DSO Performance magazine, Mozart Festival edition

PERFORMANCE THE MAGAZINE OF THE DETROIT SYMPHONY ORCHESTRA

2016-2017 SEASON

JANUARY 19-FEBRUARY 5, 2017

INSIDE

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M OZART IN THE D

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BY LEONARD SLATKIN

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A MADEUS, AMADEUS?

BY KATHRYN LIBIN

PROGRAM NOTES F EATURED SOLOIST PROFILES

Steve Reich@ 80 Music for 18 Musicians

Eighth Blackbird and Third Coast Percussion Saturday, March 18 // 8pm Hill Auditorium | Ann Arbor

The Guardian in London asserts, “There’s just a handful of living composers who can legitimately claim to have altered the direction of musical history, and Steve Reich is one of them.” Reich, whom the New Yorker called “the most original musical thinker of our time,” celebrated his 80th birthday in 2016; the year also marks the 40th anniversary of the premiere of Music for 18 Musicians, considered by many to be his greatest composition. Two of Chicago’s world-class ensembles, Eighth Blackbird and Third Coast Percussion, team up to perform this seminal piece. Reich’s Sextet rounds out the program.

A UMS Renegade event.

PROGRAM

Reich Reich

Sextet Music for 18 Musicians

PRESENTING SPONSOR

Renegade Ventures Fund, established by Maxine and Stuart Frankel SUPPORTING SPONSOR

F UN DED I N PART BY

Building Audiences for Sustainability initiative at The Wallace Foundation

MEDIA PARTNERS

Ann Arbor’s 107one Metro Times WGTE 91.3 FM WDET 101.9 FM

ums.org 734.764.2538

2 0 16 - 2 0 17 S E A S O N

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

CONTENTS Orchestra Roster..................................5

12

Behind the Baton..................................6

Amadeus, Amadeus?

Board Leadership.................................8

WELCOME

Maximize Your Experience..................16

4 Mozart in the D Leonard Slatkin

Governing Members.............................9 Volunteer Council...............................11

Volunteer Ushers................................57

16 DSO FESTIVAL SOLOISTS

Gabrilowitsch Society.........................58

21

DSO Administrative Staff....................66

Musician Profiles PROGRAM NOTES

Donor Roster.....................................58

Upcoming Concerts...........................68

Read Performance anytime, anywhere at dso.org/performance

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DSO PERFORMANCE MAGA ZINE 3

WELCOME

Mozart in the D W

hen considering the question of which classical composer is the most popular in the world, inevitably the name Wolfgang Amadeus Mozart comes out on top. There are Mostly Mozart, Mainly Mozart, and probably even Marginally Mozart festivals. His music is in commercials, movies, and malls. So why did it take us until the fourth Winter Music Festival to get around to him?

During his 35-year lifespan, Mozart produced a prodigious amount of music.

Our previous composers — Beethoven, Tchaikovsky, and Brahms — had the good sense to leave us with cycles of symphonies that could be performed over the course of our three-week festivals. But Wolfie left us 41, which is not a feasible number to perform in this timeframe.

Mozart’s 27 concerti for piano and seven for violin didn’t seem practical for the festival, either.

After a great deal of thought, I came up with the idea to feature the final six symphonies, which are often packaged together on recordings. All of these works are popular and all of them are masterpieces. But we could easily perform these over the course of two evenings.

Then it hit me. We have so many talents in the DSO, why not showcase as many as possible?

In what might be a first, all of Mozart’s works for solo winds and orchestra will be performed, each by different members of our orchestra, as well as the concerto for flute and harp. The four concerti for horns will be played, each by a different member of our stellar French horn section. To fill in the remaining gaps, the truly magnificent Concertante for Violin and Viola and the lesser-known Concertone will be heard, as well as several overtures to round out the programs.

What do we learn from this experience? I would say that the sheer variety of Mozart’s compositional genius is on display, in terms of both his virtuosity and the inherent musical interest of his works. We will have the opportunity to experience the composer at different points in his life, hearing him develop and leaving us to wonder what he would have done next.

However, perhaps such speculation is not germane to this festival. All we need to know is that Mozart left us an abundance of great works to listen to time and time again.

Leonard Slatkin

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MOZART FESTIVAL 2016-2017

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

JEFF TYZIK

Principal Pops Conductor

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

NEEME JÄRVI Music Director Emeritus

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

CELLO Wei Yu Principal James C. Gordon Chair Robert Bergman* David LeDoux* Peter McCaffrey* Haden McKay* Úna O’Riordan* Paul Wingert* Victor and Gale Girolami Chair Open Assistant Principal Dorothy and Herbert Graebner Chair

ENGLISH HORN Monica Fosnaugh Shari and Craig Morgan Chair

BASS Kevin Brown Principal Van Dusen Family Chair Stephen Molina Assistant Principal Linton Bodwin Stephen Edwards Larry Hutchinson

E-FLAT CLARINET Laurence Liberson

SECOND VIOLIN Adam Stepniewski Acting Principal The Devereaux Family Chair Ron Fischer* Will Haapaniemi* David and Valerie McCammon Chair Hae Jeong Heidi Han* David and Valerie McCammon Chair Sheryl Hwangbo* Hong-Yi Mo* Alexandros Sakarellos* Joseph Striplin* Marian Tanau* Jing Zhang*

HARP Patricia Masri-Fletcher Principal Winifred E. Polk Chair

VIOLA Eric Nowlin Principal Julie and Ed Levy, Jr. Chair James VanValkenburg Assistant Principal Caroline Coade Hang Su Glenn Mellow Shanda Lowery-Sachs Hart Hollman Han Zheng Alexander Mishnaevski Principal Emeritus

FLUTE David Buck Principal Women’s Association for the DSO Chair Amanda Blaikie Sharon Sparrow Assistant Principal Bernard and Eleanor Robertson Chair Jeffery Zook PICCOLO Jeffery Zook OBOE Alexander Kinmonth Principal Jack A. and Aviva Robinson Chair Geoffrey Johnson† Maggie Miller Chair Brian Ventura Assistant Principal Monica Fosnaugh

MICHELLE MERRILL Associate Conductor, Phillip and Lauren Fisher Community Ambassador

CLARINET Ralph Skiano Principal Robert B. Semple Chair Jared Davis † PVS Chemicals Inc./Jim and Ann Nicholson Chair Laurence Liberson Assistant Principal Shannon Orme Ford Musician Awardee

BASS CLARINET Shannon Orme Barbara Frankel and Ronald Michalak Chair BASSOON Robert Williams Principal Victoria King Michael Ke Ma Assistant Principal Marcus Schoon Alexander Davis African-American Orchestra Fellow CONTRABASSOON Marcus Schoon HORN Karl Pituch Principal Bryan Kennedy Scott Strong Johanna Yarbrough David Everson Assistant Principal Mark Abbott TRUMPET Hunter Eberly Principal Lee and Floy Barthel Chair Kevin Good^ Stephen Anderson Assistant Principal William Lucas

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

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

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DSO PERFORMANCE MAGA ZINE 5

BEHIND THE BATON

Leonard Slatkin

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nternationally acclaimed conductor Leonard Slatkin is Music Director of the Detroit Symphony Orchestra (DSO) and the Orchestre National de Lyon (ONL). He also maintains a rigorous schedule of guest conducting and is active as a composer, author, and educator.

Highlights of the 2015-16 season included a three-week Brahms festival in Detroit; engagements with the St. Louis Symphony, Pittsburgh Symphony, Los Angeles Philharmonic, and NHK Symphony in Tokyo; and debuts with Beijing’s China Philharmonic Orchestra and the Shanghai Symphony Orchestra. Summer events included a tour of Japan with the ONL and performances of Barber’s Vanessa in Santa Fe. During the 2016-17 season — in addition to his regular duties in Detroit and Lyon — he will return to Pittsburgh and St. Louis, tour the U.S. and Europe with the ONL, conduct overseas with the WDR Symphony Orchestra Cologne, Verdi Orchestra in Milan, and San Carlo Theatre Orchestra in Naples, and serve as chairman of the jury and conductor of the 2017 Cliburn Competition.

Slatkin’s more than 100 recordings have garnered seven Grammy awards

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DSO PERFORMANCE MAGA ZINE

and 64 nominations. His recent Naxos recordings include works by 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 book, Conducting Business.

Slatkin has conducted virtually all of the leading orchestras in the world.

As Music Director, he has held posts with the New Orleans, St. Louis, and National symphony orchestras, and he was Chief Conductor of the BBC Symphony Orchestra. He has served as Principal Guest Conductor of London’s Philharmonia and Royal Philharmonic, the Pittsburgh Symphony Orchestra, the Los Angeles Philharmonic at the Hollywood Bowl, and the Minnesota Orchestra. For more information, visit leonardslatkin.com.

MOZART FESTIVAL 2016-2017

Jeff Tyzik

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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. 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 Seattle Symphony, the Detroit Symphony, the Oregon Symphony, and The Florida Orchestra. This season, Tyzik will celebrate his 23rd season as Principal Pops Conductor of the Rochester Philharmonic Orchestra.

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 the Royal Scottish National Orchestra. In May 2007, the Harmonia Mundi label released his recording of works by Gershwin with pianist Jon

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Nakamatsu and the RPO, which stayed in the Top 10 on the Billboard classical chart for over 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.

DSO PERFORMANCE MAGA ZINE 7

Detroit Symphony Orchestra, Inc. LIFETIME MEMBERS

DIRECTORS EMERITI

OFFICERS

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

CHAIRMEN EMERITI

Alfred R. Glancy III Steve 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, DDS 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

Arthur T. O’Reilly Secretary

Ralph J. Gerson Officer-at-large

Dr. Glenda D. Price Vice Chair

Chacona W. Baugh Officer-at-large

Janice Uhlig Officer-at-large

Faye A. Nelson Treasurer

BOARD OF DIRECTORS

Pamela Applebaum Chacona W. Baugh Robert H. Bluestein Richard L. DeVore Jeremy Epp* Orchestra Representative James Farber Chairman, Governing Members Samuel Fogleman Monica Fosnaugh* Orchestra Representative

Herman B. Gray, Jr., MD Nicholas Hood III Ronald M. Horwitz Michael J. Keegan Bonnie Larson Matthew B. Lester Arthur C. Liebler Ginny Lundquist Volunteer Council President Xavier Mosquet Faye Alexander Nelson

Stephen Polk Bernard I. Robertson Hon. Gerald E. Rosen Nancy M. Schlichting Arn Tellem Hon. Kurtis T. Wilder M. Roy Wilson

BOARD OF TRUSTEES

Ismael Ahmed Rosette Ajluni Devon Akmon Richard Alonzo Dan Angelucci Janet M. Ankers Suzanne Bluestein Penny B. Blumenstein Liz Boone Gwen Bowlby Joanne Danto Stephen D’Arcy Maureen T. D’Avanzo Karen Davidson Richard L. DeVore Linda Dresner Afa S. Dworkin J. Mikel Ellcessor Jeremy Epp* Orchestra Representative Annmarie Erickson Jennifer Fischer Aaron Frankel Robert Gillette

Allan D. Gilmour Jody Glancy Malik Goodwin Carol Goss Antoinette G. Green Leslie Green Deirdre Greene Groves Laura Hernandez-Romine Michele Hodges Sharad P. Jain Renee Janovsky Joey Jonna David Karp Joel D. Kellman James Lentini Josh Linkner Florine Mark Tonya Matthews David McCammon Lois A. Miller Daniel Millward James C. Mitchell, Jr. Scott Monty Joseph Mullany

Sean M. Neall Tom O’Brien Maury Okun Úna O’Riordan* Orchestra Representative William F. Pickard Fair Radom Gerrit Reepmeyer Rick Robinson Lois L. Shaevsky Tom Shafer Margo Shulman Cathryn Skedel Shirley R. Stancato Stephen Strome Mark Tapper Ray Telang Laura Trudeau Michael R. Tyson Gwen Weiner Jennifer Whitteaker R. Jamison Williams Margaret Winters Ellen Hill Zeringue

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.

Ric Huttenlocher Chairperson

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.

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DSO PERFORMANCE MAGA ZINE

† Deceased

MOZART FESTIVAL 2016-2017

GOVERNING MEMBERS Governing Members is a philanthropic leadership group designed to provide unique, substantive, hands-on opportunities for leadership and access to a diverse group of valued stakeholders. Governing Members are ambassadors for the DSO and advocates for arts and culture in Detroit and throughout Southeast Michigan.

This list reflects gifts received from September 1, 2015 through August 31, 2016. For more information about the Governing Members program, please call Morgan Graby at 313.576.5452.

James C. Farber Chairperson

Suzanne Dalton Vice Chair, Annual Giving

Arthur T. O’Reilly Immediate Past Chairman

David Karp Vice Chair, Communications

Jiehan Alonzo Vice Chair, Signature Events

Jan Bernick Member-at-Large

Janet and Norm Ankers Co-Vice Chairs, Gabrilowitsch Society David Assemany Vice Chair, Engagement Diana Golden Vice Chair, Membership

Howard Abrams & Nina Dodge Abrams Mrs. Denise Abrash Ms. Dorothy Adair Mr. & Mrs. George Agnello Dr. Roger & Mrs. Rosette Ajluni Mr. & Mrs. Robert A. Allesee Mr. & Mrs. Richard L. Alonzo Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Daniel & Rose Angelucci Mr. & Mrs. Norman Ankers Mr. & Mrs. Robert L. Anthony Drs. Kwabena & Jacqueline Appiah Eugene & Marcia Applebaum Family Foundation Pamela Applebaum Dr. & Mrs. Ali-Reza R. Armin Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook* Mr. Joseph Aviv & Mrs. Linda Wasserman Aviv Mr. & Mrs. John Axe Mrs. Jean Azar Mr. & Mrs. Wayne J. Babbish Ms. Sharon Backstrom Ms. Ruth Baidas Nora Lee & Guy Barron Mr. & Mrs. Lee Barthel Mr. Mark Bartnik & Ms. Sandra J. Collins Mr. & Mrs. Martin S. Baum Mary Beattie Mr. & Mrs. Richard Beaubien Ms. Margaret Beck Mr. Chuck Becker Mrs. Cecilia Benner Mrs. Harriett Berg

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Mandell & Madeleine Berman Foundation Mr. & Mrs. Dennis Bernard Mr. & Mrs. Jeffrey A. Berner Drs. John & Janice Bernick Mr. & Mrs. Michael Biber Ms. Kathleen Block Mr. & Mrs. Robert H. Bluestein Dr. George & Joyce Blum Penny & Harold Blumenstein Nancy & Lawrence Bluth Mr. Timothy Bogan Mr. & Mrs. John A. Boll, Sr. Mr. & Mrs. Jim Bonahoom Rud & Mary Ellen Boucher Don & Marilyn Bowerman Gwen & Richard Bowlby Mr. Paul & Mrs. Lisa Brandt Mr. Anthony F. Brinkman Mr. & Mrs. Richard A. Brodie Robert N. & Claire P. Brown Mr. & Mrs. Mark R. Buchanan Mr. & Mrs. Ronald F. Buck Michael & Geraldine Buckles Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Ms. Evelyn Burton Julie Byczynski* & Angus Gray Dr. & Mrs. Roger C. Byrd Philip & Carol Campbell Dr. & Mrs. Thomas E. Carson Mr. & Mrs. François Castaing Ronald & Lynda Charfoos Michael & Cathleen Clancy Gloria Clark Mr. & Mrs. Robert W. Clark Nina & Richard Cohan

*Current DSO Musician or Staff

Lois & Avern Cohn Jack, Evelyn & Richard Cole Family Foundation Dr. & Mrs. Charles G. Colombo Mrs. RoseAnn Comstock Thomas W. Cook & Marie L. Masters Patricia & William Cosgrove, Sr. Dr. & Mrs. Ivan Louis Cotman Mr. & Mrs. Gary L. Cowger Mr. & Mrs. Raymond M. Cracchiolo Julie & Peter Cummings Mrs. Barbara Cunningham Suzanne Dalton & Clyde Foles Marvin & Betty Danto Family Foundation Joanne Danto & Arnold Weingarden Deborah & Stephen D’Arcy Fund Mr. & Mrs. Charles W. Dare Jerry P. & Maureen T. D’Avanzo Barbara A. David Margie Dunn & Mark Davidoff Lillian & Walter Dean Beck Demery Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Mr. Giuseppe Derdelakos Ms. Leslie C. Devereaux Mr. & Mrs. Richard L. DeVore Adel & Walter Dissett Diana & Mark Domin Donato Enterprises Linda Dresner & Ed Levy, Jr. Peggy Dufault Mr. & Mrs. Robert Dunn Mr. Roger Dye & Ms. Jeanne A. Bakale Edwin & Rosemarie Dyer

Bonnie Larson Member-at-Large Frederick J. Morsches Member-at-Large David Everson* Musician Representative Johanna Yarbrough* Musician Representative Mrs. George D. Dzialak Dr. Leo & Mrs. Mira Eisenberg Dr. & Mrs. A. Bradley Eisenbrey Mr. Lawrence Ellenbogen Marianne T. Endicott Donald & Marjory Epstein Mr. & Mrs. John M. Erb Mr. Sanford Hansell & Dr. Raina Ernstoff Mr. Drew Esslinger Mr. Peter Falzon Jim & Margo Farber Ellie Farber Mr. & Mrs. Oscar Feldman Mr. Anthony C. Fielek Mrs. Kathryn L. Fife Dr. Thomas Filardo & Dr. Nora Zorich Ms. Sharon Finch Mr. & Mrs. David Fischer Barbara & Alfred J. Fisher III Mr. & Mrs. Phillip Wm. Fisher Dr. Marjorie M. Fisher & Mr. Roy Furman Ms. Mary D. Fisher Mr. Michael J. Fisher Mr. Jay Fishman Mr. David Fleitz Mr. & Mrs. Samuel Fogleman Madeline & Sidney Forbes Mr. & Mrs. Edsel B. Ford II Dr. Saul & Mrs. Helen Forman Mr. & Mrs. Mark Frank Barbara Frankel & Ronald Michalak Dale & Bruce Frankel Herman & Sharon Frankel Mr. & Mrs. Stanley Frankel Ms. Carol A. Friend Mr. & Mrs. Daniel E. Frohardt-Lane Sharyn & Alan Gallatin

DSO PERFORMANCE MAGA ZINE 9

GOVERNING MEMBERS continued Mr. & Mrs. Eugene A. Gargaro, Jr. Mrs. Janet M. Garrett Mr. George Georges Mrs. Byron Gerson Mr. & Mrs. Ralph J. Gerson Drs. Lynda & Conrad Giles Mr. & Mrs. Robert W. Gillette Allan D. Gilmour & Eric C. Jirgens Mrs. Gale Girolami Dr. Kenneth & Roslyne Gitlin Ruth & Al Glancy Dr. & Mrs. Theodore Golden Dr. Robert T. Goldman Goodman Family Charitable Trust Dr. Allen Goodman & Dr. Janet Hankin Paul & Barbara Goodman Mary Ann & Robert Gorlin Ms. Jacqueline Graham Mr. Luke Ponder & Dr. Darla Granger Dr. Herman & Mrs. Shirley Gray Mrs. James A. Green Dr. & Mrs. Joe L. Greene Dr. & Mrs. Steven Grekin Mr. Jeffrey Groehn Mr. & Mrs. James Grosfeld Robert & Elizabeth Hamel Randall L. & Nancy Caine Harbour Tina Harmon Mrs. Betty J. Harrell Mr. Morton E. Harris Mr. Lee V. Hart & Mr. Charles L. Dunlap Cheryl A. Harvey Gerhardt A. Hein & Rebecca P. Hein Ms. Nancy B. Henk Dr. Gloria Heppner Ms. Doreen Hermelin Mr. & Mrs. Ross Herron Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Jeremiah* & Brooke Hess Michael E. Hinsky & Tyrus N. Curtis Mr. & Mrs. Norman H. Hofley Lauri & Paul Hogle Jack & Anne Hommes Ms. Barbara Honner The Honorable Denise Page Hood & Reverend Nicholas Hood III Mr. Ronald Horwitz Mr. Matthew Howell & Mrs. Julie Wagner Mr. F. Robert Hozian Mr. & Mrs. Joseph L. Hudson, Jr. 10

Richard H. & Carola Huttenlocher Mr. & Mrs. A. E. Igleheart Nicki* & Brian Inman Steven & Sarah Jackson Mr. & Mrs. Ira J. Jaffe Mr. Sharad P. Jain Mr. & Mrs. Charles R. Janovsky Mr. & Mrs. Richard J. Jessup William & Story John Mr. John S. Johns Chacona W. Johnson Mr. & Mrs. George Johnson Lenard & Connie Johnston Mr. Paul Joliat Mr. & Mrs. Joseph Jonna Ellen Kahn Faye & Austin Kanter Mr. & Mrs. Peter Karmanos, Jr. Judy & David Karp Mr. & Mrs. Norman D. Katz Dr. Laura Katz & Dr. Jonathan Pasko Mike & Katy Keegan Betsy & Joel Kellman June K. Kendall Michael E. Smerza & Nancy Keppelman Patrick J. Kerzic & Stephanie Germack Kerzic Dr. David & Mrs. Elizabeth Kessel Frederic & Stephanie Keywell Mrs. Frances King Mr. & Mrs. William P. Kingsley Thomas & Linda Klein Mr. & Mrs. Ludvik F. Koci Ms. Margot Kohler Mr. David Kolodziej Mr. James Kors & Ms. Victoria King* Martin & Karen Koss Dr. Harry & Katherine Kotsis Robert C. & Margaret A. Kotz Barbara & Michael Kratchman Richard & Sally Krugel Mr. & Mrs. Harold Kulish Dr. Arnold Kummerow Marilyn & John Kunz Dr. Myron & Joyce LaBan Mr. & Mrs. Robert LaBelle Dr. Raymond Landes & Dr. Melissa McBrien-Landes Drs. Lisa & Scott Langenburg Ms. Sandra Lapadot Ms. Anne T. Larin Mrs. Bonnie Larson

DSO PERFORMANCE MAGA ZINE

Dr. Lawrence O. Larson Dolores & Paul Lavins Mr. Henry P. Lee Marguerite & David Lentz Max Lepler & Rex L. Dotson Mr. & Mrs. Ralph LeRoy, Jr. Dr. Melvin A. Lester Mr. & Mrs. Matthew Lester Drs. Donald & Diane Levine Mr. Daniel Lewis Mr. & Mrs. John D. Lewis Bud & Nancy Liebler Mr. Joseph Lile The Locniskar Group Mr. & Mrs. Eric C. Lundquist Daniel & Linda* Lutz Bob & Terri Lutz Mrs. Sandra MacLeod Cis Maisel Margaret Makulski & James Bannan Mr. & Mrs. Charles W. Manke, Jr. Mervyn & Elaine Manning Mr. & Mrs. David S. Maquera, Esq. Mr. Anthony Marek Ms. Florine Mark Maurice Marshall Dr. & Mrs. Richard Martella David & Valerie McCammon Dr. & Mrs. Peter M. McCann, M.D. Stevens McClure Family Mr. & Mrs. Alonzo McDonald Alexander & Evelyn McKeen Patrick G. McKeever Ms. Camille McLeod Dr. & Mrs. Donald A. Meier Dr. & Mrs. David Mendelson Mrs. Thomas Meyer Thomas & Judith Mich Ms. Deborah Miesel Mr. & Mrs. Eugene A. Miller Mr. & Mrs. Leonard G. Miller Mr. & Mrs. Robert S. Miller Dr. Robert & Dr. Mary Mobley J.J. & Liz Modell Dr. Susan & Mr. Stephen* Molina Eugene & Sheila Mondry Foundation Mr. & Mrs. Daniel E. Moore Shari & Craig Morgan Ms. A. Anne Moroun Ms. Florence Morris Mr. Frederick Morsches & Mr. Kareem George

Cyril Moscow Xavier & Maeva Mosquet Drs. Barbara & Stephen Munk Ms. I. Surayyah R. Muwwakkil Joy & Allan Nachman Judith & Edward Narens Geoffrey S. Nathan & Margaret E. Winters David Robert & Sylvia Jean Nelson Mr. & Mrs. Albert T. Nelson, Jr. Mr. & Mrs. James B. Nicholson Jim & Mary Beth Nicholson Patricia & Henry Nickol Mr. & Mrs. David E. Nims Mariam C. Noland & James A. Kelly Mr. & Mrs. Richard L. Norling Mr. Thomas Norris Ms. Gabrielle Poshadlo & Mr. Dennis Nulty* Katherine & Bruce Nyberg Mr. & Mrs. Stanley Nycek Mrs. Jo Elyn Nyman Mr. John J. O’Brien Dr. & Mrs. Dongwhan Oh Mr. & Mrs. Pat Olney Dr. William Oppat Mr. & Mrs. Arthur T. O’Reilly Andrea Page Mr. Randall Pappal Mrs. Margot Parker Anne Parsons* & Donald Dietz Mr. & Mrs. Richard G. Partrich Mrs. Sophie Pearlstein Mr. & Mrs. Roger S. Penske Mr. Charles Peters Mr. & Mrs. Bruce D. Peterson Mr. & Mrs. Kris Pfaehler Mr. & Mrs. Philip E. Pfahlert Dr. William F. Pickard Mrs. Bernard E. Pincus Mrs. Helen F. Pippin Dr. Klaudia PlawnyLebenbom The Polk Family Mr. & Mrs. William Powers Dr. Glenda D. Price Reimer & Rebecca Priester Mr. & Mrs. David Provost Charlene & Michael Prysak Mr. Ronald Puchalski Mr. & Mrs. Richard Rappleye Drs. Stuart & Hilary Ratner Ms. Ruth Rattner Drs. Yaddanapudi

MOZART FESTIVAL 2016-2017

Ravindranath & Kanta Bhambhani Mrs. Hope Raymond Mr. & Mrs. Dave Redfield Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Denise Reske Mr. & Mrs. Lloyd E. Reuss Barbara Gage Rex Dr. & Mrs. John Roberts Bernard & Eleanor Robertson Seth & Laura Romine Dr. Erik Rรถnmark* & Mrs. Adrienne Rรถnmark* Mr. & Mrs. Robert B. Rosowski Mr. R. Desmond Rowan Jane & Curt Russell Dr. Alexander Ruthven Mrs. Lois J. Ryan Martie & Bob Sachs Dr. Mark & Peggy Saffer Linda & Leonard Sahn Mr. David Salisbury & Mrs. Terese Ireland Salisbury Hershel & Dorothy Sandberg Marjorie & Saul Saulson Ms. Martha A. Scharchburg & Mr. Bruce Beyer Dr. Sandy Koltonow & Dr. Mary Schlaff David & Carol Schoch

Mr. & Mrs. Alan E. Schwartz Sandy & Alan Schwartz Mr. & Mrs. Kingsley G. Sears Mr. Merton J. & Mrs. Beverly Segal Elaine & Michael Serling Mark & Lois Shaevsky Mrs. Jean Shapero Mrs. Patricia Finnegan Sharf Mr. & Mrs. Larry Sherman Mr. & Mrs. James H. Sherman Ms. Margaret Shulman Dr. Les & Ellen Lesser Siegel Coco & Robert Siewert Mr. Norman Silk & Mr. Dale Morgan Mr. & Mrs. Donald R. Simon William & Cherie Sirois Dr. Cathryn & Mr. Daniel Skedel Cindy & Leonard Slatkin William H. Smith John J. Solecki Richard Sonenklar & Gregory Haynes Dr. Gregory Stephens Barb & Clint Stimpson Nancy C. Stocking Mrs. Kathleen Straus & Mr. Walter Shapero Mrs. E. Ray Stricker

Mr. & Mrs. John Stroh III Stephen & Phyllis Strome Susan & Bill Kishler Dorothy I. Tarpinian Shelley & Joel Tauber Mr. & Mrs. Arn Tellem Dr. & Mrs. Howard Terebelo Mr. & Mrs. James W. Throop Mr. & Mrs. John P. Tierney Alice & Paul Tomboulian Dr. Doris Tong & Dr. Teck M. Soo Mr. & Mrs. Michael Torakis Mr. Gary Torgow Barbara & Stuart Trager Mark & Janice Uhlig David Usher Dr. Vainutis Vaitkevicius Amanda Van Dusen & Curtis Blessing Mrs. Richard C. Van Dusen Charles & Sally Van Dusen Mr. James G. Vella Mrs. George C. Vincent Mrs. Eva Von Voss Mr. William Waak Dr. & Mrs. Ronald W. Wadle Captain Joseph F. Walsh, USN (Ret.) Mr. Michael A. Walch & Ms. Joyce Keller Mr. & Mrs. Jonathan T. Walton Mr. Gary L. Wasserman &

Mr. Charlie Kashner Mr. Patrick Webster S. Evan & Gwen Weiner Mr. Herman Weinreich Lawrence & Idell Weisberg Ambassador & Mrs. Ronald N. Weiser Arthur & Trudy Weiss Janis & William Wetsman/ The Wetsman Foundation Ms. Anne Wilczak Mr. & Mrs. R. Jamison Williams Beverly & Barry Williams Dr. M. Roy & Mrs. Jacqueline Wilson Rissa & Sheldon Winkelman Dr. & Mrs. Ned Winkelman Mr. Jonathan Wolman & Mrs. Deborah Lamm Cathy Cromer Wood David & Bernadine Wu Ms. Andrea L. Wulf Mrs. Judith G. Yaker Mr. Michael Yessian Margaret S. York The Yousif Family Erwin & Isabelle Ziegelman Foundation Mr. Richard D. Zimmerman Mr. & Mrs. Paul M. Zlotoff Milton Zussman

VOLUNTEER COUNCIL EXECUTIVE COMMITTEE

Ginny Lundquist President

Beverly Williams VP for Membership

The Volunteer Council strives to fulfill its mission as an active partner of the DSO in fundraising, as well as audience/membership expansion, youth music education and volunteer service. Because of the repeated financial success of its events, such as the Nutcracker Luncheon & Boutique and Musical Feasts, the Volunteer Council is proudly able to make significant donations to the DSO each year.

Jill Jordan Chief Financial Officer

E. Jane Talia VP for Neighborhood/ Residency Ambassador

Diane Ekizian Recording Secretary Esther Lyons VP for Administrative/ Office Services Ellie Tholen VP for Communications/ Public Relations

Carol Marti VP for Special Events Marlene Bihlmeyer VP for Youth Music Education

VOLUNTEER COUNCIL BOARD OF DIRECTORS Mary Beattie Gwen Bowlby Drew Esslinger Kim Minasian Hawes Sandie Knollenberg Magda Moss Jackie Piceu

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Dolores Reese Ann Marie Rowley Charlotte Worthen El eanor (Coco) Siewert Parliamentarian Susan Svoboda

*Current DSO Musician or Staff

STAFF LIAISON Morgan Graby ORCHESTRA REPRESENTATIVES Mark Abbott* Caroline Coade*

Learn more about the Volunteer Council and their contributions to the DSO at dso.org/volunteercouncil

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F E AT U R E S T O R Y

By Kathryn L. Libin

Amadeus, Amadeus?

The Life of a Legend

Mozart as a child prodigy in 1763 by Pietro Antonio Lorenzoni (Internationale Stiftung Mozarteum, Salzburg)

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I

n the chilly autumn of 1830 Alexander Pushkin sat at his desk in Russia and thought about Mozart.

The Mozart he imagined — merry and feckless, yet tinged by tragedy — survived his little play, Mozart and Salieri, and re-emerged in our time as the light-hearted, vulgar, touchy, self-absorbed character in Peter Shaffer’s 1979 play Amadeus. That Mozart portrait, particularly in its widely known film version, is firmly lodged in popular culture and has helped shape modern conceptions of the composer.

Yet how do we reconcile the image of a composer who can call himself, in Pushkin’s words, a “happy idler,” or who can say of his work, as Shaffer puts it, “music is easy,” with the Mozart who created hundreds of superbly crafted pieces in one short, productive lifespan? In the two and a quarter centuries since his death, Mozart’s music has come to be cherished for its beauty, its eloquence, its combination of grace and power. Pushkin and Shaffer, presenting Mozart as an unruly and child-like figure, grappled with the notion that he was thus an unlikely vessel for music so marvelous. But their fictional Mozart, entertaining and even compelling as he may be, is far removed from the personality revealed in the wealth of historical data relating to his life, not to mention in the music itself. A festival devoted exclusively to Mozart offers us a rare opportunity for critical assessment of his life and works, and a chance to know him better, even as we revel in the splendid sounds of his music.

Contemporary accounts of Mozart’s exploits as a child prodigy — amazing listeners with his prowess and charming them with his wit and liveliness — no doubt contributed to the image of the “happy idler.” As a child the young Wolfgang spent years on tour with his

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sister and parents, travelling to foreign capitals and courts, and performing in every kind of venue from inn to church to palace.

His musicianship seemed effortless, and frequently struck observers with awe. But underpinning that fluency of execution were rigorous training and discipline, maintained throughout all

View of Vienna’s Burgtheater in 1783

the hardships of travel and justified by his parents’ belief in a God-given talent that required nurturing. His father Leopold wrote in 1766, “God (who has been all too gracious to me, poor sinner) has given my children such talents as, without thinking of my duty as a father, would spur me to sacrifice everything for their good education… my children are used to working…”

The education of his musical children, and particularly his son, occupied Leopold Mozart to the exclusion of nearly all else. Both at home in Salzburg and in travels throughout his boyhood and youth, Wolfgang worked tirelessly under his father’s guidance to achieve the skills that would rank him among the greatest musicians of his age. He studied harpsichord, organ, violin, singing, dance, and the art of fine accompanying. His first lessons in composition were with his father, but he seems to have learned from musicians everywhere he went, picking DSO PERFORMANCE MAGA ZINE 13

up new keyboard sonatas in Paris, to gifted amateurs, ensuring a small hearing innovative wind concertos but steady income that was important in Mannheim, studying Italian opera as he married and began a family. in Milan, and taking in Latin masses He exploited the growing public taste throughout the Catholic realm. Mozart for chamber music by successfully was a keen observer, and his ability publishing new works, including piano to absorb new styles and ideas (and pieces and string quartets. Over the to synthesize them course of his decade with his own creative in Vienna, Mozart also impulses) was without received a stream of parallel. His acquisition prestigious operatic of languages, his commissions, and these acquaintance with projects engaged his publishers and myriad talents as he instrument makers, his consulted with librettists, easy interactions with rehearsed with singers, Manuscript of Piano Concerto K. everyone from humble 537 (The Morgan Library, New York) directed orchestras, and shopkeepers to noble produced some of his aristocrats, and other perfect-storm most extraordinary and beloved music. qualities all prepared the young Mozart When Leopold visited his son in Vienna in practical ways for a musical career. in 1785 he wrote, “Every day there are Mozart’s decision at age 25 to leave concerts, and the whole time is given Salzburg for good and to settle in up to teaching, music, composing, Vienna created a rupture within his and so forth…It is impossible for me closely-knit family, but turned out to to describe the rush and bustle.” This be professionally fruitful. If he had unceasing, strenuous activity entirely remained in Salzburg as member of belies the image of “happy idler.” an archbishop’s court, he would have The myth that Mozart found continued to write serenades and composing music to be “easy” should symphonies for special occasions, likewise be dispelled. His undoubted played the organ in church, and facility certainly gave rise to popular performed chamber music at home. misconceptions, as when Shaffer The imperial city of Vienna, with has the character Salieri in Amadeus its court theatres and music-loving examine some of Mozart’s manuscripts aristocracy, afforded him a far greater and say, “They showed no corrections range of opportunities. of any kind. It was puzzling — then But since the Kapellmeister position suddenly alarming. What was evident for which his father had trained him was that Mozart was simply transcribing proved elusive, Mozart was forced music completely finished in his head.” to become performer, composer, Mozart left behind a great heap of promoter, and publicist. He took up this musical manuscripts, now dispersed burden energetically. He cultivated a in collections throughout the world; useful network of connections, sought and while some of them show the commissions, set up subscription preternatural clarity that startled Salieri, concert series, booked orchestral most of them contain corrections, musicians, purchased a piano and false starts, later additions, and small moved it from one concert venue adjustments of all kinds. to another, and in short labored Modern analysis of the papers incessantly to establish a viable and inks in his manuscripts has career. Mozart taught regular lessons demonstrated that Mozart often worked 14

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on a piece over a long period of time, sometimes leaving off and coming back months or even years later with fresh ideas. Many sketches and drafts have survived, proving beyond doubt that far from finding music to be “easy,” Mozart engaged in a process — often strenuous, frequently playful, always rigorous — that eventually led to a finished work. Mozart also generated a large number of fragments, ideas for pieces that never reached completion; these suggest that his approach to composition could be pragmatic, and that if circumstances altered or a performance failed to materialize, he was capable of laying a work aside or rejecting it altogether. Unlike the Mozart of Amadeus, who howled in outrage over changes to his opera because “it’s absolutely perfect as it is!,” the real Mozart saw his work as open to perfectibility and potentially quite flexible, particularly when shaping an opera: he took a collaborative approach with his singers, tailoring arias for them and responding to their strengths or weaknesses.

This month, as we celebrate Mozart in the two hundred sixty-first year since his birth, we will hear works from various stages of his professional life, including early and late concertos, mature opera overtures, and symphonies from the very pinnacle

of his career. This gives us a chance to reflect on the many facets of his life as a musician, and of his complex personality as a man. He did indeed have a lighthearted side; he loved jokes and wordplay, masquerades and entertainments, pet animals and pet names. He was devoted to his family in Salzburg, doted on his wife and children, and loved his friends and students. He could be cutting and sarcastic about fools or bad musicians, and was capable of cynicism when dealing with authority. He was a devout Catholic, and joined the Freemasons for spiritual as well as social reasons.

The need to work hard for a decent income was instilled in him at an early age, and he worried about money for much of his life, through flush times as well as lean. But Mozart’s foremost and constant preoccupation was music, which he produced in extraordinary abundance, working in virtually every genre available at the time, and at a consistent level of quality and originality that was unmatched. In childhood, he was described as “the pride of the nation and the admiration of the world,” and “a Prodigy of Nature.” Unlike many prodigies, Mozart fulfilled all the promise of his youth, and surpassed it, leaving a priceless legacy of music that continues to inspire awe.

Kathryn L. Libin, Associate Professor of Music at Vassar College, earned BM and MA degrees in piano performance at the Oberlin Conservatory and New York University and a PhD in musicology at NYU. She has lectured and published on Mozart’s music and manuscripts, on music in Jane Austen’s novels, and on musical sources in the Lobkowicz Library near Prague.

Her collection of conference essays, Mozart in Prague, was published last year in Prague by the Mozart Society of America and the Czech Academy of Sciences. She has written several articles on sources in the Lobkowicz music collection, including a catalogue of its Mozart manuscripts. She is currently working on a biography of the music patron Prince Joseph Franz Maximilian Lobkowitz, and directing the cataloguing of the music collection at the Lobkowicz Library. Ms. Libin served as chair of Vassar College’s music department for six years, and has also served as president of the Mozart Society of America and of the American Musical Instrument Society. dso.org

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PERFORMANCE Volume XXVI Mozart Festival 2016-2017 Season

OFFERINGS

EDITOR Ben Breuninger bbreuninger@dso.org 313.576.5196

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

PUBLISHER Echo Publications, Inc. Thomas Putters PROGRAM NOTES ANNOTATOR Charles Greenwell DSO ADMINISTRATIVE OFFICES Max M. & Marjorie S. Fisher Music Center 3711 Woodward Ave. Detroit, MI 48201 Phone: 313.576.5100 Fax: 313.576.5101 DSO Box Office: 313.576.5111 Box Office Fax: 313.576.5109 Rental Info: 313.576.5050 Email: info@dso.org Website: dso.org

PRIORITY SERVICE FOR OUR MEMBERS

HERMAN AND SHARON FRANKEL DONOR LOUNGE

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

DINE AT THE DSO

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

For group ticket sales (groups of 10 or more), please contact the Box Office.

Subscribe to our e-newsletter via our website to receive updates and special offers.

To advertise in Performance, please call 248.582.9690.

To report an emergency during a concert, call 313.576.5199. To make special arrangements to receive emergency phone calls during a concert, ask for the house manager.

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

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

MAX M. & MARJORIE S. FISHER MUSIC CENTER Home of the Detroit Symphony Orchestra

Call 313.576.5065 for more information.

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MA XIMIZE YOUR E XPERIENCE GIFT CERTIFICATES

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

POLICIES PARKING, SECURITY AND LOST & FOUND

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

ACCESSIBILITY

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

A SMOKE-FREE ENVIRONMENT

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

such as e-cigarettes and personal vaporizers.

An outdoor patio is also available on the second level of the Atrium Lobby.

HOUSE AND SEATING POLICIES

All patrons must have a ticket to attend concerts at the Max M. &Marjorie S. Fisher Music Center, including children. The Max opens two hours prior to most DSO concerts.

Most Classical Series concerts feature free pre-concert talks or performances in Orchestra Hall for all ticket holders. The DSO makes every attempt to begin concerts on time. In deference to the comfort and listening pleasure of the audience, latecomers will be seated at an appropriate pause in the music at the discretion of the house staff. Patrons who leave the hall before or during a piece will be reseated after the piece is completed. Latecomers may watch the performance on closed circuit television in the Atrium. Please silence cell phones, alarms, and other electronic devices. Patrons should speak to the House Manager to make special arrangements to receive emergency phone calls during a performance.

EMERGENCY EVACUATION PROCEDURE

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

Thank you for being prepared to respond calmly in the event of an emergency.

CONCERT CANCELLATIONS

In the case of inclement weather or other emergencies, please visit dso.org or the DSO’s Facebook page, call the Box Office at 313.576.5111, or tune in to WJR 760 AM or WWJ 950 AM. Patrons will be notified of exchange options. The DSO is unable to offer refunds.

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PROFILES ALEXANDER KINMONTH Principal Oboe Jack A. and Aviva Robinson Chair FEATURED SOLOIST: Concerto in C major for Oboe and Orchestra (Concertante – Thursday, Jan. 19, and Friday, Jan. 20)

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lex Kinmonth was appointed DSO Principal Oboe in April 2015. He is a graduate of The Juilliard School, where he studied with Nathan Hughes of the Metropolitan Opera, and can be heard on the DSO’s most recent recordings of Tchaikovsky’s Symphonies 1, 2, 4, and 6. During his time in New York, Kinmonth performed operas, orchestral works and new music with the Juilliard Orchestra and New Juilliard Ensemble, working with esteemed conductors including James Levine, Kurt Masur, and Jaap Van Zweden.

Kinmonth has substituted in the Metropolitan Opera on both oboe and English horn and in the Charleston (SC) Symphony Orchestra. In summer 2016 he participated in the Mainly Mozart Festival in San Diego and the Tanglewood Music Festival. In previous summers he has attended the Music Academy of the West, the Round Top Institute, and the Aspen Festival, where he received a fellowship in 2014. He also participated in the prestigious New York String Orchestra Seminar at Carnegie Hall in 2013. He is a winner of the Professional Musicians Club of Boston’s Award for Outstanding Achievement.

Kinmonth grew up in a musical household in Carlisle, MA, choosing to play violin at age 5 and oboe at age 9. From a young age, he has pursued orchestral, solo, and chamber music interests, playing with the Boston Youth Symphony and the New York Youth Symphony, and winning awards from the Massachusetts Instrumental and Choral Conductors Association, Philharmonic Society of Arlington, and Concord (MA) Orchestra. His former teachers include John Ferrillo and Laura Ahlbeck.

Although music is the main focus of Kinmonth’s life, he also enjoys a balance of athletic, social, and academic interests. He participated in the 2010 National Junior Olympics for fencing, and enjoys soccer and downhill mountain biking. He is also the winner of a National Gold Key Award in the Scholastic Art and Writing Awards’ Short Story category.

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SCOTT STRONG Horn

FEATURED SOLOIST: Horn Concerto No. 1 in D major (Concertante – Thursday, Jan. 19, and Friday, Jan. 20)

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cott Strong was named Third Horn of the Detroit Symphony Orchestra in 2014. He was born into a family of musicians in Iowa, and raised near Dallas, TX. He received his undergraduate degree from Southern Methodist University and completed his graduate studies at Rice University before joining the Louisiana Philharmonic.

Scott is an active participant in many festivals, and has held positions in the Houston Grand Opera and Houston Ballet orchestras, as well as the San Antonio Symphony. Scott has studied with Gregory Hustis and William VerMeulen.

YOONSHIN SONG Concertmaster Katherine Tuck Chair

FEATURED SOLOIST: Sinfonia concertante for Violin, Viola, and Orchestra in E-flat major (Concertante – Thursday, Jan. 19, and Friday, Jan. 20)

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oonshin Song was born in South Korea, where she began her musical studies at age five. Making her solo debut with the Seoul Philharmonic at age 11, she has since built a successful performing career throughout Korea, the United States, and Europe.

Song has earned many prestigious prizes throughout her career, including top prize awards in the Wieniawski (Poland), Lipizer (Italy), and Henry Marteau (Germany), and Stradivarius (United States) international violin competitions. She is also a recipient of the David G. Whitecomb Foundation Award and the Korean Minister of Culture’s Award.

As a soloist, Song has performed with many orchestras around the world, including the Houston Symphony, Utah Symphony, P. Constantinescu Philharmonic Orchestra, Bayreuth Festival Orchestra, Seoul Philharmonic Orchestra, KBS Philharmonic Orchestra, and Korean Baroque Chamber Orchestra.

She has also performed as both a soloist and chamber musician at the Marlboro, Verbier, Deer Valley, and Aspen music festivals, as well as the Perlman Music Program, Miyazaki Chamber Music Festival, and Bayreuth Festival. dso.org

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PROFILES Song completed her graduate studies under the tutelage of Donald Weilerstein at the New England Conservatory, and completed the Artist Diploma and Professional Study programs at Manhattan School of Music, where she studied with Robert Mann and Glenn Dicterow.

Song has been the Concertmaster of the DSO since 2012 and has enjoyed close collaborations with guest artists including Gil Shaham, Joshua Bell, and Jamie Laredo, among others. In addition to her duties with the DSO, she also teaches at the University of Michigan. She currently plays on a 1707 Vincenzo Rugeri violin on loan to her by a generous sponsor in Michigan.

ERIC NOWLIN Principal Viola Julie and Ed Levy, Jr. Chair FEATURED SOLOIST: Sinfonia concertante for Violin, Viola, and Orchestra in E-flat major (Concertante – Thursday, Jan. 19, and Friday, Jan. 20)

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ric Nowlin joined the DSO as Principal Viola at the beginning of the 2016-2017 Season. He previously served as Associate Principal Viola in the Toronto Symphony Orchestra, and is a member of the New Orford String Quartet, often regarded as Canada’s finest.

Nowlin has also served as a guest principal with the Saint Paul Chamber Orchestra, Cleveland’s Citymusic, and New York City’s Metropolis Ensemble, and he played as an extra with the New York Philharmonic from 2005 to 2008.

Nowlin’s solo engagements include performances with the Juilliard Orchestra, Springfield Symphony, Santa Cruz Symphony, Peninsula Symphony, and the Kumamoto Symphony in Japan, as well as recitals in New York, Chicago, San Francisco, Toronto, and Mexico. He has participated in a variety of festivals, including the Marlboro Music Festival in Vermont and the Steans Institute for Young Artists at Ravinia.

In addition to solo, chamber music, and orchestral performances, Nowlin enjoys teaching at a variety of institutions, including the University of Toronto, the Orford Arts Centre in Quebec, and the Phil and Eli Taylor Academy at the Royal Conservatory of Music in Toronto.

Nowlin was chosen as the recipient of a Rachel Elizabeth Barton Foundation Grant in 2004 — an award intended for the advancement of young artist’s performance careers. He received both undergraduate and graduate degrees from The Juilliard School, as a scholarship student of Samuel Rhodes.

Nowlin plays on a Neapolitan viola from 1910 made by Giovanni Pistucci.

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DAVID BUCK Principal Flute Women’s Association for the DSO Chair FEATURED SOLOIST: Flute Concerto No. 1 in G major (Symphony 39 – Saturday, Jan. 21, and Sunday, Jan. 22)

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avid Buck joined the DSO as Principal Flute in 2012. He previously held principal positions with the Los Angeles Philharmonic and the Oregon Symphony, and has made guest principal appearances with the Pittsburgh, Baltimore, and Chicago symphony orchestras.

Buck has performed as a soloist with the DSO, Detroit Chamber Winds & Strings, and the Oregon Symphony, collaborating with conductors including Leonard Slatkin, John Storgårds, Paul Watkins, and Teddy Abrams. In 2014, he recorded John Williams’ rarely heard Concerto for Flute and Orchestra with Maestro Slatkin and the DSO for Naxos.

During the summer months, Buck has appeared at the Great Lakes Chamber Music Festival, Oregon Bach Festival, Colorado Music Festival, Tanglewood, Kent/ Blossom, Spoleto Festival del Due Monde in Spoleto, Italy, and the Pacific Music Festival in Sapporo, Japan. He is a member of the Detroit Chamber Winds & Strings and a former member of the LA Phil New Music Group.

Buck is a graduate of The Juilliard School, where he earned his Bachelor of Music degree and Graduate Diploma. His primary teachers have been Robert Langevin, Jeffrey Khaner, Jeanne Baxtresser, and David Cramer. A native of Philadelphia, David lives in Royal Oak, Michigan with his wife, flutist Jung-Wan Kang.

KARL PITUCH Principal Horn FEATURED SOLOIST: Horn Concerto No. 2 in E-flat major (Symphony 39 – Saturday, Jan. 21, and Sunday, Jan. 22)

K

arl Pituch was named Principal Horn of the DSO in May 2000.

Before joining the DSO, Pituch was Associate Principal Horn with the Dallas Symphony Orchestra and Principal Horn with the Honolulu Symphony Orchestra, Jacksonville Symphony, and Colorado Music Festival Orchestra. He served as a guest Principal Horn for the Boston

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PROFILES Symphony Orchestra, Los Angeles Philharmonic, Cincinnati Symphony Orchestra, St. Louis Symphony Orchestra, St. Paul Chamber Orchestra, Chautauqua Festival Orchestra, and Grand Teton Festival Orchestra.

Pituch can be heard on many recordings with the Detroit, Dallas, San Francisco, and Honolulu symphony orchestras, most recently the DSO’s 2016 album featuring Kerry Turner’s “Gothic” horn concerto.

Pituch has been a frequent guest artist at numerous horn conferences, and he serves as a board member and judge at the International Horn Competition of America. Also an active chamber musician, Pituch has recorded with The DSO Wind Quintet and the Spring Wind Quintet, toured many times with the American Horn Quartet, and participated in numerous chamber music festivals around the world.

Pituch currently teaches at Wayne State University. He is a co-founder, along with Denise Tryon, of Audition Mode, an annual horn seminar specializing in audition preparation. Pituch earned his degree from the University of Toledo, where he studied with Mary Kihslinger. He is also a student of Froydis Wekre and Dale Clevenger.

KIMBERLY KALOYANIDES KENNEDY Associate Concertmaster

Alan and Mariane Schwartz and Jean Shapero (Shapero Foundation) Chair FEATURED SOLOIST: Concertone for Two Violins and Orchestra in C major (Clarinet Concerto – Friday, Jan. 27)

K

imberly Ann Kaloyanides Kennedy won her coveted position as a violinist with the DSO in 1998, at the age of 22. In 2003 Kennedy became Associate Concertmaster.

Raised in Dayton, OH, Kennedy began learning the violin at age 5. She pursued her studies at Brevard Music Center and Interlochen Arts Camp as the Governor’s Scholar for the state of Ohio. She continued her studies at the Sarasota Music Festival, spent four summers at the Aspen Music Festival on fellowship (as Associate Concertmaster of the Chamber Orchestra), spent three years at the Harid Conservatory in Boca Raton, and finally landed at the University of Michigan as a student of Paul Kantor.

Kennedy won several prizes in competitions around the country, including the Grand Prize in the National MTNA competition and first prize in the Greek Women’s National Competition in Chicago. She was one of the few Americans invited to the International Violin Competition of Indianapolis in 1998.

Kennedy enjoys performing chamber music regularly around Michigan with various groups, including the Detroit Chamber Winds and Strings, at festivals and on series including Chamber Music North, Fairlane Concert Guild, Pro Mozart, and the Great Lakes Chamber Music Festival.

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Kennedy is passionate about serving others through her music, both at church and around the community. She is married to Bryan Kennedy, second horn of the DSO, with whom she has two children.

HAI-XIN WU

Assistant Concertmaster Walker L. Cisler/Detroit Edison Foundation Chair FEATURED SOLOIST: Concertone for Two Violins and Orchestra in C major (Clarinet Concerto – Friday, Jan. 27)

H

ai-Xin Wu joined the Detroit Symphony Orchestra violin section in July 1995 and was appointed Assistant Concertmaster in June 2004.

He previously performed throughout the United States, Europe, and his native China.

At the age of 12, Wu was selected as the violin soloist of the Chinese Young Artists’ group to tour the former Yugoslavia. In May 1995 he made his Carnegie Hall debut in New York City, performing the Paganini Violin Concerto with the New York Concert Senior Orchestra. Solo engagements include performances with the Manhattan Chamber Orchestra, Bergen Philharmonic, and Pro Arte Chamber Orchestra (for its 25th Anniversary Gala Concert at Lincoln Center), among others.

Wu has won the Waldo Mayo Violin Competition, the Friends of Bergen Philharmonic Orchestra Competition, and the Manhattan School of Music Concerto Competition. He also won a special prize in the 2002 Lipizer International Competition. He earned his undergraduate degree from the Manhattan School of Music as a scholarship student of Ariana Bronne.

In addition to performing with the DSO, Wu often plays with various chamber groups, including the Detroit Chamber Winds and Strings and the Cuttime Players.

He is currently an adjunct faculty member at the Wayne State University and a violin and chamber music coach with the DSO’s Civic Youth Ensembles (CYE).

JOHANNA YARBROUGH Horn

FEATURED SOLOIST: Horn Concerto No. 3 in E-flat major (Clarinet Concerto – Friday, Jan. 27)

J

ohanna Yarbrough joined the DSO as fourth horn in 2012.

She recently graduated from the Colburn Conservatory of Music with a professional studies certificate, where her principal teachers were David

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PROFILES Krehbiel and Andrew Bain. She studied with Charles Snead at the University of Alabama, where she graduated magna cum laude in 2012. She also studied with Frøydis Ree Wekre while attending the Norwegian Music Academy in Oslo, Norway. She holds the first prize of the 2009 University Division of the International Horn Competition of America.

Yarbrough spent the summers of 2010 and 2011 as a member of the SchleswigHolstein Summer Orchestral Academy in northern Germany. She was born and raised in Tallahassee, FL, where she began studying music at age 11 with Michelle Stebleton.

RALPH SKIANO Principal Clarinet Robert B. Semple Chair FEATURED SOLOIST: Concerto for Clarinet and Orchestra in A major (Clarinet Concerto – Friday, Jan. 27)

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alph Skiano was appointed Principal Clarinet of the DSO in 2014, after serving in the same position at the Richmond Symphony and Des Moines Metro Opera. He has also appeared as Guest Principal Clarinet of the Seattle Symphony, Cincinnati Symphony, and Cleveland Orchestra.

Skiano has been involved in numerous music festivals, including the Mainly Mozart Festival, Peninsula Music Festival, Britt Music Festival, Festival Lyriqueen-Mer, and Tanglewood Music Center. As a soloist, he has performed with ensembles in the United States, France, Germany, and Switzerland. In 2010, Skiano was a guest artist at the Oklahoma Clarinet Symposium and a featured soloist with the Baton Rouge Symphony at the 2014 International Clarinet Association Convention.

Skiano has served on the faculty of the schools of music at James Madison University and the College of William and Mary, and has presented masterclasses at UVA, Towson University, Louisiana State University, California State University Northridge, Michigan State University, Northwestern University, and the University of Maryland.

Under the guidance of Richard Hawley, Ralph completed his undergraduate studies at the Cincinnati College-Conservatory of Music in 2002.

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ROBERT WILLIAMS Principal Bassoon

FEATURED SOLOIST: Concerto for Bassoon and Orchestra in B-flat major (Symphony 40 – Saturday, Jan 28, and Sunday, Jan. 29)

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obert Williams was appointed Principal Bassoon of the DSO in September 1974. He previously served as Prinicpal Basson of the Winnipeg Symphony, Winnipeg CBC Orchestra, Colorado Philharmonic, and Tucson Symphony. He has also played engagements with the Minnesota Orchestra and Boston Symphony.

In addition to his duties at the DSO, Williams plays in the DSO Bassoon Quartet, the DSO Woodwind Quintet, and the Bellingham Festival of Music. He teaches at Wayne State University and has been on the music faculties of the Aspen Music School and Festival, the University of Michigan, Michigan State University, the Grand Teton Orchestra Training Institute, Claremont Music Festival, and the Utah Music Festival.

In addition to recordings with the DSO, Williams can be heard on the NeoBubonic Bassoon Quartet’s 2003 album released by Fox Products. He has also released a solo recording of Julius Weissenborn for bassoon and piano.

A native of Tucson, AZ, Williams graduated with honors from the University of Arizona and did postgraduate work at the University of Southern California. His major bassoon teachers included Wendal Jones, Leonard Sharrow, and Norman Herzberg.

Robert is married to former DSO English Horn Treva Womble, with whom he co-owns Womble/Williams Double Reeds — a home business that specializes in bassoons, cane, and supplies. When not practicing or making reeds, he enjoys astronomy and biking.

DAVID EVERSON Assistant Principal Horn

FEATURED SOLOIST: Horn Concerto No. 4 in E-flat major (Symphony 40 – Saturday, Jan 28, and Sunday, Jan. 29)

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avid Everson has been a member of the DSO since 1999. A native of Livonia, MI and son of two musicians, Everson studied at the University of Michigan with Louis Stout. While in school, he was a member of the Flint

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and Toledo symphonies. After graduating he accepted the position of Associate Principal Horn with the Kansas City Symphony, where he was later named Principal Horn, a position he would keep for 13 years. He was a frequent featured soloist in Kansas City and a founding member of the Grammy-nominated Kansas City Brass.

As an educator, Everson has served on the faculties of William Jewell College, Washburn University, and his alma mater, the University of Michigan. He has played in various music festivals around the country and has been in demand as a clinician and chamber musician. More recently, Everson has served as Acting Principal Horn with the Los Angeles Chamber Orchestra and has played with the Los Angeles Philharmonic.

The last few years have taken Everson in another direction in his career, as a studio musician in Los Angeles. His first film was the Oscar-winning Avatar, and he can now be heard on more than 90 soundtracks. His film work has allowed him to collaborate with the esteemed John Williams, James Newton Howard, and Alan Sylvestri, as well as many others Everson regularly teaches at Cranbrook and mentors students in the DSO’s Civic Youth Ensembles (CYE). When he is not playing his horn, he enjoys travel, fine wines, and fishing.

SHARON SPARROW

Assistant Principal Flute Bernard and Eleanor Robertson Chair FEATURED SOLOIST: Concerto for Flute, Harp and Orchestra in C major (Jupiter Symphony – Friday, Feb. 3, and Saturday, Feb. 4)

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haron Sparrow has served as Assistant Principal Flute with the DSO since 2014. She is an active orchestral, solo, and chamber musician in Michigan and throughout the United States. In addition to her duties with the DSO, she has also performed with the Chicago Symphony Orchestra, Pittsburgh Symphony Orchestra, Baltimore Symphony Orchestra, Seattle Opera Orchestra, Memphis Symphony, Fort Wayne Philharmonic, and Hong Kong Philharmonic.

Sparrow teaches at both Wayne State and Oakland universities. In 2016, Theodor Presser Company published and released her book 6 Weeks to Finals — a detailed guide to taking orchestral auditions. A dedicated advocate of musical education, Sparrow strives to promote awareness and enjoyment of classical music in all her endeavors, especially with children. She has written and hosted shows for both the DSO and the Cuttime Players, and she regularly performs in schools, hospitals, retirement centers, and other locations in collaboration with the DSO’s Department of Community and Learning.

Sparrow completed her undergraduate studies at The Juilliard School and her graduate degree at Mannes College of Music. Her three major teachers were Julius Baker, Thomas Nyfenger, and Geoffrey Gilbert.

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MOZART FESTIVAL 2016-2017

Leonard Slatkin, Music Director Music Directorship endowed by the Kresge Foundation Jeff Tyzik, Principal Pops Conductor Neeme Järvi, Music Director Emeritus

CLASSICAL SERIES Thursday, January 19 at 7:30 p.m.

Friday, January 20 at 10:45 a.m. in Orchestra Hall LEONARD SLATKIN, conductor YOONSHIN SONG, violin • ERIC NOWLIN, viola ALEXANDER KINMONTH, oboe • SCOTT STRONG, horn All pieces by Wolfgang Amadeus Mozart (1756 - 1791)

Overture to Le nozze di Figaro, K. 492

(The Marriage of Figaro) Concerto in C major for Oboe and Orchestra, K. 285d [314] Allegro aperto Adagio non troppo Rondo: Allegretto Alexander Kinmonth, oboe INTERMISSION Horn Concerto No. 1 in D major, K. 386b [412] Allegro Allegro Scott Strong, horn Sinfonia concertante for Violin, Viola, and Orchestra in E-flat major, K. 320d [364] Allegro maestoso Andante Presto Yoonshin Song, violin Eric Nowlin, viola This Classical Series performance is generously sponsored by

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

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PROGRAM NOTES All pieces by WOLFGANG AMADEUS MOZART

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

Overture to Le nozze di Figaro, K. 492 (The Marriage of Figaro) Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, percussion, and strings. (Approx. 5 minutes)

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he source of this comic opera is Le marriage de Figaro, a play by remarkable French dramatist, pamphleteer, arms smuggler, diplomat, and publisher Pierre-Augustin Caron de Beaumarchais. The play premiered in Paris in 1784 and enjoyed a succès de scandale, thanks to its politically charged and risqué content. Mozart’s librettist, Lorenzo da Ponte, toned down the parts of Beaumarchais’ work that had caused it to be banned in Austria.

He also tightened and simplified the play’s dramatic structure, keeping the action moving at a brisk pace. Mozart’s music, composed mostly during the winter of 1785-86, proved equally unflagging, and at no point during its four acts does The Marriage of Figaro lose its momentum.

That momentum, one of the opera’s chief virtues, is established even before the curtain rises by Mozart’s overture.

Its opening subject, which begins as a running theme in the bassoons and strings, suggests not only the rapidity with which the opera’s plot develops but also something of the work’s madcap humor. A cadential flourish leads to the second subject and, presently, a genial closing idea.

Normally, there would follow some imaginative development of these

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themes. But Mozart is not out to write too involved a work. After sixteen brief measures of interlude, he returns to the opening subject and begins a straightforward recapitulation of the overture’s melodies. The exuberant coda passage that closes the score is the only notable difference between its first and second halves. The music is no less satisfying for this lack of complexity, and it conveys precisely what Mozart intended: high spirits and a delight in the eternal human comedy.

The DSO most recently performed the Overture to The Marriage of Figaro in November 2016, at a Pops Series concert conducted by Bob Bernhardt.

The DSO first performed the overture at a Pops concert one century prior, in February 1916, conducted by Weston Gales.

Concerto in C major for Oboe and Orchestra, K. 285d [314] Scored for solo oboe, 2 oboes, 2 horns, and strings. (Approx. 21 minutes)

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ozart wrote eleven concertos for wind instruments throughout his short life. His earliest effort, a trumpet concerto written in 1768, is unfortunately lost; his last effort, the sublime A Major Clarinet Concerto, was written just two months before he died. Because he wrote all of these concertos for other people to perform, they do not always receive the same boundless praise as the piano concertos, which were written as showcases for the composer’s great talents at the keyboard. Nevertheless, Mozart had a profound understanding of the characteristics and capabilities of the wind instruments and in many instances provided them with music MOZART FESTIVAL 2016-2017

of great beauty, both in the concerto setting and in his symphonies and operas.

This is one of the more important concertos in the oboe repertoire, but it has a rather unusual history. The piece was composed for the Italian oboist Giuseppe Ferlendis in 1777, and the following year Mozart transcribed the concerto from the original C major one step up to D major, altering a number of details in the process. This was done in an attempt to fulfill a commission from the Dutch flutist Ferdinand de Jean for several works involving the flute, among them three flute concertos, of which Mozart had only written one. Thus, the piece was known as the Flute Concerto No. 2 when it was first published.

[For more information on this peculiar situation, please refer to the notes on the Flute Concerto No. 1, ppg. XYZ.] There are records of two performances of the oboe original in 1777 and 1783, but after that the score simply vanished, and for some time was believed to have been lost. Then, in 1920, the Austrian conductor, composer, and musicologist Bernhard Paumgartner came across the orchestra parts and the solo oboe part in the Mozarteum in Salzburg. He reconstructed the score, and it was finally published in 1948. Even so, the version called Flute Concerto No. 2 has been performed right up to the present day, with the oboe original lagging behind in popularity until comparatively recently.

There is almost no doubt that the oboe version was the original based on a number of musical comparisons, including similar details in the orchestral string parts which suggest that a transposition was used to create the flute version. Moreover, there are references in contemporaneous letters to a missing oboe concerto. Another dso.org

unusual feature of the concerto is the tempo marking of the first movement: Allegro aperto, which literally means “open Allegro,” but the meaning of this indication has never been made clear — some scholars feel that it simply means “performed in a broad style.” Mozart did use this marking in some other works from the 1770s (most notably the Violin Concerto No. 5), but then abandoned it. The lovely and serene second movement has a number of lyrical features which bear comparison to Mozart’s operatic style, and the finale is a very jaunty rondo, a form in which the main material is repeated interspersed with contrasting music. Mozart would adapt the main theme a few years later for an aria from his opera The Abduction from the Seraglio.

The DSO most recently performed Mozart’s Concerto in C major for Oboe and Orchestra at a William Davidson Neighborhood Series concert in June 2013, with conductor Teddy Abrams and oboist Joseph Peters. The DSO first performed the work at the May 1975 Cranbrook Festival with conductor Aldo Ceccato and oboist Donald Baker.

Horn Concerto No. 1 in D major, K. 386b [412] Scored for solo horn, 2 oboes, 2 bassoons, and strings. (Approx. 9 minutes)

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usic for the horn began in the Middle Ages, when different calls would signal various aspects of the hunt. After returning home, aristocrats would have their hornplaying huntsmen play the day’s calls to supper guests as a way of recreating the action. Leopold Mozart wrote a horn concerto and a piece for hunting horns, but it was his gifted son Wolfgang who DSO PERFORMANCE MAGA ZINE 29

created the first important body of works for this most aristocratic of brass instruments. His four horn concertos, all of which will be performed at the 2017 Mozart Festival, are at the core of the solo horn literature and remain hugely popular.

Ignaz Joseph Leutgeb was the Austrian horn player for whom Mozart wrote all of his four horn concertos and (probably) the Horn Quintet of 1782. By all accounts he was the most prominent horn player in Vienna, and one of the most popular players on any solo instrument. Mozart and Leutgeb had a strange relationship, the horn player becoming the butt of some of the composer’s most insulting humor.

According to an early biographer, Mozart would “…throw all of the parts of his symphonies and concertos about the room, and Leutgeb had to collect them on all fours and put them in order.” Moreover, Leutgeb borrowed money from Mozart on more than one occasion, and these concertos and the quintet may have been written as an act of kindness. Whatever the case, letters from the end of Mozart’s life strongly suggest that Leutgeb didn’t mind the teasing and that the two men had a very good and solid friendship.

Mozart’s manuscripts reveal both a mischievous humor and a deep respect for his childhood companion, whom he described as “unswervingly loyal.”

Mozart wrote the first three concertos (all in the key of E-flat) at top speed, but they display a thorough understanding of the instrument and remarkable ingenuity in surmounting the limitations it had at the time. They were all written for the natural horn (the valved instrument we know today was not invented until around 1810) and are very difficult to play on such an instrument — requiring lip trills, hand-stopping (placing the hand inside the bell at various places), and rapid 30

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tonguing. It is a testament to Leutgeb’s prowess that the concertos were successfully handled.

The numbering of the concertos is something of a jumble, and does not reflect the order in which they were composed. Some of the manuscripts have missing pages, sometimes entire movements have disappeared, and in some cases what we have are passages or even completions written by someone else. No. 1, K.412, dates from 1791, left unfinished at Mozart’s death; No. 2, K. 417, is from 1783; No. 3, K.447, is from roughly 1784-1787; and No. 4, K. 495, is from 1786. In addition, there are two incomplete concerto movements in E-flat from 1781, catalogued as K.370b; the Concert Rondo in E-flat, K. 371, also dated 1781; and a 91-bar fragment of a concerto in E Major, K.494a, written around 1785.

Some scholars believe that Mozart may have begun as many as seven horn concertos.

It is possible that Leutgeb, in his late 50s by the time of the No. 1 concerto’s composition, no longer had the endurance to sustain the singing tone of his earlier playing. Some believe that this concerto was written a semitone lower in D in order to accommodate his reduced capabilities. Accordingly, this concerto is also shorter (only two movements) and much simpler than the previous three. We do know that Mozart’s pupil Franz Xaver Sussmayr completed the second movement and revised the first in 1792, the year after Mozart’s death. However, it is clear that Sussmayr never saw Mozart’s original draft and seems to have made his version through information from Leutgeb: not only is the solo part different from Mozart’s original, but the themes, instrumentation, and overall structure were altered as well.

The Sussmayr rondo makes use of an ancient plainchant melody, and one MOZART FESTIVAL 2016-2017

explanation for this is that the chant was written down by Mozart while he was composing his Requiem, and Sussmayr somehow thought it was intended for the concerto. Humorously, there is a jesting narrative scattered throughout the manuscript pages of the final incomplete movement, written in Italian and poking fun at Leutgeb’s age.

The DSO most recently performed Mozart’s Horn Concerto No. 1 in July 1957, with conductor C. Valter Poole and hornist William Sabatini. The DSO first performed the work at a school concert three years prior, in February 1953, with C. Valter Poole conducting that performance as well.

Sinfonia Concertante for Violin, Viola, and Orchestra in E-flat major, K. 320d [364] Scored for solo violin, solo viola, 2 oboes, 2 horns, and strings. (Approx. 30 minutes)

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he symphonie concertante form, as it was initially called, was mainly associated with Paris in the late 18th and early 19th centuries, but its popularity spread all over Europe as concerts began moving out of private salons and into concert halls. It served as a showpiece for more than one soloist, and in its classic form the orchestra was usually required to act merely as an unobtrusive accompanist.

Composers who wrote in this genre liked to stress the close relationship between the soloists, but it was not quite the same as a double or triple concerto, in which the soloists were expected to interact much more closely with the orchestra. Here, the introduction to a first movement was nothing but an introduction, and the major themes were not heard until stated by the soloists. These concertos are generally gracious and lightdso.org

hearted, almost always in a major key, and emphasize virtuoso display rather than profound musical utterances.

Mozart’s marvelous work in the genre, called by the Italian name, is a real delight among his compositions.

It is scored for the two string soloists and a modest orchestra, offering a true cross between concerto and symphony, and it maintains much of the intimacy of chamber music. The composer was filled with enthusiasm for the form after returning to Austria from Paris in early 1779, but he was simultaneously stricken with grief due to the unexpected death of his mother.

In addition — as would so often happen in his life — he was running short of money with no clear idea of how to alleviate the situation. Nevertheless, he set about composing two concertante works. The first was in A Major with a solo group of violin, viola, and cello, but the composer abandoned it after 134 measures. The second was this glorious work in E-flat, finished in summer or autumn of 1779.

For all this, we know little else about the work’s origins. Apart from a sketch for the first-movement cadenza, the manuscript was lost, and neither Mozart nor any of his contemporaries ever mentioned the work. Furthermore, there is no record of a first performance, although one might assume that he wrote the work for himself as violist to play with Antonio Brunetti, concertmaster of the Salzburg court orchestra. The key of E-flat major seems to have implied a combination of majesty and warmth to Mozart, as these qualities can be found over and over in other compositions in the key.

The beautiful and sublime second movement is set in the relative key of C minor, and is a rare instance of Mozart writing a minor-key movement in a major-key concerto.

The special color of the work comes DSO PERFORMANCE MAGA ZINE 31

from the husky timbre of the viola, Mozart’s favorite string instrument and the one he preferred playing in chamber music settings. In addition, the string section of the orchestra uses two different parts for the violas, giving the work a darker, warmer color, very much like the string quintets Mozart composed for two violins, two violas, and cello. However, Mozart brightens the viola’s innate duskiness somewhat by using a technique called scordatura, in which a string instrument is tuned differently from the way it would be normally. In this instance, all the viola’s strings are tuned a half-step higher than normal, and the part is written in D (a half-step lower) in order to have the viola’s music sound in the key of E-flat.

This increases the string tension and

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brightens the instrument’s sound so that it is more on a par with that of the violin.

The DSO most recently performed Mozart’s Sinfonia Concertante at a William Davidson Neighborhood Series concert in March 2013, with conductor Gerard Schwarz, violist James VanValkenburg (currently Assistant Principal Viola), and violinist Kimberly Kaloyanides Kennedy (currently Associate Concertmaster, Alan and Marianne Schwartz and Jean Shapero [Shapero Foundation] Chair). The DSO first performed the work in March 1922, with conductor Victor Kolar, a violist recorded only as “Kolodin,” and violinist Ilya Schkolnik.

MOZART FESTIVAL 2016-2017

Leonard Slatkin, Music Director Music Directorship endowed by the Kresge Foundation Jeff Tyzik, Principal Pops Conductor Neeme Järvi, Music Director Emeritus

CLASSICAL SERIES Saturday, January 21, 2017 at 8 p.m.

Sunday, January 22, 2017 at 3 p.m. in Orchestra Hall LEONARD SLATKIN, conductor DAVID BUCK, flute • KARL PITUCH, horn All pieces by Wolfgang Amadeus Mozart (1756 - 1791)

Overture to Die Zauberflöte, K. 620 (The Magic Flute)

Flute Concerto No. 1 in G major, K. 285c [313] Allegro maestoso Adagio non troppo Rondo: Tempo di menuetto David Buck, flute Horn Concerto No. 2 in E-flat major, K. 417 Allegro maestoso Andante Rondo Karl Pituch, horn INTERMISSION

Overture to Don Giovanni, K. 527

Symphony No. 39 in E-flat major, K. 543 Adagio - Allegro Andante con moto Menuetto: Allegretto Allegro This Classical Series performance is generously sponsored by

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

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PROGRAM NOTES All pieces by WOLFGANG AMADEUS MOZART

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

Overture to Die Zauberflöte, K. 620 (The Magic Flute) Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings. (Approx.

6 minutes)

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ozart’s overture to Die Zauberflöte was completed mere days before the opera’s premiere, but the deadline seems hardly to have flustered the composer. The succinct overture is a flourish of wit, energy and allusion.

In addition to introducing the tonal opposition of the opera between E-flat and C (the first chord is an E-flat major chord; the second, C minor), the threechord opening statement returns both halfway through the overture and halfway through the opera where its repetition becomes associated with a series of trials that the hero, Tamino, must undergo. Even the grouping of the chords into three separate utterances is thought to be a reference to Masonic numerology, one of the opera’s key obsessions.

The spirited allegro that follows the dark introduction is less Masonic in its inspiration and more indebted to Muzio Clementi, who had faced off with Mozart in a piano “duel” ten years before the opera was written.

Although Mozart believed Clementi to possess “not a kreuzer’s worth of taste or feeling,” the rivalry did not prevent him from using the opening thematic material of Clementi’s Piano Sonata No. 2 (which he played at the contest) as a melodic crux of the overture. Clementi 34

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was understandably outraged by this pilferage, but he was perhaps bothered more by Mozart’s deft reworking of his musical ideas. Clementi’s sonata is a droll and jaunty concoction in its own right, but Mozart’s fugal treatment of the theme and his clever use of dynamic contrast inject additional drive, focus, and urgency, making it one of his most memorable operatic openings.

The DSO most recently performed the Overture to The Magic Flute in July 2015, at a summer Ford House concert conducted by Damon Gupton. The DSO first performed the overture one century prior, in November 1915, at a concert conducted by Weston Gales.

Flute Concerto No. 1 in G major, K. 285c [313] Scored for solo flute, 2 flutes, 2 oboes, 2 horns, and strings. (Approx. 25 minutes)

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n the summer of 1777 the 21-yearold Mozart was able to terminate his employment at the court of the Archbishop of Salzburg, a man he particularly detested, and at the end of the year he and his mother set out on a job-hunting excursion. His first choice was the German city of Mannheim, which at the time had the finest orchestra in Europe. He soon became friendly with the brilliant wind soloists of the orchestra, particularly Johann Baptist Wendling, its principal flutist. Wendling introduced Mozart to his friend Ferdinand de Jean, a wealthy employee of the Dutch East India Company and an enthusiastic amateur musician.

De Jean’s instrument was the flute, and at Wendling’s suggestion he commissioned Mozart to compose three concertos and a set of six flute quartets, with the stipulation that the works not be too long or too difficult.

MOZART FESTIVAL 2016-2017

Mozart accepted the commission, but bristled at having to write so much music for a merely competent amateur of limited technical ability. This situation gave rise to one of Mozart’s most famous — and misunderstood — statements, when he wrote to his father “you know how dull my mind becomes when I write for an instrument I cannot bear.” Many people take this to mean that Mozart disliked the flute, but in all likelihood it was merely a slap at his overbearing father for failing to live up to his expectations, and a prelude to finding excuses for not completing the commission.

When one looks at the beautiful music Mozart did write for the flute, both here and in his orchestral works, the remark really can be dismissed.

At any rate, he did not complete the commission, composing only one original concerto and four quartets, along with a second concerto which has been conclusively shown to be a transposed version of his earlier oboe concerto. An isolated Andante in C was also composed, perhaps intended as the slow movement of a projected third concerto, but more likely used as an alternative movement to this one, which may have been too long and too demanding for de Jean. The completed quartets were not entirely new, either, and as a result of this whole situation, Mozart received only half of the generous agreed-upon fee.

Mozart’s writing for the flute in this concerto (as well as the lovely parts in some of his piano concertos) is sensitive and very effective. In addition, the instruments of his day were much simpler than their modern counterparts — pitch was not always perfect, for example — but with careful writing many different and telling coloristic effects could be achieved. The composer’s genius is only heightened dso.org

when the work is considered in its historical context, as it was written for a much more finicky flute.

The DSO most recently performed Mozart’s Flute Concerto No. 1 at a William Davidson Neighborhood Series concert conducted by Music Director Leonard Slatkin and featuring flutist Henrik Heide. The DSO first performed the concerto in June 1959 with conductor C. Valter Poole and flutist Irvin Gilman.

Horn Concerto No. 2 in E-flat major, K. 417 Scored for solo horn, 2 oboes, 2 horns, and strings. (Approx. 16 minutes)

For more information on Mozart’s music for horns, please refer to the notes on the Horn Concerto No. 1, page 29.

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lthough known as No. 2, this was actually the first of Mozart’s four horn concerti to be written, and it sets the pattern for the others in both structure and style. It was written, as were the others, for Mozart’s friend and colleague Ignaz Leutgeb. In the manner of jesting and prank-playing which arose between the two men, the dedication on this concerto reads, “W.A. Mozart took pity on Leutgeb, ass, ox, and fool in Vienna on May 27, 1783.”

The concerto follows the usual three-movement format, with the first movement containing broad melodies well suited to the rich and noble voice of the instrument. As was characteristic of Mozart, the first two movements explore the lyrical character of the horn through his sense of melodic intensity, and the music, while displaying technical virtuosity, is very sensitive to phrasing and shaping. The second movement is lyrical and reflective, and showcases the great beauty of sustained horn melodies. The final DSO PERFORMANCE MAGA ZINE 35

movement is a lively rondo which places the horn in its most traditional context of the hunt, and the recurring hunting theme alternates with a series of varied episodes all led by the solo horn. Mozart adds a bit of unexpected variety and excitement toward the end with a series of pauses in the music to make it seem as if Leutgeb had lost his place (!), but at the end there is a faster coda which playfully gives the impression of the horn galloping away, leaving the members of the orchestra in the dust.

The DSO most recently performed Mozart’s Horn Concerto No. 2 at a June 1977 school concert, with conductor James Frazier and hornist Elizabeth Watson. The DSO first performed the work in December 1920 with conductor Ossip Gabrilowitsch and hornist Bruno Jaenicke.

Overture to Don Giovanni, K. 527 Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (Approx. 6 minutes)

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ach of Mozart’s mature operas has drawn a wealth of praise and commentary, but none seems to have fascinated listeners and scholars more than his masterly musico-dramatic portrait of Don Giovanni’s titular character. The Spanish nobleman’s sexual depravity is the subject of dark, vicious humor, sometimes considered a mask for a personality disorder.

The psychological nuances so keenly drawn in Mozart’s operatic score are powerfully foretold in the shafts of light and shadow that flicker throughout the opera’s overture.

Relatively few of Mozart’s works are cast in minor keys, and his use of D minor as the tone color for this tale of hellish punishment recalls other works with a sense of fury and reprisal — notably the Requiem. Even in the purely 36

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abstract D minor Piano Concerto, there are expressions of urgency in the music that might easily be equated with the unyielding recrimination that serves as Don Giovanni’s thesis.

Mozart cast the overture in a fullydeveloped sonata form, with the stern opening chords prophesying the events of the final act, when Giovanni is introduced to his eternal punishment.

The tonality then turns to a bright D major for the presentation of several engaging themes during the main body of the exposition, but major and minor keys engage in an uneasy competition for attention during the development section. In staged performances of the opera, the restatement of all the themes moves directly on to the first recitative and aria by Giovanni’s squire, Leporello.

But, anticipating performances of the overture alone, Mozart composed a separate concert ending, with bright brassy chords at its conclusion.

The DSO most recently performed the Overture to Don Giovanni in April 2016, conducted by Peter Oundjian.

The DSO first performed the overture in February 1917, conducted by Weston Gales.

Symphony No. 39 in E-flat major, K. 543 Scored for flute, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, and strings. (Approx.

28 minutes)

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hen Mozart began writing symphonies at the age of eight, the form was in its infancy and was not at all the exalted musical expression it later became. He was not necessarily an innovator, but over the years his genius turned the once humble form into one of great subtlety, variety, and expressive power, and the symphony rose from an insignificant concert opener to become the focal point of orchestral programs. Mozart’s last great symphonies (Nos. 36 through 41) and MOZART FESTIVAL 2016-2017

the greatest of Haydn’s symphonies stand at the apex of the Classical era; they have rarely been equaled and never surpassed.

Music history contains many stories of composers who could not find an audience and who perished virtually penniless, and Mozart is unfortunately included among these. The summer of 1788 was particularly difficult. The composer was earning a small stipend in the employ of Emperor Joseph II, but was seriously in arrears financially, and had to write a heartbreakingly desperate letter to his close friend Michael Puchberg, begging for assistance. Puchberg did what he could, but it was not enough, and for the rest of his tragically short life Mozart would never again know financial stability. He was a man who always spent money faster than he earned it, and when the Viennese public found other forms of amusement his star began to rapidly decline. Mozart used the summer months to make some practical attempts at earning money, such as writing educational works and easy pieces that might be more likely to sell.

But in the midst of this depressing time Mozart achieved one of the greatest accomplishments in the history of music: composing three major symphonies in the space of just six weeks. The speed at which he composed these masterpieces is amazing enough, but just as incredible is the variety between the three, each one with a character and mood distinctly its own. For many years it was believed that they were composed for no specific occasion, that they were intended as a trilogy, and that they were never performed during Mozart’s lifetime, but we are now reasonably certain that these assumptions are false or at best misleading. Mozart rarely wrote a major work without some specific purpose in mind, and dso.org

in instances where a commission or an opportunity for performance or publication fell through he would simply walk away, leaving the work unfinished.

That being the case, it would be very surprising if the man wrote three major works without some clear goal in sight.

But what might that goal be? It is certainly possible that he was attempting to attract new audiences with ambitious new works to replace the piano concertos which had formerly been the focal point of his subscription concerts. He also might have felt that if the Viennese public had grown tired of his piano concertos, perhaps new symphonies would draw them back again. Additionally, Mozart had scheduled a series of three “Concerts in the Casino” in a newly-constructed casino in Vienna, for which all or some of these works may have been intended. Mozart even sent a pair of tickets for this series to his good friend Michael Puchberg, but apparently, due to lack of public support, only one of the performances actually took place, marking the last time that Mozart ever put on a public concert in the Austrian capital. At the same time Mozart was attempting to organize a set of concerts in London, where a fine composer could make more money than anywhere else, but that venture came to naught. It is possible that Mozart used all or some of the symphonies on a tour of Germany he made the following year or at a concert given in Leipzig in May of 1789, which included two symphonies — more than likely one or two of the trilogy. Documentation on most of these concerts is nonexistent, so we can never know for sure exactly what was played and when.

Although it is not performed as often as Nos. 40 and 41, the Symphony No. 39 has become one of Mozart’s best-loved symphonies, receiving high praise from scholars and musicians alike for more than 200 years. Certainly DSO PERFORMANCE MAGA ZINE 37

the symphony breathes a spirit of joy and positive spirits, and the scoring of the symphony is a departure from Mozart’s norm. The composer was becoming increasingly interested in the clarinet, and although his famous concerto and quintet for the instrument were in the future, in this work he uses clarinets in place of oboes, making it the only symphony from his maturity which is without that particular instrument. The result is a mellower sound, a serious contrast to the tense Symphony No. 40 and vast, emotional Symphony No. 41.

The key here is E-flat major, which for Mozart implied warmth, solidity, and even solemnity. The symphony has a slow but impassioned introduction, a common feature at the time but rare for Mozart. The dramatic opening gradually gives way to a very lyrical and graceful first movement, whose two main themes are set apart by their contrasting character and their instrumentation: the first featuring the strings, the second highlighting the rich texture of the newly-used

clarinets. The instrumentation for the symphony as a whole is unusually modest, and in the lovely second movement it becomes even more so as the trumpets and timpani are not used. Very often the third movement in a Classical symphony is the least striking, used sometimes to just make a bridge between the more imposing music of the slow movement and finale — but not here! In some respects, this may be the most interesting of the four movements, as it is a rather boisterous minuet with the trio section containing an endearing, lilting dance tune. The symphony then concludes with a brilliant, lighthearted, and even humorous finale, built on a single theme, as many of Haydn’s finales were. Once again, this is not typical of Mozart’s last movements, which are often full of melodic ideas.

The DSO most recently performed Mozart’s Symphony No. 39 in March 2015 with Douglas Boyd conducting.

The DSO first performed the work in March 1915, conducted by Weston Gales.

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MOZART FESTIVAL 2016-2017

Leonard Slatkin, Music Director Music Directorship endowed by the Kresge Foundation Jeff Tyzik, Principal Pops Conductor Neeme Järvi, Music Director Emeritus

CLASSICAL SERIES Friday, January 27, 2017 at 10:45 a.m.

Friday, January 27, 2017 at 8 p.m. in Orchestra Hall LEONARD SLATKIN, conductor KIMBERLY KALOYANIDES KENNEDY, violin • HAI-XIN WU, violin RALPH SKIANO, clarinet • JOHANNA YARBROUGH, horn All pieces by Wolfgang Amadeus Mozart (1756 - 1791)

Overture to La clemenza di Tito, K. 621

Concertone for Two Violins and Orchestra in C major, K.186E [190] Allegro spiritoso Andantino grazioso Tempo di menuetto Kimberly Kaloyanides Kennedy, violin Hai-Xin Wu, violin INTERMISSION Horn Concerto No. 3 in E-flat major, K. 447 Allegro Romanza: Larghetto Allegro

Johanna Yarbrough, horn Concerto for Clarinet and Orchestra in A major, K. 622 Allegro Adagio Rondo: Allegro Ralph Skiano, clarinet This Classical Series performance is generously sponsored by

With additional support from

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

dso.org

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PROGRAM NOTES All pieces by WOLFGANG AMADEUS MOZART

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

Overture to La clemenza di Tito, K. 621 Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, and strings. (Approx. 5 minutes)

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n July of 1791 (the last year of his life), Mozart was nearing completion of The Magic Flute when he received a commission to compose a new opera seria, or tragic opera. The commission came from an impresario who was tasked with providing a new work to celebrate the coronation of the Holy Roman Emperor Leopold II as King of Bohemia in September. Leopold wanted to pacify the Bohemian nobility in order to prevent a revolt and strengthen his empire in the face of political challenges created by the French Revolution. As a result, none of Mozart’s operas is more connected with a political agenda than this one, in this case to promote the political and social policies of the aristocratic elite.

The text for this endeavor was an adaptation of a classic libretto by Pietro Metastasio, a Roman literary prodigy who became the poet of the Imperial Court Theatre in Vienna in 1730, in the process providing 27 librettos which formed the basis of more than 300 operas. His version of Clemenza had been set to music by no fewer than 40 different composers before Mozart came to tackle it. And Mozart was not actually the first choice for this specific undertaking: the initial request went to Antonio Salieri, the most distinguished composer of Italian opera at the time, who declined on the basis of being too busy. So Mozart eagerly accepted

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the commission, particularly since his fee would be twice that of a similar arrangement in Vienna.

Unfortunately the opera was regarded as something of a failure at its September premiere. But it gained praise at subsequent performances and remained in the core of operatic repertory for the next 30 years — also becoming the first Mozart opera to be performed in London. The opera begins with a brilliant and stately overture, and although it is strangely without themes from the opera itself, it reminds us that it was composed for a coronation, and sets a wonderfully noble mood.

The DSO most recently performed the Overture to La clemenza de Tito in June 2005, conducted by Neeme Järvi.

The DSO first performed the piece in December 1969, at a school concert conducted by C. Valter Poole.

Concertone for Two Violins and Orchestra in C major, K.186E [190] Scored for 2 solo violins, 2 oboes, 2 horns, 2 trumpets, and strings. (Approx. 28 minutes)

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ozart wrote most of his concerted works for violin and orchestra while serving as concertmaster of the orchestra of Count Hieronymus von Colloredo, the Prince-Archbishop of Salzburg, a post the composer began in 1772 at age 16. This work, the Concertone of 1774, is one of the many written during that tenure. The term concertone is something of a mystery; nobody seems to know when or how it originated, and there is some confusion as to its exact meaning. It clearly derives from the Italian word concerto, with the suffix indicating “grand” or “large,” and it was sometimes used as a MOZART FESTIVAL 2016-2017

name for pieces similar to the Baroque concerto grosso, which was rapidly going out of style. The similarly-named sinfonia concertante, meanwhile, is a concerto with two or more soloists.

Whatever the case, the term was not used frequently, and seems to have disappeared around the beginning of the 19th century.

Here, the main soloists are the two violins, with frequent appearances of a solo cello and oboe. Mozart began the work in May of 1773, after returning from a visit to Italy, and indeed, there is a certain elegant, ornamented, Italian flair to the music. The first movement is brilliant in style with a lovely dialogue between the soloists, but shows off more musical qualities than virtuosic ones, and the solo oboe is heard as a counterpoint to the principal melodies. The middle movement is very reminiscent of the typical serenade movements of Mozart’s Salzburg period, with an excursion into the relative minor played by both violinists.

The finale, written in the tempo of a minuet, shows the young composer’s increasing mastery of the gallant style featured in courtly music of the time, and the broad trio section finally makes considerable virtuoso demands of the soloists. It concludes with a faster section that brings all of the musical elements together in a very sonorous and pleasing way. Even though this lovely work is not often performed in our time, Mozart must have been very fond of the work, as he played it himself in Mannheim and Paris in 1779.

These performances of Mozart’s Concertone will be DSO premieres.

dso.org

Horn Concerto No. 3 in E-flat major, K. 447 Scored for solo horn, 2 clarinets, 2 bassoons, and strings. (Approx. 16 minutes)

For more information on Mozart’s music for horns, please refer to the notes on the Horn Concerto No. 1, page 27.

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lthough called No. 3, this was in fact the second of Mozart’s horn concertos to be composed in Vienna, sometime between 1784 and 1787. It was of course written for his friend and colleague Ignaz Leutgeb, whose name appears several times in the manuscript score. Although Mozart entered the previous concerto (K. 417) in the autograph catalog of his works, there is no mention of this concerto anywhere.

Perhaps he didn’t consider this work as having any real importance because it was a private gift to Leutgeb — but that certainly isn’t the belief of the British Museum, in whose permanent collection the manuscript score currently resides.

This beautiful work uses a noticeably different orchestration by departing from the oboe-horn combination of the other three concertos. The result is a more velvety and rich background of clarinets and bassoons, plus a harmonic complexity that gives weight to the music. The first movement is an outgoing, good-natured Allegro which keeps the spotlight firmly on the soloist. With his ear for lyrical beauty, Mozart turns the second movement into a miniature opera aria which utilizes Leutgeb’s unique gift for a singing tone and great expressivity in slower music.

The energetic and dashing finale is hunting horn music in all but name.

The DSO has previously performed Mozart’s Horn Concerto No. 3 just DSO PERFORMANCE MAGA ZINE 41

once, at an August 1979 concert at Meadow Brook Music Festival. The conductor was Sir Neville Marriner and the hornist was Barry Tuckwell.

Concerto for Clarinet and Orchestra in A major, K. 622 Scored for solo clarinet, 2 flutes, 2 bassoons, 2 horns, and strings. (Approx.

26 minutes)

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hough Mozart-as-performer was most famous for his work at the piano, he was also a passionate string player with a strong affinity for the viola. In general, he seemed to prefer mid-range instruments for their rich sonorities and almost vocal qualities of expression — no doubt one of the main reasons why he so dearly loved the clarinet.

That love was also emboldened by Mozart’s friendship with Anton Stadler, regarded as the greatest clarinet player of his time and a huge figure in the Viennese music scene. The two belonged to the same Masonic lodge and were by all accounts quite close, despite Stadler’s somewhat seedy, unreliable, and even dishonest character. (Mozart, no stranger to debt, was actually owed money by Stadler.)

The composer wrote several works for the soloist, including the Clarinet Trio of 1786, the Clarinet Quintet of 1789, and this Concerto for Clarinet and Orchestra, finished in 1791.

Mozart and Stadler were not the only two musicians who were particularly obsessed with the clarinet, which enjoyed significant popularity and underwent several changes — in shape, size, and key — in the late 18th century. Stadler himself created a new type of clarinet by increasing the length of the instrument and adding several keys, which extended the range

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downward by several notes.

Certainly, Mozart wanted to provide Stadler with a work which would showcase his virtuosity, and in particular these famous and unprecedented low notes. In the process of writing the concerto, however, the piece developed into much more than that, occupying a very special place not only in Mozart’s output but in the entire clarinet literature. The concerto shares a combination of simplicity and sophistication with The Magic Flute, which Mozart composed just months before. Along with the fresh and graceful melodies, there are serious moments, characterized by unexpected explorations of minor keys, imitative counterpoint, and a generally darker tone quality, coming partly from greater use of the instrument’s low notes. The first movement features a masterful interplay between clarinet and orchestra, and a proliferation of beautiful themes, most of them introduced by the soloist. The second movement is one of Mozart’s most poignant, gentle, and introspective creations, with phrases which are long and irregular, giving a sense of emotional tension. The jaunty finale presents a complete change of mood, harking back to the charm of his earlier compositions, and reflecting the happy and contented attitude of The Magic Flute.

The DSO most recently performed Mozart’s Concerto for Clarinet and Orchestra in March 2015, at a weekend of concerts in the William Davidson Neighborhood Series conducted

by Douglas Boyd. The soloist was Principal Clarinet Ralph Skiano, also the featured soloist for these Mozart Festival performances. The DSO first performed the concerto in August 1956 with conductor C. Valter Poole and clarinetist Vincent Melidon.

MOZART FESTIVAL 2016-2017

Leonard Slatkin, Music Director Music Directorship endowed by the Kresge Foundation Jeff Tyzik, Principal Pops Conductor Neeme Järvi, Music Director Emeritus

CLASSICAL SERIES Saturday, January 28, 2017 at 8 p.m.

Sunday, January 29, 2017 at 3 p.m. in Orchestra Hall LEONARD SLATKIN, conductor ROBERT WILLIAMS, bassoon DAVID EVERSON, horn All pieces by Wolfgang Amadeus Mozart (1756 - 1791)

Overture to Così fan tutte, K. 588

Concerto for Bassoon and Orchestra in B-flat major, K. 186e [191] Allegro Andante ma adagio Rondo: Tempo di menuetto

Robert Williams, bassoon INTERMISSION Horn Concerto No. 4 in E-flat major, K. 495 Allegro moderato Romanza: Andante Rondo: Allegro vivace David Everson, horn Symphony No. 40 in G minor, K. 550 [revised version] Molto allegro Andante Menuetto: Allegretto Allegro assai This Classical Series performance is generously sponsored by

With additional support from

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

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PROGRAM NOTES All pieces by WOLFGANG AMADEUS MOZART

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

Overture to Così fan tutte, K. 588 Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (Approx. 5 minutes)

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n this beautiful work, Mozart epitomizes the opera buffa, an opera with an abundance of happy and lyrical music. Such works focus on light or sentimental subjects, feature convoluted plots with comic elements, and invariably have a happy ending.

Mozart wrote the work in January of 1790, apparently at breakneck speed, and the premiere took place in the Vienna Court Theatre on January 26, 1790, the night before the composer’s 34th birthday.

The plot is based on a Vienna coffeehouse scandal in which two supposedly faithful couples swap partners. The opera was fairly successful during Mozart’s lifetime and beyond, and until 1830 it was fully the equal of The Marriage of Figaro in popularity. Then, for reasons which are difficult to comprehend now, the opera went into an almost total eclipse — mainly because the libretto was suddenly thought to be ridiculous, immoral, and scandalous. Indeed, most performances were accompanied by an apology for the frivolous plot, which was frequently altered or even rewritten! The work began to regain favor gradually in the 1920s, and for a time it was Mozart’s most frequently performed opera.

The overture to Così fan tutte is one of Mozart’s brightest and frothiest curtain-raisers, and it follows the

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composer’s pattern of writing the overture last so that the music could quote from what is to follow. In this one, the lovely melody in the introduction looks ahead to the titular words sung by the men in Act Two: così fan tutte, meaning “thus do all.”

The DSO most recently performed the Overture to Così fan tutte at a Young People’s Concert titled “The Magical Life of Mozart” in May 2014, conducted by Teddy Abrams. The DSO first performed the Overture in February 1957, conducted by Paul Paray.

Concerto for Bassoon and Orchestra in B-flat major, K. 186e [191] Scored for solo bassoon, 2 oboes, 2 horns, and strings. (Approx. 19 minutes)

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his delightful concerto, written when Mozart was only 18, is probably the most frequently studied and performed work in the entire bassoon repertoire.

Although the bassoon was not an obvious choice to use as a concerto soloist, there were precedents: Vivaldi wrote over 40 such concertos, but Mozart almost certainly did not know them. It is more likely that he knew what the instrument could do from hearing the two bassoonists in the Salzburg Court Orchestra, one of whom may have given the work its first performance — but there is no record of this. When Mozart wrote the concerto, the bassoon was just starting a gradual process of redesign which would turn it from the four-keyed instrument that was used through most of the 18th century into the much more adaptable and mechanically advanced instrument we now know.

It was long thought that this concerto was written for the wealthy bassoonplaying aristocrat Baron Thaddeus MOZART FESTIVAL 2016-2017

von Duernitz, but this would clearly have been impossible because the concerto was finished in June of 1774 — six months before the composer and Baron’s first recorded meeting.

Well after his death, Mozart’s widow had an inventory prepared of the over 300 manuscripts he left behind.

At the time, the manuscript of this concerto was listed as having been already sent to a well-known publisher in Germany for engraving. However, before the firm could start work on it, they acquired most of Mozart’s other manuscripts and became distracted from their usual publishing activities by what were far more tantalizing and ambitious challenges. By the time they got around to dealing with the bassoon concerto, the manuscript had somehow disappeared and has never been found. As a result, the German publisher had to rely on a set of parts as the main source for their planned edition, but it is virtually impossible to know just how accurate those parts were. Nevertheless, this early source served as the basis for two important scholarly editions, one in the late 19th century and the other in the late 20th century, from which all modern editions are derived.

The concerto captures the bassoon’s most salient musical characteristics, including a whimsical dichotomy. On the one hand the instrument has a very expressive and even poignant sound, and on the other there is great potential for humor. Mozart deliciously exploits both capabilities, including the lovely lyric quality of the instrument’s middle range and the often startling contrasts between the high and low ranges which he achieves by wide leaps in the melody. The first movement celebrates the bassoon’s remarkable agility, particularly with regard to fast, wide dso.org

leaps; its ability to sing very lyrically; and the ease with which it produces low notes. The second movement is sweet and dreamy, very much like the lovely arias which Mozart would later use in his operas. The last movement is a minuet — not ballroom music, but rather a dance one would encounter at court.

The DSO most recently performed the Concerto for Bassoon and Orchestra in B-flat major in December 1993, with conductor Leslie B. Dunner and bassoonist Robert Williams (currently Principal Bassoon) — who is also the soloist for these Mozart Festival performances. The DSO first performed the work in December 1940 with conductor Victor Kolar and bassoonist Joseph Mosbasch.

Horn Concerto No. 4 in E-flat major, K. 495 Scored for solo horn, 2 oboes, 2 horns, and strings. (Approx. 16 minutes)

For more information on Mozart’s music for horns, please refer to the notes on the Horn Concerto No. 1, page 27.

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espite its name, Mozart’s Horn Concerto No. 4 was likely the third that the composer wrote. It was composed in 1786, probably just after the Horn Concerto No. 3 (which was completed sometime between 1784 and 1787, though likely on the earlier side of that range). Like the others, No. 4 was written for Mozart’s good friend Ignaz Leutgeb, the finest hornist of the day. The score is notated in four different colors of ink, a detail that many interpret as one of Mozart’s jokes — though some more enthusiastic scholars believe that the varying colors represent nuanced notes on dynamics and tone.

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The concerto is, as one contemporary critic notes, “deliciously operatic.” The instrument becomes a dramatic character, changing moods and energies as the piece unfolds. The first movement contains ear-perking chromatic lines and a cadenza, firing up the piece on a merry note. The second movement is, like its counterparts in the other horn concertos, highly lyrical.

And the finale, one of the best-loved passages in the horn repertoire, picks up where the jaunty first movement left off, springing with the excitement and liveliness of the hunt.

The DSO most recently performed Mozart’s Horn Concerto No. 4 in January 2012, at a weekend of concerts in the William Davidson Neighborhood Series conducted by Hans Graf and featuring Principal Horn Karl Pituch as the soloist. The DSO first performed the concerto in February 1982 with conductor Raymond Leppard and hornist Eugene Wade.

Symphony No. 40 in G minor, K. 550 Scored for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, and strings. (Approx.

35 minutes)

For more information on Mozart’s extraordinary final symphonic trilogy, please refer to the notes on the Symphony No. 39, page 36.

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f all of Mozart’s symphonies, the “Great G minor” Symphony No. 40 was the one which most fascinated musicians and scholars in the 19th century. Coupled with its unconventional structure, the work’s classical balance, emotional intensity, wealth of ideas, and remarkable chromaticism all make it a perfect subject for discussion and analysis. It was one of the only Mozart symphonies which remained in the

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repertory throughout the Romantic era, principally because of its “romantic” use of a minor key.

Symphony No. 40 begins with an “inner voice” from the violas that prepares the way for the main theme in the violins. After the storm and stress of the first movement, the second movement is somewhat more bright, gentle, and relaxed. It is the only movement which is nominally in a major key, but it turns dark and more intense in the midsection, visiting some very strange and unsettling places before the light atmosphere of the beginning returns. The third movement is bold, rugged, even aggressive, and is a long way from the stylish ballroom dances of the time. The quiet and gracious Trio section brings music of repose, as if to escape from the restlessness and turmoil that infuse so much of the work. The last movement is perhaps the most original in the symphony, seeking to vehemently answer the questions posed by the first movement. Its mood, like the first, is one of anger, accentuated by sudden strong contrasts of soft and loud, and it travels through remote harmonic regions with both stable and unstable harmony. At the beginning of the development section there is a passage of extraordinary dissonance and disruption in which Mozart uses every note of the chromatic scale except G. The symphony is then brilliantly driven to its conclusion with grand and boundless energy.

The DSO most recently performed Mozart’s Symphony No. 40 in January 2014 with Jaime Laredo conducting.

The DSO first performed the work in November 1919, conducted by Ossip Gabrilowitsch.

MOZART FESTIVAL 2016-2017

Leonard Slatkin, Music Director Music Directorship endowed by the Kresge Foundation Jeff Tyzik, Principal Pops Conductor Neeme Järvi, Music Director Emeritus

CLASSICAL SERIES Thursday, February 2, 2017 at 7:30 p.m.

Friday, February 3, 2017 at 10:45 a.m. in Orchestra Hall LEONARD SLATKIN, conductor All pieces by Wolfgang Amadeus Mozart (1756 - 1791) Eine Kleine Nachtmusik, K. 525 Allegro Romance: Andante Menuetto: Allegretto Rondo: Allegro Symphony No. 35 in D major, K. 385, “Haffner” Allegro con spirito [Andante] Menuetto Presto INTERMISSION Overture from Die Entführung aus dem Serail, K. 384 (The Abduction from the Seraglio) Symphony No. 36 in C major, K. 425, “Linz” Adagio - Allegro spiritoso Poco adagio Menuetto Presto

This Classical Series performance is generously sponsored by

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

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PROGRAM NOTES All pieces by WOLFGANG AMADEUS MOZART

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

Eine Kleine Nachtmusik, K. 525 B. January 27, 1756, Salzburg, Austria D. December 5, 1791, Vienna, Austria

Scored for strings. (Approx. 16 minutes)

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n the 18th century, the serenade, divertimento, and cassation were compositions written for festive occasions and usually intended for outdoor performance. Unfortunately, the wide variety and inconsistent use of the names which Mozart and his contemporaries gave to these compositions has been a problem for scholars to the present day. Generally speaking, the term divertimento is now used to encompass most of this music written primarily for entertainment value, along with other names such as serenade, referring variously to ensemble size, number of movements, or the circumstances for which the pieces were written. The musical style was invariably light, with familiar dance movements such as marches and minuets, at least one lovely slow movement, and a number of other short, simply-structured movements fit for a party.

For all its fame, and though its opening tune is one of the most recognizable in music, Eine Kleine Nachtmusik has a murky and illdefined biography. The occasion and circumstances surrounding its composition remain a mystery to this day, and there is no reference to it (direct or indirect) in any of Mozart’s letters. What we do know is that it was written in Vienna in August of 1787 while the composer was hard at

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work on the second act of his opera Don Giovanni, but there is no record of a first performance, not even in Mozart’s own autograph catalogue.

That catalogue, by the way, contains a tantalizing mystery, in that it shows the work as having five movements, with not one but two minuet and trio movements. This fifth movement is assumed to be lost, but the noted Mozart scholar Alfred Einstein has suggested that a minuet in the Piano Sonata in B-flat, K. 498a, is the missing movement. This minuet has been recorded in an arrangement for strings by the English musicologist Jonathan Del Mar, and, though it is pretty music, very few scholars have come to agree with Einstein’s assertion. Whatever the case, Mozart’s widow Constanze sold Eine Kleine Nachtmusik — along with a large number of her husband’s compositions — to a German publisher in 1799, but it was not published until 1827. Hardly any other work in music history is so closely identified with its composer as this glorious serenade, which must be one of the most perfect pieces ever penned.

The DSO most recently performed Eine Kleine Nachtmusik in October 2015 with Music Director Leonard Slatkin conducting. The DSO first performed the piece in March 1921 with Ossip Gabrilowitsch conducting.

Symphony No. 35 in D major, K. 385, “Haffner” Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (Approx. 6 minutes)

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ozart’s Symphony No. 35 was written in Vienna, but it has strong ties to the composer’s hometown of Salzburg: it grew out of a serenade originally written for the namesake MOZART FESTIVAL 2016-2017

Haffner family, longtime friends of the Mozarts. In 1782, two years after the serenade’s commission, Mozart’s father requested a new piece to celebrate the ennoblement of Sigmund Haffner.

Though he was busy with the opening of The Abduction at the Seraglio and his upcoming marriage to Constanze Weber, Mozart agreed reluctantly to his father’s request for a new work: “Well, I must just spend the night over it, for that is the only way, and to you, dearest father, I sacrifice it. You may rely on having something from me by every post. I shall work as fast as possible and, as far as haste permits, I shall write something good.”

Unable to complete the work in time for the ceremony, Mozart sent his father only the opening Allegro and a suggestion to draw from the earlier Haffner Serenade for the remainder of the program. The entire work was later completed and set in the mold of the traditional four-movement Viennese symphony. Mozart was quite pleased with it; on receiving the full score back from his father he remarked: “My new Haffner symphony has positively amazed me, for I had forgotten every single note of it. It must surely produce a good effect.”

Mozart’s use of the winds in octaves lends a special sound to this symphony — the doubling probably a result of Mozart’s late addition of flutes and clarinets to the original serenade orchestration. The first movement shows an economy of musical material, the opening gesture of strong octave leaps introducing the only true theme of the movement. This simplicity shows the influence of Haydn and is also a sign of the work’s original purpose as background music. The movement overall is tightly drawn; the introduction of only one theme eliminates the dso.org

need for internal repeats. The theme’s asymmetrical structure creates interest and energy.

The Andante and Minuet are delicate and showcase Mozart’s instinct for graceful melody. The music is certainly suited to a celebration of nobility, and one can easily imagine the merriment and dancing of the Salzburg aristocracy. The final movement is drawn from Mozart’s recently premiered (and highly successful) opera The Abduction from the Seraglio.

According to Mozart, it “should go as fast as possible.” Perhaps as a nod to the newly ennobled Haffner, Mozart borrowed the Seraglio tune in which Osmin, the keeper of the harem, sings “Ha! What triumph will be mine now!”

The DSO most recently performed Mozart’s “Haffner” Symphony in a May 2013 concert weekend in the William Davidson Neighborhood Series, with conductor/violinist Cho-Liang Lin. The DSO first performed the symphony in February 1923 with Bruno Walter conducting.

Overture from Die Entführung aus dem Serail, K. 384 (The Abduction from the Seraglio) Scored for flute (doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, percussion, and strings.

(Approx. 6 minutes)

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he first opera Mozart composed after moving to Vienna, The Abduction from the Seraglio was chiefly intended to make a favorable impression on Emperor Joseph II and his court, as well as the discerning members of Vienna’s musical society. It DSO PERFORMANCE MAGA ZINE 49

was composed to a German text, using spoken dialogue between the arias.

Its subject matter — a European girl, rescued by her lover from a Turkish harem — was designed to demean and ridicule the Turks at a time when the Austrian emperor would be hosting a visit by the Grand Duke of Russia.

They were to discuss plans to carve up portions of the encroaching Ottoman Empire, which had pushed its borders a great distance through the Balkans.

Because of repeated delays in the grand duke’s arrival in Vienna, however, Mozart had nearly a full year to work on the opera, from July 1781 to May 1782.

In keeping with Austrian traditions in imitating what they thought to be Turkish music, the blustery opening theme has several outbursts involving extra percussion instruments — triangle, bass drum, and cymbals.

However, traditions borrowed from Italian opera are observed in the three-part, fast-slow-fast design of the overture. Once the opening theme has made its way to a strong cadence, it gives way to a minor-key preview of the opening aria in the opera, the hero Belmonte’s lament for his captive lover.

After that, the so-called Turkish music returns.

The DSO most recently performed the Overture to The Abduction from the Seraglio in October 2008 with Tito Muñoz conducting. The DSO first performed the piece in February 1925 with Victor Kolar conducting.

Symphony No. 36 in C major, K. 425, “Linz”

B. January 27, 1756, Salzburg, Austria D. December 5, 1791, Vienna, Austria Scored for 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (Approx.

26 minutes)

M

ozart composed his “Linz” Symphony in the autumn of 1783, while visiting the titular Austrian city.

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The circumstances surrounding the work’s genesis reveal the astonishing speed at which the composer could create. On October 31 Mozart wrote from Linz to his father, in Salzburg: “On Tuesday, November 4, I am giving a concert in the theater here, and as I haven’t a single symphony with me, I am writing at breakneck speed a new one which must be ready at that time.”

Apparently, then, Mozart completed his “Linz” Symphony in just four days.

The composer opens the symphony with an introduction in slow tempo.

The main Allegro portion of the first movement begins, in typical Mozart fashion, with a theme that appears placid during its initial phrase but shows a more vigorous character during its consequent phrase, where the winds bolster the string choir.

Unusually, the second subject, which has a faintly “Turkish” flavor, seems even more animated than the first.

There follows a slow movement presenting a beautiful play of sunlight and shadow. The third movement brings a sonorous minuet, one that Mozart balances with a lightly-scored central section featuring an echoic duet for oboe and bassoon.

The composer makes contrapuntal dialogues a prominent part of the finale as well. But despite the skilled use of counterpoint here, Mozart wears his learning lightly. Indeed, there is a casual, almost careless tendency in this movement that suggests the spirit of comic opera. Mozart further enlivens the proceedings with sudden contrasts in dynamic levels and by juxtaposing small groups of instruments with the full orchestra.

The DSO most recently performed Mozart’s “Linz” Symphony in May 2010 with James Gaffigan conducting.

The DSO first performed the work in February 1941 with Sir Thomas Beecham conducting.

MOZART FESTIVAL 2016-2017

Leonard Slatkin, Music Director Music Directorship endowed by the Kresge Foundation Jeff Tyzik, Principal Pops Conductor Neeme Järvi, Music Director Emeritus

CLASSICAL SERIES Friday, February 3, 2017 at 8 p.m.

Saturday, February 4, 2017 at 8 p.m. in Orchestra Hall LEONARD SLATKIN, conductor SHARON SPARROW, flute YOLANDA KONDONASSIS, harp All pieces by Wolfgang Amadeus Mozart (1756 - 1791)

Symphony No. 38 in D major, K. 504, “Prague” Adagio - Allegro Andante Presto Concerto for Flute, Harp and Orchestra in C major, K. 297c [299] Allegro Andantino Rondo: Allegro Sharon Sparrow, flute Yolanda Kondonassis, harp INTERMISSION Symphony No. 41 in C major, K. 551, “Jupiter” Allegro vivace Andante cantabile Allegretto Molto allegro 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.

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PROFILE YOLANDA KONDONASSIS

Y

olanda Kondonassis is celebrated as one of the world’s premier solo harpists and is widely regarded as today’s most recorded classical harpist. She has performed around the globe as a concerto soloist and in recital, appearing with numerous major orchestras — including the New York Philharmonic, Cleveland Orchestra, English Chamber Orchestra, and Hong Kong Philharmonic. Also a published author, speaker, professor of harp, and environmental activist, she weaves her many passions into a vibrant and multifaceted career.

With hundreds of thousands of albums sold worldwide, Kondonassis’ extensive discography includes nineteen titles. Her 2008 Telarc release Air was nominated for a Grammy Award. Her most recent album features the Ginastera Harp Concerto and was released in October 2016 on Oberlin Music. Her many recordings have earned universal critical praise as she continues to be a pioneering force in the harp world, striving to make her instrument more accessible to audiences and to push the boundaries of what listeners expect of the harp.

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The recipient of two Solo Recitalists Grants from the National Endowment for the Arts and a 2011 recipient of the Cleveland Arts Prize, Kondonassis has been featured on CNN and PBS as well as Sirius/XM Radio’s Symphony Hall, NPR’s All Things Considered, St. Paul Sunday Morning, and Performance Today. In addition to her active solo, chamber music, and recording schedule, Kondonassis heads the harp departments at the Oberlin Conservatory of Music and The Cleveland Institute of Music and presents master classes around the world.

MOZART FESTIVAL 2016-2017

PROGRAM NOTES All pieces by WOLFGANG AMADEUS MOZART

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

Symphony No. 38 in D major, K. 504, “Prague” B. January 27, 1756, Salzburg, Austria D. December 5, 1791, Vienna, Austria Scored for 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

(Approx. 23 minutes)

M

ozart’s relationship with the people of Prague marks a happy period in the otherwise sad tale of his last years.

While Vienna was growing indifferent to both the man and his music, Prague couldn’t seem to get enough of either.

The “Prague” Symphony — which was actually written in Vienna at the end of 1786 — is more difficult to perform and more conceptually advanced than any of Mozart’s previous efforts in the genre. By this time the symphony was expected to provide significant artistic weight and depth, rather than merely serve as a collection of pleasant sounds with which to open or close a concert.

The most noticeable feature of the first movement is the motivic chromatic figure that opens the Allegro section, which is gradually transformed and becomes the primary thematic material of the movement. In a break from standard sonata form, the first movement does not contain a secondary theme; rather, the opening theme continues to be developed through the end of the exposition and recapitulation sections, when it unfolds completely into an expression of pure joy.

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Typical of Mozart in his later symphonies, the second movement is also in sonata form, instead of making use of a simpler ternary (or A-B-A) structure. With its slow tempo and distinctive melodic material, the listener can easily discern not only the main sections of the movement, but also the reworking of the original melodic material in the development section.

By the time the first theme makes its reappearance in the recapitulation, the accompaniment has changed entirely, with the theme entering surreptitiously in the flutes and violins midway through a phrase played by the oboes, bassoons and horns.

The Presto final movement, with its opera buffa-like themes, is reminiscent at times of The Marriage of Figaro. It opens at a relentless pace and does not let up. Yet in spite of the lighthearted and comedic tone, the finale features the use of understated and intricate counterpoint, with much of the music’s forward motion coming from the tension created when two voices play melodies in overlapping phrases. Nowhere is the buffa style more apparent than in the development, which begins with loud orchestral outbursts alternating with softer passages of imitative counterpoint in the flutes and oboes.

By the time the opening theme returns it has incorporated this outburst from the development, leading the work to a jubilant, exhilarating conclusion.

The DSO most recently performed Mozart’s “Prague” Symphony in January 2016 with Music Director Leonard Slatkin conducting. The DSO first performed the work in October 1946 with Karl Krueger conducting.

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Concerto for Flute, Harp, and Orchestra in C major, K. 297c [299] Scored for solo flute, solo harp, 2 oboes, 2 horns, and strings. (Approx. 30 minutes)

I

n September 1777 Mozart and his mother set off on a journey from their home in Salzburg to Paris, with visits in Munich and Augsburg and a lengthy stay in Mannheim along the way. In November Mozart’s father sent him a letter reminding him that the sole purpose of this sojourn “was, is and must be to obtain a position or earn some money.” This search for more lucrative and distinguished employment came to naught, but in the course of the journey, Mozart received commissions to write most of his major works for flute, including this double concerto.

His two flute concertos, the four flute quartets, and the Andante in C were written in Mannheim in early 1778. By April, when the Concerto for Flute, Harp, and Orchestra was written, Mozart and his mother were in Paris, and the unusual combination of instruments resulted from a commission from Adrien-Louis Bonnieres, Duc de Guines, a good amateur flutist who was a former French envoy to England and Germany and a favorite of Marie Antoinette. Among other things, his flute had an extension which allowed him to play two extra low notes, then not available on a regular flute, and this is the only work involving the flute in which Mozart calls for those pitches. To earn money while he was looking for a position, Mozart gave private composition lessons, and one of his students was the Duc’s daughter Marie-Adrienne, who was also a fine harpist. When the Duc asked Mozart to

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write a concerto for the father/daughter duo, the composer readily accepted, perhaps thinking that this might be a means of impressing the French queen.

Once he set to work, Mozart wrote to his father stating that the Duc “plays the flute extremely well, and [the daughter] plays the harp magnifique! She has great talent and an incomparable memory which allows her to play some 200 pieces all by heart.”

Mozart wrote the concerto to be played in a home rather than a concert hall, so the orchestra is small, using just oboes, horns, and strings, making it well suited to the intimate setting of a salon performance.

Moreover, the scope of the work is somewhat restrained, as would befit such a setting, but Mozart was clearly excited about this combination of solo instruments, producing a lovely and lyrical piece which is both light-hearted and sophisticated, boasting a number of beautiful melodies.

In the Classical period the harp was still in a developmental stage, and not considered a traditional orchestral instrument. To some extent Mozart treats the instrument like an adaptation of a piano piece rather than on original harp part, but there are many places in the concerto in which the distinctive sonority of the harp was clearly in the forefront of his imagination. We don’t know if Mozart wrote any cadenzas himself, but if he did, they have been lost. A few popular cadenzas from the 19th century are often performed, but in our time many flutists and harpists have chosen to write their own.

Unfortunately, Mozart came to despise the Duc, who never paid for the concerto and only gave the composer half of the expected fees for the daughter’s lessons!

MOZART FESTIVAL 2016-2017

The DSO most recently performed Mozart’s Concerto for Flute, Harp, and Orchestra in March 1997, with conductor Robert Crisp, flutist Marilyn Jones, and harpist Patricia Terry-Ross.

The DSO first performed the work in March 1924 — at a Pops concert, no less — with conductor Victor Kolar, flutist Albert Harzer, and harpist W. Carter.

Symphony No. 41 in C major, K. 551, “Jupiter” Scored for 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

(Approx. 23 minutes)

For more information on Mozart’s extraordinary final symphonic trilogy, please refer to the notes on the Symphony No. 39 , ppg. XYZ

T

he title “Jupiter” was not attached to Mozart’s C major symphony by the composer himself, but was reportedly the idea of a concert organizer named Johann Peter Salomon, who added the title after Mozart’s death. Salomon’s sobriquet after the Roman God Jupiter Optimus Maximus (“Jupiter Best and Greatest”) is considered particularly appropriate to the triumphant quality of the symphony’s two outer movements and is a meaningful (if not entirely intentional) nod to Mozart’s fame, which

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would begin to skyrocket shortly after his passing.

The first movement of “Jupiter” contrasts strident militaristic themes with gentle, tender ones, developing elaborately over nearly 100 measures.

Typical of Mozart, it is rich in the number and variety of thematic ideas.

The slow movement is delicate, tinted with muted violins lacy melodies. It is at once poignant and deeply felt. The minuet and Trio are also notably gentle, both built around yearning chromatic melodies. Whether consciously or not, the first four melody notes of the Trio anticipate the shape of the four-note theme that dominates the finale.

The finale is celebrated for Mozart’s feat of superimposing fugal counterpoint upon a sonata movement.

At various points in the movement Mozart takes themes presented earlier and lets them chase each other as in a fugue. This display of contrapuntal wizardry has held audiences, composers and musical scholars in awe for more than two centuries.

The DSO most recently performed Mozart’s “Jupiter” Symphony during a July 2015 concert weekend in the William Davidson Neighborhood Series, conducted by Andres Cardenes.

The DSO first performed the work in December 1916 with Weston Gales conducting.

DSO PERFORMANCE MAGA ZINE 55

CELEBRATING YOUR LEGACY SUPPORT 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 contact Dan Coleman at 313.576.5451.

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. Charlotte Arkin† 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 Ms. Mary Rita Cuddohy † Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Ms. Leslie C. Devereaux Mr. John Diebel Mr. Roger Dye & Ms. Jeanne A. Bakale Ms. Bette J. Dyer † Mr. & Mrs. Robert G. Eidson Marianne T. Endicott Mrs. Rema Frankel† Ms. Dorothy Fisher Mrs. Marjorie S. Fisher † 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 56

Ms. Nancy B. Henk Joseph L. Hickey Mr. & Mrs. Thomas N. Hitchman 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 Mr. Glenn Maxwell Mary Joy McMachen, Ph.D. Mr. William G. Michael† 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 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

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†

Deceased

Mrs. Mary Carol Prokop† Ms. Linda Rankin & Mr. Daniel Graschuck Mr. & Mrs. Douglas J. Rasmussen Ms. Dorothy J. Reidel† 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. Donald Schultz † Mr. & Mrs. Fred Secrest † Patricia Finnegan Sharf 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 Alice & Paul Tomboulian Mr. David Patria & Ms. Barbara Underwood Roger & Tina Valade Mrs. Richard C. 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 Milton & Lois† Zussman Five who wish to remain anonymous MOZART FESTIVAL 2016-2017

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 contact Dan Coleman at 313.576.5451.

LINDA WASSERMAN AVIV, Chair Mrs. Katana H. Abbott Mr. Christopher A. Ballard Ms. Sandra K. Campbell Mr. Henry M. Grix 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 Mr. Christopher M. Mann Mr. Curtis J. Mann

Mrs. Mary Mansfield Mr. Mark Neithercut Mrs. Alice R. Pfahlert Ms. Deborah J. Renshaw, CFP Mr. James P. Spica Mr. John N. Thomson, Esq. Ms. Wendy Zimmer Cox

THE DETROIT SYMPHONY ORCHESTRA’S VOLUNTEER USHERS Sandy Aasgaard Fran Alberts Dee Allison Karen Arendall William Arendall Susan Baran Catherine Beaumont Clara Belt Barbara Binder Valerie Binder Niels Boesen Dorisel Boggs Kathie Booth Barbara Borden Elaine Bozin Ann Brilliant Nelda Brogan Roy Brogan Alexander Brown Kenneth Brown Ruth Bruce Joseph Buese Janice Calligaris-Sur Stephanie Canty Ed Carey Bethany Carmody Hannah Carmody Kay Carmody Maria Caruso Martha Casey Elaine Chalom Gloria Coles Gregg Coughlin Nancy Courtney Gerry Crowe Neal Dahlen James Demers Kari Deming

Nancy Deming Diane DeVincent Brian Doefer Barbara Drake Kay Dubois Michael Easter Monica Easter Naomi Edwards Bob Emick Mary Ann Emick Joanna Endres Robert Endres Leslie Falvey Pam Faricy Joseph Fasi Michael Fenchel Marvin Fink Rosalind Fink Lester Floyd Carmen Freeman laurie fundukian Frank Gasiorek Cheryl Gastwirth Jeffrey Gebauer Steven Gensterblum John Gibson Toni Gibson Jackie Giering Bruce Gilbert Nora Gilbert Elisa Giuliani David Groen Rosemary Gugino Rebeca Guzman Carla Hall Claudia Hawkins Mary Heppner Fay Herman

Francine Hill Jolyn Hillebrand Cal Hoeksema Norma Hoeksema Diane Holden Jasmine Hollis Robert Holzhauer Jean Hornbacher Regina Hughes William Isenhour Barbara Iseppi Larry Jacobs Linda James Germaine Jarvis Rick Jayroe Sue Jayroe Gregory Johnson Marva Johnson Earline Jones Rita Kaplan Nancy Karpus Kathleen Keener Katherine Klimas Carol Kupinski Mary Lafter Jane Latessa Lorraine Lavoie Edward Lesnau Maureen Lesnau Louise Less Joyce Lyons Rochelle Mailhot Consquela Marbury Christina Marchwica Mark Marchwica Jack Marshall Kisha Martin Henry McCoy

Diane McLeod Marie Meleski Paul Michalsen Nancy Miller Emma Mitchell Peg Mixter Virginia Moore Jim Moylan Nellie Murphy Don Musser Dorothy Musser Mary Myers Joan Nagrant Florkowski Nancy Betty Nelson Courtney Nicholls Marylou Ouellette Ann Pape Maureen Paraventi Bob Patton Alice Paul Cassandra Pettway Fedora Pruitt Brenda Purkiss Betsy Quick Karen Rademacher Elizabeth Reid Peggy Roberts Shirley Ross Jane Rousseau Edna Rubin Mona Ruggers Vincent Ruggers Susan Saroglia Pat Shannon Emanuel Sharpe Martha Shumaker Craig Sieferd

Helen Smiley Chris Smith Kathy Smith Mary Smith Steven Smith April Snively Jeff Spakowski Glenn Stadts Archer Stone Art Stone Jennifer Sutherland Joan Swain Marianne Szymborski Ira Richard Talbott Joan Tilford Dorothy Trent Virnestean Tubbs Sherry Turner Fred Van Every Lee Visci Janice Wargo Jerry Wargo Sanford Waxer Charles Weaver Cobe Weaver Karen Weaver Carolyn Wedepohl Ted Wedepohl Chuck Wendt Miles West John Wheeler Stan Wisniewski Mary Zelenock

For more information about becoming a Volunteer Usher, please visit dso.org or contact Margaret Cassetto at mcassetto@dso.org.

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DSO PERFORMANCE MAGA ZINE 57

THE ANNUAL FUND Gifts received between September 1, 2015 and November 30, 2016 Being a community-supported orchestra means you can play your part through frequent ticket purchases and generous annual donations. Your tax-deductible Annual Fund donation is an investment in the wonderful music at Orchestra Hall, around the neighborhoods and across the community. This honor roll celebrates those generous donors who made a gift of $1,500 or more to the DSO Annual Fund Campaign. If you have questions about this roster, or to make a donation, please contact 313.576.5114 or go to dso.org/donate.

The Gabrilowitsch Society honors individuals who support us most generously at the $10,000 level and above.

Janet and Norm Ankers, chairs

Giving of $250,000 and more Mr. & Mrs. Lee Barthel Penny & Harold Blumenstein Julie & Peter Cummings Mrs. Marjorie S. Fisher † Mr. & Mrs. Stanley Frankel

Mr. & Mrs.+ Morton E. Harris Mr. & Mrs. Peter Karmanos, Jr. Mr. & Mrs. James B. Nicholson The Polk Family Mrs. Richard C. Van Dusen

Giving of $100,000 and more Eugene & Marcia Applebaum Family Foundation Ms. Leslie C. Devereaux

Mr. & Mrs. Phillip Wm. Fisher Emory M. Ford, Jr.† Endowment Cindy & Leonard Slatkin

Giving of $50,000 and more Mr. & Mrs. Richard L. Alonzo Mrs. Cecilia Benner Mandell & Madeleine Berman Foundation Mr. & Mrs. Richard A. Brodie Mrs. RoseAnn Comstock Marvin & Betty Danto Family Foundation Linda Dresner & Ed Levy, Jr.

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

Giving of $25,000 and more Ms. Sharon Backstrom Mr. & Mrs. Raymond M. Cracchiolo Joanne Danto & Arnold Weingarden Mrs. Kathryn L. Fife Mr. & Mrs. David Fischer Madeline & Sidney Forbes Barbara Frankel & Ronald Michalak Herman & Sharon Frankel

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Chacona W. Johnson David & Valerie McCammon Mr. & Mrs. Lloyd E. Reuss Mr. & Mrs. Alan E. Schwartz Mr. & Mrs. Larry Sherman Mr. & Mrs. Donald R. Simon Mr. & Mrs. Arn Tellem Mr. James G. Vella

†

Deceased

MOZART FESTIVAL 2016-2017

Giving of $10,000 and more Mr. & Mrs. Robert A. Allesee Daniel & Rose Angelucci Mr. & Mrs. Norman Ankers Pamela Applebaum Mr. Chuck Becker Drs. John & Janice Bernick Mr. & Mrs. Robert H. Bluestein Mr. & Mrs. John A. Boll, Sr. Mr. & Mrs. Jim Bonahoom Gwen & Richard Bowlby Lois & Avern Cohn Margie Dunn & Mark Davidoff Mr. & Mrs. Richard L. DeVore Marianne T. Endicott Jim & Margo Farber Dr. Marjorie M. Fisher & Mr. Roy Furman Mr. Michael J. Fisher Mr. & Mrs. Samuel Fogleman Dr. Saul & Mrs. Helen Forman Dale & Bruce Frankel Mr. & Mrs. Eugene A. Gargaro, Jr. Mrs. Byron Gerson Mr. & Mrs. Ralph J. Gerson Mrs. Gale Girolami Dr. Kenneth & Roslyne Gitlin Dr. Allen Goodman & Dr. Janet Hankin

Mary Ann & Robert Gorlin Dr. Herman & Mrs. Shirley Gray Mr. & Mrs. James Grosfeld Dr. Gloria Heppner Michael E. Hinsky & Tyrus N. Curtis Mr. & Mrs. Norman H. Hofley Mr. & Mrs.† Ronald Horwitz Richard H. & Carola Huttenlocher Mr. Sharad P. Jain Lenard & Connie Johnston Faye & Austin Kanter Mr. & Mrs. Norman D. Katz Mike & Katy Keegan Dr. David & Mrs. Elizabeth Kessel Dr. Myron & Joyce LaBan Marguerite & David Lentz Dr. Melvin A. Lester Bud & Nancy Liebler Mr. & Mrs.† Joseph Lile Stevens McClure Family Alexander & Evelyn McKeen Dr. Robert & Dr. Mary Mobley Cyril Moscow Xavier & Maeva Mosquet Geoffrey S. Nathan & Margaret E. Winters David Robert & Sylvia Jean Nelson

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

Giving of $5,000 and more Mrs. Denise Abrash Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Mrs. Jean Azar Robert N. & Claire P. Brown Michael & Geraldine Buckles Mr. & Mrs. François Castaing Thomas W. Cook & Marie L. Masters Mr. & Mrs. Gary L. Cowger Jerry P. & Maureen T. D’Avanzo Beck Demery Mr. Sanford Hansell & Dr. Raina Ernstoff Mr. Peter Falzon Barbara & Alfred J. Fisher III Ms. Mary D. Fisher Mr. David Fleitz Mr. & Mrs. Edsel B. Ford II Ms. Carol A. Friend Allan D. Gilmour & Eric C. Jirgens Dr. Robert T. Goldman Goodman Family Charitable Trust Mr.† & Mrs. James A. Green Mr. Lee V. Hart & Mr. Charles L. Dunlap Ms. Nancy B. Henk Ms. Doreen Hermelin

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Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Jack & Anne Hommes Mr. & Mrs. A. E. Igleheart Mr. & Mrs. Richard J. Jessup William & Story John Judy & David Karp Michael E. Smerza & Nancy Keppelman Mr. & Mrs. Harold Kulish Mr. Daniel Lewis The Locniskar Group Bob & Terri Lutz Ms. Florine Mark Patricia A.† & Patrick G. McKeever Mr. & Mrs. Robert S. Miller Eugene & Sheila Mondry Foundation Ms. A. Anne Moroun Mr. & Mrs. Albert T. Nelson, Jr. Mr. & Mrs. David E. Nims Mr. Thomas Norris Mr. & Mrs. Pat Olney Mr. & Mrs. Richard G. Partrich Mr. & Mrs. Roger S. Penske Mr. Charles Peters Mrs. Bernard E. Pincus Mrs. Helen F. Pippin

*Current DSO Musician or Staff

Dr. Glenda D. Price Mr. & Mrs. David Provost Barbara Gage Rex Dr. & Mrs. John Roberts Mr. & Mrs. Robert B. Rosowski Dr. Alexander Ruthven Mrs. Patricia Finnegan Sharf Renate & Richard Soulen Mrs. Kathleen Straus & Mr. Walter Shapero Mrs. E. Ray Stricker Mr. & Mrs. John Stroh III Mr. Gary Torgow David Usher Dr. Vainutis Vaitkevicius Mrs. Eva Von Voss Mr. William Waak S. Evan & Gwen Weiner Dr. & Mrs. Ned Winkelman Mrs. Judith G. Yaker Mr. Michael Yessian Margaret S. York Erwin & Isabelle Ziegelman Foundation Milton & Lois† Zussman Two who wish to remain anonymous

DSO PERFORMANCE MAGA ZINE 59

Giving of $2,500 and more Howard Abrams & Nina Dodge Abrams Ms. Dorothy Adair 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* Mr. Joseph Aviv & Mrs. Linda Wasserman Aviv Mr. & Mrs. John Axe Mr. & Mrs. Wayne J. Babbish Ms. Ruth Baidas Nora Lee & Guy Barron Mr. Mark Bartnik & Ms. Sandra J. Collins Mr. & Mrs. Martin S. Baum Mary Beattie Mr. & Mrs. Richard Beaubien Dr. & Mrs. Brian Beck Ms. Margaret Beck Mrs. Harriett Berg Mr. & Mrs. Dennis Bernard Mr. & Mrs. Jeffrey A. Berner Mr. & Mrs. Michael Biber Ms. Kathleen Block Dr. George & Joyce Blum Nancy & Lawrence Bluth Mr. Timothy Bogan Rud & Mary Ellen Boucher Don & Marilyn Bowerman Mr. Paul & Mrs. Lisa Brandt Mr. Anthony F. Brinkman Mr. & Mrs. Mark R. Buchanan Mr. & Mrs. Ronald F. Buck Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Ms. Evelyn Burton Julie Byczynski* & Angus Gray Dr. & Mrs. Roger C. Byrd Philip & Carol Campbell Dr. & Mrs. Thomas E. Carson Ronald & Lynda Charfoos Michael & Cathleen Clancy Gloria & Fred+ Clark Mr. & Mrs. Robert W. Clark Nina & Richard Cohan Jack, Evelyn & Richard Cole Family Foundation Dr. & Mrs. Charles G. Colombo Patricia & William Cosgrove, Sr. Dr. & Mrs. Ivan Louis Cotman Mrs. Barbara Cunningham Suzanne Dalton & Clyde Foles Deborah & Stephen D’Arcy Fund Mr. & Mrs. Charles W. Dare Barbara A. David Lillian & Walter Dean 60

Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Mr. Giuseppe Derdelakos Adel & Walter Dissett Diana & Mark Domin Donato Enterprises Paul + & Peggy Dufault Mr. & Mrs. Robert Dunn Mr. Roger Dye & Ms. Jeanne A. Bakale Edwin & Rosemarie Dyer Mrs. George D. Dzialak Dr. Leo & Mrs. Mira Eisenberg Dr. & Mrs. A. Bradley Eisenbrey Mr. Lawrence Ellenbogen Donald & Marjory Epstein Mr. & Mrs. John M. Erb Mr. Drew Esslinger Ellie Farber Mr. & Mrs. Oscar Feldman Mr. & Mrs.+ Anthony C. Fielek Dr. Thomas Filardo & Dr. Nora Zorich Ms. Sharon Finch Mr. Jay Fishman Mr. & Mrs. Mark Frank Mr. & Mrs. Daniel E. Frohardt-Lane Sharyn & Alan Gallatin Mrs. Janet M. Garrett Mr. George Georges Drs. Lynda & Conrad Giles Mr. & Mrs. Robert W. Gillette Ruth & Al 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 Mr. Jeffrey Groehn Robert & Elizabeth Hamel Randall L. & Nancy Caine Harbour Tina Harmon Mrs. Betty J. Harrell Cheryl A. Harvey Gerhardt A. Hein & Rebecca P. Hein Mr. & Mrs. Ross Herron Jeremiah* & Brooke Hess Lauri & Paul Hogle Ms. Barbara Honner The Honorable Denise Page Hood & Reverend Nicholas Hood III Mr. Matthew Howell & Mrs. Julie Wagner Mr. F. Robert Hozian Mr. & Mrs. Joseph L. Hudson, Jr. Nicki* & Brian Inman Steven & Sarah Jackson Mr. & Mrs. Ira J. Jaffe Mr. & Mrs. Charles R. Janovsky Mr. John S. Johns

DSO PERFORMANCE MAGA ZINE

Mr. & Mrs. George Johnson Mr. Paul Joliat Mr. & Mrs. Joseph Jonna Ellen Kahn Dr. Laura Katz & Dr. Jonathan Pasko Betsy & Joel Kellman June K. Kendall Patrick J. Kerzic & Stephanie Germack Kerzic Frederic & Stephanie Keywell Mrs. Frances King Mr. & Mrs. William P. Kingsley Susan & Bill Kishler Thomas & Linda Klein Mr. & Mrs. Ludvik F. Koci Ms. Margot Kohler Mr. David Kolodziej Mr. James Kors & Ms. Victoria King* Martin & Karen Koss Dr. Harry & Katherine Kotsis Robert C. & Margaret A. Kotz Barbara & Michael Kratchman Richard & Sally Krugel Dr. Arnold Kummerow Marilyn & John Kunz Mr. & Mrs. Robert LaBelle Dr. Raymond Landes & Dr. Melissa McBrien-Landes Drs. Lisa & Scott Langenburg Ms. Sandra Lapadot Ms. Anne T. Larin Dr. Lawrence O. Larson Dolores & Paul Lavins Mr. Henry P. Lee Max Lepler & Rex L. Dotson Mr. & Mrs. Ralph LeRoy, Jr. Drs. Donald & Diane Levine Mr. & Mrs. John D. Lewis Mr. & Mrs. Eric C. Lundquist Daniel & Linda* Lutz Mrs. Sandra MacLeod Cis Maisel Margaret Makulski & James Bannan Mr. & Mrs. Charles W. Manke, Jr. Mervyn & Elaine Manning Mr. & Mrs. David S. Maquera, Esq. Mr. Anthony Marek Maurice Marshall Dr. & Mrs. Richard Martella Dr. & Mrs. Peter M. McCann, M.D. Mr. & Mrs. Alonzo McDonald Ms. Camille McLeod Dr. & Mrs. Donald A. Meier Dr. & Mrs. David Mendelson Mrs. Thomas Meyer Thomas & Judith Mich Mr. & Mrs. Leonard G. Miller J.J. & Liz Modell Dr. Susan & Mr. Stephen* Molina MOZART FESTIVAL 2016-2017

Mr. & Mrs. Daniel E. Moore Ms. Florence Morris Mr. Frederick Morsches & Mr. Kareem George Drs. Barbara & Stephen Munk Ms. I. Surayyah R. Muwwakkil Joy & Allan Nachman Judith & Edward Narens Mariam C. Noland & James A. Kelly Mr. & Mrs. Richard L. Norling Ms. Gabrielle Poshadlo & Mr. Dennis Nulty* Katherine & Bruce Nyberg Mr. & Mrs. Stanley Nycek Mr. John J. O’Brien Dr. & Mrs. Dongwhan Oh Dr. William Oppat Mr. & Mrs. Arthur T. O’Reilly David+ & Andrea Page Mr. Randall Pappal Mrs. Margot Parker Mrs. Sophie Pearlstein Mr. & Mrs. Kris Pfaehler Mr. & Mrs. Philip E. Pfahlert Dr. Klaudia Plawny-Lebenbom Mr. & Mrs. William Powers Reimer & Rebecca Priester Charlene & Michael Prysak Mr. Ronald Puchalski Mr. & Mrs. Richard Rappleye Drs. Stuart & Hilary Ratner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Mrs. Hope Raymond

Mr. & Mrs. Dave Redfield Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Denise Reske Seth & Laura Romine Mr. R. Desmond Rowan Jane & Curt Russell Mrs. Lois J. Ryan Linda & Leonard Sahn Mr. David Salisbury & Mrs. Terese Ireland Salisbury Hershel & Dorothy Sandberg Ms. Martha A. Scharchburg & Mr. Bruce Beyer Dr. Sandy Koltonow & Dr. Mary Schlaff David & Carol Schoch Sandy & Alan Schwartz Mr. & Mrs. Kingsley G. Sears Mr. & Mrs. Fred Secrest+ Mr. Merton J. & Mrs. Beverly Segal Mrs. Jean Shapero Ms. Margaret Shulman Dr. Les & Ellen Lesser Siegel Coco & Robert Siewert Mr. Norman Silk & Mr. Dale Morgan William & Cherie Sirois Dr. Cathryn & Mr. Daniel Skedel Dr. Gregory Stephens Barb & Clint Stimpson Nancy C. Stocking Stephen & Phyllis Strome Dorothy I. Tarpinian Shelley & Joel Tauber

Joshua & Judith Adler Dr. & Mrs. Gary S. Assarian Pauline Averbach & Charles Peacock Dr. & Dr. Brian Bachynski Ms. Mary C. Bartush Jones Mr. & Mrs. G. Peter Blom Ms. Jane Bolender Mr. & Mrs. J. Bora Ms. Nadia Boreiko Mr. & Mrs. Gerald C. Borsand Dr. & Mrs. David L. Bouwman Ms. Christine Britts Bowden & Elaine Brown Mr. & Mrs. Richard Burstein Mr. Samuel Bushala Dr. & Mrs. Glenn B. Carpenter Mr. David Carroll Mr. Fred J. Chynchuk Mrs. Barbara Cushing Dr. & Mrs. Adnan S. Dajani Mr. & Mrs. James H. Danto Mr. & Mrs. Alfred J. Darold Gordon & Elaine Didier Mr. & Mrs. Henry Eckfeld

Mr. Howard O. Emorey Mr. Gilbert Glassberg & Ms. Sandra Seligman Dr. Linda Golumbia, Ph.D Mr. Donald Guertin Mr. & Mrs. Robert Hage Mary & Preston Happel Mr. & Mrs. Howard Heicklen Mr. & Mrs. Paul Hillegonds Ms. Elizabeth Ingraham Ms. Nadine Jakobowski Mr. Arthur Johns Carol & Richard Johnston Dr. Jean Kegler Ms. Ida King Mr. James Kirby Mr. & Mrs. Thomas N. Klimko Mr. & Mrs. Victor Kochajda/Teal Electric Co. Mr. & Mrs. Kosch Mr. Michael Kuhne Mr. Charles E. Letts Mr. & Mrs. Richard Manning Dr. Arlene M. Marcy, M.D.

Dr. & Mrs. Howard Terebelo Mr. & Mrs. James W. Throop Mr. & Mrs. John P. Tierney Alice & Paul Tomboulian Mr. & Mrs. Michael Torakis Barbara & Stuart Trager Mark & Janice Uhlig Amanda Van Dusen & Curtis Blessing Charles & Sally Van Dusen Mr.+ & Mrs. George C. Vincent 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 Arthur & Trudy Weiss Janis & William Wetsman/ The Wetsman Foundation Ms. Anne Wilczak Beverly & Barry Williams Dr. M. Roy & Mrs. Jacqueline Wilson Rissa & Sheldon Winkelman Mr. Jonathan Wolman & Mrs. Deborah Lamm Cathy Cromer Wood Ms. Andrea L. Wulf The Yousif Family Mr. Richard D. Zimmerman Four who wish to remain anonymous

Giving of $1,500 and more

dso.org

*Current DSO Musician or Staff

Mr. & Mrs. Brian Meer Mr. & Mrs. Richard K. Miller Mr. & Mrs. Germano Mularoni Mrs. Ruth Nix Noel & Patricia Peterson Dr. & Mrs. Terry Podolsky Mr. Richard Rapson Mr. & Mrs. Leslie Rose Norman+ & Dulcie Rosenfeld Mr.+ & Mrs. Gerald F. Ross Mr. & Mrs. Hugh C. Ross Mr. & Mrs. George Roumell Mr. Lawrence Shoffner Zon Shumway Mr. Mark Sims & Ms. Elaine Fieldman Mr. Michael J. Smith & Mrs. Mary C. Williams Dr. & Mrs. Choichi Sugawa Ms. Sandra K. Vanover Ms. Beverly Weidendorf Ms. Janet Weir Frank & Ruth Zinn One who wishes to remain anonymous

DSO PERFORMANCE MAGA ZINE 61

CORPORATE PARTNERS $500,000 and more

JIM NICHOLSON CEO, PVS Chemicals

$200,000 and more

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

FAYE NELSON President, DTE Energy Foundation

MARK FIELDS President & CEO, Ford Motor Company

JAMES VELLA President, Ford Motor Company Fund

primary pereferred logo

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

MARY BARRA CEOsecondary and Chairperson, General Motors Company

JACKIE PARKER President, GM Foundation

$100,000 and more secondary - for use on dark backgrounds

2014 GM Design Corporate ID & Graphics

SERGIO MARCHIONNE Chief Executive Officer, FCA

$20,000 and more

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KEITH J. ALLMANN President and CEO, MASCO Corporation

Am erican House Senior Living Communities Amerisure Insurance Chemical Bank Greektown Casino KPMG LLP Macy’s

DSO PERFORMANCE MAGA ZINE

MATTHEW J. SIMONCINI President and CEO, Lear Corporation

MGM Grand Detroit Casino PNC Bank Rock Ventures, LLC Target Wico Metal Products Wolverine Packing Company

MOZART FESTIVAL 2016-2017

$10,000 and more

Beaumont Health Creative Benefit Solutions, LLC Denso International America, Inc. Edibles Rex Fifth Third Bank Greenleaf Trust Honigman Miller Schwartz and Cohn LLP Hungry Howie’s Pizza Huron Consulting Group Jaffe, Raitt, Heuer and Weiss PricewaterhouseCoopers LLP Raymond James REDICO Sandler Training Suburban Collection UBS Financial Services Inc. Warner Norcross & Judd LLP

$5,000 and more

American International Group The Boston Consulting Group Coffee Express Roasting Company Delphi Foundation Ernst and Young Hotel St. Regis Michigan Ear Institute Schaerer Architextural Interiors St. John Providence Telemus Capital Partners, LLC Varnum LLP Yessian Music $1,000 and more

Arkay-Walker Paint Companay Avis Ford, Inc. Broder & Sachse Real Estate Services

Chubb Group of Insurance Companies Darling Bolt Company Delta Dental Plan of Michigan Dickinson Wright LLP Dykema HEM Data Corporation The Harmon Group Howard & Howard Attorneys PLLC Lakeside Ophthalmology Center Madison Electric Company Michigan First Credit Union O’Brien - Sullivan Funeral Homes Inc. Oswald Companies Plante and Moran, PLLC PSLZ, LLP Robert Swaney Consulting, Inc. Sachse Construction Urban Science Applications

SUPPORT FROM FOUNDATIONS AND ORGANIZATIONS $500,000 and more

The William M. Davidson Foundation Samuel & Jean Frankel Foundation $250,000 and more

Community Foundation for Southeast Michigan Hudson-Webber Foundation John S. and James L. Knight Foundation The Kresge Foundation McGregor Fund The Andrew W. Mellon Foundation $100,000 and more

The Richard C. Devereaux Foundation Fred A. & Barbara M. Erb Family Foundation Max M. & Marjorie S. Fisher Foundation Ford Foundation Detroit Symphony Orchestra Volunteer Council $50,000 and more

Marvin & Betty Danto Family Foundation William Randolph Hearst Foundation dso.org

Ann & Gordon Getty Foundation Richard & Jane Manoogian Foundation Michigan Council for Arts & Cultural Affairs National Endowment for the Arts Herbert & Elsa Ponting Foundation Matilda R. Wilson Fund $25,000 and more

Children’s Hospital of Michigan Foundation DeRoy Testamentary Foundation Eleanor & Edsel Ford Fund $10,000 and more

Maxine & Stuart Frankel Foundation Myron P. Leven Foundation Oliver Dewey Marcks Foundation Moroun Family Foundation Sage Foundation $5,000 and more

Benson & Edith Ford Fund Henry Ford II Fund The Alice Kales Hartwick Foundation Marjorie & Maxwell Jospey Foundation Meyer & Anna Prentis Family Foundation

Sigmund & Sophie Rohlik Foundation Mary Thompson Foundation $1,000 and more

Charles M. Bauervic Foundation Frank & Gertrude Dunlap Foundation Esther Gordy Bullock Edwards Foundation Harold & Ruth Garber Family Foundation Clarence & Jack Himmel Fund James & Lynelle Holden Fund Japan Business Society of Detroit Foundation Ludwig Foundation Fund Aline Underhill Orten Foundation The Loraine and Melinese Reuter Foundation Louis & Nellie Sieg Foundation Sills Foundation Don & Dolly Smith Foundation The Tuktawa Foundation The Village Club Foundation Samuel L. Westerman Foundation Wheeler Family Foundation, Inc. Young Woman’s Home Association Gifts received between September 1, 2015 and November 30, 2016 DSO PERFORMANCE MAGA ZINE 63

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

FOUNDING FAMILIES

CHAMPIONS

LEADERS

Julie & Peter Cummings Fisher Family Max M. & Marjorie S. Fisher Foundation

Stanley & Judy Frankel Danialle & Peter Karmanos, Jr. James B. & Ann V. Nicholson Clyde & Helen Wu †

Mr. & Mrs. Richard L. Alonzo Mandell & Madeleine Berman Foundation Penny & Harold Blumenstein Mr. & Mrs. Raymond M. Cracchiolo DTE Energy Foundation Mr. & Mrs. Phillip Wm. Fisher Ford Motor Company Fund Mr. & Mrs.† Morton E. Harris John S. and James L. Knight Foundation

Mrs. Bonnie Larson Ms. Deborah Miesel Shari & Craig Morgan The Polk Family PVS Chemicals, Inc. Bernard & Eleanor Robertson Stephen M. Ross Mrs. Richard C. Van Dusen

Mr. & Mrs. Lee Barthel Marvin & Betty Danto Family Foundation Herman & Sharon Frankel Ruth & Al Glancy Bud & Nancy Liebler Richard & Jane Manoogian Foundation

David & Valerie McCammon Mr. & Mrs. Eugene A. Miller Dr. William F. Pickard Jack † & Aviva Robinson Mr. & Mrs. Alan E. Schwartz

NOTABLE PROJECT SUPPORT The Detroit Symphony Orchestra acknowledges the following partners for their support of exceptional projects, partnerships, and performances that boldly advance the DSO’s mission to be a leader in the world of classical music.

Through the support of Penny and Harold Blumenstein, the DSO offered a special $1 ticket price for Detroit school children to attend our Educational Concert Series, increasing access for students and classrooms based in Detroit. Nearly 3,500 students participated in two packed performances of Musical Heroes in November.

The DSO and the Ford Motor Company Fund are bringing the talent and creativity of our worldclass musicians directly to Detroit residents through DSO on the Go, a series of ten free chamber music performances at a variety of venues and neighborhoods throughout the city, ensuring increased accessibility to classical music in our community.

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Michigan Council of Arts and Cultural Affairs and DeRoy Testamentary Foundation have approved funding for capital improvement projects in Orchestra Hall, including necessary renovations to the ceiling and interior walls of the building, repairing damage sustained over the years and maintaining the integrity of this nationally designated historic site.

Our Next Gen Committee’s signature event, Mysterium, featured DSO musicians performing in three unique settings thanks to the generosity of City Living Detroit, Chemical Bank, Clark Hill, Dickinson Wright, Mark & Diana Domin, Jim & Margo Farber, Russell Flats, and Warner Norcross & Judd.

DSO PERFORMANCE MAGA ZINE

† Deceased

First Chairman Emeritus Al Glancy and Mrs. Ruth Roby Glancy made it possible for the DSO to undertake essential restoration work on the stage floor of Orchestra Hall, including specialized testing to ensure preservation of the acoustical properties of the Hall.

Supported by the Alfred R. Glancy III Capital and Technology Reserve Fund, this extensive project included sanding and refinishing of the floor and replacement of damaged sections with custom milled Michigan maple.

MOZART FESTIVAL 2016-2017

TRIBUTE GIFTS Gifts received September 1, 2016 to November 30, 2016 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 Julius S. Barr and Gladys R. Barr Susan and Benson Barr

In Honor of Mark Davidoff Eugene and Marcia Applebaum Barbara Frankel and Ronald Michalak

In Memory of Ruth Belknap Judith Belknap

In Honor of Professor Todd Estes Adult Learning Institute

In Honor of Bill Berman Joanne Danto and Arnold Weingarden

In Honor of Kay Fife Mark and Sue Pinney

In Honor of Penny and Harold Blumenstein Arthur and Beverly Liss

In Memory of Marjorie S. Fisher Sarah Deson Jeremy and Elizabeth Modell Lila Silverman

In Honor of John and Marlene Boll Robert and Deborah Graziani Mary Wilson In Honor of Hillary Clinton Fred and Monica Kneisler In Honor of Peter and Julie Cummings Avern and Lois Cohn

In Memory of Dr. Melanie Bompiani Gramzow Rowena DeMio In Memory of Dorothy Ketai Barbara Frankel and Ronald Michalak In Honor of David LeDoux Jerry and Virginia LeDoux In Memory of Kim Khong Lie, M.D. John and Carole Dolan

In Honor of Ginny Lundquist Makram and Jane Talia In Honor of Kari Nelson Andrew Kurmas In Memory of Samuel J. Nelson Christine Gross Lucinda Lagasse In Honor of Jim Nicholson Barbara Frankel and Ronald Michalak Doreen Hermelin In Memory of Lois Joy Ryan Pamela Kaufmann In Honor of Judy Sarns Jennifer Hobbs In Memory of Nancy S. Williams Sharon Backstrom In Honor of Clyde and Helen Wu Malcom and Cynthia MacDonald

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The Detroit Symphony Orchestra (DSO) is proud to spotlight General Motors (GM) for its extraordinary history of support that has brought world-class orchestral music to Detroit. With nearly $13,000,000 in cumulative giving since 1978, General second Motors is committed to building strong communities and fueling the renaissance of our great city in partnership with the DSO. GM’s investment in education and community development demonstrates that a thriving and vibrant community is essential to good business. Their generous friendship is diverse, with support ranging from annual operations, special events, and most distinctly – touring. Since 1989, GM has sponsored orchestra tours to Europe, New York, Florida, enabling the DSO to showcase our formidable talent secondary - for use on dark backgrou and indefatigable spirit to a worldwide audience. The DSO’s mission to embrace and inspire individuals, families, and communities through unsurpassed musical 2014 GM Design experiences would not possible without GM’s tremendous commitment to our Corporate ID & Graphics region.

We are honored to partner with General Motors again this season and extend our sincerest admiration as we work toward another season of unforgettable music making with their support. dso.org

DSO PERFORMANCE MAGA ZINE 65

administrative staff EXECUTIVE OFFICE

LIVE FROM ORCHESTRA HALL

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

Marc Geelhoed Director of Digital Initiatives

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 Caitlin Bush Advancement Relations Associate

OFFICE OF THE GENERAL MANAGER

ORCHESTRA OPERATIONS Kathryn Ginsburg Orchestra Manager Heather Hart Rochon Orchestra Personnel Manager Dennis Rottell Stage Manager Leslie Karr Executive Assistant to the Music Director Patrick Peterson Associate Orchestra Personnel Manager

ARTISTIC PLANNING

ADVANCEMENT & EXTERNAL RELATIONS

Jessica Ruiz Manager of Artistic Planning

ADVANCEMENT SERVICES

Christopher Harrington Managing Director of Paradise Jazz Series Managing Director & Curator of @ The Max

Bree Kneisler Advancement Services and Prospect Research Manager Will Broner Advancement Services Coordinator

Katherine Curatolo Artistic Coordinator

Richard Kryszko Advancement Services Coordinator

Clare Valenti Popular & Special Programming Coordinator

COMMUNICATIONS

COMMUNITY AND LEARNING Caen Thomason-Redus Director of Community and Learning Leah Celebi Manager of Education Brian Frazee Manager of Community Engagement Nelson Rodriguez Parada General Manager of Training Ensembles Nathaniel Bean Education Coordinator Christina Biddle Community Engagement Coordinator

66

Matthew Carlson Director of Communications and Media Relations

Morgan Graby Governing Members and Volunteer Relations Officer Juanda Pack Advancement Benefits Coordinator INSTITUTIONAL GIVING Danielle Manley Director of Advancement for Institutional Giving Chelsea Kotula Gift Officer for Institutional Giving Marah Casey Advancement Officer Jacqueline Garner Advancement Coordinator ONEDSO CAMPAIGN Julie Byczynski oneDSO Campaign Director

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

Teresa Alden Digital Communications Manager

Crystal King

Ben Breuninger Public Relations Coordinator

Daniel Speights Maintenance Technician

INDIVIDUAL GIVING

Greg Schimizzi Chief of Security

Cassie Brenske Director of Advancement for Individual Giving Dan Coleman Governing Members Gift Officer and Assistant Director of Planned Giving

DSO PERFORMANCE MAGA ZINE

Edward John Assistant Chief of Security Melvin Dismukes Security Officer Norris Jackson Security Officer

MOZART FESTIVAL 2016-2017

AND DON’T MISS THESE EXCITING CONCERTS! Ronald Martin Security Officer Johnnie Scott Security Officer

FINANCE Jeremiah Hess Senior Director of Accounting & Finance Sandra Mazza Senior Accountant Dawn Kronell Senior Accountant

Sharon Gardner Carr Assistant Manager of Tessitura and Ticketing Operations

Steven Fronrath Audience Development Coordinator LaHeidra Marshall Audience Development Associate CATERING AND RETAIL SERVICES

Karen McCombs Accounting Specialist

Christina Williams Director of Catering and Retail Services

Brenda Gabor Payroll and Benefits Accountant

Kyle Hanley Executive Chef

INFORMATION TECHNOLOGY Jody Harper Director of Information Technology Ra’Jon Taylor Help Desk Administrator

Nate Richter Bar Manager Stacey Karl Retail Manager

HUMAN RESOURCES

Ashley Powers Event Sales Representative

Denise Ousley Human Resources Director

PATRON SALES AND SERVICE

AUDIENCE DEVELOPMENT Michael Frisco Director of Audience Development Margaret Cassetto Front of House Manager

dso.org

TUE., FEB. 14 AT 7:30 P.M. Constantine Kitsopoulos, conductor Celebrate Valentine’s Day with your special someone and the Detroit Symphony for a special screening of Casablanca, with Max Steiner’s Oscarnominated score played live by your Detroit Symphony Orchestra!

Catherine Deep Manager of Events and Rentals Connie Campbell Manager of Event Sales and Administration

Nicki Inman Senior Director of Patron Development and Engagement

CASABLANCA

EVENTS AND RENTALS

Michelle Koning Web Manager

PATRON DEVELOPMENT & ENGAGEMENT

PRESENTS

Annick Busch Patron Loyalty Coordinator

Molly Fidler Manager, Patron Sales & Service Michelle Marshall Assistant Manager, Patron Sales & Service Ashley Handy Lead Ticketing Specialist William Dawkins Lead Ticketing Specialist

A DSO MARDI GRAS THE HOT SARDINES

TUES. FEB. 28 AT 7:30 P.M. Make plans to celebrate Fat Tuesday with the DSO joined by special guests, The Hot Sardines! Known for their electrifying performances of vintage classics and impeccable style, the acclaimed ensemble channels the spirit of New Orleans music halls.

DSO.ORG 313.576.5111 DSO PERFORMANCE MAGA ZINE 67

UPCOMING CONCERTS & EVENTS

DSO PRESENTS

CHINESE NEW YEAR CELEBRATION

WU FAMILY ACADEMY EDUCATIONAL CONCERT SERIES

SHAANXI PROVINCE SONG AND DANCE THEATRE NATIONAL ORCHESTRA Mon, Jan. 30, 2017 at 7:30 p.m.*

HOSTED PARTNERSHIPS

DETROIT PUBLIC THEATRE THE HOLLER SESSIONS

By Frank Boyd • Feb. 1– Feb. 26* Visit DetroitPublicTheatre.org

DSO PRESENTS

CASABLANCA Tue., Feb. 14 at 7:30 p.m.

Constantine Kitsopoulos, conductor

CLASSICAL SERIES

MUSIC THROUGH THE AGES Wed., Feb. 22 at 10:30 & 11:45 a.m.* Thu., Feb. 23 at 10:30 a.m. *

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES

MENDELSSOHN’S “ITALIAN” SYMPHONY Elim Chan, conductor Michael Ma, bassoon

Thu., Feb. 23 at 7:30 p.m. in West Bloomfield Fri., Feb. 24 at 8 p.m. in Plymouth Sat., Feb. 25 at 8 p.m. in Bloomfield Hills Sun., Feb. 26 at 3 p.m. in Grosse Pointe

POPS SERIES

A NIGHT AT THE ACADEMY AWARDS

GERSHWIN RARITIES!

Lawrence Loh, conductor Oakland University Chorus

Fri., Feb. 17 at 10:45 a.m.

Sat., Feb. 18 at 8 p.m.

Fri., Feb. 24 at 10:45 a.m. & 8 p.m.

Sat., Feb. 25 at 8 p.m.

Sun., Feb. 26 at 3 p.m.

Michelle Merrill, conductor Sara Davis Buechner, piano

PARADISE JAZZ SERIES DOUBLE BILL

JOE LOVANO AND BRIAN BLADE

DSO PRESENTS

A DSO MARDI GRAS

THE HOT SARDINES Michelle Merrill, conductor

Fri., Feb. 17 at 8 p.m.*

Tues. Feb. 28, 2017 at 7:30 p.m.

WU FAMILY ACADEMY

CLASSICAL SERIES

CIVIC YOUTH ENSEMBLES FAMILY EXPERIENCE

CLASSICAL ROOTS

HOSTED PARTNERSHIPS

Kazem Abdullah, conductor Regina Carter, violin Christine Lamprea, cello The Brazeal Dennard Chorale

Mon., Feb. 20 at 7:30 p.m.*

Fri., Mar. 3 at 10:45 a.m.

Fri., Mar. 3 at 8 p.m.

Sun., Feb. 19 at 2 p.m.*

WSU MONDAYS AT THE MAX 68

DSO PERFORMANCE MAGA ZINE

Live from Orchestra Hall

MOZART FESTIVAL 2016-2017

TICKETS & INFO

313 . 5 7 6 . 5111 dso.org

WU FAMILY ACADEMY

POPS SERIES

Detroit Symphony Youth Orchestra Detroit Symphony Youth Wind Ensemble

Jeff Tyzik, conductor

SHOWCASE

UNDER THE STREETLAMP

Sun., Mar. 5 at 2 p.m.*

Wed., Mar. 29 at 7:30 p.m.

POPS SERIES

HOSTED PARTNERSHIPS

CIRQUE DE LA SYMPHONIE

Mon., Mar. 6 at 7:30 p.m.*

Fr i., Mar. 31 at 10:45 a.m. & 8 p.m.

Sat., Apr. 1 at 8 p.m.

Sun., Apr. 2 at 3 p.m.

WSU MONDAYS AT THE MAX WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES

ˇÁK’S “NEW WORLD” DVOR SYMPHONY Manuel López-Gómez, conductor Yoonshin Song, violin

Thu., Mar. 16 at 7:30 p.m. in Southfield Fri., Mar. 17 at 8 p.m. in Clinton Twp. Sun., Mar. 19 at 3 p.m. in Beverly Hills

CLASSICAL SERIES

BRANFORD MARSALIS

Andrey Boreyko, conductor Branford Marsalis, alto saxophone Fri., Mar. 24 at 10:45 a.m.

Sat., Mar. 25 at 8 p.m.

& 8 p.m.

TINY TOTS CONCERTS

EARTH DAY IS EVERY DAY!

Sat., Mar. 25 at 10 a.m. in The Cube*

YOUNG PEOPLE’S FAMILY CONCERTS

TCHAIKOVSKY DISCOVERS AMERICA

CLASSICAL KIDS LIVE! Sat., Mar. 25 at 11 a.m.

Michelle Merrill, conductor

dso.org

Jeff Tyzik, conductor

WU FAMILY ACADEMY

CIVIC JAZZ ORCHESTRA Fri., Apr. 7 at 6:30 p.m. in The Cube*

$15 or free with Paradise Jazz Series ticket

PARADISE JAZZ SERIES

JAMES CARTER ORGAN TRIO Fri., Apr. 7 at 8 p.m.*

CLASSICAL SERIES

GUITAR GENIUS SHARON ISBIN Leonard Slatkin, conductor Sharon Isbin, guitar Thu., Apr. 6 at 7:30 p.m.

Sat., Apr. 8 at 8 p.m.

Sun., Apr. 9 at 3 p.m.

HOSTED PARTNERSHIPS

WSU MONDAYS AT THE MAX Mon., Apr. 10 at 7:30 p.m.* Mon., Apr. 17 at 7:30 p.m.*

CLASSICAL SERIES

SYMPHONIC JAZZ

Leonard Slatkin, conductor Michel Camilo, piano Fri., Apr. 21 at 10:45 a.m.

Sat., Apr. 22 at 8 p.m.

*The DSO does not appear on this performance

DSO PERFORMANCE MAGA ZINE 69

Thanks to thousands of generous individuals, families and Thanks tothe thousands of generous individuals, families and businesses, Community Foundation for Southeast Michigan the Community Foundation for dedicated Southeast to Michigan isbusinesses, a permanent source of community creating Thanks to thousands of generouscapital, individuals, families and is a lasting permanent source of community capital, dedicated to creating positive benefit in our region. Through grantmaking, businesses, the Community Foundation for Southeast Michigan lasting positive benefit in region. Through grantmaking, and source leadership onour community issues, we help iseducation a permanent of community capital, dedicated toimprove creating education and leadership on community issues, we help improve the quality of life for all residents of Southeast Michigan. lasting positive benefit in our region. Through grantmaking, the quality of life for all residents of Southeast Michigan. education and leadership on community issues, we help improve cfsem.org | 1-888-WeEndow the quality of life for all residents of Southeast Michigan. cfsem.org | 1-888-WeEndow

cfsem.org | 1-888-WeEndow

WE’VE BEEN PATRONS OF THE LOCAL ARTS SCENE FOR YEARS. NEARLY 150 OF THEM. We’re extremely proud to sponsor Detroit Symphony Orchestra. Your creativity and passion inspire all of us to try to shine as brightly as you. From all your fans at Huntington Bank, thank you.

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