Performance magazine – Winter Issue 2 – 2022-23 Season

Davóne Tines by Noah Morrison

17-39

Program Notes

Discover rich insights about each

2023 Classical Roots artists Anthony Davis (by Erik Jepsen), Davóne Tines (by Bowie Verschuuren), and Anthony McGill (by Eric Rudd).

Dear Friends,

Welcome to Orchestra Hall! Whether it’s your first concert or your fiftieth, thank you for joining us to experience the joy of music with your Detroit Symphony Orchestra.

As we begin a new year, we also reflect on the successes of 2022. At our Annual Meeting in December, we were thrilled to announce a tenth consecutive balanced budget and renewed support for our DSO Impact Campaign, ensuring our organization remains a cultural beacon in Detroit for generations. We also celebrated the passionate leadership of Music Director Jader Bignamini. Under Jader, our orchestra shines, creating indelible musical moments that invigorate our creative spirit. This Spring, Jader will conduct programs with pianists Alexander Gavrylyuk (February 23-25) and George Li (March 24-26), and violinist Anne Akiko Meyers (March 30-April 1), plus the world premiere of Carlos Simon’s Trombone Concerto with DSO Principal Trombone Ken Thompkins in May.

The DSO continues to push boundaries with innovative programming. From a concert by the DSO Cello Section fusing classical repertoire with pop hits in The Cube on February 9—to The Princess Bride in Concert on Valentine’s Day and the Classical Roots Celebration in March (read our cover story in this issue)—the DSO spans genres and interests, uniting us all around a shared community in a love of music.

The William Davidson Neighborhood Concert Series returns for a twelfth year, bringing DSO performances and chamber recitals to seven Metro Detroit communities from January to June. Highlights include Reinecke’s Flute Concerto with DSO Principal Flute Hannah Hammel Maser and appearances by saxophonist Timothy McAllister, violinist Tai Murray, and conductor/violinist/countertenor Dmitry Sinkovsky. Jader will make his Neighborhood debut this May, conducting music by Paganini and Tchaikovsky in Southfield, Monroe, and Beverly Hills.

We also acknowledge renewed organizational leadership with the announcement of David T. Provost as the DSO’s new Chair of the Board of Directors. In addition to David’s election at our Annual Meeting, we paid tribute to outgoing Chair Mark Davidoff. Across Mark’s seven years of exemplary leadership, he’s left an undeniable impression on our organization, and we are forever grateful for his immeasurable contributions to making the DSO the thriving organization we know today. Mark has set a remarkable precedent that we will strive to uphold. We’re delighted to work together to make our orchestra the best it can be by securing continued financial stability through the DSO Impact Campaign, advocating for our robust education programs, and celebrating the jewel that we have in Orchestra Hall and The Max.

We look forward to welcoming you for a great year of spectacular performances!

Erik Rönmark David T. Provost President and CEO Chair, Board of Directors

NA’ZIR MCFADDEN

FIRST VIOLIN

Robyn Bollinger CONCERTMASTER

Katherine Tuck Chair

Kimberly Kaloyanides Kennedy

ASSOCIATE CONCERTMASTER

Schwartz and Shapero Family Chair

Hai-Xin Wu

ASSISTANT CONCERTMASTER

Walker L. Cisler/Detroit Edison Foundation Chair

Jennifer Wey Fang

ASSISTANT CONCERTMASTER

Marguerite Deslippe*

Laurie Goldman*

Rachel Harding Klaus*

Eun Park Lee*

Adrienne Rönmark*

Alexandros Sakarellos*

Drs. Doris Tong and Teck Soo Chair

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

Elizabeth Furuta*

Sheryl Hwangbo Yu*

Daniel Kim*

Sujin Lim*

Hong-Yi Mo *

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

TERENCE

Dorothy and Herbert Graebner Chair

Robert Bergman*

Jeremy Crosmer*

Victor and Gale Girolami Cello Chair

David LeDoux*

Peter McCaffrey*

Joanne Deanto and Arnold Weingarden Chair

Una O’Riordan*

Mary Ann & Robert Gorlin Chair

Cole Randolph*

BASS

Kevin Brown

PRINCIPAL

Van Dusen Family Chair

Stephen Molina

ASSISTANT PRINCIPAL

Christopher Hamlen

Brandon Mason

Nicholas Myers^

HARP

OPEN

PRINCIPAL

Winifred E. Polk Chair

FLUTE

Hannah Hammel Maser

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

Shantanique Moore §

PICCOLO

Jeffery Zook

Shari and Craig Morgan Chair

OBOE

Alexander Kinmonth

PRINCIPAL

Jack A. and Aviva Robinson Chair

Sarah Lewis

ASSISTANT PRINCIPAL

Monica Fosnaugh

ENGLISH HORN

Monica Fosnaugh

Shari and Craig Morgan Chair

CLARINET

Ralph Skiano PRINCIPAL

Robert B. Semple Chair

Jack Walters

PVS Chemicals Inc./ Jim and Ann Nicholson Chair

Shannon Orme

E-FLAT CLARINET OPEN

BASS CLARINET

Shannon Orme Barbara Frankel and Ronald Michalak Chair

BASSOON

Conrad Cornelison

PRINCIPAL Byron and Dorothy Gerson Chair

Michael Ke Ma

ASSISTANT PRINCIPAL

Marcus Schoon

Jaquain Sloan §

CONTRABASSOON

Marcus Schoon

HORN

Karl Pituch

PRINCIPAL

Johanna Yarbrough

Scott Strong

Ric and Carola Huttenlocher Chair

David Everson

ASSISTANT PRINCIPAL

Mark Abbott

TRUMPET

Hunter Eberly

PRINCIPAL

Lee and Floy Barthel Chair

Stephen Anderson

ASSISTANT PRINCIPAL

William Lucas

TROMBONE

Kenneth Thompkins

PRINCIPAL

David Binder

Adam Rainey

BASS TROMBONE

Adam Rainey

TUBA

Dennis Nulty

PRINCIPAL

TIMPANI

Jeremy Epp

PRINCIPAL

Richard and Mona Alonzo Chair

James Ritchie

ASSISTANT PRINCIPAL

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

Principal Cello

James C. Gordon

Personnel Managers

Patrick Peterson

DIRECTOR OF ORCHESTRA PERSONNEL

Benjamin Tisherman

MANAGER OF ORCHESTRA PERSONNEL

Nolan Cardenas

AUDITION AND OPERATIONS COORDINATOR

Stage Personnel

Dennis Rottell

STAGE MANAGER

William Dailing DEPARTMENT HEAD

Ryan DeMarco DEPARTMENT HEAD

Kurt Henry

DEPARTMENT HEAD

Steven Kemp

DEPARTMENT HEAD

Matthew Pons

DEPARTMENT HEAD

LEGEND

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

^ Extended Leave

§ African American Orchestra Fellow

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

JEFF TYZIK Principal Pops Conductor

Jader Bignamini

MUSIC DIRECTORSHIP ENDOWED BY THE KRESGE FOUNDATION

Jader Bignamini was introduced as the 18th music director of the Detroit Symphony Orchestra in January 2020. The DSO’s 2022-2023 season marks his second full year as DSO Music Director, and his infectious passion and artistic excellence have set the tone for the DSO on stage, establishing a close relationship with the orchestra and creating extraordinary music together. A jazz aficionado, he has immersed himself in Detroit’s rich jazz culture and the influences of American music.

A native of Crema, Italy, Jader studied at the Piacenza Music Conservatory and began his career as a musician (clarinet) with Orchestra Sinfonica La Verdi in Milan, later serving as the group’s resident conductor. Captivated by the symphonies of greats like Mahler and Tchaikovsky, Jader explored their complexity and power, puzzling out the role that each instrument played in creating a larger-than-life sound. When he conducted his first professional concert at the age of 28, it didn’t feel like a departure, but an arrival.

In the years since, Jader has conducted

some of the world’s most acclaimed orchestras and opera companies in venues across the globe including working with Riccardo Chailly on concerts of Mahler’s Eighth Symphony in 2013 and his concert debut at La Scala in 2015 for the opening season of La Verdi Orchestra. Recent highlights include debuts with The Cleveland Orchestra, New Jersey Symphony Orchestra, Dallas Symphony Orchestra, and Minnesota Orchestra; the Osaka Philharmonic and Yomiuri Nippon Symphony Orchestra in Tokyo; Madama Butterfly with the Metropolitan Opera, Vienna State Opera, and Dutch National Opera; Gianni Schicchi with Canadian Opera Company; Rigoletto with Oper Frankfurt; La Traviata with Bayerische Staatsoper; I Puritani in Montpellier for the Festival of Radio France; Traviata in Tokyo directed by Sofia Coppola; Andrea Chénier at New National Theatre in Tokyo; Rossini’s Stabat Mater at Rossini Opera Festival in Pesaro, Italy; Rossini’s Petite messe solennelle at Teatro dell’Opera in Rome; return engagements with Oper Frankfurt (La forza del destino) and Santa Fe Opera (La Bohème); Manon Lescaut at the Bolshoi; Traviata, Madama Butterfly, and Turandot at Arena of Verona; Il Trovatore and Aida at Rome’s Teatro dell’Opera; Madama Butterfly, I Puritani, and Manon Lescaut at Teatro Massimo in Palermo; Simon Boccanegra and La Forza del Destino at the Verdi Festival in Parma; and La Bohème, Madama Butterfly, and Elisir d’amore at La Fenice in Venice.

When Jader leads an orchestra in symphonic repertoire, he conducts without a score, preferring to make direct eye contact with the musicians. He conducts from the heart, forging a profound connection with his musicians that shines through both onstage and off. Jader both embodies and exudes the excellence and enthusiasm that has long distinguished the DSO’s artistry.

Jeff Tyzik

PRINCIPAL POPS CONDUCTOR

Grammy 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 serves as principal pops conductor of the Oregon Symphony, Florida Orchestra, and Rochester Philharmonic—a post he has held for over 20 seasons.

Frequently invited as a guest conductor, Tyzik has appeared with the Boston Pops, Cincinnati Pops, Milwaukee Symphony, Pittsburgh Symphony, Toronto Symphony, Indianapolis Symphony, The Philadelphia Orchestra, Los Angeles Philharmonic, and Royal Scottish National Orchestra.

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.

Visit jefftyzik.com for more.

Terence Blanchard

FRED A. ERB JAZZ CREATIVE DIRECTOR CHAIR

Trumpeter, bandleader, composer, and educator Terence Blanchard has served as the DSO’s Fred A. Erb Jazz Creative Director Chair since 2012. Blanchard has performed and recorded with many of jazz’s superstars and currently leads the celebrated E-Collective. He is also wellknown for his decades-long collaboration with filmmaker Spike Lee, scoring more than 15 of Lee’s movies since the early 1990s. 2018’s BlacKkKlansman earned Blanchard his first Academy Award nomination, with a second Academy Award nomination in 2021 for Da 5 Bloods. In and out of the film world, Blanchard has received 14 Grammy nominations and six wins, as well as nominations for Emmy, Golden Globe, Sierra, and Soul Train Music awards.

Blanchard’s second opera Fire Shut Up in My Bones, based on the memoir of New York Times columnist Charles Blow, opened The Metropolitan Opera’s 20212022 season, making it the first opera by an African American composer to premiere at the Met. With a libretto by Kasi Lemmons, the opera was commissioned by Opera Theatre of Saint Louis where it premiered in 2019. The New York Times called it “inspiring,” “subtly powerful,” and “a bold affecting adaptation of Charles Blow’s work.” Blanchard’s first opera, Champion, also premiered to critical acclaim in 2013 in St. Louis and starred Denyce Graves with a libretto from Pulitzer Prize Winner Michael Cristofer. Visit terenceblanchard.com for more.

DETROIT SYMPHONY ORCHESTRA, INC.

LIFETIME DIRECTORS

Samuel Frankel◊

Stanley Frankel

David Handleman, Sr.◊

Dr. Arthur L. Johnson ◊

James B. Nicholson

Floy Barthel

Chacona Baugh

Penny B. Blumenstein

Richard A. Brodie

Lois Cohn

Marianne Endicott

Anne Parsons, President Emeritus ◊

Barbara Van Dusen

Clyde Wu, M.D.◊

CHAIRS EMERITI

Peter D. Cummings

Mark A. Davidoff

Phillip Wm. Fisher

DIRECTORS EMERITI

Sidney Forbes

Barbara Frankel

Herman H. Frankel

Dr. Gloria Heppner

Ronald Horwitz

Bonnie Larson

Arthur C. Liebler

Harold Kulish

David McCammon

David R. Nelson

William F. Pickard, Ph.D.

Marilyn Pincus

David T. Provost Chair

Erik Rönmark President & CEO

Stanley Frankel

Robert S. Miller

James B. Nicholson

Lloyd E. Reuss

Marjorie S. Saulson

Alan E. Schwartz

Jane Sherman

Arthur A. Weiss

OFFICERS OF THE BOARD OF DIRECTORS

Faye Alexander Nelson Vice Chair

Laura Trudeau Treasurer

James G. Vella Secretary

Ralph J. Gerson Officer at Large

BOARD OF DIRECTORS

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

Shirley Stancato Officer at Large

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

Michael Bickers

Amanda Blaikie Orchestra

Representative

Elena Centeio

Dave Everson Orchestra Representative

Aaron Frankel

Herman B. Gray, M.D., M.B.A.

Laura HernandezRomine

Rev. Nicholas Hood III

Richard Huttenlocher

Renato Jamett Trustee Chair

Daniel J. Kaufman

Michael J. Keegan

Xavier Mosquet

David Nicholson

Arthur T. O’Reilly

Stephen Polk

Bernard I. Robertson

Nancy Tellem

Laura J. Trudeau

David M. Wu, M.D.

Ellen Hill Zeringue

BOARD OF TRUSTEES

Renato Jamett, 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.

Renato Jamett, Trustee Chair

Ismael Ahmed

Richard Alonzo

Hadas Bernard

Janice Bernick

Elizabeth Boone

Gwen Bowlby

Dr. Betty Chu

Karen Cullen

Joanne Danto

Stephen D’Arcy

Maureen T. D’Avanzo

Jasmin DeForrest

Afa Sadykhly Dworkin

James C. Farber

Abe Feder, Musician Representative

Linda Forte

Carolynn Frankel

Maha Freij

Christa Funk

Robert Gillette

Jody Glancy

Malik Goodwin

Mary Ann Gorlin

Donald Hiruo

Michelle Hodges

Julie Hollinshead

Sam Huszczo

John Jullens

Laurel Kalkanis

Jay Kapadia

David Karp

Joel D. Kellman

John Kim

Jennette Smith Kotila

Leonard LaRocca

William Lentine

Linda Dresner Levy

Florine Mark

Anthony McCree

Kristen McLennan

Tito Melega

Lydia Michael

H. Keith Mobley

Scott Monty

Shari Morgan

Sandy Morrison

Frederick J. Morsches

Jennifer Muse, NextGen Chair

Sean M. Neall

Eric Nemeth

Maury Okun

Jackie Paige

Vivian Pickard

Denise Fair Razo

Gerrit Reepmeyer

James Rose, Jr.

Laurie Rosen

Elana Rugh

Marc Schwartz

Carlo Serraiocco

Lois L. Shaevsky

Mary Shafer

Ralph Skiano, Musician Representative

Richard Sonenklar

Rob Tanner

Yoni Torgow

Gwen Weiner

Donnell White

Jennifer Whitteaker

R. Jamison Williams

Margaret E. Winters

MAESTRO CIRCLE EXECUTIVE COMMITTEE

Gregory Haynes

Bonnie Larson

Lois Miller

Richard Sonenklar

Janet & Norm Ankers, Chairs

Cecilia Benner

Joanne Danto

classical roots Beyond the music

By Hannah Engwall

This March, the DSO will honor composer and pianist Anthony Davis and Reverend Dr. Charles G. Adams at the 22ND ANNUAL ARTHUR L.

JOHNSON-HONORABLE DAMON JEROME KEITH CLASSICAL ROOTS CELEBRATION. Originated in 1978, Classical Roots honors African American composers, musicians, educators, and leaders for lifetime achievement and raises funds to support the DSO’s African American music and musician development programs.

This year’s Classical Roots concerts will be conducted by DSO Assistant Conductor Na’Zir McFadden and include John Rosamond Johnson’s Lift Every Voice and Sing (arr. Roland Carter) and Florence Price’s Concert Overture No. 2 alongside works by contemporary Black artists: You Have the Right to Remain Silent by Anthony Davis and Concerto No. 1: SERMON, an array of music and literary texts assembled by bass-baritone Davóne Tines.

We sat down with Davis and Tines to discuss their works and what it means to be part of Classical Roots.

Davis’s You Have the Right to

Remain Silent is a four-movement concerto inspired by the composer’s own experience of “driving while Black” in the 1970s. A person matching Davis’s description had robbed a bank, and in a case of mistaken identity, Davis and his wife were pulled over by police.

“To have a policeman point a gun at you is scary, and it showed me how perilous it is that certain assumptions were made,” said Davis. “For Black people, particularly Black males of a certain age, this is something that we all experience while driving.”

Davis emerged physically unharmed, but the encounter left a lasting impression that he later channeled in You Have the Right to Remain Silent.

In the piece’s first movement,

Interrogation, Davis explores the vulnerability of the solo instrument’s relationship to the orchestra. “When I began the project, the first thing I thought about was the orchestra interrogating the clarinetist. The piece starts almost as if it’s in the middle of a scene—I wanted this feeling of being plunged into something right away.”

With the DSO at Classical Roots, the piece will feature Anthony McGill, Principal Clarinet of the New York Philharmonic and a champion of Davis’s work in recent years. McGill previously performed at Classical Roots in 2021, under conductor William Eddins.

“McGill is a brilliant clarinetist who brings a certain vulnerability and emotion to the piece,” said Davis. “With him, the clarinet becomes a

character, and he finds moments of real lyricism.”

Alongside avant-garde pioneer Earl Howard on the Kurzweil synthesizer, McGill explores multiphonics and other more extended techniques on the contra-alto clarinet.

In the Incarceration movement, we hear the speech rhythms of the complete Miranda warning accompanied by percussion, expanding upon the haunting “you have the right to remain silent” refrain that is prominent throughout the work.

The final movement, Dance of the Other, expresses what it’s like to walk or dance in someone else’s shoes. “It’s about the hope for transcending these negative experiences, and the fact that we can empathize,” said Davis.

“When the piece begins, it has the percussion and the clarinet. It’s almost like an African folk song, which is what I wanted to evoke. There’s a sense of the hopefulness in that, and the idea of reclaiming one’s innocence—meaning innocence at all levels: in terms of being charged with a crime, and then innocence in terms of not being jaded, not being so affected by these experiences that we can’t accept love or compassion from others.”

For Tines, Concerto No. 1: SERMON was born of an invitation he received in late 2020 to perform with The Philadelphia Orchestra.

The original invitation was to do John Adams’s The Wound-Dresser, but Tines felt compelled to go in a different direction. “I wanted to explore what else I could I say with this opportunity to sing something in the contemporary vein, but that was also truer to what I felt like I needed to say at that time in our collective history, which was some sort of statement that dealt head-on with this revitalized racial reckoning. Concerto No. 1: SERMON was my attempt to speak honestly in this context where art about Black trauma was being expected.”

For the work, Tines assembled an array of music and literary texts, including musical selections by Davis (“You Want the Truth, but You Don’t Want to Know” from X: The Life and Times of Malcolm X ) and John Adams, along with a piece Tines co-wrote with Igée Dieudonné and Matthew Aucoin. The texts include excerpts by James Baldwin, Langston Hughes, and Detroit poet jessica Care moore, who is also featured in the performance.

Tines originally met moore during his

Anthony McGill performs at a 2021 Classical Roots concert (by Sarah Smarch)

Internationally renowned poet, playwright, performance artist, and producer jessica Care moore (by Kennette Lamar, Annistique Photography)

residency at Detroit Opera, which culminated in May 2022 with his performance in the title role of Davis’s X: The Life and Times of Malcolm X . With Moore, Tines felt an immediate connection, one that grew as he became more familiar with her work and the broader network of artists that she was a part of. “I realized the depth of her love for her city, and her conviction about telling the truth of her experience.”

Concerto No. 1: SERMON draws audiences in with the proclamation that “I am going to shake heaven and earth,” something that Tines achieves not through anger or aggression, but through a simple display of humanity and emotion. The piece aims to hold a mirror to the audience, inviting them to interrogate why it is even necessary to make art that calls out the degradation of humanity.

“Jessica is able to address Black lived experience in a very direct, clear, and poetic way,” said Tines. “Having her writing as the centerpiece does exactly what we need it to do—turn the proposition on its head and say yes, I’m here, proving my humanity to you, but why is it even necessary for me to do that in the first place?”

Through previous collaborations, Davis and Tines have built a strong mutual respect and appreciation for one another.

“He’s an incredible artist and I really enjoy working with him,” said Davis of Tines. “He’s been a real trailblazer in devising and transforming the role of what the opera singer/soloist is supposed to be by creating his own programs using other music to tell a different kind of story.”

Of Davis, Tines shares similar admiration: “Anthony is a genius in many ways. He creates music that is at the intersection of so many different ideas, histories, aesthetics, and ways of being, and I find myself contending with those

intersections as well. It was amazing to meet somebody who had done such incredible work to coalesce the diversity of their experience and the Black experience and make that incarnate within a classical music context, generations before myself.”

Born in 1951, Davis has been active for decades as a composer, educator, and pianist, and in the 1990s, took part in the DSO’s Unisys African American Composer Residency Program. Both he and Tines look forward to continuing the legacy of African American music at the DSO with Classical Roots.

“I’ve enjoyed my experiences in Detroit and am excited to bring this piece to the city,” said Davis. “Detroit is a serious center for African and African American music from R&B and jazz to classical, and Classical Roots sheds light on the fact that African Americans are deeply involved in classical music and that it is part of our whole spectrum of expression.”

Tines echoed Davis’s sentiments: “All of the people that I’ve engaged with in Detroit are very passionate and curious about what’s going on in their city. There’s a certain je ne sais quois about the Detroit energy and spirit that is unique from other places. I’ve seen a certain kind of unified identity that also is unable to fully articulate itself, but you can actually feel it. And that’s something I’m thrilled to experience again.”

“I’m very glad that the work that I make, that engages identity, can be experienced in a context where people are open minded in that way. Concerto No. 1: SERMON is very direct to the exact context in which Classical Roots is also trying to make change, and I hope that I’m able to show a contemporary method for addressing the necessity for equitable engagement of other histories by predominantly white institutions. I hope that the work strikes a chord with people to try to interrogate how they are contributing to making change.”

Davóne Tines

The Community Foundation is dedicated to supporting and enhancing the arts in southeast Michigan.

For decades, we have partnered and collaborated with organizations like the Detroit Symphony Orchestra along with other hyperlocal projects to enrich our region through the arts.

We have helped hundreds of donors who want to support local arts and culture find the best way to make a lasting impact.

MAKE AN IMPACT

When you are ready to make a lasting impact on arts and culture, the Community Foundation is here to help. Visit: cfsem.org/arts-culture or call 313.961.6675

Jeffery Zook & David Assemany: Living Legacy

An acclaimed musician and educator, DSO Flute and Piccolo Jeffery Zook (Shari and Craig Morgan Chair) is currently in his 30th season with the orchestra. Together with his husband, DSO Governing Member Chair David Assemany, the pair gives back to the organization that has given them so much.

It was within the DSO universe that they first met in 1996 and fell in love. Since then, the DSO has been a constant presence in their lives— evolving from a patron and musician-only based relationship to high-level donor status.

The harmonious oneDSO culture initially cultivated by DSO Chair Emeritus Phillip Fisher inspired Zook and Assemany to deepen their investment in the prosperity of the DSO.

Assemany became a Governing Member from the beginning and is now serving in his third year as Chair of the Governing Members. His ambassadorial role is essential to the artistic and cultural health and strategic direction of the DSO.

When the Musicians Fund was established, I immediately knew I wanted us to contribute because I feel strongly that excellence is the most important one of the DSO’s core values. Without excellence, nothing is going to be successful. It was also important to us to give a gift to the Anne Parsons Leadership Fund while Anne was still alive. We respected her immensely and were grateful that we were able to do that before she passed away.”

David Assemany, Governing Member Chair

Living at the intersection of music and community, the sociable duo impacts everyone they meet. They open their home as an entertainment venue for student recitals, open mics, workshops, musical feasts, and fundraisers. As DSO advocates, their legacy gifts to the DSO Musicians Fund for Artistic Excellence and the Anne Parsons Leadership Fund contribute to the future sustainability of Detroit’s world-class orchestra. Within their world of music, advocacy, and community-building through the arts, Dave and Jeff are building a living legacy with their purposeful generosity.

The DSO is grateful to the donors who have made extraordinary endowment investments through the DSO Impact Campaign or multi-year, comprehensive gifts to support general operations, capital improvements, or special programs.

FOUNDING FAMILIES

Mr. & Mrs. Lee Barthel

Julie & Peter Cummings APLF

The Davidson-Gerson Family and the William Davidson Foundation

The Richard C. Devereaux Foundation

Erb Family and the Fred A. and Barbara M. Erb Family 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.

Mort & Brigitte Harris Foundation APLF

Linda Dresner & Ed Levy, Jr.APLF

James B. & Ann V. Nicholson and PVS Chemicals, Inc. APLF

Bernard & Eleanor Robertson

Mrs. Richard C. Van Dusen

Ralph C. Wilson, Jr. Foundation

Clyde & Helen Wu◊

VISIONARIES

Mr. & Mrs. Richard L. AlonzoAPLF

Penny & Harold BlumensteinAPLF

Mr. & Mrs. Phillip Wm. FisherAPLF,MM

Alan J. & Sue Kaufman and Family MM

Shari & Craig Morgan APLF, MM

CHAMPIONS

Mandell & Madeleine Berman Foundation APLF

Mr. and Mrs. Raymond M. Cracchiolo

Joanne Danto & Arnold Weingarden

Vera and Joseph Dresner Foundation

DTE Energy Foundation

Ford Motor Company Fund

Mr. and Mrs. Morton E. Harris ◊

John S. & James L. Knight Foundation

The Kresge Foundation

Mrs. Bonnie Larson APLF

Brian Meer & Lisa

Keramedjian Meer

The Andrew W. Mellon Foundation

Ms. Deborah Miesel

Dr. William F. Pickard

The Polk Family

Stephen M. Ross

Family of Clyde and Helen Wu APLF

LEADERS

Applebaum Family Philanthropy

Charlotte Arkin Estate

Marvin & Betty Danto Family Foundation APLF

Adel & Walter Dissett MM

Herman & Sharon Frankel

Ruth & Al◊ Glancy

Mary Ann & Robert Gorlin APLF

Ronald M. & Carol◊ Horwitz

Richard H. & Carola

Huttenlocher MM

John C. Leyhan Estate

Bud & Nancy Liebler

Richard & Jane Manoogian Foundation

David & Valerie McCammon

Mr. & Mrs. Eugene A. Miller

Pat & Hank◊ Nickol

Jack & Aviva Robinson◊

Martie & Bob Sachs

Mr. & Mrs.◊ Alan E. Schwartz

Drs. Doris Tong & Teck Soo

Paul & Terese Zlotof

BENEFACTORS

Mr.◊ & Mrs. Robert A. Allesee

Mr. David Assemany & Mr. Jeffery Zook APLF, MM

W. Harold & Chacona W. Baugh

APLF

Robert & Lucinda Clement

Lois & Avern Cohn MM

Jack, Evelyn, and Richard Cole

Family Foundation

Mary Rita Cuddohy Estate

Margie Dunn & Mark Davidoff

APLF, MM

DSO Musicians MM

Bette Dyer Estate

Marjorie S. Fisher Fund MM

Dr. Marjorie M. Fisher & Mr. Roy Furman

Ms. Mary D. Fisher

Mr. & Mrs. Aaron Frankel MM

Barbara Frankel & Ronald Michalak MM

Victor◊ & Gale Girolami Fund

The Glancy Foundation, Inc. APLF

Herbert & Dorothy Graebner ◊

Richard Sonenklar & Gregory Haynes MM

Mr. & Mrs. David Jaffa

Renato & Elizabeth Jamett MM

Allan & Joy Nachman MM

Ann & Norman◊ Katz

Dr. Melvin A. Lester ◊

Florine Mark

Michigan Arts & Culture Council

Dr. Glenda D. Price

Ruth Rattner

Mr. & Mrs.◊ Lloyd E. Reuss

Mr. & Mrs. Fred Secrest◊

Jane & Larry Sherman

Cindy McTee & Leonard Slatkin

Marilyn Snodgrass Estate

Mr. and Mrs. Arn Tellem APLF

Nancy Schlichting & Pamela

Theisen APLF

Mr. James G. Vella MM

Eva von Voss and Family MM

Key: MM DSO Musicians Fund for Artistic Excellence

APLF Anne Parsons Leadership Fund

◊ Deceased

Sensory-Friendly Spotlight: Relaxed Open Rehearsals

The Detroit Symphony Orchestra is an inclusive and culturally relevant community where all people can experience their world through music. Each season, the DSO holds Relaxed Open Rehearsals and sensory-friendly events for individuals who may not feel comfortable in a traditional concert environment. Special focus is given to audience members on the autism spectrum and those with other sensory sensitivities.

The culture of attending live performances can be unforgiving for those who are unable to conform to the standard concert etiquette of quietly sitting still for extended periods, including those who may express emotions such as joy or excitement through vocalization. The DSO’s Relaxed Open Rehearsals aim to remove barriers, enabling participants to be themselves and enjoy a musical experience in a safe and judgement-free environment.

Kiersten Alcorn, the DSO’s Community Engagement Manager, is passionate about the organization’s commitment to advancing accessibility measures. “This programming is so important because it embodies our mission of cultivating an inclusive community

and musical experiences that are accessible to all,” said Alcorn. “Through this work, more people can enjoy the magic of the Detroit Symphony Orchestra in ways that empower our community and prioritize comfort and safety.”

On September 22, 2022, 50 attendees enjoyed a Relaxed Open Rehearsal as DSO musicians prepared for a weekend of DTE Community Concerts under the baton of DSO Assistant Conductor Na’Zir McFadden (Phillip & Lauren Fisher Community Ambassador). Attendees had access to resources to prepare for the event including a program guide, social story, and Spotify playlist to hear selections in advance. The DSO removed barriers to this event by hosting a limited number of audience members and providing other accommodations including noisereducing headphones and fidgets, a quiet area to take a break from the rehearsal if needed, and the opportunity to see and touch instruments beforehand.

The event was well received by those who attended, and filled a community need that is sometimes overlooked. “It is an environment where it feels safe to enjoy the music/experience in the way each of us enjoys it—some clapping, some singing, some helping the conductor, and some just listening in a way not usually available to us,” said one attendee.

The DSO looks forward to hosting more Relaxed Open Rehearsals in the future and continuing efforts to promote accessibility throughout The Max and community venues. Thanks to a donation from the Mid-Michigan Autism Association, the DSO now offers sensory toolkits (including noise-cancelling headphones and fidget toys) and a quiet room, available for patrons to use at every performance, beyond the dedicated sensory-friendly events. Visit the Accessibility tab at dso.org/yourexperience to learn more.

Karisa Antonio, the DSO’s Director of Social Innovation, guides participants as they interact with instruments ahead of the Relaxed Open Rehearsal on September 22

will visit the DSO.”

MEET NA’ZIR MCFADDEN

Commencing with the 2022-2023 season, American conductor

Na’Zir McFadden is the Assistant Conductor and Phillip & Lauren Fisher Community Ambassador of the Detroit Symphony Orchestra.

In this role, he works closely with Music Director Jader Bignamini and guest conductors on both the PVS Classical Series and William Davidson Neighborhood Concert Series. He also leads pre-concert lectures at Orchestra Hall and conducts a variety of programs on the Educational Concert Series, Young People’s Family Concert Series, and PNC Pops Series.

In fall 2022, he led DTE Community Concerts at five venues across Metro Detroit, powered by the DTE Energy Foundation. The yearly tradition signaled the start of the new season, and for McFadden, the start of his role with the DSO.

Previously, McFadden was the inaugural Apprentice Conductor of the Philadelphia Ballet Orchestra from 2020 to 2022, where he worked with Music Director Beatrice Jona Affron. He also served as the Robert L. Poster Conducting Apprentice of the New York Youth Symphony from 2020 to 2021.

SEE NA’ZIR IN ACTION AT ORCHESTRA HALL

Get tickets at dso.org

PNC

CLASSICAL

March 3-4

SYMPHONIC SUPERHEROES

March 11

YOUNG PERSON’S GUIDE TO THE ORCHESTRA

May 20

THE MUSIC OF ELTON JOHN FEATURING MICHAEL CAVANAUGH

May 13

RESPECT: A TRIBUTE TO ARETHA FRANKLIN

May 26-28

“Not only have I been inspired by the stellar performances given by the DSO through the years, but also by its commitment to preserving the highest of artistic standards while imagining a new bright future for classical music. I am eager to work and learn alongside Music Director Jader Bignamini and the many guest conductors who

—Na’Zir McFadden

PVS Classical Series

ROOTS

Young People’s Family Concert Series

Pops Series

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador, and Music Director of the Detroit Symphony Youth Orchestra

DETROIT SYMPHONY ORCHESTRA

JEFF TYZIK Principal Pops Conductor

PVS CLASSICAL SERIES

Title Sponsor:

NIGHT ON BALD MOUNTAIN & GAVRYLYUK PLAYS GRIEG

Thursday, February 23, 2023 at 7:30 p.m.

Friday, February 24, 2023 at 8 p.m.

Saturday, February 25, 2023 at 8 p.m. at Orchestra Hall

JADER BIGNAMINI, conductor ALEXANDER GAVRYLYUK, piano

Modest Mussorgsky Night on Bald Mountain (1839 - 1881)

Orch. Nicolai Rimsky-Korsakov

Edvard Grieg Concerto for Piano and Orchestra in A minor, Op. 16 (1843 - 1907)

I. Allegro molto moderato

II. Adagio

III. Allegro moderato molto e marcato

Alexander Gavrylyuk, piano

Intermission

Dora Pejačević Symphony in F Sharp minor, Op.41 (1885 - 1923)

Andante maestoso – Allegro con moto

Andante sostenuto

Scherzo: Molto allegro

Allegro appassionato

Saturday’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.

JADER BIGNAMINI , Music Director Music Directorship endowed by the Kresge Foundation

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

NA’ZIR MCFADDEN Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

NEEME JÄRVI Music Director Emeritus

LEONARD SLATKIN Music Director Laureate

PROGRAM AT-A-GLANCE | NIGHT ON BALD MOUNTAIN & GAVRYLYUK PLAYS GRIEG

Underground Renegades

Some of the world’s most notable and beloved musical masterpieces were the fruit borne from great risk. Mussorgsky’s Night on Bald Mountain was unorthodox for its time. Though he was a brilliant composer, Mussorgsky published very little during his lifetime, and his struggles with alcoholism led to his untimely death at age 42. Night on Bald Mountain was never officially published, but was revived, corrected, and premiered 5 years after his death by his former roommate and colleague Nikolai Rimsky-Korsakov. Edvard Grieg’s Piano Concerto in A minor, although well-received by the public, never fully satisfied the composer himself. After receiving encouragement from Franz Liszt, the work was finally published, but Grieg continued to pen revisions until his death. Dora Pejačević was a composer whose legacy succeeded her. As a female composer during a highly prejudiced time, she dedicated her life to composing and wrote only one symphony—her Symphony in F-sharp minor—which was so beloved that renowned conductor Arthur Nikisch performed and championed the work. These composers took risks, and thanks to those who believed in them, we may now enjoy these incredible works as part of the modern canon.

PROGRAM NOTES

Night on Bald Mountain

MODEST MUSSORGSKY ARR. RIMSKY-KORSAKOV

B. March 21, 1839, Karevo, Russia

D. March 28, 1881, St. Petersburg, Russia

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 12 minutes)

Mussorgsky is remembered as somewhat of a renegade of Russian music. This reputation had been acquired over time and reinforced by the thundering climaxes and raw emotion that bleed out of his compositions. He was a man led by his passions, and his work is largely branded by drama, bold harmonies, and dark textures. His compositional voice was judged by his colleagues as being highly exciting and expressive, but raw and unrefined. Perhaps this is what made him so unique, as this vivid expression suggests a strong visual component in his repertoire. In Night on Bald Mountain, we can almost see and feel the violence depicted throughout. This piece is a tone poem depicting a witches’ Sabbath on St. John’s Eve, which so happened to be the very night he completed this work, on

June 23, 1867. This piece itself never came to fruition, as his mentor Mily Balakirev expressed disdain for this work largely due to its innovative form and subject matter. While Mussorgsky recycled some of its musical materials in his operas Mlada and The Fair at Sorochyntsi, he never heard Night on Bald Mountain in its entirety during his lifetime.

ModestThe version of this tone poem that is performed today is an arrangement of the piece by Nikolai Rimsky-Korsakov, based on the excerpts of the piece Mussorgsky used in The Fair at Sorochyntsi. Its concert premiere was given in St. Petersburg in 1886, and the piece achieved immediate success. Mussorgsky originally composed this piece as a “vivid tone-painting of craggy peak [Bald Mountain] at night in bad weather,” but Rimsky-Korsakov’s arrangement brought out a new world of modern interpretations and textural depictions within the intricate orchestration. The tone of this piece is eerie, and the score is filled with bone-chilling elements like the sinister roll of the bass drum and slithering descending phrases emulating serpents. This piece possesses a clear, four-part structure outlined as such: “[1] an underground noise of inhuman voices. Appearance of the Spirits of Darkness followed by an appearance of Satan and [2] his adoration. [3] A Black Mass. [4] Joyful dancing of the Witches’

Sabbath.”

In the Western world, we typically associate Night on Bald Mountain with the notable collaboration between Leopold Stokowski and Disney studios in the 1940 classic film Fantasia. This piece’s legacy is long-lasting, having not only secured a scene in this movie, but also introducing a new and shocking compositional strategy of parodying religious chants. In the original Night on Bald Mountain score’s “Black Mass” section, Mussorgsky included a parody of a Russian Orthodox chant that would have been immediately recognized by Russian audiences—a technique later used by Hector Berlioz in his Symphonie fantastique but removed from the new Bald Mountain arrangement in its entirety by Rimsky-Korsakov.

The DSO most recently performed Mussorgsky’s Night on Bald Mountain in October 2021 at a family concert, conducted by Kelly Corcoran. The DSO first performed the piece in March 1924, conducted by Victor Kolar.

Concerto in A minor for Piano and Orchestra, Op. 16

Composed 1868 | Premiered April 3, 1869 EDVARD

GRIEG

B. June 15, 1843, Bergen, Norway

D. September 4, 1907, Bergen, Norway

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. (Approx. 30 minutes)

Edvard Grieg once allowed that “my music has a taste of codfish in it,” and his compositions were indeed always inflected with the accent of his native Norway. He became famous around the world for his many dances, songs, piano pieces, and other miniatures imbued with the spirit and style of his homeland, but he also occasionally ventured into the larger genres for orchestra and chamber ensembles.

The most famous of these large-scale works, and one of the most beloved entries in the entire keyboard repertory, is his Piano Concerto of 1868.

Grieg completed his studies at the Leipzig Conservatory in 1863. Rather than heading directly home to Norway, however, he settled in Copenhagen to study privately with Niels Gade, Denmark’s most prominent musician at that time and generally regarded as the founder of the modern Scandinavian school of composition. After returning to Norway, Grieg concentrated his creative work on the large forms advocated by his Leipzig teachers and by Gade. He also carried on his work to promote native music and gave an unprecedented concert exclusively of Norwegian compositions in 1866. Its success brought him an eminence that lifted him to the front rank of Scandinavian musicians: He was appointed conductor of the Philharmonic Society in Christiania (Oslo), had a full schedule of pupils, and was popular as a piano recital artist. Grieg arranged to have the summer of 1868 free of duties, and he returned to Denmark for an extended vacation at a secluded retreat at Sölleröd. He thoroughly enjoyed that summer, sleeping late, taking long walks, eating well, and tipping a glass in the evenings with friends at the local inn. The sylvan setting also spurred his creative energies, and he composed freely for several hours each afternoon, largely completing his Piano Concerto by the time he returned to Norway in the fall.

The concerto’s first movement opens with a bold summons by the soloist. The main theme is given by the woodwinds and taken over almost immediately by the piano. A flashing transition, filled with skipping rhythms, leads to the second theme—a tender cello melody wrapped in the warm harmonies of the trombones. An episodic development section, launched by the full orchestra playing the movement’s opening motive, is largely based on the main theme in dialogue. The recapitulation returns the earlier themes,

after which the piano launches into a tightly woven cadenza. The stern introductory measures are recalled to close the movement. The adagio begins with a song filled with sentiment and nostalgia played by the strings and rounded off by touching phrases in the solo horn. The soloist weaves elaborate musical filigree above the simple accompaniment before the lovely song returns in an enriched setting. The themes of the finale’s outer sections are constructed in the rhythms of a popular Norwegian dance, the halling. The movement’s central portion presents a wonderful melodic inspiration, introduced by the solo flute, that derives from the dreamy atmosphere of the preceding movement.

The DSO most recently performed Grieg’s Concerto in A minor for Piano and Orchestra in June 2015, conducted by Marcelo Lehninger and featuring pianist Andrew von Oeyen. The DSO first performed the piece in November 1914, conducted by Weston Gales and featuring pianist Kathryn Goodson.

Symphony in F-sharp minor, Op. 41

Composed 1916-1917 | Premiered 1917

DORA PEJAČEVIĆ

B. September 10, 1885, Budapest, Hungary

D. March 5, 1923, Munich, Germany

Scored for 3 flutes (2 doubling piccolo), 2 oboes, english horn, 2 clarinets, bass clarinet, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 47 minutes)

Dora Pejačević was one of the most prominent and talented female composers of the late 19th and early 20th centuries. Although mainly selftaught, she developed her compositional prowess over time through contact with various artists and intellectuals including Karl Kraus. Pejačević

additionally studied in Zagreb at the Croatian Music Institute, in Dresden with Sherwood, and in Munich with Courvoisier. Due to societal limitations of the time, it was very uncommon for women to compose or participate in classical music—making Pejačević’s career all the more remarkable.

Born in Budapest, Hungary, she was a descendant of the noble Pejačević family of Croatia on her father’s side. Her mother, a Hungarian countess and pianist, taught Dora her first piano lessons. As a member of the aristocracy, Dora was very engaged with culture and education and was able to speak and read several languages. Despite her noble status, she was said to be very down to earth, holding special empathy for the common people following the suffering of World War I. Pejačević dedicated her life to her art and produced many notable compositions, though just one symphony: the Symphony in F-sharp minor.

The work was released in two versions, with the first finished in August 1917 and the second completed in 1920 with compressed versions of some original sections and a widening of the orchestral instrumentation in the new, final movement. The piece is written in a traditional Romantic four-movement disposition and follows the typical progression of tempi for each movement: a fast and dramatic first movement, a slow and lyrical second movement, a scherzo third movement, and ending with a fast and passionate final movement. Its rich instrumentation (featuring a sizeable horn and brass section) follows the late-Romantic style, and it served as one of the first modern symphonies by a Croatian composer. The work was premiered in Dresden in 1920 and was so well-received that prominent conductor Arthur Nikisch wanted to program and conduct it. Pejačević had an excellent sense of orchestral color, a strong rhythmic and melodic gift, and continued to evolve her compositional style over time from a late Romantic idiom to a modern and mature style enriched with

impressionist harmonies. The maturity of her talents seep into each performance of the piece, allowing the audience to reveal new and lovely nuances with each listen.

PROFILES

Jader Bignamini biography, see page 6.

ALEXANDER GAVRYLYUK

Astunningly virtuosic pianist, Alexander Gavrylyuk is internationally recognized for his electrifying and poetic performances. Highlights of the 2021-2022 season included debuts with San Diego Symphony, Dallas Symphony, Bergen Philharmonic, Rheinische Philharmonie, and Antwerp Symphony Orchestras, as well as return visits to Chicago Symphony, Sydney Symphony, New Mexico Philharmonic, and Netherlands Philharmonic Orchestra.

Born in Ukraine in 1984 and holding Australian citizenship, Gavrylyuk began his piano studies at the age of seven and gave his first concerto performance when he was nine years old. At the age of 13, Gavrylyuk moved to Sydney, where he lived until 2006. He won First Prize and Gold Medal at the Horowitz International Piano Competition (1999), First Prize at the Hamamatsu International Piano Competition (2000), and Gold Medal at the Arthur Rubinstein International Piano Masters Competition (2005).

He has since gone on to perform with many of the world’s leading orchestras, including the New York, Los Angeles, Czech, Warsaw, Moscow, Seoul, Israel, and Rotterdam philharmonics. He has collaborated with conductors including Vladimir Ashkenazy, Alexandre Bloch, Herbert Blomstedt, Andrey Boreyko, Thomas Dausgaard, Valery Gergiev, Neeme Järvi, Vladimir Jurowski, Sebastian Lang-Lessing, Kirill Karabits,

This performance marks the DSO premiere of Pejačević’s Symphony in F-sharp minor.

Louis Langrée, Cornelius Meister, Vassily Petrenko, Rafael Payare, Alexander Shelley, Yuri Simonov, Vladimir Spivakov, Markus Stenz, Sir Mark Elder, Thomas Søndergård, Gergely Madaras, Mario Venzago, Enrique Mazzola, and Osmo Vänskä.

Gavrylyuk has appeared at many of the world’s foremost festivals, including the Hollywood Bowl, Bravo! Vail in Colorado, Mostly Mozart, the Ruhr Festival, the Kissinger Sommer International Music Festival, and the Gergiev Festival in Rotterdam.

As a recitalist, Gavrylyuk has performed at the Musikverein in Vienna, Tonhalle Zurich, Victoria Hall Geneva, Southbank Centre’s International Piano Series, Wigmore Hall, Concertgebouw

Master Pianists Series, Suntory Hall, Tokyo Opera City Hall, Great Hall of Moscow Conservatory, Cologne

Philharmonie, Tokyo City Concert Hall, San Francisco, Sydney Recital Hall, and Melbourne Recital Centre. Gavrylyuk also performs regularly with recital partner Janine Jansens throughout Europe.

Gavrylyuk is Artist-in-Residence at Chautauqua Institution, where he leads the piano program as an artistic advisor. He supports a number of charities including the Theme and Variations Foundation, which aims to provide support and encouragement to young, aspiring Australian pianists as well as Opportunity Cambodia, which has built a residential educational facility for Cambodian children.

Alexander Gavrylyuk is a Steinway Artist.

JEFF TYZIK Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

A COMMU N I T Y -SU P P ORT E D ORCHESTRA

JADER BIGNAMINI , Music Director Music Directorship endowed by the Kresge Foundation

MUSIC DIRECTOR

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

NA’ZIR MCFADDEN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

PVS CLASSICAL SERIES

Title Sponsor:

CLASSICAL ROOTS

Friday, March 3, 2023 at 10:45 a.m. • Saturday, March 4, 2023 at 8 p.m. at Orchestra Hall

NA’ZIR MCFADDEN, conductor • ANTHONY MCGILL, clarinet^ • EARL HOWARD, Kurzweil synthesizer‡ DAVÓNE TINES, bass-baritone ∞ • JESSICA CARE MOORE, poet* BRAZEAL DENNARD CHORALE, ALICE MCALLISTER TILLMAN, Artistic Director ±

John Rosamond Johnson (1873 - 1954) Lift Every Voice and Sing±

Lyrics by James Weldon Johnson arr. Roland Carter

Adolphus Hailstork (b. 1941) O Praise the Lord± Rochelle Mitchell, Yvonne Turner, Darrius Washington

Traditional/arr. Norah Duncan IV Hold On!± Alice McCallister Tillman, Tuesday Rambo McCall

Anthony Davis (b. 1951) You Have the Right to Remain Silent, Concerto for Clarinet/contra-alto clarinet, Kurzweil synthesizer, and ensemble in four movements^ ‡

I. Interrogation • II. Loss

III. Incarceration • IV. Dance of the Other Intermission

Florence Price Concert Overture No. 2 (“Go Down Moses,” “Ev’ry Time I (1887 - 1953) Feel the Spirit,” “Nobody Knows the Trouble I’ve Seen”)

Various Concerto No. 1: SERMON, devised by Davóne Tines ∞ *

Movement 1

Recitation: Excerpt from The Fire Next Time, by James Baldwin

John Adams, “Shake the Heavens” from El Niño (A Nativity Oratorio)

Movement 2

Recitation: Hope, by Langston Hughes

Igee Dieudonné & Davóne Tines, “Vigil”

Movement 3

EXEGESIS, by jessica Care moore

Anthony Davis, “You Want the Truth, but You Don’t Want to Know,” from X: The Life and Times of Malcom X (1986)

Saturday’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.

NEEME JÄRVI Music Director Emeritus LEONARD SLATKIN Music Director Laureate

PROGRAM AT-A-GLANCE | CLASSICAL ROOTS

Celebrating Classical Roots

The Classical Roots mission seeks to increase awareness of the significant contributions African American composers and musicians have made to classical music. This year’s Classical Roots program includes Florence Price’s Concert Overture No. 2, Anthony Davis’s You Have the Right to Remain Silent with Anthony McGill (clarinet) and Earl Howard (Kurzweil synthesizer), and the DSO premiere of Davóne Tines’s devised Concerto No. 1: SERMON with Detroit-based poet jessica Care moore.

Beyond Orchestra Hall, the Classical Roots festivities extend to The Cube for a performance by renowned pianist and composer BLKBOK. In the community, DSO African American Orchestra Fellow Jaquain Sloan (bassoon) performs at Hartford Memorial Baptist Church in Detroit; at the Plymouth United Church of Christ, a DSO chamber ensemble is joined by choir to perform repertoire by Black composers. Across Metro Detroit, we celebrate the contributions of Black artists to the rich heritage of classical music.

PROGRAM NOTES

Lift Every Voice and Sing

JOHN ROSAMOND JOHNSON/ ARR. CARTER

Scored for 2 flutes, oboe, 2 clarinets, bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, and strings (Approx. 5 minutes)

Lift Every Voice and Sing was first performed, in poetry form, in commemoration of President Lincoln’s birthday on February 12, 1900, by a choir of 500 schoolchildren from the segregated Stanton School in Jacksonville, Florida—hometown of sibling creators John Rosamond and James Weldon Johnson. The poem was set to music five years later.

Voicing the cry for liberation and affirmation for African American people, the song was declared “The Negro National Anthem” by the NAACP in 1919. It gained new popularity as a protest song during the Civil Rights Movement and was entered into the Congressional Record in the 1990s as the official African American National Hymn.

In his second autobiography Along This Way, James Weldon Johnson describes the emotion in writing Lift Every Voice and

Sing : “I could not keep back the tears, and made no effort to do so.” He later reported that creating the song’s lyrics was the greatest satisfaction of his life.

Lift Every Voice and Sing has been sung at the beginning of every Classical Roots concert since the event’s inauguration in 1978. You are invited to sing along to this historic work and join the Brazeal Dennard Choir in celebration.

“Lift ev’ry voice and sing, ‘Til earth and heaven ring, Ring with the harmonies of Liberty; Let our rejoicing rise

High as the listening skies,

Let it resound loud as the rolling sea.

Sing a song full of the faith that the dark past has taught us,

Sing a song full of the hope that the present has brought us;

Facing the rising sun of our new day begun,

Let us march on ‘til victory is won.

Stony the road we trod, Bitter the chastening rod,

Felt in the days when hope unborn had died;

Yet with a steady beat, Have not our weary feet

Come to the place for which our fathers sighed?

We have come over a way that with tears has been watered,

We have come, treading our path through the blood of the slaughtered, Out from the gloomy past, ‘Til now we stand at last Where the white gleam of our bright star is cast.

God of our weary years, God of our silent tears, Thou who has brought us thus far on the way; Thou who has by Thy might Led us into the light, Keep us forever in the path, we pray. Lest our feet stray from the places, our God, where we met Thee, Lest, our hearts drunk with the wine of the world, we forget Thee; Shadowed beneath Thy hand, May we forever stand, True to our God, True to our native land.”

You Have the Right to Remain Silent

Composed 2007 | Premiered 2007 | Revised 2011

ANTHONY DAVIS

B. February 20, 1951, Paterson, NJ

Scored for solo clarinet (doubling on contra-alto clarinet), Kurzweil synthesizer, flute, oboe, clarinet, bassoon, horn, trumpet, trombone, percussion, harp, and strings (Approx. 25 minutes)

Anthony Davis is an internationally renowned composer of operatic, symphonic, choral, and chamber works, and a winner of the Pulitzer Prize for his opera The Central Park Five. He is best known for his operas X: The Life and Times of Malcolm X , Under the Double Moon, The Central Park Five, and Tania

You Have the Right to Remain Silent was written in 2007 for clarinetist J.D. Parran and Kurzweil synthesizer player Earl Howard. Parran and the Perspectives Ensemble premiered the work in 2007 at New York’s Miller Theatre.

Of this piece, Davis writes the following: “You Have the Right to Remain Silent, for solo clarinet, Kurzweil, and chamber ensemble, takes its inspiration from the Miranda warning. The piece was conceived as a concerto for clarinetist J.D. Parran with realtime processing by Earl Howard on the Kurzweil. I tried to approach ‘Silence’ as, rather than John Cage’s apolitical world of ‘white privilege,’ a much more dangerous space. In the first movement, ‘Interrogation,’ I imagined the clarinet being interrogated by the orchestra as the orchestra utters ‘You have the right to remain silent.’ In the second movement, ‘Loss,’ a phasing texture slowly emerges as the orchestration gains momentum through metric modulation, setting up an improvised duet with the contra-alto clarinet and the Kurzweil. This section concludes with an homage to Charles Mingus with a melodic variation for the contra-alto clarinet in F minor that starts as a dirge and ends in swing. The third movement, ‘Incarceration,’ involves the percussion, with more text from the Miranda in contrast to the clarinet and Kurzweil. I have always been fascinated by the relationship of speech to rhythm, from Sprechstimme to hip-hop. The Kurzweil processes both the clarinet and the percussion. The final movement, ‘Dance of the Other,’ begins with a rather simple melody that suggests the fantasy of otherness.”

This performance marks the DSO premiere of Davis’s You Have the Right to Remain Silent

Concert Overture No. 2

Composed 1943 | Premiered 1943

FLORENCE PRICE

B. April 9, 1887, Little Rock, Arkansas

D. June 3, 1953, Chicago, Illinois

Scored for 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 14 minutes)

Florence Beatrice (Smith)

Price was the most widely known African American woman composer from the 1930s until her death in 1953. After graduating as valedictorian of her class at the age of 14, she enrolled at the New England Conservatory of Music where she studied organ and piano performance, and later composition with George Chadwick and Frederick Converse.

Price was the first Black female composer to have a symphony performed by a major American orchestra—her Symphony No. 1 in E minor, premiered by the Chicago Symphony Orchestra on June 15, 1933. The premiere brought instant recognition and accolades to Price, yet much of her music eventually fell into neglect due to “a dangerous mélange of segregation, Jim Crow laws, entrenched racism, and sexism” (Women’s Voices for Change, 2013). Price’s compositions reflect a romantic nationalist style, while incorporating African American musical forms.

Price’s Concert Overture No. 2 was composed between her second and third symphonies. The first half of this work is based on three spirituals portrayed in miniature scenes: “Go Down, Moses;” “Nobody Knows the Trouble I’ve Seen;” and “Ev’ry Time I Feel the Spirit.” Composed in 1943, the musical character of these spirituals moves rapidly in succession from somber, to poignant, to exuberant. The second half of this overture takes excerpts in the form of melodic fragments from the first three sections into a unified portrait closing with a return of “Go Down, Moses” as a symbolic cry for liberation.

Price was known for her settings of spirituals, which have been performed by some of the 20th century’s greatest vocalists including Marian Anderson and Leontyne Price. Although much of Price’s music remained unpublished until after her death, the rights to her work were acquired in 1918 by G. Schirmer, and recent scholarship and research has led to an increase in frequency of orchestras

around the world performing her works. Her Concert Overture No. 2 might have been lost if it wasn’t for the good fortune and hard work of Tom Dillard and Tim Nutt, librarians at the University of Arkansas who found this work among Price’s assets in her late Chicago residence.

This performance marks the DSO premiere of Florence Price’s Concert Overture No. 2.

Concerto No. 1: SERMON

Composed 2021 | Premiered 2021

VARIOUS COMPOSERS DEVISED BY DAVÓNE TINES

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, 3 trombones, timpani, percussion, harp, 2 keyboards, and strings. (Approx. 20 minutes)

Of Concerto No. 1: SERMON, Davóne Tines writes the following:

“Before I was a singer, I was a violinist for 14 years. I deeply love the broader orchestral repertoire and, as a young person, dreamed of performing concertos with major orchestras. When I became a singer, I didn’t want to leave that dream behind. With Concerto No. 1: SERMON, I wanted to begin to explore what it might mean for a singer to dialogue with an orchestra in the same way.

The complication that singing adds is the likely necessity of words. And with the addition of words, there is the likely addition of explicit meaning. If a concerto is essentially a statement made by a soloist in dialogue with an orchestra, then what could be expressed if this notion of a ‘statement’ is made more literal or even more personal through words? Should the words be poetic? Prose? Abstract? Direct? The notion of an abstract personal statement is intrinsic in the instrumental (e.g. wordless) concerto form. Solo instrumentalist artists have been doing this for centuries via their readings and

interpretations of wordless musical texts. We surmise that we get a sense of an individual artist’s persona and personality through their interpretation. Some appreciate the anonymity that abstraction affords the artist and audience alike, but for me, as an artist of classical music in a fraught contemporary context, I find there is an incredible opportunity and need for a classical artist to be in direct, unmitigated, intentional, and non-abstract communication with an audience. So, what did I want to say?

In the Fall of 2020, I was invited by Philadelphia Orchestra Music Director Yannick Nézet-S éguin to perform John Adams’s The Wound Dresser. That beautiful, impressionistic piece, made on a text by Walt Whitman, can be understood as an extolling of the importance of care; but at the particular time, after yet another resurgence in attention paid to the undue deaths of Black people at the hands of police, this time Breonna Taylor and George Floyd, I wanted to say something more personal, less abstract, and utterly direct.

I decided to explore the idea of delivering a sermon to speak to the majority white audience I would encounter; to make an appeal to that group which holds the most power and accountability in the matters of systemic and institutionalized racist violence.

There’s a lot of different kinds of sermons, and I chose the idea of an exegesis sermon, the tradition I was most familiar with growing up in the Black Baptist church of rural Northern Virginia. In an exegesis, a speaker takes scriptures and expounds on them in order to share a principle or value. I wanted to share with an audience what it might mean to be a marginalized identity, wanting to be able to exist in a way in spite of marginalization. So, in order to tell that story, I chose three different poetic and prose texts by Black writers to serve as ‘scriptures,’ and paired them with three arias or songs that elucidate the texts.

The program starts with a text by

James Baldwin excerpted from his A Letter to My Nephew used to introduce his book The Fire Next Time. In the text, Baldwin explores an idea of what it might mean or imply for marginalized people to exist beyond the fixed roles prescribed by their marginalization. That text is followed by John Adams’s Shake the Heavens from his El Niño oratorio which sonically shows a person moving into humanity almost by force, by shaking the heavens and the earth and disrupting reality or the majority expected identity of said person.

The next text is a short poem by Langston Hughes titled Hope. The idea being that a Black person claiming humanity isn’t a violent act, but rather a simple, human act. And what more human act is there than expressing emotion? And in this particular song, I wanted to express the human emotion of hope.

Then there’s an interrogation. At the golden mean, there’s a moment where the audience is asked to contend with the fact that myself or someone of a marginalized identity even ever feels the need to defend their humanity in the first place. The audience has seen me announce my humanity, then demonstrate, and now I ask: ‘Why do I still feel the need to prove my humanity to you?’ I asked my dear colleague and incredible writer jessica Care moore to create a text in response to that question. This text is in lineage with the text of an aria I premiered from John Adams’s opera Girls of the Golden West based on an excerpt from Frederick Douglass’s staggering 1852 speech What to the Slave Is the Fourth of July?, which states: ‘Is it not astonishing that, while we are ploughing, planting and reaping,... living, moving, acting, thinking,... we are called upon to prove that we are men!’

What does it mean for someone to be existent in a place where they feel they need to defend the basic fact that they’re human? This critical sentiment is brilliantly expressed in the main aria from Anthony Davis’s X: The Life and Times of Malcolm X titled ‘You want the truth, but you don’t want to know.’ The aria spells

out that the crime and violence Malcolm X is accused of is a reflection of the systemically dehumanizing violence that was enacted upon him and his family for his entire life.

So, hopefully this direct personal statement, delivered as a sermon, in the form of a concerto, provokes the audience to question their complicity in a society that

PROFILES

NA’ZIR MCFADDEN

American conductor

Na’Zir McFadden is the newly appointed Assistant Conductor and Phillip & Lauren Fisher Community Ambassador of the Detroit Symphony Orchestra.

In this position, he works closely with Music Director Jader Bignamini and guest conductors on both the PVS Classical Series and William Davidson Neighborhood Concert Series. Additionally, he leads pre-concert lectures at Orchestra Hall, and conducts a variety of programs on the Educational Concert Series, Young People’s Family Concert Series, and PNC Pops Series, as well as DTE Community Concerts.

Also commenced with the 2022-2023 season, McFadden serves as Music Director of the Detroit Symphony Youth Orchestra. This season, they will present three programs—exploring the symphonies of Dvořák, Tchaikovsky, and Florence Price.

An advocate for arts education, McFadden strives to provide access to the arts for students in underserved communities. This season, McFadden will make appearances with youth ensembles in Salt Lake City and with the Philadelphia All-City Music Festival. In the past, he’s worked with youth ensembles in Chicago, New York City, St. Louis, and Los Angeles.

Recent engagements include a recording project with the Civic Orchestra of

continues, through generations, to provoke marginalized people, Black people, to prove that we are deserving of the so-called inalienable rights afforded to those who are undeniably human.”

This performance marks the DSO premiere of Concerto No. 1: SERMON devised by Davóne Tines.

Chicago as part of the Chicago Symphony Orchestra’s “Notes for Peace” initiative— which featured Hilary Hahn as guest soloist.

McFadden was the inaugural Apprentice Conductor of the Philadelphia Ballet Orchestra from 2020 to 2022, where he worked with Music Director Beatrice Jona Affron. He also served as the Robert L. Poster Conducting Apprentice of the New York Youth Symphony from 2020 to 2021.

McFadden conducted his hometown orchestra—The Philadelphia Orchestra— in their “Pop-Up” series in 2017, where he met Music Director Yannick Nézet-S éguin, who has been a mentor ever since. The Philadelphia Inquirer praised his “great stick [baton] technique and energetic presence on the podium” in their review of the concert.

Upcoming engagements include a series of commissions with Orchestra 2001 and appearances with the Utah Symphony and the Philadelphia Ballet.

ANTHONY MCGILL

Hailed for his “trademark brilliance, penetrating sound and rich character” (The New York Times), clarinetist

Anthony McGill is one of classical music’s most recognizable and brilliantly multifaceted figures. In addition to his dynamic international solo and chamber music career,

McGill is principal clarinet of the New York Philharmonic—the first African American principal player in the organization’s history.

In 2020, he was awarded the Avery Fisher Prize, one of classical music’s most significant awards given in recognition of soloists who represent the highest level of musical excellence. McGill was honored to take part in the 2009 inauguration of President Barack Obama, premiering a piece written for the occasion by John Williams and performing alongside violinist Itzhak Perlman, cellist Yo-Yo Ma, and pianist Gabriela Montero.

McGill appears regularly as a soloist with top orchestras around North America, including the New York Philharmonic, Metropolitan Opera, Baltimore Symphony Orchestra, San Diego Symphony, and Kansas City Symphony. This season he’ll solo in the US premiere of Esa-Pekka Salonen’s Kínēma for solo clarinet and orchestra with the New York Philharmonic. He’ll also serve as the Orlando Philharmonic’s Artist-in-Residence, and during this series of performances he’ll premiere a new clarinet arrangement of the Bologne (Chevalier de Saint-Georges) Violin Concerto in A major, Op. 5, No. 2.

This past June, he performed as part of The Re-Collective Orchestra, the firstever all-Black orchestra to play the Hollywood Bowl, in a CNN broadcast commemorating the first year Juneteenth was recognized as a federal holiday.

A graduate of the Curtis Institute of Music, McGill previously served as the principal clarinet of the Metropolitan Opera and associate principal clarinet of the Cincinnati Symphony Orchestra.

McGill serves on the board of directors for Cedille Records and the Harmony Program, and on the advisory councils for the InterSchool Orchestras of New York and The Time In Children’s Arts Initiative. He is a Vandoren Artist and Buffet Crampon Artist.

EARL HOWARD

EarlHoward has been performing his compositions in the United States and Europe for over fifty years. His recent compositions include music for live electronics, electronic tape music, as well as music for electronics and instruments. Howard’s method of creating orchestrated sounds with electronics and adding live, improvisational performance creates a unique, densely layered composition. Howard creates sounds from scratch using all synthesis (granular, additive, frequency modulation and vector) techniques. Live processing with musicians is central to his work.

Howard has performed at numerous venues including Merkin Hall, the Whitney Museum, The Kitchen, The Knitting Factory, Experimental Intermedia, Roulette, and Carnegie Recital Hall. In 2011, Howard received a Guggenheim Fellowship. In 2004, his first sound installation was commissioned for the Tiffany Collection at the Queens Museum of Art. In the spring of 2003, Howard had a Regents Fellowship at UCSD. Howard received three New York Foundation for the Arts Fellowships. In 1998, Howard was the recipient of Harvard’s Fromm Foundation Commission. He graduated from California Institute of the Arts in Music Composition in 1974.

Howard has performed frequently with improvisers including Georg Graewe, Mari Kimura, Anthony Davis, Mark Dresser, Anne LeBaron, JD Parran, Gustavo Aguilar, Thomas Buckner, and George Lewis.

Howard has also produced numerous soundtracks for some of the leading film and video artists including Nam June Paik, Mary Lucier, Rii Kanzaki, Bob Harris, and Bill Brand.

DAVÓNE TINES

Davóne Tines is a pathbreaking artist whose work not only encompasses a diverse repertoire, from early music to new commissions by leading composers, but also explores the social issues of today. A creator, curator, and performer at the intersection of many histories, cultures, and aesthetics, he is engaged in work that blends opera, art song, contemporary classical music, spirituals, gospel, and songs of protest, as a means to tell a deeply personal story of perseverance that connects to all of humanity. His projects include Recital No.

1: MASS, a program exploring the Mass woven through Western European, African American, and 21st century traditions, which he performs this season at Carnegie Hall and other venues; Concerto No. 1: SERMON and Concerto No. 2: ANTHEM, two programs he conceived for voice and orchestra that weave arias and contemporary song, including arrangements by Tines, with poetry; and Everything Rises, a multimedia musical work exploring artistic journeys and family histories, co-created with violinist Jennifer Koh. Tines is Philharmonia Baroque Orchestra & Chorale’s Creative Partner and in January 2023 he becomes Artist-in-Residence at Brooklyn Academy of Music. He recently served as Artist-inResidence at Detroit Opera—an appointment that culminated in his performance in the title role of Anthony Davis’s X: The Life and Times of Malcolm X , and he is featured on the world premiere recording of X with Odyssey Opera and Boston Modern Orchestra Project, released this fall on BMOP/sound. Tines is a member of AMOC and co-creator of The Black Clown, a music theater experience

commissioned and premiered by The American Repertory Theater. He is Musical America’s 2022 Vocalist of the Year and a recipient of the 2020 Sphinx Medal of Excellence. He is a graduate of The Juilliard School and Harvard University, where he also serves as guest lecturer.

JESSICA CARE MOORE

jessica

Care moore is the CEO of Moore Black Press, Executive Producer of Black WOMEN Rock!, and founder of the literacy-driven Jess Care Moore Foundation. An internationally renowned poet, playwright, performance artist, and producer, she is the 2013 Alain Locke Award Recipient from the Detroit Institute of Arts. moore is the author of The Words Don’t Fit in My Mouth, The Alphabet Verses The Ghetto, God is Not an American, Sunlight Through Bullet Holes, and a memoir, Love is Not The Enemy. Her poetry has been heard on stages including Carnegie Hall, Lincoln Center, and the London Institute of Contemporary Arts. She has performed on every continent and believes poems belong everywhere and to everyone.

Born in Detroit, moore first came to national prominence when she won on the legendary “It’s Showtime at the Apollo” competition a record-breaking five times in a row. Her searing performance of the poem “Black Statue of Liberty” earned moore several meetings with high profile publishing companies, but in 1997, she paved her own path and launched a publishing company of her own, Moore Black Press. She released her first book, The Words Don’t Fit In My Mouth, and sold more than 20,000 copies. Along with her own work, she proudly published famed poets such Saul Williams, Shariff Simmons, Def Poetry Jam’s co-founder Danny Simmons, NBA player Etan Thomas, Ras Baraka, and

former Essence Magazine editor Asha Bandele.

She was the host, writer, and co-Executive Producer of the poetry driven television show, Spoken, which was executive produced by and directed by Robert Townsend and aired on The Black Family Channel. moore’s poetry is featured on Nas’s Nastradamus album, Talib Kweli’s Attack The Block Mix Tape, and she is a returning star of Russell Simmons’s HBO Series, “Def Poetry Jam.”

THE BRAZEAL DENNARD CHORALE

half a century, Detroit’s own Brazeal Dennard Chorale has been committed to remembering, preserving, and discovering the music of African American composers and artists. Nationally known for its expressive renditions of African American music in the choral tradition, the Chorale is one of the oldest organizations of its kind in America.

In 1972, the Brazeal Dennard Chorale was established, with a mission to promote the music of African American composers and to perpetuate the heritage of the Negro Spiritual. This highly skilled group of singers not only preserves this rich musical heritage, but also performs music from all genres of Choral Music repertoire at the highest level. The Chorale has performed at every Classical Roots concert since its inception in 1978.

Under the leadership of Artistic Director Alice McAllister Tillman, the

Chorale continues to maintain a value system that fosters bridge-building, innovation, collaboration, community, inclusivity, and excellence. Through performances, commissions of new choral works, recordings, and engaging with communities across America, the Chorale is continuing the tradition of African Americans who sang unaccompanied melodies which told of the pains of slavery, the yearning to be free, and the hope of God’s salvation. Recently, the Chorale participated in a commission consortium through Chorus America. The work, Make Some Noise, Get in Trouble (Good Trouble, Necessary Trouble), composed by Roland M. Carter commemorates the memory of the Honorable John R. Lewis and was premiered by the Brazeal Dennard Chorale in April of 2022.

ForThe Brazeal Dennard Chorale is an award-winning organization that in 2018 received the Brazeal Wayne Dennard Award (presented by Chorus America) in recognition of the Chorale’s commitment to diversity, inclusiveness, and furthering African American choral traditions and other diverse choral music traditions through performance, research, or the creation of new compositions of significance.

DETROIT SYMPHONY ORCHESTRA

JADER BIGNAMINI , Music Director

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

NA’ZIR MCFADDEN

SONDHEIM & BEYOND

TITLE SPONSOR:

Friday, March 10, 2023 at 10:45 a.m. & 8 p.m.

Saturday, March 11, 2023 at 8 p.m.

Sunday, March 12, 2023 at 3 p.m. in Orchestra Hall

ANDY EINHORN, conductor

ANDREA ROSS, vocalist

JIM HOGAN, vocalist

Program to be announced from the stage

Music Directorship endowed by the Kresge Foundation

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

NEEME JÄRVI Music Director Emeritus

LEONARD SLATKIN Music Director Laureate

JEFF TYZIK

Principal Pops Conductor

PROGRAM AT-A-GLANCE | SONDHEIM & BEYOND

The Glamorous Life of Stephen Sondheim

Stephen Sondheim is fondly remembered as “a giant of musical theater,” creating some of the greatest musicals of all time. He described himself as an “eclectic,” composing a diverse catalogue including musicals A Little Night Music, Pacific Overtures, and Sweeney Todd. Having grown up in an abusive home, Sondheim found love and guidance through the mentorship of the great Oscar Hammerstein II, who empowered him with invaluable lessons to kickstart his long and successful career. Shortly before his death in November 2021, he spoke with Mark Stryker, a former music critic for the Detroit Free Press ahead of the Detroit Opera’s performance of A Little Night Music. In this interview, he was asked about his feelings about his music not being “hummable.” Sondheim stated “As the cliché has it, there are scores where you go into the theater humming the tune, because you know exactly what’s going to come next. I find that kind of music uninteresting and no fun. On the other hand, you don’t have to be supremely dissonant. You just have to have some freshness or surprise going on someplace. At least I have to.” In this program, we celebrate the life and work of Sondheim and his many collaborators—a man who shaped the future of Broadway and whose legacy will live on forever.

PROFILES

ANDY EINHORN

Broadway music director and conductor

Andy Einhorn has led the Indianapolis Symphony, Houston Symphony, Calgary Philharmonic, Tucson Symphony, and Fresno Philharmonic orchestras.

Beginning in April 2017, he conducted Bette Midler in the Broadway revival of Michael Stewart and Jerry Herman’s Hello Dolly!, for which he serves as music director. Einhorn’s other Broadway credits include Irving Berlin’s Holiday Inn, Woody Allen’s Bullets Over Broadway, Rodgers + Hammerstein’s Cinderella, Andrew Lloyd Weber’s Evita, Stu Barker’s music for Brief Encounter, Adam Guettel’s The Light in the Piazza, and Sondheim on Sondheim. He also served as music director and conductor for the Theatre du Châtelet’s production of Sondheim’s Passion in Paris.

Since 2011, Einhorn has served as music director and pianist for six-time Tony Award-winner Audra McDonald, performing with ensembles including The Philadelphia Orchestra, San Francisco Symphony, National Symphony

Orchestra, and Los Angeles Opera, and at venues including David Geffen Hall, Carnegie Hall, Walt Disney Concert Hall, and Teatro Real in Madrid. Einhorn has also served as music director for Barbara Cook at Feinstein’s and Toronto’s Royal Conservatory of Music.

His tour work includes Sondheim’s Sweeney Todd, The Light in the Piazza, Benny Andersson and Björn Ulvaeus’s Mamma Mia!, and Elton John’s The Lion King. Einhorn’s work can be heard on the current touring production of Rodgers & Hammerstein’s The Sound of Music. He has worked at Goodspeed Opera House, Signature Theatre, Oregon Shakespeare Festival, and PaperMill Playhouse. He was principal vocal coach and pianist for Houston Grand Opera’s An Evening with Audra McDonald, a double-bill of Poulenc’s La Voix humaine and LaChiusa’s Send.

Einhorn is an honors graduate of Rice University in Houston, Texas. His recording credits include Bullets Over Broadway, Cinderella, Evita, Sondheim on Sondheim (Grammy nomination), Stage Door Canteen, and McDonald’s newest release, Go Back Home. He served as the music director for HBO’s Peabody

Award–winning documentary Six by Sondheim and music supervisor for Great Performances’s Peabody Award–winning special Broadway Musicals: A Jewish Legacy on PBS.

ANDREA ROSS

Andrea Ross is an American singer and award-winning actress. At a young age, she was discovered by Andrew Lloyd Webber, who has championed her career for the past decade. Lloyd Webber produced her solo record, Moon River, under the Universal Classics and Jazz label. The album debuted at No. 42 on the UK Album Charts.

In promoting her album, Ross made appearances on the BBC network and performed in legendary venues such as the Hampton Court Palace, St. Martin-inthe-Fields, and the Royal Albert Hall. She was also featured in Princess Diana’s memorial concert at Wembley Stadium, Concert for Diana.

Ross began her theatrical career in Boston, where she was awarded the

prestigious Elliot Norton Award for Outstanding Actress. She has since performed principal roles in US national tours and currently resides in New York. Ross sings in symphony orchestra concerts throughout the United States.

JIM HOGAN

Jim Hogan is currently making his Broadway debut in Jeanine Tesori and David LindsayAbaire’s highly acclaimed new musical Kimberly Akimbo, based on the Pulitzer Prize-winning play of the same name. National touring credits include Waitress, The Phantom of the Opera, and Spring Awakening. Regional credits include The Hunchback of Notre Dame (Voice of Quasimodo), Memphis (Huey), and The Circus in Winter (Gordon). Hogan is a member of T.3 (@t.3official), a viral internet sensation vocal group featured on NBC’s America’s Got Talent. The group signed a record deal with Warner Music and most recently opened for Jay Leno’s comedy tour. Their debut album is slated for release in 2023.

LIVE FROM ORCHESTRA HALL

This season, Live from Orchestra Hall is back with more programming than ever before! View free, live webcasts of PVS Classical Series, Paradise Jazz Series, and Classroom Edition performances, plus Civic Youth Ensembles presentations.

JEFF TYZIK Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

JA DER B I G NA M I N I MUSIC DIRECTOR A COMMU N I T Y -SU P P ORT E D ORCHESTRA

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

JADER BIGNAMINI , Music Director Music Directorship endowed by the Kresge Foundation

NA’ZIR MCFADDEN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

PVS CLASSICAL SERIES

Title Sponsor:

LEONARD

SLATKIN Music Director Laureate

BRAHMS’ FOURTH & RACHMANINOFF’S PIANO CONCERTO NO. 2

Friday, March 24, 2023 at 10:45 a.m.

Saturday, March 25, 2023 at 8 p.m.

Sunday, March 26, 2023 at 3 p.m. at Orchestra Hall

JADER BIGNAMINI, conductor GEORGE LI, piano

Samuel Coleridge-Taylor Ballade in A minor, Op.33 (1875 - 1912)

Sergei Rachmaninoff Piano Concerto No. 2 in C minor, Op. 18 (1873 - 1943)

I. Moderato

II. Adagio sostenuto

III. Allegro scherzando George Li, piano

Intermission

Johannes Brahms Symphony No. 4 in E minor, Op. 98 (1833 - 1897)

I. Allegro non troppo

II. Andante moderato

III. Allegro giocoso

IV. Allegro energico e passionato

Director Emeritus

Thank you to the musicians of the Detroit Symphony Orchestra, who are playing the March 25 concert as a donated service. We appreciate their continued support and generosity.

Saturday’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.

NEEME JÄRVI Music

PROGRAM AT-A-GLANCE | BRAHMS’ FOURTH & RACHMANINOFF’S PIANO CONCERTO NO. 2

Career-defining moments

One thing that Johannes Brahms, Sergei Rachmaninoff, and Samuel Coleridge-Taylor have in common is that they all received significant career momentum driven by a specific piece. The premiere of Rachmaninoff’s Second Piano Concerto marked the most important turning point in the composer’s career, which came about after a period of Rachmaninoff nearly giving up composition in its entirety due to self-doubt. It has since remained one of his most popular works and has been featured prominently in numerous films including Grand Hotel, Brief Encounter, and Rhapsody. Samuel ColeridgeTaylor’s Ballade in A minor set the stage for his career-defining trilogy The Song of Hiawatha, incorporating excerpts from his Ballade and prompting him to skyrocket to global renown as a composer. While Johannes Brahms enjoyed major successes with prior works, his Symphony No. 4 arguably defined his career in being the most authentic in style to Brahms himself as a composer: logical, serious, and fundamentally musical.

PROGRAM NOTES

Ballade in A minor, Op. 33

Composed 1898 | Premiered September 12, 1898

SAMUEL COLERIDGE-TAYLOR

B. August 15, 1875, Holborn, United Kingdom

D. September 1, 1912, Croydon, United Kingdom

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, and strings. (Approx. 11 minutes)

Samuel ColeridgeTaylor’s incredible talent was quickly recognized by the British musical elite of his time— yet his life did not come without its challenges.

Samuel was born in Holborn in 1875 to Alice Hare Martin and Daniel Peter Hughes Taylor, a doctor from Sierra Leone. The couple was unwed, and before Samuel’s birth, Dr. Taylor was forced to return to his home country on the grounds that he was not permitted to practice medicine in England. He left the country not knowing he had a son.

Named after poet Samuel Taylor Coleridge, Samuel Coleridge-Taylor began his violin studies at the Royal College of Music. In addition to his musical talent,

Coleridge-Taylor was a prolific writer who composed chamber music, songs, and choral and orchestral works. He found success at the Three Choirs Festival in Gloucester and Worcester and was appointed a professor at the Crystal Palace School of Music, as well as the conductor of the orchestra at the Croydon Conservatory. His interest in African American culture brought him to the United States on many occasions, making such a distinct impression that he was later invited to the White House by President Theodore Roosevelt.

Coleridge-Taylor’s Ballade in A minor was commissioned by the Three Choirs Festival of Britain in 1898 at the suggestion of composer Sir Edward Elgar, one of his primary mentors. This piece proved to be a tremendous success and led him to write a subsequent trilogy based on the story of Hiawatha, a precolonial Native American leader and co-founder of the Iroquois Confederacy, from 1898-1900. Coleridge-Taylor’s Ballade in A minor is a one-movement work full of ravishing melodies and lush string moments inspired by Elgar. This commission was originally offered to Elgar, to which he responded, “I have received a request from the secretary to write a short orchestra thing for the evening concert.

I am sorry I am too busy to do so. I wish, wish, wish you would ask Coleridge-Taylor to do it. He still wants recognition, and he is far and away the cleverest fellow going amongst the young men. Please don’t let your committee throw away the chance of doing a good act.”

This work is energetic and vivacious from the beginning. It quickly transitions into a lush and sweeping romantic theme, soon reviving the energy exhibited at the beginning of the work a few minutes later. It clearly demonstrates Coleridge-Taylor’s brilliance throughout, particularly his refined orchestration and well-developed melodic shaping. This work developed his own voice while exhibiting influences of his compositional heroes: Brahms, Tchaikovsky, and Dvořák.

This performance marks the DSO premiere of Coleridge-Taylor’s Ballade in A minor.

Piano Concerto No. 2 in C minor, Op. 18

Composed 1900-1901 | Premiered November

9, 1901

SERGEI RACHMANINOFF

B. April 1, 1873, Oneg, Russia

D. March 28, 1943, Beverly Hills, California

Scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, percussion, and strings. (Approx. 32 minutes)

Thepremiere of the Second Piano Concerto in 1901 marked the most important turning point in Sergei Rachmaninoff’s lengthy career. In the preceding years, he had all but given up on composition. After graduating from the Moscow Conservatory with highest honors and receiving significant praise for his works from the great Tchaikovsky himself, he was unprepared for the harsh criticism that followed the dismal 1897 premiere of

his first symphony. Ridiculed by critics, Rachmaninoff took the news badly. In his memoirs he recalled, “A paralyzing apathy possessed me. I did nothing at all…half my days were spent lying on a couch and sighing over my ruined life.”

For the next several years, Rachmaninoff avoided composition, pouring his energy instead into conducting and performing as a pianist. By 1899, however, his temperament had improved. Rachmaninoff’s emotional recovery has been attributed to various factors including a successful, confidence-boosting performance in London, his first major foreign appearance; a meeting with the author Lev Tolstoy who, supposedly, encouraged him to drop the self-pity and resume composing; and two sessions with Dr. Nikolay Dahl, a psychologist and amateur musician renowned for his hypnosis therapy, though it remains unclear whether the composer actually underwent such treatment.

Rachmaninoff began composing seriously again in 1900, and his first major project was the Piano Concerto No. 2. In December, he performed the second and third movements at a concert in Moscow, and the warm reception provided him with the motivation he needed to finish the piece. The concerto was finally premiered in its full form at a Moscow Philharmonic Society concert in early November of 1901. Once again, the work was well received, restoring Rachmaninoff’s confidence as a composer and leading him to embark on new works.

Since the premiere, the Piano Concerto No. 2 has remained one of Rachmaninoff’s most popular compositions and has even been featured prominently in numerous films, including Grand Hotel (1932) and Brief Encounter (1946) in which the concerto serves as the score for the entire film. In Rhapsody (1954), the concerto’s exquisite themes and sumptuous orchestration bring the heroine, played by Elizabeth Taylor, to tears and inspire her to return to the husband she has just

deserted. While such melodrama is perhaps extreme, it colorfully portrays the profound emotional power that audiences have experienced through Rachmaninoff’s beloved concerto over the past century.

The DSO most recently performed Rachmaninoff’s Piano Concerto No. 2 in November 2012, conducted by Peter Oundjian and featuring pianist Joyce Yang. The DSO first performed the piece in March 1921, with Ossip Gabrilowitsch as conductor and soloist.

Symphony No. 4 in E minor, Op. 98

Composed 1884-1885 | Premiered October 1885

JOHANNES BRAHMS

B. May 7, 1833, Hamburg, Germany

D. April 3, 1897, Vienna, Austria Scored for 2 flutes (1 doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. (Approx. 40 minutes)

in the themes laid out by the cellos and horns, and the lyricism of the entire movement is exquisite.

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. But the final movement returns to the nostalgic ideas postulated in the first two, tackling the archaic chaconne form of the Baroque era. Brahms has no problem stuffing (and even overstuffing) the sparse chaconne framework with elaborate themes, however; he gradually weaves in 34 variations that build one of the most sublime movements in German music. Some stretches are proud and majestic, others wispy or crystalline. They steadily build in intensity and lead to a monumental finale underlined by the minor-key final cadence.

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.

The first movement is concise, unfolding with a series of two-note units full of Brahmsian nostalgia (the composer revered the classical style of Mozart and Haydn). The second movement looks even further back in time, however, all the way to the Renaissance—the music of which was enjoying a renaissance of its own during Brahms’s lifetime. The composer’s love of these historic sounds is on display

The DSO most recently performed Brahms’s Symphony No. 4 on the William Davidson Neighborhood Concert Series in June 2018, conducted by Christoph König. The DSO first performed the piece in January 1922, conducted by Ossip Gabrilowitsch.

PROFILES

GEORGE LI

Praised by The Washington Post for combining “staggering technical prowess, a sense of command and depth of expression,” pianist George Li possesses an effortless grace, poised authority, and brilliant virtuosity far beyond his years. Since winning the Silver Medal at the 2015 International Tchaikovsky Competition, Li has rapidly established a major international reputation and performs regularly with some of the world’s leading orchestras and conductors.

Recent concerto highlights include performances with the Los Angeles, New York, London, Rotterdam, Oslo, St. Petersburg, and Buffalo philharmonics; the San Francisco, Tokyo, Frankfurt Radio, Sydney, Nashville, New World, North Carolina, Pacific, Valencia, Montreal, and Baltimore symphonies; as well as the Philharmonia, DSO Berlin, and Orchestra National de Lyon. His eight-concert tour of Germany with the Moscow Philharmonic Orchestra included performances at the Berlin Philharmonie, Philharmonie am Gasteig Munich, and the Stuttgart Liederhalle. He frequently appears with Valery Gergiev and the Mariinsky Orchestra, including performances at the Paris Philharmonie, Luxembourg

Philharmonie, New York’s Brooklyn Academy of Music, Graffenegg Festival, and in various venues throughout Russia.

In recital, Li has previously performed at venues including Carnegie Hall, Davies Hall in San Francisco, Symphony Center in Chicago, the Mariinsky Theatre,

Elbphilharmonie, Munich’s Gasteig, the Louvre, Seoul Arts Center, Tokyo’s Asahi Hall and Musashino Hall, NCPA Beijing, Shanghai Poly Theater, and Amici della Musica Firenze, as well as appearances at major festivals including the Edinburgh International Festival, Verbier Festival, Ravinia Festival, Festival de Pâques in Aix-en-Provence Festival, and Montreux Festival. An active chamber musician, Li has performed alongside Benjamin Beilman, Noah Bendix-Balgley, James Ehnes, Daniel Hope, Sheku KannehMason, and Kian Soltani.

Li is an exclusive Warner Classics recording artist. His debut recital album was recorded live from the Mariinsky and released in October 2017. His second recording for the label, released in 2019, features Liszt solo works and Tchaikovsky’s Piano Concerto No.1, which was recorded live with Vasily Petrenko and the London Philharmonic.

Li gave his first public performance at Boston’s Steinway Hall at the age of ten, and in 2011 performed for President Obama at the White House in an evening honoring Chancellor Angela Merkel. Among Li’s many prizes, he was the recipient of the 2016 Avery Fisher Career Grant, a recipient of the 2012 Gilmore Young Artist Award, and the First Prize winner of the 2010 Young Concert Artists International Auditions. He is currently pursuing an Artist Diploma at the New England Conservatory, continuing to work with Wha Kyung Byun. When not playing piano, George is an avid reader and photographer, as well as a sports fanatic.

Jader Bignamini biography, see page 6.

THE ANNUAL FUND

Gifts received between September 1, 2021 and November 30, 2022.

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

PARAY SOCIETY - GIVING OF $250,000 & MORE

Mr. & Mrs. Lee Barthel

Penny & Harold Blumenstein

Julie & Peter Cummings

Ms. Leslie C. Devereaux

Linda Dresner & Ed Levy, Jr.

DORATI SOCIETY - GIVING OF $100,000 & MORE

Mr. & Mrs. Richard L. Alonzo

James & Patricia Anderson

Mr. & Mrs. Raymond M. Cracchiolo

Joanne Danto & Arnold Weingarden

Mr. & Mrs. Phillip Wm. Fisher

EHRLING SOCIETY - GIVING OF $50,000 & MORE

Mr. & Mrs. Richard A. Brodie

Lois & Avern ◊ Cohn

Mr. & Mrs. Aaron Frankel

Mr. & Mrs. Ralph J. Gerson

Mary Ann & Robert Gorlin

Mr. & Mrs. James Grosfeld

Ric & Carola Huttenlocher

Renato & Elizabeth Jamett

JÄRVI SOCIETY — GIVING OF $25,000 & MORE

Pamela Applebaum

Ms. Sharon Backstrom

Mrs. Cecilia Benner

Mr. Michael J. Fisher

Madeline & Sidney Forbes

Mr. & Mrs. Edsel B. Ford II/Henry Ford II Fund

Mrs. Martha Ford

Dale & Bruce Frankel

Mr. Steven Goldsmith

Ronald M. & Carol◊ Horwitz

Mr.◊ & Mrs. Norman D. Katz

Morgan & Danny Kaufman

Betsy & Joel Kellman

Emory M. Ford, Jr.◊ Endowment

Mr. & Mrs. Stanley Frankel

Mr. & Mrs. Peter Karmanos, Jr.

Mr. & Mrs. James B. Nicholson

Mrs. Richard C. Van Dusen

David & Valerie McCammon

Shari & Craig Morgan

The Polk Family

Bernard & Eleanor Robertson

Drs. David & Bernadine Wu

Mrs. Bonnie Larson

Nicole & Matt Lester

Mr. & Mrs. Eugene A. Miller

Patricia & Henry ◊ Nickol

Nancy Schlichting & Pamela Theisen

Donald R. & Esther Simon Foundation

Mr. & Mrs. Arn Tellem

Paul & Terese Zlotoff

Mr. & Mrs. David Provost

Ms. Ruth Rattner

Martie & Bob Sachs

Mr. & Mrs.◊ Alan E. Schwartz

Mrs. Patricia Finnegan Sharf

Mr. & Mrs. James H. Sherman

Mr. & Mrs. Larry Sherman

Richard Sonenklar & Gregory Haynes

Mr. & Mrs. John Stroh III

Dr. Doris Tong & Dr. Teck M. Soo

Mr. & Mrs. Gary Torgow

And one who wishes to remain anonymous

Mr.◊ & Mrs. Robert A. Allesee

Dr. Lourdes V. Andaya

Janet & Norman Ankers

Drs. Brian & Elizabeth Bachynski

W. Harold & Chacona W. Baugh

Drs. John & Janice Bernick

Dr. George & Joyce Blum

Gwen & Richard Bowlby

Mr. & Mrs. Stephen Brownell

Michael & Geraldine Buckles

Ms. Elena Centeio

Thomas W. Cook & Marie L. Masters

Gail Danto & Art Roffey

Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer

Eugene ◊ & Elaine C. Driker

Mr. Charles L. Dunlap & Mr. Lee V. Hart

Margie Dunn & Mark Davidoff

Mr. Peter Falzon

Jim & Margo Farber

Sally & Michael Feder

Barbara & Alfred J. Fisher III

Dr. Saul & Mrs. Helen Forman

Barbara Frankel & Ronald Michalak

Mrs. Janet M. Garrett

Victor ◊ & Gale Girolami

GIVING OF $5,000 & MORE

Mrs. Denise Abrash

Mrs. Jennifer Adderley

Richard & Jiehan Alonzo

Mr. David Assemany & Mr. Jeffery Zook*

Ms. Ruth Baidas

Dr. David S. Balle

Mr. Patrick Barone

Ms. Therese Bellaimey

Mr. & Mrs. Dennis Bernard

Mr. & Mrs. Jeffrey A. Berner

Timothy J. Bogan

John ◊ & Marlene Boll

Ms. Debra Bonde

Ms. Nadia Boreiko

Mr. Anthony F. Brinkman

Claire P. & Robert N. Brown

Philip & Carol Campbell

Mrs. Carolyn Carr

Mr. & Mrs. François Castaing

Mr. & Mrs. Andrew Christians

Mr. Fred J. Chynchuk

Bob & Rebecca Clark

Dr. & Mrs. Charles G. Colombo

Ms. Elizabeth Correa

Ruth & Al◊ Glancy

Dr. Robert T. Goldman

Dr. Herman & Mrs. Shirley Mann Gray

Mr.◊ & Mrs. James A. Green

Mr. & Mrs. Robert Hage

Judy ◊ & Kenneth Hale

Ms. Nancy B. Henk

Michael E. Hinsky & Tyrus N. Curtis

Mr.◊ & Mrs. Norman H. Hofley

Mr. & Mrs. Richard J. Jessup

William & Story John

Lenard & Connie Johnston

Dr. David & Mrs. Elizabeth Kessel

Mr. Daniel Lewis

Bud & Nancy Liebler

Mr. & Mrs.◊ Joseph Lile

Dana Locniskar & Christine Beck

Alexander & Evelyn McKeen

Ms. Deborah Miesel

Dr. Robert & Dr. Mary Mobley

Cyril Moscow

Geoffrey S. Nathan & Margaret E. Winters

David Robert & Sylvia Jean Nelson

Eric & Paula Nemeth

Jim & Mary Beth Nicholson

Gloria & Stanley Nycek

George & Jo Elyn Nyman

Debra & Richard Partrich

Dr. Glenda D. Price

Maurcine ◊ & Lloyd Reuss

Seth & Laura Romine

Dr. Erik Rönmark* & Mrs. Adrienne Rönmark*

Mr. & Mrs. Robert B. Rosowski

Peggy & Dr. Mark B. Saffer

Schwartz Shapero Family

Elaine & Michael Serling

Lois & Mark Shaevsky

William H. Smith

Charlie & John Solecki

Mr. & Mrs. Paul Tobias

Mr. James G. Vella

Mr.◊ & Mrs. Jonathan T. Walton

Gary L. Wasserman & Charles A. Kashner

S. Evan & Gwen Weiner

Mr. & Mrs. R. Jamison Williams

Ms. Mary Wilson

And four who wish to remain anonymous

Mr. & Mrs. Gary L. Cowger

Mrs. Barbara Cunningham

Mr. & Mrs. Charles W. Dare

Mr. & Mrs. Richard L. DeVore

Adel & Walter Dissett

Ms. Ruby Duffield

Dr. & Mrs. A. Bradley Eisenbrey

Mr. Lawrence Ellenbogen

Marianne T. Endicott

Mr. & Mrs. Francis A. Engelhardt

Fieldman Family Foundation

Mr.◊ & Mrs. Richard M. Gabrys

Alan M. Gallatin

Allan D. Gilmour & Eric C. Jirgens

Dr. Kenneth ◊ & Roslyne Gitlin

Dr. & Mrs. Theodore Golden

Goodman Family Charitable Trust

Mr. Sanford Hansell & Dr. Raina Ernstoff

Dr. Gloria Heppner

Ms. Doreen Hermelin

Mr. Eric J. Hespenheide & Ms. Judith V. Hicks

Mr. & Mrs. Peter Hollinshead

Mr. Matthew Howell & Mrs. Julie Wagner

Elanah Nachman Hunger

Mr. & Mrs. A. E. Igleheart

Mr. & Mrs. Kent Jidov

Carol & Rick Johnston

Paul & Marietta Joliat

Faye & Austin Kanter

Judy & David Karp

Mike & Katy Keegan

Barbara & Michael Kratchman

Richard & Sally Krugel

Mr. & Mrs. Harold Kulish

Dr. Raymond Landes & Dr. Melissa McBrien-Landes

Bill & Kathleen Langhorst

Mr. Leonard LaRocca

Max Lepler & Rex L. Dotson

Mr. & Mrs. Robert K. Leverenz

Daniel & Linda* Lutz

Bob & Terri Lutz

Mrs. Sandra MacLeod

Mr. & Mrs. Winom J. Mahoney

Dr. Stephen & Paulette Mancuso

Maurice Marshall

Mr. Edward McClew

Patricia A.◊ & Patrick G. McKeever

Ms. Evelyn Micheletti

Mr. Frederick Morsches & Mr. Kareem George

Xavier & Maeva Mosquet

Robert & Paulina Treiger Muzzin

Joy & Allan Nachman

Mr. & Mrs. Albert T. Nelson, Jr.

Dr. William W. O’Neill

Anne Parsons ◊ & Donald Dietz

Mr. David Phipps & Ms. Mary Buzard

William H. & Wendy W. Powers

Charlene & Michael Prysak

GIVING OF $2,500 & MORE

Nina Dodge Abrams

Mr. & Mrs. Joel Adelman

Mr. Juan Alvarez

Mr. & Mrs. Robert L. Anthony

Dr. & Mrs. Joel Appel

Drs. Kwabena & Jacqueline Appiah

Dr. & Mrs. Ali-Reza R. Armin

Pauline Averbach & Charles Peacock

Mr. Joseph Aviv & Mrs. Linda Wasserman

Mrs. Jean Azar

James A. Bannan

Nora & Guy Barron

Mr. Mark G. Bartnik & Ms. Sandra J. Collins

Mr. Joseph Bartush

Mr. & Mrs. Martin S. Baum

Mr. & Mrs. Richard Beaubien

Mr. Abraham Beidoun

Martha ◊ & G. Peter Blom

Nancy & Lawrence Bluth

The Achim & Mary Bonawitz Family

The Honorable Susan D. Borman & Mr. Stuart Michaelson

Don & Marilyn Bowerman

Mr. & Mrs. Marco Bruzzano

Mr. & Mrs. Mark R. Buchanan

Dr. & Mrs. Roger C. Byrd

Mr. & Mrs. Brian C. Campbell

Dr. & Mrs.◊ Thomas E. Carson

Dr. Carol S. Chadwick & Mr. H. Taylor Burleson

Ronald & Lynda Charfoos

Nina & Richard Cohan

Jack, Evelyn and Richard Cole Family

Foundation

Mr. William Cole & Mrs. Carol Litka Cole

Mr. & Mrs. Brian G. Connors

Patricia & William ◊ Cosgrove, Sr.

Ms. Joy Crawford* & Mr. Richard Aude

Robert J. Crutcher Family Trust

Dr. Edward & Mrs. Jamie Dabrowski

Suzanne Dalton & Clyde Foles

Maureen & Jerry ◊ D’Avanzo

Lillian & Walter Dean

Drs. Yaddanapudi Ravindranath & Kanta

Bhambhani

Mr. & Mrs. Dave Redfield

Dr. Heather Richter

Dr. & Mrs. John Roberts

Steven Della Rocca Memorial Fund/ Courtenay A Hardy

Mr. Ronald Ross & Ms. Alice Brody

Mr. David Salisbury & Mrs. Terese

Ireland Salisbury

Marjorie Shuman Saulson

Mr. & Mrs. Donald and Janet Schenk

Robert & Patricia Shaw

Dr. & Mrs. Thomas Ditkoff

Diana & Mark Domin

Paul◊ & Peggy Dufault

Edwin & Rosemarie ◊ Dyer

Dr. Leo & Mrs. Mira Eisenberg

Randall & Jill* Elder

Ms. Laurie Ellias & Mr. James Murphy

Mrs. Marjory Epstein

Mr. & Mrs. John M. Erb

Dave & Sandy Eyl

Ellie Farber & Mitch Barnett

Hon. Sharon Tevis Finch

Ms. Joanne Fisher

Dorothy A. & Larry L. Fobes

Amy & Robert Folberg

Ms. Linda Forte & Mr. Tyrone Davenport

Dr. & Mrs. Franchi

Ms. Marci Frick

Kit & Dan Frohardt-Lane

Lynn & Bharat Gandhi

Mr. Max Gates

Stephanie Germack

Thomas M. Gervasi

Mr. & Mrs. James Gietzen

Mr. & Mrs. Robert W. Gillette

Ms. Jody Glancy

Mr. Lawrence Glowczewski

Paul & Barbara C. Goodman

Dr. William & Mrs. Antoinette Govier

Ms. Jacqueline Graham

Mr. & Mrs. Saul Green

Dr. & Mrs. Joe L. Greene

Anne & Eugene Greenstein

Sharon Lopo Hadden

Dr. & Mrs. David Haines

Robert & Elizabeth Hamel

Cheryl A. Harvey

Ms. Barbara Heller

Dr. William Higginbotham III MD

Mr. Donald & Marcia Hiruo

The Honorable Denise Page Hood & Reverend Nicholas Hood III

James Hoogstra & Clark Heath

Mrs. Sharon Shumaker

Mr. Norman Silk & Mr. Dale Morgan

Mr. & Mrs. Matthew Simoncini

Michael E. Smerza & Nancy Keppelman

Mrs. Kathleen Straus & Mr. Walter Shapero

Joel & Shelley Tauber

Alice ◊ & Paul Tomboulian

Mrs. Eva von Voss

Mr. William Waak

Peter & Carol Walters

Dr. & Mrs. Ned Winkelman

Cathy Cromer Wood

Ms. June Wu

And one who wishes to remain anonymous

Mr. F. Robert Hozian

Dr. Karen Hrapkiewicz

Mr. Fred Hunter & Mrs. Viva Foster

Larry & Connie Hutchinson

Ms. Carole Ilitch

Dr. Raymond E. Jackson & Dr. Kathleen Murphy

Mr. Arthur Johns

Mr. John S. Johns

Mr. George G. Johnson

Paul & Karen Johnson

Mr. William & Mrs. Connie Jordan

Mr. & Mrs. John Jullens

Diane & John Kaplan

Bernard & Nina Kent Philanthropic Fund

Mrs. Frances King

Dr. & Mrs. Edward L. Klarman

Aileen & Harvey Kleiman

Tom ◊ & Beverly Klimko

Mr. Joseph Kochanek

Mr. & Mrs. Ludvik F. Koci

Mr. & Mrs. Robert Koffron

Dr. Sandy Koltonow & Dr. Mary Schlaff

Ms. Susan Konop

Douglas Korney & Marieta Bautista

James Kors & Victoria King

George M. Krappmann & Lynda

Burbury-Krappmann

Mr. Michael Kuhne

Mrs. Maria E. Kuznia

Mr. & Mrs. Robert LaBelle

Dr. & Mrs. Gerald Laker

Mr. David Lalain & Ms. Deniella

Ortiz-Lalain

Drs. Lisa & Scott Langenburg

Ms. Sandra Lapadot

Ms. Anne T. Larin

Dr. Lawrence O. Larson

Mr. Henry P. Lee

Drs. Donald & Diane Levine

Arlene & John Lewis

Mr. & Mrs. David H. Loebl

Mr. John Lovegren & Mr. Daniel Isenschmid

GIVING OF $2,500 & MORE, CONTINUED

Cis Maisel

Mr. & Mrs. Charles W. Manke, Jr.

Ms. Florine Mark

Melissa & Tom Mark

Brian & Becky McCabe

Dr. & Mrs. Peter M. McCann, M.D.

Mr. Anthony Roy McCree

Ms. Mary McGough

Ms. Kristen McLennan

Dr. Donald & Barbara Meier

Dr. & Mrs. David Mendelson

Olga Sutaruk Meyer

Bruce & Mary Miller

John & Marcia Miller

Mr. & Mrs. Randall Miller

Steve & Judy Miller

J.J. & Liz Modell

Dr. Susan & Mr. Stephen* Molina

Dr. Van C. Momon, Jr. & Dr. Pamela Berry

Eugene & Sheila Mondry Foundation

Mr. & Mrs. Daniel E. Moore

Ms. A. Anne Moroun

Ms. Sandra Morrison

Mr. & Mrs. Germano Mularoni

Ms. Jennifer Muse

Ms. I. Surayyah R. Muwwakkil

Mariam C. Noland & James A. Kelly

Megan Norris & Howard Matthew

Mr. & Mrs. Robert Obringer

Mr. & Mrs. Arthur T. O’Reilly

Terry E. Packer

Mark Pasik & Julie Sosnowski

Ms. Pricilla Perkins

Mr. Peter Perlman

Wolfgang & Kristine Peterman

Ms. Alice Pfahlert

Benjamin B. Phillips

GIVING OF $1,500 & MORE

William Aerni & Janet Frazis

Dr. & Mrs. Gary S. Assarian

Drs. Richard & Helena Balon

Mr. & Mrs. David W. Berry

Mrs. Marilyn Bishop

Ms. Kristin Bolitho

Mr. & Mrs. Richard Burstein

Mr. & Mrs. Byron Canvasser

Steve & Geri Carlson

Mr. & Mrs. Tom Compton

Ms. Laurie DeMond-Rosen

Gordon & Elaine Didier

Mr. & Mrs. Walter E. Douglas

Mrs. Connie Dugger

Ms. Jodie Elrod

Mr. Howard O. Emorey

Mr. Joseph & Mrs. Lois Gilmore

Howard & Francina Graef

Mr. & Mrs. Stanley Hirt

Jill M.* & Michael J. Rafferty

Drs. Stuart & Hilary Ratner

Mr. Tony Raymaker

Mr. & Mrs. William A. Reed

Mr. & Mrs. Gerrit Reepmeyer

Dr. Claude & Mrs. Sandra Reitelman

Denise Reske

Mr. & Mrs. John Rieckhoff

Ms. Linda Rodney

Michael & Susan Rontal

Mr.◊ & Mrs. Gerald F. Ross

Ms. Elana Rugh

Linda & Leonard Sahn

Ms. Martha A. Scharchburg & Mr. Bruce Beyer

Shirley Anne & Alan Schlang

Joe & Ashley Schotthoefer

Catherine & Dennis B. Schultz

Sandy & Alan Schwartz

Mrs. Rosalind B. Sell

Mr. Jeffrey S. Serman

Carlo & Nicole Serraiocco

Nancy & Sam Shamie

Shapero Foundation

Bill & Chris Shell

Dr. Les Siegel & Ellen Lesser Siegel

Dean P. & D. Giles Simmer

William & Cherie Sirois

Mr. Michael J. Smith & Mrs. Mary C. Williams

Ms. Susan Smith

Shirley R. Stancato

Peter & Patricia Steffes

Dr. Gregory Stephens

Mr. Mark Stewart & Mr. Anonio

Gamez-Galaz

Nancy C. Stocking

Jean Hudson

Ms. Nadine Jakobowski

Carole Keller

Ms. Ida King

Elissa & Daniel Kline

Miss Kathryn Korns

Ms. Jennette Smith Kotila

Mr. and Mrs. William Kroger, Jr.

Mrs. Mary Ann LaMonte

Ms. Christine M. Leonard

Mr. Jeffrey Marraccini

Barbara J. Martin

Steve & Brenda Mihalik

Muramatsu America Flutes

Mr. & Mrs. George Nicholson

Mrs. Ruth Nix

Mr. & Mrs. Mark H. Peterson

Drs. Renato & Daisy Ramos

Mr. & Mrs. Rodney Rask

Dr. & Mrs. Gerald Stollman

Dr. & Mrs. Choichi Sugawa

David Szymborski & Marilyn Sicklesteel

Dr. Neil Talon

Mr. Rob Tanner

Sandra & Frank Tenkel

Dr. & Mrs. Howard Terebelo

Mr. & Mrs. James W. Throop

Dr. Barry Tigay

Gregory Tocco & Erin Sears

Yoni & Rachel Torgow

Barbara & Stuart Trager

Tom & Laura Trudeau

Amanda Van Dusen & Curtis Blessing

Charles & Sally Van Dusen

Gerald & Teresa Varani

Dr.◊ & Mrs. Ronald W. Wadle

Mr. Michael A. Walch & Ms. Joyce Keller

Mr. Patrick Webster

David R. Weinberg, Ph.D.

Janis & William Wetsman/ The Wetsman Foundation

Beverly & Barry Williams

Elizabeth & Michael Willoughby

Rissa & Sheldon Winkelman

Deborah Lamm

Ms. Andrea L. Wulf

Ms. Eileen Wunderlich

Dr. Sandra & Mr. D. Johnny Yee

Mr. & Mrs. Wesley Yee

Ms. Gail Zabowski

Lucia Zamorano, M.D.

Ms. Ellen Hill Zeringue

Milton Y. Zussman ◊

And seven who wish to remain anonymous

Cheryl & Paul Robertson

Mr. & Mrs. George Roumell

Mr. & Mrs. James P. Ryan

Dr. & Mrs. Hershel Sandberg

Ms. Joyce E. Scafe

Dr. & Mrs. Richard S. Schwartz

Mr. & Mrs. Kingsley G. Sears

Ms. Sandra Shetler

Mrs. Andreas H. Steglich

Mr. Jt Stout

Mr. & Mrs.◊ John Streit

Mr. William Thom

David & Lila Tirsell

Dennis & Jennifer Varian

Ms. Janet Weir

Mr. & Mrs.◊ Richard Wigginton

Dr. M. Roy & Mrs. Jacqueline Wilson

Mr. Peter Zubrin

And two who wish to remain anonymous

*Current DSO Musician or Staff

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.

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

Mr. David Assemany & Mr. Jeffery Zook

Ms. Sharon Backstrom

Sally & Donald Baker

Mr. & Mrs. Lee Barthel

Mr. Mark G. Bartnik & Ms. Sandra J. Collins

Stanley A. Beattie

Mr. & Mrs. Mandell L. Berman ◊

Mrs. Betty Blair

Ms. Rosalee Bleecker

Mr. Joseph Boner

Gwen & Richard Bowlby

Mr. Harry G. Bowles ◊

Judith Mich ◊

Mrs. Ellen Brownfain

William & Julia Bugera

CM Carnes

Cynthia Cassell, Ph. D.

Eleanor A. Christie

Ms. Mary F. Christner

Mr. Gary Ciampa

Robert & Lucinda Clement

Lois & Avern ◊ Cohn

Mrs. RoseAnn Comstock◊

Mr. Scott Cook, Jr.

Mr. & Ms. Thomas Cook

Dorothy M. Craig

Mr. & Mrs. John Cruikshank

Julie & Peter Cummings

Joanne Danto & Arnold Weingarden

Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer

Ms. Leslie C. Devereaux

Mr. John Diebel◊

Mr. Stuart Dow

Katherine D. Rines

Mr. Roger Dye & Ms. Jeanne A. Bakale

Mr. & Mrs. Robert G. Eidson

Marianne T. Endicott

Mrs. Rema Frankel

Virginia B. Bertram

Patricia Finnegan Sharf

Ms. Dorothy Fisher

Mrs. Marjorie S. Fisher

Mr. & Mrs. Phillip Wm. Fisher

Dorothy A. & Larry L. Fobes

Samuel & Laura Fogleman

Mr. Emory Ford, Jr.◊ Endowment

Dr. Saul & Mrs. Helen Forman

Barbara Frankel & Ron Michalak

Herman & Sharon Frankel

Jane French

Mark & Donna Frentrup

Mr. Alan M. Gallatin

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

Rosemary Gugino

Mr. & Mrs. William Harriss

Donna & Eugene Hartwig

Ms. Nancy B. Henk

Joseph L. Hickey

Mr. & Mrs. Thomas N. Hitchman

Ronald M. & Carol◊ Horwitz

Andy Howell

Carol Howell

Paul M. Huxley & Cynthia Pasky

David & Sheri Jaffa

Mr. & Mrs. Thomas H. Jeffs II

Mr. & Mrs. Richard J. Jessup

Mr. George G. 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

Dr. Mark & Mrs. Gail Kelley

June K. Kendall◊

Dimitri ◊ & Suzanne Kosacheff

Douglas Koschik

Mr.◊ & Mrs. Arthur J. Krolikowski

Mary Clippert LaMont ◊

Ms. Sandra Lapadot

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

Eric & Ginny Lundquist

Roberta Maki

Eileen & Ralph Mandarino

Judy Howe Masserang

Ms. Marilyn Snodgrass ◊

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◊

Joy & Allan Nachman

Mr. Herman Weinreich ◊

Beverley Anne Pack

David & Andrea Page ◊

Edna J. Shin

Mr. Dale J. Pangonis

Ms. Mary Webber Parker ◊

Mr. John Diebel◊

Mrs. Sophie Pearlstein ◊

Helen & Wesley Pelling ◊

Dr. William F. Pickard

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

Mr. Robert E. Wilkins ◊

Ms. Marianne Reye

Lori-Ann Rickard

Bernard & Eleanor Robertson

Ms. Barbara Robins

Jack & Aviva Robinson ◊

Mr.◊ & Mrs. Gerald F. Ross

Mr. & Mrs. George Roumell

Marjorie Shuman Saulson

Mr. & Mrs. Donald & Janet Schenk

Ms. Yvonne Schilla

Mr. & Mrs. Fred G. Secrest ◊

Ms. Marla K. Shelton

Ms. June Siebert

Mr. & Mrs. Donald R. Simon ◊

Ms. Marilyn Snodgrass ◊

Mrs. Margot Sterren ◊

Mr. & Mrs. Walter Stuecken

Mr.◊ & Mrs. Alexander C. Suczek

David Szymborski & Marilyn Sicklesteel

Alice ◊ & Paul Tomboulian

Roger & Tina Valade

Charles & Sally Van Dusen

Mr. & Mrs. Melvin VanderBrug

Mrs. Inge A. 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. Melissa J. Smiley & Dr. Patricia A. Wren

Ms. Andrea L. Wulf

Mrs. Judith G. Yaker

Milton & Lois Zussman ◊

And seven who wish to remain anonymous ◊ Deceased

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.

Linda Wasserman, Chair

Mrs. Katana H. Abbott*

Mr. Joseph Aviv

Mr. Christopher 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 Hollinshead, CFA

Mr. Mark W. Jannott, CTFA

Ms. Jennifer 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*

Mrs. Marguerite Munson Lentz*

Mr. J. Thomas MacFarlane

Mr. Christopher M. Mann*

Mr. Curtis J. Mann

Mrs. Mary K. Mansfield

Mr. Mark E. Neithercut*

Mr. Steve 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

*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.

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

CORPORATE, FOUNDATION, AND GOVERNMENT GIVING

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

Giving of $200,000 & more

Giving of $100,000 & more

MARVIN & BETTY DANTO FAMILY FOUNDATION

MICHIGAN STATE POLICE

Giving of $50,000 & more

Paul M. Angell Family Foundation

Broder Sachse

Marvin & Betty Danto Family Foundation

Edward C. & Linda Dresner Levy Foundation

MASCO Corporation

MGM Grand Detroit

Milner Hotels Foundation

Penske Foundation, Inc.

Giving of $20,000 & more

Mandell & Madeleine Berman Foundation

Blue Star Catering

The Clinton Family Fund

DeRoy Testamentary Foundation

Eleanor & Edsel Ford Fund

Henry Ford II Fund

Hudson-Webber Foundation

Michigan Council for Arts & Cultural Affairs

Myron P. Leven Foundation

Schneider-Engstrom Foundation

Wolverine Packing Company

Giving of $10,000 & more

Laskaris-Jamett Advisors of Raymond James

Oliver Dewey Marcks Foundation

Karen & Drew Peslar Foundation

Stone Foundation of Michigan

Sun Communities Inc.

Burton A. Zipser & Sandra D. Zipser Foundation

Giving of $5,000 & more

Applebaum Family Philanthropy

Creative Benefit Solutions

Benson & Edith Ford Fund

Honigman LLP

Jaffe, Raitt, Heuer and Weiss

Marjorie & Maxwell Jospey Foundation

PNC Bank – Southeast Florida

KPMG LLP

Sigmund & Sophie Rohlik Foundation

Speyer Foundation

Warner Norcross + Judd

And one who wishes to remain anonymous

Giving of $1,000 & more

The Children’s Foundation

Coffee Express Roasting Company

Frank & Gertrude Dunlap Foundation

Enterprise Holdings Foundation

EY

James and Lynelle Holden Fund

Japan Business Society of Detroit Foundation

Josephine Kleiner Foundation

Dolores & Paul Lavins Foundation

Ludwig Foundation Fund

Madison Electric Company

Michigan First Credit Union

Plante and Moran, PLLC

Renaissance (MI) Chapter of the Links

Save Our Symphony

Louis & Nellie Sieg Foundation

Samuel L. Westerman Foundation

And one who wishes to remain anonymous

TRIBUTE GIFTS

Gifts received September 1, 2021 - October 31, 2022

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.

The DSO wishes to thank those who donated in memory of President Emeritus Anne Parsons. Please visit dso.org/rememberinganne for the full list of donors.

In Honor

Mr. Peter D. Cummings

Mr. and Mrs. Larry Sherman

Denise Figlewicz and Thomas Kozina

Ms. Dianne Lattemann

Mrs. Linda Lutz

Dr. and Mrs. Sheldon N. Kaftan

Alex Marshall

Mr. and Mrs. Richard Marshall

Mr. Stanley Nycek

Mr. and Mrs. Richard G. Partrich

In Memory

Mr. John A. Boll, Sr.

Ms. Joanne Danto and Dr. Arnold Weingarden

Mrs. Sylvia Graham

Nick Brien

Mrs. Geraldine Kruse

Paul and Ronia Kruse

Mrs. Mado O. Lie

Ms. Paula-Rose Stark

Mr. Joseph J. Plaza Jr.

Mr. and Mrs. Jerome J. Skiba

Mrs. Arlene Rose

Mr. and Mrs. Seymour Dubrinsky

Mrs. Annette K. Sipher

Mrs. Edna Freier

Mr. Hai-Xin Wu

Dr. Yuson Jung

Mr. Jeffery Zook

Dr. Yan Yin

Mr. Ross Tatro

Ms. Linda Tatro

Mr. Alexander Thomas

Ms. Joanne Danto and Dr. Arnold Weingarden

David and Meredith Kaplan

Mr. and Mrs. David Sillman

Dr. and Mrs. Martin Tessler

Dr. and Mrs. Martin L. Weissman

UPCOMING CONCERTS & EVENTS

TICKETS & INFO

313.576.5111 or dso.org

PNC POPS SERIES FRANK & THE GREAT LADIES OF SONG

Fri, Feb 10 - Sun, Feb 12

DSO PRESENTS THE PRINCESS BRIDE IN CONCERT

Tues, Feb 14 - Wed, Feb 15

PVS CLASSICAL SERIES SHOSTAKOVICH’S FIFTH SYMPHONY & SAXOPHONE CONCERTO WORLD PREMIERE

Sat, Feb 18 - Sun, Feb 19

PVS CLASSICAL SERIES BIGNAMINI CONDUCTS NIGHT ON BALD MOUNTAIN & GRIEG

Thu, Feb 23 - Sat, Feb 25

Alexander Gavrylyuk

February 23-25

Tai Murray

March 16-19

Frank and the Great Ladies of Song

February 10-12

PVS CLASSICAL SERIES CLASSICAL ROOTS

Fri, Mar 3 - Sat, Mar 4

WILLIAM DAVIDSON

NEIGHBORHOOD CONCERT SERIES SINKOVSKY PLAYS BACH

Thu, Mar 9 - Sun, Mar 12

PNC POPS SERIES SONDHEIM & BEYOND

Fri, Mar 10 - Sun, Mar 12

TINY TOTS CONCERT SERIES GEMINI

Tiny Tots (Ages 2-5)

Sat, Mar 11 at 10 AM

YOUNG PEOPLE’S FAMILY CONCERT SERIES SYMPHONIC SUPERHEROES

Young People’s Family Concert (Ages 6+)

Sat, Mar 11 at 11 AM

WILLIAM DAVIDSON

NEIGHBORHOOD CONCERT SERIES DVOŘÁK’S VIOLIN CONCERTO

Thu, Mar 16 - Sun, Mar 19

PVS CLASSICAL SERIES BRAHMS’ FOURTH SYMPHONY & RACHMANINOFF PIANO CONCERTO NO. 2

Fri, Mar 24 - Sun, Mar 26

PVS CLASSICAL SERIES JADER CONDUCTS STRAVINSKY’S FIREBIRD

Thu, Mar 30 - Sat, Apr 1

For complete program listings, including Live from Orchestra Hall webcast dates, visit dso.org

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 Youth Volume.

Parking

The DSO Parking Deck is located at 81 Parsons Street. Self-parking in the garage costs $10 for most concerts (credit card payment only). Accessible parking is available on the first and second floors of the garage. Note that handicapped parking spaces go quickly, so please arrive early!

What Should I Wear?

You do you! We don’t have a dress code, and you’ll see a variety of outfit styles. Business casual attire is common, but sneakers and jeans are just as welcome 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. Bars are located on the first and third floors of the William Davidson Atrium and offer canned sodas (pop, if you prefer), beer, wine, and specialty cocktail mixes.

Patrons are welcome to bring drinks to their seats at all performances except Friday morning Coffee Concerts; food is not allowed in Orchestra Hall. Please note that outside food and beverages are prohibited.

Accessibility

Accessibility matters. Whether you need ramp access for your wheelchair or are looking for sensory-friendly concert options, we are thinking of you.

• The Max has elevators, barrierfree restrooms, and accessible seating on each level. Security staff 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. You can use your own mobile device and headphones by downloading the Sennheiser MobileConnect app, or borrow a device by visiting the Box Office. This system is made possible by the Michigan Ear Institute.

• Available at the Box Office during all events at The Max, the DSO offers sensory toolkits to use free of charge, courtesy of the Mid-Michigan Autism Association. The kits contain items that can help calm or stimulate a person with a sensory processing difference, including noise-reducing headphones and fidget toys. The DSO also has a quiet room, available for patrons to use at every performance

• Check out the Accessibility tab on dso.org/yourexperience to learn more

THE MAX M. & MARJORIE S.

FISHER MUSIC CENTER

3711 Woodward Avenue

Detroit, MI 48201

Box Office: 313.576.5111

Group Sales: 313.576.5111

Administrative Offices: 313.576.5100

Facilities Rental Info: 313.576.5131

Visit the DSO online at dso.org

For general inquiries, please email info@dso.org

WiFi

Complimentary WiFi is available throughout The Max. Look for the DSOGuest network on your device. And be sure to tag your posts with #IAMDSO!

Shop @ The Max

Our brick and mortar shop is closed, but DSO fans can visit dso.org/shop to purchase DSO merchandise anytime!

The Herman and Sharon Frankel Donor Lounge

Governing Members 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/rentals or call 313.576.5131 for more information.

POLICIES HEALTH & SAFETY

n The DSO no longer requires audiences to provide proof of COVID-19 vaccination or a negative COVID-19 test to attend performances.

n Masks are optional although strongly recommended at DSO performances, particularly when Wayne County and surrounding communities are in the high or “red” category as defined by the CDC.

n We ask all audience members to do their part to create a safe environment for everyone and encourage those who are not feeling well to stay home.

n We will continue to communicate our policies to ticketholders in advance of their concerts and will provide updates should protocols change throughout the season.

SEATING

Please note that all patrons (of any age) must have a ticket to attend concerts. If the music has already started, an usher will ask you to wait until a break before seating you. The same applies if you leave Orchestra Hall and re-enter. Most performances are broadcast (with sound) on a TV in the William Davidson Atrium.

TICKETS, EXCHANGES, AND CONCERT CANCELLATIONS

n All sales are final and non-refundable.

n Even though we’ll miss you, we understand that plans can change unexpectedly, so the DSO offers flexible exchange and ticket donation options.

n Please contact the Box Office to exchange tickets and for all ticketing questions or concerns.

n The DSO is a show-must-go-on orchestra. In the rare event a concert is cancelled, our website and social media feeds will announce the cancellation, and patrons will be notified of exchange options.

PHONES

Your neighbors and the musicians appreciate your cooperation in turning your phone to silent and your brightness down while you’re keeping an eye on texts from the babysitter or looking up where a composer was born!

PHOTOGRAPHY & RECORDING

We love a good selfie (please share your experiences using @DetroitSymphony and #IAMDSO) but remember that photography

can be distracting to musicians and audience members. Please be cautious and respectful if you wish to take photos.

Flash photography, video recording, tripods, and cameras with detachable lenses are strictly prohibited.

NOTE: By entering event premises, you consent to having your likeness featured in photography, audio, and video captured by the DSO, and release the DSO from any liability connected with these materials. Visit dso.org for more.

SMOKING

Smoking and vaping are not allowed anywhere in The Max.

ADMINISTRATIVE 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

Serena Donadoni 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

Jessica Slais

Creative Director of Popular and Special Programming

D. Kenji Lee

Jazz and @ THE MAX Coordinator

Claudia Scalzetti Artistic Coordinator

Lindzy Volk Artist Liaison

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

Benjamin Brown Production Manager

Nolan Cardenas Audition and Operations Coordinator

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

Audrey Kelley Director of Executive and Board Operations

Amanda Tew Director, 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

Colleen McLellan Institutional Gift Officer

Juanda Pack Advancement Benefits Concierge

Susan Queen Gift Officer, Corporate Giving

Cassidy Schmid Manager of Campaign Operations

Shalynn Vaughn Major Gift Officer

BUILDING OPERATIONS

Ken Waddington Senior Director of Facilities and Engineering

Cedric Allen EVS Technician

Teresa Beachem Chief Engineer

Demetris Fisher Manager of Environmental Services (EVS)

William Guilbault EVS Technician

Robert Hobson Chief Maintenance Technician

Daniel Speights EVS Technician

CATERING AND RETAIL SERVICES

Christina Williams Director of Patron and Event Experience

Neva Kirksey Manager of Events and Rentals

Alison Reed, CVA Manager of Volunteer and Patron Experience

Andre Williams Beverage Manager

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 & LEARNING

Karisa Antonio Director of Social Innovation

Damien Crutcher Managing Director of Detroit Harmony

Debora Kang Director of Education

Clare Valenti

Director of Community Engagement

Kiersten Alcorn Manager of Community Engagement

Chris DeLouis Training Ensembles Operations Coordinator

Erin Dowler

Detroit Harmony Operations Assistant

Joanna Goldstein Training Ensembles Student Development Coordinator

Anne Leech Detroit Strategy Specialist

Kendra Sachs

Training Ensembles Recruitment and Communications Coordinator

FINANCE

Michelle Cooper Senior Director of Accounting and Finance

Adela Löw Director of Accounting and Financial Reporting

Sandra Mazza Senior Accountant, Business Operations

Sarah Nawrot Accounting Clerk

HUMAN RESOURCES

Hannah Lozon Senior Director of Talent and Culture

Angela Stough Director of Human Resources

Shuntia Perry Recruitment and Employee Experience Specialist

INFORMATION TECHNOLOGY

William Shell Director of Information Technology

Michelle Koning Web Manager

Len Messing Systems Administrator

Aaron Tockstein Database Administrator

MARKETING & 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

Dorian Dillard Marketing and Promotions Coordinator

Jay Holladay Brand Graphic Designer

Crystal Mann Loyalty Marketing Strategist

LaHeidra Marshall Marketing Projects Specialist

Connor Mehren Digital Marketing Strategist

Kristin Pagels-Quinlan Content Marketing Strategist

PATRON SALES & SERVICE

Michelle Marshall Director of Patron Sales and Service

Sharon Gardner Carr Assistant Manager of Tessitura and Ticketing Operations

Rollie Edwards Patron Sales and Service Specialist

James Sabatella Group and Patron Services Specialist

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 Security Officer

PERFORMANCE

Winter • 2021-2022 Season

Hannah Engwall, editor hengwall@dso.org

•

ECHO PUBLICATIONS, INC. Tom Putters, publisher James Van Fleteren, designer echopublications.com

•

Cover design by Jay Holladay

•

To advertise in Performance: call 248.582.9690 or email info@echopublications.com

Read Performance anytime! dso.org/performance

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.

MARIA SCHNEIDER ORCHESTRA

SUNDAY, MARCH 12 4 PM

JEAN-YVES THIBAUDET

THURSDAY, MARCH 30 7:30 PM

MARIA JOÃO PIRES & PARTITURA PIANISTS

SUNDAY, MAY 21 4 PM

JEAN-YVES THIBAUDET

RENÉE FLEMING EVGENY KISSIN

SATURDAY, MAY 27 8 PM

EXPLORE THE SEASON AT THEGILMORE.ORG

SPHINX SYMPHONY ORCHESTRA

WITH EXIGENCE (EUGENE ROGERS, MUSIC DIRECTOR)

Tito Muñoz, conductor

Aundi Marie Moore, soprano

Detroit’s Sphinx Organization celebrates its 25th anniversary with a program featuring works by African American and Latinx composers.

DANIEL HOPE, VIOLIN ZURICH CHAMBER ORCHESTRA

Violinist Daniel Hope brings the Zurich Chamber Orchestra in a new program that takes a deep dive into the rich repertoire of American music, including Aaron Copland, Duke Ellington, Florence Price, Philip Glass, and George Gershwin.

Sun Jan 29 // 2 pm

Hill Auditorium (Ann Arbor)

Principal Sponsors: Ken Fischer Legacy Endowment Fund

Fri Mar 17 // 8 pm

Hill Auditorium (Ann Arbor)

TICKETS AT UMS.ORG 734-764-2538