Classical Roots 2021 Program Book by Detroit Symphony Orchestra

SATURDAY, MARCH 6, 2021

PRESENTED BY

STANLEY & JUDY

FRANKEL

WE APPRECIATE AND APPLAUD

THE CLASSICAL ROOTS STEERING COMMITTEE’S

COMMITMENT TO THE DETROIT SYMPHONY

ORCHESTRA. CONGRATULATIONS ON

THIS YEAR’S SUCCESSFUL CELEBRATION!

Judy and Stanley Frankel

WELCOME

friends,

DEAR

We are honored to welcome you to the 2021 Arthur L. Johnson – Honorable Damon Jerome Keith Classical Roots Celebration. Tonight, for our 43rd Classical Roots concert and 20th anniversary Celebration, we recognize the accomplishments of three remarkable individuals: Vera Heidelberg, Wynton Marsalis, and in memoriam, Marlowe Stoudamire. Though we are celebrating virtually this year, hosting this event and concert was never in doubt, and we thank the entire Classical Roots Steering Committee and Co-Chairs Jasmin DeForrest and Linda Forte for their dedication and passion in ensuring that our beloved annual tradition would continue during a year of uncertainty. None of us could have anticipated all that was to come when we gathered at this time last year. In fact, the 2020 Classical Roots concert was the last time the Detroit Symphony Orchestra played for a live audience in Orchestra Hall. One week later, we cancelled that weekend’s concerts to protect the health and safety of our musicians, professional staff, and patrons. The magnitude of the pandemic was still unclear on March 24 when we heard that we tragically lost our dear friend Marlowe Stoudamire to Covid-19. Marlowe was so full of life, and, at age 43, taken much too soon from us. In his six years of leadership on the Classical Roots Steering Committee, we were all captivated by Marlowe’s enthusiasm and endless creativity that challenged us to take our event to even greater heights. Marlowe’s voice is truly missed— on our committee and across our entire community—but his passion and his wisdom live on in everything that we do. We extend our gratitude to Wynton Marsalis for bringing the Jazz at Lincoln Center Orchestra to Detroit for its first full big band performance in a year. Earlier this week, as part of their weeklong residency, they worked with musicians in our Civic Youth Ensembles program and recorded an Educational Concert that will be streamed later this spring. Wynton’s impact in jazz, classical music, and education is unparalleled and everything our Celebration seeks to honor. We look forward to his performance tonight and to ongoing collaborations including a return trip for the 2022 Classical Roots Celebration. Vera Heidelberg served with Arthur L. Johnson on the inaugural Celebration Steering Committee twenty years ago, laying the foundation for the growth of Classical Roots into what it is today. We thank Vera tonight for her leadership, thoughtful counsel, and commitment to both our community and to the impact of Classical Roots. Our collective mission—instilled, developed, and championed by Brazeal Dennard, Arthur Johnson, and many others—is now more critical than ever. Celebrating African American contributions to classical music is infused in everything we do throughout the year, from our African American Orchestra Fellowship, regular programming by African American and Black composers, performances in the community, music education in Detroit schools, and so much more. We thank all of you for your continued support and are honored to continue to carry this important tradition forward. Enjoy the evening!

Anne Parsons, President and CEO

Mark Davidoff, Chairman

C L A S S I C A L R O O T S C E L E B R AT I O N

FOSTERING VIBRANT COMMUNITIES

The arts enrich and energize lives and communities unlike any other experience. That’s why the DTE

Foundation is proud to support the Detroit Symphony Orchestra, which celebrates the role the arts play in making our community more inviting, interesting and connected.

MISSION

Since 1978, the Detroit Symphony Orchestra’s Classical Roots concerts have increased the awareness of the significant contributions that African American composers and musicians have made to classical music.

ARTHUR L. JOHNSON – HONORABLE DAMON JEROME KEITH CLASSICAL ROOTS CELEBRATION, The

held in conjunction with the concerts since 2001, supports the Classical Roots mission. Funds raised through the Celebration provide increased opportunities for African Americans in classical music through DSO programs like the African American Orchestra Fellowship and African American Composer Residency.

C L A S S I C A L R O O T S C E L E B R AT I O N

We are honored to support Classical Roots and the contribution it makes to artistic excellence with the DSO's inclusive culture. Thank you for contributing to the richness of our community.

with love,

L AUREN AND PHILLIP FISHER

DSO

board

DETROIT SYMPHONY ORCHESTRA, INC.

—————— LIFETIME DIRECTORS

—————— OFFICERS

Janice Uhlig

Tonya Matthews, Ph.D.

Samuel Frankel ◊

Mark A. Davidoff, Chairman

James G. Vella

Anthony McCree

Stanley Frankel

Nancy Schlichting,Vice Chair

Dr. M. Roy Wilson

Kristen McLennan

David Handleman, Sr. ◊

Anne Parsons, President & CEO

David M. Wu, M.D.

Anitha Mercy

Johanna Yarbrough, Orchestra Representative

Lydia Michael

Dr. Arthur L. Johnson ◊ James B. Nicholson

David T. Provost, Treasurer

Clyde Wu, M.D. ◊

Hon. Kurtis T. Wilder (Ret.), Secretary

—————— CHAIRMEN EMERITI

Ralph J. Gerson, Officer at Large

—————— BOARD OF TRUSTEES

Faye Alexander Nelson, Officer at Large

Renato Jamett, Trustee Chair

Arthur T. O’Reilly, Officer at Large

Richard Alonzo

Peter D. Cummings Phillip Wm. Fisher Stanley Frankel Robert S. Miller James B. Nicholson

Glenda D. Price, Ph.D., Officer at Large

Ismael Ahmed Hadas Bernard Janice Bernick

Lois A. Miller Daniel Millward H. Keith Mobley Scott Monty Shari Morgan Sandy Morrison Frederick J. Morsches Jennifer Muse, NextGen Chair

Elizabeth Boone

Nicholas Myers, Musician Representative

Gwen Bowlby

Sean M. Neall

Directors are responsible for maintaining a culture of accountability, resource development, and strategic thinking. As fiduciaries, Directors oversee the artistic and cultural health and strategic direction of the DSO.

Marco Bruzzano

Eric Nemeth

Margaret Cooney Casey

Maury Okun

Karen Cullen

Vivian Pickard

Joanne Danto

Gerrit Reepmeyer

Stephen D’Arcy

Richard Robinson

Maureen T. D’Avanzo

James Rose, Jr.

Marianne Endicott

Pamela Applebaum

Jasmin DeForrest

Laurie Rosen

Sidney Forbes

Afa Sadykhly Dworkin

Elana Rugh

Ruth Frank

David Assemany, Governing Members Chair

Peter Falzon

Barbara Frankel

Richard L. DeVore

Marc Schwartz

Herman H. Frankel

James C. Farber

Samuel Fogleman

Carlo Serraiocco

Morton E. Harris

Carolynn Frankel

Aaron Frankel

Lois L. Shaevsky

Christa Funk

Mary Shafer

Robert Gillette

Cathryn M. Skedel, Ph.D.

Jody Glancy

Richard Sonenklar

Malik Goodwin

Scott Strong, Musician Representative

—————— DIRECTORS EMERITI Floy Barthel Chacona Baugh Penny B. Blumenstain John A. Boll, Sr. Richard A. Brodie Lois & Hon. Avern Cohn

Gloria Heppner, Ph.D. Ronald Horwitz Harold Kulish Bonnie Larson David McCammon David R. Nelson William F. Pickard, Ph.D. Marilyn Pincus

—————— BOARD OF DIRECTORS

Herman B. Gray, M.D., MBA Rev. Nicholas Hood III Richard Huttenlocher Renato Jamett, Trustee Chair

Mary Ann Gorlin Laura Hernandez-Romine

Daniel J. Kaufman

Donald Hiruo

Michael J. Keegan

Michelle Hodges

Lloyd E. Reuss

Arthur C. Liebler

Marjorie S. Saulson

Xavier Mosquet

Alan E. Schwartz

Stephen R. Polk

Jane Sherman David Usher

Jay Ritchie, Orchestra Representative

Barbara Van Dusen

Bernard I. Robertson

Jennette Smith Kotila

Arthur A. Weiss, Esq.

Camilo Serna

William Lentine

Shirley Stancato

Linda Dresner Levy

Nancy Tellem

Florine Mark

Julie Hollinshead John Jullens David Karp Joel D. Kellman

Rob Tanner Yoni Torgow Laura J. Trudeau Gwen Weiner Donnell White Jennifer Whitteaker R. Jamison Williams Margaret E. Winters Ellen Hill Zeringue

◊ Deceased

C L A S S I C A L R O O T S C E L E B R AT I O N

committee

STEERING

The Classical Roots Celebration is an extraordinary event that recognizes the contributions of African American composers, musicians, and humanitarians. The Celebration is the result of the collaborative efforts of the Classical Roots Steering Committee and the DSO staff, in partnership with civic, community, and corporate leaders. The Steering Committee consists of more than 40 volunteers from the Metro Detroit business community who share a passion for preserving and celebrating the musical contributions of African Americans. Each Steering Committee volunteer supports the success of the Celebration in a number of ways, while also serving on a subcommittee.

THERESE PEACE AGBOH, PAST CHAIR

AUSTIN BLACK II TERRENCE CURRY ELIZABETH MAYS

CHIMENE ANDERSON CANDICE BOWMAN SHELIA ENGLISH ANTHONY MCCREE

GEANEEN ARENDS, ESQ NICOLE BROWN CANDICE FORTMAN LAUREN MCNEARY

CORNELL BATIE CAROLINE CHAMBERS VERA HEIDELBERG,

CHACONA W. BAUGH,

KEITH MOBLEY,

PAST CHAIR

CLIFTON CLARKE II H. RITA L. JORDAN,

PAST CHAIR

ANNE PARSONS

KARL BELL JANICE COSBY ADAMS, PAST CHAIR

CATHY LASSITER PRISCILLA PERKINS

NOT PICTURED: RIAN BARNHILL, ROCHELLE BLACK, ATIIM FUNCHESS, KIMBERLY HOYLE, STEPHEN HUDSON, SANDRA O. KENT | DSO STAFF— MICHAEL FRISCO, CAEN THOMASON-REDUS, AMANDA TEW

DETROIT SYMPHONY ORCHESTRA

JASMIN DEFORREST AND LINDA FORTE, CO-CHAIRS

LESLEY ESTERS REDWINE BEVERLY THOMAS ANNE WILCZAK CHRIS HARRINGTON

LASHINDA STAIR JONI THROWER DAVIS LAMAR WILLIS JILL RAFFERTY

CYNTHIA STEPHENS JASON E. TINSLEY, PAST CHAIR

LAYDELL HARPER WYATT, PAST CHAIR

ERIK RÖNMARK

VALENCIA STOUDAMIRE DANIEL WASHINGTON ELLEN HILL ZERINGUE, PAST CHAIR

JESSICA RUIZ

KATRINA STUDVENT DAVID G. WATKINS MATT CARLSON SARAH SMARCH

MICHELE TATE RHONDA WELSH JILL ELDER CLARE VALENTI

For additional information or to serve on the Classical Roots Steering Committee, please contact Jill Rafferty, Sr. Director of Advancement, at 313.576.5190 or jrafferty@dso.org C L A S S I C A L R O O T S C E L E B R AT I O N

SPONSORS

PRESENTING SPONSOR

STANLEY & JUDY

FRANKEL

CELEBRATION SPONSOR

SUPPORTING SPONSOR

FELLOWSHIP SPONSORS

GUEST ARTIST / SOLOIST SPONSORS JOANNE

ARNOLD

DANTO & WEINGARDEN W. HAROLD & CHACONA W.

BAUGH

LAUREN & PHILLIP

FISHER

JULIE & PETER

CUMMINGS —————— Kelly & John Green

Mark Davidoff & Margie Dunn

Albertine Harmon

Jasmin DeForrest

AAA Michigan

Vera Heidelberg

Shirley & Herman Gray

George Johnson & Company

Cathy & Wright Lassiter

Vera Heidelberg

Renaissance (MI) Chapter of the Links

Priscilla & Huel Perkins

Emily & David Jarrett

Joni Thrower Davis

Michelle May

Jason Tinsley

Level One Bank

——————

Wayne State University

Geoffrey Nathan &

EDUCATION SPONSORS

Bernadine & David Wu

Margaret Winters

Beaumont

Ellen Hill Zeringue

Anne Parsons & Donald Dietz

The Children’s Foundation Central Michigan University Education Enrichment Services, LLC Kurt Wilder/Butzel Long

—————— RUBY SUPPORTERS

——————

COMMUNITY ENGAGEMENT SPONSORS

AWARDS

generously donated by

—————— AMENITY BOXES created by

Randy Elder State Farm

—————— BENEFACTORS Geaneen Arends Darnell & Sherman Barton Cornell Batie Karl & Pamela Bell Cecilia Benner Austin Black II

Lesley Esters Redwine Ellie & Bernard Robertson

——————

Donna & Robert Shaerer

MEALS

Janet & Donald Schenk Shirley & Henry Stancato Cynthia Stephens Valencia Stoudamire Katrina Studvent Beverly Thomas

Therese Peace Agboh & Michael Agboh

Joyce & George Blum Candice Bowman

Linda Forte & Tyrone Davenport

Maria Woodruff-Wright

Terrence Curry

Mary Ann & Robert Gorlin

Monique Woods

Benay Dabney

Laydell Harper Wyatt

Laura & Thomas Trudeau

DETROIT SYMPHONY ORCHESTRA

provided by

Rocket Community Fund is proud to support the DSO's efforts to raise awareness of the contributions of African-American composers and musicians, as well as increase opportunities for African-Americans in classical music.

Ascension Michigan

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EVENING

schedule

20th Ann u al

Cel ebration 2021

SATURDAY, MARCH 6, 2021

CLASSICAL ROOTS

PROGRAM

CELEBRATION

6:30PM

JOHN ROSAMOND JOHNSON (1873 – 1954)

Dine with friends via Zoom while enjoying a program to include: • Wine tasting notes from Master Sommelier, Gerry Baker • P erformances and interviews with African American fellows Cole Randolph & Jaquain Sloan • DSO Civic Jazz performance

Lift Every Voice and Sing Anthony McGill, clarinet

Lyrics by James Weldon Johnson

KEVIN DAY

Ignition

(b. 1996)

DAMON DANDRIDGE

pre-recorded performance

WYNTON MARSALIS

(b. 1961)

IGOR STRAVINSKY

(1882 – 1971)

“I Know I’ve Been Changed”

Brazeal Dennard Chorale Alice McAllister Tillman, Artistic Director

DSO DIGITAL CONCERT: 43RD ANNUAL

CLASSICAL ROOTS CONCERT

7:30PM

Detroit Symphony Orchestra William Eddins, Conductor Jazz at Lincoln Center Orchestra with Wynton Marsalis Anthony McGill, clarinet Michael Ke Ma, bassoon

(b. 1961)

Meeelaan Michael Ke Ma, bassoon

Ebony Concerto for Clarinet and Jazz Band

i. Allegro moderato ii. Andante iii. Moderato – Con moto Anthony McGill, clarinet

LEONARD BERNSTEIN

(1918 – 1990)

Prelude, Fugue, and Riffs Anthony McGill, clarinet

Brazeal Dennard Chorale Alice McAllister Tillman, Artistic Director

C L A S S I C A L R O O T S C E L E B R AT I O N

notes PROGRAM

————————

all day for this transformation. Once

“Lift Every Voice and Sing”

Ignition

baptized, while the water makes

JOHN ROSAMOND JOHNSON (music) B. August 11, 1873, Jacksonville, FL D. November 11, 1954, New York, NY

KEVIN DAY B. 1996, Charleston, WV

their body cold, it also makes their

Scored for alto trombone, tenor trombone, bass trombone, and tuba (Approx. 4 minutes)

JAMES WELDON JOHNSON (lyrics) B. June 17, 1871, Jacksonville, FL D. June 26, 1936, Wiscasset, ME

Kevin Day is a composer, conductor, producer, and multiinstrumentalist on tuba, euphonium,

Lift Every Voice and Sing was first performed, in poetry form,

jazz piano, and more, whose music

in commemoration of President

often intersects the worlds of jazz,

Lincoln’s birthday on February

minimalism, Latin music, fusion,

12, 1900, by a choir of 500

and contemporary classical idioms.

schoolchildren from the segregated

Day describes Ignition as a “high-

Stanton School in Jacksonville,

octane and intense piece that

Florida—hometown of sibling

depicts racing at high speeds.” The

creators John Rosamond and

work was premiered by the Boston

James Weldon Johnson. The poem

Symphony Orchestra’s Low Brass as

was set to music five years later.

part of Tanglewood’s 2020 Online Festival.

Voicing the cry for liberation

The DSO previously played

and affirmation for African American people, the song was

Ignition on October 16, 2020 during

declared “The Negro National

a DSO Digital Concert.

soul warm—possibly a reference to the Holy Spirit. And for those friends who did not believe that a new spirit had been obtained, they are invited to go to the Jordan River and experience this transformation for themselves. “Angels in heaven done signed my name” is a metaphor of a person's name being added to the “Book of Life,” thus reserving a place for the person in Heaven (John 10:20). This song would have been sung during a church service to promote not only the song’s Biblical themes, but also to encourage the enslaved people that, despite their oppressors’ propaganda, there is a heavenly freedom awaiting them.

Anthem” by the NAACP in 1919. ————————

It gained new popularity as a protest song during the Civil Rights

————————

Movement and was entered into the

“I Know I’ve Been Changed”

Congressional Record in the 1990s

SPIRITUAL arr. DAMON DANDRIDGE B. April 2, 1977, Detroit, MI

as the official African American National Hymn.

Scored for solo soprano and mixed choir.

In his second autobiography

writing Lift Every Voice and Sing: “I could not keep back the tears, and made no effort to do so.” He later reported that creating the song’s lyrics was the greatest satisfaction of his life. Lift Every Voice and Sing has been performed at the beginning of

B. October 18, 1961, New Orleans, LA Scored for solo bassoon, 2 violins, viola, and cello. (Approx. 19 minutes)

Meeelaan, by Pulitzer Prize-

Johnson describes the emotion in

the event’s inauguration in 1978.

WYNTON MARSALIS

(Approx. 3 minutes)

Along This Way, James Weldon

every Classical Roots concert since

Meeelaan for Bassoon and String Quartet

A characteristic of African

winning trumpeter, composer,

American spirituals is their use

and educator Wynton Marsalis,

of allegory. Using Biblical stories

was composed and named for

and texts based on Christian

renowned bassoonist Milan Turkovic

themes, enslaved Africans created

and premiered in 2000 at the

ciphers to express the cruelty of

Teatro Colon in Buenos Aires,

their treatment, plan escapes, and

Argentina. Since the premiere,

express hope for freedom and a

the work for bassoon and string

new life.

quartet has been performed in

The Christian themes in “I Know

Japan, Germany, Austria, Italy, the

I’ve Been Changed” are baptism

US, France, Prague, Budapest, and

and the divine transformation—

Zagreb. The piece consists of three

“newness”—that is believed to occur

movements: I. Blues, II. Tango and

after being baptized. The soloist

III. Bebop, and features jazz, blues,

first speaks of praying all night and

and tango styles contrasting with

DETROIT SYMPHONY ORCHESTRA

the bassoon’s sentimental melody.

few months previously to his great

began work on the piece with the

The bassoon plays a leading

Symphony.”

intention of giving it to Woody

role throughout Meeelaan and is

—Boosey & Hawkes / Joseph Horowitz

Herman and his big band; but when that plan fell apart, Bernstein

supported by the driving rhythms of the string quartet.

This performance marks the

decided to use it to demonstrate

DSO premiere of Stravinsky’s Ebony

the interplay of classical and jazz

the DSO premiere of Marsalis’s

Concerto for Clarinet and Jazz

ideas on Omnibus.

Meeelaan.

Band.

This performance marks

The three sections, while all quite different from one another, are snappy and jazz-forward, with

————————

jumpy big band sounds balancing

Ebony Concerto for Clarinet and Jazz Band

Prelude, Fugue, and Riffs

sultrier, cabaret-like passages.

IGOR STRAVINSKY B. June 17, 1882, Oranienbaum (near St. Petersburg), Russia D. April 6, 1971, New York, NY Scored for solo clarinet, 2 alto saxophones (doubling on clarinet), 2 tenor saxophones (1 doubling on clarinet, 1 doubling on bass clarinet), baritone saxophone, horn, 5 trumpets, 3 trombones, percussion, guitar, harp, piano, and bass. (Approx. 11 minutes)

Composed for Woody Herman and his band, whose recordings of Bijou, Goosey Gander, and Caledonia Stravinsky especially admired, the vividly characterful Ebony Concerto—by turns bluesy and rambunctious—is in Eric Walter White’s opinion “the most ambitious and most successful of (Stravinsky’s) various flirtations with jazz.” Alexandre Transman, upon observing Stravinsky simultaneously at work on the Ebony Concerto and Symphony in Three Movements, wrote: “It was with surprise as well as intense admiration that I saw the greatest composer of our age, and one of the greatest of all times, put himself to school like a student to study this new problem, trying to extract all the latent possibilities from this new combination of instruments, working away at it with the same conscientious concentration that he had applied a

LEONARD BERNSTEIN B. August 25, 1918, Lawrence, MA D. October 14, 1990, New York, NY Scored for solo clarinet, 2 alto saxophones (1 doubling on clarinet), 2 tenor saxophones,

This performance marks the DSO premiere of the original version of Bernstein’s Prelude, Fugue, and Riffs.

baritone saxophone, 5 trumpets, 3 trombones, bass trombone, percussion, piano, and bass. (Approx. 9 minutes)

Leonard Bernstein premiered Prelude, Fugue, and Riffs on television during a 1955 Omnibus episode, titled “The World of Jazz.” Bernstein did many TV projects, and Omnibus was one of the most ambitious, or at least the most idealistic; it was designed as an insightful Sunday night show that explored (and explained) music, the humanities, and occasionally science. On the “World of Jazz” episode, Bernstein demonstrated syncopation, explained how instruments can be manipulated to produce sounds favored by jazz musicians, and rendered a couplet from Shakespeare’s Macbeth in the style of the blues. He concluded the episode with the premiere of Prelude, Fugue, and Riffs. The piece was originally scored for five saxophones, brass, a solo clarinet, piano, one bass, and percussion. The titular Prelude is played by the brass, the Fugue by the saxophones, and the Riffs by the entire ensemble. Bernstein

C L A S S I C A L R O O T S C E L E B R AT I O N

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ORCHESTRA

JADER BIGNAMINI Music Director

Music Directorship endowed by the Kresge Foundation

LEONARD SLATKIN

JEFF TYZIK

Music Director Laureate

FIRST VIOLIN Kimberly Kaloyanides Kennedy ACTING CONCERTMASTER Katherine Tuck Chair

Hai-Xin Wu ACTING ASSOCIATE CONCERTMASTER Schwartz Shapero Family Chair

Jennifer Wey Fang ASSISTANT CONCERTMASTER Walker L. Cisler/Detroit Edison Foundation Chair

Marguerite Deslippe* Laurie Goldman*

Principal Pops Conductor

Caroline Coade Glenn Mellow Hang Su Shanda Lowery-Sachs Hart Hollman

CELLO Wei Yu PRINCIPAL James C. Gordon Chair

Abraham Feder

Rachel Harding Klaus* Eun Park Lee* Adrienne Rönmark*

Robert Bergman* Jeremy Crosmer*

Laura Soto* Greg Staples* Jiamin Wang* Mingzhao Zhou* SECOND VIOLIN Adam Stepniewski

ACTING PRINCIPAL The Devereaux Family Chair

Will Haapaniemi*

Victor and Gale Girolmai Chair

David LeDoux* Peter McCaffrey* Joanne Danto and Arnold Weingarden Chair

Haden McKay* Mary Ann and Robert Gorlin Chair

Cole Randolph*

David and Valerie McCammon Chair

Sheryl Hwangbo Yu*

PRINCIPAL Van Dusen Family Chair

Sujin Lim*

Stephen Molina

Hong-Yi Mo*

Alexandros Sakarellos*

Linton Bodwin

Drs. Doris Tong and Teck Soo Chair

Marian Tanau* Alexander Volkov* Jing Zhang* VIOLA Eric Nowlin PRINCIPAL Julie and Ed Levy, Jr. Chair

James VanValkenburg

PRINCIPAL Women’s Association for the DSO Chair

Amanda Blaikie Morton and Brigitte Harris Chair

ASSISTANT PRINCIPAL Bernard and Eleanor Robertson Chair

Jeffery Zook PICCOLO Jeffery Zook OBOE Alexander Kinmonth PRINICPAL Jack A. and Aviva Robinson Chair

Sarah Lewis

ASSISTANT PRINCIPAL

Monica Fosnaugh Open Maggie Miller Chair

ENGLISH HORN Monica Fosnaugh Shari and Craig Morgan Chair

CLARINET Ralph Skiano PRINCIPAL Robert B. Semple Chair

Jack Walters

Marcus Schoon Jaquain Sloan African American Orchestra Fellow

CONTRABASSOON Marcus Schoon

PRINCIPAL

Laurence Liberson

Brandon Mason

Shannon Orme

ASSISTANT PRINCIPAL

Nicholas Myers E-FLAT CLARINET Laurence Liberson BASS CLARINET Shannon Orme Barbara Frankel and Ronald Michalak Chair

ASSISTANT PRINCIPAL William Cody Knicely Chair

James Ritchie TIMPANI Jeremy Epp PRINCIPAL Richard and Mona Alonzo Chair

James Ritchie

HORN Karl Pituch

ASSISTANT PRINCIPAL

LIBRARIANS Robert Stiles

Johanna Yarbrough

PRINCIPAL

Scott Strong

Ethan Allen

Bryan Kennedy~ David Everson

ASSISTANT PRINCIPAL

Mark Abbott TRUMPET Hunter Eberly PRINCIPAL Lee and Floy Barthel Chair

Kevin Good Stephen Anderson

ASSISTANT PRINCIPAL

William Lucas TROMBONE Kenneth Thompkins PRINCIPAL

David Binder

PVS Chemicals Inc./Jim and Ann Nicholson Chair

Christopher Hamlen

PRINCIPAL Winifred E. Polk Chair

ACTING PRINICPAL

Victoria King

Sharon Sparrow

ASSISTANT PRINCIPAL

HARP Patricia Masri-Fletcher

Music Director Emeritus

Andres PichardoRosenthal

African American Orchestra Fellow

BASS Kevin Brown

NEEME JÄRVI

BASSOON Michael Ke Ma

Úna O’Riordan*

David and Valerie McCammon Chair

Hae Jeong Heidi Han*

ASSISTANT PRINCIPAL Dorothy and Herbert Graebner Chair

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

FLUTE Hannah Hammel

Han Zheng Mike Chen

TERENCE BLANCHARD

PERSONNEL MANAGERS Heather Hart Rochon

Hannah Wetherholt

ACTING BASS TROMBONE

TUBA Dennis Nulty PRINCIPAL

PERCUSSION Joseph Becker PRINCIPAL Ruth Roby and Alfred R. Glancy III Chair

ASSISTANT PRINCIPAL

C L A S S I C A L R O O T S C E L E B R AT I O N

MANAGER OF ORCHESTRA PERSONNEL

STAGE PERSONNEL Dennis Rottell

STAGE MANAGER

Ryan DeMarco

DEPARTMENT HEAD

Noel Keese

DEPARTMENT HEAD

Steven Kemp

DEPARTMENT HEAD

Matthew Pons

BASS TROMBONE Ilan Morgenstern#

DIRECTOR OF ORCHESTRA PERSONNEL

DEPARTMENT HEAD

Michael Sarkissian

DEPARTMENT HEAD

————— LEGEND

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

~ Extended Leave ^ On sabbatical # Substitute musician

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Mary Ann and Bob Bury

Bravo! VERA HEIDELBERG, our friend, thank you for your elegant and thoughtful leadership. We celebrate your long-standing commitment to the mission of Classical Roots. We applaud the artistry and extraordinary talents of WYNTON MARSALIS. Congratulations to an exceptional musician. MARLOWE STOUDAMIRE---Gone Too Soon We’ll never forget Marlowe’s energetic and devoted commitment to Detroit.

—Chacona & Harold Baugh—

BRAVO TO THE

DSO JOANNE DANTO ARNOLD WEINGARDEN

CHOIR

Brazeal Dennard THE

CHORALE ——————

——————

Alice McAllister Tillman,

SOPRANO

COUNTRALTO

Cheryl Bundy Ernestine Cox Samantha Fentress Nicole Jeffers Brenda Jett Cheryl Meadows Barbara Middleton Lenora Miller Deborah O'Neal Staci Reed Daryl Taylor Yvonne Turner LaNyck Washington

Marcia Cotton Flint

Artistic Director

Yvonne C. Turner,

Executive Director

Michele Cotton Stanfield,

Assistant Conductor

Krystal Thomas, Accompanist Rosilyn Stearnes-Brown, Librarian

—————— ALTO

Michele Cotton Standfield Madonna Draugh Sadarra Fields Chiquila Francis Camille Hanna Jackie Howard Juanita Jeffries Carolyn Kent Rochelle Mitchell Miriam Smedley Rosilyn Stearmes-Brown Angela Williams

—————— COUNTERTENOR

Deontaye Clay Brandon Hodges

—————— TENOR

Chester Carter Ryan Fielder Frederick Smith Darrius Washington Luke Windon

—————— BASS

Andrew Cox Geronimo Larson Michael McFarland Marvin McKinney Christopher Peters Earnest Robinson

C L A S S I C A L R O O T S C E L E B R AT I O N

One of the greatest movements in classical music isn’t contained in any score. Today we honor the contributions of African-American classical composers, musicians and educators. AAA supports the Detroit Symphony Orchestra in furthering their legacy through the DSO Classical Roots Celebration.

21-PR-0141

DSO’s 43rd Annual Classical Roots Celebration Honoring Vera Heidelberg, Wynton Marsalis, and Marlowe Stoudamire

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Congratulations to the Detroit Symphony Orchestra for 43 years of Classical Roots and to Vera Heidleberg and Wynton Marsalis and to the memory of Marlowe Stoudamire for their commitment to African American musicians!

“THE GIRL WITH THE D EARRING” BY DETROIT ARTIST SYDNEY G JAMES MURAL AT CHROMA MILWAUKEE JUNCTION, DETROIT

A COMMUNITY LEADER WHO LEADS WITH HUMILITY

DETROIT SYMPHONY ORCHESTRA

LESLIE

GREEN

honoree

Vera Heidelberg is a quiet force of nature. “She never goes first; but when she speaks, she’s gracious, thoughtful, and very wise,” said Anne Parsons, President and CEO of the Detroit Symphony Orchestra. “I believe this stature that she wears so gently comes from her history, her involvement, her engagement, and her participation. Vera has been a doer all her life.” Heidelberg grew up in a “nourishing family community” six miles outside of Laurel, Mississippi, where she was related to everyone. It was there that her love for music was cultivated. “Music has always been part of my life. Coming from the south, I was very familiar with African American hymns and songs along with the voice of renowned soprano Leontyne Price, who also grew up in Laurel. “The long and short of it is, I’ve been surrounded by music one way or another and have always enjoyed it. Music just comes from the soul.” While her community was tightknit, times were turbulent in the Jim Crow south where there was no protection for Black people under the law. “Emmett Till was lynched and murdered, and it all got to be too heavy. Many people left so they

could live well,” Heidelberg said. In the 1950s, Heidelberg’s family moved to Detroit where she completed her high school degree and went on to earn a bachelor’s degree from the Detroit Institute of Technology and a master’s in social work from Wayne State University. Just as Heidelberg had been nurtured in her youth, she sought to protect and support others. In addition to her own work, she supported her husband, Robert Heidelberg, in his private dermatology practice. Over the years, she has supported numerous organizations, including her sorority Delta Sigma Theta and Westminster Church of Detroit. She was a charter member of the Greater Wayne County Chapter of The Links, a women’s organization that seeks to enhance quality of life in Black communities, and she chaired the women’s committee of the United Negro College Fund. “We raised money to provide scholarships for students to get to college and have their tuition supplemented,” Heidelberg said. “But we realized that once they got to the university, they had no funds while they waited for their scholarships. So, we started a project called Operation Book Smart to help them until their financing was in place.” Founded in 1978 at Detroit’s historic Bethel AME Church by choral director Dr. Brazeal Dennard, DSO Resident Conductor Paul Freeman, and other prominent community leaders, Classical Roots moved to Orchestra Hall in 1981 and became a beloved, annual concert tradition recognizing

African American contributions to classical music. In the late 1990s, civil rights activist and longtime Classical Roots supporter Arthur L. Johnson asked Heidelberg to help coordinate activities to expand their efforts. In 2001, they added the gala Classical Roots Celebration and lifetime achievement component. The Celebration raises funds to support the Classical Roots mission and is organized by a dedicated steering committee. “They had asked me to spread the word about what we were trying to do. The idea was that if we were asking for that kind of recognition from our community, we wanted to contribute to it, which turned into the dinner and fundraising part of the gala,” Heidelberg said. She took her role seriously. “She’s always been focused on making sure we preserve our history, on making sure we’re telling the story of Classical Roots. Her brand has helped elevate and expand awareness of the Classical Roots program while also making everybody feel like they are really important,” said Ellen Hill Zeringue, Vice President of Marketing for the Detroit Tigers and a member of the Classical Roots Committee. “What’s really brilliant is that when you look at Mrs. Heidelberg and Classical Roots, you’re going to see a trail of men and women of color who have now become strong advocates and patrons of the Detroit Symphony Orchestra. You’re going to see a long list of people who are now part of the fabric of the organization. It’s an amazing legacy.”

C L A S S I C A L R O O T S C E L E B R AT I O N

LESLIE

GREEN

HONORING A GREAT MUSICIAN, COMPOSER, EDUCATOR André Watts was just 10 years old whenAND he played his

first concert with The Philadelphia Orchestra. He realized then that he wanted to make being a pianist into a career. BY

DETROIT SYMPHONY ORCHESTRA

LESLIE

GREEN

for big band, tap dance, ballet, and more and has led and played with the biggest names in jazz, including Dizzy Gillespie, Sonny Rollins, Sarah Vaughan, and Herbie Hancock. In 1987, Marsalis co-founded Jazz at Lincoln Center in New York to entertain, enrich, and expand a global jazz community through performance, education, and advocacy, where he now serves as managing and artistic director. And from 2008 to 2009, he served as the DSO’s Fred A. and Barbara M. Erb Jazz Creative Chair. “You can’t deny Wynton’s body of work and the contributions he’s made over the past three decades of his impressive career,” said Chris Harrington, DSO Senior Director of Jazz and @ The Max. “Just look at his discography; look at the organization [Jazz at Lincoln Center] that has grown into the world’s largest art organization dedicated to jazz under his leadership; look at countless awards and accolades he’s received. At the DSO, Wynton has made an indelible mark on our organization, our education programs, and the jazz community in Detroit.” Marsalis has earned three gold records and numerous awards. In 1983, he was the first artist to win Grammy Awards for jazz and classical recordings in the same

year, and he topped himself in 1984 by repeating the triumph. He then earned five additional Grammys, a National Humanities Medal, and became the first jazz musician to win the Pulitzer Prize for Music. Despite the accolades and his busy schedule, Marsalis takes time to educate others and advocate for culture. Terence Blanchard, Marsalis’s childhood friend and the DSO’s current Fred A. and Barbara M. Erb Jazz Creative Chair, said, “I’ve always admired his tenacity, creativity, and his ability to not only pay homage to our history, but also to move the music forward. Throughout the years, because of our tenure with Art Blakey, we’ve all known about the importance of cultivating young talent. Art Blakey always told us that we have to pass this on from one generation to the next, and Wynton is definitely following in those footsteps.” “Participating in people’s lives and being part of the art form is an honor and privilege,” Marsalis said. “Teaching is a sacred profession. My father was a teacher, and I've had the opportunity to be a teacher for many years. I love working with kids. I love to take lessons, and I love to give lessons. “Just as you never forget your band director, you, as a teacher, are an important guidepost in your students’ landscapes forever.”

C L A S S I C A L R O O T S C E L E B R AT I O N

honoree

Ragtime and R&B dominated the airwaves in New Orleans when Ellis Marsalis Jr. was coming up in the 1940s and early ‘50s, but the pianist launched his career doing something relatively new—he played jazz. Yet, jazz didn’t initially entice Wynton Marsalis, the second of Ellis’s six children. “When I was growing up, jazz music was just something that my daddy played that nobody really wanted to listen to,” said Marsalis, an internationally acclaimed musician, bandleader, composer, and educator. His feelings changed, though, when he became aware of the complex nature of the music. “I would look at album covers, and the musicians on the covers were really serious. Clifford Brown would pose with such intensity on his face that I knew he was doing something that was the product of a lot of thought,” said Marsalis, 59. At only eight years old, the trumpeter played traditional New Orleans tunes with legendary banjoist Danny Barker. At 14, Marsalis performed with the New Orleans Philharmonic, and throughout high school, he shared the stage with New Orleans bands, orchestras, and symphonies and played with the funk band the Creators. Then, after being the youngest student to study at the legendary Tanglewood Music Center in Massachusetts, he headed to The Juilliard School. Just a year later, Marsalis signed with Columbia records and joined the Jazz Messengers, where he studied under drummer and band leader Art Blakey. Since then, Marsalis has performed with and created music

You can’t deny Wynton’s body of work and the contributions he’s made over the past three decades...

honoree

DECEMBER 24, 1976 - MARCH 24, 2020

LE AV ING A L EGACY O F LOV E A N D CO M M U N I T Y S E RV I CE

LESLIE

GREEN

DETROIT SYMPHONY ORCHESTRA

T R I B U T E

Community leader and advocate, entrepreneur, mentor, devoted family man and friend: Until his untimely death at age 43, Marlowe Stoudamire joyfully had his hands full lifting up the city of Detroit, its people, and their talent for all the world to see. One of Stoudamire’s numerous contributions included serving six years on the Detroit Symphony Orchestra’s Classical Roots Steering Committee where he encouraged originality and helped the team stay on mission. “Marlowe was that guy in the meeting who always had these big ideas and challenged the committee to think of new and creative ways to expand our reach and promote the mission of Classical Roots and other facets of our organization,” said Chris Harrington, DSO Senior Director of Jazz and @ The Max. “He believed in evolving and growing, in being intentional about storytelling, and in connecting people and increasing access.”. “The Classical Roots mission embodied who he was as a person,” said his wife Valencia Stoudamire, director of Strategic Sourcing in Supply Chain Management for Henry Ford Health System. “He loved music and musicianship. He was in awe of the talent and ability of the musicians who performed or were highlighted by Classical Roots and wanted to get to know them and know their experiences.” Stoudamire collaborated with Harrington on other events as well. “He was all about building authentic

I N

R E M E M B R A N C E

relationships and leveraging social capital to getting things done,” Harrington said. “I remember having a conversation with him about the idea of bringing Grammy-nominated singer, songwriter, and emcee Mumu Fresh to the DSO, and less than a few months later, we were able to present her at The Cube to a sold-out audience. The entire concert experience was an overwhelming success, and I couldn’t have done it without him.” One of the most visible undertakings Stoudamire took on was as director of “Detroit 67: Looking Back to Move Forward,” a trailblazing Detroit Historical Society exhibit and engagement project that reflects on the uprising of 1967 as a way for Detroiters to tell their own stories and help heal old wounds.

Under his direction, "Detroit 67" went from being what would have been a great exhibit to a huge project with more than 100 community partners that made real societal impact, said Historical Society President and CEO Elana Rugh. “They fixed up a park, put up a historic marker, and helped people connect to resources to improve economic stability,” she said. In 2018, "Detroit 67" earned the IMLS National Medal, the highest award bestowed on museums and libraries. In 2019, "Detroit 67" team

Marlowe was that guy in the meeting who always had these big ideas and challenged the committee to think of new and creative ways to expand our reach and promote the mission of Classical Roots and other facets of our organization.

D CL EA TR SS OIICTASLY R MO PO HO T SN Y C EOLREC BH RE AT S TI O RN A

honoree

T R I B U T E

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R E M E M B R A N C E

DECEMBER 24, 1976 - MARCH 24, 2020

members Rugh, Stoudamire, and Tracy Irwin traveled to Croatia where they won second place at The Best in Heritage Conference. After Stoudamire’s passing at the hands of COVID-19 last year, the Historical Society dedicated the permanent exhibit in his honor. Before he passed away and after the bulk of his work on "Detroit 67" had ended, Rugh asked Stoudamire to help acclimate her as the new head of the Historical Society. More than introducing her to people, Stoudamire provided essential counsel. “Three years ago, I would have been too afraid to say the wrong things. But he encouraged me to be brave and vulnerable and helped me to find the words,” Rugh said. “Without him, I wouldn’t have the awareness that I do now of how important race relations and equity are in our role as a museum.” A “serial, social entrepreneur,” Stoudamire most recently was principal of 2050 Partners Inc. and Butterfly Effect Detroit, integrative marketing, strategy, and social impact firms; principal of Roster Detroit, which sought to showcase African American talent in the city; and Strategic Social Impact Advisor to the National Hockey League. He helped the NHL expand its efforts

He believed everybody has a voice and everybody has something to contribute. He could see things in people they sometimes couldn’t see in themselves.

around inclusion and access in the sport to children living in metropolitan markets. He also created and operated MASH Detroit, a co-working space on Detroit’s east side developed to unite communities and cultures. All jobs he had while working on "Detroit 67". “It was amazing for me just looking at him managing all of this,” Valencia said. “It wasn’t work for him. In the midst of that, he still made sure the family was a priority. He would even take our kids, Shelby and Ian, to meetings, and they got to see their dad in action doing what he loved.”

DETROIT SYMPHONY ORCHESTRA

Stoudamire wasn’t just a savvy project manager. He was, as he liked to say, a social capital expert. “Marlowe believed in the power of relationships,” Valencia said. “He believed everybody has a voice and everybody has something to contribute. He could see things in people they sometimes couldn’t see in themselves.” In 2019, Stoudamire decided to pay homage to Black men he knew, who had made an impact on him, their families and their communities. For 50 days straight, he awoke at 5 a.m. and wrote their very personal and heartfelt tributes. The project soon grew into Roster Detroit: Detroit Has Talent, a series of social media posts about men and women who positively impacted the city. The relationships Stoudamire forged had an indelible impact on those he encountered. “He brought his whole self wherever he went—whether on stage speaking to thousands or at a business meeting in a coffee shop accompanied by his children. Marlowe always encouraged me to be intentional about being a friend,” Harrington said. “He taught us all simple but profound lessons.”

A SALUTE TO OUR FOUNDING PRINCIPAL —— A LEADER, MENTOR, FRIEND, HUSBAND & FATHER

MARLOWE STOUDAMIRE 1 9 7 6

2 0 2 0

We are honored to live out your legacy.

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CONDUCTOR

William EDDINS National Opera, Royal Scottish

regularly conducts from the piano

Director Emeritus of the Edmonton

National Orchestra, Bergen

in works by Mozart, Beethoven,

Symphony Orchestra and a

Philharmonic, Adelaide Symphony

Gershwin, and Ravel. He has

frequent guest conductor of major

Orchestra, Barcelona Symphony

released a recording on his own

orchestras throughout the world.

Orchestra, and the Lisbon

label that includes Beethoven’s

Metropolitan Orchestra.

Hammer-Klavier Sonata and William

William Eddins is the Music

Engagements have included

Career highlights include taking

the New York Philharmonic, St.

Rag.

the Edmonton Symphony Orchestra

Orchestra, the symphony orchestras

to Carnegie Hall in May of 2012,

of Boston, Minnesota, Cincinnati,

conducting RAI Orchestra Sinfonica

the Ravinia Festival with both the

Atlanta, Detroit, Dallas, Baltimore,

Nazionale on Italian television, and

Chicago Symphony Orchestra and

Indianapolis, Milwaukee, Houston, as

leading the Natal Philharmonic on

the Ravinia Festival Orchestra. He

well as the Los Angeles and Buffalo

tour in South Africa with soprano

has also conducted the orchestras

Philharmonics.

Renée Fleming. Equally at home

of the Aspen Music Festival, the

Mr. Eddins has performed at

with opera, he conducted a full

Hollywood Bowl, Chautauqua

Principal Guest Conductor of

production of Porgy and Bess with

Festival, the Boston University

the RTÉ National Symphony

Opera de Lyon both in France and

Tanglewood Institute, and the Civic

Orchestra (Ireland). He has also has

at the Edinburgh Festival.

Orchestra of Chicago.

Internationally, Eddins was

conducted the Berlin Staatskapelle, Berlin Radio Orchestra, Welsh

Albright’s The Nightmare Fantasy

Louis Symphony, Philadelphia

Mr. Eddins is an accomplished pianist and chamber musician. He

DETROIT SYMPHONY ORCHESTRA

GUEST

artist

Anthony M GILL C

Hailed for his “trademark brilliance, penetrating sound and rich character” (The New York Times), clarinetist Anthony McGill enjoys a dynamic international solo and chamber music career and is principal clarinet of the New York Philharmonic—the first African American principal player in the organization's history. He is the recipient of the 2020 Avery Fisher Prize, one of classical music’s most significant awards. McGill appears as a soloist with top orchestras, including the New York Philharmonic, Metropolitan Opera, Baltimore Symphony Orchestra, and Kansas City Symphony. He performed alongside Itzhak Perlman, Yo-Yo Ma, and Gabriela Montero at the inauguration of President Barack Obama, premiering a piece by John Williams. As a chamber musician, McGill is a favorite collaborator of the Brentano, Daedalus, Guarneri, JACK, Miró, Pacifica, Shanghai, Takács, and Tokyo Quartets, as well as Emanuel Ax, Inon Barnatan, Gloria Chien, Yefim Bronfman, Gil Shaham, Midori, Mitsuko Uchida, and Lang Lang. He serves on the faculty of The Juilliard School, Curtis Institute of Music, and Bard College Conservatory of Music. He is the Artistic Director for the Music Advancement Program at The Juilliard School. In 2020, McGill’s #TakeTwoKnees campaign protesting the death of George Floyd and historic racial injustice went viral. For additional background, please visit anthonymcgill.com.

C L A S S I C A L R O O T S C E L E B R AT I O N

artists GUEST

Michael Ke Ma started his

Bassoon of the Global Chinese

he was appointed Principal Bassoon

Festival Orchestra and was invited

of the Shanghai Broadcasting

by Maestro Myung-whun Chung

Symphony Orchestra (now the

to play with the Asia Philharmonic

Shanghai Philharmonic Orchestra).

Orchestra, based in Korea and

In 2004, he was appointed the

comprising elite musicians

Assistant Principal Bassoon of the

worldwide. In 2015, Michael spent

Detroit Symphony Orchestra by

2 months with the Singapore

Neeme Järvi, making him the first

Symphony Orchestra as their Guest

Chinese wind player to earn such a

Principal Bassoon. He has also

title in a major US orchestra.

made guest appearances with the

Michael was born in Shanghai,

Michael KE MA ACTING PRINCIPAL BASSOON DSO MEMBER SINCE 2005

Chicago Symphony Orchestra in

where he started violin lessons

its 2010-2011 season. Michael has

at the age of 5. After switching

been interviewed by the Shanghai

from violin to bassoon for only six

OTV and Detroit Fox2News, and his

months at age 11, he was accepted

performances can often be heard

by the Shanghai Conservatory of

on the radio at KUSC and K-MZT in

Music to study with Professors Zhun

Los Angeles; and WRCJ 90.9 and

Zhao, Zhi-Hong Song and Zhao-

WWJ 950 AM in Detroit.

Lu Liu. In 2001, he was invited by

A dedicated teacher, Michael

Stephen Maxym, former Principal

is very active in music education.

Bassoon of the Metropolitan Opera

He has taught master classes

Orchestra, to study in the US under

at Interlochen Arts Academy,

a full scholarship at the University

participated in the Professional

of Southern California. He was

Panel at Michigan State University,

Stephen's last recruit, and upon

coached private students at the

his passing, Michael continued his

Shanghai Conservatory of Music

studies with Judith Farmer, former

and Macau Youth Symphony

Principal Bassoon of the Austrian

Orchestra, and worked with the

Radio Orchestra.

DSO's own Civic ensembles. He

Since then, Michael has given

has regularly been invited by

solo recitals, chamber music

Yongyan Hu, Dean of the EOS

and orchestral performances at

Orchestra Academy of the Central

many music festivals and venues

Conservatory of Music in Beijing,

around the globe, including the

and Long Yu, President of the

Banff Center for the Arts, Idyllwild

Shanghai Orchestra Academy in

Arts Summer Program, Sunflower

Shanghai, to give master classes to

Chamber Music Festival in Kansas,

their students.

Asian Youth Orchestra, Spoleto

recently served as Principal

professional career in 2000 when

Michael has collaborated with

USA Festival Orchestra, Beijing

luminaries such as Yo-Yo Ma, Itzhak

International Music Festival,

Perlman, Charles Dutoit, Lang Lang,

Shanghai International Arts Festival,

John Williams, Fabio Luisi, Paavo

and the Tongyeong International

Järvi, Kathleen Battle, Placido

Music Festival in Korea. Michael

Domingo, and the late Kurt Masur.

DETROIT SYMPHONY ORCHESTRA

The Greater Wayne County Chapter of the Links, Incorporated

Congratulates 2021 Classical Roots

HONOREE

Vera Heidelberg

artists GUEST

JAZZ AT LINCOLN CENTER

ORCHESTRA with

Wynton Marsalis 36

WYNTON MARSALIS, music director, trumpet RYAN KISOR, trumpet KENNY RAMPTON, trumpet KRIS JOHNSON, trumpet CHRIS CRENSHAW, trombone VINCENT GARDNER, trombone MICHAEL DEASE, trombone WALTER BLANDING, tenor and soprano saxophones, clarinet KASAN BELGRAVE, alto and soprano saxophones, flute, clarinet TED NASH, alto and soprano saxophones, flute, clarinet VICTOR GOINES, tenor and soprano saxophones,

clarinet, bass clarinet

PAUL NEDZELA, baritone and soprano saxophones, bass clarinet DAN NIMMER, piano CARLOS HENRIQUEZ, bass OBED CALVAIRE, drums

DETROIT SYMPHONY ORCHESTRA

The Jazz at Lincoln Center

the Jazz at Lincoln Center resident

Orchestra (JLCO) comprises the

orchestra since 1988, performing

finest jazz soloists and ensemble

and leading educational events in

players today. Led by Wynton

New York, across the United States,

Marsalis, Jazz at Lincoln Center

and around the globe. Alongside

Managing and Artistic Director,

symphony orchestras, ballet

this remarkably versatile orchestra

troupes, local students, and an ever-

performs a vast repertoire ranging

expanding roster of guest artists,

from original compositions and Jazz

the JLCO has toured over 300

at Lincoln Center-commissioned

cities across six continents. Guest

works to rare historic compositions

conductors have included Benny

and masterworks by Duke Ellington,

Carter, John Lewis, Jimmy Heath,

Count Basie, Fletcher Henderson,

Chico O’Farrill, Ray Santos, Paquito

Thelonious Monk, Mary Lou

D’Rivera, Jon Faddis, Robert Sadin,

Williams, Dizzy Gillespie, Benny

David Berger, Gerald Wilson, and

Goodman, Charles Mingus, and

Loren Schoenberg.

many others. The JLCO has been

C L A S S I C A L R O O T S C E L E B R AT I O N

FOCUSED ON WHAT MATTERS MGM GRAND DETROIT IS PROUD TO SUPPORT THE 2021 CLASSICAL ROOTS CELEBRATION.

At MGM Grand Detroit, we feel it is important to respect each other’s differences. We choose to embrace these differences to achieve best-in-class experiences and cultivate stronger ties with our guests, employees, neighbors, and partners. We are committed to stand up to issues of equality and aim to better unify our world.

MA KI NG CO NNE C T I O NS TH R OU G H HIS MUSI C BY

LESLIE

GREEN

Still the cello kept calling to him, and he returned to the instrument in his senior year. Randolph has since performed at the John F. Kennedy Center for the Performing Arts, the Metropolitan Museum of Art, and The White House among other notable venues. While earning his music degree under the tutelage of cello instructor Uri Vardi and orchestra conductor Oriol Sans at the University of Wisconsin-Madison, Randolph also earned degrees in mathematics and economics and spent whatever free time he could on the basketball court. “My mother is an engineer and was adamant about us having a solid foundation in math and science, and I really loved math,” the 24-year-old said. In 2016, Randolph participated in the University of Chicago’s Leadership Alliance program where he conducted math research and presented his findings at two symposia. When it comes to economics, he wants to teach kids to be financially literate and independent. “Financial literacy is crucial,” he said. “It would be great if we could give every child a musical instrument but most still wouldn’t become musicians. Even if they do, they need to know what to do with their money once they become successful.” Taking his own lessons from DSO cellists is a powerful experience, Randolph said. “We have the ability to play with anybody in the orchestra. It’s awesome to get so much feedback.”

C L A S S I C A L R O O T S C E L E B R AT I O N

fellow

RANDOLPH

Cole Randolph, one of two African American Orchestra Fellows at the Detroit Symphony Orchestra, is pursuing not just one but several passions. His father, a composer and associate professor of music at Howard University, encouraged his four children to play musical instruments until they at least reached high school. With his first two children choosing to play the violin, he suggested that Randolph and his twin sister round out a family string quartet by one playing the cello and other playing the viola. Randolph, who was five years old at the time, selected the cello for its size and rich, emotive sound. “People say music is storytelling, but it helps when you have the instrument that is closest to the human voice,” Randolph said. “It has the power to build your spirit up or bring you to tears, and it gives you an opportunity to connect with people, with your audience, on a very deep level.” Together, the family quartet played classical and jazz music. When Randolph reached high school, however, he had to make a choice: Would he continue studying the cello or would he join the basketball team? Randolph loved the game and knew he would be more popular playing that than playing cello, so he picked basketball.

AFRICAN AMERICAN

Cole CELLIST

17600 Plymouth R oad - Detr oit MI 48227

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Classical Roots Celebration

We celebrate your legacy with you!

Courteous and Reassuring Service

Jaquain

C L A S S I C A L R O O T S C E L E B R AT I O N

BASSOONIST

fellow

a full scholarship to attend the Peabody Institute of the Johns Hopkins University where he earned a degree in bassoon performance. He later graduated with honors with a Master of Music degree and certificate in performance from the University of Southern California. The 27-year-old’s hard work has earned him awards and recognition from organizations such as the Lenoir Community Music Club, Appalachian State University, and the Plowman Chamber Music Competition. The bassoonist / contrabassoonist has performed with numerous orchestras, including the Los Angeles Philharmonic, 2018 Video Game Awards Orchestra, Baltimore Symphony Orchestra, Southeast Symphony, Debut Symphony, and the American Youth Symphony. In L.A., Sloan also performed with Tonality, a social justice choir in Los Angeles; the L.A. Choral Lab’ and at the First Congregational Church of Los Angeles as a bass section leader. He said his latest endeavor, playing with high-caliber musicians as a DSO fellow, has been beneficial. “School doesn’t really teach you the interpersonal connections you need to make with your section and other sections of the orchestra,” Sloan said. “I’m now getting my foundation for an orchestral career. I now know the path I want to follow.”

AFRICAN AMERICAN

Jaquain Sloan’s love of music began at a very early age. At four years old, he started singing with his church choir in the small town of Lenoir in the mountains of North Carolina. Once in elementary school, his music teacher encouraged the extrovert to audition for talent shows. Sloan, who is one of two African American Orchestra Fellows at the Detroit Symphony Orchestra, took piano lessons and played percussion in his middle school band. He also tried the flute, clarinet, and saxophone— because he liked how the instrumentalists swayed to the music. In ninth grade, Sloan stumbled upon his fated calling. “When I brought the bassoon home and showed it to my mom, she asked if the ring on the top had a crack. It did,” he said. “It turned out to be the same bassoon my mom played in her middle and high school years.” However, she wanted to be sure he was truly interested in being a bassoonist before buying him a costly reed. In the meantime, Sloan used YouTube to teach himself to play. “Because I didn’t have a reed, it wasn’t making any sound. But I was drawn to it. I really needed it,” he said. “Getting the reed a month later was a magical moment. I could devote endless amounts of energy to it and not be tired of it.” Studying at the University of North Carolina School of the Arts under Saxton Rose his senior year helped Sloan understand that playing the bassoon could be a career. From there, he got

SLOAN

O N FI N D I N G HI S C A R E E R PAT H WI T H T H E H E LP O F DSO FE LLOWSHI P BY

LESLIE

GREEN

“Music is the language of the spirit” —KAHIL GIBRAN

Thank you Classical Roots for lifting our spirits.

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HONORING THE CONTRIBUTIONS & ARTISTRY OF

THE CLASSICAL ROOTS STEERING COMMITTEE CONGRATULATES VERA HEIDELBERG AND WYNTON MARSALIS, AND FONDLY REMEMBERS MARLOWE STOUDAMIRE.

The Children’s Foundation is transforming the conditions in which people live, work and play for optimal health, mental health & well being.

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Creating healthier communities by addressing social determinants of health.

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COMMUNITY

outreach

CLASSICAL ROOTS: EMPOWERING AND INSPIRING YOUNG MUSICIANS Community engagement has been at the heart of Classical Roots since it began in 1978 and continues to be a driving force behind the annual celebration of African American composers and musicians today. The Classical Roots mission has grown since its start as a concert featuring the Detroit Symphony Orchestra and Brazeal Dennard Chorale at the historic Bethel A.M.E. Church. In addition to adding a gala, fundraiser, and concert at Orchestra Hall, Classical Roots also supports increased opportunities for Black musicians through the DSO’s African American Composer Residency and African American Orchestra Fellowship. It also helps bolster the dreams of budding classical musicians. In a normal year, the DSO would have held Classical Roots chamber recitals, featuring performances from the fellows,

at two local churches. And the composer in residence and fellows would have visited six schools prior to the grand affair. Although in-person visits and recitals were impossible this year, the DSO successfully pulled off a series of virtual events that engaged local congregations and the next generation of musicians and patrons. Events included educational activities with the DSO’s Civic Youth Ensembles and a DSO Digital Concert with jazz great Wynton Marsalis. Rather than in-person recitals at Detroit’s Hartford Memorial Baptist Church and Plymouth United Church of Christ this year, congregations viewed recordings, made specifically for them, of fellows Cole Randolph (cello) and Jaquain Sloan (bassoon) performing on the Orchestra Hall stage. Sloan and Randolph also interacted with students from

third to 10th grade through virtual concerts and webinars where they shared the transformational moments that made them want to be musicians. “I didn’t have an African American or other minority cellist to look up to when I was growing up because classical string musicians are primarily Asian and white. It’s really important for students to have role models they can look up to,” Randolph said. Sloan said he wants students to know that just because so many people in orchestras don’t look like them right now, it doesn’t mean they aren’t welcome. “I want them to know that if you have the want and if you have the drive to do it, you can and will do it,” he said. “There are people who look like them and sound like them that are trying to make a difference, so orchestras can be as full and colorful as America is.”

C L A S S I C A L R O O T S C E L E B R AT I O N

Central Michigan University is proud to be a sponsor of the Detroit Symphony Orchestra’s Arthur L. Johnson - Honorable Damon Jerome Keith Classical Roots Celebration

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CMU, an AA/EO institution, strongly and actively strives to increase diversity and provide equal opportunity for all individuals, irrespective of gender identity or sexual orientation and including but not limited to minorities, females, veterans and individuals with disabilities. 19-164 MGX 02/20

SAVE THE DATE | MARCH 5, 2022

The Renaissance (MI) Chapter of The Links, Incorporated

Education Sponsor Classical Roots Celebration

At home or in person, we are thrilled to share another Classical Roots Celebration with you!

On time. On trend. On budget. 248.727.2970

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EVENT PLANNING & PRODUCTION

LIVE OR VIRTUAL

Cultivating gifted artists. Promoting innovative work. JPMorgan Chase is proud to support the Detroit Symphony Orchestra and the 2021 Classical Roots Celebration. Congratulations to all of this year’s honorees on their well-deserved recognition and accomplishments.

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