in Color - Stageview · in Color BEWITCHING BRAHMS ... The programs of the Hartford Symphony Orchestra are funded in part by donors to the ... Alfred R. Casella Bernard Clark, M.D

NOVEMBER - DECEMBER16-17

Listeningin Color

BEWITCHING BRAHMSNovember 11-13, 2016

MERRY MOZARTDecember 9-11, 2016

HOLIDAY CIRQUE SPECTACULARDecember 17, 2016

HSO_1617_ProgramCovers.indd 2 9/29/16 10:12 AM

2

3

4

5

H A R T F O R D S Y M P H O N Y O R C H E S T R A

Table of Contents

About the Hartford Symphony Orchestra | 7Carolyn Kuan, Music Director | 8

The Musicians | 9Administrative Staff | 10Board of Directors | 11

Letter from Executive Director | 13Bewitching Brahms | 15

Merry Mozart | 23Holiday Cirque Spectacular | 33

HSO Contributors | 38Patron Information | 51

HARTFORD SYMPHONY ORCHESTRA166 Capitol Ave. Hartford, CT 06106Phone: 860-246-8742 | Fax: 860-247-1720Ticket Services: 860-244-2999 | Fax: 860-249-5430www.hartfordsymphony.orgDornenburg Kallenbach Advertising, Cover Art

The programs of the Hartford Symphony Orchestra are funded in part by donors to the Greater Hartford Arts Council’s United Arts Campaign, the Hartford Foundation for Public Giving, and with support from the Department of Economic and Community Development, Connecticut Office of the Arts which also receives support from the National Endowment for the Arts, a federal agency.

6

HARTFORD SYMPHONYORCHESTRA

and STAGEVIEW

STAGEVIEW: your paperlessprogram bookScan the code locatedto the left with yoursmart device foradditional information on the show, or visit www.stageview.co/hrt

NO APPS. NO DOWNLOADSAccess your program bookquickly and securely withouta cumbersome download.

SOCIAL INTERACTIONConnect to your favoritevenue and performerswhile you sit in the audience.

PURCHASE TICKETSPurchase tickets for upcoming shows right from your seat.

7


About the Symphony

The mission of the Hartford Symphony Orchestra is to enrich lives and

community through great music. Marking its 73rd season in 2016-2017, the HSO is Connecticut’s premier musical organization, the second largest orchestra in New England, and widely recognized as one of America’s leading regional orchestras.

The HSO captivates and inspires audiences of all ages by presenting more than 100 concerts annually, including the Masterworks Series, POPS! Series, Sunday Serenades, Discovery Concerts, Symphony in the Schools, Musical Dialogues, the Talcott Mountain Music Festival, and more. The HSO aims to deliver uniquely powerful and emotional experiences that lift and transform the spirit, and to give back and help create vibrant communities in the Greater Hartford area.

The Hartford Symphony Orchestra named Carolyn Kuan as its tenth music director in January 2011; she is the first woman and youngest person to hold this title. Since beginning her tenure in 2011, she has led the HSO to new artistic heights with community-minded concerts and innovative programming. In 2015, Kuan signed a new, six-year contract, extending her commitment to the orchestra until May, 2022.

The Hartford Symphony Orchestra was founded in 1934 and formally established as the Symphony Society of Greater Hartford in 1936. Angelo Coniglione, Jacques Gordon, Leon Barzin, Moshe Paranov, and George Heck were the Orchestra’s first music directors. With the appointment of Fritz Mahler in 1953, the HSO began its Young People’s Concerts and made several highly acclaimed recordings for Vanguard. In 1964, Arthur Winograd became music director and the Orchestra grew in artistic stature, performing at Carnegie Hall and other New York locations to highly favorable reviews. Under the artistic leadership of Michael

Lankester from 1985-2000, the HSO received national recognition for its programming innovations, including the popular Classical Conversations and Family Matinees, as well as a series of landmark theatrical productions. From 2001-2011, Edward Cumming led the HSO to new levels of artistic excellence and innovative programming.

Each season, the HSO plays to audiences numbering 95,000 statewide. The Hartford Symphony Orchestra’s extensive array of Education and Community activities serves 15,000 individuals in Hartford and surrounding communities annually.

8


Music Director

With her appointment as the 10th Music Director of the Hartford

Symphony Orchestra beginning in 11/12, Carolyn Kuan is a skilled interpreter and impressive podium presence, recognizable on a national level. Recognized as a conductor of extraordinary versatility, Ms. Kuan has enjoyed successful associations with top-tier orchestras, opera companies, ballet companies, and festivals worldwide. Her commitment to contemporary music has defined her approach to programming, and established her as an international resource for new music and world premieres.

Ms. Kuan’s recent North American engagements have included performances with the symphonies of Baltimore, Detroit, Milwaukee, San Francisco, and Seattle; the Florida and Louisville orchestras; the New York City Ballet; Colorado Music Festival; the New York City Opera, Santa Fe Opera, and Washington National Opera. Recent international engagements have included concerts with the Bournemouth Symphony, Orchestre de la Suisse Romande, Hong Kong Philharmonic, National Symphony of Taiwan, Residentie Orkest, Orquesta Sinfonica de Yucatan, Royal Danish Ballet, West Australian Symphony, and the Toronto Symphony Orchestra.

Combining her expertise and love of contemporary and Asian music, Ms. Kuan made her summer-long debut with the Santa Fe Opera in 2014. She worked closely with composer Huang Ruo and director James Robinson, and Dr. Sun Yat-Sen premiered to great critical acclaim with a mixed cast of east and west singers and instrumentalists. In addition to her weeks with the Hartford Symphony Orchestra, other recent highlights include her debut with the Washington National Opera at the Kennedy Center in Daniel Catan’s Florencia en el Amazonas, directed by Francesca Zambello; her return to the Seattle Symphony to lead works by Tan Dun, Yugo Kanno (U.S. Premiere), and Unsuk Chin; her return to Brazil to work with Orquestra Sinfônica do Estado de São Paulo in a program of Britten, Turnage, and Bernstein; and her debut with the Glimmerglass Festival in a new production of The Magic Flute.

While maintaining a solid connection with traditional repertoire, Ms. Kuan has cultivated a unique expertise in Asian music and contemporary works. From 2007 to 2012, Ms. Kuan directed the annual San Francisco Symphony Chinese New Year concert. For the Seattle Symphony, Ms. Kuan helped launch the hugely successful

Celebrate Asia! program with community leaders representing eight Asian cultures, and led sold-out performances for three consecutive years. She led world premiers for Music from Japan, and conducted multimedia productions of the Butterfly Lovers Concerto and A Monkey’s Tale as part of Detroit Symphony’s World Music Series.

From 2003 to 2012, Ms. Kuan worked closely with the Cabrillo Festival of Contemporary Music and visiting composers. Some of her finest successes have bridged the gap between cultural and social issues, as in her work raising awareness of conservation and the environment through her performances around the globe of the multimedia project Life: A Journey Through Time.

Developed by the Cabrillo Festival of Contemporary Music and music director Marin Alsop, the project features music by Philip Glass and images by famed National Geographic photographer Frans Lanting. Ms. Kuan’s notable performances of Life include a presentation at the Ninth World Wilderness Congress with Orquesta Sinfonica de Yucatan; at the eight-day June festival, CHANGE IS POWERFUL, with the Detroit Symphony; and at CERN’s historical Large Hadron Collider Inauguration, with Orchestre de la Suisse Romande attended by Swiss President Pascal Couchpin, French Prime Minister François Fillon, more than 20 other European heads of state, and dozens of Nobel laureates.

Ms. Kuan’s past associations include Associate Conductor of the Seattle Symphony Orchestra, Artist-in-Residence at the New York City Ballet, and Assistant Conductor for the Baltimore Opera Company. In her 2012 debut album for the Naxos label, Ms. Kuan conducted the New Zealand Symphony Orchestra in various works by Chinese composers.

The recipient of numerous awards, Ms. Kuan holds the distinction of being the first female to be awarded the Herbert von Karajan Conducting Fellowship by the Herbert von Karajan Centrum and American Austrian Foundation in 2003, resulting in her residency at the 2004 Salzburg Festival. Winner of the first Taki Concordia Fellowship, she has received additional awards from the Women’s Philharmonic, Conductors Guild, and Susan W. Rose Fund for Music. Ms. Kuan graduated cum laude from Smith College, received a Master of Music from the University of Illinois, and a Performance Diploma from the Peabody Conservatory.

9


The Musicians

For chair naming opportunities, please contact Ruth Sovronsky, Director of Development, at 860-760-7321

FIRST VIOLINLeonid Sigal,

concertmasterLisa Rautenberg,

associate concertmasterKarin Fagerburg,

assistant concertmasterLinda BeersPerry ElliotRomina KostareFrank M. KuligMillie PiekosMickey ReismanCyrus StevensAnhared Wiest Stowe Deborah TylerKatalin Viragh

SECOND VIOLINMichael Pollard,

principalJaroslaw Lis,

assistant principalMartha KayserLu Sun FriedmanDiane FredericksonKrzysztof GadawskiYuri Kharenko-

GolduberVirginia KramerCandace M. LammersAlicia Rattin

VIOLAMichael Wheeler,

principalSharon Dennison,

assistant principalPatricia Daly VanceAnn DrinanJames GustafsonMartha KnieriemArthur Masi

CELLOJeffrey Krieger,

principalEric Dahlin,

assistant principalCarole OlefskyLaura KaneMary AunerFran BardCara CheungJennifer CombsTom HudsonPeter Zay

BASSEdward R. Rozie, Jr.,

principal The Claire & Millard Pryor Orchestra Committee Co-Chair Chair Sponsored by Brook & Charlotte Jason

Robert Groff, assistant principal

James CarrollAnthony Connaway, Jr.Joseph MessinaJulianne RussellMark Zechel

FLUTEGreig Shearer,

principal Barbara Hopkins,

assistant principal

PICCOLOJeanne Wilson

OBOEHeather Taylor,

principalStephen Wade,

assistant principal

ENGLISH HORNMarilyn Krentzman

CLARINETCurt Blood,

principalRonald Krentzman,

assistant principal

BASS CLARINET

BASSOONYeh-Chi Wang,

principalThomas Reynolds,

assistant principal

CONTRABASSOONRebecca Noreen

HORNBarbara Hill,

principal The Claire & Millard Pryor Orchestra Committee Co-Chair

John Michael Adair, assistant principal

Hilary LedebuhrNick RubensteinJoshua Michal

TRUMPETScott McIntosh,

principalJerry Bryant

TROMBONEBrian L. Diehl,

principalGeorge Sanders,

assistant principal

BASS TROMBONEPatrick Herb

TUBAStephen B. Perry,

principal

TIMPANIEugene Bozzi,

principal

PERCUSSIONRobert McEwan,

principalMartin J. Elster

HARPJulie Spring

principal Chair Sponsored by The Verney Family

PIANOMargreet Francis

ROAD MANAGERJeremy Philbin,

I.A.T.S.E.

1 0


Administrative Staff

Stephen Collins, Executive Director

ARTISTIC OPERATIONSDoug Donato, Production AssistantDr. Colette Hall, Artistic Operations ManagerJulie Jarvis, Executive & Artistic Operations CoordinatorRonald Krentzman, LibrarianJaroslaw Lis, Personnel Manager

DEVELOPMENTJillian Baker, Annual Fund ManagerJoyce Hodgson, Corporate and Foundation Relations ManagerRuth Sovronsky, Director of Development

EDUCATION & COMMUNITY ENGAGEMENTMiriam Engel, Education Coordinator

FINANCESteve West, Staff Accountant

MARKETINGAmanda Savio, Marketing and Public Relations ManagerDornenburg Kallenbach Advertising, Marketing & Press

TICKET SERVICESAlexander Aponte, Ticket Services RepresentativeJennifer Berman, Ticket Services Representative

To contact the HSO Administrative Staff, please email [email protected]

1 1


Board of Directors

Jeffery Verney Chairman

D. Weston Boyd Chair – Development

Gerald L. Hess Chair – Finance

Bernard Clark, M.D. Chair – Governance

John H. Beers, Esq. Chair – Administration & Human Resources; Secretary

Matthew H. Lynch Chair – Investment

Edwin Shirley Chair – Audit

Stephen Harris Chair - Education and Community Engagement

Bruce Barth, Esq.John H. Beers, Esq.D. Weston BoydAlfred R. CasellaBernard Clark, M.D.Luis Diez-Morales, M.D.Rosemary GaidosAngela GriffinStephen HarrisMark HayesGerald L. HessKenneth A. Jacobson, Esq.Mathew P. Jasinski, Esq.Brook R. JasonHarvey KellyJohn Langenus

Rebecca LoreePamela LucasMatthew H. LynchRobert MurrayDonald OsborneAgnes PeellePaul PendergastEsther A. PryorThomas E. ReichJames S. RemisDavid M. RothNeil RothfarbAndrew L. Salner, M.D.Edwin S. ShirleyKaren SproutJeff VerneyDiane Whitney

DIRECTORSEMERITUSColeman H. Casey, Esq.Hermine J. DreznerMuriel FleischmannRobinson A. Grover*Pierre GuertinMorton E. HandelJohn K. Jepson, Esq.Dwight A. Johnson, Esq.Christopher LarsenCharles B. Milliken, Esq.Mrs. Millard H. Pryor, Jr.Mary SargentMargery SteinbergStephen J. Raffay*H. Alex Vance, Jr.Robert J. von DohlenThomas R. Wildman, Esq.

*deceased

EX OFFICIODIRECTORSMary GlassmanWalter Harrison

CONDUCTORLAUREATEArthur Winograd

PAST BOARDPRESIDENTS/CHAIR1937–41 Francis Goodwin II1941–51 Willard B. Rogers1951–53 John E. Ellsworth1951–55 Henry P. Bakewell1955–56 Albert E. Holland1956–58 Edward N. Allen1958–60 Charles A. Spoerl1960–62 Francis Goodwin II1962–64 Charles B. Milliken1964–65 Henry S. Beers1965–68 Charles E. Lord1968–71 Gordon N. Farquhar1971–73 Paul A. Benke1973–75 Christopher Larsen1975–78 Henry S. Robinson, Jr.1978–79 Harold C. Kraus1978–81 Robert J. von Dohlen1981–83 John C. Parish1983–85 Robert J. Birnbaum1985–87 Coleman H. Casey1987–89 Morton E. Handel1989–91 Arthur L. Handman1991–93 Peter S. Burgess1993–94 Arthur L. Handman1994–96 Dwight Johnson1996–99 Margery S. Steinberg1999–02 Millard H. Pryor2002–04 Thomas R.

Wildman, Esq.2004–07 David M. Roth2007–09 Kenneth A.

Jacobson, Esq.2009–10 Pierre H. Guertin2010–11 David M. Roth2011–15 James S. Remis

Board list through 10/26/16.

1 3

Dear Friends:Life is hectic, isn’t it? Between work, activities,

friends and family obligations, sometimes it feels like there isn’t a moment left over to relax and unwind. And that goes double for holiday season. So what better gift to give your loved ones – and yourself – than the gift of an inspiring, soothing afternoon or evening of live music?

The experience of a live Hartford Symphony Orchestra concert is truly captivating, ensuring that the gift of tickets to the HSO is a unique and very special one! And 2017 brings a menu of concert options guaranteed to enchant and invigorate.

Traditional classical music fans will love ringing in the new year with Beethoven and Ravel (and Schubert too!), January

20-22. This program of music features Ravel’s exuberant and soulful Piano Concerto in G Major, a jazz-influenced piece that will be performed by guest pianist Gilles Vonsattel, as well as Beethoven’s grand Grosse Fuge in B-flat Major and Schubert’s thrilling Symphony No. 9 in C Major.

In March we bring to life music from both classical and contemporary composers with The Planets: Different Worlds April 7-9. Holst’s enduringly popular and astrologically-inspired The Planets will be paired with Ingram Marshall’s Kingdom Come and Mason Bates’ Liquid Interface, a unique blend of acoustic orchestra and electronic sounds.

For the rock aficionados in your life, what better gift than tickets to The Music of U2 on March 18? Celebrate St. Patrick’s Day weekend with the music of the biggest rock band to come out of Ireland –who have sold more than 150 million records worldwide and earned 22 Grammy Awards – more than any other band in history.

And, if you can believe it, we’ve got the animal lovers on your list covered too! The HSO presents Playing with Dogs on May 20, led by HSO Assistant Conductor Adam Boyles with creative direction by the legendary Broadway animal trainer Bill Berloni. The HSO brings music and mutts together like you’ve never seen before, with incredible canine performers, dazzling choreography, filmed sequences and heartwarming stories!

If you’re not quite sure what concert to pick – an HSO gift card is the perfect choice for everyone on your list! So stop by our Box Office, call us at 860-987-5900 or visit www.hartfordsymphony.org and get all your shopping done in one place!

Most importantly, we wish you the very happiest of holidays and a joyous and music-filled 2017!

Sincerely,

Steve CollinsExecutive Director


Letter from the Executive Director

1 4

1 5

JOHANNES BRAHMS Two Hungarian Dances (1833-1897) No. 5 in G minor No.7 in A Major

Concerto for Violin in D Major, Op. 77 Allegro non troppo Adagio Allegro giocoso, ma non troppo vivace Cho-Liang Lin, violin

-INTERMISSION-

Symphony No. 4 in E minor, Op. 98 Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato

HARTFORD SYMPHONY ORCHESTRACarolyn Kuan, Music Director


Masterworks Series

BEWITCHING BRAHMSFriday, November 11, 2016 / 8:00 p.m.

Saturday, November 12, 2016 / 8:00 p.m.Sunday, November 13, 2016 / 3:00 p.m.

Belding Theater, The Bushnell Center for the Performing Arts

CAROLYN KUAN, conductorCHO-LIANG LIN, violin

The 2016-17 Masterworks Series is presented by

This concert is sponsored by

Cho-Ling Lin appears by arrangement with Opus 3 Artists

The post of Music Director is endowed by The Beatrice Fox Auerbach Foundation.Cameras and recording equipment are not permitted during the performance.

As a courtesy to the performers and other audience members, please turn off watch alarms and cell phones.The Hartford Symphony Orchestra receives major support from the Greater Hartford Arts Council, the Hartford Foundation for Public Giving, and with support from the Department of Economic and Community Development, Connecticut Office

of the Arts which also receives support from the National Endowment for the Arts, a federal agency.

1 6


Notes on the Program

JOHANNES BRAHMS(born May 7, 1833 in Hamburg;

died April 3, 1897 in Vienna)

Hungarian Dances No. 5 in G minor and No. 7 in A major (1869, 1880)

According to an old Hungarian saying, “Give a Magyar peasant a glass of water and a Gypsy fiddler, and he will become completely drunk.” So it is not surprising that when Kossuth and his Hungarian forces rose up in 1848 against the domination of their homeland by Austria, their ardor was reinforced by the sound of fiery Gypsy music played by Ede Reményi, a young violinist whose politics were as radical as his performances were inspired. Reményi was exiled for his participation in that unsuccessful coup, and he packed his fiddle and his chauvinism off to America for a time.

Returning to Europe in 1852, Reményi met a young pianist in Hamburg named Johannes Brahms, and the two lit out on foot to dazzle the world with their music. The hit of their programs was the traditional Magyar music that Reményi played “with a fire and abandon that excited his hearers to a wild enthusiasm,” according to one contemporary report. Brahms took part by improvising the accompaniments. They traveled mostly through villages and byways, where they added to their repertory by watching the peasants sing and dance. Despite a certain success as a team, however, the differences between the quiet, conservative Brahms and the flamboyant, revolutionary Reményi drove the two apart less than three months after they started their tour.

The seed planted by Reményi’s playing and the enthusiastic music-making of the country villagers, however, stayed firmly rooted in

Brahms’ mind, and it later blossomed in such Gypsy-inspired compositions as the finale of the Violin Concerto, the closing movement of the G minor Piano Quartet (Op. 25), the Zigeunerlieder (“Gypsy Songs”), and, especially, the Hungarian Dances. The themes of most of the Dances were not original with Brahms. He collected them, thinking — as did almost everyone else — that the melodies were folk tunes, and he was specific in stating that they were arrangements of traditional melodies. He offered the set of ten Dances arranged in 1869 to the Budapest publisher Roszavolgyi for a very modest fee, but was refused because of Roszavolgyi’s belief that the music would be a bad investment. Brahms then sent the manuscript to his regular publisher, Fritz Simrock in Berlin, who gave him a small one-time payment, and then proceeded to make a fortune from the Hungarian Dances when their popularity spread like wildfire across Europe. In 1880, Brahms composed a second set of Dances comprising eleven original numbers composed “in the Hungarian manner.”

Brahms, one of the most honest and forthright of all the great composers, was accused of plagiarism by his old friend Reményi, who claimed that Brahms had stolen the tunes from him. When that tale was easily exploded, Reményi issued a list of the composers of the melodies in an interview printed in 1879 by the New York Herald, forcing Simrock to distribute a pamphlet defending Brahms on the basis of the Dances being arrangements that Brahms had never intended to pass off as his own original work — Brahms did not even give them an opus number. (When Brahms first sent the score to Simrock, he wrote, “I offer them as genuine Gypsy children which I did not beget, but merely brought up with bread and milk.”) Despite this petite scandale, the Hungarian Dances proved to be the most popular of all Brahms’ works during his lifetime.

Brahms retained a special affection for the Gypsy fiddlers and their music throughout his life, and he made frequent visits to the Prater, Vienna’s amusement park, to hear them play there. He caught the fire and brilliance of their performances with such fidelity in his Hungarian Dances that Elizabeth von Herzogenberg, his close friend and constant correspondent, wrote

Instrumentation: No. 5 - 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion, and strings; violin I, violin II, viola, cello, and bass. No. 7 - 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion, and strings; violin I, violin II, viola, cello, and bass.Duration: 4’ in total

1 7



to him about them, “This medley of twirls and grace notes, this jingling, whistling, gurgling clatter … carries one right away into the midst of the fiddlers.” Most of the original piano versions of the Dances have been orchestrated over the years, three of them (Nos. 1, 3 and 10) by the composer himself, the rest by other hands. The Dance No. 5 (G minor), arranged for orchestra by the conductor Albert Parlow (1822-1888), is a setting of the melody Bartfai-Emlek (“Remembrance of Bartfa”) attributed to the German-Hungarian bandmaster and composer of light music Kéler-Béla. The source of the Dance No. 7 (Amajor), labeled simply Volksthümlich (“in folk style”), is unknown.

JOHANNES BRAHMS

Concerto for Violin and Orchestra in D major, Op. 77 (1878)

“The healthy and ruddy colors of his skin indicated a love of nature and a habit of being in the open air in all kinds of weather; his thick straight hair of brownish color came nearly down to his shoulders. His clothes and boots were not of exactly the latest pattern, nor did they fit particularly well, but his linen was spotless.... [There was a] kindliness in his eyes ... with now and then a roguish twinkle in them which corresponded to a quality in his nature which would perhaps be best described as good-natured sarcasm.” So wrote Sir George Henschel, the singer and conductor who became the first Music Director of the Boston Symphony Orchestra, of his friend Johannes Brahms at the time of the composition of his Violin Concerto. Brahms at 45 was coming into the full efflorescence of his talent and fame. The twenty-year gestation of the First Symphony had finally ended in 1876, and the Second Symphony came easily only a year later. He was occupied with many songs

and important chamber works during the years of the mid-1870s, and the two greatest of his concertos, the B-flat for piano and the D major for violin, were both conceived in 1878. Both works were ignited by the delicious experience of his first trip to Italy in April of that year, though the Piano Concerto was soon laid aside when the Violin Concerto became his main focus during the following summer. After the Italian trip, he returned to the idyllic Austrian village of Pörtschach (site of the composition of the Second Symphony the previous year), where, he wrote to the critic Eduard Hanslick, “the air so bristles with melodies that one has to be careful not to tread on them.”

The Violin Concerto was written at Pörtschach for Brahms’ old friend and musical ally, Joseph Joachim. In August, when the sketches for the new work were almost completed, Brahms sent a draft of the solo part to Joachim for his advice on the technical aspects of the violin writing with the following note: “I wanted you to correct it — and I didn’t want you to have any excuse of any kind: either that the music is too good [to be changed] or that the whole score isn’t worth the trouble. But I shall be satisfied if you just write me a word or two, and perhaps write a word here and there in the music, like ‘difficult,’ ‘awkward,’ ‘impossible,’ etc.” Joachim took great pains in examining the score (his notated copy is still in the State Library in Berlin), and passed his advice on to Brahms who, rather obstinately, ignored most of it. Brahms, whose instrument was the piano rather than the violin, made a few changes in the musical aspects of the score, but left the sometimes ambiguous string notation largely untouched, a circumstance that has caused considerable interpretative difficulties for other violinists.

Brahms originally envisioned the Violin Concerto as a four-movement work. He composed a scherzo and a slow movement for it, but decided to jettison them for reasons he never revealed. “The middle movements have gone, and of course they were the best!” he wrote. He was probably being facetious about the quality of the discarded music because he continued, “But I have written a poor Adagio for it instead,” referring to one of the most beautiful slow movements in the orchestral literature.

World Premiere: January 1, 1879Most Recent HSO Performance: January 26, 2007Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani and strings; violin I, violin II, viola, cello, and bassDuration: 38’

1 8



The fate of the unused movements has never been exactly determined. The scherzo may have ended up as material for the Second Piano Concerto; the Adagio may have been the basis of the present one in the Violin Concerto; or both movements may have been lost amid the aborted plans for a second violin concerto. (Brahms was rigidly systematic in destroying sketches he did not want others to see.) His revisions proved effective, and after the Concerto was launched, he wrote to his publisher, Simrock, “It is well to be doubted whether I could write a better concerto.”

The Concerto made its way slowly onto the world’s concert stages. Joachim programmed the work regularly as part of his tours, but others were reluctant to take on the imposing technical and musical challenges of the score. Hans von Bülow, a sensitive pianist and conductor who should have known better, dubbed this “a concerto not for the violin, but against the violin.” There is no question about the difficulties of the score, especially those that its double-stops and wide skips impose on the left-hand technique of the soloist, but, with familiarity, the rigors of the work were not only conquered but relished by virtuosos. As with many of Brahms’ large works, audiences considered this one somewhat dry and pedantic at first, and even the composer’s staunch advocate, the noted critic Eduard Hanslick, found little to praise in it. The integration of violinist and orchestra into a virtual “symphony with solo instrument” did not allow the empty pyrotechnics that listeners expected from a Romantic concerto, and the Violin Concerto took some getting used to. Get used to it listeners did, however, and today Brahms’ Violin Concerto is regarded as one of the two greatest works in the form ever written, matched only by that of Beethoven.

English musicologist Hubert Foss wrote of the style of the Violin Concerto, “Of all Brahms’ major works, this is the one that shows in the highest degree of perfection the reconciling of the two opposites of his creative mind — the lyrical and the constructive: Brahms the song writer and Brahms the symphonist.” Though the wealth of formal detail is an inexhaustible treasure that is best appreciated only after many hearings, the work’s sonorous beauty, opulent harmony and rich lyricism make an immediate appeal to the

listener. The first movement is constructed on the lines of the Classical concerto form, with an extended orchestral introduction presenting much of the movement’s main thematic material before the entry of the soloist. The group of themes comprises several ideas that are knitted to each other by the rich contrapuntal flow. They are stately in rhythm and dignified in character, and allow for considerable elaboration when they are treated on their return by the soloist. The last theme, a dramatic strain in stern dotted rhythms, ushers in the soloist, who plays an extended passage as transition to the second exposition of the themes. This initial solo entry is unsettled and anxious in mood and serves to heighten the serene majesty of the main theme when it is sung by the violin upon its reappearance. A melody not heard in the orchestral introduction, limpid and almost a waltz, is given out by the soloist to serve as the second theme. The vigorous dotted-rhythm figure returns to close the exposition, with the development continuing the agitated aura of this closing theme. The recapitulation begins on a heroic wave of sound spread throughout the entire orchestra. After the return of the themes, the bridge to the coda is made by the soloist’s cadenza. (Curiously, Brahms did not write his own cadenza for this movement but allowed the soloist to devise one. Joachim provided a cadenza, as have more than a dozen others — including Kreisler, Heifetz, Busoni and Tovey — and it is his that is most often heard in performance.) With another traversal of the main theme and a series of dignified cadential figures, this grand movement comes to an end.

The rapturous second movement is based on a theme that the composer Max Bruch said was derived from a Bohemian folk song. The melody, intoned by the oboe, is initially presented in the colorful sonorities of wind choir without strings. After the violin’s entry, the soloist is seldom confined to the exact notes of the theme, but rather weaves a rich embroidery around their melodic shape. The central section of the movement is cast in darker hues, and employs the full range of the violin in its sweet arpeggios. The opening melody returns in the plangent tones of the oboe accompanied by the continuing widely spaced chords of the violinist.

The finale is an invigorating dance whose

1 9



Gypsy character pays tribute to the two Hungarian-born violinists who played such important roles in Brahms’ life: Eduard Reményi, who discovered the talented Brahms playing piano in the bars of Hamburg and first presented him to the European musical community; and Joseph Joachim. The movement is cast in rondo form, with a scintillating tune in double stops as the recurring theme. This movement, the only one in this Concerto given to overtly virtuosic display, forms a memorable capstone to one of the greatest concerted pieces of the 19th century.

JOHANNES BRAHMS

Symphony No. 4 in E minor, Op. 98 (1884-1885)

In the popular image of Brahms, he appears as a patriarch: full grey beard, rosy cheeks, sparkling eyes. He grew the beard in his late forties as, some say, a compensation for his late physical maturity — he was in his twenties before his voice changed and he needed to shave — and it seemed to be an external admission that Brahms had allowed himself to become an old man. The ideas did not seem to flow so freely as he approached the age of fifty, and he even put his publisher on notice to expect nothing more. Thankfully, the ideas did come, as they would for more than another decade, and he soon completed the superb Third Symphony. The philosophical introspection continued, however, and was reflected in many of his works. The Second Piano Concerto of 1881 is almost autumnal in its mellow ripeness; this Fourth Symphony is music of deep thoughtfulness that leads “into realms where joy and sorrow are hushed, and humanity bows before that which is eternal,” wrote the eminent German musical scholar August Kretzschmar.

One of Brahms’ immediate interests during the composition of the Fourth Symphony was Greek drama. He had been greatly moved by the tragedies of Sophocles in the German translations of his friend Gustav Wendt (1827-1912), director of education in Baden-Baden (Wendt dedicated the volume to Brahms upon its publication in 1884), and many commentators have seen the combination of the epic and the melancholy in this Symphony as a reflection of the works of that ancient playwright. Certainly the choice of E minor as the key of the work is an indication of its tragic nature. This is a rare tonality in the symphonic world, and with so few precedents such a work as Haydn’s in that key (No. 44), a doleful piece subtitled “Mourning Symphony,” was an important influence. That great melancholic among the famous composers, Tchaikovsky, chose E minor as the key for his Fifth Symphony.

Repeatedly accused of being forbiddingly metaphysical or overly serious, the Fourth Symphony was not easily accepted by audiences. The crux of the problem was the stony grandeur of the finale, which undeniably confirms the tragedy of the work. The normal expressive function for a symphonic finale is to be an uplifting affirmation of the continuity of human experience. The classic models are Beethoven’s Fifth and Ninth Symphonies, and the esteemed English musicologist Sir Donald Tovey pointed out that in all that master’s works, only three have minor tonality endings. Even that great prophet of Weltschmerz, Gustav Mahler, ended only his Sixth Symphony on a pessimistic note. So, in this last of his symphonies, it would seem that Brahms grappled with his innermost feelings and found a hard-fought acceptance of his own mortality. The outward sign of his perceived great age, his magnificent beard, found its counterpart in tone in this grand Symphony, perhaps the greatest work in the form since those of Schubert and even Beethoven.

It is fitting that the Fourth Symphony was on the program for the final appearance Brahms made before his beloved Vienna. Hans Richter scheduled the piece for the Vienna Philharmonic’s concert of March 7, 1897, and he invited Brahms to attend. Brahms was already mortally ill with the liver cancer that would end his life in less

World Premiere: October 25, 1885Most Recent HSO Performance: February 16, 2008Instrumentation: 2 flutes with second doubling piccolo, 2 clarinets, 2 oboes, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, and strings; violin I, violin II, viola, cello, and bassDuration: 39’

2 0



than a month, but he struggled from his bed to a box in the Musikvereinsaal for the concert. Each movement of his Symphony brought a shattering response from the audience. Florence May, Brahms’ loving biographer, described the touching scene: “Tears ran down his cheeks as he stood there, shrunken in form, with lined countenance, strained expression, white hair hanging lank, and through the audience there was a feeling as of a stifled sob, for each knew that he was saying farewell. Another outburst of applause and yet another; one more acknowledgment from the master; and Brahms and his Vienna had parted forever.”

Brahms’ Fourth Symphony is large in size and emotional impact while enormously subtle in detail. The first movement begins almost in mid-thought, as though the mood of sad melancholy pervading this opening theme had existed forever and Brahms had simply borrowed a portion of it to present musically. The movement is founded upon the tiny two-note motive (short–long) heard immediately at the beginning. Tracing this little germ cell demonstrates not only Brahms’ enormous compositional skills but also the broad emotional range that he could draw from pure musical expression. To introduce the necessary contrasts into this sonata form, other themes are presented, including a broadly lyrical one for horns and cellos and a fragmented fanfare. The movement grows with a wondrous, dark majesty to its closing pages which, to Tovey, “bear comparison with the greatest climaxes in classical music, not excluding Beethoven.”

“A funeral procession moving across moonlit heights” is how the young Richard Strauss described the second movement. Though the tonality is nominally E major, the movement opens with a stark melody, pregnant with grief, in the ancient Phrygian mode. The mood brightens, but the introspective sorrow of the beginning is never far away. Though in sonatina form (sonata without development), the movement has none of the airy sweetness of so many of Mozart’s andantes cast in that form, but possesses rather an overriding sense of comforting tears washing away great loss. To the noted German musicologist Phillip Spitta, this was the greatest slow movement in all of the symphonic literature.

The third movement is the closest Brahms came to a true scherzo in any of his symphonies. Though such a dance-like movement may appear antithetical to the tragic nature of the Symphony, this scherzo is actually a necessary contrast within the work’s total structure, since it serves to heighten the pathos of the surrounding movements, especially the granitic splendor of the finale. Brahms, as always, took great care with the deployment of his orchestral resources, and he emphasized the singular brightness of this movement by calling for the silvery tingle of the triangle — its only appearance anywhere in his symphonies.

The finale is a passacaglia — a series of variations on a short, recurring melody. The passacaglia was a compositional technique highly favored by Baroque composers that fell into disuse with the changed requirements of the music of the Classical era. It had never been used in a symphony before this one, and it reflects both Brahms’ interest in the music of earlier eras and his faith in the inexorable expressive powers of the old formal types. The theme, to which Brahms added a single chromatic note, was taken from Bach’s Cantata No. 150, Nach dir, Herr, verlanget mich (“I Long for Thee, Lord ”), though John Horton has made a convincing argument that the form was influenced by François Couperin and Georg Muffat. Pedantry was not Brahms’ point here, but it is essential to understanding his style to realize that he was familiar with this old music (from his own study and as an editor for several fledgling musicological series) and could draw whatever resources from it he needed to vivify his works. There are some thirty continuous variations in the finale, though it is less important to follow them individually than to feel the massive strength given to the movement by this technique. The opening chorale-like statement, in which trombones are heard for the first time in the Symphony, recurs twice as a further supporting pillar in the unification of the movement. Yet Brahms never lost sight of the central aesthetic of the Symphony, and his friend Elizabeth von Herzogenberg wrote to him, with no little wonder, “Who can resist an emotion strong enough to penetrate all that skillful elaboration?”

©2016 Dr. Richard E. Rodda

2 1

Violinist Cho-Liang Lin’s career has spanned the globe for more than 30

years. Performing on several continents, he appears as soloist with orchestras of Detroit, Toronto, Dallas, Houston, Nashville, San Diego, and Los Angeles Chamber Orchestra; in Europe with the Bergen Philharmonic, Stockholm Philharmonic, Munich Philharmonic, and the English Chamber Orchestra; and in Asia with the Hong Kong Philharmonic, Singapore Symphony, Malaysia Philharmonic, and Bangkok Symphony. Mr. Lin has expanded his orchestral engagements to include performances as both soloist and conductor, and completed season-long residencies with the Shanghai and Singapore symphonies. He has enjoyed collaborations and premieres with composers including Tan Dun, Joel Hoffman, John Harbison, Christopher Rouse, Esa-Pekka Salonen, Lalo Schifrin, Paul Schoenfield, Bright Sheng, and Joan Tower. An avid chamber musician, Mr. Lin appears at the Beijing Music Festival, Chamber Music Society of Lincoln Center, Aspen Music Festival, and Santa Fe Chamber Music Festival. He is Music Director of La Jolla

Music Society’s SummerFest, Artistic Director of Hong Kong International Chamber Music Festival, and was recently appointed Artistic Director of the National Taiwan Symphony Orchestra’s Youth Music Summer Camp. Mr. Lin’s extensive award-winning discography reflects the breadth of his career; recent recordings include Vivaldi’s Four Seasons, works by Bright Sheng and Gordon Chin, the First Violin Concerto by George Tsontakis and a violin concerto by Joan Tower with the Nashville Symphony. Mr.

Lin’s studies began in his native Taiwan at age five with Sylvia Lee, and he studied with Robert Pikler in Sydney, and Dorothy DeLay in New York. He made his New York debut at the Mostly Mozart Festival at 19, followed soon thereafter with the New York Philharmonic. In 2000, Mr. Lin was named Musical America’s Instrumentalist of the Year. He joined the Juilliard School faculty in 1991, and was recently appointed professor of violin at Rice University’s Shepherd School of Music. He plays the 1715 “Titian” Stradivarius.


About the Artist

CHO-LIANG LIN,violin

2 2

2 3

CAROLYN KUAN, conductorSIRENA HUANG, violin

STEVEN MACKEY, electric guitar

Friday, December 9, 2016 / 8:00 p.m.Saturday, December 10, 2016 / 8:00 p.m.Sunday, December 11, 2016 / 3:00 p.m.

Belding Theater, The Bushnell Center for the Performing Arts


Masterworks Series

HARTFORD SYMPHONY ORCHESTRA Carolyn Kuan, Music Director

MERRY MOZART

The post of Music Director is endowed by The Beatrice Fox Auerbach Foundation.Cameras and recording equipment are not permitted during the performance.

As a courtesy to the performers and other audience members, please turn off watch alarms and cell phones.The Hartford Symphony Orchestra receives major support from the Greater Hartford Arts Council, the Hartford Foundation for Public Giving, and with support from the Department of Economic and Community Development, Connecticut Office

of the Arts which also receives support from the National Endowment for the Arts, a federal agency.

The 2016-17 Masterworks Series is presented by

WOLFGANG AMADEUS MOZART Overture to Don Giovanni, K. 527 (1756-1791)

PABLO DE SARASATE Zigeunerweisen, Op, 20 “Gypsy Airs” (1844-1908) Sirena Huang, violin

STEVEN MACKEY Four Iconoclastic Episodes (b. 1956) Like An Animal Salad Days Lost in Splendor Destiny Sirena Huang, violin Steven Mackey, electric guitar

-INTERMISSION-

WOLFGANG AMADEUS MOZART Symphony No. 41 in C Major, K. 551, “Jupiter” (1756-1791) Allegro vivace Andante cantabile Menuetto: Allegretto Molto allegro

2 4



WOLFGANG AMADEUS MOZART

(born January 27, 1756 in Salzburg;died December 5, 1791 in Vienna)

Overture to Don Giovanni, K. 527 (1787)

The Marriage of Figaro played in Prague for the first time in December of 1786; it was a smash hit. When Mozart visited the city the following month for further performances of the opera, he reported that “here they talk about nothing but Figaro. Nothing is played, sung or whistled but Figaro. No opera is drawing like Figaro. Nothing, nothing but Figaro.” In the wake of Figaro’s success, Pasquale Bondini, the manager of Italian opera at Prague’s National Theater and the local producer of Figaro, commissioned Mozart to write a new piece for his fall season for the considerable sum of 100 ducats, equal to 12.1 ounces of gold bullion. As soon as Mozart returned to Vienna in February, he asked Lorenzo da Ponte, creator of the masterful libretto for Figaro, to write the book for the new opera. Da Ponte suggested the subject of Don Juan; Mozart agreed. By 1787, the legendary libertine had been the central character in stage presentations for at least a century-and-a-half (a Spanish play from 1630 by one Tirso de Molina seems to be the ultimate source of the story), but da Ponte’s immediate model was an opera called Don Giovanni Tennorio presented in Venice on February 5, 1787, with music by Giuseppe Gazzaniga and words by Giovanni Bertati.

During the early months of 1787, Da Ponte simultaneously received libretto commissions from Mozart, Salieri, and Vicente Martin y Soler, the popular Spanish composer of comic operas then based in Vienna, and he described the

arduous work on them in his memoirs, written in the 1820s, after he had settled in New York City: “I sat down at my writing table and stayed there for twelve hours on end, with a little bottle of tokay at my right hand, an inkstand in the middle, and a box of Seville tobacco on the left. A beautiful young girl of sixteen was living in my house with her mother, who looked after the household. (I should have wished to love her only as a daughter, but … ) She came into my room whenever I rang the bell, which in truth was fairly often, and particularly when my inspiration seemed to begin to cool. She brought me now a biscuit, now a cup of coffee, or again nothing but her own lovely face, always gay, always smiling and made precisely to inspire poetic fancy and brilliant ideas.” Under such hardship was the libretto for Don Giovanni conceived; the verses were finished by June.

Mozart worked throughout the late summer on the score, and left for Prague with his wife, Constanze, on October 1, 1787. He applied the final touches to the music as the rehearsals proceeded, but two days before the October 29th

premiere he had still not written the overture. The evening before the dress rehearsal, according to an account in a biography of the composer by Constanze’s second husband, Georg von Nissen, “Mozart told his wife that he wanted to write the overture that night, and asked her to make him some punch and stay up with him to keep him merry. She did so, told him fairy tales of Aladdin’s Lamp … and so on, which made him laugh until the tears came to his eyes. But the punch made him sleepy, so that he nodded whenever she paused, and worked only while she was talking. But since his exertion, his sleepiness, his frequent nodding and catching himself made the work terribly hard, his wife made him lie down on the couch, promising to wake him up in an hour. But he slept so soundly that she did not have the heart to do so, and only awakened him after two hours had passed. This was at five o’clock. The copyist had been ordered for seven o’clock; at seven o’clock the Overture was finished.” Such compositional celerity passes all understanding

World Premiere: October 29, 1787Most Recent HSO Performance: April 28, 1995Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings; violin I, violin II, viola, cello, and bassDuration: 7’

2 5



for us mere mortals, but was common to Mozart, as Ernest Newman explained in his study of the composer: “He had not only extraordinary facility in composition; he also had a marvelous memory. ‘Composition,’ for him, meant developing the work in his head; he found the business of writing it out rather tiresome, and he would often postpone it as long as he could. There can be little doubt that the Overture to Don Giovanni had been worked out in his head long before the final rehearsal and that all he had to do on that historic night was to put the notes on paper.”

The premiere of Don Giovanni was a triumph exceeded in Prague only by the wild success of The Marriage of Figaro. Mozart was feted and acclaimed and invited to take up residence in the city, but he decided rather to return to Vienna — reports correctly had the old composer to the Habsburg court, Christoph Willibald von Gluck, near death, and Mozart hoped to succeed him in the position. (In December, after Gluck died, he did, but at a fraction of his predecessor’s salary.) In addition to his interest in securing a court post in Vienna, Constanze was near giving birth and she wanted to return home to be cared for by her own doctors. (A daughter, Theresia, was born on December 26th; she died six months later.) Don Giovanni, with some additional music, was first given in Vienna in May 1788; the local audiences, however, did not care much for it, and its near-failure proved a setback from which Mozart never fully recovered.

“Everything in this tremendous introduction breathes terror and inspires awe,” wrote the French composer Charles Gounod of the opening of the Don Giovanni Overture. These august preludial strains, the only music from the opera heard in the Overture, later accompany the graveyard scene, during which the statue of the Commendatore, whom Giovanni has slain in the first scene, comes chillingly to life. Giovanni invites the specter to dinner. The Commendatore consequently appears at Giovanni’s banquet and carries the unrepentant libertine to Hell. The remainder of the Overture follows the traditional sonata-allegro form, heightened in expression

by a sizeable central development section of considerable emotional weight. Since the Overture is elided directly to the opening scene in the opera house, Mozart provided a brief ending for concert use; Johann André, a contemporary of the composer, and Ferruccio Busoni offered more elaborate alternatives.

STEVEN MACKEY(born February 14, 1956 in Frankfurt, Germany)

Four Iconoclastic Episodes for Violin, Electric Guitar and

String Orchestra (2009)

“I imagine ... a kind of vernacular music from a culture that doesn’t really exist,” says Steven Mackey, one of America’s most adventurous and admired composers. Mackey was born in 1956 in Frankfurt, Germany to American parents but grew up in northern California, where he excelled in sports and imitating Jimmy Hendrix on his electric guitar. Mackey entered the University of California at Davis as a physics major but switched to music after being overwhelmed by Stravinsky’s The Rite of Spring; he graduated summa cum laude in 1978 with a degree in guitar and lute but with the ambition of being a composer. He did his graduate work in composition at SUNY/Stony Brook with John Lessard and David Lewin (M.A., 1980) and at Brandeis University with Donald Martino (Ph.D., 1985), and was appointed to the Princeton faculty as soon as he finished his doctorate; he became a full professor there in 1993. As a guitarist, Mackey has performed his own music with the Kronos Quartet, Arditti Quartet, Brentano Quartet, New World Symphony, Dutch Radio Symphony, London Sinfonietta, Next Time Ensemble

World Premiere: October 29, 2009Most Recent HSO Performance: This is the HSO’s first performance of this work.Instrumentation: solo electric guitar, solo violin, and strings; violin I, violin II, viola, cello, and bassDuration: 21’

2 6



(Parma, Italy), Psappha (Manchester, England), Joey Baron, Fred Sherry and others.

During his first years at Princeton, Mackey established his distinctive creative voice, which his faculty colleague and fellow composer Paul Lansky said “synthesizes the influences of Led Zeppelin, Stravinsky, Monteverdi, Muddy Waters, Mahler, Monk and others…. [His music is] unlike anything else being written today. Brilliantly executed, uniquely American, and accessible to a new group of listeners, Mackey’s music comes from places that haven’t had much of a voice in the world of concert music. But, now that these voices are being heard, we notice that what they are saying is worth hearing.” Mackey won the prestigious Kennedy Center Friedheim Award in 1987 for his string quartet Fumeux Fume (“He who fumes and lets off steam provokes hot air”), inspired by a piece of the little-known 14th-century French composer Solage, and he has since received Guggenheim, Lieberson and Tanglewood fellowships, a second Friedheim Award (in 1993, for Physical Property for electric guitar and string quartet), the Stoeger Prize from the Chamber Music Society of Lincoln Center (1995), several awards from the American Academy of Arts and Letters, Princeton University’s first Distinguished Teaching Award (1991), the 2012 Grammy for Best Small Ensemble Performance (for Lonely Motel, recorded on the Cedille label by eighth blackbird), and commissions from the American Composers Orchestra, Chicago Symphony Orchestra, San Francisco Symphony, Los Angeles Philharmonic, Netherlands Radio Symphony Orchestra, Koussevitzky and Fromm foundations, Dawn Upshaw, Kronos Quartet and other leading ensembles and performers. Mackey was Resident Composer at Tanglewood in 2006 and Co-Composer-in-Residence with Christopher Rouse at the 2007 Aspen Music Festival.

Mackey wrote, “Each of the Four Iconoclastic Episodes [2009] was composed in response to some music that excited me. Like An Animal is an homage to the jazz/rock fusion music of the

Mahavishnu Orchestra: changing meters, satanic harmonies, virtuosic interplay between electric guitar and violin.

“Salad Days was written in response to some African popular music I heard on the radio one day. (I was in my car and was late for an important meeting so I never heard what or who it was.) The music transformed plucked instruments indigenous to Africa such as the kora (something like a Baroque lute) and mbira (thumb piano) into exotic electric guitar music. I have in turn tried to transform my recollection (based on one hearing) of the bright staccatos and plucky arpeggios of that music into something consistent with my language.

“There is a song by the band Radiohead called Amnesiac that begins with seemingly a-rhythmic piano chords. As the other instruments enter, the context is clarified and the seemingly offbeat chords seem to ‘swing’ comfortably in that meter. Lost in Splendor, is similarly inscrutable at the outset and then becomes clarified by the context. In this case, the same rhythm can be interpreted in a couple of different meters and tempos. Technically speaking, Lost in Splendor is a chaconne in which a repeating pattern runs continuously through the movement. However, the subtle shifts and nuances of this multi-valent rhythm slip into the background to become a fragile and restless accompaniment for a tender song without words. I doubt that the obsessive cyclical nature of the chaconne would emerge on a first or second hearing.

“Destiny, on the other hand, puts its obsessive pattern front and center, bar-by-bar throughout. There is something of a big, slow, 12/8 Chicago blues feel to the groove but the way the harmony moves in a continuous, one-way journey through this unchanging rhythm is in response to some of Schubert’s late chamber music that I have encountered in my ‘day job’ teaching at Princeton University.

“Each of the Four Episodes has its own limited material and distinct personality, and nothing is shared among them except my sensibility with regard to how music should go. Ultimately

2 7



they belong together in my mind because the particular characters and energy flows balance and contrast one another to create an odd but intrinsically expressive shape.

“I must say that throughout work on the piece I was drawn to the archetype of the four seasons: Like An Animal: winter — stormy, harsh, merciless; Salad Days: spring — playful, optimistic, innocent; Lost in Splendor : summer — warm, lush; Destiny: autumn — bittersweet.”

PABLO DE SARASATE(born March 10, 1844 in Pamplona, Spain;

died September 20, 1908 in Biarritz, France)

Zigeunerweisen (“Gypsy Airs”) for Violin and Orchestra, Op. 20 (1878)

Pablo Martín Melitón de Sarasate y Navascuez — economized to Pablo de Sarasate when he became a star — occupied, with Niccolò Paganini and Joseph Joachim, the pinnacle of 19th-century fiddledom. The son of a military bandmaster in Pamplona, Spain, he started violin lessons at five, gave his first public performance at eight, and rocketed past the pedagogical prowess of the best local teachers so quickly thereafter that he had to be sent to the Paris Conservatoire for further instruction with Delphin Alard at the age of twelve. So much promise for furthering the cause of Spanish culture did he show that Queen Isabella presented him with a Stradivarius violin (a handsome piece of booty acquired in a recent tiff with Naples), and personally authorized the subsidy of his expenses. Within a year, he won a premier prix in violin and solfège at the Conservatoire, acquired another prize, in harmony, in 1859,

and then set off on the tours of Europe, Africa, North and South America and the Orient that made him one of the foremost musicians of his time. (His first tour of the United States was in 1870; his last in 1889.) His playing drew unstinting praise during the forty years of almost constant, world-wide concertizing that followed, the most impressive evidence of which is the spectacular list of works that were written for him by some of the era’s greatest composers: Bruch’s G minor Violin Concerto and Scottish Fantasy; Saint-Saëns’ Concertos Nos. 1 and 3 and the Introduction and Rondo Capriccioso; Lalo’s Concerto in F minor and Symphonie espagnole; Joachim’s Variations for Violin and Orchestra; Wieniawski’s Second Concerto; Dvorák’s Mazurek; and Mackenzie’s Pibroch Suite. Whereas Paganini was noted for his flamboyant technical wizardry and emotional exuberance, and Joachim for his high-minded intellectualism and deep musical insights, Sarasate was famed for his elegance, precision, apparent ease of execution and, in the words of Eduard Hanslick, the Vienna-based doyen of Europe’s music critics, his “stream of beautiful sound.” No less an authority than the great violinist Eugene Ysaÿe said, “It was he who taught us to play exactly.” Sarasate was also a keen chamber music participant, and he was among the early champions of Brahms’ quartets, though he declined to play that master’s Violin Concerto. The handful of recordings he made shortly before his death in Biarritz in 1908, the first commercial discs made by a world-famous violinist, attest to his remarkable skill.

Sarasate had already established his reputation in France, Spain, England and North and South America as one of his era’s greatest performers before he made his debut in the German-speaking lands with a concert in Vienna in 1876. His success in northern Europe for the next three decades nearly rivaled that of Joseph Joachim, Germany’s acknowledged master of the violin. (Joachim died in 1907, just one year before Sarasate.) To appeal to the predilection for a certain Eastern exoticism in the German and Austrian musical appetites of the day, Sarasate

World Premiere: 1878Most Recent HSO Performance: September 9, 2006Instrumentation: solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, percussion, and strings; violin I, violin II, viola, cello, and bassDuration: 10’

2 8



devised a concert work for violin and orchestra in 1878 based on melodies of Hungarian extraction that he titled Zigeunerweisen — “Gypsy Airs.” (Brahms also catered to the popular taste. His Hungarian Dances were a smash hit when they first appeared in 1869; his Violin Concerto, with its dashing Gypsy finale, dates from the same year as Zigeunerweisen.) Zigeunerweisen is disposed in two large paragraphs of contrasting nature. A bold orchestral summons based on a grave theme introduces the soloist, who continues the opening mood with an accompanied cadenza and a sad lament utilizing a gapped-scale melody of considerable pathos. Though the musical substance of this first section is simple and direct, the soloist embroiders it with a rich overlay of trills, grace notes, harmonics, glissandi, pizzicati and spiccati. After a grand pause, the tempo quickens and the mood brightens for the closing section, a blazing dance in the most brilliant Gypsy manner energized by an entire fusillade of violin pyrotechnics.

WOLFGANG AMADEUS MOZART

Symphony No. 41 in C major, K. 551, “Jupiter” (1788)

Mozart’s life was starting to come apart in 1788 — his money, health, family situation and professional status were all on the decline. The beginning of the year seemed to hold a promise of good things. When Gluck died in November 1787, his position as composer to the court of Emperor Joseph II fell vacant. Mozart had sufficiently ingratiated himself with the

aristocracy to win the job, but with the offer came a salary of only 800 florins, less than half the 2,000 florins Gluck had been paid. For this amount, Joseph, who apparently did not care much for Mozart or his music, required only some dances for his grand balls and not the career-advancing operas and symphonies that the composer was hoping to provide. The position at court, so long sought, did little to alleviate Mozart’s financial worries. He was a poor money manager, and the last years of his life saw him sliding progressively deeper into debt. One of his most generous creditors was Michael Puchberg, a brother Mason, to whom Mozart wrote a letter which includes the following pitiable statement: “If you my worthy brother do not help me in this predicament, I shall lose my honor and my credit, which of all things I wish to preserve.”

Other sources of income dried up. His students had dwindled to only two by summer, and he had to sell his new compositions for a pittance to pay the most immediate bills. He hoped that Vienna would receive Don Giovanni as well as had Prague when that opera was premiered there the preceding year, but it was met with a haughty indifference when first heard in the Austrian capital in May 1788. (“The opera is divine, finer perhaps than Figaro, but it is not the meat for my Viennese,” sniffed the Emperor, to which Mozart tartly replied, “We must give them time to chew it.”) He could no longer draw enough subscribers to produce his own concerts, and had to take second billing on the programs of other musicians. His wife, Constanze, was ill from worry and continuous pregnancy, and she spent much time away from her husband taking cures at various mineral spas. On June 29th, his fourth child and only daughter, Theresia, age six months, died.

Yet, astonishingly, from these seemingly debilitating circumstances came one of the greatest miracles in the history of music. In the summer of 1788, in the space of only six weeks, Mozart composed the three greatest symphonies of his life: No. 39, in E-flat (K. 543) was finished on June 26th; the G minor (No. 40, K. 550) on

World Premiere: UnknownMost Recent HSO Performance: March 17, 2013Instrumentation: 1 flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings; violin I, violin II, viola, cello, and bassDuration: 31’

2 9



July 25th; and the C major, “Jupiter” (No. 41, K. 551) on August 10th. It is not known why he wrote these last three of his symphonies, a most unusual circumstance at a time when every piece was intended for a specific situation. There is no record that he ever heard the works, nor are they mentioned anywhere in his known correspondence after they were completed. They may have been intended for a series of oft-delayed concerts originally planned for June which never occurred. Or perhaps in these glorious symphonies, as in many other aspects of his art, Mozart looked forward to the Romantic era and its belief in artistic inspiration divorced from practical requirements. Or perhaps he needed, at that stressful time in his life, to prove to himself that he could still compose large-scale instrumental works. Or perhaps, wrote R.L.F. McCombs, “he felt he had, at this point in his life, achieved maturity as an artist and mastery as a craftsman — an occasion at least as worthy of celebration as a twenty-first birthday. These symphonies are the monument with which he commemorated that crisis in his creative life.” Or — perhaps — we are richer for allowing the mysterious creative urge which produced these works to hover, unknown, above them forever, a perceptive point of view espoused by Robert Schumann when he wrote, “There are things in the world about which nothing can be said, as Mozart’s C major Symphony, much of Shakespeare and pages of Beethoven.”

The Symphony’s sobriquet, “Jupiter,” did not originate with Mozart. The composer’s son Franz Xavier Wolfgang said that it was the invention of the impresario Salomon, famous as the instigator of Haydn’s London visits. Weightier evidence for author of the subtitle, however, points to John Baptist Cramer, a German musician who moved to London and opened a publishing house. He may have been the first to deify this work when he appended the word “Jupiter” to its title for a concert of London’s Royal Philharmonic Orchestra on March 26, 1821. The cognomen has no meaning other than to indicate the Symphony’s grand nobility of style, and Tovey

dismissed it as “among the silliest injuries ever inflicted on a great work of art.” Philip Hale even warned that the sobriquet might lead away from the true nature of the music, “[which] is not of an Olympian mood. It is intensely human in its loveliness and its gaiety.” Mozart would probably have agreed.

The “Jupiter” Symphony stands at the pinnacle of 18th-century orchestral art. It is grand in scope, impeccable in form and rich in substance. Mozart, always fecund as a melodist, was absolutely profligate with themes in this Symphony. Three separate motives are successively introduced in the first dozen measures: a brilliant rushing gesture, a sweetly lyrical thought from the strings, and a marching motive played by the winds. After a unison held note, yet another idea is presented, this comprising an octave leap followed by a quick scale passage in the woodwinds. These motives are woven together to form a climax leading to the formal second theme, a simple melody first sung by the violins over a rocking accompaniment. This, too, accumulates several component motives as it progresses. The closing section of the exposition (begun immediately after a falling figure in the violins and a silence) introduces a jolly little tune that Mozart had originally written a few weeks earlier as a buffa aria for bass voice to be interpolated into Le Gelosie Fortunate (“The Fortunate Jealousy”), an opera by Pasquale Anfossi. Much of the development is devoted to an amazing exploration of the musical possibilities of this simple ditty. The second portion of the development is dominated by the rushing figure which opened the movement. The thematic material is heard again in the recapitulation, but, as so often with Mozart, in a richer orchestral and harmonic setting.

The second movement is one of the most intensely expressive essays in Classical-era music. “There is spiritual seriousness; there is perfect form, exquisite proportion, and euphony,” wrote Philip Hale. This ravishing Andante is spread across a fully realized sonata form, with a compact but emotionally charged development section. The third movement (Minuet) is a perfect

3 0



blend of the light-hearted rhythms of popular Viennese dances and Mozart’s deeply expressive chromatic harmony.

The finale of this Symphony has been the focus of many a musicological assault. It is demonstrable that there are as many as five different themes played simultaneously at certain places in the movement, making this one of the most masterful displays of technical accomplishment in the entire orchestral repertory. But the listener need not be subjected to any numbing pedantry to realize that this music is really something special. Eric Blom, good sensible Englishman that he was, wrote of this movement, “There is a mystery in this music not to be solved by analysis or criticism, and perhaps only just to be apprehended by the imagination. We can understand the utter simplicity; we can also, with

effort, comprehend the immense technical skill with which its elaborate fabric is woven; what remains forever a riddle is how any human being could manage to combine these two opposites into such a perfectly balanced work of art.” Mozart was the greatest genius in the history of music, and he never surpassed this movement.

Of this remarkable work, Charles O’Connell wrote, “Mozart put aside the exigencies of time and circumstance, and, we imagine, wrote a symphony after his own heart. There has been nothing, and there are no indications that there will be anything, in music to surpass it in its special virtues. In it, the inner Mozart spoke. He wrote not for the age, but for the ages.”

©2016 Dr. Richard E. Rodda

3 1

Violinist Sirena Huang is the first prize gold medalist of the International

Tchaikovsky Competition for Young Musicians held in Korea in 2009. More recently, she was the first prize winner and recipient of the audience award of the 2011 Cooper International Competition, as well as the Hahnloser prize winner for violin at the Verbier Music Festival in Switzerland. She was named the first artist-in-residence of the Hartford Symphony Orchestra for 2011-14. Ms. Huang made her orchestra solo debut with the National Taiwan Symphony Orchestra at age nine. Since then, she has performed in thirteen countries across three continents and has been featured as soloist with more than forty orchestras, including the New York Philharmonic, Cleveland Orchestra, the Baltimore Symphony Orchestra, Staatskapelle Weimar in Germany, Russian Symphony Orchestra, New Haven Symphony Orchestra, Aspen Sinfonietta, Tallahassee Symphony Orchestra, Corpus Christi Symphony Orchestra, and many others. She performed

as a guest artist at the Aspen Music Festival, Eastern Music Festival, Verbier Music Festival, Sarasota Arts Series, Albuquerque Chamber Music Festival, South Windsor Artist Series, and “The Great Music for a Great City” series in New York City, among others. Ms. Huang was invited to perform during the ceremony in which the Humanitarian Award was presented to President Sarkozy of France. In addition, she received the honor of playing for His Majesty King Abdullah II of Jordan, including Elie Wiesel and thirty other Nobel Prize

Laureates at the World Peace Conference held in Petra. In 2007, she was invited by the former Czech Republic President Havel, to play in the opening ceremony of Forum 2000 World Conference in Prague. Ms. Huang is currently an undergraduate student at Julliard, where she studies with Stephen Clapp and Sylvia Rosenberg. She has just begun her 2nd year at Julliard, after concluding her first year with a triumphant performance at Alice Tully Hall with the Julliard Symphony Orchestra and James Gaffigan of Bartok’s Concerto no. 2.


About the Artist

SIRENA HUANG, violin

3 2

Steven Mackey was born in 1956, to American parents stationed in Frankfurt,

Germany. He is regarded as one of the leading composers of his generation and has composed for orchestra, chamber ensembles, dance and opera. His first musical passion was playing the electric guitar, in rock bands based in northern California. He blazed a trail in the 1980’s and 90’s by including the electric guitar and vernacular music influence in his concert music. He regularly performs his own work, including two electric guitar concertos and numerous solo and chamber works. He is also active as an improvising musician and performs with his band Big Farm.

Mackey’s orchestral music has been performed by major orchestras around the world, from the Los Angeles Philharmonic, San Francisco and Chicago Symphonies, the BBC Philharmonic, Concertgebouw Orchestra, and the Austrian Radio Symphony, to the Sydney Symphony and Tokyo Philharmonic. As a guitarist, Mackey has performed his chamber music with the Kronos Quartet, Arditti Quartet, London Sinfonietta, Nexttime Ensemble (Parma), Psappha (Manchester), and Joey Baron.

Recent premiers include Mnemosyne’s Pool, a large multi-movement orchestral work co-

commissioned by the Los Angeles Philharmonic, the Sydney Symphony, the National Symphony and the New World Symphony and Triceros, a trumpet concerto for virtuoso Hakan Hardenberger commissioned by the Swedish Chamber Orchestra.

Mackey has received numerous accolades including a Grammy, several awards from the American Academy of Arts and Letters, and a Guggenheim fellowship. He has been the composer-in-residence at major music festivals, including Tanglewood, Aspen and the Holland Festival. His opera/

monodrama, Ravenshead, has been performed nearly 100 times and was crowned the work the “Best New Opera of 1998” by USA Today.

Mackey is currently Professor of Music and chair of the Department of Music at Princeton University, where he has been a member of the faculty since 1985. In 1991, he was the recipient of Princeton University’s first Distinguished Teaching Award.

Mackey’s web site is www.stevenmackey.com. His music is published by Boosey & Hawkes. He lives in Princeton, New Jersey with his wife, composer Sarah Kirkland Snider, and their son Jasper and daughter Dylan.


About the Artist

STEVEN MACKEY, electric guitar

3 3

HARTFORD SYMPHONY ORCHESTRACarolyn Kuan, Music Director


Pops! Series

HOLIDAY CIRQUE SPECTACULAR

Selections to be announced. There will be one 20-minute intermission.

Saturday, December 17, 2016 / 2:00 & 7:00 p.m.Mortensen Hall, The Bushnell Center for the Performing Arts

CAROLYN KUAN, conductorCIRQUE DE LA SYMPHONIE, guest performers

he 2016-2017 Pops! Series is presented by

This concert is sponsored by

Cameras and recording equipment are not permitted during the performance.As a courtesy to the performers and other audience members, please turn off watch alarms and cell phones.

The Hartford Symphony Orchestra receives major support from the Greater Hartford Arts Council, the Hartford Foundation for Public Giving, and with support from the Department of Economic and

Community Development, Connecticut Office of the Arts which also receives support from the National Endowment for the Arts, a federal agency.

3 4

Cirque de la Symphonie is an exciting production designed to bring the

magic of cirque to the music hall. It is an elegant adaptation of some of the most amazing cirque acts performed on a stage shared with the full symphony orchestra, showcasing many of the best artists in the world. The audience is thrilled and bedazzled by aerial flyers, acrobats, contortionists, dancers, jugglers, balancers, and strongmen. These accomplished veterans include world record holders, gold-medal winners of international competitions, Olympians and some of the most original talent ever seen. Each performance is perfectly choreographed to classical masterpieces, raising cirque artistry to a fine arts level. Adding a stunning visual element to the concert experience, these aerialists and acrobats provide a three-dimensional entertainment extravaganza. Orchestras play with enhanced enthusiasm, while patrons marvel at the jaw-dropping spectacle of aerialists flying overhead and astonishing acrobatic feats. Fusing the power and majesty of the live orchestra with the best of cirque artistry, Cirque de la Symphonie is the only cirque company in the world that performs exclusively with symphony orchestras. Over one hundred orchestras worldwide have featured Cirque de la Symphonie in sold-out venues, adding energy and excitement to the concert experience.Join us on Facebook and explore our website for images, video, schedule, reviews, and more: www.cirquedelasymphonie.com

A loysia Gavre is an incredible aerial performer from the prestigious Ecole National de Cirque, Montreal, with early

training from Master Lu-Yi and the Pickle Family Circus School. Her aerial acrobatics and graceful

maneuvers on the aerial hoop, suspended high above the stage, add three-dimensional excitement to the symphony and the music hall. Aloysia was the Special Prize Winner at the International Circus Festival in Monte Carlo. A veteran of stage and theater performances worldwide, Aloysia is best known as a veteran of Cirque du Soleil’s “Quidam” and “O.” Her five years with Quidam established her as one of the best aerial artists in the world, and today she shares that experience with others as choreographer for Cirque Mechanics and Troupe Vertigo and as director of Cirque School in Los Angeles. Aloysia’s regular performances with Cirque de la Symphonie and live orchestras take aerial acrobatics to a new level.

Sagiv Ben Binyamin began his gymnastic career in his native Israel before moving

to the United States in 2000. His mastery of trapeze, fabrics, rope, hand balancing, and acrobatics quickly attracted the attention of circus companies and major entertainment producers. His stunt credits include movies such as Polar Express and productions such as Universal Studios’ Spiderman Rocks. He is famous for his acrobatics with Teatro ZinZanni, Cirque Productions, Anti-Gravity, Cirque de la Mer, Velocity Circus, Eye of Newt Circus, and the Birdhouse Factory, and he has worked with

major performing artists such as Cher. Sagiv provides an amazing rope act and tantalizing adagio in a tango of balance and strength with partner for Cirque de la Symphonie.

Marcello “Marco“ Antonio Balestracci is an acro-gymnast, dancer, actor, and singer. He spent ten years in competitive

gymnastics and has received several first place medals at state and regional competitions. As a dancer, Marco has worked with choreographers such as


About the Artist

ALOYSIA GAVRE

MARCELLO “MARCO“ ANTONIO

BALESTRACCI

SAGIV BEN BINYAMIN

3 5

Adrienne Dellas-Thornton (Kirov), Rudolf Kharatian (Washington Ballet), and Sandra Balestracci (his mother). He performed in the Nutcracker as a soloist with the American Youth Ballet Company, a production which was broadcast to school systems across the land. He has performed with the Music Theater of Williamsburg with Tom Netherton and with Busch Gardens, Williamsburg. Regional theater musicals have included; King and I, Godspell, and Joseph and the Amazing Technicolor Dreamcoat. As an acrobat, Marco made his Broadway debut in the lead role of Cirque’s Jungle Fantasy, followed by a national tour in 2008. He has also starred in other Cirque productions, such as Imaginique and Christmas Dreams. He currently resides in Los Angeles where he has performed with Le Ombre Shadow Acrobatics & Dance and Torque Method. When not touring with Cirque de la Symphonie, Marco teaches at Cirque School, LA, as the Head Acrobatics Instructor.

A utumn Crockett began training in dance and acrobatics at the age

of three at DC Dance Factory in her native state of Tennessee. Her exceptional talents soon led to television performances with LeAnn Rimes, Billy Gilman and CeCe Winans. Autumn’s unique combination of contortion, dance and acrobatics was soon recognized by The Edge Performing Arts Center, an elite company in Los Angeles that provided her with a full scholarship. She continued her movement training with Cirque School LA’s professional program. Her career took off soon afterwards, including appearances with Rihanna in the Video Music Awards, the movie I Kissed a Vampire, America’s Got Talent and numerous commercials. She has performed in live stage shows such as Odyssey Dance Theater, Troupe Vertigo, Le Ombre,

La Mirada Theater production of “Cats” and for the Academy of TV, Arts & Sciences.

Sarah Sporich is a classically trained dancer and contortionist, studying

under various high caliber choreographers at the Talent Lab in Los Angeles. She combines the fluidity and grace of dance with the athleticism of aerial arts and the extreme lines of contortion all in one. Sarah’s mixture of skills has brought her a diverse career including performances on GLEE, Michael Jackson Billboard Music Awards and Jennifer Lopez American Music Awards. Theatrical stage shows include touring with Le Ombre Shadow Acrobatics & Dance, Revelations, Troupe Vertigo, and a live show of Pixar’s film Inside Out at the El Capitan in Hollywood. When not performing she teaches Pilates and Aerial skills at Cirque School and is the head coach for their Cirque Kids programming.

Brandon Grimm developed elite skills in both dance and acrobatics at Dance

FX, near his base in Sunrise, Florida. The combination of his elite skills led him to become a featured performer, as well as instructor, on a national tour with the Tremaine Dance Company. Brandon added to his range of skills through

additional training with STREB-Lab for Action Mechanics in New York, specializing in aerial arts. He was able to utilize this combination of dance, acrobatic and aerial skills when he joined Diavolo Dance Theater in Los Angeles. As a core member of the troupe for three years, Brandon traveled the globe as a featured performer. He has also shared his skills as an instructor at local Cirque School, teaching emerging professionals flexibility, aerial maneuvers, and acrobatics.


About the Artist

AUTUMN CROCKETT

SARAH SPORICH

BRANDON GRIMM

3 6

3 7

3 8


Corporate and Foundation Donors

Acorn Alcinda Foundation, Inc.Aetna Foundation, IncAhearn Family FoundationAsylum Hill Congregational

ChurchBank of AmericaBarnes Group FoundationBemis Associates, LLCBouvier Beckwith &

Lennox InsuranceBradley, Foster & Sargent, Inc.Elizabeth Carse FoundationChurch Home of Hartford

AuxiliaryClassic Hotels of ConnecticutThe CLY-DEL Manufacturing

CompanyCommunity Health

Network of CT, Inc.Connecticut Science CenterThe Davenport-Hatch

Foundation, Inc.Day Pitney LLPDeloitte Department of Economic &

Community DevelopmentDornenburg | Kallenbach

AdvertisingDuncaster Resident CouncilThe Edgemer Foundation, Inc.The Ensign Bickford FoundationThe Ensworth Charitable

FoundationEugene O’Neill Theater CenterEversource EnergyFalcetti MusicFarmington Valley Dermatology

& SurgeryFiduciary Investment AdvisorsStanley D. and Hinda N. Fisher

FundFitzgerald’s Food StoresMr. & Mrs. William Foulds

Family FoundationAnn and Gordon Getty

FoundationGlobal Atlantic Financial GroupGoodspeed MusicalsGreater Hartford Arts CouncilHartford Business Journal

The Hartford Financial Services Group, Inc.

Hartford Foundation for Public Giving

Hartford HealthCare Cancer Institute at Avon

Hartford StageHartford Steam Boiler Inspection

and Insurance CompanyHB LiveHinckley AllenHoffman Auto GroupIntegrity GraphicIRIS PhotographyJ. Walton Bissell FoundationJoseph S. Stackpole

Charitable TrustJP Morgan Chase BankKane’s MarketThe KateKoskoff, Koskoff & BiederKPMG, LLPLandmark Community TheaterLegrand LES Investment PartnersLincoln Financial GroupLincoln Financial Foundation, Inc.Little Theatre of ManchesterThe George A. & Grace L. Long

FoundationMahoney & SabolMaximilian E. & Marion O.

Hoffman FoundationMetLife FoundationMetro BisMind Your Manor, Inc.William and Alice Mortensen

FoundationMotley Rice LLCMurtha Cullina LLPThe Musical Club of Hartford, Inc.National Endowment for the ArtsNew Britain Museum of

American ArtNorthwestern Mutual Life Ins. Co.Opera House PlayersPaine’s Recycling and Rubbish

RemovalPeaberry’s Café

The Phoenix CompaniesPlayhouse on ParkPrice Chopper’s Golub

FoundationPrudential FinancialPrudential RetirementPullman & Comley

Attorneys at LawRenbrook SchoolRichard P. Garmany Fund at

Hartford Foundation for Public Giving

Robert Hensley & Associates, LLCThe Edward C. and Ann T.

Roberts FoundationRobinson & Cole LLPThe Charles Nelson Robinson

FoundationSaint Francis Hospital and

Medical CenterHelen M. Saunders Charitable

Foundation Music Endowment at the Wadsworth Atheneum

The Saunders Fund for Innovative Programming

SBM Charitable FoundationSeabury Active Life Plan

CommunitySeven Angels TheatreShow LightingSimsbury BankSimscroft-Echo Farms/Girard

Brothers CorporationStanley Black & Decker, Inc.TD BankTheaterworksTravelersTrinity CollegeUBS Realty Investors, LLCUnited Bank FoundationUnited HealthcareUnited Technologies CorporationViking Fuel Oil Company, Inc.Waypoint SpiritsWebster BankWebster Private BankWells Fargo FoundationWomen’s Health USAXL Catlin

Thank you to the following individuals for their support of our gala, Bravo!

Diane F. BrownTom and Margah Lips

Agnes & Bill PeelleJudith and Brewster Perkins

Frank Travis and Sharon RizikowBarbara David

3 9

Francis Goodwin Circle($25,000 and above)Merrill & Mark MandellThe Katharine K. McLane

and Henry R. McLane Charitable Trust

Mrs. Millard H. Pryor, Jr., Ms. Esther A. Pryor & The Pryor Foundation**

David & Linda Roth*Elizabeth Schiro &

Stephen Bayer**

President’s Circle($10,000-$24,999)John & Susan Beers**Mr. Jan Winkler &

Ms. Hermine Drezner & the Drezner/Winkler Fund at the Hartford Foundation

Bob & Frankie Goldfarb*MaryEllen M. & Pierre H.

Guertin**Jerry & Barbara Hess*Jeffrey S. & Nancy

HoffmanChloe & Wesley Horton**The/Elizabeth M. Landon

& Harriette M. Landon Foundation

Mr. & Mrs. Christopher Larsen**

Mr. Matthew H. Lynch & Ms. Susan M. Banks*

Mr. Charles B. Milliken**Tom & Suzy ReichMary T. Sargent**J. Frank Travis & The

Travis FoundationAlex & Patricia Vance**The Zachs Family**

Platinum Circle($7,500-$9,999)The William H. &

Rosanna T. Andrulat Charitable Foundation

Rev. Hope Eakins & Rev. William Eakins

Steve & Ellen HarrisBrook & Charlotte Jason**The John and Gail

Langenus Family FundAgnes & Bill PeelleThe Alexander M. &

Catherine Maus Wright Charitable Trust

Jeff and Pam Verney

Gold Circle($5,000-$7,499)Coleman H. & Jo

Champlin Casey**The Cheryl Chase and

Stuart Bear Family Foundation, Inc.**

The Rhoda and David Chase Family Foundation, Inc.**

Dr. & Mrs. Bernie Clark*Barbara O. David*Ruth Ann & Joel Davis**Marta and Luis

Federico DiezThe Beatrice Fox Auerbach

Foundation at HFPG, Recommended by Linda & David Glickstein

Mort & Irma Handel**Lawrence & Roberta

Harris**Sylvia & Harvey Kelly*Mr. Steven KonoverSimon & Doris KonoverRebecca & James LoreeMr. John Nealon &

Ms. Pamela LucasArthur R. Masi*Arlene & Daniel Neiditz

The HSO gratefully acknowledge the generous contributions made by the following Annual Fund contributors. The HSO has been a Hartford staple for over seventy years and Annual Fund donors ensure that it will remain so. Tax-deductible gifts of all sizes are not only appreciated, they are necessary. We cordially invite you to participate in the Annual Fund and to enjoy the varying donor benefits associated with each giving level. For more information, contact Jillian Baker at (860) 760-7302. The following lists reflect gifts made in the last 18 months as of September 23, 2016.

** 10+ years of consecutive giving** 20+ years of consecutive giving


2016 -2017 Annual Fund Donors

4 0

Michael & Genevieve Pfaff*

Mrs. Stephen J. Raffay**Gary & Diane Ransom**Dr. & Mrs. Allan Reiskin**Elizabeth S. Russell**Patricia & Andrew Salner**Ms. J. Schermerhorn*Mr. & Mrs. Robert J.

von Dohlen**

Maestra’s Society($2,500-$4,999)Mill River Foundation*Bruce Barth & Pamela

Yeomans BarthMaxwell & Sally Belding*The Family of Peter &

Lisa BlockKenneth & Judith

Boudreau*Wes & Joann BoydAnona BroadmanJoyce & Harold

Buckingham**Dezire & Tyler BurkeDr. Alexandre CarreKaren Saunders &

David CassRon & Nancy Compton**Carol & Tim Covello*Dr. Michael E. Cucka*

Dr. & Mrs. Arthur C. DeGraff, Jr.**

Laura & George EstesStanley & Susan Fellman*Mr. Lawrence R. Fish*Susan & Robert Fisher**Muriel & Karl

Fleischmann**Rosemary A. GaidosMr. & Mrs. Bob

Garthwait, Jr.*Ruth Ann Woodley &

Peter GourleyNeale & Carol Hauss**Mark & Marianne HayesRichard & Christiane

HeathSusan & Bob Izard*Ken & Ruth Jacobson**Mathew & Valerie JasinskiKohn-Joseloff FoundationBernard & Gale Kosto**Lisa Kugelman, M.D. &

Roy WisemanIrene Loretto**John and Katherine

MorganJanet U. Murphy**Mrs. John C. OwenMrs. Lois D. PascalRobert & Margaret

Patricelli Family Foundation

Paul & Linda PendergastLucia & James ReesJames S. & Nancy Taggart

Remis**Andrew Ricci, Jr., M.D.

& Ms. Jacqueline Ann Muschiano**

Kelly A. RomanoDr. Mary Beth Janicki &

Mr. Neil RothfarbThe family of Julie &

Ken SaffirPhilip G. Samponaro**Hon. Howard Scheinblum

& Ms. Susan R. Fierberg*

Mr. & Mrs. Edwin S. Shirley

Mr. & Mrs. James B. Slimmon, Jr.**

Karen & Howard Sprout*The Sorenson-Pearson

Family FoundationBill & Judy ThompsonDr. & Mrs. Dean F.

Uphoff*Gary & Diane Whitney*Thomas & Patricia

Wildman**Helen & Alfred G. WilkeJessica & Eric Zachs*Bernard J. ZahrenAnonymous

** 10+ years of consecutive giving** 20+ years of consecutive giving



4 1

Concertmaster’s Club ($1,000-$2,499)Peter L. AndersonMr. & Mrs. Bryant AndrewsNora B. AnthonyJ. Kemler AppellJane & Daniel ArnoldSam & Janet BaileyNancy P. BernsteinJim & Joan Betts**Dr. & Mrs. Jack BlechnerRobert & Christine BoginoKay Miller Browne &

Don HammerbergShari G. CantorEleanor N. Caplan**David and Barbara ChaseJared ChaseBlair ChildsJohn and Krystyna ChowaniecSteve and Kim CollinsRobert H. Connell &

Michelle DuffyMary J. ConverseMichele & Halsey CookJoseph CorayMary H. Crary**Ronald & Linda DischingerAnthony Drapelick & Pat EstillDonna & Kevin EdwardsPatrick & Christine EganJohn E. Ellsworth FundPeggy Beley and David FayAnita & Tony Ferrante*Dan & Joni FineEve & Edward FishmanPaul & Mary FoxAlan & Margreet Francis*John & Susan Franzis**Sally Williams & William FullerJoan & David GeetterAaron & Sandy GerstenPeter & Connie GilliesDr. Sid & Joy Glassman

Ms. Rona B. GollobCate & John Grady-BensonMr. & Mrs. Joseph E. GreenAngela D. GriffinKaren GrossPeter Grzybala &

Diane KorntheuerCharles & Bette-Jane HardersenAlyce & David Hild*Herbert & Ilana HirschThe David & Francie Horvitz

Family FoundationRichard & Beverly HughesJacqueline & Albert IlgJacqueline W. JacobsMr. & Dr. Richard JohnstonMs. Karen A. KelleherJohn & Sharon KellyMr. & Mrs. Stanley KemmererWilliam KennedyBarbara & Paul KieferDr. Jeffrey & Virginia KlugerMrs. Walter O. R. KorderCarol & Yves KrausAlice KugelmanDavid & Alison LeedsJacob LemieuxDr. and Mrs. Edison LiuMrs. Barbara LouisTheodore MadfisMs. Bonnie MalleyAnita & William MancollMrs. Leta MarksBarri Marks and Woody Exley*Walter & Anne MayoPeggy and Alan MendelsonNick MillerThe Reverends Barry &

Nancy Miller Dr. M. Stephen & Miriam MillerBob & Ami Montstream**Lois Muraro and Carl Elsishans*Mr. and Mrs. Bob MurrayGiuliana Musilli &

Scott Schooley

Anthony MyersReba & Arthur NassauPaul & Arlene NormanSara Cree NorrisDiane L. Northrop**John O’TooleMr. & Mrs. Raymond J. Payne**Mrs. Emily W. RankinDr. Wayne Rawlins & Janet FlaggAlvin B. ReinerLinda & Stephen RevisMrs. Belle K. RibicoffMr. & Mrs. John H. Riege**Douglas H. Robins*John & Laura RocheDr. James C. RoumanMax and Ginny SchellerJeanne & Erling SchmidtDr. Alan Schwartz and

Ms. Shelia SweenyMs. Susan M. SeveroPeggy & Ruben ShapiroBradford and Cara SmithRuth & Howard SovronskyPatricia SpenceMark D. & Linda L. SperryHenry “Skip” Steiner*Keith & Catherine StevensonJ & K Thomas Foundation*Mrs. Beverly ThomasEdith & Jim TresnerDougie & Tom TrumbleSharon L. VasquezGuy and Julie VerneyJane & Frank von Holzhausen*Martin & Karen WandDr. & Mrs. Dudley T. Watkins Stacy R. Nerenstone, M.D. &

Mr. Morton WeinsteinCarol & Lee WestElizabeth WhiteHeide & Jeffrey WilliamsKate Steinway & Paul ZolanAnonymous

* 10+ years of consecutive giving** 20+ years of consecutive giving



4 2



Principal’s Club($500-$999)Chris & Gay AdamsSusan R. AdlerMs. Virginia AllenMr. & Mrs. Alfred F. AshDuffield Ashmead and

Eric D. OrtDr. Christine Bartus and

Mr. Clark FinleyJoanne E. Beers & Earl C. Cree, IIMr. Nicholas BenkertMs. Corinne BerglundDr. & Mrs. Abraham BernsteinEric & Lisa BesmanDr. Nelson and Mrs. Sandra

BondhusNancy Boynton & Robert LangeAnne & Kenneth Brock Fund of

the Cape Cod FoundationMr. James E. BullockMrs. Miriam B. ButterworthMr. & Mrs. Peter G. CareyDavid CarlsonElizabeth B. CasasnovasDr. & Dr. Alex C. CechArnold & Sandra ChaseFrancine & Stephan ChristiansenMr. Ledge ClaytonStephen & Frances CobbNaomi & Michael CohenMs. Linda F. CohenMr. & Mrs. Robert CollinsCheryl CzubaJohn & Sheila D’AgostinoDonald DavidsonMr. & Mrs. Barry J. DicksteinKate & Jon DixonCarole & Burke DoarDan Dolan & Mari MuriDrs. Peter & Ellen DonshikMs. Brenda A. DraghiMrs. Nathan DubinWilliam & Elaine EllisEllsworth Family: Starr and

Phil Sayres & Timothy and Janet Ellsworth

Gilda S. Brock & Robert M. Fechtor

Linda & John FiskeAnne Fitzgerald

Mr. Thomas F. FlynnMike & Kathy FoleyMr. & Mrs. Jay G. FromerLinda R. GabianelliDr. John A. GettierMr. & Mrs. David GoldbergMr. & Mrs. Robert B. Goode, Jr.Paul and Betty Ann GradyDelores P. GrahamDonald & Carolyn GrayDr. Martha March Greenwood &

Mr. David LevinOz GriebelJeffrey B. & Janna S. GrossKristine Barbara Guest

Memorial FundMr. & Mrs. Martin D. GuyerAndrew R. Hahn & Cathy J.

HitchcockGail & Kenneth HamblettMs. Laura R. HarrisMarcia D. & Samuel T. HinckleyDon & Helen HughlettOswald & Martha InglesePatti and Dave JacksonMr. & Mrs. S. Edward JeterBonny & Dwight Johnson**David & Carol JordanBrooks & Carol Lee JoslinAnne & George KanMarianne Collins KaseHarriet and Bill KatzMark & Janet KeoughThe Kimball FamilyJane & James KnoxLois & Charles KoteenHannie O. KowalNancy A. KramerDavid & Ruth KrugmanFrank M. KuligIrma LangeFrederick & Janet Leonberger*David R. LesieurDr. Carolyn W. LesterAlicia & Bruce LevyPeter & Mary Fran LibassiMrs. Louise P. LostoccoElaine Title Lowengard**Dr. & Mrs. V. Everett LyonsWilliam A. MacDonnell, D.D.S.Tom Martin & Susan Spiggle

Christine MartynSteven & Pamela MaynardAnn M. McKinneyJohn McNabneyLibbie & George MerrowAnna Swinbourne and

Ben MinardFrances MoultonDrs. Robert and Marnie MuellerDon & Brad NoelRichard NorgaardThe Ouellette FamilyKatherine PapathanasisSarah & Samuel PaulMr. and Mrs. Brewster PerkinsRobert Bausmith & Jill

Peters-Gee M.D.Constance & Robert PorterScott & Beth PowellBruce & Marlene PowellMs. Felicia PrattoMr. Robert ProctorDr. Peter ProwdaEdward C. RaymondGeorge & Carol ReiderLinda & Ian RickardBuck Rogers & Jack KellyJune Miller RosenblattMarshall & Sandra RulnickDaniel SawkaPhilip & Starr SayresCeleste & John SenechalPeter & Barbara SetlowThe Shulansky Foundation, Inc.*Mr. John D. SillimanStuart & Arline Small Sadaka

Foundation, Inc.Anne F. & Gordon StaggJean StebingerMr. Michael P. SteinbergChris & Beth StrappEleanor A. SulstonJack SummersKathryn TabachnickAllan & Sally TaylorJohn & Mary TaylorJames and Colburn ThompsonMerle & David TragerEdward & Barbara VoskowskyUsha and Stephen WadeLyn Walker & Tyler Smith

4 3



Cynthia & David WardDr. & Mrs. John R. WatermanJudith & Joel WeismanGreg & Kay WerkDr. & Mrs. James WickwireEleanor Wight and Rayda BoumaRichard C. & Carla S. WildeCarlisle WildemanLouise M. WilderDavid & Phyllis WinerRaymond & Sarah WinterMr. John WoolleyWilliam WulftangeDr. Harold T. Yamase, M.D.Dr. & Mrs. Fred M. H. Ziter, Jr.Anonymous

Player’s Club($250-$499)William & Susan AckermanMr. and Mrs. Manuel D. AguiarLiz AikenThe Alamar FamilyGaetano Albani &

Jayne Dean AlbaniJeffrey AlexanderMs. Anne AlvordMr. Matthew BadgerSophie Anna Bagni and

Klaus Irving SwannTom and Paula BairdXL ColorElizabeth M. BarnesJane M. BartlettMs. Linda BayerSandra & Loftus BeckerMr. & Mrs. David Booth BeersDeborah BellinghamMr. & Mrs. Edward H.

BengelsdorfJames & Dana BennettWilliam Bentley & Ann WilhelmDr. & Mrs. Robert BerlandMr. E. BerzinsDoris B. Johnson &

Charles BillmyerMr. and Mrs. Michael Blair and

their childrenPhillip & Ellen BlumbergDaniel & Joanne BlumeTimothy C. Boardman

John & Susan BolandMr. Stephen BosworthJim & Beverly BoyleJoe BoyleDr. John Brancato &

Mr. Thomas RichardsonThe Breinan FamilyConnecticut UniformDr. & Mrs. James BrodeyJohn & Arlene BuckeySarah & Jeffrey BurnsDr. & Mrs. Robert BushMr. Maurice CallahanMr. Joseph R. CarlsonPolly U. ChampAudrey Chapman and

Karim AhmedPatricia J. Checko &

Edward CaffreyPat Ciccone and JoAnn FreibergDon & Nancy ClarkJohn Clark & Judith StoughtonDonna Webb-BaylessJasper and Jennifer ConnorMs. Thomasina ClemonsMarie P. CoburnHenry Coelho and Debra RizzoJoyce ColemanDonna A. CollinsThe Cornicello FamilyMr. and Mrs. Thomas CorningHenry & Ramona CosentinoFrank F. Coulom, Jr.Connecticut State

University SystemDavid & Margaret CrombieCarol CrossetWilliam & Ilona Crosswhite**Paul & Alice CruikshankRobert and Marguerite DeanBill and Joan DelaneyDr. Leslie and Gertrude

DesmanglesC.K. DesrochersJohn & Carolyn DiVenereDr. Dennis DobkinSamriti DograBetty DomerJoy and George DorinRobert & Gretchen DroeschJoan E. Durham

Mr. Warren DutkiewiczJoseph & Virginia EdelsonGeoffrey and Karan EmerickJean EsselinkPhil FerrariMrs. Eileen FigueroaBella & Judd FinkMr. Thomas C. FlaniganLarry & Beverly FlemingTom & Bernadette FoleyMr. and Mrs. John J. GaffneySuzanne GatesJanice D. GauthierAndrew GeaslinRona & Barry GelberOscar Peyser FoundationMr. and Mrs. John GilliganSarah & Jim GobesThe Goldbas FamilyMarvin & Helen GoldbergJoshua B. GottfriedJohn M. GraffMichael GrandpreJoyce M. GraziadeiArnold & Beverly GreenbergJohn & Ann GrybkoLillian & Welles GuilmartinMr. & Mrs. Welles F. HaleDr. & Mrs. Robert S. HallMs. Joyce HallDr. Colette HallMerle & David HarrisRobert HarrisMr. Charles HarvellEdie and John HathornLouise HealeyJeannette R. HealeyAmy HendersonVictor and Gail HersonRhea Padis HigginsMarcia & John HincksShepherd M. Holcombe, Jr.Denis & Patricia HorganRobert N. Horrocks, Ed.D.Jay & Mimi HostetterMr. & Mrs. Robert HowardDon & Joanne HuelsmanMs. Joan HultquistMelissa Jane InrigStephen & Jacqueline JacobyRaymond & Rosalee Jennings

4 4



Mr. & Mrs. Lowell C. JohnsonTed & Nancy JohnsonNeil & Mary beth JohnsonKaren & Scott KaeserThomas & Christine KainamuraChristopher KehoeDavid & Barbara KelleyDouglas and Jean KellyEric & Sarah KemmlerLeslie Kennard and

Douglas PeaseBob & Candy KillianAlan & Lydia KlatskyRalph & Lin KlumbMs. Judy KulickTheodore & Diane LabedzkiDavid LacossAnnette LandryMr. & Mrs. Lawrence A. LapentaMr. and Mrs. William A.

Lazarek, Lisa A. Lazarek, Gregory J. Lazarek & Family

Dr. & Mrs. Charles N. Leach, Jr.Nancy & Jerry LemegaRob Lentz and Anita CarpeneSally & Michael LevinDonna Manocchio &

David LewisPeter & Carolyn LindDoug & Susan LintAurelle & Arthur LockePeter & Rosemary LombardoMr. James LongMr. & Mrs. Kenneth H. LovelandThe Maag FamilyMr. & Mrs. Richard ManwaringRichard MatherBrenda Mathewson &

Carl StaffordMs. Jennifer McColleyGavin McKayAnnette & James McNeelyEdward MeigsMr. & Mrs. Richard C. MeyerTimothy and Barbara Michaels

B. Charles & Toby MilnerV. Joseph Milton, Jr.Mr. Donald Moon and

Ms. Lucy FerrissDr. Sandra MorganKate & Harry MorganMary Lee Morrison Robert L. MullaneyMr. & Mrs. Richard C. MurphyJudith T. NellenMrs. Sarmite F. NielsenMs. Jenifer NobleKarl & Jan NorrisMr. Gerry PastorPeter & Maryjane PelusoDr. Daniel E. PetashnickMs. Judith PittMr. & Mrs. David E. PolkDrs. Steven and Priscilla PriceMr. Mark R. PrisloeDougla Pyrke & Jack FairchildMr. and Mrs. Brentley RadeloffJohn & Rebecca RaffertyDavid & Sue ReidDavid & Louise ReillyMr. Ricky RhodesSally & Dale RichterTim and Louise RickardJose RiveraCelia Ann RobertsLouis & Mary RodierRobert & Marguerite RoseMatthew & Chalise RossJeffrey Rudikoff and Edee TenserDoug & Liz SansomCheryl & Nild SansoneJudith & David SatlofNancy R. Savin, Erica Willheim

and Yohanna WillheimJacqueline ScheibMr. Richard ScheuchMr. & Mrs. James SchmerlTerry & Judy SchmittTerry & Andrea SchnureJohn R. Schroeder, AIA

Lynn & Sharon ScullDr. & Mrs. Steven E. SeldenJeffrey Alan JohnsonAllen & Ann ShenkSonia & Mark ShipmanJohn & Nancy SilanderStephen M. & Amy Lynn

SilvermanMr. Thomas M. Sliney and

Ms. Janice WhedonMr. & Mrs. Nelson A. SlyElizabeth SnowPatricia B. SnyderMr. Joseph SpadaAndrew & Feather SpearmanDr. Robert SpillaneAlan Stalb & Suzanne JacquesJudith StearnsMr. & Mrs. James C. StemmMrs. Carolyn StockmanJonas V. Strimaitis, Esq.Marcia & James SuttonChristopher & Carol SzulcGeorge & Buffy TangMs. Sydney B. TansiDr. & Mrs. William R. TaylorChris and Kathy TolsdorfDr. Simona TrofimovClarence and Melinda TrummelTucker CousinsMr. Stephen UtzGerard and Jenny VecchioMariana P. WagonerSharon & Dave WareKaren and Markus WeinseissCurtis & Joyce WeybrightCaroline WhiteMr. & Mrs. Eliot WilliamsLynn & Beverly WillseyElizabeth B. WoodardRuth WoodfordJill & Jack WoodillaDavid & Martha YutzeyAnonymous

4 5


Encore Society

Mr. Sheldon Agdens*Ivan BackerSusan Block*G. P. BodozianNancy Braender*Coleman H. & Jo Champlin

CaseyNaomi & Michael CohenJoseph Cohn

Ruth Ann & Joel DavisMuriel FleischmannIrma & Mort HandelJerry & Barbara HessMr. and Mrs. Christopher

LarsenEllis & Marjorie LevensonMr. Charles B. MillikenDr. Andrew Ricci, Jr. & Ms.

Jacqueline Ann Muschiano

Carole OlefskyDavid & Christa PannorfiAndrew Ricci, Jr., M.D.

& Ms. Jacqueline Ann Muschiano

Marshall & Sandra RulnickKaren & Howard SproutThe Zachs Family

Planned gifts are the resources that help preserve and ensure the successful future for the Hartford Symphony Orchestra. We acknowledge our friends who make a planned gift to

us through our Encore Society. We thank the following Encore Society Members:

Contributors as of September 27, 2016

*deceased


Tributes

IN HONOR OFJennifer AlexanderMarian Katz

Jillian BakerBarbara O. David

D. Weston BoydSusan R. Adler

Lu Sun FriedmanTom & Suzy Reich

Elisa Griego’s 50th BirthdayLinda O’Donnell

Bud and Charlotte Jason’s Birthdays

Jeremy and Mindy Jason

My brother-in-law, David Roth

Ms. Rosalie Roth

The David Roth Family for the Holidays

River Oaks Foundation, Inc.

David Roth’s BirthdayThe David & Francie Horvitz

Family Foundation

Agnes Peelle’s 65th BirthdayMr. and Mrs. Brewster Perkins

Dara Ribicoff’s 60th BirthdayMr. Jason Faller and

Ms. Karen Wagner

Ruth & Howard Sovronsky’s 40th Anniversary

Tal & Jo Schifter

Karen SproutDenise & Richard Order

Jeff and Pam VerneyAnonymous

Our valued and appreciated employee, Jon Wheeler

Clarion Group

Anne Elizabeth White for Mother’s Day

Christopher White

IN MEMORY OF Susan and Donald BlockThe family of Peter & Lisa BlockThe family of Julie & Ken Saffir

Richard C. CarlsonIvan BackerJohn & Susan BolandJudy & David BordenDavid CarlsonMary J. ConverseDeborah Ann EpplerRichard & Mary EpplerGranby Gourmet GroupRozanne Hauser &

Lou MazzottaJames L. Howard &

Company, Inc.Gregory J. Lazarek & FamilyLisa A. LazarekMr. and Mrs. William A.

LazarekLynn LochheadAmanda Merrill &

Kenneth FuldSally & Dale RichterMs. Ann P. SteeleTucker CousinsAnonymous

James ChrisoulisAnonymous

Beth CohnRobert & Joan Brault

My husband Peter Czuba, a classical pianist, and my son Will Costello

Cheryl Czuba

Janet DahillNancy R. Savin and

David L. Savin

Joel N. DavisRuth Ann Davis

Arthur FeinsteinNancy R. Savin and

David L. Savin

Edward Foster Andrew & Feather Spearman

Max FriedmanMrs. Joseph A. Lorenzo

Richard and Joanne GatesSuzanne Gates

Ivor Hugh and Peter HarveyMs. Elvia Strom

Bruce P. HaydenMr. Milton N. Allen

Bruce and Susie HaydenLynn & John Wadhams

Louise B. HerringThe Family of Louise Herring

Isador JanowskyJeremy and Mindy Jason

George KeplerRobert AhlschlagerMr. & Mrs. James W. BabcockRon & Jeanie BabineauMr. and Mrs. Rocco DiCensoLorna J. FowlerMarjorie H. HamerMr. and Mrs. Walter KleinMr. and Mrs. Richard PalatineDonald & Evelyn RowleyMr. and Mrs. Ted SlaibyMr. & Mrs. Charles SteffensCatherine Webb

Julianna M. KuligFrank M. Kulig

Cheryl LindquistBruce Lindquist

Bernard LurieJudith GruskayJoan & Allan Reiskin

Dr. Robert RossonMs. Judith Pitt

Betty Anne SalnerAnita & William Mancoll

Mildred Rogil TuckerNancy R. Savin, Erica Willheim

and Yohanna Willheim

Dr. Steven WernickMrs. Beverly Thomas

We thank the following individuals who contributed to the HSO’s Annual Fund between September 27, 2015 – September 27, 2016.

4 8

4 9

5 0

5 1


Patron Information

HSO Ticket Services, at 166 Capitol Avenue in Hartford, is open Monday through Friday, 10 a.m. to 5 p.m. Telephone (860) 987-5900, Fax (860) 249-5430. Tickets are also available online at www.hartfordsymphony.org.

Tickets are available for purchase at an on-site box office in the 60 minutes immediately before each concert.

At every location, the box office is open until one-half hour after the start of the concert.

Parking: Secure and well-lighted parking is available in the State of Connecticut parking lots along Capitol Avenue. For patrons displaying a valid accessible parking permit, there are a number of parking spaces available within the State of Connecticut Public Health Laboratory parking lot. Please look for prominently displayed signage. Spaces are available on a first-come first-served basis. In addition, valet parking is available for most evening and weekend performances at a cost of $9 per vehicle. The valet parking service is located on Trinity Street. Excludes weekday matinees.

Accessibility: The Bushnell is equipped with ramps, restrooms, elevators and seating areas that can accommodate patrons with disabilities. When ordering your tickets, be sure to tell the Box Office of any special requirements. Access guides are available at the Customer Relations Desk. -Persons who are Hearing-Impaired: Infrared (ILS) headsets and neck induction loops are available at the Customer Relations Desk to assist with sound amplification and clarity. A driver’s license or other form of photo ID must be presented.

For Hearing Impaired Patrons: Infra-red Listening System (ILS) headsets are available to assist with sound amplification and clarity. There is NO charge; however a $2 donation is appreciated. A driver’s license or other form of ID must be presented. See any usher for assistance.

In Case of an Emergency: Exits are indicated by signs located above the theater entrances. For your safety, please check the location of the exit nearest your seat. In the event of an evacuation, Bushnell staff and volunteers are available to assist you.

Restaurant Discounts: Look for updates on the HSO website about the latest discounts offered by wonderful restaurants in Greater Hartford. We thank them for their support of the HSO and for making your concert night an extra special event!

Late Arrival and Late Seating: Hartford Symphony concerts will start at the time stated on your ticket. Lobby doors open one hour prior to the performance time. Auditorium seating begins one half hour prior to the performance. Out of respect to patrons who are in their seats at the start of each part of the concert, patrons arriving after the start of a performance or after the end of an Intermission will be seated at the discretion of the Hartford Symphony Orchestra. Late arrivals will be permitted to enter the hall at times determined by the conductor. Based on the time made available for late seating by the conductor, patrons may or may not be able to go to their purchased seats at those times. Patrons arriving late may also be offered alternative seating in the rear of the hall/theatre or in the available standing room only area as a result of the late seating policy. This will be offered as determined by the conductor.

End of Performance: For your safety and the safety of your fellow patrons, please do not leave your seat until the house lights have been turned on. Not only is it dark, but it is inconsiderate to others, including the performers.

Performance Cancellation: Hartford Symphony Orchestra performances are rarely cancelled, and only in the case of severe weather. If a performance is cancelled the following radio and television stations will be notified: WTIC-AM (1080), WDRC-AM (1360), WFCR-FM (88.5), WFSB-TV 3, and the stations of Connecticut Public Radio/WNPR (90.5 FM). Performance cancellations will also be listed on the HSO Ticket Services phone line and on the HSO website. If there is bad weather and a performance is postponed, patrons can use their original tickets for the rescheduled performance, or they may exchange into another concert during the same season if they cannot attend on the rescheduled date. All exchanges are based on availability.

Children: At the Hartford Symphony, we love kids—that is why we offer a myriad of education programs and perform so often in area schools. Please visit our info table located in the lobby for more information. Children may attend any Hartford Symphony concert as long as they have a ticket. We regret we cannot allow any babies without a paid ticket, and no lap seats.

Bushnell or Symphony staff reserve the right to ask parents to take disruptive children out of the concert hall.

5 2

Documents

in Color - Stageview · in Color BEWITCHING BRAHMS ... The programs of the Hartford Symphony Orchestra are funded in part by donors to the ... Alfred R. Casella Bernard Clark, M.D