The DSO in Concert for Anne Parsons by Detroit Symphony Orchestra

the dso in concert for

ANNE PARSONS MAY 17, 2022

ANNE PARSONS

“I’ve lived on both coasts, I’ve lived in many places,

and I wouldn’t want to be in any other community than this one. It’s the people and the way they support one another, reach out and help one another. We are a highly responsive, action-oriented community for positive change.” — Anne speaking with Detroit Public Television in 2019

develop a comprehensive strategy for increasing diversity, equity, and inclusion (DEI), and concurrently launched a Mission and Values Taskforce to reexamine and reinforce the organization’s cultural evolution established during her tenure. These critical steps have already left an indelible mark on the orchestra and charted a course of continued growth for the organization to follow for years to come. A respected leader in the orchestra world, Anne was among the first class of fellows chosen by the American Symphony Orchestra League (now the League of American Orchestras). Prior to joining the DSO, she served in leadership positions for a variety of major arts organizations, including General Manager of New York City Ballet, General Manager of the Hollywood Bowl in Los Angeles, and Orchestra Manager of the Boston Symphony Orchestra. Anne began her career at the National Symphony Orchestra in Washington, D.C. She received a Bachelor of Arts degree from Smith College in Massachusetts, where she also served as the school’s orchestra manager. From late 2018 until her retirement in December 2021, Anne led the DSO while undergoing treatment for cancer, a period that included the centennial celebration of Orchestra Hall, the announcement of Jader Bignamini as the DSO’s music director, the 20th anniversary of the Paradise Jazz Series, and the 50th anniversary of the orchestra’s Civic Youth Ensembles training programs. “I have been honored to serve the remarkable Detroit Symphony Orchestra and the people of this vibrant and resilient city for the past 17 years,” Anne said in April 2021 when announcing her retirement. “It has been my absolute joy to be able to balance work, life, and cancer treatments with full commitment, determination, and optimism. Everyone in the DSO family has been a source of critical strength and sustenance, from our dedicated and passionate governance and staff to our extraordinary DSO musicians and music director Jader Bignamini—whose performances together have filled me with so much happiness. I can never give enough recognition for all we have accomplished together.”

Anne Parsons loved Detroit, and she loved the Detroit Symphony Orchestra. Often calling her decision to accept the job as President and CEO of the DSO the best decision she’s ever made, she led the orchestra for more than 17 years, from July 2004 to December 2021. Over her tenure, she instilled a highly collaborative culture of resilience and stability, successfully navigating the DSO through economic downturns and a global pandemic. Anne was also responsible for bringing two exceptional music directors to Detroit—Leonard Slatkin in 2007 and Jader Bignamini in 2020—and returning the orchestra to national and international prominence through touring and webcasts. Anne’s vision of transforming the DSO into the most accessible orchestra on the planet led to an increased focus on serving audiences through innovative programs. In 2011, she oversaw the launch of Live from Orchestra Hall, establishing the DSO as the first orchestra in the world to offer free, live webcasts of every classical concert. The series was expanded in 2014 with Classroom Edition, educational concerts by the DSO reaching tens of thousands of students in Detroit schools and around the world each year. Anne reestablished the DSO as a critical community organization. Her emphasis on reaching audiences wherever they were offered unique ways to connect with the DSO, including senior engagement concerts, music therapy partnerships, in-school appearances, chamber music programs, and full orchestra performances through the DTE Energy Foundation Community Concerts and the William Davidson Neighborhood Concert Series. Most recently, Anne’s leadership enabled significant investments in the DSO’s Detroit Neighborhood Initiative, creating unique, community-driven musical experiences throughout the city’s neighborhoods, and in Detroit Harmony, a landmark collaborative project to provide an instrument and music education to any Detroit student who wants to learn to play and create hundreds of related jobs through workforce development partnerships. Under Anne’s guidance, the DSO also launched a multi-year process to

The DSO in Concert for Anne Parsons Tuesday, May 17, 2022 l 6 PM l Orchestra Hall detroit symphony orchestra Jader Bignamini, conductor Wolfgang Amadeus Mozart

Franz Joseph Haydn

Johann Sebastian Bach

Samuel Barber

Clarinet Quintet in A minor, K. 581 II. Larghetto Ralph Skiano, clarinet Kimberly Kaloyanides Kennedy, violin Adrienne Rönmark, violin Caroline Coade, viola Wei Yu, cello Violin Concerto No. 1 in C major, H. VIIa:1 II. Adagio Cho-Liang Lin, violin Cello Suite No. 1 in G major, BWV 1007 III. Courante I. Prélude Wei Yu, cello

Knoxville: Summer of 1915, Op. 24 Jessica Rivera, soprano

Claude Debussy

Syrinx

Jeremy Crosmer

Threnody Jeremy Crosmer, cello

Sergei Rachmaninoff

Johannes Brahms

Sharon Sparrow, flute

Vocalise, Op. 34, No. 14 Kimberly Kaloyanides Kennedy, violin Symphony No. 4 in E minor, Op. 98 III. Allegro giocoso

Civic Youth Ensembles atrium performers:

Civic Youth Ensembles side-by-side:

Jackson McDowell, violin Ben Kletzli, cello Jack Naglick, piano

Peter Fazekas, violin Henry Jackson, violin Lisa Baek, cello

PROGRAM NOTES Clarinet Quintet in A minor, K. 581

by the soloist, with plucked-strings accompaniment. Haydn was a constant in Anne’s home, and she and her family frequently listened to his concertos. The piece is performed here with soloist Cho-Liang “Jimmy” Lin, who enjoyed a more than 30year friendship with Anne and Donald.

II. Larghetto Composed 1789 | Premiered December 1789 WOLFGANG AMADEUS MOZART B. January 27, 1756, Salzburg, Austria D. December 5, 1791, Vienna, Austria Scored for clarinet, 2 violins, viola, and cello. (Approx. 7 minutes) Mozart’s Clarinet Quintet in A minor was inspired by the composer’s love for the clarinet and composed for muse Anton Stadler, a renowned Viennese clarinetist. In a letter to Stadler, Mozart wrote, “Never should I have thought that a clarinet could be capable of imitating the human voice as it was imitated by you. Indeed, your instrument has so soft and lovely a tone that no one can resist it.” The piece was among Anne’s favorites to listen to at home, both for her love of the music and for the memories it conjured. During her time with the Boston Symphony Orchestra, the Chamber Players recorded the piece with Principal Clarinet Harold “Buddy” Wright. Anne and her family listened to the recording over the years repeatedly, enjoying its dazzling second movement, which showcases the clarinet’s ability to shape long-breathed phrases and produce a mesmerizing sound. To Anne, the piece evoked memories of Wright of whom she was personally fond, and whose playing she loved. When Ralph Skiano became Principal Clarinet at the DSO, his playing and his positivity created a magnetic bond between them. She specifically requested that he and his colleagues play this piece for her. When Anne was in the hospital during her illness, DSO musicians lifted her spirits with messages and chamber performance videos, one of which was from the very quintet performing this piece today. The recording meant a great deal not only to Anne, but also to Ralph, Kim, Adrienne, Caroline, and Wei, and they are pleased to join together once again to perform this quintet for Anne.

Cello Suite No. 1 in G major, BWV 1007

III. Courante I. Prélude JOHANN SEBASTIAN BACH B. March 31, 1685, Eisenach, Germany D. July 28, 1750, Leipzig, Germany Scored for solo cello. (Approx. 6 minutes) Johann Sebastian Bach’s Six Cello Suites serve as a core component of standard solo cello literature, with his Suite No. 1 in G major being the most famous. Those close to Anne may recognize it for a different reason, however: the third movement, Courante, served as the ringtone on her cell phone for many years, courtesy of her daughter Cara, who helped program the opening measures at Anne’s request. Bach was a big force in Anne’s life, and she enjoyed meaningful relationships with prominent cellists including Mstislav Rostropovich, who served as Music Director when Anne first began her career at the National Symphony Orchestra, Yo-Yo Ma, with whom she first connected during her time in Boston, and Lynn Harrell who performed regularly during her tenure at the Hollywood Bowl. Anne also enjoyed a strong, supportive relationship with DSO Principal Cello Wei Yu, who began his appointment with the DSO in 2014. Anne and Wei hit it off from the beginning, the connection evident in Wei’s performance here of Bach’s Cello Suite No. 1, which will begin with the Courante of Anne’s ringtone before the more contemplative first movement, Prélude.

Knoxville: Summer of 1915, Op. 24

Composed 1947 | Premiered April 9, 1948 SAMUEL BARBER B. West Chester, Pennsylvania, March 9, 1910 D. New York, New York, January 23, 1981 Scored for soprano, flute (doubling piccolo), oboe (doubling English horn), clarinet, bassoon, 2 horns, trumpet, percussion, harp, and strings. (Approx. 16 minutes) “We are talking now of summer evenings in Knoxville, Tennessee, in the time that I lived there so successfully disguised to myself as a child.” With this sentence begins an extraordinary prose fragment—a prose poem, really—by American writer James Agee. The text, whose lyrical language recounts events of the author’s childhood, later became the prologue to A Death in the Family, the novel that won Agee a posthumous Pulitzer Prize in 1958. As Barber had a connection with Agee, so too did the writer weave into the fabric of Anne’s life in serendipitous ways. Prior to their meeting, Anne’s husband, Donald, became interested in the works of Agee, particularly his Letters of James Agee to Father Flye, which followed the posthumous publication of A

Violin Concerto in C major, Hob. VIIa: 1

II. Adagio Composed 1761-1769 | Premiered 1769 JOSEPH HAYDN B. March 31, 1732, Rohrau, Austria D. May 31, 1809, Vienna, Austria Scored for solo violin, continuo, and strings. (Approx. 5 minutes) In Haydn’s handwritten catalogue of his works, he mentions that the C-major Violin Concerto was “written for Luigi.” The dedicatee was Luigi Tomasini, who served as concertmaster of the Esterházy orchestra while Haydn was in residence there. Though Tomasini entered the service of Prince Anton Esterházy as a servant, he evidently showed such musical ability that he was sent off to Italy to polish his violin technique. He must have been a remarkable player, judging by the difficulties Haydn set for him in this concerto. The ceremonious, slightly remote tone of the concerto is typical of other pieces by Haydn, with a warmer spirit breathing into the slow movement, most of which is given over to a simple cantilena

Death in the Family. Back in the mid-1970s, long before Anne and Donald met, Donald’s friend David Herwaldt, also a photographer, discovered that Father Flye, an Episcopal priest who had been Agee’s teacher and life-long friend, was living in Greenwich Village. The two often travelled to New York for lively conversations with the nonagenarian over a stretch of years, during which time they connected with Father Flye’s caretaker, Harvey Simmonds, who worked closely with Lincoln Kirstein, co-founder of New York City Ballet with George Balanchine. This came into play years later when Anne was offered the job as General Manager of New York City Ballet. Initially hesitant to take on the role due to her unfamiliarity with the ballet world, Donald insisted she consider the offer seriously, passionately conveying the history of the dance company he had learned through his connection to Agee. And so, Anne went to New York City Ballet, continuing a storied career in performing arts. This history—this piece—played a central role in the trajectory of Anne’s career, and she and her family listened to it, and other works by Barber, again and again over the decades. During Anne’s time with the Boston Symphony Orchestra, she became very fond of the straightforward clarity in Dawn Upshaw’s performance of the work. Barber, a great admirer of Agee’s, set the words for soprano and orchestra; he finished the score in April 1947 and dedicated it to his father, who had died shortly before its completion. After a brief orchestral introduction, the soloist sets forth a melody, whose gently rocking rhythms suggest the easy sway of porch swings or the leisurely passing of strollers and carriages. The arrival of a streetcar, an exciting modern contraption in 1915, elicits nervous figures and harsher sonorities, but the music again turns serene as the child narrator considers such wonders as the stars and the people who surround him. Growing impassioned as it contemplates “the sorrow of being on this earth,” the song then subsides into an earnest prayer for “my people” and a yearning for identity. In an interview in 1949, Barber explained his attraction to Agee’s work: “You see,” he said, “it expresses a child’s feeling of loneliness, wonder and lack of identity in that marginal world between twilight and sleep.” His poetic translation of these feelings into music made for one of his most successful and popular compositions. TEXT

We are talking now of summer evenings in Knoxville Tennessee in that time that I lived there so successfully disguised to myself as a child. . . . It has become that time of evening when people sit on their porches, rocking gently and talking gently and watching the street and the standing up into their sphere of possession of the trees, of birds’ hung havens, hangars. People go by; things go by. A horse, drawing a buggy, breaking his hollow iron music on the asphalt; a loud auto; a quiet auto; people in pairs, not in a hurry, scuffling, switching their weight of aestival body, talking casually, the taste hovering over them of vanilla, strawberry, pasteboard and starched milk, the image upon them of lovers and horsemen, squared with clowns in hueless amber. A streetcar raising its iron moan; stopping, belling and starting; stertorous; rousing and raising again its iron increasing moan and swimming its gold windows and straw seats on past and past and past, the bleak spark crackling and cursing above it like a small

malignant spirit set to dog its tracks; the iron whine rises on rising speed; still risen, faints; halts; the faint stinging bell; rises again, still fainter, fainting, lifting, lifts, faints foregone: forgotten. Now is the night one blue dew. Now is the night one blue dew, my father has drained, he has coiled the hose. Low on the length of lawns, a frailing of fire who breathes. . . . Parents on porches: rock and rock. From damp strings morning glories hang their ancient faces. The dry and exalted noise of the locusts from all the air at once enchants my eardrums.

On the rough wet grass of the back yard my father and mother have spread quilts. We all lie there, my mother, my father, my uncle, my aunt, and I too am lying there....They are not talking much, and the talk is quiet, of nothing in particular, of nothing at all. The stars are wide and alive, they seem each like a smile of great sweetness, and they seem very near. All my people are larger bodies than mine, . . . with voices gentle and meaningless like the voices of sleeping birds. One is an artist, he is living at home. One is a musician, she is living at home. One is my mother who is good to me. One is my father who is good to me. By some chance, here they are, all on this earth; and who shall ever tell the sorrow of being on this earth, lying, on quilts, on the grass, in a summer evening, among the sounds of the night. May God bless my people, my uncle, my aunt, my mother, my good father, oh, remember them kindly in their time of trouble; and in the hour of their taking away. After a little I am taken in and put to bed. Sleep, soft smiling, draws me unto her: and those receive me, who quietly treat me, as one familiar and well-beloved in that home: but will not, oh, will not, not now, not ever; but will not ever tell me who I am. — James Agee Copyright 1949 by G. Schirmer, Inc. Used by permission.

Syrinx

Composed 1913 | Premiered 1913 CLAUDE DEBUSSY B. August 22, 1862, Saint-Germain-en-Laye, France D. March 25, 1918, Paris, France Scored for solo flute. (Approx. 4 minutes) As an instrumentalist, Anne dabbled in saxophone and piano, but the flute resonated with her, and she ultimately decided to stick with it. In high school, Anne was set to play flute in the pit during a production, but upon arrival, realized she didn’t have her instrument—unfortunately, it had been left on the roof of the car and fell onto the street enroute, where it was crushed by another vehicle. Her father was at the time on the board of the Portland Symphony and was able to use his connections to procure a new flute for Anne, but the mangled instrument held a special place for her, and she kept it as a memento for the remainder of her life. During her education at Smith College, Anne played flute in the orchestra, enjoying practice as a way to unwind. Smith was also where Anne became interested in the administrative side of performing arts, serving as a de facto orchestra manager, which

PROGRAM NOTES opened the door to her participation in the League of American Orchestra’s fellowship program. Years later, when Anne sought to re-engage with the flute, she did so with the encouragement of husband Donald, DSO Assistant Principal Flute Sharon Sparrow, and DSO Board Chair Emeritus Phillip Wm. Fisher. The trio had Anne’s flute (not the crushed one) completely restored, engraving the anniversary of Anne’s 10th year as DSO President and CEO. With coaching and support from Sharon, Anne found her way back to playing. Anne attended an adult education course at Interlochen Center for the Arts, once again connecting with the instrument she so loved in her younger years. She also performed with the flute section for DSO Director Emeritus Mort Harris’s 100th birthday. Even as she faced cancer, she played, allowing the instrument to carry her spirits. Here, Sharon performs Debussy’s Syrinx. This piece contains evocative and colorful melodies and open-ended phrases, allowing the performer some room for interpretation.

Threnody

JEREMY CROSMER B. 1987 Scored for solo cello and strings. (Approx. 9 minutes) Anne was a champion of living composers, and no program celebrating her would be complete without a contemporary work. In addition to his role as DSO Cello, Jeremy Crosmer enjoys a successful career as a composer. Crosmer’s Threnody is a piano reduction of the third movement of the composer’s Viola Concerto, Masks: A Heroine’s Tale. Originally written for and performed by Mitsuru Kubo and the Jackson Symphony Orchestra, Threnody is a hauntingly beautiful and melismatic work showcasing unending depth of emotion and passion. By definition, a threnody is a wailing ode, song, hymn, or poem of mourning composed or performed as a memorial. Crosmer wrote the piece in memory of a friend who had passed away suddenly, and later offered the piece to the DSO, unaware of the fact that Anne and Donald also knew the person for whom it had been originally composed: Corrina Van Hamlin. Anne and Donald met Corrina through musician Jeremy Kittel at a performance at Walkabout Farm in Oxford, Michigan, and instantly felt drawn to her positive energy. Corrina was a radio host and producer, singer, stagehand, actress, and photographer, and Anne wished to know her better, but tragically never got the opportunity.

Vocalise, Op. 34, No. 14

Composed 1912 | Premiered 1916 SERGEI RACHMANINOFF B. April 1, 1873, Starorussky Uyezd, Russia D. March 28, 1943, Beverly Hills, CA Scored for solo violin, 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 2 horns, and strings. (Approx. 6 minutes) Rachmaninoff’s Vocalise is the final song in his series 14 Songs, Op. 34. Unlike the other thirteen songs in the series, Vocalise has no text accompanying it. Instead, the soloist is instructed to

perform this song using a wordless vocalization of their choosing. When explaining his performance desire for this song to soprano Antonina Nezhdanova (who premiered the work), Rachmaninoff stated: “What need is there of words, when you will be able to convey everything better and more expressively than anyone could with words by your voice and interpretation?” Some say that the absence of words is a contributing factor to the immense emotional intensity and sorrow present within the piece. After the initial premiere, Rachmaninoff created many different arrangements of this song including a version for solo violin. Rachmaninoff composed this song series in Ivanovka, his country estate in which he carried immense love and appreciation. Vocalise presents six minutes of hypnotic beauty inspired by the expansive and serene countryside surrounding the estate. It has been labeled as an exercise for the voice, demanding that singers portray a sense of what the music is saying through their gestures and inflections. The challenges present in conveying the unwritten text of this piece carry through each arrangement, requiring the soloist to tap into a concentrated intensity of expression throughout the piece. The featured soloist in this piece is DSO Acting Concertmaster Kimberly Kaloyanides Kennedy. A DSO member since 1998, Kim enjoyed a long relationship with Anne, with the two supporting one another through life’s ups and downs. During Anne’s illness, Kim frequently checked in and uplifted Anne, expanding on Anne’s optimism and keeping spirits high during difficult times.

Symphony No. 4 in E minor, Op. 98

III. Allegro giocoso JOHANNES BRAHMS B. May 7, 1833, Hamburg, Germany D. April 3, 1897, Vienna, Austria Scored for flute, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, timpani, percussion, and strings. (Approx. 6 minutes) Johannes Brahms packs a lot of musical discourse into the four movements of his final symphony. Celebrated for its careful complexity and somber tone, the fourth is the symphony most similar to Brahms himself: logical, serious, and fundamentally musical. However, Brahms’s lighthearted side appears in the third movement, the composer’s first true symphonic scherzo. The lively, lusty Allegro giocoso bounces along with quick rhythms and playful jangling on the triangle—a break from the symphony’s overall sobriety. While Donald is partial to Bach, Anne’s favorite composer, hands down, was Brahms, and the pair enjoyed Brahms in their home throughout the years. Of the piece, DSO President and CEO Erik Rönmark remarked: “People may have a few melodies in their heads following this concert, but I hope Brahms is one of them— the third movement embodies the true spirit of Anne: humorous, vibrant, and full of life.”

GIFTS IN MEMORY OF ANNE PARSONS Gifts made in memory of Anne Parsons celebrate her impact, legacy, and visionary leadership and provide support for the DSO’s wide-reaching programs. For information about making a tribute gift, please call 313.576.5114 or visit dso.org/donate

Ms. Jane Alessandrini Mr. & Mrs. Richard L. Alonzo Mr. Robert Alpiner Ms. Diane Amelia Read Mr. Ken Aptekar Mr. David Assemany & Mr. Jeffery Zook* Dr. Matthew Aubin Lynne Avadenka Ms. Bridget Balint Ms. Carol Bartley Lillian & Don Bauder+ Ms. Mary Ann Beaupre Ms. Katherine Beebe Mandell & Madeleine Berman Foundation Mr. Keith Berven Mr. Greg Bladecki Mr. Thomas Blaske & Ms. Mary Steffek Blaske Ms. Leah Blizman Penny & Harold Blumenstein Mr. Stephan Bobalik Cassie Marie Brenske Ms. Karen Brown Mr. & Mrs. Mark R. Buchanan Dr. Laurie Burgoyne & Mr. Paul Burgoyne Mrs. Yvonne Cameron The Clinton Family Fund Mr. Bruce Coppock Nancybell Coe Ms. Candyce Crompton Julie & Peter Cummings Joanne Danto & Arnold Weingarden Marvin & Betty Danto Family Foundation Mr. & Mrs. William Davenport Margie Dunn & Mark Davidoff Mrs. Diane Davis Mr. & Mrs. Dick Deighton Ms. Carol Diamond Mr. Dennis Dilworth Mr. & Mrs. Walter L. Dissett Mr. & Mrs. Richard Dobert Nina Dodge Abrams Diana & Mark Domin Mr. & Mrs. Christopher J. Doozan Terry Dwyer Mr. & Mrs. David Edwards Libby & Adrian Ellis Dr. Miriam & Mr. John Engstrom Ms. Joanne Fisher Mr. Michael J. Fisher Mr. & Mrs. Phillip Wm. Fisher Mr. David Flaisher Mr. Henry Fogel Suzanne Dalton & Clyde Foles Mr. John Forsyte Mr. Alan Fortunski Mr. & Mrs. James Francis Mr. & Mrs. Stanley Frankel Ms. Nuria Garrote-Esteve Mr. Michael Gehret

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ORCHESTRA FIRST VIOLIN Kimberly Kaloyanides Kennedy ACTING CONCERTMASTER Katherine Tuck Chair Hai-Xin Wu ACTING ASSOCIATE CONCERTMASTER Schwartz and Shapero Family Chair Jennifer Wey Fang ASSISTANT 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* SECOND VIOLIN Adam Stepniewski ACTING PRINCIPAL The Devereaux Family Chair Will Haapaniemi* David and Valerie McCammon Chairs Hae Jeong Heidi Han* David and Valerie McCammon Chairs Sheryl Hwangbo Yu* Sujin Lim* Hong-Yi Mo* Alexandros Sakarellos* Drs. Doris Tong and Teck Soo Chair Marian Tanau* Alexander Volkov* Jing Zhang* VIOLA Eric Nowlin PRINCIPAL Julie and Ed Levy, Jr. Chair James VanValkenburg ASSISTANT PRINCIPAL Caroline Coade Henry and Patricia Nickol Chair Glenn Mellow Hang Su Shanda Lowery-Sachs Hart Hollman Han Zheng Mike Chen

CELLO Wei Yu PRINCIPAL Abraham Feder ASSISTANT PRINCIPAL Dorothy and Herbert Graebner Chair Robert Bergman* Jeremy Crosmer* Victor and Gale Girolami Cello Chair David LeDoux* Peter McCaffrey* Joanne Danto and Arnold Weingarden Chair Una O’Riordan* Mary Ann & Robert Gorlin Chair Cole Randolph*

ENGLISH HORN Monica Fosnaugh Shari and Craig Morgan Chair

TUBA Dennis Nulty PRINCIPAL

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

TIMPANI Jeremy Epp PRINCIPAL Richard and Mona Alonzo Chair James Ritchie ASSISTANT PRINCIPAL

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

BASS Kevin Brown PRINCIPAL Van Dusen Family Chair Stephen Molina ASSISTANT PRINCIPAL Christopher Hamlen Brandon Mason Nicholas Myers

BASSOON Michael Ke Ma ACTING PRINCIPAL Marcus Schoon^ Jaquain Sloan §

HARP Patricia Masri-Fletcher PRINCIPAL Winifred E. Polk Chair

CONTRABASSOON Marcus Schoon^ HORN Karl Pituch PRINCIPAL Johanna Yarbrough Scott Strong Ric and Carola Huttenlocher Chair David Everson ASSISTANT PRINCIPAL Mark Abbott

FLUTE Hannah Hammel PRINCIPAL Alan J. and Sue Kaufman and Family Chair Amanda Blaikie Morton and Brigitte Harris Chair Sharon Sparrow ASSISTANT PRINCIPAL Bernard and Eleanor Robertson Chair Jeffery Zook

TRUMPET Hunter Eberly PRINCIPAL Lee and Floy Barthel Chair Kevin Good Stephen Anderson ASSISTANT PRINCIPAL William Lucas

PICCOLO Jeffery Zook Shari and Craig Morgan Chair OBOE Alexander Kinmonth PRINCIPAL Jack A. and Aviva Robinson Chair Sarah Lewis ASSISTANT PRINCIPAL Monica Fosnaugh

TROMBONE Kenneth Thompkins PRINCIPAL David Binder

PERCUSSION Joseph Becker PRINCIPAL Ruth Roby and Alfred R. Glancy III Chair Andrés Pichardo-Rosenthal ASSISTANT PRINCIPAL William Cody Knicely Chair James Ritchie LIBRARIANS Robert Stiles PRINCIPAL Ethan Allen LEGACY CHAIRS Principal Flute Women’s Association for the DSO Chair Principal Cello James C. Gordon Chair PERSONNEL MANAGERS Patrick Peterson Director of Orchestra Personnel Benjamin Tisherman 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

^ On sabbatical ~ Extended leave § African American Orchestra Fellow

LIFETIME MEMBERS Samuel Frankel◊ Stanley Frankel David Handleman, Sr.◊ Dr. Arthur L. Johnson◊ James B. Nicholson Clyde Wu, M.D.◊

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

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

David Assemany

Governing Members Chair

DIRECTORS EMERITI Floy Barthel Chacona Baugh Penny B. Blumenstein John A. Boll, Sr. Richard A. Brodie Lois Cohn Marianne Endicott Sidney Forbes Barbara Frankel Herman H. Frankel Dr. Gloria Heppner Ronald Horwitz Harold Kulish Bonnie Larson David McCammon David R. Nelson William F. Pickard, Ph.D. Marilyn Pincus Lloyd E. Reuss Marjorie S. Saulson Alan E. Schwartz Jane Sherman David Usher Barbara Van Dusen Arthur A. Weiss

Elena Centeio Richard L. DeVore Aaron Frankel Herman B. Gray, M.D., M.B.A. Laura Hernandez-Romine Rev. Nicholas Hood III Richard Huttenlocher Renato Jamett Trustee Chair

Daniel J. Kaufman Michael J. Keegan Arthur C. Liebler Xavier Mosquet Arthur T. O’Reilly Stephen R. Polk Bernard I. Robertson Scott Strong

Orchestra Representative

Nancy Tellem Laura J. Trudeau Dr. M. Roy Wilson David M. Wu, M.D. Johanna Yarbrough

Orchestra Representative

OFFICERS Mark A. Davidoff Chair

Pamela Applebaum Officer at Large

Erik Rönmark President & CEO

Ralph J. Gerson Officer at Large

David T. Provost Vice Chair

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

Faye Alexander Nelson Treasurer

Shirley Stancato Officer at Large

Hon. Kurtis T. Wilder (Ret.) Secretary

James G. Vella Officer at Large

MAESTRO CIRCLE EXECUTIVE COMMITTEE Janet & Norm Ankers, Chairs Cecilia Benner Joanne Danto Gregory Haynes Bonnie Larson Lois Miller Richard Sonenklar

BOARD OF TRUSTEES Renato Jamett, Trustee Chair Trustees are a diverse group of community leaders who infuse creative thinking and innovation into how the DSO strives to achieve both artistic vitality and organizational sustainability.

Ismael Ahmed Richard Alonzo Hadas Bernard Janice Bernick Elizabeth Boone Gwen Bowlby Marco Bruzzano Margaret Cooney Casey Karen Cullen Joanne Danto Stephen R. D’Arcy Maureen T. D’Avanzo Jasmin DeForrest Afa Sadykhly Dworkin Peter Falzon James C. Farber Linda Forte Maha Freij Carolynn Frankel Maha Freij Christa Funk Robert Gillette Jody Glancy Malik Goodwin Mary Ann Gorlin Donald Hiruo Michelle Hodges Julie Hollinshead John Jullens David Karp Joel D. Kellman Jennette Smith Kotila Leonard LaRocca William Lentine Linda Dresner Levy Florine Mark Anthony McCree Kristen McLennan Tito Melega Lydia Michael

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

Nicholas Myers, Musician Representative

Sean M. Neall Eric Nemeth Maury Okun Vivian Pickard Denise Fair Razo Gerrit Reepmeyer Richard Robinson James Rose, Jr. Laurie Rosen Elana Rugh Marc Schwartz Carlo Serraiocco Lois L. Shaevsky Mary Shafer Cathryn M. Skedel, Ph.D. Ralph Skiano, Musician Representative

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

◊ Deceased

STAFF EXECUTIVE OFFICE Erik Rönmark President and CEO James B. and Ann V. Nicholson Chair Jill Elder Vice President and Chief Revenue Officer Linda Lutz Vice President and Chief Financial and Administrative Officer Joy Crawford Executive Assistant to the President and CEO Elaine Curvin Executive Assistant to the Vice President and Chief Revenue Officer Anne Parsons ◊ President Emeritus ARTISTIC OPERATIONS ARTISTIC PLANNING Jessica Ruiz Senior Director of Artistic Planning Alexandra Luke Artist Liaison Claudia Scalzetti Artistic Coordinator Goode Wyche Manager of Jazz and @ The Max LIVE FROM ORCHESTRA HALL Marc Geelhoed Executive Producer of Live from Orchestra Hall ORCHESTRA OPERATIONS Kathryn Ginsburg General Manager Patrick Peterson Director of Orchestra Personnel Dennis Rottell Stage Manager Ezra Gans Artistic Operations Assistant Bronwyn Hagerty Orchestra and Training Programs Librarian Benjamin Tisherman Manager of Orchestra Personnel ADVANCEMENT Alex Kapordelis Senior Director, Campaign Jill Rafferty Senior Director of Advancement Holly Gorecki Director of Advancement Operations Beth Carlson Stewardship Coordinator Damaris Doss Major Gift Officer Leslie Groves Major Gift Officer Ali Huber Signature Events Manager Jane Koelsch Fulfillment Coordinator Amanda Lindstrom Events Coordinator Colleen McLellan Institutional Gift Officer Juanda Pack Advancement Benefits Concierge Susan Queen Gift Officer, Corporate Giving Cassidy Schmid Manager of Campaign Operations Amanda Tew Data and Research Manager

BUILDING OPERATIONS EVENTS AND RENTALS Presley Feezell Manager of Events and Rentals FACILITY OPERATIONS Ken Waddington Senior Director of Facilities and Engineering Demetris Fisher Chief EVS Technician William Guilbault EVS Technician Robert Hobson Chief Maintenance Technician Keith Kennedy Chief Engineer INFORMATION TECHNOLOGY William Shell Director of Information Technology Michelle Koning Web Manager Len Messing Systems Administrator Aaron Tockstein Database Administrator COMMUNICATIONS Matt Carlson Senior Director, Communications and Media Relations Sarah Smarch Director of Content and Storytelling Natalie Berger Video Content Specialist LaToya Cross Communications and Advancement Content Specialist Hannah Engwall Public Relations Manager Francesca Leo Public Relations Coordinator COMMUNITY AND LEARNING Karisa Antonio Interim Senior Director of Community and Learning Damien Crutcher Managing Director of Detroit Harmony Debora Kang Director of Education Clare Valenti Director of Community Engagement Kiersten Alcorn Manager of Community Engagement Connor Bulka Training Ensembles Recruitment and Communications Coordinator Joanna Goldstein Training Ensembles Student Development Coordinator Anne Leech Detroit Strategist Specialist Catherine Moore Detroit Harmony Operations Coordinator

FINANCE

Adela Löw

Director of Accounting and Financial Reporting

Erik Anundson

Accounts Payable Coordinator

Sandra Mazza

Senior Accountant, Business Operations

Ashley Simon

Gift Processing Coordinator

Michelle Wisler

Payroll and Benefits Accountant

HUMAN RESOURCES

Hannah Lozon

Senior Director of Talent and Culture

Mary Lambert

Human Resources Generalist

Shuntia Perry

Human Resources Coordinator

MARKETING AND AUDIENCE DEVELOPMENT

Charles Buchanan

Senior Director of Marketing and Audience Development

Teresa Alden

Director of Growth and Acquisition

Rebecca Villarreal

Director of Subscriptions and Loyalty

Jay Holladay

Brand Graphic Designer

LaHeidra Marshall

Audience Development Specialist

Connor Mehren

Digital Marketing Strategist

Kristin Pagels

Content Marketing Strategist

HOSPITALITY AND PATRON EXPERIENCE

Christina Williams

Director of Hospitality and Patron Experience

Alison Reed, CVA

Manager of Volunteer and Patron Experience

PATRON SALES AND SERVICE

Sharon Gardner Carr

Assistant Manager of Tessitura and Ticketing Operations

Rollie Edwards

Lead Patron Services Representative

Michelle Marshall

Manager of Patron Sales and Services

James Sabatella

Group and Patron Services Specialist

Tommy Tatti

Manager of Box Office Operations

SAFETY & SECURITY

George Krappmann

Director of Safety and Security

Willie Coleman

Security Officer

Norris Jackson

Security Officer

Tony Morris

Security Officer

Johnnie Scott

Safety and Security Manager

Antonio Thomas ◊ Deceased

Security Officer

the dso in concert for anne parsons