Applause September/October 2014

applause at STRATH

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september/october 2014

Strathmorecomedians jab funny bones

The National Philharmonic experience the ‘New World’

Baltimore Symphony Orchestra shostakovich’s symphonic life

iNSide:

Bach UNaBridgedViolinist Gil Shaham will perform Bach’s complete sonatas and partitas as part of Washington Performing Arts’ 2014-2015 season at Strathmore

2 applause at Strathmore • september/october 2014

sept. 1820 / BSO: Beethoven’s Violin Concerto

sept. 2024 / Strathmore: Wanda Sykes

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

Oct. 829 / Strathmore: Belgrade Philharmonic Orchestra

Oct. 932 / BSO SuperPops: Broadway Standing Ovations

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

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

Oct. 1738 / Strathmore: David Sedaris

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

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

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

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preludeApplAuse at strathmore september/october 2014

824 44 12

features8 Climb Every Mountain Gil Shaham plans to summit the Mount Everest of violin repertoire

10 United Colors of Strathmore Indian holiday Holi adds vibrant colors to The Rite of Spring

12 Funny Business Comic masters Wanda Sykes, David Sedaris and Joan Rivers return

14 Back Stories Take Center Stage BSO unravels Shostakovich’s dramatic Symphony No. 5

16 BSO Adds Sunday Matinée SeriesPerformances to enhance popular lecture series

17 Meet the Musicians The eclectic Rene Hernandez and Marcia Kämper share a passion for the orchestra

18 Dvořák’s Postcard to the World National Philharmonic opens season with composer’s view of America

19 Part musician, part diplomat, part leader Colin Sorgi takes on roles as National Philharmonic’s new concertmaster

departments 4 Musings of Strathmore CEO Eliot Pfanstiehl 4 A Note from BSO Music Director Marin Alsop 6 Calendar: November and December performances

musician rosters 22 Baltimore Symphony Orchestra 42 National Philharmonic Orchestra and Chorale

program notes

On The COverViolinist gil shaham. photo by Luke ratray


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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

vice president of publishing and associate publisher

susan hull

senior editorcindy murphy-tofig

Design Directormaire mcardle

art Directorkelly martin / kmartindesign.com

sales & Marketing Directorsandra burley

advertising account executivesarlis Dellapa, paula Duggan,

penny skarupa, Luanne spurrell

7768 woodmont ave., suite 204bethesda, mD 20814

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

volume 11, number 1 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.

The 2014-2015 season marks the first decade of existence for Strath-more’s hallmark Music Center. Strathmore and its partners are each cel-ebrating the week of Feb. 2-8, 2015, in our own inimitable fashion with artists both reminiscent of our past and indicative of the future.

Over these 10 years, Strathmore has proven its ability to attract na-tional artists, partners and community leaders who have helped us thrive as a producer and presenter of extraordinary arts in the Washington, D.C., area. We have premiered 14 original productions, nearly doubled the number of presentations in the Music Center and mentored 54 artists in residence.

Strathmore’s relationship with its community is rich. It is intentional. It is deep. It is evolving. Now, we must look to our future and lay the groundwork that will support our pur-pose and vision in perpetuity.

This next decade begins with a series of much anticipated capital renovations, a series of new collaborations with artists and arts organizations, exciting arts outreach into new com-munities and the long awaited opening of AMP, our 250-seat nightclub at Pike & Rose, a new mixed-use development in North Bethesda.

As Montgomery County’s premier arts center, Strathmore will focus anew on building both financial and programmatic resources to be able to respond to emerging needs through-out our community and to take advantage of groundbreaking artistic opportunities. To do this well into the future, we must become even more resilient, resourceful and courageous.

Strathmore is more than just a venue. We are a promise, to you and your family, of memo-rable experiences and deep connections to come.

Eliot PfanstiehlCEO | 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,It is my great pleasure to welcome you to the start of another ex-

citing Baltimore Symphony Orchestra season at The Music Center at Strathmore! This season is particularly exciting, especially as we look forward to celebrating 10 years of making music here at Strathmore in February 2015.

As this season begins, you may notice some new faces among the orchestra. We were busy over the summer adding more exceptional musicians to the already stellar BSO ros-ter. Please join me in welcoming our new Principal Trombone Aaron LaVere and Assistant Principal Oboe Melissa Hooper, who begin their roles at the start of this season. As we ap-proach our 100th anniversary celebrations in 2016, it is wonderful to see the finest musi-cians drawn to the BSO.

Additionally, you’ll be seeing more of me here at Strathmore! We’ve added a brand-new five-concert Sunday matinee series, which you can read more about in this issue of Applause. These expanded offerings will represent the full-concert repertory of the accom-panying Off the Cuff series, which has been so successful here in Montgomery County.

We have so much to celebrate as we begin a new season!

Marin AlsopMusic Director | Baltimore Symphony Orchestra

A note from the BSO


four complete with original arrange-ments. note: the bso does not perform on this program.

➲ FRI., NOV. 14, 8:15 P.M. Baltimore Symphony OrchestraOff the CuffShostakovich’s Fifth: Notes for Stalin

marin alsop, conductor Didi balle, writer and director

shostakovich: symphony No. 5

more than 75 years ago, shostakovich set out to write his now legendary fifth symphony. the result was an appealing and triumphant score full of contradictions and hidden messages.

➲ SAT., NOV. 15, 8 P.M.Strathmore presentsvOCa people

the cast transforms music from beethoven’s fifth to madonna with flawlessly sung a cappella harmonies and amazing beat-box.

➲ SUN., NOV. 16, 3 P.M. Baltimore Symphony Orchestrarachmaninoff & shostakovich

marin alsop, conductor boris giltburg, piano

Tchaikovsky: Marche slaveRachmaninoff: piano Concerto No. 1 shostakovich: symphony No. 5

nOveMBer ➲ SAT., NOV. 1, 8 P.M. ➲ SUN., NOV. 2, 3 P.M.The National PhilharmonicMozart’s Requiem

stan engebretson, conductor Danielle talamantes, soprano magdalena wór, mezzo-soprano robert baker, tenor christópheren nomura, baritone national philharmonic chorale

Mozart: Ave Verum Corpus Exsultate Jubilate Requiem

the national philharmonic performs the poignant Ave Verum Corpus, the brilliant motet Exsultate Jubilate and the moving Requiem. a free pre-con-cert lecture will take place at 6:45 p.m. nov. 1 and 1:45 p.m. nov. 2.

➲ THUR., NOV. 6, 8 P.M.Strathmore presentsvijay Iyer—raDhe raDhe: rites of holi

Vijay iyer, composer, piano, electronics prashant bhargava, directing, editing, design international contemporary ensemble (ice) with: tyshawn sorey, cory smythe, mi-randa cuckson, michi wiancko

this film with live music showcases the indian celebration of holi and marks the 100th anniversary of stravinsky’s The Rite of Spring.

➲ FRI., NOV. 7, 8 P.M.Strathmore presents Joan rivers

the iconic comedian brings her sharp wit and scathing humor to the music center in her long-awaited return.

➲ SAT., NOV. 8, 8 P.M.Strathmore presents academy of ancient Music

the academy of ancient music ex-plores the sound-worlds that inspired bach, handel and haydn.

➲ THUR., NOV. 13, 8 P.M.BSO SuperPopsClassical Mystery Tour

this thrilling beatles retrospective features chart-topping tunes by the fab

israeli pianist and 2013 Queen elisabeth competition winner boris giltburg performs rachmaninoff’s first piano concerto.

➲ SAT., NOV. 22, 8 P.M. Baltimore Symphony OrchestraBernstein & Beethoven

marin alsop, conductor jennifer johnson cano, mezzo-soprano cathedral choral society

Bernstein: Chichester Psalms Bernstein: symphony No. 1, “Jeremiah” Beethoven: symphony No. 7

beethoven’s seventh symphony marks the final work performed by the great composer and conductor Leonard bernstein, marin alsop’s mentor.

➲ SUN., NOV. 23, 4 P.M.Strathmore presentsGuitar passions

sharon isbin, guitar stanley jordan, jazz guitar romero Lubambo, brazilian guitar

sharon isbin performs with stanley jordan, one of the collaborators on her album Guitar Passions, and romero Lubambo.

➲ FRI., NOV. 28, 8 P.M.Strathmore presentsBella Gaia

bella gaia illuminates the connections between natural systems and human activities through immersive storytelling threaded by an orbiting flight path from the international space station.

calendar

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VOCA PEOPLE

applause at Strathmore • september/october 2014 7 applause at Strathmore • september/october 2014 7

➲ SAT., NOV. 29, 3 AND 8 P.M.Strathmore presentslightwire Theater: a very electric Christmas

Lightwire theater gives “the ancient art of full-body puppetry a magical, lumi-nous update” (New York Post).

➲ SUN., NOV. 30, 3 P.M.Strathmore presentsGeorge Winston

pianist george winston weaves worlds with his playing: hushed forests blan-keted in snow, majestic mountains and sunlit streams.

DeCeMBer➲ SAT., DEC. 6, 4 P.M. Baltimore Symphony Orchestra Family series ConcertDuke ellington’s nutcracker

ken Lam, conductor

share in the spirit of the holidays with Duke ellington’s dazzling reimagining of tchaikovsky’s The Nutcracker.

➲ SAT., DEC. 6, 8 P.M.Baltimore Symphony Orchestrahandel’s Messiah

edward polochick, conductor concert artists of baltimore symphonic chorale

Handel: Messiah

the bso continues its tradition of ushering in the holiday season with handel’s powerful and faith-filled Messiah.

➲ TUES., DEC. 9, 8 P.M.Strathmore presentsDave Koz & Friends Christmas Tour

co-presented with blues alley

saxophonist Dave koz’s holiday tour includes r&b and gospel star jona-than butler, singer-songwriter chris-topher cross and soul train award winner maysa.

➲ THURS., DEC. 11, 8 P.M. Baltimore Symphony Orchestraholly Jolly pops

jack everly, conductor baltimore choral arts societyDebbie gravitte, vocalist

ted keegan, vocalist

carols, classical favorites, sing-alongs and more will get you into the holiday spirit and deliver fun for the whole family.

➲ FRI., DEC. 12, 8 P.M.Strathmore presentsThe Temptations and The Four Tops

the two iconic male vocal groups take the stage for a night of motown sound and a bit of american pop history.

➲ SAT., DEC. 13, 4 AND 8 P.M.Strathmore presentsMannheim steamroller

filled with spectacular video images, magnificent music and a monumental sound, mannheim steamroller’s holi-day show thrills audiences of all ages.

➲ FRI., DEC. 19, 8 P.M.Strathmore presentspeabo Bryson: The Colors of Christmas

grammy award-winning r&b legend peabo bryson is joined by gospel superstar cece winans, pop diva melissa manchester and “american idol” winner ruben studdard for an evening of pop hits and christmas favorites.

➲ SAT., DEC. 20, 8 P.M. ➲ SUN., DEC. 21, 3 P.M.The National Philharmonic handel’s Messiah

stan engebretson, conductor rosa Lamoreaux, soprano margaret mezzacappa, mezzo-soprano matthew smith, tenor kevin Deas, bass national philharmonic chorale

Handel: Messiah

begin your holidays with one of the most cherished works in western choral literature. a free pre-concert lecture will take place at 6:45 p.m. Dec. 20 and 1:45 p.m. Dec. 21.

[november/December]

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[beyond the stage]

Strathmore

Hartigan retrospectivein its most ambitious exhibition in recent memory, strathmore presents the artwork of abstract expressionist painter grace hartigan in Grace Hartigan: A Survey 1966-2007 from sept. 6 through nov. 9. the museum-quality exhibition—which includes pieces borrowed from maryland arts place, c. grimaldis gallery and the collection of David and suzi cordish—opens strathmore’s 2014-2015 season of fine art programs and is indicative of the increasing curatorial sophistication of its visual arts presence. the exhibition will feature a collection of hartigan’s drawings, print work and paintings, as well as letters and images from her strong and famous connection with poets frank o’hara and barbara guest. this is the first exhibition of its caliber presented in the mansion since 2005, when The Art of Music debuted with 45 musically inspired works from the baltimore museum of art’s collection.

TED KEEgAN


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washington performing arts

Climb Every Mountain

washington performing arts presents Gil shaham

friday, jan. 16, 2015, 8 p.m.

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applause at Strathmore • september/october 2014 9

Violinist Gil Shaham smiles as he plays his “Comtesse de Polignac” 1699 Stradi-varius as if he were divulg-

ing the simple and delightful answer to a riddle. The 43-year-old Israeli-Ameri-can, whom conductor/composer André Previn has called “quite obviously the violinist of his generation,” first cap-tured the world’s attention at age 17 when he substituted at the last minute for Itzhak Perlman at a London Sym-phony Orchestra concert. At the time, Shaham was a high school senior at Horace Mann School in Riverdale, N.Y.

He was about to be called on in Eng-lish class to recite lines from The Canter-bury Tales, which he’d neglected to mem-orize. Instead, he was pulled out of class and offered the chance to fly to Lon-don to perform in the place of the ail-ing maestro. As Shaham practiced the Bruch G Minor and Sibelius concertos in a London hotel room, he suddenly became conscious of the fact that con-certgoers would be expecting to hear the legendary Perlman. But, he said, “every-one was so supportive that playing in the concerts was the easy part.”

Easy, perhaps, because of the “spe-cial kind of humanism” with which Mu-sical America says his performances are imbued. Noted for his glowing, emo-tionally fluent style, he is also a master of technique, something that will be in full evidence as he tackles the complete Bach sonatas and partitas Jan. 16, 2015, in a single three-hour performance at the Music Center at Strathmore. “Ab-solutely nothing gives him difficulty,” Previn has said. “He’s incapable of play-ing out of tune.”

With the modesty and good humor for which he is known, Shaham for his part dismissed the notion that he was a prodigy: “By violinist standards, 17 was practically over the hill,” he said in an interview with New York Magazine. In fact, Shaham did not pick up a violin until the ripe age of 7. He is the son of theoretical physicist Jacob Shaham and Meira Shaham, a cytogeneticist. Both parents were also amateur musicians, and when older brother Shai began piano lessons, 4-year-old Gil asked for violin lessons. His wish would not be grant-ed for three years, however: “Mom and Dad wouldn’t let him because Mom was afraid of the screeching noise that might ensue,” recalled Shaham’s younger sister Orli, herself a noted concert pianist.

Shaham attended the Rubin Acad-emy of Music in Jerusalem, where his gifts were quickly apparent. He made his debut with the Jerusalem Sympho-ny Orchestra at age 10, and at 11, he won first prize in Israel’s prestigious Cla-remont Competition, though the fierce-ly competitive nature of the contest dismayed him, and he never entered another. Nevertheless, intense practice became a balm to the awkwardness of adolescence, and he practiced several hours every day. “Playing violin was a sport,” he has said. “I wanted to learn as much music as a I could, and to play as well as I could, just be the best.”

After his London triumph, Sha-ham simultaneously attended Colum-bia University and Julliard, where he studied under Dorothy DeLay and Hyo Kang. Shaham was awarded the Avery Fisher Career Grant in 1990, and he later signed a recording contract with

Deutsche Grammophon. In 1994, one of those recordings, the “Winter” move-ment of Vivaldi’s The Four Seasons was picked up by the Weather Channel and played with footage of a New York snowstorm. The Vivaldi album with its bad-weather cover later sold briskly. Re-plying to critics who sniffed at the mass marketing of classical music, Shaham said, “Music isn’t about making peo-ple feel important and serious ... Mo-zart and Beethoven went all out to take music to the masses.”

At Julliard Shaham met his future wife, Australian-born violinist Adele Anthony, with whom he sometimes performs, introducing her as, “my favor-ite violinist, who miraculously agreed to marry me.” The couple lives in New York City and has three children.

Shaham also plays frequently with sister Orli, something their parents dis-couraged as they were growing up. “They wanted us to find our own path,” he told The Jewish Week “and not be the Jewish Donny and Marie Osmond.” The two have collaborated on several recordings on Shaham’s label, Canary Classics, in-cluding a 2011 compilation of Hebrew folk music that the siblings say is a trib-ute to the music of their childhood, in-cluding tunes they recall hearing their grandfather humming around the house.

And though that compilation holds special meaning, performing the Bach pieces at Strathmore marks Shaham’s joyous return to a favorite artist.

“There’s something about a great work of music that’s like a sculpture,” he has said. “It doesn’t matter which angle you choose to look at—you can learn from it.”

Gil Shaham will scale the “Mount Everest” of violin repertoire—Bach’s complete partitas and sonatas

By Kathleen Wheaton


strathmore presents vIJaY IYer—raDhe raDhe: rites of holi thursday, nov. 6, 8 p.m.

Montgomery County is so diverse,” she points out. “There are 134 languages spoken here; we have a huge Indian-American population, and we want to present programming that reflects our audience.” Strathmore is a commis-sioning partner on the project, linking with nationally recognized arts funders such as Carolina Performing Arts at the University of North Carolina at Chapel Hill.

A “rite of spring” in its own right, Holi brings devotees of the Goddess to-gether in a celebration that’s character-ized by ecstatic dancing and the ritual splashing of participants with colored powders and potions. “I’d heard about Holi growing up, but culturally it wasn’t part of my upbringing,” says Iyer, who was born in Albany, N.Y., to parents who had emigrated from southern India, where the festival is less prominent. “I didn’t celebrate it until I was a teenager,

strathmore

“Making art,” Vijay Iyer says, “has to be about giving people an experience that

will stay with them.”The award-winning composer, Har-

vard professor, jazz pianist, writer and producer is bringing his latest work of collaborative performance art to the Music Center at Strathmore on Nov. 6. Vijay Iyer—RADHE RADHE: Rites of Holi is a film by Prashant Bhargava, a Chicago-born designer and filmmak-er, and a good friend of Iyer’s. Togeth-er they marked the 100th anniversary of Igor Stravinsky’s The Rite of Spring in a vibrant way by focusing on the northern Indian celebration of Holi.

“It’s a big spiritual festival in India,” explains Georgina Javor, Strathmore’s director of programming. “Prashant went over there and captured these gor-geous images and set them to The Rite of Spring. Vijay added new depth by adding his own composition to the fin-ished work—sort of a counterpoint to Stravinsky. What resulted was an ex-traordinary film, with the vividness of the colors underscored by this incredibly innovative soundtrack that really has a life of its own.”

Javor sees parallels between Stravin-sky’s perspective as an immigrant art-ist and the outlook of first-generation American artists like Bhargava and Iyer.

“That idea, of two different cultures mixing to create a new style of music, is so meaningful at Strathmore because

Composer Vijay Iyer and filmmaker Prashant Bhargava mark the centennial of Stravinsky’s The Rite of Spring with RADHE RADHE: Rites of Holi. By Chris Slattery

United Colors of Strathmore

though I was always intrigued by it.”And just as Bhargava’s film captures

the color and joy of Holi celebrants in his film, Iyer’s score matches the rhythm and dynamic of the festival.

Iyer and 13 other musicians, plus a conductor, will perform live as the film is shown on a large screen. In addition, Iyer will perform his acclaimed Muta-tions I-X, a 10-movement suite written for string quartet, piano and electroni-cally generated sounds.

“The original Rite of Spring was a ballet with an orchestra,” Iyer points out. “There was a lot to look at, but there was also this radical music that had more of an historical impact than the choreography ever could.”

Historical, yes, but also vastly entertaining.

“Music is not meant to teach you something,” Iyer insists. “It’s meant to take you somewhere.”

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Funny Business

strathmore

There’s something funny going on at Strathmore—and it starts with Wanda Sykes.

“I have some really good memories of growing up in Maryland,” says the comedian, whose Sept. 20 show on the Music Center stage kicks off a fall comedy lineup. “I love coming back, eating crabs, all that good stuff.”

File this under “even more good stuff:” After Sykes slays the crowd in September, NPR darling David Sedar-is will do an Oct. 17 show and come-dy legend Joan Rivers performs Nov. 7. And though Strathmore may be known for its sophisticated program-ming, Sykes is known for her no-holds-barred approach to subjects including race, sex, politics, economics and so-cial convention—and she’s planning to bring her A-game.

“If I ‘go there,’” Wanda Sykes says, “It has to be funny. If I can’t make them laugh, what’s the point?”

Forget about insults: Sykes says that between motherhood, marriage and her recent 50th birthday the comedy just seems to flow.

“My standup is basically what’s going on in my life now; I’m just say-ing what’s on in my mind,” she explain. “But I talk about things that’re real.”

That rea lness i s what makes Sykes—a Maryland girl who played drums at Arundel High School, went to Hampton University and got a gov-ernment job—so successful.

“You know, I tried it,” she explains. “But I realized it was not what I want-ed to do. There had to be more to life.”

Encouraged by her peers, Sykes

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entered a stand-up comedy contest and that was it.

“Standup: I love it,” she says. “This is where it all started; this is what got me everything else: the roles in movies and on TV shows. Stand-up gives me total freedom, and it’s still the most challenging thing I do. “I’m fortunate to do those other things, sure, but I really love standup.”

Legendary comedian Rivers has shape-shifted over the years, too, from a Brooklyn-born doctor’s daughter with a passion for fashion to a writer, actor, author and host of TV’s “Fash-ion Police” and the web series “In Bed With Joan.”

“Comedy is funny—that’s it,” she says. “If it’s funny it works; if a woman isn’t successful, she’s not funny.”

Comedians Louis C.K. and Sarah Sil-verman make Rivers laugh, but she also has respect for the old days, when she helped forge television’s golden age with stints on “Candid Camera” and “Holly-wood Squares” and hosted “The Tonight Show” for Johnny Carson. But even at 81, she is as fully present as any comedi-an half her age.

“I live in the moment,” she says. “Anyone who thinks otherwise, well, the average age of my audience is 22.7. My agent tells me all the time, I’m relevant.”

And relevance is getting easier. Riv-ers remains undaunted by any social changes the Internet has wrought: “It’s wonderful,” she says. “You can talk to your audience about absolutely anything now; wherever they are they’ll know all about it. We’re so connected now, and it’s great for comedy.”

And comedy, as it turns out, is great for Strathmore.

“People want to laugh,” says Shelley Brown, Strathmore’s vice president of programming. “In ’06 we had Lily Tom-lin for our Gala artist,” she recalls. “That was our first big comedic name, and I

thought that was a good choice because people who follow the arts, the theater world, would be glad to see Lily—and they were.”

Any comic who takes the Music Center stage, Brown reasons, has to meet a certain standard for quality and relevance. This fall she and her team seem confident they’ve hit the trifecta.

“These people have been curated be-cause they, in some way, have significance in the field,” says Brown. “David Sedaris is a comedic genius; he has appeared at Strathmore several times, and it’s sort of his D.C. home away from home.”

Rivers, she points out, is another re-turnee to Strathmore, renowned for her place in the history of comedy. And Maryland native Sykes got her start doing comedy right here in Washington, D.C.

“These are three performers who are absolutely at the top of their game,” says Brown. “We have a sophisticated, well-educated audience, and they don’t have time for the mediocre. They want to see something great. And the simplicity of a comedian performing—all that’s re-quired is their genius plus a microphone and a glass of water— it’s something that helps us underwrite more expensive ar-tistic programs without compromising on quality.”

Any worries that the edginess of Sykes, Sedaris and Rivers might make Music Center regulars uncomfortable?

“There’s a risk with any comedian who’s known for pushing the envelope of subject matter,” she admits. “We’re hoping it’s comedy done in good taste, and that the insults are given out even-handedly, to everyone.”

Wanda Sykes, David Sedaris and Joan Rivers will make you laugh more at Strathmore this fall By Chris Slattery


In 1936, at the height of Stalin’s reign of terror against the Rus-sian people, celebrated compos-er Dmitri Shostakovich suddenly

found himself denounced as an enemy of the people. After seeing Shosta-kovich’s successful opera, Lady Mac-beth of Mtsensk, Stalin had declared it “coarse, primitive and vulgar” and warned that the situation “may end very badly.”

Overnight, the young composer be-came a pariah. Friends shunned him. Relatives disappeared in the night. Shostakovich himself kept a packed suitcase under the bed in anticipation of inevitable arrest. He abruptly can-celed rehearsals of his Symphony No. 4, which he feared would seal his fate, and set about to redeem himself with a politically acceptable Fifth Symphony.

Completed in just a few months, Symphony No. 5 premiered in Lenin-grad in November 1937. On the sur-face, it seemed to glorify Soviet virtues. The Russian people, however, heard in

it a message of scorn for a brutal system and despair for the suffering it caused.

This gripping story is the subject of Shostakovich’s Fifth: Notes for Stalin, a symphonic play by Didi Balle, play-wright-in-residence with the Baltimore Symphony Orchestra. The BSO will perform the work’s area premiere at the Music Center at Strathmore on Nov. 14 as part of its Off the Cuff series.

A synthesis of classical music and live theater, the symphonic play genre was created by Balle in collaboration with Marin Alsop, music director of the BSO. “As Marin has said, we share a vision of giving audiences deeper ac-cess to great artists, personalizing the real-life stories behind the music,” ex-plains Balle. “It’s thrilling, because you have a dynamic triad on stage—a full symphony orchestra, a scripted and interactive conductor and a cast of professional actors— all seamlessly woven together.”

Since 2008, the BSO has commis-sioned and premiered four of Balle’s

symphonic plays: CSI: Beethoven; CSI: Mozart; A Composer Fit for a King: Wagner and King Ludwig I; and Analyze This: Mahler & Freud. The orchestra also will present the world premiere of Tchaikovsky: Mad But for Music, about the controversies surrounding his Fifth Symphony, at Strathmore on April 10, 2015. Shostakovich’s Fifth: Notes for Sta-lin was commissioned and premiered by conductor Yannick Nezet-Seguin and The Philadelphia Orchestra in 2013.

Wherever they have been per-formed, symphonic plays have reso-nated with audiences of all ages, says Alsop. “People are really curious about the back story. They want more infor-mation, they want to feel educated, they want to feel they’re getting a be-hind-the-scenes look. With symphonic plays, there are a lot more dimensions to the experience.”

All of the plays explore how com-posers dealt with conflict and adversi-ty to create some of the most beloved works of music. “Struggle is part of

With Shostakovich’s Fifth: Notes for Stalin, playwright Didi Balle and the Baltimore Symphony Orchestra unravel the

Russian composer’s Fifth Symphony By Phyllis McIntosh

Back stories take

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all great artists’ lives,” says Alsop. “In Shostakovich’s case, of course, it’s not just personal struggle but also the in-dividual against the political machine, which makes his life story so incredibly compelling.”

Shostakovich’s Fifth: Notes for Stalin focuses on two pri-mary characters, the com-poser himself and his trust-e d f r i e n d a n d p e r s o n a l secretary, Isaak Glikman. A third actor plays several roles, including a Soviet party ob-server and Victor Kubatsky, former principal cellist of the Bolshoi and Shostakovich’s touring partner.

The dramatic story be-gins as Shostakovich learns that his life and career have been turned up-side down. It traces his plight and the difficult choices he must make before writing the Fifth Symphony. When at last the orchestra plays the entire sym-phony, the audience can appreciate

the contradictions and hidden mes-sages that have made the work leg-endary: “triumphant” marches that parody heroic leadership and mer-riment that seems forced and shrill. Free of irony, however, is the mourn-

ful slow movement—sometimes called the most despairing music ever writ-ten—that Shostakovich intended as a memorial for victims of Stalin’s purges. Reportedly, many Russians in the premiere audience were moved to tears.

The fierce march of the finale, Shostakovich later said, represents a forced exultation. In his memoirs, which were smuggled out of Rus-sia after his death, he wrote: “It’s as if someone were beating you with a stick

and saying, ‘Your business is rejoicing, your business is re-joicing,’ and you rise, shaky, and go marching off, mutter-ing, ‘Our business is rejoicing, our business is rejoicing.’”

After all of Shostakovich’s conflicts, Balle says, “We see at the end that he finds a way through sly brilliance and re-markable spirit to compose music which appears to ad-here to Stalin’s directive while

subtly weaving a deeper and sardonic musical truth that bears testimony to the despair, the madness and the terror that reigned over his people. His music mirrors not only a personal story but also a universal truth that touches us all. He gives us courage.”

“his music mirrors not only a personal story but also a universal truth that touches us all. he gives us courage.”

—Didi Balle

DIDI BALLE TONY TSENDEAS jERED MCLENIgAN

baltimore symphony orchestra presentsShostakovich’s Fifth: Notes for Stalinfriday, nov. 14, 8:15 p.m.


Once, not so long ago, sympho-nies were silent on Sundays.

“In the good old days, al-most nobody played on Sun-

days,” says Jack Fishman, vice president of external affairs for Baltimore Sym-phony Orchestra at The Music Center at Strathmore. “You couldn’t go to the stores on Sunday. Everything was closed.

“Nowadays, with travel and the com-muting and workload, and how many hours people work, orchestras around the country are exploring alternatives that might appeal to a broader audi-ence. The BSO has had a string of suc-cessful seasons at Strathmore. With the start of our 10th anniversary season, the time was right to expand our program-ming options and bring our world-class

orchestra to more audiences throughout the greater Washington area.”

So this season, for the first time, an additional option is available to hear the BSO at Strathmore: Sunday matinée concerts. Music Director Marin Alsop will conduct all five Sunday performanc-es, which begin at 3 p.m and last about two hours with one intermission. Unlike other BSO at Strathmore series, there are no pre-concert lectures on Sundays.

“The good news is: we needed more capacity,” Fishman says.

Eileen Andrews, vice president of marketing and communications for the BSO, says Strathmore has enjoyed an especially high percentage of paid ca-pacity over the past several years.

In that time, she adds, “We received

a lot of feedback from patrons who were looking for a daytime program—either because they’re older and not comfortable going out at nighttime, or it’s too frantic and unreliable to count on the Beltway to get to a concert on weekday nights.”

Andrews adds, “there is also a segment of our audience who have older children who would like to join their parents and come to a concert, but because of the other days of the week and the time, the experience was just too late.”

“Sunday does something else for us that’s very unique,” Fishman says. “It helps us widen our geographic base.”

While Montgomery County will con-tinue to provide the bulk of Strathmore’s BSO core audience, concerts on Sundays hope to attract those from northern Vir-ginia and northwest D.C. who might have a tough time juggling commutes from work, duties at home and a trip to Strathmore for a midweek concert.

“We know there are new audiences in Montgomery County and beyond that would love to experience Marin Alsop and the BSO,” Fishman says. “We hope the introduction of Sunday matinées will make it easier for them to join us.”

The inaugural BSO Sunday series be-gins with Ein Heldenleben: A Hero’s Life on Oct. 26 and continues with Rach-maninoff & Shostakovich on Nov. 16, featuring pianist Boris Giltburg; The Rite of Spring on Jan. 11, 2015; Haydn and Ravel March 22, 2015, featuring cellist Sol Gabetta; and Tchaikovsky’s Sym-phony No. 5 on April 12, 2015.

Music Director Marin Alsop will conduct

all five concerts at the Music Center

By Roger Catlin

Baltimore Symphony Orchestra adds Sunday Matinée Series

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marching band. When he was 12, his mother took him to a Buddhist meeting where he met the youth bandleader.

“The following Sunday, I had a trumpet in my hands,” he recalls. “We were constantly performing. I learned how to play in no time.”

From city streets to symphony halls, Hernandez grew up performing, and by 16, he was on tour in Europe. But per-forming so young is not without its per-ils. While playing with an orchestra in Spain that was to conclude after a few months’ time with an audition, Hernan-dez enjoyed Spain’s laidback lifestyle a little too much and practiced too little.

“I learned the hard way that I must always work hard before I can play hard,” he says now.

Hernandez, a father of two who joined the BSO in 2002, particularly

It’s hard to miss the large pop-up posters featuring the likes of con-certmaster Jonathan Carney and associate concertmaster Madeline

Adkins at The Music Center at Strath-more. The outreach is part of the Bal-timore Symphony Orchestra’s “Meet Your Musicians” initiative, begun last year to generate awareness of the in-dividual artists whose singular talents come together to create the symphony.

Now, meet two more gifted musicians. These artists exemplify the eclectic per-sonalities that make the BSO unique.

Rene Hernandez assistant principal trumpetMany musicians in the symphony began playing an instrument at a young age, but Rene Hernandez may be the only one whose career began in a Buddhist

The personalities, interests of individual musicians—including Rene Hernandez and Marcia Kämper—enhance the Baltimore Symphony Orchestra By Christianna McCausland

Meet the Musicians

enjoys the annual BSO Academy that concludes each season. “The rejuve-nation and energy I feel working with the participants is remarkable. When they come to us, they are so excited and hungry to learn about what we do every day.” The experience of playing with avid amateurs also has deepened his passion for sharing music.

Marcia Kämper, second fluteBeing a working mother, it’s helpful to have a means to unwind. Marcia Käm-per’s two boys, Hiero and Hannes, ages 4 and 2, keep Kämper on her toes, but she has found that a little meditation goes a long way toward relaxing her mind. “I try and take a moment to breathe doing simple things: shower, driving to work, laundry, grocery shopping, looking up at the sky,” says Kämper.

A good long drive is also calming, a throwback to Kämper’s youth when she commuted through the desert from her family’s home in Boulder City to a per-forming arts high school in Las Vegas. Kämper played the cello and piano by age 10 before switching to flute.

Of course, rehearsals take plenty of time, but for Kämper, the BSO feels like family. As a student at the Peabody In-stitute, she attended BSO performances weekly; when she joined the BSO per-manently in 2006, Kämper became a part of “the orchestra I grew up with.”

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has appeared with the National Phil-harmonic on several occasions. “She is always very well received when she plays with us,” Gajewski says.

For her part, Chee-Yun calls the Sibelius Violin Concerto, “one of the most challenging pieces for the soloist. It requires a lot of practice.”

The first movement alone is like an endurance race in order to project over the orchestra, she says. “It’s like I just ran a 5K and that’s only the first move-ment. It’s a good diet piece.”

But the piece overall, she says, “can be incredibly exciting for the audience. It is profound and moving. When the combination is right, it can be magical.”

Opening the concert will be anoth-er magical work—Mendelssohn’s over-

It was in some ways a new world when the National Philharmonic began its inaugural season at the Music Center at Strathmore 10

years ago. Accordingly, the National Philharmonic will begin its 10th an-niversary season here in October with Dvořák’s New World Symphony.

The Symphony No. 9 in E minor, “From the New World,” was composed in 1893 while the Czech composer was directing the National Conservatory of Music of America.

“The symphony was composed by Dvořák while he lived in the United States, premiered at Carnegie Hall and immediately became very, very popu-lar, and performed all over,” says Na-tional Philharmonic Music Director and Conductor Piotr Gajewski. “It was composed by an immigrant using his experiences here in America to write, in essence, a postcard to the world of what America was about,” says the Polish-born maestro.

The New World Symphony ap-pears on the 2014-2015 opening pro-gram Oct. 18 and 19 alongside another piece of roughly the same vintage, Jean Sibelius’ Violin Concerto in D minor. The work by the Finnish composer is “more advanced musically than the New World Symphony is,” Gajewski says, “It’s very difficult for the violinist, but over the years has become one of the favorite concertos of violinists and the concert-going public.”

It also provides an opportunity to bring back violinist Chee-Yun, who

The National Philharmonic shows how the Czech composer viewed America in season-opening performance of Symphony No. 9 By Roger Catlin

Dvorák’s postcard to the world ˇ

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ture to A Midsummer Night’s Dream.“Obviously inspired by Shakespeare’s

play, which he read in German, he was only 17 when he composed it,” Gajews-ki says. “It’s a youthful, bright piece and a great way to open the season.”

Throughout the season, the Na-tional Philharmonic will bring back audience favorites from its first decade at Strathmore, to celebrate how far the Philharmonic has come.

“It’s been a great 10 years,” Gajew-ski says. “Strathmore is a fantastic con-cert hall and performing space, and … I think going forward we will continue to play the music that has been very successful for us, but also probably in-creasingly look at some adventurous and creative projects.”

the national philharmonic presents Dvořák’s new World symphonysaturday, oct. 18, 8 p.m. and sunday, oct. 19, 3 p.m.

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dealing with the sometimes emphatic personalities of the Philharmonic.

“Colin is extremely amiable,” Ga-jewski says. “He is able to persuade with his charm.”

Sorgi, at just 27, is already a seasoned performer and concertmaster. A gradu-ate of the Peabody Conservatory and Indiana University, he made his profes-sional solo debut in 2012 at the Aspen Music Festival, and he since has per-formed at Carnegie Hall and the Ken-nedy Center and with marque musicians including pianist Leon Fleisher and vio-linist/violist Pinchas Zuckerman.

A concertmaster for a sym-phony orchestra is a mu-sical middleman, a liaison between the musicians and

their conductor, and that sometimes isn’t an easy job.

“Orchestras can be a contentious bunch,” says National Philharmonic Music Director and Conductor Piotr Ga-jewski, and a concertmaster must “make sure that everyone is on the same page.”

So, when the National Philhar-monic needed a new concertmaster this season, its search committee knew it needed to find a fine musician—the concertmaster is also the first violin—a leader and a diplomat. In the Bal-timore-based Colin Sorgi, the panel found what it was looking for.

“We had an embarrassment of riches to choose from,” says Lori Barnet, the National Philharmonic’s principal cellist since its founding in 1985. Through an arduous audition process that required applicants to perform difficult solos and excerpts, the committee winnowed its choices to three finalists. Each finalist then performed several concerts as guest concertmaster under Gajewski, Chorale Artistic Director Stan Engebretson and Associate Conductor Victoria Gau.

All three proved to be excellent violinists, but Sorgi had the edge in

Colin Sorgi will wear many hats as the National Philharmonic’s

new concertmaster By M.J. McAteer

Part musician, part diplomat, part leader

With the Philharmonic, his off-stage duties will include originating bowings for all five string sections as well as knowing the music inside and out for the entire orchestra.

“On stage, it will be all about being a leader and a role model,” he says.

During the summer, Sorgi’s du-ties will extend to the National Phil-harmonic’s Summer Strings Institutes, where he will help students not all that much younger than himself devel-op their professional skills.

Being concertmaster is demand-ing, but Sorgi seems to have no shortage of energy. In his free time, he will continue as artistic director of the Sonar new music ensemble, a contemporary music group he found-ed in 2007. In addition, he works with the Baltimore Symphony Or-chestra’s OrchKids, a music outreach initiative and the country’s largest El Sistema program.

Front and center, though, will be the National Philharmonic.

“I want the musicians to feel I am there for them,” Sorgi says. At the same time, he hopes to forge a tight bond with his conductor.

“I am excited to have the opportu-nity to work with Piotr,” Sorgi says. “I think we can make a great team.”

the nationaL phiLharmonic

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20 applause at Strathmore • SEPTEMBER/OCTOBER 2014

Thursday, september 18, 2014, 8 p.m.

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Marin Alsop, conductorMarin Alsop is an inspiring and powerful voice in the international 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 commit-ment to education and to the develop-ment of audiences of all ages.

Alsop made history with her appoint-ment as the 12th music director of the Baltimore Symphony Orchestra. With

her inaugural concerts in September 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.”

Hilary Hahn, violin In the two decades since her professional debut, Hilary Hahn has fol-lowed her pas-sion for adventur-ous programming, delving into core

repertoire, contemporary music and less familiar classic compositions with equal commitment, and bringing virtuosity, expansive interpretations and daring repertoire choices to global audiences.

Hahn took her first lessons shortly before her fourth birthday. When she was 5 years old, she met Klara Berkov-ich, with whom she studied until being admitted to the Curtis Institute of Music at age 10. There, Hahn was a pupil of Jascha Brodsky. She completed her university requirements at Curtis at 16, having already made her solo debuts with the Baltimore and Pittsburgh sym-phony orchestras, the Philadelphia and Cleveland orchestras, and the New York Philharmonic. By the time Hahn received her bachelor’s degree, she was a full-time touring musician. Hahn’s ever-evolving approach to music-mak-ing and her curiosity about the world have made her a fan favorite.

Tamara Wilson, soprano In the 2014-2015 season, soprano Tamara Wilson will make her role and house debut in the title role of Norma at the Gran Teatre del Liceu in Bar-

celona. She also will return to Oper

THURSDAY, SEPTEMBER 18, 2014, 8 P.M.

●Baltimore Symphony Orchestra

Marin alsop, Music Director presents

Beethoven’s Violin ConcertoMarin alsop, conductor

Hilary Hahn, violinTamara Wilson, soprano

The Star-Spangled Banner John Stafford Smith arr. Christopher Theofanidis

Violin Concerto in D Major, Op. 61 Ludwig van Beethoven Allegro ma non troppo (1770-1827) Larghetto Rondo: Allegro

Hilary Hahn

INTERMISSION Symphony No. 4 in G Major Gustav Mahler Bedächtig, nicht eilen (1860-1911) In gemächlicher Bewegung, ohne Hast Ruhevoll (Poco adagio) Sehr behaglich

Tamara Wilson

The concert will end at approximately 10:10 p.m. presenting sponsor: M&T Bank

Hilary Hahn appears by arrangement with IMG Artists, 152 W. 57th St., Fifth Floor, N.Y., N.Y., 10019. Ms. Hahn’s recordings

are available on Deutsche Grammophon and on Sony Classical/Sony BMG Masterworks.

The Music Center at Strathmore Marriott Concert Stage

applause at Strathmore • SEPTEMBER/OCTOBER 2014 21

Frankfurt for her first performances as the Empress in Die Frau ohne Schatten and for concert performances as Hel-ena in Die Aegyptsiche Helena, which will be recorded by Oehms Classics.

In concert, she returns to the Ravinia Festival as Donna Anna in Don Giovanni under James Conlon and the Chicago Symphony Orches-tra, a role she also debuts with Edo de Waart and the Milwaukee Symphony. Additionally, Wilson debuts with the National Symphony Orchestra in Mendelssohn’s Symphony No. 2, “Lobgesan,” with Matthew Halls.

Wilson’s recent performances were with the Canadian Opera Company in Die Fledermaus (Rosalinde); both Teatro Municipal de Santiago and Teatro de la Maestranza in the title role in Aida; Washington Concert Opera in Il corsaro (Gulnara); Hous-ton Grand Opera in Don Carlos (Elisa-beth de Valois); Théâtre du Capitole in Il trovatore (Leonora), Albert Her-ring (Lady Billows) and I due Foscari (Lucrezia); Ravinia Festival in Idome-neo (Elettra); Washington National Opera in Un ballo in maschera (Ame-lia); and Los Angeles Opera in The Turn of the Screw (Miss Jessel).

Program NotesViolin Concerto in D Major

Ludwig van BeethovenBorn Dec. 16, 1770, in Bonn, Germany; died March 25, 1827, in Vienna, Austria

Although we tend to think that great musical masterpieces—espe-cially when they come from the pen of the fist-shaking Beethoven—should embody tragedy, a struggle against obstacles and perhaps hard-won vic-tory, his Violin Concerto demon-strates that a work can be predomi-nantly conflict-free, serene and joyful in spirit, and still soar to the highest realms of artistic expression.

The period from 1806, when the Violin Concerto was composed, through 1808, when he introduced his Symphonies Nos. 5 and 6, was one

of the most prolific in Beethoven’s career and brought forth a number of works that share the Violin Concer-to’s world of sublime happiness: nota-bly the Symphony No. 4 and the “Pas-toral” Symphony. The composer had recently completed two years of labor birthing his only opera, Fidelio, and the temporary conclusion of this proj-ect apparently released a torrent of creativity for other musical forms.

The Violin Concerto was a gift to Franz Clement, the concertmaster of Vienna’s Theater an der Wien, to be performed at the violinist’s bene-fit concert there on Dec. 23, 1806. A description of Clement’s playing comes down to us in The Grove Dictionary of Music and Musicians: “His style was not vigorous, nor his tone very powerful: gracefulness and tenderness of expres-sion were its main characteristics. … His intonation was perfect in the most hazardous passages and his bowing of the greatest dexterity.”

In his concerto for Clement, Beethoven exploited these quali-ties, beginning with the demand-ing, cadenza-like passage for the solo-ist’s entrance, which whips through a thicket of fast figurations before vault-ing to an exposed high note. Even Clement found “his” concerto a tough nut—especially since Beethoven fin-ished it so close to the concert, there was no time for a complete rehearsal. For years afterward, it languished, con-sidered to be “unplayable.” In 1844, the great Joseph Joachim (then a 12-year-old prodigy, later to be the inspiration for Brahms’ Violin Concerto) gave it a brilliant performance in London under the baton of Mendelssohn. Champi-oning the work throughout his career, Joachim established it in the repertoire, where it is now considered the pinna-cle of the violinist’s art.

The first movement opens arrest-ingly with the timpani tapping out a five-note rhythm on the home note of D; between the taps, woodwinds sing a gently undulating theme. The orches-tral violins then add spice by tapping on a D-sharp foreign to the key. All subsequent themes follow an optimistic

ascending shape. Prominent among them is the woodwinds’ serenely ris-ing melody over the tapping motive, which, though technically the “sec-ond” theme, actually becomes the movement’s most memorable.

The violin makes its belated but unforgettable entrance described earlier. When the serene second theme reap-pears, Beethoven won’t let the soloist appropriate it—he has a better idea up his sleeve. The orchestra then reprises most of its exposition and the solo-ist repeats her grand entrance cadenza before sliding off to a quiet, mysterious development over the tapping motive in various instruments. Here the solo-ist introduces a tenderly wistful new episode in G minor. For the recapitula-tion, the full orchestra hammers out the tapping motive. After a solo cadenza, Beethoven plays his trump card: at last letting the violin sing the serene second theme in its softest, sweetest tones.

Donald Francis Tovey calls the Lar-ghetto second movement an example of Beethoven’s “sublime inaction.” A religious, exalted atmosphere reigns as muted strings sing a hymn-like theme, to which the soloist gives soaring, speech-like commentary. This theme, which never leaves the key of G, pro-gresses through several variations, inter-rupted briefly by a new solo melody, less exalted and more human. A solo cadenza bridges directly into the finale.

The dancing rondo finale trans-ports the lofty serenity of the previ-ous movements into a mood of rejoic-ing akin to the “Pastoral” Symphony. Following the last solo cadenza, Beethoven leads the music astray into the key of A-flat. Holding its own against rowdy Beethovenian cross-rhythms in the orchestra, the violin soars fleetly to a bold conclusion.

Instrumentation: Flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings.

symphony No. 4 in G Major

Gustav MahlerBorn July 7, 1860, in Kalischt, Bohemia; died May 18, 1911, in Vienna The imaginative process by which a




composer creates a new work of music is infinitely mysterious, and it often bears little relationship to the circum-stances of his daily life, his physical health or even his prevailing psycho-logical mood.

This was certainly the case with Gustav Mahler and his Symphony No. 4: This complicated, highly sensi-tive genius somehow managed to cre-ate his sunniest, most untroubled work at a time when just about everything seemed to be going wrong.

Summers were precious to Mahler, by then the overworked music direc-tor of the Vienna State Opera. The rest of the year was devoted to con-ducting, coping with the day-to-day demands of running a large musical institution and battling the cut-throat cultural politics of turn-of-the-century Vienna. Only during a few weeks each summer did he have the time and peace for sustained work on his grow-ing family of symphonies.

However, the summer of 1899 did not bring that peace. First, Mahler’s original retreat proved impossible, and he had to devote 10 days seeking out a new spot. He finally found it in west-ern Austria’s Salzkammergut lake dis-trict, but the denizens of the nearby spa seemed to delight in harassing the reclusive celebrity, and there were also the inescapable sounds of the spa band competing with Mahler’s own internal music. Even the weather wasn’t coop-erating: It was freezing cold, and it rained day after day.

Somehow, Mahler found his way out of all this and into the magical, childlike world of his Symphony No. 4. The gateway to this enchanted land was a poem from Des Knaben Wun-derhorn (“The Boy’s Magic Horn”), a collection of folk poetry compiled by Clemens Brentano and Achim von Arnim in the early 19th century. The Bavarian poem “Der Himmel hängt voll Geigen” (“Heaven is Hung with Violins”) had inspired Mahler in 1892 to compose a song called “Das Him-mlische Leben” (“The Heavenly Life”). Since then, the song with its fanciful, alluring imagery of a child’s

heaven—in which everyone lives hap-pily and the saints themselves are gourmet cooks—had rolled around in his creative imagination.

By the end of summer 1899, Mahler had sketched half the symphony. And he had also decided to secure a proper environment for its completion the fol-lowing summer. He purchased a plot of land on the shores of the beautiful Wörtersee in the Austrian Tyrol and hired an architect to build both a house for the Mahler ménage (he had not yet met his wife, Alma) and a little cottage deep in the woods for his composing.

The new symphony was largely

finished by Aug. 6, 1900. Employ-ing a smaller orchestra than Mahler’s previous symphonies and at about 50 minutes the shortest of them, No. 4 is a work of the greatest subtlety and complexity in terms of Mahler’s handling of form, thematic material and orchestration. Seldom does the whole orchestra play en masse; instead Mahler has refined here his concertante style of writing, in which small groups of instruments engage in intimate, ever-changing conversations. This constantly shifting dialogue works hand-in-hand with Mahler’s devotion to continual thematic evolution.

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 PendletonTroyerandrew 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 Conductor



Movement 1: The symphony as a whole might be understood as a fantas-tic journey to the Heaven of the last movement. This magical journey opens to the enchanting jingle of sleigh bells and flutes. Three major themes unfold. First comes the violins’ naive, care-free melody. It is succeeded by a very schmaltzy Viennese melody in the cel-los. The folk-like, puckish third theme is introduced by the woodwinds.

The development section intro-duces yet another important theme: a repeated-note melody with a dotted-rhythm tail heard high in the flutes. This theme seems to be associated with the heavenly goal; it will return at the climax of the third movement as the gates of heaven open. As the development rampages forward, we suddenly hear a trumpet call amid the tumult. The orchestra rapidly unrav-els into total silence. Then the violins saunter back in with the second half of their opening theme to start the recapitulation, and we are back on the road to Heaven.

Movement 2: The C-minor Scherzo presents another risky detour on the journey. Mahler subtitled this movement “Freund Hain spielt auf” or “Friend Hain strikes up [the music].” Freund Hain is a child’s bogeyman in German folklore. Here he takes the

shape of a devilish fiddler, imperson-ated by the concertmaster playing a violin tuned a clashing step above his colleagues’ instruments to resemble a scratchy, out-of-tune country fiddle.

This Austrian Ländler dance alter-nates between dream and nightmare: Everything seems a bit unreal and out of focus. Two trio sections provide rus-tic contrast: the first introduced by the tipsy-sounding principal clarinet and bassoon, the second—more sentimen-tal in character—by a pair of clarinets.

Movement 3: Having moved past the temptations of Freund Hain, we reach the great G-Major Adagio, the heart of the work and the movement Mahler considered his finest.

Two long themes alternate in the variations process. A plucked ostinato pattern in the basses undergirds the first theme and, passed to other instru-ments, pervades the movement. The first theme, serene and lovely, rises from the low strings. The yearning second theme is presented by the solo oboe. Near its climax comes a sudden, violent drop of nearly two octaves in the violins; this sounds like a groan of despair—as though Heaven will never be reached. But after moments of earthly pain and struggle, the clouds part on an E Major vision of the heav-enly goal. The ecstasy subsides, and

with the violins on high, we hover on Heaven’s threshold.

With the last movement, we finally reach our journey’s destination in the enchanting song that was the sym-phony’s inspiration. The orchestration is extremely delicate lest it compete with the gentle, childlike tones of the soprano singing of Heaven’s delights. Although the movement is in strophic form, each strophe is different, again in keeping with Mahler’s evolution-ary practices. A poignant minor-mode refrain completes the soprano’s stan-zas three times; it is answered by grave, archaic-sounding open-fifths in the orchestra and exuberant reprises of the sleigh bells that opened the symphony.

The final strophe shifts to E-Major—the key of the Adagio’s heavenly apotheosis—but now, with the goal reached, all is quiet and serene. The close of the symphony is as unique as its beginning: bells again, but now the music fades off into eter-nity to the low tolling of the harp.

Instrumentation: Four flutes, two piccolos, three oboes, English horn, three clarinets, piccolo clarinet, bass clari-net, three bassoons, contrabassoon, four horns, three trumpets, timpani, percus-sion, harp and strings.

Notes by Janet E. Bedell ©2014

Symphony No. 4 in G Major text and translation Wir geniessen die himmlischen Freuden we revel in heavenly pleasures,Drum tun wir das Irdische meiden. leaving all that is earthly behind us.Kein weltlich’ Getümmel no worldly turmoilHört man, im Himmel is heard in heaven,Lebt alles in sanftester Ruh’! we all live in sweetest peace. Wir führen ein engeliches Leben, we lead an angelic existence,Sind dennoch ganz lustig daneben! and so we are perfectly happy.Wir tanzen und springen, we dance and leap,Wir hüpfen und singen, and skip and sing;Sankt Peter im Himmel sieht zu! Saint Peter in heaven looks on. Johannes das Lämmlein auslasset, Saint John has let out his little lamb,Der Metzger Herodes drauf passet! the butcher herod is lurking:Wie führen ein geduldig’s, we lead a patient,Unschuldig geduldigs, guiltless patient,Ein liebliches Lämmlein zu Tod! darling little lamb to death. Sankt Lukas den Ochsen tät schlachten Saint luke is slaying the oxen,Ohn’ einig’s Bedenken und Achten. without the least hesitation;Der Wein kost’ kein’ Heller wine costs not a farthingIm himmlischen Keller, in the heavenly tavern;Die Engelein, die backen das Brot. The angels bake the bread. Gut’ Kräuter von allerhand Arten, Fine sprouts of every description,Die wachsen im himmlischen Garten! are growing in heaven’s garden.Gut’ Spargel, Fisolen, Fine asparagus, fine herbs,

Und was wir nur wollen, and all we desire,Ganze Schüsseln voll sind uns bereit! huge platefuls for us are prepared.

Gut’ Äpfel, gut’ Birn’ und gut’ Trauben, Fine apples, fine pears and fine grapes,Die Gärtner, die alles erlauben! The gardeners let us pick freely.Willst Rehbock, willst Hasen? you want venison, hare?Auf offener Strassen in the open streetsSie laufen herbei! They go running around. Sollt’ ein Festtag etwa kommen, and when there’s a holiday near,Alle Fische gleich mit Freuden all the fishes come joyfully angeschwommen! swimming!Dort läuft schon Sankt Peter and off runs Saint PeterMit Netz und mit Köder, with net and with bait,Zum himmlischen Weiher hinein. Towards the celestial pond.Sankt Martha die Köchin muss sein! Saint Martha must be the cook! Kein’ Musik ist ja nicht auf Erden, There’s no music at all on earthDie uns’rer verglichen kann werden. which can ever compare with ours.Elftausend Jungfrauen Eleven thousand virginsZu tanzen sich trauen! are set dancing.Sankt Ursula selbst dazu lacht! Saint Ursula herself laughs about it!Cäcilia mit ihren Verwandten Saint Cecilia with her relativesSind treffliche Hofmusikanten! are splendid court musicians.Die engelichen Stimmen The angelic voicesErmuntern die Sinnen, delight the senses,Dass alles für Freuden erwacht. For all things awake to joy.


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Wanda SykesWanda Sykes has been called “one of the fun-niest stand-up comics” by her peers and ranks among Enter-tainment Week-ly’s 25 Funni-est People in

America. Her smart-witted stand up has sent her career in many different areas.

In 2012 Sykes joined forces with veteran producer Page Hurwitz to form Push It Productions, a production company dedicated to creating quality comedy-based programming for net-work and cable television outlets. The company’s first set of specials, “Herlari-ous,” aired in the summer of 2013 and January 2014 on OWN and received a 2014 Gracie Award.

Sykes has been seen on several televi-sion shows over the past few years. She can currently be seen on the Amazon Prime show “Alpha House” created by Gary Trudeau about a group of Repub-lican senators who share the same D.C. rental house. She also has appeared in “Curb Your Enthusiasm” and spent five years on CBS’ “The New Adventures of Old Christine.” In 2010 she starred on her own late night talk show on Fox, “The Wanda Sykes Show.” Other TV credits include Fox’s “Wanda at Large,” which she wrote, produced and starred in; “Wanda Does It” on Comedy Cen-tral; and “Crank Yankers” as the voice of Gladys Murphy.

Her first HBO comedy special, “Wanda Sykes: Sick and Tired” debuted in October 2006 and was

nominated for a 2007 Primetime Emmy for Outstanding Variety, Music or Comedy Special. She returned to HBO for her second stand-up special “I’ma Be Me,” which was nominated for two 2010 Primetime Emmy Awards: Outstanding Variety, Music or Comedy Special and Outstanding Writing for a Variety, Music or Comedy Special.

She can be heard in many ani-mated feature films, including Ice Age: Continental Drift, Rio, Over the Hedge and The Barnyard.

Sykes was also seen in the feature films Evan Almighty, Monster-In-Law, My Super Ex-Girlfriend, Pootie Tang, The Nutty Professor 2, The Klumps and Down to Earth.

Her first book, Yeah, I Said It, pub-lished in September 2004, is a collection of essays touching on life, family and cur-rent events.

Sykes also spent five years as a per-former and writer on “The Chris Rock Show,” receiving three Primetime Emmy nominations and an Emmy Award for Outstanding Writing for a Variety, Music or Comedy Special. In 2001, she won the American Comedy Award for Outstand-ing Female Stand Up Comic. She won three more Emmys, in 2002, 2004 and 2005, for her work on “Inside the NFL.”

Sykes was born in Portsmouth, Va., and raised in Maryland. She gradu-ated with a bachelor of science degree from Hampton University. Her stand-up career began at a Coors Light Super Talent Showcase in Washington, D.C., where she performed for the first time in front of a live audience.

In 2010 she won a GLAAD award for promoting a good image of equal rights for gays and lesbians.

SATURDAY, SEPTEMBER 20, 2014, 8 P.M.

●Strathmore Presents

Wanda sykesThe Music Center at Strathmore

Marriott Concert Stage

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


saturday, september 27, 2014, 8 p.m.

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Marin Alsop, conductorMarin Alsop is an inspiring and powerful voice in the international 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 development of audiences of all ages.

Alsop made history with her appointment 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 conduc-tor 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.”

James Ehnes, violinKnown for his vir-tuosity and prob-ing musicianship, violinist James Ehnes has per-formed in more than 30 coun-tries on five con-tinents, appearing

regularly in the world’s great concert halls and with many of the most cele-brated orchestras and conductors.

Upcoming highlights include con-certs with the Royal Philharmonic, Danish National, Melbourne, Sydney, NHK, Vienna and Boston symphony orchestras; with the Chamber Music Society of Lincoln Center; and recitals in Prague, London, Toronto, Fort Worth and Montreal. He also performs with the Ehnes Quartet across North Amer-ica and will lead the winter and summer festivals of the Seattle Chamber Music Society, where he is the artistic director.

His extensive discography of more than 30 recordings has been honored with many international awards and prizes, including a Grammy, a Gramo-phone and nine Juno Awards.

Ehnes plays the Marsick Stradivar-ius of 1715.

Program Notesblue cathedral

Jennifer HigdonBorn Dec. 31, 1962, in Brooklyn, N.Y.; now living in Philadelphia

Jennifer Higdon’s poignant yet rapturous blue cathedral was born after the most traumatic experience of her life: the death of her beloved younger brother, Andrew Blue Higdon, from melanoma in the spring of 1998. She told Andrew, who was also a musician, that she would write a piece for him and that it would have his middle name, Blue, as part of the title. The next year, Higdon wrote

SATURDAY, SEPTEMBER 27, 2014, 8 P.M.



Rachmaninoff’s symphony No. 1 Marin alsop, conductor

James ehnes, violin

blue cathedral Jennifer Higdon (1962-)

Violin Concerto in D Major, Op. 35 Erich Korngold Moderato nobile (1897-1957) Romance: Andante Finale: Allegro assai vivace James Ehnes

Theme from Schindler’s List John Williams James Ehnes (1932-)

INTERMISSION Symphony No. 1 in D minor, Op. 13 Sergei Rachmaninoff Grave – Allegro ma non troppo (1873-1943) Allegro animato Larghetto Allegro con fuoco

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




her piece for Andrew and named it “blue cathedral.” Her personal favorite of all her compositions, it has become perhaps her most popular work with audiences around the country.

Now a prolific composer in demand for new works by major orchestras and ensembles all over America, Hig-don somehow manages to pursue addi-tional careers as a virtuoso flute player, a conductor and a very popular teacher of composition at Philadelphia’s Cur-tis Institute of Music. Her roots at Cur-tis run deep, for she earned an artist’s diploma in flute there before moving on to the University of Pennsylvania for master’s and doctoral degrees in compo-sition, studying with prominent compos-ers George Crumb and Ned Rorem. Her vividly emotional and accessible music has been warmly received in Baltimore on several occasions, notably her Con-certo 4-3 last season and her Violin Con-certo for Hilary Hahn.

Here is Higdon’s own commentary on blue cathedral: “Blue—like the sky. Where all possibilities soar. Cathe-drals—a place of thought, growth, spir-itual expression, serving as a symbolic doorway into and out of this world. Blue represents all potential and the beginning of journeys. Cathedrals rep-resent places of beginnings, endings, solitude, fellowship, contemplation, knowledge and growth. As I was writ-ing this piece, I found myself imagin-ing a journey through a glass cathedral in the sky. Because the walls would be transparent, I saw the image of clouds and blueness permeating from the out-side of this church. In my mind’s eye, the listener would enter from the back of the sanctuary, floating along the corridor among giant crystal pillars, moving in a contemplative stance. The stained glass windows’ figures would start moving with song, singing a heavenly music. The listener would float down the aisle, slowly mov-ing upward at first and then progress-ing at a quicker pace, rising toward an immense ceiling that would open to the sky. As the journey progressed, the speed of the traveler would increase, rushing forward and upward. I wanted

to create the sensation of contempla-tion and quiet peace at the beginning, moving toward the feeling of celebra-tion and ecstatic expansion of the soul, all the while singing along with that heavenly music.

“These were my thoughts when the Curtis Institute of Music com-missioned me to write a work to commemorate its 75th anniversary. … In tribute to my brother, I feature solos for the clarinet (the instrument he played) and the flute (the instru-ment I play). Because I am the older sibling, it is the flute that appears first in this dialogue. At the end of the work, the two instruments con-tinue their dialogue, but it is the flute that drops out and the clarinet that continues on in the upward pro-gressing journey.”

Instrumentation: Two flutes, pic-colo, oboe, English horn, two clarinets, two bassoons, four horns, three trum-pets, three trombones, tuba, timpani, percussion, harp, celeste, prepared piano, strings, crystal goblets and Chinese bells.

Violin Concerto in D Major, Op. 35

Erich Korngold Born May 29, 1897, in Brno, now Czech Republic; died Nov. 29, 1957,in Hollywood, Calif.

Erich Korngold was one of the most gifted composing prodigies in musi-cal history. The Snowman, the ballet he wrote when he was 11 (he received some help in its scoring from his teacher Alexander von Zemlinsky), was pro-duced at the Vienna Court Opera in 1910. By the time he reached 13, he was able to create his own scoring for his concert overture for large orchestra, Der Schauspiel Overture, which was taken up by nearly all the major conductors in Europe including Furtwängler and Mengelberg. None other than Gustav Mahler pronounced him a genius.

But it was in opera that Korngold particularly shone. At 17, he aston-ished Vienna with his lurid tale of lust and revenge, Violanta, which won Puccini’s praise. And in his early 20s he wrote his masterpiece, the opera

Die tote Stadt (“The Dead City”), which is still in the repertoire.

However, Korngold’s subsequent career did not lead to more triumphs in concert halls and opera houses. Instead, in 1934 it sent him to Holly-wood, where his superb orchestrating skills enhanced the Mendelssohn-based score for Max Reinhardt’s legendary film of A Midsummer Night’s Dream. Then, for the next decade, Korngold flourished as one of Hollywood’s most sought after score writers, specializ-ing in romantic costume dramas (often starring Errol Flynn) such as Captain Blood, The Adventures of Robin Hood and The Private Lives of Elizabeth and Essex (starring Flynn and Bette Davis). He won two Academy Awards for his scores (Anthony Adverse in 1936 and The Adventures of Robin Hood in 1938). In fact, his popularity in Holly-wood saved his life, for the Jewish Korn-gold was in California when his native Vienna fell to the Nazis in 1938.

Korngold, now forced to stay in America, paid dearly for his film suc-cesses. To his sorrow, the classical world spurned him for selling out to Hollywood. In 1946, at the urging of violinist Bronislaw Huberman, he tried to rehabilitate his career with his sumptuously romantic Violin Con-certo. Its 1948 premiere, however, went not to Huberman, but to the great Jascha Heifetz, performing with the Saint Louis Symphony.

As a Heifetz vehicle, this concerto was designed to be a true virtuoso showpiece for the soloist. And inter-estingly, it also used themes from sev-eral of Korngold’s film scores. The yearning principal theme with which the violin opens the first movement comes from Another Dream (1937). After some playfully quick transitional music, the violin turns to an even more soaring and bittersweet theme; this is from Juarez, a 1939 historical epic starring Davis and Paul Muni.

Korngold’s Oscar-winning score for Anthony Adverse provides the lovely, rather sentimental theme for the slow movement, “Romance.” Here the vio-linist sings from the heart and shows off



the sweetness of the instrument’s high-register. The luscious orchestral writing conjures nocturnal mystery.

The breathless rondo-form finale calls for the kind of fiery, high-speed playing at which Heifetz excelled. When the violin finally finds time for a real sing-ing theme, it is the title music from The Prince and the Pauper (1937); this also later receives a grand treatment from the orchestra. But mostly this finale is about the soloist’s ability to dazzle us with sheer technique and charisma.

Instrumentation: Two flutes, piccolo, oboe, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, two trumpets, trombone, tim-pani, percussion, harp, celeste and strings.

Theme from Schindler’s List

John WilliamsBorn Feb. 8, 1932, on Long Island, N.Y.

Steven Spielberg’s 1993 movie Schindler’s List has already been acknowledged as one of the great classics of film history. It received seven Academy Awards in 1994, including Best Picture, Best Direc-tor and Best Score for John Williams’ deeply moving music. Williams was also honored with a Grammy Award for Best Instrumental Composition Written for a Motion Picture or TV. In 2007, the American Film Institute ranked the film as No. 8 on its list of the 100 best Amer-ican films ever made.

Based on Thomas Keneally’s book Schindler’s Ark, Schindler’s List tells the improbable but true story of Oskar Schindler, a German business-man who came to Krakow, Poland, in 1939 as a war profiteer after Hit-ler’s conquest. At first, he was indiffer-ent to the plight of the Jewish workers in his factories, hired simply because they were cheaper than others. But the brutal liquidation of the Krakow ghetto shocked his conscience, and he embarked on a risky plot to save not only his employees, but also hundreds of other Jews from the gas chambers of Auschwitz; it is estimated that he was ultimately responsible for the survival of more than 1,000 Polish Jews. With his Jewish assistant, Itzhak Stern, he

drew up a list of Jews who were “skilled workers indispensable to the German war effort” and exhausted his own wealth with copious bribes to the Nazi authorities to keep them safe. Today, Schindler is honored in Israel as a “Righteous Person” among the gentiles and buried in Jerusalem. A tree in the Avenue of the Righteous leading to the Yad Vashem Museum commemo-rates his heroic rescue effort.

For the film’s score, Spielberg turned to Williams, the dean of American film composers. Williams was initially so over-whelmed by the film’s subject he told the director: “You need a better composer than I am for this film.” Spielberg report-edly replied: “I know. But they’re all dead.” Central to the score is the haunt-ing signature theme that Williams first played to Spielberg on the piano. The director immediately knew who should play it for the film: the Israeli-American violinist Itzhak Perlman, whose soulful playing was then featured throughout the lengthy soundtrack.

Instrumentation: Flute, English horn, three clarinets,bass clarinet, two bassoons, horn, percussion, harp, celeste and strings.

symphony No. 1 in D minor

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

The young Sergei Rachmaninoff seemed to be Fortune’s favorite child. Prodigiously gifted as a pia-nist, he graduated early from the Mos-cow Conservatory in 1892 and was awarded the Great Gold Medal, given only twice before. He had already composed the first version of his Piano Concerto No. 1. In May 1892, his graduation piece, the opera Aleko, received its premiere at the famed Bolshoi Opera, and none other than Tchaikovsky was seen applauding vociferously in the balcony.

But just a few years later, on March 15, 1897, Rachmaninoff’s golden path hit a major obstacle. In January 1895, emboldened by his early successes, he began his Symphony No. 1 and largely

completed it the same year. His dot-ing teacher Sergei Taneyev arranged for it to be premiered in the Great Hall of the Nobles in St. Petersburg with the noted composed Alexander Glazunov as conductor. But that premiere was a disaster, and Glazunov’s sloppy, phleg-matic conducting seems to have been the major culprit. The critical reaction was brutal. Composer César Cui’s was the worst: “If there were a conservatory in Hell, if one of its talented students were instructed to write a program sym-phony on ‘The Seven Plagues of Egypt,’ and if he were to compose a symphony like Mr. Rachmaninoff’s, then he would have fulfilled his task brilliantly and delighted the inmates of Hell.”

Rachmaninoff was devastated. He stopped composing for two years and buried his insulted symphony in a drawer. When he fled to the West in 1917 he left the manuscript behind, and it eventually disappeared. At the close of World War II, Soviet musi-cologists reconstructed it from the orchestral parts and gave the second performance on October 1945, nearly 50 years after its first. This time it was a triumph. But Rachmaninoff had died in America two years earlier.

Though not as refined as his later opuses, the Symphony No. 1 did not deserve its original fate. It is a pow-erfully dramatic work on a big scale, and although it bears traces of Tchai-kovsky, it already reveals the distinc-tive voice of Rachmaninoff with many of the characteristics that marked his later works. One of these is the promi-nent use of the haunting up-and-down chant melody Dies Irae (“Day of Judg-ment”) from the Roman Catholic mass for the dead. Its appearance here may be related to the Biblical quotation the composer wrote at the head of the score: “‘Vengeance is mine; I will repay,’ saith the Lord” (which also appears at the beginning of Tolstoy’s Anna Kare-nina). Thus, there may be a hidden pro-gram behind this fiery, fatalistic music.

The first movement begins with a somber slow introduction presenting two elements that will pervade the sym-phony: first a fiercely bristling “turn” or



spiraling figure in the woodwinds and then the opening notes of the Dies Irae thumped out by low unison strings. Then with another whirl of the turn motive in the violas, the main Allegro section chugs into action. The Dies Irae now moves up to the solo clarinet and is enlarged into the principal theme. After this initial fury subsides, the mel-ancholy second theme emerges from the floating high note of the violins. Using the exotic intervals of the gypsy scale and rising to a passionate outburst, this lengthy, multisectional theme finally dies out in a rumble of those turn figures.

With a triple-forte shout, they launch an intense development sec-tion, featuring a furious fugal treatment of the Dies Irae theme. This grows into a sonorous trombone chorale in an orchestral setting of militant Slavic brilliance. At its peak, the chugging rhythm announces the recapitulation. Rachmaninoff paces the closing coda for maximum dramatic effect, reigning in full volume until the every end.

As light as the first movement was massive, the second movement scherzo opens again with the turn figure, now in the violas. A gently swaying version of the Dies Irae appears in the violins. But it is only one of many fleeting whispers and rumors flying around the orchestra. The middle trio section becomes even more elusive, with a fleet Slavic dance version of Dies Irae in the woodwinds and a solo violin melody created from the whirring turn figures.

Again but more gently, the violas sound the turn motive to generate the Larghetto slow movement. This con-tinues as an accompaniment to the solo clarinet’s sorrowful, gypsy-flavored mel-ody. The mood changes for the central section as horns ominously growl and fragments of the Dies Irae mutter in low strings. The opening melody returns, and as it transfers to the clarinets, it gains a soaring violin countermelody.

The turn motive roars out from the strings and woodwinds yet again to launch the finale, but now it has an

aggressive rhythm added to it. Blazing trumpet fanfares and snare drums cre-ate an imperial military atmosphere for a new version of Dies Irae. After a powerful transition, the violins soar aloft in an early edition of the big, ardently Romantic melody that would become Rachmaninoff’s trademark.

Shifting to a lilting 3/4 beat, the development is surprisingly dreamy for its ultra-dramatic surroundings. But whirring cellos and basses bring back a reprise, more frenzied than before. A gong sounds, signaling the end game. Over a tremendous drum roll and more gong blows, trombones and low strings repeat the turn motive over and over with implacable force, and the symphony closes in the grip of vengeance repaid.

Instrumentation: Three flutes, picccolo, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion and strings.


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Wednesday, October 8, 2014, 7:30 p.m.

The Belgrade Philharmonic OrchestraOver the course of its 91-year history, the Belgrade Philharmonic Orches-tra has established itself as one of the leading regional orchestras on the European continent and in recent times, one of the most innovative. The chief conductor of the orchestra is Muhai Tang, who has held the posi-tion since 2010; Vladimir Kulenović is resident conductor.

This 96-member ensemble has played host to some of the greatest conductors and soloists of the 20th century—such artists as Karl Böhm, Sir John Barbirolli, Yehudi Menuhin, David Oistrakh, Mstislav Rostropov-ich, Arthur Rubinstein and countless others. It also continues that tradi-tion of excellence in the 21st century, in partnership with today’s greatest interpretive talents—Zubin Mehta, Nelson Freire, Fazil Say, Midori, Krzysztof Penderecki and Sarah Chang among them.

With an active touring sched-ule throughout Europe, the Belgrade Philharmonic has burnished its repu-tation as an exceptional interpreter not only of the great masterpieces of the standard repertoire but of new voices in contemporary music as well. To this breadth of vision the orches-tra adds innovative programming concepts, active community engage-ment and highly imaginative market-ing techniques.

The Belgrade Philharmonic ini-tiates actions contributing to social progress, promotion of tolerance and regional and international coopera-tion, while celebrating ethnic and religious diversity by using the power of music as a universal language. It reaches out to diverse cultural commu-nities within its borders and actively promotes ties with all the Balkan nations, in a series of programs cele-brated and supported by the European Union. The orchestra is currently on its first tour of the United States.

Muhai Tang Muhai Tang has been the chief con-ductor of the Belgrade Philharmonic Orchestra since 2010. He also is artis-tic director of the Shanghai Philhar-monic and the Zhenjiang Symphony, and principal guest conductor of the Hamburg Symphony Orchestra.

Son of a famous film director in China, Tang has always been drawn to the musical stage and has con-ducted opera on several conti-nents, most recently with a highly acclaimed new production of Ros-sini’s Le Comte Ory in Zurich. He previously held the position of chief conductor of the Finnish National Opera in Helsinki, where he con-ducted highly successful new pro-ductions of Die Frau Ohne Schatten, Turandot, Der Rosenkavalier, Pique Dame, Madame Butterfly, Tosca, La Rondine, Boris Godunov, The Mar-riage of Figaro, La Traviata, The Bar-ber of Seville and Othello. His bal-let performances with the company included Le Sacre du Printemps and Swan Lake. With the Royal Stock-holm Philharmonic, he conducted fully staged performances of Tan Dun’s opera Tea.

Tang has recently worked with a list of orchestras that includes the NDR Hamburg, Oslo Philharmonic, St. Petersburg Philharmonic, Malay-sian Philharmonic, Dresden Phil-harmonic, the NHK Symphony Orchestra, Royal Flemish Philhar-monic, Orchestre National de Lille, the Verdi Orchestra in Milan, Tener-ife Symphony, Stuttgart Philhar-monic, Bilbao Symphony and the Hong Kong Philharmonic Orches-tra. In addition, he performs with the Stuttgart Philharmonic, China Philharmonic and MAV orchestra in Budapest. He also accompanied the Zhenzhang Symphony Orchestra on a European tour of Vienna, Prague, Brussels, Berlin, Stockholm, Gothen-burg, Verona and Turin. Tang’s many recordings include the Guitar Con-certos by Tan Dun and Christopher Rouse with Sharon Isbin and the Gulbenkian Orchestra, for Teldec.

WEDNESDAY, OCTOBER 8, 2014, 7:30 P.M.


Belgrade philharmonic Orchestra Muhai Tang, chief conductor

Masquerade: Suite Aram Khachaturian Waltz (1903-1978) Nocturne Mazurka Romance Galop

The Legend of Ohrid: Suite No.1 Stevan Hristić Introduction – Serbian dance (1885-1958) Greek dance Janissary dance Turtle-Dove

INTERMISSION

Symphony No. 2 in D Major, Op.43 Jean Sibelius I. Allegretto (1865-1957) II. Andante; ma rubato III. Vivacissimo IV. Finale: Allegro moderato




Program NotesMasquerade: suite, Op. 48a

Aram KhachaturianBorn June 6, 1903, in Kodzhori (now Tbilisi), Georgia; died May 1, 1978, in Moscow

Born and raised in a rich cultural back-ground with strong folklore influence, Armenian composer Aram Khachatu-rian developed a distinct musical style. Coming from a former Soviet Repub-lic, his artistic persona evolved in par-allel with Prokofiev and Shostakovich. Even though his style, which is charac-terized as moderately conservative, did not showcase as much peculiarity, Kha-chaturian was persecuted by Stalin’s regime just as his two far more eminent contemporaries. His best-known works include the suite Masquerade (1944) and the ballet Gayane (1942), featuring the famous Sabre Dance, followed by the ballet Spartacus (1953), as well as con-certos for violin and piano.

Khachaturian was invited to com-pose the score for the 1941 produc-tion of Masquerade by the famous Rus-sian playwright Mikhail Lermontov in Vakhtangov Theatre in Moscow. His former professor of composition Niko-lai Myaskovsky offered help by giv-ing him a collection of romances and waltzes from Lermonotov’s time. Even though they did not give him imme-diate inspiration, these works helped Khachaturian create the appropriate musical style and character. He was also guided by the words of the play’s hero-ine, Nina: “How beautiful the new waltz is! … Something between sorrow and joy gripped my heart.” This is an accurate description of the music for Masquer-ade, especially its five movements that he arranged into a symphonic suite in 1944. Khachaturian’s music powerfully supports the play’s story about jealousy and intrigue in the Russian high soci-ety. The opening masquerade scene is a defining moment from which the plot unfolds. Hence, the three dances from

this dramatic segment are included in the symphonic suite. The best-known is the first waltz featuring strong rhythms, dark sentiment and elegance covered by the tone of passion.

The Legend of Ohrid, suite No. 1

Stevan HristićBorn June 19, 1885, in Belgrade, Serbia; died Aug. 21, 1958, in Belgrade

The best-known Serbian ballet and one of the most frequently per-formed Serbian musical pieces in the world is The Legend of Ohrid by Ste-van Hristić, the founder, first artistic director and chief conductor of the Belgrade Philharmonic Orchestra. Hristić worked on this crucial piece for more than 20 years, from the birth of initial ideas in 1924 to 1947, when the author conducted the bal-let premiere in the Belgrade Opera with choreography by Margarita Fro-man, set design by Vladimir Žedrinski and costumes by Milica Babić.


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First ViolinsMilošević Tijana, ConcertmasterPavlović Miroslav, ConcertmasterAleksić SladjanaDragnić JelenaJokanović AnaKovačević PetarLončar VladanMilanović AleksandraNovaković DaniloPeković JasminaPetaković DraganPetrović-Balint TeaPopović Materni MiljanaStančev-Radovanović SvetlanaUzelac GoranŽikic PredragSecond ViolinsJovanović MilovanVeljković VladimirČavić KatarinaDimitrijević AleksandraIlić VeraJakovljević SelenaMirković MilaMladenović DušicaPantić LjubicaPerić SlavicaRanković NatašaStajević DušicaStefanović NatašaŽivkovic TamaraViolaBrezovac BorisMiletić ZoranBlagojević Konstantin

Bobić UrošFeruh ZoranKovač IgorKurilić AleksandraMarinković TamaraStanić AleksandraPopin-Stanošević JelenaPopović VladimirUzelac IvanaCelloLatković AleksandarStanković NemanjaKočišević DušanLišanin NatašaMarković JulijanaMrdjenović GoranMrdjenović NebojšaNeženceva NatalijaStanković KatarinaTimotijević DejanDouble BassLazić LjubinkoSavić FilipDragićević AleksandarDjordjević SrdjanKulenović SašaMiletić ZoranStošić BobanOboePešić BojanRomić SanjaMarinković NenadVucelić PetarFluteKrstajić StanaNenadović MarinaBogdanović Radić AnaPavićević Snježana

ClarinetKlenkovski VeljkoPopović OgnjenNedeljković PredragSamoran MihailoBassoonDjurić SavaJanković NenadPetrović DušanPopović AleksandarTrumpetCelevski DraganSolunac AleksandarBajić SlobodanSavić JovanTromboneBalint TiborDraškoci BodinRadosavljević DejanRanković IgorFrench HornBodor KrisztianStojnić GordanaMarić MirkoMilošević MilošRoknić SinišaVasić NenadTubaPapišta KornelTimpaniMarjanović IvanPercussion Radulović AleksandarKrasnjuk NikolaVasojević MladenVesić Miloš

HarpZaric MilanaStaffKrstić Darko, Acting General ManagerŠćepanović Miloš, Production Management Coordinator Andrejić Aleksandar, Production ManagerMaksimović Danica, Program ManagerMilašinovic Jelena, PR ManagerRadonjić Asja, Program ManagerVasilev Jelena, Marketing ManagerUrošević Blagojević Ivana, LibrarianJanković Marko, Stage TechnicianMitrović Milomir, Stage TechnicianDjoković Marko, PhotographerSavić Mihajlo, VideographerFor Opus 3 ArtistsDavid V. Foster, President & CEOLeonard Stein, Senior Vice President, Director, Touring DivisionIrene Lönnblad, Associate, Touring Division


The musical language was guided by Hristić’s desire to create a work that is clear and understandable to a wide audience; hence, the late Romantic style with a strong folklore influence and impressionist elements proved to be an excellent approach. The Ser-bian version of the story of Ruslan and Lyudmila is set in the time of Ottoman rule over Serbian territories and depicts

the search of Marko, a young enamored man, for Biljana, a girl who has been abducted by Turkish soldiers —janissar-ies. Four acts of the ballet serve as the basis for four symphonic suites com-prised of numbers from various ballet acts. The first movement of Suite No. 1 is dominated by the motif of Bilja-na’s father and Serbian Dance (a wed-ding dance). The second movement is Greek Dance, a woeful dance by a slave girl in harem, followed by Janissary Dance. The final movement is Turtle-Dove, the most popular number from this musical stage piece.

In tune with the dramaturgy of the piece, the musical language is quite appealing, featuring plenty of motifs from Serbian music folklore, the most striking aspect being the lavish orchestration that gives this national piece its special radiance. The composer used quotations from folk poems, as well as artistic music with folklore associations composed by the progenitor of Serbian music, Stevan Mokranjac—Pušči me (Let Me Go) and Biljana platno beleše (Bil-jana Whitening the Linen).

symphony No. 2 in D Major, Op. 43

Jean SibeliusBorn Dec. 8, 1865, Hämeenlinna, Finland; died Sept. 20, 1957, in Järvenpää, Finland

Symphony No. 2 in D major, Op. 43 by Finnish composer Jean Sibelius (1865–1957) was composed in 1902 and was premiered in the same year by Helsinki Philharmonic Orchestra conducted by the author. After the premiere, the composer revised some parts and the final version of the sym-phony was performed in Stockholm in late 1903. In Finland, this popular piece has been linked to the country’s struggle for independence, and is often called the “Symphony of Indepen-dence,” given that it was written in the time of Russian sanctions against the Finnish language and culture. The heroic and optimistic character of the first and fourth movements is just what the Finnish public needed in the midst of the Russian repression.

Sibelius’ reaction to these comments drew much attention: some claimed that he had no intention of sending any kind of patriotic message, while oth-ers believed that he had written the piece thinking of the independence of the Finnish nation. The first public

rendition of Symphony No. 2 posi-tioned Sibelius as a national hero, and soon afterwards the composition was performed abroad with great success.

In accordance with Sibelius’ phi-losophy of the “art of symphony,” the piece almost organically grows from one motif displayed in the very beginning. This initial motif, which reappears in various forms through-out the symphony and serves as the basis for most of the composition’s thematic material, also forms the grand dramatic finale theme. Sym-phony No. 2, the most popular and most recorded of all seven Sibel-ius’ symphonies, does not reflect the Slavic atmosphere that characterizes Symphony No. 1, but is closer to the European musical models. Thus the author slowly moves away from the tradition of Tchaikovsky, in both for-mal and stylistic terms, and comes closer to Brahms’ symphonies.

Written by Danica Maksimović and Asja Radonjić

Belgrade philharmonic OrchestraU.S. TOUR 2014


Thursday, October 9, 2014, 8 p.m.

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Jack Everly, conductorJack Everly is the principal pops conductor of the Indianapolis and Baltimore sym-phony orches-tras, Naples Philharmonic Orchestra and

the National Arts Centre Orchestra (Ottawa). He has conducted the Los Angeles Philharmonic at the Holly-wood Bowl and The New York Pops at Carnegie Hall, and appears regularly with The Cleveland Orchestra at Blos-som Music Center. This season, Everly will conduct over 90 performances in more than 20 North American cities.

As music director of the National Memorial Day Concert and “A Capitol Fourth” on PBS, Everly proudly leads the National Symphony Orchestra in these patriotic celebrations on the National Mall. These concerts attract hundreds of thousands of attendees on the lawn and the broadcasts reach millions of viewers and are some of the very highest rated programming on PBS television.

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

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

Ben Crawford Ben Crawford’s New York and Broadway cred-its include Les Misérables, Shrek

THURSDAY, OCTOBER 9, 2014, 8 P.M.


Marin alsop, Music Director Jack everly, principal pops Conductor

presents

Broadway standing Ovations!Jack everly, conductor

featuring Christina Bianco, Ben Crawford, Ted Keegan and Ron Remke

Broadway Divas Overture arr. Jack Everly

“This Is the Moment” Frank Wildhorn and Leslie Bricusse from Jekyll and Hyde Ben Crawford

“Maria” from West Side Story Leonard Bernstein Ted Keegan and Stephen Sondheim

Love Duets Medley arr. Wayne Barker Christina Bianco, Ben Crawford, Ted Keegan and Ron Remke

“Seventy-Six Trombones” Meredith Willson, from The Music Man arr: Richard Hayman

“Defying Gravity” from Wicked Stephen Schwartz, Christina Bianco arr. Barton

Leading Men Medley arr. Everly Christina Bianco, Ben Crawford, Ted Keegan and Ron Remke

INTERMISSION

West Side Story Overture Leonard Bernstein, arr. Maurice Peress

Broadway Diva Impressions arr. Barton Christina Bianco

Chicago Medley John Kander and Fred Ebb, arr. Michael Gibson

“Falling Slowly” from Once Glen Hansard and Marketa Irglová Christina Bianco and Ben Crawford

“The Music of the Night” Andrew Lloyd Webber and Charles Hart from The Phantom of the Opera Ted Keegan

Les Misérables Medley Claude-Michel Schönberg Christina Bianco, Ben Crawford, and Alain Boublil, Ted Keegan and Ron Remke arr. Barker Male Chorus




the Musical, Big Fish, Merrily…Encores!, 35MM and Jasper in Deadland.

His regional credits include Next to Normal, Guys and Dolls, South Pacific, Titanic, Carousel, White Christmas, A New Brain and Anna in the Tropics.

Crawford also has performed con-certs with the Indianapolis, Pitts-burgh, Rochester, Naples, Cleveland and Ottawa symphony orchestras.

Christina BiancoDrama Desk and MAC Award nominated actress, singer and impres-sionist Chris-tina Bianco has become a You-Tube sensation with her diva

impression videos going viral. In New York, Bianco recently

starred Off-Broadway in Newsical the Musical and Forbidden Broadway Goes

to Rehab (Drama Desk Award nomina-tion). She can be heard on both origi-nal cast recordings. Bianco originated the role of Dora in the long-running national tour of Dora the Explorer Live. Other New York credits include Raffi on Broadway (Gershwin Theatre), Forbidden Broadway Dances With the Stars and Tony and Tina’s Wedding.

Ted KeeganTed Keegan has been seen as the Phan-tom in The Phantom of the Opera, on Broadway and in the national tour, and in Phantom, The

Las Vegas Spectacular. Keegan has performed unpub-

lished Gershwin at the opening of the George and Ira Gershwin Room at the National Archives in Washington,

D.C. He also has appeared as a soloist at Lincoln Center’s Avery Fisher Hall, singing Unheard Bernstein.

Ron RemkeRon Remke previously per-formed with the Baltimore Symphony Orchestra in All That Jazz: A Symphonic Celebration of Kander & Ebb.

He was a featured soloist with the 12 Irish Tenors and is a frequent guest artist with symphonies.

His credits include Lead Tenor in The Producers (Westchester Broad-way Theater, Pioneer Theater), Hugo in Aspects of Love and Cap-tain Tarnitz in The Student Prince (Media Theater). He also has served as dance captain of Kiss Me, Kate (national tour).

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Friday, October 10, 2014, 8 p.m.

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Blues Club in New York, the Runde-tårnet in Copenhagen and the legend-ary Concertgebouw in Amsterdam.

Montreal Guitar Trio is made up of guitarists Glenn Lévesque, Marc Morin and Sébastien Dufour. The ensemble released its fourth CD, Cam-bria, after four years of international touring. The product of a long period of musical introspection and the trio’s most accomplished and personal work yet, this album contains six original tracks and three covers — including the legendary “While My Guitar Gen-tly Weeps” by George Harrison and “The Mexican” by Babe Ruth.

Cambria takes listeners on a jour-ney through the world’s many cultures. Strains of flamenco and Argentinean tango blend with Cuban music. Nordic music mixes with Brazilian samba and progressive rock. The sounds of the Ori-ent subtly blend with those of Califor-nian surf guitar and modern pop. Once again, Montreal Guitar Trio sails past the boundaries that usually limit guitar trios, while capturing hearts of seasoned critics and ever-expanding audiences.

About CGT+MG3 CGT+MG3 features all six virtuoso guitarists from California Guitar Trio and Montreal Guitar Trio. Represent-ing four countries, the guitarists fuse more than 40 years of combined per-forming experience into one ensem-ble. California Guitar Trio’s steel stringed-guitars blend naturally with Montreal Guitar Trio’s nylon-stringed guitars as each trio’s fret boards chase the other’s original compositions and new arrangements of progressive rock, world, jazz and classical music.

Inspired in 2010 by an impromptu studio session together in Montreal, California Guitar Trio and Mon-treal Guitar Trio have released a live recording and frequently tour together throughout North America. The members of the ensembles also appear in a variety of configurations to lead guitar-oriented workshops, school performances, master classes and demonstrations for musicians and aspiring musicians.

California Guitar Trio The California Guitar Trio’s multi-genre explorations have driven 14 albums and nearly 1,500 gigs across its 22-year career. Composed of Bert Lams of Affligem, Belgium; Hideyo Moriya of Chiba, Japan; and Paul Richards of Utah, the group crisscrosses the uni-verses of rock, jazz, world music, surf music and classical music.

The trio’s most recent album, Mas-terworks, focuses exclusively on clas-sical music, featuring works by Bach, Beethoven, Arvo Pärt, Schubert and Vivaldi. Accompanying the trio on the project are Tony Levin on upright bass and cello, and Fareed Haque on classical guitar.

The trio met while participating in Robert Fripp’s Guitar Craft courses in 1987. The members first toured together as part of Fripp’s League of Crafty Guitar-ists, an orchestra of acoustic players that served as exponents of the King Crim-son founder’s teachings, compositions

and performance approach. In 1991, they founded the California Guitar Trio, which initially gained notoriety opening for King Crimson, John McLaughlin and David Sylvian.

In recent years the group has been working with the Montreal Guitar Trio. The acts perform both independently and in a dazzling six-guitar format. They play arrangements of each other’s mate-rial, as well as innovative takes on rock standards. The collaboration has also yielded the concert recording +Live.

Montreal Guitar Trio For more than 14 years, Montreal Gui-tar Trio’s virtuosity, rigor, creativity and dynamic stage presence have been winning applause around the world. The trio won the 2011 Opus Prize for concert of the year in the Jazz/World Music category. It has given hundreds of concerts in prestigious venues in North America, Europe, New Zealand and Australia, including the BB King

FRIDAY, OCTOBER 10, 2014, 8 P.M.


California Guitar Trio + Montreal Guitar Trio


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Most events $30 and under

202.857.7700 | nglive.org/dc

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17th & M Streets | Metros: Farragut N & WFREEPARKING

H I G H L I G H T S F R O M O U R N E W S E A S O N !

CHASING RIVERS: FROM THE COLORADO TO THE GANGES Photographer and Freshwater Hero Pete McBride advocates for great rivers worldwide.

DJ SPOOKY’S ARCTIC RHYTHMS Join legendary hip-hop artist Paul D. Miller for an evocative multimedia trip to the Arctic.

LEAVING TIME: AN EVENING WITH JODI PICOULT Acclaimed writer Jodi Picoult discusses her latest novel, featuring a plot that reads like a story in National Geographic.

THE ART OF THE MATTER Boundary-pushing artist Asher Jay unveils her multimedia project to combat wildlife trafficking and protect the planet.

TWO NIGHTS IN TELLURIDE Experience the best of this year’s festival right here in DC. Check nglive.org/telluride for details.

OKEE DOKEE BROTHERS: A MUSICAL ADVENTURE Enjoy a musical celebration of the natural world with this Americana folk-inspired concert.

DELECTABLE PAIRINGS BEER, WINE, & STINKY CHEESE Steve Jenkins Cheesemonger Joshua Wesson Sommelier Garrett Oliver Brewmaster

MOYA BRENNAN: AN IRISH CHRISTMAS Celebrate an Emerald Isle holiday with the voice of Clannad.

SUFFERFEST Climbers Alex Honnold and Cedar Wright

share stories from their latest adventure.

OCEAN WILD Underwater photographer Brian Skerry

reveals mysteries from beneath the waves.

HOLIDAY FIESTA WITH CAMBALACHE Celebrate the holidays with music and dance Veracruz style.

Explore the rest of the season at nglive.org/dc

Oct 8Wed • 7:30 PM

TALK

Nov 18Tue • 7 PM

GUIDED TASTING

Dec 6Sat • 3 & 7 PM

CONCERT

Dec 10Wed • 7:30 PM

TALK

Dec 11Thu • 7:30 PM

TALK

Dec 12Fri • 7:30 PM

CONCERT

Oct 15Wed • 7:30 PM

CONVERSATION

Nov 4Tue • 7:30 PM

TALK

Nov 15Sat • 3 PM

FAMILY CONCERT

Nov 7-8Fri/Sat • 7 PM

FILM FESTIVAL

Oct 10Fri • 7:30 PM

MULTIMEDIA CONCERT

D Y N A M I C E V E N T S • FA S C I N AT I N G P E O P L E • C A P T I VAT I N G S T O R I E S


Wednesday, October 15, 2014, and Thursday, October 16, 2014, 8 p.m.

Frankie Valli and The Four SeasonsFrankie Valli came to fame in 1962 as the lead singer of The Four Seasons. Thanks to the success of the Tony-win-ning musical Jersey Boys, which chron-icles the life and times of Valli and his legendary group, such classic songs as “Big Girls Don’t Cry,” “Walk Like a Man,” “Rag Doll” and “Can’t Take My Eyes Off You” are all the rage again.

This excitement prompted Valli to salute the 1960s with his first new stu-dio album in 15 years. Romancing the ’60s includes new versions of “Spanish Harlem,” “Call Me” and “Take Good Care of My Baby.”

Born Francis Castelluccio on May 3, 1934, Valli grew up in a public hous-ing project in Newark, N.J. When he was 7, Valli’s mother took him to New York City’s Paramount Theater to see

Frank Sinatra. “I saw Sinatra coming out on stage,” Valli recalls, “and the way he was lit up, it was like he had an aura around him. I decided then and there that’s what I was going to do—be a successful singer.”

Musician Tommy DeVito headed a group called the Variety Trio, and one night he invited young Valli on stage to sing “I Can’t Give You Anything But Love.” In 1953, he caught the eye of music publisher Paul Kapp, who helped Valli make his first record, My Mother’s Eyes. He rechristened him-self Frankie Valley (later Italianized to Valli), borrowing the name from friend and fellow performer Texas Jean Valley.

A bit of national attention didn’t come until 1956, when Frankie was in a group called the Four Lovers with Tommy, his brother Nick DeVito and Hank Majewski. They had a minor hit with “You’re the Apple of My Eye,” cut an album called Joyride and appeared on “The Ed Sullivan Show.”

The big success of the group—which took the name of a bowling alley cock-tail lounger and renamed itself The Four Seasons—came in 1962, when it performed “Sherry” on “American Bandstand.” The No. 1 hits “Big Girls Don’t Cry” and “Walk Like a Man” quickly followed, The group contin-ued to release one hit after another in 1964 and 1965: “Dawn (Go Away),” “Ronnie,” “Rag Doll,” “Save It for Me,” “Big Man in Town” and “Bye Bye Baby (Baby, Goodbye).”

Valli’s solo hit, “Can’t Take My Eyes Off You,” came in 1967, followed by “I Make a Fool of Myself” and “To Give (the Reason I Live).” He had a No. 1 hit in 1975 with “My Eyes Adored You,” plus hits with “Swearin’ to God” and a cover of “Our Day Will Come.” A new iteration of The Four Sea-sons, led by Valli, later recorded the hits “Who Loves You” and “December 1963 (Oh, What a Night).”

From 1962 to 1978, Frankie Valli and the Four Seasons sold more than 100 million records. In 1990 Valli and the original Four Seasons were inducted into the Rock and Roll Hall of Fame.

WEDNESDAY, OCTOBER 15, 2014 AND THURSDAY, OCTOBER 16, 2014, 8 P.M.


Frankie Valli and The Four seasons

Robby Robinson, music director, keyboardsBrad sharp, singer, dancer

Brian Brigham, singer, dancerTodd Fournier, singer, dancer

Brandon Brigham, singer, dancer Craig pilo, drums

John Menzano, bassJamie arent, guitar

Rick Keller, saxophone, percussionRobbie angelucci, guitar

The Music Center at Strathmore



Friday, October 17, 2014, 8 p.m.

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David SedarisWith sardonic wit and incisive social critiques, David Sedaris has become one of America’s pre-emi-nent humor writers.The great skill with which he slices through cul-tural euphemisms and political cor-rectness proves that Sedaris is a mas-ter of satire and one of the most observant writers addressing the human condition today.

David Sedaris is the author of Bar-rel Fever and Holidays on Ice, as well as collections of per-sonal essays, Naked, Me Talk Pretty One Day, Dress Your Fam-ily in Corduroy and Denim, When You Are Engulfed in Flames, and his most recent book, Let’s Explore Diabetes with Owls. The audio version of Let’s Explore Diabetes With Owls was nomi-nated for a Grammy for Best Spoken Word Album.

He is the author of the New York Times-bestselling collection of fables Squirrel Seeks Chipmunk: A Modest Bestiary. He was also the editor of Children Play-ing Before a Statue of Hercules: An Anthology of Outstanding Stories. Sedaris’ pieces appear regularly in The New Yorker and have twice been included in “The Best Ameri-can Essays.” Seven million copies of his books are in print and they have been translated into 25 languages.

He and his sister, Amy Sedaris, have collaborated under the name “The Tal-ent Family” and have written a half dozen plays, including Stump the Host, Stitches, One Woman Shoe—which received an Obie Award—Incident at Cobbler’s Knob and The Book of Liz. David Sedaris’ original radio pieces can often be heard on the public radio show This American Life. He also has been nominated for three Grammy Awards for Best Spoken Word and Best Comedy Album. His latest audio

recording of new sto-ries (recorded live) is “David Sedaris: Live for Your Listening Pleasure” (November 2009). A feature film adaptation of his story C.O.G. was released after a premier at the Sundance Film Festi-val in 2013.

Says Whitney Pastorek of Enter-tainment Weekly: “Sedaris ain’t the pre-eminent humor-ist of his genera-

tion by accident.” The sentiment is echoed by the Chicago Tribune, which states that “Sedaris’ droll assess-ment of the mundane and the eccen-trics who inhabit the world’s crev-ices make him one of the greatest humorists writing today.” Lastly, the San Francisco Chronicle writes that “Sedaris belongs on any list of peo-ple writing in English at the moment who are revising our ideas about what’s funny.”

FRIDAY, OCTOBER 17, 2014, 8 P.M.


an evening with David sedarisThe Music Center at Strathmore


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saturday, October 18, 2014, 8 p.m., and sunday, October 19, 2014, 3 p.m.

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

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

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

Republic, the Okanagan Symphony in Canada and numerous orchestras in the United States.

Gajewski attended Carleton Col-lege and the University of Cincin-nati, College-Conservatory of Music, where he earned bachelor’s and mas-ter’s degrees in orchestral conducting. Upon completing his formal educa-tion, he continued refining his con-ducting skills at the 1983 Tanglewood Music Festival in Massachusetts, where he was awarded a Leonard Bernstein Conducting Fellowship. His teach-ers there included Leonard Bernstein, Seiji Ozawa, André Previn, Gunther Schuller, Gustav Meier and Maurice Abravanel.

Gajewski is also a winner of many prizes and awards, among them a prize at New York’s prestigious Leopold Stokowski Conducting Competition

and, in 2006, Montgomery County’s Comcast Excellence in the Arts and Humanities Achievement Award.

Chee-Yun, violin Since her first public performance at age 8 in her native Seoul, violinist Chee-Yun has enraptured audiences on five continents with her flawless technique, dazzling tone and compelling artistry.

Since winning the Young Concert Artists International Auditions in 1989, she has performed regularly with the world’s foremost orchestras, including the Philadelphia Orchestra, the London Philharmonic, and the Toronto, Hous-ton, Seattle, Pittsburgh, Atlanta and National symphony orchestras. She also has performed with distinguished con-ductors such as Hans Graf, Michael Til-son Thomas, Jaap van Zweden, Krzysz-tof Penderecki, Neeme Järvi, Pinchas Zukerman and Manfred Honeck.

Her orchestral highlights include a concert with the Seoul Philharmonic conducted by Myung-Whun Chung that was broadcast on national network television, a benefit for UNESCO with the Orchestra of St. Luke’s at Avery Fisher Hall, and her tour of the U.S. with the San Francisco Symphony.

Program NotesA Midsummer Night’s Dream Overture, Op. 61

Felix MendelssohnBorn Feb. 3, 1809, in Hamburg, Germany; died Nov. 4, 1847, in Leipzig, GermanyWhen Mendelssohn was 17, he and his sister Fanny used to sit in the garden of their Berlin home on warm, summer days, reading aloud the German transla-tions of Shakespeare’s plays. Young Felix was especially captivated by A Midsum-mer Night’s Dream and would often act out some of the roles. In July 1826, he thought of writing a descriptive piece he planned to call A Midsummer Night’s Dream Overture, and in August he com-pleted it. He and Fanny played it for friends as a piano duet in November, and before the year was out, he orches-trated it. The overture had its first pub-lic performance in February 1827.

SATURDAY, OCTOBER 18, 2014, 8 P.M. SUNDAY, OCTOBER 19, 2014, 3 P.M.

●The National Philharmonic

piotr Gajewski, Music Director and Conductor

presents

Dvorák’s New World symphonypiotr Gajewski, conductor

Chee-Yun, violin A Midsummer Night’s Felix Mendelssohn Dream Overture, Op. 61 (1809-1847)

Concerto for Violin and Orchestra Jean Sibelius in D minor, Op. 47 (1865-1957) Allegro moderato Adagio di molto Allegro ma non tanto

INTERMISSION

Symphony No. 9 in E minor, Op. 95 Antonín Dvořák (“From the New World”) (1841-1904)

Adagio; Allegro molto Largo Scherzo: Molto vivace Allegro con fuoco

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The overture was dedicated to the crown prince of Prussia. In 1843, when the prince had become King Friedrich Wilhelm IV, he asked Mendelssohn to write some incidental music for a produc-tion of A Midsummer Night’s Dream in the theater of his new palace in Potsdam. The first performance of A Midsummer Night’s Dream with Mendelssohn’s inci-dental music took place on Oct. 14, 1843 and pleased the Court.

The Overture magically creates a sense of Shakespeare’s fairyland in a piece that is rich in melody and in musical “events.” A Midsummer Night’s Dream Overture, is, like Mendelssohn’s Hebrides Overture, formally based on classical sonata principles— includ-ing an exposition, development and recapitulation—yet here Mendelssohn adds some distinctive and unusual touches to the traditional sonata model, such as moving from the initial tonic key of E major to E minor after only seven measures to introduce the first subject. Also, the structure of the piece depends on three appearances of the wind and horn chords that begin the work. There are subtle changes in each of the chords, displaying Men-delssohn’s knack for orchestration, which constitutes a major factor in the work’s charm.

Mendelssohn achieves, above all, a musical interpretation of the play’s themes and characters through a vari-ety of means. He begins with high-pitched opening chords, and then the hushed, scurrying sound of the strings of the first subject evoke the flurry and beating of the fairies’ wings. Later, repeated descending pizzicato lines provide an aura of suspense as the listener becomes unclear about where the music is going tonally. A directly obvious moment where char-acterization is definitely evident is in the accented leaps in the violins and clarinets as they give a hilarious impersonation of Bottom, the ass, and his hee-haw donkey brays.

In this work, Mendelssohn interest-ingly enough included the ophecleide, a forerunner to the saxophone that was used then primarily in military

bands. Otherwise, his orchestra for A Midsummer Night’s Dream includes two flutes, two oboes, two clarinets, two bassoons, two horns, three trumpets, ophecleide, three trombones, kettle-drums, triangle, cymbals and strings.

Concerto for Violin and Orchestra, in D minor, Op. 47

Jean Sibelius

Born Dec. 8, 1865, in Tavastehus, Finland; died Sept. 20, 1957, in Jarvenpää, Finland

Jean Sibelius is one of the few Scandina-vian composers who gained international fame. He studied in Berlin and Vienna and made concert tours to the principal cities of Europe as well as England, where his works were very popular. He taught for a while at the New England Conser-vatory of Music and was awarded an hon-orary degree by Yale University. In the last 30 years of his life, (he lived until he was 91) he did not compose any music and withdrew into solitude.

By 1903, when he was compos-ing the Violin Concerto, Sibelius had already composed several major works: Finlandia, the Karelia Suite, the four Lemminkäinen Legends (includ-ing The Swan of Tuonela) and his first two symphonies, works that established his international reputation. He was flooded with excellent ideas at that period of his life and wrote for many hours each day, but he was also worried that problems with his ear and throat ailment signaled that his lifetime would be limited. Luckily, his concerns about his health were put to rest when,

in 1908, a benign tumor was discovered to have been the source of his pain.

Sibelius had other troubles that plagued him: he was in constant finan-cial distress as his compositions did not yield a big enough income to support his growing family. He frequently con-fided in his brother, a physician in Ger-many, about the difficulty of making a decent living as a serious composer.

Sibelius had a habit of frequent-ing the local drinking establish-ments, and his uncomplaining wife often experienced absences of several days when he went on a spree. Only once did she need to locate him, and that was when the conclusion of this concerto had to be finalized and the parts to be copied in readiness for the first performance.

Sibelius completed his Violin Con-certo in 1903; it premiered in Helsinki in 1904, but he was dissatisfied with the work and revised it completely in 1905. In its new form, its first per-formance was in Berlin in 1905, with Karl Halir as soloist and the orchestra conducted by Richard Strauss.

Coming as it does between his Sec-ond and Third Symphonies, Sibel-ius’ Concerto for Violin presents an effect ive amalgam of romantic ele-ments with the composer’s novel ideas of form and development. Through-out the concerto, the solo violinist and the orchestra are partners. The first movement, Allegro moderato, in sonata form, is brooding and dramatic and includes three groups of themes, one sad melody, one yearning and one

CHEE-YUN



bold and march-like. The develop-ment section is replaced by a cadenza for the soloist. In the second move-ment, Adagio di molto, a romance, the solo violin predominates. This movement is one of Sibelius’ most Romantic music. Sibelius described the finale, Allegro ma non tanto, as a kind of danse macabre. The renowned musical analyst, Sir Donald Fran-cis Tovey, jokingly called this excit-ing, strongly rhythmic movement “a polonaise for polar bears.”

The concerto is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and strings.

symphony No. 9, in e minor, Op. 95, “From the New World”

Antonín DvořákBorn Sept. 8, 1841, in Nelahozeves, Czech Republic; died May 1, 1904, in Prague, Czech Republic

Dvořák came to New York in 1892, when he already had worldwide fame. Soon after his arrival here, he began the “New World” Symphony and quickly completed it. In December 1893, the New York Philharmonic premiered it. In a letter to his publisher in Ber-lin, Dvořák said, “The symphony was a splendid success. The newspapers say that no composer has ever had such a triumph. I was in a box and [Carnegie]

Hall was filled with the best people in New York. They applauded so much that I felt like a king.”

Despite, or perhaps because of its success, the symphony became the sub-ject of great controversy. Some said it was based almost entirely on folk songs of the “American Black and Indian” peoples, while others found it typically Czech. Modern opinion asserts that Dvořák intended it to set an example for American composers of how to use American themes without quoting folk songs. Dvořák only borrowed the spirit of American folk melodies.

Unquestionably, America had made an impact on Dvořák. One of the most

First ViolinsColin Sorgi* ConcertmasterJody gatwood Concertmaster emeritus Benjamin Scott*Olga yanovich*leslie Silverfine*Mayumi Pawel*Brenda annaEva Cappelletti-ChaoMaureen Conlon-doroshlaura Tait ChangClaudia Chudacofflisa Cridgelysiane gravel-lacombeJennifer KimRegino MadridKim MillerJennifer RickardChaerim Smith

Second Violinshenry Flory*Principal arminé graham*Katherine Budner*Jennifer Shannon*Cathy Stewart*doug dubéJustin gopalJune huangKarin Kelleheralexandra Mikhlinlaura MillerJoanna OwenJean ProvineRachel Schenkerning Ma ShiRachael Stockton

ViolasJulius wirth*, PrincipalJudy Silverman* Associate Principal emeritusleonora Karasina*Mark Pfannschmidt*Phyllis FreemanStephanie KnutsenMargaret langJennifer RendeChris Shieh

derek SmithTam Tran

Celloslori Barnet*, PrincipalTodd Thiel*Kerry Van laanen*Barbara Brownapril Chisholmdanielle ChoKen dingCatherine Francisandrew hesseBeth PetersonKristen wojcik

BassesRobert Kurz* PrincipalShawn algerKelly aliBarbara Fitzgeraldwilliam honesMichael RittlingMark Stephenson

Flutesdavid whiteside* Principalnicolette Oppeltdavid laVorgna

Piccolodavid laVorgna

OboesMark hill*, PrincipalKathy Ceasar-SpallFatma daglar

English HornRon Erler

ClarinetsCheryl hill*, PrincipalCarolyn alvarez-agriaSuzanne gekker

Bass ClarinetCarolyn alvarez-agria

BassoonsErich hecksher* PrincipalKatherine JonesSandra Sisk

Contrabassoonnicholas Cohen

French HornsMichael hall*, PrincipalMark wakefield*Justin drewdavid SmithMargaret Tung

TrumpetsChris gekker* PrincipalRobert Birch* Robert & Margaret Hazen ChairJohn abbracciamentoBrent Madsen

Trombonesdavid Sciannella* PrincipalJames armstrongJeffrey Cortazzo

Tubawillie Clark

Timpani & PercussionTom Maloy*, Principalaubrey adamsCurt duerRobert JenkinsBill Richards

HarpRebecca SmithElizabeth Blakeslee

Keyboardwilliam neilJeffery watsonTheodore guerrant

Sopranos Marietta R. BalaanMary Bentley*Jocelyn BondCheryl BranhamRosalind BreslowKristin BrownRebecca Carlson**Cheryl CastnerTalia Chicherioanne P. Claysmith

nancy a. ColemanEileen S. deMarcolauren drinkwateralejandra durán-Böhmelisa Edgleydaniela FioreMeg FlanaganSarah B. FormanCaitlin a. garry**denise R. hardingBailey KerrRobyn KleinerJoanna LamCarolyn Rodda lincolnMaria lostoskiKaelyn lowmasterSharon Majchrzak-honganaelise MartinezKathryn McKinleySara w. MosesKatherine nelson-Tracey*Mary Beth nolangloria nutzhornJuliana S. O’neilllynette PosorskeMaggie RheinsteinCarlotta Richardlisa RomanoTheresa RoysKatherine SchnorrenbergRobin SteitzCarolyn J. SullivanCathlin TullyEllen van ValkenburghSusanne Villemarettelynne woodsSara Zoeller

Altos helen R. altmanToni BarrettCarol BrunoErlinda C. dancerSandra l. daughtondeirdre FeehanRobin FillmoreShannon FinneganElissa FrankleFrancesca Frey-KimMaria a. FriedmanJulia C. Friendandrea Frisch

Elizabeth Bishop gemoetsJeanette ghatanSarah gilchristlois J. goodsteinJacque grenningStacey a. henningJean hochronSara M. Josey*Marilyn Katzirene M. KirkpatrickMartha J. Krieger**Melissa J. lieberman*Corinne loertscherJulie S. MacCarteenansy MathewsSusan E. Murraydaryl newhouseMartha newmanPatricia PillsburyBeryl M. Rothmanlisa RovinJan 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. deMarcoian ElderRuth w. Faison*don JanskyCurt JordanTyler a. loertscherJane lyleChantal MchaleEleanor Mcintirewayne Meyer**Tom MilkeRolf MoeckelTom nessingerSteve nguyenJoe Richterdennis Vander Tuig

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. McgoffRichard McMillandavid 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. williams

Theodore guerrantAccompanist, Theodore M. Guerrant Chair

* section leader** assistant section leader

National philharmonic Orchestra and Chorale




gifted of the eager young people who flocked to his classes was the African-American musician Henry Thacker Burleigh (1866-1949), who became a composer and singer. Burleigh spent many hours with Dvořák, singing spiri-tuals that completely captivated the composer and becoming an impor-tant part of Dvořák’s inspiration for the symphony. Shortly before the pre-miere, Dvořák said, “I am satisfied that the future music of this country must be founded upon what are called the Negro melodies. These can be the basis of a serious and original school of com-position, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are American. They are the folk songs of America, and your composers must turn to them. All the great musicians have borrowed from the songs of the common people. In the Negro melodies of America I discover all that is needed for a great and noble school of music.”

Dvořák did not directly quote such

songs in the symphony and explained, “I only tried to write in the spirit of those national American melodies.” What escaped notice is that despite their differing, distant origins, the folk music of Czech peasantry, of Afri-can-Americans, and of some Native Americans all shared certain musi-cal characteristics: it was the folk ele-ment that always fascinated Dvořák. “Omit the nonsense about my having made use of ‘Indian’ and ‘American’ motives,” he said. “That is a lie. I tried to write only in the spirit of those national American melodies.”

The first movement has a slow intro-duction, Adagio, before an Allegro molto. The flute and oboe play the first theme, a melancholy dance, and the flute introduces the second theme, based on “Swing Low, Sweet Chariot.” The principal theme of the nostalgic second movement, Largo, is a haunting melody for English horn that Dvořák originally sketched for a work he never wrote that was to be based on Longfellow’s lengthy

narrative poem, Hiawatha. Dvořák explained that a transitional passage in the Largo reflects an Indian girl’s sobbing as she bids Hiawatha farewell. Although Dvořák evidently thought that the music was Native American in charac-ter, it later became popular as an imita-tion spiritual called “Goin’ Home.”

A sprightly dance-like movement, Scherzo, Molto vivace, which has been compared to a Native American dance with chanting, follows. After the finale’s introduction, the horns and trumpets introduce the first theme, Allegro con fuoco. The clarinet intones the gentle second theme against strings’ tremolos; then themes of earlier movements reap-pear, giving the last movement a rich pattern of connecting motives.

The score calls for piccolo and two flutes, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones and tuba, timpani, triangle, cymbals and strings.

©Susan Halpern, 2014

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It’s music to my ears.


Friday, October 24, 2014, 8:15 p.m.

Marin Alsop, conductorMarin Alsop is an inspiring and pow-erful 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 com-mitment to education and to the development of audiences of all ages.

Alsop made history with her appointment as the 12th music direc-tor of the Baltimore Symphony

Orchestra. With her inaugural con-certs in September 2007, she became the first woman to head a major American orchestra.


Her success as the BSO’s music director has garnered national and international attention for her inno-vative programming and artistry. Additionally, her success was recog-nized when, in 2013, her tenure was extended to the 2020-2021 season. Alsop took up the post of chief con-ductor of the São Paulo Symphony Orchestra in 2012, where she steers the orchestra in its artistic and cre-ative programming, recording ven-tures, and its education and 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.”

FRIDAY, OCTOBER 24, 2014, 8:15 P.M.



Off the Cuff Ein Heldenleben: a Hero’s life

Marin alsop, conductor Ein Heldenleben, Op. 40 Richard Strauss Jonathan Carney, violin (1864-1949)



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Friday, October 24, 2014, 8:15 p.m.


sunday, October 26, 2014, 3 p.m.

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

Alsop made history with her appointment as the 12th music direc-tor of the Baltimore Symphony Orchestra. With her inaugural con-certs in September 2007, she became the first woman to head a major American orchestra.


Her success as the BSO’s music director has garnered national and international attention for her innova-tive programming and artistry. Addi-tionally, her success was recognized

when, in 2013, her tenure was extended to the 2020-2021 season. Alsop took up the post of chief con-ductor of the São Paulo Symphony Orchestra in 2012, where she steers the orchestra in its artistic and creative programming, recording ventures, and its education and outreach activities.

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

Program NotesRapture

Christopher RouseBorn Feb. 15,1949, in Baltimore, Md.; now living in Baltimore

Since 1985 when The Infernal Machine introduced him in Baltimore and the three seasons of 1986–89

SUNDAY, OCTOBER 26, 2014, 3 P.M.



Ein Heldenleben: a Hero’s lifeMarin alsop, conductor

Rapture Christopher Rouse (1949-)

Symphony No. 4, Alexander Scriabin The Poem of Ecstasy, Op. 54 (1872-1915)

INTERMISSION

Ein Heldenleben, Op. 40 Richard Strauss Jonathan Carney, violin (1864-1949)



when he served as the BSO’s com-poser-in-residence, Christopher Rouse has become a creative voice that Bal-timore audience members know well. Or at least we think we do because Rouse has continually shown a great capacity to grow, change and surprise us with his music.

Early in his career, he was renowned for writing very fast, intricate, dissonant and often extremely loud music, such as The Infernal Machine and Gorgon—what he called his “wild style.” With his Symphony No. 1, commis-sioned by the BSO and winner of the prestigious 1988 Kennedy Cen-ter Friedheim Award, there was a shift to much slower and more seri-ous music. For a time, Rouse’s dark, anguished works made him the con-temporary singer of the tragedy of human existence.

In the 1990s, many of today’s leading virtuosos began commission-ing concertos from him, producing a series of varied and exceptional works: a Cello Concerto for Yo-Yo Ma; Violin Concerto for Cho-Liang Lin; Flute Concerto for Carol Win-cenc; and the Wagner-inspired Per-cussion Concerto, Der gerettete Alb-erich, for Evelyn Glennie that the BSO premiered in 1998. Rouse’s Trombone Concerto for the New York Philharmonic and its principal trombonist won the 1993 Pulitzer Prize for Music.

If BSO audiences expect to hear a shocking, dissonant or grim-visaged work in Rapture, they are in for a won-derful surprise. This score, completed in January 2000 for the Pittsburgh Symphony and its music director Mariss Jansons, shows a remarkable lightening of Rouse’s musical mood, as he explains in his note:

“It should be noted that the title of this score is not ‘The Rapture’; the piece is not connected to any specific religious source. Rather, I used the word ‘Rapture’ to convey a sense of spiritual bliss, religious or otherwise. With the exception of my Christmas




work, Karolju [premiered by the BSO in 1992], this is the most unabash-edly tonal music I have composed. I wished to depict a progression to an ever-more blinding ecstasy, but the entire work inhabits a world devoid of darkness—hence the almost com-plete lack of sustained dissonance. Rapture is also an exercise in gradu-ally increasing tempi. It begins quite slowly, but throughout its 11-minute duration proceeds to speed up incre-mentally until the breakneck tempo of the final moments is reached. Although much of my music is asso-ciated with grief and despair, Rap-ture is one of a series of more recent scores ... to look ‘toward the light.’”

As well as being an ecstatic spiritual experience, Rapture is a glorious 21st-century celebration of the orchestra, utilizing every instrument and family with superb dramatic impact. Besides following a progressive acceleration of tempo, it also builds—with some ebb and flow—a steady crescendo from the almost inaudible beginning to its exul-tant ffff conclusion.

Instrumentation: Three flutes, three oboes, three clarinets, three bassoons, four horns, four trumpets, four trom-bones, tuba, timpani, percussion, harp and strings.

symphony No. 4, The Poem of Ecstasy,

Op. 54

Alexander ScriabinBorn Jan. 6, 1872, in Moscow; died April 27, 1915, in Moscow

From the outset of his career, Alexan-der Scriabin was an original in every way. A fellow pupil of Sergei Rach-maninoff ’s at the Moscow Conserva-tory in the 1880s and ’90s, Scriabin had to be content to come second to him at graduation because his com-position teacher Anton Arensky dis-liked his already unorthodox cre-ations. Physically diminutive, effete in manner and a dandy in his dress, he usually wore gloves to ward off germs and avoid the contamination of directly handling money. For him,

music was always something much more than notes: “The purpose of music is revelation,” he said.

Mysticism, whether religious or occult in nature, was sweeping Rus-sia in the years immediately before the Revolution, but Scriabin was exceptional in the degree to which his mystical beliefs dominated his life and creative work. In time, he began to see himself as a messianic figure who would bring in a new age for humankind through his music. Hinduism, Nietzsche and Theoso-phy all contributed to his personal philosophy.

Many thought Scriabin mad, but most were willing to admit that, as a musician, he possessed genius. Scri-abin was a radical who eventually left traditional tonality behind in his late works. He saw musical tones as colors—a phenomenon known as synaesthesia—and he dreamed of uniting all the senses in his works—hearing, sight, taste and smell—though the unperformed color score for his late orchestral tone poem “Prometheus” was as far as he real-ized these ideas.

Although Scriabin was predomi-nantly a composer of piano works—he wrote about 200 of them—his creation of a Piano Concerto in 1896 unleashed a fascination with the orchestra. Having already writ-ten three symphonies, in late 1904 he began to conceive of a fourth, but after three years of work, it would turn into something quite differ-ent: a massive one-movement tone poem, The Poem of Ecstasy (Le poème de l’extase).

Before he began putting notes on paper, Scriabin, however, began his creative work by writing a lengthy poem in Russian initially called “Orgiastic Poem.” Not intended as a script for his musical composi-tion, it was rather a parallel expres-sion in another medium of his con-ception of ecstasy, which mingles equally spiritual and sensual fulfill-ment. It opens: “Spirit,/Winged with

thirst for life,/Is drawn into flight On the summits of negation./There, under the rays of its dream,/Emerges a magical world/Of heavenly forms and feelings ...” The poem is an effu-sion of mystical late-Romantic lan-guage, and though Scriabin loved it, it is hard going for the modern reader. But it worked to prime Scri-abin’s creative pump, and the sump-tuous musical work that followed is much more universally appealing.

However, the first audience that heard it—on Dec. 10, 1908, in New York City played by the visiting Rus-sian Symphony Orchestra—didn’t know what to make of it, and the crit-ics were cruel. Much more success-ful were its first performances in St. Petersburg and Moscow a few weeks later, where audiences, more attuned to Scriabin’s style and philosophical leanings, were warmly enthusiastic.

In The Poem of Ecstasy, Scriabin reveals his powerfully original late-period musical language, which bears no resemblance to the Russian nationalist style his contemporaries like Rimsky-Korsakov or even the young Stravinsky were espousing. His harmonies are wildly chromatic, chosen for their colors rather than for their relationship to traditional tonalities. His formal structures are free, dictated by the trajectory of his emotional expression. And his use of a hugely oversize orchestra is spec-tacularly daring, even by the stan-dards of his contemporary Richard Strauss. The orchestra for Ecstasy calls for eight horns and five trum-pets in the brass section and two harps, celesta, bells, tam-tam (gong) and organ among the percussion, all used with virtuosic assurance.

Delicately scored, the slow intro-ductory section is marked Languido and revolves around a lazily undu-lating theme representing Lan-guor in the flutes and solo violin. It is succeeded by a sparkling Alle-gro volando: music of Flight. After a return to Languor, the tempo again accelerates, and we hear the



work’s principal theme rising upward in vigorous little bursts in muted trumpets; this theme represents Affirmation.

Dominated by the trumpets’ Affir-mation theme, the music gradually rises to a first enormous climax. The tempo then slows for a reprise of the opening sections of Languor and Flight. This rises inexorably to yet a greater climax.

A quiet epilogue led by trilling flutes follows. As the music surges over the Affirmation theme, it is marked “with voluptuousness and more and more ecstatic.” Swelled by the organ, the gigantic tolling climax, after so many harmonic adventures, finally comes to rest in plain, glorious C Major. The final words of Scriabin’s poem: “And thus the universe resounds/With joyful cry/I AM!”

Instrumentation: Three flutes, pic-colo, three oboes, English horn, three clar-inets, bass clarinet, three bassoons, con-trabassoon, eight horns, five trumpets, three trombones, tuba, timpani, percus-sion, two harps, celeste, organ and strings.

Ein Heldenleben

Richard StraussBorn June 11, 1864, in Munich, Germany; died Sept. 8, 1949, in Garmisch-Parten-kirchen, Bavaria

Did Richard Strauss really intend to portray himself as the hero in his eighth tone poem, Ein Heldenleben (“A Hero’s Life”), written in 1897–8? If so, critics of his day were right to call this work an outrageous dis-play of musical megalomania. That it is one of the most stunning, viscer-ally exciting display pieces for a very large orchestra in the repertoire is beyond dispute.

Strauss himself was evasive on the subject. At one point he did boast to his friend, the writer Romain Rolland: “I do not see why I should not compose a work about myself. I find myself quite as interesting as Napoleon or Alexander.” But he

also told his father he wanted to express “a more general and free ideal of great and manly heroism”—a late-Romantic response to Beethoven’s “Eroica” Symphony, with which this tone poem shares the key of E-flat Major. Indeed, he didn’t strike his friends as a heroic personality, no matter how bold and extravagant his musical cre-ations. Bland and mild-tempered, Strauss was easily manipulated by his strong-willed wife, Pauline, throughout their 55-year marriage.

In fact, it is the capricious Pauline who is faithfully portrayed in Ein Hel-denleben in the guise of a highly vir-tuosic solo violin. Frau Strauss’ some-what maddening, but to her husband always alluring, personality can be deduced from the instructions the composer gives to the soloist: “angry,” “loving,” “flippant,” “a little senti-mental,” “nagging,” “exuberantly playful.” In his next tone poem, Sym-phonia domestica of 1903, the com-poser actually gave a detailed portrait of a day in the Strauss household, with wailing baby, a lively husband-and-wife spat and an even livelier making-up love scene.

Ein Heldenleben is in six sections that flow together continuously. The eight horns—they are the hero’s signature instruments—proclaim “The Hero’s” principal theme: a great striding melody surging upward through a three-octave range. This theme paints an exuberant picture of a young, optimistic hero; com-panion themes suggest his play-ful nature while a pulsing ostinato rhythm demonstrates his unstoppa-ble resolve.

“The Hero’s Adversaries” respond in the acid, mean-spirited tones of woodwinds and the fat, complacent drone of tuba. Strauss didn’t deny that these represented the carping music critics of the day, and he doesn’t paint a pretty pic-ture of them (though he does invent wonderfully characterful music for the woodwinds to play). Strangely, as


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Strauss biographer Michael Kennedy points out, Strauss didn’t receive nearly as much negative press as most of his contemporaries.

Now we meet “The Hero’s Com-panion,” in an extended concerto-like violin solo. In dark brass tones, we hear the hero’s somewhat grudg-ing response to her blandishments, but this soon turns to ardor in one of Strauss’ most sensuous and lushly scored love scenes. A tender upward-climbing melody in the violin expresses the couple’s devotion.

“The Hero’s Battlefield”: The nat-tering critics and then a chorus of off-stage trumpets summon the hero from his marital bed. With his signature rising theme, supported by his wife’s downward-sliding melody, he strides off to do battle with his enemies. Rol-land called this “the best battle music in the entire literature.” So violent are its sounds, so tonally unhinged its harmonies, that for a time this was

considered the most daring passage of orchestral modernism. But Stravin-sky’s The Rite of Spring soon trumped it. The adversaries vanquished, we hear a reprise of the hero’s opening music, solidly back in E-flat, as he leaves the field in triumph.

“The Hero’s Works of Peace”: At the climax of this music, horns hurl out a famous heroic theme from Strauss’ first great success, Don Juan. “The only way I could express works of peace was through quoting works of my own,” Strauss wrote years later. Here he contrapuntally weaves together a series of themes from ear-lier works: Zarathustra, Till Eulenspie-gel, Don Quixote, Death and Transfigu-ration and even his first, failed opera, Guntram. Strauss buffs can play “name that tune,” but it is more rewarding simply to enjoy the subtle artistry of this lovely respite from the battlefield.

“The Hero’s Escape from the World and His Fulfillment”: In

this sublime closing coda, the hero roughly dismisses his critics and with-draws to a peaceful, pastoral retire-ment. The English horn, yodeling a variant of his theme, prophecies the rural retreat Strauss would build years later at Garmisch-Parten-kirchen in the Bavarian Alps. The music now enters a state of serenity and tonal stability, led by the hero’s solo horn and his companion’s vio-lin. The last measures, with the vio-lin rising to its highest E-flat while the horn descends to a deeper one, is one of the most beautiful conclusions Strauss ever devised.

Instrumentation: Three flutes, pic-colo, four oboes, English horn, two clari-nets, piccolo clarinet, bass clarinet, three bassoons, contrabassoon, eight horns, five trumpets, three trombones, two tubas, timpani, percussion, two harps and strings.

Notes by Janet E. Bedell, ©2014

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Hannu Lintu, conductor Highlights of Hannu Lintu’s 2014-2015 sea-son include appearances with the BBC Scottish Sym-phony, Warsaw Philharmonic

and Lahti symphony orchestras, and the Hallé; WDR Sinfonieorchester Köln, Orquestra Simfonica de Barce-lona, Tokyo Metropolitan Symphony Orchestra and the Malaysian Phil-harmonic Orchestra. In the U.S., he returns to the Baltimore and Saint Louis symphony orchestras and will make his debut with the Detroit and Minnesota symphony orchestras.

Last season marked Lintu’s first

season as chief conductor of the Finn-ish Radio Symphony Orchestra. Until summer 2013, he held the positions of artistic director and chief conductor of the Tampere Philharmonic Orches-tra and principal guest conductor with the RTÉ National Symphony Orches-tra in Dublin. He has previously held artistic director positions with the Helsingborg Symphony and Turku Philharmonic orchestras.

Lintu has made several recordings for Ondine, Naxos and Hyperion, and has received several prizes for his recordings, including a Grammy nomination in the Best Opera CD category in 2011.

Conrad Tao, pianoDubbed a musician of “probing intellect and open-hearted vision” by The New York Times, Conrad Tao has appeared

worldwide as a pia-nist and composer.

In June 2011, the White House Commis-sion on Presi-dential Scholars and the Depart-ment of Education named Tao a Presidential Scholar in the Arts, and the National Foundation for Advancement in the Arts awarded him a Young Arts gold medal in music. Later that year, Tao was named a Gilm-ore Young Artist, an honor awarded every two years to the most promising American pianists. In May 2012, he was awarded the Avery Fisher Career Grant.

During the 2014-2015 season, Tao will perform with the Dallas, San Diego and Toronto symphony orches-tras, among others. In Europe, he will be returning to perform with the Swed-ish Radio Symphony Orchestra in Stockholm and the Bern Symphony in Switzerland. He also will perform recit-als in Europe and throughout the U.S. with repertoire ranging from Bach to Toru Takemitsu to Julia Wolfe.

Andrew Balio, trumpet Wisconsin-native Andrew Balio was appointed principal trumpet of the Bal-timore Symphony Orchestra in 2001 by Yuri Temirkanov. Prior orchestral appointments include principal trum-pet of the Israel Philharmonic Orchestra under Zubin Mehta and the Orquesta Sinfónica del Estado de Mexico. Start-ing in September 2014, he begins a one-year appointment as principal trumpet of the Oslo Philharmonic Orchestra.

His solo debut was at age 15 with the Milwaukee Symphony Orches-tra, playing the Haydn Concerto, and he made his Carnegie Hall solo debut in 2013 with the Moscow Cham-ber Orchestra. His teachers included Charles Schlueter, Adoph Herseth, Roger Voisin and Gene Young.

Balio has appeared as a soloist throughout Europe and South America under such conductors as Mehta, Nich-olas McGegan, Temirkanov, Gennady Rozhdestvensky and Günther Herbig.

THURSDAY, OCTOBER 30, 2014, 8 P.M.


Marin alsop, Music Directorpresents

Brahms’ symphony No. 2Hannu lintu, conductor

Conrad Tao, pianoandrew Balio, trumpet

Leonore Overture No. 3, Op. 72b Ludwig van Beethoven (1770-1827)

Piano Concerto No. 1 in C minor, Op. 35 Dmitri Shostakovich Allegro moderato (1906-1975) Lento Moderato Allegro brio Conrad Tao Andrew Balio

INTERMISSION

Symphony No. 2 in D Major, Op. 73 Johannes Brahms Allegro non troppo (1833-1897) Adagio non troppo Allegretto grazioso (Quasi andantino) Allegro con spirito


Conrad Tao appears by arrangement with IMG Artists, 152 W. 57th St., Fifth Floor, N.Y., N.Y., 10019. Mr. Tao records exclusively for Warner Classics. Conrad Tao is a Steinway Artist.

More information can be found at www.conradtao.com.

The Music Center at Strathmore • Marriott Concert Stage

CONRAD TAO

In 2006 Balio founded Future Sym-phony Institute, a think tank that brings together the best minds to solve orches-tras’ challenges to be financially viable while preserving their artistic mission.

Program NotesLeonore Overture No. 3

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

Beethoven wrote just one opera, Fide-lio, but it probably cost him more effort than all nine of his symphonies com-bined. Unsatisfied with his creation, he composed three versions over the decade 1804–1814 and wrote four overtures for it, all of which are now in the symphonic repertoire. The most famous and surely the greatest of them is Leonore No. 3 (the opera was originally called Leonore), which Beethoven composed for the premiere of the opera’s second version in 1806.

Based on a French drama, Jean Nico-las Bouilly’s Leonore or Conjugal Love, the story was drawn from real incidents during the French Revolution. It tells of the plight of Florestan, unjustly thrown in prison by a political rival Don Pizarro. Florestan’s resourceful wife, Leonore, discovers where he has been hidden and, disguising herself as a young man, becomes a trusty at the prison. At gun-point, she faces down the evil Pizarro, and her heroism is rewarded by the sound of a distant trumpet, signaling the arrival of the minister of justice, Don Fernando. Fernando frees Florestan and the other political prisoners, and they join in a triumphant chorus hailing their freedom and Leonore’s courageous love.

Essentially, the Leonore Overture No. 3 tells this whole story in music before the curtain even goes up, and that is exactly why Beethoven finally rejected it for the shorter, lighter Fide-lio Overture. With the two trumpet calls heralding Don Fernando’s timely arrival embedded in the music and the concluding victory coda, the opera’s denouement has already been given

away! But if it fails as a curtain raiser, Leonore No. 3 triumphs as a concert piece. The slow introduction paints a vivid picture of Florestan in his dun-geon cell, and the wistful melody sung immediately by clarinets and bas-soons comes from his despairing Act II aria, recalling his past joys with Leonore. When the music quickens to Allegro, Leonore, with all her cour-age and determination, appears before us. The middle development section becomes a struggle between the forces of good and evil, ended by the offstage trumpet calls. After a hymn of hope and thanksgiving, the work ends in a mighty dance of victory.

Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, three trumpets (one of which is off-stage), three trombones, timpani and strings.

piano Concerto No. 1, Op. 35

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

Dmitri Shostakovich began his career as famous for his skills as a pianist as for his composing. After the success of his Symphony No. 1 in 1926, writ-ten when he was only 19, he was off to Warsaw the next year to compete in the renowned International Chopin Com-petition for pianists. Winning only an honorable mention there was a blow that stung him for many years afterward. By 1930, Shostakovich had virtually given up his solo career; high-strung and

sensitive to a fault, he suffered agonies before each performance. Such refined sensitivity was far better suited to a cre-ative than a recreative career.

However, Shostakovich’s successes as a composer in the early 1930s brought renewed demand for live appear-ances. Putting hours into regaining his technical facility, in 1933 he com-posed two new works to show it off: the 24 Piano Preludes, Op. 34 and his Piano Concerto No. 1, Op. 35. Bril-liant and playful, the concerto was warmly received at its first performance on Oct. 4, 1933, with the Leningrad Philharmonic Orchestra led by the great Yevgeny Mravinsky backing the composer-soloist.

In Elizabeth Wilson’s biography of the composer, his friend and fellow pianist Mikhail Druskin gave a vivid portrait of the young Shostakovich’s mercurial tem-perament, which is mirrored through-out this Concerto. “From his adolescent years, he was very observant and showed curiosity for all sides of life. He had a keen eye for the ridiculous. ... He loved satirical literature. ... Shostakovich was unpredictable and given to sudden vac-illations of mood; at one moment, jolly and easy, the next pensive; then suddenly he would switch off altogether. ... And does not this mass of varying moods also exist in his music ... and the unexpected twists in the unfolding of its drama?”

During the early years of Stalin’s rule, creative artists in Leningrad still lived on the edge, unafraid to take risks. Russian scholar Boris Schwarz believes that Shostakovich’s Piano Concerto No. 1 was an example of this: “a challenge to the traditional Russian concerto style.” Scored for an orchestra of strings and an often satirical-sound-ing trumpet part nearly as prominent as the piano’s, it provocatively unites vir-tuosity with a madcap, irreverent spirit.

In the first movement, the pia-nist is immediately confronted with an impudent rival: the trumpet taunt-ing his fleet scales. Nevertheless, he launches an initially sober principal theme in Bachian contrapuntal style. However, when the pianist introduces the ascending second theme, it is not


ANDREW BALIO




Romantic and melodious as a good Russian second theme should be, but thoroughly comical; the violins shriek with laughter and the trumpet plays along. The development section is a whirlwind of crazy comic energy.

For the slow movement, Shosta-kovich temporarily replaces comedy with melancholy. A sad waltz in 3/4 time, it begins with the violins playing a plaintive, tear-stained melody. Grad-ually, the pianist leads the way to a great declamatory climax of passionate scales in octaves. When the opening music returns, the long-silent trumpet, playing with a mute snarling its tone, becomes the soloist.

Though listed as a separate move-ment, number three is really a grave prelude to the finale. Between another edition of Bach-style counterpoint for the piano, the orchestra interjects dark, brooding music. But the light suddenly switches on as the comic finale begins, in which everyone cuts loose in a display of clownish pranks.

As Schwarz reminds us: “In Shosta-kovich’s musical makeup, Bach and Offenbach had always been friendly neighbors.” Here the trumpet aspires to push the pianist out of the spotlight, and in the end—with a series of manic fanfares—he succeeds in that quest: Shostakovich the composer finally defeating Shostakovich the pianist.

Instrumentation: Trumpet and strings.

symphony No. 2 in D Major

Johannes BrahmsBorn May 7, 1833, in Hamburg, Germany; died April 3, 1897, in Vienna, Austria

Johannes Brahms’ composing retreat during the summer of 1877 played an important role in the character of his richly melodious Symphony No. 2. This was the picturesque mountain resort of Pörtschach on the Wörtersee Lake in southern Austria. By the time he reached middle age, Brahms—busy the rest of the year in Vienna with per-formances and editing and publishing

his music—did most of his composing during the summer months. Finding a place conducive to creativity became all-important to him; in Pörtschach he discovered an oasis so ideal he spent three summers there, the next summer (1878) composing the Violin Concerto.

Many commentators, comparing Brahms’ pairing of a heroic symphony in C minor and a lighter successor sym-phony with Beethoven’s similarly con-trasting No. 5 (also in C minor) and No. 6 symphonies, have called the Brahms’ No. 2 “Pastoral”: a nature symphony full of “sunshine.” But such comparisons can be misleading. Although it has Brahms’ most joyous finale, Symphony No. 2 is still a densely constructed, rather seri-ous work with a strong undercurrent of introspection and melancholy, especially in its first two movements.

First movement: The symphony grows like a mighty oak from the seeds of its first three notes—D dropping a half step to C-sharp and returning to D—heard in the cellos and basses. From

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this seed motive, and its inverted form with the middle note rising a step, heard a few measures later in the horn melody, will sprout many of the themes in all four movements. The warm, Romantic timbre of the horns lends the opening theme an autumnal glow. More ardent is an arching, soaring melody for the vio-lins built from the three-note seed. But this movement’s most famous tune—and the one that reminds us that it is in 3/4 waltz-time—is the “second subject” theme: a stately, mellow waltz sung by the cellos and violas, the cellos on top for maximum richness.

Brahms shows off his formidable con-trapuntal skills in the development sec-tion with a powerful, fugal treatment of the horns’ opening theme. The violins’ arching theme also is worked out while the three-note seed motive is tossed con-tinually from instrument to instrument. After the recapitulation, Brahms light-ens the mood briefly for a rhythmically

playful half-smile of a coda.But immediately the music darkens

again for the brooding B-major second movement with its magnificent long melody for the cellos, full of yearning for some unattainable happiness, a mood so characteristic of Brahms’ music. The meter then switches to 12/8 for a rhyth-mically halting, frustrated theme for the woodwinds. A turbulent developmen-tal section subsides into reveries of the main cello theme, then a full return of the melody, which the violins take over in a smoothed-out triplet version.

While the first two movements wan-der mostly in the shadows, the third and fourth movements dwell in sunshine. The third movement is a charming Brahmsian intermezzo. The oboes pres-ent the principal theme, derived from the three-note seed motive; its country-air freshness at last gives us a glimpse of summertime by a mountain lake. It returns twice more, with two exuberant


dance episodes led by strings in between; despite their different meters and fast tempos, they are actually varia-tions of the oboes’ melody.

The finale’s mysterious, rhythmically vague opening hardly prepares us for the true mood of this movement, but it soon explodes in a fortissimo blaze of sound. The second theme is another mellow Brahmsian melody, full of mature con-tentment, offered by the strings in their deepest, richest register. Rhythmic verve and games of “where’s the beat” add to this movement’s excitement. The coda is an outburst of utterly uninhibited joy—a rare mood for Brahms!—with the mel-low theme ultimately sped up and blaz-ing forth in triumph from the trumpets.

Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani and strings.


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ApplAuse at Strathmore • september/october 2014 61

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

62 ApplAuse at Strathmore • september/october 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

Strathmore CEo Eliot pfanstiehl with guest artist Julio iglesias, center-left, and board members Dickie S. Carter, Dale rosenthal, Gracie rivera-oven and Kenny o’Brien at Strathmore’s Spring Gala.


strAthMore stAFF

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 DirectorGeorgina Javor

Senior Director of Programmingphoebe Anderson Dana

Artist Services CoordinatorHarriet Lesser

Visual Arts CuratorKaleigh bryant

Visual Arts Coordinator

EDUCationLauren campbell

Director of Education betty scott

Artist in Residence and Education Coordinator

opErationSmark J. Grabowski

Executive VP of Operationsmiriam teitel

Director of OperationsAllen V. mccallum, Jr.

Director of Patron Servicesmarco Vasquez

Operations ManagerAllen c. clark

Manager of Information Serviceschristopher s. Inman

Manager of Securitychadwick sands

Ticket Office ManagerWil Johnson

Assistant Ticket Office ManagerAileen roberts

Rentals Managerchristian simmelink

Ticket Services Coordinatorchristopher A. Dunn

IT TechnicianJohnathon Fuentes

Operations SpecialistJon Foster

Production Stage ManagerWilliam Kassman

Lead Stage TechnicianLyle Jaeger

Lead Lighting Techniciancaldwell Gray

Lead Audio Technician

tHE SHopS at StratHmorEcharlene mcclelland

Director of Retail MerchandisingLorie Wickert

Director of Retail Operations and Online Sales

marKEtinG anD CommUniCationSAlaina sadick

VP Marketing and CommunicationsJenn German

Marketing ManagerJulia Allal

Member and Group Services Managermichael Fila

Associate Director of PR and Marketing

StratHmorE tEa roommary mendoza Godbout

Tea Room Manager

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 FitzpatrickGail Fleder Gregory Flowers

Joanne 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 Appell John cahill Jonita 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 Lazerow chiu and melody Lin

Diana Locke and robert toenseJanet L. mahaney carol and Alan mowbray cynthia 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 trawick peter Vance treibley myra turoff and Ken WeinerJulie Zignego

Discover Strathmore, an annual free family-friendly open house full of music and dance performances, artistic demonstrations and hands-on art activities, was sponsored by Dede and marvin Lang.

michael rosenbaum, Louise appell, Scott Stoner and meredith Weiser at Strathmore’s Circles Dinner.


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. caplanrobert b. couttsAlan s. edelman*sandy Feldman+, President, Baltimore

Symphony Associatessandra Levi Gerstungmichael G. Hansen*Denise Hargrove^, Governing Member

Co-Chairstephen m. LansAva Lias-booker, esq.Howard majev, esq.Liddy mansonHilary b. miller*e. Albert reece, m.D.Ann L. rosenbergstephen D. shawe, esq.the Honorable James t. smith, Jr.solomon H. snyder, m.D. *Andrew A. stern*Gregory W. tuckerAmy WebbJeffrey Zoller^, BSYO Chair

LifE DirECtorSpeter G. Angelos, esq.rheda beckerH. thomas Howell, esq.Yo-Yo maHarvey m. meyerhoffrobert meyerhoffDecatur H. miller, esq.Linda Hambleton panitz

DirECtorS EmEritibarry D. berman, esq.murray m. Kappelman, m.D.m. sigmund shapiro

CHairman LaUrEatEmichael G. bronfeinKenneth W. DeFontes, Jr.calman J. Zamoiski, Jr.

BoarD of trUStEES BaLtimorE SYmpHonY EnDoWmEnt trUSt

benjamin H. Griswold, IV, Chairmanterry meyerhoff rubenstein, 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 the Maryland State Arts Council, and from Montgomery County government and the Arts 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 sustaining the Orchestra’s tradition of musical excellence. The following donors have given between March 26, 2013 through June 26, 2014

LEaDErSHip CirCLEArts and Humanities council of

montgomery countyLori Laitman and bruce rosenblumthe Andrew W. mellon Foundationthe maryland 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 citizens of baltimore countythe Hearst Foundation, Inc.Howard county Arts councilmr. and mrs. stephen m. Lansmayor and city council of baltimore citym&t banksylvan/Laureate FoundationVocUs

maEStra’S CirCLE($10,000 - $24,999)mr. and mrs. A. G. W. biddle, IIIcharlotte A. cameron/Dan cameron

Family Foundation michael Hansen and Nancy randathe Hearst Foundation, Inc.Joel and Liz Helke

macy’sIn memory of James Gavin mansonHilary b. miller and Dr. Katherine N. bentmr. and mrs. Arnold polingershugoll researchtotal Wine & more

GoVErninG mEmBErS GoLD($5,000 - $9,999)the charles Delmar Foundationsusan FisherDavid Leckrone and marlene berlinDr. James and Jill Liptonsusan Liss and FamilyJan s. peterson and Alison e. colems. Janet L. mahaneyWilliam b. and sandra b. rogersmike and Janet rowanDaniel and sybil silverJohn and susan Warshawskyclark Winchcole Foundation

GoVErninG mEmBErS SiLVEr($3,000-$4,999)Anonymous (2)Alan V Asay and mary K sturtevantLt Gen (ret) Frank b. and Karen campbellGeri and David cohenJane c. corriganKari peterson and benito r. and ben De Leonmarcia Diehl and Julie Kurland

ms. marietta ethierJ. Fainbergsherry and bruce FeldmanGeorgetown paper stock of rockvilles. Kann sons company Foundation,

Amelie and bernei burgunderchristopher and Henrietta KellerKiplinger Foundationmarc e. Lackritz and mary Deoreoburt and Karen Leetemr. and mrs. Howard LehrerJune Linowitz and Howard eisnerDr. Diana Locke and mr. robert e. toensemr. James LynchHoward and Linda martinthe meisel Groupmr. and mrs. Humayun mirzaDr. William W. mullinsDavid Nickels and Gerri Hallms. Diane m. perinmartin and Henriette poretskybill and shirley rookerpatricia smith and Dr. Frances Lussiermr. Alan strasser and ms. patricia HartgeJohn and susan WarshawskyDr. edward Whitmansylvia and peter Winikms. Deborah Wise / edith and Herbert

Lehman Foundation, Inc.

($2,500-$2,999)Dr. Nancy D. bridgesDon spero and Nancy chasenpaul A. and peggy L. Young, NoVA

research company

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 Kolbroger and barbara schwarzJennifer Kosh stern and William H. turner

SYmpHonY SoCiEtY SiLVEr($1,200-$2,000)Anonymous (3)mr. and mrs. Anthony Abellcharles Alston and susan Dentzermr. William J. baer and ms. Nancy H. Hendryms. Franca b barton and mr. George G. clarkemrs. elaine belmanmr. and mrs. Alan and Lynn berkeleysherry and David berzDrs. Lawrence and Deborah blankGilbert and madeleine bloomHon. and mrs. Anthony borwickmr. richard H. broun and ms. Karen e. DalyGordon F. brownFrances and Leonard burkacecil chen and betsy HaanesDr. mark cinnamon and 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 Fitzpatrickcatoctin breeze Vineyardmr. and mrs. Arthur p. Floormr. 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 GoldbergDrs. Joseph Gootenberg and susan

LeibenhautDavid and Anne Grizzlemark and Lynne GrobanJoan and Norman Gurevich

mr. and mrs. John Hansonsara and James A. Harris, Jr.mr. Fred Hart and ms. elizabeth KnightKeith and Linda Hartmanesther and Gene Hermanellen and Herb HerscowitzDavid A. and 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. Luchsingermr. Winton matthewsmarie mccormackDavid and Kay mcGoffDavid and Anne menottiDr. and mrs. stanley r. milsteinms. Zareen t. mirzamr. and mrs. Glenn miyamotoDouglas and barbara Norlandmr. and 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. and mrs. richard swerdlowmr. and mrs. richard tullosDonna and Leonard WartofskyDavid Wellman and marjorie

coombs WellmanDr. Ann m. WillisH. Alan Young and sharon bob Young, ph.D.

($1,000-$1,199)phebe W. bauermr. Kurt thomas brintzenhofebruce and Deborah brodermr. and mrs. John carrmr. Vincent castellanomr. and mrs. John FordDimick Foundationmr. and mrs. roberto b. Friedmanmr. and mrs. Frank Goldsteinms. Lana Halpernmichael and Judy maelmarcia and John rounsavilleAllyson slatermargot and phil sunshinems. susan Wellmanmarc and Amy Wish

BrittEn LEVEL mEmBErS($500 - $1299)Anonymousms. Judith Agardellen Apatov and Linda clarkDonald bakermr. Gilbert bloomms. marcia D. bondJudy and peter brahamms. sharon phyllis brownmr. stephen buckinghamLouis and June carrbradley christmas and tara Flynnbarbara and John clarymr. and mrs. James c. coopermr. and mrs. robert FauverDrs. charles and cynthia FieldWendy and Fred Goldbergms. Alisa Goldsteinmr. robert GreenFrank and susan Grefsheimms. melanie Grishman and

mr. Herman Flay, mDDrs. marlene and bill Haffnerms. Haesoon HahnKeith and Linda Hartmanmr. Jeff D. Harvell and mr. Ken montgomery

BEnEfitS of mEmBErSHip WitH tHE BSoMake a donation today and become a Member of the BSO! There is a gift level that is right for everyone, and with that comes an insider’s perspective of your world-class orchestra. For a complete list of benefits, please call our Membership Office at 301.581.5215 or contact via e-mail at [email protected]. You may also visit our Web site at www.BSOmusic.org.


Governing Members David Nickels, Gerri Hall, Janet Rowan and Mike Rowan with BSO Assistant Principal Trumpet Rene Hernandez

BSO Music Director Marin Alsop and A Midsummer Night’s Dream Director Ed Berkeley with Lynn and Alan Berkeley

BSO donors with former Assistant Concertmaster Igor Yuzefovich and Principal Cellist Dariusz Skoraczewski at the annual Donor Appreciation Concert

mr. Lloyd Haughms. marilyn Henderson and mr. paul

Hendersonmr. and mrs. William L. Hickmanmr. and mrs. Howard Iamsms. Daryl KaufmanDr. birgit Kovacsms. Delia LangUlrike Lichti and stephen LepplaHarry and carolyn Lincolnmr. christopher Lovelessr. mahonmr. mark mattuccimr. and mrs. martin mcLeanmerle and thelma meyerellen G. miles and Neil r. Greenemr. and mrs. Walter millerWilliam and patricia morganmr. Koji mukaiAmanda and robert ogrenmr. Joseph o’Haremr. and mrs. philip padgettDr. and mrs. J. misha petkevichmr. and mrs. peter philippsthomas plotz and catherine Klionmarie pogozelski and richard belleAndrew and melissa polottmr. and ms. Donald regnellms. marjorie roherHarold rosenHenry rothLinda s. rothms. ellen ryeLois and David sacksmr. Allen shaw and ms. tina chisenaDr. Janet shawDonna and steven shriverms. terry shuch and mr. Neal meiselmanms. sonja solengmr. peter thomsonmr. and mrs. richard tullosmr. and mrs. Duncan and

Adelaide WhitakerAllan and Wendy Williamsmr. David m. Wilsonrobert and Jean Wirthms. maryAnn Zamula

BraHmS LEVEL mEmBErS($250 - $499)Anonymous (2)ms. Judith Agardrhoda and Herman AldermanDr. Don D. Andersonmr. bill Apterpearl and maurice Axelradmr. and mrs. James baileymr. paul balabanismr. and mrs. John W. barrettmariv and rachel beckermr. and mrs. John W. beckwithmelvin bellmr. and mrs. robert bennaAlan bergstein and carol Joffemr. Donald berlinmr. Neal bienDrs. ernst and Nancy scher billigms. ruth birdmr. Harold blackNancy and Don blissms. marjory blumenthalms. monica m. bradfordDr. chris H. and James D. bridgemanmr. and mrs. serefino cambarerimr. and mrs. Nicholas carrerams. patsy clarkmr. Herbert cohenms. June colillaDr. and mrs. eleanor condliffemarion Fitch connellmr. and mrs. Herbert cooper

mr. and mrs. charles DavenportDr. and mrs. James r. Davidmr. David s. DavidsonAnne and Arthur Delibertms. sandra Kay DusingDrs. stephen and Irene eckstrandms. brenda K. edwardsmr. Ahmed el-HoshyLionel and sandra epsteinmr. and mrs. robert Fauverclaudia and eliot Feldmanmr. michael FinkelsteinDr. and mrs. David Firestonemr. and ms. clifford and betty Fishmanrobert and carole Fontenrosemr. and mrs. michael scott FriedmanLucian and Lynn m. Furrowroberta Geierbernard A. GelbIrwin Gerdukmr. and mrs. stephen GiddingsJohn Glenn and blair reidellen and michael Goldedward G. GriffinDr. marlene Haffnerbrian and mary Ann Harrismrs. Jean N. Hayesmarylyn Heindlmr. John c. Hendricksmr. robert Henryms. patricia HernandezJeff HerringJoel and Linda Hertzmr. and mrs. William L. Hickmanms. Linda Lurie Hirschmr. Frank Hopkinsmr. thomas HormbyDr. and mrs. robert Horowitzmr. John Howesmr. and mrs. paul Hymanms. susan Irwinms. Katharine Jonesmrs. Lauri Josephmr. and mrs. Norman Kamerowmr. peter KaplanDr. and mrs. robert W. KarpLawrence and Jean Katzmr. and mrs. robert KatzJames and tomoko Kempfmr. William Kenety and ms. christine Kenetyms. Jennifer KimballFred KingDr. richard D. Guerin and Dr. Linda Kohnmr. William and ms. ellen D. Kominersms. Nancy Koppmr. stephen KramerDr. Arlin J. Kruegermr. and mrs. eugene Lambertrobert Lanzams. Joanne Laportemichael Lazar and sharon Fischmanms. Flora Leemr. myles r. LevinAlan and Judith Lewisms. Julie e. LimricDr. richard e. and susan papp LippmanJacqueline LondonAndrea macKayFrank maddox and Glenda Finleymr. James magnoms. Donna malarkeymr. David marcosmr. michael mccollum and ms. Jennfier ricksAnna therese mcGowanmrs. margit meissnersandra and paul meltzermr. steve metalitzmr. Gary metzmrs. rita meyersDr. and mrs. Arve michelsenms. barbara miles

Naomi millermr. Jose munizmr. and mrs. robert and mary Nisbetms. caren NovickDr. and mrs. John r. NuckolsDr. Jon obergmr. Joseph o’Haremr. thomas o’rourke and ms. Jeanine

o’rourkems. mary padgettmr. and mrs. James palmermr. Kevin parkerJohn and maureen pelosims. Johanna pleijsiermr. and mrs. edward portnermr. and mrs. stanley rabinthomas raslear and Lois Keckmr. samuel G. reel Jr.Dr. and mrs. bernard reichLinn rhombergDr. Joan rittenhouse and mr. Jack rit-

tenhousemr. William robertsonms. ellen ryeLois and David sacksmr. and mrs. robert sandlerms. beatrice schiffronald schlesingerDavid and Louise schmeltzerHanita and morry schreiberNorman and Virginia schultzmr. J. Kenneth schwartz

mr. paul seidmanms. Debra shapiroDr. Janet shawmr. and mrs. Larry shulmanmr.and mrs. Donald A. sillersmr. and mrs. micheal D. slackms. Deborah smithGloria and David solomonmr. Andrew sonnermr. Howard spirabill Grossman Fund of the Isidore Gross-

man Foundationmr. and mrs. charles steinecke IIIerica summersJohn and susan symonsDr. Andrew tangbornmr. Alan thomasAlan and Diane thompsonmr. and mrs. robert thompsonmr. John townsleyDr. and ms. George Urbanmr. mallory Walkermr. and mrs. matthew Waugamanmr. and mrs. robert Weinms. roslyn Weinsteinmr. and mrs. elliot and esther Wilnermr. David m. Wilsonmrs. Janet Wolfeeileen and Lee Woodsmrs. sandra WoolDr. and mrs. richard N. Wright

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 Dale Hedding, Vice President of Developmentmatthew spivey, Vice President of Artistic

Operations

artiStiC opErationSNishi badhwar, Director of Orchestra Personneltoby blumenthal, Manager of Facility Salestiffany 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, Director of Community

EngagementAnnemarie Guzy, Director of EducationNick skinner, OrchKids Director of OperationsLarry townsend, Education AssistantDan trahey, OrchKids Artistic Director

DEVELopmEntJessica Abel, Grants Program Manager Jordan Allen, Institutional Giving Coordinator megan beck, Manager of Donor Engagement

and Special EventsKate caldwell, Director of Philanthropic Servicesstephanie Johnson, Manager of Annual Giving,

BSO at Strathmorestephanie 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 Relations

Alice H. simons, Director of Institutional Givingrichard spero, Community Liaison for BSO

at StrathmoreJanie 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 DesignerDerek A. Johnson, Senior Marketing Managertheresa Kopasek, Marketing and PR Associatebryan Joseph Lee, Marketing and PR Manager,

BSO at Strathmoreerin 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 Eventsthomas treasure, Ticket Services Agent

BaLtimorE SYmpHonY aSSoCiatESLarry Albrecht, Symphony Store Volunteer

ManagerLouise reiner, Office Manager

BAltiMore sYMphonY orChestrA stAFF


nAtionAl philhArMoniC BoArd oF direCtors

BoarD of DirECtorSrabbi Leonard cahanDr. ron cappelletti *todd eskelsen*carol evans*ruth FaisonDr. bill GadzukDr. robert GerardKen Hurwitz*Dieneke Johnson*Greg LawsonJoan Levenson*Dr. Jeff LeviDr. Wayne meyerDr. roscoe m. moore, Jr.*Dr. Kenneth moritsugurobin c. peritoJaLynn prince

sally sternbachDr. charles tonerelzbieta Vande sande

BoarD offiCErS*Albert Lampert, chair*Kent mikkelsen, Vice chair*William Lascelle, treasurer*paul Dudek, secretary*todd r. eskelsen, chair emeritus

BoarD of aDViSorSJoel AlperAlbert Lampertchuck Lyonsroger titusJerry D. Weast

*executive committee

As of August 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 FoundationJohnson & 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+Jean & 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 CirCLEAnonymousrobert b. Anderson estatethe Jacob & malka Goldfarb charitable

Foundation, Inc.Dr. & mrs. Val G. HemmingDaniel Nir & Jill braufman Family

FoundationLaszlo N. tauber Family Foundation, Inc.

prinCipaL CirCLEAnonymousDr. paul Jay FinkDr. ryszard Gajewskimr. Arthur Langerman

pHiLHarmoniC CirCLEmrs. ruth bermanmr. edward brinker & ms. Jane LiuDale collinson Family *Dr. & mrs. John V. evansJ. William & Anita Gadzuk *Dr. robert Gerard * & ms. carol Goldbergmr. & mrs. Joseph Hamermr. & 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 AbrahamDr. 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 sanchez *sternbach Family Fundmr. & mrs. royce Watson

SUStainEr CirCLEAnonymous (3)mr. & mrs. Joel AlperFred & 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 Jakobymr. philip m. JohnWilliam W. * & sara m. Josey *sarah Liron & sheldon Kahnms. Joanna Lam, in memory of

mr. chin-man Lammr. & mrs. John r. Larue, includes match

by Ibmmrs. Joan m. Levensonmr. pardee Lowe, Jr.mr. Larry maloney *

mr. Winton matthewsmrs. eleanor D. mcIntire *Dr. Wayne meyer *mr. & mrs. David moshermr. & mrs. raymond mountainsusan & Jim murray *mr. & mrs. charles Naftalinmr. thomas Nessinger *ms. martha Newman *David Nickels & Gerri HallDr. & mrs. Goetz oertelmr. & mrs. William pairomr. & mrs. ellis parkerDr. and mrs. edward perlmr. & mrs. Jerome pinson, includes

match by Ge Foundationms. phyllis ratteymr. & 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. 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. Lori J. sommerfield * & mr. Dennis

Dollingermr. 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

Dale collinsonmr. John choimrs. patsy clarkms. Irene coopermanmr. & mrs. J. steed edwardsms. Linda edwardsms. Kimberly elliottmr. & mrs. Dwight ellis, in memory

of Dale collinsonclaudia & eliot Feldmanms. shannon Finneganmr. philip Flemingmr. & mrs. William Gibb


National Philharmonic Board member Dieneke Johnson with guest artist Nurit Bar-Josef and Veronica Soriano.

National Philharmonic violist Judy Silverman with Ruth Berman, Sarah Fort and David Landsman in the Comcast Lounge.

mr. & mrs. paul GoldsteinDr. William & Dr. marlene Haffnerms. Jacqueline HavenerDr. & mrs. John Helmsenmr. & mrs. robert Henrymr. & mrs. James Hochron *mr. myron Hoffmannms. Katharine cox Jonesmr. & mrs. Allan Kirkpatrick *Dr. mark & Dr. cathy Kneppermr. & mrs. William Kominersms. martha Jacoby Krieger *cherie & ron Krugmr. steven Lainoff, in memory of

Dale collinsonms. rachel LeitonDr. marcia D. LitwackDr. & mrs. David LockwoodDr. susan Lotarskimr. Kevin macKenziemr. 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 mylonakismr. & mrs. Harvey NathanDr. 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 puskinmr. Jacques rosenbergms. 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 thompsonms. Katherine Nelson-traceyGen. & mrs. William Ushertom & bobbie WolfDr. & mrs. richard Wright

mEmBErAnonymousmr. Dan Abbottmr. Jose Apudmr. robert barashmrs. barbara botsfordms. cheryl A. branhammr. & mrs. Herman bransonmr. & mrs. Jerome breslowmr. & mrs. Frederick brownmrs. Dolores J. bryanJohn & rosemary buckleyms. patricia bulhack

Dr. 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 Dragoumismr. & mrs. tom DunlapF.W. englandmr. & mrs. Lionel epsteinDr. & mrs. Joseph Fainbergmr. & mrs. elliott FeinDr. John Fergusonmr. & mrs. Frank Formanmr. John Francismr. Harold Freemanmr. bruce Frenchmr. bernard Gelbmr. & mrs. richard o. Gilbertmr. & mrs. mitch Greenms. melanie Grishmanms. Lucy Hamacheckms. Lisa Helmsmr. & mrs. rue HelselDr. & mrs. terrell Hoffeldmr. & mrs. Waldemar Izdebskimr. & mrs. Doug Jacobsonmr. & mrs. Jerome Jaffemr. & mrs. Donald Janskymr. & mrs. barbara Jarzynskimrs. Harriett G. JenkinsDr. elke Jordanmr. & mrs. Gerald Kaizms. Kari Keatonms. elizabeth Kingms. martha Kriegermr. Dale Krumviedemr. & mrs. sheldon Landsmanms. sandra Lebowitzms. michelle Leemr. & mrs. paul Legendremr. & mrs. Herbert J. Lernermr. & mrs. Harald Leubams. elizabeth LevinDr. & mrs. David Lockwoodmr. & mrs. Forbes manerDr. Lorenzo marcolinms. Jean A. martinmrs. Nancy c. maymr. Alan e. mayers *mr. & mrs. robert mcGuiremr. & mrs. curtis menyukmr. & mrs. michael merchlinskymr. & mrs. David millermr. & mrs. edward millsmr. & mrs. thaddeus mireckimr. & mrs. David mitchellms. stephanie murphymrs. Gillian Navemr. Leif Neve *, includes match by Aquilentmr. stephen Nordlingermr. James NorrisDr. sammy s. Noumbissi

HEritaGE SoCiEtY

The 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. Kenneth oldhamDr. & mrs. David pawelmr. & 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. Diane H. runyanms. sandi savillemr. & mrs. Joel schenkDr. Walter schimmerlingmr. John schnorrenbergmrs. Helen Kavanaugh & mr. John schultzGabriela & Dennis scottmr. & mrs. John shorbmr. & mrs. charles L. short, Jr.Dr. & mrs. paul silverman

mr. Victor steigerms. priscilla stevensms. sarah thomasmr. & mrs. carl tretterms. maureen turmanms. Virginia W. Van brunt *mr. & mrs. Gerald Vogelmr. & mrs. William Wadsworthmr. David b. Wardms. Krystyna Wassermanmr. stephen Welshms. Joan Wikstrommr. robert e. Williamsms. 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

nationaL pHiLHarmoniC Staffpiotr Gajewski, Music Director & Conductorstan engebretson, Artistic Director,

National Philharmonic ChoraleVictoria Gau, Associate Conductor &

Director of EducationKenneth A. oldham, Jr., PresidentFilbert Hong, Director of Artistic OperationsDeborah birnbaum, Director of Marketing & PR

Leanne Ferfolia, Director of DevelopmentKatie tukey, Manager of Development OperationsAmy 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 Instructor chris sanchez, Suzuki Instructor


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. AndersonAlison Arnold-simmonspaxton bakerArturo e. brillembourg*Hans bruland (c)rima calderoncharlotte cameron*Karen I. campbell*Yolanda carawayLee christopherJosephine s. cooperDebbie Dingellpamela Farrrobert Feinberg*Norma Lee Fungerbruce Gates*Felecia Love Greer, esq.Jay m. Hammer* (c)brian HardieGrace Hobelman (c)patricia HowellJake Jones*David Kamenetzky*edmond Lelo

tony ottenrachel tinsley pearson*elaine rose*Irene rothAmbassador Arturo sarukhancharlotte 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. richJohn sedmakAlbert H. smallshirley smallthe Honorable James W. symingtonstefan F. tucker, esq. (c)paul martin Wolff

paSt CHairStodd Duncan †, Past Chairman Laureate

William N. cafritzAldus 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 Aug, 15, 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 pearson

Adam clayton powell III and Irene m. solet

prince 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 martin

$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


mark and terry mcLeodmr. Larry L. mitchellDr. William mullins and Dr.

patricia petrickms. 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 Kleeblattmr. 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

mahmood

ms. 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

Start HErE $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 mondlms. 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, II

Dr. and mrs. Allan Weingoldms. 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 GivingDaren thomas

Director of Leadership Giftsroger Whyte II

Director of Special EventsJune 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 Program Coordinator

Koto maesaka Education Associate

finance and administrationerica Hogan

Accounting Managerrebecca tailsman

Accounting Associaterobert Ferguson

Database Administrator

marketing and CommunicationsHannah Grove-DeJarnett

Associate Director of Marketing and Communications

scott thureen Creative Media and Analytics Manager

Wynsor taylor Audience Engagement Manager

celia Anderson Graphic Designer

Amanda sweet 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, WPAS Gospel Choirs

ticket Services officeFolashade oyegbola

Ticket Services Manageredward 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 soCietY

Legacy 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. mullin

mrs. 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

Find Your Voice.Find Your Voice.Music & Arts supports your local schools!

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Applause September/October 2014

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Transcript of Applause September/October 2014