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THE MAGAZINE OF THE DETROIT SYMPHONY ORCHESTRA

PERFORMANCE 2025–2026 SEASON

WINTER

PROGRAM NOTES INGRID MARTIN Healing Work YOUR SEASON, YOUR WAY Curate Your DSO Experience with Subscriptions LEARNING & ENGAGEMENT Symbiosis in Harmony ROOTED IN SERVICE The Classical Roots Steering Committee Celebrates 25 Years of Music, Community, and Impact

INGRID MARTIN

Assistant Conductor & Phillip and Lauren Fisher Community Ambassador

DETROI SYMPHO

DSO PERFORMANCE MAGAZINE

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PERFORMANCE

WINTER • 2025–26 SEASON

4 Welcome

FEATURE STORY

5 Orchestra Roster

HEALING WORK

6 Behind the Baton 8 Board Leadership

Ingrid Martin’s Journey from Medicine to Music

13 Learning & Engagement

41 Donor Roster 50 Maximize Your Experience

Symbiosis in Harmony

53 DSO Administrative Staff

14 Your Season, Your Way

54 Upcoming Concerts

Hannah Engwall Elbialy, editor hengwall@dso.org — ECHO PUBLICATIONS, INC. Tom Putters, publisher echopublications.com — Cover design by Jay Holladay — Program-at-a-Glance by Marisa Jacques — To advertise in Performance: visit echodetroit.com, call 248.582.9690 or email tom@echodetroit.com dso.org

9 Classical Roots Steering Committee celebrates 25 years

Ingrid Martin

17-40 Program Notes

Beyond-the-surface insight about each program

Read Performance anytime, anywhere at dso.org/performance The Detroit Symphony Orchestra impacts lives through the power of unforgettable musical experiences by sustaining a world class orchestra for our city and the global community.

ON THE COVER: Ingrid Martin by Caleb Miller/Ben Raynor/Sam Bell

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WELCOME Dear Friends, Welcome to Orchestra Hall—or to one of our neighborhood venues! We are delighted that you have chosen to spend your time with us and hope you are deeply moved by today’s performance. From joyful celebrations to moments of quiet reflection, music has the power to magnify emotion and transcend the moment—and sharing that experience together is something truly special. We’ve had an incredible season so far, and we look forward to all that lies ahead. In March, we begin a multi-year celebration of Erik and Faye at Classical Roots 2025 Classical Roots milestones, including the 25th anniversary of the gala celebration in 2026, followed by the 50th anniversary of the concerts in 2028. Throughout the next few seasons, we will proudly amplify awareness of the significant contributions African American composers, musicians, and leaders have made—and continue to make—to classical music. We are also excited to deepen our partnership with our new Assistant Conductor, Ingrid Martin, who joins us from Australia and brings a remarkable background in medicine, teaching, and music. You can learn more about Ingrid and the many facets of her role with the DSO on page 10. Our collaboration with Composer-in-Residence Michael Abels continues this spring, including performances of his new Omar suite, co-composed with Rhiannon Giddens, in February. Alongside this world premiere, we proudly present Wynton Marsalis’s Swing Symphony featuring the Paradise Theatre Big Band—an homage to Orchestra Hall’s history as one of Detroit’s premier jazz venues in the 1940s and a celebration of some of today’s most talented musicians from the Detroit music scene. In April, we present our Northern Lights Festival. Just as the aurora borealis has recently brightened Michigan’s skies, we look forward to lighting up our city with the magic of Nordic music, all led by our fantastic Principal Guest Conductor, Norway native Tabita Berglund. We remain deeply committed to our partners across the city, co-creating musical experiences and expanding access to opportunity. Through Detroit Harmony, we collected more than 1,000 instruments for Detroit students this fall and connected young musicians with vital music education resources. At the heart of everything we do is connection: to music, to one another, to our vibrant Detroit community, and to music lovers around the world. Please enjoy today’s concert, and we hope you will join us again soon to experience the unforgettable power of music. Sincerely,

Erik Rönmark President & CEO 4

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Faye Alexander Nelson Chair, Board of Directors WINTER 2026

A COMMUNI TY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA

JADERDBIGNAMINI, Music Director JADER BIGNAMINI MUSIC DIRECTOR A COMMUNI TY-SUPPORTE ORCHESTRA Music Directorship endowed by the Kresge Foundation

ENRICO LOPEZ-YAÑEZ

TERENCE BLANCHARD

TABITA BERGLUND

INGRID MARTIN

Principal Pops Conductor Devereaux Family Chair

Fred A. Erb Jazz Creative Director Chair

Principal Guest Conductor

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

FIRST VIOLIN Robyn Bollinger

CONCERTMASTER Katherine Tuck Chair

Kimberly Kaloyanides Kennedy

ASSOCIATE CONCERTMASTER Schwartz and Shapero Family Chair

Hai-Xin Wu

ASSISTANT CONCERTMASTER Walker L. Cisler/Detroit Edison Foundation Chair

OPEN

ASSISTANT CONCERTMASTER

Marguerite Deslippe* Laurie Goldman* Rachel Harding Klaus* Eun Park Lee* Nancy Schlichting and Pam Theisen Chair

Adrienne Rönmark*

William and Story John Chair

OPEN

Drs. Doris Tong and Teck Soo Chair

Laura Soto* Greg Staples* Mingzhao Zhou*

CLARINET Ralph Skiano

TIMPANI Jeremy Epp

ASSISTANT PRINCIPAL Dorothy and Herbert Graebner Chair

Kamalia Freyling

Jay Ritchie

Robert Bergman* Jeremy Crosmer*

Jack Walters

CELLO Wei Yu

PRINCIPAL

OPEN

Victor and Gale Girolami Chair

David LeDoux* Peter McCaffrey*

David and Valerie McCammon Chairs David and Valerie McCammon Chairs

Sheryl Hwangbo Yu* Sujin Lim* Tianyu Liu* Yu-Ming Ma* Hong-Yi Mo* Marian Tănău* Alexander Volkov* Jing Zhang*

VIOLA Eric Nowlin

PRINCIPAL Julie and Ed Levy, Jr. Chair

James VanValkenburg

ASSISTANT PRINCIPAL Janet and Norm Ankers Chair

Caroline Coade

Henry and Patricia Nickol Chair

Mike Chen* Hart Hollman* Glenn Mellow* Hang Su* Han Zheng*

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PRINCIPAL Ruth Roby and Alfred R. Glancy III Chair

E-FLAT CLARINET Jack Walters

Jay Ritchie

Cole Randolph*

BASS CLARINET Shannon Orme

Mary Ann and Robert Gorlin Chair Mary Lee Gwizdala Chair

BASS Kevin Brown

PRINCIPAL Van Dusen Family Chair

Stephen Molina

ASSISTANT PRINCIPAL Renato and Elizabeth Jamett Chair

HARP Alyssa Katahara

Hae Jeong Heidi Han*

PERCUSSION Joseph Becker

Úna O’Riordan*

Adam Stepniewski

ASSISTANT PRINCIPAL

ASSISTANT PRINCIPAL PVS Chemicals Inc./ Jim and Ann Nicholson Chair

ASSISTANT PRINCIPAL

Andrés Pichardo-Rosenthal

SECOND VIOLIN Jiamin Wang

Connor Chaikowsky* Will Haapaniemi*

ACTING SECOND CLARINET

PRINCIPAL Richard and Mona Alonzo Chair

Shannon Orme Triniti Rives§

Joanne Danto and Arnold Weingarden Chair

Christopher Hamlen* Peter Hatch* Vincent Luciano* Brandon Mason^

PRINCIPAL The Devereaux Family Chair

PRINCIPAL Robert B. Semple Chair

PRINCIPAL Winifred E. Polk Chair

FLUTE Hannah Hammel Maser

PRINCIPAL Alan J. and Sue Kaufman and Family Chair

Emily Bieker

ACTING SECOND FLUTE Morton and Brigitte Harris Chair

Amanda Blaikie

ACTING ASSISTANT PRINCIPAL Bernard and Eleanor Robertson Chair

PICCOLO OPEN OBOE Alexander Kinmonth

PRINCIPAL Jack A. and Aviva Robinson Chair

Erik Andrusyak Sarah Lewis

ASSISTANT PRINCIPAL

Monica Fosnaugh Donovan Bown§

ENGLISH HORN Monica Fosnaugh

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Barbara Frankel and Ronald Michalak Chair

BASSOON Conrad Cornelison

PRINCIPAL Byron and Dorothy Gerson Chair

ASSISTANT PRINCIPAL William Cody Knicely Chair

LIBRARIANS Robert Stiles PRINCIPAL

Ethan Allen

LEGACY CHAIRS Principal Flute

Women’s Association for the DSO

Cornelia Sommer Ryan Turano

Principal Cello

CONTRABASSOON Ryan Turano

PERSONNEL MANAGERS Andrew Williams

HORN Edmund Rollett

Benjamin Tisherman

Scott Strong

STAGE PERSONNEL Dennis Rottell

Patrick Walle Cara Kizer

Joe Corless

James C. Gordon

DIRECTOR OF ORCHESTRA PERSONNEL

PRINCIPAL HORN David and Christine Provost Chair

Ric and Carola Huttenlocher Chair ACTING ASSISTANT PRINCIPAL

Kristi Crago

DEPARTMENT HEAD

William Dailing Zach Deater

DEPARTMENT HEAD

TRUMPET

Isaac Eide

Hunter Eberly PRINCIPAL

DEPARTMENT HEAD

Kurt Henry

Austin Williams Justin Emerich

DEPARTMENT HEAD

ACTING ASSISTANT PRINCIPAL

William Lucas

Matthew Pons

SENIOR AUDIO DEPARTMENT HEAD

Jason Tschantre

DEPARTMENT HEAD -

TROMBONE Gracie Potter PRINCIPAL

PAST MUSIC DIRECTORS Leonard Slatkin

David Binder Adam Rainey

Richard Sonenklar and Gregory Haynes Chair

BASS TROMBONE Adam Rainey

PRINCIPAL

STAGE MANAGER

DEPARTMENT HEAD

ACTING HORN

TUBA Dennis Nulty

MANAGER OF ORCHESTRA PERSONNEL

MUSIC DIRECTOR LAUREATE

Neeme Järvi

MUSIC DIRECTOR EMERITUS

LEGEND * These members may voluntarily revolve seating within the section on a regular basis ^ Leave of Absence § A frican American Orchestra Fellow

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B E H I N D T H E B AT O N

Jader Bignamini MUSIC DIRECTORSHIP ENDOWED BY THE KRESGE FOUNDATION

ader Bignamini was introduced as the 18th music director of the Detroit Symphony Orchestra in January 2020, commencing with the 2020–2021 season. His infectious passion and artistic excellence set the tone for the seasons ahead, creating extraordinary music and establishing a close relationship with the orchestra. A jazz aficionado, he has immersed himself in Detroit’s rich jazz culture and the influences of American music. A native of Crema, Italy, Bignamini studied at the Piacenza Music Conservatory and began his career as a musician (clarinet) with Orchestra Sinfonica La Verdi in Milan, later serving as the group’s resident conductor. Captivated by the music of legends like Mahler and Tchaikovsky, Bignamini explored their complexity and power, puzzling out the role that each instrument played in creating a larger-than-life sound. When he conducted his first professional concert at the age of 28, it didn’t feel like a departure, but an arrival.

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In the years since, Bignamini has conducted some of the world’s most acclaimed orchestras and opera companies in venues across the globe including working with Riccardo Chailly on concerts of Mahler’s Eighth Symphony in 2013 and his concert debut at La Scala in 2015 for the opening season of La Sinfonica di Milano. Recent highlights include debuts with Opera de Paris, Deutsche Opera Berlin, Accademia di Santa Cecilia Orchestra, Washington’s National Symphony Orchestra, and the Houston, Dallas, Atlanta, Milwaukee, and Minnesota symphonies; The Cleveland Orchestra at the Blossom Festival; and at the Grand Teton Festival. He has also appeared with the BBC Symphony Orchestra and London Philharmonic; with the Metropolitan Opera, Canadian Opera Company, Vienna State Opera, Dutch National Opera, and Bayerische Staatsoper; in Montpellier for the Festival de Radio France; and had return engagements with Oper Frankfurt and Santa Fe Opera. In Italy, Bignamini has conducted numerous operas at Arena of Verona, Rome’s Teatro dell’Opera, Teatro Massimo in Palermo, the Verdi Festival in Parma, Rossini Opera Festival in Pesaro, and La Fenice in Venice. In Asia, he has conducted the Osaka Philharmonic, Yomiuri Nippon Symphony Orchestra, and others. Bignamini enjoys working with the next generation of musicians and is a regular guest of Interlochen Center for the Arts with the DSO and of the Asian Youth Orchestra. When Bignamini leads an orchestra in symphonic repertoire, he conducts without a score, preferring to make direct eye contact with the musicians. He conducts from the heart, forging a profound connection with musicians that shines through both onstage and off. He both embodies and exudes the excellence and enthusiasm that has long distinguished the DSO’s artistry.

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Enrico Lopez-Yañez

Terence Blanchard

PRINCIPAL POPS CONDUCTOR AND DEVEREAUX FAMILY CHAIR

FRED A. ERB JAZZ CREATIVE DIRECTOR CHAIR

Celebrated for his charismatic stage presence, genre-defining collaborations, and passion for making orchestral music accessible to all, Enrico LopezYañez is one of the most innovative and in-demand conductors in North America. He currently serves as Principal Pops Conductor of the Detroit Symphony Orchestra and Pacific Symphony, Principal Conductor of Dallas Symphony Presents, and Principal Guest Conductor of Pops at the Indianapolis Symphony Orchestra. He previously spent eight seasons conducting the Nashville Symphony, where he also served as their Principal Pops Conductor. As a trailblazer in the symphonic world, Lopez-Yañez has premiered dozens of groundbreaking symphonic collaborations with artists including Dolly Parton, Kelsea Ballerini, and Tituss Burgess. His wide-ranging collaborations span genres and generations, featuring artists such as Nas, Itzhak Perlman, Gladys Knight, Ben Folds, The Beach Boys, and Kenny G. As a composer and arranger, he has written for artists like Big Sean and Mariachi Los Camperos, and he has been commissioned by major orchestras across the U.S. A passionate advocate for Latin music, he has arranged and produced concerts featuring Latin Fire, Mariachi Los Camperos, and The Three Mexican Tenors, and collaborated with Aida Cuevas, Arturo Sandoval, Lila Downs, and Lupita Infante. Lopez-Yañez is also Artistic Director and Co-Founder of Symphonica Productions, LLC, a creative production company developing innovative pops, family, and educational concerts for orchestras.

Trumpeter, bandleader, composer, and educator Terence Blanchard has served as the DSO’s Fred A. Erb Jazz Creative Director Chair since 2012. He is recognized globally as one of jazz’s most esteemed trumpeters and a prolific composer for film, television, opera, Broadway, orchestras, and his own ensembles, including the E-Collective and Turtle Island Quartet. Blanchard’s second opera, Fire Shut Up in My Bones, opened The Metropolitan Opera’s 2021–22 season, making it the first opera by an African American composer to premiere at the Met, and earning a GRAMMY® for Best Opera Recording. With a libretto by Kasi Lemmons, the opera was commissioned by Opera Theatre of Saint Louis, where it premiered in 2019. Fire returned to the Met for a second run in April 2024. Blanchard’s first opera, Champion, premiered in 2013 and starred Denyce Graves with a libretto from Michael Cristofer. Its April 2023 premiere at the Met received a GRAMMY® for Best Opera Recording. Blanchard has released 20 solo albums, garnered 15 GRAMMY® nominations and eight wins, composed for more than 60 films including more than 20 projects with frequent collaborator Spike Lee, and received 10 major commissions. He is a 2024 NEA Jazz Master and member of the 2024 class of awardees for the American Academy of Arts and Letters, and currently serves as the Executive Artistic Director for SFJAZZ. Visit terenceblanchard.com for more.

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DSO PERFORMANCE MAGAZINE 7

DETROIT SYMPHONY ORCHESTRA, INC. CHAIRS EMERITI

LIFETIME DIRECTORS Samuel Frankel Stanley Frankel David Handleman, Sr.◊ Dr. Arthur L. Johnson◊

James B. Nicholson Barbara Van Dusen Clyde Wu, M.D.◊

Chacona W. Baugh Penny B. Blumenstein Richard A. Brodie Marianne Endicott Sidney Forbes

Herman H. Frankel Dr. Gloria Heppner Ronald Horwitz Harold Kulish

◊

Peter D. Cummings Mark A. Davidoff Phillip Wm. Fisher Stanley Frankel

Robert S. Miller James B. Nicholson David T. Provost

DIRECTORS EMERITI Bonnie Larson Arthur C. Liebler David McCammon Marilyn Pincus

Glenda Price Bernard I. Robertson Marjorie S. Saulson Jane Sherman Arthur A. Weiss

OFFICERS OF THE BOARD OF DIRECTORS Faye Alexander Nelson Chair

Laura Trudeau Treasurer

Ric Huttenlocher Officer at Large

David Nicholson Officer at Large

Erik Rönmark President & CEO

Renato Jamett Secretary

Daniel J. Kaufman Officer at Large

Dr. David M. Wu, M.D. Officer at Large

Shirley Stancato Vice Chair

BOARD OF DIRECTORS Directors are responsible for maintaining a culture of accountability, resource development, and strategic thinking. As fiduciaries, Directors oversee the artistic and cultural health and strategic direction of the DSO.

Michael Bickers Elena Centeio Rodney Cole Dr. Marcus Collins Jeremy Epp, Orchestra Representative Aaron Frankel Ralph J. Gerson

Laura Grannemann Dr. Herman B. Gray, M.D. Laura Hernandez-Romine Rev. Nicholas Hood III Richard Huttenlocher Renato Jamett, Trustee Chair Daniel J. Kaufman

H. Keith Mobley, Governing Members Chair Xavier Mosquet Faye Alexander Nelson, Board Chair David Nicholson Arthur T. O’Reilly Shirley Stancato

Marian Tănău, Orchestra Representative Yoni Torgow Laura J. Trudeau James G. Vella Dr. David M. Wu, M.D. Ellen Hill Zeringue

BOARD OF TRUSTEES Trustees are a diverse group of community leaders who infuse creative thinking and innovation into how the DSO strives to achieve both artistic vitality and organizational sustainability.

Renato Jamett, Trustee Chair Richard Alonzo Hadas Bernard Janice Bernick Elizabeth Boone Gwen Bowlby Dr. Betty Chu, M.D. Joanne Danto Stephen D’Arcy Maureen T. D’Avanzo Cara Dietz Afa Sadykhly Dworkin Emily Elmer James C. Farber 8

Amanda Fisher Linda D. Forte Carolynn Frankel Christa Funk Robert Gillette Jody Glancy Mary Ann Gorlin Darby Hadley Michele Hodges Julie Hollinshead Cheryl P. Johnson Laurel Kalkanis Jay Kapadia Joel D. Kellman John Kim

DSO PERFORMANCE MAGAZINE

Jennette Smith Kotila Leonard LaRocca Linda Dresner Levy Gene LoVasco Anthony McCree Kristen McLennan Tito Melega Lydia Michael H. Keith Mobley, Governing Members Chair Sandy Morrison Frederick J. Morsches Jennifer Muse Geoffrey S. Nathan ◊

Deceased

Sean M. Neall Eric Nemeth Maury Okun Jackie Paige Priscilla Perkins Vivian Pickard Denise Fair Razo Gerrit Reepmeyer Rochelle Riley Jim Rose, Jr. Laurie DeMond-Rosen Carlo Serraiocco Lois L. Shaevsky Elliot Shafer Shiv Shivaraman

Dean P. Simmer Richard Sonenklar Dhivya Srinivasan Lilly Stotland Rob Tanner Nate Wallace Gwen Weiner Donnell White Jeffrey Williams R. Jamison Williams Maddie Wu

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Rooted in Service: The Classical Roots Steering Committee celebrates 25 years of music, community, and impact BY LATOYA CROSS

the heart of the music during the annual blacktie Classical Roots Concerts and Celebration is the education that comes with every composition. Each performance is an acknowledgment and expression of Black creativity, artistry, and contribution to the classical music canon. Conceptualized in the 1970s by choral director Brazeal Dennard—in collaboration with then-DSO conductor Paul Freeman and a wealth of community leaders—the Classical Roots Concert was envisioned to unite the Brazeal Dennard Chorale and voices from Black churches in Detroit with the Detroit Symphony Orchestra. With a mission to amplify, discover, and preserve the music of African American composers and musicians in classical music and beyond, in 1978, that vision came to fruition, and the first Classical Roots Concert was met with an abundance of applause in a full sanctuary at Bethel A.M.E. Church, located near the city’s east side. In 2001, the concert expanded to include the Dr. Arthur L. Johnson–Honorable Damon Jerome Keith Classical Roots Celebration. Now an annual staple, this gala-style experience includes a seated dinner; an award ceremony to honor artistic, civic, and lifetime achievement leaders; and an afterglow to culminate the night. This year marks the 48th annual Classical Roots Concerts and the 25th anniversary of the Celebration. As part of this anniversary year, former co-chairs of the Classical Roots Steering Committee will be honored. “Classical Roots is powerful,” says Anthony McCree, 10-year Steering Committee member and current CoChair. “It uplifts African American voices in music and the arts and preserves stories that deserve to be heard. It is an honor to be part of this legacy.” The volunteer-based committee consists of civic, community, and business leaders dedicated to sustaining the legacy of Classical Roots and supporting a variety of initiatives including the DSO’s African American Orchestra Fellowship, designed to foster career development and address the shortage of African Americans in professional orchestras; the Classical Roots-centered educational workshops; as

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NICOLE BROWN

ANTHONY McCREE

well as the Classical Roots Composer Residency, which invites a composer to Detroit to speak with students and community members, and workshop their music with the orchestra. In 2019, composer Nkeiru Okoye spent a year doing a deep dive into Detroit’s Black Bottom and Paradise Valley neighborhoods for the Classical Roots world premiere of Black Bottom with the DSO. Cellist Cole Randolph joined the DSO as an African American Orchestra Fellow in 2020, won his audition with the DSO in 2021, and is now a full-time orchestra member in the Mary Lee Gwizdala Chair. The “why” behind this work is “very simple,” says Nicole Brown, 15-year Steering Committee member and current Co-Chair. “Representation matters, and the fact that we’ve been able to provide unparalleled opportunities for so many young, emerging artists to be able to truly make their mark on the world of music is why I do this work.” “We try to push the envelope and create new, innovative programming each year,” Brown continues. “The fundraising allows us to keep the fellowship in place and make an indelible difference in the lives of artists, as well as increase the talent pipeline within the classical music world.” McCree adds, “[This work also] ensures that future generations see themselves reflected on our stages.” Visit dso.org to learn more about Classical Roots.

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HEALING WORK Ingrid Martin’s Journey from Medicine to Music BY HANNAH ENGWALL ELBIALY

you hear a warm Australian voice drifting through Orchestra Hall, chances are you’ve found the DSO’s new Assistant Conductor and Phillip and Lauren Fisher Community Ambassador, Ingrid Martin. More distinctive than her voice, though, is her curiosity and attentiveness. As she puts it, “I think the more that we listen to our community, the better we’re going to serve them.” Now in her first season with the DSO—and also serving as Music Director of the Detroit Symphony Youth Orchestra (DSYO)—Martin brings an extraordinary range of experiences to Detroit: emergency medicine, classroom teaching, conducting, and a philosophy of leadership rooted in listening, connection, and what she calls “healing work.” Martin grew up in Melbourne in a household where science and music coexisted naturally. “My dad is a scientist, and he’s also a musician,” she says. “There was already an example in the family of someone interested in those two things that maybe seem quite different.” She started violin in second grade, then added French horn in seventh. “I was always a music kid,” she says. But she was equally drawn to science, and when she finished school, she found herself torn. “I just couldn’t decide—am I going to go down that medicine, kind of academic path, or am I going to do music?” She auditioned for conservatories and got in, but ultimately chose medicine—“probably never going to get a chance to do that again,” she reasoned.

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Ingrid Martin Photo by Thomas Hamill

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In her very first week of university, she spotted a booth for the student music society. “They said, ‘We’re just starting a concert band,’ and I said, ‘Oh, well, I conduct.’ I’d conducted one piece ever,” she laughs at the memory. “And they said, ‘Do you want to conduct the band?’” And so the balance began as Martin earned a medical degree, worked shifts in the emergency department as a physician,

she says. “It’s been quite the whirlwind. Here we are.” Martin’s role at the DSO spans performance preparation, conducting, and engaging with community members. “Part of that role is sitting in the hall and taking notes because the music sounds different in the hall compared to the stage. During the break, I go back to Music Director Jader Bignamini or the guest conductor and say, ‘This instrument needs to be more here,’ or ‘The soloist is getting covered.’ It’s mainly a balancing job so it sounds great for the audience.” She also serves as understudy conductor: “If something happens to the conductor, I’m ready to step up.” Her responsibilities outside rehearsals fuel her work as Community Ambassador: giving pre-concert talks, meeting patrons, and helping people deepen their understanding of the music. “It’s actually so easy to give the talks when you’ve been sitting in the hall for a week,” she says. “I know audiences love insider information—like when Jader said the music sounded like a camel!” At the heart of the ambassador role is connection. “It’s so cool, meeting all these people that come from such different walks of life and understanding how we can make the music more alive and more relevant for them,” she says. “I know I’ve done my job if people come up to me afterward and say, ‘I feel like I understand the music so much better now.’ It’s about sharing—but it’s also about listening.” For Martin, that balance of offering expertise while staying receptive is key to conducting itself. “You come prepared with an interpretation,” she says, “but all the time you’re listening to what the orchestra is giving you and adapting. It’s the dance between the giving and the listening.” That same philosophy guides her leadership of DSYO. At the core of her work with the DSO’s Learning &

“ How do I elevate all of the artistry in the room?” — Ingrid Martin and conducted orchestras, community groups, and youth bands. “It’s been quite interesting, having these three chapters,” she reflects. “But what sort of draws them all together is a desire to help people. To me, it feels like it’s all healing work—especially music.” She recalls the connection between those worlds: “As a doctor in the emergency department, you hope someone walks away better than when they came in. In the classroom, you hope the student walks away with a new insight or a new sense of themselves. And in a concert, the big dream is someone walks away different than when they came in.” Teaching became the bridge between her medical career and professional conducting. She retrained, earned her teaching certificate, studied with a conducting teacher in Minnesota, and eventually hung up her stethoscope. “When I came here to do my master’s,” she says, “that was sort of the beginning of focusing on the education chapter.” Then came 2020. “Like lots of people during COVID, everyone had a big life reassessment,” she says. “For me, all my work was gone. Melbourne had very long lockdowns. And I thought, maybe I should give this professional conducting thing a go.” Her first professional conducting gig was in August 2022. “So three years ago,” dso.org

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Engagement team is amplifying student voices. “I spent a lot of time thinking about that during COVID,” she says, recalling two years of online youth orchestra rehearsals in Melbourne. “We had to ask, what is orchestra for if we can’t play? And it became about connecting with each other. The students took ownership.” With DSYO, Martin builds that same sense of agency. “My way of rehearsing is all about asking questions,” she says. “Who has the melody? What’s the character? What story are we telling?” She also welcomes a noisy atmosphere with the students: “That means that they have something to say and they’re having an opinion, and all different opinions, and that’s great because we can all have different ideas about the music and still make it sound cohesive.” This winter’s major project—Pictures at an Exhibition—takes student ownership even further. “The students are creating their own set of artwork to go with the music,” she says. They began by collecting observations, feelings, and colors for each movement. “Not everyone wanted to do the art, so this was a way everyone could contribute. It’s totally student-led.” Parallel to her conducting career, Martin runs Conducting Artistry, a global platform for conductors and music educators. “It’s about providing ongoing, practical resources teachers can use right away,” she says. Though quieter recently due to her DSO schedule, she has “copious notes” for new content—and hopes to collaborate with Detroit-area music educators. Martin and her wife live in Midtown, walking distance to Orchestra Hall. “It’s amazing,” she says. “You’re always a step away from home—which also means you’re always available,” she adds with a laugh. They’re slowly eating their way through the city. “My wife and I love food, so we’re ticking off different spots. Honest John’s, 12

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Rocco’s, Motor City Brewing Works, Cafe Sous Terre, Grey Ghost…” And of course, the coffee. “I love black coffee. Craig’s Coffee is very good, so that’s where I’ve been getting my beans from.” An avid crafter, she also keeps busy with creative projects. A recent highlight: her Halloween metronome costume— made from the box her keyboard arrived in. “We don’t really do Halloween in Australia, so it was fun. My wife dressed as a tuner. We were musicians’ worst nightmare.” Outside of Halloween, Martin’s vibrant personal style—bold patterns and gold boots—has become a signature. “For a long time I felt like fashion wasn’t for me,” she admits. “But now, it’s a point of connection. Someone will say, ‘Those are great pants,’ and that’s an easy way into a conversation.” At one pre-concert talk, a patron called out, “Where are your gold shoes?” Martin laughs. “They’ve come to expect it.” Her style, she says, also pushes back against stereotypes of how a conductor should look. “I just decided I’m going to be myself. If I can wear something that makes someone smile, great. Everyone should feel welcome here.” So if you spot Ingrid in Orchestra Hall— perhaps in her unmistakable gold boots—don’t hesitate to say hello. Ask her about the music, the students’ artwork, her latest craft project, or where to find the best coffee in Midtown. She’ll be listening. And as she says, that’s where connection begins. WINTER 2026

LEARNING & ENGAGEMENT

SYMBIOSIS IN HARMONY

Helping Students Grow and Giving Donated Instruments a New Life BY MARISA JACQUES

he Detroit Symphony Orchestra and Detroit Harmony recently held another successful month-long instrument donation drive—a triumph in support of its mission to put an instrument in the hands of every Detroit student who wants to learn to play. We received nearly 1,100 instruments in October 2025, which means 1,100 new opportunities for Detroit youth. For the students who receive an instrument, barriers between themselves and musicmaking are broken, and a journey of growth begins. For the instruments that are donated, their story doesn’t end when they are sent off to the hands of a student; rather, their new story is just beginning. A special, intimate relationship is established between a musician and their instrument. Over time, their bond is strengthened, and the instrument becomes their new voice, which is a powerful journey for students who receive their instrument from Detroit Harmony like Gabe and Seth (pictured right), two high school seniors. Gabe shared, “My trombone is definitely an extension of my voice. It’s like I’m speaking the language that everyone is able to understand. What did Stevie Wonder once say? ‘Music is a world within itself. It’s something that we all understand.’” Seth agreed with Gabe wholeheartedly, adding, “Whenever I get the chance to pull out my trumpet and play, it’s a big stress reliever, and that’s the reason why I love music and I love to play my instrument.” An instrument is not only a medium for expression through music, but also a tool that helps build an artist in extramusical ways. While practicing a difficult technique or working through a puzzling rhythm, musicians are also learning how to solve problems in creative ways, be patient when things don’t come easily, and have the discipline to keep dso.org

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trying until it’s right. “Another thing I really like about the trombone is the difficulty, which is definitely the fun part. Learning how to do something, how to really perfect it, has taught me a lot of things—mainly patience,” said Gabe. Detroit Harmony goes beyond providing instruments, supporting the growth of students as individuals and connecting them with resources available in Detroit’s vibrant cultural ecosystem. When instruments are donated to Detroit Harmony, students like Seth and Gabe give the instrument a new life. Seth was recently upgraded to a Bach Stradivarius—a prestigious, professional-level horn that was donated during the October instrument drive. The trumpet was donated by a mother, and this was the trumpet her late son once played. The story

behind the instrument adds depth to the relationship Seth has with it. “I’m holding it, I’m bringing it with me, and I’m taking it even further with whatever I’m playing, and it’s such an honor,” he said with pride. Many stories like Gabe’s and Seth’s exist because of Detroit Harmony, with support from community partners and donors. The most recent instrument drive gave Detroit Harmony the opportunity to restock the shelves, but the work is ongoing. Receiving the instrument is just the first step in a lifelong story for these Detroit students—the impact is what dictates all the chapters that follow. DSO PERFORMANCE MAGAZINE 13

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DSO PERFORMANCE MAGAZINE 15

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A COMMUNITY-SUP PORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA

JADERDBIGNAMINI, Music Director JADER BIGNAMINI MUSIC DIRECTOR A COMMUNITY-SUP PORTE ORCHESTRA Music Directorship endowed by the Kresge Foundation

ENRICO LOPEZ-YAÑEZ

TERENCE BLANCHARD

TABITA BERGLUND

INGRID MARTIN

Principal Pops Conductor Devereaux Family Chair

Fred A. Erb Jazz Creative Director Chair

Principal Guest Conductor

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

TITLE SPONSOR:

TOTAL ECLIPSE OF THE CHART: ‘80S CHART TOPPERS

Saturday, January 10, 2026 at 8 p.m. Sunday, January 11, 2026 at 3 p.m. in Orchestra Hall INGRID MARTIN, conductor

Join us immediately after the Saturday evening concert in the Peter D. and Julie F. Cummings Cube for an AfterDark afterparty. Continue celebrating the electrifying dance hits of the ’80s, enjoy light bites, sip on a signature cocktail or mocktail, and hit the dance floor as a DJ spins some of your favorite upbeat anthems.

*This is a separate purchase from the concert. Saturday evening only.

Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

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DSO PERFORMANCE MAGAZINE 17

PROGR AM AT-A-GL ANCE | TOTAL ECLIPSE OF THE CHART: ’80S CHART TOPPERS Totally Tubular! In celebration of one of the most iconic decades of music, we’re turning back time to the ‘80s. From the launch of MTV to the rise of eccentric pop stars, this decade revolutionized the music industry. New styles were emerging, existing ones were blending, and a diverse musical soundscape was created with music of all genres topping the charts. We hope you left your Walkman at home because the DSO has curated a mixtape of nostalgic hits from the Eurythmics, Tina Turner, U2, Prince, George Michael, Madonna, Whitney Houston, Phil Collins, Lionel Richie, The Police, and more.

PROFILE INGRID MARTIN To learn more about Ingrid Martin, see page 10.

ngrid Martin puts people at the heart of every musical experience. Her work as a conductor and teacher is shaped by a career spanning music, medicine, and education. In 2025, Martin joins the Detroit Symphony Orchestra as Assistant Conductor and Phillip and Lauren Fisher Community Ambassador, and as Music Director of the Detroit Symphony Youth Orchestra. She also debuts with the Adelaide Symphony Orchestra and Orchestra Victoria, and leads the Louise Crossley Conductor Training Program for the Tasmanian Symphony Orchestra. She returns to conduct the Auckland Philharmonia, Christchurch Symphony Orchestra, Queensland Symphony Orchestra, and Melbourne Symphony Orchestra, following her 2024 tenure as New Zealand Assistant Conductor in Residence. Martin loves championing new repertoire and bringing audiences closer to music through thoughtfully curated experiences. She has commissioned 15 works for youth orchestras, conducted 20 world premieres, and recorded over 50 student compositions. Through her original orchestral shows, Martin invites audiences of all ages to explore unexpected connections between music and other 18

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disciplines, from physics to painting. Martin was the first Australian admitted to the Taki Alsop Conducting Fellowship Mentoring Program (2024–2025). She was also a fellow of the Australian Conducting Academy (2023–2024) and the Carlos Miguel Prieto Conducting Fellowship with the Orchestra of the Americas (2022). Before pursuing conducting professionally, Martin worked for a decade in emergency medicine then retrained as a teacher. Her approach to music and leadership is deeply informed by the skills she developed in these careers: listening closely, thinking clearly under pressure, and communicating complex ideas. Martin has built a global following for Conducting Artistry, her platform for practical resources, podcasts, books and online tools that empower teachers and students to deepen their artistry. She is a sought-after speaker and clinician at international music education conferences including the Midwest Clinic and Texas Music Educators’ Association, and her book Planning Effective Rehearsals is required reading for university music education programs worldwide. At home, she’s rarely far from a craft project and a strong black coffee.

WINTER 2026

A COMMUNI TY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA

JADERDBIGNAMINI, Music Director JADER BIGNAMINI MUSIC DIRECTOR A COMMUNI TY-SUPPORTE ORCHESTRA Music Directorship endowed by the Kresge Foundation

ENRICO LOPEZ-YAÑEZ

TERENCE BLANCHARD

TABITA BERGLUND

INGRID MARTIN

Principal Pops Conductor Devereaux Family Chair

Fred A. Erb Jazz Creative Director Chair

Principal Guest Conductor

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

PVS CLASSICAL SERIES Title Sponsor:

BEETHOVEN & MENDELSSOHN Friday, January 16, 2026 at 10:45 a.m. Friday, January 16, 2026 at 8 p.m. Saturday, January 17, 2026 at 8 p.m. in Orchestra Hall DELYANA LAZAROVA, conductor JONATHAN BISS, piano Carl Maria von Weber Overture to Oberon (1786 - 1826) Ludwig van Beethoven (1770 - 1827)

Piano Concerto No. 2 Jonathan Biss, piano

Intermission Felix Mendelssohn Symphony No. 4 in A major, Op. 90, “Italian” (1809 - 1847) I. Allegro vivace II. Andante con moto III. Con moto moderato IV. Saltarello: Presto

THE LARSON PIANO With support from Bonnie Larson, the DSO is proud to feature The Larson Piano on this weekend’s program. Part of the DSO’s fine instrument collection, the Steinway Model D Concert Grand Piano is the standard by which other concert pianos are judged and compared. Handmade in the New York Steinway Factory, this majestic musical instrument is the pinnacle of concert grands. BONNIE ANN AND ROBERT C. LARSON GUEST PIANIST FUND The Bonnie Ann and Robert C. Larson Guest Pianist Fund helps the DSO deliver unsurpassed musical experiences by underwriting annually the performance of extraordinary pianists. On behalf of the artists and audiences who benefit from this important endowed fund now and in the years to come, the DSO is grateful to Bonnie Larson for her generous support.

Saturday’s performance will be webcast via our exclusive Live from Orchestra Hall series, presented by Ford Philanthropy. Technology support comes from the John S. and James L. Knight Foundation.

Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

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DSO PERFORMANCE MAGAZINE 19

PROGR AM AT-A-GL ANCE | BEE THOVEN & MENDELSSOHN Among the First and Final The overture of this program is that of Oberon by Carl Maria von Weber. Composed while Weber was losing his battle with tuberculosis, this overture begins with a solemn, introspective moment which flourishes into a livelier scene. Beethoven’s Piano Concerto No. 2 is a work that was revised numerous times by the young composer after its premiere, during which Beethoven debuted himself as a pianist and composer before the Viennese public. Felix Mendelssohn’s “Italian” Symphony concludes this program, and this popular symphony was published and celebrated by critics posthumously.

PROGRAM NOTES Overture to Oberon Composed 1824–1826 | Premiered April 1826

CARL MARIA VON WEBER B. November 18, 1786, Eutin, Germany D. June 5, 1826, London, England

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

arl Maria von Weber was a dying man when a letter reached him on August 18, 1824, requesting a new opera for London’s Royal Opera House. As early as 1812, he had begun to show symptoms of tuberculosis, and as his fame increased, his health declined. By the early 1820s he was in no condition to travel—his doctor actually told him that he could live for years if he stayed put, but only months if he overextended himself—but he took the commission anyway, swayed by the money and notoriety a London opera would provide. He died a few miles from the Royal Opera House less than two months after Oberon premiered. Most of us know Oberon best from Shakespeare’s Midsummer Night’s Dream, in which the fairy king is a supernatural rescuer who appears when a magic horn is blown. Oberon the opera tells a much more complex story that’s quite interesting in its own right but not easy to summarize; nevertheless, it is the music from Weber’s overture that most of us know today. 20

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At the beginning, and at several crucial points, we hear the solemn call of the knight Huon’s horn to summon Oberon, then some flutterings representing Oberon’s subjects. Then, in turn, come the scuttling string figures that in the opera accompany the escape of Huon and his new wife Reiza; Huon’s air from the first act, intoned by the clarinet; and the arching melody of Reiza’s aria “Ocean, Thou Mighty Monster.” Weber chooses his material carefully and deploys it masterfully, so if we know nothing more of Oberon than this, we know some of the best of it. —Michael Fleming The DSO most recently performed Weber’s Overture to Oberon in October 2019, conducted by Michael Francis. The DSO first performed this work in December 1916, conducted by Weston Gales.

Piano Concerto No. 2 in B-flat Major, Op. 19 Composed 1787–89 | Premiered 1795

LUDWIG VAN BEETHOVEN B. December 16, 1770, Bonn, Germany D. March 26, 1827, Vienna

Scored for solo piano, flutes, 2 oboes, 2 bassoons, 2 horns, and strings. (Approx. 28 minutes)

hen Beethoven arrived in Vienna in 1792, brilliant and quirky improvisations were his trademark in aristocratic salons. But for his first WINTER 2026

public outing—an annual concert in the Burgtheater for the benefit of composers’ widows and orphans—he was obliged to perform a concerto. He envisioned a work that he could use as a display piece for his own talent, as a young virtuoso making a career in a new city. Six years later in Prague, Beethoven apparently revised the concerto thoroughly; indeed, he may have tried to pass it off as entirely new. Hearing him play there, the Czech pianist Johann Thomascheck admired the “daring flights in his improvisation,” but was unimpressed by the concerto. Three years later, the composer made even further revisions for publication by Hoffmeister in Vienna; it was at this time stuck with a misleading opus number, which has dogged it ever since. And still Beethoven was not finished with the concerto—he was writing out cadenzas for it as late as 1809. Even in its final form, the B-flat

concerto straddles, not altogether comfortably, the genteel world of the Old Regime and the newly born Romantic style. The treatment of the orchestra is still wholly Classical, but the piano part aspires toward a fullness of texture and strenuousness of expression that gives a hint of another world. As the pianist begins the ex-post-facto cadenza, we are pulled across the threshold, and the brief orchestral ritornello seems like a ghost from times gone by. Some of the waywardness of Beethoven’s improvisations can be heard in the slow movement. It can trace its ancestry back to the Romances in some of Mozart’s concertos, but already Beethoven is moving toward a more ethereal level, foreshadowing his later slow movements, in which the ordinary rules of time and tonality seem to have been suspended. He allows no room for an improvised cadenza, writing out a plaintive dialogue between piano and

CELEBRATING ITS 10TH CSD APPEARANCE!

EHNES QUARTET MONDAY, JANUARY 19, 2026 - 7:30PM THE HAWK, FARMINGTON HILLS Tickets & Info: ChamberSoloistsDetroit.org | 586-944-5353

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orchestra that is actually the antithesis of virtuoso display—an “anti-cadenza” as one writer has called it. In the finale too, Beethoven speaks entirely in his own voice. Haydn had set the tone for humorous finales, of course, but his jokes were the sort best savored in retrospect. Even the least musical in Beethoven’s audience could not have failed to see the punchline here: a thump on the offbeat that leaves the listener wondering just where the downbeat is. — Michael Fleming The DSO most recently performed Beethoven’s Piano Concerto No. 2 in May 2021, featuring Orli Shaham on piano and conducted by Jader Bignamini. The DSO first performed this work at a school concert in February 1935, conducted by Victor Kolar.

Symphony No. 4 in A major, Op. 90, “Italian” Composed 1833 | Premiered May 1833

FELIX MENDELSSOHN B. February 3, 1809, Hamburg, Germany D. November 4, 1847, Leipzig, Germany

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (Approx. 26 minutes)

endelssohn, the intrepid traveler, undertook a major tour of Europe between 1829 and 1831. At the suggestion of German poet Johann Wolfgang von Goethe (great company indeed), the composer included Italy on this journey and ended up remaining in the country for about a year and a half. A man of broad culture and education, Mendelssohn took an interest in everything Italy had to offer and used its endless inspiration as the base of his Fourth Symphony. Completed two years after his return to Germany, Symphony No. 4 caused Mendelssohn (a perfectionist) great

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anguish—he was especially troubled by the final movement. Consequently, the work was never published or made widely available during the composer’s lifetime. Critics today champion the work’s brilliance, however, and it remains a favorite both among Mendelssohn’s works and in the whole of the orchestral literature. The work’s first movement suggests inspirations from an Italian dance, the tarantella, with bright themes from the violins and woodwinds expressed in an updated Classical first-movement form. The second movement is reminiscent of an ancient pilgrim’s march, possibly drawing from Mendelssohn’s experience of religious processionals in the streets of Naples. The third movement is a smoothflowing minuet, its principal idea framing a central “Trio” section featuring the horns. Vigorous rhythms in the Presto finale combined with minor-key harmonies suggest the saltarello, a 16th-century Neapolitan country-dance. A sense of excitement is maintained as Mendelssohn uses long orchestral crescendos throughout the movement. There is a subdued reference to the melody that opened the symphony, before the movement concludes with a last glance at its dark initial theme. The DSO most recently performed Mendelssohn’s Symphony No. 4 in May 2023, conducted by Christoph Campestrini as part of the William Davidson Neighborhood Concert Series. The DSO first performed this symphony in November 1916, conducted by Weston Gales.

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PROFILES DELYANA LAZAROVA

s a conductor, Delyana Lazarova thinks of herself as a musician among musicians. Collaboration, openness, and sensitivity to the specific sound and character of every orchestra are the foundation of her work; all in service to the music. Orchestras worldwide appreciate her ability to communicate sound and create an environment in which music can simply unfold. This season, Lazarova commences her position as Principal Guest Conductor of both Utah Symphony and BBC Scottish Symphony Orchestra, the latter with whom this summer she makes her BBC Proms Debut. Further debuts in the 2025– 26 season include with Yomiuri Nippon Symphony Orchestra, Japan Century Symphony Orchestra, Colorado Symphony, Orquesta Sinfonica y Coro de RTVE, Hungarian Radio Symphony Orchestra, Orquesta Sinfónica de Galicia, and Orchestre symphonique de Québec. Following their successful first collaborations, she will also return to the Minnesota Orchestra, Munich Chamber Orchestra, Orchestre Philharmonique de Strasbourg, and Oregon Symphony Orchestra, and embark on a European tour with Kammerorchester Basel. Lazarova’s wide-ranging repertoire has been influenced by her international musical education. Born in Bulgaria, she has a natural affinity for Eastern European and Russian repertoire (Dvořák, Stravinsky, Tchaikovsky, and Bartók) but feels equally at home in the Viennese Classical period, influenced by her studies in Switzerland. She is also passionate about music from the 20th and 21st centuries, leading to her role as Artistic Partner of ROCO in Houston beginning in the 2024–25 season, a chamber orchestra dso.org

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specializing in contemporary music. Further complementing her rapport with contemporary music, Lazarova’s first CD, recorded with the Hallé, was released in October 2023 and includes works by Bulgarian-British composer Dobrinka Tabakova. In recent seasons, Lazarova has worked with orchestras such as the Philharmonia Orchestra, BBC Symphony Orchestra, BBC Philharmonic and BBC Scottish Symphony Orchestra, City of Birmingham Symphony Orchestra, Royal Philharmonic Orchestra, Deutsches Symphonie-Orchester Berlin, NDR Radiophilharmonie, Netherlands Philharmonic, Münchener Kammerorchester, Orchestre National de Bordeaux, Orchestre National de France, Göteborgs Symfoniker, Orquesta Sinfónica de Navarra, Sinfonieorchester Basel, Klangforum Wien, Musikkollegium

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Winterthur, Estonian Festival Orchestra, Aspen Conducting Academy Orchestra, and many more. After winning the inaugural Siemens Hallé International Conductors Competition, Lazarova served as Assistant Conductor to Sir Mark Elder at the Hallé Orchestra and Music Director of the Hallé Youth Orchestra from 2020 to 2023. She also assisted Cristian Măcelaru at the WDR Sinfonieorchester Köln and the Orchestre National de France. In 2020, she won the James Conlon Conductor Prize at the prestigious Aspen Music Festival. Earlier successes include the NRTA Conducting Competition in 2019, and the Bruno Walter Conducting Scholarship at the Cabrillo Festival of Contemporary Music in California in 2017 and 2018. Lazarova studied conducting at the Zürcher Hochschule der Künste (ZHdK) with Professor Johannes Schlaefli. She has attended numerous masterclasses with Bernard Haitink, Paavo Järvi, Leonard Slatkin, Mark Stringer, Robert Spano, and Matthias Pintscher, among others. In addition to her master’s degree in conducting, she is an accomplished violinist with a master’s degree and performance diploma from the Jacobs School of Music in Indiana, where she studied under Mauricio Fuks and received a scholarship for artistic excellence.

JONATHAN BISS

ianist Jonathan Biss is recognized globally for his “impeccable taste and a formidable technique” (The New Yorker). Praised by The Boston Globe as “an eloquent and insightful music writer,” Biss published his fourth book, Unquiet: My Life with Beethoven, in 2020. The book was the first Audible Original by a classical musician and one of Audible’s top audiobooks of the year. Throughout the 2025–26 season, Biss appears widely in recital, chamber music, and concerto engagements across the 24

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United States and Europe. Abroad, he presents Beethoven’s last three sonatas at Musikkens Hus in Aalborg, Denmark, and at Paris’s Théâtre des Champs-Élysées before making his much-anticipated return to Wigmore Hall in London with a program of Mozart, Janáček, and Schumann. In the US, Biss joins the Louisville Orchestra and Teddy Abrams for Mozart’s Piano Concerto No. 9 and reunites with longtime collaborator, the Saint Paul Chamber Orchestra, for a program pairing the works of Robert and Clara Schumann with Kurtag. He joins the Rochester Philharmonic Orchestra and Andreas Delfs for a performance of Beethoven’s Piano Concerto No. 2 in B-flat Major and performs Brahms’s Piano Concerto No. 2 with the Boulder Philharmonic led by Michael Butterman and with the Bangor Symphony led by Lucas Richman. Throughout the season, he performs Mozart’s violin sonatas with violinist Mark Steinberg, with engagements at Union College in Schenectady and at Philadelphia’s Kimmel Center. In a residency at Indiana University’s Jacob’s School of Music, he presents Beethoven’s final three piano sonatas at Bloomington’s Auer Hall before joining the Indiana University Chamber Orchestra and conductor Jeffery Meyer for Beethoven’s Piano Concerto No. 2 alongside Timo Andres’s The Blind Banister. Named the Kaufman Music Center’s 2025–26 Artistin-Residence, Biss curates a series of programs including a performance lecture on Beethoven sonatas, a solo recital of works by Mendelssohn, Janáček, Kurtág, Schumann, and Amy Beth Kirsten, and a program spotlighting outstanding young pianists from the Center. Biss has appeared as a soloist with some of the world’s foremost orchestras, including the Los Angeles and New York philharmonics, the Boston Symphony, the Royal Concertgebouw, the London Symphony, and more. He has served as the Co-Artistic Director of the Marlboro Music School and Festival alongside pianist Mitsuko Uchida since 2018. He served on the faculty of the Curtis Institute of WINTER 2026

Music for ten years and has been a guest professor at schools such as the Guildhall SOMAD and the New England Conservatory of Music. In 2015, Biss embarked on a groundbreaking journey with the Saint Paul Chamber Orchestra through the Beethoven/5 commissioning project, which brought together five distinguished composers to create new piano concerti in response to Beethoven’s iconic works. The project has generated a series of recordings on Orchid Classics, beginning with 2024’s recording of Beethoven’s Fifth Piano Concerto, the “Emperor,” paired with Brett Dean’s Gneixendorfermusik: Eine Winterreise, performed with the Swedish Radio Symphony under David Afkham. The series also features Sally Beamish’s City Stanzas alongside Beethoven’s First Piano Concerto, with additional volumes showcasing new concerti by Timo Andres, Salvatore Sciarrino, and Caroline Shaw. The fifth and final volume will be released in the spring of 2026. Over the course of his career, Biss has collaborated with a wide range of esteemed musicians, from Mark Padmore to Midori. In the 2024–25 season, Biss appeared with the Boston Symphony led by Xian Zhang, the BBC Symphony led by Jakub Hrusa, Ottawa’s National Arts Centre Orchestra, the Swedish Radio Symphony Orchestra, the San Diego Symphony, the National Symphony Orchestra of Taiwan, and the National Symphony Orchestra of Ireland. Biss also joined the Doric String Quartet for dates in Denmark before going on to perform with Liza Ferschtman, Malin Broman, and Antoine Lederlin in Madrid, Helsinki, and throughout the Netherlands. An advocate of newly commissioned works, Biss most recently collaborated with composers Alvin Singleton, Tysahwn Sorey, and Tyson Gholson Davis for his Schubert commissioning project, which he presented at the Frederic Chopin Society in St. Paul, Philadelphia Chamber Music Society, the Meany Center in Washington, and more. dso.org

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Coinciding with the 250th anniversary of Beethoven’s birth in 2020, Biss recorded the composer’s complete piano sonatas, and offered insights to all 32 landmark works via his free, online Coursera lecture series Exploring Beethoven’s Piano Sonatas. In March 2020, Biss gave a virtual recital presented by 92NY, wherein he performed Beethoven’s last three piano sonatas for an online audience of more than 280,000 people. In 2024, Biss participated in Princeton University Concert’s Healing Through Music Series, appearing alongside author Adam Haslett for a panel discussion on anxiety, depression, and creativity. Throughout 2024 and 2025, Biss contributed a series of opinion pieces to The New York Times, with topics ranging from the harmful myth of the mad artist to finding solace in Schubert’s final piano sonatas and beyond. Biss is the recipient of numerous honors, including the Leonard Bernstein Award, the Andrew Wolf Memorial Chamber Music Award, an Avery Fisher Career Grant, the Borletti-Buitoni Trust Award, and a Gilmore Young Artist Award. His albums for EMI won the Diapason d’Or de l’Année and Edison awards. He was an artist-in-residence on American Public Media’s Performance Today and was the first American chosen to participate in the BBC’s New Generation Artist program. Biss is a third-generation professional musician; his grandmother is Raya Garbousova, one of the first famous female cellists (for whom Samuel Barber composed his Cello Concerto), and his parents are violinist Miriam Fried and violist/violinist Paul Biss. Growing up surrounded by music, Biss began his piano studies at age six, with his first musical collaborations alongside his mother and father. He studied with Evelyne Brancart at Indiana University and Leon Fleisher at the Curtis Institute of Music.

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A COMMUNI TY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA

JADERDBIGNAMINI, Music Director JADER BIGNAMINI MUSIC DIRECTOR A COMMUNI TY-SUPPORTE ORCHESTRA Music Directorship endowed by the Kresge Foundation

ENRICO LOPEZ-YAÑEZ

TERENCE BLANCHARD

TABITA BERGLUND

INGRID MARTIN

Principal Pops Conductor Devereaux Family Chair

Fred A. Erb Jazz Creative Director Chair

Principal Guest Conductor

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

WILLIAM DAVIDSON NEIGHBORHOOD CONCERT SERIES: VIVALDI’S FOUR SEASONS Thursday, January 22, 2026 at 7:30 p.m. at Shaarey Zedek, Southfield, MI Friday, January 23, 2026 at 8 p.m. at Plymouth First United Methodist Church Saturday, January 24, 2026 at 8 p.m. at Our Lady Star of the Sea Catholic Church Sunday, January 25, 2026 at 3 p.m. at Seligman Performing Arts Center JEANNETTE SORRELL, conductor KIMBERLY KALOYANIDES KENNEDY, violin Marco Uccellini Aria Sopra La Bergamasca (1603 - 1680) arr. Jeannette Sorrell Marin Marais Suite from Alcyone (1656 - 1728) Chaconne ed. Jeannette Sorrell Tempest Narch de Matelots (March of the Sailors) Antonio Vivaldi “La primavera”, No. 1 from The Four Seasons (1678 - 1741) for Violin and Orchestra, R. 269 I. Giunt’e la primavera: Allegro II. Mormorio di fronde e piante, il capraro che dorme il cane che grida: Largo III. Danza pastorale: Allegro Kimberly Kaloyanides Kennedy, violin “L’estate”, No. 2 from The Four Seasons for Violin and Orchestra, R. 315 I. Languidezza per il caldo: Allegro non molto II. Toglie alle membra lasse il suo riposo: Adagio III. Tempo impetuoso d’estate: Presto Kimberly Kaloyanides Kennedy, violin Intermission Antonio Vivaldi arr. Jeannette Sorrell

Ciaccona from Concerto for Strings and Basso continuo in C major, RV 114 (PV 27)

Antonio Vivaldi “L’autunno”, No. 3 from The Four Seasons (1678 - 1741) for Violin and Orchestra, R. 293 I. Ballo e canto di villanelli: Allegro II. Dormienti ubriachi: Adagio molto III. La caccia: Allegro Kimberly Kaloyanides Kennedy, violin “L’inverno”, No. 4 from The Four Seasons for Violin and Orchestra, R. 297 I. Aggiaciatto tremar tra nevi algenti: Allegro non molto II. Passar al foco i di quieti: Largo III. Camminar sopra il ghiaccio: Allegro Kimberly Kaloyanides Kennedy, violin Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

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PROGR AM AT-A-GL ANCE | VIVALDI’S FOUR SE ASONS Quintessentially Baroque Today’s program showcases the best of the Baroque, from rarely performed gems to the most famous concerto of the era. Opening the program are two works arranged by conductor Jeannette Sorrell—Aria Sopra La Bergamasca written by Marco Uccellini and Suite from Alcyone by Martin Marais. These pieces, and Vivaldi’s Ciaccona, utilize basso continuo, the harmonic foundation of Baroque music that outlines the bassline and chord progression. Vivaldi’s The Four Seasons follows, featuring Kimberly Kaloyanides Kennedy (Associate Concertmaster, Schwartz and Shapero Family Chair), and it is one of the most influential and recognizable works of the classical repertoire.

PROGRAM NOTES Aria sopra la Bergamasca

Suite from Alcyone

Composed 1642

Composed 1706

MARCO UCCELLINI Arr. Jeannette Sorrell

MARTIN MARAIS Arr. Jeannette Sorrell

B. 1603 or 1610, Forlimpopoli, Forlì D. 1680

B. May 31, 1656, Paris, France D. August 15, 1728, Paris, France

Scored for 2 violins and continuo (Approx. 4 minutes)

Scored for strings and continuo (Approx. 10 minutes)

ivaldi was surely influenced by his Italian predecessor Marco Uccellini, whose delightful setting of the traditional Bergamasca dance opens our program. One of the most distinguished Italian violinist composers of the 17th century, Uccellini contributed to the development of an idiomatic style of writing for the violin (including virtuosic runs, leaps, and forays into high positions), expanding the instrument’s technical capabilities and expressive range. Uccellini left us a lively setting of the popular renaissance dance known as the Bergamasca, with its repeating ground bass pattern. His setting was for two violins and continuo, but I have arranged it as a kind of concerto grosso (or group jam session) so that all of us can join in the fun. —Jeannette Sorrell This performance marks the DSO premiere of Marco Uccellini’s Aria sopra la Bergamasca.

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artin Marais was a French composer and viol player, recognized for his prolific compositions for the viol. Throughout his career, he composed five complete books entitled Pièces de viole (1686–1725), throughout which he honed his expertise for pairing viol suites with basso continuo, the harmonic foundation of Baroque music. A student of Jean-Baptiste Lully—who is widely known as the master of the French Baroque style—Marais became deeply involved in composing and conducting opera. Marais composed four operas between 1693 and 1709, with Alcyone being composed in 1706. Lully’s influence is apparent, as this opera is a tragédie lyrique (lyric tragedy) which was a genre introduced by Lully. Characteristic of a lyric tragedy, Alcyone is based on classical mythology. The plot is inspired by the Greek myth of Alcyone and Ceyx from Ovid’s Metamorphoses. The opera became one of Marais’s better-known works for the impactful tempête, or storm, scene in Act 4. The legacy of the music lives on, particularly during DSO PERFORMANCE MAGAZINE 27

Christmastime, as the “Marche pour les Matelots” from Act 3 became popular as a dance tune and is the basis of the Christmas carol Masters in This Hall. This performance marks the DSO premiere of Martin Marais’s Suite from Alcyone.

“La primavera”, No. 1 from The Four Seasons for Violin and Orchestra, R. 269 & “L’estate”, No. 2 from The Four Seasons for Violin and Orchestra, R. 315 Composed 1718–1723 | Premiered 1725

ANTONIO VIVALDI B. March 4, 1678, Venice, Italy D. July 28, 1741, Vienna, Austria

Scored for solo violin, harpsichord, and strings. (“La primavera” Approx. 11 minutes; “L’estate” Approx. 10 minutes)

or most audiences, Antonio Vivaldi’s The Four Seasons is the quintessential instrumental work of the Baroque period. As the title suggests, it is a suite of four concertos that individually evoke the spirit of the four seasons; taken together, all four merge to form a carefully crafted masterpiece. Much of the music, especially from “La primavera,” is as popular and recognizable as the “Ode to Joy” or Eine kleine Nachtmusik. This popularity is nothing new. The concertos were immediately well-received upon their premiere and regularly performed, either “straight” or in arrangements that seem sometimes ingenious and sometimes perverse by today’s standards: in 1739, Nicolas Chedeville applied for a license to publish the work for strings and musette, a Baroque French bagpipe.

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The piece is also the first major programmatic work—that is, intentionally written to accompany a nonmusical narrative—to achieve wide success. Vivaldi published a series of sonnets to correspond to each of the four concertos, a great innovation at the time, and a move that led one scholar to describe The Four Seasons as the first tone poem. The music not only evokes the general mood of each season, but it carefully imitates the sounds of nature that Vivaldi writes in the accompanying poems. In the text for “La primavera,” for example, Vivaldi describes a goatherd’s dog; in the music, the violas play a jolting rhythm immediately recognizable as its bark.

Ciaccona from Concerto for Strings and Basso continuo Composed 1717 or later

ANTONIO VIVALDI B. March 4, 1678, Venice, Italy D. July 28, 1741, Vienna, Austria

Scored for strings and continuo (Approx. 4 minutes)

ivaldi is best known as an innovator in the solo concerto genre, but he was also a leading exponent of the older concerto a quattro—music in four parts with several players to a part, intended for what we now call a string orchestra. He wrote nearly 50 such works, many of which epitomize Baroque recreational music, which was often played outdoors. This short two-movement piece is one of Vivaldi’s 12 so-called “Paris Concertos,” so named because their manuscripts reside in the library of the Paris Conservatory. They are thought to have been commissioned by an anonymous French patron in the 1720s or 1730s. The present concerto concludes with a remarkably inventive Ciaccona (or Chaconne), a continuous variation form based on 16th century music that was imported into Italy and Spain from Latin America. WINTER 2026

“L’autunno”, No. 3 from The Four Seasons for Violin and Orchestra, R. 293 & “L’inverno”, No. 4 from The Four Seasons for Violin and Orchestra, R. 297 Composed 1718–1723 | Premiered 1725

ANTONIO VIVALDI B. March 4, 1678, Venice, Italy D. July 28, 1741, Vienna, Austria

Scored for solo violin, harpsichord, and strings. (“L’autunno” Approx. 10 minutes; “L’inverno” Approx. 8 minutes) “L’autunno” (“Autumn”), Op. 8, No. 3 (RV 293) The peasant celebrates with dance and song The joy of a fine harvest; And filled with Bacchus’ liquor He ends his fun in sleep. Everyone is made to leave dancing and singing. The air is gentle and pleasing, And the season invites everyone To enjoy a delightful sleep. At dawn the hunters set out With horns, guns and dogs. The hunted animal flees, the hunters

follow its tracks, Terrified and exhausted by the noise Of guns and dogs. Wounded, it tries feebly to escape, But is caught and dies. “L’inverno” (“Winter”), Op. 8, No. 4 (RV 297) Freezing and shivering in the icy darkness, In the severe gusts of a terrible wind, Running and stamping one’s feet constantly, So chilled that one’s teeth chatter. Spending quiet and happy days by the fire While outside the rain pours everywhere. Walking on the ice with slow steps, Walking carefully for fear of falling, Then stepping out boldly, and falling down. Going out once again onto the ice, and running boldly Until the ice cracks and breaks, Hearing, as they burst forth from their iron gates, the Scirocco, The North Wind, and all the winds battling. This is winter, but such joy it brings.

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PROFILES JEANNETTE SORRELL

RAMMY®-winning conductor Jeannette Sorrell is recognized internationally as one of today’s most compelling interpreters of Baroque and Classical repertoire. She is the subject of the documentary by Oscar-winning director Allan Miller, titled PLAYING WITH FIRE: Jeannette Sorrell and the Mysteries of Conducting, commercially released in 2023. Upcoming engagements in 2025–26 include return engagements with the New York Philharmonic and Indianapolis Symphony, and debuts with the Manchester Hallé Orchestra (UK) and the Oregon Symphony. Sorrell has attracted national awards for her creative programming and her “storytelling” approach to early music, which has attracted many new listeners to the genre. As the founder and artistic director of Apollo’s Fire, Sorrell has led the renowned period ensemble in soldout concerts at a variety of venues in North America and Europe. At home in Cleveland, she and Apollo’s Fire have built one of the largest audiences of any Baroque orchestra in North America. With over 20 million views of their YouTube videos, Sorrell and Apollo’s Fire have released 34 commercial CDs, of which 13 have been bestsellers on Billboard Classical. Sorrell won a GRAMMY® in 2019 for her album “Songs of Orpheus” with Apollo’s Fire and tenor Karim Sulayman. Passionate about guiding the next generation of performers, Sorrell is the architect of Apollo’s Fire’s Young Artist Fellowship program, which has produced many of the nation’s leading young professional Baroque players.

KIMBERLY KALOYANIDES KENNEDY

SO Associate Concertmaster (Schwartz and Shapero Family Chair), Kimberly Kaloyanides Kennedy has been a member of the DSO since 1998, regularly serving as soloist. The daughter of a Minister of Music and church organist, Kennedy pursued studies at Brevard Music Center and Interlochen Arts Camp as the Governor’s Scholar for the state of Ohio. She continued her studies at the Sarasota Music Festival; spent four summers at the Aspen Music Festival on fellowship as Associate Concertmaster of the Chamber Orchestra; spent three years at the Harid Conservatory in Boca Raton, Florida with Sergiu Schwartz; and finally landed at the University of Michigan with Paul Kantor. Throughout her training, she won several prizes in competitions around the country, including the Grand Prize in the National MTNA competition and first prize in the Greek Women’s National Competition in Chicago. Kennedy enjoys performing chamber music regularly around Michigan with various groups including the Detroit Chamber Winds and Strings and on series such as Chamber Music North, Fairlane Concert Guild, Pro Mozart, Classical Brunch in Birmingham, and the Great Lakes Chamber Music Festival. Kennedy and her husband Bryan Kennedy, who previously served in the DSO’s horn section, are strongly committed to this orchestra and to this region, working diligently to ensure that it remains internationally renowned and artistically revered.

DSO PERFORMANCE MAGAZINE

WINTER 2026

A COMMUNITY-SUP PORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA

JADERDBIGNAMINI, Music Director JADER BIGNAMINI MUSIC DIRECTOR A COMMUNITY-SUP PORTE ORCHESTRA Music Directorship endowed by the Kresge Foundation

ENRICO LOPEZ-YAÑEZ

TERENCE BLANCHARD

TABITA BERGLUND

INGRID MARTIN

Principal Pops Conductor Devereaux Family Chair

Fred A. Erb Jazz Creative Director Chair

Principal Guest Conductor

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

TITLE SPONSOR:

EPIC FILM SCORES Friday, January 30, 2025 at 10:45 a.m. & 8 p.m. Saturday, January 31, 2025 at 8 p.m. Sunday, February 1, 2025 at 3 p.m. in Orchestra Hall STEVEN REINEKE, conductor

Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

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DSO PERFORMANCE MAGAZINE 31

PROGR AM AT-A-GL ANCE | EPIC FILM SCORES 3...2...1...Action! Music plays a crucial role in supporting visual elements in a film. Tempo, dynamics, and instrumentation can influence our emotions in visceral ways, which may cause our hearts to race from suspense, transport us into a different universe, or bring a sense of serenity when the story reaches a happy ending. Certain sounds and songs have become synonymous with the films they are featured in, and some have even made their way to the charts. In this program, the DSO is showcasing epic music moments from some of the most iconic film scores.

PROFILE STEVEN REINEKE

teven Reineke is one of North America’s leading conductors of popular music and is in his second decade as Music Director of The New York Pops at Carnegie Hall. He is the Principal Conductor and Artistic Advisor of the National Symphony Orchestra at the John F. Kennedy Center for the Performing Arts and Principal Pops Conductor of the Houston Symphony and Toronto Symphony Orchestra. Reineke is a frequent guest conductor and can be seen on the podium with the Chicago, Philadelphia, and Detroit sym-

phony orchestras. On stage, Reineke creates and collaborates with a range of leading artists in hip-hop, R & B, Broadway, television, and rock including Killer Mike, Maxwell, Common, Kendrick Lamar, Nas, Ne-Yo, Barry Manilow, Cynthia Erivo, Ben Rector, Cody Fry, Sutton Foster, Amos Lee, Dispatch, Jason Mraz, and Ben Folds, among others. As the creator of hundreds of orchestral arrangements, Reineke’s work is performed worldwide and can be heard on numerous Cincinnati Pops Orchestra recordings. His wind ensemble compositions are published by the C.L. Barnhouse Company and are performed by concert bands perennially.

Since 1885

Artist of the Year Concert Tuesday, February 10, 2026, 7 p.m. Featuring:

CHRISTOPHER HARDING, PIANO SOLO You and the Thought of You Robert and Clara Schumann, a Love Story

BIRMINGHAM UNITARIAN CHURCH 38651 Woodward Ave. (at Lone Pine Rd.) Bloomfield Hills, MI 48304

Join us for a post-concert after glow

For ticket information call 313-520-8663 or visit www.TuesdaymusicaleofDetroit.org

CHRISTOPHER HARDING 32

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Ticket price $30 per person Students $15 • Children under 12 free

WINTER 2026

A COMMUNI TY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA

JADERDBIGNAMINI, Music Director JADER BIGNAMINI MUSIC DIRECTOR A COMMUNI TY-SUPPORTE ORCHESTRA Music Directorship endowed by the Kresge Foundation

ENRICO LOPEZ-YAÑEZ

TERENCE BLANCHARD

TABITA BERGLUND

INGRID MARTIN

Principal Pops Conductor Devereaux Family Chair

Fred A. Erb Jazz Creative Director Chair

Principal Guest Conductor

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

PARADISE JAZZ SERIES

PVS CLASSICAL SERIES

Made possible with support from: Title Sponsor:

MARSALIS’S SWING SYMPHONY WITH PARADISE THEATRE BIG BAND PARADISE JAZZ SERIES & PVS CLASSICAL SERIES Friday, February 6, 2026 at 8 p.m. Saturday, February 7, 2026 at 8 p.m. Sunday, February 8, 2026 at 3 p.m. in Orchestra Hall JADER BIGNAMINI, conductor PARADISE THEATRE BIG BAND Rhiannon Giddens Suite from Omar & Michael Abels Futa Toro / The Middle Passage (b. 1977 & 1962) Charleston / Julie’s Aria Old Corn Likker Psalm 23 / Amen Te ll Your Story / O People of North Carolina / Oroborus Intermission Wynton Marsalis Symphony No. 3, “Swing Symphony” (b. 1961) I. St. Louis to New Orleans II. All-American Pep III. Midwestern Moods IV. Manhattan to LA V. Modern Modes and the Midnight Moan VI. Think-Space: Theory VII. The Low Down Up On High Paradise Theatre Big Band Kris Johnson, Musical Director Please note: This program will be recorded. Please help us create a positive recording experience by ensuring all devices are on silent. Saturday’s performance will be webcast via our exclusive Live from Orchestra Hall series, presented by Ford Philanthropy. Technology support comes from the John S. and James L. Knight Foundation.

Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

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DSO PERFORMANCE MAGAZINE 33

PROGR AM AT-A-GL ANCE | MARSALIS’S SWING SYMPHONY WITH PAR ADISE THE ATRE BIG BAND Best of Both Worlds A monumental PVS Classical Series and Paradise Jazz Series crossover is happening under the baton of Music Director Jader Bignamini. The program opens with the world premiere of the Suite from Omar by DSO Composer-in-Residence Michael Abels and Rhiannon Giddens. The opera brings the story of Omar ibn Said—a Senegalese Muslim who was kidnapped and sold into slavery in Charleston, SC—to life, and this orchestral suite touches on key moments of Omar’s turbulent testimony. Wynton Marsalis’s exhilarating Swing Symphony follows. The DSO and the Paradise Theatre Big Band, under the direction of Kris Johnson, join forces in this performance, with swing as the uniting ethos.

PROGRAM NOTES Suite from Omar Composed 2024 | World Premiere

MICHAEL ABELS B. October 8, 1962, Pheonix, AZ

RHIANNON GIDDENS B. 1977

Scored for piccolo, 2 flutes (one doubling on alto flute), 2 oboes, English horn, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 2 trombones, bass trombone, tuba, timpani, percussion, piano, harp, and strings. (Approx. 30 minutes)

f the new suite from the opera Omar, Michael Abels writes the following: Omar was a passion project for both Rhiannon Giddens and me. The opera is based on the autobiography of Omar ibn Said, a Senegalese Muslim who was kidnaped and sold into slavery in Charleston, SC in 1807. When it was discovered that Omar could read and write Arabic, his master tried to convert him to Christianity and encouraged him to write an autobiography. This autobiography is now in the Library of Congress as one of the only first-person narratives of an enslaved person. On its face, Omar’s story is one of subjugation, but it is really a testament to the power of faith through a lifelong ordeal, 34

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and of faith as a bridge of communication across inhumane treatment. Therefore, much of the opera takes place in prayerful reflection, told via juxtaposition of Christian-sounding and Muslim-sounding music, and other musical genres representing the cultural depth of the United States. This symphonic suite begins with the overture, which is a fantasy on Koromanti, the oldest documented tune from Africans brought to North America. This theme becomes the basis for the chaotic raid on Omar’s village, during which he is kidnapped and his mother killed. The movement ends with an excerpt from the Middle Passage, during which the enslaved implore the goddess Yamoya to give them strength to survive the voyage. The second movement opens with a dramatic introduction to the terror and bustle of Charleston, SC. This moment releases into a very melodic aria in which Julie, an enslaved woman born in the US, recalls her parents’ relationship with great affection, including the heart-breaking moment when her father was sold and forced apart from the family. Because Porgy & Bess is also set in Charleston, it was important to us to acknowledge that musically. One can hear the Gershwin influence in this movement, both in the introduction, and in the aria that follows. My co-composer, Rhiannon Giddens, has devoted her life to uncovering and retelling Black American history through her songs. Square dancing and fiddling are part of this untold history. In Omar we WINTER 2026

see the enslaved enjoying a “frolic,” which turns out to be a square dance. There is always a human need for joy, even in the face of injustice. So, the third movement begins with the frolic, an orchestral dance break. The result sounds Copland-esque, although the context is quite different. The plantation owner, James Owen, is impressed with Omar’s piousness and literacy. He gives Omar a bible translated into Arabic and encourages him to read it and convert to Christianity. In a quiet moment, Omar reads aloud Psalm 23, “The Lord Is My Shepherd.” To an enslaved Muslim, the psalm’s message of comfort hits differently. Omar’s mournful plea for Allah’s guidance via the words of the psalm is a moving testament to the power of faith. The reading of the psalm ends with a choral Amen, as it would in many Christian churches, but with an Islamic prayer on top of it. Not in harmony, yet not dissonant. In the final movement, Julie and the spirit of Omar’s mother return. Together they implore Omar to tell his story, for the sake of all enslaved people, and for the glory of God. Omar tells his story, speaking directly to the people of South Carolina. “Can you not give thanks for the good that surrounds you? Take care of the roots of your tree, and its far-flung branches will bear everlasting fruit.” He sings this accompanied by music that is Senegalese-influenced yet bluesy, unexpectedly American. Finally, the entire company intones the Islamic prayer “The First, the Only, without beginning. The Last, the Eternal, without end,” which is taken up canonically by the entire cast and orchestra. In the final moments, the singer portraying Omar removes his tafiq and thobe and dons 21st-century street clothes, indicating that Omar’s story is not just an historical narrative, but a contemporary one. This performance marks the world premiere of the new Suite from Omar by Rhiannon Giddens and Michael Abels.

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Symphony No. 3, “Swing Symphony” Composed 2010 | Premiered 2010

WYNTON MARSALIS B. October 18, 1961

Scored for 3 flutes (1 doubling on piccolo), 3 oboes (1 doubling on English horn), 3 clarinets (1 doubling on bass clarinet), 3 bassoons (1 doubling on contrabassoon), 4 horns, 3 trumpets (3 doubling on flugelhorn), 3 trombones, tuba, timpani, percussion, and strings (Approx. 1 hour)

ynton Marsalis’s Swing Symphony was commissioned in 2010 by the Berlin Philharmonic, the London Symphony Orchestra, the New York Philharmonic, and the Los Angeles Philharmonic. The first movement honors ragtime: note the syncopated, “ragged” rhythms that mark the style. Next in the score is what Marsalis labels “low down,” music that he says represents the “deep sexuality that comes out of the music of Storyville, New Orleans.” Listen in this section for an improvised trumpet solo. A jazz trumpet fanfare announces the celebratory parade music that closes the movement. Here, he features collective improvisation from the jazz band that characterizes this traditional New Orleans style. The second movement starts with what Marsalis calls “American pep.” It is the 1920s Charleston dance reimagined, complete with car horns, sirens, and police whistles. The alto saxophone improvises a solo midway through, followed by the symphony orchestra having its way with the popular dance. A slow section, with baritone sax taking the lead, follows. Marsalis calls this a “tango ballad, with a sweet romantic mood.” The next section is peppy and joyful, featuring improvisation in the jazz trombone section. The third movement starts with Kansas DSO PERFORMANCE MAGAZINE 35

City swing, with tenor saxophone solos paying homage to jazz great Coleman Hawkins. Marsalis then slows the tempo down and uses the harmonic progression from Hawkins’s signature tune “Body and Soul” as a jumping off point for a dialog between cellos and saxophones. An extended call and response section gives way to joyous mayhem of gnarly brass solos, percussion interludes, and orchestra interjections. The movement fades out as if we are riding away from it all on a Garden District trolley car. The fourth movement pays homage to bebop, the more angular, up-tempo, and harmonically complex jazz of the 1940s. Here again, Marsalis pays tribute to the greats of the period, Dizzy Gillespie and Charlie Parker. An extended mambo— reminiscent of Gillespie’s famous “Manteca”—comes next, highlighting percussion and brass, and featuring a double bass solo. This movement ends expressively, featuring the alto saxophone, Parker’s chosen instrument. The fifth movement resonates with a

more contemporary jazz sound. It begins with contrapuntal interplay on a theme introduced by clarinet that is tossed about by the orchestras until it gives way to a section of collective improvisation in the jazz band. The next section, featuring jazz solos over the modal structures employed by Miles Davis and John Coltrane, is described in the score as “modern primal.” The finale begins with a panoply of percussion. A full array of exotic “wops,” “wahs,” and “blats” and bluesy hollers play out over this rhythmic procession, not to mention an occasional outburst when the spirit seems to move someone to “testify.” This gives way to a jazz ballad, first featuring saxophones, then brass, eventually joined by strings. A brief trumpet cadenza precedes the curious final “note,” a collective sigh by the orchestra. —Dr. Dave Kopplin The DSO first and most recently performed Wynton Marsalis’s Symphony No. 3, “Swing Symphony” in March 2022, conducted by William Eddins.

PROFILES For Jader Bignamini’s biography, see page 6.

PARADISE THEATRE BIG BAND

he Paradise Theatre Big Band represents a multi-generational group of musicians who were raised in the Detroit traditions of versatility, mentorship, and innovation. Formed by the Detroit Symphony Orchestra in 2022 to celebrate the 80th anniversary of the Paradise Theater, this dynamic ensemble features some of the most talented musicians from the Detroit music scene and prides itself on innovative arrangements and hard hitting, genre-bending performances. Detroit trumpeter, composer, and educator Kris Johnson is the ensembles’

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founder and director. With a dynamic portfolio encompassing music, film scores, musical theater, and education, Johnson has carved an enduring legacy in the jazz realm through his diverse range of projects. The Paradise Theatre Big Band is comprised of Musical Director Kris Johnson; Reeds Caleb Curtis, Kasan Belgrave, Andrew Bisho, Rafael Leafar, and Oliver Bishop; Trumpets Omar Lateef, Anthony Stanco, Allen Dennard, and Kris Johnson; Trombones Corey Wallace, Zekkereya El-magharbel, and Kenneth Gill; Piano Brendon Davis; Bass Darell “Red” Campbell; and Drums Nate Winn. Artists subject to change.

WINTER 2026

A COMMUNI TY-SUPPORTE D ORCHESTRA

JADER BIGNAMINI MUSIC DIRECTOR

DETROIT SYMPHONY ORCHESTRA

JADERDBIGNAMINI, Music Director JADER BIGNAMINI MUSIC DIRECTOR A COMMUNI TY-SUPPORTE ORCHESTRA Music Directorship endowed by the Kresge Foundation

ENRICO LOPEZ-YAÑEZ

TERENCE BLANCHARD

TABITA BERGLUND

INGRID MARTIN

Principal Pops Conductor Devereaux Family Chair

Fred A. Erb Jazz Creative Director Chair

Principal Guest Conductor

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

PVS CLASSICAL SERIES Title Sponsor:

BEETHOVEN, BIGNAMINI & WEILERSTEIN Friday, February 13, 2026 at 10:45 a.m. Saturday, February 14, 2026 at 8 p.m. Sunday, February 15, 2026 at 3 p.m. in Orchestra Hall JADER BIGNAMINI, conductor ALISA WEILERSTEIN, cello Gabriela Lena Frank Three Latin-American Dances for Orchestra (b. 1972) Introduction: Jungle Jaunt Highland Harawi Mestizo Waltz Joan Tower A New Day for Violoncello and Orchestra (b. 1938) Daybreak Working Out Mostly Alone Into the Night Alisa Weilerstein, cello Intermission Ludwig van Beethoven Symphony No. 4 in B-flat major, Op. 60 (1770 - 1827) Adagio - Allegro vivace Adagio Allegro vivace Allegro ma non troppo

Saturday’s performance will be webcast via our exclusive Live from Orchestra Hall series, presented by Ford Philanthropy. Technology support comes from the John S. and James L. Knight Foundation.

Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

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DSO PERFORMANCE MAGAZINE 37

PROGR AM AT-A-GL ANCE | BEE THOVEN, BIGNAMINI & WEILERSTEIN Beethoven and Bignamini and Weilerstein... Oh My! Music Director Jader Bignamini leads this diverse program, showcasing the versatility and virtuosity of the DSO. Gabriela Lena Frank’s Three Latin American Dances kicks off this program. As the title describes, this work features three distinct movements inspired by dances of the Amazon, Andes, and Peru. Joan Tower’s A New Day is next, featuring cellist Alisa Weilerstein, for whom this work was commissioned. Tower reflected on her nearly 50-year marriage, realizing that each day is becoming more precious. Beethoven’s Fourth Symphony closes out the program, celebrated for its lively rhythms and its perfect blend of Classical structure and Romantic expression.

PROGRAM NOTES Three Latin-American Dances (for orchestra) Composed 2004 | Premiered 2004

GABRIELA LENA FRANK B. September 1972, Berkeley, CA

Scored for 3 flutes (one doubling on piccolo), 2 oboe, English horn, 2 clarinets, bass clarinet, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, timpani, percussion, harp, piano, and strings. (Approx. 17 minutes) Of this work, Gabriela Lena Frank writes the following: hree Latin American Dances is dedicated to Aaron Lin Lockhart (b. August 24, 2003) in keen anticipation of this hombrecito’s dance... As such, the work has the following scheme: I. Introduction: Jungle Jaunt This introductory scherzo opens in an unabashed tribute to the Symphonic Dances from West Side Story by Leonard Berstein before turning to harmonies and rhythms derived from various panAmazonian dance forms. These jungle references are sped through (so as to be largely hidden) while echoing the energy of the Argentinian composer Alberto Ginastera who was long fascinated with indigenous Latin American cultures.

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II. Highland Harawi This movement is the heart of Three Latin American Dances, and evokes the Andean Harawi, a melancholy adagio traditionally sung by a single bamboo quena flute so as to accompany a single dancer. As mountain music, the ambiance of mystery, vastness, and echo is evoked. The fast middle section simulates what I imagine to be the “zumballyu” of Illapa—a great spinning top belonging to Illapa, the Peruvian-Inca weather deity of thunder, lightning, and rain. Illapa spins his great top in the highland valleys of the Andes before allowing a return to the more staid harawi. The music of the Hungarian composer Bela Bartok is alluded to. III. The Mestizo Waltz As if in relief to the gravity of the previous movement, this final movement is a lighthearted tribute to the “mestizo” or mixed-race music of the South American Pacific coast. In particular, it evokes the “romancero” tradition of popular songs and dances that mix influences from indigenous Indian cultures, African slave cultures, and western brass bands. The DSO first and most recently performed Gabriela Lena Frank’s Three Latin-American Dances (for orchestra) in October 2022, conducted by Erin Freeman as part of the Young People’s Family Concert Series.

WINTER 2026

A New Day for Violoncello and Orchestra

Symphony No. 4 in B-flat major, Op. 60

Composed 2021 | Premiered 2021

Composed 1806 | Premiered 1807

JOAN TOWER

LUDWIG VAN BEETHOVEN

B. September 6, 1938, New Rochelle, NY

Scored for 2 flutes (second doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, bass trombone, timpani, percussion (vibraphone, timbales, cymbals, temple blocks), and strings. (Approx. 24 minutes) Of this work, Joan Tower writes the following: New Day was commissioned by the Colorado Music Festival, The Cleveland Orchestra, the Detroit Symphony Orchestra, and the National Symphony Orchestra. It was commissioned for and is dedicated to the amazing cellist Alisa Weilerstein. I wrote the music with love to Jeff, my partner of 48 years, who turned 94 in April of 2021. While composing this piece, I realized that our long time together was getting shorter, becoming more and more precious with each new day… A New Day is in four movements: “Daybreak,” “Working Out,” “Mostly Alone,” and “Into the Night.” Those titles are suggestions, open to interpretation of what the music might refer to. Following the opening movement’s lyrical beginning, the soloist nudges the orchestra onward at a brisk clip. A moment of reflection leads to the second movement and the work at hand. The third movement is like a cadenza for solitary cello—into which the orchestra’s strings occasionally make appearances. The closing movement rushes forward into the night—ending with hope for another new day. I want to thank conductor Peter Oundjian for connecting me with Alisa and initiating the concerto’s commission. This marks the DSO premiere of Joan Tower’s A New Day for Violoncello and Orchestra.

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B. December 1770, Bonn, Germany D. March 26, 1827, Vienna, Austria

Scored for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (Approx. 32 minutes)

ere Beethoven’s Fourth Symphony the work of any other composer active during the first decade of the nineteenth century, it would establish its author as one of the major musical figures of his day. But unfortunately for Beethoven, this work stands between two of its creator’s most dramatic and popular compositions, the Third and Fifth Symphonies, and is therefore rather in their shadow. Robert Schumann’s metaphoric description of the Fourth Symphony as “a slender Greek maiden between two Norse giants” is not entirely fair but more or less indicative of the common thought; the enduring perception of this piece is that it is a less weighty and important achievement among Beethoven’s middle-period symphonies. It is unfortunate that the towering stature of its neighbors should obscure the virtues of the Fourth Symphony, which Beethoven composed in 1806. It is a finely crafted and beautiful work that follows the formal outline of the Classical period symphony but fills that outline with music that often sounds quite Romantic in character. Nowhere is this Romantic element more evident than in the opening Adagio, a somber fantasy that ventures to say more than we would expect from an introduction to a symphonic first movement. Through forty spellbinding measures, it explores dark and mysterious tonal regions, and then suddenly breaks forth with two loud chords and a motif of insistently rising DSO PERFORMANCE MAGAZINE 39

lines into the brilliant light of the Allegro, the main body of the first movement. The ensuing Adagio ranks among the loveliest movements Beethoven ever wrote. Typically, it juxtaposes two principal melodies. The first appears in the violins over a gently rocking accompaniment in the strings; the second is introduced by the clarinet. Beethoven weaves the extensions, variations, and recollections of these ideas into an exquisite dreamlike fantasy. The third movement is a scherzo in all but name, a rollicking piece marked by a lively play of rhythms and accents. The concluding measures offer a surprise from the horns. The finale gives us many of Beethoven’s most characteristic

gestures: sudden contrasts, abrupt offbeat accents, and contrapuntal echoes of thematic fragments. The movement races along toward its conclusion, pausing only to allow the composer, in high humor, to draw the principal theme out in slow motion before dashing through its final measures. The DSO most recently performed Beethoven’s Fourth Symphony in June 2022, conducted by Kerem Hasan as part of the William Davidson Neighborhood Concert Series. The DSO first performed this symphony in April 1921, conducted by Ossip Gabrilowitsch.

PROFILES For Jader Bignamini’s biography, see page 6.

ALISA WEILERSTEIN

lisa Weilerstein is one of the foremost cellists of our time. Known for her consummate artistry, emotional investment, and rare interpretive depth, she was recognized with a MacArthur “genius grant” Fellowship in 2011. Today, her career is truly global in scope. While maintaining a deep engagement with the standards of the repertoire, she is also dedicated to expanding the cello literature, bringing new works to life through a wealth of solo and concerto commissions. Her multi-season solo cello project, FRAGMENTS, comprises six hour-long programs that weave together the 36 movements of Bach’s solo cello suites with 27 newly commissioned works. In 2025–26, she continues the series at Carnegie Hall and San Diego’s Jacobs Music Hall, as well as giving the European, 40

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Czech, German, and UK premieres, the latter at London’s Southbank Centre, where she holds a season long artistic residency. Weilerstein has also premiered important new concertos written for her by six leading contemporary composers: Pascal Dusapin, Matthias Pintscher, Joan Tower, Gabriela Ortiz, Thomas Larcher, and Richard Blackford, the last three in the 2024–25 season, with the Ortiz and Blackford works recorded for Platoon and Pentatone respectively. In the 2025–26 season, she plays the UK premiere of Ortiz’s Dzonot with Marin Alsop and the Philharmonia Orchestra, before reprising the same work with the San Diego Symphony. Born in 1982, Weilerstein discovered her love for the cello at just two and a half and made her professional concert debut at 13 with The Cleveland Orchestra. She is married to conductor Rafael Payare, with whom she has two children.

WINTER 2026

THE ANNUAL FUND

Gifts received between September 1, 2024, and October 31, 2025.

The DSO is a proud, community-supported orchestra. Whether enjoying world-class performances in Orchestra Hall, picking up an instrument for the first time, or experiencing engaging concerts in their own neighborhoods, your gift can transform lives and ignite imaginations across Detroit, Southeast Michigan, and beyond. From our leadership donors of the Gabrilowitsch Society, to our vital Governing Members, to the thousands of Friends who support the DSO each year, all donations are essential in ensuring that unforgettable musical experiences thrive in our community for years to come. We extend special recognition to the following donors who contributed $1,500 or more to the Detroit Symphony Orchestra’s Annual Fund between September 1, 2024, and October 31, 2025. If you have questions about this roster, or would like to make a donation, please contact 313.576.5114 or visit dso.org/donate.

GIVING OF $250,000 & MORE Penny & Harold Blumenstein Julie & Peter Cummings Ms. Leslie C. Devereaux ◊ Mr. & Mrs. Stanley Frankel Mary Lee Gwizdala

Linda Dresner & Ed Levy, Jr. Mr. & Mrs. James B. Nicholson Mr. & Mrs. David Provost Barbara C. Van Dusen

GIVING OF $100,000 & MORE The Polk Family Mr. & Mrs. Robert S. Miller Bernard & Eleanor Robertson Drs. David & Bernadine Wu Paul & Terese Zlotoff

Mr. & Mrs.◊ Richard L. Alonzo James & Patricia Anderson Mr.◊ & Mrs. Raymond M. Cracchiolo Joanne Danto & Arnold Weingarden Mr. & Mrs. Phillip Wm. Fisher Mary Ann & Robert Gorlin

GIVING OF $50,000 & MORE Nicole & Matt Lester David & Valerie McCammon Richard Sonenklar & Gregory Haynes Philanthropic Fund

Mr. & Mrs. Aaron Frankel Mr. & Mrs. Ralph J. Gerson Ric & Carola Huttenlocher Mrs. Bonnie Larson

GIVING OF $25,000 & MORE Ms. Sharon Backstrom Mrs. Cecilia Benner Mr. & Mrs. Richard A. Brodie Mr. & Mrs. Stephen Brownell Mr. & Mrs.◊ Brian C. Campbell Mrs. Marjory Epstein Mr. Michael J. Fisher Madeline & Sidney Forbes Mrs. Martha Ford Dale & Bruce Frankel Ronald M. & Carol◊ Horwitz Renato & Elizabeth Jamett William & Story John Mr.◊ & Mrs. Norman D. Katz Mr. Alan J. & Mrs. Sue Kaufman Morgan & Danny Kaufman dso.org

LeFevre Family Bud & Nancy Liebler Mr. & Mrs. Eugene A. Miller Xavier & Maeva Mosquet Sammy & David Nicholson Ms. Ruth Rattner◊ Mr. Jerome Salesin Laura & Jimmy Sherman Mr. & Mrs. Larry Sherman Mr. & Mrs. Gary Torgow Peter & Carol Walters Mr.◊ & Mrs. Jonathan T. Walton S. Evan & Gwen Weiner Wolverine Packing Company And one who wishes to remain anonymous #IAMDSO

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Deceased

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GABRILOWITSCH SOCIETY - GIVING OF $10,000 & MORE Dr. Lourdes V. Andaya Janet & Norman Ankers Pamela Applebaum Drs. Brian & Elizabeth Bachynski Ms. Therese Bellaimey Drs. John◊ & Janice Bernick Dr. George & Joyce Blum Elena Bogliani & Pietro Gorlier Ms. Kristin Bolitho Gwen & Richard Bowlby Robert N.◊ & Claire P. Brown Michael & Geraldine Buckles Sandra & Paul Butler Ms. Elena Centeio & Tony R. Smith Thomas W. Cook & Marie L. Masters Ms. Elizabeth Correa Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Mr. & Mrs. Richard L. DeVore Adel & Walter Dissett Mr. Charles L. Dunlap & Mr. Lee V. Hart Margie Dunn & Mark Davidoff Dr. & Mrs. A. Bradley Eisenbrey Margo & Jim Farber Sally & Michael Feder Amanda Fisher & Ben Hubert Dr. Saul & Mrs. Helen Forman Barbara Frankel◊ & Ronald Michalak Lynn & Bharat Gandhi

Girolami Family Charitable Trust Mr.◊ & Mrs. James A. Green Mr. & Mrs. Darby Hadley Mr. & Mrs. Robert Hage Judy◊ & Kenneth Hale Mr. Sanford Hansell & Dr. Raina Ernstoff Ms. Lori Harbour Michael E. Hinsky & Tyrus N. Curtis Mr.◊ & Mrs. Norman H. Hofley Mr. & Mrs. Peter Hollinshead Mr. Sharad P. Jain Mr. & Mrs. Richard J. Jessup Lenard & Connie Johnston Paul & Marietta Joliat Betsy & Joel Kellman Dr. David & Mrs. Elizabeth Kessel Mr. & Mrs. Kosch Mr. & Mrs. Joseph Lile ◊ Dana Locniskar & Christine Beck Mrs. Sandra MacLeod Dr. Stephen & Paulette Mancuso Ms. Deborah Miesel Dr. Robert & Dr. Mary Mobley Cyril Moscow◊ Geoffrey S. Nathan & Margaret E. Winters◊ Mr. & Mrs. Albert T. Nelson, Jr. Eric & Paula Nemeth Jim & Mary Beth Nicholson

Patricia & Henry Nickol◊ Gloria & Stanley Nycek George & Jo Elyn Nyman Debra & Richard Partrich Kathryn & Roger Penske Dr. Glenda D. Price Dr. & Mrs. John Roberts Dr. Erik Rönmark* & Mrs. Adrienne Rönmark* Mr. Ronald Ross & Ms. Alice Brody Martie & Bob Sachs Peggy & Dr. Mark B. Saffer Sandy Schreier Elaine & Michael Serling Carlo & Nicole Serraiocco Lois & Mark Shaevsky Mr. Norman Silk & Mr. Dale Morgan Dean P. & D. Giles Simmer Mr. Steven Smith Dr. Doris Tong & Dr. Teck M. Soo Mrs. Kathleen Straus & Mr. Walter Shapero Mr. & Mrs. John Stroh III Emily & Paul Tobias Mr. James G. Vella Ms. Mary Wilson Lucia Zamorano, M.D. And two who wish to remain anonymous

Philip & Carol Campbell◊ Steve & Geri Carlson Mrs. Carolyn Carr Mr.◊ & Mrs. François Castaing Mrs. Patricia Cencek Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Ronald◊ & Lynda Charfoos The Cheresko Family Foundation Dr. Betty Chu & Mr. Navot Shoresh Mr. Fred J. Chynchuk Mr. & Mrs. Brian G. Connors Dr. & Mrs. Bryan & Phyllis Cornwall Patricia & William◊ Cosgrove, Sr. Mr.◊ & Mrs. Gary L. Cowger Mr. & Mrs. Matthew P. Cullen Dr. Edward & Mrs. Jamie Dabrowski Deborah & Stephen D’Arcy Fund Maureen T. D’Avanzo Lillian & Walter Dean Ms. Jane Deng Dr. Anibal & Vilma Drelichman Elaine C. Driker Ms. Ruby Duffield Mrs. Connie Dugger Edwin & Rosemarie ◊ Dyer Randall & Jill* Elder Mr. Lawrence Ellenbogen Ms. Laurie Ellias & Mr. James Murphy Ms. Emily Elmer & Mr. Andrew Lerma

Mr. & Mrs. John M. Erb Fieldman Family Foundation John & Karen Fischer Ms. Joanne Fisher Dorothy A. & Larry L. Fobes Amy & Robert Folberg Ms. Linda Forte & Mr. Tyrone Davenport Dr. & Mrs. Franchi Mr. & Mrs. Andrew Frick Kit & Dan Frohardt-Lane Mr.◊ & Mrs. Richard M. Gabrys Myndi & Alan Gallatin Mrs. Janet M. Garrett Mr. Max Gates Ambassador Yousif B. Ghafari & Mrs. Mara Kalnins-Ghafari Mr. & Mrs. James Gietzen Keith & Eileen Gifford Dr. & Mrs. Theodore Golden Ms. Jacqueline Graham Dr. Herman & Mrs. Shirley Mann Gray Ms. Chris Gropp Leslie Groves & Joseph Kochanek Ms. Gail Haines Robert & Elizabeth Hamel Thomas & Kathleen Harmon Cheryl A. Harvey Ms. Barbara Heller Eric Hespenheide & Judith Hicks Mr. Donald & Marcia Hiruo

GIVING OF $5,000 & MORE Mrs. Denise Abrash Richard & Jiehan Alonzo Dr. & Mrs. Joel Appel Drs. Kwabena & Jacqueline Appiah Pauline Averbach & Charles Peacock Mrs. Jean Azar Ms. Elizabeth Baergen Ms. Ruth Baidas Dr. David S. Balle James A. Bannan Mr. Mark G. Bartnik & Ms. Sandra J. Collins Joseph Addison Bartush W. Harold & Chacona W. Baugh Mr. & Mrs. Martin S. Baum Mr. & Mrs. Richard Beaubien Mr. William Beluzo Hadas & Dennis Bernard Mr. & Mrs. Jeffrey A. Berner Bill & Caitlin Beuche Mr. Michael G. Bickers Nancy & Lawrence Bluth Timothy J. Bogan Ms. Debra Bonde Ms. Nadia Boreiko The Honorable Susan D. Borman & Mr. Stuart Michaelson Mr. Anthony F. Brinkman Ms. Kathy Burkhart Dr. & Mrs. Roger C. Byrd Richard Caldarazzo & Eileen Weiser 42

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*Current DSO Musician or Staff

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Deceased

WINTER 2026

GIVING OF $5,000 & MORE, CONTINUED Mr. Matthew Howell & Mrs. Julie Wagner Dr. Karen Hrapkiewicz William Hulsker & Aris Urbanes Larry & Connie Hutchinson Jane Iacobelli Mr. & Mrs. A. E. Igleheart Dr. Raymond E. Jackson & Dr. Kathleen Murphy Mr. John S. Johns Mr. George G. Johnson Paul & Karen Johnson Carol & Rick Johnston Connie & Bill Jordan Mr. & Mrs. Steven Kalkanis Diane ◊ & John Kaplan Judy & David Karp Mike & Katy Keegan Mrs. Frances King Mrs. Janice King Dr. & Mrs. Edward L. Klarman Mr. & Mrs. Ludvik F. Koci Dr. Sandy Koltonow & Dr. Mary Schlaff Ms. Susan Deutch Konop Douglas Korney & Marieta Bautista James Kors & Victoria King Douglas Koschik Barbara & Michael◊ Kratchman Robert & Laurie Kunz Mrs. Maria E. Kuznia Dr. & Mrs. Gerald Laker Mr. David Lalain & Ms. Deniella OrtizLalain Dr. Raymond Landes & Dr. Melissa McBrien-Landes Drs. Lisa & Scott Langenburg Bill & Kathleen Langhorst Ms. Sandra Lapadot Dr. Lawrence O. Larson Max Lepler & Rex L. Dotson Mr. & Mrs. Robert K. Leverenz Drs. Donald & Diane Levine

Mr. & Mrs. Richard Lewnau Mr. & Mrs. Eugene LoVasco Mr. John Lovegren & Mr. Daniel Isenschmid Bob & Terri Lutz Daniel & Linda Lutz Mr. & Mrs. Winom J. Mahoney Cis Maisel Mr. Sean Maloney & Mrs. Laura PepplerMaloney Valerie & Boris Pasche Mr. David Phipps & Ms. Mary Buzard Maurice Marshall Mr. Anthony Roy McCree Patricia A.◊ & Patrick G. McKeever Dr. & Mrs. David Mendelson Lynn & Randall Miller Dr. Susan & Mr. Stephen* Molina Mr. & Mrs. Daniel E. Moore Ms. Jennifer Muse Ms. Jacqueline Paige & Mr. David Fischer Randy & Betty Paquette Peter & Carrie Perlman Mr. David Phipps & Ms. Mary Buzard William H. & Wendy W. Powers Charlene & Michael Prysak Mrs. Anna M. Ptasznik Drs. Stuart & Hilary Ratner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Mr. & Mrs. Dave Redfield Mr. & Mrs. Gerrit Reepmeyer Mr. & Mrs. Jon Rigoni Ms. Patricia Rodzik Michael & Susan Rontal Mr. Wm. Christopher Sachs Mr. David Salisbury & Mrs. Terese Ireland Salisbury Marjorie Shuman Saulson Ms. Martha A. Scharchburg & Mr. Bruce Beyer Mr. & Mrs. Donald & Janet Schenk

Shirley Anne & Alan Schlang Joe & Ashley Schotthoefer Mrs. Rosalind B. Sell Shapero Foundation Robert & Patricia Shaw Mr. Martin Sher* Shiv Shivaraman Mr. & Mrs. Matthew Simoncini William & Cherie Sirois Michael E. Smerza & Nancy Keppelman Mr. Michael J. Smith & Mrs. Mary C. Williams Ms. Susan Smith John Solecki Peter & Patricia Steffes Dr. Gregory Stephens Mr. JT Stout Mr. & Mrs.◊ John Streit Mr. and Mrs. David T. Strong David Szymborski & Marilyn Sicklesteel Joel & Shelley Tauber Dr. & Mrs. Howard Terebelo Dr. Barry Tigay Alice ◊ & Paul Tomboulian Yoni & Rachel Torgow Tom & Laura Trudeau Charles◊ & Sally Van Dusen Mrs. Eva von Voss Mr. William Waak Mr. Michael Walch & Ms. Joyce Keller Richard P. Walter & Carol A. Walter Mrs. Judith Weiner Beverly & Barry Williams Dr. & Mrs. Ned Winkelman Ms. Andrea L. Wulf Dr. Sandra & Mr. D. Johnny Yee Mr. & Mrs. Wesley Yee Ms. Ellen Hill Zeringue And two who wish to remain anonymous

Ms. Marla Donovan Paul◊ & Peggy Dufault Mr. Jay Fishman Mr. & Mrs. Calvin Ford Ms. Laurie Frankel Mr. George Georges Stephanie Germack Thomas M. Gervasi Mr. Joseph & Mrs. Lois Gilmore Dr. Kenneth◊ & Roslyne Gitlin Ms. Jody Glancy Judie Goodman & Kurt Vilders Dr. William & Mrs. Antoinette Govier Dr. Darla Granger & Mr. Luke Ponder Diane & Saul Green Dr. Robert Greenberger Anne & Eugene Greenstein Sharon Lopo Hadden Dr. & Mrs. Razmig Haladjian Mr. & Mrs. Robert Holcomb James Hoogstra & Clark Heath Jean Hudson Carolyn & Howard Iwrey Mr. & Ms. Charles Jacobowitz

Lucy & Alexander* Kapordelis Ron Fischer◊ & Kyoko Kashiwagi Carole Keller Bernard & Nina Kent Philanthropic Fund John Kim & Sabrina Hiedemann Mr. & Mrs. Norman R. King Aileen & Harvey Kleiman Tom◊ & Beverly Klimko Mr. & Mrs. Robert Koffron Mr. Michael Kuhne Robert & Elizabeth LaBelle Deborah Lamm Ms. Anne T. Larin Arlene & John Lewis Mr. Steven L. Lipton David & Clare Loebl Mr. & Mrs. Charles W. Manke, Jr. Barbara J. Martin Cheryl & Chris Mazzoli Dr. & Mrs. Peter M. McCann, M.D. Ms. Mary McGough Ms. Kristen McLennan Steve & Brenda Mihalik H. Keith Mobley

GIVING OF $2,500 & MORE Nina Dodge Abrams Mr. & Mrs. Joel Adelman William Aerni & Janet Frazis Mr. Juan Alvarez Mr. & Mrs. Robert L. Anthony Mr. Thomas Basile Robyn Bollinger* & Dane Lighthart* Rud◊ & Mary Ellen Boucher Don & Marilyn Bowerman Mr. Mark R. Buchanan Jason Bucholz & Lee Kirtley Dr. Robert Burgoyne & Tova Shaban Mr. Andrew Christians Dr. & Mrs. Robert Clark Mr. William Cole & Mrs. Carol Litka Cole Dr. & Mrs. Charles G. Colombo Catherine Compton Mr. & Mrs. David Conrad Ms. Joy Crawford* & Mr. Richard Aude Phyllis & Kevin Cullen Mrs. Barbara Cunningham Ms. Joyce Delamarter Michelle Devine & Brian Mahany Dr. & Mrs. Thomas Ditkoff

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Deceased

DSO PERFORMANCE MAGAZINE 43

GIVING OF $2,500 & MORE, CONTINUED Dr. Van C. Momon, Jr. & Dr. Pamela Berry Eugene & Sheila Mondry Foundation Ms. Sandra Morrison Mr. Frederick Morsches & Mr. Kareem George Megan Norris & Howard Matthew Mr. & Mrs. Arthur T. O’Reilly Mr. Tony Osentoski & Mr. David Ogloza Ken & Geralyn Papa Mark Pasik & Julie Sosnowski Priscilla & Huel Perkins Ms. Alice Pfahlert Mr. Steven Read Mr. & Mrs. William A. Reed James E. & Kimberly A. Reinert Dr. Claude & Mrs. Sandra Reitelman Denise Reske Mr. & Mrs. John Rieckhoff

Ms. Marilyn Rodzik Mr. James Rose Mr. & Mrs. Robert B. Rosowski Sandy◊ & Alan Schwartz Mr. Jeffrey S. Serman Bill* & Chris Shell Dr. Les Siegel & Ellen Lesser Siegel Ralph & Peggy Skiano Ms. Dhivya Srinivasan Shirley R. Stancato Daniel & Tracey Stavale Mrs. Andreas H. Steglich Nancy C. Stocking Dr. & Mrs. Gerald Stollman Dr. and Mrs. Choichi Sugawa Danielle Susser Dr. Neil Talon Mr. Rob Tanner

Mr. & Mrs. Harry Thomalla Barbara & Stuart Trager Barbara & Steve Tronstein John & Lois VanStipdonk Ms. Amanda Van Dusen & Mr. Curtis Blessing Mr. Gary Van Elslander Gerald & Teresa Varani Ms. Caren Vondell Mr. Patrick Webster Mr. Michael J. Smith & Mrs. Mary C. Williams Rissa & Sheldon Winkelman Mr. William Wonfor & Ms. Kathy White Ms. Gail Zabowski And two who wish to remain anonymous

TRIBUTE GIFTS Gifts received – September 1st through October 31st, 2025 Tribute gifts to the Detroit Symphony Orchestra are made to honor accomplishments, celebrate occasions, and pay respect in memory or reflection. These gifts support current season projects, partnerships and performances such as DSO concerts, education programs, free community concerts, and family programming. For information about making a tribute gift, please call 313.576.5114 or visit dso.org/donate.

In Honor Joanne Danto Linda and Dennis Deutsch Mr. & Mrs. David Deweese Dr. & Mrs. Lewis Rosenbaum Jennifer & Paul Silverman Ruth Roby Glancy The Glancy Foundation, Inc.

Mr. William Kamai Gavin Choate Deborah Savoie Mr. & Mrs. Frank and Margaret Sheckell

Richard Sonenklar and Gregory Haynes Mr. Antonio David Garcia Kenneth Tucker The Bookstein Family

In Memory Anna Bonde Debra Bonde

Allan Goodman Debra & Richard Partrich

Eleanor Pekkala Michelle Anstett

John Chiara Dale A. Chiara

Carrie Stewart Gulan Jennifer Burlingame

George Denes Ms. Jolyn Wagner

William D. Hodgman Brian W. Hodgman

Ruth Rattner Mr. Richard Rattner & Ms. Linnea Lannon

DSO PERFORMANCE MAGAZINE

Nancy Smith Katherine Lorts

WINTER 2026

GIVING OF $1,500 & MORE Mrs. Lynn E. Adams Ms. Aimee Anderson Dr. & Mrs. Gary S. Assarian Mr. & Mrs. William C. Babbage Drs. Richard & Helena Balon Dr. Jeffrey D. Band & Mrs. Meredith Weston-Band Mr. & Mrs. David W. Berry Mr. & Mrs. John Bishop Ms. Terry Book Mr. Larry Brown & Mrs. Marilynn Silberman Mr. & Mrs. Richard Burstein Ms. Paula Cole Mr. & Mrs. David Colman Catherine Compton Mr. Douglas and Minka Cornelsen Gordon & Elaine Didier Diana & Mark Domin Mr. Howard O. Emorey Burke & Carol Fossee Mr. Allan D. Gilmour and Mr. Eric C. Jirgens Mr. Paul Glantz Mr. & Mrs. Matthew Goodman Mr. Henry Grix & Mr. Howard Israel

Dr. Susan Harold Mrs. Andrea Harral Mr. & Mrs. Mark R. High Sally Ingold James Jacob Mrs. & Mr. Clara Jenkins Mr. & Mrs. Gerd H. Keuffel Elissa & Daniel Kline Mr. & Mrs.◊ Gregory Knas Mr. Robert Kosinski Mr. & Mrs. Charles Laurencelle Mr. Daniel Lewis Mr. & Mrs. Arthur Liss Clara & Federico Mariona Ms. Nancy McGunn Camille & Ian McLeod Ms. Evelyn Micheletti Carolyn & J. Michael Moore Mr.◊ & Mrs. George Nicholson Mrs. Ruth Nix Anne Parsons◊ & Donald Dietz Mr. & Mrs. Mark H. Peterson Mr. Frank Polasek Mr. & Mrs. Rodney Rask

Ms. Libby Robinson Mr. and Mrs. John Rohrbeck Brian & Toni Sanchez-Murphy Ms. Rosemarie Sandel Ms. Joyce E. Scafe Dr. and Mr. Joyce R. Schomer Ms. Sandra Shetler Mr. and Mrs. Stephan J. Speth Ms. Polly Tan Ruth & Mark Theobald Mr. & Mrs. Krister Ulmanis Mr. & Mrs. Paul Vantol Dennis & Jennifer Varian Dr. & Mrs. Thomas E. Verhelle Dr. Elliot & Mrs. Wendy Wagenheim Ms. Janet Weir Ms. Joan Whittingham Mr. & Mrs.◊ Richard Wigginton Mr. Robert S. Williams & Ms. Treva Womble Cathy Cromer Wood And two who wish to remain anonymous

Your investment makes the DSO a place where people of all ages belong, feel welcome, and are inspired. Give today at dso.org/donate to bring our community together through music.

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*Current DSO Musician or Staff

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DSO PERFORMANCE MAGAZINE 45

CORPORATE, FOUNDATION, AND GOVERNMENT GIVING Giving of $500,000 & more SAMUEL & JEAN FRANKEL FOUNDATION THE STATE OF MICHIGAN

Giving of $200,000 & more EMORY M. FORD JR. ENDOWMENT FUND

Giving of $100,000 & more PAUL M. ANGELL FAMILY FOUNDATION MARVIN & BETTY DANTO FAMILY FOUNDATION

Giving of $50,000 & more William Randolph Hearst Foundation Masco Corporation Milner Hotels Foundation

DSO PERFORMANCE MAGAZINE

Donald R. Simon & Esther Simon Foundation Myron P. Leven Foundation

WINTER 2026

Giving of $20,000 & more Detroit Pistons MGM Grand Detroit Eleanor & Edsel Ford Fund

Stone Foundation of Michigan Wolverine Packing Mandell & Madeleine Berman Foundation

Giving of $10,000 & more Honigman LLP Strum Allesee Family Foundation Jack, Evelyn, & Richard Cole Family Foundation Comerica Incorporated

Geoinge Foundation Richard & Jane Manoogian Foundation Oliver Dewey Marcks Foundation Penske Foundation, Inc. Karen & Drew Peslar Foundation

Michigan Arts & Culture Council Taft Law Young Woman’s Home Association Burton A. Zipser & Sandra D. Zipser Foundation

Giving of $5,000 & more Applebaum Family Philanthropy The Cassie Foundation Coffee Express Roasting Company Benson & Edith Ford Fund

James & Lynelle Holden Fund Hylant Group Marjorie & Maxwell Jospey Foundation Mary Thompson Foundation

Renaissance (MI) Chapter of the Links Sun Communities Inc. HUB International

Giving of $1,000 & more Sieg Dunlap Foundation Enterprise Holdings Foundation EY Japan Business Society of Detroit Foundation

Dolores & Paul Lavins Foundation Ludwig Foundation Fund Michigan First Credit Union Michigan First Foundation

Plante Moran Sigmund and Sophie Rohlik Foundation Samuel L. Westerman Foundation Louis & Nellie Sieg Foundation Anonymous

The DSO’s Planned Giving Council recognizes the region’s leading financial and estate professionals whose current and future clients may involve them in their decision to make a planned gift to the Detroit Symphony Orchestra. Members play a critical role in shaping the future of the DSO through ongoing feedback, working with their clients, supporting philanthropy and attending briefings twice per year. Mrs. Katana H. Abbott* Mr. Joseph Aviv Mr. Christopher Ballard* Ms. Jessica B. Blake, Esq. Ms. Rebecca J. Braun Mr. Timothy Compton Ms. Wendy Zimmer Cox* Mr. Robin D. Ferriby* Mrs. Jill Governale* Mr. Henry Grix* Mrs. Julie Hollinshead, CFA Mr. Mark W. Jannott, CTFA

Ms. Jennifer Jennings* Ms. Dawn Jinsky* Mrs. Shirley Kaigler* Mr. Robert E. Kass* Mr. Christopher L. Kelly Mr. Bernard S. Kent Ms. Yuh Suhn Kim Mrs. Marguerite Munson Lentz* Mr. J. Thomas MacFarlane Mr. Christopher M. Mann* Mr. Curtis J. Mann Mrs. Mary K. Mansfield

Mr. Mark E. Neithercut* Mr. Steve Pierce Ms. Deborah J. Renshaw, CFP Mr. James P. Spica Mr. David M. Thoms* Mr. John N. Thomson, Esq. Mr. Jason Tinsley* Mr. William Vanover Mr. William Winkler

*Executive Committee Member

Share the music of the DSO with future generations Include the DSO as a beneficiary in your will. To learn more please call Dane Lighthart at 313.576.5115 or email dlighthart@dso.org. dso.org

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DSO PERFORMANCE MAGAZINE 47

DETROIT SYMPHONY ORCHESTRA

CELEBRATING YOUR LEGACY SUPPORT BARBARA VAN DUSEN, Honorary Chair

The 1887 Society honors individuals who have made a special legacy commitment to support the Detroit Symphony Orchestra. Members of the 1887 Society ensure that future music lovers will continue to enjoy unsurpassed musical experiences by including the DSO in their estate plans. Ms. Doris L. Adler◊ Dr. & Mrs. William C. Albert Mr. & Mrs. Robert A. Allesee ◊ Dr. Lourdes V. Andaya Mr. & Mrs. Eugene Applebaum◊ Dr. Augustin & Nancy◊ Arbulu Mr. David Assemany & Mr. Jeffery Zook Ms. Sharon Backstrom Stephanie Baer Fricker Mr. Roger Dye ◊ & Ms. Jeanne A. Bakale Sally & Donald Baker Mr. Mark G. Bartnik & Ms. Sandra J. Collins Stanley A. Beattie Mr. Melvyn Berent & Ms. Barbara Spreitzer-Berent Mr. & Mrs. Mandell L. Berman◊ Mrs. Betty Blair◊ Ms. Rosalee Bleecker Mr. Joseph Boner Gwen & Richard Bowlby Mr. Harry G. Bowles ◊ Mr. Charles Broh◊ Mr. Lawrence Brown Mrs. Ellen Brownfain William & Julia Bugera CM Carnes Dr. & Mrs.◊ Thomas E. Carson Cynthia Cassell, Ph. D. Eleanor A. Christie Ms. Mary F. Christner Mr. Gary Ciampa Robert & Lucinda Clement Drs. William ◊ & Janet Cohn Lois & Avern Cohn◊ Mrs. RoseAnn Comstock◊ Mr. Scott Cook, Jr. Mr. & Ms. Thomas Cook Dorothy M. Craig◊ Mr. & Mrs. John Cruikshank Julie & Peter Cummings Joanne Danto & Arnold Weingarden Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Ms. Leslie C. Devereaux◊ Mr. John Diebel◊ Mr. Stuart Dow ◊ Mr. & Mrs. Robert G. Eidson◊ Marianne T. Endicott Mrs. Rema Frankel◊ 48

Virginia B. Bertram ◊ Patricia Finnegan Sharf ◊ Ms. Dorothy Fisher◊ Mrs. Marjorie S. Fisher◊ Mr. & Mrs. Phillip Wm. Fisher Dorothy A. & Larry L. Fobes Samuel & Laura Fogleman Mr. Emory Ford, Jr.◊ Endowment Dr. Saul & Mrs. Helen Forman Herman & Sharon Frankel Jane French◊ Mark & Donna Frentrup Alan M. Gallatin Janet M. Garrett Dr. Byron P.◊ & Marilyn Georgeson Jim & Nancy Gietzen Mr. Joseph & Mrs. Lois Gilmore Victor & Gale Girolami◊ Ruth & Al Glancy◊ David & Paulette Groen Mr. Gerald Grum◊ Rosemary Gugino Mr. & Mrs. William Harriss Donna & Eugene ◊ Hartwig Gerhardt A. Hein◊ & Rebecca P. Hein Ms. Nancy B. Henk◊ Joseph L. Hickey◊ Mr.◊ & Mrs. Thomas N. Hitchman Ronald M. & Carol◊ Horwitz Andy Howell Carol Howell◊ Paul M. Huxley & Cynthia Pasky David & Sheri Jaffa Mr. and Mrs. Renato Jamett Mr. & Mrs. Thomas H. Jeffs II Mr. & Mrs. Richard J. Jessup Mr. George G. Johnson Lenard & Connie Johnston Mr. and Mrs. Richard Johnston Carol M. Jonson Drs. Anthony & Joyce Kales Faye & Austin◊ Kanter Norb ◊ & Carole Keller Dr. Mark & Mrs. Gail Kelley June K. Kendall◊ Dimitri◊ & Suzanne Kosacheff Douglas Koschik Mr. & Mrs. Arthur J. Krolikowski◊ Mary Clippert LaMont◊ Ms. Sandra Lapadot

DSO PERFORMANCE MAGAZINE

Mrs. Bonnie Larson Ann C. Lawson◊ Leslie Jean Lazzerin Allan S. Leonard Max Lepler & Rex L. Dotson Dr. Melvin A. Lester◊ Mr. & Mrs. Joseph Lile ◊ Harold Lundquist◊ & Elizabeth Brockhaus Lundquist Eric & Ginny Lundquist Roberta Maki Eileen◊ & Ralph Mandarino Judy Howe Masserang Mr. Glenn Maxwell Ms. Elizabeth Maysa ◊ Mary Joy McMachen, Ph.D. Judith Mich◊ Barbara Frankel◊ & Ron Michalak Rhoda A. Milgrim ◊ Mr. & Mrs. Eugene A. Miller John & Marcia Miller Jerald A. & Marilyn H. Mitchell Mr.◊ & Mrs. L. William Moll Ms. I. Surayyah R. Muwwakkil◊ Joy & Allan Nachman Geoffrey S. Nathan & Margaret E. Winters◊ Beverley Anne Pack David & Andrea Page ◊ Edna J. Shin Mr. Dale J. Pangonis Ms. Mary Webber Parker◊ Mr. David Patria & Ms. Barbara Underwood◊ Mrs. Sophie Pearlstein◊ Helen & Wesley Pelling◊ Dr. William F. Pickard◊ Mrs. Bernard E. Pincus Ms. Christina Pitts Mrs. Robert Plummer◊ Mr. & Mrs. P. T. Ponta Mrs. Mary Carol Prokop ◊ Ms. Linda Rankin & Mr. Daniel Graschuck Mr. & Mrs. Douglas J. Rasmussen Ms. Elizabeth Reiha ◊ Deborah J. Remer Mr. & Mrs. Lloyd E. Reuss◊ Barbara Gage Rex◊ Ms. Marianne Reye ◊ Lori-Ann Rickard Katherine D. Rines ◊

Deceased

Bernard & Eleanor Robertson Ms. Barbara Robins◊ Jack & Aviva Robinson◊ Mr. and Mrs. John Rohrbeck Mr. & Mrs. Gerald F. Ross◊ Mr. & Mrs. George Roumell◊ Daniel Rusecki Marjorie Shuman Saulson Ruth Saur Trust Mr. & Mrs. Donald and Janet Schenk Ms. Yvonne Schilla David W. Schmidt◊ Mr. & Mrs. Fred Secrest◊ Ms. Marla K. Shelton Ms. June Siebert Mr. & Mrs. Donald R. Simon◊ David & Sandra Smith Ms. Marilyn Snodgrass ◊ Mrs. Margot Sterren◊ Mr.◊ & Mrs. Walter Stuecken Mr.◊ & Mrs. Alexander C. Suczek David Szymborski & Marilyn Sicklesteel Alice ◊ & Paul Tomboulian Roger & Tina Valade Barbara C. Van Dusen Charles◊ & Sally Van Dusen Mr. & Mrs. Melvin VanderBrug Mr. & Mrs. George C. Vincent◊ Mr. Sanford Waxer◊ Christine & Keith C. Weber Mr. Herman Weinreich ◊ John◊ & Joanne Werner Mr.◊ & Mrs. Arthur Wilhelm Mr. Robert E. Wilkins ◊ Mrs. Michel Williams Ms. Nancy S. Williams◊ Mr. Robert S. Williams & Ms. Treva Womble Ms. Barbara Wojtas Elizabeth B. Work◊ Dr. Melissa J. Smiley & Dr. Patricia A. Wren Dr. & Mrs. Clyde Wu◊ Ms. Andrea L. Wulf Mrs. Judith G. Yaker Milton & Lois Zussman◊ And six who wish to remain anonymous

WINTER 2026

FORD PIQUETTE AVENUE PLANT Birthplace of the Model T

461 Piquette Avenue at Beaubien St. Detroit, MI 48202 5 minutes from Orchestra Hall

A NATIONAL HISTORIC LANDMARK

Visit Henry Ford’s original Model T factory built in 1904. Stroll through automotive history at your own pace, or take a guided tour led by museum historians. You’ll learn the amazing story of how Ford revolutionized manufacturing and put the world on wheels. Get up close to more than 65 rare automobiles and T trucks, see Ford’s office, find unique gifts, or host your special event in this landmark building.

PUBLIC HOURS Wednesday to Sunday 10 am – 4 pm Closed Holidays

Private tours and school ﬁeld trips are available Mondays and Tuesdays upon request.

Optional guided tours at 10 am, Noon & 2 pm ADMISSION Adults: $20 Seniors (65+) and Veterans: $18 Students (with ID)/Youth: $10 Children (4 & under): Free Group Tours (15+ guests): $15 ea.

FordPiquettePlant.org For private and group tour information, call (313) 872-8759

Y O U R E X P E R I E N C E AT T H E M A X

Our Home on Woodward Avenue The Max M. and Marjorie S. Fisher Music Center is one of Detroit’s most notable cultural campuses. The Max includes three main performance spaces: historic Orchestra Hall, the Peter D. and Julie F. Cummings Cube (The Cube), and Robert A. and Maggie Allesee Hall, plus our outdoor green space, Sosnick Courtyard. All are accessible from the centrally located William Davidson Atrium. The Jacob Bernard Pincus Music Education Center is home to the DSO’s Wu Family Academy and other music education offerings. The DSO is also proud to offer The Max as a performance and administrative space for several local partners.

THE MAX M. & MARJORIE S. FISHER MUSIC CENTER 3711 Woodward Avenue Detroit, MI 48201 Box Office: 313.576.5111 Group Sales: 313.576.5111 Administrative Offices: 313.576.5100 Facilities Rental Info: 313.576.5131 Visit the DSO online at dso.org For general inquiries, please email info@dso.org

Parking

Accessibility

The DSO Parking Deck is located at 81 Parsons Street. Self-parking in the garage costs $12 for most concerts (credit card payment only). Accessible parking is available on the first and second floors of the garage. Note that accessible parking spaces go quickly, so please arrive early! Valet parking is also available for all patrons (credit card payment only), and a golf cart-style DSO Courtesy Shuttle is available for all patrons who need assistance entering The Max.

Accessibility matters. Whether you need ramp access for your wheelchair or are looking for sensory-friendly concert options, we are thinking of you.

What Should I Wear? You do you! We don’t have a dress code, and you’ll see a variety of outfit styles. Business casual attire is common, but sneakers and jeans are just as welcome as suits and ties. Please reference page 51 for our bag policy.

Food and Drink Concessions are available for purchase on the first floor of the William Davidson Atrium at most concerts, and plated dinner options are available in the Paradise Lounge on the second floor. Bars are located on the first and third floors of the William Davidson Atrium and offer canned sodas (pop, if you prefer), beer, wine, and specialty cocktail mixes. Patrons are welcome to take drinks to their seats at all performances except Friday morning Coffee Concerts; food is not allowed in Orchestra Hall. Please note that outside food and beverages are prohibited.

DSO PERFORMANCE MAGAZINE

• The Max has elevators, barrier-free restrooms, and accessible seating on each level. Security staff are available at all entrances to help patrons requiring extra assistance in and out of vehicles. • Available at the Box Office during all events at The Max, William Davidson Neighborhood Concert Series venues, and chamber recitals, the DSO offers sensory toolkits to use free of charge, courtesy of the Mid-Michigan Autism Association. The kits contain items that can help calm or stimulate a person with a sensory processing difference, including noise-reducing headphones and fidget toys. The DSO also has a quiet room, available for patrons to use at every performance at The Max. • A golf cart-style DSO Courtesy Shuttle is available for all patrons who need assistance entering The Max. • Check out the Accessibility tab on dso.org/ yourexperience to learn more

WiFi Complimentary WiFi is available throughout The Max. Look for the DSOGuest network on your device. And be sure to tag your posts with #IAMDSO!

WINTER 2026

Shop DSO Merchandise

SEATING

Visit shopdso.org to purchase DSO and Civic Youth Ensembles merchandise anywhere, anytime!

The Herman and Sharon Frankel Donor Lounge Governing Members can enjoy complimentary beverages, appetizers, and desserts in the Donor Lounge, open 90 minutes prior to each concert through the end of intermission. For more information on becoming a Governing Member, contact friends@dso.org.

Gift Certificates Gift certificates are available in any denomination and may be used towards tickets to any DSO performance. Please contact the Box Office for more information.

Rent The Max Elegant and versatile, The Max is an ideal setting for a variety of events and performances: weddings, corporate gatherings, meetings, concerts, and more. Visit dso.org/rentals or call 313.576.5131 for more information.

POLICIES

Please note that all patrons (of any age) must have a ticket to attend concerts. If the music has already started, an usher will ask you to wait until a break before seating you. The same applies if you leave Orchestra Hall and re-enter. Most performances are broadcast (with sound) on a TV in the William Davidson Atrium.

TICKETS, EXCHANGES, AND CONCERT CANCELLATIONS n All sales are final and non-refundable. n Even though we’ll miss you, we understand that plans can change unexpectedly, so the DSO offers flexible exchange and ticket donation options. n Please contact the Box Office to exchange tickets and for all ticketing questions or concerns. n The DSO is a show-must-go-on orchestra. In the rare event a concert is cancelled, our website and social media feeds will announce the cancellation, and patrons will be notified of exchange options.

PHONES Your neighbors and the musicians appreciate your cooperation in turning your phone to silent and your brightness down while you’re keeping an eye on texts from the babysitter or looking up where a composer was born!

PHOTOGRAPHY & RECORDING

BAG POLICY For the safety of our patrons, musicians, staff, volunteers and vendors, we have implemented the following policies: • All bags entering DSO facilities are subject to inspection. • No backpacks, large/duffel bags, large purses, and suitcases are permitted. Purses, medical bags, diaper bags, and medical devices smaller than 14” x 14” x 6” are allowed. • There is no storage available for bags that do not adhere to the above standards. • No weapons or disruptive materials are allowed on DSO property.

We love a good selfie for social media (please share your experiences using @DetroitSymphony and #IAMDSO) but remember that having your device out can be distracting to musicians and audience members. Please be cautious and respectful if you wish to take photos or videos. Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

NOTE: By entering event premises, you consent to having your likeness featured in photography, audio, and video captured by the DSO, and release the DSO from any liability connected with these materials. Visit dso.org for more.

SMOKING Smoking and vaping are not allowed anywhere in The Max.

To report an emergency during a concert, immediately notify an usher or DSO staff member. If an usher or DSO staff member is not available, please contact DSO Security at 313.576.5199

dso.org

#IAMDSO

DSO PERFORMANCE MAGAZINE 51

The Fine Instrument Collection of the Detroit Symphony Orchestra The Larson Piano, a Steinway Model D Concert Grand Piano, handmade in the New York Steinway Factory. Currently played by guest pianists. Contributed to the DSO in 2023 by Bonnie Larson. David Tecchler cello, made in 1711 referred to as “The Bedetti” after a previous owner (Dominicus Montagna 1711). Currently played by Wei Yu, DSO Principal Cello. Contributed to the DSO in 2018 by Floy and Lee Barthel. J.B. Guadagnini viola, made in 1757 (Joannes Baptifta Guadagnini Pia centinus fecit Mediolani 1757). Currently played by Eric Nowlin, DSO Principal Viola. Contributed to the DSO in 2019 by donors who wish to remain anonymous.

Learn more at dso.org

DSO PERFORMANCE MAGAZINE

WINTER 2026

A D M I N I S T R AT I V E S TA F F EXECUTIVE OFFICE Erik Rönmark President and CEO James B. and Ann V. Nicholson Chair Jill Elder Chief Revenue Officer Martin Sher Chief Artistic & Operating Officer

Zach Suchanek Associate Director of Annual Giving

Debora Kang Director of Education

Alex Anderson Manager of Advancement Events

Clare Valenti Director of Engagement

Francesca DeLouis Manager of Governance & Donor Engagement

Kiersten Alcorn Manager of Program Accessibility

Andrew Doré Manager of Donor Hospitality

Chris DeLouis Manager of Student Development

MARKETING & AUDIENCE DEVELOPMENT Kelly Striewski Vice President of Marketing & Patron Experience Connor Mehren Director of Growth Marketing Juliana Nahas Director of Loyalty Marketing

Courtney Gonzales Institutional Giving Specialist

Erin Faryniarz Detroit Harmony Partnerships Coordinator

Molly Lipham Major Gift Officer

Bronwyn Hagerty Library & Programs Manager

Jay Holladay Brand Graphic Designer

President Emeritus

Elizabeth McConnell Major Gift Officer

Valerie Jackson Group Sales Representative

ARTISTIC OPERATIONS ARTISTIC PLANNING

Tarajee Moore Donor Communications Specialist

Claire Eileen Hall Coordinator of Engagement Operations

Joy Crawford Administrative Assistant Carol Davis Executive Assistant Anne Parsons ◊

Ian Kivler Senior Director of Artistic Planning Jessica Slais Creative Consultant for Popular & Special Programming Stephen Grady Jr. Program Manager, Popular & Special Programming Jacquelynn Wealer Artistic Coordinator

LIVE FROM ORCHESTRA HALL Marc Geelhoed Executive Producer of Live from Orchestra Hall

ORCHESTRA OPERATIONS Kathryn Ginsburg Vice President and General Manager Patrick Peterson Orchestra Manager Dennis Rottell Stage Manager Andrew Williams Director of Orchestra Personnel Laura Scales Production Manager Benjamin Tisherman Manager of Orchestra Personnel

Samantha Taylor Manager of Institutional Giving Amanda Tew Major Gift Officer

BUILDING OPERATIONS Ken Waddington Senior Director of Facilities & Engineering Demetris Fisher Manager of Environmental Services (EVS) William Guilbault EVS Technician Robert Hobson Chief Maintenance Technician

Declan O’Neal Marketing & Promotions Coordinator Kristin Pagels Quinlan Digital Advertising Manager

Josh George Staff Accountant

James Sabatella Group & Tourism Sales Manager

Tanisha Hester Accountant Sophie Lall Accounting Clerk Assistant Sandra Mazza Senior Accountant of Business Operations

Grace Venner Manager of Growth Marketing

COMMUNICATIONS Sarah Smarch Director of Content & Storytelling

Anthony Lindsey EVS Technician

HUMAN RESOURCES

LaToya Cross Communications & Advancement Content Specialist

Daniel Speights EVS Technician

Hannah Lozon Vice President of Talent & Culture

Hannah Engwall Elbialy Public Relations Manager

Angela Stough Director of Human Resources

Marisa Jacques Coordinator of Public Relations

Sharon Tse Director of Culture & Inclusion

PATRON SALES & SERVICE

Aaron Kirkwood EVS Lead

EVENT AND PATRON EXPERIENCE Christina Williams Senior Director of Event & Patron Experience Neva Kirksey Manager of Events & Rentals

Alex Kapordelis Vice President, Strategic Philanthropy

LEARNING AND ENGAGEMENT

Ali Huber Director of Donor Engagement

Karisa Antonio Vice President of Social Innovation & Learning

dso.org

FINANCE

Thomas Monks Loyalty Marketing Manager

Natalie Berger Manager of Multimedia Brand Content

ADVANCEMENT

Cat Lockman Director of Institutional Partnerships and Strategic Giving

Kendra Sachs Manager of Student Enrollment

LaHeidra Marshall Direct Marketing Manager

Claudia Scalzetti Staff Accountant

Alison Reed, CVA Manager of Volunteer & Patron Experience

Dane Lighthart Director of Individual Giving

Samuel Hsieh Coordinator of Learning Operations

Sharon Gardner Carr Tessitura Event Operations Manager

Damien Crutcher Director of Detroit Harmony

Severina Oliver HR Specialist

Michelle Marshall Director of Patron Sales & Service Chantel Woodard Manager of Patron Sales & Service

INFORMATION TECHNOLOGY

SAFETY & SECURITY

William Shell Senior Director of Information Technology Patrick Harris Systems Administrator Michelle Koning Web Manager Aaron Tockstein Database Administrator

George Krappmann Director of Safety & Security Johnnie Scott Safety & Security Manager Willie Coleman Security Officer Joyce Dorsey Security Officer Tony Morris Security Officer Eric Thomas Security Officer & Maintenance Technician

#IAMDSO ◊Deceased

DSO PERFORMANCE MAGAZINE 53

UPCOMING CONCERTS & EVENTS SYMPHONIE FANTASTIQUE! FEB 26–28 CLASSICAL ROOTS MAR 6 & 7

NORTHERN LIGHTS FESTIVAL APR 9–11 & 18–19

FEBRUARY

PVS CLASSICAL SERIES SYMPHONIE FANTASTIQUE! FEB 26—28 TINY TOTS SERIES JOE REILLY MUSIC FEB 28 FAMILY SERIES FREDERICK’S FABLES FEB 28

MARCH

PVS CLASSICAL SERIES CLASSICAL ROOTS MAR 6 & 7

PVS CLASSICAL SERIES MENDELSSOHN & SCHUMANN MAR 20—22 PARADISE JAZZ SERIES DIANNE REEVES MAR 20 PNC POPS SERIES RICK STEVES’ EUROPE: A SYMPHONIC JOURNEY MAR 27—28 DSO PRESENTS BEETHOVEN X BEYONCÉ MAR 29

PNC POPS SERIES THE SOUNDS OF LAUREL CANYON: ‘60S AND ‘70S MAR 13—15 54

DSO PERFORMANCE MAGAZINE

APRIL

PVS CLASSICAL SERIES NORTHERN LIGHTS FESTIVAL | SIBELIUS’S VIOLIN CONCERTO APR 9—11 PVS CLASSICAL SERIES NORTHERN LIGHTS FESTIVAL | EXCELSIOR! AND NIELSEN APR 18—19 WILLIAMD DAVIDSON NEIGHBORHOOD SERIES VAUGHN WILLIAMS’S “THE LARK ASCENDING” APR 23–26

TICKETS & INFO dso.org 313.576.5111

For complete program listings, including Live from Orchestra Hall webcast dates, visit dso.org WINTER 2026

Expert Philanthropic Support in Southeast Michigan cfsem.org/Experts Deep Community Roots With decades of experience and a profound understanding of southeast Michigan’s unique challenges and opportunities, we help you direct your giving where it will make the most significant difference.

Tailored Giving Solutions From donor-advised funds to legacy planning, we offer a variety of giving options designed to align with your personal and professional goals.

Randy Ross Vice President, Donor Services

Sustained Legacy Your generosity can create lasting change. We work with you to establish a philanthropic legacy that reflects your values and supports the causes you care about, well beyond your lifetime.

Lindsey Rossow-Rood Associate Vice President, Donor Services

Stay in touch: Learn more and subscribe to philanthropic news and view resources from our team of experts.

The Whitney, a 130-year-old Romanesque-style mansion, stands as one of the last great mansions to grace Woodward Avenue. Before your next show, or whenever the urge hits you, come visit. From the welcoming reception you’ll receive, the exquisite cuisine and refined cocktails you’ll enjoy, and the timeless ambience you’ll experience, you’ll feel like you’ve stepped back in time. Pre-Concert Dining, Post-Concert Desserts and Cocktails, Sunday Brunch or Afternoon Tea — it’s an experience you won’t forget.

Now Open for Lunch every Monday – Friday!

4421 Woodward Avenue, Detroit | 313 832 5700 | thewhitney.com