Performance Magazine Spring 2019-20 - Issue 1 by Detroit Symphony Orchestra

VOLUME XXVIII • WINTER-SPRING 2020

PERFORMANCE THE MAGAZINE OF THE DETROIT SYMPHONY ORCHESTRA

WELCOME JADER BIGNAMINI! Learn more about the DSO’s next music director on pg. 8

2019-2020 SEASON

INSIDE Program Notes From Whose World?

New perspectives on Dvořák’s “New World” Symphony BOOK EXCERPT

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

Community & Learning The DSO’s Educational Concert Series

Exp erience Springtime with epiphany at the DSO

Distinctive handblown glass sculptures, La Ruche lighting, decanters, a variety of unique handmade gifts and more.

The Shapero Lounge at the DSO Max M. & Marjorie S. Fisher Music Center 3711 Woodward Ave., Detroit, MI 48201

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Call 248.745.3786 | epiphanyglass.com Hours posted at epiphanyglass.com/dso

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

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

CONTENTS Welcome......................................................4 Orchestra Roster.........................................5 Behind the Baton.........................................6

14 From Whose World?

Board Leadership......................................10

8 100 Years 18 DESTINY: of Music, Magic, and

Donor Roster............................................. 38

Fresh perspectives on a Dvořák classic

Meet Jader Bignamini The DSO’s Next Music Director

Community at Orchestra Hall in Detroit Book excerpt by Mark Stryker

20 Community & Learning 21 PROGRAM NOTES

Transformational Support........................12 Maximize Your Experience....................... 48 DSO Administrative Staff......................... 50 Upcoming Concerts.................................. 52 ON THE COVER: Jader Bignamini, the DSO’s next Music Director, poses on the Orchestra Hall stage. Learn more about Jader on pg. 8 and at dso.org/jader. Photo: Sarah Smarch

Read Performance anytime, anywhere at dso.org/performance

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WELCOME SARAH SMARCH

Dear Friends, What an amazing start to 2020! On January 22, we were thrilled to name Jader Bignamini the next Music Director of the DSO, concluding an extensive and inclusive search that acknowledged the critical voice of our orchestra musicians in collaboration with board and staff leadership. Just a few days later, we agreed on a new three-year contract with musicians, our third consecutive early resolution that will secure continued artistic excellence as we begin a new era at the DSO. Jader’s chemistry with the orchestra is apparent to all who have seen them make music together. We hope you were able to see them perform in January or meet Jader at one of the many events that we held across our community. If not, we invite you to join us next season as he officially takes up the mantle of artistic leadership at the DSO. Don’t miss out on an incredible year that includes Jader conducting Beethoven’s Ninth Symphony and Tchaikovsky’s Violin Concerto with Midori. Read more about Jader on page 8 and remember that the best way to guarantee your seats to his first season is to subscribe now! As we look forward to a bright future together, we also seek to recognize those who have made it possible to be where we are today. We honor two dear friends, pianist André Watts and supporter Chacona Baugh, at this year’s Classical Roots Celebration on March 7. André has performed with the DSO over 50 times since his 1969 debut. He continues to be a captivating artist, and we can’t think of a figure more deserving of recognition for a lifetime of contributions to classical music. Chacona’s leadership at the DSO and on behalf of the Classical Roots mission is nothing short of extraordinary. It’s remarkable to note that she attended the very first Classical Roots concert in 1978, and subsequently her passionate commitment has made it possible for our entire community to be represented at the DSO through Classical Roots initiatives and in myriad other ways. Our season-long celebration of Orchestra Hall’s centennial culminates in grand style at this year’s Heroes Gala on June 20, when we will pay tribute not only to our beloved home but also to everyone who has ensured that this welcoming center for music, community, and education continues to thrive 100 years after first opening its doors. We also hope you can join us on May 2 as our Fred A. and Barbara M. Erb Jazz Creative Chair Terence Blanchard, along with an all-star band, pays tribute to 20 years of the Paradise Jazz Series and the enduring legacy of the Paradise Theatre. If you can’t make it here, the DSO continues to come to you via the William Davidson Neighborhood Concert Series, chamber music performances by DSO musicians throughout the metro area, and online through our Live from Orchestra Hall webcasts. No matter where you hear the DSO, we look forward to welcoming you every week of the season. Thank you and enjoy the performance! Anne Parsons President and CEO 4

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Mark Davidoff, Chairman WINTER-SPRING 2020

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

JEFF TYZIK

Principal Pops Conductor

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

SECOND VIOLIN Adam Stepniewski Acting Principal The Devereaux Family Chair Will Haapaniemi* David and Valerie McCammon Chair Hae Jeong Heidi Han* David and Valerie McCammon Chair Sheryl Hwangbo* Sujin Lim* Hong-Yi Mo* Alexandros Sakarellos* Drs. Doris Tong and Teck Soo Chair Joseph Striplin*~ Marian Tanau* Alexander Volkov* Jing Zhang* VIOLA Eric Nowlin, Principal Julie and Ed Levy, Jr. Chair James VanValkenburg A ssistant Principal Caroline Coade Glenn Mellow Hang Su Shanda Lowery-Sachs Hart Hollman Han Zheng Mike Chen

TERENCE BLANCHARD

NEEME JÄRVI

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

Music Director Emeritus

CELLO Wei Yu, Principal James C. Gordon Chair Abraham Feder A ssistant Principal Dorothy and Herbert Graebner Chair Robert Bergman* Jeremy Crosmer* David LeDoux* Peter McCaffrey* Joanne Danto and Arnold Weingarden Chair Haden McKay* Úna O’Riordan* Mary Ann and Robert Gorlin Chair Paul Wingert* Victor and Gale Girolami Chair

BASS Kevin Brown, Principal Van Dusen Family Chair Stephen Molina A ssistant Principal Linton Bodwin Stephen Edwards Christopher Hamlen Nicholas Myers

CLARINET Ralph Skiano Principal Robert B. Semple Chair Jack Walters PVS Chemicals Inc./Jim and Ann Nicholson Chair Laurence Liberson^ A ssistant Principal Shannon Orme E-FLAT CLARINET Laurence Liberson^ BASS CLARINET Shannon Orme Barbara Frankel and Ronald Michalak Chair BASSOON Robert Williams, Principal Victoria King Michael Ke Ma A ssistant Principal Marcus Schoon CONTRABASSOON Marcus Schoon

HARP Patricia Masri-Fletcher Principal Winifred E. Polk Chair FLUTE Hannah Hammel Principal Women’s Association for the DSO Chair Amanda Blaikie Morton and Brigitte Harris Chair Sharon Sparrow A ssistant Principal Bernard and Eleanor Robertson Chair Jeffery Zook PICCOLO Jeffery Zook OBOE Alexander Kinmonth Principal Jack A. and Aviva Robinson Chair Sarah Lewis A ssistant Principal Monica Fosnaugh Open, Maggie Miller Chair

HORN Karl Pituch, Principal Johanna Yarbrough Scott Strong Bryan Kennedy~ David Everson Assistant Principal Mark Abbott TRUMPET Hunter Eberly, Principal Lee and Floy Barthel Chair Kevin Good Stephen Anderson A ssistant Principal William Lucas Michael Gause African-American Orchestra Fellow TROMBONE Kenneth Thompkins, Principal David Binder Randall Hawes

BASS TROMBONE Randall Hawes TUBA Dennis Nulty, Principal PERCUSSION Joseph Becker, Principal Ruth Roby and Alfred R. Glancy III Chair Andrés Pichardo-Rosenthal A ssistant Principal William Cody Knicely Chair James Ritchie TIMPANI Jeremy Epp, Principal Richard and Mona Alonzo Chair James Ritchie A ssistant Principal LIBRARIANS Robert Stiles, Principal Ethan Allen PERSONNEL MANAGERS Heather Hart Rochon Director of Orchestra Personnel Hannah Wetherholt A ssistant Manager of Orchestra Personnel STAGE PERSONNEL Dennis Rottell, Stage Manager Ryan DeMarco Department Head Noel Keesee Department Head Steven Kemp Department Head Matthew Pons Department Head Michael Sarkissian Department Head LEGEND * These members may voluntarily revolve seating within the section on a regular basis ~ Extended leave ^ On sabbatical

ENGLISH HORN Monica Fosnaugh Shari and Craig Morgan Chair

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

Leonard Slatkin

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

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

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Jeff Tyzik

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

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

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

JADER BIGNAMINI The DSO’s next Music Director

hen Jader Bignamini was nine years old, he became fascinated by the cover of one of his brother’s books. It was a photo of a boy playing what he thought to be a flute, and Jader became determined to play the same instrument. The only problem was that the photo featured a boy playing a clarinet. Jader may not have recognized all the instruments, but that image was the spark that ignited a lifelong love of music and a passion for performing, first as a musician with Orchestra Sinfonica La Verdi in Milan (clarinet, not flute), and later as the group’s resident conductor. In January 2020, the Detroit Symphony Orchestra announced that Jader will succeed Leonard Slatkin as the DSO’s next Music Director. He will conduct three weeks of the 2020-2021 season (his first in the role) and twelve weeks in 2021-2022. Detroit audiences first met Jader when he stepped in for Slatkin on short notice to close the 2017-2018 season with concert performances of Puccini’s Turandot. “We have a saying, amore a prima vista,” Jader explains – love at first sight. That’s how he describes his debut with the DSO, and for musicians and patrons the feeling was mutual. There was an immediate chemistry, and since that June it’s become more and more clear that Jader is the right person to lead the DSO. “I thought it was incredible,” Jader says about Turandot. “It felt like it wasn’t the first time I was there conducting.” He returned to Detroit in October 2019 to conduct Mahler’s Fourth Symphony and the connection grew even stronger: “We

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did a very special and very emotional concert,” he says. “I felt a lot of love.” Jader was introduced as the DSO’s next Music Director to musicians, board, and staff at a rehearsal of Berlioz’s Symphonie fantastique, one of the first works – alongside Paganini’s First Violin Concerto – that the 43-year-old conductor would perform with his new role on the horizon. A public event was held at Beacon Park later that evening, and the weekend’s concerts in Orchestra Hall earned the DSO and its new maestro standing ovation after standing ovation. “I work with a lot of very good orchestras and I’ve done a lot of good concerts,” Jader explains. “But the best atmosfera, the best energy I’ve found is in this orchestra, in these musicians, in this concert hall, with this audience.” What can DSO fans expect from Jader’s tenure? A lot of excitement from the podium, and an eagerness to dive into the Detroit scene, according to the maestro. “Beethoven’s Ninth is one of my dreams,” Jader says, referring to the symphony he’ll conduct during his next engagement with the DSO this December. “I’ve never conducted it, and it’s one of my favorite pieces for orchestra, chorus, and soloists.” Ditto for Tchaikovsky’s Violin Concerto, which Jader comes very WINTER-SPRING 2020

close to calling his favorite in the genre and which he’ll conduct with violinist Midori in May 2021. Jader is also passionate about music education and shares the orchestra’s belief that the DSO is a place where all people can experience their world through music. “I can’t wait to start meeting people,” he says, expressing his excitement about getting to know Detroiters. As a bonus, Jader is a big jazz fan – “So Detroit seems like a good town for me,” he adds, laughing. One of the most incredible things about Jader is that he prefers to conduct symphonic works from memory, without a score. “It’s so important to have eye contact with the orchestra,” he says. “Without a score you can see the musicians and you can do much more with your ears. You listen with your ears, not

with your eyes.” Ears are one thing, but what really defines Jader is his heart. He conducts by heart and it’s clear that he leads by heart as well. “Music is so important for my soul,” he says. “And in Detroit I found a group of musicians that want to do their best. They love to make music – not just notes.”

SEE JADER IN THE 2020-2021 SEASON: Bignamini Conducts Beethoven 9 Dec. 10-13, 2020 Midori Plays Tchaikovsky May 6-9, 2021 Jader Conducts Brahms and Shostakovich May 21-23, 2021 Learn more at dso.org/jader and subscribe now at dso.org/classical

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DSO PERFORMANCE MAGAZINE 9

Detroit Symphony Orchestra, Inc. Samuel Frankel◊ David Handleman, Sr.◊ Dr. Arthur L. Johnson◊

James B. Nicholson Clyde Wu, M.D.◊

CHAIRMEN EMERITI

Peter D. Cummings Phillip Wm. Fisher Stanley Frankel

Robert S. Miller James B. Nicholson

DIRECTORS EMERITI

Robert A. Allesee Floy Barthel Chacona Baugh John A. Boll, Sr. Richard A. Brodie Lois & Avern Cohn Marianne Endicott Sidney Forbes Mrs. Harold Frank Barbara Frankel

Herman Frankel Paul Ganson Mort Harris Gloria Heppner, Ph.D. Ronald M. Horwitz Harold Kulish Bonnie Larson David McCammon David R. Nelson Marilyn Pincus

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

Mark A. Davidoff Chairman

Faye Alexander Nelson Treasurer

David Provost Officer at Large

Glenda D. Price, Ph.D. Vice Chair

Arthur T. O’Reilly Secretary

Nancy Schlichting Officer at Large

Anne Parsons President & CEO

Ralph J. Gerson Officer at Large

Hon. Kurtis T. Wilder (Ret.) Officer at Large

Pamela Applebaum David Assemany Governing Members Chair Marco Bruzzano Richard L. DeVore Samuel Fogleman Herman B. Gray, M.D. Nicholas Hood III

Daniel J. Kaufman Michael J. Keegan Arthur C. Liebler Xavier Mosquet Stephen R. Polk Jay Ritchie Orchestra Representative Bernard I. Robertson

Sharon Sparrow Orchestra Representative Shirley Stancato Arn Tellem Janice Uhlig Dr. M. Roy Wilson David M. Wu, M.D.

LIFETIME MEMBERS

OFFICERS

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

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◊ Deceased

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

Ismael Ahmed Rosette Ajluni Richard Alonzo Hadas Bernard Janice Bernick Robert Bluestein Suzanne Bluestein Penny B. Blumenstein Elizabeth Boone Gwen Bowlby Margaret Cooney Casey Karen Cullen Joanne Danto Stephen R. Dâ&#x20AC;&#x2122;Arcy Maureen T. Dâ&#x20AC;&#x2122;Avanzo Afa Sadykhly Dworkin Annmarie Erickson Peter Falzon James C. Farber Aaron Frankel Carolynn Frankel Christa Funk Alan M. Gallatin Robert Gillette Jody Glancy Malik Goodwin

Mary Ann Gorlin Laura Grannemann Laura Hernandez-Romine Donald Hiruo Michele Hodges Julie Hollinshead Renato Jamett Joseph Jonna John Jullens David Karp Joel D. Kellman Jennette Smith Kotila William Lentine James P. Lentini, D.M.A Linda Dresner Levy Florine Mark Tonya Matthews, Ph.D. Anthony McCree Anitha Mercy Lydia Michael NextGen Chair Lois A. Miller Daniel Millward Scott Monty Shari Morgan Sandy Morrison Frederick J. Morsches

Sean M. Neall Eric Nemeth Maury Okun Vivian Pickard William F. Pickard, Ph.D. Gerrit Reepmeyer Richard Robinson James Rose, Jr. Marc Schwartz Lois L. Shaevsky Mary Shafer Margaret Shulman Cathryn M. Skedel, Ph.D. Ralph Skiano Orchestra Representative Richard Sonenklar Mark Tapper Yoni Torgow Laura J. Trudeau Gwen Weiner Donnell White Jennifer Whitteaker R. Jamison Williams Margaret E. Winters Johanna Yarbrough Orchestra Representative Ellen Hill Zeringue

MAESTRO CIRCLE EXECUTIVE COMMITTEE Janet & Norm Ankers, Chairs

Cecilia Benner

Joanne Danto

Gregory Haynes

Bonnie Larson

Lois Miller

Richard Sonenklar

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

SPOTLIGHT: SHARI AND CRAIG MORGAN “That a-ha moment was when I realized that you can’t have a symphony without people supporting it,” says longtime DSO subscriber and donor Craig Morgan. Craig and his wife Shari attended DSO concerts for years before taking the step of becoming supporters themselves; in fact, they started coming to Orchestra Hall before they were even husband and wife. “We were dating at the time and I asked Shari if she Monica Fosnaugh, oboe and English horn (left) with Shari and Craig Morgan might be interested in getting a symphony subscription,” Craig explains. Shari adds that she thought it was a big commitment after only dating a few weeks, but hey, why not. That was in 1994, and more than 25 years later Shari and Craig are committed not only to one another but to the growth and continued excellence of the DSO. Shari is a member of the Board of Trustees and both have joined the 1887 Society. They endow DSO oboist and English horn player Monica Fosnaugh’s English horn chair and recently created the Illene Wenner & Shari Morgan Scholarship for Civic Youth Ensembles students (in honor of Shari’s mother, who passed away in 2019). But this incredible generosity – and the Morgans tight-knit relationships with DSO musicians, staff, and fellow patrons – all started with a few concert tickets and a small donation. “I think it was maybe $100,” remembers Craig. “But we met more people and we learned more about the orchestra, and it grew and grew.” The Morgans are true DSO evangelists, always finding new people to bring to Orchestra Hall for the first time. Shari says: “We tell people that there’s something for everyone. We are so very fortunate to have one of the best orchestras and halls in the country.” The couple is passionate about other arts and culture institutions as well, including supporting Interlochen Center for the Arts and snatching tickets to practically any musical theater production they can. Shari, an oboist, defines it as passing along gratitude she’s carried for a long time. “I’m a musician, and I went to Interlochen, I went to Tanglewood, but always on scholarship,” she explains. “I wanted to give back to those organizations that gave so much to me. It’s amazing to see the impact of what we give.” And then there’s the impact of music itself, which Shari says can’t be overstated. “When you make music, it doesn’t matter about your race, your religion, your economic situation,” she posits. “Music is people putting their differences aside to create something together.” 12

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The DSO is grateful to the donors who have made extraordinary multi-year, comprehensive gifts to support general operations, endowment, capital improvements, named chairs, ensembles, or programs. These generous commitments establish a solid foundation for the future of the DSO.

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

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

John S. & James L. Knight Foundation The Kresge Foundation Mrs. Bonnie Larson The Andrew W. Mellon Foundation Ms. Deborah Miesel Shari & Craig Morgan Dr. William F. Pickard The Polk Family Bernard & Eleanor Robertson Stephen M. Ross Mrs. Richard C. Van Dusen

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

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

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

◊ Deceased

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

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F E AT U R E S T O R Y

FROM WHOSE WORLD? Fresh perspectives on a Dvořák classic

magine you’re Antonín Dvořák in the So of course Dvořák had a problem, early 1890s, on a boat from Europe even 130 years ago. What on earth does bound for New York. Your duties when America sound like? What is “American,” you arrive will be to take over as anyway? It’s a question without an director of the relatively new National answer, or at best a very limited one. Conservatory of Music, which has a And the result of Dvořák’s mission to policy of admitting women and people of create this new kind of symphony can be color in addition to young white men. You sliced countless ways, derided or celeplan to immerse yourself in brated (or a million things in the culture of the United between) from a host of perStates with the hope of writspectives as diverse as ing a new kind of symphony America itself. that is borne from an original Here in contemporary American character and not America, as we grapple with simply derivative of the issues of authenticity, approorchestral standards being priation, and heterogeneity, imported from Europe. there’s perhaps no better Today, the simplest thing to time to reevaluate Dvořák’s say about America is that Ninth Symphony, “From the America is a lot of things: New World.” Dvořák was Antonín Dvořák sprawling, diverse, and enterfamously intrigued by prising; constructive and destructive at African-American music during his once. Its future feels unclear, and its years in America, and the “New World” past is defined by sets of nuances and symphony was a supposition that the contradictions far too difficult to catalog. “future music” of the country must begin America is tribes of indigenous societwith the culture of this marginalized and ies, enslaved people stolen from disenfranchised population. But can – or faraway lands, offspring of immigrants should – a Czech composer say anything seeking wealth or fleeing conflict or about the musical identity of an entire escaping destitution. It’s home to foreign nation? Can – or should – a white boundless farmland and New York European artist incorporate ideas into brownstones; to free refills and spin his work that originate from a culture he classes; to Amish churches and Airbnb. is not part of? Are can and should the Especially since the Industrial best questions to ask, or is it better to Revolution, America has come to chardiscuss what happens when? acterize the shift from a sectarian world A DSO Classical Series program this to an inextricably connected one, finally April presents Dvořák’s “New World” coming close to its “melting pot” promSymphony as dozens of concerts around ise where culture, origin, and creed are the world do each orchestra season. But blended and increasingly nebulous. this program also aims to open

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conversations like the For years, the stanones sketched out dard story was that above, chiefly by Dvořák, an outsider, apposing the veneracame to discover ble Dvořák with two something about new works: the world American culture premiere of James that most Americans Lee III’s Amer’ican, couldn’t (or wouldn’t) which is a direct see themselves: that response to Dvořák’s African-American music “New World” that The National Conservatory of Music of is the true voice of the investigates and plays America country. This revelation with its meaning; and came from Dvořák’s Gabriel Kahane’s 2018 emergency shelter interactions with the young black conintake form, a contemporary musical servatory student Harry T. Burleigh, consideration of American homelesswho sang spirituals to the fascinated ness. The hope is that the convergence composer. And when the symphony preof these three works will provoke quesmiered and Dvořák tions about American identity and how proclaimed its sucpeople exist within the country’s charac- cess, he was forced ter – geographic, cultural, economic, or to defend his (at the otherwise. time) progressive thesis from an Dvořák’s American Ideal unconvinced When Dvořák tackled questions like populace. those during his time in America, he got Most of the basic Harry T. Burleigh a lot of answers. Today, debate about facts in this story are Dvořák’s intentions and the reception his true, but there’s quite a bit of untold “New World” Symphony received is nuance. While the “New World” varied and heated. Symphony may be among the most

significant affirmations of AfricanAmerican culture in the otherwise European world of the concert hall, it was not the first; composer George Whiting argued for the “high culture” validity of Creole music in the mid1800s, and conductor Franz Xavier Arens toured Europe with a program of American music (much of it inspired by African-American idioms) that became a hot topic throughout the continent – before Dvořák even left for New York. While Dvořák wrote newspaper articles explaining his musical outlook on America, he also said “America will have to reflect the influence of the great German composers, just as all countries do,” and once wrote “leave out that nonsense about my using Indian and American motifs – it is a lie!” But the most glaring issues with the standard “New World” mythology are those that were drummed up in the 1890s and haven’t been changed or reconsidered since. Consider Dvořák’s observation that “the music of the negroes and of the Indians was practically identical,” and that “the music of the two races bore a remarkable similarity to the music of Scotland” – an outlandish takeaway by today’s standards, but not contextualized enough to dispel the myth that the piece makes several “authentic” references to African-American and Native American music and culture. Or look no further than the common title of the piece: “New World,” a dated, Eurocentric phrase that creates a land of otherness on the opposite side of the Atlantic Ocean. While few would argue it’s fair to judge an 1893 work by 2020 standards, we’ve learned a lot in those 130 years. We ought to use those lessons to better understand Dvořák’s Symphony No. 9 rather than take it – and its dated legends – at face value. 16

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A New World for the “New World”

Enter Amer’ican, a new work by composer James Lee III commissioned by the DSO. Amer’ican considers more than a century of performing, critiquing, and trying to understand Dvořák’s “New World” Symphony – and it offers an alternative perspective on the venerable work. For one thing, Amer’ican is unapologetically centered on the Native American experience. Lee draws inspiration from 18th century paintings of Pre-Colombian America (created, like Dvořák’s music, from an outsider’s point of view) and investigates what they do and don’t say about Native American history and culture. To give Native Americans a voice, Lee turns to definitions of the name of the Michigan Anishinaabeg tribe and creates music to fit: “There is a definition of the name, which is ‘Beings Made Out of Nothing,’ ‘People created by divine breath,’ and James Lee III ‘People from whence lowered,’” he writes. “The orchestral texture continues to become denser and grow in energy until “the good humans” (another definition) are created to full form and stature.” In a sense, Amer’ican shares its own “Being Made Out of Nothing:” Lee creates original sounds that personify Native American experiences without relying on stereotypes or co-opting musical tropes. The work respects the “other’s” perspective and reflects Lee’s own. While the “New World” Symphony and James Lee III’s Amer’ican engage in WINTER-SPRING 2020

direct dialogue, a third work on the DSO’s April concert program takes the conversation in a new direction. Gabriel Kahane’s emergency shelter intake form doesn’t concern itself with the “true music” of America, or a complex legacy of cultural appropriation – instead, it shines a musical spotlight on homelessness and housing insecurity in America. While the first and second pieces on the program grapple with American history, Kahane offers a stark portrait of the present. Gabriel Kahane sharing notes with the Oregon Symphony Known for his work across during a 2018 rehearsal of emergency shelter intake form genres and fearlessness with uncomfortable subject matter, messiness of the question: ‘who is Kahane has written pieces inspired by speaking on whose behalf?’” Craigslist ads, World War II-era bohemi Here in Detroit, some of the speaking ans, Greek mythology, and the Great – or in this case, singing – will be done Depression. emergency shelter intake by the Cass Ambassadors, a choral colform was written for the Oregon lective of formerly homeless men who Symphony in 2018 and is both musically remain connected to the mission of Cass and logistically unique – especially because Kahane mandates that the choir Community Social Services in Midtown Detroit. Present and former residents of performing on the piece comprises Mariner’s Inn will also participate. We people currently or formerly experienchope you will participate as well – by ing homelessness or housing insecurity. joining us for this critical musical con “It’s about exploring housing insecurity as just one facet of poverty,” Kahane versation and seeing what it inspires. explains. “And it tries to shrink the divide between those of us who live with enough and those who live with not enough.” And maybe emergency shelter intake form has more in common with Dvořák’s “New World” and Lee’s Amer’ican than it might originally appear, as questions of authenticity, voice, and appropriation still rise rapidly to the DVOŘÁK’S forefront. Says Kahane: “My first ques“NEW WORLD” tion was ‘well who is this really for?’ On the other hand, I think it’s incredibly SYMPHONY important that we wade into these probEric Jacobsen, conductor lems. We have the choice to remain April 2-4 silent, to stay away from politics in Learn more at dso.org music…or we can dive headlong into the dso.org

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DSO PERFORMANCE MAGAZINE 17

Excerpt DESTINY

DESTINY

COM MUN ITY MAG IC, AND OF MUS IC, 100 YEA RS IN DET ROIT TRA HAL L AT ORC HES

COM MUN ITY MAG IC, AND OF MUS IC, 100 YEAR S

wonders is one of the “Orchestra Hall — Yo-Yo Ma music world.” of our acoustic for these ue make a stat “They should it.” d oit who save people in Detr

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Mark Stryke

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“Inside, in the opening performance, lights dimmed, and the murmur of voices mellowed to a solid silence. After a few brusque chords in the orchestra and the roll of a downbeat, the curtain rose, and BAM! There he was onstage, live, with his trademark handkerchief, blowing up a storm. The gravel in his voice—unmistakable. So were the pearly white teeth and that mile-wide grin. At Woodward and Parsons, the marquee read: ‘Louis Satchmo Armstrong, the Trumpet King of Swing and His Famous Orchestra All-Star Review on Stage and In Person.’” That was the scene on December 26, 1941, when Orchestra Hall reopened as the Paradise Theatre. The description comes from a book-in-progress by Jiam Desjardins, a former actor, artist, and businessman with deep ties to Paradise Valley, the epicenter of African-American business and entertainment in Detroit from the 1930s until the early ’50s. Desjardins was there to hear Armstrong christen what would quickly become not only one of the leading venues for jazz in Detroit, but one of America’s elite theaters for black entertainers. New York had the Apollo Theater. 18

Stryker is a longtime journalist, music critic, and writer who covered classical and jazz music for the Detroit Free Press from 1995 to 2016. His new book, written in celebration of Orchestra Hall’s centennial year, is available now at Shop @ The Max. Read an excerpt from the chapter “A Trip to Paradise” below.

ry time I just a gem… Eve “This hall is awe. It’s y time—I’m in return—ever aud — Hélène Grim perfection.”

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BY MARK STRYKER

— Neeme Järv

DETR OIT A HALL IN

$24.95 3 1-7334170-1- 5 >

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

Community , Magic, and Years of Music illustrated Destiny: 100 it is a lavishly Hall in Detro home of at Orchestra Orchestra Hall, r 100 years of Written by forme book tracing hony Orchestra. ter the Detroit Symp and arts repor critic Press music rs behind the Detroit Free y takes reade Destin the er, Mark Stryk hall in 1919 and building of the Ossip or the of s direct scene music n Age under years DSO’s first Golde nues with the The story conti Paradise Gabrilowitsch. renamed the the hall was for the 1941–1951, when destination became a major chronicles Theatre and The book then save jazz artists. supporters to country’s top civic and ians ed in 1970, follow the fight by music from demolition Hall and the Orchestra Hall of Orchestra ar restoration ic home by the 20-ye DSO to its histor of return of the the creation triumphant s detail r in ly, the book Music Cente in 1989. Final rie S. Fisher Marjo and the roof the Max M. activities under present day and the 2003 and the concert halls the world’s great Along the way, of one of the rint of The Max. Hall’s acoustics, expanded footp of Orchestra magic the building’s book explores corners of the little-known Hall, sheds light on it, Orchestra shows how Detro y. history, and destin same all share the and the DSO

DSO PERFORMANCE MAGAZINE

Los Angeles had the Lincoln Theater. Chicago had the Regal Theater. And Detroit had the Paradise, whose quality bookings, moderate size, and superior acoustics were tough to beat. … The remarkable talent that graced the stage weekly at the Paradise Theatre represents more than just an honor roll of African-American musicians at midcentury. The era opens a window on Detroit’s emergence as an influential jazz mecca whose legacy continues to resonate today. At the same time, the changing nature of the bookings at the theater through the second half of the ’40s and early ’50s holds up a mirror to the evolution of American vernacular music. In jazz, the swing era gave way to bebop, and early rhythm and blues emerged into the spotlight. The theater’s closing in 1951 put an exclamation point on broader trends in the entertainment industry, principally the decline of big bands and stage shows.

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

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

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

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

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

As of January 31, 2020

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

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DSO PERFORMANCE MAGAZINE 19

COMMUNITY & LEARNING

THE EDUCATIONAL CONCERT SERIES: LEARNING BEYOND THE FINAL BOW

ore than 50 years ago, a promising young pianist gave a recital in Hong Kong as a young doctor looked on from the audience, mesmerized by her talent. Following the recital, Dr. Clyde Wu introduced himself to the pianist, Helen, sparking a connection that led to marriage and a lifetime of partnership in service to music education. Today, the Wu legacy is carried on through the DSO’s Wu Family Academy for Community and Learning, which offers programming for all ages and backgrounds, including the Educational Concert Series (ECS). For more than 80 years, ECS has introduced students worldwide to orchestral music through performances exploring topics like science, history, and art. Students and educators can enjoy ECS performances in-person at Orchestra Hall or, for select concerts, through their online counterpart: the Live from Orchestra Hall: Classroom Edition webcast series. Each webcast is completely free of charge and available on dso.org/live, Facebook Live, or (for Wayne County students) through a Wayne RESA feed. Tens of thousands of students from around the world have tuned in to Classroom Edition webcasts, from right here in Detroit to as far away as Asia, Europe, and South America. In the 2019-2020 season, all eight ECS performances at Orchestra Hall have sold out—a testament to their transformative power as an educational resource. But there’s no limit to how many students and teachers can tune in to Classroom Edition. 20

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#DSOIMPACT

Whether in Orchestra Hall or the classroom, music and non-music teachers alike have access to complimentary Teacher Resource Guides to enhance ECS performances. The guides provide an immersive experience with comprehensive audio and activity resources. Hear performance tracks and highlighted excerpts, and learn more about musical terms, instruments, the orchestra, and even concert etiquette. Activities centered around composers and musical themes provide historical and cultural context, while literature recommendations and new upload alerts enable educators to continue the lesson long after the final note has been played. DSO Director of Education Debora Kang fondly remembers the impact of attending her first orchestra concert, and she’s enthusiastic about giving the next generation of young music fans that same experience. With Teacher Resource Guides as the foundation, the DSO is working to activate online workshops with lessons and demonstrations by DSO teaching artists and musicians. Also keep an eye out for an enhanced Pinterest presence, as the DSO develops a hub for pre-K through high school music education resources. Rooted in accessibility and guided by the legacy of past leaders, the DSO is proud to serve students, educators, and families in the Detroit community and beyond. Says Kang of ECS performances, “One of the best gifts you can give students is an opportunity to hear live music. Many of us grew up with music in our schools, but some students today no longer have that privilege. You never know—you might have a future musician in your classroom!” For more information visit dso.org/ecs. WINTER-SPRING 2020

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

JEFF TYZIK

Principal Pops Conductor

TERENCE BLANCHARD

NEEME JÄRVI Music Director Emeritus

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

CLASSICAL SERIES CLASSICAL ROOTS

Friday, March 6, 2020 at 10:45 a.m. Saturday, March 7, 2020 at 8 p.m. at Orchestra Hall THOMAS WILKINS, conductor • ANDRÉ WATTS, piano BRAZEAL DENNARD CHORALE (Alice McAllister Tillman, Artistic Director) SUMAYYA ALI, soprano • CHARLOTTE SMALL-CHESTNUT, mezzo-soprano VINCENT DAVIS, tenor • MARKEL REED, baritone John Rosamond Johnson Lift Every Voice and Sing (1873 - 1954) Brazeal Dennard Chorale Lyrics by James Weldon Johnson; Conducted by Alice McAllister Tillman arr. Roland Carter R. Nathaniel Dett Ave Maria Theodore B. Jones, baritone James Furman Hehlehlooyuh (A Joyful Expression) Brazeal Dennard Chorale Conducted by Alice McAllister Tillman

Nkeiru Okoye (b. 1972) Voices Shouting Out

Black Bottom (World Premiere) Sumayya Ali, soprano Charlotte Small-Chestnut, mezzo-soprano Bernard Holcomb, tenor Markel Reed, baritone Intermission William Grant Still Wood Notes (1895 – 1978) I. Singing River IV. Whippoorwill’s Shoes Maurice Ravel Piano Concerto for the Left Hand (1875 - 1937) André Watts, piano

Black Bottom is commissioned by the Detroit Symphony Orchestra with a grant from The Virginia B. Toulmin Foundation.

This Classical Series performance is generously sponsored by 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.

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Program Notes Lift Every Voice and Sing B. August 11, 1873, Jacksonville, FL D. November 11, 1954, New York, NY

Lift Every Voice and Sing has been sung at the beginning of every Classical Roots concert since the event’s inauguration in 1978. This performance of Lift Every Voice and Sing features a Roland Carter arrangement used most often in formal contexts.

JAMES WELDON JOHNSON (lyrics)

Voices Shouting Out

JOHN ROSAMOND JOHNSON (music)

B. June 17, 1871, Jacksonville, FL D. June 26, 1936, Wiscasset, ME

Scored for mixed choir, 2 flutes, oboe, 2 clarinets, bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, and strings. (Approx. 7 minutes)

ift 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 AfricanAmerican 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.

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Composed 2001-02 | Premiered February 2002

NKEIRU OKOYE B. July 18, 1972, New York, NY

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 2 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 5 minutes)

keiru Okoye composed Voices Shouting Out as a response to the tragedy of September 11, 2001. But it is not a grieving, sorrowful work; rather, Okoye explains that the piece intends to provide affirmation, optimism, and a cry for unity in the face of challenging circumstances. “Rather than ‘crying out,’ my official response was Voices Shouting Out in freedom, as it were, through the music,” Okoye writes. “It was a march to acknowledge those fighting on behalf of our safety, and yet a sparkling celebration of life for those of us who continue living.” Voices Shouting Out is now Okoye’s most-performed orchestral piece. The DSO most recently performed Nkeiru Okoye’s Voices Shouting Out at a special concert in January 2014 at Detroit’s Martin Luther King High School, conducted by Brandon Keith Brown. The DSO first performed the piece in March 2002, conducted by Thomas Wilkins. WINTER-SPRING 2020

Black Bottom World Premiere

NKEIRU OKOYE B. July 18, 1972, New York, NY

Scored for solo soprano, alto, tenor, and bass-baritone; as well as 2 flutes, piccolo, oboe, English horn, 2 clarinets, bass clarinet, bassoon, 4 horns, 3 trumpets, 2 trombones, tuba, timpani, percussion, electric bass, and strings. (Approx. 20 minutes)

rappling with the complex fabric of Detroit’s urban renewal history, composer Nkeiru Okoye’s Black Bottom crafts a bold portrayal of the Black Bottom and Paradise Valley neighborhoods’ musical social life in the 1920s-1960s. Black Bottom was said to have been named after the fertile top soil on which it was established, until the neighborhood was razed to construct the Chrysler Freeway (I-375) in 1964. The picture of black upward mobility, Black Bottom was a destination for entrepreneurs, public figures, and musicians, including Sidney Barthwell, Mayor Coleman Young, Charlie Premas, Laverne Baker, and Della Reese. This composition is meant to raise questions about the destruction of a vibrant neighborhood and the reasoning behind why Black Bottom was selected for demolition. Pictorially inspired, Black Bottom transports listeners to this storied place and time through nine movements, setting us right at its most popular vein: Hastings Street. The piece features a full orchestra and four versatile singers who deploy “extended techniques” exploring the African-American voice as an instrument and the instrumentation as voices. Okoye challenges us by incorporating song forms like the “sung story,” which

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is the combination of African storytelling (a parable with a point), AfricanAmerican musical styles (e.g. choral singing), and the narrative pageantry of opera. Audiences are invited to listen for spoken and unspoken messages in the form of short musical motives derived from interviews and other research. Refer to the program note insert to see the photos referenced in this piece. Tribute 1: Shout – Shout is a tribute to the elders, drawing from Africanderived traditions such as Kwanzaa commemoration. To depict a sonic mapping of the Black Bottom neighborhood, African-American voices, African drumming, and jazz textures are used. Two Shops on Hastings – Centering on Hastings Street, audiences are placed in Joe’s Record Shop, in the midst of a busy thoroughfare. Consistent with the African “talking instrument” tradition, musicians “speak” and establish the artistic motives. Then we are introduced to the owner of Barthwell’s Drugs, Sidney Barthwell, and his relationship with wife Gladys Whitfield-Barthwell. Barthwell is heard in a baritone voice duplicated by trombone with perpetual movement, illustrating him working to build a thriving business empire. The three-note chromatic opening is evocative of Lift Every Voice and Sing. Tribute 2: Moan – This slow, almost excruciating prelude conjures African women keening as they mourn separation from loved ones. As Moan progresses, one hears a resemblance to the despair of observing bulldozers desecrating a cherished community. The movement ends with church bells ringing, cuing congregants to worship with a familiar refrain of the Doxology that one might hear from the four prominent black churches in the neighborhood.

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Bethel A.M.E. – A tribute to black churches focusing on the African Methodist Episcopal (A.M.E.) denomination, this movement imitates the Decalogue and iconic hymns, including the distinct “Soon I Will Be Done.” The A.M.E. Decalogue comprises a responsorial reading of the Ten Commandments and a struck anvil, which signifies the founding of the A.M.E. denomination in a blacksmith shop. Children’s Games – Prompted by a photo of little girls jumping rope with the caption “Gangs,” this fugue is an original tune inspired by the children’s game lyric “one potato, two potato, three potato, four;” then the melody is transformed into something new. Sweet Story – A “sung story” about the Civil Rights figure Dr. Ossian Sweet, who pursued an American dream that cost him his life. A tenor solo with soprano, mezzo-soprano, and baritone call and response is featured in a black church choral style. Multivocal narratives are conveyed through layering simple rhyme schemes with contrasting somber text. Tribute 3: Breathe – Interweaving previous tribute motives, this jazz waltz has sparse instrumentation and no vocalists, mirroring the intimacy of the Paradise Theatre – the jazz and blues venue that Orchestra Hall became in the 1940’s. 5461 Brush Street – A “sung story” of an unsung Civil Rights leader, Dr. Rosa Slade Gragg. A dark-skinned, privileged, and cultured woman, Dr. Gragg founded a women’s club that did charitable work, an essential resource during the Great Depression. Music from jazz clubs can be heard. The A.M.E. and historically black colleges and universities (HBCU) choral tradition is alluded to, as is the symphonic and chamber music that 24

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would have floated through the air at Dr. Gragg’s club teas. Because Dr. Gragg’s name is not famous, it is a signature sounded several times as a motif by vocalists and orchestra. Tribute 4: Dance – The closing tribute is given to the elders and ancestors, those who have preceded us; it also looks to the future in an illustration of Sankofa – a word from the Akan people of Ghana that expresses the concept of knowing the past in order to make the future better. —Dr. Alisha L. Jones The DSO proudly presents the world premiere of Nkeiru Okoye’s Black Bottom at these performances.

Selections from Wood Notes Composed 1947 | Premiered April 1948

WILLIAM GRANT STILL B. May 11, 1895, Woodville, MS D. December 3, 1978, Los Angeles, CA

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 3 trumpets, 2 trombones, timpani, percussion, harp, piano, and strings. (Approx. 9 minutes)

illiam Grant Still is remembered as a pioneering musician of the modern age. He was the first living African-American composer whose work was performed by a major symphony orchestra, and his most popular work – his Symphony No. 1, the “AfroAmerican” Symphony – was the most-performed work by an American composer (African-American or otherwise) for more than 20 years in the midsection of the 20th century. Still composed more than 150 concert works, including symphonies, ballets, operas, chamber works, choral and solo vocal WINTER-SPRING 2020

works, and arrangements of Negro spirituals. The orchestral suite Wood Notes takes its inspiration from the Louisianan writer Joseph Mitchell Pilcher, who wrote poetry and song lyrics. As the movement titles suggest, the work is pastoral and full of personality, relying often on pentatonic melodies in the woodwind section. Still notes in the score that the first movement, “Singing River,” should be played “moderately slow;” the fourth and final movement, “Whippoorwill’s Shoes,” should meanwhile be played “humorously.” These performances of music from William Grant Still’s Wood Notes will be DSO premieres.

Piano Concerto for the Left Hand Composed 1929-1930 | Premiered January 1932

MAURICE RAVEL B. March 7, 1875, Ciboure, France D. December 28, 1937, Paris, France

Scored for solo piano, 3 flutes (1 doubling on piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, E-flat clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 19 minutes) Due to a nerve issue with his left hand, Mr. Watts will perform this concerto with his right hand – a remarkable feat, and possibly the first time the piece has been performed this way on a major concert stage. uch of the significant left-hand piano music written in the 20th century owes its existence to the Austrian-born American pianist Paul Wittgenstein, who

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lost his right arm on the Russian front during World War I. Determined not to let this injury destroy his musical life, Wittgenstein developed an extraordinary technique with only his left hand and used his family’s wealth to commission one-handed piano works from notable composers, including Richard Strauss, Sergei Prokofiev, Benjamin Britten, and Maurice Ravel. Ravel found the challenge of writing for one hand particularly stimulating; his remarks preceding the premiere reveal an ambition to write a substantial piece, despite the digital limitations of the soloist: “… [the soloist’s limitation] poses a rather arduous problem for the composer … which is to maintain interest in a work of extended scope while utilizing such limited means. The fear of difficulty, however, is never as keen as the pleasure … of overcoming it.” The work, which is mostly grand and serious, is in a single movement, and follows a slow-fast-slow pattern. The opening evokes a mysterious atmosphere by using the lowest possible instruments in the orchestra: the basses playing their open strings alongside a solo contrabassoon. The latter instrument’s melody presents two important motives: a dotted rhythm that will eventually grow into the first theme, and a descending third that will become important in the center of the work. The introduction gradually grows in intensity and brightness, acting as a giant upbeat to the soloist’s entrance, which after a cadenza introduces the first theme. The solo piano soon offers a brief and lyrical second theme, and the orchestra and soloist join together in a transition that quotes the opening dotted rhythm. That transition leads to the arrival of a fast section in 6/8 time. A brief and playful melody in duple time follows,

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played by the high woodwinds and accompanied by the soloist. The middle section is an extended meditation on the descending third introduced at the opening. This is spun out into a theme that gradually builds in texture and activity; eventually the initial theme from the fast section becomes the accompaniment. A return to the slow section features an extended piano solo that touches on the

lyrical theme from the opening and leads to a triumphant conclusion. The DSO most recently performed Ravel’s Piano Concerto for the Left Hand in February 2020, conducted by Thomas Søndergård and featuring pianist Bertrand Chamayou. The DSO first performed the piece in January 1935, conducted by Victor Kolar and featuring Paul Wittgenstein himself.

Text Nkeiru Okoye Black Bottom Children’s Games One potato, two potato, three potato, four Five potato, six potato, seven potato more. Miss Mary Mack Mack Mack All dressed in black black black With silver buttons, buttons, buttons All down her back. Sweet Story Sweet story Sweet story

Survived the ordeal But wife and child were dead Twenty years later Pooled yourself in lead. 5461 Brush Street Dr. Rosa Slade Gragg, Dr. Gragg bought a house at the corner of Ferry and Brush street to hold meetings for her organization Detroit Association of Women’s Clubs

Justice served with bitter glory Memory, more than a civil rights allegory

Neighbors complained Because Restrictive covenants barred Black people from owning property On the first two blocks of Ferry Street

Ossian Sweet, Black physician with pride, Bought a new home for his babe and bride

Well, did she move? No Well, did she cry? No Did she even bat an eye?

Our girl Educator, Community leader, philanthropist, advisor to presidents Raised her chin, in the proud way for which she was known. And Dr. Rosa Slade Gragg Boarded up the Ferry Street entrance to the house. broke through the wall on Brush Street And made a new door Now, she had a whole new address And the Association of Women’s clubs kept meeting Doing great work for the people Dr. Rosa Slade Gragg took on the system And we won

Profiles THOMAS WILKINS

homas Wilkins currently serves as music director of the Omaha Symphony (a position he has held since 2005) and principal conductor of the Hollywood Bowl Orchestra. He also serves on the faculty of Indiana University’s Jacobs 26

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School of Music and is artistic advisor for education and community engagement at the Boston Symphony Orchestra. Wilkins has had the honor of conducting the New York Philharmonic, Chicago Symphony Orchestra, Los Angeles Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, National Symphony WINTER-SPRING 2020

Orchestra, Cincinnati Symphony Orchestra, Atlanta Symphony Orchestra, Dallas Symphony Orchestra, Houston Symphony, and many others. He has also performed at the Grant Park Music Festival in Chicago. Wilkins is the recipient of the Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society, an “Outstanding Artist” award from the Nebraska Governor’s Arts Awards, and the Virginia Symphony’s annual Dreamer Award. He serves on several nonprofit boards, including the Greater Omaha Chamber of Commerce, Charles Drew Health Center (Omaha), the Center Against Spouse Abuse (Tampa), the Museum of Fine Arts (St. Petersburg, FL), and the Academy Preparatory Center (St. Petersburg, FL). Wilkins was born in Norfolk, VA and is a graduate of the Shenandoah Conservatory of Music and the New England Conservatory of Music. He and his wife Sheri-Lee are the proud parents of twin daughters Erica and Nicole. Wilkins previously served as resident conductor of the Detroit Symphony Orchestra and conducted every Classical Roots concert from 2002 to 2009. He was named a Classical Roots Honoree in 2008 and returned to conduct at Classical Roots in 2015.  MOST RECENT APPEARANCE

WITH THE DSO: December 2015, conducting Home for the Holidays on the PNC Pops Series F IRST APPEARANCE WITH THE

DSO: November 1999, conducting the DSO and Aretha Franklin on a special program celebrating Franklin’s roots and career in gospel music

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ANDRÉ WATTS Read more about André Watts in the Classical Roots Honoree Profile on pg. 30. ndré Watts burst upon the music world at the age of 16 when Leonard Bernstein chose him to make his debut with the New York Philharmonic on one of the orchestra’s Young People’s Concerts, a performance broadcast to TV sets nationwide on CBS. Two weeks later, Bernstein asked Watts to substitute at the last minute for Glenn Gould in performances of Liszt’s E-flat Concerto with the New York Philharmonic, thus launching his career in storybook fashion. More than half a century later, Watts remains one of America’s most distinguished and celebrated performing artists. Watts’s recent and upcoming engagements include appearances with The Philadelphia Orchestra (at home and on tour), the New York and Los Angeles Philharmonics, the Minnesota Orchestra, and the St. Louis, Atlanta, Cincinnati, Dallas, Houston, Baltimore, Indianapolis, and Nashville symphonies, among others. Recent international engagements include concerto and recital appearances in Japan, Hong Kong, Germany, and Spain. Watts has had a long and frequent association with television, having appeared on numerous programs produced by PBS, the BBC, and A&E Network, performing with the New York Philharmonic, Boston Symphony Orchestra, Philadelphia Orchestra, Mostly Mozart Festival Orchestra, and Chamber Music Society of Lincoln Center, among others. His 1976 New York recital for Live From Lincoln Center was the first full length recital

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Text broadcast in the history of television, while his performance at the 38th Casals Festival in Puerto Rico was nominated for an Emmy Award in the category of Outstanding Individual Achievement in Cultural Programming. Watts’s extensive discography includes recordings of works by Gershwin, Chopin, Liszt, Tchaikovsky, Beethoven, Schubert, and more for CBS Masterworks, Angel/EMI, and Telarc. He is also included in the Great Pianists of the 20th Century series for Philips. In May 2016 Sony Classical released André Watts – The Complete Columbia Album Collection, a 12-CD set featuring all the concerto and solo recordings Watts has recorded for Columbia Masterworks. Watts is a recipient of the National Medal of Arts and the Avery Fisher Prize. He is a member of the Hollywood Bowl Hall of Fame and is the youngest person to ever receive an honorary doc-

torate from Yale University. Watts was appointed to the Jack I. and Dora B. Hamlin Endowed Chair in Music at the Jacobs School of Music at Indiana University in May 2004, and in 2017 was named a Distinguished Professor, the highest academic rank the university bestows upon its faculty. Recordings available on the SONY Classical, Philips, Angel/EMI, and Telarc labels. André Watts appears by arrangement with CM Artists.

 MOST RECENT APPEARANCE

WITH THE DSO: June 2013, performing MacDowell’s Piano Concerto No. 2 (cond. Leonard Slatkin) F IRST APPEARANCE WITH THE

DSO: April 1969, performing Rachmaninoff’s Piano Concerto No. 3 (cond. Sixten Ehrling)

Honoree Profiles Chacona Baugh By Leslie D. Green

hacona Baugh was in her mid-20s when she began gaining an appreciation for – which later became a love of – classical music. That’s when she began accompanying her then-boyfriend Arthur Johnson, a fierce lover of classical music, to Detroit Symphony Orchestra performances. In 1978 Johnson took Baugh to the inaugural Classical Roots concert, a festive affair at Detroit’s Bethel A.M.E. church. Johnson, along with DSO assistant general manager Wayne Brown, chorus leader Brazeal Dennard, and several other African-American arts and

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cultural leaders imagined a new type of orchestra event: one that feted AfricanAmerican conductors and the work of African-American composers. “Bethel was packed. It was standing room only,” Baugh remembers. So Classical Roots became an annual affair, first at Bethel A.M.E. and later at the much larger Orchestra Hall. “I looked forward to it every year,” Baugh says. “You would see a range of conductors, and it was a great celebration of contributions of African-Americans.” Baugh later married Johnson, who served on the DSO board for more than 30 years and made Classical Roots his biggest priority. He wanted to do more than just hold performances – he wanted WINTER-SPRING 2020

to raise money that supports the work of African-American musicians and composers, evolving Classical Roots from a concert to a mission. Johnson passed away in 2011, but Baugh is continuing her late husband’s legacy as an avid DSO supporter and Classical Roots champion. She was thrilled when the annual event was renamed the Arthur L. JohnsonHonorable Damon Jerome Keith Classical Roots Celebration in 2019 (thanks to Honoree Dr. William F. Pickard, who doubled his support and asked that it be named in honor of two of his greatest mentors). Baugh works closely with the Classical Roots Steering Committee and chaired it in 2011 and 2012. She also served on the DSO’s Board of Directors. Something she’s especially proud of is the work she’s done to expand the Classical Roots mission beyond the confines of Orchestra Hall by developing initiatives that take artists to area schools and churches. She has also worked to encourage younger people to take an interest in Classical Roots and the world of orchestral music. “It’s exciting to see how the committee has grown and how future generations are learning about classical music and working to sustain the work of classical musicians who happen to be African American,” Baugh says. “It’s important that our young people are exposed to the arts. I didn’t have that growing up.” She also points to the DSO’s AfricanAmerican Orchestra Fellowship as a meaningful initiative supported by Classical Roots. “Getting into a major orchestra is difficult,” she says, and young African-American musicians don’t always have the resources necessary to pursue music as a career. The Fellowship aims to address the underrepresentation of African-American dso.org

musicians in orchestras by selecting young musicians to perform with the DSO and receive audition and career mentorship. “It gives them an opportunity to play classical music with our world-renowned symphony,” Baugh explains – and that opportunity can be a game-changer. Classical music isn’t Baugh’s only passion, though it did connect her with violinist Harold Baugh, whom she married in 2016. She loves the arts in general. Baugh has also served on the boards of the Detroit Institute of Arts, CultureSource, the Arts League of Michigan, and the Fred A. and Barbara M. Erb Family Foundation. “The arts are important to me, and they make a difference to our well-being and to our community,” she says. Baugh is also enthusiastic about higher education. As a longtime fundraising lead at the University of Michigan, she worked with every department and school. “I always liked being on campus where learning was going on,” she says. “I wasn’t an expert in any of the areas, but I got to see people who were passionate, and I got to learn about the extraordinary work going on. It was almost magical — whether dealing with people or a corporation or a foundation — to see their money doing good, whether it was a providing a scholarship or funding groundbreaking research to help a medical condition.” She loved the work so much that after retiring from the University of Michigan in 2009 she helped kick off and then run the Detroit Public Schools Foundation. Then, in 2014, Wayne State University named Baugh president of its foundation and vice president for Development and Alumni Affairs, where she led a successful fundraising campaign before her retirement in 2016.

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André Watts By Leslie D. Green

ndré Watts was just 10 years old when he played his first concert with The Philadelphia Orchestra. He realized then that he wanted to make being a pianist into a career. In 1963, Philadelphia and New Yorkbased instructor Genia Robinor helped bring Watts’s vision to fruition. Robinor astounded a then-16-year-old Watts by arranging for him to audition for a televised Young People’s Concert with Leonard Bernstein, the renowned composer, conductor, and pianist. Watts won a spot. “The broadcast was especially successful for me because Bernstein made this huge proclamation — on national television — that he, himself, was going to take the pleasure of conducting me in the Liszt Concerto [#1 in E-flat],” remembers Watts, “while the three other performers would share a Mozart Concerto conducted by his assistants. This was, actually, the beginning of my professional career.” A few weeks later, celebrated pianist Glenn Gould canceled his appearance with Bernstein and the New York Philharmonic. But someone suggested that Watts fill in. “Bernstein immediately loved the idea, and I was called on a Tuesday morning to play that same week,” Watts says. Though he was nervous, he trusted that all he needed to do was continue to play as well as Bernstein believed he could: “The truth is that I didn’t truly realize the externals of the situation; I wanted to please my mother and my teacher! I also wanted Bernstein and the orchestra members to think I was really good, and that the performance on the Young People’s broadcast hadn’t been a fluke. I wanted them to know I was capable of playing well in the real concert world.” Since then, Watts has become a

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superstar; he has performed globally, making appearances with virtually every major symphony and in recital at top venues and festivals. Watts made his DSO debut with conductor Sixten Ehrling in 1969. In 1972, he became the youngest person to receive an Honorary Doctorate from Yale University. In 1976, he performed the first full-length recital aired on national television. And in 2011, he earned the National Medal of Arts. Despite the good fortune he had early in his career, life wasn’t simple for Watts. Being biracial meant that he encountered prejudice from both whites and blacks. Still, his mother never allowed him to use bigotry as an excuse for not working toward his goals, and there were enough people who seemed to welcome the idea of a young man of color succeeding in the classical music arena that his obstacles were not insurmountable. Watts credits the nurturing and instruction of his first manager, Bill Judd, and his last official teacher, Leon Fleisher, for their help; as well as Bernstein, his mother, and others. At the same time, he praises the many incredible musicians whose recordings he heard for their impact. Grateful and flattered by his Classical Roots honor, Watts said the most significant aspect of the recognition is that it reminds him to be “a good example of always striving.” “African-American students wanting to enter the classical music world still have the racial component to contend with,” he says. But he posits that the best advice he has transcends race, gender, and profession: “I would say that searching for and discovering the real you is vital. The process of living and growing as a human being while trying to have compassion for all other human beings will help in making you the best musician — or any career you choose — you can be.” WINTER-SPRING 2020

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

JEFF TYZIK

TERENCE BLANCHARD

Principal Pops Conductor

NEEME JÄRVI Music Director Emeritus

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

CLASSICAL SERIES CARMINA BURANA

Thursday, March 12, 2020 at 7:30 p.m. Friday, March 13, 2020 at 8 p.m. Saturday, March 14, 2020 at 8 p.m. Sunday, March 15, 2020 at 3 p.m. at Orchestra Hall LEONARD SLATKIN, conductor • LAUREN SNOUFFER, soprano TAYLOR STAYTON, tenor • WILL LIVERMAN, baritone UMS CHORAL UNION • ANN ARBOR YOUTH CHORALE Niccolò Paganini (1782 - 1840) Yet Another Set of Variations (on a Theme of Paganini) Arr. as indicated Leonard Slatkin Introduction, Theme, and Variant (with apologies to S.R.)1 Joseph Schwantner Aftertones of Niccolò* Leonard Slatkin Transitional Interlude Guillaume Connesson Variation d’Anniversaire sur un thème de Paganini2 Donald Erb Ave Atque Vale L.S.* Truman Harris Sarabande3 William Bolcom Presto scherzando* Joan Tower Paganini Trills*4 Daniel Slatkin Paganini Goes to the Movies5 Claude Baker Il regalo di Fornaio* Cindy McTee Paganini Stomp6 John Corigliano Apotheosis (:90)7 Quodlibet and Finale* Leonard Slatkin Intermission Carl Orff Carmina Burana

(1895 - 1982)

Lauren Snouffer, soprano Taylor Stayton, tenor Will Liverman, baritone UMS Choral Union Ann Arbor Youth Chorale

This Classical Series performance is generously sponsored by

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

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Program Notes P R O G R A M AT- A - G L A N C E SOURCE MATERIAL While Leonard Slatkin’s Yet Another Set of Variations (on a Theme of Paganini) is a new work, it joins a long tradition of riffing on Niccolò Paganini’s masterful violin music. Brahms, Chopin, Liszt, Lutosławski, and Rachmaninoff have all written their own Variations; so have Benny Goodman, Andrew Lloyd Webber, heavy metal guitarist Yngwie Malmsteen, and funk bassist Victor Wooten. And Carmina Burana – especially the “O Fortuna” passage – has been used, reused, interpreted, and reinterpreted countless times. Some highlights: the movie Speed, the TV series American Horror Story, the video game World of Warcraft, Ray Manzarek’s rock album Carmina Burana, and the Jumbotron antics of every Pittsburgh Pirates home game.

Yet Another Set of Variations (on a Theme of Paganini) World Premiere

NICCOLÒ PAGANINI B. October 27, 1782, Genoa, Italy D. May 27, 1840, Nice, France

Arr. VARIOUS, organized by LEONARD SLATKIN B. September 1, 1944, Los Angeles, CA

Scored for 3 flutes (1 doubling on piccolo), 3 oboes (1 doubling on English horn), 3 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, celeste, 2 pianos (1 offstage), tuned crystal glasses, and strings. (Approx. 22 minutes)

SLATKIN

Leonard Slatkin writes the following about the piece: In 1996 I gave my final concert as music director of the St. Louis Symphony. For the occasion, we asked the four composers who were in residence during my tenure to write a variation on the famous theme from the 24th Caprice by Niccolò Paganini. Joseph Schwantner, Joan Tower, Donald Erb, and Claude Baker each offered a different take on the tune. In addition, William Bolcom and I contributed short interpretations of our own. Although the idea for several composers to create a single variation intended to be performed alongside other arrangements was new, the original theme is probably the most popular classical music tune to be subjected to various treatments. Indeed, Brahms, Schumann, Lutosławski, Blacher,

* Denotes variation written for the occasion of Leonard Slatkin’s final concert as music director of the St. Louis Symphony Orchestra, May 19, 1996. 1 “Rhapsody on a Theme of Paganini” by Sergei Rachmaninoff © 1934 by Charles Foley. Copyright Renewed. All Rights Assigned to Boosey & Hawkes Music Publishers, Ltd. All Rights Reserved. Used With Permission. 2 © 2019 Gérard Billaudot Editeur SA France. Commissioned by the Orchestre National de Lyon. 3 Commissioned by the National Symphony Orchestra. 4 © 1996 by Associated Music Publishers, Inc. (BMI) New York, NY. International Copyright Secured. All Rights Reserved. 5 Commissioned by the Nashville Symphony Orchestra. 6 Commissioned by the Detroit Symphony Orchestra. 7 © 2019 by G. Schirmer, Inc. (ASCAP) New York, NY. International Copyright Secured. All Rights Reserved. Commissioned by the St. Louis Symphony Orchestra.

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Rachmaninoff, and even Andrew Lloyd Webber have all turned to Paganini for inspiration. As I approached my 75th birthday, it occurred to me that expanding on this idea from 23 years ago would be a nice way to celebrate. I invited five orchestras where I have held a position of artistic leadership to commission five composers with whom I have shared a close collaboration over the course of my career. Specifically, the St. Louis Symphony invited John Corigliano to contribute a new variation, as it was with that orchestra that I first conducted and recorded John’s music. Composer Truman Harris served as assistant principal bassoon in the National Symphony Orchestra and assisted me in orchestrating several works I wrote for that ensemble. Guillaume Connesson was resident composer with the Orchestre National de Lyon during my tenure. Cindy McTee, aka Mrs. Slatkin, was closely associated with the Detroit Symphony Orchestra. Daniel Slatkin is my son and a composer for motion pictures and television. His variation was commissioned by the Nashville Symphony, one of the most active recording orchestras in the country. Putting all eleven variations together to form a single piece was not an easy task. I wound up writing an introduction as well as some connective material to cover setup changes in the percussion section. I determined the performance order with an eye toward balancing the serious pieces with the outrageously humorous ones. I am grateful to the various publishers for allowing their composers to sit next to each other in the same work, and to the commissioning orchestras for supporting the project. A word about my own variation is in dso.org

order. When I wrote it in 1996, I tried to take an element of each composer’s style and incorporate it into a finale. With five new authors in the mix, I needed to create additional passages so that all eleven contributors would be represented. Most of this material is intended as a little tribute to my friends who so graciously participated in the celebration of this three-quarters-of-acentury milestone. If you keep in mind that my son writes for film and television, Connesson is French, and Harris is a bassoonist, I think you will catch on. —Leonard Slatkin The DSO proudly presents the world premiere of Yet Another Set Of Variations On A Theme Of Paganini at these performances.

Carmina Burana Composed 1935-36 | Premiered June 1937

CARL ORFF B. July 10, 1895, Munich, Germany D. March 29, 1982, Munich, Germany

Scored for solo soprano, tenor, baritone, mixed choir, and children’s chorus; as well as 3 flutes (2 doubling on piccolo), 3 oboes (1 doubling on English horn), 3 clarinets (1 doubling on bass clarinet, 1 doubling on E-flat clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 pianos, celeste, and strings. (Approx. 1 hour)

n 1803, a remarkable manuscript was discovered in a medieval Benedictine monastery at Beuren, in southern Germany. The document was not a religious text, but rather a collection of secular songs and poems written by wandering students and minstrels during the 12th and 13th centuries. The

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verses, in Latin, Old French, and Middle High German, touched a broad range of topics. They satirized the clergy and nobility, celebrated the passing seasons, complained of greed, praised the pleasures of wine and song, and above all sang the joys and sorrows of love while expressing a fatalistic view of human destiny controlled by a “wheel of fortune.” They were published in 1847 under the title Carmina Burana (Songs of the Beuren). In 1935, they came to the attention of an obscure German composer named Carl Orff. During his twenties, Orff became involved with the theater and soon became fascinated with the idea, analogous to Wagner’s concept of the Gesamtkunstwerk (the complete art work), of combining the various arts to produce a spectacle whose total effect was greater than the sum of its parts. At about the same time, he developed a strong interest in early music, particularly that of the medieval and Renaissance periods. Finally, in 1924, he began an association with the dancer Dorothee Gunther and with her established an educational method aimed at “reviving the natural unity of music and movement.” Orff’s work in this area continued for decades, resulting in the famous Orff-Schulwerk, a teaching program using simple percussion instruments and rhythmic movement now widely used throughout the world. Far from remaining isolated, these interests came together in a fascinating synthesis in Orff’s creative work. He sought new ways to dramatize concert music, presenting staged versions of oratorios and other pieces. His own compositions relied increasingly on modal melodies derived from medieval plainchant, and on the percussion instruments and simplicity of utterance 34

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that characterize Orff-Schulwerk. Orff plainly was searching for a vehicle by which to bring these disparate elements together in a telling and original way. He found it in Carmina Burana the same year he turned 40. Upon completing the massive work, Orff wrote to his publisher: “Everything I have written to date … can be destroyed. With Carmina Burana, my collected works begin.” The sound of Carmina Burana was virtually unprecedented. Its pounding, repetitive rhythms, simple motives, elemental harmonies, and huge orchestral sound blocks convey a pagan and orgiastic energy. In an audacious gambit, Orff deliberately abandoned Western music’s traditional techniques of counterpoint and thematic development in favor of a deliberately primitive rhetoric. Framing Carmina Burana is a massive chorus, “O Fortuna,” whose allusions to both happiness and woe, “power and poverty alike,” set out a broad canvas of human experience to be filled by the intervening numbers. These are divided into three large sections. The first, “In Springtime,” is a hymn to reawakening nature and love. “In the Tavern” treats the pains and pleasures of hedonistic abandon. “The Court of Love,” the work’s final section, celebrates love and sensuality. —Paul Schiavo The DSO most recently performed Orff’s Carmina Burana in February 2014, conducted by Leonard Slatkin and featuring Kiera Duffy (soprano), Robert Baker (tenor), Hugh Russell (baritone), the UMS Choral Union, and the Ann Arbor Youth Chorale. The DSO first performed the piece in December 1960, conducted by Paul Paray and featuring Virginia Babikian (soprano), John Alexander (tenor), McHenry Boatwright (bass), and the Rackham Symphony Choir. WINTER-SPRING 2020

Profiles For Leonard Slatkin’s biography please see pg 6

LAUREN SNOUFFER

auren Snouffer is an American soprano with a unique artistic curiosity – one that informs her world-class performances spanning the music of Claudio Monteverdi and Johann Adolph Hasse through to Missy Mazzoli and George Benjamin. Upcoming and recent highlights include a debut at the Opernhaus Zürich in the world premiere of Stefan Wirth’s Girl with a Pearl Earring, several Handel operas (Cleopatra in Giulio Cesare in Moscow, Romilda in Serse in Karlsruhe, and the title role of Aci, Galatea e Polifemo in San Francisco), Handel’s Messiah with the San Francisco Symphony and Kansas City Symphony, and Mahler’s Symphony No. 2 with the New Zealand Symphony. Other career highlights include singing the title role of Berg’s Lulu in a new production at the Teatro Municipal de Santiago, Houston Grand Opera performances of Le nozze di Figaro, Lyric Opera of Chicago performances of La clemenza di Tito, Max Emanuel Cencic’s new production of Hasse’s Siroe at the Opéra Royal de Versailles, and the world premiere of Andrew Norman’s A Trip to the Moon with the Los Angeles Philharmonic. Snouffer has had the pleasure of working with Franz Welser-Möst, Cristian Măcelaru, Krzysztof Urbański, Markus Stenz, Marin Alsop, and many others. She is closely associated with George Benjamin, especially his opera Written on Skin. Snouffer’s discography includes Hasse’s Siroe and Handel’s Ottone with George Petrou for Decca, Gottschalk’s

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Requiem for the Living with Vladimir Lande on Novona Records, Grantham’s La cancíon desesperada conducted by Craig Hella Johnson on Harmonia Mundi, and Feldman’s The Rothko Chapel with Steven Schick for ECM. A graduate of the Houston Grand Opera Studio, Snouffer was a winner of a 2013 Sara Tucker Study Grant from the Richard Tucker Music Foundation, a Richard F. Gold Career Grant bestowed by Houston Grand Opera, and a grand finalist in the 2012 Metropolitan Opera National Council Auditions. She studied at Rice University and The Juilliard School.  These performances mark Lauren

Snouffer’s DSO debut

TAYLOR STAYTON

aylor Stayton is an American tenor praised by Opera News for his “laserbright timbre” and “exceptional fluidity.” The current season features his returns to Semperoper Dresden and Palm Beach Opera for performances as Almaviva in Il barbiere di Siviglia (one of his signature roles), a return to Des Moines Metro Opera, and a debut with the University of Michigan’s University Musical Society (UMS) in Handel’s Messiah. Stayton has performed Almaviva in Il barbiere di Siviglia with Opéra de Lille, Deutsche Oper Berlin, Nashville Opera, and Opera Philadelphia; as well as on a tour throughout France at Opéra de Limoges, Théâtre de Caen, and Opéra de Dijon. Other opera highlights include the title character in Le comte Ory with Des Moines Metro Opera, Don Ramiro in La Cenerentola at the Glyndebourne

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Festival, Tonio in La fille du regiment with Palm Beach Opera, Lindoro in L’Italiana in Algeri with Lyric Opera of Kansas City, Marzio in Mitridate re di Ponto with Bayerische Staatsoper, Don Ottavio in Don Giovanni with Kentucky Opera Tybalt in Roméo et Juliette with Opera Philadelphia, Don Alvar in L’Africaine with Opera Orchestra of New York, and Fenton in Falstaff with Teatro dell-Opera di Roma. Stayton made his critically acclaimed Metropolitan Opera debut in a last-minute performance as Percy in Anna Bolena and returned as Elvino in La Sonnambula opposite Diana Damrau. A native of Sidney, OH, Stayton is a 2011 graduate of The Academy of Vocal Arts as a student of Bill Schuman. He earned his Bachelor of Music degree at Ohio State University and is an alumnus of the Martina Arroyo Foundation’s “Prelude to Performance” program. He has won several prestigious vocal competitions, including First Prize in the Licia Albanese-Puccini Foundation International Voice Competition, First prize in the Gerda Lissner Foundation International Voice Competition, and third place in the Loren B. Zachary Voice Competition. T hese performances mark Taylor

Stayton’s DSO debut

WILL LIVERMAN

aritone Will Liverman is a recipient of a 2019 Richard Tucker Career Grant and Sphinx Medal of Excellence and was described by Bachtrack as “one of the most versatile singing artists performing today.” Upcoming and recent highlights include Papageno in The Magic Flute and Horemhab in Akhnaten at the Metropolitan Opera, Pantalone in The Love of Three Oranges at Opera Philadelphia, Marcello in La bohème at

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Seattle Opera, Schaunard in La bohème at Santa Fe Opera and Dallas Opera, and Silvio in Pagliacci at Opera Colorado and Portland Opera, in addition to performing Schubert’s Die Winterreise at The Barns at Wolf Trap Opera. Liverman has performed Figaro in Rossini’s Il barbiere di Siviglia with Seattle Opera, Virginia Opera, Kentucky Opera, Madison Opera, and Utah Opera. He originated the role of Dizzy Gillespie in Charlie Parker’s Yardbird with Opera Philadelphia, in addition to performing the role with English National Opera, Lyric Opera of Chicago, Madison Opera, and at the Apollo Theater. Other recent highlights include the role of Tommy McIntyre in the Lyric Opera of Chicago’s production of Fellow Travelers for its Lyric Unlimited initiative; Papageno in The Magic Flute with Florentine Opera and Central City Opera; Tarquinius in The Rape of Lucretia and Beaumarchais in The Ghosts of Versailles with Wolf Trap Opera; Andrew Hanley in the world premiere of Kevin Puts’ The Manchurian Candidate with Minnesota Opera; Sam in The Pirates of Penzance with Atlanta Opera; and more. Liverman performed the title role in a concert version of Gershwin’s Porgy and Bess with the Orchestre Symphonique de Montréal and has appeared as a featured soloist in Brahms’s Requiem, Handel’s Messiah, Mozart’s Mass in C Minor, and Beethoven’s Missa solemnis with ensembles across North America. Liverman concluded his tenure at the prestigious Ryan Opera Center at the Lyric Opera of Chicago in 2015. He was previously a Young Artist at the Glimmerglass Festival. He holds his Master of Music degree from The Juilliard School and a Bachelor of Music degree from Wheaton College in Illinois. T hese performances mark Will

Liverman’s DSO debut

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THE ANNUAL FUND

Gifts received between September 1, 2018 and January 31, 2020 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 Mr. & Mrs. Stanley Frankel Mr. & Mrs.◊ Morton E. Harris

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

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

David & Valerie McCammon Shari & Craig Morgan The Polk Family Bernard & Eleanor Robertson Martie & Bob Sachs Joanne Danto & Arnold Weingarden

Ehrling Society - Giving of $50,000 & more Mr. & Mrs. Richard A. Brodie Lois & Avern Cohn Mary Ann & Robert Gorlin Mr. & Mrs. James Grosfeld Mrs. Bonnie Larson

Mr. & Mrs. Matthew Lester Mr. & Mrs. Eugene A. Miller The Clyde & Helen Wu Family Drs. David & Bernadine Wu Paul & Terese Zlotoff

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

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Bud & Nancy Liebler Maurcine & Lloyd Reuss Nancy Schlichting & Pamela Theisen Mr. & Mrs.◊ Alan E. Schwartz Mrs. Patricia Finnegan Sharf Mr. & Mrs. Larry Sherman Mr. & Mrs.◊ Donald R. Simon Richard Sonenklar & Gregory Haynes Dr. Doris Tong & Dr. Teck M. Soo Mr. & Mrs. Arn Tellem Mr. James G. Vella And one who wishes to remain anonymous ◊

Deceased

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Gabrilowitsch Society - Giving of $10,000 & more Mr. & Mrs. Robert A. Allesee Mr. & Mrs. Norman Ankers Pamela Applebaum Drs. John & Janice Bernick John & Marlene Boll Gwen & Richard Bowlby Mr. & Mrs. Stephen Brownell Michael & Geraldine Buckles Margie Dunn & Mark Davidoff Eugene & Elaine C. Driker Mr. Sanford Hansell & Dr. Raina Ernstoff Mr. Peter Falzon Jim & Margo Farber Barbara & Alfred J. Fisher Dr. Marjorie M. Fisher & Mr. Roy Furman Mr. Michael J. Fisher Mr. & Mrs. Samuel Fogleman Dr. Saul & Mrs. Helen Forman Dale & Bruce Frankel Mr. & Mrs. Eugene A. Gargaro, Jr. Byron◊ & Dorothy Gerson Allan D. Gilmour & Eric C. Jirgens Mrs. Gale Girolami Dr. Kenneth & Roslyne Gitlin Dr. Robert T. Goldman Allen C. Goodman & Janet R. Hankin Dr. Herman & Mrs. Shirley Gray Judy & Kenneth Hale

Charlene Handleman Mr. Charles L. Dunlap & Mr. Lee V. Hart Ms. Nancy B. Henk Dr. Gloria Heppner Michael E. Hinsky & Tyrus N. Curtis Mr. & Mrs. Norman H. Hofley Jack◊ & Anne Hommes Renato & Elizabeth Jamett Mr. & Mrs. Richard J. Jessup William & Story John Lenard & Connie Johnston Faye & Austin Kanter Mr. & Mrs. Norman◊ D. Katz Morgan & Danny Kaufman Mike & Katy Keegan Dr. David & Mrs. Elizabeth Kessel Marguerite & David Lentz Dr. Melvin A. Lester Mr. & Mrs.◊ Joseph Lile The Locniskar Group Stevens McClure Family Alexander & Evelyn McKeen Ms. Deborah Miesel Mr. & Mrs. Robert S. Miller Dr. Robert & Dr. Mary Mobley Cyril Moscow Xavier & Maeva Mosquet Geoffrey S. Nathan & Margaret E. Winters

Mrs. Denise Abrash Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Mrs. Jean Azar Dr. David Balle, Sr. Mr. & Mrs. David Barnes Mr. & Mrs. Beznos Rud◊ & Mary Ellen Boucher Claire P. & Robert N. Brown Mr. & Mrs. Marco Bruzzano Philip & Carol Campbell Mr. & Mrs. Francois Castaing Mr. & Mrs. Andrew Christians Dr. & Mrs. Charles G. Colombo Mr. James Schwyn & Mrs. Françoise Colpron Thomas W. Cook & Marie L. Masters Mr. & Mrs. Gary L. Cowger Mr. & Mrs. Richard L. DeVore Adel & Walter Dissett Mr.◊ & Mrs. Robert Dunn Edwin & Rosemarie Dyer Mr. Lawrence Ellenbogen Marianne T. Endicott Mr. & Mrs. John M. Erb Mr. & Mrs.◊ Anthony C. Fielek Mrs. Janet M. Garrett Mr. & Mrs. Theodore Golden

Goodman Family Charitable Trust Mr.◊ & Mrs. James A. Green Mr. & Mrs. Robert Hage Ms. Doreen Hermelin Mr. Eric J. Hespenheide & Ms. Judith V. Hicks Mr. George Hill & Mrs. Kathleen TalbertHill Mr. Donald & Marcia Hiruo Mr. & Mrs. Peter Hollinshead Mr. Matthew Howell & Mrs. Julie Wagner Mr. & Mrs. A. E. Igleheart Ms. Carole Ilitch Mr. George G. Johnson Judy & David Karp Michael E. Smerza & Nancy Keppelman Samantha Svoboda & Bill Kishler Barbara & Michael Kratchman Mr. & Mrs. Harold Kulish John & Marilyn Kunz Dr. Raymond Landes & Dr. Melissa McBrien-Landes Mr. Daniel Lewis Bob & Terri Lutz Patricia A.◊ & Patrick G. McKeever Dr. & Mrs. David Mendelson John & Marcia Miller Eugene & Sheila Mondry Foundation Mr. & Mrs. Daniel E. Moore

Mr. & Mrs. Albert T. Nelson, Jr. Jim & Mary Beth Nicholson Patricia & Henry Nickol Mr. & Mrs. Stanley Nycek George & Jo Elyn Nyman Anne Parsons* & Donald Dietz Kathryn & Roger Penske Mr. & Mrs. Bruce D. Peterson Dr. Glenda D. Price Mr. & Mrs. David Provost Ms. Ruth Rattner Dr. Erik Rönmark* & Mrs. Adrienne Rönmark* Peggy & Dr. Mark B. Saffer Elaine & Michael Serling Lois & Mark Shaevsky Mr. & Mrs. James H. Sherman William H. Smith John J. Solecki Mr. & Mrs. Gary Torgow Mr. William Waak Mr.◊ & Mrs. Jonathan T. Walton Mr. Gary L. Wasserman & Mr. Charlie Kashner S. Evan & Gwen Weiner Mr. & Mrs. R. Jamison Williams Ms. Mary Wilson And two who wish to remain anonymous

Giving of $5,000 & more

dso.org

*Current DSO Musician or Staff

#IAMDSO

Joy & Allan Nachman David Robert & Sylvia Jean Nelson Mr. & Mrs. Eric Nemeth Mr. & Mrs. Arthur T. O’Reilly Debra & Richard Partrich Ms. Lisa A. Payne Barbara Gage Rex Dr. & Mrs. John Roberts Mr. & Mrs. Robert B. Rosowski Mr. David Salisbury & Mrs. Terese Ireland Salisbury Marjorie & Saul Saulson Mr. & Mrs. Kingsley G. Sears Nancy & Sam Shamie Mrs. Sharon Shumaker Mrs. Kathleen Straus & Mr. Walter Shapero Alice & Paul Tomboulian Mr. & Mrs. Thomas Trudeau Ms. Marie Vanerian Peter & Carol Walters Ms. Anne Wilczak J. Ernest & Almena Gray Wilde Fund Dr. & Mrs. Ned Winkelman Ms. June Wu Milton Y. Zussman And one who wishes to remain anonymous ◊

Deceased

DSO PERFORMANCE MAGAZINE 39

Giving of $2,500 & more Howard Abrams & Nina Dodge Abrams Mrs. Jennifer Adderley Mr. & Mrs. George Agnello Dr. Roger & Mrs. Rosette Ajluni Mr. & Mrs. Robert L. Anthony Drs. Kwabena & Jacqueline Appiah Dr. & Mrs. Ali-Reza R. Armin Mr. & Mrs. Robert Armstrong Mr. David Assemany & Mr. Jeffery Zook* Pauline Averbach & Charles Peacock Mr. Joseph Aviv & Mrs. Linda Wasserman Mr. & Mrs. John Axe Mr. & Mrs. Wayne J. Babbish Dr. & Dr. Brian Bachynski Ms. Ruth Baidas William & Lisa Barnett Nora & Guy Barron Mr. Mark G. Bartnik & Ms. Sandra J. Collins Mr. & Mrs. Martin S. Baum Mr. & Mrs. Richard Beaubien Dr. & Mrs. Brian J. Beck Ms. Margaret Beck Ms. Therese Bellaimey Mr. & Mrs. Dennis Bernard Mr. & Mrs. Jeffrey A. Berner Martha & G. Peter Blom Dr. George & Joyce Blum Nancy & Lawrence Bluth Mr. Timothy Bogan Ms. Nadia Boreiko The Honorable Susan D. Borman & Mr. Stuart Michaelson Don & Marilyn Bowerman Mr. Paul & Mrs. Lisa Brandt Mr. Anthony F. Brinkman Mr. & Mrs. Mark R. Buchanan Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Dr. & Mrs. Roger C. Byrd Mr. & Mrs. Brian C. Campbell Mrs. Carolyn Carr Dr. & Mrs. Thomas E. Carson Ronald & Lynda Charfoos Mr. Fred J. Chynchuk Mr. & Mrs. James Ciroli Mr. Don Clapham Mr. & Mrs. Robert W. Clark Nina & Richard Cohan Jack, Evelyn & Richard Cole Family Foundation Ms. Elizabeth Correa Patricia & William Cosgrove, Sr. Mrs. Barbara Cunningham Mr. & Mrs. Donald M. Cutler Dr. Edward & Mrs. Jamie Dabrowski 40

Suzanne Dalton & Clyde Foles Maureen & Jerry D’Avanzo Barbara A. David Lillian & Walter Dean Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Diana & Mark Domin Judith A. Doyle Paul◊ & Peggy Dufault Mr. Roger Dye and Ms. Jeanne A. Bakale Dr. Leo & Mrs. Mira Eisenberg Dr. & Mrs. A. Bradley Eisenbrey Randall & Jill* Elder Ms. Laurie Ellis & Mr. James Murphy Donald & Marjory Epstein Mr. Drew Esslinger & Mr. Chris Syzmanski Dave & Sandy Eyl Ellie Farber & Mitch Barnett Mr. & Mrs. Oscar Feldman Mr. & Mrs. William Fetterman Hon. Sharon Tevis Finch Ron Fischer ◊ and Kyoko Kashiwagi Ms. Joanne Fisher Mark & Loree Frank Kit & Dan Frohardt-Lane Mr.◊ & Mrs. Richard M. Gabrys Alan M. Gallatin Mr. George Georges Stephanie Germack Keith & Eileen Gifford Mr. Lawrence Glowczewski Steven Goldberg & Melissa Kahn Paul & Barbara Goodman Dr. William & Mrs. Antoinette Govier Ms. Jacqueline Graham Mr. Luke Ponder & Dr. Darla Granger Dr. & Mrs. Joe L. Greene Tina Harmon Mrs. Betty J. Harrell Cheryl A. Harvey Gerhardt A. Hein & Rebecca P. Hein Jeremiah* & Brooke Hess James Hoogstra & Clark Heath Mr. F. Robert Hozian Dr. Karen Hrapkiewicz Mr. & Mrs. Joseph L. Hudson, Jr. Mr. & Mrs. Marshall L. Hutchinson Ms. Elizabeth Ingraham Nicki* & Brian Inman Carolyn & Howard Iwrey Mr. & Mrs. Ira J. Jaffe Mr. Arthur Johns Mr. John S. Johns Mr. & Mrs. Paul Johnson Carol & Rick Johnston

DSO PERFORMANCE MAGAZINE

◊

Deceased

Paul & Marietta Joliat Mr. & Mrs. Michael Jones Mr. & Mrs. John Jullens Grace Kachaturof Diane & John Kaplan June K. Kendall Mrs. Frances King Mr. James Kirby Thomas & Linda Klein Tom & Beverly Klimko Mr. & Mrs. Ludvik F. Koci Mr. & Mrs. Robert Koffron Ms. Margot Kohler & Michael Froehlich Mr. David Kolodziej Ms. Susan Konop Mr. James Kors & Ms. Victoria King* George M. Krappmann* & Lynda Burbary-Krappmann Richard & Sally Krugel Dr. Arnold Kummerow Mr. & Mrs. Robert LaBelle Mary Clippert LaMont Drs. Lisa & Scott Langenburg Ms. Sandra Lapadot Ms. Anne T. Larin Dr. Lawrence O. Larson The Dolores & Paul Lavins Foundation Allan S. Leonard Max Lepler & Rex L. Dotson Mr. & Mrs. Ralph LeRoy, Jr. Mr. Charles E. Letts Mr. & Mrs. Robert K. Leverenz Barbara & Carl Levin Drs. Donald & Diane Levine Arlene & John Lewis Ms. Carol Litka Daniel & Linda* Lutz Mrs. Sandra MacLeod Cis Maisel Margaret Makulski & James Bannan Mr. & Mrs. Charles W. Manke, Jr. Mervyn & Elaine Manning Ms. Florine Mark Mr. & Mrs. Thomas Mark Maurice Marshall Dr. & Mrs. Richard Martella Dr. & Mrs. Peter M. McCann, M.D. Mr. Edward McClew Mr. Anthony R. McCree Mr. & Mrs. Alonzo McDonald Mr. John McFadden Ms. Mary McGough Ms. Camille McLeod Brian & Lisa Meer Dr. & Mrs. Donald A. Meier Olga Sutaruk Meyer WINTER-SPRING 2020

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

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

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

Giving of $1,500 & more Dr. & Mrs. Gary S. Assarian Dr. & Mrs. Glenn B. Carpenter Mrs. Kathryne Dahl Ms. Beatrice D’Ambrosio Ms. Joyce Delamarter Gordon & Elaine Didier Mr. & Mrs. Walter E. Douglas Mr. Howard O. Emorey Mrs. Janice Erichsen Mr. & Mrs. Robert W. Gillette Mr. Joseph & Mrs. Lois Gilmore Mr. & Mrs. Saul Green Anne & Eugene Greenstein Mr. Donald Guertin Mr. & Mrs. Michael Harding Ms. Barbara Heller Ms. Nadine Jakobowski Dr. Jean Kegler Frederic◊ & Stephanie Keywell Ms. Ida King Dr. & Mrs. Edward L. Klarman Aileen & Harvey Kleiman

Ms. Sylvia Kojima◊ Miss Kathryn Korns Mr. & Mrs. Kosch Mr. & Mrs. William Kroger, Jr. Mr. Michael Kuhne Mr. Lawrence Larson Mr. & Mrs. Paul Lieberman Mr. William Lynch Ms. June G. Mackeil Mr. Robert L. Martin Ms. Rebecca McCabe Ms. Muriel Moskowitz Mr. & Mrs. Germano Mularoni Mrs. Ruth Nix Mr. Ronald Puchalski Drs. Renato & Daisy Ramos Mr. and Mrs. Richard Rappleye Mr. & Mrs. Richard Rapson Mrs. Hope Raymond Mr. & Mrs. John Rieckhoff Mr. Paul Robertson & Mrs. Cheryl Robertson Mr. & Mrs. Hugh C. Ross

Mr. & Mrs. George Roumell Mr. and Mrs. Donald and Janet Schenk Dr. Richard Schwartz Mr. and Mrs. Fred Secrest◊ Mr. Steve Secrest Robert A. Sedler Cynthia Shaw & Tom Kirvan Mr. Lawrence Shoffner Mr. Mark Sims & Ms. Elaine Fieldman Shirley R. Stancato Mr. & Mrs. Charles Tholen David & Lila Tirsell Dennis & Jennifer Varian Mr. Barry Webster Mr. & Mrs. Lawrence Weisberg Ms. Janet Weir Mr. Richard D. Zimmerman And six who wish to remain anonymous

◊

dso.org

*Current DSO Musician or Staff

#IAMDSO

Deceased

DSO PERFORMANCE MAGAZINE 41

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

Giving of $200,000 & more MARVIN & BETTY DANTO FAMILY FOUNDATION

primary pereferred logo

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

RALPH C. WILSON JR. FOUNDATION secondary

Giving of $100,000 & more THE PAUL M. ANGELL FAMILY FOUNDATION

APPLEBAUM FAMILY PHILANTHROPY 2014 GM Design Corporate ID & Graphics

secondary - for use on dark backgrounds

THE RICHARD C. DEVEREAUX FOUNDATION

HUDSON-WEBBER FOUNDATION

DSO PERFORMANCE MAGAZINE

WINTER-SPRING 2020

Giving of $50,000 & more League of American Orchestras Edward C. & Linda Dresner Levy Foundation Richard & Jane Manoogian Foundation Milner Hotels Foundation Wico Metal Products Matilda R. Wilson Fund National Endowment for the Arts TCF Wells Fargo Advisors

Giving of $20,000 & more American House Senior Living Communities Blue Star Catering The Clinton Family Fund DeRoy Testamentary Foundation Edibles Rex Flagstar Foundation Eleanor & Edsel Ford Fund

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

Giving of $10,000 & more

Giving of $1,000 & more

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

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

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

dso.org

#IAMDSO

DSO PERFORMANCE MAGAZINE 43

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

Linda Wasserman, Chair Mrs. Katana H. Abbott* Mr. Joseph Aviv Mr. Christopher A. Ballard* Ms. Jessica B. Blake, Esq. Ms. Rebecca J. Braun Mr. Timothy Compton Ms. Wendy Zimmer Cox* Mr. Robin D. Ferriby* Mrs. Jill Governale* Mr. Henry Grix* Mrs. Julie R. Hollinshead, CFA Mr. Mark W. Jannott, CTFA

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

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

*Executive Committee Member

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

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

DSO PERFORMANCE MAGAZINE

WINTER-SPRING 2020

CELEBRATING YOUR LEGACY SUPPORT BARBARA VAN DUSEN, Honorary Chair

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

dso.org

◊

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

Deceased

#IAMDSO

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

TRIBUTE GIFTS Gifts received November 1, 2019 to January 31, 2020 Tribute gifts to the Detroit Symphony Orchestra are made to honor accomplishments, celebrate occasions, and pay respect in memory or reflection. These gifts support current season projects, partnerships and performances such as DSO concerts, education programs, free community concerts, and family programming. For information about making a tribute gift, please call 313.576.5114 or visit dso.org/donate.

In Honor In honor of Dr. Lourdes Andaya Adel & Walter Dissett

In honor of Phillip W. Fisher Mr. Chase Fisher

In honor of Anne Parsons Mr. & Mrs. Maurice J. Beznos

In honor of Linda & John Axe Adel & Walter Dissett

In honor of James S. Garrett Mr. & Mrs. Timothy LeVigne Ms. Jeanne Paton

In honor of Bruce & Kimberly Peterson DTE Foundation

In honor of Ralph Gerson Ms. Ruth Rattner

In honor of Anne Parsons & Donald Dietz The Clinton Family

In honor of Amanda Blaikie Meghan Therry & Scott Griswold In honor of Kathleen Block Dr. Carol Boyd Ms. Joanne Vandermark In honor of the ChapmanBellmore Family Mrs. Lisa Hess In honor of Julie & Peter Cummings The Clinton Family

In memory of Dr. Melvin Lester Ashley & Brian Adelman The Applebaum Family William & Lisa Barnett Debbie & Michael Berger Stanley & Phyllis Berger Traci & Steven Berger Laurie & Matt Bounds Mr. & Mrs. Richard C. Blumenstein Emily Camiener & Marc A. Schwartz Ronald & Lynda Charfoos Linda Dresner & Ed Levy, Jr. Eugene & Elaine C. Driker Mr. & Mrs. Stanley Frankel Mr. & Mrs. Ralph J. Gerson Elaine & Salmen Giske Mr. & Mrs. James Grosfeld Betsy & Joel Kellman Ms. Leslie Landau Mr. & Mrs. Roger Leemis Cis Maisel Ms. Valerie Meyerson Mr. & Mrs. Jeremy Modell Joy & Allan Nachman George & Jo Elyn Nyman Adam & Sara Nyman Rachel L. & Joshua F. Opperer Mr. Richard I. Prager Ms. Beth Robinson Dr. & Mrs. Norman Rotter Julie & Noah Tepperman Mr. Michael A. Walch & Ms. Joyce Keller 46

In honor of Carol & Rick Johnston Mr. & Ms. Dan Greenia In honor of Jerrie McDonnell Mr. Doug Thornburg In honor of Joy & Allan Nachman Joanne Danto & Arnold Weingarden

In honor of Marjorie & Saul Saulson Dr. & Mrs. Herbert M. Gardner In honor of Kathleen Straus Mr. & Mrs. Bill Perlmutter

In Memory In memory of Richard Gabrys Mr. & Mrs. Richard A. Brodie Mrs. Eleanore Gabrys Jim & Laurel Harris Paul & Mairetta Joliat David & Valerie McCammon Bill & Wendy White Mr. J. Bryan Williams Robert & Barbara Wilson In memory of Gerald Bright Barbara Frankel & Ronald Michalak Carol & Edward J. Zellner In memory of Senator Jack Faxon Ms. Susan Richardson In memory of Delia & Edward Fisher The Scruggs Family

In memory of Joyce R. Leopold Mr. Henry Y. Leopold In memory of Linda Lukacs Mrs. Mary Jane Cassady In memory of Jane K. Lynett Ms. Patricia Lynett In memory of Alonzo L. McDonald The McDonald Family In memory of James Michael Newcomer The Ruddy Family In memory of Marian Slepian Mrs. Julie Tepperman In memory of Inge & George Vincent Mr. & Mrs. Lee Barthel

In memory of Deborah Fleitz Mr. David L. Fleitz In memory of Mary Frey Mr. Laurence King In memory of Sharon Hudson Ms. Margaret Hudson

DSO PERFORMANCE MAGAZINE

WINTER-SPRING 2020

The Katherine McGregor Dessert Parlor

…at The Whitney.

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

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

On behalf of Varnum, welcome to the

Pre-Theater Menu DSO’S CENTENNIAL SEASON AT ORCHESTRA HALL! Available on performance date with today’s ticket. Choose one from each course:

FIRST COURSE Caesar Side Salad Eric Nemeth, partner and member of DSO Board of Trustees Chef’s Soup of the Day The Whitney Duet MAIN COURSE Grilled Lamb Chops Lake Superior Whitefish www.varnumlaw.com Pan Roasted “Brick” Chicken Sautéed Gnocchi

Legal Experience In Your Corner.®

View current menus and reserve online at dso.orgwww.thewhitney.com or call 313-832-5700

Chocolate Mousse or Mixed Berry Sorbet with Fresh Berries DSO PERFORMANCE MAGAZINE #IAMDSO $39.95

WELCOME TO THE MAX

OUR HOME ON WOODWARD AVENUE

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

Parking

The DSO Parking Deck is located at 81 Parsons Street. Self-parking in the garage costs $10 for most concerts; we take both cash and credit cards. Handicapped parking is available on the first and second floors of the garage. Note that handicapped parking spaces go quickly, so we recommend arriving early! Valet parking is also available for most concerts, starting at $14. The valet parking drop-off is located on Parsons Street across from St. Patrick Parish. Please note that valet parking is not available for Friday morning Coffee Concerts. Coming from the burbs? Get a ride and skip the parking hassle with shuttle bus service to Friday morning Coffee Concerts for $15. Call 313.576.5111 for more information.

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 on the first floor of the Atrium, and the Paradise Lounge on the second floor is a great place for the occasional restaurant pop-up, with lite bites at every concert. And yes, we have options for different dietary needs! Complimentary coffee and donuts are available throughout The Max during Friday morning Coffee Concerts. Head directly up to Paradise Lounge or the third floor for more seating and shorter lines. Bars are located on the first and third floors of the William Davidson Atrium and offer everything from trusty Diet Coke to beer, wine, specialty cocktails, and 48

DSO PERFORMANCE MAGAZINE

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

full-service spirits. The Paradise Lounge is also open for drinks before and during concerts. You’re welcome to take drinks to your seat at all performances except Friday morning Coffee Concerts, but food must remain in the William Davidson Atrium. Drink vouchers can be purchased with concert tickets at the Box Office for quicker check-out.

Shop @ The Max

The Shop @ The Max retail store is thoughtfully stocked with items at every price point, including DSO-specific merch and items from local brands like Rebel Nell jewelry and Pete’s Chocolate Co. The shop is located on the first floor of The Max, just outside the William Davidson Atrium in the hallway opposite the main staircase. Shop @ The Max is open before, during, and after most performances.

Handicap Access and Hearing Assistance

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, barrier-free 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 Patron Services Center on the second floor of the William Davidson Atrium. This system is made possible by the Michigan Ear Institute. WINTER-SPRING 2020

POLICIES 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 as well.

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

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!

Priority Service for Our Members

We are proud to offer priority assistance to all DSO Subscribers, as well as donors at the Friend Premier level and higher. Visit the Patron Services Center on the second floor of The Max for help with tickets, exchanges, donations, or any other DSO needs.

The Herman and Sharon Frankel Donor Lounge

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

Gift Certificates

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

Rent The Max

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

TICKETS, EXCHANGES, AND CONCERT CANCELLATIONS All sales are final and non-

refundable. Even though we’ll miss you, we understand that plans can change unexpectedly, so the DSO offers flexible exchange and ticket donation options. Please contact the Box Office to exchange tickets. The Box Office can also help with all ticketing questions and concerns. 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. The DSO is unable to offer refunds for cancelled concerts.

CHILDREN We

love seeing young faces at The Max, but we get it: some of us are too young for Schoenberg. We recommend doing a little research about the music, performers, and themes for a performance when deciding whether it’s appropriate for kids. We also have special programming designed for kids and families – visit dso.org/ family to learn more! Please remember that all patrons (of any age) must have a ticket to attend concerts.

PHOTOGRAPHY AND RECORDING We

love a good selfie (don’t forget to 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. Note that flash photography, video recording, tripods, and cameras with detachable lenses are strictly prohibited.

PHONES Cell

phones: they’re your computer, your camera, your watch, your calendar...but they can also be the light shining in someone’s face or the cause of a musician playing the wrong note. 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!

SMOKING Smoking,

vaping, cigar puffing, and e-cigaretting are allowed only on the outdoor balcony off the second floor of the William Davidson Atrium. You’ll find the door along the north-facing wall to the right of the Patron Services Center.

#IAMDSO

DSO PERFORMANCE MAGAZINE 49

A D M I N I S T R AT I V E S TA F F EXECUTIVE OFFICE Anne Parsons President and CEO James B. and Ann V. Nicholson Chair Jill Elder Vice President and Chief Development Officer Linda Lutz Vice President and Chief Financial Officer Erik Rรถnmark Vice President and General Manager Joy Crawford Executive Assistant to the President and CEO Elaine Curvin Executive Assistant to the Vice President and CDO

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

LIVE FROM ORCHESTRA HALL Marc Geelhoed Director of Digital Initiatives

Claudia Restrepo Orchestra and Training Programs Librarian Hannah Wetherholt Assistant Manager of Orchestra Personnel

ADVANCEMENT

Heather Hart Rochon Director of Orchestra Personnel Dennis Rottell Stage Manager Ezra Gans Artistic Operations Assistant 50

Sarah Smarch Content Manager and Lead Storyteller

COMMUNITY & LEARNING

Jill Rafferty Senior Director of Advancement

Caen Thomason-Redus Senior Director of Community & Learning

Alex Kapordelis Campaign Director

Debora Kang Director of Education

Beth Carlson Stewardship Coordinator

Kiersten Alcorn Community Engagement Coordinator

Jenni Clark Fundraising Events Specialist Joey Edmonds Campaign Research Specialist

Mickayla Chapman Training Ensembles Recruitment and Operations Coordinator

Presley Feezell Campaign Stewardship Coordinator

Hunter Janness Education Coordinator

Holly Gorecki Manager of Advancement Services

Clare Valenti Manager of Community Engagement

Leslie Groves Major Gift Officer Amanda Lindstrom Fulfillment Coordinator, Individual Giving Juanda Pack Advancements Benefits Concierge Susan Queen Gift Officer, Corporate Giving Juliano Bitonti Stewart Manager of Grants and Institutional Giving Amanda Tew Data and Research Specialist Matthew Way Advancement Relations and Strategic Initiatives Manager

ORCHESTRA OPERATIONS Kathryn Ginsburg Senior Director of Operations and Orchestra Manager

Hannah Engwall Public Relations Coordinator

COMMUNICATIONS Matthew Carlson Senior Director of Communications and Media Relations Natalie Berger Content Coordinator

Sarah Yeates Training Programs Operations Coordinator

FINANCE Jeremiah Hess Senior Director of Accounting & Finance Umer Farooq Senior Accountant, Fund Accounting Sandra Mazza Senior Accountant, Business Operations Sara Wabrowetz Accounting Coordinator Michelle Wisler Payroll and Benefits Accountant

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

Ben Breuninger Public Relations Manager

DSO PERFORMANCE MAGAZINE

WINTER-SPRING 2020

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

AUDIENCE DEVELOPMENT Michael Frisco Director of Audience Development

Tommy Tatti Assistant Manager of Patron Sales & Service Chantel Woodard Lead Ticketing Specialist

SAFETY & SECURITY George Krappmann Director of Safety & Security

Teresa Alden Digital Marketing Manager

Greg Schimizzi Chief of Security

Annick Busch Patron Loyalty Coordinator

Norris Jackson Security Officer

Lori Cairo Front of House Manager

Edward John Assistant Chief of Security

Sharon Gardner Carr Assistant Manager of Tessitura and Ticketing Operations

Ronald Martin Security Officer

Rebecca Godwin Marketing Coordinator

Johnnie Scott Security Officer

Jay Holladay Digital Content Specialist

TECHNOLOGY & INFRASTRUCTURE

LaHeidra Marshall Audience Development Coordinator

Jody Harper Senior Director of Technology & Infrastructure

James Sabatella Group Sales Manager

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

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

PATRON SALES & SERVICE Michelle Marshall Manager, Patron Sales & Service Connor Mehren Box Office Administrator

dso.org

FACILITY OPERATIONS Dan Saunders Director of Facilities Management

PERFORMANCE

Volume XXVIII • Winter-Spring 2020 EDITOR Ben Breuninger bbreuninger@dso.org 313.576.5196 PUBLISHER Echo Publications, Inc. Tom Putters PROGRAM NOTES ANNOTATOR Charles Greenwell

(Unless otherwise noted)

Frederico Augustin Facility Engineer Clarence Burnett Maintenance Supervisor Matt Deneka Maintenance Technician

To advertise in Performance, please call 248.582.9690, email info@echopublications.com or visit echopublications.com

Martez Duncan Maintenance Technician William Guilbault Maintenance Technician Crystal King Maintenance Technician

Read Performance anytime, anywhere at dso.org/performance

Daniel Speights Maintenance Technician

INFORMATION TECHNOLOGY Michelle Koning Web Manager RaJon Taylor Application Administrator

#IAMDSO

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

DSO PERFORMANCE MAGAZINE 51

UPCOMING CONCERTS & EVENTS TICKETS & INFO

313 . 576 . 5111 dso.org KEY

* The DSO does not appear on this program

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

CUBE

BRUBECK CENTENNIAL

Thu. Apr. 2 at 7:30 p.m. in The Cube* CLASSICAL SERIES

DVOŘÁK’S NEW WORLD SYMPHONY

Eric Jacobsen, conductor Gabriel Kahane, Holland Andrews, and Holcombe Waller, chorus of inconvenient statistics • Alicia Hall Moran, mezzo-soprano

Thu., Apr. 2 at 7:30 p.m. Fri., Apr. 3 at 8 p.m. Sat., Apr. 4 at 8 p.m. JAMES LEE III Amer’ican (World Premiere) DV OŘÁK Symphony No. 9, “From the New World”H GA BRIEL KAHANE emergency shelter intake form

CLASSICAL SERIES

TINY TOTS SERIES

GEMINI

Sat., Apr. 25 at 10 a.m. in The Cube* YOUNG PEOPLE’S FAMILY SERIES

GERSHWIN’S MAGIC KEY CLASSICAL KIDS LIVE! Yaniv Segal, conductor

Sat., Apr. 25 at 11 a.m. WILLIAM DAVIDSON NEIGHBORHOOD CHAMBER RECITAL

EAST COMES WEST: A CELEBRATION OF ROMANIAN COMPOSERS Tue., Apr. 28 at 7 p.m.* First Christian Reformed Church 1444 Maryland St., Grosse Pointe Park

RACHMANINOFF PIANO CONCERTO NO. 3

Sujin Lim, violin; Marian Tanau, violin Mike Chen, viola; Jeremy Crosmer, cello

Fri., Apr. 17 at 8 p.m. Sat., Apr. 18 at 8 p.m. Sun., Apr. 19 at 3 p.m.

BRAHMS’ SECOND SYMPHONY

RACHMANINOFF Piano Concerto No. 3H BUSONI Berceuse élégiaque SC RIABIN Le poème de l’extase (The Poem of Ecstasy)

Thu., Apr. 30 at 7:30 p.m. in Southfield Fri., May 1 at 8 p.m. in Monroe Sun., May 3 at 3 p.m. in Beverly Hills

Markus Stenz, conductor Alexander Gavrylyuk, piano

CLASSICAL SERIES

STRAUSS WALTZES & MOZART PIANO CONCERTO NO. 21 Fabien Gabel, conductor Alexandra Dariescu, piano

Fri., Apr. 24 at 10:45 a.m. Sat., Apr. 25 at 8 p.m.

WILLIAM DAVIDSON NEIGHBORHOOD Eduardo Strausser, conductor Eric Lu, piano

SCHUBERT Overture to The Magic Harp CHOPIN Piano Concerto No. 2 BRAHMS Symphony No. 2

PARADISE JAZZ

PARADISE JAZZ SERIES @20 WITH TERENCE BLANCHARD Sat., May 2 at 8 p.m.*

J. STRAUSS II Emperor Waltzes (Kaiser Walzer) MO Z ART Piano Concerto No. 21, “Elvira Madigan” KORNGOLD Sinfonietta 52

DSO PERFORMANCE MAGAZINE

WINTER-SPRING 2020

FREE Live from Orchestra Hall webcast

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

CLASSICAL SERIES

MOZART & PROKOFIEV

JOSHUA BELL RETURNS!

Fri., May 8 at 10:45 a.m. Sat., May 9 at 8 p.m.

Thu., May 21 at 7:30 p.m. Fri., May 22 at 8 p.m. Sat., May 23 at 8 p.m.

Lionel Bringuier, conductor Karen Gomyo, violin

ESA-PEKKA SALONEN Helix MOZART Violin Concerto No. 3 PROKOFIEV Symphony No. 4

WU FAMILY ACADEMY SERIES

NATURE AND MUSIC

Daniel Bartholomew-Poyser, conductor

Wed., May 13 at 10:30 & 11:45 a.m.* Thu., May 14 at 10:30 a.m.* WILLIAM DAVIDSON NEIGHBORHOOD

BEETHOVEN’S FIRST

Jonathon Heyward, conductor Michael Ma, bassoon

Thu., May 14 at 7:30 p.m. in W. Bloomfield Fri., May 15 at 8 p.m. in Plymouth Sat., May 16 at 8 p.m. in Bloomfield Hills Sun., May 17 at 3 p.m. in Grosse Pointe PROKOFIEV Classical Symphony ROSSINI Bassoon Concerto BEETHOVEN Symphony No. 1 in C major

PNC POPS SERIES

PROHIBITION: FROM MOULIN ROUGE TO BOARDWALK EMPIRE Jeff Tyzik, conductor

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

UNCORKED: “PROHIBITION” Sat., May 16, 2020 at 6 p.m.* dso.org

Leonard Slatkin, conductor • Joshua Bell, violin

JEREMY CROSMER Ozark Traveler HINDEMITH Mathis der Maler DVOŘÁK Slavonic Dances No. 7 and No. 8 DVOŘÁK Violin Concerto

CLASSICAL SERIES

SLATKIN CONDUCTS STRAVINSKY & BARTÓK Leonard Slatkin, conductor Garrick Ohlsson, piano

Fri., May 29 at 10:45 a.m. Sat., May 30 at 8 p.m. Sun., May 31 at 3 p.m. ST R AVINSKY Symphonies of Wind Instruments (1947 revision) BA RTÓK Music for Strings, Percussion, and Celesta BRAHMS Piano Concerto No. 1

CLASSICAL SERIES

BEETHOVEN’S VIOLIN CONCERTO

Hannu Lintu, conductor • Vadim Gluzman, violin

Thu., Jun. 4 at 7:30 p.m. Fri., Jun. 5 at 8 p.m. Sat., Jun. 6 at 8 p.m. SEBASTIAN FAGERLUND Drifts BEETHOVEN Violin Concerto BRAHMS Symphony No. 1

SAVE THE DATE: JUN. 20, 2020

DSO HEROES GALA

FEATURING HAMILTON’S RENEE ELISE GOLDSBERRY Renée Elise Goldsberry, the Tony and Grammy Award-winning star, joins the DSO for a program of pop, Broadway, and soul favorites.

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DSO PERFORMANCE MAGAZINE 53

AS FEATURED ON GHOSTHUNTERS, FOOD PARADISE, THE DETROITERS AND WORLD’S MOST TERRIFYING PLACES

SERVING DINNER AND AFTERNOON TEA 7 DAYS A WEEK 4421 WOODWARD AVE. • DETROIT Restaurant | Ghostbar | Gardens

313-832-5700 • WWW.THEWHITNEY.COM

We’ve redesigned our website!

Take a look around at the new dso.org 54

DSO PERFORMANCE MAGAZINE

WINTER-SPRING 2020

April 22 – May 10, 2020 over 100 events including soprano Renée Fleming and pianist Evgeny Kissin in an iconic collaboration

thegilmore.org

SPRING PERFORMANCES 3.14 & 3.15

BEST OF BROADWAY Featuring famous tunes from beloved Broadway musicals & soloists from the University of Michigan School of Music, Theatre & Dance

Yaniv Segal, guest conductor

3.21

WEST SIDE STORY

DIANA SYRSE Colección de Realidades MÁRQUEZ Danzón No. 2 SIERRA Concerto for Saxophones and Orchestra BERNSTEIN Symphonic Dances from West Side Story James Carter, saxophone Timothy Muffitt, guest conductor

4.25

SEE YOU AT THE SYMPHONY dso.org

MEASHA & MAHLER

VERDI Overture to La Forza del Destino BERLIOZ Selections from Summer Nights SATIE Je te Veux BOLCOM Cabaret Songs (selections) MAHLER Symphony No. 1 in D major, “Titan” Measha Brueggergosman, soprano Oriol Sans, guest conductor 734.994.4801 | a2so.com

#IAMDSO

ANN ARBOR SYMPHONY ORCHESTRA Music in the Key of A2

DSO PERFORMANCE MAGAZINE 55

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