DSO Performance, 2008-09 season, Issue No. 1

The Magazine of the Detroit Symphony OrchestraPerformance

a season oF ChanGe!DSO Welcomes New Music Director,

New Web Site, New Horizons!

VoLuMe XVII Issue I / 2008–2009 seAson

Contents

EditorMarilou Carlin

Carlin Public Relations, [email protected]

(313) 320-5803

Dso Administrative officesMax M. Fisher Music Center

3711 Woodward AvenueDetroit, MI 48201

Phone: (313) 576-5100Fax: (313) 576-5101

Dso Box office: (313) 576-5111Box office 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.

uecho Publications, Inc.

(248) 582-9690 www.echopublications.com

tom Putters, president

to advertise in Performance, contact toby Faber at (248) 681-4944, or email

[email protected]

Performance magazine online:www.dsoperformance.com

u

to report an emergency during a concert call (313) 576-5111. to make special

arrangements to receive emergency phone calls during a concert, ask for the house

manager.

It is the policy of the Detroit symphony orchestra that concerts, activities and

services are offered without regard to race, color, religion, national origin, handicap, age or gender. the Dso is an 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 I

2008–09 Departments 4 Board of Directors

6 Orchestra Roster

53 Donors Make the Difference

54 Education News

55 General Information

55 Administrative Staff

56 Donor Roster

Concerts September 16 Classical series: shaham Plays Brahms 11–13 Peter Oundjian, Gil Shaham

20 special event: Lang Lang Returns 14 Peter Oundjian, Lang Lang

24 Classical series: deMaine Plays schumann 19–21 Arild Remmereit, Robert deMaine

28 Classical series: Wilkins & sibelius 26 & 28 Thomas Wilkins, Karl Pituch October 36 Dte energy Foundation Pops series: 2–5 Louis Armstrong’s new orleans Jeff Tyzik, Byron Stripling, Bob Breithaupt

38 Classical series: Brahms & Bruch 9–11 Günther Herbig, Tianwa Yang

42 special event: sphinx national tour 12 Chelsea Tipton, II, Sphinx Chamber Orchestra, Elena Urioste,

The Harlem Quartet

47 Bank of America Paradise Jazz series: Dave Brubeck 16 Dave Brubeck, Randy Jones, Bobby Militello, Michael Moore

48 Classical series: Romeo & Juliet 17 & 18 Bright Sheng, Yang Wei

52 World Music series: simon shaheen & Qantara with the Dso 19 Tito Muñoz, Simon Shaheen, Qantara

Features 8 News & Notes

10 Meet the Musician new Principal Flutist, sharon sparrow

12 The DSO Brings the World to Detroit

14 It’s a Brand New Day! Fresh new Changes Invigorate

the Dso

31 Musician Photo Roster

14 24 38

PeRFoRMAnCe / VoL. XVII / Issue I 3WWW.DetRoItsyMPhony.CoM

Detroit Symphony OrchestraoFFICeRs

eXeCutIVe CoMMIttee oF the BoARD oF DIReCtoRs

LIFetIMe MeMBeRs oF the BoARD oF DIReCtoRs

BoARD oF DIReCtoRs

VoLunteeR CounCIL 2008-10

neW LeADeRs oF the DetRoIt syMPhony oRChestRA 2008-2009

James B. nicholsonChairman

samuel Frankel† David handleman, sr.

Peter D. CummingsChairman Emeritus and Vice Chairman,

Development

Alfred R. Glancy IIIChairman Emeritus

and Vice Chairman, Finance

Lloyd e. Reuss 1st Vice Chairman

Glenda D. Price, Ph.D. Secretary

Penny B. BlumensteinVice Chairperson

Bernard I. RobertsonVice Chairman

Alan e. schwartzVice Chairman

Arthur A. WeissVice Chairman

George J. BedrosianCecilia Bennerstephen A. BrombergMarlies Castaing

Caroline Coadestephen R. D’Arcyherman Frankelstanley Frankel

Kelly hayes Paul M. huxleyDr. Arthur JohnsonRichard P. Kughn

Melvin A. Lester, M.D.Arthur C. LieblerGlenn MellowBruce D. Peterson

Jack A. RobinsonBarbara Van DusenClyde Wu, M.D.

Rosette AjluniRobert Alleseethomas V. Angott, sr.Floy BarthelLillian Bauder, Ph.D.Mrs. Mandell L.

BermanJohn A. Boll, sr.Richard A. BrodieLynne Carter, M.D.Gary L. CowgerMaureen t. D’AvanzoKaren DavidsonMarietta DavisLaurence B. Deitch

Walter e. DouglasMarianne endicottJanette engelhardtBruce FergusonJennifer Fischersidney ForbesLinda ForteLaura L. Fournier Mrs. harold FrankBarbara FrankelPaul Ganson*Ralph J. GersonBrigitte harrisGloria heppner, Ph.D.nicholas hood III

Richard h. huttenlocher

Renee JanovskyGeorge G. JohnsonMichael J. Keegan the hon. Damon J.

Keithharold KulishBonnie Larsonharry A. Lomason IIRalph J. MandarinoMervyn h. ManningDavid n. McCammonLois A. Miller

sean M. neallDavid Robert nelsonCynthia J. PaskyRobert Perkins, D.D.s.William F. PickardMarilyn Pincusstephen PolkMarjorie s. saulsonMrs. Ray A. shaperoLois L. shaevskyJane F. shermannancy A. smithshirley R. stancatoFrank D. stellaPhyllis strome

Richard 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 ArellanoKristen ArmstrongKaren BowmanKimberly BurkeDr. susan Cattotess CraftChris & Carina CrainDana Debel

Dierk L. hallelanah nachman

hunger & Rick hunger

sally FreelsRita L. JordanDrs. Melissa McBrien &

Raymond Landes

Drs. scott & Lisa Langenburg

Lexa LeatherdaleBeverly LochardBernice Martin-WrightJim & Mary Beth

nicholson

Rebecca D’Arcy o’Reilly & Arthur t. o’Reilly

Michael F. ottaway & tamra e. ottaway

todd PeplinskiPatricia Poppe

elizabeth M. Rogers, chair

nedda shayotaWei shenJoseph 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

Anne ParsonsPresident and Executive Director

u

4 PeRFoRMAnCe / VoL. XVII / Issue I WWW.DetRoItsyMPhony.CoM

NPPR

CAMPBELL MITHUN • DIGITAL RESOURCES • PREPRESS STUDIO

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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

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

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^elias Friedenzohn*Joseph Goldman*Laurie Landers Goldman*eun Park*Linda snedden-smith*Ann strubler*LeAnn toth*

Second ViolinsGeoffrey Applegate+

The Devereaux Family Chair

Adam stepniewski++Alvin scoreLilit Danielyan*elayna Duitman*Ron Fischer*hui Jin*^Robert Murphy*Adrienne Rönmark*Lenore sjoberg*Bruce smith*Gregory staples*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++

PercussionRobert Pangborn+

Ruth Roby and Alfred R. Glancy III Chair

Ian Ding++Daniel Bauch

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^ 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

Dear Friends: it is with great anticipation and excitement that we welcome you to the 2008-09 season of the Detroit symphony orchestra. this will be an historic year as we welcome leonard slatkin as music

Director. over the past season, we have had first-hand experience of leonard’s inspiring leadership and brilliant musicianship, most recently when he led two wonderful concerts at meadow brook. all who have been touched by leonard’s infectious enthusiasm know that we are in for a thrilling era under his passionate and visionary leadership. while we anticipate his first concerts with us in December (Dec. 11-14), when he will conduct the magnificent oratorio Carmina Burana, i am sure that

you will notice leonard’s influence as you survey this season’s line-up of concerts. the classical schedule includes a thoughtful and creative mix of much-loved repertoire, contemporary works (including three world premieres plus a michigan premiere) and many rarely heard classics. each week represents an exploration (sometimes even an adventure), but always bearing the stamp of excellence and integrity only great music-making can bring. the Dso’s summer season was filled with important activity, highlighting significant partnerships and celebrations. thanks to peter oundjian’s and tom allen’s dynamic leadership, our second annual 8 Days in June Festival continued to break new ground, reaching broad and diverse audiences through creative, contextual programming. thanks also go to this year’s partners at Cranbrook, the Detroit Zoo, mosaic and moCaD, as well as our very generous sponsors at Ford Foundation, Community Foundation for southeast michigan, maxine and stuart Frankel Foundation and the nea. please mark your calendar now for next year’s Festival dates (june 20 to 27, 2009) and experience first-hand this dynamic and fun filled festival which presents music in a socially, politically and environmentally world context. other summer Dso highlights included a free performance at Gm river Days on the Detroit riverfront; record-breaking attendance of 30,011 at the Salute to America concerts at Greenfield Village; four free “target harmony in the metroparks” performances; a total of five performances at meadow brook; and the fourth year that the Dso collaborated with new Detroit and aCCess to present The Concert of Colors. read more about this extraordinary diversity festival and the way it helped propel the Dso into the world music arena on page 12. looking ahead to an exciting 2008–09 season, we have much to celebrate. with leonard slatkin on board, Detroit’s artistic team is now complete. we are so pleased to welcome back principal Guest Conductor peter oundjian and resident Conductor thomas wilkins, and are delighted to add wynton marsalis as the 2008-09 Fred a. and barbara m. erb jazz Chair for 2008-09. Don’t miss his concert on sept. 27 when the Dso will team with the jazz at lincoln Center orchestra for the world premiere of a new marsalis composition. to find out more about our season, please explore our new web site (www.detroitsymphony.com), and read all about it on pages 14-15. our goal was to make the site fun, engaging and easy to use, so let us know what you think by dropping us a line at [email protected]. if you haven’t been a subscriber or joined our donor family, there is no better time to do so. please contact us in any way that is most convenient for you. thanks for joining us and come back soon and bring a friend. Great music is meant to be shared.

president and executive [email protected]

DSO and DPTV Launch “Making Music with the DSO” this fall a very special new televi-sion program that demystifies music will make its debut on Detroit Public television. titled “Making Music with the Dso” and hosted by new Music Director Leonard slatkin, the 30-minute program is a co-production of the Dso and DPtV and will feature 12 episodes, each focus-ing on a different aspect of the art of making music. the show will take view-ers behind the scenes with the Dso to discover all that goes into creating a world class symphony, and it will also feature other genres of music as it explores how they connect to classical. Music experts, local and world famous artists, Detroit area music students and many Dso musicians will be featured in both interviews and performances, and each show will include a “reality” segment in which everyday music fans will be brought into the music-making process. the show has been made possible by a generous grant by Dso Board Member stanley Frankel. Visit www.detroitsymphony.com or www.detroitpublictv.org for exact viewing times.

Sphinx Organization Launches National Tour at Orchestra Hall For years the Dso has enjoyed a thrilling partnership with the world-acclaimed sphinx organization, the groundbreaking non-profit that works to increase the participation of Blacks and Latinos in classical music. this partnership now reaches a new milestone as the first sphinx national tour touches down at orchestra hall. the concert on october 12 features the sphinx Chamber orchestra, comprised of top alumni of the annual sphinx Competition for young Black and Latino string Players. Joining the orchestra on tour will be the harlem Quartet (all first-place Laureates of the sphinx Competition) and several top sphinx Competition winners as soloists. the tour, which will include a stop at Carnegie hall, is a co-presentation of the Dso and university Musical society and will feature the music of Mozart, Vivaldi, Piazzolla, Villa Lobos and more. For tickets call (313) 576-5111.

sLAtKIn


VoLunteeR CoRneR

Multiple World Premieres in New DSO Season! In the symphony orchestra world, few things trigger as much excitement as performances of brand new works. In the 2008-09 Dso season, that excitement will abound as the Dso presents the World Premieres of five works. Included is a dazzling composition for Jazz and symphony orchestra (featuring the Dso with the Jazz at Lincoln Center orchestra) by the Dso’s 2008-09 Fred A. and Barbara M. erb Jazz Chair, Wynton Marsalis (sept. 27). Also meld-ing two genres of music is the World Premiere being performed on the Dso World Music series: a Concerto for oud and orchestra by Palestinian-American star simon shaheen (oct. 19). Leonard slat-kin will conduct the remaining World Premieres, which will include a work by the 2008 winner of the elaine Lebenbom Memorial Award for Female Composers, Margaret Brouwer (Jan. 9-11). Don’t miss out on a chance to be a part of history — buy your tickets now by calling (313) 576-5111.

2008-09 World Premieres •Sept.27:WyntonMarsalis/CommissionforJazzandSymphony

orchestra •Oct.19:SimonShaheen/ConcertoNo.1forOudandOrchestra •Dec.11-14:JamesLeeIII/A Different Soldier’s Tale •Jan.9-11:MargaretBrouwer/RhapsodyforOrchestra •Jan.15-18:AllaBorzova/Songs for Lada

Volunteer Council Celebrates 20 Years! the 2008-09 Dso season ushers in the 20th anniversary of the Dso Volunteer Council. the VC was formed in 1988 when two Dso support groups — the Friends of the Paradise theatre and the orchestra hall Association and the Friends of the Detroit symphony orchestra — were merged. the new organization followed in the footsteps of several other critically important support groups, beginning with the Women’s Asso-ciation of the Dso, formed in 1928. the Volunteer Council is a thriving group of dedicated, energetic, professional volunteers that produce many success-ful fundraising events. Presidents of the VC serve for two-year periods and are to be thanked for their hard work and dedica-tion to the Dso. Past presidents have included Marianne endi-cott (1988-89), Mado Lie (1989-92), Marjorie saulson (1992-94), Annette Balian (1994-96), Diane hoeft Varisto (1996-98), Lucy t. Debol (1998-2000), Barbara Diles (2000-02), Maureen D’Avanzo (2002-04), Gloria nycek (2004-06), and Debra Partrich (2006-08). the current president is Kelly hayes. the next VC event is the nutcracker Luncheon & Boutique on november 5 at the Birmingham Athletic Club. For tickets and information, call (313) 576-5154.

They’re Not Called “Special” for Nothing… each season the Dso presents a number of “special” concerts, one-night-only performances that are not part of any subscription series and that feature very — well — special guest artists. this year is no excep-tion, and the season opening weekend includes a special featuring one of today’s anointed classical superstars, Lang Lang, performing Chopin’s Piano Concerto no. 2 (sept. 14), sponsored by northwest Airlines. other special concerts in 2008-09 include the sphinx national tour (see previous page — oct. 12); Garrison Keillor in a return engagement at orchestra hall, this time in a delightful holiday show (Dec. 16); and the Broadway legend Barbara Cook appearing with the Dso in a show that celebrates her extraordinary 50-year career (May 9). For more information and tickets, visit www.detroitsymphony.com or call (313) 576-5111.

KeILLoR

CooK

Introducing 37/11: $11 Tickets for Those Under Age 37 What can $11 buy? A fifth of a tank of gas. A martini at a nice bar. An appetizer at a good restaurant. or, if you’re a member of the Dso’s 37/11 club, $11 can buy a ticket to a Detroit symphony orchestra concert where you’ll hear one of the world’s great orchestras performing spectacular music with brilliant conductors and guest artists. 37/11 replaces the Dso’s previous student “rush” ticket prices and opens the program up to anyone under the age of 37. Plus, unlike the “rush” program, where tickets only became available on the day of a concert, 37/11 makes tickets available for purchase 1 to 3 weeks ahead of performances. And 37/11 tickets are not only for balcony seats (though the orchestra hall balcony is unsurpassed for sound quality) … instead, tick-ets are the best available. But you must be registered to take

advantage of this progressive new program. Visit www.detroitsymphony.com and click on “events” to register. you’ll soon see that $11 can buy more than you ever imagined!


Meet the MusICIAn

sharon Wood sparrow had been second flute in the Dso for nine seasons when she auditioned for the Principal Flute position left vacant last June by the retiring ervin Monroe. “I always thought I would audition, but I never expected to get it,” she said. so how does she feel now that the job is hers? “It’s a dream come true!” said sparrow, with unbridled excitement. sparrow’s tenure as Principal Flutist begins with the launch of the 2008-09 season and the Dso veteran is brim-ming with eager anticipation. “It’s so completely different being principal,” she said. “As second flute your job is to enhance what the principal is playing. But as principal, you have your own voice and get to express what’s inside yourself. And really, the reason I took the audition is that I feel that I just have so much to say musically.” It’s probably no surprise that this effervescent mother of two has so much music in her soul to share. she’s been playing since the age of five – starting on piano and adding flute in the fifth grade – and knew that music would be her career from a very early age. A native of syracuse, new york, spar-row attended the Juilliard school, study-ing with Julius Baker and graduating in 1984. she then obtained her Master of Music degree at the Mannes school

of Music, also in Manhattan, where she studied with thomas nyfenger. “I would not be the player I am today without him,” said sparrow. “he was a musical genius. hopefully I am passing on to my students some of what he gave to me.” Although it is 20 years since she studied with nyfenger, and almost as many since his death, sparrow felt compelled to write to his son when she won the Dso Principal position. “I wanted him to know that his father lives on in ways he can’t really know.” Prior to joining the Dso in 1998, spar-row held positions as Principal Flute of the Fort Wayne Philharmonic and the Memphis symphony, as well as second Flute of the eastern Philharmonic orchestra in north Carolina. throughout her professional career she has also been a passionate advocate for music education. In Fort Wayne she founded a Kindermusik© chapter and in Detroit she teaches private lessons, has written and performed children’s programs with the Cuttime Players, was a long time member of the Dso education Commit-tee, and, with fellow Dso flutist Jeffery Zook, founded the Detroit Flute Connec-tion to present master classes to aspiring flutists in Metro Detroit. “If I weren’t a musician I would definitely be working with children in some capacity,” she said. sparrow’s passion for music educa-

tion naturally extends to her own children: 15-year-old hannah and 13-year-old Zack. Already experienced musicians, both are members of the Dso’s Civic youth ensembles. hannah is a violist with the Civic orchestra and plans to study musical theater in college. Zack is a bassist in Civic sinfonia, though rock ‘n’ roll is his passion; he also plays electric guitar. In her free time sparrow enjoys tennis and excur-sions on the family’s 19-foot

powerboat. she is also working with Jeff Zook on getting a set of flute duets published and she is busy writing a book on auditioning. “I saw how so many people really struggle with auditions while I had a system that has worked really well for me. I realized I could help people get into finals by writing a book.” she hopes to see it published next year. As she immerses herself in the music of the 2008-09 season, sparrow is greatly looking forward to the opportunities her Principal Flute role will afford her. she mentions some works with beautiful flute solos, such as Brahms’ symphony no. 1 (oct. 9-11) and Ravel’s Daphnis and Chloe (March 27-28). she adds that she is equally excited about the opportunity to play off the other principals in the wind section: oboe, clarinet, bassoon and english horn. “I’m also hoping that this new posi-tion will allow me to be more involved in promoting the orchestra,” said sparrow. “I’m always concerned about the image of the Dso and want new people to give it a try, to get past pre-conceived notions about the symphony. Whenever I bring someone to a concert, their expectations are always surpassed. I want to do what-ever I can to get more people to have that experience and understand how great orchestral music is.”

This Sparrow Is Soaring!Introducing the DSO’s New Principal Flutist, Sharon Sparrow

By MARILou CARLIn

shARon sPARRoW (R.) WIth heR DAuGhteR hAnnAh AnD son ZACK In nyC thIs suMMeR.

shARon sPARRoW


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Fall Arts CelebrationEnriching the Arts and Humanities in West Michigan

Grand Valley State University presents

Dance Stars Across America

Features the choreography of Pascal Rioult, director of the Pascal Rioult Dance Company, and noted New York choreographer Thang Dao plus two new works for the GVSU Dance Ensemble.

Friday, October 24, 8 p.m. Saturday, October 25, 2 p.m. Louis Armstrong Theatre Performing Arts Center, Allendale CampusTickets: $20 general public; $10 Grand Valley faculty, staff, and students with ID; $5 children 12 years of age and under. Call at (616) 222-4000 or (800) 585-3737 or visit www.starticketsplus.com. Tickets also available weekdays 12-5 p.m. at the Louis Armstrong Theatre Box Office, Allendale Campus, (in-person sales only) after Labor Day.

“An Evening of Poetry and Conversation with Natasha Trethewey and Paul Muldoon”Two Pulitzer Prize winning poets share their words and visions through the lens of history.

Wednesday, October 29, 7 p.m. L.V. Eberhard Center, 2nd floor Robert C. Pew Grand Rapids Campus

Grand Valley’s Fall Arts Celebration is a highly popular and anticipated annual showcase for the arts, humanities, and liberal education in West Michigan. Please join us again this fall for an entertaining and enlightening celebration.

Music at Grand Valley“Debut”Faculty and students collaborate in a performance of works by Saint-Saëns, David, Prokofiev, and Beethoven to celebrate new Department of Music faculty.

Monday, September 8, 8 p.m. Louis Armstrong Theatre Performing Arts Center, Allendale Campus

Sponsored by a gift from Virginia Gearhart and the Gearhart Family

Distinguished Academic LecturerStephen Greenblatt, Ph.D. “Cultural Mobility: The Strange Case of Shakespeare’s ‘Cardenio’”One of the world’s leading Shakespeare scholars and co-author of “Cardenio,” Shakespeare’s lost play, presents a humorous and insightful exploration of the 400-year-old mystery surrounding the play.

Presented in collaboration with the 15th annual Grand Valley Shakespeare Festival. Visit www.gvsu.edu/shakes/ for details.

Wednesday, September 24, 7 p.m. L.V. Eberhard Center, 2nd floor Robert C. Pew Grand Rapids Campus

Art Gallery Exhibit“Separation as Together: Soonjung Hong and Eunmee Lee, Korean Ceramists at GVSU”In this premier exhibition, renowned Korean artists present work created during the first GVSU International Ceramic Workshop.

Opening Reception:

Performing Arts Center, Allendale Campus

For event details visit www.gvsu.edu/fallarts

Media Sponsors:

All events are free and open to the public unless noted.


the Detroit symphony orchestra has always been a magnet for international talent. Classical artists from every continent and scores of countries have performed with the Dso from its incep-tion, and the orchestra itself is a multi-national conglomerate, with members from China, Chile, Korea, Poland, Romania, Armenia, Russia and Canada. But in recent years the Dso has taken its enthusiasm for global talent to new heights, embracing World Music in a way that few orchestras have. this commit-ment is represented by two high profile

artistic initiatives, one of which led to the other: the Concert of Colors and the Dso’s northwest Airlines World Music series. When the Dso began partnering with the Arab Community Center for economic and social services (ACCess) to bring the much-heralded and beloved Concert of Colors to the Max M. Fisher Music Center in 2005, it entered a new era in the Dso’s role as a music presenter. A long-time presenter of jazz, and, more recently, spoken word events, presenting World Music became a new goal and the Concert of Colors the ideal launching pad into the global arena. “With the Concert of Colors, we began a deeper engagement with the rich

ethnic cultural base in our community,” said Anne Parsons, Dso President and executive Director. “It was a thrill to see new and diverse audiences enjoying the music center for the first time, and it inspired us to present our own World Music series. this series expands on our mission to bring exceptional music to the people of metro-Detroit.” the Concert of Colors, which had its 16th annual festival — and the fourth at the Max M. Fisher Music Center — this past summer, generated another new avenue of creative programming for

the Dso: featuring the orchestra in World Music concerts. It began at the festival in 2006 when the Dso performed a fiery concert with the legend-ary Latin star Pancho sanchez. It continued at this summer’s festival when the orchestra was joined by another legend, Buffy st. Marie. In addition, the Dso has performed with the Latin band tiempo Liebre and at the 2007 Chinese new year’s celebration. this

new tradition continues this season when the Dso performs with Palestin-ian-American star simon shaheen on october 19. now in its third season, the Dso’s World Music series is proud to announce northwest Airlines as the series’ sponsor for the second consecutive year. the 2008-09 season once again presents top artists from all corners of the globe in presentations packed with vibrant song, dance, costumes and more (see sidebar for complete details). Meanwhile, the Dso is now expanding its relationship with ACCess as the two organizations work together to increase awareness of both of their World Music offerings and find additional ways to

collaborate. As the Dso launches its World Music series, ACCess will again be presenting its Ford/Comerica Global thursdays series at the Arab American national Museum in Dearborn. upcom-ing acts for the 2008-09 season include Budapest’s Gypsy-tinged band Little Cow, the Australian sikh singer Dyah singh, Indian guitarist Prasanna and the world fusion band trio tarana among others. For a complete concert schedule, visit www.arabamericanmuseum.org. thanks to the Dso and ACCess, the world is truly coming to Detroit!

By MARILou CARLIn

2008-2009

WORLD MUSIC SERIES

Simon Shaheen & Qantarawith the Detroit symphony orchestra

sunday, october 19, 2008 at 3 p.m.

Song & Dance Ensemble of West Africa

sunday, november 9, 2008 at 3 p.m.

A Celtic Christmas with Natalie MacMaster

sunday, December 7, 2008 at 3 p.m.

The National Acrobats of Chinasunday, February 22, 2009 at 3 p.m.

The Art of Bellydancing featuring the

Bellydance Superstars!sunday, March 29, 2009 at 3 p.m.

presents

the RhythM stAGe At the 2008 ConCeRt oF CoLoRs. (Photo By ReBeCCA CooK, CouRtesy oF ConCeRt oF CoLoRs.)

The Concert of Colors and the Northwest Airlines World Music Series Give the DSO a Global Perspective

The DSO Brings the World to Detroit!


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it is ironic that at a time of year when nature begins to slow down for the inevitable quietude of winter, humans

do the opposite: we rev up, abounding with anticipation for the “new” – new school year, new friends, new social season, new horizons. the Detroit symphony orchestra is a part of that human current, kicking off a brand new season every september that feels much like the exciting first steps of a well-planned journey. but this year the anticipation is greatly heightened. For in 2008-2009, the Dso is upping the ante on “new.”

Welcome Maestro Slatkin! First and foremost, after a three-year search, the Dso welcomes its new music Director, leonard slatkin. while slatkin’s appointment was announced last fall, his tenure officially begins this season. he will conduct five concert programs in the coming season, beginning in December when he will launch his Dso career with the spectacular Carmina Burana by Carl orff (Dec. 11-14). but slatkin’s presence at the Dso has

already been deeply felt. From the moment his appointment was announced, the los angeles native, who has spent his last 12 years as music Director of the national symphony in washington, D.C., became immersed in planning the future of the Dso. he traveled to Detroit multiple times last season, attending meetings, dinners and fundraising events, all designed to help him get to know the orchestra, staff and community better. over the course of these visits, slatkin got right to work, collaborating closely with staff on programming, educational initiatives and setting down an agenda for recording, touring and commissioning projects. these visits have had an immediate impact on the coming season. For example, each of the first three concert programs that slatkin conducts will include a world premiere. additionally, slatkin, who is renowned for his passionate advocacy of music education, has already put his mark on the Dso’s educational programs. he will conduct the Dso’s Civic youth orchestra in two free children’s concerts (Dec. 13 and apr. 25), and will lead a national City young people’s

Concert (jan. 10) featuring the all-star musical team of bassist edgar meyer, banjo player béla Fleck and tabla virtuoso Zakir hussain.

All-star Conducting Team with slatkin’s appointment, the Dso now boasts a podium line-up that includes a record five acclaimed maestros. in addition to slatkin, the conducting team includes Principal Guest Conductor Peter Oundjian (also music Director of the toronto symphony orchestra), who has helped steer the orchestra for the last three seasons and launched the groundbreaking 8 Days in June festival; Resident Conductor Thomas Wilkins (also music Director of the omaha symphony orchestra), now in his ninth season with the Dso, who leads critically acclaimed Classical, pops, young people’s, educational and special concerts each season; Music Director Emeritus Neeme Järvi (also music Director of the new jersey symphony) whose brilliant 15-year tenure with the Dso has made him a Detroit icon and who

it’s a branD new Day!Fresh New Changes Invigorate the DSO

By Marilou Carlin


returns frequently for classical subscription concerts; and this year’s Fred A. and Barbara M. Erb Jazz Creative Director, jazz legend Wynton Marsalis (and artistic Director of jazz at lincoln Center) who will lead the Dso in jazz-related artistic and educational initiatives in the coming season. “For the first time since i joined the Dso as president in 2004, i can proudly say that our artistic leadership has never been more solid,” said anne parsons, president and executive Director of the Dso. “having any one of these five gifted musicians as part of our conducting staff is a huge bonus; having all five of them is simply extraordinary.”

New DSO Website in addition to new artistic leadership, this fall the Dso has unveiled another component that is critically important to the health and well being of the modern orchestra: a completely new and much-improved web site. the innovative site went live in august and is radically different from the former Dso site — and from just about any orchestra web site in the world. the key difference is the site’s experiential quality — it strives to give the visitor the experience of being at the max m. Fisher music Center by having each page actually represent a different area of the building, beginning with the home page, which shows the beautifully animated exterior of orchestra hall. each of the site’s other pages represent a different area of the building. For instance,

by clicking through to “backstage,” users are transported to one of the musician dressing rooms where they can find musician and music director biographies, employment and audition information, and other “behind the scenes” information. similarly, for information on anything related to donations or donor events, visitors go to the “donor lounge.” For event information, they arrive in “orchestra hall.” while this virtual “tour” through the max m. Fisher music Center is designed to make the visitor’s experience more fun and engaging, using flash and pop-up technology, it is still possible to navigate the site in the more traditional way. Color-coded buttons and pages, as well as logically organized information, make it far more user-friendly and accessible. the site was created by troy-based media Genesis, an internet services firm that has devised high-tech solutions for a wide spectrum of clients, from the “big 3” to engineering and law

and non-profits.

“the new Dso site is not simply re-designed,” said media Genesis president antoine Dubeauclard. “it represents a complete re-positioning of the Dso online.” Dubeauclard added that the catalyst for the change was leonard slatkin, whose dynamic, hands-on leadership style predicts very positive changes for the Dso that will

than just sell tickets. with the internet the medium of choice for younger audiences — the next generation of Dso concertgoers and supporters — the site needed to connect with them using the technology and sophistication to which they are accustomed. the new site now reflects slatkin’s vision for the Dso by showcasing the entire institution to the world. the experiential quality allows that to happen. “it is fun to visit, it makes you want to navigate the site,” said Dubeauclard. “and it is truly unlike anything else out there in this particular field.” says ross binne, Dso Vice president for sales and service, “the combination of this new site and our terrific new artistic leadership make this a season that’s not just new – it’s transformational.”


Peter Oundjian Peter oundjian’s strong bond with the musicians and community of toronto continues through his fourth season as Music Director of the toronto symphony orchestra. 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 symphonies and Mahler songs, heralded a season of stunning and impassioned performances in toronto. the accom-plishments of oundjian and the tso continue to spread worldwide through the Rhombus Media documentary Five Days In September: The Rebirth of An Orchestra, which has won numerous awards at major international film festi-vals and has been issued on DVD, with wider theatrical release also planned. oundjian continues to serve as Princi-pal Guest Conductor of the Dso, where he helped create and launch the innova-tive multi-disciplinary 8 Days in June festival. he also played a major role at the Caramoor International Music Festi-val in new york for over a decade having served, most recently until 2007, as its Artistic Advisor and Principal Conductor. 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. subse-quently, he attended the Royal College of Music in London where he was awarded the Gold Medal for Most Distinguished student and stoutzker Prize for excel-lence in violin playing. he completed his violin training at the Juilliard school in new york where he studied with Ivan Galamian, Itzhak Perlman and Dorothy DeLay. he was the first violinist of the renowned tokyo string Quartet, a posi-tion 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

signature series sponsor

Classical seriesShaham Plays Brahms

thursday, september 11 at 8 p.m.Friday, september 12 at 8 p.m.

saturday, september 13 at 8:30 p.m.

Peter Oundjian, conductor Gil Shaham, violin

John Stafford Smith star spangled Banner (1750-1836) arr. Arthur Luck

Richard Wagner Prelude to Act III of Lohengrin (1813-1883)

Johannes Brahms Concerto for Violin and orchestra (1833-1897) in D major, op.77 Allegro non troppo Adagio Allegro giocoso, ma non troppo vivace Gil Shaham

In t er mIssIon

Nikolai Rimsky-Korsakov Capriccio espagnol, op. 34 (1844-1908) Alborada Variazioni Alborada scena e canto gitano Fandango asturiano

Richard Strauss suite from Der Rosenkavalier, op. 59 (1864-1949) Attire of the Rose Cavalier and Duet ochs-Walzes tenor Aria Breakfast scene terzett Closing Duet

All evening performances will be preceded by Ford Concertalks featuring guest speaker Charles Greenwell. Concertalks begin one hour prior to performance time.

natural herb Cough Drops – Courtesy of Ricola 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.


PRoGRAM notes

shAhAM

Gil Shaham Violinist Gil shaham is sought after throughout the world for concerto appearances with celebrated orchestras

and conductors, as well as for recital and ensemble appearances on the great concert stages and at the most prestigious festivals. In addition to his many orchestral engagements,

shaham regularly tours in recital with pianist Akira eguchi. he enjoys musi-cal collaborations with his family as well, including his wife, violinist Adele Anthony; his sister, pianist orli shaham; and his brother-in-law, conductor David Robertson. In spring 2007, his dream of bringing together friends and colleagues for chamber music came to fruition in a tour of Brahms programs, culminating in a series of three concerts at Carnegie hall’s Zankel hall. Among his more than two dozen concerto and solo CDs are a number of best sellers appearing on record charts in the u.s. and abroad. they have earned prestigious awards including multiple Grammys, a Grand Prix du Disque, Diaposon d’or and Gramophone editor’s Choice. shaham’s most recent record-ings, produced for his own label, include Canary Classics — The Fauré Album with Akira Eguchi, The Prokofiev Album with Orli Shaham and Mozart in Paris. Born in Champaign-urbana, Illinois, in 1971, shaham moved with his parents to Israel where, at age seven, he began violin studies on scholarship with samuel Bernstein of the Rubin Academy of Music. In 1981 he made debuts with the Jerusalem symphony and the Israel Philharmonic. that same year he began studies with Dorothy DeLay and Jens ellerman. In 1982, after taking first prize in Israel’s Claremont Competition, he became a scholarship student at Juil-liard, where he worked with DeLay and hyo Kang. he has also studied at Colum-bia university. Gil shaham was awarded the presti-gious Avery Fisher Career Grant in 1990. he plays the 1699 “Countess Polignac” stradivarius.

Prelude to Act III of LohengrinRIChARD WAGneR B. 22 May 1813, LeipzigD. 13 February 1883, Venice

Premiered at Weimar’s Grossherzogliches Hoftehater, August 1850 as part of opera’s first full performance; conducted by Franz Liszt, with Carl

Beck (Lohengrin), Rosa Agthe (Elsa), Hans Feodor von Milde (Telranmund), and Josephine Fastlinger (Ortrud).

Scored for 3 flutes, oboes, clarinets, and bassoons, 4 horns, 3 trumpets and trombones, tuba, timpani, percussion (cymbals, tambourine, and triangle), and strings. (Approx. 4 mins.)

Even before his fifth opera Tannhäuser premiered, Wagner was already sketching his next opera, Lohengrin. During the summer of 1845, the composer went to Marien-bad (now Marianske Lazne) for a vacation “to take a cure,” bringing along a copy of the anonymous epic Lohengrin. The story gripped him, and, while Wagner tried to obey his doctor’s order to rest, he could not overcome his excitement for the subject. Wagner worked quickly and finished a prose sketch on August 3, 1845, and the poetic libretto by late november. By late July 1846, he had written his first complete two-stave draft of the music, followed by a second draft with elabora-tion of instrumental and choral parts. Wagner wrote out the full score between January 1 and April 28, 1848. the plot centers on the knight Lohengrin, who answers elsa’s call for a champion, appearing on a boat pulled by a swan. he offers to serve elsa on one condition—that she not ask his name, origin or lineage. Lohengrin earns victory easily and defends elsa’s honor. After their wedding, when Lohengrin and elsa are alone in the bridal chamber, elsa asks the forbidden questions. sadly, the knight explains that he is Lohengrin, a warrior in service to the Grail, and his father is Parsifal, bearer of its crown. When the Grail sends one knight to champion the innocent, he is protected

by its holy power while his identity is unknown. But when he is recognized, he must return home to the castle of Montsalvat. the swan approaches to take Lohengrin back. But instead, the knight releases its chain transforming the bird into elsa’s brother, Gottfried, who was thought dead. the prelude to act three has taken on a life of its own in concert halls. With a lively tempo and bright colors, the music suggests the brilliance and the pageantry of elsa’s and Lohegrin’s wedding. the quieter middle section is followed by the return of the opening fanfares. In the opera, the prelude immediately precedes the wedding march heard frequently in the united states as “here Comes the Bride.”

DSO SHOP @ THE MAx RECOMMENDS: Wagner, Lohengrin, Prelude to Act III:

sir Georg solti conducting the Vienna Philharmonic orchestra, Decca 440107.

Violin Concerto in D Major, Op. 77 (1878)JohAnnes BRAhMsB. 7 May 1833, hamburgD. 3 April 1897, Vienna

Joseph Joachim first performed the concerto at the Gewandhaus in Leipzig on New Year’s Day 1879, with the composer conducting.

Scored for solo violin, pairs of flutes, oboes, clarinets, and bassoons, 4 horns, 2 trumpets, timpani, and strings. (Approx. 36 min.)

By the time Brahms began composing his Violin Concerto, he had known Joseph Joachim, one of the greatest violinists of his time, for more than 20 years. The musicians had met in their early twenties when Joachim already had been a virtuoso for 10 years and Brahms was still an unknown pianist accompanying a now-unknown violinist, Eduard Reményi. Joachim was impressed immediately with Brahms’s composi-tions, remembering even 50 years later —“Never in the course of my artist’s life have I been more completely overwhelmed.” Joachim recognized a musical kindred spirit


in Brahms and did whatever he could to promote the composer, arranging a private meeting with his employer, George V, King of Hanover, and recommending him to his former mentor, Franz Liszt. When Brahms sought suggestions from Joachim about writing for the violin, it was not only out of professional respect, but also deep friendship. In August 1878, Brahms wrote to Joachim that he would be receiving “a few violin passages,” and asked the virtuoso to make suggestions regard-ing their playability on the instrument. the “few passages” turned out to be a solo part of a huge first movement for a violin concerto. Joachim, ecstatic about his friend’s new project, promptly replied, “Most of it is manageable, some of it even very original, violinistically.” Because Brahms was primarily a pianist, he was grateful that Joachim was willing to provide his own substantial cadenza, which has become standard for the concerto. the first movement opens with the dramatic full orchestral tutti, generating excitement by contrasting lyricism with rhythmic displacements, an approach all-but characteristic of Brahms. the violin enters some 90 measures later in the tone of D, playing a variant of the main theme, but unexpectedly in the minor mode. the soloist engages in an intense dialogue with the orchestra, which characterizes this movement. the second movement was a last minute insertion. Brahms originally conceived of the concerto as a four-movement work. however, he decided to nix the middle pair only two months before the premiere, writing to Joachim that “naturally they were the best!” the composer replaced them with a “poor adagio.” this “poor adagio” in song form (ABA) begins with a lovely theme played by the oboe accompanied by winds. the violin enters to take up the theme,

but ornaments it, continually adding decorative notes and extensions. After the central episode (in F-sharp minor), the first section returns with the oboe solo, this time accompanied by violin. the movement closes softly as the violin holds a high F over the orchestra. the rondo of the last movement starts with the violin brilliantly stating the recurring main theme in thirds. Brahms shows that the violin, by using double-stops or the playing of two strings simultaneously can also be a harmony instrument, performing its own accompaniment. he was inspired to use this technique in part by his knowledge of Bach’s violin works. the final coda is faster than the rest of the movement and incorporates variations on earlier melodic material. After several measures of diminuendo, the concerto concludes vibrantly, yet surprisingly in the style of haydn.

DSO SHOP @ THE MAx RECOMMENDS: Brahms, Violin Concerto: Gil shaham

(violin), Claudio Abbado conducting the Berlin Philharmonic orchestra, Deutsche Grammophon 469529.

Capriccio espagnol, Op. 34nIKoLAI RIMsKy-KoRsAKoVB. 18 March 1844, tikhvin, RussiaD. 21 June 1908, Lyubensk, Russia

Premiered 31 October 1887 by the Russian Symphony Orchestra in St. Petersburg, conducted by the composer.

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clari-nets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani and 5 other percussionists (bass drum, castanets, pair of cymbals, snare drum, tambourine, triangle), harp and strings. (Approx. 15 mins.)

In his autobiography, Rimsky-Korsakov states that when the Russian Symphony Orchestra first read through his Capriccio espagnol, the players burst into applause after each movement. Touched by their praise, the composer dedicated the piece to them. The musicians had good reason to be delighted with his work. Rimsky-Korsakov’s deep knowledge of their instruments led to highly idiomatic and colorful writing: “The change of timbres, the felicitous choice of melodic designs and figuration patterns, exactly suit-ing each kind of instrument...consti-tute here the very essence of the composition,” wrote the composer. By the late 1860s, Rimsky-Korsakov had established his reputation as a composer of orchestral music, and his association with and support of other Russian composers helped to elevate Russian music as a distinct national style worthy of attention from the rest of europe. the Capriccio originated in 1884, when Rimsky-Korsakov studied violin tech-nique while teaching instrumentation at the Court Chapel in st. Petersburg. this experience inspired a fantasy on Russian themes for violin and orchestra. he also began a solo violin piece based on spanish themes, but abandoned it when he realized that the material was better suited to a whole orchestra. three years later he completed this piece, while taking breaks from orchestrating Prince Igor, an opera by his colleague Alexander Borodin that was left unfinished at his friend’s death. For the Capriccio, Rimsky-Korsakov drew his melodies from Cantos y bailes populares de España, a collection of spanish songs and dances compiled by José Inzenga (1828–1891). the Alborado is an instrumental piece given in praise of the rising sun, and often played by shepherds on a bagpipe with a drum accompaniment. It comes from the Asturias region, a mountainous coastline in northern spain. the Varia-tion movement uses another Asturian song, “evening Dance.” the text was originally coarse and humorous, but Rimsky-Korsakov’s setting for four horns accompanied by lower strings trans-forms it into a gentle and sweet air at its first appearance. Later, its setting for violins and winds against rollicking lower strings imparts a lustier tone. the Scena e canto gitano, which draws from an Andalusian gypsy song, begins with a cadenza for solo violin, perhaps

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revealing how the composer had originally conceived of this composition. the violinist yields the stage to other soloists: flute, clarinet and harp. other instruments join, finally reaching a full tutti texture with the beginning of the Fandango asturiano, a lively dance in triple meter.

DSO SHOP @ THE MAx RECOMMENDS: Rimsky-Korsakov, Capriccio espagnol:

erich Kunzel conducting the Cincinnati Pops orchestra, telarc 80657.

The above note was written by David Heetderks, Ph.D. candidate in music theory at the University of Michigan School of Music, Theatre & Dance

Suite from Der Rosenkavalier, Op. 59AnonyMousLy ARRAnGeD (PossIBLy By ARtuR RoDZInsKI)RIChARD stRAussB. 11 June, 1864, MunichD. 8 september, 1949, Garmisch-

Partenkirchen

Premiered in 1944 by the New York Philharmonic.

Scored for 3 flutes (1 doubling piccolo), 3 oboes (1 doubling English horn), 3 clarinets

(1 doubling E-flat clarinet), bass clarinet, three bassoons (1 doubling contra bassoon), 4 horns, 3 trumpets, 3 trom-bones, tuba, timpani, 5 percussionists (cymbals, glockenspiel, ratchet, snare and bass drums, tambourine, & triangle), 2 harps, celeste, and strings (Approx. 21 mins.)

By the time Richard Strauss had written his last tone poem, Eine Alpen-symphonie, in 1915, he had already become one of the most celebrated opera composers in Germany. Salome (1905) pointed to Strauss as a formi-dable operatic talent. With his next opera Elektra (1909), Strauss began working with Hugo von Hofmannsthal (1874–1929), an accomplished writer in his own right. They completed seven operas together, including Ariadne auf Naxos and Arabella, until Hofmannst-hal’s death in 1929. Der Rosenkavalier is considered the first work to which strauss and hofmannsthal contributed equally as artists. hofmannsthal suggested a romantic-farcical plot. the story was adapted from several sources including Les amours du chevalier de Faublas, a novel by Louvet de Courvray, and

Monsieur de Pourceaugnac, a comedy by Molière. Although originally called Ochs von Lerchenau and centered on the buffoonery of the title character, the creators shifted their focus to the char-acter of the Marschallin as they finished the work. It was no longer a romantic-farce about the ardent young octavian outsmarting the lecherous Baron ochs for the hand of the beautiful sophie, but a drame des sentiments about octavian’s first lover. For the libretto, hofmannsthal preserved a “marvelous, untranslatable lingo out of Viennese and provincial dialects, ‘Frenchified’ gentility and earthy idioms, antique formal address and pure linguistic fantasy.” strauss set beautiful melodies in colorful orchestra-tions throughout the work. the opera begins in the Marschal-lin’s boudoir where the lady entertains octavian. the orchestral introduction makes clear their passionate activities. their blissful morning is interrupted by Baron ochs von Lerchenau, the Marschallin’s cousin, who has come to consult her about his forthcom-ing marriage to sophie von Faninal (although he is mainly interested in her money). the Marschallin suggests the Viennese “tradition” of delivering a silver rose to the bride-to-be on behalf of the aristocratic bridegroom by a nobly-born ambassador (a tradition invented by hofmannsthal), and that octavian (who is disguised “en travesti” as the maid Mariandel and is fighting back ochs’s advances) deliver the rose to sophie. the matter settled, the Marschallin is left alone and contemplates her old age. octavian tries to cheer her up but in vain. she prophesies that he will leave her for a younger and more beautiful woman. the Marschallin is correct. When octavian meets sophie to present her with the silver Rose, they fall in love. octavian then devises a scheme to ruin ochs’s reputation and thus thwart his rival by exposing him as a philanderer in front of sophie, her father and the Commissar. the charade is finished when the Marschallin enters. she declares that ochs’s engagement with sophie is over, and the baron leaves demoralized. the Marschallin magnani-mously relinquishes octavian as her lover and sends him to sophie. the trio “hab’ mir’s gelobt” is one of the loveliest numbers in the opera. octavian and sophie are overwhelmed by their love, while the Marschallin grieves at her loss. the Rosenkavalier suite is a medley of many memorable passages from the opera. It opens with the horn fanfare that begins the “Introduction to Act 1.”

strauss lavishes full and lush harmonies that transport the listener to a time of past opulence and magnificence. the full brass fanfare signals the “Presenta-tion of the Rose” when octavian arrives at the Faninal household. the cascading chords played by the flutes, celeste, harps and the violins suggest shim-mering reflections off the silver Rose. Many listeners will recognize the next tune, the famous “ochs’s Waltz.” the Baron quotes his favorite song and the line, “with me no night will be too long,” while he insinuates what he will mean to sophie on their wedding night. the solo violin begins the trio by the Marschal-lin, octavian and sophie. the suite concludes with a rousing waltz.

DSO SHOP @ THE MAx RECOMMENDS: R. strauss, Der Rosenkavalier suite:

Antal Dorati conducting the Detroit symphony orchestra, Decca 470954.

Wagner, Brahms and Strauss notes by Shinobu Yoshida, Ph.D. candidate in historical musicology at the University of Michigan, School of Music, Theater & Dance

2008-9 Season 34th Year

Robert deMaine, CelloPrincipal Chair, Detroit Symphony Orchestraaccompanied by Zhihua Tang, piano

Sunday, September 14, 2008 7:30 p.m.~Alturas Duo

Scott Hill, guitar; Carlos Boltes, Viola and Charango

A fiery program of classical and folkloric musicSaturday, November 8, 2008 8 pm

~Christopher Atzinger, PianistStellar young pianist from Jackson, MI

Winner of international competitionSaturday, April 4, 2009 8 pm

~Charlie Gabriel Quartet with

Joan Bow, vocalist, New Orleans Jazz

Saturday, May 2, 2009 8 pm~All concerts open to the public

BiRMiNGhAM TeMPle28611 West Twelve Mile Rd.

Farmington HillsTickets – call Joyce Cheresh, 248.788.9338

or Ann Sipher, 248.661.1348Members and seniors – series $60, single $18

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PRoFILes

sponsored by

special eventLang Lang Returns

sunday, september 14 at 3 p.m.

Peter Oundjian, conductor Lang Lang, piano

Nikolai Rimsky-Korsakov Capriccio espagnol, op. 34 (1844-1908) Alborada Variazioni Alborada scena e canto gitano Fandango asturiano

Piotr Ilyich Tchaikovsky Francesca da Rimini, op. 32 (1840-1893)

In t er mIssIon

Frédéric Chopin Piano Concerto no. 2 (1810-1849) in F minor, op. 21 Maestoso Larghetto Allegro vivace Lang Lang

Media sponsor: WWJ 950 AM

Lang Lang 26-year-old Lang Lang has played sold out recitals and concerts in every major city in the world, and is the first Chinese pianist to be engaged by the Berlin Philharmonic, the Vienna Philhar-monic and all of the top American orchestras. he has worked with the world’s best orches-tras under the most renowned conductors. Lang Lang began playing piano at the age of three, won the shenyang competi-tion and gave his first public recital at age five and, at age nine, entered Beijing’s Central Music Conservatory. he won first prize at the tchaikovsky Inter-national young Musicians Competition and played the complete 24 etudes of Chopin at the Beijing Concert hall at 13. At 17 he was called upon for a dramatic last-minute substitution at the “Gala of the Century” where he played the tchai-kovsky Piano Concerto with the Chicago symphony orchestra, catapulting him to stardom. he has since performed for global leaders around the world including Prince Albert II of Monaco, the former secretary-General of the united nations Kofi Annan, Presidents George h. W. Bush, hu Jin-tao, horst Koehler, Abdul Kalam and Vladimir Putin, Queen elizabeth II and Charles, the Prince of Wales. Lang Lang records exclusively for Deutsche Grammophon/universal. each of his CDs has entered the top classical charts, as well as many pop charts, around the globe. he has received several Grammy nominations and was honored by the Recording Academy with the 2007 Presidential Merit Award. At the 50th Anniversary Grammy Awards he was featured in a “dueling piano” performance with herbie hancock and performed in the opening ceremonies of the Beijing olympics in August 2008. this past summer Lang Lang published two autobiographies — one for adults and one for young readers. he serves as global brand ambassador for sony and Audi, and International Goodwill Ambas-sador to unICeF. he has also founded the Lang Lang International Music Foundation, devoted to expanding young audiences and inspiring the next genera-tion of musicians.

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PRoGRAM notes

Capriccio espagnol, Op. 34nIKoLAI RIMsKy-KoRsAKoV(see notes from “shaham Plays Brahms,” p. 18)

Francesca da RiminiPyotR ILyICh tChAIKoVsKyB. 7 May 1840, Kamsko-Votkinsk, Vyatka

provinceD. 6 november 1893, st Petersburg

Premiered 9 March 1877 at the Moscow branch of the Russian Musical Society, conducted by Nikolay Rubinstein.

Scored for 3 flutes (one doubling piccolo), 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 4 trum-pets, 3 trombones, tuba, timpani and 3 other percussionists (bass drum, pair of cymbals, tam tam), harp and strings. (Approx. 24 mins.)

Tchaikovsky’s tone poem Fran-cesca da Rimini is based upon an episode of Dante Alighieri’s Inferno [Hell], the first book of his epic poem the Divine Comedy (1308–21). Its very first sounds evoke Dante’s descent into hell, using the lowest instruments of the orchestra play-ing a rapid, descending figure that outlines a dissonant tritone, suggest-ing Dante’s terror upon entering the realm of the eternally condemned. Tchaikovsky’s program for the work describes the poet’s journey: “Dante enters Hell’s second circle. There he encounters the souls of those who in their lifetime abandoned themselves to sensual pleasure.” The introduc-tion that follows is no less bold: it maintains a sense of instability and dissonance over several minutes. Tchaikovsky may have been inspired to use a more experimental harmonic language after hearing Wagner’s cycle of four operas, The Ring of the Nibelung, earlier that summer. Although he detested Wagner’s music, he admitted that there were some “glimpses of beauty” and that

he might try using similar dramatic ideas in his own music. tchaikovsky’s program continues: “[their] punishment consists in being exposed in eternal darkness to raging tempests, just as they used to give way in life to the tempest of sensual lust.” strings and woodwind instruments next exchange swirling passages suggesting Dante’s tempestuous winds, which lead to an angular dance theme in e minor. tchaikovsky similarly completed Francesca in a whirlwind of activity: after composing nearly nothing for several months, he completed the short score in less than three weeks. earlier that summer his brother Modest, hoping to cure tchaikovsky’s writer’s block, had suggested a symphonic poem based on shakespeare. But the composer found that he could not get Dante’s Francesca out of his head. he may have felt some affinity with her tragic story. Although he was beginning to enjoy a formidable musical reputation in Russia and the rest of europe, his own inner life was a torment. his homosexual-ity had become the subject of rumors,

and, unbeknownst to his family, he was contemplating a marriage to silence the whispers. When he acted on this impulse the following year, it proved disastrous: his marriage broke up after only a few months and the composer suffered an emotional collapse. After musical tempests melt back into the unstable harmonies from the open-ing, a solo clarinet introduces a long, languid melody, whose initial accompa-niment is completely diatonic, a sharp contrast from the opening. this portrays Francesca, the protagonist of Dante’s tale. Like tchaikovsky, she entered into a disastrous marriage. Although she loves Paolo, she is tricked into marrying his deformed brother Gianciotto. Francesca tells Dante of how she and Paolo were alone one day in the library, their passion stirred by reading of how sir Lancelot and King Arthur’s wife Guinevere were enthralled by love, until “that day no further did we read therein” and their infidelity condemned the pair to hell. Francesca’s theme recurs several times in varied instrumentation, and after a brief development-like episode it is

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stated as a deafening orchestral climax — one of tchaikovsky’s specialties. this may depict Francesca and Paolo’s passion, a moment that Dante’s text demurely skips. this climax is ephem-eral: its energy spent, the theme dissi-pates into unstable harmonies that are interrupted by a new theme — perhaps depicting the jealous Gianciotto, who bursts into the library and murders both lovers. the orchestra briefly restates the tempest music as the spirit of Francesca is swept to her eternal punishment.

DSO SHOP @ THE MAx RECOMMENDS: tchaikovsky, Francesca da Rimini:

neeme Järvi conducting the Detroit symphony orchestra, Chandos 9419.

Piano Concerto No. 2 in F minor, Op. 21FReDeRIC ChoPInB. 1 March 1810, Zelazowa Wola, near

WarsawD. 17 october 1849, Paris

Premiered March 17, 1830 by the National Theater Orchestra, conducted by Karol Kurpinski, with the composer as soloist, Warsaw.

Scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 oboes, 2 horns, 2 trumpets, bass trombone, timpani, and strings. (Approx. 30 mins.)

Chopin’s two piano concertos reveal “what might have been” in relation to his subsequent career. In 1829, the 19-year-old pianist returned from his public perfor-mances in Vienna, the musical capital of Europe. Viennese audi-ences were deeply impressed by his improvisations and his delicate touch and musicality, and such success inspired Chopin to pursue a career as a virtuoso soloist. During the early 1800s it was common for virtuosos to compose their own concertos, rondos and other concert pieces to show off their technique and ability to create a tender melodic line — what Chopin scholar Jim samson calls “display” and “poetry.” Chopin was no exception: after his return to Warsaw he composed concertos in F minor and e minor over the years 1829–1830. (Although the F minor concerto to be performed tonight was completed first, it was published later, and therefore bears a later opus number).

Chopin modeled his concertos on other virtuoso pieces of his time, particularly those of the Austrian Johann hummel (1778–1837), but they also explore original ideas. Critics at the time noted his unusual sense of form and daring harmonies. some considered these to be faults, and took Chopin to task for his “over-rich” chords. Particu-larly striking in the first movement is the first entrance of the soloist, which makes a descending outcry on an unstable harmony before entering with the actual first theme. In the second theme group, a tender and consoling passage in the relative major key approaches a virtuosic close, only to suddenly swerve to the dominant minor. When the piano enters in the second movement, it plays in the style of a nocturne, a solo piano genre for which Chopin would become famous in his maturity. this is characterized by a widely spaced accompaniment in the left hand, made possible by the piano pedal, and an intensely lyrical melody in the right hand, whose ornamentation shows the influence of virtuoso opera singers. the influence of opera, which Chopin loved, is also evident in the middle section of the movement. here the orchestra plays agitated minor chords while the soloist intones an extended

recitative (that is, a passage whose free rhythm resembles that of speech). Chopin confided to close friend tytus Woyciechowski that the movement was inspired by Constantine Gladkowska, a young singer with whom he had fallen in love. the theme of the final movement is in the style of a mazurka, a Polish national dance in triple meter. When Chopin eventually settled in Paris, his performances, especially of his two concertos, established his reputation as a pianist and helped him to secure several students. But Chopin eventually decided to leave behind the life of a public virtuoso, perhaps because he felt that his intimate and nuanced style of playing was better suited to smaller venues. he gave one of his final public performances in 1835, and there-after focused on composing, teaching and performing at private gatherings.

DSO SHOP @ THE MAx RECOMMENDS: Chopin, Piano Concerto no. 2: Lang

Lang (piano), Zubin Mehta conducting the Vienna Philharmonic orchestra, Deutsche Grammophon B0011654.

Notes by David Heetderks, Ph.D. candi-date in music theory at the University of Michigan School of Music, Theatre & Dance

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2008-2009 Season Media Sponsors

Christopher Taylor, PianoFriday, October 3

Garrick Ohlsson, Piano Saturday, March 21

Yefi m Bronfman, PianoSaturday, May 30

All concerts will be presented at 8 PM, Seligman Performing Arts Center, Detroit Country Day School, 13 Mile & Lahser Roads, Beverly Hills.

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

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James Ehnes, Violin with Andrew Armstrong, PianoSaturday, September 20

John Bruce Yeh, Clarinet Cho-Liang Lin, Violin Gary Hoffman, Cello Christopher Taylor, Piano Saturday, October 4

Pražák Quartet Saturday, November 15

Christian Tetzlaff, ViolinSaturday, December 6

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

ATOS TrioSaturday, February 7

Guarneri String QuartetSaturday, April 11

Pacifi ca Quartet with Erik Rönmark, SaxophoneSaturday, April 18

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

OPUS 3 PIANO SERIES

OPUS 9 SERIES

2008-2009 Series65th Anniversary Season

Arild Remmereit norwegian born conductor Arild Remmereit took his first piano lessons at the age of six, his first trumpet lessons at eight, and also had a career as a boy soprano. he later joined pop and jazz bands playing keyboards. In 1986, Remmereit gradu-ated from the norwegian Conservatory of Music in oslo where he studied piano, song and composition. he attended the Aspen conducting seminar in Colorado (1985), and graduated from “hochschule für Musik und Darstellende Kunst” in Vienna under the direction of Karl Öster-reicher (1987-92). At the same institution he attended a master class with Zubin Mehta. Remmereit studied with Leonard Bernstein at santa Cecilia in Rome and assisted him at recordings in Vienna (1987-90). he also assisted Myung-Whun Chung at the norwegian opera in oslo (1989) and at the national opera in Paris (1994). Conductor of the Vienna Residence orchestra from 1989 to 1992 and Artistic Director of the ukrainian state opera in Kharkov from 1992 to 1995, Remmereit simultaneously conducted the national Philharmonic orchestra in Kiev. he led these ensembles on tours through Austria, Germany, the netherlands and switzerland. Among others, Remmereit has conducted the Baltimore, Dallas, hous-ton, Pittsburgh, nashville and seattle symphony orchestras; the Copenhagen, Malaysian, Montpellier, Munich, oslo, tokyo and stockholm Philharmonics; the Copenhagen Royal theatre, the Deutsches symphonie-orchester Berlin; the Filarmonica della scala, Milan; the national Arts Centre orchestra in ottawa; the norwegian state opera; the Royal scottish national orchestra; the Rte national symphony (Dublin); the teatro alla scala Milan and the Vienna symphony orchestra. he has also conducted at many great international music festivals including, in the u.s., Bravo! Vail Valley Music Festival (Colo-rado) and the Grand teton Music Festival (Wyoming).



PRoFILes

ReMMeReIt

select series sponsor:

Classical seriesdeMaine Plays Schumann

Friday, september 19 at 10:45 a.m. saturday, september 20 at 8:30 p.m.

sunday, september 21 at 3 p.m.

Arild Remmereit, conductor Robert deMaine, cello

Eivind Groven Hjalarljod (“Joyful shout”), op. 38 (1901-1977)

Robert Schumann Concerto for Cello and orchestra (1810-1856) in A minor, op. 129 nicht zu schnell Langsam sehr lebhaft Robert deMaine, cello

In t er mIssIon

César Franck symphony in D minor (1822-1890) Lento – Allegro non troppo Allegretto Allegro non troppo





Robert deMaine named Principal Cellist of the Dso in 2002, Robert deMaine has been praised by The New York Times as “an artist who

makes one hang on every note.” he has distin-guished himself as one of the finest musicians of his generation, having performed to critical acclaim throughout the world.

deMaine began musical studies at the age of four with his mother and sister, both accomplished cellists. he made his solo debut at age 10 with the oklahoma City symphony orchestra, followed by his first full-length recital. At age 12, deMaine became one of the last private students accepted by the eminent cellist and pedagogue Leonard Rose at the Juil-liard school Pre-College Division. In addition to fellowship study at yale university and the eastman school of Music, deMaine trained at the legendary Meadowmount school in new york and is an alumnus of the Piatigorsky seminar at the university of southern California. he has collaborated with countless esteemed musicians including conduc-tors neeme Järvi and Walter hendl, pianists Claude Frank and yefim Bronf-man, and violinists Joseph silverstein, James ehnes and Gil shaham. deMaine is the first prize-winner of several major international competi-tions, most notably the 1990 Irving M. Klein International Competition for strings in san Francisco (the first cellist ever to win this competition). he has recorded for CBC, elysium, Capstone, and CRI records, and his performances can be heard on nPR’s Performance today, the CBC, and seen on the televi-sion networks PBs and RAI. he is a frequent guest artist at music festivals throughout the world, including Aspen, eastern, heidelberg (Germany), san Miguel de Allende (Mexico), Buenos Aires (Argentina), norfolk, seattle, steamboat springs, Armstrong Chamber Concerts, utah, Great Lakes and the Marlboro Music Festival in Vermont.

PRoGRAM notes

deMAIne

Hjalarljod [Joyful Shout], Op. 38 eIVInD GRoVen B. 8 october 1901, Lårdal, telemark,

norwayD. 8 February 1977, oslo, norway

Composed in 1950; American Premiere, Madison Symphony Orchestra, 1 March 2003 (Approx. 7 mins.)

Scored for 3 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, and strings.

The striking brass fanfare that opens Norwegian composer Eivind Groven’s Hjalarljod Overture echoes the sound of 19th and 20th century nationalist works by composers such as Aaron Copland, Edvard Grieg and Jean Sibelius. Groven’s overture, composed for the 900th anniversary of Norway’s capital, Oslo, blends folk music with the sound of a large orchestra to create music that re-flects both the majesty and heritage of his homeland. A composer and ethnomusicologist, Groven grew up playing and listening to folk music in rural Norway. After studies at the Oslo Conservatory, he became the folk music advisor to the national radio, and began collecting and tran-scribing Norwegian folk melodies, eventually publishing about two thousand songs and fiddle tunes. This interest translates audibly to his compositional style, in which he fuses folk melodies, rhythms, and techniques with the grandiose sound of the Western orchestra. Hjalarljod’s opening brass fanfare immediately sets the atmosphere for the rest of the overture: a seamless blend of Western harmony and color with the rhythmic and melodic flavor of norwegian folk music. the fanfare theme returns throughout the overture, combining modal, dance-like melodies in the strings and winds with the modern use of the brass. In addition to his folk influences, Groven reveals an accessible neo-romantic style, which one can hear especially during the middle of the over-ture. the sweeping orchestral gestures, emphasis on tonality, and thick textures

may bring to mind works by Aaron Copland (such as Appalachian Spring) or edvard Grieg (Peer Gynt Suites). the work’s finale uses layering to juxtapose a folk-sounding oboe and flute duet with the final return of the brass fanfare. Hjalarljod sounds both national and su-pranational: the work is certainly a prod-uct of its norwegian heritage, but Groven cultivates an orchestral sound that also fully engages the musical traditions of many Western countries.

Concerto for Cello and Orchestra in A minor, Op. 129RoBeRt sChuMAnnB. 8 June 1810, Zwickau, GermanyD. 29 July 1856, endenich, Germany

Composed in 1850, published in 1854.

Premiered posthumously at the Leipzig Conserva-tory with cellist Ludwig Ebert on 9 June 1860 to

celebrate the 50th anniversary of the composer’s birth (Approx. 26 mins.)

Scored for pairs of flutes, oboes, clari-nets, bassoons, horns, and trumpets, with timpani and strings, plus solo cello.

Robert Schumann and his wife Clara arrived in Düsseldorf on September 2, 1850, where he was to begin a new job as music director of the city’s Music Society. They were greeted with celebratory festivities and concerts, and on October 24, Schumann made his debut as con-ductor of the Society. This occurred at the height of the composer’s career and marks the beginning of Schumann’s last creative outpour-ing before his death. Remarkably, the draft of the Concerto for Cello and Orchestra in A minor was com-pleted that same day — although it was not published for four years and not publicly performed until after the composer’s death — and reveals the strengths of Schumann’s mature style. schumann’s Cello Concerto follows the standard three-movement concerto form, although without pauses between movements. Instead, key and tempo


changes mark the shift from one move-ment to the next. the first movement, Nicht zu schnell, opens with three chords (A minor, D minor, A minor). the gesture establishes a melancholy tone of the movement and provides the opening thematic material for the cello, which enters with these chords as its only in-troduction. the simplicity of the string accompaniment allows the soloist to shine; complex contrapuntal musical arguments are scarce, although more prevalent as the movement continues. schumann instead relies on harmonic color combined with the soloist’s lyri-cism. the opening material returns sud-denly and the cello solo becomes more virtuosic, marking the climax of the movement. the second movement (Langsam) begins seamlessly, its pastoral character signaled by a striking modulation to F major, a rolling triplet accompaniment plucked by the strings, and the beauti-ful simplicity of the cello melody. note especially schumann’s juxtaposition of plucked upper strings with the bowed sound of the cello section to accompany the solo. schumann plays with the or-chestral texture during this short move-ment to highlight the soloist’s beauty of tone and phrasing. soon the tempo picks up and the ensemble begins the finale. the winds quote melodic ideas from the first move-ment, while schumann features the virtuosity of the soloist by requiring fast register changes, quick sixteenth note and triplet passages, and chromatics. ever intensifying mental health issues marked the final years of schumann’s life, driving the composer to attempt suicide in 1854. schumann spent his last two years in endenich, Germany at a mental institution: his deteriorat-ing health likely contributing to the late publication and posthumous premiere of the Cello Concerto. Although dating from the end of the composer’s life, it would be a mistake to interpret the work as a product of a tortured artist. Rather, the Concerto recalls a composer at the height of his prowess and success.

DSO PRINCIPAL CELLIST ROBERT DEMAINE RECOMMENDS: schumann, Cello Concerto: Pablo Casals

(cello), eugene ormandy conducting the Prades Festival orchestra, sony 58993 (CD), or Pierre Fournier (cello), Jean Martinon conducting the oRtF orchestra, eMI 99694 (DVD).

Symphony in D minorCÉsAR FRAnCKB. 10 December 1822, Liège, BelgiumD. 8 november 1890, Paris, France

Composed 1886 – 1888, published in 1896.

Premiered 17 February 1889 at the Paris Conser-vatoire with Jules Garcin

conducting (Approx. 41 mins.)

Scored for 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 2 cornets, 3 trombones, tuba, timpani, harp and strings.

César Franck’s Symphony in D Minor is the second of two orchestral works by a composer known more for his sacred and organ music. Both symphonies were written late in the composer’s life, and premiered only one year before his death. Franck, a graduate of the Paris Conservatory, enjoyed a powerful circle of musi-cal friends including Franz Liszt and Frederic Chopin. Liszt, who deemed Franck’s organ work Six pièces to be as admirable as “the masterpieces of Bach,” did much to advance Franck’s reputation. Franck’s compositional style is difficult to define, due to his many influences. the symphony in D minor, for example, reveals influences of both Beethoven’s symphonic ideal and the late romantic language of Wagner and Liszt. thus, Franck’s stylistic hallmark may well be his ability to blend innovation and tradi-tion. the symphony includes only three movements, seeming to defy the classi-cal four-movement formula. As is often true with Beethoven, however, the move-ments share themes giving the sympho-ny an overall unity. the opening theme is played by the low strings, although as this initial Lento progresses, Franck builds tension by adding instruments and creating more chromatic harmonies (likely the influence of Liszt and Wagner). A faster Allegro section is suddenly inter-rupted by the first theme, briefly expand-ing upon the theme before the Lento returns. the second theme contrasts with the first: introduced by the strings, it is taken up by the woodwinds in the song-like molto cantabile section. Although the entire movement is in sonata form, the transitions between tempos, the extend-ed chromatic harmonies, modulations to

distant keys, and extreme shifts in tone can only be attributed to Franck’s more contemporary influences. the second movement Allegretto opens with plucked strings accompanied by harp, which soon supports the english horn’s haunting solo. the melody is next accompanied by the viola section, which gives way to duets with clarinet and horn. this movement is in a sense two in one: Franck combines both a slow Andante and a faster Scherzo, collapsing the four-movement symphonic form. the “scherzo” section arrives when the tempo quickens and the strings begin playing triplet figures, which give way to angular dotted rhythms. Finally, at the end of the movement, Franck combines the english horn melody with the string triplet fig-ures, creating a sense of serenity and anxiety at the same time. the finale mixes themes from the first and second movements, which unifies the whole. opening strikingly in D major (in contrast to D minor and B-flat minor used for the first two movements), the low strings play a joyful theme. Listen especially for the english horn entrance, as the instrument’s melody from the second movement returns to mark the development section. Later, this theme appears again in the full brass and wind section — this grandiose final state-ment, in particular, sounds joyful and triumphant rather than serene and mel-ancholy. As the orchestral texture thins, punctuated by wind entrances, the full strings play the second theme from the first movement. the repeat of this theme further ties the entire symphony together, combining old with new, innovation and tradition, into a single dramatic work of art.

DSO SHOP @ THE MAx RECOMMENDS: Franck, symphony in D Minor: yan

Pascal tortelier conducting the BBC Philharmonic, Chandos 9875.

Notes by Alison Clark DeSimone, a second-year Ph.D. student in musicology at the University of Michigan School of Music, Theatre & Dance

Charles Dutoit Returns!

Rimsky-Korsakov’s

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Oct. 24 - 25

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NRG 414 DSO 8.375 x 10.875 8/22/07 4:10 PM Page 1

Thomas Wilkins thomas Wilkins is in his ninth season as Resident Conductor of the Detroit symphony orchestra. Wilkins leads the orchestra in classical, jazz, Pops, special events, young people’s series concerts and educational concerts. Wilkins was named Principal Guest Conductor of the hollywood Bowl orchestra beginning this summer and was honored by the Dso with a special award at the eighth annual Classical Roots Gala for his contributions to classi-cal music and the Detroit community. 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. he served on the music faculties of several prestigious American universities and is a featured guest conductor with major orchestras across the country. this season marks his debut with the national orchestra of Lisbon in Portugal. Committed to promoting a life-long enthusiasm for music, Wilkins brings energy and commitment to audiences of all ages. he actively participates as a guest speaker and volunteer for local community organizations and schools. A native of norfolk, Va., Wilkins earned his Bachelor of Music education degree from the shenandoah Conserva-tory of Music and his Master of Music degree in orchestral conducting from the new england Conservatory of Music in Boston.



PRoFILes

WILKIns

Preferred series sponsor:

Classical series

Wilkins & Sibelius

Friday, september 26 at 8 p.m. sunday, september 28 at 3 p.m.

Thomas Wilkins, conductor Karl Pituch, horn

Leonard Bernstein Candide suite for orchestra (1918-1990) you Were Dead you Know arr. Charlie Harmon Paris Waltz Bon Voyage Drowning Music/the King’s Barcarolle Ballad of eldorado I Am easily Assimilated the Best of All Possible Worlds Make our Garden Grow

Reinhold Glière Concerto for horn and orchestra (1875-1956) in B-flat major, op. 91 Karl Pituch, horn

In t er mIssIon

Jean Sibelius symphony no. 2 in D major, op. 43 (1865-1957) Allegretto Andante, ma rubato Vivacissimo Finale: Allegro moderato




Join Thomas Wilkins for

CLASSICAL ROOTS CELEBRATION Ix

March 7, 2009

featuring Dear Mrs. Parks

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Karl Pituch Karl Pituch was named Principal horn of the Detroit symphony orchestra in 2000. In 1988, he finished as one of the

top five hornists at the 37th Interna-tional Music Compe-tition in Munich, Germany. Pituch was the grand prize winner at the 1989 American solo horn Competition and has been a finalist at

many other solo competitions. Before joining the Dso, Pituch was Associate Principal horn with the Dallas symphony orchestra, Principal horn with the honolulu symphony orchestra, the Jacksonville symphony, the Colorado Music Festival orchestra and the Chau-tauqua Festival orchestra. he served as a guest Principal horn for the Los Angeles Philharmonic at the edinburgh Music Festival in scotland and at the hollywood Bowl. he also served as guest Principal horn with the Cincinnati symphony orchestra on their european tour in 2004 and the Grand teton Festival orchestra in Jackson hole, Wyoming. Pituch can be heard on many record-ings with the Dallas, san Francisco and honolulu symphony orchestras. As a soloist, Pituch has performed with orchestras in Japan, hawaii, Colo-rado, oklahoma, Arkansas, ohio, Florida and Michigan. he has been a frequent guest artist at numerous horn confer-ences and has served as a judge in the American horn Competition. An active chamber musician, he was a member of the spring Wind Quintet for 11 years and participated in chamber music festivals in Marlboro, Vt.; Crested Butte, Colo.; Kapalua, Maui; Kazusa, Japan; and Freden, Germany. Pituch earned his bachelor’s degree from the university of toledo where he studied with Mary Kihslinger. he also studied with Froydis Wekre of the oslo Philharmonic and Dale Clevenger of the Chicago symphony.

PRoGRAM notes

PItuCh

Candide Suite for OrchestraLeonARD BeRnsteIn ARR. ChARLIe hARMonB. 25 August 1918, Lawrence,

MassachusettsD. 14 october 1990, new york City

Premiered 14 January 1999 by the Minnesota Orchestra with Eiji Oue, conductor.

Scored for 2 flutes, piccolo, 2 oboes,

English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp and strings. (Approx. 18 mins.)

The Suite from Bernstein’s Candide, arranged by Charlie Harmon, is a symphonic medley of numbers from the 1956 operetta. Harmon, the chief editor of Bern-stein’s estate, took his cue from the Symphonic Dances from West Side Story, which Sid Ramin and Irwin Kostal orchestrated in 1961 under the composer’s supervision. Both pres-ent a succession of famous tunes as a single, continuous piece rather than as a series of self-contained

movements. The result resembles a greatly expanded Broadway over-ture more than a classic extract suite (such as Bizet’s popular Carmen Suites). Voltaire’s satirical novella Candide, the basis for the operetta’s libretto, chronicles the (mis)adventures of a pure-hearted, credulous youth, Candide, who suffers a series of fantastical hard-ships and strokes of ill-luck. Voltaire uses Candide’s addle-brained optimism to lampoon the German philosopher Leibniz’s theory that ours is “the best of all possible worlds.” Candide and his love interest, Cunegonde, sing the first tune of this orchestral potpourri, “you Were Dead you Know,” when they meet unexpectedly after being separated by war and exile (Cunegonde has in fact been slain by soldiers, which accounts for the song’s title). throughout the duet, Candide and Cunegonde share two musi-cal ideas in a melodic tête-à-tête before joining at the end of the song, where the lyrics celebrate togetherness (“Reunited after so much pain / But the pain is past / We are one again!”). the “Paris Waltz” furnishes the musical backdrop to a grand ballroom dance scene. In keeping with the zany spirit of the show, this waltz is like a fun-house mirror’s distorted reflection of the 19th century Viennese dance. the melody, initially sparkling and strauss-ian, undergoes deformations that are at

Presenting the 2008/2009 Season... Ying Quartet with pianist,Menahem Pressler October 14, 2008

Red Priest A Swashbuckling Baroque EnsembleOctober 28, 2008

Yehonatan Berick, violin December 9, 2008

Trio con Brio Copenhagen February 24, 2009

ScholarshipConcert Janai Brugger, sopranoMarch 24, 2009 Please contact us at (248) 644-6352 to receive a

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once grotesque and playful (the interior theme, played by the oboe, is nearly 12-tone, and wouldn’t seem out-of-place in Berg’s Wozzeck). Also, Bernstein disturbs the waltz’s characteristic triple “oom-pah-pah” beat by introducing paired duple rhythms —“oom-pah, oom-pah, oom-pah”— and by misaligning the treble and bass parts, so that the melody seems out of sync with its accompani-ment. Another dance number follows on the heels of the waltz: “Bon Voyage” is a “schottische,” a rollicking two-step that is similar to the polka. Like the “Paris Waltz,” its steady dance beat is often upset by rhythmic oddities. Candide sings “the Ballad of eldo-rado” to praise the delights of an Arca-dian locale abundantly supplied with nature’s beauty and bounty, and whose inhabitants live in peaceful contentment. the song is delicate and muffled, like a lullaby. In harmon’s arrangement, Candide’s tenor voice is replaced by cello and French horn. the quietude is broken by the flare and eroticism of the aria “I Am easily Assimilated,” in which a worldly-wise Polish woman brags about the ease with which she has adapted to hispanic culture. Appropriately, her boasting takes the form of an Argentine tango. the beginning of the dance is signaled by the tango’s signature dotted rhythm. “the Best of All Possible Worlds” dispels the sultry air of the tango, transporting us to the stuffy cloisters of academia. Candide’s mentor Professor Pangloss (a caricature of Leibniz) uses formal proofs and philosophical jargon to espouse his jejune doctrine of opti-mism. the “objection” motive, which is partnered with Candide’s protestations (“What about war?!”), is particularly memorable. harmon brings this section to a close by taking a trilled, downward scale—a trivial sounding fragment—and giving it a grand, fugue-like setting á la Bach. the fugue’s subject-and-answer device then repeats ad nauseum, to comic effect. the song, which satirizes academic philosophy, ends with a parody of strict, academic musical composition. the suite concludes with “Make our Garden Grow,” the show’s hopeful ensemble finale. the aesthetic here is one of hugeness: this exultant peroration crowns the suite with its majestic, choral sound, arguing that in labor over hard-ship, happiness can be found.

DSO SHOP @ THE MAx RECOMMENDS: Bernstein/harmon, Candide suite:

eiji oue conducting the Minnesota orchestra, Reference Recordings 87.

Horn Concerto in B-flat major, op. 91ReInhoLD GLIÈReB. 11 January 1875, Kiev, ukraineD. 23 June 1956, Moscow, Russia

Premiered 10 May 1951 in Leningrad (St Peters-burg), by Valery Polekh, horn, with the Leningrad Radio Symphony and Reinhold Glière,

conductor.

Scored for solo horn, 3 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp and strings. (Approx. 26 mins.)

Born Reinhold Ernst Glier in Kiev to parents of German Lutheran descent, Glière “Frenchified” his surname while still a student at the Moscow Conservatory, probably in an effort to capitalize on Impe-rial Russia’s preoccupation with French language and culture. Later, during the Soviet era, when Russian artists and intellectuals assiduously avoided associations with “bour-geois,” “decadent” Western culture, the name was usually printed in its Russian form: “Rejngol’d Moricevic Glier.” Glière enjoyed success as a composer, conductor and teacher (his students included Prokofiev and Khachaturian) both before and after the October revolution of 1917. During the 1920s, he composed operas that united a traditionalist harmonic vocabulary, folk melody and 19th century Orientalism (color-ful, if inaccurate, depictions of the music of non-European peoples). Some of these operas (such as The Red Poppy) incorporate socialist-revolutionary or nationalist subject matter. He also spent a decade as head of the Union of Soviet Composers, and was among the few composers of his era who suffered no official censure when the Soviet regime made wholesale condemna-tions of Russia’s musical establish-ment in 1948. the horn Concerto in B-flat major belongs to a quartet of concertos (the others being for harp, soprano and cello), which, according to musicologist stanley Krebs, “have formed the basis of the

soviet school of concerto writing.” the horn Concerto, the last of the four, is a staple of the solo horn repertory, and makes great technical demands on the soloist. Written in 1951, it sounds like a piece written 70 years before. Listen for echoes of tchaikovsky, Rimsky-Korsakov and Glinka in this music. In the Allegro first movement, a stately first theme is counterpoised by a senti-mental, rising secondary theme. the mood is operatic when the horn sings its solo lines, which sound as though they are borrowed from a lyric tenor aria. In contrast, when the orches-tra plays alone, the music sometimes becomes march-like and militaristic. the rambling second movement unveils six different melodies, and later repeats four of them. the first, which is also the last, employs solo oboe supported by clarinet, flute and bassoon. the interaction among voices of this woodwind choir is lovely. the third movement, like the first, features the interplay of two contrasting themes in the solo horn: the first is spry and folksy, like a peasant’s dance, and is supported by off-beat accompaniment; the second soars above its modest string accompaniment. Important structural moments are set off by a lonely bassoon recitative and a Mussorgsky-esque chorale in the brass.KARL PITUCH, DSO’S PRINCIPAL HORN RECOMMENDS: Glière, horn Concerto: hermann

Baumann (horn), Kurt Masur conduct-ing the Gewandhaus orchestra, Philips B0006645.

Symphony No. 2 in D major, op. 43JeAn sIBeLIusB. 8 December 1865, hämeenlinna,

FinlandD. 20 september 1957, Järvenpää,

Finland

Premiered 8 March 1902 in Helsinki, by the Helsinki Philharmonic Society, Jean Sibelius, conductor.

Scored for pairs of flutes, oboes, clarinets, & bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, and strings. (Approx. 45 mins.)

Sibelius composed his Second Symphony between midsummer 1902 and March 1903. The project

Program Notes continue on page 35


the MusICIAns oF the DetRoIt syMPhony oRChestRA

2008-09 seAson

Mark AbbottFrench hornhome: Commerce townshipJoined: 1982of note: Joined the Dso straight out of

high school, one of the youngest appointees in the orchestra’s history … Performed with the prestigious spoleto Festival orchestra in Charleston, s.C., and the Colorado Philharmonic as Principal horn … has been a guest soloist with the new york Philharmonic, the Indianapolis symphony orchestra and the Columbus symphony as well as the Detroit symphony orchestra.

Ethan AllenLibrarianhome: st. Clair shoresJoined: 2005of note: Principal Percussionist for the Warren symphony

orchestra… Listening to unKLe, Mark Lanegan, Calla, tool, Miles Davis, John Adams … Favorite composer is Maurice Ravel … enjoys composing, golfing, fishing, reading, independent and foreign films … Most memorable Dso moment: playing percussion and working as a librarian for neeme Järvi’s last weekend as Music Director.

Stephen AndersonAssistant Principal trumpethome: troyJoined: 1992of note: Performed on an R. Kelly album,

performed with the Dso Brass Quintet at the opening of the 2006 Major League Baseball All-star game in Detroit … Listening to Mahler’s symphony no. 9 … Most memorable Dso moment: playing holst’s The Planets with neeme Järvi conducting as part of my audition … “I have the opportunity to work with world-class musicians and to play the greatest music ever written.”

Geoffrey ApplegatePrincipal second Violinhome: ClarkstonJoined: 1981of note: Volunteers for the Civil Air Patrol … teaches at Wayne state

university … Plays a Joseph Gagliano violin made in 1772 … Performs with the st. Clair trio and Cuttime Players … Is a commercial multi-engine pilot … “A love of music, the challenge of mastering a complex instrument and timing of events drew me to a career in classical music.”

Donald BakerPrincipal oboehome: DetroitJoined: 1973of note: Favorite composers are Brahms and Barber … enjoys

building model trains, model airplanes, skiing and spending time on his 20-foot sailboat … “My most memorable moment in the Dso was the 1979 concert in Berlin with Antal Dorati conducting; the audience response was incredible with more than 20 curtain calls.”

Daniel BauchAssistant Principal timpani & Percussionhome: DetroitJoined: 2006of note: Began playing percussion at the

age of 7 … Recorded a CD with the new york new Music ensemble for Albany Records … Currently serves during the summer as the percussion faculty member for the young Artist orchestra for the Boston university tanglewood Institute.

Robert BergmanCellohome: BerkleyJoined: 1989of note: enjoys building cellos and teaching … Also an accomplished

pianist, he has served as a dance accompanist for ballet and modern dance classes for several universities throughout the country.

Linton BodwinBasshome: Beverly hillsJoined: 1974of note: In spare time, enjoys reading, spending time with his

children and adding to a classic video collection … Favorite piece is Fauré’s Requiem … Most memorable Dso moment was the 1979 european tour … Favorite composer is Berlioz.

Emmanuelle BoisvertConcertmasterhome: Lake orionJoined: 1988of note: only 25 when she became the first woman to win the

post of concertmaster for a major American orchestra … Plays annual concertos with the Dso … Attended the prestigious Curtis Institute of Music in Philadelphia … has award-winning recordings with the st. Clair trio.

Marcy ChanteauxAssistant Principal Cellohome: Grosse Pointe ParkJoined: 1970of note: An adjunct

member of the Wayne state university Music Department … Recorded various standard concerti for the Music Minus one label … Performed a Brahms sextet with Isaac stern in Ann Arbor in 1995 … enjoys gardening and traveling in her spare time … Member of Lyric Chamber ensemble, which has been named Detroit’s Best small ensemble.

Caroline CoadeViolahome: southfieldJoined: 1996of note: Loves teaching and is an adjunct professor of music at

the university of Michigan and Wayne state university … has two sisters who are also professional musicians … enjoys doing volunteer work … Favorite pieces include Romeo and Juliet by Prokofiev and anything played by hilary hahn … Got a kick out of the Dso’s concert with yo-yo Ma and AsIMo the robot.

Catherine ComptonViolahome: Pleasant RidgeJoined: 1973of note: Current favorite piece is stravinski’s Rite of Spring … sings in a

small choir called MI-DARlings … Playing and listening to any and all chamber music … Favorite composer is Mozart … Would like to be a writer if she were not in an orchestra.

Douglas CornelsenClarinethome: DearbornJoined: 1970of note: Avid cyclist who has biked across the united states …

one of the founding members of the Detroit Chamber Winds & strings … has been on the faculty of oakland university since 1972 … his wife is a cellist with the Michigan opera theatre orchestra.

Lilit DanielyanViolinhome: sterling heightsJoined: 2000of note: she enjoys playing piano, cooking and playing with her

children … some favorite pieces are Barber’s Violin Concerto, Bach’s Goldberg Variations, Brahms’ Piano Concerto no.1 in D minor … “Classical music has its own language of pure beauty, mystery and its own world of deep and complex structure that charms the heart and impacts the brain.”

Robert deMainePrincipal Cellohome: Grosse Pointe FarmsJoined: 2002of note: Most memorable Dso

moment: Charles Dutoit conducting Ma Mère L’Oye … Is a third-generation cellist on his mother’s side … Made various solo and chamber music recordings on CRI, Capstone, elysium, CBC and sCMs labels… Favorite composer: Gabriel Fauré.

Marguerite Deslippe-DeneViolinhome: Grosse Pointe ParkJoined: 1982of note: enjoys

spending time at her cottage near Lake superior with her husband, two sons and dogs … Performs Blue Grass music with a popular local group … she and her family have adopted a cocker spaniel and three samoyeds from the Michigan samoyed Rescue shelter … Is in great demand as a teacher and coach, and can be heard performing solos with area orchestras and chamber music … Principal instrument is an 18th century French Violin by Pique.

Gina DiBelloViolinhome: troy Joined: 2005of note: Plays a violin made by François Piqué in 1809 … Daughter of

a Lyric opera orchestra of Chicago violinist and a Chicago symphony orchestra bassist … Favorite musical groups are Coldplay, Radiohead and Led Zeppelin … “I have been exposed to classical music my entire life. I’ve always loved it, and it has always been a huge part of my life.”

Mario DiFioreCellohome: Grosse PointeJoined: 1959of note: Is an avid gourmet cook … Plays two cellos made in

Italy at the turn of the 20th century … Favorite composers are Brahms, stravinsky and Mahler… “My most memorable moment was in my first year and we were touring in Boston with Paul Paray conducting. We received a 25-minute ovation. It was a great way to start at the orchestra.”

Philip DikemanAssistant Principal Flutehome: Royal oakJoined: 1992of note: Played in hong Kong before he

came to the Dso … Favorite piece is Rachmaninoff’s third Piano Concerto, especially the live recording by horowitz for his Golden Jubilee … enjoys swimming, reading, traveling, gardening, watching movies … Plays a 14-karat white gold flute made by Powell Flutes of Boston.

Ian DingAssistant Principal Percussionhome: hamtramckJoined: 2003of note: Mother and grandmothers were

music teachers … Did recording of electro-accoustic music by composer herbert Brün on eMF … Favorite piece is Tehellim by steve Reich … In spare time, reads novels, practices yoga, travels … Currently listening to: yeasayer’s “All hour Cymbals,” nico Muhly’s “Mothertongue” and chamber music by Marc Mellits and John Luther Adams.

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Elayna DuitmanViolinhome: troyJoined: 2002of note: Plays with Cuttime Players and Detroit Chamber Winds

& strings … Most memorable Dso moment was playing Petrouschka with Charles Dutoit conducting … enjoys listening to Gil shaham’s Prokofiev’s Violin Concerti … started playing violin at the age of 4.

Stephen EdwardsBasshome: sterling heightsJoined: 1972of note: Favorite pieces are Rachmaninoff’s Piano Concerto no. 2

and symphony no. 2 … enjoys golf and jogs regularly to keep in shape … Favorite composers are strauss, Mahler and Rachmaninoff … Is active in philanthropic endeavors and has interests in education and psychology.

Dave EversonAssistant Principal French hornhome: BerkleyJoined: 1999of note: his father was an Army Chorus pianist

… helped establish the Kansas City Brass, a Grammy Award-nominated brass sextet … Favorite piece is any of Mahler’s symphonies.

Ron FischerViolinhome: FarmingtonJoined: 1982of note: has commissioned music to calm pets … Is a

licensed League Cycling Instructor for the League of American Bicyclists … Plays an Italian violin made in turin in 1815 by Andreas Postacchini ... Wife is first violinist in the Michigan opera theatre orchestra.

Elias FriedenzohnViolinhome: West BloomfieldJoined: 1965of note: Is a native of Chile … has a masters in clinical psychology

from oakland university … studied in new york for one year at the Manhattan school of Music … enjoys listening to Mahler, Mozart and other great composers … Is a history aficionado, particularly european history and the World Wars.

Carole GatwoodCellohome: huntington WoodsJoined: 1981of note: Is married to Dso bassist Craig

Rifel … Because two of their three sons are in college, she decided to bring home a dog … Was raised in a musical family and has early chamber music memories of her aunt, a studio violinist who performed on live radio in the 1920s and 1930s.

Joseph GoldmanViolinhome: Beverly hillsJoined: 1974of note: has a bachelor degree in applied arts and science from the

Rochester Institute of technology with concentrations in applied computing and management … Made his first public appearance as a soloist at the age of 9 in his hometown of Kansas City, Mo.

Laurie Landers GoldmanViolinhome: BirminghamJoined: 1991of note: Began studying music at the age of

four with eleanor Allen, an early u.s. suzuki teacher … Plays a 1742 De Vitor violin made in Brescia, Italy … Currently listening to Beach Boys, Bach and the music her children listen to such as Cuban music and High School Musical … In her spare time, she enjoys relaxing with husband David and children Arlo and Robin.

Kevin Goodtrumpethome: Beverly hillsJoined: 1979of note: one of the founders of the acclaimed Detroit

Chamber Winds & strings … Also is a producer, arranger and composer … Coaches music in the Waterford school system, the Michigan All-state Program and the Interlochen national Music Camp.

Nathaniel GurinAssistant Principal trombonehome: huntington WoodsJoined: 1978of note: A founding

member of the Dso Brass trio … “the dramatic role of the trombone attracted me to a career in classical music.” … enjoys listening to the Cuban All-stars … An avid biker and cross-country skier.

Barbara Hall HassanCellohome: northville Joined: 1967of note: has a hovawart dog from Berlin, Germany named

“Flory” … Favorite composers are Dvorák, Prokofiev and Barber … Vacations in new england where she soaks up the historical as well as the coastal scenery … Was an early Motown recording musician … Frequent soloist at numerous local churches … Proud mother of two and grandmother of eight.

Alexander HannaPrincipal Basshome: Bowling Green, ohioJoined: 2008of note: Began playing music at 4 with the

piano, the cello at age 8 and then, finally, the bass at age 13 … Biggest musical influences are his very first piano teacher, Kay Moore of Bowling Green state university and his bass teacher from college, hal Robinson, principal bass of the Philadelphia orchestra … If he were not in an orchestra, he’d like to be a composer.

Randall HawesBass trombonehome: Bloomfield hillsJoined: 1985of note: Collaborated with Ann Arbor pianist Kathryn Goodson for

his CD Melodrama, which features Russian music for bass trombone and piano. the duo has another all-American CD ready for release sometime in 2008 … has been a member of the World orchestra for Peace with sir Georg solti and Valery Gergiev conducting … has performed with the orchestras of Los Angeles, Chicago, Pittsburgh and Boston.

Shelley Heronoboe home: sarnia, ontarioJoined: 1985of note: Plays a hiniker oboe … Most memorable Dso

moment: Performing in Carnegie hall … enjoys listening to Vivaldi’s violin concertos … Favorite pieces are stravinsky’s The Rite of Spring and Bartók’s Concerto for Orchestra.

Hart HollmanViolahome: Bloomfield hills Joined: 1973of note: enjoys rock climbing, skiing, sailing, photography

… A faculty member at the Center for Creative studies and the utah summer Music Festival … Also an accomplished guitarist, he has composed works for the instrument and performs in all styles, including rock, folk, classical and flamenco.

Larry HutchinsonBasshome: Farmington hills Joined: 1983of note: If he were not in orchestra, he would likely work as

a teacher … Also performs with the Ambassador Quintet, comprised of string players from the Dso … A tireless advocate of music education, he founded the troy Bass workshop… Loves to play tennis.

Maxim JanowskyBasshome: huntington WoodsJoined: 1964of note: he is also a member of the Detroit

Chamber Winds … Favorite piece is Mozart’s symphony no. 41 “Jupiter” … teaches at Wayne state university and oakland university … Was introduced to classical music by his father who was a bassist … If he were not in an orchestra, he would enjoy being a restaurant owner and chef.

Hui JinViolinhome: CantonJoined: 2000of note: Graduated from the Music and Drama Conservatory of Quebec

… served as concertmaster for the conservatory’s orchestra … A native of China … Performed with shanghai symphony orchestra, Beijing Film symphony orchestra and the seoul symphony orchestra.

Brian JonesPrincipal timpaniJoined: 1998of note: If he were not in an orchestra, he would like to be a lighting director in hollywood …

teaches at the university of Michigan school of Music … he performs with new Music Detroit … In his spare time, he enjoys hiking and traveling.

Kimberly Kaloyanides KennedyAssociate Concertmasterhome: PlymouthJoined: 1998of note: Mother of

two wonderfully spirited children … Recorded “It is Well” on northridge Church’s “A Life is Waiting” … Favorite composer is Brahms … Loves to garden and take walks … Is very grateful to make music for a living.

Bryan KennedyFrench hornhome: Plymouth Joined: 1983of note: he has been featured in many national and local

commercials and film scores … Also performs with the Dso Brass Quintet and the Detroit Chamber Winds … took a full-time faculty position at the university of Michigan and then returned to the orchestra … Participates in many summer music festivals.

Victoria KingBassoonhome: Beverly hillsJoined: 1984of note: Founding member of the Detroit Chamber Winds where

she serves on the Board of Directors … studied at the university of Michigan and with Dso Principal Bassoon, Robert Williams… In her spare time, she enjoys working out, home projects and her dogs.

Laurence LibersonAssistant Principal Clarinet & e-Flat Clarinethome: Pleasant RidgeJoined: 1981of note: Favorite memory at the Dso was

moving back to orchestra hall … has several Buffet-Crampon clarinets in various keys … enjoys biking, in-line skating, skiing, reading, films, cross-word puzzles and cooking.

Shanda Lowery-SachsViola home: huntington WoodsJoined: 2001 of note: If she were not in an orchestra, she

might like to be an elementary school teacher or veterinarian … has two cats named harry and hermione … Coaches string groups for the Detroit symphony Civic orchestra.


William Lucastrumpethome: Bloomfield hillsJoined: 1988of note: In his spare time, he composes music, plays jazz, is

an avid mountain and road biker, kayaks, plays tennis and cooks chili … he coaches professionals and semi-professionals on how to win symphony orchestra auditions … he is frequently commissioned to compose fanfares for special occasions- many of which have been performed by the Dso.

Michael Ke MaAssistant Principal Bassoon home: northvilleJoined: 2005of note: enjoys listening to Mahler symphonies

… “I love classical music! It just brings me a lot of happiness.” … Plays a heckel 10000 series bassoon … Favorite composers include Mozart, Beethoven, tchaikovsky, shostakovich and Mahler.

Patricia Masri-FletcherPrincipal harphome: noviJoined: 1988of note: Currently listening to Riven soundtrack, Best of

Phil Collins, Kim Pensyl’s “Pensyl sketches” … serves as Professor of harp at Madonna university and has recently been appointed harp Professor at Michigan state university … “the collective sounds of the symphony orchestra” attracted her to a classical music career … enjoys canoeing, mountain biking, bird watching and growing tulips.

Haden McKayCellohome: Windsor, ontarioJoined: 1983of note: his favorite composer is Richard strauss … Most

memorable moments at the Dso include the first concert in the partially restored orchestra hall in september 1983 and the performance of shostakovich’s Fifth symphony under neeme Järvi at the 1995 Lucerne Festival … speaks French and German fluently.

Glenn MellowViolahome: huntington WoodsJoined: 1980of note: Previously served as Principal

Viola of the evansville Philharmonic, owensboro (Kentucky) symphony, and the orquestre sinfonica de Minas Gerais in Brazil … took a year off of college to teach viola in Brazil …teaches viola and performs chamber music in the Detroit area.

Alexander MishnaevskiPrincipal Violahome: Windsor, ontarioJoined: 1986of note: Credited with having “star-caliber

musicianship” by critics…Graduated from Central Music school in Moscow and the Juilliard school of Music in new york City…shared stage with Isaac stern, shlomo Mintz, yefim Bronfman and Joseph silverstein…

Prior to joining the Dso, traveled the world giving recitals and solo performances.

Stephen MolinaAssistant Principal Bass, orchestra Personnel Managerhome: Bloomfield hillsJoined: 1976of note: Works with

young musicians throughout the year teaching bass, coaching ensembles, and teaching at the university of Michigan … Also a faculty member at Wayne state university … Performed at many prestigious summer music festivals, including Interlochen, Aspen, Grand teton Music Festival and tanglewood.

Robert MurphyViolinhome: Bloomfield hillsJoined: 1973of note: Favorite pieces include Bach’s Chaconne and Richard

strauss’ “Alpine” symphony … In the past, he played in a string quartet for young Audiences that performed in public schools and soloed with the Renaissance Chamber orchestra … enjoys spending time with his family and golfing.

Theodore OienPrincipal Clarinethome: orchard Lake Joined: 1988of note: his favorite composers are schubert to listen to and Prokofiev

to play … he was attracted to classical music by a recording of The Rite of Spring he heard in the ninth grade … serves on the faculty of Wayne state university and the Aspen Music Festival and school.

Una O’RiordanCellohome: Berkley Joined: 2007of note: her most memorable moment was when she subbed

with the Dso on their european tour in 2001 …if she were not a musician, she would still be doing something creative such as writing … she currently listens to Kaija saariaho, Lorraine hunt Lieberson, Allison Krauss, the swell season and Mozart piano sonatas.

Shannon OrmeClarinet/Bass Clarinethome: Royal oakJoined: 2007of note: lived in Japan for two years as member of hyogo Performing

Arts Center orchestra … Most memorable Dso moment was playing nimbus 2000 with John Williams …Favorite music to play is Mozart’s Gran Partita on basset horn … enjoys knitting, making jewelry, reading classics and biking … Volunteers as a mentor through the oakland County youth Assistance Program.

Robert PangbornPrincipal Percussionhome: Bingham FarmsJoined: 1964of note: one of his most memorable Dso moments was

performing the World Premiere of the Concerto for solo Percussionist and orchestra by Donald erb … If

he were not a musician, he would like to restore historic buildings … he recorded a number of hits with Motown and founded several percussion chamber music groups, including Detroit Percussion trio, 4 for Percussion and Mostly Mallets.

Ramón ParcellsPrincipal trumpethome: West BloomfieldJoined: 1982of note: In his spare time, he travels to santa Fe and spends time

outdoors bicycling and canoeing … his favorite composers are Mozart, Debussy and Richard strauss … Favorite memory at the Dso is playing Bruckner’s symphony no. 7 in hamburg during the 1989 eurotour.

Eun ParkViolinhome: troyJoined: 2006of note: started studying the violin at age 9 … Favorite

composer is Rachmaninoff … Plays a Martinenghi 1935 violin … If she were not in an orchestra, she would like to be a broadcast producer.

Karl PituchPrincipal French hornhome: troyJoined: 2000of note: Winner of the 1989 American horn Competition … has

been a member of five different orchestras … Previously taught at the university of hawaii … Favorite composers are Mahler and John Williams.

Craig RifelBasshome: huntington WoodsJoined: 1980of note: he has performed as

a substitute church organist throughout the Detroit metropolitan area … Favorite composers are Brahms, strauss and Korngold … has performed with the orchestra on piano, harpsichord, and organ … spends his spare time pursuing his pilot’s license … If he were not in an orchestra, he would like to be a corporate pilot.

Michael Robinson, Jr.trombonehome: Charleston, s.C.Joined: 2007of note: the Dso’s African-American Fellow for 2007-2009…If he

were not in an orchestra, he would like to perform on stage, dancing and singing…Favorite piece is shostakovich’s symphony no. 5.

Richard RobinsonBasshome: DetroitJoined: 1989of note: André Previn’s book Orchestra attracted him to a

career in classical music … Favorite memory with the Dso is performing schumann’s symphony no. 3 at the Musikverein in Vienna … he spends his spare time sailing, windsurfing and performing with the Cuttime Players.

Adrienne RönmarkViolinhome: BirminghamJoined: Began as a substitute violinist in 2004, joined the Dso full-time in 2008

of note: Parents were both musicians in the Detroit symphony orchestra … Began playing in kindergarten when her parents gave her a violin as a Christmas present … If she were not in an orchestra she’d like to be a lawyer or an astrophysicist … spends spare time with her daughter, Annika and her husband, erik.

Laura RoweAssistant Concertmasterhome: PlymouthJoined: 1995of note: she holds both Bachelor and Master of Music degrees in Violin

Performance from the university of Michigan … she spends her spare time on her family’s farm, where she enjoys her four llamas and her dog Kayla … selected as a finalist in the prestigious American string teachers Association national competition.

Marcus SchoonBassoon/Contrabassoonhome: troyJoined: 1992of note: In his spare time, he enjoys golf, martial arts and

gardening … Plays a heckel bassoon #12850, heckel contrabassoon #1132 and selmer Mark VI alto and tenor saxophones … Favorite composers are Brahms and Mozart.

Alvin ScoreViolinhome: Ann ArborJoined: 1960of note: he is a native Detroiter … Is one of three remaining Dso

members who were part of the octet that did most of the Motown string work in the 1960s … Played violin on Marvin Gaye’s “What’s Going on” and stevie Wonder’s “My Cherie Amour” … Attended Denby high school.

Lenore SjobergViolinhome: ClarkstonJoined: 1980of note: Married to Dso violinist Geoffrey Applegate … First

performed with the Dso in the 1960s as a high school student … enjoys making stained glass, quilting and other crafts.

Bruce SmithViolinhome: Farmington hillsJoined: 1975of note: holds a doctorate degree in Musicology from

the university of Michigan … Is an instrument rated pilot and is a certified flight instructor … he apprenticed with a German violin maker, George Kelischek, who specialized in making Renaissance and Baroque instruments … During his youth, he sang in boys’ choirs, including the American Boychoir in Princeton, new Jersey.


Linda Snedden-SmithViolinhome: Farmington hillsJoined: 1967of note: she is married to fellow Dso violinist Bruce smith. they have

four children … she has been an active chamber music performer with the American Artists series Chamber Players … In her spare time she enjoys traveling with her husband in their plane.

Sharon SparrowPrincipal Flute home: Grosse Pointe Joined: 1998 as second FluteBegins 2008/09 season as Principal Flute

of note: her love of the piano attracted her to a career in classical music …she is dedicated to musical education … her favorite piece is Mozart’s The Magic Flute; her favorite composers are Mozart and Brahms … her most memorable moment with the Dso was playing shostakovich symphony no.10 on tour, where every concert gave her goose bumps!

Beatriz Budinszky StaplesViolinhome: Bloomfield hillsJoined: 1964of note: her most memorable Dso

moment was playing Beethoven’s symphony no. 9 in Berlin at the Philharmonie during the 1979 european tour with Antal Dorati ... In her spare time she belongs to a book club, spends time outdoors, and does yoga.

Gregory StaplesViolinhome: Royal oakJoined: 1999of note: Favorite piece is Mahler’s symphony no. 1 … son of former

Dso Concertmaster Gordon staples and longtime first violin section member Beatriz Budinszky staples … his former teacher is Dso violinist Geoffrey Applegate …he is a former Acting Assistant Concertmaster of the Atlanta symphony.

Adam StepniewskiAssistant Principal second Violinhome: Ann ArborJoined: 1991of note: he is a native of Poland … Previous

positions include Concertmaster of the Radio symphony orchestra of Denmark in Copenhagen, Assistant Concertmaster of the Warsaw Philharmonic in Poland and Concertmaster of the st. Anthony orchestra in Warsaw.

Robert StilesPrincipal Librarianhome: huntington WoodsJoined: 1999of note: Performs with the Grand teton

Music Festival on double bass and is Principal Librarian for the Festival … Former librarian for the Florida West Coast symphony and the sarasota Music Festival … he was inspired to play music after hearing his older sister play the piano … Avid hiker and outdoor enthusiast.

Joseph StriplinViolinhome: Ann ArborJoined: 1972of note: he is a graduate of Cass technical high school

and Wayne state university … serves as Music Director of the Grosse Pointe symphony orchestra … Is a Guest Conductor of the Birmingham-Bloomfield symphony orchestra … he is also former Associate Conductor of the Detroit symphony Civic orchestra.

Ann StrublerViolinhome: oakland townshipJoined: 1980of note: Favorite composer is Mozart,

especially violin concertos… Favorite pieces are Brahms’ piano quartets and anything by Richard strauss… Listening to John Mayer, Paul Dozier and hillary hahn… enjoys doing pastel paintings of her family’s farm and garden.

Hang SuViola home: northvilleJoined: 2007of note: If he did not play in an orchestra, he would enjoy being a

historian…his father is an amateur musician, playing several Chinese instruments and violin…he enjoys reading, nature, cooking, and hanging out with friends…his most memorable moment with the Dso was his first concert night: “the lights are shining, audience is applauding, musicians are playing, and I am one of them…what a thrilling moment!”

Marian TanauViolinhome: Ann ArborJoined: 1995of note: organizes the American Romanian Festival every two

years in Romania and in the u.s. … Favorite Dso moment was playing “Pines of Rome” by ottorino Respighi with neeme Järvi conducting: “the audience members who filled the hall to the last seat jumped to their feet and applauded explosively. It felt as if the balcony was going to collapse.”

Kenneth ThompkinsPrincipal trombonehometown: troyyear joined the Dso: 1997of note: Was a Dso orchestra fellow … Was

inspired to career in music by hearing the Chicago symphony orchestra perform: “the experience of hearing that ensemble perform great music at such a high level was so powerful.”

John ThurmanCellohome: troyJoined: 1970of note: Performs with the Detroit string Quartet … Is

the uncle of actress uma thurman … Was a member of the Delaware string Quartet and north Carolina symphony orchestra where he performed solos often.

LeAnn TothViolinhome: Beverly hillsJoined: 1973of note: Attended Cass technical high school … studied violin with

the late Misha Mishakoff of the Dso … Attended the university of Missouri, the new england Conservatory in Boston and the university of Michigan.

Denise TryonFrench hornhome: DetroitJoined: 2003of note: Favorite composer is Bach … serves as horn Professor

at the Peabody Conservatory in Baltimore and at Wayne state university … Most memorable Dso moment: Playing Beethoven’s symphony no. 9 … Listening to tekemali, Kirsten Braten Berg, Willie nelson and Dinah Washington.

James VanValkenburgAssistant Principal Violahome: West BloomfieldJoined: 1986of note: has competed in five Ironman races in the past six years … Was

expected to follow in his father and grandfather’s footsteps, who were both lawyers.

Brian VenturaAssistant Principal oboe home: Farmington hillsJoined: 1988of note: he mostly listens to XM satellite radio … his most

memorable time at the Dso was the 1989 european tour … In his spare time, he enjoys yard work, skiing and tending to his three classic Lincolns: a 1962 convertible, a 1962 sedan, and a 1971 Mark III ... his favorite composer is Beethoven.

Corbin WagnerFrench hornhome: Bloomfield hills Joined: 1979of note: teaches at oakland university … spends his spare

time trying to cook, loving God and bicycling … Member of the Detroit Chamber Winds … has said of his work at the Dso, “It is an honor and a joy to be a member of this fine orchestra.”

Robert WilliamsPrincipal Bassoonhome: northvilleJoined: 1974of note: enjoys making reeds for and teaching the bassoon, reading

books, bicycling at Maybury state Park and fly fishing for trout … Released two recordings outside of the Dso: “Romanze of Weissenborn” in 2005 and “neo-Bubonic Bassoon Quartet” in 2002, and is currently working on a third of the music of Ludwig Milde.

Paul WingertCellohome: Farmington hillsJoined: 1979of note: has been a guest speaker for garden clubs from Port huron

to Chicago, and also for the Greater new orleans bromeliad society … specializes in growing and breeding Bromeliads … Began the Dso Civic string Quartet and has coached it since 1996 … Favorite pieces are oliver Messaien’s Turangalîla-Symphonie and Mahler’s symphony no. 9.

Treva Wombleenglish horn, oboehome: northvilleJoined: 1975of note: Both of her instruments are made by Laubin in new

york … Bach’s “Jesu, Joy of Man’s Desiring” is her favorite piece … “I have always enjoyed the beauty of classical music and wanted to be a part in its production. there is no thrill like playing in the midst of a great orchestra!”

Hai-xin WuAssistant Concertmasterhome: Ann ArborJoined: 1995of note: earned his Bachelor of Music degree from the

Manhattan school of Music … Performs with the sonnet Quartet, the quartet-in-residence at oakland university, the Detroit Chamber Winds & strings and the Cuttime Players … Is an adjunct faculty member of the Wayne state university Department of Music

Han ZhengViola home: northvilleJoined: 2001of note: his favorite composers are Mahler, tchaikovsky and Richard

strauss … Most memorable moment at the Dso was playing Mahler’s symphony no. 2 in his first rehearsal with neeme Järvi … his favorite pieces are tchaikovsky’s symphony no. 4, Mahler’s symphony no. 1, and strauss’ Don Quixote.

Jeffrey ZookFlute, Piccolohome: Pleasant RidgeJoined: 1992of note: he was attracted to a career in classical music when

he attended Interlochen Arts Camp at the age of 12 … If he were not in an orchestra, he would like to be a personal trainer or a computer nerd … In his spare time, he enjoys spending time with his partner, David, at their 1890s farm house in Dyer’s Bay, ontario where he has hosted flute-teaching retreats and a chamber music festival at the Applewood retreat.


Continued from page 30

so engrossed him that he gave up teaching at the Music Institute of Helsinki (a much-needed source of income) and also abandoned two major compositional undertakings: an orchestral tone-poem based on the Don Juan legend, and a setting of excerpts from Dante’s Divine Comedy. Two melodies — the “Death” theme found in Sibelius’s Don Juan sketchbook as well as a melody entitled “Christus” from the Dante project — were later absorbed into the symphony as the first and second themes of the Andante. Aside from the literary associations of “Death” and “Christus,” which receded after his work on the symphony began (the names appear only once in his diary, and he never mentioned them publicly), sibelius specified no programmatic content for the second symphony. nevertheless, his compatriots were inclined to see the work as a national-ist manifesto, calling it a “liberation symphony.” Why the politicized rhetoric? Around the turn of the century, tsar nich-olas II’s government began to impinge

upon the independence of Finland, which had been a semi-autonomous grand duchy of the Russian empire. the tsar incensed the Finnish populace with his imperialistic mandates, which, among other abuses, disbanded Finland’s independent military and ordered that Finns be conscripted directly into the Russian army. Consequently, Finnish audiences of 1903 —eager for public denunciations of Russian subjuga-tion — were quick to regard the second symphony as a gesture of protest. Due in no small part to widespread patriotic fervor, the premiere of this piece, given in helsinki, met with popular approval and critical adulation. numerous repeat performances were sold out, attesting to its immediate popularity. In times and places other than turn-of-the-century Finland, the second symphony has tended to guide commen-tators’ imaginations away from politics and nationhood and toward the beauty of nature. the pulsating chords and graceful shepherd’s tune of the opening measures are often said, quite plausibly, to evoke a rustic idyll. Where the first movement conjures a pastoral utopia, the second reveals a threatened paradise amid the shadows of its dire sinuous-

ness and Wagnerian anguish (listen for quotations of the “tristan” chord). the scherzo likewise assaults the placidity of the pastoral setting with its ferocious intensity — which abates, appropriately, during the gentle trio, a section which has historically been associated with the pastorale. It is left to the finale, which begins without pause, to bring about the restitution of order. some critics posit the entrance of a hero figure into the musical narrative, an agent of balance who returns the bucolic tableau to its former state of harmony. Indeed, listeners will find it difficult to ignore the elements of heroism and restoration in the Finale’s principal theme, which, by recalling the first measures of the Allegretto, conveys both circularity and a triumphant conclusion.

DSO SHOP @ THE MAx RECOMMENDS: sibelius, symphony no. 2: Paavo Järvi

conducting the Cincinnati symphony orchestra, telarc 80585.

Program Notes by Bryan Parkhurst, a Ph.D. student in music theory at the School of Music, Theatre & Dance

Kick Back In The Garden After The Show.TheWhitney Bring your DSO ticket stub to The Whitney and enjoy a cocktail or desserton us. We’re three blocks north of the DSO. 313.832.5700O N W O O D W A R D


Detroit Symphony Orchestra2008 – 2009 Season

PRoFILes

Louis Armstrong’s New Orleans

thursday, october 2 at 10:45 a.m. and 8 p.m. Friday, october 3 at 8:30 p.m.

saturday, october 4 at 8:30 p.m. sunday, october 5 at 3 p.m.

Jeff Tyzik, conductorByron Stripling, trumpet & vocals

Bob Breithaupt, drums

Jelly Roll Morton King Porter Stomp arr. Jeff Tyzik

arr. Manny Albam Sounds of New Orleans

Red Rodney Red Arrow arr. Manny Albam

arr. Tiny Grimes Do You Know What It Means to Miss New Orleans

W.C. Handy St. Louis Blues arr. Jeff Tyzik

Ben Bernie, Maceo Pinkard, Sweet Georgia Brown and Kenneth Casey arr. Dennis Mackrel

In t er mIssIon

Irving Berlin Alexander’s Ragtime Band arr. Jeff Tyzik

arr. Jeff Tyzik Minnie The Moocher

Fats Waller Honeysuckle Rose arr. Jeff Tyzik

Andy Razaf, Fats Waller, Ain’t Misbehavin’ and Harry Brooks arr. Jeff Tyzik

Slim Gillard Flat Foot Floogie arr. Jeff Tyzik)

arr. Manny Albam Louis Armstrong Tribute

Jeff Tyzik Described by the Rochester Democrat & Chronicle as “among the best pops conductors in America,” conductor Jeff tyzik is recognized for his arrange-ments, original programming and engaging rapport with audiences of all ages. the Principal Pops Conductor of the Rochester Phil-harmonic orchestra for over a decade, he also serves as Prin-cipal Pops Conductor of the Vancouver symphony orchestra. In 13 years with the Rochester Philhar-monic, tyzik has developed an intimate relationship with devoted Rochester audiences who appreciate his creative Pops programming. over the course of his tenure, he has written more than 160 works for the orchestra. tyzik also appears as a guest conductor in the orchestra’s subscription series on a regu-lar basis. highly sought after as a guest conduc-tor, tyzik has appeared with orchestras such as the Boston Pops, the Cincinnati Pops, the new york Pops and the Los Angeles Philharmonic at the hollywood Bowl. In addition to his commitments in Rochester and Vancouver, he appears annually with the toronto symphony and often performs with orchestras across north America including those of hart-ford, new Jersey, oregon, seattle and st. Louis. Actively sharing his passion for music with others, tyzik has been recognized for his community service and educa-tional work by Rotary International, the Monroe County Music educators and the Rochester Philharmonic League. he is also the recipient of the Arts & Cultural Council of Greater Rochester’s 2002 Performing Artist award.

tyZIK

PoPs seRIes



Erich Kunzel Leads

The DSO Pops

in “Classic Broadway”

Nov. 13 – 16

Call (313) 576-5111 for tickets.


Byron Stripling As soloist with the Boston Pops orchestra, trumpet virtuoso Byron strip-ling has performed frequently under the

baton of Keith Lock-hart, as well as being featured soloist on the PBs television special, “evening at Pops,” with conduc-tors John Williams and Lockhart. Currently, stripling serves as artistic

director and conductor of the highly acclaimed Columbus Jazz orchestra. since his Carnegie hall debut with skitch henderson and the new york Pops, stripling has become a pops orchestra favorite throughout the country, soloing with the Boston Pops, the national symphony, the Pittsburgh symphony, the Cincinnati Pops, the seat-tle symphony, the Baltimore symphony, the Minnesota orchestra, the st. Louis symphony, the Vancouver symphony, the utah symphony, and the American Jazz Philharmonic, to name a few. he has been a featured soloist at the hollywood Bowl and performs at jazz festivals throughout the world. An accomplished actor and singer, stripling was chosen, following a world wide search, to star in the lead role of the Broadway bound musical, Satchmo. Many will remember his featured cameo performance in the television movie, The Young Indiana Jones Chronicles, and his critically acclaimed virtuoso trumpet and riotous comedic performance in the 42nd street production of From Second Avenue to Broadway. stripling earned his stripes as lead trumpeter and soloist with the Count Basie orchestra under the direction of thad Jones and Frank Foster. he has also played and recorded extensively with the bands of Dizzy Gillespie, Woody herman, Dave Brubeck, Lionel hampton, Clark terry, Louis Bellson and Buck Clayton in addition to the Lincoln Center Jazz orchestra, the Carnegie hall Jazz Band and the GRP All star Big Band. stripling conducts seminars and master classes at colleges, universi-ties, conservatories and high schools. educated at the eastman school of Music and the Interlochen Arts Academy, he periodically returns to both as a special guest lecturer.

stRIPLInG

Byron Stripling As soloist with the Boston Pops orchestra, trumpet virtuoso Byron strip-ling has performed frequently under the

baton of Keith Lock-hart, as well as being featured soloist on the PBs television special, “evening at Pops,” with conduc-tors John Williams and Lockhart. Currently, stripling serves as artistic

director and conductor of the highly acclaimed Columbus Jazz orchestra. since his Carnegie hall debut with skitch henderson and the new york Pops, stripling has become a pops orchestra favorite throughout the country, soloing with the Boston Pops, the national symphony, the Pittsburgh symphony, the Cincinnati Pops, the seat-tle symphony, the Baltimore symphony, the Minnesota orchestra, the st. Louis symphony, the Vancouver symphony, the utah symphony, and the American Jazz Philharmonic, to name a few. he has been a featured soloist at the hollywood Bowl and performs at jazz festivals throughout the world. An accomplished actor and singer, stripling was chosen, following a world wide search, to star in the lead role of the Broadway bound musical, Satchmo. Many will remember his featured cameo performance in the television movie, The Young Indiana Jones Chronicles, and his critically acclaimed virtuoso trumpet and riotous comedic performance in the 42nd street production of From Second Avenue to Broadway. stripling earned his stripes as lead trumpeter and soloist with the Count Basie orchestra under the direction of thad Jones and Frank Foster. he has also played and recorded extensively with the bands of Dizzy Gillespie, Woody herman, Dave Brubeck, Lionel hampton, Clark terry, Louis Bellson and Buck Clayton in addition to the Lincoln Center Jazz orchestra, the Carnegie hall Jazz Band and the GRP All star Big Band. stripling conducts seminars and master classes at colleges, universi-ties, conservatories and high schools. educated at the eastman school of Music and the Interlochen Arts Academy, he periodically returns to both as a special guest lecturer.

stRIPLInG

WWW. PeRFoRMAnCe / VoL. XVII / Issue I 37DetRoItsyMPhony.Co

What does it take to be world-class? A commitment to excellence, dedication to the community,technical knowledge and skill, a profound appreciation for

the history of one’s art ... these are all attributes of the Detroit Symphony Orchestra.

As the printer of Performance magazine,Grand River Printing & Imaging is proud tobe part of the cultural enrichment of Detroit

provided by the world-class DSO.

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A world-class performance

M


Günther Herbig Günther herbig left behind the chal-lenging political environment of east Germany and, in 1984, moved to the united states where he has since conducted all of the top-tier orchestras, including the new york Philharmonic, the Los Angeles Philharmonic, the Cleveland orchestra, the Philadelphia orchestra, and the Chicago, Boston and san Francisco symphony orchestras. Posts that herbig has held include Music Director of the Detroit symphony orchestra (1984 -1990) and the toronto symphony orchestra; Principal Guest Conductor of the Dallas symphony orchestra and the BBC Philharmonic orchestra; and General Music Director of the Dresden Philharmonic orchestra and the Berlin symphony orchestra. Currently he is Artistic Advisor of the national symphony orchestra of taiwan and Principal Guest Conductor of Las Palmas in the Grand Canaries, spain. herbig toured America several times with the Dso, and received high praise for the many performances they gave in new york’s Carnegie hall. In January 1989 he toured europe with the Dso, with Gidon Kremer as soloist, to great critical acclaim. In 1990 he toured the Far east with the toronto symphony orchestra, and in the spring of 1991 he toured europe with the tso in his 37th international orchestra tour. he has also conducted most of the major european orchestras and has also toured Japan, south America and Australia many times. Key figures in his musical training include hermann Abendroth, hermann scherchen and herbert von Karajan. herbig has recorded more than 100 works with a variety of east German orchestras (prior to moving to the u.s.), as well as with the toronto symphony, orchestre de Paris, the BBC Philhar-monic orchestra, the Royal Philharmonic orchestra and the saarbrücken Rso (Germany).



PRoFILes

heRBIG

Favorite series sponsor:

Classical seriesBrahms & Bruch

thursday, october 9 at 8 p.m. Friday, october 10 at 10:45 a.m.

saturday, october 11 at 8:30 p.m.

Günther Herbig, conductorTianwa Yang, violin

Carl Maria von Weber overture to Oberon (1786-1826)

Max Bruch Violin Concerto no. 1 in G minor, (1838-1920) op. 26 Prelude: Allegro moderato Adagio Finale: Allegro energico Tianwa Yang, violin

In t er mIssIon

Johannes Brahms symphony no. 1 in C minor, op. 68 (1833-1897) un poco sostenuto – Allegro Andante sostenuto un poco allegretto e grazioso Ad agio – Più andante – Allegro non

troppo, ma con brio





Tianwa Yang tianwa yang was born in 1987 in Beijing. she began studying the violin at the age of four and progressed quickly,

as testified by early victories in six of seven violin compe-titions that she entered. At age 11, yang received many invi-tations for solo recit-als and for concerts with orchestras. the

media in hong Kong described her as “the pride of China” and international violin superstar Isaac stern praised her talent with an invitation to the united states. With her recording of Paganini’s 24 Caprices, which she made at the age of 13, yang became the world’s youngest interpreter to record this work. In 2004 tianwa yang was given the “Best young Violinist in China Award” by seiji ozawa. yang made her european debut in 2001 in Prague, where she played the Mendelssohn Violin Concerto with the Czech Broadcasting symphony orches-tra. In 2003 she played Prokofiev’s Violin Concerto no. 2 in the Munich national theater with the Bavarian state opera orchestra (Bayerische staatsoper) conducted by Joel Levi. In 2005, yang received a two-year special scholarship from the German Academic exchange service (DAAD) for studying chamber music in Germany. In 2006 she was awarded the “Prix Mont-blanc,” an award given by Montblanc to reward and encourage young classical music talents who have shown tremen-dous efforts and contributions to the development of arts and culture.

PRoGRAM notes

yAnG

Overture to Oberon (1826)CARL MARIA Von WeBeRB. 19 november 1786, eutin [orig.

Denmark, now Germany]D. 5 June 1826, London

First performed on 12 April 1826, in conjunction with a London perfor-mance of the entire opera led by the composer.

Scored for pairs of flutes, oboes, clarinets, & bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. (Approx. 10 mins)

As an opera composer, Carl Maria von Weber differed from Rossini and other Italianate musicians in that he rejected standard operatic formulas (the da capo aria, for example) in favor of a more continuous style that merged German singspiel (akin to Broadway today) and early 19th century French opera. His progres-

sive approach to form and expres-sion, coupled with an exploration of novel orchestral timbres, marks Weber an early and important propo-nent of Romanticism in music. Following the success of Der Freischütz in 1821, Weber became increasingly influential in the opera world. Many of the techniques he employed, such as using musical gestures with evocative connections to characters and themes from the opera’s plot to allow the music to tell the story, foreshadowed devices used nearly half a century later by Richard Wagner. Weber’s overtures further influenced the develop-ment of instrumental music and helped shape the orchestra itself, pushing the boundaries of conventional scoring prac-tices and instruments in order to achieve dramatic effects. the overture to Oberon is a fixture in the symphonic repertory, due in part to its imaginative orchestration. Weber finished it during an extended trip to London, where Oberon was to be premiered. (tragically, he died only a few weeks later from tuberculosis.) the

DSO Concertmaster

Emmanuelle Boisvert

Performs Berg’s

Violin Concerto

Apr. 2 – 4

with

Leonard Slatkin Conducting

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opera tells the story of the heroic King of the elves (oberon) and his adver-sary, the Caliph of Baghdad (haroun al Rachid). Weber’s musical setting oscillates between the refined and the fantastic, representing the shifting plot location throughout the opera. For the overture, Weber borrows material from the opera proper to create a depictive musical soundscape that is marked by richly dramatic sonorities and dramatic flourishes. Wind soloists (particularly the horn) highlight Weber’s preference for new, less string-dominated textures, while recurring passages feature increas-ingly thick layers of orchestral accom-paniment, leading to a furious finale. Contemporary critics cherished the work as a “masterpiece of operatic orchestra-tion,” and if one were to judge the merits of Weber’s compositions for orchestra by their position in the today’s repertory, the overture to Oberon might be Weber’s finest.

DSO SHOP @ THE MAx RECOMMENDS: Weber, Oberon overture: neeme Järvi

conducting the new Philharmonia orchestra of London, Chandos 9066.

Violin Concerto No. 1 in G minor, Op. 26 (1864-66, rev. 1867)MAX BRuChB. 6 January 1838, Cologne [then Prussia, now part of Germany]D. 2 october 1920, Friedenau, Berlin

First performed by Otto von Königslow, with the composer conduct-ing, on 24 April 1866. Tonight’s revised version was premiered on 5

Jan. 1868 by Joseph Joachim, with Karl Martin Rheinthaler conducting.

Scored for solo violin, pairs of flutes, oboes, clarinets, and bassoons, 4 horns, 2 trumpets, timpani, and strings. (Approx. 23 mins.)

For some classical music lovers, the name Max Bruch usually invokes one work, his Violin Concerto in G minor, making Bruch the 19th century equivalent of a “one-hit wonder.” However, Bruch hit his stride as a composer much sooner than many of his contemporaries (including Brahms), composing an award-winning symphony in 1852 (at the tender age of 14) and achieving international acclaim as a conduc-

tor by his 30th birthday. Yet despite Bruch’s success, only the first of his three violin concertos, and a Scottish Fantasy for violin and orchestra, remain firmly ensconced in today’s concert repertoire, thus obscuring Bruch in the long and broad shad-ows of Brahms, Liszt and Wagner. Bruch served as music director for the court at Koblenz, a German city located on the banks of the Rhine, from 1865 to 1867. It was during this time that he composed his Violin Concerto in G minor. Although he was not a performing violinist, friendships with those such as David, Joachim, sarasate and Willy hess influenced and inspired Bruch to write nine concertos or concerto-like works for the instrument. Bruch’s ever-popular Concerto in G minor, however, did not come easily. After working on the piece for nearly two years, it was publicly premiered, but Bruch was dissatisfied with the result. Determined to succeed, he reworked several sections. Bruch’s friend Joseph Joachim, one of europe’s greatest violin virtuosos, offered suggestions regarding the instrument’s technical possibilities as well as the music’s melodic contour-ing. he also served as a sort of compo-sitional consultant for the concertos by Brahms, schumann and Dvorák. Bruch eagerly followed Joachim’s advice, going as far as to dedicate the score in his honor. When the concerto was premiered for a second time, in 1868, with Joachim as soloist, it was clear that the advice had reaped dividends. the Concerto is as much an unrestrained fantasy as a traditional three-movement form, and it defies audience expectations by linking the first and second movements with a single bassoon note — a technique first used by Beethoven in his “emperor” Piano Concerto. the first movement is a prelude, both in title and mood. Instead of the weighty orchestral open-ing listeners might expect, the concerto begins with a free fantasia-like dialogue between orchestra and violin, which builds into a virtuoso display for the solo-ist, including four short cadenzas. the slow second movement, which follows without pause, provides an intensely rich and expansive set of themes that soar above the orchestral accompaniment. In fact, the soloist is asked to play nearly non-stop throughout, creating a true test of the performer’s long-range phrasing and endurance. After an understated orchestral intro-duction, the final movement launches

into the soloist’s exuberant theme, complete with colorful double-stops. the folk-inspired sound world presented here may even have inspired the third move-ment of Brahms’s own Violin Concerto, written nearly 20 years after Bruch’s. the work ends not with a substantive cadenza, as one might expect, but instead with a fiery race to the finish that concludes with a pair of stately chords.

DSO SHOP @ THE MAx RECOMMENDS: Bruch, Violin Concerto no. 1: Cho-Liang

Lin (violin), Leonard slatkin conducting the Chicago symphony orchestra, sony 42315.

Symphony No. 1 in C minor, Op. 68 (1862–1876)JohAnnes BRAhMsB. 7 May 1833 in hamburg, Germany D. 3 April 1897 in Vienna, Austria

First performed on 4 Nov. 1878 in Karlsruhe, Germany under the direc-tion of Felix Otto Dessoff.

Scored for pairs of flutes, oboes, clarinets, and

bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. (Approx. 45 mins.)

While many of today’s concertgo-ers associate Johannes Brahms with his masterful string quartets and symphonies from the 1870s and ’80s, he was lauded much earlier for his piano sonatas, lieder and chamber music. By 1853, at the age of 20, he impressed the virtuosos Joachim and Liszt, prompting the former to introduce Brahms to the influential composer and critic Robert Schu-mann and his wife Clara. Brahms performed many of his piano compositions for the Schumanns, affecting the music critic so deeply that he published a laudatory article in his Neue Zeitschrift für Musik. This opened up a world of possibili-ties for the young Brahms, just as prior articles had done for Chopin and Berlioz. Indeed, it was this very article, entitled “Neue Bahnen,” or “New Paths,” that turned the young Brahms into a household name. For Schumann, it was as if Brahms had “sprung like Minerva fully armed from the head of the son of Cronus,”


no doubt “destined to give ideal expression to the times.” Although Schumann would die only a few years later, Brahms remained the closest of friends with Clara, trigger-ing rumors of a life-long love affair. But Robert Schumann’s prophecy regarding the younger composer would prove true, with Brahms joining (or opposing) Wagner atop the European music pantheon. In truth, while Brahms’s music is often pegged as conservative and tradi-tional, it is just as revelatory and rich in progressive musical practices as the music of Wagner and Liszt —two composers who, despite speculation, Brahms admired. Despite an early success with piano music and songs, Brahms struggled to master two genres that historically defined an instrumental composer’s career: the string quartet and the symphony. no composer had yet built successfully upon Beethoven’s instru-mental legacy, and it was not until the last 25 years of Brahms’s life that he silenced his skeptical critics. having completed two popular string quartets in the summer of 1873 (op. 51, in C minor and A minor), Brahms announced himself the rightful heir to Beethoven by finishing a ‘Grand’ symphony in C minor in the summer of 1876, the culmination of 15 years of compositional anguish. the weight of expectation Brahms felt to advance the Beethovenian tradi-tion surely played a role in delaying the symphony, and certainly influenced the work itself, prompting conductor hans von Bülow to call it “Beethoven’s tenth.” In fact, Brahms’s First symphony seems most clearly indebted to Beethoven’s Fifth, which served as an obvious model. Both works begin their struggle in C minor and eventually triumph in C major, linking individual movements thematically and by key area to create an overarching sense of transformation. Cast in the typical four-movement symphonic form, Brahms’s First symphony is noteworthy for its uncanny combination of contrapuntal density and craft, harmonic richness, rhythmic complexity and soaring lyricism. the main thematic idea of the opening movement is, in actuality, a complex of three separate motifs presented simultaneously. these are immediately developed, varied and transformed, employing a new, forward-looking method that would influence modernist composers such as Arnold schoenberg, who named the technique “developing

variation.” here, Brahms’s phrases are of irregular lengths, constantly changing over conflicting rhythmic layers. Both the first and last movements employ lengthy slow introductions in C minor, with the finale revisiting the turbulent mood of the first movement’s introduction. An unexpectedly majestic horn call and trombone chorale, echoed throughout other sections of the orchestra, lead to the now-famous primary theme of the final movement. this stately C Major melody, first presented in the strings, has been linked to Beethoven’s “ode to Joy” theme, both in general mood and inter-

vallic content, and was later borrowed by Mahler to open his third symphony. the theme’s use here, however, is unrivaled, alternating contrapuntal craft with sono-rous sheets of sound while building to a fulfilling conclusion.

DSO SHOP @ THE MAx RECOMMENDS: Brahms, symphony no. 1: Marin Alsop

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Chelsea Tipton, II Chelsea tipton, II, Resident Conductor of the toledo symphony orchestra, is committed to building a solid musical foundation for audiences both young and old and has been taking an active role in developing and implementing educa-tional programs for the tso in the community. tipton’s guest conducting engage-ments have included the symphony orchestras of Chicago, houston, Colum-bus, Atlanta, Alabama, Mississippi, Greenville (south Carolina) and Jack-sonville, the new Jersey symphony, the new york Philharmonic (special Reading session), the Louisville orchestra, the Cincinnati Chamber orchestra, the Carolina Chamber symphony, the Florida orchestra, the Louisiana Philharmonic orchestra, the Baton Rouge symphony and the Crested Butte Festival orchestra. Prior to his appointment with the tso, tipton was Associate Conductor with the savannah symphony orchestra for four seasons. he has held faculty positions at Central Michigan university (CMu) as Assistant Professor where he was Direc-tor of the CMu symphony and a Visiting Professor in clarinet and chamber music at Western Michigan university. he has served on the faculty of the Apple hill Chamber Music Festival in new hampshire, and served four seasons as Assistant Conductor with the eastern Music Festival in north Carolina during the summers. tipton earned a Master of Music degree in orchestral conducting from northern Illinois university and a Bach-elor of Music in Clarinet Performance from the eastman school of Music where he was also awarded the Performer’s Certificate. he has also studied at the Cincinnati Conservatory of Music and the Pierre Monteux school for Conduc-tors in hancock, Maine. As a clarinetist, tipton has performed with several orchestras including the Rochester Philharmonic, the heidelberg Festival opera orchestra (Germany) and the Chicago sinfonietta.



PRoFILes

tIPton

special eventSphinx National Tour

Presented by the Detroit symphony orchestra and university Musical society

sunday, october 12 at 2 p.m.

Chelsea Tipton, II, conductor Sphinx Chamber Orchestra

Elena Urioste, violinThe Harlem Quartet

Ilmar Gavilan, violin / Melissa White, violin Juan-Miguel Hernandez, viola / Desmond Neysmith, cello

Wolfgang Amadeus Mozart Divertimento in D Major, (1756-1791) Presto

Astor Piazzolla “Winter in Buenos Aires” (1921-1992) for solo Violin and orchestra Elena Urioste

Heitor Villa Lobos Fugue from “Bacchianas Brasileiras” (1887-1959) no. 9

George Walker Lyric for strings (b. 1922)

Wynton Marsalis “hellbound highball” (b. 1961) Harlem Quartet

In t er mIssIon

Antonio Vivaldi Concerto for 4 Violins and orchestra (1678-1741) in B Minor

Michael Abels “Delights and Dances” (b. 1962) for string Quartet and orchestra Harlem Quartet

Media sponsor: WWJ 950 AM





The Sphinx Chamber Orchestra the sphinx Chamber orchestra (sCo) is an ensemble comprised of the top alumni of the national sphinx Competition for young Black and Latino string players. this unique group earned rave reviews from The New York Times in December of 2004, during its highly acclaimed debut at Carnegie hall. Allan Kozinn of The Times described their performances as “first-rate in every way” and the ensemble to have “produced a more beautiful, precise and carefully shaped sound than some fully profes-sional orchestras that come through Carnegie hall in the course of the year.” sCo returned to Carnegie hall in 2006 and 2007, to present two additional outstanding programs to a fully sold-out hall of more than 2,800, earning further praise from The New York Times for each of the performances. Inspired by sphinx’s overarching mission, sCo works to advance diver-sity in classical music while engaging young and new audiences through performances of varied repertoire. they perform masterpieces by Bach, Vivaldi and Mozart, alongside the more seldom presented works by composers of color, including Coleridge-taylor Perkinson, George Walker, Michael Abels and Astor Piazzolla. Members of sCo have completed and continue to pursue their studies at the nation’s top music schools, including Juilliard, Curtis, eastman, Peabody, harvard and the university of Michigan. Additionally, several members hold professional orchestral positions, in such orchestras as the oregon, Grand Rapids and san Antonio symphonies. Members of the roster have been named Laure-ates of other prestigious international competitions, including Queen elizabeth and yehudi Menuhin. Finally, a number of sCo members have appeared as soloists with major orchestras, including the new york Philharmonic and the Cleveland, Atlanta, Philadelphia, seattle, and Pittsburgh symphony orchestras among others. sCo is scheduled to return to Carn-egie hall in october 2008, as part of the national tour, and is looking forward to presenting another vibrant program at the legendary venue.

Elena Urioste elena urioste, recently selected by Symphony magazine as an emerging artist to watch, made her debut as soloist

with the Philadelphia orchestra at age 13 as winner of the Albert M. Greenfield Competition. since then, she has appeared as a soloist with major orches-tras throughout the united states,

including the Cleveland orchestra, the Boston Pops, the national symphony orchestra, the Atlanta, Pittsburgh, Baltimore and hartford symphonies, as well as hungary’s orchestra Dohnányi Budafok. urioste made her Carnegie hall debut as a featured soloist in the December 2004 sphinx Gala Concert, and has returned as a soloist in the 2006 and 2007 Galas. she has performed in recital at Carnegie’s Weill Recital hall as the youngest musician ever selected for the young Performers Career Advancement showcase. urioste has collaborated with violinist David Kim, Philadelphia orchestra concertmaster; pianists Chris-topher o’Riley and Ignat solzhenitsyn; and conductors Robert spano, Keith Lockhart and shlomo Mintz, among others. she has been a featured artist in the International young Artists Music Festival, the Kingston Chamber Music Festival, the sarasota and Aspen Music Festivals, and the Festival International de Musique in sion, switzerland. urioste is the 2007 first prize winner of the sion International Violin Competi-tion, where she was also awarded the audience prize and the prize for the best performance of the competition’s newly commissioned work. she has won both the senior (2007) and junior (2003) divisions of the national sphinx Competi-tion, as well as the Kennett symphony Concerto Competition and the temple university Music Prep Concerto Compe-tition. she recently graduated from the Curtis Institute of Music and is now a graduate student at the Juilliard school of Music. the violin on which urioste performs is a Michelangelo Bergonzi, Cremona, circa 1750, on extended loan through the generous efforts of society for strings, Inc.

The Harlem Quartet the harlem Quartet (violinists Ilmar Gavilan and Melissa White, violist Juan-Miguel hernandez and cellist Desmond

neysmith) compris-ing First-Place Laure-ates of the sphinx Competition, has a unique and chal-lenging mission: to advance diversity in classical music while engaging young and new audiences

through the discovery and presentation of varied repertoire, highlighting works by minority composers. Dedicated to education and commu-nity engagement as well as to superb classical performance, this innovative and daring all-Black and Latino string quartet serves as principal faculty at the sphinx Performance Academy at Walnut hill school in Massachusetts, one of the premier independent arts prep schools in the world, and as visiting faculty at the sphinx Preparatory Music Institute at Wayne state university in Detroit. the harlem Quartet made their acclaimed Carnegie hall debut in the fall of 2006 at the sphinx organization’s 10th anniversary gala, earning rave reviews from The New York Times. A month later, they debuted at the legendary Apollo theatre in harlem, this time with a well-received performance of Wynton Marsalis’s At the Octoroon Balls. they returned to Carnegie in late January 2007 as participants in Arts Presenters’ prestigious and highly competitive young Performers Career Advancement (yPCA) program. For their most recent Carnegie performance in september 2007, Vivien schweitzer of The New York Times enthu-siastically praised the quartet comment-ing, “the harlem Quartet played with panache.” In addition to being avid chamber musicians, each member of the harlem Quartet is a seasoned solo artist, having appeared with the new york Philharmonic and the Atlanta, Cleveland, Detroit, Pittsburgh, sinaloa de las Artes (Mexico) and Baltimore symphonies and the Boston Pops, among others. As a quartet, they have performed in many communities across the country including Detroit, new york, Atlanta and Boston.

uRIoste the hARLeM QuARtete


Divertimento in D major, K. 136WoLFGAnG AMADeus MoZARtB. January 27, 1756, salzburgD. December 5, 1791 Vienna

Completed in January 1772.

Scored for string quartet. (Approx. 14 minutes)

Mozart wrote the three pieces, K. 136-8, in Salzburg, during the winter of 1772, interrupting work on his full-scale Italian opera, Lucio Silla. The opera, to be presented in Milan later that year, would likely have generated additional requests for performance. In anticipation of these invitations, Mozart may have composed these three works. To make them suitable for various venues, these quartets, written in the symphonic style, could easily be enlarged for chamber orchestras, or symphonies by adding wind instruments. the works show the influence of Mozart’s experience in Italy. Although titled Divertimento (the handwriting is other than Mozart’s), they actually resem-ble the Italian sinfonia and are called Mozart’s “salzburg sinfonias.” While the number of movements in Divertimenti varies, six are typical, including two minuets; these have three movements, none of which are minuets. In this performance we hear the lively Presto movement, which begins with a descending scale and brings the work to a dynamic close.

DSO SHOP @ THE MAx RECOMMENDS:

Mozart, Divertimento in D, K. 136, neville Marriner conducting the Academy of st. Martin-in-the-Fields, Decca 473843.

Invierno Porteño [Winter in Buenos Aires] for solo violin and orchestraÁstoR PIAZZoLLAB. 11 March 1921, Mar del Plata,

ArgentinaD. 5 July 1992, Buenos Aires, Argentina

Composed in 1970 and originally scored for Piaz-zolla’s own ensemble of violin (viola), piano, electric guitar, double bass, and bandoneón.

(Approx. 7 mins.)

Ástor Piazzolla seems the ideal character to have brought the tango to the concert stage. Born in Argentina, he was mostly educated in New York City, where he became a young virtuoso on the bandoneón, the push-button accordion that provides the characteristic sound of the tango. In New York, he was also exposed to classical music and jazz, both of which would figure prominently in Piazzolla’s version of the tango, dubbed nuevo tango. By the time he returned to his homeland in 1937, Piazzolla was armed with a cosmopolitan blend of musical influences high and low—a trend that continued as he pursued studies with the classical composers Alberto Ginastera and later Nadia Boulanger, all the while playing tango each night in the clubs of Buenos Aires. Piazzolla’s own nuevo tango included many outside musical influences, includ-ing competing polyphonic melodies, expressive dissonances, jazz rhythms, and unusual orchestrations. he wrote both popular tangos for dancing and tango-influenced concert music, like Winter in Buenos Aires. this work is one movement of a larger, four movement work titled Los Cuatros Estaciones Porteños [the Four seasons of Buenos Aires], after Antonio Vivaldi’s enduring set of descriptive violin concertos, The Four Seasons [Le Quattro stagioni] of 1723. By invoking one of the best-known works of classical music, Piazzolla called for the reevaluation of Argentine popular music within a larger world that included

the giants of european classical music. the musical variety of Piazzolla’s nuevo tango—its expanded tonal palate and abrupt tempo changes—are all the more meaningful in juxtaposition with Vivaldi’s work. Cleverly, Piazzolla references the meteorological differences between the northern and southern hemispheres as the closing section of Piazzolla’s “winter” quotes Vivaldi’s “summer” and thus recognizes that these opposing seasons happen concurrently.

Program note by Sarah Gerk, a second-year graduate student in Musicology at the University of Michigan School of Music, Theatre & Dance.

Bachianas Brasileiras No. 9. Mvt. 2, FugeheItoR VILLA-LoBosB. 5 March 1887, Rio de Janeiro, BrazilD. 17 november 1959, Rio de Janeiro, Brazil

Scored for chorus or string orchestra. (Approx. 5 mins.)

Heitor Villa-Lobos, like Piaz-zolla, was a composer with vested interests in both the music of his homeland—in his case Brazil—and the Western classical tradition. Villa-Lobos was both a Brazilian national-ist and a firmly entrenched musical modernist. The question of how to simultaneously embody Brazilian and contemporary Western identi-ties in music was one of his principal concerns throughout his career. Yet his intention was to illustrate the commonalities and intersections between these seemingly incongru-ous styles, ultimately enriching both with insights made from their combination. the Bachianas Brasileiras, nine sepa-rate suites for a variety of instrumental groupings, speak greatly to this aim. the works pay “homage both to Brazilian life as [Villa-Lobos] saw it and to the greatest of his european predecessors, Bach.” the works are part baroque dance suite, part choro, a popular Brazilian instrumental dance form. the ninth suite is in many ways the one most indebted to the German baroque. the second movement follows

PRoGRAM notes

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fugal form and presents the contrapuntal richness of Bach. some elements, however, are uniquely Brazilian, includ-ing the 11/8 time signature. the subject of the fugue, the melody first presented unaccompanied at the start, displays Villa-Lobos’s fusion of styles. though it largely follows baroque compositional norms in melodic contour, the rhythms are often characteristic of Brazilian music. the Brazilian is mixed with the German, however, as the line begins with driving academic rhythms which gradu-ally shift to reflect Brazilian syncopation. the work proceeds much as a traditional fugue, with statements of the melodic subject passed around the ensemble, followed by an episode with contrast-ing material, until the subject finally reappears in the cello line. the contrast-ing episodes are richer in harmonic language, while the subject statements are more focused. the two fuse by the end, with the rhythmic line of the subject combined with soaring Brazilian harmonies. Program note by Sarah Gerk, a second-year graduate student in Musicology at the University of Michigan School of Music, Theatre & Dance.

Lyric for Strings GeoRGe WALKeR B. June 27, 1922, Washington, DC

Scored for first and second violins, violas, cellos and double basses. (Approx. 6 mins.)

For its sheer beauty and admi-rable taste, George Walker’s Lyric for Strings is hard to match in the modern literature for string orches-tra. It is his most popular work and, like the Adagio for Strings of Samuel Barber, it is a string-orchestra adap-tation of the slow movement from Walker’s First String Quartet, first done in 1946 and evidently revised in 1990. Far from indulging in the overt, repeti-tive sentimentality that often mires the Barber work in bathos, Walker’s Lyric for strings is a model of restraint and exqui-site craftsmanship. A few quiet introduc-tory measures set the tone for the main theme that gently descends, then rises in easy melodic steps among the first

violins. It is joined by other voices in the string ensemble, then restated in a slightly different tonal inflection. the searching central section gains considerable urgency, coming to a peak of tension before making a long, well-ordered descent. Walker’s instinct for designing natural peaks and valleys, moments of climax and relaxed inter-ludes, continues to the last measure in an unhurried, deeply satisfying codetta.


edwin London conducting the Cleve-land Chamber symphony, Albany, tRoy 270.

Hellbound HighballWynton MARsALIs B. 18 oct. 1961, new orleans

Commissioned by the Chamber Music Society of Lincoln Center as part of its 25th anniversary season for Jazz at Lincoln Center and

premiered by the Orion String Quartet on 7 May 1995 at Alice Tully Hall in New York.

Scored for string quartet. (Approx. 8 mins.)

“Hellbound Highball” is the scherzo and fifth movement of Marsalis’s String Quartet No. 1 (At the Octoroon Balls), the composer’s first work not to include himself on trumpet, but one heavily autobio-graphical nonetheless. The seven-movement quartet responds to Marsalis’s childhood in New Orleans, Louisiana, a city characterized by its Creole heritage that combines and hybridizes French, African, Spanish and Native American cultures, as well as the young musician’s training at New York’s Juilliard School where he studied the quartets of Ludwig van Beethoven and Bela Bartók. “The ball is a ritual and a dance,” Marsalis has explained, “Everybody was in their finest clothing. At the Octoroon Balls there was an interesting cross-section of life. The music brought people together.” the quartet begins with a lone fiddler and closes with an elegant rag. Central to its pictorial evocations, however, is the depiction of a rushing train. In railroad vernacular, a “highball” is a locomotive that has priority to travel as fast as its rails will allow.

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“hellbound highball” opens with the train already running at blazing speed. the unison quartet evokes the rhythm of steel wheels against iron rails and the violin sounds the dissonant whistle of the locomotive’s warning call. throughout, Marsalis explores the special capabilities of string instruments, contrasting bowed notes with plucked pizzicato exclama-tions. sliding fingers allow pitches to bend as if the passing train causes a Doppler shift. Marsalis challenges the players not only with complex passage-work, but with lightning fast transfers of these patterns from one instrument to another. Marsalis’s music is only possible in the composer’s realm of imagination. Although considered a neo-traditionalist in jazz, his classical works are in no way conservative or neo-Romantic. Inspired by stories and imagery, such works as the Pulitzer Prize winning Blood on the Fields and this first string quartet cross into experimental territory where noise and melody mix. the movement closes with a surpris-ingly slow and lilting coda, suggesting the quartet’s sonic journey might well have been, not a train ride, but one of the octoroon Ball’s passionate, sensually charged dances, and a couple, arm-in-arm, exhausted, but having impressed all, struts off the parquet.

Program note by Mark Clague, Ph.D., Assistant Professor of Musicology, Ameri-can Culture, and African and Afro-Ameri-can Studies at the University of Michigan School of Music, Theatre & Dance.

Concerto for Four Violins and Orchestra in B Minor, Op. 3, No. 10AntonIo VIVALDIB. 4 March 1678, Venice,D. 27 or 28 July 1741, Vienna

Published 1711 in the composer’s L’estro armonico.

Scored for 4 solo violins and strings with continuo. (Approx. 11 mins.)

Vivaldi’s music is exuberant and full of energy. He is most remem-bered for the works written for the Ospedale della Pietá [Hospital of Mercy], a Venetian orphanage that included a music conservatory for girls. The girls gave regular concerts for the dual purposes of

raising money for the orphanage and increasing their own station, whether by finding employment or a husband. To meet both ends, they needed flashy, technically demanding music that would display their talents, and Vivaldi composed hundreds of works for this purpose. the three-movement Concerto for Four Violins in B minor is typical of Vivaldi’s compositions for the Ospedale and is, in fact, part of a larger set of such concertos. the solo parts operate inde-pendently in the first movement, taking turns in the spotlight with the percussive melody. While the middle movement of a concerto is normally slow, pensive, and improvisatory. Vivaldi’s second movement begins with the dramatic fanfares of a French opera overture with overdotted orchestral answers to the performers’ brief solo statements, but then much of the movement is given to a faster, pulsating texture seemingly with-out melody. the third movement, like the first, is dominated by rhythm. Flashy and impressive, the finale is also the most Italianate—light and bouncy, with melo-dious technical flourishes set in relief against a basic accompaniment. here, Vivaldi builds his characteristic energy with speed and dramatic contrasts until the end.

Program note by Sarah Gerk, a second-year graduate student in Musicology at the University of Michigan School of Music, Theatre & Dance.

Delights and Dances MIChAeL ABeLsB. 8 october 1962, Phoenix, Arizona

Commissioned by the ASCAP Foundation / Irving Caesar Fund for the Sphinx Organiza-tion and premiered at Orchestra Hall 11 Feb.

2007 by the Sphinx Symphony under the direction of Kay George Roberts; revised orchestration premiered 25 Sept. 2007 in New York’s Carnegie Hall by the Harlem Quartet and the Sphinx Chamber Orchestra under the direction of Chelsea Tipton II.

Originally scored for full orchestra and a dozen string soloists; later arranged by the composer for solo string quartet and string orchestra. (Approx. 13 mins.)

Composer Michael Abels wrote “Delights and Dances” in celebra-

tion of the tenth anniversary of the Sphinx Competition, an annual contest founded by violinist Aaron Dworkin for young African American and Latino string players that has served to launch dozens of success-ful careers. Originally scored for full orchestra accompanying a varied group of string soloists—all previ-ous Sphinx winners—the work was later revised to feature four Sphinx laureates now performing as the Harlem Quartet. The piece draws upon Abels’ own cultural experi-ences as an African-American who grew up in Phoenix and trained at the University of Southern California in Los Angeles by pulling together the sounding traditions of America, including African-American jazz and blues, bluegrass and Latin dance idioms. In fusing such wide-ranging genres, Delights and Dances is inspired by the vision of the Sphinx Organization that aspires to a world where classical music might reflect the rich diversity of the communities which it serves and represents. the concerto for quartet is in three sections—a lyrical introduction, a blues, and a hoedown—all performed as a single movement. A solo cello begins the work, “a nod,” writes the composer, “to the fact that sphinx, like every great idea, began as one person’s vision.” this melody develops into a duet with viola and culminates with the entire quartet. Abels describes the second section as “basically a blues, over which each solo-ist takes a turn (or two) at soloing.” While the solos evoke the feel of improvisa-tion, they are, in fact, notated. the final section borrows from the virtuoso string traditions of bluegrass. Abels calls it “fast and furious.” the melody bounces playfully among the solo parts, until it reaches a rousing coda showcasing the soloists’ virtuosity. According to Abels, “the title comes directly from the feeling one gets from watching and listening to talented young performers in a competi-tion like the sphinx—we ‘delight’ in their ability to move our emotions, to exceed our expectations, to surpass their personal bests. As for the ‘dances,’ just listen!”

Program note by Mark Clague, Ph.D. (University of Michigan) with the assis-tance of Afa Sadykhly (Sphinx) and contri-butions by composer Michael Abels.



PRoFILes

BRuBeCK

Paradise Jazz Series

Dave Brubeck

thursday, october 16 at 8 p.m.

Dave Brubeck, pianoRandy Jones, drums

Bobby Militello, saxophone and fluteMichael Moore, bass

selections to be announced from the stage.

there will be a 15-minute intermission.

the Dso does not appear on this program.

Dave Brubeck Legendary jazz pianist Dave Brubeck was born in Concord, California, in 1920. he enrolled at the College of the Pacific with the aim of becoming a veteri-narian, but changed his major to music. upon graduation he entered the armed services where he served under Gen. George Patton. After his discharge, Brubeck studied composi-tion with the famous French composer Darius Milhaud. Following a near fatal swimming acci-dent that incapacitated him for several months, Brubeck organized a quartet with his old friend, alto saxophonist Paul Desmond. the Dave Brubeck Quartet soon became associated with the intri-cate, swinging sound known as West Coast Cool and helped establish the popularity of jazz on college campuses in the 1950s. In 1960, the Dave Brubeck Quartet, with Desmond, eugene Wright and Joe Morello, released its first experiment in odd-metered rhythms. the album, Time Out, with its singles “take Five” and “Blue Rondo a la turk,” became the first modern jazz album to be certified as a Gold Record. Brubeck’s appearance in 1959 with the new york Philharmonic, conducted by Leonard Bernstein, was a career mile-stone. A pioneer in combining jazz with symphony orchestras, Brubeck contin-ued to appear as composer-performer in concerts of his choral compositions and as a soloist with numerous orches-tras. the London symphony orchestra honored his 50-plus years as a jazz performer with an all-Brubeck program featuring the late violinist stéphane Grappelli, Brubeck’s four sons and the Dave Brubeck Quartet. throughout his career, Brubeck has performed for British royalty, a pope, kings, presidents and heads of state. he has received many honors, including a star on the hollywood Walk of Fame, the BMI Jazz Pioneer Award and the national Medal of the Arts, awarded by President Clinton in 1994. A Duke elling-ton Fellow at yale university, Brubeck holds six honorary doctorate degrees. natural herb Cough Drops – Courtesy of Ricola 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.


Bright Sheng Proclaimed “an innovative composer who merges diverse musical customs in works that transcend conventional aesthetic boundar-ies,” composer/conductor Bright sheng received the MacArthur Foundation Fellow-ship — the so-called “Genius Award” — in november 2001. sheng is also a highly regarded conductor and pianist. Among others, his guest conducting engagements have included the seattle symphony, the san Francisco symphony, the st. Petersburg Philharmonic orches-tra of Russia, the new york Chamber symphony, the new york City Ballet, the san Francisco Ballet and the China national symphony orchestra since 1998, sheng has been Artistic Advisor to yo-yo Ma’s “silk Road Proj-ect”, and conducted its first workshop at tanglewood in 2000. he was the first Composer-in-Residence with the new york City Ballet and has also been the Director of the Festival of Contemporary Music at tanglewood, Composer-in-Resi-dence for the Art Institute of Chicago and the santa Fe Chamber Music Festival and Resident Composer of the seattle symphony and the Lyric opera of Chicago. Born in 1955 in shanghai, China, sheng began piano studies at age four. During the Cultural Revolution he worked as a pianist, conductor and percussionist in a folk music and dance troupe. When China’s universi-ties reopened, he was accepted by the shanghai Conservatory of Music. he moved to new york in 1982 and received his Masters Degree at Queens College and Columbia university. he became a student and assistant of Leonard Bern-stein in 1985. Many of the world’s great orchestras, opera houses and music festivals have commissioned and performed sheng’s works, as well as the White house and the Beijing 2008 olympic Games. since 1995, sheng has served on the composition faculty at the university of Michigan. he has held the Leonard Bernstein Distinguished university professorship since 2005, the institution’s highest music honor.



PRoFILes

shenG

select series sponsor:

Classical seriesRomeo & Juliet

Friday, october 17 at 10:45 a.m. saturday, october 18 at 8:30 p.m.

Bright Sheng, conductor Yang Wei, pipa

Sergei Prokofiev overture to War and Peace, op. 91 (1891-1953)

Bright Sheng Nanking! Nanking! (b. 1955) A threnody for orchestra and Pipa Yang Wei, pipa

In t er mIssIon

Bright Sheng Tibetan Swing

Sergei Prokofiev suite no. 2 from Romeo and Juliet, op. 64b Montagues and Capulets the young Girl Juliet Dance of the Antillian Girls Danse Romeo with Juliet before Parting Romeo at the tomb of Juliet





Yang Wei yang Wei’s musical education began at the early age of six. As a young student of music, he received instruc-

tion in several different classical Chinese instru-ments. At 13, the decision was made to concentrate his considerable talents upon mastering the Pipa. the years of study and dedica-

tion began to pay off when at 18 he performed as a soloist with the national shanghai orchestra. this accomplish-ment was followed by his achievement of the ARt trophy First Prize for the Inter-national Chinese Musical Instruments Competition, in the young Professional Pipa section, which he was awarded in 1989. As a professional musician, Wei has been celebrated worldwide, performing for and inspiring audiences throughout Asia, europe and the united states. his professional activities have included performing as a soloist with various orchestras and ensembles, and teach-ing and participating in educational programs in both public and educational settings. since 2000 he has toured with the acclaimed silk Road Project, performing alongside world famous cellist yo yo Ma. In the united states he has performed at such well-known venues as the Ravinia International Music Festival, the Kimmel Center in Philadephia, Lincoln Center and the Chicago symphony Center. In addition to these performances, he has served as Artist-in-Residence for the Art Institute of Chicago and has led international music lectures. he has been instru-mental in commissioning new works by Chinese composers such as Bright sheng, Lu Pei and yao Chen. yang continues to develop his art through comprehensive study, as well as through his involvement in timely and new collaborations. he is committed to sharing his music with the commu-nity around him and continues to be interested in exploring the possibilities created by blending his eastern instru-ment with western influences and themes.

PRoGRAM notes

WeI

Overture to War and Peace, Op. 91seRGeI PRoKoFIeVB. 23 April 1891 in sontsovka, ukraineD. 5 March 1953 in Moscow, Russia

First performed on 7 June 1945 at the Moscow Conservatory with Samuil Samosud conducting.

Scored for 2 flutes and piccolo, 2 oboes and English horn, 2 clarinets and bass clarinet, 2 bassoons and contrabassoon, 3 trumpets, 4 horns, 3 trombones, tuba, timpani, tambourine, triangle, bass drum, harp, and strings. (Approx. 6 mins.)

War and Peace is an opera of wartime. As Prokofiev recalled: “On the warm, sunny morning of June 22 [1941] I was sitting at my desk when suddenly the watchman’s wife appeared, looking greatly upset. ‘The Germans have invaded us,’ she gasped. ‘They say they’re bombing our cities.’ The news staggered me…. Everyone wanted to do his bit without delay….I wrote two songs and a march, and turned to the idea I had been nursing for some time of writing an opera on the subject of Leo Tolstoy’s great novel, War and Peace.” Yet as an opera about the War of 1812, composed during World War II, War and Peace says more about the individuals who live and die under its shadow. As the overture reveals, Prokofiev’s accom-plishment lies in his ability to relate epic historical events with the inner struggles of very human characters. the sprawling length of Leo tolstoy’s formidable novel (some 1,200+ pages) precluded the possibility of adapting all of it for the stage, so Prokofiev care-fully selected sections and relied upon audience members’ familiarity with the story to fill in the gaps. Consequently, the first half of the opera begins well into the novel (Book II/Part 3/Chapter 2) and centers on natasha as she attempts to discern the intentions of Andrei, Anatol and Pierre, who variously compete for her attention and love. the second half depicts napoleon’s invasion of Russia

and Field Marshal Mikhail Kutuzov’s successful ousting of the French troops. the overture intertwines the personal and political forces that drive the larger work. Prokofiev accomplishes this by beginning and ending with themes related to Kutusov’s Russian troops, while dedicating the overture’s central passages to themes associated with Pierre, Andrei, and, of course, natasha. By surrounding the individual characters’ themes with musical statements of the opera’s patriotic melodies, Prokofiev deftly enfolds the personal dimension within the larger political and historical scheme. Interestingly, his intensely lyrical setting of the overture’s themes belies the private and public strife that the themes themselves represent. Like the opera itself, the overture ultimately affirms peace — the victory of the human spirit over the self-destructive violence that threatens to divide it.

DSO SHOP @ THE MAx RECOMMENDS: Prokofiev, War and Peace overture:

neeme Järvi conducting the new Phil-harmonia orchestra of London, Chandos 9096.

Nanking! Nanking! A Threnody for Orchestra and Pipa (2000) BRIGht shenGB. 6 December 1955 in shanghai, China

First performed on 2 January 2000 in Hamburg by the NDR Orchestra with Wu Man on pipa and Christoph Eschenbach conducting.

Scored for 3 flutes and 2 piccolos, 3 oboes and English horn, 3 clarinets, Eb clarinet, and bass clarinet, 3 bassoons and contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, ratchet, slapstick, low lion roar, large bass drum, low temple block, tamtam, Chinese opera gong, Chinese opera cymbal, wind gong, very high wood block, guiro, cow bells, brake drum, bongos, xylophone, harp, piano, solo pipa, and strings. (Approx. 26 mins.)

“In December 1937, in what was then the capital of China, one of the most brutal massacres occurred in the long annals of wartime barbarity. The Japanese army swept into the


ancient city of Nanking (Nanjing), and within weeks not only looted and burned the defenseless city, but systematically raped, tortured and murdered more than 300,000 Chinese civilians. Amazingly, the story of this atrocity, one of the worst in history, continues to be little known by the public. this work is written in memory of the victims. It is not a recreation of the barbarity. For someone who did not live through this horrifying episode, the story exists only in the realm of the author’s imagination. here I try to tell the story through the worldview of one person (the pipa), who is not only a victim, but a witness and a survivor. But it is also a story of the spirit of humanity, of the people in nanking who endured and survived the cruel violence when the government was incapable of defending its own citizens. there were also heroes during those dark pages in history: a handful of Westerners (includ-ing a businessman from hamburg) who risked their lives in order to save nanking civilians. ultimately, it is humanity that triumphs.” Bright sheng’s description of Nanking! Nanking! provides important historical context and also exemplifies sheng’s main compositional goal, what musicolo-gist Zhang Weihau has described as “integrating Asian and Western cultures without compromising the integrity of either.” In Nanking! Nanking!, sheng accomplishes this by giving voice to cultural — not personal — memory through music that utilizes both Western and Chinese instruments. sheng’s musi-cal language also fuses disparate styles as he incorporates the dramatic dynamic and timbral contrasts of Chinese opera with churning, hysteric orchestral textures that recall shostakovich’s dark-est symphonies. As sheng notes, the pipa plays a central part in Nanking! Nanking!, both musically and symbolically. not only is it featured as a concerto-like soloist, but the pipa also portrays an individual witnessing the violent atrocities of the massacre. the pipa has a long and rich heritage. the word itself was used for centuries in ancient China to refer to a variety of different lute instruments, but the ancestor of the modern pipa was introduced more recently — in the fourth century. this predecessor featured a similar pear-shaped sounding box and four strings, but had significantly fewer frets (only four) and was played horizontally like a guitar, not vertically

as the modern practice. While the pipa’s musical versatility explains its widespread use as an ensemble and solo instrument, it has played an especially important role accompanying narra-tive performance, including opera and story-based songs. heard in this context, the pipa’s role as a character within Nanking! Nanking! becomes all the more tragic — and vital. on the one hand, the instrument assumes its traditional role as servant and aid to the story. on the other, its lone presence also implies an absence; there are no singers to convey the terrible events verbally. It is left to the pipa to testify and express that which is unspeakable. As one of the first orches-tral works to be premiered in the 21st century, Nanking! Nanking! memorializes the past through a cathartic lament that leaves a glimmer of hope for the future.


Bright sheng, Nanking! Nanking!: samuel Wong conducting the hong Kong Philharmonic orchestra, naxos 8555866.

Tibetan Swing (2002, rev. 2003)BRIGht shenG

First performed on 26 April 2002 at the Brooklyn Academy of Music by the Brooklyn Philharmonic with Robert Spano conducting.

Scored for 3 flutes and 2 piccolos, 2 oboes and English horn, 3 clarinets, Eb clarinet, and bass clarinet, 3 bassoons, 4 horns, 3 trumpets, 2 trombones and bass trombone, tuba, timpani, bongos, congas, bass drum, triangle, maracas, large tambourine, tamtam, guiro, harp, and strings. (Approx. 9 mins.)

Though born in Shanghai, Bright Sheng lived and breathed Tibetan music for more than seven years, when he lived in the Qinghai province of China, a region of the Tibetan Plateau infused with its culture. During this time, Sheng performed as a pianist and timpanist in a dance troupe and collected regional folk melodies. Sheng renewed his ties to Qinghai when he visited the region in 2000 to research local musical traditions. This trip proved to be emotionally stirring for the composer. As his memoirs explain: “Qinghai was like a second homeland. I arrived when I was 15.

It was here that I made up my mind to be a musician. It was here that I first kissed a girl. And it was in the mountains of Qinghai that I first tasted the beauty of the folk songs that remain the inspiration for my works.” Shortly following this home-coming, Sheng composed two works directly inspired by Tibetan music: Tibetan Dance (2000) and Tibetan Swing (2002). Tibetan Swing is dance music. And like all good dance music, it has a great beat. In place of a predictable rhythmic pattern, however, sheng offers an intricately constructed kaleidoscope of percussive effects that spin and whirl over one another in fluid motion. As the composer explained, the work is “based on a typical tibetan dance rhythm [and] tries to evoke both the beauty and the savagery of a particular mountain dance, an expressive dance well-known for swinging the long sleeves of its traditional costumes and for its rhythmic foot stomps.” Beginning very softly, Tibetan Swing opens with an interlocking percussion groove that weaves back and forth upon itself as rhythmic patterns intertwine in new combinations. Music critic Paul Griffiths compares it to John Adams’s Short Ride in a Fast Machine, but the gradual accumulation of rhythmic energy in Swing is less like a high-octane engine and more akin to an unbridled natural phenomenon — a rising storm or avalanche set to music. there are also moments of entrancing lyricism, when wind lines twist gently over subdued accents in the lower strings. After the winds fall away, the interlocking rhythms accelerate into the work’s most ecstatic phase. here winds and strings exchange rapid, virtuosic lines as smeary glissan-dos from the trombones add their own brand of chaotic ebullience. over a short breadth of time, Tibetan Swing unfolds quickly and breathlessly, with bright splashes of color and movement.

Suite No. 2 from Romeo and Juliet, Op. 64bseRGeI PRoKoFIeV

First performed 15 April 1937 in Lenin-grad (now St. Petersburg) with the composer conducting.

Scored for 2 flutes and piccolo, 2 oboes and English horn, 2 clarinets and bass clarinet, tenor saxophone, 2 bassoons and contrabassoon, 4 horns, 2 trumpets


and cornet, 3 trombones, tuba, timpani, triangle, tambourine, side drum, bass drum, glockenspiel, cymbals, maracas, celesta, harp, piano, and strings (opt. viola d’amore). (Approx. 32 mins.)

Having left a revolution-torn Russia in 1918 for America, Prokofiev’s slow return to what had become the Soviet Union began with occasional visits in the late 1920s and became permanent in 1936. His seventh ballet, Romeo and Juliet, played a vital role in this homecom-ing. The composer had already received commissions to write music for Soviet film and theater productions in the early 1930s, but a proposal from a Soviet theater critic to write a ballet based on Romeo and Juliet proved especially enticing. In 1934, plans were made to premiere Prokofiev’s next ballet at the renowned Kirov Theater, one of the country’s premier stages. The commission convinced Prokofiev that living and working in the Soviet Union held more promise for his career than remaining in the West. (Unfortunately this decision would have dire consequences for his wife, who was imprisoned, and his music, which was frequently suppressed.) Prokofiev initially considered an alternate happy ending for the ballet, which would be — he explained — more conducive to dancing. “the reasons for this barbarism were purely choreo-graphic: living people can dance, the dying cannot.” Fortunately, this proposal was dropped, with shakespeare’s origi-nal ending remaining. Considering the relative ease of composition, Romeo and Juliet suffered many setbacks and delays during production. Repeated cancel-lations meant that a Russian premiere at the Kirov theater did not occur until 1940, more than a year after the world premiere in Brno (now part of the Czech Republic). the orchestral suites drawn from the ballet fared better from the start and received earlier premieres in 1936 and 1937, winning acclaim before the larger work had even been staged. the suites proved so successful that Prokofiev even arranged a third in 1946. the second suite, featured on this concert, stands out for several reasons. It begins with “Montagues and Capulets,” an unabash-edly ponderous march whose striking style —poised between the regal and

maniacal — has made it the work’s most famous excerpt. Additionally, the suite adheres most closely to the dramatic arc of the full ballet. the blisteringly loud chords at the opening of “Montagues and Capulets” dramatize the prince’s call for peace between the warring families and the rest of the suite follows roughly in chronological order, with special emphasis given to the emotion-ally charged scenes from the ballet’s concluding act. the final movement, “Romeo at the Grave of Juliet,” conveys

Romeo’s anguish through a strained and dissonant lyricism that mingles pain, beauty, and — in the final chords — peaceful oblivion.

DSO SHOP @ THE MAx RECOMMENDS: Prokofiev, Romeo & Juliet suite:

Paavo Järvi conducting the Cincinnati symphony orchestra, telarc 80597.

Notes by Nathan Platte, Ph.D. candidate in musicology at the University of Michi-gan School of Music, Theatre & Dance.

Ad#2-DSO (Mutter Salzburg) First Proof of Ad Due: 08/25/08 Ad Due DSO: 08/27/08 Size: 1/2 page island (4 5/8 x 7 7/16) Color: 4c Run Date: 09/11-10/18 File Type: PDF

Call or Click For Tickets! 734.764.2538 | www.ums.orgoutside the 734 area code, call toll-free 800.221.1229

2008 09UMS130th Season

Anne-Sophie Mutter violinCamerata Salzburg SUN, OCT 19 | 7 PM [NOTE TIME] Hill Auditorium

PROGRAM

J.S. Bach Violin Concerto No. 1 in a minor, BWV 1041 (1717)

J.S. Bach Concerto for Two Violins in d minor, BWV 1043 (1717)

J.S. Bach Violin Concerto No. 2 in E Major, BWV 1042 (1717)

Tartini Sonata in g minor for Violin and Continuo (“The Devil’s Trill) (ca. 1749)

Sponsored by THE MOSAIC FOUNDATION (of R. & P. Heydon).Media Sponsors WGTE 91.3 FM and Observer & Eccentric Newspapers.

Jerusalem Symphony OrchestraLeon Botstein conductorRobert McDu� e violinSUN, NOV 16 | 4 PM Hill Auditorium

PROGRAMSternberg The Twelve Tribes of Israel (1941)

Bernstein Serenade for Solo Violin, Strings, Harp, and Percussion (after Plato’s “Symposium”) (1954)

Copland Symphony No. 3 (1944-46)

Sponsored by UMS National Council.Co-Sponsored by Gil Omenn and Martha Darling and Jane and Edward Schulak.Hosted by Thomas B. McMullen Company and Beverly Franzblau Baker.Media Sponsors WGTE 91.3 FM, Observer & Eccentric Newspapers and Detroit Jewish News.



PRoFILes

PRoFILes

World Music series

Simon Shaheen & Qantarawith the Detroit symphony orchestra

sunday, october 19 at 3 p.m.

Tito Muñoz, conductorSimon Shaheen, oud

MOZART overture to The Abduction from the Seraglio

SHAHEEN Concerto no. 1 for oud and orchestra (World Premiere – Commissioned by the Detroit symphony orchestra)

In t er mIssIon

Qantara — selections to be announced from the stage.

Media sponsor: the Arab American news

Simon Shaheen simon shaheen’s work incorporates and reflects a legacy of Arabic music while forging ahead to new frontiers, embracing many different styles in the process. this unique contribution to the world of arts was recognized in 1994 when shaheen was honored with the prestigious national heritage Award at the White house. A Palestinian, born in the village of tarshiha in the Galilee, shaheen’s father was a professor of music and a master ‘oud player. the younger shaheen began playing on the ‘oud at the age of five, and a year later began studying violin at the Conservatory for Western Classical Music in Jerusalem. After graduating from the Academy of Music in Jerusalem in 1978, shaheen was appointed its instructor of Arab music, performance and theory. two years later he moved to new york City to complete his graduate studies in performance at the Manhattan school of Music, and later in performance and music education at Columbia university. In 1982, shaheen formed the near eastern Music ensemble in new york, establishing a group that would perform the highest standard of traditional Arab music. shaheen devotes almost 50 per cent of his time to working with schools and universities, including Juilliard, Columbia, Princeton, Brown, harvard, yale, the university of California in san Diego, the university of Michigan in Ann Arbor and many others. since 1994, shaheen has produced the Annual Arab Festival of Arts, called “Mahrajan al-Fan” in new york. In 1997 he founded the Annual Arabic Music Retreat, held each summer at Mount holyoke College. As a composer, shaheen has received grants from the national endowment for the Arts, the new york state Coun-cil on the Arts, Meet the Composer, the Jerome Foundation, Continental harmony and yellow springs Institute. his theatrical repertoire includes Majnun Layla, The Book and the Stranger (from Kalilah Wa-Dimanah), Possible City, and Collateral Damage with actress Vanessa Redgrave.

shAheen

Tito Muñoz twenty-five year old conductor tito Muñoz is currently Assistant Conductor of the Cleveland orchestra, appointed by Franz Welser-Möst in April 2007, and a League of American orchestras Conducting Fellow. he previously served as Assistant Conductor of the Cincinnati symphony orchestra and the Cincinnati Chamber orchestra. An alumnus of the national Conduct-ing Institute, Muñoz made his profes-sional conducting debut in 2006 with the national symphony orchestra. that same year, he made his Cleveland orchestra debut at the Blossom Music Festival at the invitation of David Zinman. the 2006-2007 season included his critically acclaimed subscription debut with the Cincinnati symphony orchestra, stepping in for an ailing Krzysztof Penderecki. Last season he performed with the Cleveland orchestra, the Indianapolis symphony orchestra and the Cincinnati Chamber orchestra and made his euro-pean debut with the orchestre Lyrique de Région Avignon-Provence. Muñoz was the winner of the Aspen

Music Festival’s 2005 Robert J. harth Conductor Prize and the 2006 Aspen Conducting Prize, and in summer 2007 he returned to Aspen as the festival’s Assistant Conductor. Also an accomplished violinist, Muñoz has performed in many of new york’s leading ensembles including the new york Virtuosi, ensemble sospeso and orchestra of st. Luke’s, as well as numer-ous Broadway shows. As a studio musi-cian he has recorded for Albany Records, RCA Victor and sony. A native of new york City, Muñoz began his musical training on the violin at age 13 in the Juilliard school’s Music Advancement Program, continuing studies on violin and composition at the Manhattan school of Music Preparatory Division. In addition to studies at the Fiorello h. LaGuardia high school of Music & Art and Performing Arts, he was a member of the Interschool orchestras of new york (Iso) and the new york youth symphony, where he later served as Apprentice Conductor. he furthered his training at the Aaron Copland school of Music, Queens College, as a violin student of Daniel Phillips.


DonoRs MAKe the DIFFeRenCe

DSO Archive Project Gets New Home the Dso Archive Center, on Cass Ave., is now open thanks to the support of the national historic Public Records Commission (nhPRC) and save Amer-ica’s treasures. the nhPRC has made it possible for the Dso to hire archivist Cynthia Korolov and to purchase all of the essential archival storage materials needed to properly preserve the Dso’s history. the save America’s treasures grant allows the Dso to preserve and digitize reel-to-reel recordings of Dso performances going back to the 1950s, which were at imminent risk of irrevoca-ble deterioration. tours of the archive will be available by appointment. For more information, or to learn about using the archives, call Cynthia Korolov at (313) 576-5081. For information on Government and Foundation support, call Ann Rock at (313) 576-5591.

Donor Spotlight Being a Dso donor often leads to a lifetime commitment to the orchestra. Much more rarely it leads to a lifetime commitment to another donor! Jeanne Bakale and Roger Dye had been long time supporters and fans of the Dso — separately. the two Coffee Concert subscribers were strangers to one another when, in october 2005, they met over coffee while waiting for the concert to begin. Before the conversation was over they had exchanged e-mail addresses and, following a whirlwind courtship, on Valentine’s Day 2006 they became engaged. the couple married on July 30, 2006. the Dso is delighted to have been the catalyst for this happy ending! JeAnne & RoGeR

CORPORATE SPOTLIGHT

Ford and DSO Continue Decades-Long Partnership the Ford Motor Company’s support of the Dso is legendary. since the orchestra’s earliest days, Ford and Ford Motor Company Fund have contributed millions of dollars to the Dso for a variety of important music, education and building projects. Currently, Ford is a key supporter of the Dso’s education programs. “Ford Motor Company is proud of its long tradition of supporting the community and specifically the Detroit symphony orchestra,” said Larry R. Border, Manager, Business operations for the Fund. “We have been delighted to fund many projects and programs at the Dso over the decades, including the building of the Max M. Fisher Music Center and the Dso’s nationally renowned Civic youth ensembles. Music education is very important to Ford and the children of this community. We look forward to another great year of supporting the Civic orchestra.” In recent years the Ford Fund has also contributed to the Dso tour of Michigan’s upper Peninsula (2004); acclaimed special event concerts, such as yo yo Ma’s silk Road ensemble (2007); and the capital campaign that built the Max M. Fisher Music Center.

SAVE THE DATE:saturday, March 7, 2009 - 6:00 PM: Classical Roots Celebration Ix

Monday, March 30, 2009: Donor Appreciation Concert and Reception

saturday, June 13, 2009 – 6:00 PM: Spring Gala

FoRD MotoR CoMPAny FunD sPonsoRs the Dso CIVIC youth enseMBLes.


eDuCAtIon

The Slatkin Touch Makes YPC Series Sparkle! Leonard slatkin is passionate about music education. upon being named Dso Music Director last fall, he rolled up his sleeves and got to work on making the 2008-09 national City young People’s Concert series one of the most exciting yet. not only will slatkin conduct one of the season’s six concerts (Jan. 10), he has also

invited guest artists appearing on the Dso’s classical series to perform in the yPC series. on november 22 the famed percussionist evelyn Glennie shares the thrill of rhythm instruments. slatkin’s January 10 concert teams double bass-ist edgar Meyer and banjo star Béla Fleck (of Appalachian Journey fame) with tabla virtuoso Zakir hussain. the season also includes an all-new “spooktacular” halloween special (“thrills & Chills 3,” october 25); a stage adaptation of the emmy Award-winning Beethoven Lives Upstairs; and thomas Wilkins, who returns to open and close the series with two of his delightful interactive programs. once again the yPC performances are part of “Macy’s super saturdays at the

Dso,” which includes henry Ford II Fund tiny tots performances at 10 a.m. in the Music Box, yPC performances at 11 a.m. in orchestra hall and oodles of fun at the KidZone in the Atrium, featuring arts and crafts, balloon artists, face painters and the Marshall Music instrument petting zoo. the season begins on september 20, so don’t hesitate! Call (313) 576-5111 or visit www.detroitsymphony.com to purchase tickets.

The Power of Dreams Take Root Announced last spring, the Dso’s Power of Dreams string Music Project launches this fall. Made possible by honda, in partnership with Wayne state university and shar Products Company, the program addresses the shortage of string instrument training available in Detroit schools. It will provide entry-level group lessons for all participants, limited private lessons with Dso musicians, and a training ground to the Civic string orchestra, part of the Dso Civic youth ensembles. the group classes, held at Wsu, will offer three levels of instruction during two 12-week semesters. each semester will conclude with a performance at the Max M. Fisher Music Center. Classes will be taught by Dso instructors and musicians as well as Wsu string faculty. As a dedicated partner, shar Products Company has agreed to donate up to 100 instruments for the Project in addition to discounted instrument rental, instruction materials and instrument up-keep. Participating students will also receive discounted tickets to select Dso concerts. For more information or a brochure, call Katie ellis, at 313-576-5599 or email [email protected]. to donate to this critically important program, please call (313) 576-5400.

CJO Wows the Crowd at Detroit Jazz Fest While most students were just getting their heads into back-to-school mode, members of the Civic Jazz orchestra – the most advanced of the Dso’s Civic Jazz ensembles – were sitting down to play with one of the jazz world’s biggest stars, bassist Christian McBride, at the Detroit International Jazz Festival. the concert, on september 1, was the first of many gigs that CJo students play throughout the year, but was by far the most high profile. the Jazz Fest is the largest free jazz festival in north America and attracts upwards of 750,000 people each year, 25 percent from out

of state. For the CJo students, the concert kicked off what is sure to be a memorable year, one in which they will also work with members of the Jazz at Lincoln Center orchestra and perform before Bank of America Paradise Jazz series concerts. the Dso’s Civic Jazz ensembles are sponsored by the Fred and Barbara erb Family Foundation. For more information on the Civic ensembles, visit www.detroitsymphony.com.

A New Season of Educational Concerts It wouldn’t be a Detroit school year without the Dso educational Concert series! this venerable tradition, which dates back to the 1920s, has introduced tens of thousands of children to classical music over the years. this year Resident Conduc-tor thomas Wilkins returns to lead the fall eCs concert series, taking children on a journey in which he reveals – in his inimitable style – the thrill of classical music. the fall performances (nov. 12 & 14) titled “Risky Business,” take a musical look at explo-ration, innovation and character. Musical selections range from “the Raiders’ March” (from Raiders of the Lost Ark) to the Allegro giocoso from Brahms’ Fourth symphony. For more information, or to reserve seats for your school group, call (313) 576-5167.

CIVIC JAZZ oRChestRA

Donate to The Power of Dreams Music

Education Fund — call (313) 576-5111 or visit

www.detroitsymphony.com and click on “Support.”


Parkingsecure, covered, lighted parking in the orchestra Place Parking Deck, located on Parsons street just south of the Max, and in the Woodward Garage, located on the corner of Mack and Woodward. Both parking decks have reserved space for patrons with handi-cap permits. 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 Level of orchestra hall and on the lower level of the Main Floor.

Refreshmentsthe Paradise Café, located on the sec-ond floor of orchestra hall, opens two hours prior to concert time and is open one hour after concerts. Reservations may be made by calling (313) 576-5055. Cash bar service and light refresh-ments are available in the atrium area of the Max two hours prior to concert

time and during intermission. happy hour, with special drink prices, is avail-able until 30 minutes prior to concerts. We invite you to place your beverage orders with the bartenders prior to the start of the concert and your order will be waiting for you at intermission!

TelephonesA telephone is located in the Box office Lobby.

Smokingthe Dso is pleased to offer a smoke-free environment at the Max. smoking is not permitted anywhere inside the building. Patrons who wish to smoke must do so outside the building. An outdoor patio is also available on the second level of the Atrium Lobby.

Handicap AccessParking is available in the orchestra Place Parking Deck for patrons with handicap permits. there are elevators, barrier-free restrooms and accessible seating in all areas of the Max. secu-rity personnel are available at the en-trances 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 begin concerts on time. In deference to the comfort and listening pleasure of the audience, latecomers will be seated af-ter 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 tele-vision in the Atrium Lobby.

Cameras and Tape RecordersPhotographing or taping of any perfor-mance at the Max is strictly prohibited. no recording devices or cameras are permitted without special authorization from the Dso.

Concert Cancellationsto find out if a scheduled performance at the Max has been cancelled due to in-clement weather, hazardous roads, pow-er outages or other emergencies, call the Box office at (313) 576-5111, or tune in to WJR 760 AM and WWJ 950 AM.

Pagers, Phones, Watches and Extra-neous SoundsCellular phones, pagers and alarm watches must be turned off while at

the Max. Patrons should speak to the house Manager to make special ar-rangements to receive emergency phone calls during a performance. the Dso thanks you for your cooperation avoiding any extraneous sounds dur-ing the concerts. the hall microphones used to record the orchestra are ex-tremely 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 of-fice at the Max or call (313) 576-5111 for more information.

Max Rental Informationthe Max is an ideal setting for a variety of events and performances. For information on renting the facility, please call (313) 576-5050. Rental infor-mation is also available online at www.detroitsymphony.com.

GeneRAL InFoRMAtIon

ADMInIstRAtIVe stAFFExecutive OfficeAnne Parsons President and Executive DirectorKathryn huskin Executive AssistantAngela Carey Receptionist

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 Representative

John o’Dell Director of Marketing, ClassicalJuanda Pack Customer Service RepresentativeMarni Raitt Assistant Director of Public Relationstiiko Reese-Douglas Customer Service RepresentativeMichael taylor New Media Specialistshannon W. hall Marketing Systems Administratorteri Witmer Box Office ManagerPaul yee Retail Sales Manager

Artistic Planning and Educationelizar Abalos Librarian of Civic EnsemblesJames n. Berdahl Vice President of Artistic PlanningCharles Burke Director of Education and Artistic Director of Civic EnsemblesJoseph Chouinard Librarian of Civic EnsemblesDavid Dredla Artistic Planning ManagerKathryn ellis Assistant Director of Education Deborah Fleitz Executive Assistant to the Music Director and Artistic Planning Associate

erica Garcia General Manager of Civic EnsemblesRebecca Gilbert Education CoordinatorCharles Greenwell Conducting Assistanterik Rönmark Artistic CoordinatorKit 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 Rashanda Dismukes Maintenance AideMartez Duncan Maintenance AideKeith elder Associate Vice President for OperationsLarry ensman Maintenance SupervisorRyan ensman Maintenance AideBill Guibault Maintenance Aidenorris Jackson Security OfficerRichard Jacques Director of Information Technology

Mami 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

DevelopmentJoy Crawford Development Systems AnalystCynthia Dodd Director of Board Relations

Kareem George Director of Endowment Supportsally Freels Membership and Donor Relations ManagerJennifer Jackson Development Systems CoordinatorRick Kelley Director of Major GiftsMargery Parsons Corporate Annual Fund ManagerCynthia Reeves Executive AssistantDarren Rich Corporate Donor Relations ManagerAnn Rock Director of Foundation and Government RelationsJulie schneider Development AssistantPhillip snyder Director of Corporate DevelopmentAllison Walacavage Foundation and Government Grants Manager

FinanceKim Feiock Accounting ManagerJeremiah hess Accounting ManagerKim Jackson AccountantLinda 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 Foundationthe 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. BrodieMaurice t.† & Margo CohenRobert† & RoseAnn

Comstock

Albert & Peggy desalle Charitable trust

Albert & Peggy deSalle Music Opportunity Fund

Dte 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 GirolamiMr. Martin R. GoldmanIra J. Jaffe & Brenda Jaffe &

Jaffe Raitt heuer & WeissMr. & Mrs. Robert C. Larson

Dr. 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. Douglasernst & youngLauren t. & Phillip Wm.

FisherMr. & Mrs. emory Ford, Jr.Beverly Franzblau-Baker

Larry & 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. Barden

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. Christnerhonorable 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 haasMr. David handleman, sr.eugene L. & Donna K. hartwignancy 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 MarshallMr. 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. Ponta

edith 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 stuecken

Mr. & 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 Annual Fund by August 12, 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

FoundationMr.† & Mrs. sam Frankel

the edward† & helen Mardigian Foundation

Mr. & Mrs. James B. nicholson

Ms. Cynthia J. Pasky & Mr. Paul M. huxley

Mrs. Richard C. Van Dusen

GOLDEN BATON$50,000 and more

Penny & harold BlumensteinMr.& Mrs. Frederick A. erbherman & sharon FrankelMaxine & stuart Frankel

Mr. and Mrs. stanley Frankel

Ruth & Al GlancyMs. Bonita J. Marshall

Bernard & eleanor RobertsonLeonard slatkin

Mr. & Mrs. hubert P. Watson

MAESTRO’S CIRCLE$25,000 and more

Mr. & Mrs. Richard L. AlonzoMr. and Mrs. eugene

ApplebaumMr. & Mrs. John A. Boll, sr.

Mrs. Doreen BullMr. & Mrs. François Castaing

Mr. & Mrs. Phillip Fisher

Mr. & Mrs. James GrosfeldMr. & Mrs. Morton e. harrisMr. & Mrs. Ronald horwitz

Linda Dresner & ed Levy, Jr.Dr. Melvin A. Lester

Richard & Jane Manoogian Foundation

Mr. & Mrs. eugene A. Millerthe Polk Family

Mr. George A. Raymond†Jack & Aviva Robinson

Mr. & Mrs. Larry shermanDr. & Mrs. Clyde WuPaul & Linda Zlotoff

CHAIRMAN’S CIRCLE$12,000 and more

George & Gina Bedrosian

Leo† & Betty Blazok

Jim & Marcia Bonahoom

Mr. & Mrs. Richard A. Brodie

Ilse & Roy Calcagno

Lois & Avern Cohn

Mrs. Michele Rambour edgar

Marianne endicott

Mr. & Mrs. Francis A. englehardt

Mr. & Mrs. David Fischer

sidney & Madeline Forbes

Barbara Frankel & Ronald Michalak

Mr. & Mrs. William M. Freeman

Byron & Dorothy Gerson

Mr. & Mrs. Ralph J. Gerson

Dr. & Mrs. edward e. hagenlocker

Dr. Gloria heppner

Mrs. Doreen hermelin

Julius & Cynthia huebner Foundation

Richard h. & Carola huttenlocher

Faye & Austin Kanter

Mr. & Mrs. norman D. Katz & Ms. Ruth Rattner

Mr. & Mrs. Richard P. Kughn

Mr. & Mrs. Robert C. Larson

Mr. David Lebenbom

Mr. & Mrs. Richard C. McBrien

John e. & Marcia Miller

David R. & sylvia nelson

Anne Parsons & Donald Dietz

Mr. & Mrs. Lloyd e. Reuss

Marjorie & saul saulson

Mr. & Mrs. Alan e. schwartz & Mrs. Jean shapero

Mr. and Mrs. Donald simon

William h. & Patricia M. smith

Arthur & trudy Weiss

Janis & William M. Wetsman / the Wetsman Foundation

Mr. R. Jamison Williams

Mrs. Paul Zuckerman

† Deceased PeRFoRMAnCe / VoL. XVII / Issue I 57WWW.DetRoItsyMPhony.CoM

ContRIButoRs to the AnnuAL FunDPRINCIPAL’S CIRCLE $6,000 and more

Dr. & Mrs. Roger M. AjluniMr. & Mrs. Robert A.

Alleseeharriet & Bryce Alpern

FoundationDr. Lourdes V. AndayaJeanne Bakale & Roger

DyeDr. & Mrs. Brian J. BeckDr. & Mrs. Rudrick e.

BoucherCarol A. & stephen A.

BrombergRobert n. & Claire P.

BrownLynne Carter, M.D.Mr. thomas M. Costello Jr.Mr. & Mrs. Donald M.

CutlerPenny and Larry DeitchBeck DemeryMr. & Mrs. Walter e.

Douglaseugene & elaine Driker

Jim & Margo FarberMr. & Mrs. herbert FisherDr. saul & Mrs. helen

FormanMrs. harold L. FrankDale & Bruce FrankelRema FrankelMs. elizabeth FreiMr. & Mrs. Dwight W.

GammonsGale & Victor GirolamiGoodman Family

Charitable trustMr. eric J. hespenheide &

Ms. Judith V. hicksJean hollandMr. & Mrs. Mario F.

IacobelliMr. and Mrs. Charles R.

JanovskyMr. and Mrs. Richard J.

JessupMr. George G. JohnsonMr. & Mrs. Paul Johnson

Mariam C. noland & James A. Kelly Fund of the Community Foundation for southeast Michigan

Mr. & Mrs. Bernard s. KentLouise & Gunnar KlarrMr. & Mrs. harold KulishDavid & Marguerite LentzMr. & Mrs. Arthur C.

LieblerMr. & Mrs. harry A.

Lomason IIDr. & Mrs. Charles Lucashis eminence Adam

MaidaRalph & eileen Mandarinoelaine & Mervyn ManningDavid & Valerie

McCammonMr. & Mrs. Alonzo

McDonaldPatricia A. & Patrick G.

McKeeverDr. & Mrs. Donald A. MeierMr. & Mrs. Daniel s. Moore

Mr. & Mrs. Douglas s. Mossman

Geoffrey s. nathan & Margaret e. Winters

sean & Cathy neallPatricia & henry nickolMs. Jo elyn nymanMr. and Mrs. Joseph orleyMr. and Mrs. Richard G.

PartrichRobert e. L. Perkins,

D.D.s.Mr. & Mrs. Drew PeslarMr. & Mrs. Bruce D.

PetersonDr. William F. PickardMrs. Bernard e. PincusMr. Bernard M. PlumDave & Cherry PorterDr. Glenda D. Pricenorman & Dulcie

Rosenfeldelaine & Michael serlingMark & Lois shaevskyMr. and Mrs. Richard

sloan

Mr. & Mrs. John F. smithJohn J. soleckiMr. Richard A. sonenklarMr. & Mrs. neil J. sosinDr. & Mrs. Charles D.

stockingMr. & Mrs. John stroh IIIMr. & Mrs. stephen

stromethe stollman FoundationLorna L. thomas, M.D.Alice & Paul tomboulianDavid usherAmanda Van Dusen &

Curtis BlessingMr. & Mrs. samuel Valenti

IIIMr. Robert VanWalleghemAmbassador & Mrs.

Ronald n. WeiserMr. & Mrs. John WhitecarMrs. Beryl WinkelmanMr. John e. youngLois h. & Milton y.

Zussman

ORCHESTRA CIRCLE $3,000 and moreAnonymousMr. & Mrs. thomas V.

Angott, sr.Mr. Robert ArmstrongMr. & Mrs. John Axenora Lee & Guy BarronLillian & Don BauderDrs. Jeffrey and susan

BellefleurBruce Beyer & Martha

scharchburgMr. Jerrold BigelmanMr. Anthony F. BrinkmanMr. terry K. BrownMichael & Geraldine

BucklesMr. efstratios CalagiasMr. Richard ColeDr. John ColomboMr. and Mrs. Gary L.

CowgerMr. and Mrs. Glenn CurrinBarbara & Paul CzamanskeJerry P. & Maureen t.

D’AvanzoMs. Barbara DilesPaul & Peggy DufaultMr. & Mrs. Irving Dworkin

Dr. & Mrs. A. Bradley eisenbrey

James & Maria eliasonDr. & Mrs. Adel A. el-

MagrabiMr. & Mrs. Klaus

entenmannDr. & Mrs. edwin FerensDr. & Mrs. Lionel FinkelsteinMs. Linda Forte, sVP and

Mr. tyrone DavenportMr. Michael FosterKeith & eileen GiffordMrs. helen P. GilbrideMr. Allan D. GilmourMr. and Mrs. James A.

GreenMr. seymour D. GreenstoneMr. Jeffrey GroehnMr. and Mrs. David

handleman, sr.Lawrence hands and Karen

D. Kendrick-handsRandall L. & nancy Caine

harbourDonna & eugene hartwigMr. & Mrs. Ross haunDr. & Mrs. Gerhardt hein

Jean Wright & Joseph L. hudson, Jr. Fund

Ira & Brenda JaffeChacona & Arthur L.

JohnsonMr. & Mrs. sterling C.

Jones, Jr.Mr. & Mrs. Maxwell Jospeyellen Kahn & William L.

KahnDimitri† & suzanne

KosacheffRobert C. & Margaret A.

KotzMrs. Willard V. LampeDr. Raymond Landes & Dr.

Melissa McBrien-LandesDrs. scott and Lisa

LangenburgMs. Anne t. LarinDr. and Mrs. J. timothy

Lovee. David MacDonald and

nancy MacDonaldAlexander & evelyn McKeenDr. and Mrs. James M.

McMurtryMr. and Mrs. Bruce A. MillerMr. & Mrs. Leonard G. Miller

Mr. and Mrs. Randall MillerMr. and Mrs. Robert and Jill

MillerDr. & Mrs. Robert G. MobleyMr. & Mrs. Craig R. MorganMs. A. Anne MorounMr. & Mrs. James W. MorrillMary Jo & Arthur A.

nitzscheMr. and Mrs. stanley nycekMr. and Mrs. Graham A.

orleyMrs. sophie PearlsteinMr. Jack Perlmutter & Mr.

Dan ClancyDr. & Mrs. Claus PetermannMr. Charles L. PetersMrs. helen PippinDr. Glenda D. PriceCarol & Foster ReddingJames A. RousseauJane & Curt RussellDr. & Mrs. Alexander

RuthvenMr. and Mrs. Robert s.

sachsDr. hershel sandbergMr. & Mrs. Fred secrestMr. Gary shiffman

norma Jean & Arthur shufro

erwin s. & Majorie h. simon

Donna & Robert slatkinMr. & Mrs. stanton Kinnie

smith, Jr.Richard & Renate soulenDr. Gregory e. stephensDavid szymborski and

Marilyn sicklesteelMr. & Mrs. Joel D. tauberDr. & Mrs. L. Murray

thomasAlice & Paul tomboulianMs. sharon Vasquez and

Mr. David ParkmanDr. and Mrs. Ronald W.

Wadle, D.o.Mr. & Mrs. Lawrence

WeisbergMr. & Mrs. James† A.

WilliamsMs. nancy s. Williams &

Ms. sharon Backstromthomas e. and elizabeth

A. WolfeDrs. William & Prudentia

Worth

ENCORE CIRCLE $1,500 and moreMrs. Adel AmermanMr. & Mrs. Robert L.

AnthonyDr. & Mrs. Ali-Reza R. ArminMr. and Mrs. Charles W.

BaischMarcia and Martin BaumMr. and Mrs. Jerome M.

BealeMr. & Mrs. James V.

Bellanca, Jr.Mr. & Mrs. Robert A. BentonDr. † & Mrs. John G.

BielawskiLinda & Maurice s. BinkowRoss Binnie

Mr. and Mrs. Lawrence Bluth

Mr. & Mrs. J. BoraRichard & Gwen BowlbyMr. & Mrs. Gerald BrightMr. and Mrs. Richard

BursteinFred J. ChynchukGloria & Fred ClarkDr. and Mrs. Julius CombsMr. and Mrs. Joseph

Connorsthomas & Melissa CraggMr. Richard CummingsMr. & Mrs. John s. Dallas

Deborah & stephen D’Arcy Fund

Mr. and Mrs. Anthony Delsener

elaine & Gordon DidierMs. Gail DishellCynthia M. DoddMr. David e. Dodgesandra DonlonMrs. James J. edwardsDr. Leo & Mrs. Mira

eisenbergMr. and Mrs. timothy

eisenbraunMr. & Mrs. howard o.

emorey

Mr. and Mrs. Daniel J. Fairweather

Mr. & Mrs. oscar FeldmanMr. and Mrs. Charles t.

Fisher IIIMr. steven J. FishmanMr. & Mrs. John B. FordRuth & Gerald FreemanDr. and Mrs. Mark A.

FrentrupMrs. Rosemarie FurlongMr. Paul GansonMr. & Mrs. eugene A.

Gargaro, Jr.Drs. Conrad and Lynda

Giles

Dr. & Mrs. Robert GoldmanMr. and Mrs. harold

GurewitzMrs. e. B. haasAlice Berberian haidostianMr. & Mrs. Gordon K. harris,

Jr.Mr. & Mrs. Robert L. heritierMs. shelley heronMr. & Mrs. herbert hipsherMr. Gordon L. hollanderMr. James W. hosmerMr. and Mrs. Ruppert

howardMr. & Mrs. A. e. IgleheartMs. Margit Jackson


Mr. & Mrs. Lenard JohnstonMr. Paul JoliatJay & Jennifer JolliffeMs. Martha KatzIrving & Diane Keenethe honorable Damon J.

Keith & Dr. Rachel Keith†Mr. Patrick J. Kerzic and

Mrs. stephanie Germack Kerzic

Dr. and Mrs. David KesselMr. & Mrs. thomas s. KingMr. and Mrs. h. A.

KnappenbergerMr. Robert C. KoosMr. and Mrs. D. Michael

KratchmanMr. & Mrs. henry M.

KuhlmanMr. & Mrs. James A. KurzMr. Julius KuseyMr. & Mrs. William e. LaceyMr. James M. Landis, Jr.Mrs. stephanie Latour

Dr. and Mrs. noel s. Lawson

Mr. Allen LedyardAllan s. LeonardChristine & elmore LeonardMax Lepler and Rex L.

DotsonDr. and Mrs. stanley h. LevyMr. & Mrs. Joseph LileMrs. Ben t. LowellMr. and Mrs. Walter D.

LudwigMr. and Mrs. Robert A. LutzDr. & Mrs. James A. LyddonMrs. Alice M. MacDermottMrs. Linda MakrisMr. Michael D. McDonnellMrs. John n. McnaughtonMr. Juha MerikoskiMr. Roland MeulebrouckMr. and Mrs. steven R.

MillerMr. and Mrs. Bernard

Mindell

Mr. and Mrs. Carl MitseffMiss Frances MoceriMs. Lucille A. MonarkMr. & Mrs. theodore

MonolidisMr. & Mrs. James F. MooneyCyril MoscowMr. and Mrs. Allan

nachmanedward & Judith narensMr. and Dr. David K. PageMr. and Mrs. William R.

PalmerMrs. Margot C. ParkerMr. & Mrs. Robert ParysDr. & Mrs. thomas PeeplesMr. Joseph R. PellegrinoDr. and Mrs. Carlos PetrozziDr. & Mrs. terry PodolskyMarian & harold A. Poling

FundRonald PorterMr. and Mrs. Constantine

P’sachoulias

Ward Randol, Jr.Drs. y. Ravindranath &

Kanta BhambhaniBarbara Gage RexMr. and Mrs. Robert B.

RosowskiMr. & Mrs. George RoumellDr. earl J. Rudner and Ms.

Bonnie BrennerPam & Jim RuthvenDr. & Mrs. William salotMs. Joanne Burns & Mr.

Lawrence shoffnerMr. Merton J. & Beverly

segalMr. stephan sharfDr. & Mrs. Marvin siegelLoretta skewesDr. Judy M. & Mr. John n.

sobczakshirley R. stancatoMr. Clinton F. stimpson, Jr.Ms. Mardell B. stricklenMrs. Peggy J. terry

ellen and Peter thurberBarbara & stuart tragerDr. & Mrs. Dimitry M. turin

in honor of erika V. turinLisa M. VarnierMrs. harry F. VellmureMarilyn and steven I. VictorMr. & Mrs. William WaakMs. Margaret WatkinsMr. & Mrs. herman W.

WeinreichMs. Wendy Williams

Powers and Mr. William Powers

Mr. & Mrs. sheldon Winkelman

Mr. and Mrs. John A. WiseMrs. Marion WyattMr. and Mrs. Walter youngFrank & Ruth Zinn

MEMBER $400 and moreMrs. nina Dodge AbramsMs. susan AbrashMs. Lynn e. AdamsMr. terence e. AdderleyJoshua & Judith AdlerMr. and Mrs. Randolph J.

AgleyMs. Jane e. AisenbreyAlan & Diane AmendtMs. tracey AndersonMs. Dolores AndrusMrs. Barbara AngottMr. and Mrs. Gary s. AnthonyJohn & Carol AubreyMr. and Mrs. James G. AubryDr. Frank AuldDr. and Mrs. Miles AusterJudge edward AvadenkaMs. Pauline Averbach & Mr.

Charles PeacockMr. and Mrs. Paul AyresMr. timothy P. BaesslerMr. and Mrs. Paul Balashelena and Richard BalonMr. John h. BarbesDr. & Mrs. Max BardensteinMs. Janet C. BarnesMr. and Mrs. Benson J. BarrMr. & Mrs. Richard BartleyMr. Melvin L. BatchMr. Richard BeaubienDr. & Mrs. William L.

BeauregardMs. Miriam BergmanJule BermanMs. hadas BernardMr. and Mrs. Jeffrey A. BernerMr. Richard h. BeutherMs. elsie M. BinghamMr. and Mrs. theodore A. BintzMr. and Mrs. edward Birrell, Jr.Lou & Roberta BlackMr. Randolph BlackMs. Katherine BlasierDr. & Mrs. Duane BlockMr. & Mrs. G. Peter BlomMs. Betty BoldenMs. Jane BolenderMr. howard BondMr. Joseph A. BonerMs. Marcia BonnerMr. Frank BonucciMr. & Mrs. Paul BormanMs. Linda BorushkoMr. Andrew BostromDr. and Mrs. David L.

BouwmanDon & Marilyn BowermanMs. Karen BowmanAnn and Robert BradleyMs. Mary BrandMr. and Mrs. Greg J. Brandell

Mr. and Mrs. ernest W. BrandtMr. & Mrs. David BrassellDr. & Mrs. sander J. BreinerMr. & Mrs. Alfred D. BrickerMrs. Joyce BriggsMr. and Mrs. Addison BrownMr. & Mrs. Wilber M. Brucker,

Jr.Mr. and Mrs. Richard BryanMr. and Mrs. Mark R.

BuchananMr. & Mrs. noel A. BucknerKimberly & Charles BurkeMs. Barbara BurnsMr. & Mrs. howard B. CamdenMr. and Mrs. Ross s. CampbellMr. and Mrs. steve J. CarlsonJean hill CarmanMr. & Mrs. Richard h. CarrMs. Anne J. CarrierDr. susan CattoMr. and 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. and Mrs. eudoro CoelloDr. and Mrs. Richard h. CohanMr. thomas W. CookMrs. Robert e. CooperMs. Jumana CooperMs. nancy CooperMr. William B. CorlisMr. and Mrs. tonino CorsettiMr. Patrick R. CraneMrs. Rosa M. CrawfordMr. & Mrs. Alexander CrudenMs. elaine CurvinMs. Beatrice D’AmbrosioMr. Melvin R. D’AmicoMs. emma DawkinsMs. sheilah De KroubMrs. June DeanMs. Dana DebelMr. & Mrs. John A. DefeverDr. and Mrs. Anthony DeLucaMr. edward A. DiedoMr. and Mrs. Jim DonaheyMr. Christopher J. DoozanMr. and Mrs. John DreifusDr. & Mrs. harold DuchanMr. and Mrs. Joseph R. DudleyMr. & Mrs. henry eckfeldMr. steven e. ederDr. & Mrs. B. eisenstein

Mr. and Mrs. Lawrence ellenbogen

Mr. and Mrs. William A. elliottMrs. Kathryn ellisMs. Jan elvekrogMr. Fred elwoodMr. and Mrs. Knut erichsenMs. June everettMr. and Mrs. Lowell eversonstephen ewingMr. David FalveyMrs. elizabeth M. FarhatMrs. Ruby FassoldJohn and Margaret FaulknerWilliam e. FennelMr. and Mrs. Bruce J.

FergusonMr. and Mrs. Michael A.

FerkanyVincent & hortense FieldsMs. sharon t. FinchMr. nolan W. FinleyDolores & Jim FisherMs. shirley M. FlanaganMs. Betty J. FloydMs. Jane Forbessally FreelsMrs. Donald FriedrichsMrs. Lela FuesterMs. Kathryn FullerRichard & Julie GanfieldMr. Kareem GeorgeMr. and Mrs. Robert GeorgeMark Germaine and Patricia

JochimMr. and Mrs. Dennis

GershensonMs. Catherine GiebelMr. and Mrs. James GiftosMr. Donald J. GillardJoseph & Lois GilmoreWilliam n. and Carole L.

GilmoreMr. and Mrs. thomas J. GlynnMr. and Mrs. Maurice C.

GodwinDrs. Beth Goldman and David

AndersonIrving and Doris Goldman

FundDr. Allen Goodman & Ms.

Janet hankinDr. and Mrs. Paul GoodmanMr. and Mrs. Robert GorenMs. Patricia GothamMs. Keiko GotoMr. howard J. GourwitzMr. & Mrs. hadar GranaderMr. and Mrs. D. stewart GreenMr. and Mrs. James A. Greeneugene & Anne GreensteinMrs. sarah A. Grierson

Mrs. Frank GrimmingerMr. & Mrs. David GugalaMs. Janet GumenickMr. and Mrs. Ronald GuntherMr. and Mrs. Darrell hancockMr. and Mrs. Wilbur W. hansenMr. & Mrs. Merle harrisMrs. Ruth B. harrisMs. Joann hattonMr. & Mrs. Demar W. helzerMr. and Mrs. Jay A. herbstMrs. nancy herrickMrs. Kathleen B. hillegasMr. edward n. hodges III, J.D.Mr. & Mrs. William D.

hodgmanDr. and Mrs. James D.

hoescheleMrs. evelyn hokschMr. Robert hollandJack & Anne hommesthe honorable Denise Page

hoodMrs. harriett h. hullMrs. Dolores humesMrs. and Mr. sandra hymanMs. elizabeth J. IngrahamMs. Joan IrishJo & Carol IsaasconMr. and Mrs. Ronald J. JachimMr. and Mrs. Lawrence JackierMr. Charles W. JacksonMr. harvey B. JacksonDr. and Mrs. Joseph JacobsonMs. Rebecca s. JahnMs. sandra JanusisMr. David JensenMr. einar C. JensenMr. Lavoid JohnsonMrs. ollie JohnsonRobert & sandra JohnsonArthur D. & heather M. JonesMrs. nancy A. JonesMrs. sybil JonesMs. Rita L. JordanMr. and Mrs. George A.

KalligerosMr. David KarleneDr. and Mrs. James J. KaroMr. herbert KaufmanMrs. Doris Keith WaddellMr. and Mrs. Richard KelleyMs. June K. KendallDr. and Mrs. Donald KetaiMr. & Mrs. Gerd h. KeuffelMrs. Madeline B. KieferMr. Warren KiffersteinMs. Lori KillingbeckMs. Ida KingMs. Mary Beth KitzmillerMr. and Mrs. harvey KleimanMr. and Mrs. Justin G. Klimko

Ms. Lisa C. KnappMs. nancy KomenagaReverend Ralph e. KowalskiMr. and Mrs. Robert s. KozarMr. John W. KunzMs. Dorothy A. KurrieMrs. Myron LaBanDr. & Mrs. Gerald LakerMs. Carole LallyMr. harold LamkinMr. and Mrs. Lawrence LashMr. and Mrs. Laren n. LauMr. John K. LawrenceKathleen & Duncan LawrenceAnn C. LawsonDr. and Mrs. Alfredo LazoMs. Barbara Leepereugene & suzanne LeichMr. and Mrs. yale LevinMr. & Mrs.† David B. LewisMr. and Mrs. John LightnerJudith A. LindsayMs. Beverly LochardMr. and Mrs. edmund L.

LondonMs. Mary L. LorenczMr. Alphonse LucarelliMandy & Joe LunghamerMr. and Mrs. Charles and

shirley Ann LusbyMrs. Robert e. MackMs. emma MaclinMr. and Mrs. William MacPheeMs. Colleen Madigan and Mr.

John GreenMrs. Ann e. MadsenMs. Virginia MahleDr. Margaret MakulskiMr. & Mrs. Joseph R. MalloureDr. and Mrs. Robert MaloneMr. and Mrs. Charles W.

Manke, Jr.Mr. & Mrs. Douglas L. MannMs. Arlene M. MarcyMr. and Mrs. Lionel MargolickMs. Florine MarkMrs. Jeanne MarshallMr. Arthur MatsumuraDr. Robert MatthewsMs. Claire MautnerMrs. Mary A. MazurMr. stephen A. MazurakMs. Kristen Armstrong

McBrideMrs. Katherine McCulloughMr. and Mrs. J. e. McGlincyMr. David B. McLean, sr.Colonel and Mrs. hugh s.

Mcleod IIIMs. Marion C. MelodyDr. & Mrs. h. C. MighionMr. steve Mihalik


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 MichiganFord Foundationhudson-Webber FoundationMcGregor FundMusicians of the Detroit symphony

orchestra national endowment for the Artsstate of Michigan

UNDERWRITER $100,000 and MoreDeRoy testamentary FoundationJohn s. and James L. Knight

FoundationKresge Foundationthe Mandell L. and Madeleine h.

Berman Foundationsurdna Foundation, Inc.Matilda R. Wilson Fund

GUARANTOR $50,000 and MoreACes, Association of Civic

ensemble supportersthe Fred A. & Barbara M. erb

Foundationthe Andrew W. Mellon Foundationelizabeth, Allan & Warren shelden

Fund

BENEFACTOR $10,000 and Moreeleanor and edsel Ford Fundhenry Ford II FundAnn & Gordon Getty FoundationAlice Kales hartwick Foundationthe Julius and Cynthia huebner

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 MoreBeck Family FoundationBenson and edith Ford FundGatewood Foundation, Inc.harvey M. Rice FoundationJames & Lynelle holden Fundthe e. nakamichi Foundationherbert & elsa Ponting Foundation

PATRON $2,500 and MoreJoseph e. Beauchamp Charitable trustDetroit Industrial schoolJ. Ira and nicki harris Family FoundationClarence & Jack himmel FoundationhP Foundation

L&h FoundationMcKeen Foundationthe skillman Foundationyoung Woman’s home Association

SPONSOR $1,000 and MoreCharles M. Bauervic FoundationFrank & Gertrude Dunlap FoundationJapan Business society of Detroit

FoundationMeyer & Anna Prentis Family Foundationthe Loraine & Melinese Reuter Foundationthe Melvyn Maxwell and sara smith

Foundation

olson Kulka Foundationsigmund & sophie Rohlik FoundationLouis & nellie sieg Foundationsamuel L. Westerman Foundation

FRIEND $500 and MoreCombined Federal CampaignFisher Insley FoundationMarion and Robert Wyatt Foundation

AccuformJudy and Randy AgleyAir FranceAllied-eagle supply Co. Janet and norm Ankersshanny and Bill ApodacaVicki and Richard BaksMr. & Mrs. Lee BarthelBBJ LinenBetween the Lines Gwen and Richard BowlbyBetty and Bill BrooksCapital Waste, Inc.Joseph CaughmanJoe Crachiola, Photographerted “ski” Cross, PMPDedria and Alexander CrudenDonald Dietz

Display Groupolga F. DworkinJudith ehrmannepoch Restaurant GroupPaul Gansoned GastonPatricia and James GiftosAnthony & Christine GiorgioGolden AcousticsGolden harvest RestaurantGooglehammell Music, Inc.Michael Farrell and Marc herrickhour Detroitstory and William JohnDr. Julie henry and Chuck KaessJudy and Buddy KaufmanLenora Kaufman

Carole LaMantiaLinda and Dr. Larry LloydMacy’s Marshall Music Co.McKinsey and Companythe Metro timesLois and Gene MillerLynn and Randall MillerJoann and tony Mitchellneiman MarcusArt nietzche northwest Airlinesoakland universityDebra and Richard PartrichCharles Pughthe Ritz-Carltonthe Remington GroupApril Wagner and Jason Ruff

Jeanne and Dr. Alexander Ruthvensteven Rybicki – Infinity yacht

ChartersDominick and Cindy schianospecial events Party Rentalsstaplesstarbucks Coffeestrategic staffing solutions, Inc. tapper’s Diamonds & Fine JewelrytributeRichard J. Bowers, Jr. and Daniel

J. trederGary WassermanGeorge Williams Interiors Ltd.Mary and Dr. Max Wisgerhof

Mr. and Mrs. Paul e. MilgrimMr. & Mrs. Richard K. MillerMs. Lillie V. MingMr. Alfred MirabiturMr. and 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. MulfordMrs. Mary MulhernMr. John C. MurphyMs. Joan nagrantMr. and Mrs. Milford nemerMr. and Mrs. George nicholsonJim & Mary Beth nicholsonMr. and Mrs. Peter A. nicklesMr. and Mrs. Kenneth R. nobleMrs. Phyllis D. nolanMr. & Mrs. henry R. nolte, Jr.Mr. & Mrs. Richard L. norlingMrs. evelyn noveckDr. and Mrs. Dongwhan ohMr. & Mrs. John o’LearyMr. and Mrs. Arthur o’ReillyMr. and Mrs. Robert orleyMr. Barry osterbur and Mrs.

elaine D. osterbur

Mr. stanford R. ovshinskyDr. and Mrs. James R. ozingaMr. edward PalmMs. Marla e. ParkerMr. sidney ParkerMr. Angelo PattiKenneth & Doris PedersenMrs. Mary A. PernaMr. Gregory Peterson and Ms.

Mary PetersonMr. Kurt PetersonMr. & Mrs. Mark h. PetersonWard & Margaret PetersonMr. and Mrs. James PidgeonMrs. Ann PikenMr. David PincusMr. and Mrs. Robert F. PincusMr. and Mrs. D. David PippelMrs. thomas PiskorowskiMr. and Mrs. Bruce PolozkerMr. & Mrs. David W. PorterMr. and Mrs. Michael PrysakMargaret Rashidhope & Larry RaymondMr. and Mrs. John h. RedfieldMrs. Denise P. RedmondMr. Michael RedmondLouise & Karl ReibelMr. & Mrs. William J. ReillyMr. Peter RemingtonDonald & Patricia RennieMrs. Wayne RichardsJan & Paul Robertson, Jr.Ms. elizabeth M. RogersMs. Rhoda Rosenthal

Mr. & Mrs. Gerald F. RossGail & Gary RubyMr. Arthur L. RunyonMr. and Mrs. William sachsMr. Charles sajewskiMr. Denny sandberg and Mrs.

nancy J. sandbergDrs. edward and Virginia

saylesMr. and Mrs. Robert V.

schechterMark & Carrie scherMs. Linda scherdtMs. yvonne schillaMr. and Mrs. Anthony schmittMr. John C. schmuhlFaye and Richard sidderDr. and Mrs. David schneiderMr. and Mrs. Mark schwartzMs. sandra seimMrs. Lillian shayeMs. nedda shayotaMs. Moira A. sheehanMs. Wei shenMr. and Mrs. William C.

shenefeltMr. and Mrs. sterling

shephardDr. Douglas and Julie

shiffmanMrs. Arlene shyMr. and Mrs. Robert siewertMr. and Mrs. ted J. simonMs. sue ellen smallMrs. Karna M. smith

Mr. Lawrence R. smithMr. and Mrs. Leonard W. smithMr. Ronald J. smithMr. and Mrs. John s. snyderMr. Phil snyderDr. and Mrs. Robert sokolDr. and Mrs. Alan W. solwayMr. and Mrs. harvey L. solwayMr. and Mrs. James A. spearotDr. & Mrs. henry h. spragueMr. and Mrs. Gabriel stahlMr. and Mrs. Jay starkMr. John stellmanMs. Katherine stephensonMs. Isabel stockwellMrs. nancy L. stonerMrs. e. Ray strickerJames and Cristina sunstrumMs. Arlene tarbetMrs. Burt e. taylorMrs. Phyllis templinMs. elena theuteloise F. tholenMr. Michael tobinMr. William n. trippMs. Brenda trotterMrs. Joyce tuckerMr. L. W. tuckerMr. & Mrs. Michael R. tysonMr. John urbanMs. theresa uzenskiMr. & Mrs. John

VanbrandeghenWilliam & Jan VanDenburgMr. & Mrs. Melvin VanderBrug

Mr. and Mrs. Dennis J. VarianDr. nilda VillalbaMrs. Rebecca A. ViolaMr. & Mrs. Wil VivianoMs. Patricia WalkerMrs. Irene WaltMs. Carol WardMrs. Ann WarrenMr. and Mrs. William L. WarrenMr. Joseph WashingtonAlan & Jean WeamerMs. Janet B. WeirMs. Marilynn WeissMr. and Mrs. Martin e. WelchMrs. Glenda s. WelzDr. Marie-Ange WengMs. Carolyn WhiteDr. John h. WhiteDr. and Mrs. Fred WhitehouseMrs. Barbara WidenerDr. and Mrs. Christopher D.

WilhelmMs. Cynthia L. WilhelmMr. Lawrence D. WilliamsMark & Patricia Willmarthtrudi & henry Wineman IIMrs. sidney J. WinerDr. and Mrs. Lawrence WiseMr. and Mrs. Gregory WittrockMrs. Cathy C WoodMr. and Mrs. Larry R. ZangerleMr. and Mrs. Richard D.

ZimmermanIngrid I. Zitzewitz


$50,000 and MoreGuardian Industriesnational City Bank northwest Airlines

$20,000 and More Compuware Corporation GMAC MetLife Foundation R. L. Polk & Co.

$10,000 and More ArvinMeritorCampbell-ewald PricewaterhouseCoopers

LLPWolverine Packing CompanyWarner, norcross & Judd,

LLPnorthern trust Bank

$5,000 and MoreAcceledyne tehnologies Limitedthe Amerisure CompaniesAsh stevens Inc.BAsF CorporationButzel LongCnContractors steel CorporationDenso International America,

Inc.the Four octave Club of DetroitGilmour Fundhonda north America, Inc.hour Media, LLCMGM Grand Detroit Casinonudell Architectssuburban 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.Centerline Veterinary hospitalClark hill P.L.C.Darling Bolt CompanyDelta Dental Plan of MichiganDesign systems, Inc.Detroit stage employees Local

# 38DuMouchelleseschaton LLCMichael and Karen egren/

Foamade Industries, Inc.General Dynamics Land

systemsGermano ManagementGharfari AssociatesGreektown Casinohuron Family Practice Center,

P.C.Jay A. Fishman, Ltd.John hancockJPRA ArchitectsLakeside ophthalmology

Center, Robert Mobley, M.D.Al Long Ford, Inc.Robert L. ZiegelmanMadison electric Co.Mansell Associates, Inc.Meadowbrook Insurance GroupMercerMichael J. Dul & AssociatesMichigan First Credit unionMichigan Food & Beverage

Associationoakland universityP.P.G. IndustriesRadar Industries, Inc.Royal oak Industries,

Incorporatedschostak Brothers & Company,

Inc.

schwab Fund for Charitable Giving

shinsho American Corporationsolomon Friedman Advertisingspectrum Automation

Companythe technicom Groupu.A.W. Region 1-A Capurban science Applications,

Inc.Versacom IncorporatedVesco oil Corporation/Don &

Marjory epsteinWelker Bearing CompanyZachary & Associates, Inc.

$500 and MoreAAn Financial services GroupActive Aero Group/Martin R.

GoldmanAlbert Kahn Associates, Inc.Border City tool & Manufacturing

CompanyCenter Line electric, Inc.Combe ConsultantsDetroit Athletic ClubDetroit Legal newsF.B. Wright CompanyFred Lavery CompanyFredrick & Kathy yaffeGreat Lakes Gas transmissionharmonie Park Pressheidtman steel Products, Inc.hudson & Muma, Inc.Itochu International, Inc.Kawasaki Robotics (usA), Inc.AnonymousKramar Jewelry, Inc.Lau & Lau Associates, LLCLong Insurance servicesM. Jacob & sonsMaddin hauser WartellManheims Metro Detroit Auto

AuctionMeans Industries, Inc.Merlyn Contractors, Inc.Michael Fabricating, Inc.Michigan offi ce Design, Inc.

Minkin Family FoundationMolex Automotive/Cardell

CorporationMoroun nursing homeneumann/smith & AssociatesnGK spark Plugs (usA), Inc.novara, tesija & McGuire, PLLCnth Consultants, Ltd.Peoples trust Credit unionBen Pivnick Plywood & Veneer Co.Post smythe Lutz & Ziel, CPA’sPro Musica of Detroit, Inc.Robert s. Rollinger, PCRose Pest solutionss.L.C. Meter service, Inc.safety technology International,

Inc.sagres Partnersseymour Gill Financial/Mass

Mutual CompaniessKF Automotive Divisionsloan Flushmate (A Division of

sloan Valve Company)sovereign sales, LLCspartan Distributors, Inc.spiratex CompanyVernDale Products, Inc.Vicki’s Food, Inc.sarah and erv Wolk

$300 and MoreAdult Learning Institutetivadar Balogh ArchitectBlue Care networkBieri CompanyBurke Building CenterCaucus ClubCoffee express CompanyDwyer & sons Volvo subarueast Detroit opthamologyItW hoscoReal estate one, Inc.Janet sossi-Belcoure/Roma Cafe

Inc.Rosedale Products, Inc.stageline Mobile stage, Inc.teal electrictompkins 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

DSO Classical Series Shaham Plays BrahmsPeter oundjian, conductorGil shaham, violin8 p.m. oh

DSO Classical Series Shaham Plays Brahms8 p.m. oh

DSO Classical Series Shaham Plays Brahms8:30 p.m. oh

Special EventLang Lang ReturnsPeter oundjian, conductorLang Lang, piano3 p.m. oh

Kadima, Inc. FundraiserWith “Capital steps”7:30 p.m.

DSO Classical Series deMaine Plays SchumannArild Remmereit, conductorRobert deMaine, cello10:45 a.m. oh

Tiny Tots ConcertsMusica Mundi 10 a.m.

National City Young People’s Concerts What Were They Thinking? 11 a.m. oh

DSO Classical Series deMaine Plays Schumann8:30 p.m. oh

DSO Classical Series deMaine Plays Schumann3 p.m. oh

DSO Classical Series Wilkins & Sibeliusthomas Wilkins, conductorKarl Pituch, horn8 p.m. oh

Classical SeriesMarsalis’ Motownthomas Wilkins, conductorLincoln Center Jazz orchestraWynton Marsalis, director8:30 p.m. oh

DSO Classical Series Wilkins & Sibelius3 p.m. oh

DTE Energy Foundation Pops SeriesLouis Armstrong’s New OrleansJeff tyzik, conductorByron stripling, trumpet10:45 a.m . and 8 p.m. oh

Soul Tracks Awards8 p.m. MB

DTE Energy Foundation Pops SeriesLouis Armstrong’s New Orleans8:30 p.m. oh

DTE Energy Foundation Pops SeriesLouis Armstrong’s New Orleans8:30 p.m. oh

DTE Energy Foundation Pops SeriesLouis Armstrong’s New Orleans3 p.m. oh

Classical SeriesBrahms & BruchGunther herbig, conductortianwa yang, violin8 p.m. oh

Classical SeriesBrahms & Bruch10:45 a.m. oh

Classical SeriesBrahms & Bruch8:30 p.m. oh

Special EventSphinx National TourChelsea tipton II, conductorsphinx Chamber orchestraelena urioste, violinthe harlem Quartet2 p.m. oh

Bank of America Paradise Jazz SeriesDave Brubeck8 p.m. oh

Classical SeriesRomeo & JulietBright sheng, conductoryang Wei, pipa10:45 a.m. oh

Classical SeriesRomeo & Juliet8:30 p.m. oh

Northwest Airlines World Music SeriesSimon Shaheen & Qantaratito Muñoz, conductorsimon shaheen, oudQantara3 p.m. oh

Classical SeriesDutoit’s SheherazadeCharles Dutoit, conductoryuja Wang, piano8 p.m. oh

Tiny Tots ConcertsRock o’Ween with Candy Band 10 a.m.

National City Young People’s Concerts Thrills and Chills 311 a.m. oh

Classical SeriesDutoit’s Sheherazade8:30 p.m. oh

Classical SeriesDutoit’s Sheherazade3 p.m. oh

Classical SeriesFleisher Plays MozartPeter oundjian, conductorLeon Fleisher, piano8 p.m. oh

Classical SeriesUnmasked: Fleisher Plays Mozart8 p.m. oh

Classical SeriesFleisher Plays Mozart8:30 p.m. oh

7 8 9 10 11 12 13

14 15 16 17 18 19 20

21 22 23 24 25 26 27

28 29 30 1 2 3 4

5 6 7 8 9 10 11

12 13 14 15 16 17 18

19 20 21 22 23 24 25

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For tickets call (313) 576-5111www.detroitsymphony.comS

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B E G I N N I N GA N E W

P R E S E N T I N G T H E F O U N Ta i N OF e t e r n a l M E M OR I E S

Contact one of our pre-planning and selection specialists for more information:(248) 362-7670 • 621 W. Long Lake Rd. at Crooks in Troy • Serving all faiths.

www.WhiteChapelCemetery.com

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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

Reach Metro Detroit’s Best Audiences

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DSO Performance, 2008-09 season, Issue No. 1

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