

David Karp Member-at-Large

Kenneth Thompkins* Musician Representative

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*Current DSO Musician or Staff

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T R A N S F O R M AT I O N A L S U P P O R T

In building our long-term strategic plan, Blueprint 2023, our Orchestra community concluded that a truly sustainable DSO would require a shared commitment to growing our permanent endowment. The Detroit Symphony Orchestra is grateful to the donors who have made extraordinary multi-year, comprehensive gifts to support general operations, endowment, capital improvements, named chairs, ensembles, or programs. These generous commitments establish a solid foundation for the future of the DSO. A strong endowment does more than secure the financial future for the DSO. It will also help us to achieve artistic excellence – attracting and retaining the best musicians, guaranteeing our education and youth programs for the future, and serving our city as one of its greatest cultural assets. The result will be heard in the continued warmth and clarity of our orchestra, in strong ticket sales and growing donor support, and in more people with increased access to and participation in music. To learn more about this critical effort, please contact Jill Elder, Vice President and Chief Development Officer, at jelder@dso.org.

THE CINDY AND LEONARD SLATKIN EMERGING ARTISTS FUND

he opening of the DSO’s classical series October 5 to 7 in Orchestra Hall had much to celebrate beyond the usual anticipation and excitement that each new season brings. The DSO welcomed back violinist Gil Shaham for the first time since 2013; the orchestra welcomed three new musicians and L-R: Hank and Pat Nickol, Cindy McTee and Leonard two new African-American Slatkin, and Jane and Larry Sherman Fellows; and we all welcomed Leonard Slatkin back as Music Director Laureate following an incredible decade at the helm of the DSO. Leonard’s impact will resonate for many years to come, and one way will be through endowment. The DSO has established the Cindy and Leonard Slatkin Emerging Artists Fund thanks to their donation to the oneDSO campaign. The Slatkins’ gift will provide support for one up-and-coming artist to perform with the orchestra each season. Designed as a challenge, Leonard and Cindy were joined by Ann and Norman Katz, Florine Mark, Pat and Hank Nickol, Ruth Rattner, and Jane and Larry Sherman in support of this endeavor. Leonard and Cindy personally thanked each of them for their generosity backstage during opening weekend. The DSO is grateful to Leonard, Cindy, and all those who joined them in support of the Emerging Artists Fund.

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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 Vera and Joseph Dresner Foundation 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. & James L. Knight Foundation The Kresge Foundation Mrs. Bonnie Larson Linda Dresner & Ed Levy, Jr. 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 Applebaum Family Foundation Charlotte Arkin Estate Mr. & Mrs. Lee Barthel Marvin & Betty Danto Family Foundation Herman & Sharon Frankel Ruth & Al Glancy John C. Leyhan Estate Bud & Nancy Liebler Richard & Jane Manoogian Foundation

David & Valerie McCammon Mr. & Mrs. Eugene A. Miller Dr. William F. Pickard Jack† & Aviva Robinson Martie & Bob Sachs Mr. & Mrs.† Alan E. Schwartz Drs. Doris Tong & Teck Soo Paul and Terese Zlotoff

BENEFACTORS Mr. & Mrs. Robert A. Allesee W. Harold & Chacona W. Baugh Robert & Lucinda Clement Mary Rita Cuddohy Estate Margie Dunn & Mark Davidoff DSO Musicians Bette Dyer Estate Dr. Marjorie M. Fisher & Mr. Roy Furman Barbara Frankel & Ronald Michalak Victor † & Gale Girolami Fund Herbert & Dorothy Graebner Ronald M. and Carol† Horwitz Richard H. & Carola Huttenlocher dso.org

Ann & Norman Katz Dr. Melvin A. Lester Florine Mark Michigan Council for Arts and Cultural Affairs Pat & Hank Nickol Ruth Rattner Mr. & Mrs. Lloyd E. Reuss Donald & Gloria Schultz Estate Mr. & Mrs. Fred Secrest† Jane and Larry Sherman Cindy McTee & Leonard Slatkin Marilyn Snodgrass Estate DSO PERFORMANCE MAGAZINE 11

MEET THE MUSICIAN

ROBERT STILES Principal Librarian “My job is to make music come to life,” says Principal Librarian Robert Stiles, rather matter-of-factly. He isn’t invoking some vague, exaggerated cliché — his job, and the job of all orchestra librarians, is to serve as the conduit between notes on pages, the conductors, and the musicians who will read and play those notes. Stacks of scores can’t become beautiful sounds without someone to manage them. You’ve probably seen Stiles’ name, as well as the name of fellow DSO Librarian Ethan Allen, towards the end of the orchestra roster, just past the Timpani section. They are tenured members of the orchestra like every violinist or oboist, but their role is to make the players’ jobs possible, rather than to play themselves. The work generally involves collaborating with principal musicians (and occasionally conductors) to add, check, or proofread string bowings, page turns, and other details of a score. Without a correct, easy-to-read set of parts and scores, even the best musician will struggle onstage. “We go part-by-part, page-by-page,” Stiles comments. “Sometimes it’s very straightforward, other times you get caught in the weeds a little bit.” For example, there may be differences in articulation, string markings, dynamics, or other details in different editions of a score. Or a conductor might request a change from the podium at rehearsal, and the librarians will make the changes 12

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and/or additions to the parts and scores used for performances. “A lot of pieces have publishing errors,” Stiles adds, “and some of these date back hundreds of years. We have lists of these that we share with our library colleagues around the world. If one is preparing Tchaikovsky’s Sixth, for example, there are numerous changes to be made in the woodwind parts because of the way things were notated at the time. Usually it’s not really the composer’s fault — it just happens that whoever was doing the typesetting or engraving made some mistakes.” And while the word “librarian” comes with the job, Stiles points out that orchestra librarians have more in common with composers than they do with bookish types who replenish the stacks. Orchestra librarians often work very closely with composers in bringing a new work to life. “In fact, on many occasions we’ve helped composers make extensive changes to their piece. “I think of myself as a musician first and foremost,” Stiles continues, adding he frequently performs with the DSO, the Michigan Opera Theatre, and other ensembles as a double bassist or pianist. An orchestra librarian speaks the WINTER 2018-2019

language of the score – and while there are still shelves and shelves of material to keep track of, a broad knowledge of music and the challenges that performing musicians face is critical. “The word ‘library’ to me in this context means ‘place that has materials,’” says Stiles. “If I play with the orchestra here, or play with Michigan Opera Theatre down the street, it sort of helps the two sides of the brain — the librarian side and the performer side — feel a little bit more grounded.” And, just as advances in technology have changed most careers, the advent of digitization and mass file storage has had a huge impact on Stiles’ work. “There are composers that work electronically start to finish,” he points out, a truly recent innovation in orchestral music’s centuries-long history. “And as librarians, we’ve been able to archive a lot of materials we already have — we have copies of scores that we can reference off-site, or files we can access to print an extra string part if someone forgets one.” Outside of his work in the library and as a performing musician, Stiles keeps it simple: hiking, biking, working in the yard, and spending time with his wife and son are his preferred stress relievers far away from the bow markings and dotted 16th notes. But he can’t talk about his downtime for long before swinging the pendulum back to the stacks. “I look at my job, and working at the DSO, as a great privilege. I hope we can create a legacy with what we’ve managed to do here: digital preservation work, raising the standard of music preparation, and improving the quality of materials we put onstage.” dso.org

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New, Now Programming new music in a new era

or years now, members of the orchestra world — musicians and orchestra staff, but also conductors, composers, concertgoers, critics, and fans — have worked on a knot of difficult questions about the state of symphonic music. What is the role of an orchestra in its community? What should the concert experience be like? Who represents the next generation of the genre, both onstage and in the audience? And, critically: what music should orchestras perform? The question is simple, but its answer can be dauntingly complicated. Everyone will have his or her own perspective based on taste, politics, pride, history, and ticket sales. While very few people would advocate tossing Tchaikovsky in the bin, fewer still can answer how to blend tried-andtrue programming with lesser-known historic works, works by living composers, and works that are brand new. And what about works that are truly “challenging” — dealing with difficult subject matter, or perhaps even difficult to listen to according to most people’s preferences? THE DSO HAS LONG COMMITTED ITSELF to performing works by living

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composers, and, when given the opportunity, works that are wholly new, commissioned by the orchestra for their world premieres. The orchestra has performed works by many of the most prominent composers working presently, including Mason Bates, Joan Tower, Nico Muhly, and Christopher Rouse; recent commissions include pieces by Chris Cerrone, Steven Bryant, Gabriela Lena Frank, and others. Many Detroiters will remember Tod Machover’s Symphony in D, a sprawling project that aimed to capture the essence of Detroit in a symphonic work that also included ambient audio, spoken word, electronic sounds, and other elements. “I think that Detroit audiences have always been very open to new music,” says Erik Rönmark, DSO Vice President and General Manager. In addition to helping program DSO seasons, Rönmark is also a founding member of the aptlynamed ensemble New Music Detroit. “Orchestras have always been about performing works in the canon, but also works by living composers, some of which will hopefully enter the canon in the future. Our job, in looking at a season, is to make sure that the art form stays vibrant.” WINTER 2018-2019

And while audiences here in Detroit are usually happy to give new works a listen, conversations about programming can still be tricky. “The worst thing you can do is to program contemporary music for the wrong reasons, out of a sense of duty,” said Alan Gilbert in his memorable Royal Philharmonic Lecture in 2015, when he served as Music Director of the New York Philharmonic. “What’s important is that every piece has its place in creating the maximum resonance…The point is never that every piece will necessarily be a masterwork that will go down in the ages, or that every audience member will love every piece, but that there is always a compelling motivation behind every piece’s placement.” At the DSO, a “compelling motivation” can take many forms — but it is always sought when crafting a night at the concert hall. Music Director Laureate Leonard Slatkin, renowned for his commitment to American composers and programming new music, has led many of the DSO’s most recent efforts to keep concert programs contemporary. “All art was, at one time, new,” Slatkin observes. “Who knows what future generations will make of the early part of the 21st century?” dso.org

THE CURRENT SEASON KEEPS THINGS, WELL, CURRENT. Slatkin’s signature conducting engagement at the DSO is American Panorama, the three-week Winter Music Festival in February. The festival includes works by Cindy McTee, Joan Tower, John Williams, Steve Reich, John Luther Adams (the Pulitzer Prizewinning Become Ocean), and Philip Glass, as well as the world premiere of a DSO-commissioned work by Kristin Kuster. Elsewhere in the season, the DSO performs Andrew Norman’s Play, Daníel Bjarnason’s acclaimed new Violin Concerto, Sebastian Currier’s Divisions, Anna Clyne’s “Three Sisters” Concerto for Violin, and the world premiere of a new work by Juliet Palmer, most recent recipient of the orchestra’s Elaine Lebenbom Memorial Award for Female Composers. “Composers energize and expand a living tradition of classical music,” says Juliet Palmer. “People have been making music for thousands of years and will continue to do so in ways and forms unimaginable to us now. Without a constantly evolving repertoire, the orchestra is like a conversation in a graveyard: an historical curiosity, but irrelevant to the burning questions of today.” DSO PERFORMANCE MAGAZINE 15

A SLAM DUNK ENSEMBLE

In one Detroit school students are learning music in a unique way thanks to an assist from the Detroit Pistons

“What’s a tempo?,” Darell “Red” Campbell asks his Detroit Pistons Bucket Band students, perched atop his bucket at Spain Elementary-Middle School. The students offer up a variety of responses, and after they land on the correct definition — “how fast or slow something is” — he points his drum sticks at each student in turn, prompting each to repeat the definition. The students quickly answer, paying close attention to their charismatic leader in Nike Air Jordan high tops. In partnership with the Detroit Pistons and the Detroit Public Schools Community District (DPSCD), the DSO’s Civic Youth Ensembles (CYE) has launched a bucket band this fall that 16

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includes a dozen Spain Elementary students in its inaugural year. The partnership includes provision of instruments and music instruction, plus future performances at Orchestra Hall, trips to Pistons games, and, potentially, some interaction with Pistons players. “Music is a powerful way to reach kids and inspire their creativity,” said Detroit Pistons Vice Chairman Arn Tellem. “We are pleased to help support the creation of the new bucket band and hope it galvanizes a passion for music that leads to even greater achievement. I can’t wait to see them perform this season.” Red’s goal as a bucket band instructor is to enable kids to see what they’re WINTER 2018-2019

capable of, something he learned himself as an inaugural student in the Civic Jazz Ensemble in 1998. “CYE takes kids and teaches them to play at a professional level,” he says. “It’s an incredible transition to experience. Playing buckets takes teamwork, and the rapid improvisation it requires encourages elastic thinking—thinking on your feet—which is invaluable in life.” A multi-instrumentalist who splits his time gigging around Detroit and teaching in the DSO’s Civic Jazz program, Red is thrilled to be the first bucket band instructor: “I love the musical ingenuity. People have been playing music on creative instruments and buckets for a long time. Remember Fat Albert’s bucket band in the ‘70s? There’s a guy downtown who makes his living out on the sidewalk with two buckets, two cymbals, and sticks. I’m not going to lie: I’ve joined him before! I’ve been playing buckets since I was a baby, and now I’m teaching kids how to do it.” Accessibility is a key component of the DSO’s plans to expand its music training programs to include this bucket band. No prior training is required to play a bucket, though students will also learn how to read music notation, and gain basic musicianship skills, such as following a conductor, which will prepare them to join more advanced orchestral or jazz ensembles as their skills develop. Unlike most CYE programs, which take place at the Max, the Pistons Bucket Band is taught at the kids’ school, providing another level of access to dso.org

students who may not otherwise be able to participate. The DSO’s commitment to providing music training programs in DPSCD schools began in 2017 with the launch of the Dresner Foundation Allegro Ensemble, for entry-level violinists in the third grade at DPSCD’s Duke Ellington Conservatory of Music and Art. This partnership has enabled the DSO to instruct 61 students and is completely free of charge for participants, including instruction, instruments, and administrative support to recruit students and host auditions at local schools. Students who play in either the Dresner Foundation Allegro Ensemble or Detroit Pistons Bucket Band are guaranteed scholarships if they wish to continue their training in more advanced Civic ensembles. Tina Rowan, Executive Director of Accent Pontiac, an El Sistema-inspired music program that uses music as a vehicle for social change, says that teachers report improved behavior and

test scores by students who play in their program, which includes a bucket band in the Pontiac Public School System. Rowan believes buckets are a unique DSO PERFORMANCE MAGAZINE 17

vehicle for teaching musicianship because of their accessibility: “Buckets are an immediate entry point to music-making. Kids can leave their first session already having played a song. Student leadership is required of each participant due to call and response rhythm exercises, wherein each student takes a turn creating a rhythm that the rest of the class than has to repeat.” The DSO will utilize similar techniques in their instruction. “Buckets are disruptive,” says Caen ThomasonRedus, DSO Senior Director of Community and Learning, “because they get past the perceptions people may have about what it takes to be a musician. The program brings music that may have already caught people’s attention, that they likely have already encountered, into the classroom; attending a sporting event is one of the places people may have experienced bucket music. It was a natural partnership with the Pistons.” “Bucket bands immediately introduce students to higher level ensemble concepts,” said Alex Laing, Principal Clarinet with the Phoenix Symphony and DSO African-American Fellow from 1999 to 2001. Laing founded The Leading Tone, an after-school program in South Central Phoenix utilizing bucket bands to explore music as a context for student development. “If you put a flute in front of someone with no prior training there might be trepidation. ‘How do I hold it? How do I blow it?’ People understand what bucket 18

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music is and what it sounds like, allowing them to start playing in an ensemble almost instantaneously, and building a very quick pathway to learn about coordinating your body with a group, and coordinating your intention as a member contributing to a whole.” Bucket bands also provide an outlet for a student’s voice, Red says, “Playing buckets helps kids express emotion. They can beat what they’re feeling on the bucket.” Two weeks into instruction, Red asks his students what they’ve learned so far and answers range from technique (where to hit the bucket to get the best sound and how to hold the sticks), to skills like cooperation, teamwork, and how to listen. What does bucket music sound like to the Detroit Pistons Bucket Band players? “It sounds like a TNT explosion,” says 5th grader Mariah Smith. “Like a herd of motorcycles. It sounds like King Kong!” WINTER 2018-2019

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

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PARK AT THE MAX! Safe, secure, affordable parking is available at the DSO structure on Parsons Street every day, even non-concert days.

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On foot or on the QLine, enjoy easy access to Midtown Detroit, Little Caesars Arena, Comerica Park, Ford Field, restaurants, museums, and more! DSO PERFORMANCE MAGAZINE 19

COMMUNITY & LEARNING

early 50 years ago, the Detroit Symphony Orchestra made a commitment to providing musical training to the young people of southeast Michigan with the founding of the Civic Youth Ensembles (CYE), part of the Wu Family Academy of Learning and CYE ALUM DAMIEN CRUTCHER

Engagement. As these years have passed, CYE alumni have grown to include those who can still be seen and heard inside Orchestra Hall. Though violinist Lucy Alessio had attended many performances in Orchestra Hall, she first heard of CYE through her lessons with DSO Assistant Concertmaster Hai-Xin Wu. She soon became Concertmaster of the Detroit Symphony Youth Orchestra (DSYO). “It’s more than just knowing the notes: it’s working with the director, knowing your section…it made me inspired week by week.” Lucy is now pursuing her master’s in music performance from Wayne State University while working as Program Assistant to the DSO’s Educational Concert Series, helping to reach young audiences. While a student at Cass Technical High School in the 1980s, Damien Crutcher played with the orchestra, then under the direction of Dr. Leslie Dunner. Damien notes how important this was to his experience as a young AfricanAmerican musician. As conductor for 20

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#DSOIMPACT

both the Civic Concert Band and the Detroit Community Concert Band, he now works with both the next generation of musicians and amateur adults who have sought out the opportunity to continue performing. Some current DSO musicians got their start in CYE, including horn player Bryan Kennedy and violinists Adrienne Rönmark and Greg Staples. DSO violinist Rachel Harding Klaus joined CYE in 1994 with her sisters. “I remember sharing a stand with a friend who I am now in the DSO with. It’s very special to think about the fact that we have been playing in ensembles together for over 2O years.” she says. “It’s also special to think about how the DSO is the orchestra I grew up listening to. People I looked up to on stage back then are now my colleagues.” Now, her own children play in CYE. “I feel very blessed.” Of course, not all Civic alums go on to become professional musicians. But it’s likely most have similar fond memories.

DSO VIOLINISTS ADRIENNE RÖNMARK, GREG STAPLES, AND CAROLINE COADE, AND HORN PLAYER BRYAN KENNEDY, ALL CYE ALUMNI

As CYE’s 50th anniversary approaches, we want to hear from alumni around the world: What do you remember and how did being a part of the Civic Youth Ensembles help your life? Please visit wufamilyacademy.org/cyealumni to let us know. WINTER 2018-2019

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

JEFF TYZIK

Principal Pops Conductor

TERENCE BLANCHARD

NEEME JÄRVI Music Director Emeritus

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

CLASSICAL SERIES TCHAIKOVSKY SYMPHONY NO. 4 Friday, November 16, 2018 at 10:45 a.m. Saturday, November 17, 2018 at 8 p.m. Sunday, November 18, 2018 at 3 p.m. at Orchestra Hall November is Community Support Month. Learn more and make a gift now at dso.org/donate. JOHN STORGÅRDS, conductor PEKKA KUUSISTO, violin

George Antheil Over The Plains (1900 - 1959) Daníel Bjarnason Violin Concerto (b. 1979) Pekka Kuusisto, violin

Commissioned by the Los Angeles Philharmonic, Gustavo Dudamel, Music & Artistic Director; and the Iceland Symphony Orchestra.

Intermission Piotr Ilyich Tchaikovsky Symphony No. 4 in F minor, Op. 36 (1840 - 1893) I. Andante sostenuto II. Andantino in modo di canzona III. Scherzo: Pizzicato ostinato IV. Finale: Allegro con fuoco This Classical Series performance is generously sponsored by

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

This performance’s recognition of American’s Veterans and Active Military is supported by

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Program Notes P R O G R A M AT- A - G L A N C E Tchaikovsky’s 1877-78: Personally Harrowing, Professionally Rewarding The late 1870s are sometimes referred to as Tchaikovsky’s “Wandering Years” — he left Russia and traveled abroad during this time, distraught by his failed marriage and suffering from writer’s block. But it was during this time that his music reached mass popularity, thanks to a speech by author/essayist Fyodor Dostoevsky encouraging Russians to embrace Western culture — something Tchaikovsky’s music was previously derided for doing.

Antheil’s 1940s: From Radical to Regular In his youth, George Antheil was a musical “bad boy,” fervently unafraid of radical sounds and styles. But after returning to the U.S. from Europe in the 1930s, his music became much more conventional. By the 1940s, his attitude was even patriotic – in 1948, he wrote that he wished to “disassociate himself from the passé modern schools of the last half-century.”

Bjarnason’s 2020s: What’s Next? Daníel Bjarnason has earned great praise for his willingness to experiment and cross over conventional understandings of genre. That also keeps his fans guessing – what will he do next? In a recent interview with the Reykjavik Grapevine, he gave a hint: “Right now there is a project I am planning which is just an album of songs, short songs with singers. A song cycle… not a genre in itself, but it’s different from what I’ve done.”

Over the Plains GEORGE ANTHEIL B. July 8, 1900, Trenton, NJ D. February 12, 1959, New York, NY Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 10 minutes)

eorge Antheil was an avant-garde composer and pianist who became famous for the unusual sounds and instrumentation featured in his works— which included orchestral and operatic pieces as well as scores for film and TV. He was a fearless modernist, eager to find alternatives to the traditional tonal system, and his friends and acquaintances included other world-changers like Pablo Picasso, Erik Satie, Gertrude Stein, and James Joyce. He moved to Europe as a young man, stating his

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intention to earn fame as an “ultra-modern pianist composer,” and in Paris he rented an apartment above Sylvia Beach’s famous bookstore Shakespeare and Company. His compositions gained immediate notoriety for the audience reactions they elicited—sometimes stunned silence, other times near-violent agitation and anger. His greatest achievement in this regard was the Ballet Mecanique, scored originally for 2 grand pianos, 16 player pianos (!), electronic bells, xylophones, sirens, and three airplane propellers. Classical music’s greatest riot followed its premiere in 1926, with shocked concertgoers fighting and arguing in the streets about the cacophonous piece’s merit. While Antheil’s early years as a composer earned him a reputation as a bad boy and pot-stirrer, the middle and late stages of his career are much more conventional. By the 1940s, he was composing works in the vein of Mahler, WINTER 2018-2019

Bruckner, and the late Romantic composers of the 19th century; all artists whom he lambasted in his 20s for being too old-fashioned. After his death in 1959, Antheil was remembered more for his youthful antics than his musical oeuvre, but luckily that has changed in recent years, in large part due to the intervention of Finnish conductor John Storgårds, who has established himself as an Antheil specialist. Over the Plains was composed in the 1940s, during a patriotic moment in Antheil’s career. Inspired by a visit to the Texas countryside, the piece was premiered in 1946 by the Dallas Symphony Orchestra under Antal Dorati (later music director of the Detroit Symphony Orchestra). Antheil wanted to express the optimistic spirit of the pioneers crossing the plains on a hazardous journey, and described the idea of the work as “that of a young man, walking alongside a covered wagon with his little family inside; moreover, the young man would be audacious, as a young man making his home in the new West a century ago probably would be.” The earthy and colorful score could easily have come from the sound track of a Western film, featuring rollicking cowboy music alongside dreamy and atmospheric passages, and even a kind of folksy march. These performances of Antheil’s Over the Plains will be DSO premieres.

Violin Concerto DANÍEL BJARNASON B. February 26, 1979, Reykjavik, Iceland Scored for solo violin, 2 flutes (1 doubling on piccolo), 2 oboes, 2 clarinets (1 doubling on bass clarinet), 2 bassoons (1 doubling on contrabassoon), 4 horns, 2 trumpets, trombone, bass dso.org

trombone, tuba, timpani, percussion, piano, and strings. (Approx. 20 minutes)

lthough it is not a large country, Iceland has gained a reputation in the 21st century for producing innovative popular music, and for producing a striking new generation of classical composers, from which Daníel Bjarnason has emerged as an important figure. After initial studies in piano, composition, and conducting in Reykjavik, he went to the University of Music in Freiburg, Germany for advanced studies in conducting. Although he now has an international career, he remains closely involved in the Icelandic musical scene. His compositions range widely in character, sometimes using tonally-based music, sometimes using a very free approach to tonality, and sometimes using electronic elements in the mix. Bjarnason’s debut violin concerto was composed on a co-commission from the Los Angeles Philharmonic and the Iceland Symphony Orchestra and was given its world premiere in August 2017 by the LA Phil with Gustavo Dudamel conducting and Pekka Kuusisto as featured soloist. The work was inspired by Kuusisto, a longtime friend of the composer, and by what Bjarnason calls Kuusisto’s curiosity and playfulness. When first announced, it was simply called “Violin Concerto,” but it also carried the informal subtitle Scordatura, a term referring to the unusual tuning of the violin’s lowest string—in this instance, the string is tuned down four notes, from the normal G to a D. The dropped tuning allows Bjarnason to create some unusual drone passages, which are trademarks of contemporary Icelandic music. Kuusisto comments: “It always takes a little while for the string to get used to it, so you get this rather raunchy sound which you don’t normally DSO PERFORMANCE MAGAZINE 23

get on a violin…it changes the whole resonance of the instrument…and it’s lovely!” As he was writing the concerto, Bjarnason commented on how the unusual tuning simply took over the concerto, saying “I wasn’t planning on using it for the whole piece, but then I got completely fascinated by it.” The concerto is in three sections performed without a break, set off by two cadenzas which are entirely improvised, meaning no two performances will ever be the same. These performances of Daníel Bjarnason’s Violin Concerto will be DSO premieres.

Symphony No. 4 in F minor, Op. 36 PIOTR ILYCH TCHAIKOVSKY B. May 7, 1840, Votkinsk, Russia D. November 6, 1893, Saint Petersburg, Russia Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, and strings. (Approx. 44 minutes)

he Symphony No. 4 is a signature piece among Tchaikovsky’s seven works in the symphonic form, and is typically understood as the work that established his maturity in the genre. Its salient characteristics are a superheated emotional character and a lean, intense orchestral texture. Together, these traits remind the listener of several other masterworks in Tchaikovsky’s oeuvre: the B-flat minor Piano Concerto (1875), the ballet Swan Lake (1876), and the opera Eugene Onegin (1878), which was composed simultaneously to the Symphony No. 4. Placed in the context of these other works, this passionate symphony is usually viewed as a white-hot

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product of Tchaikovksy’s stresses and frustrations in the mid-1870s, which stemmed from his personal recognition of his homosexuality and subsequent failed marriage. The symphony is dedicated to Nadezhda von Meck, a wealthy Russian businesswoman who supported Tchaikovsky financially for 13 years, under the stipulation that the two may never meet. The work’s opening trumpet fanfare—the so-called “fate” motive Tchaikovsky referred to in letters he wrote to Madame von Meck about the symphony—recurs as a kind of structural pillar marking off major sections of the first movement. Startling statements of the motive separate the exposition setting forth its themes, the development section in which they are fragmented, the restatement of the themes in the recapitulation, and the coda at the end of the movement. The “fate” motive also makes a dramatic reappearance in the coda of the fourth movement. Following the symphony’s slow introduction, the two main themes in the opening movement are waltzes, which Tchaikovsky had a habit of strewing about his symphonies. First comes a nervous, moody, minor-mode waltz with a twisting thematic profile, and then a lilting waltz for strings and woodwinds emerges from it. Turning to march rhythms, oboe, cello, violin, and bassoon alternately move in a solemn procession through the slow movement. The measured tread of this music harks back to the slow movement of Mendelssohn’s “Italian” Symphony No. 4, whose clear formal design and crystalline orchestral colors served as a model for the young Tchaikovsky when he began his struggle to master symphonic form. WINTER 2018-2019

The brilliant set of marches that make up the third movement stand out as some of the most striking music Tchaikovsky ever composed. Plucked strings, bright woodwinds, and shining brass enter the parade one after another, their tone colors standing in razor-sharp contrast to each other. Finally, Tchaikovsky combines the march tunes and the separate colors in an

exhilarating coda. The fourth movement is no less joyous, consisting of a thrilling set of Russian dances that alternate with each other throughout the movement. The DSO most recently performed Tchaikovsky’s Symphony No. 4 during the July 2017 Asia Tour, conducted by Leonard Slatkin. The DSO first performed the piece in February 1917, conducted by Weston Gales.

Profiles JOHN STORGÅRDS John Storgårds has a dual career as a conductor and violin virtuoso and is widely recognized for his creative programming. He currently serves as Chief Guest Conductor of the BBC Philharmonic Orchestra, Principal Guest Conductor of Canada’s National Arts Centre Orchestra Ottawa, Artistic Partner of the Münchener Kammerorchester, and Artistic Director STORGÅRDS of the Chamber Orchestra of Lapland. Storgårds’s vast conducting repertoire includes all symphonies by Sibelius, Nielsen, Bruckner, Brahms, Beethoven, Schubert, and Schumann. He gave a historical cycle of all 54 symphonies by Mozart (including the unnumbered works), conducted Finnish premieres of Schumann’s only opera (Genoveva) and early “Zwickau” symphony, and led world premieres of Sibelius’s Suite Op. 117 for violin and strings and his “Late Fragments.” Storgårds regularly performs world premieres of contemporary works as well, including music by Kaija Saariaho, dso.org

Brett Dean, Per Nørgård, and Pēteris Vasks. Storgårds has appeared with many of the world’s major symphony orchestras and several celebrated opera companies, especially in his native Scandinavia. During the 2017-2018 season he gave debut appearances with the Chicago Symphony Orchestra, Radio-Symphonieorchester Wien, and the London Philharmonic Orchestra. His discography includes works by Schumann, Mozart, Beethoven, and Haydn, as well as rarities by Holmboe and Vasks. Storgårds has released several recordings with the BBC Philharmonic on Chandos, including cycles of symphonies by Sibelius and Nielsen. His latest BBC Philharmonic recording includes works by George Antheil, including Over the Plains. A recording of Rautavaara received a Grammy Award nomination and a Gramophone award in 2012, and a Chamber Orchestra of Lapland recording of concertos for theremin and horn by Kalevi Aho received the ECHO Klassik award in 2015. Born in Finland, Storgårds studied violin with Chaim Taub and subsequently became concertmaster of the Swedish DSO PERFORMANCE MAGAZINE 25

Radio Symphony Orchestra under EsaPekka Salonen, before studying conducting with Jorma Panula and Eri Klas. He received the Finnish State Prize for Music in 2002 and the Pro Finlandia Prize in 2012.  MOST RECENT APPEARANCE WITH THE DSO: May 2018, conducting a program with music by Nielsen, Beethoven, Rautavaara, and Sibelius. F IRST APPEARANCE WITH THE DSO: May 2013, conducting a program with music by Ligeti, Chopin, and Holst.

PEKKA KUUSISTO

innish violinist Pekka Kuusisto is Artistic Partner with the Saint Paul Chamber Orchestra and Artistic Director of ACO Collective—a string ensemble that connects the musicians of the Australian Chamber Orchestra with Australia’s young professional musicians to deliver KUUSISTO innovative projects across the country. After a longstanding creative collaboration with the ensemble, in 2017 he became Artistic Best Friend of Die Deutsche Kammerphilharmonie Bremen, and in 2018 he became Guest Artistic Leader of the Norwegian Chamber Orchestra. Kuusisto is a champion of contemporary music, and frequently performs Daníel Bjarnason’s Violin Concerto, which was written for him. Recent premieres include Sauli Zinovjev’s violin concerto Der Leiermann, Andrea Tarrodi’s Acanthes double concerto for two violins, and Anders Hillborg’s Bach Materia. As a composer, together with

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Samuli Kosminen, Kuusisto is composing, performing, and recording the music for a new animated television series of Tove Jansson’s Moomin stories. Kuusisto is also eager to engage with collaborators across genres and performance styles; during the 2017-2018 season he took up a residency at Pierre Boulez Saal with REDDRESS, a collaborative project with South-Korean artist Aamu Song that blurs the boundaries between performance and visual art. Outside the world of classical music, his partnerships have included Dutch neurologist Erik Scherder, electronic music pioneer Brian Crabtree, jazz trumpeter Arve Henriksen, juggler Jay Gilligan, and accordionist Dermot Dunne. Recent releases in Kuusisto’s discography include Erkki-Sven Tüür’s Noesis violin concerto (on Ondine) and Sebastian Fagerlund’s Darkness in Light violin concerto (on BIS), both recorded with Finnish Radio Symphony Orchestra and Hannu Lintu; as well as Hillborg’s Bach Materia and Bach’s Brandenburg Concertos Nos. 3 and 4 with the Swedish Chamber Orchestra and Thomas Dausgaard (also onBIS). Kuusisto plays a fine 18th century Italian instrument generously loaned to him by the Beares International Violin Society. M OST RECENT APPEARANCE WITH THE DSO: Pekka Kuusisto has previously appeared with the DSO once, at a 2001 Meadow Brook concert, performing Sibelius’s Violin Concerto (cond. Thomas Wilkins)

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

JEFF TYZIK

Principal Pops Conductor

TERENCE BLANCHARD

NEEME JÄRVI Music Director Emeritus

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

TITLE SPONSOR:

Friday, November 30, 2018 at 10:45 a.m. Saturday, December 1, 2018 at 8 p.m. Sunday, December 2, 2018 at 3 p.m. at Orchestra Hall BUGS BUNNY AT THE SYMPHONY II Starring BUGS BUNNY Conducted by GEORGE DAUGHERTY Created and Produced by GEORGE DAUGHERTY & DAVID KA LIK WONG Also Starring ELMER FUDD • DAFFY DUCK • PORKY PIG • WILE E. COYOTE • ROAD RUNNER • TWEETY • SYLVESTER • PEPE LE PEW • PENELOPE PUSSYCAT • GRANNY • GIOVANNI JONES …and special guest starring appearance by TOM AND JERRY Music by CARL W. STALLING • MILT FRANKLYN • SCOTT BRADLEY Based on the Works of Wagner, Rossini, von Suppé, J. Strauss II, Smetana, Liszt, Mendelssohn, and Donizetti Animation Direction by CHUCK JONES • FRIZ FRELENG • ROBERT CLAMPETT • TEX AVERY ROBERT McKIMSON • ABE LEVITOW • WILLIAM HANNA • JOSEPH BARBERA Voice Characterizations by MEL BLANC • ARTHUR Q. BRYAN as Elmer Fudd JUNE FORAY • HANS CONRIED …and NICOLAI SHUTOROV as Giovanni Jones “Rabid Rider” and “Coyote Falls” Directed by MATTHEW O’CALLAGHAN, Music by CHRISTOPHER LENNERTZ Produced in Association with IF/X PRODUCTIONS SAN FRANCISCO Official Website www.BugsBunnyAtTheSymphony.net Original Soundtrack Recording on WATERTOWER MUSIC www.watertower-music.com Follow Bugs Bunny At The Symphony on Facebook, Instagram, and Twitter! Post your own concert photos with the hashtag #BugsBunnyAtTheSymphony

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ACT I THE DANCE OF THE COMEDIANS from “The Bartered Bride” by Bedřich Smetana THE WARNER BROS. FANFARE Music by Max Steiner “MERRILY WE ROLL ALONG” (“The Merrie Melodies Theme”) Music by Charles Tobias, Murray Mencher, and Eddie Cantor, Arranged and Orchestrated by Carl W. Stalling “BATON BUNNY” Music by Milt Franklyn Based on the Overture to “Morning, Noon, and Night in Vienna” by Franz von Suppé Story by Michael Maltese Animation Direction by CHUCK JONES and ABE LEVITOW “SHOW BIZ BUGS” Music by Milt Franklyn “Jeepers Creepers” by Harry Warren and Johnny Mercer “Those Endearing Young Charms” Irish Folk Melody, words by Thomas Moore Story by Warren Foster Animation Direction by FRIZ FRELENG “RHAPSODY RABBIT” Music by Carl W. Stalling Based on “Hungarian Rhapsody No. 2” by Franz Liszt Piano Solo performed by Jakob Gimpel Story by Tedd Pierce and Michael Maltese Animation Direction by FRIZ FRELENG “TOM AND JERRY IN THE HOLLYWOOD BOWL” Music by Johann Strauss II (Overture to “Die Fledermaus”) Music Originally Arranged by Scott Bradley Story and Animation Direction by WILLIAM HANNA and JOSEPH BARBERA “BACK ALLEY OPROAR” (Scene) Music by Carl W. Stalling “Largo Al Factotum” by Gioachino Rossini from “The Barber of Seville” Story by Michael Maltese and Tedd Pierce Animation Direction by FRIZ FRELENG “ZOOM AND BORED” Music by Carl W. Stalling and Milt Franklyn Based on “The Dance of the Comedians” from “The Bartered Bride” by Bedřich Smetana Story by Michael Maltese Animation Direction by CHUCK JONES

PEPE LE PEW, LE CHANTEUR ROMANTIQUE “FOR SCENT-IMENTAL REASONS” (Scenes) Music by Carl W. Stalling Story by Michael Maltese Animation Direction by CHUCK JONES

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“A SCENT OF THE MATTERHORN” (Scene) Music by Milt Franklyn “Tiptoe Through The Tulips” Music by Joe Burke, and Lyrics by Al Dubin Story and Animation Direction by CHUCK JONES “SCENT-IMENTAL ROMEO” (Scenes) Music by Carl W. Stalling “Baby Face” Music by Harry Akst, and Lyrics by Benny Davis Story and Animation Direction by CHUCK JONES “THE RABBIT OF SEVILLE” Music by Carl W. Stalling Based on the Overture to “The Barber of Seville” by Gioachino Rossini Story by Michael Maltese Animation Direction by CHUCK JONES INTERMISSION ACT II “RABID RIDER” Music by Christopher Lennertz Executive Producer: Sam Register Story by Tom Sheppard Animation Direction by MATTHEW O’CALLAGHAN and “COYOTE FALLS” Music by Christopher Lennertz Executive Producer: Sam Register Story by Tom Sheppard Animation Direction by MATTHEW O’CALLAGHAN “LONG-HAIRED HARE” Music by Carl W. Stalling after Wagner, von Suppé, Donizetti, and Rossini Story by Michael Maltese Animation Direction by CHUCK JONES “ROBIN HOOD DAFFY” (Scenes) Music by Milt Franklyn Story by Michael Maltese Animation Direction by CHUCK JONES “WHAT’S OPERA, DOC?” Music by Milt Franklyn Based on music from “The Flying Dutchman,” “Die Walküre,” “Siegfried,” “Götterdämmerung,” “Rienzi,” and “Tannhäuser” by Richard Wagner Story by Michael Maltese Animation Direction by CHUCK JONES MERRIE MELODIES “THAT’S ALL FOLKS!” Music Arranged and Orchestrated by Carl W. Stalling Voice Characterization by Noel Blanc Program Subject to Change Without Notice. LOONEY TUNES and all related characters and elements © & TM Warner Bros. Entertainment Inc. TOM AND JERRY and all related characters and elements © & TM Turner Entertainment Co WB SHIELD: TM & © WBEI. (s18)

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PRODUCTION, CREATIVE, and TOURING STAFF Creator / Music Director / Conductor / Producer George Daugherty Creator / Producer / Technical Director / Tour Director David Ka Lik Wong Production Touring Musicians (Rotating) Jo Pusateri, Principal Percussion and Slide Guitar Kelly Hale, Principal Pianist Leo Marchildon, Co-Principal Pianist/Slide Guitar Keisuke Nakagoshi, Co-Principal Pianist Brenda Vahur, Co-Principal Pianist Robert Schietroma, Principal Percussion Emeritus Co-Producer Amy Minter Art Director, CGI Producer, and Graphics/ Animation Designer Melinda Lawton Editors George Daugherty David Ka Lik Wong Scott Draper Mark Beutel Peter Koff Special thanks to Keep Me Posted, Burbank Special Effects and CGI/Animation Editor Shawn Carlson Sound Design, Sound Effects, and Re-Mastering Robb Wenner John Larabee Audio Mixer and Tour Sound Supervisor Marty Bierman Robb Wenner New CGI Animation Elements Lawton Design New Animation Elements Warner Bros. Animation Audio CD Producers George Daugherty David Ka Lik Wong Steve Linder

Music Supervisors David Ka Lik Wong Caryn Rasmussen Click Masters Mako Sujishi Robb Wenner John Larabee Kristopher Carter Music Transcription and Restoration Ron Goldstein Caryn Rasmussen Leo Marchildon Robert Schietroma Cameron Patrick Robert Guillory Charles Fernandez . . . and special thanks to USC/Warner Bros. Music Archives Music Copyists Caryn Rasmussen Robert Schietroma Michael Hernandez John Norine Jeff Turner Valle Music Judy Green Music Webmaster and Website Designer Lorelei McCollough Video and Audio Production Coordinated and Executed by IF/X Productions San Francisco Exclusive Worldwide Representation BRETT GREEN IF/X WISHES TO EXTEND ITS SPECIAL THANKS TO: Warner Bros.; Warner Bros. Consumer Products; Warner Bros. Animation; WaterTower Music; The Sydney Symphony, The Sydney Opera House, and The Sydney Opera House Recording Studios and Facilities; The Power Station Recording Studios, New York; U.S.C. Film School/Scoring for Motion Pictures and Television; U.S.C. Film/Music Archives; U.C.L.A. Film Archives; The Chuck Jones Center for Creativity; Chuck Jones Enterprises; Linda Jones Productions; Post Effects Chicago; Screen Magazine; and very special personal thanks to Isabelle Zakin, Bruce Triplett, Foote Kirkpatrick, Ruth L. Ratny, Mike Fayette, Rick Gehr, Melinda Lawton, and Charlene Daugherty. George Daugherty dedicates this concert to the memory of his mother, Charlene Elizabeth Daugherty

Sound Effects Editors Robb Wenner John Larabee

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DSO PERFORMANCE MAGAZINE 29

Profiles BUGS BUNNY Bugs Bunny is one of the most recognized cartoon characters in the world, whose signature phrase “What’s Up, Doc?” has long since entered the English language. Bugs’ first ‘reel’ appearance in front of his soon-to-be-adoring public was in A Wild Hare directed by Tex Avery. Since then, Bugs’ zany antics in hundreds of cartoon favorites have made him a legend throughout the world. This cool, collected, carrot-chomping rabbit is the unequivocal superstar of the Looney Tunes family. With never a ‘hare’ out of place he always manages to outsmart his adversaries, whoever they may be. He’s a real American icon who has graced the TV and cinema screens the world over. Bugs Bunny’s cartoons have twice been nominated for Academy Awards, and his Knighty Knight Bugs won a coveted Oscar. Bugs has starred in four films in addition to his hundreds of animated shorts and 21 prime time television specials.

GEORGE DAUGHERTY George Daugherty has conducted over 150 American and international orchestras and earned a Primetime Emmy Award, five Emmy DAUGHERTY nominations, and numerous other awards. He made his debut with the New York Philharmonic at Lincoln Center in 2015 and returns in 2019, made his debut with the Boston Pops in 2016, and frequently conducts the Los Angeles Philharmonic at The Hollywood Bowl, and the National 30

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Symphony Orchestra at Wolf Trap, as well as recent appearances with the Pittsburgh Symphony and Seattle Symphony, the Cleveland, Philadelphia, and Minnesota orchestras, and Hong Kong Philharmonic. He has been a frequent guest conductor with the San Francisco Symphony, and has also conducted often at Sydney Opera House, and with the Sydney Symphony Orchestra, and with the Royal Philharmonic Concert Orchestra in London and on tour, including to the United States and Canada with Julie Andrews and Christopher Plummer. Mr. Daugherty has also conducted the symphony orchestras of Dallas, Houston, Baltimore, Montreal, Milwaukee, Vancouver, Toronto, Atlanta, Fort Worth, San Antonio, Indianapolis, Cincinnati, Louisville, and many others, as well as Rochester Philharmonic, Hollywood Bowl Orchestra, and National Arts Centre Orchestra. International credits include the Danish National, West Australia, Melbourne, and Adelaide symphony orchestras, Malaysian Philharmonic Orchestra; Ireland’s RTÉ Concert Orchestra; Russian National Orchestra; Auckland Philharmonia; New Japan Philharmonic; and major Italian opera houses. He has conducted for American Ballet Theatre, Bavarian Staatsoper Ballet, La Scala Ballet, and Teatro Regio di Torino, and was music director of Ballet Chicago, Chicago City Ballet, Louisville Ballet, and Ballet San Jose. He received a Primetime Emmy as executive producer/director/writer of ABC’s production of Prokofiev’s Peter and the Wolf. He was executive producer/ writer of the Emmy-winning PBS series Sagwa, The Chinese Siamese Cat, and received an Emmy nomination for his WINTER 2018-2019

ABC music education series Rhythm & Jam. Mr. Daugherty (with David Wong) created Bugs Bunny on Broadway in 1990, followed by Bugs Bunny At The Symphony (2010) and Bugs Bunny At The Symphony II (2013). The concerts have played to millions of people worldwide.

DAVID KA LIK WONG Bugs Bunny At The Symphony Executive Producer David Ka Lik Wong was awarded with a coveted Emmy Award for his work as proWONG ducer on Peter and the Wolf in 1996, and was also nominated for an Emmy for his work as producer of Rhythm & Jam, the ABC series of Saturday morning music education specials for children. He teamed with George Daugherty as principal producer for the Peter and the Wolf project, the animation and live-action production starring Kirstie Alley, Lloyd Bridges, Sleepless in Seattle’s Ross Malinger, and the new animated characters of legendary animation director Chuck Jones. He was also the senior producer for the Warner Bros.

documentary film The Magical World of Chuck Jones. He has been producer for the Warner Bros. touring concert production Bugs Bunny On Broadway since 1991, and producer and co-creator for Bugs Bunny At The Symphony since 2010, as they have toured the world, and he co-produced both original audio CD albums for Warner Bros. Records. Mr. Wong has also produced innovative symphony orchestra concerts for some of the world’s leading orchestras, including the New York Philharmonic at Lincoln Center, the Boston Pops, National Symphony Orchestra, Hong Kong Philharmonic, Philadelphia Orchestra, Royal Philharmonic, Sydney Opera House, San Francisco Symphony, and Los Angeles Philharmonic at The Hollywood Bowl. Mr. Wong has teamed with George Daugherty, Amy Tan, and Sesame Workshop to produce and create the Emmy Award winning PBS / Sesame Workshop children’s television series Sagwa, The Chinese Siamese Cat, based on the book by Ms. Tan. Mr. Wong was born in Hong Kong and moved to San Francisco with his family at the age of 12. He still calls San Francisco home.

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DSO PERFORMANCE MAGAZINE 31

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

JEFF TYZIK

TERENCE BLANCHARD

Principal Pops Conductor

NEEME JÄRVI Music Director Emeritus

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

CLASSICAL SERIES BEETHOVEN’S 5TH Thursday, December 6, 2018 at 7:30 p.m. Friday, December 7, 2018 at 10:45 a.m. Saturday, December 8, 2018 at 8 p.m. in Orchestra Hall Carlos Miguel Prieto, conductor Christian Tetzlaff, violin Johannes Brahms Concerto for Violin and Orchestra (1833 - 1897) in D major, Op. 77 I. Allegro non troppo II. Adagio III. Allegro giocoso, ma non troppo vivace Christian Tetzlaff, violin Intermission Ludwig van Beethoven Symphony No. 5 in C minor, Op. 67 (1770 - 1827) I. Allegro con Brio II. Andante con moto III. Allegro IV. Allegro

This Classical Series performance is generously sponsored by

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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.

This performance’s recognition of American’s Veterans and Active Military is supported by

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Program Notes PROGRAM AT-A-GLANCE: TWO TITANS Brahms’ Violin Concerto “No concerto unleashes the soaring, heroic power and poetic potential of the violin more profoundly than Brahms’.” — Timothy Judd

Concerto for Violin and Orchestra in D major, Op. 77 JOHANNES BRAHMS B. May 7, 1833, Hamburg, Germany D. April 3, 1897, Vienna, Austria Scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. (Approx. 36 minutes)

he word “concerto” derives from the Latin concertare, “to contend with.” For most concertos, the contending is done between the orchestra and the solo instrument; each virtuosic episode from the soloist is met with the orchestra’s ritornelli, and every concerto settles the dispute differently— sometimes the soloist leaves the orchestra in the dust, and other times a more harmonious result is produced. But the concertare concept goes a bit further in Johannes Brahms’ lone violin concerto. The composer, violinist, and conductor Josef Hellmesberger famously declared the concerto to be “not for, but against the violin,” referring to the tremendous demands the piece makes on the soloist. And many scholars regard the first and second movement as conflicts between two musical philosophies—one more tuneful and nostalgic, and the other much wilder and freer. All this contending results in a

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Beethoven’s Symphony No. 5 “Beethoven’s Fifth Symphony is the most sublime noise that has ever penetrated into the ear of man.” — E.M. Forster

fabulous piece of music, though. The Brahms concerto is one of the bestknown and most-performed works in the violin repertoire, full of the composer’s trademark beauty and seriousness. The sentiment of contrast is immediately clear from the entrance of the solo violin. As an outsider to the soft orchestral texture that preceded it, the solo enters harshly, arpeggiating harmonies and striking block chords with abandon. It is not until its second theme that the solo softens and supplies a melody with the accompaniment of the other strings. Yet, this peace is not long-lasting, as the solo soon bursts forth from the mellifluous secondary theme to harsh chords once again. The closing tranquilo represents a momentary unification, as the violin moves from the foreground and blends imperceptibly into the orchestra as the movement ends. Then, the second movement reintroduces the conflict theme, as two different approaches to slow-movement composition are tested. The movement begins as one might expect it to, with a gentle theme played in the oboe that the solo violin soon enters to complement dutifully. But the B section of the movement is characterized by virtuosic rhythms and arpeggios in the violin, and an orchestra that barely keeps up. A brief return to the tranquil A suggests perhaps the two parties will reach an DSO PERFORMANCE MAGAZINE 33

agreement, as in the first movement, but no—the staggering B charges back in, and the soloist wins the day. The final movement acknowledges a more traditional approach, in which the orchestra and the soloist are evenly matched. The opening ritornello, as well as the interspersed solo episodes, bear strong resemblance to the third movement of Vivaldi’s “Autumn” concerto, one of his Four Seasons for violin. Like in the Vivaldi, the orchestra evokes the sounds of a harvest festival, including a hunt, with the frantic attempts of the quarry to escape depicted by the violin solo. Vivaldi’s fox is captured; Brahms, in rethinking the concerto form, ends this masterwork much more ambiguously. Is the solo violin, nimble and striking throughout the entire piece, cunning enough to slip away? The DSO most recently performed Brahms’ Violin Concerto during the February 2016 Brahms Festival, conducted by Leonard Slatkin and featuring violinist Baiba Skride. The DSO first performed the piece in November 1921, conducted by Ossip Gabrilowitsch and featuring Ilya Schkolnik.

Symphony No. 5 in C minor, Op. 67 LUDWIG VAN BEETHOVEN B. December 1770, Bonn, Germany D. March 26, 1827, Vienna, Austria Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, 3 trombones, timpani, and strings. (Approx. 36 minutes)

o orchestral composition has gripped the popular imagination quite like Beethoven’s Symphony No. 5. Countless performances and recordings are 34

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outnumbered by an even larger number of references to the famous four-note opening motif—da da da daaaaa!—in popular culture worldwide. Those four notes are the musical equivalent of the word “okay;” heard, quoted, and understood virtually everywhere, regardless of whether someone is familiar with the entire symphony or symphonic music in general. From the theme song to Judge Judy to the disco version in Saturday Night Fever, as well as innumerable nods, quips, parodies, and interpretations in film, TV, and radio, Beethoven’s Fifth is ubiquitous. The first movement of the Philharmonia Orchestra recording under Otto Klemperer is even included on the Voyager I and II “Golden Records,” phonograph albums launched into space that are now the farthest man-made objects from Earth. Beethoven himself, the man behind this symphony of symphonies, has come to represent the Romantic ideal of the artist-hero—a solitary, suffering individual who transcends difficult circumstances to create true, unambiguously brilliant works of beauty. The Symphony No. 5, completed in 1808, with its strife-torn first movement and triumphant finale, give this Romantic view its most vivid musical expression. The symphony was composed during a watershed moment in Beethoven’s career, what he described to a friend as a “new path.” Impatient and frustrated with the delicate musical language of the previous generation, the composer became willing to try out the boldest, most unprecedented ideas he could muster. The four-note motif that opens the symphony was among Beethoven’s earliest “new path” sketches, representing fate, and it is used freely throughout the first movement. The brevity and rhythmic vigor of those notes account in WINTER 2018-2019

no small part for the prevailing sense of agitation and momentum, which relaxes only briefly during the lyrical second theme and the oboe cadenza that embellishes the recapitulation. The exceptionally beautiful Andante con moto that follows is constructed as a fluid set of variations on two themes. The alternation between the two subjects and their respective tonal centers yields a sense of variety and spaciousness, and the overall mood contrasts nicely with the turbulent first movement. The ensuing third movement is another matter. Here, the theme softly stated by the low strings in the opening measures seems ghostly and ominous, and its menacing aspect is confirmed moments later by a disturbing reappearance of the “fate” motif from the first movement. Following the central episode, in which the orchestra chases the rumbling basses and cellos in fugal imitation, the spectral dance resumes.

And then, Beethoven creates a moment of extraordinary drama. The ghostly dance freezes in mid-step as time and motion seem suspended. Slowly, its theme is taken and transformed measure by measure, until the music bursts into the radiant C major finale. Trombones, making their first appearance, join the orchestra in a blaze of light and victory. But, suddenly: in the middle of this fourth movement, the “fate” motif and its shadowy associations return. That stroke, so widely admired by subsequent generations of composers, prepares a recapitulation not only of the movement’s themes but also of the dramatic passage from darkness to light, from despair to joy. The DSO most recently performed Beethoven’s Symphony No. 5 in November 2014, conducted by James Gaffigan. The DSO first performed the piece in 1915, conducted by Weston Gales.

Profiles CARLOS MIGUEL PRIETO Carlos Miguel Prieto was born into a musical family of Spanish and French descent in Mexico City. He is recognized as a highly influential cultural leader in PRIETO Mexico, and has served as Music Director of the Orquesta Sinfónica Nacional de México—the country’s most prominent orchestra—since 2007. The following year he was appointed Music Director of the Orquesta Sinfónica de Minería, which performs a two month long series of summer programs in Mexico City. In the dso.org

United States, Prieto has served as Music Director of the Louisiana Philharmonic Orchestra since 2006. As a guest conductor, Prieto has led many of North America’s top orchestras, including the Cleveland Orchestra, Dallas Symphony Orchestra, Toronto Symphony Orchestra, and others; he enjoys a particularly close and successful relationship with the Chicago Symphony Orchestra. Since 2002, alongside Gustavo Dudamel, Prieto has conducted the Youth Orchestra of the Americas, which draws young musicians from the entire American continent. A staunch proponent of music education, Prieto served as Principal Conductor of the YOA from its inception until 2011, when he was appointed Music Director. DSO PERFORMANCE MAGAZINE 35

Prieto is renowned for championing Latin American music and has conducted over 100 world premieres of works by Mexican and American composers, many of which were commissioned by him. His extensive discography includes several releases for Naxos and Sony, as well as a recent album of works by Bruch, Beethoven, and Mendelssohn with violinist Philippe Quint and the Orquesta Sinfónica de Minería (on Avanticlassic). An earlier recording with Quint and the Orquesta Sinfónica de Minería, a 2009 Naxos release including Korngold’s Violin Concerto, earned a Grammy Award nomination. In 2013, Prieto released a 12-DVD set of live recordings of the complete Mahler symphonies. A graduate of Princeton and Harvard universities, Prieto studied conducting with Jorge Mester, Enrique Diemecke, Charles Bruck, and Michael Jinbo. M OST RECENT APPEARANCE WITH THE DSO: Carlos Miguel Prieto previously conducted the DSO in May 2017, leading a program of music by Márquez, Bernstein, Falla, and Gimenez.

CHRISTIAN TETZLAFF Christian Tetzlaff is one of the most sought-after violinists of his generation, celebrated for reinterpreting familiar works and drawing attention to forgotten masterpieces— including Joseph Joachim’s Violin Concerto, of which TETZLAFF Tetzlaff is regarded as the leading champion. Tetzlaff has served residencies with many prominent orchestras and festivals, including the Berliner Philharmoniker and Carnegie 36

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Hall’s Perspective series; he is currently Artist-in-Residence of the Seoul Philharmonic Orchestra and Dresdner Philharmonie. This season, in addition to appearing with the Detroit Symphony Orchestra, Tetzlaff will tour with the San Francisco Symphony Orchestra under Michael Tilson Thomas, return to Tanglewood with Thomas Adès, and perform with the Bergen Philharmonic Orchestra, London Symphony Orchestra, Münchner Philharmoniker, and other top orchestras. Tetzlaff founded a string quartet in 1994, and each year he embarks on at least one tour with the group; during the 2018-2019 Season, the Tetzlaff Quartet will perform at the Gewandhaus Leipzig and the Pierre-Boulez-Saal Berlin. The Quartet received the Diapason d’or in 2015 for their recording of Mendelssohn’s String Quartet Op. 13 and Alban Berg’s Lyric Suite. That same year, Tetzlaff’s trio with his sister Tanja Tetzlaff and pianist Lars Vogt was nominated for a Grammy Award for their recording of Brahms’ Piano Trios. Tetzlaff was born in Hamburg. He studied with Uwe-Martin Haiberg at the Musikhochschule Lübeck and later with Walter Levin at the University of Cincinnati College-Conservatory of Music. He plays a violin made by the German violin maker Peter Greiner and teaches regularly at the Kronberg Academy.  MOST RECENT APPEARANCE WITH THE DSO: September 2007, performing Bartók’s Second Violin Concerto (cond. Xian Zhang).  FIRST APPEARANCE WITH THE DSO: October 1989, performing Mozart’s Violin Concerto No. 5 (cond. Günther Herbig). WINTER 2018-2019

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Giving of $2,500 and more Howard Abrams & 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 Ms. Jeanne A. Bakale & Mr. Roger Dye Nora & Guy Barron Mr. Mark G. Bartnik & Ms. Sandra J. Collins Mr. & Mrs. Martin S. Baum Mr. & Mrs. Richard Beaubien Dr. & Mrs. Brian J. Beck Ms. Margaret Beck Dr. & Mrs. Richard H. Bell 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 Ms. Nadia Boreiko 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. Marco Bruzzano Mr. & Mrs. Mark R. Buchanan Mr. & Mrs. Ronald F. Buck Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Dr. & Mrs. Roger C. Byrd Mrs. Carolyn Carr Dr. & Mrs. Thomas E. Carson Dr. Lynne F. Carter & Mr. Terrance Carter Ronald & Lynda Charfoos Mr. & Mrs. Andrew Christians Mr. Fred J. Chynchuk Mr. Don Clapham Mr. & Mrs. Robert W. Clark Nina & Richard Cohan Jack, Evelyn & Richard Cole Family Foundation Mr. James Schwyn & Mrs. Françoise Colpron Dr. & Mrs. Julius V. Combs Ms. Elizabeth Correa Patricia & William Cosgrove, Sr. Dr. & Mrs. Ivan Louis Cotman Mrs. Barbara Cunningham Dr. Edward & Mrs. Jamie Dabrowski Suzanne Dalton & Clyde Foles 40

Deborah & Stephen D’Arcy Fund Maureen & Jerry D’Avanzo Barbara A. David 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 Mrs. George D. Dzialak Dr. Leo & Mrs. Mira Eisenberg Dr. & Mrs. A. Bradley Eisenbrey Randall & Jill* Elder Mr. Lawrence Ellenbogen Ms. Laurie Ellis & Mr. James Murphy Donald & Marjory Epstein Mr. Drew Esslinger & Mr. Chris Syzmanski 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 Mrs. Janet M. Garrett Stephanie Germack Ms. Jody Glancy 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 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 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 Sarah & Steven Jackson Mr. & Mrs. Ira J. Jaffe Mr. & Mrs. Charles R. Janovsky Mr. John S. Johns Ms. Sydney Johnstone Paul & Marietta Joliat Mr. & Mrs. John Jullens Ellen Kahn Diane & John Kaplan Dr. Laura Katz & Dr. Jonathan Pasko

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Betsy & Joel Kellman June K. Kendall Frederic & Stephanie Keywell Mrs. Frances King Grace Kachaturoff Mr. James Kirby Thomas & Linda Klein Mr. & Mrs. Ludvik F. Koci Ms. Margot Kohler Mr. David Kolodziej Ms. Susan Konop Mr. James Kors & Ms. Victoria King* Dr. Harry & Katherine Kotsis Robert C. & Margaret A. Kotz George M. Krappmann* & Lynda Burbary-Krappmann 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 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 Ms. Camille McLeod Dr. & Mrs. Donald A. Meier Dr. & Mrs. David Mendelson Olga Sutaruk Meyer Thomas & Judith Mich Bruce & Mary Miller J.J. & Liz Modell Dr. Susan & Mr. Stephen* Molina Mr. & Mrs. Daniel E. Moore Ms. A. Anne Moroun Mr. Frederick Morsches & Mr. Kareem George Drs. Barbara & Stephen Munk Ms. I. Surayyah R. Muwwakkil Joy & Allan Nachman Edward & Judith Narens Mariam C. Noland & James A. Kelly WINTER 2018-2019

Katherine & Bruce Nyberg Mr. John J. O’Brien Dr. & Mrs. Dongwhan Oh Lila & Randall Pappal Mrs. Margot Parker Mrs. Sophie Pearlstein Noel & Patricia Peterson Kris & Ruth 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 Jill M.* & Michael J. Rafferty 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. Ronald Ross & Ms. Alice Brody 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 David & Carol Schoch Catherine & Dennis B. Schultz Sandy & Alan Schwartz Mr. & Mrs. Kingsley G. Sears Mr. Merton J. Segal Nancy & Sam Shamie Shapero Foundation Ms. Margo Shulman Zon Shumway Dr. Les & Ellen Lesser Siegel Robert & Coco Siewert Mr. Norman Silk & Mr. Dale Morgan William & Cherie Sirois Dr. Cathryn & Mr. Daniel Skedel Mr. Michael J. Smith & Mrs. Mary C. Williams Dr. Gregory Stephens Barb & Clint Stimpson Nancy C. Stocking Dr. & Mrs. Gerald Stollman Dr. & Mrs. Choichi Sugawa Ms. Laurie Szczesny David Szymborski & Marilyn Sicklesteel Dr. Neil Talon Ms. Dorothy Tarpinian Joel & Shelley Tauber Dr. & Mrs. Howard Terebelo Mr. & Mrs. Douglas J. Thompson Mr. Norman Thorpe 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. Mark Wojtas Mr. Jonathan Wolman & Mrs. Deborah Lamm Cathy Cromer Wood Ms. Andrea L. Wulf Margaret S. York Mr. & Mrs. Alan Zekelman And five who wish to remain anonymous

Giving of $1,500 and more Joshua & Judith Adler Dr. & Mrs. Gary S. Assarian Dr. & Dr. Brian Bachynski Mrs. Mary Beattie† Ms. Jane Bolender Mr. & Mrs. J. Bora Mr. & Mrs. Stephen A. Bromberg Mr. & Mrs. Richard Burstein Dr. & Mrs. Glenn B. Carpenter David & Michelle Carroll Mrs. Elizabeth & Mr. C. Howard Crane Dr. Edward Mrs. Jamie Dabrowski 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. William Fetterman Mr. & Mrs. Robert W. Gillette Mr. Joseph & Mrs. Lois Gilmore Ruth & Al Glancy Ms. Sandra Seligman Anne & Eugene Greenstein Mr. Donald Guertin Mr. & Mrs. Michael Harding Fran & Howard Heicklen Mr. & Mrs. Paul Hillegonds Ms. Elizabeth Ingraham

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Ms. Nadine Jakobowski Mr. Arthur Johns Robert & Sandra Johnson Carol & Rick Johnston Ms. Ida King Aileen & Harvey Kleiman Tom & Beverly Klimko Mr. & Mrs. Victor Kochajda/Teal Electric Co. Miss Kathryn Korns Mr. & Mrs. Kosch Mr. & Mrs. William Kroger, Jr. Mr. Michael Kuhne Dr. Myron & Joyce LaBan Mr. & Mrs. Paul Lieberman Mr. William Lynch Ms. June G Mackeil Mr. & Mrs. Joseph Mazzeo Mr. & Mrs. Brian Meer Ms. Florence Morris Mr. & Mrs. Germano Mularoni Ms. Deborah Parker Dr.† & Mrs. Terry Podolsky Mrs. Janet Pounds Mr. Ronald Puchalski Drs. Renato & Daisy Ramos Mr. & Mrs. Richard Rapson Mrs. Hope Raymond Mr. & Mrs. John Rieckhoff Mr. Paul Robertson & Mrs. Cheryl Robertson

*Current DSO Musician or Staff

Mr. & Mrs. Leslie Rose Mr. James Rose Dr. & Mrs. Jerry Rosenberg Mr. & Mrs. Hugh C. Ross Mr. & Mrs. George Roumell Nancy J. Salden Mr. & Mrs. Lawrence Schlack Mr. Steve Secrest Robert A. Sedler Cynthia Shaw & Tom Kirvan Mr. & Mrs. William C. Shenefelt Mr. Lawrence Shoffner Ms. Claudia Sills Mr. Ariel Simon Mr. Mark Sims & Ms. Elaine Fieldman Ralph & Peggy Skiano Dr. & Mrs. Choichi Sugawa Ms. Joyce Sutherland David & Lila Tirsell Mr. Jim Van Eizenga William & Sandra Vanover Dr. & Mrs. Thomas E. Verhelle Peter & Carol Walters Mr. Barry Webster Ms. Beverly Weidendorf Ms. Janet Weir Rudolf E. Wilhelm Fund Frank & Ruth Zinn And three who wish to remain anonymous DSO PERFORMANCE MAGAZINE 41

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

THE McGREGOR FUND

Giving of $200,000 & more

HUDSON-WEBBER FOUNDATION primary pereferred logo

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

secondary

Giving of $100,000 & more

secondary - for use on dark backgrounds

2014 GM Design Corporate ID & Graphics

PAUL M. ANGELL FAMILY FOUNDATION

DSO PERFORMANCE MAGAZINE

THE RICHARD C. DEVEREAUX FOUNDATION

WINTER 2018-2019

Giving of $50,000 & more Marvin & Betty Danto Family Foundation William Randolph Hearst Foundation League of American Orchestras Edward C. & Linda Dresner Levy Foundation Richard & Jane Manoogian Foundation Michigan Council for Arts & Cultural Affairs Wico Metal Products Matilda R. Wilson Fund

Giving of $20,000 & more American House Senior Living Communities Beaumont Health Chemical Bank DeRoy Testamentary Foundation Flagstar Foundation Greektown Casino-Hotel Henry Ford II Fund

Lear Corporation Macy’s MGM Grand Detroit National Endowment for the Arts Rock Ventures, LLC Varnum LLP Wolverine Packing Company

Giving of $10,000 & more

Giving of $1,000 & more

Amerisure Insurance Creative Benefit Solutions, LLC Denso International America, Inc. Edibles Rex Maxine & Stuart Frankel Foundation Honigman Miller Schwartz and Cohn LLP Jaffe, Raitt, Heuer & Weiss KPMG LLP Myron P. Leven Foundation Oliver Dewey Marcks Foundation Milner Hotels Foundation Laskaris-Jamett Advisors of Raymond James Stone Foundation of Michigan

Charles M. Bauervic Foundation Darling Bolt Company Delta Dental Plan of Michigan Dickinson Wright LLP Frank & Gertrude Dunlap Foundation EY HEM Data Corporation Clarence & Jack Himmel Fund James & Lynelle Holden Fund Hotel St. Regis Howard & Howard Attorneys PLLC Japan Business Society of Detroit Foundation Josephine Kleiner Foundation Ludwig Foundation Fund Madison Electric Company Michigan First Credit Union Plante & Moran, PLLC PSLZ, LLP Meyer & Anna Prentis Family Foundation The Loraine & Melinese Reuter Foundation Save Our Symphony Leslie & Regene Schmier Foundation Schwartz Family Foundation Louis & Nellie Sieg Foundation Sills Foundation Robert Swaney Consulting, Inc. Samuel L. Westerman Foundation Wheeler Family Foundation, Inc. Young Woman’s Home Association And one who wishes to remain anonymous

Giving of $5,000 & more The Boston Consulting Group Coffee Express Roasting Company Benson & Edith Ford Fund Grant Thornton LLP Marjorie & Maxwell Jospey Foundation Michigan Ear Institute O’Brien - Sullivan Funeral Homes Inc Sigmund & Sophie Rohlik Foundation Schaerer Architextural Interiors Mary Thompson Foundation Warner Norcross & Judd LLP

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DSO PERFORMANCE MAGAZINE 43

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. Joseph Aviv Mr. Christopher A. Ballard Ms. Jessica B. Blake, Esq. Ms. Rebecca J. Braun Mr. Timothy Compton Dorothy A. & Larry L. Fobes 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 Vanover Mr. William Winkler Mrs. Wendy Zimmer Cox

PLANNED GIVING SPOTLIGHT

Dorothy and Larry Fobes Dorothy and Larry Fobes are both retired from decades-long careers at Ford Motor Company. Larry later joined the staff at Wayne State University. In that role, he created, co-produced, and hosted an Emmy-award winning television series in partnership with Detroit Public Television. What’s your earliest memory of seeing the DSO? We moved to the Detroit region in 1972. Within a few years we had series tickets to hear the DSO at Ford Auditorium. We were both working long hours, and dinner at Charley’s Crab in the Pontchartrain Hotel, followed by a DSO concert, was a great Friday night. What’s the best thing about living in Southeast Michigan? We like being among people who get things done: whether it is building great cars, renewing Detroit, or ensuring that our arts institutions continue and thrive. Like all major urban centers, we’ve had 44

DSO PERFORMANCE MAGAZINE

some tough times, but we work through them, and move on as stronger and better than before. Why was it important for you to give? The DSO has provided great value and pleasure for us over the years, and we want to help ensure that it is able to provide the same — and hopefully even greater — value and pleasure for future generations. We believe the arts are a critical component of any successful city. Arts programming must be available to everyone, whether that person is attending a live concert in the most expensive box seat or watching a free webcast. Ticket prices aren’t enough to fulfill these future missions. Planned giving is our way of helping. †

Deceased

WINTER 2018-2019

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. 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 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 Thomas W. Cook & Marie L. Masters 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 Janet M. Garrett Dr. Byron P. & Marilyn Georgeson Mr. Joseph & Mrs. Lois Gilmore Victor† & Gale Girolami Ruth & Al Glancy David & Paulette Groen Mr. Harry G. Bowles† Donna & Eugene Hartwig Gerhardt A. Hein & Rebecca P. Hein Ms. Nancy B. Henk Joseph L. Hickey

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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. & Mrs. George 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 Dimitri† & Suzanne Kosacheff Douglas Koschik 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 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 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 Steven Dee Yeutter Milton & Lois† Zussman Five who wish to remain anonymous DSO PERFORMANCE MAGAZINE 45

THANK YOU TO LAST SEASON’S EVENT SPONSORS! SAVE THE DATE: NEW YEAR’S EVE CELEBRATION • DEC. 31, 2018 THE MUSIC OF WHITNEY HOUSTON Judy & Stanley Frankel

SAVE THE DATE: CLASSICAL ROOTS 2019 • MARCH 8 & 9 Judy & Stanley Frankel Ann & Jim Nicholson T H E

S A T U R D A Y

DATE

JUNE 23, 2018

Danialle & Peter Karmanos, Jr.

Marjorie S. Fisher Fund of the Community Foundation for Southeast Michigan

SAVE THE DATE: HEROES GALA 2019 • JUNE 22

FINAL.indd 1

3/19/18 8:51 PM

TRIBUTE GIFTS Gifts received June 1, 2018 to September 1, 2018 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 Donald Bauder Anne Parsons & Donald Dietz In Memory of Mary Beattie Gwen & Dick Bowlby Jill Jordan & David Everson Felicia & Dwayne Mack Meredith Nelson Jan & Richard Raison Rose Marie & Gerald Switzer Wendy Rollin & Jerry Piasecki Household

In Honor of Penny & Harold Blumenstein Carolyn Greenberg In Memory of Mario DiFiore Dick & Gwen Bowlby Mario & Jane Iacobelli In Memory of Alex Domin Sue & William Kondak Anne Sullivan Cathy & Philip Tomaszewski

In Honor of Margaret Beauregard Carol Singer

In Memory of Bill Fay Pamela Ayres

In Memory of Ruth Terebelo Blackman Howard Hertz

In Memory of Ron Fischer Anne Parsons & Donald Dietz Judy & John Marx Natsuko & Choichi Sugawa

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† Deceased

In Memory of Jack Hommes Catherine Hande In Memory of Joan C. O’Brien John J. O’Brien In Honor of Anne Parsons Clinton Family Fund In Honor of Greg Staples Neil and Ilene Danziger In Honor of Arnold Weingarden Gail Danto & Art Roffey In Memory of Fred Woolf Laurie Dubin Nancy & Stephen Glasser Ruth & Irwin Kahn Rhoda Milgrim George & Nancy Nicholson

WINTER 2018-2019

AMERICAN PANORAMA A DSO WINTER FESTIVAL

FEBRUARY 8-24, 2019

TICKETS START AT

$15

SIX CONCERTS IN ORCHESTRA HALL AMERICAN PANORAMA

Leonard Slatkin, conductor Wei Yu, cello Fri., Feb. 8 at 10:45 a.m. & 8 p.m. MUSIC BY GOULD, JOAN TOWER, BERNSTEIN, TH OMSON, GROFÉ

A JOHN WILLIAMS CELEBRATION Leonard Slatkin, conductor Alexander Kinmonth, oboe Sat., Feb. 9 at 8 p.m. Sun., Feb. 10 at 3 p.m. MUSIC BY JOHN WILLIAMS

APPALACHIAN SPRING Leonard Slatkin, conductor Jean-Yves Thibaudet, piano Thu., Feb. 14 at 7:30 p.m. Fri., Feb. 15 at 10:45 a.m.

MUSIC BY CINDY MCTEE, BE RNSTEIN, BARBER, COPLAND

GERSHWIN’S PORGY & BESS

Leonard Slatkin, conductor Jean-Yves Thibaudet, piano Laquita Mitchell, soprano Derrick Parker, bass-baritone Sat., Feb. 16 at 8 p.m. Sun. Feb. 17 at 3 p.m. MUSIC BY GERSHWIN

WEST SIDE STORY Leonard Slatkin, conductor Kimberly Kaloyanides Kennedy, violin Ralph Skiano, clarinet Thu., Feb. 21 at 7:30 p.m. Fri., Feb. 22 at 8 p.m. MUSIC BY KRISTIN KUSTER, CAGE, BARBER, BE RNSTEIN

MAXIMUM MINIMAL

Leonard Slatkin, conductor Joseph Becker, percussion Andrés Pichardo-Rosenthal, percussion Jeremy Epp, timpani • James Ritchie, timpani Sat., Feb. 23 at 8 p.m. Sun., Feb. 24 at 3 p.m. MUSIC BY STEVE REICH, PHILIP GLASS, JOHN LUTHER ADAMS

PLUS MORE OFFERINGS IN THE CUBE AND THE COMMUNITY! ORDER YOUR TICKETS NOW!

dso.org • 313.576.5111 GROUPS OF 10 OR MORE CALL 313.576.5130

GENEROUSLY SPONSORED BY Prices, artists, dates and programs subject to change.

WELCOME TO THE MAX

OUR HOME ON WOODWARD AVENUE

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

Parking Self-parking is available for $10 at the Orchestra Place Parking Structure (81 Parsons Street), with designated handicap spaces available on the ground level. Valet parking is available for $14 at most concerts. Complimentary donor valet is offered to donors who give $7,500 annually, with drop-off and pick-up located at the stage door behind The Max. The DSO offers shuttle bus service to Coffee Concerts from select locations for $15. Please call 313.576.5130 for more information.

What Should I Wear? The DSO has no dress code. Patrons can expect to see a variety of outfit styles, and all visitors are encouraged to wear what makes them most comfortable. While business professional and business casual attire are common, jeans and sneakers are as appropriate as suits and ties.

Food and Drink Food and beverages are available for purchase at most performances, either from stations throughout the William Davidson Atrium or at the Paradise Lounge. A full-service restaurant offering gourmet meals prepared by Executive Chef Chris Skillingstad, the Paradise Lounge is located on the second floor of The Max and open prior to most Orchestra Hall concerts. For more information, or to make a reservation, please call 313.576.5488 or email paradiselounge@dso.org. Patrons are welcome to bring drinks to their 48

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

seats at all performances except Friday morning Coffee Concerts, and drink orders may be placed before or during a performance to be picked up at intermission. Food is not allowed in Orchestra Hall. Please note that outside food and beverages are prohibited.

Shop @ The Max The Shop @ The Max retail store is located on the first floor of The Max, just outside of the William Davidson Atrium in the hallway opposite the main staircase. Shop @ The Max is open before, during, and after most performances.

Handicap Access and Hearing Assistance The Max M. and Marjorie S. Fisher Music Center is fully handicap-accessible, and the DSO aims to accommodate all patrons regardless of abilities or needs. There are elevators, barrier-free restrooms, and accessible seating in all areas of The Max. Security personnel are available at all entrances to help patrons requiring extra assistance in and out of vehicles. The DSO’s Sennheiser MobileConnect hearing assistance system is available for all performances in Orchestra Hall. Patrons may visit the Patron Services Center on the second floor to check out a mobile device and earbuds, or to seek assistance in downloading the Sennheiser MobileConnect app on their own device. The system is made possible by the Michigan Ear Institute. WINTER 2018-2019

POLICIES SEATING The DSO makes every attempt to begin The Max M. and Marjorie S. Fisher Music Center 3711 Woodward Avenue Detroit, MI 48201 Box Office:................................................313.576.5111 Group Sales:............................................ 313.576.5130 Administrative Offices:.......................... 313.576.5100 Facilities Rental Information:...............313.576.5050 Visit the DSO online at dso.org For general inquiries, please email info@dso.org

Priority Service for Our Members We are proud to offer priority assistance to all DSO Subscribers, as well as donors who give $1,000 annually. Visit the Patron Services Center on the second floor of The Max for help with tickets, exchanges, donations, or any other DSO needs.

The Herman and Sharon Frankel Donor Lounge Governing Members who give $3,000 annually can enjoy complimentary beverages, appetizers, and desserts in the Donor Lounge, open 90 minutes prior to each concert through the end of intermission. For more information on becoming a Governing Member, contact Leslie Groves at 313.576.5451 or lgroves@dso.org.

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

Rent The Max Elegant and versatile, The Max is an ideal setting for a variety of events and performances: weddings, corporate gatherings, meetings, concerts, and more. Visit dso.org/rent or call 313.576.5065 for more information.

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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 William Davidson Atrium.

TICKETS, EXCHANGES, AND CONCERT CANCELLATIONS All patrons, regardless of age,

must have a ticket to attend DSO performances. All sales are final and non-refundable. In lieu of refunds, the DSO offers a flexible exchange and ticket donation policy. Tickets of equal or lesser value may be exchanged up to the day before the performance without fees. Patrons must pay the per-ticket difference if exchanging into a more expensive performance. Please contact the Box Office to exchange or donate tickets. The DSO rarely cancels concerts. In the event of inclement weather or other emergencies, please visit dso.org, contact the Box Office, or check the DSO’s social media pages for updates and information. Patrons will be notified of exchange options. The DSO is unable to offer refunds for cancelled concerts.

CHILDREN Educational Concert Series, Young

People’s Family Concerts, and Tiny Tots performances are specially designed for children and families. While the DSO does not enforce a universal age limit, please review program details to determine whether a performance is appropriate for children. All patrons must have a paid ticket regardless of age. Any person causing a disturbance to surrounding audience members will be asked to leave the performance area by an usher.

PHOTOGRAPHY AND RECORDING Photography

can be distracting to musicians and audience members, so please be cautious and respectful if you wish to take photos. Note that flash photography, video recording, tripods, and cameras with detachable lenses are strictly prohibited.

MOBILE DEVICES Use of smartphones and other

electronic devices can be distracting to musicians and audience members. You may be asked by an usher to store your device.

SMOKING Smoking, including the use of e-cigarettes and personal vaporizers, is prohibited throughout The Max. Patrons who wish to smoke must do so outside the building. Smoking is permitted on the second-floor outdoor patio near the Patron Services Center. DSO PERFORMANCE MAGAZINE 49

A D M I N I S T R AT I V E S TA F F

EXECUTIVE OFFICE

Patrick Peterson Manager of Orchestra Personnel

Debora Kang Manager of Education Programs

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

Dennis Rottell Stage Manager

Garrett Lefkowitz Training Programs Operations Coordinator

ADVANCEMENT

Nelson Rodriguez Parada General Manager of Training Ensembles

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

ARTISTIC OPERATIONS ARTISTIC PLANNING Christopher Harrington Managing Director of Paradise Jazz Series/Managing Director & Curator of @ The Max

Jill Rafferty Senior Director of Advancement Jenni Clark Fundraising Events Specialist

Clare Valenti Manager of Community Engagement

Stephanie Glazier Stewardship Coordinator

FINANCE

Leslie Groves Major Gift Officer

Jeremiah Hess Senior Director of Accounting & Finance

Chelsea Kotula Advancement Officer Juanda Pack Advancements Benefits Concierge Matthew Way Advancement Relations and Strategic Initiatives Manager

COMMUNICATIONS Matthew Carlson Director of Communications and Media Relations

Jessica Ruiz Director of Artistic Planning

Teresa Alden Digital Communications Manager

Christina Biddle Popular and Special Programs Coordinator

Ben Breuninger Public Relations Manager

Catherine Miller Artistic Coordinator Yaniv Segal Acting Assistant Conductor

Emily Carter Sharpe Communications Coordinator Sarah Smarch Communications Specialist

LIVE FROM ORCHESTRA HALL

COMMUNITY & LEARNING

Marc Geelhoed Director of Digital Initiatives

Caen Thomason-Redus Senior Director of Community & Learning

ORCHESTRA OPERATIONS

Kiersten Alcorn Community Engagement Coordinator

Kathryn Ginsburg Senior Director of Operations and Orchestra Manager Heather Hart Rochon Director of Orchestra Personnel

Mickayla Chapman Training Ensembles Recruitment and Operations Coordinator

DSO PERFORMANCE MAGAZINE

Dawn Kronell Senior Accountant Amanda Lindstrom Gift Processing Coordinator Sandra Mazza Senior Accountant Michelle Wisler Payroll and Benefits Accountant

HUMAN RESOURCES Denise Ousley Human Resources Director Shuntia Perry Human Resources Coordinator

PATRON DEVELOPMENT & ENGAGEMENT Nicki Inman Senior Director of Patron Development & Engagement

AUDIENCE DEVELOPMENT Michael Frisco Director of Audience Development Annick Busch Patron Loyalty Coordinator Lori Cairo Front of House Manager Sharon Gardner Carr Assistant Manager of Tessitura and Ticketing Operations WINTER 2018-2019

LaHeidra Marshall Audience Development Coordinator James Sabatella Group Sales Manager

CATERING AND RETAIL SERVICES Christina Williams Director of Catering and Retail Services Chris Skillingstad Executive Chef Nate Richter Bar Manager Justine Smith Retail Manager

EVENTS AND RENTALS Catherine Deep Manager of Events and Rentals Ashley Powers Event Sales Representative Stephanie McClung Coordinator of Event Sales & Administration

PATRON SALES & SERVICE Michelle Marshall Manager, Patron Sales & Service Rebecca Godwin Lead Ticketing Specialist Tommy Tatti Assistant Manager of Patron Sales & Service Sara Wabrowetz Lead Ticketing Specialist

SAFETY & SECURITY

Norris Jackson Security Officer Edward John Assistant Chief of Security Ronald Martin Security Officer Johnnie Scott Security Officer

TECHNOLOGY & INFRASTRUCTURE Jody Harper Senior Director of Technology and Infrastructure

FACILITY OPERATIONS Dan Saunders Director of Facilities Management Frederico Augustin Facility Engineer Clarence Burnett Maintenance Supervisor Matt Deneka Maintenance Technician Martez Duncan Maintenance Technician William Guilbault Maintenance Technician

PERFORMANCE Volume XXVII Winter 2018-2019 EDITOR Ben Breuninger bbreuninger@dso.org 313.576.5196 PUBLISHER Echo Publications, Inc. Thomas Putters PROGRAM NOTES ANNOTATOR Charles Greenwell (Unless otherwise noted) To advertise in Performance, please call 248.582.9690.

Crystal King Maintenance Technician Daniel Speights Maintenance Technician

INFORMATION TECHNOLOGY Michelle Koning Web Manager RaJon Taylor Application Administrator

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.

George Krappmann Director of Safety &Security Greg Schimizzi Chief of Security

dso.org

DSO PERFORMANCE MAGAZINE 51

UPCOMING CONCERTS & EVENTS TICKETS & INFO

313 . 576 . 5111 dso.org

CLASSICAL SERIES

PARADISE JAZZ SERIES

John Storgårds, conductor Pekka Kuusisto, violin

Fri., Dec. 7 at 8 p.m.*

TCHAIKOVSKY SYMPHONY NO. 4 Fri., Nov. 16 at 10:45 a.m. Sat., Nov 17 at 8 p.m. Sun., Nov 18 at 3 p.m.

CYRUS CHESTNUT TRIO: A CHARLIE BROWN CHRISTMAS @THE MAX

JEFF “TAIN” WATTS TRIO

ANTHEIL Over the Plains DANÍEL BJARNASON Violin Concerto TCHAIKOVSKY Symphony No. 4

Fri., Dec. 7 at 10 p.m. in The Cube*

TINY TOTS CONCERT SERIES

JAZZ MEETS DR. SEUSS

DSO PRESENTS

Sat., Dec. 8 at 10 a.m. in The Cube*

VIENNA BOYS CHOIR: CHRISTMAS IN VIENNA

YOUNG PEOPLE’S FAMILY CONCERT SERIES

Sun., Nov. 25 at 7 p.m.*

THE SNOWMAN

WU FAMILY ACADEMY EDUCATIONAL CONCERT SERIES

BY RAYMOND BRIGGS Vinay Parameswaran, conductor

THE TALE OF THE FIREBIRD

Sat., Dec. 8 at 11 a.m.

Rei Hotoda, conductor

Wed., Nov. 28 at 10:30 a.m. & 11:45 a.m.

@ THE MAX

PNC POPS SERIES

STORM LARGE: HOLIDAY ORDEAL

George Daugherty, conductor

CLASSICAL SERIES

BUGS BUNNY AT THE SYMPHONY II

Mon., Dec. 10 at 7 p.m. in The Cube*

STRAUSS: DER ROSENKAVALIER

Fri., Nov. 30 at 10:45 a.m. Sat., Dec. 1 at 8 p.m. Sun., Dec. 2 at 3 p.m.

LOONEY TUNES and all related characters and elements are trademarks of and © Warner Bros. Entertainment Inc. TOM AND JERRY and all related characters and elements are trademarks of and © Turner Entertainment Co. (s18)

CLASSICAL SERIES

BEETHOVEN’S FIFTH

Carlos Miguel Prieto, conductor Christian Tetzlaff, violin Thu., Dec. 6 at 7:30 p.m. Fri., Dec. 7 at 10:45 a.m. Sat., Dec. 8 at 8 p.m.

BRAHMS Concerto for Violin BEETHOVEN Symphony No. 5 52

DSO PERFORMANCE MAGAZINE

Nikolaj Znaider, conductor Jean-Guihen Queyras, cello Fri., Dec. 14 at 10:45 a.m. Sat., Dec. 15 at 8 p.m.

J. STRAUSS Overture to Die Fledermaus SCHUMANN Cello Concerto in A minor, Op. 129 SCHUMANN Overture to Manfred R. STRAUSS Suite from Der Rosenkavalier DSO PRESENTS

HOME ALONE WITH THE DSO Richard Kaufman, conductor Wed., Dec. 19 at 7:30 p.m. Live from Orchestra Hall

WINTER 2018-2019

PNC POPS SERIES

Lawrence Loh, conductor Meredith Lustig, vocalist

Matt Catingub, conductor & vocalist Anita Hall, vocalist Steve Moretti, drums

Fri., Dec. 21 at 10:45 a.m. & 8 p.m. Sat., Dec. 22 at 3 p.m. & 8 p.m. Sun., Dec. 23 at 3 p.m. & 7 p.m.

Fri., Jan. 18 at 10:45 a.m. Sat., Jan. 19 at 8 p.m. Sun., Jan. 20 at 3 p.m.

DSO PRESENTS

PARADISE JAZZ SERIES

HOME FOR THE HOLIDAYS

NEW YEAR’S EVE CONCERT & BASH — THE MUSIC OF WHITNEY HOUSTON

VEGAS AND THE RAT PACK

THE MUSIC OF JOHN COLTRANE Fri., Jan. 18 at 8 p.m.*

Mon., Dec. 31 at 10 p.m.

Poncho Sanchez and James Carter

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES

CLASSICAL SERIES

TCHAIKOVSKY’S “LITTLE RUSSIAN” SYMPHONY

SHOSTAKOVICH 8

Karina Canellakis, conductor Lise de la Salle, piano

Ken-David Masur, conductor Edgar Moreau, cello

Sat., Jan. 26 at 8 p.m. Sun., Jan. 27 at 3 p.m.

Thu., Jan. 10 at 7:30 p.m. in Southfield Fri., Jan. 11 at 8 p.m. in Clinton Twp. Sun., Jan. 13 at 3 p.m. in Beverly Hills

SCHUMANN Concerto for Piano SHOSTAKOVICH Symphony No. 8

GLINKA Overture to Ruslan and Ludmilla TCHAIKOVSKY Symphony No. 2 DVOŘÁK Cello Concerto

HOSTED PARTNERSHIPS

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES

BEETHOVEN SYMPHONY NO. 2 Pablo Rus Broseta, conductor Wei Yu, cello

Thu., Jan. 17 at 7:30 p.m. in W. Bloomfield Fri., Jan. 18 at 8 p.m. in Plymouth Sat., Jan. 19 at 8 p.m. in Bloomfield Hills Sun., Jan. 20 at 3 p.m. in Grosse Pointe

STRAVINSKY Concerto in D SAINT-SAËNS Cello Concerto No. 1 BEETHOVEN Symphony No. 2 dso.org

FINALS CONCERT

22ND ANNUAL SPHINX COMPETITION Sat., Feb 2 at 7:30 p.m.*

@ THE MAX

VALENTINE’S DAY WITH BRIANNA THOMAS

Thu., Feb. 14 at 7 p.m. in The Cube*

DSO PRESENTS

CHINESE NEW YEAR Tue., Feb. 12 at 7 p.m.*

An exhilarating event showcasing the rich history of Chinese music.

*The DSO does not appear in this program

DSO PERFORMANCE MAGAZINE 53

BE SURE TO VISIT ALL FOUR LEVELS OF THE WILLIAM DAVIDSON ATRIUM TO ENJOY

ART@THEMAX IV Featuring work by Detroit artists Jetshri Bhadviya, Sophie Eisner, Ed Fraga, Susan Goethel Campbell, Megan Heeres, Kate Levy, George Rahme, Kathleen Rashid, and Clinton Snider.

CLINTON SNIDER, TANGLED KNOTS

SEPTEMBER 23 TO DECEMBER 23, 2018

WITH GENEROUS SUPPORT FROM:

Art @ the Max is a collaboration between Essayâ&#x20AC;&#x2122;d and the Detroit Symphony Orchestra. A portion of the sale price of these works will benefit the DSO. Visit Shop @ The Max retail store, located on the first floor just south of the box office, to see a price list.

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 organizations creating a lasting, postive impact in our region.

CFSEM.org

313-961-6675

The Katherine McGregor Dessert Parlor

…at The Whitney.

Named after David Whitney’s daughter, Katherine Whitney McGregor, the new secondfloor dessert parlor features a variety of decadent cakes, tortes, and miniature desserts. The menu also includes chef-prepared specialties, pies, and frozen treats, and you won’t want to miss the amazing flaming dessert station featuring Bananas Foster and strawberries Grand Marnier.

JOIN US AFTER TONIGHT’S PERFORMANCE AND ENJOY A

FLAMING BANANAS FOSTER AT HALF PRICE!

Reservations 313-832-5700 4421 Woodward Ave., Detroit • www.TheWhitney.com