Performance Magazine Fall 2019 - Issue 1 by Detroit Symphony Orchestra

VOLUME XXVIII • FALL 2019

PERFORMANCE THE MAGAZINE OF THE DETROIT SYMPHONY ORCHESTRA

INSIDE Program Notes Making Sense of Sound

The science behind Orchestra Hall’s flawless acoustics BOOK EXCERPT

DESTINY: 100 Years of Music, Magic, and Community at Orchestra Hall in Detroit By Mark Stryker

Meet the Musician Stephen Molina

Community & Learning The DSO’s return to Interlochen

Interim Concertmaster Kimberly Kaloyanides Kennedy and her violin in the Paradise Lounge

2019-2020 SEASON

Dessert Parlor

…at The Whitney.

ONE- OF-A- KIND HOLIDAY GIF TS FROM EPIPHANY

Named after David Whitney’s daughter, Katherine Whitney McGregor, our intimate dessert parlor on the Mansion’s third floor features a variety of decadent cakes, tortes, and miniature desserts. The menu also includes chef-prepared specialties, pies, and “Drinkable Desserts.” Don’t miss the amazing flaming dessert station featuring Bananas Foster and Cherries Jubilee.

at the Detroit Symphony Orchestra Distinctive handblown glass sculptures, La Ruche lighting, decanters, a variety of unique handmade gifts and more.

Reserve tonight’s table online at www.thewhitney.com or call 313-832-5700 The Shapero Lounge at the DSO 4421 Woodward Ave., Detroit Max M. & Marjorie S. Fisher Music Center 3711 Woodward Ave., Detroit, MI 48201

Call 248.745.3786 | epiphanyglass.com Hours | Fri:10am–4pm | Sat: 10am–4pm

Pre-Theater Menu

Available on performance date with today’s ticket. Choose one from each course:

FIRST COURSE Caesar Side Salad Chef’s Soup of the Day The Whitney Duet MAIN COURSE Grilled Lamb Chops Lake Superior Whitefish Pan Roasted “Brick” Chicken Sautéed Gnocchi

View current menus and reserve online at www.thewhitney.com or call 313-832-5700 4421 Woodward Ave., Detroit 2

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DESSERT Chocolate Mousse or Mixed Berry Sorbet with Fresh Berries $39.95

FALL 2019

2 0 19 -2 0 2 0 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

14 Making Sense of Sound The science behind Orchestra Hallâ&#x20AC;&#x2122;s flawless acoustics

12 100 Years 16 DESTINY: of Music, Magic, and Meet the Musician Stephen Molina

Community at Orchestra Hall in Detroit Book excerpt by Mark Stryker

20 Community and Learning 21 PROGRAM NOTES

Board Leadership........................................8 Transformational Support........................10 Donor Roster............................................. 38 Maximize Your Experience....................... 48 DSO Administrative Staff......................... 50 Upcoming Concerts.................................. 52 ON THE COVER: Interim Concertmaster Kimberly Kaloyanides Kennedy (Katherine Tuck Chair) and her violin in the Paradise Lounge Photo: Sarah Smarch

Read Performance anytime, anywhere at dso.org/performance

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DSO PERFORMANCE MAGAZINE 3

WELCOME

DONALD DIETZ

To our ever-expanding DSO family,

Thank you for joining us and allow us to be the first to welcome you to Orchestra Hall as we celebrate its 100th birthday! For a century, the DSO – together with Orchestra Hall, and now the Max M. and Marjorie S. Fisher Music Center – has attracted and inspired people to incredible creativity and action. Throughout this centennial year, we will revisit the hall’s history, exploring what makes it such a great space for music and community, while we look boldly towards our future. The 2019–2020 Classical Series begins with a recreation of the first concert ever performed at Orchestra Hall, and elsewhere in the season we’ve programmed many works that were also played on this stage a century ago, reminding us of the timeless endurance and power of music. From intimate Mozart to bold Mahler and the latest contemporary music, the entire Classical season will allow us to revel in the sublime acoustics of Orchestra Hall. Our PNC Pops Series, William Davidson Neighborhood Concert Series, Young People’s Family Concerts, Cube programming, and special events will also add to the celebration in their own ways, demonstrating all that a great orchestra can do when it has an iconic home as spectacular, versatile, and inviting as Orchestra Hall. The Paradise Jazz Series, which we began in 1999 to honor the legacy of Orchestra Hall’s life as the Paradise Theatre from 1941–1951, celebrates its 20th anniversary this year. Later this winter we’re excited to present the Duke Ellington Orchestra and a Tribute to Louis Armstrong – especially fitting during the hall’s centennial, as both jazz titans were among the first to perform on the Paradise stage. We hope that this season-long exploration of Orchestra Hall’s history is much more than a look back, and we thank the many individuals and partner institutions who have already made this centennial celebration a success. But the Orchestra Hall story is not just a DSO story. It’s a Detroit story. This stage has hosted and continues to host the world’s greatest musical performers and has been the foundation for educating generations of inspiring young talent. The most important stories about Orchestra Hall are yet to be written by all of us. Whether this is your first time to Orchestra Hall or you’re in your favorite seat, we invite you to share your Orchestra Hall stories with us on social media using #IAMDSO, or by emailing stories@dso.org. The DSO continues to embrace our role as stewards for this remarkable place and we are humbled by the opportunity to share this experience with you. Enjoy!

Anne Parsons President and CEO 4

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Mark Davidoff Chairman FALL 2019

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

JEFF TYZIK

Principal Pops Conductor

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

SECOND VIOLIN Adam Stepniewski Acting Principal The Devereaux Family Chair 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 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

TERENCE BLANCHARD

NEEME JÄRVI

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

Music Director Emeritus

CELLO Wei Yu, Principal James C. Gordon Chair 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 A ssistant Principal Bernard and Eleanor Robertson Chair Amanda Blaikie Morton and Brigitte Harris Chair Jeffery Zook Open, Principal Women’s Association for the DSO Chair PICCOLO Jeffery Zook OBOE Alexander Kinmonth Principal Jack A. and Aviva Robinson Chair Sarah Lewis Maggie Miller Chair Monica Fosnaugh Open, A ssistant Principal

CLARINET Ralph Skiano Principal Robert B. Semple Chair Jack Walters PVS Chemicals Inc./Jim and Ann Nicholson Chair Laurence Liberson A ssistant Principal Shannon Orme E-FLAT CLARINET Laurence Liberson BASS CLARINET Shannon Orme Barbara Frankel and Ronald Michalak Chair BASSOON Robert Williams, Principal Victoria King Michael Ke Ma A ssistant Principal Marcus Schoon CONTRABASSOON Marcus Schoon HORN Karl Pituch, Principal Johanna Yarbrough Scott Strong Bryan Kennedy David Everson Assistant Principal Mark Abbott TRUMPET Hunter Eberly, Principal Lee and Floy Barthel Chair Kevin Good Stephen Anderson A ssistant Principal William Lucas Michael Gause African-American Orchestra Fellow TROMBONE Kenneth Thompkins, Principal David Binder Randall Hawes

BASS TROMBONE Randall Hawes TUBA Dennis Nulty, Principal PERCUSSION Joseph Becker, Principal Ruth Roby and Alfred R. Glancy III Chair Andrés Pichardo-Rosenthal A ssistant Principal William Cody Knicely Chair James Ritchie TIMPANI Jeremy Epp, Principal Richard and Mona Alonzo Chair James Ritchie A ssistant Principal LIBRARIANS Robert Stiles, Principal Ethan Allen PERSONNEL MANAGERS Heather Hart Rochon Director of Orchestra Personnel Patrick Peterson Manager of Orchestra Personnel STAGE PERSONNEL Dennis Rottell, Stage Manager 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

~ Leave of absence

ENGLISH HORN Monica Fosnaugh Shari and Craig Morgan Chair

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

Leonard Slatkin

nternationally acclaimed conductor Leonard Slatkin is Music Director Laureate of the Detroit Symphony Orchestra (DSO) and Directeur Musical Honoraire of the Orchestre National de Lyon (ONL). He maintains a rigorous schedule of guest conducting throughout the world and is active as a composer, author, and educator. In the 2019-20 season, he will celebrate his 75th birthday year with several of the orchestras he has led over the course of his 50-year career, including the St. Louis Symphony Orchestra, National Symphony Orchestra, Nashville Symphony Orchestra, DSO, and ONL. Other highlights include return engagements with the Houston Symphony Orchestra, RTÉ National Symphony in Dublin, Toronto Symphony Orchestra, and NHK Symphony Orchestra in Tokyo; debuts with the KBS Symphony Orchestra in Seoul, NDR Radiophilharmonie in Hannover, and Würth Philharmonic in Künzelsau, Germany; and three weeks in Spain conducting orchestras in CastileLeón, Bilbao, and the Balearic Islands. Slatkin has received six Grammy awards and 33 nominations. His recent Naxos recordings include works by Saint-Saëns, Ravel, and Berlioz 6

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(with the ONL) and music by Copland, Rachmaninoff, 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.

FALL 2019

Jeff Tyzik

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

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

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DSO PERFORMANCE MAGAZINE 7

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 accountability, resource development and strategic thinking. As fiduciaries, Directors oversee all DSO financial activities, risk, and strategy, and assuring that resources are aligned with the DSO mission.

Samuel Frankel ◊ David Handleman, Sr.◊ Dr. Arthur L. Johnson ◊

James B. Nicholson Clyde Wu, M.D.◊

Peter D. Cummings Phillip Wm. Fisher Stanley Frankel

Alfred R. Glancy III ◊ Robert S. Miller James B. Nicholson

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

Paul Ganson Mort & 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

Nancy Schlichting Officer at Large

Glenda D. Price, Ph.D. Vice Chair

Arthur T. O’Reilly Secretary

Janice Uhlig Officer at Large

Anne Parsons President & CEO

Ralph J. Gerson Officer at Large

Pamela Applebaum Janice Bernick Governing Member 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 R. Polk David T. Provost Bernard I. Robertson

◊ Deceased

Sharon Sparrow Orchestra Representative Shirley Stancato Arn Tellem Hon. Kurtis T. Wilder Dr. M. Roy Wilson David M. Wu, M.D.

FALL 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 C. Farber Jennifer Fischer Aaron Frankel

Carolynn Frankel Christa Funk Alan M. Gallatin Robert Gillette Jody Glancy Malik Goodwin Mary Ann Gorlin Laura Grannemann Leslie Green Laura Hernandez-Romine Donald Hiruo Michele Hodges Julie Hollinshead Antoinette G. Hubbard 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 Sean M. Neall Eric Nemeth Mary 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

MAESTRO CIRCLE EXECUTIVE COMMITTEE Janet and Norm Ankers, chairs

Cecilia Benner

Joanne Danto

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

Samantha Svoboda Vice Chair, Communications

Bonnie Larson Member at Large

Suzanne Dalton Vice Chair, Annual Giving

David Assemany Member at Large

David Everson Orchestra Representative

Diana Golden Vice Chair, Membership

Maureen D’Avanzo Member at Large

Kenneth Tompkins Orchestra Representative

David Karp Member at Large

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DSO PERFORMANCE MAGAZINE 9

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

SPOTLIGHT: BONNIE LARSON AND THE BONNIE ANN AND ROBERT C. LARSON GUEST PIANIST FUND “For me, it is a privilege to help provide a lasting legacy for an institution like the Detroit Symphony,” says longtime DSO fan and supporter Bonnie Larson. Bonnie made her first gift to the orchestra – as part of efforts to restore Orchestra Hall – in 1986, and her connection to the oneDSO family has only deepened since then. She has been a member of the Board of Directors for twelve years and many patrons will recognize her as a namesake of the Bonnie Ann and Robert C. Larson Guest Pianist Fund, which helps bring the best pianists in the world to Orchestra Hall to perform with the DSO. Why pianists? In part because of Bonnie’s family history: her mother’s maiden name was Grinnell, as in Grinnell Brothers – the storied Detroit-based piano design and manufacturing company. Native Detroiters might remember the Grinnell Brothers Music House at 1515 Woodward Avenue, and Grinnell Brothers pianos were everywhere in the company’s 1960s heyday. “I have many memories of my grandfather sitting at the piano and playing, and of course my sisters and I all took piano lessons growing up,” Bonnie says. Music was part of the fabric of her family, and she can’t imagine life without it. “It is my dream that everyone is able to have the opportunity to be inspired and delighted by music,” she explains. The Larson Guest Pianist Fund is one part of Bonnie’s commitment to making that dream a reality. Each year, the fund sponsors a piano-forward program on the Classical Series, marked by visits from piano luminaries like Jeremy Denk, Louis Schwizgebel, and Emanuel Ax. “It’s an extraordinary experience,” says Bonnie, who refuses to name any one artist’s visit as her favorite. She simply loves them all. This year, the experience should be approximately three times as extraordinary, as the Larson Guest Pianist Fund supports the Classical Series’ Opening Weekend program – a dramatic evening that recreates the first concert performed at Orchestra Hall in 1919. Two pianos face each other downstage as twin sisters Christina and Michelle Naughton perform Mozart’s Concerto for Two Pianos, then two become three as David Fung joins the Naughtons for Bach’s Concerto No. 2 for Three Pianos. “I’m thrilled,” Bonnie says excitedly. “It’s so wonderful to celebrate Orchestra Hall with programs like this one.” For Bonnie and so many other members of the oneDSO family, what happens on the Orchestra Hall stage is life-changing and even world-changing. “I think most people would agree that we’re seeing a true renaissance in Detroit today,” Bonnie says. “And we have to ask ourselves the question: what are the components that make a great city? I feel that the hallmark of a great city is its cultural institutions. Music and art are the heart and the soul.”

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FOUNDING FAMILIES Julie & Peter Cummings The Davidson-Gerson Family and the William Davidson Foundation The Richard C. Devereaux Foundation The Fisher Family and the Max M. & Marjorie S. Fisher Foundation Stanley & Judy Frankel and the Samuel & Jean Frankel Foundation Danialle & Peter Karmanos, Jr. Linda Dresner & Ed Levy, 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 The Andrew W. Mellon Foundation Ms. Deborah Miesel Shari & Craig Morgan Dr. William F. Pickard 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 Jack & Aviva Robinson◊ Martie & Bob Sachs Mr. & Mrs.◊ Alan E. Schwartz Drs. Doris Tong & Teck Soo Paul & Terese Zlotoff

BENEFACTORS Mr. & Mrs. Robert A. Allesee W. Harold & Chacona W. Baugh Robert & Lucinda Clement Lois & Avern Cohn 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◊ Mr. Richard Sonenklar & Mr. Gregory Haynes Ronald M. & Carol◊ Horwitz dso.org

◊ Deceased

Richard H. & Carola Huttenlocher Ann & Norman Katz Dr. Melvin A. Lester Florine Mark Michigan Council for Arts & Cultural Affairs Pat & Hank Nickol Ruth Rattner Mr. & Mrs. Lloyd E. Reuss Donald & Gloria Schultz Estate Mr. & Mrs. Fred Secrest◊ Jane & Larry Sherman Cindy McTee & Leonard Slatkin Marilyn Snodgrass Estate

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DSO PERFORMANCE MAGAZINE 11

MEET THE MUSICIAN

STEPHEN MOLINA Assistant Principal Bass

tephen Molina joined the DSO in 1976, as Aldo Ceccato was about to turn over the music director role to Antal Dorati. The orchestra’s home was Ford Auditorium on the Detroit riverfront, where the DSO had been based since 1956, and the Renaissance Center was rapidly rising skyward next door. A little more than a mile up Woodward Avenue, Orchestra Hall had been saved from demolition, but new concerns emerged – how could the historic venue be restored, and who would pay for it? “When I first saw Orchestra Hall there were actually holes in the walls and birds around,” Molina remembers. “The floor was messed up and uneven. It was dusty no matter how often they cleaned it – there was always dust.” But, slowly and surely, the money came in and the plans materialized. The DSO moved back to a refurbished, holes-patched Orchestra Hall in 1989, and additional restoration and beautification work took place over the next several years. Molina remembers Ford Auditorium, for what it’s worth, as “difficult,” but he does credit the midcentury theater for its comfy seats. Among the musicians who remember the move from Ford Auditorium into the restored Orchestra Hall, Molina offers a unique perspective. For more than three decades – in addition to performing in the bass section – he held roles in the orchestra’s personnel office, which manages musician schedules, payroll, and

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auditions, and also serves as a liaison between musicians and management. Molina was offered his first role in the personnel office in 1983, and he retired from his position as Orchestra Personnel Manager in 2015 while remaining as the DSO’s Assistant Principal Bass. Now, after performing at Orchestra Hall nearly twice as long as he performed anywhere else, Molina calls the venue “a treasured place.” He, like many others, can’t say enough about the hall’s remarkable sound. “It’s very easy to play softly onstage and know that that sound is traveling to the back of the Hall, and that you can play crisply and cleanly,” he FALL 2019

says. “You don’t have to overdo it.” When Orchestra Hall entered a new phase yet again – to expand and become part of the Max M. and Marjorie S. Fisher Music Center – Molina, particularly while wearing his personnel manager hat, was thrilled. “Prior to The Max being built … I don’t know if you’re aware, but to make do they put trailers alongside the building,” he remembers, describing the cramped and inelegant makeshift backstage accommodations for musicians. Molina can’t help but smile and chuckle about the inconveniences of the past, because for a musician the primary goal is always making music. Yes, he remembers a bizarre instance where his bass was stolen (and later recovered, don’t worry) from a storage closet in the early Orchestra Hall days, but

more than that he remembers sublime moments onstage. “I think of Neeme Järvi’s first performances with us, just fantastic,” he says. “I think of playing A Soldier’s Tale with Peter Oundjian and my colleagues. Just recently, we did a Vivaldi program with a small group on stage, and I think of the excitement from the crowd.” Outside of playing music, Molina has always been very athletic, and he still makes lots of time for biking, yoga, and tennis. He likes the challenge of exercise and the competition of sports. But he also finds a useful metaphor: “You know, I always like to look at sports. And if you think about the orchestra in that way, and about Orchestra Hall, well, we have the greatest arena – musically – in the country.”

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MAKING SENSE OF SOUND T HE S CIENCE BEHIND ORCHE S T R A H A L L’S FL AW L E S S AC OUS T IC S BY BEN BREUNINGER

ONE OF THE MOST COMMON REFRAINS among DSO fans, musicians, staff, collaborators, and insiders is that Orchestra Hall is “acoustically perfect” or very close to it.

For example: “Orchestra Hall is like a friend giving your notes a hug as you play,” says the DSO’s Bill Lucas, trumpet. Former principal guest conductor Peter Oundjian called it a “miracle;” Yo-Yo Ma declared it “one of the wonders [of the] music world.” The hall’s superb sound is touted so widely – and so frequently – that it’s something of a mantra; people just know it’s good, in the same way they know that Beethoven went deaf or that the Lions wear Honolulu Blue. But how perfect is the sound really? And what factors contribute to the

Five HEAD acoustics Measurement Systems, shaped like human heads, were placed throughout Orchestra Hall at a rehearsal of Brahms’s Symphony No. 4 to collect acoustical data 14

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supposedly excellent acoustics for which Orchestra Hall is so praised? Anyone with a fine ear can declare that the hall sounds great, but it takes an acoustics expert to explain how and why. Enter the Detroit office of the German company HEAD acoustics, a leading provider of test systems for evaluating and troubleshooting sound quality. HEAD’s work in Michigan mostly relates to automotive interiors, but their futuristic technology is a perThe fly tower above the Orchestra Hall stage, which houses fect fit for decoding Orchestra acoustic reflector panels installed during the Hall’s restoration Hall’s top-notch sound. This spring, HEAD placed five mea Orchestra Hall is also sized beautisurement devices – shaped like human fully – not too big, not too small. heads – throughout the auditorium and Cramped halls allow indirect sound to onstage to gather data during a DSO bounce around too much, creating noise; rehearsal. At this September’s expansive halls allow sound to die out Centenary Sound Lab event, they before it can reach the furthest corners. brought a new toy: the HEAD Visor, which allows users to visualize how Happy Accidents sound interacts with the hall’s interior. Two of Orchestra Hall’s “secret weap After reviewing HEAD’s analysis and ons” are located directly above and consulting with other experts – including below the stage. Architect C. Howard Jaffe Holden, a leading acoustics firm Crane designed the building with flexithat has worked with the DSO for bility in mind, so he included two decades – the results are in. features that would aid in the production of operas and plays: a fly tower high Shape and Size above the stage, and an empty space Like many other theaters lauded for called a “trap room” (because it’s accestheir great acoustics, Orchestra Hall is sible via trapdoor) below. built in the “shoebox” style – a rectangle, essentially, though it has slightly curving Shoebox Fan walls that some experts call “lyric” STAGE style. Shoebox halls tend to allow for a STAGE great balance of direct sound (which leaps from the stage in straight, uninterrupted paths) and indirect sound (which bounces and reflects before dying down), especially compared to “fan” style halls that gained popularity in the A “shoebox” style layout (left) and a “fan” style middle of the 20th century because they layout (right) offer better sight lines. dso.org

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DSO PERFORMANCE MAGAZINE 15

While these features are rarely used for their original intended purposes, they greatly improve the “warmth” of Orchestra Hall’s sound. This is because low-frequency bass sounds (like those produced by cellos, basses, and timpani) have time to resonate above and below the stage before being pushed out into the seats, which makes them sound richer and more blended. As an added bonus, the resonance created by these two features allows musicians onstage to hear each other much more effectively – an extremely rare quality, even among concert halls that sound great from the auditorium.

No Bad Seats Another result of Orchestra Hall’s size, shape, and special features is that the sound is excellent in virtually all areas of the auditorium – even seating sections underneath the balcony and boxes, which usually suffer from poor acoustics in similar theaters. Analysis by HEAD acoustics proves what many DSO fans have known for years: that every seating section sounds great, but some areas have unique “flavors.” And amazingly, the differences are extremely slight. Visual spectrograms of sound samples collected

throughout Orchestra Hall (below) reveal only minor variations, which means that the sound in a supposedly “good” area of the Hall is all but indistinguishable from the sound anywhere else.

The X Factor Other seemingly negligible details also account for Orchestra Hall’s spot-on acoustics, including the hardness of its plaster walls and the particulars of its ornamentation. But as Mark Stryker – former Detroit Free Press critic and the closest thing to a professional Orchestra Hall fan as one can be – puts it, “formal analysis has its limit.” Pore over the details all you want, but sometimes you have to chalk it up to the term we stole from the French: je ne sais quoi. Another term works well too: magic. Yes, it’s a cliché. But the beauty of a magic trick isn’t that it makes us believe in magic – it’s that it makes us say how did they do that? The DSO extends special thanks to the following for their assistance and contributions to this article: • HEAD acoustics, Inc., especially Wade Bray and Mike Stephan • JaffeHolden Acoustics, especially Russell Cooper • Mark Stryker, Paul Ganson, Scott Reilly, Marc Geelhoed, and Sarah Smarch

Spectrograms represent sound samples collected from (L-R) Main Floor A, the Box Level, the Upper Balcony, and directly in front of the stage; only slight section-to-section differences are apparent 16

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Excerpt

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DESTINY: 100 Years of Music, Magic, and Community at Orchestra Hall in Detroit Community Magic, and illustrated of Music, 100 Years is a lavishly home of Destiny: in Detroit Hall, tra Hall er Orchestra at Orches years of tten by form 100 Wri ing tra. book trac ny Orches reporter Sympho and arts ic roit crit Det sic the ind the e Press mu ders beh takes rea Detroit Fre and the ker, Destiny the hall in 1919 ip Mark Stry g of ctor Oss ldin dire bui sic the rs er mu scenes of Age und h the yea t Golden e tinues wit DSO’s firs story con the Paradis sch. The renamed Gabrilowit hall was for the when the destination cles 1941–1951, a major n chroni and became sts. The book the to save Theatre arti ters por jazz top civic sup country’s followed ans and in 1970, by musici l and the the fight demolition hestra Hal Hall from home tion of Orc Orchestra historic ear restora DSO to its by the 20-y tion of rn of the ant retu ails the crea triumph book det Center in sic the , Mu er Finally roof e S. Fish in 1989. Marjori under the es and M. viti the Max t day acti s and the the presen cert hall the 2003 and great con the way, the world’s The Max. Along ustics, of one of t of Hall’s aco footprin Orchestra expanded building’s magic of the of the s s ner lore l, own cor book exp hestra Hal little-kn on Orc , t roit sheds ligh how Det destiny. and shows the same history, all share and the DSO

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wonders one of the Yo-Yo Ma ra Hall is .” — “Orchest sic world ustic mu of our aco for these a statue ould make o saved it.” “They sh Detroit wh people in

BY MARK STRYKER

Stryker is a longtime journalist, music critic, and writer who covered classical and jazz music for the Detroit Free Press from 1995 to 2016. His new book, published by the DSO in celebration of Orchestra Hall’s centennial year, is available now at Shop @ The Max. Read an excerpt from the introduction below. me Järvi

OIT IN DE TR RA HA LL

— Nee I ery time a gem… Ev ll is just awe. It’s “This ha e—I’m in very tim return—e Grimaud .” — Hélène on cti rfe pe

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Mark Stry

$24.95 3 34170-1- 5 >

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The first concert I heard at Orchestra Hall was in October 1995. I had come to Detroit to interview for a job at the Detroit Free Press as an arts reporter and classical music critic. I was excited to end the day by hearing music director Neeme Järvi lead the Detroit Symphony Orchestra through music of Berlioz, Bruch, and Mendelssohn. I remember driving along a lonely stretch of Woodward Avenue, parking across the street from the hall in a dimly lit lot. I took in the bleak surroundings as I walked toward a shockingly small building. Then I crashed into the uncomfortable crush of people crammed into the tiny, oval lobby. Processing all of this, I said to myself, “Why in the hell is the orchestra playing here?” But then I got my first glimpse of the jewel-box interior. The soft and silky colors were so inviting, the ornamentation and lighting so lovely, and the dimensions so cozy that I began to reconsider my first impressions. I settled into my seat. The concertmaster took the stage. Out strode Järvi. Applause. Bows. Downbeat. The instant the music hit the air I knew exactly why the DSO was playing at 18

DSO PERFORMANCE MAGAZINE

Orchestra Hall: the sound. Vibrant, warm, clear, seductive, and intimate, it leapt off the stage with such immediacy that the distance between the musicians and audience collapsed in a blink. I felt like I was sitting onstage next to the podium. The hall offered nonpareil acoustics for a symphony orchestra: the perfect balance of reverberance, clarity, and dynamic range. The strings, winds, and brass blended into a glowing halo of sound that hung in the air like a vision. Yet the details – the suave solo clarinet rising out of the ensemble, the bracing snap of the timpani, the noble sighs of unison violins – were as crisp as high-definition video. When the orchestra whispered, it was as if the musicians were sharing secrets with me alone. When the players roared, the sound was bold and burnished but never blaring. Orchestra Hall was magic – one of the finest concert halls in the world. Just as it was the day it opened on October 23, 1919. Just as it remains in 2019 as it turns 100 years old. FALL 2019

Mark Strykerâ&#x20AC;&#x2122;s engagement as author of this commemorative publication was generously underwritten by Ann and James B. Nicholson. Additional support of this publication was underwritten by the Community Foundation for Southeast Michigan and Ford Motor Company Fund.

The DSO would like to thank the Honorable Avern Cohn and Lois Cohn, Bernard and Eleanor Robertson, and Varnum LLP for their leadership support of Orchestra Hallâ&#x20AC;&#x2122;s centennial, and all Centennial Club members who generously contributed.

Centennial Club Members Howard Abrams & Nina Dodge Abrams Mr. & Mrs. Robert A. Allesee James & Patricia Anderson Pamela Applebaum Ms. Joy Crawford & Mr. Richard Aude Ms. Ruth Baidas Mr. David Barnes Mr. & Mrs. Lee Barthel W. Harold & Chacona W. Baugh Gwen & Richard Bowlby Mr. & Mrs. Richard A. Brodie Philip & Carol Campbell Mr. Marvin D. Crawford Mr. & Mrs. Matthew P. Cullen Julie & Peter Cummings Joanne Danto & Arnold Weingarden Barbara A. David Margie Dunn & Mark Davidoff Mr. & Mrs. Ethan Davidson Lillian & Walter Dean Deloitte Ms. Leslie C. Devereaux Eugene & Elaine C. Driker Mr. Lee V. Hart & Mr. Charles L. Dunlap Edwin & Rosemarie Dyer Jim & Margo Farber Mr. & Mrs. Phillip Wm. Fisher Mr. & Mrs. Aaron Frankel Barbara Frankel & Ronald Michalak

Dale & Bruce Frankel Herman & Sharon Frankel Mr. & Mrs. Stanley Frankel Kit & Dan Frohardt-Lane Ms. Jody Glancy Ms. Jacqueline Graham Mr. & Mrs. James Grosfeld Mr. Sanford Hansell & Dr. Raina Ernstoff Mr. Morton E. Harris Cheryl A. Harvey Mr. Donald & Marcia Hiruo Mr. Matthew Howell & Mrs. Julie Wagner Richard H. & Carola Huttenlocher Renato & Elizabeth Jamett Mr. George G. Johnson Lenard & Connie Johnston Paul & Marietta Joliat Danialle & Peter Karmanos, Jr. Morgan & Danny Kaufman June K. Kendall Mr. David Kolodziej Dr. Sandy Koltonow & Dr. Mary Schlaff KPMG LLP Dr. & Mrs. James P. Lentini Nicole & Matt Lester Linda Dresner & Ed Levy, Jr. Mervyn & Elaine Manning Mr. & Mrs. Alonzo McDonald Olga Sutaruk Meyer

Ms. I. Surayyah R. Muwwakkil Mr. & Mrs. Albert T. Nelson, Jr. Anne Parsons & Donald Dietz Debra & Richard Partrich Kathryn & Roger Penske Vivian Pickard The Polk Family Dr. Glenda D. Price Charlene & Michael Prysak Maurcine & Lloyd Reuss Mr. & Mrs. Robert B. Rosowski Martie & Bob Sachs Dr. & Mrs. Hershel Sandberg Save Our Symphony Deborah Savoie Nancy Schlichting & Pamela Theisen Mr. & Mrs. James H. Sherman John J. Solecki Richard Sonenklar & Gregory Haynes Alice & Paul Tomboulian Mrs. Richard C. Van Dusen Varnum LLP Beverly & Barry Williams Drs. David & Bernadine Wu Ms. Andrea L. Wulf Paul & Terese Zlotoff

As of August 31, 2019

Please call (313) 576-5114 or email friends@dso.org for more information about how to join the Centennial Club.

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DSO PERFORMANCE MAGAZINE 19

COMMUNITY & LEARNING

his July, the DSO met up with an old friend: Interlochen Center for the Arts, the idyllic music and arts institute not far from Traverse City. The visit marked the first time the DSO has played a full orchestra concert at Interlochen since 2006, and the trip up north was actually a four-day residency that also included masterclasses, sectionals, and a side-by-side concert with students. The DSO’s association with Interlochen dates to 1926, when Orchestra Hall hosted 275 members of the National High School Honors Orchestra – an ensemble organized by Joseph Maddy, who would later incorporate the summer camp and arts institute that Interlochen has become. The relationship between the two organizations continued to grow and became especially strong in the 1960s and ’70s, and beginning in 1991 the DSO appeared at Interlochen annually until a hiatus in 2006. Several DSO musicians have their own connections to Interlochen as former students, teachers, or both. Cellist Úna O’Riordan, for example, remembers a lesson with Paul Wingert when she attended Interlochen as a camper in the early ’90s. Thirty or so years later, O’Riordan and Wingert are both members of the DSO cello section, and Wingert has his own stories about attending Interlochen as a student in the ’70s. “Going to Interlochen and being surrounded by music – the immersive experience – was very important for me,” O’Riordan reflects. “It was the start of my career.” The new partnership that brought the DSO’s return to Interlochen also deepens the bond between the two organizations. “We are now partnering 20

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directly with Interlochen in a comprehensive effort to send more students from our Civic Youth Ensembles (CYE) to summer camp,” explains Caen Thomason-Redus, the DSO’s Senior Director of Community & Learning. “From beginning violinists in our schoolbased Dresner Foundation Allegro

Ensemble to members of our top-level Detroit Symphony Youth Orchestra.” Fifteen CYE students attended this summer, participating in a range of Interlochen program. CYE parent Cher Coner, whose twin seventh grade sons – Cody and Dominic, both violinists – attended Interlochen for two weeks, says she is overwhelmed with gratitude for the opportunity: “It was a growing experience for our whole family. When I went to pick them up from camp, I attended their final concert, and I wanted to cry. I was shocked and impressed by how much they learned in two weeks! I kept saying wow.” With both storied institutions entering a new phase of collaboration, we can only look forward to more summer days and wow moments up north. The DSO thanks the following for their support of our partnership with Interlochen: Butzel Long, Joanne Danto & Arnold Weingarden, Elaine & Eugene C. Driker, Charlene Handleman, Mr. & Mrs. Paul Hooberman, Betsy & Joel Kellman, Nicole & Matt Lester, Shari & Craig Morgan, Hon. Kurtis T. Wilder, Drs. David & Bernadine Wu, Mrs. Richard C. Van Dusen, and one who wishes to remain anonymous. FALL 2019

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

JEFF TYZIK

TERENCE BLANCHARD

Principal Pops Conductor

NEEME JÄRVI Music Director Emeritus

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

CLASSICAL SERIES BEETHOVEN SYMPHONY NO. 5

In celebration of Orchestra Hall’s centennial year, today’s program is a recreation of the first concert ever performed at this storied venue on October 23, 1919 Friday, October 4, 2019 at 8 p.m. • Saturday, October 5, 2019 at 8 p.m. Sunday, October 6, 2019 at 3 p.m. at Orchestra Hall MICHAEL FRANCIS, conductor • CHRISTINA NAUGHTON, piano MICHELLE NAUGHTON, piano • DAVID FUNG, piano Carl Maria von Weber (1786 - 1826) Overture to Oberon Wolfgang Amadeus Mozart Concerto for Two Pianos and Orchestra (1756 - 1791) in E-flat Major, K. 316a [365]

I. Allegro II. Andante III. Rondo: Allegro Christina Naughton, piano Michelle Naughton, piano

Intermission Johann Sebastian Bach Concerto No. 2 for Three Keyboards (1685 - 1750) and Orchestra in C Major, BWV 1064

I. [Allegro] II. Adagio III. Allegro Christina Naughton, piano Michelle Naughton, piano David Fung, piano

Ludwig van Beethoven Symphony No. 5 in C Minor, Op. 67

(1770 - 1827)

I. Allegro con Brio II. Andante con moto III. Allegro IV. Allegro

This program is made possible through the generous support of the Bonnie Ann and Robert C. Larson Guest Pianist Fund. Turn to page 10 to learn more about Bonnie Larson and the Fund.

This Classical Series performance is generously sponsored by

Opening Weekend is sponsored by

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

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DSO PERFORMANCE MAGAZINE 21

Program Notes P R O G R A M AT- A - G L A N C E HISTORIC NIGHTS, A CENTURY APART Today we’ll hear the same music performed on this stage 100 years ago when Orchestra Hall received its grand opening on October 23, 1919. What did critics back in 1919 think about the original concert? “ The feast of music provided was perhaps never equaled in the city’s history.” —Detroit Times “ Let us say that the auditorium, in point of appearance as well as in point of accommodations, exceeded all sanguine expectations, but that the band was equally beyond expectations.” —Detroit News

Overture to Oberon Composed 1824-1826 | Premiered April 1826

CARL MARIA VON WEBER B. November 18, 1786, Eutin, Germany D. June 5, 1826, London, England

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. (Approx. 10 minutes)

arl Maria von Weber was a dying man when a letter reached him on August 18, 1824, requesting a new opera for London’s Royal Opera House. As early as 1812, he had begun to show symptoms of tuberculosis, and as his fame increased, his health declined. By the early 1820s he was in no condition to travel – his doctor actually told him that he could live for years if he stayed put, but only months if

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“ Gabrilowitsch’s choice for the national anthem to dedicate a hall, wholly expressive of American enterprise, to be used by an all-American orchestra in this city, which continually has shown itself at the fore in true American spirit, was most befitting.” —Detroit Free Press “ Undoubtedly the most splendid, the most widely appreciated, the most significant musical event in the history of Detroit.” —Detroit Journal

he overextended himself – but he took the commission anyway, swayed by the money and notoriety a London opera would provide. He died a few miles from the Royal Opera House less than two months after Oberon premiered. Most of us know Oberon best from Shakespeare’s Midsummer Night’s Dream, in which the fairy king is a supernatural rescuer who appears when a magic horn is blown. Oberon the opera tells a much more complex story that’s quite interesting in its own right but not easy to summarize; nevertheless, it is the music from Weber’s overture that most of us know today. At the beginning, and at several crucial points, we hear the solemn call of the knight Huon’s horn to summon Oberon, then some flutterings representing Oberon’s subjects. Then, in turn, come the scuttling string figures that in the opera accompany the escape of

FALL 2019

Huon and his new wife Reiza; Huon’s air from the first act, intoned by the clarinet; and the arching melody of Reiza’s aria “Ocean, Thou Mighty Monster.” Weber chooses his material carefully and deploys it masterfully, so if we know nothing more of Oberon than this, we know some of the best of it. —Michael Fleming The DSO most recently performed Weber’s Overture to Oberon in January 2012, conducted by Hans Graf. The DSO first performed the piece in December 1916, conducted by Weston Gales.

Concerto for Two Pianos and Orchestra in E-flat Major, K. 316a [365] Composed c. 1770s | Premiered 1781

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

Scored for 2 solo pianos, 2 oboes, 2 bassoons, 2 horns, and strings. (Approx. 26 minutes)

cross his many concertos, especially those for piano, Mozart helped to evolve the concept of what a concerto can be. Those who preceded him (and many who succeeded him) tended to consider the tension between the soloist and the ensemble as the raison d’être of the concerto form, and the “defeat” of the plural by the singular to be the genre’s most spectacular trait. But Mozart introduced the idea that concertos can rely on balance, and that the “fight” between the soloist and the ensemble can be more of a

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conversation, or sometimes a process of persuasion. The present double concerto is a piece that helped Mozart define this new way of thinking about the concerto genre. His plan was to write the concerto so that the two pianos would spar with the orchestra – the conventional way of doing things – but he quickly grew frustrated at how dense and unrefined the music sounded. So he scaled back the role of the orchestra and divided up the most striking piano passages; the result is a piano-forward, relatively quiet concerto in which no component towers over another. The original version (heard here) was scored for an orchestra comprising only strings, oboes, bassoons, and horns, but Mozart later expanded the score to add clarinets, trumpets, and timpani. The opening movement is wonderfully spacious and lyrical, giving both pianists ample room for creative expression, and ending with a stunning double cadenza. The slow movement is very refined, touched at one point by a fleeting melancholy as the key veers temporarily into the minor. The energetic finale is cast as a rondo whose main theme takes a different harmonic turn at each appearance, and the concerto concludes with another double cadenza followed by a marvelous orchestral flourish. The DSO most recently performed Mozart’s Concerto for Two Pianos at Meadow Brook in July 1999, conducted by Jaime Laredo and featuring pianists Arianna Goldina and Rémy Loumbrozo. The DSO first performed the piece at Orchestra Hall’s grand opening on October 23, 1919, conducted by Ossip Gabrilowitsch and featuring pianists Harold Bauer and Olga Samaroff.

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DSO PERFORMANCE MAGAZINE 23

Concerto No. 2 for Three Keyboards and Orchestra in C Major, BWV 1064 Composed c. 1730s | Premiere date unknown

JOHANN SEBASTIAN BACH B. March 31, 1685, Eisenach, Germany D. July 28, 1750, Leipzig, Germany

Scored for 3 solo keyboards and strings. (Approx. 18 minutes)

ohann Sebastian Bach’s total keyboard concertos include seven for a single soloist, three for two soloists, two for three soloists, and one for four soloists. Most of these are thought to be arrangements of earlier concertos for string and woodwind instruments, and most were written on (and theoretically for) the harpsichord but flexible enough to be performed using other keyboard instruments like the 18th century pianoforte or the modern piano. Dates are fuzzy when it comes to Bach’s compositions, but we know that he decided to rework several concertos for keyboard instruments when he took over Leipzig’s Collegium Musicum in 1729. His impetus for doing so was the weekly musical gathering of university students, gifted amateurs, and professionals that took place at the city’s Café Zimmerman. The great Bach scholar Philipp Spitta calls Bach’s second three-piano concerto “one of his most impressive compositions.” Despite critics’ objections that Bach’s other concertos are frequently over-written and over-dense, such judgements are rarely made on this one. Part of the reason for this is that the string orchestra is frequently treated somewhat like a fourth soloist, so the keyboard parts stand out more

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clearly; another is that generally the three keyboardists act as a single musical unit. The concerto’s three movements are built on a more expansive scale than those in most of Bach’s other keyboard concertos, and all have a corresponding expressivity and depth. The DSO most recently performed Bach’s Concerto No. 2 for Three Keyboards in October 1994, conducted by Neeme Järvi and featuring pianists James Tocco, Robert Conway, and Ruth Laredo. The DSO first performed the piece at Orchestra Hall’s grand opening on October 23, 1919, conducted by Victor Kolar and featuring pianists Ossip Gabrilowitsch, Harold Bauer, and Olga Samaroff.

Symphony No. 5 in C Minor, Op. 67 Composed 1804-08 | Premiered December 1808

LUDWIG VAN BEETHOVEN B. December 1770, Bonn, Germany D. March 26, 1827, Vienna, Austria

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, 3 trombones, timpani, and strings. (Approx. 36 minutes)

o orchestral composition has gripped the popular imagination quite like Beethoven’s Symphony No. 5. Countless performances and recordings are outnumbered by an even larger number of references to the famous four-note opening motif – da da da daaaaa! – in popular culture worldwide. Those four notes are the musical equivalent of the word “okay;” heard, quoted, and understood virtually everywhere, FALL 2019

regardless of whether someone is familiar with the entire symphony or symphonic music in general. The first movement of the Philharmonia Orchestra recording under Otto Klemperer is even included on the Voyager I and II “Golden Records,” phonograph albums launched into space that are now the farthest man-made objects from Earth. The symphony was composed during a watershed moment in Beethoven’s career, what he described to a friend as a “new path.” Impatient and frustrated with the delicate musical language of the previous generation, Beethoven became willing to try out the boldest, most unprecedented ideas he could muster. The four-note motif that opens the symphony was among his earliest “new path” sketches, representing fate, and it is used freely throughout the first movement. The brevity and rhythmic vigor of those notes account in no small part for the prevailing sense of agitation and momentum, which relaxes only briefly throughout the first movement. The exceptionally beautiful second movement is constructed as a fluid set of variations on two themes. The alternation between the two subjects and their respective tonal centers yields a sense of variety and spaciousness, and the overall mood contrasts nicely with the turbulent first movement. The ensuing third movement is another matter. Here, the theme softly stated by the low strings in the opening measures seems ghostly and ominous, and its menacing aspect is confirmed moments later by a disturbing reappearance of the “fate” motif. Following the central episode, in which the orchestra chases the rumbling basses and cellos in fugal imitation, the spectral dance resumes. And then, Beethoven creates a dso.org

moment of extraordinary drama. The ghostly dance freezes in mid-step as time and motion seem suspended. Slowly, its theme is taken and transformed measure by measure, until the music bursts into the radiant C Major finale. Trombones, making their first appearance, join the orchestra in a blaze of light and victory. But, suddenly: in the middle of this fourth movement, the “fate” motif and its shadowy associations return. That stroke, so widely admired by subsequent generations of composers, prepares a recapitulation not only of the movement’s themes but also of the dramatic passage from darkness to light, from despair to joy. The DSO most recently performed Beethoven’s Symphony No. 5 in December 2018, conducted by Carlos Miguel Prieto. The DSO first performed the piece in November 1915, conducted by Weston Gales.

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PARK AT THE MAX! Safe, secure, affordable parking is available at the DSO structure on Parsons Street every day, even non-concert days. On foot or on the QLine, enjoy easy access to Midtown Detroit, Little Caesars Arena, Comerica Park, Ford Field, restaurants, museums, and more! DSO PERFORMANCE MAGAZINE 25

Profiles MICHAEL FRANCIS

onductor Michael Francis currently serves as music director of the Florida Orchestra (St. Petersburg), chief conductor of Deutsche Staatsphilharmonie Rheinland-Pfalz, and music director of the Mainly Mozart Festival in San Diego. He previously served as chief conductor and artistic advisor of the Norrköping Symphony Orchestra from 2012 through 2016. Francis has conducted premier North American orchestras including The Cleveland Orchestra, New York Philharmonic, Orchestre symphonique de Montréal, Toronto Symphony Orchestra, Cincinnati Symphony Orchestra, St. Louis Symphony Orchestra, Atlanta Symphony Orchestra, and many others. In Europe and Asia, he has appeared with the Royal Philharmonic Orchestra, London Symphony Orchestra, BBC Philharmonic, Symphonieorchester des Bayerischen Rundfunks, Dresden Philharmonic, Helsinki Philharmonic, Orquesta Sinfónica de RTVE Madrid, NHK Symphony, National Symphony Orchestra of Taiwan, and more. Francis is passionate about music education. He conducted the National Youth Orchestra of Canada’s tour of Spain this summer and will return to lead the ensemble in summer 2020. He frequently conducts with the New World Symphony and National Youth Orchestra of Scotland and regularly works with young musicians in Florida as part of the Florida Orchestra’s community engagement activities. Francis’s discography includes the Rachmaninoff piano concertos with Valentina Lisitsa and the London

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Symphony Orchestra, Wolfgang Rihm’s Lichtes Spiel with Anne-Sophie Mutter and the New York Philharmonic, and the Ravel and Gershwin piano concertos with Ian Parker. Formerly a member of the bass section of the London Symphony Orchestra, Francis came to prominence as a conductor when he stepped in for Valery Gergiev with the orchestra in 2007. T hese performances mark Michael

Francis’s DSO debut

CHRISTINA AND MICHELLE NAUGHTON

win pianists Christina and Michelle Naughton, hailed by The Philadelphia Inquirer as “paired to perfection,” have captivated audiences worldwide with their stellar technique and musical communication. The Naughtons perform regularly with top symphony orchestras and in recital all around the globe. They made their Lincoln Center debut in May 2018 and have given acclaimed performances at the Gilmore Festival, Peggy Rockefeller Concerts, Portland Piano International, Virginia Arts Festival, and many others. The Naughtons first rose to prominence in 2009 with their recital debut at the Kennedy Center and their orchestral debut with The Philadelphia Orchestra. They subsequently launched their careers in Europe and Asia at Munich’s Herkulesaal and with the Hong Kong Philharmonic. The Naughtons’ debut record on the Warner Classics label – titled Visions – was released in February 2016. The album features music by Messiaen, FALL 2019

Bach, and John Adams, and was selected “Editor’s Choice” by Gramophone magazine. Additionally, The Washington Post praised the Naughtons as one of the “greatest piano duos of our time” in their review. Their latest project, and their second on Warner Classics, is American Postcard, released this past spring. The album demonstrates the sisters’ passion for American repertoire and includes music by John Adams, Aaron Copland, Conlon Nancarrow, and Paul Schoenfield; one highlight is Adams’s Roll Over Beethoven, which was written for the Naughtons and premiered in 2016. Born in Princeton, NJ to parents of European and Chinese descent, both sisters are graduates of The Juilliard School and the Curtis Institute of Music, where they were each awarded the Festorazzi Prize. They are Steinway Artists and currently reside in New York City. M ichelle and Christina Naughton

have previously appeared with the DSO once, during the February 2018 French Festival, performing Poulenc’s Concerto for Two Pianos and Saint-Saëns’s Carnival of the Animals (cond. Leonard Slatkin)

DAVID FUNG

ianist David Fung appears regularly with the world’s premier ensembles, including The Cleveland Orchestra, Israel Philharmonic Orchestra, Los Angeles Chamber Orchestra, San Francisco Symphony, National Taiwan Symphony Orchestra, Saint Paul Chamber Orchestra, and Sydney Symphony Orchestra.

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Fung’s acclaimed 2016 debut with The Cleveland Orchestra at the Blossom Musical Festival was described as “everything you could wish for” by Cleveland Classical and “agile and alert” by The Plain Dealer. The following week he made a splash in China performing Rachmaninoff’s Rhapsody on a Theme of Paganini at Beijing National Stadium during the Olympic Summer Festival. In the past year, Fung has performed at the Ravinia Festival and on Lincoln Center’s Great Performers series; he also made debuts with the Brussels Piano Festival and Washington Performing Arts at the Kennedy Center. He returns to Carnegie Hall this November with the Brentano Quartet. As a recitalist and chamber musician, Fung is a frequent guest artist at prestigious festivals and venues worldwide. Festival highlights include performances at the Aspen Music Festival, Blossom Music Festival, Caramoor, Edinburgh International Festival, Hong Kong Arts Festival, and Tippet Rise. Fung garnered international attention as a winner in two top international piano competitions: the Queen Elisabeth International Music Competition in Brussels and the Arthur Rubinstein Piano International Masters Competition in Tel Aviv. Fung is the first piano graduate of the Colburn Conservatory in Los Angeles. T hese performances mark David

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Fung’s DSO debut

DSO PERFORMANCE MAGAZINE 27

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

JEFF TYZIK

TERENCE BLANCHARD

Principal Pops Conductor

NEEME JÄRVI Music Director Emeritus

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

TITLE SPONSOR:

QUEENS OF SOUL a Schirmer Theatrical/Greenberg Artists co-production Arrangements by Jeff Tyzik Friday, October 11, 2019 at 10:45 a.m. and 8 p.m. Saturday, October 12, 2019 at 8 p.m. Sunday, October 13, 2019 at 3 p.m. at Orchestra Hall JEFF TYZIK, conductor SHAYNA STEELE, vocals KELLY LEVESQUE, vocals BRIE CASSIL, vocals JACOB NAVARRO, drums PROUD MARY, by John Cameron Fogerty As Recorded by Tina Turner AT LAST, by Mack Gordon and Harry Warren As Recorded by Etta James NEW ATTITUDE, by Jonathan Gilutin, Bunny Hull, Sharon Robinson As Recorded by Patti LaBelle MIDNIGHT TRAIN TO GEORGIA, by James Weatherly As Recorded by Aretha Franklin DON’T LEAVE ME THIS WAY, by Kenneth Gamble, Leon Huff, and Cary Gilbert As Recorded by Thelma Houston ROLLING IN THE DEEP, by Adele Laurie Blue Adkins and Paul Richard Epworth As Recorded by Adele

Presented by

Friday morning and Sunday afternoon’s recognition of America’s Veterans and Active Military is supported by

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FALL 2019

FALLIN’, by Alicia Augello-Cook As Recorded by Alicia Keys GIRL ON FIRE, by Alicia Augello-Cook, Jeffrey Bhasker, Onika Tanya Maraj, Salaam Remi, and William Squier As Recorded by Alicia Keys I HEARD IT THROUGH THE GRAPEVINE, by Barrett Strong and Norman Whitfield As Recorded by Tina Turner - Intermission WHAT’S LOVE GOT TO DO WITH IT, by Terry Britten and Graham Lyle As Recorded by Tina Turner I WANNA DANCE WITH SOMEBODY, by George Merrill and Shannon Rubicam As Recorded by Whitney Houston WILL YOU STILL LOVE ME TOMORROW, by Carole King and Gerald Goffin As Recorded by Amy Winehouse YOU KNOW I’M NO GOOD, by Amy Winhouse As Recorded by Amy Winehouse HELLO, by Adele Laurie Blue Adkins and Gregory Allen Kurstin As Recorded by Adele RESPECT, by Otis Redding As Recorded by Aretha Franklin NEVER LOVED A MAN THE WAY I LOVED YOU, by Ronny Shannon As Recorded by Aretha Franklin FREEWAY OF LOVE, by Narada Michael Walden and Jeffrey Cohen As Recorded by Aretha Franklin YOU MAKE ME FEEL LIKE A NATURAL WOMAN, by Carole King, Gerald Goffin and Gerald Wexler As Recorded by Carole King

ALL ARRANGEMENTS LICENSED BY SCHIRMER THEATRICAL, LLC SCHIRMER THEATRICAL

Concert, Film & Stage GREENBERG ARTISTS

Creative Team Robert Thompson, Producer Jeff Tyzik, Producer & Arranger Jami Greenberg, Producer & Booking Agent Alyssa Foster, Producer Mary Helen Gustafson, Assistant Producer dso.org

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Profiles For Jeff Tyzik’s biography, see pg. 7

SHAYNA STEELE

chooled in jazz by her godfather and gospel by her choir director (the Grammy-nominated Michael McElroy), Shayna Steele’s first musical stint was an appearance on Ed McMahon’s Star Search when she was 15 years old. Since then, she’s collaborated with countless artists – George Clinton, Bette Midler, John Legend, Snarky Puppy, Queen Latifah, Rihanna, and many more – and released her own music, beginning with I’ll Be Anything, a collaboration with longtime friend David Cook. Her latest album is Watch Me Fly, released this spring on Membran. With rave reviews from every corner of the world, she’s packed her schedule: touring with her band, appearing on TV (from late night shows to the Grammy Awards), performing on Broadway, and giving private lessons to the next generation of singers. Learn more at shaynasteele.com.  MOST RECENT APPEARANCE

WITH THE DSO: October 2018, performing on the PNC Pops Series program Dancing in the Street (cond. Jeff Tyzik)  FIRST APPEARANCE WITH THE

DSO: April 2018, performing on the PNC Pops Series program Women Rock (cond. Jeff Tyzik)

KELLY LEVESQUE

elly Levesque is a New York-based singer-songwriter who has performed as a soloist at prestigious venues around the world, including

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Royal Albert Hall, the Sydney Opera House, the Kennedy Center, and more. She is also an intrepid collaborator, sharing the stage with the likes of Sting, Andrea Bocelli, Smokey Robinson, and Patti LaBelle. Levesque has been fortunate to perform for international royalty, four United States presidents, and Pope Benedict XVI. Levesque has performed on two recordings that hit the Top 5 of the Billboard Classical Crossover Albums chart. Her song “Never Forever” was released with the support of the Miss America Organization and Safe Horizon to raise awareness and money for domestic violence victims. She wrote “I Won’t Let You Down” for the KNOWAutism Foundation to benefit children and families who are affected by autism. Learn more at kellylevesque.com.  These performances mark Kelly

Levesque’s DSO debut

BRIE CASSIL

rie Cassil is a New York-based singer, actress, and composer. Her theater credits include productions like Beauty and the Beast, Urinetown, Rent, The Marvelous Wonderettes, and the new rock musical Chix. She has also performed on the opera stage, fronted the rock band Rebel, and led musical theater workshops overseas. Learn more at briecassil.com. T hese performances mark Brie

Cassil’s DSO debut FALL 2019

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

JEFF TYZIK

Principal Pops Conductor

TERENCE BLANCHARD

NEEME JÄRVI Music Director Emeritus

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

CLASSICAL SERIES MAHLER’S SYMPHONY NO. 4 Thursday, October 17, 2019 at 7:30 p.m. Friday, October 18, 2019 at 8 p.m. Saturday, October 19, 2019 at 8 p.m. at Orchestra Hall JADER BIGNAMINI, conductor YOONSHIN SONG, violin JANAI BRUGGER, soprano

Mikhail Glinka Overture to Russlan and LudmillaH

(1804 - 1857)

Max Bruch Violin Concerto No. 1 in G Minor, Op. 26H

(1838 - 1920) I. Prelude: Allegro moderato II. Adagio III. Finale: Allegro energico Yoonshin Song, violin

Intermission Gustav Mahler Symphony No. 4 in G Major

(1860 - 1911) I. Bedächtig, nicht eilen II. In gemächlicher Bewegung, ohne Hast III. Ruhevoll (Poco adagio) IV. Sehr behaglich Janai Brugger, soprano H Performed during Orchestra Hall’s first season in 1919-1920 This Classical Series performance is generously sponsored by

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

Thursday’s recognition of America’s Veterans and Active Military is supported by

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Program Notes P R O G R A M AT- A - G L A N C E SOUNDS OF HOME Russlan and Ludmilla tells the story of three suitors who travel far from home to rescue a kidnapped princess. In his opera of the same name, Mikhail Glinka uses Russian and Finnish folk melodies to identify the travelers and their place of origin; these are juxtaposed against sounds from Persia that represent the exotic places the suitors visit.

While Max Bruch was German, the final movement of his Violin Concerto No. 1 contains some distinct Hungarian themes, which were likely imparted by the influence of Hungarian violinist Joseph Joachim. Bruch wrote the work for Joachim, who seems to have given the composer suggestions during the writing process.

Overture to Russlan and Ludmilla Composed 1837-1842 | Premiered November 1842

MIKHAIL GLINKA B. June 1, 1804, Novospasskoye, Russia D. February 15, 1857, Berlin, Germany

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. (Approx. 5 minutes)

ikhail Glinka is best known for his two great operas. His first, A Life for the Tsar, debuted in 1836 and tells the story of a peasant who sacrifices his life to protect the Tsar from Polish kidnappers. Glinka was then encouraged by the director of the Imperial Theater in St. Petersburg to base his next opera on Alexander Pushkin’s epic poem Russlan and Ludmilla. Glinka hoped to work with Pushkin himself on the libretto, but Pushkin was killed in a duel in 1837. Glinka worked with a series of librettists and even contributed to the libretto him-

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Mahler’s Fourth Symphony is light on the tropes that made the composer famous. It’s not nearly as brassy, loud, or melodramatic as the Fifth or the Ninth, for example, because Mahler based it on lighthearted German folk poetry. Luckily, Mahler’s musical genius doesn’t retreat along with his usual penchant for the dark and heavy.

self before completing the work in 1842. The opera is a musicological travelogue, with themes based on Russian, Finnish, Tartar, and Persian music, all brilliantly orchestrated. Folk songs represent Russlan’s Russia while whole-tone harmonies depict the magical world of the sorcerer Chernomor. The overture consists of two main themes, the first driving and rhythmic, the second more lyrical and reminiscent of courtly dances. Also of note are the virtuosic violin passages and rare solos for the timpani player. The DSO most recently performed Glinka’s Overture to Russlan and Ludmilla on the William Davidson Neighborhood Concert Series in January 2019, conducted by Ken-David Masur. The DSO first performed the piece in December 1918, though the conductor is unknown.

Violin Concerto No. 1 in G Minor, Op. 26 Composed 1882-86 | Premiered April 1886

MAX BRUCH B. January 6, 1838, Cologne, Germany D. October 2, 1920, Berlin, Germany FALL 2019

Scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, timpani, and strings. (Approx. 23 minutes)

ax Bruch was a highly talented German composer who bears the great misfortune of being compared to his contemporaries Johannes Brahms and Richard Strauss. At his core he is a conservative composer who rejected the tenets of the Wagner-Liszt New German School in favor of more traditional styles like Mendelssohn’s and Schumann’s. By the time Bruch died in the early 20th century his music was considered outdated, notwithstanding its fine craftsmanship and appealing melody. Bruch composed three violin concertos, and the present No. 1 became his least favorite due to its immense popularity. He spent four years on the score and many more groaning at the countless young violinists auditioning with the piece, all the while arguing that his second and third concertos are just as good if not better. It’s not a bad problem to have, and the present concerto is certainly a masterpiece by any measure. The seemingly spontaneous flow of its melody bursts out from the onset; the first movement alternates chorale-like phrases in the orchestra with short solo violin cadanzas before leading into the energetic main theme and decorative second theme. The second movement, an unbroken string of gorgeous melody, begins without a break. Bruch may have been a traditionalist, but the middle movement’s three themes suggest the styles of Mahler and Strauss a full 25 years early. The third and final movement has a bit of Hungarian flair, possibly a product of famed Hungarian dso.org

violinist Joseph Joachim’s input in Bruch’s writing process. The DSO most recently performed Bruch’s Violin Concerto No. 1 in November 2015, conducted by Andrew Grams and featuring violinist Simone Porter. The DSO first performed the piece in March 1917, conducted by Weston Gales and featuring concertmaster William Grafing King.

Symphony No. 4 in G Major Composed 1892-1900 | Premiered November 1901

GUSTAV MAHLER B. July 7, 1860, Kaliště, Bohemia (now Czech Republic) D. May 18, 1911, Vienna, Austria

Scored for solo soprano, 4 flutes (2 doubling on piccolo), 3 oboes (1 doubling on English horn), 3 clarinets (1 doubling on E-flat clarinet, 1 doubling on bass clarinet), 3 bassoons (1 doubling on contrabassoon), 4 horns, 3 trumpets, timpani, percussion, harp, and strings. (Approx. 55 minutes)

ustav Mahler began work on his fourth symphony when he was in his early thirties and obsessed with the folk traditions of Germany, especially those outlined in a poetry anthology titled Des Knaben Wunderhorn (The Youth’s Magic Horn). The themes of innocence and child-like simplicity found in these poems form the base of Mahler’s Symphony No. 4. In 1892 Mahler set music to one of the Wunderhorn poems, “Der Himmel hängt voll Geigen” (“Heaven is chock full of violins”), which he named Wir geniessen die himmlischen Freuden (We Revel in Heavenly Pleasures). He intended to include the music at the end of his

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DSO PERFORMANCE MAGAZINE 33

Symphony No. 3, but it didn’t quite fit; instead, it became the finale of No. 4. Mahler worked backwards from there, writing three movements to prepare for and illuminate the closing vision of the finale, which he described as “what the child tells me.” The work opens with the distinctive sound of sleigh bells, which reappear at important structural points throughout the first movement. A number of melodic ideas comprise the main theme group before the cellos introduce a sweet Viennese tune that serves as the second theme. A large climax – one of the few present in the symphony – caps off the development, which abruptly stops before the music recapitulates in a sunny mood. The second movement has an eerie mood, reminiscent of and possibly inspired by Liszt, Saint-Saëns, or Berlioz. The serene third movement changes the aura once more and develops as a set of variations.

The final movement introduces the soprano soloist and is based on one of the simplest musical forms: the strophic song, in which each verse is sung to the same refrain. The text – “what the child tells us,” remember – describes an idealized medieval peasant life, and the music reprises the sleigh bells from the first movement. Mahler ends the piece with a harmonic trick that shifts the music from G Major to the airy E Major, which gives special meaning to the closing text: “There is just no music on earth that can compare to ours.” – Dr. Richard E. Rodda The DSO most recently performed Mahler’s Symphony No. 4 in November 2013, conducted by Music Director Laureate Leonard Slatkin and featuring soprano Ilana Davidson. The DSO first performed the piece in March 1925, conducted by Ossip Gabrilowitsch and featuring soprano Helen Hedges.

Profiles JADER BIGNAMINI

ader Bignamini currently serves as resident conductor of Orchestra Sinfonica La Verdi in Milan, where he previously served as associate conductor and assistant conductor, and where he originally performed as a clarinetist. On the concert stage, Bignamini has appeared as a guest conductor with several prominent orchestras worldwide, including the Orchestra Filarmonica del Teatro Comunale di Bologna and the Slovenian Philharmonic. He is well-known for his work on the opera stage; he made his North American opera debut in 2015 conducting Rigoletto with Santa Fe

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Opera and his Metropolitan Opera debut in 2017 conducting Madama Butterfly. Overseas, he has appeared at La Scala, Rome’s Teatro dell’Opera, Teatro Comunale di Bologna, Teatro Filarmonico di Verona, Oper Frankfurt, Ópera de Tenerife, Theatro Municipal de São Paulo, Oviedo’s Teatro Filarmónica, La Fenice, the Verdi Festival, and more. He recently engaged in an extensive international tour with soprano Anna Netrebko and tenor Yusif Eyvazov. In June 2018 Bignamini stepped in on short notice for Music Director Laureate Leonard Slatkin to lead a concert version of Turandot with the DSO. Bignamini was born in Crema, Italy and studied at the Piacenza Music Conservatory. FALL 2019

F IRST APPEARANCE (AS A SOLO-

 Jader Bignamini has previously

IST) WITH THE DSO: May 2013, performing Brahms’s Violin Concerto (cond. Leonard Slatkin)

appeared with the DSO once, conducting a concert version of Puccini’s Turandot in June 2018

YOONSHIN SONG

JANAI BRUGGER

iolinist Yoonshin Song was born in South Korea, where she began her musical studies at age 5. Making her solo debut with the Seoul Philharmonic at age 11, she has since built a successful performing career throughout Korea, the United States, and Europe. Song has earned many prestigious prizes throughout her career. Highlights include top prize awards in the Lipizer International Violin Competition (Italy), Lipinski & Wieniawski International Violin Competition (Poland), and Henry Marteau International Violin Competition (Germany), and first prize at the Stradivarius International Competition in the United States. In her native South Korea, Song has won virtually all the major national competitions. As a soloist, she has performed with many orchestras around the world – including the DSO, the Houston Symphony Orchestra, the Utah Symphony Orchestra, New Mexico Philharmonic Orchestra, Bayreuth Festival Orchestra, the Paul Constantinescu Philharmonic Orchestra, Seoul Philharmonic Orchestra, and KBS Philharmonic Orchestra. Song currently plays on a 1700 Vincenzo Rugeri violin on loan to her from a generous sponsor in Michigan.

anai Brugger is an American soprano who has performed works of the concert and opera repertoires with prestigious ensembles worldwide. She enjoys a close relationship with Los Angeles Opera and the Los Angeles Philharmonic, with whom she has performed La Clemenza di Tito, La Bohème, Aida, Le Nozze di Figaro, and many others. Other highlights include Turandot and Porgy and Bess with the Metropolitan Opera, Die Zauberflöte with Royal Opera House Covent Garden, Roméo et Juliette and Don Pasquale at Palm Beach Opera, Carmen with Washington National Opera, Idomeneo with Lyric Opera of Chicago, and appearances at Ravinia and the Grant Park Festival. Brugger performed Mahler’s Symphony No. 4 with The Philadelphia Orchestra and Yannick Nézet-Séguin at Saratoga Performing Arts Center in August 2018. Brugger participated in the Merola Opera Program at San Francisco Opera and was a young artist at Los Angeles Opera for two seasons; she later appeared on the Metropolitan Opera’s Rising Stars concert series. Brugger was born in Chicago and studied at DePaul University and the University of Michigan.  These performances mark Janai

 MOST RECENT APPEARANCE (AS A

Brugger’s DSO debut

SOLOIST) WITH THE DSO: March 2019, performing Mozart’s Violin Concerto No. 5 (cond. Rafael Payare) dso.org

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Gustav Mahler: Symphony No. 4

(IV. Sehr behaglich) Das Himmlische Leben (The Heavenly Life) From Des Knaben Wunderhorn (The Youth’s Magic Horn) Wir genießen die himmlischen Freuden, D’rum tun wir das Irdische meiden. Kein weltlich’ Getümmel Hört man nicht im Himmel! Lebt alles in sanftester Ruh’. Wir führen ein englisches Leben, Sind dennoch ganz lustig daneben; Wir tanzen und springen, Wir hüpfen und singen, Sankt Peter im Himmel sieht zu.

We enjoy heavenly pleasures and therefore avoid the earthly stuff. No worldly tumult is to be heard in heaven. All live in greatest peace. We lead angelic lives, yet have a merry time of it besides. We dance and we spring, We skip and we sing. Saint Peter in heaven looks on.

Johannes das Lämmlein auslasset, Der Metzger Herodes d’rauf passet. Wir führen ein geduldig’s, Unschuldig’s, geduldig’s, Ein liebliches Lämmlein zu Tod. Sankt Lucas den Ochsen tät schlachten Ohn’ einig’s Bedenken und Achten. Der Wein kost’ kein Heller Im himmlischen Keller; Die Englein, die backen das Brot.

John lets the lambkin out, and Herod the Butcher lies in wait for it. We lead a patient, an innocent, patient, dear little lamb to its death. Saint Luke slaughters the ox without any thought or concern. Wine doesn’t cost a penny in the heavenly cellars; The angels bake the bread.

Gut’ Kräuter von allerhand Arten, Die wachsen im himmlischen Garten, Gut’ Spargel, Fisolen Und was wir nur wollen. Ganze Schüsseln voll sind uns bereit! Gut’ Äpfel, gut’ Birn’ und gut’ Trauben; Die Gärtner, die alles erlauben. Willst Rehbock, willst Hasen, Auf offener Straßen Sie laufen herbei! Sollt’ ein Fasttag etwa kommen, Alle Fische gleich mit Freuden angeschwommen! Dort läuft schon Sankt Peter Mit Netz und mit Köder Zum himmlischen Weiher hinein. Sankt Martha die Köchin muß sein.

Good greens of every sort grow in the heavenly vegetable patch, good asparagus, string beans, and whatever we want. Whole dishfuls are set for us! Good apples, good pears and good grapes, and gardeners who allow everything! If you want roebuck or hare, on the public streets they come running right up. Should a fast day come along, all the fishes at once come swimming with joy. There goes Saint Peter running with his net and his bait to the heavenly pond. Saint Martha must be the cook.

Kein’ Musik ist ja nicht auf Erden, Die unsrer verglichen kann werden. Elftausend Jungfrauen Zu tanzen sich trauen. Sankt Ursula selbst dazu lacht. Kein’ Musik ist ja nicht auf Erden, Die unsrer verglichen kann werden. Cäcilia mit ihren Verwandten Sind treffliche Hofmusikanten! Die englischen Stimmen Ermuntern die Sinnen, Daß alles für Freuden erwacht.

There is just no music on earth that can compare to ours. Even the eleven thousand virgins venture to dance, and Saint Ursula herself has to laugh. There is just no music on earth that can compare to ours. Cecilia and all her relations make excellent court musicians. The angelic voices gladden our senses, so that all awaken for joy.

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FALL 2019

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THE ANNUAL FUND

Gifts received between September 1, 2018 and August 31, 2019 The DSO is a community-supported orchestra, meaning you can play your part through frequent ticket purchases, event support, 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

David & Valerie McCammon 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 Mr. & Mrs. Richard A. Brodie Lois & Avern Cohn Marvin & Betty Danto Family Foundation Mary Ann & Robert Gorlin Mr. & Mrs. James Grosfeld

Mrs. Bonnie Larson Mr. & Mrs. Matthew Lester Mr. & Mrs. Eugene A. Miller The Clyde & Helen Wu Family Paul & Terese Zlotoff

Järvi Society — Giving of $25,000 and more Ms. Sharon Backstrom W. Harold & Chacona W. Baugh Mrs. Cecilia Benner Madeline & Sidney Forbes Mr. & Mrs. Edsel B. Ford II Mrs. Martha Ford Barbara Frankel & Ronald Michalak Herman & Sharon Frankel Mr. & Mrs. Aaron Frankel Mr. & Mrs. Ralph J. Gerson Ronald M. & Carol◊ Horwitz Richard H. & Carola Huttenlocher 38

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Bud & Nancy Liebler Maurcine & Lloyd Reuss Nancy Schlichting & Pamela Theisen 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

FALL 2019

Gabrilowitsch Society — Giving of $10,000 and more Mr. & Mrs. Robert A. Allesee Mr. & Mrs. Norman Ankers Pamela Applebaum Drs. John & Janice Bernick John & Marlene Boll Gwen & Richard Bowlby Mr. & Mrs. Stephen Brownell Michael & Geraldine Buckles Phillip & Carol Campbell Margie Dunn & Mark Davidoff Eugene & Elaine C. Driker Mr. Sanford Hansell & Dr. Raina Ernstoff Mr. Peter Falzon Jim & Margo Farber Barbara & Alfred J. Fisher 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 Morgan & Danny 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 Ms. Deborah Miesel Mr. & Mrs. Robert S. Miller Dr. Robert & Dr. Mary Mobley Cyril Moscow Xavier & Maeva Mosquet Geoffrey S. Nathan & Margaret E. Winters Mr. & Mrs. Albert T. Nelson, Jr.

Mrs. Denise Abrash Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Mrs. Jean Azar Dr. David Balle Mr. & Mrs. David Barnes Rud◊ & Mary Ellen Boucher Claire P. & Robert N. Brown Mr. & Mrs. Marco Bruzzano Mr. & Mrs. Francois Castaing Mr. & Mrs. Andrew Christians 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. Lawrence Ellenbogen Marianne T. Endicott Mr. & Mrs. John M. Erb Mrs. Janet M. Garrett Goodman Family Charitable Trust Mr.◊ & Mrs. James A. Green 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 Talbert-Hill Mr. Donald & Marcia Hiruo Mr. & Mrs. Peter Hollinshead Mr. & Mrs. A. E. Igleheart Ms. Carole Ilitch Mr. & Mrs. Richard J. Jessup Mr. George G. Johnson Judy & David Karp Michael E. Smerza & Nancy Keppelman Samantha Svoboda & Bill Kishler Barbara & Michael Kratchman 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 Dr. & Mrs. David Mendelson John & Marcia Miller Eugene & Sheila Mondry Foundation

Jim & Mary Beth Nicholson Patricia & Henry Nickol Mr. & Mrs. Stanley Nycek Anne Parsons* & Donald Dietz Kathryn & Roger Penske 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.◊ & Mrs. Jonathan T. Walton Mr. Gary L. Wasserman & Mr. Charlie Kashner S. Evan & Gwen Weiner 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 Mr. & Mrs. Daniel E. Moore Joy & Allan Nachman David Robert & Sylvia Jean Nelson Mr. & Mrs. Eric Nemeth Mr. & Mrs. Arthur T. O’Reilly Debra & Richard Partrich Ms. Lisa A. Payne Barbara Gage Rex Dr. & Mrs. John Roberts Mr. & Mrs. Robert B. Rosowski Mr. R. Desmond Rowan Mr. David Salisbury & Mrs. Terese Ireland Salisbury Marjorie & Saul Saulson Mr. & Mrs. Kingsley G. Sears Mrs. Sharon Shumaker Mrs. Kathleen Straus & Mr. Walter Shapero Alice & Paul Tomboulian Mr. & Mrs. Thomas Trudeau Ms. Marie Vanerian Peter & Carol Walters J Ernest & Almena Gray Wilde Fund Dr. & Mrs. Ned Winkelman Ms. June Wu Milton Y. Zussman And one who wishes to remain anonymous ◊

dso.org

*Current DSO Musician or Staff

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Deceased

DSO PERFORMANCE MAGAZINE 39

Giving of $2,500 and more Howard Abrams & Nina Dodge Abrams Mrs. Jennifer Adderley 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 Mr. & Mrs. John Axe Mr. & Mrs. Wayne J. Babbish Dr. & Dr. Brian Bachynski 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 Ms. Therese Bellaimey 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 Mr. Paul & Mrs. Lisa Brandt Mr. Anthony F. Brinkman Mr. & Mrs. Mark R. Buchanan Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Dr. & Mrs. Roger C. Byrd Mr. & Mrs. Brian C. Campbell Mrs. Carolyn Carr Dr. & Mrs. Thomas E. Carson Ronald & Lynda Charfoos Mr. Fred J. Chynchuk Mr. & Mrs. James Ciroli Mr. Don Clapham Mr. & Mrs. Robert W. Clark Nina & Richard Cohan Jack, Evelyn & Richard Cole Family Foundation Ms. Elizabeth Correa Patricia & William Cosgrove, Sr. Mrs. Barbara Cunningham Dr. Edward & Mrs. Jamie Dabrowski Suzanne Dalton & Clyde Foles 40

Maureen & Jerry D’Avanzo 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 Ms. Laurie Ellis & Mr. James Murphy Donald & Marjory Epstein Mr. Drew Esslinger & Mr. Chris Syzmanski Dave & Sandy Eyl Ellie Farber & Mitch Barnett Mr. & Mrs. Oscar Feldman Mr. & Mrs. William Fetterman Mr. & Mrs.◊ Anthony C. Fielek Hon. Sharon Tevis Finch Ron Fischer ◊ and Kyoko Kashiwagi Mark & Loree Frank Kit & Dan Frohardt-Lane Mr. George Georges Stephanie Germack Keith & Eileen Gifford Steven Goldberg & Melissa Kahn Dr. & Mrs. Theodore Golden Paul & Barbara Goodman Dr. William & Mrs. Antoinette Govier Ms. Jacqueline Graham Mr. Luke Ponder & Dr. Darla Granger Dr. & Mrs. Joe L. Greene Tina Harmon Mrs. Betty J. Harrell Cheryl A. Harvey 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 Carolyn & Howard Iwrey Mr. & Mrs. Ira J. Jaffe Mr. Arthur Johns Mr. John S. Johns Mr. & Mrs. Paul Johnson Carol & Rick Johnston Paul & Marietta Joliat

DSO PERFORMANCE MAGAZINE

◊

Deceased

Mr. & Mrs. John Jullens Grace Kachaturof Diane & John Kaplan Betsy & Joel Kellman June K. Kendall Mrs. Frances King Mr. James Kirby Thomas & Linda Klein Tom & Beverly Klimko Mr. & Mrs. Ludvik F. Koci Mr. & Mrs. Robert Koffron Ms. Margot Kohler & Michael Froehlich Mr. David Kolodziej Ms. Susan Konop Mr. James Kors & Ms. Victoria King* George M. Krappmann* & Lynda Burbary-Krappmann Richard & Sally Krugel Dr. Arnold Kummerow Mr. & Mrs. Robert LaBelle Mary Clippert LaMont Drs. Lisa & Scott Langenburg Ms. Sandra Lapadot Ms. Anne T. Larin Dr. Lawrence O. Larson The Dolores & Paul Lavins Foundation Allan S. Leonard Max Lepler & Rex L. Dotson Mr. & Mrs. Ralph LeRoy, Jr. Mr. Charles E. Letts Mr. & Mrs. Robert K. Leverenz 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 Ms. Florine Mark Mr. & Mrs. Thomas Mark Maurice Marshall Dr. & Mrs. Richard Martella Dr. & Mrs. Peter M. McCann, M.D. Mr. Edward McClew Mr. Anthony R. McCree Mr. & Mrs. Alonzo McDonald Mr. John McFadden Ms. Mary McGough Ms. Camille McLeod Brian & Lisa Meer Dr. & Mrs. Donald A. Meier Olga Sutaruk Meyer FALL 2019

Bruce & Mary Miller Mr. & Mrs. Randall Miller J.J. & Liz Modell Dr. Susan & Mr. Stephen* Molina Lawrence Morawski Ms. A. Anne Moroun Mr. Frederick Morsches & Mr. Kareem George Ms. I. Surayyah R. Muwwakkil Mariam C. Noland & James A. Kelly Katherine & Bruce Nyberg Ellen & Larry Oshkaloff Mrs. Margot Parker Noel & Patricia Peterson Mr. & Mrs. Philip E. Pfahlert Mr. Dave Phipps Ms. Janet Pounds William H. & Wendy W. Powers Charlene & Michael Prysak Mr. & Mrs. Nicolas I. Quintana Dr. & Mrs. Morton Raban Jill M.* & Michael J. Rafferty Drs. Stuart & Hilary Ratner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Mr. & Mrs. Dave Redfield Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Denise Reske Ms. Linda Rodney Seth & Laura Romine Michael & Susan Rontal Mr. James Rose

Mr.◊ & Mrs. Gerald F. Ross Mr. Ronald Ross & Ms. Alice Brody Jane & Curt Russell Mr. & Mrs. James P. Ryan Linda & Leonard Sahn Dr. & Mrs. Hershel Sandberg Ms. Martha A. Scharchburg & Mr. Bruce Beyer Dr. Sandy Koltonow & Dr. Mary Schlaff Shirley Anne & Alan Schlang David & Carol Schoch Catherine & Dennis B. Schultz Sandy & Alan Schwartz Ms. Sandra Seligman Nancy & Sam Shamie Shapero Foundation Mr. Konstantin Shirokinsky Dr. Les & Ellen Lesser Siegel Mr. Norman Silk & Mr. Dale Morgan William & Cherie Sirois Dr. Cathryn & Mr. Daniel Skedel Dr. Gregory Stephens Barb & Clint Stimpson Nancy C. Stocking Dr. & Mrs. Gerald Stollman Dr. & Mrs. Choichi Sugawa Mr. & Mrs. John Stroh III Ms. Laurie Szczesny David Szymborski & Marilyn Sicklesteel Dr. Neil Talon Joel & Shelley Tauber

Dr. & Mrs. Howard Terebelo Mr. & Mrs. Douglas J. Thompson Mr. Norman Thorpe Mr. & Mrs. James W. Throop Mr. & Mrs. John P. Tierney Dr. Barry Tigay Mr. and Mrs. Paul Tobias Barbara & Stuart Trager Mark & Janice Uhlig Amanda Van Dusen & Curtis Blessing Charles & Sally Van Dusen Ms. Charlotte Varzi Mrs. Eva Von Voss Dr. & Mrs. Ronald W. Wadle Captain Joseph F. Walsh, USN (Ret.) Mr. Michael A. Walch & Ms. Joyce Keller Mr. Patrick Webster Mr. Herman Weinreich Ms. Anne Wilczak Beverly & Barry Williams Dr. M. Roy & Mrs. Jacqueline Wilson Rissa & Sheldon Winkelman Mr. Jonathan Wolman & Mrs. Deborah Lamm Cathy Cromer Wood Ms. Andrea L. Wulf Lucia Zamorano, M.D., PLC Mr. & Mrs. Alan Zekelman Mr. Peter Zubrin And six who wish to remain anonymous

Giving of $1,500 and more Dr. & Mrs. Gary S. Assarian Mr. & Mrs. Stephen A. Bromberg Dr. & Mrs. Glenn B. Carpenter Dr.◊ & Mrs. Ivan Louis Cotman Ms. Beatrice D’Ambrosio Mrs. Kathryne Dahl Ms. Joyce Delamarter Gordon & Elaine Didier Mr. & Mrs. Walter E. Douglas Mr. Howard O. Emorey Mrs. Janice Erichsen Mr. & Mrs. Robert W. Gillette Mr. Joseph & Mrs. Lois Gilmore Mr. & Mrs. Saul Green Ms. Barbara Heiler Mr. & Mrs. Paul Hillegonds Ms. Nadine Jakobowski Dr. Jean Kegler Frederic◊ & Stephanie Keywell Ms. Ida King Dr. & Mrs. Edward L. Klarman Aileen & Harvey Kleiman Tom & Beverly Klimko

dso.org

Ms. Sylvia Kojima Miss Kathryn Korns Mr. & Mrs. Kosch Mr. & Mrs. William Kroger, Jr. Mr. Michael Kuhne Mr. Lawrence Larson Mr. & Mrs. Paul Lieberman Mr. William Lynch Ms. June G. Mackeil Mr. Robert L. Martin Mr. & Mrs. Joseph Mazzeo Ms. Rebecca McCabe Ms. Florence Morris Ms. Muriel Moskowitz Mr. & Mrs. Germano Mularoni Mrs. Ruth Nix 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

*Current DSO Musician or Staff

#IAMDSO

Mr. & Mrs. Hugh C. Ross Mr. & Mrs. George Roumell Nancy J. Salden Ms. Joyce E. Scafe 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 Mr. Mark Sims & Ms. Elaine Fieldman Shirley R. Stancato Mr. & Mrs. Charles Tholen David & Lila Tirsell Dennis & Jennifer Varian Mr. Barry Webster Mr. & Mrs. Lawrence Weisberg Ms. Janet Weir Mr. Richard D. Zimmerman And five who wish to remain anonymous ◊

Deceased

DSO PERFORMANCE MAGAZINE 41

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

THE McGREGOR FUND

Giving of $200,000 & more

primary pereferred logo

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

RALPH C. WILSON JR. FOUNDATION

secondary

Giving of $100,000 & more secondary - for use on dark backgrounds

THE PAUL M. ANGELL FAMILY FOUNDATION

2014 GM Design Corporate ID & Graphics

THE RICHARD C. DEVEREAUX FOUNDATION

HUDSON-WEBBER FOUNDATION

DSO PERFORMANCE MAGAZINE

FALL 2019

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

Giving of $20,000 & more American House Senior Living Communities Eugene & Marcia Applebaum Family Foundation Chemical Bank Clinton Family Fund DeRoy Testamentary Foundation Edibles Rex Flagstar Foundation Eleanor & Edsel Ford Fund

Henry Ford II Fund MGM Grand Detroit Myron P. Leven Foundation National Endowment for the Arts Sun Communities Inc. Virginia B. Toulmin Foundation Varnum LLP Wolverine Packing Company

Giving of $10,000 & more

Giving of $1,000 & more

Beaumont Health Butzel Long Creative Benefit Solutions, LLC Denso International America, Inc. Maxine & Stuart Frankel Foundation Honigman LLP Jaffe, Raitt, Heuer & Weiss KPMG LLP Oliver Dewey Marcks Foundation Laskaris-Jamett Advisors of Raymond James Macyâ&#x20AC;&#x2122;s Mandell and Madeleine Berman Foundation Mary Thompson Foundation Stone Foundation of Michigan

Canon Solutions America Coffee Express Roasting Company Frank & Gertrude Dunlap Foundation EY Clarence & Jack Himmel Fund James & Lynelle Holden Fund Japan Business Society of Detroit Foundation Josephine Kleiner Foundation Lakeside Opthamology Center Ludwig Foundation Fund Madison Electric Company Plante & Moran, PLLC PSLZ, LLP Meyer & Anna Prentis Family Foundation Redford Lock Security Solutions The Loraine & Melinese Reuter Foundation Save Our Symphony Louis & Nellie Sieg Foundation The TUKTAWA Foundation Samuel L. Westerman Foundation Wheeler Family Foundation, Inc. And one who wishes to remain anonymous

Giving of $5,000 & more The Aaron Copland Fund For Music, Inc. Amerisure Insurance Aptiv Foundation The Boston Consulting Group Benson & Edith Ford Fund Founders Brewing Co. Les Stanford Cadillac Marjorie & Maxwell Jospey Foundation Resendes Design Group, LLC Rocket Fiber Sigmund & Sophie Rohlik Foundation Schaerer Architextural Interiors Warner Norcross & Judd LLP

dso.org

#IAMDSO

DSO PERFORMANCE MAGAZINE 43

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

Linda Wasserman, Chair Mrs. Katana H. Abbott* Mr. Joseph Aviv Mr. Christopher A. Ballard* Ms. Jessica B. Blake, Esq. Ms. Rebecca J. Braun Mr. Timothy Compton Ms. Wendy Zimmer Cox* Mr. Robin D. Ferriby* 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. Jason Tinsley* Mr. William Vanover Mr. William Winkler Mrs. Wendy Zimmer Cox*

*Executive Committee Member

Share the music of the DSO with future generations INCLUDE THE DSO AS A BENEFICIARY IN YOUR WILL Remembering the DSO in your estate plans will support the sustainability and longevity of our Orchestra, so that tomorrow’s audience will continue to be inspired through unsurpassed musical experiences. If you value the role of the DSO – in your life and in our community – please consider making a gift through your will, trust, life insurance or other deferred gift. As a member, you will be invited to our annual 1887 Society High Tea Luncheon on Friday, June 12, 2020, recognized in Performance magazine, and receive a host of other benefits.

To learn more please call Alexander Kapordelis at 313.576.5198 or email akapordelis@dso.org

DSO PERFORMANCE MAGAZINE

FALL 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 Gary Ciampa Mr. Mark G. Bartnik & Ms. Sandra J. Collins Mary Beattie ◊ Stanley A. Beattie Mr. & Mrs. Mandell L. Berman◊ Mrs. Betty Blair Gwen & Richard Bowlby Mrs. Ellen Brownfain William & Julia Bugera Cynthia Cassell, Ph. D. Dr.◊ & Mrs. Victor J. Cervenak Eleanor A. Christie Ms. Mary Christner Robert & Lucinda Clement Lois & Avern Cohn Mrs. RoseAnn Comstock◊ Thomas W. Cook & Marie L. Masters Dorothy M. Craig Mr. & Mrs. John Cruikshank Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Ms. Leslie C. Devereaux Mr. John Diebel Mr. Roger Dye & Ms. Jeanne A. Bakale Mr. & Mrs. Robert G. Eidson Marianne T. Endicott Mrs. Rema Frankel◊ Patricia Finnegan Sharf Ms. Dorothy Fisher Mrs. Marjorie S. Fisher◊ Samuel & Laura Fogleman Mr. Emory Ford, Jr.◊ Dr. Saul & Mrs. Helen Forman Barbara Frankel & Ron Michalak Herman & Sharon Frankel Jane French Mark & Donna Frentrup Janet M. Garrett Dr. Byron P. & Marilyn Georgeson Jim & Nancy Gietzen Mr. Joseph & Mrs. Lois Gilmore Victor◊ & Gale Girolami Ruth & Al Glancy◊ David & Paulette Groen Mr. Harry G. Bowles ◊ Donna & Eugene Hartwig

dso.org

◊

Gerhardt A. Hein & Rebecca P. Hein Ms. Nancy B. Henk Joseph L. Hickey 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 Ms. Elizabeth Maysa 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

Deceased

#IAMDSO

Mrs. Bernard E. Pincus Ms. Christina Pitts Mrs. Robert Plummer Mr. & Mrs. P. T. Ponta Mrs. Mary Carol Prokop ◊ Ms. Linda Rankin & Mr. Daniel Graschuck Mr. & Mrs. Douglas J. Rasmussen Deborah J. Remer Mr. & Mrs. Lloyd E. Reuss Barbara Gage Rex Ms. Marianne Reye Lori-Ann Rickard Katherine D. Rines Bernard & Eleanor Robertson Ms. Barbara Robins Jack◊ & Aviva Robinson Mr.◊ & Mrs. Gerald F. Ross Mr. & Mrs. George Roumell Dr. Margaret Ryan Marjorie & Saul Saulson Mr. & Mrs. Donald & Janet Schenk Ms. Yvonne Schilla Mr. & Mrs. Fred Secrest◊ Ms. Marla K. Shelton Edna J. Shin Ms. June Siebert Dr. Melissa J. Smiley & Dr. Patricia A. Wren Ms. Marilyn Snodgrass ◊ Mr. & Mrs. Walter Stuecken Mr.◊ & Mrs. Alexander C. Suczek David Szymborski & Marilyn Sicklesteel Alice & Paul Tomboulian Mr. David Patria & Ms. Barbara Underwood Roger & Tina Valade Mrs. Richard C. Van Dusen Charles & Sally Van Dusen Mr. & Mrs. Melvin VanderBrug Mr.◊ & Mrs. George C. Vincent Christine & Keith C. Weber Mr. Herman Weinreich John◊ & Joanne Werner Mr. & Mrs. Arthur Wilhelm Mr. Robert E. Wilkins ◊ Mrs. Michel Williams Ms. Nancy S. Williams◊ Mr. Robert S. Williams & Ms. Treva Womble Ms. Barbara Wojtas Elizabeth B. Work Dr. & Mrs. Clyde Wu◊ Ms. Andrea L. Wulf Mrs. Judith G. Yaker Milton & Lois◊ Zussman Five who wish to remain anonymous DSO PERFORMANCE MAGAZINE 45

TRIBUTE GIFTS Gifts received April 1, 2019 to August 31, 2019 Tribute gifts to the Detroit Symphony Orchestra are made to honor accomplishments, celebrate occasions, and pay respect in memory or reflection. These gifts support current season projects, partnerships and performances such as DSO concerts, education programs, free community concerts and family programming. For information about making a tribute gift, please call 313.576.5114 or visit dso.org/donate.

In Honor

In Memory

In Honor of Richard L. Alonzo Ralph J. & Erica Gerson

In Memory of Carolyn Barnett-Goldstein Nancy Adler

In Honor of Professor Ella Atkins Adult Learning Institute In Honor of David Everson Jill Jordan

In Memory of Carol Diehr Daniel & Janet DeRyckere Elmer Diehr Susan Diehr

In Honor of Dr. Gloria Heppner Mary & Doug Allan

In Memory of Alfred R. Glancy III Mr. & Mrs. H.W. Klinger

In Honor of David LeDoux Jerry & Virginia LeDoux

In Memory of Honorable Damon Keith Cecile Keith Brown, Debra Keith, & Gilda Keith

In Honor of Sarah Lewis Dale & Jeannette Lewis

In Memory of Richard Keramedjian Randall Hawes & Kim Minasian Hawes

In Honor of Jim B. Nicholson DTE Energy Foundation In Honor of Alice R. Pryor George Pryor

In Memory of Richard P. Kughn Maryann Listman

In Honor of Marian Tanau Maureen & Stephen Baca M SY

In Memory of Joyce R. Leopold Henry Y. Leopold TRA

DETR

In Honor of Dr. Howard Terebelo Marcia Freedman

PHONY

In Honor of Dottie Taylor AMBASSADOR Mary Anne Corey MPHONY O R

ES TRA

DETR

AMBASSADOR

Thank You to all the Detroit Symphony Orchestraâ&#x20AC;&#x2122;s volunteer ushers and retail shop volunteers. To learn more about becoming an usher or joining the DSO Ambassador Corps, please visit dso.org/ambassadors. 46

DSO PERFORMANCE MAGAZINE

In Memory of James M. Newcomer Sandra Hampton Gordon Holmes Martha Y. Newcomer Paul Newcomer Mario Rede James & Carol Rillema In Memory of Barbara Robinson Audrey Bernstein Terry Brown Jim & Carol Dunlap Stefany L. Freeman Shirley Ginther Dr. & Mrs. Kenneth Levin Arthur & Marjorie Levine Daniel & Miriam Medow Jerome Moss Michele Rosenblum Paul & Renee Schreibman Robert Shattner Nancy Swanborg In Memory of Edward Schreiber John & Susan Fowler Collette Rosner & Carolyn Shreiber In Memory of Leonard W. Shebses Circle of Friends Group In Memory of Betty Weideman Drake Weideman In Memory of Illene Wenner Tena Bobrin Herbert Cohen Sharlan Douglas Eric Henrickson Cynthia Johnson Eric Johnston Vonnie Miller Susan Perlstein Denise & Gary Rosenthal Stagecrafters Roz Winer Gregory & Therese Wisnewski In Memory of Dr. Clyde & Helen Wu Atsushi & Barbara Yoshida In Memory of Mary Luz Zubrin Peter Zubrin

FALL 2019

Experience the exquisite artistry of the DSO in a uniquely intimate way. Each feast promises different musical, culinary, and architectural marvels to hear, taste, and behold, and you are invited!

UPCOMING MUSICAL FE ASTS Birmingham – $300 Sun., Dec. 1, 2019 Mr. Dana Locniskar & Ms. Christine Beck

Detroit – $250 Sat., May 2, 2020 Ana & Matthew Way and Lucy & Alex Kapordelis

Detroit Athletic Club – $150 Mon., Jan. 20, 2020 Elizabeth & Renato Jamett Dmitry Sinkovsky, guest conductor and soloist, will perform repertoire for two violins, joined by a DSO musician.

Lake Angeles – $250 Sun., Jun. 7, 2020 Story & Bill John West Bloomfield – $250 Tue., Jul. 14, 2020 Jeremy Zeltzer & Kevin Dennis

LEARN MORE AND MAKE YOUR RESERVATIONS TODAY AT:

dso.org/musicalfeasts

All proceeds from the Musical Feasts will benefit the DSO and its mission.

On behalf of Varnum, welcome to the

DSO’S CENTENNIAL SEASON AT ORCHESTRA HALL! Eric Nemeth, partner and member of DSO Board of Trustees

Legal Experience In Your Corner.®

www.varnumlaw.com

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 Concessions are available for purchase on the first floor of the William Davidson Atrium at most concerts, and light bites are available in the Paradise Lounge on the second floor. Some events feature pop-ups from local restaurants as well. Drinks can be purchased at bars throughout the William Davidson Atrium and inside the Paradise Lounge. Patrons are welcome to bring drinks to their

DSO PERFORMANCE MAGAZINE

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

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

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

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

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

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

The Herman and Sharon Frankel Donor Lounge

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

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. dso.org

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.

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.

#IAMDSO

DSO PERFORMANCE MAGAZINE 49

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

Ezra Gans Artistic Operations Assistant

Sarah Smarch Communications Specialist

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

Patrick Peterson Manager of Orchestra Personnel

COMMUNITY & LEARNING

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

ARTISTIC OPERATIONS ARTISTIC PLANNING Christopher Harrington Managing Director of Paradise Jazz Series/Managing Director & Curator of @ The Max Jessica Ruiz Director of Artistic Planning Megan Belansky Popular and Special Programs Coordinator Catherine Miller Artistic Coordinator Goode Wyche Cube Coordinator

LIVE FROM ORCHESTRA HALL Marc Geelhoed Director of Digital Initiatives

Claudia Restrepo Orchestra and Training Programs Librarian

ADVANCEMENT Jill Rafferty Senior Director of Advancement Alex Kapordelis Campaign Director Jenni Clark Fundraising Events Specialist Joey Edmonds Campaign Research Specialist Presley Feezell Campaign Stewardship Coordinator Stephanie Glazier Stewardship Coordinator Holly Gorecki Manager of Advancement Services Leslie Groves Major Gift Officer Chelsea Kotula Gift Officer, Institutional Giving Amanda Lindstrom Fulfillment Coordinator, Individual Giving Juanda Pack Advancements Benefits Concierge Susan Queen Gift Officer, Corporate Giving Amanda Tew Data and Research Specialist Matthew Way Advancement Relations and Strategic Initiatives Manager

COMMUNICATIONS ORCHESTRA OPERATIONS Kathryn Ginsburg Orchestra Manager Heather Hart Rochon Director of Orchestra Personnel Dennis Rottell Stage Manager 50

Matthew Carlson Director of Communications and Media Relations Ben Breuninger Public Relations Manager Hannah Engwall Public Relations Coordinator

DSO PERFORMANCE MAGAZINE

Caen Thomason-Redus Senior Director of Community & Learning Debora Kang Director of Education Kiersten Alcorn Community Engagement Coordinator Mickayla Chapman Training Ensembles Recruitment and Operations Coordinator Hunter Janness Education Coordinator Garrett Lefkowitz Training Programs Operations Coordinator Clare Valenti Manager of Community Engagement

FINANCE Jeremiah Hess Senior Director of Accounting & Finance Dawn Kronell Senior Accountant Sandra Mazza Senior Accountant Sara Wabrowetz Gift Processing Coordinator Michelle Wisler Payroll and Benefits Accountant

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

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

FALL 2019

AUDIENCE DEVELOPMENT Michael Frisco Director of Audience Development

SAFETY & SECURITY George Krappmann Director of Safety & Security

Teresa Alden Digital Marketing Manager

Greg Schimizzi Chief of Security

Annick Busch Patron Loyalty Coordinator

Norris Jackson Security Officer

Lori Cairo Front of House Manager

Edward John Assistant Chief of Security

Sharon Gardner Carr Assistant Manager of Tessitura and Ticketing Operations

Ronald Martin Security Officer

Rebecca Godwin Marketing Coordinator LaHeidra Marshall Audience Development Coordinator James Sabatella Group Sales Manager

CATERING AND RETAIL SERVICES Christina Williams Director of Catering and Retail Services Nate Richter Bar Manager Rita Sayegh Retail Manager

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

PATRON SALES & SERVICE Michelle Marshall Manager, Patron Sales & Service Connor Mehren Box Office Administrator Tommy Tatti Assistant Manager of Patron Sales & Service Chantel Woodward Lead Ticketing Specialist

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Johnnie Scott Security Officer

TECHNOLOGY & INFRASTRUCTURE

PERFORMANCE Volume XXVIII • Fall 2019

Jody Harper Senior Director of Technology & Infrastructure

EDITOR Ben Breuninger bbreuninger@dso.org 313.576.5196

FACILITY OPERATIONS

PUBLISHER Echo Publications, Inc. Tom Putters

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

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

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

Read Performance anytime, anywhere at dso.org/performance

INFORMATION TECHNOLOGY Michelle Koning Web Manager RaJon Taylor Application Administrator

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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.

DSO PERFORMANCE MAGAZINE 51

UPCOMING CONCERTS & EVENTS TICKETS & INFO

313 . 576 . 5111 dso.org KEY

* The DSO does not appear on this program

H Piece performed during DSO’s first season at Orchestra Hall, 1919-1920

CLASSICAL SERIES

BEETHOVEN SYMPHONY NO. 5: A CENTENNIAL CELEBRATION

Michael Francis, conductor Christina Naughton, Michelle Naughton, and David Fung, piano

Fri., Oct. 4 at 8 p.m. Sat., Oct. 5 at 8 p.m. Sun., Oct. 6 at 3 p.m. WEBER Overture to OberonH MOZART Concerto for Two PianosH BACH Concerto No. 2 for Three PianosH BEETHOVEN Symphony No. 5 H

PNC POPS SERIES

QUEENS OF SOUL

Jeff Tyzik, conductor Shayna Steele, vocalist Kelley Levesque, vocalist Brie Cassil, vocalist

Fri., Oct. 11 at 10:45 a.m. & 8 p.m. Sat., Oct. 12 at 8 p.m. Sun., Oct. 13 at 3 p.m. CLASSICAL SERIES

MAHLER SYMPHONY NO. 4 Jader Bignamini, conductor Yoonshin Song, violin Janai Brugger, soprano

Thu., Oct. 17 at 7:30 p.m. Fri., Oct. 18 at 8 p.m. Sat., Oct. 19 at 8 p.m. GLINKA Overture to Russlan and LudmillaH BRUCH Violin ConcertoH MAHLER Symphony No. 4 ORCHESTRA HALL CENTENNIAL

A CENTURY OF POPS

Leslie Dunner, conductor Abraham Feder, cello Danielle Wright, mezzo-soprano

Wed., Oct. 23 at 7:30 Commemorate “Orchestra Hall Day” with music by Leonard Bernstein, Duke Ellington, John Williams, and more! 52

DSO PERFORMANCE MAGAZINE

CLASSICAL SERIES

STRAUSS: DEATH AND TRANSFIGURATION Juraj Valčuha, conductor Julian Rachlin, violin

Sat., Oct. 26 at 8 p.m. Sun., Oct. 27 at 3 p.m. PR OKOFIEV Suite from The Love for Three Oranges PROKOFIEV Violin Concerto No. 2 ST R AUSS Tod und Verklärung (Death and Transfiguration)H

TINY TOTS SERIES

SHAKE, RATTLE, AND ROLL

Sat., Nov. 2 at 10 a.m. in The Cube* YOUNG PEOPLE’S FAMILY SERIES

THE GHOST OF ORCHESTRA HALL Chelsea Gallo, conductor Éva-Sarai Vesprini, actor Gavin George, piano

Sat., Nov. 2 at 11 a.m. PNC POPS SERIES

JASON ALEXANDER

Robert Bernhardt, conductor Todd Schroeder, pianist, musical director Carrie Schroeder, guest soloist

Sat., Nov. 2 at 8 p.m. Sun., Nov. 3 at 3 p.m. CLASSICAL SERIES

TCHAIKOVSKY’S FIRST CONCERTO Dalia Stasevska, conductor Simon Trpčeski, piano

Thu., Nov. 7 at 7:30 p.m. Fri., Nov. 8 at 10:45 a.m. Sat., Nov. 9 at 8 p.m. JULIA WOLFE Fountain of Youth TCHAIKOVSKY Piano Concerto No. 1H SIBELIUS Symphony No. 1 FALL 2019

FREE Live from Orchestra Hall webcast

Special $10 ticket offer for Veterans and Active Military (learn more at dso.org/military)

CLASSICAL SERIES

PICTURES AT AN EXHIBITION

MENDELSSOHN VIOLIN CONCERTO

Leonard Slatkin, conductor Miles Mykkanen, tenor

Juanjo Mena, conductor James Ehnes, violin

Fri., Nov. 15 at 10:45 a.m. Sat., Nov. 16 at 8 p.m. Sun., Nov. 17 at 3 p.m.

Thu., Dec. 5 at 7:30 p.m. Fri., Dec. 6 at 10:45 a.m. Sat., Dec. 7 at 8 p.m.

BERLIOZ Roman Carnival OvertureH MOHAMMED FAIROUZ Another Time

HAYDN Symphony No. 44, “Trauersinfonie” MENDELSSOHN Violin Concerto H SCHUBERT Symphony No. 9, “The Great”H

(World Premiere)

MUSSORGSKY/ARR. RAVEL Pictures at an Exhibition

WU FAMILY ACADEMY EDUCATIONAL SERIES

NEW WORLD SYMPHONY – FINDING THE AMERICAN VOICE

Fri., Dec. 6 at 8 p.m.*

Enrico Lopez-Yañez, conductor

Wed., Nov. 20 at 10:30 a.m. & 11:45 a.m.* Composer Antonín Dvořák was inspired by a trip across America in the late 1800s, which led to his New World Symphony. Discover the stories and melodies of Dvořák’s new world.

PNC POPS SERIES

LEGENDS: THE PAUL SIMON SONGBOOK Jeff Tyzik, conductor • Paul Loren, vocalist

Fri., Nov. 22 at 10:45 a.m. & 8 p.m. Sat., Nov. 23 at 8 p.m. Sun., Nov. 24 at 3 p.m. DSO PRESENTS

THE SWINGLES Sat., Nov. 30 at 8 p.m.* The Swingles evoke ice-bound worlds, blankets of snow, and fireside singalongs. The seven young London-based singers that make up today’s Swingles are driven by the same innovative spirit that has defined the five-time Grammy® winners since they first made waves as The Swingle Singers in the 1960s.

dso.org

PARADISE JAZZ SERIES

THE DUKE ELLINGTON ORCHESTRA Relive the swinging days of the Paradise Theatre. The Duke Ellington Orchestra – the only ensemble directly carrying on the tradition from Duke himself – returns to the Orchestra Hall stage to perform celebrated classics!

TINY TOTS SERIES

UNCLE GERRY AND FRIENDS Sat., Dec. 7 at 10 a.m. in The Cube* YOUNG PEOPLE’S FAMILY SERIES

WINTER WONDERLAND Kelly Corcoran, conductor

Sat., Dec. 7 at 11 a.m. CLASSICAL SERIES

HANDEL’S MESSIAH

Ruth Reinhardt, conductor Deanna Breiwick, soprano Eve Gigliotti, mezzo soprano Jonathan Johnson, tenor Russell Braun, bass-baritone

Fri., Dec. 13 at 8 p.m. Sat., Dec. 14 at 8 p.m. HANDEL Messiah

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DSO PERFORMANCE MAGAZINE 53

Don Giovanni October 19 – 27, 2019

Champion March 28 – April 5, 2020

Sweeney Todd November 16 – 24, 2019

2019-2020

Opera Series AT THE DETROIT OPERA HOUSE

SUBSCRIBE TODAY!

SINGLE TICKETS ALSO ON SALE NOW!

MichiganOpera.org or 313.237.7464

2019 Fall Opera Season Sponsor

2020 Spring Opera Season Sponsor

Pagliacci May 9 – 17, 2020

Gianni Schicchi February 29 – March 1, 2020 At the Macomb Center

NOV 20 Wed 7:30 pm Hill Auditorium

Orchestre Métropolitain de Montréal Yannick Nézet-Séguin, conductor and piano Joyce DiDonato, mezzo-soprano

Magazine 2019-2020 season PROGRAM 0 Mozart Ch’io mi scordi di te? (positioned Mozart away from“Parto, eachparto” other) from La Clemenza di Tito Bruckner

Symphony No. 4 in E-flat Major

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The Katherine McGregor Dessert Parlor

…at The Whitney.

Reserve tonight’s table online at www.thewhitney.com or call 313-832-5700 4421 Woodward Ave., Detroit dso.org

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DSO PERFORMANCE MAGAZINE 55

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