Detroit Symphony Orchestra

Detroit Symphony Orchestra

MAY 2 | Cobb Great Hall




Jader Bignamini

Robyn Bollinger


  • More Seasons

    (1921 – 1992)
    Arr. Leonid

  • The Four Seasons of Buenos Aires
    Otoño Porteño (Buenos Aires Autumn)
    Invierno Porteño (Buenos Aires Winter)
    Primavera Porteña (Buenos Aires Spring)
    Verano Porteño (Buenos Aires Summer)


    (1756 – 1791)

  • Symphony No. 41 in C Major, K. 551, “Jupiter”
    I. Allegro vivace
    II. Andante cantabile
    III. Allegretto
    IV. Molto allegro

Run time is approximately 90 minutes with an intermission.

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


Jader Bignamini, Music Director, Music Directorship endowed by the Kresge Foundation
Jeff Tyzik, Principal Pops Conductor
Terence Blanchard, Fred A. Erb Jazz Creative Director Chair
Na’Zir McFadden, Assistant Conductor, Phillip & Lauren Fisher Community Ambassador
Leonard Slatkin, Music Director Laureate
Neeme Järvi, Music Director Emeritus


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
Jennifer Wey Fang, Assistant Concertmaster
Marguerite Deslippe
Laurie Goldman
Rachel Harding Klaus
Eun Park Lee
Adrienne Rönmark, William and Story John Chair
Alexandros Sakarellos, Drs. Doris Tong and Teck Soo Chair
Laura Soto
Greg Staples
Jiamin Wang
Mingzhao Zhou


Adam Stepniewski
Acting Principal, The Devereaux Family Chair
Will Haapaniemi, David and Valerie McCammon Chairs
Hae Jeong Heidi Han, David and Valerie McCammon Chairs
Elizabeth Furuta
Sheryl Hwangbo Yu
Daniel Kim
Sujin Lim
Hong-Yi Mo
Marian Tanau
Alexander Volkov
Jing Zhang


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
Glenn Mellow
Hang Su
Hart Hollman
Han Zheng
Mike Chen
Harper Randolph, African American Orchestra Fellow


Wei Yu, Principal
Abraham Feder, Assistant Principal, Dorothy and Herbert Graebner Chair
Robert Bergman
Jeremy Crosmer, Victor and Gale Girolami Cello Chair
David LeDoux
Peter McCaffrey, Joanne Deanto and Arnold Weingarden Chair
Una O’Riordan, Mary Ann & Robert Gorlin Chair
Cole Randolph, Mary Lee Gwizdala Chair


Kevin Brown, Principal, Van Dusen Family Chair
Stephen Molina, Assistant Principal
Christopher Hamlen
Peter Hatch
Vincent Luciano
Brandon Mason



Principal, Winifred E. Polk Chair


Hannah Hammel Maser, Principal, Alan J. and Sue Kaufman and Family Chair
Amanda Blaikie, Morton and Brigitte Harris Chair
Sharon Sparrow (on sabbatical), Assistant Principal, Bernard and Eleanor Robertson Chair
Jeffery Zook


Jeffery Zook, Shari and Craig Morgan Chair


Alexander Kinmonth, Principal, Jack A. and Aviva Robinson Chair
Sarah Lewis, Assistant Principal
Monica Fosnaugh


Monica Fosnaugh


Ralph Skiano, Principal, Robert B. Semple Chair
Jack Walters, PVS Chemicals Inc./Jim and Ann Nicholson Chair
Shannon Orme




Shannon Orme, Barbara Frankel and Ronald Michalak Chair


Conrad Cornelison, Principal, Byron and Dorothy Gerson Chair
Cornelia Sommer
Marcus Schoon


Marcus Schoon


OPEN, Principal, David and Christine Provost Chair
Johanna Yarbrough
Scott Strong, Ric and Carola Huttenlocher Chair
David Everson, Assistant Principal
Mark Abbott


Hunter Eberly, Principal, Lee and Floy Barthel Chair
Austin Williams
William Lucas


Kenneth Thompkins, Principal, Shari and Craig Morgan Chair
David Binder
Adam Rainey


Adam Rainey


Dennis Nulty, Principal


Jeremy Epp, Principal, Richard and Mona Alonzo Chair
James Ritchie, Assistant Principal


Joseph Becker, Principal, Ruth Roby and Alfred R. Glancy III Chair
Andrés Pichardo-Rosenthal, Assistant Principal, William Cody Knicely Chair
James Ritchie
Luciano Valdes, African American Orchestra Fellow


Robert Stiles
Ethan Allen


Principal Flute Women’s Association for the DSO
Principal Cello James C. Gordon


Patrick Peterson, Director of Orchestra Personnel
Benjamin Tisherman, Manager of Orchestra Personnel
Nolan Cardenas, Auditions and Operations Coordinator


Dennis Rottell, Stage Manager
Zach Deater, Department Head
Issac Eide, Department Head
Kurt Henry, Department Head
Matthew Pons, Department Head
Jason Tschantre, Department Head

Some members may voluntarily revolve seating within their section on a regular basis.



Music Director

Jader 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.

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 Verdi Orchestra. Recent highlights include debuts with Opera de Paris conducting La Forza del Destino and with Deutsche Opera Berlin conducting Simon Boccanegra; appearances with the Pittsburgh and Toronto symphonies; debuts with the Houston, Dallas, and Minnesota symphonies; Osaka Philharmonic and Yomiuri Nippon Symphony Orchestra in Tokyo; with the Metropolitan Opera, Vienna State Opera, and Dutch National Opera (Madama Butterfly); Bayerische Staatsoper (La Traviata); I Puritani in Montpellier for the Festival of Radio France; Traviata in Tokyo directed by Sofia Coppola; return engagements with Oper Frankfurt (La forza del destino) and Santa Fe Opera (La bohème); Manon Lescaut at the Bolshoi; Traviata, Madama Butterfly, and Turandot at Arena of Verona; Il Trovatore and Aida at Rome's Teatro dell'Opera; Madama Butterfly, I Puritani, and Manon Lescaut at Teatro Massimo in Palermo; Simon Boccanegra and La Forza del Destino at the Verdi Festival in Parma; Ciro in Babilonia at Rossini Opera Festival and La bohème, Madama Butterfly, and Elisir d'amore at La Fenice in Venice.

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 his 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.



Daring, versatile, and charismatic, American violinist Robyn Bollinger is Concertmaster of the Detroit Symphony Orchestra. Equally at home as soloist, chamber musician, orchestral leader, and pedagogue, Bollinger is an artist at the forefront of classical music. She made her debut with The Philadelphia Orchestra at age 12, and regularly performs with orchestras across the United States. Past highlights include engagements with the Boston Pops and the symphony orchestras of Brevard, California, Charleston, Grand Tetons Music Festival, Helena, Illinois, Indian Hill, Knoxville, and Symphony in C. In 2019, Bollinger gave the world premiere of Artifacts, a four-movement violin concerto commissioned by the California Symphony by composer Katherine Balch and written specifically for Bollinger.

A sought-after collaborator and recitalist, Bollinger is a popular figure on chamber music stages around the world. She is a returning participant at the acclaimed Marlboro Music Festival and has been featured in numerous national tours with Musicians from Marlboro. She has toured in Midori's Music Sharing International Community Engagement Program "ICEP" in Japan, performing in recital in Osaka's Phoenix Hall, Tokyo's Oji Hall, and Tokyo National Arts Center. A prizewinner at the 2007 Fischoff National Chamber Music Competition, Bollinger has appeared at the chamber music festivals of Halcyon, Highlands-Cashiers, Lake Champlain, Monadnock, and Orcas Island. She has presented recitals at the Isabella Stewart Gardner Museum, National Sawdust, Emory University, Kalliroscope Gallery, Live from Indian Hill, the California Symphony, and more. She appears regularly with the Chameleon Arts Ensemble in Boston, the Boston Chamber Music Society, Mistral Music, Spruce Peak Chamber Music Society, and Glissando Music, among others. 

Bollinger has been recognized for both her innovation and entrepreneurship. She received a prestigious Fellowship from the Lenore Annenberg Arts Fellowship Fund for her multimedia performance project, "CIACCONA: The Bass of Time," later releasing a commercial CD and DVD of the project and presenting a national tour of the program. An examination of the history and legacy of the Bach's famed chaconne for solo violin, the program received critical acclaim from The New York TimesThe Boston Globe, and the San Francisco Chronicle, among others. Bollinger has also been recognized with an Entrepreneurial Musicianship Grant from New England Conservatory for her ground-breaking "Project Paganini," a performance project featuring the twenty-four Caprices of Paganini. She was recently awarded a historic Early-Career Musician Fellowship from Dumbarton Oaks Museum in Washington, DC, to research and prepare her next multimedia project, "Encore! Just One More," to be debuted in future seasons. 

A noted leader and ensemble player, Bollinger has been a frequent Guest Concertmaster with the Pittsburgh Symphony and has made Guest Concertmaster appearances with the Indianapolis Symphony and St. Bart's Music Festival Orchestra. She is a former member of A Far Cry, the Boston-based, democratically run chamber orchestra, and she has appeared on commercial recordings with both the Pittsburgh Symphony and A Far Cry, all of which were nominated for Grammy Awards.

Bollinger is a devoted educator, having presented masterclasses at the Cincinnati Conservatory, the Longy School of music, University of California Bakersfield, Temple University Preparatory School, and a unique masterclass examining classical music in the context of Aristotle at the University of Tennessee Chattanooga. She is a former faculty member at New England Conservatory Preparatory School in Boston and Brandeis University. She earned both her bachelor's and master's degrees with academic honors from the New England Conservatory of Music. Her major teachers included Soovin Kim, Miriam Fried, Paul Biss, Paul Kantor, and Lyle Davidson. Bollinger currently plays on a 1697 G. B. Rogeri violin on generous loan from a private collector and a 2013 Benoit Rolland bow commissioned specially for her.


The acclaimed Detroit Symphony Orchestra is known for trailblazing performances, collaborations with the world's foremost musical artists, and a deep connection to its city. Led by Music Director Jader Bignamini since 2020, the DSO makes its home at historic Orchestra Hall within the Max M. and Marjorie S. Fisher Music Center, offering a performance schedule that features the PVS Classical, PNC Pops, Paradise Jazz, and Young People's Family Concert series. In addition, the DSO presents the William Davidson Neighborhood Concert Series in metro area venues, as well as eclectic multi-genre performances in its mid-size venue The Cube, constructed and curated with support from Peter D. & Julie F. Cummings. A dedication to broadcast innovation began in 1922, when the DSO became the first orchestra in the world to present a live radio broadcast of a concert and continues today with the groundbreaking Live from Orchestra Hall series of free webcasts.

Since its first school concerts a century ago, and particularly since the founding of the Civic Youth Ensembles in 1970, the DSO has been a national leader in bringing the benefits of music education to students, teachers, and families in Detroit and surrounding communities. The DSO remains committed to expanding its participation in the growth and well-being of Detroit through programs like its Detroit Neighborhood Initiative—cultural events co-created with community partners and residents—and Detroit Harmony, a promise to provide an instrument and instruction to any student in the city who wants to learn. With unwavering support from the people of Detroit, the DSO actively pursues a mission to impact lives through the power of unforgettable musical experiences.


More Seasons
Composed 1999
B. 1962
Scored for 2 flutes (one doubling piccolo), 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, keyboard, and strings.

2023 Pulitzer Prize winner and Emmy and Grammy-nominated composer Michael Abels is best known for his genre-defying scores for the Jordan Peele films Get Out, Us, and Nope. The score for Us won a World Soundtrack Award, the Jerry Goldsmith Award, a Critics Choice nomination, and multiple critics' awards, and was named "Score of the Decade" by The Wrap. Both Us and Nope were shortlisted for the Oscar for Best Original Score. In 2022, Abels's music was honored by the Vancouver International Film Festival, the Middleburg Film Festival, and the Museum of the Moving Image. Nopewas awarded Best Score for a Studio Film by the Society of Composers & Lyricists. Other recent projects include the films Bad Education, Nightbooks, and the docu-series Allen v. Farrow. Current releases include Chevalier(Toronto International Film Festival) and Landscape with Invisible Hand(Sundance 2022), his second collaboration with director Cory Finley. Current projects include The Burial (Amazon) and a series for Disney Plus. 

Abels's creative output also includes many concert works, including the choral song cycle At War With Ourselves for the Kronos Quartet, the Grammy-nominatedIsolation Variationfor Hilary Hahn, and Omar, an opera co-composed with Grammy-winning recording artist Rhiannon Giddens, which was named by The New York Times as one of the 10 Best Classical Performances of 2022. Abels other concert works have been performed by the New York Philharmonic, the Chicago Symphony, the Los Angeles Master Chorale, and many others. Recent commissions include Emerge for the National Symphony Orchestra and Detroit Symphony Orchestra, and a guitar concerto, Borders, for Grammy-nominated artist Mak Grgić.

Abels is co-founder of the Composers Diversity Collective, an advocacy group to increase visibility of composers of color in film, gaming, and streaming media.

Abels describes More Seasons as his "own spin" on early Baroque music, subjecting the themes of Vivaldi's "Spring" and "Summer" "to maniacal, Minimalist abuses," and calling it "Vivaldi in a Mixmaster." 

The Four Seasons of Buenos Aires
Composed 1969 | Premiered 1969
B. March 11, 1921, Mar del Plata, Argentina
D. July 4, 1992, Buenos Aires, Argentina
Scored for solo violin and strings.

When music lovers hear the phrase "The Four Seasons," they immediately associate them with Antonio Vivaldi's memorable work. Vivaldi ingeniously uses a colorful, programmatic musical language to interweave natural topics into a tapestry of sound that infuses the listener with the sense that they are there, that they are actually experiencing each season in turn. Composers ever since have referenced his masterpiece; Astor Piazzolla joined these ranks when he composed his own Cuatro Estaciones Porteñas (The Four Seasons of Buenos Aires). 

Piazzolla was a marvelous composer with a distinctive musical sound that combined jazz and the Argentinian tango of his native land together with classical forms and 20th century harmonic ideas. In its final shape,The Four Seasons of Buenos Aires takes a tango-inspired work by Piazzolla and combines it with elements easily recognizable from Vivaldi's model. Not only does it share with Vivaldi the general concept of depicting four seasons in music, but it also presents a solo violin featured within an orchestral texture in highly virtuosic style. Yet initially, this work was written for a folk ensemble, not at all for virtuoso violin. The first to perform it was the composer's own folk/chamber ensemble, specialists in nuevo tango. 

In Vivaldi's The Four Seasons, each season includes three short movements. Piazzolla's variation gives each season only one movement. Each of Piazzolla's seasons, however, contains several sections that depict different moods within the single movement. The "Summer" movement, for example, contrasts the sassy, rhythmic tango with remnants of the Italian Baroque. An extended, melancholy cello solo dominates the first section of the "Fall" season. Slow, sultry, yet intensely rhythmic, "Winter" gives the solo violinist the perfect opportunity for cadenza-like displays of virtuosity. Even more quotes from Vivaldi, this time from his "Summer," are woven seamlessly into Piazzolla's intensely emotional "Winter" tango. In contrast, "Spring" in Buenos Aires is filled with excitement and a rhythmic electricity that propels the work to its brilliant conclusion. —Dr. Beth Fleming

Symphony No. 41 in C major, K. 551, "Jupiter"
Composed 1788 | Premiered circa 1791
B. January 27, 1756, Salzburg, Austria
D. December 5, 1791, Vienna, Austria
Scored for 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

When Mozart began writing symphonies at the age of eight, the form was in its infancy and was not at all the exalted musical expression it later became. He was not necessarily an innovator, but over the years his genius turned the once humble form into one of great subtlety, variety, and expressive power, and the symphony rose from an insignificant concert opener to become the focal point of orchestral programs.  

The title "Jupiter" was not attached to Mozart's C major symphony by the composer himself but was reportedly the idea of a concert organizer named Johann Peter Salomon, who added the title after Mozart's death. Salomon's sobriquet after the Roman god Jupiter Optimus Maximus ("Jupiter Best and Greatest") is considered particularly appropriate to the triumphant quality of the symphony's two outer movements and is a meaningful (if not entirely intentional) nod to Mozart's fame, which would begin to skyrocket shortly after his passing. 

The first movement of "Jupiter" contrasts strident militaristic themes with gentle, tender ones, developing elaborately over nearly 100 measures. Typical of Mozart, it is rich in the number and variety of thematic ideas. The slow movement is delicate, tinted with muted violins lacy melodies. It is at once poignant and deeply felt. The minuet and Trio are also notably gentle, both built around yearning chromatic melodies. Whether consciously or not, the first four melody notes of the Trio anticipate the shape of the four-note theme that dominates the finale. 

The finale is celebrated for Mozart's feat of superimposing fugal counterpoint upon a sonata movement. At various points in the movement, Mozart takes themes presented earlier and lets them chase each other as in a fugue. This display of contrapuntal wizardry has held audiences, composers, and musical scholars in awe for more than two centuries.

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