Performance

The Magazine of The DeTroiT SyMphony orcheSTra

Vol. XX • 2011-2012 SeaSon

Fall 2011

The Hot Seat:
Getting to know your principal musicians

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

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Performance / Vol . X X / fall 201 1

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Contents
Performance
Volume XX / fall 2011 2011–12 Season
Editor gabrielle poshadlo gposhadlo@dso.org 313.576.5194

DSo administrative offices Max M. fisher Music center 3711 Woodward ave. Detroit, Mi 48201 phone: 313.576.5100 fax: 313.576.5101 DSo Box office: 313.576.5111 Box office fax: 313.576.5101 DSo group Sales: 313.576.5130 rental info: 313.576.5050 email: info@dso.org Web site: www.dso.org Subscribe to our e-newsletter via our website to receive updates and special offers. Performance is published by the DSo and echo publications, inc. u echo publications, inc. 248.582.9690 www.echopublications.com Tom putters, president tom@echopublications.com Toby faber, advertsing director To advertise in Performance, call 248.582.9690 or email info@echopublications.com 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.

Departments
4 Board of Directors 6 Orchestra Roster 8 News & Notes 29 General Information/Staff 30 Education News 32 Donor Roster 38 Upcoming Concerts

Concerts

concerts, artist biographies and program notes begin on page 13.

Cover Story

10 The Hot Seat:
getting to know your principal musicians

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Performance / Vol . X X / fall 201 1

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Detroit Symphony Orchestra
BoarD of DireCtorS
offiCerS
Stanley Frankel Chairman Paul M. Huxley First Vice Chair Marlies Castaing Second Vice Chair Glenda D. Price, Ph. D Secretary Arthur Weiss Treasurer Phillip Wm. Fisher Officer At-Large Lloyd E. Reuss Officer At-Large Clyde Wu, M.D. Officer At-Large Anne Parsons President & CEO

DireCtorS
Ismael Ahmed Rosette Ajluni Robert Allesee Janet Ankers Floy Barthel

Maureen T. D’Avanzo Mark Davidoff Peter J. Dolan Karen Davidson Walter E. Douglas Linda Dresner Marianne Endicott Jennifer Fischer Sidney Forbes

Gloria Heppner, Ph. D.

Shelley Heron,‡ Orchestra Representative Nicholas Hood, III Ronald M. Horwitz‡

Harry A. Lomason, II Ralph J. Mandarino Florine Mark David N. McCammon Edward Miller Lois A. Miller Arthur C. Liebler‡

Bernard I. Robertson‡ Jack A. Robinson‡ Marjorie S. Saulson Alan E. Schwartz‡

Daniel Angelucci

Sharad P. Jain

Lois L. Shaevsky Wei Shen

George J. Bedrosian, Esq. Mrs. Mandell L. Berman Robert H. Bluestein John A. Boll, Sr. Penny B. Blumenstein Elizabeth Boone

Renee Janovsky

Mrs. Ray A. Shapero Jane F. Sherman

Dr. Arthur L. Johnson‡ Chacona Johnson Michael J. Keegan Joel D. Kellman

James C. Mitchell, Jr. Sean M. Neall David Robert Nelson James B. Nicholson, Chairman Emeritus Arthur T. O’Reilly‡
‡ ‡

Laura L. Fournier Barbara Frankel Ralph J. Gerson

Shirley R. Stancato Stephen Strome Michael R. Tyson Ann Marie Uetz David Usher

Mrs. Harold Frank Herman Frankel‡
‡ ‡

Hon. Damon J. Keith William P. Kingsley Richard P. Kughn ‡ Harold Kulish Bonnie Larson ‡

Faye Alexander Nelson

Richard A. Brodie Gary L. Cowger

Lynne Carter, M.D. Peter D. Cummings, Chairman Emeritus Stephen R. D’Arcy

Alfred R. Glancy, III, Chairman Emeritus Herman Gray, M.D. Paul Ganson Brigitte Harris

Robert E.L. Perkins, D.D.S. Bruce D. Peterson‡ Stephen Polk William F. Pickard

Barbara Van Dusen‡ John E. Young
‡ Executive

R. Jamison Williams

Melvin A. Lester, M.D.‡

Lawrence M. Liberson,‡ Orchestra Representative

Committee

Samuel Frankel†

Lifetime memBerS

David Handleman, Sr.†

†Deceased

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.
Arthur T. O’Reilly Chairperson James C. Farber Vice Chair, Philanthropy Mr. & Mrs. Herbert A. Abrash Mr. & Mrs. Richard L. Alonzo Richard & Jiehan Alonzo Dr. Lourdes V. Andaya Mr. & Mrs. Norman Ankers

GoverninG memBerS

offiCerS
Jan Bernick Secretary

Maureen T. D’Avanzo Vice Chair, Membership Frederick J. Morsches Vice Chair, Communications Joseph & Barbra Bloch Mr. & Mrs. Jim Bonahoom Dr. & Mrs. Rudrick E. Boucher Gwen & Richard Bowlby Mr. Scott Brooks
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Bonnie Larson Vice Chair, Engagement Mr. & Mrs. Eugene Applebaum Dr . & Mrs. Ali-Reza R. Armin Mr. David Assemany Ms. Ruth Baidas Nora Lee & Guy Barron Martin & Marcia Baum Ken & Mary Beattie Cecilia Benner Mrs. John G. Bielawski Mrs. Betty Blazok

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GOVERNING MEMBERS CONTINUED
Michael & Geraldine Buckles Mr. H. Taylor Burleson & Dr. Carol S. Chadwick Philip & Carol Campbell Mr. William N. Campbell Dr. & Mrs. Thomas E. Carson Lois & Avern Cohn Brian & Elizabeth Connors Ms. Mary Rita K. Cuddohy Mr. Richard Cummings JoAnne Danto & Arnold Wiengarden Mr. & Mrs. James H. Danto Mr. Marvin Danto Ms. Barbara Davidson Lillian & Walter Dean Ms. Margaret H. Demant Beck Demery Ms. Leslie Devereaux Ms. Barbara Diles David Elgin Dodge Diana & Mark Domin Ms. Judith Doyle Paul & Peggy Dufault Rosanne & Sandy Duncan Mr. Robert Dunn 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 Mrs. Robert Fife Marjorie S. Fisher Mr. & Mrs. Herbert Fisher Mr. Steven J. Fishman Dr. Saul & Mrs. Helen Forman Dale & Bruce Frankel Rema Frankel Maxine & Stuart Frankel Judith & Barry Freund Ms. Carol A. Friend & Mr. Mark Kilbourn Mr. & Mrs. Daniel E. FrohardtLane Mr. & Mrs. Harold Garber Mr. & Mrs. William Y. Gard Lynn & Bharat Gandhi Byron & Dorothy Gerson Allan D. Gilmour & Eric C. Jirgens Dr. & Mrs. Kenneth W. Gitlin Dr. & Mrs. Robert Goldman Mr. Mark Goodman Dr. Allen Goodman & Dr. Janet Hankin Robert & Mary Ann Gorlin Mr. & Mrs. James A. Green Dr. & Mrs. Steven Grekin Mr. & Mrs. James Grosfeld Alice Berberian Haidostian Dr. Algea O. Hale Mr. Robert Hamel Randall L. & Nancy Caine Harbour Mr. & Mrs. Ross Haun Ms. Nancy Henk Mrs. Doreen Hermelin Mr. Eric J. Hespenheide & Ms. Judith Hicks Dr. Jean Holland Dr. Deanna & Mr. David B. Holtzman Mr. F. Robert Hozian Jean Wright & Joseph L. Hudson, Jr. Julius & Cynthia Huebner Mr. & Mrs. Richard J. Jessup Mr. John S. Johns Faye & Austin Kanter Mr. & Mrs. Norman D. Katz Michael E. Smerza & Nancy Keppelman David & Elizabeth Kessel Mrs. Frances King Dr. & Mrs. Harry N. Kotsis Robert C. & Margaret A. Kotz David & Maria Kuziemko Dr. Raymond Landes & Dr. Melissa McBrien Anne T. Larin Mr. David Lebenbom Mr. & Mrs. Michael Lebenbom Marguerite & David Lentz Allan S. Leonard Mr. & Mrs. Daniel Lewis Mr. & Mrs. Robert Liggett Mr. & Mrs. Joseph Lile Mrs. Florence LoPatin Dr. & Mrs. Charles Lucas Mr. & Mrs. Charles W. Manke, Jr. Mr. & Mrs. Richard A. Manoogian Mr. & Mrs. Alonzo L. McDonald Thomas & Judith Mich Ms. Deborah Miesel Bruce & Mary Miller Dr. & Mrs. Robert G. Mobley Dr. Susan B. Molina & Mr. Stephen R. Molina Ms. Florence Morris Dr. Stephen & Dr. Barbara Munk Geoffrey S. Nathan & Margaret E. Winters Denise & Mark Neville Patricia & Henry Nickol Ms. Mariam Noland & Mr. James A. Kelly Mr. & Mrs. Stanley Nycek Ms. Jo Elyn Nyman Mrs. Margot C. Parker Mr. & Mrs. Richard G. Partrich Mrs. Sophie Pearlstein Dr. & Mrs. Claus Petermann Mr. Charles L. Peters Mr. & Mrs. Donald E. Petersen Cornelia Pokrzywa Mr. & Mrs. William Powers Mr. & Mrs. Nicolas I. Quintana Ms. Ruth Rattner Drs. Y. Ravindranath & Kanta Bhambhani Dr. Claude & Mrs. Sandra Reitelman Mr. & Mrs. Robert B. Rosowski Jane Russell Martie & Bob Sachs Debbie & Mike Savoie Kathy & Michael Schultz Mr. & Mrs. Fred Secrest Elaine & Michael Serling Mr. & Mrs. Herbert Shanbaum The Honorable Walter Shapero Mr. Stephan Sharf Coco & Robert Siewert Mr. & Mrs. Donald Simon Mr. & Mrs. Richard Sloan Mr. & Mrs. S. Kinnie Smith, Jr. Mr. William H. Smith Mr. John J. Solecki Mr. Richard A. Sonenklar Richard & Renate Soulen Dr. Gregory E. Stephens Mr. & Mrs. Clinton F. Stimpson III Mrs. Charles D. Stocking Mr. & Mrs. Jan J. Stokosa Bernard & Barbara Stollman Dr. Gerald H. Stollman Mr. & Mrs. John Stroh III David Szymborski & Marilyn Sicklesteel Ms. Dorothy Tarpinian Mr. & Mrs. Joel D. Tauber Alice & Paul Tomboulian Ms. Amanda Van Dusen & Mr. Curtis Blessing Mr. Robert VanWalleghem Mr. & Mrs. George C. Vincent Mr. & Mrs. Jonathan T. Walton Mr. & Mrs. Herman W. Weinreich Ms. Janet B. Weir Mr. & Mrs. Lawrence Weisberg Mrs. Beryl Winkelman Rissa & Sheldon Winkelman Dr. & Mrs. Max V. Wisgerhof II Mr. & Mrs. Jonathan Wolman Mr. & Mrs. Warren G. Wood Ms. June Wu Dr. & Mrs. Robert E. Wurtz Mr. & Mrs. Alan Zekelman Mr. Paul M. Zlotoff Milton & Lois Zussman

voLUnteer CoUnCiL 2010-12
offiCerS
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

Marlene Bihlmeyer Gwen Bowlby Gloria Clark

Adel Dissett

BoarD of DireCtorS

Gloria Nycek

Ex-Officio: Coco Siewert, Parliamentarian Kelly Hayes, Immediate Past President
Performance / Vol . X X / fall 2011

Sandie Knollenberg Eva Meharry Lynn Miller

Todd Peplinski Victoria Keys Young

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Michel Camilo, Fred A. and Barbara M. Erb Jazz Creative Director Chair Neeme Järvi, Music Director Emeritus
Oboes

Leonard Slatkin, Music Director Music Directorship endowed by the Kresge Foundation

First Violins

Kimberly A. Kaloyanides Kennedy Acting Concertmaster Katherine Tuck Chair

Hang Su

Catherine Compton Violoncellos

Donald Baker+ Jack A. and Aviva Robinson Chair Shelley Heron Maggie Miller Chair Brian Ventura++ Geoffrey Johnson§ Clarinets

Trumpets

Stephen Anderson Acting Principal Lee and Floy Barthel Chair Kevin Good William Lucas Trombones

Personnel Manager

Stephen Molina Orchestra Personnel Manager Heather Hart Assistant Orchestra Personnel Manager Conducting Assistant Charles Greenwell Stage Personnel Frank Bonucci Stage Manager

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

Robert deMaine+ James C. Gordon Chair Marcy Chanteaux++ ^ Dorothy and Herbert Graebner Chair

John Thurman Victor and Gale Girolami Cello Chair Robert Bergman* Carole Gatwood* Haden McKay* Paul Wingert* Basses Úna O’Riordan*

Kenneth Thompkins+ Nathaniel Gurin++ Randall Hawes

Theodore Oien+ Robert B. Semple Chair

Beatriz Budinszky*

Marguerite Deslippe* Elias Friedenzohn* Joseph Goldman* Eun Park*

Douglas Cornelsen PVS Chemicals, Inc./ Jim and Ann Nicholson Chair Laurence Liberson++ Shannon Orme

Bass Trombone Randall Hawes Tuba

Larry Anderson Department Head Matthew Pons Department Head

Laurie Landers Goldman* Adrienne Rönmark* Laura Rowe* Greg Staples* LeAnn Toth*

Dennis Nulty+ Timpani

E-Flat Clarinet

Michael 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.

Alexander Hanna+ Van Dusen Family Chair Stephen Molina++ Maxim Janowsky Linton Bodwin Craig Rifel

Laurence Liberson Bass Clarinet

Eric Schweikert ``# Brian Jones+ ^ Percussion

Second Violins

Stephen Edwards Marshall Hutchinson Richard Robinson Harp

Shannon Orme Barbara Frankel and Ronald Michalak Chair Bassoons

Eric Shin ``#

Adam Stepniewski Acting Principal The Devereaux Family Chair Ron Fischer* Hong-Yi Mo* Bruce Smith*

Robert Williams+ John and Marlene Boll Chair Victoria King Michael Ke Ma++ Marcus Schoon

Jacob Nissly+ ^ Ruth Roby and Alfred R. Glancy III Chair

Ian Ding++ ^ William Cody Knicely Chair Librarians

Robert Murphy* Joseph Striplin* Marian Tanau* Alvin Score

Patricia Masri-Fletcher+ Winifred E. Polk Chair Flutes

Robert Stiles+ Ethan Allen

Contrabassoon Marcus Schoon French Horns Karl Pituch+ Bryan Kennedy Mark Abbott

Lilit Danielyan* ^ Violas

Sharon Wood Sparrow Acting Principal Women’s Association for the DSO Chair Jeffery Zook Philip Dikeman++ ^ Piccolo

Alexander Mishnaevski+ Julie and Ed Levy, Jr. Chair James VanValkenburg++ Caroline Coade Glenn Mellow Hart Hollman Han Zheng

Corbin Wagner David Everson++ ~

Jeffery Zook

Shanda Lowery-Sachs

Orchestra member biographies can be found online at www.dso.org/orchestra.
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Performance / Vol . X X / fall 201 1 www.dso.orG

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www.dso.orG Performance / Vol . X X / fall 2011

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President’s Message
Dear 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 Parsons President & CEO
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Performance / Vol . X X / fall 201 1

News & Notes
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.

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.

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.
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MEET THE MUSICIAN:

Úna O’Riordan
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 newlyrenovated 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.

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Performance / Vol . X X / fall 2011

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The Hot Seat:
Getting to know your principal musicians
s 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.

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
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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 10
Performance / Vol . X X / fall 201 1

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 mostrecorded 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

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, MasriFletcher 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
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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.

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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 201112 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.”

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Profiles
Leonard Slatkin
Leonard Slatkin, Music Director neeme Järvi, Music Director Emeritus

CLASSICAL SERIES Saturday, October 8, 2011 at 8:00 p.m. Sunday, October 9, 2011 at 3:00 p.m. in Orchestra Hall

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

Leonard Slatkin, conductor Michel Camilo, piano

gioachino rossini
(1792-1868) (b. 1954)

Overture to Guillaume Tell (William Tell) Piano Concerto No. 2, “Tenerife”

Michel Camilo

(North American Premiere) Maestoso. Allegro deciso. Moderato. Vivace. Maestoso. Vivo Largo Allegro alla Danza Michel Camilo, piano

I N T ER M ISSION
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

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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.

Internationally 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, slatikin 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.
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michel Camilo

A pianist with a brilliant technique and a composer that flavors his tunes with AfroCaribbean rhythms and jazz harmonies, Michel Camilo’s musical language is an expressive and exciting camilo 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.

Program Notes
overture to the opera William Tell
GIOACHINO ROSSINI
B. February 29, 1792, Pesaro, the Marches (now Italy) D. November 13, 1868, Passy, France

William Tell was first 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). o 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.

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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.
D  SOShOp@TheMa x recOMMenDS:

Rossini – William Tell Overture: Erich Kunzel and the Cincinnati Pops Orchestra, Telarc 80116.

Concerto for Piano & orchestra no. 2, “tenerife”
B. April 4, 1954, Santo Domingo, Dominican Republic)

MICHEL CAMILO

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 five 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).

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ichel 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-rondóform 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.
D  SOShOp@TheMa x recOMMenDS:

Symphonie fantastique, op. 14
B. December 11, 1803, La Côte St. André, Isere D. Paris, March 8, 1869

(LOUIS-)HECTOR BERLIOZ

Camilo – Piano Concerto No. 2, “Tenerife:” No recording currently available.

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 (first doubling on E-flat clarinet), four bassoons, four

UPCOMING CONCERTS: 2011-2012 SEASON
Saturday, November 12, 2011, 8 PM

Sergey Khachatryan, Violin Lusine Khachatryan, Piano
Beethoven: Sonata No. 2 in A major for Violin and Piano, Op. 12, No. 2 J.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, Cello Connie Shih, Piano

Mendelssohn: Sonata for Cello and Piano No. 1 in B-flat major, Op. 45 Liszt: Romance oubliée, La Lugubre gondola Schumann: Stücke im Volkston Franck: Sonata in A major
With support from the Beverly Franzblau Baker Endowment Fund and from Andrea Ziegelman in memory of Isabelle and Erwin Ziegelman

Saturday, January 7, 2012, 8 PM

Tokyo String Quartet wth Eugene Izotov, Oboe
Haydn: String Quartet in G major, Op. 77, No. 1 Mozart: Oboe Quartet in F major, K. 370 Takemitsu: Entre-temps Debussy: String Quartet in G minor
Sponsored by

To purchase tickets and for more information about upcoming concerts, please call (248) 855-6070 or visit www.ComeHearCMSD.org.
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horns, four trumpets, three trombones, two tubas, two timpanists and four percussionists (playing bass drum, chimes, pair of cymbals, field drum, suspended cymbal), two harps and strings (approximately 49 minutes). erlioz’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

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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 fixe…. 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 fixe, 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 happiness 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 extraordinary 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

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est O r ch ny ph o pe n ym p o i t S ces Ha tr Ho n i g m a n a n d t he De r man er fo reat P Where G

ra –

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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.
D  SOShOp@TheMa x 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.

Classical Music with
Dave Wagner and Chris Felcyn
Weekdays 6 am -7 pm
wrcjfm.org
A listener supported service of Detroit Public Schools and Detroit Public TV.

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Profiles
Jonathan tunick
Leonard Slatkin, Music Director neeme Järvi, Music Director Emeritus

POPS SERIES

An Evening of rodgers and Hammerstein
Friday, 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, director Shuler 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 #

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 tunick 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

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 + # *

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.

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 baldwin 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
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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 hensley 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.

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 duncan 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.

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,
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Profiles
Jerzy Semkow
Leonard Slatkin, Music Director neeme Järvi, Music Director Emeritus

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. II. III. IV. Adagio - Allegro non troppo Allegro con grazia Allegro molto vivace Finale: Adagio lamentoso

Jerzy Semkow has won international acclaim through his appearances with the world’s leading orchestras and opera companies. His conducting posts have included tenures semkow 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 RadioTelevisione 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.

Sponsors

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.

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Kirill Gerstein

Russian-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 gerstein 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.

Program Notes
Helios overture, op. 17
CARL 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). anish 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 marchlike 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.
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Nielsen – Helios Overture: Niklas Willen conducting the South Jutland Symphony Orchestra, Naxos 8557164.

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Piano Concerto no. 2 in a major
B. October 22, 1811, Raiding D. July 31, 1886, Bayreuth

FRANZ LISZT

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). ranz 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 composers. 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
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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.
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Symphony no. 6 in B minor, op. 74, “Pathétique”
B. May 7, 1840, Kaminsko-Votinsk, Russia D. Nov. 6, 1893, St. Petersburg, Russia)

PIOTR ILYICH TCHAIKOVSKY

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). yotr 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 Conservatory 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,

P

Liszt – Piano Concerto No. 2: Byron Janis, piano; Gennady Rozhdestvensky conducting the Moscow Radio Symphony Orchestra, Newton Classics 8802085.

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.
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Tchaikovsky — Symphony No. 6, “Pathétique”: Valery Gergiev conducting the Kirov Orchestra, Philips 456580.

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Performance / Vol . X X / fall 2011

23

Profiles
Louis Langrée
Leonard Slatkin, Music Director neeme Järvi, Music Director Emeritus

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, conductor Kimberly 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) (1875-1937) Kimberly Kaloyanides Kennedy, violin

Maurice ravel Tzigane for Violin and Orchestra

Kimberly Kaloyanides Kennedy, violin

I N T ER M ISSION
Ludwig van Beethoven Symphony No. 5 in C minor, Op. 67
(1770-1827) I. II. III. IV. Allegro con Brio Andante con moto Allegro Allegro

Sponsors

PVS Chemicals, Inc.

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.

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 langrée 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.
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Kimberly ann Kaloyanides Kennedy
Acting 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 kennedy 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.
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Program Notes
Wu Xing (“the five elements”) for instrumental ensemble (composed 1998-1999)
B. 1951, Shanghai, China

QIGANG CHEN

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).

Q

igang 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 calligrapher 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.
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Chen – Wu Xing: Didier Benetti conducting the Orchestre National de France, Virgin 86358.

Havanaise for violin and orchestra, op. 83
B. October 9, 1835, Paris D. December 16, 1921, Algiers

CAMILLE SAINT-SAëNS

Saint-Saëns’ Havanaise is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings (approximately 11 minutes). amille 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
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the art of music and his lucid interpretations 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.
D  SOShOp@TheMa x recOMMenDS:

Saint-Saëns – Havanaise: Janine Jansen, violin; Barry Wordsworth conducting Royal Philharmonic Orchestra, Decca B0002009.

tzigane, for violin and orchestra

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

( JOSEPH-) MAURICE RAVEL

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). 26
Performance / Vol . X X / fall 201 1

rench 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 tonecolor 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

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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.
D  SOShOp@TheMa x recOMMenDS:

Ravel – Tzigane: Janine Jansen, violin; Barry Wordsworth conducting Royal Philharmonic Orchestra, Decca B0002009.

Symphony no. 5 in C minor, op. 67
B. December 15 or 16 (baptized, December 17), 1770, Bonn, Germany D. March 26, 1827, Vienna, Austria)

LUDWIG VAN BEETHOVEN

Beethoven’s Symphony No. 5 in C minor, Op. 67 was first 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).

I

t 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
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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.
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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.
D  SOShOp@TheMa x recOMMenDS:

Beethoven – Symphony No. 5: Carlos Kleiber conducting the Vienna Philharmonic Orchestra, Deutsche Grammophon 447400.

201 1
GRAND VALLEY STATE UNIVERSITY
PRESENTS

FALL ARTS
CELEBRATION
ENRICHING THE ARTS AND HUMANITIES IN WEST MICHIGAN

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.

GVSU Music Department presents

Poetry Night

“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 theatre perforMing artS Center aLLendaLe CaMpuS

“An Evening of Poetry and Conversation with Ted Kooser and Terrance Hayes”
friday, oCtober 21, 7 p.M. L.V. eberhard Center, 2nd fLoor robert C. pew grand rapidS CaMpuS

GVSU Music and Dance Faculty and Students present

Distinguished Academic Lecturer

Michael Sandel “Justice: What’s the Right Thing to Do?”
thurSday, SepteMber 22, 7 p.M. L.V. eberhard Center, 2nd fLoor robert C. pew grand rapidS CaMpuS

“The Spanish Tradition: Manuel de Falla, El Corregidor y la Molinera”
Monday, oCtober 24, 8 p.M. LouiS arMStrong theatre perforMing artS Center aLLendaLe CaMpuS

Art Gallery Exhibition

A Fall Arts Celebration Holiday Gift

“Arte Argentino Actual/ Contemporary Argentine Art”
opening reCeption thurSday, oCtober 6, 5–7 p.M. art gaLLery perforMing artS Center aLLendaLe CaMpuS exhibition dateS: oCtober 6–noVeMber 4

“Gloria: Music of the Holiday Season from Grand Valley”
Monday, deCeMber 5, 8 p.M. fountain Street ChurCh 24 fountain Street ne grand rapidS, Mi
Media Sponsor:

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

Fall Arts events are free and open to the public.

for CoMpLete SCheduLe and More detaiLed inforMation ViSit WWW.GVSU.EDU/FALLARTS/.

Performance / Vol . X X / fall 201 1

27

Detroit symphony orChestra

LeonarD sLatkin, Music Director

Make Orchestra Hall Your Home for the Holidays
presents

Monday, Dec. 5 at 8 p.m.*

A nATALiE MacMASTEr CHriSTMAS in CAPE BrETOn THE FOur SEASOnS!

HOME FOr THE HOLidAYS
Leonard Slatkin, conductor

POPS SERIES

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.

HOLidAY CLASSiCS

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

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.
GROUPS OF 10 OR MORE PLEASE CALL 313.576.5130
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HAndEL’S MESSiAH

www.dso.org Or CALL 313.576.5111
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Performance / Vol . X X / fall 201 1

GENERAL INFORMATION
Parking Valet 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. Restrooms Men’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. Refreshments cash 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! Smoking The DSo is pleased to offer a smokefree 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. Accessibility parking 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 Policy The 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 closedcircuit 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 Cancellations To 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 Sounds cellular 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 Found See the house Manager or call 313.576.5121 during business hours. Gift Certificates give 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 Information The 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.

ADMINISTRATIVE STAFF
Executive 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
www.dso.orG Performance / Vol . X X / fall 2011

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

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The DSO Education Department — an ecosystem of music learning
accessible • excellent • inspirational • diverse • empowering
Super Saturdays
Civic Baroque @ UPA

Max M. Fisher Music Center
Honda Power of Dreams String Project Civic Concert Orchestra
Presto Civic String Orchestra

Civic Creative Jazz Ensemble

Civic Sinfonia

Educational Concert Series

Pincus Education Center

Allegro Civic String Orchestra

Tiny Tots

Civic Jazz Concert Band

DSO @ Liggett

The Civic Experience
Young People’s Concerts
Civic Philharmonic

Civic Orchestra

Civic Jazz Band

Civic Chamber Music

Civic Jazz Orchestra

Detroit Symphony Orchestra

Civic Wind Symphony
Civic Combo Program

Orchestra Hall

Leonard Slatkin

Civic Creative Jazz Workshop

Music Learning Alliance

Civic in Concert WRCJ

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!

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 ecs@dso.org or call 313.576.5599.   ECS CONCERT DATES  oct. 4, 10 a.m. Detroit School of arts Free oct. 4, 7:30 p.m. Woodhaven high School Free nov. 10, 10 a.m. renaissance high School Free nov. 11, 10 a.m. Spain elementary-Middle School Free feb. 1, 2012, 10 a.m. and 11:15 a.m. orchestra hall, open to the public feb. 2, 2012, 10 a.m. and 11:15 a.m. orchestra hall, open to the public March 7, 2012, 10 a.m. and 11:15 a.m. orchestra hall March 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.

Music Preparatory Division

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Performance / Vol . X X / fall 201 1

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Canadian Brass Sunday \ November 27 \
Hill Auditorium \ Ann Arbor

4 pm

With 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.

Hamburg Symphony Orchestra
Jeffrey Tate conductor Francesco Tristano piano Daniel Landau filmmaker

Sunday \ January 29 \ 4 pm Hill Auditorium \ Ann Arbor
In 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 multisensory experience celebrating the beauty of the earth and our unaltered landscapes.
PROGRAM

London Philharmonic Orchestra
Vladimir Jurowski conductor Janine Jansen violin
Tuesday \ December 6 \ 7:30 pm Hill Auditorium \ Ann Arbor
The 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.
PROGRAM

Pintscher Mozart Tchaikovsky

Towards Osiris (2005) Violin Concerto No. 5 in A Major, K. 219 (1775) Manfred Symphony, Op. 58 (1885)

Messiaen

Des canyons aux étoiles (From the Canyons to the Stars) (1971-74)

Media Partners WGTE 91.3 FM, WRCJ 90.9 FM, and Detroit Jewish News.

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.

Call or click for tickets!

734.764.2538 \ www.ums.org
Hours: Mon-Fri: 9 am to 5 pm, Sat: 10 am to 1 pm.
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31

Ad #3 — DSO Performance Magazine First Proof of Ad Due: Wed, Sept 14

Legacy Donors
The 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. adler Dr. & Mrs. William albert Mr. & Mrs. robert a. allesee Dr. Lourdes V. andaya Dr. agustin & nancy arbulu Jeanne Bakale and roger Dye Sally & Donald Baker Mr. & Mrs. Lee Barthel Lillian & Don Bauder Bertram Behrens† Mrs. & Mrs. robert a. Benton Michael & christine Berns robert T. Bomier richard & gwen Bowlby Mrs. J. Brownfain gladys L. caldroney† Dr. & Mrs. Victor J. cervenak elenor a. christie Mary f. christner honorable avern cohn Mr.† & Mrs. robert comstock Dorothy M. craig Mr. & Mrs. John cruikshank Ms. Barbara Davidson Ms. Leslie Devereaux Mr. & Mrs.† John Diebel edwin & rosemarie Dyer Ms. Bette J. Dyer Mr. & Mrs. robert g. eidson Mrs. charles endicott Jean e. fair† Ms. Dorothy fisher Max M. fisher† Mr. emory ford, Jr.† Mrs. John B. ford, Jr.† Dr. Saul & Mrs. helen forman Barbara frankel herman frankel rema frankel Jane french Dr. & Mrs. Byron p. georgeson Mr. & Mrs. alfred r. glancy iii 32
Performance / Vol . X X / fall 201 1

MEMBERS OF THE MUSICAL LEGACY SOCIETY

Mr.† & Mrs. herbert graebner Donald ray haas Mr. David handleman, Sr.† Donna & eugene hartwig nancy B. henk Betty Q. hoard† gordon V. hoialmen estate Mr. & Mrs. robert g. eidson Mr. & Mrs. Thomas h. Jeffs ii Drs. anthony & Joyce Kales austin Kanter June K. Kendall raymond L. Kizer, Jr.† Ms. Selma Korn & Ms. phyllis Korn Mr.† & Mrs. Dimitir Kosacheff Mr. & Mrs. arthus Krolikowski Thelma M. Lauderburgh† ann c. Lawson allan S. Leonard Lila i. Logan† Lester g. London elizabeth M. Lundquist roberta Maki Ms. Bonita J. Marshall† Mr. glenn Maxwell rhonda a. Milgrim John e. & Marcia Miller Jerald a. & Marilyn h. Mitchell Mr. & Mrs. L. William Moll Mr. and Mrs. craig r. Morgan Mrs. peters oppermann† Mr. Dale J. pangonis Ms. Mary W. parker Ms. cynthia J. pasky & Mr. paul huxley Sophie pearlstein elizabeth pexsenye† helen & Wesley pelling ester e. peters† Mrs. Dorothy M. pettit† Mrs. Bernard e. pincus christina pitts carol plummer Mr. & Mrs. p.T. ponta

edith S. Quintana† fair & Steven† radom Douglas J. rasmussen george a. raymond† Mr. & Mrs. Lloyd e. reuss Barbara gage rex Ms. Marianne reye Katherine D. rines Jack & aviva robinson ruth rothschild† Dr. Margaret ryan Shirley W. Sarver† Stephanie & fred Secrest robert Selik† Lee William Slazinski Terrence Smith Violet Spitzer† Mrs. Mark c. Stevens† Mr. & Mrs. Walter Stuechken Mr. & Mrs. alexander c. Suczek Mrs. elizabeth J. Tamagne Margaret D. Thurbert caroline & richard Torley Mr. edward Tusset Barbara a. Underwood Mrs. harold Van Dragt Mrs. richard c. Van Dusen Barbara & Mel VanderBrug Mr. & Mrs. george c. Vincent Ms. Margaret Watkins† hubert & elsie Watson† Keith & christin Weber John & Joanne Werner Mr. & Mrs. arthur Wilhelm Mr.† & Mrs. James a. Williams Treva Womble Ms. helen Woolfenden† elizabeth B. Work Dr. & Mrs. clyde Wu Ms. andrea L. Wulf † Deceased

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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.

Supporters of the Detroit Symphony Orchestra

Giving of $100,000 and more

anonymous Mr. & Mrs. Lee Barthel Mandell L. & Madeleine h. Berman foundation Julie & peter cummings Mr. & Mrs. frederick a. erb
Giving of $50,000 and more
penny & harold Blumenstein Mr. and Mrs. John a. Boll, Sr. Ms. Leslie Devereaux

Marjorie S. fisher fund emory M. ford, Jr. † Mr. & Mrs. Stanley frankel The edward & helen Mardigian foundation

Mr. & Mrs. James B. nicholson Ms. cynthia J. pasky & Mr. paul M. huxley Leonard Slatkin Mrs. richard c. Van Dusen

Linda Dresner & ed Levy, Jr. Mr. & Mrs. phillip fisher ruth & al glancy

Bernard & eleanor robertson Dr. & Mrs. clyde Wu

Giving of $25,000 and more
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

Giving of $10,000 and more
Mr. & Mrs. herbert a. abrash Daniel & rose angelucci Lillian & Don Bauder cecilia Benner Leo† & Betty Blazok Mr. & Mrs. robert h. Bluestein Mr. & Mrs. Jim Bonahoom Ms. Liz Boone Mr. & Mrs. richard a. Brodie Lois & avern cohn Marianne endicott Mrs. robert fife Sidney & Madeline forbes Dale & Bruce frankel Maxine & Stuart frankel rema frankel
www.dso.orG

Byron & Dorothy gerson Mr. & Mrs. James grosfeld Mrs. Doreen hermelin Mr. & Mrs. ronald horwitz Julius & cynthia huebner foundation Mr. Sharad p. Jain chacona & arthur L. Johnson faye and austin Kanter Mr. & Mrs. norman D. Katz and Ms. ruth rattner Mrs. Bonnie Larson Mr. David Lebenbom Marguerite & David Lentz Dr. Melvin a. Lester Mr. and Mrs. arthur c. Liebler Mr. & Mrs. eugene a. Miller Mr. James c. Mitchell, Jr.

geoffrey S. nathan & Margaret e. Winters anne parsons & Donald Dietz Mr. & Mrs. Bruce D. peterson Dr. William f. pickard Mr. & Mrs. Lloyd e. reuss Marjorie & Saul Saulson Mr. & Mrs. alan e. Schwartz & Mrs. Jean Shapero Mark & Lois Shaevsky Mr. & Mrs. John Stroh iii ann Marie Uetz Mr. robert VanWalleghem Mr. & Mrs. r. Jamison Williams Mr. & Mrs. alan zekelman paul M. zlotoff Mrs. paul zuckerman

† Deceased

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giving of $5,000 and more
Dr. & 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

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

giving of $2,500 and more
richard & 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

Donor Spotlight

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.”

richard and mona alonzo

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

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.

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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 more
Drs. 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 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

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Foundation Spotlight

Mr. & Mrs. gary L. cowger

madeleine (madge) and mandell (bill) berman

The 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.

† Deceased

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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.

Support from Foundations and Organizations

$500,000 and More
The Kresge foundation Samuel and Jean frankel foundation

$300,000 and More

Corporate Spotlight

community foundation for Southeast Michigan ford foundation Mcgregor fund

$100,000 and More
Max M. and Marjorie S. fisher foundation andrew 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
$5,000 and More Benson and edith ford fund Sigmund and Sophie rohlik foundation Mary Thompson foundation $2,500 and More ajemian foundation clarence and Jack himmel fund The Lyon family foundation

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.

TArgET COrPOrATiOn

Myron p. Leven foundation oliver Dewey Marcks foundation Metlife foundation Sage foundation State of Michigan
$1,000 and More charles M. Bauervic foundation Berry foundation combined federal campaign The Tom S. Detwiler foundation inc. frank & gertrude Dunlap foundation garber family foundation goad foundation Japan Business Society of Detroit Meyer and anna prentis family foundation Joseph & rose rontal foundation Louis and nellie Sieg foundation Village club foundation Samuel L. Westerman foundation J. ernest and almena gray Wilde foundation

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Corporate Supporters of the DSO
$500,000 and More

PVS Chemicals, Inc.

CEO, PVS Chemicals

Jim Nicholson

$100,000 and More

President, Chairman and CEO, DTE Energy Corporation

Gerard M. Anderson

Fred Shell President, DTE Energy Foundation

President & CEO, Ford Motor Company

Alan Mullaly

President, Ford Motor Company Fund

James Vella

President and CEO, American Honda Motor Co.

Tetsuo Iwamura

Timothy Wadhams
President and CEO, MASCO Corporation

President, Masco Corporation Foundation

Melonie Colaianne

Cynthia J. Pasky
President & CEO, Strategic Staffing Solutions

Paul M. Huxley
Chairman, Strategic Staffing Solutions

Chairman, President and CEO, Target Corporation

Gregg Steinhafel

$20,000 and More Delta air Lines Macy’s $5,000 and More
american express general Motors corporation Denso international america contractors Steel company Meritor

$10,000 and More Wolverine packing company MgM grand Detroit casino
ilitch holdings, inc. community foundation for Southeast Michigan cn – canadian national, north america’s railroad global Village charitable Trust Midwest health center, p.c. radar industries Michigan first credit Union STi fleet Services-Detroit DuMouchelles art galleries

$1,000 and more
Telemus capital partners, chase card Services Burton-Share Management company health alliance plan

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uPCOMing EVEnTS
SUnDay MonDay TUeSDay

WeDneSDay

ThUrSDay

friDay

SaTUrDay

1 november

2

Civic Youth Ensembles Civic Jazz Live 6:30 p.m. MB Paradise Jazz Series Stanley Clarke Band 8 p.m. oh

3

DSO Classical Series 4 Tchaikovsky Symphony No. 5 Joana carneiro, conductor Xuefei yang, guitar 10:45 a.m. & 8 p.m. oh

Civic Youth Ensembles Civic Experience Fall 1 3 p.m. oh

5

Clarke Civic Youth Ensembles Civic Experience Fall 2 1 p.m. oh

6

Mondays at The Max with Wayne State Concert Band & Wind Symphony Douglas Bianchi, conductor 7:30 p.m. MB

7

8

9

10

Civic Youth Ensembles Civic Orchestra “Enigma” Variations 8 p.m. oh

11

Pops Special Chris Botti 8 p.m. oh

12

Bianchi Pops Special Chris Botti 3 p.m. oh

13

Mondays at The Max with Wayne State Jazz Big Band 7:30 p.m. MB

14

15

16

Botti DSO Classical Series Festival of Flutes/ Sir James Galway 3 p.m. oh

Galway

DSO Classical Series 17 Festival of Flutes/ Sir James Galway Leonard Slatkin, conductor Sir James galway, flute Lady Jeanne galway, flute Marina piccinini, flute Sharon Wood Sparrow, flute Jeffery zook, piccolo hai-Xin Wu, violin 7:30 p.m. oh

DSO Classical Series Festival of Flutes/ Sir James Galway 10:45 a.m. oh

18

DSO Classical Series Festival of Flutes/ Sir James Galway 8 p.m. oh

19

20

21

22

23

24

DOS Classical Series 25 Schubert’s “Unfinished” Symphony Leonard Slatkin, conductor Mason Bates, electronica 8 p.m. oh

DOS Classical Series 26 Schubert’s “Unfinished” Symphony Leonard Slatkin, conductor Mason Bates, electronica 8 p.m. oh

Slatkin DOS Classical Series 27 Schubert’s “Unfinished” Symphony 3 p.m. oh

28

29

30 december

1

Civic Jazz Live 6:30 p.m. 2 DSO Classical Series Beethoven 7 plus Branford Marsalis 10:45 a.m. oh paradise Jazz Series Duke Ellington Orchestra 8 p.m. oh

Tiny Tots Concert Sean Dobbins & Friends3 10 a.m. MB Young People’s Concert Musical Tales 11 a.m. oh DSO Classical Series Beethoven 7 plus oh Branford Marsalis 8 p.m.

MacMaster DSO Classical Series 4 Beethoven 7 plus Branford Marsalis Thomas Wilkins, conductor Branford Marsalis, alto saxophone 3 p.m. oh Mondays at The Max with Wayne State 7:30 p.m. MB Special Event A Natalie MacMaster Christmas in Cape Breton 8 p.m. oh Mondays at The Max with Wayne State Chamber Winds & Orchestra 7:30 p.m. MB

Marsalis

5

DSO Volunteer Council Nutcracker Luncheon 11:30 a.m.

6

7

Special Event The Four Seasons Matthew halls, conductor nicola Benedetti, violin 7:30 p.m. oh

8

Civic Orchestra Nutcracker Civic Orchestra Nutcracker 7 p.m. fc&pa 1 & 7 p.m. fc&pa 9 Special Event 10 Handel’s Messiah christopher Warren-green, conductor 3 p.m. oh Special Event The Four Seasons Matthew halls, conductor nicola Benedetti, violin 8 p.m. oh Pops Series 17 Home for the Holidays Leonard Slatkin, conductor 8 p.m. oh

Benedetti Special Event 11 Handel’s Messiah christopher Warren-green, conductor 3 p.m. oh Civic Orchestra 3 p.m. at first english Lutheran church

12

13

14

15

Pops Series 16 Home for the Holidays Leonard Slatkin, conductor 10:45 a.m. oh

Pops Series 18 Home for the Holidays Leonard Slatkin, conductor 3 p.m. oh Honda Power of Dreams 7 p.m. oh

19

20

21

22

23

24

25

26

27
oh orchestra hall MB Music Box ah allesee hall

28

29

30

31

for tickets visit www.dso.org or call 313.576.5111

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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.

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