DSO Performance, 2008-09 Season, Issue. No. 4

The Magazine of the Detroit Symphony OrchestraPerformance

voLumE xvii issuE iv / 2008–2009 sEasoN

Celebration IX

NPPR

CAMPBELL MITHUN • DIGITAL RESOURCES • PREPRESS STUDIO

AGENCY CREDITS

Executive Creative: Reid Holmes

Creative Director: Bryan DeYoung

Art Director: Quinn Bogdan

Copywriter: Flagg Lauren

Producer: Sheri Braun

Traffic: Lynn Walstrom

DOCUMENT OUTPUT APPROVAL

Initials Date Time

drStudio: | AUTOMATED DATA

Traffic: | |

Proof Cycle 1: | |

Proof Cycle 2: | |

Agency Legal: | |

Art Director: | |

Copywriter: | |

Agency Exec: | |

Account Team: | |

Producer: | |

Client: | |

Client Legal: | |

PUBLICATION CONFIRMATION

Client Name: National Ciry Bank

Media Type: Consumer Mag

Repro Mode: 4C

Ad Number/Code: NPCMPDD8012_D7

Ad Caption/Title: Preserving

1st Issue/Run Date: 9/11

Usage Rights: Rights Managed

Usage Length: None

Usage End Date: None

Publication(s): Detroit Symphony Orchestra

AdSEND SID Code: None

MECHANICAL INFORMATION

drStudio Location: Mpls Prepress

Job Number: NPCMPDD8012

Purchase Order: P00066286

MECHANICAL DIMENSIONS IN DECIMAL INCHES

Final Size: 8.375” x 10.875”

Column Width: None

Trim/Non-Bleed: 8.375” x 10.875”

Live/Safety: 8.125” x 10.625”

DOCUMENT INFORMATION

Document Filename: 66286_Preserving_D7.indd

Page Number: 1

Document Path: CMServer:Volumes:CMServer:Prepress:CLIENTS:National City Bank:07_JUL08:NPCMPDD8012P00066286PRE:66286_Preserving Folder:66286_Preserving_D7.indd

Revision Number: 2 File History: 7/29/08 tf; 8/11/08 wau

Print Scale: 100% Print/Export Time: 8-12-2008 11:02 AM

PDF Compatibility: None

Colors Used: Cyan, Magenta, Yellow, Black

Fonts Used: Adobe Garamond (Regular, Semibold; Type 1), Frutiger (45 Light, 65 Bold; Type 1), Helvetica (Medium Condensed; Type 1)

Linked Images: cream_graphic.ai (948KB), PIA Stacked white.eps (266KB), NC-rev.eps (384KB)

Notes: INDD-CS3

Ver. 1; Pg. 1:

Cam

pell M

ithun

64599

The Private Client Group is proud to announce that with every $1 million new

investment management or trust account you open, we will donate $5,000 to

the Detroit Symphony Orchestra in your name. So, while we help clients preserve and

grow their wealth through sound fi nancial guidance from our team of experts, we will

also help to ensure the arts remain for future generations.

Trust is something we earn.

To experience the Private Client Group in Detroit,

call Randi Bellner, Market Executive, at 248.729.8479.

PRESERVING YOUR

FINANCIAL FUTURE

CAN HELP PRESERVE

THE ARTS.

©2008, National City Corporation®

WEALTH PLANNING

Investments | Private Banking | Trust & Estate Services

L: 8.125 inL: 1

0.6

25

in

T: 8.375 inT

: 10

.87

5 in

B: 8.625 inB: 1

1.1

25

in

64599_66286_Preserving_D7.indd 1 8/12/08 1:20:20 PM

The Art ofNorman Rockwell

AMERICANCHRONICLES

EXPERIENCE THE WORKS OF AN ICONIC AMERICAN STORYTELLER.Revel in Rockwell

For tickets visit dia.org or the DIA Box Office.Members receive FREE tickets. Join today! 313.833.7971

Norman Rockwell, American; Triple Self-Portrait, 1960; oil on canvas. Cover illustration for The Saturday Evening Post, February 13, 1960. From the permanent collection of Norman Rockwell Museum. © 1960 SEPS: Licensed by Curtis Publishing, Indianapolis, IN. Norman Rockwell, American; Girl Reading the Post, 1941; oil on canvas. Cover illustration for The Saturday Evening Post, March 1, 1941. From the permanent collection of Norman Rockwell Museum. © 1941 SEPS: Licensed by Curtis Publishing, Indianapolis, IN. Norman Rockwell, American; The Problem We All Live With (detail), 1964; oil on

Look, January 14, 1964. From the permanent collection of Norman Rockwell Museum. Licensed by Norman Rockwell Licensing Company, Niles, IL.

American Chronicles has been organized by the Norman Rockwell Museum in Stockbridge, Massachusetts. In Detroit, support has been provided by the Michigan Council for Arts and Cultural Affairs and the City of Detroit.

MARCH 8 – MAY 31

5 2 0 0 W O O D W A R D A V E. 3 1 3 . 8 3 3 . 7 9 0 0

coNtENts

EditorElizabeth [email protected]

(313) 576-5126

Associate Editorsmarni raitt

[email protected](313) 576-5128

marilou carlincarlin public relations, LLc

[email protected](313) 320-5803

dso administrative offi cesmax m. fisher music center

3711 woodward avenuedetroit, mi 48201

phone: (313) 576-5100fax: (313) 576-5101

dso Box offi ce: (313) 576-5111Box offi ce fax: (313) 576-5109

dso Group sales: (313) 576-5130rental info: (313) 576-5050

web site: www.detroitsymphony.comsubscribe to Noteworthy via our web site toreceive our newsletters and special offers.

Email: [email protected]

performance is published by the dsoand Echo publications, inc.

Echo publications, inc.

(248) 582-9690www.echopublications.com

tom putters, president

to advertise in performance, contacttoby faber at (248) 681-4944 or email

[email protected]

Performance magazine online:www.dsoperformance.com

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 equal opportunity

employer.

activities of the detroit symphony orchestra 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.

photographing or taping of dso concerts is prohibited. the dso can be heard on the dso, chandos, London, rca, columbia and

mercury records labels.

Performancevolume xvii / issue iv

2008–09 Departments 6 Board of Directors

8 Orchestra Roster

45 Donors Make the Difference

46 Education news

47 General information/Staff

48 Donor Roster

Concerts 16 dtE Energy foundation pops series: marvin hamlisch Jan. 22–25 Marvin Hamlisch

18 Jpmorganchase select series: oundjian & Beethoven Jan. 30 & 31 Peter Oundjian, Ingrid Fliter

22 General motors preferred series: mendelssohn & mahler feb. 6–8 James Conlon, Kristine Jepson, John Treleaven

26 dtE Energy foundation pops series: classical mystery tour: a tribute to the Beatles feb. 12–15 Martin Herman, Classical Mystery Tour Jim Owen, Tony Kishman, Tom Teeley, Chris Camilleri

28 comerica charitable foundation favorites series: Beethoven & strauss feb. 19–21 Rafael Frühbeck de Burgos, Horacio Gutiérrez

32 Bank of america paradise Jazz series: John scofield feb. 20

34 delta airlines world music series: the National acrobats of china feb. 22

36 the chrysler foundation signature series: Baroque spectacular feb. 26–28 Nicholas Kraemer, Kimberly Kaloyanides Kennedy, Hai-Xin Wu

40 General motors preferred series: classical roots march 6–8 Thomas Wilkins, Janice Chandler-Eteme, Jevetta Steele,

Kevin Deas, Rackham Symphony Choir, Suzanne Acton, Brazeal Dennard Chorale, Augustus Hill

Features10 news & notes

12 Meet the Musician dso violinist adrienne rönmark

14 Hannibal Returns an Encore performance and dso

recording of hannibal Lokumbe’s Dear Mrs. Parks

16 hamlisch fliter scofield18 32

covEr art: “vioLiNs,” LEoNE ardo, www.LEoNEardo.com pErformaNcE / voL. xvii / issuE iv 5www.dEtroitsymphoNy.com

Detroit Symphony Orchestra

ExEcutivE committEE

Board of dirEctors

LifEtimE mEmBErs

dirEctors

voLuNtEEr couNciL 2008-10

NEw LEadErs of thE dEtroit symphoNy orchEstra 2008-2009

James B. NicholsonChairman

samuel frankel† david handleman, sr.

Lillian Bauder, ph.d.cecilia Bennerpenny B. Blumenstein,

Vice Chair and Nominating & Governance Committee Chair

stephen a. Brombergmarlies castaing,

Special Events Committee Chair

caroline coade, Orchestra Representative

peter d. cummings, Chairman Emeritus and Campaign Committee Chair

stephen r. d’arcy, Audit Committee Chair

herman frankelstanley frankel, Vice

Chair and Facilities Committee Chair

alfred r. Glancy iii, Chairman Emeritus, Finance Committee Chair and Treasurer

Kelly hayes, Volunteer Council President

shelley heron, Orchestra Representative

paul m. huxley, Development Committee Co-Chair

dr. arthur L. Johnsonrichard p. Kughnmelvin a. Lester, m.d.,

Development Committee Co-Chair

arthur c. Liebler, Marketing Committee Chair

david robert Nelsonanne parsons,

President and Executive Director

Bruce d. peterson, Human Resources Committee Chair

Glenda d. price, ph.d., Secretary

Lloyd E. reuss

Bernard i. robertson, Strategic Planning Committee Chair

Jack a. robinsonalan E. schwartzBarbara van dusenarthur a. weiss,

Investment Committee Chair

clyde wu, m.d., Education Committee Chair

rosette ajlunirobert alleseefloy BarthelGeorge J. Bedrosianmrs. mandell L. BermanJohn a. Boll, sr.richard a. BrodieLynne carter, m.d.Gary L. cowgermaureen t. d’avanzoKaren davidsonmarietta davisLaurence B. deitchpeter J. dolan

walter E. douglasmarianne EndicottBruce fergusonJennifer fischersidney forbesLinda forteLaura L. fournier mrs. harold frankBarbara frankelpaul Ganson*ralph J. GersonBrigitte harrisGloria heppner, ph.d.Nicholas hood iii

richard h. huttenlocherrenee JanovskyGeorge G. Johnsonmichael J. Keegan the hon. damon J.

Keithharold KulishBonnie Larsonharry a. Lomason iiralph J. mandarinomervyn h. manningdavid N. mccammonLois a. millerJim mitchell

sean m. NeallJay Noren, m.d., m.p.h.robert E. perkins, d.d.s.william f. pickardmarilyn pincusstephen polkmarjorie s. saulsonLois L. shaevskymrs. ray a. shaperowei shen Jane f. shermanNancy a. smithshirley r. stancatofrank d. stella

phyllis stromerichard a. szamborskiLorna thomas, m.d.michael r. tysonann marie uetz david ushersharon L. vasquezmarie-ange weng, ph.d.r. Jamison williamsJohn E. young

* Ex Officio† Deceased

dominic arellanoKimberly Burkedr. susan cattotess craftchris & carina craindana debelLee v. hart & charles

dunlap

sally freelsaja GrosvenorElanah Nachman

hunger & rick hunger

rita L. Jordandrs. melissa mcBrien &

raymond Landes

drs. scott & Lisa Langenburg

Lexa LeatherdaleBeverly LochardJim & mary Beth

Nicholson

rebecca d’arcy o’reilly & arthur t. o’reilly

michael f. ottaway & tamra E. ottaway

todd peplinskipatricia & Eric poppe

Elizabeth m. rogers, chair

Nedda shayotaJoseph w. uhldrs. Bernadine &

david wu

officErsKelly hayes, Presidentmarlene Bihlmeyer, VP of Projectsann Lawson, VP of Financemagda marudas-moss, VP of Public Relations debra partrich, VP of Membership Barbara diles, VP of Education and Outreach Eva meharry, Recording SecretaryGwen Bowlby, Corresponding Secretary

Board of dirEctorsrukayya ahsan-mctierJanet ankersrick Bowers, Jr.Gloria clarkKim minasian hawesEsther LyonsKarla sherryadel amermanKen Beattierichard Bowlby

marie deLucadenise Lutzdeborah savoieEllie tholenEx-officio:debra partrich, Immediate

Past PresidentEleanor (coco) siewart,

Parliamentarian

6 pErformaNcE / voL. xvii / issuE iv www.dEtroitsymphoNy.com

Detroit Symphony OrchestraorchEstra rostEr

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

peter oundjian, Principal Guest Conductor Principal Guest Conductorship supported by the Mardigian Foundation

thomas wilkins, Resident Conductorwynton marsalis, Fred A. and Barbara M. Erb Jazz Creative Director Chair

Neeme Järvi, Music Director Emeritus

First ViolinsEmmanuelle Boisvert

ConCertmaster Katherine Tuck Chair

Kimberly a. Kaloyanides Kennedy assoCiate ConCertmaster Alan and Marianne Schwartz and Jean Shapero (Shapero Foundation) Chair

hai-xin wu assistant ConCertmaster Walker L. Cisler/Detroit Edison Foundation Chair

Laura rowe assistant ConCertmaster

Beatriz Budinszky*marguerite deslippe-dene*Gina diBello*^Elayna duitman*Elias friedenzohn*Joseph Goldman*Laurie Landers Goldman*Eun park*adrienne rönmark*Linda snedden-smith*Gregory staples*ann strubler*Leann toth* ^

Second ViolinsGeoffrey applegate+

The Devereaux Family Chair

adam stepniewski++alvin scoreLilit danielyan*ron fischer*hong-yi mo*robert murphy*Lenore sjoberg*Bruce smith*Joseph striplin*marian tanau*

Violasalexander mishnaevski+

Julie and Ed Levy, Jr. Chair

James vanvalkenburg++caroline coadeGlenn mellowshanda Lowery-sachshart hollmanhan Zhenghang sucatherine compton

Violoncellosrobert demaine+

James C. Gordon Chairmarcy chanteaux++

Dorothy and HerbertGraebner ChairJohn thurman

Victor and Gale Girolami Cello Chair

mario difiorerobert Bergman*carole Gatwood*Barbara hall hassan*haden mcKay*una o’riordan*paul wingert*

Bassesalexander hanna+

Van Dusen Family Chairstephen molina++maxim JanowskyLinton Bodwinstephen Edwardscraig rifelmarshall hutchinsonrichard robinson

Harppatricia masri-fletcher+

Winifred E. Polk Chair

Flutessharon wood sparrow+

Women’s Association for the DSO Chair

philip dikeman++Jeffery Zook

PiccoloJeffery Zook

Oboesdonald Baker+

Jack A. and Aviva Robinson Chair

shelley heron Maggie Miller Chair

Brian ventura++treva womble

English Horntreva womble

Clarinetstheodore oien+

Robert B. Semple Chairdouglas cornelsen

PVS Chemicals, Inc./ Jim and Ann Nicholson Chair

Laurence Liberson++shannon orme

E-Flat ClarinetLaurence Liberson

Bass Clarinetshannon orme

Barbara Frankel and Ronald Michalak Chair

Bassoonsrobert williams+

John and Marlene Boll Chair

victoria Kingmichael Ke ma++marcus schoon

Contrabassoonmarcus schoon

French HornsKarl pituch+Bryan Kennedycorbin wagnerdenise tryonmark abbottdavid Everson++

Trumpetsramón parcells+

Lee and Floy Barthel Chair

Kevin Goodstephen anderson++william Lucas

TrombonesKenneth thompkins+Nathaniel Gurin++randall hawesmichael robinson Jr. §

Bass Trombonerandall hawes

Tuba

TimpaniBrian Jones+daniel Bauch++

Percussionian ding#

Ruth Roby and Alfred R. Glancy III Chair

daniel Bauch ##robert pangborn

William Cody Knicely Chair

Librariansrobert stiles+Ethan allen

Personnel Managerstephen molina

Orchestra Personnel Manager

alice sauro Assistant Orchestra Personnel Manager

Conducting Assistantcharles Greenwell

Stage Personnelfrank Bonucci

Stage ManagerLarry anderson

Department Headmatthew pons

Department Headmichael sarkissian

Department Head

Legend+ principal++ assistant principal# acting principal## acting assistant

principal^ Extended Leave^ on sabbatical* these members may

voluntarily revolve seating within the section on a regular basis.

§ orchestra fellow partial sponsorship provided by warner, Norcross & Judd LLp and dso’s william randolph hearst Educational Endowment.

Chairman of the BoardJames B. Nicholson

President and Executive Directoranne parsons

activities of the detroit symphony orchestra 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. detroit symphony orchestra is an affirmative action, equal opportunity institution.

Orchestra member biographies can be found online at www.detroitsymphony.com.


NEws & NotEs

Film Explores Redemptive Power of Music in april 2009, hollywood will offer The Soloist starring academy award-winner Jamie foxx as Nathaniel anthony ayers, a former Juilliard cello prodigy whose schizo-phrenia caused him to lead a life of poverty and homelessness on the streets of Los angeles. Based on a book by L.A. Times journalist steve Lopez, the story focuses on the unique friendship between ayers and Lopez — played by robert downey, Jr. — who writes a series of columns about ayers for the Times, igniting public support for the troubled artist. in response to the film’s release, the League of american orchestras is holding a national feeding america food drive mar. 27 and 28, and the dso will be the organization’s detroit partner. stay tuned to www.detroitsymphony.com in the coming weeks for further details on how you can participate in the dso’s efforts to provide much-needed food to the people in our community who need it most.

Honda and Delta Send DSA Students to “Battle of the Bands” when the booming, thumping and rat-a-tat-tatting of the 7th annual honda Battle of the Bands occurs in atlanta Jan. 24, a group of detroit school of arts students, selected based on their superior leadership skills and grade point averages, will be in the middle of the action. for the second year in a row, honda is paying for 12 dsa seniors to attend this thrilling national competition where 10 of the top marching bands from the historically Black colleges and universities (hBcu) compete in the Georgia dome. the Battle of the Bands has become so well-known that it inspired the hit 2002 film Drumline starring Nick cannon. this year, another important dso sponsor, delta airlines, is also pitching in by providing the students with complimentary round-trip tickets to atlanta. the dsa students selected to attend are Nathaniel Giddens, reamous Bennett, antonio williams, Gentry shelby, Brian cole, prentis Jackson, Jeremy Grayer, shane mcKeever, malaysia christian, Endea owens, candace mitchell and alexandria allen. in addition to attending the Battle of the Bands, the dsa students will tour a number of hBcu schools in atlanta and attend a school recruitment fair at the dome. Last year, seven of the 12 dsa seniors that attended were offered and accepted full scholarships to an hBcu school. the dsa trip to atlanta is an extension of honda’s “power of dreams music Education fund” established by honda and the dso last year to create a string music program for students from underserved areas and to support the dso’s existing music education programs. many thanks to honda and delta airlines for their commitment to making musical dreams come true for these very talented dsa students. for more information about honda’s Battle of the Bands, log on to www.hondabattleofthebands.com.

Dear Friends, in the previous issue of Performance, we told you briefly about an exciting new weekly, 30-minute television program we are producing in partnership with Detroit public television, Making Music with

the DSO, which is hosted by our new music Director leonard slatkin. today i would like to tell you more about the Dso’s decision to delve into the world of television with a program focusing on music. to put it simply, our goal is to give you an insider’s look into the creative world in which our musicians and staff reside. whether you are just now exploring classical music or have been an

avid listener for years, this is your ideal opportunity to learn the finer points and inside anecdotes that pervade this unique art form. these stories will advance your own appreciation of music as well. we will cover a variety of subjects in the coming weeks, including the role education plays in the development of young musicians, the definition of classical music vs. other types of instrumental music and activities that occur behind-the-scenes, not to mention the people that perform those tasks, that make a concert possible. DptV will premiere a new episode of Making Music every week through mar. 22, 2009. on its debut on jan. 3, the show reached more than 36,000 households, and we hope that number will increase as you join us for future episodes. if you would like to learn more about Making Music, please visit us at www.detroitsymphony.com or visit www.dptv.org. Finally, please join me in thanking judy & stanley Frankel for their generous grant which makes the production of Making Music a reality.

anne parsonspresident and executive [email protected]

upcoming Making Music EpisodesFuture episodes to be announced in the coming weeks

“Mommy do i have to Practice?”sat., Jan. 24, 2009 at 5:30 p.m.sun., Jan. 25, 2009 at 2:30 p.m.

“What makes it ‘Classical’?”sat., Jan. 31, 2009 at 5:30 p.m. sun., feb. 1, 2009 at 2:30 p.m.

“Must the Show Go On?”sat., feb. 7, 2009 at 5:30 p.m.sun., feb. 8, 2009 at 2:30 p.m.


voLuNtEEr corNErDSO and Volunteer Council to Host AMSOV Conference for the first time, the detroit symphony orchestra and volunteer council will host the biennial conference of the association of major symphony orchestra volunteers (amsov) april 30-may 3, 2009. the conference theme is Through Music We Build Community. past conference hosts have included the Los angeles philharmonic, the phila-delphia orchestra and the symphony orchestras of Boston, chicago, dallas,

san francisco and toronto. the conference offers an opportunity for orchestra volunteers to discuss their challenges and successes and provides experiences to develop leadership and reinforce the significance of volunteerism in the arts. it also provides a wonderful oppor-tunity to show off the dso, orchestra hall, the max m. fisher music center, the detroit school of arts and many other metro detroit delights. marjorie saulson, past volunteer council president and current dso

Board member, is chair of the conference. assisting her in leadership positions are Gwen Bowlby, Gloria

clark, Barbara diles, Gloria Nycek and debra partrich.

more information about amsov is available at www.amsov.org. for information about supporting and/or attending the conference, please e-mail marjorie at [email protected].

Detroit Area Honda Dealers Association is the Presenting Sponsor of the 2009 AMSOV Conference.

Lucifer’s Shadow by David Hewson (2005)in this thriller set in venice, British author hewson offers a tanta-lizing tale of intrigue and murder. two props propel the action – a unique violin and a concerto penned by a young Jewish woman in 1733 and performed once, anonymously, before its disappearance. when, in the present day, this instrument is snatched from an obscure grave and the anonymous concerto is discovered in a long-forgot-ten hiding place, an innocent English scholar is drawn into an increasingly dangerous game of deception.

Molto Agitato: The Mayhem Behind the Music at the Metropoli-tan Opera by Johanna Fiedler (2001)since fiedler spent 15 years at the met as its press representative, she is well placed to offer a lively history of an institution often involved in contro-versy and personality clashes. the met opened in 1883 when the newly wealthy mrs. vanderbilt decided to found her own opera house after being turned down for a box at the old academy of music, then

New york’s opera house. the tell-all gives a delicious picture of an era when opera in the city was essentially a social rather than a musical milieu, and the resulting drama is captured in this witty and, at times, controversial work.

Bel Canto by Ann Patchett (2001)ann patchett’s award-winning novel takes place during a terrorist raid of an extravagant party in a south american embassy. separated by language, class and politics, the captors and hostages, including an opera-loving Japanese business tycoon and a world-famous singer (inspired by the great american soprano rénee fleming), find commonality through the redemptive and unifying powers of music.

Body And Soul by Frank Conroy (1993)conroy’s debut novel is the story of a young and neglected musical prodigy, claude rawlings. taken in by a music-store owner, the child is given the oppor-tunity to hone and develop his talent, enabling him to emerge as a world famous classical pianist.

DSO STAFF RECOMMEnDS… BOOkS ABOuT MuSiC

A Selection of Favorites from DSO Leadership and StaffClassical Music for Dummies by David Pogue, Scott Speck, and Glenn Dicterow (1993)this easy-to-swallow overview of all things classical music makes it easy to learn about this wonderful art by featuring a fun and condensed education, and once you’re through, you’ll know the differ-ence between a concerto and a sonata. it’s all supported by a helpful enhanced compact disc containing more than an hour of representative musical tidbits from Emi recordings.

Musicophilia: Tales of Music and the Brain by Oliver SacksMusicophilia: Tales of Music and the Brain examines the extreme effects of music on the human brain and how lives can be utterly trans-formed by the simplest of harmonies. with clinical studies covering the tragic and triumphant, sacks provides a look at the notion that humans are truly a “musi-cal species.”

pErformaNcE / voL. xvii / issuE iv 11www.dEtroitsymphoNy.com

mEEt thE musiciaN

although adrienne rönmark, 27, is one of the dso’s newest violinists, in a way she has been with the orchestra all her life. the daughter of two retired dso players — principal tuba wesley Jacobs and cellist debra fayroian, with 38 and 30 years respectively spent with the dso — rönmark has been around the orches-tra since birth and often finds herself sitting next to a player who changed her diaper when she was a baby. Growing up with music and musicians all around her, rönmark aspired to become a musician early in her life. “it’s always been my dream to be in a great orchestra, and specifically to be in the dso,” said rönmark. “it’s a good life, and i know it’s good because i grew up with it.” rönmark’s achievement of that good life came at a particularly poignant time. she auditioned just three months after giving birth to her first child, annika, and she learned that the job was hers the same week that her father was playing his final concerts with the dso. “i was actually working with the dso as a substitute violinist that week and played in my father’s very last concert with the orchestra. all these memories kept going through my head of growing up with other orchestra babies. and then i thought, ‘Now i’m the mom with the baby, and i’m the one with the full time orchestra job.’ it was a very emotional week to say the least.” rönmark received her first violin at age 5 for christmas and started taking lessons when she was in third grade. in middle school, she began studying

with dso violinist robert murphy and made her debut as a soloist with the warren symphony orches-tra at age 13, performing the first movement of mozart’s violin concerto No. 3. “i was terrified,” she recalled. “the concertmas-ter left me a note on my music stand saying ‘smile: at least it’s not Brahms!” By the time she got to high school, she was serious about pursuing a music career. she began taking lessons with stephen shipps at the university of michigan, and for seven summers she attended the prestigious meadowmount school of music in westport, New york. she also joined the dso’s civic orches-tra and was named concertmaster. rönmark’s hard work and focus soon paid off. she began winning local and statewide competitions and secured a scholarship to university of michigan where she received her degree in 2002. it was there that she met her future husband, Erik rönmark, a saxophonist from sweden who also works as an artistic coordinator at the dso. during her college years, rönmark was named concertmaster of the u of m symphony and began working profes-sionally. she was associate concertmas-ter of both the ann arbor symphony and the michigan pops orchestra and formed the Gamar duo with her mother. Gamar is an armenian word meaning “arc” which they feel describes the unique

connection between them. while continuing her professional work, rönmark pursued her masters of music degree at the cleveland institute of music where she was once again concertmaster of the orchestra. she graduated in 2005 and, that same year, she and Erik got married. she was soon working steadily as a substitute violinist with a number of orchestras, including the dso, while continuing as associ-ate concertmaster at the ann arbor symphony and teaching private lessons. during this time, rönmark, with her husband and several dso musicians, founded New music detroit. a contem-porary music collective, the ensemble is dedicated to performing challenging and dynamic works from the late 20th century to the present day. a unique, cutting edge group made up of highly skilled musicians, it seems more like a group you’d expect to emerge from New york or Los angeles. while her professional life has reached new peaks, it is clear that being a new mother is every bit as thrilling for rönmark. she laughed when asked how

she is balancing her two roles. “am i balancing them?” she asked. “well, it’s not easy and it takes a lot of planning, but i have a lot of help from my husband and my family.” and, of course, there is rönmark’s extended dso family, some of whom will no doubt find themselves changing her baby’s diapers from time to time.

Daughter of the DSOBy mariLou carLiN

adriENNE, aGE 4, with hEr dad, wEs JacoBs; thE Gamar duo; EriK, aNNiKa aNd adriENNE röNmarK.

röNmarK


Northern

Trustbanksare

mem

bersFD

IC.©

2009Northern

TrustCorporation.

northerntrust.com

Imagine the world without music and dance, or literature and art. Life isincomplete without ways to express ourselves, and to discover who we areand what we can be. That’s why Northern Trust proudly supports the arts inits many diverse forms.

Northern Trust has been helping clients meet their financial needs formore than 119 years.

THE ARTS ALLOW US TO DISCOVER WHO WE CAN BE

Bloomfield HillsDaniel Pienta248-593-9212

Grosse Pointe FarmsMarita Grobbel313-881-1065

ntBH0677_DSym_8x10.5:nt0677 12/30/08 3:33 PM Page 1

a musical world premiere is always a momentous event. even short

new works create a spark of excitement among the musicians performing the composition and the audience hearing it for the very first time. but in 2005, when the Dso performed the world premiere of hannibal lokumbe’s moving oratorio Dear Mrs. Parks, it was not a mere spark that ignited the atmosphere in orchestra hall – it was an explosion of fireworks. For those who missed the experience, there is now a new opportunity to hear this thrilling work live. it will be the featured piece on the Dso’s “Classical roots” program led by Dso resident Conductor thomas wilkins, who will also conduct william Grant still’s Afro-American Symphony. in addition, thanks to funds raised through the Chairs’ Circle of Friends, a group of dedicated Classical roots supporters, along with sponsorship from jpmorgan Chase, the Dso will be recording Dear Mrs. Parks for commercial release later this year. “at such a trying financial and spiritual time for our country and for the city of Detroit, imagine that this recording has come into being thanks to the good work of many people coming together to make it happen,” said hannibal lokumbe. “it is a great compliment to my efforts and to mrs. parks and as clear a validation of the entire project as i can ever imagine.” Dear Mrs. Parks, originally commissioned by the Dso, is a 57-minute work for which lokumbe wrote both the music and libretto. it is composed for a massive ensemble comprised of full orchestra plus choir and four vocal soloists. Featuring

influences from the blues, jazz, african music and Gospel music, it pays homage to rosa parks in the form of imaginary letters to the Civil rights heroine from three individuals: an african-american woman who worked with mrs. parks and Dr. martin luther king, jr.; Viola liuzzo, a white Civil rights martyr from Detroit slain by the klu klux klan in 1965; and a young african-american man whose generation has benefited from the Civil rights movement. reviewing Dear Mrs. Parks in 2005, the Detroit Free Press’ mark stryker wrote that there were several remarkable aspects to the work. “one was the intuition and skill with which the composer incorporated african and african-american idioms into the oratorio … another was lokumbe’s inspired text (which) elevated what might have been a trivial civics lesson into an organic sound world of poetic mysticism, pulsating percussion, work song laments, optimistic spirituals, rhapsodic instrumental obbligatos and

dynamic squalls of expression.” the premiere of Dear Mrs. Parks was the first of many events in 2005 to commemorate the 50th anniversary of mrs. parks’ arrest in 1955 for refusing to surrender her seat to a white male passenger on a bus in montgomery, alabama. her action is often credited with igniting the Civil rights movement. sadly, rosa parks was not well enough to attend the world premiere, and she died the following fall, on october 24, at age 92. although it saddened lokumbe that parks never had an opportunity to hear the piece, he was nevertheless grateful that its premiere took place in the city that she called home for the last 48 years of her life. he compared the experience of the world premiere to a child being born. up until the first performance, he explained, “the work exists on the inside; you can’t see it physically, but you form a profound bond with it. then, when it’s born, there’s tremendous joy that everyone shares. that’s what the world premiere was for me. like a joyous birth.” like all of lokumbe’s music, Dear Mrs. Parks also reflects his roots as a jazz artist. a celebrated trumpeter, he played jazz in new york for 23 years with Gil evans and dozens of other jazz giants. in 1979, however, his life took a drastic turn. he contracted double pneumonia that was resistant to antibiotics and was convinced that the end was near. as the great-grandson of an american slave, he wanted to die in his ancestors’ homeland. though gravely ill, he traveled to an african village in kenya. lokumbe credits his physical recovery to a traditional tribal leader

Hannibal Returnsby Marilou Carlin

an encore performance and Dso recording of hannibal lokumbe’s Dear Mrs. Parks

LoKumBE


he met there. he feels that he was also healed spiritually “for all he suffered as a black man in america.” through this experience, he began to develop a new way of expressing himself through music. “in africa, i saw violins, double-reed trumpets and harps all being used in different ways. it helped me realize i could apply my musical concepts to the orchestra and that there was nothing strange about expressing my musical feelings in traditional instruments.” by the time he returned to new york, lokumbe was determined to tell “the truth of what he had learned.” the result was his first major work for orchestra, African Portraits, which received its world premiere at Carnegie hall in 1990. it tells the experience of black americans from africa to slavery to the present day. the celebrated work has now been performed by more than 55 orchestras across the country, and a recording by Daniel barenboim and the Chicago symphony orchestra was released in 1996 and nominated for a Grammy award. lokumbe has since become a leader in expressing the african-american experience through orchestral and choral music with a particular focus on civil rights leaders. in 1998, the new jersey symphony commissioned and premiered an oratorio titled God, Mississippi and a Man Called Evers about the slain civil rights activist medgar evers. other works include Soul Brother, inspired by the life of malcolm X, and

A Great and Shining Light about former atlanta mayor and united nations ambassador andrew young. 2005, however, was a particularly intense year for lokumbe. after the high of the Dear Mrs. Parks premiere, the following summer would challenge him with another harrowing experience. a native of smithville, texas, lokumbe was serving as the composer-in-residence at the Contemporary arts Center in new orleans when hurrican katrina hit in august. he fled the disaster in a borrowed pick-up truck with his young son heili, returning to his hometown where he still lives today. the hurricane and its aftermath had a profound effect on him emotionally, and he has only recently begun to recover from its impact. ultimately, lokumbe feels that there were “divine reasons” for his return to smithville. “while i was living in new orleans, i was working as productively as i’ve ever worked, but there were other things that i needed to do,” he said. he is now reconnecting with a life and place that he left behind many years ago. he is minutes from his mother, the grave of his great-grandfather (the former slave), the creek where his mother was baptized and, importantly to him, the forest where he can commune with nature. “it’s all very rich for me,” he said. “and i’m in a town where the people believe in my work, the work God gave me to do.” when asked what he hopes that people will take with them from the

performances of Dear Mrs. Parks, lokumbe says, “to be reminded of that which is undying in themselves.”

The 2008 performances of Dear mrs. parks are funded, in part, through Meet the Composer’s MetLife Creative Connections program.

Classical Roots Concerts

fri., mar. 6 at 8 p.m. sat., mar. 7 at 8:30 p.m.

sun., mar. 8 at 3 p.m.

the annual classical roots concerts, now in their 31st year,

celebrate african-american composers, musicians and music advocates. the dso was one of

the first orchestras in the country to feature such concerts as part

of a classical subscription series.

Classical Roots Celebration ix

sat., mar. 7 at 6 p.m.

includes champagne reception, gourmet pre-concert dinner, the

classical roots concert featuring Dear Mrs. Parks and post-concert

dessert & dancing.

this event raises critical funds for the dso’s african-american and educational programs and

for future recordings.

for tickets, call (313) 576-5111

rosa parKsthE ”rosa parKs Bus” caN BE sEEN at thE hENry ford musEum iN dEarBorN.

LoKumBE


Detroit Symphony Orchestra2008 – 2009 Season

profiLEs

Marvin Hamlisch

thursday, January 22 at 10:45 a.m. & 8 p.m. friday, January 23 at 8:30 p.m.

saturday, January 24 at 8:30 p.m.sunday, January 25 at 3 p.m.

Marvin Hamlisch, conductor

orch. Torrie Zito irving Berlin Jazz medley puttin’ on the ritz Let yourself Go play a simple melody Let’s face the music cheek to cheek

arr. Michael Asher the windmills of their minds Marvin Hamlisch marvin at the movies orch. Torrie Zito suite from Sophie’s Choice Ice Castles The Way We Were

rent a composer

Harold Arlen over the rainbow Scott Joplin ragtime medley the Entertainer pine apple rag

In t er mIssIon Richard Rodgers overture from Oklahoma! (1902-1979) the farmer and the cowman arr. Robert Russell Bennett oklahoma people will say we’re in Love farmer dance i cain’t say No

Jerome kern symphonic story of Jerome Kern (1885-1945) orch. Robert Russell Bennett and Torrie Zito songs i wish i’d written Marvin Hamlisch A Chorus Line: the overture that Never was

Marvin Hamlisch marvin hamlisch’s life in music is notable for its great versatility and substance. as a composer, hamlisch has won virtually every major american award, including three academy awards, four Grammy awards, four Emmy awards, a tony award and three Golden Globe awards. his groundbreaking musical A Chorus Line, at one time the longest running show in Broadway history, received the pulitzer prize. hamlisch is the composer of more than 40 motion picture scores, includ-ing the academy award-winning score and title song from The Way We Were and the adaptation of scott Joplin’s music for The Sting which also received an oscar. other well-known scores include Sophie’s Choice, Ordinary People, The Swimmer, Three Men and a Baby, Ice Castles, Take the Money and Run, Bananas and Save the Tiger. hamlisch holds the position of prin-cipal pops conductor for the National symphony orchestra, the pittsburgh symphony orchestra, the seattle symphony and the san diego symphony. he was musical director and arranger of Barbra streisand’s 1994 concert tour of the u.s. and England as well as the television special Barbra Streisand: The Concert for which he received two of his Emmys. hamlisch is a graduate of the Juilliard school of music and Queens college where he earned a Bachelor of arts degree. he believes in the uniting power of music. “music can make a difference. there is a global nature to music which has the potential to bring all people together. music is truly an international language, and i hope to contribute by widening communication as much as i can.”

hamLisch

pops sEriEs

Natural herb cough drops – courtesy of riccola usa, inc.photographing or taping of dso concerts is prohibited.

the dso can be heard on the dso, chandos, London, rca and mercury record labels.

The Fab Four are back with the DSO’s Pops

Tribute to the Beatles, Classical Mystery Tour,

Feb. 12-15www.detroitsymphony.com


2008-2009 Season Media Sponsors

All concerts take place Saturdays at 8 PM, Seligman Performing Arts Center, Detroit Country Day School.

Garrick Ohlsson, Piano Saturday, March 21

For more information and to order tickets, please call the Chamber Music Society of Detroit Ticket Service: (248) 855-6070.

www.ComeHearCMSD.org

OPUS 3 PIANO SERIES

2008-2009 Series65th Anniversary Season

OPUS 9 SERIES

Denyce Graves, Mezzo-soprano and Warren Jones, PianoSaturday, January 24

ATOS TrioSaturday, February 7

Guarneri String QuartetSaturday, April 11 ✦Pre-Concert Talk with Steven Rings, 6:45 - 7:30 PM

Pacifi ca Quartet with Erik Rönmark, SaxophoneSaturday, April 18✦ Pre-Concert Talk with composer

Ellen Taaffe Zwilich, 6:45 - 7:30 PM

Kalichstein-Laredo-Robinson Trio with the Miami String QuartetSaturday, May 16

Yefi m Bronfman, PianoSaturday, May 30✦Pre-Concert Talk with Steven Rings, 6:45-7:30 PM

Peter Oundjian peter oundjian is now in his fourth season as music director of the toronto symphony orchestra (tso). through his communicative gifts on and off the podium, ound-jian’s concerts draw capacity audiences as he explores the breadth and depth of orchestral repertoire. at the beginning of his tenure, oundjian created the now-annual mozart festival and the New creations festival. the enormous success of the three-week Beethoven/mahler festival in september 2006, featuring all Beethoven and mahler pieces, heralded a season of stunning and impassioned performances in toronto. the accomplishments of oundjian and the tso continue to spread worldwide through the rhom-bus media documentary, Five Days in September: The Rebirth of an Orchestra. the film has won numerous awards at major international film festivals and has been issued on dvd with wider theatri-cal release also planned. oundjian serves as principal Guest conductor of the dso where he helped create and launch the innovative, multi-disciplinary 8 Days in June festival. previously, he served as artistic advisor and principal conductor at the caramoor international music festival in New york. from 1998-2003, oundjian was the music director of the Nieuw sinfonietta in amsterdam. Born in toronto, peter oundjian was educated in England where he studied the violin with manoug parikian. subsequently, he attended the royal college of music in London where he was awarded both the Gold medal for most distinguished student and the stoutzker prize for excellence in violin playing. he completed his violin training at the Juilliard school where he studied with ivan Galamian, itzhak perlman and dorothy deLay. he was the first violinist of the renowned tokyo string Quartet, a position he held for 14 years.

Detroit Symphony OrchestraLeonard Slatkin, Music DirectorPeter Oundjian, Principal Guest Conductor

Thomas Wilkins, Resident ConductorNeeme Järvi, Music Director Emeritus

profiLEs

ouNdJiaN

select series sponsor

classical series

Oundjian & Beethoven

friday, January 30 at 10:45 a.m. saturday, January 31 at 8:30 p.m.

Peter Oundjian, conductor ingrid Fliter, piano

Wolfgang Amadeus Mozart overture to Le nozze di Figaro, K. 492 (1756-1791) [the marriage of figaro]

Ludwig van Beethoven piano concerto No. 2 in B-flat major, (1770-1827) op. 19 allegro con brio adagio rondo: molto allegro Ingrid Fliter, piano

In t er mIssIon Anton Bruckner symphony No. 8 in c minor (1824-1896) ( 1890 revised version) [Bruckner-

schalk] allegro moderato sc herzo: allegro moderato - trio: Langsam ad agio: feierlich langsam, doch nicht

schleppend finale: feierlich nicht schnell

all evening performances will be preceded by ford concertalks featuring guest speaker charles Greenwell. concertalks begin one hour prior to performance time.

steinway & sons is the official piano of the detroit symphony orchestra and is available in michigan exclusively at the steinway piano Gallery of detroit. for more information, please visit www.steinwaydetroit.com.



Save the Date!

June 4-6

Peter Oundjian returns to Orchestra Hall for a magical Grand Finale to the DSO’s 2008-09 Season

featuring the music of Haydn, Strauss and Bartók.


proGram NotEs

fLitEr

ingrid Fliter in January 2006, argentine pianist ingrid fliter was named the recipient of the 2006 Gilmore artist award, only the

fifth pianist to have been so honored. the Gilmore artist award is given to an exceptional musician who, regardless of age or nationality, possesses broad and profound musician-ship and charisma

who desires and can sustain a career as a major international concert artist. Born in Buenos aires in 1973, fliter began her piano studies in argentina with Elizabeth westerkamp. in 1992, she moved to Europe where she continued her studies in rome with carlo Bruno as well as franco scala and Boris petrushansky at the academy “incontri col maestro” in imola. in addition, she has participated in master classes with Leon fleischer, alexander Lonquich and Louis Lortie. fliter began playing public recitals at the age of 11 and made her professional orchestral debut at the teatro colón in Buenos aires at the age of 16. already the winner of several argentine competi-tions, she went on to win prizes at the cantu international competition and the ferruccio Busoni competition in italy, and in 2000, she was awarded the silver medal at the frederic chopin competi-tion in warsaw. fliter made her major american orchestra debut with the atlanta symphony in January 2006. since then, she has appeared with many of ameri-ca’s great orchestras and at the mostly mozart, Grant park, aspen and Blossom festivals. she has also performed with orchestras and in recitals in amsterdam, tokyo, frankfurt, salzburg, cologne, st. petersburg and Berlin. an exclusive Emi recording artist, fliter’s first cd, an all-chopin disc, was released in april 2008. Live recordings of fliter performing works by Beethoven and chopin at the concertgebouw in amsterdam, as well as a dvd of a recital at the miami international piano festival, are available on the vai audio label.

Overture to Le Nozze di Figaro [The Marriage of Figaro], k. 492woLfGaNG amadEus moZart B. Jan. 27, 1756 in salzburg, austriad. dec. 5 1791 in vienna, austria

Premiered at the Burgtheater in Vienna on May 1, 1786, with the composer conducting from the keyboard.

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (Approx. 4 mins.)

Mozart’s opera Le Nozze di Figaro marked his return to opera four years after his success with Die Entführung aus dem Serail [The Abduction from the Seraglio, 1782]. During these four years, Emperor Joseph ii had sought to re-establish the tradition of italian opera in Vienna and had closed down the German language national theater.

But while Figaro may have aligned with Joseph ii’s push for italian opera, the subject matter presented difficulties for Mozart’s future royal patron. Librettist Lorenzo Da Ponte, who later collaborated with Mozart on Don Giovanni (1787) and Cosi Fan Tutte (1790), had to remove the more overtly political elements from Beaumarchais’s original play follow-ing bans on theatrical productions of the story. instead of politics, Da Ponte’s revision focuses on the comi-cal romantic entanglements on the eve of the wedding of two servants—Figaro and Susanna—at the estate of Count Almaviva. the overture begins with a soft flurry of activity suggesting the comic energy of the opera to come. a more lyrical theme for bassoon and violins is briefly taken up but soon builds up energy and gives way to a reprise of the opening material. the work concludes with a tantalizing crescendo to a final burst of frenetic energy. Listen closely to the delicate balance of rapid string parts and more fluid lines for the winds and to how

Recognized as one of Michigan’s premier law firms, Honigman Miller Schwartz and Cohn LLP provides exceptional legal services that help businesses and individuals succeed. With more than 225 attorneys in five offices throughout the state, we work in harmony with our clients to deliver the highest caliber solutions to achieve their objectives.

Honigman is pleased to support the Detroit Symphony Orchestra.

For more information, please contactFrederick (Fritz) Morsches at 313.465.7040.

Honigman miller ScHwartz and coHn llpDetroit • Lansing • oakLanD County

ann arbor • kaLamazoowww.honigman.com

HONIGMAN AND THEDETROIT SYMPHONY ORCHESTRA.WHERE GREAT PERFORMANCES

HAPPEN EVERY TIME.


mozart builds tension after the lyrical moment by holding a single chord and slowly adding instruments one by one before resolving. the dso last performed mozart’s Marriage of Figaro overture in July 2006 with Louis Langrée conducting.

DSO SHOP @ THE MAx RECOMMEnDS:

mozart, Marriage of Figaro overture: Neville marriner conducting the acad-emy of st. martin-in-the-fields, Emi 85060.

Piano Concerto no. 2 in B-flat major, Op. 19LudwiG vaN BEEthovENB. dec. 17, 1770 (baptized) in Bonn, Germanyd. march 26, 1827 in vienna, austria

Premiered on March 29, 1795 at Vienna’s Burgtheater with Beethoven at the piano.

Scored for piano solo with flute, 2 oboes,

2 bassoons, 2 horns, and strings. (Approx. 28 mins.)

Ludwig van Beethoven gave the premiere of this work at a charity concert in March 1795 in Vienna, a performance that marked his own first public appearance. Prior to this, he had won approval as a piano virtuoso by playing in private houses. Beethoven, whose initial attitude toward the second concerto was fairly dismissive, later revised the work for performance in Prague in 1798 and published it in 1801. cast in rather classical terms that reflect the influence of mozart, the first movement is in sonata form. the orchestra plays the primary theme made up of a strong tonic arpeggio galloping downward followed by a more lyrical, restrained statement. we expect a secondary theme in f (the dominant), but Beethoven slyly shifts half a step up, which becomes the key for the second, more graceful, theme before turning to Bb minor, then Bb major to close, ready for the pianist’s exposition (which follows the initial material but allows for virtuosic elaboration by the soloist). the second movement is a sweet, expansive dialogue between orches-tra and piano with the latter taking prominence. the musical conversation centers around the simple arch-shaped

theme heard in the beginning. after a brief burst of minor-key tension, the end simply drifts off in a series of reminis-cences of the main theme. the third movement is cast in a stan-dard rondo form, with a repeated theme interrupted by contrasting ideas. the rondo theme is a bouncy, playful dance filled with syncopated accents which ends with a downward arpeggio whose clarity recalls the opening gesture of the first movement. the first intervening idea (what we can call the B theme) maintains the light character, and after a series of pauses, resumes the rondo theme. a second intervening episode elaborates on the downward arpeggio motive. following the next iteration of the rondo, the “B” theme returns. the rondo makes a final appearance, but in the wrong key (G major), before finally recapitulating in the home key of Bb with a coda. the dso last performed Beethoven’s piano concerto No. 2 in June 2004 with mark wigglesworth conducting.


Beethoven, piano concerto No. 2: vladimir ashkenazy, piano, sir Georg solti conducting the chicago symphony orchestra, decca 443723.

Symphony no. 8 in C minor (1887, revised 1890)aNtoN BrucKNErB. sept. 4, 1824 in ansfelden, austriad. oct. 11, 1896 in vienna, austria

Premiered by conductor Hans Richter leading the Vienna Philharmonic Orchestra on 18 Decem-ber 1892; it is dedicated to Emperor Franz Joseph

I of Austria.

Scored for 3 flutes, 3 oboes, 3 clarinets, 3 bassoons (1 doubling contrabassoon), 8 horns (4 doubling as Wagner tubas), 3 trumpets, 3 trombones, 1 tuba, 1 harp, timpani, cymbals, triangle, and strings. (Approx. 74 mins.)

The Eighth was the last complete symphony Anton Bruckner wrote (he would only finish 3 of 4 move-ments for the ninth). Following the triumphant success of the Seventh in 1884, Bruckner immediately began work on his next orchestral work. in 1887, he sent a complete draft of the Eighth to conductor Hermann Levi

who had premiered the Seventh, but Levi disliked it and suggested revision. Disappointed, Bruckner reworked the symphony over the next three years. in 1891, the work was twice scheduled for premieres under conductor Felix Weingartner but was withdrawn two times for being too difficult. it was finally performed under Hans Richter in December 1892 in Vienna. Bruckner connects to Beethoven’s Ninth in the first sounds of the Eighth: a creatio ex nihilo [creation out of nothing] moment with a tremolo of open octaves in the strings and a principal motive in the cellos that mimics the rhythm of Beethoven’s first movement theme. the symphony also echoes Beethoven’s in its placement of the slow movement third rather than the more common slow second movement. further, Bruckner alludes to wagner (who had died only the year before Bruckner began the Eighth) through the use of a quartet of so-called wagner tubas, a variant of the french horn, which wagner commissioned for the ring cycle. the first movement employs a triple theme exposition, common in Bruckner’s symphonies. a primary theme is given

www.cityknits.com

Fisher Building Suite 105

3011 W. Grand Blvd.Detroit

313.872.9665

Mt. Clemens64 Cherry Street

586.469.9665

Want better transit in Greater Detroit?

313.963.8872www.detroittransit.org

Transportation Riders United

Join TRU today

worthy fibers• Yarns,

needles buttons

• Classes knitting, crochet, spinning & weaving


quietly, then met with an explosive fortissimo counterstatement. a second theme, known as a Gesangperiod [song period], contrasts the primary theme and makes use of the so-called “Bruckner rhythm” of two quarter notes followed by stretched quarter-note triplets. the Gesangperiod is often more song-like, lyrical, and contrapuntal, and its scoring leans more toward the strings and winds. a third section returns to the more forceful, brass-dominated texture of the primary theme. what is remarkable at the end is a Brucknerian feature called the Steigerung [increase]. Notice how the orchestra uses several techniques to build in intensity — gradually increasing volume, adding chromatic language, melodic lines that climb higher and higher, faster rhythms — all of which build to a climax, when the momentum collapses and the movement ends on a quiet coda. the second movement, a scherzo of considerable length, centers upon a rhythmic c-minor theme, introduced in the violas and cellos. the third movement is a luxurious adagio. Between the 1887 and 1890 versions, Bruckner changed the key from c major to E-flat major and cut a large portion of transitional and developmen-tal material. the adagio centers on two ideas: a slow, undulating melody initially heard in the lower registers of the strings and a more radiant burst of light, scored with upper stings and harps. the final movement is a powerful statement of military force that echoes the three-part structure of the first: a minor-key brass fanfare, followed by a more songlike theme in the strings, and finally a return to the militaristic color. the finale is relentless and spectacular. while Bruckner was often praised as a model of absolute music (music that stands on its own rather than being overtly representational or literary), he, in fact, supplied a program for this symphony. on January 27, 1891, he wrote to conductor felix weingartner: “in the first movement the trumpet and horn passage from the rhythm of the theme is the proclamation of death, which enters sporadically ever stronger and finally very strong, at the close: resignation. scherzo: main theme: called ‘deutscher michel’; in the second part the rascal wants to sleep and dreamily doesn’t find his little song; finally it plain-tively turns itself upside down. finale. our Emperor at that time received the visit of the tsars in olmütz;

hence strings: ride of the cossacks; brass: martial music; trumpets: fanfare as their majesties meet. finally all themes; (comic), just as in Tannhäuser in the second act the king comes, so, as der deutsche Michel arrives from his journey, everything is already brilliant. in the finale too there is the death march and then (brass) transfiguration.” the program gives no hint of the meaning of the adagio, although else-where he cryptically adds: “there i have gazed too deeply into a maiden’s eyes…” others, noting Bruckner’s devout catholicism, have felt this love to be more

sacred than profane and assign the harps a symbolic role as glimpsing heaven. the dso last performed Bruckner’s symphony No. 6 in January 1987 with Günther herbig conducting.


Bruckner, symphony No. 8: pierre Boulez conducting the vienna philhar-monic orchestra, deutsche Grammo-phon 459678.

Program notes by Daniel Blim, Ph.D. candidate in historical musicology at the University of Michigan School of Music, Theatre & Dance

In music, artistic direction often makes the difference between

a mediocre ensemble and an unforgettable symphony.

In the real world, fi nancial direction can make the difference

between a ho-hum existence and a life fi lled with excitement,

opportunities and reward.

That’s why we’re committed to providing you with individual

solutions. Our fi nancial advisors help clients create comprehensive

fi nancial plans in tune with their individual goals, objectives

and needs.

For an investment plan that’s music to your ears, please contact

us today.

TO PEOPLE WITH AN EAR FOR MUSIC ...

Offi ces Throughout Michigan

800-544-8754

raymondjames.com

... from Those with an Eye for Investing

©2005 Raymond James & Associates, Inc. 76970605 BK 06/05©2008 Raymond James & Associates, Inc.




profiLEs

preferred series sponsor

classical seriesMendelssohn & Mahler

friday, february 6 at 8 p.m. saturday, february 7 at 8:30 p.m.

sunday, february 8 at 3 p.m.

James Conlon, conductor kristine Jepson, mezzo-soprano

John Treleaven, tenor

Felix Mendelssohn symphony No. 1 in c minor, op. 11 (1809-1847) allegro di molto andante menuetto: allegro molto allegro con fuoco

In t er mIssIon

Gustav Mahler Das Lied von der Erde (1860-1911) [the song of the Earth] i. das trinklied vom Jammer der Erde

[the drinking song of Earth’s misery] ii. der Einsame in herbst

[the Lonely one in autumn] iii. von der Jugend [of youth] iv. von der schönheit [of Beauty] v. der trunkene im frühling

[the drunk in spring] vi. der abschied [the parting] Kristine Jepson, mezzo-soprano John Treleaven, tenor

James Conlon one of today’s preeminent conduc-tors, James conlon has cultivated a vast symphonic, operatic and choral repertoire and has developed enduring relationships with many of the world’s most prestigious symphony orches-tras and opera houses. since his New york philhar-monic debut in 1974, conlon has appeared as guest conductor with virtually every major North ameri-can and European orchestra and has been a frequent guest conductor at the metropolitan opera for over 30 years. conlon is music director of the Los angeles opera, music director of the ravinia festival (the summer home of the chicago symphony orchestra) and celebrates his 30th season as music director of the cincinnati may festival in 2009. he previously served as principal conductor of the paris National opera (1995-2004); General music director of the city of cologne, Germany (1989-2002); and music director of the rotter-dam philharmonic (1983-1991). conlon is also in the midst of his two-year residency at the Juilliard school where he works with the school’s young artists in a cross-genre educational project consisting of performances, symposia, master classes and coaching. conlon’s recent awards include the medal of the american Liszt society for his distinctive performances of the composer’s works; italy’s premio Galileo 2000 award for his significant contribu-tion to music, art and peace in florence; and the crystal Globe award from the anti-defamation League (adL) for his efforts in championing the works of composers silenced by the third reich. he received the Zemlinsky prize for his efforts in bringing the composer’s music to international attention. he was named an officier de L’ordre des arts et des Lettres by the french Government in 1996, and in 2004 was promoted to commander. in 2002, James conlon received france’s highest distinc-tion from the president of the french republic, Jacques chirac — the Légion d’honneur (Legion of honor).

coNLoN

all evening and sunday matinee performances will be preceded by ford concertalks featuring guest speaker charles Greenwell. concertalks begin one hour prior to performance time.



Like the music of Mahler?

Don’t miss the DSO’s new music director leading the Orchestra in

Slatkin & Mahler April 23-25

featuring “Blumine” and Symphony no. 1.


kristine Jepson Kristine Jepson has appeared in lead-ing theaters internationally including the metropolitan opera, royal opera,

covent Garden, opera National de paris, teatro alla scala, théâtre de la monnaie in Brussels, the hamburg state opera, Bavarian state opera, flem-ish opera, san francisco opera,

canadian opera company, santa fe opera festival and many others. Jepson has won special acclaim for roles such as sesto in mozart’s La Clemenza di Tito, sister helen in Dead Man Walking and the composer in strauss’s Ariadne auf Naxos and octavian in Der Rosenkavalier, which she has sung at the metropolitan opera, as well as for her debuts at the teatro alla scala, théâtre de la monnaie, the hamburg state opera, the Bavarian state opera and teatro carlo felice in Geno. Jepson began the 2008-09 season as mère marie in Dialogues des Carmelites in oviedo before returning to covent Garden as Nicklausse in Les Contes D’Hoffmann. Jepson will join the madison symphony for verdi’s Requiem. she will sing her first performances of Brangäne in Tristan und Isolde at deutsche oper Berlin in spring 2009 and sings the same role in summer 2009 for her debut at Glyndebourne. other recent engagements include her debut in vienna in the austrian premiere of Dead Man Walking at the theater an der wien, Der Rosenkavalier at teatro carlo felice, and performances of Ariadne auf Naxos at covent Garden. her recent concert appearances have included performances at the mostly mozart festival with the seattle and san francisco symphonies, mendelssohn’s Lobgesang under riccardo chailly at La scala and Beethoven’s mass in c major with the Boston symphony orchestra at tanglewood.

John Treleaven British tenor John treleaven, a native of cornwall, England, made his specta-cular debut as tristan in Amsterdam with

simon rattle. he has since performed the role worldwide in productions of Tristan und Isolde with the hamburg state opera, the Bavarian state opera in munich, the vienna state

opera, the Los angeles opera, the Gran teatre del Liceu in Barcelona, the frankfurt opera, the Brisbane festival, teatro verdi in verona, teatro regio in torino, santiago de chile and in multiple concert performances. treleaven is among the most sought after heldentenors (a tenor voice with some of the characteristics of a baritone) at the world’s most important internatio-nal opera houses. he has performed the title role in Lohengrin at the vienna state opera, Gran teatre del Liceu in Barce-

lona, the hamburg state opera and in Gothenburg, Basel and amsterdam, and recently, he made his successful debut in the title role of Parsifal at the 2008 richard wagner festival in wels, austria. treleaven has achieved particular success touring internationally as sieg-fried in Siegfried and Götterdämmerung, including performances in tokyo, Zurich, helsinki and Barcelona as well as at the vienna state opera, the Lyric opera of chicago with sir andrew davis and, recently, at the royal opera house, covent Garden in London with antonio pappano and Keith warner where he performed siegfried in the Ring cycle. treleaven studied in London at the college of music with william Lloyd webber; at the London opera centre, covent Garden; and in Naples under maestro campanino. at first, he sang primarily in his home country at the royal opera house, the welsh National opera, the scottish National opera and the English National opera. at the Edin-burgh festival, he sang in The Bartered Bride, Aida, Der fliegende Holländer, Fidelio and Oedipus Rex.

JEpsoN trELEavENm

oN

iKa

wEr

Nic

KE

Blue Cross Blue Shield of Michigan is a nonprofit corporation and independent licensee of the Blue Cross and Blue Shield Association.

We’re called the Blues... but we like the classics too.

Blue Cross Blue Shield of Michigan supports the arts and the Detroit Symphony Orchestra.bcbsm. com


Symphony no. 1 in C minor, Op. 11fELix mENdELssohNB. feb. 3, 1809 in hamburg, Germanyd. Nov. 4 1847 in Leipzig, Germany

First performed on November 14,1824 in Berlin.

Scored for two flutes, two oboes, two clarinets, two bassoons, two

horns, two trumpets, timpani and strings. (Approx. 32 mins.)

Felix Mendelssohn was born in Hamburg on February 3, 1809, the son of a banker, Abraham Mendelssohn, and the grand-son of the philosopher Moses Mendelssohn. Felix was the second of four children, the eldest being Fanny, herself a composer, conduc-tor and pianist. When Hamburg was occupied by the French army under napoleon in 1811, the Mendelssohn family left the city for Berlin. There, Mendelssohn was tutored by karl Ludwig Heyse, father of the novelist Paul Heyse, and his general educa-tion advanced rapidly. By 1821, he was reading Caesar and Ovid and studying history, geography, arithmetic and French. From 1817, he studied music with Carl Zelter, a friend of Goethe, and in 1821, Zelter took Mendelssohn to Weimar to visit the great poet who was then 72. in 1819, Mendelssohn began studies on the violin with the court violinist C.W. Henning and, with his sister Fanny, attended the Friday rehears-als of the Berlin Singakademie. in May 1829, Mendelssohn famously conducted the Berlin Singakad-emie in a performance of Bach’s St. Matthew Passion, starting the so-called Bach revival of which he was such an important leader. mendelssohn’s first dated composi-tions come from 1820. as a teenager, he was a prolific composer and wrote 12 string symphonies between 1821 and 1823. at the age of 15, in march 1824, he completed his first symphony for an orchestra that included woodwinds and percussion, his symphony No.1 in c

minor, op.11. this is certainly a remark-able work for such a young composer. But one should remember that his slightly older contemporary, franz schu-bert (1797-1828), had begun composing songs in 1812, also at the age of 15, and just three years later wrote his extraordi-nary setting of Goethe’s narrative poem Erlkönig. the 1820s were, to say the least, an extraordinary decade in the history of the symphony. first and foremost, Beethoven completed his symphony No.9 early in 1824, and the “choral” symphony was premiered on may 7 of that same year. franz schubert’s two masterworks of the genre, the B minor “unfinished” symphony and the “Great” c major symphony, were both composed in the 1820s, though neither was performed until after schubert’s death. and hector Berlioz’ Symphonie Fantas-tique, the first programmatic symphony, was composed and premiered in 1830. mendelssohn’s symphony No.1 was first performed in Berlin in 1824 and Leipzig in 1827. mendelssohn himself conducted the work in London on may 25,1829 during the composer’s first visit to England. in this performance, mendelssohn substituted the third move-ment of the symphony with an arrange-ment of the scherzo from his remarkable octet (1825), though later performances restored the original movement. the autographed manuscript was presented by the composer to the philharmonic society in London, and the work was dedicated to the society when it was published in 1831. the symphony No.1 is a departure from the “conservative” style more remi-niscent of the late eighteenth century found in the string symphonies. an immediate impression of the first move-ment is that of an opera overture contain-ing dramatic elements and sudden changes of mood that would characterize later works by composers such as carl maria von weber. one can also hear elements of symphonic style and material growing out of mendelssohn’s knowledge of mozart – the opening of the finale has more than a passing resemblance to the last movement of mozart’s G minor symphony, K.550. mendelssohn’s assimilation of the later symphonic style of haydn (especially the “London” symphonies) and mozart (espe-cially the last three symphonies in E flat, G minor and c major), can be heard in

this work. Nevertheless, mendelssohn’s own individual identity as a composer comes through with the brilliant orches-tral style that would characterize many of his later symphonic works. the dso last performed mendelssohn’s symphony No. 1 in November and december, 1990 with raymond Leppard conducting.


mendelssohn, symphony No. 1: rein-hard seifried conducting the National symphony of ireland, Naxos 8550957.

Das Lied von der Erde (The Song of the Earth)Gustav mahLErB. July 7, 1860 in Kalischt (now Kalište),

Bohemiad. may 18, 1911 in vienna, austria

Premiered on November 20, 1911 in Munich with the Konzertverein Orchestra conducted by Bruno Walter, with Sara Jane Cahier (contralto)

and William Miller (tenor). (Approx. 65 mins.)

Scored for piccolo, three flutes, three oboes (the third doubling on English horn), three clarinets, E-flat clarinet, bass clarinet, three bassoons (the third doubling on contrabassoon), four horns, three trumpets, three trombones, bass tuba, percussion (timpani, bass drum, cymbals, triangle, tambourine, tam-tam, glockenspiel), celesta, two harps, mandolin, strings, solo tenor voice and solo contralto (or baritone) voice.

With Das Lied von der Erde, Mahler began a trilogy of works that can be seen as the end of an era in symphonic composition. The three works — Das Lied von der Erde, Symphony no. 9 and Symphony no. 10 (which was in a complete draft at the time of Mahler’s death, and was much later completed by renowned musicologist Deryck Cooke) — pres-ent an extraordinary artistic state-ment as a most personal expression of death and its anticipation and effect on the artist’s psyche. Stylisti-cally, they mark a break from the optimism of the texts of his Eighth

proGram NotEs


Symphony (the hymn Veni Creator Spiritus and the closing scene of Goethe’s Faust), and the influence of Beethoven in terms of larger symphonic structure and formal balance. 1907 was a year of crisis and turmoil for mahler. in the summer of 1907, his daughters anna and maria both became gravely ill, and though anna soon recov-ered, maria died on July 12 from a combi-nation of diphtheria and scarlet fever. at the same time, his mother-in-law suffered a heart attack. alma, mahler’s wife, was found to have sustained heart damage from the strain, and mahler himself was diagnosed with a severe heart condition. from this point on, mahler viewed himself as in the condi-tion of dying, a condition that reflects on the choice of texts in Das Lied von der Erde, first in terms of a retrospective, and then as a prolonged farewell in the final movement. despite these tragic circumstances, mahler went ahead with his engage-ments with the metropolitan opera in New york (a contract he had signed in early 1907). he would return to his home-land, austria, in the summer months to fulfill conducting engagements, but he spent most of his time in a summer villa in the tyrol mountains, an environ-ment that mahler found ideally suited to composition. for Das Lied von der Erde, mahler chose seven texts (the last movement is a setting of two poems separated by an orchestral interlude) from a much larger volume of 83 1000 year-old chinese poems in a German rendering by hans Bethge. Bethge’s collection, titled The Chinese Flute, was a gift to mahler from theobald pollak. mahler further reworked his chosen texts for the work. in this piece, he took the genre of the orchestral song, the orchestral song cycle and the symphonies in which he included text (Nos. 2, 3, 4 and 8), acknowledging the six-movement work as a symphony where each of the move-ments comprised a setting for solo voice. deryck cooke wrote the following about the work in his book Gustav Mahler: An Introduction to his Music (cambridge, 1988): “there are several layers of feeling in The Song of the Earth, which some-times appear separately and often fuse together inextricably. there is the loneli-ness mentioned in the letter to Bruno

walter, which dominates the second movement and the three ‘recitatives’ in the finale; also the sensuous hedonistic ecstasy of living, pervasive throughout, and especially prominent in the orches-tral central section of the first move-ment, in the fifth movement and in the passage leading up to the funeral march in the finale. again we find a wistful and half-amused delight in remembered friendship and beauty, particularly in the third movement and the fourth; then a sense of the infinite sadness of mortality, again pervasive throughout, notably in the quieter parts of the first movement and finale; and at one point – the hysteri-cal passage about the ape in the first movement – there is the sheer horror that was to break out with full violence in the Ninth symphony. finally, at the very end, there is the naked fusion of sadness and ecstasy, which is fundamental to the whole work: despite the almost unbear-

able poignancy of the coda, it is at the same time a passionate praise of earthly life in all its overpowering beauty. music is unique amongst the arts in being able to express several conflicting emotions at the same time, and of no work is this more true than of The Song of the Earth.” the dso last performed mahler’s Das Lied von der Erde in may 2002 with Neeme Järvi conducting.


mahler, Das Lied von der Erde: christa Ludwig, mezzo-soprano, fritz wunder-lich, tenor, otto Klemperer conducting the New philharmonia orchestra of London, Emi 66944.

Program Notes by David Kidger, Associate Professor of Musicology, Department of Music, Theatre and Dance, Oakland University.

YOUNG PEOPLE’S CONCERTSWITH THE DSOBEETHOVEN LIVES UPSTAIRSSat., Feb. 14 at 11 a.m.Kayoko Dan, conductor

The Henry Ford II Fund

TINY TOTS CONCERTS (AGES 3-6)CLASSICAL TINY TOTSSat., Feb. 14 at 10 a.m.

YOUNG PEOPLE’S CONCERTSWITH THE DSOTHE BEAT GOES ON: DANCES AND LEGACIESSat., Mar. 21 at 11 a.m.Thomas Wilkins, conductor

The Henry Ford II Fund

TINY TOTS CONCERTS (AGES 3-6)IMAGINARY HOMELANDSat., Mar. 21 at 10 a.m.

Don’t Miss These Great Family Concerts!



profiLEs

Classical Mystery Tour:A Tribute to the Beatles

thursday, february 12 at 10:45 a.m. and 8 p.m.friday, february 13 at 8:30 p.m.

saturday, february 14 at 8:30 p.m. sunday, february 15 at 3 p.m.

Martin Herman, conductorClassical Mystery Tour:

Jim Owen, rhythm guitar, piano and vocalsTony kishman, bass guitar, piano and vocals

Tom Teeley, lead guitar and vocalsChris Camilleri, drums and vocals

the following selections will be performed. the order will be announced from the stage.

Beatles medley overture a day in the Lifeall you Need is Lovecome togetherEleanor rigbyGot to Get you into my LifeGolden slumbersGood Nighthere comes the suni am the walrusi saw her standing thereimagineLive and Let diemagical mystery tourob-la-di, ob-la-dapenny Lanesgt pepper/Little help from my friendsshe Loves youthe Long and winding roadwhile my Guitar Gently weepsyellow submarineyesterday

there will be one 20-minute intermission.

for more information about classical mystery tour, please visit www.classicalmysterytour.com

Martin Herman a resident of Los angeles, martin herman was educated at duke univer-sity, the university of pennsylvania, the university of califor-nia at Berkeley and stanford university. he also spent two years in paris on a fulbright Grant where he worked as a composer and conductor with the “New american music in Europe” and “american music week” festivals. in addition to his conducting career, herman is an active composer and arranger. he has received fellowships and grants from the american music center, the camargo foundation, meet the composer, trust for mutual under-standing and the National Endowment for the arts. he has written chamber and orchestral works as well as two operas. he is recorded on the albany record label. as a long time Beatle fan, martin is pleased to have provided the orchestral transcriptions heard on the Classical Mystery Tour. recent guest conducting engage-ments include the Louisville symphony orchestra, the san diego symphony, the New Jersey symphony, the Kansas city symphony, the fort worth symphony, the Buffalo philharmonic, the virginia symphony, the delaware symphony, the alabama symphony, the omaha symphony and the philharmonia cham-ber orchestra in prague.

Classical Mystery Tour starting with their first show at the orange county performing arts center in Los angeles, Classical Mystery Tour has been a hit with both critics and fans alike. the four musicians that make up the band look and sound just like the Beatles, but Classical Mystery Tour is more than just a rock concert. Led by martin herman, the group features Jim owen (John Lennon) on rhythm guitar, piano and vocals; tony Kishman (paul mccartney) on bass guitar, piano and vocals; tom teeley (George harrison) on lead guitar and vocals; and chris camilleri (ringo starr) on drums and vocals.

pops sEriEs



hErmaN


cLassicaL mystEry tour

BUILDERS, RESTORATIONS,EXPERT ASSESSMENT

LARGE COLLECTION OF QUALITYSTRINGED INSTRUMENTS & BOWS

QUALITY RENTALS, ACCESSORIES& MUSIC LIBRARY

WWW.PSARIANOSVIOLINS.COM [email protected]

79 E. MAPLE, TROY, MI 48083TEL 248.689.8424 | FAX 248.689.6162

HOURS BY APPOINTMENT AT: 157 EAST HOOVER, ANN ARBOR, MI 48104TEL 734.761-8423 | FAX 734.761.8450

24 HOUR MAIL ORDER & MESSAGETOLL FREE: 1-800-697-VIOL

Peter and Laurie PsarianosPeter and Laurie Psarianos

Jim owen began studying piano at age 6 and was 8 when he first heard the Beatles. it was then he decided to take up the study of guitar. his first professional performance as a Beatle was at age 16. at 18, he began touring internationally with various productions of Beatlemania. starting in 1979, tony Kishman played bass and guitar for six years as paul mccartney in both the national and international tours of Beatlemania. afterwards, he went on to perform in Legends in Concert and produced shows that ran in Las vegas and Lake tahoe. tom teeley has starred as George harrison in both the Broadway produc-tion of Beatlemania as well as the film version. his vocal impersonations of numerous other rock icons have also been featured in television ads as well as other Broadway productions. chris camilleri has played drums for a variety of touring artists, including peter Noone (of herman’s hermits fame), Badfinger, micky dolenz, Joe walsh and other Beatles-era bands.

Pops Goes Vegas! Join the DSO March 19-22

for the music that put Sin City on the map…

or vice versa.

www.detroitsymphony.com

Classical Investing.After a lifetime of accumulating assets, it’s time to enjoy what your money can do for you. Come to Smith Barney and we’ll put your wealth to work!

Virginia “Ginny” LundquistFinancial Advisor, Financial Planning Specialist40701 Woodward Avenue, Suite 200Bloomfield Hills, MI 48304(248) 723-1839virginia.a.lundquist@smithbarney.comwww.fa.smithbarney.com/lundquist

INVESTMENT PRODUCTS: NOT FDIC INSURED. NO BANK GUARANTEE. MAY LOSE VALUE. ©2008 Citigroup Global Markets Inc. Member SIPC. Securities are offered through Citigroup Global Markets Inc. Smith Barney is a division and service mark of Citigroup Global Markets Inc. and its affi liates and is used and registered throughout the world. Citi and Citi with Arc Design are trademarks and service marks of Citigroup Inc. and its affi liates, and are used and registered throughout the world. Working WealthSM is a service mark of Citigroup Global Markets Inc. Citigroup Global Markets Inc. and Citibank are affi liated companies under the common control of Citigroup Inc.

25330 Smith BarneyFarrington & Favia Job No.: 206 Size: 45/8’ x 413/16’’Description: Classical Investing.…LundquistJuly08/SmithBarney/25330-Z-017/15/08 kk/jn Proof 5 4 3 2


profiLEsRafael Frühbeck de Burgos Born in Burgos, spain, rafael frühbeck de Burgos is currently chief conductor and artistic director of the dresden philhar-monic. previously, he served as general music director of the rundfunkorchester (radio orchestra) Berlin, principal guest conductor of the National symphony orchestra in washington, d.c. and music director of the deutsche oper Berlin, vienna symphony, orchestra sinfonica Nazi-onale della rai turin, Bilbao orchestra, National symphony orchestra of spain, the düsseldorfer symphoniker and the montreal symphony. for many seasons, he was also principal guest conductor of the yomiuri Nippon symphony orchestra in tokyo. during the 2008-09 season, maestro frühbeck will appear with major orches-tras across North america including the New york philharmonic; the philadelphia orchestra; the Los angeles philhar-monic; and the symphony orchestras of Boston, pittsburgh, cincinnati and puerto rico. he will also return to tanglewood in august 2009. he is a regular guest conductor with most of the major European ensembles, including the London philharmonia; the Berlin, munich and hamburg philhar-monic orchestras; the German radio orchestras; and the vienna symphony. he has also conducted the israel philharmonic and the major Japanese orchestras. since 1975, frühbeck has been a member of the royal academy of fine arts of san fernando. he has been honoured with the Gold medal of the city of vienna, the Bundesverdienstkreutz of the republic of austria and Germany, the Gold medal from the Gustav mahler international society and the Jacinto Guerrero prize, spain’s most important musical award, conferred in 1997 by the Queen of spain. in 1998, he received the appointment of “Emeritus conductor” by the spanish National orchestra. maestro frühbeck has recorded exten-sively for Emi, decca, deutsche Gramo-phone, spanish columbia and orfeo.

frühBEcK dE BurGos



favorites series sponsor

classical seriesBeethoven & Strauss

thursday, february 19 at 8 p.m. friday, february 20 at 10:45 a.m.

saturday, february 21 at 8:30 p.m.

Rafael Frühbeck de Burgos, conductor Horacio Gutiérrez, piano

Ludwig van Beethoven piano concerto No. 4 in G major, op. 58 (1770-1827) allegro moderato andante con moto rondo: vivace Horacio Gutiérrez, piano

In t er mIssIon

Richard Strauss Ein Heldenleben, op. 40 (1864-1949)

all evening performances will be preceded by ford concertalks featuring guest speaker charles Greenwell. concertalks begin one hour prior to performance time.

steinway & sons is the official piano of the detroit symphony orchestra and is available in michigan exclusively at the steinway piano Gallery of detroit. for more information, please visit www.steinwaydetroit.com.



Leonard Slatkin returns in April for two more concert series:

Slatkin & Boisvert April 2-4

Slatkin & Mahler April 23-25


Horacio Gutiérrez pianist horacio Gutiérrez is praised by critics and audiences alike for the poetic insight and technical mastery he

brings to a diverse repertoire. since his professional debut in 1970 with Zubin mehta and the Los angeles philhar-monic, Gutiérrez has appeared regularly with the world’s greatest orchestras

and on major recital series. Gutiérrez has given recitals at amster-dam’s concertgebouw, Berlin’s philhar-monie, New york’s carnegie hall and avery fisher hall, as well as in Los ange-les, Boston, chicago, san francisco and cleveland. Last season, he performed with the cleveland orchestra and toured with them in addition to appearing with the san francisco, seattle, utah, pitts-burgh and san diego symphony orches-tras. this season, he performs with the dallas, milwaukee, atlanta and oregon symphony orchestras, among others. future engagements include a European tour, appearances with the philadelphia orchestra and the st. Louis and seattle symphony orchestras. a favorite of New york concertgoers, Gutiérrez has performed on numerous occasions at Lincoln center and carn-egie hall in recital and with orchestra. he has been a frequent soloist at the mostly mozart festival and has appeared on its season-opening “Live from Lincoln center” telecast. Gutiérrez is a strong advocate of contemporary american composers. of special importance were his perfor-mances of william schuman’s piano concerto in honor of the composer’s 75th birthday and of andré previn’s piano concerto with the New york philhar-monic with previn conducting. Born in havana, cuba, horacio Gutiér-rez appeared at age 11 as soloist with the havana symphony. he became an american citizen in 1967. in 1982, he was the recipient of the avery fisher prize. a graduate of the Juilliard school, he is married to pianist patricia asher and resides in New york city.

GutiÉrrEZ

Ad #7 — DSO Performance Magazine First Proof of Ad Due: 12/22Ad due to DSO: 01/05 Size: Half Page Island (4 5/8 x 7 7/16”) Color: 4 color Ad Runs: 1/22-3/08 File Type: PDF

New York PhilharmonicLorin Maazel conductorSAT, MAR 7 | 8 PMSUN, MAR 8 | 7 PMHill Auditorium

The New York Philharmonic Weekend is sponsored by Brian and Mary Campbell.The Saturday performance is sponsored by

The Saturday performance is hosted by MainStreet Ventures.

20 09UMSWinter l Spring 130th UMS Season

P R O G R AM S AT Mendelssohn A Midsummer Night’s Dream OvertureSchumann Symphony No. 4 in d minor, Op. 120Mussorgsky Pictures at an Exhibition, arr. RavelP R O G R AM S U N Berlioz Roman Carnival OvertureTchaikovsky Suite No. 3 in G Major, Op. 55Stravinsky The Rite of Spring

Funded in part by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.Media Sponsors Detroit Jewish News, WGTE 91.3 FM and Observer & Eccentric Newspapers.

Call or Click For Tickets!

734.764.2538 | www.ums.org |

Reach Metro Detroit’s Best AudiencesAdvertise in our program guides

for the Detroit Symphony Orchestra and Detroit Opera House!

Call (248) 582-9690 or visit www.echopublications.com


Piano Concerto no. 4 in G major, Op. 58 LudwiG vaN BEEthovEN B. dec. 17, 1770 (baptized) in Bonn, Germanyd. march 26, 1827 in vienna, austria

Premiered at the Theater an der Wien on December 22, 1808, with Beethoven at the piano (his last appear-ance as soloist with an

orchestra).

Scored for solo piano, flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. (Approx. 34 mins.)

One of several works dedicated to Beethoven’s patron, student and friend, the Archduke Randolph, this concerto was written to be performed at a concert the composer had organized for his own benefit (although Beethoven would reap very little profit). Other works on the massive program were the Fifth and Sixth Symphonies, selections from the Mass in C major, the concert aria “Ah! Perfido” and, as a grand finale, the unusual Choral Fantasy for piano, orchestra and chorus. By most accounts, the concert was an extraordinary affair, although not without its problems. Not only did the event last for more than four hours in a theater that was said to have been bitterly cold, but the musicians suffered from both inadequate rehearsal time and from Beethoven’s temper. the composer ferdinand ries later described Beethoven’s response to a rather egre-gious error that occurred during the last piece: “[he] leaped up in a fury, turned around and abused the orchestra players in the coarsest terms and so loudly that he could be heard throughout the audito-rium. finally, he shouted ‘from the begin-ning!’ the theme began again, everyone came in properly, and the success was great.” fortunately, Beethoven’s earlier turn at the piano was far less eventful, although the G major piano concerto was sure to have raised a few eyebrows. instead of beginning with a conventional orchestral tutti, the piece opens with a simple

statement of the main theme played by the solo piano after which the orchestra enters, albeit in a different key. from this point on, the movement follows estab-lished formal conventions, although its tonal plan features a number of irregularities. in addition, the movement ends with both the piano and orchestra playing together, a strategy that the composer had used only once before. in Beethoven’s piano concerti, the slow movements typically convey a sense of hymn-like serenity. in this case, however, the piano responds with gentle pleading to the rather angry state-ments of the orchestra, resulting in an impassioned dialogue that has led some commentators to suggest that this move-ment is meant to depict orpheus taming the furies through song (although there is no historical evidence to support this interpretation). the concluding rondo, lyrical and witty, introduces both the trumpets and timpani for the first time in the piece. this movement also makes use of a divided viola section, creating a particularly lush sound and offering yet another example of the way in which this concerto departs from the conventions of its day. the dso last performed Beethoven’s piano concerto No. 4 in march and april, 2006 with Lawrence renes conducting and andrew von oeyen on piano.


Beethoven, piano concerto No. 4: vladimir ashkenazy, piano, sir Georg solti conducting the chicago symphony orchestra, decca 443723.

Notes by Stephanie Heriger, Ph.D. candidate in musicology at the University of Michigan School of Music, Theatre & Dance

Ein Heldenleben [A Hero’s Life], Op. 40 richard strauss B. June 11, 1864 in munich, Germany d. sept. 8, 1949 in Garmisch, Germany

Premiered on March 3, 1899 in Frankfurt with the composer conducting.

Scored for piccolo, three flutes, four

oboes (4th doubling English horn), two

clarinets, E-flat clarinet, bass clarinet, three bassoons, contrabassoon, eight horns, five trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, small military drum, tenor drum), two harps and strings. (Approx. 46 mins.)

Richard Strauss began composing Ein Heldenleben in 1897 at the same time he was working on another tone poem, Don Quixote. in these two compositions, Strauss depicts opposites — the hero and its parody. While Cervantes’ tale provided Strauss with the model buffoon with heroic pretensions, the composer is famously to have looked to himself for inspiration in composing Ein Heldenleben. While many critics hear more than a bit of egotistical self-description in the work, Strauss later disavowed his autobiographical claims as a jest (although there are musical reasons to believe other-wise; see below). He even made light of his pretensions to heroism. As Strauss explained to his friend, writer Romain Rolland: “i am not a hero. i haven’t got the necessary strength; i am not cut out for battle; i prefer to withdraw, to be quiet, to have peace.” Such humility aside, Strauss was often headstrong, but this self-confidence was equal to his musical talent. Heldenleben is a culmination of Strauss’ early period of orchestral writing and remains a brilliant illustration of the compos-er’s ability. Any doubters not swayed by these performances should catch Strauss’ exquisite Four Last Songs, conveniently programmed at the end of this year’s DSO season. while he originally gave each of Heldenleben’s six subsections descrip-tive titles, strauss later requested they be forgotten. Nevertheless, it remains both common and useful to refer to these descriptions in identifying the parts of the work. the composition begins appropriately enough with a section titled Der Held, “the hero,” with all of the attendant thematic repetition and fanfare required. for those interested in following the themes of the work (often a nice way to listen to strauss), the open-ing melody played by the full orchestra intones the protagonist’s theme. some

proGram NotEs


claim that this theme recalls another heroic theme in the key of E-flat, that of Beethoven’s Eroica symphony. after taking the listener on a delightful panorama of thematic ingenuity, the first section comes to what appears to be a final cadence. yet this chord never resolves, and we realize that the hero has unfinished business to attend to. the barrier to this resolution is soon introduced by the woodwinds, and with insect-like precision we meet “the hero’s adversaries.” Listen as well to the soft lower brass theme that seems to represent the hero sizing up his enemies; this theme returns throughout the work. in the third section of the work, the opening theme emerges and pulls the listener out of the somber and dark world of opposition. mixing celestial and playful passages on the solo violin, accompanied in the style of an operatic recitative, we meet “the hero’s companion” (often thought to represent the composer’s wife). while our hero might wish to remain with his beloved,

trumpets call him to fight, and with the percussion blazing ahead, we witness “the hero at Battle.” musical war ensues with the percussion featured throughout. Eventually the recapitulation of the open-ing theme informs us that the hero is victorious! had strauss skipped here to the last section, there would be little reason to criticize this work as self-aggrandizing. But instead we have a section titled “the hero’s works of peace” in which strauss recalls virtually all of the themes from his most important musical works to date (beginning with Don Juan and including Till Eulenspiegel’s Merry Pranks, Macbeth, Also Sprach Zarathustra and Don Quixote, among others). the last section, “the hero’s retire-ment…” revisits various moments in the hero’s life, repeating many of the themes heard so far. as the music slows and fades, we realize that the hero has earned a peaceful retreat with his companion, the solo violin, by his side, and after one final climax, the work and the hero’s story come to a close.

the dso last performed strauss’ Ein Heldenleben in october, 2003 with Neeme Järvi conducting.


strauss, Ein heldenleben: fritz reiner conducting the chicago symphony orchestra, rca 61389.

Note by Philip Duker, Visiting Lecturer in Music Theory at the University of Michi-gan School of Music, Theatre & Dance

Butzel Long attorneys and staff are proud to support the organizations and institutions that enhance our community and enrich our lives. This commitment to service continues a legacy established over 150 years ago and which we are proud to carry into the future.

A Commitment to the Community and the Organizations that Enrich Our Lives

Ann Arbor Bloomfield Hills Boca Raton Detroit Holland Lansing New York Palm Beach Washington D.C.

Alliance Offices Beijing Shanghai Mexico City Monterrey Member Lex Mundi 313 225 7000 www.butzel.com

the Detroit symphony orchestra gratefully

acknowledges strategic staffing solutions

for their long-standing support and partnership.

thank you!


PARADISE JAZZ SERIES

WITH BILL CHARLAP, RAVI COLTRANE, PETER BERNSTEIN, NICHOLAS PEYTON,

STEVE WILSON, PETER WASHINGTONAND LEWIS NASHFri., Mar. 13 at 8 p.m.

Come celebrate the 70-year heritage of the premier label in jazz…Blue Note Records. It’s an amazing all-star band

comprised of the world’s greatest jazz musicians. Don’t miss this once-in-a-lifetime chance to hear the best performers in the

genre onstage all in the same night.

BLUE NOTE ANNIVERSARY TOUR


profiLEs

Paradise Jazz Series

John Scofield

friday, february 20 at 8 p.m.

John Scofield, guitarWilliam Stewart, drumsMatthew Penman, bass

Program to be announced from stage.

The DSO does not appear on this program.

John Scofi eld John scofield is considered one of the “big three” of current jazz guitarists along with pat metheny and Bill frisell. his influence began in the late 70’s and is still going strong today. Known for his distinctive sound and stylistic diversity, scofield is a masterful jazz improviser whose music generally falls somewhere between post-bop, funk-edged jazz and r & B. Born in ohio and raised in suburban connecticut, scofield was inspired by both rock and blues players. he took up the guitar at age 11 and later attended Berklee college of music in Boston. after a debut recording with Gerry mulligan and chet Baker, scofield was a member of the Billy cobham-George duke band for two years. in 1977, he recorded with charles mingus and joined the Gary Burton quartet. he began his international career as a bandleader and recording artist in 1978. from 1982-85, scofield toured and recorded with miles davis. his davis stint placed him firmly in the foreground of jazz consciousness as a player and composer. since that time, scofield has promi-nently led his own groups in the interna-tional jazz scene, recorded more than 30 albums as a leader including collabora-tions with contemporary favorites such as pat metheny, charlie haden, Eddie harris, medeski, martin & wood, Govern-ment mule, Jack deJohnette, Joe Lovano and phil Lesh. in addition, he has played and recorded with tony williams, Jim hall, ron carter, herbie hancock, Joe henderson and many other jazz legends. throughout his career, scofield has punctuated his traditional jazz offerings with funk-oriented electric music. touring the world approximately 200 days per year with his own groups, scofield is also an adjunct professor of music at New york university, as well as a husband and father of two.



please join us for a free Civic Jazz LiVE! Concert

before the John scofield performance featuring Jazz Band ii, fri., feb. 20 at 6:30 p.m. in the music Box.

scofiELd


C

M

Y

CM

MY

CY

CMY

K

SPG102108AD.pdf 10/22/08 7:18:39 PM


profiLEs

world music series

Direct from the Republic of Chinanational Acrobats of China

Tian Zichun and Jianguo Yao, Directors

sunday, february 22 at 3 p.m.

proGramSpinning Platesperformers: Zhang Jianan, xiao Jingwen, Guo cui, Guo yuze, meng yan, meng Na, yang fuli, xue muyuan, fan xiaoli, Ju wenwen, Li xiaoli, chen Ke, Zhu LinThirteen female acrobats use their skills to spin plates on two iron sticks, performing different tricks with accompanying dance.

Hoop Divingacrobats: dong Jie, wang senlin, xue Jun, Gao Zhonglong, Gao Zhongxin, Zhao Jinlong, Li tao, yin xiaolong, yin yupeng, xia Bin, Zhao xin, Zhang wei, Zhang LeiTwelve male acrobats jump, dive and tumble through hoops on a table with dynamic speed and rhythm.

Diabloperformers: Zhang Jianan, Guo cui, Guo yuze, meng yan, yang fuli, xue muyuan, fan xiaoli, Ju wenwen, meng Na, Zhi yananTen female acrobats in colorful costumes perform with diablos on cords tied with two sticks.

Russian Barperformers: dong Jie, xue Jun, Li tao, Zhang delongTwo male acrobats balance the Russian bar on their shoulders while two acrobats do somersaults and tricks on the bar.

Single Hand Balancingperformer: ye mingzhuA female performer balances her entire body on the strength of one arm while positioned atop a perch.

Grand Acrobatics & Martial Artsacrobats: Entire companyThe Company shares a variety of acrobatic balancing, tumbling movements and pyramids. A special martial arts performer shows off his skills in many different martial arts disciplines.

inTERMiSSiOn

Straw Hats Jugglingperformers: dong Jie, xue Jun, Gao Zhongxin, Zhao Jinlong, Li tao, yin yupeng, xia Bin, Zhao xin, Zhang deLongTen male acrobats give a breathtaking performance by juggling, throwing and catching straw hats, both individually and in groups.

Contortioncontortionist: xue muyuandancers: Zhang Jianan, xiao Jingwen, Guo cui, Guo yuze, meng yan, meng Na, fan xiaoli, Ju wenwen, Li xiaoli, yang fuliA young woman shows off her body’s flexibility while surrounded by dancers in traditional Chinese costumes.

iqarian Acrobaticsperformers: wang senlin, Gao Zhonglong, yin xialong, Zhang wei, Zhang Lei, Zhu yonggei, hu Jiaqi, chen Gang, dong JieMale acrobats tumble and do somersaults on each other’s feet.

Acrobatics of Fiveperformers: Li xiaoli, Zhi yanan, xue muyuan, ye mingzhu, Zhang diFive female performers present varying beautiful images as a group in this piece that shows their contorting and balancing abilities.

Lassoperformers: dong Jie, xue Jun, Gao Zhon-glong, Gao Zhongxin, Zhao Jinlong, Li tao, yin yupeng, xia Bin, Zhao xin, wang senlin, yin xlaolongMale performers exhibit their mastery of ropes in this piece showcasing tricks and feats.

Bicycleperformers: Zhang Jianan, xiao Jingwen, Guo cui, Guo yuze, meng yan, meng Na, fan xiaoli, Ju wenwen, yang fuli, Li xiaoli, chen Ke, Zhu Lin, ye mingzhu, Zhi yanan Zhang di, xue muyuanSixteen female acrobats perform acrobatic tricks and balances on moving bicycles.

Grand Finalefeaturing entire National acrobats of china company

The national Acrobats of China the National acrobats of china troupe was founded in June 1956 and has been one of the most influ-ential acrobatic troupes in the world. the group has taken part in national and international acrobatic competitions and festivals since the 1980s. “dream step dance” and “plate spinning” were awarded Golden prizes at the fourth china National youth acrobatics compe-tition in august 2002. in february 2007, the troupe’s icarian Boys, comprised of 12 performers, won the Golden award (president’s award) at the cirque de demain in paris. in august 2007, “drum Girls,” featuring nine performers, won the silver award at the moscow interna-tional circus festival. the National acrobats of china have made great contributions to the inter-national performing market for chinese acrobats. the troupe has performed in more than 30 countries, including canada, Japan, Norway, sweden, Germany, romania, mongolia, italy, austria, colombia, venezuela, peru, England, france, the united states, singapore, switzerland, spain and portugal. from 1997 to 2007, the troupe toured Europe for an average of seven months each year and performed in more than 100 cities. in early february of 2008, the troupe toured indonesia and gave 36 performances. the troupe’s acts have also been selected to perform in various international circuses as well as on prin-cess cruises. stuttgart winter circus chose the troupe’s “Girls Bicycle stunts” and “plate spinning” in 2000 and 2001, “aerial silk” in 2005 and “icarian Boys” in 2006. the National acrobats of china direc-tors are tian Zichun and yao Jianguo.

thE NatioNaL acroBats of chiNa



The DSO does not appear on this program.

Program subject to change without notice.

Come early and enjoy a pre-concert Chinese Buffet

in The Music Box. Call the Box Office

at (313) 576-5111 for tickets.


The Power of Your Community is right behind you.Every time you turn to DTE Energy to make your life more comfortable,

thousands of your friends and neighbors are right there making it

happen. That’s thousands of Michigan-based DTE Energy workers

providing you with the level of service and dependability you’ve come

to expect for over a century. And we’re also right behind you when it

comes to community support; donating more than seven million dollars

a year to community causes.

T h e P o w e r o f Y o u r C o m m u n i t y e = D T E ®

FND 105 POYC 7.75 x 10.25 10/27/08 4:41 PM Page 1

nicholas kraemer Equally at home in front of modern and period orchestras, Nicholas Kraemer enjoys a busy schedule of engagements worldwide. he currently holds the posi-tions of permanent Guest conductor of the manchester camerata and princi-pal Guest conductor of music of the Baroque, chicago. Kraemer has appeared with Kioi sinfonietta and Ensemble Kanazawa in Japan, the Berlin philharmonic, rotterdam phil-harmonic, st. paul chamber orchestra, Bournemouth symphony orchestra, city of Birmingham symphony orchestra, the orchestra of the age of Enlighten-ment, orquesta sinfonica de sevilla, Birmingham contemporary music Group, London mozart players, the city of London sinfonia and numerous other groups. recent engagements have included performances with the toronto symphony, philharmonia Baroque, BBc National orchestra of wales, the scot-tish chamber orchestra and Northern sinfonia.



profiLEs




KraEmEr

signature series sponsor

classical seriesBaroque Spectacular

thursday, february 26 at 8 p.m. friday, february 27 at 8 p.m. (unmasked performance)

saturday, february 28 at 8:30 p.m.

nicholas kraemer, conductor kimberly kaloyanides kennedy, violin / Hai-xin Wu, violin

George Frideric Handel Water Music (1685-1759) suite No. 1 in f major i. overture vi. air ii. adagio e staccato vii. minuet iii. [No tempo indicated] viii. Bourrée iv. andante ix. hornpipe v. [No tempo indicated] x. [No tempo indicated]

Johann Sebastian Bach concerto for two violins and orchestra (1685-1750) in d minor, Bwv 1043 i. vivace iii. allegro ii. Largo, ma non tanto

Kimberly Kaloyanides Kennedy, violin; Hai-Xin Wu, violin

George Frideric Handel Water Music suite No. 3 in G major i. [No tempo indicated] v. [No tempo indicated] ii. rigaudon vi. [No tempo indicated] iii. [No tempo indicated] vii. [No tempo indicated] iv. menuet

In t er mIssIon

Johann Pachelbel canon in d (1653-1706)

Johann Sebastian Bach Brandenburg concerto No. 1 in f major, Bwv 1046 i. [No tempo indicated] iv. menuetto ii. adagio v. polacca iii. allegro vi. trio

George Frideric Handel Water Music suite No. 2 in d major i. [No tempo indicated] iv. Lentement ii. alla hornpipe v. Bourrée iii. minuet

media sponsor: wwJ 950 am

this series is sponsored in part by a gift from the E. Nakamichi foundation.

Friday Classics unmasked Join cBc radio host tom allen for Baroque spectacular unmasked on fri., feb. 27 at 8 p.m. allen will explore the masterpieces of handel and Bach through conversations with the

guest artists during the concert and in a post-concert Q&a session. unmasked concerts bring you closer to the music.

Repertoire for the Unmasked concert will be the same as the Thur. and Sat. night performances.

aLLEN


opera engagements have taken Kraemer to paris, Lisbon, amsterdam, Geneva and marseilles. recent projects have included The Magic Flute and handel’s Jephtha for the English National opera, Agrippina for theater aachen and L’Incoronazione di Poppea for central city opera, colorado. among Nicholas Kraemer’s recordings are several discs of vivaldi on Naxos; Locatelli, tartini, durante, pergolesi and Leo for hyperion; handel’s Rodelinda for virgin classics; handel oratorio duets on Bis; and works by thea musgrave for collins classics. he has contributed to several feature films, most notably as Baroque music director for The Madness of King George. Kraemer has formed a close relation-ship with El sistema in venezuela where he will oversee the formation of a cham-ber orchestra to complement the simon Bolivar youth orchestra.

kimberly Ann kaloyanides kennedy Kimberly ann Kaloyanides Kennedy began her violin study at the age of 5 in dayton, ohio. she became a member of the detroit symphony orchestra in 1998

at age 22 during her senior year at univer-sity of michigan. she was promoted to associate concert-master in 2004. also during her senior year of college, Kennedy was awarded the

Earle v. moore award in music for outstanding performance. she was a winner of the 1998 university of michigan concerto competition, received first prize in the National round of the 1996 mtNa competition and was a winner in the 1996 Greek women’s National association competition. additionally, she participated in the international 1998 indianapolis violin competition of Joseph Gingold. she performs regularly around the detroit area with various ensembles including the detroit chamber winds & strings and has been featured as soloist with a number of orchestras, including the dso. recently, Kennedy was given the opportunity to perform on a stradi-varius violin that is part of the regular

exhibit at the henry ford museum in dearborn. Kennedy lives in plymouth with her husband, dso horn player Bryan Kennedy; her children, Ethan (6) and Lauren (2); her Golden retriever Zoe; and her cat spurky.

Hai-xin Wu violinist hai-xin wu joined the detroit symphony orchestra violin section in July 1995 and was appointed assistant concertmaster in June 2004. he previ-

ously performed throughout the united states, Europe and his native china. at the age of 12, wu was selected as the violin soloist of the chinese young artists’ group to

tour the former yugoslavia. in may 1995, he made his carnegie hall debut in New york city, performing the paganini violin concerto with the New york concert senior orchestra. wu has been a featured soloist with ensembles includ-ing the pro arte chamber orchestra in its 25th anniversary Gala concert in the Lincoln center’s alice tully hall; the manhattan chamber orchestra on its recording and midwest tour; and Bergen philharmonic (New Jersey). wu has won many competitions including the waldo mayo violin competition, the friends of Bergen philharmonic orchestra competition and the manhattan school of music concerto competition. he was also awarded a special prize in the 2002 Lipizer interna-tional competition. he earned his Bach-elor of music degree from the manhattan school of music as a scholarship student of ariana Bronne. in addition to performing with the dso, wu plays with various chamber groups such as the detroit chamber winds and strings and the cuttime play-ers. from 1998-2001, he was a member of the sonnet string Quartet, the quartet-in-residence at oakland university. he is currently an adjunct faculty member in the wayne state university music department and a violin and chamber music coach for the detroit civic orchestra.

KaLoyaNidEs KENNEdy

wu

proGram NotEsWater MusicGEorGE fridEric haNdELB. feb. 23, 1685 in halle, Germanyd. april 14, 1759 in London, England

Composed in 1717 to accompany the royal water party given by King George I.

Suite no. 1 in F majorScored for two oboes, bassoon, two horns, string orchestra (with soloists) and harpsichord. (Approx. 26 mins.)

Suite no. 2 in D majorScored for two oboes, bassoon, two horns, two trumpets, string orchestra and harpsichord. (Approx. 10 mins.)

Suite no. 3 in G majorScored for flute doubling on piccolo, two oboes, bassoon, string orchestra and harpsichord. (Approx. 9 mins.)

George Frideric Handel’s collec-tion of suites, titled Water Music, was composed soon after the composer arrived in England under the patronage of king George i. The king, recognizing political unrest in his country following a personal dispute with his son, organized a royal water trip along the Thames to be more visible to his subjects. He offered Handel the opportunity to compose music to accompany the trip. The resulting suites are comprised of baroque dances (bour-rées, hornpipes and minuets) as well as overtures, allegros, instrumental arias and choruses. Although grouped into three separate suites, it was only during publication that the movements were organized by key as distinct works. Throughout, Handel sustains an atmosphere of majesty and joviality, reflecting both the power and magnificence of the king. Suite No. 1 opens in the style of a french overture, comprised of a first


section characterized by fast upbeats and slow, duple tempo. the second section is imitative, quick and more contrapuntally complex. this overture connotes the majesty and importance of the King. the following Adagio is a beautiful oboe lament in d minor which contrasts with the celebratory atmosphere of the first movement. the horns are featured in the next allegro which creates an air of grandeur in the expansive orchestration. the final move-ment is a musical dialogue between the winds and strings. oboes and bassoon introduce a theme soon taken up by the strings and then passed between the two sections, culminating in a full tutti. Suite No. 2 in d major calls for larger orchestral forces than the first suite as handel adds trumpets to his orchestra-tion. the opening two movements are perhaps the most famous of all the Water Music. the first begins with a trumpet call. then, the composer juxtaposes the timbres of his different instruments featuring one section at a time. the

second movement features the trumpets and horns in conversation with the strings in the style of a hornpipe. Suite No. 3 in G major begins with a sara-bande, a slow triple time baroque dance with rhythmic emphasis on the second beat. movements iv, v and vi are in G minor; the second minuet (movement v) features the piccolo flute as does move-ment vi. the somber feeling of minor soon gives way to a final dance move-ment characterized by dotted rhythms which ends joyously in G major. the dso last performed handel’s Water Music as follows: suite No. 1 — september 1977 with ulf Björlin conduct-ing; suite No. 2 — august 2006 with Edwin outwater conducting; suite No. 3 — august 2002 with Nicholas mcGegan conducting.


handel, Water Music: charles macker-ras conducting the orchestra of st. Luke’s, telarc 80279.

Notes by Alison Clark DeSimone, graduate student in musicology at the University of Michigan School of Music, Theatre & Dance

Concerto for Two Violins and Orchestra in D minor, BWV 1043JohaNN sEBastiaN BachB. march 21, 1685 in Eisenach, Germanyd. July 28, 1750 in Leipzig, Germany

Composed between 1730–1731 in Leipzig, Germany.

Scored for two violin soloists, string orches-tra and harpsichord.

(Approx. 16 mins.)

Bach’s famous Concerto for Two Violins, known also as the “Bach Double,” dates from his time in Leipzig, Germany, where he worked as cantor at the Thomasschule as well as director of music for the town. Bach was thus responsible for the music at the four main churches in Leipzig and oversaw the city’s professional musical life, as well as being in charge of all of the music for his pupils at St. Thomas’ Church. Each of these tasks entailed enormous responsibility, and it is

not surprising that Bach’s great-est and most varied output dates from this time. Besides composing church cantatas for every Sunday and church holiday of the year, Bach also collaborated with the Collegium Musicum, an orchestral ensemble associated with the university. it was for this ensemble that the Concerto for Two Violins was composed. the first movement, perhaps its most famous, opens with a memorable theme introduced in full by the orchestra and one of the solo violins. this opening theme is treated as both a ritornello and as a fugue and is passed among the instruments in the orchestra at differ-ent times, sometimes in different but related keys. Listen for the theme as it is passed from the second violins to the first violins, bass and, finally, violas during the opening ritornello. the first solo episode is also imitative between the two solo violins; each instrument switches between melody and counter-melody accompanied by short, partial statements of the opening fugue in the ensemble. Bach often embeds the familiar opening theme in the musical texture, with the virtuoso violins playing spectacular new melodies above. the combination of ritornello structure with fugal motivic treatment shows Bach’s ability at composing complex pieces. the second movement is a slow Largo that features long melodic lines between the solo violins which the orchestra supports with steady rhythms and harmonic movement. although there is almost always constant dialogue between the violins, their conversa-tion sounds free and plaintive as one echoes the other. Long suspensions and contrapuntal sequences lend a distinctly baroque flavor. the final movement is again in ritornello form and features solo violin melodies that include fast sixteenth-note passages, large leaps, double-stops (playing two strings with the bow simultaneously), complex rhythms and extremes of range. the dso last performed Bach’s concerto for two violins in august 2006 with Edwin outwater conducting.


Bach, concerto for two violins: hilary hahn, margaret Batjer, violinists, Jeffrey Kahane conducting the Los angeles chamber orchestra, deutsche Grammo-phon B0000986.

proGram NotEs

Host Your Next Event at the

Max M. Fisher Music Center

The elegant setting ofthe Max M. Fisher MusicCenter suits a variety of

events and performances.Whether it’s a breakfast

meeting for 20, a wedding for 200 or a concert for 2,000,there is a space guaranteed to fit your needs. For more

information on rentals,please call (313) 576-5050.

Rental information isalso available online at

www.detroitsymphony.com.


Canon in DJohaNN pachELBELB. sept. 1, 1653 in Nuremberg, Germanyd. march 9, 1706 in Nuremberg, Germany

There is no record of when Johann Pachel-bel’s famous Canon in D was composed or first performed.

Scored for 3 violins and continuo. (Approx. 5 mins.)

Active in Vienna and his native nuremberg during the latter part of the 17th century, Johann Pachelbel was second only to his contem-porary Dietrich Buxtehude as the leading German organist-composer of his day. Most of his compositions are choral works or organ pieces, but Pachelbel also wrote some suites and other works for string orchestra. While these are pleasing and well-crafted compositions, none has found such favor with modern listeners as his Canon in D major, a work that has enjoyed exceptional popularity in recent decades. pachelbel cast this music in the form of a passacaglia — a continuous series of melodic ideas played as counterpoint to a “ground,” a recurring bass line assigned here to the cello/bass part. the latter figure, which is both literally and figuratively the foundation of the composition, appears unadorned in the work’s opening measures. But with each repetition of the “ground,” the violins add melodic lines that form a kind of contra-puntal embroidery of it. in this there is indeed canonic writing, for the second violin part echoes the first, and the third then echoes the second, in strict imita-tion, producing a kind of elaborate round. the resultant music sounds simpler than this description reads: the brief figure of the bass line circling repeatedly to create a dependable phrase structure, the violins providing sweetly melodious descants above it. the effect is static and beatific, as the best repetitive music can be.


pachelbel, canon in d, Jean françois-paillard conducting the paillard cham-ber orchestra, rca 55307.

Brandenburg Concerto no. 1 in F major, BWV 1046JohaNN sEBastiaN BachB. march 21, 1685 in Eisenach, Germanyd. July 28, 1750 in Leipzig, Germany

Composed before 1721 as a commission from Margrave Christian Ludwig of Brandenburg.

Scored for three oboes, bassoon, two horns and violin accompanied by string orchestra and harpsichord. (Approx. 21 mins.)

Although Johann Sebastian Bach and George Frideric Handel were con-temporaries by birth, their lives could not have been more different. Handel left Germany at a young age to study music composition in italy. His cos-mopolitan lifestyle eventually brought him to England, where he lived until the end of his life, compos-ing italian operas and English orato-rios for the London aristocracy. Bach, having grown up in a large musical family, spent his life in Germany and worked for many courts and churches, producing a substantial musical output including church can-tatas, passions, pieces for organ and harpsichord, as well as orchestral music. Together these composers not only defined baroque style, but invented or refined many of the com-positional tools (harmony, counter-point and form) still used today. Bach’s Brandenburg Concerto No. 1, the first of a set of six orchestral concerti, was composed in 1720 and dedicated to christian Ludwig, margrave of Brandenburg. despite this name, the concerti were conceived for the city of cöthen, Germany where Bach had a prestigious post as Kapellmeister, or director of music, at court. cöthen’s musicians must have been extraordinary since the Brandenburg concertos feature dazzling virtuosity. although each follows the conventions of baroque concerto form, the musical forces required predict later 18th-century devel-opments in orchestral composition. in Brandenburg 1, Bach pits a group of solo instruments (called the concertino) against a larger string ensemble known as the ripieno or tutti. the immense size of the concertino (three oboes, two horns,

bassoon and violin) provides enough sound that Bach was able to combine these groups rather than alternating them, as was necessary in pieces where a smaller concertino’s sound could not compete with the large tutti orchestra. the first and third movements use ritornello form in which an opening musi-cal refrain (the ritornello or “return”) introduces the harmony, melody and atmosphere of the entire movement; later on, this refrain returns several times. Between these statements are episodes in which the soloists offer elaborate vari-ations to showcase their abilities. in the first movement, the oboes and horns often come out of the texture with running lines of sixteenth notes and beautiful suspensions, while the strings (including the violin soloist) respond in a musical dialogue. the somber Adagio that follows highlights the virtuosity of the solo violin and first oboe. the second movement begins with unstable harmo-nies that create a melancholy, unre-solved feeling. for the third movement, Bach creates variety by pairing the solo-ists together – listen for combinations of the solo violin with either the first horn or the first oboe, as well as sections featur-ing the oboe soloists together. while three movements would nor-mally complete a baroque concerto, Bach finishes his first Brandenburg with a live-ly dance suite that includes a minuet, two trios and a polacca. Each of these high-lights a particular section of the orches-tra. the first minuet is scored for the entire ensemble, dropping any distinction between concertino and tutti. trio i is scored for two oboes and bassoon. after a brief return to the minuet, we hear the polacca (a dance in ‘polish style’), played by the entire string section, with charac-teristic fast rhythms in triple meter. again, the minuet is repeated followed by trio ii which features the horns as well as the oboe section imaginatively carrying the bass line. the work closes with anoth-er repeat of the minuet played by the full ensemble and emphasizing both the vir-tuosity of the orchestra and the imagina-tion of the composer. the dso last performed Bach’s Bran-denburg concerto No. 1 in december 2000 with robert King conducting.


Bach, Brandenburg concerto No. 1: Neville marriner conducting the acad-emy of st. martin-in-the-fields, Emi 85792.




profiLEs

preferred series sponsor

classical seriesClassical Roots

please be advised that this weekend’s concerts are being recorded for future commercial release.

friday, march 6 at 8 p.m. saturday, march 7 at 8:30 p.m.

sunday, march 8 at 3 p.m.

Thomas Wilkins, conductor / Janice Chandler-Eteme, sopranoJevetta Steele, mezzo-soprano / kevin Deas, baritoneRackham Symphony Choir, Suzanne Acton, director

Brazeal Dennard Chorale, Augustus Hill, director

James Weldon Johnson “Lift Ev’ry voice and sing” & John Rosamond Johnson Brazeal Dennard Chorale arr. Alvin Parris

William Grant Still symphony No. 1, (1895-1978) Afro-American Symphony Longing: moderato assai sorrow: adagio humor: animato aspiration: lento, con risoluzione

arr. John Work this Little Light o’ mine

arr. Moses Hogan Elijah rock Two songs above performed a cappella

by Brazeal Dennard Chorale

In t er mIssIon

Hannibal Lokumbe Dear Mrs. Parks (b. 1948) Janice Chandler-Eteme, soprano Jevetta Steele, mezzo soprano Kevin Deas, baritone TBD, child soprano Rackham Symphony Choir Brazeal Dennard Chorale Leadership support for meet the composer’s metLife creative connections program is generously provided by metLife foundation. additional support is provided by the amphion foundation, argosy foundation contemporary music fund, Bmi foundation, inc., mary flagler cary charitable trust, aaron copland fund for music, inc., the william & flora hewlett foundation, the James irvine foundation, Jerome foundation, mediathe foundation, National Endowment for the arts, New york city department of cultural affairs, New york state council on the arts, pennsylvania council on the arts and virgil thomson foundation, Ltd.

special thanks to the classical roots steering committee for their efforts in support of this weekend’s concerts and festivities. media sponsor: wwJ 950 am




Thomas Wilkins thomas wilkins is in his ninth season as resident conductor of the detroit symphony orches-tra. wilkins leads the orchestra in classical, jazz, pops, special concerts, young people’s series concerts and educational concerts. Last year, he was honored by the dso with a special award at the eighth annual classical roots Gala for his contributions to classical music and the detroit community and was named principal Guest conductor of the holly-wood Bowl orchestra. since 2005, wilkins has been music director of the omaha symphony. past positions included resident conduc-tor of the florida orchestra in tampa Bay and associate conductor of the richmond symphony in virginia. during his career, he has served on the music faculties of several prestigious ameri-can universities and has been a guest conductor with many of the country’s top orchestras. committed to promoting a life-long enthusiasm for music, wilkins brings energy and commitment to audiences of all ages. he actively participates in the community as a guest speaker and volunteer for local community groups and schools. he has served on the board of directors of such organizations as the center against spouse abuse in tampa Bay, the museum of fine arts and the academy preparatory center for Educa-tion, both in st. petersburg. currently, he serves as chairman of the board for the raymond James charitable Endowment fund. a native of Norfolk, va., wilkins earned a Bachelor of music Education degree from the shenandoah conserva-tory of music and a master of music degree in orchestral conducting from the New England conservatory of music.

Janice Chandler-Eteme Janice chandler-Eteme has long been among america’s foremost lyric sopra-nos, singing an astonishing range of literature with the world’s top orchestras and conductors. Last season, she made her European operatic debut as Bess in

wiLKiNs


Gershwin’s Porgy and Bess at the opera de Lyon following a dallas opera debut as clara in the same opera. in march 2008, she returned to carnegie hall for

the Brahms Requiem with the orchestra of st. Luke’s. chandler-Eteme first gained international prominence as one of robert shaw’s soloists of choice. other distinguished

conductors with whom she collaborates include marin alsop, christoph von dohnányi, charles dutoit, Jo ann fall-etta, claus peter flor, Neal Gittleman, raymond harvey, carlos Kalmar, yakov Kreizberg, raymond Leppard, christof perick, Esa-pekka salonen, alfred savia, robert spano, vladimir spivakov, Edo de waart and hugh wolff. she has appeared with the Los angeles and saint paul chamber orchestras; Boston, NhK (Japan), montreal, vancouver, phoenix, Kansas city and santa rosa

symphonies; Los angeles, hong Kong and rochester philharmonics; and the philadelphia orchestra, among others. festival invitations include Bard, Grant park, aspen, chautauqua, prague autumn and Blossom. chandler-Eteme’s recordings include an inspirational solo disc (Devotions); the dvorák Te Deum with Zdenek macal and the New Jersey symphony; and a forthcoming world-premiere recording of maslanka’s Mass. she holds a B.a. in vocal performance from oakwood college and a m.m. in vocal performance from indiana university. she has studied with virginia Zeani, margaret harshaw and todd duncan.

Jevetta Steele Jevetta steele initially moved from Gary, indiana to the twin cities to become a criminal lawyer, but destiny held a greater plan. in the 1980s, her lead role in the international/national

touring show the Gospel at colonus took her around the world and, finally, to Broadway. steele has enjoyed performing on stages from London to Brazil and from carnegie hall to the

apollo theater in genres including jazz, Gospel, r&B, the classics and opera. she recorded the original sound track for hannibal Lokumbe’s African Portraits on warner classics records with the chicago symphony under the direction of daniel Barenboim and appeared in two of Lokumbe’s other oratorios — God, Mississippi and a Man Called Evers about civil rights leader medgar Evers with the New Jersey symphony and the 2005 world premiere of Dear Mrs. Parks with the dso. steele has won accolades for her theatrical roles in minneapolis produc-tions of Smokey Joe’s Café; Don’t Bother Me… I Can’t Cope; Ain’t Misbehavin’; Black Belts; Bill Of Rights; Point of Revue; Buddy: The Buddy Holly Story; Crown; Double Infidelities and Constant Star…The Ida B. Wells Story. she was also featured in the film and motion picture soundtrack Corrina, Corrina and had a notable performance on the soundtrack of Baghdad Café which featured her academy award-nominated performance

of “calling you.” steele has enjoyed recording and touring with a wide spectrum of artists including prince, mavis staples, George clinton, Natalie merchant, Kirk whalum and the sounds of Blackness. in 2002, steele added playwright to her list of accomplishments with the autobiographical musical titled Two Queens, One Castle. the show opened to rave reviews in minneapolis and contin-ued on to atlanta and washington, d.c. steele’s most recent solo cd of origi-nal and classic jazz selections is titled My Heart.

kevin Deas Lauded for his “burnished sound, clar-ity of diction and sincerity of expression” by the Chicago Tribune, Kevin deas has also been called “exemplary” (Denver Post), “especially fine” (Washington Post) and possessing “a resourceful range of

expression” (The Cincinnati Enquirer). deas is perhaps most acclaimed for his signature portrayal of the title role in Porgy and Bess, having sung it with the New york philharmonic; the

philadelphia orchestra; the National symphony; the st. paul chamber orchestra; the san francisco, atlanta, san diego, utah, houston, Baltimore and montreal symphony orchestras and at the ravinia and saratoga music festivals. in the current season, deas returns to the New york philharmonic in ravel’s L’enfant et les sortilèges under Lorin maazel and sings in the world premiere of derek Bermel’s The Good Life with the pittsburgh symphony under Leonard slatkin. he will also make return appear-ances with the symphonies of atlanta, virginia, winnipeg and modesto as well as the pacific symphony, Boston Baroque, the National philharmonic, the discovery orchestra the winter park festival. a strong proponent of contemporary music, deas was heard at italy’s spoleto festival in a new production of menotti’s Amahl and the Night Visitors in honor of the composer’s 85th birthday which was videotaped for worldwide release. his 20-year collaboration with dave Brubeck

chaNdLEr-EtEmE

stEELEdEas

Save the date for the DSO’s largest

annual fundraiser

A Midsummer Night’s Dream Saturday, June 13, 2009

This memorable event will celebrate the conclusion of a

remarkable season for the DSO.The evening’s concert will be

led by Music Director Leonard Slatkin featuring the orchestra

and special guest vocalist Frederica von Stade in

a program inspired by the works of Shakespeare.

Chaired by:

Marlies CastaingKay Cowger

Linda DresnerDanialle Karmanos


has taken him to salzburg, vienna and moscow in To Hope! Kevin deas’ discography includes Die Meistersinger for decca/London with the chicago symphony, under the late sir Georg solti; varèse’s Ecuatorial with the asKo Ensemble under the baton of riccardo chailly; Bach’s B minor mass and handel’s Acis & Galatea on vox classics; and dave Brubeck’s To Hope! with the cathedral choral society on the telarc label.

Brazeal Dennard Chorale the Brazeal dennard chorale, one of the oldest african-american choral organizations in the country, is in its 36th season of providing enriching performances to satisfy its mission of remembering, preserving and discover-ing the Negro spiritual as a major part of the artistic community. founded in 1972, the Brazeal dennard chorale is a group of highly trained sing-ers dedicated to developing the choral art to its highest professional level. the chorale is deeply committed to the rediscovery and performance of signifi-cant choral works by african-american composers. the chorale’s yearly schedule includes concerts throughout the metropolitan detroit area. these “ambassadors for detroit” also accept numerous invitations to perform, as well as conduct, choral workshops at univer-sities, churches, and notable choral music conventions across the united states. the chorale is especially proud of its role in the development of the clas-sical roots concert series. through these annual concerts with the detroit symphony orchestra, african-american contributions to the classical tradition are brought to life in the performance of works by african-american composers. the Brazeal dennard chorale is committed to continuing its tradition of excellence in choral music and sharing this legacy with audiences everywhere. most recently, the chorale was one of eight choirs voted into the semi-finals of the verizon wireless “how sweet the sound” competition.

Augustus O. Hill augustus o. hill, composer, arranger, and conductor, earned a Bachelor of music in composition and a master of

music in composition and choral conduct-ing from wayne state university, studies at indiana university school of music, and a ph.d. in composition and music theory from the university of

michigan. a former university counselor and administrator, hill taught music theory and conducted the university choral union at wayne state university. his vocal, choral, and instrumental compositions and arrangements include Resurrection, A Gospel Cantata; Psalm 91 for soloists, chorus and orchestra; Songs from Mizraim; Impressions for Carillon; Fix Me, Jesus for mixed chorus; Acclamation for Brass and Timpani; and Exegesis for tenor solo, chorus, and orchestra which was performed at the 2008 Classical Roots concerts. renowned soprano Jessye Norman, the memphis symphony orchestra, the african american sympo-sium 2000 orchestra, the university of michigan symphony Band, cellist anthony Elliott and a variety of additional renowned soloists and prestigious instrumental and choral ensembles have performed hill’s works.

Rackham Symphony Choir rackham symphony choir (rsc) presents musical experiences designed to inspire, heal and celebrate the joy and magic in our lives. as detroit’s oldest choral organization, rsc enhances the cultural richness of the community through its multi-media choral perfor-mances and extensive student outreach programs. under the visionary leadership of suzanne mallare acton, the choir’s goal is to expand its rich tradition of musical performance and to incorporate educational components into each concert using national arts standards as a framework for the development of student activities. the ensemble’s initia-tives include providing direct service to schools and mentoring young artists with a particular emphasis on serving students in underserved districts where

arts programs have been restricted or eliminated. in 2009, an interdisciplinary program that represents the most significant educational initiative in rackham’s 60-year history will launch in schools throughout metro detroit titled, “singing it real! making Learning connections through the reluctant dragon musical presentation.” an artistic fund was established in 2007 to provide promising young singers opportunities to foster their musical growth through stud-ies and participation in professional performances. through this fund, a high school vocal internship program was launched, and internships were awarded to two students for the 2008-09 season.

Suzanne Mallare Acton Known for her “supple, distinctive musical direction,” conductor suzanne mallare acton continues to earn respect and admiration for her performances in

both the concert hall and the opera stage. as long-term chorus master of michigan opera theatre, ms. acton has worked on over 125 operas in 7 different languages. as director of the newly formed mot

children’s chorus, she was instrumental in developing the inaugural 2007-08 season which included michigan’s first-full scale opera performed completely by children. in 1996, ms acton was appointed artistic/music director of rackham symphony choir. under her leadership, the ensemble was a recipient of the 2008 Governor’s awards for arts & culture presented by artserve michigan. in 2007, she launched the choir’s high school internship program funded by the suzanne mallare acton artistic fund which gives talented high school students the opportunity to perform with the choir while receiving professional voice instruction. in addition to her conducting credits, acton has served on the music faculty at florida state university and oakland university and teaches master classes to singers and young conductors. she has been recognized by corp! magazine as one of michigan ’s 95 most powerful women.

hiLL

actoN


proGram NotEs“Lift Ev’ry Voice and Sing”JohN rosamoNd JohNsoN (music)B. aug. 11, 1873 in Jacksonville, fLd. Nov. 11 1954 in New york, Ny

JamEs wELdoN JohNsoN (lyrics)B. June 17, 1871 in Jacksonville, fLd. June 26, 1938 in wiscasset, mE

Premiered February 12, 1900 at the Stanton School, Jacksonville, FL.

Arrangement by Alvin Parris; scored for two flutes, two oboes, three

clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, chimes, orchestra bells and strings. (Approx. 3 mins.)

“Lift Ev’ry Voice and Sing” was first performed for President Abra-ham Lincoln’s birthday on February 12, 1900 by a choir of 500 schoolchil-dren from the segregated Stanton School in Jacksonville Florida, hometown of its sibling creators John Rosamond and James Weldon Johnson. The song quickly gained popularity as a way to protest racism, violence towards African-Americans and discriminatory Jim Crow segre-gation laws. The nAACP adopted the song as “The negro national Anthem” in 1919. Copies could be commonly found in black churches nationwide, often pasted directly into hymnals. “Lift Ev’ry Voice and Sing” regained popularity during the Civil Rights Movement of the 1960s and was entered into the Congressional Record in the 1990s as the official African-American national Hymn, inspired in part by Melba Moore’s hit recording of the song. Graduating from atlanta university in 1894, lyricist James weldon Johnson became the principal at stanton where his mother had taught and he had received his early education. at the same time, he studied for and passed the state’s bar exam, becoming the first african-american lawyer in the state of florida since reconstruction. his younger brother, John rosamond, studied voice and piano at Boston’s New England conservatory, graduating in

1897, and became a successful vaude-ville performer. the two had some early success in songwriting for New york theaters, and in 1902, James resigned his administrative post to join his brother as part of a songwriting team. in his autobiography Along This Way, James describes the emotion of writing “Lift Ev’ry voice”: “i could not keep back the tears, and made no effort to do so,” he recalled; he then said that creating these lyrics was the single greatest satisfaction of his life. the first stanza of the song is a call for hope, liberty and faith through a ring-ing of heaven and earth until “victory is won.” the second stanza invokes images of slavery’s dark and bitter past, only to return to the theme of hope and victory in the final lines. the song concludes with a call for unity and patriotism through spiritual strength. the dso last performed’ “Lift Ev’ry voice and sing” in february 2008.

Note by Mark Clague, Assistant Professor of Musicology, American Culture, and Afro-American and African Studies at the University of Michigan School of Music, Theatre & Dance.

Symphony no. 1, Afro-American SymphonywiLLiam GraNt stiLLB. may 11, 1895 in woodville, msd. dec. 2, 1978 in Los angeles, ca

Premiered by the Rochester Philharmonic conducted by Howard Hanson on October 29, 1931, becoming the first symphony by a black

composer to be performed by a major American orchestra.

Scored for three flutes (one doubling piccolo), two oboes, English horn, three clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, banjo, timpani, percussion, harp, celeste and strings. (Approx. 25 mins.)

Raised in Little Rock, Arkansas and educated at Oberlin College, William Grant Still came of age in new York City during the height of the Harlem Renaissance. Although today the music of this black arts

movement is remembered primarily for the triumph of jazz, black intel-lectuals at first rejected jazz because it perpetuated minstrel stereotypes. A leading jazz artist such as Duke Ellington, for example, initially performed “jungle music” for risqué floorshows at Harlem’s whites-only Cotton Club with its plantation-themed decoration. To fulfill the goal of using art to demonstrate that African-Americans deserved equal-ity in American life, it was thought that Harlem Renaissance music must be written in the most admired and abstract of musical genres — not only classical music, but, specifi-cally, the symphony. a professional violinist and oboist, still developed exceptional skills at orchestration while working as an arranger for w.c. handy and early radio shows. he studied composition with George chadwick and Edgard varèse, an experimental modernist. the “afro-amer-ican symphony,” however, is romantic and fully tonal in keeping with harlem renaissance aspirations of reaching out to a broad audience. the symphony is in four movements, each prefaced by a quotation from the writings of paul Laurence dunbar (1872–1906), an african-american poet who helped inspire harlem’s renaissance. the first movement is about a hard day’s work and the poet’s longing for his love. it features a 12-bar blues played in full by the trumpet, but the melody is introduced by English horn, sounding an immedi-ate musical response to dvorák’s call from the second movement of the “New world symphony.” still wrote the tune “to demonstrate how the blues, so often considered a lowly expression, could be elevated to the highest musical level.” weariness of this world and the hope for heavenly relief characterize move-ment two which opens with solos by still’s own instruments, oboe and violin. snatches of the opening blues theme can be heard throughout. movement three is a shout, singing “hallelujahs on dat mighty reck’nin’ day,” accord-ing to the dunbar epigraph. here, still features banjo, an instrument brought to North america by africans, as an obvious point of pride. the motivation behind the ‘quotations’ of Gershwin’s “i Got rhythm” (first heard in the horns and immediately afterwards in flutes


and oboes) is less certain. still scholar catherine parsons smith argues that this reference is not a quotation at all, but rather a claim that Gershwin had ‘borrowed’ the tune from still. movement four is the heaviest and longest of the work. it carries the weight of the renaissance’s dreams of equal-ity, and still’s tempo marking, “Lento, con risoluzione,” [slow, with resolution] would prove prophetic. still’s quotation of dunbar, written in the orchestral score, summarize the musical argument best: “Be proud, my race, in mind and soul. thy name is writ on Glory’s scroll, in characters of fire. high mid the clouds of fame’s bright sky, thy banner’s blazoned folds now fly, and truth shall lift them higher.” the dso last performed still’s symphony No. 1 in November 2001 with thomas wilkins conducting.


still, afro-american symphony: Neeme Järvi conducting the detroit symphony orchestra, chandos 9154.

Note by Aja Wood, a graduate of Detroit’s Cass Tech and now an ethnomusicology Ph.D. student at the University of Michi-gan, School of Music, Theatre & Dance.

Dear Mrs. Parks haNNiBaL LoKumBE B. Nov. 11, 1948 in smithville, tx

Scored for two flutes, piccolo, two oboes, one English horn, two clarinets, one bass clarinet, two bassoons, four French horns,

four trumpets, three trombones, tuba, timpani, percussion (including: baliphone, bass, drum, bells, bell tree, chocallo, congas, crotales, cymbals, glass chimes, shakere, sleigh bells, snare drum, tambourine, tom toms, trap set, triangle, wood block), strings, soprano, alto, bass, child soprano and choir. (Approx. 57 mins.)

Jazz trumpeter, playwright, poet and Grammy Award-winning composer Hannibal Lokumbe has written more than 150 compositions ranging from string quartets and symphonies to operas and masses. His works have been performed by many distinguished ensembles, including the Philadelphia Orches-tra, the kronos Quartet and the Houston Symphony. Daniel Baren-boim and the Chicago Symphony

Orchestra recorded his ground-breaking opera African Portraits, which premiered at Carnegie Hall in 1990, and in 2002, the new Jersey Symphony Orchestra performed the World Premiere of God, Missis-sippi and a Man Called Evers, an oratorio based on the life of Civil Rights leader Medgar Evers. African Portraits alone has received more than 79 performances in 10 years — an impressive track record for any new classical work. Lokumbe was born marvin peterson in 1948, and grew up on a farm in texas. once drafted as a pitcher by the texas rangers, he chose music over sports, and spent about 25 years playing jazz in New york city. much of Lokumbe’s music has been informed by the spirituals he heard in the texas cotton fields where he once worked and by the drums of the masai with whom he lived in africa in the 1980s. he acquired the name hannibal in 1980 from a Nigerian yoruban priest who visited him one night after a jazz set in Brooklyn. the carthaginian general was known for resisting the romans, but the trumpet player honors him as “a general who despised war.” his african last name, Lokumbe says, was given to him in a dream by his great-grandmother, a cherokee shaman, and means “spirit that lives in the wind.” africa and tracing african-american roots are themes in many of Lokumbe’s works. in the orchestral world, his scores weave connections between advanced blues and jazz technique and an orches-tral setting. “the subject matter he works with tends to be controversial,” says dr. Leslie dunner, a former resident conduc-tor of the dso, who has conducted Afri-can Portraits and led the Evers premiere. “i think it’s good for contemporary music to challenge our social ethics through musical commentary.” Dear Mrs. Parks features the soloists and a large chorus singing fictional letters from writers of three generations, all expressing gratitude to rosa parks for her courage in refusing to move to the back of the bus in 1955. the soloists play the roles of an african-american woman who worked with mrs. parks and dr. martin Luther King, Jr., representing the viewpoint of all african-american civil rights activists of her generation; viola Liuzzo, a white civil rights martyr from detroit slain by the Klu Klux Klan in 1965; and a young african-american man whose generation has benefited from the civil rights movement. Both the

chorus and soloists are multi-ethnic and international. a note and poem from the composer’s 2004 journal about the work sets the tone: dear mrs. parks is a prayer of music

and words in honor of Mrs. Rosa Parks and every soul of her spiritual and social realm. She is the true nature of what is perceived and spoken of as being heaven. Her unselfish love, as unselfish love always does, transforms the entire world.

the oversoul sends to us a prayer for the world.

for we have walked the streets of Babylon,

forty thousand strong, in sacrifice for the future seeds of the

world. songs from heaven falling, Like luminous rain upon the daughters

of isis, giving their children the will to

continue, singing a prayer for the soul of the

world. Dear Mrs. Parks is a work in 10 move-ments that are essentially continuous. the orchestration is compact yet meaty, and even when rhythms are quick, they are still tightly orchestrated. the composer creates a sense of music in unity among the sections of the orches-tra, the soloists and chorus. the result is the creation of an enthralling atmosphere that also lends clarity to the text. in other places, the composer creates wide-open spaces in both the harmony and instru-mentation. again this illuminates the spiritually charged text. a brief introductory first movement features the tenor voices against chordal accompaniment in the rest of the chorus. in the second movement, the composer gives us a haunting double ostinato. this becomes, melodically, a significant part of this entire piece. a simple repeating melody of only five notes is set against a repeating slow-moving chordal accom-paniment, but this time it is echoed by the orchestra. Lokumbe returns to this material as a closing theme in the last movemen, when it is cast not only in the voices of the adult chorus, but also in the innocence of a little girl’s solo voice. the dso last performed Dear Mrs. Parks at the Classical Roots concerts in february 2005, when it presented the world premiere of the work, commis-sioned by the dso, with thomas wilkins conducting.


doNors maKE thE diffErENcE

CORPORATE SPOTLiGHT:

JPMorgan Chase Jpmorgan chase, the global financial services firm, is once again the presenting sponsor of this year’s dso classical roots celebration, and the company’s vice president for philanthropy and community relations, christine Kageff, is co-chair of the classical roots steering commit-tee. Jpmorgan chase is also underwriting the recording of hannibal Lokumbe’s Dear Mrs. Parks, the dso’s first commercial release since 2002. “through philanthropy, chase supports programs that give the community access to rich cultural resources that celebrate diversity,” said sarah mcclelland, president of the michigan market for Jpmorgan chase. “it’s an excellent investment in our community.” Jpmorgan chase supports the dso in other areas, as well. it is a longtime supporter of programming, this year sponsoring the five-concert “select classical series.” additionally, the company has provided support for the civic Jazz Ensembles and, this year, is helping to underwrite the power of dreams string music project and the Educational concert series for schoolchildren. Jpmorgan chase will also sponsor the dso’s appearance next summer at the Gm riverdays festival, and the company’s managing director, richard huttenlocher, serves on the dso’s Board of directors.

BOARD SPOTLiGHT: Marietta Davis marietta davis’ relationship with the dso began when she took on the role of General manager for microsoft’s heartland district. one of her many respon-sibilities was to oversee cross-organizational collabo-ration, so last season, davis supervised microsoft’s sponsorship of the classical roots celebration and joined the event’s steering committee. “as an african-american, it is personally rewarding to be involved in the celebration of a rich history that is so near and dear to my heart,” said davis. “classical roots focuses on the wonderful contributions of african-american composers to the american fabric. i knew it was something i wanted to be a part of.” Last march, davis added Board member to her list of volunteer activities with the dso. she is also continuing her role with the classi-cal roots steering committee. microsoft, in the meantime, continues to be one of the event’s generous sponsors. “microsoft understands the importance of investing in our communities and ensuring that arts organizations have the tools and resources necessary to succeed, both now and in the future,” said davis. “support from local businesses is crucial to the continued success of the arts. microsoft has donated more than $9.7 million to detroit-area nonprofits since 2003, and we encourage other businesses in detroit and throughout michigan to invest in the dso during these economic times.” davis is proud to be part of the dso family which she believes is an essential part of the city’s cultural life. “the dso isn’t only about music,” she says. “it’s about broadening our horizons and giving our community a piece of something new.”

davis

AnnuAL FunD DOnOR SPOTLiGHT:Wei Shen the dso is fortunate to have many avid music fans to promote the symphony. however, when wei shen befriended the dso a few years ago, the organiza-tion found in her an advocate extraordinaire. a native of shanghai and a marketing manager for Gm’s premium channel, shen is a firm believer in grass roots campaigning and adamantly practices what she preaches. she personally sold 17 Gm vehicles to friends and neighbors in a single year and helps the dso sell thousands of tickets through her own community outreach. her successes are the direct result of diligent networking with a cross-section of people in metro detroit, including the area’s extensive chinese-american community. she has hosted private receptions, recitals and master classes in her home with chinese classical stars such as pianists Lang Lang and yuja wang, and she actively promotes the orchestra in her children’s (alex, 13, and rebecca, 11) schools. shen has recently been appointed to the dso Board of directors, making her the Board’s youngest member. additionally, she is now a “community correspondent” on Street Beat, a sunday morning (11:30 a.m.) community affairs program on the cBs-owned cw affiliate wKBd detroit. “we are indebted to wei for her tireless efforts on behalf of the dso,” said ross Binnie, vice president of sales. “her enthusiastic efforts to broaden the reach of the dso have been extraordinarily successful, and exciting to experience. we are delighted to have her on our team.”

DSO Receives Andrew W. Mellon Foundation Award the dso is pleased to announce it has received a $900,000 grant from the andrew w. mellon foundation to be distributed over three years. funding from the mellon foundation is most appreciated and will be used to support Leonard slatkin’s vision to bring top-notch guest artists and composers to orchestra hall and to develop special projects, including touring and recording, thereby increasing the reach of the orchestra. mellon’s support will also enable the dso to create initiatives to build new audiences, strengthen partnerships, and introduce innova-tive performances. the award comes from the foundation’s performing arts program, which supports institutions that contribute to the preservation and development of their art form, provide creative leadership in solving problems or addressing issues unique to the field, and present the highest level of institutional performance.

shEN


EducatioN

A new World for the Civic Youth Orchestra the dso’s civic youth orchestra (cyo), the most advanced of the classical civic youth Ensembles (cyE), is exploring new frontiers with two concerts featuring dvorák’s symphony No. 9, commonly referred to as the New World Symphony. Not only will the concert be performed in orches-tra hall sun., mar. 1 at 3 p.m., but also at the macomb center for the performing arts (mcpa) in clinton township on sun., feb 22 at 3 p.m. the concerts will be led by the dso’s director of Education charles Burke who serves as the regular conductor for cyo and the co-conductor of civic philharmonic, cyE’s intermedi-ate youth orchestra. in addition to the New World Symphony, the program also includes Bach’s Fantasia and Fugue in c minor and mozart’s concerto for pianos and orchestra featuring guest soloists pauline martin and Zhihua tang. tickets for the mar. 1 performance in orchestra hall are available at the max m. fisher music center box office, by calling (313) 576-5111 or online at www.detroitsym-phony.com. tickets for the feb. 22 performance at mcpa may be purchased by calling (586) 286-2222. cyo is sponsored by the ford motor company fund.

Super Surprises on Super Saturday in February! it’s the mid 1820s in vienna, austria, and young christoph is not a happy camper. a peculiar, cantankerous man has moved into the apartment upstairs. Little does the young boy know that underneath the strangeness is actually one of the most brilliant musical minds of all time on the verge of creating his most magnificent piece of music. on sat., feb. 14, the National city young people’s concert series presents Beethoven Lives Upstairs, a theatrical concert version of the best-selling and award-winning classical Kids audio recording of the same name. a presentation of classical Kids LivE!, Beethoven Lives Upstairs takes place against the backdrop of Ludwig van Beethoven’s most memorable pieces as performed by the dso. this ypc concert, part of the february macy’s super saturday at the max m. fisher music center, takes place in orchestra hall at 11 a.m. the same morning at 10 a.m. in the music Box, the henry ford ii fund presents A Classical Tiny Tots, a fun and interactive introduction to the orchestra and its instruments for little kids ages 4-6. the program will be arranged, narrated and performed by dso musicians. as always, families can enjoy the ever-popular KidZone all morning-long in the atrium.

Dreamy nights and inspired Days in december, an enthusiastic group of young musicians had the unique opportunity to strut their stuff on the orchestra hall stage for the first time. the dso Education program hosted its initial power of dreams Night on sun., dec. 21 featuring a performance by over 130 3rd – 5th grade students participating in the Group Lessons component of the power of dreams string music project. funded by a generous gift from honda and in partnership with the wayne state university department of music and shar products company, this new program launched this past september and provides an affordable, introductory string training experience to students who live in underserved communities. the power of dreams Night was a culmination of the program’s first 12-week semester.

as another valuable component of the program, the children were able to attend two “inspiration days” taught by dso musicians hai-xin wu (violin), caroline coade (viola) and marguerite deslippe-dene (violin). the program’s second semester of lessons is well under way and will conclude with another power of dreams Night on sunday, april 19 at 7 p.m. in orchestra hall.

JoEL GiLmorE


Parkingsecure, covered, lighted parking in the orchestra place parking deck, lo-cated on parsons street just south of the max m. fisher music center, and in the woodward Garage, located on the corner of mack and woodward. Both parking decks have reserved space for patrons with handicap per-mits. parking for coffee concerts is avail-able in both parking decks, as well as the whitney restaurant lot between canfield and forest. the dso offers shuttle bus service to coffee concerts from selected locations, including the dia, for $10. call (313) 576-5130 for more information.

Restroomsmen’s, women’s and family restrooms are located on all levels of the atrium Lobby. additional men’s and women’s restrooms are located on the Box Lev-el of orchestra hall and on the lower level of the main floor.

Refreshmentsthe paradise café, located on the second floor of orchestra hall, opens two hours prior to concert time and is open one hour after concerts. reser-vations may be made by calling (313) 576-5055. cash bar service and light refresh-ments are available in the atrium area of the max m. fisher music center two hours prior to concert time and

during intermission. happy hour, with special drink prices, is available until 30 minutes prior to concerts. we in-vite 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!

Telephonesa telephone is located in the Box office Lobby.

Smokingthe dso is pleased to offer a smoke-free environment at the max m. fisher music center. smoking is not permit-ted 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.

Handicap Accessparking is available in the orchestra place parking deck for patrons with handicap permits. there are eleva-tors, barrier-free restrooms and acces-sible seating in all areas of the max m. fisher music center. security per-sonnel are available at the entrances to assist handicapped patrons in and out of vehicles.

Hearing impairedhearing assistance devices are avail-able. please see an usher prior to the performance.

Late Seating Policythe dso makes every attempt to be-gin concerts on time. in deference to the comfort and listening pleasure of the audience, latecomers will be seated after the conclusion of the first work on the program. patrons who leave the hall before or during a work will be reseated after the work is completed. ushers will alert patrons as soon as it is possible to be seated. house lights are dimmed to indicate that the concert is about to begin. Latecomers will be able to watch the performance on closed-circuit televi-sion in the atrium Lobby.

Cameras and Tape Recordersphotographing or taping of any per-formance at the max m. fisher music center is strictly prohibited. No re-cording devices or cameras are per-mitted without special authorization from the dso.

Concert Cancellationsto find out if a scheduled performance at the max m. fisher music center has been cancelled due to inclement weather, hazardous roads, power out-ages or other emergencies, call the Box office at (313) 576-5111, or tune in to wJr 760 am and wwJ 950 am.

Pagers, Phones, Watches and Extraneous Soundscellular phones, pagers and alarm watches must be turned off while

at the max m. fisher music center. patrons should speak to the house manager to make special arrange-ments to receive emergency phone calls during a performance. the dso thanks you for your cooperation avoid-ing any extraneous sounds during the concerts. the hall microphones used to record the orchestra are extremely sensitive and will even record the sound of a wristwatch chime.

Lost and Foundsee the house manager or call (313) 576-5121 during business hours.

Gift CertificatesGive friends and loved ones a gift that lasts all year long—the experience of a dso performance. Gift certificates are available in any denomination and may be used toward the purchase of dso concert tickets. visit the dso Box office at the max m. fisher music center or call (313) 576-5111 for more information.

Max M. Fisher Music Center Rental informationthe max m. fisher music center is an ideal setting for a variety of events and performances. for information on renting the facility, please call (313) 576-5050. rental information is also available online at www.detroit-symphony.com.

GENEraL iNformatioN

admiNistrativE staffExecutive Officeanne parsons President and Executive DirectorKathryn huskin Executive Assistant

Sales and Servicesdominic arellano Marketing Coordinatorross Binnie Vice President of Saleswill Broner Customer Service Representativeconnie campbell Subscription Sales Managersharon carr Subscriptions Coordinatormarilyn cragway Marketing AssociateElaine curvin Executive Assistantmona dequis Assistant Retail Managerangela detlor Marketing Coordinatorchuck dyer Group and Corporate Sales Managerpaul Ganson HistorianKeith Koppmeier Director of Marketing, Non-Classicalcynthia Korolov ArchivistLa heidra marshall Customer Service RepresentativeJohn o’dell Director of Marketing, Classical

Juanda pack Customer Service Representativemarni raitt Assistant Director of Public Relationstiiko reese-douglas Customer Service Representativemichael taylor New Media SpecialistElizabeth twork Director of Public Relations shannon w. hall Marketing Systems Administratorteri witmer Box Office Managerpaul yee Retail Sales Manager

Artistic Planning and EducationJames N. Berdahl Vice President of Artistic Planningcharles Burke Director of Education and Artistic Director of Civic Ensemblesdavid dredla Artistic Planning ManagerKathryn Ellis Assistant Director of Education deborah fleitz Executive Assistant to the Music Director and Artistic Planning Associate rebecca Gilbert Manager of Education Initiativescharles Greenwell Conducting Assistant

Leah Lucas General Manager of Civic Ensembles Nicole New Artistic Coordinator, Non-ClassicalErik rönmark Artistic Coordinator, Classicalcecelia sharpe Civic Youth Ensemble Coordinator the festival Network Jazz Consultant Kit weber Civic Youth Ensemble Coordinator

Operations and ResourcesLarry anderson Stage Department Head sue Black Usher Coordinatorfrank Bonucci Stage Manager holly clement Event Services Managerdaniel dene Recording Engineermel dismukes Security Officer martez duncan Maintenance AideKeith Elder Associate Vice President for OperationsLarry Ensman Maintenance Supervisorryan Ensman Maintenance Aideaja Grosvenor Special Events Coordinator Bill Guibault Maintenance Aide

Norris Jackson Security Officerrichard Jacques Director of Information Technologymami Kato Operations Managercrystal King Maintenance AideJennifer Kouassi Facility Operations ManagerJohn Lovell Maintenance Aideron martin Security Officermagda marudas Director of Human Resources Operationsstephen molina Orchestra Personnel ManagerB.J. pearson Event Services Manager mark rist Administrative Associatesam rogers Maintenance Aidealice sauro Assistant Orchestra Personnel Managerdaniel speights Maintenance AideGreg schimizzi Chief of SecurityJohn scott Security Officerpat walker Vice President for Operations and Resource ManagementJoel watson Director of Business Systemsanne wilczak Director of Special Events

DevelopmentKate cahill Vice President of DevelopmentJoy crawford Development Systems Analystcynthia dodd Director of Board RelationsKareem George Director of Endowment Supportsally freels Manager of Major Gift ProgramsJennifer Jackson Development Systems Coordinatorrick Kelley Director of Major Giftscynthia reeves Executive Assistantdarren rich Corporate Donor Relations Managerann rock Director of Foundation and Government RelationsJulie schneider Development Assistantallison walacavage Foundation and Government Grants Manager

FinanceKim colon Accounting ManagerJeremiah hess Accounting ManagerLinda makris ControllerNancy prochazka Payroll Accountant pamela ruthven Chief Financial Officer


Contributors to the Detroit symphony orChestra’s enDowment FunDThe Board of Directors gratefully acknowledges the following donors who have made gifts in the amount of $10,000 and more to the Detroit Symphony Orchestra in support of its endowment and capital campaign projects. These contributions reflect the generosity of our donors and their commitment to

preserving the tradition of excellence in the orchestra. For more information call (313) 576-5596.

members oF the musiCal leGaCy soCietyThe Detroit Symphony Orchestra’s Board of Directors is pleased to honor and recognize the members of the Musical Legacy Society who have provided

for the Orchestra in their estate plans. For more information about making a bequest to the DSO, please call Rick Kelley at (313) 576-5074.

Contributors oF eXCeptional operatinG supportDetroit Symphony Orchestra extends its sincere appreciation to those corporations, foundations and individuals making contributions exceptional in their magnitude. Their gifts, made through the Bridge Fund, Extraordinary Operating Initiative, and Operating Fund Challenge greatly stabilized

the organization’s financial situation. We recognize and acknowledge their extra measure of faith and generosity.

$10,000,000 and moremarjorie & max† m. fisherstate of michigan

$5,000,000 and moreanonymous daimlerchrysler corporation

fundford motor company fund Jean & sam† frankelGeneral motors corporationmarion† & david handleman,

sr. & handleman company David & Marion Handleman

Educational Fundthe Kresge foundationmarilyn & Bernard† pincus

$2,000,000 and moremary w. parkermr.† & mrs. ralph L. polk Ralph L. Polk Young

People’s Education Fundshirley K. schlafer

foundationmrs. richard c. van dusenmr. & mrs. r. Jamison

williams, sr.† & family

$1,000,000 and moremr. & mrs. robert alleseemr. & mrs. Eugene

applebaummarlene & John Boll, sr.comerica charitable

foundationJulie & peter cummingsderoy testamentary

foundationthe devereaux familymr. & mrs. frederick a. Erb Fred A. and Barbara M. Erb

Jazz Creative Director Chairherman & sharon frankelruth roby & alfred r. Glancy

iiimort & Brigitte harrishudson-webber foundation

the John s. & James L. Knight foundation

mr. & mrs.† Edward c. Levy, Jr.

the manoogian familymcGregor fundmr. & mrs. roger s. penskepvs chemicals, inc.Jack a. & aviva robinsonrichard & susan rogelthe skillman foundationrobert h. tannahill trustKatherine tuck fund Katherine Tuck Young

Artist’s Fundmr. & mrs. James a. williamsmatilda r. wilson funddr. & mrs. clyde wu Helen & Clyde Wu Civic

Orchestra Music Director Chair

$500,000 and moreanonymous individual—

in honor of sam & Jean frankel

Bank onemr. & mrs. mandell L.

BermanLois & avern cohnNational city Bankthe william randolph hearst

foundation William Randolph Hearst

Educational Endowmentmr.† & mrs. heinz c. prechtermr. & mrs. Lloyd E. reussalan & marianne schwartz &

Jean shapero van dusen Endowment

challengewomen’s association for the

detroit symphony orchestra

Gordon E. young Estate

$250,000 and moreanonymous (2)the anderson fundmr. & mrs. richard a. Brodie

maurice t.† & margo cohenrobert† & roseann

comstockalbert & peggy desalle

charitable trust Albert & Peggy deSalle

Music Opportunity FunddtE Energy foundation sidney & madeline forbesmrs. John B. ford, Jr.†ruth f. & harold L. Frank

Youth Education Endowment Fund

rema frankel & Barbara frankel

yousif & mara Ghafari Josephine E. Gordon

foundationmr. & mrs. herbert J.

Graebnermr. & mrs. thomas h. Jeffs iiwilliam cody Knicely trustLear corporationmr. & mrs. harry Lomason iimellon foundationmr. & mrs. Eugene a. millermr. robert s. miller & mr. Lionel margolickw. h. murphy trustmr. & mrs. peters

oppermann†mr. & mrs. Bernard i.

robertsonmr.† & mrs. robert sosnickstandard federal Bankmr. & mrs. a. alfred taubman

$100,000 and moreGeorge & Gina Bedrosianmrs. cecilia Benner penny & harold Blumensteincharter one foundationLynn weyerhaeuser &

stanley ray day fundmr. & mrs. robert J. Eatonmrs. charles m. EndicottBarbara frankel & ronald

michalakEdward p. frohlich†Gale & victor Girolami

mr. martin r. Goldmanira J. Jaffe & Brenda Jaffe &

Jaffe raitt heuer & weissmr. & mrs. robert c. Larsondr. melvin & Geri† Lestermarshall field’ssally & Graham a. orley &

suzanne & Joseph h. orleyJoseph h. parsons trustmr. & mrs. drew peslarstephanie & fred secrest robert w. scripps trustdorothy morton sessions

Estatehubert† & Elsie† watsonarthur & trudy weiss

$50,000 and morethyssenKrupp Budd

companymarlies & françois castaingmr. milton dresnerhenry duluk EstateBenson & Edith ford fundhuntington Bankmr. & mrs. arthur c. Lieblermrs. helen mardigianmr. & mrs. robert stevens

miller, Jr.mr. & mrs. L. william mollstan senekermr. & mrs. walter wolpinshirley young

$25,000 and moremr.† & mrs. thomas v.

angott, sr.clarence L. ascher trustGeorge auch company mr. & mrs. ralph w. Babb, Jr.art & Betty Blair Art & Betty Blair Chamber

Music Fundmr. & mrs. robert h.

Bluesteinc & N foundationms. Gladys L. caldroney†mr. & mrs. marvin i. dantoEdith h. dempseymr. & mrs. walter E. douglas

Ernst & youngLauren t. & phillip wm.

fishermr. & mrs.† Emory ford, Jr.Beverly franzblau-BakerLarry & ann GarberdingGuardian industries

corporationmr. & mrs. E. J. hartmanndoreen & david B.† hermelinrick & Joyce inatomemr. & mrs. Lenard Johnstondrs. anthony & Joyce Kaleschaim, fanny, Louis,

Benjamin and anne florence Kaufman memorial trust

mr. & mrs. richard p. Kughnmr. & mrs. harold KulishKathleen & david LewisE. david macdonald & Nancy macdonaldmr. & mrs. John E. marshall iiimr. & mrs. william t.

mccormick, Jr.John E. & marcia millerdr. & mrs. robert G. mobleyElla montroy trustms. Jo Elyn Nymanclarice odgers percox trustmr. & mrs. william f. pickardpeter t. pontamr. & mrs. douglas J.

rasmussenmr. & mrs. thomas r.

ricketts†rosettimrs. Emma schavermr. & mrs. stephen stromemr. & mrs. walter stueckenmr. & mrs. peter p. thurberthyssenKrupp materials Na,

inc.mr. & mrs. melvin c.

vanderBrugrita & Gary L. wassermanmiriam t. woodle Estateyorkshire Global restaurantsmrs. paul Zuckerman

$10,000 and moreanonymousmr. & mrs. Joseph antoninidr. & mrs. agustin arbulumr. & mrs. don h. Bardendr. and mrs. Eli Berger theodore & Loris Birnkrantrichard & Gwen Bowlby mr. & mrs. stephen

BrombergNancy m. & robert† dewarmr. & mrs. ronald r. dobbinsmax Gordon trustGordon v. hoialmen EstateJean wright & Joseph L.

hudson, Jr.arthur & chacona JohnsonGeorge G. Johnsonrachel & Jacob Kellmandimitri & suzanne Kosacheffmrs. david r. Lawsonmr. & mrs. Gerald v.

macdonaldmr. & mrs. ralph mandarinodonald E. & shirley m.

mcminn family foundationdavid r. & sylvia Nelsonmr. & mrs. arthur a. Nitzschefrank and coleen manzella

pelleritodr. robert E.L. perkinsdr. harold† & Evelyn plotnickElaine & michael serlingmarvin d. & Gloria J. siegelmr. & mrs.† Norman slomanmichael E. smerza & Nancy

Keppelmanfrank d. stelladr. mildred ponder stennisBruce & Betsy wagnerdr. Gershon & Jeannie

weinerisadore & Beryl winkelman

foundationdrs. william & prudentia

worth

† deceased

anonymous (12) robert G abgarian †doris L. adlerdr. & mrs. william c. albert mr. & mrs. robert a. allesee dr. Lourdes v. andayadr. & mrs. agustin arbulusally & donald Bakermr. & mrs. Lee Bartheldonald & Lillian BauderBertram Behrens †mr. & mrs. robert a. Benton, Jr. michael & christine Berns robert t. Bomier richard & Gwen Bowlbymrs. J. Brownfain roy & llse calcagnoGladys L. caldroney †dr. & mrs. victor J. cervenakroberta chapman mary f. christner

honorable avern cohnmr.† & mrs. robert comstockdorothy m. craigmr. & mrs. John w. cruikshank ms. Leslie c. devereaux mr. & mrs. John diebelBette J. dyer mr. & mrs. robert G. Eidsonmrs. charles Endicott ms. dorothy L. fishermax m. fisher †mrs. John B. ford, Jr.†dr. saul & mrs. helen forman Barbara frankel herman frankel rema frankelJane frenchdr. & mrs. Byron p. Georgeson mr. & mrs. alfred r. Glancy iii mr. & mrs. herbert Graebnerdonald ray haas

mr. david handleman, sr.Eugene L. & donna K. hartwigdr. & mrs. Gerhardt hein Nancy B. henk Betty Q. hoard †mr. & mrs. richard N. hollowaymr. & mrs. thomas h. Jeffs iidrs. anthony & Joyce Kales austin Kanter June Kendallraymond L. Kizer, Jr.ms. selma Korn &

ms. phyllis Kornmr.† & mrs. dimitri Kosacheffmr. & mrs. arthur J. Krolikowskiann c. Lawson allan s. Leonard Lila i. Logan Lester h. London Elizabeth m. Lundquist Bonita marshall

mr. Glenn maxwellms. rhoda milgrimJohn E. & marcia millerJerald a. & marilyn h. mitchell mr. & mrs. L. william mollmrs. peters oppermann†mr. dale J. pangonis ms. mary w. parkerms. cynthia J. pasky &

mr. paul huxleysophie pearlsteinElizabeth pecsenye †helen & wesley pelling Esther E. peters mrs. Bernard E. pincus christina pitts carol plummer mr. & mrs. p.t. pontaEdith s. Quintana†fair & steven radomdouglas J. rasmussen

George a. raymond †rhonda N. reed †mr. & mrs. Lloyd E. reussBarbara Gage rex mrs. marianne reye Katherine d. rinesaviva & Jack robinson ruth rothschild dr. margaret ryan shirley w. sarver †stephanie & fred secrest robert selik †Lee william slazinski terrence smith violet spitzer †mrs. mark c. stevensmr. & mrs. walter stueckenmr. & mrs. alexander c. suczek mrs. Elizabeth J. tamagne margaret d. thurber †caroline† & richard torley

mr. Edward tussetBarbara a. underwood mrs. harold van dragtBarbara & mel vanderBrugmrs. richard c. vandusen mr. & mrs. George c. vincenthubert† & Elsie watson†Keith & christine weberJohn & Joanne wernermr. & mrs. arthur wilhelm mr. † & mrs. James a. williamstreva wombleElizabeth workdr. & mrs. clyde wu

† deceased

CORPORATiOnSaNr pipeline companyallied corporationamerican ExpressameritechBank one corporationBundy corporationdaimlerchrysler corporation fundcomerica incorporateddetroit Edison foundationdouglas & Lomason companyfederal-mogul corporation

ford motor company fund fruehauf corporation Gannett communities fund/the detroit News General motors corporationhandleman companyKmart corporationmasco corporationmichcon foundationmichigan National Bankperry drug stores, inc. textron inc.unisys corporation

FOunDATiOnShelen L. deroy foundationherbert and Grace dow foundationherrick foundationhudson-webber foundationw. K. Kellogg foundationJohn s. & James L. Knight foundationmanoogian foundationmcGregor fundcharles stewart mott foundation

skillman foundationKatherine tuck fundmatilda r. wilson fund

GOVERnMEnTNational Endowment

for the arts state of michigan

inDiViDuALSGeorge & Gina Bedrosianmr. & mrs. paul Bormanmr. & mrs. Edward cherney

mrs. charles t. fisher, Jr.†mrs. John B. ford, Jr.†mr. & mrs. samuel frankel mr. & mrs. alfred r. Glancy iiimr. william t. Gossettmr. & mrs.† david

handleman, sr.mr. & mrs. morton E. harrismr. & mrs. henry clyde Johnsonmr. & mrs. richard p. Kughnmrs. roger m. Kyes

mrs. samuel Lang mrs. ralph L. polkmr.† & mrs. heinz c. prechtermr. & mrs. alan E. schwartzmrs. c. theron van dusen†mr.† & mrs. richard c. van dusen mr. & mrs. r. Jamison williamsmr. theodore o. yntema

† deceased


coNtriButors to thE aNNuaL fuNd

PLATinuM BATOn$100,000 and more

symphony soCiety oF major DonorsThe Symphony Orchestra would like to express its deepest gratitude to the members of the Detroit Symphony Society, an association of generous

donors whose substantial annual commitment is vital to the success of the Orchestra. We recognize these individuals for their commitment to maintaining the Orchestra’s world-renowned excellence. Recognition is based upon donations made to the 2007-2008 and 2008-2009 Annual Funds by December 15, 2008. Symphony Society membership begins at the Encore Circle giving level of $1,500. For more information, please call the Development office at (313) 576-5400.

anonymousmr. & mrs. Lee Barthel

cecilia Bennermandell L. & madeleine h.

Berman foundationmrs. robert c. comstock

Julie & peter cummingsmax m. & marjorie s. fisher

foundation, inc.mr.† & mrs. sam frankel

ms. cindy J. pasky & mr. paul m. huxley

the Edward & helen mardigian foundation

ms. Bonita J. marshall†mr. & mrs. James B. NicholsonBernard & Eleanor robertsonmrs. richard c. van dusen

GOLDEn BATOn$50,000 and more

mr. & mrs. Eugene applebaum

penny & harold Blumenstein

ms. Leslie devereaux

mr. & mrs. frederick a. Erb

herman & sharon frankel

mr. & mrs. stanley frankel

maxine & stuart frankel

ruth & al Glancy

mr. Leonard slatkin

mr.† & mrs. hubert p. watson

MAESTRO’S CiRCLE$25,000 and more

mr. & mrs. robert a. allesee

mr. & mrs. richard L. alonzo

mr. & mrs. John a. Boll, sr.

mrs. doreen G. Bull

mr. & mrs. francois castaing

mr. & mrs. raymond m. cracchiolo

mr. & mrs. phillip fisher

Barbara frankel & ronald michalak

mr. & mrs. James Grosfeld

mr. & mrs. morton E. harris

mr. & mrs. ronald horwitz

mr. & mrs. richard p. Kughn

mr. david Lebenbom

dr. melvin a. Lester

Linda dresner & Ed Levy, Jr.

richard & Jane manoogian foundation

mr. & mrs. Eugene a. miller

the polk family

mr. George a. raymond†

Jack & aviva robinson

mr. & mrs. Larry sherman

dr. & mrs. clyde wu

paul Zlotoff

CHAiRMAn’S CiRCLE$12,000 and more

Lillian & don Bauder

George & Gina Bedrosian

Leo† & Betty Blazok

mr. & mrs. Jim Bonahoom

mr. & mrs. richard a. Brodie

ilse & roy calcagno

Lois & avern cohn

mrs. michele rambour Edgar

marianne Endicott

mr. & mrs. francis a. Engelhardt

mr. & mrs. david fischer

sidney & madeline forbes

mr. & mrs. william m. freeman

Byron & dorothy Gerson

mr. & mrs. ralph J. Gerson

dr. & mrs. Edward E. hagenlocker

dr. Gloria heppner

mrs. doreen hermelin

the Julius & cynthia huebner foundation

richard h. & carola huttenlocher

faye & austin Kanter

mr. & mrs. Norman d. Katz and ms. ruth rattner

mr. & mrs. harold Kulish

mr. & mrs. robert c. Larson

mr. & mrs. richard c. mcBrien

John E. & marcia miller

david r. & sylvia Nelson

maestro peter oundjian

anne parsons & donald dietz

mr. & mrs. richard G. partrich

dr. william f. pickard

mrs. marilyn pincus

mr. & mrs. Lloyd E. reuss

marjorie & saul saulson

mr. & mrs. alan E. schwartz and mrs. Jean shapero

mr. & mrs. donald simon

william h. & patricia m. smith

ann marie uetz

arthur & trudy weiss

Janis & william m. wetsman / the wetsman foundation

mr. r. Jamison williams

mrs. paul Zuckerman

† deceased pErformaNcE / voL. xvii / issuE iv 49www.dEtroitsymphoNy.com

coNtriButors to thE aNNuaL fuNdPRinCiPAL’S CiRCLE $6,000 and more

dr. & mrs. roger m. ajluniharriet & Bryce alpern

foundationdr. Lourdes v. andayaJeanne Bakale & roger dyedr. & mrs. Brian J. Beckdr. & mrs. rudrick E.

Bouchercarol a. & stephen a.

Brombergrobert N. & claire p. Brownilse & roy calcagnoLynne carter, m.d.mr. thomas m. costello Jr.penny and Larry deitchBeck demerymr. peter m. dolanmr. & mrs. walter E. douglasEugene & Elaine drikerJim & margo farbermr. & mrs. herbert fisher

dr. saul & mrs. helen forman

ms. Laura fournierdale & Bruce frankelrema frankelms. Elizabeth freimr. & mrs. dwight w.

GammonsGale & victor GirolamiGoodman family charitable

trustmr. Eric J. hespenheide &

ms. Judith hicksJean hollandmr. & mrs. mario f. iacobellimr. & mrs. charles r.

Janovskymr. & mrs. richard J. Jessupmr. George G. Johnsonmr. & mrs. paul Johnsonmr. & mrs. maxwell Jospey

mariam c. Noland & James a. Kelly fund of the community foundation for southeast michigan

mr. & mrs. Bernard s. KentLouise & Gunnar Klarrmarguerite & david Lentzallan s. Leonardmr. & mrs. arthur c. Lieblermr. & mrs. harry a.

Lomason iidr. & mrs. charles Lucashis Eminence adam maidaralph & Eileen mandarinoElaine & mervyn manningdavid & valerie mccammonmr. & mrs. alonzo L.

mcdonaldpatricia a. & patrick G.

mcKeeverdr. & mrs. donald a. meierdr. mary t. murray & dr.

robert G. mobley

mr. & mrs. daniel E. mooremr. & mrs. craig r. morganmr. & mrs. douglas s.

mossmanGeoffrey s. Nathan &

margaret E. winterssean & cathy Neallpatricia & henry Nickolmrs. Jo Elyn Nymanmr. & mrs. Joseph orleyrobert E. L. perkins, d.d.s.mr. & mrs. drew peslarmr. & mrs. Bruce d.

petersondave & cherry porterdr. Glenda d. pricemr. peter remingtonNorman & dulcie rosenfelddr. & mrs. alexander

ruthvenElaine & michael serlingmark & Lois shaevsky

mr. & mrs. richard sloanmr. & mrs. John f. smithJohn J. soleckimr. richard a. sonenklarmr. & mrs. Neil J. sosindr. & mrs. charles d.

stockingthe stollman foundationmr. & mrs. John stroh iiistephen & phyllis stromeLorna L. thomas, m.d.david ushermr. robert vanwalleghemmr. & mrs. Jonathan t.

waltonambassador & mrs. ronald

N. weisermr. & mrs. John E. whitecarmrs. Beryl winkelmanmr. John E. youngLois h. and milton y.

Zussman

ORCHESTRA CiRCLE $3,000 and moreannonymousmr.† & mrs. thomas v.

angott, sr.mr. robert armstrongmr. & mrs. John axeBeck family foundationdrs. Jeffrey and susan

BellefleurJim & susan Berdahldr. & mrs. John BernickBruce Beyer & martha

scharchburgmr. Jerrold BigelmanJoseph & Barbra Blochrichard & Gwen Bowlbymr. anthony f. Brinkmanmr. terry K. Brownmichael & Geraldine Bucklesmr. Efstratios calagiasdr. & mrs. thomas E. carsonmr. richard coledr. John colombomr. & mrs. Gary L. cowgermr. & mrs. Glenn currinBarbara & paul czamanskedeborah & stephen d’arcy

fundJerry p. & maureen t.

d’avanzo

ms. Barbara dilessandra donlonpaul and peggy dufaultirv & olga f. dworkindr. & mrs. a. Bradley

Eisenbreydr. & mrs. adel a. El-magrabiJames & maria Eliasondr. & mrs. Edwin ferensdr. & mrs. Lionel finkelsteinms. Linda forte & mr. tyrone

davenportmr. michael fosterKeith & Eileen Giffordmrs. helen p. Gilbridemr. allan d. Gilmourmr. seymour Greenstonemr. Jeffrey Groehnmr. & mrs. david handleman,

sr.Lawrence hands & Karen d.

Kendrick-handsmary & preston happelrandall L. & Nancy caine

harbourmr. & mrs. Gordon K. harris,

Jr.donna & Eugene hartwigmr. & mrs. ross haun

dr. & mrs. Gerhardt heindr. deanna & mr. david B.

holtzmanira & Brenda Jaffemr. & mrs. richard J. Jessupchacona & arthur L. Johnsonmr. & mrs. sterling c. Jones,

Jr.Ellen Kahn & william L. Kahnthe honorable damon J.

Keith & dr.† rachel Keithmr. & mrs. Bernard s. Kentmichael E. smerza & Nancy

Keppelmandimitri & suzanne Kosacheffrobert c. & margaret a. Kotzmrs. willard v. Lampedr. raymond Landes & dr.

melissa mcBrien-Landesdrs. scott & Lisa Langenburgms. anne t. Larindr. & mrs. J. timothy Lovemr. & mrs. robert a. LutzE. david macdonald & Nancy

macdonaldalexander & Evelyn mcKeendr. max & marilyn mcKinneydr. & mrs. James m.

mcmurtry

mr. roland meulebrouckmr. & mrs. Bruce a. millermr. & mrs. Eugene a. millermr. & mrs. Leonard G. millermr. & mrs. randall millermr. & mrs. robert and Jill

millerms. a. anne morounmr. & mrs. James w. morrillmary Jo & arthur a. Nitzschemr. & mrs. stanley Nycekmr. & mrs. Graham a. orleymr. & mrs. Joseph r. pappmrs. sophie pearlsteinmr. Jack perlmutter and

mr. dan clancydr. & mrs. claus petermannmr. charles L. petersmrs. helen pippincarol & foster reddingJames a. rousseauJane & curt russellmr. & mrs. robert s. sachsdr. hershel sandbergmr. & mrs. fred G. secrestmr. Gary a. shiffmanNorma Jean & arthur shufroErwin s. & majorie h. simondonna & robert slatkin

richard & renate soulenmr. & mrs. James p. spicadr. Gregory E. stephensdavid szymborski & marilyn

sicklesteelmr. & mrs. Joel d. tauberdr. & mrs. L. murray thomasalice & paul tomboulianamanda van dusen & curtis

Blessingms. sharon vasquez & mr.

david parkmanmr. & mrs. George c. vincentdr. & mrs. ronald w. wadle,

d.o.mr. & mrs. herman

weinreichmr. & mrs. Lawrence

weisbergmr. & mrs. James a. williamsms. Nancy s. williams & ms.

sharon Backstromthomas E. & Elizabeth a.

wolfedrs. william & prudentia

worthdavid & Bernadine wu

EnCORE CiRCLE $1,500 and moremrs. adel amermandr. & mrs. agustin arbuludr. & mrs. ali-reza r. armindr. & mrs. Gary s. assarianmr. & mrs. John axemr. & mrs. charles w. Baischmr. & mrs. J. addison

Bartushmarcia & martin Baummr. & mrs. Jerome m. Bealemr. & mrs. James v. Bellanca,

Jr.mr. & mrs. robert a. Bentondr. & mrs. John G. BielawskiLinda & maurice s. Binkowmr. ross a. Binniemr. & mrs. Lawrence Bluthmr. & mrs. J. Borathe honorable susan d.

Borman and mr. stuart michaelson

dr. & mrs. david L. Bouwmanmr. & mrs. Gerald Brightmr. & mrs. richard Bursteinfred J. chynchukGloria & fred clarkmrs. charles f. colmanmr. & mrs. Joseph connorsmr. thomas w. cookthomas & melissa craggmr. richard cummingsmr. & mrs. John s. dallasmarvin & Betty danto &

familymr. & mrs. John a. defevermr. & mrs. anthony delsenerElaine & Gordon didierJohn & ann diebelms. Gail dishellcynthia m. dodd mr. david E. dodgemrs. donald r. dugger

mrs. James J. Edwardsmr. & mrs. timothy

Eisenbraunmr. & mrs. howard o. Emoreymr. & mrs. daniel J.

fairweathermr. & mrs. oscar feldmanmr. & mrs. charles t. fisher

iiimr. steven J. fishmanmr. & mrs. John B. fordruth & Gerald freemandr. & mrs. mark a. frentrupmrs. rosemarie furlongmr. paul Gansonmr. & mrs. william y. Gardmr. & mrs. Eugene a.

Gargaro, Jr.mrs. helen p. Gilbridedrs. conrad and Lynda Gilesadele & michael m. Glusac

dr. & mrs. robert Goldmanmr. & mrs. harold Gurewitzalice Berberian haidostianmr. & mrs. harold hannaJ. ira and Nicki harris family

foundationmr. & mrs. robert L. heritierms. shelley heronmr. & mrs. herbert hipshermr. Gordon L. hollandermr. James w. hosmermr. & mrs. ruppert howardJean wright & Joseph L.

hudson, Jr. fundmr. & mrs. a. E. igleheartms. margit JacksonErica E. peresman & david

B. Jaffemr. & mrs. Lenard Johnstonmr. paul JoliatJay & Jennifer Jolliffe

ms. martha Katzirving & diane Keenemr. patrick J. Kerzic & mrs.

stephanie Germack Kerzicdr. & mrs. david Kesselmr. & mrs. thomas s. Kingmr. & mrs. h. a.

Knappenbergermr. robert c. Koosms. mary L. Kramermr. & mrs. d. michael

Kratchmanmr. & mrs. henry m.

Kuhlmanmr. & mrs. James a. Kurzmr. Julius Kuseymr. James m. Landis, Jr.mrs. stephanie E. Latourdr. & mrs. Noel s. Lawsonmr. allen Ledyardchristine & Elmore Leonard


MEMBER $400 and moremrs. Nina dodge abramsms. susan abrashms. Lynn E. adamsmr. terence E. adderleymr. & mrs. martin J. adelmanJoshua & Judith adlermr. & mrs. randolph J. agleymr. & mrs. Brian ahernms. Jane E. aisenbreyalan & diane amendtmr. r. d. anderson & mrs.

Katherine J. andersonms. tracey andersonms. dolores andrusmrs. Barbara angottmr. & mrs. Gary s. anthonymr. & mrs. robert L. anthonyJohn & carol aubreymr. & mrs. James G. aubrydr. frank aulddr. & mrs. miles austerJudge Edward avadenkams. pauline averbach & mr.

charles peacockmr. & mrs. paul ayresmr. & mrs. Brian Bachynskimr. timothy p. Baesslermr. & mrs. paul Balashelena & richard Balonmr. John h. Barbesdr. & mrs. max Bardensteinms. Janet c. Barnesmr. & mrs. Benson J. Barrmr. & mrs. richard Bartleymr. melvin L. Batchmr. & mrs. richard Beaubiendr. & mrs. william L.

Beauregardms. miriam BergmanJule Bermanms. hadas Bernardmr. & mrs. Jeffrey a. Bernermr. richard h. Beutherms. marlene Bihlmeyerms. Elsie m. Binghammr. & mrs. theodore a. Bintzmr. & mrs. Edward Birrell, Jr.Lou & roberta Blackmr. randolph Blackms. Katherine Blasierdr. & mrs. duane Blockmr. & mrs. G. peter Blomms. Betty Boldenms. Jane Bolendermr. robert t. Bomiermr. howard Bondmr. Joseph a. Bonerms. marcia Bonnermr. James f. Bonuccims. Nadia Boreikomr. & mrs. paul Bormanms. Linda Borushkomr. &rew Bostromdr. & mrs. david L. Bouwmandon & marilyn Bowermanms. Karen Bowmanann & robert Bradleyms. mary Brandmr. & mrs. Greg J. Brandellmr. & mrs. Ernest w. Brandtmr. & mrs. donald Brasiemr. & mrs. david Brasselldr. & mrs. sander J. Breinermr. & mrs. alfred d. Brickermrs. Joyce Briggs

mr. & mrs. addison Brownmr. & mrs. wilber m. Brucker, Jr.mr. & mrs. mark r. Buchananmr. & mrs. Noel a. BucknerKimberly & charles Burkems. Barbara Burnsmr. & mrs. howard B. camdenmr. & mrs. ross s. campbellmr. william N. campbellKeith a. carabellmr. & mrs. steve J. carlsonJean hill carmanmr. & mrs. richard h. carrms. anne J. carrierdr. & mrs. thomas E. carsondr. susan cattomr. & mrs. robin champnessmrs. doreen chandlermr. & mrs. richard chapmanronald & Lynda charfoosKeith a. & denise m. chereskoms. Evelyn m. cheresonmr. George chuligmichael L. cionireverend ward h. clabueschmr. & mrs. Jack m. cochrandr. & mrs. Eudoro coellodr. & mrs. richard h. cohanms. sandra J. collinsmr. thomas w. cookmrs. robert E. cooperms. Jumana cooperms. Nancy coopermr. william B. corlismr. & mrs. tonino corsettimr. & mrs. robert K. costelloms. tess craftmr. patrick r. cranemrs. rosa m. crawfordmr. sean croninmr. & mrs. alexander crudenmrs. Elaine curvinmr. & mrs. donald m. cutlerms. Beatrice d’ambrosiomr. melvin r. d’amicomr. & mrs. James h. dantomr. & mrs. charles w. darems. Emma dawkinsms. sheilah de Kroubmrs. June deanLillian & walterms. dana debelmr. & mrs. John a. defeverdr. & mrs. anthony deLucamr. Edward a. diedomr. & mrs. Jim donaheymr. christopher J. doozanmr. & mrs. John dreifusmr. & mrs. Joseph r. dudleymr. & mrs. micheal Earlmr. & mrs. henry Eckfeldmr. steven E. Ederdr. & mrs. B. Eisensteinmr. Keith Eldermr. & mrs. Lawrence

Ellenbogenmr. & mrs. william a. Elliottmrs. Kathryn Ellismaury & Jan Elvekrogmr. fred Elwoodmr. Larry Ensmanmr. & mrs. Knut Erichsenms. June Everettmr. & mrs. Lowell Eversonstephen Ewing

mr. david falveymrs. Elizabeth m. farhatmrs. ruby fassoldJohn & margaret faulknerwilliam E. fennelmr. & mrs. Bruce J. fergusonmr. & mrs. michael a. ferkanyvincent & hortense fieldsms. Judith fietzms. sharon t. finchmr. Nolan w. finleydolores & Jim fisherms. shirley m. flanaganms. Betty J. floydms. Jane forbessally freelsmrs. donald friedrichsms. carol a. friendmrs. Lela fuesterms. Kathryn fullerrichard & Julie Ganfieldmr. & mrs. richard a. Garrettmr. Kareem Georgemr. & mrs. robert Georgemark Germaine and patricia

Jochimmr. & mrs. dennis Gershensonms. catherine Giebelmr. & mrs. James Giftosmr. donald J. GillardJoseph & Lois Gilmorewilliam N. & carole L. Gilmoremr. & mrs. thomas J. Glynnmr. & mrs. maurice c. Godwindrs. Beth Goldman and david

andersonirving and doris Goldman funddr. allen Goodman & ms. Janet

hankindr. & mrs. paul Goodmanmr. & mrs. robert Gorenms. patricia Gothamms. Keiko Gotomr. howard J. Gourwitzms. dianna L. Gradymr. & mrs. hadar Granadermr. & mrs. d. stewart Greenmr. & mrs. James a. GreenEugene & anne Greensteinmrs. sarah a. Griersonmrs. franz Grimmingermrs. Elizabeth J. Gruntmanmr. & mrs. david Gugalams. Janet Gumenickdonald & Jeannine Gundlemr. & mrs. ronald Gunthermr. & mrs. darrell hancockmr. & mrs. wilbur w. hansenmr. & mrs. merle harrismrs. ruth B. harrisms. Joann hattonmr. & mrs. demar w. helzermr. & mrs. Jay a. herbstmrs. Nancy herrickmr. & mrs. mark r. highmr. & mrs. Bruce hillmrs. Kathleen B. hillegasmrs. franklin d. hilzingermr. & mrs. raymond hochradelmr. Edward N. hodges iii, J.d.mr. & mrs. william d. hodgmandr. & mrs. James d. hoeschelemrs. Evelyn hokschmr. robert hollandJack & anne hommes

the honorable denise page hood

mrs. harriett h. hullmrs. dolores humesElanah Nachman hunger &

rick hungerms. sandra hymanms. Elizabeth J. ingrahamms. Joan irishJo & carol isaasconmr. & mrs. ronald J. Jachimmr. & mrs. Lawrence Jackiermr. charles w. Jacksonmr. harvey B. Jacksondr. & mrs. Joseph Jacobsonmr. & mrs. richard E. Jacquesms. rebecca s. Jahnms. sandra Janusisms. Elizabeth Jarvismr. david Jensenmr. Einar c. JensenJohn w. Kunzmr. George G. Johnsonmr. Lavoid Johnsonmrs. ollie Johnsonrobert & sandra Johnsonarthur d. & heather m. Jonesmrs. Nancy a. Jonesmrs. sybil Jonesms. rita L. Jordanmr. & mrs. George a. Kalligerosmr. david Karlenedr. & mrs. James J. Karomr. herbert Kaufmanmrs. doris Keith waddellmr. & mrs. richard KelleyJune K. Kendalldr. & mrs. donald Ketaims. fran B. Kettlermr. & mrs. Gerd h. Keuffelmrs. madeline B. Kiefermr. warren Kiffersteinms. Lori Killingbeckms. ida Kingms. mary Beth Kitzmillermr. & mrs. harvey Kleimanmr. & mrs. Justin G. Klimkoms. Lisa c. Knappmr. & mrs. Ludvik f. Kocirayna & Natalio Koganms. Nancy Komenagadimitri & suzanne Kosacheffdr. & mrs. harry N. Kotsisreverend ralph E. Kowalskimr. & mrs. robert s. Kozarmr. & mrs. william Kroger, Jr.ms. dorothy a. Kurriemrs. myron LaBandr. & mrs. Gerald Laker, d.d.s.ms. carole Lallymr. harold Lamkinmr. & mrs. Lawrence Lashmr. & mrs. Loren N. Laumr. John K. LawrenceKathleen & duncan Lawrenceann c. Lawsondr. & mrs. alfredo Lazomr. robert Lane & ms. Lexa L.

Leatherdalems. Barbara LeeperEugene & suzanne Leichsenator & mrs. carl Levinmr. & mrs. yale Levinmr. david Baker Lewismr. & mrs. John Lightner

Judith a. Lindsayms. Beverly Lochardmr. & mrs. philip Lockhartmr. & mrs. Edmund L. Londonms. mary L. Lorenczmr. alphonse Lucarellimandy & Joe Lunghamermr. & mrs. charles and shirley

ann Lusbymrs. robert E. mackms. Emma maclinmr. & mrs. william macpheems. colleen madigan & mr.

John Greenmrs. ann E. madsenms. virginia mahledr. margaret makulskimr. & mrs. Joseph r. mallouredr. & mrs. robert malonemr. & mrs. charles w. manke, Jr.mr. & mrs. douglas L. mannmr. & mrs. Lionel margolickms. florine markmr. & mrs. James marpeJeanne & Bob marshallmr. arthur matsumuradr. robert matthewsms. claire mautnermrs. mary a. mazurmr. stephen a. mazurakms. Kristen mcBridemrs. Katherine mcculloughmary c. mcEvittmr. & mrs. J. E. mcGlincymr. david B. mcLean, sr.colonel and mrs. hugh s.

mcleod iiimr. & mrs. James mcNealms. marion c. melodyms. Evelyn michelettidr. & mrs. h. c. mighionmr. steve mihalikmr. & mrs. paul E. milgrimmr. Edwin L. millerms. Lillie v. mingmr. alfred mirabiturmr. & mrs. marvin molaskydr. susan B. molinamrs. Lili c. monellmrs. onnalee monsonms. sascha montrossms. magi mooneycarolyn & J. michael moorems. pamela w. mooremrs. mildred mossmr. John mouwmr. John moyemr. herman mozermrs. hedi G. mulfordK. comer mulgueenmrs. mary mulhernmr. John c. murphydean & Kathy musgravems. Joan Nagrantmr. & mrs. milford Nemermr. & mrs. George NicholsonJim & mary Beth Nicholsonmr. & mrs. peter a. Nicklesmr. & mrs. Kenneth r. Noblemrs. phyllis d. Nolanmr. & mrs. henry r. Nolte, Jr.mr. & mrs. richard L. Norlingmrs. Evelyn Noveckmr. & mrs. John p. o’Learymr. & mrs. robert orley

max Lepler & rex L. dotsondr. & mrs. stanley h. Levymr. david B. Lewisdr. & mrs. charles Lucasmr. & mrs. walter d. Ludwigdr. & mrs. James a. Lyddonmrs. alice m. macdermottmrs. Linda makrisms. arlene m. marcymr. michael d. mcdonnellmrs. John N. mcNaughtonmr. Juha merikoskimr. & mrs. richard K. millermr. & mrs. steven r. millermr. & mrs. Bernard mindellmr. & mrs. carl mitseffmiss frances mocerims. Lucille a. monarkmr. & mrs. theodore

monolidis

mr. & mrs. James f. mooneyms. florence morriscyril moscowmr. & mrs. allan NachmanEdward & Judith Narensmr. & mrs. arthur o’reillydr. & mrs. dongwhan ohmr. & mrs. constantine

p’sachouliasmr. & dr. david K. pagemr. & mrs. william r. palmermrs. margot c. parkermr. & mrs. robert J. parysms. susan peeplesmr. Joseph r. pellegrinoNoel & patricia petersondr. & mrs. carlos petrozzidr. & mrs. terry podolskymarian & harold a. poling

fund

ronald porterms. wendy williams powers

& mr. william powersward randol, Jr.drs. y. ravindranath & Kanta

Bhambhanidr. claude & mrs. sandra

reitelmanBarbara Gage rexmr. & mrs. robert B.

rosowskimr. & mrs. George t. roumelldr. Earl J. rudner and ms.

Bonnie Brennerpam & Jim ruthvendr. & mrs. william salotms. Joanne Burns & mr.

Lawrence schoffnermr. merton J. & Beverly

segal

John & mari senkomr. stephan sharfdr. & mrs. marvin d. siegelLoretta skewesmr. & mrs. s. Kinnie smith,

Jr.dr. Judy m. & mr. John N.

sobczakshirley r. stancatomr. & mrs. clinton f.

stimpson iiims. mardell B. stricklenmrs. peggy J. terryEllen and peter thurbercarole and Larry tibbittsBarbara & stuart tragerdr. & mrs. dimitry m. turinmr. michael r. tysonmr. & mrs. charles B. van

dusen

Lisa m. varniermrs. harry f. vellmuremarilyn and steven i. victormr. & mrs. william waakms. patricia walkerms. margaret watkinsmrs. Lawrence m. weinermaestro & mrs. thomas

wilkinsmr. & mrs. sheldon

winkelmanmr. & mrs. John a. wisemrs. marion wyattwalt & donna youngfrank & ruth Zinn


support From FounDations anD orGaniZationsThe 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 list also includes the musicians of the

Detroit Symphony Orchestra who contributed over $1,710,000.00 in the 2007-08 season.

in-kinD supportThe DSO acknowledges the following corporations and individuals that have generously provided in-kind gifts to the organization.

PROViDER $200,000 and Morecommunity foundation for southeast

michiganmax m. & marjorie s. fisher foundation, inc.ford foundationhudson-webber foundationmcGregor fundthe andrew w. mellon foundationmusicians of the detroit symphony

orchestraNational Endowment for the arts

state of michiganthe volunteer council of the detroit

symphony orchestra

unDERWRiTER $100,000 and Morederoy testamentary foundationJohn s. and James L. Knight foundationthe Kresge foundationthe mandell L. & madeleine h. Berman

foundationsurdna foundationmatilda r. wilson fund

GuARAnTOR $50,000 and MoreacEs, association of civic Ensemble

supportersharold and penny B. Blumenstein

foundation corporationErb foundationEugene applebaum family foundationElizabeth, allan & warren shelden fund

BEnEFACTOR $10,000 and MoreEleanor & Edsel ford fundhenry ford ii fundthe Julius & cynthia huebner foundationann & Gordon Getty foundationthe alice Kales hartwick foundationchaim, fanny, Louis, Benjamin, & anne

florence Kaufman memorial trustmyron p. Leven foundationoliver dewey marcks foundationmary thompson foundationmulti-arts production fundsage foundation

PARTnER $5,000 and Morethe ayco charitable foundationBeck family foundationBenson & Edith ford fundGatewood foundation, inc.harvey m. rice foundationJames & Lynelle holden fundthe Johnson foundationthe E. Nakamichi foundationherbert & Elsa ponting foundation

PATROn $2,500 and MoreJoseph E. Beauchamp charitable trustJ. ira and Nicki harris family foundation

clarence & Jack himmel fundhp foundationL&h foundationmcKeen foundationmeet the composer’s metLife creative

connections programthe skillman foundationyoung woman’s home association

SPOnSOR $1,000 and Morecharles m. Bauervic foundationcombined federal campaignfrank & Gertrude dunlap foundationJapan Business society of detroit

foundation

meyer and anna prentis family foundation

the Loraine & melinese reuter foundationthe melvyn maxwell and sara smith

foundationolson Kulka foundationsigmund & sophie rohlik foundationLouis and Nellie sieg foundationsamuel L. westerman foundation

FRiEnD $500 and Morefisher insley foundationthe James and Lucy mcNeal charitable

foundationmarion and robert wyatt foundation

accuformmr. & mrs. Eric p. adamsJudy & randy agleyair franceallied-Eagle supply companymrs. adel amermanJanet & Norm ankersshanny & Bill apodacavicki & richard Baksmr. & mrs. Lee BarthelBBJ LinenBetween the Linesmr. s. Elie BoudtGwen & richard BowlbyBetty & Bill Brookscapital waste, inc.Joseph caughmanGloria & fred clarkdr. & mrs. william cosgrovemr. & mrs. Gary L. cowgerJoe crachiola, photographer

ted “ski” cross, pmpdedria & alexander crudendr. & mrs. anthony deLucadetroit athletic clubdisplay Groupolga f. dworkinJudith Ehrmanndr. & mrs. myron r. EmerickEpoch restaurant Groupfresh farms marketmr. & mrs. ralph J. GersonGibbs world wide winepaul GansonEd Gastonpatricia & James Giftosanthony & christine GiorgioGolden acousticsGolden harvest restaurantGooglehammell music, inc.mr. & mrs. John r. hayes

michael farrell & marc herrickhour detroitstory & william Johndr. Julie henry & chuck KaessJudy & Buddy KaufmanLenora Kaufmanmr. James Kokascarole LamantiaLinda & dr. Larry Lloydmr. patrick w. LynchLynch’s, inc.macy’smarshall music co.mcKensey & companythe metro timesLois & Gene millerLynn & randall millerJoann & tony mitchellNeiman marcusmr. & mrs. James B. Nicholsonart Nietzche

Northwest airlines, inc.oakland universityanne parsons & donald dietzdebra & richard partrichpaul m. huxley & cynthia J.

paskymr. & mrs. fred perenicmrs. Bernard E. pincuscharles pughpvs chemicals, inc.rEdicothe ritz-carltonthe remington Groupmr. & mrs. arthur rooksapril wagner & Jason ruffJeanne & alexander ruthvenms. darlene sankovicdominick & cindy schianoms. Karla J. sherrymr. Leonard slatkin

steven rybicki - infinity yacht charters

special Events party rentalsstaplesstarbucks coffeestrategic staffing solutions,

inc.tapper’s diamonds & fine

Jewelrytributerichard J. Bowers, Jr. & daniel

J. tredervillage food marketGary wassermanvolunteer council of detroit

symphony orchestrawestborn marketGeroge williams interiors Ltd.mary & dr. max wisgerhofdr. & mrs. clyde wuZaccaro’s market

mr. Barry osterbur and mrs. Elaine d. osterbur

mr. & mrs. michael f. ottawaymr. stanford r. ovshinskydr. & mrs. James r. ozingamr. & mrs. donald a. paismr. Edward palmms. marla E. parkermr. sidney parkermr. angelo pattiin memory of anton patti, Jr.

dso violist 1946-1982ms. christine s. peckKenneth & doris pedersenmr. & mrs. wesley r. pellingmrs. mary a. pernamr. Gregory peterson & ms.

mary petersonmr. Kurt petersonmr. & mrs. mark h. petersonward & margaret petersonmr. & mrs. James pidgeonmrs. ann pikenmr. david pincusmr. & mrs. robert f. pincusmr. & mrs. d. david pippelmrs. thomas piskorowskimr. & mrs. Karl a. pituchmr. & mrs. Bruce polozkerpatricia & Eric poppemr. & mrs. david w. portermr. & mrs. howard J. pridmoremr. & mrs. hans prinsenmr. & mrs. michael prysak

drs. renato G. and daisy ramos

margaret rashidhope & Larry raymondJohn & arlene redfieldmrs. denise p. redmondmr. michael redmondmr. randolph regalLouise & Karl reibelmr. & mrs. william J. reillydonald & patricia renniemrs. wayne richardsmichael & stephenie rileydr. & mrs. George ritterJan & paul robertson, Jr.mr. peter J. roddyms. Elizabeth m. rogersmr. & mrs. Leslie rosems. rhoda rosenthalmr. & mrs. Gerald f. rossGail & Gary rubymr. arthur runyonmr. & mrs. william sachsmr. charles sajewskimr. denny sandberg and mrs.

Nancy J. sandbergmr. & mrs. peter sandrettodrs. Edward and virginia saylesmr. & mrs. robert v. schechtermark & carrie scherms. Linda scherdtms. yvonne schillams. Greg schimizzimr. & mrs. anthony schmitt

mr. John c. schmuhlfaye & richard sidderdr. & mrs. david schneidermr. & mrs. mark schwartzms. sandra seimmrs. Lillian shayems. Nedda shayotams. moira a. sheehanms. wei shenmr. & mrs. william c. shenefeltmr. & mrs. sterling shephardmr. & mrs. James h. shermandr. douglas & Julie shiffmanmrs. arlene shymr. & mrs. robert siewertmr. & mrs. ted J. simonBruce h. & Edwina m. simpsonms. sue Ellen smallmrs. Karna m. smithmr. Lawrence r. smithmr. & mrs. Leonard w. smithmr. ronald J. smithmr. & mrs. John s. snydermr. phil snyderdr. & mrs. robert sokoldr. & mrs. alan w. solwaymr. & mrs. harvey L. solwayJames and rebecca spearotdr. & mrs. henry h. spraguemr. & mrs. Gabriel stahlmr. & mrs. Jay starkmr. frank d. stellamr. & mrs. John stellmanms. Katherine stephenson

ms. isabel stockwellmrs. Nancy L. stonermrs. E. ray strickerJames & cristina sunstrumdavid & danielle susserms. arlene tarbetmrs. Burt E. taylormr. & mrs. donald c. templinms. Elena theutEloise f. tholenms. doris tongmr. william N. trippms. Brenda trottermrs. Joyce tuckermr. L. w. tuckermr. John urbanms. theresa uzenskimr. John t. vanBrandeghenwilliam & Jan vandenburgmr. & mrs. melvin c.

vanderBrugdennis & Jennifer variandr. Nilda villalbamrs. rebecca a. violamr. & mrs. wil vivianomrs. irene waltms. carol wardmrs. ann warrenmr. & mrs. william L. warrenmr. Joseph washingtonGary L. wassermanalan & Jean weamerms. Beverly weidendorfms. Janet B. weir

ms. marilynn weissmr. & mrs. martin E. welchmrs. Glenda s. welzdr. marie-ange wengms. Jean m. werschingms. carolyn whitedr. John h. whiteiris and fred whitehousemrs. Barbara widenerdr. & mrs. christopher d.

wilhelmms. cynthia L. wilhelmmr. Lawrence d. williamsmark & patricia willmarthtrudi & henry wineman iimrs. sidney J. winerms. margaret w. winkelmandr. & mrs. Lawrence wisemr. & mrs. Gregory wittrockms. Barbara wojtasmr. & mrs. Jonathan wolmanmrs. cathy c woodmr. & mrs. Ken yorkms. christie youngms. Gail Zabowskimr. & mrs. Larry r. Zangerlemr. & mrs. anthony Zeringuemr. & mrs. richard d.

Zimmermaningrid i. ZitzewitzLois h. & milton y. Zussman


$50,000 and Moredelta airlinesGuardian industries

corporationNational city Bank

$20,000 and More compuware corporationdetroit area honda dealers

associationGmacr.L. polk & co.somerset collection

$10,000 and More arvinmeritorcampbell-Ewaldfidelity charitable Gift fundfoley & Lardner LLpNorthern trust Bankpricewaterhousecoopers LLpwarner Norcross & Judd, LLpwolverine packing company

$5,000 and Moreacceledyne technologies

Limitedthe amerisure companiesash stevens inc.Basf corporationButzel Longcontractors steel companydenso international americathe four octave club of detroitGilmour fundGrant thornton LLpGreektown casinohour media, LLcKpmG LLpmGm Grand detroit casinoNudell architectsthe sally a. and Graham a. orley

foundationsuburban collectionweyerhaeuser company

foundationyazaki North america inc.

$1,000 and Moreharold & Barbara BerryBloomfi eld hills country clubBorg warner automotive, inc.Brown campbell companyBurton-share, inc.carco, inc.clark hill p.L.c.cNdarling Bolt companydelta dental plan of michigandesign systems, inc.detroit athletic clubdetroit stage Employees Local

#38dumouchellesEschaton LLcmichael and Karen Egren/

foamade industries, inc.General dynamics Land systemsGermano managementGhafari associateshare Express, inc.huron family practice center,

p.c.illuminating conceptsJay a.fishman Ltd.manulife financialJpra architectsLakeside ophthalmology center,

robert mobley, m.d.al Long ford inc.robert L. Ziegelmanmadison Electric companymansell associates, inc.meadowbrook insurance Groupmercermichael J. dul & associatesmichigan first credit unionmichigan food & Beverage

associationmiller, canfi eld, paddock & stoneoakland universitypharmacy Employment services

inc.plante & moran, pLLcp.p.G. industriesradar industries, inc.rotor Electric companyroyal oak industries,

incorporatedschostak Brothers & company,

inc.schwab fund for charitable

Giving

shinsho american corporationsolomon friedman advertisingspectrum automation companytaubman companythe technicom Groupu.a.w. region 1-a capurban science applications, inc.versacom incorporatedvesco oil corporation/don &

marjory Epsteinwelker Bearing company, inc.Zachary & associates, inc.

$500 and MoreaaN financial services Groupactive aero Groupaerial Enterprisesalbert Kahn associates, inc.anonymousBlackbaudBorder city tool & manufacturing

companycenter Line Electric, inc.centerline veterinary hospitalcombe consultantsdetroit Legal Newsf B wright companyfederal collateral societyfred Lavery comapnyfredrick & Kathy yaffeGreat Lakes Gas transmissionharmonie park pressheidtman steel products, inc.hudson & muma, inc.idcitochu international, inc.John w. KunzKawasaki robotics (usa), inc.Kramar Jewelry, inc.Lau & Lau associates, LLcLocomotive Engineers &

conductors mutual protective assoc.

Long insurance servicesm. Jacob & sonsmaddin hauser wartellmanheims metro detroit auto

auctionmansell associates, inc.seymour-Gill financial/

massmutual companiesmeans industries, inc.merlyn contractorsmichael fabricating, inc.michelin automotive industrymichigan offi ce design, inc.minkin-chandler corporationmolex automotive/cardell

corporation

moroun Nursing homeNeumann/smith & associatesNGK spark plugs (usa), inc.Novara, tesija & mcGuire, pLLcNth consultants, Ltd.peoples trust credit unionpost smythe Lutz & Ziel LLppro musica of detroit, inc.robert rollinger, p.c.rose pest solutionss.L.c. meter service, inc.safety technology international,

inc.sagres partnerssKf automotive divisionsloan flushmate (a division of

sloan valve company)Bruce & Natalie rosen/sovereign

sales, LLcspartan distributors, inc.spiratex companyteal Electrictowers perrinverndale products, inc.vicki’s food, inc.sarah and Erv wolk

$300 and Moreadult Learning institutetivadar Balogh architectBlue cross/Blue shieldBieri companyBurke Building centercaucus clubcoffee Express companydwyer & sons volvo subaruEast detroit ophthalmology, p.c.franklin templeton investments

services, LLcmr. J. martin Gillespievincent spica iiihoscoJeford industries inc.Nemo’s restaurantNorth star partnersa. h. peters funeral homepetoskey plasticsBen pivnick plywood & veneer

companyplastomer corporationplumbers service, inc.real Estate one, inc.Janet sossi-Belcoure/roma cafe

inc.rosedale products, inc.stageline mobile stage, inc.tompkins products, inc.total community credit unionword of faith christian center

dEtroit symphoNy corporatE coNtriButors$100,000 and More

PVS Chemicals, Inc.Offi cial IT Support

Consultant to the DSO


upcomiNG EvENts

suNday moNday tuEsday wEdNEsday thursday friday saturday

Annual Sphinx Competition2 p.m. oh

DSO Classical SeriesMendelssohn & MahlerJames conlon, conductor8 p.m. oh

Mosaic Youth Theatre“Magnificat”8 p.m. mB

Mosaic Youth Theatre“Magnificat”2 p.m. & 8 p.m. mB

DSO Classical SeriesMendelssohn & Mahler8:30 p.m. oh

DSO Classical SeriesMendelssohn & Mahler3 p.m. oh

Mosaic Youth Theatre“Magnificat”4 p.m. mB

DTE Energy Foundation Pops SeriesAll You need is Lovemartin herman, conductor10:45 a.m. & 8 p.m. oh

DTE Energy Foundation Pops SeriesAll You need is Love8:30 p.m. oh

Tiny Tots ConcertsA Classical Tiny Tots10 a.m. mBNational City Young People’s ConcertsBeethoven Lives upstairs 11 a.m. ohDTE Energy Foundation Pops SeriesAll You need is Love8:30 p.m. oh

DTE Energy Foundation Pops SeriesAll You need is Love3 p.m. oh

DSO Classical SeriesBeethoven & Straussrafael frübeck de Burgos, conductor 8 p.m. oh

DSO Classical SeriesBeethoven & Strauss10:45 a.m. oh

Bank of America Paradise Jazz SeriesJohn Scofield8 p.m. oh

DSO Classical SeriesBeethoven & Strauss8:30 p.m. oh

Delta Airlines World Music Series national Acrobats of China3 p.m. oh

DSO Classical Series Baroque SpectacularNicholas Kraemer, conductor8 p.m. oh

DSO Classical Series Baroque Spectacular8 p.m. oh

DSO Classical Series Baroque Spectacular8:30 p.m. oh

DSO Classical SeriesClassical Rootsthomas wilkins, conductor8 p.m. oh

Classical Roots Celebration ix6 p.m.

DSO Classical Series Classical Roots8:30 p.m. oh

DSO Classical SeriesClassical Roots3 p.m. oh

DSO Classical SeriesBeethoven & Debussysir andrew davis, conductor8 p.m. oh

DSO Civic Jazz EnsemblesCivic Jazz Live!6 p.m. mB

Bank of America Paradise Jazz SeriesBlue note Anniversary Tour8 p.m. oh

DSO Classical SeriesBeethoven & Debussy8:30 p.m. oh

DSO Classical SeriesBeethoven & Debussy3 p.m. oh

DTE Energy Foundation Pops SeriesPops Goes Vegas!Jack Everly, conductor10:45 a.m. & 8 p.m.

DTE Energy Foundation Pops SeriesPops Goes Vegas!8:30 p.m.

Tiny Tots Concertsimaginary Homeland10 a.m. mBNational City Young People’s ConcertsThe Beat Goes On 11 a.m. ohDTE Energy Foundation Pops SeriesPops Goes Vegas!8:30 p.m.

DTE Energy Foundation Pops SeriesPops Goes Vegas!3 p.m.

DSO Civic Youth EnsemblesWinter Civic Experience ii 6 p.m., 7 p.m., 7:30 p.m.

DSO Classical SeriesThe French Connectionsusanna mälkki, conductorpeter serkin, piano10:45 a.m.

DSO Classical SeriesThe French Connection8:30 p.m.

1 2 3 4 5 6 7

8 9 10 11 12 13 14

15 16 17 18 19 20 21

22 23 24 25 26 27 28

1 2 3 4 5 6 7

8 9 10 11 12 13 14

15 16 17 18 19 20 21

22 23 24 25 26 27 28

oh

oh

oh

oh

oh

oh

oh

oh

oh

oh

oh oh

oh

ohoh

oh

oh

oh

oh

oh

oh

oh

oh

oh

oh

oh

mB

mB

mB

ah oh

mB

mB

mB

ohoh

oh

oh

oh

oh

ah

mB

ochestra hall

music Box

allesee hall

for tickets call (313) 576-5111www.detroitsymphony.comM

arch

Feb

ruar

y

Classical Mystery Tour

Davis

Mälkki

Wilkins

Conlon

de Burgos

kraemer

mB ah oh


Celebrate exCellenCe

Grand Valley celebrates the imagination, creativity, and beauty of the fine arts. We appreciate the

performances that inspire and enlighten us. And, we applaud the artists who share our passion

for excellence and our commitment to personal achievement. gvsu.edu 800.748.0246

Get behind the Western Michigan University is focused on student success and committed to the arts. You’ll find all the resources of a national research university along with the one-on-one contact and personal touch of a close-knit arts community. • One Of the natiOn’s tOp-100 public universities

• cOllege Of fine arts has internatiOnally recOgnized prOgrams in art, dance, music and theatre

• Only university in michigan and One Of Only six in natiOn with all Of its fine arts disciplines prOfessiOnally accredited

• student grOups tOur the glObe and perfOrm at such venues as lincOln center, Kennedy center and carnegie hall.

wmich.edu (269) 387-2000

Documents

DSO Performance, 2008-09 Season, Issue. No. 4