DSO Performance winter 2014 by Echo Publications, Inc.

VOL. XXII • 2013-2014 SEASON

WINTER 2014

PERFORMANCE THE MAGAZINE OF THE DETROIT SYMPHONY ORCHESTRA

Made possible by generous support from

Working with donors, corporations and nonprofits throughout the region to create lasting change. cfsem.org

Contents PERFORMANCE Volume XXII / Winter 2014 2013–14 Season

Editor Gabrielle Poshadlo gposhadlo@dso.org 313.576.5194

Departments

4 Directors, Trustees and Volunteer Council 5 Governing Members

DSO Box Office: 313.576.5111 Box Office Fax: 313.576.5101 DSO Group Sales: 313.576.5130 Rental Info: 313.576.5050 Email: info@dso.org

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

6 Orchestra Roster 8 News & Notes 29 General Information/Staff

DSO Administrative Offices Max M. Fisher Music Center 3711 Woodward Ave. Detroit, MI 48201 Phone: 313.576.5100 Fax: 313.576.5101

Concerts

30 Education News

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

31 Donor Roster

Features

10 DSO Flies South this Winter

Web site: dso.org Subscribe to our e-newsletter via our website to receive updates and special offers. Performance is published by the DSO and Echo Publications, Inc. u Echo Publications, Inc. 248.582.9690 echopublications.com Tom Putters, president tom@echopublications.com Toby Faber, advertising director To advertise in Performance, call 248.582.9690 or email info@echopublications.com Performance magazine online: dsoperformance.com u To report an emergency during a concert, call 313.576.5111. To make special arrangements to receive emergency phone calls during a concert, ask for the house manager. It is the policy of the Detroit Symphony Orchestra that concerts, activities and services are offered without regard to race, color, religion, national origin, handicap, age or gender. The DSO is an Equal Opportunity Employer. Activities of the DSO are made possible in part with the support of the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs.

SUPPORTING THE ARTS Honigman is proud to support the DSO, one of our community’s outstanding cultural institutions. We applaud our many colleagues’ current service as Directors and Trustees, and as Gabrilowitsch Society, Governing Members and “Next Gen” leaders. In particular, we honor our founding partner Alan E. Schwartz for his more than fifty years of service on the DSO board.

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

WWW.HONIGMAN.COM

DSO.ORG

Cover photo by Donald Dietz

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Detroit Symphony Orchestra, Inc. LIFETIME DIRECTORS

Samuel Frankel†

David Handleman, Sr.†

Dr. Arthur L. Johnson†

Clyde Wu, M.D.

DIRECTORS AND TRUSTEES

The Board of Directors is responsible for maintaining a culture of high engagement, accountability and strategic thinking. As fiduciaries, the Board oversees all DSO financial activities and assures that resources are aligned with the DSO mission while monitoring and sustaining progress in the cultivation and solicitation of additional support. The Board of Trustees is tasked with shepherding the long-term strategy of the DSO to fully implement the organization’s entrepreneurial capabilities, while engaging in an ongoing, generative dialogue resulting in the development and presentation of new strategies and objectives.

OFFICERS

Phillip Wm. Fisher, Chairman Mark A. Davidoff, Vice Chair, Financial Operations and Sustainability

Michael J. Keegan, Vice Chair, Strategy and Innovation

Glenda D. Price, Ph. D., Secretary

Chacona W. Johnson, Vice Chair, Patron and Community Engagement

Bruce D. Peterson, Vice Chair, Governance and Human Resources

Arthur Weiss, Treasurer Anne Parsons, President & CEO

EMERITUS DIRECTORS

Robert A. Allesee Floy Barthel Mrs. Mandell L. Berman John A. Boll, Sr. Richard A. Brodie

Lois and Avern Cohn Marianne Endicott Mrs. Harold Frank Barbara Frankel Paul Ganson

Mort and Brigitte Harris Gloria Heppner, Ph.D. Hon. Damon J. Keith Richard P. Kughn Harold Kulish

Robert H. Bluestein Gary L. Cowger Peter D. Cummings, Chairman Emeritus Maureen T. D’Avanzo Richard L. DeVore Samuel Fogleman Sidney Forbes Herman Frankel Stanley Frankel, Chairman Emeritus

Ralph J. Gerson Alfred R. Glancy III, Chairman Emeritus Herman B. Gray, M.D. Shelley Heron, Orchestra Representative Nicholas Hood, III Ronald M. Horwitz William P. Kingsley Bonnie Larson

Steve Miller, Chairman Emeritus Robert E.L. Perkins, DDS Marilyn Pincus Jack Robinson

BOARD OF DIRECTORS Melvin A. Lester, M.D. Laurence Liberson, Orchestra Representative Arthur C. Liebler Laura Marcero Xavier Mosquet Joe Mullany David Robert Nelson Faye Alexander Nelson James B. Nicholson, Chairman Emeritus

Arthur T. O’Reilly, Chairman, Governing Members Stephen Polk Lloyd E. Reuss Bernard I. Robertson Marjorie S. Saulson Deborah Savoie, Volunteer Council President Lois L. Shaevsky Wei Shen

Alan E. Schwartz Jean Shapero

David Sherbin Stephen Strome Ann Marie Uetz Janice Uhlig David Usher Barbara Van Dusen Ted Wagner Hon. Kurtis T. Wilder Clyde Wu, M.D.

BOARD OF TRUSTEES Ismael Ahmed Rosette Ajluni Devon Akmon Dan Angelucci Janet M. Ankers Penny B. Blumenstein Liz Boone Andrew Camden Joanne Danto Stephen D’Arcy Karen Davidson

Linda Dresner Eugene Driker Norah Duncan Afa Dworkin J. Mikel Ellcessor Mike Fezzey Jennifer Fischer Sven O. Gierlinger Allan D. Gilmour Malik Goodwin Carol Goss

Michael J. Keegan, Chairman Deirdre Greene Groves Ric Huttenlocher Sharad P. Jain Renee Janovsky Joey Jonna Joel D. Kellman Ingrid LaFleur Matthew Lester Jack Liang Virginia Lundquist Florine Mark

David McCammon Kurt Metzger Edward K. Miller Lois A. Miller James C. Mitchell, Jr. Sue Mosey Kathleen Mullins Sean M. Neall Tom O’Brien Maury Okun William F. Pickard

Rick Robinson Jane Sherman Mark Tapper Michael R. Tyson Corbin Wagner Dana Warg Gwen Weiner Jennifer Whitteaker R. Jamison Williams Margaret Winters

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, 2012 through December 1, 2013. For more information about the Governing Members program, please call Cassie Brenske, Governing Members Gift Officer, at 313.576.5460.

OFFICERS

Arthur T. O’Reilly Chairman

Jan Bernick Vice Chair, Philanthropy

Maureen T. D’Avanzo Vice Chair, Membership

James C. Farber Vice Chair, Outreach

Bonnie Larson Vice Chair, Engagement

Frederick J. Morsches Vice Chair, Communications

Ken Thompkins Musician Liaison

Caroline Coade Musician Liaison

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DSO.ORG

Mr. and Mrs. Richard Alonzo Mr. and Mrs. Richard L. Alonzo Dr. Lourdes Andaya Mr. and Mrs. Eugene Applebaum Dr. and Mrs. Ali-Reza R. Armin Mr. and Mrs. Robert Armstrong Mr. David Assemany and Mr. Jeffery Zook Mr. and Mrs. John Axe Ms. Ruth Baidas Mr. John Barbes Mr. and Mrs. Guy Barron Mr. J. Addison Bartush Mr. David Basler Mr. and Mrs. Martin S. Baum Mrs. Mary Beattie Ms. Margaret Beck Mr. Chuck Becker Ms. Cecilia Benner Mrs. Harriet Berg Dr. John and Janice Bernick Mrs. Anne Bielawski Mr. and Mrs. Joseph A. Bloch Mr. and Mrs. Lawrence Bluth Ms. Jane Bolender Mr. and Mrs. Jim Bonahoom Ms. Nadia Boreiko Dr. and Mrs. Rudrick E. Boucher Mr. and Mrs. Richard Bowlby Mr. Anthony F. Brinkman Mr. Scott A. Brooks Mr. and Mrs. Robert N. Brown Mr. and Mrs. Mark R. Buchanan Michael & Geraldine Buckles Mr. H. Burdett Dr. Carol S. Chadwick and Mr. H. Taylor Burleson Philip and Carol Campbell Dr. and Mrs. Thomas E. Carson Mr. Daniel E. Clancy and Mr. Jack Perlmutter Mr & Mrs. Fredrick and Gloria Clark Hon. and Mrs. Avern Cohn Mr. Richard Cole Dr. and Mrs. Charles G. Colombo Mrs. RoseAnn Comstock Mr. and Mrs. Thomas W. Cook Dr. and Mrs. Ivan L. Cotman Mr. Gary Cone and Ms. Aimée Cowher Mr. and Mrs. Raymond M. Cracchiolo Mr. and Mrs. Thomas Cragg Ms. Suzanne Dalton† Clyde Foltyn Mr. Christopher Danato Dr. Joseph Daniel and Mr. Alfredo Silvestre Mr. Colin & Melanie Darke Ms. Barbara A. David Ms. Barbara Davidson Mr. and Mrs. Walter K. Dean Mrs. Beck Demery Mr. Kevin S. Dennis and Mr. Jeremy J. Zeltzer Ms. Leslie Devereaux Mr. and Mrs. Walter L. Dissett Mr. and Mrs. Mark Domin Ms. Judith Doyle Mr. and Mrs. Eugene Driker Mr. and Mrs. Paul E. Dufault

GOVERNING MEMBERS CONTINUED

Mr. and Mrs. Robert Dunn Mr. Roger Dye and Ms. Jeanne A. Bakale Mrs. Irene Dzialak Dr. and Mrs. Leopold Eisenberg Dr. and Mrs. A. Bradley Eisenbrey Ms. Jennifer Engle Mr. and Mrs. John M. Erb Mr. and Mrs. Paul E. Ewing Mr. and Mrs. James C. Farber Mr. David Faulkner Mr. and Mrs. Oscar Feldman Mrs. Kay Fife Mr. Ronald Fischer and Ms. Kyoko Kashiwagi Mr. and Mrs. Alfred J. Fisher III Mrs. Marjorie S. Fisher Mr. and Mrs. Steven J. Fishman Mr. David Fleitz Mrs. Anne Ford Dr. and Mrs. Saul Z. Forman Mr. and Mrs. Bruce H. Frankel Mr. and Mrs. Stuart Frankel Mr. and Mrs. Daniel E. FrohardtLane Mr. and Mrs. Bharat C. Gandhi Mr. and Mrs. Eugene A. Gargaro, Jr. Mr. and Mrs. Byron Gerson Mrs. Victor Girolami Dr. and Mrs. Kenneth W. Gitlin Dr. and Mrs. Theodore Golden Dr. Robert T. Goldman Mr. Nathaniel Good Dr. Allen Goodman and Dr. Janet Hankin Mr. and Mrs. Mark Goodman Mr. and Mrs. Robert Gorlin Mr. Jason Gourley and Mrs. Rebekah Page-Gourley Mr. and Mrs. James A. Green Dr. and Mrs. Steven Grekin Mr. Jeffrey Groehn Ms. Janet Groening-Marsh Mr. and Mrs. James Grosfeld Dr. and Mrs. Edward E. Hagenlocker Mrs. Alice Haidostian Dr. Algea Hale Mr. and Mrs. Kenneth R. Hale Mr. and Mrs. Tim Haller Mr. and Ms. Robert Hamel Dr. Anthony Hammer Mr. Lorne Hanley Mr. and Mrs. Randall Harbour Angela M. Detlor and Scott I. Harrison Mr. Lee V. Hart & Mr. Charles L. Dunlap Ms. Cheryl Harvey Dr. and Mrs. Gerhardt Hein Mr. and Mrs. Demar W. Helzer Ms. Nancy Henk Mrs. Doreen Hermelin Mr. Eric J. Hespenheide and Ms. Judith Hicks Mr. and Mrs. Norman H. Hofley Lauri and Paul Hogle Dr. Jean Holland Mr. and Dr. David B. Holtzman Mr. and Mrs. Jack Hommes Mr. Matthew Howell and Mrs. Julie Wagner

Mr. F. R. Hozian Mr. Joseph L. Hudson Jr and Mrs. Jean Wright Mr. and Mrs. Huebner Mr. and Mrs. Richard Huttenlocher Mr. and Mrs. Addison E. Igleheart Mr. and Mrs. Ira J. Jaffe Mr. and Mrs. Richard J. Jessup Mr. and Mrs. John S. Johns Mr. George Johnson Mr. and Mrs. Lenard Johnston Mrs. Ellen D. Kahn Mr. and Mrs. Austin A. Kanter Ann & Norm Katz Mrs. Cis Maisel and Mr. Martin Kellman Bernard & Nina Kent Ms. Nancy Keppelman and Mr. Michael Smerza Mr. and Mrs. Patrick J. Kerzic Dr. and Mrs. David Kessel Mr. and Mrs. Frederick Keywell Mr. Mark Kilbourn and Ms. Carol A. Friend Mrs. Frances King Mr. and Mrs. Thomas I. Klein Mr. and Mrs. Thomas N. Klimko Ms. Rozanne Kokko Dr. and Mrs. Harry N. Kotsis Mr. and Mrs. Robert C. Kotz Mr. Julius Kusey Drs. Raymond V. Landes and Melissa McBrien Mr. James Landis Drs. Scott and Lisa Langenburg Ms. Sandra S. Lapadot Ms. Anne Larin Mr. and Mrs. Paul N. Lavins Mr. David Lebenbom Mr. and Dr. Michael Lebenbom Mr. and Mrs. Lentz Mr. Allan Leonard Mr. Max Lepler and Mr. Rex L. Dotson Mr. and Mrs. John D. Lewis Mrs. Melissa Liberty Mr. and Mrs. Robert Liggett Mr. and Mrs. Joseph Lile Mr. Gregory Liposky Mr. Dana M. Locniskar and Mrs. Christine Beck Mr. and Mrs. Harry A. Lomason II Dr. and Mrs. Charles Lucas Mr. Robert A. Lutz Mrs. Sandra MacLeod Dr. and Mrs. Donald MacQueen David S. Maquera, Esq. Dr. Margaret Makulski Mr. and Mrs. Charles W. Manke, Jr. Mr. and Mrs. Mervyn H. Manning Mr. and Mrs. Patrick Mansfield Thomas Marganello Mr. and Mrs. Maurice Marshall Marvin and Betty Danto Family Foundation Dr. & Mrs. Peter M. McCann M.D. Ms. LeAnne McCorry Mr. and Mrs. Alonzo L. McDonald Mr. and Mrs. Alexander McKeen Mr. and Mrs. Patrick G. McKeever Mrs. Susanne O. McMillan Dr. and Mrs. Donald A. Meier

Dr. and Mrs. David Mendelson Mr. Roland Meulebrouck Mr. and Mrs. Thomas F. Meyer Mr. Louis Milgrom Mr. and Mrs. Bruce A. Miller Mr. and Mrs. John E. Miller Mr. Leonard Miller Mr. and Mrs. Robert S. Miller Drs. Robert G. Mobley and Mary T. Mobley Mr. and Dr. Stephen R. Molina Mrs. Sheila Mondry Mr. and Mrs. Craig R. Morgan Ms. Anne Moroun Ms. Florence Morris Mr. Frederick Morsches Mr. Cyril Moscow Drs. Stephen A. and Barbara H. Munk Mr. Bruce Murphy Mr. and Mrs. Allan Nachman Mr. and Mrs. Edward Narens Dr. Geoffrey S. Nathan and Dr. Margaret E. Winters Mr. and Mrs. Mark Neville Mr. and Mrs. James M. Nicholson Mr. and Mrs. Henry Nickol Mr. and Mrs. David E. Nims Mr. Arthur Nitzsche Mr. James A. Kelly and Ms. Mariam A. Noland Mr. Thomas Norris Mr. and Mrs. Stanley Nycek Mrs. Jo Elyn Nyman Mr. and Mrs. Joshua F. Opperer Mr. and Dr. David K. Page Mrs. Margot Parker Mr. and Mrs. Richard G. Partrich Dr. and Mrs. Claus Petermann Mr. Charles Peters Mr. and Mrs. Donald E. Petersen Mrs. Marilyn Pincus Mrs. Helen F. Pippin Mr. and Mrs. Jack Pokrzywa Ms. Judith Polk Mr. and Mrs. William Powers Mrs. Susan Priester Mr. and Mrs. Nicolas I. Quintana Ms. Michele Rambour Gary & Rhonda Ran Mr. Richard Rapson Drs. Stuart and Hilary Ratner Ruth Rattner Drs. Yaddanapudi Ravindranath and Kanta Bhambhani Dr. and Mrs. Redding Mr. and Mrs. Dave Redfield Dr. and Mrs. Claude Reitelman Ms. Denise Reske Ms. Barbara Gage Rex Dr. and Mrs. John Roberts Alan Rogalski Mrs. Ann C. Rohr Mrs. Laura Romine Mr. and Mrs. Norman H. Rosenfeld Mr. and Mrs. Robert B. Rosowski Mr. and Mrs. Hugh Ross Desmond & Patricia Rowan Mrs. Jane Russell Mrs. Lois Ryan Mr. and Mrs. Robert S. Sachs Dr. & Mrs. Mark Saffer

Dr. and Mrs. Hershel Sandberg Nazli Sater Mr. and Mrs. Carl and Ruth Schalm Mr. and Mrs. Alan S. Schwartz Mr. and Mrs. Kingsley G. Sears Mr. and Mrs. Secrest Mr. Merton J. Segal Mr. and Mrs. Michael B. Serling The Honorable Walter Shapero and Ms. Kathleen Straus Mr. Stephan Sharf Ms. Cynthia Shaw Mr. and Mrs. James H. Sherman Dr. and Mrs. Les Siegel Mr. and Mrs. Robert Siewert Mr. and Mrs. Donald R. Simon Mr. and Mrs. William Sirois Mr. and Mrs. Leonard W. Smith Mr. and Mrs. S. Kinnie Smith, Jr. Mr. William H. Smith Mr. John Solecki Mr. Richard A. Sonenklar and Mr. Gregory Haynes Mr. and Mrs. Richard Soulen Ms. Wanda and Ms. Eugenia Staszewski Dr. Gregory Stephens Professor Calvin Stevens Mr. and Mrs. Clinton F. Stimpson Mrs. Nancy Stocking Mr. and Mrs. Ray Stone Mr. and Mrs. John W. Stroh III Mr. David Szymborski and Ms. Marilyn Sicklesteel Ms. Dorothy Tarpinian Mr. and Mrs. Joel D. Tauber Mr. and Mrs. James W. Throop Mr. and Mrs. Paul Tomboulian Mr. and Mrs. Michael Torakis Mr. and Mrs. Stuart Trager Mr. and Mrs. L. W. Tucker Mr. and Mrs. Charles B. Van Dusen Mr. Robert VanWalleghem Mr. and Mrs. Vincent Ms. Phyllis Vroom Mr. and Mrs. William Waak Dr. and Mrs. Ronald W. Wadle Mr. and Mrs. Jonathan T. Walton Mrs. Ann Warren Mr. Gary L. Wasserman Mr. Patrick Webster Mr. and Mrs. Evan Weiner Mr. Herman Weinreich Mr. and Mrs. Lawrence Weisberg Ambassador and Mrs. Ronald N. Weiser Mr. and Mrs. William M. Wetsman Mr. and Mrs. John E. Whitecar Mr. and Mrs. Barry Williams Dr. Amy M. Horton and Dr. Kim Allan Williams Mrs. Beryl Winkelman Mr. and Mrs. Sheldon Winkelman Mr. and Mrs. Warren G. Wood Ms. June Kar Ming Wu Dr. and Mrs. Robert E. Wurtz Mrs. Judith G. Yaker Mr. and Dr. Kirk Yousif Mr. and Mrs. Alan Zekelman Mr. and Mrs. Paul M. Zlotoff Mr. and Mrs. Milton Y. Zussman

VOLUNTEER COUNCIL 2010-13

Deborah Savoie President Marlene Bihlmeyer Vice President for Youth Music Education Kelly Hayes Vice President for Membership

DSO.ORG

OFFICERS

Esther Lyons Vice President for Admin/ Office Services Virginia Lundquist Executive Vice President Debra Partrich Chief Financial Officer Karla Sherry Vice President for Special Events

E. Jane Tahlia Vice President for Neighborhood/Residency Ambassador Ellie Tholen Vice President for Public Relations Julie Zussmans Recording Secretary

BOARD OF DIRECTORS

Mark Abbott Musician Liaison Mary Beattie Gwen Bowlby Laura Fogleman Chelsea Kotula Staff Liaison Sandie Knollenberg Lori Knollenberg Magda Moss

Todd Peplinski Delores Reese Marcus Schoon Musician Liaison Eleanor Siewert Ex-Officio (Parliamentarian) Emily Tennyson Jamie Thomas Charlotte Worthen

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

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

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 Beatriz Budinsky *

Marguerite Deslippe *

Laurie Landers Goldman * Rachel Harding Klaus * Eun Park *

Adrienne Rönmark * Laura Soto *

Greg Staples *

Jiamin Wang *

Second Violin

Adam Stepniewski Acting Principal The Devereaux Family Chair Ron Fischer *

Sheryl Hwangbo * Hong-Yi Mo * Bruce Smith *

Joseph Striplin * Marian Tanau * Jing Zhang *

Robert Murphy * ~

Viola

James VanValkenburg Acting Principal Julie and Ed Levy, Jr. Chair Caroline Coade Acting Assistant Principal

Shanda Lowery-Sachs Hart Hollman Han Zheng

Catherine Compton

Alexander Mishnaevski Principal Emeritus

Cello

Dahae Kim Assistant Principal Dorothy and Herbert Graebner Chair

Horn

Timpani

Oboe

Bryan Kennedy

Librarians

Jeffery Zook

Donald Baker Principal Jack A. and Aviva Robinson Chair Shelley Heron Maggie Miller Chair

Brian Ventura Assistant Principal

Robert Bergman *

Monica Fosnaugh

Peter McCaffrey *

English Horn

Úna O’Riordan *

David LeDoux * Haden McKay *

Monica Fosnaugh

Paul Wingert * Victor and Gale Girolami Chair

Clarinet

Robert deMaine ^ Principal James C. Gordon Chair

Bass

Stephen Molina Acting Principal Van Dusen Family Chair Linton Bodwin

Stephen Edwards

Theodore Oien Principal Robert B. Semple Chair PVS Chemicals, Inc./ Jim and Ann Nicholson Chair (open)

Laurence Liberson Assistant Principal Shannon Orme

E-Flat Clarinet

Larry Hutchinson

Laurence Liberson

Bass Clarinet

Craig Rifel

Karl Pituch Principal

Johanna Yarbrough

David Everson Assistant Principal Mark Abbott Trumpet

Hunter Eberly Principal Lee and Floy Barthel Chair Stephen Anderson Assistant Principal Kevin Good

William Lucas Trombone

Kenneth Thompkins Principal

Nathaniel Gurin Assistant Principal Randall Hawes

Bass Trombone Randall Hawes Tuba

Dennis Nulty Principal

Percussion

Harp

Shannon Orme Barbara Frankel and Ronald Michalak Chair

Joseph Becker Principal Ruth Roby and Alfred R. Glancy III Chair

Bassoon

William Cody Knicely Chair (open)

Patricia Masri-Fletcher Principal Winifred E. Polk Chair Flute

David Buck Principal Women’s Association for the DSO Chair

Sharon Sparrow Acting Assistant Principal Jeffery Zook

Hang Su

Glenn Mellow

Piccolo

Robert Williams Principal

open

Robert Stiles Principal

Ethan Allen

Personnel Managers

Stephen Molina Orchestra Personnel Manager Heather Hart Rochon Assistant Orchestra Personnel Manager Assistant Conductor Teddy Abrams

Stage Personnel Frank Bonucci Stage Manager

Steven Kemp Department Head Matthew Pons Department Head

Michael Sarkissian Department Head Legend

^ Extended Leave

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

§ African-American Orchestra Fellow ~ On Sabbatical

Victoria King

Michael Ke Ma Assistant Principal Marcus Schoon

Garrett McQueen § Contrabassoon Marcus Schoon

Musician bios, photos and more can be found at dso.org/orchestra

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DSO.ORG

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Welcome Message

News & Notes Stream the Symphony!

Dear Friends, Here at the DSO we never stop imagining new and innovative ways to reach our neighbors and audience members. It’s an undeniable fact that this institution could not exist without the generous outpouring of support from you, our loyal patrons. With this in mind, giving back to the same community that keeps this building full of music is a cornerstone value of ours. We are honored to be called a community-supported orchestra, yet it is our strong desire to be known as a community-supporting orchestra. This fall, musicians, staff, and leaders were invited to gather for the first Annual DSO Day of Service. Volunteers were deployed to the Detroit Medical Center Children’s Hospital, Children’s Center Head Start Academy and a Midtown Detroit Community Garden to spend an afternoon making a positive impact on our environment and the lives of others. I’m sure everyone who participated will agree that a few hours of reading to children or shoveling mulch with the skyline as a backdrop only reminds us of how much good work there is to be done in our communities. We look forward to many more opportunities to serve others, and by doing so, become more acquainted with the great organizations that are working to make Detroit a better and more beautiful place to live. On page 10, you’ll read about another way we’re sharing the DSO’s music. Thanks to generous support from the General Motors Foundation, the Orchestra will again tour South Florida this February, where our World Class musicians will delight audiences in Miami, Naples, Sarasota, Vero Beach, and West Palm Beach. Just like our appearances at Carnegie Hall last May, the DSO’s energy in Florida will go beyond the traditional concert format with community outreach activities. We encourage you to join us in Florida this winter. Also, please keep a close eye on our Tumblr page, where we’ll be posting photos and anecdotes from the road. May your winter be warmed by beautiful music,

Phillip Wm. Fisher Chairman 8

Anne Parsons President and CEO

PERFORM ANCE / VOL . X XII / WINTER 201 4

Look around, do you see cameras? You could be part of a Live From Orchestra Hall webcast. Watch a DSO concert from literally anywhere by logging on to dso.org/live or tapping your DSO to Go mobile app to view the performance and pre-show hosted by Alex Trajano, as well as a full schedule of this season’s episodes. Live from Orchestra Hall is presented by the Ford Motor Company and made possible by the John S. and James L. Knight Foundation. Upcoming webcasts Mozart & Mendelssohn.................................. Friday, Dec. 13 at 10:45 a.m. Hilary Hahn....................................................... Friday, Jan. 24 at 10:45 a.m. Carmina Burana............................................... Thursday, Jan. 30 at 7:30 p.m. Ravishing Rachmaninoff................................ Friday, Feb. 14 at 10:45 a.m. Divine Dvořák................................................... Saturday, Feb. 22 at 8 p.m. Sphinx................................................................. Sunday, Feb. 23 at 2 p.m. Classical Roots: Kathleen Battle................... Saturday, March 8 at 8 p.m.

Dine over Woodward at the Paradise Lounge Leave the drama of pre-concert dinner reservations behind! The DSO’s recently re-opened Paradise Lounge, open at intermission and two hours prior to each evening concert, has you covered. DSO Executive Chef Michael Polsinelli has designed a revolving menu to match the season, and at times, the evening’s repertoire. A full list of couture cocktails is also available, along with craft beer and wine. Trained in Le Cordon Bleu Culinary Arts, Chef Polsinelli takes his knowledge of classical French techniques to create his own spin on modern cuisine. The Paradise Lounge is located on the second floor of Orchestra Hall, overlooking Woodward Avenue. DSO.ORG

MEET THE MUSICIAN:

Craig Rifel

BASS

hile his colleagues in the orchestra are traveling about Southern Florida this winter in a tour bus, bassist Craig Rifel will be shuttling to concert venues on two wheels. The proud owner of a 2002 BMW R1150 RT, Rifel has been riding motorcycles since before it was legal for him to do so. “I kept my first bike hidden in a friend’s garage,” he said. “I’ve had a motorcycle ever since.” Rifel and Principal Viola Emeritus Sasha Mishnaevski rented a couple of Harley Davidsons during the DSO’s last tour of Florida in 2010, and even though they encountered a few issues, they intend to do the same come February. “We were riding the 125 miles from Sarasota to Orlando in unseasonably cold temperatures in the 30s when rain started to fall, and then the traffic on I-75 stopped,” he said. “I played the concert that night with hypothermia. I didn’t stop shaking until intermission.” Audience members paying close attention will notice Rifel, while a bassist with the DSO since 1980, plays different instruments onstage from time to time thanks to a diverse musical background. Among them are the electric bass, piano, organ, harpsichord and even the banjo, although just once on a European tour. Having studied piano beginning in Kindergarten, his father once took him to a Virgil Fox concert in Manhattan, after which he began taking organ lessons, and pursued an organ

performance minor at the University of Wisconsin in addition to a minor in cello performance and a major in Music Education—even though he auditioned on cello. In fact, Rifel had never touched a bass before his high school jazz band director asked him to try it instead of the cello he’d studied since fourth grade. It was only after touring during college (in powder blue tuxes no less) with a Top 40 band he formed with fellow college music majors that he decided classical music was for him. “I auditioned for the Double Bass instructor at the University of Wisconsin on my cello and asked him to take me on for a semester of probation,” he said. “That’s the most I practiced in my life.” After college, Rifel won a section bass position with the Florida Symphony Orchestra in Orlando. After winning the audition the Music Director informed him the entire bass section had quit, and that he was now Principal. Without holding auditions, Rifel filled the section on recommendations from his teacher, and led, as the oldest bass player at age 22, the section until moving to the Syracuse Symphony, and later Detroit. A year after joining the DSO, a cellist named Carole Gatwood, now Rifel’s wife, won a position in the cello section. “It was as close to love at first sight as I can imagine,” he said. “For her, it took a little more convincing.” They’ve been together ever since.

Classical Music with Dave Wagner and Chris Felcyn Weekdays 6 am -7 pm wrcjfm.org

RIFEL DSO.ORG

A listener supported service of Detroit Public Schools and Detroit Public TV.

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DSO Flies South this Winter By Gabrielle Poshadlo

Tuesday, February 25 at 8 p.m. KRAVIS CENTER, WEST PALM BEACH Leonard Slatkin, conductor Olga Kern, piano

GOULD Spirituals for Orchestra RA CHMANINOFF Rhapsody on a Theme of Paganini RAVEL Suite of Five Pieces from Mother Goose Pavane for a Dead Princess Boléro

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Wednesday, February 26 at 2 p.m. KRAVIS CENTER, WEST PALM BEACH Leonard Slatkin, conductor Olga Kern, piano

CO PLAND Three Latin-American Sketches PROKOFIEV Piano Concerto No. 1 TCHAIKOVSKY Symphony No. 5

Friday, February 28 at 8 p.m. ADRIENNE ARSHT CENTER, MIAMI Leonard Slatkin, conductor Olga Kern, piano

CO PLAND Three Latin-American Sketches RA CHMANINOFF Rhapsody on a Theme of Paganini BRAHMS Symphony No. 4

DSO.ORG

his February, for the third time in 12 months, the DSO is hitting the road. After dazzling audiences at two of New York City’s most famous stages at Carnegie Hall and Lincoln Center, six concerts across Southern Florida will bring the orchestra to the doorstep of DSO patrons wintering a bit closer to the equator. “Touring, domestic or otherwise, is an imperative part of sharing this orchestra’s art with a broad and diverse audience,” said Slatkin. “Thanks to the generosity of the GM Foundation, the DSO will be on the road for the third time in a year. We’re really looking forward to seeing our friends in Florida again.” The Orchestra, led by Music Director Leonard Slatkin, will perform with Van Cliburn International Piano Competition Gold Medalist Olga Kern and Grammy Award-winning violinist Hilary Hahn. Kern will perform Rachmaninoff ’s Rhapsody on a Theme of Paganini and Prokofiev’s Piano Concerto No. 1, while Hahn will perform Brahms’ Concert for Violin and Orchestra. Slatkin and the orchestra previously toured Florida in 2010 with acclaimed cellist Sol Gabetta. “The GM Foundation is committed to showcasing the best of Detroit to stakeholders across the country,” said GM Foundation President Vivian Pickard. “The DSO is one of

the city’s finest jewels and this tour will build upon Detroit’s national reputation of having the finest musicians and live entertainment.” Read more about the GM Foundation and their long relationship with the DSO in their donor spotlight on page 35. We hope you’ll be able to join us in the sunshine state! Tickets are available through each venue’s box office and website. In addition, we are planning several events for DSO family in conjunction with the concerts, so we encourage you to let us know if you will be in the area and have plans to attend any part of the tour. Full tour details are available at dso.org/florida.

Made possible by generous support from

Sunday, March 2 at 8 p.m. COMMUNITY CHURCH, VERO BEACH Leonard Slatkin, conductor Olga Kern, piano

GOULD Spirituals for Orchestra PROKOFIEV Piano Concerto No. 1 RAVEL Suite of Five Pieces from Mother Goose Pavane for a Dead Princess Boléro

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Monday, March 3 at 8 p.m. VAN WEZEL PERFORMING ARTS CENTER, SARASOTA Leonard Slatkin, conductor Olga Kern, piano

CO PLAND Three Latin-American Sketches RA CHMANINOFF Rhapsody on a Theme of Paganini TCHAIKOVSKY Symphony No. 5

Tuesday, March 4 at 8 p.m. ARTIS-NAPLES, NAPLES Leonard Slatkin, conductor Hilary Hahn, violin

BR AHMS Concerto for Violin and Orchestra TCHAIKOVSKY Symphony No. 5

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MY BRAIN IS IN MY INKSTAND DRAWING AS THINKING AND PROCESS NOVEMBER 16, 2013 – MARCH 30, 2014

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Right: Tony Orrico. Photo by Bill E. Meyers. Courtesy of the artist and UB Art Gallery.

Profile Leonard Slatkin Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Jeff Tyzik, Principal Pops Conductor Terence Blanchard, Fred A. and Barbara M. Erb Jazz Creative Director Chair

CLASSICAL SERIES Friday, December 6, 2013 at 10:45 a.m. Friday, December 6, 2013 at 8 p.m. Saturday, December 7, 2013 at 8 p.m. in Orchestra Hall ppa elibom oG ot OSD eht no ro evil/gro.osd ta enilno hctaW

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Leonard Slatkin, conductor Anne Akiko Meyers, violin Aaron Copland Hear Ye! Hear Ye! (1900-1990) Scene 1: Prelude Scenes 2-4: The Courtroom; Dance Scene 5: The Nightclub Hostess Sworn In Scene 6: The Chorus Girls’ 1st Dance Scene 7: Pas-de-deux 1 Scene 8: Pas-de-deux continued; First Murder Sc ene 9-10:The Courtroom; The Honeymoon Couple Sc ene 11: The Chorus Girls Dance with Doves Sc ene 12: Pas-de-deux 2 and Murder Sc ene 13-14: The Courtroom; The Waiter Sworn In Scene 15: The Chorus Girls’ 3rd Dance Scene 16: Pas-de-deux 3 and Murder Sc ene 17-18: The Verdict; the Courtroom Mason Bates Violin Concerto (b. 1977) Archeopteryx Lakebed memories The rise of the birds Anne Akiko Meyers, violin

I N T ER M IS SION Johannes Brahms Symphony No. 4 in E minor, Op. 98 (1833-1897) Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato ppa elibom oG ot OSD eht no ro evil/gro.osd ta enilno hctaW

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This performance will be webcast at dso.org/live

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This Classical Series concert is generously sponsored by noitibihxE na ta serutciP .m.p 3 ,6 yaM ,yadnuS

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

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Leonard Slatkin is Music Director of both the Detroit Symphony Orchestra and the Orchestre National de Lyon, France. During the 201213 season he led the DSO in highly acclaimed SLATKIN concerts at Carnegie Hall, including one concert in which all four Charles Ives symphonies were presented in a single evening; directed the Orchestre National de Lyon in a triumphant Paris concert of Ravel’s L’heure espangole and L’enfant et les sortilèges; and celebrated Rachmaninoff ’s 140th anniversary with Denis Matsuev and the State Symphony of Russia in Moscow. Slatkin’s more than 100 recordings have won seven Grammy awards and earned 64 nominations. With the Orchestre National de Lyon he has embarked on recording cycles of the Rachmaninoff piano concerti with Olga Kern and the symphonic works of Maurice Ravel and Hector Berlioz. With the Detroit Symphony he has made available a digital box set of the Beethoven symphonies and plans to release the concerti and symphonies of Tchaikovsky in the future. Slatkin has received the USA’s prestigious National Medal of Arts, the American Symphony Orchestra League’s Gold Baton Award and several ASCAP awards. He has earned France’s Chevalier of the Legion of Honor, Austria’s Declaration of Honor in Silver, and honorary doctorates from The Julliard School, Indiana University, Michigan State University and Washington University in St. Louis. He is also the recipient of a 2013 ASCAP Deems Taylor Special Recognition Award for his book Conducting Business. Slatkin has served as Music Director of the St. Louis Symphony Orchestra and the National Symphony Orchestra in Washington, D.C., and as Chief Conductor of the BBC Symphony Orchestra in London. He has held Principal Guest Conductor positions with the Royal Philharmonic Orchestra, the Los Angeles Philharmonic, the Philharmonia Orchestra of London and the Pittsburgh Symphony Orchestra. Founder and director of the National Conducting Institute and the St. Louis Symphony Youth Orchestra, Slatkin continues his conducting and teaching activities at the Indiana University Jacobs School of Music, the Manhattan School of Music and The Juilliard School.

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Program Notes Anne Akiko Meyers

Anne Akiko Meyers is one of today’s most sought after violinists. Recently, Meyers was awarded lifetime use of the ‘Vieuxtemps’ Guarneri del Gesu, considered by many to be the finest violin being MEYERS performed on today. A champion of living composers, Meyers has actively added new works to the violin repertoire by commissioning and premiering works by composers such as David Baker, Mason Bates, Jakub Ciupinski and many more. Recently, with the Pittsburgh Symphony, Meyers co-commissioned and premiered the Mason Bates violin concerto with Leonard Slatkin conducting. Additional performances of the concerto include the Chicago, Nashville and Richmond Symphony Orchestras. In 2014, eOne Music plans to release the world premiere recording of the Bates Concerto with Meyers, Slatkin and the London Symphony Orchestra. The album will also include Samuel Barber’s Violin Concerto and John Corigliano’s “Lullaby for Natalie” a piece written for the birth of Meyers’ first daughter. An album of works by Vivaldi and Arvo Part with the English Chamber Orchestra and David Lockington, Meyers’s first on the “Vieuxtemps” Guarneri del Gesu, will be released in spring 2014. Meyers’ most recent recording, ‘Air-The Bach Album, debuted at #1 on Billboard’s Classical chart and was one of the topselling classical albums of 2012. Meyers has collaborated with pop singing sensation, Il Divo, top jazz artists such as Chris Botti, Wynton Marsalis and Ryuichi Sakamoto, and performed the National Anthem at Safeco Field in Seattle. She was also featured in a performance with the Royal Concertgebouw Orchestra in Holland that was globally broadcast live on the Internet. Meyers also performed at Sydney, Australia’s Harbour, celebrating their 200th Bicentennial and has performed for dignitaries including the Emperor and Empress of Japan. Anne was born in San Diego, California and grew up in Southern California. She studied at the Colburn School of Performing Arts, at Indiana University, and at the Juilliard School. At age 23, she was awarded the prestigious Avery Fisher Career Grant, the only artist to be the sole recipient of this annual prize. Meyers has joined the advisory board at Young Concert Artists. 14

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Hear Ye! Hear Ye!

AARON COPLAND

B. November 14, 1900 in Brooklyn, New York D. December 2, 1990 in North Tarrytown, New York

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets & Eb clarinet, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, percussion (bass drum, castanets, cymbals, gavel, ratchet, slapstick, snare drum, tambourine, wood block and xylophone) and strings. (Approx. 32 minutes)

his rarely-heard work is a ballet, first performed in Chicago in 1934, which takes place in a courtroom where three witnesses give conflicting accounts of a murder which occurred in a local night club. Copland wrote the work at break-neck speed, having been given less than three months to compose and orchestrate it, and for which he was paid the princely sum of $250. It was written for Ruth Page (18991991), a very talented dancer and choreographer who had the great misfortune to have lived a good deal of her productive life in the shadow of the much better known Agnes De Mille, who helped to create another Copland ballet, the famous Rodeo. De Mille’s name is still in the forefront of 20th-century American ballet, but nowadays Page is an almost forgotten figure: a great shame, because she was immensely gifted and created some very striking and influential dance works. A native of Indianapolis, she studied initially in New York, and after a tour of South America with the legendary Russian dancer Anna Pavlova, she went to Chicago to dance the leading role in a ballet version of Oscar Wilde’s story The Birthday of the Infanta, with music by John Alden Carpenter. After a brief stint on Broadway, she returned to Chicago in 1924 as principal with the Allied Arts Ballet. In 1925 she danced with the world-famous Ballet Russes, the first American dancer to perform for the legendary impresario Sergei Diaghilev. From 1926 to 1931 she was principal dancer and choreographer for the Ravinia Opera Company, then worked with the Chicago Opera Company off and on from 1931 to 1945 as a dancer and choreographer. From 1954 to 1969 Page served as ballet director for the Lyric Opera of Chicago, at the same time touring the U.S. with her Opera Ballet, presenting full-length ballets based on opera stories. In 1965 she choreographed a major production of The Nutcracker which was presented every December through 1997 under the auspices

of the Chicago Tribune Charities. Perhaps her most famous, influential and frequentlyperformed ballet was the 1938 Frankie and Johnny, with music by Jerome Moross. Upon retiring from her work as a choreographer she created the Ruth Page Foundation, which in turn developed the Ruth Page Foundation School of Dance, later known as the Ruth Page Center for the Arts. A pioneer in creating works on American subjects, she added movements from sports, popular dance, vaudeville, musical comedy and everyday gestures to the vocabulary of classical ballet. Among her many credits are having danced at the coronation of Emperor Hirohito in Japan in 1928, and arranging the great Rudolf Nureyev’s New York debut in 1962. Considered by many to have been the Grande Dame of American ballet, her contributions to the dance in this country were enormous, and her tireless efforts certainly put Chicago on the map of international ballet. According to Agnes De Mille, Page’s Chicago studio became “the focal point for all ballet training in the Midwest.” Along with Hear Ye! Hear Ye! and Frankie and Johnny, she is also known for An American Pattern (1937), a feminist protest against conformity, and Billy Sunday (1948), based on that fiery evangelist’s sermons. Page probably met Copland in 1930, when John Alden Carpenter invited him to give a series of lectures at the Chicago Arts Club. Four years later Page proposed a collaboration of some sort, and asked for a ballet in the spirit of his jazz-influenced works. She then came up with a scenario about a murder in a Chicago night club and the ensuing trial. Copland agreed to this idea and set about writing the score. What was eventually titled Hear Ye! Hear Ye! combined contemporaneous disenchantment with the American judicial system with a view of life at the violent edges of American society. Among the ways Copland portrayed this was by purposely distorting part of our National Anthem at the start and the conclusion of the ballet, something which incurred heavy criticism in some quarters. In addition, he drew on some earlier pieces which were worked into the new score, among them the Nocturne and Ukelele Serenade from his 1926 Two Pieces for violin and piano, a movement from his unfinished 1926 piano suite called Five Sentimental Melodies, and parts of his earlier and equally little-known necromantic ballet Grohg. The serious nature of the scenario was lightened somewhat by Page by using a tango, blues numbers and Apache Dances, highly dramatic and stylized dances which got their DSO.ORG

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name from the slang word for the Paris underworld at the beginning of the 20th century. The premieres were moderately successful, in Chicago in 1934 and New York in 1936, both productions using very striking backdrops of skyscrapers at unusual angles, presumably an attempt to convey the modern world seriously out of whack. Copland made a concert suite from the ballet which was performed in 1937, but after that he withdrew both the ballet and the suite. As he explained at the time, “The music was really incidental to the dance, and I discovered that some music is more incidental than others.” Unfortunately, Page’s original choreography was lost, and when she tried unsuccessfully in 1969 to remember what it was all about, she stated “I doubt now if it was a very good ballet.” The action concerns a trial in an unidentified courtroom in Chicago, during which three witnesses give completely different accounts of the murder of the male dancer in a cabaret act which took place in a local night club. The witnesses are a hostess from the night club, a waiter from the night club, and a pair of newly-weds just back from their honeymoon who were in the night club at the time of the crime. The hostess says that the female dancer shot her partner, the newly-weds say that a jealous chorus girl ran on stage and shot him, and the waiter claims that an unknown crazy man in the audience did the shooting. At the end, the jury, which has been bored to distraction during the trial, finds all three of the suspects guilty! The lawyers leave the courtroom very satisfied with the verdict, as three loud chords announce the next case. At these concerts you will hear the entire ballet in all of its Copland-esque cleverness. These performances of Hear Ye! Hear Ye! are a DSO Premiere.

Violin Concerto MASON BATES

B. January 23, 1977 in Philadelphia

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, marimba, cymbals, tam-tam, glockenspiel, log drum, woodblocks, Tibetan prayer bells, tambourine, 23 tuned Thai gongs, snare drum, triangle and Djembe [a rope-tuned, skin-covered goblet drum played with bare hands]), piano, celesta and harp. (Approx. 25 minutes)

amous for his innovations in orchestration, Bates is probably best known for his expansion of the orchestra’s sound picture to include electronics, and for blending classical music with the sounds of 16

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techno dance music. He is also one of a new breed of composers who often perform as DJs, using laptops and turntables as a part of whichever classical ensemble he is working with. Some time ago, Bates said in an interview, “I never thought of these two things as compatible when I started getting interested in DJ-ing…I would keep these two lives quite separate: I would write a work for the Phoenix Symphony and then I would go and DJ for a few hours in San Francisco.” Gradually, however, in what he referred to as “a real revelation,” he began to realize that the two types of music could be integrated, and his album Digital Loom (2009) combined the two genres for the first time. Bates feels that classical music lovers have been the most resistant to what he is trying to accomplish, but audiences as a whole have been open to and receptive of this hybridization of styles, and if something really works, then people are open-minded enough to accept it. Born in Philadelphia but raised in Richmond, Virginia, Bates began piano studies at an early age, then went on to earn a BA in music composition and English literature in the joint program of Columbia University and the Juilliard School in New York. Among his teachers there was David Del Tredici, whose music is now becoming a regular part of DSO programs. Later on he received a PhD in composition from the University of California, Berkeley in 2008, where the Center for New Music and Audio Technologies became an important influence on his innovative direction as a composer. He was Resident Composer with the California Symphony from 2008 to 2011, Artist in Residence with the San Francisco Symphony Orchestra in 20112012, and Composer of the Year for the Pittsburgh Symphony Orchestra in 20122013. In 2010 he began a continuing residency with the Chicago Symphony Orchestra, a position he still holds. Bates’ many awards and honors include a Charles Ives Scholarship, a Fellowship from the American Academy of Arts and Letters, a Guggenheim Fellowship, awards from BMI and ASCAP, a Fellowship from the Tanglewood Music Center, the Rome Prize, the Berlin Prize, and the Heinz Medal in the Humanities. As he received this Medal, it was noted that “…his music has moved the orchestra into the digital age and dissolved the boundaries of classical music.” In 2010 he was commissioned to write Mothership for the second concert of the YouTube Symphony Orchestra, an ensemble consisting of musicians from around the world selected through on-line auditions by Michael Tilson Thomas, and who assembled in Sydney, Australia for rehearsals and a live concert given in March

of 2011 and streamed on the internet. The world premiere of this concerto was given by Anne Akiko Myers with Leonard Slatkin conducting the Pittsburgh Symphony Orchestra in December of last year. In September of this year Myers and Slatkin recorded the work with the London Symphony Orchestra. In notes prepared for the premiere, Bates wrote, “Athletes have the Olympics. Composers have—the violin concerto? Few symphonic forms challenge the composer as much as the violin concerto. The instrument possesses so much emotional and virtuosic power, but it doesn’t have the sonic power of the piano, the cello or the clarinet. Yet a violin concerto provokes weighty, powerful music from composers, who often approach the piece with the same import they would devote to a numbered symphony. So one finds, in many new violin concertos, the soloist fiddling like mad over an explosive orchestra—but not being heard. That’s problem number one. The second problem, arising naturally from the first, is how one writes for the instrument itself. The violin has been explored for centuries, and star soloists want music that is both new and idiomatic. Thus returns that age-old challenge: how to be fresh and inevitable at the same time. I’ve always looked fearfully at the strings, the most-heard (and most populated) section of the orchestra. The basic rules of thumb we composers keep in mind—work around 5ths and 6ths, avoid unnatural string crossings, etc.—help us in writing for the section as a whole, but they’re too vague to help us with the micro-details of a features solo part. I needed a way in. What has always inspired me is the violin’s range: huge, beautiful leaps are possible in even the most lyrical passages. So I started playing around with wide intervals, and one day I found a long, alluring melody. It took a few days to fashion that tune into proper shape, but once I had it, the game was afoot. In a nod to the acoustic challenges of the form, I quickly abandoned the electronic component I once envisioned. Everyone was intrigued by a violin concerto with electronica…but it’s a problematic idea, not just because of the obvious problems of balance, but also because one’s listening focus would be fractured. I wanted the fiddle front and center. Yet those few weeks of playing around with electronic ideas moved me to some strange, looping orchestral rhythms that evoked ancient animals—and I could bring them to life with a small orchestra. I liked the image of a beautiful, lyrical bird surrounded by these large, ambling creatures. It would be a DSO.ORG

dramatic contrast. So before I knew it, I had a tune and an idea: a concerto that was part lyrical bird, part lumbering dinosaur. There is in fact a creature with such an identity called the Archeopteryx: a strange hybrid of the Upper Jurassic, whose name [is the title of the first movement]. Enter Anne Akiko Meyers…..one of the finest, fieriest fiddlers I’ve ever seen, and every note of this piece is written with her blazing musical personality in mind. And she’s been the perfect collaborator, being painfully respectful of my intentions, while thankfully pointing out the problematic passages. Then, of course, there [is] the great Leonard Slatkin, who has shepherded several of my works along.” In the preface to the score, Bates has written as follows: “Composers paint with sound, and my sonic palette has been growing rapidly in large-scale symphonies fusing orchestral and electronic sounds. But the pops, clicks and thuds of techno present challenges in a violin concerto: the subtle textures of this 18-inch instrument would be quickly painted over by the powerful colors of such a big palette. So, in order to fully showcase the violin, I stepped back into the acoustic universe—but with my ears still humming with exotic sounds. The search for novel sounds pushed me, surprisingly, into primeval territory, resulting in a concerto filled with ancient animals. First and foremost is the solo violinist, who inhabits two identities: one primal and rhythmic, the other elegant and lyrical. This hybrid musical creature is, in fact, based on a real one. The Archeopteryx, an animal of the Upper Jurassic famously known as the first dinosaur/bird hybrid, can be heard in the sometimes frenetic, sometimes sweetlysinging solo part. The searching melody that underlies the entire work, not heard in full until we are well into the first movement, has in fact been peering at us from behind the orchestral fauna all along. Unfolding continuously out of the explosive first movement, the middle movement (Lakebed Memories) explores this melody dreamily, conjuring the lakebed in Southern Germany where the archaeopteryx fossil was discovered. Eerie, hazy sonorities give way to a kind of underwater epiphany, pushing us airborne into the finale. In this last movement (The Rise of Birds), the soloist stays aloft on a jetstream of notes, inspired equally by Bach inventions and sparkling electronica. The work’s final measures transform the soloist fully from dinosaur into bird, with the melody floating high above an orchestra of fluttering textures.” These performances of Mason Bates’ Violin Concerto are a DSO Premiere. DSO.ORG

Symphony No. 4 in E minor, Op. 98

JOHANNES BRAHMS

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

Premiered in Meiningen on October 25, 1885 with the composer conducting. Scored for two flutes with one doubling on piccolo, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, timpani, triangle and strings. (Approx. 40 mins.)

rahms’ Fourth Symphony is considered by many to be his masterpiece in the genre because it offers the ideal balance

between form and expression. Here, structural play amplifies the emotional impact of his themes. Proclaimed by Robert Schumann to be “destined to give ideal expression to the times,” Brahms came of age during the hyper romanticism of Wagner and delayed his own entry into symphonic composition until the premiere of his first symphony in 1876, when he was 43-years-old. His symphonies were immediately beloved, but heard as conservative and classical—their deep inventiveness being appreciated only later. Brahms’ fourth and final symphony appeared just nine years after his first, and while Brahms began parts of a fifth, he destroyed his sketches, making the fourth

Bach and Gabrieli, Radiohead and Arcade Fire, Piazzolla and Stravinsky on the same program

Hear music of

C M S D

in Depth

Shuffle.Play.Listen. Like no concert you’ve ever heard.

CHRISTOPHER O’RILEY, PIANO AND MATT HAIMOVITZ, CELLO January 10, 8 PM at Music Hall, 350 Madison Street, Detroit spot 2736

Chamber Music Society of Detroit Tickets: 248-855-6070 or www.ChamberMusicDetroit.org PERFORM ANCE / VOL . X XII / WINTER 2014

his ultimate symphonic statement. The symphony opens almost in midthought, with the violins sliding out of nowhere and the woodwinds responding in reflection to create the first theme. There is no introduction. Brahms clearly enjoyed the movement’s disorienting beginning, as two bars of wind chords that originally began the work were cut from the first draft. The theme is central to the moveLWM-029 Performance Dec2013_OL.pdf 1 11/15/13 ment, and guides the listener’s journey through Brahms’ clever treatment of sonata form: what appears to be its first repeat quickly veers into new territory (known as the development) and a quiet pianissimo

masks its return (known as the recapitulation) when the winds suggest the theme and the violins only gradually catch on. The horn call that opens the second movement provides the musical material for the whole: a repeating note plus a lilting snap that moves up, then down, and repeats. That such a delicate and beautiful slow movement could be made of such repetitive and seemingly pedestrian 11:26 AM material is a wonder. The idea moves throughout the orchestra, subtly shifting in color and rhythm. A lyrical theme in the cello briefly intervenes, but soon shifts back to the opening motif, which sounds

as if caught in an orchestral fugue by Bach. The luscious return of the lyrical theme introduces yet a new idea that leads back to a final triumphant statement of the horn fanfare. The Scherzo that follows is a rollicking, energetic and somewhat comic dance, featuring the percussionists in athletic timpani and shimmering triangle playing. Making their first appearance, the trombones mark the severe scope of the finale, sounding an eight-note theme based loosely on Johann Sebastian Bach’s early cantata “Nach dir, Herr, verlanget mich” [For Thee, O Lord, I long]—BWV 150. Brahms presents 32 variations over this bass line, making up a rare example of a symphonic chaconne. The tale is often told of how the influence of Beethoven and his symphonies overshadowed Brahms’ work in the genre. This Fourth Symphony, however, suggests that while Brahms may have followed Beethoven’s sonic footsteps to Vienna and into the realm of the symphony, he erected his own signature monuments, honoring the tradition built by Haydn, Mozart, Beethoven, Schubert and Schumann, while realizing his own orchestral voice. The DSO last performed Brahms’ Symphony No. 4 in April 2009.

Save the Date

June 7, 2014

PERFORM ANCE / VOL . X X II / WINTER 2014

DSO.ORG

Profiles Patti Austin Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Jeff Tyzik, Principal Pops Conductor Terence Blanchard, Fred A. and Barbara M. Erb Jazz Creative Director Chair

PARADISE JAZZ SERIES This performance is dedicated to the memory of Barbara M. Erb, co-founder of our Fred A. and Barbara M. Erb Jazz Creative Director Chair Saturday, December 8, 2013 at 4 p.m. in Orchestra Hall Patti Austin, vocals Michael Ricchireti, piano Richard Hammond, bass Ross Pederson, drums Program to be announced from the stage. This Paradise Jazz Series concert is generously sponsored by

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

WITH SPECIAL GUEST ARTIST

KATHLEEN BATTLE SATURDAY, MARCH 8, 2014

GALA • CONCERT • AF TERGLOW THE MAX M. FISHER MUSIC CENTER

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Patti Austin, the daughter of jazz trombonist Gordon Austin and goddaughter of musical legends Jones and Dinah Washington, made her stage debut with Washington at the AUSTIN world-famous Apollo Theater in Harlem. During the 70s, she was the undisputed “queen” of the New York session scene; her voice was heard behind everyone from Paul Simon, Cat Stevens, James Brown and Joe Cocker to Bette Midler, Roberta Flack, Luther Vandross and Diana Ross and on countless memorable commercial jingles. At the beginning of the 80’s, Patti earned a wider audience through her participation on a series of albums with Jones including his best-selling “Stuff Like That,” his Grammy-winning classic “The Dude,” and his “From Q With Love” Vols. 1&2 via the standout track, “If This Time Is the Last Time.” Her early solo career resulted in the chart-topping, Grammy-nominated hit “Baby Come To Me,” a now classic duet with James Ingram; the Jam-and-Lewisproduced R&B smash “The Heat of Heat;” and the Oscar nominated “How Do You Keep the Music Playing?” Austin’s 1988 album The Real Me, one of the most popular items in her catalog, featured a powerful collection of pop and jazz standards including “Cry Me A River,” “Smoke Gets In Your Eyes” and “Mood Indigo.” A stint at GRP Records included 1991’s “Carry On,” “Love is Gonna Getcha,” “That Secret Place” and “Patti Austin Live” which showcased her amazing standup comedic skills and brilliant impersonations. Her 1998 album In and Out of Love spent almost two years on the contemporary jazz charts. Austin has also written and created her own one-woman show and co-created the musical extravaganza Beboperella, a modern-day, music-driven show that brings the sound and spirit of bebop to a new generation. She also is the co-creator of Oh Freedom, a show exploring the AfricanAmerican quest for freedom and equality in America. Her most recent release, Avant-Gershwin, won Austin the Grammy for Best Jazz Vocal Performance. As with 2002’s Grammynominated homage to Ella Fitzgerald “For Ella,” Patti worked her magic again with the WDR Big Band on Avant-Gershwin. PERFORM ANCE / VOL . X XII / WINTER 2014

Profiles Mei-Ann Chen

Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Jeff Tyzik, Principal Pops Conductor Terence Blanchard, Fred A. and Barbara M. Erb Jazz Creative Director Chair

CLASSICAL SERIES Thursday, December 12, 2013 at 7:30 p.m. Friday, December 13, 2013 at 10:45 a.m. in Orchestra Hall ppa elibom oG ot OSD eht no ro evil/gro.osd ta enilno hctaW

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Mei-Ann Chen, conductor Marc-André Hamelin, piano

Wolfgang Amadeus Mozart Overture to The Magic Flute, K. 620 (1756-1791)

Piano Concerto No. 17 in G major, K. 453 Allegro Andante Allegretto Marc-André Hamelin, piano

I N T ER M IS SION Felix Mendelssohn Overture to A Midsummer Night’s Dream, Op. 21 (1809-1847) Luttes (Struggles) Voluptes (Pleasures) Jeu Divin (Divine Play) Symphony No. 4 in A major, Op. 90, “Italian” Allegro vivace Andante con moto Con moto moderato Saltarello: Presto

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This performance will be webcast at dso.org/live

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This Classical Series concert is generously sponsored by

PERFORM ANCE / VOL . X XII / WINTER 2014

Music Director of the Memphis Symphony since 2010 and of the Chicago Sinfonietta since 2011, Mei-Ann Chen has infused both orchestras with energy, enthusiasm and highlevel music-making, CHEN galvanizing their audiences and communities alike. In recognition of these accomplishments, the League of American Orchestras granted her the prestigious Helen M. Thompson Award at its 2012 national conference in Dallas. Maestra Chen’s 2013- 14 season takes her across the country, and to Canada, Sweden, and Austria. Guesting highlights include engagements with the Detroit Symphony, Vancouver Symphony, Austria’s Gross Orchester Graz, Sweden’s Göteborgs Symfoniker and NorrlandsOperan (Norrland’s Opera), with whom she appears in both the fall and spring. Chen’s recent seasons include debuts with the Chicago Symphony, the San Francisco Symphony, Houston Symphony, among others and engagements abroad with Brazil’s São Paulo Symphony, and Finland’s Tampere Philharmonic. Among her many North American guesting credits are appearances with the symphony orchestras of Atlanta, Baltimore, Colorado, and more. Overseas, she has conducted the principal Danish orchestras, the BBC Scottish Symphony, and more. U.S. summer music festivals credits include the Aspen Music Festival, Britt, Grand Teton, among others. In 2005, Chen became the first woman to win Copenhagen’s esteemed Malko Competition. She served as Assistant Conductor of the Atlanta Symphony and Baltimore Symphony, under the aegis of the League of American Orchestras, with the Oregon Symphony as well. Recipient of the 2007 Taki Concordia Fellowship, she has appeared in highly acclaimed subscription concerts with the Baltimore Symphony, Colorado Symphony and Florida Orchestra. Born in Taiwan, Mei-Ann Chen has lived in the United States since 1989. She was the first student in New England Conservatory’s history to receive master’s degrees, simultaneously, in both violin and conducting, later studying with Kenneth Kiesler at the University of Michigan, where she earned a Doctor of Musical Arts degree in conducting.

DSO.ORG

Program Notes Marc-André Hamelin

Pianist Marc-André Hamelin’s unique blend of musicianship and virtuosity brings forth interpretations remarkable for their freedom, originality, and prodigious mastery of the piano’s resources. HAMELIN Four different multiconcert series will celebrate Hamelin’s artistry worldwide in the 2013/14 season: The Celebrity Series of Boston, San Francisco Performances, De Singel in Antwerp, and London’s Wigmore Hall where he will be Artist-in-Residence. These artist portraits highlight his diverse repertoire and interests. He will perform in solo recitals, collaborate with guest artists including the Pacifica and Takács quartets, violinist Anthony Marwood, clarinettist Martin Fröst, pianist Emanuel Ax, and appears with the Rotterdam Philharmonic with conductor Yannick Nezet-Seguin, with whom he performs the world premiere of the Mark-Anthony Turnage piano concerto. Additional recital highlights will include the Berlin Philharmonie, Zankel Hall at Carnegie Hall, the Kennedy Center for the Washington Performing Arts Society, Paris’ Theatre de Champs Elysees, Munich’s Herkulessaal, and the Musikegebouw in Amsterdam. Orchestral highlights will include the New York Philharmonic with Sir Andrew Davis, the Chicago Symphony with Bernard Labadie, the London Symphony with Osmo Vänska, the Danish Radio Orchestra with Rafael Frühbeck de Burgos, and a European tour with the Montreal Symphony and Kent Nagano. Marc-André Hamelin records exclusively for Hyperion Records. His most recent release is Haydn concerti with Les Violons du Roy and Bernard Labadie, and this season will feature an upcoming disc of late piano works of Busoni. Other recent releases include three double-disc sets of Haydn sonatas; a solo disc of works by Liszt; and an album of his own compositions, Hamelin: Ètudes, which received a 2010 Grammy nomination (his ninth) and a first prize from the German Record Critic’s Association. Born in Montreal and a resident of Boston, Marc-André Hamelin is the recipient of a lifetime achievement prize by the German Record Critic’s Association, is an Officer of the Order of Canada, a Chevalier de l’Ordre du Québec, and a member of the Royal Society of Canada. DSO.ORG

Overture to Die Zauberflöte (The Magic Flute), K620

Piano Concerto No. 17 in G Major, K. 453

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

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

WOLFGANG AMADEUS MOZART

First performed on September 30, 1791 at the Freihaustheater auf der Wieden and conducted by the composer. Scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani and strings (approx. 6 minutes).

ozart’s overture to Die Zauberflöte was completed mere days before the opera’s premiere. The deadline seems hardly to have flustered the composer. The succinct overture is a flourish of wit, energy and allusion. The opening declamatory chords of the work are rich with significance. In addition to introducing the tonal opposition of the opera between Eflat and C (the first chord is an E-flat major chord; the second, C minor), the three-chord statement returns both halfway through the overture and halfway through the opera where its repetition becomes associated with the trials that the hero, Tamino, must undergo to be united with Pamina. Even the grouping of the chords into three separate utterances is thought to be a reference to Masonic numerology, one of the many ways in which Mozart and his librettist, Emanuel Schikaneder, incorporated the symbols and themes of Freemasonry into Die Zauberflöte. The spirited allegro that follows the dark introduction is less Masonic in its inspiration and more indebted to Muzio Clementi (1752–1832). Ten years earlier, Clementi and Mozart had faced off in a piano “duel” for Emperor Joseph II, but the contest, which had included Clementi performing his sonata Op. 24 No. 2, had ended in a tie. 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 sonata as the melodic crux of the overture’s allegro section. Clementi was understandably outraged by this melodic 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 Mozart’s most memorable operatic openings.

WOLFGANG AMADEUS MOZART

Scored for flute, 2 oboes, 2 bassoons, 2 horns and strings. (Approx. 30 minutes)

he piano concerto as we know it today was almost single-handedly created by Mozart. Before his day, there were some concertos for harpsichord or the fortepiano (an early form of the modern piano), but few of them were of high quality. In spite of the fact that Mozart gave this new genre an unprecedented stature and importance, and that there were numerous performances of the concertos given by him and others, there was hardly anything written about them from any source, so it is difficult to accurately determine just how important they were to the musical scene of the late 18th century. Part of the reason for this is that at the time concertos of this kind were looked upon more as popular entertainment rather than great classics, and they were enjoyed immediately and then replaced by newer works. Nevertheless, there were astute listeners who were able to recognize just how remarkable these pieces were, and in the decade following his tragically early death there was an amazing number of editions printed not only of the concertos but other major works as well. The piano concerto was the form in which Mozart consistently excelled, in which he was able to combine the highest characteristics of symphonic music and chamber music, and in which he could write works of great depth which also appealed greatly to his audiences. He wrote all but six of these concertos for his own performances, but, curiously, the pianists for whom he wrote the other six were all women. The three years from roughly 1782 to 1785 were very prosperous ones for Mozart, and probably formed the happiest period of his life. He was greatly in demand as a composer, performer and teacher, and managed to earn a considerable sum of money from all of his activities. Around this time there was in Vienna a remarkable increase in public and private concert activity, for which he was partly responsible. His brilliant career as a piano virtuoso in Vienna resulted in the writing of 12 major piano concertos in the amazingly short period of just under three years, from February of 1784 to December of 1786, and every one of them is a masterpiece. During this period he also produced The Marriage PERFORM ANCE / VOL . X XII / WINTER 2014

of Figaro, the Prague Symphony (No. 38), and the six string quartets dedicated to Haydn, a mind-boggling output which critic Alfred Einstein refers to as “a miracle of productivity,” and which certainly can be considered as perhaps the greatest outpouring of creative genius in history. 1784, the year in which this concerto was written, was his most productive year in the form: in an amazingly short period of time he wrote the piano concertos which are numbered 14 to 17, and then after a break of a few months, came back to write nos. 18 and 19. These six concertos all have strong chamber music characteristics, and musically bear a close affinity to the six Haydn quartets, as well as having middle movements which are somewhat faster than normal. During the Lenten period of this year Mozart gave at least 23 concerts in the span of 46 days, a phenomenal accomplishment when you realize that he was also constantly composing and teaching! He was at the time the most sought-after pianist in Vienna, and his great success, both musical and financial, undoubtedly contributed to the sense of joy which is a major feature of the concertos. The present work was the second concerto which Mozart wrote for Barbara Ployer, the daughter of a wealthy Viennese official, and one of his favorite and most gifted pupils. The concerto, which was written in April of 1784, was first performed in June of that year at the father’s country estate. Herr Ployer hired the orchestra, which Mozart conducted, and after the concerto he played the keyboard part in his sparkling Eb Major Quintet for piano and winds, and then he and Barbara played the Sonata in D for two pianos. Of the six concertos of 1784 this is arguably the finest, and is one of his most delightful works in any form. By now, the winds had become a standard feature of the concertos, both in the ensemble and soloistically, and became increasingly important and prominent as the concertos were produced. This is real symphonic writing, and in the last movement, one can almost say that it is like his operatic writing. There is a wonderful story connected with the finale. We know from Mozart’s journals that in May of this year he bought a pet starling which he grew to love. For a time many people supposed that the very talented bird had whistled a tune which Mozart later turned into the main theme of the last movement, but considering that fact that the concerto was completed by the time he bought the bird songster, it is obvious that it was Mozart who taught the bird to sing the first five measures of the theme. In any case, starlings are known to be remarkable mimics. The darling bird died about a 22

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month after it came to live with Mozart, which prompted him to write in his sadness a tribute which begins, “A little fool lies here, Whom I hold dear.” In this splendid concerto, Mozart was able to write music which appeals to both sophisticated and amateur listeners, and in his own words, it was written “…in such a way that the less learned cannot fail to be pleased, though without knowing why.” The DSO last performed Mozart’s Piano Concerto No. 17 in April of 2004 with Lawrence Foster conducting and Piotr Anderszewski as soloist.

Overture to A Midsummer Night’s Dream, Op. 21 Selections from A Midsummer Night’s Dream, Op. 61 FELIX MENDELSSOHN

B. February 3, 1809, Hamburg, Germany D. November 4, 1847, Leipzig, Germany

Scored for two flutes, two oboes, two clarinets, two bassoons, two horns, three trumpets, three trombones, tuba, timpani, continuo, cymbals and strings (Overture approx. 11 minutes; Selections approx. 19 minutes).

elix Mendelssohn was an astoundingly brilliant composer and performer, a child prodigy who grew up to become one of the most broadly educated, well-traveled, sensitive musicians of the early 19th century. In 1829, he conducted a historic performance of J. S. Bach’s neglected century-old B-minor Mass, largely reviving public interest in Bach’s music among 19th-century audiences. In 1825, the Mendelssohn family moved into a spacious new home in Berlin, whose adjoining garden became the site of fanciful games and adventures for the 16-year old Felix and his sister, Fanny. The following year, he began work there on the piece that most closely represents its verdant environment, the magical overture, A Midsummer Night’s Dream. Shakespeare’s plays were first translated into German at the turn of the 19th century and these translations were re-issued in 1825, possibly prompting Mendelssohn’s inspiration to compose the overture. Only on the second draft did the young composer come up with a piece properly alluding to the myriad events in Shakespeare’s woodland fantasy of mismatched lovers, mischievous fairies, clowning simpletons and quarreling royalty. But the finished product has always been considered an inspired blend of formal perfection, descriptive content, joyous melody and astute orchestration.

As many as six themes have been identified making up the exposition of its sonata form: the opening woodwind chords, signifying the mysterious forest; a quick, bouncing staccato theme in the upper strings describing the fairies; a martial, fullorchestra theme for the entrance of Theseus and his courtiers; a song-like theme for the lovers; a rustic theme for Bottom and his clownish companions; and finally, a horncall theme for the royal hunting party. Several of these themes are imaginatively developed, restated and neatly packaged in a dainty coda to the overture. At the overture’s first performance in 1827, A Midsummer Night’s Dream was purely a concert piece, unattached to any stage production. Mendelssohn did not have occasion to write his remaining pieces of incidental music to Shakespeare’s play until 1842 when he served as music director of the newly established Berlin Academy of Arts under the Prussian king, Frederick Wilhelm IV. A dozen additional numbers were added to the overture and the acclaimed production, which opened Oct. 14, 1843, was one of the happier moments of Mendelssohn’s artistically unsatisfying years at the Prussian court. The chief numbers include four entr’actes composed to separate the five acts of Shakespeare’s fantasy about quarreling Titania and Oberon, the misadventures of four young lovers, the antics of dim-witted clowns and the mischievous Puck. The feathery Scherzo precedes Puck’s conversation with the Fairy at the beginning of Act Two and is noteworthy for its wispy concluding flute solo depicting the fairy’s effortless flight. The form of the movement is that of a teasing rondo whose main theme keeps returning in altered shapes. The Nocturne elaborates upon that magical moment at the end of Act Three, when Puck has again coaxed the four confused lovers back to sleep, has sorted out their mixed-up affections and redistributes his love pollens correctly among them. The deep mystery of the German forest is evoked in the opening horn melody, a magical moment when Mendelssohn’s resourceful orchestration is evident in pairing the horns with the bassoons, which absorb some of their warm, brassy tone. The end of the Nocturne depicts daybreak and the awakening of the four lovers at the beginning of Act Four. The final entr’acte, the joyous and familiar Wedding March, picks up on Theseus’s speech at the end of Act Four, inviting the properly reunited lovers to join him and Hippolyta in a triple wedding ceremony. In the century and a half since it was first heard, the Wedding March has probably united millions of couples in DSO.ORG

marriage, but because of their hasty retreat out the church door, few wedding-goers have heard the many different musical verses Mendelssohn composed between the march’s stirring refrain.

Symphony No. 4 in A Major, Op. 90, “Italian” FELIX MENDELSSOHN

B. February 3, 1809 in Hamburg, Germany D. November 4, 1847 in Leipzig, Germany

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. (Approx. 30 minutes)

f ever there was a musician who could be said to have been born with the proverbial silver spoon in his mouth, it would be the remarkable child prodigy Felix Mendelssohn. He had every advantage that anyone could want: he was born into a wealthy, prominent, cultured family, was the grandson of the well-known Jewish philosopher and thinker Moses Mendelssohn, and the son of the very successful banker Abraham Mendelssohn. The salon in their home saw frequent visits by well-known musicians, artists, writers and scientists. In 1816, father Abraham had the Mendelssohn children converted to Protestant Christianity, and at that time young Felix was given the additional Christian names of Jakob Ludwig. Six years later, Abraham and his wife Lea converted, and formally adopted the surname Mendelssohn Bartholdy. Felix began studying piano at age six, and when the family moved to Berlin, he and his greatly gifted sister Fanny began studying composition with a famous teacher of the day named Carl Friedrich Zelter. The two siblings had a rigorous but conservative musical education, with the study of Bach an important component, which certainly had a great influence on Felix’s tastes and his later championing of the great Baroque master. By the time Felix was 15, Zelter proclaimed him a fully-formed musician. At 16, he composed an Octet in Eb for strings, and the following year the beloved Midsummer Night’s Dream Overture, both of which any composer in his/her 30s or 40s would be proud of. Besides music, Mendelssohn’s education included art, literature, philosophy and languages. In addition to becoming a first-rate concert pianist (who gave his concert debut at age nine), he also was a marvelous organist, particularly gifted at improvisation, a fine and highly-respected conductor, and a very talented watercolor artist whose paintings hang in important museums in Europe. In 1825 his grandmother gave him a copy of the manuscript of Bach’s St. Matthew Passion, which had DSO.ORG

been virtually forgotten, and four years later, with Zelter’s assistance, he arranged and conducted the first performance the work had had since Bach’s death in 1750. This performance earned the 20-year-old Mendelssohn great acclaim, and began the revival of interest in Bach’s music in Germany and then in Europe. In 1843 Mendelssohn founded what was originally called the Leipzig Conservatory, now called the Felix Mendelssohn Bartholdy University of Music and Theatre. While Mendelssohn’s parents certainly encouraged and supported their remarkably gifted son, they made no attempt to

capitalize on his prodigious gifts (as Mozart’s father did with the young Wolfgang), and wanted him to be a wellrounded and worldly adult. Accordingly, when he turned 20, his father gave him the financial backing for a series of travels up and down Europe which began in Great Britain and lasted just over two years. In the course of his travels he visited Italy in 1830 and 1831, having been encouraged to do so by his former teacher Zelter and by the great German poet Goethe, who by then had become a great friend and admirer. He spent almost a year in Italy, visiting Venice, Florence, Rome, Naples, Genoa and

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Florence. While there he sketched, but did not finish, the A-Major Symphony, now known by its nickname “Italian.” In letters to his family he wrote, “The whole country has such a festive air that I felt as if I were a young prince making his entry….I have once more begun to compose with fresh vigor, and the Italian symphony is making rapid progress. It will be the happiest piece I have ever written, especially the last movement.” Later on he said that this work was meant to portray not only his impressions of the famous art works and beautiful countryside, but equally important, the vigor and vitality of the Italian people, and, in his words, “…their supreme delight in life.” He worked on the symphony mainly during 1831 and 1832, but unusually it gave him a great deal of trouble, and he once said later on that it had cost him some of the bitterest moments in his life. The symphony was finally completed in Berlin in March of 1833, spurred by a request from the [then] London Philharmonic Society for a new work. Mendelssohn conducted the premiere in London that May, and it was an overwhelming success, with the audience asking for the second movement to be repeated on the spot. In fact, its success, coupled with his popularity and frequent trips to the British capitol, was a great influence on the course of British music for the rest of the 1800s. Tremendous success though it was with the public and critics, Mendelssohn was curiously dissatisfied with the work, and began revisions the following year, even planning to write alternate versions of the last three movements, and going so far as to forbid it being performed in Germany during his lifetime. He never published the work, and it did not appear in print until 1851. For this reason it is listed as his fourth symphony, even though it was third to be composed. It is really difficult to understand Mendelssohn’s misgivings, as down through the years it has come to be regarded as one of the most perfect symphonies ever composed. From its ebullient opening to its conclusion, the first movement sails along with a joyous energy, and film buffs may recall portions of this movement having been used in the delightful 1979 film Breaking Away to accompany scenes of bicycle racing. By contrast, the second movement is calm and restrained, and some sources say it is a musical portrait of a religious ceremony which Mendelssohn saw when he was in Naples, while other sources say it is based on one of his lovely piano pieces called Songs without Words. There is also ample justification for thinking that it bears a strong relation to the second movement of Beethoven’s Seventh Symphony. Whatever the case, over the 24

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years this movement has acquired a nickname, The March of the Pilgrims. The third movement is a typical Classical minuet and trio (a contrasting section), which might have been inspired by Goethe’s humorous poem Lilis Park, all about a beautiful garden with a menagerie which includes a bear, representing the poet himself. It is here given a graceful and poetic treatment reminiscent of the magical score to A Midsummer Night’s Dream. The finale is the fastest and most breathless of the movements, called by the composer a Saltarello, a fast, wild and energetic dance of Italian origin. Many scholars say that this is really a tarantella, a vigorous dance which appears to have originated around the Italian city of Taranto, and not—as often claimed—a dance to help cure the bite of a tarantula. In any case, these two dances are

quite similar in meter and tempo, and the symphony’s first movement also has a tarantella-like feel to it. Moreover, at the end of this finale, Mendelssohn brings back briefly the first theme of the first movement, and along the way, there is a quotation from the ninth of the great Italian violinist Niccolo Paganini’s 24 Caprices for Solo Violin. The excitement never lapses, and brings to an exhilarating conclusion this marvelous work, which was one of the first major symphonies to begin in a major key but end in the tonic minor. The DSO last performed Mendelssohn’s Symphony No. 4 in October of 2005 with Jaime Laredo conducting and featuring DSO musicians Emmanuelle Boisvert (violin), Geoffrey Applegate (violin), Kimberly Kaloyanides Kennedy (violin) and Robert Williams (bassoon).

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Profiles Jean-Marie Zeitouni Leonard Slatkin, Music Director Neeme Järvi, Music Director Emeritus Jeff Tyzik, Principal Pops Conductor Terence Blanchard, Fred A. and Barbara M. Erb Jazz Creative Director Chair

DSO PRESENTS Saturday, December 14, 2013 at 8 p.m. in Orchestra Hall Jean-Marie Zeitouni, conductor Dominique Labelle, soprano Antonio Figueroa, tenor • Anthony Roth Costanzo, counter tenor Joshua Hopkins, baritone Michigan State University Chorale; David Rayl, director

George Frideric Handel Messiah

(1685-1759)

1. Sinfony 2. Accompagnato (Comfort ye my people) 3. Air (Ev’ry valley) 4. Chorus (And the glory of the Lord) 5. Accompagnato (Thus saith the Lord) 6c. Air (But who may abide) 7. Chorus (And He shall purify) Recitativo (Behold, a virgin shall conceive) 8. Air (O thou that tellest) 9. Accompagnato (For behold, darkness shall cover the earth) 10. Air (The people that walked in darkness) 11. Chorus (For unto us a child is born) 12. Pifa Recitativo (There were shepherds abiding in the field) 13a. Accompagnato (And lo, the angel of the Lord) Recitativo (And the angel said unto them) 14. Accompagnato (And suddenly) 15. Chorus (Glory to God) 16b. Air (Rejoice greatly) Recitativo (Then shall the eyes of the blind be open’d) 17c. Air (He shall feed His flock) 18. Chorus (His yoke is easy) 19. Chorus (Behold the Lamb of God) 20. Air (He was despised) 21. Chorus (Surely He hath borne our griefs) 22. Chorus (And with His stripes) 23. Chorus (All we, like sheep) 24. Accompagnato (All they that see Him) 25. Chorus (He trusted in God) 26. Accompagnato (Thy rebuke hath broken His heart) 27. Arioso (Behold, and see) 28. Accompagnato (He was cut off ) 29. Air (But Thou didst not leave) 30. Chorus (Lift up your heads) 34c. Air (How beautiful are the feet) 36a. Air (Why do the nations) 37. Chorus (Let us break their bonds) Recitativo (He that dwelleth in heaven) 38a. Air (Thou shalt break them) 39. Chorus (Halleluja) 40. Air (I know that my Redeemer liveth) 41. Chorus (Since by man came death) 42. Accompagnato (Behold, I tell you a mystery) 43. Air (The trumpet shall sound) 47. Chorus (Worth is the Lamb) 48. Chorus (Amen) This DSO Presents performance is generously sponsored by

The DSO can be heard on the Live From Orchestra Hall, Chandos, London, Naxos, RCA and Mercury Record labels. DSO.ORG

Jean-Marie Zeitouni, music director of the Columbus Symphony and since 2011 artistic director of I Musici de Montréal, has emerged as one of Canada’s brightest young conductors whose ZEITOUNI eloquent yet fiery style results in regular re-engagements across North America. Also enjoying an association with Les Violons du Roy, first as conductorin-residence, then as associate conductor, and until 2012 as principal guest conductor, he has led the ensemble in more than 200 performances in the province of Québec, across Canada and in Mexico. In 2006, he recorded his first album with Les Violons du Roy entitled Piazzolla which received a Juno Award for Classical Album Of The Year in the category Solo or Chamber Ensemble in 2007. They also have two subsequent recordings: Bartok in 2008 and Britten in 2010. Highlights of the 2013-14 season include his debuts with the Detroit Symphony, Hong Kong Philharmonic, Louisiana Philharmonic Orchestra, Pacific Symphony, and the re-engagements with the Calgary Philharmonic Orchestra, Oregon Symphony, and the Orchestre Symphonique de Quebec. In the past seasons, appearances as guest conductor in North America have included performances with the Calgary Philharmonic, Columbus Symphony, Edmonton Symphony, Grand Rapids Symphony, Handel & Haydn Society, Honolulu Symphony, Houston Symphony, Kitchener-Waterloo Symphony, Monterey Symphony, Montreal Symphony, National Arts Center Orchestra (Ottawa), Omaha Symphony, Orchestre Symphonique de Quebec, Oregon Symphony, Phoenix Symphony, San Antonio Symphony, Seattle Symphony, Symphony Nova Scotia, Thirteen Strings Chamber Orchestra, Toronto Symphony, Vancouver Symphony, Victoria Symphony, and Winnipeg Symphony. Zeitouni has also served as associate conductor and chorus master at the Opera de Montreal, and music director of their Young Artist Program, music director of the Banff Centre “Opera as Theatre” program, chorus master at the Opéra de Québec, and choir director of the Québec Symphony Orchestra. He was as well director of the orchestra and opera workshop of the Faculty of Music at Laval University. PERFORM ANCE / VOL . X XII / WINTER 2014

Profiles Jim Curry Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Jeff Tyzik, Principal Pops Conductor Terence Blanchard, Fred A. and Barbara M. Erb Jazz Creative Director Chair

DSO POPS A Rocky Mountain Christmas: A Tribute to John Denver Wednesday, December 18, 2013 at 7:30 p.m. in Orchestra Hall Jim Curry, lead vocal, guitar Anne Curry, vocal, guitar, mandolin • Diane Ireland, flutes Tom Williams, bass, vocal • Chris Wills, piano, vocal Gene Wagner, drums, percussion • Lee Holdridge, conductor John Denver Rocky Mountain High arr. Lee Holdridge Annie’s Song Matthew Sunshine On My Shoulders Flight: The Higher We Fly Eagles and Horses I Want To Live Take Me Home Country Roads

John Denver John Denver Medley arr. Gordon Lustig My Sweet Lady Perhaps Love For You

John Denver Calypso arr. Lee Holdridge

I N T ER M IS SION

Lee Holdridge “Festival” from Summer Sketches John Denver It’s The Most Wonderful Time Of The Year arr. Lee Holdridge John Denver Noel: Christmas Eve. 1913

Christmas is Coming

John Denver Carol for a Christmas Tree arr. Lee Holdridge John Denver Christmas for Cowboys

Jim Curry began his music career writing and performing the opening song, “The Time of Your Life” for his senior play. The song was then voted to be the 1975 class song and Jim was awarded CURRY a Rotary Scholarship to study music in college. Even at this early stage in his life Jim’s natural voice resembled that of singer/songwriter John Denver. The untimely death of John Denver in 1997 was a tragedy that was felt the world over. Such a void in the musical world left John’s ardent fans demanding that his music survive. CBS television responded by producing a made for TV movie: “Take Me Home, the John Denver Story” in which Jim landed an off-camera role singing as the voice of John Denver. This experience inspired Jim to produce full–length John Denver tribute concerts. Jim has created the ultimate tribute experience and has emerged as the top performer of John Denver’s music today. He often performs with John Denver’s former band members. Curry’s tribute is the first and only full-length John Denver tribute in a Las Vegas Casino and is a sell-out favorite at the Silverton time after time. Jim’s latest efforts are to take his tribute show to a new level by adding symphony orchestrations back into live performances of John Denver music. When John Denver wanted to add a full orchestra to his live shows and recordings, he teamed up with Grammy Award winning arranger, composer and conductor Lee Holdridge. Lee’s symphony arrangements, along with John’s songs became the trademark sound of many of John’s hits.

John Denver The Twelve Days of Christmas arr. Lee Holdridge Memories of Home

John Denver Aspen Glow

John Denver O Holy Night arr. Lee Holdridge A Baby Just Like You

Poems, Prayers and Promises This DSO Pops performance is generously sponsored by

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

PERFORM ANCE / VOL . X XII / WINTER 2014

DSO.ORG

Profile Thomas Wilkins Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Jeff Tyzik, Principal Pops Conductor Terence Blanchard, Fred A. and Barbara M. Erb Jazz Creative Director Chair

POPS SERIES Home for the Holidays Friday, December 20, 2013 at 10:45 a.m. & 8 p.m. Saturday, December 21, 2013 at 3 p.m. & 8 p.m. Sunday, December 22, 2013 at 3 p.m. & 7 p.m. in Orchestra Hall Thomas Wilkins, conductor Gary Maur, vocalist * • Beth Southard, vocalist ^ Grosse Pointe South High School Choirs, Christopher D. Pratt, director Andover High School Choir, Bruce Snyder, director

arr. Carmen Dragon Deck the Halls with Boughs of Holly

Dmytrovich Mykola Leontovich Carol of the Bells arr. Peter Wilhousky and Richard Hayman

Edward Pola & George Wyle It’s the Most Wonderful Time of the Year * arr. James Kessler

Mel Torme Christmas Song/Have Yourself A Merry Little Christmas *

John Jacob Niles I Wonder As I Wander ^

Katherine Davis Carol of the Drum arr. Ray Wright

Sean O’Loughlin A Season for Joy Hark! The Herald Angels Sing! Patapan It Came Upon the Midnight Clear Joy to the World

Leroy Anderson Sleigh Ride

Frank Loesser Baby It’s Cold Outside *^

I N T ER M IS SION

John Williams “Merry Christmas, Merry Christmas” Lyrics by Leslie Bricusse from Three Holiday Songs from Home Alone

Jerry Herman The Best Christmas of All orch. Larry Blank arr. Robert Wendel

Georges Bize “Farandole” from L’Arlésienne Suite No. 2

Gloria Shayne Baker Do You Hear What I Hear? * Lyrics by Noel Regney

Adolphe-Charles Adam O Holy Night ^ arr. David T. Clydesdale

Robert L. Shaw Many Moods of Christmas Suite I

arr. Robert Russell Bennett Good Christian Men, Rejoice Silent Night Patapan O Come, All Ye Faithful This Pops Series performance is generously sponsored by

Thomas Wilkins is the music director of the Omaha Symphony, a position he has held since 2005. Additionally, he is principal guest conductor of the Hollywood Bowl WILKINS Orchestra and was recently appointed the youth and family concerts conductor for the Boston Symphony Orchestra. Past positions have included resident conductor of the Detroit Symphony, as well as the Florida Orchestra (Tampa Bay), and associate conductor of the Richmond Symphony (Virginia). He served on the music faculties of North Park University (Chicago), the University of Tennessee in Chattanooga and Virginia Commonwealth University in Richmond. Committed to promoting a life-long enthusiasm for music, Thomas brings energy and commitment to audiences of all ages. For his significant contribution to the children of Tampa Bay, the Pinellas County Music Educators Association named him 1998 Friend of the Arts and the Hillsborough County Elementary Music Educators recognized him as 1998 Music Educator of the Year. During his conducting career, Thomas has been featured with orchestras throughout the United States, including the Dallas Symphony, Cleveland Orchestra, Buffalo Philharmonic, Houston Symphony and the National Symphony in Washington, D.C. He is also a frequent guest conductor of the Baltimore Symphony, the New Jersey Symphony, the Indianapolis Symphony and the Philadelphia Orchestra. Recently he debuted with the Utah Symphony, the Los Angeles Philharmonic and the Rochester (NY) and Rhode Island Philharmonic Orchestras. Thomas serves as a director at large for the Greater Omaha Chamber of Commerce, and has served on the board of directors of such organizations as the Center Against Spouse Abuse in Tampa Bay, the Museum of Fine Arts and the Academy Preparatory Center for Education, both in St. Petersburg. Currently, he serves as chairman of the board for the Raymond James Charitable Endowment Fund.

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

DSO.ORG

PERFORM ANCE / VOL . X XII / WINTER 2014

Profiles Brent Havens Leonard Slatkin, Music Director

Neeme Järvi, Music Director Emeritus

Jeff Tyzik, Principal Pops Conductor Terence Blanchard, Fred A. and Barbara M. Erb Jazz Creative Director Chair

POPS SERIES A Tribute to Led Zeppelin Friday, January 17, 2014 at 8 p.m. Saturday, January 18, 2014 at 8 p.m. in Orchestra Hall Brent Havens, conductor Randy Jackson, soloist

Program to be announced from the stage.

This Pops Series performance is generously sponsored by

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

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Berklee-trained arranger/conductor Brent Havens has written music for orchestras, feature films and virtually every kind of television. His TV work includes movies for networks such as ABC, CBS HAVENS and ABC Family Channel Network, commercials, sports music for networks such as ESPN and even cartoons. Havens has also worked with the Doobie Brothers and the Milwaukee Symphony, arranging and conducting the combined group for Harley Davidson’s 100th Anniversary Birthday Party Finale attended by over 150,000 fans. He has worked with some of the world’s greatest orchestras including the Royal Philharmonic in London, the Cincinnati Symphony Orchestra, the Minnesota Orchestra, the Indianapolis Symphony Orchestra, the Houston Symphony, the Atlanta Symphony, the Baltimore Symphony, the Dallas Symphony, the San Diego Symphony and countless others. Havens recently completed the score for the film “Quo Vadis,” a Premier Pictures remake of the 1956 gladiator film. Havens is Arranger/Guest Conductor for seven symphonic rock programs – the Music of Led Zeppelin, the Music of the Doors, the Music of Pink Floyd, the Music of the Eagles, the Music of Queen, the Music of Michael Jackson and most recently, the Music of The Who!

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*Some restrictions apply.

Randy Jackson is the lead singer/guitarist for the rock band Zebra. Randy’s first foray into recording success began with the self-titled Zebra debut album, released on Atlantic Records in 1983. JACKSON Critically acclaimed for its lush rock sounds, due in large part to Jackson’s searing lead vocals and soaring guitar leads, the album sold 75,000 copies the first week. “Who’s Behind The Door” and “Tell Me What You Want”, written by Jackson, received serious notice in the press, and helped to form legions of Zebra fans almost instantly. The latest Zebra release, “Zebra IV,” was also produced and engineered by Jackson. Randy toured as keyboardist, guitarist and backing vocalist in 1989 with the original, reunited Jefferson Airplane, their last tour together. He has also worked extensively in the area of musical software and hardware development. DSO.ORG

Maximize Your Experience Priority Service for our Members Subscribers and donors who give $1,000 or more annually receive priority assistance. Just visit the Member Center on the second floor of the Max M. Fisher Atrium for help with tickets, exchanges, donations, or any other DSO needs. Herman and Sharon Frankel Donor Lounge Governing Members who give $3,000 or more annually enjoy complimentary beverages, appetizers, and desserts in the Donor Lounge, open 45 minutes prior to each concert through to the end of intermission. For more information on becoming a Governing Member call Cassie Brenske at 313.576.5460. A Taste of the DSO Located on the second floor of Orchestra Hall, Paradise Lounge will be open prior to most concerts featuring small plates paired with classic cocktails, small production wines, and craft beers. Bars will continue to be available throughout the Max M. 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.

Parking, Security, and Lost & Found Valet parking is available on Woodward Avenue in front of the main entrance for $12 per vehicle for most concerts. Secure garage parking is available for $7 per vehicle at the Orchestra Place Parking Deck on Parsons St. between Woodward and Cass. For improved traffic flow, enter Parsons St. from Cass Ave. Metered street parking is available. The DSO offers shuttle bus service to Coffee Concerts from select locations. Call 313.576.5130 for more information. DSO security personnel, dressed in red, monitor the grounds of the Max and the parking deck, as well as surrounding streets during all events and concerts. To inquire about a lost item see the House Manager or call 313.576.5199 during business hours. A Smoke-Free Environment The DSO is pleased to offer a smokefree environment at the Max M. Fisher Music Center. Patrons who wish to smoke must do so outside the building. An outdoor patio is also available on the second level of the Atrium Lobby. Accessibility Parking is available in the Orchestra Place Parking Deck for patrons with applicable permits. There are elevators, barrier-free restrooms and accessible seating in all areas of the Max M. Fisher

Music Center. Security personnel are available at the entrances to 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. House and Seating Policies All patrons must have a ticket to attend concerts at the Max M. Fisher Music Center, including children. The Max M. Fisher Music Center opens two hours prior to most DSO concerts. Most classical 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 work will be reseated after the work is completed. Latecomers will be able to watch the performance on closed circuit television in the Atrium Lobby. Please turn off all cell phones, pagers, alarms, and other electronic devices. Patrons should speak to the House Manager to make special arrangements to receive emergency phone calls during a performance.

Concert Cancellations To find out if a scheduled performance has been cancelled due to inclement weather or other emergencies, visit dso.org or facebook.com/ detroitsymphony, call the Box Office at 313.576.5111, or tune in to WJR 760 AM and WWJ 950 AM. Gift Certificates Give friends and loved ones a gift that lasts all year long—the experience of a DSO performance. Gift certificates are available in any denomination and may be used toward the purchase of DSO concert tickets. Visit the DSO Box Office or call 313.576.5111 for more information. Max M. Fisher Music Center Rental Information The Max M. Fisher Music Center is an ideal and affordable setting for a variety of events and performances, including weddings, corporate gatherings, concerts, and more. For information on renting the facility, please call 313.576.5050 or visit dso.org/rent.

ADMINISTRATIVE STAFF EXECUTIVE OFFICE

COMMUNITY PROGRAMS

Ronald Martin, Security Officer

Institutional Giving

Anne Parsons, President and CEO

Kareem George, Managing Director of Community Programs

Johnnie Scott, Security Officer

Stephan Bobalik, Director of Institutional Partnerships

Paul W. Hogle, Executive Vice President

Katherine Curatolo, Artistic and Community Engagement Coordinator

Finance

Linda Lutz, Chief Financial Officer Anne Wilczak, Managing Director of Special Events and Projects Joy Crawford, Executive Assistant to the President and CEO Elaine Curvin, Executive Assistant to the Executive Vice President OFFICE OF THE GENERAL MANAGER Erik Rönmark, General Manager and Artistic Administrator Artistic Planning Kathryn Ginsburg, Artistic Manager Christopher Harrington, Managing Director of Paradise Jazz Series Jessica Ruiz, Assistant Artistic Administrator Orchestra Operations

EDUCATION

Angela Detlor, Senior Director of Patron Development and Sales

Emily Lamoreaux, General Manager of Civic Youth Ensembles

Jody Harper, Information Technology Manager

Sheena Law, Education Outreach Coordinator David Cook, Civic Youth Ensembles Coordinator FINANCE AND ADMINISTRATION

Information Technology

PATRON & INSTITUTIONAL ADVANCEMENT Reimer Priester, Senior Director of Patron and Institutional Advancement Chelsea Landry, Advancement Associate

Facility Operations Larry Ensman, Maintenance Supervisor Frederico Augustin, Facility Engineer Martez Duncan, Maintenance Technician

Don Killinger, Operations and Production Coordinator

William Guilbault, Maintenance Technician

Frank Bonucci, Stage Manager

Crystal King, Maintenance Technician

Leslie Karr, Executive Assistant to the Music Director

Sandra Mazza, Senior Accountant Roná Simmons, Staff Accountant

Ryan Ensman, Maintenance Technician

Heather Hart Rochon, Assistant Orchestra Personnel Manager

PATRON DEVELOPMENT & SALES

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

Alice Sauro, Orchestra Manager

Stephen Molina, Orchestra Personnel Manager

Jeremiah Hess, Senior Director of Accounting and Finance

Daniel Speights, Maintenance Technician Greg Schmizzi, Chief of Security Melvin Dismukes, Security Officer Norris Jackson, Security Officer

La Heidra Marshall, Patron Development Officer Martha Morhardt, Patron Development Assistant Michelle Marshall, Assistant Manager, Patron Sales and Services Taryn Sanford, Lead Ticketing Specialist

Audience Development

Catering and Retail Services

Christopher Harrington, Director of Audience Development

Christina Willams, Interim Director of Catering and Retail Services

Chuck Dyer, Manager of Group and Corporate Sales

Michael Polsinelli, Executive Chef

Jennifer Kouassi, Front of House Manager Mallory Schirr, Audience Development Coordinator Events and Rentals

ENGAGEMENT, STRATEGY, AND DIGITAL MEDIA Scott Harrison, Executive Director of Board Engagement and Strategy; Executive Producer of Digital Media

Advancement Services

B.J. Pearson, Senior Manager of Events and Rentals

Bree Kneisler, Prospect Research and Advancement Services Manager

Holly Clement, Senior Manager of Events and Rentals

Board, Patron, and Volunteer Engagement

Connie Campbell, Manager of Event Sales and Administration

Lindsey Evert, Patron Engagement and Strategy Manager

Patron Communications and Public Relations

Chelsea Kotula, Board and Volunteer Engagement Officer

Gabrielle Poshadlo, Patron Communications and Public Relations Manager

Digital Media

Will Broner, Patron Acknowledgement and Gift Systems Coordinator Caitlin Bush, Patron Acknowledgement Specialist oneDSO Campaign Jessica Langlois, Campaign Director Jessica Luther, Campaign Associate Individual Giving Cassie Brenske, Governing Members Gift Officer

Patron Sales and Service

Eric Woodhams, Director of Digital Media

Anné Renforth, Manager of Patron Sales and Service

Sharon Carr, Assistant Manager of Tessitura and Ticketing Operations

Tiiko Reese-Douglas, Patron Development Officer

Corinne Wiseman, Digital Marketing Specialist

Juanda Pack, Patron Advancement Officer DSO.ORG

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DSO Education

In the Community Sphinx Overture Program

During the 2013-2014 school year, DSO musicians will partner with the Sphinx Overture Program to provide quality music learning experiences for beginning students at three Detroit elementary schools. DSO musicians will make 3 visits to each location to perform a wide variety of repertoire demonstrating the technical and creative capabilities of each instrument and then engaging the student audience in interactive musical activities, which empower them to create expressive sounds on their own instruments. The DSO’s contribution to the Overture program will be igniting and generating passion for playing that can be refocused into the musical training provided by Sphinx instructors.

Civic Youth Ensembles

The Civic Youth Ensemble participants and families have had an exhilarating the fall semester! DSO Musicians, as well as guest artists such as Terence Blanchard, Gil Shaham and Midori have visited, engaged and inspired over 600 CYE musicians and their families in programs taking place on Orchestra Hall campus. Students have also had opportunities for the musicians to engage with colleges, universities and other cultural arts institutions such as: University of Southern California, Eastman School of Music, Central Michigan University, Wayne State University, Bowling Green State University, Blue Lake Fine Arts Camp and Interlochen Arts Academy. We look forward to the spring, where Leonard Slatkin will be rehearsing two of the CYE ensembles and hosting a FAQ session with the CYE’s Saturday participants. For more information on the Civic Youth Ensembles, including performance and audition information, visit dso.org.

Civic Jam Session at Cliff Bells

Three times a year, the Civic Youth Ensembles host an open jam session at Cliff Bells in Detroit. The first was held on Sunday, November 3rd. These jam sessions are a great opportunity to not only engage our jazz students in the living, breathing culture that is Detroit, but is also a terrific way to provide other Metro Detroit students the opportunity to jam with our Civic Youth Ensemble students, faculty and DSO musicians. Student performers, regardless of skill level or instrument, are encouraged to come out, play, listen, relax, and enjoy the atmosphere! The next Jam Session is February 2nd, 2014 from 6:00-9:00 p.m. We encourage everyone to attend! For more information please contact civic@dso.org 30

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Upcoming Events: DECEMBER 6 The Nutcracker 7 The Nutcracker 8 Civic Jazz Live! 15 Michael W. Smith: A Very Special Christmas FEBRUARY 2 Civic Jam Session @ Cliff Bells 6 Civic Jazz Live! 8 Tiny Tots: Teddy’s Excellent Adventures 8 YPFC: Rock! Sing! Swing! For more performance information and tickets visit: dso.org or call 313.576.5111

Henry Ford Learning Academy

The Henry Ford Learning Academy in Detroit opens its doors this December to begin a residency with the Detroit Symphony Orchestra. Included in the scheduled programs are: 4 in-school DSO musician visits that incorporate the Math, Science, English, and Social Studies curriculum into the performance and discussion content, 2 school visits to Orchestra Hall for the Educational Concert Series and to tour the building as part of a 4th grade design challenge, and 2 on-site family events open to the entire school community. We are happy to provide quality music learning experiences for the students and look forward to becoming an integral part of the north end Detroit community. DSO.ORG

The Annual Fund Gifts received between September 1, 2012 and October 31, 2013

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 a question about this roster, or for more information about how you can make a donation, please contact 313.576.5114 or dso.org/donate. The Gabrilowitsch Society honors those 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 Max M. & Marjorie S. Fisher Foundation Giving of $100,000 and more The Mandell L. & Madeleine H. Berman Family Foundation Julie & Peter Cummings Mrs. Marjorie S. Fisher

Mr. & Mrs. Stanley Frankel Samuel & Jean Frankel Foundation

Mr. & Mrs. James B. Nicholson

Mr. & Mrs. Phillip Wm. Fisher

Ruth & Al Glancy

Emory M. Ford, Jr.† Endowment

Bernard & Eleanor Robertson

Herman & Sharon Frankel

Mrs. Richard C. Van Dusen

Marvin & Betty Danto Family Foundation Ms. Leslie Devereaux Sidney & Madeline Forbes Ms. Deborah Miesel

The Polk Family Cindy & Leonard Slatkin Dr. & Mrs. Clyde Wu

Linda Dresner & Ed Levy, Jr. Mrs. Kathryn L. Fife Mr. & Mrs. David Fischer Mr. & Mrs. Morton E. Harris Chacona W. Johnson Mr. & Mrs. Eugene A. Miller

Mr. & Mrs. Bruce D. Peterson Mr. & Mrs. Alan E. Schwartz & Mrs. Jean Shapero Mr. & Mrs. Larry Sherman Mr. & Mrs. Donald R. Simon

Mr. & Mrs. James Grosfeld Dr. Gloria Heppner Ms. Doreen Hermelin Lauri & Paul Hogle Mr. & Mrs. Ronald Horwitz Richard H. & Carola Huttenlocher Mr. Sharad P. Jain Faye & Austin Kanter Mr. & Mrs. Norman D. Katz Mr. & Mrs. Bernard S. Kent Mr. David Lebenbom Marguerite & David Lentz Dr. Melvin A. Lester Mr. & Mrs. Arthur C. Liebler Michael & Laura Marcero David & Valerie McCammon Mr. Edward K. Miller Mr. & Mrs. Robert S. Miller Cyril Moscow Mr. Joseph Mullany Geoffrey S. Nathan & Margaret E. Winters

Jim & Mary Beth Nicholson Jo Elyn Nyman Anne Parsons & Donald Dietz Mr. & Mrs. Richard G. Partrich Dr. Glenda D. Price Mr. Gary Ran Ms. Ruth Rattner Mr. & Mrs. Lloyd E. Reuss Jack & Aviva Robinson Martie & Bob Sachs Marjorie & Saul Saulson Mark & Lois Shaevsky Mr. Stephan Sharf † Mr. David Sherbin Richard Sonenklar & Gregory Haynes Mr. & Mrs. John Stroh III Mr. Robert VanWalleghem Arthur & Trudy Weiss Mr. & Mrs. R. Jamison Williams Paul & Terese Zlotoff Milton & Lois Zussman

Giving of $50,000 and more Mr. & Mrs. Richard L. Alonzo Mr. & Mrs. Eugene Applebaum Penny & Harold Blumenstein Mrs. RoseAnn Comstock

Giving of $25,000 and more Anonymous Mr. & Mrs. John A. Boll, Sr. Mr. & Mrs. Richard A. Brodie Mr. Gary Cone & Ms. Aimée Cowher Mr. & Mrs. Raymond M. Cracchiolo Mrs. Bonnie Larson

Giving of $10,000 and more Mr. & Mrs. Robert A. Allesee Daniel & Rose Angelucci Mr. & Mrs. Norman Ankers Mr. Chuck Becker Mr. & Mrs. Robert H. Bluestein Mr. & Mrs. Jim Bonahoom Gwen & Richard Bowlby Michael & Geraldine Buckles Lois & Avern Cohn Mark Davidoff & Margie Dunn Marianne Endicott Jim & Margo Farber Dr. Saul & Mrs. Helen Forman Barbara Frankel & Ronald Michalak Dale & Bruce Frankel Lynn & Bharat Gandhi Mr. & Mrs. Eugene A. Gargaro, Jr. Dorothy & Byron† Gerson Mr. & Mrs. Ralph J. Gerson Robert & Mary Ann Gorlin Dr. & Mrs. Herman Gray, Jr. DSO.ORG

† Deceased

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Distinguished Donor Spotlight

“The DSO is becoming a flexible and resilient organization, responding to the challenges of this struggling city by bringing the Orchestra into the community in new and novel ways that invite different audiences to hear the music in unconventional places.” Gary Wasserman has been supporting the Detroit Symphony Orchestra for over 20 years. Having previously served on our Board of Directors, he feels more involved now than ever. Gary attributes his reengaged spirit to the new energy at the

Gary Wasserman

DSO, no doubt, in part because of our Mix @ the Max Series that he will be sponsoring next spring. Hosted in the DSO’s Music Box, the series explores all corners of the classical music genre, innovating new ways to experience live music. Gary’s commitment to our mission and goal of becoming the most accessible orchestra on the planet is exceptional. We are proud to celebrate Gary’s long-time support of the DSO and active role as an ambassador for our great Orchestra.

Giving of $5,000 and more Richard & Jiehan Alonzo

Goodman Family Charitable Trust

The Locniskar Group

Mrs. Helen F. Pippin

Drs. John & Janice Bernick

Dr. Allen Goodman & Dr. Janet Hankin

Mr. & Mrs. Harry A. Lomason

Dr. & Mrs. John Roberts

Mr. & Mrs. James A. Green

Elaine & Mervyn Manning

Elaine & Michael Serling

Ms. Florine Mark

Mr. and Mrs. Leonard W. Smith

Alexander & Evelyn McKeen

John J. Solecki

Patricia A. & Patrick G. McKeever

Renate & Richard Soulen

Mrs. Susanne O. McMillan

Ms. Wanda & Ms. Eugenia Staszewski

Robert N. & Claire P. Brown Mr. & Mrs. Gary L. Cowger Deborah & Stephen D’Arcy Fund Jerry P. & Maureen T. D’Avanzo Ms. Barbara Davidson Beck Demery Ron Fischer & Kyoko Kashiwagi Mr. & Mrs. Alfred J. Fisher, III Mr. & Mrs. Steven Fishman Mrs. Harold L. Frank Maxine & Stuart Frankel Ms. Carol A. Friend & Mr. Mark T. Kilbourn Allan D. Gilmour & Eric C. Jirgens Mrs. Gale Girolami Dr. Kenneth & Roslyne Gitlin Dr. Robert T. Goldman

Ms. Nancy Henk Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. & Mrs. Norman H. Hofley Mr. & Mrs. A. E. Igleheart Mr. & Mrs. Charles R. Janovsky Mr. & Mrs. Richard J. Jessup Mr. & Mrs. Michael J. Keegan Betsy & Joel Kellman Michael E. Smerza & Nancy Keppelman Dr. David & Elizabeth Kessel Mr. & Mrs. Richard P. Kughn Mr. & Mrs. Harold Kulish Allan S. Leonard

Mr. Roland Meulebrouck John E. & Marcia Miller Dr. Robert & Dr. Mary Mobley David R. & Sylvia Nelson Mr. & Mrs. Albert T. Nelson, Jr. Patricia & Henry Nickol Mr. & Mrs. David E. Nims Mariam C. Noland & James A. Kelly Mr & Mrs. Arthur T. O’Reilly Donald & Jo Anne Petersen Fund Dr. William F. Pickard

Professor Calvin L. Stevens Stephen & Phyllis Strome David Usher Mr. & Mrs. Jonathan T. Walton Gary L. Wasserman Mr. & Mrs. John Whitecar Mrs. Beryl Winkelman Ms. June Wu Dr. & Mrs. Robert E. Wurtz Mr. & Mrs. Alan Zekelman

Giving of $2,500 and more Anonymous Dr. Lourdes V. Andaya Dr. & Mrs. Ali-Reza R. Armin Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook Mr. & Mrs. John Axe Ms. Ruth Baidas Mr. John Barbes Mr. J. Addison Bartush David & Kay Basler Mr. & Mrs. Martin S. Baum Mary Beattie Ms. Margaret Beck Mrs. Harriett Berg Mrs. John G. Bielawski Mr. & Mrs. Lawrence Bluth Ms. Jane Bolender

Ms. Nadia Boreiko Dr. & Mrs. Rudrick E. Boucher Mr. Anthony F. Brinkman Mr. Scott Brooks Mr. & Mrs. Mark R. Buchanan Mr. H. William Burdett, Jr. Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Philip & Carol Campbell Dr. & Mrs. Thomas E. Carson Mr. Daniel Clancy & Mr. Jack Perlmutter Gloria & Fred Clark Jack, Evelyn & Richard Cole Family Foundation Mr. & Mrs. Thomas W. Cook Dr. & Mrs. Ivan Louis Cotman Thomas & Melissa Cragg Suzanne Dalton & Clyde Foles

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Mr. Christopher Danato Dr. Joseph Daniel & Mr. Alfredo Silvestre Mr. & Mrs. Colin Darke Barbara A. David Lillian & Walter Dean Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Mr. & Ms. Ric L. DeVore Adel & Walter Dissett Mr. & Mrs. Mark Domin Mr. & Mrs. Walter E. Douglas Ms. Judith Doyle Eugene & Elaine Driker Paul + & Peggy Dufault Mr. & Mrs. Robert Dunn Jeanne Bakale & Roger Dye Mrs. George D. Dzialak Dr. Leo & Mrs. Mira Eisenberg

† Deceased

Dr. & Mrs. A. Bradley Eisenbrey Ms. Jennifer Engle Mr. & Mrs. John M. Erb Sanford Hansell & Dr. Raina Ernstoff Mary Sue & Paul E. Ewing Mr. David Faulkner Mr. & Mrs. Oscar Feldman Mr. David Fleitz Mr. & Mrs. Daniel E. Frohardt-Lane Mr. & Mrs. Paul Ganson Dr. & Mrs. Theodore Golden Mr. Nathaniel Good Mr. Jason Gourley & Mrs. Rebekah Page-Gourley Dr. & Mrs. Steven Grekin Mr. Jeffrey Groehn Alice Berberian Haidostian Dr. Algea Hale

DSO.ORG

Mr. Kenneth Hale Mr. & Mrs. Tim & Rebecca Haller Robert & Elizabeth Hamel Erie-St Clair Clinic Mr. Lorne Hanley Randall L. & Nancy Caine Harbour Angela Detlor & Scott Harrison Mr. Lee V. Hart & Mr. Charles L. Dunlap Cheryl A. Harvey Dr. & Mrs. Gerhardt Hein Mr. & Mrs. Demar W. Helzer Dr. Deanna & Mr. David B. Holtzman Jack & Anne Hommes Mr. Matthew Howell & Mrs. Julie Wagner Mr. F. Robert Hozian Jean Wright & Joseph L. Hudson, Jr. Fund Julius & Cynthia Huebner Foundation Ira & Brenda Jaffe Mr. John S. Johns Mr. George Johnson Lenard & Connie Johnston Mrs. Ellen D. Kahn Martin & Cis Maisel Kellman Mr. Patrick J. Kerzic & Stephanie Germack Kerzic The Stephanie & Frederick Keywell Family Fund Mrs. Frances King Thomas & Linda Klein Mr. & Mrs. Thomas N. Klimko Ms. Rozanne Kokko Dr. Harry & Katherine Kotsis Robert C. & Margaret A. Kotz Mr. Julius Kusey Joyce & Myron LaBan Dr. Raymond Landes & Dr. Melissa McBrien-Landes Mr. James M. Landis, Jr. Drs. Scott & Lisa Langenburg Ms. Sandra Lapadot Ms. Anne T. Larin Dolores & Paul Lavins Dr. Klaudia Plawny- Lebenbom & Mr. Michael Lebenbom Max Lepler & Rex L. Dotson Mr. & Mrs. John D. Lewis Mrs. Melissa Liberty Mr. & Mrs. Robert Liggett Mr. & Mrs. Joseph Lile Mr. Gregory Liposky Dr. & Mrs. Charles Lucas Mr. Robert A. Lutz Mrs. Sandra MacLeod Dr. & Mrs. Donald MacQueen Margaret Makulski & James Bannan Mr. & Mrs. Charles W. Manke, Jr. Mr. & Mrs. Patrick Mansfield David S. Maquera, Esq. Maureen & Mauri Marshall Dr. & Mrs. Peter M. McCann M.D. Ms. LeAnne McCorry Mr. & Mrs. Alonzo McDonald

DSO.ORG

Dr. & Mrs. Donald A. Meier Dr. & Mrs. David Mendelson Mrs. Thomas Meyer Mr. Louis Milgrom Bruce & Mary Miller Mr. & Mrs. Leonard G. Miller Mr. Stephen & Dr. Susan Molina Eugene & Sheila Mondry Foundation Mr. & Mrs. Craig R. Morgan Ms. A. Anne Moroun Ms. Florence Morris Mr. Frederick Morsches Dr. Stephen & Dr. Barbara Munk Mr. Bruce Murphy Joy & Allan Nachman Edward & Judith Narens Mr. & Mrs. Mark Neville Joanna P. Morse & Arthur A. Nitzsche Mr. Thomas Norris Mr. & Mrs. Stanley Nycek Mr. & Mrs. Joshua Opperer David & Andrea Page Mrs. Margot Parker Dr. & Mrs. Claus Petermann Mr. Charles Peters Mrs. Bernard E. Pincus Mr. & Mrs. Jack Pokrzywa Ms. Judith Polk Mr. & Mrs. William Powers Mrs. Susan Priester Mr. & Mrs. Nicolas I. Quintana Ms. Michele Rambour Mr. Richard Rapson Drs. Stuart & Hilary Ratner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Carol & Foster Redding Mr. & Mrs. Dave Redfield Dr. Claude & Mrs. Sandra Reitelman Denise Reske Barbara Gage Rex Mrs. Ann C. Rohr Laura & Seth Romine Norman & Dulcie Rosenfeld Mr. & Mrs. Robert B. Rosowski Mr. & Mrs. Hugh C. Ross Mr. R. Desmond Rowan Jane & Curt Russell Mrs. Lois V. Ryan Dr. & Mrs. Mark Saffer Dr. Hershel Sandberg Ruth & Carl Schalm Ms. Martha A. Scharchburg & Mr. Bruce Beyer Mr. & Mrs. Alan S. Schwartz Mr. & Mrs. Kingsley G. Sears Mr. & Mrs. Fred Secrest Mr. Merton J. & Beverly Segal Ms. Cynthia Shaw Mr. & Mrs. James H. Sherman Dr. Les & Mrs. Ellen Siegel Mr. Robert & Mrs. Eleanor A. Siewert Mr. & Mrs. William Sirois William H. Smith

Mr. & Mrs. S. Kinnie Smith, Jr. Dr. Gregory Stephens Mr. Clinton F. Stimpson, Jr. Dr. & Mrs. Charles D. Stocking Mr. & Mrs. Ray Stone Mrs. Kathleen Straus & Mr. Walter Shapero David Szymborski & Marilyn Sicklesteel Dorothy I. Tarpinian Shelley & Joel Tauber Mr. & Mrs. James W. Throop Alice & Paul Tomboulian Mr. & Mrs. Michael Torakis Barbara & Stuart Trager Mr. & Mrs. L. W. Tucker Mark & Janice Uhlig Amanda Van Dusen & Curtis Blessing Mr. & Mrs. Charles B. Van Dusen Mr. & Mrs. George C. Vincent Ms. Phyllis Vroom Mr. & Mrs. William Waak Dr. & Mrs. Ronald W. Wadle Ann Kirk Warren Mr. Patrick Webster Mr. & Mrs. Evan Weiner Mr. Herman W. Weinreich Mr. & Mrs. Lawrence Weisberg Ambassador & Mrs. Ronald N. Weiser Janis & William M. Wetsman / The Wetsman Foundation Dr. Amy M. Horton & Dr. Kim Allan Williams Beverly & Barry Williams Rissa & Sheldon Winkelman Mr. & Mrs. Warren G. Wood Mrs. Judith G. Yaker Dr. Alit Yousif & Mr. Kirk Yousif

Giving of $1,500 and more Anonymous Mrs. Thomas V. Angott, Sr. Mr. & Mrs. Robert L. Anthony Mr. & Mrs. Arnold Aronoff Dr. & Mrs. Gary S. Assarian Mr. & Mrs. Joseph Aviv Mr. Mark Bartnik & Ms. Sandra J. Collins Mr. & Mrs. James V. Bellanca, Jr. Mr. & Mrs. Jeffrey A. Berner Linda & Maurice S. Binkow Mr. Timothy J. Bogan Mr. & Mrs. J. Bora The Honorable Susan D. Borman & Mr. Stuart Michaelson Mr. & Mrs. Gerald Bright Carol & Stephen A. Bromberg Ronald & Lynda Charfoos Fred J. Chynchuk Mrs. Patricia Cravens Mrs. Barbara Cunningham Mr. Michael J. Dul Mr. Charles Dyer Mr. & Mrs. Henry Eckfeld Mr. & Mrs. Howard O. Emorey Mr. & Mrs. Anthony C. Fielek Mr. Samuel Frank

â&#x20AC; Deceased

Mr. & Mrs. Geoghegan Mrs. William D. Gilbride Drs. Lynda & Conrad Giles Dr. & Mrs. Paul Goodman Mrs. Myongsik Yun & Mr. John C. Grant Dr. & Mrs. Joe L. Greene Ms. Janet Groening-Marsh Mr. Donald Guertin Mr. & Mrs. Robert Hage Donna & Eugene Hartwig Mr. Michael E. Hinsky & Tyrus N. Curtis Ms. Barbara Honner Ms. Elizabeth Ingraham Ms. Nadine Jakobowski Mr. & Mrs. Randel Jamerson Mr. Dick Jansson Carol & Richard Johnston Mr. Paul Joliat Jean Kegler June K. Kendall Ms. Ida King Mr. & Mrs. William P. Kingsley Mr. & Mrs. Harvey Kleiman Suzanne Kosacheff Martin & Karen Koss Mr. & Mrs. William Kroger, Jr. Richard & Sally Krugel Dr. Francesca LaPlante-Sosnowsky Mrs. Stephanie Latour Dr. Amit & Dr. Meeta Mohindra Dr. Van C. Momon Jr & Dr. Pamela Berry Ms. Sascha Montross Mr. Michael Nicholson Dr. & Mrs. Dongwhan Oh Noel & Patricia Peterson Mrs. Thomas Piskorowski Mr. & Mrs. Charles Polzin Mrs. Heinz C. Prechter Charlene & Michael Prysak Mr. Ronald Puchalski Hope & Larry Raymond Mr. Luis Resto Mrs. Ann Rosenthal Mr. & Mrs. Gerald F. Ross Mr. Allen Ross Mr. & Mrs. George Roumell Mr. & Mrs. Lee Runk Mr. & Mrs. R. Hamilton Schirmer Mr. Lawrence Shoffner Mr. Barry Siegel & Mrs. Debra Bernstein-Siegel Mr. & Mrs. Ronald & Dorothy Smith Mr. Robert Stawski Dr. & Mrs. Choichi Sugawa Ms. Lois Swartzell Dr. & Mrs. Howard Terebelo Mr. & Mrs. John P. Tierney Ms. Angela Topacio Dr. John Tu Dr. Gytis Udrys Dr. Vainutis Vaitkevicius Ms. Janet Weir Mr. Marshall Widick Rudolf E. Wilhelm Fund Ms. Amelia Wilhelm Mr. Michael J. Smith & Mrs. Mary C. Williams Mr. Richard D. Zimmerman Frank & Ruth Zinn

PERFORM ANCE / VOL . X XII / WINTER 2014

Corporate Supporters of the DSO $500,000 and more

PVS Chemicals, Inc.

Jim Nicholson

CEO, PVS Chemicals

$200,000 and more

Gerard M. Anderson

Fred Shell

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

Alan Mullaly

President & CEO, Ford Motor Company

James Vella

President, Ford Motor Company Fund

Daniel F. Akerson Chairman and CEO General Motors Corporation

Vivian Pickard President General Motors Foundation

$100,000 and more

The Chrysler Foundation

Brands of Chrysler Group LLC

Tetsuo Iwamura

President and CEO, American Honda Motor Co.

$50,000 and more Blue Cross Blue Shield MGM Grand Detroit Casino Scott Shuptrine Interiors

Delphi Foundation Dykema Fifth Third Bank Honigman Miller Schwartz and Cohn LLP Huron Consulting Group $5,000 and more

BASF Corporation Contractors Steel Company Conway MacKenzie Denso International America, Inc. Flagstar Bank Foley and Lardner LLP

President and CEO, MASCO Corporation

Melonie Colaianne

President, MASCO Corporation Foundation

Gregg Steinhafel

Chairman, President and CEO, Target Corporation

$20,000 and more Amerisure Insurance Global Automotive Alliance Greektown Casino

Macyâ&#x20AC;&#x2122;s R. L. Polk and Co. UHY Advisors MI, Inc.

$10,000 and more KPMG LLP PNC Bank PricewaterhouseCoopers LLP REDICO St. John Providence Health System

Meritor Severstal North America Steinway Piano Gallery of Detroit St. Joseph Mercy Health System UBS

PERFORM ANCE / VOL . X X II / WINTER 2014

Timothy Wadhams

Talmer Bank and Trust Telemus Capital Partners, LLC University of Michigan Warner Norcross and Judd LLP $1,000 and more

Ash Stevens Inc. Avis Ford, Inc. Dickinson Wright PLLC Health Alliance Plan Huntington Bancshares Michigan KlearSky Solutions, LLC Lakeside Ophthalmology Center Meadowbrook Insurance Group

Michigan First Credit Union Midwest Health Center, P.C. Save Our Symphony Schaerer Architextural Interiors SKF USA Spiratex Company Urban Science Applications

DSO.ORG

Support from Foundations and Organizations

The Detroit Symphony Orchestra acknowledges and honors the following foundations and organizations for their contributions to support the Orchestra’s performances, education programming, and other annual operations of the organization. This honor roll reflects both fulfillments of previous commitments and new gifts during the period beginning September 1, 2012 through October 31, 2013. We regret the omission of gifts received after this print deadline.

$500,000 and more William Davidson Foundation Max M. & Marjorie S. Fisher Foundation Samuel & Jean Frankel Foundation The Kresge Foundation

$250,000 and more The Andrew W. Mellon Foundation Community Foundation for Southeast Michigan Hudson-Webber Foundation McGregor Fund

$100,000 and more Fred A. & Barbara M. Erb Family Foundation Ford Foundation John S. and James L. Knight Foundation National Endowment for the Arts Detroit Symphony Orchestra Volunteer Council $50,000 and more DeRoy Testamentary Foundation Matilda R. Wilson Fund $25,000 and more Ann & Gordon Getty Foundation Eleanor & Edsel Ford Fund Global Village Charitable Trust Sage Foundation Michigan Council for Arts & Cultural Affairs $10,000 and more

$5,000 and more

Alice Kales Hartwick Foundation Henry Ford II Fund Moroun Family Foundation Myron P. Leven Foundation Oliver Dewey Marcks Foundation

Benson and Edith Ford Fund Marjorie & Maxwell Jospey Foundation Mary Thompson Foundation Lyon Family Foundation Young Woman’s Home Association

Corporate Spotlight General Motors Foundation

ince its inception in 1976, the General Motors Foundation has donated hundreds of millions of dollars to vital nonprofits focusing mainly in the areas of education, health and human services, environment, and community development. For years, the GM Foundation has also worked to raise the national profile of Detroit’s vibrant cultural institutions through grants and awareness programs that touch tourists, students and Detroit residents alike. Last season, the GM Foundation helped make possible the DSO’s participation in the “Spring for Music” festival at Carnegie Hall in New York City through a $350,000 grant. This season, the GM Foundation continues its decades long support of the DSO by donating $400,000 to make possible the DSO’s 10-day tour to Florida scheduled for February 25-March 4, 2014. Performances are planned in West Palm Beach, Miami, Sarasota, Vero Beach, and Naples. For more information visit dso.org/florida. The Orchestra, led by Music Director Leonard Slatkin, will perform with Van Cliburn International Piano Competition Gold Medalist Olga Kern and Grammy Award-winning violinist Hilary Hahn. For more information on the GM Foundation, please visit gm.com/ gmfoundation.

$1,000 and more Aline Underhill Orten Foundation Berry Foundation Charles M. Bauervic Foundation Clarence & Jack Himmel Fund Drusilla Farwell Foundation Frank & Gertrude Dunlap Foundation James & Lynelle Holden Fund DSO.ORG

Japan Business Society of Detroit Foundation Jennifer Howell Harding Foundation Loraine & Melinese Reuter Foundation Samuel L. Westerman Foundation Sandy Family Foundation Sigmund & Sophie Rohlik Foundation Village Club Foundation

† Deceased

Kick-off to Carnegie Hall concert celebration in the atrium, May 2013. PERFORM ANCE / VOL . X XII / WINTER 2014

MEMBERS OF THE 1887 SOCIETY

The Detroit Symphony Orchestra Board of Directors is pleased to honor the 1887 Society, formerly known as the Musical Legacy Society. These patrons, friends and subscribers have named the Orchestra in their estate plans. For information about making a bequest or other planned gift to the DSO, please contact the Office of Patron and Institutional Advancement at 313.576.5052. Anonymous Doris L. Adler Dr. & Mrs. William C. Albert Mr. & Mrs. Robert A. Allesee Dr. Lourdes V. Andaya Dr. Agustin & Nancy Arbulu Jeanne Bakale & Roger Dye Sally & Donald Baker Mr. & Mrs. Lee Barthel Lillian & Don Bauder Mr. & Mrs. Robert A. Benton Michael & Christine Berns Mrs. Art Blair Robert T. Bomier Gwen & Richard Bowlby Eleanor A. Christie Mary F. Christner Lois & Avern Cohn Mrs. Robert Comstock Mr. and Mrs. Thomas W. Cook Dorothy M. Craig Mr. & Mrs. John Cruikshank Ms. Leslie Devereaux John Diebel Ms. Bette J. Dyer Edwin & Rosemarie Dyer

Mr. and Mrs. Robert G. Eidson Marianne T. Endicott Ms. Dorothy Fisher Dr. Saul & Mrs. Helen Forman Barbara Frankel & Ronald Michalak Herman & Sharon Frankel Jane French Dr. and Mrs. Byron P. Georgeson Joseph & Lois Gilmore Ruth & Al Glancy Donna & Eugene Hartwig Dr. & Mrs. Gerhardt Hein Ms. Nancy B. Henk Mr. & Mrs. Thomas N. Hitchman Mr. and Mrs. Richard N. Holloway Paul M. Huxley & Cynthia J. Pasky David & Sheri Jaffa Mr. & Mrs. Thomas H. Jeffs II Lenard & Connie Johnston Drs. Anthony and Joyce Kales Faye and Austin Kanter Dr. Mark & Mrs. Gail Kelley June K. Kendall Dimitri† & Suzanne Kosacheff Mr. and Mrs. Arthur Krolikowski Mr. Jim LaTulip

Ann C. Lawson Allan S. Leonard Mr. Lester H. London Harold & Elizabeth Lundquist Roberta Maki Mr. & Mrs. Ralph J. Mandarino Mr. Glenn Maxwell Rhoda A. Milgrim John E. & Marcia Miller Mr. & Mrs. Jerald A. Mitchell Mr. & Mrs. L. William Moll Mr. & Mrs. Craig R. Morgan Mr. Dale J. Pangonis Ms. Mary W. Parker Mrs. Sophie Pearlstein Helen & Wesley Pelling Dr. William Pickard Mrs. Bernard E. Pincus Ms. Christina Pitts Mrs. Robert Plummer Mr. & Mrs. Ponta Fair & Steven Radom Mr. & Mrs. Douglas J. Rasmussen Mr. & Mrs. Lloyd E. Reuss Barbara Gage Rex Ms. Marianne Reye

Katherine D. Rines Bernard & Eleanor Robertson Jack & Aviva Robinson Dr. Margaret M. Ryan Mr. & Mrs. Donald Schenk Mr. & Mrs. Fred Secrest Mr. Stephan Sharf† Mr. Terrence Smith Mr. & Mrs. Walter C. Stuecken Mr. & Mrs. Alexander Suczek Mr. Edward Tusset Mr. David Patria & Ms. Barabara Underwood Mrs. Jane Van Dragt Mrs. Richard C. Van Dusen Mr. & Mrs. Melvin VanderBrug Mr. & Mrs. George C. Vincent Mr. & Mrs. Keith C. Weber Mr. & Mrs. John F. Werner Mr. & Mrs. Arthur Wilhelm Mr. & Mrs. James A. Williams Mr. & Mrs. Robert S. Williams Mrs. Treva Womble Walter P. & Elizabeth B. Work Dr. & Mrs. Clyde Wu Ms. Andrea L. Wulf

Venture Fund

Gifts received between September 1, 2012 and October 31, 2013

Gifts to the Detroit Symphony Orchestra Venture Fund are contributions that support projects, partnerships and performances taking place in the current season. Venture gifts are generally one-time and non-renewable in nature and fund initiatives that are included in the annual budget such as DSO concerts, the Civic Youth Ensembles, certain community engagement and partnerships, and the DSO Presents and Paradise Jazz concert series. Venturists, $1,000

Ms. Phyllis Korn†

Mr. William Colburn

Mr. Joseph A. Mook

Mr. & Mrs. Sherman C. Barton

Ms. Anne L’Hommedieu†

Mr. David P. Elledge

Mr. Phillip O’Jibway

Mr. & Mrs. Richard Bowlby

Mrs. Phyllis McLean

Mr. Paul Feiten

Mr. John Paquet

Mr. Walter B. Bridgforth

Ms. Deborah Miesel

Mr. James Gogola

Ms. Anne Parsons & Mr. Donald Dietz

Chrysler Corporation

Mrs. Miriam Mondry†

Mr. Matthew Gravel

Mr. Alan Semonian

Elie Wine Company

Dr. William Pickard

Mr. Stephen Harmes

Mr. Monty Sepetys

Estate of George W. Harrison

Dr. & Mrs. Clyde Wu

Mr. Tracy Hoffman

Dr. Gregory Stephens

Mr. Aaron Kabobel

Mr. R. M. Sulfridge

Mrs. Barbara Frankel & Mr. Ronald Michalak

Donors

Mr. & Mrs. Sheldon N. Kaftan

Mr. Scott Szoke

Mr. & Mrs. Herman H. Frankel

Anonymous

Mr. Aaron Kahokuolani

Mr. Donald L. Thomas Jr

Mr. John W. Jickling & Mrs. Martha Irving

Adult Learning Institute

Mr. David Lawrence

Mr. Jeffrey Wilkinson

Mr. Frank L. Arnold

Mr. Dwight Love

Mr. Derek S. Zachariah

Jill Fox Revocable Trust

Mr. & Mrs. Barnes

Mr. Benjamin Malonis

Junior Achievement of Southeastern Michigan

Mr. William Black

Mr. & Mrs. Brian Meer

Mr. Timothy Campbell

Mr. & Mrs. Robert Moers

PERFORM ANCE / VOL . X X II / WINTER 2014

† Deceased

DSO.ORG

Tribute Gifts

Gifts received between September 1, 2013 and October 31, 2013

Tribute Gifts to the Detroit Symphony Orchestra are made to honor accomplishments, celebrate occasions, and pay respect in memory or reflection. These gifts support current season projects, partnerships, and performances such as DSO concerts, education programs, free community concerts and family programing. For information about making a Tribute Gift, please call 313.576.5114 or visit dso.org/tribute. In Honor of David Assemany & Jeff Zook Ms. Anna Cohn In Memory of Judge Edward Avadenka Ms. Jacqueline Dauw Ms. Sarah Kiffner Mrs. Jodi Klucevek In Honor of Peter Cummings Ms. Jane L. Cummings In Memory of Beverly Colman Mrs. Doreen Hermelin In Memory of Paul Dufault Mrs. Mary Ann W. Barkach James & Janet Blanchard Paul & Leah S. Blizman Dr. Beverly Campbell Claude & Joann Coates Armando & Marjorie DeCapite Ms. Mary Kay Doran

Harold & Arlene Gendelman Alfred & Ruth Glancy Christopher & Joan Higgins Stephen & Jane Higgins Robert & Tammy Marr Ms. Christine Sauve Ms. Midori K. Savage Daniel & Susan Stepek Ms. Audrey Torello Wil & Roberta Viviano Mrs. Deborah J. Weatherston Jerry & Mary Zahler In Honor of Phillip & Lauren Fisher Richard & Julie Zussman In Honor of Zivia Grekin’s 95th Birthday Steven & Tara Grekin In Honor of Tracy Hoffman’s Birthday Mr. Christopher Cocozzoli

Blockbuster Fund

Gifts Received between September 1, 2012 and October 31, 2013 Gifts to the Detroit Symphony Orchestra Blockbuster Fund support those exceptional projects, partnerships and performances that boldly advance the DSO’s mission “to be a leader in the world of classical music, embracing and inspiring individuals, families and communities through unsurpassed musical experiences.” Blockbuster gifts fund defining initiatives that are outside the annual budget such as touring, “Live from Orchestra Hall” webcasts, certain community engagement and education partnerships, and capital and technology infrastructure. All Seasons of West Bloomfield American House Senior Living Communities Ms. Michelle Andonian Mr. & Mrs. Christopher Bancroft Mr. & Mrs. Lee Barthel Bloomfield Township Senior Services Bloomfield Township Public Library William Davidson Foundation Detroit Medical Center Children’s Hospital of Michigan DTE Energy Foundation Mrs. Marjorie S. Fisher Mr. & Mrs. Phillip Wm. Fisher Ford Motor Company Fund Oakwood Healthcare Mr. & Mrs. Stanley Frankel Mr. & Mrs. Alfred R. Glancy III

DSO.ORG

Mr. & Mrs. Raymond Goodson John S. and James L. Knight Foundation Mr. & Mrs. Norman D. Katz League of American Orchestras Max M. & Marjorie S. Fisher Foundation Mayesh Wholesale Florist, Inc. Michigan Nonprofit Association Midtown Detroit, Inc. Mr. & Mrs. Michael F. Neidorff Mr. & Mrs. Stuart Nelson Mr. & Mrs. James B. Nicholson Jo Elyn Nyman Olympia Entertainment St. John Armenian Church Mr. & Mrs. Larry Sherman Cindy & Leonard Slatkin Mr. & Mrs. Don Stone Mr. & Mrs. George C. Vincent

In Memory of Rachel Kotcher Ms. Ellen Hickman In Honor of Stand Partner Lindsey Evert Dr. Erik Rönmark In Memory of Walter J. McCarthy, Jr. Sara & John Ingold In Honor of Al & Harriet Saperstein Ms. Susan Mazer-Smith In Memory of Richard Sharpe Ernest Upton In Memory of Andreas “Tracy” Steglich Mr. Roy Adams Mr. William Dalrymple Dick & Carole Dills

Mrs. Denise Ferman Ms. Mary Ellen Lemire Jaime Liechty Ms. Karen Linnell Ms. Judy Olds Ms. Linda Popovic Mr. Leopold F. Schmidt Jon & Karen Schopf Gordon White & Patricia Driscoll-White In Honor of John Streit Ms. Karen Day In Honor of Barbara Van Dusen Ms. Katherine C. Van Dusen In Honor of Clyde & Helen Wu Martha & William Cox

Trustee Donor Spotlight Deirdre Green Groves

e are proud to welcome a brand new member to the DSO Family, Deirdre Green Groves, with this month’s spotlight for her generous contributions in numerous capacities. Deirdre has enthusiastically jumped in as a member of the Board of Trustees and brings invaluable insight as part of the DSO’s Next Generation Committee. In this role, she strives to work with other young leaders to serve as ambassadors to connect with new and diverse audiences. Deirdre grew up in a rural town an hour outside of Detroit, but always knew that one day she would call Detroit home. Inspired by the city’s rich architecture and complex history, she began her work in urban planning, construction and real estate. Eventually Deirdre connected her passion of the built environment and the love of the city to co-found community development organization, Challenge Detroit. Challenge Detroit is a new model for attracting and retaining talent to the city by intersecting living, working, playing, and giving. The organization facilitates the opportunity for 30 individuals of various intellects and backgrounds to come together with area companies, nonprofits and cultural institutions. Deirdre believes the DSO plays a critical role in the city’s revitalization and the importance of showcasing our cultural assets to a younger audience. We are grateful for Deirdre’s energetic and inspiring commitment to not only our next generation efforts, but the DSO’s mission as a whole. The DSO looks forward to reaching Detroit’s newest audience members with Deirdre by our side. PERFORM ANCE / VOL . X XII / WINTER 2014

UPCOMING EVENTS SUNDAY

MONDAY

January 2014

TUESDAY

Mix@TheMax 7 p.m. MB

WEDNESDAY

THURSDAY

FRIDAY

Neighborhood Series 16 Mozart and Bach Jaime Laredo, conductor and violin Yoonshin Song, violin 7:30 p.m. Berman Center

Laredo

Neighborhood Series Mozart and Bach 3 p.m. Grosse Pointe Memorial Church

DSO Classical Series Mozart and Bach 8 p.m. Village Theater, Canton

SATURDAY

DSO Pops Series 18 A Tribute to Led Zeppelin Brent Havens, conductor Randy Jackson, soloist 8 p.m. OH

DSO Pops Series A Tribute to Led Zeppelin Brent Havens, conductor Neighborhood Series Randy Jackson, soloist Mozart and Bach OH 8 p.m. 8 p.m. Kirk in the Hills DSO Classical Series 24 Hilary Hahn Leonard Slatkin, conductor Hilary Hahn, violin 10:45 a.m. OH ppa elibom oG ot OSD eht no ro evil/gro.osd ta enilno hctaW

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

DSO Classical Series 25 Hilary Hahn Leonard Slatkin, conductor Hilary Hahn, violin 8 p.m. OH

snruteR ivräJ .m.p 3 ,1 lirpA ,yadnuS

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

Hahn

DSO Classical Series Hilary Hahn Leonard Slatkin, conductor Hilary Hahn, violin 3 p.m. OH

DSO Classical Series 30 Carmina Burana Leonard Slatkin, conductor Kiera Duffy, soprano 7:30 p.m. OH ppa elibom oG ot OSD eht no ro evil/gro.osd ta enilno hctaW

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

DSO Classical Series 31 Carmina Burana Leonard Slatkin, conductor Kiera Duffy, soprano 8 p.m. OH

snruteR ivräJ .m.p 3 ,1 lirpA ,yadnuS

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

DSO Classical 1 Series Carmina Burana Leonard Slatkin, conductor Kiera Duffy, soprano 8 p.m. OH

February

Om@TheMax 10:30 a.m. MB

Slatkin DSO Classical Series 2 Carmina Burana Leonard Slatkin, conductor Kiera Duffy, soprano 3 p.m. OH

Other Presenters WSU Mondays at The Max 7:30 p.m. MB

Civic & Education Civic Jazz Live! 6:15 p.m. MB

Paradise Jazz Series Miles Davis & Gil Evans: Still Ahead 8 p.m. OH

DSO Pops Series A Century of Broadway7 Jeff Tyzik, conductor 10:45 a.m. & 8 p.m. OH

DSO Classical Series Ravishing Rachmaninoff Giancarlo Guerrero, conductor Daniil Trifonov, Piano 7:30 p.m. OH

DSO Young People’s OH Rock! Sing! Swing! 11 a.m. DSO Pops Series A Century of Broadway Jeff Tyzik, conductor 8 p.m. OH

Davis DSO Pops Series A Century of Broadway9 Jeff Tyzik, conductor 3 p.m. OH

Tiny Tots 8 Teddy’s Excellent Adverntures 10 a.m. MB

DSO Classical Series 14 Ravishing Rachmaninoff Giancarlo Guerrero, conductor Daniil Trifonov, Piano 10:45 a.m. & 8 p.m. OH

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

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

DSO Classical Series Ravishing Rachmaninoff Giancarlo Guerrero, conductor Daniil Trifonov, Piano 8 p.m. OH

snruteR ivräJ .m.p 3 ,1 lirpA ,yadnuS

emoR fo seniP ehT ynohpmyS ”dlroW weN“ s’kářovD .m.a 54:01 ,81 yaM ,yadirF .m.p 8 ,12 lirpA ,yadrutaS

Trifonov

Other Presenters WSU Mondays at The Max 7:30 p.m. MB

noitibihxE na ta serutciP .m.p 3 ,6 yaM ,yadnuS

Neighborhood Series 20 Divine Dvorák Hans Graf, conductor Benjamin Schmid, violin 7:30 p.m. Congregation Shaarey Zedek

Neighborhood Series 21 Divine Dvorák Hans Graf, conductor Benjamin Schmid, violin 10:45 a.m. FPAC, Dearborn

DSO Classical Series 22 Divine Dvorák Hans Graf, conductor Benjamin Schmid, violin 8 p.m. OH

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

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

snruteR ivräJ .m.p 3 ,1 lirpA ,yadnuS

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

Schmid

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

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

Other Presenters WSU Mondays at The Max 7:30 p.m. MB

snruteR ivräJ .m.p 3 ,1 lirpA ,yadnuS

2014 Florida Tour Kravis Center for Performing Arts West Palm Beach 8 p.m.

2014 Florida Tour Kravis Center for Performing Arts West Palm Beach, FL 2 p.m.

2014 Florida Tour Adrienne Arsht Center28 Miami, FL 8 p.m.

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

Civic & Education Civic Jazz Live! 6:15 p.m. MB

March

Other Presenters Sphinx Finals Concert 2 p.m. OH

Paradise Jazz Series Terence Blanchard & Friends 8 p.m. OH

Kravis Center Civic & Education Civic Family Experience 1 p.m. OH

Other Presenters WSU Mondays at The Max 7:30 p.m. MB

2014 Florida Tour Artis-Naples Naples, FL 8 p.m.

Civic & Education Civic Showcase 7:15 p.m. OH

Neighborhood Series 13 Copland’s Clarinet Concerto Martin Fröst, conductor and clarinet 7:30 p.m. Berman Center

DSO Pops Series The Cocktail Hour 14 Jeff Tyzik, conductor 10:45 a.m. & 8 p.m. OH

DSO Pops Series The Cocktail Hour Jeff Tyzik, conductor 8 p.m. OH

Neighborhood Series Copland’s Clarinet Concerto 8 p.m. Village Theatre, Canton

Neighborhood Series Copland’s Clarinet Concerto 8 p.m. Kirk in the Hills

2014 Florida Tour Sarasota, FL 8 p.m.

2014 Florida Tour Vero Beach, FL 7:30 p.m.

DSO Classical Series 8 Classical Roots Leonard Slatkin, conductor Kathleen Battle, soprano Brazeal Dennard Chorale 8 p.m. OH

Battle

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

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Webcast

For tickets visit dso.org or call 313.576.5111

The Whitney 2013-2014 Season Pre Fixe Theater Menu $39 First Course APPLE FRISEE

“Best Pre and Post Theater Dinner Venue”

Michigan apples, Spiced Walnuts, and Blue Cheese over Blonde Frisee Green Tea Vinaigrette

THE WHITNEY DUET

Soup du jour or Shrimp bisque paired with Organic baby greens, heirloom tomatoes and cucumbers tossed in herb vinaigrette

CRAB AND BACON JAM BRICK ROLL Lump Maryland Crab, Bacon-Bourbon jam, Feuilles de Brick, mustard sauce

Second Course: POMEGRANATE BRAISED VEAL CHEEKS Goat Cheese whipped potatoes, heirloom carrots, pomegranate chutney

CHARGRILLED SWORDFISH

Autumn wild rice, seared escarole, herb Pistou, sundried tomato broth

CRISPY SKIN DUCK BREAST

Butternut squash puree, roasted cherry duck jus, Garlic confit fingerling potatoes

WILD MUSHROOM RISOTTO

Grilled asparagus, dehydrated tomatoes

Dessert: DESSERT TRIO

Whitney Signature Carrot Cake, Raspberry White Chocolate Mousse, and Chocolate Carmel Crunch

Ghostbar serving dessert and cocktails after the show TheWhitney.com

313-832-5700

4421 Woodward Ave., Detroit