Applause November/December

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November/December 2014

inside:strathmoreA decade of nurturing musicians

The national Philharmonic Requiem shimmers

Washington Performing Arts András Schiff and The Last Sonatas

The Future of Music

BSO musicians mentor Montgomery County instrumental music students through the new program OrchLab

2 applause at Strathmore • november/december 2014

Nov. 1, 222 / The National Philharmonic: Mozart’s RequiemNov. 628 / Strathmore: Vijay Iyer—Music of TransformationNov. 830 / Strathmore: Academy of Ancient MusicNov. 1232 / Strathmore: Ludovico EinaudiNov. 1333 / BSO SuperPops: Classical Mystery TourNov. 1436 / BSO Off the Cuff: Shostakovich—Notes for StalinNov. 1538 / Strathmore: VOCA PeopleNov. 1640 / BSO: Rachmaninoff & ShostakovichNov. 2244 / BSO: Bernstein & BeethovenNov. 2350 / Strathmore: Guitar Passions Nov. 28 52 / Strathmore: Bella Gaia

Nov. 2954 / Strathmore: Lightwire TheaterNov. 3056 / Strathmore: George WinstonDec. 557 / Strathmore: Classic Albums Live: Led Zeppelin IIDec. 658 / BSO: Handel’s MessiahDec. 9 62 / Strathmore: Dave Koz and Friends Christmas Tour 2014Dec. 1164 / BSO: Holly Jolly Pops Dec. 1266 / Strathmore: The Temptations and The Four Tops Dec. 1367 / Strathmore: Mannheim SteamrollerDec. 16 68 / Strathmore: Strathmore Children’s Chorus Winter ConcertDec. 19 74 / Strathmore: The Colors of ChristmasDec. 20, 2176 / The National Philharmonic: Handel’s Messiah

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preludeApplAuse at strathmore november/december 2014

1233 76 20

features10 Leading by Example BSO musicians help mentor instrumental music students

12 “Bows”and Holly Songs, swag and Strathmore

14 To AIR is Divine Strathmore’s Artist in Residence program hits a decade

16 George Who? Jason Alexander shows his musical side

17 Nourishment for the SoulBSO English horn player Jane Marvine is the nurturing type

18 Behind the Music National Philharmonic Chorale members keep things humming

19 The “Definitive” Requiem Mozart’s emotional works always thrills

20 The Last Sonatas András Schiff performs the last works of four legendary composers

departments 4 Musings of Strathmore President Monica Jeffries Hazangeles 4 A Note from BSO Music Director Marin Alsop 6 Calendar: January, February and March performances

musician rosters26 National Philharmonic Orchestra and Chorale 37 Baltimore Symphony Orchestra

program notes

ON The COverJonice buffert and other springbrook high school instrumental music students get focused instruction from baltimore symphony orchestra musicians through a part-nership between bso and mongtomery county public schools. photo by Jim saah.


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5301 tuckerman Lane, north bethesda

applauseat strathmore

publisher CeOeliot pfanstiehl

Music Center at strathmore Founding partners

strathmorebaltimore symphony orchestra

resident artistic partnersthe national philharmonic

Washington performing artsLevine music

maryland classic youth orchestrascitydance ensemble

affiliates interpLay

published by

editor and publishersteve hull

associate publishersusan hull

senior editorcindy murphy-tofig

Design Directormaire mcardle

art DirectorKelly martin / kmartindesign.com

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7768 Woodmont ave., suite 204bethesda, md 20814

301-718-7787fax: 301-718-1875

volume 11, Number 2 Applause is published five times a year by

the music center at strathmore and Kohanza media ventures, LLc, publisher of Bethesda Magazine. copyright 2010 Kohanza media

ventures. all rights reserved. reproduction in whole or part without permission is prohibited.

No matter the season, Strathmore reminds us that the world is still a magical stage filled with passion, beauty, and wonder.

This is especially evident this winter in our presentation of Grammy-nominated composer-pianist Vijay Iyer’s newest concert project, Music of Transformation, which brings the beautiful and stir-ring Radhe Radhe to the Music Center stage on Thursday, Nov. 6. This original film features live music by Iyer and the 20-piece International Contem-porary Ensemble with depictions of the rites of the Hindu spring festival Holi. It pre-miered at the University of North Carolina-Chapel Hill last spring to celebrate the 100th anniversary of Stravinsky’s The Rite of Spring and represents Strathmore’s first major commissioning partnership.

The Radhe Radhe project is a sign of what’s to come in the next decade at Strath-more—experiences that embrace the unexpected and awaken the imagination. Soon, we will unveil a new look for Strathmore as well as broad and ambitious programming for 2015-2016. We eagerly anticipate the opening of AMP at Pike & Rose this spring and prepare to welcome new partners for innovative collaborations.

Strathmore is bigger than a performance, and broader than a campus. We are a reflection of the vibrant community that surrounds us. We are a crucible for creativ-ity, where the brightest artistic minds come to play and where you can enjoy the arts from every conceivable angle and perspective. So this winter, join us, and discover the power of the arts to reveal, to connect, and to awaken the creative within all of us.

Monica Jeffries Hazangeles President | Strathmore

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

Musings from Strathmore

Dear Friends, What a fantastic fall we are enjoying with all of you at Strath-

more! Having packed houses and enthusiastic supporters means everything to us, and I know our musicians loved meeting and greet-ing you all back in September. It was the perfect way to kick off the 2014-2015 season.

The BSO is in the midst of a busy few months, and we couldn’t be having a better time. I am thrilled to announce that we will be hosting our first Strathmore Gala to cel-ebrate 10 years of music making at the Music Center on Thursday, Feb. 5, 2015. Sup-porting the BSO’s artistic, education and community engagement programs in Mont-gomery County, this event will be the BSO at Strathmore’s largest fundraising benefit of the season. Visit www.BSOmusic.org/Strathmore10 for more information on what is sure to be a wonderful evening.

I hope you all have a safe and happy holiday season, and I’ll see you in 2015!

Marin AlsopMusic Director | Baltimore Symphony Orchestra

A note from the BSO

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Cristina Pato, Galician bagpipes Kayhan Kalhor, kamancheh David Krakauer, klezmer clarinet Michael Ward-Bergeman, hyper-accordion

Barber: Medea’s Meditation and Dance of Vengeance

Osvaldo Golijov: Rose of the Windsstravinsky: The Rite of Spring

stravinsky’s The Rite of Spring headlines this program brimming with ritualism and ethnic flair.

➲ FRI., JAN. 16, 8 P.M. WASHINGTON PERFORMING ARTS Gil shaham

Bach: The complete sonatas and partitas

gil shaham’s interpretation of this formi-dable music, continues to endear him to audiences.

➲ SAT., JAN. 17, 8 P.M. BALTIMORE SYMPHONY ORCHESTRABruckner’s symphony No. 8

Günther Herbig, conductor Alon Goldstein, piano

Mozart: piano Concerto No. 21 Bruckner: symphony No. 8

peabody institute alumus alon gold-stein makes his bso debut in one of mozart’s most enchanting concertos.

➲ SUN., JAN. 18, 4 P.M. STRATHMORE PRESENTSstep afrika!

Washington, d.c.-based step afrika!’s dance performance includes step teams from across the country.

➲ THURS., JAN. 22, 8 P.M. BALTIMORE SYMPHONY ORCHESTRA BsO superpops: an evening with Jason alexander

Jack Everly, conductorJason Alexander, vocalistCarrie Schroeder, soprano

the tony winner and “seinfeld” co-star shares his passion for the music of the theater.

➲ FRI., JAN. 23, 8 P.M. WASHINGTON PERFORMING ARTS Budapest Festival Orchestra

Iván Fischer, music director Pinchas Zukerman, violin Anna Lucia Richter, soprano Barbara Kozelj, mezzo-soprano Pro Musica GIrls’ Choir, Nyírgyháza/Hungary

Mozart: Overture to The Magic Flute

JaNuarY➲ SAT., JAN. 3, 8 P.M. BALTIMORE SYMPHONY ORCHESTRA Beethoven’s Ninth

Nicholas McGegan, conductor Katie van Kooten, soprano Mary Phillips, mezzo-soprano Thomas Cooley, tenor Andrew Foster-Williams, bass-baritone Baltimore Choral Arts Society

Beethoven: King Stephen Overture Haydn: The Storm Beethoven: Opferlied Beethoven: symphony No. 9, “Choral”

bso favorite nicholas mcgegan leads beethoven’s final symphony with the ever-popular “ode to Joy.”

➲ FRI., JAN. 9, 8:15 P.M. BALTIMORE SYMPHONY ORCHESTRA Off the Cuff: The Rite of Spring

Marin Alsop, conductor

stravinsky: The Rite of Spring

marin alsop guides the audience through The Rite of Spring’s complexities.

➲ SAT., JAN. 10, 8 P.M. THE NATIONAL PHILHARMONIC haydn’s surprise symphony

Piotr Gajewski, conductor Zuill Bailey, cello

Mozart: symphony No. 38, “prague”Haydn: Cello Concerto No. 2Haydn: symphony No. 94, “surprise”

symphony no. 38 is one of the finest works in the viennese classical style. a free pre-concert lecture will begin at 6:45 p.m.

➲ SUN., JAN. 11, 3 P.M. BALTIMORE SYMPHONY ORCHESTRAThe Rite of Spring

Marin Alsop, conductor

Mozart: Violin Concerto No. 5 in A Major, K. 219Mendelssohn: A Midsummer

Night’s Dream

iván fischer returns to d.c. with a pro-gram that links two dramatic works.

➲ SAT., JAN. 24, 8 P.M. ➲ SUN., JAN. 25, 3 P.M. THE NATIONAL PHILHARMONICBach’s Brandenburgs

Piotr Gajewski, conductor Justine Lamb-Budge, violin Victoria Chiang, viola Julius Wirth, viola David Whiteside, flute Nicolette Oppelt, flute Mark Hill, oboe Chris Gekker, trumpet

Bach: Brandenburg Concerto No. 2 Brandenburg Concerto No. 3 Brandenburg Concerto No. 4 Brandenburg Concerto No. 6

bach’s brandenburg concertos reflect one of his happiest and most productive periods. a free pre-concert lecture will begin at 6:45 Jan. 24 and 1:45 p.m. Jan. 25.

➲ FRI., JAN. 30, 8 P.M. STRATHMORE PRESENTSladysmith Black Mambazo

Ladysmith black mambazo’s album Live: Singing for Peace Around the World won the group its fourth grammy award.

➲ SAT., JAN. 31, 8 P.M. BALTIMORE SYMPHONY ORCHESTRA Mahler’s Third

Marin Alsop, conductor Jamie Barton, mezzo-soprano Baltimore Choral Arts Society, women’s chorus Peabody Children’s Chorus

Mahler: symphony No. 3

no symphony conveys a broader ex-pressive range than mahler’s paean to the power of nature.

calendar

NICHOLAS MCGEGAN

LADYSMITH BLACk MAMBAzO

applause at Strathmore • november/december 2014 7

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➲ THURS., FEB. 12, 8 P.M. BALTIMORE SYMPHONY ORCHESTRAall-Bach

Nicholas McGegan, conductor Jonathan Carney, violin Madeline Adkins, violin Rui Du, violin Dariusz Skoraczewski, cello Emily Skala, flute Michael Lisicky, oboe

J.s. Bach: Orchestral suite No. 4 in D MajorJ.s. Bach: Concerto for Two Violins

in D minorC.p.e. Bach: symphony in e-flat MajorJ.C. Bach: sinfonia Concertante for Flute,

Oboe, Violin and Cello in C Major

guest conductor nicholas mcgegan leads a program that honors the ba-roque period’s first family.

➲ FRI., FEB. 13, 8:15 P.M. BALTIMORE SYMPHONY ORCHESTRAOff the Cuff: The Bach Family

Nicholas McGegan, conductor Jonathan Carney, violin Madeline Adkins, violin Rui Du, violin Dariusz Skoraczewski, cello Emily Skala, flute Michael Lisicky, oboe

excerpts from:J.s. Bach: Orchestral suite No. 4

in D MajorJ.s. Bach: Concerto for Two Violins

in D minorC.p.e. Bach: symphony in e-flat MajorJ.C. Bach: sinfonia Concertante

for Flute, Oboe, Violin and Cello in C Major

conductor nicholas mcgegan explores seminal works by J.s., J.c. and c.p.e. bach and their respective legacies.

➲ SAT., FEB. 14, 8 P.M. STRATHMORE PRESENTSJohn pizzarelli and Jane Monheit

guitarist and singer John pizzarelli is joined by sultry chanteuse Jane mon-heit for this valentine’s performance.

➲ WED., FEB.18, 8 P.M. STRATHMORE PRESENTSIrvin Mayfield and the New Orleans Jazz Orchestra

grammy-winner irvin mayfield and his magical noJo bring the heart and soul of jazz to the music center.

➲ THURS., FEB. 19, 8 P.M. BALTIMORE SYMPHONY ORCHESTRABsO superpops: patti austin sings ella and the Duke

Jack Everly, conductor Patti Austin, vocalist

patti austin evokes the beauty and emotion of legendary jazz classics such as “cottontail,” and “i got it bad”

➲ SUN., FEB. 22, 4 P.M. STRATHMORE PRESENTSImago Theatre: Frogz

the spellbinding imago theatre thrilled strathmore audiences in 2011, and returns with a “lively, inventive, mysteri-ous, thrilling, truly goofy fun” stage play (Boston Globe).

➲ WED., FEB. 25, 8 P.M. STRATHMORE PRESENTS Tango Buenos aires: “song of eva perón”

the acclaimed company chronicles the rise of a beauty from the slums of buenos aires to the presidential mansion.

➲ SAT., FEB. 28, 8 P.M. BALTIMORE SYMPHONY ORCHESTRAThe Firebird suite

Yan Pascal Tortelier, conductor Louis Lortie, piano

Berlioz: Le CorsaireRavel (orch. Tortelier): Trio for piano,

Violin and CelloMozart: piano Concerto No. 23stravinsky: The Firebird suite

the poignant Firebird suite tells the tale of the bird’s heroic triumph over evil.

MarCh➲ SUN., MARCH 1, 3 P.M. STRATHMORE PRESENTSannapolis symphony Orchestra with simone Dinnerstein

this not-to-be-missed program includes works by english poet and composer arthur bax, richard strauss, and ravel.

➲ WED., MARCH 4, 8 P.M. STRATHMORE PRESENTSThe Chieftains

the mists and myths of ireland live strong in the music of this legendary group.

➲ SAT., MARCH 7, 8 P.M. BALTIMORE SYMPHONY ORCHESTRAshakespeare in love & simon Trpčeski

Cristian Macelaru, conductor Simon Trpceski, piano

stravinsky: “Divertimento” from The Fairy’s Kiss

prokofiev: piano Concerto No. 1Tchaikovsky: The Tempest,

Fantasy–OvertureTchaikovsky: Romeo and Juliet,

Fantasy–Overture

shakespeare inspires tchaikovsky’s epic Tempest, fantasy–overture and the seductive Romeo and Juliet fantasy–overture.

➲ THURS., MARCH 12, 8 P.M. BALTIMORE SYMPHONY ORCHESTRAMozart’s Great Mass

Masaaki Suzuki, conductor Augustin Hadelich, violinSimona Saturova, sopranoJoanne Lunn, mezzo-soprano

[January/February/March]

[beyond the stage]

Strathmore

Holiday Gifts Galoremuseum shop around, strathmore’s handmade and art-inspired holiday treasure hunt, is celebrating 25 years in 2014! thursday, nov. 13 through sunday, nov. 16, the mansion will be bursting with heartfelt holiday gifts, toys, jewelry, one-of-a-kind art, décor and more from 20 of the region’s finest cultural institutions, including hillwood es-tate, museum & gardens, the Kennedy center, national building museum, national museum of Women in the arts, the phillips collection, and, of course, strathmore! admission is $9 paid at the door each day or $8 when purchased online; proceeds benefit arts and education programming at strathmore.



Culkin Dancers beguiling spanish musician carlos núñez and the sean culkin dancers bridge cultures.

➲ SUN., MARCH 22, 3 P.M. BALTIMORE SYMPHONY ORCHESTRA haydn and ravel

Marin Alsop, conductor Sol Gabetta, cello

Ravel: Valses nobles et sentimentales Haydn: Cello Concerto in C Major Ravel: La Valse R. strauss: Rosenkavalier suite

experience the lighter and darker sides of the waltz as imagined by ravel and strauss.

➲ THURS., MARCH 26, 8 P.M. BALTIMORE SYMPHONY ORCHESTRABsO superpops: Singin’ in the Rain

Jack Everly, conductor

the american film institute’s no. 1 greatest movie musical comes to the big screen with live accompaniment by the bso.

Nicholas Phan, tenorKyle Ketelsen, bass-baritone University of Maryland Concert Choir

Mozart: Don Giovanni Overture Mozart: Violin Concerto No. 5 Mozart: Mass in C minor

masaaki suzuki makes his bso debut as he leads an all-mozart program.

➲ SUN., MARCH 15, 4 P.M. WASHINGTON PERFORMING ARTS andrás schiff—The last sonatas

Haydn: sonata No. 60 in C Major, Hob. XVI:50Beethoven: sonata in e Major, Op. 109Mozart: sonata in C Major, K.545schubert: sonata in C minor, D. 958

pianist andrás schiff embarks on his newest project, to perform the last three sonatas of mozart, haydn, schubert and beethoven.

➲ TUES., MARCH 17, 8 P.M. STRATHMORE PRESENTSCarlos Núñez with the sean

➲ FRI., MARCH 27, 8 P.M.STRATHMORE PRESENTSaudra McDonald

actress audra mcdonald brings stories and songs from her sterling career on stage, which includes performances in Ragtime and A Raisin in the Sun.

➲ SAT., MARCH 28, 8 P.M. ➲ SUN., MARCH 29, 3 P.M. THE NATIONAL PHILHARMONIC rachmaninoff’s piano Concerto No. 3

Piotr Gajewski, conductor Haochen Zhang, piano

Tchaikovsky: Romeo and Juliet Overture-FantasyRimsky-Korsakov: Capriccio EspagnolRachmaninoff: piano Concerto No. 3

shakespeare’s tragedy and tchaikovsky’s tortured personal life collide in the dra-matic Romeo and Juliet Overture-Fantasy. a free pre-concert lecture will begin at 6:45 march 28 and 1:45 p.m. march 29.

[January/February/March]

Strathmore Turns 10 Celebrate Strathmore’s 10th anniversary with one of these special commemorative performances.

➲ WED., FEB. 4, 8 P.M. WASHINGTON PERFORMING ARTS Blues symphony

Wynton Marsalis Quintet Shenandoah Conservatory Symphony Orchestra, Jan Wagner, conductor

Marsalis: Blues symphony

experience the world premiere of marsalis’ symphony, which features a compendium of his knowledge of blues, jazz and other traditional american music.

➲ THURSDAY, FEB. 5, 8 P.M. BALTIMORE SYMPHONY ORCHESTRA Garrick Ohlsson plays rachmaninoff

Marin Alsop, conductor Garrick Ohlsson, piano

Rachmaninoff: piano Concerto No. 2 Respighi: Church Windows Respighi: Pines of Rome

piano great garrick ohlsson brings his technical prowess and unmatched interpretation to rachmaninoff’s ravish-ing second piano concerto. respighi’s symphonic poem Pines of Rome paints a scenic picture of rome’s vast and vivid landscape.

➲ FRI., FEB. 6, 8 P.M. STRATHMORE PRESENTS savion Glover’s sTepz

tony award winner savion glover pays homage to past tap masters with a soundtrack ranging from John coltrane to prince to shostakovich.

➲ SATURDAY, FEB. 7, 8 P.M. THE NATIONAL PHILHARMONIC Brian Ganz plays Chopin

Chopin: Four Mazurkas, Op. 24polonaise in F-sharp minor, Op. 44Three Mazurkas, Op. 50Three Waltzes, Op. 64Two Nocturnes, Op. 15, Nos. 2, 3

Three Mazurkas, Op. 59Rondo à la Mazur, Op. 5

Join pianist brian ganz for the fifth recital in his quest to perform all of the composer’s works as he explores the many facets of the beguiling mazurka in chopin’s music.

➲ SUNDAY, FEB. 8, 3 P.M. THE NATIONAL PHILHARMONIC Beethoven’s Ninth

Piotr Gajewski, conductor Brian Ganz, piano Summer Hu, cello Danielle Talamantes, soprano Margaret Mezzacappa, mezzo-soprano Colin Eaton, tenor Norman Garrett, baritone National Philharmonic Chorale

Makris: Strathmore Overture Tchaikovsky: Variations on a Rococo Theme Chopin: Grande Polonaise Brillante Beethoven: symphony No. 9 in D minor, “Choral”

Join the national philharmonic for a reprise of its inaugural strathmore concert on feb. 12, 2005, which includes two works showcased at that performance: an-dreas makris’ Strathmore Overture and beethoven’s epic ninth symphony.

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The instrumental music pro-gram at Springbrook High School in Silver Spring hasn’t had every advantage.

Because it is a Title 1 school that by definition has a high percentage of low-income students, many of its fam-ilies couldn’t afford private music les-sons or instruments.

But with a boost from OrchLab, a new partner-ship between the Balti-more Symphony Orchestra and Montgomery County Publ ic Schools , things have changed dramatically. Through the partnership, BSO musicians work with instrumental music students at selected elementary, mid-dle and high schools.

When Spr ingbrook ’s strings students first started to work on Bach’s Third Brandenburg Concerto, it didn’t sound promising, recalls Carol Bogash, the

BSO’s vice president of education and community engagement.

“It was clear on the first day, they were really challenged by the piece,” Bogash says. “But by the time we got through six long sessions, they were actually able to handle it. … a pretty stunning, dramatic improvement.”

To publicly recognize this achieve-

ment, Dick Spero, who manages OrchLab from the BSO’s Strathmore offices, invited Springbrook instrumen-tal music director Wyman Jones and his string orchestra to perform in the lobby of the Music Center prior to a BSO subscription concert. “Everybody was stunned,” remembered Spero, “includ-ing the kids and their parents, that they

were playing so well.”Ta m i L e e H u g h e s ,

a BSO teaching art i s t who initiated OrchLab at Springbrook, also was impressed. “These students were not just receptive dur-ing the session, but also thanked me after we were done. Some students made a point to meet and talk with me after class. They indicated that they enjoyed the fresh energy and excite-ment about making music.”

J o n e s , t h e m u s i c instructor, acknowledged OrchLab’s impact, call-

BSO musicians lend expertise to help students hone performance skills and better understand

a composer’s work By Roger Catlin

Leading by Example

baLtimore symphony orchestra

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BSO teaching artist Jaclyn Dorr works with instrumental music students Tisam Yusuf (center) and Dana Jackson at Springbrook High School in Silver Spring.


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ing the program “an excellent learning opportunity for my students—and me,” and said the BSO musicians “provided many helpful tips to students to improve their performance and understanding of the music being performed.”

OrchLab targets a group of schools in the Northeast and Downcounty Consortia located in the most econom-ically challenged areas of the county. It follows on the heels of the BSO’s Orch-Kids, a five-days-a-week afterschool program created in Baltimore City that has won national recognition.

Launched in early 2013, OrchLab’s pilot program had BSO musicians visit elementary, middle and high school instrumental music programs only three times. “We learned from the pilot pro-gram that three visits weren’t enough,” Bogash said. Going in six times, she said, “made a huge difference—a huge difference in how the child is playing the instrument, producing the sound, and just being better technically.”

Since OrchLab’s launch, “nearly two dozen BSO musicians and teach-

ing artists have mentored over 1,000 students in 18 different schools in our two clusters,” Spero says.

Funded by the BSO and individ-ual, corporate and foundation grants, OrchLab is offered at no cost to schools, students or their families. MCPS provides transportation to the Music Center so that OrchLab stu-dents and their teachers can attend a BSO subscription concert at Strath-more. OrchLab also provides profes-sional development for instrumental music teachers through their partici-pation in forums with BSO musicians.

“The motivation for OrchLab is to provide a larger footprint for the Bal-timore Symphony Orchestra in Mont-gomery County and to increase our edu-cation offerings in our second home,” Bogash said. She said the program is also intended to support the public schools’ instrumental music programs, to have orchestra members engaged with the community here “and to use some wonderful skills our gifted musi-cians have for teaching young people.”

These talents are especially evi-dent in the Instrumental Performance Residency that OrchLab offers to selected elementary schools. Featur-ing three members of the BSO double reed section, the residency works with fourth- and fifth-graders on fingerings, rhythm, intonation and breath control on recorders. This all culminates in a side-by-side public performance at the school of “Irish Fantasy,” a piece writ-ten by BSO bassist Jonathan Jensen (an MCPS video of a May 2014 perfor-mance at Highland Elementary may be found on the Education and Commu-nity page of the BSO’s website (www.BSOmusic.org).

Scott Steffan, Highland’s principal, lauded the residency. “I can say with a great degree of certainty that our stu-dents will never forget this experience and, what I think is really exciting, is that you just never know: Maybe the next Yo-Yo Ma was somewhere out there. Overall, there is an enormous sense of pride and accomplishment from all the participants.”

In addition to several weeks of mentorship, Springbrook High students (from left) Maylek Arthur, Margeau Peters, Dylan Costanzo, Da’Jah Quick, Christiana Young and other instrumental students also get an opportunity to attend a BSO performance at The Music Center at Strathmore.


Music Center bright.It’s a labor of love, one that every-

one appreciates, because the holiday season at Strathmore is a big, big deal. Festivities will include a pre-Hanuk-kah concert in the Mansion with the Susan Jones Klezmer Ensemble on

strathmore

It’s glow time at Strathmore. And before a note can be sung or a bell can be rung, there are volun-teers from local garden clubs on

hand, armed with the requisite boughs of holly—and boxwood, and pine—making the Mansion merry and the

Strathmore celebrates the season with songs, lights, and swag By Chris Slattery

“Bows” and Holly

Dec.10, followed by a concert with the Robyn Helzner Trio on Dec. 17. Holi-day performances in the Music Center include Lightwire Theater on Nov. 29, Mannheim Steamroller on Dec. 13, and The Colors of Christmas on Dec. 19.

Nine-time Grammy nominee Dave

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LIGHTWIRE THEATER


more than a gig—we’re returning to extended family. That’s how the show feels to us: your community becomes our community.”

Ian Carney’s community of char-acters in Lightwire Theater’s A Very Electric Christmas will bring bring plenty of holiday sparkle to Strath-more on Nov. 29.

Carney’s the artistic director and choreographer at the helm of Lightwire Theater, a dance troupe best known for its breakout performances on the TV show “America’s Got Talent.” It’s all about telling a story through light and dance —a perfect combination for the holidays celebrated during the darkest days of the year—but Carney insists there’s more to Lightwire than flash and fire.

“If you don’t fall in love with the char-acters, it’s just cool-looking lights,” he says. “The whole glow-in-the-dark thing is just dressing: there’s a story at its heart.”

It’s a story that Carney, who founded Lightwire with his director-wife Elea-nor, can trace back to his childhood years as a New Orleans ballet dancer.

“I have a soft spot for Christmas and a holiday show,” he explains. “I fell in love with art through The Nutcracker as a wide-eyed kid. I remember that feel-ing, thinking, This is really cool!

“I didn’t get that feeling from movies or DVDs, I got it in the theater.”

And his 40 years of Nutcracker contributed greatly to A Very Electric Christmas, with its nods to the Tchai-kovsky classic shining through in the music—and mice—he’s incorporated into this modern mixed-media tale of New Orleans.

“Our city is unique, and most peo-ple know it and have a soft spot for it,” he says. “But we always try to do work that is for everyone: we want adults and kids to be equally entertained, so this is something audiences of all ages

Koz, who performs at Strathmore Dec. 9, says the Music Center really needs no garlands and swag.

“The Music Center at Strathmore is one of the finest concert venues in the United States, and I’ve been to a lot!” Koz says. “It’s one of the best: a beau-tiful venue where everything sounds great, and where we’ve had the most wonderful audiences at sold-out shows.”

A smooth jazz sax player and com-poser, Koz is particularly proud of the pairings on his new album, The 25th of December, which features duets with Stevie Wonder, Johnny Mathis, Gloria Estefan, Fantasia, and India.Arie. He’ll be joined Dec. 9 by jazz singer-guitar-ist Jonathan Butler, powerhouse gospel singer Maysa, and “the incredibly tal-ented Christopher Cross.”

Koz says his upcoming performance “really is a cavalcade of great Christ-mas songs that will remind you of the past and push you into the holiday with a smile on your face. Speaking as a musician, the best songs are Christ-mas songs.”

Which is funny, even Koz has to admit, for a Jewish California native. Not to worry: part of the fun of a Dave Koz holiday concert is that it includes a medley of favorite Hanukkah songs.

“I never grew up celebrating Christ-mas,” Koz explains, “but I loved going to my friends’ house to trim the tree,” he recalls. “We grew up inclusive of every-one’s experience.”

And it’s not just that spirit of open-ness that makes a Koz concert spe-cial. There’s an unabashed joy in giv-ing as well. The musician explains that his summer jazz cruise tour includes a silent auction, the proceeds of which are divvied up and donated to a chil-dren’s hospital at every city on the hol-iday tour circuit.

“It’s definitely a Christmas thing,” he says. “This is more than a show,

can enjoy together, something that’s becoming a rare thing.”

The goal, Carney says, is to bring families together. On a dark winter’s night, in the glow of the stage, amid the cheerful decorations and warm expectations that characterize the hol-iday season at Strathmore.

DAvE kOz

The Holidays at Strathmore Celebrate the season with several performances in the Mansion and the Music Center.

Saturday, Nov. 29, 3 and 8 p.m. lightwire Theater: A Very Electric Christmas, in the Music Center

Tuesday, Dec. 9, 8 p.m. Dave Koz and Friends Christmas Tour 2014, in the Music Center

Wednesday, Dec. 10, 7:30 p.m.susan Jones Klezmer ensemble, in the Mansion

Saturday, Dec. 13, 4 and 8 p.m. Mannheim steamroller Christmas, in the Music Center

Tuesday, Dec. 16, 7:30 p.m.strathmore Children’s Chorus Winter Concert, in the Music Center

Wednesday, Dec. 17, 7:30 p.m. Robyn Helzner Trio, in the Mansion

Friday, Dec. 19, 8 p.m. The Colors of Christmas, in the Music Center


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“That situation was definitely a Goldilocks zone for me,” he says of his 2007-2008 residency. “It helped me fine-tune my skills: they’d pair an AIR with a mentor, but I wasn’t confined to one, and I shopped around.”

Bacon describes himself as intensely collaborative, and it was his work with AIR mentors Cathy Fink and Marcy Marxer that led to a Grammy nomina-tion at age 23 for the children’s album From Banjo to Beatbox.

“You could say a Grammy nomina-tion came directly from the Artist in Residence program,” he says. “That was a crazy whole ’nother world: I got to be on the red carpet, and they all came to support me.”

In addition to growing and matur-

strathmore

“Isn’t it amazing?”Betty Scott has the sea-

soned teacher’s ability to cap-ture the essence of things.

The Artist in Residence (AIR) program at Strathmore is entering its 10th season, and yes, it is most definitely amazing.

“It’s a milestone for me personally, to watch this program go from a con-cept—trying to explain to people what it was—and to see it take root, and to grow and change over 10 years,” explains Scott, Strathmore’s Artist in Residence and education coordinator.

The AIR program reaches out to developing artists that have tremen-dous potential and invites them to spend a year learning about perform-ing and the music business through partnerships with mentors, workshops, performances, educational opportuni-ties, and community outreach.

“We’ve still not seen anything like it,” Scott says. “There are places doing bits and pieces of it, universities focusing on professional development in artists, but our program covers so much more: seminars on career plan-ning, grant writing, producing high quality videos—and we’ve achieved an enormous amount of success over the last 10 years.”

Grammy nominee Christylez Bacon grew up in Southeast D.C., and he had no idea which Metro line to take to Strathmore when he got the call to come to North Bethesda and audition for AIR.

Strathmore’s Artist in Residence program celebrates its 10th anniversary By Chris Slattery

To AIR is Divine

ing as an artist, Bacon says he also learned the business side of music—booking gigs, negotiating contracts, and conducting other practices for optimum success.

Current AIR participant vocal-ist Rochelle Rice already has a mas-ter’s degree in jazz studies from Howard University, a stint with Afro Blue, and a gig as a sub for Sweet Honey in the Rock. She’s eager to grow even more as an AIR.

“Truly, this has been a goal of mine for several years now,” she says, noting that “everybody’s been in our corner, so willing to do what they can to help, and to make us newbies feel welcome.”

“This is a fantastic opportunity for exposure on another level.”

ROCHELLE RICE

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When George Costanza sang on “Seinfeld,” he sang badly. Tone-deaf-ness went with the char-

acter. But that off-key George will be a no-show on Jan. 22, 2015 when the man who played him, Jason Alexander, appears with the Baltimore Symphony Orchestra in an evening of songs, quips, and stories at The Music Center at Strathmore.

The perpetually disgruntled George made Alexander into a sitcom superstar, yet few people are aware that TV was scarcely the comic actor’s first love.

“All my fantasies as a kid were limited to being in New York,” Alexander says. The New Jer-sey native initially expected that a magic act would be his ticket to fame in the Big Apple. As it turned out, though, musical the-ater was more his kind of illusion.

“Broadway reared its head” while he was still in college, Alexander says, when he unex-pectedly won a role in Ste-phen Sondheim’s Merrily We Roll Along. Unfortunately, the musical rolled along for only 16 performances.

“It was a spectacular flop,” Alexander admits. “It had a glo-rious score, but it was an impos-sible show.”

Better luck followed with star-

ring roles in Neil Simon’s Broadway Bound and in the celebrated musical anthology, Jerome Robbins’ Broadway.

The Jerome Robbins show “was one hit and stunning production num-ber after another,” says BSO Principal Pops Conductor Jack Everly, who saw it when he was living in New York and working as the musical director for the American Ballet Theatre. The produc-tion included numbers from West Side Story, Gypsy, On the Town, A Funny

Thing Happened on the Way to the Forum and The King and I, and Alexander’s piv-otal role in it won him a Tony Award for Best Actor in a Musical Comedy.

So the Strathmore audience should expect a generous sampling of Broad-way showstoppers when Alexander puts his musicality and wit on display, often at the same time. In “Inappropri-ate Medley,” for example, the lyrical baritone promises to scrunch 20 tunes, all wildly unsuited to him, into a pres-

tissimo six minutes. The show won’t be all funny

business, however. Alexan-der’s favorite song in the pro-gram is the gentle “Anytime (I Am There)” because it evokes memories of his father. “It’s a beauty,” he says.

Everly plans to leave the spot-light to Alexander, but he has impressive Broadway chops of his own. He collaborated with the celebrated late composer Marvin Hamlisch on hits such as The Goodbye Girl and A Chorus Line, and served as Carol Chan-ning’s conductor for two incar-nations of Hello, Dolly!

Everly says he’s looking for-ward to working with the report-edly well-grounded Alexander. “I’ve admired him for years,” Everly says. “He’s a great guy and a great talent. It’s going to be quite the wonderful evening.”


Jason Alexander shows off his musical theater roots in a night of Broadway showstoppers with the BSO. By M.J. McAteer

George Who?

baltimore symphony orchestra presents an evening With Jason alexanderthursday, Jan. 22, 2015, 8 p.m.

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When the sun is shining and the orchestra has a day off, there’s only one place to find BSO Eng-

lish horn player Jane Marvine. “If it’s a beautiful day, I could get

lost in my garden for eight hours,” says Marvine. “It is my absolute passion. I just adore creating order out of chaos and sculpting and painting with flow-ers and plants.”

Marvine, her husband, BSO Co-Principal Trombone James Olin, and their two children moved to their cur-rent Baltimore County home with its spacious backyard in 1987. After more than 25 years of gardening TLC, it’s no wonder that her yard has become a marvel to friends and neighbors alike. It currently boasts forests of 100-foot-tall white pine as the backdrop for clus-ters of hydrangea and a rainbow array of perennials, punctuated by carefully positioned shrubs.

“When I want to escape, I go out to my garden. I find it so rewarding to nurture new things to help them grow, blossom, and thrive,” says Marvine.

“Nurturing new things” could eas-ily be her life mantra. Never one to sit on the sidelines, she has held a lead-


BSO English horn player Jane Marvine always finds time to nurture, whether it’s tending her garden, snuggling grandchildren or advising amateur musicians By Laura Farmer

Nourishment for the Soul

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Baltimore symphony Orchestra english horn player Jane Marvine (center) with participants from BsO Academy. In addition to per-forming with the orchestra, Marvine is a program advisor for the academy and teaches at the peabody Institute in Baltimore.

ership role on the BSO Players’ Com-mittee for nearly three decades. And she happily takes turns caring for her two infant granddaughters. (“Being a grandma is the icing on the cake!” she raves.) She manages a busy teaching schedule at The Peabody Institute. She championed the building of The Music Center at Strathmore and now works to promote this season’s 10th anniver-

sary celebrations of the BSO’s second home. And it was her advocacy for and integral planning of the BSO Academy that fostered that adult education pro-gram’s success.

“I have three full-time jobs,” jokes Marvine, who holds the title of pro-gram advisor to the BSO Academy. “I’m still very involved with the plan-ning of the Academy. It’s a lot of work, but it’s a labor of love. I know that there are many people in the Academy, if not every single one, who has this burning desire to make music. No matter what level they are, to be able to sit in a professional orchestra and be inspired by it has a profound, indescribable effect on their lives. They say, ‘I can’t thank you enough.’ Watching their transformation has changed my life.”


the administrative stuff and the seat-ing charts,” he says. In addition, he has spent several hours a week on data entry for the Summer String Institutes.

Robert Gerard, another active vol-unteer, sang his first season with the chorale in 2002-2003. “I needed to start singing again to get some balance in my life,” says the busy doctor and baritone, who has relished the oppor-tunity to perform masterworks in such skilled company. To support the cho-rale, Gerard sits on the Board of Direc-tors and its Governance Committee and helps keep the contact informa-tion current on all the choralists.

The National Philharmonic is one of the few performing arts organiza-

The volunteer members of the National Philharmonic Chorale say that the happi-ness they get from perform-

ing together at The Music Center at Strathmore and under the warm guid-ance of Artistic Director Stan Enge-bretson is all the pay they need.

So when the singers are asked to volunteer for the National Philhar-monic Chorale and sometimes, orches-tra, many do more than just voice their support for the organization.

“I don’t think there has been one job that I put out there that hasn’t been done,” says alto Melissa J. Lieber-man, a lawyer who has coordinated chorale volunteers since 2008. Lieber-man estimates that about half of the chorale’s 180 members regularly give their time to sit on committees to revamp the member handbook, take attendance, and make airport runs at rush hour to pick up soloists. And cler-ical work is a constant.

Bill Josey is one of the stalwart vol-unteers, and the retired program man-ager for the U.S. Army has accumu-lated quite a few extracurricular duties in the 10 years that he’s been a bass.

Every season, he mentors one or two new singers, introducing them around and showing them the ropes. Also, “I always manage to have an extra bowtie and some safety pins in case of emergency,” he says.

Josey also acts as assistant sec-tion leader for the basses: “I do all

When they’re not performing, many members of the National Philharmonic Chorale volunteer to do administrative work, mentor young singers, or transport guest soloists By M.J. McAteer

Behind the Music

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tions in the nation to support both an orchestra and chorus. Though its cho-rus members are all volunteers, they must pass a rigorous audition and then commit to spending six to 10 hours a week on practice and rehearsal. Fac-tor in the time members spend volun-teering, and the chorale is a healthy commitment.

But this patchwork of people becomes one fabric when members sing, because of the intense passion that they share for the music.

“It’s such a feeling of unity to lift the music off the paper. And we are devoted to our director,” Josey says. “The chorale brings such a lot of joy to me, I don’t mind putting out time for it.”

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be his final work. Not only was he impoverished, but he was physically and mentally staggered by the mys-terious illness that would soon kill him. Although the piece was a com-missioned work, some historians say that Mozart came to believe that he was writing it for his own funeral. After his untimely and tragic death, his wife, Constanze, secretly hired Franz Xaver Sussmayr to complete the Requiem in her husband’s style.

“The Requiem is very honest and true,” Nomura says. “So very sad, but so dramatic.”

Not to mention characteristically brilliant, despite the desperate circum-stances under which it was conceived.

“The music is tremendously ener-getic. It has balance, symmetry, energy and amazing solos. It is perfect in terms

Mozart’s Requiem has been a core piece of the National Philharmonic Chorale’s repertoire for years, so

Artistic Director Stan Engebretson and his singers know it inside and out.

“This will be my third or fourth time singing it,” says alto Melissa J. Lieberman, who will sing as part of the chorale when it presents the Requiem on Nov. 1 and 2 at The Music Center at Strathmore. With all that practice, she says, “You get really good at it.”

Many of the chorale’s 180 singers share Lieberman’s extensive experi-ence with Mozart’s musical mass, and that gives Engebretson the luxury of fine tuning the performance. The result, Engebretson predicts, will be a “definitive” Requiem.

The guest soloists—soprano Danielle Talamantes, mezzo-soprano Magdalena Wór, tenor Robert Baker and baritone Christòpheren Nomura—know the music intimately, too. Talamantes, for example, grew up singing the Requiem as a teenager in a choir, and Nomura is the equivalent of a grizzled veteran, estimating that he has sung it at least 75 times.

Though familiar, the Requiem is beloved by audiences and perform-ers alike because of its deep emotional intensity. Mozart clearly was “speaking from his heart directly onto the page,” Engebretson says.

The composer was in a fraught state while he was composing the Requiem, which would turn out to

The National Philharmonic Chorale makes Mozart’s final work shimmer with emotion By M.J. McAteer

The “Definitive” Requiem

of vocal range,” Engebretson says. Add in the renowned acoustics at the Music Center, and the conductor says that the sound will “shimmer.”

Preceding the Requiem on the all-Mozart program will be the Ave Verum Corpus (Hail, true body) for chorus and the Exsultate Jubilate (Exult, rejoice), which is famous for its rousing “alle-luia” refrain.

But most members of the audience will have felt compelled to come to Strathmore for the opportunity to hear an impassioned rendering of the great composer’s final statement.

“If there is any one piece in Mozart’s choral repertoire that people identify with, it is the Requiem,” Engebretson says. “It sits so beautifully within all of the voices. If you’ve heard it 100 times, you could still hear it 100 times more.”

the national philharmonic presents Mozart’s Requiemsaturday, nov. 1, 8 p.m. and sunday, nov. 2, 3 p.m.

the nationaL phiLharmonic

DANIELLE TALAMANTES CHRISTòPHEREN NOMURA

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Washington performing arts

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“Great mus ic i s not just entertainment,” declares renowned pianist András Schiff.

“It is important to present it in a way that the listener can learn something while she or he is also having a good time.” Such is the philosophy behind Schiff’s latest project, The Last Sonatas.

In a series of three concerts pre-sented over the next two seasons, Schiff is performing the final three piano sonatas of four legendary com-posers: Beethoven, Haydn, Mozart and Schubert. The Washington, D.C., area is one of a handful of cit-ies to host all three concerts. Wash-ington Performing Arts will present Schiff ’s first recital at The Music Cen-ter at Strathmore on March 15, 2015, playing the third to last sonatas by the four composers. The remaining two concerts are slated for the 2015-2016 season at Strathmore.

“It has always fascinated me to think about interesting programs, based either on the works of a single composer or several different ones, showing the similarities and differ-ences between them,” Schiff says. After performing the complete cycles of Beethoven’s and Bach’s solo piano works, he adds, “I wanted to do some-thing more concentrated and so the idea of The Last Sonatas was born.”

Beethoven and Schubert were natural choices, Schiff says. The last three Beethoven sonatas were writ-ten more or less at the same time and

The Last Sonatas

Washington performing arts presents andrás schiff: The last sonatassunday, march 15, 2015, 4 p.m.


Pianist András Schiff brings to life his project to perform the last works of Beethoven, Mozart, Schubert and Haydn. By Phyllis McIntosh

are often performed together in a sin-gle program. The Schubert sonatas, though much larger and longer, also were composed together in the final year of the composer’s life. “To add Haydn’s and Mozart’s last three sona-tas to Beethoven’s and Schubert’s, well, this is my concept,” Schiff says. “Maybe not so original, but I certainly haven’t seen or heard them this way before.”

Together, the composers represent “the four masters of Viennese classicism,” he notes, and most of this music, except for Haydn’s, was composed in Vienna. “It is very interesting to observe how these four mas-ters treat the sonata form, what liberties they take, how they write for the piano. Mozart and Beethoven were virtuoso pianists; Haydn and Schubert were not performers. Each one of them wrote numerous piano sonatas, and it is fascinating to hear their final thoughts in this genre, side by side.”

The 12 Last Sonatas were written over a span of 39 years, from 1789 to 1828, at different stages of the composers’ lives. Beethoven and Haydn, who will be featured in the first half of the concert, composed their last three sonatas when they were in their 50s and 60s respectively, while Mozart and Schubert, whose music is played in the second half, both died in their 30s. Schubert wrote his last sonatas shortly

before his death at age 31, and Mozart and Beethoven composed theirs a few years before their deaths. Haydn, who lived to 77, wrote his last sonatas 15 years prior to his death, focusing during his final years on masses and oratorios. Perhaps understandably, Schubert’s final compositions are very much about death, while the others are not, Schiff says.

Part of Schiff ’s goal with The Last Sonatas project, and indeed all his music, is to share his insights with audiences through talks or explan-atory notes in a program. “He loves sharing his process with audiences,” says Washington Performing Arts programming director Samantha Pol-lack. “When he performed an all-

Bach program for us in 2012-13, he asked us to include a one-page insert about why he doesn’t use a pedal when he plays Bach.” (Since the sus-taining pedal did not exist on any keyboard instruments in Bach’s time, his music obviously could be played without it. So, Schiff reasons, most of Bach also can be played on the mod-

ern piano “with eight fingers, two thumbs and no feet.”).

Since giving a popular series of Beethoven lectures in London from 2004 to 2008, Schiff has been increasingly in demand as a lecturer. He aims, he says, “to find the right tone between scholarship and con-structive entertainment,” to speak uncompromisingly to the average music lover in a way that is also interest-ing to professionals and the more experienced members of the public—a balance, he adds, that Leonard Bernstein achieved perfectly.

Education is especial ly vital today, Schiff concludes, because music is no longer an

essential part of the school curricu-lum and audiences are generally less experienced and knowledgeable than they used to be. “One can certainly sit back and ‘enjoy’ a Schubert sonata, but the pleasure of listening will be much greater when it is coupled with knowledge, experience and culture,” he says. d

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“mozart and beethoven were virtuoso pianists; haydn

and schubert were not performers. each one of

them wrote numerous piano sonatas, and it is fascinating to hear their final thoughts in this genre, side by side.”

— András Schiff

22 applause at Strathmore • NOVEMBER/DECEMBER 2014

saturday, November 1, 8 p.m., and sunday, November 2, 2014, 3 p.m.

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Stan Engebretson, conductorIn demand throughout the United States and Europe, Stan Engebretson has led choirs in Ven-ice’s Cathedral of St. Mark and taught in Co-

logne, Trier, St. Moritz, and Barcelona. After attending the University of

North Dakota and earning his doctor-ate from Stanford University, Engebret-son taught at the University of Texas of the Permian Basin and the University of Minnesota. He also was the artistic director of the Midland-Odessa Sym-phony Chorale and the associate con-ductor of the Minnesota Chorale.

In Washington since 1990, Engebret-son is professor of music and director of choral studies at George Mason Uni-versity, and is the director of music at the historic New York Avenue Presby-terian Church.

Danielle Talamantes, soprano Danielle Tala-mantes makes an exciting stage debut in the up-coming 2014-2015 season as Frasquita in Bi-zet’s Carmen in a return to the

Metropolitan Opera, as well as a re-turn to the National Philharmonic for both Beethoven’s Symphony No. 9 and Mozart’s Requiem and Exsultate, jubilate, which she will also perform with the City Choir of Washington.

Talamantes appears with the Na-tional Philharmonic this evening courtesy of the Metropolitan Opera.

Magdalena Wór, mezzo-sopranoThis season holds Magdale-na Wór’s debut performance with the Seattle

SATURDAY, NOVEMBER 1, 2014, 8 P.M. SUNDAY, NOVEMBER 2, 2014, 3 P.M.

●The National Philharmonic

piotr Gajewski, Music Director and Conductor

Presents

Mozart’s Requiemstan engebretson, conductorDanielle Talamantes, soprano

Magdalena Wór, mezzo-soprano Robert Baker, tenor

Christòpheren Nomura, baritone National philharmonic Chorale

Ave Verum Corpus, K. 618 Wolfgang Amadeus Mozart (1756-1791)

Exsultate Jubilate, K. 165 Allegro – Recitativo Larghetto Allegro non troppo

INTERMISSION

Requiem

1. Introitus: Requiem aeternam (chorus and soprano)

2. Kyrie eleison (chorus)

3. Sequentia Dies Irae (chorus) Tuba mirum (soprano, contralto, tenor and bass) Rex tremendae (chorus) Recordare (soprano, contralto, tenor and bass) Confutatis (chorus) Lacrymosa (chorus)

4. Offertorium Domine Jesu (chorus with solo quartet) Hostias (chorus)

5. Sanctus Sanctus (chorus) Benedictus (solo quartet, then chorus)

6. Agnus Dei (chorus)

7. Communio Lux aeterna (soprano and chorus)

Weekend Concerts sponsor: ameriprise Financial sunday Concert sponsor: Ingleside at King Farm

supported in part by the patricia Haywood Moore and Roscoe M. Moore Jr. Guest artist Fund

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

The Music Center at Strathmore Marriott Concert Stage

applause at Strathmore • NOVEMBER/DECEMBER 2014 23

Symphony Orchestra as soloist for its performances of Messiah. She sings the role Maddalena in Opera Birming-ham’s Rigoletto, and Bach’s B Minor Mass and Messiah with the National Philharmonic. This past season, Wór sang in Alexander Nevsky and Messiah with the National Philharmonic.

Robert Baker, tenor

Tenor Robert Baker has been featured in more than 300 perfor-mances with the Washington Na-tional Opera. He has also sung 10 roles with the

Washington Concert Opera. Career highlights include the role of Ishmael in the world premiere of Peter Wester-gaard’s Moby Dick at Princeton Univer-sity and his Metropolitan Opera debut in Prokofiev’s War and Peace.

Christòpheren Nomura, baritone

Hailed as one of classical music’s “rising stars” by The Wall Street Journal, baritone Christòpheren Nomura has ap-peared with many of the prominent

North American orchestras, including the Boston, San Francisco, National, Vancouver, Baltimore, Indianapolis, Pa-cific, Utah and Memphis symphonies. He also has appeared with the Saint Paul Chamber Orchestra, Orchestra of St. Luke’s, Philharmonia Baroque Or-chestra and Symphony Nova Scotia.

Program NotesAve Verum Corpus, K. 618

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

When in the spring of 1791, Leop-old Hofmann, Kapellmeister at St.

Stephen’s Cathedral in Vienna, be-came gravely ill, Wolfgang Mozart, who had never composed much sacred music, saw an opportunity to enhance his faltering income and thus maneu-vered to succeed Hofmann by turn-ing his attentions to church music. At that time, Mozart’s wife made one of her periodic visits to the spa at Baden, outside of Vienna. Mozart composed this motet for the choirmaster Anton Stoll, who often performed sacred music, to use at a Corpus Christi Day service at his small parish church in Baden on June 17 or 18, 1791, be-cause Stoll had often helped Mozart by making the travel arrangements for his wife; this work was possibly writ-ten in thanks.

With only 46 bars of music and or-chestral writing that provides intro-duction, transition and ending, the choral setting has an elegant simplic-ity and great depth of feeling with the chorus mainly singing the same text at the same time.

The text originates in a 14th centu-ry Latin hymn of uncertain authorship, which recounts one of the most pain-ful and heart-wrenching moments of Christ’s crucifixion. The work is scored for chorus, strings and continuo.

Ave, ave verum corpusnatum de Maria virgine, vere passum immolatum in cruce pro homine.

Cujus latus perforatumunda fluxit et sanguine esto nobis praegustatum in mortis examine.(Hail, true body born of the Virgin

Mary, that truly suffered on the cross for mankind, whose side was pierced from where blood and water flowed for us, giving for us a foretaste of the test-ing of death.)

Exsultate Jubilate, K. 165

Wolfgang Amadeus MozartOn Oct. 23, 1772, Leopold Mozart and his 16-year-old son, Wolfgang, set off from Salzburg for Milan, where the young composer was to complete the

music of the opera Lucio Silla in time for the first performance on Dec. 26. In a letter he sent his sister on Dec. 5, Wolfgang said that he still had 14 numbers to compose, could think of nothing but the opera and could write an aria more easily than a letter. When Lucio Silla turned out to be a great success, as though in relief, Mo-zart turned to instrumental music, and during his remaining weeks in Milan, wrote four string quartets, a diverti-mento for 10 wind instruments, a brief offertory of vocal duet and the re-markable motet, Exsultate Jubilate.

The offertory survives in a text of questionable authenticity and is lit-tle known, but the motet is one of Mozart’s earliest great works and one of his most popular. He called it a motet because it is a setting of a sa-cred text, but it is, in effect, a brief, brilliant three-movement concerto, in a fast-slow-fast pattern, for voice and orchestra, with a recitative pre-ceding the slow movement. The work has always been especially pop-ular because of its expressiveness. He composed the work for the male soprano Venanzio Rauzzini (1746-1810), who was cast as the primo uomo in Lucio Silla (but not the title character), and who sang it for the first time on Jan. 17, 1773, at the Theatine Church in Milan. Rauzzini was of course a castrato, a male sing-er castrated during childhood to pre-vent his voice from changing.

In his book The Present State of Music in Germany (1773), the acute English observer Charles Bur-ney wrote that in Munich, “the first singer in the serious opera is Signor Rauzzini, a young Roman of singu-lar merit who is engaged to sing in an opera by young Mozart in Milan; he is not only a charming singer and a good actor, but a more excellent con-trapuntist and performer on the harp-sichord than a singer is usually al-lowed to be, as all kind of application to the harpsichord or composition is supposed by the Italians to be preju-dicial to the voice.”

Leopold, the young composer’s


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Mozart’s Requiem Text and Translation

Requiem aeternam dona eis, Domine, Grant them eternal rest, Lord, et lux perpetua luceat eis. and let perpetual light shine upon them.

Te decet hymnus, Deus, in Sion, et Thou art praised, God, in Zion, tibi reddetur votum in Jerusalem. and unto Thee will a vow be paid in Jerusalem.

Exaudi orationem meam, ad te omnis Hear my prayer; unto Thee all flesh caro veniet. shall come.

Kyrie eleison. Lord, have mercy upon us. Christe eleison. Christ, have mercy upon us. Kyrie eleison. Lord, have mercy upon us.

Dies irae, dies illa, Day of wrath, that day, the world Solvet saeclum in favilla, will dissolve in ashes, as Teste David cum Sibylla. prophesied by David and the Sibyl.

Quantus tremor est futurus, How great a trembling there will be Quando Judex est venturus, when the Judge will appear and Cuncta stricte discussurus! scatter all things!

Tuba mirum spargens sonum, The trumpet, sending its wondrous Per sepulchra regionum, sound throughout the tombs of Coget omnes ante thronum. every land, will gather all before the throne.

Mors stupebit et natura, Death and nature will be astounded Cum resurget creatura, when all creation rises again to Judicanti responsura. answer to the Judge.

Liber scriptus proferetur, A written book will be brought forth, In que totum continetur, in which everything will be contained¬ Unde mundus Judicetur. by which the world will be Judged.

Judex ergo cum sedebit, And when the Judge takes his place, quidquid latet, apparebit, whatever is hidden shall be made Nil inultum remanebit. manifest; nothing will remain unpunished.

Quid sum, miser tunc dicturus? What shall a wretch such as I say Quem patronem rogaturus, then? Of what patron shall I ask Cum vix justus sit securus? help when the righteous are scarcely secure?

Rex tremendae majestatis, King of terrible majesty, who freely Qui salvandos salvas gratis, saves those worthy to be redeemed, Salva me, fons pietatis! save me, Source of Mercy.

Recordare, Jesu pie, Remember, merciful Jesus, that I am Quod sum causa tuae viae the cause of Thy Journey on earth; Ne me perdas illa die. let me not be lost on that day. Quaerens me, sedisti lassus, Seeking me, Thou has sat down weary; Redemisti crucem passus; Thou who suffered on the cross hast Tantus labor non sit cassus. redeemed me; may such great effort not prove in vain.

Juste Judex ultionis, Just Judge of Vengeance, give me the Donum fac remissionis gift of redemption before the day Ante diem rationis. of reckoning.

Ingemisco tamquam reus, I moan as one accused; my countenance Culpa rubet vultus meus; is flushed with guilt; O God, Supplicanti parce, Deus. spare the suppliant.

Qui Mariam absolvisti, Thou who hast absolved Mary Et latronem exaudisti, Magdalene and inclined Thine ear to Mihi quoque spem dedisti the Thief hast given me hope also.

father, seems not to have cared very much for Rauzzini from the time he first heard him, in Vienna in 1767, and to Wolfgang he was apparently just another singer for whom he had to write, but every note of Exsultate Jubilate was carefully written to suit his voice and his style of performance.

Allegro: Exsultate, jubilate, o vos animae beatae. Dulcia cantica canen-do cantui vestro respondendo, psallant aethera cum me. (Exult, rejoice, O ye happy souls. With the chanting of charming chants, in response to your song, the heavens are singing along with me.)

Recitativo: Fulget amica dies, iam fugere et nubila et procellae. Exor-tus est justis inexspectata quies. Un-dique obscura regnabat nox. Surgite tandem laeti, qui timuistis adhuc, et jucundi aurorae fortunatae frondes dextera plena et lilia date. (A love-ly day is gleaming, now that both clouds and storms have fled. An un-expected calm has arisen for the just, wherever dark night used to reign. Rise up and rejoice at last, ye who were fearful until now, and enjoy the blessed dawn. From full hands offer garlands and lilies.)

Larghetto: Tu virginum corona, tu nobis pacem dona, tu consolare af-fectus unde suspirat cor. (O Thou crown of virgins, grant us peace to calm the passion from which the heart is sighing.)

Allegro non troppo: Alleluja!

Requiem, K. 626

Wolfgang Amadeus MozartUntil recently, music historians enter-tained two views about the creation of Mozart’s Requiem. The first version became popularized in the play and movie Amadeus, where the compos-er Antonio Salieri, Mozart’s rival, be-comes obsessed with disrupting Mo-zart’s success and commissions the Requiem in an attempt to cause Mo-zart’s death. This version is complete-ly false.

The second legend maintained that Count Walsegg appeared to Mozart



Preces meae non sunt dignae, My prayers are not worthy; but, Good Sed tu bonus fac benigne, One, have thou mercy, lest I burn Ne perenni cremer igne. in everlasting fire.

Inter oves locum praesta, Give me a favored place among the Et ab haedis me sequestra; sheep and separate me from the Statuens, in parte dextra. goats, keeping me on thy right hand.

Confutatis maledictis, When the cursed are confounded and Flammis acribus abdictis, assigned to bitter flames, call Voca me cum benedictis. me among the blessed.

Oro supplex et acclinis, I pray, suppliant and kneeling, my Cor contritum quasi cinis, heart contrite as ashes; take into Gere curam mei finis. Thy care my ending.

Lacrymosa dies illa! That day will be one of weeping, Qua resurget ex favilla on which shall rise again from Judicandus homo reus. ashes accused man, to be Judged; Huic ergo parce, Deus. therefore, spare him, God.

Pie Jesu, Domine, Merciful Lord Jesus, grant them rest. Dona eis requiem. Amen. Amen.

Domine Jenu Christe, Rex gloriae, Lord Jesus Christ, King of Glory, libera animas omnium fidelium de deliver the souls of all the faithful functorum de poenis inferni, et dead from the punishment of hell de profundo lacu. Libera eas de and from the deep lake. Deliver them ore leonis, ne absorbeat eas tar- from the lion’s mouth; let not hell tarus, ne cadent in obscurum; sed swallow them; let them not fall into signifer sanctus Michael, repre darkness; but let St. Michael, the sentet eas in lucem sanctam; standard bearer, bring them into the holy light;

Quam olim Abrahae promisisti, et Which once Thou didst promise to semini eius. Abraham and his seed.

Hostias et preces tibi, Domine, Offerings of prayer and praise we laudis offerimus; tu suscipe pro bring Thee, O Lord; receive them for animabus illis, quarum hodie memor- those souls whom today we iam facimus; fac eas, Domine, de commemorate. Let them go from morte transire ad vitam; death into that life;

Quam olim Abrahae promisisti, et Which once Thou didst promise to semini eius. Abraham and his seed.

Sanctus, sanctus, sanctus, Holy, holy, holy, Domine Deus Sabbaoth, Lord God of Hosts, Pleni sunt coeli et terra gloria tua. Heaven and earth are full of Thy glory.

Hosanna in excelsis. Hosanna in the highest.

Benedictus qui venit in nomine Domine. Blessed is he that cometh in the name of the Lord. Hosanna in excelsis. Hosanna in the highest.

Agnus Dei, qui tollis peccata mundi: Lamb of God, that takest away the dona eis requiem sins of the world, grant them rest. Agnus Dei, qui tollis peccata mundi: Lamb of God, that takest away the dona eis requiem sempiternam. sins of the world, grant them rest everlasting.

Lux aeterna luceat eis, Domine. Let eternal light shine upon them, Cum sanctis tuis in aeternum, quia Lord, and upon Thy saints forever, pius es. for Thou art merciful.

Requiem aeternam dona eis, Domine, Grant them eternal rest, Lord, Et lux perpetua luceat eis. And let perpetual light shine upon Cum sanctis tuis in aeternum, them. And upon Thy saints forever, quia pius es. for Thou art merciful.

anonymously dressed in dark cloth-ing and handed him an unsigned let-ter directing him to compose a requi-em. With some trepidation, Mozart accepted the commission. Some time later, the mysterious stranger reap-peared and asked when the Requiem would be finished. The composer, in low spirits and poor health, presum-ably believed this gaunt gray-cloaked man was Death’s messenger.

Actually, Walsegg, an amateur composer, commissioned the work wishing to pass it off as his own, hop-ing auditors would believe he had written it to memorialize his recent-ly deceased wife. Walsegg habitual-ly commissioned works and recopied them in his own hand. No one knows if Mozart understood Walsegg’s pro-clivity or his intentions. Presumably, Mozart saw the implications of his co-operation with his wealthy client and intended to enter the Requiem in his own catalog.

Mozart died before he finished the commission, but Constanze, his widow, feeling the work was among Mozart’s finest, wanted to “liberate it from the limbo of the stillborn.” Also unwilling to forfeit the commis-sion, she attested Mozart had left lit-tle to do to complete the score, but since his particella, or short score, sur-vived, scholars know her statement was a misrepresentation. Mozart’s students, especially Franz Süssmayr, completed the work, so Constan-ze could collect the outstanding fee. Mozart composed the complete Kyrie, but he did not enter the Sanc-tus, Benedictus and Agnus Dei into the particella,. On those parts, Süss-mayer did his most substantial work. He completed other sections, filling in orchestration and the ends of sec-tions. According to Richard Maun-der, an eminent Mozart scholar, Mo-zart’s widow Constanze asked several musicians to finish the piece before deciding on Süssmayr, who was con-sidered a highly inferior musician.

Mozart had been about to begin work on the Requiem when he re-ceived a commission from the city of


First ViolinsColin Sorgi ^Concertmaster Jody Gatwood Concertmaster emeritus Benjamin Scott ^ Olga Yanovich ^Leslie Silverfine ^ Mayumi Pawel ^ Brenda Anna Eva Cappelletti-Chao Maureen Conlon-Dorosh Laura Tait Chang Claudia Chudacoff Lisa Cridge Lysiane Gravel-Lacombe Jennifer Kim Regino Madrid Kim Miller Jennifer Rickard Chaerim Smith

Second Violins Henry Flory ^ Principal Arminé Graham ^ Katherine Budner ^ Jennifer Shannon ^ Cathy Stewart ^Doug Dubé Justin Gopal June Huang Karin Kelleher Alexandra Mikhlin Laura Miller Joanna Owen Jean Provine Rachel Schenker Ning Ma Shi Rachael Stockton

Violas Julius Wirth ^Principal Judy Silverman ^ Associate Principal emeritus Leonora Karasina ^Mark Pfannschmidt ^ Phyllis Freeman Stephanie Knutsen Margaret Lang Jennifer Rende Chris Shieh Derek Smith Tam Tran

Cellos Lori Barnet ^Principal Todd Thiel ^Kerry Van Laanen ^ Barbara Brown April Chisholm Danielle Cho Ken Ding Catherine Francis Andrew Hesse Beth Peterson Kristen Wojcik

Basses Robert Kurz ^Principal Shawn Alger Kelly Ali Barbara Fitzgerald William Hones Michael Rittling Mark Stephenson

Flutes David Whiteside ^Principal Nicolette Oppelt David LaVorgna

Piccolo David LaVorgna

Oboes Mark Hill ^Principal Kathy Ceasar-Spall Fatma Daglar

English Horn Ron Erler

Clarinets Cheryl Hill ^Principal Carolyn Alvarez-Agria Suzanne Gekker

Bass Clarinet Carolyn Alvarez-Agria

Bassoons Erich Hecksher ^Principal Katherine Jones Sandra Sisk

Contrabassoon Nicholas Cohen

French Horns Michael Hall ^PrincipalMark Wakefield ^ Justin Drew David Smith Margaret Tung

Trumpets Chris Gekker ^Principal Robert Birch ^ Robert & Margaret Hazen ChairJohn Abbracciamento Brent Madsen

Trombones David Sciannella ^Principal James Armstrong Jeffrey Cortazzo

Tuba Willie Clark

Timpani & Percussion Tom Maloy ^Principal Aubrey Adams Curt Duer Robert Jenkins Bill Richards

Harp Rebecca Smith Elizabeth Blakeslee

Keyboard William Neil Jeffery Watson Theodore Guerrant

Sopranos Jacqueline AndrosMarietta R. BalaanEmily A. BellMary Bentley *Jocelyn BondCheryl BranhamKristin BrownRebecca Carlson **Cheryl CastnerAnne P. ClaysmithNancy A. ColemanEileen S. DeMarcoLauren DrinkwaterAlejandra Durán-BöhmeLisa EdgleyDaniela Fiore

Meg FlanaganSarah B. FormanCaitlin A. Garry **Carole L. HaasDenise R. HardingEtahjayne H. HarrisLinda HoslerRobyn KleinerJessica Holden KlodaEun Hye KimJoanna LamCarolyn Rodda LincolnKaelyn LowmasterSharon Majchrzak-HongKathryn McKinleySara W. MosesKatherine Nelson-Tracey *Mary Beth NolanGloria NutzhornJuliana S. O’NeillLynette PosorskeEmily PulseMaggie RheinsteinCarlotta RichardLisa RomanoTheresa RoysKatherine SchnorrenbergCarolyn J. SullivanChelsea ToledoCathlin TullyEllen van ValkenburghSusanne VillemaretteJessica WilliamsLynne WoodsSara Zoeller

Altos Helen R. AltmanToni BarrettCarol BrunoCarolyn ChuhtaMelissa CulpErlinda C. DancerSandra L. DaughtonJenelle M. DennisDeirdre FeehanRobin FillmoreShannon FinneganElissa FrankleFrancesca Frey-KimMaria A. FriedmanJulia C. FriendAndrea FrischElizabeth Bishop GemoetsJeanette GhatanSarah GilchristLois J. Goodstein

Jacque GrenningStacey A. HenningJean HochronSara M. Josey *Marilyn KatzIrene M. KirkpatrickMartha J. Krieger **Meg LarkinMelissa J. Lieberman *Corinne LoertscherJulie S. MacCarteeNansy MathewsSusan E. MurrayDaryl NewhouseMartha NewmanPatricia PillsburyAnn E. Ramsey-MoorBeryl M. RothmanLisa RovinSamantha ScheffJan SchiavoneDeborah F. SilbermanLori J. SommerfieldCarol A. SternPattie SullivanBonnie S. TempleVirginia Van BruntChristine VockeSarah Jane Wagoner **Wendy J. Weinberg

Tenors Kenneth BailesJ.I. CanizaresColin ChurchPaul J. DeMarcoRuth W. Faison *Yubin HungDon JanskyJoseph E. JonesCurt JordanTyler A. LoertscherJane LyleDavid MalloyMichael McClellanChantal McHaleEleanor McIntireWayne Meyer **Tom MilkeRolf MoeckelTom NessingerSteve NguyenDrew RiggsDennis Vander TuigTyler Zimmerman

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

Theodore Guerrant Accompanist, Theodore M. Guerrant Chair

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

National philharmonic Orchestra and Chorale

Prague for an opera, La Clemenza di Tito, which needed to be ready four weeks later for the coronation of Em-peror Leopold II as King of Bohemia. Simultaneously, he was completing The Magic Flute. Immediately after the first performance of The Magic Flute, Mozart began intensive work on the Requiem. On Dec. 4, he was still laboring over it and even sang parts of it for his family and a few friends, but on that evening, when he was previewing the opening of the Lac-rymosa, he burst into tears, and the impromptu performance ended. With-in hours, Mozart died. Although he

left three movements incomplete, the Requiem nevertheless remains Mo-zart’s masterpiece. The monumental and sober work utilizes rich contra-puntal textures— tributes to the Ba-roque masters Bach and Handel; Mo-zart cherished the Baroque fugue that Constanze had especially strongly en-couraged him to study.

The orchestration Mozart intend-ed appears in his opening Introit, and dominates the dark, rich sound of the work. Notably absent are flutes and oboes; instead, Mozart secures mourn-ful sounds from basset horns and bas-soons. The intensity of chorus and

orchestra appears early although the work begins quietly and pensively, and the opening movement ends with a double fugue.

The first public performance of the Requiem occurred in Vienna in 1792. The Requiem requires soprano, mez-zo-soprano, tenor and baritone solo-ists and a four-part chorus. The piece is darkly scored for two basset horns (a form of tenor clarinet in use at the time), two bassoons, two trumpets, three trombones, timpani, strings and organ.

©Susan Halpern, 2014




Thursday, November 6, 2014, 8 p.m.

About RADHE RADHE: Rites of Holi from Vijay IyerA few years ago we were invited to commemorate the 100th anniversary of Stravinsky and Nijinsky’s notorious work of music and dance, Le Sacré du Printemps.

We chose to work together on a piece about a very different springtime ritual, one closer to our reality. Holi celebrates the meeting of the earthly and the divine. The mortal-born Rad-ha’s contact with the god Krishna per-sonifies our interactions with the forc-es of nature.

The only detail we borrowed direct-ly from Stravinsky is the 12-episode form, which helps us draw attention to the different stages of Holi and var-ious aspects of the goddess Radha. As a composer, I was guided by the film’s inherent pulses— the rhythms of a people in transformation. The process

of contemplating these energies took us both somewhere unexpected. I hope it does the same for you. Thanks for watching and listening.

About RADHE RADHE: Rites of Holi from Prashant BhargavaWhen Vijay asked me to respond to Stravinsky’s The Rite of Spring with a project about Holi, the connection was not immediate. The Rite of Spring is a dark, dissonant work, and Holi is a joyous festival. Where could the two meet?

Stravinsky and Nijinsky were two exiles who drew from their ancestral folklore. With this parallel in mind, we decided to shoot the festival of Holi in the mythological home of Krish-na and Radha, in the Braj region of Uttar Pradesh. Shooting was chaotic and cathartic: every evening for eight

days, our crew returned drenched in color, beaten and exhausted, only to be swept back up in more feverish cel-ebrations the next morning.

At home, I sifted through the hours of footage while listening to The Rite of Spring. Letting go of when or where the footage was shot, I started sculpt-ing the edit around the arc of Stravin-sky’s chapters. To complete the work, I wanted to show Radha not just adored and desired by her devotees, but also as a woman on a transforming journey. Anna George’s role explores Radha as a living force.

Incorporating sounds of the actu-al event, Vijay’s composition propels us to a state of renewal. When I wit-nessed the live performance along-side the film it was beyond my imagi-nation. I consider Vijay and myself in the tradition of those two exiles, chal-lenging audiences by creating some-thing new from the old.

Vijay IyerGrammy-nom-inated compos-er-pianist Vijay Iyer, described by Pitchfork as “one of the most interesting and vital young pianists in jazz today,” was re-

cently named DownBeat Magazine’s 2014 Pianist of the Year. He also is a 2013 MacArthur Fellow and a 2012 Doris Duke Performing Artist.

In March 2014, Iyer released the album Mutations, which features his original music for piano, string quartet and electronics. His previous release, Holding It Down: The Veterans’ Dreams Project (2013), was his third collabora-tion with poet Mike Ladd, based on the dreams of veterans of color from Amer-ica’s wars in Iraq and Afghanistan. It was hailed as the No. 1 Jazz Album of the Year by the Los Angeles Times.

Iyer’s many collaborators in-clude Steve Coleman, Wadada Leo Smith, Roscoe Mitchell, Butch Mor-ris, George Lewis, Amina Claudine JiM

My

Katz

THURSDAY, NOVEMBER 6, 2014, 8 P.M.

●Strathmore Presents

Vijay Iyer—Music of Transformation RaDHe RaDHe: Rites of Holi

Music by Vijay IyerFilm by Prashant Bhargava

Featuring Anna George as RadhaPerformed by the International Contemporary Ensemble (ICE)

with Tyshawn Sorey, percussion; Michi Wiancko, violin; Miranda Cuckson, viola

Conducted by David Fulmer

Mutations I-XVijay Iyer, piano, electronics

Miranda Cuckson, violinMichi Wiancko, violinKyle Armbrust, viola

Kivie Cahn-Lipmann, cello

RADHE RADHE: Rites of Holi was created for and commissioned by Carolina Performing Arts at The University of North Carolina at Chapel Hill. Additional commissioning funds for revision and completion of the work were provided by The Brooklyn Academy of

Music/Next Wave Festival, CAP UCLA and The Strathmore Hall Foundation.



Myers, and William Parker. His com-positions have been commissioned and performed by Bang on a Can All-Stars, The Silk Road Ensem-ble, Ethel, Brentano String Quartet, JACK Quartet, American Compos-ers Orchestra, Hermès Ensemble, In-ternational Contemporary Ensemble, and Imani Winds.

Iyer recently finished a multi-year residency with San Francisco Perfor-mances, performing and working with schools and community organiza-tions. In 2014 he began a permanent appointment at Harvard University’s Department of Music, as the Franklin D. and Florence Rosenblatt Professor of the Arts.

Prashant BhargavaPrashant Bhargava is an award-win-ning filmmaker and commercial di-rector/designer, described by produc-er Anthony Bregman as “visionary and soulful,” “masterful” by Roger Ebert and “a humanist and a real tal-ent” by Michael Phillips of the Chi-cago Tribune.

Bhargava’s feature length directori-al debut, Patang (The Kite), premiered at the Berlin Film Festival and in the main competition at the Tribeca Film Festival. It won Best Feature Narra-tive at the Hawaii Film Festival, Best World Narrative at the Indy Film Festival, a Special Jury Award at the Osians Film Festival in New Delhi, Best Feature Narrative at the DC APA Film Festival and Best Director and Best Film at the SAIFF’s Rising Star Film Awards.

Other directorial efforts include the documentary portrait of his grand-mother, Ammaji, experimental Super 8 short Backwaters, and the poignant and meditative Kashmir, a film and live music performance with electron-ic band Dawn of Midi.

About International Contemporary EnsembleThe International Contemporary En-semble (ICE) is dedicated to reshap-ing the way music is created and ex-perienced. With a modular makeup

of 33 leading instrumentalists per-forming in forces ranging from solos to large ensembles, ICE functions as performer, presenter, and educa-tor, advancing the music of our time by developing innovative new works and new strategies for audience engagement.

Since its founding in 2001, ICE has premiered more than 500 composi-tions around the world. ICE was en-semble-in-residence at the Museum of Contemporary Art Chicago through 2013. The ICE musicians also served as artists-in-residence at the Most-ly Mozart Festival of Lincoln Center through 2013, curating and perform-ing chamber music programs that jux-tapose new and old music.

Recent and upcoming highlights include headline performances at the Lincoln Center Festival (New York), Musica Nova Helsinki (Finland), Wien Modern (Austria), Acht Brück-en Music for Cologne (Germany), La

Cité de la Musique (Paris) and tours of Japan, Brazil and France.

With leading support from The Andrew W. Mellon Foundation, ICE launched ICElab in early 2011. This program places teams of ICE musi-cians in close collaboration with six emerging composers each year to de-velop works that push the boundaries of musical exploration. ICElab pro-jects will be featured in more than one hundred performances from 2011to 2014, and will be documented online through ICE’s blog, and DigitICE, a new online venue.

Staff for ICE includes Claire Chase, artistic director/CEO; Joshua Rubin, program director; Jonathan Harris, business manager; Ross Karre, produc-tion director; Jacob Greenberg, educa-tion director; Rebekah Heller, devel-opment associate; Ryan Muncy, grants manager; Forrest Wu, assistant to the artistic director/CEO; Maciej Lewan-dowski, program assistant.


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saturday, November 8, 2014, 8 p.m.

About the Academy of Ancient Music For more than 40 years the Acade-my of Ancient Music (AAM) has en-riched the lives of thousands the world over with historically informed perfor-mances of baroque and classical music.

In 2006 Richard Egarr succeeded founder Christopher Hogwood as music director, and has since led the orchestra on tours of Europe, Australia, the Unit-ed States and the Far East. His notable

recordings with AAM include J.S. Bach’s Brandenburg Concertos, Handel’s complete instrumental works Opp.1-7, music by the 17th century English com-poser Christopher Gibbons, and Birth of the Symphony: Handel to Haydn, the first release on the orchestra’s in-house record label AAM Records.

The AAM’s 2014-2015 season will include Monteverdi’s L’incoronazione di Poppea and Mozart’s magisterial piano concertos. Planned releases on AAM

Records in 2014-2015 include recordings of J.S. Bach’s Orchestral Suites and the 1727 version of the St. Matthew Passion.

The AAM is associate ensemble at London’s Barbican Centre and orches-tra-in-residence at the University of Cambridge.

Richard Egarr Described as “the Bernstein of Early Music” by NPR, Richard Egarr brings a joyful sense of adventure and a keen, inquiring mind to all his music-making. He is renowned for directing from the keyboard, conducting, playing concertos (on the organ, harpsichord, fortepiano or modern piano), giving solo recitals, playing chamber music, or talking about music at any available opportunity.

Since 2006 Egarr has been music director of the Academy of Ancient Music, with whom current plans include a three-year Monteverdi opera cycle at the London’s Barbican Centre, where the orchestra is associate ensemble.

Egarr regularly appears as guest di-rector with other leading ensembles, ranging from Boston’s Handel and Haydn Society to the Royal Con-certgebouw and Philadelphia orches-tras. He is currently principal guest conductor of the Residentie Orchestra in The Hague, and associate artist of the Scottish Chamber Orchestra. He also holds teaching positions at the Juilliard School and at the Amster-dam Conservatorium.

Egarr’s plans for 2014-2015 in North America include an eight-concert tour with the Academy of Ancient Music, with appearances at Carnegie Hall and Walt Disney Concert Hall; his debut with the Seattle Symphony Orchestra; a return to the Handel and Haydn Society, Bos-ton; Purcell’s Dido and Aeneas with Les Violons du Roy at Carnegie Hall in April; and a Bach and Handel harpsichord recit-al, also at Carnegie Hall, in January

History of the Academy of Ancient MusicWhen Christopher Hogwood found-ed the group in 1973, the world’s or-chestras performed old music in a thoroughly modern style. The works

SATURDAY, NOVEMBER 8, 2014, 8 P.M.


academy of ancient Music Richard egarr, director & harpsichord

Orchestral Suite No. 4, BWV 1069 (c.1725) Johann Sebastian Bach Ouverture (1685-1750) Bourrée I-II Gavotte Minuet I-II Réjouissance

Orchestral Suite No. 2, BWV 1067 (c.1738-9) Ouverture Rondeau Sarabande Bourrée I-II Polonaise (Lentemente) – Double Minuet Badinerie

Orchestral Suite No. 1, BWV 1066 (c.1725) Ouverture Courante Gavotte I-II Forlana Minuet I-II Bourrée I-II Passepied I-II

Orchestral Suite No. 3, BWV 1068 (1731) Ouverture Air Gavotte I-II Bourrée Gigue



First Violin Pavlo Beznosiuk

Second Violin Bojan Cicic

ViolaJane Rogers

Cello Jonathan Rees

Double BassJudith EvansFlute Rachel Brown

Oboes Frank de BruineLars HenrikssonGail Hennessy

Bassoon Ursula LeveauxTrumpetsRichard FomisonRichard ThomasTim Hayward

TimpaniBenedict Hoffnung

of Bach, Handel, Haydn and Mozart were enshrouded by the accumula-tion of centuries of shifting tastes and incremental developments in instru-ment building and design.

With the creation of the Academy of Ancient Music, centuries of con-vention were cut away. The instru-ments are originals, or faithful copies of them. The strings are made of ani-mal gut, not steel; trumpets have no valves; violins and violas don’t have chinrests; and cellists cradle their in-struments between their legs rather

than resting them on the floor. The result is a sound that is bright, imme-diate and striking. Additionally, the size of the orchestra is often small by modern standards, meaning that every instrument shines through and the original balance of sound is restored. Also, AAM strips away a score’s later additions and editors’ annotations to get back to the composers’ initial notes, markings and ideas.

There’s also a difference in the way AAM approaches music-making. Composers prized musicians’ creativity

and expected them to make music come alive and to communicate its thrill to audiences. To that end, AAM often doesn’t have a conductor, but is directed by one of the musicians.

AAM aims to recapture the inti-macy, passion and vitality of music when it was first composed. The re-sult is performances that are full of energy and vibrancy, and which com-bine the superb artistry and musi-cal imagination of the players with a deep understanding of music as it was originally performed.


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academy of ancient Music


Wednesday, November 12, 2014, 8 p.m.

Ludovico EinaudiLuminous, emotive, effortlessly lyri-cal and always supremely refined, the music and performance of Ludovico Einaudi have attracted a growing au-dience over the past two decades.

His music has often been heard in Hollywood blockbusters, including Black Swan, The Reader, This Is England, and J. Edgar, as well as high profile ad campaigns. The National Basketball Association Championships, Nissan, American Airlines, and Sony Blu Ray all are among the many who have used Einaudi’s lyrical, atmospheric works.

Einaudi’s earliest musical recollec-tion is listening to his mother, Renata

Aldrovandi, playing the piano and it’s from her that he feels he inherit-ed his musical passion. Musical abil-ity is a strong trait on that side of the family as Einaudi’s maternal grandfa-ther, Wando Aldrovandi, was a noted pianist, opera teacher and conductor. Wando Aldrovandi also helped estab-lish the Sydney Opera Company and the Sydney Symphony Orchestra.

Einaudi was born in Turin, Italy on Nov. 23, 1955. He applied him-self to his traditional studies and won a place at one of Italy’s most prestig-ious conservatories, Milan’s Conserva-torio ‘G. Verdi,’ where he trained as a classical composer and pianist before

continuing his studies with Luciano Berio, one of the most important com-posers of the 20th century avant-garde.

Performances duly followed at ven-ues including the Teatro alla Scala, Milan; the Maggio Musicale Fioren-tino; the Tanglewood Festival; Pierre Boulez’s IRCAM Institute in Paris; the St Paul Chamber Orchestra (USA); Settembre Musica; Lincoln Center in New York; the UCLA Centre for Per-forming Arts; and the Budapest Music Festival. However, he turned away from what seemed a glittering classical career to forge his own musical path, giving him the freedom to reconcile his wider-ranging influences.

“The serious music world began to seem very academic and oppressive. I was very captured by the conceptual ideas of the music I was writing but I couldn’t find myself inside. I felt there wasn’t a connection with my emotion-al side ... I began to notice that when I was able to leave free space inside the experimental pieces, these were the moments I liked most ... I also felt that I didn’t want to leave out all the music I had experienced in my life; popular music, rock music.”

And so in the mid-1980s he began to break with orthodoxy and search for a more personal mode of expression, one that could reconcile and provide a vehicle for his various musical influ-ences and ideas. His first experiments in this direction were via a series of col-laborative works in theater, dance and multimedia, forms which naturally de-manded a much looser and more exper-imental approach, and also allowed for a greater emphasis on rhythm and rep-etition than was allowed by the tradi-tional establishment in concert works.

The new musical language he had ar-rived at was a synthesis of various music he enjoyed and felt empathy with, from echoes of classical composers such as Philip Glass and Steve Reich to the ‘ambience’ of Brian Eno to world music to rock and pop bands such as U2 and Pink Floyd. Over a lifetime he had taken in these and other influences and was now able to connect them, forging his personal language from the result.

WEDNESDAY, NOVEMBER 12, 2014, 8 P.M.


ludovico einaudi and ensemble present In a Time lapse

Federico Mecozzi, violin and guitarMarco Decimo, cello

Redi Hasa, acoustic and electric celloAlberto Fabris, live electronics and electric bass

Francesco Arcuri, kalimba, steel drums and guitarsRiccardo Lagana, percussion


LuDOVICO EINAuDI

Thursday, May 1, 2014, 8 p.m.



Tony Kishman (Paul McCartney), bass guitar, piano, vocalsSinger-songwriter Tony Kishman was born in Tucson, Ariz., where he began his musical career in the early 1970s. Although he had been playing guitar for a number of years, it was not until age 19 that Kishman started per-forming seriously.

Kishman’s early influences included

Wishbone Ash, Bad Company and Peter Frampton. Between 1973 and 1978, he played guitar in the group Cheap Trix, a cover band performing Top 40 as well as originals. Starting in 1979, Kish-man played bass and guitar for six years as Paul McCartney in both the nation-al and international tours of Beatlema-nia. He then went on to perform in Leg-ends in Concert and produced shows that ran in Las Vegas and Lake Tahoe.

Jim Owen (John Lennon), rhythm guitar, piano, vocalsJim Owen was born and raised in Hun-tington Beach, Calif. He gained rich musical experience from his father, who played music on the piano and from his extensive library of record-ings. Owen began studying the piano at age 6 and won honors in various piano performance competitions through his teenage years. He was 8 years old when he first heard The Beatles, and prompt-ly decided to take up the guitar.

Owen’s first professional perfor-mance as a Beatle was at 16. Then, at age 18, he began touring interna-tionally with various Beatles tribute productions, visiting Japan, Korea, China, Canada, Mexico, and much of South America. In 1996, Owen began working on his idea for a new show with orchestra. Classical Mystery Tour was the result.

David John (George Harrison), lead guitar, vocals Originally from Nebraska but now liv-ing in Salt Lake City, Utah, David John has been performing in vari-ous musical acts since age 17. He has shared the stage as an opening act with the Beach Boys, Chicago, Peter Noone & Herman’s Hermits, Young Rascals, Glen Campbell, America, Kansas, Styx, Peter Frampton, Night Ranger, Ted Nugent, Romantics, K.C. and the Sunshine Band, Hall & Oates, Hootie & the Blowfish, John Waite, Big Bad Voodoo Daddy, Buddy Guy and the Temptations.

Chris Camilleri (Ringo Starr), drums, vocalsBorn and raised on Long Island, N.Y., Chris Camilleri had a convenient drum teacher: his dad. He started lis-tening to Beatles records at a young age, and for many years played drums and sang along to the recordings. Gradually he gravitated to progressive rock bands, but retained a fondness for The Beatles and eventually formed the internationally renowned Beatles cover band Liverpool.

THURSDAY, NOVEMBER 13, 2014, 8 P.M.

●Baltimore Symphony Orchestra

Marin alsop, Music Director

Jack everly, principal pops Conductor

Presents

Classical Mystery TourThe Beatles’ 1964 summer tour set, as performed

at the Baltimore Civic Center on Sunday, Sept. 13, 1964:“Twist and Shout”

“You Can’t Do That”“All My Loving”

“She Loves You”“Things We Said Today”“Roll Over Beethoven”“Can’t Buy Me Love”

“If I Fell”“I Want to Hold Your Hand”

“Boys”“A Hard Day’s Night”

“Long Tall Sally”

INTERMISSIONPerforming selections from the following:

“Back in the USSR”“Come Together”“Dear Prudence”“Drive My Car”

“Get Back”“Golden Slumbers/Carry That Weight/The End”

“Got to Get You Into My Life”“Hello, Goodbye”

“Here Comes the Sun”“I Am the Walrus”

“Imagine”“Lady Madonna”

“Let It Be”“Ob-la-di, ob-la-da”

“Revolution”“Sgt. Pepper’s Lonely Hearts Club Band”

“While My Guitar Gently Weeps”“With a Little Help From My Friends”

Please note that the BSO does not perform on this program



Friday, November 14, 2014, 8:15 p.m.

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Marin Alsop, conductorMarin Alsop is an inspir-ing and power-ful voice in the international music scene, a music director of vision and distinction who

passionately believes that “music has the power to change lives.” She is recognized across the world for her innovative approach to programming and for her deep commitment to ed-ucation and to the development of audiences of all ages.

Alsop made history with her ap-pointment as the 12th music director of the Baltimore Symphony Orchestra. With her inaugural concerts in Septem-ber 2007, she became the first woman to head a major American orchestra.

She also holds the title of conductor emeritus at the Bournemouth Sym-phony Orchestra in the United King-dom, where she served as the principal conductor from 2002 to 2008.

Her success as the BSO’s music direc-tor has garnered national and interna-tional attention for her innovative pro-gramming and artistry. Additionally, her success was recognized when, in 2013, her tenure was extended to the 2020-2021 season. Alsop took up the post of chief conductor of the São Paulo Sym-phony Orchestra in 2012, where she steers the orchestra in its artistic and cre-ative programming, recording ventures, and its education and outreach activities.

In the summer of 2014, Alsop served her 23rd season as music director of the acclaimed Cabrillo Festival of Con-temporary Music in California. Musical America, which named Alsop the 2009 Conductor of the Year, recently said,

“[Marin Alsop] connects to the public as few conductors today can.”

Didi Balle, playwright and stage director

In the spring of 2013, Marin Alsop and the Baltimore Sym-phony Orches-tra announced the appointment of Didi Balle as

the organization’s first playwright-in-residence. Tchaikovsky: Mad But For Music (April 2015) marks the fifth successful symphonic play collabora-tion and world premiere with Alsop and the BSO. Other commissioned works with Alsop include: CSI: Mo-zart; A Composer Fit for a King: Wagner & Ludwig II; Analyze This: Mahler & Freud and CSI: Beethoven. Symphon-ic plays commissioned and premiered by the Philadelphia Orchestra include Shostakovich: Notes for Stalin and The Secret Life of Isaac Newton.

Didi Balle’s work as a writer and di-rector includes commissions, broad-casts and stage productions of her work from symphonic plays, radio mu-sicals, musical theater, song cycles and opera. She’s created a new genre called symphonic plays borne out of a friendship and dynamic collaboration with Marin Alsop.

Founding director of Symphon-ic Stage Shows, Balle received her MFA from NYU’s Tisch School of the Arts, where she was awarded the Oscar Hammerstein Scholarship as a playwright-lyricist. Didi Balle is also a published writer and journalist and worked as an editor for The New York Times for 13 years.

Jered McLeniganJered McLenigan is a Philadelphia-based perform-er reprising the role of Shosta-kovich, which he performed with The Philadelphia

FRIDAY, NOVEMBER 14, 2014, 8:15 P.M.


Marin alsop, Music Director Presents

Off the Cuff shostakovich: Notes for stalin

Marin alsop, conductor Jered Mclenigan, actor

Richard poe, actorTony Tsendeas, actor

A Symphonic Play written and directed by Didi Balle

Symphony No. 5 in D minor, Op. 47 Dmitri Shostakovich Moderato (1906-1975) Allegretto Largo Allegro non troppo al

The concert will end at approximately 9:45 p.m. World premiere, philadelphia Orchestra,

conductor Yannick Nézet-séguin, March 1, 2013




Orchestra. He has worked with com-panies such as the Walnut Street Theatre, Wilma Theater, Lantern Theater, Theatre Exile, 1812 Produc-tions, InterAct Theatre and Delaware Theatre Company.

He appeared off-Broadway in Inis Nua Theatre’s critically acclaimed production of Dublin by Lamplight at 59E59, which was part of the First Irish Theatre Festival. McLenigan received a Barrymore Award for Outstanding Supporting Actor in a Play for his role in It’s a Wonderful Life, a Live Radio Play (Prince Music Theater) and was recently nominated for the same award for his turn as Marc Antony in Julius Caesar (Lantern Theater).

He will next appear as Guildenstern in the Wilma Theater’s upcoming pro-ductions of Hamlet and Rosencrantz and Guildenstern are Dead.

Richard PoeRichard Poe re-cently played Ev-erett Dirksen in All the Way on Broadway. He re-ceived the 2013 Barrymore Award for Best Actor for

his performance in The Outgoing Tide at the Philadelphia Theatre Company. On Broadway he’s been part of M. Butterfly (1988 Tony Award, Best Play), The Pa-jama Game with Harry Connick Jr. (2006 Tony Award, Best Musical Revival) and Journey’s End (2007 Tony Award, Best Play Revival). He has created roles in the premieres of plays by Christopher Du-rang and Paul Rudnick and toured the country as the First Gangster in the Tony Award-winning revival of Kiss Me, Kate.

On television, he has appeared on “Law & Order,” “Ed,” “Pride and Joy” and “Army Wives,” and has had recur-ring roles on “Frasier” and “The Five Mrs. Buchanans,” and was Gul Evek on “Star Trek: The Next Generation,” “Star Trek: Deep Space Nine” and “Star Trek: Voyager.” His films include roles in Speechless, Presumed Innocent, Transamerica, Born on the Fourth of July and Burn After Reading.

Tony TsendeasTony Tsendeas has appeared in Didi Bal-le’s symphonic stage shows with The Colorado Symphony and The Philadel-phia Orchestra.

Shows with the BSO include CSI: Mo-zart, CSI: Beethoven and Analyze That: Mahler and Freud.

Tsendeas’ work has received criti-cal acclaim both in the U.S. and Eu-rope. He was the artistic director of

the highly regarded Action Theater and was an artistic associate of the Baltimore Shakespeare Festival. He is a member of the theater faculty of the Baltimore School for the Arts. He was nominated for best actor in the Edinburgh Fringe Festival by London’s Stage Magazine for his performance in BeckettLand, which he also direct-ed. Tsendeas also was nominated for a Helen Hayes award as best director for Wittenberg at Rep Stage.

Film and television credits include HBO’s “The Wire,” “Homicide: Life on the Streets,” and programs on The Learn-ing Channel and The Discovery Channel.

Friday, November 14, 2014, 8:15 p.m.

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

Second ViolinsQing LiPrincipal, E. Kirkbride and Ann H. Miller ChairIvan StefanovicAssociate PrincipalAngela LeeAssistant PrincipalLeonid BerkovichLeonid BriskinJulie ParcellsChristina ScrogginsWayne C. TaylorJames UmberCharles UnderwoodMelissa ZarayaMinsun Choi**

ViolasLisa SteltenpohlPrincipal, Peggy Meyerhoff Pearlstone ChairNoah ChavesAssociate PrincipalKarin BrownAssistant PrincipalRebekah NewmanRichard FieldViola Principal EmeritusPeter MinklerSharon Pineo Myer

Delmar StewartJeffrey StewartMary Woehr

CellosDariusz SkoraczewskiPrincipal, Joseph and Rebecca Meyerhoff ChairChang Woo LeeAssociate PrincipalBo LiActing Assistant PrincipalSeth LowSusan EvansEsther MellonKristin OstlingPaula Skolnick-ChildressPei Lu**

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

FlutesEmily SkalaPrincipal, Dr. Clyde Alvin Clapp ChairMarcia Kämper

PiccoloLaurie Sokoloff

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

English HornJane MarvineKenneth S. Battye and Legg Mason Chair

ClarinetsSteven BartaPrincipal, Anne Adalman Goodwin ChairChristopher WolfeAssistant PrincipalWilliam Jenken

E-flat ClarinetChristopher Wolfe

BassoonsFei XiePrincipalJulie Green GregorianAssistant PrincipalSchuyler Jackson**

ContrabassoonDavid P. Coombs

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

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

TrombonesAaron LaVerePrincipal, Alex Brown & Sons ChairJames OlinCo-PrincipalJohn Vance

Bass TromboneRandall S. Campora

TubaSeth Horner**

TimpaniJames WymanPrincipalChristopher WilliamsAssistant Principal

PercussionChristopher WilliamsPrincipal, Lucille Schwilck ChairJohn LockeBrian Prechtl

HarpSarah Fuller**

PianoLura Johnson**Sidney M. and Miriam Friedberg Chair

Director of Orchestra PersonnelNishi Badhwar

Assistant Personnel ManagerDavid George

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

Stage PersonnelEnnis SeibertStage ManagerTodd PriceAssistant Stage ManagerCharles LamarAudio EngineerMario SerrutoElectrician

* On leave** Guest musician

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

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

Jack Everly, Principal Pops ConductorYuri Temirkanov, Music Director Emeritus

Nicholas Hersh, Assistant ConductorMichael Repper, BSO-Peabody Conducting Fellow


Giant.” Along with his TV work, he invested three years of development and received over $1 million in in-vestments from Broadway and Euro-pean producers for his comical theater spectacle: the Matrix show “Glow!” The show was launched in Belgium in August 2008.

VOCA People was an idea Kal-for carried in his mind for almost four years until the first rehearsals in Feb-ruary 2009 took place. The first video clip of VOCA People was launched in April 2009 on YouTube and had more than 6 million views worldwide after only four months. Shai FishmanShai Fishman has been writing and creating music since age 8. His credits as a composer include Dino-saur’s Prophecy, 2012: Secrets of the Mayans, Night of the Titanic and the IMAX film Future Moon. His original musical theater productions include: Brecht’s The Caucasian Chalk Cir-cle, Rachav’s Cabaret, The Dream: A Band, Return to Sender, Samson & Del-ilah, and Towards the Horizon.

Fishman recently was honored for his musical direction and arrange-ments on T-Mobile’s “Welcome Back” campaign and received the BTAA’s 2011 Best Commercial of the Year. He serves as head composer for NASA, Houston Museum of Natural Science, Avela Communications, Carnegie Museum of Natural History E-plane-tarium, and Rice University.


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About VOCA PeopleFull of energy and bursting with fun, the international hit VOCA People features a repertoire of more than 80 a cappel-la and beat box versions of beloved and iconic songs, including favorites from Bruno Mars, Queen, and Mozart. The interactive show invites the audience to explore the history of music, music of the silver screen, and favorite love songs.

VOCA People had a year-long Off-Broadway run and enjoyed its first 35-city tour in 2013.

What began as an overnight YouTube sensation—with 50 million hits and counting—is now a world-renowned show that has excited and delighted

audiences in more than 20 countries around the globe since 2009.

Lior KalfoLior Kalfo is an award-winning actor and creator. In 1995, he co-wrote and starred in one of Israel’s most popu-lar TV comedy series, “The Comedy Store,” which ran for 102 episodes. The show won numerous awards including The Golden Album and The European Golden Antenna for best comedy series.

In 2003, he established the Is-raeli Black Light Theater Fun-Tazi with three shows: “Fun-Tazi,” “Fun-Tazi Kids,” and an original version of Oscar Wilde’s classic tale “The Selfish



VOCa peopleCast:

Nicholas Michael AnastasiaBar Klein

Uri ElkayamLaura DadapMark MartinTiago Grade

Bryant Charles VanceMichal Reshef

lior Kalfo, Creator and Director shai Fishman, Composer, arranger and Music Director

Revital & Lior Kalfo, Leeorna Solomons, Doron Lida, ProducersCindy Sibilsky, Associate Producer USA

LIDOR ENTERTAINMENT, International Management Doron Lida, Leeorna Solomons, Worldwide Touring

Ronen Sharon, Company Manager Gadi Bachar, Artistic Director Ornit Egosi, Marcom Manager

Cindy Sibilsky, USA Marketing Manager Roy Milo, Lighting Designer Lior Kalfo, Choreography

Hana Yefet, Costumes David Ottone, Gilad Kimchi, Artistic Advisors

Kimberly Carbone, Sound Operator Alon Eittan, Light Operator

Adi Kozlovsky, Tour Manager



sunday, November 16, 2014, 3 p.m.

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Marin Alsop, conductorMarin Alsop is an inspiring and powerful voice in the internation-al music scene, a music director of vision and dis-tinction who pas-sionately believes

that “music has the power to change lives.” She is recognized across the world for her innovative approach to programming and for her deep com-mitment to education and to the de-velopment of audiences of all ages.



Her success as the BSO’s music di-rector has garnered national and inter-national attention for her innovative programming and artistry. Addition-ally, her success was recognized when, in 2013, her tenure was extended to the 2020-2021 season. Alsop took up the post of chief conductor of the São Paulo Symphony Orchestra in 2012, where she steers the orchestra in its artistic and creative programming, re-cording ventures, and its education and outreach activities.

In the summer of 2014, Alsop served her 23rd season as music director of the acclaimed Cabrillo Festival of Con-temporary Music in California. Musical

America, which named Alsop the 2009 Conductor of the Year, recently said, “[Marin Alsop] connects to the public as few conductors today can.”

Boris Giltburg, piano Pianist Boris Giltburg was born in 1984 in Moscow and has lived in Tel Aviv since early childhood. He began lessons with his moth-

er at age 5 and went on to study with Arie Vardi. In 2013, he took first prize at the Queen Elisabeth Competition, having won second prize at the Rubin-stein in 2011 and top prize at Santand-er back in 2002, and subsequently ap-pearing across the globe.

Notable debuts have included: South America tour 2002 (and every season since), Israel Philharmonic Orchestra 2005, Indianapolis Symphony Orches-tra 2007, China tour 2007 and BBC Proms 2010. His acclaimed CD on Or-chid Classics of Prokofiev’s “War” sona-tas was released in 2012, earning him a place on the shortlist for the Crit-ics’ Award at the Classical Brits. He has appeared with leading conductors such as Brabbins, De Waart, Dohnanyi, Entremont, Fedoseyev, Neeme Jaer-vi, Karabits, Krivine, Lintu, Petrenko, Saraste, Sokhiev and Tortelier.

Program Notes

Marche slave, Op. 31

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

Piotr Tchaikovsky was usually too wrapped up in his music to pay much at-tention to what was happening in the larger world around him. But in the sum-mer of 1876, the tiny Balkan nations of Serbia and Montenegro declared war on Turkey in protest over Turkish massacres of Christians in the Balkans, and Ser-bia’s traditional ally Russia soon joined

SUNDAY, NOVEMBER 16, 2014, 3 P.M.



PresentsRachmaninoff & shostakovich

Marin alsop, conductor Boris Giltburg, piano

Marche slave, Op. 31 Piotr Ilyich Tchaikovsky (1840-1893)

Piano Concerto No. 1 in F-sharp minor, Op. 1 Sergei Rachmaninoff Vivace (1873-1943) Andante Allegro vivace Boris Giltburg

INTERMISSION

Symphony No. 5 in D minor, Op. 47 Dmitri Shostakovich Moderato (1906-1975) Allegretto Largo Allegro non troppo

The concert will end at approximately 4:50 p.m.



in support. Russian volunteers left to fight alongside the Serbians, money was raised to aid both Serbian soldiers and civilians, and the entire country seemed caught up in sympathy for the suffering of their fellow Slavs.

Tchaikovsky, too, followed the con-flict with emotional fervor. When his friend and colleague Nikolai Rubin-stein, the head of the Moscow Con-servatory, approached the composer for a new piece to be performed at a fundraising concert in Moscow for the Slavonic Charity Committee, he responded with enthusiasm—in fact with such enthusiasm that he wrote his Marche slave, or Slavonic March, in less than a week. For suitable the-matic material, he turned to collec-tions of Serbian folk melodies and chose three for his vigorously tune-ful work. The most prominent is the somber descending melody that forms its opening section, while a livelier Serbian tune takes over in the mid-dle section. As illustration of Russia’s solidarity with Serbia, in the closing coda we hear the noble strains of the Russian Tsarist national anthem—fa-miliar to listeners for its prominent use in the 1812 Overture—proudly proclaimed by the brass.

Marche slave is a big, colorful and bombastic work designed to appeal to its listeners’ patriotic feelings. That it did most successfully at its premiere in Moscow on Nov. 17, 1876. One eyewit-ness wrote: “The rumpus and roar that broke out in the hall after this [piece] beggars description. The whole audi-ence rose to its feet, many jumped up onto their seats: cries of bravo and hur-rah were mingled together. The march had to be repeated, after which the same storm broke out afresh. ... It was one of the most stirring moments of 1876. Many in the hall were weeping.”

piano Concerto No. 1 in F-sharp minor, Op. 1

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

Listening to Rachmaninoff’s Concerto

No. 1, we hear the inspiration of ad-olescence mingled with the mature craft of a middle-aged man. That’s be-cause the version of this concerto per-formed today, although first written in 1890–91 when Rachmaninoff was only a teenager, was extensively re-vised by the composer in 1917 when he was 44 and had his immensely suc-cessful Piano Concertos nos. 2 and 3 under his belt. Interestingly, Rach-maninoff at 18 was already the spin-ner of bittersweet melodies and mas-ter of big musical gestures that have made him such an audience favorite. When he returned to his score at the height of the Russian Revolution, he didn’t change any of the melodies or the basic form of the work from his student days at the Moscow Conserva-tory. Instead, he used his vastly more sophisticated skills to refine the or-chestration, increase the effectiveness of the piano writing and update har-monies to the more chromatic lan-guage he’d adopted after 1900.

The dates 1891 and 1917 mark a profound transformation both in the composer’s life and the history of Russia. In 1891, Rachmaninoff was the scion of a well-to-do land-own-ing family and the star of the Mos-cow Conservatory. The czar still sat on his throne, and the young artist could look forward to a life of privi-lege and the tranquility he so sore-ly needed in order to create. By the fall of 1917, however, Nicholas II had been toppled, and Lenin and his Bolsheviks were brutally seizing con-trol. Desperate to flee the bloodshed and chaos, the composer pulled every string to get himself and his family out of Russia. While he waited for an es-cape route, he holed up in his Mos-cow apartment with the concerto he’d been meaning to revise for a decade. As the revolution swirled around him, he retreated into his own world: “I sat at the writing-table or the piano all day without troubling about the rat-tle of machine-guns and rifle-shots.” Shortly after the revision was com-pleted, he received an invitation for a Scandinavian concert tour. Hastily

obtaining visas, he, his wife and two daughters left Russia forever on Dec. 23, 1917. The world premiere of Piano Concerto No. 1 took place not in Rus-sia, but in New York City on Jan. 28, 1919. He would mourn his lost coun-try for the rest of his life.

The sonata-form first movement begins with a woodwind and brass fan-fare and a bravura descent in double octaves for the piano. It introduces us to Rachmaninoff the bold virtuo-so, blessed with enormous hands that matched his imposing height of 6 feet 5 inches. Then the strings introduce the first theme: a true Rachmaninoff melo-dy saturated with nostalgia and regret. After a fleet-fingered scherzando pas-sage comes another romantic theme, also in the violins, with a yearning half-step-upward resolution. The de-velopment section uses both themes extensively. And in a long, demanding cadenza near the end of the movement, the soloist gives the first theme the full treatment in rich, dense chords.

Movement two is a brief, lovely noc-turne in D major. The solo horn and the woodwinds are prominent here, and the horn begins with a four-note ascending motive, out of which the movement is woven. Dusky orchestral harmonies conjure night. The piano extends the four-note motive and then launches a long, rhapsodic melody. Later, the violins sing a variant of it while the piano shimmers above.

The Scherzo finale received most of Rachmaninoff’s retooling in 1917. He gave it a fresh introduction in which the orchestra and the piano bat-tle over whether the meter will be in three beats or four; three beats wins. Then the piano scampers away with two fleet, busy melodies. Rachmaninoff gives the pianist no breather—this is truly piano writing that separates the men from the boys. Relief only comes with a much slower trio section; here we have the last of this concerto’s great tunes: a lovely, gentle melody in the vi-olins, accompanied by the piano. After this interlude, the vigorous Scherzo returns, and orchestra and piano race each other to the finish line.




symphony No. 5 in D minor, Op. 47

Dmitri ShostakovichBorn in Sept. 25, 1906, St. Petersburg; died Aug. 9, 1975, in Moscow

For most of his career, Dmitri Shosta-kovich had “to walk a tightrope blind-folded without a safety net” (in the words of Russian-music scholar Laurel Fay), and this was especially true during the reign of Joseph Stalin, who fancied himself the Soviet Union’s supreme arts critic as well as supreme leader. While precariously maintaining his balance, Shostakovich constantly heard the thud of other leading Soviet artists fall-ing to their deaths. His mission impossi-ble was to remain true to his inner cre-ative voice while paying sufficient lip service to the regime to stay alive.

The years 1934 to 1938 were the era of the great Stalinist purges, during which millions of Soviet citizens, from peasants to generals, lost their lives. Early in 1934, the 27-year-old Shosta-kovich premiered a daring new opera, Lady Macbeth of the Mtsensk District,

the harsh dissonances of which mir-rored a lurid tale of lust and murder. For two years, Lady Macbeth was a pop-ular hit, until one evening in January 1936 Stalin paid a visit to the opera house. The opera’s gritty musical and theatrical drama infuriated the Soviet leader, who left the theater before the curtain fell. A few days later, a lead ar-ticle in Pravda denounced the opera under the heading “Muddle Instead of Music,” and a second scathing ar-ticle followed in February. Shostakov-ich instantly became a nonperson. Fel-low composers spoke out against him, while acquaintances crossed the street to avoid him. The composer lived in constant fear of the knock in the night summoning him to his doom; like many Soviet citizens, he kept a suit-case packed in readiness.

But the knock never came. And, strangely, in 1937, Shostakovich was given a chance to rehabilitate himself by writing a suitably triumphant sym-phony for Leningrad’s celebration of

the 20th anniversary of the Bolshe-vik Revolution. For this new sympho-ny, he determined to simplify his lan-guage, making it more consonant and tonal, more melodic and more pleas-ing in its instrumental sonorities.

Nevertheless, in the fierce drama of its first movement, the biting sarcasm of its second, the emotionally wrench-ing sorrow of its third, and the com-plex “triumph” of its finale, the No. 5 is as uncompromisingly outspoken as any of Shostakovich’s works. In Testi-mony, the controversial memoirs pur-portedly dictated to Solomon Volkov, the composer vehemently denied there was any real triumph at all. “I never thought about any exultant finales, for what exultation could there be? ... The rejoicing is forced, created under threat, as in [Mussorgsky’s opera] Boris Godunov. It’s as if someone were beat-ing you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering, ‘Our business

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is rejoicing, our business is rejoicing.’” First movement: One of the most

powerful of symphonic openings launches the work. Played in canon between lower and upper strings, this rugged theme is the seedbed of the movement. Contained in it are two important motives: descending three-note twists and the initially gentle re-peated notes at the end. Both will be developed with great power, and the repeated notes will dominate the en-tire symphony. From this, Shostakov-ich builds a long melancholy melody sung by first violins. A second major theme also appears: a very hushed sus-tained melody high in the violins over a pulsing rhythmic accompaniment.

Baleful horns and an aggressive piano hammering out the second theme announce the development sec-tion, and the music accelerates into vigorous but slightly mechanical activ-ity. Military snare drums propel a brash march. The music builds to great in-tensity, and the opening theme returns

at a frenzied, driven tempo. But this manic energy eventually dies out into a quiet, haunting coda.

A sardonic sense of humor has saved Russian sanity throughout a brutal history, and it animates the sec-ond-movement scherzo with its in-solent trills, satirical slides and crude brass outbursts. This is a rough peasant dance in the style of one of Shosta-kovich’s favorite composers, Gustav Mahler. Bright, shrill scoring, tongue-in-cheek pizzicato strings, and a tipsy solo violin leading the middle trio sec-tion suggest defiant mockery—perhaps a jibe at Stalin himself.

The magnificent third-place slow movement is as sincere and heartfelt as its predecessor was flippant. Shostakov-ich once said, “The majority of my sym-phonies are tombstones,” and this may be a requiem for the many Russians who died in the purges. At the No. 5 pre-miere, audiences wept openly during this music. The strings dominate, seem-ing the voices of communal mourning.

In the middle section, solo woodwinds raise their plaintive voices, express-ing individual loss. The music reaches an extraordinary climax of pain as the strings rise to a chorus of repeated notes, intensified by the xylophone. The great Russian soprano Galina Vishnevskaya, Shostakovich’s friend and Rostropov-ich’s wife, described this as “like nails being pounded into one’s brain.”

Now the forgotten brass and per-cussion race into action to launch the finale’s resolute march theme. First we hear much frenetic musical busy-ness, then a poignant reminiscence of the third movement’s sorrow. Music of Slavic grandeur recalls the Corona-tion Scene in Mussorgsky’s Boris Godu-nov. At the end, disturbing the proud-ly pounding timpani and pealing brass are those obsessively painful repeat-ed notes that have dogged the entire work. “Our business is rejoicing, our business is rejoicing.”

Notes by Janet E. Bedell ©2014


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Marin Alsop, conductorMarin Alsop is an inspiring and powerful voice in the interna-tional music scene, a music director of vi-sion and distinc-tion who pas-

sionately believes that “music has the power to change lives.” She is recognized across the world for her innovative approach to program-ming and for her deep commitment

to education and to the develop-ment of audiences of all ages.



Her success as the BSO’s music di-rector has garnered national and

international attention for her inno-vative programming and artistry. Ad-ditionally, her success was recognized when, in 2013, her tenure was extend-ed to the 2020-2021 season. Alsop took up the post of chief conductor of the São Paulo Symphony Orchestra in 2012, where she steers the orches-tra in its artistic and creative program-ming, recording ventures, and its edu-cation and outreach activities.

In the summer of 2014, Alsop served her 23rd season as music director of the acclaimed Cabrillo Festival of Con-temporary Music in California. Musical America, which named Alsop the 2009 Conductor of the Year, recently said, “[Marin Alsop] connects to the public as few conductors today can.”

Jennifer Johnson Cano, mezzo-soprano

Jennifer Johnson Cano is a 2012 Richard Tuck-er Career Grant and George Lon-don winner who joined The Lin-demann Young Artist Devel-

opment Program at The Metropoli-tan Opera in 2008 and made her Met debut in 2009-2010. As first prize win-ner of the 2009 Young Concert Artist International Auditions, she has given recital debuts with husband Christo-pher Cano in New York at Carnegie Hall, in Washington, D.C., at the Ken-nedy Center, in Boston at the Isabella Stewart Gardner Museum and in Phil-adelphia at the Kimmel Center.

Cano’s 2014-2015 season includes Hansel and Gretel and Les Contes d’Hoffmann with The Metropolitan Opera, Don Giovanni with Boston Lyric Opera, Mahler II with the Utah Symphony and Beethoven’s Ninth with the Pittsburgh Symphony.

Nolan Musslewhite, boy soprano Nolan Musslewhite lives in Wash-ington, D.C., with his parents and two younger sisters. In addition to




PresentsBernstein & Beethoven

Marin alsop, conductor Jennifer Johnson Cano, mezzo-soprano

Nolan Musslewhite, boy sopranoCathedral Choral society, J. Reilly lewis, music director

Chichester Psalms Leonard Bernstein Psalm 108:2; Psalm 100 (1918-1990) Psalm 23; Psalm 2:1-4 Psalm 131; Psalm 133:1 Cathedral Choral Society

Symphony No. 1, “Jeremiah” Leonard Bernstein Prophecy Profanation Lamentation Jennifer Johnson Cano

INTERMISSION

Symphony No. 7 in A Major, Op. 92 Ludwig van Beethoven Poco sostenuto – Vivace (1770-1827) Allegretto Presto Allegro con brio

Supporting Sponsors: Governing Members

The concert will end at approximately 9:50 p.m.



attending St. Al-bans School for Boys, he is also a member of the Washington Na-tional Cathedral Choir of Men and Boys. As a chorister, Nolan

participates in daily sung worship, re-hearses with his 19 fellow choristers and sings between 12 and 15 hours per week during the school year.

Beyond his musical endeavors, Nolan enjoys playing goalie for his la-crosse travel team and is a competi-tive swimmer.

Cathedral Choral Society The Cathedral Choral Society is the resident symphonic chorus of Wash-ington National Cathedral. The 130-voice chorus is the oldest choral group in Washington, D.C., having been founded in 1941 by Paul Callaway, who served as music director until 1984.

Since 1985, J. Reilly Lewis has con-ducted the choral society in musical masterpieces from plainsong to the clas-sics to contemporary works. Since its founding, the Cathedral Choral Soci-ety has presented numerous world pre-mieres, and has maintained a tradition of showcasing both promising young so-loists and internationally known artists.

Program Notes

Chichester Psalms

Leonard BernsteinBorn Aug. 25, 1918, in Brookline, Mass.; died Oct. 14, 1990, in New York City

Although his multiple musical gifts drove Leonard Bernstein to jump con-tinually between conducting, teach-ing, writing books, being a television personality, fashioning hits for the Broadway stage and creating music for the concert hall, he often claimed that first and foremost he wanted to be a serious composer. During the 1964–65 season, he took a sabbatical from his post as music director of the

New York Philharmonic to devote his energies to composition. From that sabbatical came his very appealing choral-orchestral Chichester Psalms, commissioned by Chichester Cathe-dral in southern England for its annual music festival.

Drawing on his Jewish heritage, the composer chose three Psalms—the well-known Psalms 100 (“Make a joy-ful noise unto the Lord”) and 23 (“The Lord is my shepherd”), as well as the less familiar Psalm 131 (“Lord, Lord, my heart is not haughty”)—to use in their entirety. Portions of Psalms 108, 2 and 133 are also included. And though writing for a British choir, he set these

psalms in the original Hebrew. Today, the Chichester Psalms is usually per-formed by a large mixed chorus with a boy alto soloist, but Bernstein original-ly conceived the work for the tradition-al English choir of boys and men. The orchestra is a bit unusual: strings, brass and a large, colorful percussion section, but no woodwinds.

Bernstein described the music as “simple and tonal and tuneful.” All this is true, but the rhythms, harmo-nies and scoring are often delicious-ly complex. The first movement is a good example. After a powerfully in-cantatory introduction (its stark, an-gular theme will return) on a verse from Psalm 108, Bernstein express-es Psalm 100’s musical text with an infectious dance in an irregular 7/4 meter, its bounce accented with spar-kling percussion—everything from

drums to the bell-like glockenspiel. Here is the Bernstein style that made him the toast of Broadway.

And in the second movement, one can detect the poignancy of his West Side Story ballads in the wistfully melo-dious setting of the Twenty-Third Psalm for the boy soloist and women’s voices. Clashing sharply with this is the harshly aggressive music for Psalm 2 (“Why do the nations so furiously rage together”).

Movement three begins with a lengthy orchestral prelude in which the strings solemnly expand on the work’s loud, angular opening theme. Then Psalm 131, with its message of the individual’s humility before God,

is set to an eloquent melody, sung sim-ply in unison or in canon between the women and the men. The opening angular theme, now soft and serene, returns sung by unaccompanied cho-rus. Its text from Psalm 133 brings the music to a lovely close: “Behold how good, and how pleasant it is, for breth-ren to dwell together in unity.”

symphony No. 1, “Jeremiah”

Leonard Bernstein

When his powerful “Jeremiah” Sym-phony was premiered by the Pittsburgh Symphony under his own baton on Jan. 28, 1944, Leonard Bernstein, age 25, was in the midst of the most remark-able year any American composer has ever had. Two and a half months ear-lier—Nov. 14, 1943—he had made an electrifying debut with the New York


CATHEDRAL CHORAL SOCIETy


Symphony No. 1, “Jeremiah” Leonard Bernstein

Echa From “The Lamentations of Jeremiah”

PEREQ 1.1-3 CHAPTER 1.1-3 Echa yashva vadad ha-ir How doth the city sit solitary, Rabati am That was full of people! Hay’tak’almana; Howisshebecomeasawidow! Rabativagoyim Shethatwasgreatamongnations, Saratibam’dinot Andprincessamongtheprovinces, Hay’talamas. Howisshebecometributary!

Bachotivkehbalaila Sheweepethsoreinthenight, V’dim’ataallecheya; Andhertearsareonhercheeks; Enlam’nachem Shehathnonetocomforther Mikolohaveha; Amongallherlovers; Kolreehabag’duva, Allherfriendshavedealttreacherouslywithher, Hayulal’oy’vim. Theyarebecomeherenemies.

GaltaY’hudameoni, Judahisgoneintoexilebecauseofaffliction, Umerovadoda; Andbecauseofgreatservitude; Hiyashvavagoyim, Shedwellethamongthenations, Lomatsamano-ach; Shefindethnorest. Kolrod’fehahisiguha Allherpursuersovertookher Benhamitsarim Withinthenarrowpasses.

PEREQ 1.8 CHAPTER 1.8 ChetchataY’rushalyim Jerusalemhathgrievouslysinned… (Echa yashva vadad ha-ir How doth the city sit solitary …k’almana.) …awidow.

PEREQ 4.14-15 CHAPTER 4.14-15 Na-uivrimbachutsot Theywanderasblindmeninthestreets, N’go-alubadam, Theyarepollutedwithblood, B’yloyuchlu Sothatmencannot Yig’ubilvushehem. Touchtheirgarments.

Surutamekar’ulamo, Depart,yeunclean!Theycrieduntothem, Suru,surualtiga-u… Depart,depart!Touchusnot…

PEREQ 5.20-21 CHAPTER 5.20-21 Lamalanetsachtishkachenu… WhereforedostThouforgetusforever, Lanetsachtaazvenu… Andforsakeussolongtime?...

HashivenuAdonaielecha… TurnThouusuntoThee,OLord…


Philharmonic, substituting at the last moment for the indisposed Bruno Wal-ter on a Sunday afternoon concert broadcast nationwide on radio. Sudden-ly, he was the hottest conductor around. And “Jeremiah” immediately served no-tice that he was a symphonic composer of real promise. Given a New York pre-miere by the Philharmonic on March 29, it was rapturously received by crit-ics and audiences and won the New York Music Critics Circle Award for best new orchestral work of 1943–44. To complete his conquest of American music, Bernstein premiered his brilliant ballet Fancy Free in April at the Metro-politan Opera House and in December unveiled the Broadway musical On the Town (based on the ballet’s scenario),

which ran for 463 performances.But in the summer of 1939 when he

began work on what became the third movement in “Jeremiah” and in late 1942 when he returned to this piece and transformed it hastily into a three-movement symphony as an entry in a competition, he was still leading a hand-to-mouth existence. Hanging out in various New York City apartments, he pressed his friends into service copy-ing pages as he completed the work’s masterly scoring in just 10 days.

Bernstein described all three of his symphonies as expressions of an on-going musical search for faith. His fa-ther, Sam Bernstein (to whom he dedicated “Jeremiah”), was a Talmu-dic scholar, and his grandfather and

great-grandfather had been Hasidic rab-bis in Russia. But steeped though he was in Judaism, Bernstein fought a love-hate battle with his heritage all his life.

“Jeremiah” takes it name and ex-pressive program from the Old Testa-ment prophet Jeremiah, who warned the ancient Israelites to repent and mend their ways or be destroyed. But they ignored his warnings; Jerusalem fell to the Babylonian empire, and the Jews were sent into captivity. In the work’s finale, an extended song for mezzo-soprano, Bernstein set words drawn from the opening of the book of Lamentations, as Jeremiah mourned the lost Holy City and his people.

In a program note for the work’s New York premiere, Bernstein wrote: “The symphony does not make use to any great extent of actual Hebrew the-matic material. The first theme of the scherzo [second movement] is para-phrased from a traditional Hebrew chant, and the opening phrase of the vocal part in ‘Lamentation’ is based on a liturgical cadence still sung today in commemoration of the destruction of Jerusalem by Babylon. Other remem-brances of Hebrew liturgical music are a matter of emotional quality, rather than of the notes themselves.

“As for programmatic meanings, the intention is again not one of literal-ness, but of emotional quality. Thus the first movement (‘Prophecy’) aims only to parallel in feeling the intensity of the prophet’s pleas with his people; and the scherzo (‘Profanation’) to give a general sense of the destruction and chaos brought on by the pagan cor-ruption within the priesthood and the people. The third movement (‘Lam-entation’) ... is the cry of Jeremiah, as he mourns his beloved Jerusalem, ru-ined, pillaged, and dishonored after his desperate efforts to save it.”

Bernstein’s longtime editor Jack Gottlieb, however, says that the com-poser quoted more extensively from Jewish liturgical music than he was perhaps aware. “The opening theme of the first movement is derived from the High Holy Day liturgy, heard for the first time as part of the Amidah


Chichester Psalms Leonard Bernstein

I Urah,hanevel,v’chinor! Awake,psalteryandharp: A-irahshachar! Iwillrousethedawn! Psalm 108, verse 2 Hariul’Adonaikolhaarets. MakeajoyfulnoiseuntotheLordallyelands. Iv’duetAdonaib’simcha. ServetheLordwithgladness. Bo-ul’fanavbir’nanah. ComebeforeHispresencewithsinging. D’ukiAdonaiHuElohim. KnowyethattheLord,HeisGod. Huasanu,v’loanachnu. ItisHethathathmadeus,andnotweourselves. Amov’tsonmar’ito. WeareHispeopleandthesheepofHispasture. Bo-ush’aravb’todah, EnterintoHisgateswiththanksgiving, Chatseirotavbit’hilah, AndintoHiscourtswithpraise. Hodulo,bar’chush’mo. BethankfuluntoHim,andblessHisname. KitovAdonai,l’olamchas’do, FortheLordisgood,Hismercyiseverlasting, V’addorvadoremunato. AndHistruthendurethtoallgenerations. Psalm 100

II Adonairo-i,loechsar. TheLordismyshepherd,Ishallnotwant. Bin’otdesheyarbitseini, Hemakethmetoliedowningreenpastures, Almeim’nuhoty’nachaleini, Heleadethmebesidethestillwaters, Naf’shiy’shovev, Herestorethmysoul, Yancheinib’ma’agleitsedek, Heleadethmeinthepathsofrighteousness, L’ma’ansh’mo. ForHisname’ssake. Gamkieilech Yea,thoughIwalk B’geitsalmavet, Throughthevalleyoftheshadowofdeath, Loirara, Iwillfearnoevil, KiAtahimadi. ForThouartwithme. Shiv’t’chaumishan’techa ThyrodandThystaff Hemahy’nachamuni. Theycomfortme. Psalm 23, verses 1-4

Lamahrag’shugoyim Whydothenationsrage, Ul’umimyeh’gurik? Andthepeopleimagineavainthing? Yit’yats’vumalcheierets, Thekingsoftheearthsetthemselves, V’roznimnos’duyahad Andtherulerstakecounseltogether AlAdonaiv’alm’shicho. AgainsttheLordandagainstHisanointed. N’natkahetmos’roteimo, Saying,letusbreaktheirbandsasunder, V’nashlichahmimenuavoteimo. Andcastawaytheircordsfromus. Yoshevbashamayim Hethatsittethintheheavens Yis’chak,Adonai Shalllaugh,andtheLord Yil’aglamo! Shallhavetheminderision! Psalm 2, verses 1-4

Ta’arochl’fanaishulchan Thoupreparestatablebeforeme Negedtsor’rai Inthepresenceofmineenemies, Dishantavashemenroshi Thouanointestmyheadwithoil, Cosir’vayah. Mycuprunnethover. Achtovvahesed Surelygoodnessandmercy Yird’funikoly’meichayai, Shallfollowmeallthedaysofmylife, V’shav’tib’veitAdonai AndIwilldwellinthehouseoftheLord L’orechyamim. Forever. Psalm 23, verses 5-6

III Adonai,Adonai, Lord,Lord, Logavahlibi, Myheartisnothaughty, V’loramueinai, Normineeyeslofty, V’lohilachti NeitherdoIexercisemyself Big’dolotuv’niflaot Ingreatmattersorinthings Mimeni. Toowonderfulforme. Imloshiviti SurelyIhavecalmed V’domam’ti, Andquietedmyself, Naf’shik’gamulaleiimo Asachildthatisweanedofhismother, Kagamulalainaf’shi. Mysoulisevenasaweanedchild. YahelYis’raelelAdonai LetIsraelhopeintheLord Me’atahv’adolam. Fromhenceforthandforever. Psalm 131

Hinehmahtov, Beholdhowgood, Umahnaim, Andhowpleasantitis, Shevetachim Forbrethrentodwell Gamyachad. Togetherinunity. Psalm 133, verse 1

(‘standing’) prayers, or 18 blessings. This compilation of fixed benedic-tions ... probably constitutes the sec-ond most important Jewish prayer after the monotheistic creed of Sh’ma Yisrael (‘Hear, O Israel’). ...

“The scherzo (‘Profanation’) theme ... is based on cantillation motives used dur-ing the chanting of the Bible on the Sab-bath, especially the Haftara (‘concluding’) portion. The motives are well known to those who chant Bible passages in prepa-ration for Bar Mitzvah. ...

“Significantly, the conclusion of the ‘Lamentation’ recalls the Amidah theme from the first movement, indi-cating that the foreboding prophecy has been fulfilled.”

symphony No. 7 in a Major

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

Beethoven’s Symphony No. 7 is one of the most extraordinary expressions of physical energy and joy in symphonic music. Completed in 1812, the Seventh, in the words of Beethoven biographer Maynard Solomon, “transports us into a sphere of laughter, play, and the exu-berant release of bound energy.” This is a work without a shadow or a solemn thought or even a true slow movement. In any other hands, such unrelieved hap-piness might produce a feeling of trivial-ity or monotony, but Beethoven instead shows us the dynamic variety of joy.

In an off-quoted aphorism, Wag-ner has called the Seventh “the apo-theosis of the dance,” but it could more accurately be characterized as “the apotheosis of rhythm.” Through-out Beethoven’s music, themes are as much characterized by their rhythmic patterns as by their melodic shapes or harmonic coloring. Here rhythm is the primary building block: the first, second and fourth movements are all generated by one obsessive rhythmic figure announced at the opening; the scherzo has two such figures.

The Seventh was introduced to the world at a spectacular celebrity-stud-ded concert on Dec. 8, 1813 at the




University of Vienna that was the most successful of Beethoven’s career. Or-ganized by Beethoven’s friend Johann Nepomuk Maelzel, the inventor of the metronome, it was a benefit concert to raise money for soldiers wounded at the recent Napoleonic battle of Hanau. Both performers and audience were in high spirits, for by this time it was clear that Napoleon’s days were numbered. For the occasion, Beethoven had writ-ten one of his most notorious compo-sitions, Wellington’s Victory: a military extravaganza calling for vast troops of musicians and a huge percussion bat-tery. In one of his last appearances as a conductor, he led the proceedings, but his deafness severely hampered his effec-tiveness. It is amazing the Seventh Sym-phony was even noticed in this circus atmosphere, but indeed it was warmly received and the audience demanded an encore of the second movement.

The first movement begins with a slow introduction, the biggest Beethoven ever wrote. Its expansive

dimensions, accentuated by majestic rising scales, allows for two lyrical in-terludes—led first by oboes, then by the flute—which carry the music to keys remote from the A-major home base. It is linked to the main Vivace section by the playful evolution of the gallop-ing rhythm that drives the rest of the movement. Late in its course, listen for the remarkable passage in which the low strings mutter a twisting dissonant motive—like an evil worm corrupting the tranquil, sustained harmony above.

Another persistent rhythmic pat-tern propels the beloved second move-ment: a gentle march beat of long-short-short-long-long. Beethoven lets its wonderful theme gradually unfurl: first the bare-bones harmonic tune in low strings, then the stately march melody above, accompanied by grace-ful countermelodies. The form is one of Beethoven’s own devising: part rondo, part theme-and-variations. And in a later return of the march theme, it evolves into a cunning fugue as well.

Movement three is Beethoven’s most ebullient and propulsive scher-zo, powered by the relentless chugging of quarter notes in a frenzied Presto tempo. Providing complete contrast, the middle trio section, dominated by woodwinds, is smoothly lyrical over a sustained pedal note. In a favorite trick also used in his Fourth Sympho-ny, Beethoven runs around the scher-zo-trio track three times, though as the trio begins it third reprise, it falters harmonically and is roughly dismissed.

The finale is a fierce dance of tri-umph. Again, a rhythmic motive starts the action: a cannon-boom followed by a three-note rat-ta-tat rifle response. This wild and surging music has a pronounced military flavor suited to its era. In fact, we hear a theme of swaggering martial gait early on, and in the coda, the trum-pets carry it to a ringing affirmation. Here Beethoven joyfully trounces Napo-leon and all the enemies of humankind.

Notes by Janet E. Bedell ©2014

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It’s music to my ears.



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Sharon IsbinAcclaimed for her extraordinary lyri-cism, technique and versatility, mul-tiple Grammy Award winner Sharon Isbin has been hailed as “the pre-em-inent guitarist of our time” (Boston Magazine). She is also the winner of Guitar Player magazine’s “Best Clas-sical Guitarist” award, the Madrid Queen Sofia and Toronto Competi-tions, and was the first guitarist to win

the Munich Competition. Isbin’s catalogue of over 25 record-ings—from Baroque, Spanish/Latin and 20th century to crossover and jazz-fusion—reflects remarkable ver-satility. Her latest recording, Sha-ron Isbin & Friends: Guitar Passions (Sony) includes guest rock guitarists Steve Vai, Steve Morse, Nancy Wilson of Heart, jazz guitarists Stan-ley Jordan and Romero Lubambo, Brazilian artists Rosa Passos and Thiago de Mello, and saxophonist Paul Winter.

As a chamber musician, Isbin has performed with Mark O’Connor, Nigel Kennedy, Denyce Graves, Su-sanne Mentzer, the Emerson String Quartet, and the Chamber Music So-ciety of Lincoln Center, among oth-ers. She performed a “Guitar Summit” tour with jazz greats Herb Ellis, Stan-ley Jordan, and Michael Hedges; she made trio recordings with Larry Cory-ell and Laurindo Almeida, and duo re-cordings with Carlos Barbosa-Lima.

Isbin began her guitar studies at age 9. She is the author of the Clas-sical Guitar Answer Book, and is di-rector of guitar departments at the Aspen Music Festival and The Juil-liard School.

Stanley JordanStanley Jordan’s music is imbued with a warmth and sensitivity that has captured the imagination of lis-teners worldwide. A classically trained pianist before playing gui-tar, Jordan wanted greater freedom in voicing chords on his guitar, so he applied piano principles to do so. Jordan’s touch technique allows the guitarist to play melody and chords simultaneously with an unprecedent-ed level of independence.

Jordan has performed at many fes-tivals, including the Kool Jazz Festi-val, the Concord Jazz Festival, and the Montreaux International Jazz Festival. He performs frequently as a soloist and with his band, and also collaborates with other guitar-ists such as Kevin Eubanks, Sharon Isbin and Muriel Anderson. He’s also



Guitar passions: sharon Isbin, stanley Jordan & Romero lubambo

Porro Gentil Montaña, arr. Gustavo Colina (b. 1942)

Sonidos de aquel dia Quique Sinesi, arr. Stanley Jordan (b. 1960)

‘Adagio’ from Concierto de Aranjuez Joaquin Rodrigo, arr. Laurindo Almeida (1901-1999)

Asturias Isaac Albéniz, Transcribed by Andrés Segovia (1860-1909)

Allegro Agustín Barrios Mangoré, arr. Steve Vai (1885-1944)

Alfonsina y el Mar Ariel Ramírez, arr. Jorge Cardoso-Isbin (1921-2010)

Chovendo na Roseira Antonio Carlos Jobim, arr. Carlos Barbosa-Lima, Romero Lubambo (1927-1994)

Carinhoso Alfredo Vianna (Pixinguinha), guitar accompaniment arr. Rosa Passos, guitar solo arr. Carlos Barbosa-Lima (1897-1973)

O Presidente Gaudencio Thiago de Mello, arr. Daniel Wolff (1933-2013)

La Catedral Agustín Barrios Mangoré Andante religioso Allegro solemne



a frequent guest with jam bands such as Dave Matthews Band, The String Cheese Incident, Phil Lesh, moe, and Umphrey’s McGee.

His 2011 album, Friends, encom-passed blues, jazz, a Béla Bartók piece, and a Katy Perry hit, and in-cluded musical guests Bucky Pizzarel-li, Regina Carter and Nicholas Pay-ton, among others.

Romero LubamboIn 1985, Romero Lubambo left Rio de Janeiro and came to the Unit-ed States, bringing with him a new sound in jazz guitar. Lubambo’s guitar playing unites the styles and rhythms of his native Brazilian musical heri-tage with his fluency in the Ameri-can jazz tradition to form a distinc-tive new sound.

Lubambo has performed and re-corded with many outstanding art-ists, including Dianne Reeves, Michael Brecker, Yo-Yo Ma, Diana Krall, Wyn-ton Marsalis, Herbie Mann, Gal Costa, Leny Andrade, Cesar C. Mariano, Lu-ciana Souza, Mauro Senise, Cyro Bap-tista, Paquito D’Rivera, Paula Robison, and Ivan Lins, among many others.

He is also a composer and perform-er on his own critically acclaimed re-cording projects, as well as on those of Trio da Paz, a Brazilian jazz trio Lubambo formed with Nilson Matta and Duduka da Fonseca.


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Friday, November 28, 2014, 8 p.m.

About Bella GaiaBella Gaia (Beautiful Earth) is an un-precedented audiovisual experience that combines NASA satellite imag-ery of Earth, time lapse nature pho-tography, and cultural heritage foot-age with stirring live performances of world music and dance from around the world. Inspired by astronauts who spoke of the life-changing power of seeing Earth from space, Bella Gaia successfully simulates the “Overview Effect” from space flight, by using NASA supercomputer data-visualiza-tions to explore the relationship be-tween humans and nature through time and space.

Bella Gaia tells the story of the liv-ing universe, exploring both human and natural expressions of the “Liv-ing Universe” through dance, data vi-sualizations, and music, and explores

humanity’s ultimate challenge as we enter a new epoch called the Anthro-pocene, where humans become the driving force of environmental change on Earth.

Kenji WilliamsKenji Williams is an immersive multi-media director and producer for vari-ous platforms from live theater to full-dome planetarium films. Williams explores the nexus of art and science through collaborations with partners as diverse as astronaut Koichi Wakata, consciousness researcher Deepak Cho-pra, and top world music musicians. Bella Gaia involves collaborating with institutions such as NASA, the Smith-sonian Institution, and the Denver Museum of Nature & Science, and has raised more than $500,000 in funding from NASA and other foundations.

Deep SinghDeep Singh’s versatility as a perform-er, composer, producer, Hindustani vocalist and engineer has given him a unique place in the music indus-try. His extensive knowledge of mel-ody and rhythm from different world music traditions has resulted in inno-vative collaborations. He has shared the stage with many of the greatest world-class musicians.

yumi KurosawaYumi Kurosawa is a classically trained 20-string koto player and compos-er from Japan with extensive experi-ence touring internationally with sym-phonies, string quartets, and her own group. Her original compositions seam-lessly blend traditional techniques and harmonics of the koto with electronic sounds and multicultural rhythms. In 2011, she appeared as the soloist for the world premiere of Koto Concerto: Genji, a Kyo-Shin-An Arts commis-sion by composer Daron Hagen.

Kristin HoffmannKristin Hoffman is a singer/songwriter based in New York City and has stud-ied classical piano, guitar and opera at The Juilliard School in New York. She has performed at the Sundance Film Festival and her warm, melodious, haunting songs have been featured on several recent television shows. She is a musical spokesperson for ocean awareness with her “Song for the Ocean” and has also written songs for pediatric health causes.

Läle SayokoLäle Sayoko was one of the founding members of Japan’s famous Saman-yolu professional belly dance group in Tokyo, and has since developed her own solo career touring with the United Kingdom’s Mugenkyo Taiko Drummers on a 100-plus city tour. Her recent project is Flying Apsaras, a dance duo with world-renown belly dance star Kaeshi Chai. Sayoko as-pires for dance to be a powerful com-municator though traditional tech-nique and spiritual embodiment.

FRIDAY, NOVEMBER 28, 2014, 8 P.M.


Bella GaiaKenji Williams, founder, director, composer, violin

Deep Singh, tabla, percussion, vocalsyumi Kurosawa, 20-string koto

Kristin Hoffmann, vocalsLäle Sayoko, dancer

Irina Akulenko, dancer

With additional support fromTour Manager: Kaori Noriyasu

Earth Data and Scientific Visualizations: NASA, Scientific Visualization Studio, SCISS

Hubble Imagery: The Space Telescope InstitutePhotographers: James Balog, Annie Crawley, Ken Woods,

Ocean Recovery AllianceAstronomical datasets: Ka Chun Yu

Operations: Laurence Singer, Valerie CasasantoScript and Story Assistance: Shane Belcourt

Bella GaIa is generously supported in part by Nasa, The Baum Foundation, The Foundation for Global Community,

and a grant from the sachiko Kuno and Ryuji ueno Innovation Fund.



Irina AkulenkoIrina Akulenko is a New York City-based performer, teacher, and chore-ographer with a burning passion for arts of all genres. Discovering Mid-dle Eastern dance purely by chance, her interest in expression started at an early age and channeled into bal-let training, piano, and voice lessons. Belly dance became her main in-terest, which she sustained by seek-ing instruction with numerous local teachers as well as visiting master per-formers. Since 2001, Akulenko has explored both Egyptian Cabaret and American Tribal style belly dance and enjoys fusing these styles.

Program NotesPART 1: The Living universe, The Living EarthThe universe is alive, infinitely cre-ative, and interconnected. Our living Earth has a unique set of conditions making it habitable for human life.

PART 2: Natural and Human Expressions of the Living universeIndia: Human expressions of the living universe case study

Fresh water is increasingly a scarce resource around the world, and this

is clearly prevalent in India, where population, pollution, agriculture, and melting Himalayan glaciers from climate change threaten un-derground water tables and rivers such as the Ganges, which some sci-entists predict may run dry in our lifetime. The Ganges is at the heart of Indian culture, music, and iden-tity. What happens to India if the Ganges runs dry? Dancers express their relationship with, and pain-ful separation from, water. Music composed and performed by Deep Singh. Choreography by Preeti Va-sudevan, Irina Akulenko.

Water and Oceans: Natural expressions of the living universe case study

We explore the water cycle from evap-oration to water vapor and precipita-tion, and we explore our oceans, its complex currents and temperatures, and the beautiful life it sustains.

Japan: Human expressions of the living universe case study

More than 100,000 shrines and tem-ples can be found in Japan, all of them facing a natural landmark such as a mountain or the sun. Yumi Ku-rosawa performs her own composi-tions on the 20-string koto as we ex-plore Japan’s ancient connection with nature and our modern self-imposed

anthropogenic (“human-caused”) stress on the environment.

New York City: Human expressions of the living universe case study

New York City is the epicenter of human diversity and global culture, but it also is central to the over-com-modification of resources, where na-ture is not correctly valued in our economic design. An economy with muted dialogue with the natural world has led to rising oceans, ironically threatening the very heart of the glob-al economy—the Financial District. Voice by Kristin Hoffmann.

egypt and the Middle east: Human expres-sions of the living universe case study

We take a journey down the Nile River—one of the birth canals of civ-ilization. Isis (Irina Akulenko) the goddess of protection, dances with a mother (Läle Sayoko), to depict the origins of belly dance—a sacred ritual when bringing life into this world. A celebration of Egypt ensues.

However, modern and future chal-lenges of the Middle East—political unrest, climate change, drought, and food shortage—remind us that the destiny of humans and Earth are inex-tricably linked. Isis is overwhelmed by what is to come.

PART 3: The AnthropoceneWe have entered a new geologic epoch in which humans are the pri-mary force of change in the envi-ronment, called the Anthropocene (Crutzen). Is the Anthropocene a result of a loss of dialogue between humans and nature? Is our current crisis the result of a worldview of the universe and Earth not as a living interconnected entity, but as static unrelated and separate parts to be consumed? Has humanity forgotten that our actions affect other things, on all levels?

PART 4Planet Earth is the only place known so far to harbor life. It is the only place that we may call home.

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saturday, November 29, 2014, 3 p.m. and 8 p.m.

About A Very Electric ChristmasFollow the story of a young bird named Max and his family as they begin their journey south for the win-ter. Max’s adventure begins when he gets blown off course and ends up at the North Pole. Families will treasure this delightful story that brings new meaning to coming home for the holi-days, and enjoy a score that includes holiday hits from Nat “King” Cole, Mariah Carey, and Tchaikovsky.

Ian Carney Ian Carney is best known for his long run in Billy Joel and Twyla Tharp’s musical Movin’ Out on Broadway. Born in New Hampshire and raised in New Orleans, he started dancing as a child, studying ballet in New Orleans and in New York City. He danced lead roles in The Nutcracker, Sleeping

Beauty and many other ballets, and has been a guest dancer, teacher, and choreographer in companies across the United States. While still per-forming, Carney earned a degree in English literature from Tulane Univer-sity. He is the co-creator of the family show Dino-Light. Carney has appeared on television with Lightwire Theater on “America’s Got Talent” and TF1’s talent show “The Best: Le Meilleur Artiste” in France.

Eleanor B. Carney Originally from New Orleans, Eleanor Carney began her dance training with Harvey Hysell and Joseph Giaccobbe. She graduated from Southern Method-ist University with a bachelor of fine arts in dance and a bachelor of arts in anthropology. She has danced profes-sionally with Indianapolis Ballet The-ater, and the Lexington, Northwest

Florida, Delta Festival, and Montgom-ery ballets. Career highlights include dancing Aurora in Sleeping Beauty; Desdemona in The Moor’s Pavane; the title roles in Romeo and Juliet, Cinderel-la, Giselle, and Coppelia; and the Sug-arplum Fairy in The Nutcracker.

Corbin PoppCorbin Popp is from Lincoln, Neb. He earned a degree in biochemistry at the University of Nebraska-Lincoln, while also studying math, physics, and dance. Opting for dance, Corbin per-formed in The Phantom of the Opera and Billy Joel and Twyla Tharp’s Movin’ Out on Broadway. He has toured throughout the United States with many shows, and all over Europe with Tharp’s dance company.

Calvin James RoweA native of Muscatine, Iowa, Calvin James Rowe began dancing profession-ally in 2007 with Of Moving Colors Productions, Baton Rouge’s premier modern dance company. Rowe also has been a guest artist with Baton Rouge Ballet Theatre and a guest artist with TALK Dance Co., a contemporary dance company based in Pueblo, Colo. Rowe most recently danced three sea-sons with Ballet Quad Cities, perform-ing in such ballets as Cinderella, Sleeping Beauty, and Dracula by choreographers Courtney Lyon and Deanna Carter.

Ian BlancoA New Orleans native and recent grad-uate of the Wright State acting pro-gram, Ian Blanco was most recently seen with Tulane Summer Lyric Theatre in La Cage aux Folles as Mercedes and Kiss Me Kate as Gremio. Other professional work includes Dreamgirls, Pirates!, Chi-cago, Ragtime and White Christmas.

Jessica Tzur Jessica Tzur has always been drawn to various types of movement. In 2005, she found her niche when she began training at the San Francisco School of Circus Arts. She studied under top trainers Elena Panova and Xia Ki Min, specializing in trapeze and acrobatics.

SATURDAY, NOVEMBER 29, 2014, 3 P.M. AND 8 P.M.


lightwire Theater: a Very electric Christmas

Ian Carney, artistic Directoreleanor Carney, Managing Director

Corbin popp, Co-CreatorTyler scifres, Technical Director

Jay Weigel, Music Director

CastIan Carney

Eleanor CarneyCorbin PoppCalvin RoweIan Blanco

Jessica TzurJohnathon Whalen

Michael MooreRobby Clater

Barry Mendelson, executive producer The Music Center at Strathmore

Marriott Concert Stage


Tzur has been performing in San Fran-cisco and New Orleans in cabaret, va-riety, and burlesque shows.

Johnathon WhalenA New Orleans native, Johnathon Whalen has been a member of Light-wire Theater for three years, perform-ing in New Orleans at The Nation-al World War II Museum, Le Petit Theatre, Rivertown Theaters for the Performing Arts, and the Jefferson

Performing Arts Society. He has a bachelor’s degree in athletic training from Southeastern Louisiana Univer-sity and has also done set design and construction for several New Orleans theaters.

Michael MooreMichael Moore is a 2013 graduate of Elon University. His credits include Legally Blonde, Noises Off, Guys and Dolls at Central Piedmont Summer

Theatre; Rocket Boys and All Shook Up at Theatre West Virginia; and Oliver with Tulane Summer Lyric.

Robby ClaterRobby Clater has been seen in Les Mi-sérables (Grantaire), A Chorus Line (Al), Hairspray (Seaweed), and as Danny in the teen web series Studio 127. He orig-inated Winter Wonderland (Robby) and First Kids (Charles Francis Adams).

About Lightwire Theater Lightwire Theater has been featured as semifinalists on “America’s Got Talent” and is internationally recognized for its brand of electroluminescent artistry and poignant storytelling. Based in New Or-leans, Lightwire Theater continues to create and deliver innovative theatrical experiences to audiences worldwide, in-cluding Japan, Estonia, Canada, Belarus, China, and the United Arab Emirates.

Mendelson Entertainment Group proudly manages and represents Light-wire Theater.

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Let the music move you.

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Spectacular, gracious and outstanding describes life at Ingleside at King Farm. Become part of a community that sets the standards of excellence in amenities, lifestyle, security and affordability by joining the IKF Club. This unique program allows you to enjoy many benefits and amenities of Ingleside right now.

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George WinstonGeorge Winston grew up mainly in Montana, and spent his later forma-tive years in Mississippi and Flori-da. Inspired by R&B, jazz, blues and rock (especially The Doors), Winston began playing organ in 1967. In 1971 he switched to the acoustic piano after hearing recordings from the 1920s and the 1930s by the legendary stride pia-nists Thomas “Fats” Waller and the late Teddy Wilson. In addition to working on stride piano, he also came up with his own style of melodic instrumental music on solo piano, called folk piano.

Since 1972 Winston has released 13 solo piano albums: Autumn (1980); Winter Into Spring (1982); December (1982); Summer (1991); Forest (1994); Linus & Lucy—The Music Of Vince Guaraldi (1996); Plains (1999), which was inspired by his Eastern Montana upbringing; Night Divides The Day—The Music Of The Doors (2002); Montana—A Love Story (2004); Gulf Coast Blues and Impressions—A Hurricane Relief Benefit (2006); Love Will Come—The Music Of Vince Guaraldi Vol. 2 (2010); Gulf Coast Blues and Impressions 2—A Louisiana Wetlands Benefit (2012).

In 2001 Winston released Remem-brance—A Memorial Benefit, a seven-song EP of piano, guitar, and harmon-ica solos, to benefit those affected by 9/11. He has also worked with the late George Levenson of Informed Democ-racy on three projects: a solo guitar soundtrack for Sadako and the Thou-sand Paper Cranes, and soundtracks of piano, guitar, and harmonica solos for Pumpkin Circle and Bread Comes to Life. In addition, he has recorded

the solo piano soundtrack for the chil-dren’s story The Velveteen Rabbit for Rabbit Ears Productions.

Winston is presently concentrat-ing mainly on live performances, and most of the time he is touring playing solo piano concerts, solo guitar con-certs, solo harmonica concerts, and solo piano dances. He also is working on interpreting pieces on solo piano of works by Vince Guaraldi, Professor Longhair, The Doors, Sam Cooke, Dr. John, Allen Toussaint, Randy New-man, Curtis Mayfield, Laura Nyro, Al Kooper, Jimmy Wisner, Arthur Lee, Frank Zappa, Ralph Towner, Rah-saan Roland Kirk, John Coltrane, Milt Jackson, John Hartford, Oliver Schro-er, Taj Mahal, Henry Butler, James Booker, Jon Cleary and Philip Aaberg.

Winston also is working on solo guitar and is recording the masters of the Hawaiian Slack Key guitar for an extensive series of albums for Danc-ing Cat Records. He also is recording his main inspirations for his harmoni-ca playing: Sam Hinton, Rick Epping, and Curt Bouterse.


●Strathmore Presents George WinstonThe Music Center at Strathmore




Friday, December 5, 2014, 8 p.m.

About Classic Albums LiveClassic Albums Live takes the great-est albums and re-creates them live, on stage—note for note, cut for cut. Found-ed in 2003 by musician and producer Craig Martin, Classic Albums Live has become the “ultimate destination for music lovers wanting to hear the great-est albums performed live” (Broadway-World.com). Classic Albums Live con-centrates solely on the music, and has presented more than 100 shows a year.

Like a symphony orchestra perform-ing the works of Mozart, Classic Al-bums Live puts the music first. These world-class musicians will tackle this iconic album, concentrating solely on re-creating it as it is so fondly remem-bered by audiences worldwide.

About Led Zeppelin II from Craig MartinLed Zeppelin really does sound like the hammer of the Gods. At first

listen it’s the guitar riffs that grab you. Then the drums. Then the honey sweet voice of Robert Plant. What’s funny is that after years of listening and dissecting the album, it’s the bass guitar that I’m now drawn to.

One thing I know for sure is that Zep fans are unrelenting in their love for the band. Many people don’t realize that during the ’70s, no other band or artist came close to selling as many albums as Led Zep-pelin. At the time the critics were panning them and making fun of them. But the people spoke. They bought the albums and went to the concerts. Led Zeppelin was the peo-ple’s band. And Led Zeppelin II was their call to arms.

Every rock musician who picks up an instrument gravitates toward Zep. Every musician says he or she can play Zep. But most can’t. There’s an unde-finable quality to their music.

I have put together the greatest Led Zeppelin band in the world. I can’t be-lieve my luck. I get to rock out with an audience of like-minded people. I can’t think of anything better than being in a beautiful communal setting and reveling in one of the greatest al-bums ever made.

FRIDAY, DECEMBER 5, 2014, 8 P.M.


Classic albums live: Led Zeppelin IINick Walsh, lead vocals

Dom polito, guitarRob phillips, guitar

Mark Yannetta, bass Rick Vautour, drums Will Hare, keyboard

Jenn Kee, backing vocals



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Edward Polochick, conductor and harpsichordEdward Polochick is artistic director of Concert Artists of Baltimore, an all-professional orchestra and vocal

ensemble of 70 musicians, which is celebrating its 28th season.

The 2014-2015 season also marks his 17th as music director of Lin-coln’s Symphony Orchestra in Ne-braska. From 1979 to 1999, he served as the Baltimore Symphony Orches-tra’s Symphony Chorus director, and since 1979, he has been at the Pea-body Conservatory as associate con-ductor of the orchestra, director of choral ensembles and opera conduc-tor. An accomplished pianist and harpsichordist, he has appeared as soloist with The Philadelphia Or-chestra and the Los Angeles Cham-ber Orchestra.

Since winning the Leopold Sto-kowski Conducting Award, Polochick has attracted attention as an orches-tral, operatic and choral conductor. His appearances include the Houston Symphony, Chautauqua Symphony, Opera Company of Philadelphia, Aal-borg Symphony of Denmark, Omaha Symphony, Jacksonville Symphony, Daejeon Philharmonic in Korea, St. Petersburg Symphony and the State of

Mexico Symphony Orchestra in Tolu-ca, Mexico.

Sydney Mancasola, soprano A Grand Finals winner of the 2013 Metropol-itan Opera Na-tional Coun-cil Auditions, Sydney Man-casola has been praised by The New York Times

for her “lovely lyric soprano and ra-diant high notes.”

The 2014-2015 season sees Man-casola’s company debuts with Palm Beach Opera as Marie in La fille du régiment and Florida Grand Opera as Leila in Les pêcheurs de perles, as well as a return to Opera Theatre of St. Louis as Lisette in La Rondine. Con-cert work includes appearances with The Philadelphia Orchestra, Sun Val-ley Symphony, Eugene Symphony Or-chestra, and Lexington Philharmonic.

Honors and awards include top prize winner of the Gerda Lissner Foundation Competition, second prize and audience favorite at the Houston Grand Opera Eleanor Mc-Collum Competition, and first prize in the Loren L. Zachary National Vocal Competition.

Mancasola studied voice at the Oberlin Conservatory of Music, re-ceiving the Margot Bos Standler Scholarship and completing her bach-elor of music degree in 2011. She is a recent graduate of the Academy of Vocal Arts in Philadelphia.

Daniela Mack, mezzo-sopranoMezzo-soprano Daniela Mack has been ac-claimed for her “caramel tim-bre, flickering vibrato, and crisp articula-tion” (Oper-nwelt) as she

“hurls fast notes like a Teresa Berganza

SATURDAY, DECEMBER 6, 2014, 8 P.M.



PresentsHandel’s Messiah

edward polochick, conductor and harpsichordSydney Mancasola, soprano

Daniela Mack, mezzo-sopranoRoss Hauck, tenor

Sidney Outlaw, bass-baritone Concert Artists of Baltimore Symphonic Chorale

Messiah George Frideric Handel Part I (1685-1759)

INTERMISSION

Part II

Part III



or a Frederica von Stade” (San Fran-cisco Chronicle). Mack was a finalist in the 2013 BBC Cardiff Singer of the World Competition.

In 2014-2015, Mack returns to San Francisco Opera as Rosmira in Chris-topher Alden’s production of Handel’s Partenope and Opera Theatre of Saint Louis as Rosina in The Barber of Se-ville. In the summer of 2015, she de-buts at the Saito Kinen Festival in Berlioz’s Béatrice et Bénédict under Seiji Ozawa.

She will also be heard with the Los Angeles Philharmonic in Beethoven’s Ninth Symphony, Washington Chorus in Beethoven’s Missa solemnis and with the Sydney Symphony in Canteloube’s Chants d’Auvergne. Mack will make her New York concert debut with the Colle-giate Chorale as Joacim in Handel’s Susanna at Town Hall.

Ross Hauck, tenorTenor Ross Hauck has been de-scribed by The Seattle Times as “al-most super-human in musical ef-fect.” He re-cently made

concert debuts with the Phoenix, Ore-gon and Kansas City symphonies, and the Chautaqua festivals in Colorado and New York.

Hauck is a regular soloist with Se-attle Symphony, and has sung with the National Symphony and Chica-go Symphony. A frequent perform-er of sacred music, he has recorded Handel’s Messiah with Apollo’s Fire (Cleveland Baroque Orchestra).

Hauck trained at the College-Con-servatory of Music at the University of Cincinnati, with further studies at Tanglewood, Aspen and Wolf Trap. He lives with his wife and four children in Washington state. Hauck is professor of voice at Seattle University, and is ac-tive in ministry through the arts.

Sidney Outlaw, bass-baritoneSidney Outlaw was the Grand Prize winner of the Concur-so Internacio-nal de Canto Montserrat Ca-balle in 2010 and contin-ues to delight

audiences. A graduate of the Merola Opera Program and former member of the Gerdine Young Artist Program at Opera Theatre of Saint Louis, this ris-ing American baritone recently fin-ished his first operatic recording for Naxos Records, recording in its entire-ty Darius Milhaud’s Oresteia of Aeschy-lus singing the role of Apollo.

Outlaw joins the roster of the Met-ropolitan Opera in the 2014-2015 sea-son, covering the role of Mamoud in The Death of Klinghoffer. Outlaw also will be heard in recital with How-ard Watkins at Carnegie Hall in its Neighborhood Recital Series. With Kent Tritle and the Oratorio Soci-ety of New York, he will sing Haydn’s Creation and Handel’s Messiah, both at Carnegie Hall. In the summer of 2015, Outlaw makes his Spoleto Festival debut as Jake in Porgy and Bess.

Concert Artists of BaltimoreFounded by Edward Polochick and now in its 28th season, Concert Art-ists of Baltimore (CAB) consists of a professional chamber orchestra and professional chamber chorus. The full ensembles are featured in The Mae-stro Series, with performances this season at the Basilica of the Assump-tion, St. Pius Church and the Gordon Center for Performing Arts.

The orchestra and chorus are fre-quently hired for performances throughout the region by other or-ganizations, including the Baltimore Symphony Orchestra, the Lyric Opera Baltimore, Moscow Ballet, The Cathedral of Mary Our Queen, Temple Oheb Shalom, Johns Hop-kins Medical Institutions, McDaniel

College, St. Louis Church, the Ho-locaust Museum in Washington, D.C., The Visionary Arts Museum, Elizabethtown College and Catholic Charities.

When larger forces are needed, such as when the singers of Concert Artists perform Messiah with the Baltimore Symphony Orchestra each year, the chorus expands to the Concert Artists Symphonic Chorale.

Program NotesMessiah

George Frideric HandelBorn Feb. 23, 1685, in Halle, Saxony (now Germany); died April 4, 1759, in London

Handel’s great oratorio Messiah has be-come such a beloved musical icon in the nearly 270 years since its birth in 1741 that it is not at all surprising that many myths and legends have grown up around it. We have been told that Handel himself compiled its most-ly Biblical text or, alternatively, that it was sent to him by a stranger; that its success transformed him overnight from a bankrupt operatic has-been to England’s most revered composer; that at its London premiere the king him-self rose during the “Hallelujah” Cho-rus to express his approbation. But Messiah’s real story is much more com-plicated, though no less fascinating.

In the early 1740s, Handel was in-deed in considerable professional and financial trouble. After emigrating from Germany to England as a young man, he had enjoyed a celebrated ca-reer as the country’s leading compos-er of operas, mostly in Italian and en-hanced by spectacular costumes and scenic effects. But by the end of the 1730s, Handel’s serious grand op-eras were falling out of fashion. The success of John Gay’s much simpler, English-language The Beggar’s Opera fueled a new enthusiasm for popular-style comic operas. Unable to fill Lon-don’s opera houses any more, Handel retreated from the field and turned his




genius to sacred dramas or oratorios.He was not a novice in this genre.

Even while busy writing operas, Handel had composed a number of oratorios, notable Israel in Egypt and Saul. Typically, his oratorios were not so very different from his operas: they told a dramatic story—in this case drawn from the Bible or other sacred literature—and their soloists played actual characters. They were per-formed in theaters and concert halls, not churches. But Israel in Egypt took a new musical approach in that the chorus now became the central char-acter. And Messiah, while giving the soloists more to do, still emphasized the chorus for its climatic moments. Moreover, it broke with Baroque ora-torio tradition in that it was a medita-tion on the coming of the Messiah and his promise for humanity rather than a narrative of events in his life.

Handel himself did not compile the group of texts drawn from the Bible’s Old and New Testaments for Mes-siah. Instead, this was the work of Charles Jennens, a wealthy landown-er and literary figure who was a long-time friend of the composer’s and had created tests for several other Handel oratorios. But Handel, devoutly re-ligious as well as worldly, responded

with a burst of almost miraculous cre-ative energy to the words Jennens had prepared for him. Beginning his work on Aug. 22, 1741, he completed the two-and-a-half-hour oratorio in just over three weeks. Besides inspiration from God, he also had a little practi-cal assistance in his huge task. Like more Baroque composers (Bach in-cluded), he did not hesitate to borrow from earlier works if they were suitable for use here. Three of the choruses in Part I—“He Shall Purify,” “His Yoke is Easy” and the famous “For Unto Us a Child is Born”—are based on music he’d originally composed as Italian vocal duets.

Messiah was introduced to the world in Dublin, Ireland, on April 13, 1743 during Holy Week (the tradition of performing it during the Christmas season is fairly recent). At the invita-tion of the Duke of Devonshire, the Lord Lieutenant of Ireland, Handel had been presenting concerts of his works there since the previous No-vember and winning the kind of warm response that had been eluding him in London. On that Tuesday, Neal’s Mu-sick Hall was packed beyond its ca-pacity; audience members had been specifically requested to leave their swords and hoop skirts at home in

order to fit more people into the hall!The Dublin audience responded

with enormous enthusiasm to the new work, and another performance was quickly scheduled. But when Handel brought Messiah to London in March 1743, attendance was dis-appointing and the critics unkind. A subsequent Handel oratorio, Samson, was much preferred.

Much of Messiah’s failure was caused by a heated controversy that broke out in the city as to whether such a serious sacred subject ought to be presented as an “entertainment” in secular concert halls. Receiving few subsequent per-formances, the oratorio went back on Handel’s shelf.

By 1749, when Handel was 64, the trustees of London’s Foundling Hos-pital invited him to present Messiah there at a charitable fundraising con-cert. This time the oratorio aroused no controversy, more than 1,000 peo-ple attended, and for the first time Messiah enjoyed a London triumph. From then on, annual performanc-es during the Lenten season became a London tradition, soon spreading throughout Europe. Now Handel was finally acknowledged as England’s leading musical citizen, and he lived long enough—until 1759—to be able to savor the success of the work he loved so dearly.

Listening to MessiahMessiah’s heroic journey is divid-ed into three parts. Part I revolves around the Old Testament prophecies (emphasizing the Book of Isaiah) of the Messiah’s coming and culminates with his birth as told in the Gospel of Luke. Indeed more of Messiah’s text is drawn from the Old Testament than the New, and, apart from the Nativity story, the Gospel histories are seldom used. Thus, the emphasis falls on the broader meaning of Christ’s redemp-tion of the human race rather than on the details of Jesus’ life.

Part II meditates on human sinful-ness, the Messiah’s rejection and suf-fering, and his sacrifice to redeem humankind; it concludes with that

CONCERT ARTISTS OF BALTIMORE


famous song of praise and triumph, the “Hallelujah” Chorus. Finally mov-ing into the New Testament, Part III tells of the Messiah’s vanquishing of death and the promise of everlasting joy for the believer.

Handel did not leave behind a de-finitive version of Messiah; instead, he reworked numbers and re-assigned arias to different voice categories de-pending on the soloists available for each performance. Messiah’s solo sec-tions are divided between recita-tives, which place greater emphasis on delivery of the words, and arias, in which musical values and the show-casing of the singer’s technical prow-ess take precedence. The tenor’s two opening numbers are a good example: “Comfort Ye, My People” is an ac-companied recitative and “Every Val-ley” is an aria.

Perhaps the most stunning se-quence in Part I is the juxtaposi-tion of the bass soloist’s aria “The

People That Walked in Darkness” with the beloved chorus “For Unto Us a Child is Born.” In a marvelous example of musical text painting, the bass literally wanders in a chro-matically confused maze in the dark key of B minor. The “great light” for which he yearns is then joyfully re-vealed in G major as the chorus sa-lutes Jesus’ birth.

All the choruses, including the “Hallelujah,” demonstrate Handel’s exhilarating technique of mixing powerful homophonic or chordal ut-terances (“Mighty! Counselor!”) with a more intricate polyphonic style in which each voice part pursues its own elaborately decorated line (“For Unto Use a Child is Born”). The ori-gins of the ritual of standing for the “Hallelujah” Chorus are rather misty. Scholars believe that the Prince of Wales may have stood up when he attended that historic London per-formance in 1749. Certainly by 1780,

everyone in the audience was follow-ing King George III’s lead.

Perhaps even exceeding “Hallelu-jah” in majesty and joy is the magnif-icent chorus “Worthy is the Lamb” that closes Part III, the shortest of the three sections but also the one most densely packed with the ora-torio’s greatest sequences (the so-prano’s serenely beautiful statement of faith “I Know That my Redeem-er Liveth,” and the bass’ hair-rising proclamation of the Final Judgment, based on First Corinthians, “The Trumpet Shall Sound,” with its glo-riously realized trumpet accompani-ment). “Worthy is the Lamb” itself is capped with an “Amen” Chorus on an epic scale worthy of the master-piece it closes—unfurling in grand sweeps some of the finest, most in-spired choral counterpoint this Ba-roque master ever devised.

Notes by Janet E. Bedell, © 2010


Presented by Attila Glatz Concert Productions

salutetovienna.com

Sunday, Jan. 4, 2015 at 3:00 pm

Tickets: 301.581.5100 strathmore.org

The MuSic cenTer aT STraThMore

New Year’s Concert

Strauss Waltzes, Polkas & operetta arias european Singers, costumed dancers

The Philly PoPS orchestra


Tuesday, December 9, 2014, 8 p.m.

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Dave KozNine-time Grammy nominee Dave Koz remembers the first record he ever purchased: Tower of Power’s 1974 album, Back To Oakland. It had a pow-erful impact on him, as his 2013 re-lease Summer Horns shows. Teaming up with Gerald Albright, Richard El-liot and Mindi Abair, Koz revisited the music that made him want to pick up the saxophone in the first place.

Born and raised in Los Angeles’ San Fernando Valley, Koz initially saw the saxophone just as a way to help him gain entry into his big brother’s band. After graduating from UCLA, Koz decided to become a professional

musician. Within weeks of that de-cision, he was recruited as a touring member of Bobby Caldwell’s band. It was during this time that Koz befriend-ed keyboardist Jeff Lorber, who invited Koz to come play on one of his tours. That stint was followed by a 14-month tour with pop singer Richard Marx.

Signed to Capitol Records by Bruce Lundvall, Koz released his self-ti-tled solo debut album in 1990. This was the first in a body of best-selling work, which includes the gold-certi-fied Lucky Man (1993), Off The Beaten Path (1996), and the holiday-themed albums December Makes Me Feel This Way (1997) and Dave Koz & Friends—A Smooth Jazz Christmas (2001).

Hello Tomorrow, Koz’s first album for Concord Records, debuted at No. 1 on both Billboard’s Top Contemporary Jazz Albums chart and iTunes’ Jazz Album chart and was named the “Best Smooth Jazz Album of 2010” by iTunes. The CD was nominated for a Grammy award for Best Pop Instrumental Album.

Koz’s new holiday recording, The 25th of December, was released in late September. The album features duets with Johnny Mathis, Eric Benét, Glo-ria Estefan, Heather Headley, Richard Marx, Kenny G, BeBe Winans, India.Arie, Trombone Shorty, Jonathan But-ler, Fantasia, and Stevie Wonder.

Jonathan ButlerThe youngest of 13 children, Jonathan Butler grew up in Cape Town, South

Africa, ruled by apartheid and segre-gation. Butler began his singing career at age 7, releasing his first album in 1973 and winning the Best New Art-ist Grammy in South Africa the fol-lowing year at age 12.

More than a decade later, Butler moved to London after signing with Jive Records and released his first album internationally. The self-titled set went gold in 1987 in the United Kingdom and in the U.S. He received Grammy nominations for Best R&B Song for “Lies” and Best Jazz Song for the instru-mental “Going Home.” Butler’s 2004 album, Surrender, went gold in South Africa, where he remains a superstar.

In concert, Butler remains a capti-vating and powerful performer, pour-ing his heart into selections from his immense catalogue. In addition to being a popular draw at headline dates, festival shows and music cruis-es, Butler thrives on interacting with fans. For the past four years, he has led a group of 35 guests each fall on the Jonathan Butler Safari, during which he shares his South Africa by visit-ing important landmarks in his life, as well as historic locales.

Christopher CrossChristopher Cross made history with his 1980 self-titled debut album, win-ning five Grammy awards, includ-ing Record of the Year (for the single “Sailing”), Album of the Year, Song of the Year (also for “Sailing”), and Best New Artist.

Now, more than 30 years after his extraordinary emergence into the music business, Cross continues his recording and performing career with a new album, Secret Ladder. The 13 tracks, mostly written with his long-time collaborator Rob Meurer, con-tinue the exploration of adult sub-ject matter broached in his preceding album Doctor Faith (2011).

Cross’ romantic side is readily evi-dent on Secret Ladder songs like “Sim-ple,” in which he elicits the tuneful sense of love and serenity that marked “Sailing.” But from the album’s first song, Cross evinces a sharpened focus

TUESDAY, DECEMBER 9, 2014, 8 P.M.


Dave Koz and Friends Christmas Tour 2014

With special guests Jonathan Butler, Christopher Cross and Maysa


DAVE KOz


in addition to his magic melodic touch.Secret Ladder draws from many in-

fluences. Hard-hitting songs include, most notably, “Got to be a Better Way” and “Island of Anger.” The poi-gnant and uplifting anthem “Light the World” features an African cho-rus alternating the lyrics in Swahili. “The Times I Needed You” employs a vocal chorus, arranged by Meurer, in-tentionally reminiscent of the Beach Boys. Cross also notes that Secret Lad-der’s “I Don’t See it Your Way” is a Joni Mitchell-influenced track.

MaysaMaysa is the kind of singer who takes hold of a song and enraptures her au-dience in the palm of her hands, as she delivers lyrics, phrases, melodies and harmonies in a way that only she can. Blessed with an instantly identi-fiable mezzo-soprano and an undeni-ably brilliant and magnetic stage pres-ence, Maysa’s alluring vocals, candor, humor, and purity as an artist make

her a rarity in this business. In 2013 she released her 10th re-

cording as a leader and fifth for Shanachie Entertainment, Blue Velvet Soul. The album features a reinven-tion of a familiar classic, the Johnny Hammond composition “Quiet Fire,” inspired by Nancy Wilson’s version. A special highlight on the new CD is Maysa’s gift as a composer. Eight of the album’s 15 tracks feature her origi-nal songs and she pours her heart and soul into every note. Blue Velvet Soul includes the uplifting duet with friend Bluey from Incognito, “Good Morn-ing Sunrise,” the sultry “Sophisticated Lover,” and the sublime meditation “Inside My Dream.”

Maysa Leak was born and raised in Baltimore, and knew by the time she was 6 that she would be a mu-sician. Maysa graduated from Mor-gan State University with a degree in classical performance, and moved to North Hollywood to join Stevie Won-der’s group Wonderlove, with whom

she performed for a year. In the early 1990s, Maysa auditioned over the phone to become the new lead sing-er of the acclaimed British jazz/funk/R&B band Incognito, for which she moved to London. She has appeared on over nine Incognito recordings and continues to appear as a featured vo-calist with them from time to time.

Maysa recorded her self-titled debut album for GRP in 1995, follow-ing it up with All My Life (1999), Out Of The Blue (2002) and Smooth Sail-ing (2004). She then made an impact with her interpretations of classic soul music on two acclaimed albums for Shanachie, Sweet Classic Soul (2006) and Feel The Fire (2007. Metamorpho-sis (2008) showed off Maysa’s prow-ess as a composer and A Woman In Love (2010) found Maysa returning to her roots as a jazz singer. Motions Of Love (2011) features the ballad “Have Sweet Dreams,” co-written by Stevie Wonder, and the duet “Flower Girl” with Dwele.

Tuesday, December 9, 2014, 8 p.m.


Thursday, December 11, 2014, 8 p.m.

Jack Everly, conductorJack Everly is the principal pops conductor of the Baltimore and Indianapolis sym-phony orchestras, Naples Philhar-monic Orches-tra and Nation-

al Arts Centre Orchestra (Ottawa), and the music director of the National Memorial Day Concert and “A Capi-tol Fourth” on PBS. He has been on stage with the Los Angeles Philhar-monic at the Hollywood Bowl, the New York Pops at Carnegie Hall and appears regularly with The Cleveland Orchestra at Blossom Music Center.

His frequent guest conducting en-gagements include the orchestras of Pittsburgh, Edmonton, Oklahoma City and The Philadelphia Orches-tra at The Mann Center. Everly is the music director of “Yuletide Celebra-tion,” now a 26-year tradition. These theatrical symphonic holiday concerts are presented annually in December in Indianapolis and are seen by more than 40,000 concertgoers.

Originally appointed by Mikhail Baryshnikov, Everly was conductor of the American Ballet Theatre for 14 years, where he served as music direc-tor. In addition to his ABT tenure, he teamed with the late Marvin Hamlisch in Broadway shows that Hamlisch scored, including The Goodbye Girl, They’re Playing Our Song and A Cho-rus Line. Everly also has conducted the songs for Disney’s animated classic The Hunchback of Notre Dame and led the Czech Philharmonic on the record-ings In the Presence, featuring tenor Daniel Rodriguez, and Sandi Patty’s 2011 release Broadway Stories. He also conducted the critically praised Ev-erything’s Coming Up Roses:The Com-plete Overtures of Broadway’s Jule Styne, and was music director for numerous Broadway cast recordings.

Debbie GravitteDebbie Gravitte received a Tony Award for Jerome Robbins’ Broadway,

THURSDAY, DECEMBER 11, 2014, 8 P.M.


Marin alsop, Music Director Jack everly, principal pops Conductor

PresentsHolly Jolly pops

Jack everly, conductorDebbie Gravitte, vocalist

Ted Keegan, vocalistBaltimore Choral arts society,

Tom Hall director

Cirque de la symphonieshana lord, aerialist

Timber Brown, aerialistDancers from the Baltimore school of the arts, Norma pera, Dance Department head

Jonathan Carney, violin seth Horner, tuba

The concert will end at approximately 10 p.m.


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O Come, All ye Faithful John Redding and Frederick Oakley Debbie Gravitte and Ted Keegan We Need a Little Christmas Jerry Herman Debbie Gravitte and Ted Keegan Here We Come A-caroling Arr. Bob Krogstad Songs of Snow Arr. Bob Krogstad Debbie Gravitte O Chanukah Arr. Jim Kessler Debbie Gravitte Light the Candles of Freedom Justin Wilde and Doug Konecky Dancers from the Baltimore School of the Arts Greensleeves Ralph Vaughan Williams Jonathan Carney One Clear and Snowy Night Leroy Anderson Timber Brown Believe Glen Ballard and Alan Silvestri Ted Keegan There is a Santa Claus Matthew Sklar and Chad Beguelin Debbie Gravitte and Ted Keegan Santa Tap Arr. Michael Gibson Dancers from the Baltimore School of the Arts

INTERMISSION Once upon a December Stephen Flaherty, David Newman Debbie Gravitte, Shana Lord and Lynn Ahrens and Timber Brown Carol of the Bells Arr. David Hamilton Debbie Gravitte, Shana Lord and Timber Brown How the Grinch Stole Christmas Albert Hague & Dr. Seuss Seth Horner O, Holy Night Adolph Adam Ted Keegan Baby, It’s Cold Outside Frank Loesser Debbie Gravitte O Tannenbaum Arr. Carmen Dragon Have yourself a Merry Little Christmas Song Hugh Martin, Mel Tormé and Bob Wells Debbie Gravitte and Ted Keegan One God Ervin M. Drake & James Shirl Ted Keegan Angels We Have Heard on High Arr. David T. Clydesdale Debbie Gravitte and Ted Keegan


along with the New York Showstop-per Award and a Drama Desk nomina-tion. She made her Broadway debut in They’re

Playing Our Song and also appeared in Blues in the Night, Perfectly Frank (Drama Desk nomination), Zorba, Ain’t Broadway Grand?, Chicago, and Les Misérables, and was seen in Mack and Mabel in London.

Gravitte has sung with more than 100 orchestras worldwide, includ-ing the National Symphony, Cleve-land Orchestra, Boston Pops, Cleve-land Pops, Philadelphia Pops, and the Pittsburgh, Atlanta, San Diego, St. Louis and Houston symphony or-chestras. Overseas, she’s appeared with the London Symphony, Bir-mingham Symphony, Jerusalem Sym-phony, Royal Scottish National Or-chestra, National Symphonica of Brazil, Munich Philharmonic and in Beijing with Lang Lang and the Chi-nese Philharmonic.

Gravitte is featured on many re-cordings including her three solo CDs Defying Gravity, The Alan Menken Album and The MGM Album. www.debbiegravitte.com.

Ted Keegan Ted Keegan has been seen as the Phantom in The Phantom of the Opera on Broad-way, in the na-tional tour and in Phantom: The Las Vegas Spec-

tacular. He also had the pleasure of appearing as the Phantom on televi-sion, performing live from Rockefeller Center for NBC’s “Today” show.

Keegan has sung with Audra Mc-Donald in New York and with Marin Mazzie at the opening of the Santa Fe Chamber Music Festival, and appeared as a soloist at Lincoln Center’s Avery

Fisher Hall singing Unheard Bernstein. He has performed with the Detroit, Portland, Pittsburgh, Ottawa, Omaha, Baltimore, Las Vegas, Fort Worth, Ed-monton and Indianapolis symphonies, the Dayton Philharmonic and the Na-tional Symphony.

Keegan made his Broadway debut in the highly acclaimed revival of Swee-ney Todd. Other Broadway and na-tional tour credits include Cyrano: The Musical, Camelot with Robert Goulet, Herman in The Most Happy Fella, and Kander and Ebb’s The World Goes ’Round.

The Baltimore Choral Arts SocietyThe Baltimore Choral Arts Society, now in its 49th season, is one of Mary-land’s premier cultural institutions. The Symphonic Chorus, Full Chorus, Orchestra and Chamber Chorus per-form throughout the mid-Atlantic re-gion, as well as in Washington, D.C., New York and Europe.

For the past 18 years, WMAR Tele-vision has featured Baltimore Choral Arts in an hour-long special, “Christ-mas with Choral Arts,” which won an Emmy Award in 2006. Music Direc-tor Tom Hall and the chorus were also featured in a PBS documentary called “Jews and Christians: A Journey of Faith,” broadcast nationwide and on National Public Radio in 2001. On local radio, Hall is the host of “Choral Arts Classics,” a monthly program on WYPR that features the Choral Arts Chorus and Orchestra, and he is the culture editor on WYPR’s “Maryland Morning with Sheilah Kast.”

Cirque de la SymphonieCirque de la Symphonie is an excit-ing adaptation of artistic performanc-es widely seen in theaters and arenas everywhere. Artists include the most amazing veterans of exceptional cirque programs throughout the world—aerial flyers, acrobats, contortionists, dancers, jugglers, balancers and strongmen.

Shana LordShana Lord is an accomplished ac-robat and dancer who has performed with many of the best cirque programs, including Cirque du Soleil’s Quidam. She has been a featured performer with Disney in Japan and Sea World’s Cirque de la Mer. She performs with aerial silks, rope, hammock, bungees, Chinese poles, duo trapeze and her self-designed aerial web.

Timber BrownTimber Brown is a professional aer-ial and acrobatic artist, best known for his appearance on the eighth sea-son of “America’s Got Talent.” Brown has been a featured character and per-former in numerous productions and special events around the globe.

Baltimore School for the ArtsFounded in 1980, Baltimore School for the Arts is a nationally recognized public high school that provides its stu-dents with intensive pre-professional training in the arts in conjunction with a rigorous academic curriculum. BSA graduates go on to the most selective arts and university programs nation-wide and achieve prominence in the-ater, film, music, dance and visual arts.

Thursday, December 11, 2014, 8 p.m.

BALTIMORE CHORAL ARTS SOCIETy

DEBBIE GRAVITTE


Friday, December 12, 2014, 8 p.m.

The Temptations

For more than 50 years, The Tempta-tions have prospered, propelling pop-ular music with a series of smash hits and sold-out performances throughout the world.

The history of The Temptations is the history of contemporary American pop. An essential component of the original Motown machine, that amaz-ing engine invented by Berry Gordy Jr., The Temps began their musical life in Detroit in the early ’60s. It wasn’t until 1964, however, that the Smokey Robinson written-and-produced “The Way You Do the Things You Do” turned the guys into stars.

An avalanche of hits followed: “My Girl,” “It’s Growing,” “Since I Lost My Baby,” “Get Ready,” “Ain’t Too Proud to Beg,” “Beauty Is Only Skin Deep,” “I Wish It Would Rain” and many more.

The classic lineup was Otis Wil-liams, Melvin Franklin, Paul Wil-liams, Eddie Kendricks and David Ruffin. Beyond the fabulous singing, The Temps became known for smooth stepping and flawless presentations.

When the ’60s and ’70s turned po-litical, The Temps got serious. They changed their tone, dress and music. Pro-ducer Norman Whitfield led the way. His Temptations hits, many featuring

Dennis Edwards, who had replaced Ruf-fin, burned with intensity. “Runaway Child,” “Cloud Nine,” “I Can’t Get Next to You,” “Papa Was a Rolling Stone,” and “Psychedelic Shack” still smolder.

Other singers—Richard Street, Ali-Ollie Woodson—joined, adding their luster to the group’s growing fame. No matter the change in personnel, The Temptations remained true to The Temptations tradition.

In the ’80s, The Temps prevailed with smashes like the Williams-penned “Treat Her Like a Lady.” In the ’90s came another Temptation explosion. It began with their appear-ance on “Motown 25” in 1983; it con-tinued with the NBC miniseries that chronicled the group’s history.

Then came a series of acclaimed re-cords: For Lovers Only, a collection of love standards; Phoenix Rising, which included the hit “Stay and Ear-Resist-ible,” which earned a Grammy.

The Four Tops

The quartet, originally called the Four Aims, made their first single for Chess in 1956 and spent seven years on the road and in nightclubs, sing-ing pop, blues and Broadway, but mostly four-part harmony jazz. When Motown’s Berry Gordy Jr. found out

they had hustled a national “Tonight Show” appearance, he signed them without an audition to be the mar-quee act for the company’s Workshop Jazz label. That proved short-lived, and Levi Stubbs, Abdul Fakir, Re-naldo Benson and Lawrence Payton started making one smash after an-other with the writing-producing trio Holland-Dozier-Holland.

Their first Motown hit, “Baby I Need Your Loving” in 1964, made them stars. “I Can’t Help Myself (Sugar Pie, Honey Bunch),” a No. 1 R&B and pop smash in 1965, is one of Motown’s longest-running chart toppers. It was followed by “It’s the Same Old Song,” “Reach Out, I’ll Be There,” “Standing in the Shadows of Love,” and “Bernadette.”

When Motown left Detroit in 1972 to move to Los Angeles, the Tops de-cided to stay at home, and with an-other label. They kept up a string of hits with ABC-Dunhill for the next few years: “Ain’t No Woman (Like the One I’ve Got),” “Keeper of the Castle,” “Are You Man Enough” (from the movie Shaft in Africa), “Sweet Understanding Love,” “One Chain (Don’t Make No Prison)” (later cov-ered by Santana), “Midnight Flower” and the disco perennial “Catfish.”

In 1980s the group moved to Casa-blanca Records, where they scored hits with “When She Was My Girl,” “To-night I’m Gonna Love You All Over” and “I Believe In You And Me.”

Following Payton’s death in 1997, the group briefly worked as a trio until Theo Peoples, a former Temptation, was recruited to restore the group to a quartet. When Stubbs subsequently grew ill, Peoples became the lead sing-er and former Motown artist-producer Ronnie McNeir was enlisted to fill Pay-ton’s spot. In 2005, when Benson died, Payton’s son, Roquel, replaced him.

For Rolling Stone’s 2004 article “The Immortals—The Greatest Artists Of All Time,” Smokey Robinson re-membered: “They were the best in my neighborhood in Detroit when I was growing up [and] the Four Tops will al-ways be one of the biggest and the best groups ever. Their music is forever.”



The Temptations and The Four TopsThe Music Center at Strathmore



saturday, December 13, 2014, 4 p.m. and 8 p.m.

About Mannheim SteamrollerIn 1984 Mannheim Steamroller re-leased Mannheim Steamroller Christ-mas, an album that revolutionized the holiday music industry. Already a mul-tiplatinum recording artist through his Fresh Aire series, founder Chip Davis decided to record an album of Christ-mas music combining the group’s sig-nature mix of renaissance instruments with rock ‘n’ roll beats.

The resulting album was a runaway hit and propelled Mannheim Steam-roller to become the No. 1 Christmas music artist in history. The group’s latest album, 30/40, was released in October and celebrates 30 years of Christmas favorites and 40 years of the sound of Mannheim Steamroller.

Chip DavisChip Davis is the genius behind Mannheim Steamroller and the driv-ing force of American Gramaphone, the largest independent record label in the country. Davis combines the dynamics of musical mastery and tech-nical wizardry to create a style often described as “18th century rock ’n’

roll.” He named the band Mannheim Steamroller for the 18th century mu-sical technique that we know today as the crescendo.

While Davis is no longer able to perform as a member of the band due to cervical disc damage, he continues to be involved in the Christmas con-certs, including directing both the cre-ative and production sides of the tour.

With 19 gold-, eight multiplati-num- and four platinum-certified re-cords, Davis is among an elite group of artists such as U2, Jay-Z, The Beach Boys and Michael Jackson with the most such certifications.

Davis resides on a 150-acre farm just outside Omaha, Neb., along with his nine horses, pet turkey, two tim-berwolves, a family of ducks and other natural critters throughout his woods. His three children all have a vari-ety of musical talents. His 14-year-old daughter is a lead singer in an Omaha band and is featured in 30/40. His 22-year-old daughter is a vocalist and competitive equestrian who also works at American Gramaphone. Davis’ 17-year-old son, an accomplished gui-tarist, has performed on record tracks.

SATURDAY, DECEMBER 13, 2014, 4 P.M. AND 8 P.M.


Mannheim steamroller ChristmasMannheim Steamroller Christmas is presented through the

generous sponsorship of Joel and Elizabeth Helke.


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Strathmore Children’s ChorusThe Strathmore Children’s Chorus was founded in the fall of 2012 with 90 members. Currently, Strathmore has nearly 200 members and four en-sembles: the Training Chorus, The Treble Chorus, the Concert Chorus and the Young Men’s Chorus.

Under the direction of Christo-pher G. Guerra, the ensembles pro-mote self-expression in singers, cele-brate the diverse musical traditions of Montgomery County residents, engage talented youth in joy-filled and uplift-ing music-making and allow Strath-more to provide a living, breathing, singing presence in our community.

The Strathmore Children’s Cho-rus is a Strathmore Education pro-gram, and fulfills Strathmore’s mission to produce exemplary performing arts programs for diverse audiences, create dynamic arts education experiences that convene students and educators, and foster informed appreciation for and involvement in the arts.

Christopher G. GuerraChristopher G. Guerra is the found-ing conductor and artistic director of the 200-member Strathmore Chil-dren’s Chorus, now in its third season. He was the founding choral director of the A. Mario Loiederman Middle School for the Creative and Perform-ing Arts in Silver Spring, where he di-rected all choral activities and taught courses in digital music for nine years. He is currently teaching chorus at Ridgeview Middle School.

Guerra is the recipient of the 2012 Maryland Music Educators Association’s Outstanding Teacher Award. His choirs

Tuesday, December 16, 2014, 7:30 p.m.

TUESDAY, DECEMBER 16, 2014, 7:30 P.M.


strathmore Children’s Chorus Winter Concert

featuring the North Bethesda Middle School ChoirStrathmore Children’s Chorus Training Chorus

“Kol Han’shamah (Psalm 150:6)” Robert Applebaum “Peace On Earth…and lots Paul Carey and Oliver Twigge of little crickets” Ian Stuart, bass marimba “May the Road Rise up” Jay Rouse (Traditional Gaelic blessing)

North Bethesda Middle School Choir “Panis Angelicus” Cesar Franck arr. Neil Johnson “Bashana Haba’ah” Ehud Manor and Nurit Hirsch arr. by John Leavitt “It Takes a Village” Joan Szymko

Strathmore Children’s Chorus Treble Chorus “Blustery Day (The Challenge)” Victoria Ebel-Sabo “Solidaridad” David L. Brunner “Beautiful Star of Bethlehem” Adger Pace and Risher Boyce arr. David L. Brunner

Strathmore Children’s Chorus young Men’s Chorus “Bound for the Promised Land” arr. Emily Crocker (American folk song) “Medieval Gloria” Vijay Singh “Riu, Riu, Chiu” (Spanish carol) arr. Linda Spevacek

Strathmore Children’s Chorus Concert Chorus “Cantate Domino” Heinrich Schutz “Eliyahu Hanavi” (Jewish folk song) arr. Valerie Shields “Winter Magic” Dave and Jean Perry

Combined Choruses “Silent Night for All the World” J. Mohr, Franz Gruber, Alice Dillon Pepper Choplin “Jingle Bells (Sort Of)” James Pierpont arr. Jay Althouse

strathmore Children’s ChorusChristopher G. Guerra, Founding Conductor & Artistic Director

Matthew Albright, Associate Director, Young Men’s ChorusMary J. Hochkeppel, Associate Director, Training Chorus

Hei Jung Kim, Accompanist, Treble, Concert Chorus, Young Men’s ChorusRodney Long, Accompanist, Training Chorus

Alice Dillon, Vocal CoachMiriam de Decker, Choral Manager, Training ChorusWilliam Gonzales, Choral Manager, Concert Chorus

Ashley Manion, Choral Manager, Treble ChorusLauren Campbell, Program DirectorMary Twillman, Managing Director

North Bethesda Middle school ChoirJason McFeaters, Choral DirectorMatthew Vanhoose, Accompanist

Guest accompanistsDan Heagney, percussion

Nick Montopoli, violinIan Stuart, percussion



education from the Peabody Con-servatory of Music of Johns Hopkins University, and a bachelor’s degree in music education from Westminster Choir College. She is an active mem-ber of the National Association for Music Education and the American Choral Directors Association.

Hei Jung KimHei Jung Kim is a graduate of the University of Maryland College Park School of Music. While attending the University of Maryland, Kim studied piano with Santiago Rodriguez.

Kim is a music teacher for Mont-gomery County Public Schools, teach-ing general music and chorus for the past 12 years at Dr. Sally K. Ride El-ementary School. She also serves as the accompanist for the Montgomery County Youth Chorus and the Mont-gomery County Elementary Hon-ors Chorus. Kim is also a Strathmore Children’s Chorus parent.

Rodney LongRodney Long is a conductor, pianist, teacher and director who has accom-panied countless choral groups, solo-ists, instrumentalists, and plays in pit orchestras as music director. Most re-cently, he worked at The Johns Hop-kins University as the music direc-tor for its production of Carousel in 2014, and for The Drowsy Chaper-one in 2012.

Long is a tenor with The Nation-al Broadway Chorus in Washington, D.C. He is the director of choral ac-tivities at Watkins Mill High School.

Miriam de DeckerMiriam de Decker graduated with a bachelor’s degree in piano per-formance from Goshen College, and studied piano under Menahem Pressler of the Beaux Arts Trio while attending the Indiana University School of Music. She has a master’s degree in elementary education and is entering her 13th year of teach-ing kindergarten in the French Im-mersion program at Sligo Creek Ele-mentary School in Silver Spring. She

also teaches private piano lessons and serves as accompanist for the Sligo Creek chorus and for high school instrumentalists.

William GonzalesWil Gonzales received a bachelor’s de-gree in music education from the Uni-versity of New Mexico. In New Mexico, Gonzales interned for and directed the UNM Children’s Chorus as well as the adult choir at St. Mark’s on the Mesa Episcopal Church. His other profession-al experience includes adjudicating solo and ensemble festivals and working as a choral clinician for various music pro-grams in Albuquerque Public Schools.

Gonzales is currently pursuing a master’s degree in music education at the University of Maryland while teaching choral and general music for Newport Mill Middle School.

Ashley Manion Ashley Manion recently completed her master’s degree in music educa-tion through Boston University. She is also a graduate of the University of Delaware with a bachelor’s degree in music education.

She has taught choral and general music in Delaware and New Jersey, and is excited to return to her musical roots in Montgomery County. She is a gener-al music teacher at both Ashburton and Waters Landing elementary schools. She is a member of American Choral Directors Association, National Asso-ciation for Music Education, and the Sherwood Chambers Alumni Choir.

Alice E. DillonAlice Dillon has taught choral music from the elementary school through collegiate level, and is currently the choral music teacher at Diamond El-ementary School.

Dillon has appeared as a soloist lo-cally and across the country, in con-cert with Washington Performing Arts, the Capital Wind Symphony, NOVA Manassas Symphony & Community Chorale, Annapolis Opera, and the Il-liana Oratorio Society. Other appear-ances include The Lake George Opera,


have performed at two national con-ferences and for the American Choral Directors Association’s 2012 National Middle School Choral Conference in Dallas, Texas, as well as at MMEA con-ferences and several performances at the Music Center at Strathmore.

Matthew AlbrightMatthew Albright received his bach-elor’s degree in choral and instrumen-tal music education K-12, piano ped-agogy, and piano performance from Shepherd University. He received his graduate degree from Shenandoah University in church music in organ and choral conducting, as well as a graduate certificate in church music.

Albright is the director of adult music and organist at First Christian Church and is the vocal director at Winston Churchill High School. He is also a colleague and a choir master in the American Guild of Organists.

Albright has played at the Montreux Jazz Festival in Switzerland and has been a featured organist in the Quad-State area as well as in the Walls of the Vatican. He frequent-ly performs with the Monocacy Jazz Quartet, Maryland Symphony Orches-tra, and the Matt Albright Trio.

Mary J. HochkeppelMary J. Hochkeppel has been teaching music and directing choirs/dance teams and Orff Percussion Ensembles on the elementary and secondary level for 34 years. She is currently in her ninth year with Montgomery County Public Schools as choral/dance/Orff ensemble director and general music teacher at Sligo Creek Elementary School.

In 2013, she collaborated with composer-conductor Jim Papoulis in composing and publishing the choral piece titled, “I’ll Shine You Home.” In 2012-2013 she was invited to direct the Montgomery County Elementary Honors Chorus.

Throughout her career, Hochkep-pel has presented several choral, music technology and music curriculum workshops in Virginia and Maryland. She earned a master’s degree in music



Light Opera Works, The Boston Lyric Opera, The Chicago Lyric Opera, The Chicago Symphony Chorus, and The Washington National Opera.

Dillon received her bachelor’s de-gree in music education from the Uni-versity of Maryland and her master’s degree in voice from the New England Conservatory. She completed her doc-torate of musical arts in voice from the Conservatory of Music at the Uni-versity of Missouri, Kansas City.

Jason McFeaters, director, North Bethesda Middle School ChoirDuring Jason McFeaters’ 10 years at

North Bethesda Middle School, the choir program has grown from 28 to more than 250 singers, and his choirs have received overall superior ratings at county and state choral festivals.

He has served as a guest clinician or conductor throughout Maryland. In 2007, his students were selected to perform at The Music Center at Strathmore with The Kings’ Singers.

McFeaters holds a bachelor’s de-gree in music education from the Peabody Conservatory of the John’s Hopkins University, and a master’s degree in performance from the Uni-versity of Michigan.

Program NotesKol Han’shamah (Psalm 150:6)Kol Han’shamah translates into “Let every living thing that hath breath praise the Lord.” This text is from the last verse of Psalm 150, and is sung in Hebrew and English and has been known to be the most joyous of all Psalms.

Peace On Earth…and lots of little cricketsPeace On Earth…and lots of little crick-ets is an imaginative little piece that tells the story of a child telling his mother about how a cricket came into his room at night, and how he want-ed her to make it go away. The moth-er explains that crickets bring good luck, and so the child decides to let the cricket stay. As this piece is per-formed, the story continues to explain how the charming little crickets mul-tiply and join with human voices to bring peace, joy and happiness to all the inhabitants of Earth.

May the Road Rise UpMay the Road Rise Up is a traditional Gaelic blessing for the journey of life. It alludes to three images from nature: the wind, the sun and the rain, as pic-tures of God’s care and provision. The wind can be likened to the Spirit of God, the sun’s warmth in the prayer reminds us of the tender mercies of God; the soft rain speaks of God’s pro-vision and sustenance. Finally, we are reminded that we are held safe in God’s loving hands as we travel on our journey through life.

Panis AngelicusLatin from “Bread of Angels,” Panis Angelicus is taken from the Thomas Aquinas hymn “Sacris Solemnis” and famously arranged for tenor voice, harp, cello, and organ by French com-poser Cesar Franck. This piece is quite beautiful and expressive, and is fre-quently performed during the winter holiday season.

Concert ChorusMonica AmeryGabriella BallesterosChristina BloomerHannah BroderAliza BroderMarc BurlinaLauren CookeCaitlin DeerinMahima DewanKatherine DonahueEmily DonahueSacha FeldbergJerzy GillonMyka GravesMeimei GreensteinSierra HillEllinore HomanEvelyn HoonAnna JobMelanie KomolafeSophia LieskeDevin Grace LucasVeronica MaganaMadeline MatsonMegan McWrightNeema MeenaMelissa MelkonianMadeleine MenkesAlex NevoAshley OndouaAprill ParkChristine ParkSofia PereiraMackenzie PolgreenTsedey PrettoGrace ReachmackAlexander RothKennedy SalamatPamela SteimelPreston SteimelMae SullivanCecilia Sun Samantha VentolaBronwyn WeikertKristen YeeKaleigh YoungAmy Zhong

Training Chorus Hayley AsaiArvind AwasthiElena BamburgDouglas BrownMaya BuchmullerEllyce ButuyanLiam DarnellSneha DavidKelvin DukesKaitlyn FryTaya GillDarren HongCecilia IlaganAasir Simon

JeyachandranAnita JustinTomoki

Kobayashi-NguyenKarolina KoniecznyTyler KovacsChloe LeeFrances MooreReheth NarulaChyanne NowlinElla PhommachanhPatricija PupineKimberly-Elise RecasLee RobyKarys RomeroDena ShaoAda Jane ShinIpsita SrivastavaPetrina SteimelKhadacha StorksClara UblAnna Grace UehleinSophia VanLoweMiranda WangEliana WongJingjing WuLingwen XuEileen YangTong-Tong YeElizabeth YuanEileen ZhangJoyce Zhou

Treble Chorus Annabelle AdamsFadbala AdjeiLana AndersonAlexandria AubleySophie BagheriGustavo BallesterosErik BrownRyan BrownJonah Paul CarzonCamille ChavisVictoria ChazinCynthia ChenSona ChudamaniEvelyn ConnorEthan CorbinCameron DarnellKatelynn DiuguidSean DunphyCatherine DunphyRafael FriedlanderJasmine GongFaith HuiLinnea HultmanDivya KadiyalaYu KaminishikawaraAmila KapetanovicAri KaplanLancie KearJacob KimAudrey LeKaitlyn LeeVivian LiJulia LiuChristian-Jordell

MaffeiEsther MarkovHannah MarkovKeshini MaynardAngelo MazhanduMargaret McHughJansikwe

Medina-TayacSarah MeyerPaige MeyerAllen Murillo

GalanakosLeilani Nti

Benjamin NyeEleanor OrzulakEmily OttRobert PanehalGabrielle

PapadopoulosKaterina ParkerEmma PhamLaura PiresMariah PlummerCatherine PradoParker PuleioYunshu QiuJennifer RenElla RothAliyah RuhlElla SmithNicoletta SmithCeci SnyderAidan Stanton-BrandLeia TerrenziGabriela TuncerJasmine VoonAlyssa WangKatherine WeaverKlaudia WeidlichJulie YangChuning YangLaura Yao Joey Yeoh

young Men’s Chorus Frederick ChangConnor CrotzerJabril El-AminAlex GreenSimon HoonBenjamin JinDavid KlosWilmer Leon IVDonovan McFaddenBrandon ParadaMax PowersJosiah SeguiMatthew TwillmanLongfei Yang

strathmore Children’s Chorus


Translation: Bread of Angels, Is made bread for

mankind;Gifted bread of Heaven, Of all imaginings

the end;Oh, thing miraculous! This body of God

will nourishThe poor, the servile, and the humble.

Bashana Haba’ah The music for Bashana Haba’ah was composed by Israeli musician Nurit Hirsch as a song of hope. Paraphrased in English by the arranger: “Next year, when peace will come, we shall return to the simple pleasures of life so long denied us. You will see, you will see, O how good it will be, next year!” In his arrangement, John Leavitt highlights the tenor and bass section as they present the listener their first hearing of the famous bashana theme. This theme is then passed to the altos and then finally to the sopranos.

It Takes a VillageNotes from the composer: “In adapt-ing the West African saying, ‘It takes a village to raise a child,’ I’ve sought to embody the cultural concept be-hind this proverb—that is truly all the individual parts linked and working together that create and support the whole. The four vocal rhythms in the main portion of the work, each with its own character and function, are essential to creating the unique en-ergy and movement of ‘Village.’ Only when they are sung together does a truly joyful spirit arise.”

Blustery Day (The Challenge) Blustery Day is a delightful selection for young people as it describes the challenges children face in inclement weather. The wind, rain and snow! The weather, and getting to school in it or going outside to play, can make one tuck tail and run. Some adventur-ous souls decide to go outside anyway and brave the elements.

SolidaridadThe text to Solidaridad was com-posed by Mexican poet Amado Nervo

(1870-1919), who was often referred to as the “monk of poetry” as he had studied for the priesthood before writ-ing. His simple phrasing and text ex-plore the idea of listening to our inner voice and how it can lead us to a fuller and more engaged life.

Beautiful Star of BethlehemBeautiful Star of Bethlehem’s melody is folk-like and the harmony is in the same tradition. It is easy on the ear, yet tender to the soul with an inviting countermelody. Bound for the Promised LandBound for the Promised Land captures the strength, optimism, tenacity, and tirelessness of the American pio-neer of the 18th and 19th centuries. It would have been sung either by one or many in a place of worship. It

would not have been notated, rather passed down as an aural/oral tradi-tion, and sung with spontaneous har-mony. This particular arrangement captures the strong belief of the American pioneer that it was both his right and his duty, led by divine providence, to find and create a new Promised Land.

Medieval Gloria Written specifically for male voic-es, Medieval Gloria possesses the spa-cious nature of music of the middle ages. Cathedrals were spacious, as was the music sung in them. With the use of open intervals, or two notes that are far apart, and with the use of medieval hand drum, the piece is reminiscent of the earliest days of musical praise.

Translation: Glory to God in the highest and on earth


Paniz Alavi-NainiAsia AlesciRuth I. AregawiNaila BagirovaAva R. BarriosJulia L. BaumelSophia F. BeckerElmira J. BensonConnor E. BolandCassandra R. BopfHawa BoresheNebiy BoresheTalal H. BrekAdrienne M. BruchSydney L. BryonAlexander J. BurgessVioleta Calvo AlcanizLeonardo Camargo

TejedaAnne M. CampbellSarah L. CandelmoGrace M. Castaneda

ReyesAlicia A. CastilloAlison T. ClarkSophie E. ClarkeSteven C. CobbElla P. CohnJack R. CoughlinRachel A. CroneRebecca L. DavidsMacKenzie M.

DeGraeveBennett D. DeshishkuSophia M. DifrankDaniela DoradoMia M. DorrienJulia C. EisenMichael Endrias

Shannon M. EngelLydia K. FitzpatrickSarai M. FloresGwendolyn A. FrewEmily G. FridsmaAndrew M. GedraSydney M. GibbonsAbigail R. GillmanAmber D. GoldenMia I. GoodsteinMadeleine A. GrantBarbara G. GrazziniYael GreenbergIan E. GreenwoodLucas J. GubermanGarima S. GuptaJonah R. GutmanSophie G. HannahBenjamin G. HarmonEmily E. HarveyMariah P. HealeyDavid P. HeffernanElijah T. HillAnika M. HoltonErin I. JacobsAnastasia V.

KaloshinaNeta KarivHannah R. KeefeTaylor R. KellyCaroline G. KennonSarah E. KimmelAlexander R. KormanMatthew E. KroskinKira W. KrucoffSophia C. KundanmalLucas C. LanderMarco A. LapcevicHanon T. Legesse

Raphael G. LeslauMaxwell R. LevyJohn M. LindeBenaia M. LintjewasDaria M. LondonAnita O. LonnbergLucille M. LowSpencer E. MahneNicholas J. MendozaAbigail C. MillhollandBerenice M. MizonDaphne A. MoralesXimena MoralesOctavia MosqueiraAustin M. MucchettiBrendan M. MurrayNatalia Nadal LafontEvelyn C. NahinNandi E. NdoroMoira L. NeveJonathon E. NewmanLaurel R. NoreuilHabib A. NoumairKennedy M. O’ConnorSarah R. O’DonnellDermot F. O’KellyMateo Ortiz-MalteGrace E. ParkRanjana PaulKeren D. PeterMorgan N. PetersenSamantha E. PhelpsMadelyn M. PuenteElizabeth M. QuinnElizabeth L. RentschBrian M. RivasCamila L. RoblesMatias F. RodriguezJulia L. Rose

Alexandra G. Rothman

Michael S. RubinBianca I. SadryKaitlyn Y. SainzKamyab Salehi-PirouzCatherine E. SantyCarli J. SchellMaryellen M.

SchwartzRaya P. SeidYasmina M. ServilleSonika SharmaJesse Y. SiegelAndrew I. SkiltonGeneva H. SmithMaya E. Smith-HankeKrithi SriramStephen T.

Staicer-WilkinsonCorrinne S. StuckeyMina SwaminathanEmily R. TamaroJason R. TaylorMadison J. TerryEmilia M. TolozaJanie A. TrombleyMatthew C. VinsonAnna M. VoitBrooke E. WagarCaroline A. WasdenDrew H. WeintraubKarina A. WeirLiana L. WilkinsonRodrigo Yepez LopezGwendolyn E. YetterKaleigh N. YoungIsabella M. ZavareeiMakenna L. Zielske

North Bethesda Middle school Choir



peace to men of good will.We praise thee. We bless thee. We wor-

ship thee. We glorify thee.We give thanks to thee according to thy

great glory.

Riu, Riu, ChiuThis traditional Christmas carol is from 16th century Spain. It is a villancico, a type of sacred carol of Spanish speak-ing countries. With its exciting dance rhythm, simple harmony, and text in the vernacular of Spain, the carol would have been accessible and invit-ing to all people.

Translation of the chorus: Riu Riu Chiu, the river bank protects it.

God kept our lamb safe from the wolf.

Cantate DominoCantate Domino was composed by Heinrich Schutz, one of the most sig-nificant composers of the German Ba-roque period. Like J.S. Bach, Schutz wrote extensively for the church.

Translation: Sing to the Lord a new song, for He hath

done marvelous things.His right hand and His holy arm hath got-

ten Him the victory.

Eliyahu HanaviEliyahu Hanavi is an “Elijah song,” one of many sung often in the Jew-ish community for hundreds of years. They are sung at the conclusion of the Sabbath at the Havdalah ser-vice. The text is thought to have been written in Babylonia and dates from the 10th century and compels the prophet Elijah to quickly bring the Messiah with him. The melody is thought to have originated in East-ern Ashkenazic.

Translation: May Elijah the prophet, Elijah the Tish-bite, Elijah the Gilead come to us very soon with the Messiah, son of David.

Winter MagicThe holiday feel comes through in

this song’s bouncy melody, syncopa-tion and upbeat text.

Silent Night for All the WorldSilent Night for All the World is a setting of Franz Gruber’s traditional “Silent Night” sung in multiple languages in a unique round form in which the phrase is staggered in entrance. Sung in English, German, Spanish and Ko-rean, the melody is creatively inter-twined in a grand statement of unity that is fitting for the season and for a large ensemble to sing.

Jingle Bells (Sort Of)What a mixed-up, mixed meter, crazy and fun arrangement of “Jingle Bells!” James Pierpont’s song, arranged by pro-lific composer Jay Althouse, moves briskly. At first, the words are the same as the ones we all know, then... “The melody’s the same; the rhythms, they are not, the words are sort of different, but we’ll give it all we’ve got!”

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About The Colors of ChristmasThe stars shine in this soulful night of Christmas classics and greatest hits as America’s favorite Christmas concert celebrates its 22nd year. The Colors of Christmas is as much a celebration of the human spirit as it is “a four-star holiday extravaganza” (Long Beach Telegram). Grammy Award-winning R&B legend Peabo Bryson is joined by Tony Award-winning singer Jennifer Holliday, pop diva Taylor Dayne, and “American Idol” winner Ruben Stud-dard for an unforgettable evening of pop hits and Christmas favorites.

Peabo BrysonPeabo Bryson is a recording artist and performer who has enjoyed in-ternational recognition and success

since 1991. His debut album Can You Stop the Rain quickly climbed to the top of the R&B charts, demonstrat-ing his ability to interpret material from every part of the music spec-trum. In 1993 Bryson won two Gram-my Awards for “We Kiss in a Shad-ow” (The King and I) and Kenny G’s multi-platinum “By the Time This Night is Over” featuring Bryson on vocals. He is also known for his duets on Disney’s “Beauty and the Beast” (with Celine Dion) and “A Whole New World” (with Regina Belle). His deep repertoire and numerous awards only serve to reinforce Bryson as a multi-dimensional artist with un-precedented talent.

Ruben StuddardRuben Stud-dard is an R&B artist best known as the sec-ond winner of Fox Televi-sion’s “Ameri-can Idol” in

2003. Since then he has produced a string of gold and platinum albums, toured as Fats Waller in a national stage tour of Ain’t Misbehavin’, toured in the comedy drama Heaven I Need A Hug with Robin Givens, and along

the way picked up Grammy and American Music Award nomina-tions. His sixth and most recent stu-dio album, Unconditional Love, was released in February.

Taylor DayneTaylor Dayne is a dynam-ic three-time Grammy nom-inated vocal artist who has earned numer-ous best-sell-ing gold and

platinum albums, which produced 17 Top 20 singles, including the hits “Tell it to My Heart,” “Love Will Lead You Back,” and “Prove Your Love to Me.” She has appeared in many film, television, and Broadway stage roles, such as Elton John’s Aida. In 2009, Dayne contributed songs to the film Sex and the City 2 and in 2010 she delivered a performance of “Facing A Miracle” during the open-ing ceremony of the Gay Games VIII in Cologne. In 2012, Dayne was in-ducted into the Long Island Musi-cians’ Hall of Fame, alongside stars Billy Joel, Pat Benatar, Brian Setzer, and Blue Oyster Cult.

Jennifer Holliday Jennifer Hol-liday is a two-time Grammy Award-win-ning recording artist and the Tony Award winning Broadway

star of Dreamgirls. Born and raised in Houston, Texas, Holliday went straight from the Pleasant Grove Baptist Church Choir to the bright lights on Broadway. Her other Broad-way musical credits include Chica-go, Grease, and Harlem Suite. Holli-day is a fervent advocate of mental health and speaks often for depres-sion awareness and suicide preven-tion for youth.

Friday, December 19, 2014, 8 p.M.




The Colors of Christmas(starring in alphabetical order)

peabo Bryson Taylor Dayne

Jennifer Holliday and Ruben studdard



saturday, December 20, 2014, 8 p.m. and sunday, December 21, 2014, 3 p.m.

SATURDAY, DECEMBER 20, 2014, 8 P.M. SUNDAY, DECEMBER 21, 2014, 3 P.M.

●The National Philharmonic

piotr Gajewski, Music Director and Conductorstan engebretson, National philharmonic Chorale artistic Director

Presents

Handel’s Messiahstan engebretson, conductor

Rosa Lamoreaux, sopranoMargaret Mezzacappa, mezzo-soprano

Matthew Smith, tenorKevin Deas, bass

National Philharmonic Chorale

Weekend Concerts sponsor: ameriprise Financial

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


Messiah George Frideric Handel (1685-1759)

Part I

Sinfonia (Overture)

Comfort ye my people Recitative

Ev’ry valley shall be exalted Air

And the glory of the Lord Chorus

Thus saith the Lord Recitative

But who may abide the day of his coming? Air

And he shall purify Chorus

Behold, a virgin shall conceive Recitative

O thou that tellest good tidings to Zion Air and Chorus

For behold, darkness shall cover the earth Recitative

The people that walked in darkness Air

For unto us a child is born Chorus

Pifa (“Pastoral Symphony”)

There were shepherds abiding in the field Recitative

And lo, the angel of the Lord came upon them Recitative

And the angel said unto them Recitative

And suddenly there was with the angel Recitative

Glory to God Chorus

Rejoice greatly, O daughter of Zion Air

Then shall the eyes of the blind Recitative

He shall feed his flock Air

His yoke is easy, and his burthen is light Chorus

INTeRMIssION Part II Behold the Lamb of God Chorus

He was despised Air

Surely he hath borne our griefs Chorus

And with his stripes we are healed Chorus

All we like sheep have gone astray Chorus

All they that see him laugh him to scorn Recitative

He trusted in God Chorus

Thy rebuke hath broken his heart Recitative

Behold, and see if there be any sorrow Air

He was cut off out of the land of the living Recitative

But thou didst not leave his soul in hell Air

Why do the nations so furiously rage together Air and recitative

Let us break their bonds asunder Chorus

He that dwelleth in heaven Recitative

Thou shalt break them Air

Hallelujah Chorus

Part III

I know that my redeemer liveth Air

Since by man came death Chorus

Behold, I tell you a mystery Recitative

The trumpet shall sound Air

Worthy is the Lamb that was slain Chorus


Stan Engebretson, conductor In demand throughout the United States and Europe, Stan Engebretson has led choirs in Ven-ice’s Cathedral of St. Mark and taught in Co-

logne, Trier, St. Moritz, and Barcelona. After attending the University of

North Dakota and earning his doctor-ate from Stanford University, Engebret-son taught at the University of Texas of the Permian Basin and the University of Minnesota. He also was the artistic director of the Midland-Odessa Sym-phony Chorale and the associate con-ductor of the Minnesota Chorale.

In Washington since 1990, Enge-bretson is professor of music and direc-tor of choral studies at George Mason University and is the director of music at the historic New York Avenue Pres-byterian Church.

Rosa Lamoreaux, soprano Lyric soprano Rosa Lamoreaux has been a soloist for Bruno Weil at the Carmel Bach Festival, Robert Shaw with the Atlanta and Cin-cinnati symphony

orchestras, Sir David Willcocks at the Bethlehem Bach Festival and Norman Scribner and the Choral Arts Society at the Kennedy Center, and J. Reilly Lewis and the Cathedral Choral Soci-ety and Washington Bach Consort.

Lamoreaux has toured with “Musi-cians From Marlboro” and is the so-prano in an award-winning vocal arts quartet that has been featured at many European music festivals. Many of her performances have been broadcast on National Public Radio, including recit-als at the Kennedy Center, Bach Can-tatas at the Bethlehem Bach Festival, Spain in the New World with Hesperus, and Bach’s Christmas Oratorio with the Smithsonian Chamber Orchestra.

Margaret Mezzacappa, mezzo-soprano

A third-year res-ident artist at the Academy of Vocal Arts in Philadelphia, Margaret Mez-zacappa received a bachelor’s de-gree in music

performance from Baldwin-Wallace College Conservatory of Music.

Since 2008, the Euclid, Ohio, na-tive has won numerous awards includ-ing the George London Award, George London Foundation Vocal Competi-tion, 2012; regional winner, Metropoli-tan Opera National Council Auditions (Middle Atlantic), 2012; fourth prize, Giulio Gari Foundation International Vocal Competition, 2011 and top prize, Licia Albanese-Puccini Foundation In-ternational Vocal Competition, 2011.

Mezzacappa’s roles at the Academy of Vocal Arts have included Cuniza in Oberto, Mother’s Voice in Les Contes d’Hoffmann, Adelaide in Arabella, La zia Principessa in Suor Angelica, Fru-gola in Il tabarro, Azucena in excerpts from Il trovatore, and Mistress Quickly in Falstaff.

Matthew Smith, tenorMatthew Smith is an accom-plished tenor so-loist, having per-formed with the Washington Bach Consort, the Ca-thedral Cho-ral Society, the

Washington Concert Opera, the Ni-agara Symphony Orchestra, the Penn-sylvania Chamber Orchestra, and the Mendelssohn Club of Philadelphia.

Smith received the Carmel Bach Festival’s Adams Fellowship for perfor-mance and study of the music of Bach in 2008. His operetta and operatic roles have included Frederic in Pirates of Penzance, Baron Zsupàn in Countess Maritza, The Prologue in The Turn of the Screw, Kaspar in Amahl and the Night

Visitors, the Mayor in Albert Herring, and Torquemada in L’heure Espagnol.

Smith currently serves with the Air Force Singing Sergeants in Washing-ton, D.C. With them, he performs at the White House, with the National Symphony Orchestra, for nationally televised events including the funerals of former Presidents Ronald Reagan and Gerald Ford, and on tours across the United States.

Kevin Deas, bassAmerican bass Kevin Deas is es-pecially celebrat-ed for his riveting portrayal of the title role in Porgy and Bess with the New York Phil-harmonic, Na-

tional Symphony, St. Paul Chamber Orchestra, Philadelphia Orchestra, San Francisco, Atlanta, San Diego, Utah, Houston, Baltimore and Mon-treal symphony orchestras and at the Ravinia and Saratoga festivals.

His recent recordings include Die Meistersinger with the Chicago Sym-phony under the late Sir Georg Solti and Varèse’s Ecuatorial with the ASKO En-semble under Ricardo Chailly, both on Decca/London. Other releases include Bach’s B minor Mass and Handel’s Acis & Galatea on Vox Classics and Dave Brubeck’s To Hope! with the Cathedral Choral Society on the Telarc label.

Program NotesMessiah

George Frideric HandelBorn Feb. 23, 1685, in Halle, Germany; died April 14, 1759, in London

During the last decades of his life, be-ginning in the 1730s, Handel began to turn away from the world of the opera in order to devote more and more of his effort to the oratorio. The oratorio was a similar and closely related kind of musical presentation to the opera; it differed little outwardly in structure


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and content from the opera musical-ly, but it required no costumes, scenery or staging, and the subjects, generally elevated and noble, were more often taken from the Bible, or classic myths or other legends.

Handel’s oratorios (and Messiah in particular) became the first “immortal masterpieces” and were performed over and over again long after their novel-ty was gone, even after their compos-er’s death. Unlike now, until some 75 years after Handel’s death, novelty was a supremely important factor in musi-cal life. Music of the past, even of the recent past, was performed only with a sense of participating in a revival of something long gone. The then-cur-rent repertoire was always contempo-rary and, thus, always in flux.

Immediately, Handel’s oratorios cap-tivated the English people. The fame of these oratorios inspired Haydn, Mozart and Beethoven when their popularity spread to the European continent. Gradually, the oratorios es-tablished the new idea that some “old” music was too good to abandon, and that, in fact, sometimes, established pieces should actually be given prece-dence over the new.

Handel composed Messiah dur-ing the few weeks from Aug. 22 to Sept. 14, 1741. Presumably, his friend Charles Jennens assembled the text from the Bible, assisted by his private chaplain and in consultation with the composer. This theory is not definitive, and there are others who hold that the text was the careful work of Handel’s secretary, a clergyman named Pooley. A few weeks after the score was complete, William Cavendish, Duke of Devon-shire and Lord Lieutenant of Ireland, invited Handel to give some benefit concerts of his music in Dublin for sev-eral charities. He left London early in November, spent a few days at Chester awaiting good weather for the Irish Sea crossing and arrived on Nov. 18. In De-cember, he began his successful series of subscription concerts.

On March 23, 1742, a notice ap-peared in two Dublin newspapers: “For the Relief of the Prisoners in the several

Gaols, and for the Support of Mercer’s Hospital, in Stephen’s-street, and of the Charitable Infirmary on the Inn’s Quay, on Monday, the 12th of April, will be performed at the Musick Hall in Fish-amble-street, Mr. Handel’s new Grand Oratorio, called the Messiah, in which the Gentlemen of the Choirs of both Cathedrals will assist, with some Con-certos on the Organ, by Mr. Handel.”

A public rehearsal of the Messiah was held on April 8 before a large audience, and the next day, a newspaper reported, “It was allowed by the greatest Judges to be the finest Composition of Musick that ever was heard.” The paper also suggested that ladies should come to the concert without hoops and the gen-tlemen without swords in order to make room for a larger than normal audience. The public cooperated and 700 people attended the premiere, although the hall really accommodated only 600.

Handel returned to London in the fall, and in March 1743, he began a se-ries of performances of the Messiah at Covent Garden. London did not im-mediately share Dublin’s enthusiasm, and the clergy even attempted to close the theater on the grounds that “any Work about the Omnipotent should never be performed in a playhouse.” However, Handel’s old patron, George II, attended the London premiere, and legend has it that he was so moved by the Hallelujah chorus that he rose and remained standing until its end. Of course, when the king stood up, the rest of the audience stood too, and, since that time, almost all audiences have traditionally risen at that point in the performance. Handel said of the Hallelujah that while composing it, “I did think I did see all Heaven before me, and the great God Himself.” It is a glorious musical moment, but cynical historians think that if the reputed in-cident took place at all, the king prob-ably thought that intermission came before, not after it.

In 1749, Handel presented an organ to the chapel of the Foundling Hospital, a home for abandoned and maltreated children founded in 1739 by a retired American sea captain. On May 1, 1750,

he dedicated the organ with a revival of the Messiah that turned out to be the first in a series of annual benefits that continued long after his death, and that initiated Messiah’s great popular appeal.

Handel himself made many changes in both the text and music during his

lifetime, and in the long years since his death, countless variants have crept into the score. It is impossible now to hear the oratorio exactly as it was origi-nally conceived and as it was performed in Handel’s time. No one absolutely au-thentic version of the music has come down to us. The singers’ art of deco-rating the composer’s simple melodic lines with brilliant ornament was lost for about 200 years and is now being revived only tentatively, or sometimes, clumsily. We no longer have the altered male sopranos and altos who sang the treble solos in Handel’s time. In addi-tion, we do not know Handel’s exact scoring. Thirty years after Handel’s death, Mozart completely modernized the orchestration, and others have done so again and again since then.

Handel divided Messiah into three parts. Part I contains the prophecy and narrative of the Nativity. Part II is the passion and the resurrection. The final section, Part III, includes the resur-rection of all mankind to the glory of God. The portion being performed in this concert is the Christmas portion, which traditionally includes Part I, the Hallelujah chorus from Part II, and the Amen from Part III.

Handel’s Messiah is unique in that the text that the soloists and chorus sing are removed from outwardly dra-matic situations; unlike in opera, or even choral cantatas or dramas that Handel had written, in the Messiah, the singing is an extension of devotion-al contemplation. Handel gives us the life of the Christ in all its phases cover-ing the whole liturgical year

Yet Messiah is not liturgical music. Handel dealt with his subject as a non-sectarian humanist, glorifying the va-lidity of just and moral action more than the dogmas of Christianity.

©Susan Halpern, 2014

ApplAuse at Strathmore • november/december 2014 79

important information5301 Tuckerman Lane north bethesda, md 20852-3385 www.strathmore.org email: [email protected] Ticket office Phone: (301) 581-5100 Ticket office Fax: (301) 581-5101 via maryland relay Services for md residents at 711 or out of state at 1(800) 735-2258

tiCKEt offiCE HoUrSmonday, Tuesday, Thursday, Friday 10 a.m. – 5 p.m. Wednesday 10 a.m. – 9 p.m. Saturday 10 a.m. – 2 p.m.

Sixty minutes prior to each performance in the music center through intermission.

GroUp SaLES, fUnDraiSErS

For information, call (301) 581-5199 or email [email protected].

tiCKEt poLiCiESUnlike many venues, Strathmore allows tickets to be exchanged. Tickets may only be exchanged for shows presented by Strathmore or its resident partner organizations at the music center. Exchanges must be for the same presenter within the same season. Ticket exchanges are noT available for independently produced shows. Please contact the Ticket office at (301) 581-5100 for details on how to exchange tickets.

If a performance is cancelled or postponed a full refund of the ticket price will be available through the Ticket office for 30 days after the original scheduled performance date.

all tickets are prepaid and non-refundable.

WiLL CaLLPatrons must present the credit card used to purchase tickets or a valid Id to obtain will call tickets.

tiCKEt Donation If you are unable to use your tickets, they may be returned for a tax-deductible donation prior to the performance. donations can be made by mail, fax or in person by 5 p.m. the day of the performance.

miSpLaCED tiCKEtS If you have misplaced your tickets to any performance at Strathmore,

please contact the Ticket office for replacements.

CHiLDrEn

For ticketed events, all patrons are required to have a ticket regardless of age. Patrons are urged to use their best judgment when bringing children to a concert that is intended for adults. There are some performances that are more appropriate for children than others. Some presenters do not allow children under the age of six years to non-family concerts. As always, if any person makes a disruption during a concert, it is appropriate that they step outside to accommodate the comfort and convenience of other concert attendees. contact the Ticket office at (301) 581-5100 for additional information.

parKinG faCiLitiESconcert parking is located in the Grosvenor-Strathmore metro garage off Tuckerman Lane. At the end of each ticketed event in the music center at Strathmore, the exit gates to the garage will be open for 30 minutes to exit the garage. If you leave before, or up to 90 minutes after this 30-minute period, you must show your ticket stub to the stanchion video camera at the exit gate to exit at no cost. For all non-ticketed events, monday-Friday, parking in the garage is $5 and may be paid using a metro SmarTrip card or major credit card. Limited short-term parking also is available at specially marked meters along Tuckerman Lane. To access the music center from the Grosvenor-Strathmore metro garage, walk across the glass-enclosed sky bridge located on the fourth level.

pUBLiC tranSportationStrathmore is located immediately adjacent to the Grosvenor-Strathmore metro station on the red Line and is served by several metro and ride-on bus routes. See www.strathmore.org, or the Guide to the music center at Strathmore for detailed directions.

Drop-offThere is a patron drop-off circle off Tuckerman Lane that brings patrons to the discovery channel Grand Foyer via elevator. no parking is allowed in the circle, cars must be moved to the metro garage after dropping off

patrons. both main entrances have power- assisted doors.

Gift CErtifiCatES Gift certificates may be purchased at the Ticket office.

Coat CHECKLocated in the Promenade across from the Ticket office. As weather requires, the coat check will be available as a complimentary service to our patrons. If you would like to keep your coat or other belongings with you, please place them under your seat. coats may not be placed over seats or railings.

tHE prELUDE CafÉThe Prelude café in the Promenade of the music center at Strathmore, operated by restaurant Associates, features a wide variety of snacks, sandwiches, entrees, beverages and desserts. It is open for lunch and dinner and seats up to 134 patrons.

ConCESSionSThe Interlude intermission bars offer beverages and snacks on all levels before the show and during intermission. There are permanent bars on the orchestra, Promenade and Grand Tier levels.

LoSt anD foUnDduring a show, please see an usher. All other times, please call (301) 581-5100.

LoUnGES anD rEStroomSLocated on all seating levels, except in the Upper Tier.

pUBLiC tELEpHonEScourtesy telephones for local calls are located around the corner from the Ticket office, in the Plaza Level Lobby, and at the Promenade right boxes.

aCCESSiBLE SEatinGAccessible seating is available on all levels. elevators, ramps, specially designed and designated seating, designated parking and many other features make the music center at Strathmore accessible to patrons with disabilities. For further information or for special seating requests in the concert Hall, please call the Ticket office at (301) 581-5100.

aSSiStiVE LiStEninGThe music center at Strathmore is equipped with a radio Frequency Assistive Listening System for patrons who are hard of hearing. Patrons can pick up assistive listening devices at no charge on a first-come, first-served basis prior to the performance at the coatroom when open, or at the ticket taking location as you enter the concert Hall with a driver’s license or other acceptable photo Id. For other accessibility requests, please call (301) 581-5100.

ELEVator SErViCEThere is elevator service for all levels of the music center at Strathmore.

EmErGEnCY CaLLSIf there is an urgent need to contact a patron attending a music center concert, please call (301) 581-5112 and give the patron’s name and exact seating location, and telephone number for a return call. The patron will be contacted by the ushering staff and the message relayed left with Head Usher.

LatEComEr poLiCYLatecomers will be seated at the first appropriate break in the performance as not to disturb the performers or audience members. The decision as to when patrons will be seated is set by the presenting organization for that night.

firE notiCEThe exit sign nearest to your seat is the shortest route to the street. In the event of fire or other emergency, please WALK to that exit. do not run. In the case of fire, use the stairs, not the elevators.

WarninGSThe use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited by law. Violators are subject to removal from the Music Center without a refund, and must surrender the recording media. Smoking is prohibited in the building.

Please set to silent, or turn off your cell phones, pagers, PDAs, and beeping watches prior to the beginning of the performance.

Music Center at

Strathmore

80 ApplAuse at Strathmore • november/december 2014

strAthMore hAll FoundAtion, inC. BoArd oF direCtors

offiCErSdale S. rosenthal Chairrobert G. brewer, Jr., esq. Vice ChairWilliam r. Ford Treasurercarolyn P. Leonard Secretary and Parliamentarian

Joseph F. beachcathy bernarddickie S. carterdavid m.W. dentonHope b. eastman, esq.Suzanne brennan FirstenbergThe Honorable nancy Floreen

barbara Goldberg GoldmanSol Grahamnancy e. HardwickPaul L. HatchettSteven P. Hollman, esq.Sachiko Kunodelia K. LangKaren r. LefkowitzThe Honorable Laurence LevitanJ. Alberto martinez, m.d.Ann L. mcdanielKenneth o’ brienderionne P. Pollarddonna rattley WashingtonGraciela rivera-ovenmary K. Sturtevantraymond d. Tetz

donorsStrathmore thanks the individuals and organizations who have made contributions between July 1, 2013 and June 30, 2014. Their support of at least $500 and continued commitment enables us to offer the affordable, accessible, quality programming that has become our hallmark.

$250,000+Arts and Humanities council of

montgomery countymaryland State Arts council

$100,000+Hogan Lovells (in-kind) Post-newsweek media, Inc.

(includes in-kind)

$50,000+booz Allen Hamiltondelia and marvin LangLockheed martin corporation The morris and Gwendolyn

cafritz Foundation

$25,000+Asbury methodist village Federal realty Investment TrustGeIcoGlenstone FoundationYanqiu He and Kenneth o’briencarolyn and Jeffrey LeonardPaul m. Angell Family FoundationPePcoTd bank carol Trawick

$15,000+cathy bernardFondazione bracconancy Hardwick elizabeth and Joel Helke Lyle and cecilia Jaeger (in-kind)mArPAT Foundation, Inc.effie and John macklinmontgomery county department of

economic development national endowment for the ArtsS&r Foundation

$10,000+Abramson Family Foundation Inc.Adventist Healthcare bank of Americacapital one Services Inc. Jonita and richard S. carterclark construction Group, LLccomcast elizabeth W. culp Suzanne and douglas FirstenbergGiant Food LLc ellen and michael Gold dorothy and Sol GrahamGraham Holdings companyJanet L. mahaney mid Atlantic Arts Foundation natelli communities LPJanine and Phillip o’brienemily and mitchell rales della and William robertsonSymphony Park LLc

$5,000+Agmus ventures Inc. mary and Greg bruchFrances and Leonard burkadallas morse coors Foundation for

the Performing Artscarolyn degrooteaglebank carl m. Freeman Foundationelizabeth and Peter ForsterFriends of Jennie Forehand Jane elizabeth cohen FoundationJulie and John HamreAllen KronstadtSachiko Kuno and ryuji UenoTina and Arthur LazerowLerch, early & brewer, chartered

(includes in-kind)

Sharon and david Lockwood constance Lohse and robert brewerJ. Alberto martinez minkoff development corporationPatricia and roscoe moorePaley, rothman, Goldstein,

rosenberg, eig & cooper chtd dale S. rosenthal carol Salzman and michael mann John Sherman, in memory of

deane Shermanmeredith Weiser and michael rosenbaumWGL Holdings, Inc.ellen and bernard Young

$2,500+Anonymousmarie and Fritz Allen Louise AppellAlison cole and Jan Petersoncommunity Foundation for

montgomery county margaret and James conleycarin and bruce coopercorT business ServicesdonnaKaran co.marietta ethier and John mcGarryStarr and Fred ezrabarbara Goldberg Goldmancarolyn Goldman and Sydney PolakoffLana Halperndiana and Paul Hatchettmonica Jeffries Hazangeles and

John Hazangelescheryl and richard HoffmanA. eileen HoranIgersheim Family FoundationAlexine Jackson robert JeffersPeter S. Kimmel, in memory of

martin S. Kimmel John m. and Teri Hanna KnowlesJudie and Harry LinowesJill and Jim LiptonFlorentina mehtacynthia Samaha melki and Toufic melkiKatharine and John Pancarol and Jerry Peronemindy and charles Postalrandy Hostetler Living room Fundcheryl and William reidy Lorraine and barry rogstad Karen rosenthal and

m. Alexander Stiffmanbarbara and Ted rothstein Janet and michael rowan Katherine rumbaugh and

diana downeyPhyllis and J. Kenneth Schwartzmary Kay Shartle-Galotto and

Jack GalottoLeon and deborah SneadTanya and Stephen Spano

Annie S. TotahSusan WellmanAnne Witkowsky and John barkerPaul A. and Peggy L. Young, novA

research company

$1,000+Anonymousmary Kay and dave Almydoris and david Aronsonbenita and eric bailey dena baker and Terry Jacobs margaret and craig bashbarbara bensoncarol and Scott brewervicki britt and robert SelzerLucie and Guy campbelleleanor and oscar caroglanianLinda chatman Thomsen and

Steuart Thomsen Alexandra davies and George Javor mary denison and John clark IIIHope eastman Jamie and Timothy evankovichmarcia Feuerstein and ronald Schwarzdorothy Fitzgeraldmarlies and Karl Flickerrobert FogartyTheresa and William Fordmarijane and Terry FordeSenator Jennie Forehand and

William e. Forehand, Jr. Susan and c. Allen FosterSandra and victor Frattalinoreen and michael FriedmanSuzanne and mark FriisJuan Gaddisnita and Patrick Garrettevan GoldmanLuis GonzalezGrace creek Advisors, robert Atlas

and Gloria PaulSusan and Allan GreenbergGreene-milstein Family FoundationLinda and John Hansonboots HarrisSara and James A. Harris, Jr.vicki Hawkins-Jones and michael JonesLouisa and Steven HollmanWilma and Arthur Holmes Jr. Linda and I. robert HorowitzLinda and van HubbardJoan and Howard Katzdianne Kay Paula and malik KhanKathleen Kneppercarole and robert KurmanSusan and Gary LabovichHarriet Lesserbarbara and The Honorable

Laurence LevitanJacqueline and Paul LondonSandy and m. Gerald Loubier

the Jazz Samba project was funded in part by an art Works Grant from the national Endowment for the arts.


eliot PfanstiehlChief Executive Officer

monica Jeffries HazangelesPresident

Julie LockwoodExecutive Assistant to the CEO & President

mary Kay AlmyExecutive Board Assistant

DEVELopmEntbianca beckham

VP of Developmentbill carey

Director of Donor and Community Relations

erin m. PhillipsManager of Patron Engagement

Julie HamreDevelopment Associate

proGramminGShelley brown

VP/Artistic DirectorPhoebe Anderson dana

Artist Services CoordinatorHarriet Lesser

Visual Arts CuratorKaleigh bryant

Visual Arts Coordinator

EDUCationLauren campbell

Director of Education betty Scott

Artist in Residence and Education Coordinator

opErationSmark J. Grabowski

Executive VP of Operationsmiriam Teitel

Director of OperationsAllen v. mccallum, Jr.

Director of Patron Servicesmarco vasquez

Operations Managermadeline Waters

Operations Assistant

Allen c. clarkManager of Information Services

christopher S. InmanManager of Security

Aileen robertsGeneral Manager, AMP

chadwick SandsTicket Office Manager

christian SimmelinkAssistant Ticket Office Manager

Jeffrey HigginsBox Office Coordinator

christopher A. dunnIT Technician

Johnathon FuentesOperations Specialist

Jon FosterProduction Stage Manager

William KassmanLead Stage Technician

Lyle JaegerLead Lighting Technician

caldwell GrayLead Audio Technician

tHE SHopS at StratHmorEcharlene mcclelland

Director, Mansion and Retail Lorie Wickert

Director, Retail Systems and Mansion Support

marKEtinG anD CommUniCationSAlaina Sadick

VP Marketing and CommunicationsShana Gerber

Director of Marketing and PublicationsJenn German

Marketing ManagerJulia Allal

Member and Group Services Managermichael Fila

Associate Director of PR and Marketing

StratHmorE tEa roommary mendoza Godbout

Tea Room Manager

cidalia Luis-Akbar and masud AkbarSandra and charles Lyons Jacqueline and J. Thomas mangermarianne and Aris mardirossianvirginia and robert mccloskeyJesse I. miller, by spouse Ann miller mocho, LLcvictoria b. muthmichelle newberry esther and Stuart newmanSusan nordeendale and Anthony Pappasmargie Pearson and richard Lampl Susan and brian Penfieldcynthia and eliot PfanstiehlPotomac valley Alumnae chapterJane and Paul (deceased) riceKaren rinta-Spinner and Joseph SpinnerGrace rivera-oven and mark oven marylouise and Harold roachKitty and Glenn roberts Sally Sachar and robert mullercharlotte and Hank SchlosbergLenore Seliger and richard AlpersteinAllan ShermanTerry Shermanchristine Shreve and Thomas bowersox Fran and richard Silbertryan Snowmary Sturtevantmarilyn and mark Tenenbaummyra Turoff and Ken Weinerroslyn and Paul WeinsteinJudy Whalley and Henry otto Jean and Jerry WhiddonIrene and Steven Whitevicki and Steve Willmann

$500+Allen e. neyman Architecture, LLcAnonymousJudy and Joseph Antonucciodita and Hector AsuncionLaura baptiste and brian KildeeSusan and brian bayly deborah berkowitz and Geoff Garinchristina and James bradleyJames bradyJeff broadhurst eileen cahillTrish and Timothy carricoKathy and c. bennett chamberlinFrank conner Jr.Ken defontesdavid dentonJudith doctorShoshanah drakeThe emmes corporationSue and Howard FeibusLinda Finkelman and Leo millsteinJoyce FisherWinifred and Anthony Fitzpatrick

Gail Fleder Gregory FlowersJoanne and vance FortGertrude and michael Frenzcarol Frombolutinancy and Peter GalloPamela Gates and robert SchultzLoreen and Thomas Gehlmr. and mrs. Alan Gourley ellie and John HagnerSue Hains and brian eatonGerri Hall and david nickelsPatricia Harriscarol and Larry HornJane and david Fairweather Foundation Jd and JdK Foundationrichard JossHenrietta and christopher Kellerdeloise and Lewis Kellert KHS America, Inc.richard KlinknerPatricia and James KrzyminskiJennifer and chuck Lawsoncatherine and The Honorable

Isiah Leggettellen and Stuart LessansSusan Shaskan Luse and eric Luserichard marloJanice mccallnancy mcGinness and

Thomas TarabrellaSabrina and Patrick mcGowanviji and dan melnickmarilyn and douglas mitchell Ann morales and rice odellKatie murphyellen and Jim myerbergJackie and Franklin Paulsonmary Pedigo and daniel Washburnmanual Perezcharla and david Phillips Yolanda Pruittbarbara and mark rabinWilliam ritchieImogene Schneiderestelle Schwalbbetty Scott and Jim mcmullenGail Scott-Parizer and michael Parizerbob Sheldondonald SimondsJudi and richard Sugarmanchris SyllabaAurelie Thielemarion and dennis TorchiaHeather vanKeurenbenjamin vaughan Kevin vigilanteLinda and Irving WeinbergJean and robert WirthIrene and Alan WurtzelSusan and Jack Yanovski

Con Brio SoCiEtY Securing the future of Strathmore through a planned gift.

AnonymousLouise AppellJohn cahillJonita and richard S. carterIrene cooperman Trudie cushing and neil beskin Julie and John HamreYanqiu He and Kenneth o’brien A. eileen Horanvivian and Peter Hsueh Tina and Arthur Lazerowchiu and melody Lin

diana Locke and robert ToenseJanet L. mahaneycarol and Alan mowbraycynthia and eliot Pfanstiehlbarbara and david ronis (deceased)Henry Schalizki and robert davis

(deceased)Phyllis and J. Kenneth SchwartzAnnie Simonian Totah and Sami Totah

(deceased)maryellen Trautman and darrell Lemke carol TrawickPeter vance Treibleymyra Turoff and Ken WeinerJulie Zignego

Symphony park Circles members patrick and Sabrina mcGowan with Giada De Laurentiis at Strathmore’s inaugural appetite festival.

Strathmore’s Summer outdoor Concert series is sponsored by tD Bank and Giant and includes the best-loved strumming concert, Ukefest.

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strAthMore stAFF


BaLtimorE SYmpHonY orCHEStra

offiCErSbarbara m. bozzuto*, ChairmanKathleen A. chagnon, esq.*, SecretaryLainy Lebow-Sachs*, Vice ChairPaul meecham*, President & CEOThe Honorable Steven r. Schuh*,

Treasurer

BoarD mEmBErSA.G.W. biddle, IIIconstance r. caplanAugust J. chiaserarobert b. couttsAlan S. edelman*Sandy Feldman+, President, Baltimore

Symphony AssociatesSandra Levi Gerstungmichael G. Hansen*denise Hargrove^, Governing Member

Co-Chairrobert c. KnottStephen m. LansAva Lias-booker, esq.Howard majev, esq.Liddy mansonHilary b. miller*e. Albert reece, m.d.barry F. rosenAnn L. rosenbergStephen d. Shawe, esq.The Honorable James T. Smith, Jr.Solomon H. Snyder, m.d. *Andrew A. Stern*Gregory W. TuckerAmy WebbJeffrey Zoller^, BSYO Chair

LifE DirECtorSPeter G. Angelos, esq.rheda beckerH. Thomas Howell, esq.Yo-Yo maHarvey m. meyerhoffrobert meyerhoffdecatur H. miller, esq.Linda Hambleton Panitz

DirECtorS EmEritibarry d. berman, esq.murray m. Kappelman, m.d.m. Sigmund Shapiro

CHairman LaUrEatEmichael G. bronfeinKenneth W. deFontes, Jr.calman J. Zamoiski, Jr.

BoarD of trUStEES BaLtimorE SYmpHonY EnDoWmEnt trUSt

benjamin H. Griswold, Iv, ChairmanTerry meyerhoff rubenstein, Secretarybarbara m. bozzutomichael G. bronfeinmark r. FettingPaul meechamThe Honorable Steven r. Schuhcalman J. Zamoiski, Jr.

*Board Executive Committee^ ex-officio

BoArd oF direCtors

supporters oF the BAltiMore sYMphonY orChestrAThe Baltimore Symphony Orchestra is funded by an operating grant from theMaryland State Arts Council, and from Montgomery County government and theArts and Humanities Council of Montgomery County.

The Baltimore Symphony Orchestra is deeply grateful to the individual, corporate, foundation and government donors whose annual giving plays a vital role in sus-taining the Orchestra’s tradition of musical excellence. The following donors have given between August 1, 2013 through September 10, 2014.

LEaDErSHip CirCLEArts and Humanities council of

montgomery countyLori Laitman & bruce rosenblumThe Andrew W. mellon Foundationmaryland State Arts councilnational endowment for the ArtsPncWhiting-Turner contracting company

CHairman’S CirCLE partnErS($25,000 anD aBoVE)The bozzuto Family charitable FundThe morris and Gwendolyn cafritz FoundationThe Hearst Foundation, Inc.Howard county Arts councilmr. and mrs. Stephen m. Lansm&T bankSylvan/Laureate Foundation

maEStra’S CirCLE($10,000-$24,999)mr. and mrs. A. G. W. biddle, IIIcharlotte A. cameron/dan cameron

Family Foundation

michael G. Hansen & nancy e. randaJoel and Liz HelkeIn memory of James Gavin mansonHilary b. miller & dr. Katherine n. bentmr. and mrs. Arnold PolingerShugoll researchTotal Wine & more

GoVErninG mEmBErS GoLD($5,000-$9,999)The charles delmar Foundationms. marietta ethierSusan Fisherdr. david Leckrone & marlene berlindr. James and Jill LiptonSusan Liss and Familyms. Janet L. mahaneyJan S. Peterson & Alison e. coleWilliam b. and Sandra b. rogersmike & Janet rowandaniel and Sybil SilverJohn & Susan Warshawskyclark Winchcole FoundationGeorgetown Paper Stock of rockville

GoVErninG mEmBErS SiLVEr($3,000-$4,999)Anonymous (2)Alan v Asay and mary K Sturtevantdr. nancy d. bridgesLt Gen (ret) Frank b. and

Karen campbellGeri & david cohenJane c. corriganKari Peterson and benito r. and

ben de LeonJ. FainbergSherry and bruce FeldmanS. Kann Sons company Foundation,

Amelie and bernei burgunderchristopher and Henrietta Kellermarc e. Lackritz & mary deoreoburt & Karen Leetemr. & mrs. Howard LehrerJune Linowitz & Howard eisnerdr. diana Locke & mr. robert e. Toensemr. James LynchHoward and Linda martinThe meisel Groupmr. & mrs. Humayun mirzadr. William W. mullinsdavid nickels & Gerri Hallms. diane m. Perinmartin and Henriette Poretskybill and Shirley rookerPatricia Smith and dr. Frances Lussierdon Spero & nancy chasenmr. Alan Strasser & ms. Patricia Hartgedr. edward WhitmanSylvia and Peter Winikms. deborah Wise/edith and Herbert

Lehman Foundation, Inc.

SYmpHonY SoCiEtY GoLD($2,000-$2,999)AnonymousLeonard and Gabriela bebchickmr. and mrs. Kenneth r. FeinbergJohn and meg Haugemr. and mrs. Gerald HoeflerFran and bill Holmesdr. Phyllis r. Kaplanmarie Lerch and Jeff KolbJoellen and mark rosemanroger and barbara SchwarzJennifer Kosh Stern and William H. Turner

SYmpHonY SoCiEtY SiLVEr($1,200-$1,999)Anonymous (3)mr. and mrs. Anthony Abellcharles Alston and Susan dentzermr. William J. baer and

ms. nancy H. Hendrycaroline W. and rick barnettms. Franca b barton and

mr. George G. clarkemrs. elaine belmanmr. and mrs. Alan and Lynn berkeleySherry and david berzdrs. Lawrence and deborah blank Gilbert and madeleine bloomdorothy r. bloomfieldHon. & mrs. Anthony borwickmr. richard H. broun & ms. Karen e. dalyGordon F. brownFrances and Leonard burkamr. and mrs. John carrmr. vincent castellanocecil chen & betsy Haanesdr. mark cinnamon & ms. doreen Kellymr. Harvey A. cohen and

mr. michael r. TardifJane e. cohenJoan de Pontetmr. John c. driscollchuck Fax and michele Weildr. edward FinnAnthony and Wyn Fitzpatrickmr. and mrs. Arthur P. Floormr. and mrs. John Ford

mr. and mrs. roberto b. Friedmanmary martin Gantmary and bill GibbPeter Gildr. and mrs. Sanford GlazerGeorge and Joni Golddr. and mrs. Harvey r. GoldJoanne and Alan Goldbergmr. & mrs. Frank Goldsteindrs. Joseph Gootenberg &

Susan Leibenhautdavid and Anne Grizzlemark & Lynne GrobanJoan and norman Gurevichmr. & mrs. John HansonSara and James A. Harris, Jr.mr. Fred Hart and ms. elizabeth KnightKeith and Linda Hartmanesther and Gene Hermanellen & Herb Herscowitzdavid A. & barbara L. Heywoodmadeleine and Joseph Jacobsbetty W. Jensenvirginia and dale Kiesewetterms. Kristine Kingeryms. Kathleen Knepperdarrell Lemke and maryellen Trautmandrs. david and Sharon Lockwooddr. and mrs. Peter c. Luchsingermichael & Judy maelmr. Winton matthewsmarie mccormackdavid and Kay mcGoffdavid and Anne menottidr. & mrs. Stanley r. milsteinms. Zareen T. mirzamr. and mrs. Glenn miyamotodouglas and barbara norlandmr. & mrs. ellis Parkerevelyn and Peter PhilippsThomas Plotz and catherine KlionHerb and rita Posnerrichard and melba reicharddr. and mrs. Gerald rogellmr. and mrs. barry rogstadestelle d. Schwalbmrs. Phyllis SeidelsonLaura H. Selbydonald m. Simondsdr. and mrs. Jeffrey r. Singermarshall and deborah Sluytermr. and mrs. richard d. Speromr. & mrs. richard Tullosdonna and Leonard Wartofskydavid Wellman &

marjorie coombs Wellmanms. Susan Wellmandr. Ann m. Willismarc and Amy WishH. Alan Young &

Sharon bob Young, Ph.d.

BrittEn LEVEL mEmBErS($500-$1,199)Anonymous (3)ms. Judith Agardrhoda and Herman Aldermandonald bakermr. and mrs. robert bennanancy and don blissms. marcia d. bondJudy and Peter brahamms. Sharon Phyllis brownmr. Stephen buckinghamLouis and June carrmr. and mrs. James c. cooperdr. connie c. duncanmr. and mrs. robert Fauverdrs. charles and cynthia Fielddr. & mrs. david Firestonerobert and carole Fontenrosebernard A. Gelbms. Wendy Goldbergms. Alisa Goldsteinmr. robert GreenFrank & Susan Grefsheim

BEnEfitS of mEmBErSHip WitH tHE BSoMake a donation today and become a Member of the BSO! There is a gift level that is right for everyone, and with that comes an insider’s perspective of your world-class orchestra. For a complete list of benefits, please call our Membership office at 301-581-5215 or e-mail us at [email protected]. You may also visit us online at BSOmusic.org/giving.


Donors with BSO Principal Cellist Dariusz Skoraczewski at the Donor Appreciation Concert

Governing Members Robert Toense and Diana Locke with BSO at Strathmore Community Liaison Dick Spero

Guests from Folger Theatre with A Midsummer Night’s Dream actress Kate Eastwood Norris at the post-concert reception

ms. melanie Grishman & mr. Herman Flay, md

drs. marlene and bill Haffnerms. Haesoon Hahnms. Lana Halpernmr. Jeff d. Harvell and

mr. Ken montgomerymr. Lloyd Haughms. marilyn Henderson and

mr. Paul Hendersonmr. & mrs. William L. Hickmanmr. & mrs. Howard Iamsmr. William Isaacson and

ms. Sophia mccrocklinms. Katharine Jonesmr. and mrs. norman Kamerowms. daryl Kaufmandr. richard d. Guerin and dr. Linda Kohndr. birgit Kovacsms. delia Langms. Flora LeeUlrike Lichti and Stephen LepplaHarry and carolyn Lincolnr. mahonmr. mark mattuccimr. and mrs. martin mcLeanmerle and Thelma meyerellen G. miles and neil r. Greenemr. & mrs. Walter millerWilliam and Patricia morganmr. Koji mukaims. caren novickdr. Jon obergAmanda & robert ogrenmr. Joseph o’Harems. mary Padgettmr. and mrs. Philip Padgettdr. and mrs. J. misha Petkevichmarie Pogozelski and richard belleAndrew and melissa PolottThomas raslear and Lois Keckmr. and ms. donald regnellms. marjorie roherHarold rosenHenry rothms. ellen ryenorman and virginia Schultzmr. Allen Shaw and ms. Tina chisenadr. Janet Shawdonna and Steven Shriverms. Terry Shuch and mr. neal meiselmanGloria and david Solomonmr. and mrs. richard Swerdlowmr. Peter Thomsonmr. and mrs. robert Weinrichard and Susan Westinmr. and mrs. duncan and

Adelaide WhitakerAllan and Wendy Williamsmr. david m. Wilsonrobert and Jean Wirthms. maryAnn Zamula

BraHmS LEVEL mEmBErS ($250-$499)Anonymous (2)mr. bill ApterPearl and maurice Axelradmr. and mrs. James baileymr. Paul balabanismr. and mrs. John W. barrettmariv and rachel beckermr. & mrs. John W. beckwithmelvin bellAlan bergstein and carol Joffemr. donald berlinmr. neal biendrs. ernst and nancy Scher billig

ms. ruth birdmr. Harold blackms. marjory blumenthalms. monica m. bradfordmr. and mrs. Serefino cambarerims. Patsy clarkmr. Herbert cohenms. June colilladr. and mrs. eleanor condliffemarion Fitch connellmr. and mrs. Herbert coopermr. and mrs. charles davenportdr. & mrs. James r. davidmr. david S. davidsonAnne and Arthur delibertms. Sandra Kay dusingdrs. Stephen and Irene eckstrandmr. Ahmed el-HoshyLionel and Sandra epsteinclaudia and eliot Feldmanmr. michael Finkelsteinmr. and ms. clifford and betty Fishmanmr. & mrs. michael Scott FriedmanLucian & Lynn m. Furrowroberta GeierIrwin Gerdukmr. and mrs. Stephen GiddingsJohn Glenn and blair reidellen and michael Goldedward G. Griffinbrian and mary Ann Harrismrs. Jean n. Hayesmarylyn Heindlmr. John c. Hendricksmr. robert Henryms. Patricia HernandezJeff HerringJoel and Linda Hertzms. Linda Lurie Hirschmr. Thomas Hormbydr. and mrs. robert Horowitzmr. & mrs. Paul Hymanms. Susan Irwinmrs. Lauri Josephmr. Peter Kaplandr. & mrs. robert W. KarpLawrence & Jean Katzmr. & mrs. robert KatzJames and Tomoko Kempfmr. William Kenety and

ms. christine Kenetyms. Jennifer KimballFred Kingmr. William and ms. ellen d. Kominersms. nancy Koppmr. Stephen Kramermr. and mrs. eugene LambertSusan and Stephen Langleyrobert Lanzams. Joanne LaPortemichael Lazar & Sharon Fischmanmr. myles r. LevinAlan and Judith Lewisms. Julie e. Limricdr. richard e. and Susan Papp LippmanJacqueline LondonAndrea macKayFrank maddox and Glenda Finleymr. James magnomr. david marcosmr. michael mccollum and

ms. Jennifer ricksAnna Therese mcGowanmrs. margit meissnerSandra and Paul meltzermr. Steve metalitzmr. Gary metzmrs. rita meyers

dr. and mrs. Arve michelsenms. barbara milesnaomi millermr. Jose munizmr. and mrs. robert and

mary nisbetdr. & mrs. John r. nuckolsmr. John P. olguin and

mrs. Linda cinciotta olguinmr. Thomas o’rourke and

ms. Jeanine o’rourkemr. and mrs. James Palmermr. Kevin Parkerms. Johanna Pleijsiermr. and mrs. edward Portnermr. and mrs. Stanley rabinmr. Samuel G. reel Jr.dr. and mrs. bernard reichLinn rhombergmr. William robertsonLois and david Sacksmr. & mrs. robert Sandlerronald Schlesingerdavid and Louise SchmeltzerHanita and morry Schreibermr. J. Kenneth Schwartz

mr. Paul Seidmanms. debra Shapiroms. deborah Sherrillmr. & mrs. Larry Shulmanmr. and mrs. micheal d. Slackms. deborah Smithrichard Sniffinmr. Andrew Sonnermr. Howard Spirabill Grossman Fund of the

Isidore Grossman Foundationmr. and mrs. charles Steinecke IIIerica Summersmargot & Phil SunshineJohn and Susan Symonsdr. Andrew Tangbornmr. Alan ThomasAlan and diane Thompsonmr. & mrs. robert Thompsonmr. John Townsleymr. mallory Walkermr. and mrs. elliot and esther Wilnermrs. Janet Wolfemrs. Sandra Wooldr. & mrs. richard n. Wrightdr. david Yaney

BAltiMore sYMphonY orChestrA stAFF

Paul meecham, President & CEOJohn verdon, Vice President and CFOLeilani Uttenreither, Executive Assistanteileen Andrews, Vice President of Marketing

and Communicationscarol bogash, Vice President of Education and

Community EngagementJack Fishman, Vice President of External

Affairs, BSO at Strathmore matthew Spivey, Vice President of Artistic

Operations

artiStiC opErationSnishi badhwar, Director of Orchestra PersonnelToby blumenthal, Director of Rentals and

PresentationsTiffany bryan, Manager of Front of HousePatrick chamberlain, Artistic Coordinatordavid George, Assistant Personnel Manager Tabitha Pfleger, Director of Operations and

Facilitiesevan rogers, Operations Managermeg Sippey, Artistic Planning Manager and

Assistant to the Music Director

EDUCationnicholas cohen, General Manager of BSYO

and OrchKidsAnnemarie Guzy, Director of EducationJohnnia Stigall, Education Program Coordinatornick Skinner, OrchKids Director of OperationsLarry Townsend, Education Assistantdan Trahey, OrchKids Artistic Directormollie Westbrook, Education Assistant

DEVELopmEntJessica Abel, Grants Program Manager Jordan Allen, Institutional Giving Coordinator Katie Applefeld, Director of External Affairs for

OrchKidsmegan beck, Manager of Donor Engagement

and Special EventsKate caldwell, Director of Philanthropic ServicesSara Kissinger, Development Operations and

Membership Coordinatoremily montano, Annual Fund AssistantStephanie moore, Manager of the Annual FundJoanne m. rosenthal, Director of Major Gifts,

Planned Giving and Government RelationsAlice H. Simons, Director of Institutional Giving

richard Spero, Community Liaison for BSO at Strathmore

Janie Szybist, Research & Campaign AssociateSarah Weintraub, Executive Assistant and

Office Manger

faCiLitiES opErationSShirley caudle, Housekeeperbertha Jones, Senior Housekeepercurtis Jones, Building Services Manager

finanCE anD information tECHnoLoGYSarah beckwith, Director of AccountingSophia Jacobs, Senior AccountantJanice Johnson, Senior Accountantevinz Leigh, Administration Associatechris vallette, Database and Web Administratordonna Waring, Payroll Accountant Jeff Wright, Director of Information Technology

marKEtinG anD pUBLiC rELationSderek chavis, Marketing Coordinator Justin Gillies, Graphic DesignerAnna Hoge, Digital Content Coordinatorderek A. Johnson, Senior Marketing ManagerTheresa Kopasek, Marketing and PR Associatebryan Joseph Lee, Marketing and PR Manager,

BSO at Strathmorericky o’bannon, Writer in Residenceerin ouslander, Senior Graphic DesignerAlyssa Porambo, Public Relations and Social

Media ManagerAdeline Sutter, Group Sales Managerrika dixon White, Director of Marketing & Sales

tiCKEt SErViCESAmy bruce, Director of Ticket Services Timothy Lidard, Manager of VIP TicketingJuliana marin, Senior Ticket Agent for

StrathmorePeter murphy, Ticket Services Managermichael Schultz, Senior Ticket Agent, Special

Eventsmichael Suit, Ticket Service AgentThomas Treasure, Ticket Services Agent

BaLtimorE SYmpHonY aSSoCiatESSandy Feldman, PresidentLarry Albrecht, Symphony Store Volunteer

ManagerLouise reiner, Office Manager


nAtionAl philhArMoniC BoArd oF direCtors

BoarD of DirECtorSrabbi Leonard cahandr. ron cappelletti *Todd eskelsen*carol evans*ruth Faisondr. bill Gadzukdr. robert GerardKen Hurwitz*dieneke Johnson*Greg LawsonJoan Levenson*dr. Jeff Levidr. Wayne meyerdr. roscoe m. moore, Jr.*dr. Kenneth moritsugurobin c. PeritoJaLynn Prince

Sally Sternbachdr. charles Tonerelzbieta vande Sande

BoarD offiCErS*Albert Lampert, chair*Kent mikkelsen, vice chair*William Lascelle, Treasurer*Paul dudek, Secretary*Todd r. eskelsen, chair emeritus

BoarD of aDViSorSJoel AlperAlbert Lampertchuck Lyonsroger TitusJerry d. Weast

*executive committee

As of October 1, 2014

supporters oF the nAtionAl philhArMoniCThe National Philharmonic takes this opportunity to gratefully acknowledge the following businesses, foundations and individuals which have made the Philharmonic’s ambitious plans possible through their generous contributions.

maestro circle $10,000+concertmaster circle $7,500 to $9,999Principal circle $5,000 to $7,499Philharmonic circle $3,500 to $4,999benefactor circle $2,500 to $3,499Sustainer circle $1,000 to $2,499Patron $500 to $999contributor $250 to $499member $125 to $249

orGAniZAtionsmaEStro CirCLEAmeriprise Financial Paul m. Angell Family FoundationArts and Humanities council ofmontgomery countymorris and Gwendolyn cafritz FoundationIngleside at King Farmmaryland State Arts councilmontgomery county, mdmontgomery county Public Schoolsmusician Performance Trust FundSchiff Hardin, LLPThe State of maryland

ConCErtmaStEr CirCLEclark-Winchcole Foundationembassy of PolandThe Gazette

prinCipaL CirCLEexecutive ball for the ArtsAnn and Gordon Getty FoundationJim and carol Trawick Foundation, Inc.

pHiLHarmoniC CirCLEexxon mobil Foundation

Johnson & Johnsonnational Philharmonic/mcYo

educational PartnershipThe Washington Post company

BEnEfaCtor CirCLErockville christian church, for donation

of space

SUStainEr CirCLEAmerican Federation of musicians,

dc Local 161-170bank of Americadimick FoundationLucas-Spindletop FoundationTarget

patronAmerican String Teachers’ Association

dc/md chapterGailes violin Shop, Inc.Ge FoundationIbmLashof violinsPotter violin companyWashington music center

ContriBUtorbrobst violin Shopviolin House of Weaver

indiViduAlsGiftS of $50,000+ms. Anne claysmith* for the chorale

chair-Soprano II Fundrobert & margaret Hazen for the Second

chair Trumpet Fundmrs. margaret makris

GiftS of $25,000+dale collinson FamilyJean & Paul dudek for the Pre-concert

Lecture Series FundAnn & Todd eskelsen for the chorale

music FundTanya & Albert Lampert for the Guest

Artist Fund

GiftS of $15,000+Patricia Haywood moore and roscoe m.

moore, Jr. for the Guest Artist Funddieneke Johnson for the All Kids Free Fundmisbin Family Student Performance Funddr. Kenneth P. moritsugu, emily

moritsugu & ms. Lisa r. Kory, includes match by Johnson & Johnson

Paul & robin Perito for the Guest Artist vocal Fund

maEStro CirCLEAnonymous (2)robert b. Andersondr. & mrs. val G. Hemmingdaniel nir & Jill braufman Family

FoundationLaszlo n. Tauber Family Foundation, Inc.

prinCipaL CirCLEAnonymousdr. ryszard Gajewski

pHiLHarmoniC CirCLEmr. edward brinker & ms. Jane Liudale collinson Family *dr. & mrs. John v. evansJ. William & Anita Gadzuk *dr. robert Gerard * & ms. carol Goldbergmr. & mrs. Ken Hurwitzmr. William A. Lascelle & ms. blanche

Johnsonmr. & mrs. Kent mikkelsen *drs. charles and cecile Tonerms. elzbieta vande Sande, in memory

of George vande Sande, esq.

BEnEfaCtor CirCLEmrs. rachel Abrahammrs. ruth bermandr. Lawrence deyton * & dr. Jeffrey Levimr. & mrs. John L. donaldsonmr. Greg Lawson & mr. Sai cheung,

includes match by UbS Financial Servicesmr. robert misbinmichael & Janet rowanms. Aida SanchezSternbach Family Fundmr. & mrs. royce Watson

SUStainEr CirCLEAnonymous (3)Fred & Helen Altman *ms. nurit bar-JosefJohn & marjorie bleiweisdr. etsuko Hoshino-brownedr. ronald cappelletti *dr. mark cinnamon & ms. doreen Kellyms. nancy coleman *mr. Steven c. decker & ms. deborah W.

davisPaul J. & eileen S. demarco *mr. & mrs. robert dollisonms. Justine d. englertmr. William e. Fogle & ms. marilyn

Wun-Fogledr. maria A. Friedman *darren & elizabeth Gemoets *ms. Sarah Gilchrist *mr. barry Goldbergdr. Joseph Gootenberg & dr. Susan

Leibenhautdr. Stacey Henning *mr. david Hofstadmr. & mrs. Joseph A. Huntmr. & mrs. bill Iwigdrs. William & Shelby Jakoby

mr. Philip m. JohnWilliam W. * & Sara m. Josey *Sarah Liron & Sheldon Kahnms. Joanna Lam, in memory of

mr. chin-man Lammr. & mrs. John r. Larue, includes match

by Ibmmrs. Joan m. Levensonmr. Pardee Lowe, Jr.mr. Larry maloney *mrs. eleanor d. mcIntire *dr. Wayne meyer *mr. & mrs. david moshermr. & mrs. raymond mountainSusan & Jim murray *mr. Thomas nessinger *ms. martha newman *david nickels & Gerri Halldr. & mrs. Goetz oertelmr. & mrs. William Pairomr. & mrs. ellis Parkermr. & mrs. Jerome Pinson, includes

match by Ge Foundationmr. & mrs. Peter ryanmrs. Jan Schiavone *mr. & mrs. Steven Seeligms. Kathryn Senn, in honor of

dieneke Johnsonmr. & mrs. Gerald Stemplerms. carol A. Stern *dr. & mrs. robert Temple *ms. ellen van valkenburgh *mr. & mrs. robert vocke *ms. carla Wheelerdr. Jack & Susan Yanovskimr. & mrs. bernard J. YoungPaul A. & Peggy L. Youngmr. & mrs. Walter Zachariasiewicz

patronmr. & mrs. Joel Alpermr. & mrs. richard Azrael, in honor of

mary Azrael and Janice Hamermr. david e. Kleiner & ms. mary bentley *mr. Philip bjorlorichard okreglak & dr. edwarda budarabbi & mrs. Leonard cahanSusan Linn & clifford crainemr. & mrs. norman doctormr. John eklunddr. Stan engebretsondavid & berdie Firestonedr. & mrs. Arnold Fridlandmr. & mrs. mayo Friedlismr. Steven Gerbermr. & mrs. William Hickmanmr. michael Lamems. may Lesarmr. & mrs. eliot Lieberman *ms. Judy Liebermanms. Jane Lyle *mr. John mcGarry & ms. marietta ethierms. Florentina mehtadr. Hanna Siwiec & mr. Spencer meyermr. & mrs. richard michalskimr. Stephen mucchettinational Philharmonic choralemr. Larz Pearson & mr. rick Trevinomr. & mrs. don regnellms. Kari Wallace & dr. michael SapkoSilvan S. Schweber & Snait b. Gissisms. Katherine nelson-Tracey*mr. and mrs. John F. Wing

ContriBUtorAnonymous (2)ms. Ann Albertsonmr. & mrs. byron Alsopmr. robert b. Andersonmrs. marietta balaan *mike & cecilia ballentinemr. & mrs. richard benderms. michelle beneke, in honor of

Jeff Levi & bopper deytonmr. & mrs. Gilbert bloommr. John H. caldwell, in memory of


Participants in the National Philharmonic’s Summer String Institute program. National Philharmonic Concertmaster Colin Sorgi, pianist Brian Ganz and National Philharmonic Principal Cello Lori Barnet performed at a recent free concert.

dale collinsonmrs. Patsy clarkms. Irene coopermanmr. & mrs. J. Steed edwardsms. Linda edwardsmr. & mrs. dwight ellis, in memory

of dale collinsonclaudia & eliot Feldmanms. Shannon Finneganmr. Philip Flemingmr. & mrs. William Gibbdr. William & dr. marlene Haffnerms. Jacqueline Havenerdr. & mrs. John Helmsenmr. & mrs. James Hochron *mr. myron Hoffmannms. Katharine cox Jonesmr. & mrs. Allan Kirkpatrick *dr. mark & dr. cathy Kneppermr. & mrs. William Kominersms. martha Jacoby Krieger *mr. Steven Lainoff, in memory of

dale collinsonms. rachel Leitondr. marcia d. Litwackdr. Susan Lotarskimr. Jerald maddoxmr. david e. malloy * & mr. John P. crockett mrs. Julie mannes & dr. Andrew mannesmr. & mrs. James masonmr. david mcGoff *dr. & mrs. oliver moles, Jr. *ms. martha e. moorems. cecilia muñoz & mr. Amit Pandyadr. Stamatios mylonakisdr. ruth S. newhousemrs. Jeanne noelms. Anne o’brienmr. and mrs. Kenneth A. oldham, Jr.ms. victoria J. Perkinsevelyn & Peter Philippsmr. & mrs. William Pittdr. & mrs. manuel Porresmrs. dorothy Pratsmr. mark Price, in memory of

dale collinsondrs. dena & Jerome Puskinms. beryl rothman *ms. Lisa rovin *mr. J. michael rowe & ms. nancy chessermr. ronald Saundersmr. ronald Sekuradr. & mrs. Kevin Shannonmr. & mrs. robert Smithmr. John I. Stewart & ms. Sharon S. Stoliaroffmr. & mrs. Grant ThompsonGen. & mrs. William Usherdr. & mrs. richard Wright

mEmBErAnonymousmr. dan Abbottmr. Jose Apudmr. robert barashmrs. barbara botsford

ms. cheryl A. branham*mr. & mrs. Herman bransonmr. & mrs. Frederick brownJohn & rosemary buckleyms. Patricia bulhackdr. John caldwelldr. F. Lawrence claredr. & mrs. Gordon m. craggmr. Alan T. cranems. Louise cranemr. & mrs. J.r. croutdeborah curtissms. margaret e. cusackmr. & mrs. david dancer *mr. & mrs. mike davidsonmr. carl devoremr. & mrs. bruce dicksonms. Terri dobbinsmr. & mrs. Paul dragoumisF.W. englandmr. & mrs. Lionel epsteindr. & mrs. Joseph Fainbergmr. & mrs. elliott Feindr. John Fergusonmr. & mrs. Frank Formanmr. Harold FreemancAPT. bruce & eva Frenchmr. bernard Gelbmr. & mrs. richard o. Gilbertmr. & mrs. mitch Greenms. melanie Grishmanms. Lucy Hamacheckmr. & mrs. rue Helseldr. & mrs. Terrell Hoffeldmr. & mrs. Waldemar Izdebskimr. & mrs. doug Jacobsonmr. & mrs. Jerome Jaffemr. & mrs. donald Jansky *mr. & mrs. barbara Jarzynskidr. elke Jordanmr. & mrs. Gerald Kaizms. Kari Keatonms. elizabeth Kingmr. dale Krumviedems. michelle Leemr. & mrs. Herbert J. Lernermr. & mrs. Harald Leubams. elizabeth Levindr. & mrs. david Lockwoodmr. & mrs. Forbes manerdr. Lorenzo marcolinms. Jean A. martinmr. Alan e. mayers *mr. & mrs. robert mcGuiremr. & mrs. curtis menyukmr. & mrs. michael merchlinskymr. & mrs. david millermr. & mrs. edward millsmr. & mrs. Thaddeus mireckimr. & mrs. david mitchellms. Stephanie murphymr. Stephen nordlingermr. James norrisdr. Sammy S. noumbissimr. & mrs. Kenneth oldham

heritAGe soCietYThe Heritage Society at the National Philharmonic gratefully recognizes those dedicated individuals who strive to perpetuate the National Philharmonic through the provision of a bequest in their wills or through other estate gifts.

For more information about the National Philharmonic’s Heritage Society, please call Ken Oldham at 301-493-9283, ext. 112.

mr. david Abraham*mrs. rachel Abrahammr. Joel Alperrobert b. Anderson*ms. ruth bermanms. Anne claysmithdale collinson Familymr. Todd eskelsenmrs. Wendy Hoffman, in honor of

Leslie Silverfine

ms. dieneke Johnsonmr. & mrs. Albert Lampertmrs. margaret makrismr. robert misbinmr. Kenneth A. oldham, Jr.mr. W. Larz Pearsonms. carol A. Sternms. elzbieta vande Sandemr. mark Williams

*Deceased

mr. & mrs. Alan PeterkofskyAnton Piercemr. & mrs. robert Piriemr. charles o’connor & ms. Susan Plaegermr. & mrs. Paul Plotzmr. Luke Popovichmr. & mrs. James rendermr. & mrs. richard riegelmr. & mrs. clark rheinstein *mrs. donna H. runyanmr. & mrs. Joel Schenkdr. Walter Schimmerlingmr. & mrs. Sydney Schneidermr. John Schnorrenbergmrs. Helen Kavanaugh & mr. John SchultzGabriela & dennis Scottmr. & mrs. John Shorb

mr. & mrs. charles L. Short, Jr.dr. & mrs. Paul Silvermanms. Sarah Thomasmr. & mrs. carl Tretterms. virginia W. van brunt *mr. & mrs. Gerald vogelmr. & mrs. William Wadsworthmr. david b. Wardms. Krystyna Wassermanmr. Stephen Welshms. claire Winestockdr. & mrs. Kevin Woods *mr. Hans Wyssms. Katherine Yoder

* Chorale members

ChorAle sustAiners CirCle Fred and Helen Altmanms. Sybil Amitaydr. ronald cappellettims. Anne claysmithdale collinson FamilyPaul J. & eileen S. demarcodr. Lawrence deyton & dr. Jeffrey Levidr. maria A. FriedmanJ. William & Anita Gadzukdarren & elizabeth Gemoetsdr. robert Gerard & ms. carol Goldbergms. Sarah Gilchrist

mr. Larry maloneymrs. eleanor d. mcIntiredr. Wayne meyermr. & mrs. Kent mikkelsenmr. & mrs. James e. murraymr. Thomas nessingerms. martha newmanms. Aida Sanchezmrs. Jan Schiavonems. carol A. Sterndr. & mrs. robert Templems. ellen van valkenburghmr. & mrs. robert vocke

Piotr Gajewski, Music Director & ConductorStan engebretson, Artistic Director, National

Philharmonic Choralevictoria Gau, Associate Conductor & Director

of EducationKenneth A. oldham, Jr., PresidentLeanne Ferfolia, Vice PresidentFilbert Hong, Director of Artistic Operationsdeborah birnbaum, Director of Marketing & PR

Katie Tukey, Associate Director of Development & Operations

Amy Salsbury, Graphic DesignerLauren Aycock, Graphic Designer

William E. Doar Jr. public Charter School for the performing arts Staff

dr. Scarlett Zirkle, Music DirectorIsaac bell, Music Instructorchris Sanchez, Suzuki Instructor

nAtionAl philhArMoniC stAFF


reginald van Lee, Chairman* (c)James J. Sandman, Vice Chair* (c)david marventano, Vice Chair* christina co mather, Secretary* (c)Steven Kaplan, esq. Treasurer* (c)burton J. Fishman, esq., General Counsel* +

Jenny bilfield,* President and CEOdouglas H. Wheeler, President Emeritusneale Perl, President EmeritusPatrick Hayes, Founder †

Katherine m. AndersonPaxton bakerArturo e. brillembourg*Hans bruland (c)rima calderoncharlotte cameron*Karen I. campbell*Yolanda carawayLee christopherJosephine S. cooperdebbie dingellPamela Farrrobert Feinberg*norma Lee FungerTom Gallagherbruce Gates*Felecia Love Greer, esq.Jay m. Hammer* (c)Grace Hobelman (c)Patricia HowellJake Jones*david Kamenetzky*edmond LeloTony otten

rachel Tinsley Pearson*elaine rose*Irene rothcharlotte SchlosbergSamuel A. SchreiberPeter Shieldsroberta Simsruth Sorenson* (c)veronica valencia-Sarukhanmary Jo veverka*carol W. Wilnercarol Wolfe-ralph

HonorarY DirECtorSnancy G. barnumroselyn Payne epps, m.d.michelle cross FentySophie P. Flemingeric r. FoxPeter Ladd Gilsey †barbara W. GordonFrance K. GraageJames m. Harkless, esq.vicurtis G. Hinton †Sherman e. Katzmarvin c. Korengold, m.d.Peter L. Kreegerrobert G. Liberatoredennis G. LyonsGilbert d. mead †Gerson nordlinger †John F. olson, esq. (c)Susan PorterFrank H. richAmbassador Arturo Sarukhan*John SedmakAlbert H. SmallShirley SmallThe Honorable James W. SymingtonStefan F. Tucker, esq. (c)Paul martin Wolff

paSt CHairSTodd duncan †, Past Chairman LaureateWilliam n. cafritz

Aldus H. chapin †Kenneth m. crosby †Jean Head Sisco †Kent T. cushenberry †Harry m. Linowesedward A. FoxHugh H. SmithAlexine clement JacksonLydia micheaux marshallStephen W. Porter, esq.elliott S. HallLena Ingegerd Scott (c)James F. Lafondbruce e. rosenblumdaniel L. KorengoldSusan b. HepnerJay m. Hammer

WomEn’S CommittEE offiCErSelaine rose, PresidentAlbertina Lane, Recording SecretaryLorraine Adams, 1st Vice Presidentbeverly bascomb, Assistant Recording Secretaryruth Hodges, 2nd Vice Presidentcheryl mcQueen, TreasurerZelda Segal, Corresponding SecretaryJanet Kaufman, Assistant TreasurerGladys Watkins, Immediate Past President

LaWYErS’ CommittEE Co-CHairSJerome b. Libin, esq.James J. Sandman, esq.

* executive committee+ ex officio† deceased(c) committee chair As of Sept. 1, 2014

BoArd oF direCtors

WAshinGton perForMinG Arts AnnuAl FundWashington Performing Arts gratefully acknowledges the contributions of the following individuals, corporations, foundations and government sources whose generosity supports our artistic and education programming throughout the National Capital area. Friends who contribute $500 or more annually are listed below with our thanks. (As of Aug. 15, 2014)

embassy of South Africa, His excellency ebrahim rasool

ms. Pamela FarrFedex corporationmr. and mrs. Jose Figueroamr. and mrs. morton Fungermr. and mrs. Jay m. Hammermr. and mrs. Steven KaplanKiplinger Foundation Inc.Judith A. Lee, esq. (L)Linda and Isaac Stern

charitable FoundationThe meredith Foundationmid Atlantic Arts Foundationmr. and mrs. Herbert S. millerdr. Irene rothmr. James J. Sandman and ms.

elizabeth d. mullin (L)mr. and mrs. Hubert m.

Schlosberg (L) (W)noraLee and Jon SedmakTime Warner Inc.mr. and mrs. Stefan F. Tucker (L)verizon Washington, d.c.versarms. mary Jo veverkaWells Fargo bank

$10,000-$14,999mr. James H. berkson+beT networksbooz Allen Hamiltonclear channel communicationsmrs. ryna cohencomcastedison electric InstituteGraham Holdings companyJ. Willard and Alice S. marriott

Foundationrobert P. and Arlene r. Kogod

Family Foundationmacy’s Foundationmr. and mrs. John marshall

dan cameron Family Foundation, Inc.

mr. and mrs. michael marshallmr. and mrs. Herbert milsteinnancy Peery marriott

Foundation, Inc.John F. olson, esq. (L)ms. Janice J. Kim and mr.

Anthony L. ottenPennsylvania Performing Arts

on TourPePcoPricewaterhousecoopers LLPms. Wendy Thompson-marquezWashington Gas Light companyGeorge Wasserman Family

Foundation, Inc.Wiley rein LLPmr. and mrs. bernard Young

$7,500-$9,999Anonymouscentric Tvmr. eric collins and mr. michael

Prokopowernst & Youngmr. and mrs. burton J. Fishmandr. maria J. Hankerson, Systems

Assessment & researchHilton Worldwidecarl d. † and Grace P.

HobelmanJune and Jerry Libin (L)new england Foundation for

the Artsms. rachel Tinsley PearsonAdam clayton Powell III and

Irene m. SoletPrince charitable Trustsmr. Peter Shieldsmr. and mrs. daniel Simpkins

$5,000-$7,499dr. and mrs. clement c. Alpertcapitol Tax Partnersbob and Jennifer Feinsteinmr. and mrs. rolf Graagemr. and mrs. Stephen Grahamms. Susan b. Hepnerms. Pamela Joynermr. and mrs. david marventanomr. and mrs. david o. maxwellmicrosoft corporationdr. robert misbinmr. and mrs. John Pohankamr. and mrs. Tom Portmanms. monica Scottmr. and mrs. John v. Thomasvenable Foundationmr. marvin F. Weissberg and ms.

Judith morris †

$2,500-$4,999Anonymous Anonymous mr. Peter buscemi and ms.

Judith millermr. and mrs. William n. cafritzms. Karen I. campbellmrs. dolly chapinThe charles delmar Foundationms. nadine cohodasmr. carl colby and ms. dorothy

browningmr. and mrs. brian coultermr. and mrs. J. bradley davisdr. morgan delaney and mr.

osborne P. mackiemr. and mrs. Thomas dunganmr. and mrs. Glenn epsteinLinda r. Fannin, esq. (L)James A. Feldman and natalie

Wexlermr. and mrs. russell Fletchermr. Gregory I. Flowersmr. and mrs. Wayne Gibbensdr. and mrs. michael S. Goldmr. James r. GoldenJames mcconnell Harkless, esq.Alexine and Aaron † Jackson (W)mr. and mrs. Joseph Jacobsdrs. Frederick Jacobsen and

Lillian comas-diazmr. and mrs. merritt Jonesdavid and Anna-Lena

Kamenetzkyms. danielle Kazmier and mr.

ronald m. bradleymr. and mrs. david T. KenneyArleen and edward Kessler (W)mr. daniel L. Korengold and ms.

martha dippellmrs. Stephen K. Kwassmr. and mrs. Steve Lansms. Sandy Lernermr. and mrs. dale Lindsaymr. and mrs. Harry m. Linowesms. Jacqueline rosenberg

London and mr. Paul LondonJames and barbara Loots (L)mr. James Lynchmr. and mrs. christoph e. mahle mr. and mrs. ralph manakermarshall b. coyne Foundationmr. Scott martinmark and Terry mcLeodmr. Larry L. mitchell

$100,000 and above Altria GroupThe morris & Gwendolyn cafritz

Foundationmr. and mrs. Joseph F. Horning,

The Horning Family Funddr. Gary mather and ms.

christina co matherdaimlerd.c. commission on the Arts

and Humanitiesbetsy and robert Feinbergmars, Incorporatedms. Jacqueline badger marsdr. Paul G. Sternmr. reginald van Lee

$50,000-$99,999Abramson Family Foundation

dallas morse coors Foundation for the Performing Arts

eventsdcFluor corporationestate of ms. doris H. mcclory (W)national Arts and cultural

Affairs Program/The commission of Fine Arts

Park Foundation, Inc.dr. nathaniel G. Pittsmr. bruce rosenblum and

ms. Lori LaitmanThe van Auken Private

Foundation

35,000-$49,999AnonymousAnonymousruth and Arne Sorenson

$25,000-$34,999Airlines For AmericaAmbassador and mrs. Tom

Andersonbb&T Private Financial Servicesbilly rose Foundationmr. and mrs. Arturo e.

brillembourgmr. and mrs. Lloyd Howell Jr.national endowment for the Artsmr. Gerson nordlinger IIIPfizer Inc.United Therapeutics corporation

$15,000-$24,999AnonymousArcana FoundationAT&T Servicesdiane and norman bernstein


dr. William mullins and dr. Patricia Petrick

ms. michelle newberrymr. and mrs. michael niakanidr. Gerald Permanms. nicky Perry and

mr. Andrew StiflerThe Honorable and mrs.

Stephen Portermr. Trevor Potter and

mr. dana Westringdr. and mrs. douglas rathbunmrs. Lynn rhombergmr. and mrs. Peter richmr. Ken rietz and

ms. Ursula Landsrathmr. and mrs. david rouxms. christine c. ryan and mr.

Tom GrahamLena Ingegerd Scott and

Lennart Lundhmr. and mrs. mike Stevensms. mary Sturtevant and mr.

Alan Asaymr. and mrs. George r.

Thompson Jr.mrs. Holli P. Thompsonmr. and mrs. brian Tommermr. John Warren mcGarry and

ms. marietta ethier, esq.dr. Sidney Werkman and ms.

nancy Folgermr. richard Wilhelm and mrs.

Shelly Porgesdr. and mrs. William b. Wolf

$1,500-$2,499AnonymousAnonymousAnonymousms. Lisa Abeelmr. and mrs. J.W. Abel Smithmr. John b. AdamsThe Amphion Foundation, Inc.mr. and mrs. barry barbashLisa and James baughrobert and Arlene beinmr. and mrs. robert S. bennettJane c. bergner, esq. (L)mr. and mrs. boris brevnovmr. and mrs. Hans brulandmr. and mrs. Leonard burkadr. c. Wayne callaway and ms.

Jackie chalkleymr. and mrs. Jordan casteeldr. and mrs. Abe cherrickdrs. Judith and Thomas chuseddr. mark cinnamon and ms.

doreen Kellyms. Josephine S. coopermr. Paul d. cronindr. and mrs. Joseph H. danksmr. and mrs. Guy o. dove IIImrs. John G. essweinFriday morning music club, Inc.mr. Tom GallagherThe Honorable ruth bader

Ginsburgdavid and Lorna Gladstonemrs. Paula Seigle Goldman (W)mrs. barbara Goldmuntzdr. and mrs. Joseph e. Harris (W)mr. and mrs. James Harris, Jr.ms. Leslie Hazelms. Gertraud Hechlms. Tatjana Hendrymrs. enid T. Johnson (W)dr. and mrs. elliott Kaganmr. e. Scott Kasprowiczms. betsy Scott Kleeblatt

mr. and mrs. Steven Lambmr. and mrs. Gene Lange (L)mrs. Gail mathesonms. Katherine G. mcLeodThe Honorable mary v. mochary

and dr. Philip e. Winemr. and mrs. robert monkms. maureen b. murphyLt. Gen. and mrs.

michael A. nelsonThe nora roberts Foundationmr. and mrs. John oberdorfermr. and mrs. Jack H. olenderms. Jean Perinmr. and mrs. robert ramsaymr. James richms. mary b. Schwabmrs. nadia Stanfieldmr. eric Steinermr. and mrs. Aaron Tomaresmr. and mrs. J. christopher Turnerms. Loki van roijenms. viviane Warrendrs. Anthony and

Gladys Watkins (W)A. duncan Whitaker, esq. (L)

$1,000-$1,499AnonymousAnonymousAnonymousruth and Henry Aaronmrs. rachel Abrahammr. Jeffrey Abramsonmr. and mrs. edward Adams (W)mr. and mrs. James b. Adlermr. and mrs. dave Aldrichmr. and mrs. rand AllenAnonymousAnn and russel banthamThe Honorable and

mrs. John W. barnumS. Kann Sons company Fdn.

Inc. Amelie and bernei burgunder, directors

ms. beverly J. burkeLudmila and conrad cafritzSally and edison W. dick (L)mr. and mrs. Sidney dicksteinmr. and mrs. Paul dintems. nancy ruyle dodgemr. John driscolldyalcompassmr. and mrs. melvin eagle (L)ms. Lisa egbuonu-davismr. and mrs. Kenneth r. Feinbergmr. Juan Gaddismr. donald and mrs. Irene GavinGelman, rosenberg & Freedmanmr. and mrs. richard Goldsteinmrs. robert A. Harpermr. and mrs. carl F. Hicks, Jr.mr. charles e. Hoyt and ms.

deborah Weinberger (L)mr. and mrs. bill Jarvismrs. Lois Jonesms. Annette Kerlindr. marvin c. KorengoldSimeon m. Kriesberg and

martha L. KahnSandra and James Lafondmr. and mrs. richard F. Larkindr. and mrs. Lee v. Leak (W)The Honorable and mrs. Jan LodalThe Honorable and mrs. rafat

mahmoodms. Jacqui michelmr. and mrs. Glenn A. mitchellmr. and mrs. Thomas moormanmr. and mrs. Adrian L.

morchower (W)mr. richard moxleyms. catherine nelsonmr. and mrs. Lawrence c. nussdorfTom and Thea Papoian with

mr. Smoochymr. and mrs. Arnold Polingerrenah blair rietzke Family and

community Foundationreznick Groupdaniel and Sybil Silvermr. and mrs. Sanford Slavinmr. and mrs. Albert H. Smallmr. and mrs. Larry Somervillemr. and mrs. Thomas Strongmr. Wesley Thomas and

mr. eric JonesJ. Haddock and Hector Torresmrs. Annie TotahG. duane vieth, esq. (L)mr. and mrs. George Walkerdrs. Irene and John WhiteKathe and edwin d. Williamsonmr. and mrs. robert H. Wintermr. James Yap

$500-$999AnonymousAnonymousAnonymousmr. Andrew Adairms. carolyn S. Alpermiss Lucile e. beavermr. don blanchon and ms.

Sarah ducichms. Patricia n. bonds (W)ms. Francesca britton (W)mrs. elsie bryant (W)mr. William cavanaughms. Johnnetta b. colemr. John W. cookdr. and mrs. milton corndr. and mrs. chester W. de Longmr. and mrs. James b. deerin (W)ms. mary desJardinsms. Sayre e. dykesmrs. Yoko eguchimrs. rhona Wolfe Friedman

and mr. don Friedmandr. melvin Gaskinsmr. and mrs. William L.

Goldman (W)mrs. barbara W. Gordon (W)Jack e. Hairston Jr.ms. June Hajjardr. and mrs. Harry

Handelsman (W)Jack and Janis Hansonmr. and mrs. brian J. Hardiemr. Lloyd Haughmr. and mrs. James d. Hurwitzdr. charlene drew Jarvisralph n. Johanson, Jr., esq. (L)ms. Anna F. Jones (W)ms. Janet Kaufman (W)mr. michael Kerstdr. Allan Kolkermr. and mrs. John Koskinenms. Albertina d. Lane (W)mr. William Lascelle and

blanche JohnsonThe Honorable cheryl m. Long (W)mr. and mrs. david maginnes (W)nancie G. marzulla, esq. (L)ms. Hope mcGowanmr. & mrs. rufus W. mcKinney (W)dr. and mrs. Larry medskerms. Angela messerdr. Jeanne-marie A. millerms. rachel mondl

ms. Trixie mosermrs. rita Posnermr. Leonard ralstonmr. and mrs. Hunter rawlingsmr. Spencer K. raymondms. denise rollinsmr. Lincoln ross &

changamire (W)mr. and mrs. Henry rothmr. burton rothlederAnne & Henry reich Family

Foundation Lee G. rubenstein, co-President

mr. and mrs. david Sacksms. Helen Santoromr. and mrs. michael Schultz in

memory of mr. H. marc moyensmrs. Zelda Segal (W)Peter and Jennifer Sekadr. deborah Sewell (W)mrs. madelyn Shapiro (W)dr. deborah J. Sherrillvirginia Sloss (W)mr. and mrs. Stephen SmithProf. and dr. valery Soyferdr. and mrs. ronald Spoonermr. and mrs. david Sulsermr. Akio Tagawamr. Joseph d. Tartaglionemr. Peter Threadgillmr. and mrs. John veilleux (W)maria voultsides and

Thomas chisnell, IIdr. and mrs. Allan Weingold

ms. maggalean W. Westondr. June Whaun and dr. Pauline Tingmr. and mrs. John Wilnermr. and mrs. James d. Wilson (W)ms. Julia S. Wintonms. christina Witsbergerdr. Saul YanovichPaul Yarowsky and Kathryn

Grumbach

in-KinD DonorSbooz Allen Hamiltonmr. and mrs. charles bothembassy of Japanembassy of SpainJamalFelder musicProductions LLcThe Hay-Adams Hotelmr. daniel L. Korengold and ms.

martha dippelldr. and mrs. marc e. LelandThe Honorable and mrs.

Jan Lodalmars, Incorporatedmr. neale PerlSt. Gregory Luxury Hotels & Suitesmr. Anthony WilliamsKathe and edwin d. Williamsonelizabeth and bill Wolf

KEY:(W) Women’s committee(L) Lawyers’ committee† deceased

Jenny bilfield President & CEO

douglas H. Wheeler President Emeritus

Allen Lassinger Chief Administrative Officer

murray Horwitz Director of Special Projects

Leah manning Administrative Assistant

Developmentmitchell bassion

Director of Developmentmeiyu Tsung

Director of Individual Givingroger Whyte II

Director of Special EventsStephanie Johnson

Assistant Director of Major GiftsJune Yang

Assistant Director of Institutional Giving

Helen Aberger Development Coordinator

catherine Trobich Development Associate

Educationmichelle Hoffmann

Director of EducationKatheryn r. brewington

Assistant Director of Education/Director of Gospel Programs

megan merchant Education and Community Programs Manager

Koto maesaka Education Associate

finance and administrationerica Hogan

Accounting Manager

rebecca Tailsman Accounting Associate

robert Ferguson Database Administrator

External relationsmatthew campbell

Director of External RelationsHannah Grove-deJarnett

Associate Director of External Relations

Scott Thureen Creative Media and Analytics Manager

Wynsor Taylor Audience Engagement Manager

celia Anderson Graphic Designer

bucklesweet media Press and Media Relations

Amanda bourne Marketing Intern

programmingSamantha Pollack

Director of ProgrammingTorrey butler

Production Managerrachael Patton

Programming and Production Coordinator

Shay Stevens Mars Urban Arts Curator

Stanley J. Thurston Artistic Director, Gospel Choirs

ticket Services officeFolashade oyegbola

Ticket Services ManagerJessica mallow

Ticketing and Marketing Coordinator

edward Kerrick Group Sales Coordinator

WaSHinGton pErforminG artS Staff


mrs. Shirley and mr. Albert H. Small, Honorary Chairs

mr. Stefan F. Tucker, ChairAnonymous (6)mr. david G.† and mrs. rachel Abrahamdr. and mrs. clement c. Alpertmr. and mrs. George A. Averymr. James H. berkson †ms. Lorna bridenstine †ms. christina co mathermr. and mrs. douglas cookmr. and mrs. F. robert cookms. Josephine coopermr. and mrs. James deerinmrs. Luna e. diamond †mr. edison W. dick andmrs. Sally n. dickmr. and mrs. Sidney dicksteinms. carol m. dreher

WAshinGton perForMinG Arts leGACY soCietYLegacy Society members appreciate the vital role the performing arts play in the community, as well as in their own lives. By remembering Washington Performing Arts in their will or estate plans, members enhance our endowment fund and help make it possible for the next generations to enjoy the same quality and diversity of presentations both on stages and in our schools.

mr. and mrs. melvin eaglems. eve epstein †mr. and mrs. burton Fishmanmrs. charlotte G. Frank †mr. ezra Glaser †dr. and mrs. michael L. Goldms. Paula Goldmanmrs. barbara Gordonmr. James Harklessms. Susan b. Hepnermr. carl Hobelman † and

mrs. Grace Hobelmanmr. craig m. Hosmer and ms. daryl reinkecharles e. HoytJosephine Huang, Ph.d.dr. † and mrs. Aaron Jacksonmrs. enid Tucker Johnsonmr. and mrs. charles Jonesmr. Sherman e. Katz

mr. and mrs. bruce Kimblemr. daniel L. Korengolddr. marvin c. Korengoldmr. and mrs. James Lafondms. evelyn Lear † and mr. Thomas Stewart†mrs. marion Lewis †mr. Herbert Lindow †mr. and mrs. Harry Linowesmr. and mrs. david maginnesms. doris mcclory †mrs. carol melamedrobert I. misbinmr. Glenn A. mitchellms. viola mushermr. Jeffrey T. nealThe Alessandro niccoli Scholarship AwardThe Pola nirenska memorial Awardmr. Gerson nordlinger †mrs. Linda Parisi and mr. J.J. Finkelsteinmr. and mrs. neale Perldr. W. Stephen and mrs. diane Pipermrs. mildred Poretsky †The Hon. and mrs. Stephen Portermrs. betryce Prosterman †miriam rose †mr. James J. Sandman and

ms. elizabeth d. mullinmrs. Ann Scheinmr. and mrs. Hubert (Hank) Schlosbergms. Lena Ingegerd Scottmrs. Zelda Segalmr. Sidney Seidenmanms. Jean Head Sisco †mr. and mrs. Sanford L. Slavinmr. and mrs. Albert H. Smallmr. robert Smith and

mrs. natalie moffett Smithmrs. Isaac Sternmr. Leonard Toppermr. Hector Torresmr. and mrs. Stefan Tuckermr. Ulric † and mrs. Frederica Weilmr. and mrs. douglas Wheelermr. and mrs. robert H. WinterWashington Performing Arts

Women’s committeems. margaret S. Wu

In memory of Y. H. and T. F. Wu

For more information, please contact Douglas H. Wheeler at (202) 533-1874, or e-mail [email protected].

Trumpeter/composer Wynton Marsalis, Washington

Performing Arts Board Chairman Reginald Van

Lee and donors Keiko and Steve Kaplan

Sunday, December 14 at 2 PM & 5 PMSaturday, December 20 at 4 PMMonday, December 22 at 7 PMKennedy Center Concert Hall

Tuesday, December 23 at 7:30 PMMusic Center at Strathmore

To PurchaSe TickeTS:caLL The Washington chorus: 202.342.6221oNLiNe thewashingtonchorus.orgkennedy-center.org strathmore.org

A CANDLELIGHT CHRISTMASJulian Wachner, Music Director

With the splendor of brass, organ, percussion and the 200-voice chorus, this beloved holiday event features christmas classics, sing-alongs and the glorious candlelight processional.These concerts sell out early. order your tickets now!

Power Passion Magic

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Applause November/December

Documents

Transcript of Applause November/December