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Performance

VoLUMe XVII

IssUe III / 2008–2009 seAson

The Magazine of the Detroit Symphony Orchestra

the slatkin era begins December 11, 2008
the slatkin era begins
December 11, 2008
P RESERVING YOUR FINANCIAL FUTURE CAN HELP PRESERVE THE ARTS . T he Private Client

PRESERVING YOUR

FINANCIAL FUTURE

CAN HELP PRESERVE

THE ARTS.

T he Private Client Group is proud to announce that with every $1 million new investment management or trust account you open, we will donate $5,000 to

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

grow their wealth through sound financial guidance from our team of experts, we will also help to ensure the arts remain for future generations.

also help to ensure the arts remain for future generations. Trust is something we earn. To

Trust is something we earn. To experience the Private Client Group in Detroit, call Randi Bellner, Market Executive, at 248.729.8479.

WEALTH PLANNING

Investments | Private Banking | Trust & Estate Services

©2008, National City Corporation®

W EALTH P LANNING Investments | Private Banking | Trust & Estate Services ©2008, National City
W EALTH P LANNING Investments | Private Banking | Trust & Estate Services ©2008, National City
W EALTH P LANNING Investments | Private Banking | Trust & Estate Services ©2008, National City
Cézanne Dalí Degas Gauguin Magritte Matisse Modigliani Monet Picasso Renoir Rodin Van Gogh October 12,
Cézanne Dalí Degas Gauguin Magritte Matisse Modigliani Monet Picasso Renoir Rodin Van Gogh October 12,
Cézanne Dalí Degas Gauguin Magritte Matisse Modigliani Monet Picasso Renoir Rodin Van Gogh October 12,

Cézanne

Dalí

Degas

Gauguin

Magritte

Matisse

Modigliani

Monet

Picasso

Renoir

Rodin

Van Gogh

Matisse Modigliani Monet Picasso Renoir Rodin Van Gogh October 12, 2008 – January 18, 2009 Masterpiece
Matisse Modigliani Monet Picasso Renoir Rodin Van Gogh October 12, 2008 – January 18, 2009 Masterpiece
Matisse Modigliani Monet Picasso Renoir Rodin Van Gogh October 12, 2008 – January 18, 2009 Masterpiece
Matisse Modigliani Monet Picasso Renoir Rodin Van Gogh October 12, 2008 – January 18, 2009 Masterpiece
Matisse Modigliani Monet Picasso Renoir Rodin Van Gogh October 12, 2008 – January 18, 2009 Masterpiece
Matisse Modigliani Monet Picasso Renoir Rodin Van Gogh October 12, 2008 – January 18, 2009 Masterpiece

October 12, 2008 – January 18, 2009

Masterpiece after masterpiece after masterpiece. See them now.

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

Members receive FREE tickets. Join today! 313.833.7971 This exhibition has been organized by the Cleveland Museum
Members receive FREE tickets. Join today! 313.833.7971 This exhibition has been organized by the Cleveland Museum

This exhibition has been organized by the Cleveland Museum of Art.

In Detroit, the exhibition is proudly sponsored by Bank of America. Additional support has been provided by the Michigan Council for Arts and Cultural Affairs and the City of Detroit.

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. Vincent van Gogh (Dutch, 1853–90). The Poplars at Saint-Rémy (Les peupliers sur la Colline) (detail), 1889. Oil on fabric; 61.6 x 45.7 cm. The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr. 1958.32. © The Cleveland Museum of Art. Pierre Auguste Renoir (French, 1841–1919). Romaine Lacaux (detail), 1864. Oil on fabric; 81.3 x 65 cm. The Cleveland Museum of Art, Gift of the Hanna Fund 1942.1065. © The Cleveland Museum of Art.

Performance Volume XVII / Issue III 2008–09 Editor elizabeth twork etwork@dso.org (313) 576-5126 Associate

Performance

Volume XVII / Issue III

2008–09

Editor

elizabeth twork

etwork@dso.org

(313) 576-5126

Associate Editors

Marni Raitt

mraitt@dso.org

(313) 576-5128

Marilou Carlin Carlin Public Relations, LLC mcarlin@carlinpr.com (313) 320-5803

Dso Administrative offices Max M. Fisher Music Center 3711 Woodward Avenue Detroit, MI 48201 Phone: (313) 576-5100 Fax: (313) 576-5101

Dso Box office: (313) 576-5111 Box office Fax: (313) 576-5109 Dso Group sales: (313) 576-5130 Rental Info: (313) 576-5050

Web site: www.detroitsymphony.com subscribe to noteworthy via our Web site to receive our newsletters and special offers. email: info@detroitsymphony.com

Performance is published by the Dso and echo Publications, Inc.

u

echo Publications, Inc. (248) 582-9690 www.echopublications.com

tom Putters, president

to advertise in Performance, contact toby Faber at (248) 681-4944 or email tobyassociates@comcast.net

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.

WWW.DetRoItsyMPHony.CoM

Columbia and Mercury Records labels. WWW.DetRoItsyMPHony.CoM Contents Departments 6 Board of Directors 8

Contents

Departments

6

Board of Directors

8

Orchestra Roster

45

Donors Make the Difference

46

Education News

47

General Information/Staff

48

Donor Roster

Features

10

News & Notes

12

Meet the Musician Dso Cellist Úna o’Riordan

14

A Year and Counting… By Leonard slatkin

14 slatkin 21 MacMaster
14
slatkin
21 MacMaster

36 Woods

Concerts

16

Classical series: Hough Plays Brahms Mark Wigglesworth, Stephen Hough

nov. 28–30

20

Bank of America Paradise Jazz series:

Dec. 4

Christmas with the Count Basie orchestra

21

World Music series: A Celtic Christmas with natalie MacMaster Natalie MacMaster, Mac Morin, Matt MacIsaac, JD Blair, Nathaniel Smith

Dec. 7

22

Classical series: the slatkin era Begins

Dec. 11–14

Leonard Slatkin, Mary Wilson, Robert Baker, Hugh Russell, UMS Choral Union, Ann Arbor Youth Chorale

28

special event: Garrison Keillor “Under the Mistletoe with the Dso” Garrison Keillor, Philip Brunelle

Dec. 16

30

Dte energy Foundation Pops series:

Home for the Holidays: “the sounds of the season” Thomas Wilkins, Kisma Jordan, Andover High School Choir, Grosse Pointe South High School Pointe Singers

Dec. 18–21

32

Bank of America Paradise Jazz series:

Jan. 8

Double Bill: sophie Milman/Phil Woods Quintet

34

Classical series: Americans Here & Abroad Leonard Slatkin, Edgar Meyer, Béla Fleck, Zakir Hussain

Jan. 9–11

40

Classical series: From Russia with Love Leonard Slatkin, Olga Kern, Valentina Fleer, Valentina Kozak, Michigan State University Children’s Choir

Jan. 15–18

CoVeR PHoto By AMy DICKeRson

PeRFoRMAnCe / VoL. XVII / IssUe III

5

Detroit Symphony Orchestra

oFFICeRs

James B. nicholson Chairman

Peter D. Cummings Chairman Emeritus and Vice Chairman, Development

Glenda D. Price, Ph.D. Secretary

Penny B. Blumenstein Vice Chairperson

Alfred R. Glancy III Chairman Emeritus and Vice Chairman, Finance

Bernard I. Robertson Vice Chairman

Anne Parsons President and Executive Director

u

Alan e. schwartz Vice Chairman

Lloyd e. Reuss 1st Vice Chairman

Arthur A. Weiss Vice Chairman

eXeCUtIVe CoMMIttee oF tHe BoARD oF DIReCtoRs

George J. Bedrosian Cecilia Benner stephen A. Bromberg Marlies Castaing

Caroline Coade stephen R. D’Arcy Herman Frankel stanley Frankel

Kelly Hayes Paul M. Huxley Dr. Arthur Johnson Richard P. Kughn

Melvin A. Lester, M.D. Arthur C. Liebler Glenn Mellow David Robert nelson

Bruce D. Peterson Jack A. Robinson Barbara Van Dusen Clyde Wu, M.D.

LIFetIMe MeMBeRs oF tHe BoARD oF DIReCtoRs

Rosette Ajluni Robert Allesee Floy Barthel Lillian Bauder, Ph.D. Mrs. Mandell L. Berman John A. Boll, s r. Richard A. Brodie Lynne Carter, M.D. Gary L. Cowger Maureen t. D’Avanzo Karen Davidson Marietta Davis Laurence B. Deitch

samuel Frankel

David Handleman, s r.

BoARD oF DIReCtoRs

Peter J. Dolan Walter e. Douglas Marianne endicott Janette engelhardt Bruce Ferguson Jennifer Fischer sidney Forbes Linda Forte Laura L. Fournier Mrs. Harold Frank Barbara Frankel Paul Ganson* Ralph J. Gerson Brigitte Harris

Gloria Heppner, Ph.D. nicholas Hood III Richard H. Huttenlocher Renee Janovsky George G. Johnson Michael J. Keegan the Hon. Damon J. Keith Harold Kulish Bonnie Larson Harry A. Lomason II Ralph J. Mandarino Mervyn H. Manning

David n. McCammon Lois A. Miller sean M. neall Robert Perkins, D.D.s. William F. Pickard Marilyn Pincus stephen Polk Marjorie s. saulson Mrs. Ray A. shapero Lois L. shaevsky Jane F. sherman nancy A. smith shirley R. stancato Frank D. stella

Phyllis strome Richard A. szamborski Lorna thomas, M.D. Michael R. tyson Ann Marie Uetz David Usher sharon L. Vasquez Marie-Ange Weng, Ph.D. R. Jamison Williams John e. young

* Ex Officio Deceased

VoLUnteeR CoUnCIL 2008-10

oFFICeRs

Kelly Hayes, President Marlene Bihlmeyer, VP of Projects Ann Lawson, VP of Finance Magda Marudas-Moss, VP of Public Relations Debra Partrich, VP of Membership Barbara Diles, VP of Education and Outreach eva Meharry, Recording Secretary Gwen Bowlby, Corresponding Secretary

BoARD oF DIReCtoRs

Rukayya Ahsan-Mctier Janet Ankers Rick Bowers, Jr. Gloria Clark Kim Minasian Hawes esther Lyons Karla sherry Adel Amerman Ken Beattie Richard Bowlby

Marie DeLuca Denise Lutz Deborah savoie ellie tholen ex-officio:

Debra Partrich, Immediate Past President eleanor (Coco) siewart, Parliamentarian

neW LeADeRs oF tHe DetRoIt syMPHony oRCHestRA 2008-2009

Dominic Arellano Kimberly Burke Dr. susan Catto tess Craft Chris & Carina Crain Dana Debel Lee V. Hart & Charles Dunlap

Aja Grosvenor elanah nachman Hunger & Rick Hunger sally Freels Rita L. Jordan Drs. Melissa McBrien & Raymond Landes

6 PeRFoRMAnCe / VoL. XVII / IssUe III

Drs. scott & Lisa Langenburg Lexa Leatherdale Beverly Lochard Jim & Mary Beth nicholson

Rebecca D’Arcy o’Reilly & Arthur t. o’Reilly Michael F. ottaway & tamra e. ottaway todd Peplinski Patricia & eric Poppe

elizabeth M. Rogers, chair nedda shayota Wei shen Joseph W. Uhl Drs. Bernadine & David Wu

WWW.DetRoItsyMPHony.CoM

oRCHestRA RosteR

Detroit Symphony Orchestra

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 Conductor Wynton Marsalis, Fred A. and Barbara M. Erb Jazz Creative Director Chair neeme Järvi, Music Director Emeritus

First Violins

emmanuelle 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 Violins Geoffrey Applegate+ The Devereaux Family Chair Adam stepniewski++ Alvin score Lilit Danielyan* elayna Duitman* Ron Fischer* Hui Jin*^ Hong-yi Mo* Robert Murphy* Adrienne Rönmark* Lenore sjoberg* Bruce smith* Gregory staples* Joseph striplin* Marian tanau*

Violas Alexander Mishnaevski+ Julie and Ed Levy, Jr. Chair James VanValkenburg++ Caroline Coade Glenn Mellow shanda Lowery-sachs Hart Hollman Han Zheng Hang su Catherine Compton

Violoncellos Robert deMaine+ James C. Gordon Chair Marcy Chanteaux++ Dorothy and Herbert Graebner Chair John thurman Victor and Gale Girolami Cello Chair Mario DiFiore Robert Bergman* Carole Gatwood* Barbara Hall Hassan* Haden McKay* Una o’Riordan* Paul Wingert*

Basses Alexander Hanna+ Van Dusen Family Chair stephen Molina++ Maxim Janowsky Linton Bodwin stephen edwards Craig Rifel Marshall Hutchinson Richard Robinson

Harp Patricia Masri-Fletcher+ Winifred E. Polk Chair

Flutes sharon Wood sparrow+ Women’s Association for the DSO Chair Philip Dikeman++ Jeffery Zook

Piccolo

Jeffery Zook

Oboes Donald Baker+ Jack A. and Aviva Robinson Chair shelley Heron Maggie Miller Chair Brian Ventura++ treva Womble

English Horn

treva Womble

Clarinets theodore oien+ Robert B. Semple Chair Douglas Cornelsen PVS Chemicals, Inc./ Jim and Ann Nicholson Chair Laurence Liberson++ shannon orme

Bass Trombone

Randall Hawes

Tuba

Timpani

Brian Jones+

Daniel Bauch++

Legend

+

++ Assistant Principal

#

## Acting Assistant Principal

Principal

Acting Principal

^

^^on sabbatical

extended Leave

* 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 Board James B. nicholson

President and

Executive Director

Anne 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.

is an affirmative action, equal opportunity institution. E-Flat Clarinet Laurence Liberson Bass Clarinet shannon

E-Flat Clarinet

Laurence Liberson

Bass Clarinet shannon orme Barbara Frankel and Ronald Michalak Chair

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

Contrabassoon

Marcus schoon

French Horns

Karl Pituch+

Bryan Kennedy

Corbin Wagner

Denise tryon

Mark Abbott

David everson++

Trumpets Ramón Parcells+ Lee and Floy Barthel Chair Kevin Good stephen Anderson++ William Lucas

Percussion Ian Ding# Ruth Roby and Alfred R. Glancy III Chair Daniel Bauch ## Robert Pangborn William Cody Knicely Chair

Librarians

Robert stiles+

ethan Allen

Personnel Manager

stephen Molina

Orchestra Personnel

Manager

Alice sauro

Assistant Orchestra

Personnel Manager

Conducting Assistant

Charles Greenwell

Stage Personnel

Frank Bonucci

Stage Manager

Larry Anderson

Department Head

Matthew Pons

Department Head

Michael sarkissian

Department Head

Pons Department Head Michael sarkissian Department Head Trombones Kenneth thompkins+ nathaniel Gurin++ Randall

Trombones Kenneth thompkins+ nathaniel Gurin++ Randall Hawes Michael Robinson Jr. §

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

8 PeRFoRMAnCe / VoL. XVII / IssUe III

WWW.DetRoItsyMPHony.CoM

neWs & notes

neWs & notes President’s Message Dear Friends, the Dso is at a point of tremendous excitement

President’s Message

Dear Friends, the Dso is at a point of tremendous excitement and expectation as we welcome the first concerts in mid-December of our new and internationally- acclaimed music director, leonard slatkin. at the same time, we are facing, with all of you, unprecedented challenges and we experience daily the uncertainty of the effects of the tempestuous economy in which we live. we know inherently that

when facing great difficulty we must search for opportunity and i am struck by how perfect, how ideal leonard is for the Dso at this crucial stage in our history. in every way, leonard is the artistic leader we require now. in addition to possessing

a powerful musical intellect, he is a fighter,

a motivator, a builder and above all, he is

infectious in his passion for music of every kind. he is one of us. on Dec. 11, leonard will step on to the podium to conduct his first concert. before him will sit our renowned orchestra who so perfectly mirror his dedication and spirit and we look to all of you, our devoted and loyal patrons who deserve and are about to be treated to the very best musical experiences imaginable. as many of our guest artists have remarked over the years, the Dso audience, while sophisticated, is unique in its warmth, its dedication and its hearty appreciation of great music. ovations are lustrous, enthusiastic and heartfelt. your love and commitment to the art of great music is apparent and it is one of the many reasons why the Dso is still here in Detroit after all this time. i congratulate and thank you for your enduring passion and your continued support of the Dso. our invitation to you: embrace this historic time. savor it. experience it and share that experience with others. by embracing the beginning of this new era today, we will ensure the success of tomorrow.

this new era today, we will ensure the success of tomorrow. anne parsons president and executive

anne parsons president and executive Director president@dso.org

Detroitsymphony.com “Sited” with Top Honors

the Dso’s new web site, www.detroitsymphony.com, was awarded “Best of show” at the 2008 Helen eWards held on oct. 22. the site was designed and implemented by web development company Media Genesis. the Helen eWards began nine years ago by the troy Chamber of Commerce to acknowledge talented local companies, Web design firms and individuals who creatively lead businesses to succeed through a powerful presence on the Web. the orchestra’s new online home was selected from a field of 200 entries and was lauded for being user-friendly and easy to navigate as well as for presenting the Dso’s information in an innovative, interactive way. A panel of 25 judges, ranging from information technology experts and creative directors to technology reporters and marketing Ceos, selected the winners. “the Dso prides itself on its ability to adapt, and Media Genesis was the perfect choice to help us do just that in the new media arena,” said Ross Binnie, Vice President for sales and services of the Dso. “our patrons expect us to push the envelope at the highest artistic level. the new look and feel of our site brings the unique concert experience a little closer to the patron while not compromising our vision artistically. our strategic plan outlines our desire to reach new audiences, and with so much of our new business coming online, it was imperative that our site evolved to meet their needs.”

was imperative that our site evolved to meet their needs.” What is on Leonard Slatkin’s iPod?

What is on Leonard Slatkin’s iPod?

surprisingly, during his “free” time, slatkin rarely listens to classical music. the Maestro’s iPod is loaded with diverse music divided into playlists. one of them, which he calls

simply “the Mix,” is an eclectic potpourri of music from a large variety of genres. “I usually put ‘the Mix’ on shuffle mode because I like to see how one kind of music can segue into others,” he says. Currently, slatkin has been focusing on some of the great jazz pianists such as Art tatum, oscar Peter-

son, Keith Jarrett and Michel Camilo. Additionally, he refers frequently to his parents’ recordings with the Hollywood string Quartet, and he regularly downloads and listens to a wide assortment of podcasts.

sLAtKIn

and listens to a wide assortment of podcasts. sLAtKIn “Making Music with the DSO” Set to
and listens to a wide assortment of podcasts. sLAtKIn “Making Music with the DSO” Set to

“Making Music with the DSO” Set to Air on DPTV in January

Making Music with the DSO, a new television series hosted by Leonard slatkin, will debut Jan. 3 on Detroit Public television (DPtV). each of the 12, 30-minute episodes will focus on a different aspect of making music and will take view- ers behind-the-scenes to discover all that goes into creating a world class symphony. Viewers will learn first-hand about Dso musicians and guest artists via interviews and performances. the fast paced, entertaining series will also demon- strate the importance of music in the community and the world at large while exploring how classical music connects to different genres of music and art. Making Music with the DSO is made possible through a generous grant from Judy & stanley Frankel and is a co-production of the Dso and DPtV.

10 PeRFoRMAnCe / VoL. XVII / IssUe III

WWW.DetRoItsyMPHony.CoM

DSO STAFF RECOMMENDS… MOVIES ABOuT MuSIC

A Selection of Favorites from DSO Leadership and Staff

Deception (1946)

(Maestro Slatkin’s

favorite)

A pianist gets caught in a love triangle with a manipulative composer and her true love, a cellist, who returns from war after being presumed dead. Leonard’s mother, eleanor Aller, is the featured cellist on the soundtrack. starring Bette Davis, Paul Henreid, Claude Rains

soundtrack. starring Bette Davis, Paul Henreid, Claude Rains Fantasia (1940) ( Anne Parsons’ favorite) Walt Disney’s
soundtrack. starring Bette Davis, Paul Henreid, Claude Rains Fantasia (1940) ( Anne Parsons’ favorite) Walt Disney’s

Fantasia (1940) (Anne Parsons’ favorite)

Walt Disney’s third full- length animated film, considered a revolution in filmmaking at the time, is a collection of animated interpretations of western classical music. Featuring the Philadelphia orchestra conducted by Leopold stokowski

Once (2006)

In

this beautiful musical love story set

in

Dublin, a busker and a piano player

team up to write music together, only

to discover that they are soul mates.

starring Glen Hansard, Markeéta Irglová,

Hugh Walsh

Shine (1996)

A multiple award-

winning Australian film based on the life

of David Helfgott,

a brilliant pianist

held back by mental

illness. starring

Geoffrey Rush,

Armin Mueller-stahl

mental illness. starring Geoffrey Rush, Armin Mueller-stahl August Rush (2007) A modern day oliver twist –

August Rush (2007)

A modern day oliver twist – with a twist.

An orphaned musical prodigy believes his gift will lead him to his birth parents, but a Fagan-esque con artist wants to use the boy’s talent for his own gain. starring Freddie Highmore, Keri Russell, Jonathan Rhys-Meyers, Robin Williams

Highmore, Keri Russell, Jonathan Rhys-Meyers, Robin Williams Buena Vista Social Club (1999) Wim Wenders’ acclaimed

Buena Vista Social Club (1999)

Wim Wenders’

acclaimed

documentary

follows aging Cuban musicians brought out of retirement by Ry Cooder to

perform, record and tour – forty years after their Havana heyday. Features eliades ochoa, Compay segundo, Ry Cooder, Ibrahim Ferrer and others as

themselves

Allegro non troppo (1977)

A funny, sardonic animated film set to

classical music that parodies Disney’s

Fantasia. Directed by Bruno Bozzetto

Music of the Heart (1999)

A teacher struggles to build

a violin program, against

the odds, at her inner-city school. starring Meryl streep, Cloris Leachman, Angela Bassett, Aidan

Quinn

Meryl streep, Cloris Leachman, Angela Bassett, Aidan Quinn VoLUnteeR CoRneR DSO and Volunteer Council to Host
Meryl streep, Cloris Leachman, Angela Bassett, Aidan Quinn VoLUnteeR CoRneR DSO and Volunteer Council to Host

VoLUnteeR CoRneR

DSO and Volunteer Council to Host AMSOV Conference

the Detroit symphony orchestra and Volunteer Council will host the 37th biennial conference of the Association of Major symphony orchestra Volunteers (AMsoV) April 30-May 3, 2009. the theme of the conference is Through Music We Build Community. AMsoV is a networking and support organization for volunteer leaders of major symphony orchestras in the

United states and Canada. Founded in 1937, its mission is to ensure the continued existence of major symphony orchestras in north America through volunteerism. the conference offers an oppor- tunity for representatives from major symphony orchestras to discuss their challenges and successes and provides experiences to develop leadership and

reinforce the significance of volunteerism

in the Arts.

Marjorie saulson, past Volunteer Council president and current Dso

Board member, is chair of the conference. Assist- ing her in top leadership positions are Gwen Bowlby, Gloria Clark, Barbara Diles, Gloria nycek and Debra Partrich. More information about AMsoV is available at www.amsov.org. For information about supporting and/or attending the conference, send an email to amsov09@earthlink.net

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

WWW.DetRoItsyMPHony.CoM

PeRFoRMAnCe / VoL. XVII / IssUe III

11

Meet tHe MUsICIAn The DSO’s Wild Irish Rose Cellist Úna O’Riordan By MARILoU CARLIn If

Meet tHe MUsICIAn

The DSO’s Wild Irish Rose

Cellist Úna O’Riordan

By MARILoU CARLIn

If the name Úna Fionnuala o’Riordan doesn’t tip you off that the Dso’s newest cellist is Irish through and through, her bright blue eyes and thick mane of wavy red hair should certainly do the trick. o’Riordan is, in fact, a first generation Irish-American whose parents moved to the United states when her father, an engineer, was transferred from Ireland to Chicago. Although she was born here, o’Riordan still has deep roots in her parents’ homeland. “My mother has 10 siblings, and I have 35 cousins in Ireland,” she said. “I’ve visited a number of times over the years, and the last time there was a family reunion. there was lots of music with aunts and uncles hauling out instruments and everyone singing along. someone usually finds an old cello for me to play, and my siblings tell me I get off easy because I don’t have to sing.” o’Riordan began playing the cello at age 4 after hearing a string instrument demonstration in her kindergarten class. When her family relocated to the Washington, D.C. area when she was 9, she continued her musical education. she went on to attend the Interlochen Arts Camp in 1992 as an emerson scholar and returned for the next two summers. there, she took a master class with Dso cellist Paul Wingert, and as a

took a master class with Dso cellist Paul Wingert, and as a UnA WItH HeR CoUsIn

UnA WItH HeR CoUsIn RoRy, At tHe sUMMIt oF Mt BenBo, JUst oUtsIDe HeR MoM’s HoMetoWn oF MAnoRHAMILton, CoUnty LeItRIM, IReLAnD.

MoM’s HoMetoWn oF MAnoRHAMILton, CoUnty LeItRIM, IReLAnD. o’RIoRDAn member of the camp’s World youth symphony, she

o’RIoRDAn

member of the camp’s World youth symphony, she was partnered with another Dso cellist, Marcy Chanteaux, when the Dso played a side- by-side concert with the youth ensemble.

o’Riordan received a Bachelor of Music with Distinction from the eastman school of Music where she was named an Arts Leadership scholar. she continued her studies as a graduate student at the northwestern University school of Music as a recipient of the eckstein Grant, a two-year, full-ride fellowship. During her time at northwestern, she was a winner of the school’s concerto competition. As a result, she performed as a soloist with the northwestern University symphony orchestra. At the same time, she was

co-principal cellist of the Civic orchestra of Chicago under the batons of Daniel Barenboim and Pierre Boulez. After graduating, o’Riordan won positions with the new Artist Piano Quartet, the Florida West Coast symphony (assistant principal cellist), the sarasota opera (principal cellist) and the oregon symphony. While in oregon, she also had the unique opportunity to play with two acts that were far removed from the symphony world:

Angeles’ Walt Disney Hall on new year’s eve, 2003, soon after it opened. she was also a guest artists on Pink Martini’s most recent album, Hey, Eugene, recorded in 2007. In 2001, while living in Florida, o’Riordan was invited to perform as a substitute cellist with the Detroit symphony orchestra on their european tour. the first leg of the tour took the Dso to Ireland. o’Riordan’s flight landed in Dublin on her 25 th birthday where she was greeted by two of her aunts. Her other Ireland-based relatives attended her performances in Ireland and england. the trip was also meaningful since it was the first American orchestra tour to europe following the attacks of september 11. o’Riordan remembers that they were warmly welcomed everywhere they went with sold-out houses at nearly all performances. o’Riordan continued to substitute with the Dso before winning a coveted section position in December 2006. she earned her tenure a year later. she loves working with the Dso which she says has a great sense of camaraderie that is not always found in professional symphonies. she also feels proud to play in the historic orchestra Hall and is extremely excited about having Leonard slatkin as the new Music Director. “there was just an immediate chemistry with him,” she said. “the orchestra sounds exceptionally good when he conducts.” o’Riordan lives in Berkley and has become very fond of her adopted home. “Detroit has a lot of character and history, not to mention a strong cultural base,” she said. In addition to doing yoga three times a week to relieve stress and keep both physically and mentally acute, o’Riordan occasionally helps out at a friend’s farm stand at eastern Market.

Michigan native and award-winning indie rocker sufjan stevens and Pink Martini, the “little orchestra” from Portland, o r. that melds jazz, Latin and multiple ethnic influences to create what might be described as “world lounge” music. o’Riordan continued her relationship with Pink Martini and performed with

the ensemble in Los

12 PeRFoRMAnCe / VoL. XVII / IssUe III

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A Year and Counting… By Leonard Slatkin a s i write this, my life as
A Year and Counting…
By Leonard Slatkin
a s i write this, my life as music
Director of the Detroit symphony
orchestra, at least on the podium, is about
to commence. it has been an energizing
and exhausting time waiting for that first
downbeat in December.
you may be wondering why i did not
lead any of the opening weeks of the
season. about a year ago, when we finalized
the details for my joining the Dso, almost
all the weeks in my
2008-09 season were
accounted for since
guest conducting dates
are booked sometimes
as far as a year or two
in advance. it had been
my plan to simply
guest conduct for eight
months of the year and
take some time off for
various projects i have
wanted to do. i was
looking ahead to life on
the road.
my first encounter
with the Dso and our
subsequent agreement
for my new position
changed all that, but
which organizations
wanted to give up the
weeks that were already
on the books? a few
orchestras understood
and released me from
my commitments. others did not.
those, and planned trips to the Far east
and europe, were impossible to move
around. however, i’m happy to say we still
managed to schedule five weeks in Detroit.
additionally, over the past year, i have
embarked on a new career path. although i
do not consider myself a composer, once in
a while i have written a work or two that
did not seem too bad. but an opportunity
to become an arranger blossomed last
year. the results of this new venture will
actually be on display during my first week
in Detroit at a special, free concert with
the Civic orchestra, the most advanced of
the Dso’s Civic youth ensembles.
we will play ten pieces i arranged for piano
and strings for school age soloists and
instrumentalists, all of which have recently
been published as Holidays for Piano and
Strings, the first educational collection
to be published as part of my youth
orchestra series. there is very little that
is more satisfying than doing something
constructive for the musical education of
our young people.
writing a book is now on hold. no, it
is not an autobiography or even a memoir.
neither is it a conducting textbook.
rather, it deals with the actual process of
becoming a conductor and the ins and
outs of the profession, including studying,
rehearsal technique, verbal skills and any of
the other competencies that lead to success
on the podium. but of course, i need to
find time to do this. i guess that is what
long plane rides are for.
back to Detroit. over this past year, we
have done much to move the orchestra
forward. leaving aside the economic
picture for the moment, my first order
of business was to fill several vacancies in
the orchestra. now, in conjunction with
the audition committee, we have selected
WWW.DetRoItsyMPHony.CoM
14 PeRFoRMAnCe / VoL. XVII / IssUe III
with the audition committee, we have selected WWW.DetRoItsyMPHony.CoM 14 PeRFoRMAnCe / VoL. XVII / IssUe III
with the audition committee, we have selected WWW.DetRoItsyMPHony.CoM 14 PeRFoRMAnCe / VoL. XVII / IssUe III
a new principal flute (sharon sparrow), principal bass (alex hanna) and some talented rookies in
a new principal flute
(sharon sparrow),
principal bass (alex
hanna) and some
talented rookies in the
string section. hiring
players gives us the
opportunity to shape
the sound of the Dso
for the future. in every
case, the musicians who
reached the finals were
of the highest caliber, reassuring us that
the Dso continues to attract the world’s
most outstanding musicians.
there have also been numerous
meetings regarding our programming.
each music director brings a vision and
scope to his tenure. i will continue to
emphasize american music in addition
to building on the traditions that have
been established by my predecessors.
it is our goal to present a wide variety
of music to both the musicians and
our audience. no sound or style is off
limits. even though i maintain a large
repertoire, there are composers and
works that are best left to others to
conduct. the overriding programmatic
balance of each season will give everyone
plenty of choices.
there have been important initiatives
on the education front, both from an
audience and a performance standpoint.
a re-design of our family series, young
people’s Concerts, as well as a renewed
commitment to the community are
priorities. i will work closely with the
Classical roots Celebration Committee,
the sphinx organization, the Civic
youth ensembles and the Detroit
school of arts to move our musical
agenda forward for young people in the
community. securing a solid foundation
will help ensure future educational
opportunities for aspiring musicians.
even if a student does not enter the
profession, there is nothing like an
understanding of the fundamentals
of music to develop and keep creative
minds fresh.
i have been trying to get to Detroit
at least once a month. it has been my
pleasure during those visits to get to
know many of our board
members and long time
supporters. i expect to
physically move here by the
end of the 2008-09 season. it
is important for me to be an
active part of this community
in order to help the orchestra
grow. and, of course, this
leads to the current economic
situation.
we are all facing
difficult times,
but the Dso and,
indeed, the other arts
institutions in the
Detroit-area need
as much support
as possible. what
we do and provide
is not the tangible
satisfaction of a
physical product, but
the abstract window into the soul.
music in particular means something
different to everyone. it is primarily
our job as performers to recreate what
has come from the past, not only to
express what we believe to be the intent
of the composer, but also to illuminate
it for today’s audiences. additionally,
we help form the basis of what will
become the repertoire of the future by
commissioning and premiering new
works. many of our discussions this past
year have been about how to bring you
into the process and also make sure that
you hear the results.
in the months ahead, you will see us
on television, listen to us on radio, find
us on the internet and hear us on CD.
Further, every effort is being made to
re-evaluate each aspect of our operation.
nothing is taken for granted, and that
can only help to serve both the music
and the audience.
yes, it has been a long year, but now
the waiting is over. it is with the greatest
of honor and pride that i step onto
the stage in orchestra hall and lead
this great orchestra as it continues its
mission of artistic excellence. it should
be a wonderful time for all of us.
LeonARD sLAtKIn DRoPs Into tHe DetRoIt sCHooL
oF ARts FoR An IMPRoMPtU MAsteR CLAss WItH
oRCHestRA stUDents
WWW.DetRoItsyMPHony.CoM
PeRFoRMAnCe / VoL. XVII / IssUe III
15
FoR An IMPRoMPtU MAsteR CLAss WItH oRCHestRA stUDents WWW.DetRoItsyMPHony.CoM PeRFoRMAnCe / VoL. XVII / IssUe III
FoR An IMPRoMPtU MAsteR CLAss WItH oRCHestRA stUDents WWW.DetRoItsyMPHony.CoM PeRFoRMAnCe / VoL. XVII / IssUe III

Detroit Symphony Orchestra

Leonard Slatkin, Music Director Peter Oundjian, Principal Guest Conductor

Thomas Wilkins, Resident Conductor Neeme Järvi, Music Director Emeritus

Preferred series sponsor

Järvi, Music Director Emeritus Preferred series sponsor Classical series Hough Plays Brahms Friday, november 28 at

Classical series

Hough Plays Brahms

Friday, november 28 at 8 p.m. saturday, november 29 at 8:30 p.m. sunday, november 30 at 3 p.m.

Mark Wigglesworth, conductor Stephen Hough, piano

Richard Wagner

(1813-1883)

selections from Tannhäuser (Paris version)

overture

“Venusberg Music”

selections from Die Meistersinger von Nürnberg suite

Prelude to Act III “tanz der Lehrbuben” (Dance of the Apprentices) “Aufzug der Meistersinger” (Procession of the Meistersingers) Prelude to Act 1

IntermIssIon

Johannes Brahms

(1833-1897)

Piano Concerto no. 1 in D minor, op. 15

Maestoso Adagio Rondo: Allegro non troppo Stephen Hough, piano

steinway & sons is the official piano of the Detroit symphony orchestra and is available in Michigan exclusively at the steinway Piano Gallery of Detroit.

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.

Don’t miss these upcoming Family and Young People’s Concerts:

Civic Holidays with Leonard Slatkin (FREE Concert) – Sat., Dec. 13 at 11 a.m.

Home for the Holidays – Sat., Dec. 20 at 3 p.m.

Slatkin’s All-Stars featuring Edgar Meyer, Béla Fleck and Zakir Hussain – Sat., Jan. 10 at 11 a.m.

Beethoven Lives upstairs – Sat., Feb. 14 at 11 a.m.

16 PeRFoRMAnCe / VoL. XVII / IssUe III

PRoFILes

Mark Wigglesworth

Born in sussex, england, Mark Wigglesworth studied conducting at the Royal Academy of Music in London and won the Kondrashin Conducting Compe- tition in Amsterdam in 1989. since then he has worked with many of the leading european orchestras including the Berlin Philharmonic, Royal Concertgebouw orchestra, London symphony orchestra, oslo Philharmonic, stockholm Phil- harmonic, swedish Radio symphony orchestra, santa Cecilia orchestra of Rome, orchestra of La scala Milan, Budapest Festival orchestra and the Israel Philharmonic. He has also appeared at the salzburg Festival, the BBC Proms, the Hollywood Bowl, the 1995 Mahler Festival in Amsterdam and in 2000 led the sydney symphony in the closing concert of the olympic Arts Festival. since making his north American debut in 1992, he has worked with the Cleveland orchestra, Chicago symphony, Philadelphia orchestra, new york Philharmonic, san Francisco symphony, Los Angeles Philharmonic and the Montreal symphony. He regu- larly conducts the Minnesota orchestra and the Dso and has an ongoing rela- tionship with the new World symphony. Mark Wigglesworth led his first opera production in 1991, conducting Cosi fan tutte for opera Factory in London. since then, he has conducted Peter Grimes, La Boheme and Le Nozze di Figaro at the Glyndebourne Festival; Lady Macbeth of Mtzensk, Falstaff and Cosi fan tutte for english national opera in London; The Rake’s Progress and Elektra with Welsh national opera; Peter Grimes at the netherlands opera; and Die Meisters- inger von Nürnberg at the Royal opera House, Covent Garden. In 2005, he made his Metropolitan opera debut conduct- ing Le Nozze di Figaro, and in october 2006, returned to Welsh national opera for Tristan und Isolde. Mark Wigglesworth is currently in the process of recording a complete shostakovich symphony cycle with the netherlands Radio Philharmonic for BIs.

cycle with the netherlands Radio Philharmonic for BIs. WIGGLesWoRtH W W W . D e t

WIGGLesWoRtH

WWW.DetRoItsyMPHony.CoM

PRoGRAM notes

Stephen Hough

stephen Hough is widely regarded as one of the most important and distinctive pianists of his generation. In recognition of his achievements, he was awarded a prestigious MacArthur Fellow- ship in 2001, joining prominent scientists, writers and others who have made unique contributions to contemporary life. He is also the 2008 winner of northwest- ern University school of Music’s Jean Gimbel Lane prize in Piano Performance. Hough has appeared with most of the major American and european orches- tras and plays recitals regularly in the major halls and concert series around the world. He is also a guest at festivals such as salzburg, Mostly Mozart, Aspen, Ravinia, tanglewood, Blossom, Holly- wood Bowl, edinburgh, Aldeburgh and the BBC Proms where he has made over a dozen concerto appearances. Recent engagements include performances with the new york, Los Angeles and London Philharmonics, Cleveland and Philadel- phia orchestras, London symphony, the Berlin Philharmonic in a worldwide tele- vised performance with sir simon Rattle, and a U.s. tour with the Russian national orchestra led by Vladimir Jurowski. An exclusive Hyperion recording artist, many of Hough’s catalogue of over 40 CDs have garnered international prizes, including the Deutsche schall- plattenpreis, Diapason d’or, Monde de la musique, multiple awards from Gramophone Magazine (seven Awards including ‘Record of the year’ in 1996 and 2003) and several Grammy nominations. His 2005 live recording of the Rachmani- noff Piano Concertos with the Dallas symphony and Andrew Litton became the fastest selling recording in Hype- rion’s history, while his 1987 recording of Hummel concertos is Chandos’ best- selling disc to date. At the Classic FM Gramophone Awards in september 2008, his recording of the complete works for piano and orchestra by saint-saëns received the Golden Disc award for being voted the most popular recording of the past 30 years. His most recent release is A Mozart Album with works by Mozart, Johann Baptist Cramer, Ignaz Friedman, Liszt/Busoni and Hough.

Baptist Cramer, Ignaz Friedman, Liszt/Busoni and Hough. HoUGH WWW.DetRoItsyMPHony.CoM Selections from Tannhäuser:

HoUGH

WWW.DetRoItsyMPHony.CoM

Selections from Tannhäuser: Overture and “Venusburg Music”

RICHARD WAGneR

B.

22 May 1813 in Leipzig, Germany

D.

13 February 1883 in Venice, Italy

The overture was first performed in concert on February 12, 1846, with Felix Mendelssohn conducting

The overture was first performed in concert on February 12, 1846, with Felix Mendelssohn conducting the Gewand- haus Orchestra in Leipzig.

Scored for 3 flutes (one doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4

Scored for 3 flutes (one doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trom- bones, tuba, timpani, percussion (casta- nets, cymbals, tambourine, triangle), harp and strings. (Approx. 24 mins.)

Tannhäuser is the name of a German poet and singer of the 13th century whose life and imagina- tive works blended into a popular legend that has survived for many centuries. Wagner sketched his idea for an opera on Tannhäuser and

the Song Contest on the Wartburg in 1842, completed the libretto in 1843 and finished the score in 1845. The operas Rienzi and The Flying Dutchman helped Wagner become Kappelmeister at the Dresden Opera and, at the same time, established him as a successful composer. The opera was first performed on Octo- ber 19, 1845 at the Dresden Opera with the composer conducting. The music puzzled the public, critics and performers alike. “I was numbed,” Wagner wrote of the resistance to Tannhäuser, but before long, the work made its way into every opera house in Germany, and then in the world.

In brief, Wagner’s opera tells of tannhäuser’s escape from the enchanted palace of Venus, the goddess of love and beauty, and his search for elisabeth, his true love in the real world. He goes to the Wartburg, a castle on the top of a moun- tain, where he enters a competition. the prize is elisabeth’s hand in marriage, but the gathering there becomes outraged when his song turns out to be a glorifi- cation of the carnal pleasures offered

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PeRFoRMAnCe / VoL. XVII / IssUe III

17

by the pagan goddess, Venus. In the final act, elisabeth dies of sorrow as tannhäuser returns from Rome where he has gone on a pilgrimage to beg forgive- ness from the Pope. the story symbol- izes the conflict between the higher and lower natures of man, indicating the tremendous power of the senses and the supremacy of the soul. In the years that followed, Wagner made sure that this work was played all over europe to acquaint audiences with the music and to whet their appetites for the entire opera. Wagner composed Tannhäuser in 1845. the Overture was first performed in concert on Febru- ary 12, 1846 when Felix Mendelssohn conducted it at a pension-fund concert of the Gewandhaus (“Drapers’ Hall”) orchestra, in Leipzig. only much later did it become firmly established in the concert repertoire. Wagner made many changes in Tannhäuser, including translating its libretto into French for the performances of the work at the Paris opera in 1861. For these performances, members of the Paris Jockey Club (patrons of the opera) had demanded that the opera contain a ballet in the third act, in keeping with French tradi- tion. Instead, Wagner extended the Venusberg scene at the opening of the opera to include a ballet. the overture opens with the stately pilgrims’ chorus and the themes associated in the drama with the ideas of pardon, contrition and salvation. these soon become engulfed in the wild, whirling music of the Venusberg, which represents sensuality. the third theme reflects elisabeth’s prayers and the theme of piety. eventually, pardon thunders out triumphantly from the trombones, while the other instruments simultaneously intone a divine celestial sound. the bacchanale in the Venusberg section extends to provide a frenzied orgy of ballet music. In the original version, the stage set included a rocky grotto where there were bathing naiads, reclining sirens and dancing nymphs. Venus reclined on a couch in a rosy light, with tannhäuser, half-kneeling, nestling his head in her lap. the bacchantes stir up the dancers to their orgiastic excite- ment as the orchestra expresses their emotion with a rich, voluptuous sound. During this revelry, the listener can hear the famous rising chromatic four-note phrase Wagner also used in Tristan and Isolde.

four-note phrase Wagner also used in Tristan and Isolde. DSO SHOP @ THE MAx RECOMMENDS: Wagner,

DSO SHOP @ THE MAx RECOMMENDS:

Wagner, tannhäuser, overture and Venusberg Music: Klaus tennstedt conducting the London Philharmonic orchestra, London Philharmonic 0003.

18 PeRFoRMAnCe / VoL. XVII / IssUe III

Selections from Die Meistersinger von Nürnberg Suite

RICHARD WAGneR

B.

22 May 1813 in Leipzig, Germany

D.

13 February 1883 in Venice, Italy

First performed June 21, 1868 at the Königliches Hof- und National-Theater in Munich.

Scored for 2 flutes, (one doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (cymbals, glock- enspiel, snare drum, triangle), harp and strings. (Approx. 18 mins.)

Die Meistersinger von Nürnberg (“The Mastersingers of Nürnberg”) is Wagner’s only comic opera. In 1845, Wagner had previously used the basic subject material, a song contest with the hand of a beautiful woman as the prize, in his romantic opera Tannhäuser. The idea for this new lighter version, as a parody or satire based on the same material, originated at about the same time. The opera Die Meistersinger von Nürnberg is based on a story of the 16th century guild of Meistersing- ers (mastersingers) headed by the beloved cobbler-poet Hans Sachs, and it demonstrates the superiority of natural and spontaneous art over the pedantic and conventional. The hero of the opera, Walther von Stolz- ing, was intended to be a portrayal of Wagner himself. Beckmesser, his unsuccessful rival for the hand of the beautiful Eva, is a caricature of Wagner’s severest critic, Eduard Hanslick.

the selections in this Meistersinger suite begin with the Prelude to Act III. After the riot that ended Act II, the music of the Prelude to Act III sets the scene for sachs’ soliloquy which begins the act. Reflecting sachs’ ruminations on the absurdity of violence, this music mirrors sachs’ pensive nature with a somber theme that symbolizes his philosophical character. the prelude begins ominously with a sense of foreboding and resigna- tion. only in the hushed brass is there a glimmer of optimism with musical references to the noble Meistersinger theme. “tanz der Lehrbuben” (“Dance of the Apprentices”) leads to the site of the contest just outside of the Nürnberg gates. In it, Wagner depicts the gambol- ing and frolicking of the young appren-

tice artisans with the ‘maidens from

Fürth’ in, for him, an uncharacteristic, rare waltz. the dance music is followed in this selection by the impressive arrival of the elders, “Aufzug der Meistersinger” (“Procession of the Mastersingers”), a very famous excerpt. the music reflects

a pompous and stately entrance before

the Meistersingers take their seats in the

judges’ section. Based on an authentic melody of the 16th century Meistersing- ers, this section is sometimes called the “banner” theme because the music accompanies the bearing of the banners of various craftsmen. In this suite, the Prelude to Act 1 is the finale. Unlike many earlier operas, where the overture was the last part of the opera a composer wrote, Wagner began composing his Meistersinger with the overture, or Prelude as he later

called it. He described the actual experi- ence, the moment of his inspiration, in his Autobiography: “the Prelude to my Meistersinger suddenly sprang up clearly in my mind as I had once before beheld

it in a troubled mood, as if it had been a

distant mirage, and I proceeded to draft the Prelude precisely as it appears today in the score, that is, setting forth very definitely the main motives of the whole drama. then I went on at once to work at the text, composing scenes in due sequence.” this overture is one of Wagner’s famous works and one of the most stir-

ring curtain-raisers ever written, and now

it is performed on orchestral programs

so frequently that many who have never

seen the opera still know this music well.

It begins with the lively Procession of the

Meistersingers, heard in this suite earlier on its own. then a flowing flute melody associated with Walther’s awakening love follows. subsequently, the tender lyric subject in the violins, associated with the growing love of Walther for eva, is sounded. A second march-like theme, the guild-theme, symbolic of the importance of the Meistersingers, is then announced. next comes a lyrical sugges- tion of the famous Prize song and a scherzo in which the playful apprentices parody the first Meistersinger theme. Combined with this are the counter- melodies associated with the lovers and with Beckmesser: the climax is reached when the Meistersinger theme, the march theme and Walther’s love music are combined and sound simultaneously.

love music are combined and sound simultaneously. DSO SHOP @ THE MAx RECOMMENDS: Wagner, selections from

DSO SHOP @ THE MAx RECOMMENDS:

Wagner, selections from Die Meisters- inger: Klaus tennstedt conducting the London Philharmonic orchestra, London Philharmonic 0003.

WWW.DetRoItsyMPHony.CoM

Concerto for Piano and Orchestra No. 1, in D minor, Op. 15

JoHAnnes BRAHMs

B.

7 May 1833 in Hamburg, Germany

D.

3 April 1897 in Vienna, Austria

First performed Janu- ary 22, 1859, with the composer as soloist and Joseph Joachim conducting.

First performed Janu- ary 22, 1859, with the composer as soloist and Joseph Joachim conducting.

Scored for solo piano and 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani and strings. (Approx. 42 mins.)

The history of this piano concerto begins in 1854 when Brahms showed Robert Schumann’s wife, Clara, who was one of the greatest pianists of the time and also a composer, movements of a symphony he had sketched. They played it at two pianos, and friends who heard it

suggested that it could be made into

a concerto. For four years, Brahms

worked over this music, composed

a new third movement (the original

one became part of his German Requiem, Op 45, of 1868) and, in 1858, completed the concerto.

Audiences and musicians both resisted the fiercely difficult concerto, which was not a virtuoso’s showpiece of the kind favored at the time. In Germany, it was not a success until two years before Brahms’s death, and in the United states it was hardly performed at all until 1900. now it is one of the most admired and often performed works in the repertoire, a huge, solemn piece of incomparable grandeur. A substantial work, it was then the longest concerto ever published. the first movement, Maestoso, is a majestic and monumental structure that is tumultuous and dark in the beginning with a long orchestral passage in which the strings state the main theme over a timpani roll before the piano joins in. the piano’s first entrance is energetic, and it becomes, later in the movement, gentle and expressive. After the lyrical section, the movement then fulfills Joachim’s hopes that it be “appropriately magnifi- cent [and] commensurately elevated and beautiful.” An elaborate development section is followed by a brilliant coda. Brahms once suggested that the grave slow movement, Adagio, was inscribed Benedictus qui venit in nomine Domine

WWW.DetRoItsyMPHony.CoM

(Blessed is he who comes in the name of the Lord) in memory of Robert schu- mann, and at another time, he said that it was a lovely portrait of Clara. to both, regardless, Brahms has paid homage by musically projecting his love (and his pain) in this romanza-like movement. It is based on a poetic theme that the piano takes up after its initial statement in the strings and bassoons. the clarinets introduce a subsidiary theme in the contrasting middle section. the final Rondo, Allegro non troppo, recalls the music of gypsies that Brahms had first learned from the Hungarian

violinist, Joachim, with whom he first met the schumanns. Joachim put the spirit of the Brahms music into words quite accurately when he described this movement’s themes as “the pithy, bold spirit of the first theme [and] the intimate and soft B-flat Major passage.” the movement brings the concerto to an end with a long and brilliant coda after a piano cadenza.

an end with a long and brilliant coda after a piano cadenza. DSO SHOP @ THE

DSO SHOP @ THE MAx RECOMMENDS:

Brahms, Piano Concerto no. 1:

stephen Hough (piano), Andrew Davis conducting the BBC symphony orches- tra, Virgin 22098.

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PeRFoRMAnCe / VoL. XVII / IssUe III

19

Detroit Symphony Orchestra

2008 – 2009 Season

Detroit Symphony Orchestra 2008 – 2009 Season Paradise Jazz Series Christmas with the Count Basie Orchestra

Paradise Jazz Series

Christmas with the Count Basie Orchestra

Directed by Bill Hughes

thursday, December 4 at 8 p.m.

tRUMPets:

Michael Williams William ‘scotty’ Barnhart James Zollar Kris Johnson

tRoMBones:

*Clarence Banks

David Keim

Barry Cooper

Alvin Walker

sAXoPHones:

*John Williams, baritone Doug Miller, tenor Marshall McDonald, lead alto Doug Lawrence, tenor Cleave Guyton, alto

RHytHM seCtIon:

Marion Felder, drums *James Leary, bass Will Matthews, guitar Llew Matthews, piano

* Indicates musicians who worked or performed with Count Basie

selections to be announced from the stage.

there will a 15-minute intermission

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.

Before every Paradise Jazz concert, please join us for Civic Jazz LIVE! thu., Dec. 4 performance features Civic Jazz orchestra in the Music Box at 6:30 p.m.

20 PeRFoRMAnCe / VoL. XVII / IssUe III

PRoFILes

Count Basie Orchestra

Jazz is an American invention of the 20th Century. Its sound is the “modern art” of music. In his 80-year life span,

William “Count” Basie so expanded and elevated the art form that modern

music’s connoisseurs around the world regard his legacy as an “American Institution.” yet the affable “Count” was a very modest gentleman. His motions and musical conversations at the piano closely paralleled his approach to life itself. so one might predict he’d be elated to know that the orchestral institu- tion he founded in 1935 is still thriving today. Basie joined the Benny Moten orches- tra in Kansas City at the end of the 1920s. Jazz experts maintain that Basie at the keyboard signaled the beginning of the Moten band’s historical significance, starting with discs cut in 1932. With Benny Moten’s sudden death three years later, Basie went from pianist to band- leader. He took the name “the Count” when his new group headlined at Kansas City’s Reno Club in 1935. the Count Basie orchestra had arrived. With the keyboard touch or two, sound was set into motion. Always swinging, his piano spots became the band’s claim to fame. A single “Plink, Plink, Plink” closing triplet was the “signature” his music needed. Despite half a century of changing tastes in popular music, the endurance of the Count Basie orchestra confirms the genius of his earliest musi- cal instincts. the Count Basie orchestra of today is 18 performers committed to upholding and advancing this “American Institu- tion.” some members are new, some have been in the band “for a minute,” yet the core of the sound still swings from a few musicians hand-picked by Count Basie himself. they are in demand for world tours and recordings, have won every respected jazz poll in the world at least once, and continue to accumulate awards and special recognitions.

and continue to accumulate awards and special recognitions. CoUnt BAsIe oRCHestRA Don’t Miss Sophie Milman and

CoUnt BAsIe oRCHestRA

Don’t Miss Sophie Milman and Phil Woods in the next Paradise Jazz Concert Thu., Jan. 8, 2009 at 8 pm.

WWW.DetRoItsyMPHony.CoM

Detroit Symphony Orchestra

2008 – 2009 Season

PRoFILes

Natalie MacMaster

natalie MacMaster first picked up a fiddle at the age of nine and has not
natalie MacMaster first picked up
a fiddle at the age of nine and has not
looked back. the
World Music series
niece of famed
A Celtic Christmas with Natalie MacMaster
Cape Breton fiddler
Buddy MacMaster,
she quickly became
sunday, December 7 at 3 p.m.
a major talent in
Natalie MacMaster, fiddle
Mac Morin, piano
Matt MacIsaac, pipes
JD Blair, percussion
Nathaniel Smith, cello
her own right. After
winning numerous
east Coast Music
MACMAsteR
selections to be announced from the stage.
there will be a 15-minute intermission.
the Dso does not appear on this program.
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.
Awards for her early
traditional recordings, she began taking
Celtic music to new heights with albums
like In My Hands which featured elements
of jazz, Latin music and guest vocals by
Alison Krauss. she has recorded and
released seven albums in Canada and the
U.s., received both a Grammy nomination
and Juno Award for Best Instrumental
Album for My Roots Are Showing, won
another Juno Award for Best Instrumen-
tal Album for In My Hands and garnered
several Canadian Country Music Awards
for “Fiddler of the year.” she has shared
the live performance stage with acts
such as Carlos santana, the Chieftains,
Paul simon, Luciano Pavarotti, Alison
Krauss, Mark o’Connor and dozens of
distinguished symphony orchestras.
MacMaster has performed on ABC
television’s new year’s eve broadcast at
Classical Investing.
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www.fa.smithbarney.com/lundquist
the special request of one of her greatest
fans, the late Peter Jennings. she has
created, financed and produced her very
own nationally broadcast network tV
special. two of her CDs have charted on
Billboard’s top 20 selling World Music
charts and four have been certified ‘gold’
(50,000+ sales) in Canada.
Recorded in Halifax, Kingston, toronto
and Calgary, Yours Truly (Rounder, 2006)
is MacMaster’s 10th release, co-produced
with husband Donnell Leahy. It features
a mix of traditional and contemporary
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numbers as well as several originals,
including a rendition of “Danny Boy”
sung by Doobie Brother Michael
McDonald and “Farewell to Peter” which
MacMaster wrote to pay her respects to
Peter Jennings after he passed away.
In october 2006, MacMaster recorded a
PBs special at the Celtic Colours Festival
in Cape Breton, featuring MacMaster
along with Bela Fleck, Carlos núñez and
Hayley Westenra.

WWW.DetRoItsyMPHony.CoM

PeRFoRMAnCe / VoL. XVII / IssUe III

21

Detroit Symphony Orchestra

Leonard Slatkin, Music Director Peter Oundjian, Principal Guest Conductor

Thomas Wilkins, Resident Conductor Neeme Järvi, Music Director Emeritus

signature series sponsor

Järvi, Music Director Emeritus signature series sponsor Classical series The Slatkin Era Begins thursday, December

Classical series

The Slatkin Era Begins

thursday, December 11 at 8 p.m Friday, December 12 at 8 p.m. saturday, December 13 at 8:30 p.m. sunday, December 14 at 3 p.m.

Leonard Slatkin, conductor Mary Wilson, soprano / Robert Baker, tenor / Hugh Russell, baritone uMS Choral union, Jerry Blackstone, director Ann Arbor Youth Chorale, Bonnie Kidd, director

Giuseppe Verdi (1813-1901)

James Lee III (b. 1975)

overture to La forza del destino

A Different Soldier’s Tale (World Premiere)

IntermIssIon

Carl Orff

(1895-1982)

Carmina Burana

Fortuna imperatrix mundi

[Fortune, empress of the World]

o Fortuna

Fortune plango vulnera

I. Primo vere [In springtime] Veris leta facies omnia sol temperat ecce gratum

Uf dem Anger [on the Green]

tanz

Floret silva

Chramer, gip die varwe mir

Reie

Were diu werlt alle min

II. In taberna [In the tavern] estuans interius olim lacus colueram ego sum abbas

In taberna quando sumus

III. Cour d’amours [the Court of Love] Amor volat undique Dies, nox et omnia stetit puella Circa mea pectora

si puer cum puellula

Veni, veni, venias

In trutina

tempus est iocundum

Dulcissime

Blanziflor et Helena [Blanziflor and Helena] Ave formosissima Fortuna imperatrix mundi

o Fortuna

Audience members attending these concerts are invited to join Maestro slatkin in orchestra Hall for an informal, pre-concert discussion with audience participation. An “Open Forum with Leonard Slatkin” takes place at 7 p.m. on Dec. 11 and 12; 7:30 p.m. on Dec. 13; and 2 p.m. on Dec. 14.

Leonard slatkin opening Concerts sponsored by somerset Collection

Media sponsor:

WWJ 950 AM

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.

22 PeRFoRMAnCe / VoL. XVII / IssUe III

PRoFILes

Leonard Slatkin

Hailed as “America’s Music Director” by the Los Angeles Times, internationally renowned conductor Leonard slatkin

begins his tenure this season as Music Director of the Detroit symphony orchestra. Additionally, he becomes Principal Guest Conductor of the Pittsburgh symphony orchestra in 2008-09. Having recently completed his 12th and final season as Music Director of the national symphony orchestra, slatkin continues as Principal Guest Conductor of the Royal Philharmonic orchestra and Music Advisor to the nashville symphony orchestra. throughout the world, slatkin’s performances have been distinguished by imaginative programming and highly praised interpretations of both the standard and contemporary symphonic repertoire. Additionally, he is well-known for his arts advocacy work on behalf of music education. Following a successful tenure as Music Director of the saint Louis symphony from 1979 to 1996, slatkin became Conductor Laureate. He served as Festival Director of the Cleveland orchestra’s Blossom Festival from 1990-99, Principal Guest Conductor of the Philharmonia orchestra from 1997-2000, Chief Conductor of the BBC symphony orchestra from 2000-04 and Principal Guest Conductor of the Los Angeles Philharmonic at the Hollywood Bowl from 2004-07. slatkin is a frequent host of musical broadcasts, which include the BBC and the new WRCJ broadcasts of Dso performances. slatkin’s more than 100 recordings have been recognized with seven Grammy Awards and more than 60 Grammy Award- nominations. He has received many other honors and awards, including the 2003 national Medal of Arts, France’s Chevalier of the Legion of Honor and the League of American orchestras’ Gold Baton for service to American music. slatkin was born In Los Angeles where his parents, conductor-violinist Felix slatkin and cellist eleanor Aller, were founding members of the Hollywood string Quartet. He began his musical studies on the violin and studied conducting with his father, followed by training with Walter susskind at Aspen and Jean Morel at the Juilliard school.

susskind at Aspen and Jean Morel at the Juilliard school. sLAtKIn W W W . D

sLAtKIn

WWW.DetRoItsyMPHony.CoM

Mary Wilson

Cultivating a wide-ranging career singing chamber music, oratorio and operatic repertoire, sopranoMary Wilson continues to receive critical acclaim from coast to coast. During the 2008-09 season, Wilson returns to the Cleveland orchestra for Handel’s Messiah, which she will also sing with the University Musical society in Ann Arbor, Michigan. other highlights include Hadyn’s Lord Nelson Mass with the southwest Florida symphony; Mozart’s Requiem and Bach’s Cantata No. 51 with the national Philharmonic; and Haydn’s Salve Regina and Fajer’s Missa de Los Angeles with Musica Angelica. In addition, Wilson will join the Florida Bach Festival for Rossini’s Stabat Mater, Bach’s Easter Oratorio and Brahm’s German Requiem; the Los Angeles Master Chorale for Mendelssohn’s Elijah; and the American Bach soloists with whom she will sing Pergolesi’s Stabat Mater and virtuoso Handel duets in celebration of their 20th Anniversary season. Wilson was a 1999 national Finalist in the Metropolitan opera national Council Auditions, awarded the Adams Fellowship at the Carmel Bach Festival in California and is the recipient of a career grant from opera theatre of st. Louis’ prestigious Richard Gaddes Fund for opera singers. she was named a 2004 “emerging Artist” by Symphony Magazine, the publication’s first-ever compilation of up-and-coming classical soloists. Wilson holds performance degrees from st. olaf College and

WILson

holds performance degrees from st. olaf College and WILson Washington University in st. Louis . Robert

Washington University in st. Louis.

Robert Baker

Robert Baker has been featured in numerous roles with the Washington national opera, totaling more than 250 performances. He has recently been seen in Madama Butterfly, Andrea Chénier and Democracy. He has also sung 10 roles with the Washington Concert opera.

He has also sung 10 roles with the Washington Concert opera. BAKeR WWW.DetRoItsyMPHony.CoM Career highlights include

BAKeR

WWW.DetRoItsyMPHony.CoM

Career highlights include the world premiere of Peter Westergaard’s Moby Dick at Princeton University (recorded for Albany Records); his Metropolitan opera debut in Prokfiev’s War and Peace; performances with the Washington national opera on its tour to Japan; and the release of A Dream Within a Dream (Koch: 1999), a recording of the songs of Charles Martin Loeffler. With the national symphony orchestra under Leonard slatkin, Baker was soloist on the 1996 Grammy Award-Winning recording Of Rage and Remembrance by John Corigliano (BMI:

1996), and last season sang triquet in the nso’s presentation of Eugene Onegin. this season, Baker will be singing in Peter Grimes with the Washington national opera and the Bach Cantata 207 in a staged performance with the Washington Bach Consort.

Hugh Russell

the young Canadian baritone Hugh Russell has been consistently hailed for his beautiful voice, dramatic gifts and interpretive originality. He begins the 2008-09 season with performances of Dandini in La Cenerentola with Atlanta opera, followed by concert performances of Carmina Burana with the Dso as well as the Pittsburgh symphony and edmonton symphony society. Russell will appear as Belcore in L’Elisir d’amore with Arizona opera and as Papageno in Die Zauberflöte with Pacific opera Victoria. Highlights from the 2007-08 season includee Carmina Burana with the toronto symphony, which he performed later in the season with the Houston symphony and the Philadelphia orchestra in Philadelphia, saratoga springs, and Vail. He was also heard as Guglielmo in Così fan tutte with Boston Baroque in Die Fledermaus with Arizona opera and appeared with Vancouver opera as taddeo in L’italiana in Algeri. In recent seasons, Russell has appeared at the new york City opera in Il barbiere di Siviglia and the Los Angeles opera in Ariadne auf Naxos. He was both an Adler Fellow and a member of the Merola opera Program at san Francisco opera. As a member of the Pittsburgh

RUsseLL

san Francisco opera. As a member of the Pittsburgh RUsseLL opera Center, Russell sang the roles

opera Center, Russell sang the roles of Malatesta in Don Pasquale, the title role in Pelléas et Mélisande and Guglielmo in Così fan Tutte. He has also been a regular performer with the new york Festival of song.

uMS Choral union

throughout its 130-year history, the UMs Choral Union has performed with many of the world’s distinguished orchestras and conductors. Based in Ann Arbor under the aegis of University Musical society, the 175-voice Choral Union is known for its definitive performances of large-scale works for chorus and orchestra. Fourteen years ago, the UMs Choral Union further enriched that tradition when it began appearing regularly with the Detroit symphony or- chestra (Dso). Amidst performances of stravinsky’s symphony of Psalms, Beethoven’s symphony no. 9 and others, the UMs Choral Union has also recorded tchaikovsky’s the snow Maiden with the orchestra for Chandos, Ltd. Led by Grammy Award-winning conductor and Music Director Jerry Blackstone, the UMs Choral Union was a participant chorus in a rare performance and recording of William Bolcom’s songs of Innocence and of experience in Hill Auditorium in April 2004 under the baton of Leonard slatkin. naxos released a three-disc set of this recording in october 2004, featuring the UMs Choral Union and U-M school of Music ensembles. the recording won four Grammy Awards in 2006, including “Best Choral Performance” and “Best Classical Album.” the recording was also selected as one of the new york times “Best Classical Music CDs of 2004.” the 07/08 season brought further collaborations with the Dso, including Detroit orchestral Hall performances of the Verdi Requiem and Beethoven’s symphony no. 9, and a special Good Friday performance in Ann Arbor’s Hill Auditorium of Bach’s st. Matthew Passion. In addition to this weekend’s Dso concerts, the UMs Choral Union 08/09 season includes two concerts in Ann Arbor: the annual performances of Messiah with the Ann Arbor symphony orchestra in December and a concert with two pianos featuring works of Mendelssohn, Rachmaninoff, Jonathan Dove, and Carl orff at st. Francis of Assisi Catholic Church in April.

PeRFoRMAnCe / VoL. XVII / IssUe III

23

Ann Arbor Youth Chorale

the Ann Arbor youth Chorale has provided high quality choral training to talented boys and girls in Ann Arbor and surrounding areas since 1987. Its membership cuts across social, economic and ethnic boundaries, and this diversity is reflected in its repertory which embraces a broad variety of styles, periods, and cultures. the AAyC’s excellent reputation has offered students many exciting performance opportunities such as partnering with children’s choirs in and from Indiana, Chicago, Cincinnati and toronto; collaborating with fine arts organizations such as the University Musical society and the Ann Arbor symphony; and traveling throughout the United states, Canada and europe. Concert Choir enjoyed a friendship concert with the Canadian Children’s opera Chorus on their 2007 trip to toronto.

PRoGRAM notes

Overture to La forza del destino

GIUsePPe VeRDI

B.

10 october 1813, Le Roncole, Italy

D.

27 January 1901, Milan, Italy

First performed in St. Petersburg, Russia on November 22, 1862. The Overture appeared in the

First performed in St. Petersburg, Russia on November 22, 1862. The Overture appeared in the later Milan revision of 1869.

Scored for flute, piccolo, 2 oboes, 2 clari- nets, 2 bassoons, 4 horns, 2 trumpets,

3

trombones, tuba, timpani, bass drum,

2

harps and strings. (Approx. 8 mins.)

until the late 1830s, Verdi lived

a relatively peaceful life. He had

spent his youth as an altar boy and

organist at San Michele Arcangelo in Bussetto, Italy. He later studied composition with Vicenzo Lavigna,

a composer and maestro at La Scala in Milan, and in 1836 was named music director of the Busseto Philharmonic.

that same year, Verdi married his childhood sweetheart, Margherita Barezzi. they had two children together before tragedy struck in 1839, when one by one, the family fell ill. Margherita and the children died over the course of the year, changing Verdi’s life forever. In tribute to his family, the composer vowed never to write a comedy again and instead pursued mainly works of tragedy and drama. Verdi clung to the idea of inescapable destiny and wrote many operas in homage to his beliefs, includ- ing La forza del destino. Composed in 1861-62, the opera’s libretto by Verdi’s lifelong friend and collaborator, Francesco Maria Piave, is based on a spanish drama about thwarted love, Don Alvaro o La Fuerza del Sino (1835) by Angel de saavedra, with a scene adapted from German dramatist Friedrich schiller’s dramatic trilogy Wallensteins Lager, inspired by the thirty years War. As the opera underwent massive revision in 1869, the previous overture was replaced with this more expansive piece. An opening from the brasses and woodwinds calls specific attention to the

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24 PeRFoRMAnCe / VoL. XVII / IssUe III

WWW.DetRoItsyMPHony.CoM

strong subject matter of the opera. A rushing accompaniment follows, intro- ducing the theme of the daughter of the Marquis of Calatrava, Donna Leonora, whose famous aria is “Pace, pace, mio Dio” (“Peace, peace, my God”). themes from other arias follow, though the recur- rent underlying theme of peace remains. In 1893, more than 50 years after the death of his family, Verdi finally broke his vow by composing the comic opera Falstaff, received by an adoring audience.

the comic opera Falstaff , received by an adoring audience. DSO SHOP @ THE MAx RECOMMENDS:

DSO SHOP @ THE MAx RECOMMENDS:

Verdi, La Forza del Destino overture:

Riccardo Muti conducting the La scala theater orchestra, seraphim 73738.

A Different Soldier’s Tale

JAMes Lee III

B. 26 november 1975, st. Joseph, MI

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons,

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, piano, celeste and strings. (Approx. 25 mins.)

A Different Soldier’s Tale is a four-movement work for orchestra loosely based on stories that my grandfather told me about his involvement fighting in World War II. He was one of many African Ameri- can soldiers engaged in the conflict in the European theater. Even though this work addresses the history of one man’s fight during the Second World War, it also pays tribute to the other host of men fighting for freedom and to overcome tyranny. The work is a commentary on James Lee Sr.’s (my grandfather’s) experi- ences on various night patrols as a corporal (I. Vigilant Patrol); his fight for survival (II. I Must Survive!); his and other African American soldiers’ near execution by Nazi soldiers (III. Capture! Funeral?); and the victory celebration back at home in Selma, Alabama (IV. Celebration on Broad Street). Each movement serves as a musical commentary on some of the stories told to me when I was younger.

WWW.DetRoItsyMPHony.CoM

the first movement (“Vigilant Patrol”) comments on various night patrols that James Lee sr. made as a corporal. After the movement’s initial suspended cymbal and wood block outburst, the complete orchestra plays a highly disso- nant 12-tone chord signaling conflict. the orchestral texture quickly diminishes as it prepares the way for the so-called “Papa Lapa” (grandfather’s nickname) theme. throughout this movement, a longing and quasi-mournful melody is played by various parts of the orchestra with anticipatory passages foreshadow- ing the imminent battle to take place. Finally, the wood block that opened the

work closes the movement, as if the tick- ing of the clock signals a new day. Movement two (“I Must survive”)

is where the actual battle takes place.

An aspect of note in this movement is

a certain passage where the trumpets

imitate the sound of sirens in an emer- gency. this tireless battle continues until the opening motive in the violins returns, accompanied by the snare drum. soft timpani passages, low strings and the snare drum tell us that the African American soldiers have been captured, lined up and prepared for execution by nazi soldiers. Just when death seems imminent, high screeching pleadings come from German women running from a barn hoping that those soldiers’ lives will be saved. the strings, piano and harp slide down aggressively to the lower registers of their instruments, and the movement ends with the dissonant sounds of war and conflict. the next movement (“Capture! Funeral?”) is a solemn tale of one soldier who was badly malnourished and whose eye had been shot out in the battle. Perhaps his family back in Alabama already thought he was dead. In this movement I have loosely quoted the hymn “Come, ye Disconsolate:” Come, ye disconsolate, where’er ye languish. Come to the mercy seat, fervently kneel. Here bring your wounded hearts; here tell your anguish; earth has no sorrow that heaven cannot heal. the final movement (“Celebration on Broad street”) is a five-part rondo with a coda. Broad street is the “main street” in selma, Alabama where I imagine people would have had parades and celebrated the end of the war.

Program note by James Lee III

Carmina Burana

CARL oRFF

B.

10 July 1895, Munich, Germany

D.

29 March 1982, Munich, Germany

First performed on June 8, 1937, in Frankfurt by the Frankfurt Opera under the direction

First performed on June 8, 1937, in Frankfurt by the Frankfurt Opera under the direction of Bertil Wetzelsberger.

Scored for 3 solo voices (soprano, tenor and baritone), a mixed choir, a children’s chorus and the follow- ing orchestra: 3 flutes, with 2 players doubling on piccolo; 3 oboes, the third player doubling on English horn; 3 clarinets plus e-flat clarinet and bass clarinet; 3 bassoons and contrabas- soon; 4 horns, 3 trumpets, 3 trombones and tuba; timpani and percussion; two pianos and celesta; and strings. (Approx. 60 mins.)

In 1803, a remarkable manuscript was discovered in a medieval Benedictine monastery at Beuren, in southern Germany. The docu- ment was not a religious text, but rather a collection of secular songs and poems written by wandering students and minstrels during the twelfth and thirteenth centuries. The verses, in Latin, Old French and Middle-High-German, touched a broad range of topics. They satirized the clergy and nobility, celebrated the passing seasons; complained of poverty, greed and corruption; praised the pleasures of wine and song; and above all, sang the joys and sorrows of love while expressing a fatalistic view of human destiny controlled by a “wheel of fortune.” By turns blatant and refined, the language of these poems reflected the varied back- grounds and social stations of their authors, and the verses revealed a freshness that is striking even today. They were published in 1847 under the title Carmina Burana (“Songs of the Beuren”). In 1935, they came to the attention of an obscure German composer named Carl Orff.

orff is one of the more curious figures of 20th century music. He received a solid if unremarkable musical training

PeRFoRMAnCe / VoL. XVII / IssUe III

25

2008-2009 Series 65th Anniversary Season
2008-2009 Series
65th Anniversary Season

OPUS 9 SERIES

James Ehnes, Violin with Andrew Armstrong, Piano

Saturday, 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, Violin

Saturday, December 6

Denyce Graves, Mezzo-soprano and Warren Jones, Piano

Saturday, January 24

ATOS Trio

Saturday, February 7

Guarneri String Quartet

Saturday, April 11

Pacifica Quartet with Erik Rönmark, Saxophone

Saturday, April 18

Kalichstein-Laredo-

Robinson Trio with the Miami String Quartet

Saturday, May 16

OPUS 3 PIANO SERIES

Christopher Taylor, Piano

Friday, October 3

Garrick Ohlsson, Piano

Saturday, March 21

Yefim Bronfman, Piano

Saturday, 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

2008-2009 Season Media Sponsors

and, like so many composers of his generation, absorbed the influence first of the German post-Romantics — particularly strauss, the young schoenberg and, later, stravinsky. But his interests soon spread beyond the concerns of modern composition. During his twenties, he became involved with the theater and soon became fascinated with the idea, analogous to Wagner’s concept of the Gesamtkunstwerk (the “complete art work”), of combining the various arts to produce a spectacle whose total effect was greater than the sum of its parts. At about the same time, he developed a strong interest in early music, particularly that of the medieval and Renaissance periods. Finally, in 1924, he began an association with the dancer Dorothee Gunther, and with her established an educational method aimed at “reviving the natural unity of music and movement.” orff’s work in this area, and in early music education gener- ally, continued for decades, resulting in the famous orff-schulwerk, a teaching program using simple percussion instru- ments and rhythmic movement now widely used throughout the world.

Far from remaining isolated, these interests came together in a fascinating synthesis in orff’s creative work. He sought new ways to dramatize concert music, presenting staged versions of oratorios and other pieces. His own compositions relied increasingly on modal melodies derived from medieval plainchant, and on the percussion instru- ments and simplicity of utterance that characterize orff-schulwerk. orff plainly was searching for a vehicle by which to

bring these disparate elements together in a telling and original way. He found it in Carmina Burana. orff composed his setting of the Beuren monastery verses in 1935-36. Upon completing it, he wrote to his publisher: “everything I have written to

date

Burana, my collected works begin.” the sound of Carmina Burana was virtually unprecedented. Its pounding, repetitive rhythms, simple motives, elemental harmonies and huge orches- tral sound blocks convey a pagan and orgiastic energy. In an audacious gambit, orff deliberately abandoned Western music’s traditional techniques of coun-

can be destroyed. With Carmina

terpoint and thematic development in favor of a deliberately primitive rhetoric. Framing Carmina Burana is a massive chorus, “o Fortuna,” whose allusions to both happiness and woe, “power and poverty alike,” sets out a broad canvas of human experience to be filled by the intervening numbers. these are divided into three large sections. the first, “In springtime,” is a hymn to reawakening nature and love. “In the tavern” treats the pains and pleasures of hedonistic aban- don. “the Court of Love,” the work’s final section, celebrates love and sensuality. orff gained international attention with Carmina Burana. It has since become one of the most frequently performed of modern choral works.

one of the most frequently performed of modern choral works. DSO SHOP @ THE MAx RECOMMENDS:

DSO SHOP @ THE MAx RECOMMENDS:

orff, Carmina Burana: Leonard slatkin conducting the st. Louis symphony orchestra, RCA 61673.

Program notes by Paul Schiavo © 2000

Celebrate exCellenCe Grand Valley celebrates the imagination, creativity, and beauty of the fine arts. We
Celebrate exCellenCe
Grand Valley celebrates the imagination, creativity, and beauty of the fine arts. We appreciate the
performances that inspire and enlighten us. And, we applaud the artists who share our passion
for excellence and our commitment to personal achievement. gvsu.edu
800.748.0246
commitment to personal achievement. gvsu.edu 800.748.0246 WWW.DetRoItsyMPHony.CoM PeRFoRMAnCe / VoL. XVII / IssUe III
commitment to personal achievement. gvsu.edu 800.748.0246 WWW.DetRoItsyMPHony.CoM PeRFoRMAnCe / VoL. XVII / IssUe III

WWW.DetRoItsyMPHony.CoM

PeRFoRMAnCe / VoL. XVII / IssUe III

27

Detroit Symphony Orchestra

2008 – 2009 Season

special event

Garrison Keillor under the Mistletoe with the DSO

tuesday, December 16, 2008 at 8 p.m.

Philip Brunelle, conductor

tonight’s program will include the following:

Victor Hely-Hutchinson

Here We Come A-Wassailing

(1901-1947)

from Carol Symphony

Samuel Barber

Chorale Prelude on “silent night”

(1910-1981)

from Die Natali, op. 37

William McGlaughlin

Aunt eva suite (surveying Lake Wobegon)

(b. 1946)

old American songs

arr. Daniel Kallman

Johnny Johnson

sancta Lucia

arr. Philip Brunelle

A Child is Born

arr. Paul Gerike

Christmas Carol Duet o Little town of Bethlehem Angels We Have Heard on High

Angels We Have Heard on High Angels we have heard on high sweetly singing o’er the plains, And the mountains in reply echoing their joyous strains. Gloria, in excelsis Deo! Gloria, in excelsis Deo!

O Little Town of Bethlehem o little town of Bethlehem, How still we see thee lie! Above thy deep and dreamless sleep the silent stars go by; yet in thy dark streets shineth the everlasting Light; the hopes and fears of all the years Are met in thee tonight.

there will be one 20-minute intermission.

Media sponsor:

WUoM 91.7

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.

28 PeRFoRMAnCe / VoL. XVII / IssUe III

PRoFILes

Garrison Keillor

Garrison Keillor was born in 1942 in Anoka, Minnesota and began his radio career as a freshman at the University

of Minnesota, from which he graduated in 1966. He went to work for Minnesota Public Radio in 1969, and on July 6, 1974, he hosted the first broadcast of A Prairie Home Companion in st. Paul. the show ended in 1987, resumed in 1989 in new york as The American Radio Company, returned to Minnesota, and in 1993 resumed the name A Prairie Home Companion. over 3 million listeners on more than 450 public radio stations now hear the show each week. Keillor is also the author of many books, including Lake Wobegon Days (1985); The Book of Guys (1993); The Old Man Who Loved Cheese (1996); Wobegon Boy (1997); Me: By Jimmy “Big Boy” Valente As Told to Garrison Keillor (1999); Love Me (2003); Homegrown Democrat (2004); and Pontoon (2007). His newest book is Liberty: A Lake Wobegon Novel

(2008).

Keillor has received numerous awards, including a Grammy Award for his recording of Lake Wobegon Days. He has also received two Cable ACe Awards and a George Foster Peabody Award. He is a member of the American Academy of Arts and sciences and recently was presented with a national Humanities Medal by the national endowment for the Humanities. In 1994, he was inducted into the Radio Hall of Fame at Chicago’s Museum of Broadcast Communications. With Philip Brunelle, he has performed with many orchestras, includ- ing the Chicago, Milwaukee, san Fran- cisco, Pittsburgh, Minnesota, Dallas, and national symphonies. He has appeared at Wolf trap, Carnegie Hall, and other major concert halls as a member of the Hopeful Gospel Quartet, and he has performed on his own in one-man shows across the country and on tour broad- casts of A Prairie Home Companion.

and on tour broad- casts of A Prairie Home Companion . KeILLoR W W W .

KeILLoR

WWW.DetRoItsyMPHony.CoM

Philip Brunelle

Philip Brunelle, artistic director and founder of Vocalessence, is an internationally renowned conductor, choral scholar and performer, working enthusiastically to expand audiences for rarely heard works of the past, and unique new music. His conducting engagements have taken him across the United states, south America and europe and included performances with the new york Philharmonic, the Minnesota orchestra, the Berkshire Choral Festival and the oregon Bach Festival. Brunelle served as president of the sixth World symposium on Choral Music, which took place in Minneapolis- st. Paul in 2002. In 2006, he served as artistic director and conductor of America sings!, a concert held in Washington, D.C. to launch the neA initiative, American Masterpieces: Choral Music. In 2008, he served on the Artistic Advisory Committee for the eighth World Choral symposium in Denmark and also chaired the program committee for the American Guild of organists national convention, held in the twin Cities. He serves on the boards of Chorus America, the International Federation for Choral Music and st. olaf College. Among his many awards are honorary doctorates from st. olaf College, Gusta- vus Adolphus College, st. John’s Univer- sity and United theological seminary. Chorus America honored Brunelle with its most prestigious award, the Michael Korn Founder’s Award for Development of the Choral Art, and the American Composers Forum named Philip Brunelle “2007 Champion of new Music” for his support of contemporary music and composers of today. He has been honored by the governments of norway, sweden and the United Kingdom for his promotion of their music.

BRUneLLe

United Kingdom for his promotion of their music. BRUneLLe WWW.DetRoItsyMPHony.CoM NAXOS WELCOMES MAESTRO RORORORO

WWW.DetRoItsyMPHony.CoM

NAXOS WELCOMES MAESTRO RORORORO Leonard Slatkin TO THE Detroit Symphony
NAXOS
WELCOMES
MAESTRO
RORORORO
Leonard Slatkin TO THE Detroit Symphony
SymphonySymphonySymphonySymphonySymphonSymphonymphonyymphony
130th Season 09UMS 2008 Richard Goode piano SUN, JAN 25 | 4 PM Hill Auditorium
130th Season
09UMS 2008
Richard Goode piano
SUN, JAN 25 | 4 PM
Hill Auditorium • Ann Arbor
PROGRAM
J. S. Bach
Chopin
French Suite No.5 in G Major, BWV 816
Mazurkas
Scherzo No.3 in c-sharp minor, Op. 39
Barcarolle in F-sharp Major, Op. 60
J. S. Bach
Chopin
Preludes and Fugues from The Well-Tempered Klavier, BWV 846-893
Nocturne in F-sharp Major, Op. 15, No. 2
Nocturne in D- at Major, Op. 27, No .2
Waltz in c-sharp minor, Op. 64, No. 2
Waltz in A- at Major, Op. 64, No. 3
Valse brillante in F Major, Op. 34, No. 3
Polonaise-fantasie in A- at Major, Op. 61
New York Philharmonic
Lorin Maazel music director
SAT, MAR 7 | 8 PM
SUN, MAR 8 | 7 PM
Hill Auditorium • Ann Arbor
PROGRAM (Sat 3/7)
Mendelssohn
Schumann
Mussorgsky
A Midsummer Night’s Dream Overture
Symphony No. 4 in d minor, Op. 120
Pictures at an Exhibition, arr. Ravel
PROGRAM (Sun 3/8)
Berlioz
Tchaikovsky
Stravinsky
Roman Carnival Overture, Op. 9
Suite No. 3 in G Major, Op. 55
The Rite of Spring
Call or Click For Tickets!
734.764.2538 | www.ums.org
outside the 734 area code, call toll-free 800.221.1229

PeRFoRMAnCe / VoL. XVII / IssUe III

29

Detroit Symphony Orchestra

2008 – 2009 Season

Detroit Symphony Orchestra 2008 – 2009 Season PoPs seRIes Home for the Holidays: “The Sounds of

PoPs seRIes

Home for the Holidays: “The Sounds of the Season”

thursday, December 18 at 10:45 a.m. & 8 p.m. Friday, December 19 at 8:30 p.m. saturday, December 20 at 3 p.m.* & 8:30 p.m. sunday, December 21 at 3 p.m.

*the performance on sat., Dec. 20 at 3 p.m. is a special family concert featuring KidZone, a festival of kids’ activities, in the Atrium Lobby before the concert.

Thomas Wilkins, conductor / Kisma Jordan, soprano Andover Chamber Choir / Bruce Snyder, director Grosse Pointe South High School Pointe Singers / Ellen Bowen, director

Leroy Anderson

Piotr Ilyich Tchaikovsky

arr. Bill Holcombe orch. Carson Rothrock

Sleigh Ride

Waltz of the Flowers from The Nutcracker suite, op. 71a

Festive sounds of Hanukkah

Hanukkah, Hanukkah My Dreidel s’Vivon (spin Dreidel) Hanukkah, oh Hanukkah

Donald Fraser

this Christmastide (Jessye’s Carol)**

arr. Calvin Custer

It’s Christmas time: A Medley for orchestra

santa Claus Is Comin’ to town Have yourself A Merry Little Christmas silver Bells I’ll Be Home For Christmas

John Williams lyrics by Leslie Bricusse

three Holiday songs from Home Alone**

somewhere in My Memory star of Bethlehem Merry Christmas, Merry Christmas

IntermIssIon

arr. Carmen Dragon

“Deck the Halls with Boughs of Holly”

Jennifer Margaret Barker

Nollaig**

Katherine Davis/arr. Ray Wright

“Carol of the Drum”

arr. Brant Adams

torah orah (yisrael V’oraita)** [A cappella]

Bob Chilcott

Mid-Winter**

Adolphe-Charles Adam

“o Holy night”**

arr. David T. Clydesdale

Kisma Jordan, soprano

Robert L. Shaw arr. Robert Russell Bennett

Many Moods of Christmas suite I**

Good Christian Men, Rejoice silent night Patapan o Come, All ye Faithful

** Denotes pieces performed with the Andover Chamber Choir and Grosse Pointe south Pointe singers. December 19 concert sponsored by Detroit Area Honda Dealers Association

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.

30 PeRFoRMAnCe / VoL. XVII / IssUe III

PRoFILes

Thomas Wilkins

thomas Wilkins is in his ninth season as Resident Conductor of the Detroit symphony orchestra. Wilkins leads

the orchestra in classical, jazz, pops, special events, young people’s series concerts and educational concerts. Wilkins was named Principal Guest Conductor of

the Hollywood Bowl orchestra beginning this summer and was honored by the Dso with a special award at the eighth annual Classical

Roots Gala for his contributions to classi- cal music and the Detroit community. since 2005, Wilkins has been Music Director of the omaha symphony. Past positions included Resident Conduc- tor of the Florida orchestra in tampa Bay and Associate Conductor of the Richmond symphony in Virginia. He served on the music faculties of several prestigious American universities and is

a featured guest conductor with major

orchestras across the country. Committed to promoting a life-long enthusiasm for music, Wilkins brings energy and commitment to audiences

of all ages. He actively participates as

a guest speaker and volunteer for local

community organizations and schools. A native of norfolk, Va., Wilkins earned his Bachelor of Music education degree from the shenandoah Conserva- tory of Music and his Master of Music degree in orchestral conducting from the new england Conservatory of Music in Boston. Currently he serves as chairman of the board for the Raymond James Charitable endowment Fund.

the board for the Raymond James Charitable endowment Fund. WILKIns Thomas Wilkins Conducts 31st Annual Classical

WILKIns

Thomas Wilkins Conducts 31st Annual Classical Roots Concerts

March 6-8, 2009

Featuring Dear Mrs. Parks by Hannibal Lokumbe

WWW.DetRoItsyMPHony.CoM

Kisma Jordan

soprano Kisma Jordan has shared her ever-increasing talent before audiences across the country with her “shimmering

before audiences across the country with her “shimmering soprano voice” as noted by music critic Anthony

soprano voice” as noted by music critic Anthony tommasini in the New York Times. some perfor- mance highlights include the north American premiere of Francesco

JoRDAn

Cavalli’s Gli Amore D’ Apollo e di Daphne and Pasatieri’s Signor Deluso with the Bowling Green state opera theatre. she has had solo engagements with the toledo symphony orchestra and the Bowling Green Phil- harmonia of ohio and recitals in ohio, Michigan, and Kentucky. In the 2006-

2007 season, Jordan received a personal invitation from renowned mezzo-soprano Marilyn Horne to participate in the Song

Continues

recital festival presented by the Marilyn Horne Foundation at Carnegie’s Weill Hall. Recently, Jordan won the Great Lakes District of the Metropolitan opera national Council Auditions. Her addi- tional prestigious awards include first place in the Lima symphony orchestra young Artists Competition, first place and Audience Choice Award winner of the 39th annual Bowling Green state University Competition in Music Perfor- mance, first place in the Dr. Marjorie Conrad Peatee Art song Competition and the tuesday Musical Association Gertrude Marta Pflaum scholarship for Voice. A native of Detroit, Jordan holds degrees in vocal performance from Kentucky state University and Bowling Green state University.

Grosse Pointe South Pointe Singers

Grosse Pointe south Pointe singers is an Advanced Choir from Grosse Pointe south High school made up of students in grades 10 through 12. the choir has been under the direction of ellen J. Bowen for 22 years. During that time, it has produced 24 Michigan school Vocal Music Association state Finalists in both solos and ensembles. they have also been national show Choir champions for three straight years. the Detroit

2006 master class and

WWW.DetRoItsyMPHony.CoM

Chamber Winds have invited the Pointe singers to perform their Holiday Concert for the past seven years, and this year they were featured in the Rutter Gloria. the Pointe singers are proud to have performed with the Dso in more than 50 different performances from 1994 to the present, and they have been invited to perform around the world, including Italy where they sang a Full High Mass at the Vatican. this spring, they will travel to new york to perform at the United nations.

Ellen J. Bowen

ellen Bowen is Director of Choral Activities/Music theater/Music technol- ogy at Grosse Pointe south High school. she has been at south High for 22 years and has also taught at Macomb Commu- nity College, Wayne state University and Chippewa Valley High school. now in her 40th year in the educational field, Bowen sat on the state Boards of both the Michigan school Vocal Music Association and the Michigan American Choral Directors Association. she has received a number of prestigious awards, including a Vocational service Award from the Rotary Club of Grosse Pointe, a distinguished service Award from Grosse Pointe Farms City Council and a certificate of special tribute from Gover- nor engler. Additionally, Wayne County recognized her for her exemplary role in making Grosse Pointe a place where residents can live and enjoy cultural experiences with great pride. Bowen has degrees from Columbia College, Ball state University, Butler University, oakland University and a certificate in music technology from the University of Michigan.

Andover Chamber Choir

the Andover Chamber Choir from Andover High school is made up of two select ensembles. the Jills, an honors vocal ensemble that sings and rings handbells, was formed in 1955. they have performed in a wide variety of venues from educational conferences to country club ballrooms, from european cathedrals to recording studios, and from schools to hospitals to special tele- vision productions. they have performed for Presidents Ford, Bush and Reagan

The DSO you and a happy and healthy yours wishes holiday and New Year.
The
DSO
you
and
a happy
and
healthy
yours wishes holiday
and
New Year.

and have appeared on stage at the Fisher theater for Karl Haas’ live radio show and at the Fox theater with Kenny Rogers. the Andover Chamber singers was founded in 1973 as a performing ensemble and a regular part of the music curriculum offerings. these auditioned juniors and seniors regularly perform at festivals and competitions receiving exemplary scores. the Chamber singers form the core of the Andover Honors Chorale which is planning another european performing tour in the summer of 2009. Both groups have been featured with the Detroit Chamber Winds holiday performances for a number of years.

Bruce J. Snyder, Choral Director

Bruce J. snyder began directing his first choir at the age of 17. His conduct- ing experience includes middle and high school teaching, community and semi-professional adult groups, prepar- ing choruses for oratorio and opera performances, helping produce the annual all-school musical and 35 years of church music experience. He is also an adjudicator. He has a B.A. from Albion College, a Masters in conducting from Michigan state and an ed.s. degree in school administration from oakland University. every other summer, snyder tours europe with his Andover Honors Chorale. He has also toured europe with the orchard Lake Community Church Presbyterian Chancel Choir. snyder has been a choral director in the Bloomfield Hills schools for 31 years and is in his 12th year on staff at the orchard Lake Community Church, Presbyterian. He has been the recipient of numerous prestigious recognitions, including the Master teacher award from Bloomfield Hills schools and 2008 teacher of the year from the Michigan school Vocal Music Association (MsVMA).

PeRFoRMAnCe / VoL. XVII / IssUe III

31

Detroit Symphony Orchestra

2008 – 2009 Season

PRoFILes

Detroit Symphony Orchestra 2008 – 2009 Season PRoFILes Paradise Jazz Series DOuBLE BILL Sophie Milman/Phil Woods

Paradise Jazz Series

DOuBLE BILL Sophie Milman/Phil Woods Quintet

thursday, January 8 at 8 p.m.

Sophie Milman Sophie Milman, vocals / Paul Shrofel, piano, keyboard Kieran Overs, bass / Mark McLean, drums

Phil Woods Quintet Phil Woods, saxophone Brian Lynch, trumpet / Bill Mays, piano Steve Gilmore, bass / Bill Goodwin, drums

selections to be announced from the stage. there will be a 15-minute intermission.

the Dso does not appear on this program.

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.

Before every Paradise Jazz concert, please join us for Civic Jazz LIVE!

thu., Jan. 8 performance features Civic Jazz Combos in the Music Box at 6:30 p.m.

Sophie Milman

“It’s not easy being green,” sang a

24-year-old sophie Milman on her smash

2007

album, Make Someone Happy. But today, no one can accuse the young toronto singer of being “green” or naïve about her ascent into the upper echelons of the inter- national jazz scene. Make Someone

echelons of the inter- national jazz scene. Make Someone MILMAn Happy has more than lived up

MILMAn

Happy has more than lived up to its title: it topped the itunes jazz charts in both Canada and the U.s. for months, cracked the top 5 jazz chart in Billboard, and garnered a

2008 Juno Award for Vocal Jazz Album of

the year. Following its July, 2007 release, Milman spent nine months of the next year seducing sold-out audiences every- where, including appearances with Chick Corea, Chris Botti, Gary Burton, the neville Brothers, Jesse Cook and Randy Bachman. Her recent tour schedule included an

emotional homecoming at the vener- able toronto venue Massey Hall, where Milman saw some of her heroes perform as a teenager, and a triumphant appear- ance alongside the Manhattan transfer at a packed Hollywood Bowl. the success of Make Someone Happy was only the latest chapter in Milman’s rise. Her self-titled debut album, released in 2004, has sold nearly 100,000 copies worldwide and was named by itunes UsA as one of the top 10 jazz albums of 2006. Milman’s 2007 i tunes eP, Live at the Winter Garden, hit #1 on the jazz charts in Canada and #4 in France. on her first trip to Japan, Milman was shocked to discover that she was in the same stratosphere of stardom as Diana Krall and Michael Bublé — a status that means she is regularly pursued by paparazzi there. today, Milman continues to pursue her unusual double life: working to complete her commerce degree at the University of toronto while readying her third album, another eclectic collection set for a spring 2009 release.

Phil Woods

one of the true masters of the bop vocabulary, Phil Woods has had his own sound since the mid-1950s. one of the

top alto saxophon- ists alive, he has lost neither his enthusiasm nor his creativity through the years. Woods’ first alto sax was left to him by an uncle, and he started playing seriously when he was 12. He gigged and studied locally until 1948. He then moved to new york where he studied with Lennie tristano at the Manhattan school of Music and at Juilliard where he majored in clarinet. He worked with Charlie Barnet (1954), Jimmy Raney (1955), George Wallington, the Dizzy Gillespie orchestra, Buddy Rich (1958- 59), Quincy Jones (1959-61) and Benny Goodman (for BG’s famous 1962 tour of the soviet Union), but he has mostly headed his own groups since 1955, including co-leadership of a combo with fellow altoist Gene Quill in the 1950s logi- cally known as “Phil & Quill.” In the 1960s, Woods performed on Benny Carter’s classic Further Defini- tions record, toured europe with the short-lived thelonious Monk nonet, performed on soundtracks to such films as The Hustler and Blow Up and taught at an arts camp in Pennsylvania in the summers of 1964-67. Discouraged with the jazz scene in the U.s., he moved to France in 1968 where he led the euro- pean Rhythm Machine. In 1972, he returned to the U.s. and formed a quintet with pianist Mike Melillo, bassist steve Gilmore, drummer Bill Goodwin and guitarist Harry Leahey that had much greater success. their recording Live at the Showboat officially launched the band which today, after a few personnel changes, still tours the world. not just a bebop repertory band, Woods’ ensembles have developed their own repertoire, taken plenty of chances, and stretched themselves while sticking to his straight-ahead path.

themselves while sticking to his straight-ahead path. WooDs Don’t Miss the Next Bank of America Paradise

WooDs

Don’t Miss the Next Bank of America Paradise Jazz Concert JOHN SCOFIELD Fri., Feb. 20 at 8 pm.

32 PeRFoRMAnCe / VoL. XVII / IssUe III

WWW.DetRoItsyMPHony.CoM

Detroit Symphony Orchestra

Leonard Slatkin, Music Director Peter Oundjian, Principal Guest Conductor

Thomas Wilkins, Resident Conductor Neeme Järvi, Music Director Emeritus

Preferred series sponsor:

Järvi, Music Director Emeritus Preferred series sponsor: Classical series Americans Here & Abroad Friday, January

Classical series

Americans Here & Abroad

Friday, January 9 at 10:45 a.m. and 8 p.m. saturday, January 10 at 8:30 p.m. sunday, January 11 at 3 p.m.

Leonard Slatkin, conductor Edgar Meyer, double bass Béla Fleck, banjo Zakir Hussain, tabla

Margaret Brouwer

(b. 1940)

Edgar Meyer (b. 1960) Béla Fleck (b. 1958) Zakir Hussain (b. 1951)

Rhapsody for orchestra (World Premiere, Winner of the elaine Lebenbom Memorial Award for Women Composers)

triple Concerto for Double Bass, Banjo and tabla

IntermIssIon

Leonard Bernstein

(1918 – 1990)

George Gershwin

(1898 – 1937)

Facsimile: A Choreographic essay for orchestra

An American in Paris

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

natural Herb Cough Drops – Courtesy of 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.

Leonard Slatkin returns in April 2009 for two more concert series:

Slatkin & Boisvert (Apr. 2-4)

Slatkin and Mahler (Apr. 23-25)

34 PeRFoRMAnCe / VoL. XVII / IssUe III

PRoFILes

Edgar Meyer

In demand as both a performer and

a composer, edgar Meyer has formed

a role in the music world unlike any

other. Hailed by the New Yorker as “ the most remarkable virtuoso in the rela- tively unchronicled history of his instru- ment,” Meyer’s unparalleled tech- nique and musician- ship in combination

with his gift for composition have brought him to the forefront where he is appreci- ated by a vast, varied audience. His uniqueness in the field was recognized by

a MacArthur Award in 2002. As a soloist, Meyer has released a concerto album with the st. Paul Cham- ber orchestra featuring Bottesini’s Gran Duo with Joshua Bell, Meyer’s Double Concerto for Bass and Cello with yo-yo Ma, Bottesini’s Bass Concerto no. 2, and Meyer’s Concerto in D for Bass. In 2006, he released a self-titled solo recording on which he wrote and played all of the pieces, incorporating seven varied instruments. His newest recording, a CD/ DVD of original material with mandolinist Chris thile, was released in Fall 2008. As a composer, Meyer has carved out a remarkable niche. In the 2006-07 season, he premiered a triple concerto for double bass, banjo and tabla (co-written and performed with Béla Fleck and Zakir Hussain) and a piece for double bass and piano that he performed with emanuel Ax. Meyer premiered his Double Concerto for Bass and Cello with yo-yo Ma and the Boston symphony under seiji ozawa. In october 1999, Meyer’s violin concerto, written for Hilary Hahn, was premiered and recorded by Hahn with the st. Paul Chamber orchestra under Hugh Wolff. Collaborations are a central part of Meyer’s work, including widely-acclaimed performances and recordings with Chris thile, Béla Fleck, Joshua Bell, sam Bush, Mike Marshall, yo-yo Ma and Mark o’Connor. Meyer collaborated with Ma and o’Connor for Appalachia Waltz in 1996 and its Grammy® Award-winning follow- up Appalachian Journey in 2000.

Award-winning follow- up Appalachian Journey in 2000. MeyeR Leonard Slatkin biography, see page 22. W W

MeyeR

Leonard Slatkin biography, see page 22.

WWW.DetRoItsyMPHony.CoM

Béla Fleck

Béla Fleck is often considered the premiere banjo player in the world. A new york City native, he picked up the banjo at age 15 after being awed by the bluegrass music of Flatt & scruggs. While still in high school, he began experimenting with playing bebop jazz on his banjo, and in 1980 he released his

first solo album, Crossing the Tracks. In 1982, Fleck joined the progressive blue- grass band new Grass Revival, making a name for himself ever since on countless solo and ensemble projects as a virtuoso instrumentalist unbounded by genre. In 1989, Fleck formed the Flecktones with members equally talented and adventurous as himself. the band was hailed by Entertainment Weekly as “heavyweight players who make an endearing fusion… it’s hard to resist

a band that draws on bluegrass, funk,

world music, pop and jazz with such

glee and blissful lack of pretension.” the Flecktones, comprised of Victor Wooten on electric bass, Jeff Coffin on sax and flute and Future Man on percussion, have recently released the holiday record Jingle All The Way with guests edgar Meyer, Andy statman and tuvan throat singers. Fleck and director sascha Paladino are currently premiering the documen- tary Throw Down Your Heart at festivals nationwide. Motivated by a deep love of African music, the film follows Fleck on

a boundary-breaking musical adventure

to explore the little-known African roots of the banjo and record an album. transcending barriers of language and culture, Fleck finds common ground with musicians ranging from local villagers to international superstars such as the Malian diva oumou sangare to create some of the most meaningful music

of his career. the album and tour are planned for spring 2009. Béla Fleck and the Flecktones perform for over 500,000 people annually, and Fleck has received more Grammy nomi- nations in more diverse categories than any other musician in history.

FLeCK

diverse categories than any other musician in history. FLeCK WWW.DetRoItsyMPHony.CoM We’re called the Blues but we

WWW.DetRoItsyMPHony.CoM

We’re called the Blues but we like the classics too. bcbsm. com Blue Cross Blue
We’re called the Blues
but we like the classics too.
bcbsm. com
Blue Cross Blue Shield of Michigan
supports the arts and the
Detroit Symphony Orchestra.
Blue Cross Blue Shield of Michigan is a nonprofit corporation and independent licensee of the Blue Cross and Blue Shield Association.

Zakir Hussain

Zakir Hussain is today appreciated both in the field of percussion and in the music world at large as an international

phenomenon. A clas- sical tabla virtuoso of the highest order, his consistently brilliant and exciting performances have not only established him as a national treasure in his own country, India, but have also earned him worldwide fame. His playing is marked by uncanny intuition and masterful improvisational dexterity, founded in formidable knowl- edge and study. the favorite accompa- nist for many of India’s greatest classical musicians and dancers, he has not let his genius rest there. Widely considered a chief architect of the contemporary world music move- ment, Hussain’s contribution to world music has been unique, with many historic collaborations including shakti, which he founded with John McLaughlin and L. shankar in the early 1970’s; the

HUssAIn

McLaughlin and L. shankar in the early 1970’s; the HUssAIn Diga Rhythm Band, Making Music, Planet

Diga Rhythm Band, Making Music, Planet Drum with Mickey Hart; Tabla Beat Science, Sangam with Charles Lloyd and eric Harland; and recordings and perfor- mances with artists as diverse as George Harrison, Joe Henderson, Van Morrison, Airto Moreira, Giovanni Hidalgo, Pharoah sanders, Billy Cobham, Rennie Harris and the Kodo drummers of Japan. A child prodigy, Hussain was touring by the age of 12, the gifted son of tabla legend Ustad Allarakha. Hussain came to the United states in 1970, embark- ing on an international career which includes no fewer than 150 concert dates a year. He has composed and recorded many albums and soundtracks, and has received widespread recognition as a composer for his many ensembles and collaborations. He has composed soundtracks for the films In Custody and The Mystic Masseur directed by Ismail Merchant, Bertolucci’s Little Buddha, for which Hussain composed, performed and acted as Indian music advisor, Vanaprastham (the Last Dance), chosen to be screened at the Cannes Film Festi- val in May, 1999, saaz, and everybody says I’m Fine.

PeRFoRMAnCe / VoL. XVII / IssUe III

35

PRoGRAM notes

Rhapsody for Orchestra

MARGARet BRoUWeR

B. 8 February 1940 in Ann Arbor, MI

Scored for 3 flutes (3rd doubling on piccolo),

Scored for 3 flutes (3rd doubling on piccolo),

2

oboes, English horn,

clarinets (3rd doubling on bass clarinet),

3

 

2

bassoons, contrabas-

 

soon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, 3 percussionists, 2 harps and strings. (Approx. 15 mins.)

Rhapsody for Orchestra was commissioned by the Detroit Symphony Orchestra in honor of Elaine Lebenbom. In the style of a concerto for orchestra, it features principal players, sections, and the entire orchestra in a soloistic way. I love the orchestra — its beauty, power and excitement. It has an unparalleled ability to produce a vast array of sounds and beauti- ful melodies in many different colors. My intention when writing this work was to let the orchestra shine, to show off a bit in different ways — with beautiful melodies, with bravura, with passion, with powerful sound and with electric rhythms.

this work is dedicated to composer Donald erb who recently passed away. I think composing his music helped him to come to grips with the experiences that occurred in his world. By the same token, in my music, I am trying to make sense of the complex world that I inhabit as a person living in the 21st century; to merge and mix and overlay the layers of my life and history, of my concerns, hopes and passions, and of my interest in other cultures as well as the love of my own culture; to see if these elements can exist in a wonderful, colorful and complex tapestry, if they can relate to each other, if they can enrich each other. the names of the first and second movements describe quite thoroughly the essence of these movements. the last movement lets loose in a fun, fast- paced dance that rollicks through lilting melodies and dancing rhythms.

Program note written by the composer, Margaret Brouwer

36 PeRFoRMAnCe / VoL. XVII / IssUe III

Triple Concerto for Double Bass, Banjo and Tabla

eDGAR MeyeR

B. 24 november 1960 in tulsa, oK

BéLA FLeCK

B. 10 July 1958 in new york City

ZAKIR HUssAIn

B. 9 March 1951 in Bombay, India

First performed by the Nashville Symphony on September 9, 2006 with Béla Fleck, Zakir Hussain and Edgar Meyer, Leonard Slatkin conducting, for the opening of the Schermerhorn Symphony Center.

Scored for 2 flutes, 2 oboes, 2 clarinets,

2 bassoons, 4 horns, 3 trumpets,

3 trombones, tuba, timpani, snare drum,

cymbals and strings. (Approx. 20 mins.)

Concertos for three instruments are hardly plentiful, but they do exist. Bach wrote two concertos for three harpsichords and a concerto for harpsichord, flute and violin. And among the amaz- ing piano concerto catalogue of Mozart is a work for three pianos. However, a composition created for three such disparate instru- ments as banjo, double bass and tabla (a pair of drums of North India) occupies a unique position in the classical repertory.

Meyer and Fleck have enjoyed a close musical relationship, strengthened in large part by the classically trained

bass player’s commitment to unusual instrumental ensembles. the fruits of his offbeat collaborations include a Grammy Award shared for the classical album Perpetual Motion with Fleck, violinist Joshua Bell and others. exploring a fusion of classical and bluegrass musi- cal styles, the two musicians and their friends have appeared at many presti- gious venues, including the Chamber Music society of Lincoln Center in new

york.

the duo of Meyer and Fleck has been enlarged to a trio with the addition of Hussain. Meyer said the three have performed in various settings and have found working together to be musi- cally fulfilling and exciting. While each pursues a very active individual concert schedule, they found time to collaborate on this new one-of-a-kind concerto.

If the task of combining banjo, bass and tabla with symphony orchestra seems a formidable one, the act of achieving a valid and persuasive balance has been worked out with considerable professionalism and panache. the concerto is in traditional three-movement form (that’s probably the only element about the piece that’s traditional), with a slow movement separating the two quicker sections. the game plan is clear:

each instrument has the opportunity at some point to play alone, apart from the group, there are duets and the three engage in a cadenza in the final move- ment. the sonorities involved require the utmost compositional dexterity if they are to be blended. or is the contrast between them the aesthetic point? It must be said that the nashville symphony opted on the side of courage in commissioning such an unconven- tional work. Relying on the proven musicianship and the virtuosity of this trio minimized the risk, however, and the results are fascinating.

Program note by Orrin Howard.

Facsimile:

Choreographic Essay for Orchestra

LeonARD BeRnsteIn

B.

25 August 1918 in Lawrence, MA

D.

14 october 1990 in new york City

Ballet premiered on October 24, 1946 at the Broadway Theatre, New York City, danced by

Ballet premiered on October 24, 1946 at the Broadway Theatre, New York City, danced by Nora Kaye, Jerome

Robbins, and John Kriza; the concert version was first performed on March 5, 1947 by the Rochester Philharmonic; both performances were conducted by the composer.

was first performed on March 5, 1947 by the Rochester Philharmonic; both performances were conducted by
was first performed on March 5, 1947 by the Rochester Philharmonic; both performances were conducted by
Scored for 2 flutes (2nd doubling piccolo), 2 oboes, 2 b-flat clarinets (2nd doubling E-flat
Scored for 2 flutes (2nd doubling piccolo), 2 oboes, 2 b-flat clarinets (2nd doubling E-flat

Scored for 2 flutes (2nd doubling piccolo), 2 oboes, 2 b-flat clarinets (2nd doubling E-flat clarinet), 2 bassoons,

4

horns, cornet in C, 2 b-flat trumpets,

horns, cornet in C, 2 b-flat trumpets,

2 trombones, tuba, timpani, percussion, piano and strings. (Approx. 19 mins.)

2 trombones, tuba, timpani, percussion, piano and strings. (Approx. 19 mins.)
2 trombones, tuba, timpani, percussion, piano and strings. (Approx. 19 mins.)

Leonard Bernstein is arguably the most influential American musician of the later twentieth century, having combined success as a pianist and conductor with work as a composer of everything from symphonies to Broadway and

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much in between. His televised young people’s concerts inspired a new generation of interest in classical music. Bernstein was a compositional omnivore, devour- ing any and all influences from compatriots such as Gershwin and Copland to Europe’s twentieth- century masters such as Mahler and Stravinsky.

Unlike their first collaboration, the jazzy wartime ballet Fancy Free (1944)

about three sailors on shore leave, chore- ographer Jerome Robbins and Leonard Bernstein’s Facsimile is a pessimistic inner drama stemming from their own experiences in psychoanalysis.

A gestural “choreographic essay” rather

than a dance-driven ballet, Facsimile left audiences baffled. the story involves

a love triangle among “three insecure

people” (two men and a woman) whose interpersonal turmoil momentarily overcomes their individual emotional bankruptcy with illusions of real passion. While recent scholarship has connected Facsimile with an anxious and restless struggle to find inner meaning within the outward triumph of post-World War II

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PeRFoRMAnCe / VoL. XVII / IssUe III

37

America, the ballet’s critique of contem- porary society as so much melodrama was largely missed by contemporary

critics.

Bernstein’s music, however, did not disappoint. It reveals the quickly matur- ing skills of the 27-year-old composer who had already completed his highly personal “Jeremiah” symphony (1942). While drawing much inspiration from the sound world of his mentor Aaron Copland (in terms of abstracted jazz gestures and open harmonic colors), Bernstein had clearly discovered his own brand of theatrical counterpoint. Facsim- ile’s musical tale, which is performed as a single, unbroken movement, is best described by Bernstein’s own notes for the premiere:

I. solo: the woman is alone in an open and desolate place, trying (and failing) to escape from herself.

II. Pas de Deux (in two sections)

A. Meeting with the first man, flirtation

(waltz) and sudden passionate climax.

B. sentimental scene (muted strings

with two solo violins and solo viola). the love interest peters out, leaving the pair

bored and hostile.

III. Pas de trois (in two sections)

A. entrance of a second man (scherzo,

featuring extended piano solo). Forced

high spirits, triangular intrigue, brittle and sophisticated interplay, leading to…

B. Denouement: Discovery of a

triangle-situation, reproaches, abuses, imprecations, threats. the three are now convinced that they are “really living” — or at least emotionally busy — only to arrive at a point of painful recognition of the absurdity of their behavior, and the emptiness of their feelings.

IV. Coda: one by one, the men make

embarrassed exits, the relationships obviously exhausted, leaving the woman alone, no richer in real experience than she was at the start.

A solo oboe, representing the woman, opens and closes the piece with the same sighing “ennui” theme (listen for this theme’s repetition throughout the piece). For all the drama of the ballet, nothing has changed, no emotional growth has occurred, and what appeared to be true passion has proven to be only its empty facsimile.

be true passion has proven to be only its empty facsimile. DSO SHOP @ THE MAx

DSO SHOP @ THE MAx RECOMMENDS:

Bernstein, Facsimile, Leonard slatkin conducting the st. Louis symphony orchestra, eMI 06626.

38 PeRFoRMAnCe / VoL. XVII / IssUe III

Program note by Mark Clague, Ph.D., Assistant Professor of Musicology and American Culture at the University of Michigan School of Music, Theatre & Dance

An American in Paris

GeoRGe GeRsHWIn

B.

26 sept 1898 in Brooklyn, ny

D.

11 July 1937 in Hollywood, CA

Premiered on December 13,1928 by conductor Walter Damrosch and the newly merged New York Philharmonic-Symphony

Premiered on December 13,1928 by conductor Walter Damrosch and the newly merged New York

Philharmonic-Symphony Society in Carnegie Hall,

New York City.

Scored for 3 flutes (one doubling piccolo), 2 oboes, English horn,

2 clarinets, bass clarinet, 2 bassoons,

3 saxophones (alto, tenor, and baritone),

4 horns, 3 trumpets, 3 trombones, tuba, percussion (including 4 taxi horns), timpani, celesta and strings. (Approx. 18 mins.)

Paris in the 1920s served as the spiritual home for American art, especially music, as it required

refuge from the pervasive influ- ence of the German masters. Yet, the essential inspiration for George Gershwin’s tone poem

An American in Paris was not the Eiffel Tower, but New York City’s Hudson River. In January 1928, Gershwin began work on an “orchestral ballet” starting with a melody he had sketched out nearly two years earlier on a trip to Paris. Contemplating the snippet he had labeled “Very Parisienne,” Gershwin looked from his home on 103rd Street toward the Hudson. “I love that river,” Gershwin later reported, “and I thought of how often I had been homesick for a sight of it, and then the idea struck me — An American in Paris, home- sickness, the blues.”

overall, Gershwin’s tone poem follows a three-part ABA structure in which an intrepid American traveler revels in the dizzying soundscape of Paris, is overcome by melancholy visions of home, and then recovers, returning to the sights. Gershwin later offered this succinct program to the work:

“this piece describes an American’s visit to the gay and beautiful city of Paris. We see him sauntering down the

Champs elysées, walking stick in hand, tilted straw hat, drinking in the sights, and other things as well. We see the effect of the French wine, which makes him homesick for America. And that’s where the blue[s] begins…. He finally emerges from his stupor to realize once

again that he is in the gay city of Paree, listening to the taxi-horns, the noise of the boulevards, and the music of the can- can, and thinking, ‘Home is swell! But after all, this is Paris — so let’s go!’” the piece is highly autobiographical, and here Gershwin not only captures his personal experiences in France, but also discovers a new depth of artistry. His early success with tin Pan Alley songs and Broadway shows made him both hugely popular and wealthy, yet clas- sical composers and critics remained skeptical of his aspirations to write for orchestra. Many initially dismissed works such as Rhapsody in Blue (1924) as untutored. Written just four years later, An American in Paris exhibits Gershwin’s trademark popular appeal, yet musically

it is more closely related to a Beethoven

symphony. Rather than longwinded vocal melodies, the building blocks of

Gershwin’s tone poem are small motives that could only be imagined for instru- ments. these are repeated and passed from one orchestral voice to another in

a rich tapestry of counterpoint. Motives

represent everything from laughing passersby and taxicabs (a three-note motif featuring real car horns) to drunken tourists stumbling down the street and a brisk walking tune to accompany a stroll along Paris’s romantic Left Bank. you may hear the influence of French composers such as Claude Debussy and Les six that Gershwin was consciously trying to evoke, as well as a bit of J. s. Bach’s famous “Air” in the bluesy “home- sick” trumpet theme. Listeners curious to know more might pick up Howard Pollock’s book George Gershwin: His Life and Work and fans of An American in Paris, in particular, might want to rent the MGM film of the same title. It won the 1951 oscar for Best Picture and features Gene Kelly, pianist oscar Lavant, and love interest Leslie Caron in bringing the story of Gershwin’s musical poem to life.

in bringing the story of Gershwin’s musical poem to life. DSO SHOP @ THE MAx RECOMMENDS:

DSO SHOP @ THE MAx RECOMMENDS:

Gershwin, An American in Paris:

Leonard slatkin conducting the st. Louis symphony orchestra, Vox 5007.

Program note by Mark Clague, Ph.D., Assistant Professor of Musicology and American Culture at the University of Michigan School of Music, Theatre & Dance

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Detroit Symphony Orchestra

Leonard Slatkin, Music Director Peter Oundjian, Principal Guest Conductor

Thomas Wilkins, Resident Conductor Neeme Järvi, Music Director Emeritus

signature series sponsor

Järvi, Music Director Emeritus signature series sponsor Classical series From Russia with Love thursday, January 15

Classical series

From Russia with Love

thursday, January 15 at 8 p.m. Friday, January 16 at 8 p.m. saturday, January 17 at 8:30 p.m. sunday, January 18 at 3 p.m.

Leonard Slatkin, conductor Olga Kern, piano Valentina Fleer, soprano Valentina Kozak, folk contralto Michigan State university Children’s Choir Mary Alice Stollack, director

Mikhail Glinka overture to Russlan and Ludmilla

(1804-1857)

Alla Borzova songs for Lada (World Premiere)

(b. 1961)

Ladu-Ladki A Game With “Poppy” once there Were three sons And their Father once “Bai” Walked Across the Wall (lullaby) shine, shine, the sun! Valentina Fleer, soprano Valentina Kozak, folk contralto Michigan State University Children’s Choir

IntermIssIon

Piotr Ilyich Tchaikovsky Romeo and Juliet Fantasy overture

(1840-1893)

Sergei Rachmaninoff Rhapsody on a theme of Paganini, op. 43

(1873-1943)

Olga Kern, piano

Please join us in orchestra Hall after the thursday evening concert for a special Question & Answer session with Maestro slatkin.

January 17 Concert sponsored by strategic staffing solutions, Inc.

Media sponsor: WWJ 950 AM

steinway & sons is the official piano of the Detroit symphony orchestra and is available in Michigan exclusively at the steinway Piano Gallery of Detroit.

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

natural Herb Cough Drops – Courtesy of 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.

40 PeRFoRMAnCe / VoL. XVII / IssUe III

PRoFILes

Olga Kern

With her performance of sergei Rachmaninoff’s Piano Concerto no. 3 at the 11th Van Cliburn International Piano Competition in 2001, olga Kern won the Gold Medal and became the first woman to achieve this distinction in over 30 years. Kern’s second triumph came in new york City on May 4, 2004 with a highly acclaimed new york City recital debut at Carnegie’s Zankel Hall. eleven days later, in an unprecedented

turn of events, olga Kern gave a recital in Isaac stern Auditorium at the invitation of Carnegie Hall. After a critically acclaimed 35-city tour of the U.s. in spring 2007 with the national Philharmonic orchestra and Vladimir spivakov, Kern opened the 2007-

2008 season as guest soloist with the

Colorado symphony, performed with the nashville symphony and made her debut with the Vancouver symphony. In May of 2008, olga Kern toured north America with Maestro Vladimir spivakov and the world renowned Moscow Virtuosi. Kern was born into a family of musi- cians with direct links to tchaikovsky and Rachmaninoff, she began studying piano at the age of five. Winner of the first Rach- maninoff International Piano Competition when she was 17, she is a laureate of 11 international competitions and has toured throughout her native Russia, europe and the U.s., as well as in Japan, south Africa and south Korea. Kern records exclusively for Harmonia Mundi. Her most recent recording of Brahms Variations was released in september of 2007. Her discography includes recordings of tchaikovsky Piano Concerto no. 1 with the Rochester Philharmonic orchestra and Christopher seaman (2003), a Rachmaninoff record- ing of Corelli Variations and other tran-

scriptions (2004), a recital disk with works by Rachmaninoff and Balakirev (2005) and Chopin’s Piano Concerto no. 1 with the Warsaw Philharmonic and Antoni Wit (2006). she was also featured in the award-winning documentary about the

was also featured in the award-winning documentary about the KeRn 2001 Cliburn Competition, Playing on the

KeRn

2001

Cliburn Competition, Playing on the

Edge.

Leonard Slatkin biography, see page 22.

WWW.DetRoItsyMPHony.CoM

Valentina (Parhomenko) Kozak

Valentina (Parhomenko) Kozak is known as the “Golden Voice” of Belarus. the internationally acclaimed artist

began her career at an early age; brought up in a musical family, it was a natu- ral career path. even before completing her formal musi- cal education and graduate degree in voice and conduct- ing in her native Belarus, Kozak was already a rising star in her homeland. It was not long before she began to win countless international vocal competi- tions. she soon became the star vocalist of the national Radio and television of Belarus where she worked as a soloist with numerous musical ensembles and orchestras, and she eventually became the executive Director of her musical project “Zhivica.” Receiving numerous awards and titles, including the “Distinguished Artist of Belarus,” Kozak’s amazing vocal range earned her critical acclaim and immense public recognition. Her talents, however, were not only recognized in her homeland; in 1986 she was awarded a Gold Medal and the title of “the Best Performer of european Folklore” in Brat- islava, Czechoslovakia at the european Folklore Competition, which featured top vocalists from 36 countries. she also won a Grand Prize at an international vocal competition in the United states, beating out some of the best American and international performers of various genres, from jazz to classical. since settling in the United states with her husband and daughter in 1990, Kozak has continued performing and entertaining American audiences with her music, both as a soloist and as part of the the Kozak Family trio. she has been featured at countless venues, from the Lincoln Center for the Performing Arts to the United nations. Moreover, she has lectured and presented at numerous universities, colleges and other institu- tions on music, folklore and eastern european musical culture and history.

KoZAK

and eastern european musical culture and history. KoZAK WWW.DetRoItsyMPHony.CoM Valentina Fleer Valentina Fleer,

WWW.DetRoItsyMPHony.CoM

Valentina Fleer

Valentina Fleer, soprano, was a recent member of the 2008 Glimmerglass opera young American Artists Program where she covered the role of Giulietta in Bellini’s I Capuleti e i Montecchi. Fleer went on to work with conductor eve Queler and the opera orchestra of new york, covering the lead soprano role in Rimsky-Korsak- ov’s The Tsar’s Bride. Recent engagements include a master class with esteemed director Jonathan Miller on the last act of La Traviata, a performance of smetana’s Two Widows with Bronx opera and a collaboration with Gotham Chamber opera and Mark Morris on Haydn’s L’Isola Disabitata. Fleer has traveled to Lima, Peru to perform in several benefit concerts organized in partnership with Columbia Artists Management. she is a winner of the 2008 Career Bridges Grant, the 2008 Jensen Foundation encouragement Award and the Anna sosenko Assist trust Award. A native Russian, Fleer was born in Moscow and immigrated to the United states at the age of five where she attended the Manhattan school of Music.

FLeeR

five where she attended the Manhattan school of Music. FLeeR MSu Children’s Choir the MsU Children’s

MSu Children’s Choir

the MsU Children’s Choir was the first of the choirs formed when the Michi- gan state University Children’s Choir program began in 1993 with the founding of the MsU Community Music school. Mary Alice stollak is the Founding and Artistic Director. the MsU Children’s Choir performed on the Grammy Award-winning recording of William Bolcom’s Songs of Innocence and of Experience with University of Michigan ensembles and Leonard slatkin conducting. they collaborated with the UMs Choral Union in March of 2007 performing the Pulitzer Prize- winning work On the Transmigration of Souls with composer John Adams conducting the Detroit symphony orchestra. In 2008, they performed the Bach St. Matthew Passion with the Dso and UMs Choral Union. they sang in the premiere performance and recording of symphony no. 4 by composer ellen taaffe Zwilich, along with MsU choral

ensembles and the MsU symphony orchestra. they have also performed orff’s Carmina Burana with the Dso. the MsU Children’s Choir has been chosen nine times, through audition, to perform for national, division and state conventions of the American Choral Directors Association. they were the United states Representatives for the 6th World symposium on Choral Music. thirty treble choral works have been commissioned by the MsU Children’s Choir and are published with major choral publishing companies. In March of 2005, the choir premiered John Burge’s Angels’ Voices with the Lansing symphony orchestra, Gustav Meier conducting. Angels’ Voices has since won the Association of Canadian Choral Conductors’ 2006 outstanding new Choral Composition.

Host Your Next Event at the Max M. Fisher Music Center The elegant setting of

Host Your Next Event at the Max M. Fisher Music Center

The elegant setting of the Max M. Fisher Music Center suits a variety of events and performances. Whether it’s a breakfast meeting for 20, a wedding for 200 or a concert for 2,000, there is a space guaranteed to fit your needs. For more information on rentals, please call (313) 576-5050. Rental information is also available online at www.detroitsymphony.com.

on rentals, please call (313) 576-5050. Rental information is also available online at www.detroitsymphony.com.

PeRFoRMAnCe / VoL. XVII / IssUe III

41

PRoGRAM notes

Russlan and Ludmilla Overture

MIKHAIL IVAnoVICH GLInKA

B.

1 June 1804 in navosspaskoye, Russia

D.

15 February 1857 in Berlin, Germany

First performed on December 9, 1842, in St. Petersburg, Russia. Scored for 2 flutes, 2

First performed on December 9, 1842, in St. Petersburg, Russia.

Scored for 2 flutes,

2

2

oboes, 2 clarinets,

bassoons, contrabas-

soon, 4 horns, 2 trumpets, 3 trombones,

timpani and strings. (Approx. 5 mins.)

Often referred to as “the father of Russian classical music,” Mikhail Ivanovich Glinka might more accurately be described as the founder of Russian national- ism in classical music, influencing many who would follow, including Rimsky-Korsakov, Tchaikovsky and Stravinsky.

Glinka’s path toward achieving that title came by way of study in Italy, where he took lessons at the conservatory with Frencesco Basili, and Germany, where he studied briefly with the great music teacher siegfried Dehn. By the time he was 30, he was determined to write music in a Russian manner that he hoped would do for his homeland what Donizetti and Bellini had done for Italian

music.

Glinka is best known for his two great operas. His first, A Life for the Tsar,

debuted in 1836 and tells the story of a peasant who sacrifices his life to protect the tsar from Polish kidnappers. Glinka was then encouraged by the director of the Imperial theater in st. Petersburg to base his next opera on Alexander Push- kin’s epic poem, Russlan and Ludmilla. Before he could begin work on the opera, however, Pushkin was killed in a duel. Glinka then went through a number of librettists, and even rewrote parts of the libretto himself, before completing the work in 1842. the opera is a musicological travel- ogue, with themes based on Russian, Finnish, tartar and Persian music, all brilliantly orchestrated. Folk songs repre- sent Russlan’s Russia while whole-tone harmonies depict the magical world of the sorcerer Chernomor. the overture

42 PeRFoRMAnCe / VoL. XVII / IssUe III

consists of two main themes, the first driving and rhythmic, the second more lyrical and reminiscent of courtly dances. Also of note are the virtuosic violin passages and rare solos for the timpani player.

violin passages and rare solos for the timpani player. DSO SHOP @ THE MAx RECOMMENDS: Glinka,

DSO SHOP @ THE MAx RECOMMENDS:

Glinka, Russlan and Ludmilla over- ture: erich Kunzel conducting the Cincin- nati Pops orchestra, telarc 80657.

Songs for Lada

ALLA BoRZoVA

B. 28 February 1961 in Minsk, Belarus

Scored for 2 flutes, piccolo, 2 oboes (one doubling on English horn), 2 clarinets, 2
Scored for 2 flutes,

Scored for 2 flutes,

piccolo, 2 oboes (one doubling on English horn), 2 clarinets,

piccolo, 2 oboes (one doubling on English horn), 2 clarinets,

2

2

bassoons, 2 horns,

trumpets, timpani,

percussion, harp, celeste, piano, bagpipes, cimbalom, dudka-bass, dudka- ordinary, dudka-piccolo, folk contralto, jaleika

percussion, harp, celeste, piano, bagpipes, cimbalom, dudka-bass, dudka- ordinary, dudka-piccolo, folk contralto, jaleika and strings. (Approx. 37 mins.)

Songs for Lada (1991) is a glimpse into the limitless and bright world of childhood, a world without boundaries to separate fairy tale and reality; in fact, the fairy tale world is often more tangible. The idea for this composition appeared soon after the birth of my daughter Lada, to whom the cantata is dedicated. Songs for Lada is based on Belaru- sian children’s folklore, including songs, rhymes, games, dances and lullabies. While some sections of folklore carry across cultures, I wrote some of the texts as well as the scenario of the piece.

1st Movement: Ladu-ladu-ladki” is based on children’s rhymes. At the beginning of the first movement, children are preparing to play; they count one another in rapid song. the children then sing about the birds that have come from a distant land and are asking for food. the imitation of birds’ singing, which links the beginning and end of the entire cantata, is first heard in the mystical middle episode of this movement. In the reprise of the first movement, the children play with small Lada. one of the children begins to dance with a pot full

of milk and accidentally breaks it. After

a discussion as to whether or not granny

will punish them, the children start to

play again.

2nd Movement: “A Game with ‘Poppy’” (theme and variations). this movement

is about a round-dance game, where the

“Poppy,” the girl or boy in the red hat, stands in the center of a circle. During the dance, one of the children periodi- cally asks “Poppy” whether he or she has ripened. the succession of answers progresses in this way:

the poppy has been sowed, the poppy has sprouted, the poppy is blossoming, the poppy has ripened. Upon hearing that the “Poppy” has ripened, the children shake “Poppy.” “Poppy” repels the attacks

merrily.

3rd Movement. Once There Were Three Sons and Their Father.” this move- ment is about three brothers, all named Vasil. the youngest Vasil is a shepherd, the middle Vasil is a shoemaker, and the oldest is a bagpipe player. In the middle of the movement, there is an episode in which a country folk ensemble is imitated with violin, tambourine and bagpipe. After this trio, the children’s dance begins again, but is suddenly interrupted by the plaintive song of the youngest Vasil, the shepherd who has lost a little goat. While he approaches

other kids, the percussion instruments imitate the clatter of little hooves (wood blocks), the ringing of a small bell hang- ing on the goat’s neck (cowbell soprano), and the stroke of a whip. the voice and trumpet imitate the bleating of a goat. the children decide to scare Vasil, and the contrapuntal “scaring” episode follows. the movement concludes with the dynamic coda-reprise. 4th Movement. Once Bai Walked Across the Wall” (lullaby). this movement

is the lyrical center of the composition.

the main characters in this movement are both real and fantasy. At the begin- ning of the movement, in her opening solo, Mother tells the story of Bai (his name probably refers to the folk lulling sound: baju-bai), who looks like a gnome and wears a red jacket and a strange cap. He is so thin and incorporeal that he can walk across the wall. Mother repeats this story several times, periodically asking if she should continue her story-

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telling. the chorus of children answers “yes” each time except the last, when they ask Mother to wait. Immediately after Mother’s opening solo, the Girl enters to tell another story. Her story is about sleep and Drowsiness, who, once upon a time, walked together and discussed where they were going to spend the night. they decided to spend it where “the house was warm and the child was small.” this is followed by the middle section, where the Girl’s solo without words sounds first. In Mother’s solo that follows, she complains about the Cat, whose loud purring keeps Lada awake. Mother then casts a spell over the Cat, requesting that he leave. Guiro (or reco-reco) imitates the scratching of Cat’s claws. During this time, the children’s choir is actively participating in what’s happening on stage; it also helps mother to rock Lada and cast the spell on Cat. In the last section-reprise of the movement, both the melodies of Mother’s opening solo and Girl’s solo from the middle section sound simulta- neously, immersing the listeners into the magic atmosphere of this lullaby scene. 5th Movement. Shine, Shine, the Sun!” (the climax of the cantata). the rite described in this movement goes back to ancient times when people spoke with the sun, rain, animals, insects and even inanimate things. this movement opens with a polyphonic episode in which many different motives sound simultaneously. the episode is suddenly interrupted by the children’s question to a ladybird:

what will the weather be like tomorrow? If the ladybird flies away, the skies will be clear; if it stays on the palm, the day will be rainy. this “ladybird episode” was influenced by the Lithuanian folk style called sutartines in which all the voices involved constantly overlap one another (Lithuania is a neighbor to Belarus). the “rain” episode follows in which I used some non-traditional ways of play- ing on the string instruments, such as col legno - playing by the wooden part of the bow, or sul ponticello - playing on the “wrong” place on the string. I also used a sheet of tin-plate, played with the finger- nails, and suspended cymbal, played with knitting needles. these sounds imitate falling rain drops. At the end of the “rain” episode, children ask the rain to stop. then, the music of the opening polyphonic episode returns, this time in the heavier brass instrumentation. this

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time, the children’s question about the weather for tomorrow is addressed to the big wooden log. If the log sounds loudly when hit, the skies will be clear; if its sound stutters (timpani glissando), the day will be rainy. Finally, the sun appears from behind the clouds, and the children sing the hymn to the sun. then, in the spoken section, the children call the birds. In the last section of the cantata, the woodwind instruments imitate birds’ singing while the children mimic playing on various toy whistles. Finally, the real birds arrive and their voices (recording) gradually fill the sound space.

Romeo and Juliet Fantasy Overture

PIotR ILyICH tCHAIKoVsKy

B.

7 May 1840 in Votkinsk, Russia

D.

6 november 1893 in st. Petersburg,

Russia

 
Premiered on March 16, 1870 in Moscow, Nikolai Rubinstein conducting the orchestra of the Russian

Premiered on March 16, 1870 in Moscow, Nikolai Rubinstein conducting the orchestra of the Russian Music Society.

 

Scored for piccolo and

2

flutes, 2 oboes and English horn,

2

clarinets, 2 bassoons, 4 horns,

2

trumpets, 3 trombones, timpani and

other percussion, harp, and strings. (Approx. 21 mins.)

Although his works are widely performed and enjoyed today, Tchaikovsky was plagued through- out his life by doubts about his talent and the worth of his music. Occasionally these would lead to prolonged depressions during which he was unable to bring himself to compose. A particularly acute episode occurred in the summer of 1869. Tchaikovsky had recently suffered scathing recep- tions of several major works and was so dejected by their failure that he destroyed most of the music. He then stopped compos- ing, complaining in October, “not one passable musical idea has entered my head in months.”

But tchaikovsky had a new ally and mentor, one whose encouragement

prompted him to resume working. Mily Alexeyevich Balakirev was a composer

of comparatively modest talent, but he

had an enormous impact on the develop- ment of 19th-century Russian music.

He became the leader and spokesman

of a group of nationalist composers

that would eventually include Borodin, Rimsky-Korsakov and Mussorgsky, and he was tireless in arguing for a new kind of music, one based on dramatic ideas rather than abstract classical modes imported from Western europe.

tchaikovsky, whose training had steeped him in the classical tradition, was at first mistrustful of Balakirev. But the two men took a liking to each other when they finally met and soon began a fruitful exchange of musical ideas. Balakirev suggested that tchaikovsky consider an overture based on shake- speare’s Romeo and Juliet. the tale of the tragic, star-crossed lovers would have been particularly inviting to tchaikovsky.

A highly sensitive and literate person,

he also was beginning to realize that his own inability to find conjugal happiness

to realize that his own inability to find conjugal happiness Get that box of slides out

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43

would be a life-long torment. shake- speare’s unhappy couple must have seemed like kindred spirits. In any event, he set quickly to work and on november

29, 1869, wrote to Balakirev that the score was complete. In devising music for the play, tchaikovsky focused on three princi- pal elements of the drama. the long introductory section conveys a sense of resigned spirituality very much in char- acter with shakespeare’s Friar Laurence. this is followed by a violent episode complete with cymbal crashes to repre- sent the clash of Montague and Capulet swords. Finally, the love of Romeo and Juliet is presented in a soaring melody. Balakirev, ironically, was not happy with the work. the opening was too tame, he said, and the love theme lacked ardor! early audiences evidently agreed. the overture was received with indiffer- ence at its first performance in Moscow and fared no better (and sometimes far worse) in the West. But tchaikovsky lived to see that judgment reversed, and today his Romeo and Juliet is among the most popular works in the orchestral

repertory.
repertory.

DSO SHOP @ THE MAx RECOMMENDS:

tchaikovsky, Romeo and Juliet:

Antal Dorati conducting the national symphony orchestra, Decca 417742.

Program note by Paul Schiavo © 2003.