Download - DSO Performance magazine, Fall 2011
PerformanceT h e M a g a z i n e o f T h e D e T r o i T S y M p h o n y o r c h e S T r a
Vol. XX • 2011-2012 SeaSon Fall 2011
Getting to know your principal musicians
The Hot Seat:
A C o m m u n i t y - S u p p or t e d o r C h e S t r A
To view a full listing of classes or for more information, call (248) 325-3890 or
visit HenryFordWestBloomfield.com.
Eat. Learn. Live.EXPERIENCE HEALTHY COOKING IN A WORLD-CLASS DEMONSTRATION KITCHEN – ONLY AT HENRY FORD WEST BLOOMFIELD HOSPITAL
Henry Ford West Bloomfield Hospital is proud to feature cooking classes in our 90-seat demonstration
kitchen. Learn to prepare flavorful, nutritious meals from our renowned culinary team, including
registered dietitians, physicians and chefs.
Whether you have special medical needs or are just interested in healthy, everyday living, we have the
class for you. Recipes for cancer treatment and prevention, gluten-free dishes, options for healthy senior
living, solutions for diabetics and heart patients, and simple sushi ideas are just some of the topics we
discuss. We even offer a DK KIDS program designed to educate children on making healthy food choices.
Henry Ford West BloomField Hospital
2 Performance / Vol . X X / fall 201 1 www.dso.orG
Contents
Editorgabrielle [email protected]
313.576.5194
DSo administrative officesMax M. fisher Music center
3711 Woodward ave.Detroit, Mi 48201
phone: 313.576.5100fax: 313.576.5101
DSo Box office: 313.576.5111Box office fax: 313.576.5101
DSo group Sales: 313.576.5130rental info: 313.576.5050
email: [email protected]
Web site: www.dso.orgSubscribe to our e-newsletter via our website to
receive updates and special offers.
Performance is published by the DSoand echo publications, inc.
uecho publications, inc.
248.582.9690 www.echopublications.com
Tom putters, president [email protected]
Toby faber, advertsing director
To advertise in Performance, call 248.582.9690 or email [email protected]
Performance magazine online:www.dsoperformance.com
u
To report an emergency during a concert, call 313.576.5111. To make special
arrangements to receive emergency phone calls during a concert, ask for
the house manager.
it is the policy of the Detroit Symphony orchestra that concerts, activities and
services are offered without regard to race, color, religion, national origin, handicap, age or gender. The DSo is an affirmative
action, equal opportunity employer.
activities of the DSo are made possible in part with the support of the national endowment for the arts, the Michigan
council for arts and cultural affairs and the city of Detroit.
non-flash photography and video recording by silenced hand-held devices are allowed during DSo performances.
The DSo can be heard on the chandos, columbia, DSo, Koch, London, naxos,
Mercury records and rca labels.
PerformanceVolume XX / fall 2011
2011–12 Season
Departments 4 Board of Directors
6 Orchestra Roster
8 News & Notes
29 General Information/Staff
30 Education News
32 Donor Roster
38 Upcoming Concerts
Concertsconcerts, artist biographies and program notes begin on page 13.
Cover Story 10 The Hot Seat: getting to know your principal musicians
Performance / Vol . X X / fall 201 1 3www.dso.orG
Detroit Symphony Orchestra
offiCerS
offiCerS
BoarD of DireCtorS
Lifetime memBerS
DireCtorS
Samuel Frankel† David Handleman, Sr.†
Ismael AhmedRosette AjluniRobert AlleseeDaniel AngelucciJanet Ankers‡
Floy BarthelGeorge J. Bedrosian, Esq.Mrs. Mandell L. BermanRobert H. BluesteinPenny B. Blumenstein‡
John A. Boll, Sr.Elizabeth BooneRichard A. BrodieLynne Carter, M.D.Gary L. CowgerPeter D. Cummings,
Chairman EmeritusStephen R. D’Arcy
Maureen T. D’AvanzoMark DavidoffKaren DavidsonPeter J. DolanWalter E. DouglasLinda DresnerMarianne EndicottJennifer FischerSidney ForbesLaura L. FournierMrs. Harold FrankBarbara FrankelHerman Frankel‡
Ralph J. Gerson‡
Alfred R. Glancy, III,‡ Chairman Emeritus
Herman Gray, M.D.Paul GansonBrigitte Harris
Gloria Heppner, Ph. D.Shelley Heron,‡
Orchestra RepresentativeNicholas Hood, IIIRonald M. Horwitz‡
Sharad P. JainRenee JanovskyDr. Arthur L. Johnson‡
Chacona JohnsonMichael J. KeeganHon. Damon J. KeithJoel D. KellmanWilliam P. KingsleyRichard P. Kughn‡
Harold KulishBonnie Larson‡
Melvin A. Lester, M.D.‡
Lawrence M. Liberson,‡ Orchestra Representative
Harry A. Lomason, IIArthur C. Liebler‡
Ralph J. MandarinoFlorine MarkDavid N. McCammonEdward MillerLois A. MillerJames C. Mitchell, Jr. Sean M. NeallDavid Robert Nelson‡
Faye Alexander NelsonJames B. Nicholson,‡
Chairman EmeritusArthur T. O’Reilly‡
Robert E.L. Perkins, D.D.S.
Bruce D. Peterson‡
William F. PickardStephen Polk
Bernard I. Robertson‡
Jack A. Robinson‡
Marjorie S. SaulsonAlan E. Schwartz‡
Lois L. ShaevskyMrs. Ray A. ShaperoWei ShenJane F. ShermanShirley R. StancatoStephen StromeMichael R. TysonAnn Marie UetzDavid Usher Barbara Van Dusen‡
R. Jamison WilliamsJohn E. Young
‡Executive Committee
Mr. & Mrs. Herbert A. AbrashMr. & Mrs. Richard L. AlonzoRichard & Jiehan AlonzoDr. Lourdes V. AndayaMr. & Mrs. Norman Ankers
Mr. & Mrs. Eugene ApplebaumDr . & Mrs. Ali-Reza R. ArminMr. David AssemanyMs. Ruth BaidasNora Lee & Guy Barron
Martin & Marcia BaumKen & Mary BeattieCecilia Benner Mrs. John G. BielawskiMrs. Betty Blazok
Joseph & Barbra BlochMr. & Mrs. Jim BonahoomDr. & Mrs. Rudrick E. BoucherGwen & Richard BowlbyMr. Scott Brooks
GoverninG memBerS
Stanley FrankelChairman
Paul M. HuxleyFirst Vice Chair
Marlies CastaingSecond Vice Chair
Glenda D. Price, Ph. DSecretary
Arthur WeissTreasurer
Phillip Wm. FisherOfficer At-Large
Lloyd E. ReussOfficer At-Large
Clyde Wu, M.D.Officer At-Large
Anne Parsons President & CEO
Arthur T. O’Reilly Chairperson
Jan Bernick Secretary
Maureen T. D’Avanzo Vice Chair, Membership
†Deceased
James C. Farber Vice Chair, Philanthropy
Bonnie Larson Vice Chair, Engagement
Frederick J. Morsches Vice Chair, Communications
Governing Members is a philanthropic leadership group designed to provide unique, substantive, hands-on opportunities for leadership and access to a diverse group of valued stakeholders. Governing Members are ambassadors for the DSO and advocates for arts and culture in Detroit and throughout Southeast Michigan. For more information on the Governing Members program, please call the Office of Patron Advancement at (313) 576-5400.
4 Performance / Vol . X X / fall 201 1 www.dso.orG
voLUnteer CoUnCiL 2010-12offiCerS
BoarD of DireCtorSMarlene Bihlmeyer
Gwen BowlbyGloria Clark
Adel DissettSandie Knollenberg
Eva MeharryLynn Miller
Gloria NycekTodd Peplinski
Victoria Keys Young
Ex-Officio:Coco Siewert, Parliamentarian
Kelly Hayes, Immediate Past President
GOVERNING MEMBERS CONTINUEDMichael & Geraldine BucklesMr. H. Taylor Burleson &
Dr. Carol S. ChadwickPhilip & Carol CampbellMr. William N. CampbellDr. & Mrs. Thomas E. CarsonLois & Avern CohnBrian & Elizabeth Connors Ms. Mary Rita K. CuddohyMr. Richard CummingsJoAnne Danto & Arnold
WiengardenMr. & Mrs. James H. DantoMr. Marvin DantoMs. Barbara DavidsonLillian & Walter DeanMs. Margaret H. DemantBeck DemeryMs. Leslie DevereauxMs. Barbara DilesDavid Elgin DodgeDiana & Mark DominMs. Judith DoylePaul & Peggy DufaultRosanne & Sandy DuncanMr. Robert DunnDr. & Mrs. A. Bradley EisenbreyMr. & Mrs. John M. ErbMary Sue & Paul E. EwingMr. & Mrs. Stephen E. EwingMr. David FaulknerMr. & Mrs. Oscar FeldmanMrs. Robert FifeMarjorie S. FisherMr. & Mrs. Herbert FisherMr. Steven J. FishmanDr. Saul & Mrs. Helen FormanDale & Bruce FrankelRema FrankelMaxine & Stuart FrankelJudith & Barry FreundMs. Carol A. Friend & Mr. Mark
KilbournMr. & Mrs. Daniel E. Frohardt-
Lane
Mr. & Mrs. Harold GarberMr. & Mrs. William Y. GardLynn & Bharat GandhiByron & Dorothy GersonAllan D. Gilmour & Eric C. JirgensDr. & Mrs. Kenneth W. GitlinDr. & Mrs. Robert GoldmanMr. Mark GoodmanDr. Allen Goodman & Dr. Janet
HankinRobert & Mary Ann GorlinMr. & Mrs. James A. GreenDr. & Mrs. Steven GrekinMr. & Mrs. James GrosfeldAlice Berberian HaidostianDr. Algea O. HaleMr. Robert HamelRandall L. & Nancy Caine HarbourMr. & Mrs. Ross HaunMs. Nancy HenkMrs. Doreen HermelinMr. Eric J. Hespenheide &
Ms. Judith HicksDr. Jean HollandDr. Deanna & Mr. David B.
HoltzmanMr. F. Robert HozianJean Wright & Joseph L. Hudson, Jr.Julius & Cynthia HuebnerMr. & Mrs. Richard J. JessupMr. John S. JohnsFaye & Austin KanterMr. & Mrs. Norman D. KatzMichael E. Smerza & Nancy
KeppelmanDavid & Elizabeth KesselMrs. Frances KingDr. & Mrs. Harry N. KotsisRobert C. & Margaret A. KotzDavid & Maria KuziemkoDr. Raymond Landes & Dr. Melissa
McBrienAnne T. LarinMr. David LebenbomMr. & Mrs. Michael Lebenbom
Marguerite & David LentzAllan S. LeonardMr. & Mrs. Daniel LewisMr. & Mrs. Robert LiggettMr. & Mrs. Joseph LileMrs. Florence LoPatinDr. & Mrs. Charles LucasMr. & Mrs. Charles W. Manke, Jr.Mr. & Mrs. Richard A. ManoogianMr. & Mrs. Alonzo L. McDonaldThomas & Judith MichMs. Deborah MieselBruce & Mary MillerDr. & Mrs. Robert G. MobleyDr. Susan B. Molina & Mr. Stephen
R. MolinaMs. Florence MorrisDr. Stephen & Dr. Barbara MunkGeoffrey S. Nathan & Margaret E.
WintersDenise & Mark NevillePatricia & Henry NickolMs. Mariam Noland & Mr. James
A. KellyMr. & Mrs. Stanley NycekMs. Jo Elyn NymanMrs. Margot C. ParkerMr. & Mrs. Richard G. PartrichMrs. Sophie PearlsteinDr. & Mrs. Claus PetermannMr. Charles L. PetersMr. & Mrs. Donald E. PetersenCornelia PokrzywaMr. & Mrs. William PowersMr. & Mrs. Nicolas I. QuintanaMs. Ruth RattnerDrs. Y. Ravindranath & Kanta
BhambhaniDr. Claude & Mrs. Sandra
ReitelmanMr. & Mrs. Robert B. Rosowski Jane RussellMartie & Bob SachsDebbie & Mike Savoie Kathy & Michael Schultz
Mr. & Mrs. Fred SecrestElaine & Michael SerlingMr. & Mrs. Herbert ShanbaumThe Honorable Walter ShaperoMr. Stephan SharfCoco & Robert SiewertMr. & Mrs. Donald SimonMr. & Mrs. Richard SloanMr. & Mrs. S. Kinnie Smith, Jr.Mr. William H. SmithMr. John J. SoleckiMr. Richard A. SonenklarRichard & Renate SoulenDr. Gregory E. StephensMr. & Mrs. Clinton F. Stimpson IIIMrs. Charles D. StockingMr. & Mrs. Jan J. StokosaBernard & Barbara StollmanDr. Gerald H. StollmanMr. & Mrs. John Stroh IIIDavid Szymborski & Marilyn
SicklesteelMs. Dorothy TarpinianMr. & Mrs. Joel D. TauberAlice & Paul TomboulianMs. Amanda Van Dusen &
Mr. Curtis BlessingMr. Robert VanWalleghemMr. & Mrs. George C. VincentMr. & Mrs. Jonathan T. WaltonMr. & Mrs. Herman W. WeinreichMs. Janet B. WeirMr. & Mrs. Lawrence WeisbergMrs. Beryl WinkelmanRissa & Sheldon WinkelmanDr. & Mrs. Max V. Wisgerhof IIMr. & Mrs. Jonathan WolmanMr. & Mrs. Warren G. WoodMs. June WuDr. & Mrs. Robert E. WurtzMr. & Mrs. Alan ZekelmanMr. Paul M. ZlotoffMilton & Lois Zussman
Janet M. Ankers President
Debbie Savoie VP of Projects
Ken Beattie VP of Finance & Administration
Ellie Tholen VP of Public Relations
Dr. Nora Sugintas VP of Membership
Virginia Lu ndquist VP of Outreach
Esther Lyons Recording Secretary
Mary Beattie Corresponding Secretary
Performance / Vol . X X / fall 2011 5www.dso.orG
First ViolinsKimberly A. Kaloyanides
Kennedy Acting Concertmaster Katherine Tuck Chair
Hai-Xin Wu Acting Associate Concertmaster Alan and Marianne Schwartz and Jean Shapero (Shapero Foundation) Chair
Assistant Concertmaster Walker L. Cisler/Detroit Edison Foundation Chair
Beatriz Budinszky*Marguerite Deslippe*Elias Friedenzohn*Joseph Goldman*Laurie Landers Goldman*Eun Park*Adrienne Rönmark*Laura Rowe* Greg Staples*LeAnn Toth*
Second ViolinsAdam Stepniewski
Acting Principal The Devereaux Family Chair
Ron Fischer*Hong-Yi Mo*Robert Murphy*Bruce Smith*Joseph Striplin*Marian Tanau*Alvin Score Lilit Danielyan* ^
ViolasAlexander Mishnaevski+
Julie and Ed Levy, Jr. ChairJames VanValkenburg++Caroline CoadeGlenn MellowShanda Lowery-SachsHart HollmanHan Zheng
Hang SuCatherine Compton
VioloncellosRobert deMaine+
James C. Gordon ChairMarcy Chanteaux++ ^
Dorothy and Herbert Graebner Chair
John Thurman Victor and Gale Girolami Cello Chair
Robert Bergman*Carole Gatwood*Haden McKay*Úna O’Riordan*Paul Wingert*
BassesAlexander Hanna+
Van Dusen Family ChairStephen Molina++Maxim JanowskyLinton BodwinStephen EdwardsCraig RifelMarshall HutchinsonRichard Robinson
HarpPatricia Masri-Fletcher+
Winifred E. Polk Chair
FlutesSharon Wood Sparrow
Acting Principal Women’s Association for the DSO Chair
Jeffery Zook Philip Dikeman++ ^
PiccoloJeffery Zook
OboesDonald Baker+
Jack A. and Aviva Robinson Chair
Shelley Heron Maggie Miller Chair
Brian Ventura++Geoffrey Johnson§
ClarinetsTheodore Oien+
Robert B. Semple ChairDouglas Cornelsen
PVS Chemicals, Inc./ Jim and Ann Nicholson Chair
Laurence Liberson++Shannon Orme
E-Flat ClarinetLaurence Liberson
Bass ClarinetShannon Orme
Barbara Frankel and Ronald Michalak Chair
BassoonsRobert Williams+
John and Marlene Boll ChairVictoria KingMichael Ke Ma++Marcus Schoon
ContrabassoonMarcus Schoon
French HornsKarl Pituch+Bryan KennedyCorbin WagnerMark AbbottDavid Everson++ ~
TrumpetsStephen Anderson
Acting Principal Lee and Floy Barthel Chair
Kevin GoodWilliam Lucas
TrombonesKenneth Thompkins+Nathaniel Gurin++Randall Hawes
Bass TromboneRandall Hawes
TubaDennis Nulty+
TimpaniEric Schweikert ``#Brian Jones+ ^
PercussionEric Shin ``#Jacob Nissly+ ^
Ruth Roby and Alfred R. Glancy III Chair
Ian Ding++ ^ William Cody Knicely Chair
LibrariansRobert Stiles+Ethan Allen
Personnel ManagerStephen Molina
Orchestra Personnel ManagerHeather Hart
Assistant Orchestra Personnel Manager
Conducting AssistantCharles Greenwell
Stage PersonnelFrank Bonucci
Stage ManagerLarry Anderson
Department HeadMatthew Pons
Department HeadMichael Sarkissian
Department Head
Legend+ Principal++ Assistant Principal``# Substitute musician,
Acting Principal^ Extended Leave* These members may
voluntarily revolve seating within the section on a regular basis.
~ On Sabbatical§ African-American
Orchestra Fellow
For a roster of the substitute musicians appearing on stage, visit www.dso.org.
Leonard Slatkin, Music Director Music Directorship endowed by the Kresge Foundation
Michel Camilo, Fred A. and Barbara M. Erb Jazz Creative Director ChairNeeme Järvi, Music Director Emeritus
Orchestra member biographies can be found online at www.dso.org/orchestra.
6 Performance / Vol . X X / fall 201 1 www.dso.orG
Enter and find official rules at:
METAtheatres.org/goldenticket
NO PURCHASE NECESSARY. DEADLINE FOR ENTRIES IS NOV. 25. MUST BE 18 OR OLDER.
WIN a pair of season tickets to all 7 META theatres.
One year. 40 great shows. A $2,800 value!
7 MICHIGAN THEATRES.40 PLAYS.
ONE CLICK.
METATHEATRES.ORG
ENTER TO WIN
Professional theatre at its finest.
C
M
Y
CM
MY
CY
CMY
K
SPG91011_DSOad.pdf 1 9/19/11 8:32 PM
Performance / Vol . X X / fall 2011 7www.dso.orG
Announcing the DSO Volunteer Council’s Nutcracker Luncheon you won’t want to miss this refreshed version of the time-honored annual major fundraiser. you’ll be enchanted by excerpts from Tchaikovsky’s beloved Nutcracker Suite ballet, performed by members of Ballet americana, who have performed with the DSo civic orchestra. round out your holiday gift list with expanded inventory at Shop @ The Max or enter to win one of three gift certificates courtesy of neiman Marcus. Join us for a sit-down luncheon on Tuesday, December 6 at the Dearborn inn. Ticket prices are $150, $100 and $65, with proceeds to benefit the Detroit Symphony orchestra. gather some friends and call the Volunteer council office at 313.576.5154 to make your reservations.
Stream the Symphony! can’t make it downtown for the next classical concert? no worries! Join our global audience and tune in to our “Live from orchestra hall” hD Webcasts presented by the ford Motor company fund, the first part of a Digital Trio sponsored by the
Knight foundation. Log on at www.dso.org/live to view the performance and pre-show hosted by alex Trajano. The first webcast will air Sunday, october 9 at 3 p.m. Live from Orchestra Hall is produced in collaboration with Detroit public Television.
Treble Maker Uh-oh, here comes Treble! Shop @ The Max proudly announces our new DSo Treble Maker apparel. This pun-filled line of clothing is available in bibs, infant onesies, cute toddler tees, sporty youth T-shirts and fashionably-pink ladies shirts. get yours today, or you’ll be in “treble.” Shop @ The Max is open before and after each concert and during intermission.
News & NotesDear Friends, Welcome back to Orchestra Hall. A lot has happened since our sold out, standing room only performances last spring season. Over the months
since then and in recent weeks, I have had the pleasure of connecting with DSO stakeholders as well as interested observers from across our metropolitan area, from Los Angeles to New York City, and even abroad, thanks to Leonard Slatkin’s new position as Music Director of the Orchestra Nationale de
Lyon in France. At every encounter, I was impressed by feelings of optimism, encouragement and admiration for Detroit and particularly the DSO. So, as we proudly launch our 2011-12 season, we want you to know how very grateful we are to you, our patrons and audience members, for your loyalty, your passion and your enthusiastic support during such a difficult 2010-11 season. We’ve observed industry and business around us successfully reinventing and adapting to an ever-changing environment, consistently prepared to make adjustments and seek new pathways to success. The DSO has a vision for success that embraces the joy and inspiration only music can provide, celebrates music and musicians, and acknowledges the importance of engaging our community in ways that will ensure this community-supported orchestra will thrive in the years to come. You’ll notice that in addition to our offerings at Orchestra Hall, the DSO will regularly be performing in neighborhoods across metro Detroit. Thanks to a program introduced by Leonard Slatkin, Soundcards provide all access to students for our diverse Orchestra Hall performances. Through a partnership with DPTV, we are excited to be able to continue our HD Webcasts, “Live from Orchestra Hall,” presented by the Ford Motor Company Fund. It is the first part of what will be a digital suite sponsored by the Knight Foundation. And, thanks to our educational offerings and partnerships, over 1,000 young people will visit the Jacob Bernard Pincus Music Education Center each week to be mentored and inspired through performance learning opportunities. As we continue to work to mean more to more people, we hope you’ll enjoy the invaluable role you play in our collective story. We enter the 2011-12 season filled with hope and promise. Thank you for making the decision to join us! We hope to see you again soon. With best wishes,
Anne ParsonsPresident & CEO
President’s Message
8 Performance / Vol . X X / fall 201 1 www.dso.orG
Since Úna O’Riordan joined the DSO’s cello section in 2007 she has dedicated her free time to ensconcing herself in the community. Through the DSO’s Honda Power of Dreams String Music Project, she teaches students who otherwise wouldn’t have access to music education. She also maintains a private studio in Plymouth. Later this year she’d like to start an introductory chamber music program for intermediate students before high school age. “There’s so much emphasis on orchestra, which is wonderful,” she said. “But I want to give students access to a different, and equally gratifying, way of making music.” Outside of her work in the DSO and music education, she is a member of the contemporary music collective New Music Detroit and enjoys collaborating with other musicians in various genres and venues. O’Riordan is also excited to begin volunteering with St. Joseph Mercy’s Healing Arts program this fall, and will be organizing and performing in
occasional mini-concerts in the Ann Arbor hospital’s newly-renovated lobby. “I want to add a little light to a place that isn’t always joyful,” she said. A first-generation Irish American, O’Riordan says a love of music runs in her family, and her passion for the cello began with a string demonstration in her kindergarten class. She received a Bachelor of Music with Distinction from the Eastman School of Music, where she was named an Arts Leadership Scholar. As a recipient of the Eckstein Grant, O’Riordan did her graduate studies at the Northwestern University School of Music, and performed with the Northwestern University Symphony Orchestra as the concerto competition winner. While completing her master’s degree, she was also Co-principal of the Civic Orchestra of Chicago.
In her four years in Detroit, O’Riordan said she’s happily watched the city become more vibrant. “It’s so great to see some buzz finally happening in Downtown and Midtown. There’s no place quite like Detroit, and that’s one of the things I love about it,” she said.
MEET THE MUSICIAN:
Úna O’Riordan
Certified Diamonds & Colored StonesNew & Estate JewelryFine Swiss Timepieces
Bridal Jewelry & Giftware
Her Very OwnSymphony of Light
(Conductor not Required)
facebook.com/lalondejewelers
Performance / Vol . X X / fall 2011 9www.dso.orG
STringS
Kim Kaloyanides Kennedy, Acting Concertmaster Kennedy joined the DSO in 1998 and served as associate concertmaster for
eight seasons before being appointed acting concertmaster in 2011. “I didn’t ever experience what it meant to be concertmaster while I sat associate, even though I thought I had,” she
said. “People are looking to me to do more than just play violin. The concertmaster represents the orchestra, their goals, their heart; not just the sound we’re producing but who we are as a whole.” While Kennedy has no way of knowing whether her tenure as acting concertmaster will last six months or six years, she said she is focusing on what the orchestra needs right now. “I hope I’ll be
able to offer the strength and boldness the section needs in a leader,” she said. In her 14th season with the DSO, Kennedy will perform as concert soloist twice this year.
Adam Stepniewski, Acting Principal Second Violin Years before Stepniewski joined the DSO in 1991, a friend in Warsaw lent
him a recording of the DSO with former Music Director Paul Paray, under whom the DSO became one of the country’s most-recorded orchestras. Having served as fourth
concertmaster with Radio Symphony Orchestra of Copenhagen, Denmark and Assistant Concertmaster with National Philharmonic in Warsaw, hearing the DSO was the first time Stepniewski had considered auditioning with an American
orchestra. Stepniewski said his goal this season as acting principal second violin is to help create a team dynamic within his section and with the other musicians. “An orchestra like the DSO is more than just music, it’s a tradition for the city and for the people,” he said. “Music helped my father, a French horn player, through World War II. I believe it can help Detroit, too.”
Alexander Mishnaevski, Principal Viola Born in Moscow, Mishnaevski began studying the violin at age 6 at the renowned Central Music School of
Moscow Tchaikovski Conservatory. He emigrated to the United States in 1973 and graduated from The Juilliard School in New York. While at Juilliard, Mishnaevski changed
from violin to viola at the suggestion of Isaac Stern. Mishnaevski joined the DSO as principal violist in 1986. Prior, he also held the position of principal violist for the New York Chamber Orchestra, the New York Pro Arte Ensemble, Montreal’s McGill Chamber Orchestra and Orquestra Sinfonica de Xalapa in Mexico. Mishnaevski has performed in chamber music concerts and in recitals around the world and has collaborated on chamber music projects with eminent players including Isaac Stern, Schlomo Mintz, Joseph Silverstein, Schmuel Ashkenazy, Franz Helmerson, Joseph Swenson and the Colorado Quartet, just to name a few. Mishnaevski also teaches in his private studio, and has taught master classes and workshops in the U.S., Canada, Singapore, Taiwain, Korea, Hong, Kong, and Mexico.
robert deMaine, Pricipal Cello Named principal cellist of the DSO in 2002, Robert deMaine has been praised by The New York Times as “an artist who makes one hang on every note.” He has
distinguished himself as one of the finest musicians of his generation, having performed to critical acclaim throughout the world, from Carnegie Hall to the Teatro Colón
in Buenos Aires. Born into a musical family of French and Polish extraction, deMaine began musical studies at the age of 4 with his mother and sister, both accomplished
As soon as the stage lights go up, so does the pressure for the Detroit Symphony Orchestra’s principal musicians. The concertmaster takes the stage
to vigorous applause, the principal oboe sounds the tuning note and thus begins a harmony of leadership and team work. The section leaders at once head their section and expertly blend with the others to deliver the seamless sound that fills Orchestra Hall. For many principals this season, that leadership role is new, for others it is the role they’ve always had, and others still find themselves not only in a new seat, but in a new city. Please join us in welcoming these new musicians and welcoming back those who have long been assets to the DSO.
The Hot Seat: Getting to know your principal musicians
10 Performance / Vol . X X / fall 201 1 www.dso.orG
cellists. He made his solo debut at 10 with the Oklahoma City Symphony Orchestra, followed by his first full-length recital. DeMaine is the first prize-winner of several major international competitions, most notably the 1990 Irving M. Klein International Competition for Strings in San Francisco (the first cellist ever to win this important competition), as well as winning first prizes in major competitions in New York, St. Louis and Chicago.
Alexander Hanna, Principal Bass Alexander Hanna was appointed principal double bass of the DSO in 2008. Throughout his adolescence, he followed his older brother’s and sister’s footsteps through
music and was playing piano recitals when he was 4. He then began to sing, play cello and double bass among other instruments. Hanna made his solo debut with The Toledo Symphony
when they invited him to perform piano and double bass concertos with them when he was 14 years old. In 2004 the Curtis Institute of Music accepted Hanna as a double bass player and he then decided to focus on classical music. Hanna was in constant demand during his college years as a substitute with the Minnesota Orchestra, the Philadelphia Chamber Orchestra, the Philadelphia Orchestra, the Pittsburgh Symphony and was principal bass of the Haddonfield (New Jersey) Symphony.
Patti Masri-Fletcher, Principal Harp While harp is one of the easiest instruments to spot on the stage, compelling its angelic sound to compete with, say, the brass, takes a little muscle. “The thing about
principal harp is that I’m the only one,” said Masri. “There is not a section to boost the sound.” After trying her hand at piano, violin, flute and guitar, Masri-Fletcher settled on
the harp after attending an Oakland East Bay Symphony performance and couldn’t take her eyes off of the instrument. After studying harp performance in Oakland, Calif., she completed the eight-student graduate harp program at The Juilliard School. This will be Masri-Fletcher’s 23rd season with the DSO. “As an orchestra we come from various backgrounds, languages and cultures,” she said. “But when we
assemble on stage, we become the great orchestra that we are. We come together to speak the universal language of music.”
WOOdWindS
Sharon Sparrow, Acting Principal Flute Over the past few seasons, Sharon Sparrow has played nearly every position in the flute section of the DSO and understands better than most the uniqueness
and challenges of each one. Having played second for 11 years, she has perfected that role providing stabilization of pitch, security of tone and unending support, both musically
and personally. In recent seasons, sitting in the principal and assistant principal chairs allowed her a new and welcome freedom to express her inner musicality, having much more freedom on the numerous solo passages in which to experiment. “My favorite thing about playing principal is being able to express myself musically with every solo line and passage. I have so much to say musically, and playing principal gives me the liberty to use this voice,” she said. The only position Sparrow has not explored very much is the piccolo chair, coveted by the marvelous Jeffery Zook. For this season, Sparrow and Zook are holding up the section, and will be relying on many different players to fill in the gaps. Sparrow looks forward to playing principal again this season, and for each minute she is in that role she will be pouring out her musical voice with every line!
donald Baker, Principal Oboe Principal oboist Don Baker was already a seasoned principal when he joined the DSO in 1973. At 21, a fresh graduate from Oberlin University, he took on the role of
principal oboe with the Dallas Symphony. “I feel very fortunate to have been able to play principal in two major orchestras,” he said. He said he’s addicted to the pressure, which in the
oboe section is particularly great. Sitting in perfect center, the principal oboe is not only in the music director Leonard Slatkin’s direct line of vision, but must also play the tuning A note. “I play the first solo of the evening,” he said. “And then another about every 10 seconds after that.”
Theodore Oien, Principal Clarinet Theodore Oien joined the DSO as principal clarinet in 1988, after serving as second and e-flat clarinetist of the Denver
Symphony, and as principal clarinet of the Winnipeg Symphony and the CBC Winnipeg Orchestras. A concerto soloist with the DSO at Orchestra Hall, Oien also appears
as soloist with other North and South American orchestras, notably in Winnipeg with the Winnipeg Symphony Orchestra, in Greensburg with the Westmoreland Symphony, and in Montevideo with the National Symphony Orchestra of Uruguay. He has performed Copland’s Clarinet Concerto under the composer, and in November of 1999 was invited to perform at Lincoln Center in a concert featuring principal players from major orchestras of 50 nations, honoring the 50th anniversary of the Universal Declaration of Human Rights. Recent appearances with the DSO have included Strauss’ Due- Concertino and Martin’s Concerto for Seven Winds. He has recorded extensively for the record company Chandos with the DSO under Neeme Järvi and is heard on NPR’s Performance Today and weekly on General Motors Mark of Excellence.
robert Williams, Principal Bassoon The 2011-12 season will be Bob Williams’ 39th with the DSO. Williams joined the orchestra at just 24 years old.
He already had several years’ experience as a principal bassoon under his belt. His career as a principal bassoonist began while substituting in the University of Arizona faculty quintet
(where he was a student) and he also became principal in the Tucson Symphony Orchestra when the regular musician had to resign because of illness. After graduating, Williams spent two years as the solo bassoonist of the Winnipeg Symphony Orchestra before his move to Detroit. As a “frustrated clarinet player” during childhood, Williams said he first picked up the bassoon because no one else played it. “My best friend was first chair clarinet in eighth grade and I knew I’d never beat him and there were no other bassoon players!” he said.
Performance / Vol . X X / fall 201 1 11www.dso.orG
BrASS
Karl Pituch, Principal French Horn By the time Pituch was appointed principal horn in 2000 he was already familiar with Detroit’s story of decline.
“I remember visiting in the 60’s to shop at Hudson’s downtown, a lot of people did that,” he said. “Since then I’ve watched the city decline and then come back, very slowly.” But
even as Pituch watched Detroit struggle from afar, he watched the orchestra thrive. “As associate principal horn of the Dallas Symphony Orchestra before joining the DSO, I listened to the national radio broadcasts and heard how great the DSO was,” he said. “I’ve always wanted to work with Neeme Järvi and after seeing the great repertoire that he programmed, I decided to audition in Detroit.” Pituch has also served as principal horn with the Honolulu Symphony Orchestra, the Jacksonville Symphony, the Colorado Music Festival Orchestra and the Chautauqua Festival Orchestra. He served as a guest Principal Horn for the Los Angeles Philharmonic at the Edinburgh Music Festival in Scotland and at the Hollywood Bowl.
Stephen Anderson, Acting Principal Trumpet Beginning his 19th season with the DSO, Anderson also begins his 19th season alongside his fellow DSO trumpet players.
Formerly assistant principal trumpet, he has often played the principal part in cases of absence. Apart from the solos Anderson says sitting in the different chair will change little
about his section’s dynamics. “I’ve played with the other DSO trumpeters for nearly 20 years. We know what each other is thinking and what we’re going to do next,” he said. “It’s so easy to count on them to play as a unit and as a team.” Prior to his tenure with the DSO, Anderson served as a trumpeter with the Dayton Philharmonic Orchestra and the Carillon Brass Quintet for two seasons, and taught trumpet at Wittenberg University in Springfield, Ohio. Anderson has also performed as a member of the New Mexico Symphony, San Diego Symphony, Santa Fe Opera Orchestra,
Chicago Chamber Brass and Chicago Civic Orchestra. He frequently plays in various ensembles around the area, including the Detroit Chamber Winds and Strings.
Kenneth Thompkins, Principal Trombone “There aren’t many trombone solos, but they do come up,” said Thompkins. “As principal I’ll get to play those, which is
an honor.” One of his favorites? The three extensive trombone solos that anchor the first movement of Mahler’s Symphony No. 3. As a section, Thompkins explained it’s crucial
to have a homogenous sound to support the rest of the brass and the orchestra as a whole, a responsibility he says makes his role all the more satisfying. “When you play in an orchestra you get to sink into the sound more so than in a band,” he said. “You get to savor those chords.” Thompkins was appointed principal trombone of the DSO by Neeme Järvi in 1997. Prior, he held positions in the Buffalo Philharmonic and the Florida Orchestra and performed with the New World Symphony. dennis nulty, Pricipal Tuba After trying his hand at the trumpet in sixth grade, Nulty picked up the tuba because, well, no one else in class was
playing it yet. Nulty’s main responsibility is aiding the other brass in providing rhythm and pitch. “The tuba is more gregarious than other single instrument sections, often times
I am used to support other instrument families” he said. An alumnus of the New World Symphony, Nulty was appointed principal tuba by Music Director Leonard Slatkin in 2009 while completing graduate studies at the New England Conservatory in Boston. As a freelance artist, he recorded a CD/DVD with Chris Botti and the Boston Pops Orchestra, and has performed frequently at historic Fenway Park, including opening ceremonies for game one of the 2007 World Series.
PErCuSSiOn
Eric Shin, Acting Principal Percussion Beginning his first season with the DSO, Eric Shin comes to the Midwest from a considerably more desirable climate; Hawaii,
where he was the principal percussionist for the now-defunct Honolulu Symphony. An avid surfer, he says he is adjusting to middle America just fine. “I can tell already
the DSO has a large following, that people are really proud of the symphony. There’s an overwhelming amount of support for classical music here.” Shin dabbled in guitar and piano before he settled on percussion, because it’s “so fun to make a bunch of noise.” Although he describes percussion as “just the sprinkles on the cake,” he stresses the importance of perfectionism in his role. “People tend to only notice percussion when we mess up,” he said.
Eric Schweikert, Acting Principal Timpani Schweikert, who is also principal timpanist for the Fort Wayne Philharmonic, began his romance with classical music in
elementary school as a cellist. “I wasn’t a very motivated practicer on the cello and thought the string bass looked cooler, but I didn’t want to carry one!” he joked. “How ironic that my
entire adult life has been spent dealing with the much more cumbersome timpani.” He explained timpani plays a comparable role for percussion as bass plays for strings, but that its greater role is in support of the brass section. “I like playing the low, rumbling notes,” he said. “The audience can literally feel the sound.” While the 2011-12 season will be Schweikert’s first with the DSO, it won’t be his first time playing with the orchestra. He received that honor as a student at Interlochen. “I have a soft spot for the DSO because it was the first professional orchestra I ever played with,” he said. “And playing at Orchestra Hall is a great honor.”
12 Performance / Vol . X X / fall 201 1 www.dso.orG
ProfilesLeonard SlatkinInternationally acclaimed American conductor Leonard Slatkin began his appointment as Music Director of the Detroit Symphony Orchestra in September of 2008. In addition to his post at the DSO, August 2011 marked the start of his tenure as Music Director of the Orchestre National de Lyon in France. In addition, Slatkin continues to serve as Principal Guest Conductor of the Pittsburgh Symphony Orchestra, a post that began in the fall of 2008. Following a 17-year tenure as Music Director of the Saint Louis Symphony Orchestra, Slatkin became Music Director of the National Symphony Orchestra in Washington, D.C. in 1996. Other positions in the United States have included Principal Guest Conductor of the Minnesota Orchestra, where he founded their “Sommerfest;” first Music Director of the Cleveland Orchestra’s summer series at the Blossom Music Festival, a post he held for nine years; Principal Guest Conductor of the Los Angeles Philharmonic Orchestra at the Hollywood Bowl for three seasons; and additional positions with the New Orleans Philharmonic and the Nashville Symphony Orchestra. Throughout his career, Slatkin has demonstrated a continuing commitment to arts education and to reaching diverse audiences. He is the founder and director of the National Conducting Institute, and advanced career development program for rising conductors, and founded the Saint Louis Symphony Youth Orchestra. This year, he spearheaded the DSO’s Soundcard initiative, an all-access student pass to every Classical, Pops and Jazz concert at Orchestra Hall, all season long. Maestro Slatkin’s more than 100 recordings have been recognized with seven Grammy awards and 64 nominations. He has recorded with the DSO, National Symphony Orchestra, Saint Louis Symphony, Minnesota Orchestra, Nashville Symphony Orchestra, Chicago Symphony Orchestra, and the New York Philharmonic. His engagements for the 2011-2012 season include Orchestre de la Suisse Romande, Seoul Philharmonic, NHK Symphony, a tour of Germany with the Deutsches Symphonie-Orchester Berlin, and the New World and National Symphony Orchestras in Washington, D.C.
Leonard Slatkin, Music Director neeme Järvi, Music Director Emeritus
get the most out of each concert by attending pre-concert presentations, one hour prior to performances (excluding coffee concerts). The presentations are informal and may include special guests, lectures and music that
reveal interesting facts about the program and provide a behind-the-scenes look at the art of making music.
non-flash photography and video recording by silenced hand-held devices are allowed during DSo performances.The DSo can be heard on the DSo, chandos, London, rca and Mercury record labels.
CLASSICAL SERIES
Saturday, October 8, 2011 at 8:00 p.m. Sunday, October 9, 2011 at 3:00 p.m.
in Orchestra Hall
Leonard Slatkin, conductor Michel Camilo, piano
Fred A. and Barbara M. Erb Jazz Creative Director Chair
gioachino rossini Overture to Guillaume Tell (William Tell) (1792-1868)
Michel Camilo Piano Concerto No. 2, “Tenerife” (b. 1954) (North American Premiere) Ma estoso. Allegro deciso. Moderato.
Vivace. Maestoso. Vivo Largo Allegro alla Danza Michel Camilo, piano
INTER MISSION
Hector Berlioz Symphonie fantastique, Op. 14 (1803-1869) I. Reveries and Passions: Largo –
Allegro agitato e appassionato assai II A Ball: Waltz - Allegro non troppo III. In the Country: Adagio IV. March to the Scaffold: Allegretto non troppo V. Dream of the Witches’ Sabbath: Larghetto -
Allegro
PVS Chemicals, Inc.
slatikin
Sponsors
Performance / Vol . X X / fall 201 1 13www.dso.orG
Program Notesoverture to the opera William TellGIOACHINO ROSSINI B. February 29, 1792, Pesaro, the Marches (now
Italy)D. November 13, 1868, Passy, France
William Tell was f irst performed at the Paris Opéra on August 3, 1829. The overture is scored for piccolo, flute, two oboes (the second doubling English horn), two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, triangle, bass drum, cymbals and strings (approximately 12 minutes).
No composer in the first half of the 19th century enjoyed the extraordinary
measure of success that belonged to Rossini. His contemporaries regarded him as the greatest Italian composer of his time. Other composers such as Bellini and Donizetti created personal styles, to be sure, but they worked in his shadow. Not until the coming of Verdi would Rossini be replaced as the center of Italian operatic life. It is quite ironic that for all the success of the William Tell overture in the concert hall, the opera itself has been more honored than it has been performed. By 1831, two years after its premiere, the original four acts had been trimmed to three; within Rossini’s lifetime, it became common to perform only the second act. While the opera was passing out of the repertoire and into the history books, its overture was becoming a concert-hall favorite. If the listener can put aside its modern associations with radio, television and cartoons, it becomes apparent that it is a remarkable piece of music, a more substantial overture than Rossini provided for any of his Italian operas. It does not share themes with the original version of the opera; but like the rest of the opera, it is dominated by musical motives derived from Swiss popular melodies. The overture is in four sections, clearly marked. In the first section, scored for five solo cellos (in addition to ripieno cellos and basses, and a pair of timpani) we hear – we can nearly see – the peaceful Swiss landscape that forms the backdrop for the opera (Rossini would employ a solo cello again at a key moment in the drama – Tell’s appeal to his son, “Sois immobile”, in the scene with the apple). The winds and high strings are held back until the next section, depicting the thunderstorm that had been rumbling in the distance.
The ranz des vaches of the alphorn is heard next, this exotic instrument being represented by the English horn, just as Berlioz would do in his Symphonie Fantastique. Interwoven with this simple melody, the flute presents a lovely birdsong. Then, the quickstep which to American audiences is still the trademark of the Lone Ranger: the joyous martial gallop that concludes the overture. While writing a new finale for a revival of the opera, Rossini himself underscored the meaning of this final section: the words he used to conclude the opera being “Victoire et liberté” (“Victory and liberty”). The fact that even overtures from Rossini operas rarely performed in the past 100 years have found a permanent home in the concert hall is testimony to their status as independent, integral compositions, not mere potpourris of tunes from their respective operas. Another reason for the persistence of Rossini overtures such as William Tell in the concert repertoire is their amazing orchestration. Rossini was a master at finding the perfect instrumental touches. He could pull out all the stops, to be sure, but he often worked with just a few instruments – particularly the winds – to remarkable effect. The DSO last performed Rossini’s Overture to the opera William Tell on a Meadow Brook concert in July, 2010, with JoAnn Falletta conducting.
�DSO�ShOp�@�The�Max�recOMMenDS:
Rossini – William Tell Overture: Erich Kunzel and the Cincinnati Pops Orchestra, Telarc 80116.
Concerto for Piano & orchestra no. 2, “tenerife”MICHEL CAMILO B. April 4, 1954, Santo Domingo, Dominican Republic)
Michel Camilo’s Second Piano Concerto was commissioned by the Tenerife Auditorium and is scored for two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones and tuba, timpani plus f ive percussionists (playing Crotales, Tenor Drum, Bass Drum, Bell Tree, Cymbals (Pair), Finger Cymbals, Gong, Hi-Hat, Mark Tree, Piccolo Snare Drum, Snare Drum, Suspended Cymbal, Tambourine, Tom Toms in three pitches and Triangle) solo piano and strings (approximately 25 minutes).
michel CamiloA pianist with a brilliant technique and a composer that flavors his tunes with Afro-Caribbean rhythms and jazz harmonies, Michel Camilo’s musical language is an expressive and exciting way of combining his musical heritage with a rich, intelligent use of harmonic textures, jazz roots and his superb piano technique. His music is mainstream jazz first and foremost, propelled by an infectious Latin tinge and a contemporary sense of swing that reflects his joyously effervescent personality. Camilo was born in Santo Domingo, Dominican Republic. He studied for 13 years at the National Conservatory earning a degree of “Professorship in Music” and at the age of 16 became a member of the National Symphony Orchestra of his country. He moved to New York in 1979 where he continued his studies at Mannes and the Juilliard School. Since his 1985 Carnegie Hall debut he has become a prominent figure performing regularly at festivals throughout the United States, Europe, Japan, Asia, Middle East, South America and the Caribbean. His 18 recordings to date have been recognized with a Grammy award, an Emmy award, two Latin Grammy awards, two Grammy award nominations and two Premios de la Música (Spain). Career highlights include his two-year appointment as Jazz Creative Director Chair of the Detroit Symphony Orchestra, a five-year tenure as Musical Director of the Heineken Jazz Festival (Dominican Republic) and serving as president of the jury at the Montreux Jazz Solo Piano competition. Camilo performed the world premiere of his Concerto for Piano & Orchestra No. 2, “Tenerife,” commissioned by the Tenerife Auditorium, as guest soloist with the Tenerife Symphony Orchestra conducted by Lü Jiá. Mr. Camilo’s honors include Honorary Doctorates from Berklee College of Music (Boston), Universidad Nacional Pedro Henriquez Ureña, UTESA University of Santiago, as well as an Honorary Professorship and Honorary Doctorate from his Alma Mater, Universidad Autónoma de Santo Domingo, Dominican Republic.
camilo
14 Performance / Vol . X X / fall 201 1 www.dso.orG
Michel Camilo has recorded in Solo, Duo, Trio, Sextet, Big Band and with
Symphony Orchestras, as well as film soundtracks. He moves with ease between the worlds of Jazz, Latin and Classical music.
The composer writes: This work is dedicated to Tenerife (Canary Islands) a special place where I have had so many unforgettable moments on each one of my visits. My intention was to compose about its great majesty, reflect on the warmth of its people and portray the vibrant light so full of contrasting texture and color which I have always perceived there. The piano concerto is written in three movements, each one presenting both the soloist and the orchestra with many challenges which serve as meeting points and ultimately help to achieve the concertante character. The first movement was inspired by a visit to El Teide, a volcano in Tenerife. This movement is divided in two sections, both introduced by a maestoso arising from a low sotto voce melody in the celli and contrabasses, ascending through an orchestral canon before reaching the angular rhythms of the allegro deciso. The second theme of the moderato with a more melodic character is first played by the piano and then reiterated by an orchestral tutti. Both thematic ideas will constantly intertwine and evolve. The second section of the first movement starts from the deep intensity of the initial maestoso, but this time around the vision of the volcano will be thoroughly explored with the piano contributing arpeggios and virtuoso octave passages. The final vivo arrives with its playful giocoso character which gradually will grow in strength towards the accelerando climax. The movement ends with an epilogue of three suspended reminiscences. The largo contrasts a translucent sostenuto cantabile with nuances and harmonic references to jazz, as well as the solitude of a piano and cello duet with the intense passion unleashed by an orchestral tutti. The third movement allegro alla danza gives the spotlight to a percussion ensemble of three tenor drums, cymbals and bass drum in order to reflect its festive spirit right from the start, demanding at times fast, light and precise articulation, as well as power and skill in navigating its polyrhythmic riches. With a contemporary point of view, this freely-based-on-a-rondó-form movement also reprises the second theme of the first movement, and introduces an exotic and sensual melody at the piano echoed by oboe and bassoon, and
accompanied by a suggestive ostinato rhythm on the strings and timpani which will bring us to the rousing crescendo finale. This performance by the DSO of Michel Camilo’s Piano Concerto No. 2, “Tenerife” marks the North American première of this work. © 2008 Michel Camilo - Redondo Music (BMI - SGAE). All Rights Reserved.
�DSO�ShOp�@�The�Max�recOMMenDS:
Camilo – Piano Concerto No. 2, “Tenerife:” No recording currently available.
Symphonie fantastique, op. 14(LOUIS-)HECTOR BERLIOZ B. December 11, 1803, La Côte St. André, IsereD. Paris, March 8, 1869
Hector Berlioz’s Symphonie fantastique was premiered on December 5, 1830 at the Salle du Conservatoire, Paris, with François-Antoine Habeneck conducting. Scored for two flutes (second doubling on piccolo), two oboes (second doubling on English horn), two clarinets (f irst doubling on E-flat clarinet), four bassoons, four
Saturday, November 12, 2011, 8 PM
Sergey Khachatryan, ViolinLusine Khachatryan, PianoBe ethoven: Sonata No. 2 in A major for
Violin and Piano, Op. 12, No. 2J.S. Bach: Partita No. 2 in D minor, BWV 1004 Shostakovich: Sonata for Violin and Piano, Op. 134
✦Pre-Concert Talk with Dr. Steven Rings at 6:45 PM
Saturday, December 3, 2011, 8 PM
Steven Isserlis, CelloConnie Shih, PianoMe ndelssohn: Sonata for Cello and Piano No. 1
in B-fl at major, Op. 45Liszt: Romance oubliée, La Lugubre gondolaSchumann: Stücke im VolkstonFranck: Sonata in A major With support from the Beverly Franzblau Baker Endowment Fundand from Andrea Ziegelman in memory of Isabelle and Erwin Ziegelman
Saturday, January 7, 2012, 8 PM
Tokyo String Quartetwth Eugene Izotov, OboeHaydn: String Quartet in G major, Op. 77, No. 1Mozart: Oboe Quartet in F major, K. 370Takemitsu: Entre-temps
Debussy: String Quartet in G minor
Sponsored by
UPCOMING CONCERTS: 2011-2012 SEASON
To purchase tickets and for more information about upcoming concerts, please call (248) 855-6070
or visit www.ComeHearCMSD.org.
Performance / Vol . X X / fall 201 1 15www.dso.orG
horns, four trumpets, three trombones, two tubas, two timpanists and four percussionists (playing bass drum, chimes, pair of cymbals, f ield drum, suspended cymbal), two harps and strings (approximately 49 minutes).
Berlioz’s education came largely from his father Louis-Joseph Berlioz, a doctor of
some distinction. In addition to French and Latin literature and geography, his father also gave him basic instruction on a musical instrument known as the flagolet. Later, Berlioz learned the flute and the guitar from local teachers. Berlioz never studied the piano and never learned to play more than a few chords at the keyboard. Beginning in 1827, Berlioz experienced a series of significant events that would profoundly affect his artistic development. The first of these occurred on September 11, 1827, when Berlioz attended a presentation of Hamlet by an English company at the Odéon theatre, with Miss Harriet Smithson playing Ophelia. Two further discoveries at this time are also of great importance. In March, 1828 Berlioz heard the music of Beethoven for the first time. In addition, Berlioz encountered Goethe’s Faust in 1827, and the impact was profound and immediate. These discoveries, however, were far more of a gradual nature than Berlioz’s discovery of
Miss Smithson, the “ideal woman” with whom he was suddenly and violently taken. He pursued her relentlessly for the next two years. By 1830, his passion for her had soured somewhat and the accumulated emotional tensions would be poured into his Symphonie fantastique. Berlioz’s Symphonie fantastique is the first work in the history of music to tap into the dark Romanticism that feeds on dreams, irrationality and the excesses of the unfettered imagination. In this work, Berlioz goes far beyond anything previously known in the field of symphonic writing. The fantastical structure of the opening movement, with its long and slow introduction and its complete disregard for established formal models, is without precedent. Above all, however, it is the new handling of timbre, or instrumental texture, that caused such a sensation in its day and which remains just as dramatic and novel today. Berlioz’s primary means of imposing structure throughout the work is through the device he called (drawing on the language of psychopathology) the idée fixe. As Berlioz explained in the printed program that he insisted on handing out at the premiere, this melody recurs with obsessive regularity in the mind of the “hero” (who is a musician), representing the image of his beloved which constantly changes in keeping with the hero’s
emotional state or the situation in which the hero finds himself. The work is cast in five movements, each of which bears a subtitle. Comments in quotation marks are those of the composer.
Rêveries and Passions (visions. Passions) The first movement depicts “the artist” who takes opium and falls into a dreamlike state where he thinks of his beloved — “the ideal being of whom he has dreamed.” For him, she is linked to a musical idea, and both “the melodic image and its human model pursue him incessantly like a double idée f ixe…. The passage from this state of melancholic reverie, interrupted by a few fits of unmitigated joy, to one of delirious passion, with its movements of fury and jealousy, its return of tenderness, its tears, its religious consolation — all this is the subject of the first movement.”
Un Bal (a Ball) “The beloved’s image appears before him and troubles his soul.” According to the printed program “amidst the confusion of a brilliant festival, he finds the loved one again.” The beloved is represented by the same idée f ixe, now transformed into a gentle waltz, played by the strings and harp. The accompanying strings occasionally play fragments of the opening melody, as if to suggest the ongoing festivities occurring in the background.
Scène aux champs (in the Countryside) Calmed by the sound of shepherds piping in the distance (oboe and English horn), by “the quiet rustling of trees gently disturbed by the wind,” the artist begins to wonder if his beloved might be deceiving him. He feels “a mixture of hope and fear…ideas of happi-ness disturbed by black presentiments.” At the end of the movement, the attempt to resume the opening conversation (with one voice now missing and with only the rumble of timpani in its place) paints an extraordi-nary picture of despair and loneliness.
Marche au supplice (march to the scaffold) “Having become certain that his love goes unrecognized, the artist poisons himself with opium.” However, instead of dying, he “dreams that he has killed the woman that he loves, that he is condemned, led to the scaffold, and that he is witnessing his own execution.”
Songe d’une nuit du Sabbat (Dream of a witches’ Sabbath) The artist sees himself “in the midst of a frightful assembly of ghosts, sorcerers, monsters of every kind, all come together for his funeral.” The melody representing
Honigman and the Chamber Music Society of Detroit
Honigman and the Detroit Symphony Orchestra –
Where Great Performances Happen
Recognized as one of Michigan’s premier law firms, Honigman Miller Schwartz and Cohn LLP provides exceptional legal services that help
businesses and individuals succeed. We work in harmony with our clients to deliver the highest caliber solutions to achieve their objectives.
16 Performance / Vol . X X / fall 201 1 www.dso.orG
his beloved (who is now no more than a common courtesan) is now “no more than the tune of an ignoble dance, trivial and grotesque…she takes part in the devilish orgy…funeral knell, burlesque parody of the Dies Irae” (“Day of Wrath,” a plainchant melody that was most likely written in the 13th century and has since been used in Catholic masses for the dead). Although written nearly two hundred years ago, Berlioz’s Symphonie fantastique remains an audacious and thrilling work and its effect on the following century was profound. Its exploitation of orchestral color
and its use of an external narrative in a dramatic program would influence composers for years to come. The DSO last performed Berlioz’s Symphonie fantastique for a Young People’s Concert in October 2009, with Charles Greenwell conducting.
�DSO�ShOp�@�The�Max�recOMMenDS:
Berlioz – Symphonie Fantastique: Michael Tilson Thomas conducting the San Francisco Symphony, San Francisco Symphony 0033.
THE VALUE OF TRUE ARTISTRY CAN’T
BE MEASURED. WE SHOULD KNOW.
THE VALUE OF TRUE ARTISTRY CAN’T
BE MEASURED. WE SHOULD KNOW.
A listener supported service of Detroit Public Schools and Detroit Public TV.
Classical Music withDave Wagner
and Chris Felcyn
Weekdays 6 am - 7 pm
wrcjfm.org
Performance / Vol . X X / fall 201 1 17www.dso.orG
ProfilesJonathan tunick Jonathan Tunick’s long Broadway career as orchestrator includes such titles as Company, Follies, A Little Night Music, Pacific Overtures, Sweeney Todd, Merrily We Roll Along, Into The Woods, Passion, The Frogs and Road Show, as well as films like Promises, Promises, A Catered Affair, LoveMusik, A Chorus Line, The Color Purple, Titanic and Nine. He has worked as composer and conductor of film scores for Mike Nichols, Franco Zeffirelli and Sidney Lumet, on titles like Blazing Saddles, Young Frankenstein and TV classics Murder, She Wrote and Columbo. He has worked as arranger and conductor on records by Bernadette Peters, Judy Collins, Itzhak Perlman, Placido Domingo, Johnny Mathis, Bette Midler, Barbra Streisand and Paul McCartney. Tunick’s recent album accompanying vocalist Kate Bush is due for release shortly. With his Tony, Emmy, Grammy and Academy Awards he is one of only eight people holding all four major awards. In 2009 he was elected to the Theatre Hall of Fame.
Kate Baldwin Kate Baldwin is a veteran of Broadway and national stages alike. Her starring role in the recent revival of Yip Harburg’s and Burton Lane’s classic musical, Finian’s Rainbow, launched her into the same league as Broadway’s finest. She received 2010 Tony, Drama Desk and Outer Critic’s Circle Award nominations for her portrayal of Sharon McLonergan. Baldwin has appeared in the Broadway casts of The Full Monty, Thoroughly Modern Millie and Wonderful Town. She starred in the national tour of Irving Berlin’s White Christmas, Henry V at the Shakespeare Theatre of New Jersey, The Women at San Diego’s Old Globe, She Loves Me at the Willliamstown Theatre Festival, and South Pacific at Arena Stage, earning a Helen Hayes Award nomination. Her concert work includes several appearances with Stephen Sondheim as a featured performer in his critically acclaimed evening, “A Conversation with Stephen Sondheim.” She has appeared at the Chicago
Leonard Slatkin, Music Director neeme Järvi, Music Director Emeritus
non-flash photography and video recording by silenced hand-held devices are allowed during DSo performances.The DSo can be heard on the DSo, chandos, London, rca and Mercury record labels.
POPS SERIES
An Evening of rodgers and HammersteinFriday, October 14, 2011 at 10:45 a.m.
Saturday, October 15, 2011 at 8:00 p.m. Sunday, October 16, 2011 at 3:00 p.m.
in Orchestra Hall
Jonathan Tunick, conductor / Diana Basmajian, directorShuler Hensley, baritone# / Kate Baldwin, mezzo-soprano+
Wayne State University Symphonic Choir,* Norah Duncan IV, director
Music and Lyrics for this program by Richard Rodgers and Oscar Hammerstein II
Music by richard rodgers Overture from South Pacific (1902-1979) Lyrics by Oscar Hammerstein ii (1847-1919) Arr. Jonathan Tunick
Orch. by robert russell Bennett Surrey with the Fringe on Top from Oklahoma+#
Arr. By Jonathan Tunick Mr. Snow from Carousel+
Orch. by don Walker If I Loved You from Carousel +# Orch. by robert russell Bennett A Wonderful Guy from South Pacific+*
Orch. by don Walker When the Children Are Asleep from Carousel +#
Orch. by don Walker Soliloquy from Carousel #
Arr. Jonathan Tunick It Might As Well Be Spring from State Fair+
Orch. by don Walker You’ll Never Walk Alone from Carousel #*
i n T Er M iS SiOn
richard rodgers The Carousel Waltz from Carousel Orch. by don Walker
Orch. by robert russell Bennett There is Nothin’ Like A Dame from South Pacific #*
Arr. Jonathan Tunick Out of My Dreams from Oklahoma+
Orch. by robert russell Bennett Hello, Young Lovers from South Pacific+
Some Enchanted Evening from South Pacific +#
Edelweiss from The Sound of Music #
It’s a Grand Night for Singing from State Fair +# *
Oklahoma from Oklahoma +# *
tunick
baldwin
18 Performance / Vol . X X / fall 201 1 www.dso.orG
Humanities Festival, as well as sung with the National Symphony Orchestra in Washington, DC, the Portland Symphony Orchestra, The Chesapeake Orchestra and the New York Pops. On television, her work includes a guest appearance on NBC’s “Law & Order: SVU” and a featured role in the PBS filming of Stephen Sondheim’s Passion. Her film work includes “Brooklyn Brothers Beat the Best” due out this Fall. Baldwin’s debut album on PS Classics entitled “Let’s See What Happens” features Lane and Harburg songs from both stage and feature films. She released her second recording in July 2011 entitled, “She Loves Him.” It celebrates the work of Pulitzer Prize and Tony-winning lyricist Sheldon Harnick and features him on five songs.
Shuler Hensley Shuler Hensley won a Tony Award for his searing portrayal of Jud Fry in the Broadway revival of Oklahoma! for which he also received an Olivier in London. Other Broadway appearances include Young Frankenstein, Tarzan, and Les Miserables. On film, Shuler was featured in Van Helsing, The Legend Of Zorro, and the upcoming Odd Thomas. Recent concert appearances with Michael Tilson Thomas include The Thomashevsky Project, with the New York Philharmonic, San Francisco and New World Symphonies (filmed for PBS), and the Philadelphia Orchestra. Shuler will return to San Francisco for performances of Schoenberg’s Survivor From Warsaw, again conducted by Tilson Thomas.
norah Duncan iv Norah Duncan IV is Associate Chair and Associate Professor of Music at Wayne State University, where he directs the WSU Concert Chorale and the WSU Symphonic Chorus, and coordinates many of the choral concerts presented by the Department of Music. Duncan received a Bachelor of Arts degree from the University of Detroit, a Master of Music degree from WSU, and a Doctor of Musical Arts degree from the University of Michigan. As an organist, Duncan has performed extensively in both the United States and Europe. Recently, he presented organ recitals throughout Michigan and Ohio,
and in Germany, Poland and Australia. He was music director and principal organist for the Cathedral of the Most Blessed Sacrament for over 26 years, and in 1987 he was director of music for the visit of Pope John Paul II to Detroit. As a choral director, Duncan has presented concerts under the Cathedral Cultural Series with the Archdiocesan Chorus, and has collaborated in concerts with many Detroit area choral ensembles. Duncan has prepared choruses for the DSO, the Detroit Symphony Civic Orchestra and the Grosse Pointe Symphony Orchestra. In 2004 and 2005, he directed the Michigan Youth Choral Ensemble at Carnegie Hall. Duncan has received the Award for Excellence for Musical Direction from the American College Theater Festival, the Sr. Thea Bowman Award of the Archdiocese of Detroit, the Spirit of Detroit Award and the Mother Teresa Duchemin Award for exemplary community service. In 2006,
he became the first recipient of the DSO’s “Changing Lives through Music” Award. In 2008, Duncan received the Wayne State University Board of Governors Faculty Recognition Award for his contributions to academic excellence and scholarship.
Wayne State University Symphonic Chorus The Wayne State University Symphonic Chorus is a mixed ensemble made up of the 34-voice WSU Concert Chorale and additional auditioned singers from the metro Detroit community. The Concert Chorale is a highly selected choral ensemble which performs literature of the 16th through 20th centuries, including compositions with orchestra and works in contemporary formats. The group has performed locally, regionally, nationally and internationally at American Choral Directors Association conventions, music educators conferences, and at festivals throughout Europe. The Wayne State University Symphonic Chorus has performed with the DSO, the Detroit Symphony Civic Orchestra, and at many local and regional choral festivals.
duncan
hensley
BUILDERS, RESTORATIONS,EXPERT ASSESSMENT
LARGE COLLECTION OF QUALITYSTRINGED INSTRUMENTS & BOWS
QUALITY RENTALS, ACCESSORIES& MUSIC LIBRARY
WWW.PSARIANOSVIOLINS.COM [email protected]
79 E. MAPLE, TROY, MI 48083TEL 248.689.8424 | FAX 248.689.6162
HOURS BY APPOINTMENT AT: 157 EAST HOOVER, ANN ARBOR, MI 48104TEL 734.761-8423 | FAX 734.761.8450
24 HOUR MAIL ORDER & MESSAGETOLL FREE: 1-800-697-VIOL
Peter and Laurie PsarianosPeter and Laurie Psarianos
Performance / Vol . X X / fall 201 1 19www.dso.orG
ProfilesJerzy Semkow Jerzy Semkow has won international acclaim through his appearances with the world’s leading orchestras and opera companies. His conducting posts have included tenures as Music Director of the Saint Louis Symphony, Principal Conductor of the Royal Danish Opera and the Royal Danish Orchestra in Copenhagen, Music Advisor and Principal Conductor of the Rochester Philharmonic, Music Director of the Orchestra of Radio-Televisione Italiana (RAI) in Rome, and Artistic Director of the National Opera in Warsaw. Maestro Semkow has conducted many of the most renowned orchestras in Europe and America, including the Rochester Philharmonic, the Toronto Symphony, the Orchestre Philharmonique de Radio France, the Pittsburgh Symphony, the Utah Symphony and the Warsaw Philharmonic Orchestra. He has also conducted the Ensemble Orchestral de Paris, the Orchestre National de France and the Orchestre National de Lyon, among others. As an operatic conductor, Maestro Semkow’s engagements have included productions at the Teatro alla Scala in Milan, the Royal Opera House at Covent Garden, the Grand Theatre of Geneva, the Maggio Musicale in Florence, La Fenice in Venice, the Teatro del Opera of Rome and the Aix-en-Provence Festival. A prolific and award-winning recording artist, Maestro Semkow’s extensive discography includes the first complete original version of Mussorgsky’s “Boris Godunov” for EMI (a recording honored with several international awards) as well as major works of Tchaikovsky, Brahms and Mozart, among many others.
Leonard Slatkin, Music Director neeme Järvi, Music Director Emeritus
get the most out of each concert by attending pre-concert presentations, one hour prior to performances (excluding coffee concerts). The presentations are informal and may include special guests, lectures and music that
reveal interesting facts about the program and provide a behind-the-scenes look at the art of making music.
non-flash photography and video recording by silenced hand-held devices are allowed during DSo performances.The DSo can be heard on the DSo, chandos, London, rca and Mercury record labels.
CLASSICAL SERIES
Thursday, October 20, 2011 at 7:30 p.m. Friday, October 21, 2011 at 8:00 p.m.
in Orchestra Hall
Jerzy Semkow, conductor Kirill Gerstein, piano
Carl nielsen Helios Overture, Op. 17 (1865-1931)
Franz J. Liszt Piano Concerto No. 2 in A major (1811-1886) Kirill Gerstein, piano
i n T Er M iS SiOn
Piotr ilyich Tchaikovsky Symphony No. 6 in B minor, Op. 74, (1840-1893) “Pathétique” I. Adagio - Allegro non troppo II. Allegro con grazia III. Allegro molto vivace IV. Finale: Adagio lamentoso
semkow
Sponsors
20 Performance / Vol . X X / fall 201 1 www.dso.orG
Helios overture, op. 17CARL NIELSEN B. June 9, 1865, Sortelung near Nørre Lyndelse
on Funen D. October 3, 1931, Copenhagen).
Nielsen’s Helios Overture Op. 17 is scored for three flutes (the third doubling on piccolo), two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani and strings (approximately 12 minutes).
Danish composer Carl Nielsen was born in 1865, the same year as Finnish
composer Jean Sibelius. He came from a humble background; his father was a house decorator and village musician. The composer was the seventh of 12 children. After his studies in Copenhagen, Nielsen joined the Royal Danish Orchestra as a violinist and played under Johan Svendsen in the first performance of his own first symphony. He was to succeed Svendsen as the orchestra’s conductor in 1906. In 1902, Nielsen signed a contract with the publisher Wilhelm Hansen which allowed him to go to Athens, Greece to join his wife Anne Marie Carl-Nielsen, who was one of the first sculptors allowed to make copies of the statues in the Acropolis. Nielsen’s stay in Athens gave him the inspiration for a work depicting the sun rising and setting over the Aegean Sea, an overture which he called Helios. He began work on it in March of 1903, and finished it on April 23 of that same year. Nielsen maintained a sensible attitude with regard to program music, acknowledging music’s expressive qualities while remaining somewhat skeptical of its ability to depict a specific scenario. “If one limits oneself to a brief suggestion or title, the music may illuminate and set off from many angles and in several ways,” he wrote. “But the program or the title must in itself contain a motive of feeling or movement, never of thinking or concrete action.” Nielsen’s Overture fits the aforementioned requirements perfectly. While the title refers to the Greek sun god Helios, the Overture stands on its own as a musical work, and the listener’s enjoyment of it is in no way impeded by not knowing the program, which is a depiction of feeling rather than action. It is constructed in three large sections, the first and last forming a slow introduction and epilogue, while the central sonata section is based on a march-like theme. Nielsen provided a brief hint
as to the program: “Silence and darkness — then the sun rises with a joyous song of praise — it wanders its golden way — and sinks quietly into the sea. The work was last performed by the DSO under Herbert Blomstedt in March, 1985.
�DSO�ShOp�@�The�Max�recOMMenDS:
Nielsen – Helios Overture: Niklas Willen conducting the South Jutland Symphony Orchestra, Naxos 8557164.
Piano Concerto no. 2 in a majorFRANZ LISZT B. October 22, 1811, Raiding D. July 31, 1886, Bayreuth
Liszt’s Concerto in A major is scored for three flutes (the third doubling on piccolo), two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, tuba, timpani, cymbals (pair) and strings (approximately 22 minutes).
Franz Liszt was a Hungarian composer, pianist and teacher. As a composer, he
developed new methods which anticipated some 20th-century ideas and procedures; he evolved the method of “transformation of themes” as part of his revolution in musical form and invented the symphonic poem. He was the greatest piano virtuoso of his time, using his sensational technique and magnetic personality for his own effect as well as to spread (through his piano transcriptions) the music of other compos-ers. As a conductor and teacher he became the most influential figure of the New German School dedicated to progress in music. While Liszt wrote only two numbered piano concertos, he decisively influenced the course of the modern piano concerto through the more than 20 other works he composed for piano and orchestra, no two of which are alike. Several of these are based on previously-written themes: from Berlioz’ Lélio, Beethoven’s Ruins of Athens, Hungarian folk melodies and, for the Totentanz, the plainchant Dies Irae. The two piano concertos span two eras of Liszt’s life: the “virtuoso years,” as Alan Walker called them in his biography of the composer, and the later period when Liszt was at Weimar, occupied primarily with orchestral music. Liszt actually began
Kirill GersteinRussian-born pianist Kirill Gerstein is one of today’s most intriguing young musicians. His masterful technique, musical curiosity, and probing interpretations have led to explorations of classical music and jazz, advanced degrees by the age of 20, a professorship in piano by age 27, and a full performance schedule at the world’s major music centers and festivals. Gerstein was named the recipient of the 2010 Gilmore Artist Award, only the sixth musician to have been so honored. The Gilmore Artist Award is made to an exceptional pianist who, regardless of age or nationality, possesses broad and profound musicianship and charisma and who desires and can sustain a career as a major international concert artist. Gerstein’s most recent engagements in North America include performances with the Los Angeles Philharmonic, National Arts Centre Orchestra in Ottawa, and the San Francisco, Baltimore, Dallas, Indianapolis, Vancouver, Oregon, and Utah Symphonies. He also performed with the Philadelphia Orchestra at Mann Music Center; the Cleveland Orchestra at Blossom Music Festival and Chicago’s Grant Park Festival, as well as recitals in Boston, New York, Cincinnati, Detroit, Vancouver, Kansas City, Portland, and Washington’s Kennedy Center. Born in 1979 in Voronezh, Russia, Gerstein attended one of the country’s special music schools for gifted children and taught himself to play jazz by listening to his parents’ extensive record collection. He came to the U.S. at 14 to continue his studies in jazz piano as the youngest student ever to attend Boston’s Berklee College of Music. However, he also continued working on the classical piano repertoire. Following his second summer at the Boston University program at Tanglewood, he decided to focus mainly on classical music and moved to New York City to attend the Manhattan School of Music, where he studied with Solomon Mikowsky and earned Bachelors and Masters of Music degrees. He became an American citizen in 2003 and is currently a professor of piano at the Musikhochschule in Stuttgart.
gerstein
Program Notes
Performance / Vol . X X / fall 201 1 21www.dso.orG
the Concerto in A major in 1839 – before the E-flat major Concerto – but he did not complete it until 1861, after having reworked it several times. By the time he had completed the work, Liszt had become a master of the orchestra, having completed not only his series of symphonic poems, but also the Faust and Dante symphonies. Many scholars have tried to fit the Second Piano Concerto into one preconceived form or another, but by the time Liszt finished revising it he had moved beyond such notions. Yet again, Liszt attempted to transcend traditional forms, composing a single long movement, which draws its energy from the metamorphosis of various themes. In one sense, this piece is best understood not as a concerto, but as a tone poem or a rhapsody for piano and orchestra, for which no known program exists. Liszt did not divide this work into movements, allowing the listener to hear this great expanse of music in more than one way. For a first approach, one might try to hear the concerto in four large sections: a slow introduction and first movement; a scherzo that introduces a new, leaping theme (later tamed); a slow movement leading directly out of this, in which a solo cello plays a role equal to that of the piano; and a finale, in which the melancholy theme that opened the work is presented in march rhythm, punctuated by fanfares. In returning to the work, the listener may find the previous interpretation to be incomplete or perhaps oversimplified. What seemed at first to be an accompaniment turns out to be a melody, and vice versa; melodies appear and disappear; what seemed at first to be the boundaries of clearly delineated sections begin to fuzz and blur. This elusive quality is part of what makes the concerto so intriguing, and this should come as no surprise: from the opening notes, Liszt promises the listener a work that is out-of-the-ordinary, and Franz Liszt was never one to under deliver on a promise. The DSO last performed Franz Liszt’s Piano Concerto No. 2 in A major under the direction of Hans Graf, at Interlochen.
�DSO�ShOp�@�The�Max�recOMMenDS:
Liszt – Piano Concerto No. 2: Byron Janis, piano; Gennady Rozhdestvensky conducting the Moscow Radio Symphony Orchestra, Newton Classics 8802085.
Symphony no. 6 in B minor, op. 74, “Pathétique” PIOTR ILYICH TCHAIKOVSKY B. May 7, 1840, Kaminsko-Votinsk, Russia D. Nov. 6, 1893, St. Petersburg, Russia)
Tchaikovsky’s Symphony No. 6 was his final work in the genre, and was composed between the months of February and August 1893. It is scored for three flutes (third doubling piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals, tam-tam (ad libitum) and strings (approximately 47 minutes).
Pyotr Ilyich Tchaikovsky was a Russian composer of the Romantic era. His
wide-ranging output includes symphonies, operas, ballets, instrumental and chamber music and songs. Born into a middle-class family, Tchaikovsky began piano studies at the age of 5. He was educated for a career as a civil servant, despite his obvious musical gifts. He pursued music against his family’s wishes, entered the St. Petersburg Conser-vatory in 1862, and graduated in 1865. This Western-style training set him apart from the nationalistic group of young Russian composers known as “The Five” and with whom his professional relationship was mixed at best. Although he enjoyed many popular successes, Tchaikovsky was never emotionally secure and his life was shaped by periods of personal crisis and depression. Contributing factors were likely his suppressed homosexuality (and fear of exposure), his disastrous marriage and the abrupt collapse of the one enduring relationship of his adult life, his 13-year association with the wealthy widow (and his patroness) Nadezhda von Meck. His sudden death at the age of 53 was long thought to be due to cholera; recent scholarship suggests that he may have poisoned himself under orders from a secret “court of honor,” which sought to conceal his homosexual relationship with a young member of the aristocracy. There have been a number of theories as to a possible “hidden program” in the “Pathétique” symphony, going back to the first performance of the work, when Rimsky-Korsakov asked Tchaikovsky whether there was a program to the new symphony. Tchaikovsky admitted that there was, but he refused to divulge it. A note found among the composer’s papers indicates that death was indeed on his mind. “The ultimate essence of the plan of the symphony is LIFE,” he wrote. “First part — all impulsive passion, confidence,
thirst for activity. Must be short. (Finale: DEATH — result of collapse.) Second part love; third disappointments; fourth ends dying away (also short).” Biographer John Warrack notes that Patetičeskaja (the Russian equivalent of “Pathétique”) is translated more accurately as “passionate,” “emotional” or even “suffering,” rather than “pathetic.” First drafts of the work were completed as early as the spring of 1891; however, some (or all) of the work was deemed inferior by Tchaikovsky, who tore up the manuscript. The work we know today was sketched out between February and April of 1893 and was orchestrated in August of the same year. Though the symphony initially received a mixed critical reception, conductor Eduard Napravnik brought it to the attention of the music-loving world when he included it on a memorial concert for the composer on November 18 of that same year. The symphony’s opening sonata movement begins with a slow, gloomy introduction in the bassoons and low strings. The thematic motive introduced here becomes the pleading main theme, which is worked out rigorously before giving way to a relaxed second theme in the violins. The development section bursts upon the scene in an agitated contrapuntal frenzy, which climaxes in the return of the first theme, then the second theme. A solemn processional serves as coda to the movement. The two middle movements are among Tchaikovsky’s finest examples of symphonic waltzes and marches. The second movement waltz is distinguished by the use of a 5/4 rather than a 3/4 meter, which extends the sweeping arc of its phrases. A moody trio section (in minor mode) provides contrast to this lyrical outpouring. In the manic third movement march, carefully calculated waves of relentless growth erupt into shattering orchestral climaxes. Low strings and bassoon set the tone for the sad, dejected music of the finale, a startling departure from the exuberant finales typical of most 19th century symphonists — most notably those by Tchaikovsky himself. The DSO last performed Tchaikovsky’s Symphony No. 6 in B minor, Op. 74, (“Pathétique”) in a Classical Series concert in October, 2009, under Andrey Boreyko.
�DSO�ShOp�@�The�Max�recOMMenDS:
Tchaikovsky — Symphony No. 6, “Pathétique”: Valery Gergiev conducting the Kirov Orchestra, Philips 456580.
22 Performance / Vol . X X / fall 201 1 www.dso.orG
Play a little one on one.Quality time on the court isn’t just about shooting free throws or hitting those layups.
It’s about building relationships and spending time together right in your ownbackyard. Sport Court® high-performance game courts can be custom built
to fit your backyard. For more information contact us at248-342-3826 or visit online — www.sportcourtmi.com
©2011 Sport Court® is a registered trademark of Sport Court International
The Whitney4421 Woodward Avenue (just three blocks from the DSO)
313-832-5700 www.TheWhitney.com
“ Best pre and post theater venue” ~MetroTimes
“ Best place for a night cap” ~HOUR Magazine
“ Detroit’s Most Romantic Restaurant” ~ WDIV/Detroit News
“ Best place for dessert” ~HOUR Magazine
Performance / Vol . X X / fall 2011 23www.dso.orG
ProfilesLeonard Slatkin, Music Director neeme Järvi, Music Director Emeritus
get the most out of each concert by attending concerTalks, one hour prior to performances (excluding coffee concerts). concerTalks are informal and may include special guests, lectures and music that reveal interesting facts about the program and provide a behind-the-scenes look at the art of making music.
non-flash photography and video recording by silenced hand-held devices are allowed during DSo performances.The DSo can be heard on the DSo, chandos, London, rca and Mercury record labels.
CLASSICAL SERIES
Thursday, October 27, 2011 at 7:30 p.m. Friday, October 28, 2011 at 10:45 a.m.
Saturday, October 29, 2011 at 8:00 p.m. in Orchestra Hall
Louis Langrée, conductorKimberly Kaloyanides Kennedy, violin
Qigang Chen Wu Xing ( The Five Elements) (b. 1951) Water Wood Fire Earth Metal
Camille Saint-Saëns Havanaise for Violin and Orchestra, Op. 83 (1835-1921) Kimberly Kaloyanides Kennedy, violin
Maurice ravel Tzigane for Violin and Orchestra (1875-1937) Kimberly Kaloyanides Kennedy, violin
INTER MISSION
Ludwig van Beethoven Symphony No. 5 in C minor, Op. 67 (1770-1827) I. Allegro con Brio II. Andante con moto III. Allegro IV. Allegro
Louis Langrée Louis Langrée is Music Director of the Mostly Mozart Festival at Lincoln Center in New York, a position he has held since 2002 and has recently been appointed Chief Conductor of the Camerata Salzburg. During the 2011/12 season, Langrée will conduct three productions at the Wiener Staatsoper (Eugene Onegin, Le Nozze di Figaro, La Clemenza di Tito) and La Bohème at the Metropolitan Opera in New York. His many other orchestral engagements include re-invitations to the symphony orchestras in Sao Paulo, Detroit, St Louis and Baltimore and also to the Deutsche Kammerphilhamonie and Scottish Chamber Orchestra. Last season Langrée made two important debuts in Austria, at Wiener Staatsoper conducting La Bohème and with the Wiener Philharmoniker at the Mozartwoche in Salzburg. He also made his debuts with the Budapest Festival, St Louis and Cincinnati Symphony Orchestras. Langrée has worked with many other orchestras in North America, Europe and further afield, including Pittsburgh, Dallas, Orchestre de Paris, Orchestre de la Suisse Romande, Hallé, Netherlands Philharmonic, Santa Cecilia in Rome and Tokyo Philharmonic. He also regularly conducts period instrument orchestras such as the Freiburger Barockorchester, Orchestra of the Age of Enlightenment and Le Concert d’Astrée. He has held positions as Music Director of the Orchestre de Picardie, Orchestre Philharmonique de Liège, Opéra National de Lyon, and Glyndebourne Touring Opera. He has worked regularly at the Metropolitan Opera in New York and Glyndebourne Festival Opera. He has also conducted at La Scala, the Royal Opera House Covent Garden, Lyric Opera of Chicago, Dresden Staatsoper, Grand Théâtre in Geneva, Opéra-Bastille and Théâtre des Champs-Elysées in Paris and the Netherlands Opera in Amsterdam. Louis Langrée’s discography includes recordings for Virgin Classics, Universal and Naïve. Many of these have won awards including Diapason d’Or, Gramophone and Midem Classical. In 2006 he was appointed Chevalier des Arts et des Lettres by the French Ministry of Culture.
langrée
PVS Chemicals, Inc.
Sponsors
24 Performance / Vol . X X / fall 201 1 www.dso.orG
Wu Xing (“the five elements”) for instrumental ensemble (composed 1998-1999)QIGANG CHEN B. 1951, Shanghai, China
Wu Xing was commissioned by Radio France in 1998. The work is scored for three flutes (the third doubling piccolo), three oboes (the third doubling English horn), three clarinets (the second doubling on E-flat clarinet and the third doubling on bass clarinet), three bassoons (the third doubling on contrabassoon), four horns, three trumpets, three trombones, tuba, four percussion (playing Temple blocks, Wood Blocks, Bamboo Wind Chimes, Bass Drum, Glockenspiel, Log Drum, Marimba, Metal Wind Chimes, Suspended Cymbal, Tam Tam, Triangle, Tubular Bells, Vibraphone and Xylophone), Harp and Celeste (approximately 10 minutes).
Qigang Chen began learning music as a child. At the time when Cultural
Revolution broke out in China, he was studying at the Music Middle School of the Central Conservatory of Music in Beijing. His father, administrator of the Beijing Academy of Fine Arts, a famous calligra-pher and painter, was immediately judged “bourgeois”, “anti-revolutionary”, and sent to a labor camp. Young Chen was kept in confinement for three years and underwent “ideological re-education.” Yet his passion for music remained unwavering: he continued learning composition and orchestration, in spite of a climate that was distinctly anti-cultural. In 1977, the Chinese government re-established the contest system for entering upper schools. Chen was one of the 26 candidates (among more than 2,000) who successfully passed the entry examination of the Central Conservatory of Music in Beijing. For five years he studied composition with Luo Zhonghong. In 1983, he was the first nominee at the National postgraduate contest and thus got the opportunity to go abroad and pursue a Master’s degree. And that was how he discovered France. For a period of four years he received a State grant which allowed him to study with Olivier Messiaen. In addition to Messaien, he simultaneously worked with Ivo Malec, Betsy Jolas, Claude Ballif and Claude Castérède. In 1987, Chen pursued a training course for composers at IRCAM as well as a musical composition course at the Academia Chigiana in Siena with Franco Donatoni. In
1988, Chen obtained the Diplôme supérieur de Composition at the Ecole Normale de Musique, by unanimous vote and with the congratulations of the jury. In 1989, he obtained the Diplôme de Musicologie at the University of Paris-IV Sorbonne. The composer writes: “This commission immediately raised all my interest, for the proposition coincided with a period of personal quest. The challenge pleased me and I took it up as a style exercise, supported by the pressure of the duration and making it a rule for new pressures to me. Such was the original idea which led me to write five pieces of two minutes each. Before I decided to go further in this process, I undertook to characterize each piece by one different symbol. From there was born the idea of representing the five elements (Wu Xing). Because according to the I Ching, five elements constitute the universe; this is to say metal, wood, water, fire and earth. In Chinese: Jin, Mu, Shui, Huo, Tu. To [be able to] characterize a symbol musically in an extremely short time and to present a tangible material in an abstract language were my lines of strength. But even more than that, [the goal was] to establish relationships between the materials, so that each element generated the next one as if the last was the consequence of the first.” This performance of Wu Xing is a Detroit Symphony Orchestra première.
�DSO�ShOp�@�The�Max�recOMMenDS:
Chen – Wu Xing: Didier Benetti conducting the Orchestre National de France, Virgin 86358.
Havanaise for violin and orchestra, op. 83CAMILLE SAINT-SAëNS B. October 9, 1835, Paris D. December 16, 1921, Algiers
Saint-Saëns’ Havanaise is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings (approximately 11 minutes).
Camille Saint-Saëns was a gifted, fluent and prolific composer who embodied
in his works many of what are considered to be quintessentially “French” qualities, above all clarity and order. He impressed a whole generation with his intellectual mastery of
Kimberly ann Kaloyanides KennedyActing Concertmaster Katherine Tuck Chair
Kimberly Ann Kaloyanides Kennedy won her coveted position as a violinist with the Detroit Symphony Orchestra at the age of 22. In 2003, Kennedy further realized her dream when she became Associate Concertmaster until being appointed Acting Concertmaster in 2011. Kennedy began studying violin at age 5 in Dayton, Ohio. As the daughter of a Minister of Music and church organist, she was allowed many chances to share from her heart in front of congregations. Her love of music became what undoubtedly would be her career as she pursued her studies at Brevard Music Center, Interlochen Arts Camp, Sarasota Music Festival, four summers at the Aspen Music Festival on Fellowship, three years at the Harid Conservatory in Boca Raton, Florida with Sergiu Schwartz and finally at the University of Michigan with Paul Kantor. Halfway through her senior year at University of Michigan, she joined the first violin section of the DSO. Throughout her training, Kennedy has received such honors as the Grand Prize in the National MTNA competition and first prize in the Greek Women’s National Competition in Chicago. She has participated in the Skokie Valley Concerto Competition, the Universtiy of Michigan Concerto Competition and the Harid Conservatory Concerto Competition. She was one of the few Americans invited to the International Violin Competition of Indianapolis in 1998. She enjoys performing chamber music regularly around Michigan with the Detroit Chamber Winds and Strings, CutTime Players and CutTime Sinfonica. Kennedy and her husband, Bryan Kennedy, second horn of the DSO, are strongly committed to this orchestra and to this region. They believe in the future of the DSO and intend to work diligently to ensure that it remains internationally renowned and artistically revered. Kimberly and Bryan live in Plymouth with their two beautiful children, Ethan and Lauren, two dogs and two cats.
kennedy
Program Notes
Performance / Vol . X X / fall 201 1 25www.dso.orG
the art of music and his lucid interpreta-tions at the keyboard. A frail, tubercular child, Camille was raised with the aid of his mother’s aunt (his father having died only a few months after his birth), who began to teach him piano when he was two and a half years old. He had perfect pitch and displayed the precocity of a Mozart by composing his first piano piece shortly after his third birthday. In 1846, at the age of 10, Camille made his formal debut at the Salle Playel with a program that included piano concertos by Beethoven and Mozart. As an encore, he offered to play any one of Beethoven’s piano sonatas — from memory! Saint-Saëns’ dazzling gifts won him the friendship and patronage of Pauline Viardot, Charles Gounod, Gioacchino Rossini and Hector Berlioz. Berlioz said of him: “He knows everything but lacks inexperience.” Franz Liszt was also much impressed by him as both a pianist and a composer. Saint-Saëns’ Havanaise in E major, Op. 83 for Violin and Orchestra, was composed in 1887, and was first performed by the violinist Marsick. It is based on the rhythm of the “Habanera,” a Cuban dance popular in the 19th century, which had arrived in Cuba from France, via Haïti. The habanera has a distinctive rhythm, which is notated thus:
A distinctive feature of the original habanera is that it was sung as well as danced. The DSO last performed Saint-Saëns’ Havanaise in E Major for Violin and Orchestra in December, 2001, at a special concert conducted by Music Director Emeritus Neeme Järvi.
�DSO�ShOp�@�The�Max�recOMMenDS:
Saint-Saëns – Havanaise: Janine Jansen, violin; Barry Wordsworth conducting Royal Philharmonic Orchestra, Decca B0002009.
tzigane, for violin and orchestra( JOSEPH-) MAURICE RAVEL B. March 7, 1875, Ciboure, France D. December 28, 1937, Paris, France)
Ravel ’s Tzigane is scored for two flutes (second doubling piccolo), two oboes, two clarinets, two bassoons, two horns, one trumpet, timpani (as well as the following percussion: Cymbals, Large and Small Suspended Cymbal, Orchestra Bells, Triangle), Celeste and strings (approximately 9 minutes).
French composer Maurice Ravel was an important innovator in pianistic style,
an orchestrator of genius, a sophisticated harmonist and, on occasion, a bold and successful experimenter with musical form. His work is informed by sympathies with the worlds of children and of animals; with imagined exotic and antique life. With the death of Debussy in 1918, there were many who viewed Maurice Ravel as the leading figure in French music. His success with the public had grown steadily since the early Pavane pour une infante defunte and Jeux d’eau, both of which had quickly established themselves as favorites with pianists both at home and abroad. His next great success came with the production of L’heure espagnole at the Opéra-Comique in 1911; a year later, Daphnis et Chloé was staged and went into the touring repertory of the Ballets Russes. Ravel always felt an intense need for privacy. He made a mystery of the creative process, revealing a work only when the final touches had been applied to its composition. He felt music was his true vocation: “It’s lucky I’ve managed to write music, because I know perfectly well I should never have been able to do anything else.” The peculiar nature of Ravel’s creative mind demanded special conditions for the pursuit of that vocation. With Debussy, the creative process lay in evolution; with Ravel, it was in crystallization, and an exceptional spiritual stillness was necessary for the process to be accomplished. He worked in solitude and with great concentration. The music took shape on “long expeditions in the woods, whatever the weather; nightly walks across Paris;” then, abruptly, he would retreat from the world to transfer his work to paper. For Ravel, the mysterious was clearly understood to have a leading role in the process of composition. Ravel’s Tzigane was commissioned by and dedicated to the Hungarian violinist Jelly d’Aranyi, great-niece of the violin virtuoso Joseph Joachim. The original instrumentation was for violin and piano (with optional luthéal attachment). The first performance took place in London on April 26, 1924, with the dedicatee on violin and with Henri Gil-Marchex at the piano (with luthéal). The luthéal was a new piano attachment (first patented in 1919) with several tone-color registrations that could be engaged by pulling stops above the keyboard. One of these stops had a cimbalom-like sound, which fit well with the gypsy-esque feel of the piece. The luthéal, however, did not last. In this sense Tzigane can be compared to Schubert’s Arpeggione Sonata, another piece which was written to promote an uncommon instrument, and when the
composition proved to be more popular than the instrument, the execution was shifted to another instrument (the cello, in Schubert’s case). Ravel soon orchestrated the piece, and this version was first performed on November 30, 1924 in Paris with the Concerts Colonne, under the direction of Gabriel Pierné. The title of the piece is derived from the generic European term for gypsy, although it does not use any authentic gypsy melodies. The “gypsy” style of the work was a kind of popular musical exoticism, comparable to the Spanish exoticism of Wagner’s day (as in Chabrier’s España) or the Turkish exoticism of Mozart’s day (as in the Rondo alla Turca). Tzigane opens with a long, slowly moving cadenza for the solo violin. There is a second cadenza, this time for harp, which precedes the central section of the work: a fiery gypsy melody for the violin. The music develops, through the employment of other melodies and dances of a gypsy flavor, into a sort of rhapsody and ends in a swirl of vibrant color and motion. The DSO last performed Ravel’s Tzigane in May of 2004, with Thomas Wilkins conducting a Young People’s Concert.
�DSO�ShOp�@�The�Max�recOMMenDS:
Ravel – Tzigane: Janine Jansen, violin; Barry Wordsworth conducting Royal Philharmonic Orchestra, Decca B0002009.
Symphony no. 5 in C minor, op. 67LUDWIG VAN BEETHOVEN B. December 15 or 16 (baptized, December 17), 1770, Bonn, Germany D. March 26, 1827, Vienna, Austria)
Beethoven’s Symphony No. 5 in C minor, Op. 67 was f irst performed on December 22, 1808, along with the Symphony No. 6 in F major, Op 68 (“Pastoral”); Beethoven conducted. It is scored for two flutes and piccolo, two oboes, two clarinets, two bassoons and contrabassoon, two horns two trumpets, three trombones, timpani and strings (approximately 36 minutes).
It is fitting that Beethoven’s greatest symphonic expression, the one that
remains the most innovative and wondrous, the “consummate example of symphonic logic,” the Fifth Symphony, was finished in Vienna in 1808 at the peak of that city’s sociopolitical reactionary period. The symphony sounds inevitable and irrefutable, as though it flowed complete
26 Performance / Vol . X X / fall 201 1 www.dso.orG
from the composer’s pen; however, Beethoven did not create it overnight, and in fact, the work required a considerable gestation period. The composer actually began sketching it in 1800, even before beginning work on the Eroïca. The work is largely constructed on just two notes, with the first one being repeated three times. There is hardly a measure in the entire symphony in which this two-note formula (or a portion of it) does not appear in some recognizable form. The cyclical nature of Beethoven’s Fifth Symphony makes it a forerunner of later 19th-century cyclical symphonic compositions, such as César Franck’s Symphony in D minor and Franz Liszt’s Faust Symphony. Be that as it may, the first movement is far from being a mere mosaic of short motifs; in Beethoven’s hands, this very basic material becomes exceptionally long-breathed. The secret of the movement’s psychological impact lies in Beethoven’s total control of its progress: a bar more (or less) and the entire structure would begin to teeter. Marked Andante con moto, the second movement is the closest thing the Fifth has to a slow movement. On the surface, it seems like an old-fashioned set of double variations such as Franz Joseph Haydn might have written. The fact that Beethoven linked together the third and fourth movements, and that a portion of the third is repeated literally in the fourth, caused some speculation among early writers regarding a possible programmatic connection; however, the primary reason for this development has more to do with the cyclical factor and the summary nature of the fourth movement than any imagined program. While the last two movements as we know them now form a unit, this was not always to be so: there exist sketches for an abandoned finale in C minor, in 6/8 time, which was marked l ’ultimo pezzo (“the last piece”). The solution that Beethoven arrived at instead — an unsettling Scherzo, in which strange mutterings alternate with passionate cries, dissolving into a C-major blaze, interrupted once by the phantom of the Scherzo – was one that appealed strongly to generations of composers to follow. Its lesson was not lost on Brahms, who exploited the minor-turned-to-major device in his First Symphony. Never before had a finale taken on such meaning and importance, resolving as it does all previous conflicts in triumphant optimism. As grand as the Finale is, it is not grandiose; it is poetic rather than rhetorical, logical rather than histrionic. Beethoven has sometimes been criticized as a poor orchestrator, and there are passages, certainly, that reflect the limitations of the instruments he was writing for at the time.
But no one who listens closely to the last two movements of the Fifth Symphony will doubt that he was sensitive to instrumental color. Who has more knowingly exploited the ability of the double basses to evoke a sense of mystery? And if musical sophisticates should find fault with the outbursts of trombones and contrabassoon, or the whoops of joy in the piccolo in the finale, would they care to suggest how these might be improved upon? The DSO first performed Beethoven’s Fifth Symphony on November 12, 1915, at the (old) Detroit Opera House (off Campus
Martius, likely the 1898 incarnation, as the original building from 1869 was destroyed by fire in 1897), in a program conducted by Weston Gales. The most recent DSO performance of this work was as part of a Target Family Concert in July, 2010, with Chelsea Tipton II conducting.
�DSO�ShOp�@�The�Max�recOMMenDS:
Beethoven – Symphony No. 5: Carlos Kleiber conducting the Vienna Philharmonic Orchestra, Deutsche Grammophon 447400.
GVSU Music Department presents
“A Night in Hapsburg Vienna: From the Marriage of Figaro to Fidelio as arranged for Wind Harmonie”Monday, SepteMber 12, 8 p.M.LouiS arMStrong theatreperforMing artS CenteraLLendaLe CaMpuS
Distinguished Academic Lecturer
Michael Sandel “Justice: What’s the Right Thing to Do?”thurSday, SepteMber 22, 7 p.M. L.V. eberhard Center, 2nd fLoorrobert C. pew grand rapidS CaMpuS
Art Gallery Exhibition
“Arte Argentino Actual/ Contemporary Argentine Art”opening reCeptionthurSday, oCtober 6, 5–7 p.M.art gaLLery perforMing artS Center aLLendaLe CaMpuS
exhibition dateS: oCtober 6–noVeMber 4
Poetry Night
“An Evening of Poetry and Conversation with Ted Kooser and Terrance Hayes”friday, oCtober 21, 7 p.M. L.V. eberhard Center, 2nd fLoorrobert C. pew grand rapidS CaMpuS
GVSU Music and Dance Faculty and Students present
“The Spanish Tradition: Manuel de Falla, El Corregidor y la Molinera”Monday, oCtober 24, 8 p.M.LouiS arMStrong theatreperforMing artS Center aLLendaLe CaMpuS
A Fall Arts Celebration Holiday Gift
“Gloria: Music of the Holiday Season from Grand Valley”Monday, deCeMber 5, 8 p.M.fountain Street ChurCh24 fountain Street negrand rapidS, Mi
GRAND VALLEY STATE UNIVERSITY THANKS THE FOLLOWING SPONSORS FOR THEIR COMMITMENT TO THE ARTS AND THEIR GENEROUS SUPPORT OF FALL ARTS CELEBRATION 2011:
Ginny Gearhart and the Gearhart Family • Liesel and Hank Meijer Elaine and Larry Shay • Judy and Peter Theune
Media Sponsor:
Fall Arts events are free and open to the public.
for CoMpLete SCheduLe and More detaiLed inforMation ViSit WWW.GVSU.EDU/FALLARTS/.
201 1GRAND VALLEY STATE UNIVERSITY
PRESENTS
ENRICHING THE ARTS AND HUMANITIES IN WEST MICHIGAN
FALL ARTSCELEBRATION
Grand Valley’s Fall Arts Celebration is a highly popular and much anticipated annual showcase for the arts, humanities, and liberal education in West Michigan.
Please join us this fall for an entertaining and enlightening celebration.
Performance / Vol . X X / fall 201 1 27www.dso.orG
HAndEL’S MESSiAH Sat., Dec. 10 at 3 p.m. Sun., Dec. 11 at 3 p.m.
christopher Warren-green, conductor
Handel’s grand masterpiece, a timeless classic that is a moving musical experience and sure to bring in the season.
POPS SERIES
HOME FOr THE HOLidAYSLeonard Slatkin, conductor
Fri., Dec. 16 at 10:45 a.m. Sat., Dec. 17 at 3 p.m. & 8 p.m. Sun., Dec. 18 at 3 p.m.
Make Orchestra Hall Your Home for the HolidaysDetroit symphony orChestra LeonarD sLatkin, Music Director
THE FOur SEASOnS! Thur., Dec. 8 at 7:30 p.m. Sat., Dec. 10 at 8 p.m.
Matthew halls, conductor nicola Benedetti, violin
Bach orchestral Suite no. 3 Handel Water Music Suite Vivaldi four Seasons
A nATALiE MacMASTEr CHriSTMAS in CAPE BrETOn Monday, Dec. 5 at 8 p.m.*
HO
Lid
AY
CL
ASS
iCS
presents
www.dso.org Or CALL 313.576.5111 GROUPS OF 10 OR MORE PLEASE CALL 313.576.5130
28 Performance / Vol . X X / fall 201 1 www.dso.orG
ParkingValet parking is available on Woodward avenue in front of the main entrance for $12 per vehicle. Secure garage parking is available for $7 per vehicle at the orchestra place parking Deck on parsons St. between Woodward ave. and cass ave. for improved traffic flow, please enter parsons St. from cass ave. DSo security personnel monitor the grounds of the Max and the parking deck, as well a surrounding streets during all events and concerts. The parking deck has reserved space for patrons with handicap permits. parking for coffee concerts is also available in the orchestra place parking Deck. The DSo offers shuttle bus service to coffee concerts from selected locations. call 313.576.5130 for more information.
RestroomsMen’s, women’s and family restrooms are located on all levels of the atrium Lobby. additional men’s and women’s restrooms are located on the Box Level of orchestra hall and on the lower level of the Main floor.
Refreshmentscash bar service and light refreshments are available in the atrium area of the Max M. fisher Music center 90 minutes prior to concert time and
during intermission. We invite you to place your beverage orders with the bartenders prior to the start of the concert and your order will be waiting for you at intermission!
SmokingThe DSo is pleased to offer a smoke-free environment at the Max M. fisher Music center. Smoking is not permitted anywhere inside the building. patrons who wish to smoke must do so outside the building. an outdoor patio is also available on the second level of the atrium Lobby.
Accessibilityparking is available in the orchestra place parking Deck for patrons with handicap permits. There are elevators, barrier-free restrooms and accessible seating in all areas of the Max M. fisher Music center. Security personnel are available at the entrances to assist handicapped patrons in and out of vehicles. hearing assistance devices are available. please see an usher prior to the performance.
Late Seating PolicyThe DSo makes every attempt to begin concerts on time. in deference to the comfort and listening pleasure of the audience, latecomers will be seated
after the conclusion of the first work on the program. patrons who leave the hall before or during a work will be reseated after the work is completed. Ushers will alert patrons as soon as it is possible to be seated. house lights are dimmed to indicate that the concert is about to begin. Latecomers will be able to watch the performance on closed-circuit television in the atrium Lobby.
Cameras and Tape Recorders non-flash photography and video recording by silenced handheld devices are allowed during DSo performances. We encourage you to share your best pictures at www.facebook.com/detroitsymphony.
Concert CancellationsTo find out if a scheduled performance at the Max M. fisher Music center has been cancelled due to inclement weather, hazardous roads, power outages or other emergencies, call the Box office at 313.576.5111, or tune in to WJr 760 aM and WWJ 950 aM.
Pagers, Phones, Watches and Extraneous Soundscellular phones, pagers and alarm watches must be turned off while at the Max M. fisher Music center. patrons should speak to the house Manager to make special arrangements
to receive emergency phone calls during a performance. The DSo thanks you for your cooperation in avoiding any extraneous sounds during the concerts. The hall microphones used to record the orchestra are extremely sensitive and will even record the sound of a wristwatch chime.
Lost and FoundSee the house Manager or call 313.576.5121 during business hours.
Gift Certificatesgive friends and loved ones a gift that lasts all year long—the experience of a DSo performance. gift certificates are available in any denomination and may be used toward the purchase of DSo concert tickets. Visit the DSo Box office at the Max M. fisher Music center or call 313.576.5111 for more information.
Max M. Fisher Music Center Rental InformationThe Max M. fisher Music center is an ideal setting for a variety of events and performances. for information on renting the facility, please call 313.576.5050. rental information is also available online at www.dso.org/rent.
GENERAL INFORMATION
ADMINISTRATIVE STAFFExecutive Office
anne parsons President and CEO
paul W. hogle Executive Vice President
patricia Walker Chief Operating Officer
rozanne Kokko Chief Finance and Business Officer
aja g. Stephens Executive Assistant
Orchestra Operations & Artistic Planning
erik rönmark Artistic Administrator
Kareem george Managing Director of Community Programs
Kathryn ginsburg Operations and Pops Coordinator
charles greenwell Conducting Assistant
heather hart Assistant Orchestra Personnel Manager
Keith Koppmeier Director of Pops and Special Programs
Stephen Molina Orchestra Personnel Manager
nicole new Artistic Liaison
alice Sauro Director of Operations and Executive Assistant to the Music Director
Education
charles Burke Senior Director of Education Artistic Director of Civic Youth Ensembles
cameron ferguson Civic Youth Ensembles Coordinator
emily Lamoreaux Manager of Civic Youth Ensembles
cecilia Sharpe Manager of Education Programs
Facility Operations
Sue Black Facilities Coordinator
Larry ensman Maintenance Supervisor
greg Schimizzi Chief of Security
Finance
Donielle hardy Controller
Jeremiah hess Director of Finance
Sandra Mazza Accountant
nancy prochazka Payroll Accountant
Information Technology
Dick Jacques Director of Information Technology
Laura Lee Information Services Specialist
History/Archives
paul ganson Historian
cynthia Korolov Archivist
Patron & Institutional Advancement
reimer priester Senior Director of Patron and Institutional Advancement
Marianne Dorais Foundation and Government Relations Officer
Bradley Schick Corporate Relations Manager
Patron Development & Sales
angela Detlor Interim Director of Patron Development
anne Wilczak Director of Events and Patron Experience
holly clement Senior Manager of Event Sales and Administration
elaine curvin Executive Assistant
Mona DeQuis Assistant Retail Sales Manager
chuck Dyer Group Sales and Corporate Sales Manager
Jennifer Kouassi Front of House Manager
heather Mourer Neighborhood Audience Development Manager
B.J. pearson Senior Manager of Event Operations
gabrielle poshadlo Publications and Constituent Communications Coordinator
paul yee Retail Sales Manager
Patron Engagement & Loyalty Programs
Scott harrison Senior Director of Patron Engagement and Loyalty Programs Executive Producer of Digital Media
Will Broner Patron Engagement Officer
Jacquelynne Brown Loyalty Programs Coordinator
connie campbell Senior Manager of Patron Engagement
Sharon carr Assistant Manager of Patron Engagement
Joy crawford Patron Fulfillment Specialist
Shannon W. hall Manager of Patron Systems and Database Operations
La heidra Marshall Patron Engagement Officer
Marty Morhardt Patron Engagement Assistant
Juanda pack Senior Patron Engagement Officer
Tiiko reese-Douglas Patron Engagement Officer
eric Woodhams Manager of Digital Media and Engagement
Performance / Vol . X X / fall 2011 29www.dso.orG
Young People’s Concerts
MusicLearningAlliance
Honda Power of Dreams
String Project
Civic WindSymphony
CivicCreative Jazz
Workshop
Civic Chamber Music
CivicSinfonia
Tiny Tots
Detroit Symphony Orchestra
DSO@ Liggett
CivicOrchestra
Max M. Fisher Music Center
Civic Creative Jazz
Ensemble
Leonard Slatkin
Civic Combo Program
OrchestraHall
The CivicExperience
Civic Jazz Concert
Band
PincusEducation
Center
Educational Concert Series
CivicConcert
Orchestra
Allegro Civic String
Orchestra
CivicJazz Band
Civic JazzOrchestra
CivicPhilharmonic
SuperSaturdays
Civic Baroque@ UPA
Civic in Concert WRCJ
Presto Civic String Orchestra
The DSO Education Department — an ecosystem of music learning accessible • excellent • inspirational • diverse • empowering
Education Concert Series for more than 80 years the education concert Series (ecS) has introduced classical music to metro-Detroit school children with concerts featuring interactive classical programs for children in grades 3-8 and reaching 20,000 students annually. performances last approximately 50 minutes. The series is composed of four free concerts at community schools and eight concerts performed at orchestra hall for $5 admission. for a registration information form for ecS, visit dso.org, email [email protected] or call 313.576.5599. ECS CONCERT DATES
oct. 4, 10 a.m. Detroit School of arts Freeoct. 4, 7:30 p.m. Woodhaven high School Freenov. 10, 10 a.m. renaissance high School Freenov. 11, 10 a.m. Spain elementary-Middle School Freefeb. 1, 2012, 10 a.m. and 11:15 a.m. orchestra hall, open to the publicfeb. 2, 2012, 10 a.m. and 11:15 a.m. orchestra hall, open to the publicMarch 7, 2012, 10 a.m. and 11:15 a.m. orchestra hallMarch 8, 2012, 10 a.m. and 11:15 a.m. orchestra hall
Music Learning Alliance The DSo has developed and led efforts to partner with six organizations that currently provide vocal or instrumental services to k-12 students, creating a large-scale tapestry of music training excellence throughout Southeastern Michigan. This alliance will market the regions’ musical offerings so that parents can locate the appropriate program for their children, offer services to schools where music education has been cut from the curriculum, enhance school programs that currently exist, and grow the market amongst the organizations involved. funding has been generously provided by the Michigan nonprofit association and the cultural alliance of Southeastern Michigan.
CYE 2011-2012 Season Kick-off The DSo’s civic youth ensembles kicked-off its 42nd season on September 10, 2011 at 8:30 a.m. The DSo’s civic youth ensembles program enables students to receive their musical training in classical, jazz and wind studies at the Jacob Bernard pincus education center as well as various community locations. over 1,100 students participate in this exciting program weekly. Thanks to Maestro Leonard Slatkin, all cye members received a complimentary Soundcard — allowing each student to attend any DSo concert at orchestra hall for free. Thank you Maestro Slatkin!
Music Preparatory Division
30 Performance / Vol . X X / fall 201 1 www.dso.orG
The DSO Education Department — an ecosystem of music learning accessible • excellent • inspirational • diverse • empowering
Performance / Vol . X X / fall 201 1 31www.dso.orG
Ad #3 — DSO Performance Magazine First Proof of Ad Due: Wed, Sept 14Final Ad Due: Fri, Sept 16 Size: 8.375” x 10.875” Color: Full color Ad Runs: October
Call or click for tickets! 734.764.2538 \ www.ums.orgHours: Mon-Fri: 9 am to 5 pm, Sat: 10 am to 1 pm.
Canadian Brass Sunday \ November 27 \ 4 pmHill Auditorium \ Ann ArborWith an international reputation as one of the most popular brass ensembles today, Canadian Brass performs brass standards as well as a wide-ranging library of original arrangements created especially for them, including the works of Renaissance and Baroque masters, classical works, marches, holiday favorites, ragtime, Dixieland, big band, Broadway, and popular songs and standards. This Thanksgiving-weekend concert is sure to start your holidays off with a bang!
Sponsored by Media Partner WRCJ 90.9 FM.
London Philharmonic OrchestraVladimir Jurowski conductor Janine Jansen violin Tuesday \ December 6 \ 7:30 pm Hill Auditorium \ Ann ArborThe London Philharmonic returns for its first appearance since November 2006, this time under the direction of the exciting young conductor Vladimir Jurowski, who succeeded Kurt Masur as the orchestra’s principal conductor in 2007. Janine Jansen, a 23-year-old violinist who has been a huge star in her native Holland ever since her Concertgebouw debut at the age of 10, makes her UMS debut.
PROGRAMPintscher Towards Osiris (2005)Mozart Violin Concerto No. 5 in A Major, K. 219 (1775)Tchaikovsky Manfred Symphony, Op. 58 (1885)
Media Partners WGTE 91.3 FM, WRCJ 90.9 FM, and Detroit Jewish News.
Hamburg Symphony OrchestraJeffrey Tate conductor Francesco Tristano pianoDaniel Landau filmmakerSunday \ January 29 \ 4 pm Hill Auditorium \ Ann ArborIn 1971, French composer Olivier Messiaen was commissioned to write a piece commemorating America’s bicentennial. Messiaen was inspired and fascinated by the natural wonder he found in the landscapes of the American West. Des canyons aux étoiles (From the Canyons to the Stars) represents his sonic impressions of America’s last untouched frontier. Conductor Jeffrey Tate and the Hamburg Symphony, in collaboration with Israeli filmmaker Daniel Landau, bring the piece alive in a new cinematic installation, where images of man’s impact on the environment create a counterpoint to sounds of untouched nature. Through film images projected on multiple screens, Hill Auditorium will be turned into a multi-sensory experience celebrating the beauty of the earth and our unaltered landscapes.
PROGRAMMessiaen Des canyons aux étoiles (From the Canyons to the Stars) (1971-74)
Funded in part by an award from the National Endowment for the Arts. Art Works.
Media Partners WGTE 91.3 FM and WDET 101.9 FM.
Legacy Donors
MEMBERS OF THE MUSICAL LEGACY SOCIETYThe Detroit Symphony Orchestra Board of Directors is pleased to honor and recognize the Musical Legacy Society. These patrons, friends and subscribers have named the Orchestra in their estate plans. For information about making a bequest or other planned gift to the
DSO, please contact the Office of Patron Advancement at 313.576.5400.
robert g. abgarian†Doris L. adlerDr. & Mrs. William albertMr. & Mrs. robert a. alleseeDr. Lourdes V. andayaDr. agustin & nancy arbuluJeanne Bakale and roger DyeSally & Donald BakerMr. & Mrs. Lee BarthelLillian & Don BauderBertram Behrens†Mrs. & Mrs. robert a. BentonMichael & christine Bernsrobert T. Bomierrichard & gwen BowlbyMrs. J. Brownfaingladys L. caldroney†Dr. & Mrs. Victor J. cervenakelenor a. christieMary f. christnerhonorable avern cohnMr.† & Mrs. robert comstockDorothy M. craigMr. & Mrs. John cruikshankMs. Barbara DavidsonMs. Leslie DevereauxMr. & Mrs.† John Diebeledwin & rosemarie DyerMs. Bette J. DyerMr. & Mrs. robert g. eidsonMrs. charles endicottJean e. fair†Ms. Dorothy fisherMax M. fisher†Mr. emory ford, Jr.†Mrs. John B. ford, Jr.†Dr. Saul & Mrs. helen formanBarbara frankelherman frankelrema frankelJane frenchDr. & Mrs. Byron p. georgesonMr. & Mrs. alfred r. glancy iii
Mr.† & Mrs. herbert graebnerDonald ray haasMr. David handleman, Sr.†Donna & eugene hartwignancy B. henkBetty Q. hoard†gordon V. hoialmen estateMr. & Mrs. robert g. eidsonMr. & Mrs. Thomas h. Jeffs iiDrs. anthony & Joyce Kalesaustin KanterJune K. Kendallraymond L. Kizer, Jr.†Ms. Selma Korn & Ms. phyllis KornMr.† & Mrs. Dimitir KosacheffMr. & Mrs. arthus KrolikowskiThelma M. Lauderburgh†ann c. Lawsonallan S. LeonardLila i. Logan†Lester g. Londonelizabeth M. Lundquistroberta MakiMs. Bonita J. Marshall†Mr. glenn Maxwellrhonda a. MilgrimJohn e. & Marcia MillerJerald a. & Marilyn h. MitchellMr. & Mrs. L. William MollMr. and Mrs. craig r. MorganMrs. peters oppermann†Mr. Dale J. pangonisMs. Mary W. parkerMs. cynthia J. pasky & Mr. paul huxleySophie pearlsteinelizabeth pexsenye†helen & Wesley pellingester e. peters†Mrs. Dorothy M. pettit†Mrs. Bernard e. pincus christina pittscarol plummerMr. & Mrs. p.T. ponta
edith S. Quintana†fair & Steven† radomDouglas J. rasmussengeorge a. raymond†Mr. & Mrs. Lloyd e. reussBarbara gage rexMs. Marianne reyeKatherine D. rinesJack & aviva robinsonruth rothschild†Dr. Margaret ryanShirley W. Sarver†Stephanie & fred Secrestrobert Selik†Lee William SlazinskiTerrence SmithViolet Spitzer†Mrs. Mark c. Stevens†Mr. & Mrs. Walter StuechkenMr. & Mrs. alexander c. SuczekMrs. elizabeth J. TamagneMargaret D. Thurbertcaroline & richard TorleyMr. edward TussetBarbara a. UnderwoodMrs. harold Van DragtMrs. richard c. Van DusenBarbara & Mel VanderBrugMr. & Mrs. george c. VincentMs. Margaret Watkins†hubert & elsie Watson†Keith & christin WeberJohn & Joanne WernerMr. & Mrs. arthur WilhelmMr.† & Mrs. James a. WilliamsTreva WombleMs. helen Woolfenden†elizabeth B. WorkDr. & Mrs. clyde WuMs. andrea L. Wulf
† Deceased
32 Performance / Vol . X X / fall 201 1 www.dso.orG
Supporters of the Detroit Symphony Orchestra
Giving of $100,000 and more
Giving of $50,000 and more
Giving of $25,000 and more
Giving of $10,000 and more
Annual contributions from generous patrons are what sustains the Detroit Symphony Orchestra. Ticket revenues throughout the season provide only a small portion of the funding needed to support the performances, educational programs, and community projects that the DSO presents each year. The honor roll below reflects those generous donors who have made a gift of $1,500 or more in annual operating support to the DSO Annual Fund Campaign between September 2010 and September 2011. If you have a question about this roster or for more information on how you can help secure the future of the DSO, please contact (313) 576-5114.
anonymousMr. & Mrs. Lee BarthelMandell L. & Madeleine h. Berman foundationJulie & peter cummingsMr. & Mrs. frederick a. erb
Marjorie S. fisher fundemory M. ford, Jr. †Mr. & Mrs. Stanley frankelThe edward & helen Mardigian foundation
Mr. & Mrs. James B. nicholsonMs. cynthia J. pasky & Mr. paul M. huxleyLeonard SlatkinMrs. richard c. Van Dusen
penny & harold Blumenstein
Mr. and Mrs. John a. Boll, Sr.
Ms. Leslie Devereaux
Linda Dresner & ed Levy, Jr.
Mr. & Mrs. phillip fisher
ruth & al glancy
Bernard & eleanor robertson
Dr. & Mrs. clyde Wu
Mr. & Mrs. herbert a. abrashDaniel & rose angelucciLillian & Don Baudercecilia Benner
Leo† & Betty BlazokMr. & Mrs. robert h. BluesteinMr. & Mrs. Jim BonahoomMs. Liz BooneMr. & Mrs. richard a. BrodieLois & avern cohnMarianne endicottMrs. robert fifeSidney & Madeline forbesDale & Bruce frankelMaxine & Stuart frankelrema frankel
Byron & Dorothy gersonMr. & Mrs. James grosfeldMrs. Doreen hermelinMr. & Mrs. ronald horwitzJulius & cynthia huebner foundationMr. Sharad p. Jainchacona & arthur L. Johnsonfaye and austin KanterMr. & Mrs. norman D. Katz and Ms. ruth rattnerMrs. Bonnie LarsonMr. David LebenbomMarguerite & David LentzDr. Melvin a. LesterMr. and Mrs. arthur c. LieblerMr. & Mrs. eugene a. MillerMr. James c. Mitchell, Jr.
geoffrey S. nathan & Margaret e. Wintersanne parsons & Donald DietzMr. & Mrs. Bruce D. petersonDr. William f. pickardMr. & Mrs. Lloyd e. reussMarjorie & Saul SaulsonMr. & Mrs. alan e. Schwartz & Mrs. Jean ShaperoMark & Lois ShaevskyMr. & Mrs. John Stroh iiiann Marie UetzMr. robert VanWalleghemMr. & Mrs. r. Jamison WilliamsMr. & Mrs. alan zekelmanpaul M. zlotoffMrs. paul zuckerman
Mr. & Mrs. richard L. alonzo
Mr. & Mrs. eugene applebaum
Mr. & Mrs. francois castaing
Mrs. robert c. comstock
Mr. & Mrs. raymond M. cracchiolo
Marvin & Betty Danto family foundation
herman & Sharon frankel
Mr. & Mrs. Morton e. harris
Dr. gloria heppner
Mr. & Mrs. richard p. Kughn
richard & Jane Manoogian foundation
The polk family
Jack & aviva robinson
Mr. & Mrs. Larry Sherman
Mr. & Mrs. Donald Simon
arthur & Trudy Weiss
† Deceased Performance / Vol . X X / fall 201 1 33www.dso.orG
giving of $5,000 and moreDr. & Mrs. roger M. ajluni
Mr. & Mrs. robert a. allesee
Michael & geraldine Buckles
Ms. Barbara Davidson
Ms. Margaret h. Demant
Beck Demery
Mr. peter & Kristin Dolan
Mr. robert Dunn
Jim & Margo farber
Mr. &Mrs. David fischer
Mr. & Mrs. herbert fisher
Dr. Saul & Mrs. helen forman
Mr. & Mrs. gerry fournier
Mrs. harold L. frank
Barbara frankel & ronald Michalak
Judith & Barry freund
Mr. & Mrs. harold garber
Mr. & Mrs. ralph J. gerson
allan D. gilmour & eric c. Jirgens
Dr. allen goodman & Dr. Janet hankin
goodman family charitable Trust
Dr. & Mrs. herman gray, Jr.
Mr. & Mrs. James a. green
Ms. nancy henk
Mr. eric J. hespenheide & Ms. Judith V. hicks
Jean holland
Mr. & Mrs. richard J. Jessup
Marjorie & Maxwell Jospey foundation
Michael e. Smerza & nancy Keppelman
David & elizabeth Kessel
Mr. William p. Kingsley
Mr. & Mrs. harry a. Lomason ii
Dr. & Mrs. charles Lucas
elaine & Mervyn Manning
David & Valerie Mccammon
Mr. edward K. Miller
Dr. & Mrs. robert g. Mobley
Dr. Stephen and Dr. Barbara Munk
David r. & Sylvia nelson
patricia & henry nickol
Ms. Mariam noland and Mr. James Kelly
Ms. Jo elyn nyman
Mr. & Mrs. arthur T. o’reilly
Mr. & Mrs. richard g. partrich
Mr. & Mrs. Donald e. petersen
Dr. glenda D. price
Jane russell
Martie and Bob Sachs
elaine & Michael Serling
John J. Solecki
Mr. richard a. Sonenklar
richard & renate Soulen
Dr. calvin L. Stevens
Stephen & phyllis Strome
David Usher
Mr. & Mrs. Jonathan T. Walton
Mr. & Mrs. herman W. Weinreich
Mrs. Beryl Winkelman
Dr. & Mrs. robert e. Wurtz
Milton & Lois zussman
giving of $2,500 and morerichard & Jiehan alonzo
Dr. Lourdes V. andaya
Mr. & Mrs. norman ankers
Dr. & Mrs. ali-reza r. armin
Mr. David assemany
Ms. ruth Baidas
nora Lee & guy Barron
Martin & Marcia Baum
Ken & Mary Beattie
Dr. & Mrs. John Bernick
Mrs. John g. Bielawski
Joseph & Barbra Bloch
Dr. & Mrs. rudrick e. Boucher
gwen & richard Bowlby
Mr. anthony f. Brinkman
Mr. Scott Brooks
Mr. h. Taylor Burleson & Dr. carol S. chadwick
philip & carol campbell
Mr. William n. campbell
Dr. & Mrs. Thomas e. carson
Ms. Mary rita K. cuddohy
Mr. richard cummings
Jerry p. & Maureen T. D’avanzo
Lillian & Walter Dean
Ms. Margaret h. Demant
John & ann Diebel
Ms. Barbara Diles
David elgin Dodge
Diana & Mark Domin
Ms. Judith Doyle
paul & peggy Dufault
rosanne & Sandy Duncan
Mr. robert Dunn
Mr. & Mrs. irving Dworkin
Ms. Bette J. Dyer
Dr. & Mrs. a. Bradley eisenbrey
Mr. & Mrs. John M. erb
Mary Sue & paul e. ewing
Mr. & Mrs. Stephen e. ewing
Mr. David faulkner
Mr. & Mrs. oscar feldman
Mr. Steven J. fishman
Ms. carol a. friend & Mr. Mark Kilbourn
Mr. & Mrs. Daniel e. frohardt-Lane
Lynn & Bharat gandhi
Mr. & Mrs. William y. gard
Dr. & Mrs. Kenneth W. gitlin
Dr. & Mrs. robert goldman
robert & Mary ann gorlin
Dr. & Mrs. Steven grekin
alice Berberian haidostian
Dr. algea o. hale
Mr. robert hamel
randall L. & nancy caine harbour
Mr. & Mrs. ross haun
Dr. Deanna & Mr. David B. holtzman
Mr. f. robert hozian
Jean Wright & Joseph L. hudson, Jr. fund
Mr. & Mrs. charles r. Janovsky
Mr. John S. Johns
Mrs. ellen D. Kahn
Mr. & Mrs. Michael J. Keegan
Jack† & fran King
Mr. William p. Kingsley
Dr. & Mrs. harry n. Kotsis
robert c. & Margaret a. Kotz
Mr. & Mrs. harold Kulish
David & Maria Kuziemko
Dr. raymond Landes & Dr. Melissa McBrien
anne T. Larin
Mr. & Mrs. William B. Larson
Mr. & Mrs. Michael Lebenbom
allan S. Leonard
Mr. & Mrs. Daniel Lewis
Mr. & Mrs. robert Liggett
Mr. & Mrs. Joseph Lile
Mrs. florence Lopatin
Mr. & Mrs. charles W. Manke, Jr.
Ms. florine Mark
Donor
Spotlig
ht
richard and mona alonzo
Richard and Mona Alonzo
Richard and Mona Alonzo have been devoted Detroit Symphony Orchestra subscribers for more than 30 years, in fact you can still find them in the same dress circle seats they purchased all those years ago. They first started attending concerts in 1969 at Ford Auditorium, when they moved to Richard’s native Detroit from Nashville in 1968. “My wife was a subscriber to the Nashville Symphony, so we couldn’t wait to start supporting the DSO when we got to Michigan,” said Richard. Dick and Mona made their first of many philanthropic contributions in 1988. “I hardly remember that gift now since we’ve only increased our giving since then,” said Dick. “We’re hoping Detroit’s having a come-back and if you’re going to have a great city, you need a great symphony.”
The Alonzos have consistently participated in the DSO Annual fund for the past 23 years. In 2008, they became leadership donors and this year they are proud to be in the inaugural class of Governing Members. Mona is an active volunteer in the Governing Members Philanthropy Committee. Also, this group helped raise over $1.3 million in contributions to the 2011 Detroit Symphony Orchestra Annual Fund.
34 Performance / Vol . X X / fall 201 1 www.dso.orG
Mr. & Mrs. alonzo L. McDonald
Thomas & Judith Mich
Ms. Deborah Miesel
Bruce & Mary Miller
Dr. Susan B. Molina & Mr. Stephen r. Molina
Ms. florence Morris
Mr. frederick J. Morsches
Denise & Mark neville
Mr. & Mrs. Stanley nycek
Mrs. Margot c. parker
Mrs. Sophie pearlstein
robert e. L. perkins, D.D.S.
Dr. & Mrs. claus petermann
Mr. charles L. peters
albert c. & gertrude K. L. petersen
cornelia pokrzywa
Mr. & Mrs. William powers
Mr. & Mrs. nicolas i. Quintana
Drs. y. ravindranath & Kanta Bhambhani
hope & Larry raymond
Dr. claude & Mrs. Sandra reitelman
Mr. & Mrs. robert B. rosowski
Kathy & Michael Schultz
Mr. & Mrs. fred Secrest
Mr. & Mrs. herbert Shanbaum
The honorable Walter Shapero
Mr. Stephan Sharf
coco & robert Siewert
Mr. & Mrs. William Sirois
Mr. & Mrs. richard Sloan
Mr. & Mrs. S. Kinnie Smith, Jr.
William h. & patricia M.† Smith
Dr. gregory e. Stephens
Mr. clinton f. Stimpson, Jr.
Dr.† & Mrs. charles D. Stocking
Mr. & Mrs. Jan J. Stokosa
Bernard & Barbara Stollman
Dr. gerald h. Stollman
David Szymborski & Marilyn Sicklesteel
Ms. Dorothy Tarpinian
Shelley & Joel Tauber
alice & paul Tomboulian
Ms. amanda Van Dusen & Mr. curtis Blessing
Mr. & Mrs. george c. Vincent
Ms. Janet B. Weir
Mr. & Mrs. Lawrence Weisberg
rissa & Sheldon Winkelman
Dr. & Mrs. Max V. Wisgerhof ii
Mr. & Mrs. Jonathan Wolman
Mr. & Mrs. Warren g. Wood
Ms. June Wu
Milton & Lois zussman
giving of $1,500 and moreDrs. Brian and elizabeth Bachynski
Mr. J. addison Bartush
Linda & Maurice S. Binkow
Mr. & Mrs. g. peter Blom
Mr. Timothy J. Bogan
Ms. Jane Bolender
Mr. Stephen V. Brannon
Mr. & Mrs. gerald Bright
carol a. & Stephen a. Bromberg
ronald & Lynda charfoos
fred J. chynchuk
gloria & fred clark
Dr. & Mrs. Julius V. combs
Mr. & Mrs. gary L. cowger
Dorothy M. craig
Barbara & paul czamanske
Deborah & Stephen D’arcy fund
Ms. Barbara a. David
Mr. & Mrs. Walter e. Douglas
Mr. & Mrs. henry eckfeld
Dr. Leo & Mrs. Mira eisenberg
Mr. & Mrs. Lawrence ellenbogen
Mr. & Mrs. howard o. emorey
Mr. & Mrs. paul ganson
Mr. & Mrs. Britton L. gordon, Jr.
Mr. Donald J. guertin
Mr. Max B. horton, Jr.
Mr. richard huttenlocher
Mr. & Mrs. a. e. igleheart
Ms. elizabeth J. ingraham
Ms. Kathryn Korns
Ms. Mary L. Kramer
Dolores & paul Lavins
Mr. charles Letts
Dr. & Mrs.† Stanley h. Levy
Dr. Stephen Mancuso
Mrs. John n. Mcnaughton
Mr. roland Meulebrouck
Mr. & Mrs. Steven r. Miller
eugene & Sheila Mondry foundation
Mr. & Mrs. Theodore Monolidis
edward & Judith narens
Mr. & Dr. David K. page
noel & patricia peterson
Mrs. anna Mary postma
Mrs. Jean redfield
Barbara gage rex
Mrs. ann rohr
Mr. & Mrs. george roumell
Mr. r. Desmond rowan
ruth & carl Schalm
Mr. & Mrs. Mark L. Schwartz
Mr. ronald J. Smith
eugenia & Wanda Staszewski
Dr. Lawrence L. Stocker
Mrs. Dianne Szabla
Dr. & Mrs. L. Murray Thomas
Mr. & Mrs. John p. Tierney
Mr. & Mrs. L. W. Tucker
Mr. & Mrs. roger Van Weelden
Mr. & Mrs. William Waak
Mrs. Lori Wathen
alan & Jean Weamer
Mrs. Lawrence M. Weiner
rudolf e. Wilhelm fund
Jerry Williams
Beverly & hadley Wine
frank & ruth zinn
Found
ation S
potligh
tThe Mandell L. and Madeleine H.Berman Foundation The Detroit Symphony Orchestra’s relationship with Mandell (Bill) and Madeleine (Madge) Berman began 32 years ago. They were large contributors to the restoration campaign in 1986 and later to the building campaign that spanned from 1994-2003. Their foundation has also played the leading role in supporting the Civic Wind Ensemble, an integral part of the Detroit Symphony Orchestra’s education program. The Bermans’ support is vital to furthering the DSO’s goal to culturally enrich southeast Michigan and engage our children with music training and exposure to programs that build future audiences. Fittingly, the Civic Wind Ensemble performed most recently at the opening of the Berman Theater at the West Bloomfield Jewish Community Center in May, along with DSO’s Civic Orchestra and guest artist Patti LuPone. The Ensemble’s next performance is on Nov. 5 during the Fall Civic Experience I at 1 p.m.
madeleine (madge) and mandell (bill) berman
† Deceased Performance / Vol . X X / fall 201 1 35www.dso.orG
Corporate SpotlightTArgET COrPOrATiOn The DSO is pleased to recognize the support and commitment of Target Corporation. As a corporate partner, Target has helped the DSO present free family-friendly summer programming offered throughout the metro Detroit community. Target is one of the DSO’s largest corporate supporters whose contribution continues to evolve. Since the day Target opened its doors in 1962, the company has dedicated five percent of its income to partnering with organizations to make positive changes in the community through education, the arts, social services and volunteerism. Today that equals more than $3 million every week. Target believes in the power of partnerships with leading institutions and organizations to foster creativity, promote learning and build stronger communities. Like these partnerships, Target signature programs are designed to inspire learning and enlighten children and families.
Support from Foundations and Organizations
The Detroit Symphony Orchestra acknowledges and honors the following foundations and organizations for their contributions to support the Orchestra’s performances, education programming, and other annual operations of the organization. This honor roll reflects both fulfillments of previous commitments and new gifts during the period beginning September 1, 2010 through August 31, 2011. We regret the omission of gifts received after this print deadline.
$500,000 and More
The Kresge foundation
Samuel and Jean frankel foundation
$300,000 and More
community foundation for Southeast Michigan
ford foundation
Mcgregor fund
$100,000 and More
Max M. and Marjorie S. fisher foundationandrew W. Mellon foundation
$50,000 and More
The Mandell L. and Madeleine h. Berman foundation
fred a. and Barbara M. erb foundation
national endowment for the arts
Surdna foundation
Matilda r. Wilson fund
$10,000 and More
edsel B. ford ii fund
eleanor and edsel ford fund
ann and gordon getty foundation
Sally Mead hands foundation
The alice Kales hartwick foundation
Myron p. Leven foundation
oliver Dewey Marcks foundation
Metlife foundation
Sage foundation
State of Michigan
$5,000 and MoreBenson and edith ford fundSigmund and Sophie rohlik
foundationMary Thompson foundation
$2,500 and Moreajemian foundation
clarence and Jack himmel fundThe Lyon family foundation
$1,000 and Morecharles M. Bauervic foundation
Berry foundationcombined federal campaign
The Tom S. Detwiler foundation inc.frank & gertrude Dunlap foundation
garber family foundationgoad foundation
Japan Business Society of DetroitMeyer and anna prentis family foundation
Joseph & rose rontal foundationLouis and nellie Sieg foundation
Village club foundation Samuel L. Westerman foundation
J. ernest and almena gray Wilde foundation
36 Performance / Vol . X X / fall 201 1 www.dso.orG
$5,000 and Moreamerican expressgeneral Motors corporationDenso international americacontractors Steel companyMeritor
$1,000 and moreTelemus capital partners,chase card ServicesBurton-Share Management
companyhealth alliance plan
ilitch holdings, inc. community foundation for
Southeast Michigancn – canadian national, north
america’s railroadglobal Village charitable Trust
Midwest health center, p.c.radar industriesMichigan first credit UnionSTi fleet Services-DetroitDuMouchelles art galleries
$100,000 and More
$500,000 and More
Gerard M. AndersonPresident, Chairman and CEO,
DTE Energy Corporation
Fred Shell President,
DTE Energy Foundation
Alan MullalyPresident & CEO,
Ford Motor Company
Cynthia J. PaskyPresident & CEO, Strategic Staffing
Solutions
James VellaPresident, Ford Motor
Company Fund
Paul M. HuxleyChairman,
Strategic Staffing Solutions
Tetsuo IwamuraPresident and CEO,
American Honda Motor Co.
Timothy WadhamsPresident and CEO,
MASCO Corporation
Melonie ColaiannePresident, Masco
Corporation Foundation
Gregg SteinhafelChairman, President and CEO,
Target Corporation
Jim NicholsonCEO, PVS Chemicals
Corporate Supporters of the DSO
$20,000 and More Delta air Lines
Macy’s
$10,000 and More Wolverine packing companyMgM grand Detroit casino
PVS Chemicals, Inc.
Performance / Vol . X X / fall 201 1 37www.dso.orG
uPCOMing EVEnTSSUnDay MonDay TUeSDay WeDneSDay ThUrSDay friDay SaTUrDay
Civic Youth EnsemblesCivic Jazz Live 6:30 p.m.
Paradise Jazz SeriesStanley Clarke Band8 p.m.
DSO Classical SeriesTchaikovsky Symphony No. 5Joana carneiro, conductorXuefei yang, guitar 10:45 a.m. & 8 p.m.
Civic Youth EnsemblesCivic ExperienceFall 13 p.m.
Civic Youth Ensembles Civic ExperienceFall 21 p.m.
Mondays at The Max with Wayne StateConcert Band & Wind SymphonyDouglas Bianchi, conductor7:30 p.m.
Civic Youth EnsemblesCivic Orchestra“Enigma” Variations8 p.m.
Pops SpecialChris Botti8 p.m.
Pops SpecialChris Botti3 p.m.
Mondays at The Max with Wayne StateJazz Big Band7:30 p.m.
DSO Classical SeriesFestival of Flutes/ Sir James GalwayLeonard Slatkin, conductorSir James galway, fluteLady Jeanne galway, flute Marina piccinini, fluteSharon Wood Sparrow, fluteJeffery zook, piccolohai-Xin Wu, violin7:30 p.m.
DSO Classical SeriesFestival of Flutes/ Sir James Galway10:45 a.m.
DSO Classical SeriesFestival of Flutes/ Sir James Galway8 p.m.
DSO Classical SeriesFestival of Flutes/ Sir James Galway3 p.m.
DOS Classical SeriesSchubert’s “Unfinished” SymphonyLeonard Slatkin, conductorMason Bates, electronica 8 p.m.
DOS Classical SeriesSchubert’s “Unfinished” SymphonyLeonard Slatkin, conductorMason Bates, electronica 8 p.m.
DOS Classical SeriesSchubert’s “Unfinished” Symphony3 p.m.
Civic Jazz Live 6:30 p.m.DSO Classical SeriesBeethoven 7 plus Branford Marsalis10:45 a.m.paradise Jazz SeriesDuke Ellington Orchestra8 p.m.
Civic Orchestra Nutcracker 7 p.m. fc&pa
Tiny Tots ConcertSean Dobbins & Friends10 a.m.
Young People’s ConcertMusical Tales 11 a.m.
DSO Classical SeriesBeethoven 7 plus Branford Marsalis 8 p.m.
Civic Orchestra Nutcracker 1 & 7 p.m. fc&pa
DSO Classical SeriesBeethoven 7 plus Branford MarsalisThomas Wilkins, conductorBranford Marsalis, alto saxophone3 p.m.
Mondays at The Max with Wayne State7:30 p.m.
Special EventA Natalie MacMaster Christmas in Cape Breton8 p.m.
DSO Volunteer CouncilNutcracker Luncheon11:30 a.m.
Special EventThe Four SeasonsMatthew halls, conductor nicola Benedetti, violin 7:30 p.m.
Special EventHandel’s Messiahchristopher Warren-green, conductor 3 p.m.
Special EventThe Four SeasonsMatthew halls, conductor nicola Benedetti, violin 8 p.m.
Special EventHandel’s Messiahchristopher Warren-green, conductor 3 p.m.
Civic Orchestra3 p.m. at first english Lutheran church
Mondays at The Max with Wayne StateChamber Winds & Orchestra7:30 p.m.
Pops SeriesHome for the Holidays Leonard Slatkin, conductor10:45 a.m.
Pops SeriesHome for the Holidays Leonard Slatkin, conductor8 p.m.
Pops SeriesHome for the Holidays Leonard Slatkin, conductor3 p.m.
Honda Power of Dreams7 p.m.
1 2 3 4 5
6 7 8 9 10 11 12
13 14 15 16 17 18 19
20 21 22 23 24 25 26
27 28 29 30 1 2 3
4 5 6 7 8 9 10
11 12 13 14 15 16 17
18 19 20 21 22 23 24
25 26 27 28 29 30 31
oh
ohoh
oh
oh
oh
oh
oh
oh
oh
oh
oh oh
oh
oh
oh
oh
oh
oh
oh
oh
ohohoh
oh
oh
oh
oh
MB
MB
MB
MB
MB
MB
for tickets visit www.dso.org or call 313.576.5111
nov
embe
r
dec
embe
r
Benedetti
Slatkin
MarsalisMacMaster
Galway
Bianchi
Botti
Clarke
oh
ahMB
orchestra hallMusic Boxallesee hall
38 Performance / Vol . X X / fall 201 1 www.dso.orG
Give. And the state will give back.
So you want to give to improve neighborhoods, support the
arts, even make greener parks. The Community Foundation for
Southeast Michigan can help and can keep your donation giving
for generations to come. And until the end of the year, when
you give, the state will give back too. But hurry, your state tax
credit expires after December 31, 2011.
Visit CFSEM.org or call 1-888-WE-ENDOW for more information
about how to take advantage of the state of Michigan tax credit.
Bringing people together with the causes that matter most to them.
CFSEM Tax Credit Ad_v2.indd 1 9/29/11 4:19 PM