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Detroit Symphony Orchestra with Leonard Slatkin

  • Detroit Symphony Orchestra with Leonard Slatkin
  • Detroit Symphony Orchestra with Leonard Slatkin
  • Detroit Symphony Orchestra with Leonard Slatkin

  • Symphony No. 2 In e Minor, Op. 27: II. Allegro Molto by Leonard Slatkin & Detroit Symphony Orchestra

    Released 2009; ℗ 2009 Naxos From the album “Rachmaninov, S.: Symphony No. 2 – Vocalise” released December 21, 2009. Orchestra: Detroit Symphony Orchestra Conductor: Leonard Slatkin Composer: Rachmaninov (Length - 8:56)
  • Lullaby, Op. 16 No. 1 by Olga Kern

    Released 2006; ℗ 2004 harmonia mundi USA From the album “Rachmaninov: Transcriptions - Corelli Variations”. Composer: Rachmaninoff Olga Kern is a Cliburn Competition medalist. (Length - 4:22)
  • Three Latin American Sketches: III. Danza de Jalisco by New Philharmonia Orchestra.

    Released 1975; ℗ 1975 SONY BMG MUSIC ENTERTAINMENT From the album “Copland Conducts Copland: Our Town, The Red Pony Suite, El Salon Mexico” released in 1975. (Length - 4:02)
  • Leonard Slatkin

    Leonard Slatkin

    Music Director

  • Detroit Symphony Orchestra

    Detroit Symphony Orchestra

  • Olga Kern

    Olga Kern



“Detroit Symphony Orchestra "played with red-blooded expression and virtuosity!”

Detroit Free Press

"Slatkin is "America's Music Director!"
- Los Angeles Times
"Olga Kern: "An absolute whiz at the piano!"
New York Times


"[Slatkin] led the DSO through a full-length performance that displayed an orchestra on its toes, playing up for its new maestro, delivering this kaleidoscopic music with the polish of experience but with the animation of a first encounter." 
- The Detroit News

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Orchestra Circle/Tier 2 $100 $86
Tier 3 Rows A-J $75 $64.50
Tier 3 Rows K-J $50 $43

Free pre-show lecture in the Peacock Education Center starts at 7pm. Please be on time.

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Download PDF version of Program Notes

AARON • COPLAND Three Latin-American Sketches
It was in 1932 on a visit to Mexico that composer/conductor Carlos Chavez took Copland to the popular night club called El Salon Mexico, a visit which resulted in the very famous short orchestral work of the same name. This visit also created in Copland a great love for Latin-American music, a love which would later produce the 1942 Danzon Cubano and later still the Three Latin-American Sketches. In 1959, Gian-Carlo Menotti, director of the famous Festival of Two Worlds in Spoleto, Italy asked Copland to write a short orchestral work, and being in Acapulco at the time he responded with Paisaje Mexicano (Mexican Landscape). However, when it was finished he realized that it was too short for concert use and so he quickly wrote a second piece which he entitled Danza de Jalisco. A few years later conductor André Kostelanetz asked him to add a third piece, which became Estribillo, based on a popular song from Venezuela. The newly-titled Three Latin-American Sketches were first performed by Kostelanetz and the New York Philharmonic in June of 1972.

SERGEI RACHMANINOFF • Rhapsody on a Theme of Paganini
He is primarily remembered today as a composer of dark, rich, brooding music, but Rachmaninoff was also one of the greatest piano virtuosos who ever lived, and was in his day regarded as a first-rate conductor, particularly in the field of opera. He was one of the last great representatives of musical Romanticism, and early influences of Tchaikovsky, Rimsky-Korsakoff and other Russian composers were blended into what became a unique and personal idiom, featuring a striking gift for melody and harmony, an ingenious use of form, and a mastery of brilliant orchestration second to none. Although he lived during an era which began when nationalist Russian music was becoming world-famous, and which encompassed the prominence of composers such as Strauss, Schoenberg and Stravinsky, along with French impressionism and American jazz, Rachmaninoff remained untouched by contemporaneous musical trends and experimentation. His music was certainly conservative, particularly by standards of the first part of the 20th century, but in his later years his style grew more subtle and inventive, more lean in its texture, with more dissonance than before, and with more angular rhythms. This brilliant set of variations---which many deem to be his masterpiece---is a prime example, a fitting companion to his first three piano concertos which have become staples of the keyboard literature.

JOHANNES BRAHMS • Symphony No. 4 in E minor, Op. 98
Brahms’ Fourth Symphony is considered by many to be his masterpiece in the genre because it offers the ideal balance between form and expression. Here, structural play amplifies the emotional impact of his themes. Proclaimed by Robert Schumann to be “destined to give ideal expression to the times,” Brahms came of age during the hyper romanticism of Wagner and delayed his own entry into symphonic composition until the premiere of his first symphony in 1876, when he was 43-years-old. His symphonies were immediately beloved, but heard as conservative and classical—their deep inventiveness being appreciated only later. Brahms’ fourth and final symphony appeared just nine years after his first, and while Brahms began parts of a fifth, he destroyed his sketches, making the fourth his ultimate symphonic statement.

The tale is often told of how the influence of Beethoven and his symphonies overshadowed Brahms’ work in the genre. This Fourth Symphony, however, suggests that while Brahms may have followed Beethoven’s sonic footsteps to Vienna and into the realm of the symphony, he erected his own signature monuments, honoring the tradition built by Haydn, Mozart, Beethoven, Schubert and Schumann, while realizing his own orchestral voice.

  • Run Time: Approx. 105 min.
  • Intermissions: 1 
  • Parental Guide: Ages 8+

The Adrienne Arsht Center provides this information to help you make informed decisions when bringing young people to performances. These are recommendations – you are the expert in deciding what your children should see and know best how to help them enjoy their theatergoing experience. Every guest, regardless of age, must have a ticket; babies-in-arms are not admitted to any performance.

Monday, January 1


Leonard Slatkin, music director
Olga Kern, piano

Copland Three Latin American Sketches
Rachmaninoff Rhapsody on a Theme by Paganini
Brahms Symphony No. 4

The Detroit Symphony Orchestra was founded in 1887 and is the fourth-oldest orchestra in the United States, with a proud tradition of trailblazing performances, visionary maestros and collaborations with the world’s foremost musical artists.

Leonard Slatkin, hailed by the Los Angeles Times as “America’s Music Director,” became the Detroit Symphony Orchestra‘s 12th music director in 2008, bringing his own international reputation as one of the world’s extraordinary conductors. His musicianship and his passion for educating young people has brought the Detroit Symphony Orchestra into a new era of revitalized performances and community engagement. Under Maestro Slatkin, the orchestra’s innovative, unprecedented webcast series Live from Orchestra Hall since 2011 has brought concerts available for free to millions of music lovers on the Web.

Olga Kern, the striking young Russian Gold Medal winner of the 2001 Van Cliburn International Piano Competition — whose performance of the Rachmaninoff Piano Concerto No. 3 made her the first woman to achieve this distinction in over 30 years — made her New York City debut in Carnegie's Zankel Hall in May 2004. Eleven days later she returned to New York to play at Carnegie again, this time on the stage of the Isaac Stern Auditorium at the invitation of Carnegie Hall. Kern is a magnetic performer with one of the most prodigious piano techniques of any young pianist.

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Detroit Symphony Orchestra tour supported generously by the GM Foundation.

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