Performance Magazine: Winter 2018 — Edition 3 by Detroit Symphony Orchestra

VOLUME XXVII • FEBRUARY 2019

PERFORMANCE THE MAGAZINE OF THE DETROIT SYMPHONY ORCHESTRA

2018-2019 SEASON

A DSO WINTER FESTIVAL INSIDE Program Notes

What is “American” Music?

Hear Henry Ford’s 1703 Stradivarius

Meet the Musicians

Varnum Attorney Eric Nemeth with the Detroit Symphony Orchestra—American Panorama Mascots.

On behalf of my firm, welcome to the 2019 Winter Music Festival – American Panorama. This year’s festival includes more than two dozen concerts and events, with music ranging from Aaron Copland compositions to Detroit techno. Varnum is pleased to support the mission and programming of the DSO, one of our community’s oldest and most beloved arts organizations. Just as a community needs strong businesses and employment opportunities to thrive, so, too, can a community’s prosperity be measured by the strength of its arts and entertainment offerings. We are proud to be part of a community where music and the arts are valued, and we are privileged to be both patrons and supporters of the Detroit Symphony Orchestra. Eric Nemeth leads the Tax Planning, Compliance and Litigation Practice at Varnum LLP

2 0 18 -2 0 19 S E A S O N

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

CONTENTS Welcome......................................................4 Orchestra Roster.........................................5 Behind the Baton.........................................6 Board Leadership........................................8 Transformational Support........................10 Donor Roster............................................. 50 Maximize Your Experience....................... 58 DSO Administrative Staff......................... 60 Festival At a Glance................................. 62

Meet the Musicians

Henry’s Fiddle

What is “American” Music?

Joseph Becker, Andrés Pichardo-Rosenthal, Jeremy Epp, and James Ritchie

Kim Kayolanides Kennedy to Play Henry Ford’s 1703 Stradivarius

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Volume XXVII • February 2019 EDITOR Ben Breuninger bbreuninger@dso.org 313.576.5196 PUBLISHER Echo Publications, Inc. Tom Putters PROGRAM NOTES ANNOTATOR Charles Greenwell

(Unless otherwise noted)

To advertise in Performance, please call 248.582.9690, email info@echopublications.com or visit echopublications.com Read Performance anytime, anywhere at dso.org/performance

ON THE COVER Your on-the-go American Panorama mascots, illustrated by digital artist and game designer Daniel Vincenz. See the mascots in action at the DSO’s YouTube channel, and check out more of Vincenz’s work at daielvincenz.com.

By Mark Clague

21 PROGRAM NOTES dso.org

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

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WELCOME Dear Friends, We are thrilled to welcome you to our sixth annual winter festival, this year celebrating the music of our own country. Over the next three weeks, we invite you to experience all that American Panorama has to offer. This begins with the six wildly inventive programs that Leonard Slatkin has planned for the Orchestra Hall stage, featuring both beloved music and some wonderful, lesser-known works. Leonard has championed the music of America for over five decades, and we can think of no better tour guide for this journey. But why stop there? We also have over a dozen eclectic offerings in the Peter D. and Julie F. Cummings Cube offering everything from Puerto Rican jazz and chamber music to Detroit hip-hop. So, please explore with us as we listen, have fun, and make new discoveries. We would like to thank American Panorama sponsor Varnum LLP for their support of our winter festival for a second year in a row. Just as every festival is different, so is every season. And while we will not be presenting a winter festival in the recently announced 2019-2020 season, we do invite you to celebrate Orchestra Hall’s centennial with special concerts by the DSO and activities throughout the year. Stay tuned for additional details. We look forward to seeing you on multiple occasions this month and hope you find the festival rewarding and a welcome respite.

Anne Parsons, President and CEO

Mark Davidoff, Chairman

In Memory of Al Glancy 1937 – 2019

The DSO is greatly saddened by the death of Chairman Emeritus Alfred R. Glancy III. Al joined the DSO board of directors in 1974, serving for an incredible 40 years including six as its chairman (1992 – 1998). A generous, passionate, and action-oriented leader and donor, Al helped all of us get our jobs done, both on stage and off, from box office and maintenance staff to our musicians. During the 1990s, Al was a major factor in holding the organization together after a huge loss of state funding, and he later led the board during the launch of the Orchestra Place development project in 1996. More recently, Al provided funding for the DSO to upgrade the technology of our global webcast series, Live from Orchestra Hall, and in 2014 his giving allowed the DSO to launch the Alfred R. Glancy III Capital Reserve and Technology Fund, designed to address the ongoing capital needs of the orchestra. The DSO sends its condolences to Al’s entire family. He will be missed. 4

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FEBRUARY 2019

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

JEFF TYZIK

Principal Pops Conductor

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

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TERENCE BLANCHARD

NEEME JÄRVI

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

Music Director Emeritus

Abraham Feder A ssistant Principal Dorothy and Herbert Graebner Chair Robert Bergman* Jeremy Crosmer* David LeDoux* Peter McCaffrey* Joanne Danto and Arnold Weingarden Chair Haden McKay* Úna O’Riordan*^ Mary Ann and Robert Gorlin Chair Paul Wingert* Victor and Gale Girolami Chair BASS Kevin Brown, Principal Van Dusen Family Chair Stephen Molina A ssistant Principal Linton Bodwin Stephen Edwards Christopher Hamlen Nicholas Myers HARP Patricia Masri-Fletcher Principal Winifred E. Polk Chair FLUTE Sharon Sparrow Acting Principal Bernard and Eleanor Robertson Chair Amanda Blaikie Morton and Brigitte Harris Chair Jeffery Zook Open, Principal Women’s Association for the DSO Chair Adam Sadberry African-American Orchestra Fellow

CLARINET Ralph Skiano Principal Robert B. Semple Chair Jack Walters PVS Chemicals Inc./Jim and Ann Nicholson Chair Laurence Liberson A ssistant Principal Shannon Orme

TROMBONE Kenneth Thompkins, Principal David Binder Randall Hawes

E-FLAT CLARINET Laurence Liberson

PERCUSSION Joseph Becker, Principal Ruth Roby and Alfred R. Glancy III Chair Andrés Pichardo-Rosenthal A ssistant Principal William Cody Knicely Chair James Ritchie

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

PICCOLO Jeffery Zook OBOE Alexander Kinmonth Principal Jack A. and Aviva Robinson Chair Sarah Lewis Maggie Miller Chair Brian Ventura A ssistant Principal Monica Fosnaugh ENGLISH HORN Monica Fosnaugh Shari and Craig Morgan Chair

BASS TROMBONE Randall Hawes TUBA Dennis Nulty, Principal

TIMPANI Jeremy Epp, Principal Richard and Mona Alonzo Chair James Ritchie A ssistant Principal LIBRARIANS Robert Stiles, Principal Ethan Allen PERSONNEL MANAGERS Heather Hart Rochon Director of Orchestra Personnel Patrick Peterson Manager of Orchestra Personnel STAGE PERSONNEL Dennis Rottell, Stage Manager Ryan DeMarco Department Head Noel Keesee Department Head Steven Kemp Department Head Matthew Pons Department Head Michael Sarkissian Department Head

LEGEND

* These members may voluntarily revolve seating within the section on a regular basis ~ extended leave ^ on sabbatical DSO PERFORMANCE MAGAZINE 5

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

Leonard Slatkin

nternationally acclaimed conductor Leonard Slatkin is Music Director Laureate of the Detroit Symphony Orchestra (DSO) and Directeur Musical Honoraire of the Orchestre National de Lyon (ONL). He maintains a rigorous schedule of guest conducting throughout the world and is active as a composer, author, and educator. Highlights of the 2018-19 Season include a tour of Germany with the ONL; a three-week American Festival with the DSO; the Kastalsky Requiem project commemorating the World War I Centennial; Penderecki’s 85th birthday celebration in Warsaw; five weeks in Asia leading orchestras in Guangzhou, Beijing, Osaka, Shanghai, and Hong Kong; and the Manhattan School of Music’s 100th anniversary gala concert at Carnegie Hall. He will also conduct the Moscow Philharmonic, Balearic Islands Symphony, Orchestre Philharmonique de Radio France, Louisville Orchestra, Berner Symphonieorchester, Pittsburgh Symphony, St. Louis Symphony, RTÉ National Symphony in Ireland, and Monte Carlo Symphony. Slatkin has received six Grammy awards and 33 nominations. His recent Naxos recordings include works by Saint-Saëns, Ravel, and Berlioz (with 6

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the ONL) and music by Copland, Rachmaninov, Borzova, McTee, and John Williams (with the DSO). In addition, he has recorded the complete Brahms, Beethoven, and Tchaikovsky symphonies with the DSO (available online as digital downloads). A recipient of the prestigious National Medal of Arts, Slatkin also holds the rank of Chevalier in the French Legion of Honor. He has received Austria’s Decoration of Honor in Silver, the League of American Orchestras’ Gold Baton Award, and the 2013 ASCAP Deems Taylor Special Recognition Award for his debut book, Conducting Business. His second book, Leading Tones: Reflections on Music, Musicians, and the Music Industry, was published by Amadeus Press in 2017. Slatkin has conducted virtually all the leading orchestras in the world. As Music Director, he has held posts in New Orleans; St. Louis; Washington, DC; London (with the BBCSO); Detroit; and Lyon, France. He has also served as Principal Guest Conductor in Pittsburgh, Los Angeles, Minneapolis, and Cleveland. For more information, visit leonardslatkin.com.

FEBRUARY 2019

ENGAGED IN THE ARTS.

COMMITTED TO CULTURE.

IMPACTING OUR COMMUNITY.

The Community Foundation for Southeast Michigan proudly supports the DSO as part of our mission to assist organizations creating a lasting, postive impact in our region.

CFSEM.org

313-961-6675

Detroit Symphony Orchestra, Inc. LIFETIME MEMBERS

CHAIRMEN EMERITI

DIRECTORS EMERITI

OFFICERS

BOARD OF DIRECTORS

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

Samuel Frankel † David Handleman, Sr.†

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

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

James B. Nicholson Stanley Frankel Phillip Wm. Fisher

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

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

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

Mark A. Davidoff, Chairman

Faye Alexander Nelson, Treasurer

Ralph J. Gerson, Officer at Large

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

Arthur T. O’Reilly, Secretary

Janice Uhlig, Officer at Large

Anne Parsons, President & CEO

Nancy Schlichting, Officer at Large

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

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

† Deceased

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

FEBRUARY 2019

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

Ismael Ahmed Rosette Ajluni Richard Alonzo Robert Bluestein Suzanne Bluestein Penny B. Blumenstein Elizabeth Boone Gwen Bowlby Margaret Cooney Casey Karen Cullen Joanne Danto Stephen R. D’Arcy Maureen T. D’Avanzo Richard L. DeVore Afa Sadykhly Dworkin Annmarie Erickson James Farber Jennifer Fischer Aaron Frankel

Carolynn Frankel Christa Hoen-Funk Alan M. Gallatin Robert Gillette Jody Glancy Malik Goodwin Mary Ann Gorlin Laura Grannemann Antoinette G. Green Leslie Green Laura Hernandez-Romine Donald Hiruo Michele Hodges Julie Hollinshead Renato Jamett Joseph Jonna John Jullens David Karp Joel D. Kellman

Jennette Smith Kotila James P. Lentini, D.M.A. Linda Dresner Levy Joshua Linkner Florine Mark Tonya Matthews, Ph.D. David N. McCammon Lydia Michael, NextGen Chair Lois A. Miller Daniel Millward Scott Monty Shari Morgan Frederick J. Morsches Joseph Mullany Sean M. Neall Eric Nemeth Maury Okun Shannon Orme, Orchestra Representative

Vivian Pickard William F. Pickard, Ph.D. Gerrit Reepmeyer Richard Robinson James Rose, Jr. Marc Schwartz Lois L. Shaevsky Thomas Shafer Margaret Shulman Cathryn M. Skedel, Ph.D. Ralph Skiano, Orchestra Representative Mark Tapper Laura J. Trudeau Gwen Weiner Jennifer Whitteaker R. Jamison Williams Margaret E. Winters Ellen Hill Zeringue

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

GOVERNING MEMBERS OFFICERS Janice Bernick Chairwoman

James C. Farber Immediate Past Chair

Jiehan Alonzo Vice Chair, Signature Events

Suzanne Dalton Vice Chair, Annual Giving

Maureen D’Avanzo Member-at-Large

Janet and Norm Ankers Co-Vice Chairs, Gabrilowitsch Society

Samantha Svoboda Vice Chair, Communications

Bonnie Larson Member-at-Large

Cathleen Clancy Vice Chair, Engagement

David Assemany Member-at-Large

David Everson* Orchestra Representative

Diana Golden Vice Chair, Membership

David Karp Member-at-Large

Kenneth Thompkins Orchestra Representative

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

BUILDING ON OUR MUSICIANS’ GENEROSITY

ast fall, we were thrilled to announce an unprecedented act of generosity: a new, combined gift of $100,000 to the DSO endowment, made collectively by the musicians of the orchestra. “This remarkable gift represents yet another significant step towards realizing our vision of excellence in the city of Detroit for generations to come,” said DSO President and CEO Anne Parsons. “It is designed as a challenge with the goal of catalyzing no less than $1 million in investments to our DSO Musicians’ Fund for Artistic Excellence. I’m thrilled to share that Ric Huttenlocher, Chair of the DSO’s Board of Trustees, along with his wife Carola, Carola and Ric Huttenlocher have been the first to respond to the Musicians’ Challenge with their own lead matching commitment. Ric and Carola have been steadfast supporters and passionate subscribers for more than 25 years and we’re so grateful for their leadership and dedication to the DSO.” Ric Huttenlocher said of the donation, “Our musicians continue to be trailblazers on and off the stage. Their personal investment is an inspiring challenge to our oneDSO community and yet another example of their commitment to leading the way. Carola and I are honored to join the musicians in pursuing our shared vision of continuing the legacy of extraordinary music for the people of Detroit.” The entire DSO community is grateful to our musicians for creating the Musicians’ Challenge. To learn more about how you can participate in this historic investment, critical to ensuring our orchestra’s place in the next era of American music, please contact Alexander Kapordelis, Campaign Director, at akapordelis@dso.org.

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FEBRUARY 2019

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

CHAMPIONS Mr. & Mrs. Richard L. Alonzo Mandell & Madeleine Berman Foundation Penny & Harold Blumenstein Mr. & Mrs. Raymond M. Cracchiolo Joanne Danto & Arnold Weingarden Vera and Joseph Dresner Foundation DTE Energy Foundation The Fred A. & Barbara M. Erb Family Foundation Mr. & Mrs. Phillip Wm. Fisher Ford Motor Company Fund Mr. & Mrs.† Morton E. Harris

John S. & James L. Knight Foundation The Kresge Foundation Mrs. Bonnie Larson Linda Dresner & Ed Levy, Jr. The Andrew W. Mellon Foundation Ms. Deborah Miesel Shari & Craig Morgan The Polk Family Bernard & Eleanor Robertson Stephen M. Ross Mrs. Richard C. Van Dusen

LEADERS Applebaum Family Foundation Charlotte Arkin Estate Mr. & Mrs. Lee Barthel Marvin & Betty Danto Family Foundation Herman & Sharon Frankel Ruth & Al Glancy Mary Ann & Robert Gorlin John C. Leyhan Estate Bud & Nancy Liebler

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

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

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

MEET THE MUSICIANS

Joseph Becker

Principal Percussion Ruth Roby and Alfred R. Glancy Chair

Andrés PichardoRosenthal

Assistant Principal Percussion William Cody Knicely Chair

he members of the DSO’s timpani and percussion sections are among the most visible in the orchestra— scattered across the back of the stage, sidling between all manner of drums, cymbals, bells, and percussive ephemera. Often helming the mighty timpani, with a straight-ahead view of the conductor, is Jeremy Epp; to his right, Joe Becker and Andrés Pichardo-Rosenthal keep perfect time with the instrumental order of the day. And then there’s Jay Ritchie: as a member of both sections, he says “I play the most instruments in the orchestra, because I play infinity plus one.” The “plus one” is the timpani, but even within that class of instrument there are many sizes and varieties of kettle drums to bang on. The “infinity” is the enormous range of instruments that percussionists must master. Some—like snare and bass drums, cymbals, bells, mallet instruments, tambourines, and gongs—are quite common; others, not so much. “It’s kind of surprising for people when we do a recital, for example, and they see all the different instruments and how involved it can be,” says PichardoRosenthal. And while the multiplicity can be chaotic, it’s also exciting. “A lot of 12

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Jeremy Epp

Principal Timpani Richard and Mona Alonzo Chair

James Ritchie Assistant Principal Timpani, Percussion

newer pieces involve setups with a lot of instruments, some of which are pretty wild,” Becker concedes. “But people in the last couple decades have become aware of the possibilities of utilizing percussion.” Perhaps ironically, the American Panorama piece in which Becker and Pichardo-Rosenthal will make their Classical Series soloist debuts involves no instruments at all other than the performers’ hands. Steve Reich’s Clapping Music is a minimal masterpiece that plays with a shifting rhythm clapped by two performers, and it’s a favorite for both musicians. “It’s simple,” PichardoRosenthal says. “That’s what’s amazing about it. It’s impressive because there’s not a lot going on, but audiences can hear the shift, and it’s really engaging to ‘figure it out,’ so to speak.” The two perform the work regularly in recital, and it always gets a good reaction. Plus, as Pichardo-Rosenthal points out, setup is a breeze. Over at the timpani, meanwhile, a showstopper is in store: Philip Glass’s Concerto Fantasy for Two Timpanists and Orchestra places about a dozen individual drums downstage, all but crowding FEBRUARY 2019

out the conductor. “Maximum Minimal, the title of the program, is kind of perfect,” says Ritchie. “Clapping Music is the ultimate Minimal piece. And the concerto is in the Minimalist style, but it’s so sonically huge; the sounds that it’s capable of are really over the top.” While such a timpani-forward concerto may seem like a gimmick at first glance, the Glass piece is serious business, and hopefully an early linchpin in a long future of similar works. Epp points to Beethoven’s Violin Concerto, which begins with four timpani notes, as the breakthrough moment for the instrument. “And as the instruments got more advanced in the 20th century, composers started experimenting with the possibilities,” he continues. “The timpani is still very young as a solo instrument.” What actually makes the timpani tick? “A lot of people don’t realize that timpani are pitched drums,” says Epp, explaining that mastering the instrument requires careful tuning and pedal work. “Timpani to me is always related to percussion, but it’s its own thing,” adds Ritchie, “It’s a tuneful, singing instrument, and we’re always trying to bring that aspect across. The drumming aspect is fairly obvious, but the tuneful aspect less so.” All told, Becker, Pichardo-Rosenthal, Epp, and Ritchie will be gloriously busy during American Panorama. Besides their solo work on Maximum Minimal, they’ll be performing nonstop on percussion-heavy works like Bernstein’s Age of Anxiety and Joan Tower’s Sequoia. “It’s much more challenging repertoire for us than the typical orchestra repertoire, mostly because the music is a lot newer,” explains Becker. “And it’s going to showcase percussion in a way I don’t think any of the previous festivals have,” PichardoRosenthal adds. All four musicians are excited about dso.org

the cohesion they’ve created as a group, owed in part to their closeness in age and their recent appointments to the orchestra (Becker joined in 2012, Epp and Pichardo-Rosenthal in 2014, and Ritchie in 2016). “It’s rare to have such a young section, and it really helps chemistry when you’re playing,” says PichardoRosenthal. Epp agrees: “You really get an opportunity to craft the section’s sound. There’s opportunity for collaboration and creativity in terms of what we want this DSO section to sound like.” Ritchie points out that in speaking with more tenured musicians, especially longtime percussion substitutes, he’s struck by how the current section is unconsciously retracing some of the traditions of former sections. That’s exciting, and possibly molded by the characteristic sound of Orchestra Hall, says Epp; “Because this is a resonant hall that picks up on subtlety, we can be more nuanced and detailed in our playing.” Outside of that gorgeous space, all four musicians are interested in sports. Ritchie joined the Detroit Boat Club on Belle Isle and spends his summers rowing. Epp, a native of Winnipeg, is a hockey fan, always eager to boost his hometown Jets. And Becker and Pichardo-Rosenthal are phenoms on the YMCA basketball court, at least in their opinion. “The two of us? I think we could do some damage against other orchestras,” brags Pichardo-Rosenthal, laughing. CLASSICAL SERIES

Maximum Minimal

Leonard Slatkin, conductor Joseph Becker, percussion Andrés Pichardo-Rosenthal, percussion Jeremy Epp & James Ritchie, timpani Sat., Feb. 23 at 8 p.m. Sun., Feb. 24 at 3 p.m. DSO PERFORMANCE MAGAZINE 13

HENRY’S FIDDLE H

enry Ford: industrialist, business mogul, innovator, philanthropist…violin nut? It’s true. The man most famous for revolutionizing the automobile was a lifelong fan of the instrument, especially the tunes and dances of country fiddlers. By the 1920s, when Ford was in his sixties and at the height of his wealth and public fame, he took an active interest in promoting the rural music of his childhood—regularly sponsoring dance lessons and fiddling competitions both in the greater Detroit area and across the country. He also purchased a few fiddles of his own, billionaire style. Through his friend

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Henry Ford’s 1703 “Rougemont” Stradivarius violin will be played in Orchestra Hall

Rudolph H. Wurlitzer (founder of the Wurlitzer Company, the piano and musical instrument manufacturer), Ford purchased five rare Italian violins, including two made by the most famous violinmaker of them all: Antonio Stradivari. And now one of them, the 1703 “Rougemont,” will be played in Orchestra Hall. Through a partnership with The Henry Ford Museum of American Innovation, which maintains Henry Ford’s violin collection, DSO Associate Concertmaster Kimberly Kaloyanides Kennedy (Alan and Marianne Schwartz and Jean Shapero/Shapero Foundation Chair) will play the 1703 Stradivarius during American Panorama, when she takes the stage as featured soloist for Samuel Barber’s Violin Concerto (February 21 and 22). “This violin has been played by Henry Ford, Yasha Heifitz, Itzhak Perlman, and Yehudi Menuhin,” Kennedy observes. “It’s hard to imagine that I am touching the same exact instrument that these masters have touched.” So, to all the violinists who dream of playing a Stradivarius one day, try to hide your jealousy: Kennedy has played this instrument before, as well as many of the others in The Henry Ford’s collection, typically at special events hosted by the museum. When the idea of bringing one of the Henry Ford violins to FEBRUARY 2019

Orchestra Hall for a DSO performance was floated, she was asked if any of the instruments suited the Barber Concerto especially well. She picked the 1703. “Barber’s all about sound and color,” she says. “The ‘Siberian,’ the other Strad in the Henry Ford collection, has a much more direct sound, but not as many

HENRY FORD colors. With this one, I was able to be more expressive. My priority isn’t to just cut through an orchestra, my priority is to find color.” That search for beautiful nuance looms large in the history of the instrument. When Henry Ford purchased it via Wurlitzer, he selected it because of its unique sound, not because it was made by Stradivarius or because it commanded an eye-popping price. In fact, Ford had a habit of treating his rare violins as if they were any old country fiddle. Once, at a 1934 school concert sponsored and attended by Ford, the violin was handed to a 12-yearold soloist as something of a treat; later that year and until about 1938, Ford lent the instrument to the young prodigy Grisha Goluboff, whose own violin was trapped in Nazi Germany (which dso.org

Goluboff and his family risked their lives to escape). Of course, being one of the richest people on the planet allows for a certain nonchalance when dealing with one-of-a-kind artifacts, but even so— Ford’s main interest in violins was as violins; that is, they ought to be in the hands of players who ought to play them. Kennedy agrees. While the name “Stradivarius” is often enough to lock a violin tight in a museum case, the instrument is only alive when it’s played. In preparation for this month’s performances, Kennedy has been playing it almost daily. The pair have been getting to know each other quite well. “It is a different size from my violin,” she remarks. “The distance between the strings and the length are different, which means a different feel.” But the significance of being able to play it in Orchestra Hall is of another magnitude. “I feel like it has its own voice. It has its own soul,” Kennedy says. “And I can journey a lot further with it. It’s going to teach me. With my violin, we might be on equal level. But the Strad is going to show me more than I could ever imagine. And so that’s my exploration—teach me! Teach me what music can be.”

Hear the 1703 “Rougemont” Stradivarius for yourself in Orchestra Hall, February 21 and 22. CLASSICAL SERIES

West Side Story

Leonard Slatkin, conductor Kimberly Kaloyanides Kennedy, violin Ralph Skiano, clarinet Thu., Feb. 21 at 7:30 p.m. Fri., Feb. 22 at 8 p.m.

The DSO wishes to thank The Henry Ford for their generosity and collaboration in this exciting project. DSO PERFORMANCE MAGAZINE 15

AN AMERICAN PANORAMA:

WHAT IS “AMERICAN” MUSIC?

B Y M A R K C L A G U E , A M E R I C A N PA N O R A M A S C H O L A R - I N - R E S I D E N C E

ven standing at the rim as a firsthand witness, I found the scale and scope of the Grand Canyon all but inconceivable. The layered cliffs stretch from horizon to horizon and perspective is lost. The adjacent wall appears maybe a handful of football fields away, yet in reality its closest point is at a distance of some of 17 or 18 miles. Known as Tsékooh Hatsoh in Navajo, Ongtupqa in Hopi, and El Gran Cañón in Spanish, the mile-deep, 277mile long meandering gorge was cut through limestone and crystalline schist by water—what is today known as the Colorado River—over the course of some 5 or 6 million years. Composer Ferde Grofé, who visited the signature landmark in 1916, later wrote the Grand Canyon Suite for orchestra (1929–31). In five movements, it depicts a sunrise over the canyon, the tinted layers of its cliffs, a rocking burro ride on the trail, the sunset, and a cloudburst storm. An orchestral tone poem inspired by a landmark unique to the United States, Grofé’s composition helps to answer the question “What is American music?” Sonic paintings of the nation’s geography forge a strong tributary of American orchestral music. Just as the patriotic song “America the Beautiful”

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celebrates the land from “sea to shining sea,” works such as Grand Canyon Suite, George Gershwin’s Piano Concerto in F (originally titled the “New York Concerto”), or Kristin Kuster’s Dune Acres draw upon the wonder of specifically American places as musical inspiration. The American aesthetic is thus more of a geographic container than a manifesto. The land supports extraordinary variety and nurtures a range of creative dialects, languages, and cultures. Driven by a pioneering spirit of individualism to explore new vistas, American music defies cultural borders and in so doing articulates a shared heritage in its omnivorous variety. American sonic soil feeds a plethora of possibilities. This vast soundscape demands artistic exploration; American composers face an imperative of adventure, fulfilling national ideals of originality, freedom, individuality, equality, and interdependence. American creativity is less about genius than about hard work, persistence, courage, and relentless achievement. Musical talent is not born to the few, but nurtured in the democratic many. Yet these musical postcards do more than paint a picture: they use nature as an artistic metaphor. Such musings can FEBRUARY 2019

GRAND CANYON, PHOTO BY HART HOLLMAN, DSO VIOLA

comment on the nation as a whole, as with Virgil Thomson’s The Plow that Broke the Plains that tells the story of the 1930s Dust Bowl and the danger of taking our natural environment for granted. The immensity of nature can also resonate individually. Joan Tower’s Sequoia is less about California’s redwood giants—the tallest trees in the world—than it is about nature’s achievement of balance and by extension the composer’s own “balancing energies,” including the balance of Beethoven’s influence in her own music. In the case of John Luther Adams’ Pulitzer Prize-winning Become Ocean, meaning can be derived from the intersection of the global environmental challenges of climate change and of one’s personal geography, as viewed through the composer’s 40-year history of living and working in Alaska. As one who helped invent and celebrate this tradition through commissions and recordings, Maestro Leonard Slatkin has helped to curate American Panorama out of his own experience and passions. The festival offers a compelling survey of the geography of American musical creativity. Patriotic pride is evident from the opening work, Morton Gould’s Star-Spangled Overture. American folk material is also featured as a sonic reference to American origins, such as when Aaron Copland features the Shaker dance tune “Simple Gifts” in his ballet Appalachian Spring. The festival includes dso.org

American music for music’s universal sake, compositions inspired by America’s relationship to the European tradition, and the imperative to advance the abstract legacy of classical music. We will also hear music inspired by specific events, such as Leonard Bernstein’s Mass (written for the dedication of the John F. Kennedy Center for the Performing Arts), Williams’s Liberty Fanfare celebrating the centennial of the Statue of Liberty, or Cindy McTee’s Adagio, adapted from her Agnus Dei for organ in response to the tragedies of 9/11. American music explores ideas too, such as John Cage’s philosophy of the musical possibilities of “silence” in his famed 4’33’’, the power of repetition in the process music of the minimalists Steve Reich and Philip Glass, or the celebration of racial equality as a vehicle for the power of African-American artistry that is Gershwin’s folk opera Porgy and Bess. Such music adds emotional depth to ideas and invites a telling of the American story in sound. Bernstein’s Age of Anxiety is a sonic retelling of W.H. Auden’s book-length poem of the same title. Composer John Williams has come to define the traditions of Hollywood film music, fusing sound with drama to quicken the heart, heighten suspense, or make tears flow. Yet, what is most important about America’s orchestral tradition is not what inspired it, but how it inspires us today. Placing this panorama of very different DSO PERFORMANCE MAGAZINE 17

works side-by-side in a festival of American music invites us as listeners to seek our own reflections in these musical visions. That this event is sparked by the artistry of Detroit’s hometown orchestra is itself an act of community. It asserts a shared heritage, a shared pride, a shared journey. It invites collaboration and an ethos of care, not simply for the good of the art but for the success of the community enterprise. The value of American art is social. Its purpose is to inspire. It galvanizes a civic ideal that welcomes the rugged individualism of the artist as a catalyst for the shared responsibilities of the community, the city, the state, and nation. The Grand Canyon and Grofé’s Suite are just such shared community artifacts, symbols that defy boundaries, that synthesize past, present, and future, that convey a sense of possibility without limits. They ask us how we relate to the world in which we live, what we must do, and what our responsibilities are to our personal panorama of relationships. Thus Grofé’s audio portrait galvanizes music as a parable of the present. American music is vital because it serves as a resonator for the national imagination of community, for shared dreams that allow a land of individuals to thrive as a land of neighbor helping neighbor to assure the pursuit of happiness for all. What is American music? It is our community’s inspiration. It is what we, as listeners, dream and do in response.

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Mark Clague, Ph.D. is an Associate Professor of Musicology, American Culture, and Arts Entrepreneurship & Leadership at the University of Michigan School of Music, Theatre & Dance, where he also serves as Associate Dean of Academic and Student Affairs. He currently serves as editor-in-chief of the George and Ira Gershwin Critical Edition and his new critical edition of An American in Paris has been performed by orchestras worldwide, including the Detroit Symphony Orchestra. 18

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One world-renowned ensemble. 16 Beethoven quartets. Six nights you will never forget. Great Lakes Chamber Music Festival Presents The Beethoven Cycle Performed by Emerson String Quartet june 15-23 Join the Grammy Award-winning Emerson String Quartet as they perform the Beethoven Cycle: 16 string quartets spanning the classical and romantic periods. For information on the complete Festival, which runs June 15-30 throughout metro Detroit, call 248-559-2097 or visit greatlakeschambermusic.org.

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LEONARD SLATKIN, Music Director Laureate 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

CLASSICAL SERIES American Panorama Friday, February 8, 2019 at 10:45 a.m. • Friday, February 8, 2019 at 8 p.m. in Orchestra Hall LEONARD SLATKIN, conductor • WEI YU, cello Morton Gould Star-Spangled Overture on (1913 - 1996) “The Star-Spangled Banner” from American Ballads

Joan Tower (b. 1938) Sequoia Leonard Bernstein Three Meditations from Mass

(1918 - 1990)

Wei Yu, cello

Intermission Virgil Thomson Suite from The Plow that Broke the Plains

(1896 - 1989)

I. Prelude II. Pastorale (Grass) III. Cattle IV. Blues (Speculation) V. Drought VI. Devasatation

Ferde Grofé Grand Canyon Suite

(1892 - 1972) This Classical Series performance is generously sponsored by

I. Sunrise II. Painted Desert III. On the Trail IV. Sunset V. Cloudburst

Made possible in part by a grant from

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

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Program Notes Star-Spangled Overture on “The Star-Spangled Banner” from American Ballads MORTON GOULD B. December 10, 1913, New York, NY D. February 21, 1996, Orlando, FL

Scored for 2 flutes, piccolo, 2 oboes (1 doubling on English horn), 3 clarinets (1 doubling on E-flat clarinet and bass clarinet), 2 bassoons (1 double on contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 5 minutes)

vital advocate of American music, Morton Gould was a composer, pianist, conductor, arranger, and orchestrator who is now celebrated as one of our country’s defining musical figures. He produced works of many styles in his long career—from ballet to Broadway—and had a knack for incorporating jazz styles and popular idioms into symphonic works. Gould’s many awards and honors include a Pulitzer Prize, a Grammy Award, a Kennedy Center Honor, and others. Gould was tapped for three commissions as part of the United States Bicentennial in 1976, one of which is the great American Ballads—a six-movement piece based on patriotic themes, which was debuted by the Queens Symphony with Gould conducting. The piece’s overture, based on “The Star-Spangled Banner,” is a rousing alternative to the standard national anthem curtain-raiser that some orchestras have favored since the mid-20th century. The DSO has previously performed

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Morton Gould’s Star-Spangled Overture once, as part of a July 1977 concert at Meadow Brook Amphitheatre that included the complete American Ballads. Gould conducted.

Sequoia JOAN TOWER B. September 6, 1938, New Rochelle, NY

Scored for 2 flutes (both doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 trombones, bass trombone, timpani, percussion, harp, piano, and strings. (Approx. 17 minutes) The composer writes the following about the piece: Sequoia opens with a very long “pedal point” on the note G, which expands to a four-octave G and then returns to the central G (in the trumpet part). Around this G begins a “balancing” action of harmonies that branch out on either side of the G—first above, then below—like the branching and rooting of a tree. This balancing of registers becomes more and more developed as the piece continues, and the pedal point G begins to move up and down very slowly to create a substructure of balances, a kind of counterpoint of lines. Another kind of “branching” action occurs in the contrasting of solo lines with big orchestral passages, and of soft and loud dynamics—an attempt to explore the enormous textural and dynamic range of the orchestra. The giant redwood tree, the Sequoia, seemed to me to embody these notions in at least two senses: the incredible “balancing act” achieved in the fullgrown height of the tree, and the striking FEBRUARY 2019

contrast of very small pine needles growing on such a large structure. —Joan Tower The DSO has previously performed Joan Tower’s Sequoia once, in October 1989, conducted by Günther Herbig.

Three Meditations from Mass LEONARD BERNSTEIN B. August 25, 1918, Lawrence, MA D. October 14, 1990, New York, NY

Scored for solo cello, timpani, percussion, harp, piano, organ, and strings. (Approx. 17 minutes)

s he was completing the orchestration of his Third Symphony (Kaddish) in the fall of 1963, Leonard Bernstein learned of President Kennedy’s assassination and dedicated the symphony to the slain President’s memory. Partly because of that gesture, Jacqueline Kennedy commissioned a work from him to open the newly-built Kennedy Center for the Performing Arts in Washington, DC in September 1971. Although he was Jewish, Bernstein had long wanted to write some kind of sacred, ecumenical service. The choice of a Catholic liturgical text to dedicate a building honoring the first Catholic President seemed like a perfect option. Bernstein’s Mass was for many years characterized by controversy—in its commission, premiere, and public reputation afterwards. But today it is regarded as one of the composer’s great works and a true American masterpiece, especially for its diverse musical stylings and ambitious mixture of Greek, Latin, Hebrew and English text. Bernstein made a cello and piano

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arrangement of the meditations that function as orchestral interludes in the work, then created a full orchestra version with a prominent role for solo cello. The first meditation, very slow and inward, is taken from the interlude between the Confession and the Gloria. The second is a set of variations on an 11-note sequence from the choral finale of Beethoven’s Ninth Symphony which occurs between the Gloria and the Epistle. The third is derived from various parts of the whole work, namely the Epiphany, the In nomine Patris, and the concluding chorale “Almighty Father.” Some of these excerpts are widely separated in the original, but there is an underlying thematic unity tying them all together. These performances mark the DSO premiere of Leonard Bernstein’s Three Meditations from Mass.

Suite from The Plow that Broke the Plains VIRGIL THOMSON B. November 25, 1896, Kansas City, MO D. September 30, 1989, New York, NY

Scored for flute, oboe, English horn, 2 clarinets (1 doubling on bass clarinet, alto saxophone, and tenor saxophone), bassoon, 2 horns, 2 trumpets, 2 trombones, timpani, percussion, banjo, guitar, and strings. (Approx. 16 minutes)

irgil Thomson was a many-faceted American composer of great originality, and a brilliant music critic. Using a spare and direct style marked by wit and playfulness, he composed in almost every genre, producing a unique and original body of work rooted in American speech rhythms, hymnbook harmony, DSO PERFORMANCE MAGAZINE 23

Program Notes Civil War songs, cowboy songs, barndance music, Baptist hymns, folk songs, popular songs, parlor waltzes, and the blues—a style which became emblematic of Roosevelt’s New Deal Era. The Plow that Broke the Plains is a 25-minute 1936 documentary written and directed by Pare Lorentz about the Dust Bowl; considered a classic among documentaries, it investigates how this tragic situation occurred as a result of misuse of our environment, as well as the waste of human and natural resources. Lorentz felt very strongly that a score equal in power to the visual elements was vital in telling this important story, and so he interviewed 12 composers before settling on Virgil Thomson. In 1942 Thomson extracted a six-movement concert suite from the film’s score, and this is the version most often heard today. Whereas many composers would tie their music to the emotional states in a film, Thomson related his music to the film’s images. In the score, each movement has an evocative superscription: Prelude: This is a record of land…of soil, rather than people—a story of the Great Plains… Pastorale (Grass): The grass lands…a treeless wind-swept continent of grass… Cattle: First came the cattle…For a decade the world discovered the grass lands and poured cattle into the plains. Blues (Speculation): Then we reaped the golden harvest…then we really plowed the plains…we turned under millions of new acres for war. 24

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Drought: A country without rivers…without streams…the sun baked the earth. Devastation: Their homes were nightmares of swirling dust night and day… Blown out, baked out and broke…The sun and winds wrote the most tragic chapter in American agriculture. The DSO has previously performed Virgil Thomson’s Suite from The Plow that Broke the Plains once, in January 1944, conducted by Karl Krueger.

Grand Canyon Suite FERDE GROFÉ B. March 27, 1892, New York, NY D. April 3, 1972, Santa Monica, CA

Scored for 3 flutes (1 doubling on piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, piano, and strings. (Approx. 30 minutes)

erde Grofé’s greatest success as a composer was the Grand Canyon Suite, a pictorial evocation in sound of one of this country’s great natural wonders, which he had seen in his early days roaming the American southwest. He fell under the spell of the Canyon’s scenic beauty and vowed to translate its impressions into musical substance. As he once wrote, “It became an obsession. The richness of the land and the rugged optimism of its people fired my imagination, and I determined to someday put it all to music.” Grofé completed his goal by 1931, and the piece was a hit—distinguished conductors like Arturo Toscanini, Eugene Ormandy, Arthur FEBRUARY 2019

Fiedler, and Andre Kostelanetz lined up to perform it, cementing the suite as a true American classic. The titles of the work’s five movements are basically self-explanatory, with the famous On the Trail depicting a braying mule riding down the canyon walls. Toscanini once described the final movement, Cloudburst, as one of the

most vivid and terrifying musical pictures he ever encountered. The DSO most recently performed Grofé’s Grand Canyon Suite at Meadow Brook in July 2010, conducted by Andrew Grams. The DSO first performed the piece in February 1942, conducted by Andre Kostelanetz.

Profile WEI YU Principal Cello James C. Gordon Chair ei Yu made his DSO subscription debut in November 2015, performing Dvořák’s Cello Concerto under the baton of Leonard Slatkin. Before joining the DSO, Yu was a member of the New York Philharmonic for seven seasons. An avid chamber musician, Yu has been invited to the Marlboro and Ravinia music festivals, and has collaborated with a wide range of musicians: cellist David Soyer, pianists Richard Goode and Menahem Pressler, violinists Midori and Pinchas Zukerman, and members of the Guarneri and Juilliard Quartets. As a member of the New York Philharmonic Ensembles, he makes regular appearances at Merkin Concert Hall. In the summers of 1998 through 2000, Yu participated in the Morningside Music Bridge program at Mount Royal University in Calgary. He subsequently enrolled in the University’s Gifted Youth

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program under the tutelage of John Kadz and is currently on the faculty of the Morningside Music Bridge program. He has given cello master classes at universities and festivals in the United States, Canada, and China. Born in Shanghai, Yu began studying the cello at age 4 and made his concerto debut at age 11, performing Elgar’s Cello Concerto with the Shanghai Symphony Orchestra. He received his bachelor’s degree from North Park University in Chicago and his master’s degree from the Juilliard School. His principal teachers include Mei-Juan Liu, John Kadz, Hans Jørgen Jensen, and David Soyer.  MOST RECENT APPEARANCE (AS A SOLOIST) WITH THE DSO: January

2019 on the William Davidson Neighborhood Concert Series, performing Dvořák’s Cello Concerto (cond. Ken-David Masur) F IRST APPEARANCE (AS A SOLOIST) WITH THE DSO: November 2015,

performing Dvořák’s Concerto for Cello and Orchestra (cond. Leonard Slatkin)

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LEONARD SLATKIN, Music Director Laureate 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

CLASSICAL SERIES A John Williams Celebration Saturday, February 9, 2019 at 8 p.m. • Sunday, February 10, 2019 at 3 p.m. in Orchestra Hall LEONARD SLATKIN, conductor ALEXANDER KINMONTH, oboe John Williams Liberty Fanfare (b. 1932) Pops on the March Concerto for Oboe

Alexander Kinmonth, oboe

Intermission The Cowboys Overture Suite from Jaws Theme from Jaws The Book Thief March from 1941 “Sayuri’s Theme” from Memoirs of a Geisha Suite from Harry Potter and the Sorcerer’s Stone Hedwig’s Theme “Raiders March” from Raiders of the Lost Ark

This Classical Series performance is generously sponsored by

Made possible in part by a grant from

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

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Program Notes All works by JOHN WILLIAMS B. February 8, 1932, Floral Park, NY

Liberty Fanfare Scored for 3 flutes (1 doubling on piccolo), 2 oboes, English horn, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, piano, and strings. (Approx. 5 minutes)

ohn Williams’s Liberty Fanfare came to life as part of the 1986 centennial of the Statue of Liberty, and was premiered on June 4 of that year. Though it was composed in the mid80s, the fanfare recalls many themes and sounds of the American pops heyday that began several decades earlier. “It’s got two great tunes,” explains critic Anthony Tommasini: “a brassy and boisterous fanfare riff, and a long-lined tune for the strings that sounds like lots of others Williams has composed for Hollywood, but still gets you right in the back of the throat.” The DSO most recently performed John Williams’s Liberty Fanfare in May 2014, conducted by Jeff Tyzik. The DSO first performed the piece in October 1986, conducted by Williams himself.

Pops on the March Scored for 3 flutes, 3 oboes (1 doubling on English horn), 3 clarinets, 3 bassoons (1 doubling on contrabassoon), 4 horns, 4 trumpets, 4 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 5 minutes)

hough John Williams succeeded Arthur Fiedler as conductor of the Boston Pops Orchestra, the two never

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met in person. But in a moment prescient of Williams’s appointment, Fiedler did call Williams on the phone in the late 1970s to ask if he would write a piece commemorating Fiedler’s 50-year tenure at the Pops. Williams unfortunately had to decline due to a schedule packed with film work, but upon Fiedler’s death Williams wrote Pops on the March as a tribute to the late maestro. Critic Richard Dyer observes that “the piece is built on a rhythmic motto,” adding that it celebrates Fiedler’s success and even echoes some of the pieces he built his reputation on, especially The Stars and Stripes Forever. The work’s tight orchestration and buoyant humor are expertly crafted by one superstar to pay tribute to another. These performances mark the DSO premiere of John Williams’s Pops on the March.

Concerto for Oboe Scored for solo oboe and strings. (Approx. 20 minutes)

ohn Williams served as Principal Conductor of the Boston Pops Orchestra from 1980 to 1993, and when he became Conductor Laureate he began writing music for some of the orchestra’s finest performers. This oboe concerto was written for Keisuke Wakao, whose elegant and refined playing style Williams admired. The concerto was premiered in May 2011. The piece in in three movements, following the classical fast-slow-fast style, and has a few similarities to R. Vaughan Williams’s pastoral oboe concerto as well as hints of Copland throughout. The Prelude features sweet phrases from the soloist and free-flowing rhythms in the strings. The lovely Pastorale contains passages which are DSO PERFORMANCE MAGAZINE 27

more static, subdued, and sometimes melancholy. And the final movement, Commedia, is a very spritely and effervescent form of dialogue, sometimes with bright and capricious figures over gently chugging strings, elsewhere with the oboe soaring over vigorous punctuated chords. These performances mark the DSO premiere of John Williams’s Concerto for Oboe.

Film music selections Scoring varies by piece. Each piece approximately 3-7 minutes.

ohn Williams is the best-known and most respected creator of film music since the genre’s conception and is arguably the most recognized contemporary composer in the world. In scoring more than 100 films, he has developed a signature style that relies on tuneful themes, rollercoaster melodies, and a bold, brass-heavy sound. The Cowboys is a 1972 film about a rancher who is forced to hire inexperienced boys as cowhands in order to get his herd to market on time, but the rough drive is full of dangers and personal conflicts. In Willliams’s words, “The movie required a vigorous music score…and when my friend Andre Previn heard fragments of the score, he suggested that a concert overture lay hidden within the film’s music.” When a killer shark unleashes chaos on a Long Island beach resort, it’s up to the local sheriff, a marine biologist and an old seafarer, to hunt down the beast. This is the simple plot of Jaws, a terrific and hair-raising movie from 1975, which contains one of the best-known passages in all of music. As one writer puts it, “Rarely have six basses, eight cellos, four trombones, and a tuba held such

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power over listeners—especially in a movie theater.” The Book Thief is a 2013 World War II drama based on the 2005 historical novel of the same name by Markus Zuzak. It tells the story of Liesl, a young girl who grows up in the home of her adoptive parents in 1939 Germany who have been hiding a Jew in their basement. Liesl begins to read him a book every day and resorts to stealing books to do so, only to return them when the reading is complete. Williams’s score is characteristically beautiful and elegant, and The Book Thief marked the first time in eight years that Williams scored a film not directed by his longtime patron Steven Spielberg. The 1979 slapstick film 1941 is an attempt to retell history in comic terms. The plot is loosely based on what is now known as “The Great Los Angeles Air Raid,” when people became so nervous about a Japanese attack on the United States that all the guns in Los Angeles were trained on non-existent targets, lighting up the sky for five hours one night in February 1941. Williams leaned into the fun and scored something of a self-parody of his bombastic, epic style. And Steven Spielberg even describes the zany march from 1941 as his favorite Williams piece. Memoirs of a Geisha is a drama film based on the 1997 novel of the same name by Arthur Golden. The novel, told in the first person, tells the story of a fictional geisha working in Kyoto, Japan before and after World War II. A number of sections of the film score use traditional Japanese form, melody, and instruments (shakuhachi and koto, for example), which provide a real sense of time and place. Harry Potter and the Sorcerer’s Stone is the first book (and film) in the FEBRUARY 2019

phenomenally popular Harry Potter franchise, about (as if you don’t know) a boy wizard and his exploits at Hogwarts School of Witchcraft and Wizardry. Williams did not score all eight Harry Potter films, but the most recognizable music from the series—the mysterious, even eerie “Hedwig’s Theme”—is quoted in each entry, and has become synonymous with the magic and childlike wonder that make the franchise so popular. In 1936, archaeologist and adventurer Indiana Jones is hired by the United States government to find the Ark of the Covenant before Hitler’s Nazis can obtain its awesome powers. This is the plot of Raiders of the Lost Ark, a 1981

action film, directed by Steven Spielberg, for which Williams wrote the popular “Raiders March.” Williams originally wrote two separate themes for the film’s main character, but Spielberg liked both so much that he insisted they be combined into “Raiders March,” which in turn became one of Williams’s most recognizable and exciting themes. The DSO has previously performed John Williams music from all the above films, except for The Book Thief. The earliest DSO performance of any of the above pieces is a January 1983 concert featuring “Raiders March” from Raiders of the Lost Ark, conducted by Richard Hayman.

Profiles ALEXANDER KINMONTH Principal Oboe Jack A. and Aviva Robinson Chair lexander Kinmonth was appointed Principal Oboe of the Detroit Symphony Orchestra in 2015, while wrapping up his studies at The Juilliard School. Prior to joining the DSO, he substituted with the Metropolitan Opera in New York and the Charleston Symphony Orchestra in South Carolina. He has also appeared at the Mostly Mozart Festival, Tanglewood, Music Academy of the West, and the Aspen Festival, where he received a fellowship in 2014. Raised in Carlisle, Massachusetts, Kinmonth has received awards from the Professional Musicians Club of Boston, the Massachusetts Instrumental and Choral Conductors Association, the

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Philharmonic Society of Arlington, and Concord (MA) Orchestra. Besides music, his hobbies include fencing, soccer, and downhill mountain biking; he is also the winner of a National Gold Key Award in the Scholastic Art and Writing Awards’ Short Story category. M OST RECENT APPEARANCE (AS A SOLOIST) WITH THE DSO: May 2018,

on the William Davidson Neighborhood Concert Series, performing Mozart’s Sinfonia concertante for Oboe, Clarinet, Basson, Horn, and Orchestra (cond. Speranza Scappucci) F IRST APPEARANCE (AS A SOLOIST) WITH THE DSO: January 2017, per-

forming Mozart’s Concerto in C major for Oboe and Orchestra (cond. Leonard Slatkin)

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LEONARD SLATKIN, Music Director Laureate 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

CLASSICAL SERIES Appalachian Spring Thursday, February 14, 2019 at 7:30 p.m. Friday, February 15, 2019 at 10:45 a.m. in Orchestra Hall LEONARD SLATKIN, conductor • JEAN-YVES THIBAUDET, piano

Cindy McTee Adagio for String Orchestra

Leonard Bernstein Symphony No. 2: The Age of Anxiety

(b. 1953)

(1918 - 1990)

Part I The Prologue: Lento moderato The Seven Ages: Variations 1-7 The Seven Stages: Variations 8-14 Part II The Dirge: Largo The Masque: Extremely fast Th e Epilogue: L’istesso tempo - Adagio - Andante - con moto Jean-Yves Thibaudet, piano

Intermission

Samuel Barber Adagio for Strings

Aaron Copland Suite from Appalachian Spring

(1910 - 1981)

(1900 - 1990)

This Classical Series performance is generously sponsored by

[1945 orchestration]

Made possible in part by a grant from

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

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Program Notes Adagio for String Orchestra CINDY MCTEE B. February 20, 1953, Tacoma, WA

Scored for strings. (Approx. 12 minutes) The composer writes the following about the piece: Adapted from my Agnus Dei for organ in the wake of events following the horror of September 11, 2001, the Adagio became the second movement of my Symphony No. 1: Ballet for Orchestra. It was commissioned by the National Symphony Orchestra (under then-Music Director Leonard Slatkin) and made possible by the John and June Hechinger Fund for New Orchestra Works. The Adagio gradually exposes a hauntingly beautiful melody from Krzysztof Penderecki›s Polish Requiem (A-flat, G, F, C, D-flat, E-flat, D-flat, C). A falling half-step and subsequent whole-step emphasize the interval of the minor third. With occasional references to Samuel Barber’s Adagio for Strings, the work’s harmonic language reflects my interest in using both atonal and tonal materials within the same piece of music. —Cindy McTee These performances mark the DSO premiere of Cindy McTee’s Adagio for String Orchestra.

Symphony No. 2: The Age of Anxiety LEONARD BERNSTEIN B. August 25, 1918, Lawrence, MA D. October 14, 1990, New York, NY

Scored for solo piano, 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, dso.org

contrabassoon, 4 horns, 3 trumpets, 3 trombones, tube, timpani, percussion, 2 harps, piano, and strings. (Approx. 35 minutes)

ike many of his artistic contemporaries, Leonard Bernstein was deeply struck by W.H. Auden’s 1947 poem The Age of Anxiety, which won the Pulitzer Prize for Poetry in 1948. The book-length eclogue gave a name to the cultural condition of the mid-20th century, and substance to national (and international) fears in the aftermath of World War II. “Auden’s fascinating and hair-raising poem began to affect me lyrically,” Bernstein writes. “The composition of a symphony based on The Age of Anxiety acquired an almost compulsive quality… The essential line of the poem (and of the music) is the record of our difficult and problematic search for faith.” In creating this work, Bernstein did not so much attempt to translate episodes of Auden’s poem into music as to use the poem as a means of expressing his own thoughts on some of the same matters which Auden had raised. The poem (and subsequently the music) is divided into two parts and six sections: The Prologue, which introduces three men and a woman, all of them mixed up in different ways; The Seven Ages, during which they talk over drinks, dividing existence into seven ages from infancy to death; The Seven Stages, in which the four, now intoxicated, go on a symbolic dream quest with seven more variations, searching for “a state of prehistoric happiness;” The Dirge, wherein they lament the loss of a guiding father figure who can untangle their problems; The Masque, a late-night party at the woman’s apartment where the beginnings of love are kindled between the woman and one of the men, but ultimately go nowhere; and finally, The Epilogue, in which the four characters DSO PERFORMANCE MAGAZINE 31

look towards faith as something pure, but when dawn breaks they each return to their solitary everyday lives alone. The DSO most recently performed Bernstein’s Symphony No. 2: The Age of Anxiety at Meadow Brook in June 1991, conducted by James DePreist and featuring pianist James Tocco. The DSO first performed the piece in November 1957, conducted by C. Valter Poole and featuring pianist Mischa Kottler.

Adagio for Strings SAMUEL BARBER B. March 9, 1910, West Chester, PA D. Jan 23, 1981, New York, NY

Scored for strings. (Approx. 7 minutes)

hile other composers of his generation largely turned away from the 19th century romanticism that looked less palatable after the horrors of two world wars, Samuel Barber held firm to tradition. Although Barber increasingly experimented with dissonance, chromaticism, and even 12-tone rows, he never did so in a way that compromised tonality or lyricism, with the result that his newest compositions quickly became popular and enjoyed frequent performances. Composed in 1936 as the second movement of Barber’s String Quartet, the Adagio has become one of the most beloved American compositions and a national song of mourning. Its elegiac depth has offered solace at times of national crisis, early on gracing the state funerals of both Franklin D. Roosevelt and John F. Kennedy. When words fail, the piece has filled the emotional void. This expression of pathos has likewise been used in film scores to movies such as Platoon, The Elephant Man, The Scarlet Letter, Amélie, and others.

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Barber constructs the long, spiraling theme from a traditional musical device—the sequence—when a thematic gesture of notes is repeated starting slightly lower or, in this case, higher. (Imagine a pianist’s fingers playing the same pattern, but shifting up and down the keyboard.) The genius of the piece, though, is that Barber builds a work of great emotional intensity from the simplest of ideas. Starting at the threshold of silence, as the sequence flows upward its volume gradually increases, reinforcing the emotional tension. Transported to shimmering melodic heights, the musical arc collapses, falling precipitously to stasis and silence. When the theme resurfaces in sotto voce splendor, the piece becomes a paean to hope and of the will to go on, built of smaller arching gestures that fade into the future. The DSO most recently performed Barber’s Adagio for strings during the 2017 Asia Tour, conducted by Leonard Slatkin. The DSO first performed the piece in January 1945, conducted by Karl Krueger.

Suite from Appalachian Spring [1945 orchestration] AARON COPLAND B. November 14, 1900, Brooklyn, NY D. December 2, 1990, Sleepy Hollow, NY

Scored for 2 flutes (1 doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, percussion, harp, piano, and strings. (Approx. 24 minutes)

n the mid-late 1930s and early 40s, Aaron Copland began to drift from modernist sensibilities and see if he could (musically) say what he had to say FEBRUARY 2019

in the simplest and most accessible terms—producing popular works like El Salon Mexico, Billy the Kid, and Rodeo. With a similar concern, Elizabeth Sprague Coolidge endowed a foundation at the Library of Congress to commission and perform new works. In June 1942, Erick Hawkins, a member of Martha Graham’s dance company, wrote to Coolidge suggesting that she commission a work for Graham. After much correspondence, Graham was officially commissioned to do the choreography and Copland to compose the music. In August, Graham wrote to Coolidge that this collaboration was “not only a first for me, but for American dance as well. To my knowledge, this is the first time a commissioning of works for the American Dance has ever happened.” Graham and Copland were very pleased by the results, and the only thorn that remained was the title; the piece was simply called Ballet for Martha until the day before the premiere. At that point, Graham suggested Appalachian Spring, after having just read a poem by Hart Crane called The Dance, in which one phrase reads, “O Appalachian Spring! I gained the ledge…that

eastward bends and Northward reaches…that violet wedge of Adirondacks!” The world premiere of this beloved work took place in the small Coolidge Auditorium of the Library of Congress on October 30, 1944, and the following year the ballet won the Pulitzer Prize for Music. Due to the intimate size of the auditorium, Copland originally scored the ballet for a small 13-piece chamber ensemble; the familiar concert suite for full orchestra was commissioned the following year by conductor Artur Rodzinski, who gave the premiere with the New York Philharmonic in October 1945. The ballet marked an important turning point in Copland’s career, as well as in the history of American music, and has lost none of its freshness and appeal in the almost 75 years since its premiere. The DSO most recently performed Copland’s Suite from Appalachian Spring on the William Davidson Neighborhood Concert Series in January 2012, conducted by Leonard Slatkin. The DSO first performed the work in March 1962, conducted by Paul Paray.

Profiles JEAN-YVES THIBAUDET

or more than three decades, JeanYves Thibaudet has performed worldwide, recorded more than 50 albums, and built a reputation as one of his generation’s finest pianists. His wide-ranging repertoire includes solo, chamber, and orchestral works, as well as opera and jazz, and he is proud to collaborate with a large network of artists in the dso.org

worlds of film, fashion, and fine art. Thibaudet has performed with virtually all of the world’s top orchestras, including the Boston Symphony Orchestra (where he is currently Artistin-Residence), New York Philharmonic, Royal Philharmonic Orchestra, NHK Symphony Orchestra, Orchestre National de Lyon, and many others; last season, he performed in 14 countries. Thibaudet proudly serves as Artist-inResidence at the Colburn School, which recently announced the Jean-Yves DSO PERFORMANCE MAGAZINE 33

Thibaudet Scholarships to provide aid for Music Academy students. Thibaudet’s discography includes two Grammy-nominated recordings and winners of several prizes, including the Preis der Deutschen Schallplattenkritik, the Diapason d’Or, the Choc du Monde de la Musique, the Edison Prize, and Gramophone and Echo awards. His most recent recordings are Bernstein’s Symphony No. 2 (Age of Anxiety) with the Baltimore Symphony Orchestra and Marin Alsop (on Naxos) and a box set of the complete solo piano works of Erik Satie (for Decca), both released in 2016. Other album highlights include a 2007 disc of aria transcriptions—including some of Thibaudet’s own—titled AriaOpera Without Words and jazz recordings celebrating the work of Duke Ellington and Bill Evans. Thibaudet’s playing can

also be heard in many films, including Wakefield, the Oscar-winning Atonement, Extremely Loud & Incredibly Close, and others. Thibaudet was born in Lyon, France, and entered the Paris Conservatory at age 12. He is a recipient of France’s Victoire d’Honneur and a member of the Hollywood Bowl Hall of Fame. He was awarded the title of Officier in the French Ordre des Arts et des Lettres in 2012. M OST RECENT APPEARANCE WITH THE DSO: October 2015, performing

Gershwin’s Piano Concerto (cond. Leonard Slatkin) F IRST APPEARANCE WITH THE DSO:

May 2004, performing Grieg’s Piano Concerto (cond. Sir Anthony Davis)

CONDUCTING DANCE EARLY KEYBOARD INSTRUMENTAL MUSIC JAZZ MUSICAL THEATRE THEATRE & DRAMA VOCAL ARTS

MICHIGAN

YOU BELONG HERE

smtd.umich.edu/yap 34

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umichsmtd

FEBRUARY 2019

LEONARD SLATKIN, Music Director Laureate 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

CLASSICAL SERIES Gershwin’s Porgy & Bess Saturday, February 16, 2019 at 8 p.m. Sunday, February 17, 2019 at 3 p.m. in Orchestra Hall LEONARD SLATKIN, conductor JEAN-YVES THIBAUDET, piano LAQUITA MITCHELL, soprano DERRICK PARKER, bass-baritone WAYNE STATE CENTENNIAL CHOIR ALEX SUTTON, director

George Gershwin (1898 - 1937) Gershwiniana arr. Rob Mathes

George Gershwin (1898 - 1937) Concerto for Piano and Orchestra in F major I. Allegro II. Adagio - Andante con moto III. Allegro agitato Jean-Yves Thibaudet, piano Intermission George Gershwin (1898 - 1937) Porgy & Bess, A Concert of Songs arr. Robert Russell Bennett Laquita Mitchell, soprano

Derrick Parker, bass-baritone Wayne State Centennial Choir

This Classical Series performance is generously sponsored by

Made possible in part by a grant from

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

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Program Notes All works by GEORGE GERSHWIN B. September 26, 1898, Brooklyn, NY D. July 11, 1937, Los Angeles, CA

Gershwiniana

Arr. ROB MATHES B. September 10, 1970, Greenwich, CT

Scored for 3 flutes (1 doubling on piccolo), 2 oboes, English horn, 3 clarinets, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, harp, piano, and strings. (Approx. 12 minutes) ershwiniana is a tight orchestra overture based on themes of George Gershwin, arranged by composer, arranger, songwriter, and producer Rob Mathes. The piece was commissioned and premiered by Leonard Slatkin and the Los Angeles Philharmonic in 2012. It has become one of Slatkin’s favorites to include on programs featuring other Gershwin music, as it offers a compelling introduction to (or refresher on) the composer’s electrifying work. The DSO has previously performed Gershwiniana once, at Meadow Brook in July 2009, conducted by Leonard Slatkin.

Concerto for Piano and Orchestra in F major Scored for solo piano, 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, and strings. (Approx. 29 minutes) n the beginning of the 20th century, classical composers were trying to find new ways to structure music, thinking that the possibilities of tonality had been exhausted. Schoenberg had turned his

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back on tonality and had developed a radically new method of organizing the 12 notes of the musical scale, while Stravinsky in his neoclassic period went the other way by returning to the past for a new kind of inspiration. Between these two extremes was George Gershwin, who tread the middle ground by incorporating popular music into his compositions. As he was writing the concerto, Gershwin said, “Many people thought that the Rhapsody in Blue was a happy accident. I wanted to show that there was plenty more where that came from...” Prior to the piece’s premiere, he summarized it: “The first movement of the Concerto in F is quick and pulsating, representing the young, enthusiastic spirit of American life with a Charleston motif. Later, a second theme is introduced by the piano. The second movement has a poetic and nocturnal atmosphere which has come to be referred to as the American blues, but in a purer form than that in which they are usually treated. The final movement reverts to the style of the first. It is an orgy of rhythms, starting violently and keeping the same pace throughout.” In Gershwin’s view, the popular and classical musical worlds were not mutually exclusive, and he was happiest when he could write music which appealed to audiences in both areas. The piano concerto represents the zenith in the merging of European styles with the freedom, rhythmic flexibility, and improvisational style of jazz, along with the wide-ranging appeal of American musical theater. The DSO most recently performed Gershwin’s Piano Concerto in October 2015, with two familiar faces—Leonard Slatkin conducting, and Jean-Yves Thibaudet at the piano. The DSO first FEBRUARY 2019

performed the piece in January 1937, conducted by Victor Kolar and featuring Gershwin himself on the piano.

Porgy & Bess, A Concert of Songs Arr. ROBERT RUSSELL BENNETT B. June 15, 1894, Kansas City, KS D. August 18, 1981, New York, NY

Scored for soprano, bass-baritone, chorus, 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, piano, banjo, and strings. (Approx. 45 minutes)

lthough George Gershwin’s musicals were the toast of Broadway in the 1920s and 30s, the composer hoped to produce a stage work in a more dramatic vein that nevertheless avoided the mannerisms of European opera. He found a vehicle for such a work in the novel Porgy by South Carolina writer DuBose Heyward. Heyward’s book, which Gershwin read in 1926, told the story of a crippled black man, Porgy, and his love for Bess, a beauty with a troubled past. Subsidiary characters include Bess’s dangerous lover Crown, a smoothtalking gambler and cocaine dealer known as Sporting Life, and Porgy’s wise and humane neighbors in the tenements on Charleston’s waterfront.

Porgy & Bess, as Gershwin eventually called the work, received mixed reviews when it opened in New York in October 1935 and ran for 124 performances before closing at a financial loss. Today, it is recognized as one of the first distinctively American operas, and in many estimates still the finest. There are many suites and arrangements of the complete opera, including one extracted by the composer himself and a handful by Gershwin’s close friend and occasional collaborator Robert Russell Bennett. Bennett incorporates some of the most meaningful and popular moments from the larger work, like the vocal numbers “Summertime” and “I Got Plenty of Nuthin,” and remains faithful to the style and spirit of Gershwin’s music. At the same time, it stands as a fine example of the craft of modern orchestration. —Paul Schiavo The DSO most recently performed music from Gershwin’s Porgy & Bess at the March 2016 Classical Roots Celebration and Benefit concert, which included Gershwin’s non-vocal arrangement titled Catfish Row: Symphonic Suite in Five Parts from Porgy & Bess. Roderick Cox conducted. The DSO first performed music from the opera in December 1939, conducted by Victor Kolar and featuring the Eva Jessye Choir.

Profiles JEAN-YVES THIBAUDET See page 33 for profile

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LAQUITA MITCHELL

oprano Laquita Mitchell consistently earns acclaim in eminent opera companies throughout North America and Europe. Still early in her career, she has led performances with the Los Angeles Opera, San Francisco Opera, DSO PERFORMANCE MAGAZINE 37

Profiles Houston Grand Opera, Lyric Opera of Chicago, New York City Opera, Washington National Opera, and others. Mitchell debuted as Bess in Porgy & Bess with the San Francisco Opera and has reprised the role with the New Jersey State Opera, the Atlanta Opera, Boston Symphony Orchestra, Cleveland Orchestra, Santa Barbara Symphony, Madison Symphony Orchestra, Sheboygan Symphony Orchestra, and Polish Chamber Philharmonic Orchestra. Other career highlights include Violetta in La Traviata and Micaela in Carmen with New York City Opera, Sharon in Terrance McNally’s Master Class at the Kennedy Center, Musetta in La bohème with Los Angeles Opera, and Donna Anna in Don Gionvanni with Florentine Opera and Portland Opera. Mitchell is a Metropolitan Opera National Council Auditions Grand Prize Winner, and was awarded a 2004 Sara Tucker Award. She was also the First Prize Winner of the Wiener Kammer Oper’s 2003 Hans Gabor Belvedere Competition, and the First Prize Winner of the Houston Grand Opera Eleanor McCollum Competition for Young Singers, as well as the winner of the Audience Choice award. Mitchell is an alumna of the San Francisco Opera’s Merola Program and the Houston Grand Opera Studio. M OST RECENT APPEARANCE WITH THE DSO: Laquita Mitchell has pre-

viously performed with the DSO once, singing Strauss’s The Four Last Songs as part of the March 2016 Classical Roots Celebration and Benefit Concert (cond. Roderick Cox) 38

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DERRICK PARKER

errick Parker was recently praised by Opera News for his “vividly flavored vocalism” and “tall and commanding” presence. Parker is equally comfortable in the worlds of opera, baroque music, light opera, and concert repertoire. Parker recently sang Porgy in Porgy & Bess with the Seattle Opera and Baltimore Symphony Orchestra, Raimondo in Lucia di Lammermoor with Utah Opera, and Joe in Showboat with Kentucky Opera, plus two appearances with the Utah Symphony: Mozart’s Requiem and Le fauteuil and L’arbre in L’enfant et les sortileges. Other career highlights include a triumphant, last-minute debut as Porgy in Porgy & Bess with the Lyric Opera of Chicago; a European operatic debut as Mel in Anthony McDonald’s The Knot Garden with the Scottish Opera; and appearances with Glimmerglass, including a debut as Antinoo in Il ritorno d’Ulisse in patria, and a second engagement in Agrippina. Parker is a recipient of the Richard F. Gold Career Grant from the Shoshanna Foundation as well as a Sullivan Foundation Award. He is a former member of the prestigious Houston Grand Opera Studio Program as well as Glimmerglass Opera’s Young American Artist program, Wolf Trap Opera’s Filene Young Artist Program, and the programs of the Opera Theatre of Saint Louis and Chautauqua Opera.  These performances mark Derrick Parker’s DSO debut

FEBRUARY 2019

LEONARD SLATKIN, Music Director Laureate 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

CLASSICAL SERIES • West Side Story Thursday, February 21, 2019 at 7:30 p.m. • Friday, February 22, 2019 at 8 p.m. in Orchestra Hall LEONARD SLATKIN, conductor KIMBERLY KALOYANIDES KENNEDY, violin • RALPH SKIANO, clarinet

Kristin Kuster (b. 1973) Dune Acres (world premiere)

John Cage (1912 - 1992) 4’33” Samuel Barber Concerto for Violin and Orchestra, Op. 14

(1910 - 1981) I. Allegro II. Andante III. Presto in moto perpetuo Kimberly Kaloyanides Kennedy, violin

Intermission

Leonard Bernstein (1918 - 1990) Prelude, Fugue, and Riffs Orchestration by Lukas Foss Ralph Skiano, clarinet Leonard Bernstein Symphonic Dances from West Side Story

(1918 - 1990)

I. Prologue II. “Somewhere” III. Scherzo V. Cha Cha VI. Meeting Scene VII.”Cool” Fugue VIII. Rumble IX. Finale

“Maria” from West Side Story “I Feel Pretty” from West Side Story Balcony Scene (“Tonight”) from West Side Story This Classical Series performance is generously sponsored by

Made possible in part by a grant from

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

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Program Notes Dune Acres

4’33”

KRISTIN KUSTER

JOHN CAGE

B. June 24, 1973, Raleigh, NC

B. September 5, 1912, Los Angeles, CA D. August 12, 1992, New York, NY

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, percussion, harp, and strings. (Approx. 19 minutes) The composer writes the following about the piece: The most dazzling place I knew as a kid was my grandparents’ house in Northern Indiana’s Dune Acres, on the south shore of Lake Michigan. The house was supreme funkytown: cool angles everywhere, half-walls, a bewindowed breakfast nook that jetted out over trees, and the “yard” of dunes and beach. I wrote my first music in Dune Acres, and the house itself ignited my love and study of modern architecture. Our family visited there most summers of my childhood, and when the weather held we spent long lazy mornings at the lake. After lunch, while others napped, I snuck outside and made up songs, sang with the crickets, waves, and trees. My grandparents and parents are no longer living, and the music of Dune Acres will serve as a thank-you note to them and the magnificence of our Great Lakes. Dune Acres is where I became a composer, and our visits there housed my discovery of the utter funness of writing music. Sometimes, I went out alone in the rain. —Kristin Kuster The DSO is proud to present the world premiere of Kristin Kuster’s Dune Acres at these performances.

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Scored for any instrument or combination of instruments. (Approx. 5 minutes)

here to begin with John Cage’s 4’33”? Perhaps a moment of explanation for the uninitiated: composed in 1952, the piece is written for any instrument or combination of instruments, with instructions for the performer(s) to not play at all for the duration of the entire work, which is in three movements. The title refers to the length of the piece’s first public performance: four minutes and 33 seconds. The piece is probably Cage’s bestknown, but another word for “best-known” is “notorious.” The infamous “four and a half minutes of silence” are often laughed or smirked at, even in knowledgeable circles who understand and appreciate the composer’s intentions. What were those intentions? Put simply, to epitomize Cage’s idea that any sounds may constitute music; in his view, the piece is not 4 minutes and 33 seconds of silence, but rather 4 minutes and 33 seconds of whatever sounds listeners hear during a performance. Mechanical hums, sounds of traffic and nature, nervous shuffling, crowd-strength breathing, and even ringing in the ears are certainly not silence, and for Cage, they are not non-musical either. As a composer obsessed with chance, mechanical reproduction, and Zen Buddhism, Cage is well-equipped to force audiences to think—really think—about the limits of the thing we call music and the nature of nothingness. FEBRUARY 2019

Cage, for what it’s worth, maintained that the piece was his most important work. Like the groundbreaking found art of the Dada movement, or “elevated” depictions of pop culture executed by Andy Warhol and Roy Lichtenstein, 4’33” is easy to chuckle at but difficult to unknot. —Ben Breuninger These performances mark the DSO premiere of John Cage’s 4’33”.

Concerto for Violin and Orchestra, Op. 14 SAMUEL BARBER B. March 9, 1910, West Chester, PA D. Jan 23, 1981, New York, NY

Scored for solo violin, 2 flutes (1 doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, percussion, piano, and strings. (Approx. 25 minutes)

amuel Barber began writing his sole violin concerto while traveling in Switzerland in 1939, and completed it in the Pocono Mountains of his native Pennsylvania after leaving Europe with the approach of World War II. The piece was commissioned by industrialist Samuel Simeon Fels with the intention that it would be premiered by Fels’s ward, a young violinist named Iso Briselli. But when Briselli excitedly showed the piece to his teacher Albert Meiff—a close friend of Fels’s—Meiff was unimpressed, and wrote to Fels, imploring him to ask Barber if Meiff could rewrite parts of the concerto. Barber did not budge, but ultimately Briselli backed away from the piece, and it was instead premiered by Albert

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Spalding. The lengthy four-way correspondence involving Barber, Fels, Briselli, and Meiff is a juicy bit of musicworld drama, but the concerto it concerns is ultimately conservative and fastidiously orchestrated, like much of Barber’s best work. The first movement is in a standard sonata form, opening with a transparent, long-spun solo violin theme. When this has run its course, the clarinet takes up a puckish second theme, then the violin returns with a rhythmically active theme, marked by numerous bounding-bow passages. The first two themes are rigorously developed before the first theme returns in a major orchestral climax, signaling the recapitulation. A smoothly rising oboe melody at the beginning of the slow movement imparts an eastern flavor, and as this gradually fades away it is joined by a horn theme. Meanwhile, the solo violin dominates the freely designed central section of the movement. The soloist then takes up the oboe theme and the horn theme, bringing the movement to a close. The perpetual-motion finale is not only a tour de force for the solo violin, but for the orchestra as well. It is a fleet, light-footed movement cast in a rondo form, challenging for all the players onstage. —Carl R. Cunningham The DSO most recently performed Barber’s Violin Concerto in October 2014, conducted by Leonard Slatkin and featuring violinist Sarah Chang. The DSO first performed the piece in January 1965, conducted by Sixten Ehrling and featuring violinist Jaime Laredo.

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Prelude, Fugue, and Riffs LEONARD BERNSTEIN B. August 25, 1918, Lawrence, MA D. October 14, 1990, New York, NY

Orch. LUKAS FOSS B. August 15, 1922, Berlin, Germany D. February 1, 2009, New York, NY

Scored for solo clarinet, 2 horns, 3 trumpets, 4 trombones, percussion, piano, and strings. (Approx. 9 minutes)

eonard 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 began work on the piece with the intention of giving it to Woody Herman and his big band, but when that plan fell apart Bernstein decided to use it to demonstrate the interplay of classical and jazz ideas on Omnibus. Lukas Foss’s orchestration replaces

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the five saxophones with string players, taking Bernstein’s goal of merging the classical and jazz styles to its next step. The three sections, while all quite different from one another, are snappy and jazz-forward, with jumpy big band sounds balancing sultrier, cabaret-like passages. —Ben Breuninger These performances mark the DSO premiere of Brenstein’s Prelude, Fugue, and Riffs.

Symphonic Dances from West Side Story and selected songs from West Side Story LEONARD BERNSTEIN B. August 25, 1918, Lawrence, MA D. October 14, 1990, New York, NY

Scoring varies by piece. Symphonic Dances approximately 23 minutes; additional selected works approximately 3-5 minutes each.

ust as Leonard Bernstein brought his theatrical sensibility to his symphonies, so did he make symphonic versions of his best-loved stage works, including Fancy Free, On the Town, and West Side Story. All three of these, along with the film music for Elia Kazan’s On the Waterfront, are “city scores,” as drama critic Brooks Atkinson once ably described them. In Atkinson’s estimation, and that of most audiences, West Side Story is the most enduring and the best of these. “By the standards of Broadway, it looked unpropitious,” he wrote. “Instead of glamour, it offered the poverty-stricken life of Puerto Rican street gangs, and it did not conclude with romance and the cliché of living happily FEBRUARY 2019

ever after. Although it was deliberately patterned after Romeo and Juliet, it dispensed with the wit and poetry of the Shakespeare drama. In the beginning, some theatergoers were repelled by the ignobility of the West Side Story scene and complained that Broadway had betrayed them. “But enthusiasm travels fast and infects theatergoers everywhere, and it was not long before West Side Story was recognized as an achievement of the first order…West Side Story dispensed with the familiar charms of the musical theater and relied solely on talent and artistic conviction. It had 732 performances on Broadway.” It has had many more on recordings

and on film. Not the least of its many incarnations is the one for symphony orchestra, in which the composer was able to work out the musical implications of his themes without being bound by stage action or hampered by the limitations of a pit orchestra. The DSO has most recently performed music from West Side Story in July 2016, playing the Symphonic Dances at a concert at Ford House, conducted by Teddy Abrams. The DSO first performed music from West Side Story in August 1959, performing Bernstein’s West Side Story Suite at a summer concert at the Michigan State Fair, conducted by C. Valter Poole.

Profiles KIMBERLY KALOYANIDES KENNEDY Associate Concertmaster Alan and Marianne Schwartz and Jean Shapero (Shapero Foundation) Chair

imberly Kaloyanides Kennedy won her coveted position as a violinist with the DSO in 1998, at the age of 22. In 2003 Kennedy became Associate Concertmaster. Raised in Dayton, OH, Kennedy began learning the violin at age 5. She pursued her studies at Brevard Music Center and Interlochen Arts Camp as the Governor’s Scholar for the state of Ohio. She continued her studies at the Sarasota Music Festival, spent four summers at the Aspen Music Festival on fellowship (as Associate Concertmaster of the Chamber Orchestra), spent three

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years at the Harid Conservatory in Boca Raton, and finally landed at the University of Michigan as a student of Paul Kantor. Kennedy won several prizes in competitions around the country, including the Grand Prize in the National MTNA competition and first prize in the Greek Women’s National Competition in Chicago. She was one of the few Americans invited to the International Violin Competition of Indianapolis in 1998. Kennedy enjoys performing chamber music regularly around Michigan with various groups, including the Detroit Chamber Winds and Strings, at festivals and on series including Chamber Music North, Fairlane Concert Guild, Pro Mozart, and the Great Lakes Chamber Music Festival. Kennedy is passionate about serving others through her music, both at church and around the community. She DSO PERFORMANCE MAGAZINE 43

is married to DSO horn player Bryan Kennedy, with whom she has two children. M OST RECENT APPEARANCE (AS A SOLOIST) WITH THE DSO: July 2018

at Ford House, performing the John Williams arrangement of le Pera’s Tango (Por una Cabeza) (cond. Joshua Gersen) F IRST APPEARANCE (AS A SOLOIST) WITH THE DSO: May 2005, at a spe-

cial concert at Wharton Center for Performing Arts, performing Mozart’s Violin Concerto No. 5 (cond. Thomas Wilkins)

RALPH SKIANO Principal Clarinet Robert B. Semple Chair alph Skiano was appointed Principal Clarinet of the DSO in 2014, after serving in the same position at the Richmond Symphony and Des Moines Metro Opera. He has also appeared as Guest Principal Clarinet of the Seattle Symphony, Cincinnati Symphony, and Cleveland Orchestra. Skiano has been involved in numerous music festivals, including the Mainly Mozart Festival, Peninsula Music Festival, Britt Music Festival, Festival Lyrique-en-Mer, and

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Tanglewood Music Center. As a soloist, he has performed with ensembles in the United States, France, Germany, and Switzerland. In 2010, Skiano was a guest artist at the Oklahoma Clarinet Symposium and a featured soloist with the Baton Rouge Symphony at the 2014 International Clarinet Association Convention. Skiano has served on the faculty of the schools of music at James Madison University and the College of William and Mary, and has presented masterclasses at UVA, Towson University, Louisiana State University, California State University Northridge, Michigan State University, Northwestern University, and the University of Maryland. Under the guidance of Richard Hawley, Skiano completed his undergraduate studies at the Cincinnati College-Conservatory of Music in 2002. M OST RECENT APPEARANCE (AS A SOLOIST) WITH THE DSO: January

2017, performing Mozart’s Concerto for Clarinet and Orchestra (cond. Leonard Slatkin) F IRST APPEARANCE (AS A SOLOIST) WITH THE DSO: March 2015, as part

of the William Davidson Neighborhood Concert Series, performing Mozart’s Concerto for Clarinet and Orchestra (cond. Douglas Boyd)

FEBRUARY 2019

LEONARD SLATKIN, Music Director Laureate 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

CLASSICAL SERIES Maximum Minimal Saturday, February 23, 2019 at 8 p.m. Sunday, February 24, 2019 at 3 p.m. in Orchestra Hall LEONARD SLATKIN, conductor JOSEPH BECKER, percussion ANDRÉS PICHARDO-ROSENTHAL, percussion JEREMY EPP, timpani JAMES RITCHIE, timpani

Steve Reich Clapping Music

Philip Glass Concerto Fantasy for Two Timpanists (b. 1937) and Orchestra

(b. 1936) Joseph Becker, percussion Andrés Pichardo-Rosenthal, percussion

Jeremy Epp, timpani James Ritchie, timpani

Intermission

John Luther Adams Become Ocean (b. 1953)

This Classical Series performance is generously sponsored by

Made possible in part by a grant from

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

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DSO PERFORMANCE MAGAZINE 45

Program Notes Clapping Music STEVE REICH

These performances mark the DSO premiere of Steve Reich’s Clapping Music.

B. October 3, 1936, New York, NY

Scored for 2 handclappers. (Approx. 4 minutes)

he Minimalist movement, which sprung up in the late 1960s, marked a new way of performing and listening to music. The music was reduced to bare essentials; in part, the stripping-away allowed composers to investigate the limits of music, and it is striking how much can be done with so little. Clapping Music was written by Steve Reich in 1972, inspired by a late-night stop at a flamenco performance in Brussels while on tour with his ensemble. At one point, the flamenco artists began clapping very loudly, and Reich and his ensemble (most of whom were percussionists) joined the improvised rhythmic outburst. Reich then devised a work in which very few musicians—in this case two—could perform using only the sounds of their hands clapping. Writing about the piece, Reich notes: “one performer [would] remain fixed, repeating the same basic pattern throughout, while the other performer would move abruptly, after a number of repeats, from unison to one beat ahead, and so on, until he is back in unison with the first performer…In Clapping Music it can be difficult to hear that the second performer is in fact always playing the same original pattern as the first, through starting in different places.” When asked once how he would describe the work to someone who had never heard it before, Reich answered succinctly, “Short, sweet, and to the point.”

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Concerto Fantasy for Two Timpanists and Orchestra PHILIP GLASS B. January 31, 1937, Baltimore, MD

Scored for 2 solo timpanis, 2 flutes, piccolo, 2 oboes, 2 clarinets, bass clarinet, E-flat clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, percussion, harp, piano, and strings. (Approx. 27 minutes)

eeing the words “for two timpanists” while scanning a composer’s oeuvre certainly makes one pause. While a few notable timpani concertos from the early classical period enjoy moderate contemporary attention, surely any piece with two timpani soloists is more novelty than anything else—right? One listen to the present concerto by Philip Glass should dispel that notion. Written in 2000, the Concerto Fantasy is a captivating work with many of Glass’s signature moves on display, and, yes, two timpanists downstage tearing through heart-racing solo passages. The work contains three movements: fast, slower, and very fast; with a cadenza placed just before the final movement. Even before the work had its premiere, an alternative cadenza to the Glass original was written by percussionist Ian Finkel, and in any performance the soloists can choose whichever cadenza they prefer. The first movement begins with the primary thematic material—part of which is sometimes compared to the Mission Impossible theme—played FEBRUARY 2019

powerfully by the timpani and strings. Following development and variation of the theme, the movement ends quietly. The second movement features idiomatic Glass harmonies and melodic progressions, especially in the pulsing woodwinds, and features a journey from minor to major, beginning with dark sounds and ending with bright passages. The movement ends with a re-statement of the opening theme, played only by the soloists. The cadenza and finale are like a wild dance, and the meter is constantly shifting, no doubt reflecting the influences of world music in Glass’s works at the time. The music builds to a deafening climax, concluding triumphantly on a version of Glass’s signature four-note concerto motif, which is also used to conclude the Cello Concerto No. 1, the Harpsichord Concerto, and the Tirol Piano Concerto. These performances mark the DSO premiere of Philip Glass’s Concerto Fantasy for Two Timpanists and Orchestra.

Become Ocean JOHN LUTHER ADAMS B. January 23, 1953, Meridian, MS

Scored for 3 flutes, 3 oboes (1 doubling on English horn), 3 clarinets (1 doubling on bass clarinets), 3 bassoons (1 doubling on contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, 2 pianos, and strings. (Approx. 42 minutes)

ohn Luther Adams is a composer whose life and work are deeply rooted in the natural world, and whose music has won numerous accolades from artistic circles as well as dso.org

environmental ones. Born in Mississippi but raised in New York, Adams performed as a drummer in rock bands, and his admiration for Frank Zappa’s music led him to explore the works of Edgar Varese, Igor Stravinsky, John Cage, and Morton Feldman. He began his career as an environmentalist in Alaska, where he also joined the Fairbanks Symphony Orchestra and the Arctic Chamber Orchestra as a timpanist. “Music is not what I do,” Adams once wrote, “it’s how I understand the world. For me, the whole world is music.” Become Ocean was commissioned by the Seattle Symphony Orchestra and premiered in June 2013. It subsequently won the 2014 Pulitzer Prize for Music and the 2015 Grammy Award for Best Classical Contemporary Musical Composition. In awarding the work its prize, the Pulitzer committee called it “a haunting orchestral work that suggests a relentless tidal surge, evoking thoughts of melting polar ice and rising sea levels.” About the title, Adams states that it is “a metaphor for human history and the situation we find ourselves in now…We came from the ocean and we’re going back to the ocean, right? If we don’t wake up and pay attention here pretty soon, we humans may find ourselves quite literally becoming ocean again sooner than we imagine.” The title also references a line in the John Cage poem “Many Happy Returns,” which compares composer Lou Harrison’s music to a river with many different currents converging into one big, beautiful sweep of sound. In Become Ocean, the orchestra is divided into three smaller ensembles that perform at three independent tempos. Adams writes that “Each of the orchestras occupies its own physical space, its own harmonic space and has DSO PERFORMANCE MAGAZINE 47

its own instrumental color.” The three ensembles also play sequences of varying lengths, and at mid-point, each reverses its musical progress in the

manner of a sonic palindrome. These performances mark the DSO premiere of John Luther Adams’s Become Ocean.

Profiles Turn to the “Meet the Musician” feature on ppg. 12-13 to learn more about all four soloists.

ANDRÉS PICHARDOROSENTHAL

JOSEPH BECKER

Principal Percussion Ruth Roby and Alfred R. Glancy III Chair member of the Detroit Symphony Orchestra since 2012, Joseph Becker previously spent a season with the Jacksonville Symphony Orchestra. Prior to moving to Jacksonville, he performed regularly with the Boston Philharmonic and the Callithumpian Consort. He received his bachelor’s degree from the New England Conservatory of Music, under the tutelage of Frank Epstein and Will Hudgins; and his master’s degree from Boston University, studying with Tim Genis. Becker was a Fellow at the Tanglewood Music Center from 2008 to 2009 and has performed at the Summer Institute of Contemporary Performance Practice in Boston. He can be heard on Naxos Records and Tzadik Records performing the music of Gunther Schuller, John Zorn, and Fred Frith. He has also had the privilege of working with composers Elliott Carter and Steve Reich.

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Assistant Principal Percussion William Cody Knicely Chair orn in Managua, Nicaragua and raised in Los Angeles, Andrés PichardoRosenthal began piano lessons at the age of six and percussion at age 11. He received his bachelor’s degree at Rice University and his master’s degree at the University of Southern California, and completed his education at the New England Conservatory. Pichardo-Rosenthal has performed with esteemed orchestras around the country, including the Boston Symphony Orchestra, the Los Angeles Philharmonic, the New world Symphony, and the Hawaii Symphony, among others. Additionally, he has performed on motion picture scores in Los Angeles and musical theater shows in Houston. Pichardo-Rosenthal joined the DSO in September 2014.

FEBRUARY 2019

JEREMY EPP

JAMES RITCHIE

Principal Timpani Richard and Mona Alonzo Chair eremy Epp was appointed DSO Principal Timpani in 2014, and prior to his appointment he served in the same position at the Winnipeg Symphony Orchestra and the Erie Philharmonic. Epp has appeared with several North American orchestras, including the Chicago Symphony Orchestra, the San Francisco Symphony, the National Symphony Orchestra, and the Minnesota Orchestra, among others. He has recorded with a number of ensembles in the United States, Canada, and Europe, and can be heard on several recent DSO recordings. A native of Winnipeg, Manitoba, Epp studied extensively with Jauvon Gilliam while performing as a regular extra musician with the Winnipeg Symphony Orchestra. In the years leading up to his first orchestral appointment, he attended the Cleveland Institute of Music, where his teachers were Cleveland Orchestra principal musicians Paul Yancich and Richard Weiner. Epp was appointed Lecturer of Percussion at the University of Michigan School of Music, Theatre & Dance in 2018, and he has presented clinics and masterclasses internationally at various institutions and events, including the 2017 Percussive Arts Society International Convention. His website and blog, jeremyepptimpani.com, is a resource for amateur and professional timpanists and educators.

Assistant Principal Timpani and Percussion ames Ritchie joined the DSO as Assistant Principal Timpani and a member of the percussion section in 2016. Prior to that, he was a regular extra with the Cleveland Orchestra. Ritchie previously served as Principal Timpani of the Blossom Festival Orchestra and performed often with other groups in the area, including the Canton Symphony Orchestra and Akron Symphony Orchestra. He has also appeared with the National Symphony Orchestra, Ottawa’s National Arts Centre Orchestra, the Malaysian Philharmonic, and the Buffalo Philharmonic. Jay has participated in a variety of summer festivals, including a Principal Timpanist appointment with the National Repertory Orchestra, as well as the Tanglewood Music Center, the Pacific Music Festival, and the Britten-Pears Orchestra. A native of Blacksburg, Virginia, Jay began studying piano at age 8 and percussion at age 11. He received his bachelor’s degree from Manhattan School of Music, where he studied with Duncan Patton, Chris Lamb, and She-e Wu, and completed his master’s degree at Cleveland Institute of Music as a student of Paul Yancich and Marc Damoulakis.

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 These performances mark all four musicians’ Classical Series soloist debuts

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ANNUAL GIVING

Gifts received between September 1, 2017 and December 1, 2018 Being a community-supported orchestra means you can play your part through frequent ticket purchases and generous annual donations. Your tax-deductible Annual Fund donation is an investment in the wonderful music at Orchestra Hall, around the neighborhoods and across the community. This honor roll celebrates those generous donors who made a gift of $1,500 or more to the DSO Annual Fund Campaign. If you have questions about this roster, or to make a donation, please contact 313.576.5114 or go to dso.org/donate.

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

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

Dorati Society — Giving of $100,000 and more Mr. & Mrs. Richard L. Alonzo James & Patricia Anderson Applebaum Family Foundation Mr. & Mrs. Raymond M. Cracchiolo Ms. Leslie C. Devereaux Mr. & Mrs. Phillip Wm. Fisher Emory M. Ford, Jr.† Endowment

Shari & Craig Morgan The Polk Family Bernard & Eleanor Robertson Martie & Bob Sachs Cindy & Leonard* Slatkin Joanne Danto & Arnold Weingarden

Ehrling Society — Giving of $50,000 and more Mandell & Madeleine Berman Foundation Mr. & Mrs. Richard A. Brodie Madeline & Sidney Forbes Marvin & Betty Danto Family Foundation Mary Ann & Robert Gorlin Mr. & Mrs. James Grosfeld Mrs. Bonnie Larson

Mr. & Mrs. Matthew Lester David & Valerie McCammon Ms. Deborah Miesel Mr. & Mrs. Eugene A. Miller the Clyde & Helen Wu Family Mrs. Judith G. Yaker Paul & Terese Zlotoff

Järvi Society — Giving of $25,000 and more Ms. Sharon Backstrom W. Harold & Chacona W. Baugh Mrs. Cecilia Benner Mrs. Kathryn L. Fife Mr. & Mrs. Edsel B. Ford II Barbara Frankel & Ronald Michalak Herman & Sharon Frankel Mr. & Mrs. Aaron Frankel Mr. & Mrs. Ralph J. Gerson Ronald M. & Carol† Horwitz Richard H. & Carola Huttenlocher Bud & Nancy Liebler 50

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Dr. William F. Pickard Maurcine & Lloyd Reuss Nancy Schlichting Mr. & Mrs.† Alan E. Schwartz Mrs. Patricia Finnegan Sharf Mr. & Mrs. Larry Sherman Mr. & Mrs. Donald R. Simon Dr. Doris Tong & Dr. Teck M. Soo Mr. & Mrs. Arn Tellem Mr. James G. Vella And one who wishes to remain anonymous

†

Deceased

FEBRUARY 2019

Gabrilowitsch Society — Giving of $10,000 and more Janet and Norm Ankers, chairs

Giving of $10,000 and more Mr. & Mrs. Robert A. Allesee Mr. & Mrs. Norman Ankers Pamela Applebaum Drs. John & Janice Bernick Mr. & Mrs. Robert H. Bluestein John & Marlene Boll Gwen & Richard Bowlby Mr. & Mrs. Stephen Brownell Michael & Geraldine Buckles Michael & Cathleen Clancy Lois & Avern Cohn Margie Dunn & Mark Davidoff Eugene & Elaine C. Driker Mr. Peter Falzon Jim & Margo Farber Dr. Marjorie M. Fisher & Mr. Roy Furman Mr. Michael J. Fisher Mr. & Mrs. Samuel Fogleman Dr. Saul & Mrs. Helen Forman Dale & Bruce Frankel Mr. & Mrs. Eugene A. Gargaro, Jr. Byron† & Dorothy Gerson Allan D. Gilmour & Eric C. Jirgens Mrs. Gale Girolami Dr. Kenneth & Roslyne Gitlin Dr. Robert T. Goldman Allen C. Goodman & Janet R. Hankin

Dr. Herman & Mrs. Shirley Gray Judy & Kenneth Hale Charlene Handleman Ms. Nancy B. Henk Dr. Gloria Heppner Michael E. Hinsky & Tyrus N. Curtis Mr. & Mrs. Norman H. Hofley Jack† & Anne Hommes Renato & Elizabeth Jamett William & Story John Lenard & Connie Johnston Faye & Austin Kanter Mr. & Mrs. Norman D. Katz Mr. Daniel J. Kaufman Mike & Katy Keegan Dr. David & Mrs. Elizabeth Kessel Marguerite & David Lentz Dr. Melvin A. Lester Mr. & Mrs.† Joseph Lile The Locniskar Group Stevens McClure Family Alexander & Evelyn McKeen Mr. & Mrs. Robert S. Miller Dr. Robert & Dr. Mary Mobley Cyril Moscow Xavier & Maeva Mosquet Geoffrey S. Nathan & Margaret E. Winters

Mrs. Denise Abrash Ms. Dorothy Adair Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Mrs. Jean Azar Mike & Pat Biber Rud† & Mary Ellen Boucher Claire P. & Robert N. Brown Mr. & Mrs. Marco Bruzzano Philip & Carol Campbell Dr. & Mrs. Charles G. Colombo Mr. James Schwyn & Mrs. Françoise Colpron Thomas W. Cook & Marie L. Masters Mr. & Mrs. Gary L. Cowger Mr. & Mrs. Richard L. DeVore Adel & Walter Dissett Edwin & Rosemarie Dyer Mr. & Mrs. John M. Erb Marianne T. Endicott Mr. Sanford Hansell & Dr. Raina Ernstoff Barbara & Alfred J. Fisher III Ms. Carol A. Friend Goodman Family Charitable Trust Mr.† & Mrs. James A. Green Mr. Jeffrey Groehn

Mr. & Mrs. Robert Hage Mr. Lee V. Hart & Mr. Charles L. Dunlap Ms. Doreen Hermelin Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. George Hill & Mrs. Kathleen TalbertHill Mr. Donald & Marcia Hiruo Mr. & Mrs. Peter Hollinshead Julius & Cynthia Huebner Foundation Mr. & Mrs. A. E. Igleheart Mr. & Mrs. Richard J. Jessup Mr. George G. Johnson Judy & David Karp Michael E. Smerza & Nancy Keppelman Samantha Svoboda & Bill Kishler Mr. & Mrs. Harold Kulish John & Marilyn Kunz Dr. Raymond Landes & Dr. Melissa McBrien-Landes Mr. Daniel Lewis Bob & Terri Lutz Patricia A.† & Patrick G. McKeever John & Marcia Miller Eugene & Sheila Mondry Foundation Joy & Allan Nachman

Mr. & Mrs. Albert T. Nelson, Jr. David Robert & Sylvia Jean Nelson Jim & Mary Beth Nicholson Patricia & Henry Nickol Mr. & Mrs. Stanley Nycek Anne Parsons* & Donald Dietz Mr. Charles Peters Mr. & Mrs. Bruce D. Peterson Dr. Glenda D. Price Mr. & Mrs. David Provost Ms. Ruth Rattner Dr. Erik Rönmark* & Mrs. Adrienne Rönmark* Peggy & Dr. Mark B. Saffer Elaine & Michael Serling Lois & Mark Shaevsky Mr. & Mrs. James H. Sherman William H. Smith John J. Solecki Richard Sonenklar & Gregory Haynes Mr. Gary Torgow Mr. William Waak Mr. Gary L. Wasserman & Mr. Charlie Kashner Mr. & Mrs. R. Jamison Williams Ms. Mary Wilson Drs. David & Bernadine Wu And two who wish to remain anonymous

Giving of $5,000 and more

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*Current DSO Musician or Staff

Mr. & Mrs. Eric Nemeth Mr. & Mrs. David E. Nims William & Carol O’Neill Mr. & Mrs. Arthur T. O’Reilly Debra & Richard Partrich Ms. Lisa A. Payne Mr. & Mrs. Dave Redfield Barbara Gage Rex Dr. & Mrs. John Roberts Mr. & Mrs. Robert B. Rosowski Mr. R. Desmond Rowan Marjorie & Saul Saulson Mr. & Mrs. Kingsley G. Sears Mrs. Sharon Shumaker Mrs. Kathleen Straus & Mr. Walter Shapero Alice & Paul Tomboulian Ms. Marie Vanerian Mrs. Eva Von Voss S. Evan & Gwen Weiner Dr. & Mrs. Ned Winkelman Ms. June Wu Erwin & Isabelle Ziegelman Foundation Milton Y. Zussman And one who wishes to remain anonymous

DSO PERFORMANCE MAGAZINE 51

Giving of $2,500 and more Howard Abrams & Nina Dodge Abrams Mr. & Mrs. George Agnello Dr. Roger & Mrs. Rosette Ajluni Mr. & Mrs. Robert L. Anthony Drs. Kwabena & Jacqueline Appiah Dr. & Mrs. Ali-Reza R. Armin Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook* Pauline Averbach & Charles Peacock Mr. Joseph Aviv & Mrs. Linda Wasserman Aviv Mr. & Mrs. John Axe Mr. & Mrs. Wayne J. Babbish Ms. Ruth Baidas Nora & Guy Barron Mr. Mark G. Bartnik & Ms. Sandra J. Collins Mr. & Mrs. Martin S. Baum Mr. & Mrs. Richard Beaubien Dr. & Mrs. Brian J. Beck Ms. Margaret Beck Dr. & Mrs. Richard H. Bell Mr. & Mrs. Dennis Bernard Mr. & Mrs. Jeffrey A. Berner Martha & G. Peter Blom Dr. George & Joyce Blum Nancy & Lawrence Bluth Mr. Timothy Bogan Ms. Nadia Boreiko The Honorable Susan D. Borman & Mr. Stuart Michaelson Don & Marilyn Bowerman Mr. Paul & Mrs. Lisa Brandt Mr. Anthony F. Brinkman Mr. & Mrs. Mark R. Buchanan Mr. & Mrs. Ronald F. Buck Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Mr. & Mrs. François Castaing Mrs. Carolyn Carr Dr. & Mrs. Thomas E. Carson Dr. Lynne F. Carter & Mr. Terrance Carter Ronald & Lynda Charfoos Mr. & Mrs. Andrew Christians Mr. Fred J. Chynchuk Mr. & Mrs. Robert W. Clark Nina & Richard Cohan Jack, Evelyn & Richard Cole Family Foundation Dr. & Mrs. Julius V. Combs Ms. Elizabeth Correa Patricia & William Cosgrove, Sr. Dr. & Mrs. Ivan Louis Cotman Mrs. Barbara Cunningham Suzanne Dalton & Clyde Foles Deborah & Stephen D’Arcy Fund Maureen & Jerry D’Avanzo 52

Barbara A. David Lillian & Walter Dean Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Diana & Mark Domin Paul † & Peggy Dufault Mr. Roger Dye and Ms. Jeanne A. Bakale Dr. Leo & Mrs. Mira Eisenberg Dr. & Mrs. A. Bradley Eisenbrey Randall & Jill* Elder Mr. Lawrence Ellenbogen Ms. Laurie Ellis & Mr. James Murphy Donald & Marjory Epstein Mr. Drew Esslinger & Mr. Chris Syzmanski Dave & Sandy Eyl Ellie Farber Mr. & Mrs. Oscar Feldman Mr. & Mrs.† Anthony C. Fielek Hon. Sharon Tevis Finch Ron Fischer† and Kyoko Kashiwagi Mark & Loree Frank Kit & Dan Frohardt-Lane Mrs. Janet M. Garrett Stephanie Germack Ms. Jody Glancy Dr. & Mrs. Theodore Golden Paul & Barbara Goodman Ms. Jacqueline Graham Mr. Luke Ponder & Dr. Darla Granger Dr. & Mrs. Joe L. Greene Randall L. & Nancy Caine Harbour Tina Harmon Mrs. Betty J. Harrell Cheryl A. Harvey Randall* & Kim Minasian Hawes Gerhardt A. Hein & Rebecca P. Hein Jeremiah* & Brooke Hess James Hoogstra & Clark Heath Mr. Matthew Howell & Mrs. Julie Wagner Mr. F. Robert Hozian Mr. & Mrs. Joseph L. Hudson, Jr. Mr. & Mrs. Marshall L. Hutchinson Ms. Elizabeth Ingraham Nicki* & Brian Inman Sarah & Steven Jackson Mr. & Mrs. Ira J. Jaffe Mr. & Mrs. Charles R. Janovsky Mr. John S. Johns Paul & Marietta Joliat Mr. & Mrs. John Jullens Grace Kachaturof Diane & John Kaplan Betsy & Joel Kellman June K. Kendall Frederic & Stephanie Keywell

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Mrs. Frances King Mr. & Mrs. William P. Kingsley Mr. James Kirby Thomas & Linda Klein Mr. & Mrs. Ludvik F. Koci Mr. & Mrs. Robert Koffron Ms. Margot Kohler Mr. David Kolodziej Ms. Susan Konop Mr. James Kors & Ms. Victoria King* Dr. Harry & Katherine Kotsis Robert C. & Margaret A. Kotz George M. Krappmann* & Lynda Burbary-Krappmann Barbara & Michael Kratchman Richard & Sally Krugel Mr. & Mrs. Robert LaBelle Drs. Lisa & Scott Langenburg Ms. Sandra Lapadot Ms. Anne T. Larin Dr. Lawrence O. Larson The Dolores & Paul Lavins Foundation Max Lepler & Rex L. Dotson Mr. & Mrs. Ralph LeRoy, Jr. Barbara & Carl Levin Drs. Donald & Diane Levine Arlene & John Lewis Ms. Carol Litka Daniel & Linda* Lutz Mrs. Sandra MacLeod Cis Maisel Margaret Makulski & James Bannan Mr. & Mrs. Charles W. Manke, Jr. Mervyn & Elaine Manning Mr. Anthony Marek Maurice Marshall Dr. & Mrs. Richard Martella Dr. & Mrs. Peter M. McCann, M.D. Mr. Anthony R. McCree Mr. & Mrs. Alonzo McDonald Mr. John McFadden Ms. Mary McGough Ms. Camille McLeod Dr. & Mrs. Donald A. Meier Dr. & Mrs. David Mendelson Olga Sutaruk Meyer Bruce & Mary Miller J.J. & Liz Modell Dr. Susan & Mr. Stephen* Molina Mr. & Mrs. Daniel E. Moore Lawrence Morawski Ms. A. Anne Moroun Mr. Frederick Morsches & Mr. Kareem George Ms. I. Surayyah R. Muwwakkil Edward & Judith Narens FEBRUARY 2019

Mariam C. Noland & James A. Kelly Katherine & Bruce Nyberg Dr. & Mrs. Dongwhan Oh Lila & Randall Pappal Mrs. Margot Parker Mrs. Sophie Pearlstein Noel & Patricia Peterson Kris & Ruth Pfaehler Mr. & Mrs. Philip E. Pfahlert Mr. Dave Phipps Dr. Klaudia Plawny-Lebenbom William H. & Wendy W. Powers Reimer & Rebecca Priester Charlene & Michael Prysak Mr. & Mrs. Nicolas I. Quintana Jill M.* & Michael J. Rafferty Mr. & Mrs. Richard Rappleye Drs. Stuart & Hilary Ratner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Denise Reske Ms. Linda Rodney Seth & Laura Romine Michael & Susan Rontal Mr.† & Mrs. Gerald F. Ross Mr. Ronald Ross & Ms. Alice Brody Jane & Curt Russell Linda & Leonard Sahn Mr. David Salisbury & Mrs. Terese Ireland Salisbury

Dr. & Mrs. Hershel Sandberg Ms. Martha A. Scharchburg & Mr. Bruce Beyer Dr. Sandy Koltonow & Dr. Mary Schlaff David & Carol Schoch Catherine & Dennis B. Schultz Sandy & Alan Schwartz Nancy & Sam Shamie Shapero Foundation Ms. Margo Shulman Zon Shumway Dr. Les & Ellen Lesser Siegel Mr. Norman Silk & Mr. Dale Morgan William & Cherie Sirois Dr. Cathryn & Mr. Daniel Skedel Mr. Michael J. Smith & Mrs. Mary C. Williams Dr. Gregory Stephens Barb & Clint Stimpson Nancy C. Stocking Dr. & Mrs. Gerald Stollman Mrs. E. Ray Stricker Mr. & Mrs. John Stroh III Ms. Laurie Szczesny David Szymborski & Marilyn Sicklesteel Dr. Neil Talon Ms. Dorothy Tarpinian Joel & Shelley Tauber Dr. & Mrs. Howard Terebelo Mr. & Mrs. Douglas J. Thompson Mr. Norman Thorpe Mr. & Mrs. James W. Throop

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

Giving of $1,500 and more Mr. Terence E. Adderley Joshua & Judith Adler Dr. & Mrs. Gary S. Assarian Dr. & Dr. Brian Bachynski Mrs. Mary Beattie† Mr. & Mrs. Stephen A. Bromberg Mr. & Mrs. Richard Burstein Dr. & Mrs. Glenn B. Carpenter Mr. Don Claphman Dr. Edward Mrs. Jamie Dabrowski Mrs. Kathryne Dahl Gordon & Elaine Didier Mr. & Mrs. Walter E. Douglas Mr. Howard O. Emorey Mr. William Fetterman Mr. & Mrs. Robert W. Gillette Mr. Joseph & Mrs. Lois Gilmore Ruth & Al† Glancy Ms. Sandra Seligman Anne & Eugene Greenstein Mr. Donald Guertin Mr. & Mrs. Michael Harding Ms. Barbara Heiler Mr. & Mrs. Paul Hillegonds Ms. Nadine Jakobowski Mr. Arthur Johns

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Carol & Rick Johnston Dr. Jean Kegler Ms. Ida King Aileen & Harvey Kleiman Tom & Beverly Klimko Mr. & Mrs. Victor Kochajda/Teal Electric Co. Ms. Sylvia Kojima Miss Kathryn Korns Mr. & Mrs. Kosch Mr. Michael Kuhne Mr. & Mrs. Paul Lieberman Mr. William Lynch Ms. June G Mackeil Mr. Robert L. Martin Mr. & Mrs. Joseph Mazzeo Ms. Florence Morris Mr. & Mrs. Germano Mularoni Mrs. Janet Pounds Mr. Ronald Puchalski Drs. Renato & Daisy Ramos Mr. and Mrs. Richard Rappleye Mr. & Mrs. Richard Rapson Mrs. Hope Raymond Mr. & Mrs. John Rieckhoff Mr. Paul Robertson & Mrs. Cheryl Robertson Mr. & Mrs. Leslie Rose

*Current DSO Musician or Staff

Mr. James Rose Dr. & Mrs. Jerry Rosenberg Mr. & Mrs. Hugh C. Ross Mr. & Mrs. George Roumell Nancy J. Salden Mr. and Mrs. Donald and Janet Schenk Dr. Richard Schwartz Mr. and Mrs. Fred Secrest† Mr. Steve Secrest Robert A. Sedler Cynthia Shaw & Tom Kirvan Mr. Lawrence Shoffner Ms. Claudia Sills Mr. Mark Sims & Ms. Elaine Fieldman Dr. & Mrs. Choichi Sugawa David & Lila Tirsell Dennis and Jennifer Varian Dr. & Mrs. Thomas E. Verhelle Peter & Carol Walters Mr. Barry Webster Ms. Beverly Weidendorf Ms. Janet Weir Rudolf E. Wilhelm Fund And three who wish to remain anonymous

DSO PERFORMANCE MAGAZINE 53

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

THE McGREGOR FUND

Giving of $200,000 & more

HUDSON-WEBBER FOUNDATION primary pereferred logo

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

secondary

Giving of $100,000 & more

secondary - for use on dark backgrounds

2014 GM Design Corporate ID & Graphics

PAUL M. ANGELL FAMILY FOUNDATION

DSO PERFORMANCE MAGAZINE

THE RICHARD C. DEVEREAUX FOUNDATION

FEBRUARY 2019

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

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

Henry Ford II Fund Macy’s MGM Grand Detroit National Endowment for the Arts Rock Ventures, LLC Varnum LLP Wolverine Packing Company

Giving of $10,000 & more

Giving of $1,000 & more

Amerisure Insurance Denso International America, Inc. Edibles Rex Maxine & Stuart Frankel Foundation Honigman Miller Schwartz and Cohn LLP Jaffe, Raitt, Heuer & Weiss KPMG LLP Myron P. Leven Foundation Oliver Dewey Marcks Foundation Milner Hotels Foundation Raymond James Stone Foundation of Michigan Suburban Collection Wells Fargo Advisors

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

Giving of $5,000 & more The Aaron Copland Fund For Music, Inc. Aptiv Foundation The Boston Consulting Group Creative Benefit Solutions, LLC Benson & Edith Ford Fund Grant Thornton LLP Marjorie & Maxwell Jospey Foundation Michigan Ear Institute Resendes Design Group, LLC Rocket Fiber Sigmund & Sophie Rohlik Foundation Schaerer Architextural Interiors Mary Thompson Foundation Warner Norcross & Judd LLP

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DSO PERFORMANCE MAGAZINE 55

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

LINDA WASSERMAN AVIV, Chair Mrs. Katana H. Abbott Mr. Joseph Aviv Mr. Christopher A. Ballard Ms. Jessica B. Blake, Esq. Ms. Rebecca J. Braun Mr. Timothy Compton Mrs. Jill Governale Mr. Henry Grix Mrs. Julie R. Hollinshead, CFA Mr. Mark W. Jannott, CTFA Ms. Jennifer A. Jennings

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

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

PLANNED GIVING SPOTLIGHT

Rex Dotson and Max Lepler Longtime DSO supporters Rex Dotson and Max Lepler are some of the orchestra’s strongest boosters, with a passion for championing music and arts throughout Southeast Michigan. Do you have any favorite pieces you’ve seen the DSO perform, or pieces you’d love the orchestra to play in the future? Without a doubt, last season’s spectacular presentation of Turandot was one of the most exciting concerts of the year. We also love the special Winter Music Festivals in February that maestro Slatkin has helped put together over the past several seasons; one of Rex’s very favorite contemporary works, Become Ocean by John Luther Adams, is being performed during American Panorama. What’s the best thing about living in Southeast Michigan? Our favorite thing about this area is the concentration and availability of lots of cultural resources and the ease in getting to them. The DSO and the Detroit Institute of Arts are our two favorites 56

DSO PERFORMANCE MAGAZINE

and the places in which we spend most of our “cultural” time, but we also love the Historical Museum, the Flint Institute of Arts, the Toledo Art Museum, Cranbrook, MOCAD, Detroit Film Theatre, etc., etc. Why is it important for you to give? We give because of our love of wonderful music and the fantastic enjoyment the DSO gives us every week, year after year. We give because we want the orchestra to thrive and become financially more and more stable. And we give because we fully support the Orchestra’s mission of outreach to all communities and to be the most accessible (and greatest) orchestra on the planet!

FEBRUARY 2019

CELEBRATING YOUR LEGACY SUPPORT BARBARA VAN DUSEN, Honorary Chair

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

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

Deceased

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

DSO PERFORMANCE MAGAZINE 57

WELCOME TO THE MAX

OUR HOME ON WOODWARD AVENUE

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

Parking

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

What Should I Wear?

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

Food and Drink

Food and beverages are available for purchase at most performances, either from stations throughout the William Davidson Atrium or at the Paradise Lounge. A full-service restaurant offering gourmet meals prepared by Executive Chef Chris Skillingstad, the Paradise Lounge is located on the second floor of The Max and open prior to most Orchestra Hall concerts. For more information, or to make a reservation, please call 313.576.5488 or email paradiselounge@dso.org. Patrons are welcome to bring drinks to their seats at all performances except Friday morning 58

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

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

Shop @ The Max

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

Handicap Access and Hearing Assistance

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

Priority Service for Our Members

We are proud to offer priority assistance to all DSO FEBRUARY 2019

POLICIES SEATING The DSO makes every attempt to begin The Max M. and Marjorie S. Fisher Music Center 3711 Woodward Avenue Detroit, MI 48201 Box Office:................................................313.576.5111 Group Sales:............................................ 313.576.5130 Administrative Offices:.......................... 313.576.5100 Facilities Rental Information:...............313.576.5050 Visit the DSO online at dso.org For general inquiries, please email info@dso.org Subscribers, as well as donors who give $1,000 annually. Visit the Patron Services Center on the second floor of The Max for help with tickets, exchanges, donations, or any other DSO needs.

The Herman and Sharon Frankel Donor Lounge

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

Gift Certificates

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

Rent The Max

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

concerts on time. In deference to the comfort and listening pleasure of the audience, latecomers will be seated at an appropriate pause in the music at the discretion of the house staff. Patrons who leave the hall before or during a piece will be reseated after the piece is completed. Latecomers may watch the performance on closed circuit television in the William Davidson Atrium.

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

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

CHILDREN Educational Concert Series, Young

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

PHOTOGRAPHY AND RECORDING Photography

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

MOBILE DEVICES Use of smartphones and other

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

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

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

ADVANCEMENT

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

Jill Rafferty Senior Director of Advancement

Jill Elder Vice President and Chief Development Officer

Jenni Clark Fundraising Events Specialist

Linda Lutz Vice President and Chief Financial Officer Erik Rรถnmark Vice President and General Manager Joy Crawford Executive Assistant to the President and CEO Elaine Curvin Executive Assistant to the Vice President and CDO

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

LIVE FROM ORCHESTRA HALL

Alex Kapordelis Campaign Director

Stephanie Glazier Stewardship Coordinator Holly Gorecki Manager of Advancement Services Leslie Groves Major Gift Officer Chelsea Kotula Gift Officer, Institutional Giving Juanda Pack Advancements Benefits Concierge Susan Queen Corporate Giving Officer

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

Shuntia Perry Human Resources Coordinator

Matthew Carlson Director of Communications and Media Relations Teresa Alden Digital Communications Manager Ben Breuninger Public Relations Manager Emily Carter Sharpe Communications Coordinator Sarah Smarch Communications Specialist

COMMUNITY & LEARNING

ORCHESTRA OPERATIONS

Patrick Peterson Manager of Orchestra Personnel

Jeremiah Hess Senior Director of Accounting & Finance

COMMUNICATIONS

Kiersten Alcorn Community Engagement Coordinator

Dennis Rottell Stage Manager

FINANCE

HUMAN RESOURCES

Caen Thomason-Redus Senior Director of Community & Learning

Heather Hart Rochon Director of Orchestra Personnel

Clare Valenti Manager of Community Engagement

Matthew Way Advancement Relations and Strategic Initiatives Manager

Marc Geelhoed Director of Digital Initiatives

Kathryn Ginsburg Orchestra Manager

Nelson Rodriguez Parada General Manager of Training Ensembles

Mickayla Chapman Training Ensembles Recruitment and Operations Coordinator Debora Kang Manager of Education Programs

Denise Ousley Human Resources Director

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

AUDIENCE DEVELOPMENT Michael Frisco Director of Audience Development Annick Busch Patron Loyalty Coordinator Lori Cairo Front of House Manager Sharon Gardner Carr Assistant Manager of Tessitura and Ticketing Operations Rebecca Godwin Marketing Coordinator LaHeidra Marshall Audience Development Coordinator James Sabatella Group Sales Manager

Garrett Lefkowitz Training Programs Operations Coordinator

DSO PERFORMANCE MAGAZINE

FEBRUARY 2019

CATERING AND RETAIL SERVICES Christina Williams Director of Catering and Retail Services Chris Skillingstad Executive Chef

Tommy Tatti Assistant Manager of Patron Sales & Service Sara Wabrowetz Lead Ticketing Specialist

Clarence Burnett Maintenance Supervisor

George Krappmann Director of Safety & Security

Matt Deneka Maintenance Technician

Greg Schimizzi Chief of Security

Rita Sayegh Retail Manager

Dan Saunders Director of Facilities Management Frederico Augustin Facility Engineer

SAFETY & SECURITY

Nate Richter Bar Manager

FACILITY OPERATIONS

Martez Duncan Maintenance Technician

EVENTS AND RENTALS

Norris Jackson Security Officer

Catherine Deep Manager of Events and Rentals

Edward John Assistant Chief of Security

Ashley Powers Event Sales Representative

Ronald Martin Security Officer

Stephanie McClung Coordinator of Event Sales & Administration

Johnnie Scott Security Officer

PATRON SALES & SERVICE

TECHNOLOGY & INFRASTRUCTURE

Michelle Marshall Manager, Patron Sales & Service

Jody Harper Senior Director of Technology and Infrastructure

William Guilbault Maintenance Technician Crystal King Maintenance Technician Daniel Speights Maintenance Technician

INFORMATION TECHNOLOGY Michelle Koning Web Manager RaJon Taylor Application Administrator

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

www.honigman.com

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DSO PERFORMANCE MAGAZINE 61

YOUR GUIDE TO THE CUBE

Kaki King + Strings

WEEK 1

Tue., Feb. 5 at 7 p.m.

THE CUBE

Film Screening: The Beast with Five Fingers (1946) Thu., Feb. 7 at 7 p.m. Leonard Slatkin will appear to discuss the film

THE CUBE

Miguel Zenón & Spektral Quartet Wed., Feb. 6 at 7 p.m.

CHAMBER RECITAL

WEEK 2

Corigliano, Gershwin, and Barber Tue., Feb. 12 at 7 p.m. At Steinway Gallery of Detroit

Valentine’s Day with Brianna Thomas Thu., Feb. 14 at 7 p.m.

THE CUBE

CLASSICAL SERIES

Wed., Feb. 13 at 7 p.m.

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

THE CUBE

CLASSICAL SERIES

Rev. Robert Jones + Film Screening: Two Trains Runnin’ (2016)

Uncorked: Improvising in Jazz and Wine

WEEK 3

THE CUBE

Wed., Feb. 20 at 7 p.m.

Appalachian Spring

West Side Story

Leonard Slatkin, conductor Kimberly Kaloyanides Kennedy, violin Ralph Skiano, clarinet Thu., Feb. 21 at 7:30 p.m. Fri., Feb. 22 at 8 p.m

THE CUBE

Sophisticated Giant with Maxine Gordon and CJO Thu., Feb. 21 at 7 p.m.

DSO PERFORMANCE MAGAZINE

FEBRUARY 2019

To learn more about all American Panorama events and programming, visit dso.org/festival CLASSICAL SERIES

CLASSICAL SERIES

Leonard Slatkin, conductor Wei Yu, cello Fri., Feb. 8 at 10:45 a.m. and 8 p.m.

Leonard Slatkin, conductor Alexander Kinmonth, oboe Sat., Feb. 9 at 8 p.m. Sun., Feb. 10 at 3 p.m.

American Panorama

A John Williams Celebration

THE CUBE

Fri., Feb. 8 at 10 p.m.

Sun., Feb. 10 at 10:30 a.m.

Shigeto

Om @ The Max

CLASSICAL SERIES

Gershwin’s Porgy & Bess

Leonard Slatkin, conductor Jean-Yves Thibaudet, piano With Laquita Mitchell, Derrick Parker, and WSU Centennial Choir Sat., Feb. 16 at 8 p.m. Sun. Feb. 17 at 3 p.m. THE CUBE

THE CUBE

Fri., Feb. 15 at 8 p.m.

feat. Hardcore Detroit, Mahogany Jones, and Detroit Pistons Bucket Band

The Cube Dance Show

Hip-Hop 101

Sat., Feb. 16 at 8 p.m. CLASSICAL SERIES

Maximum Minimal

Leonard Slatkin, conductor Joseph Becker, percussion Andrés Pichardo-Rosenthal, percussion Jeremy Epp & James Ritchie, timpani Sat., Feb. 23 at 8 p.m. Sun., Feb. 24 at 3 p.m. THE CUBE

THE CUBE

Fri., Feb. 22 at 8 p.m.

Tue., Feb. 26 at 7 p.m.

Mumu Fresh + DJ Beauty and the Beatz dso.org

George Walker Tribute feat. Gregory Walker DSO PERFORMANCE MAGAZINE 63

[Esa-Pekka Salonen] is one of the UK’s greatest musical assets. (The Observer, London)

UMS Orchestral Residency / Two Different Programs

Philharmonia Orchestra Esa-Pekka Salonen, principal conductor Truls Mørk, cello Tuesday, March 12 // 7:30 pm Wednesday, March 13 // 7:30 pm Hill Auditorium

PR OGR AM 1 ( T U E , MA R 1 2 ) Salonen Cello Concerto Stravinsky The Firebird (complete ballet, 1910) PROGRAM 2 (WED, MAR 13) Schoenberg Verklärte Nacht (Transfigured Night), Op. 4 Bruckner Symphony No. 7 in E Major Supporting Sponsor:

Funded in part by: The Andrew W. Mellon Foundation Media Partners: WRCJ 90.9 FM and WGTE 91.3 FM

7 3 4 . 7 6 4 . 2 5 3 8 ——— U M S . O R G