Applause Jan/Feb 2014

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Baltimore Symphony Orchestra The genius of the Bach family

The National Philharmonic Aspirations high for next decade

Washington Performing Arts Marsalis premieres Blues Symphony

Strathmore AMP powers live music scene

10 ARTS CENTER’S LEADERS REFLECT ON THE MUSIC CENTER’S FIRST DECADE AND EXCITEDLY LOOK TO THE NEXT ONE

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* The source for data contained in this publication is Quality Compass® 2014 Commercial data and is used with the permission of the Committee for Quality Assurance (NCQA). Quality Compass 2014 includes certain CAHPS data. Any data display, analysis, interpretation, or conclusion based on these data is solely that of the authors, and NCQA specifically disclaims responsibility for any such display, analysis, interpretation, or conclusion. Quality Compass is a registered trademark of NCQA. CAHPS® is a registered trademark of the Agency for Healthcare Research and Quality (AHRQ). Official plan names per Quality Compass: (1) Kaiser Foundation Health Plan of the Mid-Atlantic States, Inc., (2) Aetna Health Inc. (Pennsylvania)–Maryland, (3) Aetna Life Insurance Company (MD/DC), (4) Aetna Life Insurance Company (Virginia), (5) HealthKeepers, Inc., (6) Anthem Health Plans of Virginia, Inc. dba Anthem Blue Cross Blue Shield of Virginia, (7) CareFirst BlueChoice, (8) Group Hospitalization and Medical Services, Inc. (GHMSI), (9) Connecticut General Life Insurance Company–Maryland, (10) Connecticut General Life Insurance Company–Virginia/District of Columbia, (11) Johns Hopkins US Family Health Plan, (12) Johns Hopkins Employer Health Programs, (13) Optima Health Plan, (14) Optima Health Insurance Company, (15) UnitedHealthcare of the Mid-Atlantic, Inc., (16) UnitedHealthcare Insurance Company (Maryland), (17) UnitedHealthcare Insurance Company (Virginia), (18) UnitedHealthcare Insurance Company (Washington, DC), (19) Optimum Choice, Inc., (20) MD–Individual Practice Association, Inc.

WOMEN’S HEALTH Congratulating Our Doctors For Making Us The National Leader in Screening Our Mothers, Sisters and Daughters for Breast Cancer

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APPLAUSE at Strathmore • JANUARY/FEBRUARY/MARCH 2015 1

2 APPLAUSE at Strathmore • JANUARY/FEBRUARY/MARCH 2015

Jan. 322 / BSO: Beethoven’s NinthJan. 928 / BSO Off the Cuff: The Rite of SpringJan. 1029 / The National Philharmonic: Haydn’s Surprise SymphonyJan. 1132 / BSO: The Rite of SpringJan. 1636 / Washington Performing Arts: Gil ShahamJan. 1737 / BSO: Bruckner Symphony No. 8Jan. 1840 / Strathmore: Step Afrika! Step XplosionJan. 2241 / BSO SuperPops: An Evening With Jason AlexanderJan. 2342 / Washington Performing Arts: Budapest Festival OrchestraJan. 24, 2544 / The National Philharmonic: Bach’s Brandenburgs Jan. 3047 / Strathmore: Ladysmith Black Mambazo Jan. 3148 / BSO: Mahler’s Third SymphonyFeb. 451 / Washington Performing Arts: Blues Symphony Feb. 553 / BSO: Garrick Ohlsson Plays Rachmaninoff Feb. 656 / Strathmore: Savion Glover’s STePzFeb. 757 / The National Philharmonic: The Art of the MazurkaFeb. 861 / The National Philharmonic: Beethoven’s NinthFeb. 1266 / BSO: All-Bach

Feb. 1366 / BSO Off the Cuff: The Bach FamilyFeb. 1470 / Strathmore: John Pizzarelli and Jane MonheitFeb. 1871 / Strathmore: Irvin Mayfield and the New Orleans Jazz OrchestraFeb. 1972 / BSO SuperPops: Patti Austin Sings Ella and the DukeFeb. 20, 2173 / Strathmore: Harry Connick Jr.Feb. 2274 / Strathmore: Imago Theatre—FrogzFeb. 2576 / Strathmore: Tango Buenos Aires—Songs of Eva PerónFeb. 2878 / BSO: The Firebird SuiteMarch 1 81 / Strathmore: Annapolis Symphony Orchestra with Simone DinnersteinMarch 482 / Strathmore: Paddy Moloney & The ChieftainsMarch 783 / BSO: Shakespeare in Love & Simon TrpčeskiMarch 1286 / BSO: Mozart’s Great MassMarch 1590 / Washington Performing Arts: András SchiffMarch 1791 / Strathmore: Carlos Nuñez with the Culkin DancersMarch 2292 / BSO: Haydn & RavelMarch 2695 / BSO SuperPops: Singin’ in the RainMarch 2796 / Strathmore: Audra McDonaldMarch 28, 2997 / The National Philharmonic: Rachmaninoff’s Piano Concerto No. 3

preludeAPPLAUSE AT STRATHMORE JANUARY/FEBRUARY/MARCH 2015

8 16

features8 Expanding the UniverseWith its venue AMP, Strathmore goes off site to pump up the live music scene on Rockville Pike

10 Back to Back BachThe BSO celebrates Baroque’s first family over two nights

12 Winter Warm-UpSpring means a new crop of classes and performances at Levine Music

13 Cellist Stays Uber BusyBo Li’s children’s schedules keep him on the go

14 A Decade of Artistic AspirationsThe National Philharmonic looks ahead to the next decade of music making

15 The Music Center Gets the BluesWynton Marsalis premieres his revised, complete Blues Symphony

16 Legacy of Music and Art EnduresThe Strathmore campus was lively way before the Music Center

18 Transcendent at 10Reflections on what Strathmore means to the community

departments4 Musings of Strathmore CEO Eliot Pfanstiehl4 A Note from BSO Music Director Marin Alsop6 Calendar: April, May and June performances

musician rosters24 Baltimore Symphony Orchestra31 National Philharmonic Orchestra and Chorale

program notes

ON THE COVERThe Music Center at Strathmore. Photo by Jim Morris.


Sept. 1820 / BSO: Beethoven’s Violin Concerto

Sept. 2024 / Strathmore: Wanda Sykes

Sept. 2725 / BSO: Rachmaninoff’s Symphony No. 1

Oct. 829 / Strathmore: Belgrade Philharmonic Orchestra

Oct. 932 / BSO SuperPops: Broadway Standing Ovations

Oct. 1034 / Strathmore: California Guitar Trio & Montreal Guitar Trio

Oct. 15, 1636 / Strathmore: Frankie Valli & The Four Seasons

Oct. 1738 / Strathmore: David Sedaris

Oct. 18, 1940 / The National Philharmonic: Dvořák’s New World Symphony

Oct. 2444 / BSO: Off the Cuff: Ein Heldenleben Oct. 2645 / BSO: Ein Heldenleben— A Hero’s Life

Oct. 3049 / BSO: Brahms’ Symphony No. 2

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5301 Tuckerman Lane, North Bethesda

Applauseat Strathmore

Publisher CEOEliot Pfanstiehl

Music Center at Strathmore Founding Partners

StrathmoreBaltimore Symphony Orchestra

Resident Artistic PartnersThe National Philharmonic

Washington Performing ArtsLevine Music

Maryland Classic Youth OrchestrasCityDance Ensemble

Affiliates interPLAY

Published by

Editor and PublisherSteve Hull

Associate PublisherSusan Hull

Senior EditorCindy Murphy-Tofig

Design DirectorMaire McArdle

Art DirectorKelly Martin / kmartindesign.com

Advertising Account Executives

Paula Duggan, Penny Skarupa, LuAnne Spurrell

7768 Woodmont Ave., Suite 204Bethesda, MD 20814

301-718-7787Fax: 301-718-1875

Volume 11, Number 3 Applause is published five times a year by

the Music Center at Strathmore and Kohanza Media Ventures, LLC, publisher of Bethesda Magazine. Copyright 2010 Kohanza Media

Ventures. All rights reserved. Reproduction in whole or part without permission is prohibited.

Come, get closer.As Strathmore steps into its second decade of the Music and Ed-

ucation Center, we invite you to come closer to the energy, the art-istry, the engagement offered here. Come inside the work. Engage with the creativity that thrives here. We invite you inside the Strath-more experience for a more vivid encounter with ideas and perfor-mances than ever before. From a bold new voice in our messages, to expanding our spaces, to re-imagining our stages, to enhancing our patron services, Strathmore is cele-brating past success with future promises that will redefine the audience experience.

In March, we’ll have our first live performances at our new 250-seat venue called AMP, powered by Strathmore, at Pike & Rose. Thanks to a unique partnership with Federal Re-alty, Rockville Pike has its first live performance venue for patrons in search of a late night, intimate music scene, with great food provided by the Neighborhood Restaurant Group.

The Mansion at Strathmore is currently being upgraded, both physically and program-matically, to feature programs that make you think, feel, and engage in ways today’s audi-ences want. The concert hall is getting an escalator as an alternative to the Great Stair-way, and the Bou Terrace will soon be permanently covered to provide additional dining areas. The Prelude Café is being updated with better signage, food displays, line manage-ment, and thematic cuisine. And Strathmore’s new website will offer connection, infor-mation, and convenience to every customer.

At the Music Center’s opening on Feb. 5, 2005, Maryland Poet Laureate Michael S. Glaser blessed Strathmore with a poem, “The Luminous Dream,” writing, in part:

“Bless these walls as they embracea hundred thousand dreams, the imaginedand still unimagined magic of this place and consecrate the joy such blessings bring.”A decade later it all came true.

Eliot PhanstiehlCEO| Strathmore

STRATHMORE partners● Strathmore: 301-581-5100, www.strathmore.org● Baltimore Symphony Orchestra: 301-581-5215, www.bsomusic.org ● The National Philharmonic: 301-493-9283, www.nationalphilharmonic.org● Washington Performing Arts: 202-785-9727, www.wpas.org● CityDance Ensemble: 301-581-5204, www.citydance.net● Maryland Classic Youth Orchestras: 301-581-5208, www.mcyo.org● Levine Music: 301-897-5100, www.levinemusic.org● interPLAY: 301-229-0829, www.interplayband.org

Musings from Strathmore

Dear Friends,Welcome to the second decade of The Music Center at Strath-

more! On Feb. 5, 2005, this world-class concert hall opened with a per-formance by the Baltimore Symphony Orchestra. Two days later, The Washington Post’s Tim Page concluded, “This may turn out to be the best place to hear symphonic music that the Washington area has ever known.” Ten years later, we now fully appreciate the significance of the hall and our Mont-gomery County/D.C. metro area audiences.

Performing weekly at Strathmore has transformed the Baltimore Symphony Orchestra. Musically, its brilliant acoustics have opened our ears in new and rewarding ways. But, it is your enthusiastic responses that mean the most to me and the musicians of the BSO.

BSO violinist Greg Mulligan said it perfectly when he said, “I love playing concerts for our wonderful audiences at Strathmore and I really appreciate your dedication to our con-certs, and your love of great music!”

Thank you for 10 fabulous years filled with music.

Marin AlsopMusic Director | Baltimore Symphony Orchestra

A note from the BSO



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Celebrate Strathmore's first decade and get excited about the next 10 years during the annual Spring Gala. The evening will include dinner, dancing, and a performance by a special guest.

➲ FRI., APRIL 17, 8 P.M. STRATHMORE PRESENTS Rosanne Cash

Rosanne Cash’s 2014 album The River and the Thread draws from country, blues, gospel, and rock.

➲ SAT., APRIL 18, 8 P.M. BALTIMORE SYMPHONY ORCHESTRA Pictures at an Exhibition

Peter Oundjian, conductor Katherine Needleman, oboe

Haydn: Symphony No. 96, “Miracle”Vaughan Williams: Oboe ConcertoMussorgsky (arr. Ravel): Pictures at an Exhibition

Few works can match the orchestral color, sonic impact or sheer excitement of Mussorgsky’s Pictures at an Exhibition. Experience it along with Vaughan Wil-liams’ Oboe Concerto, performed by BSO Principal Oboe Katherine Needleman.

➲ WED., APRIL 22, 8 P.M. WASHINGTON PERFORMING ARTS Evgeny Kissin, piano

Beethoven: Sonata No. 21 in C Major, Op. 53 “Waldstein”Prokofiev: Sonata No. 4 in C minor, Op. 29 Chopin: Selected mazurkas Chopin: Three Nocturnes

APRIL➲ FRI., APRIL 10, 8:15 P.M. BALTIMORE SYMPHONY ORCHESTRA Off the Cuff—Tchaikovsky: Mad But for Music

Marin Alsop, conductor Didi Balle, playwright-in-residence, writer and director

Tchaikovsky: Symphony No. 5

Marin Alsop and playwright-in-resi-dence Didi Balle join forces once again to guide audiences through Tchai-kovsky’s Fifth Symphony, a heady mix of drama, vigor and passion.

➲ SAT., APRIL 11, 8 P.M. THE NATIONAL PHILHARMONICBach’s St. John Passion

Victoria Gau, conductor Rosa Lamoreaux, soprano Magdalena Wór, mezzo-soprano Rufus Müller, tenor (Evangelist) Matthew Smith, tenor Andrew McLaughlin, baritone (Jesus) Christòpheren Nomura, baritone The National Philharmonic Chorale

Bach: St. John Passion

Bach’s St. John Passion remains one of the most deeply affecting and riveting masterworks in this genre. A free pre-concert lecture will begin at 6:45 p.m.

➲ SUN., APRIL 12, 3 P.M. BALTIMORE SYMPHONY ORCHESTRATchaikovsky’s Fifth Symphony

Marin Alsop, conductor Adam Walker, flute

Shostakovich: Festive OverturePuts: Flute Concerto (East Coast premiere)Tchaikovsky: Symphony No. 5

➲ WED., APRIL 15, 8 P.M. STRATHMORE PRESENTSEngelbert Humperdinck

Engelbert Humperdinck’s versatility has kept his career thriving for more than five decades. On his latest album, Engelbert Calling, he performs duets with Elton John, Willie Nelson, and Dionne Warwick.

➲ THURS., APRIL 16, 8 P.M. STRATHMORE PRESENTS Strathmore 10th Anniversary Gala

Liszt: Hungarian Rhapsody No. 15, S. 244/15 “Rákóczi March”

SUN., APRIL 26, 4 P.M. STRATHMORE PRESENTSUkulele Orchestra of Great Britain

With more than 10 million YouTube views, this inspired group of uke virtuosos has won fans around the world with its quirky, compelling, all-ukulele versions of classics from Wagner’s “Ride of the Valkyries” to Lady Gaga’s “Born this Way.”

MAY ➲ FRI., MAY 1, 8 P.M. STRATHMORE PRESENTSRain—A Tribute to The Beatles

This multimedia event transcends the conventional concert format to re-create the art and artistry of John, Paul, George, and Ringo in a show that looks, sounds, and feels just like the real thing.

➲ SAT., MAY 2, 8 P.M. SUN., MAY 3, 3 P.M. THE NATIONAL PHILHARMONICMozart’s Jupiter Symphony

Piotr Gajewski, conductor Christopher Taylor, pianist

Mozart: Overture to The Marriage of FigaroPiano Concerto No. 21 (“Elvira Madigan”)Symphony No. 41, “Jupiter”

The overture to The Marriage of Figaro instantly sets an emotional tone with its distinctive whirlwind humor. A free pre-concert lecture will begin at 6:45 p.m. May 2 and 1:45 p.m. May 3.

➲ THURS., MAY 7, 8 P.M. BALTIMORE SYMPHONY ORCHESTRATchaikovsky’s First Piano Concerto

Marin Alsop, conductor Lukáš Vondráček, piano

calendar

EVGENY KISSIN


ROSANNE CASH

[beyond the stage]

Strathmore

Step in schoolsAt Strathmore, audiences get closer to the arts. Sometimes that means taking the art out of the Mansion or concert hall and into the community—which is precisely what the arts center is doing with Step Afrika! In the week leading up to the Jan. 18 performance, Step Afrika! dancers will host clinics with local step teams and perform at the East County Community Recreation Center, and Briggs Chaney Middle, Greencastle Elementary, A. Mario Loiederman Mid-dle, and Langley Park-McCormick Elementary schools. The partnership will share the art of step dance with nearly 1,000 young people, and is just one example of Strathmore’s year-round outreach to schools and members of the Montgomery County community.

Rimsky-Korsakov: Russian Easter Overture Tchaikovsky: Piano Concerto No. 1Prokofiev: Symphony No. 7

➲ SAT., MAY 9, 8 P.M. STRATHMORE PRESENTSAn Evening with Shirley MacLaine

Shirley MacLaine, the bestselling author and actress who won an Academy Award for Best Actress in 1984 for Terms of Endearment, embarks on a multi-media concert experience about her life in film.

➲ SAT., MAY 16, 8 P.M. BALTIMORE SYMPHONY ORCHESTRADebussy and Don Juan

Mario Venzago, conductor Oliver Schnyder, piano

Schubert: Symphony No. 8 in B minor, “Unfinished”Haydn: Harpsichord Concerto in D MajorR. Strauss: Don JuanDebussy: La Mer

➲ SAT., MAY 23, 8 P.M. BALTIMORE SYMPHONY ORCHESTRAStrauss’ Four Last Songs

Markus Stenz, conductor Heidi Melton, soprano

Weber: Der Freischütz OvertureR. Strauss: Four Last SongsSchumann: Symphony No. 2

Newly appointed Principal Guest Con-ductor Markus Stenz brings panache and musical depth to signature Ger-man repertoire.

➲ THURS., MAY 28, 8 P.M. BALTIMORE SYMPHONY ORCHESTRA BSO SUPERPOPSA Tribute to John Williams

Jack Everly, conductor

Join us for a celebration of this iconic contemporary composer and hear your favorite themes from blockbusters such as Schindler’s List, Star Wars, the Harry Potter films and Empire of the Sun.

➲ SAT., MAY 30, 8 P.M. THE NATIONAL PHILHARMONIC Fauré’s Requiem

Piotr Gajewski, conductor Julie Keim, soprano Andrew McLaughlin, baritone National Philharmonic Chorale

Brahms: Serenade No. 2Fauré: Requiem

A subtle and poignant work, the popu-lar Fauré Requiem features colorful melodic lines and rich French harmo-nies. A free pre-concert lecture will begin at 6:45 p.m.

JUNE

➲ SAT., JUNE 6, 8 P.M. BALTIMORE SYMPHONY ORCHESTRABeethoven’s Fifth

Christoph König, conductor Alban Gerhardt, cello

Sibelius: Symphony No. 7Shostakovich: Cello Concerto No. 1Beethoven: Symphony No. 5

Power, simplicity, beauty. Christoph König conducts the most famous sym-phony of all—Beethoven’s Fifth.

➲ THURS., JUNE 11, 8 P.M. BALTIMORE SYMPHONY ORCHESTRACandide

Marin Alsop, conductor Kevin Newbury, director Baltimore Choral Arts Society Cast in order of appearance: Joshua Hopkins Keith Jameson Marie Lenormand Lauren Snouffer Mark Diamond

Bernstein: Candide

Celebrate the end of the BSO’s season with Leonard Bernstein’s brilliant co-medic operetta.

➲ THURS., JUNE 25, 2 AND 8 P.M. STRATHMORE PRESENTS Mormon Tabernacle Choir

This fabled ensemble shares a 150-year history that includes perfor-mances for 10 U.S. presidents, and in concert halls around the world.

[April/May/June]

SHIRLEY MACLAINE

JACK EVERLY



Strathmore’s footprint grows with AMP, its new live music and dining destination

By Chris Slattery

Expanding the Universe

AMP, POWERED BY STRATHMORE—THE ARTS ORGANIZATION’S NEW LIVE MUSIC AND DINING DESTINATION—IS SCHEDULED TO OPEN IN MARCH.

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The traditional 10th anniver-sary gift is tin, but Strath-more CEO Eliot Pfanstiehl has something more lyri-

cal in mind to mark a decade since the opening of the Music Center. Music, and lots more of it.

“Our 10th anniversary is a reminder that we can’t get too comfortable,” he says. “We are focused on what’s com-ing—what the next 10 years will bring.

“We really want to look through the front windshield, not through the rearview mirror.”

What Pfanstiehl sees in the wind-shield is AMP, powered by Strathmore. The 250-seat music venue is scheduled to open in March just up the road from Strathmore’s North Bethesda campus. Still, there’s nothing wrong with the view behind him. The William Rawn Associates-designed Music Cen-ter is a magnificent edifice that’s renowned for its superb acoustics. The Mansion at Strathmore, the mansion-turned-arts center that was dedicated to Montgomery County and to the arts in 1979, continues to serve as a creative hub where exhibits are hung, classes are held, and every variety of music is performed for smaller yet no-less-devoted audiences.

But the nature of Strath-more is that it never stays still for long, and Pfanstiehl is focused on continuing the organization’s reach in the community.

“I honestly believe the next 10 years will be about expanding the Strath-more solar system,” he explains. “This is the new world, the expanding uni-verse, the big bang! The last 10 years? That was the little bang!”

It was a big enough bang to boost the local profiles of several arts organi-zations—founding partner Baltimore Symphony Orchestra, and resident artis-tic partners The National Philharmon-ic, Washington Performing Arts, Levine Music, CityDance and Maryland Clas-sic Youth Orchestras. Pfanstiehl credits

these organizations— along with Strath-more’s own educational, outreach, and artistic programs and the affiliated orga-nizations that keep them humming—for feeding off each other’s energy and cre-ating an evolving entity.

“Whatever you were when you came here,” he says, “you won’t stay that way alone, because this is an or-ganic and connected community; the combinations are endless.

“It’s a synergy we can’t predict, but we can see that it’s at critical mass.”

Evan Goldman could certainly see that.The Federal Realty Investment

Trust vice president for develop-ment had some strong ideas of his own about synergy, even before he sat down with Pfanstiehl to talk about Pike & Rose, a new residential and commercial development along

Rockville Pike, near the White Flint Metro stop.

“We had a space,” he recalls. “We had an opportunity. The key to it all was how to create a community ame-nity, to be a place in the community residents are really proud of.”

Goldman says that from the project’s inception “we‘ve always had this vision of becoming the entertainment center of the entire county. In Phase I alone we’ve spent $7 million on art—sculp-tures, spaces, landscapes—because we’re going to own this property forever, and that’s what creates community.”

And because Goldman’s always been a big supporter of Strathmore,

he and Pfanstiehl started planning. They considered and rejected a num-ber of possibilities before hitting on a high-ceilinged, 3,000-square-foot indoor performance space complete with a green room and 1,100 square feet in which patrons can dine, drink, and dish before and after events. Neighborhood Restaurant Group will be in charge of the food; Strathmore will do the programming—encom-passing jazz, folk, zydeco, R&B, Roots rock, and contemporary music, com-edy, and way beyond.

“It’s nice to have a trusted partner who’s so good,” says Goldman. “You know it’s going to be amazing.”

Montgomery County Executive Isiah Leggett, creator of the county’s Nighttime Community Task Force, sees the venue as just what Montgomery

County needs.“This is a suburban area,” says

Leggett, a well-known supporter of the arts along with his wife, Cath-erine, “and while it’s a great place to be for the older population, we need to recapture that 22- to 40-year-old demographic by adding mobility, becoming cooler and hip-per, and providing a vibrant range of options for everybody.”

“We need to look at our land-use policy, our transportation and recreation options, our nightlife,”

he adds. “AMP is in a location that’s accessible; there’s a great nightlife scene that attracts young people. For me the immeasurable impact of the arts is that it educates, it lifts people up, and it re-flects our culture. That’s what Strath-more does, and AMP will do it, too.”

Of that Pfanstiehl has no doubt.“We’re always urging people to ‘get

closer,’” he says. “To get a sense of that joy, that tremendous emotional power that drives performance. AMP is us going out into the community, taking artistic risks.

“I don’t know anybody else that does this,” he adds. “There just isn’t another arts center that’s quite like us.”


ARTIST CONCEPT OF AMP STAGED FOR A PRIVATE EVENT

Baltimore Symphony Orchestra presentsAll-BachThursday, Feb. 12, 8 P.M.

Off the Cuff: The Bach Family Friday, Feb. 13, 8:15 P.M.

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Winter is the perfect time to enjoy the lively and uplifting delights of the Baroque period’s first

family: father Johann Sebastian Bach, and sons Johann Christian and Carl Philipp Emanuel. The Baltimore Sym-phony Orchestra’s All-Bach pro-gram lights up the stage at the Music Center at Strathmore on Feb. 12, and will feature guest con-ductor Nicholas McGegan, a con-noisseur of the Bach family’s com-positions and the Baroque period.

The following evening, Mc-Gegan will lead a discussion on the Bach family in the BSO’s popular series Off the Cuff, which will feature excerpts of the concert’s works and McGegan’s encyclopedic knowledge of the family’s music and social history.

McGegan is known as “one of the finest Baroque conductors of his generation” (The London Inde-pendent) and “an expert in 18th century style” (The New Yorker). During his time at Cambridge University in the early 1970s, McGegan, who began as a flutist

and keyboard player, delved into Ba-roque music with his friend, the late conductor and keyboard player Chris-topher Hogwood. “We made many re-cordings of Baroque music using origi-nal instruments from the 18th century. It was a rebirth of period instrument

performance,” McGegan says. Jon-athan Carney, BSO concertmaster, says, “Nick is a musician’s musician. He brings a great deal of lightness and humor to his work, including the light-hearted aspects of composers.”

The concert will open with J.S. Bach’s Orchestral Suite No. 4 in D Major, a majestic composi-tion that is an audience favorite. “When Bach wrote for orches-tra,” says McGegan, “he looked to the French and Italian com-posers. He was particularly drawn to Vivaldi’s spritz, panache and brilliance.” From Paris, which, at the time, had the largest court in Europe and was considered to be the most sophisticated place on Earth, “Bach drew on the spirit of dance and the majestic feeling of being at the Court of Versailles.”

The celebration of J.S. Bach con-tinues with his Concerto for Two Violins in D minor, also known as the “Bach Double.” One of Bach’s late Baroque works, the concerto is a masterpiece of counterpoint. Solo-ists have equal time to share the limelight and the music draws

BACK TO BACK

BACH

NICHOLAS MCGEGAN


out the subtle and expressive relationship between the two violins. “It is arguably the best work J.S. Bach wrote, although there are some keyboard musicians who might disagree with me,” Carney says.

Joining Carney as soloist is vio-linist Madeline Adkins, BSO associ-ate concertmaster and champion of Baroque music, including many per-formances of early music on peri-od instruments. Commenting on the complex dynamics of the concerto, Carney says, “Two violins are the hardest solo combination. To come up with a style and approach that matches in-cluding bow strokes, tempo and intonation takes thought, and knowing each other well. Although I have played this piece with Madeline before, we will be approaching it all with fresh ears.”

Opening the second half of the program is C.P.E. Bach’s Symphony in E Flat Major. Emanuel Bach was the fifth child and second surviving son of J.S. Bach and his first wife, Maria Barbara Bach.

Known as the leading transition-

al figure between the Baroque style of his father and the classical and roman-tic styles that followed, C.P.E. Bach is known for influencing both Mozart’s and Haydn’s keyboard style.

“C.P.E. Bach was both a composer and a brilliant keyboard player,” says McGegan. “He was an avant garde and high-spirited composer. Breaking away from the more formal style of his fa-ther, his music, including this sympho-ny, is surprising and wild.”

The evening’s finale features Jo-hann Christian Bach’s Sinfonia Con-certante for Flute, Oboe, Violin and Cello in C Major. Sometimes referred to as the “London” Bach due to the time he spent living in the British cap-ital, J.C. Bach is the 11th child and

youngest son of J.S. Bach (from Bach’s second marriage). “He did everything his father didn’t,” says McGegan. “He traveled, had no children, became a Catholic and wrote opera. His music is lovely—graceful and elegant. He was highly sophisticated and everyone adored him, including his good friend, English portrait and landscape painter Thomas Gainsborough.”

Considered a composer of the Classi-cal Era, his fluid compositions are known

to have influenced the concerto style of Mozart. “The symphonia concertante form,” explains Mc-Gegan, “is a hybrid of the sym-phony and concerto. The one on the program features an ele-gant conversation between the four soloists with an orchestra. Through the violin, J.C. Bach brings Italian sunshine back into the Bach family.”

That sunshine will no doubt warm audience members during the February performance. “With McGegan at the helm of the BSO, one of the best or-chestras in the world,” says Carney, “our All-Bach program will delight Bach afi-cionados and newcomers alike.”

A two-night recognition of Baroque’s first family spans the works and legacies of J.S., J.C. and C.P.E. Bach By Pamela Toutant

“Bach drew on the spirit of dance and the majestic

feeling of being at the Court of Versailles.”

— Nicholas McGegan

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As a founding partner of The Music Center at Strath-more, Levine Music has both celebrated and con-

tributed to the success of Strathmore over the past decade. And now, as Strathmore approaches the 10th an-niversary of its education complex, Levine applauds its longstanding part-ner while also preparing to mark its own 40-year milestone in 2016.

Starting with a name change last year, Levine Music (formerly Levine School of Music) has renewed its commitment to excellence through a refreshed empha-sis on three pillars of the organization—community, education and performance.

“As we reflect on the thousands of students that Levine has impacted over the past four decades, we are eager-ly planning for the future,” says Peter

Jablow, president and CEO of Levine’s four citywide campuses. “We are realizing our role as the region’s leader in creating community around music participation and presentation…and we look forward to growing—alongside our collaborators at Strathmore—by continuing to expand our services to the community.”

Levine Music has put unprecedent-ed fervor into its annual public per-formance series, Levine Presents. The 2014-2015 series, called Pushing the Boundaries, has attracted record-break-ing crowds and continues into 2015 with two master classes—internation-ally acclaimed pianist Louis Lortie vis-its on Feb. 28, and musical pioneer and cellist Matt Haimovitz on March 28. Both events will feature talented Levine students, presented in partner-ship with the Baltimore Symphony Or-

chestra and Strathmore, respectively.“Levine Master Classes are free and

open to the public, giving emerging musicians access to world-famous art-ists in an intimate and interactive set-ting,” says Karen Shepherd, Levine’s Maryland campus director and associ-ate director of events and partnerships.

Shepherd has been leading Levine’s Strathmore program since its founding 10 years ago. “It’s been inspirational to be a part of the incredible artistry that takes place on this campus and to foster the skills of classical, rock, jazz and musi-cal theater students of all ages and abili-ties as the music education partner. We look forward to many more years of mu-sic-making at Strathmore.”

Levine Presents also brings the bril-liance of legendary saxophonist and composer John Coltrane to Strath-more on March 28 as distinguished and charismatic Levine faculty art-ists—Josh Walker (electric guitar), Lyle Link (saxophone), Karine Cha-pelaine (bass) and Andrew Hare (drums)—interpret some of the most captivating, challenging and electrify-ing jazz music of the last century.

Levine’s connection to the commu-nity is also evident at the ever-popular “jam” sessions. On Feb. 21, the Levine “Blues Jam” welcomes musicians of all ages and experience levels to come to-gether and improvise on well-recog-nized blues standards, facilitated by Levine jazz faculty.

Spring lessons and classes begin on Feb. 2. For more information about Levine Music, visit www.levinemusic.org.

Spring season of classes and performances marks Levine’s 10th year at Strathmore By Kristin Guiter

Winter Warm-Up

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One of the many memorable events Levine has hosted during its 10 years at Strathmore includes Broadway duo Pasek and Paul in a master class and concert with Levine’s Act Two students.


Some days, BSO Acting As-sistant Principal Cello Bo Li feels like a taxi driver. That’s because, like many a

harried parent still in the thick of child-rearing, Bo and his wife Mary shuttle their two children, Mia, 10, and Ryan, 8, to a host of activities each week.

“I don’t have any hobbies right now,” says the amiable dad. “My kids are my hobby.”

Mia’s activities, for example, in-clude piano and cello lessons, or-chestra rehearsal with the Howard County Gifted and Talented (GT) Orchestra, swim practices and meets, and Chinese class. Ryan’s current passion is soccer, which requires two practices and one game per week. Plus, he’s also in the GT Orchestra, takes piano lessons, studies violin with the BSO’s own Wonju Kim, and joins his sister for Chinese class.

“When the kids were younger, my wife and I could manage the vari-ous dropoffs and pickups between the two of us,” says Li. “But now we need to collaborate with other par-ents to do carpools. My wife is a lot better at keeping all of this or-ganized than me. She sends me a memo practically every day of when to get whom and where.”

The obvious question: Can the kids drop some of these activities to simplify life a bit? The answer right now is “not really.”

“We ask what they want to drop, but they enjoy all of it so much,” says

Li. “It’s tough to ask them to cut back when they are doing what they love, it doesn’t interfere with their school-work, and all of their friends also take part in these activities.” But there’s re-ward in it for the parents, too.

“Over the years, I feel my fulfill-

ment has come less from what I am doing and more from my kids,” he says. “When they win a game, their achievement gives me more joy than anything I do on my own. It’s all worth it. If they practice and succeed, it gives me pleasure for them.”

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Kids’ busy schedules can mean lots of driving, but also lots of joy for Bo Li By Laura Farmer

Cellist Stays Uber Busy

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T he Music Center at Strath-more is celebrating its 10th anniversary, but its first inkling came in 1984, when

the creation of the state-of-the-art concert hall was only a dream.

“The property was purchased to build a performing arts center, but there was no plan yet as to how it would come about,” says Nation-al Philharmonic Music Director and Conductor Piotr Gajewski. He told Strathmore CEO Eliot Pfanstiehl, then head of the Strathmore Hall Founda-tion, “I’ll be out there building an or-chestra until you get it done.”

Gajewski built his Montgomery Chamber Orchestra first into the Na-tional Chamber Orchestra and, then, eventually, teamed with the Master-works Chorus to form the Nation-al Philharmonic Orchestra and Cho-rale. When the Music Center officially opened in 2005, the Philharmonic took up residence there and gained a new stability that allowed it “to fulfill its greater aspirations,” Gajewski says.

Those aspirations were and remain both artistic and educational.

Artistically, in the decade since the National Philharmonic has been at Strathmore, it has shown its mastery of some of the classical repertoire’s most demanding and best-loved works, such as Mozart’s Requiem, Dvořák’s Sympho-ny No. 9 in E minor (“From the New World”) and Handel’s Messiah. At its gala opening concert in 2005, the Na-tional Philharmonic Orchestra and

Chorale presented Beethoven’s Sym-phony No. 9, and it will reprise that magnificent work for its anniversary celebration on Feb. 8, 2015.

The Philharmonic also has host-ed some of the world’s finest solo-ists at Strathmore, including pianist Leon Fleisher, mezzo-soprano Denyce Graves and violinist Sarah Chang. In the 2013-2014 season, it proudly pre-miered The Lost Childhood concert opera of Janice Hamer.

“It’s been a great ride,” Gajewski says, and that ride is far from over.

“We plan to continue what we cur-rently do and expand our offerings,” says Philharmonic President Kenneth Old-ham Jr. In addition to audience favorites, he promises more American music, more premieres, and even some pops concerts.

The Philharmonic’s educational ambitions have been equal in scale to

its artistic ones. In addition to its All Kids, All Free, All the Time program, it has nurtured summer string and cho-ral institutes, brought music into the schools and offered master classes and a concerto competition. It hopes to ex-pand all these programs as well as one of its most exciting outreach efforts: its children’s concerts.

In the fall of 2004, before the Music Center officially opened, the Philhar-monic performed before all 10,000 of Montgomery County Public Schools’ second-graders for what would become an annual series of concerts.

The Philharmonic is also looking at other ways to expand its reach in the community. Given how many people the Philharmonic already has touched in so many ways since its move to Strathmore, that’s a “greater aspira-tion” that is within reach.


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The National Philharmonic, Strathmore’s orchestra in residence, will stay ambitious with more premieres and expanded offerings in the next 10 years By M.J. McAteer

A Decade of Artistic Aspirations


Wynton Marsal is f i rst s t a r t e d p e r f o r m i n g movements from his ambitious Blues Sym-

phony in 2009. Since then, there have been other performances of the work by the Grammy- and Pulitzer Prize-winning jazz musician and composer.

On Feb. 4, he premieres a newly revised, hourlong Blues Symphony at the Music Center at Strathmore in a Washington Performing Arts concert.

Mixing blues and other American idioms with classical orchestrations is still unusual 90 years after Duke Elling-ton and George Gershwin did it. And because musicians benefit from spend-ing more time with a piece, Washing-ton Performing Arts got the Shenando-ah Conservatory Symphony Orchestra from Winchester, Va., involved.

“One of the challenges with profes-sional orchestras is that they just don’t have a lot of rehearsal time,” says Sa-mantha Pollack, Washington Performing Arts’ director of programming. She says Marsalis wanted an orchestra to spend more time with the piece, “because it’s not a standard classical piece. Because of the jazz idioms, because of all the other American melodic idioms he has in it, it’s very much a different type of piece.”

The arts organization had done some work with the Shenandoah Con-

servatory and approached the conser-vatory about a semester-long project involving a residency, culminating in the February performance.

For musicians largely schooled in orchestral music, there’s a lot to learn, Marsalis says.

“I think it will be instructional for students just in the amount of music that you learn just playing it. Not even the music I wrote, but where it comes from; the amount of vernacular music

you have to know to play it, because it comes from a lot of vernacular sources.

“In our country in general, we don’t teach our vernacular,” he says. “It doesn’t matter what kind of musicians. It could be jazz musicians, who don’t know early American folk music, Celtic traditions, fiddling, the tradition of spirituals, the gospel traditions, the earliest root forms of it, fife and drum music that existed in a certain time, a way of playing.”

Still, there is a commonality among all the approaches, Marsalis says.

“They all were in this country; they all played syncopated rhythms and march rhythms. It seems to come from the Anglo-Celtic fid-dling traditions, showed up in slave music, which showed up in the banjo music, which showed up in affirma-tion music, Irish folk songs and Eng-lish tragic ballads; it showed up in the Negro spiritual … and on and on and on,” he says. “All of our music is con-nected like we are connected.”

Marsalis says he enjoys playing at Strathmore and working with Wash-ington Performing Arts. “My entire ca-reer I’ve had the honor of being pre-sented by them. I’m one of the biggest advocates of theirs since the 1980s. So any opportunity to be associated with them or any connection with them I always jump at that,” he says. PH

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Wynton Marsalis’ revised Blues Symphony—which premieres at Strathmore—articulates many styles of American music By Roger Catlin

The Music Center Gets the Blues

Washington Performing Arts presents Blues SymphonyWednesday, Feb. 4, 8 P.M.

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WYNTON MARSALIS


The Mansion at Strathmore was built in 1899 by Capt. James Frederick Oyster and his wife. The Oyster used the mansion as their summer home until 1908.

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Legacy of Music and Art Endures


It’s doubtful there ever was silence here.

As far back as 12,000 years ago, if archeological re-cords are to be believed, no-madic or semi-nomadic peo-

ple made their way to this spot where we now celebrate the arts. Even if its only music came from birds and beasts, even if its art was just the deep hues of flowers and leaves and the spar-kle and play of spider webs and dew-drops, there’s a sense of artistic destiny to Strathmore that seems to pervade every corner and burst outward in a flourish of creative euphoria.

Years later, the indigenous Piscataway left the land we now know as the Strath-more campus open to the colonists who would come to carve a continent into America. They grew tobacco and rolled it in barrels down Rockville Pike south to Georgetown. George Washington marched to war here; Francis Scott Key eluded the British; Josiah Henson nur-

tured a dream of freedom; Andrew Jack-son dined; and George Atzerodt fled after collaborating in the assassination of Abraham Lincoln.

Even before Captain James Fred-erick Oyster and his wife sought this breezy hilltop north of D.C. to build their summer home, the land host-ed action, drama, and buzz. And now, 35 years after that house was renamed Strathmore and developed as Mont-gomery County’s first center for the arts; nearly 32 years after The Mansion at Strathmore opened its doors to the public as an arts center; 10 years after the opening of the 1,976-seat con-cert hall and education center known as the Music Center at Strathmore, the paradigm gets ready to shift once again, moving briskly out into a brave new world.

The next iteration of Strathmore, this entity that encompasses not just the physical space, the buildings and grounds, but the founding partners—

BSO at Strathmore, National Phil-harmonic, Levine Music, CityDance, Maryland Classic Youth Orchestras, InterPLAY and Washington Perform-ing Arts—leads it off the leafy hilltop and into an increasingly urban land-scape; out into a community that will be served in different ways. First stop: AMP, powered by Strathmore, a new music and events venue. It’s an “am-plification” of the cultural, musi-cal, and educational programming for which Strathmore is known, program-ming that will be redirected and infused into North Bethesda and Montgomery County and beyond. It’s a burst of color and culture being incorporated into a new kind of neighborhood, an experi-ment in how we’ll live in the future.

“How do we run this?” is the hypo-thetical question CEO Eliot Pfanstiehl likes to pose—and then answer. “I don’t know…let’s figure it out.”

One thing there will not be, and that is silence.

Decades before the Music Center and Mansion, Strathmore’s rolling campus was the backdrop for the trilling sounds and lush hues of nature, and the buzzing excitement of summertime guests By Chris Slattery

Since its renovations in the 1900s, The Mansion at Strathmore has hosted countless fine arts exhibits and music performances, plus weddings and other special occasions.

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“In Europe, an ‘evergreen’ is a symbol of greatness in the arts—works that remain forev-er new, such as Beethoven’s Ninth S y m p h o n y. T h e M u s i c C e n -

ter at Strathmore also is our ‘evergreen, ’ as the hall envelops perform-ers and audience mem-bers wi th i t s g race fu l

a r ch i t ec tu re , amaz ing acoustics, and a shimmering

‘European’ presence during each performance.

“It has been a great honor to per-form here as a partner organization for the past 10 years enriching our community, and we look forward to a bright future ahead, where new generations will continue to enjoy how our music uniquely comes alive at Strathmore.” —STAN ENGEBRETSON, ARTISTIC DIRECTOR, NATIONAL PHILHARMONIC CHORALE

“By being on the Strathmore Board of Directors through the design and opening of the Music Center, I had the privilege of working with Eliot Pfanstiehl, Doug Duncan, Chuck Lyons, Mario Loi-ederman, William Rawn, Michael Mael, and Phil English. I remain grateful for the support of the enlightened leadership of my employer at the time, Lockheed Martin.

“A fondly remembered amusement is the time a Montgomery County coun-cil member grilled me: ‘Mr. Phil-lips, I would like to know what you knew and when you knew it!’ My most meaningful memo-ry is of the opening concert, see-ing Yo-Yo Ma and cellists from the Maryland Classic Youth Orches-tras on the stage of Montgomery County’s great artistic-social achievement. I real-ized then how important the Music Cen-ter could be in bringing together people from different backgrounds.”—DAVID PHILLIPS, ASSOCIATE DEAN FOR THE ARTS, MONTGOMERY COLLEGE

“My first memory of Strathmore dates from 2005, when then guest conductor Marin Alsop led the BSO in Brahms’ Third Symphony. The combination of a world-class orches-tra performing at its acoustically bril-liant second home initiated what has become a continuing love affair.

“Shortly thereafter I as-sumed a staff position with the BSO at Strathmore, en-abling me to attend almost all of our concerts here. I continue to thrill at how wonderfully our orchestra pres-ents in this fabulous hall.

“Indeed, Strathmore has become a second home for me—both profes-sionally and personally—and I warm-ly reflect on the friendships I have made with the entire roster of persons who make our concerts here come off so seamlessly: docents, stagehands,

ushers, ticket office and security personnel, food and beverage servers, security guards, ad-ministrators, and, of course, our wonderful and highly tal-

ented musicians. “Here’s to all of us and to many

more decades of great memories!” —DICK SPERO, COMMUNITY LIAISON, BSO AT STRATHMORE

“Strathmore is a jewel of a hall with wonderful acoustics, and it’s a strong presence in a community where


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Since its inaugural concert in February 2005, the Music Center at Strathmore has captivated thousands of schoolchildren in the Concert Hall that appears to shimmer with gold; hosted vocalists, orchestras, dancers, stand-up comedians, and many other performers who marvel at the hall’s superb acoustics;

and entertained and educated the community through free outdoor con-certs, workshops and other outreach opportunities. To help it mark a decade of nurturing artists and encouraging artistic expression, folks from around Strathmore’s arts family and the community reminisce and recall what the Music Center means to them.

Transcendent at 10

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Is Strathmore a performance venue, an educational resource, or an artists’ haven? All of the above, plus a whole lot more Compiled by Cindy Murphy-Tofig

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we have arts-loving audiences. “The additional presence

of Levine Music and Ci-tyDance underscores the shared mission of Strath-more and Washington Performing Arts—to en-gage current audiences

and to help excite and cul-tivate new ones in meaningful ways.”— JENNY BILFIELD, PRESIDENT & CEO, WASHINGTON PERFORMING ARTS

“The concert I remember most was my first subscription as music director of the Baltimore Symphony Or-

chestra in 2007. We performed Mahler’s Fifth Symphony and

the brightness, immediacy, and beauty of the hall were enormously impressive.

“There have been many landmark events for me at

Strathmore, especially our first Rusty Musicians event where we had hundreds of non-profes-sionals turn out to play with the orchestra. This was the start of our hugely successful initiative, and a great way to kick it off!

“Having two beautiful yet different halls has been a joy for the BSO. We love our audiences at Strathmore and the hall brings out different dimensions and characteristics in the orchestra. The ex-perience has been more than rewarding: it’s been an inspiration.” —MARIN ALSOP, MUSIC DIRECTOR, BALTIMORE SYMPHONY ORCHESTRA

“In early 2004, I approached then-Montgomery County Pub-lic Schools Superintendent Jerry Weast and Strathmore CEO Eliot Pfanstiehl about the possibility of the National Philharmonic performing con-certs for all MCPS school children. We then selected second-graders to be our first concertgoers, and in December 2004, even before the official concert hall open-

ing, more than 10,000 children became our first mass audience

at the new Music Center. “Now, 10 years later, the National Phil-

harmonic has played to more than 150,000 children, in some cases changing lives or just simply nurturing their musical curiosity. Playing for children remains the most im-portant and fun music making we do.” —PIOTR GAJEWSKI, MUSIC DIRECTOR AND CONDUCTOR, THE NATIONAL PHILHARMONIC

“We jumped at the chance well over 10 years ago to be part of Strathmore, a beautiful, acoustical-ly superb, accessible concert hall our artists would love in an area of Mary-land without a Washington Perform-ing Arts venue. In fact, we have many artists who only want to come to Strathmore.

“It is such a joy every time I first see an artist walk on stage and the look of amazement that crosses their face. And they’re even more in love with it after they perform!”

—SAMANTHA POLLACK, DIRECTOR OF PROGRAMMING,

WASHINGTON PERFORMING ARTS

“As the Music Center at Strathmore celebrates its 10th anniversary, it gives us, as architects, a chance to step back and think about the ideas and in-tentions for the building.

“We sought to celebrate a demo-cratic spirit for Strathmore. We want-ed a concert hall that felt accessible and open to a broad public. Honored to have Strathmore as a second home to the Baltimore Symphony Orchestra, we wanted the hall to feel welcoming to all forms of music.

“The curving building form delib-erately references the rolling hills of

the site. Similarly we sought to cre-ate a warm and embracing inte-

rior which surrounds the stage and connects audience and performer in as seamless a way

as possible—everyone coming togeth-er for an evening of music.” —WILLIAM RAWN, WILLIAM RAWN ASSOCIATES, ARCHITECTS, INC., BOSTON

To me, Strathmore is about the people!From our staff, board, and over 400 vol-unteers, to our partners, art-ists, and teachers, to our customers and children.

Truly, it is our peo-ple that fuel our cre-ative energy and take us beyond our walls to the far reaches of our community and our dynamic destiny!—CAROL TRAWICK, FOUNDER, THE JIM AND CAROL TRAWICK FOUNDATION CHAIR, MARYLAND STATE ARTS COUNCIL

We built it and you came. The Music Center at Strathmore—190,000 square feet of superb concert hall, education classrooms, rehearsal space, and office suites for Strathmore and five resident organizations—opened on Feb. 5, 2005. Suddenly, Strathmore was on the map of world-class artists. With more than 120 shows the first year (now 160!) and a quarter million visitors each year, Strathmore isn’t finished yet.

Strathmore is about to become the hub of a new urban center called The Pike District. It gives passion and substance to our entire community as a platform for international voices and cultures. It inspires a new economic driver and developments like Pike and Rose, which decades from now will dwarf what we see today. But most of all, it educates and entertains the next generation who will grow up thinking this magnificent place must have al-ways been here...wasn’t it?

No it wasn’t, but now and forever more, it will be. Happy 10th Birthday, Strathmore! —ELIOT PFANSTIEHL CEO, STRATHMORE


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Nicholas McGegan, conductorAs he embarks on his fourth de-cade on the po-dium, Nicholas McGegan, hailed as “one of the fin-est Baroque con-ductors of his gen-eration” by the

London Independent, is increasingly rec-ognized for his probing and revelatory explorations of music of all periods. He has been music director of Philharmo-nia Baroque Orchestra for 27 years, and was artistic director of the International Handel Festival Göttingen for 20 years (1991–2011). Beginning in the 2013-2014 season he became principal guest conductor of the Pasadena Symphony,

and in 2014 became artist-in-association with Australia’s Adelaide Symphony.

Visit McGegan on the web at www.nicholasmcgegan.com.

Katie Van Kooten, soprano American so-prano Katie Van Kooten’s oper-atic and con-cert appearanc-es continue to thrill audienc-es and earn her praise for using

her “powerful, gleaming soprano” to bring vibrancy and life to all of her performances.

Notable operatic performances in-clude Magda La Rondine at the Met-ropolitan Opera and the Royal Opera House Covent Garden, Elisabetta in Maria Stuarda, Mimi in La Bohème and Ellen Orford in Peter Grimes at Hous-ton Grand Opera, Antonia in Les con-tes d’Hoffmann, Vitelia in La Clemenza di Tito and Elettra in Idomeneo at Oper Frankfurt, the Marschelin in Der Rosen-kavalier at Minnesota Opera, and re-turns to Covent Garden for Antonia, Pamina, Mimi and Marguerite.

Concert highlights include appear-ances with San Francisco Symphony led by Michael Tilson Thomas, Phila-delphia Chamber Orchestra, Charlotte Symphony and Louisville Symphony.

The current season will see her debut with the Atlanta Opera as well as appearances with the , Tucson and Elgin symphony orchestras.

Mary Phillips, mezzo-sopranoInternationally acclaimed mez-zo-soprano Mary Phillips is particu-larly high in de-mand in the rep-ertoire of Wagner, Verdi, Beethoven and Mahler. She

has performed most of the mezzo roles in the Ring Cycle, returning to the Metropolitan Opera as Schwertleite in Die Walküre and Jezibaba in Dvořák’s


SATURDAY, JANUARY 3, 2015, 8 P.M.

●Baltimore Symphony Orchestra

Marin Alsop, Music Director Presents

Beethoven’s NinthNicholas McGegan, conductor

Katie Van Kooten, sopranoMary Phillips, mezzo-soprano

Thomas Cooley, tenorAndrew Foster-Williams, bass-baritone

Baltimore Choral Arts Society Tom Hall, Director

Overture to King Stephen, Op. 117 Ludwig van Beethoven (1770-1827)

The Storm, H.XXIVa:8 Franz Joseph Haydn Baltimore Choral Arts Society (1732-1809)

Opferlied, Op. 121b Ludwig van Beethoven Mary Phillips Baltimore Choral Arts Society

INTERMISSION

Symphony No. 9 in D minor, Ludwig van Beethoven Op. 125, “Choral” Allegro ma non troppo, un poco maestoso Molto vivace Adagio molto e cantabile Presto - Allegro assai - Allegro assai vivace Katie Van Kooten Mary Phillips Thomas Cooley Andrew Foster-Williams Baltimore Choral Arts Society

The concert will end at approximately 10 p.m.

The appearance of tonight’s soloists is made possible through the generosity of the Alvin and Fanny Blaustein Thalheimer Guest Artist Fund.

The Music Center at Strathmore Marriott Concert Stage

Saturday, January 3, 2015, 8 p.m.

Rusalka. Phillips has also made an ac-claimed portrayal of Brangäne in Tristan und Isolde for the Dallas Opera. She has been lauded as Azucena in Il Trovatore, Princess Eboli in Don Carlo and Amneris in Aida.

Concert performances include Beethoven’s Symphony No. 9 with the Boston Symphony Orchestra, Phila-delphia Orchestra, the National Sym-phony, the Hong Kong Philharmonic and the Handel & Haydn Society.

Thomas Cooley, tenorThomas Cooley has established a reputation for possessing a lyric tenor voice of great flexibility, dynamic range and precision. He has appeared

with such conductors as Carlo Rizzi, David Robertson, Donald Runnicles, Eji Oue, Franz Welser-Möst, Helmuth Rilling, Manfred Honneck, Michael Tilson-Thomas, Nicholas McGegan, Osmo Vänskä, Robert Spano and Wolfgang Swallisch.

His repertoire on the concert stage includes Beethoven’s Missa Solem-nis, Berlioz’s Requiem, Nuits d’été and L’enfance du Christ, Haydn’s Seasons, Stravinsky’s Les Noces, Handel’s Messi-ah, Mendelssohn’s Lobgesang, Kodály’s Psalmus Hungaricus, Britten’s War Re-quiem, Bach’s St. John Passion, Mozart’s Requiem, Bernstein’s Candide and Pen-derecki’s Credo. He is frequently in-vited to perform in Beethoven’s Sym-phony No. 9, a role that has taken him to Singapore, Japan, Germany, Italy, Spain, and throughout the U.S.

In the Baroque repertoire he is a well-known interpreter of the works of Bach and Handel.

Andrew Foster-Williams, bass-baritone Andrew Foster-Williams studied at and is now a fellow of the Royal Academy of Music in London.

Opera plans include Balstrode in Brit-ten’s Peter Grimes for Theater an der

Wien and Donner and Gunther Wag-ner’s Ring Cycle for Opera North in 2016.

Concert plans include Men-delssohn’s Eli-jah in Boston and

with the Adelaide Symphony Orches-tra; Bach’s St. John Passion (Christus) with the Concertgebouw Orchestra; Gounod’s Cinq Mars with Münchner Rundfunkorchester; Beethoven’s Missa Solemnis in Lisbon and Méphistophélès in Berlioz’s La Damnation de Faust in Moscow.

Foster-Williams has sung con-certs with the symphony orchestras in Cleveland, Philadelphia, New York, San Francisco and London, and the philharmonic orchestras of the Netherlands, Monte Carlo and Hong Kong. He also has per-formed with DSO Berlin, Mozarte-um Orchestra, Salzburg, Orchestra of the Age of the Enlightenment, L’Orchestre des Champs Élysée and Les Talens Lyriques as well as ap-pearances at Washington National Opera, Opéra National de Bordeaux, Opera National de Lyon, Nether-lands Opera, Opera North, WNO and Glyndebourne Festival.

Baltimore Choral Arts SocietyThe Baltimore Choral Arts Soci-ety, now in its 49th season, is one of Maryland’s premier cultural in-stitutions. The Symphonic Cho-rus, Full Chorus, Orchestra and Chamber Chorus perform through-out the mid-Atlantic region, as well as in Washington, D.C., New York and Europe.

For the past 18 years, WMAR Television has featured the Bal-timore Choral Arts Society in an hour-long special, “Christmas with Choral Arts,” which won an Emmy Award in 2006. Music Direc-tor Tom Hall and the chorus were also featured in a PBS documen-tary called “Jews and Christians:

A Journey of Faith,” broadcast na-tionwide and on National Pub-lic Radio in 2001. On local radio, Hall is the host of “Choral Arts Classics,” a monthly program on WYPR, and he is the culture edi-tor on WYPR’s “Maryland Morning With Sheilah Kast.”

The society has appeared with the National Symphony Orchestra, and makes regular appearances with the Baltimore Symphony Orchestra.

Program NotesKing Stephen Overture

Ludwig van BeethovenBorn Dec. 16, 1770 in Bonn, Germany; died March 26, 1827, in Vienna, Austria

Many portraits and the character of some of his music have imprint-ed Beethoven as “the man with the scowl” on our collective imagina-tions. But anyone who doubts the composer had a sense of humor should listen to the opening of his King Stephen Overture. Its portentous opening chords, leading to one of the most inane little tunes ever penned, is as good an example of comedy in music as anything by Peter Schickele (aka P.D.Q. Bach).

This overture plus nine other numbers was created in a bout of high-speed composing during the late summer of 1811 along with the overture and incidental music for The Ruins of Athens. Both King Stephen or Hungary’s First Benefactor (to give the full title) and The Ruins of Ath-ens were brief festival plays written by August von Kotzebue to cele-brate the opening of the new the-ater in Pest, Hungary, that autumn. Both plays paid obsequious tribute to the Austrian Emperor Franz I, who was also emperor of Hungary. Canonized as a saint in 1803, Ste-phen was Hungary’s national hero, crowned king in 1000 A.D. and sub-sequently converting his people to Christianity. The subtitle “Hunga-ry’s First Benefactor” implied that Franz I, who would be attending the



performance, was the country’s mod-ern benefactor.

Beethoven obviously did not take this commission as an opportunity for musical profundity. Vacation-ing at the Bohemian health spa of Teplitz, he was enjoying one of the happiest summers of his life, and the Overture’s music reflects that mood. He seemed to be mocking his own heroic style with those fateful

opening chords. And as the music warms to Presto, a fiery syncopated tune in the Hungarian style takes the stage. Without development or emotional complexities, the music sails on to a bombastic finish, topped off with a crowd-pleasing drum roll.The Storm

Franz Joseph HaydnBorn March 31, 1732, in Rohrau, Austria; died May 31, 1809, in Vienna

In the winter of 1792, Joseph Haydn was the toast of London; he was progressively unveiling his superb London symphonies in packed concerts organized by the German-English impresario Johann Peter Salomon. But in its Jan. 27, 1792 issue, a critic for The Oracle decided to rain on his parade: “HAYDN, though in instrumental compositions so various and original,


First ViolinsJonathan Carney ∫Concertmaster, Ruth Blaustein Rosenberg ChairMadeline Adkins †Associate Concertmaster, Wilhelmina Hahn Waidner ChairRui DuActing Assistant ConcertmasterJames BoehmKenneth GoldsteinWonju KimGregory KupersteinMari MatsumotoGregory MulliganRebecca NicholsE. Craig RichmondEllen Pendleton TroyerAndrew Wasyluszko

Second ViolinsQing LiPrincipal, E. Kirkbride and Ann H. Miller ChairIvan Stefanovic † ∫ Associate PrincipalAngela Lee ∫ Assistant PrincipalLeonid BerkovichLeonid BriskinJulie ParcellsChristina ScrogginsWayne C. TaylorJames UmberCharles Underwood

Melissa ZarayaMinsun Choi**

ViolasLisa Steltenpohl †Principal, Peggy Meyerhoff Pearlstone ChairNoah ChavesAssociate PrincipalKarin BrownAssistant PrincipalRebekah NewmanRichard FieldViola Principal EmeritusPeter MinklerSharon Pineo MyerDelmar StewartJeffrey StewartMary Woehr

CellosDariusz Skoraczewski † ∫ Principal, Joseph and Rebecca Meyerhoff ChairChang Woo LeeAssociate PrincipalBo Li ∫ Acting Assistant PrincipalSeth LowSusan EvansEsther MellonKristin OstlingPaula Skolnick-ChildressPei Lu**

BassesRobert BarneyPrincipal, Willard and Lillian Hackerman ChairHampton ChildressAssociate PrincipalOwen CummingsMark HuangJonathan JensenDavid SheetsEric Stahl

FlutesEmily SkalaPrincipal, Dr. Clyde Alvin Clapp ChairMarcia Kämper

PiccoloLaurie Sokoloff

OboesKatherine NeedlemanPrincipal, Robert H. and Ryda H. Levi ChairMelissa HooperAssistant PrincipalMichael Lisicky

English HornJane MarvineKenneth S. Battye and Legg Mason Chair

ClarinetsSteven BartaPrincipal, Anne

Adalman Goodwin ChairChristopher WolfeAssistant PrincipalWilliam Jenken

E-flat ClarinetChristopher Wolfe

BassoonsFei XiePrincipalJulie Green GregorianAssistant PrincipalSchuyler Jackson**

ContrabassoonDavid P. Coombs

HornsPhilip MundsPrincipal, USF&G Foundation ChairGabrielle FinckAssociate PrincipalLisa BergmanMary C. BissonBruce Moore*Jeanne Getz**

TrumpetsAndrew BalioPrincipal, Harvey M. and Lyn P. Meyerhoff ChairRené HernandezAssistant PrincipalNathaniel Hepler

TrombonesAaron LaVerePrincipal, Alex Brown & Sons ChairJames Olin*Co-PrincipalJohn Vance

Bass TromboneRandall S. Campora

TubaSeth Horner**

TimpaniJames WymanPrincipalChristopher WilliamsAssistant Principal

PercussionChristopher WilliamsPrincipal, Lucille Schwilck ChairJohn LockeBrian Prechtl

HarpSarah Fuller**

PianoLura Johnson**Sidney M. and Miriam Friedberg Chair

Director of Orchestra PersonnelNishi Badhwar

Assistant Personnel ManagerJinny Kim

LibrariansMary Carroll PlainePrincipal, Constance A. and Ramon F. Getzov ChairRaymond KreugerAssociate

Stage PersonnelEnnis SeibertStage ManagerTodd PriceAssistant Stage ManagerCharles LamarAudio EngineerMario SerrutoElectrician

* On leave** Guest musician

† Performing with an instrument (†) or a bow (∫ ) on loan to the BSO from the private collection of the family of Marin Alsop.

The musicians who perform for the Baltimore Symphony Orchestra do so under the terms of an agreement between the BSO and Local 40-543, AFM.

Baltimore Symphony OrchestraMarin Alsop, Music Director, Harvey M. and Lyn P. Meyerhoff Chair

Jack Everly, Principal Pops Conductor Yuri Temirkanov, Music Director Emeritus

Ken Lam, BSYO Artistic Director & Associate Conductor for Education Nicholas Hersh, Assistant Conductor

Michael Repper, BSO-Peabody Conducting Fellow


has yet but slender merit as a Writer for the Voice.”

Now Haydn had not yet writ-ten his magnificent The Creation, but he had composed many operas and mass settings and felt this was an unjust slander of his abilities. In re-sponse, he chose an English text, “The Storm” by Peter Pindar (pen name of John Wolcot), set it for or-chestra and chorus, and presented it at Salomon’s next concert of Feb. 24. The text was a canny choice for throughout the 18th century the English loved musical portrayals of Nature at her most extreme. The success of this new choral work was a better riposte than any letter to the editor.

This extremely colorful music is in two contrasting moods and keys: D minor for the furious depiction of the storm menacing the people, and D major for their slower-paced prayer for the return of calm weath-er. When Haydn returned to Austria,

he substituted a German text and enlivened the orchestration, as we will hear, with imposing trumpets and timpani.

Opferlied, Op. 121b

Ludwig van BeethovenAlong with Goethe, Friedrich von Matthisson (1761–1831) was Beethoven’s favorite poet and the only one to whom he dedicated a song, his beautiful “Adelaide.” One of Matthisson’s poems seems to have held special meaning for the com-poser, the “Opferlied” or “Sacrifi-cial Song,” for he set it four times over the course of his career. In this classical verse, a youth is sacrific-ing to Zeus in an oak grove; he asks the god to grant him, both now and in his old age, beautiful things be-cause he is good. Beethoven wrote its last phrase, “Das Schöne zu dem Guten!” (“The beautiful to the good”), on the manuscripts of sever-al of his late works.

We will hear Beethoven’s final setting of this verse, made in 1823–24 about the time he was com-posing the Ninth Symphony. In E major throughout, it features a so-prano soloist, who presents the solemn ceremonial theme and is echoed by the chorus for the last part of each of her two strophes. The most striking quality of this setting is perhaps the color of the instrumental ensemble Beethoven has chosen here: a plangent-sound-ing wind ensemble of clarinets, bas-soons, and horns—but omitting the brighter toned flutes and oboes—along with strings. For the second verse, he introduces a prominent solo cello part, later expanded to all the cellos, whose mellow tone adds a poignantly personal quality to the music.

Symphony No. 9 in D minor, Op. 125, “Choral”

Ludwig van Beethoven



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Since at least the early 1790s, Beethoven had loved Schiller’s “Ode to Joy” (written in 1785 as a drink-ing song) and considered setting it to music. But as late as the summer of 1823, he was still considering a purely instrumental finale for the Ninth. When he made the bold de-cision to risk a vocal movement, he edited the poem to make it express a higher joy for mankind than could be found in any tavern.

Premiered at Vienna’s Kärtner-tor Theater on May 7, 1824, the first performance reportedly moved its audience to tears as well as cheers. Beethoven was on the podium, but the real conductor was Michael Um-lauf; the musicians had been in-structed to follow only his beat and ignore the deaf Beethoven’s. The performance would probably have sounded terrible to us today: orches-tra and singers had had only two


“Ode to Joy,” in which joy is de-fined as a state in which “all men are made brothers.”

The Ninth Symphony comes from the visionary last years of Beethoven’s life during which he also created the Missa solemnis and his celebrated late string quartets. He had not written a symphony since the Eighth in 1812. The years that followed had been a pe-riod of emotional struggle and artistic stasis. Only when Beethoven resolved the battle for custody of his neph-ew Karl in 1820 did his creative pow-ers flow freely again. By 1822 when he began sketching the Ninth, he was de-scribed by a Viennese contemporary, Johann Sporschil, as “one of the most active men who ever lived … deep-est midnight found him still working.” Now virtually stone deaf, he had, in biographer Maynard Solomon’s words, “reached a stage where he had become wholly possessed by his art.”

In the 190 years since its composi-tion, Beethoven’s Symphony No. 9 has become far more than just anoth-er symphony. It is now “The Ninth”: an artistic creation, like Shakespeare’s Hamlet, in which every age and near-ly every culture finds a mirror of its identity, its struggles and its aspira-tions. Most listeners would agree with Michael Steinberg that, “explicitly, it seeks to make an ethical statement as much as a musical statement.”

Beethoven always believed music had a higher purpose than merely the making of beautiful sounds, that it could express and inspire human aspirations toward a more exalted life, in closer harmony with neigh-bors and strangers alike, and ulti-mately with God. In the Ninth, he drove home this message by crown-ing his instrumental symphony with an unprecedented choral finale: a setting of Friedrich Schiller’s poem

BALTIMORE CHORAL ARTS SOCIETY

movement—Beethoven’s greatest example of the fierce dance form he refashioned from the 3/4-time minuet—is built out of another de-scending motive, consisting of just two pitches and a dotted rhythm. From that dotted rhythm and the potential it offers to the timpani to become a major player instead of an accompanist, Beethoven creates a witty, infectious movement of re-lentless intensity. And if the Scher-zo is the apotheosis of a rhythm, the succeeding slow movement is the apotheosis of melody. Here Beethoven builds a double varia-tions movement out of two melo-dies, one slow and noble, the other like a flowing stream: a musical rep-resentation of a heavenly utopia.

The key of D major finally tri-umphs over D minor in the exhila-rating choral finale, famed for mak-ing the cellos and basses speak like human voices as they review the events of the previous movements

and then dismiss them in favor of the sublimely simple “Joy” theme. The remainder of the finale then becomes a series of extraordinary variations on this heart-stirring melody, sung by chorus, the solo quartet and orches-tra. A particularly striking one comes early on: a jaunty military march fea-turing the tenor soloist.

The other major theme of this huge finale is sung in unison by the tenors and basses at the words “Seid umschlungen, Millionen” (“Be em-braced, ye millions.”) It opens an ex-tended, awe-struck episode in which the chorus hails the loving Father, creator of the universe, and con-cludes in a magnificent double fugue in combination with the “Ode to Joy” theme. At the end, Beethoven drives his voices almost beyond their capacities to express his glorious vi-sion of a new world just beyond human reach.

Notes by Janet E. Bedell © 2014



rehearsals together of a work that many found beyond their capabili-ties. And yet the magic of the Ninth somehow won out. At the end of symphony, the alto soloist, Caro-line Unger, had to turn Beethoven around to see the audience’s tumult; unable to hear them, he had re-mained hunched over his score.

And what of the wonders of this score? Later composers wrote lon-ger first movements, but the Ninth’s opening movement, at just 15 min-utes, seems the vastest of them all. From the opening trickle of notes, seemingly born from the primordial ooze, emerges the mightiest descend-ing theme. After moods of struggle, reverie and provisional triumph, Beethoven appends a huge coda—one quarter of the movement—that even touches on a ghostly funeral march before the orchestra shouts the principal theme one last time in a powerful unison.

The Scherzo second

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international attention for her in-novative programming and artistry. Additionally, her success was recog-nized when, in 2013, her tenure was extended to the 2020-2021 season. Alsop took up the post of chief con-ductor of the São Paulo Symphony Orchestra in 2012, where she steers the orchestra in its artistic and cre-ative programming, recording ven-tures, and its education and out-reach activities.

In the summer of 2014, Alsop served her 23rd season as music direc-tor of the acclaimed Cabrillo Festival of Contemporary Music in Califor-nia. Musical America, which named Alsop the 2009 Conductor of the Year, recently said, “[Marin Alsop] connects to the public as few conduc-tors today can.”

United Kingdom, where she served as the principal conductor from 2002 to 2008.

Her success as the BSO’s music director has garnered national and

Marin Alsop, conductor Marin Alsop is an inspiring and powerful voice in the international music scene, a music director of vi-sion and distinction who passion-ately believes that “music has the power to change lives.” She is recog-nized across the world for her inno-vative approach to programming and for her deep commitment to educa-tion and to the development of au-diences of all ages.

Alsop made history with her ap-pointment as the 12th music direc-tor of the Baltimore Symphony Or-chestra. With her inaugural concerts in September 2007, she became the first woman to head a major Ameri-can orchestra. She also holds the title of conductor emeritus at the Bour-nemouth Symphony Orchestra in the


FRIDAY, JANUARY 9, 2015, 8:15 P.M.


Marin Alsop, Music Director

Presents

Off the Cuff: The Rite of Spring

Marin Alsop, conductor

The Rite of Spring, Le Sacre du printemps Igor Stravinsky

Part I: The Adoration of the Earth (1882-1971)

Part II: The Sacrifice

The concert will end at approximately 9:30 p.m.

The Wagner Tuben used in this concert are a gift from Beth Green Pierce

in memory of her father, Elwood I. Green.

Support for this concert is provided by the Governing Members of the BSO.


Friday, January 9, 2015, 8:15 p.m.


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Piotr Gajewski, conductor Piotr Gajewski is widely credited with building the National Philhar-monic to its pres-ent status as one of the most re-spected ensembles of its kind in the

region. The Washington Post recognizes him as an “immensely talented and in-sightful conductor,” whose “standards, taste and sensitivity are impeccable.”

In addition to his appearances with the National Philharmonic, Gajewski is much in demand as a guest conduc-tor. In recent years, he has appeared with most of the major orchestras in his native Poland, as well as the Royal

Liverpool Philharmonic in England, the Karlovy Vary Symphony in the Czech Republic, the Okanagan Sym-phony in Canada and numerous or-chestras in the United States.

Gajewski attended Carleton College and the University of Cincinnati, Col-lege-Conservatory of Music, where he earned bachelor’s and master’s degrees in orchestral conducting. Upon com-pleting his formal education, he con-tinued refining his conducting skills at the 1983 Tanglewood Music Fes-tival in Massachusetts, where he was awarded a Leonard Bernstein Conduct-ing Fellowship. His teachers there in-cluded Leonard Bernstein, Seiji Ozawa, André Previn, Gunther Schuller, Gus-tav Meier and Maurice Abravanel.

Gajewski is also a winner of many

prizes and awards, among them a prize at New York’s prestigious Leopold Sto-kowski Conducting Competition and, in 2006, Montgomery County’s Com-cast Excellence in the Arts and Hu-manities Achievement Award.

Zuill Bailey, cello Widely acknowl-edged as one of the pre-eminent cel-lists of his genera-tion, Zuill Bailey engages audiences with compelling artistry and tech-nical finesse.

This season Bailey has orchestral engagements with the El Paso, Fairbanks, Knoxville, Shreveport, Pensacola, York and Fort Collins symphony orchestras.

Bailey performs on a 1693 Mat-teo Gofriller Cello, formerly owned by Mischa Schneider of the Budapest String Quartet. He is the artistic di-rector of El Paso Pro Musica, artistic director designate of the Sitka Sum-mer Music Festival and Series in Alas-ka, and professor of cello at the Uni-versity of Texas at El Paso.

Program NotesSymphony No. 38, in D Major, K. 504, “Prague”

Wolfgang Amadeus MozartBorn Jan. 27, 1756, in Salzburg, Austria; died Dec. 5, 1791, in Vienna

Prague was one of few cities to show sincere interest in Mozart’s work dur-ing his lifetime. The capital of Bohe-mia (now the Czech Republic) at that time, Prague’s citizens enjoyed music and had a sincere appreciation of Mo-zart. His operas Abduction from the Sera-glio and The Marriage of Figaro succeed-ed there. He composed Don Giovanni specifically for performance in Prague; many of his symphonies and chamber works premiered there.

On Dec. 10, 1786, Mozart’s opera The Marriage of Figaro, which had been received only with moderate enthu-siasm at its earliest performances in


●The National Philharmonic

Piotr Gajewski, Music Director and Conductor Presents

Haydn’s Surprise Symphony Piotr Gajewski, conductor

Zuill Bailey, celloSymphony No. 38 in D Major, K. 504, “Prague” Wolfgang Amadeus Mozart Adagio-Allegro (1756-1791) Andante Presto

Concerto No. 2 for Cello and Orchestra Joseph Haydn in D Major (1732-1809) Allegro Moderato Adagio Rondo: Allegro

INTERMISSION

Symphony No. 94, in G Major, “Surprise” Joseph Haydn Adagio-Vivace assai Andante Menuetto: Allegro molto Finale: Allegro di molto

All Kids, All Free, All The Time is sponsored by The Gazette and the Dieneke Johnson Fund



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Vienna, was produced in Prague. Mo-zart had accepted an invitation from Count Johann Thun for the revival of the production in January 1787. In honor of the occasion, he wrote a new symphony, completing it on Dec. 6. It premiered in Prague on Jan. 19, 1787, with Mozart himself conducting. This performance, too, was very successful, perhaps partially because Mozart quoted one of the last movement’s themes from Figaro in this symphony.

When the applause called Mozart to the platform, he sat down at the piano and played extemporaneously for a half-hour. During its first 11 years, the “Prague” Symphony was performed more than 100 times in Prague.

Mozart, at this time, was starting to compose works that were difficult in conception and in execution, com-plex beyond what his contemporaries were composing. These works made increased demands upon performers; however in this symphony, Mozart seems at first to have returned to an earlier approach, because the “Prague” Symphony has only three movements, not four. It was the last of his sym-phonies to have this structure, and it is sometimes called “The Symphony Without a Minuet,” implying that all of Mozart’s other symphonies have one. However, many 18th century symphonies also had only three move-ments, as they evolved from the three-movement Italian sinfonia.

Critics often have considered the first movement of this work to be “the greatest single symphonic movement ever composed by Mozart.” Moreover, the writing, particularly for the winds, is extremely difficult and requires a level of expertise from the players that Mo-zart did not demand in his earlier works. After its dramatic introduction, the movement becomes lighter, more airy, full of a pleasant spirit, and the body of the movement, Allegro, has rich, rhythmic and contrapuntal interest.

The serious and reflective second movement, Andante, exceptionally broad and slow, combines profound expression with drama and has elegant counterpoint and canonic writing.

The absence of a minuet does not signal a return to the early Italian style of the three-movement symphony, and the work does not seem to be lacking anything without one. The short but exuberant final movement, Presto, of-fers agreeable interchanges between the strings and woodwinds. Counter-point and syncopated rhythm again play an important role in the most ani-mated and playful of the three move-ments; occasionally, however, Mozart interjects darker hints within the gen-erally jovial sentiments. He composed this last movement before the others, possibly as a substitute final movement for another symphony. Within it he quotes his own principal melody from “Aprite presto,” the duet of Cherubino and Susanna from Figaro.

Concerto for Cello and Orchestra in D Major

Joseph HaydnBorn March 31, 1732, in Rohrau, Austria; died May 31, 1809, in Vienna

Haydn wrote this cello concerto, his second, in 1783, to display the skills of Anton Kraft, Haydn’s composi-tion pupil and the first chair cellist of his orchestra from 1778 to 1790. In 1806, an important publisher of good reputation issued it in a version that he said was based on the composer’s original manuscript, but in the 1830s, Kraft’s son somehow persuaded much of the musical world that his father, not Haydn, had actually composed the concerto. A few 19th century scholars said that they had seen the music writ-ten in Haydn’s hand, but because it could not be located, the controversy over the authorship of the work con-tinued for more than a century until the original manuscript was eventually rediscovered in 1954.

In the meantime, the concerto had become a popular work in several modern editions of varying degrees of authenticity. For many years, the most often played was the one that strayed furthest from Haydn’s original inten-tions. It was published in 1890, edited by a fine Belgian musician and musi-cologist, François-Auguste Gevaert (1828-1908), who adapted the score to

the taste of the time by making exten-sive cuts, rewriting some solo passages and altering the orchestration.

The concerto has three movements as was usual in Haydn’s time, in a fast-slow-fast sequence. The first movement is a well-developed classical structure, Allegro moderato, in which the or-chestra lays out the two main themes. The cello embellishes the themes, and instead of significant orchestral de-velopment, the cello displays virtuoso passagework before the return of the themes and a cadenza for the soloist. In the second movement, Adagio, Haydn allows the cello to announce the lyrical theme, which then reappears in recur-ring versions from the larger body of in-struments. This movement also ends in a cello cadenza. The third movement, a brilliant Rondo, Allegro, sandwiches contrasting sections between repeated refrains of the initial cello theme.

Symphony No. 94, in G Major, “Surprise”

Joseph HaydnIn 1790, when Prince Esterházy died, his successor reduced the size of his mu-sical establishment and pensioned off the 58-year-old Haydn. Then, the Ger-man violinist Johann Peter Salomon, who had become a successful impresa-rio in London, persuaded Haydn to go to England for a series of concerts and asked him to write six new symphonies for performance there. Haydn was lion-ized in England. The concerts and the new symphonies were greatly successful and his London Symphonies, extraor-dinarily inventive pieces, made both Haydn and Salomon wealthy men.

This symphony was first performed on March 23, 1792 and immediately became Haydn’s best loved work, not just because of the amusing “surprise” in the second movement, but because it is a masterpiece of the composer’s witty but simple and popular style. The grave, slow introduction, Adagio cantabile, contrasts perfectly with the clever and lively Vivace assai with its three sharply contrasting subjects.

The second movement, Andante, consists of a simple theme, five artful variations on the theme, and a coda.

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Haydn frequently used popular melodies in his symphonies, particularly in the variation movements. Here he utilized a universally well known melody that we know as “Twinkle, twinkle, little Star.”

In Haydn’s first sketch, the theme is played softly throughout, but dur-ing preparation of the first perfor-mance, he drew a big “X” across the page and wrote the version we know now in which the first strain ends with a smashing chord, the “surprise.”

No one knows exactly why Haydn altered the dynamics of the second movement, but over the years, there

has been much speculation. Accord-ing to one account, Haydn had al-ready given the downbeat to begin the movement when he heard snores that inspired his sense of humor, and he sig-naled to the orchestra that they should play a grand fortissimo, which not only woke the snorer, but also brought him to his feet. Others attest that compe-tition with his former student, Pleyel, who had been brought to London as a composer by a different impresario, might have prompted Haydn to make the change as Pleyel included similar devices in more than one of his works,

using some of Haydn’s own earlier symphonies as models.

The third movement is a fast but heavy-footed Minuet, Allegro molto (in some editions) in the Austrian peasant style, with a contrasting central trio sec-tion for bassoon and strings. The fina-le, a very lively Allegro di molto, (not Haydn’s own marking,) is a jolly rondo that closes with a witty coda.

Whatever Haydn’s motivation, the episode ultimately earned for the work its everlasting nickname, “Surprise.”

© Susan Halpern, 2014


First ViolinsColin Sorgi ^ConcertmasterJody GatwoodConcertmaster emeritusBenjamin Scott ^Olga Yanovich ^Leslie Silverfine ^Mayumi Pawel ^Brenda AnnaEva Cappelletti-ChaoMaureen Conlon-DoroshLaura Tait ChangClaudia ChudacoffLisa CridgeLysiane Gravel-LacombeJennifer KimRegino MadridKim MillerJennifer RickardChaerim SmithSecond ViolinsHenry Flory ^PrincipalArminé Graham ^Katherine Budner ^Jennifer Shannon ^Cathy Stewart ^Doug DubéJustin GopalJune HuangKarin KelleherAlexandra MikhlinLaura MillerJoanna OwenJean ProvineRachel SchenkerNing Ma ShiRachael StocktonViolasJulius Wirth ^PrincipalJudy Silverman ^Associate Principal emeritusLeonora Karasina ^Mark Pfannschmidt ^Phyllis FreemanStephanie KnutsenMargaret LangJennifer RendeChris ShiehDerek SmithTam Tran

CellosLori Barnet ^PrincipalTodd Thiel ^Kerry Van Laanen ^Barbara BrownApril ChisholmDanielle ChoKen DingCatherine FrancisAndrew HesseBeth PetersonKristen WojcikBassesRobert Kurz ^PrincipalShawn AlgerKelly AliBarbara FitzgeraldWilliam HonesMichael RittlingMark StephensonFlutesDavid Whiteside ^PrincipalNicolette OppeltDavid LaVorgnaPiccoloDavid LaVorgnaOboesMark Hill ^PrincipalKathy Ceasar-SpallFatma DaglarEnglish HornRon ErlerClarinetsCheryl Hill ^PrincipalCarolyn Alvarez-AgriaSuzanne GekkerBass ClarinetCarolyn Alvarez-AgriaBassoonsErich Hecksher ^PrincipalKatherine JonesSandra SiskContrabassoonNicholas Cohen

French HornsMichael Hall ^PrincipalMark Wakefield ^Justin DrewDavid SmithMargaret TungTrumpetsChris Gekker ^PrincipalRobert Birch ^Robert & Margaret Hazen ChairJohn AbbracciamentoBrent MadsenTrombonesDavid Sciannella ^PrincipalJames ArmstrongJeffrey CortazzoTubaWillie ClarkTimpani & PercussionTom Maloy ^PrincipalAubrey AdamsCurt DuerRobert JenkinsBill RichardsHarpRebecca SmithElizabeth BlakesleeKeyboardWilliam NeilJeffery WatsonTheodore GuerrantSopranosJacqueline AndrosMarietta R. BalaanEmily A. BellMary Bentley *Jocelyn BondCheryl BranhamKristin BrownRebecca Carlson **Cheryl CastnerAnne P. ClaysmithNancy A. ColemanEileen S. DeMarcoLauren DrinkwaterAlejandra Durán-BöhmeLisa Edgley

Daniela FioreMeg FlanaganSarah B. FormanCaitlin A. Garry **Carole L. HaasDenise R. HardingEtahjayne H. HarrisLinda Hosler Eun Hye KimRobyn KleinerJessica Holden KlodaJoanna LamCarolyn Rodda LincolnKaelyn LowmasterSharon Majchrzak-HongKathryn McKinleySara W. MosesKatherine Nelson-Tracey *Mary Beth NolanGloria NutzhornJuliana S. O’NeillLynette PosorskeEmily PulseMaggie RheinsteinCarlotta RichardLisa RomanoTheresa RoysKatherine SchnorrenbergCarolyn J. SullivanChelsea ToledoCathlin TullyEllen van ValkenburghSusanne VillemaretteJessica WilliamsLynne WoodsAltosHelen R. AltmanToni BarrettCarol BrunoCarolyn ChuhtaMelissa CulpErlinda C. DancerSandra L. DaughtonJenelle M. DennisDeirdre FeehanRobin FillmoreShannon FinneganElissa FrankleFrancesca Frey-KimMaria A. FriedmanJulia C. FriendAndrea FrischElizabeth Bishop Gemoets

Jeanette GhatanSarah GilchristLois J. GoodsteinJacque GrenningStacey A. HenningJean HochronSara M. Josey *Marilyn KatzIrene M. KirkpatrickMartha J. Krieger **Meg LarkinMelissa J. Lieberman *Corinne LoertscherJulie S. MacCarteeNansy MathewsSusan E. MurrayDaryl NewhouseMartha NewmanPatricia PillsburyAnn E. Ramsey-MoorBeryl M. RothmanLisa RovinSamantha ScheffJan SchiavoneDeborah F. SilbermanLori J. SommerfieldCarol A. SternPattie SullivanBonnie S. TempleVirginia Van BruntChristine VockeSarah Jane Wagoner **Wendy J. WeinbergTenorsKenneth BailesJ.I. CanizaresColin ChurchPaul J. DeMarco Ian ElderRuth W. Faison *Yubin HungDon JanskyJoseph E. JonesCurt JordanTyler A. LoertscherJane LyleDavid MalloyMichael McClellanChantal McHaleEleanor McIntireWayne Meyer **Tom MilkeRolf MoeckelTom NessingerSteve NguyenDrew Riggs

Dennis Vander TuigTyler ZimmermanBassesRussell BowersAlbert BradfordRonald CappellettiPete ChangStephen CookClark V. CooperBopper DeytonJ. William GadzukRobert GerardMike HiltonLuke HlavinChun-Hsien HuangJohn IobstWilliam W. Josey **Peter KadeliAllan K. KirkpatrickIan KyleJack LeglerLarry MaloneyIan MatthewsAlan E. MayersDavid J. McGoffDavid G. MedlandKent Mikkelsen *John Milberg **Oliver MolesMark NelsonLeif NeveAnthony RadichHarry Ransom, Jr.Edward Rejuney *Frank RoysCharles SerpanCarey W. SmithJason James SmokerCharles SturrockAlun ThomasDonald A. TrayerRoberto VilledaWayne R. WilliamsMichael Wu

Theodore GuerrantAccompanist, Theodore M. Guerrant Chair

^ National Philharmonic tenured musicians* section leader** assistant section leader

National Philharmonic Orchestra and Chorale

Marin Alsop, conductor For Marin Alsop’s biography, please refer to page 28.

Cristina Pato, Galician bagpipesHailed by The New York Times as “a virtuosic burst of energy,” Galician bagpip-er, pianist and composer Cris-tina Pato enjoys an active pro-

fessional career devoted to Galician

popular and classical music, and her dual careers have led to performances on major stages throughout Europe, United States, Africa and Asia.

Pato was the first female gaita play-er to release a solo album and has since collaborated on world stages with Yo-Yo Ma, Chicago Symphony Orchestra, Osvaldo Golijov, World Orchestra and Paquito D’Rivera. Pato is a member of Yo-Yo Ma’s Silk Road Ensemble and a founding member of its Leadership Council, collaborat-ing closely in tours and planning resi-dencies. She also is the founder and

artistic director of Galician Connec-tion, a world music forum celebrated annually in Galicia.

Kayhan Kalhor, kamanchehThree-time Grammy nominee Kayhan Kalhor is an internationally acclaimed virtuo-so who has been instrumental in popularizing Per-sian music in the

West and is a creative force in today’s music scene.

He has studied the music of Iran’s many regions and has toured the world as a soloist with various en-sembles and orchestras, including the New York Philharmonic and the Orchestre National de Lyon. He is co-founder of the renowned ensem-bles Dastan, Ghazal: Persian & In-dian Improvisations and Masters of Persian Music.

Kalhor has composed works for Iran’s most renowned vocalists and has also performed and recorded with Iran’s greatest instrumentalists. He has composed music for television and film, and was most recently fea-tured on the soundtrack of Francis Ford Coppola’s Youth Without Youth in a score that he collaborated on with Osvaldo Golijov.

David Krakauer, klezmer clarinetConsidered among the world’s greatest clari-netists, David Krakauer is recog-nized internation-ally as a key inno-vator in modern klezmer as well as

a major voice in classical music. He has appeared with the Tokyo, Kronos and Emerson quartets, plus as soloist with the Dresden, Seattle and Detroit symphony orchestras, among others.

With his band Ancestral Groove, he has redefined the klezmer genre with major appearances at Carnegie


SUNDAY, JANUARY 11, 2015, 3 P.M.



The Rite of SpringMarin Alsop, conductor

Cristina Pato, Galician bagpipesKayhan Kalhor, kamancheh

David Krakauer, klezmer clarinetMichael Ward-Bergeman, hyper-accordion

Medea’s Dance of Vengeance, Op. 23a Samuel Barber (1910-1981) Rose of the Winds Osvaldo Golijov Cristina Pato (1960-) Kayhan Kalhor David Krakauer Michael Ward-Bergeman

INTERMISSION

The Rite of Spring, Le Sacre du printemps Igor Stravinsky Part I: The Adoration of the Earth (1882-1971) Part II: The Sacrifice

Presenting Sponsor: M&T Bank


The BSO premiere of Osvaldo Golijov’s Rose of the Winds is underwritten by the Solomon H. Snyder Department of Neuroscience of The Johns Hopkins University School of Medicine.

The Wagner Tuben used in this concert are a gift from Beth Green Pierce in memory of her father, Elwood I. Green.

The shofars performed in Rose of the Winds are played by Rabbi/Dr. Moshe Shualy and Jack C. Crystal.


Sunday, January 11, 2015, 3 p.m.

Hall and internationally. His discogra-phy contains some of the past decade’s preeminent klezmer recordings, nota-bly The Dreams and Prayers of Isaac the Blind (Golijov/Kronos/Krakauer).

Consistently defying categori-zation, Krakauer has collaborated with Dawn Upshaw, Itzhak Perl-man, John Zorn, Fred Wesley, Music from Marlboro, Abraham Inc, the Klezmatics, John Cage, Danny Elf-man and Socalled. His newest project, The Big Picture, explores personal identity by reimagining fa-miliar film themes in a cinematic concert with original visuals.

Krakauer is an avid educator at Mannes (New School), the Manhat-tan School of Music, New York Uni-versity and the Bard Conservatory.

Michael Ward-Bergeman, hyper-accordion

Michael Ward-Bergeman brings the 21st century to the accordion through his pas-sion for a wide range of music. From his classi-cal creations on

the concert stages of America and Europe to the roots music projects of his trio, Groanbox, Ward-Berge-man brings an extraordinary inven-tiveness, coupled with deep respect for the past, into all of his creations and collaborations.

Ward-Bergeman started his musi-cal training on piano and violin, but it was his dedication to the accordi-on that led him to invent a 21st cen-tury version of the instrument called the “hyper-accordion.” The hyper-accordion extends the acoustic ac-cordion’s potential through creative performance technique and digital sound processing.

Ward-Bergeman previously collab-orated with Osvaldo Golijov on the soundtrack for Francis Ford Coppo-la’s Youth Without Youth, wrote Dam-agomi commissioned by Yo-Yo Ma’s Silk Road Ensemble and performed

at least once a day for a year as part of his GIG 365 project.

Program NotesMedea’s Dance of Vengeance, Op. 23a

Samuel BarberBorn March 9, 1910, in West Chester, Penn.; died Jan. 23, 1981, in New York City

Martha Graham was the high priest-ess of American dance for more than five decades: the creator of larger-than-life female characters who would never be caught wearing toe-shoes. Beginning in the 1930s, she commis-sioned remarkable dance scores from many of America’s leading composers, including Aaron Copland’s Appala-chian Spring, William Schuman’s Judith and Samuel Barber’s Medea, the latter forming the impetus for her celebrated mythic ballet, Cave of the Heart.

Perhaps the most terrifying hero-ine of Greek mythology, Medea is the sorceress daughter of King Aeëtes of Colchis and the granddaughter of the Sun God, who falls in love with Jason and helps him to steal the Golden Fleece. After 10 years, he deserts her to marry another princess, Glaucis, and she wreaks a terrible vengeance by killing Glaucis with a poisoned robe and then slaughtering the two small children she has borne Jason. Her story became one of Euripedes’ most powerful tragedies.

Celebrated for his lyrical, melodical-ly expressive music displayed in earlier works such as the Adagio for Strings, Barber would not have seemed a natu-ral choice for so violent a subject. But with the score he created for Graham’s ballet, performed first in 1946, then in a slightly revised version in 1947, he transformed his style, revealing a more intense contemporary voice full of har-monic bite and rhythmic drive.

Sensing his music demanded bigger forces than the 13 instruments of Gra-ham’s pit orchestra, Barber reworked the score into a seven-movement dance suite for large orchestra premiered by The Philadelphia Orchestra in 1947. Nearly a decade later, he revised it yet

again into the one-movement Medea’s Dance of Vengeance. This powerful distil-lation of the best of his ballet score, pre-miered by the New York Philharmonic Feb. 2, 1956, became one of his most popular concert works.

In a program note in the score, Barber described the work’s progression from passive grief to active revenge: “Tracing [Medea’s] emotions from her tender feel-ings toward her children, through her mounting suspicions and anguish at her husband’s betrayal and her decision to avenge herself, the piece increases in in-tensity to close in the frenzied Dance of Vengeance of Medea, the Sorceress de-scended from the Sun God.”

Rose of the Winds

Osvaldo Golijov Born Dec. 5, 1960, in La Plata, Argentina; now living near Boston, Mass.

There’s no more exciting composer working today than Osvaldo Golijov, whose music is as eclectic and impos-sible to categorize as is his own fas-cinating mixed heritage. One could as easily place his CD’s in the World Music section of a record store as into the Classical bins. Writes Alex Ross in the New Yorker: “His works arouse extraordinary enthusiasm in audiences because they revive music’s elemental powers: They have rhythms that rock the body and melodies that linger in the mind.”

Born into a Russian Jewish family that had immigrated to Argentina to escape the Czarist pogroms, Golijov de-scribes himself as a “Jewish gaucho.” His father was a physician and his mother a piano teacher who “took me to Buenos Aires to hear opera and also … Astor Piazzolla tangos. She sang to me in Yid-dish, but she also got me to listen to Bach. Somehow it all came together.”

Indeed it did. Golijov’s special ge-nius—confirmed by a coveted Ma-cArthur fellowship—has mixed Yid-dish soulfulness with Latino rhythms and solid classical training in Argen-tina, Jerusalem, and at the University of Pennsylvania (where he earned a Ph.D.) into a potent brew. Now liv-ing near Boston, he divides his time




two previous ballets, The Firebird and Petrouchka, had been rapturously re-ceived. But the music for The Rite was much more advanced: a revolu-tionary statement that the 19th cen-tury was gone for good. In its savage rhythms, harmonic dissonances and orchestral effects, it brutally embodied the “fleeting vision” of pagan Russia that Stravinsky said had inspired him. “I saw in my imagination a solemn pagan rite: sage elders, seated in a cir-cle, watched a young girl dance herself to death. They were sacrificing her to propitiate the god of spring.”

Stravinsky remembered that infa-mous performance on May 29, 1913, at the Théâtre des Champs-Élysées, con-ducted by Pierre Monteux and with choreography by the notorious Russian dancer Nijinsky. Audience disturbanc-es began shortly into the introduction, and when with the fierce chugging of strings the curtain rose on a group of “knock-kneed, long-braided Lolitas jumping up and down,” the catcalls escalated to pandemonium. Fistfights broke out in the audience between those who liked the piece and those who didn’t. Furious, Stravinsky rushed backstage where Nijinsky was standing on a chair shouting out the beats to the dancers and Diaghilev alternately turning the house lights on and off in a vain attempt to calm the fracas. Once the riot began, the audience was prob-ably reacting more to the choreogra-phy or simply its own frenzy than the score itself, since the music became virtually inaudible.

The story of this catastrophe is well-known. But it had an important, less-told sequel that turned the fortunes of The Rite of Spring completely around. On April 5, 1914, again in Paris, Mon-teux led its concert premiere—without any dancers and controversial choreog-raphy—and this time the performance was an overwhelming success. The au-dience erupted in a cheering ovation, and enthusiastic fans bore Stravinsky out of the hall on their shoulders.

But The Rite of Spring was and re-mains today a shocking work: one fit to provoke a riot. Stravinsky had a

set for his song cycle Ayre. Though in Ayre, it sounded more Christian, here it becomes more Arabic in feeling; as Golijov explains, “With the most min-ute changes, one culture becomes an-other. This is a song of faith and love, surrounded by outbursts of violence and anger.” Both the bagpipes and the kamancheh are featured here.

Movement two, K’in Sventa Ch’ul Me’tik Kwadalupe (“Ritual for the Holy Mother of Guadalupe”), was in-spired by a field recording of a ritual in Chiapas, Mexico. Strings divided into many different parts imitate the voices murmuring the ritual chant over the beating of the percussion.

Also used in Ayre, Tancas Serradas a Muru (“Walls are encircling the land”) is a Spanish protest song, driven by the percussion section, against the feudal barons who oppress the people. The un-sung words of this ecstatic yet violent song are: “Walls are encircling the land, /the land seized with greed and in haste, /if Heaven was on Earth, /they would grab it too. /Moderate your tyranny, Barons, /otherwise, I swear on my life: /I’ll bring you down from your horses! /War is now declared /against your supe-riority! /You have exhausted / the peo-ple’s patience.”

Rose of the Winds’ final movement is “Tekyah,” the name of a village in central Iran; in Marc Geelhoed’s words, it is “a movement of surpass-ing tenderness.” Here the chief soloist is the kemancheh player. The music culminates unforgettably in the wail-ing of the 10 shofars over the drone of strings and clarinets.

The Rite of Spring

Igor StravinskyBorn June 17, 1882, in Oranienbaum, Russia; died April 6, 1971, in New York City

The premiere of The Rite of Spring in Paris in 1913 has come down to us as perhaps the wildest evening in the history of classical music. This was the third of the spectacular Russian bal-let scores Stravinsky had created for Serge Diaghilev’s Ballets Russes en-semble, which had become the sen-sation of pre-World War I Paris. The

between composition and teaching; he is Loyola professor of music at the College of Holy Cross in Worces-ter, Mass., where he has taught since 1991. In 2000, the premiere of his La-tino-flavored oratorio the St. Mark Passion won him instant fame.

Rose of the Winds was created for the Chicago Symphony Orchestra and members of the Silk Road En-semble of world musicians founded by Yo-Yo Ma; it was premiered in Chi-cago April 12, 2007. We will hear its revised version first performed under Marin Alsop’s baton at the Cabrillo Festival of Contemporary Music in August 2012. This stunning 20-min-ute work features four ethnic in-struments: the kamancheh, a bowed string instruments used in Iran and neighboring countries; the Galician bagpipes from Northern Spain; the hyper-accordion, a version of the ac-cordion utilizing stereophonic elec-tronic enhancements to expand its sonic possibilities developed by its performer Michael Ward-Bergeman; and the well-known klezmer clarinet of traditional Jewish music. And in its final movement, it calls on 10 mem-bers of the brass section to play sho-fars, the ram’s-horns blown during the Jewish high holiday services.

The title and multicultural dimen-sions of Rose of the Winds were in-spired by the rose-of-the-winds com-pass symbol, which points not only to the four corners of the Earth but in all directions. When Golijov was a child, his uncle gave him a desk with a map of the world painted on top bearing a compass rose over the Pacific Ocean. Gazing at it, he recalls, “I spent more time imagining what was happen-ing—what life was like—in every one of the places on the map than doing homework.” Rose of the Winds ex-plores different types of human expe-rience throughout the world; Golijov comments it “provides contrast with-out explanation.”

The contrasts are powerful. The first movement, Wah Habibi, (“My Love”) is based on an Arab-Christian song for Easter Friday, which Golijov originally




men tell fortunes. … Young girls with painted faces come in from the river in single file. They dance the spring dance. Games start. The Spring Khoro-vod [round dances]. The people divide into two groups opposing each other. The holy procession of wise old men… interrupts the spring games. … The people pause trembling. … The old man blesses the Earth. … The people dance passionately on the Earth, sanc-tifying it and becoming one with it.

“Part II: ‘The Great Sacrifice.’ At night, the virgins hold mysteri-ous games walking in circles. One of the virgins is consecrated and is twice pointed to by fate, being caught twice in the perpetual circle. The virgins honor her, the chosen one, with a marital dance. … They invoke the an-cestors and entrust the chosen one to the old wise men. She sacrifices her-self in the presence of the old men in the great holy dance.”


music, trailing behind melodic allure and harmonic richness. Europeans es-sentially looked down on intricate rhythm as belonging to more “primi-tive” musical cultures, such as Afri-ca and Asia. Stravinsky showed them what they were missing.

Along with pounding percus-sion—and in this score even the string instruments join the percus-sion section—Stravinsky created his pagan world through strikingly origi-nal writing for the wind instruments: the primeval sound of a high bas-soon opening the work, the cool high woodwinds setting an ominously eerie nocturnal atmosphere at the begin-ning of Part II, the “elderly” sounding English horn leading the penultimate “Ritual of the Old Men,” and the sav-agely snarling brass throughout.

Stravinsky provided his own terse scenario for The Rite:

“Part I: ‘The Adoration of the Earth.’ [Daytime] The spring celebra-tion… the pipers pipe and the young

very different image of the coming of spring than we do in America. In Russia when winter’s legacy of snow and ice begins to melt and swell the streams, the effect is much more ex-treme than our soft breezes and flow-ering fruit trees. Stravinsky referred to it as “the violent Russian spring that seems to begin in an hour and was like the whole world cracking.” To express this raw elemental force and the pas-sionate response it must have evoked in pagan Russia, he created music of unprecedented violence.

In his score Stravinsky wrote: “Music exists if there is rhythm, as life exists if there is a pulse.” And it is in-deed rhythm—in powerful repetitive ostinatos, constantly changing me-ters, and brutal pileups—that domi-nates this score and reaches a climax of violent energy in Part II’s “Glori-fication of the Chosen One” and the final “Sacrificial Dance.” Throughout the 19th century, rhythm had been the stepchild of European concert

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Gil Shaham, violin Gil Shaham’s flawless technique, inimi-table warmth and generosity of spirit have solidified his renown as an Ameri-can master. The Grammy Award winner is sought after throughout the world for concerto appearances with leading or-chestras and conductors.

Besides giving the world premiere performances of a new concerto by David Bruce with the San Diego Symphony, the violinist’s upcom-ing orchestral highlights also include Mendelssohn in Tokyo, Canada and Luxembourg, and two Bach concertos with the Dallas Symphony.

Last season saw the release of 1930s Violin Concertos (Vol. 1), the first double album to be yielded by Sha-ham’s long-term programming project, which was recorded live with the New York Philharmonic, Boston Symphony, BBC Symphony, Staatskapelle Dresden and Sejong. In live performance, he played 1930s concertos by Bartók, Pro-kofiev, Barber, Berg and Britten with such eminent ensembles as the Los Angeles Philharmonic, San Francisco Symphony, Berlin Radio Symphony, Bavarian Radio Symphony, and Carn-egie Hall’s National Youth Orchestra of the USA, which he joined as guest so-loist on its inaugural national tour.

He plays the 1699 “Countess Polig-nac” Stradivarius. Please see insert for notes on the program.

Friday, January 16, 2015, 8 p.m.


FRIDAY, JANUARY 16, 2015, 8 P.M.

●Washington Performing Arts

Celebrity Series Presents

Gil Shaham, violinJohann Sebastian Bach

The Six Sonatas and Partitas for Unaccompanied Violin

Sonata No. 1 in G minor for Johann Sebastian Bach Unaccompanied Violin, BWV 1001 (1685-1750) Adagio Fuga: Allegro Siciliano Presto

Partita No. 1 in B minor for Unaccompanied Violin, BWV 1002 Allemande Double: Presto Corrente Double Sarabande Double Bourrée Double

INTERMISSION

Sonata No. 2 in A minor for Unaccompanied Violin, BWV 1003 Grave Fuga Andante Allegro

Partita No. 2 in D minor for Unaccompanied Violin, BWV 1004 Allemande Courante Sarabande Gigue Chaconne

INTERMISSION

Sonata No. 3 in C Major for Unaccompanied Violin, BWV 1005 Adagio Fuga Largo Allegro assai

Partita No. 3 in E Major for Unaccompanied Violin, BWV 1006 Preludio Loure Gavotte en Rondeau Menuet I and II Bourrée Gigue

This performance is generously supported by Miriam and Eliezer Benbassat.


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Günther Herbig, conductor Günther Herbig left behind the challenging polit-ical environment of East Germany and moved to the United States in 1984, where he has since con-

ducted all of the top-tier orchestras in North America. He has also led all of the major orchestras in Europe and the Far East.

Herbig has held posts that include music director of the Detroit Sympho-ny Orchestra and the Toronto Sym-phony Orchestra; principal guest con-ductor of both the Dallas Symphony Orchestra and the BBC Philharmonic, and general music director of both the Dresden Philharmonic Orchestra and

Berlin Symphony Orchestra. Former artistic advisor of the National Sym-phony Orchestra of Taiwan, he is now their conductor laureate. He is princi-pal guest conductor of Las Palmas de Gran Canaria, Canary Islands, Spain.

Recording more than 100 works, Herbig has led American tours with the Detroit Symphony Orchestra, in-cluding a critically acclaimed perfor-mance in Carnegie Hall. With the Toronto Symphony Orchestra, he toured the Far East and Europe.

Alon Goldstein, piano Alon Goldstein’s musical intelligence, artistic vision and innovative pro-gramming have made him a favorite with audiences throughout the Unit-ed States, Europe and Israel. In re-cent seasons Goldstein has performed with the Los Angeles Philharmonic;

Philadelphia Or-chestra; St. Louis; Vancouver; the Rhode Island Philharmonic; and orchestras on tour in Paris, Rus-sia and Bulgaria.

His 2014-15 season includes appearances with the Baltimore Symphony Orchestra, Israel Chamber Orchestra, George Enescu Philharmonic Orchestra, New Jersey Symphony Orchestra, Ars Viva Sym-phony Orchestra and Symphony in C. He will perform recitals in Wash-ington, D.C; at The Dame Myra Hess Memorial Concerts in Chicago; the International Keyboard Institute and Festival in New York; Northeast King-dom Classical Arts Series; and con-certs throughout Israel, Canada and Spain. He will perform in chamber music roles, the Ariel Quartet and in nationwide performances as part of both the Goldstein-Peled-Fiterstein Trio and The Tempest Trio. An advo-cate for education, Alon will partici-pate in teaching engagements and ex-tended residencies across the country.

Program NotesPiano Concerto No. 21 in C Major, K. 467

Wolfgang Amadeus MozartBorn Jan. 27, 1756, in Salzburg, Austria; died Dec. 5, 1791, in Vienna

During the concert season of 1784-85, Mozart was at the peak of his popular-ity as a piano virtuoso in Vienna. And, unlike today’s concert pianists, he cre-ated his own repertoire. From 1784 to 1786, the continual demand for new works with which to dazzle his audi-ences brought forth 12 of the greatest piano concertos ever written—concer-tos in which Mozart was not content simply to cater to popular taste. Instead, he enjoyed stretching both himself and his audiences, and his Piano Concerto No. 21 in C Major, K. 467 is a splendid example of his ability simultaneously to seduce and challenge his listeners.

Even before Swedish director Bo





Bruckner Symphony No. 8Günther Herbig, conductor

Alon Goldstein, piano

Piano Concerto No. 21 in C Major, K. 467 Wolfgang Amadeus Mozart [Allegro maestoso] (1756-1791) Andante Allegro vivace assai Alon Goldstein

INTERMISSION

Symphony No. 8 in C minor Anton Bruckner Allegro moderato (1824-1896) Scherzo: Allegro moderato - Trio: Langsam Adagio: Feierlich langsam, doch nicht schleppend Finale: Feierlich nicht schnell


The Wagner Tuben used in this concert are a gift from Beth Green Pierce in memory of her father, Elwood I. Green.


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score of No. 8 to his friend, the noted conductor Hermann Levi. But despite his admiration for No. 7, Levi found he could not comprehend this longest and most mystical of Bruckner’s scores. Re-gretfully, he sent word he couldn’t per-form it and suggested revisions.

Bruckner was devastated. Levi’s re-jection led to a crisis of confidence that lasted for years and undoubtedly pre-vented the aging composer from com-pleting Symphony No. 9. Not only did he revise his No. 8, but with the eager assistance of his pupils Josef and Franz Schalk and Ferdinand Löwe, he rewrote symphonies nos. 1 through 4 as well. Although the revision of No. 8, completed in 1890, did actually strengthen Bruckner’s original concept, the work on the other symphonies did more harm than good, as Löwe and the Schalks took substantial cuts and made the orchestrations more sumptuous and Wagnerian. Despite his acquiescence, Bruckner still stubbornly believed in his original versions and carefully pre-served them “for the future.”

In the 1930s, the International Bruckner Society, under the direction of Robert Haas, tried to straighten out the resulting mess by issuing editions of the symphonies cleansed of the cuts and embellishments made by Bruckner’s pupils. In the problematic case of No. 8, Haas used some creative license. Rec-ognizing that the 1890 revision was in many ways superior, he published that version but with some material in the third and fourth movements restored from the 1887 original. A later edition by Leopold Nowak took a “purer” ap-proach by not including the 1887 ma-terial. Günther Herbig has chosen to perform a version that is a hybrid of the Haas and Nowak editions.

Listening to BrucknerTo enter into the world of a Bruckner symphony—and especially into the vi-sionary splendor of Symphony No. 8, the composer’s longest and by general consent his greatest—listeners must readjust their 21st-century internal clocks. Inspired by Wagner’s tremen-dous expansion of the operatic form,

symphonists. In his own day, he con-fused both his supporters—leading them to undertake extensive editing of his works to make them conform better to contemporary norms—and his detractors, among them the re-doubtable Viennese critic Eduard Hanslick, who savaged most of his symphonies at their premieres. In our own day, a significant number of concertgoers react to him with in-comprehension and boredom.

Labeled by his contemporaries “the Wagner symphonist,” Bruck-ner actually wrote symphonies that are anything but the Romantic/Wag-nerian celebration of self. Instead they are spiritual quests, homages to God in whom he fervently believed and whom he sought to glorify in his music. “Each of his symphonies is in reality one gigantic arch which starts on Earth in the midst of suffering hu-manity, sweeps up towards the heav-ens to the very Throne of Grace, and returns to earth with a message of peace,” writes biographer Hans-Hu-bert Schönzeler.

The man Bruckner was is unusual as his music. Born in rural Upper Austria to a family of sturdy peasant origins, he was the latest bloomer of all the major composers. His early life was devot-ed to teaching and service as organist in a series of local churches, including the great Baroque abbey of St. Florian. With great reluctance, he left his pro-vincial sanctuary for Vienna in 1868 at the ripe age of 44. There he wrote his last eight symphonies while build-ing a legend at the Vienna Conserva-tory as a belovedly eccentric teacher of music theory. So devout a Catholic was Bruckner that students recalled his interrupting classes to kneel in prayer at the sound of the Angelus bell from nearby St. Stefan’s Cathedral.

As Bruckner completed his Sym-phony No. 8 at age 63, he was at the peak of his powers. In performances in Germany and Vienna during 1885 and 1886, his Symphony No. 7 had brought him the greatest acclaim of his career. In September 1887, convinced that he had created his finest work, he sent the

Widerberg made its slow movement the theme music of his film Elvira Ma-digan in the 1970s, this was one of the most popular of Mozart’s concer-tos. But when it premiered on March 10, 1785, the composer’s father, Leo-pold, was so alarmed by its dissonance that he thought the overworked copyist must have made an unusual number of mistakes. After all, his son was notori-ous for barely meeting his deadlines and had just completed the score the day before the premiere. But the notes were correct. In the sublime slow movement, Mozart demonstrated what the poet Baudelaire put into words a century later: “The Beautiful is always strange.”

This second movement is a soar-ing aria sung by pianist and orches-tra, always hushed and breathing a nocturnal, dreamlike atmosphere. The orchestration is exquisite: muted strings magically blended with poignant woodwinds. But lis-ten closely: In this song without words, soothing consonances con-stantly tumble into dissonances. Its harmonies always yearn toward keys far from the home key of F major. And its gentle flow is troubled by a nervous accompaniment.

Of course, this concerto also has two other movements, and the first espe-cially matches the slow movement’s greatness. Expansive and leisurely, it is a remarkably subtle military march, with its stealthy opening “a tiptoed march in stocking feet” (Cuthbert Girdlestone). Listen for the charming gesture of oboe, bassoon and flute gently beckoning the pianist onto the stage for his first solo.

The finale is a comic-opera rondo with a sly refrain and merrily mis-chievous contributions from the woodwinds. Here Mozart wakes his audience from the yearning dream of his slow movement and sends them home smiling.

Symphony No. 8 in C minor

Anton BrucknerBorn Sept. 4, 1824, in Ansfelden, Austria; died Oct. 11, 1896 in Vienna

Anton Bruckner is perhaps the most misunderstood of the great



Against this primeval background, we hear a disturbed, questioning theme leaping upward on jagged rhythms, then drooping backward. After each pause, it grows a little more. Bruckner interrupts its close and cadence on C minor with a more dramatic state-ment of the theme that veers farther from home. Violins then introduce the gentler second theme group, be-ginning with a rising scale; this, too, is repeated in variation and reach-es a noble summit. A third and final thematic group features loud down-ward cascades in antiphonal groups of instruments playing together in a mighty “Bruckner unison.”

But the music soon darkens and loses its way. The movement expresses humanity’s plight on Earth, and here questions are not easily answered, nor goals reached. A huge climax reprises the opening theme and marks a tem-porary arrival home in C minor. But subsequent events undermine this se-curity, and the movement ends in a tragic coda, added by Bruckner in his 1890 revision of the score. He called it the “Death Watch” and likened it to a dying man watching a clock ticking steadily as his life ebbs.

The second-movement scher-zo in C major has been transformed from its rural Austrian dance origins to something huge and cosmic. Simp-son likens it to “a celestial engine”; to this writer, it sounds like a heavenly carillon or the peal of God’s laugh-ter. Descending bell peals juxtaposed against ascending ones form the the-matic substance. This scherzo encloses a lengthy trio section in A-flat. Lyrical and serene, it suggests Bruckner’s rural Austrian roots and contains some of his loveliest orchestral writing, em-phasizing the warm colors of horns, strings and harps.

Movement three, in D-flat major, is one of the greatest adagios created by the man Austrians dubbed the Adagio-Komponist for his tragic eloquence in slow movements. Composed of varia-tions of two large thematic groups, it of-fers, after much striving, a fleeting vi-sion of Heaven to the yearning soul.

Over pulsing strings, we hear a sighing melody in the violins. This grows into a labored climb toward God, plung-es briefly back to the depths, then mi-raculously reaches a heavenly vision of radiant violins and harps. The whole process is then repeated in somewhat condensed form. Cellos next intro-duce the beautiful second theme group, more passionate and yearning; it also includes a wonderful, mellow passage for the horns and Wagner tubas. Two more cycles expand and develop these thematic elements. And here we have a spectacular example of Bruckner’s climax-building technique of breaking off just short of the summit and falling back to build higher still. When the cli-max is finally reached, it is followed by the most soaring version of the “vision of Heaven” music. This, too, is fleeting, but in a magnificent coda Bruckner ex-presses his confidence that he will ulti-mately reach Heaven.

Buoyed by his vision and still in the key of D-flat, Bruckner opens his fina-le with a burst of joyous energy. Over galloping strings, horns and trom-bones blare out a darkly triumphant theme. Then comes a pause and the contrast of a lushly contrapuntal sec-ond theme for strings. Another pause and Bruckner brings on a sturdy clod-hopping march for his “Bruckner uni-son” third theme. Then the drama ensues as Bruckner undertakes the ar-duous search for C-minor home. Three times the brass try to muscle their way in with the main theme, always in the wrong key. When they finally succeed, the recapitulation is tremendous with trumpets intensifying the gallop. After a wonderful contrapuntal setting of the rustic march, brass brutally cut in with the questioning theme that opened the symphony well over an hour ago. But now questions have been answered, and Heaven is in sight. Bruckner tri-umphantly combines the principal themes of all four movements. With a unison shout, the entire orchestra turns the question theme into a joyous C-major affirmation.



Bruckner conceived his symphon-ic movements on a very broad scale. Even when his tempos are not actual-ly slow, his music still seems leisurely. Bruckner themes are very long: built cumulatively from many elements. Fortunately, he initially presents them twice, which helps us fix them in our minds for the considerable duration of his movements. His harmonic strat-egies are even more protracted: har-monies often change slowly, and the home key becomes a distant goal ap-proached by a very circuitous route. Actually, Bruckner’s model for No. 8 is less Wagner than Beethoven’s Sym-phony No. 9.

Bruckner has been unfairly ac-cused of writing for immense, swol-len orchestras in the manner of Wagner or Mahler. In fact, he was a master of achieving monumen-tal effects from moderate orches-tral means. For the Symphony No. 8, he employed his largest ensem-ble, but its only special additions are the eight horns—four of them dou-bling on Wagner tubas (a hybrid of horn and tuba devised for the Ring operas)—plus two harps for the sec-ond and third movements. Bruck-ner’s orchestral sound is unique and extraordinarily effective. Like the great organist he was, he juxtaposed contrasting blocks of wind, brass or string sound much as an organist moves to different manuals with new stop combinations. His strategy for building his immense climaxes was to fall continually short of the sum-mit and build again to achieve truly Olympian heights.

Just as we allow our pulse to slow when we enter a cathedral, so must we turn off our cell phones and surren-der ourselves to a world beyond time as we listen to this composer. In the words of Robert Simpson, Bruckner’s art has “a special appeal in our time to our urgent need for calm and sanity, for a deep stability in the world, what-ever our beliefs, religious or other.”

First Movement: The symphony begins with the characteristic Bruck-ner sound of hushed tremolo violins.

About Step Afrika!Step Afrika! is the first professional company in the world dedicated to the tradition of stepping. Founded in De-cember 1994, the company is celebrated worldwide for its efforts to promote an appreciation for stepping and the dance tradition’s use as an educational tool for young people. Step Afrika! reach-es tens of thousands of Americans each year and has performed on many stages in North and South America, Europe, Asia, Africa, and the Caribbean.

Based in Washington, D.C., Step Afrika! is the city’s first and only

cultural ambassador representing D.C. and nation at events around the world. The company is a nation-al model for the use of stepping in education, espousing themes such as teamwork, academic achievement, and cross-cultural understanding.

Step Afrika! blends percussive dance styles practiced by historically African-American fraternities and so-rorities, African traditional dance, and influences from a variety of other dance and art forms.

Step Afrika! holds workshops, resi-dency programs, and a variety of arts

education activities for K-12 and col-lege students in Washington, D.C., and in cities around the world.

C. Brian WilliamsC. Brian Williams is a native of Hous-ton, Texas, and graduate of Howard University. He learned to step as a mem-ber of Alpha Phi Alpha Fraternity, Inc.–Beta Chapter and launched the histor-ic Step Afrika! International Cultural Festival in partnership with the Soweto Dance Theater in December 1994.

Williams has performed, lectured, and taught all over the world. He has been cited as a “Nation Build-er” by the National Black Caucus of State Legislators; one of Washington, D.C.’s “arts innovators” by Washing-tonian magazine; and earned the Pola Nirenska Award for Contemporary Achievement in Dance.

Williams is the recipient of an art-ist fellowship, numerous awards from the D.C. Commission on Arts and Humanities, and the Mayor’s Art Award for Innovation in the Arts. He is featured in “Soulstepping: Af-rican American Step Shows,” the first book to document the history of stepping. Under Williams’ leader-ship, stepping has evolved into one of America’s newest cultural exports and inspired the designation of Step Afrika! as Washington, D.C.’s official cultural ambassador.


SUNDAY, JANUARY 18, 2015, 4 P.M.

●Strathmore Presents

Step Afrika! Step XplosionC. Brian Williams, Founder and Executive Director

And featuring the local step groups:K.A.O.S.S. Entertainment, Inc. (Kids Always On the Same Step)

Dem Raider Boyz Step Squad QuaDrew Step Team

Blue Assassin Step Squad The Main Event Step Team of Lambda Sigma Upsilon Latino Fraternity, Inc.

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Jack Everly, conductor Jack Everly is the principal pops con-ductor of the In-dianapolis and Bal-timore symphony orchestras, Naples Philharmonic Or-

chestra and the National Arts Centre Orchestra (Ottawa). He has conduct-ed the Los Angeles Philharmonic at the Hollywood Bowl, The New York Pops at Carnegie Hall and appears

regularly with The Cleveland Orches-tra at Blossom Music Center. This sea-son, Everly will conduct more than 90 performances in more than 20 North American cities.

As music director of the National Memorial Day Concert and “A Capitol Fourth” on PBS, Everly leads the Na-tional Symphony Orchestra in these patriotic celebrations on the National Mall. These concerts attract hundreds of thousands attendees on the lawn and the broadcasts reach millions of viewers

and are some of the very highest rated programming on PBS television.

Originally appointed by Mikhail Baryshnikov, Everly was music direc-tor of the American Ballet Theatre for 14 years. In addition to his ABT ten-ure, he teamed with Marvin Hamlisch on Broadway shows that Hamlisch scored. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions.

Everly, a graduate of the Jacobs School of Music at Indiana Universi-ty, holds an honorary doctorate of arts from Franklin College in his home state of Indiana. He is a proud resi-dent of the Indianapolis community for over 12 years and when not on the podium you can find Everly at home with his family, which includes Max the wonder dog.

Jason Alexander Jason Alexander is undoubtedly best known for his icon-ic portrayal of hap-less George Costanza on the legendary hit show “Seinfeld.” The

series continues to play around the world, showcasing the reason Alex-ander received seven Emmy nomina-tions, four Golden Globe nominations, two American Television Awards, two American Comedy Awards and two Screen Actor Guild awards.

Initially focusing on the Broad-way stage, Alexander has starred in the original production of Sond-heim’s Merrily We Roll Along as well as The Rink, Neil Simon’s Broadway Bound and Jerome Robbins’ Broadway, a musical revue. Alexander both au-thored and starred in Jerome Robbins’ Broadway, playing 14 roles each night and winning a Drama Desk, Outer Critic Circle and Tony Award for Best Musical Actor. Even after moving to Los Angeles, he continued his dedica-tion to the theater by becoming the ar-tistic director of Reprise Theatre Com-pany and triumphantly starring with Martin Short in the Los Angeles pro-duction of Mel Brooks’ The Producers.

THURSDAY, JANUARY 22, 2015, 8 P.M.


Marin Alsop, Music Director

Jack Everly, Principal Pops Conductor

Presents

An Evening with Jason AlexanderJack Everly, conductor

Overture to Gypsy Jule Styne and Stephen Sondheim, arr: Ramin/Ginzler

Overture to Peter Pan Jule Styne, Betty Comden, Adolph Green, Mark Charlap and Carolyn Leigh, arr. Everly

“March of the Siamese Children” Richard Rodgers and Oscar Hammerstein, from The King and I arr: Robert Russell Bennett

Overture to Bells Are Ringing Jule Styne, Betty Comden and Adolph Green, arr. Salinger/Everly

Overture to West Side Story Leonard Bernstein and Stephen Sondheim, arr: Peress

INTERMISSION

“An Evening with Jason Alexander”Jason Alexander

Keith Harrison, accompanistKate Fisher, vocals

The program will be announced from stage.

Presenting Sponsor: Total Wine & More


Thursday, January 22, 2015, 8 p.m.

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Iván Fischer, music directorIván Fischer is founder and music di-rector of the Budapest Festival Orches-tra and music director of the Konzer-thaus and the Konzerthausorchester in Berlin. Recently he has been also

active as a composer: His works have been performed in the United States, Holland, Belgium, Hungary, Germany and Austria. He also staged successful opera performances, recently a Mozart cycle in Budapest and New York.

Both in Berlin and Budapest, he has developed and introduced new types of concerts, “cocoa-concerts” for young chil-dren, surprise con-certs where the

program is announced from the stage; public dress rehearsals, where he talks to the audience; open-air concerts at-tracting tens of thousands of people; and staged concerts, combining concert and theater. He has founded several festi-vals, including the Budapest Mahlerfest, which is also a forum for commissioning and presenting new compositions, and the Bridging Europe festival.

Fischer is a founder of the Hungar-ian Mahler Society, and patron of the British Kodály Academy. He received the Golden Medal Award from the president of the Republic of Hunga-ry, and the Crystal Award from the World Economic Forum for his ser-vices to help international cultural relations. In 2006 he was honored with the Kossuth Prize, Hungary’s most prestigious arts award. He is an honorary citizen of Budapest. In 2011 he received the Royal Philharmonic Award and the Dutch Ovatie prize.

Pinchas Zukerman, violinPinchas Zuker-man has remained a phenomenon in the world of music for over four de-cades. His musi-cal genius, pro-digious tech-nique and un-

wavering artistic standards are a marvel to audiences and critics.

Pinchas Zukerman’s 2014-2015 season includes over 100 worldwide performances, bringing him to mul-tiple destinations in North Amer-ica, Europe, Africa, Asia and Aus-tralia. He completes his 16th and final season as music director of the National Arts Centre Orchestra of Ottawa, with whom he toured the




Celebrity SeriesPresents

Budapest Festival OrchestraIván Fischer, music director

Pinchas Zukerman, violinAnna Lucia Richter, soprano

Barbara Kozelj, mezzo-sopranoPro Musica Girls’ Choir (Nyíregyháza/Hungary)

Overture to The Magic Flute, Wolfgang Amadeus Mozart (1756-1791)

Violin Concerto No. 5 in A Major, Wolfgang Amadeus Mozart K.219 “Turkish” Allegro aperto; Adagio; Allegro aperto Adagio Rondo: Tempo di Menuetto

INTERMISSION

Incidental Music to A Midsummer Felix Mendelssohn Night’s Dream, Op. 61 (1809-1847) Overture Scherzo Melodrama March of the Fairies Song with Chorus: “Ye Spotted Snakes” Melodrama Intermezzo Melodrama Nocturne Melodrama Wedding March Melodrama Funeral March The Dance of the Clowns Melodrama Finale



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United Kingdom in October 2014. In his sixth season as principal guest conductor of the Royal Philharmonic Orchestra in London, he leads the ensemble in concerts at home in the United Kingdom as well as on its January 2015 tour of Florida.

A devoted and innovative peda-gogue, Zukerman chairs the Pin-chas Zukerman Performance Pro-gram at the Manhattan School of Music, where he has pioneered the use of distance-learning technol-ogy in the arts. In Canada, he has established the NAC Institute for Orchestra Studies and the Sum-mer Music Institute encompass-ing the Young Artists, Conductors and Composers Programs.

Born in Tel Aviv in 1948, Zuker-man came to America in 1962, where he studied at The Juilliard School with Ivan Galamian. He has been award-ed the Medal of Arts, the Isaac Stern Award for Artistic Excellence and

was appointed as the Rolex Men-tor and Protégé Arts Initiative’s first instrumentalist mentor in the music discipline. Zukerman’s extensive dis-cography contains over 100 titles, and

has earned him two Grammy awards and 21 nominations.

Please see insert for notes on the program and additional artist bios.



Iván Fischer, music directorStefan Englert, executive directorBence Pócs, tour managerRita Szabó, tour assistantRóbert Zentai, stage managerSándor Kathi, technicianInga Petersen, personal assistant to Maestro FischerFirst ViolinsVioletta Eckhardt Ágnes Bíró Mária Gál-Tamási Radu Hrib Erika Illési István Kádár Péter Kostyál Eszter Lesták Bedő Gyöngyvér Oláh Gábor Sipos Emese GulyásCsaba Czenke

Balázs Bujtor Zoltán Tuska Second ViolinsJános Pilz Györgyi Czirók Tibor Gátay Krisztina Haják Zsófia Lezsák Levente Szabó Zsolt Szefcsik Antónia Bodó Noémi Molnár Anikó Mózes Zsuzsa Szlávik Zsuzsa Berentés

ViolasÁgnes Csoma Miklós Bányai Judit Bende Cecília Bodolai Zoltán Fekete Barna Juhász Nikoletta Reinhardt Nao Yamamoto Csaba Gálfi László Bolyki

CellosPéter Szabó Lajos Dvorák Éva Eckhardt György Kertész Gabriella Liptai Kousay Mahdi György Markó Orsolya Mód Double BassesZsolt Fejérvári Károly Kaszás Géza Lajhó László Lévai Attila Martos Csaba Sipos FlutesErika Sebők Anett Jóföldi OboesVictor AviatEva NeuszerovaClarinetsÁkos Ács Roland Csalló

Bassoons Moritz WinkerDániel Tallián Sándor Patkós

HornsZoltán Szőke András Szabó Dávid Bereczky Zsombor Nagy TrumpetsZsolt Czeglédi Tamás Póti Zoltán Tóth TrombonesBalázs Szakszon Attila Sztán Justin ClarkTubaJózsef Bazsinka TimpaniRoland Dénes Percussion László Herboly István Kurcsák

Budapest Festival Orchestra

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Piotr Gajewski, conductor For Piotr Gajewski’s biography, please refer to page 29.

Justine Lamb-Budge, violinViolinist Justine Lamb-Budge is bringing “youthful vibrancy” to or-chestral performances on stages

across North America and Europe. Lamb-Budge is principal second

violinist of Symphony in C, associ-ate concertmaster of the Curtis Sym-phony Orchestra, and frequently performs with the Philadelphia Or-chestra. She has participated in the Verbier, Tanglewood, NYSOS and

Aspen music festivals, and has performed throughout the United States, Germany, Swit-zerland and Puer-to Rico.

Victoria Chiang, viola

Victoria Chi-ang is an artist-faculty member of the Peabody Conservatory of Music, where she serves as coordi-nator of the viola department.

Her most recent recording of the viola concertos of Stamitz and Hoff-meister was released for Naxos to critical acclaim. Other recordings include Pleyel Sinfonia Concertante for Violin and Viola also on Naxos, as well as a recording of Shostakov-ich and Roslavets viola sonatas.

Julius Wirth, violaJulius Wirth is a highly regard-ed and much sought after vi-olist locally as well as nation-ally. Presently

principal violist of the Baltimore Chamber Orchestra, Harrisburg Symphony and the National Phil-harmonic, he is also a member of the Baltimore Opera Orchestra, Concert Artists of Baltimore, Key West Symphony and the Berkshire Opera Company.

Wirth has appeared as soloist with the Baltimore Chamber Orchestra, Concertante Chamber Ensemble, the Harrisburg Symphony and the Na-tional Arts Chamber Orchestra. He has appeared with such artists as Mi-chael Tilson Thomas, Paul O’Dette and Saschko Gawriloff. He is a found-ing member of the Wilde Quartet and the Windemere Ensemble and is pres-ently a member of the Umoja String

Saturday, January 24, 2015, 8 p.m. and Sunday, January 25, 2015, 3 p.m.


SATURDAY, JANUARY 24, 2015, 8 P.M. SUNDAY, JANUARY 25, 2015, 3 P.M.


Piotr Gajewski, Music Director and ConductorPresents

Bach’s BrandenburgsPiotr Gajewski, conductor

Justine Lamb-Budge, violin Victoria Chiang, viola

Julius Wirth, viola David Whiteside, flute Nicolette Oppelt, flute

Mark Hill, oboe Chris Gekker, trumpet

Brandenburg Concerto No. 3 in G Major Johann Sebastian Bach Allegro (1685-1750) Adagio Allegro

Brandenburg Concerto No. 6 in B-flat Major Allegro Adagio ma non tanto Allegro

INTERMISSION

Brandenburg Concerto No. 4 in G Major Allegro Andante Presto

Brandenburg Concerto No. 2 in F Major Allegro Andante Allegro assai

Weekend Concerts Sponsor: Ameriprise Financial Sunday Concert Sponsor: Ingleside at King Farm



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Born March 21, 1685, in Eisenach, Germany; died July 28, 1750, in Leipzig, Germany

Between 1717 and 1723, Bach served Prince Leopold of Anhalt-Cöthen as director of chamber music and court conductor, and it was during this period that he com-posed most of his music for instru-mental ensemble. When Prince Leopold went to Carlsbad to take the waters in 1718 and 1720, Bach and several court musicians traveled with him. It was probably on one of these trips that Bach met Christian Ludwig, Margrave of Brandenburg, a devoted amateur musician who collected concertos as one might collect coins or stamps, and who commissioned from Bach a set of-concertos for his collection.

Each concerto in the set that Bach sent to Brandenburg is written for a different combination of in-struments. Each was composed with great care and was probably tried out in Cöthen before being sent to the Margrave on March 24, 1721, with an elaborate, obsequious let-ter of dedication in French, under the simple title “Six Concertos with Several Instruments.”

The concertos were probably never performed at Brandenburg, for the parts show no signs of use. When the Margrave died in 1734, his library was divided into two lots. In the second lot (of 77 lesser con-certos) were the six masterpieces by Bach, each one valued at four gro-schen, the equivalent today of a few cents. Eventually, the manuscript score came into the possession of Bach’s pupil, Johann Philipp Kirn-berger, who bequeathed them to Frederick the Great’s sister, Princess Amalie of Prussia, whom he served as music director. They were pub-lished for the first time in 1850, a century after the composer’s death. Although the Margrave of Branden-burg seems to have forgotten that he owned the concertos, Bach did not forget that he had written them, for in later years he adapted at least one of them to another use.

Mark Hill, oboe Mark Hill has earned a wide reputation as an oboe and Eng-lish horn soloist, chamber musi-cian, orchestral player, recording artist and teach-

er. Currently principal oboe of the National Philharmonic, his orches-tral experience includes performanc-es with the New York Philharmonic, the New York Chamber Symphony, Orpheus, and the National and Balti-more symphony orchestras.

In the area of chamber music he has appeared and collaborat-ed with such artists as the Cham-ber Music Society of Lincoln Cen-ter, the Guarneri String Quartet, the New York Woodwind Quintet, the Bach Aria Group, the Mendels-sohn String Quartet, Claude Frank, Jaime Laredo, Paula Robison, the Sylvan Winds and the Left Bank Concert Society.

Chris Gekker, trumpetChris Gekker, principal trum-pet of the Na-tional Philhar-monic, has been a featured soloist at concert halls throughout the United States,

Europe and Asia. The New York Times has described his playing as “clear toned and pitch perfect.”

Currently a professor of trumpet at the University of Maryland, Gek-ker was a member of the American Brass Quintet for 18 years, and on the faculties of the Juilliard School, the Manhattan School of Music and Co-lumbia University.

Program NotesBrandenburg Concerti, Nos. 2, 3, 4 and 6

Johann Sebastian Bach

Quartet. He is also a composer, pia-nist and violinist.

Wirth holds a bachelor’s degree from the Eastman School of Music, where he studied with Francis Tursi, Jefferey Ir-vine and Marcus Thompson. His mas-ter’s degree studies took him to the Pea-body Conservatory, where he worked under the tutelage of Karen Tuttle.

David Whiteside, flute David Whiteside is principal flutist with the Nation-al Philharmonic, flutist with the Verge Ensemble of the Contempo-rary Music Forum and performs and

teaches at festivals in Burgos, Spain; St. Petersburg, Russia; Castelnuovo di Garfagnana, Italy; and at the Summit Music Festival in New York.

Solo appearances include the Bos-ton Pops, the Manhattan Philhar-monic and the St. Cecilia Orches-tra, broadcast nationally on NPR’s “Performance Today.”

Nicolette Oppelt, fluteFlutist Nicolette Oppelt was born in Amstelveen, the Netherlands, and began study-ing flute at age 11 with Hans van Loenen, princi-pal flutist of the

Gelder’s Orkest in Arnhem. After immigrating with her family to Char-lotte, N.C., in 1977 she attended the University of North Carolina School of the Arts for both high school and college, studying with Philip Duni-gan. While there, she was a two-time winner of the school’s concerto com-petition. She also appeared as a solo-ist on the Dutch national television show “Jonge Mensen op weg naar het Concertpodium” (“Young People on Their Way to the Concert Stage”) with her father, conductor Leo Drie-huys, on the podium. H

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though there was a tradition in which concerto final movements were lighter in texture and mate-rial, this exuberant final Presto, a dashing fugue of dazzling virtuos-ity, becomes interrupted just before its end by smashing chords derived from the fugue subject.

Brandenburg Concerto No. 2 is set for four soloists with strings and basso continuo. The solo in-struments in Bach’s time were all somewhat different from the mod-ern equivalents: the flute and vi-olin softer in tone, and the oboe coarser. The trumpet and trumpet playing have changed the most. Trumpets then had no valves to help the musician produce the re-quired notes from his instrument. Instead, some trumpeters were es-pecially trained to play in the high-est register, where the natural notes are close together and changes of breath and lip pressure were used to pick out the sounds desired. With the change in musical styles that took place in the middle of the 18th century, this special skill dis-appeared completely, and when the Brandenburgs were rediscovered, Concerto No. 2 could be played only with makeshift substitutions or alterations in the trumpet part. Since the middle of the 20th cen-tury, this part has most often been played on a small version of the modern trumpet, often referred to as a Bach trumpet, which makes it possible, though very difficult, to play the part as Bach wrote it.

The first movement is a jaunty Allegro in which the four solo in-struments converse among them-selves and with the rest of the or-chestra. The middle movement, Andante, is scored only for solo flute, oboe and violin with basso continuo. The final Allegro assai is in fugal style, but the sparkling music is so high-spirited that the “learned” character of its complex counterpoint goes almost unnoticed.


the themes presented for imitation. Here he uses many ingenious and fascinating variations. As Jonathan Kramer has noted, Bach helps the listener hear his intricate imitation techniques by “restricting the ac-companiment to the simplest of ma-terials—repeated notes articulating slowly changing harmonies.”

In the lush and languid second movement Adagio, the gambas are completely silent, and Bach effec-tively writes a trio for violas and cello with continuo accompani-ment. Again, he uses imitation with long spans of time between entrances of the theme. The movement ends in a different key than that in which it began. The final movement, a gigue, has syn-copated figures against the steady, striding bass. Exuberant solo lines demanding virtuosity appear against the larger body in concer-to grosso fashion, with the solo group in relief against the larger body of strings.

Bach’s chosen combination for Brandenburg Concerto No. 4 was solo violin with a pair of flutes or recorders, a particularly felicitous mix of instruments, offering a range of effects from brilliant virtuosity to compelling sweetness. In the Alle-gro first movement, the solo group of a violin and two recorders or flutes is very much in the forefront, and the opening phrase, which later recurs as a ritornello between pas-sages of contrasting material, is al-most the only one in which the violin is not clearly the leading in-strument. The movement has buoy-ancy and a broad dance-like feel. The violin part in this concerto is often a great deal more difficult than in any of Bach’s violin concer-tos. In the central Andante, Bach does not reduce the orchestra, as he does in the other Brandenburgs, and he writes contrasting echo ef-fects for the large and small bod-ies of instruments, using an opposi-tion of groups that is usual for the concerto grossi of the time. Even

The Brandenburg Concerto No. 3 has only two movements, both of them Allegro. Two Adagio chords separate them in a cadence that provides a framework for an impro-vised, ornamental keyboard cadenza (which is the Italian word for “ca-dence”), if the performers so wish. Bach set both movements in the key of G major, but the differences in meter, rhythm, form and texture provide a great deal of contrast be-tween them. Only strings are used (with a keyboard for the continuo, of course): three violins, three vi-olas, three cellos and double bass. Bach writes for the strings in great-ly varied ways. The instruments of each group are variously treated: as a homogeneous choir playing in unison or in independent parts, or in combination with the individ-ual parts from the various groups joined. In the entire second move-ment and in about half of the first, the three cello parts are actually re-duced to one single part. With this concentration, Bach provides the bass line with even more emphatic power than usual. In the Baroque era, the bass could often be consid-ered functionally more important than the upper parts.

Brandenburg Concerto No.6 takes the form of a concerto gros-so, a commonly used Baroque musi-cal structure in which small groups of solo players are set in contrast and in competition with a larger or-chestra of strings. The form uses a concertino, a small grouping and a ripieno, the full body of strings, in alternation. Bach’s groupings have a dark sound, but in sections of both the fast movements, he maintains a slow harmonic motion, allowing the bass notes to retain clarity and indi-viduality. In this work, the smaller group of the two solo violas, some-times joined by the cello, is made to contrast with the larger body of strings. In the unusual contrapun-tal opening movement, Bach var-ies both the pitch interval and the time interval he allows between



Ladysmith Black MambazoIn 2014, Ladysmith Black Mambazo celebrated more than 50 years of joy-ous and uplifting music. Within the members’ singing are the intricate rhythms and harmonies of their native South Africa’s musical traditions.

Ladysmith Black Mambazo was as-sembled in the early 1960s by Jo-seph Shabalala, then a young farm-boy turned factory worker. Ladysmith is the name of Joseph’s hometown, a small farming area between Dur-ban and Johannesburg; Black refers

to the oxen, the strongest of all farm animals; and Mambazo, the Zulu word for chopping axe, is a symbol of the group’s ability to “chop down” any singing rival. Their collective voices were so tight and their harmo-nies so polished that by the end of the 1960s they were banned from compe-titions, although they were welcome to participate as entertainers.

A radio broadcast in 1970 opened the door to the group’s first record contract—the beginning of an ambi-tious discography that includes more

than 50 recordings. The group sings from a traditional music called isi-cathamiya (is-cot-a-ME-Ya), which developed in the mines of South Africa, where black workers were taken by rail to work far away from their homes and their families. Poorly housed and paid worse, the mine workers would entertain them-selves after a six-day week by singing songs into the wee hours on Sunday morning. When the miners returned to the homelands, this musical tradi-tion returned with them.

During the 1970s Ladysmith Black Mambazo established itself as the most successful singing group in South Africa. In the mid-1980s, Paul Simon visited South Africa and in-corporated the group’s rich harmonies into his famous Graceland album—a landmark recording that was con-sidered seminal in introducing world music to mainstream audiences. A year later, Simon produced Ladysmith Black Mambazo’s first worldwide re-lease, Shaka Zulu, which won a Gram-my in 1988. Since then, the group has been awarded three more Grammys—for Raise Your Spirit Higher (2004), Ilem-be (2009), and Singing For Peace Around The World (2013)—and has been nominated a total of 15 times.

Ladysmith Black Mambazo has also recorded with Stevie Wonder, Dolly Parton, Sarah McLachlan, Josh Groban, Emmylou Harris, and Melissa Etheridge, among others. The group also has pro-vided film soundtrack material for the films The Lion King, Part II, Coming to America, A Dry White Season, Cry the Beloved Country, and Invictus.

The ensemble’s newest album, Al-ways With Us, is a tribute to the group and Shabalala family matriarch, Nel-lie Shabalala, Joseph Shabalala’s wife, who passed away in 2002. This col-lection of songs is made up of record-ings Nellie made with her church choir in 2001. Ladysmith Black Mambazo has since added its voices to Nellie’s recordings to create a col-lection of hauntingly beautiful songs that are a tribute to Nellie Shabala-la’s life and memory.



Ladysmith Black Mambazo

Albert Mazibuko, vocalsAbednego Mazibuko, vocals Thulani Shabalala, vocals

Sibongiseni Shabalala, vocalsThamsanqa Shabalala, vocals

Msizi Shabalala, vocalsBabuyile Shabalalala, vocalsMfanafuthi Dlamini, vocals

Pius Shezi, vocals


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Jamie Barton, mezzo-soprano The winner of both the Main and Song Prizes at the 2013 BBC Cardiff Singer of the World Com-petition, a win-ner of the 2007 Metropolitan

Opera National Council Auditions and a Grammy nominee, American mezzo-soprano Jamie Barton has been described by The Guardian as “a great

artist, no question, with an imperturb-able steadiness of tone.”

After a 2013-2014 season that in-cluded a triumphant Adalgisa in Norma at the Metropolitan Opera, Barton returns this season to that role for her debut at the San Francisco Opera. She will be heard at the Lyric Opera of Chicago as Giovanna Sey-mour in Anna Bolena and at the Hous-ton Grand Opera as Fricka in Die Walküre, and will sing Azucena in Il Trovatore with the Cincinnati Opera. Barton’s season also includes the world premiere of Jake Heggie’s The Work at Hand with the Pittsburgh Symphony and Verdi’s Requiem with the Toronto Symphony Orchestra.

Baltimore Choral Arts SocietyFor Baltimore Choral Arts Society’s biogra-phy, please refer to page 23.

Peabody Children’s ChorusThe Peabody Children’s Chorus, founded in 1989, is dedicated to pro-viding age-appropriate vocal training for young people. The chorus brings children together to rehearse and per-form art and folk music of multiple cultures, languages, historical periods and styles. In six ensembles rehears-ing in Towson or Columbia, Md., 400 young people between the ages of 6 and 18 gain invaluable experi-ence making music in ensemble set-tings and studying ear-training and music-reading.

The Peabody Children’s Chorus has performed with groups such as the Bal-timore Chamber Orchestra, the Balti-more Choral Arts Society, the Baltimore Symphony Orchestra, Concert Artists of Baltimore, Lyric Opera Baltimore, the Morgan State University Choir and the Peabody Symphony Orchestra. The chorus has performed in London, Rome, Venice, Paris and at Carnegie Hall, and was featured on the BSO’s Naxos Amer-ican Classics Grammy-nominated re-cording of Bernstein’s Mass.

Program NotesSymphony No. 3

Gustav Mahler Born July 7, 1860, in Kalischt, Bohemia; died May 18, 1911, in Vienna

In June 1895, Gustav Mahler happily abandoned the pressures and politics of the Hamburg State Opera, where he was chief conductor, and headed for the village of Steinbach on the Atter-see, in Austria’s beautiful Salzkammer-gut lake district for a summer of com-posing. Throughout his career, Mahler pursued a double life: for nine months of the year he was one of Europe’s greatest conductors, driving his orches-tras and himself mercilessly to achieve his musical ideals; during the three summer months, he was an equally




Mahler's Third SymphonyMarin Alsop, conductor

Jamie Barton, mezzo-sopranoBaltimore Choral Arts Society

Tom Hall, directorPeabody Children’s Chorus

Doreen Falby, director

Symphony No. 3 in D minor Gustav Mahler (Erwin Ratz, 1972) (1860-1911)

Kräftig, Entschieden Tempo di Menuetto. Sehr mässig Comodo. Scherzando. Ohne Hast Sehr langsam. Misterioso Lustig im Tempo und keck im Ausdruck Langsam. Ruhevoll. Empfunden Jamie Barton Baltimore Choral Arts Society Peabody Children’s Chorus

There will be no intermission during this program.The concert will end at approximately 9:40 p.m.





driven composer, creating his songs and symphonies. In the summer of 1895, he was particularly eager to reach Stein-bach for a new symphony was ferment-ing inside—his No. 3—the subject of which would be nothing less than all of Nature: from the rocks, flowers and an-imals to mankind and God himself.

Mahler was an insatiable reader, and in the 1890s he had been engrossed with the philosophers Schopenhauer and Nietzsche. The concept of nature behind his Symphony No. 3 related more to their concepts than to a simple appreciation of nature’s beauties. “That this nature hides within itself everything that is frightful, great, and also love-ly... of course no one ever understands this,” he wrote. “It always strikes me as odd that most people, when they speak of ‘nature,’ think only of flowers, little birds and woodsy smells. No one knows the god Dionysius, the great Pan.”

No. 3, the longest of his symphonies, grew from this mystical vision of nature as a complex living being, evolving upward from the rocks, plants, animal life and man to the divine. So power-ful was this vision that he composed movements two through six of this six-movement symphony in under two months that summer and still had time to write one of his greatest songs, Wo die schönen Trompeten blasen. It was the most productive summer of his career.

After another year in Hamburg, Mahler returned in June 1896 to Stein-bach to complete his symphony with a massive introductory movement in which sleeping nature is awakened from the prison of winter and the elemental power of summer transforms all things into riotous life. This first movement—at nearly 35 minutes, the length of a normal symphony—poured from his pen in just six weeks. When Bruno Wal-ter arrived to visit and stood admiring the craggy mountain looming over the Attersee, an exultant Mahler told him, “There’s no need to look at that, for it’s all in my music.”

Mahler’s philosophical program for the symphony tended to shift some-what over time. In its final version, he subtitled the work “A Midsummer

Morning Dream” and listed the six movements as follows:

First Part: No. 1: Introduction: Pan’s Awakening and Summer March-es in (procession of Bacchus)

Second Part: No 2: What the flow-ers of the meadow tell me

No. 3: What the animals of the for-est tell me

No. 4: What man (night) tells meNo. 5: What the angels (bells) tell meNo. 6: What (divine) love tells meIn Mahler’s original plan, there was

also a seventh movement—“What the child tells me”—but the composer wise-ly set this aside to become the soprano-solo finale of his Symphony No. 4. He stipulated that there be a long pause—10 minutes in his own performances—between the first movement and the rest of the symphony and that movements four through six be played without pause.

In contrast to the quickness of its composition, Symphony No. 3 had to wait nearly six years—until June 9, 1902—to be premiered in its entirety. Finally, Richard Strauss invited Mahler to present the entire symphony under his baton at a festival of new German music in Krefeld near Cologne in 1902. Despite the composer’s gloomy predic-tions that no one would understand the “comic” aspects of a symphony he con-sidered fundamentally happy (he had earlier given it the title “The Happy Life”), the premiere was the greatest triumph of his career to date.

Listening to the MusicThe musical forces required for this work are immense: a huge orchestra with eight horns, enlarged string sec-tions, two harps and two timpanists as well as other drums and percussion. Added to this are an alto soloist for the fourth and fifth movements, and wom-en’s and children’s choirs for the fifth. And yet during most of the work’s 100 minutes, Mahler uses only a small por-tion of his forces—instead presenting chamber-like groups of instruments, combined with superb sensitivity for their colors and expressive qualities. As he wrote to Natalie Bauer-Lech-ner: “The aspect of instrumentation in

which I consider myself ahead of past and present composers can be summed up in a single word: clarity. … Each in-strument must be employed only in the right place and for its own qualities.”

Mahler called the first movement “the wildest thing I ever wrote.” Its long D-minor introduction—“Pan Awak-ens”—opens unforgettably with the eight horns blaring out in unison a four-square theme Mahler called the “Wak-ing Call.” Sleeping nature begins slow-ly to stir with the rumble of drums, a mysterious swing of major and minor chords that we’ll hear later in the fourth movement, and a snarling, dissonant motive from muted trumpets. Soon one of Mahler’s signature funeral marches lumbers into action—the deadly weight of winter. A solo trombone twice pres-ents a fanfare-based melody. Alternat-ing with this music is an ethereal lul-laby for high flutes over tremolo violins plus a tender theme for solo violin rep-resenting the sleeping Pan.

As woodwind birds call, we hear the approach of a much more fes-tive march, and the main part of this stretched-out sonata-form move-ment begins now in F major. This is summer’s march, and it has a strong-ly popular, even vulgar cast to it that is a characteristic feature of Mahler’s music, with a brassy melody and snare drum borrowed from military bands.

After a “Hollywood” climax with harp glissandos, the development sec-tion begins with the theme of the trom-bone solo played by horns. All of this gradually builds into a frenzied, loud, dissonant section Mahler labels “Das Gesindel!”—”The Mob!” An accelerat-ed march in distant keys announces the beginning of a battle between the forces of summer and winter. Eventually, the summer march dominates, building to a finale that is “wild” indeed.

The second movement, “What the flowers of the meadow tell me,” pro-vides complete contrast. Mahler loved the flower-filled meadow outside his composing cottage, and it inspired this lovely minuet in A major. The mid-dle trio section features faster, slight-ly more intense music with whirling

16th notes and fuller but still transpar-ent orchestration. “It is the most care-free piece I have ever written,” Mahler wrote to Natalie Bauer-Lechner. “It is carefree as only flowers can be. Every-thing hovers in the air with grace and lightness, like flowers bending on their stems and being caressed by the wind.”

The third-movement scherzo, “What the animals of the forest tell me,” is longer and more emotional-ly complex. It begins innocently with a perky, birdlike melody in the wood-winds, taken from Mahler’s song “Ablö-sung im Sommer” (“Relief in Summer”) which mourns the cuckoo who fell to its death from the tree and was replaced by the mellifluous nightingale. The music is a polka with typical polka slides in the brass, inspired by Mahler’s Bohemian childhood. A middle section introduces a solo posthorn that seems to represent man as the hunter; it sings a benign and very nostalgic melody as if from a dis-tance. The animals react to this by re-turning to their polka, reaching a point

of near riot before the now more distant posthorn returns, this time magically answered by first violins in high regis-ter. But all this loveliness cannot tame the animals, who react with an amazing orchestral crescendo from pianissimo to triple forte in just a few measures.

Again a huge contrast as the fourth movement, “What man tells me,” be-gins very slowly with an oscillating mo-tive in muted cellos and basses and the alto soloist gravely intoning the words of Nietzsche’s “Midnight Song” from Thus Spake Zarathustra. The entire movement swings between D major and D minor, representing the two poles of Lust or “joy” and Weh or “woe”—man-kind’s hope versus his earthly condition.

Fifth Movement: Suddenly the joyous voices of children imitating bells break in as the women’s cho-rus launches a bright, naive chorus taken from the German poetry collec-tion Mahler loved, Des Knaben Wun-derhorn (“The Child’s Magic Horn”). Women and children represent the

angels above mankind, and they offer a message of celestial comfort and salva-tion. Midway through, the alto soloist enters pleading for mercy for her sins, but the angels tell her not to weep.

Sixth Movement: Symphony No. 3 ends with a long, intensely beautiful slow movement, “What love tells me,” referring to nature’s highest plane: the divine love of God. The comfort offered now is much deeper than the angels’ in-nocent assurances. This D-major move-ment is in the form of a theme (actu-ally more than one) with continuous variations. It begins with strings alone presenting the first of the themes, all of which aspire upward toward the divine. Gradually instruments are added, and the movement builds to two climaxes in which the heavens almost seem to open. But the greatest climax is saved for the final moment: a glorious blaze of D major that brings this monumental symphony to a cathartic close.




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WEDNESDAY, FEBRUARY 4, 2015, 8 P.M.


PresentsBlues SymphonyWynton Marsalis Quintet

Shenandoah Conservatory Symphony OrchestraJan Wagner, conductor

Wynton Marsalis QuintetWynton Marsalis, trumpet

Walter Blanding, saxophoneDan Nimmer, piano

Carlos Henriquez, bassAli Jackson, drums

INTERMISSION

Symphony No. 2: Blues Symphony Wynton Marsalis Shenandoah Conservatory (1961-) Symphony Orchestra Jan Wagner, conductor

Please see insert for program and artist information.

This performance is made possible through the generous support of Patricia and Lloyd Howell, the National Endowment for the Arts, the Amphion Foundation, and the

Van Auken Family Private Foundation, honoring global efforts to advance awareness and early detection of lung cancer.


Wednesday, February 4, 2015, 8 p.m.

Wynton Marsalis Born in New Orleans, Wynton Marsalis began his classical train-ing on trumpet at age 12 and soon

began playing in local bands of di-verse genres. He entered The Juil-liard School at age 17 and joined Art Blakey and the Jazz Messengers.

Marsalis made his recording debut as a leader in 1982, and he has since recorded more than 30 jazz and clas-sical albums, which have won him nine Grammys. In 1983 he became the first and only artist to win both classical and jazz Grammys in the same year, and he repeated this feat in 1984. Marsalis’ rich body of com-positions includes Sweet Release; Jazz: Six Syncopated Movements; Jump Start; Citi Movement/Griot New York; At the Octoroon Balls; In This House, On This Morning; and Big Train.

In 1997, Marsalis became the first jazz artist to be awarded the Pulitzer Prize in music, for his or-atorio Blood on the Fields, which was commissioned by Jazz at Lin-coln Center. In 1999 he released eight new recordings in his un-precedented “Swinging into the 21st” series, and premiered sev-eral new compositions, including the ballet Them Twos, for a June 1999 collaboration with the New York City Ballet. That same year he premiered the monumental work All Rise, commissioned and performed by the New York Phil-harmonic along with the Jazz at Lincoln Center Orchestra and the Morgan State University Choir in December 1999.

In 2004 Marsalis released The Magic Hour, his first of six albums on

Blue Note Records. He fol-lowed up his Blue Note debut with Unforgivable Blackness: The Rise and Fall of Jack John-son, Wynton Marsalis: Live at The House Of Tribes (2005), From the Plantation to the Peni-tentiary (2007), Two Men With the Blues featuring Wil-lie Nelson (2008), and He and She (2009).

To mark the 200th an-niversary of Harlem’s his-torical Abyssinian Baptist Church in 2008, Mr. Mar-salis composed a full mass for choir and jazz orchestra. The piece premiered at Jazz at Lincoln Center, followed PH

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by performances at the celebrat-ed church. Marsalis composed his second symphony, Blues Sympho-ny, which premiered in 2009 with the Atlanta Symphony Orchestra and was performed again by the Bos-ton Symphony Orchestra in 2010. In 2010 Marsalis premiered Swing Sym-phony, a co-commission by the New York Philharmonic, Berlin Philhar-monic, Los Angeles Philharmonic, and The Barbican Centre.

Mr. Marsalis is also an inter-nationally respected teacher and spokesman for music education and has received honorary doctorates from dozens of universities and col-leges throughout the United States. He conducts educational programs for students of all ages and hosts the popular Jazz for Young People SM con-certs produced by Jazz at Lincoln Center. Marsalis has also writ-ten and is the host of the video se-ries Marsalis on Music and the radio series Making the Music.


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EXTRAORDINARYexperience.

First ViolinsJingjing Nie*Leyla FeyzulayevaSamantha AllenKiara RubinLevi Bradshaw Zachary WindsorGerson MedinaJian SongTyler GarnerGwendolyn PfoutsFiona BlackSecond ViolinsKailbeth Chacin*Eli ThomasEunbit SeoMichael DivinoChristopher TillmanMaya LonçarAnthony Shields Madison RairieGrace Wines Terez Anthony Badger

ViolasErin Reilly*Wenran MengZachary ThayerKyle WadeMengxin WuKatelyn Desseau

Bridget OlsonSamantha MarsicoAnna Dye

VioloncellosMichael Puryear*Thomas ValdezCarlos FigueroaRobert RohrWilliam AbbottAlexander SheetzJoseph NotoMeghan Callender Sydney Vonada Sydney BennettDouble BassesSarah Lahasky*Harris GrossmanNors HexumZachary CrabtreeFumio Ogawa Carlos Banda

FlutesAlexandra Lee*Kerri KapplerKatelyn Kaiser

PiccoloKatelyn Kaiser

OboesLuis Gutierrez*

Jose HernandezAyako Ogawa English HornAyako Ogawa

ClarinetsJacob Moyer*Paul WissmanDanielle Confletti Kyla Rose Wilcox

E-flat Clarinet Danielle Confletti

Bass ClarinetKyla Rose Wilcox

BassoonsTimothy Woerner*Garrett Brown*Alexandra Flanigan

ContrabassoonAlexandra Flanigan

HornsMichael Hollin* James CurrenceDanielle FrancAbbie AllisonBrent Redmond

TrumpetsNathaniel Hussell*

Kane FuhrmanBenjamin Stern

TrombonesJefferson Ritchie*Nathan DavisJames Martin

TubaJeffrey Jacobson

TimpaniCurtis Moody

PercussionDylan Di MauroColin MaherStephen Readyoff Alexander Radabaugh Daniel KelleyOrchestra Manager/ Principal LibrarianNathaniel HussellLibrary AssistantsSamantha AllenLeyla FeyzulayevaYeji LeeThomas Valdez Kailbeth Chacin

* principal

Shenandoah Conservatory Symphony Orchestra

Jan Wagner, artistic director and conductor




Garrick Ohlsson, piano Since winning the 1970 Chopin Inter-national Piano Competition, pianist Garrick Ohlsson has established him-self worldwide as a musician of magis-terial interpretive and technical prow-ess. Ohlsson is noted for his masterly performances of the works of Mozart, Beethoven and Schubert, and Roman-tic repertoire. Although long regarded as one of the world’s leading exponents of the music of Frédéric Chopin, Ohls-son commands an enormous repertoire of more than 80 concertos, ranging from Haydn to works of the 21st century.

An exponent of Busoni’s rarely pro-grammed piano concerto, Ohlsson per-formed it with the National Sympho-ny, and London’s Barbican with the BBC Symphony Orchestra this past fall. This January marks the centenary of the death of Alexander Scriabin, whose piano music Ohlsson will present in a series of recitals in London, San Francis-co, Chicago and New York. He will also return to the orchestras of San Fran-cisco, Detroit, Dallas, Baltimore, BBC Scotland and Prague, where he is a fre-quent guest.

Program NotesPiano Concerto No. 2 in C minor, Op. 18

Sergei RachmaninoffBorn April 1, 1873, in Oneg, Russia; died March 28, 1943, in Beverly Hills, Calif.

Composers have dedicated their works to many different sorts of people: royal patrons, family members, soloists, con-ductors. But, to the best of this writer’s knowledge, only one work has been dedicated to the composer’s psychia-trist: Rachmaninoff’s Piano Concer-to No. 2 to Dr. Nikolai Dahl, who, by freeing Rachmaninoff of his creative block, had made this work possible.

In 1897, Rachmaninoff’s Symphony No. 1—a work in which he had great

THURSDAY, FEBRUARY 5, 2015, 8 P.M.



10th Anniversary Gala ConcertGarrick Ohlsson Plays Rachmaninoff

Marin Alsop, conductor Garrick Ohlsson, piano

Piano Concerto No. 2 in C minor, Op. 18 Sergei Rachmaninoff Moderato (1873-1943) Adagio sostenuto Allegro scherzando Garrick Ohlsson

INTERMISSION

Church Windows Ottorino Respighi The Flight into Egypt (1879-1936) Saint Michael Archangel

The Pines of Rome Ottorino Respighi The Pines of the Villa Borghese Pines Near a Catacomb The Pines of the Janiculum The Pines of the Appian Way


The appearance of Garrick Ohlsson is made possible through the generosity of the Alvin and Fanny Blaustein Thalheimer Guest Artist Fund.


Thursday, February 5, 2015, 8 p.m.

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faith—was given a dreadfully inept pre-miere in St. Petersburg. Unable to sepa-rate a promising new work from a bad performance, the critics gave the sensi-tive 23-year-old composer reviews that would devastate even a more seasoned artist. César Cui’s wrote: “If there were a conservatory in Hell, if one of its talented students were instructed to write a pro-gram symphony on the ‘Seven Plagues of Egypt,’ and if he were to compose a symphony like Mr. Rachmaninoff’s, then he would have fulfilled his task bril-liantly and would delight the inhabit-ants of Hell.” Rachmaninoff withdrew the symphony and would never let it be performed again. He sank into a deep de-pression. Despite a standing commission from the London Philharmonic to write a piano concerto, for several years he cre-ated almost nothing.

Dahl was an internist who dabbled in the infant practice of psychiatry, includ-ing hypnosis. He was also a gifted ama-teur viola and cello player. In March 1900, Rachmaninoff’s relatives brought the composer to Dahl, who put him into a light trance during which he repeated over and over: “You will begin your con-certo—you will work with great facili-ty—the concerto will be excellent.” Over several sessions this mantra, combined with sympathetic talk with a wise and cultivated man, produced a cure. By sum-mer, Rachmaninoff’s creative juices were pouring into the new concerto, which was completed the following spring. Pre-miered by Rachmaninoff with the Mos-cow Philharmonic on Oct. 24, 1901, its immediate success has never faded.

The first movement’s opening is one of the most justly famous in the rep-ertoire: a series of nine chords in the piano, underpinned by the tolling of a deep F, that crescendos from pianissimo to fortissimo and leads directly into the first theme, played low in the strings and clarinets. Surely this is an evocation of the great bells of Russian churches, which fascinated Rachmaninoff from his childhood and inspired many stun-ning moments in his music. Also influ-enced by Russian Orthodoxy is the mel-ancholy principal theme, which moves chant-like within a narrow range. The

piano introduces the even lovelier sec-ond theme, pure Rachmaninoff and full of romantic yearning. After a brief de-velopment section (announced by a brass fanfare) featuring both themes, the chant theme returns in the strings, but now with the piano providing an inci-sive march tread beneath.

A quiet prelude by muted strings opens the slow movement and moves the tonality from C minor to a very dis-tant E major. The movement’s main theme is oddly introduced: Over a piano arpeggio a solo flute presents a little phrase that turns out to be the theme’s ending. Then the solo clarinet offers the theme proper, a subdued, re-petitive tune that will only find passion-ate release when the piano takes it on late in the movement. Rachmaninoff saves his loveliest music for the close: The woodwinds’ singing birdcalls mesh magically with the piano while the vio-lins complete the melody.

Another bridge prelude opens the fi-nale. Here in the midst of much bold, ag-gressive music comes a surprise: the mar-velous soaring melody, first heard in the plangent tones of solo oboe and viola, for which this concerto is so beloved. This tune almost lost its dignity forever when Tin Pan Alley hijacked it in the 1940s for the sentimental love song “Full Moon and Empty Arms.” The work ends with one last sweeping statement by full or-chestra and soloist of the big tune, then hustles to an exciting finish.

Church Windows

Ottorino RespighiBorn July 9, 1879, in Bologna, Italy; died April 18, 1936, in Rome

Ottorino Respighi’s very beautiful but rarely performed tone poem Church Win-dows merges the two very different sides of his musical personality: his fascination with the powers of a large modern or-chestra and his love for early music.

As a young man, Respighi had lived in St. Petersburg, where he became principal violist in the opera orchestra and a student of Rimsky-Korsakov, the Russian virtuoso of brilliant, sensual orchestration. Respighi learned well from Rimsky and, decades later, used

his orchestral mastery to create three spectacular tone poems saluting his adopted city of Rome: The Fountains of Rome, The Pines of Rome and Roman Festivals. All promoted with passion by Arturo Toscanini, they won him immediate and lasting celebrity with international concert audiences.

Strangely, the equaling dazzling Church Windows of 1926 has never equaled their fame. For here Respighi drew on his lifelong interest in early music—and specifically with Grego-rian chant—to create a showpiece for the Boston Symphony Orchestra and its music director, Serge Koussevitzky, commissioner of the score. It grew from his Three Preludes on Gregorian Melodies for piano written in 1919. His wife, Elsa Respighi, remembered that composi-tion’s birth on the Island of Capri: “[It] reflects Respighi’s state of mind at the time: the joyous wonder of a revelation [his discovery of Gregorian chant] and at the same time the mystic exultation of profound religious feeling.”

Respighi essentially reconceived these piano preludes for an enormous orchestra and added a new final move-ment saluting Pope Gregory the Great (540 to 604 A.D.), who is traditionally credited with codifying Gregorian chant and its use in the Catholic liturgy. How-ever, he only decided after he complet-ed the score what precisely each move-ment was about, with advice from his librettist Claudio Guastalla. Guastalla wrote the descriptions for each of these “windows,” which do not exist in any church, only in the imagination.

The Flight into Egypt: “The little car-avan proceeded through the desert in the starry night, bearing the Treasure of the World.” On a slow, irregular rhythm like the swaying of a camel, this quiet nocturnal music materializes from a haunting melody based on Gregorian chant in the clarinet. Decorative ara-besques in the woodwinds lend it an ex-otic Middle Eastern atmosphere.

Saint Michael the Archangel: “And a great battle was made in the heavens; Michael and his angels fought with the dragon and his angels. But these did not prevail, and there was no more place for




them in Heaven (Homily XII of St. Greg-ory).” An immense orchestral whirl-wind summons St. Michael, the warrior angel, into action. His battle theme, roared out by trombones, is a transfor-mation of the gentle chant theme from the first movement. Yet another trans-formation of this melody is played off-stage by a solo trumpet in the more lyri-cal middle section. But Michael soon returns to triumph over Satan.

The Pines of Rome

Ottorino RespighiOttorino Respighi had a love af-fair with Rome. Though raised in the proud university city of Bologna, he lost his heart upon moving to the Eter-nal City in 1913 to assume a profes-sorship at the prestigious Conserva-torio di Santa Cecilia, and he reveled in its beauty, rich history and vibrant contemporary life until his premature death in 1936. He created three love letters to the city: The Fountains of Rome (1914-16), The Pines of Rome (1923-24)

and Roman Festivals (1927-28). Of these, The Pines of Rome was the most popular and Respighi’s own favorite.

Its four interlocking movements are like picture postcards of Roman scenes transmuted into sound—imaginative-ly using every timbral resource of a very large 20th-century orchestra. The giant percussion section includes piano, organ, harp and many bell-like instruments. For the last movement—an epic vision of ancient Rome—Respighi called for six bucelli, the old Roman war trumpets, but allowed modern flugelhorns to take their place. And most unusual of all—es-pecially in 1924—was his use of a gram-ophone to play the nightingale’s silvery song at the close of movement three.

Respighi wrote these brief poetic descriptions for The Pines of Rome:

I. The Pines of the Villa Borghese: “Children are at play in the pine groves of Villa Borghese; they dance round in circles, they play at soldiers, march-ing and fighting, they are wrought up by their own cries like swallows at

evening, they come and go in swarms. Suddenly the scene changes, and ...”

II. Pines Near a Catacomb: “We see the shades of the pine trees fring-ing the entrance to a catacomb. From the depth rises the sound of mournful psalm-singing, floating through the air like a solemn hymn and gradually and mysteriously dispersing.”

III. The Pines of the Janiculum: “A quiver [piano] runs through the air: The pine trees of the Janiculum stand distinctly outlined in the clear light of a full moon. A nightingale is singing.”

IV. The Pines of the Appian Way: “Misty dawn on the Appian Way: soli-tary pine trees guarding the magic land-scape; the muffled, ceaseless rhythms of unending footsteps. The poet has a fan-tastic vision of bygone glories: Trum-pets sound and, in the brilliance of the newly risen sun, a consular army bursts forth toward the Sacred Way, mounting in triumph to the Capitol.”



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About Savion Glover’s STePzUnder the direction of Savion Glover, Savion Glover’s STePz is yet anoth-er exuberant celebration of tap dance to sound, and sound to dance. In this dance production, Glover and his en-semble of dancers take tap dance to new heights and levels while fusing traditional music selections of the past with his self-proclaimed tap style and energy of the future.

Savion Glover’s STePz exposes Glover’s capability in all complexi-ties of jazz phrasing, both bass line and melody, the wild improvisations, structures and deconstruction, from departure to return. Savion Glover’s STePz will once again display the infinite versatility and virtuoso of Savion Glover’s ge-nius as a tap master.

Savion GloverSavion Glover is a Tony-win-ning, hoofer, choreographer, and producer. His numerous cred-its include the Broadway shows The Tap Dance Kid; Black and Blue; Jelly’s Last Jam; and Bring in ‘da Noise, Bring in ‘da Funk, and the films Tap with Grego-ry Hines and Sammy Davis Jr.; Bamboozled by Spike Lee; and Happy Feet 1 and Happy Feet 2, an Academy Award winner cho-reographed by Glover.

Marshall Davis, Jr. Marshall Davis, Jr. was born in Miami Beach, Fla. He began tap dancing at age 10 at the African Heritage Cul-tural Arts Center. By age 11, he was a finalist in the Philip Michael Thomas “Rising Star” competition and was the 1989 Florida winner for the Tri-Star Pictures Tap Day contest, a promo-tion for the movie Tap starring Grego-ry Hines and Sammy Davis, Jr. At age 13, he accepted a check from Ed Mc-Mahon for winning the coveted 1991 “Star Search” Teen Dance Champion.

Since winning, he has performed in Europe, Japan, and throughout the United States.

Davis’ dancing is most heavily in-fluenced by his mentor, the late Steve Condos of the Condos Brothers. He has also received training from Bust-er Brown, Edwin Holland, Paul Ken-nedy, Ted Levy, Lavaughn Robinson and Sam Weber. He performed in the Tony Award-winning Broadway and touring production of Bring in Da’ Noise, Bring in Da’ Funk.

Lisa La Touche Internationally renowned tap dancer Lisa La Touche’s career started in her hometown of Calgary, Alberta, Cana-da, where she started performing and learning about the industry. La Tou-che later started producing and di-recting her own shows and with cel-ebrated youth organizations across the U.S. She has appeared in the New York and North American touring casts of STOMP, and remains enthu-siastic about further enhancing com-munities by sharing her talents with the world.

Robyn WatsonRobyn Watson was introduced to dance at age 5, fell in love with

it at 8, and the falling hasn’t stopped. She thanks the Lord for this precious gift.

Sarah Savelli Sarah Savelli credits her moth-er, Dianne, for her love of dance and early training. She served as artistic director/choreographer for Rhythm ISS..., an all-female, Chicago-based tap company she co-founded in 1995, and was fea-tured in the PBS documentary “Juba! The Masters of Tap and Percussive Dance.” Savelli was commissioned three times to cre-ate, choreograph and present her original work, Tap in2 Peace, by PlayhouseSquare in Cleveland, and is currently the director of three tap crews, located in Cleve-land, Detroit, and Chicago.


FRIDAY, FEBRUARY 6, 2015, 8 P.M.


Savion Glover’s STePz

Savion Glover, director, choreographerMarshall Davis, Jr., hoofer

3CW (3 Controversial Women): Robyn Watson, Lisa LaTouche, Sarah Savelli


SAVION GLOVER

Friday, February 6, 2015, 8 p.m.



the Queen Elisabeth of Belgium interna-tional piano competitions, Ganz has ap-peared as soloist with such orchestras as the St. Louis Symphony, the St. Peters-burg Philharmonic, the National Phil-harmonic, the Baltimore Symphony, the National Symphony and the City of London Sinfonia, and has performed with such conductors as Leonard Slat-kin, Piotr Gajewski, Marin Alsop and Mstislav Rostropovich. After the Brus-sels competition, La Libre Belgique wrote, “We don’t have the words to speak of this fabulous musician who lives music with a generous urgency and brings his public into a state of intense joy.”

Tonight’s recital is the latest in his multi-year project with the Nation-al Philharmonic in which he will per-form the complete works of Chopin. The inaugural recital, called “masterly” by The Washington Post, featured solo works of the romantic composer. Since the January 2011 Chopin recital, Ganz has performed the Grieg piano con-certo with the National Philharmon-ic and Music Director Piotr Gajewski, and Beethoven with the National Sym-phony of Costa Rica under the baton of Mykola Diadiura. He has toured northern California with the Palomarin Chamber Music Foundation and played in Italy with the Alba Music Festival.

Ganz is artist-in-residence at St. Mary’s College of Maryland and is on the piano faculty of the Peabody Conser-vatory of Music. He lives in Annapolis.

Program NotesFour Mazurkas, Op. 24

Frédéric ChopinBorn ca. March l, 1810, in Zelazowa Wola, Poland; died Oct. 17, 1849, in Paris

The mazurka, a folk dance, takes its name from the Mazury region in northeast Po-land, where Chopin was born. It is always in triple meter, although because of its fre-quent displacement of accents and its variety of rhythmic figures, it strongly differs from the waltz. In its original form, the mazurka was danced by groups of cou-ples and sometimes accompanied by the Polish version of the bagpipe, the dudy.

Brian Ganz, piano Brian Ganz is widely regarded as one of the leading pianists of his genera-tion. The Washington Post has written: “One comes away from a recital by pianist Brian Ganz not only exhilarated by the power of the performance but also moved by his search for artistic truth.”

Ganz has made it his mission to join vivid music making with warmth and intimacy onstage, often guiding listen-

ers on a journey of discovery in-side the composer’s craft. The result is a new kind of listening experience in which great works come to life with insight and authentic emotional power.

A laureate of the Margue-rite Long Jacques Thibaud and

SATURDAY, FEBRUARY 7, 2015, 8 P.M.



The Art of the MazurkaBrian Ganz, piano

Four Mazurkas, Op. 24 Frédéric Chopin No. 1 Lento, in G minor (1810-1849) No. 2 Allegro non troppo, in C Major No. 3 Moderato con anima, in A-flat Major No. 4 Moderato, in B-flat minor

Polonaise in F-sharp minor, Op. 44

Three Mazurkas, Op. 50 No. 1 Vivace, in G Major No. 2 Allegretto, in A-flat Major No. 3 Moderato, in C-sharp minor

INTERMISSION

Three Waltzes, Op. 64 No. 1 Molto vivace, in D-flat Major No. 2 Tempo giusto, in C-sharp minor No. 3 Moderato, in A-flat Major

Nocturnes, Op. 15 No. 2 Larghetto, in F-sharp Major No. 3 Lento, in G minor

Three Mazurkas, Op. 59 No. 1 Moderato, in A minor No. 2 Allegretto, in A-flat Major No. 3 Vivace, in F-sharp minor

Rondo à la Mazur, Op. 5

Concert Sponsor: Ingleside at King Farm



Saturday, February 7, 2015, 8 p.m.

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Between 1820 and his death, Cho-pin wrote more than 50 mazurkas. Franz Liszt, in his 1852 biography of Chopin wrote, “It is only in Poland that it is possible to catch the haughty yet tender and alluring character of the mazurka. To understand how perfectly Chopin succeeded in displaying [its] magic, it is necessary to have seen that dance performed on its native soil.”

Although Chopin’s mazurkas are highly stylized, he usually retained some traditional characteristics, like an accent on the third beat and a drone bass. Chopin relied heavily on Polish folk music as inspiration, but did not quote actual folksongs. He utilized three-part form in most of his mazurkas; many even have da capo markings indicating an identical first and last section. Chopin composed Op. 24 in 1832-33, when he had be-come established in Paris.

The very popular Mazurka No. 1, in G minor, Lento, has melodic ap-peal. This elegant and wistful work has a bright middle section; when the main theme returns, it reestablishes the original sadder mood.

In the introduction to the lively Mazurka No. 2, in C major, a short, energetic work, Allegro non troppo, Chopin uses open fifths to create a peasant-like, somewhat exotic feel. The playful main theme contrasts ef-fectively with the mazurka that pre-cedes it and exemplifies its folk dance lineage. In the transition to the festive middle section, Chopin creates the feeling of duple meter through his use of accents rather than chords.

The graceful Mazurka No. 3, in A flat major, Moderato con anima, has an elegant main theme. It is character-ized by pauses, highlighting the last as-cending part of the theme. This mazur-ka has upbeat spirits, although Chopin creates a suggestion of regret, a combi-nation of sweetness and sadness.

Mazurka No. 4, in B flat minor, Mod-erato, the longest of the four, begins with one of Chopin’s most daring intro-ductions, flirting with atonality. Incor-porating counterpoint, this charming piece feels distant from what Chopin’s

contemporaries would have consid-ered a mazurka. Harsh dissonance in the contrasting melody and modal in-flections permeate the trio’s opening, and the main themes return in reverse order. The lengthy coda completely up-sets the traditional proportions of the mazurka but provides a fitting close to the set. Chopin avoids a strong cadence at the end by creating a melody without accompaniment and concluding myste-riously on the dominant rather than on the more expected tonic.

Polonaise in F-sharp minor, Op. 44

The polonaise, originally a stately court dance or a royal ceremonial march, was introduced to Poland by a French king who sat on the Polish throne in the 16th century. In the 18th century, the polonaise became popular in the West, but in the 19th century when it moved away from its dance origins, it became a musical symbol of the Poles’ struggle for independence. Although many com-posers wrote polonaises, Chopin is the composer inseparably linked with it. His mature polonaises became symbols of Polish nationalism for him and for his countrymen. Chopin returned to the form over the course of his life, develop-ing its style and perfecting its form. Liszt observed that the energetic rhythms of Chopin’s polonaises “thrill and galva-nize the torpor of our indifference.”

The polonaise usually appears in a moderate triple meter, characterized by its general lack of upbeats as well as its repeated rhythmic figures. It has a dis-tinctive rhythm: an eighth note and two sixteenths are followed by four eighth notes. Chopin gave the form a new level of complexity and expres-sion. J.G. Huneker called Chopin’s po-lonaises “heroic hymns of battle,” but while many do breathe a militant spir-it, they are not battle cries; a melan-cholic, poetic spirit pervades them.

In Op. 44, in F-sharp minor, com-posed in 1840-1841 and dedicated to Madame La Princesse Charles de Beau-vau née de Komar, a powerful expres-sion of national feeling can be felt. Cho-pin wrote, “It is a kind of Fantasy in the form of a Polonaise, and I shall call it a

Polonaise.” It is an extended work, built of long, elegant musical statements. It is the first of the three polonaises in which Chopin completely cast off any dance-like qualities. The melodies, present-ed in octaves, are commanding. In the contrasting middle section, Chopin uti-lizes another Polish dance, a mazurka, in place of the expected trio, in a unique fashion. Liszt called its mood idyllic and said it seems to “spread forth the scents of marjoram and mint.”

Three Mazurkas, Op. 50

Through the years, Chopin’s mazur-kas gradually changed in character. They became progressively less lit-eral echoes of a popular social dance and more nostalgic evocations of his birthplace; some consider them to be among his most original works. They are diverse in form, texture and ex-pression, and in them, Chopin em-braces a wide span of moods, much eloquence and emotion.

The three Mazurkas, Op. 50 were composed in 1842 at George Sand’s es-tate. These later mazurkas allowed Cho-pin to experiment with harmonic and melodic colors and textures, as well as with unusual rhythmic patterns and in-dividualized, personal, expressive traits.

Mazurka No. 1, in G, Vivace, the shortest, is elegant and optimistic. It is a grand and noble mazurka, rich in melodic and harmonic invention. In the brief second theme, Chopin uses a kind of minor Lydian mode with a raised fourth creating both a sense of mystery and danger. Optimism quick-ly returns in this vibrant piece with its complex main theme.

Mazurka No. 2, in A flat, Allegret-to, an introspective, tender mazurka, has an almost waltz-like elegant, flow-ing theme and a lighthearted center. Its grace gives it an aristocratic feel. Its trio is proud and poised, and the whole has a bright and positive feel.

Mazurka No. 3, in C-sharp minor, takes on the stylized Polish aspects of the mazurka. It includes the rhythmic and characteristic traits of three folk-dances: the Mazur with its strong ir-regular accents and moderate tempo;




the Oberek, also with pronounced ir-regular accents, but with a fast tempo, and a spontaneous nature; and the Kujawiak, slow and with a singing na-ture, and more subtle accents.

No. 3 is the most substantial mazur-ka of the set and one of Chopin’s lon-gest. Critics agree that with it, Cho-pin effectively redesigned the mazurka by combining folk rhythms with culti-vated counterpoint, modal harmonies and chromatic writing. The beginning sounds very much like a fugue. The trio has an insistent rhythmic pattern, open-ing with what seems to be a continuous, never-ending phrase. Chopin sometimes reduces the texture to a single line and ends with a long coda in which he goes on a harmonic adventure into chromati-cism before returning to the tonic.

Three Waltzes, Op. 64

When Chopin journeyed to Vien-na, then the musical capital of his part of the world, the city was danc-ing the waltzes of the elder Johann Strauss. Chopin’s waltzes, written over the course of his career, have very lit-tle in common with those. Chopin disliked Viennese taste and wrote con-temptuously to his family about the Vi-ennese waltzes, which he found foreign to his nature. He seemed determined to reinvent the distinctive form in a way that reflected his own nature in-stead of conforming to the form of the dance vehicle to which he could not relate. Chopin’s waltzes can be more accurately described as “waltz-poems.”

Chopin designed his waltzes for aris-tocratic salons: his sophisticated works outwardly display glitter, but deeper and often melancholic feelings reside below the surface. These waltzes are frequent-ly harmonically simpler than his other works. Most are in three-part form (ABA) form and are brilliant idealiza-tions of the Viennese ballroom waltz or sometimes, when a performer prefers to stress their harmonies and rhythms, witty parodies of those dances.

The Waltzes, Op. 64, the last waltzes Chopin published (1847), were among his last works before his illness made composing impossible for him. Valse

in D flat major, No.1, Molto vivace, one of the shortest waltzes, known as the “Minute Waltz,” is also the most fa-mous of Chopin’s waltzes. A very famil-iar work of much charm, it ranks among the best-loved pieces in the piano reper-toire. Its energetic theme emerges from a group of four notes, a little melodic cell that takes its time becoming established as the melody. The contrasting middle section is a very graceful cantabile. Al-though written when health was becom-ing a major problem and his relationship with George Sand was disintegrating, the music is energetic and positive.

The Slavic sounding Waltz in C sharp minor, No. 2, Tempo giusto, is more subdued and suggests a nocturne in its lyrical main section with a bit-tersweet melancholic yearning. Com-mentators have noted that this waltz is the most poetic of Chopin’s waltzes and the most Slavic in both rhythm and temperament.

The remarkable, chromatic Waltz in A Flat Major, No. 3, Moderato, is seldom performed. Chopin’s final waltz, it has a charming theme subtly varied in shape and harmonic setting, and is elegant and finely constructed. It has exquisite melodic lines and is graceful and light-hearted.

Nocturnes Op. 15, Nos. 2 and 3

In the 18th century the notturno (night piece) was a serenade, intended for a small ensemble, often of winds. Notturni, normally three to five move-ments, were generally performed out-doors. Chopin did not base his Noc-turnes on this model, instead taking his idea of the nocturne from those of the Irish composer, John Field (1782-1837) and the Polish pianist and com-poser, Maria Szymanowska (1789-1831). Chopin adapted the form to his own expressive purposes, ennobling it with breadth, passion and grandeur.

Chopin’s nocturnes are generally hushed reveries, quiet, reflective, po-etic pieces in simple three-part form: the first part an elegant and often Italianate melody with an accompa-niment; the second, contrasting and with more motion; the third, a varied

return of the first. The melody is usu-ally decorated with grace notes, runs and elaborate ornamentation. Adapt-ing the nocturne to his own purposes, Chopin often gave the central section a new key and new thematic material.

Chopin was especially concerned with the nocturne’s capacity to affect the emotions powerfully. D. G. Mason writes, “Chopin is one of the supreme masters in the coloristic use of the disso-nance. His nocturnes may fairly be said to inaugurate by this means a new era in music, comparable in many respects to the era of impressionism in painting.”

The Nocturnes Op. 15 were pub-lished in 1834 and dedicated to the German pianist, composer and con-ductor Ferdinand Hiller, Mendels-sohn’s close friend, who as a boy impressed Chopin with his great tal-ent. In them, Chopin’s approach is more personal than in earlier works. Franz Liszt said: “Chopin, in his po-etic Nocturnes, sang not only the har-monies which are the source of our most ineffable delights, but likewise the restless, agitating bewilderment to which they often give rise.”

Nocturne in F Sharp Major, No. 2, Larghetto, composed in 1832, is com-plex and very beautiful: it is very origi-nal, tender and passionate, especially in its center section, set in an ambiguous tonality with both major and minor fla-vors. This gem has been said to be some-what Eastern in character. Beginning with an open flowing melody, it presents many technical difficulties for perform-ers. The 19th century German pianist/teacher Theodor Kullak remarked that the return of the “heavenly opening theme touches one like a benediction.”

The Nocturne in G minor, No. 3, was inspired by a performance of Shakespeare’s Hamlet that Chopin at-tended. On the manuscript, Chopin in-scribed, “After a performance of Ham-let,” only later to cross out the words, replacing them with the exclamation, “No! Let them guess for themselves!” Here it has been presumed that Cho-pin reflects musically on Hamlet’s psy-chological journey, exploring the fe-verish realms of Hamlet’s despair. The




opening, Languido e rubato, has an acute sensitivity to nuance of dynamics and articulation. The second section speeds along, incorporating a daring series of modulations. The ornaments are an integral part of Chopin’s melody, enriching it and extending it, function-ing as a source of energy and variation. The section builds to a climax; a more introspective passage follows, begin-ning with three bell-like tones, Religio-so. Without a recapitulation, the piece ends with equanimity.

Three Mazurkas, Op. 59

These mazurkas progress from a strong opening piece to a simpler, song-like second one. The set culminates in a substantial, grandly conceived third work. Unity is maintained among the three through their tonal connections and similar textures.

No. 1, in A minor, is very chromatic, yet warm, rich and lyrical throughout.

The shortest, No. 2, in A-flat Major, a pleasant, good-natured piece, is

characterized by unusual and often unexpected subtleties: e.g., when the opening theme returns, its melody, slightly varied, appears in two voices, while in the recapitulation, the main theme is greatly condensed. The work highlights an exchange between the hands, a characteristic feature of Cho-pin’s mature style, while the transition to the coda demonstrates Chopin at his most chromatically creative.

The richly varied and noble No. 3, in F-sharp minor, feels at times like a waltz, at times like a polonaise. The transparent texture of the beginning be-comes submerged in the work’s center as the left hand accompanying figure be-comes subsumed by counterpoint. The main theme is a melody that spins out with seeming endlessness. Chopin in-cludes chromaticism in some interest-ing, descending chords in the accom-paniment, while the expressive melody forms the upper line. When Chopin brings back the opening material, he radically foreshortens it, giving the

effect of making the structure less sta-ble. The piece ends with a lengthy coda, which also has a notable chromatic sec-tion. Here, Chopin gives the melody to the left hand while maintaining a mov-ing upper line; he includes a new theme with a restricted range at the coda’s end.

Rondo à la Mazur, in F Major, Op. 5

Chopin’s Op. 1 is a Rondo written when he, at 15, began the serious study of composition. A year later, in 1826, he produced this “Rondo in the Man-ner of a Mazurka,” Op. 5. It is a virtu-oso rondo, with its initial section re-peated but with new sections presented between repetitions. It makes frequent use of the Lydian mode, the mode most often heard in Polish folk music. Char-acteristic of the mazurka is the frequent use of dotted rhythms; in this rondo, Chopin sometimes places dotted rhythms at the beginning of a measure but also on other beats as well.





Piotr Gajewski, conductor For Piotr Gajewski’s biography, please refer to page 29.

Brian Ganz, piano For Brian Ganz’s biography, please refer to page 57.

Summer Hu, cello Summer Hu is a recent gradu-ate from the Curtis Insti-tute of Music, where she studied with Peter Wiley. Hu is substi-

tute cellist with the Philadelphia Orchestra and an intern at Citibank China while pursuing a master’s de-gree from the Wharton School at the University of Pennsylvania.

Hu is from Potomac and started study-ing piano at age 3 and cello at age 5.

Danielle Talamantes,soprano “It’s not often that a fortu-nate operagoer witnesses the birth of a star!” the Livermore (Calif.) Inde-pendent noted of Danielle Ta-

lamantes’ role debut as Violetta in La traviata.

In the 2014-2015 season, Talamantes debuts as Frasquita in Bizet’s Carmen in a return to The Metropolitan Opera.

Margaret Mezzacappa, mezzo-soprano

A graduate of the Academy of Vocal Arts in Philadel-phia, Margaret Mezzacappa re-ceived a bach-elor’s degree in music perfor-

mance from Baldwin-Wallace Col-lege Conservatory of Music.

SUNDAY, FEBRUARY 8, 2015, 3 P.M.



10th Anniversary Concert Beethoven’s Ninth

Piotr Gajewski, conductor Brian Ganz, piano Summer Hu, cello

Danielle Talamantes, soprano Margaret Mezzacappa, mezzo-soprano

Colin Eaton, tenor Norman Garrett, baritone

National Philharmonic Chorale

Strathmore Overture Andreas Makris (1930-2005)

Variations on a Rococo Theme Piotr Ilyich Tchaikovsky for Cello and Orchestra, Op. 33 (1840-1893) Moderato assai, quasi Andante – Thema – moderato semplice Variation 1: Tempo della Thema Variation 2: Tempo della Thema Variation 3: Andante sostenuto Variation 4: Andante grazioso Variation 5: Allegro moderato Variation 6: Andante Variation 7 e coda: Allegro vivo

Introduction and Grande Polonaise Brillante Frédéric Chopin (1810-1840)

INTERMISSION

Symphony No. 9 in D minor, “Choral,” Op.125 Ludwig van Beethoven Allegro ma non troppo, un poco maestoso (1770-1827)

Scherzo: Molto vivace-Presto-Molto vivace

Adagio molto e cantabile- Andante moderato-Tempo Primo

Andante Moderato- Adagio-Lo Stesso Tempo

Allegro assai

Sponsor: Ingleside at King Farm

Supported in part by the Robin and Paul Perito Vocal Guest Artist Fund



Sunday, February 8, 2015, 3 p.m.

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Mezzacappa’s roles at the Academy of Vocal Arts her roles have includ-ed Cuniza in Oberto, Mother’s Voice in Les Contes d’Hoffmann, Adelaide in Arabella, La zia Principessa in Suor Angelica, Frugola in Il tabarro, Azu-cena in excerpts from Il trovatore, and Mistress Quickly in Falstaff.

Colin Eaton, tenor “Command-ing tenor” (The Washington Post) Colin Eaton has appeared in Treemonisha with the Mu-nicipal Opera Company of

Baltimore and in Pinocchio with the Opera Theatre of Northern Virginia.

Eaton is a native of East Palo Alto, Calif., and received his early music training at the University of Miami in Coral Gables, Fla.

Norman Garrett, baritone American bari-tone Norman Garrett, a na-tive of Lubbock, Texas, is a re-cent alumnus of the Domingo-Cafritz Young Artist Program

at Washington National Opera. Highlights of Garrett’s 2014-2015

season include Ríolobo in Daniel Ca-tán’s Florencia in the Amazon at Washington National Opera and his Lyric Opera of Chicago company debut as Jake in Porgy and Bess, both directed by Francesca Zambello.

Program NotesStrathmore Overture

Andreas MakrisBorn March 7, 1930, in Salonika, Greece; died Feb. 3, 2005, in Silver Spring, Md.

Andreas Makris served for many years as violinist in the National Symphony Orchestra as well as its

composer-in-residence. It is telling that the famed cellist and former music di-rector of the National Symphony, Ms-tislav Rostropovich, who has worked with the likes of Dmitri Shostakovich and Sergei Prokofiev, commissioned more works from Makris than from any other composer, stating once: “In my opinion, Makris is a great composer.”

Makris and National Philharmonic Music Director Piotr Gajewski forged a friendship over many years, and Makris composed several works for the Phil-harmonic. The Strathmore Overture was commissioned by Gajewski and the Na-tional Philharmonic for the Feb. 12, 2005 gala concert at the Music Center at Strathmore; it was the Philharmon-ic’s first public appearance in the new Music Center. The overture was com-pleted on March 14, 2004 and named to celebrate the opening of the new concert hall. Tragically, Andreas Makris died suddenly just a few days before the premiere. He provided the following notes just days before his passing:

“The work is about four to five min-utes long; it starts with a slow opening, but with a rather aggressive and point-ed texture. After a short development of the opening theme, there is a clari-net cadenza. From there on, the music becomes more robust with emphasis on different rhythms. The develop-ment of this new theme is shortly in-terrupted with material from the slow movement. Then the music rushes un-interrupted, with a fast texture, up to the end like a rushing cascade.”

Notes by Sara Coffey

Variations on a Rococo Theme, for Cello and Orchestra, Op. 33

Pitor Ilyich TchaikovskyBorn May 7, 1840, in Votkinsk, Russia; died Nov. 6, 1893, in St. Petersburg

Among Tchaikovsky’s colleagues on the faculty of the Moscow Conser-vatory was the German-born cellist Wilhelm Fitzenhagen (1848-1890), for whom, in December 1876, Tchai-kovsky wrote the Variations on a Ro-coco Theme. It was first performed Nov. 30, 1877. With its graceful main

theme and resourceful invention, it remains one of Tchaikovsky’s most popular pieces.

Tchaikovsky probably did not intend the adjective “rococo” to signify spe-cifically the mid-18th century style of art, architecture and music. In his time, this term was often loosely applied to almost anything ornately decorated and old-fashioned. In fact, these varia-tions are Tchaikovsky’s homage to the spirit of Mozart, his favorite composer of the past, and the “rococo theme” is an example of how Tchaikovsky saw or heard the past filtered through his Rus-sian and Romantic sensibilities.

He composed the theme as a varia-tion subject, and its stability and sym-metry predominate all through the work. To avoid the composition’s being static, which can be the great dan-ger in writing variations, Tchaikovsky worked out an original formal scheme. He began conventionally enough with a short introduction for orchestra and the soloist’s statement of the theme, and then separated and spaced the variations with orchestral interludes.

Perhaps, as contemporary accounts have hinted, Fitzenhagen was not quite up to the demands of the new Tchai-kovsky work. A composer himself, Fit-zenhagen decided to alter the work by adding repeats to the easier opening solo passages, rewriting several passag-es, rearranging the sequence of varia-tions and eliminating the final and most difficult variation. Surprisingly, although Tchaikovsky was not content with these alterations, he allowed Fit-zenhagen’s version to be published.

The work contains contrasting sec-tions, heard without pause between them. First comes a gentle Moderato semplice assai quasi Andante, an or-chestral introduction, the only place in the work where an extended passage without the cello, the solo instrument, exists. The first variation, Tempo del tema, gives the soloist some busy Ro-coco-style figurations, and while this variation seems far from the theme, the second Tempo del tema more closely matches the original. Variation III, An-dante sostenuto, the longest variation,


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is a waltz. Variation IV begins Andante grazioso, and includes much quick solo passage-work. In Variation V, Allegro moderato, the flute joins the cello both in the first half and then again, near the conclusion. A cello cadenza follows this variation, and then Variation VI, a minor-key lament, Andante, with a melodic cello theme against pizzicato strings with clarinet and flute interjec-tions, follows. With the last variation, VII, Allegro vivo, Tchaikovsky builds momentum for the coda.

© Susan Halpern

Grande Polonaise Brillante, Op. 22

Frédéric ChopinBorn ca. March 1, 1810, in Zelazowa Wola, Poland; died Oct. 17, 1840, in ParisIn 1831, when he arrived in Paris, Chopin completed the composition of Grande Polonaise Brillante for piano and orchestra. Not even his great-est admirers have ever claimed that Chopin wrote particularly well for orchestra, but at that time, the qual-ity of the orchestral accompaniment was not a critically important mat-ter. A light background appropriate to Chopin’s own style of piano per-formance was what was needed and what he wrote. He placed the em-phasis on his piano technique, and it varied greatly within a small range: it was fleet, fluid, light in touch, yet small in tone.

The polonaise began as a peasant dance and evolved into a sophisti-cated salon dance. In the Grande Po-lonaise Brillante, Chopin gave new character to the style of the dance, ex-panding the form from the small piec-es he had previously written by that name. Here he highlighted the vir-tuoso elements and increased the di-mensions of the work. The piece has a three-part scheme with binary form in the Polonaise proper. The orchestral part had such little importance for the effect that Chopin intended to create that he often played the Polonaise as an unaccompanied piano solo.

© Susan Halpern

Symphony No. 9 in D minor, Op. 125

Ludwig van BeethovenBorn Dec. 16, 1770, in Bonn, Germany; died March 26, 1827, in Vienna, Austria

Beethoven’s Symphony No. 9, a paean to the brotherhood of man and a work of great optimism, is one of the cornerstones of the history of Eu-ropean music. In it, Beethoven cele-brates the potential of mankind. His-torically, this symphony, Beethoven’s last, allowed him to look back at the demise of Napoleon and ahead with prophetic vision and sanguinity to a time of peace when, metaphorically, all men would be brothers.

Symphony No. 9 required a long pe-riod of gestation. Beethoven’s first eight symphonies had been produced in the 12 years that began the century, but be-tween them and the ninth, another 12 needed to elapse. The earliest mention of what would evolve into this sympho-ny occurred in 1793 when Beethoven announced he wanted to set to music the Ode to Joy, by the contemporary German playwright and poet Friedrich Schiller. Yet it took almost 30 years be-fore Beethoven outlined the last move-ment of the symphony, using this text for a choral setting with vocal soloists and orchestra.

Beethoven’s sketchbooks evidence thoughts and actual work on this sym-phony as early as 1812, when the com-poser was still completing the previous two symphonies, and in 1815, he wrote the fugue subject for the theme that was to be the Scherzo of the Ninth Sym-phony. Music historians think his Missa Solemnis, Op. 123, gave him motiva-tion to write what he imagined would be a “religious symphony,” as the idea of using a chorus began to form. He knew his new music was to require new sub-jects, new forms and new powers of cre-ation because the works of his middle years had exhausted for him all the pos-sibilities of the classical forms he had inherited from Haydn and Mozart.

Beethoven began the composition of his last and longest symphony in earnest around 1817, although he actually did most of the writing of it in the year and a half of late 1822 and 1823, finishing it

in 1824. In April 1822, his pupil Ferdi-nand Ries inquired of the London Phil-harmonic Society how much it would offer him for his new symphony. The Society offered 50 pounds for the work, with several conditions: that Beethoven deliver it in March 1823, and that the Society have the exclusive performance rights for a year and a half. Beethoven agreed and accepted payment but did not comply with the agreement.

At the time, the success of Rossini’s music in Vienna rankled Beethoven and he resolved that his new symphony must be first performed elsewhere. How-ever, when a large group of professional and amateur musicians petitioned him to allow his own city of Vienna to hear his new work first, he was touched and relented. His friends soon issued an an-nouncement that a concert, with Herr Beethoven personally taking part in its direction, would take place on May 7, 1824, nearly a year before it was heard in London. The works to be performed were Beethoven’s Grand Overture (The Consecration of the House, Op. 124) and three hymns with solo and choral voices (the Kyrie, Credo and Agnus Dei from Missa Solemnis) as well as a new sym-phony with solo and choral voices in the finale, on Schiller’s ode, To Joy (the Ninth Symphony, Op. 125).

Beethoven’s innovation at the begin-ning of the first movement, the enig-matic open fifths which grow impercepti-bly out of stillness, have been likened to the “darkness and void before creation.” After the initial growth from nothing-ness, an agitated, dramatic, often mys-terious or questioning mood takes over in this serious first movement, Allegro ma non troppo, un poco maestoso. Frag-ments of themes slowly metamorphose into the main theme, followed by a con-centrated development and coda.

The second movement, Molto vi-vace, Presto, Molto vivace, is a scherzo in sonata form, the only scherzo in all Beethoven’s symphonies that precedes, rather than follows, the slow move-ment. It has a fugal exposition, but no ordinary one. Each of the themes and counter themes share almost the same rhythm. The main section of this




“Ode to Joy” from Symphony No. 9 in D minor

Recitative: Baritone O Freunde, nicht diese Töne! O friends--not these sounds! Let Sondern lasst uns angenehmere anstimmen, us bring up more pleasant, more und freudenvollere. joyful ones.

Allegro assai: Soloists and Chorus Freude, schöner, Götterfunken, Joy, beautiful, divine, spark, daughter of Tochter aus Elysium, Elysium, transported by your flame, we rise. Wir betreten feuertrunken, Yours is the holiness of heaven. Your magic Himmlische, dein Heiligtum! brings together again those whom social Deine Zauber binden wieder, custom has parted. All people become Was die Mode streng geteilt; brothers where your sweet bird flies. Alle Menschen werden Brüder, Wo dein sanfter Flügel weilt.

Wem der grosse Wurf gelungen, Those to whom true friendship and happy Eines Freundes Freund zu sein, marriage are given may join in jubilation, Wer ein holdes Weib errungen, and, yes, whoever calls just one soul on Mische seinen Jubel ein! the earth’s sphere his own. Whoever Ja, wer auch nur eine Seele cannot, let him creep, weeping, out of Sein nennt auf dem Erdenrund! our circle. Und wer’s nie gekonnt, der stehle Weinend sich aus diesem Bund.

Freude trinken alle Wesen Nature nurses every creature with joy. An den Brüsten der Natur, All the good and all the wicked alike seek Alle Guten, alle Bösen out her rosy scent. She gave us kisses and Folgen ihrer Rosenspur. wine and friendship that stands the test of Küsse gab sie uns und Reben, death. Pleasure is granted even to the worm Einen Freund, geprüft im Tod, —and the cherub stands before God. Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott.

Allegro assai vivace. Alla marcia: Tenor and Chorus Froh, wie seine Sonnen fliegen Happy as the sun flying through the Durch des Himmels prächt’gen Plan, splendor of heaven, travel your path, Wandelt, Brüder, eure Bahn, brothers, joyful as a champion on his way to Freudig wie ein Held sum Siegen. victory.

Freude, schöner, Götterfunken, etc. Joy, beautiful glimmer of God, etc.

Andante maestoso: Chorus Seid umschlungen, Millionen! You are embraced, you millions! Diesen Kuss der ganzen Welt! This is a kiss from the whole world! Brüder - überm Sternenzelt Brothers, a beloved father must live Muss ein lieber Vater wohnen. above the canopy of stars.

Adagio ma non troppo, ma divoto: Chorus Ihr stürzt nieder, Millionen? Are you kneeling, you millions? Do Ahnest du den Schöpfer, Welt? you know the creator, O world? Look for Such ihn überm Sternenzelt! him above the firmament! He must live Über Sternen muss er wohnen. above the stars!

Allegro energico, sempre ben marcata: Chorus Freude, schöner Götterfunken, etc. Joy, beautiful glimmer of God, etc. Seid umschlungen, Millionen! etc. Embrace the millions, etc. Ihr stürzt nieder, Millionen? etc. Are you kneeling, etc.

Allegro ma non tanto: Soloists and Chorus Freude, Tochter aus Elysium, etc. Joy, daughter of Elysium, etc.

Prestissimo: Chorus Seid umschlungen, Millionen! etc. You are embraced, you millions! etc.

unusually dark scherzo, Molto vivace, is based principally on an arresting rhyth-mic pattern that is driven home with most striking effect when it is heard as a solo on the timpani and then is treated as a five-voice fugue. The contrasting trio section, Presto, is more frolicsome and lighter in temperament. It recurs twice, between repetitions of the sec-tion, then, in abbreviated form, brings the movement to a close.

The third movement is a model of serenity. It presents two themes, a slow Adagio molto e cantabile, a very me-lodic subject alternating with a mov-ing and romantic theme, Andante moderato, and then variations on each theme. Overall, this movement has a quiet lyricism that contrasts with all the other movements in the symphony. Many Beethoven analysts have tried to establish the theory that each of the first three movements derives from one main theme or motif. The French com-poser d’Indy pointed out: “All the typi-cal themes of the symphony present the arpeggio of the chords of D or B flat, the two tonal bases of the work; one might, therefore, consider this arpeggio as the real cyclic theme of the work.”

In the fourth movement the sym-phony’s message finally emerges, as Beethoven’s biographer, Maynard Solo-mon, put it, “from powerful opposing forces—from the tragic, frenzied and probing modalities of its earlier move-ments— and by grafting the cantata form into the sonata cycle.” It reaches its climax and “succeeds, primarily, be-cause of the rich ambiguity of a mes-sage that manages to transcend the particularities of its origin and to ar-rive at a set of universal paradigms.” This memorable movement makes the dramatic transition from instrumen-tal to choral work. Jonathan Kramer noted that the unusual form of the last movement is “an experiment in com-bining different traditional forms into a single movement: sonata, variations, cantata, concerto, fugue and opera. It is a complete four-movement sympho-ny in miniature, onto which is grafted the outlines of sonata form. The sona-ta’s exposition is a set of variations, its




development is a fugue, and its coda is an operatic finale.”

The final movement’s long introduc-tion serves as a link between the first three movements and the concluding one. After an initial dissonant fanfare, the principal themes of the first three movements each reappear fleetingly before the main theme, on which the finale is based, appears as a recitative in the cellos and basses. Beethoven has created a mammoth set of variations on what is actually a simple theme. First it is articulated without words. After the orchestra creates a fierce and unsettling clamor, the low strings in-tone this noble main theme of the movement, and this theme repeats sev-eral times, each time with more instru-ments added, until the entire orchestra joins in with its majesty. The open-ing returns yet again, and this time the baritone recitative follows. His words are not Schiller’s, but Beethoven’s own as he sets the stage with a rebuke: “O, friends, not these sounds! Let us sing

something more pleasant, more full of gladness!” What come next as the cho-rus enters are the words of Schiller’s Ode, which Beethoven adopts to ex-press his ideas of human brotherhood and the joy it releases.

When the second theme would natu-rally appear, the theme transforms into a Turkish march, a style popular since Mozart’s time, which has a distinctive “Turkish” sound produced by the trian-gle, cymbals and bass drum. Then the chorus and orchestra add another vari-ation to the Ode to Joy theme before a break, after which comes the fugue, whose themes then combine before the ending section commences. With great emotional depth and tremendous in-tensity, the symphony concludes with a double fugue for the chorus and a jubi-lant and triumphant operatic finale of joy and praise. Nietzsche, the philoso-pher, paraphrased Schiller’s words as Beethoven used them: “Now that the gospel of universal harmony is sound-ed, each individual becomes not only

reconciled to his fellow but actually at one with him.”

When Beethoven planned the sym-phony, he had thought of ending it with a purely instrumental movement for which he even made some sketch-es, but he used them later in the fi-nale of his Quartet in A minor, Op. 132. After much working and rework-ing, Beethoven decided not to set the Schiller poem to music, but to rear-range the text to suit his musical and dramatic intentions. Schiller’s To Joy, or Ode to Joy as it is often called in English, is a poem of five 12-line stan-zas, each stanza having a 12-line and an eight-line section, written when Schiller was only 25. In the opening chorus, in accordance with his own po-etic vision, Beethoven runs together the 12-line sections of the first three stanzas. The text of the tenor solo, which follows, is the six-line section from the fourth stanza.

© Susan Halpern

Sunday, February 8, 2015, 3 p.m.TO

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Nicholas McGegan, conductorFor Nicholas McGegan’s biography, please refer to page 22.

Jonathan Carney, violinBSO Concertmas-ter Jonathan Car-ney is in his 14th season with the Baltimore Sym-phony Orchestra after 12 seasons in the same posi-

tion with London’s Royal Philharmonic Orchestra. After completing his stud-ies with Ivan Galamian and Christine Dethier, he was awarded a Leverhulme Fellowship to continue his studies in London at the Royal College of Music. Solo performances have included con-certos by Bruch, Korngold, Khatcha-turian, Sibelius, Nielsen, the Brahms Double Concerto and Vaughan Wil-liams’ The Lark Ascending, which was featured as a live BBC broadcast from London’s Barbican Hall. He has made a number of recordings, including con-certos by Mozart, Vivaldi and Nielsen, sonatas by Brahms, Beethoven and Franck, and a disc of virtuoso works by Sarasate and Kreisler with his mother Gloria Carney as pianist.

Madeline Adkins, violinMadeline Ad-kins was appoint-ed to the position of associate con-certmaster of the BSO by Maestro Yuri Temirkanov in 2005. She has

appeared frequently as soloist with the BSO, performing works by Beethoven, Vaughan Williams, Bach, Mendelssohn, Mozart and Prokofiev. Adkins also per-forms as concertmaster of the Baltimore Chamber Orchestra. She has served as guest concertmaster of the Hong Kong Philharmonic, the Indianapo-lis Symphony Orchestra, the Oregon Symphony and the Grant Park Sym-phony Orchestra in Chicago, as well as concertmaster of the Tanglewood


THURSDAY, FEBRUARY 12, 2015, 8 P.M. FRIDAY, FEBRUARY 13, 2015, 8:15 P.M.



All-BachThursday, Feb. 12, 2015, 8 P.M.

and

Off the Cuff: The Bach Family Friday, Feb. 13, 2015, 8:15 P.M. Nicholas McGegan, conductor

Jonathan Carney, violinMadeline Adkins, violin

Rui Du, violinDariusz Skoraczewski, cello

Emily Skala, fluteMichael Lisicky, oboe

Orchestral Suite No. 4 Johann Sebastian Bach in D Major, BWV 1069 (1685-1750) Overture Bourrée I & II Gavotte Minuet Rejouissance

Concerto for Two Violins Johann Sebastian Bach in D minor, BWV 1043 Vivace Largo ma non tanto Allegro Jonathan Carney Madeline Adkins

INTERMISSION

Symphony in E-Flat Major, Carl Philipp Emanuel Bach Wq 179 (H. 654) (1714-1788) Prestissimo Larghetto Presto

Sinfonia Concertante for Flute, Oboe, Johann Christian Bach Violin and Cello in C Major, C. 43 (1735-1782) Allegro Larghetto Allegretto Rui Du Dariusz Skoraczewski Emily Skala Michael Lisicky

Please note that the Off the Cuff concert will include excerpts from Orchestral Suite No. 4 in D Major, Symphony in E-Flat Major, Sinfonia Concertante for Flute, Oboe, Violin

and Cello in C Major, and Concerto for Two Violins in D minor. The Off the Cuff performance does not include an intermission.


Thursday, February 12, 2015, 8 p.m., and Friday, February 13, 2015, 8:15 p.m.

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Music Center Orchestra under Seiji Ozawa. Adkins won first prize in a num-ber of competitions, including the Stul-berg International String Competition, the ASTA National Solo Competition, and the New England Conservatory Concerto Competition.

Rui Du, violinRui Du joined the BSO in 2012 as fourth chair first violin, and was soon after appoint-ed acting assistant concertmaster. He was formerly con-

certmaster of the Annapolis Symphony Orchestra, and also served as associate concertmaster of the Aspen Festival Or-chestra for two years at the Aspen Inter-national Music Festival and School. He has won numerous violin competitions, including the Grand Prix at the 2006 Canetti International Violin Competi-tion in France, and has performed as a soloist with orchestras in concert halls throughout the world, including those in Turkey, Singapore and Shanghai.

Dariusz Skoraczewski, cello Principal Cello Dariusz Skorac-zewski has de-lighted audiences of many concert halls in Amer-ica and Europe with his great ar-

tistic and technical command. As a soloist he performed with numer-ous orchestras in the U.S. including the Montgomery Symphony, Alexan-dria Symphony, Arlington Philhar-monic, Lancaster Symphony and the Baltimore Symphony Orchestra. As a chamber musician, Skoraczewski has appeared in many chamber music concert series, including the Candle-light Series, Music at the Great Hall in Baltimore and the Barge Music Festival in New York City. In Novem-ber 2005, he gave his Carnegie Hall debut, which was sponsored by the La Gesse Foundation.

Emily Skala, fluteEmily Skala’s pas-sion for the flute has led her all over the country and beyond. Her range of experi-ences encompasses engagements long

and short with nine professional or-chestras on three continents. Her criti-cally acclaimed CD of music by Brahms and Schubert (Summit Records, 2001) is frequently aired on radio stations na-tionwide: “Emily Skala, brings ... con-viction and sensitivity to these sona-tas, not to mention superb articulation and intonation ...The subtle, prismatic glow of Skala’s tone and, above all, the deep warmth of her phrasing match-es ... anything (the clarinet and viola) can achieve ...” (Baltimore Sun, 2002). Skala has appeared as soloist with such internationally renowned maestri as Marin Alsop, Juanjo Mena, David Zin-man and Mario Venzago.

Michael Lisicky, oboeMichael Lisicky has been perform-ing with the BSO since 2003, and has been praised by critics for his “magical nuances” (Baltimore Sun),

“tonal purity” (Richmond Times-Dis-patch) and “quite wonderful musician-ship” (The Boston Globe). Before com-ing to Baltimore, he was a member of the Richmond Symphony. While in Richmond, Lisicky served on the facul-ty of the University of Richmond and performed as a soloist with the RSO on six occasions. A graduate of the New England Conservatory, he studied with Alfred Genovese, John deLancie, Peter Bowman and Marion Norcross. He is also an English hornist and founding member of Trio La Milpa, an oboe trio comprised of himself, BSO Principal Oboe Katherine Needleman and his wife Sandra Gerster. In August 2007, the trio became the first American en-semble to tour Greenland.

Program NotesOrchestral Suite No. 4 in D Major, BWV 1069Concerto for Two Violins in D minor, BWV 1043

Johann Sebastian BachBorn March 21, 1685, in Eisenach, Thuringia, now Germany; died July 28, 1750, in Leipzig, Saxony

In the intellectual rigor of his fugues and the spiritual depth of his passions and cantatas, J. S. Bach seems to rep-resent the loftiest state to which music can aspire. But this formidable German had his lighter side as well, and his four orchestral suites show him as a master entertainer, wielding the courtly dance forms of his day with wit and panache.

Scholars are still not sure when and where the Suites were written. Their secular nature and courtly style would seem to place them in the period of 1717 to 1723 when Bach served as Kapellmeister at the princely court of Cöthen and primarily created secular instrumental works, notably the six Brandenburg Concertos. But Prince Leopold’s orchestra was of modest size and presumably unable to provide the exceptionally sumptuous complement of three trumpets required by Suites 3 and 4. Therefore, though Bach may have composed earlier versions of these works at Cöthen, most likely the Suite we hear tonight was created in the late 1720s or early 1730s during his long service in Leipzig.

In addition to his primary duties pro-viding music for St. Thomas Church in Leipzig, from 1729 to 1737 Bach di-rected that city’s Collegium Musicum, a voluntary association of professional musicians and university students. The Collegium gave weekly concerts—in summer in an outdoor square and in winter at Zimmermann’s coffee house. Here Bach could put aside sacred texts and exercise his secular genius.

The festive quality of the suite comes from the opening Overture’s connection with Christmas: this music was also used for the first move-ment of Bach’s Cantata No. 110, “Unser Mund sei voll Lachens” (“Our




father’s. The empfindsamer Stil was bor-rowed from the French taste for music influenced by literature. In his solo keyboard and orchestral music, C.P.E. transferred this approach from vocal music to instrumental music—music expressing emotions without words.

He was also a pioneer in the still very young genre of the concert. Rather brief in comparison to later symphonies and always in three movements—fast-slow-fast—these works were nevertheless considerable advances on the Italian sinfonia of the Baroque period. In the words of Bach scholar Christoph Wolff, a C.P.E. symphony “must sound arrest-ing and audacious in its first movement, meditatively beautiful in its second, and cheerful or innocent in its third.”

These words perfectly describe the Symphony in E-flat Major, composed for the Berlin court orchestra in 1757. The first movement seizes our atten-tion at once with its furious ascending and descending theme for the violins, delivered at a breakneck Prestissimo tempo. Many passages played togeth-er in unison underline the intensity of this high-octane music, which only eases occasionally for some gently plaintive responses in the strings.

C.P.E. liked to link his movements together, and so a transitional pas-sage bridges directly to the second movement. This subtle Larghetto in G minor for the strings alone epito-mizes the “sensitive style.” Here the composer makes wonderful use of dis-sonance to color the melodic line; considerable rhythmic freedom with-in and between each instrumental part also contributes to the expressive clashes. Again the close of this move-ment prepares the way for the next.

The last movement is much sim-pler: a jaunty hunting-theme finale on a galloping-horses rhythm.

Sinfonia Concertante for Flute, Oboe, Violin and Cello in C Major

Johann Christian BachBorn Sept. 5, 1735, in Leipzig, Saxony; died Jan. 1, 1782, in London

Johann Christian Bach was Johann Sebastian’s youngest son, born when

Movement one opens with an elabo-rate tutti emphasizing rich contrapuntal play between the orchestral string parts. Thus, the soloists present the illusion of less complexity as well as welcome airi-ness when they enter. The tutti and the soloists each have distinct themes: the orchestra’s beginning with a rising four-note scale, the soloists’ with descending scales and angular upward leaps.

Focusing on the soloists, the slow movement is one of the most sublime movements Bach ever wrote: a love duet in which the two violins curve around each other in dance-like imi-tative phrases. The poignant expres-siveness of this music derives from the stings of dissonance between the instru-ments resolving into sweet consonance.

The lively third movement is one of Bach’s most ingenious. Here the roles of soloists and orchestra are sometimes reversed so that the soloists lead the opening tutti and then later imitate an orchestral accompaniment with energetic chords. And in his 3/4 meter, Bach happily accents any beat, or portion thereof, in an infectious display of rhythmic vivacity.

Symphony in E-flat Major, Wq 179

Carl Philipp Emanuel BachBorn March 8, 1714, in Weimar, Germany; died Dec. 14, 1788, in Hamburg, Germany

The thoroughly cosmopolitan C.P.E. Bach was the most successful and pro-lific of all Johann Sebastian Bach’s musical sons. Boasting a university education in the law and humanities from the Universities of Leipzig and Frankfurt, he borrowed from the lat-est French and Italian styles to keep his music au courant with the times. For nearly 30 years, he served at the Berlin court of Frederick the Great of Prussia, a hotbed of cultural and espe-cially musical life in mid-18th-century Europe. Frederick was a keen amateur flutist, who performed at concerts sev-eral times a week, usually with C.P.E. as his keyboard accompanist. Regarded as the leading exponent of the North German empfindsamer Stil or “sensitive style,” C.P.E. wrote music that is much lighter and more entertaining than his

mouths shall be filled with laughter”), composed for the Christmas Day ser-vice. And the Suite closes not with a traditional dance but with an exuber-ant movement called in French “Réjouissance” (“Rejoicing”).

Like all the Orchestral Suites, No. 4 opens with the traditional Over-ture, by far the longest movement. In the French style, this is proud and stately music built on elegant dotted rhythms. The lighter middle section is a bouncing triple-beat dance simi-lar to a gigue in character. Especially striking in this Overture is how Bach plays off the contrasting colors of his large ensemble against each other.

Instead of the traditional formal dances that usually comprised the Ba-roque suite, here Bach opts for light-er alternative dances known as galan-terien. So we hear a pair of high-spirited Bourées; an elegant, highly rhythmic Gavotte with charming antiphonal ef-fects; and a pair of very rapid Minu-ets omitting the trumpets and timpani. The second Minuet is for strings only and features an odd-couple duet be-tween the first violins and cellos. The concluding “Réjouissance” is a tour de force of joyous rhythmic games.

Concerto for Two Violins

At Cöthen, Bach created much of his finest secular instrumental music, includ-ing concertos for solo instruments in the manner of Vivaldi. Since these were in-tended as ephemeral pieces to be quickly replaced by newer concertos, only a few survive today. In fact, we would not have the superb Concerto for Two Violins in D minor if Bach had not later arranged it for two harpsichords in Leipzig in the early 1730s; fortunately, the original vio-lin parts were preserved as well.

Bach had closely studied the music of Vivaldi and the other Italian mas-ters, and he took Vivaldi’s concerto form of three movements in fast-slow-fast tempos and enriched it with his own stronger contrapuntal and archi-tectural gifts. The Baroque concerto placed far less emphasis on virtuoso solo display than would the concertos of the Classical and Romantic periods.



strings—also demonstrates his fine ear for instrumental colors. Its vivacious Alle-gro first movement is launched by a bold flourish in unison proclaiming the chord of C major, which will be the movement’s most prominent motive. Also listen for the beautifully colored second theme in-troduced by clarinets and bassoons.

J.C. was famous in his day for the beauty and sensitivity of his slow movements as the Larghetto second movement in F major demonstrates. He chose the oboe with its poignantly expressive tone to introduce the love-ly, gracious main theme. This move-ment, however, is particularly striking for the many luscious dueting passages created for each solo pair.

The soloists acting together as a quartet present the finale’s cheerful refrain theme. In between its many returns, the soloists are given finely crafted opportunities to show off their individual brilliance.


warm personality and for his charming music, and they remained in contact for the rest of J.C.’s life. Upon hearing of Bach’s death in 1782, Mozart ex-claimed that this was “a loss to the mu-sical world” and promptly memorialized J.C. in his Piano Concerto No. 12.

Mozart also honored J.C. Bach by composing two Sinfonia concertantes, inspired by J.C.’s love of this genre, a mixture of symphony and concerto that somewhat resembles the Baroque concerto grosso for groups of soloists (epitomized by J.S. Bach’s Branden-burg Concertos). During the 1770s, J.C. composed more than dozen works in this style, designed to feature many of the leading London soloists who ap-peared at his Bach-Abel concerts.

J.C. Bach was a master of the mid-century galant style: music intended to be pleasing, elegant, witty, and tuneful, with-out too much complexity. And we hear all these qualities in his Sinfonia Concer-tante in C Major, which with its mixed pairs of soloists—two woodwinds, two

his father was 50 and thus a composer of the Classical era of Haydn and Mo-zart rather than of the Baroque. When his father died in 1750, the adolescent J.C. moved to Berlin to live with his brother C.P.E., 21 years his senior, and also studied with him. But unlike his father and brother, his career would be made outside of Germany.

After beginning his career in Italy, he arrived in London in 1762 to fulfill an operatic commission. His operat-ic career flourished, and he stayed on in that city for the rest of his life, be-coming known as “the London Bach.” His subscription concerts there with the viola da gambist Carl Friedrich Abel attracted the British aristocracy and even the royal family for nearly two decades.

In 1764, the 8-year-old Mozart and his father arrived in London to dem-onstrate his prodigious keyboard tal-ent and developed an instant friend-ship with J.C. Bach. Mozart adored the amiable composer both for his

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John Pizzarelli

Using performers like Nat “King” Cole, Frank Sinatra, and João Gilberto and the songs of composers from Rich-ard Rodgers to Lennon & McCartney as touchstones, jazz guitarist and singer John Pizzarelli has established himself as one of the prime interpreters of the Great American Songbook.

Pizzarelli started playing guitar at age 6, following in the tradition of his father, Bucky Pizzarelli. After play-ing in pickup groups and garage bands through high school he began explor-ing jazz with his father as a teenager, and was able to perform with Benny Goodman, Les Paul, Zoot Sims, Clark Terry, and Slam Stewart. John Pizza-relli went out on his own after record-ing My Blue Heaven for Chesky Re-cords in 1990, then toured extensively, playing clubs and concert halls, open-ing for such greats as Dave Brubeck, Ramsey Lewis, and Rosemary Clooney. In 1993, he was honored to open for Frank Sinatra’s international tour and

then joined in the celebration for his 80th birthday at Carnegie Hall.

In addition to being a bandleader and solo performer, Pizzarelli has been a spe-cial guest on recordings for major pop names such as James Taylor, Natalie Cole, Kristin Chenoweth, Tom Wopat, Rickie Lee Jones, and Dave Von Ronk, as well as leading jazz artists Rosemary Clooney, Ruby Braff, Johnny Frigo, Buddy DeFranco, and Harry Allen.

Pizzarelli’s latest album, Double Ex-posure, is a collection of tunes by some of the great pop songwriters of his own generation that are framed squarely within traditional jazz arrangements. He also appears on several tracks on Paul McCartney’s 2012 album, Kiss-es on the Bottom. He performed with Sir Paul at an iTunes concert at Capi-tol Records Studios and the two also performed together at the Grammy Awards in Los Angeles.

Jane MonheitJane Monheit’s sense of liberation is ap-parent throughout The Heart Of The Matter, the acclaimed, Grammy-nom-inated vocalist’s ninth studio album. It can be felt in her wide-ranging choice of material, in the unique arrangements, and in her own fearless performances and interpretations. The diverse and very personal set of songs includes both familiar standards and compositions by Lennon & McCartney, Randy New-man, two songs by Ivan Lins—recorded in the original Portuguese—and, for the first time, a Monheit original.

Monheit has been a leading light in both the jazz and cabaret worlds since emerging as a finalist in the Thelonious

Monk Institute’s 1998 vocal competi-tion. In addition to her own record-ings, she has worked alongside Terence Blanchard, Tom Harrell, and Ivan Lins. She says that the distinctive, continu-ally surprising sound of The Heart Of The Matter is the result of an especially satisfying collaboration with Grammy-winning producer Gil Goldstein, who has previously worked with such giants as Wayne Shorter, Gil Evans, and Pat Metheny. The pair first joined forces for part of Monheit’s 2009 album The Lovers, The Dreamers, and Me.

This confidence manifests most vis-ibly with the inclusion of Monheit’s own “Night Night Stars,” the first song she has released for which she has written both music and lyrics.

From the song choices to the per-formances, The Heart Of The Matter is a work deeply informed by Monheit’s life—as a woman, wife, and mother in the second decade of a remarkable ca-reer—and it reaches emotional levels she attributes to an “extreme comfort zone” in the recording studio. “It was a small group, we’re all friends, and ev-eryone really wanted to be there,” she says. “I’m very close with my band, so to hear Gil’s beautiful work with my family beneath it inspired me to be completely unselfconscious... I think I’ve finally reached my level of onstage, live interpretation in the studio, which has always been a challenge for me.”

“When you’re playing with people you love,” says Monheit, “it always makes for better music.”




John Pizzarelli & Jane MonheitThe Music Center at Strathmore

Marriott Concert Stage


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Irvin Mayfield Irvin Mayfield, 36, is a Grammy and Billboard Award-winning artist with 15 albums to his credit. May-field is the found-ing artistic direc-tor of the New

Orleans Jazz Orchestra and currently serves as artistic director of jazz at the Minnesota Orchestra.

In 2009, Mayfield entered into a his-toric partnership with the Royal Son-esta Hotel and created Irvin Mayfield’s Jazz Playhouse. Mayfield was nominated to the National Council on the Arts by President George W. Bush and was sub-sequently appointed to the post by Pres-ident Barack Obama in 2010.

About New Orleans Jazz OrchestraThe New Orleans Jazz Orchestra (NOJO) is the first and only perform-ing arts institution committed solely to the development of an industry for jazz in the city that created it. Founded in 2002 by Artistic Director and Grammy Award-winning trumpeter Irvin May-field, NOJO creates jazz to enhance life, transform place, and elevate spirit.

NOJO has become a leading voice of Jazz in New Orleans and throughout the nation.

The New Orleans Jazz Orchestra understands that for the human expe-rience to be maximized, all individu-als, and the global community, must encounter the elements of truth, love, and beauty. As a performing arts or-ganization, NOJO uses these three

tenets to frame its goal of strengthen-ing the business of jazz through per-formances, tours, recordings, educa-tion, and media platforms. In these ways, NOJO seeks to provide mean-ingful jazz experiences to whomever they are privileged to encounter.

WEDNESDAY, FEBRUARY 18, 2015, 8 P.M.


Irvin Mayfield and the New Orleans Jazz Orchestra Barney Floyd, trumpet Ashlin Parker, trumpet Glenn Hall, trumpet Leon Brown, trumpet James Williams, slide trumpet and sousaphone Michael Watson, trombone David Harris, trombone Emily Fredrickson, trombone

Khari Lee, alto saxophone, clarinet, and fluteJeronne Ansari, alto saxophone and flute Ed Petersen, tenor saxophoneRicardo Pascal, tenor saxophoneJason Marshall, baritone saxophoneJasen Weaver, bass Victor Atkins, pianoAdonis Rose, drums


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Jack Everly, conductor Jack Everly is the principal pops con-ductor of the In-dianapolis and Bal-timore symphony orchestras, Naples Philharmonic Or-chestra and the Na-

tional Arts Centre Orchestra (Ot-tawa). He has conducted the Los Angeles Philharmonic at the Hol-lywood Bowl, The New York Pops at Carnegie Hall and appears regu-larly with The Cleveland Orchestra at Blossom Music Center. This sea-son, Everly will conduct more than 90 performances in more than 20 North American cities.

As music director of the National Memorial Day Concert and “A Capitol Fourth” on PBS, Everly leads the Na-tional Symphony Orchestra in these patriotic celebrations on the National Mall. These concerts attract hundreds of thousands attendees on the lawn and the broadcasts reach millions of view-ers and are some of the very highest rated programming on PBS television.

Originally appointed by Mikhail Baryshnikov, Everly was music di-rector of the American Ballet The-atre for 14 years. In addition to his ABT tenure, he teamed with Marvin

Hamlisch on Broadway shows that Hamlisch scored. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions.

Everly, a graduate of the Jacobs School of Music at Indiana Uni-versity, holds an honorary doctor-ate of arts from Franklin College in his home state of Indiana. He is a proud resident of the Indianap-olis community for over 12 years and when not on the podium you can find Everly at home with his family, which includes Max the wonder dog.

Patti Austin Patti Austin has been a bonafide entertainer since she stepped onto the stage of the Apollo Theater in Harlem at age 4 at the urging of music legend Dinah Washington.

During the 1970s, Austin was the undisputed queen of the New York session scene; her voice was heard be-hind everyone from Paul Simon, Cat Stevens and James Brown to Bette Midler and Diana Ross. She signed with her godfather Quincy Jones’ Qwest label and achieved mainstream success on an international level thanks to the Grammy-nominat-ed hit “Baby Come To Me,” and the

Academy Award-nominated “How Do You Keep the Music Playing?”

The Grammy-nominated album For Ella opened up new doors for Austin as a performer and her em-brace by the jazz world was sealed with her Grammy-winning album Avant Gershwin.

In 2014, Austin continued her philanthropic work with The Over My Shoulder Foundation and is working on a Duke Ellington big band tribute.


THURSDAY, FEBRUARY 19, 2015, 8 P.M.


Marin Alsop, Music DirectorJack Everly, Principal Pops Conductor

Presents

Patti Austin Sings Ella and the Duke Jack Everly, conductor Patti Austin, vocalist

This evening's program will be announced from the stage.

Support for this performance is provided by the Governing Members of the BSO.




His Broadway career boasts equal recognition, having received Tony Award nominations as both composer/lyricist for the musical Thou Shalt Not, and as the lead in the Tony Award-winning revival of The Pajama Game.

Connick has used his influence as an entertainer to further his charita-ble work. Following the devastation of Hurricane Katrina, he helped create

the Musicians’ Village in the Upper Ninth Ward, which provides homes for musicians and other displaced citi-zens, and an after-school facility for kids. His contributions to the post-Ka-trina effort have been acknowledged by a Redbook Strength and Spirit Award, an honorary degree from Tu-lane University, and the 2012 Jeffer-son Award for Public Service.

Harry Connick, Jr. Showered with awards and recogni-tion for his live and recorded musi-cal performances, and for his achieve-ments on screens large and small as well as the Broadway stage, Harry Connick, Jr. has exemplified excel-lence in every aspect of the entertain-ment world.

The foundation of Connick’s art is the music of his native New Or-leans, where he began performing as a pianist and vocalist at age 5. Con-nick’s career took off when he signed with Columbia Records and re-vealed his stunning piano technique and vivid musical imagination with his multi-platinum success with the soundtrack for the film When Harry Met Sally. To date, Connick has re-leased 29 albums, won three Gram-mys and two Emmys, and garnered sales of 28 million.

In addition to his music career, Connick has also appeared on the screen and stage as an actor. His fea-ture film credits include Little Man Tate, Copycat, Hope Floats, Memphis Belle, Independence Day, P.S. I Love You, New in Town, and the hit family films, Dolphin Tale and Dolphin Tale 2.

On television, Connick is per-haps best known for his recurring role on “Will & Grace” and his appear-ances in “Law & Order: Special Vic-tims Unit.” Following his successful stint as a mentor on “American Idol,” Connick was invited to join Jennifer Lopez and Keith Urban at the judges’ table for seasons 13 and 14.

FRIDAY, FEBRUARY 20, 2015, 8 P.M. AND SATURDAY, FEBRUARY 21, 2015, 8 P.M.


Harry Connick, Jr.


Friday, February 20, 2015, 8 p.m., and Saturday, February 21, 2015, 8 p.m.

About Imago TheatreFounded in 1979 by Carol Triffle and Jerry Mouawad, Imago Theatre’s origi-nal productions have toured interna-tionally for more than two decades.

Working out of an 18,000-square-foot theater laboratory in Portland, Ore., Ima-go’s ensemble of actors, dancers, designers, fabricators and musicians seek fresh per-spectives on performance. The company has been honored for mask theater pieces that have appealed to a wide age range, as well as for innovative works that push the boundaries of form, design, and story.

Imago Theatre’s methodology is based on the teachings of Jacques Lecoq (1921-1999). Triffle studied extensive-ly with Lecoq, completing his exclusive pedagogical program. Drawing inspira-tion from Lecoq, Imago Theatre aims to

place form and design at the forefront of theater creation and infuses each pro-duction with an idiosyncratic physical energy. In 2006, the company’s innova-tive production of Jean-Paul Sartre’s No Exit ran at American Repertory Theater and The Hartford Stage Company.

Carol TriffleCarol Triffle completed a three-year pedagogical program with Jacques Lecoq in 1997 after studying him for two previous years in 1986-1988. A member of the dance company The Company We Keep, she found-ed Imago Theatre in 1979 with Jerry Mouawad and began touring the Unit-ed States with original mask theater. In 1997 she wrote and directed Ginger’s Green, which marked the beginning of

a canon of original music-theater works that includes Ajax, Oh Lost Weekend, No Can Do and Missing Mona.

In 2006 her music-theater works changed form after influences from Richard Maxwell and often featured an-ti-clown heroes played by Danielle Ver-mette and Mouawad in works titled Hit Me in The Stomach, Mix Up, The Din-ner, Simple People, Backs Like That and Splat. She co-directed with Mouawad on Broadway’s Frogz and ZooZoo.

Jerry MouawadJerry Mouawad studied the teachings of Jacques Lecoq at the Hayes-Mar-shall School of Theatre Arts. After co-founding Imago Theatre, he went on to collaborate with Carol Triffle for 14 years creating mask pieces be-fore exploring experimental theater. He staged two works by Richard Fore-man—Samuel’s Major Problems and Symphony of Rats. He has adapted magical realism literature for the stage incorporating multimedia, puppetry and stage illusion in Verdad (in col-laboration with Triffle) and Half Light. Modern classic adaptations include Blood Wedding, The Imaginary Invalid, Exit the King, and Uncle Vanya.

His adaptation of Sartre’s No Exit on a moving stage played at American Reper-tory Theatre and Hartford Stage Com-pany. He has staged work for BodyVox, The Portland Opera, and The Oregon Symphony. His series of original silent works titled “Opera Beyond Words” in-clude Apis, or the Taste of Honey; The Cuban Missile Crisis; Tick Tack Type; Stage Left Lost; and Zugzwang. On Broadway he co-directed with Triffle on Frogz (2000, 2002) and ZooZoo (2010.)

Katie GriesarKatie Griesar makes music with guitar, an-tique and toy musical instruments, found objects, collected sounds, wrong notes, and awkward gestures. A graduate of Vas-sar College and the American Repertory Theatre Institute at Harvard University, she is a three-time Portland Drama Critics Circle Award winner for her music/sound work with Imago Theatre, where she is currently resident composer.


SUNDAY, FEBRUARY 22, 2015, 4 P.M.


Imago Theatre: Frogz

Carol Triffle, CreatorJerry Mouawad, Creator

Katie Griesar, Original MusicJeff Forbes, Light Design

George Smith, Cowboy IllustrationsKayla Scrivner, Production Stage Manager

Carol Triffle, Jerry Mouawad, Cati Thomas, FabricationMark De Gli Antoni, Music

Jonathan Godsey, performerMark Mullaney, performerPratik Motwani, performer Tera Nova Zarra, performer

Kaician Jade Kitko, performer

Program subject to change.


FrogsAlligators Paper BagWindbags

StringsCowboy

Sloth Circus

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Griesar has contributed original music/sound to Imago’s productions of Frogz, Biglittlethings, ZooZoo, House Taken Over, Oh Lost Weekend, Missing Mona, The Dinner, Simple People, Backs Like That, Splat, Symphony of Rats, Half Light, Ginger’s Green, Trailer Park Par-adise, Blood Wedding Blood Wedding, Imaginary Invalid, No Can Do, and A Number. She has also contributed orig-inal music/sound to works by chore-ographers Linda Austin, Catherine Egan, Mary Oslund, Cydney Wilkes, and most recently she scored the dance piece Problem of Bias by choreographer Jessica Hightower.

Jeff ForbesJeff Forbes is a Portland-based lighting designer working primarily in theater and dance. He is a nine-time winner of the Willie and Drammy Awards for theater, for such companies as Artists Reperto-ry Theatre, Imago Theatre, the Musical Theatre Company, Storefront Theatre, and Tygres Heart Shakespeare Co.

He tours nationally and internation-ally with Imago’s production of Frogz as lighting designer and stage manager, and as technical director/lighting designer for the Deborah Hay Dance Company. He is a co-founder, with Linda Austin, of Performance Works NW, for which he also serves as technical director.

George SmithGeorge Smith was a nationally syndicat-ed cartoonist best known for The Smith Family. He was the proud father of 11 children, one of which is artistic co-di-rector of Imago Carol Triffle

Kayla ScrivnerKayla Scrivner studied dance and tech-nical theater at Portland State Universi-ty. From 1993 to 1997 she taught dance at The Edna Manley College of Fine and Performing Arts in Jamaica and danced with The National Dance The-atre of Jamaica. She worked as technical coordinator with White Bird Produc-tions for nine years and has also worked with Northwest Dance Theatre, The Portland Ballet, Bodyvox, and Portland Institute for Contemporary Art.

Jonathan GodseyJonathan Godsey became interested in theater at age 28. Since then, he has performed in numerous national Frogz tours with Imago Theatre, including runs at American Repertory Theatre in Cambridge, Mass., and on Broad-way. His other Imago appearances in-clude Oh Lost Weekend, The Imaginary Invalid, and Biglittlethings.

Mark Mullaney Mark Mullaney is excited and honored to join the cast of Frogz. In addition to acting, Mark likes to play and teach the bagpipes to kids, and record audio-books in his free time. Previously he acted in Imago’s Pimento & Pullman.

Pratik Motwani Pratik Motwani is an actor from Mum-bai, India. He holds a master’s in fine arts in ensemble based physical the-ater from the Dell’Arte International School of Physical Theatre in Calif. As a voiceover artist, Motwani has lent his voice to Dev Patel (the protagonist) in the Indian version of the Academy Award-winning Slumdog Millionaire. As a performing artist Motwani has played leading roles in The Dell’Arte Compa-ny’s production of The Nutcaper , Mary Jane: The Musical and The Comedy of Errors. After a fantastic touring experi-ence last year Motwani returns back to join Imago for his second season.

Tera Nova ZarraTera Nova Zarra is an acrobat, aerialist, and vocalist. She has trained under the direction of former Austrian sport ac-robatics champion and national team coach Stefan Furst for seven years. She has also trained at Sons Of Cayuga in San Francisco with coaches Dominik Wyss and Serchmaa Byamba, and taken lessons from École Nationale de Cirque’s Yuri Bozyan in Montreal. Zarra holds a black belt in aikido and aiki jujutsu from American In-stitute of the Martial Arts, and is a trained opera, jazz, and rock singer. She has recorded backing vocals for Shock G of Digital Underground, and her ninja rock band, Fist of Dishonor,

toured with Vanilla Ice. She previously appeared in Imago’s Apis and Zoo Caper.

Kaician Jade KitkoBorn in California, but raised in Hawaii, Kaician Jade Kitko now lives in Port-land, Ore. Before moving to Portland, he was trained in tap dancing by Carol Culver, and is currently learning trapeze and lyra from Nightflight Aerial.

His first show in Portland was Imago’s Stage Left Lost, followed by three seasons in its show, Bim Bam Bop.

Cati Thomas Cati Thomas was born and raised in England. She started sewing at age 7 and a few years later set off to work in the costume shops of regional and London theaters. A taste for adven-ture led her and her sewing machine to the American Northwest where, for 20 years, she led a domestic life in central Oregon. She has performed in, direct-ed, and costumed numerous community theater and dance productions, includ-ing A Midsummer Night’s Dream, The Tempest, Charley’s Aunt, Death Trap, Ol-iver, Swan Lake, and Trojan Women.

Katherine GrayKatherine Gray has performed in four of Imago’s original works. She has as-sisted in creature creations for both Frogz and Biglittlethings. While her pri-mary focus has been as a dancer over the past 18 years, including many sea-sons with Oslund & Co./Dance, she works steadily in the field of prototype development, special events produc-tion, costuming, and industrial design.




FRIDAY, FEBRUARY 25, 2015, 8 P.M.


Tango Buenos AiresSong of Eva PerónRosario Bauza, Artistic Director

Fernando Marzán, Music Director Héctor Falcón, Choreographer

Lucrecia Laurel, Régisseur, Scriptwriter, PhotographerFred Allen, Light Designer

Act 1: The Rise of a StarI Will Take Care of You Until the End/ Fernando Marzán

“Santa Eva”Eva Perón sings to us

Lucia Alonso, singer

Souvenir / Fernando Marzán“My people”

Group dance of Eva’s friends and familyFour couples dance

Nos Vemos Pronto, Pueblo / Fernando Marzán“A Zamba for Eva”

Eva’s family and friends say goodbye to Eva by dancing a “zamba,” a typical folk dance from the north region of Argentina

Full company

Próxima Estación, Mis Sueños / Fernando Marzán“Railroad Dreams”

In the train, Eva dreams of being a starFull company

La Cumparsita / Matos Rodriguez“Buenos Aires”

Presentation of the city. A couple dances a tango.Couple solo

Glamour y Suburbio / Fernando Marzán“Promenade”

Eva walks around the city and meets some friendsTwo couples dance

Sabado Inglés / Juan Félix Maglio“Golden night”

At night, aristocrats also danceCouple solo

De Puro Guapo / Pedro Laurenz“At the Radio Station”

Eva is looking for a job as an actress at the radioFour couples

Felicia“Things are changing”

Felicia, Eva’s dear friend, dances a tangoCouple solo

De antaño El llorón

milongueando en el 40milonga de mis amores

“Celebrating Eva—Good Times”Eva gets her paper at the radio. Celebration with friends.

Everybody dances “milonga.”Full company

Ojos Negros / Vicente GrecoOrchestra solo

Malambo“Las Boleadoras”

Las Boleadoras are a typical Argentinean tool used to catch the cattle in the countryside.

Act 2: The Rise of LoveA la Guardia Nueva

Solo of Perón tappingEl Choclo

“Marching All together”All men march with Perón

Male dancers

Orillera / Agustín Bardi“The boys and the girls”

Militars and girls dance togetherFull company

Taquito Militar / Mariano MoresOrchestra solo

A Orlando Goñi / Alfredo J. Gobbi“Strength”Couple solo

Corazón de Oro / Francisco Canaro“Game of gazes”

Eva and Perón meet, they cannot stop gazing at each other

Full company

My Wish to Give it All / Fernando Marzán“The rise of love”

Eva declares her love to PerónFull company

Celos / Jacob Gade“Us”

People are touched by Eva and Perón union

Full company

Tanguera / MoresCouple solo

Triunfal / Astor PiazzollaOrchestra solo

Adios Nonino / Astor Piazzolla“Red Carpet”

Eva becomes first ladyFull company

Oblivion / Astor Piazzolla“Oblivion”Couple solo

Violentango / Astor Piazzolla“Final”

Full company



About Tango Buenos AiresTango Buenos Aires has become one of Argentina’s great cultural exports, known throughout the Americas, Eu-rope and Asia as the most authentic and uncompromising representation of the tango.

Tango Buenos Aires was created for the “Jazmines” festival at the famous Buenos Aires cabaret Michelangelo by renowned composer and tango director Osvaldo Requena. The company met with tremendous success and was imme-diately added to the season of the Gen-eral San Martin Municipal Theatre.

In 1986, the company traveled to the United States in order to represent Argentina at the Latin American Festi-val, which took place at the Delacorte Theatre in New York City. This event was followed by an extensive tour throughout the United States, along with trips to Mexico, Puerto Rico, and El Salvador. In December 1986, the group appeared on NHK television in Tokyo, and it completed 62 perfor-mances throughout Japan, as well as a CD recording for Sony entitled Quejas de Bandoneón (Sony 32 DP 731).

The company traveled extensive-ly throughout the 1980s, 1990s and 2000s, performing at the Spring Fes-tival in Argentina and the Inter-national Tango Festival in Spain, among others. The ensemble has crisscrossed the globe, performing in Indonesia, Singapore, Thailand, Aus-tralia, Finland, Chile, the United States and many other nations.

The company also has held master classes at the Dance University of Bei-jing and the Kuopio Festival in Finland.

Rosario BauzaBorn in Argentina, Rosario Bauza is the third generation manager of D.A.N.I.E.L. Artists & Concertos, an international leader in managing the touring activities of instrumental solo-ists and singers, ensembles, and theat-rical attractions.

Under the umbrella of D.A.N.I.E.L Artists, she has presented many con-certs at the Colon Theatre, the Col-iseum Theatre and Luna Park in

Buenos Aires for performing artists such as tenor Jose Carrerras, piano duo Labeque, Montserrat Caballe, Barbara Hendrix, and Paula Mijenes.

In 1988, the minister of culture for Argentina honored Bauza by requesting that she be a cultural ambassador for the tango with the creation of different groups like Tango Buenos Aires, which traveled the world and visited more than 200 cities in the Untied States.

Fernando MarzánFernando Marzán continues the leg-acy of the Marzán family as a line of extremely reputable and well-known musicians in Buenos Aires. Since 1994, he has been the pianist for the Broadway/London hit production of Forever Tango. With this compa-ny he has toured almost seven years throughout the United States, Cana-da, Japan, and many other countries.

He has also participated in the

recording of several albums, includ-ing Evita, starring Madonna, and The Impostors, starring Oliver Platt and Stanley Tucci. He has also produced four albums with Forever Tango. As a soloist, he produced five albums: Ben-dita Buenos Aires, Recuerdo, Gotanda Tango Station, Tanguera, and Tangue-ando en los ´40.

In 2002, he took the musical direc-tion of the show Tango Seduction. In 2003, he became the musical director and arranger for the show Tango Bue-nos Aires. Subsequent engagements in-clude musical director of Tango Premium (2008) and Tango Romance (2010).

Héctor FalcónChoreographer, dancer and teacher of tango and Argentinean folk dances, Héctor Falcón has been involved in the dance world since he was a child. He began his dance education at age 5, graduating and obtaining a diploma as a professor of Argentinean folk dance at age 15. Since then he has worked with several folk dance companies such as the Ballet de Amalia Garcia, Ballet de Machaco, Ballet de Salta, Bombos de Oro, Los Ñaquis, Los Diablos Gau-chos and Ballet Argentina Hoy.

Lucrecia LaurelLucrecia Laurel was born in Bue-nos Aires, Argentina. At age 18, she moved to Los Angeles to study the-ater and photography. She has always been inspired by tango, which began by watching, listening, and touring with her mother, Rosario Bauza, director of Tango Buenos Aires.

Laurel has been actively involved in producing and developing shows since returning to Buenos Aires in 2008.



MusiciansFernando Marzán, pianistMarco Antonio Fernandez, bandoneonEmiliano Guerrero, bandoneonMayumi Urgino, violinRoberto Santocono, bassSebastian Noya, bassDancersPaula AriasJuan CorvalanMatias VidoniAldana Artemisa PajaroHéctor FalcónKarina PiazzaLucia AlonsoNestor GudeEliana De BartolisHector Eduardo FernandezSingerLucia Alonso

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Yan Pascal Tortelier, conductorYan Pascal Tortel-ier enjoys a distin-guished career as guest conductor of the world’s most prestigious orches-tras. He began his musical career as

a violinist and at 14 made his soloist debut with the London Philharmonic Orchestra. He was principal conductor of the São Paulo Symphony Orches-tra from 2009 to 2011, and currently holds the position of guest conductor of honour. Following his outstanding work as chief conductor of the BBC

Philharmonic, he was given the title of conductor emeritus and continues to work with the orchestra regularly. He also holds the position of principal guest conductor at the Royal Academy of Music in London.

Highlights of the 2014-2015 sea-son and beyond include returns to the United States to conduct the orchestras in Pittsburgh, Montreal, San Francis-co, Minnesota and Baltimore; Europe-an performances with the Iceland and Bournemouth symphony orchestras, and the Royal Liverpool and BBC phil-harmonic orchestras; and Australia to conduct the Melbourne, Adelaide and Sydney symphony orchestras.

Louis Lortie, piano Pianist Louis Lortie has attracted criti-cal acclaim through-out Europe, Asia and the United States. He has extended his interpretative voice across a broad range

of repertoire rather than choosing to specialize in one particular style.

Lortie has performed complete Beethoven sonata cycles at London’s Wigmore Hall, Berlin’s Philharmonie and the Sala Grande del Conserva-torio Giuseppe Verdi. A pianist and conductor with the Montreal Sym-phony Orchestra, he has performed all five Beethoven concertos and all of the Mozart concertos. Lortie has also won widespread acclaim for his inter-pretation of Ravel and Chopin.

In 2014-2015, he returns to the Sydney and Adelaide symphony or-chestras, the Warsaw Philharmonie, and the Chicago, Toronto, Baltimore and San Diego symphony orchestras; and presents recitals in London’s In-ternational Piano Series, and in Ber-lin, Milan, Calgary and Brussels.

Program NotesLe corsaire Overture, Op. 21

Hector BerliozBorn Dec. 11, 1803, in La Côte-Saint-André, France; died March 8, 1869, in Paris

The year 1844 was an exhausting and demoralizing one for Hector Berlioz. After a long period of deterioration, his “dream” marriage to the Irish actress Harriet Smithson finally collapsed. As fans of the composer’s Symphonie fantas-tique will remember, Berlioz fell madly in love with her in 1827 after seeing her in Paris performances of Shake-speare’s Hamlet and Romeo and Juliet, and that spectacular program symphony expressed his frustrated passion for her. His fatal mistake was to marry her in 1833, a union that went south almost from day one and taught him it was far better to sublimate desire into music.

Furthermore, Berlioz had just




Marin Alsop, Music DirectorPresents

The Firebird SuiteYan Pascal Tortelier, conductor

Louis Lortie, piano

Le corsaire, Op. 21 Hector Berlioz (1803-1869)

Trio in A minor Maurice Ravel Orchestration by Yan Pascal Tortelie (1875-1937) Modéré Pantoum. Assez vif Passacaille. Très large Finale. Animé

INTERMISSION

Piano Concerto No. 23 in A Major, K. 488 Wolfgang Amadeus Mozart Allegro (1756-1791) Adagio Allegro assai Louis Lortie

The Firebird Suite (1919) Igor Stravinsky Introduction and Dance of the Firebird (1882-1971) Dance of the Princesses Infernal Dance of King Kashchei Berceuse Finale




organized and conducted one of his mammoth concerts—mobilizing more than 1,000 performers!—to celebrate the close of the international Festival of Industrial Products in Paris on Aug. 1. At this extravaganza before an audi-ence of 8,000, he nearly collapsed on the podium, and his doctor immediate-ly ordered a rest cure in the warm sun-shine of Nice on the French Riviera.

There the composer regained both his health and creative energies, composing the last of his colorful concert overtures, the fiery Le corsaire (“The Pirate”).

In his three mature overtures—Ben-venuto Cellini, Roman Carnival and Le corsaire—the radical Berlioz developed a very personal, iconoclastic formal ap-proach that shattered the sonata-form template for 19th-century overtures. In C major, Le Corsaire opens with arrest-ing gestures: a virtuosic whirlwind of string scales that collides with the intri-cate syncopations of the equally agitat-ed woodwinds. Then Berlioz presents a slow adagio section, featuring a pensive-ly beautiful melody in A-flat major.

All too soon this lovely music is bro-ken off; the orchestra cranks itself back to C major; and the main allegro sec-tion ensues with a reprise of the whirl-ing string scales and syncopations. The brass hints at the swashbuckling princi-pal theme, but the violins finally unfurl it. Almost unrecognizable in the faster tempo, the adagio melody then returns for contrast. Despite the lack of an or-thodox development section, Berlioz keeps revisiting his bold theme in new and exciting ways, the best being the brass’ dashing, totally uninhibited proc-lamation just before the end.

Trio in A minor

Maurice RavelBorn March 7, 1875, in Ciboure, Basses-Pyrenées, France; died Dec. 28, 1937, in Paris Arranged for Orchestra by Yan Pascal Tortelier

Maurice Ravel was born in the French Basque country near the Spanish bor-der, and he retained a great love for this region all his life. One of his fa-vorite places for combining relaxation with composition was the seaside resort

of St. Jean-de-Luz. There he wrote his greatest chamber work, the Trio in A minor for Piano, Violin and Cello, dur-ing the summers of 1913 and 1914. But his idyll at St. Jean-de-Luz was shat-tered on Aug. 4, 1914 when the start of World War I was announced; the news propelled him into overdrive to com-plete the Trio so he could enlist.

In its original form, this work, de-spite being scored for just three instru-ments, frequently suggests an orchestra with its rich, coloristic writing. Thus it is one of the chamber music pieces best suited to an orchestral arrange-ment. In reconceiving it for a very large orchestra, Yan Pascal Tortelier draws on the type of instrumentation Ravel himself used in such technicolor works as Daphnis et Chloé and La Valse.

The first movement, “Modéré,” is shaped by the irregular meter of 8/8, subdivided into three beats + two beats + three beats; we hear it in the swaying, folkloric opening theme, in-troduced by the flutes. Ravel described this music as in “Basque color,” and this rhythm resembles the Basque dance the zortzico. A solo flute shad-owed by solo cello presents the wist-ful, exquisitely lyrical second theme, which plays an equally prominent role.

Movement two is called “Pantoum,” for the Malayan poetic form of that name, which was occasionally adopted by the French poets Victor Hugo and Charles Baudelaire. Pianist Lois Shap-iro writes, “In a pantoum, virtually two independent poems with independent subject matter are interwoven within one poetic framework, with an integra-tion of the two poetic ideas saved for the climactic last line.” And this is ex-actly what Ravel does in this virtuosic scherzo. Two very different musical ideas are presented against each other: a glit-tering, brittle dance introduced by the xylophone and a swooning romantic waltz for strings and harps. In the middle or trio section, Ravel adds yet another clash: a suave new dance for violins in 4/2 time against pattering woodwinds and percussion remaining in 3/4 time.

Roger Nichols describes the deeply moving “Passacaille” as being “imbued

with a nostalgia, a sense of loss,” as Ravel expresses his anguish as Europe tumbled toward war. The form is a pas-sacaglia or variations on a repeated theme, here a gravely meditative mel-ody heard first in the double basses at the very bottom of the orchestra. Its repetitions follow an arch shape: gradu-ally rising in pitch and textural rich-ness to a shattering climax, then de-scending just as gradually back to the lower regions for a brooding close.

From this darkness, the lights flicker on again as shimmering violins, harps and celesta open the “Finale.” An exot-ic, quasi-pentatonic melody sparkles in flutes and piccolos; its irregular pulse of 5/4 and 7/4 again recalls Basque dance rhythms. Proud brass fanfares over sus-tained trills in strings and woodwinds form a second theme. The fanfares and trills build to a spectacular conclusion, with the orchestra fulfilling all the color and grandeur the original three instru-ments were striving to achieve.

Piano Concerto No. 23 in A Major, K. 488

Wolfgang Amadeus Mozart Born Jan. 27, 1756, in Salzburg, Austria; died Dec. 5, 1791, in Vienna

Mozart essentially invented the classi-cal piano concerto, epitomized by the 12 keyboard masterpieces he wrote be-tween 1784 and 1786. Each is a world unto itself, and one of the loveliest and most refined of these worlds is that of Piano Concerto No. 23, com-pleted on March 2, 1786.

Sounding like an intimate conversa-tion between close friends, the A major is also one of the most vocal of the con-certos. This is not surprising, for simul-taneously Mozart was completing his vivacious comic opera, The Marriage of Figaro. Busy creating arias and ensembles for a castle-full of characters, Mozart ap-parently had plenty of melodic ideas left over, for this concerto is propelled by its melodies, some high-spirited, some heart-wrenching. Here the soloist is asked not so much to display his digital dexterity as to play the great opera singer, especially in the sublime slow movement.

As in most of the late concertos, the pianist also must share the spotlight with



the orchestra’s woodwind section. Mo-zart became more and more intrigued with how woodwind colors could blend and contrast with the piano, and for this concerto he had a pair of his favor-ite wind instruments, the round-toned, fruity clarinets, to exploit.

Concerto No. 23 is also filled with an emotional quality very characteristic of Mozart: the mood of smiling through tears. This is heard best in the first movement, which sounds outwardly se-rene, but immediately disturbs the at-mosphere at the second chord with its dissonant note troubling the A-major harmony. “The light of the movement is one of a March day—the month in which it was composed—when a pale sun shines unconvincingly through fleet-ing showers,” as Mozart scholar Cuthbert Girdlestone poetically described it. The second theme, introduced soon by the violins, is rather melancholy and grows more so as a bassoon and flute join in. As the exposition section closes, listen for a quiet, chin-up closing theme in the strings; from it Mozart will build an ex-pressive development section.

Smiles give way to tears for the slow movement, one of Mozart’s greatest and his only one in the key of F-sharp minor. The soloist opens with a poi-gnant melody featuring large intervals in the manner of a virtuosic 18th-cen-tury diva. The orchestra answers with a more anguished melody, with ach-ingly beautiful dissonances created by its clashing contrapuntal lines. Flutes and clarinets try to brighten the mood in the middle section. But the tears per-sist as the opening music returns and is capped by a heartbreaking closing coda.

The brilliant rondo finale at last dries all tears. And finally the pianist can play the virtuoso as he leads off with the sparkling rondo theme. But this is just one of a quiver-full of melodies Mo-zart has ready, and he keeps on shooting fresh ones at us in a movement of non-stop vivacity and invention.

The Firebird Suite (1919)

Igor StravinskyBorn June 17, 1882, in Oranienbaum, Russia; died April 6, 1971, in New York City

Igor Stravinsky’s score for the fairy-tale ballet The Firebird, particularly in its suite adaptation, is far and away his most popular work. For nearly six decades, the composer conducted it hundreds of times, even though he had since moved on to more radical styles. In fact, it be-came almost impossible to believe that this fearless modernist had actually once written such a lush and sensual score: a grand summation of the 19th-century Russian fascination with fantastic plots and opulent instrumental colors.

The Firebird’s music needed to be lush for it was written for Serge Diaghilev’s spectacular Ballets Russes, which was dazzling Paris during the seasons im-mediately preceding World War I. Di-aghilev had a genius for assembling the greatest Russian dancers as well as de-signers, poets and composers from Rus-sia and France to create ballet extrava-ganzas that looked as colorful as they sounded. In 1909 seeking a composer to replace Anatoly Liadov (dropped after he failed to meet his deadline), Diaghi-lev had the happy inspiration to try the 27-year-old Stravinsky, who had previ-ously worked for him only as an orches-trator. The Firebird was Stravinsky’s first major commission. “Take a good look at him,” Diaghilev told his leading balleri-na Tamara Karsavina during rehearsals. “He is a man on the eve of celebrity.” And indeed, when The Firebird pre-miered at the Paris Opéra on June 25, 1910, to tumultuous applause, Stravin-sky became one of the hottest compos-ers of the day.

The firebird is a beloved creature in Russian folklore, and she corresponds to the phoenix in classical mythology as a symbol of rebirth. The Russian folklor-ist Afanasyev describes her: “The feath-ers of the firebird are effulgent with sil-ver and gold. ... Her eyes shine like crystal, and she sits in a golden cage. At darkest midnight, she flies into the gar-den and lights it as brightly as if with a thousand burning bonfires. Just one of her tail feathers holds such magi-cal power that it is worth more than a kingdom.” The scenario of the ballet combines the firebird with the legends of the evil ogre Kashchei the Deathless

One, and the captive princesses (famil-iar to us as the Grimm Brothers’ tale The Twelve Dancing Princesses).

At this concert, we will hear the 20-minute suite Stravinsky drew from his 45-minute complete ballet score, which serves as a kind of promotion-al trailer for this gorgeous work. In the murky and mysterious “Introduc-tion,” he conjures the dangerous realm of Kashchei’s castle with ominous scales in muted low strings and men-acing trombone snarls. Soon we hear the eerie sound of the firebird’s wings: an otherworldly effect created by the strings playing natural harmonics. Prince Ivan climbs over the castle wall to try to capture her. He briefly suc-ceeds in “Dance of the Firebird”: here is some of Stravinsky’s most ingenious music, glinting with darting rhythms and prismatic, lighter-than-air colors from high woodwinds. The Firebird es-capes, but leaves the Prince with one of her magical feathers.

More earthbound is the “Dance of the Princesses,” who like Ivan are or-dinary mortals and captives of Kash-chei. They dance a traditional Russian khorovod, or female round dance, and the Prince falls in love with the most beautiful of them. Next comes the stun-ning “Infernal Dance of King Kash-chei”; Stravinsky’s rhythmic vitality is on display in this brutal dance built from syncopations.

In the nick of time, Prince Ivan re-members the magic tail feather and sum-mons the firebird. She forces Kashchei and his minions to dance until they drop in exhaustion. Lulling them to sleep with the rocking “Berceuse” led by solo bassoon, the firebird tells the Prince that Kashchei’s soul lives in a buried egg; if he can crush that, he will kill the ogre and break the spell that binds the princesses. The prince accomplishes this and in the majestic “Finale” weds his princess. Its melody, introduced by solo horn, is an-other authentic Russian folksong. The melody spreads through the orchestra, and the ballet ends in a blaze of bell-toll-ing Russian splendor.






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About the Annapolis Symphony Orchestra With a 53-year history of artistic excellence, the Annapolis Symphony Orchestra is recognized as the largest and most distinguished performing arts organization in Maryland’s capital city. Under the direction of Maestro José-Luis Novo, the ASO continues to rise in excellence and national reputa-tion, performing classic, pops, family concerts, and special events. Additionally, the ASO sponsors numerous award-winning education concerts and outreach programs in schools, sharing the joy of music-making with thou-sands of schoolchildren.

José-Luis Novo, conductorSince his appoint-ment as music di-rector and con-ductor of the Annapolis Sym-phony Orchestra in 2005, José-Luis Novo has instilled a

new and vibrant artistic vision. Some of the ASO’s highlights dur-

ing Novo’s tenure include a 2006 debut concert appearance at the Music Center at Strathmore, a 2008 ASCAP Adventurous Program-ming Award, a national broadcast on NPR’s “Performance Today,” a 2012 return appearance at the Clarice Smith Performing Arts Center with

mezzo-soprano Denyce Graves for the ASO’s 50th anniversary gala concert, and the launching of the ASO’s first commercial CD commemorating the 300th anniversary of the signing of Annapolis’ Royal Charter.

A committed advocate of con-temporary music, Novo has led more than a dozen world pre-mieres of commissioned composi-tions. In the operatic field, he made his debut conducting a production of Smetana’s The Bartered Bride in collaboration with Maestro Julius Rudel and subsequently has con-ducted productions of Britten’s Al-bert Herring, Menotti’s Old Maid and the Thief, and Vaughan Wil-liams’ Riders to the Sea.

Simone Dinnerstein, piano

American pianist Simone Dinnerstein is a searching and in-ventive artist who is motivated by a desire to find the musical core of every work she approaches.

In spring 2013, Dinnerstein and singer-songwriter Tift Merritt re-leased Night, a collaboration uniting classical, folk, and rock. Night fea-tures original songs written for the duo by Brad Mehldau and Patty Grif-fin, as well as classical selections and Merritt’s own work.

Other recent highlights include Dinnerstein’s debuts in Sydney and Melbourne, Australia, her debuts in Leipzig at the Gewandhaus, the world premiere of Nico Muhly’s “You Can’t Get There From Here” at Symphony Hall in Boston, and her third return engagement at the Berlin Philharmonie.

Dedicated to her community, in 2009 Ms. Dinnerstein founded Neigh-borhood Classics, a concert series open to the public hosted by New York City Public Schools. Neighbor-hood Classics began at P.S. 321, the Brooklyn public elementary school that her son attended and where her husband teaches fourth grade.

SUNDAY, MARCH 1, 2015, 3 P.M.


Annapolis Symphony Orchestra with Simone Dinnerstein, piano

José-Luis Novo, conductor

The Garden of Fand Arnold Bax (1883-1953)

Piano Concerto in G Major Maurice Ravel Allegramente (1875-1937) Adagio assai Presto Simone Dinnerstein

INTERMISSION

Ein Heldenleben, TrV 190, Op. 40 Richard Strauss The Hero (1864-1949) The Hero’s adversaries The Hero’s companion The Hero’s battlefield The Hero’s works of peace The Hero’s retirement from the word and fulfillment of his life Netanel Draiblate, violin


Sunday, March 1, 2015, 3 p.m.

The ChieftainsThe Chieftains, six-time Grammy winners, have uncovered the wealth of traditional Irish music that has ac-cumulated over the centuries, making the music their own with a style that is as exhilarating as it is definitive.

The Chieftains were formed in 1962 by Paddy Moloney, who brought together fiddler Martin Fay, flautist Michael Tubridy, tin whistle virtu-oso Seán Potts, and bodhrán player David Fallon. They recorded a sup-posedly one-off instrumental album but five years later were reunited with some additions: fiddler Seán Keane, and Peader Mercier replacing Fallon. Harpist Derek Bell came on board in 1973. The Chieftains began playing together full time in 1975 and they

marked the event with a historic per-formance at Royal Albert Hall in Lon-don. The following few years saw the departure of Mercier, and the addition of bodhrán player and vocalist Kevin Conneff. Another lineup change in 1978-79 would see the departure of Potts and Tubridy and the addition of a new flautist, Matt Molloy.

Although The Chieftains’ early following was purely a folk audi-ence, the range and variation of their music very quickly captured a much broader public. The group has per-formed with many symphony and folk orchestras worldwide, and has collaborated and performed with some of the biggest names in rock, pop, and traditional music in Ireland and around the world.

In 2010, The Chieftains released a collaboration with guitarist/pro-ducer Ry Cooder entitled San Patricio on the Concord Music Group label. The album was named after The San Patricio Battalion, a group of Irish immigrant conscripts who deserted the U.S. Army in 1846 to fight on the Mexican side of the Mexican-American War. This release proved a remarkable collaboration, with dis-tinguished Mexican and Mexican-American musicians Lila Downs, Los Tigres Del Norte, Los Cenzontles, and Carlos Nuñez, as well as narration by Liam Neeson and a piece featuring Linda Ronstadt. A commercial and critical success, the album sold more than 60,000 copies in North America and charted No. 37 in the Billboard 200, the highest charting of all 58 of The Chieftains’ albums.

The Chieftains’ most recent album, Voice of Ages, found the band collaborating with some of mod-ern music’s fastest rising artists such as Bon Iver, The Decemberists, The Punch Brothers, and the Pistol An-nies among them to reinterpret tra-ditional songs for old and new gener-ations alike, proving what the music means today while hinting where it might lead tomorrow.


WEDNESDAY, MARCH 4, 2015, 8 P.M.


Paddy Moloney & The ChieftainsThe Music Center at Strathmore

Marriott Concert Stage

Wednesday, March 4, 2015, 8 p.m.



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Cristian Măcelaru, conductor Winner of the 2014 Solti Con-ducting Award, Cristian Măcelaru has established himself as one of the fast-rising stars of the conducting world. Recently

appointed conductor-in-residence of the Philadelphia Orchestra, Măcelaru has conducted the Philadelphia Or-chestra in subscription concerts three times in recent seasons: his own 2014 performance and two substitutions.

During the 2014-2015 season, Măcelaru conducts the Danish Na-tional Symphony Orchestra in Den-mark and on tour in Germany and the United States. The 11-concert project, which includes Măcelaru’s official Carn-egie Hall debut, celebrates the 150th anniversaries of the composers Carl Nielsen and Jean Sibelius, and features Anne-Sophie Mutter and Ray Chen as violin soloists. This season Măcelaru also returns on subscription to both Chicago and Philadelphia and has sub-scription debuts with the Toronto, Bal-timore, St. Louis, Seattle, Milwaukee, Detroit and Indianapolis symphony

orchestras in North America; the U.K.’s Hallé Orchestra and Bournemouth Symphony; and the Hague’s Residentie Orkest in the Netherlands.

Simon Trpčeski, piano Born in 1979, Macedonian pi-anist Simon Trpčeski has es-tablished himself as one of the most remarkable mu-sicians to have emerged in recent

years, performing with many of the world’s greatest orchestras and capti-vating audiences worldwide. This sea-son’s highlights include the London Symphony; Philharmonia Orchestra; Royal Liverpool Philharmonic; Los Angeles Philharmonic; Seattle, Balti-more and St. Louis symphonies; Neth-erlands Radio Philharmonic; RSO Ber-lin; NDR Hamburg; Russian National Orchestra; Barcelona Symphony; and a tour of Australia and New Zealand.

Trpčeski has given recitals in major cities around the world and also reg-ularly performs chamber music, in-cluding such festivals as Aspen, Ver-bier and Risor. He regularly works with young musicians in Macedonia to cultivate the talent of his country’s next generation of artists. As a result, he was awarded with the Presiden-tial Order of Merit and the first-ever title National Artist of Macedonia.

Trpčeski recorded on Onyx, Wig-more Hall Live, EMI and Avie labels.

Program NotesThe Fairy’s Kiss, Divertimento

Igor StravinskyBorn June 17, 1882, in Oranienbaum, near St. Petersburg, Russia; died April 6, 1971, in New York City

In 1928, 18 years after The Firebird’s premiere, another fairy tale ballet with a score by Stravinsky opened at the Paris Opéra. In the intervening years, Stravinsky had shattered the tradition-al Russian ballet world with The Rite

SATURDAY, MARCH 7, 2015, 8 P.M.



Shakespeare in Love and Simon Trpčeski

Cristian Măcelaru, conductor Simon Trpčeski, piano

Divertimento from The Fairy’s Kiss Igor Stravinsky (Revised 1950) (Le Baiser de la fée) (1882-1971) Sinfonia Danses suisses Scherzo Pas de deux

Piano Concerto No. 1 Sergei Prokofiev in D-flat Major, Op. 10 (1891-1953) Allegro brioso Andante assai Allegro scherzando Simon Trpčeski

INTERMISSION

The Tempest, Fantasy-Overture, Op. 18 Piotr Ilyich Tchaikovsky (1840-1893)

Romeo and Juliet Fantasy-Overture Piotr Ilyich Tchaikovsky



Saturday, March 7, 2015, 8 p.m.



Though he’d written a number of other pieces, Prokofiev considered the Piano Concerto No. 1 to be his first “more or less mature” work. Already it revealed most of the characteristics that were to make up his distinctive voice for the rest of his career: classical clarity mixed with a sometimes brutal moder-nity; biting, sarcastic wit; an evocative, dark lyricism; high rhythmic energy; and technical brilliance. Even though it is only a bit over 15 minutes in length, it is a true “take-no-prisoners” concerto and an extraordinary showpiece.

Though ostensibly divided into the traditional three movements, this concerto, Prokofiev tells us, was conceived as one continuous move-ment: an overarching sonata form following architecture pioneered by Liszt. The opening Allegro brioso is unforgettably arresting: a business card hurled at the audience. Three vehement D-flat chords launch piano and orchestra on an ascending theme etched in brawny octaves. This music is the basis for the whole con-certo and will return at important structural moments.

After this astounding introduction, the music accelerates for witty, metalli-cally brilliant music dominated by the piano. After a mocking cadence, Proko-fiev abruptly shifts into a slower, vague-ly disturbing section with dark brass fanfares and a tolling piano part. Grad-ually, the pianist’s glissandos and other caprices drive this mood away. The cur-tain-raising music returns with a virtuo-sic new counterpoint for the piano.

The music then flows into an Andan-te assai slow movement, which Proko-fiev calls an “interlude before the devel-opment.” But this uncanny mood piece, both fragile and passionately powerful, is much more than an “interlude”; it is the first of the composer’s flights of lyrical reverie, which grew more poignant in his later music after hardships had tem-pered his youthful bravado.

Horns and tuba break in to launch the Allegro scherzando, Prokofiev’s brittle, laughing “development sec-tion,” which sends up elements of the first movement’s themes. This

The child is now a young man, and to a more delicately scored waltz, he dances with his bride-to-be. In the ballet, after this musical sequence the Fairy reappears to seduce the man away from his fiancee.

The Scherzo opens scene three, “At the Mill.” The young man follows his fiancee and, to this gossamer, play-ful music, finds her frolicking with her friends. Continuing the scene is the final Pas de Deux, a grand multisectional dance in the Russian balletic tradition for the two lovers. A romantic cello solo, favored by Tchaikovsky for such scenes, plays against harp and luminous wood-wind solos. The Suite concludes with a fast virtuoso dance, representing the cou-ple’s last moments together before the Fairy returns to claim her prize forever.

Piano Concerto No. 1 in D-flat Major, Op. 10

Sergei ProkofievBorn April 23, 1891, in Sontsovka, Ukraine; died March 5, 1953, in Moscow

During his years at the St. Petersburg Conservatory, Sergei Prokofiev man-aged to annoy nearly all his teachers. Bursting with arrogance, he was a pi-anist of staggering technical prowess and a composer who marched to his own drummer, refusing to bow to the established traditions of Russian Ro-manticism. At his graduation in 1914, he decided to make up for his medio-cre academic record by capturing the Anton Rubinstein Prize as the Con-servatory’s finest pianist. And while all his competitors selected hallowed concertos from the canon, he decided to display his virtuosity with a piece of his own: his Piano Concerto No. 1, written when he was only 20.

This concerto had already been pre-miered in Moscow on July 25, 1912, where it had received both cheers and catcalls. Some hailed it as a breath of fresh air while others sided with the disgruntled critic who wrote, “If that is music, I really believe I prefer agri-culture.” At the Conservatory’s com-petition on April 22, 1914, the jury was split, but Prokofiev’s audacity was ultimately rewarded with the Rubin-stein Prize and a new piano.

of Spring and had become one of Eu-rope’s leading modernists. Therefore, The Fairy’s Kiss came as a shock to Pa-risian audiences because it was neither modern nor neoclassical (Stravinsky’s current style), but instead a faithful recreation of the world and even the musical language of Tchaikovsky’s Ro-mantic ballets. It was a bittersweet glance back at a world lost forever.

One of Stravinsky’s fondest child-hood memories was attending the pre-miere of Tchaikovsky’s The Sleeping Beauty and observing the composer at close range in the audience. Even as his own musical voice grew far apart from Tchaikovsky’s, he continued to revere the older master. Thus when Alexander Benois approached him “to do something with Uncle Petya’s music,” he readily agreed.

For his libretto, Stravinsky adapt-ed Hans Christian Andersen’s The Ice Maiden, renaming it The Fairy’s Kiss. In a preface to his score, he summarized the plot: “A fairy marks a young man with her mysterious kiss while he is still a young child. She withdraws him from his mother’s arms; then she withdraws him from life on the day of his great-est happiness [his marriage] in order to possess him and preserve his happi-ness forever.” Stravinsky identified the young man with Tchaikovsky himself.

For his score, Stravinsky drew on little known piano pieces and songs by Tchaikovsky. He also wrote origi-nal music that skillfully imitated the older composer’s style: the shape of his melodies, the way he used instru-ments, his characteristic dramatic ges-tures and his overall Romantic sweep.

In 1931, Stravinsky extracted the Divertimento, a four-movement suite from the ballet. Its opening Sinfonia corresponds to the ballet’s first scene, “The Lullaby in the Storm.” As the child’s mother carries him through the storm, the boy is torn from her arms by the Fairy’s attendants. At the repeat of the poignant flute lullaby, the Fairy be-stows her fatal kiss.

The Danses suisses correspond to Scene Two’s “Village Fete.” A rustic Stravinskian peasant band is playing.




continues into a spiky solo cadenza, which savages one of the secondary themes—it was passages like this that made the conservatives squirm! The piano pyrotechnics become more and more frenzied until the curtain-rais-ing music makes its final appearance, now glittering with bells and double-fisted keyboard octaves, for a stunning “take-that!” finish.

The Tempest, Symphonic Fantasy OvertureRomeo and Juliet Overture-Fantasy

Peter Ilyich TchaikovskyBorn May 7, 1840, in Votkinsk, Russia; died Nov. 6, 1893, in St. Petersburg

While Tchaikovsky’s Romeo and Juliet Overture-Fantasy is one of his most fa-miliar compositions, probably few au-dience members are familiar with his other two Shakespearean tone poems: Hamlet and The Tempest. An opportu-nity to hear The Tempest brings the dis-covery of one of the Russian master’s most alluring romantic melodies.

Composed in August 1873, The Tempest was the product of a partic-ularly happy time in Tchaikovsky’s life. He had just returned from a va-cation in Western Europe, and be-fore returning to Moscow, he decided to spend a few weeks at Usovo, the country estate of his wealthy friend Vladimir Shilovsky. Since Shilovsky was away, the composer had the whole place to himself. As he later remembered in a letter to his pa-troness Nadezhda von Meck: “I was in a kind of exalted, blissful frame of mind, wandering during the day alone in the woods... and sitting at night by the open window listening to the solemn silence of this out-of-the-way place. ... During those two weeks I wrote The Tempest in rough without any effort, as though moved by some supernatural force.” The suc-cess of The Tempest’s first performance in Moscow in December 1873 far ex-ceeded the response to Romeo and Ju-liet in 1869.

The idea of setting to music this magical romance of reconciliation, Shakespeare’s last play, had come from Vladimir Stasov. The composer

reduced Stasov’s detailed scenario to this outline printed in the score: “The sea. The magician Prospero sends his obedient spirit Ariel to raise a tem-pest, which wrecks the ship with Ferdi-nand on board. The magic island. First timid feelings of love between Miran-da [Prospero’s daughter] and Ferdinand [son of one of Prospero’s enemies]. Ariel. Caliban. The lovers give them-selves up to the delights of passion. Prospero renounces his magic power and leaves the island. The sea.”

The music closely follows this scenario. It opens with a portrait of the calm sea surrounding the is-land where Prospero and Miranda have been exiled, with many divid-ed string parts representing the un-dulating waves. A solemn, enigmatic horn melody emerges from this back-ground; it is the key theme unifying the piece. Prospero, in majestic brass chords, and his fairy servant, Ariel, in flickering high woodwinds, ap-pear and conjure the tempest, which wrecks the ship carrying the magi-cian’s old enemies from Italy and casts them upon the shores of his is-land. After the storm subsides, we hear in the cellos the glorious love theme representing the romance be-tween Miranda and Ferdinand.

The central portion presents con-trasting musical portraits of the airy spirit Ariel and the ugly island troll Caliban, both servants of Prospero. The love music soon resumes, now becom-ing more passionate and resembling a great balletic pas de deux. With a ring-ing brass chorale, Prospero gives up his magical powers, as all the characters, now reconciled, prepare to leave the island. The Tempest closes as it began with the undulating music of the sea.

Romeo and Juliet

In 1869, the 28-year-old Tchaikovsky was recovering from the breaking off of his only love affair with a woman—the fascinating Belgian opera singer Desirée Artôt—when he was urged to use Shakespeare’s Romeo and Juliet as a vehicle to transform his pain into art by his fellow Russian composer Mily

Balakirev. This renunciation had been difficult for Tchaikovsky, and soon after, he was seen at the opera house listening to Artôt with tears streaming down his face.

A member of the five Russian na-tionalist composers known as the “Mighty Handful,” Balakirev became more famous for the compositions he inspired in others than for his own works, and the young Tchaikovsky was one of his protégés. Like Stasov, Bal-akirev provided a detailed plot for a tone poem, but Tchaikovsky used his own artistic discretion about his sug-gestions. The first version of his “Fan-tasy” Overture was written in just six weeks at the end of 1869. But when he heard it performed in Moscow in March 1870, Tchaikovsky decided it needed considerably more work. In revisions made soon after, he added the brooding opening that so perfectly establishes a mood of tender pathos, and before publishing it in 1880, he devised the startling conclusion that confirms the tragic denouement with eight searing B-major chords.

The musical events of Tchai-kovsky’s first masterpiece are so well known they need little explanation; they convey virtually all the dramat-ic elements of Shakespeare’s play ex-cept the scenes of comic relief. Some commentators have linked the dark chant-like theme that opens the work with the character of Friar Laurence who marries the young lovers. This theme plays an important role in the middle development section—striving in the horns against the jagged princi-pal theme representing the battles be-tween the Capulets and Montagues, just as in the play Laurence tries vain-ly to bring the families together. No-tice how craftily Tchaikovsky intro-duces his famous love theme, one of the most inspired this great melodist ever wrote. He first presents it with very subdued scoring—an English horn solo over violas—saving its full passion for later when it returns soar-ing aloft in the violins.



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Masaaki Suzuki, conductor Since founding Bach Collegium Japan in 1990, Masaaki Suzuki has established himself as a lead-ing authority on the works of Bach, and his im-

pressive discography on the BIS label includes all Bach’s major choral works and the complete cycle of cantatas.

He also conducts repertoire as di-verse as Britten and Stravinsky with orchestras including the Deutsches Symphonie Orchester Berlin, Leipzig Gewandhausorchester, the New York Philharmonic and the Stuttgart Radio Symphony Orchestra. Suzuki is an ac-tive organist and harpsichordist who studied with Ton Koopman at the Sweelinck Conservatory, Amsterdam.

Founder and head of the early music department at the Tokyo Uni-versity of the Arts, he also holds posi-tions at the Yale School of Music and Yale Institute of Sacred Music.

Augustin Hadelich, violin Multiple per-formances with almost every major orches-tra in the United States have con-firmed Augustin Hadelich as one of the most im-

portant violinists of his generation. Highlights of his 2014-2015 season

include debuts with the Minnesota Orchestra, Danish National Sympho-ny and the London Philharmonic, as well as re-invitations to perform with the New York Philharmonic and the symphonies of Baltimore, Houston, Indianapolis, Liverpool, Saint Louis and Seattle.

In addition to his many perfor-mances in the U.S., Canada and South America, Hadelich has ap-peared with the BBC Philharmon-ic, Bournemouth Symphony, Dres-den Philharmonic, NHK Symphony/


THURSDAY, MARCH 12, 2015, 8 P.M.



Mozart’s Great Mass Masaaki Suzuki, conductor

Augustin Hadelich, violinSimona Saturova, soprano

Joanne Lunn, mezzo-sopranoNicholas Phan, tenor

Kyle Ketelsen, bass-baritoneUniversity of Maryland Concert Choir

Overture to Don Giovanni, K. 527 Wolfgang Amadeus Mozart

Violin Concerto No. 5 in A Major, K. 219 (1756-1791) Allegro aperto Adagio Rondo: Tempo di menuetto Augustin Hadelich

INTERMISSION

Mass in C minor, K. 427 (417a), “The Great” Wolfgang Amadeus Mozart KYRIE (Ed. Franz Beyer, 1989) GLORIA Laudamus te Gratias Domine Deus Qui tollis Quoniam Jesu Christe - Cum sancto spiritu CREDO Et incarnatus SANCTUS Benedictus Agnus Dei Simona Saturova Joanne Lunn Nicholas Phan Kyle Ketelsen University of Maryland Concert Choir

The concert will end at approximately 10 p.m.

Presenting Sponsor: M& T Bank


Thursday, March 12, 2015, 8 p.m.

Tokyo and the Royal Scottish Nation-al Orchestra, to name a few.

Hadelich’s first major orchestral re-cording, featuring the violin concer-tos of Jean Sibelius and Thomas Adès with Hannu Lintu conducting the Royal Liverpool Philharmonic Or-chestra, was released to great acclaim in March 2014 and nominated for a Gramophone Award.

Simona Šaturová, soprano Simona Šaturová, born in Bratislava, Slovakia, stud-ied singing at the Bratislava Con-servatory and at-tended various master classes,

most notably with the Romanian so-prano singer Ileana Cotrubas.

She regularly performs at the Théâtre de la Monnaie Brussels and Aalto-Theatre Essen. She has per-formed in La traviata, La finta giardinier), Titus, Rigoletto, The Abduction From the Seraglio and Idomeneo. She also has per-formed on the stages of Teatro Colón Buenos Aires, Théâtre du Châtelet Paris, Opéra de Monte Carlo, Oper Frankfurt and in Athen’s Megaron Concert Hall.

Conductors with whom the soprano singer has worked include Christoph Eschenbach, Krzysztof Penderecki, Sir Neville Marriner, Jiří Bělohlávek, Manfred Honeck, Tomáš Netopil, Kent Nagano, Rafael Frühbeck de Burgos, Adam Fischer, Ivan Fischer and Christopher Hogwood.

Joanne Lunn, mezzo-sopranoJoanne Lunn studied at the Royal College of Music in Lon-don, where she was awarded the prestigious Tagore Gold Medal.

Joanne has performed with the Monteverdi Choir and Orchestra, the Academy

of Ancient Music, Les Musiciens du Louvre, Concerto Köln and many others, at venues including the Con-servatoire Royal (Brussels), Tchai-kovsky Concert Hall (Moscow), Sage Gateshead, St Paul’s Cathedral, and at the Halle Handel Festival and the BBC Proms.

Engagements in 2014-2015 include regular appearances with the Duned-in Consort and New London Consort & Musicians of the Globe, as well as with Bach Collegium Japan across Europe and in the United States. Fu-ture engagements include Nelson’s Mass in Moscow, Handel’s Cantatas with Musica Alta Ripa and a program of 16th century music at the Rhine Valley Music Festival with The Queen’s Revels.

Nicholas Phan, tenor Nicholas Phan has appeared with many lead-ing orchestras in North America and Europe, in-cluding the New York Philharmon-ic, Boston Sym-

phony Orchestra, Chicago Symphony Orchestra, Philadelphia Orchestra, Los Angeles Philharmonic and BBC Symphony. He has toured extensively throughout Europe with Il Complesso Barocco and appeared with the Oregon Bach, Tanglewood, Ravinia, Marlboro and Edinburgh festivals and at the BBC Proms.

In opera, Phan has appeared with the Houston Grand, Seattle, Glyn-debourne and Frankfurt operas and the Maggio Musicale in Florence. In recital, he has been presented by Carnegie Hall, the Philadelphia Chamber Music Society and the University of Chicago. Phan’s grow-ing discography includes the Gram-my-nominated Pulcinella with the Chicago Symphony Orchestra, and his solo albums Winter Words and Still Falls the Rain.

His many engagements this sea-son include his return to Houston

Grand Opera for Sweeney Todd, and concerts with the symphony or-chestras of Cleveland, San Francis-co, Dallas, Cincinnati, Baltimore and Vancouver.

Kyle Ketelsen, bass-baritoneAmerican bass-baritone Kyle Ke-telsen is in regu-lar demand by the world’s leading opera companies and orchestras for his vibrant, hand-some stage pres-

ence and his distinctive vocalism.Ketelsen opens the 2014-2015 sea-

son as Leporello in a new production of Don Giovanni at Lyric Opera of Chi-cago. Other operatic highlights of Ke-telsen’s season include his return to Ca-nadian Opera Company as Leporello in Don Giovanni and Cadmus in the com-pany’s production of Semele at the Brook-lyn Academy of Music, as well as per-formances of his acclaimed Escamillo in Carmen with the Minnesota Opera under the baton of Michael Christie and at the Chorégies d’Orange festival in France.

Ketelsen’s symphonic engagements include Mozart’s Requiem with Pinchas Zukerman and the Colorado Sympho-ny Orchestra.

University of Maryland Concert Choir Over the past decade the University of Maryland Concert Choir has established itself as one of the premier symphonic choruses in the United States. Regu-lar collaborations with the Baltimore Symphony Orchestra and the National Symphony Orchestra of Washington D.C., in repertoire such as Britten’s War Requiem, Mozart’s Requiem, Haydn’s Creation, Bach’s St. Matthew Passion and B minor Mass, Mendelssohn’s Elijah, and Handel’s Messiah have been met with ac-claim from audiences and critics alike.

Performances at the University’s College Park campus have included Brahms’ Ein deutsches Requiem, Stravin-sky’s Symphony of Psalms, Verdi’s Re-quiem and Beethoven’s Symphony No.



9. Student singers are chosen by audi-tion from the School of Music as well as from across the university’s vari-ous disciplines. Under the direction of Edward Maclary, the UMD Concert Choir strives to meet the highest pro-fessional standards while providing its membership a joyful educational and social experience.

Program NotesOverture to Don Giovanni

Wolfgang Amadeus MozartBorn Jan. 27, 1756; in Salzburg, Austria; died Dec. 5, 1791, in Vienna

In 1786, just as Mozart’s popularity in Vienna went into a slump, the city of Prague, capital of the then-Austrian province of Bohemia, came to the res-cue. Mozart’s new comic opera The Marriage of Figaro had been such a spec-tacular success at the Prague Opera House that the city’s musical leaders begged the composer to visit as soon as possible. Arriving in early January 1787, he found the city gripped by Fi-garo-mania. He described a ball given in his honor: “I looked on … with the greatest pleasure while all these people flew about in sheer delight to the music of my Figaro, arranged for contradanc-es and German dances. For there, they talk about nothing but Figaro. Noth-ing is played, sung, or whistled but Fi-garo. No opera is drawing like Figaro. … Certainly a great honor for me!” Not surprisingly, the Prague Opera House offered a commission for a new opera, and it turned out to be one of his great-est masterpieces: Don Giovanni, pre-miered in Prague on Oct. 29, 1787.

The story of Don Juan, the prodi-gious Spanish womanizer who seduces thousands of women throughout south-ern Europe, dated back at least to the late 16th century. The French drama-tist Molière created a play about him, while the forgotten Giuseppe Gazzaniga had produced a one-act opera in Ven-ice earlier in 1787. Librettist Lorenzo Da Ponte actually cribbed from Gazza-niga’s libretto to create his longer story for Mozart. Da Ponte and Mozart called their work a “dramma giocoso” because, to an unprecedented degree, it com-bined comedy with a very serious drama of crime and punishment.

The opera’s riveting overture encap-sulates both the tragic and the comic aspects of this dramma giocoso. First, we hear a slow introduction in D minor, full of darkness and foreboding; its whirling scale passages terrifyingly portray the su-pernatural forces that will ultimately de-stroy the Don; this music returns in the opera’s final scene when Don Giovanni meets his doom. Then the tempo accel-erates to Allegro, and the key brightens to D major for music of comic verve. But it also has more weight than do the over-tures for Mozart’s more purely comic op-eras and with its dashing fanfares seems a portrait of the virile Don himself.

Violin Concerto No. 5 in A Major, “Turkish”

Wolfgang Amadeus MozartAlthough he eventually chose to con-centrate on the keyboard, the young Mo-zart was almost equally gifted as a violin-ist, admired for the beauty and purity of his tone. As concertmaster of the Prince-Archbishop Colloredo’s court orchestra, he played the principal violin part and led the orchestra from his chair. He was

soon to grow deeply frustrated with this role, but between 1773 and 1775, it in-spired him to write his five violin con-certos, as well as a number of other works with prominent solo violin parts for him to play. The last three of these concertos, all written in 1775 when he was 19, rank among his earliest masterpieces.

Dated Dec. 20, 1775, the Violin Con-certo in A Major is the last of the group. Full of surprises and shifts of emotion-al tone, it shows Mozart playing freely and creatively with the concerto norms of his day. It is nicknamed “Turkish” for an exuberant episode of “alla Turca” (“in the Turkish manner”) music Mo-zart inserted in its vivacious finale. Such music—with its exotic leaping melodies, menacing unison passages, drone basses, and the clatter of drums and cymbals—was very fashionable in Europe during the late-18th century. But this music re-ally isn’t “Turkish” at all; rather, as Mo-zart scholar Neal Zaslow explains, it ac-tually came from Hungary.

The first movement opens with music of charm and insouciance. The orchestral violins merely sketch the principal theme with pert ascend-ing notes. Likewise, the winsome sec-ond theme with its humorous repeated notes is but a preview of what the solo-ist will do. Now comes Mozart’s first sur-prise: instead of entering in this mood and tempo, the soloist floats in with a dreamy romance over rustling orchestral strings in a much slower tempo. Even-tually, he shifts up to Allegro and trans-forms the orchestral pencil sketch of the principal theme into a soaring, full-color melody. And then he expands the sec-ond theme into music of great charm. A brief development section deepens the music’s expressiveness before the violin reprises its rapturous theme.

Movement two is an early example of Mozart’s almost painfully beautiful slow movements, which yearn for something more than ordinary life can give. The long-spun melodic lines are continual-ly punctuated by little sighing figures in the orchestra. In the movement’s mid-dle section, poignant harmonies intensi-fy the mood to the brink of tears.

The work closes with a finale in the



UNIVERSITY OF MARYLAND CONCERT CHOIR

rondo form Mozart favored for his con-certos. In this form, a refrain melody keeps returning in the home key while, in between, episodes of contrasting music explore other keys. Here the re-frain tune is a courtly minuet ending with a little teasing upward flourish. Midway through the movement comes Mozart’s “Turkish” surprise. Since he didn’t have percussion in his small en-semble, he cleverly asked the cellos to thump their instruments with the wooden side of their bows to produce the drum-and-cymbals effect.

Mass in C minor, “The Great,” K. 427

Wolfgang Amadeus MozartBy strange coincidence, both of Mozart’s greatest sacred choral/orchestral works, the Requiem and the “Great” Mass in C minor, were left unfinished. The trag-ic story of Mozart attempting to com-plete the Requiem before his death was well known to music lovers even before the death-bed scene in Peter Shaffer’s play Amadeus dramatized it with many fictional embellishments. But what of Mozart’s other unfinished masterpiece? When Mozart composed the Mass in C minor 1782–83, he was in good health and recently married to Constanze Weber. Why should he break off in mid-stream, leaving half the “Credo” and all of the “Agnus Dei” unset?

If Mozart had continued writing on the scale he’d begun, the Mass in C minor would have been as long as Bach’s epic Mass in B minor. And in fact there are many parallels with the B-minor, which Mozart surely knew. Like Bach, Mozart divided the mass text into various brief segments and then worked them out expansively in the form of solo arias or elaborate choruses. Both Bach and Mozart set the Gloria’s “Laudamus Te” section as a florid aria for the second soprano soloist and the “Cum Sancto Spirito” as a spectacular choral fugue.

Indeed, the influence of Baroque composers, particularly Handel and Bach, is very strong throughout the C-minor Mass. In 1782, the year he began composing this work, Mozart became acquainted with Baron Gottfried van Swieten, a scholar of the Baroque with a

splendid library of music of this period. Poring over van Swieten’s scores, Mo-zart soaked up the contrapuntal tech-niques of these earlier masters and be-came very enamored of their music. Not surprisingly, the C-minor Mass became a glorious mélange of Baroque practices, particularly in its choral music.

But back to the mystery of why this work was never completed. On Aug. 4, 1782, shortly after he began writing the C-minor Mass, Mozart married Con-stanze Weber, much to the dismay of his father. Mozart seems to have begun the Mass as an act of thanksgiving for his marriage and a bridal gift to Constan-ze, for whom he wrote the first soprano solo. Perhaps the pressure of commis-sions that would earn him money against this personal work that was growing too big to be performed by any church finally drove him to break it off. Only a portion of what he had written was premiered at St. Peter’s Church, Salzburg, with Con-stanze as soprano soloist, in either late August or late October 1782. And Mo-zart seemed to have little appreciation for the greatness of his work in prog-ress; in 1785, he actually cannibalized it to meet a hasty commission for a sacred cantata Davidde penitente.

The “Kyrie” gives us a dark, dramatic setting of the “Lord, have mercy” text, in keeping with the character of the C-minor tonality. (Interestingly, this is the only movement in the home key of C minor in the piece.) A gentler, more per-sonal prayer, “Christ, have mercy,” is of-fered by the first soprano soloist, above a more subdued chorus and orchestra.

The “Gloria,” the longest complet-ed section, begins in a blaze of brass and the bright key of C major. This is the first chorus in which you’ll hear the influence of Handel, including some nearly direct quotes from the “Halle-lujah” Chorus. The second soprano is then introduced in “Laudamus te”: a vivacious, virtuosic aria of praise, full of joyful ascending scales in the violins.

In addition to the lovely duet for both sopranos for “Domine Deus” and flow-ing trio for the sopranos and the tenor for “Quoniam Tu Solus Sanctus,” the major numbers of the “Gloria” are the

extraordinarily powerful “Qui Tollis” and the grand choral fugue for “Cum Sancto Spiritu.” Michael Steinberg has called the “Quoniam” section “one of the sum-mits of Classical church music,” and it is difficult to argue with him. In G minor and a slow tempo, this is a Baroque-style choral piece, set over a traditional Baroque descending bass accompani-ment. The weight of its heavy orchestral rhythms and the inclusion of three trom-bones perfectly expresses the text: “Thou who bearest the sins of the world.” Sud-den descrescendos to piano introduce the pleas for mercy Misere” and “Suscipe.”

“Cum Sancto Spiritu” (“With the Holy Spirit”) traditionally received a fugal treatment, but Mozart’s is excit-ing rather than pedantic. A slow, sim-ple fugal subject juxtaposes beautifully against continuous faster-note passag-es, and a little down-and-up figure is exploited to create two thrilling, long crescendo passages.

The glory of the incomplete “Credo” section is the long, sublimely beautiful aria for the first soprano, “Et incarnatus est” (“And was incarnate from the Holy Spirit”). Traditionally, composers offer their loveliest writing for this passage, but this exquisite setting with the so-prano accompanied by solo flute, oboe and bassoon arguably tops them all. Particularly marvelous are the passag-es in which the soprano sings with the woodwinds; Mozart also exploits this blending of singer and instruments in a lengthy cadenza near the end. No hus-band could ever have devised a more magnificent gift for his wife!

Many parts are missing in the con-cluding “Sanctus” section, but sever-al editors believe this already massive music should be scored for eight-part double chorus. The eight-voice divi-sion then continues into the intricate, high-speed double fugue for “Osanna.” Although this makes a satisfactory con-clusion for this “noble torso” (in the words of Alfred Einstein), we can only weep that Mozart apparently didn’t prize this glorious work as we do today and bring it to completion.




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Hall, San Francisco’s Symphony Hall, Los An-geles’ Disney Hall, Chica-go’s Symphony Hall, The Vancouver Recital Soci-ety and University Musi-cal Society of the Univer-sity of Michigan.

Orchestral engage-ments find Schiff per-forming mainly as both conductor and soloist. In 1999 he created his own chamber orches-tra, the Cappella Andrea Barca, which consists of international solo-ists, chamber musicians and friends. He also works every year with the Chamber Orchestra of Europe.

Schiff’s discography includes the

complete solo piano music of Beethoven and Janácek, two solo albums of Schumann piano pieces, his second recordings of the Bach Partitas and Goldberg Variations, The Well Tem-pered Clavier, Books I and II and Beethoven’s Diabelli Variations recorded on two instruments: a Bechstein

from 1921 and an original fortepiano from Vienna 1820. An all-Schubert disc featuring Sonata in B (D960), So-nata in G (D894), Moments Musicaux (D780) and the Impromptus will be re-leased in spring 2015.

Please see insert for notes on the program.

András Schiff, pianoAndrás Schiff is world-renowned and critically acclaimed as a pianist, con-ductor, pedagogue and lecturer. Born in Budapest, Hungary in 1953, he started piano lessons at age 5 with Elisabeth Vadász. He continued his musical studies at the Ferenc Liszt Academy with Professor Pál Kadosa, György Kurtág and Ferenc Rados, and in London with George Malcolm.

Schiff ’s project, The Last Sonatas, a series of three recitals comprising the final three sonatas of Haydn, Mozart, Beethoven and Schubert. The Last Sonatas takes place over the 2014-2015 and 2015-2016 seasons with the complete series slated for Washington Performing Arts, New York’s Carnegie




Celebrity SeriesPresents

András Schiff, piano Sonata No. 60 in C Major, Hob. XVI:50 Joseph Haydn Allegro (1732-1809) Adagio Allegro molto

Sonata in E Major, Op. 109 Ludwig van Beethoven Vivace ma non troppo - Adagio espressivo (1770-1827) Prestissimo Andante molto cantabile ed espressivo

INTERMISSION

Sonata in C Major, K.545 Wolfgang Amadeus Mozart Allegro (1756-1791) Andante Rondo

Sonata in C minor, D. 958 Franz Schubert Allegro (1797-1828) Adagio Menuetto & Trio Allegro

This performance is generously supported by Betsy and Robert Feinberg.





Carlos NúñezCarlos Núñez is one of Galicia's most revered artists, undisputed as the tra-dition’s greatest piper. He is already known in Irish music thanks to his early “adoption” by The Chieftains (so close was his musical and person-al connection he was dubbed “The Seventh Chieftain”). He played on many of the acclaimed Irish group’s albums including Treasure Island, The Long Black Veil, the Grammy-winning Santiago (inspired by Galician music), Mexican project San Patricio, and their latest release, Voice of Ages.

Núñez then launched his own solo career and built on his long list of col-laborations. His 1996 debut album, Brotherhood of Stars, reached platinum sales in Spain. Nuñez followed with Mayo Longo (2000), Todos Os Mundos (2002), Finisterre: The End of the Earth (2003), Carlos Núñez in Concert (2004), Cinema Do Mar (2006) and Alborada Do Brasil (2009).

Núñez was born in 1971 in Vigo, the port that connects Galicia to the world. He started playing the gaita at age 8. He studied recorder and Baroque music at Madrid's Royal Conserva-tory. At age 12, he performed at Brit-tany's Festival InterCeltique. Núñez’s music draws on influences that range from ancient and contemporary Celtic (with a unique Spanish swing) to Me-dieval and Baroque, and also borrows from the sounds and styles of the places where Galicians have settled, including Cuba, Brazil, Argentina, and the Unit-ed States.

He recently made his first major U.S. tour and presented his Sony Master-works debut, Discover, which showcas-es Núñez’s range and depth. The list of guests that appear on Discover, includes Linda Ronstadt, Los Lobos, Jackson Browne, Ry Cooder, Waterboys front-man Mike Scott, Sinéad O'Connor, Laurie Anderson, The Chieftains,

flamenco singer Carmen Linares, Irish accordionist Sharon Shannon, Scottish accordionist Phil Cunningham, fla-menco guitarist Vicente Amigo, Brazil-ian star Carlinhos Brown, Early Music master Jordi Savall, Spanish soprano Montserrat Caballé, and Buena Vista Social Club members Omara Portuon-do, Compay Segundo and Cachaito.

Núñez’s next album, Inter-Celtic, fea-tures music and artists from the differ-ent Celtic countries.

About the Culkin School of Traditional Irish DanceSeán Culkin’s mission and passion is teaching Irish dance and shar-ing it with area audiences. Having begun at age 6 with Washington D.C.’s Peggy O’Neill, he went on to establish the Culkin School of Tra-ditional Irish Dance in 1997. The mission of the Culkin School is to pass on the tradition of Irish dance, teach the basics of dance and the music it is danced to, and to have fun while learning.

The school has performed at the Kennedy Center, Wolf Trap, Glen Echo Park, National Geographic Live, and The Music Center at Strathmore. Dancers have performed onstage with Carlos Núñez, The Chieftains, De Dannan, Eileen Ivers, Natalie McMas-ter, Cherish the Ladies, Téada, Lúna-sa, Beoga, and The Saw Doctors.

About TraidisiúnTraidisiún is the Irish word for tra-dition. The Culkin School is one of traditional Irish dance, and tonight presents an array of dances and ar-rangements that typify the dance forms of Ireland. Groupings of dancers will take the stage, such as a boys reel, a traditional Blackbird set piece, and an a cappella jig. The concert also in-cludes a few twists on traditional Irish dance, such as the school’s signature “Silver Spring Set” danced to polka music, and a hard shoe/soft shoe slip jig. Dancers from the Culkin School adult program will also perform a few of the fun group dances that are the traditional Ceili dances of Ireland.

TUESDAY, MARCH 17, 2015, 8 P.M.


A Special St. Patrick’s Day concert:Carlos Núñez and Friends

featuring The Sean Culkin DancersTraidisiún

Performed by the Sean Culkin Dancers W. Seán Culkin, TCRG: Director

Nicki Bayhurst, ADCRG: Artistic Director


Tuesday, March 17, 2015, 8 p.m.

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Sol Gabetta, cello Sol Gabetta achieved internation-al acclaim upon winning the Crédit Suisse Young Artist Award in 2004 and making her debut with the Wiener Philharmoniker and Valery Gergiev.

Following her highly acclaimed debut with Berlin Philharmon-ic and Sir Simon in 2014, Gabet-ta performed with Staatskapelle Berlin this past December. Other highlights for the 2014-2015 sea-son include her debut with Toronto Symphony Orchestra, a European tour with the London Philharmon-ic Orchestra and Vladimir Jurows-ki, as well as recitals across Europe with Bertrand Chamayou.

Gabetta has appeared with lead-ing orchestras worldwide, including the Orchestra dell’Accademia Na-zionale di Santa Cecilia, National

Symphony Orchestra, Orchestre Na-tional de France, Symphonieorchester des Bayerischen Rundfunks, and The Philadelphia, London Philharmonic and Philharmonia orchestras.

Program NotesValses nobles et sentimentales

Maurice RavelBorn March 7, 1875, in Ciboure, Basses-Pyré-nées, France; died Dec. 28, 1937, in Paris

Many of Maurice Ravel’s most beauti-ful orchestral pieces began as works for the piano. Such is the case with the gracious Valses nobles et sentimental-es, which he composed in 1911, taking his inspiration from Schubert’s waltzes for piano of a century earlier (12 Vals-es nobles and 34 Valses sentimentales). The fragile charm of these pieces was summed up in the brief quotation the composer added at the top of the score, drawn from a recent novel by Henri de Régnier: “The delightful and always novel pleasures of a useless occupation.”

However, when shortly thereafter the Russian-French ballerina Natasha Trouhanova commissioned a new bal-let score from Ravel, he thought these piano pieces arranged for orchestra would suit the projected ballet scenario, which he was also creating for Trouha-nova. He polished off the exquisite scor-ing in only 15 days, and the ballet, titled Adélaïde, ou la langage des fleurs (“Adé-laïde, or the Language of Flowers”), was premiered in Paris at the Theâtre du Châtelet on April 22, 1912, with Ravel himself conducting. Later the score be-came a concert work, first performed in Paris in February 1914.

In Ravel’s ballet scenario set in 1820, the courtesan Adélaïde dallies between two suitors: the serious and idealistic Lorédan and a more frivolous but ex-tremely wealthy Duke. The flirtation and courtship are carried out through the exchange of various flowers, each representing a different virtue or vice. Lorédan presents Adélaïde with a but-tercup as a symbol of true love while the Duke offers a sunflower representing ex-travagance. The Duke is finally rejected, but Lorédan is kept in suspense as the courtesan presents him with a tuberose (pleasure) and then a poppy (forgetful-ness). When in the Epilogue he threat-ens suicide, Adélaïde relents and gives him a red rose as she falls into his arms.




Marin Alsop, Music DirectorPresents

Haydn and RavelMarin Alsop, conductor

Sol Gabetta, cello Valses nobles et sentimentales Maurice Ravel (1875-1937)

Cello Concerto in C Major, H. VIIb:1 Franz Joseph Haydn (1732-1809) Moderato Adagio Allegro molto Sol Gabetta

INTERMISSION

La Valse Maurice Ravel

Suite from Der Rosenkavalier, Op. 59 Richard Strauss




Though Valses nobles calls for a large orchestra, it mostly features gorgeously subtle playing for the strings and, above all, the woodwinds, whose delicately variegated colors Ravel masterfully ex-ploits. The seven waltzes are contrasted in key, tempo and mood. Only in the last of them, which is the longest and richest of the set, does Ravel let the full orchestra fly in a sweeping, truly Vien-nese waltz. A final movement, the Epi-logue, quotes from most of the preced-ing dances and brings the piece to a nostalgic, bittersweet close.

Cello Concerto in C Major

Joseph HaydnBorn March 31, 1732, in Rohrau, Austria; died May 31, 1809, in ViennaPerhaps the ultimate dream of the sleuthing musicologist is to discov-er, hidden away in some dusty drawer or overlooked closet, a major missing work by one of the master composers. It happened in 1961 when Czech mu-sicologist Oldrich Pulkert was working in the Prague National Museum: He unearthed Haydn’s Cello Concerto in C Major, lost for nearly 200 years. The composer’s Cello Concerto in D, writ-ten in 1783, had long been in the ac-tive repertoire. But scholars knew there was an earlier concerto because it was listed both in the catalogue of Haydn’s works he’d begun in 1765 and in the works list he prepared shortly before his death. Since Haydn had included the opening two measures of the solo en-trance (known as the “incipit”) in his catalogue, Pulkert was able to verify his discovery easily. The “new” Haydn Cello Concerto made its debut the fol-lowing year at the Prague Spring Music Festival and was promptly taken up by cello virtuosi around the world.

Believed to have been written sometime between 1761 and 1765 during Haydn’s first years at the court of Prince Esterházy, this concerto was probably created for the lead cellist of the Esterházy orchestra, Joseph Franz Weigl, to play at one of the court’s twice-weekly orchestral concerts. Weigl must have been highly accom-plished, for the concerto fully exploits

the special qualities of the instrument as well as the technical skills of a vir-tuoso player. Scored for a small string ensemble with two oboes and two horns, this is a lovely work that looks back to the Baroque era while being advanced enough to stand proudly be-side its better-known sibling.

The opening movement is warm, noble and expansive. It is in sonata form, but with a more leisurely Mod-erato tempo rather than the custom-ary fast Allegro. The thematic material emphasizes three elements: syncopat-ed rhythms, large upward leaps and rapid repeated notes. In place of a leap, the cellist frequently reverses direction and swoops downward to powerful low notes. She also exploits the bouncing re-peated notes to add drama to the middle development section and the cadenza.

The Adagio second movement is a beautiful aria for soloist and strings, reminiscent of the great Baroque slow movements. The soloist enters gently on a sustained note an octave below the violins and employs the cello’s sweet-est tenor/alto singing range throughout. By extending phrases beyond where we would expect them to end, Haydn con-trives to give this movement the quality of endless, ever-flowing song.

Haydn is famous for his brilliant, high-spirited finales, and this one is a vivacious, virtuosic example. Here the cello’s low register is exploited, often to comic effect, as well as the soloist’s agil-ity in long passages of very rapid notes. Toward the end, in a game of one-up-manship, the orchestra pushes the solo-ist to ever-greater feats of daring.

La Valse

Maurice RavelRavel originally conceived La Valse in 1906 as the tone poem Wien (“Vien-na”): “a sort of apotheosis of the Vien-nese waltz,” he called it, in tribute to Jo-hann Strauss. However, by the time he came to write it in 1919–1920, World War I had smashed that enchanted world, along with the Austrian Haps-burg empire, forever. Though push-ing 40 and of frail physique, Ravel had struggled to play his patriotic role for

France. Repeatedly turned down by the army and air force, he became a truck driver behind the front lines. When he was demobilized, his health was bro-ken. The death of his beloved mother early in 1917 sent him into a long de-pression. La Valse was written by a man who had experienced horrors both on the battlefield and in his personal life. There was no longer any possibility of creating a Romantic apotheosis, only, in Ravel’s words, “the impression of fan-tastic and fatal whirling.”

Like his beloved Daphnis and Chloé, La Valse was originally in-tended as a ballet for the flamboyant Russian impresario Serge Diaghilev and given the subtitle “choreograph-ic poem.” But when Ravel and a col-league played it in a two-piano ver-sion for Diaghilev in April 1920, he dismissed it with a backhanded com-pliment: “It’s a masterpiece ... but it’s not a ballet. It’s a portrait of a ballet, a painting of a ballet.” However, La Valse has been subsequently choreo-graphed several times, with George Balanchine creating a particularly suc-cessful version in the 1950s.

Ravel provided a brief synopsis for his ghostly dance, in which nostal-gia and horror are superbly blended: “Through whirling clouds, waltzing couples may be faintly distinguished. The clouds gradually scatter: one sees ... an immense hall peopled with a whirl-ing crowd. ... The light of the chande-liers bursts forth at the [first] fortissimo. ... An imperial court, about 1855.”

The music opens ominously with the dark rumble of low strings and bas-soons, and a nightmarish thud in 3/4 time delivered by basses and timpani. A few waltz strains gradually penetrate the mists, then shine forth brilliant-ly. The ominous dark music returns, and, whirling faster, the waltzes begin to collide with each other in wild har-monic and rhythmic confusion. Final-ly, even the 3/4 beat breaks down in an orgy of self-destruction—the most violent ending in Ravel’s music. In just 12 minutes, we have experienced the most vivid sound portrait imagin-able of the end of an era.




Suite from Der Rosenkavalier

Richard StraussBorn June 11, 1864, in Munich, Germany; died Sept. 8, 1949, in Garmisch-Parten-kirchen, West Germany

Having devoted his early career to the composition of tone poems, in mid-dle age Richard Strauss moved on to the most dramatic musical form of all: opera. Of his 15 operas, the most pop-ular and, in the opinion of many crit-ics, the finest is Der Rosenkavalier, his bittersweet comedy set in 18th-cen-tury Vienna. With a libretto by the Austrian poet Hugo von Hofmannst-hal, it tells the story of a love triangle involving different generations: two women vying for the love of one man.

The older woman is the Marschallin, a beautiful, married noblewoman who is carrying on an affair with the 17-year-old Octavian, Count Rofrano. (Because he personally disliked the tenor voice, Strauss cast Octavian as a mezzo-sopra-no, a “trouser role” like Cherubino in

Mozart’s The Marriage of Figaro.) When the Marschallin’s cousin, the boorish country bumpkin Baron Lerchenau von Ochs, arrives with the news he is woo-ing the teenaged Sophie von Faninal and needs a young man to present a silver rose to her as a token of his love (the old Viennese ceremony of the “Rose Cava-lier”), the Marschallin proposes Octa-vian as rose-bearer, half knowing she is sending him into the arms of an attrac-tive woman his own age. And indeed the story unfolds as she suspected. Sophie and Octavian are instantly smitten with each other during the rose presentation ceremony; Ochs’ crude wooing throws Sophie into Octavian’s arms; and, after various comic episodes, Ochs admits de-feat, and the Marschallin gracefully sur-renders Octavian to Sophie.

Ever since its premiere in 1911, this opera has entranced audiences with its soaring ensembles for its three female (Octavian included here) leads, its comic sparkle, and especially its anachronistic

(the waltz hardly existed in the 18th cen-tury) but gloriously Viennese waltzes. The suite we hear tonight is a potpourri of its greatest melodies pulled together by an unknown arranger with the elder-ly Strauss’ blessing in 1945, when World War II had left him in desperate finan-cial straits. We will hear: the Act II “Rose Presentation Scene,” with its high cas-cading motive shimmering in celesta, harps, flutes and strings; the tender duet in which Octavian and Sophie first ac-knowledge their attraction; Baron Ochs’ sentimental waltz “Mit mir” (the most famous of the opera’s waltzes); the glori-ous Act III trio in which the Marschallin tenderly renounces her claims to Octa-vian; and the charmingly naive duet for the young lovers that closes the opera. Finally, though Baron Ochs loses in the opera, he gets the last word in the suite with his exuberant waltz boasting of the “Luck of the Lerchenaus.”


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It’s music to my ears.




Jack Everly, conductor For Jack Everly’s biography, please refer to page 41.

Singin’ in the Rain: Hollywood’s Greatest MusicalSome movies make a big splash when released, win fistfuls of Oscars and Gold-en Globes, then fade into history. The 1952 MGM musical Singin’ in the Rain followed exactly the opposite trajecto-ry. Initially only a modest success with audiences and critics, it was nominated for two Academy Awards—Best Sup-porting Actress for Jean Hagen and Best Score—and astonishingly won neither. Yet today it is generally regarded as the

finest of the legendary string of MGM musicals of the 1940s and ’50s, and in its 2007 list of the greatest American mov-ies ever made, the American Film Insti-tute ranked it No. 5.

Singin’ in the Rain’s plot is set in 1927 during Hollywood’s perilous transi-tion from silent films to “talkies” and hilariously reflects the trials of direc-tors trying to sequence sound with image and of silent stars (like John Garfield) whose weak or unattractive voices be-trayed their photogenic faces. It revolves around Don Lock-wood (Gene Kelly), the dash-ing star of silent costume pic-tures; his co-star and strictly

publicity-engineered love interest, the blonde screen siren Lina Lamont (Jean Hagen); and his sidekick, hoof-er Cosmo Brown (Donald O’Connor). Trying to escape his voracious fans, Lockwood virtually falls into the lap of the pretty chorus girl with big aspira-tions Kathy Selden (Debbie Reynolds), and they fall in love. When Al Jol-son’s The Jazz Singer is released as the wildly successful first talkie, Lockwood and Lamont’s studio, Monumental Pic-tures, is faced with a crisis. The stu-dio attempts to turn the co-stars’ next film The Dueling Cavalier into a sound picture, but are thwarted by Lina’s screechy voice and intractable New York accent. Cosmo Brown’s ingenious solution is to turn the film into a musi-cal The Dancing Cavalier, with Kathy’s mellow voice dubbed in for Lina’s and a big “modern” dance sequence for Lockwood, “Broadway Melody.”

What made Singin’ in the Rain a legend are its spectacularly performed and staged song-and-dance sequenc-es. Donald O’Connor’s breakneck virtuoso dancing—done without the assistance of stunt doubles or today’s special effects—in “Make ‘em Laugh” actually caused him to be hospital-ized briefly. In her first starring role, Debbie Reynolds was only 19 and a gymnast rather than a trained danc-er; none other than Fred Astaire volunteered to coach her, produc-ing a perkily graceful performance to match her fine singing.

However, the number that has made this film immortal is Gene Kelly’s ren-dition of the title song as, realizing he is in love with Kathy, he dances through the rain-soaked streets of Hol-lywood. Originally, this was intended to be a trio for Kelly, O’Connor and Reynolds, as shown in the opening credits, but Kelly as co-director appro-

priated it for himself. Kelly’s deftly imaginative use of his umbrella is the supreme exam-ple of his penchant for build-ing dances around props and the given set.

Janet E. Bedell © 2014

THURSDAY, MARCH 26, 2015, 8 P.M.


Marin Alsop, Music DirectorJack Everly, Principal Pops Conductor

Presents

A Symphonic Night at the Movies:Singin’ in the RainWith the score performed live

by the Baltimore Symphony OrchestraConducted by Jack Everly

Film courtesy of Warner Bros. Entertainment Inc.THE CAST

Gene Kelly..................Don LockwoodDonald O’Connor.......Cosmo BrownDebbie Reynolds........Kathy SeldenJean Hagen................Lina LamontMillard Mitchell..........R.F. SimpsonCyd Charisse..............DancerDouglas Fowley..........Roscoe DexterRita Moreno................Zelda Zanders

Screenplay by Adolph Green & Betty ComdenDirected by Gene Kelly (Director and Choreographer) and Stanley Donen

Produced by Arthur FreedMusic by Nacio Herb Brown (songs) and Arthur Freed

Producer: John GobermanMusic Preparation: Larry Spivack

Original orchestrations reconstructed by John Wilson, Paul Campbell and Andrew Cottee

The producer wishes to acknowledge the contributions and extraordinary support of John Waxman (Themes & Variations).

A Symphonic Night at the Movies is a production of PGM Productions, Inc. (New York) and appears by arrangement with IMG Artists.

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Audra McDonaldAudra McDonald is unparalleled in the breadth and versatility of her art-istry as both a singer and an actress. A record-breaking six-time Tony Award-winner (Carousel, Master Class, Rag-time, A Raisin in the Sun, The Gersh-wins’ Porgy and Bess, and Lady Day at Emerson’s Bar & Grill), she has also appeared on Broadway in The Secret Garden, Marie Christine (Tony nom-ination), Henry IV, and 110 in the Shade (Tony nomination).

The Juilliard-trained soprano’s opera credits include La voix humaine and Send at Houston Grand Opera and Rise and Fall of the City of Mahagonny at Los Angeles Opera. On television, she was recently seen as the Mother Abbess in NBC’s “The Sound of Music Live!” and played Dr. Naomi Bennett on ABC’s “Private Practice” for four sea-sons. She has received Emmy nomina-tions for “Wit,” “A Raisin in the Sun,” and her role as official host of PBS’ “Live From Lincoln Center.”

Other TV credits include “The Good Wife,” “Homicide: Life on the Street,” “Law & Order: SVU,” “Hav-ing Our Say: The Delany Sisters’ First 100 Years,” “The Bedford Diaries,” “Kidnapped,” and the 1999 remake of Annie. On film, McDonald has ap-peared in Seven Servants, The Object of My Affection, Cradle Will Rock, It Runs in the Family, The Best Thief in the World, She Got Problems, and Rampart.

A two-time Grammy winner and exclusive recording artist for None-such Records, she released her fifth solo album for the label, Go Back Home, in 2013. McDonald also main-tains a major career as a concert artist, regularly appearing on the great stages of the world and with leading interna-tional orchestras.

An ardent proponent of marriage equality and an advocate for at-risk and underprivileged youth, she sits on the boards of Broadway Impact and Covenant House. Of her many roles, her favorites are the ones performed offstage: wife to her husband, actor Will Swenson, and mother to her daughter, Zoe Madeline.


FRIDAY, MARCH 27, 2015, 8 P.M.

●Strathmore PresentsAudra McDonald

Andy Einhorn, piano Mark Vanderpoel, bass

Gene Lewin, drums


Friday, March 27, 2015, 8 p.m.



Piotr Gajewski, conductorFor Piotr Gajewski’s biography, please refer to page 29.

Haochen Zhang, piano Since his gold medal win at the 13th Van Cliburn International Piano Competition in 2009, 24-year-old Chinese pianist Haochen Zhang has captivated audiences in the Unit-ed States, Europe and Asia with a unique combination of deep musical sensitivity, fearless imagination and spectacular virtuosity.

Zhang’s 2014-2015 season in-cludes return invitations to Pacific Symphony, La Roque d’Antheron Festival in France, recitals in Paris,

Tokyo and Beijing, as well as a de-buts with the L.A. Philharmonic with Xian Zhang, the Warsaw Phil-harmonic with Jerzy Semkow and Deutsche Radio Philharmonie Saar-bücken with Myung-Whun Chung. In spring 2015 Zhang will be the so-loist for a tour with the NDR Ham-burg and Thomas Hengelbrock in Tokyo, Beijing and Shanghai.

Program NotesRomeo and Juliet, Fantasy-Overture

Piotr Ilyich TchaikovskyBorn May 7, 1840, in Votkinsk, Russia; died Nov. 6, 1893, in St. Petersburg

Tchaikovsky was a young man and an inexperienced composer when he started to write a descriptive over-ture for orchestra based on Shake-speare’s Romeo and Juliet. Before he completely finished it, it went through three versions and more than a decade passed. Over the years, he worked closely and thoroughly on the overture with his friend Mily Balakirev, a self-taught composer of extraordinary natural gifts to whom the piece is dedicated. None of Bal-akirev’s compositions earned him a place in history like Tchaikovsky’s, but he held many important posi-tions in the musical circles of Tchai-kovsky’s Russia. Balakirev gathered together a group of Russian compos-ers known as the Mighty Five, made up of Alexander Borodin, César Cui, Modest Mussorgsky and Niko-lai Rimsky-Korsakov, who fostered nationalist musical ideals, and it was he who suggested that Tchaikovsky should write a concert overture based on Shakespeare’s tragedy, Romeo and Juliet. Balakirev loved Shakespeare and had composed an overture and incidental music based on King Lear a decade earlier. Balakirev possessed one quality that Tchaikovsky com-pletely lacked: self-confidence. With it, he felt that he could dictate just how Tchaikovsky should go about completing this project; Balakirev suggested the subject and the form

SATURDAY, MARCH 28, 2015, 8 P.M. SUNDAY, MARCH 29, 2015, 3 P.M.


Piotr Gajewski, Music Director and ConductorPresents

Rachmaninoff’s Piano Concerto No. 3Piotr Gajewski, conductor

Haochen Zhang, piano

Romeo and Juliet Overture-Fantasy Piotr Ilyich Tchaikovsky (1840-1893)

Capriccio Espagnol, Op. 34 Nikolai Rimsky-Korsakov (1844-1908)

INTERMISSION

Concerto for Piano and Orchestra, Sergei Rachmaninoff No. 3, in D minor, Op. 30 (1873-1943) Allegro ma non tanto Intermezzo: Adagio Finale: Alla breve

Weekend Concerts Sponsor: Ameriprise Financial

Sunday Concert Sponsor: Ingleside at King Farm

Supported in part by the Tanya and Albert Lampert Guest Artist Fund



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Saturday, March 28, 2015, 8 p.m. and Sunday, March 29, 2015, 3 p.m.



Spanish Capriccio is a colossal master-piece of instrumentation, and you may regard yourself as the greatest master of the present day.” This, and similar ob-servations by others, the composer did not take to be an unqualified compli-ment. He wrote, “The opinion that the Capriccio is a magnificent piece of or-chestration is incorrect. The Capriccio is a brilliant composition for the orchestra. The change of timbres, the selection of melodic designs and figuration exactly adapted to each kind of instrument, the brief virtuoso cadenzas for solo instru-ments, the rhythm of the percussion in-struments, all constitute the very essence of the composition, and not its garb or orchestration. The Spanish themes sup-plied me with rich material for the use of variegated orchestral effects. Tak-ing it as a whole, the Capriccio is clearly a purely external work, but sparklingly brilliant for all that. [Abridged]”

The Capriccio Espagnol has five con-nected movements: Alborada (a Spanish morning song), Variazioni (“Variations”), five variations on a lyrical theme; Al-borada, a repetition of the opening movement, but in a different key and with different instrumentation); Scena e Canto Gitano (“Scene and Gypsy Song”); and Fandango asturiano (“Fandango of the Asturias”) a folk dance from northwest-ern Spain. At the work’s end, the Al-borada theme returns as a coda.

The score calls for two flutes, piccolo, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, snare drum, cymbals, triangle, tambourine, castanets, harp and strings.

Concerto for Piano and Orchestra No. 3, in D minor, Op. 30

Sergei RachmaninoffBorn April 1, 1873, in Oneg, Russia; died March 28, 1943, in Beverly Hills, Calif.

Sergei Rachmaninoff was one of the supreme pianists of his era, an admired composer as well as a conductor who was offered the direction of the Boston Symphony Orchestra and the Cincinna-ti Orchestra. Although he always badly needed the money, he did not accept ei-ther offer because he was concerned he

quintessential romantic melody. In the coda, all the main ideas of the composition recur and gain intensi-ty. The death of the two young lovers ends the work.

The score calls for two flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, cymbals, bass drum, harp and strings. Tchaikovsky at-tached no opus number to this work.

Capriccio Espagnol, Op. 34

Nikolai Rimsky-KorsakovBorn March 18, 1844, in Tikhvin, Russia; died June 21, 1908, in Liubensk, Russia

Most of Rimsky-Korsakov’s composi-tions are based, in one way or another, on Russian folk music, but in this one, written in 1887, he turned to the op-posite end of Europe for his inspiration, gravitating to the warm melodies and rhythms of Spain, the country that he had visited as a Russian naval officer. He said in his memoirs, “The Spanish themes supplied me with rich material,” and “the changing orchestral colors, the fit of the melodies and the instruments, the rhythms of the percussion, are all the essence of the composition.”

Rimsky-Korsakov first drafted his popular Capriccio Espagnol as a fantasy on Spanish themes for violin and or-chestra, but in 1887, he completely re-vised his sketch and recast the work in the form we know it today. On Oct. 31, 1887, the composer conducted the first performance of the Capriccio at a con-cert of the Russian Symphony Orches-tra in St. Petersburg. In his autobiogra-phy, My Musical Life, he described the event: “At the first rehearsal, the first movement had scarcely been finished when the whole orchestra began to ap-plaud. I asked the orchestra for the priv-ilege of dedicating the work to them. There was general delight at this. The Capriccio sounded brilliant. At the con-cert itself it was performed with perfec-tion of execution and enthusiasm such as never was given to it later. Despite its length, the work had to be repeated.”

In November, Tchaikovsky wrote to the composer, “I must add that your

and also the key, the harmonic struc-ture, and even certain rhythmic de-tails that he thought would be best for Tchaikovsky to use.

Tchaikovsky completed almost all the work on the score for his over-ture under his friend’s scrutiny and was docile about it. “The layout is yours,” Tchaikovsky assured him. “The introduction portraying the friar, the fight—Allegro, and love—the second subject; and, secondly, the modulations are yours: also the introduction in E, the Allegro in B-flat minor and the second subject in D-flat.” While the work was in prog-ress, Balakirev criticized the themes and their organization, and when Tchaikovsky tired of the piece and allowed his attention to wander else-where, Balakirev forcefully steered him back to Romeo.

In November 1869, Tchaikovsky completed the score, and on March 16, 1870, the Orchestra of the Impe-rial Russian Music Society of Moscow premiered the work with Nikolai Ru-binstein conducting. Unfortunately, the debut was a sad failure, and Tchai-kovsky (and Balakirev) set to work on a revised version. The new ver-sion was performed in St. Petersburg in 1872, but was still unsatisfactory. Later on, Tchaikovsky briefly con-sidered composing an opera based on Romeo and Juliet, but then turned back to the Fantasy-Overture and in 1880, completed the popular third version, which is now generally considered to be the preferred setting.

The overture follows the structure of sonata form, but the plot of Shake-speare’s play does not dictate a specif-ic program for the music. Some of the themes do, however, represent spe-cific characters or plot developments in the play. According to Jonathan Kramer, the Andante introduction, with chorale-type harmony, represents Friar Laurence. The Allegro that fol-lows, consisting of quick scales and rhythms, represents the feud of the Capulet and Montague families. The love theme, which of course refers to Romeo and Juliet’s relationship, is a



did not know enough of the orchestral repertory to become the regular con-ductor of a major orchestra. He also felt that such a position would distract him too much from composing. Despite his heavy schedule of concert performanc-es, he was able to write a great deal of music: four piano concertos, three sym-phonies, three operas, a large number of works in diverse forms and a larger num-ber of songs and piano pieces. He left Russia in 1917 and resided in the Unit-ed States for the rest of his life.

Rachmaninoff was educated at the conservatories of St. Petersburg and Moscow, and after winning a gold medal for composition, in 1892 he set off on his first extensive concert tour, which was to launch his long career. The melodic power and the rich, char-acteristically Russian sonority of his music made him one of the most popu-lar composers of the 20th century.

The Piano Concerto No. 3 makes in-tense demands on the pianist’s stamina and is recognized as one of the most dif-ficult works in the piano repertoire. It was written in 1909 for Rachmaninoff’s first American tour, a trip motivated amusingly enough, by the composer’s desire to make enough money to buy a desirable new item of his day, a car. He was charmed by the idea of driv-ing through the countryside and was enchanted by the novelty of the new technology. Rachmaninoff resisted pres-sures to give the first performance in Russia and sailed for New York even before he had thoroughly learned the work himself. He practiced it while at sea, on a mute keyboard, and after ap-pearances with the Boston Symphony Orchestra and the Philadelphia Orches-tra, he gave the first performance of the new work on Nov. 28, 1909, with the New York Symphony Orchestra, con-ducted by Walter Damrosch. About two months later, he played it again, with the New York Philharmonic Or-chestra under Gustav Mahler. It was published in 1910, with a dedication to the great pianist Josef Hofmann.

The concerto is a large work, but concise with movements tightly inte-grated by their use of related themes.

In the first movement, Allegro ma non tanto, the piano’s entrance with the melancholy and lyrical main sub-ject is preceded by a throbbing ac-companiment figure. Then the piano introduces a lengthy and calm theme that has an important role in all of the movements in the score. Even the playful second theme of this move-ment is a variant of the first. A musi-cologist friend of the composer, Joseph Yasser, felt that this dark, pessimistic Russian sounding melody was derived from an old Russian Orthodox chant, The Tomb, O Savior, Soldiers Guarding, sung in the Monastery of the Cross near Kiev. Rachmaninoff denied the source and told Yasser that the theme had written itself and come to him ready-made. Yasser persisted, hypoth-esizing that Rachmaninoff may have heard the melody many years before and subconsciously remembered it. Of course, there is no way to know. The first movement involves the piano more and more as it goes on, and ends in an extensive cadenza, which also briefly features solo wind players.

The second movement, a rhap-sodic and tender Intermezzo Adagio, has a little scherzando waltz as a con-trasting middle section. The theme of both the pensive introduction and the scherzo are transformations of the main theme of the preceding move-ment. The piano is not as completely dominant in this movement as it was in the prior one. The poignant, plain-tive Adagio theme returns, and after a fierce cadenza, leads into the driving propulsive finale, Alla breve, with-out a pause, overflowing into brilliant, soaring melodies, most of them again derived from the first movement. This movement shows the solo piano in many different guises, all variations of the piano’s potential textures. The concerto ends as the tempo becomes faster and faster and the excitement builds until the climax.

The concerto is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trom-bones, tuba, timpani, bass drum, snare drum, cymbals and strings.


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Strathmore

The IKF Wait List Club is a perfect way to join the community with the flexibility that will suit your lifestyle. This unique program allows you to enjoy many benefits and amenities of Ingleside at King Farm right now, while giving you a priority position for your perfect choice of residence.

A Remarkable Retirement Community

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701 King Farm Blvd. • Rockville, MD • www.inglesidekingfarm.org • (240)398-3847

Now is the time to join the IKF Wait List Club! The Ingleside at King Farm wait list is growing,

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triking the perfect note! Visit us and see all Ingleside at King Farm has to offer, spacious residences; an unparalleled lifestyle in a spectacular location; superior amenities including a full continuum of on-site care that means peace of mind for the future. Enjoy a way of life in concert with your dreams. You’ll find that life at Ingleside at King Farm is music to your ears.

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IMPORTANT INFORMATION5301 Tuckerman Lane North Bethesda, MD 20852-3385 www.strathmore.org Email: [email protected] Ticket Office Phone: (301) 581-5100 Ticket Office Fax: (301) 581-5101 Via Maryland Relay Services for MD residents at 711 or out of state at 1(800) 735-2258

TICKET OFFICE HOURSMonday, Tuesday, Thursday, Friday 10 a.m. – 5 p.m. Wednesday 10 a.m. – 9 p.m. Saturday 10 a.m. – 2 p.m.

Sixty minutes prior to each performance in the Music Center through intermission.

GROUP SALES, FUNDRAISERS

For information, call (301) 581-5199 or email [email protected].

TICKET POLICIESUnlike many venues, Strathmore allows tickets to be exchanged. Tickets may only be exchanged for shows presented by Strathmore or its resident partner organizations at the Music Center. Exchanges must be for the same presenter within the same season. Ticket exchanges are NOT available for independently produced shows. Please contact the Ticket Office at (301) 581-5100 for details on how to exchange tickets.

If a performance is cancelled or postponed a full refund of the ticket price will be available through the Ticket Office for 30 days after the original scheduled performance date.

All tickets are prepaid and non-refundable.

WILL CALLPatrons must present the credit card used to purchase tickets or a valid ID to obtain will call tickets.

TICKET DONATION If you are unable to use your tickets, they may be returned for a tax-deductible donation prior to the performance. Donations can be made by mail, fax or in person by 5 p.m. the day of the performance.

MISPLACED TICKETS If you have misplaced your tickets to any performance at Strathmore,

please contact the Ticket Office for replacements.

CHILDREN

For ticketed events, all patrons are required to have a ticket regardless of age. Patrons are urged to use their best judgment when bringing children to a concert that is intended for adults. There are some performances that are more appropriate for children than others. Some presenters do not allow children under the age of six years to non-family concerts. As always, if any person makes a disruption during a concert, it is appropriate that they step outside to accommodate the comfort and convenience of other concert attendees. Contact the Ticket Office at (301) 581-5100 for additional information.

PARKING FACILITIESConcert parking is located in the Grosvenor-Strathmore Metro garage off Tuckerman Lane. At the end of each ticketed event in the Music Center at Strathmore, the exit gates to the garage will be open for 30 minutes to exit the garage. If you leave before, or up to 90 minutes after this 30-minute period, you must show your ticket stub to the stanchion video camera at the exit gate to exit at no cost. For all non-ticketed events, Monday-Friday, parking in the garage is $5 and may be paid using a Metro SmarTrip card or major credit card. Limited short-term parking also is available at specially marked meters along Tuckerman Lane. To access the Music Center from the Grosvenor-Strathmore Metro garage, walk across the glass-enclosed sky bridge located on the fourth level.

PUBLIC TRANSPORTATIONStrathmore is located immediately adjacent to the Grosvenor-Strathmore Metro station on the Red Line and is served by several Metro and Ride-On bus routes. See www.strathmore.org, or the Guide to the Music Center at Strathmore for detailed directions.

DROP-OFFThere is a patron drop-off circle off Tuckerman Lane that brings patrons to the Discovery Channel Grand Foyer via elevator. No parking is allowed in the circle, cars must be moved to the Metro garage after dropping off

patrons. Both main entrances have power- assisted doors.

GIFT CERTIFICATES Gift certificates may be purchased at the Ticket Office.

COAT CHECKLocated in the Promenade across from the Ticket Office. As weather requires, the coat check will be available as a complimentary service to our patrons. If you would like to keep your coat or other belongings with you, please place them under your seat. Coats may not be placed over seats or railings.

THE PRELUDE CAFÉThe Prelude Café in the Promenade of the Music Center at Strathmore, operated by Restaurant Associates, features a wide variety of snacks, sandwiches, entrees, beverages and desserts. It is open for lunch and dinner and seats up to 134 patrons.

CONCESSIONSThe Interlude intermission bars offer beverages and snacks on all levels before the show and during intermission. There are permanent bars on the Orchestra, Promenade and Grand Tier levels.

LOST AND FOUNDDuring a show, please see an usher. All other times, please call (301) 581-5100.

LOUNGES AND RESTROOMSLocated on all seating levels, except in the Upper Tier.

PUBLIC TELEPHONESCourtesy telephones for local calls are located around the corner from the Ticket Office, in the Plaza Level Lobby, and at the Promenade Right Boxes.

ACCESSIBLE SEATINGAccessible seating is available on all levels. Elevators, ramps, specially designed and designated seating, designated parking and many other features make the Music Center at Strathmore accessible to patrons with disabilities. For further information or for special seating requests in the Concert Hall, please call the Ticket Office at (301) 581-5100.

ASSISTIVE LISTENINGThe Music Center at Strathmore is equipped with a Radio Frequency Assistive Listening System for patrons who are hard of hearing. Patrons can pick up assistive listening devices at no charge on a first-come, first-served basis prior to the performance at the coatroom when open, or at the ticket taking location as you enter the Concert Hall with a driver’s license or other acceptable photo ID. For other accessibility requests, please call (301) 581-5100.

ELEVATOR SERVICEThere is elevator service for all levels of the Music Center at Strathmore.

EMERGENCY CALLSIf there is an urgent need to contact a patron attending a Music Center concert, please call (301) 581-5112 and give the patron’s name and exact seating location, and telephone number for a return call. The patron will be contacted by the ushering staff and the message relayed left with Head Usher.

LATECOMER POLICYLatecomers will be seated at the first appropriate break in the performance as not to disturb the performers or audience members. The decision as to when patrons will be seated is set by the presenting organization for that night.

FIRE NOTICEThe exit sign nearest to your seat is the shortest route to the street. In the event of fire or other emergency, please WALK to that exit. Do not run. In the case of fire, use the stairs, not the elevators.

WARNINGSThe use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited by law. Violators are subject to removal from the Music Center without a refund, and must surrender the recording media. Smoking is prohibited in the building.

Please set to silent, or turn off your cell phones, pagers, PDAs, and beeping watches prior to the beginning of the performance.

Music Center at

Strathmore

The IKF Wait List Club is a perfect way to join the community with the flexibility that will suit your lifestyle. This unique program allows you to enjoy many benefits and amenities of Ingleside at King Farm right now, while giving you a priority position for your perfect choice of residence.

A Remarkable Retirement Community

To learn more or schedule a personal tour, please call (240)398-3847.

701 King Farm Blvd. • Rockville, MD • www.inglesidekingfarm.org • (240)398-3847

Now is the time to join the IKF Wait List Club! The Ingleside at King Farm wait list is growing,

so reserve your spot today!

The IKF Wait List Club

triking the perfect note! Visit us and see all Ingleside at King Farm has to offer, spacious residences; an unparalleled lifestyle in a spectacular location; superior amenities including a full continuum of on-site care that means peace of mind for the future. Enjoy a way of life in concert with your dreams. You’ll find that life at Ingleside at King Farm is music to your ears.

At Ingleside at King Farm we hit all of the high notes.

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Sthrathmore Jan.feb full page ad.indd 1 10/27/2014 2:48:15 PM


STRATHMORE HALL FOUNDATION, INC. BOARD OF DIRECTORS

OFFICERSDale S. Rosenthal ChairRobert G. Brewer, Jr., Esq. Vice ChairWilliam R. Ford TreasurerCarolyn P. Leonard Secretary and Parliamentarian

Joseph F. BeachCathy BernardDickie S. CarterDavid M.W. DentonHope B. Eastman, Esq.Suzanne Brennan FirstenbergThe Honorable Nancy Floreen

Barbara Goldberg GoldmanSol GrahamNancy E. HardwickPaul L. HatchettSteven P. Hollman, Esq.Sachiko KunoDelia K. LangKaren R. LefkowitzThe Honorable Laurence LevitanJ. Alberto Martinez, M.D.Ann L. McDanielKenneth O’ BrienDeRionne P. PollardDonna Rattley WashingtonGraciela Rivera-OvenMary K. SturtevantRaymond D. Tetz

DONORSStrathmore thanks the individuals and organizations who have made contributions between July 1, 2013 and June 30, 2014. Their support of at least $500 and continued commitment enables us to offer the affordable, accessible, quality programming that has become our hallmark.

$250,000+Arts and Humanities Council of

Montgomery CountyMaryland State Arts Council

$100,000+Hogan Lovells (in-kind) Post-Newsweek Media, Inc.

(includes in-kind)

$50,000+Booz Allen HamiltonDelia and Marvin LangLockheed Martin Corporation The Morris and Gwendolyn

Cafritz Foundation

$25,000+Asbury Methodist Village Federal Realty Investment TrustGEICOGlenstone FoundationYanqiu He and Kenneth O’BrienCarolyn and Jeffrey LeonardPaul M. Angell Family FoundationPEPCOTD Bank Carol Trawick

$15,000+Cathy BernardFondazione BraccoNancy Hardwick Elizabeth and Joel Helke Lyle and Cecilia Jaeger (in-kind)MARPAT Foundation, Inc.Effie and John MacklinMontgomery County Department of

Economic Development National Endowment for the ArtsS&R Foundation

$10,000+Abramson Family Foundation Inc.Adventist Healthcare Bank of AmericaCapital One Services Inc. Jonita and Richard S. CarterClark Construction Group, LLCComcast Elizabeth W. Culp Suzanne and Douglas FirstenbergGiant Food LLC Ellen and Michael Gold Dorothy and Sol GrahamGraham Holdings CompanyJanet L. Mahaney Mid Atlantic Arts Foundation Natelli Communities LPJanine and Phillip O’BrienEmily and Mitchell Rales Della and William RobertsonSymphony Park LLC

$5,000+Agmus Ventures Inc. Mary and Greg BruchFrances and Leonard BurkaDallas Morse Coors Foundation for

the Performing ArtsCarolyn DegrootEagleBank Carl M. Freeman FoundationElizabeth and Peter ForsterFriends of Jennie Forehand Jane Elizabeth Cohen FoundationBarbara Goldberg GoldmanJulie and John HamreAllen KronstadtSachiko Kuno and Ryuji UenoTina and Arthur LazerowLerch, Early & Brewer, Chartered

(includes in-kind) Sharon and David Lockwood

Constance Lohse and Robert BrewerJ. Alberto Martinez Minkoff Development CorporationPatricia and Roscoe MoorePaley, Rothman, Goldstein,

Rosenberg, Eig & Cooper Chtd Dale S. Rosenthal Carol Salzman and Michael Mann John Sherman, in memory of

Deane ShermanMeredith Weiser and Michael RosenbaumWGL Holdings, Inc.Ellen and Bernard Young

$2,500+AnonymousMarie and Fritz Allen Louise AppellAlison Cole and Jan PetersonCommunity Foundation for

Montgomery County Margaret and James ConleyCarin and Bruce CooperCORT Business ServicesDonnaKaran Co.Marietta Ethier and John McGarryStarr and Fred EzraCarolyn Goldman and Sydney PolakoffLana HalpernDiana and Paul HatchettMonica Jeffries Hazangeles and

John HazangelesCheryl and Richard HoffmanA. Eileen HoranIgersheim Family FoundationAlexine Jackson Robert JeffersPeter S. Kimmel, in memory of

Martin S. Kimmel John M. and Teri Hanna KnowlesJudie and Harry LinowesJill and Jim LiptonFlorentina MehtaCynthia Samaha Melki and Toufic MelkiKatharine and John PanCarol and Jerry PeroneMindy and Charles PostalRandy Hostetler Living Room FundCheryl and William Reidy Lorraine and Barry Rogstad Karen Rosenthal and

M. Alexander StiffmanBarbara and Ted Rothstein Janet and Michael Rowan Katherine Rumbaugh and

Diana DowneyPhyllis and J. Kenneth SchwartzMary Kay Shartle-Galotto and

Jack GalottoLeon and Deborah SneadTanya and Stephen SpanoAnnie S. TotahSusan Wellman

Anne Witkowsky and John BarkerPaul A. and Peggy L. Young, NOVA

Research Company

$1,000+AnonymousMary Kay and Dave AlmyDoris and David AronsonBenita and Eric Bailey Dena Baker and Terry Jacobs Margaret and Craig BashBarbara BensonCarol and Scott BrewerVicki Britt and Robert SelzerLucie and Guy CampbellEleanor and Oscar CaroglanianLinda Chatman Thomsen and

Steuart Thomsen Alexandra Davies and George Javor Mary Denison and John Clark IIIHope Eastman Jamie and Timothy EvankovichMarcia Feuerstein and Ronald SchwarzDorothy FitzgeraldMarlies and Karl FlickerRobert FogartyTheresa and William FordMarijane and Terry FordeSenator Jennie Forehand and

William E. Forehand, Jr. Susan and C. Allen FosterSandra and Victor FrattaliNoreen and Michael FriedmanSuzanne and Mark FriisJuan GaddisNita and Patrick GarrettEvan GoldmanLuis GonzalezGrace Creek Advisors, Robert Atlas

and Gloria PaulSusan and Allan GreenbergGreene-Milstein Family FoundationLinda and John HansonBoots HarrisSara and James A. Harris, Jr.Vicki Hawkins-Jones and Michael JonesLouisa and Steven HollmanWilma and Arthur Holmes Jr. Linda and I. Robert HorowitzLinda and Van HubbardJoan and Howard KatzDianne Kay Paula and Malik KhanKathleen KnepperCarole and Robert KurmanSusan and Gary LabovichHarriet LesserBarbara and The Honorable

Laurence LevitanJacqueline and Paul LondonSandy and M. Gerald LoubierCidalia Luis-Akbar and Masud AkbarSandra and Charles Lyons

Board Chair Dale Rosenthal congratulates Chelsey Green as Strathmore celebrates 10 years of its hallmark Artist in

Residence program at Strathmore Cabaret on Oct. 25.


STRATHMORE STAFFEliot Pfanstiehl

Chief Executive OfficerMonica Jeffries Hazangeles

PresidentJulie Lockwood

Executive Assistant to the CEO & President

Jennifer SmithDirector of Finance

Mary Kay AlmyExecutive Board Assistant

DEVELOPMENTBianca Beckham

VP of DevelopmentBill Carey

Director of Donor and Community Relations

Erin M. PhillipsManager of Patron Engagement

Julie HamreDevelopment Associate

PROGRAMMINGShelley Brown

VP/Artistic DirectorSam Brumbaugh

Director of ProgrammingPhoebe Anderson Dana

Artist Services CoordinatorHarriet Lesser

Visual Arts CuratorKaleigh Bryant

Visual Arts Coordinator

EDUCATIONLauren Campbell

Director of Education Betty Scott

Artist in Residence and Education Coordinator

OPERATIONSMark J. Grabowski

Executive VP of OperationsMiriam Teitel

Director of OperationsAllen V. McCallum, Jr.

Director of Patron ServicesMarco Vasquez

Operations Manager

Allen C. ClarkManager of Information Services

Christopher S. InmanManager of Security

Chadwick SandsTicket Office Manager

Jeffrey HigginsBox Office Coordinator

Aileen RobertsRentals Manager

Christian SimmelinkTicket Services Coordinator

Christopher A. DunnIT Technician

Johnathon FuentesOperations Specialist

Adam SteffesFacilities Assistant

Jon FosterProduction Stage Manager

William KassmanLead Stage Technician

Lyle JaegerLead Lighting Technician

Caldwell GrayLead Audio Technician

Beth RadovskyOperations and Production Coordinator

THE SHOPS AT STRATHMORECharlene McClelland

Director, Mansion and RetailLorie Wickert

Director, Mansion Support and Retail Systems

MARKETING AND COMMUNICATIONSAlaina Sadick

VP Marketing and CommunicationsShana Gerber

Director of Marketing and CommunicationsJenn German

Marketing ManagerJulia Allal

Member and Group Services ManagerMichael Fila

Associate Director of PR and Marketing

STRATHMORE TEA ROOMMary Mendoza Godbout

Tea Room Manager

Jacqueline and J. Thomas MangerMarianne and Aris MardirossianVirginia and Robert McCloskeyJesse I. Miller, by spouse Ann Miller Mocho, LLCVictoria B. MuthMichelle Newberry Esther and Stuart NewmanSusan NordeenDale and Anthony PappasMargie Pearson and Richard Lampl Susan and Brian PenfieldCynthia and Eliot PfanstiehlPotomac Valley Alumnae ChapterJane and Paul (deceased) RiceKaren Rinta-Spinner and Joseph SpinnerGrace Rivera-Oven and Mark Oven Marylouise and Harold RoachKitty and Glenn Roberts Sally Sachar and Robert MullerCharlotte and Hank SchlosbergLenore Seliger and Richard AlpersteinAllan ShermanTerry ShermanChristine Shreve and Thomas Bowersox Fran and Richard SilbertRyan SnowMary SturtevantMarilyn and Mark TenenbaumMyra Turoff and Ken WeinerRoslyn and Paul WeinsteinJudy Whalley and Henry Otto Jean and Jerry WhiddonIrene and Steven WhiteVicki and Steve Willmann

$500+Allen E. Neyman Architecture, LLCAnonymousJudy and Joseph AntonucciOdita and Hector AsuncionLaura Baptiste and Brian KildeeSusan and Brian Bayly Deborah Berkowitz and Geoff GarinChristina and James BradleyJames BradyJeff Broadhurst Eileen CahillTrish and Timothy CarricoKathy and C. Bennett ChamberlinFrank Conner Jr.Ken DefontesDavid DentonJudith DoctorShoshanah DrakeThe Emmes CorporationSue and Howard FeibusLinda Finkelman and Leo MillsteinJoyce FisherWinifred and Anthony FitzpatrickGail Fleder Gregory FlowersJoanne and Vance Fort

Gertrude and Michael FrenzCarol FrombolutiNancy and Peter GalloPamela Gates and Robert SchultzLoreen and Thomas GehlMr. and Mrs. Alan Gourley Ellie and John HagnerSue Hains and Brian EatonGerri Hall and David NickelsPatricia HarrisCarol and Larry HornJane and David Fairweather Foundation JD and JDK FoundationRichard JossHenrietta and Christopher KellerDeloise and Lewis Kellert KHS America, Inc.Richard KlinknerPatricia and James KrzyminskiJennifer and Chuck LawsonCatherine and The Honorable

Isiah LeggettEllen and Stuart LessansSusan Shaskan Luse and Eric LuseRichard MarloJanice McCallNancy McGinness and

Thomas TarabrellaSabrina and Patrick McGowanViji and Dan MelnickMarilyn and Douglas Mitchell Ann Morales and Rice OdellKatie MurphyEllen and Jim MyerbergJackie and Franklin PaulsonMary Pedigo and Daniel WashburnManual PerezCharla and David Phillips Yolanda PruittBarbara and Mark RabinWilliam RitchieImogene SchneiderEstelle SchwalbBetty Scott and Jim McMullenGail Scott-Parizer and Michael ParizerBob SheldonDonald SimondsJudi and Richard SugarmanChris SyllabaAurelie ThieleMarion and Dennis TorchiaHeather VanKeurenBenjamin Vaughan Kevin VigilanteLinda and Irving WeinbergJean and Robert WirthIrene and Alan WurtzelSusan and Jack Yanovski

CON BRIO SOCIETY Securing the future of Strathmore through a planned gift.

AnonymousLouise AppellJohn CahillJonita and Richard S. CarterIrene Cooperman Trudie Cushing and Neil Beskin Julie and John HamreYanqiu He and Kenneth O’Brien A. Eileen HoranVivian and Peter Hsueh Tina and Arthur LazerowChiu and Melody Lin

Diana Locke and Robert ToenseJanet L. MahaneyCarol and Alan MowbrayCynthia and Eliot PfanstiehlBarbara and David Ronis (deceased)Henry Schalizki and Robert Davis

(deceased)Phyllis and J. Kenneth SchwartzAnnie Simonian Totah and Sami Totah

(deceased)Maryellen Trautman and Darrell Lemke Carol TrawickPeter Vance TreibleyMyra Turoff and Ken WeinerJulie Zignego

Strathmore Board Member and Event Sponsor Cathy Bernard

and Wendy Block, with Richard Kotch and Karen Barr.

Strathmore Circles Members Effie and John Macklin with Strathmore VP of Development Bianca Beckham at Strathmore Cabaret.

Margie Pearson, Richard Lampl, Tina and Arthur Lazerow at Strathmore Cabaret.



OFFICERSBarbara M. Bozzuto*, ChairKathleen A. Chagnon, Esq.*, SecretaryLainy LeBow-Sachs*, Vice ChairPaul Meecham*, President & CEOThe Honorable Steven R. Schuh*,

Treasurer

BOARD MEMBERSA.G.W. Biddle, IIIConstance R. CaplanRobert B. CouttsAlan S. Edelman*Sandy Feldman+, President, Baltimore

Symphony AssociatesSandra Levi GerstungMichael G. Hansen*Denise Hargrove^, Governing Member

Co-ChairStephen M. LansAva Lias-Booker, Esq.Howard Majev, Esq.Liddy MansonHilary B. Miller*E. Albert Reece, M.D.Ann L. RosenbergStephen D. Shawe, Esq.The Honorable James T. Smith, Jr.Solomon H. Snyder, M.D. *Andrew A. Stern*Gregory W. TuckerAmy WebbJeffrey Zoller^, BSYO Chair

LIFE DIRECTORSPeter G. Angelos, Esq.Rheda BeckerH. Thomas Howell, Esq.Yo-Yo MaHarvey M. MeyerhoffRobert MeyerhoffDecatur H. Miller, Esq.Linda Hambleton Panitz

DIRECTORS EMERITIBarry D. Berman, Esq.Murray M. Kappelman, M.D.M. Sigmund Shapiro

CHAIRMAN LAUREATEMichael G. BronfeinKenneth W. DeFontes, Jr.Calman J. Zamoiski, Jr.

BOARD OF TRUSTEES BALTIMORE SYMPHONY ENDOWMENT TRUST

Benjamin H. Griswold, IV, ChairmanTerry Meyerhoff Rubenstein, SecretaryChris BartlettBarbara M. BozzutoKenneth W. DeFontes, JrPaul MeechamThe Honorable Steven R. SchuhCalman J. Zamoiski, Jr.

*Board Executive Committee^ ex-officio

BOARD OF DIRECTORS

SUPPORTERS OF THE BALTIMORE SYMPHONY ORCHESTRAThe BSO is funded by an operating grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive.

The Baltimore Symphony Orchestra is deeply grateful to the individual, corporate, foundation and government donors whose annual giving plays a vital role in sus-taining the Orchestra’s tradition of musical excellence. The following donors have given between August 1, 2013 and October 25, 2014.

THE CENTURY CLUB($100,000 and above)Marin AlsopMayor and City Council of Baltimore CityThe Citizens of Baltimore CountyBGE, An Exelon CompanyThe Bozzuto Family Charitable FundHecht-Levi Foundation,Ryda H. Levi* & Sandra Levi GerstungLori Laitman & Bruce RosenblumMaryland State Arts CouncilThe Andrew W. Mellon FoundationArts and Humanities Council of

Montgomery CountyM&T BankNational Endowment for the ArtsPNCHenry & Ruth Blaustein RosenbergWhiting-Turner Contracting Company

CHAIRMAN’S CIRCLE PARTNERS($25,000-$99,999)The Jacob and Hilda Blaustein FoundationThe Morris & Gwendolyn Cafritz FoundationChick-fil-AThe Hearst Foundation, Inc.

Howard County Arts CouncilMr. & Mrs. Stephen M. LansMaller Wealth AdvisorsMaryland State Department of EducationT. Rowe Price Foundation

MAESTRA’S CIRCLE($10,000-$24,999)American Trading & Production CorporationMr. & Mrs. A. G. W. Biddle, IIICharlotte A. Cameron/Dan Cameron Family

FoundationChesapeake Employers Insurance CompanyGordon Feinblatt LLCMichael Hansen & Nancy RandaJoel & Liz HelkeHoward Majev and Janet Brandt MajevIn memory of James Gavin MansonLegg MasonHilary B. Miller & Dr. Katherine N. BentMr. and Mrs. Arnold PolingerSaul Ewing LLPShugoll ResearchTotal Wine & More

GOVERNING MEMBERS GOLD($5,000-$9,999)The Charles Delmar Foundation

D. F. Dent and CompanyDLA PiperMs. Marietta EthierSusan FisherDr. David Leckrone & Marlene BerlinDr. James and Jill LiptonSusan Liss and FamilyMs. Janet L. MahaneyDavid Nickels & Gerri HallJan S. Peterson & Alison E. ColeWilliam B. and Sandra B. RogersMike & Janet RowanDaniel and Sybil SilverJohn & Susan WarshawskyClark Winchcole Foundation

GOVERNING MEMBERS SILVER($3,000-$4,999)Anonymous (2)Alan V Asay and Mary K SturtevantDr. Nancy D. BridgesLt Gen (Ret) Frank B. and Karen CampbellGeri & David CohenJane C. CorriganKari Peterson and Benito R. and Ben De LeonMarcia Diehl and Julie KurlandJ. FainbergSherry and Bruce FeldmanGeorgetown Paper Stock of RockvilleS. Kann Sons Company Foundation,Amelie & Bernei BurgunderMr. & Mrs. Christopher KellerPaul Meecham and Laura LeachMarc E. Lackritz & Mary DeOreoBurt & Karen LeeteMr. & Mrs. Howard LehrerJune Linowitz & Howard EisnerDr. Diana Locke & Mr. Robert E. ToenseMr. James LynchHoward and Linda MartinThe Meisel GroupMr. & Mrs. Humayun MirzaDr. William W. MullinsMs. Diane M. PerinMartin and Henriette PoretskyBill and Shirley RookerPatricia Smith and Dr. Frances LussierDon Spero & Nancy ChasenMr. Alan Strasser & Ms. Patricia HartgeDr. Edward WhitmanSylvia and Peter WinikMs. Deborah Wise/Edith and Herbert

Lehman Foundation, Inc.

SYMPHONY SOCIETY GOLD($2,000-$2,999)AnonymousLeonard and Gabriela BebchickMr. and Mrs. Kenneth R. FeinbergJohn and Meg HaugeMr. and Mrs. Gerald HoeflerFran and Bill HolmesDr. Phyllis R. KaplanMarie Lerch and Jeff KolbJoellen and Mark RosemanRoger and Barbara SchwarzJennifer Kosh Stern and William H. Turner

SYMPHONY SOCIETY SILVER($1,200-$1,999)Anonymous (4)Mr. and Mrs. Anthony AbellCharles Alston and Susan DentzerMr. William J. Baer and Ms. Nancy H. HendryCaroline W. and Rick BarnettMs. Franca B Barton and Mr. George G. ClarkeMrs. Elaine BelmanMr. and Mrs. Alan and Lynn BerkeleySherry and David BerzDrs. Lawrence and Deborah Blank Gilbert and Madeleine BloomDorothy R. BloomfieldHon. & Mrs. Anthony BorwickMr. Richard H. Broun & Ms. Karen E. DalyGordon F. BrownFrances and Leonard BurkaMr. and Mrs. John CarrMr. Vincent Castellano

Cecil Chen & Betsy HaanesDr. Mark Cinnamon & Ms. Doreen KellyMr. Harvey A. Cohen and Mr. Michael R. TardifJane E. CohenJoan de PontetMr. John C. DriscollChuck Fax and Michele WeilDr. Edward FinnAnthony and Wyn FitzpatrickMr. and Mrs. Arthur P. FloorMr. and Mrs. John FordMr. and Mrs. Roberto B. FriedmanMary Martin GantMary and Bill GibbPeter GilDr. and Mrs. Sanford GlazerGeorge and Joni GoldDr. and Mrs. Harvey R. GoldJoanne and Alan GoldbergMr. & Mrs. Frank GoldsteinDrs. Joseph Gootenberg & Susan

LeibenhautDavid and Anne GrizzleMark & Lynne GrobanJoan and Norman GurevichMs. Lana HalpernJohn and Linda HansonSara and James A. Harris, Jr.Mr. Fred Hart and Ms. Elizabeth KnightKeith and Linda HartmanEsther and Gene HermanEllen & Herb HerscowitzDavid A. & Barbara L. HeywoodIBM CorporationMadeleine and Joseph JacobsBetty W. JensenVirginia and Dale KiesewetterMs. Kristine KingeryMs. Kathleen KnepperDarrell Lemke and Maryellen TrautmanDrs. David and Sharon LockwoodDr. and Mrs. Peter C. LuchsingerMichael & Judy MaelMr. Winton MatthewsMarie McCormackDavid and Kay McGoffDavid and Anne MenottiDr. & Mrs. Stanley R. MilsteinMs. Zareen T. MirzaMr. and Mrs. Glenn MiyamotoBernard and Rae NewmanDouglas and Barbara NorlandMr. & Mrs. Ellis ParkerEvelyn and Peter PhilippsThomas Plotz and Catherine KlionHerb and Rita PosnerRichard and Melba ReichardDr. and Mrs. Gerald RogellMr. and Mrs. Barry RogstadEstelle D. SchwalbMrs. Phyllis SeidelsonLaura H. SelbyDonald M. SimondsDr. and Mrs. Jeffrey R. SingerMarshall and Deborah SluyterMr. and Mrs. Richard D. SperoMargot & Phil SunshineMr. and Mrs. Richard SwerdlowMr. & Mrs. Richard TullosDonna and Leonard WartofskyDavid Wellman & Marjorie Coombs WellmanMs. Susan WellmanDr. Ann M. WillisMarc and Amy WishH. Alan Young & Sharon Bob Young, Ph.D.

BRITTEN LEVEL MEMBERS($500-$1,199)Anonymous (3)Ms. Judith AgardRhoda and Herman AldermanDonald BakerMr. and Mrs. Robert BennaNancy and Don BlissMs. Marcia D. BondJudy and Peter BrahamMs. Sharon Phyllis BrownMr. Stephen Buckingham

BENEFITS OF MEMBERSHIP WITH THE BSOMake a donation today and become a Member of the BSO! There is a gift level that is right for everyone, and with that comes an insider’s perspective of your world-class orchestra. For a complete list of benefits, please call our Membership Office at 301.581.5215 or contact via e-mail at [email protected]. You may also visit our Web site at BSOmusic.org/benefits.


Governing Member Nancy Chasen and Principal Cello Dariusz Skoraczewski

BSO Music Director Marin Alsop with the cast of A Midsummer Night’s Dream and director Edward Berkeley

Governing Members Bruce Rosenblum, Hilary Miller and Dr. Katherine Bent

Louis and June CarrMr. and Mrs. James C. CooperDr. Connie C. DuncanMr. and Mrs. Robert FauverDrs. Charles and Cynthia FieldDr. & Mrs. David FirestoneRobert and Carole FontenroseBernard A. GelbMs. Wendy GoldbergMs. Alisa GoldsteinMr. Robert GreenFrank & Susan GrefsheimMs. Melanie Grishman & Mr. Herman

Flay, MDDrs. Marlene and Bill HaffnerMs. Haesoon HahnMr. Jeff D. Harvell & Mr. Ken MontgomeryMr. Lloyd HaughMs. Marilyn Henderson and Mr. Paul

HendersonMr. & Mrs. William L. HickmanMr. & Mrs. Howard IamsMr. William Isaacson and Ms. Sophia

McCrocklinMs. Katharine JonesMr. and Mrs. Norman KamerowMs. Daryl KaufmanDr. Richard D. Guerin and Dr. Linda KohnDr. Birgit KovacsMs. Delia LangMs. Flora LeeUlrike Lichti and Stephen LepplaHarry and Carolyn LincolnR. MahonMr. Mark MattucciMr. and Mrs. Martin McLeanMerle and Thelma MeyerEllen G. Miles and Neil R. GreeneMr. & Mrs. Walter MillerWilliam and Patricia MorganMr. Koji MukaiMs. Caren NovickDr. Jon ObergAmanda & Robert OgrenMr. Joseph O’HareMs. Mary PadgettMr. and Mrs. Philip PadgettDr. and Mrs. J. Misha PetkevichMarie Pogozelski and Richard BelleAndrew and Melissa PolottThomas Raslear and Lois KeckMr. and Ms. Donald RegnellMs. Marjorie RoherHarold RosenHenry RothMs. Ellen RyeNorman and Virginia SchultzMr. Allen Shaw and Ms. Tina ChisenaDr. Janet ShawDonna and Steven ShriverMs. Terry Shuch and Mr. Neal MeiselmanGloria and David SolomonMr. Peter ThomsonMr. and Mrs. Robert WeinRichard and Susan WestinMr. and Mrs. Duncan and Adelaide

WhitakerAllan and Wendy WilliamsMr. David M. WilsonRobert and Jean WirthMs. MaryAnn Zamula

BRAHMS LEVEL MEMBERS($250-$499)Anonymous (2)Louise S. Appell, Ph.D.Mr. Bill ApterPearl and Maurice AxelradMr. and Mrs. James Bailey

Mr. Paul BalabanisMr. and Mrs. John W. BarrettMariv and Rachel BeckerMr. & Mrs. John W. BeckwithMelvin BellAlan Bergstein and Carol JoffeMr. Donald BerlinMr. Neal BienDrs. Ernst and Nancy Scher BilligMs. Ruth BirdMr. Harold BlackMs. Marjory BlumenthalMs. Monica M. BradfordMr. and Mrs. Serefino CambareriMs. Patsy ClarkMr. Herbert CohenMs. June ColillaDr. and Mrs. Eleanor CondliffeMarion Fitch ConnellMr. and Mrs. Herbert CooperMr. and Mrs. Charles DavenportDr. & Mrs. James R. DavidMr. David S. DavidsonAnne and Arthur DelibertMs. Sandra Kay DusingDrs. Stephen and Irene EckstrandMr. Ahmed El-HoshyLionel and Sandra EpsteinClaudia and Eliot FeldmanMr. Michael FinkelsteinMr. and Ms. Clifford and Betty FishmanMr. & Mrs. Michael Scott FriedmanLucian & Lynn M. FurrowRoberta GeierIrwin GerdukMr. and Mrs. Stephen GiddingsJohn Glenn and Blair ReidEllen and Michael GoldEdward G. GriffinBrian and Mary Ann HarrisMrs. Jean N. HayesMarylyn HeindlMr. John C. HendricksMr. Robert HenryMs. Patricia HernandezJeff HerringJoel and Linda HertzMs. Linda Lurie HirschMr. Thomas HormbyDr. and Mrs. Robert HorowitzMr. & Mrs. Paul HymanMs. Susan IrwinMrs. Lauri JosephMr. Peter KaplanDr. & Mrs. Robert W. KarpLawrence & Jean KatzMr. & Mrs. Robert KatzJames and Tomoko KempfMr. William Kenety and Ms. Christine KenetyMs. Jennifer KimballFred KingMr. William and Ms. Ellen D. KominersMs. Nancy KoppMr. Stephen KramerMr. and Mrs. Eugene LambertSusan and Stephen LangleyRobert LanzaMs. Joanne LaPorteMichael Lazar & Sharon FischmanMr. Myles R. LevinAlan and Judith LewisMs. Julie E. LimricDr. Richard E. and Susan Papp LippmanJacqueline LondonAndrea MacKayFrank Maddox and Glenda FinleyMr. James MagnoMr. David MarcosMr. Michael McCollum and Ms. Jennfier Ricks

Anna Therese McGowanMrs. Margit MeissnerSandra and Paul MeltzerMr. Steve MetalitzMr. Gary MetzMrs. Rita MeyersDr. and Mrs. Arve MichelsenMs. Barbara MilesNaomi MillerMr. Jose MunizMr. and Mrs. Robert and Mary NisbetDr. & Mrs. John R. NuckolsMr. John P. Olguin and Mrs. Linda Cinciotta

OlguinMr. Thomas O’Rourke and Ms. Jeanine

O’RourkeMr. and Mrs. James PalmerMr. Kevin ParkerMs. Johanna PleijsierMr. and Mrs. Edward PortnerMr. and Mrs. Stanley RabinMr. Samuel G. Reel Jr.Dr. and Mrs. Bernard ReichLynn RhombergMr. William RobertsonLois and David SacksMr. & Mrs. Robert SandlerRonald SchlesingerDavid and Louise Schmeltzer

Hanita and Morry SchreiberMr. J. Kenneth SchwartzMr. Paul SeidmanMs. Debra ShapiroMs. Deborah SherrillMr. & Mrs. Larry ShulmanMr. and Mrs. Micheal D. SlackMs. Deborah SmithRichard SniffinMr. Andrew SonnerMr. Howard SpiraBill Grossman Fund of the Isidore

Grossman FoundationMr. and Mrs. Charles Steinecke IIIErica SummersMargot & Phil SunshineJohn and Susan SymonsDr. Andrew TangbornMr. Alan ThomasAlan and Diane ThompsonMr. & Mrs. Robert ThompsonMr. John TownsleyMr. Mallory WalkerMr. and Mrs. Elliot and Esther WilnerMrs. Janet WolfeMrs. Sandra WoolDr. & Mrs. Richard N. WrightDr. David Yaney

Paul Meecham, President & CEOJohn Verdon, Vice President & CFOLeilani Uttenreither, Executive AssistantEileen Andrews, Vice President of

Marketing & CommunicationsCarol Bogash, Vice President of Education and

Community EngagementJack Fishman, Vice President of External

Affairs, BSO at Strathmore Matthew Spivey, Vice President of Artistic Opera-

tions

ARTISTIC OPERATIONSNishi Badhwar, Director of Orchestra PersonnelToby Blumenthal, Manager of Facility SalesTiffany Bryan, Manager of Front of HousePatrick Chamberlain, Artistic CoordinatorJinny Kim, Assistant Personnel Manager Tabitha Pfleger, Director of Operations

and FacilitiesEvan Rogers, Operations ManagerMeg Sippey, Artistic Planning Manager and

Assistant to the Music Director

EDUCATIONNicholas Cohen, General Manager of

BSYO & OrchKidsAnnemarie Guzy, Director of EducationNick Skinner, OrchKids Director of OperationsJohhnia Stigall, Education Program CoordinatorLarry Townsend, Education AssistantDan Trahey, OrchKids Artistic DirectorMollie Westbrook, Education Assistant

DEVELOPMENTJessica Abel, Grants Program Manager Jordan Allen, Institutional Giving CoordinatorKatie Applefeld, Director of External Affairs, OrchKids Megan Beck, Manager of Donor Engagement and

Special EventsKate Caldwell, Director of Philanthropic PlanningSara Kissinger, Development Operations and

Membership CoordinatorMary Maxwell, Manager of Annual Giving, BSO at

StrathmoreEmily Montano, Annual Fund AssistantStephanie Moore, Director of the Annual FundJoanne M. Rosenthal, Director of Principal Gifts &

Government RelationsAlice H. Simons, Director of Institutional Giving

Richard Spero, Community Liaison for BSO at Strathmore

Janie Szybist, Research & Campaign AssociateSarah Weintraub, Executive Assistant and

Office Manger

FACILITIES OPERATIONSShirley Caudle, HousekeeperBertha Jones, Senior HousekeeperCurtis Jones, Building Services Manager

FINANCE AND INFORMATION TECHNOLOGYSarah Beckwith, Director of AccountingSophia Jacobs, Senior AccountantJanice Johnson, Senior AccountantEvinz Leigh, Administration AssociateDonna Waring, Payroll Accountant Jeff Wright, Director of Information Technology

MARKETING AND PUBLIC RELATIONSDerek Chavis, Marketing CoordinatorTeresa Eaton, Director of Public

Relations & Publications Justin Gillies, Graphic DesignerAnna Hoge, Digital Content CoordinatorDerek A. Johnson, Senior Marketing ManagerTheresa Kopasek, Marketing and PR AssociateBryan Joseph Lee, Marketing and PR Manager,

BSO at StrathmoreRicky O’Bannon, Writer in ResidenceErin Ouslander, Senior Graphic DesignerAlyssa Porambo, Public Relations and

Social Media ManagerAdeline Sutter, Group Sales ManagerRika Dixon White, Director of Marketing & Sales

TICKET SERVICESAmy Bruce, Director of Ticket Services Timothy Lidard, Manager of VIP TicketingJuliana Marin, Senior Ticket Agent for StrathmorePeter Murphy, Ticket Services ManagerMichael Schultz, Senior Ticket Agent, Special EventsMichael Suit, Ticket Services AgentThomas Treasure, Ticket Services Agent

BALTIMORE SYMPHONY ASSOCIATESLarry Albrecht, Symphony Store Volunteer ManagerLouise Reiner, Office Manager

BALTIMORE SYMPHONY ORCHESTRA STAFF


NATIONAL PHILHARMONIC BOARD OF DIRECTORS

BOARD OF DIRECTORSRabbi Leonard CahanDr. Ron Cappelletti *Todd Eskelsen*Carol Evans*Ruth FaisonDr. Bill GadzukDr. Robert GerardKen Hurwitz*Dieneke Johnson*Greg LawsonJoan Levenson*Dr. Jeff LeviDr. Wayne MeyerDr. Roscoe M. Moore, Jr.*Dr. Kenneth MoritsuguRobin C. PeritoJaLynn Prince

Sally SternbachDr. Charles TonerElzbieta Vande Sande

BOARD OFFICERS*Albert Lampert, Chair*Kent Mikkelsen, Vice Chair*William Lascelle, Treasurer*Paul Dudek, Secretary*Todd R. Eskelsen, Chair Emeritus

BOARD OF ADVISORSJoel AlperAlbert LampertChuck LyonsRoger TitusJerry D. Weast

*Executive Committee

As of October 1, 2014

SUPPORTERS OF THE NATIONAL PHILHARMONICThe National Philharmonic takes this opportunity to gratefully acknowledge the following businesses, foundations and individuals which have made the Philharmonic’s ambitious plans possible through their generous contributions.

Maestro Circle $10,000+Concertmaster Circle $7,500 to $9,999Principal Circle $5,000 to $7,499Philharmonic Circle $3,500 to $4,999Benefactor Circle $2,500 to $3,499Sustainer Circle $1,000 to $2,499Patron $500 to $999Contributor $250 to $499Member $125 to $249

ORGANIZATIONSMAESTRO CIRCLEAmeriprise Financial Paul M. Angell Family FoundationArts and Humanities Council ofMontgomery CountyMorris and Gwendolyn Cafritz FoundationIngleside at King FarmMaryland State Arts CouncilMontgomery County, MDMontgomery County Public SchoolsMusician Performance Trust FundSchiff Hardin, LLPThe State of Maryland

CONCERTMASTER CIRCLEClark-Winchcole FoundationEmbassy of PolandThe Gazette

PRINCIPAL CIRCLEExecutive Ball for the ArtsAnn and Gordon Getty FoundationJim and Carol Trawick Foundation, Inc.

PHILHARMONIC CIRCLEExxon Mobil Foundation

Johnson & JohnsonNational Philharmonic/MCYO Educa-

tional PartnershipThe Washington Post Company

BENEFACTOR CIRCLERockville Christian Church, for donation

of space

SUSTAINER CIRCLEAmerican Federation of Musicians,

DC Local 161-170Bank of AmericaDimick FoundationLucas-Spindletop FoundationTarget

PATRONAmerican String Teachers’ Association

DC/MD ChapterGailes Violin Shop, Inc.GE FoundationIBMLashof ViolinsPotter Violin CompanyWashington Music Center

CONTRIBUTORBrobst Violin ShopViolin House of Weaver

INDIVIDUALSGIFTS OF $50,000+Ms. Anne Claysmith* for the Chorale

Chair-Soprano II FundRobert & Margaret Hazen for the Second

Chair Trumpet FundMrs. Margaret Makris

GIFTS OF $25,000+Dale Collinson FamilyJean & Paul Dudek for the Pre-Concert

Lecture Series FundAnn & Todd Eskelsen for the Chorale

Music FundTanya & Albert Lampert for the Guest

Artist Fund

GIFTS OF $15,000+Patricia Haywood Moore and Roscoe M.

Moore, Jr. for the Guest Artist FundDieneke Johnson for the All Kids Free FundMisbin Family Student Performance FundPaul & Robin Perito for the Vocal Guest

Artist Fund

MAESTRO CIRCLEAnonymous (2)Robert B. AndersonDr. & Mrs. Val G. HemmingDaniel Nir & Jill Braufman Family

FoundationLaszlo N. Tauber Family Foundation, Inc.

CONCERTMASTER CIRCLEDr. Kenneth P. Moritsugu, Emily Mori-

tsugu & Ms. Lisa R. Kory, includes match by Johnson and Johnson

Ms. Joanna J. Sobieski, in honor of Joanna C. Sobieski

PRINCIPAL CIRCLEAnonymousDr. Ryszard Gajewski

PHILHARMONIC CIRCLEMr. Edward Brinker & Ms. Jane LiuDale Collinson Family *Dr. & Mrs. John V. EvansDr. J. William & Anita Gadzuk *Dr. Robert Gerard * & Ms. Carol GoldbergMr. & Mrs. Ken HurwitzMr. William A. Lascelle & Ms. Blanche

JohnsonMr. & Mrs. Kent Mikkelsen *Drs. Charles and Cecile TonerMs. Elzbieta Vande Sande, in memory

of George Vande Sande, Esq.

BENEFACTOR CIRCLEMrs. Rachel AbrahamMrs. Ruth BermanDr. Lawrence Deyton * & Dr. Jeffrey LeviMr. & Mrs. John L. DonaldsonMr. Greg Lawson & Mr. Sai Cheung, in-

cludes match by UBS Financial ServicesMr. Robert MisbinMichael & Janet RowanMs. Aida SanchezSternbach Family FundMr. & Mrs. Royce Watson

SUSTAINER CIRCLEAnonymous (3)Fred & Helen Altman *Ms. Nurit Bar-JosefJohn & Marjorie BleiweisDr. Ronald Cappelletti *Dr. Mark Cinnamon & Ms. Doreen KellyMs. Nancy Coleman *Mr. Steven C. Decker & Ms. Deborah W.

DavisPaul J. & Eileen S. DeMarco *Mr. & Mrs. Robert DollisonMs. Justine D. EnglertMr. William E. Fogle & Ms. Marilyn

Wun-FogleDr. Maria A. Friedman *Darren & Elizabeth Gemoets *Ms. Sarah Gilchrist *Mr. Barry GoldbergDr. Joseph Gootenberg & Dr. Susan

LeibenhautDr. Stacey Henning *Mr. David HofstadMr. & Mrs. Joseph A. Hunt

Mr. & Mrs. Bill IwigDrs. William & Shelby JakobyMr. Philip M. JohnWilliam W. * & Sara M. Josey *Sarah Liron & Sheldon KahnMs. Joanna Lam, in memory of

Mr. Chin-Man LamMr. & Mrs. John R. Larue, includes match

by IBMMrs. Joan M. LevensonMr. Pardee Lowe, Jr.Mr. Larry Maloney *Mr. Winton MatthewsMrs. Eleanor D. McIntire *Dr. Wayne Meyer *Mr. & Mrs. David MosherMr. & Mrs. Raymond MountainSusan & Jim Murray *Mr. Thomas Nessinger *Ms. Martha Newman *Dr. & Mrs. Goetz OertelMr. & Mrs. William PairoMr. & Mrs. Ellis ParkerMr. & Mrs. Jerome Pinson, includes

match by GE FoundationMr. & Mrs. Peter RyanMrs. Jan Schiavone *Mr. & Mrs. Steven SeeligMs. Kathryn Senn, in honor of

Dieneke JohnsonMr. & Mrs. Gerald StemplerMs. Carol A. Stern *Dr. & Mrs. Robert Temple *Ms. Ellen van Valkenburgh *Mr. & Mrs. Robert Vocke *Ms. Carla WheelerDr. Jack & Susan YanovskiMr. & Mrs. Bernard J. YoungPaul A. & Peggy L. YoungMr. & Mrs. Walter Zachariasiewicz

PATRONAnonymous Mr. & Mrs. Joel AlperMr. & Mrs. Richard Azrael, in honor of

Mary Azrael and Janice HamerMr. David E. Kleiner & Ms. Mary Bentley *Mr. Philip BjorloRichard Okreglak & Dr. Edwarda BudaRabbi & Mrs. Leonard CahanSusan Linn & Clifford CraineMr. & Mrs. Norman DoctorMr. John EklundDr. Stan EngebretsonDr. & Mrs. Joseph FainbergDavid & Berdie FirestoneDr. & Mrs. Arnold FridlandMr. & Mrs. Mayo FriedlisMr. Steven GerberMr. & Mrs. William HickmanMs. Martha Jacoby Krieger *Mr. Michael LameMr. & Mrs. Eliot Lieberman *Ms. Judy LiebermanMs. Jane Lyle *Mr. John McGarry & Ms. Marietta EthierMs. Florentina MehtaDr. Hanna Siwiec & Mr. Spencer MeyerMr. & Mrs. Richard MichalskiMr. Stephen MucchettiDavid Nickels and Gerri HallMr. Larz Pearson & Mr. Rick TrevinoMr. & Mrs. Don RegnellMs. Kari Wallace & Dr. Michael SapkoSilvan S. Schweber & Snait B. GissisMs. Katherine Nelson-Tracey*Mr. and Mrs. John F. Wing

CONTRIBUTORAnonymous (2)Ms. Ann AlbertsonMr. & Mrs. Byron AlsopMr. Robert B. AndersonMrs. Marietta Balaan *Mike & Cecilia BallentineMr. & Mrs. Richard BenderMs. Michelle Beneke, in honor of


National Philharmonic Associate Conductor Victoria Gau with Board member Greg Lawson, Sai Cheung, and Board member Kent Mikkelsen in the Comcast Lounge.

National Philharmonic guest artist and violinist Chee-Yun greets students Tyler Fanyo-Tabak and

Morgan Fanyo-Tabak in the Comcast Lounge.

Jeff Levi & Bopper DeytonMr. & Mrs. Gilbert BloomMr. John H. Caldwell, in memory of

Dale CollinsonMrs. Patsy ClarkMs. Irene CoopermanMr. & Mrs. J. Steed EdwardsMs. Linda EdwardsMr. & Mrs. Dwight Ellis, in memory

of Dale CollinsonClaudia & Eliot FeldmanMs. Shannon FinneganMr. Philip FlemingMs. Julia FriendMr. & Mrs. William GibbDr. William & Dr. Marlene HaffnerDr. & Mrs. John HelmsenMr. & Mrs. James Hochron *Mr. Myron HoffmannMs. Katharine Cox JonesMr. & Mrs. Allan Kirkpatrick *Dr. Mark & Dr. Cathy KnepperMr. & Mrs. William KominersMr. Steven Lainoff, in memory of

Dale CollinsonMs. Rachel LeitonDr. Marcia D. LitwackDr. Susan LotarskiMr. Jerald MaddoxMr. David E. Malloy * & Mr. John P. Crockett Mrs. Julie Mannes & Dr. Andrew MannesMr. & Mrs. James MasonMr. David McGoff *Ms. Maria Miller, in memory of

Ryszard GajewskiDr. & Mrs. Oliver Moles, Jr. *Ms. Martha E. MooreMs. Cecilia Muñoz & Mr. Amit PandyaDr. Stamatios MylonakisDr. Ruth S. NewhouseMrs. Jeanne NoelMs. Anne O’BrienMr. and Mrs. Kenneth A. Oldham, Jr.Ms. Victoria J. PerkinsEvelyn & Peter PhilippsMr. & Mrs. William PittDr. & Mrs. Manuel PorresMrs. Dorothy PratsMr. Mark Price, in memory of

Dale CollinsonDrs. Dena & Jerome PuskinMs. Beryl Rothman *Ms. Lisa Rovin *Mr. J. Michael Rowe & Ms. Nancy ChesserMr. Ronald SaundersMr. Ronald SekuraDr. & Mrs. Kevin ShannonMr. & Mrs. Robert SmithMr. John I. Stewart & Ms. Sharon S. StoliaroffMr. & Mrs. Grant ThompsonGen. & Mrs. William UsherDr. & Mrs. Richard Wright

MEMBERAnonymousMr. Dan Abbott

Mr. Jose ApudMr. Robert BarashMr. & Mrs. Normand A. BernacheMrs. Barbara BotsfordMs. Cheryl A. Branham*Mr. & Mrs. Herman BransonMr. & Mrs. Frederick BrownJohn & Rosemary BuckleyMs. Patricia BulhackMr. John CahillDr. John CaldwellDr. F. Lawrence ClareDr. & Mrs. Gordon M. CraggMr. Alan T. CraneMs. Louise CraneMr. & Mrs. J.R. CroutDeborah CurtissMs. Margaret E. CusackMr. & Mrs. David Dancer *Mr. & Mrs. Mike DavidsonMr. Carl DeVoreMr. & Mrs. Bruce DicksonMs. Terri DobbinsMr. & Mrs. Paul DragoumisSandy & Norton ElsonF.W. EnglandMr. & Mrs. Lionel EpsteinMr. & Mrs. Elliott FeinDr. John FergusonMr. & Mrs. Frank FormanMr. Harold FreemanCAPT Bruce & Eva FrenchMr. Bernard GelbMr. & Mrs. Richard O. GilbertMr. & Mrs. Mitch GreenMs. Melanie GrishmanMs. Lucy HamacheckMs. Jacqueline HavenerMr. & Mrs. Rue HelselDr. & Mrs. Terrell HoffeldMr. & Mrs. Waldemar IzdebskiMr. & Mrs. Doug JacobsonMr. & Mrs. Jerome JaffeMr. & Mrs. Donald Jansky *Mr. & Mrs. Barbara JarzynskiDr. Elke JordanMr. & Mrs. Gerald KaizMs. Kari KeatonMs. Elizabeth KingMr. & Mrs. David KoffMr. Dale KrumviedeMs. Michelle LeeMr. & Mrs. Herbert J. LernerMr. & Mrs. Harald LeubaMs. Elizabeth LevinDr. & Mrs. David LockwoodMr. & Mrs. Forbes ManerDr. Lorenzo MarcolinMs. Jean A. MartinMrs. Nancy C. MayMr. Alan E. Mayers *Mr. & Mrs. Michael McClellanMr. & Mrs. Robert McGuireMr. & Mrs. Curtis MenyukMr. & Mrs. Michael MerchlinskyMr. & Mrs. David Miller

HERITAGE SOCIETYThe Heritage Society at the National Philharmonic gratefully recognizes those dedicated individuals who strive to perpetuate the National Philharmonic through the provision of a bequest in their wills or through other estate gifts.

For more information about the National Philharmonic’s Heritage Society, please call Ken Oldham at 301-493-9283, ext. 112.

Mr. David Abraham*Mrs. Rachel AbrahamMr. Joel AlperRobert B. Anderson*Ms. Ruth BermanMs. Anne ClaysmithDale Collinson FamilyMr. Todd EskelsenMrs. Wendy Hoffman, in honor of

Leslie Silverfine

Ms. Dieneke JohnsonMr. & Mrs. Albert LampertMrs. Margaret MakrisMr. Robert MisbinMr. Kenneth A. Oldham, Jr.Mr. W. Larz PearsonMs. Carol A. SternMs. Elzbieta Vande SandeMr. Mark Williams

*Deceased

Mr. & Mrs. Edward MillsMr. & Mrs. Thaddeus MireckiMr. & Mrs. David MitchellMs. Stephanie MurphyMr. Stephen NordlingerMr. James NorrisDr. Sammy S. NoumbissiMr. & Mrs. Kenneth OldhamMr. & Mrs. Alan PeterkofskyAnton PierceMr. & Mrs. Robert PirieMr. Charles O’Connor & Ms. Susan PlaegerMr. & Mrs. Paul PlotzMr. Luke PopovichMr. & Mrs. Robert ProvineMr. & Mrs. James RenderMr. & Mrs. Richard RiegelMr. & Mrs. Clark Rheinstein *Mrs. Donna H. RunyanMr. Ronald SaundersMr. & Mrs. Joel SchenkDr. Walter SchimmerlingMr. Jack Schmidt

Mr. & Mrs. Sydney SchneiderMr. John SchnorrenbergMrs. Helen Kavanaugh & Mr. John SchultzGabriela & Dennis ScottMr. & Mrs. John ShorbMr. & Mrs. Charles L. Short, Jr.Dr. & Mrs. Paul SilvermanMr. David SpaansMs. Sarah ThomasMr. & Mrs. Carl TretterMs. Virginia W. Van Brunt *Mr. & Mrs. Gerald VogelMr. & Mrs. William WadsworthMr. David B. WardMs. Krystyna WassermanMr. & Mrs. Barry WattsMr. Stephen WelshMs. Claire WinestockDr. & Mrs. Kevin Woods *Mr. Hans WyssMs. Katherine Yoder

* Chorale members

NATIONAL PHILHARMONIC ENDOWMENT

Robert B. Anderson Mrs. Ruth Berman Dale Collinson Family Jean & Paul Dudek Dr. & Mrs. John V. Evans Ms. Ruth Faison

Mr. & Mrs. Al LampertDr. Jeff Levi & Dr. Lawrence Deyton Mr. & Mrs. Kent MikkelsenDr. Kenneth P. Moritsugu & Ms. Lisa R. Kory Dr. Theodora Vanderzalm

Piotr Gajewski, Music Director & ConductorStan Engebretson, Artistic Director, National

Philharmonic ChoraleVictoria Gau, Associate Conductor & Director

of EducationKenneth A. Oldham, Jr., PresidentLeanne Ferfolia, Vice PresidentFilbert Hong, Director of Artistic OperationsDeborah Birnbaum, Director of Marketing & PR

Katie Tukey, Associate Director of Development & Operations

Amy Salsbury, Graphic DesignerLauren Aycock, Graphic Designer

William E. Doar Jr. Public Charter School for the Performing Arts Staff

Dr. Scarlett Zirkle, Program DirectorIsaac Bell, Music InstructorChris Sanchez, Suzuki Instructor

NATIONAL PHILHARMONIC STAFF


Reginald Van Lee, Chairman* (c)James J. Sandman, Vice Chair* (c)David Marventano, Vice Chair* Christina Co Mather, Secretary* (c)Steven Kaplan, Esq. Treasurer* (c)Burton J. Fishman, Esq., General Counsel* +

Jenny Bilfield,* President and CEODouglas H. Wheeler, President EmeritusNeale Perl, President EmeritusPatrick Hayes, Founder †

Katherine M. AndersonPaxton BakerArturo E. Brillembourg*Hans Bruland (c)Rima CalderonCharlotte Cameron*Karen I. Campbell*Yolanda CarawayLee ChristopherJosephine S. CooperDebbie DingellRobert Feinberg*Norma Lee FungerTom GallagherBruce Gates*Felecia Love Greer, Esq.Jay M. Hammer* (c)Susan B. Hepner*Grace Hobelman (c)Patricia HowellJake Jones*David Kamenetzky*Edmond LeloTony OttenRachel Tinsley Pearson*

Elaine Rose*Irene RothCharlotte SchlosbergSamuel A. SchreiberPeter ShieldsRoberta SimsRuth Sorenson* (c)Veronica Valencia-SarukhanMary Jo Veverka*Carol W. WilnerCarol Wolfe-Ralph

HONORARY DIRECTORSNancy G. BarnumRoselyn Payne Epps, M.D.Michelle Cross FentySophie P. Fleming †Eric R. FoxPeter Ladd Gilsey †Barbara W. GordonFrance K. GraageJames M. Harkless, Esq.ViCurtis G. Hinton †Sherman E. KatzMarvin C. Korengold, M.D.Peter L. KreegerRobert G. LiberatoreDennis G. LyonsGilbert D. Mead †Gerson Nordlinger †John F. Olson, Esq. (c)Susan PorterFrank H. RichAmbassador Arturo Sarukhan*(c)Jon SedmakAlbert H. SmallShirley SmallThe Honorable James W. SymingtonStefan F. Tucker, Esq. (c)Paul Martin Wolff

PAST CHAIRSTodd Duncan †, Past Chairman LaureateWilliam N. Cafritz †Aldus H. Chapin †Kenneth M. Crosby †

Jean Head Sisco †Kent T. Cushenberry †Jerome B. Libin (L)Harry M. LinowesEdward A. FoxHugh H. SmithAlexine Clement JacksonLydia Micheaux MarshallStephen W. Porter, Esq.Elliott S. HallLena Ingegerd Scott (c)James F. LafondBruce E. RosenblumDaniel L. KorengoldSusan B. HepnerJay M. Hammer

WOMEN’S COMMITTEE OFFICERSElaine Rose, PresidentAlbertina Lane, Recording SecretaryLorraine Adams, 1st Vice PresidentBeverly Bascomb, Assistant

Recording SecretaryRuth Hodges, 2nd Vice PresidentCheryl McQueen, TreasurerZelda Segal, Corresponding

SecretaryJanet Kaufman, Assistant TreasurerGladys Watkins, Immediate Past

President

LAWYERS’ COMMITTEE CO-CHAIRSJerome B. Libin, Esq.James J. Sandman, Esq.

* Executive Committee+ Ex Officio† Deceased(c) Committee Chair(L) Lawyers’ Committee As of Dec. 1, 2014

BOARD OF DIRECTORS

WASHINGTON PERFORMING ARTS ANNUAL FUNDWashington Performing Arts gratefully acknowledges the contributions of the following individuals, corporations, foundations and government sources whose generosity supports our artistic and education programming throughout the National Capital area. Friends who contribute $500 or more annually are listed below with our thanks. (As of Oct. 23, 2014)

Billy Rose FoundationMs. Pamela FarrFedEx CorporationMr. and Mrs. Jose FigueroaMr. and Mrs. Morton FungerMr. and Mrs. Jay M. HammerCarl D.† and Grace P. HobelmanMr. and Mrs. Steven KaplanMs. Betsy Scott Kleeblatt, in

memory of James L. KleeblattKiplinger Foundation Inc.Judith A. Lee, Esq. (L)Linda and Isaac Stern Chari-

table FoundationMr. and Mrs. John Marshall Dan

Cameron Family Foundation, Inc.The Meredith Foundation Mid

Atlantic Arts FoundationMr. and Mrs. Herbert S. MillerPEPCODr. Irene RothMr. James J. Sandman and Ms.

Elizabeth D. Mullin (L)Mr. and Mrs. Hubert M. Schlos-

berg (L) (W)NoraLee and Jon SedmakTime Warner Inc.Mr. and Mrs. Stefan F. Tucker (L)Verizon Washington, DCVersarMs. Mary Jo VeverkaWashington Gas Light CompanyWells Fargo Bank

$10,000-$14,999Miriam and Eliezer Benbassat Mr. James H. Berkson†Diane and Norman BernsteinBET NetworksBooz Allen HamiltonClear Channel CommunicationsMrs. Ryna CohenComcastMr. † and Mrs. † Sidney

DicksteinEdison Electric InstituteMr. and Mrs. Burton J. FishmanGraham Holdings CompanyJ. Willard and Alice S. Marriott

FoundationRobert P. and Arlene R. Kogod

Family FoundationMacy’sMr. and Mrs. Michael MarshallMr. and Mrs. Herbert MilsteinNancy Peery Marriott Founda-

tion, Inc.John F. Olson, Esq. (L)Ms. Janice J. Kim and Mr.

Anthony L. OttenPennsylvania Performing Arts

on TourPricewaterhouseCoopers LLPRoger and Vicki SantMs. Wendy Thompson-MarquezGeorge Wasserman Family

Foundation, Inc.Wiley Rein LLPMr. and Mrs. Bernard Young

$7,500-$9,999AnonymousMr. Eric Collins and Mr. Michael

ProkopowErnst & YoungJune and Jerry Libin (L)New England Foundation for

the ArtsMs. Rachel Tinsley PearsonAdam Clayton Powell III and

Irene M. SoletPrince Charitable TrustsMr. Peter ShieldsMr. and Mrs. Daniel Simpkins

$5,000-$7,499Dr. and Mrs. Clement C. AlpertCapitol Tax PartnersBob and Jennifer FeinsteinMr. and Mrs. Rolf GraageMs. Susan B. HepnerMs. Pamela JoynerMr. and Mrs. David MarventanoMr. and Mrs. David O. MaxwellMicrosoft CorporationDr. Robert MisbinNational Association of Broad-

castersMr. and Mrs. John PohankaMr. and Mrs. Tom PortmanMs. Christine C. Ryan and Mr.

Tom GrahamMr. and Mrs. John V. ThomasMr. Marvin F. Weissberg and Ms.

Judith Morris †

$2,500-$4,999Anonymous (2)Ms. Anita AntenucciJenny Bilfield and Joel FriedmanMr. Peter Buscemi and Ms.

Judith MillerMr. and Mrs. William N. CafritzMr. and Mrs. Jordan CasteelMrs. Dolly ChapinThe Charles Delmar FoundationDr. and Mrs. Abe CherrickMs. Nadine CohodasMr. Carl Colby and Ms. Dorothy

BrowningMr. and Mrs. Brian CoulterMr. and Mrs. J. Bradley DavisDr. Morgan Delaney and Mr.

Osborne P. MackieMr. and Mrs. Thomas DunganMr. and Mrs. Glenn EpsteinLinda R. Fannin, Esq. (L)James A. Feldman and Natalie

WexlerMr. Gregory I. FlowersMr. Tom GallagherMr. and Mrs. Wayne GibbensDr. and Mrs. Michael S. GoldJames R. GoldenMr. and Mrs. Stephen GrahamCab and Susan GraysonJames McConnell Harkless, Esq.Alexine and Aaron † Jackson (W)Mr. and Mrs. Joseph JacobsDrs. Frederick Jacobsen and

Lillian Comas-DiazMr. and Mrs. Merritt JonesMs. Danielle Kazmier and Mr.

Ronald M. BradleyMr. and Mrs. David T. KenneyArleen and Edward Kessler (W)Mr. Daniel L. Korengold and Ms.

Martha DippellMrs. Stephen K. KwassMr. and Mrs. Gene Lange (L)Mr. and Mrs. Steve LansMs. Sandy LernerMr. and Mrs. Dale LindsayMr. and Mrs. Harry M. LinowesMs. Jacqueline Rosenberg Lon-

don and Mr. Paul LondonJames and Barbara Loots (L)Mr. James LynchMr. and Mrs. Christoph E. MahleMr. and Mrs. Ralph Manaker

$100,000 and above Abramson Family FoundationAltria GroupThe Morris & Gwendolyn

Cafritz FoundationDr. Gary Mather and Ms. Chris-

tina Co MatherDaimlerDC Commission on the Arts

and HumanitiesBetsy and Robert FeinbergFluor CorporationMars, IncorporatedMs. Jacqueline Badger MarsDr. Paul G. SternMr. Reginald Van Lee

$50,000-$99,999Dallas Morse Coors Foundation

for the Performing ArtsCentric TVEventsDCMr. and Mrs. Joseph F. Horning,

The Horning Family FundEstate of Ms. Doris H. McClory (W)National Arts and Cultural

Affairs Program/The Com-mission of Fine Arts

Park Foundation, Inc.The Pitts Family FoundationMr. Bruce Rosenblum and Ms.

Lori LaitmanThe Van Auken Private Founda-

tion

35,000-$49,999Anonymous (2)Ruth and Arne Sorenson

$25,000-$34,999Airlines For AmericaAmbassador and Mrs. Tom

AndersonBB&T Private Financial ServicesMr. and Mrs. Arturo E. Brillem-

bourgPhilip L. Graham FundMr. and Mrs. Lloyd Howell Jr.National Endowment for the ArtsMr. Gerson Nordlinger III †Pfizer Inc.United Therapeutics Corpora-

tion

$15,000-$24,999AnonymousArcana FoundationAT&T Services


Marshall B. Coyne FoundationMr. Scott MartinMark and Terry McLeodMr. Larry L. MitchellMs. Mary Morton andMr. Keith FormanDr. William Mullins and Dr.

Patricia PetrickMs. Michelle NewberryMr. and Mrs. Michael NiakaniDr. Gerald PermanMs. Nicky Perry and Mr. Andrew

StiflerThe Honorable and Mrs. Ste-

phen PorterMr. Trevor Potter and Mr. Dana

WestringDr. and Mrs. Douglas RathbunMr. and Mrs. Peter RichMr. Ken Rietz and Ms. Ursula

LandsrathMr. and Mrs. David RouxMr. and Mrs. Samuel SchreiberLena Ingegerd Scott and Lenn-

art LundhMs. Monica ScottMr. and Mrs. Mike StevensMr. Richard StrotherMs. Mary Sturtevant and Mr.

Alan AsayMr. and Mrs. George ThomsponMr. and Mrs. Brian TommerMr. John Warren McGarry and

Ms. Marietta Ethier, Esq.Mrs. Judith WeintraubDr. Sidney Werkman and Ms.

Nancy FolgerMr. Richard Wilhelm and Mrs.

Shelly PorgesMr. and Mrs. James T. WilsonDr. and Mrs. William B. WolfMs. Margaret S. Wu

$1,500-$2,499Anonymous (3)Ms. Lisa AbeelMr. and Mrs. J.W. Abel SmithMr. John B. AdamsThe Amphion Foundation, Inc.Mr. and Mrs. Barry BarbashLisa and James BaughRobert and Arlene BeinMr. and Mrs. Robert S. BennettJane C. Bergner, Esq. (L)Mr. and Mrs. Boris BrevnovMr. and Mrs. Hans BrulandMr. and Mrs. Leonard BurkaDrs. Judith and Thomas ChusedDr. Mark Cinnamon and Ms.

Doreen KellyMs. Josephine S. CooperMr. Paul D. CroninDr. and Mrs. Joseph H. DanksMr. and Mrs. Guy O. Dove IIIMrs. John G. EssweinFriday Morning Music Club, Inc.The Hon. Ruth Bader GinsburgGelman, Rosenberg & Freed-

manDavid and Lorna GladstoneMrs. Paula Seigle Goldman (W)Mrs. Barbara GoldmuntzMrs. Barbara W. Gordon (W)Dr. and Mrs. Joseph E. Harris (W)Mr. and Mrs. James Harris, Jr.Ms. Gertraud HechlMs. Tatjana HendryMrs. Enid T. Johnson (W)Dr. and Mrs. Elliott KaganMrs. Carol Kaplan

Mr. E. Scott KasprowiczMs. Betsy Scott KleeblattMr. and Mrs. Steven LambMrs. Eleanor LeakMrs. Gail MathesonThe Hon. Mary V. Mochary and

Dr. Philip E. WineMr. and Mrs. Robert MonkMs. Maureen B. MurphyLt. Gen. and Mrs. Michael A.

NelsonThe Nora Roberts FoundationMr. and Mrs. John OberdorferMr. Jack H. OlenderMs. Jean PerinMr. and Mrs. Robert RamsayMr. James RichMs. Mary B. SchwabMr. and Mrs. Albert SmallMrs. Nadia StanfieldMr. Eric SteinerMrs. Holli P. ThompsonMr. and Mrs. Aaron TomaresMrs. Annie TotahMr. James TreptowMr. and Mrs. J. Christopher TurnerMs. Loki van RoijenG. Duane Vieth, Esq. (L)Ms. Viviane WarrenA. Duncan Whitaker, Esq. (L)Mr. and Mrs. Robert H. WinterMs. Henry Wolfinger

$1,000-$1,499Anonymous (4)Ruth and Henry AaronMrs. Rachel AbrahamMr. Jeffrey AbramsonMr. and Mrs. James B. AdlerMr. and Mrs. Dave AldrichMr. and Mrs. Rand AllenAnn and Russel BanthamHon. and Mrs. John W. BarnumMr. and Mrs. Morton BenderS. Kann Sons Company Fdn. Inc. Amelie and Bernei Bur-

gunder, DirectorsMs. Beverly J. BurkeLudmila and Conrad CafritzMs. Karen I. CampbellSally and Edison W. Dick (L)Mr. and Mrs. Paul DinteMs. Nancy Ruyle DodgeMr. John DriscollDyalCompassMr. and Mrs. Melvin Eagle (L)Ms. Lisa Egbuonu-DavisMr. and Mrs. Kenneth R.

FeinbergMr. Juan GaddisMr. Donald and Mrs. Irene GavinMr. and Mrs. William Goldman (W)Mr. and Mrs. Richard GoldsteinMr. and Mrs. Carl F. Hicks, Jr.Mr. Charles E. Hoyt and Ms.

Deborah Weinberger (L)Mr. and Mrs. Bill JarvisMrs. Lois JonesMs. Annette KerlinDr. Marvin C. KorengoldSimeon M. Kriesberg and

Martha L. KahnSandra and James LafondMr. and Mrs. Richard F. LarkinMs. May LesarThe Honorable and Mrs. Jan

LodalMr. James MartinMs. Jacqui MichelMr. and Mrs. Thomas Moorman

Mr. and Mrs. Adrian L.Morchower (W)Mr. Richard MoxleyMs. Catherine NelsonMr. and Mrs. Lawrence C.

NussdorfTom and Thea Papoian with Mr.

SmoochyMr. and Mrs. Arnold PolingerRenah Blair Rietzke Family and

Community FoundationDaniel and Sybil SilverMr. and Mrs. Sanford SlavinMr. and Mrs. Larry SomervilleMr. and Mrs. Thomas StrongMr. Wesley Thomas and Mr.

Eric JonesJ. Haddock and Hector TorresMr. and Mrs. George WalkerDrs. Anthony and Gladys

Watkins (W)Drs. Irene and John WhiteKathe and Edwin D. WilliamsonMr. James D. WolfensohnMr. James YapMr. Albert Yarashus

$500-$999Anonymous (3)Mr. and Mrs. Edward Adams (W)Mr. Andrew AdairMiss Shirley Marcus AllenMs. Carolyn S. AlperMr. and Mrs. James BairdMiss Lucile E. BeaverMs. Doris BeltonMr. Don Blanchon and Ms.

Sarah DucichMs. Patricia N. Bonds (W)Mrs. Elsie Bryant (W)Mr. and Mrs. Charles CampbellMr. William CavanaughMs. Johnnetta B. ColeMr. Andrew ColquittMr. John W. CookDr. and Mrs. Milton CornDr. and Mrs. Chester W. De LongMr. and Mrs. James B. Deerin (W)Ms. Mary DesJardinsMs. Sayre E. DykesMr. and Mrs. Andrew FreemanMr. and Mrs. Harold FingerMrs. Rhona Wolfe Friedman

and Mr. Don FriedmanDr. Melvin GaskinsJack E. Hairston Jr.Ms. June HajjarDr. and Mrs. Harry Handelsman (W)Jack and Janis HansonMr. and Mrs. Brian J. HardieMr. Lloyd HaughMr. and Mrs. James D. HurwitzDr. Charlene Drew JarvisRalph N. Johanson, Jr., Esq. (L)Ms. Anna F. Jones (W)Ms. Janet Kaufman (W)Ms. Olga KhrovlevitchMr. and Mrs. Stephen KlempDr. Allan KolkerMr. and Mrs. John KoskinenMs. Albertina D. Lane (W)Mr. William Lascelle and

Blanche JohnsonThe Honorable Cheryl M. Long (W)Mr. and Mrs. David Maginnes (W)Nancie G. Marzulla, Esq. (L)Ms. Hope McGowanMr. and Mrs. Rufus W. McKinney (W)Ms. Cheryl C. McQueen (W)Dr. and Mrs. Larry Medsker

Ms. Angela MesserDr. Jeanne-Marie A. MillerMs. Rachel MondlMs. Trixie MoserMrs. Rita PosnerMr. Leonard RalstonMr. and Mrs. Hunter RawlingsMr. Spencer K. RaymondMr. and Mrs. Martin RitterMs. Denise RollinsMs. Elaine Rose (W)Mr. Lincoln Ross and Chan-

gamire (W)Mr. and Mrs. Henry RothMr. Burton RothlederMr. Daniel RourkeAnne & Henry Reich Family

Foundation Lee G. Rubenstein,

Co-PresidentMr. and Mrs. David SacksMr. and Mrs. Jeffrey SandersMs. Helen SantoroMr. and Mrs. Michael Schultz,

In memory of Mr. H. Marc Moyens

Mrs. Zelda Segal (W)Dr. Deborah Sewell (W)Dr. Deborah J. SherrillMs. Virginia Sloss (W)Mr. Benjamin Smith, Jr.Prof. and Dr. Valery SoyferDr. and Mrs. Ronald SpoonerMr. Joseph D. TartaglioneMr. Peter ThreadgillMr. and Mrs. J. Christopher TurnerMr. and Mrs. John Veilleux (W)

Maria Voultsides and Thomas Chisnell, II

Dr. and Mrs. Allan WeingoldMs. Maggalean W. WestonDr. June Whaun and Dr. Pauline TingMr. John WilliamsMr. and Mrs. James D. Wilson (W)Ms. Julia S. WintonMs. Christina WitsbergerDr. Saul YanovichPaul Yarowsky and Kathryn

Grumbach

IN-KIND DONORSBooz Allen HamiltonMr. and Mrs. Charles BothEmbassy of JapanEmbassy of SpainJamalFelder MusicProductions LLCThe Hay-Adams HotelMr. Daniel L. Korengold and Ms.

Martha DippellDr. and Mrs. Marc E. LelandThe Honorable and Mrs.

Jan LodalMars, IncorporatedMr. Neale PerlSt. Gregory Luxury Hotels & SuitesMr. Anthony WilliamsKathe and Edwin D. WilliamsonElizabeth and Bill Wolf

KEY:(W) Women’s Committee(L) Lawyers’ Committee† Deceased

Jenny Bilfield President & CEO

Douglas H. Wheeler President Emeritus

Allen Lassinger Chief Administrative Officer

Murray Horwitz Director of Special Projects

Leah Manning Administrative Assistant

DevelopmentMitchell Bassion

Director of DevelopmentMeiyu Tsung

Director of Individual GivingHeather Perram Frank Director of Leadership GiftsRoger Whyte II

Director of Special EventsStephanie Johnson

Assistant Director of Major GiftsJune Yang

Assistant Director of Institutional Giving

Helen Aberger Development Coordinator

Catherine Trobich Development Associate

Jessica Dupont Development Intern

EducationMichelle Hoffmann

Director of EducationKatheryn R. Brewington

Assistant Director of Education/Director of Gospel Programs

Megan Merchant Education and Community Programs Manager

Koto Maesaka Education Associate

Taylor Young Education Intern

Finance and AdministrationErica Hogan

Accounting Manager

Rebecca Tailsman Accounting Associate

Robert Ferguson Database Administrator

External RelationsMatthew Campbell

Director of External RelationsHannah Grove-DeJarnett

Associate Director of External Relations

Scott Thureen Creative Media and Analytics Manager

Wynsor Taylor Audience Engagement Manager

Celia Anderson Graphic Designer

Bucklesweet Media Press and Media Relations

Carlos Howard Marketing Intern

ProgrammingSamantha Pollack

Director of ProgrammingTorrey Butler

Production ManagerRachael Patton

Programming and Production Coordinator

Shay Stevens Mars Urban Arts Curator

Stanley J. Thurston Artistic Director, Gospel Choirs

Ariel Shelton Mars Urban Arts Intern

Ticket Services OfficeFolashade Oyegbola

Ticket Services ManagerJessica Mallow

Ticketing and Marketing Coordinator

Edward Kerrick Group Sales Coordinator

WASHINGTON PERFORMING ARTS STAFF


Mrs. Shirley and Mr. Albert H. Small, Honorary Chairs

Mr. Stefan F. Tucker, ChairAnonymous (6)Mr. David G.† and Mrs. Rachel AbrahamDr. and Mrs. Clement C. AlpertMr. and Mrs. George A. AveryMr. James H. Berkson †Ms. Lorna Bridenstine †Ms. Christina Co MatherMr. and Mrs. Douglas CookMr. and Mrs. F. Robert CookMs. Josephine CooperMr. and Mrs. James DeerinMrs. Luna E. Diamond †Mr. Edison W. Dick andMrs. Sally N. DickMr. † and Mrs. † Sidney DicksteinMs. Carol M. DreherMr. and Mrs. Melvin EagleMs. Eve Epstein †

WASHINGTON PERFORMING ARTS LEGACY SOCIETYLegacy Society members appreciate the vital role the performing arts play in the community, as well as in their own lives. By remembering Washington Performing Arts in their will or estate plans, members enhance our endowment fund and help make it possible for the next generations to enjoy the same quality and diversity of presentations both on stages and in our schools.

Mr. and Mrs. Burton FishmanMs. Sophie P. Fleming †Mrs. Charlotte G. Frank †Mr. Ezra Glaser †Dr. and Mrs. Michael L. GoldMs. Paula GoldmanMrs. Barbara GordonMr. James HarklessMs. Susan B. HepnerMr. Carl Hobelman † and

Mrs. Grace HobelmanMr. Craig M. Hosmer and Ms. Daryl ReinkeCharles E. HoytJosephine Huang, Ph.D.Dr. † and Mrs. Aaron JacksonMrs. Enid Tucker JohnsonMr. and Mrs. Charles JonesMr. Sherman E. KatzMr. and Mrs. Bruce KimbleMr. Daniel L. KorengoldDr. Marvin C. Korengold

Mr. and Mrs. James LafondMs. Evelyn Lear † and Mr. Thomas Stewart†Mrs. Marion Lewis †Mr. Herbert Lindow †Mr. and Mrs. Harry LinowesMr. and Mrs. David MaginnesMs. Doris McClory †Mrs. Carol MelamedRobert I. MisbinMr. Glenn A. MitchellMs. Viola MusherMr. Jeffrey T. NealThe Alessandro Niccoli Scholarship AwardThe Pola Nirenska Memorial AwardMr. Gerson Nordlinger †Mrs. Linda Parisi and Mr. J.J. FinkelsteinMr. and Mrs. Neale PerlDr. W. Stephen and Mrs. Diane PiperMrs. Mildred Poretsky †The Hon. and Mrs. Stephen PorterMrs. Betryce Prosterman †Susan E. RobertsMiriam Rose †Mr. James J. Sandman and

Ms. Elizabeth D. MullinMrs. Ann Schein

Mr. and Mrs. Hubert (Hank) SchlosbergMs. Lena Ingegerd ScottMrs. Zelda SegalMr. Sidney SeidenmanMs. Jean Head Sisco †Mr. † and Mrs. Sanford L. SlavinMr. and Mrs. Albert H. SmallMr. Robert Smith and

Mrs. Natalie Moffett SmithMrs. Isaac SternMr. Leonard TopperMr. Hector TorresSami and Annie Totah Family FoundationMr. and Mrs. Stefan TuckerMr. Ulric † and Mrs. Frederica WeilMr. and Mrs. Douglas WheelerMr. and Mrs. Robert H. WinterWashington Performing Arts

Women’s CommitteeMs. Margaret S. Wu

In memory of Y. H. and T. F. Wu

For more information, please contact Douglas H. Wheeler at (202) 533-1874, or e-mail [email protected].

Trumpeter/composer Wynton Marsalis, Washington

Performing Arts Board Chairman Reginald Van

Lee and donors Keiko and Steve Kaplan

Documents

Applause Jan/Feb 2014