DSO Performance, 2008-09 Season, Issue no. 2

The Magazine of the Detroit Symphony OrchestraPerformance

Changing Lives Through Music Education

Volume XVII Issue II / 2008–2009 season

NPPR

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

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Cézanne

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October 12, 2008 – January 18, 2009

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Amedeo Modigliani (Italian, 1884–1920). Portrait of a Woman (detail), c. 1917–18. Oil on canvas; 65 x 48.3 cm. The Cleveland Museum of Art, Gift of the Hanna Fund 1951.358. © The Cleveland Museum of Art. Karl Schmidt-Rottluff (German, 1884–1976). Self-Portrait with Hat (detail), 1919. Oil on canvas; 73.3 x 65 cm. The Cleveland Museum of Art, Bequest of Dr. William R. Valentiner 1965.440. © 2008 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.

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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 II

2008–09 Departments 6 Board of Directors

8 Orchestra Roster

45 Donors Make the Difference

46 Education News

47 General Information

47 Administrative Staff

50 Donor Roster

Concerts 20 Classical series: Dutoit’s scheherazade oct. 24–26 Charles Dutoit, Yuja Wang

24 Classical series: Fleisher Plays mozart oct. 30–nov. 2 Peter Oundjian, Leon Fleisher

28 Classical series: mozart & Beethoven nov. 6–8 Marek Janowski, Baiba Skride

32 Bank of america Paradise Jazz series: earl Klugh nov. 7 Earl Klugh with Lenny Price, David Spradley, Al Duncan,

Al Turner, Ron Otis

34 World music series: song and Dance ensemble of West africa nov. 9

36 Dte energy Foundation Pops series: Classic Broadway nov. 13–16 Erich Kunzel, Kathleen Brett, Steven Morgan, Michael Lowe,

Wayne State University Chorale directed by Norah Duncan IV

40 Classical series: evelyn Glennie nov. 21–23 Ludovic Morlot, Evelyn Glennie

Features 10 News & Notes

12 Meet the Musician new Principal Bass, alexander Hanna

14 A Month of Holiday Delights

16 Hitting the High Notes in Music Education

16 20 36

CoVeR PHoto By Joe CRaCHIola PeRFoRmanCe / Vol. XVII / Issue II 5WWW.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 arellanoKimberly BurkeDr. susan Cattotess CraftChris & Carina CrainDana DebelDierk l. Hall

elanah nachman Hunger & Rick Hunger

sally FreelsRita l. JordanDrs. melissa mcBrien &

Raymond landes

Drs. scott & lisa langenburg

lexa leatherdaleBeverly lochardJim & mary Beth

nicholson

Rebecca D’arcy o’Reilly & arthur t. o’Reilly

michael F. ottaway & tamra e. ottaway

todd PeplinskiPatricia 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

6 PeRFoRmanCe / Vol. XVII / Issue II WWW.DetRoItsymPHony.Com

Detroit Symphony OrchestraoRCHestRa RosteR

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

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

thomas Wilkins, Resident ConductorWynton marsalis, Fred A. and Barbara M. Erb Jazz Creative Director Chair

neeme Järvi, Music Director Emeritus

First Violinsemmanuelle Boisvert

ConCertmaster Katherine Tuck Chair

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

Hai-Xin Wu assistant ConCertmaster Walker L. Cisler/Detroit Edison Foundation Chair

laura Rowe assistant ConCertmaster

Beatriz Budinszky*marguerite Deslippe-Dene*Gina DiBello^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*^Hong-yi mo*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++

PercussionIan Ding#

Ruth Roby and Alfred R. Glancy III Chair

Daniel Bauch ##Robert Pangborn

William Cody Knicely Chair

LibrariansRobert stiles+ethan allen

Personnel Managerstephen molina

Orchestra Personnel Manager

alice sauro Assistant Orchestra Personnel Manager

Conducting AssistantCharles Greenwell

Stage PersonnelFrank Bonucci

Stage Managerlarry anderson

Department Headmatthew Pons

Department Headmichael sarkissian

Department Head

Legend+ Principal++ assistant Principal# acting Principal## acting assistant

Principal^ extended leave^̂ on sabbatical* these members may

voluntarily revolve seating within the section on a regular basis.

§ orchestra Fellow Partial sponsorship provided by Warner, norcross & Judd llP and Dso’s William Randolph Hearst educational endowment.

Chairman of the BoardJames B. nicholson

President and Executive Directoranne Parsons

activities of the Detroit symphony orchestra are made possible in part with the support of the national endowment for the arts, the michigan Council for arts and Cultural affairs, and the city of Detroit. Detroit symphony orchestra is an affirmative action, equal opportunity institution.

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


neWs & notes

Dear Friends, The 2008-09 season is off at a running start. Our classical season opened with thrilling concerts lead by our esteemed Principal Guest Conductor, Peter Oundjian, and we have a

diverse selection of performances across genres in the coming weeks which will transition us into a new era with the launch of Leonard Slatkin’s much-anticipated first performance on Dec. 11 as our new Music Director. Our new, highly-interactive website at www.detroitsymphony.com is receiving rave reviews. It provides great detail on our

programming, is designed to bring us ever closer to our supporters and expose us to new audiences across the nation and the globe. It also features interviews with Leonard Slatkin, photos of our world-renowned orchestra and a music player highlighting classical and jazz favorites. Additionally, there is direct access to a host of podcasts and vodcasts featuring insider information about various DSO performances, guest artists and musicians. Amid all this frenetic activity, planning and preparation, we are also working hard to be a true resource to our community. It’s no secret that the world around us is changing rapidly. We are in the midst of an election, our global economy is in flux and sometimes we all just need to take a break and get away for a while. And that’s why we have the gift of music to share with one another. The excitement and simultaneous suspension from the everyday that a live concert provides, allows us to experience renewal and relief. Afterward, when we depart Orchestra Hall, we feel a little lighter, a little more relaxed about the world and our lives. It’s with this philosophy in mind that we at the DSO are offering a special gift to the community of a performance by the “Song & Dance Ensemble of West Africa” for $5 per ticket for adults, $1 per ticket for children under 12. Please join us as we celebrate the beauty of music across cultures and help us spread the word of this exciting community offering. I can’t emphasize enough how glad we are that you’ve come back to join us once again. We have so much to share with you and so many more exciting announcements to make. Please stay tuned in the coming months to our website, please continue to experience incredible music with us and encourage friends to join you on your visits. As I’ve said many times, but just can’t say quite enough, great music is meant to be shared.

Anne ParsonsPresident and Executive [email protected]

Detroit Historical Museum Exhibit Celebrates Orchestra Hall It’s no secret that Detroit is home to great performance venues, including the one you’re sitting in right now. Five of the most historically and architecturally significant of these venues, including orchestra Hall, are now the subject of an exhibit at the Detroit Historical museum. titled Fabulous 5: Detroit’s Entertainment Venues, the exhibit explores the history of orchestra Hall as well as the Fox theater, masonic temple, the michigan state Fair Grounds and the original tiger stadium. Don’t miss this great opportunity to experience orchestra Hall’s remarkable tale, from its meteoric construction in 1919 (resulting in one of the world’s most acoustically perfect gems) to being a jazz mecca as the Paradise theatre in the 1940s to its near demise and rescue in the 1970s and 80s. the exhibit, which takes place in the museum’s Kresge Gallery, runs until Feb. 8. For more information, call the museum at (313) 833-1805 or visit their Web site at www.detroithistorical.org.

“DSO Unmasked” Returns On WRCj-FM In a radio world that is increasingly short on classical music and interviews with the brilliant talent that creates it, where can one go to hear fascinating in-depth conversa-tions with such luminary stars as sir neville mariner, Branford marsalis, neeme Järvi, Denyce Graves, leonard slatkin, John Corigliano and the Dso’s own emmanuelle Boisvert? How about WRCJ 90.9 Fm right here in Detroit? all of the above artists have appeared on WRCJ’s “Dso unmasked,” and their interviews can be heard any time, on demand, by visiting www.wrcjfm.org. now an all-new third season of “Dso unmasked” is set to launch. once again, some of the world’s greatest classical stars, all of whom are appearing on the Dso’s classical concert series, will be featured on the show. also making appearances will be members of the Dso and its celebrated conducting staff, including leonard slatkin, Peter oundjian, thomas Wilkins and Charles Greenwell. a co-production of WRCJ, the Dso and Detroit Public schools, the show is hosted by Jimmy Rhoades and airs on select sunday afternoons from 12 to 2 p.m. Visit www.wrcjfm.org for this year’s line-up of guests and air dates.

oRCHestRa Hall unDeR ReConstRuCtIon


VolunteeR CoRneR

DSO’s “Classics Unmasked” Concerts Return For the last few years, the Dso has offered a special concert experience for those who like to delve deeper into the music and get to know the artists better. the “Classics unmasked” concerts feature CBC radio host tom allen who provides insight into the music through conversations with the guest artists and post-concert Q&a sessions. “Classics unmasked” concerts return again this season and are ideal for newcomers to the symphony as well as those who are interested in trying new ways of enjoying classical music.

2008-09 CLASSICS UNMASkED Fleisher Plays Mozart — Fri., oct. 31 at 8 p.m.Conductor Peter oundjian and pianist leon Fleisher discuss the “the monster Within,” the debilitating neurological disorder focal dystonia which interrupted both of their performing careers. Hear how both artists dealt with and overcame this frightening calamity.

Baroque Spectacular — Fri., Feb. 27 at 8 p.m.Conductor nicholas Kraemer, a Baroque master, compares and contrasts the music of the two giants of the genre, Bach and Handel.

Season Finale — Fri., June 5 at 8 p.m.Find out how two very different composers, Richard strauss and Bela Bartók, were influenced by war in writing their final masterpieces in a program titled “Famous last Words.”

26th Annual Nutcracker Luncheon the 26th annual nutcracker luncheon will be held on Wednesday, november 5 at the Birmingham athletic Club in Bloomfield Hills. the Detroit symphony orchestra Volunteer Council is excited to be undertaking a new format this year, a strolling luncheon, which will be highlighted by four different food stations, including a risotto bar, a small plates table, a gourmet soup and salad table and a decadent sweets table. there will be a live raffle with three fabulous prizes, and you do not have to be present to win. twenty-three different vendors will be on site for a holiday shopping extravaganza. Please join the Volunteer Council and co-chairs Gloria nycek and Karla sherry on the 5th of november from 10 a.m. to 3 p.m. for this wonderful event. For ticket information and reservations please contact the Volunteer Council office at 313-576-5154.

allen

Holiday SpecialsUnwrap Your DSO for as little as $19

A CELTIC CHRISTMAS WITH NATALIE MacMASTERSun., Dec. 7 at 3 p.m. HOME FOR THE HOLIDAYS

Thu., Dec. 18 at 10:45 a.m. & 8 p.m. Fri., Dec. 19 at 8:30 p.m. Sat., Dec. 20 at 3 p.m.* & 8:30 p.m. Sun., Dec. 21 at 3 p.m.

Thomas Wilkins, conductor

THE SLATKIN ERA BEGINSThu., Dec. 11 at 8 p.m. / Fri., Dec. 12 at 8 p.m. Sat., Dec. 13 at 8:30 p.m. / Sun., Dec. 14 at 3 p.m.Leonard Slatkin, conductor

GARRISON KEILLORUnder the Mistletoe with the Detroit Symphony OrchestraTue., Dec. 16 at 8 p.m.

Philip Brunelle, conductor

CHRISTMAS WITH THE COUNT BASIE ORCHESTRADirected by Bill HughesThu., Dec. 4 at 8 p.m.

PARADISE JAZZ SERIES

WORLD MUSIC SERIES

CLASSICAL SERIES

SPECIAL EvEnt

(313) 576-5111www.detroitsymphony.com

POPS SERIES

PeRFoRmanCe / Vol. XVII / Issue II 11WWW.DetRoItsymPHony.Com

meet tHe musICIan

When alexander Hanna was 15, he got a taste of what it would be like to play with the Detroit symphony orchestra. He was attending Interlochen’s summer arts Camp and played his first side-by-side concert with members of the Dso in which he was partnered with bassist Rick Robinson. the following summer he returned, this time partnering with then-acting Principal Bass, stephen molina. By the end of that concert, Hanna knew that his goal was to win a full-time posi-tion with an orchestra, and the Dso would be at the top of his dream list. “they blew my mind,” said Hanna about the Dso bass section. “there were only four or five players, but their sound was so cool, so enormous. I was also impressed at how friendly and open and musical they were. I realized that I would just love to be one of them.” and now, alexander Hanna is not only one of them; he is the leader of their pack. In July, just two months after graduating from the Curtis Institute of music, Hanna was named Principal Bass of the Dso at age 22. His appointment was announced six years to the day after he performed with molina at Interlochen.

“It’s truly apparent that alex has worked hard to attain such a high level of perfor-mance,” said stephen molina. “He had a lot of talent then, and I remember his attentive-ness and his ease of playing. I’m very excited to have him here leading the section and to have him as a stand partner – again!” “It’s just like The Godfather Part III, where the nephew clearly had the skills to head the family,” joked Rick Robinson. “seriously, I’d like to think a few things we said back then sent alex in the right direction, but I really believe he was going to be a star anyway.” Hanna began his musical training on piano at age 4 influenced by his older sister, an accomplished pianist who now teaches in the Bowling Green, ohio area where they both grew up. although he was drawn to the instrument, he had to be prodded by his parents to practice, for which he is now grateful. By the time he was 10, Hanna knew that he wanted music to be his life’s work and embraced it wholeheartedly. He began playing cello and guitar, singing in musicals and operas, performing in jazz and rock bands. He went through the “stereotypical teenage rebellious stuff” and played metallica and other heavy metal in a garage band, but at the same time he was a member of the toledo youth orchestra in which he played cello. then at 13, he discovered the bass. “the real reason I love bass is the sound,” said Hanna. “But I also love the bass’s role in the orchestra. It’s a string instrument, but it’s radically different from the other strings. It’s just so versa-tile — jazz, rockabilly, bluegrass, rock — they all use stand-up bass.” Hanna’s enthusiasm for bass continued to co-exist with his love for piano during his teen years. During high school he performed a number of piano concertos, including one with the

toledo symphony orchestra. But he also performed a bass concerto with the toledo symphony, and it was the bass that ignited his passion for playing in an orchestra. With attendance at a conservatory a foregone conclusion, Hanna was eager to graduate from high school. through hard work and a shift from public to home schooling, he was able to graduate at age 17. He attended the Cleveland Institute of music for one year and then transferred to Curtis as a sophomore. For the last three summers, Hanna played in the Verbier Festival orchestra, an acclaimed international training orchestra in switzerland that performs with some of the world’s greatest conductors and guest artists. the orchestra also tours each october and has taken Hanna to europe, asia, austra-lia and across the united states. He just returned from his final Verbier tour where he performed in milan, lucerne, Berlin and madrid. During his summers in Verbier, Hanna became an avid mountain biker which he says is probably his second biggest passion after music. a lover of the outdoors, he also enjoys running, lifting weights and swimming. In august, Hanna relocated to the Detroit area with his girlfriend, a bassoonist. He has now fully embraced his new role and is living the dream that began at Interlochen seven years ago.

From Student to Leader…New Principal Bass, Alexander Hanna, Reunites with the DSO

By maRIlou CaRlIn

aleX WItH HIs FatHeR PRePaRInG FoR a BIKe RIDe Into tHe alPs.

aleX Hanna, tHen a stuDent, WItH Dso BassIst stePHen molIna at InteRloCHen In 2001.


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ntBH0677_DSym_8x10.5:nt0677 8/12/08 2:00 PM Page 1

ike your holidays with a twist? How about with a side of Irish cheer? or is traditional fare your favorite way to ring in the season? Whatever the answer, the Dso has a holiday concert to suit your taste this December. always among the most popular concerts of the calendar year, the Dso’s holiday performances offer the perfect way to celebrate the season with family and friends. this year there are offerings in each of the Dso’s music series – classical, pops, jazz, world music and young People’s Concerts – along with a return to lake Wobegone! the month-long Dso holiday season swings into gear when the Bank of america Paradise Jazz series presents “Christmas with the Count Basie Orchestra” (Dec. 4). arguably the hippest way to get your holiday boogie on, this one-night-only show will present cool yule tunes and big band standards performed in the inimitable style of “the Count.” a new Dso tradition began three years ago when the Detroit Symphony Civic Orchestra began collaborating with Taylor Ballet Americana to perform an annual production of The Nutcracker. the performances take place at the Detroit school of arts and feature an abridged “tiny tots” version as well as two full-length performances of the beloved ballet (Dec. 6 and 7). If celebrating Christmas in Ireland or scotland sounds like a dream come true, then you won’t want to miss the next best thing, “A Celtic Christmas with Natalie MacMaster” (Dec. 7). Known for alternating fiery jigs with sweet and melancholy Celtic airs, the virtuoso fiddler’s concerts are simultaneously joy inducing and tenderly moving. this performance is part of the northwest airlines World music series. the Dso’s classical concerts this December offer a special gift for Detroit

audiences. they mark leonard slatkin’s official conducting debut as music Director. “The Slatkin Era Begins” (Dec. 11 – 14) features one of the most thrilling oratorios of the classical repertoire, Carl orff’s Carmina Burana. the program also includes the World Premiere of A Different Soldier’s Tale by michigan native James lee III and Verdi’s La Forza del Destino overture. maestro slatkin has yet another gift in store when he conducts “Civic Holidays with Leonard Slatkin,” a free family Civic orchestra concert on Dec. 13. the Civic orchestra will perform excerpts from The Nutcracker and will be joined by five local piano students who will perform variations on 10 Christmas carols arranged by slatkin himself. lake Wobegone relocates to Detroit when Garrison keillor returns to orchestra Hall for “Under the Mistletoe with the Detroit Symphony Orchestra” (Dec. 16). Featuring holiday tales and stories told with the incomparable humor that is unique to Keillor’s “Prairie Home Companion,” this musical revue brings the spirit of Christmas home with wit and whimsy. the Dso wraps up its month-long holiday celebration with concerts that have become a tradition for Detroit-area families. the annual “Home for the Holidays” concerts (Dec. 18 – 21), part of the Dte energy Foundation Pops series, feature favorite carols and seasonal classical music. this year, the performances will be led by the Dso’s very own thomas Wilkins. a special family matinee performance of “Home for the Holidays” will take place on Dec. 20 and will include the popular young People’s Concerts “KidZone” activities in the atrium along with a visit from santa Claus. Don’t miss out on your chance to experience the holidays as they are meant to be — with the joy of music!

From the Count to Classical to Celtic:

A Month of Holiday Delights

L

DSO 2008 HOLIDAY CONCERTS

Bank of america Paradise Jazz seriesChristmas with the Count Basie Orchestrathu., Dec. 4 at 8 p.m.

Ford motor Company Fund Civic orchestra and taylor Ballet americanaThe Nutcracker (at Detroit school of arts)sat., Dec. 6 at 11 a.m. (tiny tots abridged version)sat., Dec. 6 at 7 p.m. (full version)sun., Dec. 7 at 2 p.m. (full version)

northwest airlines World music seriesA Celtic Christmas with Natalie MacMastersun., Dec. 7 at 3 p.m.

Chrysler Foundation signature Classical seriesThe Slatkin Era Beginsthu., Dec. 11 at 8 p.m. / Fri., Dec. 12 at 8 p.m. sat., Dec. 13 at 8:30 p.m. / sun., Dec. 14 at 3 p.m.

Civic youth orchestraCivic Holidays with Leonard Slatkina FRee Family Holiday Concert!leonard slatkin, conductorsat., Dec. 13 at 11 a.m.

special eventGarrison keillor: Under the Mistletoe with the DSOtue., Dec. 16 at 8 p.m.

Dte energy Foundation Pops seriesHome for the Holidaysthu., Dec. 18 at 10:45 a.m. and 8 p.m.Fri., Dec. 19 at 8:30 p.m. / sat. Dec. 20 at 3 p.m.*sat., Dec. 20 at 8:30 p.m. / sun., Dec. 21 at 3 p.m.

*special matinee performance includes KidZone activities for children

By maRIlou CaRlIn


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

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

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4421 Woodward Ave Detroit, MI 48201 313.832.5700

TheWhitneyO N W O O D W A R D

Eggs. Overture Easy.Sunday Brunch at The Whitney.

Make your Sunday easy. Let us treat you to 15% savings on our elegant Piano Brunch before any Sunday DSO concert* 11am-2:30pm, just a few blocks north of Orchestra Hall.

Check out all of our pre-concert dining packages at www.thewhitney.com

2008 Metro Times “Best Pre-Theater Dinner.”*Please show DSO ticket for discount.

N ot long ago — 1999 to be exact — the Detroit Symphony Orchestra educated about

60 young musicians annually through its Civic Orchestra, a training ensemble founded in 1970 for high school and college orchestral musicians. What a difference nine years can make. Today, the DSO’s Civic Youth Ensemble program (CYE) trains 700 students each year ranging in age — 550 in CYE and 150 in the Power of Dreams String Music Project. Participants in CYE hail from throughout southeast Michigan and range from elementary age to college graduate students. There are 10 ensem-bles in total, including three orchestras, four jazz bands, a chamber ensemble

program, a wind symphony and a jazz combo program. This tremendous expansion has been made possible by many generous indi-vidual donors, corporations and founda-tions who have given directly to the education program. In addition, the program took a giant leap this year with the launch of the Power of Dreams String Music Project, a groundbreaking program that targets younger children, in grades 3 through 5 who have limited or no access to instrument education. The program, the result of a generous gift from Honda, is already enjoying tremen-dous success with 150 students partici-pating in just the first year. “The DSO has stepped up to the plate and filled in the gap that has been left by the dwindling number of music

By Marilou Carlin Photographs by Joe Crachiola

Changing Lives Through MUSIC EDUCATION


education programs in our schools,” said Charles Burke, DSO Director of Education and conductor of the Civic Orchestra. “We are providing remark-able opportunities for all young musicians, even those lucky enough to have a school music program or private lessons, and we are continuously looking even further ahead toward building and changing the community’s cultural landscape.” Among the opportunities that CYE students enjoy are weekly rehearsals with CYE conducting staff; three concerts performed annually at the Max M. Fisher Music Center (see sidebar for schedule); sectional training with DSO musicians, CYE mentors and renowned local jazz artists; tickets to DSO concerts; and master classes or rehearsals with such major music stars as Midori, Itzhak Perlman, Regina Carter, Herbie Hancock, Thomas Wilkins, Chick Corea and Peter Oundjian. Plus, CYE jazz students will enjoy a new benefit this season. Each of the Civic Jazz ensembles will perform prior to Bank of America

Paradise Jazz Series concerts. These “Civic Jazz Live!” performances will take place in The Music Box and will allow the groups to be seen and heard by all of the dedicated jazz fans attending Paradise Jazz concerts. The Civic Jazz program has also created three 7-piece Jazz Combos to give students the experience of performing in a small group, a significant part of Jazz training since it allows them to learn the more advanced intrica-cies of the art form, such as improvisation, that are difficult to pick up when there is a larger student-to-teacher ratio. Additionally, students who play in a chamber-like setting tend to become better mentors and teachers in the future. Meanwhile, the students enrolled in the Power of Dreams program are taking weekly group lessons taught by DSO faculty musicians and Wayne State University faculty on the campus of WSU. All of these students will perform in two “Power of Dreams Nights,” and the more advanced students will participate in CYE’s newest ensemble, the Civic String Orchestra. Additionally, private lessons with DSO musicians will be made available to the top students in the program. Power of

Dreams students will also enjoy “Inspiration Days” in which DSO members perform in recitals at WSU. And finally, all participants receive a “Power of Dreams Card,” which students can use to redeem up to three pairs of complimentary tickets to DSO concerts. The Power of Dreams program was made possible by a $1 million grant from Honda and

additional funding from several other foundations. Also making the program possible is Shar Products Company, a leading musical string instrument retailer. Shar has offered complimentary

rentals of string instruments to students (based on need), and the rest of the students are receiving generous rental discounts. While these programs have already proven the DSO’s commitment to filling the community’s need for affordable training opportunities, the Orchestra


now has a powerful new ally in its bid to become the country’s top symphony for music education. The DSO’s new Music Director, Leonard Slatkin is a long time advocate for music education and has an impressive resume in this arena. He founded the Saint Louis Symphony Youth Orchestra and has worked with student orchestras across the United States and abroad. He also reached out to younger musicians and music teachers through the National Symphony Orchestra’s American Residencies program and regularly addresses and mentors public and private school students of all ages. Additionally, he is the founder and director of the National Conducting Institute, an advanced career development program for rising conduc-tors, and is the Arthur R. Metz Foundation Conductor at Indiana University’s Jacobs School of Music and the Distinguished Artist in Residence at the American University. Maestro Slatkin has wasted no time in getting involved with the DSO’s educa-tional initiatives. He quickly signed on to work with CYE and is actually conducting the Civic Orchestra, the most advanced of the three youth symphonies, in two free family concerts this season. The first, “Civic Holidays with Leonard Slatkin” on Dec. 13 at 11 a.m., is a holiday concert that will include Slatkin’s own variations on 10 Christmas carols arranged for piano and string orchestra. Slatkin originally wrote

the arrangements for his son, Daniel, to play with his middle school orchestra. He wrote the pieces because he felt there was a shortage of music for piano and chamber orchestra and wanted student pianists to have the chance to play with other musicians. The works are suitable for students from the second to eighth

grades and yet they are still sophisticated and technically challenging. In the Civic concerts, the piano parts will be played by five finalists who will be selected during a competition for middle school piano students living in Southeast Michigan. The project is a partnership between the DSO and the local chapters of the Michigan Music Teachers Association (MMTA). For more infor-mation or to get involved, please contact your local MMTA branch or log onto www.detroitsymphony.com. In addition to working with CYE, Slatkin has also had a major impact on exposing Detroit-area young people outstanding classical music through the National City Young People’s Concert (YPC) series. This year, he has invited artists appearing on the DSO’s classical series to also perform at select YPC concerts, introducing the DSO’s younger audiences to the greatest musicians performing. The first of these special concerts will take place on Nov. 22 and will feature the percussion virtuoso Evelyn Glennie. “The thing about presenting to kids is that they are so open-minded, their imagination has no limits,” said Glennie. “It’s impor-tant that concerts for children present really interesting repertoire. My hope is to get kids curious enough to want to see the orchestra again, maybe even want to play an instrument.” Later in the season, Slatkin himself will conduct a YPC performance (Jan. 10) and will be

joined by a trio of celebrated artists: Edgar Meyer on double bass, Bela Fleck on banjo and Zakir Hussain on tabla. Slatkin believes that music education, in all its forms, has the power to enhance the quality of one’s life as an adult. “Music is all around us, in elevators, shops, on the radio … you name it,” he said. “But, as Leonard Bernstein once said, ‘people hear it, but they don’t listen to it.’ Music education reminds us of the value in the aural experience. As we develop and increase the role of the DSO in this area, it is our hope that future generations will not be passive listeners, but active participants in the arts experience.”


SPECIAL EVENTS

ACES (Association of Civic Ensemble Supporters)Thanksgiving Day FundraiserWatch Detroit’s thanksgiving Day Parade at the max m. Fisher music Center!thu., nov. 27 at 8 a.m.Parade begins at 10 a.m.

The Nutcracker featuring the Civic Orchestra and Taylor Ballet Americana sa t., Dec. 6 at 11 a.m. for tiny tots

(abridged version)sat., Dec. 6 at 7 p.m.sun., Dec. 7 at 2 p.m.Dsa Ford theater for the arts auditorium

The Honda Power of Dreams String Music ProjectFinal Semester Performancessun., Dec. 21 at 7 p.m.sun., apr. 19 at 7 p.m.

Cinco de Mayo Festival Concert featuring the Civic Philharmonicsun., may 3 at 2 p.m.Clark Park, mexicantown

2008-09 Civic Youth Ensemble Performance Schedule

CIVIC ORCHESTRA CONCERTS Meet the most advanced of the CYE symphonies! (Performances in orchestra Hall unless otherwise noted).

Symphonie fantastiquePeter oundjian, conductorCharles Burke, conductor sat., nov. 1 at 3 p.m.

Civic Holidays with Leonard SlatkinFREE FAMILY CONCERT!leonard slatkin, conductorsat., Dec. 13 at 11 a.m. New World SymphonyCharles Burke, conductor sun., Feb. 22 at 3 p.m.at the macomb Center for the Performing artssun., mar. 1 at 3 p.m. in orchestra Hall

FREE FAMILY CONCERT!leonard slatkin, conductorsat., apr. 25 at 11 a.m.

Saint-Saëns Organ SymphonyCharles Burke, conductornorah Duncan IV, organsat., may 2 at 3 p.m.

CIVIC EXPERIENCEA music festival atmosphere in which multiple Civic Youth Ensembles perform at staggered starting times throughout the Max M. Fisher Music Center.

Fall Civic Experience I: Sun., Nov. 16the music Box at 6 p.m. — Jazz Band IIallesee Hall at 7 p.m. — Civic Chamber ensemblesorchestra Hall at 7:30 p.m. — sinfonia and Philharmonic Fall Civic Experience II: Sun., Nov. 23the music Box at 6 p.m. — Jazz Band Iallesee Hall at 7 p.m. — Civic Jazz Combosorchestra Hall at 7:30 p.m. — string orchestra and Wind symphony Winter Civic Experience I: Sun., Mar. 15the music Box at 6 p.m. — Jazz Band IIallesee Hall at 7 p.m. — Civic Jazz Combosorchestra Hall at 7:30 p.m. — sinfonia and Philharmonic Winter Civic Experience II: Sun., Mar. 22the music Box at 6 p.m. — Jazz Band Iallesee Hall at 7 p.m. — Civic Chamber ensemblesorchestra Hall at 7:30 p.m. — string orchestra and Wind symphony Spring Civic Experience I: Sun., May 3the music Box at 6 p.m. — Jazz Band Iallesee Hall at 7 p.m. — Civic Chamber ensemblesorchestra Hall at 7:30 p.m. — string orchestra and Philharmonic Spring Civic Experience II: Wed., May 6the music Box at 6 p.m. — Jazz Band IIallesee Hall at 7 p.m. — Civic Jazz Combosorchestra Hall at 7:30 p.m. — sinfonia and Wind symphony

CIVIC jAZZ LIVE!Enjoy performances by Civic Jazz Ensembles in The Music Box prior to the Bank of America Paradise Jazz Series concerts.*

jazz Band I (prior to earl Klugh)Fri., nov. 7 at 6 p.m.

Civic jazz Orchestra (prior to Christmas with the Count Basie orchestra)thu., Dec. 4 at 6 p.m.

Civic jazz Combos (prior to Phil Woods, sophie milman)thu., Jan. 8 at 6 p.m.

jazz Band II (prior to John scofield)Fri., Feb. 20 at 6 p.m. Civic jazz Orchestra (prior to Blue note anniversary tour)Fri., mar. 13 at 6 p.m. Civic jazz Combos (prior to Dianne Reeves )thu., apr. 9 at 6 p.m. Civic jazz Orchestra (prior to mingus Dynasty Band)thu., may 7 at 6 p.m.

*presented in collaboration with the Detroit International Jazz Festival

Presenting Sponsor:


Charles Dutoit Recently appointed artistic Director and Principal Conductor of the Royal Philharmonic orchestra as well as Chief Conductor and music advisor of the Philadelphia orchestra, Charles Dutoit regularly collaborates with the world’s pre-eminent orchestras and soloists. He has conducted the major orchestras of the world, includ-ing Berlin, Vienna, munich, amsterdam, london, new york, Boston, Cleveland, los angeles, Chicago and san Fran-cisco. He has also recorded extensively for Decca, Deutsche Grammophon, emI, Philips, CBs and erato. His more than 175 recordings have garnered over 40 awards and distinctions around the world. For 25 years (1977 to 2002), Dutoit was artistic Director of the montreal symphony orchestra, a dynamic musi-cal partnership recognized the world over. since 1990, he has been artistic Director and Principal Conductor of the Philadelphia orchestra’s summer festival at the saratoga Performing arts Center in upstate new york. From 1991 to 2001, Dutoit was music Director of the orchestre national de France with whom he has toured exten-sively on the five continents, and in 1996, he was appointed music Director of the nHK symphony orchestra (tokyo) with whom he toured in europe, the united states, China and southeast asia. He is now music Director emeritus of this orchestra. When still in his early 20s, Dutoit was invited by von Karajan to lead the Vienna state opera. He has since conducted at Covent Garden, the metropolitan opera in new york, Deutsche oper in Berlin and teatro Colón in Buenos aires. In 1991, Charles Dutoit was made Honorary Citizen of the City of Philadel-phia; in 1995, Grand officier de l’ordre national du Québec; in 1996, Comman-deur de l’ordre des arts et des lettres by the government of France; and in 1998, he was invested as Honorary officer of the order of Canada, the country’s high-est award of merit.

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

Thomas Wilkins, Resident ConductorNeeme Järvi, Music Director Emeritus

PRoFIles

DutoIt

Preferred series sponsor

Classical seriesDutoit’s Sheherazade

Friday, october 24 at 8 p.m. saturday, october 25 at 8:30 p.m.

sunday, october 26 at 3 p.m.

Charles Dutoit, conductor Yuja Wang, piano

Claude Debussy Petite suite (1862-1918) en bateau orch. Henri Büsser Cortège menuet Ballet

Sergei Prokofiev Piano Concerto no. 2 in G minor, op. 16 (1891-1953) andantino scherzo: Vivace moderato Finale: allegro tempestoso Yuja Wang, piano

In t er mIssIon

Nikolai Rimsky-korsakov Sheherazade, op. 35 (1844-1908) la rgo e maestoso – allegro non troppo (the sea and sinbad’s ship) lento – allegro molto

(the tale of Prince Kalendar) andantino quasi allegretto (the young prince and the princess) allegro molto (t he festival at Bagdad, the sea, the ship

goes to pieces on a rock)

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

natural Herb Cough Drops – Courtesy of Riccola usa, Inc.Photographing or taping of Dso concerts is prohibited.

the Dso can be heard on the Dso, Chandos, london, RCa and mercury Record labels.


PRoGRam notes

WanG

Yuja Wang at age 20, yuja Wang has established herself as one of the most significant artists of her generation. Born in Beijing

in 1987, Wang began piano at the age of 6 in China. she eventu-ally enrolled at the Central Conservatory of music (Beijing) studying with Profes-sors ling yuan and Zhou Guangren. In 2003,

Wang performed Beethoven’s fourth concerto with the tonhalle orchestra in Zurich, switzerland with David Zinman conducting. two years later, she replaced Radu lupu at the last moment, perform-ing Beethoven’s fourth concerto with the national arts Centre orchestra conducted by Pinchas Zukerman. Wang was immediately re-engaged to perform Chopin’s first concerto in June and has been invited back every season since. that year, she also performed with the Baltimore, Grand Rapids and new Jersey symphony orchestras. In 2006, she made her debuts with the new york Philhar-monic, the Houston, san Francisco and Chicago symphonies, and the nHK symphony orchestra in Japan. In september of 2006, she performed Ravel’s G major concerto with the san Francisco symphony under michael tilson thomas and returned in april 2007 to perform Beethoven’s second concerto with Charles Dutoit. Wang collaborated further with Dutoit at both the Chicago and nHK symphonies where she made her debuts performing Prokofiev’s second piano concerto to great acclaim. In January 2007, Wang toured the netherlands with the st. Petersburg Phil-harmonic and maestro yuri temirkanov performing tchaikovsky’s first piano concerto. For the past four years, Wang has attended the Curtis Institute of music in Philadelphia as a student of Gary Graff-man. she is a recipient of the prestigious 2006 Gilmore young artist award.

Petite Suite (achille-) ClauDe DeBussyB. 22 aug. 1862 in st. Germain-en-laye, France D. 25 march 1918 in Paris orchestrated by HenRI BüsseR (1907)

The orchestra version premiered on 7 Nov. 1907 in Paris, with Camille Chevillard conducting.

Scored for piccolo, 2 flutes, 2 oboes, English

horn, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, percussion (cymbals, tambourine, triangle), harp and strings. (Approx. 14 mins.)

Debussy began writing the Petite Suite at the end of his stay at Villa Medici, a residency connected with winning the prestigious Rome Prize in 1884. It was during this time that Debussy began his association with symbolist poets and painters Paul Valéry, André Gide and Stéphane Mallarmé. It is with these symbolist artists that Debussy is correctly associated, not with the impression-ists such as Monet and Cezanne as is often mistakenly claimed. Debussy was initially indifferent to the impressionists, but later rebuked that label when it was applied to his creative work, objecting that impres-sionism was the “least appropriate term possible” for his music. While Debussy orchestrated piano works by satie and other composers, he left the orchestration of his own Petite Suite to another, Henri Büsser. In 1907, Debussy was working on a number of time-consuming projects (primarily Images and Children’s Corner) that captured his attention and, thus, he simply did not have time to orchestrate the Suite himself. He had already estab-lished his compositional reputation with successes such as Prélude à l’après-midi d’un faune (1895) and his operatic master-piece Pelléas et Mélisande (premiered 1902). In addition to Nocturnes (1901) and La Mer (1905). the orchestration of the Petite Suite further built the composer’s repertoire for orchestra, and it is no coincidence that Debussy made his conducting debut the following year

(1908) presenting his own works. the first two movements of the Suite set out an initial contrast of ideas that are then blended together at the return of the opening. “en bateau” (on a ship) begins with evocative string and harp glissandi supporting a delicate flute melody. after repeating this theme, Debussy presents a contrasting idea in the strings and brass. While these textures initially seem at odds, Debussy melds the two together to close the movement. In the second movement, “Cortège” (procession), the composer again juxta-poses two ideas — a celebratory open-ing and a rhythmically shifting middle section — later intermingling them in a reprise. the “menuet” gets underway after a short introduction with the primary melody in the violins and features a contrasting section led by the bassoon and oboe. the last movement, “Ballet,” again juxtaposes two different ideas, but here a middle waltz section emerges gradually. When the piece repeats the opening and thus signals the approach-ing synthesis, listen for how the waltz tune interrupts and takes over the texture.

DSO SHOP @ THE MAX RECOMMENDS:

Debussy, Petite suite: Jean martinon conducting the orchestre national de l’oRtF, emI 65240.

Piano Concerto No. 2 in G minor, Op. 16 seRGeI PRoKoFIeVB. 23 april 1891 in sontsovka, ukraineD. 5 march 1953 in moscow

Premiered August 23/September 5, 1913, in Pavlovsk, Russia with Aleksandr Aslanov conducting and the composer as soloist.

Scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, percussion (snare drum, bass drum, cymbals, tambourine), timpani and strings. (Approx. 31 mins.)

Prokofiev composed his second piano concerto while still a student at the very traditional St. Petersburg Conservatory. His studies there seemingly had little


impact on his initial progress as a composer, although he did make important connections and met several of his lifelong friends, including the composer Nikolay Myaskovsky. The premiere of his second piano concerto caused a minor scandal, and seeing himself as an unorthodox innovator, Prokofiev described the contro-versy with delight in his autobi-ography. While the majority of the audience hissed and shouted insults after the first performance, the composer bowed and then audaciously played an encore. This further polarized the audi-ence into those condemning the work and its composer and those acclaiming the genius of both. the piece heard in these concerts is that which Prokofiev reconstructed from memory in 1923, as the original manuscript did not survive a fire during the Russian revolution. Given that he had already performed the piece many times, the reconstruction was accom-plished quickly, and the composer used the opportunity to revise some of the orchestral writing and make other slight alterations. If the art of writing a classical concerto is understood as a fine balance between the soloist and the orchestra, the first movement of this work tilts most of its considerable weight onto the shoulders (arms, hands and fingers) of the pianist. the incredibly virtuosic solo section (or cadenza) of the Andantino is sufficiently foreboding as to make this one of the least performed of Prokofiev’s concertos. many consider it near impossible. Designed to showcase the composer’s own considerable pianistic skills, the solo part presents all of the important themes in the first movement and expands upon and combines these themes in the aforementioned central cadenza. the orchestra finally joins forces with the pianist to close the move-ment, ending with a soft echo of the opening theme. the pianist similarly drives the Scherzo by providing a constant flurry of notes that do not cease until the final chord. a slower menacing pattern introduces the weighty third movement. Doing little to brighten this despondent mood, the Intermezzo features loud clashing dissonances that could be considered hallmarks of Prokofiev’s style. the great Russian pianist sviatoslav Richter must have been referring to the entrance of

the soloist when he claimed that this movement evoked the image of a dragon swooping down and devouring innocent children. the Finale begins with the soloist and orchestra together, creating a shifting rhythmic surface that once again calls upon the virtuosity of the pianist who eventually takes over with the primary thematic material. this frenetic activity is eventually calmed by the woodwinds and strings which introduce a contrast-ing theme that is once more taken over by the pianist. then, just as the piece sounds like it might be coming to a

close, Prokofiev inserts another massive cadenza that slowly builds rhythmic intensity until it provides a shimmering surface for more thematic play. after dwindling down once more, there is a sudden surge in the orchestra, throw-ing the listener back into the opening material which presses forward to a final tense chord and the dramatic close.


Prokofiev, Piano Concerto no. 2: yundi li (piano), seiji ozawa conducting the Berlin Philharmonic orchestra, Deutsche Grammophon, B0010175.

Ad#1-DSO Performance Magazine (NY Philharmonic) First Proof of Ad Due: 10/08 Ad due to DSO: 10/10 Size: Half Page Island (4 5/8 x 7 7/16”) Color: 4c Ad Runs: 10/24-11/23/08

Call or Click For Tickets! 734.764.2538 | www.ums.org

2008 09UMS130th Season

New York PhilharmonicLorin Maazel music directorSAT, MAR 7 | 8 PM and SUN, MAR 8 | 7 PM [NOTE TIME]Hill Auditorium

PROGRAM SAT 3/7Mendelssohn A Midsummer Night’s Dream Overture (1826)Schumann Symphony No. 4 in d minor, Op. 120 (1841)Mussorgsky Pictures at an Exhibition, arr. Ravel (1874/ arr. 1922)

PROGRAM SUN 3/8Berlioz Roman Carnival Overture (1843-44)Tchaikovsky Suite No. 3 in G Major, Op. 55 (1884)Stravinsky The Rite of Spring (1913)

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

The Saturday performance is sponsored by

The Saturday performance is hosted by Main Street Ventures.

Funded in part by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.

Media Sponsors Detroit Jewish News, WGTE 91.3 FM, and Observer & Eccentric Newspapers.


Sheherazade nIKolay anDReyeVICH RImsKy-KoRsaKoVB. 18 march 1844 in tikhvin, RussiaD. 21 June 1908 in lyubensk, Russia

Premiered December 17, 1889 in St. Petersburg by the Russian Symphony Concerts series

Scored for piccolo, 2 flutes, 2 oboes (one

doubling on English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, percussion (bass drum, cymbals, snare drum, suspended cymbal, tam tam, tambourine, and triangle), timpani, harp and strings (Approx. 47 min.)

Rimsky-korsakov is known for creating unexpected sonic colors and textures through novel combinations of instruments. His innovative approach brings to life the exotic colors and sonic dialects of the legend of Sheherazade, already a tantalizing tale for a composer inclined to program music (a kind of sonic storytell-ing). The legend is told in the book 1001 Arabian Nights and describes how a powerful and bitter Sultan, betrayed by his first wife’s unfaithfulness, chose to put each subsequent bride to death after their first night together. But his latest wife, Sheherazade, cleverly diverted the Sultan by weaving fantastic and elaborate stories that she would refuse to finish until the next evening. The Sultan, so taken by her tales, kept delaying her execution until a thousand nights had passed and he finally gave up his cruel idea. this dramatic tale invited Rimsky-Korsakov to tell a fantastic story in sound that breaks with conventional form and establishes a powerful, emotional connection with the listener. the tone poem begins with a dramatic and harsh unaccompanied melody tradi-tionally associated with the sultan and the dangerous predicament of shehe-razade. this theme contrasts dramati-cally with the delicate solo violin part that represents the bride sheherazade. these two themes return many times throughout the four movements. the first movement, “the sea and

sinbad’s ship,” gets underway with an embellished variant of the sultan’s theme in the strings and horn. then, as the sheherazade theme is reintroduced, the movement’s true goal is revealed, to overcome the stark contrast of the introduction and interweave these two themes together. to introduce the storyteller, “the tale of Prince Kalendar” begins with the increasingly elaborate violin theme. the second movement is a loosely organized collection of themes meant to evoke the exotic landscape. Rimsky-Korsakov gives each of the successive repetitions a new orchestral tint in a gradual crescendo of forces. appropriately enough, the third move-ment, “the young Prince and the Princess,” begins with a lush, romantic theme in the strings that becomes ever more passionate. the return of the open-ing is interrupted by the sheherazade theme and a review of the movement’s narrative melodies. We are forcefully reminded of the power of the sultan and the seduc-tive cleverness of sheherazade as the juxtaposition of the two main themes begins the finale, sounding not once but twice, and each time with added rhythmic intensity and virtuosity on

the violin. as the movement’s subtitles imply, “the Festival at Bagdad, the sea, the ship Goes to Pieces on a Rock,” this movement is a collection of dramatic images. a new theme in the flute begins to take the listener on a new journey, but then the magic carpet ride swerves backwards in time, returning to earlier themes drawn from the work as a whole. We hear snippets from each of the previ-ous movements, using ever more inven-tive re-orchestrations. Rimsky-Korsakov eventually returns to the sheherazade theme, as simple and transparent as it began, yet this time the solo violin line ends by soaring into the stratosphere. Far below, the sultan’s theme is recalled slowly with calm, and the work appro-priately ends softly acknowledging that sheherazade’s tales have once again saved her for another day.


Rimsky-Korsakov, Sheherazade: Charles Dutoit conducting the montreal symphony orchestra, Decca B0007716.

Program notes by Philip Duker, Lecturer in Music Theory at the University of Michi-gan School of Music, Theatre & Dance.

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Classical seriesFleisher Plays Mozart

thursday, october 30 at 8 p.m. Friday, october 31 at 8 p.m. (Classics unmasked Program)

saturday, november 1 at 8:30 p.m. sunday, november 2 at 3:00 p.m.

Peter Oundjian, conductor Leon Fleisher, piano

Béla Bartók Dance suite (1881-1945) moderato allegro molto allegro vivace molto tranquillo Comodo Finale: allegro

Wolfgang Amadeus Mozart Piano Concerto no. 12 in a major, (1756-1791) K. 414 (385p) allegro andante allegretto Leon Fleisher, piano

In t er mIssIon

Sergei Rachmaninoff symphonic Dances, op. 45 (1873-1943) non allegro andante con moto (tempo di valse) lento assai — allegro vivace

the Bartók Dance suite will not be performed on the Friday Classics unmasked program.

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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 begin-ning 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.

ounDJIan




Baroque SpectacularFri., Feb. 27 at 8 p.m.

Season FinaleFri., June 5 at 8 p.m.

Friday Classics Unmasked Join CBC Radio host tom allen for our other unmasked concerts this season. through conversations with the guest artists and post-concert Q&a sessions, unmasked concerts bring you closer to the music!

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PRoGRam notesDance SuiteBéla BaRtóKB. 25 march 1881 in nagyszentmiklós, HungaryD. 26 september 1945 in new york

First performed on November 19, 1923 on a concert conducted by Ernst von Dohnányi.

Scored for 2 flutes, piccolo, 2 oboes,

English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 trombones, tuba, timpani, celeste, percussion, harp, piano and strings. (Approx. 16 mins.)

The East Europeans, who lived for a long period under the Habsburgs, were just as dissat-isfied with being part of their kingdom as the Hungarians were with their place in the Austrian Empire. The various peoples often disagreed with one another as well as with their rulers, but Béla Bartók sought ways to pay symbolic, musical tribute to the brotherhood of these peoples, to the love for freedom that each had nurtured for so long and that some of them temporarily achieved in the years between the World Wars. In 1923 he composed an important secular piece, the Dance Suite, in which all of the melodies are origi-nal but are cast in the styles of most of the regions where he had collected folk songs. the occasion for this composition was the 50th anniversary of the merger of the two cities on the right and left banks of the Danube, Buda and Pest, into one called Budapest. a music festival was part of the observance, and the authori-ties, whom Bartók disliked intensely, commissioned new works from him as well as from Kodály and Dohnányi, the other leading Hungarian composers, who also opposed the government. Dohnányi, who was a political opportun-ist, responded with a neutral Festival Overture; Kodály with the intensely nationalistic Psalmus Hungaricus for voices and orchestra; and Bartók with

this Dance Suite. all three works were first performed under the direction of Dohnányi on november 19, 1923. In 1925, Bartók transcribed the Dance Suite for piano. Bartók was careful to list it among his works, but whether or not he played it in public as a piano piece is uncer-tain. szöllösy did not give it a separate number in his catalog of Bartók’s works. the Dance Suite has six connected movements, five dances and a finale with a recurring dance tune used as a ritor-nello or interlude between most of the movements and makes a strong reap-pearance in the Finale. the first three movements, Moderato, Allegro molto and Allegro vivace, form a large, fast section that gradually accelerates. In the first movement, Moderato, Bartok attempts to create an arabic character. the move-ment has a syncopated, basic melody. the ritornello, the connecting link of the various movements, begins with four muted violins that introduce a melody that has a strong magyar (Hungarian) quality. the second movement, also strongly magyar, has a vigorous dance theme that the violins introduce. this time the clarinet brings in the ritornello link. the Allegro vivace third movement, also with a distinctly magyar feel, has a bright quality; the flute and the bassoon articulate its theme. the fourth move-ment is a nocturnal slow movement, Molto tranquillo, using the arabic style that the woodwinds introduce. the penultimate movement, Comodo, has striking rhythms influenced by Rumanian folk music. the Finale: Allegro develops all of the preceding themes of the five movements with the exception of the fourth movement, and it combines them with the ritornello.


Bartók, Dance suite: sir Georg solti conducting the Chicago symphony orchestra, Decca B0007109.

Leon Fleisher Recipient of the 2007 Kennedy Center Honors and subject of the 2006 oscar-nominated short documentary Two Hands: The Leon Fleisher Story, legendary pianist leon Fleisher is cele-brating his 80th year with leading musical organizations around the world. In addi-tion to these perfor-mances, he marked his birthday in July as soloist and conductor of an all-mozart program with the Baltimore symphony followed by concerts with the Chicago symphony at the Ravinia Festival and with the Boston symphony at tanglewood. He will also be heard in his annual Carnegie Hall appearance and with such orchestras as the san Francisco symphony under marek Janowski, the new york Philhar-monic under loren maazel, the london Philharmonic with Vladimir Jurowski, at lincoln Center and in Washington, DC. at the age of 9, Fleisher began studies with the great German pianist artur schnabel, made his new york Philharmonic debut at 16 and was the first american to win the prestigious Queen elisabeth of Belgium Competition in 1952. He made touchstone recordings with George szell and the Cleveland orchestra and for a dozen years he appeared in all the world’s major music centers to great acclaim. In 1965, he was struck with a neurological affliction that rendered two fingers of his right hand immobile. For almost four decades, Fleisher continued to share his special gifts through performances of the reper-toire for left-hand, as a conductor and teacher, never giving up the hope that he would play again with both hands. through special treatments, he has been playing with both hands again in recent seasons and making critically acclaimed recordings. at the Kennedy Center Honors last year, he was recog-nized as “a consummate musician whose career is a testament to the life-affirming power of art.”

FleIsHeR

Don’t miss Argentine pianist

INGRID FILTER performing

BEETHOVEN’S PIANO CONCERTO NO. 2

jan. 30 & 31

www.detroitsymphony.com


Concerto for Piano and Orchestra No. 12, in A major, k. 414WolFGanG amaDeus moZaRt B. 27 January 1756 in salzburgD. 5 December 1791 in Vienna

First performed March 11, 1783 in Vienna, with the composer serving as soloist and conductor.

Scored for solo piano, 2 oboes, 2 horns and

strings. (Approx. 26 mins.)

In 1781, Mozart journeyed to Vienna from the stifling atmo-sphere of the Archbishop of Salzburg’s court to establish his brilliant career as composer, pianist and teacher. In the winter of 1782-83, he composed three piano concertos. On December 28, 1782, he wrote to his father in Salzburg, “These concertos are a happy medium between the too easy and the too difficult. They are very brilliant, pleasing to the ear and natural without being empty. There are passages here and there in which only connoisseurs will find satisfaction, but at the same time, the ignorant cannot fail to be pleased, though without knowing why.” An idealistic commentator on Mozart’s work, Alfred Einstein read in this letter an elevated moral posture in which Mozart determines to make things difficult for himself but easy for listeners. The more practical commentators see him rather as preparing to reach a broader audience. a newspaper announcement on January 15, 1783 shows mozart certain of success and impatient to circulate his new works even before he has performed them. “Herr Kappellmeister mozart hereby informs the eminent public of the availability of three recently composed clavier concertos,” it said. these three concertos, which can be played by a large orchestra with wind instruments as well as by quartet — that is two violins, viola and cello — will appear at the beginning of april, well copied and supervised by himself, available only to those who have subscribed.” Because he hoped to sell the three concertos for home performance with string quartet,

he scored this concerto lightly for either an orchestra consisting of two oboes, two horns, and strings or, as it is some-times performed, by a string quartet. mozart did give a series of concerts as planned during lent that spring when the opera and other theaters were closed by decree until easter, and it was a great success. on march 11, 1783, when mozart played this concerto, the emperor was in his box and demonstrated his approval with what was reported to be “unprecedented, unanimous applause.” the Concerto in a major, K. 414, is the second of the set of three, and it is a work of distinctive richness and beauty that lends itself to greatly varied characterizations. Critics have found in it qualities as different as melancholy lyricism and sunny tyrolean gaiety. In performance, too, individual interpreta-tions vary over a very wide range. the Concerto’s first movement, Allegro, is especially remarkable for the extraordinary wealth of its themes. mozart lavishes a large number of melo-dies on a musical structure that conven-tionally required and usually received no more than two. there are actually six major subjects in the first movement, two of which appear for the first time in the development. Charles Rosen, in his study The Classical Style, notes that here, “mozart uses melodies at once so complex and so complete that they do not bear the weight of [further] develop-ment.” the slow movement, Andante, is one of mozart’s greatest lyrical master-pieces. It is written in a solemn sonata form, and its main subject is taken from a Johann Christian Bach overture. J.C. Bach, who was mozart’s childhood friend and teacher, had died on January 1, 1782. the finale, Allegretto, a rondo, is a brilliant movement of unambiguous good spirits, no less genial for being gentle, with a refrain built on three motifs. mozart’s contrapuntal complexi-ties blend in effortlessly because of the delightfully light exterior. throughout the concerto are cadenzas mozart wrote from which the soloist may choose.


mozart, Piano Concerto no. 12: maurizio Pollini, soloist and conductor, the Vienna Philharmonic orchestra, Philips B0010994.

Symphonic Dances, Op. 45seRGeI RaCHmanInoFFB. 1 april 1873 in oneg in novgorod, Russia D. 28 march 1943 in Beverly Hills, California

First performed on January 3, 1941 by the Philadelphia Orchestra with Eugene Ormandy conducting

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, alto saxophone, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, piano, harp and strings. (Approx. 35 mins.)

Sergei Rachmaninoff was one of those unusually versatile musi-cians who appear in history from time to time, one of the supreme pianists of his era, an admired composer and a conductor good enough to have been twice offered the directorship of the Boston Symphony Orchestra. Despite his busy life as a touring performer, Rachmaninoff found or made the time to write a great deal of music: four piano concertos, three symphonies, three operas, a large number of other works in many forms and a larger number of songs and piano pieces. He left Russia in 1917 and made his home in the United States for the rest of his life. Rachmaninoff had been educated at the Conservatories of St. Petersburg and Moscow, and the great melodic power and the rich, characteristically Russian sonority of his music made him one of the most popular compos-ers in the 20th century. Rachmaninoff wrote this set of three Symphonic Dances, his last work, during the summer of 1940 while spending time on new york’s long Island. He completed the orchestration that october, and on January 3, 1941, eugene ormandy and the Philadelphia orchestra performed it for the first time. the composer had originally thought of entitling the movements Noon, Twilight and Midnight, but in a letter he wrote to ormandy before the first performance,


he referred to the score simply as “a symphonic piece called Fantastic Dances.” In the end, he abandoned all descriptive designations and adopted the simple Symphonic Dances. He and the great choreographer michael Fokine discussed the possibility of using the score for a ballet, but Fokine’s death in 1942 prevented any further development of this idea, and in the next year, Rach-maninoff, too, died. When composing the music, however, Rachmaninoff had been much more concerned with the symphonic aspect of this work than with the dance, and it is, in fact, rather more like a “dancing symphony.” the first movement, Non Allegro, is the most rhythmic of the three, although the second is a waltz, Andante con moto (Tempo di valse). the third begins with a slow introduction, Lento assai, then shifts to Allegro vivace. the ancient hymn Dies irae (“Day of Wrath”) from the latin mass for the Dead is woven into the music in a way that suggests a medieval dance of death.

These program notes are copyright Susan Halpern, 2008.

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Marek janowski marek Janowski has been artistic Director of the Rundfunk-sinfonieor-chester Berlin since 2002, and in 2005 he was also appointed musi-cal Director of the orchestre de la suisse Romande in Geneva. He is in regular demand as a guest conductor, working on a regular basis in the united states with the Pittsburgh symphony orchestra (where he holds the otto Klem-perer Guest Conducting Chair) as well as the Boston and san Francisco symphony orchestras, the Philadelphia orchestra, and, in europe, with the orchestre de Paris, the orchester der tonhalle Zürich, the Budapest Festival orchestra, the Danish national symphony orchestra in Copenhagen and the nDR-sinfonieor-chester in Hamburg. Born in 1939 in Warsaw and educated in Germany, Janowski’s artistic path led him from assistant positions in aachen, Cologne, Düsseldorf and Hamburg to his appointment as General music Director in Freiburg im Breisgau (1973-75) and Dortmund (1975-79). He has since appeared regularly as guest conductor in all the great opera houses in the world. Janowski stepped back from the opera scene in the 1990’s to concentrate on symphonic work. Between 1984 and 2000, as musical Director of the orches-tre Philharmonique de Radio France, Janowski created an orchestra of interna-tional renown, commonly regarded, then, as the leading orchestra in France. He also held the position of Chief Conductor of the Gürzenich-orchester in Cologne (1986-90), and he was First Guest Conduc-tor of the Deutsche symphonie-orchester Berlin (1997-99). From 2000 to 2005, Janowski served as music Director of the orchestre Philharmonique de monte-Carlo, and from 2001 to 2003 was Chief Conductor of the Dresdner Philharmonie. Janowski’s discography includes a number of opera and symphonic cycles, many of which have been awarded international prizes. His recording of Richard Wagner’s complete tetralogy ‘The Ring Cycle’ with the staatskapelle Dresden (1980-83) remains one of the most distinguished and renowned recordings made of this work.



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Classical seriesMozart & Beethoven

thursday, november 6 at 8 p.m. Friday, november 7 at 10:45 a.m.

saturday, november 8 at 8:30 p.m.

Marek janowski, conductor Baiba Skride, violin

Wolfgang Amadeus Mozart symphony no. 30 in D major, (1756-1791) K. 202 (186b) molto allegro andantino con moto menuetto Presto

Violin Concerto no. 3 in G major, K. 216 allegro adagio Rondo: allegro Baiba Skride, violin

Intermission

Ludwig van Beethoven symphony no. 2 in D major, op. 36 (1770-1827) adagio molto — allegro con brio larghetto scherzo: allegro allegro molto

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




Baiba Skride still in her mid-twenties, over recent seasons Baiba skride has appeared with the sinfonieorchester des Bayerischen

Rundfunk, munich Philharmonic, Gewandhausor-chester leipzig, tonhalle orchester, orchestre de Paris, london Philharmonic orchestra, Philhar-monia orchestra, melbourne

symphony, Residentie orkest and the united states orchestras of Philadelphia, Houston, Cincinnati and st. louis. In 2008-09 she will tour with the Phil-harmonia orchestra under Charles Dutoit starting in munich followed by two tchai-kovsky concerto performances with the City of Birmingham symphony orchestra and her fellow latvian andris nelsons. this season also sees skride return to Japan with the nagoya Philharmonic, the stockholm Philharmonic, the malmö symphony orchestra and to her native latvian national symphony orchestra. after her success in spring 2008 with minnesota orchestra and osmo Vänska, she will return to the u.s. to perform with the symphony orchestras of oregon, Charlotte, utah and Kansas City. Focusing on the forthcoming mendelssohn anniversary year, skride plays the Double Concerto with her long-established duo partner and sister, lauma skride, with the tapiola sinfo-nietta, the norrköping symphony and Viva sinfonia as well as with the Zurich Chamber ochestra. Recital appearances include a return to the Rheingau musik-festival, Dortmundís Konzerthaus and london’s Wigmore Hall. skride has been recording for sony Classical since 2004. Her highly praised CDs include a first duo CD with her sister (schubert, Beethoven, Ravel) as well a solo violin disc (ysaye, Bartok, Bach) and two concerto discs (mozart, schubert, michael Haydn and shostakovich, Janacek). skride was born into a musical latvian family in Riga where she began her stud-ies, transferring in 1995 to the Conserva-tory of music and theatre in Rostock. In 2001, she won the 1st prize of the Queen elisabeth Competition. skride plays the stradivarius “Wilhelmj” violin (1725) which is generously on loan to her from the nippon music Foundation.

PRoGRam notes

skride

Symphony No. 30, in D major, k. 202WolFGanG amaDeus moZaRt B. 27 January 1756 in salzburgD. 5 December 1791 in Vienna

Composed and first performed in Salzburg in 1774.

Scored for 2 oboes, 2 horns, 2 trumpets and strings. (Approx. 15

mins.)

In the summer of 1773, Mozart left provincial Salzburg for the capital city, Vienna, a great artistic center that was then crowded with important composers. There he undoubtedly encountered the new kind of symphony that joseph Haydn had begun to write, the passionate music of a time of storm and stress. On his return home, Mozart composed several symphonies with a fullness and freedom of expression that he had only rarely approached before then. These new works were perhaps also influenced by the poetic strain in the composi-tions of Michael Haydn, joseph’s younger brother who was Mozart’s colleague in Salzburg. this Symphony in D Major, completed on may 5, 1774, is one of them as are Symphonies No. 28 and 29. the numbers of mozart’s symphonies were assigned not by mozart, but by the editors of the first attempt at a complete chronologi-cal edition of them published between 1879 and 1882. We now know that no. 28 was probably written after no. 30. While nos. 28 and 29 are monuments of the composer’s youth and have become greatly popular, no. 30 has been in relative obscurity even though it was published before the 18th century was over. the reason is perhaps that mozart packed such extraordinary emotional content into the others that conductors preferred to invest their energy in them rather than in this light-toned diversion. the four movements start off brightly and vigorously, Molto Allegro. next comes a short, graceful Andantino con moto for strings followed by a Minuet with a contrasting central section, also

for strings alone. the final Presto theme resembles that of the first movement.


mozart, symphony no. 30: sir Charles mackerras conducting the Prague Chamber orchestra, telarc 80186.

Concerto for Violin and Orchestra No. 3, in G major, k. 216WolFGanG amaDeus moZaRtB. 27 January 1756 in salzburgD. 5 December 1791 in Vienna

Composed and first performed in Salzburg in 1775.

Scored for solo violin, 2 flutes, 2 oboes, 2 horns and strings.

At the height of his career in Vienna, Mozart was admired at least as much for his brilliant piano playing as for his composi-tions (thought then to be only incidental to a virtuoso’s work as a performer). In his youth, Mozart had played the violin in public too and was the concertmaster of the Archbishop’s court orches-tra in Salzburg, but he always preferred the piano. His father, Leopold Mozart, a violinist of some distinction, who had published an important instruction book in 1756 that was widely used for at least 50 years thought his son could become Europe’s finest violinist. He always regretted his son’s abandonment of his own preferred instrument. Nevertheless, Mozart wrote concerti and other music featuring the violin. He gave it a prominent part in chamber music and in some orchestral serenades and divertimentos which include long concerto-like solo movements for violin. mozart probably composed his five violin concertos for one of his colleagues. However, we really know no more of this concerto’s history than like those that immediately followed it, it was writ-ten in salzburg by 1775. as the young concertmaster of the orchestra of the archbishop of salzburg, mozart probably composed these concertos for himself


or for one of his colleagues to play at the archiepiscopal court concerts. When antonio Brunetti, a notorious dullard who was the archbishop’s favorite, performed them, mozart replaced entire movements to suit Brunetti’s taste and skill. most of mozart’s violin concertos, offer charms and delights of all kinds, a departure from the grave and dramatic qualities that appear in his later piano concertos. the violin concertos are most remarkable for their fluency of discourse, mastery of rhetoric, richness of ideas and subtlety of wit. this early work shows the influence of the many trips mozart took with his father where he was exposed to and learned from musical styles from across the continent. His violin concertos bear traces of all of the austrian, German, Italian and French courts he visited as a child. the Allegro first movement borrows melodic material and perhaps something of its mood from the opera mozart composed earlier that same year, Il rè pastore (The Shepherd King). the main theme launches forth with a regal, satisfied air. the movement is set in the traditional sonata form with orchestral ritornellos alternating with the exposi-tion, development and recapitulation of the violin’s themes. Before the recapitu-lation, the soloist has a recitative-like figure. an extended solo cadenza precedes the coda. the slow cantabile melody of the second movement, Adagio, has a profundity the young composer had never attained before, and it has only the very slightest of accompaniments. like the first movement, the Adagio includes a solo cadenza at the move-ment’s end. a remarkable Rondo: Allegro with some unusual contrasting episodes, like a mock-courtly dance and a simple folk-like tune perhaps of Hungarian origin, follows. these are thought to be musical references to some special interest or specific event in salzburg around the time when the music was written. Instead of the conventional reca-pitulation, mozart simply breaks off in mid-phrase after giving the last word not to the solo violin, nor even to the strings, but instead to the winds, who, until this point, sturdily fill in harmonies and do not have a prominent role.


mozart, Violin Concerto no. 3: Baibe skride (violin), Hartmut Haenchen conducting the Carl Philipp emanuel Bach Chamber orchestra, sony 97749.

Symphony No. 2, in D major, Op. 36luDWIG Van BeetHoVenB. 16 December 1770 in BönnD. 26 march 1827 in Vienna

Composed in 1801-02 and first performed on April 5, 1803

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns,

2 trumpets, timpani and strings. (Approx. 34 mins.)

Beethoven wrote Symphony No. 2 in mid-1802. It is one of his most joyous, serene compositions, yet it was written during one of the saddest times of his life. The year he composed this symphony, Beethoven left Vienna for about six months at his doctor’s orders to live in the quiet country village of Heiligenstadt. On October 8, shortly before returning to the city, he wrote a will in the form of a letter to his two brothers. It was a touching statement in which he admitted the horror and pain of the terrible realization that he was losing his hearing. “How could I possibly admit an infirmity in the one sense which ought to be more perfect in me than in other people, a sense that I once possessed in the highest perfection, a perfection such as few in my profession enjoy or have ever enjoyed! When I am with other people a terrible terror seizes me and I fear that my condition will be noticed. What a humiliation it was when someone standing next to me heard a flute in the distance or heard a shepherd singing and I heard nothing. I would have ended my life — but my art held me back. to leave the world until I have brought forth everything that I feel within me is impos-sible. I hasten, with joy, to meet death. If it should come before I have been able to develop all my artistic powers and would wish it to come later, even so I should be happy, for it would free me from a condi-tion of endless suffering.” [abridged] a few days later, he wrote a little more, even more drowned in complete hope-lessness yet with internal fortitude. Beethoven completed the symphony in the late fall. a major concert on april 5th of the following year introduced Beethoven’s

Symphony No. 1 and the first perfor-mance of three important works: his Symphony No. 2, Piano Concerto No. 3 and an oratorio, Christ on the Mount of Olives. He intended other vocal works to be performed too, but there simply was not time for everything. the day of the concert was also the only day of rehearsal. at five o’clock that morning, Beethoven began his long day by sending for a student to help copy some parts that instrumentalists still lacked. the rehearsal continued for many hours, and in mid-afternoon a meal was brought in for all the perform-ers so they could continue rehearsing. the concert began at six o’clock, and it was only then that the friend whom Beethoven had asked to turn pages for him in the Piano Concerto discovered that many were totally blank, and others were nearly undecipherable. Beethoven had completely planned the solo passages but had not had time to write out the part. His friend later recalled that Beethoven signaled to him at the ends of the “invisible passages, and my ill-concealed anxiety about missing the turning points amused him greatly.” the concert was well attended, but the new works did not meet with complete success. Critics did recognize, however, that the Symphony No. 2 showed an urge toward novelty and surprise; one critic announced that it confirmed his feeling that “Beethoven, in time, can effect a revolution in music, as mozart did.” now, it is as difficult to associate Beethoven’s Symphony No. 2 with musical revolution as with the terrible torment he endured in Heiligenstadt. Its first movement opens with a long, slow introduction, Adagio molto, that is at once dramatic, lyrical and even gracious, but not tragic. Beethoven organized the main section of the movement, Allegro con brio, on a much larger scale than was common at the time in what we now think of as a classical manner. the second movement, Larghetto, consists of beautiful long themes, and the third is a true Scherzo (Italian for jest or joke). the symphony closes with a high-spirited finale, Allegro molto.


Beethoven, symphony no. 2: Chris-toph von Dohnányi conducting the Cleveland orchestra, telarc 80187.


2008-2009 Season Media Sponsors

Christopher Taylor, PianoFriday, October 3

Garrick Ohlsson, Piano Saturday, March 21

Yefim 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.

www.ComeHearCMSD.org

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

Pacifica 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

Detroit Symphony Orchestra2008 – 2009 Season

PRoFIles

KluGH

Paradise jazz Series

Earl klugh

thursday, november 7 at 8 p.m.

Earl klugh, guitarLenny Price, saxophones

David Spradley, keyboardsAl Duncan, keyboards

Al Turner, bassRon Otis, drums

Detroit Symphony Civic OrchestraTerry Herald, guest conductor

selections to be announced from the stage.

there will be a 15-minute intermission.

the Dso does not appear on this program.

Please join us for a pre-concert show Civic jazz LIVE!

featuring Civic Jazz Band I in allesee Hall at 6 p.m.

Earl klugh “Grammy®-winning guitarist earl Klugh’s career of more than three decades includes over 200 compositions, more than 30 full-length albums, host-ing and producing his own events, work in film and numerous world tours. With the Detroit native’s first full-production release in nine years, The Spice of Life, Klugh follows his Grammy®-nominated Naked Guitar (his 11th nomination) with a statement every bit as compelling. this new, critically acclaimed Klugh collection touches on the many inspirations of Klugh’s lifetime, playing through with the authority and impact of a greatest-hits album and, at the same time the fresh discovery of a journeyman still in the prime of his creativity. Klugh reflects, “I wanted to create something that would encompass a wide spectrum of directions: solo, standards, originals, electronic, acoustic and orchestral. I wanted to make a recording that would reflect where I am at this moment in my life and something I am proud to present to my fans.” Klugh has recorded 22 top ten chart-ing records — four of them #1 — on Billboard’s Jazz album charts. as a composer and songwriter, Klugh’s credit appears on recordings by aretha Frank-lin, Jamie Foxx, Roberta Flack, mary J. Blige, al Jarreau and many others. He has been invited to play as a guest artist by such diverse peers and admir-ers as Jimmy Buffett, stevie Wonder, miles Davis and Brenda Russell and has recorded legendary collaborative albums with George Benson and Bob James. Klugh serves as host and executive producer of his annual “Weekend of Jazz at the Broadmoor” event featur-ing world-renowned jazz artists at the award-winning Broadmoor Resort in Colorado springs, Co. march 2009 marks Klugh’s 6th annual Weekend of Jazz.



CIVIC jAZZ LIVE!

Civic jazz Band IThe Music Box

6 p.m.presented in collaboration with the Detroit International jazz Festival


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PRoFIles

World music series

Song and Dance Ensemble of West AfricaBamba Dembele, Artistic Director

sunday, november 9 at 3 p.m.

Bamba Dembele – artistic Director and Djembe (drum)Kadidia Diabate – lead singer and dancerlountan Kouyate – lead singer and dancermiriam Diarra – Chorus singer and dancerassitan traore – Chorus singer and dancer

modibo Diawara – Cora (african harp)Bourama Diabate – ngoni (african guitar)

Kelemonzon Diabate – ngoni Bass (african bass guitar)Djiguiba Barry – Flute

mory Kouyate – Balafon (xylophone)lanse Diabate – Balafon (xylophone)

salif sissoko – talking drummamoudou Diakite – Dancer & Djembe (drum)

Bandjoukou Kone – Djembe (drum)makan Kone – Djembe (drum)

Soubala Molea: a romantic instrumental about lovers and the joys of experiencing nature together under the stars, the moon and the softness of the night.

Aloubin: a wedding song. the Godmother presents her daughter and sings for marriage and asks the doun doun (percussion) players to play music for the festivities.

Ibiri Bembaloudan: to improve your community and the world, one must always do better than your family has already done before you.

Sinkola: everyone must respect the person with power and this person must not abuse the privilege of his power.

Djou Djou Nama: When farmers are laboring in the fields and working in a line, the young girls of the village are in a line behind them singing this song and playing the Doun Doun and Djembe to encourage and inspire the men to work for nama, who is the ideal of good work and efficiency.

InteRmIssIon

Douga: a flute and balafon solo to give warriors the courage to be as aggressive in war as a Douga (vulture).

Lombalia: It is important for two people to get to know each other so they can understand one another and enjoy mutual respect in their relationship.

Kousan: an instrumental saying no matter how well you do in life, one must always strive to do better for the happiness of others around you.

Djefrile: a song to speak of the importance of kindness to the youngest children who are as fragile as small birds.

Sorobale: We are all in God’s grace. He protects and loves us. When life is difficult it is God’s way of helping us to grow and improve ourselves.

Kononi: a song for families paying tribute to the importance of our parents in our lives. When we lose them we have lost all. our families will help us, but they can never replace our parents.

The Song and Dance Ensemble of West Africa the countries of West africa have united behind their rich musical traditions to form this incredible and unique ensemble. Comprised of singers, dancers and musicians from the various cultures of West africa, this company combines the traditional rhythms, instruments, folklore and mythology of nations such as togo, senegal, Guinea, Ghana, Benin, the Ivory Coast and mauritania. the ensemble paints a colorful and exciting picture of the oral and musical rites of these diverse peoples. the group was formed in 1970 in West africa under the support of the govern-ment to revive folkloric music forms, fostering the arts and culture of the indig-enous people. the group proved strong as it carried on these traditions, surviving defections, the rivalries of other musical ensembles by rival factions in the region and even the unfortunate deaths of some founding members. What has allowed the group to carry on so successfully is their unique blending of traditional West african melodies and musical styles with the musical stylizations of the Western World. In the words of artistic Director Bamaba Dembele, “We play mandingo music: it’s part mali, part Guinea, part Cote d’Ivoire; in short, it is West african music.” the song and Dance ensemble of West africa has gained great notoriety around the world and in their respective home countries for their unique fusion of contemporary themes with traditional folklore, song and dance. their music now combines various african music styles — Congolese souk-ous nudges West african mandingo, reggae meets latin. While many have heard and followed the success of various ensembles from this area of the world, the song and Dance ensemble of West africa set themselves apart with their unique style which has an authentic yet contemporary edge, making them as hip as any international big band.



PRoFIles

Classic Broadway

thursday, november 13 at 10:45 a.m. and 8 p.m. Friday, november 14 at 8:30 p.m.

saturday, november 15 at 8:30 p.m. sunday, november 16 at 3 p.m.

Erich kunzel, conductor / kathleen Brett, sopranoSteven Morgan, tenor / Michael Lowe, baritone

Wayne State University Chorale, Norah Duncan IV, director

arr. Richard Hayman Broadway Pops opener

George M. Cohan George m. Cohan medley arr. james kessler

George Gershwin “’s Wonderful” from Funny Face

George Gershwin “mine” from Let Them Eat Cake arr. Norman Leyden “swanee” from The Jazz Singer

kurt Weill “mack the Knife” from The Threepenny Opera arr. Steven Reineke

Cole Porter “let’s Do It” from Paris arr. Robert Russell Bennett

Cole Porter “night and Day” from Gay Divorcee arr. Robert Russell Bennett

Richard Rodgers “oh, What a Beautiful morning” from Oklahoma arr. Robert Russell Bennett

Richard Rodgers “Honey Bun” from South Pacific arr. Robert Russell Bennett

Richard Rodgers “Climb ev’ry mountain” from The Sound of Music arr. Robert Russell Bennett

In t er mIssIon Leonard Bernstein selections from West Side Story arr. jack Mason

Frederick Loewe “I’ll Go Home With Bonnie Jean” from Brigadoon arr. Robert Russell Bennett

Frederick Loewe “I Could Have Danced all night” from My Fair Lady arr. Robert Russell Bennett

Mitch Leigh “the Impossible Dream” arr. Bob krogstad from The Man of La Mancha

Robert B. Sherman medley from Mary Poppins arr. Bruce Healey Chim Chim Cher-ee Jolly Holiday a spoonful of sugar let’s Go Fly a Kite supercalifragilisticexpialidocious step In time

Marvin Hamlisch “one” from A Chorus Line arr. Ralph Burns

john kander selections from Chicago arr. Michael Gibson and Erich kunzel

Erich kunzel erich Kunzel‘s distinguished career is personified by his 2006 national medal of arts, the highest honor given to artists by the united states government. It is awarded to those who have made outstanding contributions to the excellence, growth, support and avail-ability of the arts in the u.s. Hailed by the Chicago Tribune as “the Prince of Pops,” Kunzel celebrated the 50th anniversary of his professional conducting debut in the 2007-2008 season and was inducted into the american Classical music Hall of Fame in september 2008. since 1977, Kunzel has recorded more than 85 albums, with sales of more than 10 million, on the telarc label with the Cincinnati Pops orchestra. more than 55 of these albums have appeared on the top ten Billboard Charts. In fact, he was named Billboard magazine’s Clas-sical Crossover artist of the year for an unprecedented four consecutive years. He has won several Grammy awards, the distinguished Grand Prix Du Disque, and the sony tiffany Walkman award for “visionary recording activities.” Kunzel’s career with the Cincinnati Pops began in 1965. the orchestra ha performed in Carnegie Hall, Radio City music Hall, the Grand ol’ opry and at the Blossom music Festival. In 2005, Kunzel led a celebrated tour to China, the first appearance of a pops orchestra in that country, highlighted by concerts in the Great Hall of the People in Beijing. In august 2008, Kunzel and the Cincinnati Pops returned to China to participate in the opening Festivities of the summer olympics. since 1991, Kunzel has annually led the national symphony orchestra on the lawn of the u.s. Capitol in PBs-tV’s internationally televised memorial Day and Fourth of July concerts. In addition, he has conducted the Cincinnati Pops orchestra on many special holiday programs on PBs television over the last decade.

KunZel

PoPs seRIes




kathleen Brett Canadian soprano Kathleen Brett is cherished by audiences in america and europe not only for the beauty of her

tone and stylistic instinct, but also for her natural stage presence and dramatic skills. Brett performs with many opera companies in the americas and europe. among

them: san Francisco, los angeles, Dallas, new york (City opera), london (Covent Garden) and antewerp (Vlaamse opera). she enjoys collaborations with many of the leading conduc-tors and directors of our day. also an accomplished concert singer, Brett has appeared with every major Canadian orchestra and with many of the finest in the united states. appearing regularly at the festivals of Ravinia (Chicago), meadow Brook (Detroit) and Riverbend (Cincinnati), she is also featured in the Cincinnati Pops Grammy-nominated recording (telarc) of meredith Willson’s The Music Man in the role of marian the librarian under erich Kunzel. In recital, Brett toured the u.K. with the aldeburgh Connection of toronto with whom she has recorded the Brahms and schumann liebeslieder. Recent engagements include the role of Blanche in The Dialogues of the Carmelites with the Vancouver opera, musetta in La Boheme with the edmon-ton opera, and susanna in Le Nozze di Figaro with the manitoba opera as well as concert appearances with both the Cincinnati Pops and the toronto symphony orchestra. Brett looks forward to performances of Handel’s Messiah with the national arts Centre orchestra in ottawa under trevor Pinnock, with a national CBC broadcast on Christmas Day, as well as a series of concerts and new year’s eve in an all Gershwin program with the Boston Pops under Keith lockhart. she will perform the role of Birdie Hubbard in mark Blitz-stein’s acclaimed Regina with Pacific opera Victoria later this season.

Michael Lowe michael lowe began his vocal career at the age of 10 when his mother suggested that he audition for the local

children’s choir (the Wichita Community Children’s Choir) in his hometown of Wichita, Kansas. From ages 11 to 18, lowe busied himself with musi-cals, plays, choirs, piano lessons and

anything else that fulfilled his hunger for artistic achievement. However, the majority of his interests and talent was in vocal music. as a senior in high school, lowe was invited to perform in miami as a vocal finalist in the arts Recognition and talent search (aRts Week) where he trained with industry professionals and was later recognized as a Presiden-tial scholar in the arts. lowe attended college at the univer-sity of Cincinnati, College Conservatory of music, and earned his BFa in musical theatre. While at CCm, he studied clas-sical voice as well as musical theater and was fortunate enough to perform in several productions. a few of his univer-sity credits include John Jasper in The Mystery of Edwin Drood, Bobby in Briga-doon and Franklin shepard in Merrily We Roll Along. During the summers of his college years, lowe worked at regional theaters such as music theatre of Wichita and the muny in st. louis. He began his career as a concert soloist as a junior in college when he was invited to perform with erich Kunzel and the Cincinnati Pops orchestra at Riverbend as a baritone soloist during their summer season. Following this debut perfor-mance, lowe has continued to perform with maestro Kunzel in several concerts spanning much of north america includ-ing Cincinnati, Indianapolis, Vancouver and Chicago.

BRett loWe moRGan

Steve Morgan steve morgan is a versatile performer, comfortable performing Broadway stan-dards, contemporary R&B or German

lieder. morgan has performed with the toronto symphony, the naples Philhar-monic, the north Carolina symphony, the Indianapolis Pops and the Cincin-nati Pops. With the Cincinnati Pops, he

has appeared on the PBs Great Perfor-mances “Patriotic Broadway” special singing with tom Wopat and John schneider; soloed on the Disney/telarc CD Magical Musicals with “Heaven’s light” from The Hunchback of Notre Dame; and was featured at Carnegie Hall with the Flying Karamazov Brothers during the orchestra’s “april Fools’ Day Celebration.” this past summer, morgan joined the Cincinnati Pops in Beijing, performing during the cultural events of the summer olympics. morgan comes directly from the Broadway production of Mamma Mia, the smash hit musical from aBBa. Previously, he was seen in the original Broadway cast of Good Vibrations featur-ing the music of Brian Wilson and the Beach Boys. He has also toured nation-ally with The Full Monty and Seussical, the Musical and internationally with nederlander Worldwide entertainment under the direction of Wayne Cilento, visiting 20 countries in six months. His regional credits include Miss Saigon, Into the Woods, And the World Goes ‘Round… and Cinderella. morgan is a founding member of the a cappella group straight no Chaser. the youtube sensation, “12 Days of Christ-mas,” led to the group’s recent signing with atlantic Records, and the release of the CD Holiday Spirits. Prior to his move to new york, morgan lived in atlanta where he was a member of the RCa Records group ten2Five, recording with such artists as Keith thomas, Darryl simmons and Genn Rubin. a graduate of the Indiana university Jacobs school of music, he currently resides in Indiana with his wife, emily, and, in January, their baby girl.


Working in harmony…with the community.

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

At DTE Energy, we recognize that culture plays a vital role in the development

and aesthetic experience of a community. We also believe that being part of a

community is more than simply doing business there. It's about doing our part

to help these important institutions thrive. Through the DTE Energy

Foundation, helping to support the arts helps us “stay in tune” with

the communities we serve.

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

Buy your tickets now for

“HOME FOR THE HOLIDAYS”

Detroit’s favorite Christmas concert!

Call (313) 576-5111

or visit www.detroitsymphony.com

Wayne State University Symphonic Chorus the Wayne state university symphonic Chorus is a mixed ensemble made up of the 34-voice Wsu Concert Chorale and additional auditioned sing-ers from the Greater Detroit community. the Concert Chorale is a highly selective choral ensemble which performs litera-ture of the 16th through 20th centuries, including compositions with orchestra and works in contemporary formats. It has performed locally, regionally, nationally and internationally at american Choral Directors association (aCDa) conventions, music educators conferences and festivals throughout europe. the Wayne state university symphonic Chorus has performed with the Detroit symphony orchestra the Detroit symphony Civic orchestra, and at many local and regional choral festi-vals. the “Classic Broadway” concerts this weekend mark the chorus’s second performances with maestro Kunzel.

Norah Duncan IV norah Duncan IV is associate Chair and associate Professor of music at Wayne state university where he directs the Wsu Concert Chorale and the Wsu symphonic Chorus and coordinates many of the choral concerts presented by the Department of music. Duncan received a Bachelor of arts degree from the university of Detroit, a master of music degree from Wayne state univer-sity and a Doctor of musical arts degree from the university of michigan. as an organist, Duncan has performed extensively in both the united states and europe. Recently, he presented organ recitals throughout michigan and ohio and in Germany, Poland and australia. He was music director and principal organist for the Cathedral of the most Blessed sacra-ment for over 26 years, and in 1987 he was director of music for the visit of Pope John Paul II to Detroit. as a choral director, Duncan has presented concerts under the Cathedral Cultural series with the archdiocesan Chorus, and he has collaborated in concerts with many Detroit area choral ensembles. Duncan has prepared choruses for the Dso, the Detroit symphony Civic orchestra and the Grosse Pointe symphony orchestra. In 2004 and 2005, he directed the michigan youth Choral ensemble at Carnegie Hall.

Duncan has received the award for excellence for musical Direction from the american College theater Festival, the sr. thea Bowman award of the arch-diocese of Detroit, the spirit of Detroit award and the mother teresa Duchemin award for exemplary community service. In 2006, he became the first recipient of the Dso’s “Changing lives through music” award. In 2008, Duncan received the Wayne state university Board of Governors Faculty Recognition award for his contributions to academic excel-lence and scholarship.

©2008 Raymond James & Associates, Inc.


Ludovic Morlot the French musician ludovic morlot is quickly establishing a reputation as one of the leading conductors of his generation. already in great demand in north america, the 2008-09 season sees him return to the new york Philhar-monic and Chicago symphony as well as making his debut with the Cleveland and Detroit symphony orchestras. elsewhere, he will conduct for the first time the Dresden staatskapelle, Royal stockholm Philharmonic, tonhalle, BBC Philharmonic and Israel Philharmonic orchestras. He also returns to the Rotter-dam Philharmonic, City of Birmingham symphony and ensemble Intercon-temporain with whom he has a regular relationship. ludovic morlot is committed to working with young people and will be touring with the Verbier Festival and netherlands youth orchestras. Future debuts also include the Danish national Radio symphony, the atlanta symphony, the tokyo Philharmonic and a tour in Germany with the london Philharmonic orchestra and anne-sophie mutter. morlot has maintained a close working relationship with the Boston symphony orchestra since 2001 when he was the seiji ozawa Fellowship Conduc-tor at the tanglewood music Center. He was subsequently appointed assistant conductor for the orchestra and their music Director James levine (2004-07). He has conducted the orchestra in many public concerts, both in Boston and tanglewood, and will return in 2009-10. ludovic served as conductor in residence with the orchestre national de lyon under David Robertson (2002-04).



PRoFIles

moRlot

select series sponsor

Classical seriesEvelyn Glennie

Friday, november 21 at 10:45 a.m. saturday, november 22 at 8:30 p.m.

sunday, november 23 at 3 p.m.

Ludovic Morlot, conductor Evelyn Glennie, percussion

Claude Debussy “Ibéria” from Images (1862-1918) Pa r les rues et par les chemins

[through streets and lanes] le s parfums de la nuit

[the Fragrances of the night] le matin d’un jour de fête

[morning of a Feast-Day]

joan Tower strike Zones (b. 1938) Evelyn Glennie, percussion

Antonio Vivaldi Concerto in C major for Piccolo, (1678-1741) strings & Harpsichord F Vi no. 4 Arranged for Vibraphone allegro by Evelyn Glennie largo allegro Evelyn Glennie, vibraphone

In t er mIssIon

Sir Edward Elgar Variations on an original theme, op. 36, (1857-1934) “enigma” enigma: andante Variations: I. “C.a.e.” l’istesso tempo II. “H.D.s.- P.” allegro III. “R.B.t.” allegretto IV. “W.m.B.” allegro di molto V. “R.P.a.” moderato VI. “ysobel” andantino VII. “troyte” Presto VIII. “W.n.” allegretto IX. “nimrod” moderato X. “Dorabella - Intermezzo” allegretto XI. “G.R.s.” allegro di molto XII. “B.G.n.” andante XIII. “*** - Romanza” moderato XIV. “e.D.u.” – Finale




Leonard Slatkin conducts

Carmina BuranaDec. 11 – 14

For tickets,visit www.detroitsymphony.com


Evelyn Glennie Dame evelyn Glennie is the first person in musical history to successfully create and sustain a full-time career as

a solo percussion-ist. Glennie gives more than 100 performances a year worldwide, perform-ing with the greatest conductors, orches-tras and artists. For the first 10 years of her career, virtually

every performance she gave was in some way a first — the first time an orchestra had performed with a percussion soloist, the first solo percussion performance at a venue or festival or the world premiere of a new piece. Her diversity of collabora-tions has included performances with artists such as nana Vasoncelos, Kodo, Bela Fleck, Bjork, Bobby mcFerrin, emmanuel ax, sting, the Kings singers, the mormon tabernacle Choir and Fred Frith. Glennie has commissioned 150 new works for solo percussion from many of the world’s most eminent composers. she also composes and records music for film and television and has been nominated for a British academy of Film and television arts awards (BaFtas), the u.K. equivalent of the oscars. Glennie’s first CD, a recording of Bartok’s sonata for two Pianos and Percussion, won a Grammy in 1988, and she won a second Grammy in 2002 for a collaboration with Bela Fleck for sony Classical. Her 12th solo CD, Shadow Behind the Iron Sun (BmG Records), was based on a radical concept and has once again challenged people’s expectations about percussion. she has released 25 recordings to date. In 1993, evelyn was awarded the oBe (officer of the British empire). this was extended in 2007 to ‘Dame Commander’ for her services to music and, to date, she has received over 80 international awards. she is brimming with ideas to improve the experience for the audience and continues to redefine the very format of live performance itself.

PRoGRam notes

GlennIe

“Ibéria” from Images No. 2ClauDe DeBussy B. 22 aug. 1862 in st. Germain-en-laye, France D. 25 march 1918 in Paris

First performed on 20 Feb. 1910 at the Concerts-Colonne in Paris under the direction of Gabriel Pierné.

Scored for 3 flutes, one doubling as piccolo, 2 oboes, English horn, 3 clarinets, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (castanets, chimes, snare drum, tambourine, xylophone), celeste, 2 harps and strings.

The second of Debussy’s three orchestral “Images,” Ibéria (1905–08, full score 1910) is a triptych within a triptych — a three-movement picture, within a trio of such portraits. While the first of the series, Gigues (1913), is a portrait of Britain through its folk tunes and the last, Rondes de printemps (1910), celebrates the dawn of spring, in Ibéria Debussy shares a tableau of Spain. Though he had been exposed to Span-

ish music in Paris by composers such as Albéniz, Falla and others, Debussy himself had visited Spain only briefly to watch a bullfight. Still, the idiomatic gestures pres-ent in the three movements of Ibéria evoke colorful images of the peninsula from which it takes its name. Debussy was usually quite discreet with his percussion parts, but in Ibéria, he employs a greater variety by using castanets and the tambourine to add spanish flair. Passages that recall the sevillana and habañera conjure the flavors of regional dances, and carefully placed pizzicato strings suggest the fiery strums of the guitar. the entire piece exhibits a more obvious preoccupation with melodic motive than Debussy had shown to this point, expanding his compositional tools to include an effective musical pointillism. though the listener may recognize melodic and rhythmic repetitions, the music creates a vivid and continuously intoxicating landscape from a distance. the opening movement “Par les rues et par les chemins” (through streets and lanes) presents chaotic yet beautiful modal melodies that clash and fuse along the market streets. some of these vigorous melodies and rhythmic state-ments return in various forms throughout the piece. the second movement “Les

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

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parfums de la nuit” (the Fragrances of the night) is more subtly crafted, featur-ing a cante hando — an anguished song of typically narrow range and speech-like manner — and a slow, throbbing haba-ñera dance. the romance of the night fades as morning arrives with “Le matin d’un jour de fête” (morning of a Feast Day). Debussy spoke of his satisfaction with “the way [the movement] comes to life, with people and things waking up ... there’s a man selling water-melons and urchins whistling…” lively winds once again shrill their short motives over the succession of spanish sonic snapshots presented by the strings and percussion, pausing as a gypsy fiddler strolls by and, eventually, bringing the piece to an end with a triumphant shout of brass.


Debussy, Iberia: Jesus lopez Cobos conducting the Cincinnati symphony orchestra, telarc 80574.

Strike ZonesJoan toWeRB. 6 sept. 1938 in new Rochelle, ny

First performed in 2001 by Evelyn Glennie and the National Symphony Orchestra with Leonard Slatkin conducting.

Scored for solo percus-sion soloist, 2 flutes, one doubling on piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, timpani, percussion, celeste, piano and strings.

Strike Zones (2001), a concerto for percussionist and orchestra, is the product of a composer that The New Yorker praised as “one of the most successful woman compos-ers of all time.” joan Tower’s latest CD, which includes Made in America, a work premiered in all 50 states during its first season, received Grammy Awards for Best Classical Contemporary Composi-tion, Best Classical Album and Best Orchestral Performance (under the baton of Leonard Slatkin) in 2008. Her works range across instrumental and vocal genres, from small chamber compositions and a work for youth choir to major pieces for orchestra and wind band. She is likely best known for her five Fanfares for

the Uncommon Woman which celebrate women of bravery and have been performed by more than 500 different ensembles to date. the title Strike Zones refers neither to the military nor the game of baseball. Percussion instruments are, of course, most commonly “struck,” and in this piece tower composes for each percus-sion instrument or group as though it has its own personality, giving it time and space — or a “zone”— in which to pres-ent its unique “Dna.” Having originally composed the piece for evelyn Glennie, tower carefully sets each new episode to allow Glennie room to display both the instruments and her own spiritually musical voice. the surrounding orches-tra and accompanying percussionists create a zone of their own through which the soloist’s work is “amplified” and “extended.”

Concerto for Vibraphone and Orchestra in C major, R. 443 antonIo VIValDI B. 4 march 1678 in VeniceD. 27/28 July 1741 in ViennaaRR. eVelyn GlennIe

Scored for vibraphone, strings and continuo.

As the director of music for the Ospedale della Pieta, a home for orphaned female children in Venice, Vivaldi was responsible for the musical education of several generations of students. In this capacity, he composed more than 500 concertos; around 350 of these were for a solo instrument with over half for solo violin. The rest were penned for other melodic insruments, including the three concertos for the flautino of which R. 443 is a peer.

What Vivaldi meant when he scored for flautino is not especially clear. It is more likely that he intended the piece for a sopranino recorder than the small, end-blown flagolet that was popular at the time. By the late 18th century, both instruments had been replaced in europe by the transverse flute (an early version of our modern flute), and Vivaldi’s C major concerto for flautino was reprinted as a piccolo piece. alongside this, it was

common Baroque practice to perform music intended for one treble instrument (such as the violin or recorder) on other high instruments as well, and in this light, an arrangement for vibraphone might not be considered completely anachronistic. this highly technical piece certainly lends itself to virtuosic displays on any instrument. In his large body of solo works, Vivaldi set the standard for the three-movement (fast-slow-fast) concerto form as well as for the use of repeating interludes (ritornello) in the concerto’s flanking movements. In both the first and last movements of R. 443, he switches between virtuosic statements by the soloist (or groups of soloists) and recur-ring refrains by the full ensemble. the second movement is a graceful siciliana, a slow sicilian dance favored by many concerto composers of Vivaldi’s day, which requires a good degree of improvi-sation on the part of the performer.


Vivaldi, Concerto for Piccolo (Vibra-phone) and orchestra in C major, RV 443: sir neville marriner conducting the academy of st. martin-in-the-Fields, Decca B0006627.

Variations on an Original Theme, Op. 36, “Enigma”sIR eDWaRD elGaRB. 2 June 1857 in Broadheath, near Worcester, england D. 23 Feb. 1934 in Worcester

First performed on 19 June 1899 at St. James’s Hall in London with Hans Richter conducting.

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, snare drum, triangle), organ and strings.

Variations on an Original Theme (1898–99) is Elgar’s best known orchestral composition, a theme with 14 variations that has intrigued music enthusiasts for more than a century. His most ambitious composition at the time of its premiere, as well as his most successful, it was inspired by subconscious creativity at the end of a long day:


“In a little while, soothed and feeling rested, I began to play, and suddenly my wife interrupted by saying, ‘edward, that’s a good tune.’ I awoke from the dream: ‘eh! tune, what tune!’ and she said, ‘Play it again, I like that tune.’ I played and strummed, and played, and then she exclaimed, ‘that’s the tune.’ and that tune is the theme of the Variations.” elgar went on to characterize 13 of his closest friends through this theme. the 14th variation portrays the composer himself. the term “enigma” in the title refers both to the mystery of the persons he represented in each variation — origi-nally branded only by initials but now identified — and to an unknown theme that allegedly runs throughout the whole piece, but never in its entirety. It is of this second mysterious theme that elgar speaks when he says: “[I]t’s ‘dark saying’ must be left unguessed... further, through and over the whole set another and larger theme ‘goes,’ but is not played…. [t]he chief character is never on stage.” For more than a century, many have guessed as to what this hidden theme might be. theories range from the melo-dies “God save the Queen” and “auld lang syne” to the mathematical value of Pi (π) or some other encompassing, non-musical concept through which the work’s characters are linked. at this point in history, we might wonder if this piece’s deepest mystery will ever be discovered or if elgar took the secret to his grave. In either case, the composer has left an intriguing conundrum that will likely puzzle his fans for centuries to come. the movements, accompanied by brief explanatory notes written by elgar, include:

I. “C.A.E.” L’istesso tempo His wife, Caroline alice elgar: “[t]hose who knew C.a.e. will under-stand this reference to one whose life was a romantic and delicate inspiration.”

II. “H.D.S.- P.” Allegro Hew David steuart-Powell, a well-known amateur pianist: “His character-istic diatonic run over the keys before beginning to play is here humorously travestied in the semiquaver [sixteenth-note] passages.”

III. “R.B.T.” Allegretto Richard Baxter townsend, an amateur actor: “the Variation has a reference to R.B.t.’s presentation of an old man

in some amateur theatricals — the low voice flying off occasionally into ‘soprano’ timbre.”

IV. “W.M.B.” Allegro di molto William meath Baker: “[a] country squire, gentleman and scholar.... this variation was written after the host had, with a slip of paper in his hand, forcibly read out the [carriage] arrangements for the day and hurriedly left the music-room with an inadvertent bang of the door.”

V. “R.P.A.” Moderato Richard Penrose arnold, an amateur pianist and son of the poet matthew arnold: “His serious conversation was continually broken up by whimsical and witty remarks.”

VI. “Ysobel” Andantino Isabel Fitton, one of elgar’s viola pupils: “It may be noticed that the open-ing bar, a phrase made use of throughout the variation, is an ‘exercise’ for crossing the strings.”

VII. “Troyte” Presto arthur troyte Griffiths, an architect: “the uncouth rhythm of the drums and lower strings was really suggested by some maladroit essays to play the piano-forte; later the strong rhythm suggests the attempts of the instructor to make something like order out of chaos, and the final despairing ‘slam’ records that the effort proved to be in vain.”

VIII. “W.N.” Allegretto Winifred norbury, an easy-going friend: “Really suggested by an 18th century house. the gracious personali-ties of the ladies are sedately shown...a little suggestion of a characteristic laugh is given.”

IX. “Nimrod” Moderato augustus J. Jaeger, elgar’ best friend and a writer on music: “the variation bearing this name is the record of a long summer evening talk, when my friend discoursed eloquently on the slow movements of Beethoven, and said that no one could approach Beethoven at his best in this field, a view with which I cordially concurred.”

X. “Dorabella — Intermezzo” Allegretto Dora Penny, a close friend who had a stammer: “the pseudonym is adopted from mozart’s ‘Cosi fan tutte.’ the move-ment suggests a dance-like lightness.”

XI. “G.R.S.” Allegro di molto George sinclair, organist: “the varia-tion, however, has nothing to do with organs or cathedrals, or, except remotely, with G.R.s. the first few bars were suggested by his great bulldog Dan (a well-known character) falling down the steep bank into the River Wye....”

XII. “B.G.N.” Andante Basil nevinson, an amateur cellist: “the variation is a tribute to a very dear friend whose scientific and artistic attainments, and the whole-hearted way they were put at the disposal of his friends, particularly endeared him to the writer.”

XIII. “*** - Romanza” Moderato “the asterisks take the place of the name of a lady who was, at the time of the composition, on a sea voyage.” While elgar likely meant the lady mary lygon, who was sailing for australia at the time, it has also been speculated that he wrote this variation to portray Helen Weaver, to whom he had once been engaged.

XIV. “E.D.U.” — Finale edward elgar, “edu” was a fond name used by his wife: “Written at a time when friends were dubious and gener-ally discouraging as to the composer’s musical future, this variation is merely to show what e.D.u....intended to do.”


elgar, enigma Variations: leonard slatkin conducting the london Phil-harmonic orchestra, RCa 68087.

Notes by Jessica Getman, a Ph.D. student in musicology at the University of Michi-gan School of Music, Theatre & Dance.

LEONARD SLATkIN conducts the DSO

with

EDGAR MEYER, BéLA FLECk AND ZAkIR HUSSAIN

performing their

TRIPLE CONCERTO

jan. 9 -11

Call (313) 576-5111 for tickets

or visit

www.detroitsymphony.com


Downtown DetroitIn The Courtyard by Marriott

(across from the Ren Cen--corner of Brush & Jefferson)

313-223-3933

Voted “Best Menu” -The Detroit Free Press

“Award of Excellence” -The Wine Spectator

“Voted one of Michigan’s Top Ten Favorites”-The Zagat Guide

Casual, Fun & Delicious!

Southfield248-559-5985

Livonia734-953-7480

Donor and Friend Receptions 2009 Palm Beach • Naples • Sarasota

Florida

Join us at receptions for friends and donors of the Detroit Symphony Orchestra as we will be hosting events in

Florida during the Winter 2009. Let us know if we may look forward to seeing you in any of our host cities. Please contact Aja Grosvenor at 313-576-5082 or by email at [email protected].

Save the Dates!Jan. 17 – Jan. 25*

* Dates subject to change.

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Printing

Get that box of slides out of your attic!

Protect your family memories forever and enjoy them on your TV!

Professional 35mm slide scanning to DVD

Call (248) 582-9690

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DonoRs maKe tHe DIFFeRenCe

Foundations Bring Grandparents & kids to DSO Concerts among the many generous foundations that support the concert and educational activities of the Dso are two – who wish to remain anonymous – that subsidize the cost of tickets so that those with limited funds can attend concerts. one of these foundations underwrites the cost of tickets for grandparents and children to attend national City young People’s Concerts. the other underwrites the costs for seniors to attend sunday Classical series concerts. “We are so grateful that these founda-tion partners are making it possible for those with fixed incomes to attend Dso concerts,” said anne Parsons, Dso President and executive Director. “they under-stand the impact that experiencing great music has in uplifting and enhancing the lives of all people in our community, regardless of economic capabilities.” For more information on how foundations can subsidize the cost of tickets or to take advan-tage of these programs, contact ann Rock, Director of Foundation and Government Relations at (313) 576-5591 or [email protected].

BOARD SPOTLIGHT: Dr. and Mrs. Clyde Wu to those who spend a lot of time at the max m. Fisher music Center, the faces of Dr. Clyde Wu and his wife Helen are as familiar as those of musi-cians and staff. Dr. Wu, a longtime Board and executive Committee member, and Helen not only attend dozens of Dso concerts and events each year, but they also attend nearly every Civic youth ensemble perfor-mance and are often at Cye rehears-als. the couple is passionate about music education. Dr. Wu has headed the Board’s education Committee for many years, spearheading the growth of Cye and the Dso’s other education programs, while the couple regularly recruits talented new committee members. “For the past 10 years, we have not deviated from the Dso educa-tion program’s initial mission,” said Dr. Wu. “that is, to instill and inspire a lifelong love of music in the young; to emphasize adherence to the discipline of beauty; and to develop good team spirit. the Dso intends to give this gift to all who champion music as their beacon as they travel through life.”

Get to know the Maestro at 2008-09 Annual Fund Launch leonard slatkin’s first concerts with the Dso as music Director in December offer the perfect time to simultaneously welcome the maestro and kick off the 2008-09 annual Fund. this annual event will take place on saturday, Dec. 13 beginning at 10 a.m. and will be open to all annual Fund Donors who contribute $6,000 or more by Dec. 1. this year, the event begins with VIP backstage access followed by a Civic orchestra perfor-mance conducted by slatkin in orchestra Hall, debuting his holiday piano arrangements for students. Guests will then be treated to a great brunch in a VIP area backstage where they will mingle with Dso staff, Civic students and the maestro himself. this is a great opportunity to learn firsthand about his exciting new plans for the Dso. For more information, contact sally Freels at (313) 576-5150 or [email protected].

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

leonaRD slatKIn

MASCO Continues Support of DSO Educational Concert Series the Detroit symphony orchestra is a proud participant and recipient of the masCo Corporation Foundation’s ReaCH program, an initiative to Revitalize and enhance the community through arts, Culture and Housing. totaling nearly one-half million dollars, these “bridge” grants supplement operational budgets and community outreach efforts benefiting youth. “masCo is proud to support the Detroit symphony orchestra and its vast contribution to our community, particularly through its educational Concert series program,” says masCo Foundation President, melonie Colaianne. “these difficult economic times make it all the more important for corporations, foundations and individuals to stay the course with their philanthropy. We all have a stake in Detroit, and our continuing support allows organizations like the Dso to sustain relevant, educational programming that is critical to the quality of life throughout our region.” masco Corporation Foundation has also provided challenge grants to encourage new and increased gifts and is a longtime supporter of the Dso’s Classical Roots Celebration.


eDuCatIon

The Nutcracker: A Civic Holiday Tradition Celebrating the holidays with the Detroit symphony Civic orchestra performing tchaikovsky’s classic ballet The Nutcracker has become one of Detroit’s most popular holiday traditions. Don’t miss your chance to see the talented musicians of the Civic orchestra, under the direction of Charles Burke, as they team up with taylor Ballet americana and guest performers megan Fairchild and andrew Veyette, principal dancers with the esteemed new york City Ballet. all concerts take place at the Ford theater for the arts auditorium located directly behind the max m. Fisher music Center in the Detroit school of arts. this year, a special abridged performance of The Nutcracker for tiny tots and their families will take place Dec. 6 at 11 a.m. the complete ballet will be performed Dec. 6 at 7 p.m. and Dec. 7 at 2 p.m. For tickets, call (313) 576- 5111 or visit www.detroitsymphony.com. tickets for the tiny tots special performance are general admission; the two complete performances are reserved seating.

Percussionist Evelyn Glennie Stars in Young People’s Concert one of the most exciting national City young People’s Concerts of the season takes place on saturday, november 22 at 11 a.m. when the percussion superstar evelyn Glennie headlines with the Dso. Glennie, who is appearing on the Dso’s Classical series that week, will perform Vivaldi’s Piccolo Concerto arranged by Glennie for vibraphone. In addition, she will perform a number of unaccompanied selections on some of the 60+ instru-ments — of the 600 that she owns! — that she regularly plays in any given concert. Glennie, who has been deaf since the age of 12, is the first person in musical history to create and sustain a full-time career as a percussionist. Her deafness has never been a hindrance and her life, like her artistry, is an inspiration. For tickets, call (313) 576-5111 or visit www.detroitsymphony.com.

CYE Welcomes New Conductors three new instructors join the Civic youth ensembles’ conducting staff this season. Ariel Toews-Ricotta is the new co-conductor, with Charles Burke, of the Civic Philharmonic, the intermediate level symphony. toews-Riccotta is the director of the ypsilanti Community Choir as well as music director of the Celebration youth orchestra and the livonia youth Choir. Sean Dobbins, a professional jazz drummer, will lead Civic Jazz Band II and the Civic Jazz Combos. Dobbins performs regularly at the area’s top jazz clubs, has performed and toured with a wide array of jazz stars and was previously the director of the ann arbor Public schools summer Jazz Program. Douglas Bianchi, the Director of Bands at Wayne state university, is the new conductor of the Civic Wind symphony. Bianchi teaches conducting and music theory at Wsu and has also been music director of the Warren Concert Band for 23 years.

Everyone Loves a Thanksgiving Parade! each year, the best spot to view the festive america’s thanksgiving Day Parade is at the max m. Fisher music Center. on nov. 27, that tradition contin-ues as the association of Civic ensemble supporters (aCes) hosts “thanksgiving Day at the Dso” to raise funds for Cye. With great views at the start of the parade route and plenty of indoor and outdoor seating, the event is a festival unto itself with performances by Civic groups, children’s activities and plenty of breakfast foods and beverages. For tick-ets and information, call (313) 576-5111.

toeWs-RICotta

sean DoBBIns

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 Assistant

Sales and ServicesDominic arellano Marketing CoordinatorRoss Binnie Vice President of SalesWill Broner Customer Service RepresentativeConnie Campbell Subscription Sales Managersharon Carr Subscriptions Coordinatormarilyn Cragway Marketing Associateelaine Curvin Executive Assistantmona Dequis Assistant Retail Managerangela Detlor Marketing CoordinatorChuck Dyer Group and Corporate Sales ManagerPaul Ganson HistorianKeith Koppmeier Director of Marketing, Non-ClassicalCynthia Korolov Archivistla Heidra marshall Customer Service RepresentativeJohn o’Dell Director of Marketing, Classical

Juanda Pack Customer Service Representativemarni Raitt Assistant Director of Public Relationstiiko Reese-Douglas Customer Service Representativemichael taylor New Media Specialistelizabeth twork Director of Public Relations shannon W. Hall Marketing Systems Administratorteri Witmer Box Office ManagerPaul yee Retail Sales Manager

Artistic Planning and EducationJames n. Berdahl Vice President of Artistic PlanningCharles Burke Director of Education and Artistic Director of Civic EnsemblesDavid Dredla Artistic Planning ManagerKathryn ellis Assistant Director of Education Deborah Fleitz Executive Assistant to the Music Director and Artistic Planning Associate Rebecca Gilbert Manager of Education InitiativesCharles Greenwell Conducting Assistant

leah lucas General Manager of Civic Ensembles nicole new Artistic Coordinator, Non-Classicalerik Rönmark Artistic Coordinator, ClassicalCecelia sharpe Civic Youth Ensemble Coordinator the Festival network Jazz Consultant Kit Weber Civic Youth Ensemble Coordinator

Operations and Resourceslarry anderson Stage Department Head sue Black Usher CoordinatorFrank Bonucci Stage Manager Holly Clement Event Services ManagerDaniel Dene Recording Engineermel Dismukes Security Officer martez Duncan Maintenance AideKeith elder Associate Vice President for Operationslarry ensman Maintenance SupervisorRyan ensman Maintenance Aideaja Grosvenor Special Events Coordinator Bill Guibault Maintenance Aidenorris Jackson Security Officer

Richard Jacques Director of Information Technologymami Kato Operations ManagerCrystal King Maintenance AideJennifer Kouassi Facility Operations ManagerJohn lovell Maintenance AideRon martin Security Officermagda marudas Director of Human Resources Operationsstephen molina Orchestra Personnel ManagerB.J. Pearson Event Services Manager mark Rist Administrative Associatesam Rogers Maintenance Aidealice sauro Assistant Orchestra Personnel ManagerDaniel speights Maintenance AideGreg schimizzi Chief of SecurityJohn scott Security OfficerPat Walker Vice President for Operations and Resource ManagementJoel Watson Director of Business Systemsanne Wilczak Director of Special Events

DevelopmentJoy Crawford Development Systems Analyst

Cynthia Dodd Director of Board RelationsKareem George Director of Endowment Supportsally Freels Manager of Major Gift ProgramsJennifer 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 Assistantallison Walacavage Foundation and Government Grants Manager

FinanceKim Colon 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

Dr. and mrs. eli Berger theodore & loris BirnkrantRichard & Gwen Bowlby mr. & mrs. stephen

Brombergnancy m. & Robert† Dewarmr. & mrs. Ronald R. Dobbinsmax Gordon trustGordon V. Hoialmen estateJean Wright & Joseph l.

Hudson, Jr.arthur & Chacona JohnsonGeorge G. JohnsonRachel & Jacob KellmanDimitri & suzanne Kosacheffmrs. David R. lawsonmr. & mrs. Gerald V.

macDonaldmr. & mrs. Ralph mandarinoDonald e. & shirley m.

mcminn Family FoundationDavid R. & sylvia nelsonmr. & mrs. arthur a. nitzscheFrank and Coleen manzella

PelleritoDr. Robert e.l. PerkinsDr. Harold† & evelyn Plotnickelaine & michael serlingmarvin D. & Gloria J. siegelmr. & mrs.† norman slomanmichael e. smerza & nancy

KeppelmanFrank D. stellaDr. mildred Ponder stennisBruce & Betsy WagnerDr. Gershon & Jeannie

WeinerIsadore & Beryl Winkelman

FoundationDrs. William & Prudentia

Worth

† Deceased

anonymous (12) Robert G abgarian †Doris l. adlerDr. & mrs. William C. albert mr. & mrs. Robert a. allesee Dr. lourdes V. andayaDr. & mrs. agustin arbulusally & Donald Bakermr. & mrs. lee BarthelDonald & lillian BauderBertram Behrens †mr. & mrs. Robert a. Benton, Jr. michael & Christine Berns Robert t. Bomier Richard & Gwen Bowlbymrs. J. Brownfain Roy & llse CalcagnoGladys l. Caldroney †Dr. & mrs. Victor J. CervenakRoberta Chapman

mary F. 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 and 2008-2009 Annual Funds by September 17, 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. nicholsonms. Cynthia J. Pasky & mr. Paul m. Huxley

mrs. Richard C. Van Dusen

GOLDEN BATON$50,000 and more

mr. and mrs. eugene applebaum

Penny & Harold Blumenstein

ms. leslie Devereaux

mr. & mrs. Frederick a. erb

Herman & sharon Frankel

maxine & stuart Frankel

mr. & mrs. stanley Frankel

Ruth & al Glancy

ms. Bonita J. marshall†

Bernard & eleanor Robertson

leonard slatkin

mr. & mrs. Hubert P. Watson†

MAESTRO’S CIRCLE$25,000 and more

mr. & mrs. Richard l. alonzo

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

mrs. Doreen Bull

mr. & mrs. François Castaing

mr. & mrs. Raymond m. Cracchiolo

mr. & mrs. Phillip Fisher

mr. & mrs. edsel Ford II/ Henry Ford II Fund

mr. & mrs. James Grosfeld

mr. & mrs. morton e. Harris

mr. & mrs. Ronald Horwitz

linda Dresner & ed levy, Jr.

Dr. melvin a. lester

Richard & Jane manoogian Foundation

mr. & mrs. eugene a. miller

the Polk Family

mr. George a. Raymond

Jack & aviva Robinson

mr. & mrs. larry sherman

Dr. & mrs. Clyde Wu

Paul Zlotoff

CHAIRMAN’S CIRCLE$12,000 and more

George & Gina Bedrosian

leo† & Betty Blazok

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. Richard P. Kughn

mr. & mrs. Robert C. larson

mr. David lebenbom

mr. & mrs. Harry a. lomason II

elaine & mervyn manning

mr. & mrs. Richard C. mcBrien

John e. & marcia miller

David R. & sylvia nelson

anne Parsons & Donald Dietz

Dr. William F. Pickard

mrs. Bernard e. Pincus

ms. Ruth Rattner & ann F. & norman D. Katz

mr. & mrs. lloyd e. Reuss

marjorie & saul saulson

mr. & mrs. alan e. schwartz & mrs. Jean shapero

mr. & mrs. Donald simon

William H. & Patricia m. smith

stephen & Phyllis strome

ms. ann marie uetz

arthur & trudy Weiss

Janis & William m. Wetsman / the Wetsman Foundation

mr. R. Jamison Williams

mrs. Paul Zuckerman

† Deceased PeRFoRmanCe / Vol. XVII / Issue II 49WWW.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

Dyelillian & Don BauderDr. & 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 DemeryPeter & andree Dolanmr. & mrs. Walter e.

Douglas

eugene & elaine DrikerJim & margo Farbermr. & mrs. Herbert FisherDr. saul & mrs. Helen

Formanms. laura Fourniermrs. Harold l. FrankDale & Bruce FrankelRema Frankelmr. & mrs. William m.

Freemanms. 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.

Jessup

mr. George G. Johnsonmr. & mrs. Paul Johnsonmr. & mrs. maxwell Jospeymariam C. noland & James

a. Kelly Fund of the Community Foundation for southeast michigan

mr. & mrs. Bernard s. Kentlouise & Gunnar Klarrmr. & mrs. Harold KulishDavid & marguerite lentzallan s. leonardmr. & mrs. arthur C. lieblerDr. & mrs. Charles lucasHis eminence adam maidaRalph & eileen mandarinoDavid & 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 orleymaestro Peter oundjianmr. and mrs. Richard G.

PartrichRobert e. l. Perkins, D.D.s.mr. & mrs. Drew Peslarmr. & mrs. Bruce D.

PetersonDr. William F. Pickardmr. 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. sosinmr. & mrs. James P. spicaDr. & mrs. Charles D.

stockingmr. & mrs. John stroh IIIthe stollman Foundationlorna l. thomas, m.D.alice & Paul tomboulianDavid ushermr. & mrs. samuel

Valenti IIIamanda Van Dusen &

Curtis Blessingmr. 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 BarronDrs. Jeffrey and susan

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

scharchburgmr. Jerrold BigelmanJoseph & Barbra Blochmr. anthony F. Brinkmanmr. terry K. Brownmichael & Geraldine

BucklesDr. & mrs. thomas e.

Carsonmr. Richard ColeDr. John Colombomr. and mrs. Gary l.

Cowgermr. and mrs. Glenn CurrinBarbara & Paul CzamanskeJerry P. & maureen t.

D’avanzoDeborah & stephen D’arcy

Fundms. Barbara DilesPaul & Peggy Dufault

mr. & mrs. Irving DworkinDr. & mrs. a. Bradley

eisenbreyJames & maria eliasonDr. & mrs. adel a. el-

magrabimr. & mrs. Klaus

entenmannDr. & mrs. edwin FerensDr. & mrs. lionel Finkelsteinms. linda Forte and mr.

tyrone Davenportmr. michael FosterKeith & eileen Giffordmrs. Helen P. Gilbridemr. allan D. Gilmourmr. and mrs. James a.

Greenmr. Jeffrey Groehnmr. and mrs. David

Handleman, sr.lawrence Hands and Karen

D. Kendrick-Handsmary & Preston HappelRandall l. & nancy Caine

Harbourmr. & mrs. Gordon K. Harris,

Jr.Donna & eugene Hartwigmr. & mrs. Ross HaunDr. & mrs. Gerhardt HeinDr. Deanna and mr. David

B. Holtzman

Jean Wright & Joseph l. Hudson, Jr. Fund

Ira & Brenda JaffeChacona & arthur l.

Johnsonmr. & mrs. sterling C.

Jones, Jr.ellen Kahn & William l.

KahnFran & Jack† KingDimitri† & 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. max & marilyn

mcKinney Dr. and mrs. James m.

mcmurtrymr. Roland meulebronckmr. and mrs. Bruce a. millermr. & mrs. leonard G. millermr. and mrs. Randall miller

mr. and mrs. Robert and Jill miller

Dr. & 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.

orleymr. & mrs. Joseph R. Pappmrs. sophie Pearlsteinmr. Jack Perlmutter & mr.

Dan ClancyDr. & mrs. Claus Petermannmr. Charles l. Petersmr. & mrs. Bruce D.

Petersonmrs. Helen PippinCarol & Foster Reddingmr. Peter RemingtonJames a. RousseauJane & Curt RussellDr. & mrs. alexander

Ruthvenmr. and mrs. Robert s.

sachsDr. Hershel sandbergmr. & mrs. Fred secrestmr. Gary shiffmannorma Jean & arthur

shufro

erwin s. & majorie H. simon

Donna & Robert slatkinmichael e. smerza & nancy

Keppelmanmr. & mrs. stanton Kinnie

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

marilyn sicklesteelmr. & mrs. Joel D. tauberDr. & mrs. l. murray

thomasms. sharon Vasquez and

mr. David ParkmanDr. and mrs. Ronald W.

Wadle, D.o.mr. & mrs. Herman W.

Weinreichmr. & mrs. lawrence

Weisbergmr. & mrs. James† a.

Williamsms. nancy s. Williams &

ms. sharon Backstromthomas e. and elizabeth

a. WolfeDrs. William & Prudentia

WorthDrs. Bernadine & David Wu

ENCORE CIRCLE $1,500 and moremrs. adel amermanmr. & mrs. Robert l.

anthonyDr. & mrs. ali-Reza R. arminDr. & mrs. Gary s. assarianmr. and mrs. Charles W.

Baischmr. & mrs. J. addison

Bartushmarcia & martin Baummr. & mrs. Jerome m. Bealemr. & mrs. James V.

Bellanca, Jr.mr. & mrs. Robert a. BentonDr.† & mrs. John G.

Bielawski

linda & maurice s. BinkowRoss Binniemr. and mrs. lawrence

Bluthmr. & mrs. J. Borathe Honorable susan D.

Borman and mr. stuart michaelson

Richard & Gwen Bowlbymr. & mrs. Gerald Brightmr. and mrs. Richard

Bursteinmr. efstratios CalagiasFred J. ChynchukGloria & Fred ClarkDr. and mrs. Julius Combs

mr. and mrs. Joseph Connors

thomas & melissa Craggmr. Richard Cummingsmr. & mrs. John s. Dallasmarvin & Betty Danto &

Familymr. and mrs. anthony

Delsenerelaine & Gordon DidierJohn & ann Diebelms. Gail DishellCynthia morrill Doddmr. David e. Dodgesandra Donlonmrs. James J. edwards

Dr. leo & mrs. mira eisenberg

mr. and mrs. timothy eisenbraun

mr. & 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.

Frentrup

mrs. Rosemarie Furlongmr. Paul Gansonmr. & mrs. William y. Gardmr. & mrs. eugene a.

Gargaro, Jr.Drs. Conrad and lynda

Gilesadele and michael m.

GlusacDr. & mrs. Robert Goldmanmr. seymour D. Greenstone mr. and mrs. Harold

Gurewitzmrs. e. B. Haasalice Berberian Haidostianmr. & mrs. Robert l. Heritier


ms. shelley Heronmr. & mrs. Herbert Hipshermr. Gordon l. Hollandermr. James W. Hosmermr. and mrs. Ruppert

Howardmr. & mrs. a. e. Igleheartms. margit Jacksonerica e. Peresman & David

B. Jaffemr. & 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. & mrs. H. a.

Knappenbergermr. Robert C. Koosmrs. mary l. Kramer

mr. and mrs. D. michael Kratchman

mr. & mrs. Henry m. Kuhlman

mr. & mrs. James a. Kurzmr. Julius Kuseymr. & mrs. William e. laceymr. James m. landis, Jr.mrs. stephanie latourDr. and mrs. noel s. lawsonmr. allen ledyardChristine & elmore leonardmax lepler and Rex l.

DotsonDr. and mrs. stanley H. levymr. & mrs. Joseph lilemrs. Ben t. lowellmr. & mrs. Walter D. ludwigmr. & mrs. Robert a. lutzDr. & mrs. James a. lyddonmrs. alice m. macDermottmrs. linda makrisms. arlene m. marcymr. michael D. mcDonnellmrs. John n. mcnaughtonmr. Juha merikoski

mr. & mrs. Richard K. millermr. & mrs. steven R. millermr. & mrs. Bernard mindellmr. & mrs. Carl mitseffmiss Frances mocerims. lucille a. monarkmr. & mrs. theodore

monolidismr. & mrs. James F. mooneyCyril moscowmr. and mrs. allan

nachmanedward & Judith narensDr. & mrs. Dongwhan ohmr. and Dr. David K. Pagemr. and mrs. William R.

Palmermrs. margot C. Parkermr. & mrs. Robert ParysDr. & mrs. thomas Peeplesmr. Joseph R. Pellegrinonoel & Patricia PetersonDr. and mrs. Carlos PetrozziDr. & mrs. terry Podolskymarian & Harold a. Poling

Fund

Ronald Porterms. Wendy Williams Powers

& mr. William Powersmr. and mrs. Constantine

P’sachouliasWard 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

segalJohn & mari senkomr. stephan sharfDr. & mrs. marvin siegelloretta skewesDr. Judy m. & mr. John n.

sobczak

shirley R. stancatomr. Clinton F. stimpson, Jr.ms. mardell B. stricklenmrs. Peggy J. terryellen and Peter thurberCarol & larry tibbittsBarbara & stuart tragerDr. & mrs. Dimitry m. turin

in honor of erika V. turinmr. & mrs. Charles B. Van

Dusenlisa m. Varniermrs. Harry F. Vellmuremarilyn and steven I. Victormr. & mrs. William Waakms. Patricia Walkerms. margaret Watkinsmrs. lawrence m. Weinermaestro and mrs. thomas

Wilkinsmr. & mrs. sheldon

Winkelmanmr. 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 Williamsann and Robert Bradleyms. mary Brandmr. and mrs. Greg J. Brandellmr. and mrs. ernest W. Brandt

mr. & 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 Corsettims. tess Craftmr. 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. eisensteinmr. 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. Griersonmrs. Frank Grimmingermr. & mrs. David Gugalams. Janet Gumenick

mr. 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 Humeselanah nachman Hunger &

Rick Hunger ms. sandra Hymanms. elizabeth J. Ingrahamms. Joan IrishJo D. & 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. Klimkoms. lisa C. Knappms. nancy Komenaga

Reverend 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. lexa leatherdale ms. 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 mihalikmr. and mrs. Paul e. milgrimmr. & mrs. Richard K. miller


SUPPORT FROM FOUNDATIONS AND ORGANIZATIONSThe Detroit Symphony Orchestra acknowledges and honors the following foundations and organizations for their contributions to support the Orchestra’s performances, education programming and other annual operations of the organization. This list also includes the musicians of the

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

IN-kIND SUPPORTThe DSO acknowledges the following corporations and individuals that have generously provided in-kind gifts to the organization.

PROVIDER $200,000 and MoreCommunity Foundation for southeast

michiganmax m. & marjorie s. Fisher

Foundation, Inc.Ford FoundationHudson-Webber FoundationmcGregor 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 Foundation

united Jewish Foundationmatilda R. Wilson Fund

GUARANTOR $50,000 and MoreaCes, association of Civic ensemble

supportersthe andrew W. mellon Foundationelizabeth, allan & Warren shelden

Fund

BENEFACTOR $10,000 and Morethe ayco Charitable Foundationthe Julius and Cynthia Huebner

Foundationann & Gordon Getty FoundationChaim, Fanny, louis, Benjamin & anne

Florence Kaufman memorial trustmyron P. leven Foundationmulti-arts Production Fund mary thompson Foundationsage Foundation

PARTNER $5,000 and MoreBenson & edith Ford Fund Gatewood Foundation, Inc.James & lynelle Holden Fundthe e. nakamichi FoundationHerbert & elsa Ponting Foundation

PATRON $2,500 and MoreJoseph e. Beauchamp Charitable trustDetroit Industrial schoolHP FoundationClarence & Jack Himmel Foundation

l&H FoundationmcKeen Foundationthe skillman Foundationyoung Woman’s Home association

SPONSOR $1,000 and MoreCharles m. Bauervic FoundationCombined Federal CampaignFrank & Gertrude Dunlap FoundationJapan Business society of Detroit

Foundation

the melvyn maxwell and sara smith Foundation

olson Kulka Foundationsigmund & sophie Rohlik Foundationthe loraine & melinese Reuter Foundation louis & nellie sieg Foundationsamuel l. Westerman Foundation

FRIEND $500 and MoreFisher Insley Foundation

accuformmr. and mrs. eric P. adamsJudy and Randy agleyair Franceallied-eagle supply Co.mrs. adel amermanJanet and norm ankersshanny and Bill apodacaVicki and Richard Baksmr. & mrs. lee BarthelBBJ linenBetween the lines mr. s. elie BoudtGwen and Richard BowlbyBetty and Bill BrooksCapital Waste, Inc.Joseph CaughmanGloria & Fred ClarkDr. and mrs. William Cosgrovemr. and mrs. Gary l. CowgerJoe Crachiola, Photographerted “ski” Cross, PmP

Dedria and alexander CrudenDr. and mrs. anthony DelucaDetroit athletic ClubVolunteer Council of the

Detroit symphony orchestra

Donald DietzDisplay Groupolga F. DworkinJudith ehrmannDr. & mrs. myron R. emerickepoch Restaurant GroupFresh Farms marketmr. & mrs. Ralph J. GersonGibbs World Wide WinePaul Gansoned GastonPatricia and James Giftosanthony & Christine GiorgioGolden acousticsGolden Harvest RestaurantGoogle

Hammell music, Inc.mr. & mrs. John R. Hayesmichael Farrell and marc

HerrickHour Detroitstory and William JohnDr. Julie Henry and Chuck

KaessJudy and Buddy Kaufmanlenora Kaufmanmr. James KokasCarole lamantialinda and Dr. larry lloydmr. Patrick W. lynchlynch’s, Inc.macy’s marshall music Co.mcKinsey and Companythe metro timeslois and Gene millerlynn and Randall millerJoann and tony mitchell

neiman marcusmr. & mrs. James B. nicholsonart nietzche northwest airlinesoakland universityanne Parsons & Donald DietzDebra and Richard PartrichPaul m. Huxley & Cynthia J.

Paskymr. and mrs. Fred Perenicmrs. Bernard e. PincusCharles PughPVs Chemicals, Inc.ReDICothe Ritz-Carltonthe Remington Groupmr. & mrs. arthur Rooksapril Wagner and Jason RuffJeanne and alexander

Ruthvenms. Darlene sankovicDominick and Cindy schiano

ms. Karla J. sherrymr. leonard slatkinsteven Rybicki – Infinity yacht

Chartersspecial events Party Rentalsstaplesstarbucks Coffeestrategic staffing solutions,

Inc. tapper’s Diamonds & Fine

JewelrytributeRichard J. Bowers, Jr. and

Daniel J. trederVillage Food marketGary WassermanWestborn marketGeorge Williams Interiors ltd.mary and Dr. max WisgerhofDr. & mrs. Clyde WuZaccaro’s market

ms. 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 noveckmr. & mrs. John o’learymr. and mrs. arthur o’Reillymr. and mrs. Robert orleymr. Barry osterbur and mrs.

elaine D. osterburmichael F. & tamra e. ottawaymr. stanford R. ovshinskyDr. and mrs. James R. ozinga

mr. 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 Polozkerms. Patti Poppemr. & 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. ReillyDonald & Patricia Renniemrs. Wayne RichardsJan & Paul Robertson, Jr.ms. elizabeth m. Rogersms. Rhoda Rosenthalmr. & mrs. Gerald F. RossGail & Gary Ruby

mr. 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. smithmr. lawrence R. smithmr. and mrs. leonard W. smith

mr. 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. michael R. tysonmr. Joseph W. uhlmr. John urbanms. theresa uzenskimr. & mrs. John

VanbrandeghenWilliam & Jan VanDenburgmr. & mrs. melvin VanderBrugmr. and mrs. Dennis J. Varian

Dr. 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 Industries national City Bank northwest airlines

$20,000 and More Compuware Corporation Detroit area Honda Dealers

association GmaC metlife Foundation R. l. Polk & Co.somerset Collection

$10,000 and More arvinmeritorCampbell-ewald Fidelity Charitable Gift FundFoley & lardner llP northern trust BankPricewaterhouseCoopers

llPWarner norcross & Judd llPWolverine Packing

$5,000 and Moreacceledyne technologies

limited the amerisure Companiesash stevens Inc.BasF CorporationButzel longContractors steel CorporationDenso International america,

Inc.Dte energy Foundationthe Four octave Club of DetroitGilmour FundGrant thornton llPHonda north america, Inc.Hour media, llCKPmG llPmGm Grand Detroit Casinonudell architectsthe sally a. and Graham a.

orley Foundationsuburban CollectionWeyerhaeuser Company

Foundationyazaki north america, Inc.

$1,000 and MoreHarold & Barbara BerryBloomfield Hills Country ClubBorg Warner automotive, Inc.Brown Campbell CompanyBurton-share, Inc.CnCarco, 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 CasinoHare express, Inc.Huron 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 universityPlante & moran, llCP.P.G. IndustriesRadar Industries, Inc.Rotor electric CompanyRoyal oak Industries,

Incorporatedschostak Brothers & Company,

Inc.schwab Fund for Charitable

Givingshinsho american Corporation

solomon 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 Moreanonymous aan Financial services Groupactive aero Group/martin R.

Goldmanalbert Kahn associates, Inc.BlackbaudBorder City tool & manufacturing

CompanyCenter line electric, Inc.Combe ConsultantsDetroit athletic ClubDetroit legal newsF.B. Wright CompanyFederal Collateral societyFred lavery CompanyFredrick & Kathy yaffeGreat lakes Gas transmissionHarmonie Park PressHeidtman steel Products, Inc.Hudson & muma, Inc.IDCItochu International, Inc.Kawasaki Robotics (usa), Inc.Kramar Jewelry, Inc.lau & lau associates, llClocomotive engineers &

Conductors mutual Protective assoc.

long Insurance servicesm. Jacob & sonsmaddin Hauser Wartellmanheims metro Detroit auto

auctionmeans Industries, Inc.merlyn Contractors, Inc.michael Fabricating, Inc.michelin automotive Industrymichigan office 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 Companyteal electrictowers PerrinVernDale Products, Inc.Vicki’s Food, Inc.sarah and erv Wolk

$300 and Moreadult learning Institutetivadar Balogh architectBlue Care networkBieri CompanyBurke Building CentersCaucus ClubCoffee express CompanyDwyer & sons Volvo subarueast Detroit opthamology, P.C.Franklin templeton Investments

services, llCmr. J. martin GillespieVincent spica IIIHoscoJeford Industries, Inc.nemo’s Restaurantnorth star Partnersa.H. Peters Funeral HomePetoskey Plastics Inc.Plastomer CorporationPlumbers service, Inc.Real estate one, Inc.Janet sossi-Belcoure/Roma Cafe

Inc.Rosedale Products, Inc.stageline mobile stage, Inc.tompkins Products, Inc.total Community Credit unionWord of Faith Christian Center

DetRoIt symPHony CoRPoRate ContRIButoRs$100,000 and More

PVS Chemicals, Inc.Official IT Support

Consultant to the DSO


uPComInG eVents

sunDay monDay tuesDay WeDnesDay tHuRsDay FRIDay satuRDay

DSO Classical SeriesFleisher Plays MozartPeter oundjian, conductorleon Fleisher, piano 3 p.m. oH

Volunteer Council26th Annual Nutcracker Luncheon Birmingham athletic Club in Bloomfield Hills10 a.m.

DSO Classical SeriesMozart & Beethovenmarek Janowski, conductorBaiba skride, violin 8 p.m. oH

DSO Classical SeriesMozart & Beethoven10:45 a.m. oH

DSO Civic Youth EnsemblesCivic jazz Live!6 p.m. aH

Bank of America Paradise Jazz SeriesEarl klugh 8 p.m. oH

DSO Classical SeriesMozart & Beethoven8:30 p.m. oH

Northwest Airlines World Music Series Song & Dance Ensemble of West Africa3 p.m.special pricing: $5/adult, $1/children under 12

DTE Energy Foundation Pops SeriesClassic Broadwayerich Kunzel, conductor10:35 a.m. & 8 p.m. oH

DTE Energy Foundation Pops SeriesClassic Broadway8:30 p.m. oH

DTE Energy Foundation Pops SeriesClassic Broadway8:30 p.m. oH

DTE Energy Foundation Pops SeriesClassic Broadway3 p.m. oH

DSO Civic Youth EnsemblesFall Civic Experience I6 p.m., 7 p.m., 8 p.m.

DSO Classical SeriesEvelyn Glennieludovic morlot, conductorevelyn Glennie, percussion10:45 a.m. oH

Tiny Tots ConcertBiakuye Percussion Group10 a.m. mBNational City Young People’s Concert Evelyn Glennie11 a.m. oHDSO Classical SeriesEvelyn Glennie8:30 p.m. oH

DSO Classical SeriesEvelyn Glennie3 p.m. oH

DSO Civic Youth EnsemblesFall Civic Experience II6 p.m., 7 p.m., 8 p.m.

ACES Thanksgiving Day Fundraiser8 a.m. the max m. Fisher music Center

DSO Classical SeriesHough Plays Brahmsmark Wigglesworth, conductorstephen Hough, piano8 p.m. oH

DSO Classical SeriesHough Plays Brahms8:30 p.m. oH

DSO Classical SeriesHough Plays Brahms3 p.m. oH

DSO Civic Youth EnsemblesCivic jazz Live! 6 p.m.

Bank of America Paradise Jazz SeriesChristmas with the Count Basie Orchestra 8 p.m.

DSO Civic Youth EnsemblesCivic orchestra and taylor Ballet americanaThe NutcrackerDsa Ford theater 11 a.m. (tiny tots version) & 7 p.m.

Dso Civic youth ensemblesCivic orchestra and taylor Ballet americanaThe Nutcracker 2 p.m.

northwest airlines World music seriesA Celtic Christmas with Natalie MacMaster 3 p.m.

DSO Classical SeriesThe Slatkin Era Beginsleonard slatkin, conductor8 p.m. oH

DSO Classical SeriesThe Slatkin Era Begins8 p.m. oH

DSO Civic Youth EnsemblesFRee Concert!Civic Holidays with Leonard Slatkinleonard slatkin, conductor 11 a.m.

DSO Classical SeriesThe Slatkin Era Begins8:30 p.m. oH

DSO Classical SeriesThe Slatkin Era Begins3 p.m. oH

Special EventGarrison keillorUnder the Mistletoe with the DSOPhilip Brunelle, conductor8 p.m. oH

DTE Energy Foundation Pops SeriesHome for the Holidaysthomas Wilkins, conductor10:45 a.m. & 8 p.m. oH

DTE Energy Foundation Pops SeriesHome for the Holidays8:30 p.m.

DTE Energy Foundation Pops SeriesHome for the Holidays3 p.m.* & 8:30 p.m. oH*(Includes KidZone activities in atrium)

DTE Energy Foundation Pops SeriesHome for the Holidays3 p.m.

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music Box

allesee Hall

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

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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:

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.

wmich.edu (269) 387-2000

Reach Metro Detroit’s Best Audiences

www.echopublications.com

Documents

DSO Performance, 2008-09 Season, Issue no. 2