March/April Applause

applause at STRATH

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Washington Performing Arts Society hosts the German conductor for his Washington D.c.-area

debut with Staatskapelle Dresden

inside:StrathmoreVOcA pEOplE touch down in Music center

Baltimore Symphony Orchestra chaplin’s Modern Times

The National Philharmonic Musical takeover

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2 applause at Strathmore • march/april 2013

preludeApplAuSE at Strathmore march/april 2013

53 10 16

features10 Songs for a New Galaxy A cappella group VOCA PEOPLE lands at Music Center

12 Modern Times and a Modern Orchestra BSO celebrates 200th anniversary of Richard Wagner’s birth

14 Music ABCs The National Philharmonic is hands-on at a D.C. school

16 Rank Insider Cameron Carpenter elevates organ music

18 Mind, Body, Music Harmony from within keeps BSO principal flute healthy

20 Flash, Crash & Jam Musical inspiration hit like a bolt from the sky

22 Strum, Pick, Pluck Levine School of Music has guitar lessons for all

24 Thoroughly Thielemann An all-Brahms program fits the conductor’s sensibilities

departments 6 Musings of Strathmore CEO Eliot Pfanstiehl

6 A Note from BSO Music Director Marin Alsop

8 Calendar: May and June performances

96 Encore: Georgina Javor, Strathmore director of programming

musician rosters37 Baltimore Symphony Orchestra32 National Philharmonic Orchestra and Chorale

March 1 28 / Strathmore: Drumline Live!

March 2 30 / The National Phil-harmonic: The American Virtuoso Violin

March 7 34 / Strathmore: Cirque Ziva

March 9 35 / BSO: Beethoven’s Seventh

March 12 40 / WPAS: Anne-Sophie Mutter

March 15 43 / BSO: Off the Cuff—Saint-Saën’s “Organ” Symphony

March 23 45 / BSO: Trpčeski Plays Rachmaninoff

March 24 50 / Strathmore: Neil Berg’s 101 Years of Broadway

March 29 52 / Strathmore: Emmylou Harris & Rod-ney Crowell and Richard Thompson Electric Trio

april 6 53 / The National Philharmonic: Sleepers Awake!

april 7 58 / WPAS: Andras Schiff

april 11 62 / BSO SuperPops: Bond and Beyond—50 Years of 007

april 12 64 / Strathmore: Cameron Carpenter

april 13 65 / Strathmore: Under the Streetlamp

april 14 66 / Strathmore: Maurizio Pollini

april 16 70 / WPAS: Staatskapelle Dresden

april 18 76 / Strathmore: VOCA PEOPLE

april 19 78 / BSO: Off the Cuff—Wagner, A Composer Fit for a King

april 20 80 / Strathmore: Michael Feinstein—The Gershwins and Me

april 25, 26 81 / Strathmore: Gladys Knight

april 27 82 / BSO: Midori

program notes

On The COverchristian thielemann is the principal conductor of Staatskapelle Dresden

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● Strathmore Under the leadership of ceo eliot pfanstiehl and president monica jeffries hazangeles, Strathmore welcomes thousands of artists and guests to the music center, mansion and 11-acre campus. as well as presenting performing artists and fine art, Strathmore commissions and creates new works of art and music, including productions Free to Sing and Take Joy. education plays a key role in Strathmore’s programming, with classes and workshops in music and visual arts for all ages throughout the year. From presenting world-class performances by major artists, to supporting local artists, Strathmore nurtures arts, artists and community through creative and diverse programming of the highest quality. Visit www.strathmore.org.

● Baltimore Symphony Orchestra the Grammy award-winning baltimore Symphony orchestra is internationally recognized as having achieved a preeminent place among the world’s most important orchestras. Under the inspired leadership of music Director marin alsop, some of the world’s most renowned musicians have per-formed with the bSo. continuing the orchestra’s 96-year history of high-quality education programs for music-lovers of all ages, the bSo presents mid-week education concerts, free lecture series and master classes. Since 2006, the bSo has offered montgomery county grade schools bSo on the Go, an outreach initiative that brings small groups of bSo musicians into local schools for interactive music education workshops. For more information, visit bSomusic.org.

● The National Philharmonic led by music Director and conductor piotr Gajewski, the National philharmonic is known for per-formances that are “powerful” and “thrilling.” the organization showcases world-renowned guest artists in symphonic masterpieces conducted by maestro Gajewski, and monumental choral masterworks under chorale artistic Director Stan engebretson, who “uncovers depth...structural coherence and visionary scope” (The Washington Post). the philharmonic’s long-standing tradi-tion of reasonably priced tickets and free admission to all young people age 7-17 assures its place as an accessible and enriching part of life in montgomery county and the greater Washing-ton area. the National philharmonic also offers exceptional education programs for people of all ages. For more information, visit www.nationalphilharmonic.org.

● Washington Performing Arts Society For more than four decades, the Washington performing arts Society has created profound opportu-nities for connecting the community to artists through both education and performance. through live events in venues across the D.c. metropolitan area, the careers of emerging artists are guided, and established artists who have close relationships with local audiences are invited to return. WpaS is one of the leading presenters in the nation. Set in the nation’s capital and reflecting a population that hails from around the globe, the company presents the highest caliber artists in classical music, jazz, gospel, contemporary dance and world music. For more information, visit www.WpaS.org.

● CityDance Ensemble cityDance provides the highest quality arts education and performances throughout the metropolitan area including at cityDance center at Strathmore, where our School, pre-profes-sional conservatory and Studio theater are housed. the resident & Guest artist program allows professional dancers and choreographers to create and perform works in a world-class theater. cityDance’s community programs provide free performances, after-school programs and camps to over 15,000 students a year in the region’s most under-resourced communities. Visit www.citydance.net.

● Maryland Classic Youth Orchestras Great music, artistry, plus the passion and exuberance of youth come together in one exceptional program—mcyo, the resident youth orchestra at the music center. established in 1946, mcyo is the region’s premier orchestral training program, seating over 400 students in grades 4-12 in one of five quality orchestras. concerts, chamber music, master classes and more. Discover mcyo. hear the difference. Visit www.mcyo.org.

● Levine School of Music levine School of music, the Washington D.c. region’s preeminent community music school, provides a welcoming environment where children and adults find lifelong inspiration and joy through learning, performing and experiencing music. our distinguished faculty serve more than 3,500 students of all stages and abilities at four campuses in Northwest and Southeast D.c., Strathmore music center and in arlington, Va. learn more at www.levineschool.org.

● interPLAY interplay company provides adults with cognitive differences with year-round rehearsals and concert experiences performing with traditional musicians. this activity results in a new personal language for those who have no musical education, and enlightened perspectives in the com-munity about who can play serious music. interplay is always open for new players, musicians and mentors. please contact artistic Director paula moore at 301-229-0829.

sTraThMOre

partners

applauseat Strathmore

publisher CeOeliot pfanstiehl

Music Center at strathmore Founding partners

Strathmorebaltimore Symphony orchestra

resident artistic partnersthe National philharmonic

Washington performing arts Societylevine School of music

maryland classic youth orchestrascityDance ensemble

interplay

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editor and publisherSteve hull

associate publisherSusan hull

senior editorcindy murphy-tofig

Design Directormaire mcardle

art DirectorKaren Sulmonetti

advertising Director Sherri Greeves

advertising account executives

paula Duggan, penny Skarupa, luanne Spurrell

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volume 9, number 4 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.

Quietly tucked between Little Falls Parkway and the Capital Crescent Trail, you’ll fi nd Little Falls Place—a distinctive new neighborhood just moments from downtown Bethesda and Friendship Heights.This coveted location offers the serenity of a lush, wooded enclave and the very best of city living.

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DISCOVER LIFE IN PERFECT BALANCE

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musings from Strathmore

a note from the bSo

Strathmore has the world on a string—a violin string to be exact. Following our previous successful explorations of the history of the piano and the guitar, Strathmore is embarking on Storied Strings: The Violin in America, an 11-concert series celebrating the foundational role of the violin.

Vice President of Programming and Artistic Director Shelley Brown, who has shepherded Storied Strings along from its inception, puts it beautifully: “The violin, or fiddle, is the common denominator in Native American, African American and European music, forming a link between classical and tradi-tional music.”

To explore the violin’s many inflections and influences, Strathmore is convening masters of many stringed musical genres to the Mansion and Music Center to celebrate generations of American musical exploration and integration—and to glimpse into the future of the instrument—in the 2012-13 season.

The Music Center festivities kick off with Christmas in Cape Breton, featuring the frenetic and vi-vacious fiddlework of Natalie MacMaster. She’ll be illustrating the influence of her homeland’s music on New England styles on Dec. 6. The legendary violinist and composer Mark O’Connor takes over the

Concert Hall for a not-to-be-missed tribute to the traditional holiday music of his childhood on Dec. 13.The Music Center excite-ment continues into the New Year with a new program by Alasdair Fraser.

In the Mansion, exciting firsts from The Carpe Diem String Quartet and Jennifer Koh— who will be making the Washington, D.C.-area debut of her “Bach and Beyond” series—nod to the future of the violin. The Aaron Weinstein Trio, violinist Kristin Lee, the Marian Anderson String Quartet and Artist in Residence alumna Chelsey Green—debuting a new work by composer Robert Miller—will continue the series into the spring.

May your holidays be bright with family and music this whole season long.

Eliot PfanstiehlCEO | Strathmore

Dear Friends,

For many, spring is a favorite time of year. After months of being cooped indoors, we can finally get outside and enjoy the sun. Spring is also my favorite season, but for quite a different reason: it’s finally time for the exciting 2013-2014 season to come out of hibernation, so to speak!

Next season, among the featured guest artists are two audience favorites, pianists André Watts and Jean-Yves Thibaudet. The BSO will treat you to some of classical music’s “greatest hits,” such as Mendels-sohn’s Midsummer Night’s Dream, which features one of the most ubiquitous pieces of music ever written, the Wedding March. Many of you will remember CSI: Beethoven, the symphonic play performed in 2008 that explored the cause of Beethoven’s hearing loss. In the same spirit, we will explore Mozart’s life in CSI: Mozart. Through performances of the musical scores that accompany Charlie Chaplin’s silent films, the BSO has shined a light on Chaplin’s great skill as a composer. The BSO will continue that tradition in 2013-2014 with a “Little Tramp” double-bill: The Idle Class and The Kid.

Among the most notable works to symbolize a people’s hope for the future and sense of reconciliation is Britten’s War Requiem, com-posed in 1962 to consecrate the Coventry Cathedral, which was rebuilt after the original 14th century structure was destroyed in a World War II bombing. Two other works performed next season echo Britten’s hope: John Adams’ On the Transmigration of Souls—commis-sioned by the New York Philharmonic to commemorate the lives of those killed by the Sept. 11 terrorist attack on the World Trade Cen-ter—and Beethoven’s Ninth, which reflects a universal belief in humanity.

All of this and more await you in the 2013-2014 season, and I cannot wait to share it all with you!

Marin AlsopMusic Director | Baltimore Symphony Orchestra

TALKSMar 26 FULING:CRUCIBLE OF A CHANGING CHINA Photographer Anastasia Taylor-Lind

Apr 4 FACE TO FACE | Photographer Alison Wright

Apr 11 PIRATES OF THE WHYDAH Underwater Explorer Barry Clifford

Apr 25 BIRDS OF PARADISE Photographer Tim Laman / Ornithologist Ed Scholes

May 1 PORTRAIT IN SEPIA | Writer Isabel Allende

May 2 VIEWS FROM WITHIN Photographer Carolyn Drake

May 6 THE CALL OF EVEREST Climber Conrad Anker / Naturalist Alton Beyers Writer Mark Jenkins / Athlete Emily Harrington

May 9 MISSION TO MARS | Astronaut Buzz Aldrin

Jun 11 AN EVENING OF EXPLORATION + DISCOVERY | Moderated by Boyd Matson

FILMSMar 15 AMAZON GOLD Filmmaker Sarah duPont / Journalist Donovan Webster

Mar 19 A FIERCE GREEN FIRE | Director Mark Kitchell

CONCERTMar 17 ST. PATRICK’S DAY CONCERT with FullSet

TASTINGMay 15 BEER FROM WHERE?? Brewmaster Garrett Oliver

SPECIAL EVENTSMar 9 THE ART OF NATURE WRITING Writer Jennifer Holland

Apr 27 & BIRD WALK ADVENTUREMay 11 Artist, Author, Editor Jonathan Alderfer

May 22 NATIONAL GEOGRAPHIC BEE At National Theatre with host Alex Trebek

Jun 22 PIRATE FAMILY FESTIVAL | Free!

EXHIBITIONSThrough May 12 BIRDS OF PARADISEMar 8 – Sep 2 REAL PIRATESOpens Jun 2013 A NEW AGE OF EXPLORATION

MOST EVENTS JUST $22

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FROM THE FILM MOONWALK


FRI., MAY 10, 8 P.M.Strathmore presentsBéla Fleck and the Marcus roberts Triobanjo man béla Fleck has been nominated in more Grammy cat-egories than anyone in history, and has taken home 14 of the statuettes. this season, Strathmore favorite Fleck brings a brilliant collaboration with one of today’s most lauded jazz ensembles, with marcus roberts on piano, jason marsalis on drums and rodney jordan on bass. audience members can get a glimpse behind the scenes of artistic collaboration in How Do They Do It? The Mind- Meld of Ensemble Improvisation at 6:30 p.m. in education center, room 402. Free with concert ticket.

SAT., MAY 11, 8 P.M.Baltimore Symphony Orchestra Chaplin’s Masterpiece: Modern Timesmarin alsop, conductor

Chaplin: Modern Timeschaplin’s 1936 film Modern Times is a brilliant, biting satire on the mechanical age. the bSo accom-panies this cinematic masterpiece, performing chaplin’s own original score.

SAT., MAY 18, 8 P.M.Strathmore presentsunderground railroad: an evening With Kathleen BattleKathleen battle, sopranocyrus chestnut, pianoheritage Signature choraleStanley thurston, director

MaYTHURS. MAY 2, 8 P.M.Baltimore Symphony Orchestra Time for Threemarin alsop, conductortime for three Zachary Depue, violin Nicolas Kendall, violin ranaan meyer, double bass

John Adams: Shaker LoopsJennifer Higdon: Concerto 4-3Prokofiev: Symphony No. 4From bluegrass to jazz, from folk to classical, time for three has an en-ergy you can feel. hear them groove in jennifer higdon’s Concerto 4-3, composed especially for them.

SAT., MAY 4, 8 P.M.SUN., MAY 5, 3 P.M.The National Philharmonic The Melodies of Brahms piotr Gajewski, conductor Denyce Graves, mezzo-soprano National philharmonic chorale

Brahms: Schicksalslied (“Song of Destiny”) Alto Rhapsody Symphony No. 4 Denyce Graves, has garnered pop-ular and critical acclaim worldwide for her ex-pressive and rich voice, elegant stage presence and exciting theat-rical gift. Sponsored by Ameriprise Financial

in this moving evening, battle and acclaimed pianist cyrus chestnut explore music that expressed the suffering and salvation of enslaved africans as they found their way to freedom. audience members can join the pre-concert lecture, Freedom Songs’ journey to the concert hall, in the education center, room 402 at 6:30 p.m. Free with concert ticket.

SAT., MAY 25, 8 P.M.Baltimore Symphony OrchestraRomeo and Julietcarlos Kalmar, conductorjean-philippe collard, piano

Narong Prangcharoen: PhenomenonSaint-Saëns: Piano Concerto No. 3Prokofiev: Selections from Romeo and Julietcarlos Kalmar conducts the great moments from prokofiev’s intoxicat-ing and impassioned ballet Romeo and Juliet. also featured is pianist jean-philippe collard, known for his masterful interpretation of Saint-Saëns’ works, in the all too rarely performed third piano concerto.

THURS., MAY 30, 8 P.M.Baltimore Symphony OrchestraBsO superpops: The Magic of Motownjack everly, conductorSpectrum, vocalistsradiance, vocalists

relive the magic of the timeless, soulful sounds of the temptations, the Supremes, the Four tops, aretha Franklin and more, with theatrical panache and inspired arrangements.

June SAT., JUNE 1, 8 P.M.The National PhilharmonicWagner 200th anniversary Celebration piotr Gajewski, conductor

Wagner: Overture (The Flying Dutchman)

calendar [May/June]

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[May/June]

enjoy the bacchanalian splendor of carl orff’s Car-mina Burana. this rousing program be-gins with two short, rhythmi-cally punchy

works by baltimore native chris-topher rouse and Sensemayá, the most famous work of mexican composer Silvestre revueltas.

SAT., JUNE 8, 8 P.M.SUN., JUNE 9, 3 P.M. The National PhilharmonicCarmina BuranaStan engebretson, conductoraudrey luna, sopranorobert baker, tenorleon Williams, baritoneNational philharmonic chorale

Lutosławski: Three Poems by Henri Michaux Orff: Carmina Burana

Carmina Burana blends secular medieval texts with seductive melodies and spellbinding rhythms to create an unforgettable concert.

Prelude to Act III (Tannhäuser) Good Friday Spell (Parsifal)Entry of the Gods into Valhalla (Das Rheingold)Ride of the Valkyries (Die Walküre)Prelude (Die Meistersinger)Forest Murmurs (Siegfried)Siegfried’s Funeral Music (Götterdämmerung)Prelude to Act III (Lohengrin)Prelude and Liebestod “Love-Death” (Tristan und Isolde)

enjoy selections from each of rich-ard Wagner’s 10 best known operas to celebrate the 200th anniversary of the composer’s birth.

THURS., JUNE 6, 8 P.M.Baltimore Symphony Orchestra Carmina Buranamarin alsop, conductorrobin johannsen, sopranojohn tessier, tenorbrian mulligan, baritonemorgan State University choirpeabody children’s chorus

Christopher Rouse: Ku-Ka-llimokuChristopher Rouse: Ogoun BadagrisRevueltas: SensemayáOrff: Carmina Burana

MON., JUNE 10, 7:30 P.M.Strathmore presentsstrathmore Children’s Chorus spring Concert: The Music Of Jim papoulisin their debut performance, the more than 100 members of the Strathmore children’s chorus take to the music center stage for an evening of joy-filled and uplifting music by renowned world mu-sic composer jim papoulis. the chorus presents a world premiere piece from the composer.

THURS., JUNE 13, 8 P.M.Baltimore Symphony OrchestraWest Side Story – Music & the Moviemarin alsop, conductorbernstein: West Side Story

experience the music of West Side Story live in concert as marin alsop and the bSo accompany the 10-time oscar-winning motion picture.

SAT., JUNE 29, 8 P.M.Strathmore presentsreinventing radio: an evening With Ira GlassGo behind the scenes of public radio’s This American Life. in the style that has won millions of ra-dio fans, ira Glass talks about how it all comes together each week, mixing stories from the show with taped selections of stories and re-creating the sound of the show as the audience watches.

[beyond the stage]Strathmore

Luck of the Draw

Fine art and a good cause come together when Strathmore holds its biennial art raffle fund-raiser. peruse the fine art and crafts at Strathmore april 18-28. then, on april 28, a $100 raffle ticket guarantees you one work of art. the catch: ticketholders don’t choose a piece until their number gets drawn in the raffle. and there’s one more twist: the first three drawing slots will be auctioned off online. every ticket guarantees a piece of art, and all the money raised goes to fund fine arts programs at Strathmore. an opening reception will be 6-8 p.m. april 23, and the reception and drawing will be 6-8 p.m. april 28. buy drawing tickets at www.strathmore.org/fineartexhibitions. bidding for the top three slots begins on april 18 at www.biddingforgood.com/drawingforart.

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The Music center serves as a landing zone for the a cappella group vOCa peOple

By Chris Slattery

Songs for a neW GalaxY


where there’s been a new resolve to ex-pand the scope of Music Center perfor-mances and include more theatrical acts. The un-amplified, all-acoustic VOCA PEOPLE fit the bill, combining show-manship with simple, pure arrangements and maintaining a musical focus worthy of the venue’s acoustic perfection.

“The story is that three and a half years ago Lior, who is very famous where I’m from, met with me to discuss doing a show,” says Fishman, whose early ob-session with beat-boxing had led him to a musical career in which he took apart and re-created musical structures as themes for television and the big screen. “The fact that they’re aliens meant that the show could become very interna-tional very quickly—and it has.”

Fishman excitedly talks about the beat-box pioneers who inspired him—Bobby McFerrin, Eklips, Naturally 7, Jean-Yves Bonneau—and also compos-ers John Williams and Quincy Jones. He seems as earnest as a Voca People alien in his strong belief that the joy of music has the power to re-energize the world.

“The show is for ages 6 to 106,” Fish-man says. “Some songs won’t be known by everyone, but this is how music works: One night in Japan, right after a show, a child and his grandfather left, holding hands, and singing, ‘I like to move it, move it.’

“The show is quirky, funny and unique,” Fishman promises, “All eyes and ears are on the VOCA PEOPLE themselves. It’s kind of like a variety show: no fire, no water, nobody on tra-pezes: It’s just people singing.

“And being aliens.”

ered pop music as a 15-year-old in Tel Aviv and went on to a composing ca-reer. “There’s no message, just the love of music, the energy, the joy. And it’s al-ways a surprise. You never know what’s coming next.”

Like a medley of Queen’s greatest hits, a tribute to Mozart or a rousing ren-dition of Handel’s Hallelujah Chorus. Unlike other aliens who ended up on Steven Spielberg sets, in Roswell, N.M. or stranded in Area 51, the VOCA PEOPLE aliens crash landed (conve-niently enough) on YouTube. From there—with a little help from Fishman and co-creator Lior Kalfo, the group’s ar-tistic director and the director and cho-reographer of the Voca People stage show—the eight-alien ensemble took its “70 songs in 82 minutes” show on the road, wowing Europe, winning over New York City theater critics off-Broadway and gaining fans in South America and the Far East.

“It always works,” Fishman says. “It could be in Brazil, Israel, the States; it works the same way in Singapore and the Seychelles. This is not culture-relat-ed. It’s basic, it’s human.”

Because of little understood patterns of interplanetary sound wave frequen-cies between Earth and Planet Voca, the songs the aliens sing are well-established classics. Their humor—physical and innocent—transcends language. The group has grown steadily in popularity, going from Internet sensation to globe-trotting team of four touring companies.

Now that world includes Strathmore,

hat’s what Shai Fish-man says, and as t h e c o m p o s e r - arranger-music di-rector for the in-

ternational musi-ca l g roup VO CA

PEOPLE, he should know.“They’re aliens,” explains Fishman.

“They communicate using crazy articu-lations composed of complex text per-formed in a very specific way.”

Which makes the beat-boxing, a cap-pella-singing VOCA PEOPLE, with their white faces, ruby lips and extraor-dinary knack for re-creating the sounds of universal pop, classical and religious music, difficult to categorize.

As for what they look like, think Woody Allen in Sleeper, or something monochromatically Suessical come to life. Imagine them somewhere out there, on their own little planet tucked away behind the sun, hearing music wafting up from Earth and joyfully making it their own.

Fishman says their starship can sail only when there’s musical energy in the tank; they’re here on Earth to pick up steam, beat by syncopated beat, until they blast off to continue their interga-lactic adventure. They’ll touch down at the Music Center at Strathmore at 8 p.m. Thursday, April 18.

They’re theatrical, yes. Musical, cer-tainly. Funny, even. Jimmy Fallon adores them, they’re huge in Italy, and despite the similarity of their unconventional-ly-hued doubles they are no relation to Blue Man Group. VOCA PEOPLE per-form without instruments, amplifiers, costume changes or sets, and amaze peo-ple while doing so.

“It’s pure enjoyment,” says Fishman, a classically trained musician who discov-

tThey came from outer space.

Strathmore presentsvOCa peOple thursday, april 18, 8 p.m.


Rbaltimore SymphoNy orcheStra

harlie Chaplin is my hero,” says Bal-timore Symphony Orchestra Music Director Marin Alsop. “He starred in, wrote, directed, edited, pro-duced and distributed his films. He

was a real Renaissance man.” That description of Chaplin as the em-

bodiment of the ideals of an earlier era is doubly apt because Modern Times—which the BSO will present with a live score at 8 p.m. May 11 at the Music Cen-ter at Strathmore—was itself a throwback to an ear-lier era.

When Modern Times was released in 1936, Hol-lywood had been making talkies for almost a decade, yet the headstrong Chaplin was convinced that si-lence was intrinsic to his Little Tramp’s appeal. So Modern Times includes limited dialogue, none of it delivered by the Little Tramp. Depression-era au-diences did get to hear Chaplin’s voice for the first time, though, when the Little Tramp sings in a scene late in the movie. He performs a nonsense song, of course, with a multilingual mishmash of lyrics.

That Chaplin eschewed a speaking part for the Little Tramp didn’t mean that he was unaware of the value of sound, however. To the contrary, Alsop says, Chaplin “was the first director to understand the emotional potential of the film score.”

Modern Times is the third Chaplin film that the BSO has presented with a live score—the others were The Gold Rush and City Lights—and the screen-ings have become something of a tradition for Alsop and the orchestra.

Chaplin himself composed all his own scores. He’d hum or sing the melodies or pick them out on the piano, and his collaborators would write them

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inches from a neck-breaking abyss. The stunt used a painted scene on glass to evoke the drop-off, so the danger was an illusion, but the fluidity and grace Chaplin demonstrated were absolutely genuine.

In 1989, the Library of Congress deemed Modern Times “culturally signifi-cant,” and it is now preserved in the Na-tional Film Registry.

Not just any conductor can handle the demands of synchronizing the often rapid-fire scores with the images, Spiv-ey says, but Alsop obviously enjoys the challenge.

“I need one eye on the image, one eye on the musicians and one eye on the score,” she explains, and then paus-es, realizing what she has said. “Oh,” she laughs, “I am missing an eye!”

But Chaplin rightly is considered one of the funniest men of all time; Modern Times is silly more often than it is somber, and it showcases some of the most inspired bits of physical com-edy ever filmed.

In one classic scene, the Little Tramp is working on an assembly line turning out widgets. Although he can barely keep up with the rapid pace of the con-veyor belt, the heartless factory owner keeps ordering the assembly line to go faster. The result is a frantic, slapstick ballet with a hefty dash of Harpo Marx-style zaniness thrown in. I Love Lucy fans

will instantly recall Lucy and Ethel’s bat-tle with the bonbons in the candy facto-ry, a classic bit in its own right that obvi-ously was inspired by Modern Times.

In another stunning sequence in the film, Chaplin’s impeccable comic timing and his remarkable agility are displayed in an attempt to impress the gamine. The Little Tramp roller skates blindfold-ed, performing graceful arabesques, nim-ble pirouettes and backward glides on one foot, all the time unaware of being

down and orchestrate them. His Mod-ern Times a music director and composer, Alfred Newman, went on to win near-ly 10 Oscars for his film adaptation of scores, including those for The King and I and Camelot.

Modern Times is alternately satiric and sentimental. Its theme is the dehu-manizing effects of industrialization on the common man. As the film unreels, the Little Tramp and the unnamed “ga-mine,” love interest Paulette Goddard (later to be Chaplin’s third wife), are re-peatedly abused and humiliated by an indifferent, “modern” world. Chaplin

was said to have been inspired to make the movie in part by a conversation with Mahatma Gandhi in which Gandhi complained about “machinery with only consideration of profit.”

BSO Vice President of Artistic Operations Matthew Spivey says Mod-ern Times tackles other serious subjects, too, such as drugs, crime and poverty. It also inspired a group of French existen-tialists to name their journal Les Temps Modernes.

BSO continues tradition of celebrating Charlie Chaplin with a live screening of his satire on industrialization By M.J. McAteer

baltimore Symphony orchestra presentsChaplin’s Masterpiece: Modern Times Saturday, may 11, 8 p.m.


he National Philharmonic has had experience with music education and out-reach programs in its near-

ly 10 years, mostly through the Strathmore Student

Concerts sponsored by Montgomery County Public Schools, Strathmore and the Philhar-monic. But when it got a request from the William E. Doar Jr. Public Charter School for the Performing Arts in Washington, D.C., it was something much different.

“Hugely different,” said Piotr Gajews-ki, National Philharmonic’s music director and conductor. “In the past, the most we would do are programs where we might go into a school, do a couple of special class-es with kids, or play some music for them, those kinds of things. For the Doar School, we were asked to completely create and de-liver its music curriculum.”

Creating such a groundbreaking program happened quickly, with the first meetings oc-curring less than a year ago. Contracts were signed in the summer for a program that was in place in time for school to begin in Au-gust 2012.

The Philharmonic hired three full-time instructors, loaded the school with instru-ments and began a rigorous program such that every student in kindergarten through second grade receives Suzuki violin training each day.

Students in grades three through five who select music as one of their two areas

of concentration receive intensive in-struction in a new piano lab, vocal train-ing or lessons on an orchestral instrument of their choice. Music students in sixth through eighth grades spend more than six hours a week in daily music instruction, reading music, developing skills and creat-ing musical projects for presentation.

“In time,” says Doar Chairman of the Board John Goldman, who was the catalyst for the program, “we hope to have the re-gion’s finest orchestra of eighth-graders.”

The National Philharmonic is one of three professional arts organizations that have partnered to provide free intensive arts instruction at Doar, a charter school with about 425 students in Northeast Washing-ton; the others are the Kirov Academy of Ballet of D.C. and the Shakespeare Theatre Company. Students who choose concentra-tion in dance or theater still receive an hour of general music instruction each week.

“It’s a pretty amazing opportunity that we’ve been given here—to be invited in to do something of this scale,” says Victoria Gau, associate conductor and director of ed-ucation at the National Philharmonic. “It’s a model that doesn’t have a lot of precedent in terms of an orchestra going in and building this program from the ground up.”

A number of National Philharmonic mu-sicians have visited the school, various quin-tets and quartets have put on concerts, and the students have all been invited to the orchestra’s home at the Music Center at

The National Philharmonic,

in a unique arrangement,

created and delivers

music curriculum at Washington,

D.c.’s Doar School

By Roger Catlin

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Suzuki violin training for kinder-gartners through second-graders is part of the music curriculum created and delivered by the National philharmonic at the Doar School.

Strathmore, where the policy has long been that children 7 to 17 are admitted free to Philharmonic performances.

Doar officials are already seeing a jump in test scores; the discipline and respect required of students in music classes car-ries over to their other studies. “It’s a rad-ical transformation for the positive that we’re tremendously proud of,” says Gold-man. “I don’t think I’m being too bold in saying that what is happening here is something that will be modeled locally and nationally because of its success. And along the way there will be some very good music.”

“Seeing the progress on so many differ-ent levels on how the students are work-ing and learning and participating has been very rewarding,” says Gau. One special ben-efit, she says, has been “watching the stu-dents’ eyes light up with ,music.”

At the annual Strathmore Student Con-certs in the fall, the Doar students “were just bursting with excitement,” Gau says. The students attended as a special visit so they could see the full orchestra perform. “When they were asked their favorite part of concert, they all said the violinist who had been soloist, because these kids were all playing violin in the second grade.”

“We’re teaching kids, a vast majority of whom have never had a classical music ex-perience of any kind,” Gajewski says. “And many come from difficult family situations and, in some cases, tough neighborhoods. To ask an eighth-grader like this to listen to a piece of music such as Debussy’s Prelude to The Afternoon of a Faun and describe it, and he says, ‘it sounds like a sunset’—that just brings tears to my eyes. The music is reach-ing them, opening up parts of these children that are not open all that often.”

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organ is never an end in itself. It’s an instrument.”

One that Carpenter has been, well, instrumental in taking out of the lofts of churches and onto the center stages of concert halls with his eclectic reper-toire of classical works, jazz and pop col-laborations and original compositions.

“The great pleasure of being able to be onstage in front of people is to be naked, to be there completely for the people for whom I’m performing.

“That’s why I fly around the world. . . . to make an ultimate musical state-ment, and to take the audience along on musical flights of fantasy.”

First, though, he’ll shake a few hands, sign a few programs, meet a few music lovers—now, while he still can.

as traditional in the extreme.”And what could possibly be more

traditional than playing the organ? But Carpenter does more than just play: he presides over the organ, feet and hands a blur. And he is happy to eschew the “miles of wire and feet of pipe” that leave traditional organs immobile in gloomy cathedrals in favor of the latest, technologically superior digital organs.

“I do consider myself revolutionary in a lot of ways,” he adds. “But revolu-tion must be considered in context. I believe the digital organ is the most im-portant development in the organ’s his-tory, and that the contentiousness about it has been something of a smokescreen. There’s a fetishism of the instrument, an idea that the organ is the point. But the

RStrathmore

ile it under “the haz-ards of fame.”

Musician Cam-eron Carpenter likes nothing better than to meet the audience

before a performance: “My only first chance to connect with people.”

But lately Carpenter, 31, a classi-cally trained organist who has gained increasing acclaim by pushing the boundaries of what his instrument can accomplish, has been drawing crowds that make pre-show mingling a chal-lenge. “I’m happy to say it’s increasingly difficult for me to do that because of the number of people coming to my con-certs,” he says.

That’s because Carpenter has taken the organ, that imposing collection of ranks and stops of wind-blown pipes most commonly found in church chan-cels and galleries, and made it his own unique and mesmerizing music delivery system. He’s become known to concert-goers around the world as an innova-tor, someone who takes the “glittering emotion machine,” as he calls the pipe organ, and uses it to thrill with music that’s at once familiar and incredibly elevated.

“I’m trying to present an incredibly honest portrayal and expression of ec-stasy,” says Carpenter, who will perform at the Music Center at Strathmore at 8 p.m. April 12. “I regard what I’m doing

Cameron Carpenter pipes up about the organ, the audience and ‘musical flights of fancy’ By Chris Slattery

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Strathmore presentsCameron Carpenter Friday, april 12, 8 p.m.

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bSo principal Flute Emily Skala helps students find harmony from within before picking up an instrument By Laura Farmer

hen BSO Prin-c i p a l F l u t e Emily Skala de-scribes a typical flute lesson with one of her stu-

dents, you might wonder if you accidentally walked into a yoga studio instead of a music lesson.

“First, I have the students stretch and identify any restric-tions in their body,” says Skala. “We may spend a good por-tion of the lesson focusing on how to breathe fully to height-en the student’s self-awareness, or spend time isolating and stretching tissues in the hand.”

Skala’s emphasis on a well body as the foundation for great flute technique is based on years of research, often using herself as the guinea pig. A yoga enthusiast and avid fan of aromatherapy, she relies on these age-old remedies to help manage the stress and body fatigue that are a side effect of her busy schedule. Not only does she teach at The Peabody Institute in Baltimore, and maintain an intense practice and performance schedule, but Skala also must focus on raising her high school-aged daughter, Sophi.

“I apply rose oil each morning,” she says. “It opens my heart and mind and lifts my spirits at the start of the day. It helps me all day long.”

The therapeutic use of essential oils is just one of the alter-native approaches to wellness that Skala draws pulls from what she calls her “toolbox” of remedies.

Another tool in that box is “Rolfing.” Named for its founder,

Ida Rolf, this massage technique seeks to restructure the fas-cia—the sheath-like connective tissue that binds muscles to-gether— with the goal of improved body alignment and re-duced pain.

“When you think about it, musicians really are athletes. We practice the same repetitive motions for hours each day and that can really wear down those muscles.”

Skala credits these strategies with helping her remain injury-free throughout her nearly 30-year performance career, and says they’re a key to her critically acclaimed flute performances. Moreover, she is passing this holistic approach on to her students.

“I help the students replace any tension caused by fear and inhibition with harmony within their own bodies, which frees them to experience the sheer joy of making music.”

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love of improvisation—and a little bit of lightning—bond members of Time for Three By Kathleen Wheaton

he charismatic and genre-bending vio-lin and double bass trio Time for Three owes its existence in part to a summer

thunderstorm. More than a decade ago, three stu-

dents at Philadelphia’s Curtis Insti-tute of Music formed a friendship over a shared love of jamming and impro-vising. Violinists Zachary de Pue and Nicolas Kendall, both fans of country western and bluegrass, began fiddling together in their free time; they were soon joined by double bassist Ranaan Meyer, who contributed his love of jazz to the mix.

What might have faded to a fond-ly remembered creative outlet instead caught fire at a July 2003 performance at Philadelphia’s Mann Center for the Per-forming Arts. De Pue and Meyer—then members of The Philadelphia Orches-tra—improvised an acoustic jam session during a power outage caused by light-ning. The audience went wild for their renditions of “Ragtime Annie” and “Or-ange Blossom Express,” and a musical paradigm was born. The self-proclaimed “classically trained garage band” will perform with the Baltimore Symphony Orchestra at 8 p.m. May 2 at the Music Center at Strathmore.

After two critically acclaimed CDs and over a thousand live concerts, audi-ence response is still key to what makes

Time for Three such electrifying per-formers. “The group definitely feeds off the moment,” says de Pue. “Even having one extra person in the room affects how we play.”

At Strathmore, the group will perform Pulitzer Prize-winning composer Jennifer Higdon’s Concerto 4-3, which she wrote for the trio. The group has never played the unorthodox, slightly amped concerto exactly the same way twice, says de Pue: “It depends on the vibe in the room.”

Like members of any self-respecting garage band, Time For Three members toggle between the group and their “day jobs,” which include a residency with the Indianapolis Symphony Orches-tra, where de Pue serves as concertmas-ter. Meyer, in addition to composing, de-

votes part of every summer to teaching at string camps for young bassists. Kend-all, a Silver Spring native, is a member of the East Coast Chamber Orchestra and the Dryden String Quartet.

Time for Three plans to release a new CD this year and also would like to pro-duce another music video following the YouTube success of “Stronger,” in which the trio covers the song by American hip-hop artist Kanye West and French electronic music duo Daft Punk. The storyline movingly portrays a teen vio-linist rising above school bullies. “It re-flects our personal experience,” Meyer says. “Carrying a double bass around didn’t always make you the coolest kid in school. Our message to younger musi-cians is to follow your heart.”

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FLASH, CRASH & JaM

baltimore Symphony orchestra presentsTime for Three thursday, may 2, 8 p.m.


classical guitarist manuel barrueco (right) will teach a master class in april as part of his ongoing relationship with the levine School of music.

how to participate in a blues jam. A coached jam session follows, and every-one will have the opportunity to solo and plan accompaniment.

Other opportunities for students in-clude Levine’s annual master class se-ries. The April 4 class, which is free and open to the public, will feature classical guitarist Manuel Barrueco.

In addition, several guitar inten-sives are being offered by Levine on the Strathmore campus, including a session on electric guitar for teens and adults as well as blues guitar sessions for beginning and advanced adults. These classes are ways students can improve their skills in a supportive atmosphere with fellow stu-dents and Levine faculty, Carlson says.

Whether a guitar student has a wide or focused interest in genres, he or she can find a happy musical home at Levine. “We have extraordinary guitar instructors at Levine—they are high-ly trained and dedicated to their stu-dents,” Carlson says. “I think it’s quite unusual for a community music school to have such a distinguished faculty, available to anyone at any level inter-ested in studying the guitar.”

hen you walk through the Levine School of Music’s halls at Strathmore, you hear so much more than just piano or classi-

cal music. Private lessons are offered on more than 22 instruments and guitar is just one of the instruments you’ll hear reverberating in the halls.

“The guitar is an extremely versatile instrument,’ says Risa Carlson, Levine faculty member and chair of the guitar department. “There is such a huge va-riety in the styles of music that one can play on the guitar—from Renaissance

to rock and everything in between, it’s all part of our repertoire.”

Levine faculty members’ guitar ex-pertise ranges from electric to acous-tic and from jazz to blues. Students can study classical, jazz, rock and other con-temporary styles, Carlson said. “Also, since the guitar is so ubiquitous in our culture, everyone can relate to it, at any age. We have kids starting guitar lessons as young as 3 ½ years old and our oldest student right now is in his 80s.”

One great opportunity for students to demonstrate new skills is at Levine’s Blues Jam. The session begins with a one-hour class covering the basics of

w

Strum, pick, pluck

Blues JamSaturday, March 2, 20136:30-8:30 p.m.the music center at Strathmoreeducation room 309Free for levine students; $5 for the general public

Master Class with Manuel BarruecoThursday, April 4, 20137 p.m. the music center at Strathmoreeducation room 309Free and open to the public, rSVp requested

summer Guitar IntensivesElectric Guitar Intensive (Teens & Adults): 5-8 p.m. july 8-12Beginning Blues Guitar (Adults): 7-8 p.m. mondays and Wednesdays, july 15-31Advanced Blues Guitar (Adults): 7-8 p.m. tuesdays and thursdays july 16-aug. 1

Levine School of Music’s guitar department stresses the instrument’s flexibility By Briana Maley

RStrathmore

Chevy Chase CARS

thoroughlyThielemann

RWaShiNGtoN perFormiNG artS Society


With an all-Brahms program, commanding conductor draws on passion for German Romantic works in his area

debut with Staatskapelle Dresden

by Kathleen Wheaton


Washington performing arts Society presentsstaatskapelle Dresden tuesday, april 16, 8 p.m.

a e s t r o C h r i s t i a n Thielemann began studying the piano at age 4, and by age 6 was also taking organ lessons—a fact he

managed to keep secret from his piano teacher. Finally, the teacher guessed the truth, and the boy confessed that the sound of the organ attracted him be-cause it had “more colors.”

He then began studying viola, but soon the Berlin-born prodigy realized that the instrument with the most col-ors of all was the orchestra: “So I de-cided, very young, that I wanted to be a conductor.”

Appointed in 2012 the principal con-ductor of the Staatskapelle Dresden, widely recognized as one of the best or-

chestras in the world, the 54-year-old Thielemann might be forgiven for feel-ing satisfied. In his view, however, the best is yet to come: “Conductors are like a great wine—the older, the bet-ter.” Thielemann believes that while a young conductor can be “promising,” or “have fire,” his ideal comes from his long-time mentor Herbert von Karajan, who knew his orchestra so well that he could conduct “with an eyebrow, or a raised finger...I learned from him to listen to musicians, to breathe with them.”

Thielemann will make his Wash-ington, D.C. debut with the Staatska-pelle Dresden at 8 p.m. April 16 at the Music Center at Strathmore. The all-Brahms program should perfectly show-case Thielemann’s gift for coaxing out a sumptuous German Romantic sound, says Samantha Pollack, director of pro-

gramming for the Washington Perform-ing Arts Society. “A match made in heaven,” she says. “From the exuber-ance of the Academic Festival Overture to the violin lament which opens the Fourth Symphony, it will be impossible not to be taken in emotionally.”

His appointment to lead the Sta-atskapelle Dresden has produced an-other kind of magic. Founded in 1548, it is the oldest continuous orchestra in the world. The orchestra has a storied history of working closely with legend-ary conductors and composers, includ-ing a 60-year relationship with Richard Strauss—the orchestra premiered nine of his operas.

“The Dresden Staatskapelle sound like they have been playing together since 1548,” Pollack says. “Their sound

is full and lush, yet incredibly cohesive and precise.”

Thielemann began his profession-al career in 1978 as a rehearsal pianist with the Deutsch Oper Berlin. A year later, at age 20, he became Karajan’s as-sistant. The famous Austrian conductor advised him to work his way up through small theaters and opera houses, and Thielemann did just that—at Karlsruhe, Hanover and Dusseldorf. At 31, he be-came Germany’s youngest music direc-tor of the Nuremburg Staatskapelle. He returned to the Deutsche Oper Ber-lin in 1991 to conduct Wagner’s Lohen-grin; the monumental opera has become a signature piece. His U.S. conducting debut, of Strauss’ Elektra with the San Francisco Symphony in 1991, was fol-lowed by enthusiastically received con-certs in Chicago and New York.

Beginning this year, Thielemann will also direct the Salzburg Easter Festi-val, founded by Karajan in 1967. Kara-jan’s profound influence on the younger conductor can be observed in Thiele-mann’s ability to coax rich, voluptuous sound from his orchestra. And, like Karajan, Thielemann is identified with a traditional school of Austro-German conducting that values Romantic inter-pretations and elastic tempos, and one that cedes full authority to the conduc-tor. “An orchestra is not a democracy,” Thielemann has said. His insistence on protecting his vision for the orches-tra he conducts has led to clashes, and he stepped down early from posts at the Deutsche Oper Berlin in 2001 and the Munich Philharmonic in 2011.

But audiences and musicians alike re-vere him for his deep and intuitive un-derstanding of German Romantic rep-ertoire. Critics have remarked on his ability to probe musical scores from with-in, achieving a re-creation of the original that feels almost mystical.

Thielemann believes that learning to deal with tradition is one of the biggest challenges facing German musicians: “After World War II, a generation came of age in Germany that distrusted tradi-tion because it had been misused,” he has said. Born in East Berlin, he was not yet 30 when the Berlin Wall came down in November 1989, an event he attend-ed and which moved him deeply. “I am rooted in German culture, why should I fight against that?”

Delving deeply into beloved compos-ers including Strauss, Wagner, Pfitzer, Bruckner, Brahms and Beethoven has enabled Thielemann to reach what is universal in music: “If you’ve just gone through something terrible and you near the beginning of the St. Matthew Passion or a Mozart symphony, the music carries you away from those thoughts,” he has said. “That is magic.”

the Dresden Staatskapelle’s sound “is full and lush, yet incredibly cohesive and precise.”

Samantha Pollack

mthoroughly

The Red Mill, by Victor HerbertThe Victorian Lyric Opera CompanyJune 7, 8, 14, & 15 at 8pm June 9 & 16 at 2pm

VLOC presents this musical comedy about two broke American vaudevillians who run out of funds while touring Europe. A Broadway hit in 1906, The Red Mill is a precursor to the modern American musical and not to be missed!

Find out more: www.vloc.org

Dance BethesdaBethesda Urban PartnershipMarch 8, 7-10:30pm • FREE Dance Lessons March 9, 8pm • Dance Concert

On Friday, Bethesda dance studios offer free lessons and dance parties. Saturday Dance Concert features six of the region’s top dance companies. Tickets $20-Adults, $10-children.

www.bethesda.org or 301-215-6660

Enroll Now for Adult ClassesLive & Learn Bethesda

Arts/Music/Humanities classes for adults at the Bethesda-Chevy Chase Regional Services Center adjacent to the Bethesda Metro.

View our current catalog and register for classes at www.liveandlearnbethesda.org, or call us at 301-740-6150.

Bethesda Film FestBethesda Urban PartnershipMarch 23, 8pm

Celebrates the work of local and regional documentary filmmakers with a formal screening featuring up to five short documentary films by filmmakers from MD, VA and D.C. Tickets $10.

www.bethesda.org or 301-215-6660

DOandGO.org is a service of the Arts & Humanities Council of Montgomery County

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AT GLEN ECHO PARK!

GlenEchoPark.org 301-634-2222

Browse our online catalog & register today!

We off er a wide variety of day camps for children and teens in visual & performing arts.

Our summer camps include the Glen Echo Park Young Artists Camp for ages 11-13 & 14-16 & many more.

� e International Conservatory of Music� e John E. Marlow Guitar Series

presents

marlowguitar.org

SaturdayMarch 16, 2013

8pm

SaturdayApril 13, 2013

8pm

David Russell, Spain

Marcin Dylla, Poland

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La Bayadère, Empyrean Skies and Coronation of the Dragonfly QueenMarch 23 & 24 Robert E. Parilla Performing Arts CenterMontgomery College, Rockville

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Friday, March 1, 2013, 8 p.m.


line Live!’s energetic cast has honed its precision and energy with years of train-ing in marching band programs across the southern United States.

This versatile group of musicians and dancers brings an explosive energy and athleticism to an eclectic mix of sounds. Equally at home with contemporary hip hop, R&B, classic Motown tunes and the rousing sounds of the great brass tradition, Drumline Live! is thrilled to share the American marching band experience with a wider audience.

FRIDAY, MARCH 1, 2013, 8 P.M.

●Strathmore presents

Drumline live! Africa INTERMISSION

Drum Major/Shout It Out Street Beat

American Soul Swingin’

The King Halftime

Midnight Magic Ultimate Drum Battle

Gospel HBCU DRUMLINE

Funky Footwork

Don P. Roberts, creator/director/musical director

Tour StaffReggie brayon, company manager

Keith bernard. tech directorKD Morley, sound engineer

Toi Whitaker, costume manager

Creative TeamDon p. Roberts, creator/director/musical director

brian Snell, assistant musical directorJacques bell, assistant show director/choreographer

Demetrius Hubert, percussion directorXavier pierce, lighting designerHarlan penn, scenic designer

Glenda Morton, costume designerTrudy Jones, assistant costume designer

Raymond Rolle ii, lindsey Sarjeant, Keven Shepherd, Nicholas Thomas and Terry Jones, arrangers

the music center at Strathmore marriott concert Stage

Drumline Live!Drumline Live! kicks off its fourth U.S. tour in the 2012-2013 season following its extremely successful tours in 2008-2009, 2010-2011 and 2011-2012. Drum-

HistoryHistorically Black Colleges and Uni-versities (HBCU) are institutions of higher learning that were established with the intention of serving the African-American community. There are more than 100 historically black colleges in the United States, located almost exclusively in the Southeast.

It was in these bastions of higher education that the tradition of the show style marching band was born. The tradition began more than 50 years ago at Florida A&M Univer-sity. HBCU marching bands began, as most do, as support for the col-lege football team. The bands have since grown into a sport of their own, featuring characteristic high stepping, funky dance rhythms and exciting musical repertoire ranging from classi-cal to Top 40.

Marching band competitions can draw audiences of 60,000 or more each and are a testament to the popularity of the sport. But it is only recently, with films such as Drumline, that this tradition has begun to cap-ture the American public.

Program NotesAfricaThe musical journey begins with the ancient rhythms of the world’s first drummers flying on the wings of time, re-invented in the sound and fury of a new band of musicians.

Drum Major/Shout It OutThe band makes its grand introduc-tion with loud music, choreography and unbridled energy.

American SoulSome call it Motown. Some call it soul. Revel in the sounds that defined an American musical genre.

The KingMusicians and performers share a highlight reel from Michael Jackson, featuring choreographed renditions of “Smooth Criminal” and “Billie Jean.”



precision of the HBCU drumline.

Funky FootworkNothing can prepare you for the dazzling choreography of the HBCU dance routine and musical selections that highlight the best of the ’80s and ’90s hip hop.

Ultimate Drum BattleThe one-on-one battle of some of the best drummers you have ever witnessed.

HBCU DrumlineThe bass drums sound like thunder, the flash of cymbals is like lightning.This number showcases the power and

Midnight MagicThese ghostly drummers are hip and magical. The performers cloak the concert hall in darkness, performing with LEDs, neon lights and glow-in-the-dark elements.

GospelThe band puts on its Sunday-go-to-meetin’ clothes for a hand-clapping, heart-thumping celebration of America’s southern gospel music.

Street BeatThis action packed group of percus-sionists will amaze.

Swingin’The musicians commemorate the sounds of the Big Bands, with a swing medley fit for dancing and jiving.

HalftimeEnjoy this tribute to the iconic half-time extravaganza made famous by HBCU bands from across America.

EuphoniumBayshawn HolmesBrandon Kirksey PercussionPaul WoodsChris BelcherBernard SmithMaurice MosleyAnthony Pasquini

French hornsDarrell JohnsonMark Chapman BassesMichael JonesLarry Chery TromboneEdwin BlakelyAaron DavisTravord RolleReuben AhukannaJeffery Walker

TrumpetWilliam ThompsonGladstone EdwardsAheisha DukeEddy FalconYamin MustafaLarry AllenAnthony Scott

SaxophonesLarry J. Smith IIJacques Bell

DancersMicki JohnsonAlicia DixonCormesha JohnsonTekelya Willis

Drum MajorBrian Snell HostSlater Thorpe

Drumline Live! CAST

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A - R T S . O R G R O C K V I L L E T O W N S Q U A R E . C O M

saturday, March 2, 2013, 8 p.m.

30 applause at Strathmore • MARCH/APRIL 2013

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SATURDAY, MARCH 2, 2013, 8 P.M.

●The National philharmonic

piotr Gajewski, Music Director and conductor

presents

The american virtuoso violinPiotr Gajewski, conductor

Elena Urioste, violin

Signs of Life II Russell Peck Arioso (1945 - 2009)

Scherzo

Two Lyric Pieces Steven R. Gerber (world premiere) (1948-)

Violin Concerto Andreas Makris (1930-2005)

Serenade (after Plato’s Symposium), Leonard Bernstein for Solo Violin, String Orchestra, (1918-1990) Harp and Percussion i. phaedrus: pausanius (lento: Allegro)

ii. Aristophanes (Allegretto)

iii. Erixymathus (presto)

iV. Agathon (Adagio)

V. Socrates: Alcibiades (Molto tenuto: Allegro molto vivace)

All Kids, All Free, All the Time is sponsored by The Gazette

This performance is part of Strathmore’s series Storied Strings: The Violin in America, a season-long exploration of the violin in American music.

The Music center at Strathmore • Marriott concert Stage

Piotr Gajewski, conductorPiotr Gajewski is widely credited with building the National Philhar-monic to its present status as one of the most respected en-sembles of its kind

in the region. In addition to his appearances

with the National Philharmonic, Ga-jewski is much in demand as a guest

conductor. In recent years, he has ap-peared with most of the major orches-tras in his native Poland, as well as the Royal Liverpool Philharmonic in England, the Karlovy Vary Sympho-ny Orchestra in the Czech Republic, the Okanagan Symphony in Canada and numerous orchestras in the Unit-ed States.

Gajewski attended Carleton Col-lege and the University of Cincin-nati, College-Conservatory of Music, where he earned a bachelor’s of music

and a master’s of music. in orchestral conducting. Upon completing his for-mal education, he continued refining his conducting skills at the 1983 Tan-glewood Music Festival in Massachu-setts, where he was awarded a Leon-ard Bernstein Conducting Fellowship. His teachers 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 Sto-kowski Conducting Competition.

Elena Urioste, violinElena Urioste has been hailed by critics and audi-ences alike for her rich tone, nu-anced lyricism and commanding stage presence.

Since mak-ing her debut with The Philadel-phia Orchestra at age 13, she has ap-peared as soloist with major orchestras throughout the U.S., including the Boston Pops; National Symphony Orchestra; and Cleveland, Atlanta, Detroit, Pittsburgh, Baltimore, New Mexico and San Antonio symphony orchestras.

Urioste plays a Michelangelo Ber-gonzi, Cremona (circa 1750).

Program NotesSigns of Life II

russell peck Born Jan. 25, 1945, in Detroit, Mich.; died in North Carolina in 2009

Russell Peck’s music is notable for col-orful and idiomatic orchestration and an exceptionally accessible personal style in which he combined the classi-cal idiom with a recognizable influence of popular American musical language.

Early in his career, Peck served as composer-in-residence for the city of Indianapolis. His orchestral



compositions have been performed internationally, as well as by major American orchestras. In 2000-2001, a consortium of 39 American orchestras commissioned Peck’s Timpani Concer-to “Harmonic Rhythm.” The premiere performances began with the Louisville Orchestra and proceeded with orches-tras throughout the country.

For more than 30 years, Peck col-laborated with his friend Marshall Gor-don to create and implement a world-wide policy for eradicating starvation. As Peck wrote, “a starvation-free world is utterly imperative for any hope of world peace.”

Signs of Life for symphonic strings was written in two movements: a lush Arioso and a jazzy Scherzo, using many exotic string sounds including the com-poser’s innovative “peckzicatto” tech-nique. Signs of Life II added an Alle-gro, subtitled “Don’t tread on me,” as a first movement to those two, together creating a three-movement work. The music is often a fusion of styles with spiky texture, jazzy rhythms and re-petitive themes. The composer wrote: “Signs of Life is a joyous work written in a language and style which asserts the continuing power of such tradition-al devices as tonality and meter to ex-press beautiful and scintillating musi-cal thought.” The inventive work, both fresh and accessible, contains all kinds of string techniques applied in imagi-native and engaging ways.

Two Lyric Pieces (World premiere)

Steven R. GerberBorn in 1948 in Washington, D.C.

After the American premiere of his Violin Concerto at the Concert Hall of The John F. Kennedy Center for the Performing Arts in 1995 by Kurt Nikkanen and the National Chamber Orchestra under Piotr Gajewski, the Washington Post called it “a major addi-tion to the contemporary violin reper-toire: lyrical, passionate, beautifully tai-lored to the instrument’s character and capabilities ... Gerber has revived the spirit of romanticism in this work, with a strong sense of tonal melody and of

the dramatic effects and surprises still possible in traditional forms... one of the year’s most memorable events.”

Carter Brey premiered Gerber’s Cello Concerto with the same orches-tra and conductor in 1996. Recent works of Gerber’s include a Viola Con-certo written for Yuri Bashmet and premiered by Bashmet at his summer festival in Tours, France; String Quar-tets nos. 4 and 5, written respectively for the Fine Arts and Amernet String Quartets; “Spirituals” for clarinet and string quartet, commissioned by Con-certante Chamber Players for perfor-mances in 2000 at the Library of Con-gress and Merkin Hall (NYC) and in Harrisburg; a Clarinet Concerto for Jon Manasse, premiered by him with the National Philharmonic Orches-tra under Maestro Gajewski, and Fan-fare for the Voice of A-M-E-R-I-C-A, premiered in 2003 at a 9/11 memorial concert.

Gerber’s music is also well-known in Russia and Ukraine; several of his major works were given their world premieres there, including “Dirge and Awakening” by the Russian National Orchestra under Mikhail Pletnev at the Great Hall of the Moscow Conser-vatory, his Violin Concerto by the No-vosibirsk Philharmonic under Arnold Katz, with soloist Kurt Nikkanen, and “Serenade Concertante” by Cham-ber Orchestra Kremlin under Misha Rachlevsky at the Small Hall of the Moscow Conservatory.

Gerber recently completed a new or-chestral work, “Music in Dark Times,” commissioned by Vladimir Ashkena-zy and premiered in 2009, with Ash-kenazy conducting the San Francisco Symphony.

Two Lyric Pieces makes its world pre-miere at tonight’s concert. Gerber ex-plains, “Two Lyric Pieces for solo violin and string orchestra (2005) are very different from my Violin Concerto,” also premiered by Gajewski and the National Philharmonic, in its previ-ous incarnation as the National Cham-ber Orchestra (they also recorded the concerto on KOCH International). Whereas the concerto was dramatic

and full of contrasts, this work is small-scale and entirely lyrical; as the title indicates, the two movements are not altogether dissimilar in character. The first movement frames a central sec-tion with an introduction and coda; the central section itself begins as a berceuse or lullaby, followed by a sec-ond melody over a repeating bass-line. The second movement is a passacaglia whose theme is first stated by the solo violin unaccompanied.

violin Concerto

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

Andreas Makris studied violin at Greece’s National Conservatory, later moving to the U.S. in 1950, to con-tinue at Phillips University in Enid, Okla. He subsequently studied at the Kansas City Conservatory in Mis-souri and Mannes College of Music in New York, from which he graduated in 1956. Further training followed at the Aspen Music Festival and at the Fon-tainebleau School in France, where Makris studied composition with Nadia Boulanger.

Makris played violin with the Dallas Symphony and the St. Louis Sympho-ny orchestras, but it was the Nation-al Symphony Orchestra to which he dedicated most of his performing life. In 1961, at the invitation of conductor Howard Mitchell, he joined the first vi-olin section and remained there for 28 years, working under Mitchell, Antal Doráti, Mstislav Rostropovich and Leonard Slatkin. During his tenure, many of his compositions were per-formed by the symphony, and, in 1970, he became the first composer to have a work premiered at The Kennedy Cen-ter. In 1995, he composed a work hon-oring the center’s 25th anniversary.

From 1979 to 1989, Makris served as NSO’s composer in residence, writ-ing and arranging numerous incidental pieces for the symphony, including a piece for Leonard Bernstein’s birthday and an arrangement of Paganini’s Moto



Perpetuo, which became a standard en-core on the NSO’s many tours. He re-ceived several grants and awards for his compositions, including a Nation-al Endowment for the Arts grant and an ASCAP award. Upon his retire-ment from the NSO, Makris rededi-cated himself to composing.

In 1985, Makris developed a close friendship with National Philhar-monic Music Director and Conductor Piotr Gajewski, at whose request he then composed several works for the Philharmonic. Among them are the Symphony for Soprano and Strings, the Violin Concerto and Strathmore Overture (composed for the National Philharmonic’s gala inaugural concert at the Music Center at Strathmore). Sadly, Makris died just a few days be-fore Strathmore Overture premiered.

Makris composed the Concerto for Violin and Strings in 1996 for the Na-tional Chamber Orchestra (now the National Philharmonic) and its con-certmaster Jody Gatwood. The con-certo has four movements and ex-plores the various possibilities of string textures and their expressive capabilities.

The first movement begins with a brief introduction in which quick or-chestra passages alternate with slow-er-paced solo cadenzas. The move-ment then develops along a classic sonata allegro form with a pensive coda at the end. Much like Makris’ other slow string movements, the second movement contrasts low string melodies and shimmering vio-lin tremolos with pizzicato contrasts and occasional violent forte cluster interruptions.

The third movement is taken from a solo violin piece composed in 1988 entitled Caprice Tonatonal. The solo Caprice is brilliantly humorous; for the concerto, Makris simply adds a clever string orchestra accompani-ment. The fourth and final movement opens with a reminiscence of the pre-vious three movements followed by a short cadenza. A dancing tune fol-lows and is developed. A short trem-olo section interrupts the romp, and

First Violinsjustine lamb-budge,

Concertmasterjody Gatwood,

Concertmaster emeritus

brenda annamichael barboureva cappelletti-chaomaureen conlon-

Doroshclaudia chudacofflisa cridgeDoug Dubélysiane Gravel-lacombejennifer Kimregino madridKim millerjennifer rickardbenjamin Scottleslie Silverfinechaerim Smitholga yanovich

Second Violinsmayumi pawel, PrincipalKatherine budnerarminé Grahamjustin Gopaljune huangKarin Kelleheralexandra mikhlinlaura millerjoanna owenjean provinerachel Schenkerjennifer ShannonNing ma Shihilde Singercathy Stewartrachael Stockton

Violasjulius Wirth, Principaljudy Silverman,

Associate Principalphyllis FreemanNicholas hodgesleonora KarasinaStephanie Knutsenmark pfannschmidtmargaret prechtljennifer rendeSarah Scanlonchris Shiehtam tran

Cellos lori barnet, Principalapril chisholmDanielle choKen Dingandrew hessephilip von maltzahntodd thielKerry Van laanen

Bassesrobert Kurz, PrincipalKelly aliShawn algerbarbara FitzgeraldWilliam honesed malagamichael rittlingmark Stephenson

FlutesDavid Whiteside, PrincipalNicolette oppeltDavid laVorgna

PiccoloDavid laVorgna

Oboesmark hill, PrincipalKathy ceasar-Spall

Fatma Daglar

English Hornron erler

Clarinetscheryl hill, Principalcarolyn alvarez-agriaSuzanne Gekker

Bass Clarinetcarolyn alvarez-agria

Bassoonserich hecksher, Principalbenjamin GreanyaSandra Siskying-ting chiu

ContrabassoonNicholas cohen

French Hornsmichael hall, Principalmark Wakefieldjustin Drewmark hughesKen bell

Trumpetschris Gekker, Principalrobert birchcarl rowejohn abbraciamento

TrombonesDavid Sciannella,

Principaljim armstrongjeffrey cortazzo

TubaWilliam clark

Timpani & Percussion tom maloy, Principalaubrey adamscurt Duerrobert jenkinsbill richards

Harp rebecca Smithelizabeth blakeslee

KeyboardWilliam Neiljeffery Watsontheodore Guerrant

Sopranos marietta r. balaanKelli bankardahdia bavarimary bentley*jocelyn bondcheryl branhamrosalind breslowrebecca carlson**anne p. claysmithNancy a. coleman**Victoria coronaeileen S. Demarcolauren Drinkwateralejandra Durán-böhmelisa edgleyamy ellsworthShirley j. FanSarah b. Formancaitlin a. Garrycarrie hendersonDebbie hendersonjulie hudsonrobyn Kleinerjessica holden KlodaStephanie linkKaelyn lowmasterSharon majchrzak-honganaelise martinezKathryn mcKinleySara W. moses

Katherine Nelson-tracey*mary beth NolanGloria Nutzhornjuliana S. o’Neilllynette posorskemaggie rheinsteincarlotta richardlisa romanotheresa roysaida l. SánchezKatherine SchnorrenbergShelly a. Schubertmichelle Struckecarolyn j. Sullivanchelsea toledoellen van ValkenburghSusanne Villemarettelouise m. Wageramy Wenneremily Wildricklynne Woods

Altos marsha adlerhelen r. altmanSybil amitaytoni barrettlynne Stein benzioncarol brunoerlinda c. DancerSandra l. Daughtonjenelle m. Denniscorinne erasmusrobin FillmoreShannon Finneganelissa FrankleFrancesca Frey-Kimmaria a. Friedmanjulia c. Friendelizabeth bishop

Gemoetsjeanette GhatanSarah Gilchristlois j. Goodsteinjacque GrenningStacey a. henningjean hochronDebbi iwigSara michael josey*Natalie Kaftanmarilyn Katzcasey Keelerirene m. Kirkpatrickmary-hannah Klontzmartha j. Krieger**melissa j. lieberman*julie S. maccarteeNansy mathewscaitlin mclaughlinSusan e. murrayDaryl Newhousemartha Newmanpatricia pillsburypatricia pittselizabeth riggsberyl m. rothmanlisa rovinjan SchiavoneDeborah F. Silbermanelizabeth Solemlori j. Sommerfieldcarol a. Sternpattie Sullivan-Stenbonnie S. templerenée tietjenSusan trainorVirginia Van bruntchristine VockeSarah jane Wagoner**Wendy j. Weinberg

TenorsKenneth bailesphilip bregstone

j.i. canizarescolin churchSpencer clarkGregory Danielpaul j. Demarcoruth W. Faison*Greg Grosscarlos a. herránDominick izzoDon janskycurt jordantyler a. loertscherryan longjane lyleDavid malloymichael mcclellanchantal mchaleeleanor mcintireWayne meyer*tom milketom NessingerSteve Nguyenanita o’learye.j. pavyjoe richterDrew riggsjason Saffellrobert t. SaffellDennis Vander tuig

Bassesandres almeidarussell bowersalbert bradfordronald cappellettipete changDale S. collinsonStephen cookclark V. cooperbopper Deytonj. William Gadzukrobert Gerardmike hiltonchun-hsien huangjohn iobstWilliam W. josey**peter Kadeliallan Kirkpatrickian Kylejack leglerlarry maloneyian matthewsalan e. mayersDugald mcconnellDavid j. mcGoffKent mikkelsen*john milberg**oliver molesmark Nelsonleif NeveDevin osbornetom pappasanthony radichharry ransom, jr.edward rejuney*Frank roysjosé luis SánchezKevin Schellhaseharold Seifriedcharles Serpancarey W. Smithcharles Sturrockalun thomasDonald a. trayerWayne r. Williams

theodore Guerrant, Accompanist, Theodore M. Guerrant Chair

* section leader** asst. section leader

National Philharmonic Orchestra and Chorale



cellos and basses can again briefly be heard articulating a slow tune, before a presto coda brings the work to its conclusion.

Serenade (after plato’s Symposium), for solo violin, string Orchestra, harp and percussion

Leonard Bernstein Born Aug. 25, 1918, in Lawrence, Mass.; died Oct. 10, 1990. in New York

Leonard Bernstein was influenced early on by his classical education at the Boston Latin School and Harvard Col-lege. When he was in his 30s, his re reading of Plato’s Symposium, a clas-sic of philosophy, moved him to com-pose this “Serenade,” a work that could be thought of as a one-movement vio-lin concerto or a concerto in five con-nected movements. In the Symposium, Plato, who lived in the fourth and fifth centuries B.C., tells of a social gather-ing, a banquet in honor of the tragic poet Agathon, at which Socrates, Pla-to’s mentor, is the leading figure in a discussion of love and beauty.

Bernstein dedicated his work to the “beloved memory of Serge and Natalie Koussevitzky.” The Koussevitzky Foun-dation commissioned the “Serenade.” Koussevitzky, the conductor of the Bos-ton Symphony Orchestra from 1924 to 1949, was Bernstein’s teacher and men-tor. In August 1954, after he complet-ed the work, Bernstein wrote this de-scription of it, here abridged:

“There is no literal program for this ‘Serenade,’ despite the fact that it result-ed from a rereading of Plato’s charming dialogue, Symposium. The music, like the dialogue, is a series of related statements in praise of love and generally follows the Platonic form through the succession of speakers at the banquet. The ‘related-ness’ of the movements does not depend on common thematic material, but, rath-er, on a system whereby each movement evolves out of the elements of the pre-ceding one, a form I initiated in my sec-ond symphony, “The Age of Anxiety.”

“I. Phaedrus: Pausanius (Lento: Al-legro). Phaedrus opens the symposium with a lyrical oration in praise of Eros, the god of love. Pausanias continues

by describing the duality of the lover, as compared with the beloved. . . in a classical sonata allegro, based on the material of the opening fugato.

II. Aristophanes (Allegretto). Aristo-phanes does not play the role of clown in this dialogue, but instead that of the bedtime storyteller, invoking the fairy tale mythology of love. The atmo-sphere is one of quiet charm.

“III. Erixymathus (Presto). The phy-sician speaks of bodily harmony as a scientific model for the workings of love patterns. This is an extremely short fugato scherzo, born of a blend of mystery and humor.

“IV. Agathon (Adagio). Perhaps the most moving (and famous) speech of the dialogue, Agathon’s panegyric embraces all aspects of love’s powers, charms and functions. This movement is simply a three part song.

“V. Socrates: Alcibiades (Molto te-nuto: Allegro molto vivace). Socrates describes his visit to the seer Diotima, quoting her speech on the demonology of love. Love as a daemon is Socrates’

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We call it our insurance plan for the future, and it’s a policy we’re proud of.

It’s music to my ears.GEICO is proud to support students and education in the cultural arts, including

Strathmore Student Concerts.

For more information, please visit geico.com or call 1-800-947-AUTO (2886).

image for the pro¬fundity of love. ... This slow introduction… serves as a highly developed reprise of the mid-dle section of the Agathon movement, thus suggesting a hidden sonata form. The famous interruption by Alcibi-ades and his band of drunken revelers ushers in the Allegro, which is an ex-tended Rondo ranging in spirit from agitation through jig like dance music to joyful celebration. If there is a hint of jazz in the celebration, I hope it will not be taken as anachronistic Greek party music, but rather the natural ex-pression of a contemporary American composer imbued with the spirit of that timeless dinner party.”

The composer conducted the first performance, on Sept. 12, 1954, with Isaac Stern as soloist, at the Ven-ice Festival. The score calls for solo violin, harp, timpani, snare drum, tenor drum, bass drum, triangle, sus-pended cymbal, tambourine, Chinese blocks,xylophone, glockenspiel, chimes and string orchestra.

Copyright Susan Halpern, 2012

Thursday, March 7, 2013, 8 p.m.


his training at age 8 with his family’s acrobatic school in Taipei, and joined its touring wing, the Golden Dragon Acro-bats, at age 10.

In 1998, Chang restructured the Golden Dragon Acrobats to form Asian Artists Productions, Inc. While the new company continued to produce and tour the Golden Dragon Acrobats, it also expanded to create theatrically elaborate shows.

Cirque Zíva is the latest of these shows, created in 2011. The production ran for 10 weeks at Asbury Park Boardwalk’s Paramount Theatre, where it packed houses and earned critical acclaim.

than 65 countries. In 2005, the group’s Broadway debut and seven-week run at the New Victory Theater earned two New York Drama Desk Awards nomina-tions (for Best Choreography and Most Unique Theatrical Experience).

The group’s founder, producer and artistic director, Danny Chang, began

THURSDAY, MARCH 7, 2013, 8 P.M.


Cirque ZívaProduced by Asian Artists Productions, Inc.

Danny Chang, artistic directorRandy Williamson, technical director

Tony Tucci, lighting directorTour Direction by SRO Artists, Inc.

Strathmore thanks Traditional chinese culture institute international llc for its promotional support of this performance.

The Music Center at Strathmore • marriott concert Stage

Cirque ZívaThe Golden Dragon Acrobats hail

from Cangzhou, Hebei province, in the People’s Republic of China and have toured the United States continu-ously since 1978. The group averages 200 performances each year and has toured through all 50 states and in more

music.cmu.edu

CARNEGIE MELLON SCHOOL OF MUSICPHILHARMONIC& CHOIRS

FEAtURING

BRUCkNER’S tE DEUMFriday, april 5, 8pm music center at strathmoretICkEtS: strathmore.org or 301.581.5100$20 general admission, $15 seniors and students.

RONALD ZOLLMAN, MUSIC DIRECtORROBERt PAGE, DIRECtOR OF CHORAL StUDIES DC’s Only Independent

Nonprofit Film CenterVisit us at

www.TheAvalon.org5612 Connecticut Avenue Northwest Washington



Christoph König, conductor

Christoph König cur-rently holds positions as principal conduc-tor of the Orquestra Sinfónica do Porto at the Casa da Música and principal con-ductor and music

director of the Solistes Européens in Luxembourg.

SATURDAY, MARCH 9, 2013, 8 P.M.

●baltimore Symphony Orchestra

Marin Alsop, Music Director

presents

Beethoven’s seventhChristoph König, conductor Katherine Needleman, oboe

Petite Suite Claude Debussy (orch. Henri Büsser En bateau (1862-1918)

cortège

Menuet

Ballet

Oboe Concerto in D Major Richard Strauss Allegro moderato (1864-1949)

Andante

Vivace

Katherine Needleman

INTERMISSION

Symphony No. 7 in A Major, Op. 92 Ludwig van Beethoven poco sostenuto – Vivace (1770-1827)

Allegretto

presto

Allegro con brio

presenting Sponsor: M&T bank

The concert will end at approximately 9:45 p.m.


Following a string of successes last season with the Colorado, Houston, Indianapolis, Los Angeles, New Jer-sey, Pacific (Costa Mesa), Pittsburgh and Vancouver symphonies, König’s upcoming debuts include Calgary, Cincinnati, Milwaukee and Oregon. Worldwide, he has conducted major orchestras throughout Europe and made appearances in New Zealand and China.

König has recorded works by Schoen-berg, Prokofiev, Saariaho and Sibelius with the Orquestra Sinfónica do Porto. He also has recorded a highly acclaimed CD of music by Henryk Melcer with pi-anist Jonathan Plowright and the BBC Scottish Symphony Orchestra.

König was born in Dresden, where he sang as a boy soprano in the famous Dresdner Kreuzchor. He later studied conducting, as well as piano and voice, at the Hochschule für Musik in Dresden.

König is making his BSO debut.

Katherine Needleman, oboeThis is Katherine Needleman’s 10th season as principal oboist of the Bal-timore Symphony Orchestra. She was appointed by Yuri Temirkanov the same year she won first prize in the Interna-tional Double Reed Society’s Gillet-Fox Competition.

A Baltimore native, she attended Baltimore School for the Arts, but left early to be trained by Richard Wood-hams at the Curtis Institute of Music in Philadelphia. She has appeared as a

guest in the first oboe chair at the Boston Symphony, Philadel-phia Orchestra, New York Philharmonic, Pittsburgh Symphony, Atlanta Symphony, San Diego Symphony and the St. Paul

Chamber Orchestra. She has been solo-ist with The Philadelphia Orchestra, St. Paul Chamber Orchestra, Chamber Orchestra of Philadelphia, Haddonfield Symphony, Orquesta Sinfónica Na-cional de Colombia and the Baltimore Chamber Orchestra, in addition to her multiple appearances with the BSO.

Needleman has premiered solo works by David Ludwig, Luis Prado and Chi-ayu. This summer, she returns to study chamber music at the Marlboro Music Festival, and has done several tours with Music from Marlboro.

Katherine Needleman last appeared as a soloist with the BSO in February 2010, performing Bach’s Concerto for Oboe and Violin in C minor, with Itzhak Perl-man as soloist and conductor.



Program NotesPetite Suite

Claude DebussyBorn Aug. 22, 1862, in St. Germain-en-laye, France; died March 25, 1918, in Paris

Claude Debussy’s charming Petite Suite began its life as a work for duo-piano played four hands in 1889 when he was still an obscure composer and the piece that would make him famous, Prélude à l’après-midi d’une faune, was still five years in the future. It would probably be little known today if in 1907 the com-poser hadn’t needed some additions to his limited number of orchestral works for concerts he would be conducting in Italy and London. Interestingly, Debussy chose to turn the orchestration of Petite Suite over to Henri Büsser (1872–1973), with whom he had worked on the pre-miere performances of his opera Pelléas et Mélisande.

A suite is customarily a set of dance movements, and the Petite Suite follows this tradition for its four brief move-ments. It opens with a barcarolle (music to be sung or played on the water) En Bateau (“On the Boat”), whose undu-lating, gently syncopated music mim-icks the swaying of the water. Cortège is a little fairytale procession full of del-icately bright colors. The third-place Minuet is languid and sensuous with an old-fashioned modal coloring. The final movement, Ballet, the liveliest and most ebullient of the set, has a touch of impish humor.

Instrumentation: Two flutes, piccolo, two oboes, English horn, two clarinets, two bassoons, two horns, two trumpets, timpani, percussion, harp and strings.

Oboe Concerto in D Major

Richard StraussBorn June 11, 1864, in Munich, Ger-many; died Sept. 8, 1949, in Garmisch-Partenkirchen, Germany

After World War II came to an end in defeated Germany, two American soldiers—Alfred Mann and John de

Lancie—stationed in Bavaria knocked on the door of a large villa marked with the name “Dr. Richard Strauss” in the picturesque Alpine town of Garmisch--Partenkirchen. They were not typi-cal GIs—Mann was the son of the great German novelist Thomas Mann and de Lancie was the principal oboist of the Pittsburgh Symphony—and they were not there to harass the old man, but to pay their respects. Strauss invited them in, and they found that, though his home was intact, he and his wife had little to eat and no fuel to heat the large place. However, for residents of Ger-many in 1945, they were relatively for-tunate. Strauss tried to keep his mind off their privations by composing some-thing every day—what he called his “wrist exercises.”

On one of their visits, de Lancie—who would go on to become the prin-cipal oboe of The Philadelphia Or-chestra—asked him if “in view of the numerous beautiful, lyric solos for oboe in almost all his works, he had ever con-sidered writing a concerto for oboe. Strauss answered, ‘no,’ and there was no more conversation on the subject. He later told [Mann] that the idea had taken root as a result of that remark.” By late October 1945, Strauss had complet-ed his Oboe Concerto, and he later con-tacted de Lancie to offer him the first American performance. The Concerto received its world premiere in Zürich on Feb. 26, 1946 with Marcel Saillet as so-loist and the Zürich Tonhalle Orchestra. Sadly, for various reasons, de Lancie did not have the opportunity to play “his” Concerto until many years later.

This Concerto is one of the great-est works ever written for the plan-gent-toned oboe, but it is notorious for the inhuman demands it makes on the player’s breath and stamina. The open-ing solo lasts an astonishing, unbroken 56 measures with virtually no opportu-nity to pause for breath. Strauss had ex-perimented with compressed air hoses and a contraption called the aerophone to supply the oboist with a continu-ous stream of air, but these have never caught on. Instead, oboists have perfect-ed a technique called circular breathing

in which they are able to exhale and in-hale at the same time. Nevertheless, ac-complishing what Strauss demands in this Concerto is a daunting task.

To ensure that the soloist stands out, Strauss chose a small orchestra of strings and woodwinds with only an English horn replacing the oboe section. The three movements are linked together without pause.

The Allegro moderato first movement opens with a little rumble of sixteenth notes in the cellos. Not only will this mo-tive, eventually expanded by the violins, form the accompaniment for this move-ment, but it will also appear in the other two movements. Over this, the oboe un-furls its rhythmically supple, rhapsodic song for several breath-defying minutes. From time to time, a solo clarinet joins in for subtle color contrast. The orchestra fi-nally steps forward in music built from the rumbling motive. After the oboe’s return, the strings sing the second main theme: a graceful lyrical melody opening with re-peated notes. This second-theme group also contains a spirited leaping idea tossed back and forth in canon between the oboe and the clarinet.

The orchestra leads off the fairly brief development section in a faster Vivace tempo. With the oboe’s reappearance, this eases into a pensive partial reminiscence of the repeated-note second theme. The oboe’s opening solo recapitulates, this time mercifully shortened a bit. The movement tapers off on the rumbling motive.

This motive continues to link the sec-ond movement to the first. In this very beautiful Andante, the oboe again is given a lengthy melody, marked cantabile (sing-ing), to which the violins eventually add gorgeous accompaniment. The middle section of this ABA song form is a little quicker and dominated by the orchestra. The reprise of the cantabile melody is ex-panded and given a more elaborate and sensuous orchestral accompaniment. A lyrical yet technically testing oboe caden-za bridges to the finale.

The finale is in a very free rondo form with the oboe introducing the quick, imp-ish theme to which a flute adds its own merriment. Midway through comes a break in the playfulness as the oboe brings



Baltimore symphony Orchestra

Marin Alsop, Music Director, Harvey M. and Lyn P. Meyerhoff Chair Jack Everly, Principal Pops Conductor

Yuri Temirkanov, Music Director Emeritus Alexandra Arrieche, BSO-Peabody Conducting Fellow

First ViolinsJonathan carney

Concertmaster, Ruth Blaustein Rosenberg Chair

Madeline Adkins Associate Concertmaster, Wilhelmina Hahn Waidner Chair

igor yuzefovich* Assistant Concertmaster

Rui Du Acting Assistant

ConcertmasterJames boehmKenneth GoldsteinWonju KimGregory KupersteinMari MatsumotoJohn MerrillGregory MulliganRebecca NicholsE. craig RichmondEllen pendleton

TroyerAndrew Wasyluszko

Second ViolinsQing li

Principal, E. Kirkbride and Ann H. Miller Chair

ivan Stefanovic Assistant Principal

leonid berkovichleonid briskinJulie parcellschristina ScrogginsWayne c. TaylorJames umbercharles underwoodMelissa Zaraya

ViolasRichard Field

Principal, Peggy Meyerhoff Pearlstone Chair

Noah chaves Associate Principal

Karin brown Acting Assistant

Principalpeter Minkler

Sharon pineo MyerDelmar StewartJeffrey StewartMary Woehr

CellosDariusz Skoraczewski

Principal chang Woo lee

Associate Principalbo li Acting Assistant

PrincipalSeth lowSusan EvansEsther MellonKristin Ostlingpaula

Skolnick-childress

BassesRobert barney

Principal, Willard and Lillian Hackerman Chair

Hampton childress Associate Principal

Owen cummingsArnold GregorianMark HuangJonathan JensenDavid SheetsEric Stahl

FlutesEmily Skala

Principal, Dr. Clyde Alvin Clapp Chair

Marcia Kämper

Piccololaurie Sokoloff

OboesKatherine

Needleman Principal, Robert H. and Ryda H. Levi Chair

Michael lisicky

English HornJane Marvine

Kenneth S. Battye and Legg Mason Chair

ClarinetsSteven barta

Principal, Anne Adalman Goodwin Chair

christopher Wolfe Assistant Principal

William Jenken

Bass ClarinetEdward palanker

E-flat Clarinetchristopher Wolfe

BassoonsFei Xie

Principal Julie Green Gregorian

Assistant PrincipalEllen connors**

ContrabassoonDavid p. coombs

Hornsphilip Munds

Principal, USF&G Foundation Chair

Gabrielle Finck Associate Principal

Mary c. bissonbruce Moore

TrumpetsAndrew balio

Principal, Harvey M. and Lyn P. Meyerhoff Chair

Rene Hernandez Assistant Principal

Thomas bithell**

Tromboneschristopher Dudley*

Principal, Alex. Brown & Sons Chair

Joseph Rodriguez** Acting PrincipalJames Olin

Co-PrincipalJohn Vance

Bass TromboneRandall S. campora

TubaDavid T. Fedderly

Principal

Timpanichristopher Williams

Assistant Principal

Percussionchristopher Williams

Principal, Lucille Schwilck Chair

John lockebrian prechtl

Harp Sarah Fuller**

Piano lura Johnson**

Sidney M. and Miriam Friedberg Chair

Director of Orchestra PersonnelMarilyn Rife

Assistant Personnel Managerchristopher Monte

LibrariansMary carroll plaine

Principal, Constance A. and Ramon F. Getzov Chair

Raymond Kreuger Associate

Stage PersonnelEnnis Seibert

Stage ManagerTodd price

Assistant Stage Manager

charles lamar Sound

*on leave** Guest musician

back the graceful repeated-note theme from movement one. After another oboe cadenza, Strauss embarks on some-thing completely new: a bucolic danc-ing episode in a lilting 6/8 beat. But the Concerto’s last minute returns to the impish rondo theme—and a last flourish of the opening rumbling motive, now shimmering on high in the oboe and orchestra.

Instrumentation: Two flutes, English horn, two clarinets, two bassoons, two horns and strings.

symphony no. 7 in a Major

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

Beethoven’s Seventh Symphony is one of the most extraordinary expressions of physical energy and joy in symphon-ic music. Completed in 1812, the Sev-enth, in the words of Beethoven biog-rapher Maynard Solomon, “transports us into a sphere of laughter, play, and the exuberant release of bound ener-gy.” This is a work without a shadow or a solemn thought or even a true slow movement: its well-loved Allegretto second movement only seems slow in comparison to its hyperkinetic compan-ions. Indeed, Beethoven shows us the dynamic variety of joy.

In an off-quoted aphorism, Wagner has called the Seventh “the apotheo-sis of the dance.” More accurately, we might call this symphony “the apotheo-sis of rhythm.” Throughout Beethoven’s music, themes are as much character-ized by their rhythmic patterns as by their melodic shapes or harmonic color-ing. Here rhythm is the primary build-ing block: the first, second, and fourth movements are all generated by one obsessive rhythmic figure announced at the opening; the scherzo has two such figures. Beethoven wields these rhythms with a display of unbridled energy and exuberance that shocked many of the Seventh’s first listeners.

The Seventh was introduced to the world at a spectacular celebrity-studded concert on Dec. 8, 1813 at the Uni-versity of Vienna that was the most



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

The first movement begins with a slow introduction: the biggest Beethoven ever wrote. Its expansive dimensions, accentuated by majestic

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

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

Movement three is Beethoven’s most

ebullient and propulsive scherzo, pow-ered by the relentless chugging of quarter notes in a frenzied Presto tempo. Provid-ing utmost contrast, the trio section, dom-inated by woodwinds, is smoothly lyrical over a sustained pedal note. In a favorite trick also used in his Fourth Symphony, Beethoven runs around the scherzo-trio track three times, though as the trio be-gins it third reprise, it falters harmonically and is roughly dismissed.

The finale is a fierce dance of triumph. Again, a rhythmic motive starts the ac-tion: a cannon-boom followed by a three-note rat-ta-tat rifle response. This wild and surging music has a pronounced mili-tary flavor suited to its era. In fact, we hear a theme of swaggering martial gait early on, and in the coda, the trumpets carry it to a ringing affirmation. Here Beethoven joyfully trounces Napoleon and all the en-emies of humankind.

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

Notes by Janet E. Bedell copyright 2013

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TUESDAY, MARCH 12, 2013, 8 P.M.

●Washington performing Arts Society

celebrity Series

presents

anne-sophie Mutter, violinlambert Orkis, piano

Sonata for Piano and Violin Wolfgang Amadeus Mozart in G Major, K.379 (1756-1791) Adagio; Allegro

Thema: Andantino cantabile

Fantasy in C Major for Violin Franz Schubert and Piano, D.934 (1797-1828) Andante molto; Allegretto; Andantino; Allegro vivace; Presto

INTERMISSION

Partita Witold Lutosławski Allegro giusto (1913-1994)

Ad libitum

Largo

Ad libitum

Presto

Violin Sonata No. 1 in D minor, Op. 75 Camille Saint-Saëns Allegro agitato; Adagio (1835-1921)

Allegretto moderato; Allegro molto

The Music center at Strathmore Marriott concert Stage

Anne-Sophie Mutter, violin

For more than 35 years, vio-linist Anne-Sophie Mutter has sustained a career of ex-ceptional mu-sicianship with an unwavering

commitment to the future of classical music. Since her international debut at the Lucerne Festival in 1976, followed by a solo appearance with Herbert von Karajan at the Salzburg Whitsun Con-certs, Mutter has appeared in all the major concert halls of Europe, North and South America and Asia. In addi-tion to performing and recording the established masterpieces of the violin repertoire, Mutter is an avid champion

of 20th- and 21st-century violin reper-toire in both orchestral and chamber music settings. She has had new works composed for her by Sebastian Currier, Henri Dutilleux, Sofia Gubaidulina, Wi-told Lutoslawski, Norbert Moret, Krzysz-tof Penderecki, Sir André Previn and Wolfgang Rihm.

In 2013 Mutter will perform in Asia, Europe and North America. Highlights of the season include a concert in cele-bration of composer Witold Lutoslawski’s 100th birthday in Warsaw and a recital in Carnegie Hall on the 25th anniversa-ry of her debut in the concert hall.

In 2008, Mutter established the Anne-Sophie Mutter Foundation to further strengthen worldwide promotion of top young musical talents. In 2012, she re-ceived the Atlantic Council’s distin-guished artistic leadership award. She has been awarded the Brahms prize, the Erich-Fromm prize and the Gustav-Adolf prize for her social involvement, among other honors.

Lambert Orkis, pianoLambert Orkis has appeared worldwide with violinist Anne-Sophie Mutter since 1988 and performed in recital with cel-list Mstislav Rostropovich for more than 11 years.

His distinguished career includes ap-pearances with cellists Lynn Har-rell, Anner Byls-ma, Daniel Mül-ler-Schott and Han-Na Chang, violinist Julian Rachlin, and vio-list Steven Dann,

and he has performed with the Vertavo, Emerson, American, Mendelssohn, Cur-tis and Manchester string quartets. As soloist he has made appearances with conductors including Mstislav Rostropo-vich, Leonard Slatkin, Rafael Frühbeck de Burgos, Günther Herbig, Kenneth Slowik, John Mauceri, Robert Kapilow, Leon Fleisher, and others.

Orkis, with Anne-Sophie Mutter, has won a Grammy Award for “Best Chamber Music Performance” for the Beethoven piano and violin sonatas, and



not published until 1850, 22 years after Schubert’s death.

Hearing this lovely music today, it is hard to imagine how anyone could have had trouble with it, for the only thing un-usual about the Fantasy is its structure. About 20 minutes long, it falls into four clear sections that are played without pause. Though it seems to have some of the shape of a violin sonata, the move-ments do not develop in the expect-ed sonata form—that may have been what confused the first audience—and Schubert was quite correct to call this piece a “fantasy,” with that term’s implica-tion of freedom from formal restraint.

Melodic and appealing as the Fantasy may be to hear, it is nevertheless extreme-ly difficult to perform, and it demands players of the greatest skill. The first sec-tion, marked Andante molto, opens with shimmering ripples of sound from the piano, and the lovely violin line enters al-most unnoticed. Soon, though, it rises to soar high above the accompaniment be-fore brief cadenza-like passages for violin and then piano lead abruptly to the Alle-gretto. Here the violin has the dance-like opening idea, but the piano immediately picks this up, and quickly the instruments are imitating and answering each other. The violin writing in this section, full of wide skips and string-crossings, is particu-larly difficult.

The third section, marked Andanti-no, is a set of variations. The piano alone plays the melody, which comes from Schubert’s song Sei mir gegrüsst (“Greet-ings to Thee”), written in 1821. Some of Schubert’s best-known compositions—the “Death and the Maiden” Quartet and the “Trout” Quintet—also build a move-ment out of variations on one of the com-poser’s own songs, and in the Fantasy Schubert offers four variations on Sei mir gegrüsst. These variations grow extremely complex—some have felt that they grow too complex—and once again the music makes great demands on its performers. At the conclusion of the variations, the shimmering music from the beginning returns briefly before the vigorous final section, marked Allegro vivace. Schubert brings the Fantasy to a close with a Presto coda, both instruments straining forward

a 2006 “Choc de l’année” award from the French magazine Le Monde de la Musique for the Mozart piano and vio-lin sonatas audio recording.

Orkis has been principal keyboard of the National Symphony Orchestra since 1982. In addition to performing with the National Symphony Orches-tra, Orkis is a founding member of the Kennedy Center Chamber Players. He is professor of piano at Temple Uni-versity’s Esther Boyer College of Music and Dance in Philadelphia and has re-ceived the university’s Faculty Award for Creative Achievement.

Program Notessonata for piano and violin in G Major,

K.379

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

Mozart was called to Vienna in March 1781 along with the rest of Archbish-op Colloredo’s party to attend the fes-tivities surrounding the accession of Emperor Joseph II. Relations between the composer and the archbishop had been strained for some time, and after several stormy scenes in Vienna Mo-zart was finally given his release “with a kick on my arse … by order of our worthy Prince Archbishop.” Before his release, however, Mozart had been re-quired to compose music for a party the archbishop gave in Vienna on April 8. In a letter to his father that day, he de-scribed the Sonata in G Major as “a sonata with violin accompaniment for myself, which I composed last night be-tween eleven and twelve (but in order to be able to finish it, I only wrote out the [violin part] and retained my own part in my head).” The way the rest of us stay up an extra hour to pay the bills, Mozart stayed up and dashed off this masterful music.

The Sonata in G Major has an un-usual form: it is in only two move-ments, but the Allegro is preceded by a slow introduction so long that it al-most becomes a distinct movement

of its own. Given the fact that Mo-zart wrote the keyboard part for him-self, it comes as no surprise that that instrument plays so important a role, even if Mozart played the entire part from memory at the archbishop’s party. The introduction itself is full of flor-id writing—rolled chords, turns, grace notes—but the mood changes sharp-ly at the Allegro, which moves into G minor. The keyboard again takes the lead, but this time the theme, motto-like in its shortness, is full of snap, of Beethovenian drive. The second sub-ject of this sonata-form movement is canonic, with fragments tossed be-tween the two instruments. Follow-ing a dramatic development, the move-ment draws to a close on its opening theme.

After the fury of the Allegro, the final movement returns to the serene G major of the introduction. This theme-and-variation movement, with a grace-ful opening melody marked Andantino cantabile, followed five variations. At the close of the fifth variation Mozart repeats the theme verbatim and clos-es with a brief coda. Each variation is in two parts, with the second section generally the more dramatic. Through-out this movement—by turns gentle and brilliant—the keyboard retains its prominence, as if Mozart were keeping himself firmly at center stage, protest-ing the Archbishop’s strictures on him even as he served them.

Fantasy in C Major for violin and piano,

D.934

Franz Schubert Born Jan. 31, 1797, in Vienna, Austria; died Nov. 19, 1828, in Vienna

Schubert wrote the Fantasy for Vio-lin and Piano in December 1827, only 11 months before his death at age 31. The music was first performed in pub-lic on Jan. 20, 1828, by violinist Joseph Slavik and pianist Karl von Bocklet, one of Schubert’s close friends. That premiere was a failure. The audience is reported to have begun to drift out dur-ing the performance, reviewers pro-fessed mystification, and the Fantasy was



before the violin suddenly flashes up-ward to strike the concluding high C.

partita

Witold Lutosławski Born Jan. 25, 1913, in Warsaw, Poland; died Feb. 7, 1994, in Warsaw

Lutosławski’s Partita began with a slight misunderstanding that nevertheless had a profound impact on the music. Lutosławski was commissioned by the St. Paul Chamber Orchestra to com-pose a work for violinist Pinchas Zuker-man and pianist Marc Neikrug, and be-cause the commission had come from an orchestra, Lutosławski assumed that he was to write for violin and orchestra. He conceived a piece for violin and an or-chestra that had a large piano part, and only when composition was underway did he learn that the commission was in fact for a chamber piece for only violin and piano. So Lutosławski had to switch gears: he recast the piece just for violin and piano and completed it in the fall of 1984; Zukerman and Neikrug gave the premiere on Jan. 18, 1985 in St. Paul. For the composer, however, the original orchestral conception remained central to how he thought about this music—he came back to this score in 1988 and made an arrangement for violin and orchestra.

The title partita comes from baroque music, where it denoted a form made up of “parts,” usually a collection of dance movements. Lutosławski explained his choice of that title by noting: “The word ‘partita,’ as used by Bach to de-nominate some of his suite-like works, appears here to point out a few allu-sions to Baroque music, e.g. at the be-ginning of the first movement, the main theme of the Largo, and the gigue-like Finale.” In the published score, Luto-slawski made another connection to the baroque: “The three major movements follow, rhythmically at least, the tradi-tion of pre-classical (18th century) key-board music.” Yet these allusions should be understood only as a structuring met-aphor— Lutosławski’s Partita does not sound like baroque music, and its idiom is thoroughly modern.

The work is in three major move-ments—Allegro giusto, Largo and Pres-to—but between these movements come ad libitum interludes, which are improvised by the performers from music written out by Lutosławski; a cli-mactic sequence in the final movement is also performed ad libitum. Lutosławski was a first-class pianist, and he also played the violin as a young man, so he knew the instruments well. His writ-ing for violin here emphasizes the lyric side of that instrument: he reminds his performer repeatedly to play cantabile and espressivo. Each of the three princi-pal movements is sectional, with strong contrasts between the different sections within the movements. Lutosławski writes some of the violin part in the first movement in quarter-tones, and that movement rises to a climax before clos-ing quietly. The composer stresses that in all the ad libitum passages, the violin and piano “are not to be coordinated in any way.” The first ad libitum builds to a forceful conclusion and plunges straight into the Largo, where the vio-lin sings above steady quarter-note ac-companiment. The dynamic here is forte and the atmosphere fierce, but the com-poser nevertheless stresses that this is to be played cantabile. The same section-al construction leads to another ad libi-tum interlude, and the music proceeds into the finale, which Lutosławski de-scribed as “gigue-like.” Bach’s gigue fi-nales were usually in 9/8 or 12/8, and Lutosławski preserves some of that feel here (his metric marking is a very fast 15/8). Both meter and mood evolve somewhat as this movement proceeds, and Lutosławski breaks its progress with an ad libitum interval marked fortissimo. Some have felt that this represents the climax of the entire Partita, and with this complete the music rushes to its abrupt close on three sudden strokes.

violin sonata no. 1 in D minor, Op. 75

Camille Saint-Saëns Born Oct. 9, 1835, in Paris; died Dec. 16, 1921, in Algiers, Algeria

Saint-Saëns wrote his First Violin So-nata in 1885. At age 50, he was at the

height of his powers. In that same year he wrote his Wedding Cake Waltz, and the following year he would write two of his most famous works: the “Organ” Sym-phony and the Carnival of the Animals. Although Saint-Saëns did not play the violin, he clearly understood the instru-ment—already he had written three vio-lin concertos and the famous Introduc-tion and Rondo Capriccioso; the Havanaise would follow two years later.

The structure of the sonata is unusual. It has four movements, but the first and second are connected, as are the third and fourth, dividing the sonata into two ex-tended parts. Saint-Saëns’ marking for the opening movement—Allegro agitato—is important, for this truly is agitated music. Beneath its quiet surface, the movement feels constantly restless. Its opening theme, a rocking tune for violin, alternates meters, slipping between 6/8 and 9/8. The lyric second idea—a long, falling melody for vi-olin—brings some relief, and the dramat-ic development treats both these themes. While the second movement is marked Adagio, it shares the restless mood of the first. The piano has the quiet main theme, but the music seems to be in continuous motion before coming to a quiet close.

The agreeable Allegretto moderato is the sonata’s scherzo. It dances gracefully, skittering easily between G major and G minor. At the center section, the violin has a haunting chorale tune over quietly cascading piano arpeggios; as the move-ment comes to its close, Saint-Saëns skill-fully twines together the chorale and the dancing opening theme and presents them simultaneously. Out of this calm, the concluding Allegro molto suddenly ex-plodes—the violin takes off on the flurry of sixteenth-notes that will propel the fi-nale on its dynamic way. This is by far the most extroverted of the movements, and it holds a number of surprises: a declama-tory second theme high in the violin’s reg-ister and later a brief reminiscence of the lyric second theme of the opening move-ment. At the end, Saint-Saëns brings back the rush of sixteenth-notes, and the sonata races to a close so brilliant that one almost expects to see sparks flying through the hall.

Program notes by Eric Bromberger

Friday, March 15, 2013, 8:15 p.m.


Marin Alsop, conductor

Hailed as one of the world’s leading con-ductors for her ar-tistic vision and commitment to ac-cessibility in classical music, Marin Alsop made history with

her appointment 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 or-chestra. She also holds the title of con-ductor emeritus at the Bournemouth Symphony Orchestra in the U.K., where she served as the principal con-ductor from 2002 to 2008, and is music director of the Cabrillo Festival of Contemporary Music in California.

In 2005, Alsop was named a MacArthur Fellow, the first conduc-tor to receive this prestigious award.

FRIDAY, MARCH 15, 2013, 8:15 P.M.



presents

Off the Cuff: saint-saëns’ “Organ” symphony

Marin Alsop, conductorFelix Hell, organ

Symphony No. 3 in C Minor, Camille Saint-Saëns Op. 78, “Organ” (1835-1921) Adagio - Allegro moderato - poco adagio Allegro moderato - presto - Maestoso



In 2007, she was honored with a Euro-pean Women of Achievement Award. In 2008, she was inducted as a fel-low into the American Academy of Arts & Sciences, and in 2009 Musi-cal America named her Conductor of the Year. In November 2010, she was inducted into the American Classical Music Hall of Fame. In February 2011, Alsop was named the music director of the Orquestra Sinfônica do Estado de São Paulo, or the São Paulo Sympho-ny Orchestra, effective for the 2012-13 season. And in March 2011, Alsop was named to The Guardian’s Top 100 Women list. She was also named an artist-in-residence at the Southbank Centre in London in 2011.

Alsop is a regular guest conductor with the New York Philharmonic, Phil-adelphia Orchestra, London Sympho-ny Orchestra and Los Angeles Philhar-monic. In addition to her performance activities, she is also an active record-ing artist with award-winning cycles of a

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Brahms, Barber and Dvořák.Alsop has led the BSO in several

outreach initiatives. In 2008, she part-nered with the BSO to launch Orch-Kids, a music education and life en-richment program for youth in West Baltimore. In 2010, she conducted the first “Rusty Musicians with the BSO,” an event that gives amateur musi-cians the chance to perform onstage with a professional symphony orches-tra. In June 2010, Alsop conducted the inaugural BSO Academy, an immer-sive summer music program that gives about 100 amateur adult musicians the opportunity to perform alongside a top professional orchestra.

Alsop attended Yale University and received her master’s degree from The Juilliard School. In 1989, her conduct-ing career was launched when she won the Koussevitzky Conducting Prize at Tanglewood, where she studied with Leonard Bernstein.

Felix Hell, organGerman concert or-ganist Felix Hell “sets standards that many established and honoured older players would strug-gle to equal” (Mi-chael Barone in The

American Organist). Hell has had an active concert ca-

reer since age 9 and has already per-formed more than 750 recitals through-out Germany, as well as Australia, Canada, Finland, France, Iceland, Italy, Jamaica, Korea, Latvia, New Zealand, Norway, Malaysia, Singapore, Spain, Russia and the U.S. He has performed as a soloist with orchestras throughout the U.S., Europe and Asia.

In 2006, Hell received global recog-nition for his performance of the entire organ works of Johann Sebastian Bach in three full cycles.

In September 1999, at age 13, Hell enrolled at The Juilliard School. Two years later, he was admitted to the Cur-tis Institute of Music in Philadelphia. While at Curtis, he trained with profes-sors Martin Jean, Marie-Claire Alain,

Friday, March 15, 2013, 8:15 p.m.


Joan Lippincott and Gillian Weir. In May 2004, Hell received his bachelor’s of music, making him—at age 18—the youngest organ major ever to graduate from Curtis.

Hell pursued his graduate studies under the guidance of Professor Donald Sutherland at the Peabody Institute in Baltimore, where he received his art-ist diploma in May 2007 and his mas-ter’s of music in 2008. In 2009, Hell was awarded Johns Hopkins Univer-sity’s prestigious Outstanding Graduate Award.

Hell’s discography includes eight CDs, which have been critically ac-claimed by the public, as well as by experts.

Hell is making his BSO debut.

Program Notessymphony no. 3 in C Minor, “Organ”

Camille Saint-Saëns Born Oct. 9, 1835, in Paris; died Dec. 16, 1921, in Algiers, Algeria

In 1886, Camille Saint-Saëns more or less simultaneously wrote the two con-cert works for which he is most famous today—although he originally never intended to publish the delicious “Car-nival of the Animals,” a private joke created for a musical party. The other work, however, was a most serious and substantial effort: his Symphony No. 3 in C Minor, commissioned by London’s Royal Philharmonic Society. Into it he poured all his formidable craft, suavity and penchant for the grand gesture. That both pieces are still perennial au-dience favorites today would probably have tickled his Gallic sense of irony.

Saint-Saëns dominated French musical life for the last 40 years of the 19th century. As dazzling a prodigy as Mozart, he began composing at 3; at 10, he astounded a sophisticated Pa-risian audience at his official debut by brilliantly playing a taxing piano pro-gram and, then, as an encore, offering any of Beethoven’s 32 piano sonatas from memory! (“Whatever music will he be playing when he’s 20?” onlookers

asked his doting mother. “He will be playing his own,” she replied.)

He soon became as remarkable an organist as he was a pianist and, for 19 years, officiated at the console of Paris’ most fashionable church, La Mad-eleine.

First-time listeners to this symphony, nicknamed “Organ” (though not by the composer), tend to wait impatient-ly for the mighty instrument to make its appearance. But great organist that he was, Saint-Saëns chose to conduct, rather than to play, at the symphony’s premiere in London on May 19, 1886.

In this work, he was thinking of the organ not as a soloist but as a new orchestral color. In fact, the organ’s first entrance—about 10 minutes into the piece at the beginning of the Adagio section—is so subtle it can easily be missed. Its pianissimo chords give a burnished glow to the strings’ gentle melody.

For this is a true symphony, dis-guising a traditional four-movement plan within an interlinking two-part division. Dedicated to the memory of Franz Liszt, Saint-Saëns’ close friend who had recently died, the work is built from Liszt’s practice of “thematic transformation,” in which a core theme recurs throughout a work, undergoing metamorphosis from one appearance to the next.

We hear Saint-Saëns’ core theme or motto—a rushing sixteenth-note idea for strings (the composer in his note called it “somber and agitated”)—im-mediately following a brief slow intro-duction. Many, but by no means all, of the symphony’s themes are created from this motto. One that is complete-ly independent is the rocking, slightly sentimental melody, introduced a little later by violins, that brings romantic tranquility to this otherwise nervous music.

Opened softly by organ and strings, the slow movement in D-flat major flows after a slight pause from the first section. Here is some of Saint-Saëns’ loveliest writing: an “extremely peace-ful, contemplative theme” (all phrases in quotes are the composer’s own)

scored with great refinement. Pizzicato basses and cellos mysteriously offer the motto in a new guise for a harmoni-cally unsettled middle section. The movement ends in a “mystical coda” of falling phrases over chords slowly alternating between D-flat major and E minor.

The symphony’s second part com-bines a scherzo movement and the finale. The scherzo opens in C minor with a rhythmically energetic theme for low strings; the high woodwinds answer this with a choppy new trans-formation of the motto. This music is succeeded by a “fantastic” trio section in a much faster tempo and brighter C major—full of “tricky gaiety” in its rhythmic cross-play and its scintillating high-register wind parts and unusual piano part.

Both the scherzo and trio music return, but during the repeat of the trio music, we hear a “grave and austere” slow theme emerging in the low brass. “There is a struggle for mastery, which ends in the defeat of the restless dia-bolical element,” wrote the composer.

Now all is ready for the grand finale. Suddenly the organ commands our attention with a fortissimo C-major chord summoning the rest of the or-chestra to action.

In an imaginative stroke of or-chestration, Saint-Saëns presents a captivating melody (derived from the motto) in soft strings, accompanied by sparkling piano. (Fans of the 1995 film Babe will recognize this as the porcine hero’s theme music!) Organ and full orchestra repeat the melody trium-phantly. Intricate fugal developments of this theme follow.

Finally, Saint-Saëns delivers the most splendiferous of closes: fast, thrilling and with organ swelling the impact.

Instrumentation: Three flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trum-pets, three trombones, tuba, timpani, percussion, piano four-hands, organ and strings.




Dima Slobodeniouk, conductorDima Slobodeniouk combines his native Russian roots with his years of studying music in Finland, where he now makes his home.

With the 2012-13 season, Slobodeniouk forges new partnerships with London’s Philharmo-nia Orchestra, Royal Scottish National Orchestra, the Oslo and Bergen philhar-monics, and Orchestre National de Bel-gique, while also building on established collaborations with returns to Nether-

SATURDAY MARCH 23, 2013, 8 P.M.



presents

Trpčeski plays rachmaninoffDima Slobodeniouk, conductor

Simon Trpčeski, piano

The Rock, Fantasy, Op. 7 Sergei Rachmaninoff (1873-1943)

Piano Concerto No. 4 in G Minor, Op. 40 Allegro vivace largo Allegro vivace

Simon Trpčeski

INTERMISSION

Symphony No. 11 in G Minor, Op. 103, Dmitri Shostakovich “The Year 1905” (1906-1975) The palace Square: Adagio The 9th of January: Allegro in Memoriam: Adagio The Tocsin: Allegro non troppo - Allegro

Media Sponsor: WETA 90.9 FM



lands Radio Philharmonic, Orchestre Philharmonique de Monte Carlo and also of Strasbourg, Lucerne Symphony Orchestra, Ulster Orchestra and the Helsinki Philharmonic Orchestra.

This season demonstrates Slobode-niouk’s impressive skill across a broad field of repertoire, from Berio’s Sinfonia für 8 Singstimmen to concerti works with soloists including Rudolf Buch-binder, Denis Kozhukhin, Dejan Lazic, Alexander Toradze, Vilde Frang, Tabea Zimmermann and Jan-Erik Gustafsson.

In 1994, Slobodeniouk started his conducting studies participating in the class of Atso Almila. He continued his Sl

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studies at Helsinki’s Sibelius Academy under the guidance of Leif Segerstam, Jorma Panula and Almila. He has also studied under Ilja Musinin and Esa-Pekka Salonen.

Slobodeniouk is making his BSO debut.

Simon Trpčeski, pianoMacedonian pianist Simon Trpčeski has established himself as one of the most

remarkable musicians to emerge in recent years, performing with many of the world’s greatest orchestras and captivating audiences worldwide.

In 2012-13, Trpčeski will play Beethoven’s “Emperor” Con-certo with the London Symphony Or-chestra, Rachmaninoff’s Piano Concer-to No. 2 under Robin Ticciati with the Cleveland Orchestra and the Bergen Philharmonic Orchestra, as well as with the Danish National Symphony Orches-tra under Gianandrea Noseda. Trpčeski also will appear in recital at the Con-certgebouw Amsterdam and the Nation-al Philharmonic in Warsaw.

Born in the Republic of Macedonia, Trpčeski has won prizes in numerous in-ternational piano competitions. In 2009, the president of Macedonia honored him with the Presidential Order of Merit for Macedonia, and, in 2011, he was awarded the first-ever title National Artist of the Republic of Macedonia.

Trpčeski last performed with the BSO in November 2010, performing Proko-fiev’s Piano Concerto No. 3, with Marin Alsop conducting.

Program NotesThe rock, symphonic poem, Op. 7

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

In 1892, Sergei Rachmaninoff gradu-ated from the Moscow Conservatory at age 19 and received the conservatory’s rarely awarded Great Gold Medal for



his achievements in piano and com-position. Immediately, he set to work not only on piano pieces and songs, but on tone poems for large orchestra. In the summer of 1893, he wrote The Rock (also translated as “The Crag”), a tone poem that he said was inspired by these two lines by the Russian poet Mikhail Lermontov: “A golden cloud slept for her pleasure/ All night on the breast of a gaunt rock.” These lines also appeared at the head of “On the Road,” a short story written in 1885 by Anton Chekhov, and, a few years later, Rachmaninoff told Chekhov that he indeed was directly inspired by that story.

Tchaikovsky was taking an inter-est in the young composer, and when Rachmaninoff showed him the score, the revered older composer was im-pressed (The Rock shows a consider-able debt to Tchaikovsky’s style) and told him he would like to conduct it in St. Petersburg and on a projected European tour. But on Nov. 6, Tchai-kovsky suddenly died, and this great opportunity melted away. “The Rock” eventually premiered in Moscow on March 20, 1894; Rachmaninoff—also a gifted conductor—continued to pro-gram it in his concerts throughout his career.

In Chekhov’s story, a middle-aged man (the “gaunt rock”), whose life is weighed down by disappointments, meets a young woman by chance (the “golden cloud”), full of life and hope, in an inn on a snowy Christmas Eve. Over the course of the night, he re-counts his many failures to her, and she responds with sympathy. But when Christmas morning arrives, she must go on to her relatives, and, despite the growing attraction, the man real-izes this wonderful encounter is over forever. Sunk again in his sorrows, he watches her sleigh disappear; as he continues to gaze after her, the snow covers him, making him truly resem-ble Lermontov’s “gaunt rock.”

The Rock shows that Rach-maninoff, at age 20, had already de-veloped considerable skill in writ-ing colorfully for a large orchestra.

However, his ability to create and de-velop themes was not yet on as high a level. The tone poem’s progress is woven from three main themat-ic ideas. First we hear dark, brooding music for low strings, colored by bas-soons: this represents the depressive personality of the man. By contrast, a dancing, lighter-than-aria theme for solo flute represents the young woman. A little later, solo flute and oboe introduce the yearning down-and-up theme that describes the grow-ing attraction between them. But day comes and the two separate. In its very fine closing moments, the music returns to the darkness with which it began.

Instrumentation: Two flutes, picco-lo, two oboes, two clarinets, two bas-soons, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp and strings.

piano Concerto no. 4 in G Minor, Op. 40

Sergei Rachmaninoff

Piano Concerto No. 4 is the stepchild of Rachmaninoff’s piano concertos: the one that gave him the most trouble composing, the one that received the most unflattering reviews at the pre-mieres of both its versions and, by far, the least often performed today.

And yet it is worth discovering, for it contains music that is original and path-breaking for its composer. It con-spicuously lacks the big Romantic tunes audiences love. As Rachmaninoff biog-rapher Max Harrison writes: “Even if as-pects of Concerto No. 4 had their roots in his Russian life, it was written mainly in New York, finished in Western Eu-rope, and the composer, as a sensitive and intelligent man, had naturally been affected by the sights and sounds of the country in which he had chiefly lived for several years. The romantic haze had gone forever.”

Rachmaninoff may have begun work-ing on it in 1914 while he was still in Russia. Its slow movement uses the-matic material from the third of his solo Études-Tableaux, Op. 33 of 1911, a movement which he removed from the

set before publication. After he left Rus-sia in 1917, he did not write another piece for nine years, instead devoting himself to a frantic career as a touring piano virtuo-so mostly in the U.S. In 1926, the urge to compose again—and perhaps to provide himself with another vehicle for his con-certs—took hold, and he made that year a sabbatical from performing. Piano Con-certo No. 4 was begun in New York City and completed in Dresden, Germany, that August.

But when Rachmaninoff premiered the concerto with The Philadelphia Orchestra on March 18, 1927, the audience was un-enthusiastic and the critics were caustic. Believing it too long, the composer cut it extensively and reintroduced it in 1928, but still to a quite negative response. He set it aside, but, in 1941, tried a final time to cut and revise it into the form we hear at these concerts. Still it never won the warm embrace that Concerto Nos. 2 and 4 enjoyed.

The orchestra launches the Allegro vi-vace first movement boldly with an excit-ing upward push that suggests the key is D major. But then there is a sudden swerve to the correct key of G minor as the pia-nist enters with a big arch-shaped theme, made grander still by the thick chord-ing. This eventually dissipates in an im-provisatory-sounding piano passage, be-fore solo English horn and French horn set the stage for the lovely second theme in a slower tempo. This music, featuring gossamer work from the pianist, is rhyth-mically flexible in the manner of French impressionism (commentators have noted that this is the least Russian-sounding of Rachmaninoff’s concertos). Listen next for a harsh signal-like motive of four notes leaping sharply upward in the pungent tones of solo bassoon and muted trumpet; it will play an important role in the ensu-ing development section, which slowly builds from reverie to a dramatic climax.

The recapitulation brings back the grand-opening theme in a beautiful trans-formation: floating softly on high in the violins and suggesting Rachmaninoff’s best Romantic manner. But the com-poser will not allow us to wallow, and he brusquely shifts both tempo and meter to send us back to G-minor reality.



In the taut and brooding Largo movement in C major, the music is mostly generated from the simple three-notes-descending motive. But Rach-maninoff creates from it a wonder of constantly shifting instrumental colors, harmonies and keys as he moves it be-tween piano and orchestra. A brief vio-lent interjection from the piano cannot disturb its melancholy calm. Towards the end, violins and cellos sing a beauti-ful ascending melody that the compos-er borrowed from his Études-Tableaux of 1911.

Back in a brisk Allegro vivace tempo, the finale takes off like a runner pro-pelled by the orchestra’s starting-gun crack, which keeps returning to urge on the soloist’s efforts. The principle theme is more notable for its relentless whirl of fantastically difficult piano scales and figurations than for its spirited melody. Eventually, the pace eases a bit, and the violins float in with a lovely rocking sec-ond theme, incorporating the down-up Dies Irae chant melody that was such a signature in Rachmaninoff’s music. But once again, the composer doesn’t allow us to luxuriate in this melody as he would have in the past.

The development section is fueled by the leaping signal-cry motive we heard in the first movement. And near the end, that movement’s soaring first theme returns, too, and is given a gran-diose, though brief, treatment by the or-chestra and pianist. But mostly the em-phasis is on the glittering virtuosity of the piano part: Rachmaninoff showing the world that age had not robbed him of his legendary keyboard brilliance.

Instrumentation: Two flutes, piccolo, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percus-sion and strings.

symphony no. 11 in G Minor, Op. 103,

“The Year 1905”

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

On Sunday, Jan. 9, 1905, several thou-sand workers and their families, led by

a Russian orthodox priest and carrying icons and a respectful petition to the Tsar, converged on the Winter Palace in St. Petersburg to ask for improvements in their hard lives. Despite their intimi-dating numbers, they were a peaceful as-sembly singing hymns and Russian pa-triotic songs. Tsar Nicholas II was not at the palace to receive their petition. The Tsar’s soldiers, perhaps reacting in panic, fired repeatedly on the crowd, killing, by conservative estimates, 130 people, but some said upwards of a thousand. “Bloody Sunday,” as it became known, sparked a series of protests and strikes across Russia against the corrupt and op-pressive Tsarist regime and went down in history as the prelude to the Russian Revolution of 1917.

As the U.S.S.R. celebrated the 40th anniversary of the Russian Revolution in 1957, Dmitri Shostakovich turned to that fateful day as the basis of his Sym-phony No. 11; it would be paired with his Symphony No. 12, “The Year 1917.” Premiered on Oct. 30, 1957 in Mos-cow, it pleased the Soviet authorities and won Shostakovich the Lenin Prize the following year. But it also kicked off a controversy in musical circles both inside the Soviet Union and interna-tionally. Many accused Shostakovich of playing politics, rather than being true to his artistic conscience, of writing a swollen example of “Socialist Realism” to improve his standing—damaged by more “dangerous” earlier works—with the regime. And they suggested that No. 11 was a piece of program music depict-ing historical events and not a real sym-phony at all.

However, No. 11 is a much greater work than its detractors claimed and, though programmatic in its first two movements, is indeed a satisfying sym-phony in its construction. Its most un-usual feature is that its thematic mate-rial is primarily composed of quotations from prison and revolutionary songs of the 1905 era, which are woven together and developed according to symphonic principles. The symphony’s four massive movements are linked by recurring mo-tives and reprises of the song melodies and are played without pause.

It also seems that Shostakovich in-tended this work to have a more uni-versal and timeless message, beyond the commemoration of one particular moment in history. Many Russian lis-teners—and even the composer’s son, Maxim—thought No. 11 also referred to the bloody Soviet suppression of the Hungarian Revolution one year ear-lier in 1956. Shostakovich’s friend Lev Lebedinsky reported that “his son, with whom he wasn’t in the habit of shar-ing his deepest thoughts, whispered to Dmitri Dmitriyevich during the dress re-hearsal, ‘Papa, what if they hang you for this?’” In any case, this Symphony can be heard as a musical response to mind-less violence and the oppression of the innocent in any time and place.

Shostakovich called movement one, subtitled “The Palace Square,” the symphony’s introduction. It opens with very soft music of widely spaced chords for strings and two harps evok-ing the cold and bleakness of that long-ago winter morning; this music will re-turn throughout the work. We also hear two other important elements: a rum-bling motive in the timpani using trip-let rhythms and a distant military call on muted trumpets, both of which os-cillate uneasily between the major and minor modes. Eventually, a pair of flutes sing over the timpani motive the first of the revolutionary songs: “Listen” (“Like a treasonous deed, like a tyrant’s con-science, the autumn night is black...”). Snare drum and muted trumpets build a more aggressive passage from this theme. After this dies down, cellos and basses intone a grim ascending melody: “The Prisoner” (“The walls of the prison are strong, fastened at the gate by two iron locks...”). The movement’s closing moments mix all these thematic ele-ments as the music hovers expectantly.

Movement two, “The Ninth of January,” describes the events of that day with shocking power. Rushing low strings depict the crowd converging on the square before the Winter Palace. Clarinets and bassoons sing another rev-olutionary song that Shostakovich also set in his choral poem “The Ninth of January” of 1951: “Oh Tsar, Our Little



Father” (“Look around you; life is im-possible because of the Tsar’s servants, against whom we are helpless”). Passed from one group to another, this theme becomes louder and more urgent, until the whole orchestra as the fully assem-bled crowd shouts it out . As this final-ly subsides, we hear the stark melody of “Bare Your Heads” (“Bare your heads! On this mournful day the shadow of a long night passed over the earth”), with its many repeated notes rising upward in the brass. A quiet development of “Oh Tsar” follows in the strings as the crowd waits patiently. After another forceful climax, the music calms, and the tim-pani motive and the chilly string music of the first movement return, the latter now given to the woodwinds.

A snarl of snare drum announces the arrival of the Tsar’s troops. A fierce fu-gato breaks out in the strings and builds to a frenzied climax. Then, with a bru-tal expansion of the timpani motive, Shostakovich describes the soldiers’ at-tack on the crowd. The tumult ceases

suddenly, and in a beautiful arrange-ment for the harps, celeste and trilling strings, the opening string music returns again in shocked response to the trag-edy. The movement closes quietly with “Listen” in the flutes.

The third movement, “In Memo-riam,” is a threnody for the victims of Bloody Sunday—and implicitly for all victims of oppression. Over plucked cel-los and basses, the warm voices of vio-las sing the funeral march, “You Fell as a Sacrifice” (“You fell a victim in the fateful battle, with selfless love for the people”). Horns then lead rich-toned music of mourning reminiscent of Gus-tav Mahler, one of Shostakovich’s most-adored composers. This grows to a gi-gantic, passionate climax with “Bare Your Heads” hurled out by the brass over thundering triplet rhythms drawn from the timpani motto.

The finale, “The Tocsin,” bursts on us with the brass shouting in unison the melody “Rage, Tyrants” (“Rage, Ty-rants, mock at us ... although our bodies

are trampled, we are stronger in spir-it”). From its jagged dotted rhythms, the strings build an abrasive accompaniment that powers this aggressive march for many minutes. At its climax, the violins shrilly implore “Oh Tsar.”

The crash of the tam-tam clears the way for a return of the opening string music. Over it, the English horn sor-rowfully sings an extended statement of “Bare Your Heads.” The movement gradually regains its fury as various brass instruments and even a xylophone sing the opening of this song. With bells clanging the tocsin, the music proclaims a militant resolve to overthrow the op-pressors, but its clinging to the key of G minor suggests this will not be an easy task.

Instrumentation: Three flutes, picco-lo, three oboes, English horn, three clar-inets, bass clarinet, three bassoons, con-trabassoon, four horns, three trumpets, three trombones, tuba, timpani, percus-sion, two harps and strings.


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in Montvale, N.J.Berg’s latest musical, The Man Who

Would Be King, with book and lyrics by DJ Salisbury, had a developmental read-ing/workshop at The Village Theater in Issaquah, Wash., directed by Tony Award-winner Brian Yorkey (Next to Normal).

Berg received the 1995 Bistro Award for Best Musical for his show Asylum in the Night, a revue of Berg’s theater music. He had an evening dedicated to his music at Joe’s Pub, and returned to Feinstein’s for a two-week engagement in July 2011 after a sold out performance in 2010.

Berg is the creator and co-producer of Neil Berg’s 100 Years of Broadway, which played in more than 120 cities in 2010-2011.

As owner of Leftfield Productions, Inc., Berg has produced more than a thousand Broadway concerts worldwide with such stars as Michael Crawford, Bernadette Peters, Ben Vereen, Betty Buckley, Rita Moreno, Donna McKech-nie, Liz Callaway, Mark Kudisch, Alice Ripley, Brian Stokes Mitchell, Stepha-



neil Berg’s 101 Years of Broadway

Carter Calvert, vocalsRobert DuSold, vocalsSandra Joseph, vocalsCraig Schulman, vocals

Ron Bohmer

Roger Cohen, drumsBooker King, bass

Eugene Gwozdz, keyboards

Neil Berg, piano/music director


Neil BergNeil Berg is the composer/lyricist of the hit Off-Broadway musical The Prince and the Pauper, which ran for two years at the Lambs Theater in New York City. He also is the composer for the new Broadway-bound musical Grumpy Old Men, based on the 1993 film.

Berg is collaborating with Pulitzer Prize-winning playwright Robert Schen-kkan on a new rock musical called The 12. Following a series of successful concert performances at the China Club and B.B. King’s in New York City, Riverspace in Nyack, and the Broward Center in Ft. Lauderdale, The 12 had its regional premiere at the Inserra Theater

nie Block and Sir Cliff Richard.Berg recently produced the concert

version of the Broadway musical The Secret Garden in association with its composer, Lucy Simon. He has also pro-duced concert versions of The Mystery of Edwin Drood, Chess and Jesus Christ Superstar.

Carter CalvertCarter Calvert is best known for origi-nating her role in the Tony nominated, It Ain’t Nothin’ But the Blues on Broadway.

New York credits include the Broad-way, original cast album and touring productions of It Ain’t Nothin’ But the Blues. Off-Broadway she appeared in Forbidden Broadway and The Thing About Men at the Promenade Theatre. Calvert toured Europe in Smokey Joe’s Café, and played Grizabella in the Broadway national tour of Cats. She ap-peared in the world premiere of Forbid-den Vegas in a role she originated and as the title role in Always, Patsy Cline.

Television credits include The David Letterman Show, The Rosie O’Donnell Show and The Today Show. She has opened for Liza Minnelli, The Tempta-tions, Chubby Checker and Marilyn McCoo. In 1993, she was named Best Female Vocalist of the Year by Starsong Records.

A native of Cincinnati, Calvert is a proud graduate of the School for the Creative and Performing Arts.

Calvert’s new CD, Carter Calvert and the Roger Cohen Trio, is available for purchase.

Robert DuSoldRobert DuSold’s Broadway and national tour credits include Jason Green in The Producers, Javert and Valjean in Les Misérables, Monsieur André in The Phantom of the Opera, Old Deuteronomy in Cats, Pete in Showboat, and assorted roles in Jekyll and Hyde, Kiss of the Spi-derwoman and Chicago.

DuSold recently played Harry Bright in the Las Vegas production of Mamma Mia! Recent New York credits include Mimi le Duck opposite Eartha Kitt Off-Broadway, the title role in Don Imbro-



glio at the New York Music Theater Festival, as well as Ned in the Drama Desk-nominated The Audience.

Recordings include A Gala for Harold Prince, Sondheim: An Evening in Celebra-tion at Carnegie Hall, the Anastasia soundtrack and others. DuSold also is featured in the book, Making It on Broadway: Actors’ Tales of Climbing to the Top published by Allworth Press.

Sandra JosephSandra Joseph holds the distinction of being the longest-running leading lady in Broadway’s longest-running show. For 10 years, she starred as Christine Daaé in The Phantom of the Opera.

While Joseph continues to perform on stages across the country, she is also a passionate keynote speaker, workshop facilitator and author of the book, Be-hind the Mask: A Memoir of Faith, Love, and The Phantom of the Opera. Joseph has given presentations for companies including eBay. She has shared the stage with luminaries such as Caroline Myss, the Rev. Michael Bernard Beck-with, Mark Nepo and Jack Kornfield.

Craig Schulman Craig Schulman has portrayed three of the greatest musical theater roles—the Phantom in Andrew Lloyd Webber’s The Phantom of the Opera, Jean Valjean in Les Misérables and the title roles in Jekyll & Hyde. He has portrayed Jean Valjean in four different companies in three countries for a total of nearly 2,000 performances. Widely recognized from the PBS broadcast of The 10th Anniversary: Les Misérables in Concert, Schulman also has played Che in Evita, Tevye in Fiddler on the Roof, Archibald in The Secret Garden and Father in Children of Eden.

Schulman moves freely between the worlds of Broadway, opera and sym-phonic pops programs. He has appeared with many opera companies around the U.S., and has sung leading tenor roles in The Tales of Hoffmann, Tosca, Madame Butterfly, Carmen, Die Fledermaus, La Bohème, La Traviata, The Crucible and Manon. In 2003, he sang the title role in the world premiere of Marco Polo

in China in Singapore in Mandarin Chinese.

Ron Bohmer, vocalsRon Bohmer has starred on Broadway and on a national tour as the Phan-tom in The Phantom of the Opera and Joe Gillis in Sunset Boulevard. He also has appeared in The Scarlet Pimpernel, Aspects of Love, The Woman in White, Les Misérables, Fiddler on the Roof and Disney’s High School Musical. He most

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recently starred on Broadway as Father in the critically acclaimed revival of Ragtime, a role he originated at The Kennedy Center.

Off-Broadway roles include Sebastian in The Thing About Men, Howard in The Joys of Sex, the title role in The Third Person, the 10th anniversary cast of I Love You, You’re Perfect, Now Change and multiple roles in New York’s long-running comedy hit Forbidden Broadway (2005 Drama Desk award).



table,” Harris says. She was going over Hank DeVito and Lynn Langham’s “Old Yellow Moon” with Crowell for the first time, but their impromptu performance together was so naturally emotive that Ahern decided to build a track around it.

It was nearly 40 years earlier, in 1974, when Harris first heard Rodney Crow-ell. At the time, she and Ahern were auditioning song demos for her first album for Warner Bros., but the session wasn’t going well. Then, right at the end, they listened to music by Crowell. “The first song was ‘Bluebird Wine,’ and from that first bar of music, I just knew,” Harris says.

The passage of time is a recurring mo-tif on Old Yellow Moon, especially in the singles “Back When We Were Beauti-ful” and “Here We Are,” which Harris had originally recorded in 1979 as a duet with George Jones.

For Crowell and Harris, Old Yellow Moon was a platform to showcase songs they’d each been aiming to record or revisit for years. Getting back into the studio with Harris, says Crowell, “feels the same as it always had. We were young and foolish and that was lovely and the world was all out in front of us. Then you go on. Emmy and I have always been close over the years, but she went down one road and I went down another, and we’d intersect on occasion. But when we finally got together, it was as if no time had passed. We’re blood in that way.”



emmylou harris & rodney Crowell and richard Thompson electric Trio


Emmylou Harris and Rodney Crowell

The title song of Old Yellow Moon may be the concluding track on the first official album-length collaboration between Emmylou Harris and Rodney Crowell, but it actually represents a starting point for this long-anticipated project, produced by Brian Ahern. Crowell and Harris “were picking songs as we sat around Brian’s big kitchen h

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Richard ThompsonRichard Thompson’s latest album, Electric, comes in what is argu-ably his most creatively pro-ductive period in a career that stretches back about 45 years.

He has dozens of albums consistently high on critics’ polls and guitar skills that have earned him a Top 20 spot on Rolling Stone’s list of Best Guitarists of All Time. His guitar work also brought him MOJO magazine’s Les Paul Award, and his songwriting earned him the 2012 Americana Music Association’s Lifetime Achievement Award.

Whether featuring electric or acoustic guitar, the songs on Electric are built around the tightly focused core of the trio: Thompson, drummer Michael Jerome (Better Than Ezra, John Cale) and bassist Taras Prodaniuk (Lucinda Williams, Elvis Costello).

“I wrote this record very much with the trio in mind,” he says. “And I thought we could do something that was kind of folk, in an English-Celtic sense, and also funky, in the more ’70s sense of the word. And I like the idea of sort of a ‘Celtic power trio.’ So that was the idea I was aiming for when I was writing. And I think to some extent it is that.”

It’s very much that on the opening song, “Stony Ground,” a stomping beat by which to tell the tale of an unasham-edly lustful senior citizen. The song, Thompson says, puts him in mind of popular English poet Sir John Betje-man’s “Late-Flowering Lust.”

The lyrical, rueful “Salford Sunday,” with some prickly mandolin touches, sees its conflicted narrator waking up left and lonely in the titular burgh, just outside of Manchester. And in “Good Things Happen to Bad People,” an at-tractive melody carries the dark delight of schadenfreude, as the bad person of the title is set up for an inevitable fall.

saturday, april 6, 2013, 8 p.m.


Piotr Gajewski, conductorPiotr Gajewski is widely credited with building the Nation-al Philharmonic to its present status as one of the most respected ensembles of its kind in the region.

In addition to his appearances with The National Philharmonic, Gajew-ski is much in demand as a guest con-ductor. In recent years, he has appeared with most of the major orchestras in his native Poland, as well as the Royal Liverpool Philharmonic in England, the Karlovy Vary Symphony Orchestra in the Czech Republic, the Okanagan Symphony in Canada and numerous orchestras in the United States.

Gajewski attended Carleton College and the University of Cincinnati, Col-lege-Conservatory of Music, where he earned a bachelor’s of music and a mas-ter’s of music in orchestral conducting. Upon completing his formal education, he continued refining his conducting skills at the 1983 Tanglewood Music Festival in Massachusetts, where he was awarded a Leonard Bernstein Conduct-ing Fellowship.

Rosa Lamoreaux, sopranoLyric soprano Rosa Lamoreaux has been a soloist for Bruno Weil at the Carmel Bach Festival, Rob-ert Shaw with the Atlanta Sympho-ny and Cincinnati

Symphony orchestras, Sir David Will-cocks at the Bethlehem Bach Festival, Norman Scribner and the Choral Arts Society at The Kennedy Center, and J. Reilly Lewis and the Cathedral Choral Society and Washington Bach Consort.

Lamoreaux has toured with “Musi-cians from Marlboro” and is the sopra-no in the award-winning Vocal Arts Quartet, which has been featured at many European music festivals and has been the quartet-in-residence at the National Gallery of Art for 15 years.

Lamoreaux’s recordings include the B Ga

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SATURDAY, APRIL 6, 2013, 8 P.M.

●The National philharmonic

piotr Gajewski, Music Director and conductor

presents

Bach: sleepers awake!Piotr Gajewski, conductorRosa Lamoreaux, soprano

Matthew Smith, tenorKevin Deas, bass

Justine Lamb-Budge, violin

Brandenburg Concerto No. 1, Johann Sebastian Bach in F Major, BWV 1046 (1685-1750)

Allegro moderato

Adagio

Allegro

Menuet – Trio i – Menuet da capo polacca – Menuet da capo Trio ii – Menuet da capo

Brandenburg Concerto No. 5 in D Major, BWV 1050

Allegro

Affettuoso

Allegro

Cantata No. 140 Wachet auf, “Sleepers Awake”

chorus: Wachet auf, ruft uns die Stimme Recitative (Tenor): Er kommt, er kommt, der Bräutigam kommt

Duet (Soprano, bass): Wenn, kömmst du, mein Heil

chorus: Zion hört die Wächter singen (“Sleeper’s Awake”)

Recitative (bass): So geh herein zu mir

Duet (Soprano, bass): Mein Freund ist mein!

chorale: Gloria sei dir gesungen

All Kids, All Free, All the Time is sponsored by The Gazette




Ravinia and Saratoga festivals. His recent recordings include Die

Meistersinger with the Chicago Sym-phony Orchestra under the late Sir Georg Solti and Varèse’s Ecuatorial with the ASKO Ensemble under Ric-cardo Chailly, both on Decca/London. Other releases include Bach’s B Minor Mass and Handel’s Acis & Galatea on Vox Classics and Dave Brubeck’s To Hope! with the Cathedral Choral So-ciety on the Telarc label.

Justine Lamb-Budge, violinViolinist Justine Lamb-Budge, the National Philhar-monic’s concert-master, is bringing “youthful vibrancy” to orchestral per-formances on stages

across North America and Europe. Lamb-Budge is also principal sec-

ond violinist of Symphony in C and associate concertmaster of the Curtis Symphony Orchestra, and frequently performs with the Philadelphia Or-chestra. She has participated in the Verbier, Tanglewood, NYSOS and Aspen music festivals, and has per-formed throughout the United States, Germany and Switzerland.

Lamb-Budge has received the Jack Kent Cooke Young Artist Award and a Marian Anderson Young Art-ist Study-Grant. She has performed as soloist with orchestras including the Ocean City Pops, the Old York Road Symphony and the Federal Way Symphony.

Lamb-Budge is the Merck An-nual Fellow at the Curtis Institute of Music, where she studies with re-nowned violinists Ida Kavafian and Joseph Silverstein.

Program NotesConcerto no. 1, in F Major, BWv 1046

Johann Sebastian Bach Born March 21, 1685, in Eisenach, Germany; died July 28, 1750, in Leipzig, Germany la

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Minor Mass of Bach on Dorian; “Lu-minous Spirit,” Chants of Hildegard von Bingen; “Dancing Day,” Christ-mas music from 12th to 17th centuries; Messe Solennelle of Berlioz; “Four Cen-turies of Song” and “Gentle Annie,” songs of Stephen Foster and Charles Ives; “Spain in the New World” and “I Love Lucette,” Chansons of the French renaissance theater; and “My Thing is My Own,” bawdy songs of 17th and 18th centuries.

Matthew Smith, tenorMatthew Smith has performed with the Washington Bach Consort, Cathe-dral Choral Society, Washington Con-cert Opera, Niagara Symphony Orchestra,

Pennsylvania Chamber Orchestra and the Mendelssohn Club of Philadelphia.

His operetta and operatic roles have included Frederic in Pirates of Penzance, Baron Zsupàn in Countess Maritza, The Prologue in The Turn of the Screw, Kas-par in Amahl and the Night Visitors, the Mayor in Albert Herring and Torquema-da in L’heure Espagnol.

Smith received the Carmel Bach Festival’s Adams Fellowship in 2008. He studied voice with Beverley Rinal-di and Christine Anderson while earn-ing his bachelor’s of music in voice at the Cleveland Institute of Music and a master’s of music in opera from Tem-ple University. Smith currently serves with the Air Force Singing Sergeants in Washington, D.C.

Kevin Deas, bassAmerican bass Kevin Deas is celebrated for his riveting portray-al of the title role in Porgy and Bess with the New York Phil-harmonic, National

Symphony Orchestra, St. Paul Cham-ber Orchestra and Philadelphia Orches-tra, and the San Francisco, Atlanta, San Diego, Utah, Houston, Baltimore and Montreal symphonies, as well as at the

Between 1717 and 1723, Bach served Prince Leopold of Anhalt-Cöthen as di-rector of chamber music and court con-ductor, and it was during this period that he composed most of his music for in-strumental ensemble. When Prince Leo-pold went to Carlsbad to take the waters in 1718 and 1720, Bach and several ad-ditional court musicians traveled with him. It was probably on one of these trips that Bach met Christian Ludwig, Margrave of Brandenburg, a devoted amateur musician who collected concer-tos as one might collect coins or stamps, and who commissioned from Bach a set of concertos for his collection.

Each concerto in the set that Bach sent to Brandenburg is written for a dif-ferent combination of instruments. Each was composed with great care and was probably tried out in Cöthen, before being sent to the Margrave on March 24, 1721, with an elaborate, obsequious letter of dedication in French, under the simple title “Six Concertos with Several Instruments.” The elaborate and obse-quious letter (as translated in The Bach Reader, edited by H.T. David and A. Mendel) said: “Your Royal Highness, As I had a couple of years ago, the pleasure of appearing before Your Royal High-ness, by virtue to Your Highness’ com-mands, and as I noticed then that Your Highness took some pleasure in the small talents which Heaven has given me for Music, and as in taking leave of Your Royal Highness, Your Highness deigned to honor me with the command to send Your Highness some pieces of my Composition: I have then, in ac-cordance with Your Highness’ most gra-cious order, taken the liberty of render-ing my most humble duty to Your Royal Highness with the present Concertos, which I have adapted to several instru-ments; begging Your Highness most humbly not to judge their imperfec-tion with the rigor of the fine and deli-cate taste which the whole world knows Your Highness has for musical pieces; but rather to infer from them in benign Consideration the profound respect and the most humble obedience which I try to show Your Highness therewith. For the rest, Sire, I beg Your Royal Highness



very humbly to have the goodness to continue Your Highness’ gracious favor toward me, and to be assured that noth-ing is so close to my heart as the wish that I may be employed on occasions more worthy of Your Royal Highness and of Your Highness’ service—I, who without an equal in zeal am, Sire, Your Royal Highness’ most humble and obe-dient servant, Jean Sebastien Bach.”

The concertos were probably never performed at Brandenburg, for the parts show no signs of use. When the Mar-grave died in 1734, his library was divid-ed into two lots. In the second lot, con-sisting of 77 lesser concertos, were the six masterpieces by Bach, each one val-ued at four groschen, only worth a few cents. Eventually, the manuscript score came into the possession of Bach’s pupil, Johann Philipp Kirnberger, who be-queathed them to Frederick the Great’s sister, Princess Amalie of Prussia, whom he served as music director. They were published for the first time in 1850, a century after the composer’s death. Al-though the Margrave of Brandenburg seems to have forgotten that he owned the concertos, Bach did not forget that he had written them, and, in later years, he adapted at least one of them to an-other use.

Concerto No. 1 requires the largest number of performers: a string ensem-ble and a group of soloists that some-times enriches its sound by joining it in tutti (unison) passages. In accordance with the usage of the time, a keyboard instrument, whose player was then the equivalent of the conductor, fills in the harmonies implied in the bass line. The solo instruments are three oboes, bas-soon, two “hunting horns” and a violino piccolo.

This “little violin” was built to pro-duce higher notes than could be easily managed on the conventional instru-ment. In 1756, Leopold Mozart (father of Wolfgang) wrote in his violin instruc-tion book that it had fallen into disuse as musicians had advanced in the art of playing in the upper register of the vio-lin. Since the violino piccolo is not re-quired in the alternate versions of this music, and its special capabilities are

exploited here to only a limited degree and in only a single phrase of the slow movement, it seems that Bach probably put it in just to show that he could.

The concerto consists of the usual three fast-slow-fast movements, plus a little group of dances as an addendum. The first movement is rich in poly-phonic interplay of soli (soloists) and tutti, during which the horns occasion-ally signal for attention with two hunt-ing calls that were well-known at the time. Next comes an Adagio dialogue of oboe and solo violin. The Allegro third movement resembles the first in char-acter, but the writing is even more com-plex and the parts more difficult to play. The addendum or epilogue is a Minu-et with three alternativi, after each of which the Minuet is repeated. The first of these contrasting sections is a Trio for two oboes and bassoon; the second, a Polacca for strings (without the violino piccolo, which lacked the low notes the music requires); the third, a Trio for the two horns and a third line played by all the oboes together.

The instrumentation includes two corni da caccia (hunting horns), three oboes, bassoon, violino piccolo , and two violins, viola, cello and basso continuo.

Brandenburg Concerto no. 5

Johann Sebastian Bach

Brandenburg Concerto No. 5 is prob-ably the first harpsichord concerto ever written. There are two additional solo instruments in the group that would be called a concertino if this were a concer-to grosso, a violin and a flute (the trans-verse flute, more like our modern day flute, not the recorders of the Branden-burg Concertos Nos. 2 and 4), but de-spite the extensive writing for the group as a trio, the leader is the keyboard instrument.

In addition to its solos, the harpsi-chord also has its important traditional role to play, as accompanist to the ripie-no, the full body of strings against which the soloists are pitted. Bach marks such passages clearly. In the way this con-certo is written, the harpsichord is both

soloist and accompanist, taking up two distinct and separate roles.

This concerto, which scholars have concluded may have been the last of the six composed, is in three movements, then a modern format. As the Alle-gro first movement proceeds along its course, the harpsichord part slowly in-creases in complexity and importance until the surprising moment when the rest of the instruments drop out and leave it alone to play a relatively sim-ple version of a subsidiary idea. In just a few minutes of music that are prob-ably much like his legendary improvisa-tions, but, in our minds, similar to what later concertos always include as a ca-denza, Bach builds musical tension to a degree that no other composer of his time (and few later) was able to do. Just then, Bach redirects our attention and takes us into another even more intense development, and, giving much-needed relief, the orchestral strings finally break in with a simple statement of the open-ing theme. After the exhilaration of this solo and its dramatic ending, a sweet slow movement for the soloists alone follows, Affetuoso, Italian for “affec-tionately or tenderly.” The string body does not play at all in this movement, which is more like the movement of a trio sonata. Further contrast is provid-ed in the light and joyful Allegro fina-le, which masterfully melds the dance rhythm of a gigue (or jig), the form of an aria and the texture and style of a fugue.

The Brandenburg Concerto No. 5 is scored for solo flute, solo violin, harp-sichord and a string ensemble which could consist of one violin, one viola, one cello and double bass, or a larger complement of strings doubling, tripling to enlarge the basic group.

Cantata no. 140 Wachet auf, “sleepers

awake”

Johann Sebastian Bach

Written in 1731, Cantata No. 140 is one of the best known and most dra-matic of Bach’s sacred cantatas. In the Leipzig of Bach’s time, a cantata was sung as part of the principal ceremoni-al public occasions. Among the duties



of his position, there was the selection and preparation of about 60 canta-tas a year, which he might compose or might choose from the library or some other sources.

During his long tenure, he was re-sponsible for about 1,600 cantata per-formances, some 300 of which were his own compositions, but less than 200 of them have survived the centu-ries. The word “cantata” is simply Ital-ian for “something sung,” and it speci-fies no particular form or style.

Bach created Cantata No. 140, Wa-chet auf, for a rarely occurring date, the 27th Sunday after Trinity, a day that occurs only when Easter comes particularly early. Since this was an unusual event, happening only twice during Bach’s 26 years in Leipzig, Bach used a very large ensemble and wrote the cantata on a grand scale. Bach’s cantatas were sung in church before the sermon, with the purpose of rein-forcing the message of the day’s Bible lesson. Based on the gospel of the day,

a parable of the 10 wise and foolish virgins, and Philipp Nicolai’s hymn, Wachet auf, this work is essentially a wedding cantata, a loving story of the uniting of Christ and the human soul. Most of Bach’s cantatas require solo and choral voices, and an orchestra whose constitution varies with the oc-casion and with the presumed avail-ability of instrumentalists.

Cantata No. 140 contains a first, fourth and final movement calling for chorus singing the three verses of a hymn that comes from a 1599 hymn tune by Philipp Nicolai. Interspersed are two recitatives and two arias. The Bridegroom is a metaphor for Jesus; his bride is the Christian soul.

In the first movement, from the chorus we hear the approach of the Bridegroom’s procession; the music depicts the bustling Jerusalem crowds waiting for the Bridegroom. Next, a tenor recitative represents the night watchmen announcing the Bride-groom’s coming: Er kommt, er kommt,

der Bräutigam kommt. A soprano and baritone duet between the two lovers, Jesus and the soul, an ardent operat-ic aria, follows: Wenn, kömmst du, mein Heil. In the fourth movement, the me-lodically beautiful, Zion hört die Wächter singen (“Zion hears the watchmen call-ing”) “Sleeper’s Awake” is based on the second verse of the chorale. Bach fol-lows the style of a chorale prelude, with the phrases of the chorale sung as a can-tus firmus by the tenors or by the tenor soloist, entering in dialogue with a fa-mous lyrical melody, played in unison by the violins and the viola, accompanied by the basso continuo. After this verse, the baritone Bridegroom recites tender words to his beloved within their wed-ding chamber, followed by another love duet rejoicing in their unity. The last movement combines choir and orches-tra, a chorus of thanksgiving and glory, proclaiming Nicolai’s third verse, Gloria sei dir gesungen (“Let all creatures now adore me.”).

Copyright Susan Halpern 2012

sunday, april 7, 2013, 7 p.m.


SUNDAY, APRIL 7, 2013, 7 P.M.


celebrity Series presents

andrás schiff, piano

The French Suites, BWV 812-817 Johann Sebastian Bach (1685-1750)

Suite No. 1 in D minor, BWV 812 Allemande Courante Sarabande Menuet I Menuet II Gigue

Suite No. 2 in C minor, BWV 813 Allemande Courante Sarabande

Suite No. 1 in D minor, BWV 812 Allemande Courante Sarabande Menuet I Menuet II Gigue

Suite No. 2 in C minor, BWV 813 Allemande Courante Sarabande Air Menuett Gigue

Suite No. 3 in B minor, BWV 814 Allemande Courante Sarabande Menuett Anglaise Gigue

INTERMISSION

Suite No. 4 in E-flat Major, BWV 815 Allemande Courante Sarabande Menuett Gavotte Air Gigue

Suite No. 5 in G Major, BWV 816 Allemande Courante Sarabande Gavotte Bourrée Loure Gigue

Suite No. 6 in E Major, BWV 817 Allemande Courante Sarabande Gavotte Polonaise Menuett Bourrée Gigue

This performance is made possible through the generous support of Betsy and Robert Feinberg.




András Schiff, piano

András Schiff is world renowned and critically ac-claimed as a pia-nist, conductor, pedagogue and lecturer. Born in Budapest, Hun-

gary, in 1953, Schiff started piano les-sons at age 5 with Elisabeth Vadász.

One of the most prominent pro-ponents of the keyboard works of J.S. Bach, Schiff has long proclaimed that Bach stands at the core of his music making. In October 2012, April 2013 and October 2013, Schiff will embark on The Bach Project in North America, comprising six Bach recitals and an or-chestral week of Bach, Schumann and Mendelssohn with Schiff at the piano and on the podium. His recording of The Well-Tempered Clavier for ECM, to be released in September 2012, is ex-pected to be one of the pre-eminent performances of the work.

Schiff has established a prolific dis-cography, and since 1997 has been an exclusive artist for ECM New Series and its producer, Manfred Eicher. Re-cordings for ECM include the com-plete Beethoven Sonatas on eight discs, Janáček, two solo discs of Schumann and his second recordings of the Bach Partitas and Goldberg Variations. He is recording Beethoven’s Diabelli Varia-tions for release in 2013.

Schiff has worked with most of the major international orchestras and con-ductors, but now performs mainly as conductor and soloist. In 1999 he cre-ated the Cappella Andrea Barca, which consists of international soloists, cham-ber musicians and friends. He also works every year with the Philharmonia Or-chestra London and the Chamber Or-chestra of Europe.

Schiff has been awarded numerous international prizes and his relationship with publisher G. Henle continues with a joint edition of Mozart’s Piano Con-certos and both volumes of The Well-Tempered Clavier.

In spring 2011, Schiff attracted

attention because of his opposition to the latest Hungarian media law, and in view of the ensuing attacks on him from some Hungarian Nationalists, has made the decision not to perform or return to his home country.

Program NotesFrench suite no. 1 in D minor, BWv 812

Johann Sebastian Bach Born March 21, 1685, Eisenach, Germany; died July 28, 1750, Leipzig, Germany

In May 1720, Bach—then music direc-tor at the Cöthen court—accompanied his prince to Carlsbad, where Leopold was taking the waters, and returned to Cöthen in July to discover that his wife had died while he was gone. Bach, then 35 years old, waited nearly 18 months to marry again, and his choice was a good one. In December 1721 he mar-ried the 21-year-old Anna Magdalena Wilcken, daughter of a court trumpeter and herself an accomplished musician; she would bear Bach 13 children and survive him by a decade. In the first years of their marriage Bach composed for her a Clavierbüchlein (“little keyboard book”), just as he had written a similar volume several years earlier for his son Wilhelm Friedemann. Composed for her instruction or perhaps simply for her pleasure, this was a collection of short keyboard pieces that were certainly first performed within the Bach household. In Anna Magdalena’s Clavierbüchlein are early versions of five of the six works that would later be published as Bach’s French Suites (the sixth apparently dates from shortly after the family’s move to Leipzig in 1723).

Let it be said right from the start: the name French Suite is misleading, and while it has become inseparably a part of this music, Bach never heard that name. For him, these were simply a set of short keyboard suites that he wrote for his young wife. There is nothing conscious-ly—or even unconsciously—French about them, just as there is nothing rec-ognizably English about Bach’s English

Suites: in both cases, these nicknames were attached to the music after the composer’s death. The French Suites (inevitably, we have to use that name) are in the standard four-movement suite sequence—allemande, courante, sarabande and gigue—into which Bach introduces a variety of dance move-ments, always between the sarabande and gigue. All movements are in binary form. In contrast to the English Suites, which are large-scale works stretching out to nearly half an hour, the French Suites seem tiny. This is small-scaled, intimate music, and these suites—even with their six to eight movements—last only about a dozen minutes each.

The Suite No. 1 in D minor takes its somber character from that key, though many of these movements relax their tensions by slipping—however tenta-tively—into D major in their final mea-sure. The Allemande rides along a steady pulse of sixteenth-notes that is divided between the two hands; Bach enlivens the melodic line with a number of orna-ments. The Courante, set here in 3/2, proceeds along complex contrapuntal textures, while the Sarabande is stately and expressive. The interpolated move-ments here are a pair of minuets, and the suite concludes with a Gigue that is all hard edges. In quadruple time rather than the expected 12/8, it features imitative patterns in the two hands, full of dotted rhythms and 32nd-note runs. Bach inverts his theme at the beginning of the second half and drives this music to an almost stark close on a solitary F-sharp, the one note that will transform D minor into D major.

The Suite No. 2 in C minor also has a somber dignity throughout. Particu-larly striking here are the outer move-ments: an Allemande in which the me-lodic line is syncopated throughout and a Gigue built on short melodic phrases (the meter is 3/8), dotted rhythms and sharply angular themes. The two inter-polated movements are an Air that feels very much like one of Bach’s Two-Part Inventions and a Menuet built on flowing melodic lines.



The Suite No. 3 in B minor opens with a propulsive but graceful Alle-mande, which is followed by ebullient Courante and a poised Sarabande. The first interpolated movement is a Menuet full of unexpected energy and drive; it surrounds a sturdy Trio. The second interpolation is a movement Bach calls Anglaise. In the 18th century that title (which means “English”) referred to music thought to be of English origin, such as the hornpipe. This particular Anglaise is an animated dance that seems to be in 4/4, though Bach’s metric marking is a simple 2. The suite con-cludes with a quick Gigue set in 3/8.

The first three French Suites are in minor keys, the last three in major. The Suite No. 4 in E-flat Major opens with a spirited Allemande, driven along a happy rush of steady sixteenths. The Courante sets triplets in the pianist’s right hand against dotted eighths in his left, while the Sarabande moves grace-

fully along a walking bassline in the pianist’s left hand (this line sometimes moves into the right hand). The Fourth Suite exists in several versions: a Gavotte is followed by a subdued Menuet at this point, and the Air place here is some-times eliminated. The suite concludes with a vigorous Gigue marked by quick trills.

The Allemande of the Suite No. 5 in G Major makes some very attractive modulations, as moments of shade pass over the sunny G-major surface of this dance. Then follow a quick Courante, reminiscent of the Two-Part Inventions Bach was composing in these same years, and a graceful, light Sarabande. The interpolated movements—three of them in this suite—are a Gavotte (which has become so popular that it is sometimes performed separately), an athletic Bourrée and a Loure marked by swirls and cascades of sound, almost arpeggiated chords. The concluding

Gigue, a fugue, is the most difficult move-ment in the suite; it races impetuously along its unusual 12/16 meter.

The Suite No. 6 in E Major is the only one of the French Suites not part of Anna Magdalena’s Clavierbüchlein—it appar-ently dates from shortly after the Bach family’s move to Leipzig in 1723. Its eight movements are all extremely concise. The Allemande is full of bright energy, while the Courante features rapid exchanges between the performer’s hands and the Sarabande offers rich rolled chords. There are four interpolated movements: a firm Gavotte, a Polonaise (the only polonaise in the six suites), a Bourrée in duple meter (Bach’s metric marking is simply 2), and a Menuet (there is some debate among scholars as to whether the Bourrée or the Menuet should come first). Bach rounds matters off with a spirited Gigue in 6/8, somewhat in the manner of his Two-Part Inventions.


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Michael Krajewski, conductor

Known for his entertaining programs and clever humor, Michael Krajewski is a highly sought after conductor of sym-phonic pops.

He is the principal pops conductor of the Houston Symphony, the Jackson-ville Symphony Orchestra and the At-lanta Symphony Orchestra—the first to hold such a title in Atlanta.

As a guest conductor, Krajewski has performed with the Cleveland and Phil-adelphia orchestras; the Boston and Cincinnati Pops; the San Francisco, Baltimore, Detroit, Indianapolis, Seat-tle, Dallas, St. Louis and National sym-phonies; and numerous other orchestras across the United States.

In Canada he has led Ottawa’s Na-tional Arts Centre Orchestra, the Cal-gary Philharmonic and the Edmon-ton, Winnipeg and Kitchener-Waterloo symphonies.

Other international appearances in-clude performances with the Hong Kong Philharmonic, the Iceland Sym-phony Orchestra and the Ulster Orches-tra in concerts in Belfast and Dublin.

Krajewski is the conductor of the video Silver Screen Serenade with violin-ist Jenny Oaks Baker that aired world-wide on BYU Broadcasting.

In addition, Krajewski also has led the Houston Symphony on two holi-day albums: Glad Tidings and Christmas Festival.

During the 2012-13 season Krajewski will be conducting his original Sounds m

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THURSDAY, APRIL 11, 2013, 8 P.M.



presents

Bond and Beyond: 50 Years of 007

The James Bond Theme John Barry (1933-2011) from The Best of Bond (arr. & orch. Jeff Tyzik)

Theme from John Barry From Russia with Love

Theme from You Only Live Twice John Barry (arr. Nic Raine)

Theme from John Barry Diamonds Are Forever (orch. Wendell Smith)

Theme from David Arnold (arr. Don Black) The World is Not Enough (1962-)

Concerto for Cell Phone James M. Stephenson (1969-)

Suite from Casino Royale and David Arnold Quantum of Solace (arr. & orch. Gregory Prechel)

Theme from Goldfinger John Barry (arr. Tim Berens)

Skyfall Adele Adkins (1988-) and Paul Epworth (arr. Wendell Smith)

Theme from Goldfinger John Barry (arr. Tim Berens)

INTERMISSION

Secret Agent Man P.F. Sloan (1945-) and Steve Barri (1942-) (arr. & orch. Gregory Prechel)

Soul Bossa Nova Quincy Jones (1933)- (Theme from Austin Powers (arr. Tim Berens)

“Sooner or Later” from Dick Tracy Stephen Sondheim (1930-) (arr. & orch. Gregory Prechel)

“Inspector Clouseau Theme” Henry Mancini from The Pink Panther (1924-1994)

Skyfall Adele Adkins (1988-) and Paul Epworth (arr. Wendell Smith)

The Best of Bond John Barry (arr. & orch. Jeff Tyzik)

The concert will end at approximately 10:10 p.m. The Music center at Strathmore • Marriott concert Stage



of Simon & Garfunkel program all over North America featuring national tour-ing artists AJ Swearingen and Jonathan Beedle.

Krajewski’s other collaborative pro-grams have included such artists as flut-ist James Galway, pianist Alicia de Lar-rocha, guitarist Angel Romero and pop artist Roberta Flack.

He also has appeared with Judy Col-lins, Art Garfunkel, Kenny Loggins, Ben Folds, Doc Severinsen, Patti Aus-tin, the Preservation Hall Jazz Band, The Chieftains, Pink Martini, Rocka-pella, Cirque de la Symphonie, Classi-cal Mystery Tour and Big Bad Voodoo Daddy.

Krajewski was a Dorati Fellowship Conductor with the Detroit Symphony and later served as that orchestra’s as-sistant conductor. He was resident con-ductor of the Florida Symphony and for 11 years served as music director of the Modesto Symphony Orchestra.

Michael Krajewski last conducted the BSO Pops in November 1999.

Debbie Gravitte, soprano Debbie Gravitte has had a varied career taking her from the Broad-way stage to the symphony hall and points in between.

Gravitte has won a Tony Award for best

featured actress in a musical for Jerome Robbins’ Broadway and a New York Showstopper Award and was nominated for a Drama Desk Award.

After making her Broadway debut in the original cast of They’re Playing Our Song, she went on to appear in Perfectly Frank, Blues in the Night, Ain’t Broadway Grand, Zorba, Chicago and Les Misérables.

Gravitte also has appeared in the Encore series productions of The Boys From Syracuse, Tenderloin and Carnival at New York’s City Center.

Gravitte has sung with numerous symphony orchestras including National Symphony, Boston Pops, Atlanta Sym-phony, Cleveland Orchestra, Pittsburgh Symphony, Utah Symphony, St. Louis, Houston and San Diego symphonies.

Overseas, she has sung with the Lon-don, Aalborg and Birmingham sympho-ny orchestras, Stockholm Philharmonic, Gotesborg and Jerusalem symphonies, Munich Philharmonic, Royal Scottish National Orchestra and Symphonica of Brazil.

Gravitte recently finished her latest CD, Defying Gravity, a follow-up to The MGM Album, Part Of Your World and The Alan Menken Album.

Gravitte recently debuted with the New York City Ballet singing in Peter Martin’s “Thou Swell” at Lincoln Center. She appeared with Bette Midler in the film Isn’t She Great? and can be heard as one of the voices in the film The Little Mermaid.

Debbie Gravitte is making her BSO debut.

Anticipate more...

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of the Arts, he made his first studies in orchestration and orchestral composi-tion, and transcribed for the organ more than 100 major works, including Gustav Mahler’s complete Symphony No. 5. Carpenter continued compos-ing after moving to New York City in 2000 to attend The Juilliard School. While at the school he composed art songs; the symphonic poem Child of Baghdad (2003) for orchestra, cho-rus and Ondes Martenot; his first substantial works for solo organ; and numerous organ arrangements of piano works by Chopin, Godowsky, Grainger, Ives, Liszt, Medtner, Rach-maninoff, Schumann and others. Carpenter received a master’s degree from Juilliard in 2006.

The same year, he began his worldwide organ concert tours, giving numerous debuts at venues includ-ing Royal Albert Hall, the Leipzig



Cameron Carpenter


Cameron CarpenterA virtuoso composer-performer

unique among keyboardists, Cameron Carpenter’s approach to the organ is smashing the stereotypes of organists and organ music while generating a level of acclaim, exposure and contro-versy unprecedented for an organist. His repertoire—from the complete works of J. S. Bach and Cesar Franck, to his hundreds of transcriptions of non-organ works, his original compo-sitions and his collaborations with jazz and pop artists—is perhaps the largest and most diverse of any organist. He is the first organist nominated for a Grammy Award for a solo album.

As a keyboard prodigy, he per-formed Bach’s Well-Tempered Clavier at age 11 before joining the American Boychoir School in 1992 as a soprano. During his four years of high school studies at The North Carolina School

Gewandhaus, Melbourne Town Hall, Tchaikowky Hall in Moscow, Davies Hall in San Francisco and many others. His first album for Telarc, the Grammy-nominated Revolutionary (2008), was followed in 2010 by the critically acclaimed DVD and CD Cameron Live! Edition Peters became his publisher in 2010, beginning the ongoing release of his original works with Aria, Op. 1 (2010). His first major work for organ and orchestra, The Scandal, Op. 3, was commissioned by the Cologne Philharmonie (Köl-nMusic GmbH) and premiered on New Year’s Day 2011 by the Deutsche Kammerphilharmonie under the direction of Alexander Shelley.

Carpenter is one of the only per-forming artists to make a practice of meeting his audience in person before his performances—often spending more than an hour before each con-cert shaking hands and signing auto-graphs on the floor of a concert venue. Carpenter has received millions of hits on YouTube In addition, he has appeared in features on CBS Sunday Morning, BBC Radio 3, The New York Times, The New Yorker and The Wall Street Journal, among other media. m

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and we’ve invited people of all ages. They can sing along. They can dance in the aisles.”

Formed in Chicago in 2010, Under the Streetlamp quickly earned a local devoted following and a reputation that has led to a much-anticipated debut CD/DVD, titled Under The Streetlamp: Live!.

Groups such as Dion and The Belmonts (“I Wonder Why”), The Chords (“Sh-Boom”) and The Drift-ers (“Save The Last Dance For Me”) all have songs represented on Under The Streetlamp: Live!. Also featured are songs by The Beach Boys (“I Get Around”), The Temptations (“Get Ready”), The Beatles (“Twist And Shout”), The Turtles (“Happy Togeth-er”), and, notably, The Four Seasons (“Workin’ My Way Back To You”). It was a stint in Jersey Boys—the award-winning Broadway musical based on The Four Seasons—that brought Under the Streetlamp together.

“All four of the main characters in the show were played by one of us at one time or another,” says Ingersoll. In fact, Ingersoll, Wiley and Cunio all played in Jersey Boys together in Chicago for a year, while Jones, who had previously worked with Ingersoll, appeared in the first national touring



under the streetlamp

Michael Cunio, vocalsMichael Ingersoll, vocals

Christopher Kale Jones, vocalsshonn Wiley, vocals


Under the StreetlampThe pop quartet Under The Streetlamp is poised to bring the repertoire of The American Radio Songbook of the ’50s, ’60s and ’70s to a whole new audience—while re-minding original fans why they fell in love with the music in the first place.

“We perform music that was introduced to the public under the humblest of spotlights,” says Michael Cunio, who with Shonn Wiley, Mi-chael Ingersoll and Christopher Kale Jones make up Under the Streetlamp, which specializes in doo-wop, rock ‘n’ roll and Motown-era soul classics. “We think of ourselves as hosts to a party—

company.“Then I started doing cabaret

shows around Chicago featuring other performers—including Chris, Michael and Shonn,” Ingersoll recalls. “Some people came to see us because of Jersey Boys, but we discovered that it was the synergy between the four of us in this non-theatrical setting that audiences were responding to.”

Each of the players has a lot of great prior performance experience.

Ingersoll, from Dayton, Ohio, be-came interested in music through his grandfather Roy Francis, a jazz pianist who toured with the late Dave Bru-beck. Other major musical influences include Roy Orbison, and his rousing rendition of “Pretty Woman” can also be heard on Under The Streetlamp Live!

Wiley, who grew up in Adrian, Mich., started singing and dancing as a child. He performed on Broadway prior to Jersey Boys, and is the group’s choreographer.

Jones is from Hawaii, where he grew up listing to oldies radio and singing in award-winning choirs. Like Wiley, he came to Jersey Boys with prior acting experience in New York theater.

Cunio picked up his love of music during his boyhood in Seattle. He also performs his original songs as frontman of the alternative rock band Reckless Place.

The group is expanding its reper-toire to include 1980s artists such as Billy Joel, Bob Seger and Huey Lewis. Members also conduct workshops, master classes before sound checks and provide a platform for students to perform during a show.

“There’s something unique about the music that came out of the ‘60s period,” Cunio says. “Not many young people are doing this music live, and we’re trying to make sure it doesn’t stop with our genera-tion in our more fragmented digital time. This music exists in everyone’s consciousness unlike any other genre, and we keep that in mind and pay respect to it.”



artist known all over the world, prized by audiences and critics across many latitudes and several generations.

As a performer for over 40 years in all the major European, American and Japanese concert halls and festivals, Maurizio Pollini has performed with the most celebrated conductors and orchestras.

SUNDAY, APRIL 14, 2013, 4 P.M.


Maurizio pollini Prelude in C-sharp minor, Op. 45 Frédéric Chopin (1810-1849) Ballade No. 2 in F Major, Op. 38

Ballade No. 3 in A-flat Major, Op. 47

Four Mazurkas, Op. 33 No. 1: Mazurka in G-sharp minor

No. 2: Mazurka in D major

No. 3: Mazurka in c major

No. 4: Mazurka in b minor

Scherzo No. 3 in C-sharp minor, Op. 39

INTERMISSION

Preludes, Book 1 Claude Debussy (1862-1918)

i. Danseuses de Delphes Vii. ce qu’a vu le vent d’ouest

ii. Voiles Viii. la fille aux cheveux de lin

iii. le vent dans la plaine iX. la sérénade interrompue

iV. “les sons et les parfums tournent dans l’air du soir” X. la cathédrale engloutie

V. les collines d’Anacapri Xi. la danse de puck

Vi. Des pas sur la neige Xii. Minstrels

program subject to change

columbia Artists Management llcpersonal Direction: TiM FOX

1790 broadway, N.y., N.y. 10019


Maurizio Pollini, pianoThe name Maurizio Pol-lini evokes an extremely im-portant career: the story of a man and an

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Maurizio Pollini has been awarded many international prizes: the Vi-enna Philharmonic Ehrenring (1987); the Goldenes Ehrenzeichen of the Town Salzburg (1995); the Ernst-von-Siemens Music Prize in Munich (1996); the “A Life for Music – Artur Rubinstein” Prize in Venice (1999); the Arturo Benedetti Michelangeli Prize in Milan (2000); the prestigious Prize Im-periale in Tokyo (2010); and the Royal Philharmonic Society Award (2012).

In 1995 Maurizio Pollini opened Tokyo’s festival dedicated to Pierre Boulez. In the same year and in 1999, the Salzburg Festival invited him to create and present his own cycle of concerts, which included works of dif-ferent epochs and styles. With the same philosophy, between 1999 and 2006, Maurizio Pollini realized new cycles performed in New York at Carnegie Hall (in 1999/2000 and 2000/2001), in Paris for la Cité de la Musique and in Tokyo (both in 2002), in Rome at the Parco della Musica (March 2003) and Vienna with programs including both chamber and orchestral performances and mirroring his wide musical tastes from Gesualdo and Monteverdi to the present. During the summer of 2004, he was named the “Artist Etoile” at the In-ternational Festival Lucerne, perform-ing a recital and concerts with orchestra conducted by Claudio Abbado and Pierre Boulez.

Maurizio Pollini created new concert cycles between 2008 and 2013 at the Lucerne Festival, Accademia di Santa Cecilia Roma, Cité de la Musique Paris, Teatro alla Scala Milano, in Tokyo and in Berlin.

Maurizio Pollini’s repertoire ranges from Bach to contemporary compos-ers (including premier performances of Manzoni, Nono and Sciarrino) and includes the complete Beethoven Sona-tas, which he has performed in Berlin, Munich, Milan, New York, London, Vienna and Paris.

Maurizio Pollini has recorded works from the classical, romantic and contemporary repertoire to worldwide critical acclaim. His recordings of the complete works for piano by Schoen-



he did what he could to support new composers, such as Cesar Franck. This Prelude is built on a single motif. The theme in octaves in the right hand is reminiscent of, and in the same key as, that of Beethoven’s “Moonlight” Sonata. The theme recurs over an arabesque figure and moves up over a range of three octaves.

Copyright 1991 Columbia Artists Management Inc.

Ballade no. 2 in F Major, Op. 38

Frédéric Chopin

Although he had begun Ballade No. 2 in 1836, Chopin revised it during the winter of 1838, which he spent in the spellbinding company of his inspira-tional paramour, writer George Sand (Aurore Dudevant). They lived in an abandoned monastery in Majorca in a room the composer described as having “the shape of a tall coffin.” He revised it a second time in 1839, dedicating it to Schumann, probably in return for the latter’s dedication of Kreisleriana to him in 1838. Interestingly, the copy of Schumann’s work was found after Chopin’s death with the leaves of the pages uncut—a terrible insult to Schumann, had he known! In fact, Chopin had even changed the original dedication “Friend Robert Schumann” to “Mr. Robert Schumann;” the Polish Chopin had little respect for the Ger-man Schumann.


Ballade no. 3 in a-flat Major, Op. 47

Frédéric Chopin

In the works of Frédéric Chopin we find a unique example of a composer writing almost exclusively for the pia-no, who nonetheless has been granted a place among the greatest composers of all time—universally idolized in his own century and in ours. Of all the composers of music for the piano, Chopin holds the enviable position of being the one whose music is most frequently performed. His contem-poraries, perhaps from jealousy, were

berg, and of works by Berg, Webern, Manzoni, Nono, Boulez and Stockhau-sen are a testament to his great passion for music of the 20th century.

Maurizio Pollini’s recent recording of Chopin’s Nocturnes was received with the greatest enthusiasm by audiences and critics alike: in 2007 he was award-ed a Grammy for the best Instrumental Soloist Performance as well as the Disco d’Oro; in 2006 he was awarded an Echo Award (Germany) and the Choc de la Musique, Victoires de la Musique and Diapason d’Or de l’Année (France). A CD with the Mozart piano Concertos n.12 KV414 and n.24 KV491 with the Vienna Philharmonic was released in April 2008 followed by the second CD with Concertos n.17 KV453 and n.21 KV467 as well as a new recording dedicated to Chopin. Maurizio Pollini’s recording of Brahms Piano Concerto No. 1 with Staatskapelle Dresden and Christian Thielemann was released as both a CD and DVD in late fall 2011.

Deutsche Gramophone recently released a 3-CD boxed set dedicated to the Art of Maurizio Pollini and will also release a new CD in late 2012 featuring Chopin Préludes and other pieces.

Program Notesprelude in C sharp minor, Op. 45

Frédéric Chopin Born ca. March 1, 1810 in Zelazowa Wola, Poland; died Oct. 17, 1849, in Paris

Of all the music composed for the piano, Frédéric Chopin’s is the most often performed. The son of a high school French teacher, he was largely self-taught as a musician, although he did study piano and composition in his youth with the director of the Warsaw Conservatory, Jósef Elsner.

The Prelude in C sharp minor, Op. 45 is a short piece composed in 1841, while Chopin was living with George Sand in Paris. During this time of rela-tively small output, he kept aloof from the musical world, preferring instead to frequent aristocratic salons, although

sometimes slighting; yet, despite their derogatory epithets, the fact remains that Chopin invented a keyboard style that fitted ideally into 19th-century Romanticism. His music is tinged with melancholy, suggesting a never-ending search for the unattainable, yet invariably it is arrayed in an impec-cable technical structure. All his works demand of the player not only a flawless touch and technique but also an imaginative use of the pedals and a discreet application of tempo rubato, which Chopin himself described as a slight pushing or holding back within the phrase of the right hand while the left hand continues in strict time.

In all, Chopin composed four Bal-lades between 1831 and 1842. These works were not conceived as a group, and there does not seem to be a predetermined plan in their structure, or in the thematic deployment and development. The only set principle is their free composition, as the form of each of the four Ballades is essentially self-generative. Other composers after him—- Fauré, Franck, Vieuxtemps, Liszt, Dukas and Brahms, for exam-ple—adopted Chopin’s “invention,” the Ballade, but they all used a stricter form, usually three-part song form; this is especially true of Brahms, whose Ballades could claim equal renown, as those by his predecessor. In another example, Grieg’s Ballade in Form von Varationen über eine norwedische Melo-die, by virtue of being strophic, is closer to the literary ballad than Chopin’s works in this form. Indeed, unfettered by conventions, the Polish composer gave free rein to his inspiration in the Ballades, as his genius chose not to ac-commodate the constraints of tradi-tional forms or rules.

Each of Chopin’s Ballades is con-structed on two primary melodic ideas and the listener can find in them techniques related to the sonata, rondo and variation forms. In each work, the melodic beauty enfolds as the thematic material is succes-sively transformed, supported by a rich harmonic framework. Another common feature of the Ballades is their



compound meters (6/4 or 6/8)—me-ters whose rhythms convey a certain feeling of narration in musical terms.

The Ballade in A-flat Major, Op. 47, the third work of the genre, was com-posed during Chopin’s most prolific pe-riod in 1840-41—years of relative hap-piness in the composer’s life and when his involvement with George Sand was at its peak. Liszt once claimed that Chopin had improvised the piece on a whim for the poet Heinrich Heine; the story goes that the composer wanted to make a musical commentary on the poem Willi by Mickiewicz, recount-ing the adventures of the water-sprite Ondine, sister to Lorelei. The work was first heard in public in February 1842 at the Salle Pleyel in Paris, during a con-cert given by Chopin and the singer Pauline Viardot-García.

In this Ballade, two themes are developed in a freely adapted sonata form. Here, the prevailing mood is one of playful coquetry, before the darker mood of the development sec-tion in C-sharp minor is reached. The third Ballade was dedicated to a pupil, Mlle. Pauline de Noailles, who is said to have remarked, “There is moon-light in this music, and sunlight too.”

Ileen Zovluck Copyright 2001 Columbia Artists

Management Inc.

Four Mazurkas, Op. 33

Frédéric Chopin

The Mazurka originated as a country-dance in the province of Mazovia, near Warsaw, where the inhabitants were known as Mazurs. The music is in triple meter, sometimes sung as well as danced, with strong accents tapped by the heel on the second or third beat. The dances vary in character according to the neighborhood and social status of the dancers. Chopin, who became interested in Polish folk music as a youth, came upon the popular form during his summer holidays in 1824 that were spent in a friend’s country manor. Composed with an improvisational flair, Chopin’s mazurkas, of which he wrote more

than 50, reflect a variety of moods in delicately beautiful melodic lines and subtle changes in harmonic nuances.


scherzo no. 3 in C sharp minor, Op. 39

Frédéric Chopin

The term “scherzo” was used originally for vocal madrigals in the early 17th century (Monteverdi’s secular Scherzi musicali for three voices is an exam-ple), but soon afterward it was applied solely to instrumental works. In fact, few scherzi appeared at all from 1650 to 1750; a single one ends Bach’s A minor Partita, after which a few more are found in the works of Haydn and C.P.E. Bach.

Most scherzi are in triple meter, and since Beethoven, act as the third movement of a larger work. Chopin’s exist, however, as separate composi-tions. He composed his four scherzi as bravura pieces, to show off the possi-bilities of the piano. Thus, the scherzo was glorified and developed into a large-scale, serious form. Although the Italian term “scherzo” means “a joke,” the scherzi by the Polish composer are hardly playful pieces. The vir-tuoso pianist Alfred Cortot described them as “games, but terrifying games; dances, but feverish, hallucinatory dances that seem to find their rhythm in the bitter round of human tor-ment.” Indeed, in the scherzi Chopin created moods that are very grave, fierce and sardonic, yet also passionate and melancholic.

The Scherzo in C sharp minor, composed during Chopin’s stay at Majorca, is dedicated to Gutmann, a favorite pupil of the composer (he actually died in Gutmann’s arms). The work is replete with the drama that characterizes so much of Chopin’s music. The lovely trio marks a liturgi-cal interlude in the wrathful music that mounts to a fine climax, ending surprisingly in the major mode.

Ileen Zovluck Copyright 2000 Columbia Artists

Management Inc.

préludes, Book I (1910)

Claude Debussy Born Aug. 22, 1862, in Saint-Germain-en-Laye, France; died March 25, 1918, in Paris

Claude Debussy is heralded as the father of Impressionism in music and generally considered the founder of the modern school of harmony, he did for music what the Impressionists did for painting and literature; he literally created “tonal colors” which one can find not only in his compositions for the orchestra but in his piano works as well. In his music, Debussy sought to emphasize a new free-dom of expression largely inspired by his close observation of nature. As a pianist, he—like Chopin and Liszt before him—tried to make the piano not a piano. His mellowness of tone made the listener forget that the piano has hammers; the sonorities created by him were once described as “rising up into a transparent atmosphere, where they unite without merging and dissolve in iridescent mists.” Perhaps no other work of his illustrates this better than the masterful Préludes.

Like Chopin before him, and perhaps in subconscious tribute to the 19th cen-tury master, Debussy wrote 24 preludes, published in two sets. The first set, or Book I, was written and published in 1910; the second was composed between 1912 and 1913 and published in the lat-ter year.

The Préludes are not only a testament of Debussy’s love for Chopin’s music, but they also contain his last homage to the genre of descriptive miniatures that began with Mendelssohn and Schumann. The titles contain all the themes that served as inspiration to their composer: nature; exoticism and travel; the humor-ous and ironic; classical antiquity; and movement. These themes are deployed in the Préludes through intricate figura-tions and varied pedal effects, and by the creation of tonal colors and unique sonic masses that proclaim themselves free from the laws of conventional harmony. Of the two sets of Préludes, Book I, heard in this performance, has always been the most popular and widely performed.



I. Danseuses de Delphes (“Dancers of Delphi”): A Greek relief represent-ing three women in a slow dance was Debussy’s inspiration. The languid and mysterious melody passes from archaic modality to being diatonic, then becoming pentatonic, and eventually turning chromatic.

II. Voiles (“Sails” or “Veils”): The title of this piece evokes the sails of boats, billowing in the wind, or swirling veils; according to Debussy, the play on words was intentional. Of all the Préludes, this piece utilizes the whole-tone scale most thoroughly.

III. Le vent dans la plaine (“The Wind of the Plain”): Whole-tone and pentatonic scales come into play once again. Whereas the wind played deli-cately on the sails/veils of the previous piece, here the gathering winds whirl and swirl more determinedly across the countryside, only to spin them-selves into silence at the end.

IV. “Les sons et les parfums tourn-ent dans l’air du soir” (“Sounds and Odors Blend in the Evening Air”): lines in the poem, “Harmonie du soir,” from Les fleurs du mal, suggested this haunting and nostalgic melody by Charles Baudelaire. With sensuously rich harmonies covering the 12-tone gamut, Debussy suggests intoxicating sounds and fragrances mingling at the end of the day.

V. Les collines d’Anacapri (“The Hills of Anacapri”): This piece captures the festivity and color of a celebration on the island of Capri. Hints of a tarantella and Neapolitan folk songs are heard against tolling bells in the background.

VI. Des pas sur la neige (“Footprints in the Snow”): In this prélude, the atmosphere is stark and bleak as it resonates with loneliness. The com-poser wrote that the basic rhythm of the piece “should have the aural value of a melancholic, frozen landscape.”

VII. Ce qu’a vu le vent d’ouest (“What the West Wind Saw”): The nightmarish quality of this prélude deploys a palette of orchestral colors, with such extreme dynamic indica-tions as “animated and tumultuous,” “plaintive and in the distance,” “stri-dent,” “fast and furious,” etc. Here, the frenzied West Wind storms across France with sweeping fury, suggested by whirling arpeggios and striking discords.

VIII. La fille aux cheveux de lin (“The Girl with the Flaxen Hair”): In this, the most famous of all the Pré-ludes, a soothing, lyrical and charming melody contrasts with the preceding furor of the hurricane. The inspiration for this piece came from Leconte de Lisle’s Chansons écossaises. Here pen-tatonic scales provide a certain folk-loric flavor and an aura of timelessness rather than the expected exoticism associated with such scales.

IX. La sérénade interrompue (“The Interrupted Serenade”): An ironic hu-mor pervades this miniature sketch of a nocturnal scene in which a Spanish lad attempts at serenading his beloved are repeatedly interrupted. Against the gui-tar’s punteado (“plucking of individual strings”) and the rasgueado (“strum-ming chords)—techniques paralleled here by the piano—we hear a plaintive Moorish melody as well as fragments from Debussy’s own suite Iberia. After all the interruptions the serenader gives up and we hear him frustratingly reced-ing into the distance.

X. La cathédrale engloutie (“The En-gulfed Cathedral”): Based on a legend from Brittany, this mystical prélude tells of the Cathedral of Ys, which dwells beneath the sea, submerged in the fourth or fifth century as punish-ment for the sins of its inhabitants. The Cathedral rises again with each sunrise as a warning and example to others, before returning to its oceanic slumber. Three motifs come into play: an ascending chordal melody for the placid sea, a chant treated as a medi-

eval organum, representing the cathe-dral itself, and a rumbling figuration on the left hand as the tide surges with more strength to engulf the cathedral once again; this is punctuated through-out by the tolling of the bells.

XI. La danse de Puck (“Puck’s Dance”): Debussy’s sense of musical humor pervades this roguish sketch. Shakespeare’s “joyous nomad of the night,” Oberon’s page in A Midsum-mer Night’s Dream is seen here tripping lightly, now vanishing and reappearing again, dancing through the enchanted forests; every once in a while we also hear Oberon’s beckoning horn call, but Puck’s mischievous nature cannot be restrained. This capricious prélude evokes not only Puck’s elfin gaiety, but also his darker, mocking side.

XII. Minstrels: This prélude depicts not the medieval troubadours of old, but a contemporaneous music hall, charac-terized by shuffling old Broadway songs and the entertaining dance steps of black-faced minstrels. Having pioneered the American musical theater in the 1840s, minstrels were popular attrac-tions at European fairs and resorts by the turn-of-the-century. In this cakewalk of a prélude, Debussy captures the shifting moods of the characters, careening from bawdy comedy to heartfelt pathos and back to jovial cavorting.

Among the most significant piano works ever written by a French com-poser, Debussy’s Préludes were instantly recognized as masterpieces of the Impressionist school. They were intro-duced to the public at three different concerts in Paris. Debussy himself pre-miered Nos. 1, 2, 10 and 11 on May 25, 1910 and Nos. 3, 4, 6 and 12 on June 29, 1911, the latter concert consisting of an all-Debussy program. The composer’s friend, Ricardo Viñes introduced Nos. 5, 8 and 9 on Jan. 14, 1911. Since these historic performances, the Préludes have become an indispensable part of the concert literature for virtuoso pianists around the world.


Tuesday, april 16, 2013, 8 p.m.


TUESDAY, APRIL 16, 2013, 8 P.M.


celebrity Series

presents

The staatskapelle DresdenChristian Thielemann, principal conductor

Lisa Batiashvili, violin

Academic Festival Overture, Op. 80 Johannes Brahms (1833-1897)

Violin Concerto in D Major, Op. 77 Allegro non troppo

Adagio

Allegro giocoso, ma non troppo vivace

INTERMISSION

Symphony No. 4 in E minor, Op. 98 Allegro non troppo

Andante moderato

Allegro giocoso

Allegro energico e passionato


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Christian Thielemann, conductor

Christian Thielemann began his pro-fessional ca-reer in 1978 as a rehears-al pianist at the Deutsche Oper in Ber-

lin. Following positions in Gelsenkirch-en, Karlsruhe and Hanover he joined

Bach to Henze and Gubaidulina. His in-terpretations of German romantic music, both in opera and on the concert stage, are regarded as exemplary. Since his Bayreuth debut in the summer of 2000, his annual appearances have set new standards in conducting. He has been musical advisor to the Bayreuth Festival since 2010. At the 2011 Salzburg Festi-val, Thielemann directed a new, highly acclaimed production of Die Frau ohne Schatten by Richard Strauss.

Together with the Vienna Philhar-monic Orchestra he has recorded a com-plete cycle of Beethoven’s symphonies.His recordings with the Staatskapelle include Bruckner’s Eighth Symphony, Beethoven’s Missa solemnis, the ZDF New Year’s Eve Concerts of 2010 and 2011 and Faust compositions by Wagner and Liszt.

Thielemann also is the new artistic di-rector of the Salzburg Easter Festival, and the Staatskapelle Dresden is the festival orchestra.

Lisa Batiashvili, violin

Praised by audi-ences and fel-low musicians for her virtuosity and “profound sensitivity” (Fi-nancial Times), Lisa Batiashvi-li is one of the

world’s most sought after violinists. In Europe she frequently works with the Berliner Philharmoniker, Staatskapelle Dresden, Gewandhausorchester Leipzig, Royal Concertgebouw Orchestra and the Chamber Orchestra of Europe. In the U.S. she performs every season with the New York Philharmonic and regularly re-turns to the Philadelphia Orchestra and Boston Symphony Orchestra.

During the 2012-13 season Batiash-vili holds the position of Capell-Virtuosin with the Staatskapelle Dresden, perform-ing several times with the orchestra. She is artist-in-residence with the WDR Sin-fonieorchester Köln, and forms new mu-sical partnerships with Daniel Barenbo-im and the Staatskapelle Berlin, Gustavo Dudamel and Gothenburg Symphony

the conducting staff of the Rhine Opera in Dusseldorf in 1985. Three years later he moved to Nuremberg to become Germany’s youngest music director, be-fore returning to the Deutsche Oper in Berlin in 1997, holding the position of music director there for seven years. Thielemann conducted the Munich Philharmonic Orchestra from 2004 to 2011. In the summer of 2012 he took up the baton as principal conductor of the Staatskapelle Dresden.

Thielemann’s repertoire ranges from



Orchestra, Thomas Hengelbrock and NDR Sinfonieorchester, and Mariss Jansons and the Royal Concertgebouw Orchestra.

A dedicated chamber musician, Ba-tiashvili has appeared at the Salzburg, Edinburgh International, Schleswig-Holstein, Heimbach and Verbier festi-vals, and tours regularly with musicians such as oboist François Leleux, violist Lawrence Power and cellist Sebastian Klinger. In the 2012-13 season she also embarks on a recital tour with pianist Paul Lewis.

Batiashvili plays the 1715 ex-Joachim Stradivarius, kindly loaned by the Nip-pon Music Foundation.

The Staatskapelle DresdenOn Sept. 22, 2008, the Staatskapelle Dresden celebrated its 460th jubilee. Founded by Prince Elector Moritz von Sachsen in 1548, it is one of the oldest orchestras in the world. Over its long history many distinguished conductors and internationally celebrated instru-mentalists have left their mark on this one-time court orchestra.

Previous directors include Heinrich Schütz, Johann Adolf Hasse, Carl Maria von Weber and Richard Wagner, who called the ensemble his “miraculous harp.” The list of prominent conduc-tors of the past 100 years includes Ernst von Schuch, Fritz Reiner, Fritz Busch, Karl Böhm, Joseph Keilberth, Rudolf Kempe, Otmar Suitner, Kurt Sander-ling, Herbert Blomstedt and Giuseppe Sinopoli. The orchestra was directed by Bernard Haitink from 2002 to 2004 and by Fabio Luisi from 2007 to 2010. Christian Thielemann began the post of principal conductor of the Staatskapelle in the 2012-13 season. The upcoming season also sees the introduction of the new position of principal guest conduc-tor, whose first holder will be Myung-Whun Chung.

Richard Strauss and the Staatska-pelle were closely linked for more than 60 years. Nine of the composer’s op-eras were premiered in Dresden, includ-ing Salome, Elektra and Der Rosenkava-lier, while Strauss’s Alpine Symphony was dedicated to the orchestra.

Countless other famous compos-ers have written works either dedicat-ed to the orchestra or first performed in Dresden. In 2007 the Staatskapelle re-affirmed this tradition by introducing the annual position of Capell-Composit-eur, successively held by composers Isa-bel Mundry, Bernhard Lang, Rebecca Saunders, Johannes Maria Staud and Lera Auerbach. The Capell-Compositeur for the 2012-13 season is Hans Werner Henze.

Program NotesAcademic Festival Overture, Op. 80

Johannes Brahms Born May 7, 1833, in Hamburg, Germa-ny; died April 3, 1897, in Vienna, Austria

The University of Breslau conferred an honorary doctorate on Brahms in March 1879. This was an unusu-al honor for someone who had never attended college, but Brahms (per-haps true to character) responded only by sending off a postcard of thanks. When it was diplomatically suggest-ed that a somewhat more significant gesture of gratitude might be in order, Brahms got the hint. In the summer of 1880, he fled to his favorite summer retreat—Bad Ischl, in the mountains east of Salzburg—where he wrote two overtures. These two pieces were ut-terly opposite in character, as Brahms well knew. “One laughs, the other weeps,” he said.

If the Tragic Overture weeps, the Academic Festival Overture does in-deed laugh. Brahms described it as “a potpourri of student songs a la Suppé,” but this music is a good deal more complex than that, for it fea-tures an unusual treatment of sonata form (with introduction and finale), subtle thematic transformation and some appropriately learned counter-point. Brahms wears this learning lightly, though, and the Academic Fes-tival Overture emerges as one of those rare things among his works—a fun piece, full of high spirits and tongue-in-cheek humor.

After a mock-serious introduction in C minor (a musical portrait of an aca-demic procession?), Brahms builds the overture on traditional German student songs. Quiet trumpets nobly announce Wir hatten gebauet ein stattliche Haus (“We Had Built a Stately House”), and the second theme group is built around the bustling bassoons’ comic treatment of an old song making fun of green freshmen, Was kommt dort in der Höh (“What Comes There on High?”)—the full orchestra’s explosive answer completes the joke. Brahms transforms his themes very subtly—beneath the laughing surface, this is an extremely well-made piece—and rounds things off with the best joke of all: at the end, the old celebration song Gaudeamus igitur (“Therefore let us enjoy ourselves”) be-comes the mock-heroic climax, thun-dered out by the brass as strings race madly along beneath them.

Brahms himself conducted the pre-miere at the University of Breslau on Jan. 4, 1881, with the faculty of the uni-versity seated solemnly behind him. One wonders just how amused those professors were by Brahms’ music, which is part gesture of appreciation, part fun and part send-up of the whole notion of academic seriousness.

violin Concerto in D Major, Op. 77

Brahms spent the summer of 1878 in Pörtschach on the Wörthersee. He loved this resort town on the lake surround-ed by snow-capped mountains, and to a friend he noted how much he felt like writing music there: “So many melodies fly about that one must be careful not to tread on them.” Brahms set out that sum-mer to write something for his friend and colleague of 25 years, the great violin-ist Joseph Joachim. Brahms did not play the violin, and he consulted frequently with Joachim during the composition of this concerto, asking for advice and criti-cism (some of which he took, some he did not). In its original form, this con-certo was in four movements, but Brahms threw out the two middle movements, replacing them with what he called—with characteristic self-deprecation—“a



feeble Adagio” (three years later, the de-leted scherzo became part of the Second Piano Concerto). Joachim was soloist and Brahms the conductor at the pre-miere in Leipzig on Jan. 1, 1879.

Brahms’ Violin Concerto is extraor-dinarily difficult for the soloist, and in a famous jibe it has been called “a con-certo against the violin rather than for it” (this remark has been attributed vari-ously to Sarasate, Lalo, Hellmesberge, and others; we will probably never know for sure who said it). But this music is not impossible, and in fact Brahms’ Violin Concerto is quite playable and even quite violinistic. It requires a tre-mendous violinist, one with the abil-ity to make huge leaps and land with dead-center accuracy, to project the vi-olin’s sound over a large orchestra, and to have hands big enough to play the tenths that Brahms frequently calls for. Yet this is not a showy or a flashy piece. Violin and orchestra are beautifully in-tegrated here, with the melodic line flowing seamlessly between them and the soloist’s skills always at the service of the music, rather than the reverse.

Many have felt a similarity—musi-cal and spiritual—between Brahms’ Violin Concerto and his Second Sym-phony, also composed at Pörtschach and premiered only a few months before he began work on the concerto: both are large-scale (about 40 minutes in length), both are in D major, and both are lyric and spacious works. Brahms stays close to classical tradition in the first movement of the concerto, where a long orchestral exposition introduces the themes before the entrance of the violinist. The very beginning, with its arching and falling main subject, is dis-tinctive for the way Brahms manages to disguise the meter: it is in 3/4, yet the stresses of the opening phrases ob-scure the downbeats. Solo oboe intro-duces the second theme (which will be extended in many ways), and the full string section stamps out the third; this last bears a close relation to the open-ing of Bach’s Chaconne for unaccompa-nied violin, a work Brahms very much admired (he had made a piano arrange-ment of the Chaconne two years before

Staatskapelle Dresdenchristian thielemann, principal conductor

First ViolinsKai Vogler,

Concertmasterthomas meiningjörg FaßmannFederico Kasikchristian Uhligjohanna mittagjörg KettmannSusanne brannyWieland heinzeanett baumannanselm telleSae ShimabaraFranz Schubertrenate peuckertlenka matejáková

Second Violinsheinz-Dieter richter,

Concertmaster, second violins

Frank otherannette thiemStephan Drechseljens metznerUlrike Scobelolaf-torsten Spiesmechthild von rysselalexander ernstemanuel heldholger GrohsKay mitzscherlingmartin Fraustadtpaige Kearl

Violasmichael Neuhaus, SoloStephan pätzoldanya muminovichmichael horwathUlrich milatzralf DietzeWolfgang Grabnerjuliane böckingUta Scholl

robin portaanna buschuewFlorian Kapitza

VioloncellosFriedwart christian

Dittmann, SoloSimon Kalbhenn, Solotom höhnerbachUwe Kroggeljohann-christoph

Schulzejörg hassenrückjakob andertanke heynmatthias Wildematthias Schreiber

Double Bassesandreas Wylezol, Solochristoph Schmidt, Solomartin Knauertorsten hoppehelmut brannychristoph bechsteinthomas GroscheVieri Giovenzana

Flutesrozália Szabó, Soloandreas Kißling, Solobernhard KuryDóra Varga

Oboesbernd Schober, Soloceline moinet, Soloandreas lorenzmichael Goldammer

ClarinetsWolfram Große, SoloUlrich pluta, SoloDietmar hedrichjan Seifert

Bassoonsjoachim hans, Solothomas eberhardt, Solojoachim huschkeandreas börtitz

Hornsjochen Ubbelohde, Solorobert langbein, Soloandreas langoschharald heimmanfred riedl julius rönnebeckmiklós takácseberhard Kaiser

Trumpetsmathias Schmutzler, Solotobias Willner, SoloSiegfried SchneiderSven barnkoth

TrombonesUwe Voigt, Soloistván juhászjürgen UmbreitFrank van Nooy

Tubahans-Werner liemen,

Solo

Timpani thomas Käppler, Solo

Percussion christian langerjürgen mayjakob eschenburg

HarpsVicky müller, Soloastrid von brück, Soloaline Khouri



he wrote the Violin Concerto). Only when these themes have been fully pre-sented does the solo violin enter with its dazzling two-octave run up the scale, followed by a series of blistering string-crossings. This is a big, dramatic move-ment, and it can make a huge sound, but the score itself is littered with Brahms’ performance instructions, and these make clear what he believed the true character of this music to be: dolce, espressivo, tranquillo, lusingando (a term that does not translate easily from the Italian, but means generally coaxing or charming). Much of the writing for vio-lin is graceful and lyric, and in particular Brahms’ transformation of the second subject into a slow waltz is a moment of pure magic. This concerto has all the thrust and fire and excitement a concer-to should have, but despite its fearsome reputation, this is also a very violinistic concerto (even its notorious tenths are made easier by Brahms’ often making one of those notes an open string).

Perhaps as a nod to Joachim, Brahms

did not write out a cadenza for the first movement (he wrote all the cadenzas for his other three concertos); Joachim produced a splendid cadenza, and oth-ers have been drawn to write their own. One of the other magic moments in this movement comes with the return of the orchestra at the end of the cadenza: over quiet accompaniment, the violinist lays out once again the movement’s open-ing theme and then takes it very high on long sustained notes as the orches-tra sings far below. Gradually the music descends from these Olympian heights, gathers momentum and strength, and hurtles to the resounding D-major chord that closes the movement.

The Adagio, in F major, is anything but “feeble.” The entire opening state-ment is given to the wind choir, and it is the solo oboe rather than the solo vio-lin that announces the main idea of the movement; when the violinist enters, it is with music that is already a variation of the oboe’s noble song. The center section, which moves to F-sharp minor,

grows much more impassioned, with the violin burning its way high above the orchestra before the return of the poised opening material and a graceful close.

The last movement is the expected rondo, which Brahms marks Allegro gio-coso (“fast and happy”), but he also spec-ifies ma non troppo vivace: “not too fast.” Many have remarked on the Hungar-ian flavor of this movement, and some have seen this as another nod toward Joachim, who was Hungarian. In fact, Brahms loved Hungarian music (which means, more exactly, gypsy music), and he hardly needed an excuse to compose in that style. This is a difficult move-ment for the soloist, full of extended pas-sages in octaves and great leaps across the range of the violin, but there are some wonderfully lyric interludes along the way. A great cascade of runs from the violinist introduces the coda, where Brahms subtly recasts the 2/4 rondo tune so that it seems to be in 6/8. This gath-ers strength, and all appears set for the expected closing fireworks, but in the

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last measures Brahms springs one final surprise, winding the music down so that it seems almost to have lost its way before three great chords ring out to proclaim the true close.

symphony no. 4 in e minor, Op. 98

The impact of Brahms’ final symphony defies simple description. This music has been called autumnal, tragic, melan-choly, sad, serious and elegiac, and all listeners instinctively feel its gravity and intensity in every bar. Yet from the tentative violin figure that opens the symphony to the mighty cataclysm that ends it 40 minutes later, it is also exhila-rating, glorious music, one of Brahms’ finest achievements and certainly one of the greatest symphonies ever written.

Brahms composed the Fourth Sym-phony in the tiny town of Murzzuschlag high in the Styrian Alps, about 50 miles southwest of Vienna. He wrote the first two movements in the summer of 1884 and the final two when he returned the following summer. Aware of the seriousness of this music, Brahms wrote the conductor Hans von Bülow: “I am pondering whether this symphony will find more of a public. I fear it smacks of the climate of this country; the cher-ries are not sweet here, and you would certainly not eat them.”

It was Brahms’ custom to send copies of his new works to friends for their comments; habitually he accompanied the copies with self-disparaging remarks to which his friends would have to protest as they praised the new work. This time, to his dismay, his friends did not like the new symphony. After hearing it played in a two-piano version, critic Eduard Hanslick complained that, “All through I felt I was being beaten by two terribly clever men.” Elizabeth von Herzogenberg wrote to Brahms: “Your piece affects me curiously, the more penetration I bring to bear on it, the more impenetrable it becomes.” The stunned composer was left protesting to Clara Schumann that “the piece does not altogether displease me.” It did not altogether displease audiences either—the premiere in Meiningen on Oct. 25,

1885, was a triumph.The criticism by Brahms’ friends

may seem strange today, but there is something severe about the Fourth Symphony. Many have noted the fu-sion of passion and intellect that marks Brahms’ finest music, but the Fourth Symphony takes both of these to an extreme, blending an impassioned emo-tional content with the most inexorable musical logic. One feels this concentra-tion from the first instant. The Fourth is the only one of Brahms’ symphonies to open without an introduction: it simply begins with the rising-and-falling main subject in the violins, and much of the thematic material of this sonata-form movement is coiled embryoni-cally within the intervals of this simple theme. A series of fanfares leads to the second subject, a broadly-striding melody for cellos and horns; while there is no exposition repeat, Brahms begins the development with so literal a repeti-tion of the beginning that only gradu-ally does the listener recognize that the music is pressing ahead even as it seems to go back. From the most understated of beginnings, this movement drives to one of the most powerful climaxes in all of Brahms’ music.

By contrast, the Andante moderato seems calm, flowing, and melodic, yet it too is in sonata form, and once again Brahms spins glorious music out of the simplest material: the opening horn call evolves smoothly into the main clarinet tune, and this in turn takes many shapes across the span of the movement. To the young Richard Strauss, assistant conductor of the Meiningen Orchestra, this movement sounded like “a funeral procession moving in silence across moonlit heights.”

When Brahms returned to Murzzus-chlag in the summer of 1885 to compose the final two movements, he wrote the finale first, then the third movement. Knowing in advance just how rigorous the finale was, Brahms made the Allegro giocoso as rollicking a symphonic move-ment as he ever wrote. That marking means “lively, playful,” and this music is Brahms’ closest approach to a symphon-ic scherzo. Yet with many differences:

once again, it is in sonata form (there is only a brief whiff of a trio section), and Brahms sets the movement in 2/4 rather than the standard 3/4 meter of scherzos. The mighty opening theme plunges downward (and is quickly inverted), while relief comes with the lovely second subject, a relaxed violin melody marked grazioso. Brahms enlivens the orchestral textures here with instruments he rarely used: piccolo, triangle, contrabassoon and an extra timpani.

The Fourth Symphony concludes an Allegro energico e passionate, one of the most extraordinary—and powerful—movements in the symphonic literature. It is a passacaglia, a musical form already old when Bach used it a century and a half before. Brahms in fact took this passaca-glia theme from the concluding chorale of Bach’s Cantata No. 150, Nach Dir, Herr, verlanget mich: he re-barred Bach’s original five-measure theme into eight measures and changed one note to heighten chromatic tension. The trombones, silent to this point in the symphony, stamp out this theme, and this ground bass repeats 30 times. Above these 30 strict repeti-tions, Brahms spins out a set of variations extraordinary for their variety and expres-siveness. Even more impressive is how this old baroque form is made to conform to the general shape of sonata form: after the powerful initial statements, the violins have a lyric variation, and this sequence leads a quiet central episode climaxed by a lovely flute solo over the (barely sug-gested) ground bass. The “recapitulation” begins with an earth-shaking explosion over the passacaglia theme, there is a brief flirtation with two waltz-like variations, and a coda derived from the passacaglia theme drives majestically (and inexora-bly) to the close.

Brahms was 52 when he completed the Fourth Symphony and still had 12 years to live. Twice in that span he contemplated writing another symphony and in each case made a few sketches, yet he aban-doned both projects. However much we may regret the loss of those symphonies, perhaps Brahms was right to let them go; it is difficult to conceive how he might have gone beyond the Fourth Symphony.


240.644.1100 roundhousetheatre.org

$10 (weekday) & $15 (Saturday & Sunday) tickets for age 30 and under

2012/13 SEASON2012/13 SEASON

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How to Write a New Book for the BibleEAST COAST PREMIERE

By Bill CainDirected by Ryan Rilette

April 10 – May 5, 2013

“Bracingly personal, smart, funny, affecting…sharp wit and penetrating intelligence” — San Francisco Chronicle

In a beautiful new play from the author of Equivocation, a man moves in with his ailing but always funny mother when she’s unable to care for herself. Their reunion heals old wounds, opening a heartfelt, humorous new chapter in their relationship.

Becky ShawAREA PREMIERE

By Gina GionfriddoDirected by Patricia McGregor

May 29 – June 23, 2013

“Devastatingly funny… Gionfriddo is some kind of genius” — Variety

When Suzanna sets her friend Max up on a blind date with her husband’s co-worker, a series of cataclysmic events are set in motion that change all their lives. A Pulitzer Prize fi nalist and an Off-Broadway hit, Becky Shaw is an engrossing, ferociously funny comedy of romantic errors.



their spaceship with music energy.Somewhere in outer space gleams

the white planet of VOCA, a musi-cal planet. The VOCA PEOPLE live peacefully and musically on their planet, using only music and vo-cal expressions to communicate and interact. They have heard the music of Earth and of other planets and visit different planets, spreading their special musical message and way of life to other galactic cultures.

The VOCA PEOPLE group is an ensemble of eight musician-actors; three alien female singers (alto, mezzo-soprano and soprano) and three alien male singers (bass, baritone and tenor). In addition, two beat box art-ists create extraordinary sounds and are considered to be the best perform-ers in their field. The innovative performance is one of the few in the world that combines singers and beat box performers to form an entire or-chestra without musical instruments.

Lior KalfoLior Kalfo is an award-winning actor and creator. In 1995, Kalfo co-wrote and starred in one of Israel’s most popular TV comedy series The Com-edy Store, which ran for 102 episodes. Kalfo stars also in Ramzor, a series that recently won an Emmy Award for Best Comedy Series. In 1999 Kalfo co-wrote and played the lead role in

THURSDAY, APRIL 18, 2013, 8 P.M.


vOCa peOple

Lior Kalfo, creator and directorShai Fishman, composer, arranger and music director

Revital & Lior Kalfo, Leeorna Solomons and Doron Lida, producers


About VOCA PEOPLEVOCA PEOPLE is an international vocal theater performance that com-bines amazing vocal sounds and a cap-pella singing with the art of modern beat box, which imitates the sounds of drums, trumpets, guitars, other instruments and musical effects. All this is done without using any musi-cal instruments on stage, performed in a humorous way and with audience participation.

About the VOCA PEOPLE showAfter a millennium of traveling through space, the VOCA PEOPLE aliens finally land on Earth, sadly dis-covering that their spaceship engine, charged by music alone, has been de-pleted. Slowly, the aliens learn earthly habits and typical earth music, and with the help of the audience, reboot

Aladdin during the successful Israeli run. In 2003, he established the Israeli Black Light Theater, Fun-Tazi, with three shows: FunTazi, FunTazi-Kids and an original version of Oscar Wilde’s classic tale The Selfish Giant. Kalfo carried the idea of VOCA PEO-PLE in his mind for almost four years until the first rehearsals in February 2009 took place. The show combines theater, comedy and extreme vo-cal talents into one musical theater experience.

Shai FishmanShai Fishman, 35, has been writing and creating music since age 8. Fishman plays seven instruments—piano, drums, bass guitar, recorder, French horn, trumpet and saxophone—specializing in MIDI and computer music program-ming.

Fishman’s credits as a composer include the IMAX films Future Moon, Dinosaur’s Prophecy, 2012: Secrets of the Mayans and Night of the Titanic. His original musical theater productions include: Brecht’s The Caucasian Chalk Circle, Rachav’s Cabaret, The Dream: A Band, Return to Sender, Samson & Delilah and Towards the Horizon. Fishman was recently honored for his musical direction and arrangements on T-Mobile’s “Welcome Back” campaign and received the British Television Advertising Awards’ 2011 Best Com-mercial of the Year award.

Fishman divides his time between New York City and Los Angeles, where he operates and runs Fish-i Studios, a production house and music label, in which he composes music for motion pictures, television, commercials and theater.

Fishman also serves as head composer for NASA, Houston Museum of Natu-ral Science, Avela Communications, Carnegie Museum of Natural History, E-planetarium and Rice University.

Staff and supportInternational management: LIDOR ENTERTAINMENTWorldwide touring: Doron Lida



Leeorna SolomonsCompany manager: Ronen SharonAssistant Director: Gil Kepten, Tom ShwartzbergAssistant music director: Hilel ShitritSound engineer: Naor Ben MeirLight designer: Roy MiloMarcom manager: Ornit EgosiGraphics and art: Rani Arieli, Yael Mor HaimChoreography: Lior KalfoCostumes: Hana YefetArtistic advisor: David Ottone, Gilad KimchiComic advisors: Inon Ben David, Boaz Ben DavidSound operator: Gal Motil, Elad Berliner, Nir RavehLight operator: Nitai Doron, Itamar Houri, Raz ShamirVideo Photographer: Shlomi AlboVideo editing: Peleg NetanelStills Photographer: Leon Sokolozki - Mr. Artichoke Graphic DesignMusical Staging: Naomi Perlov

BEAT ONBoaz Ben DavidMark MartinMichael FeigenbaumIsato Boyko

SCRATCHERInon Ben DavidOfir TalRan Cimer

TUBASEyal Edelmann (Cohen)Shimon SmithAlon Shar

TENORJacob SchneiderNick AnastasiaChris DilleyAlmog Kapach

ALTOAdi KozlovskyMaya PenningtonVered Regev

MEzzO-SOPRANOVered SasportasSharon LaloumLiran Saporta

BARITONEJacob SchneiderMatthew Bryan FeldOded Goldstein

SOPRANOAlona AlexanderDoris NemniMichal Reshef

SPACESHIP DESIGNBLONDIN—PHASE 4

REGISTER! ONLINE www.strathmore.org • Look Under “Education” | PHONE (301) 581-5100

SPEND YOUR SUMMER AT STRATHMORE • REGISTRATION NOW OPEN!

Painter and collage artist Rosana Azar and her team of professional arts educators from Creative Adventures provide expert instruction from professional artists in a fun, relaxed environment. It’s the perfect summer experience for kids who love the arts.

3 WEEKS OF CAMPS FOR AGES 6–15JULY 29–AUGUST 16

It’s an event like no other, a harmonic convergence of ukuleles and the people that love them—plus Hawaiian steel guitars, tenor guitars and a host of uke-related events! Strathmore goes uke-crazy with Grammy-winning hosts Cathy Fink & Marcy Marxer and their crew of professional musician instructors present activities that range from music lessons to jam sessions to concerts to classes in yoga and hula.

AUGUST 10–14EARLY BIRD SPECIALRegister by July 2 for $30 off tuition!

UKEFEST 2013:UKE AND GUITAR SUMMIT Cathy Fink

Marcy Marxer

Stuart Fuchs

Gerald Ross

CAST

Friday, april 19, 2013, 8:15 p.m.


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Jack Everly, principal pops conductor

presents

a Composer Fit for a King:Wagner and King ludwig II

Marin Alsop, music director and conductor

Didi Balle, playwright and stage director

Richard Poe Richard Wagner

Pomme Koch King Ludwig II

Tony Tsendeas Court Secretary Pfeffermeister

Program

Act I: A Bankrupt Composer’s Surprise Coronation

Scene 1: A Warning & Premonition (April 1864)

Scene 2: The King Anoints Wagner Royal Composer (May 1864)

Act II: Banishment & Near Abdication

Scene 3: Banished From Bavaria

Scene 4: Ludwig Threatens Abdication to Live with Wagner

Act III: Lies & Betrayals

Scene 5: The King is Not Amused

Scene 6: Wagner Bites the Hand That Feeds

ACT IV: Bayreuth Or Bust

Scene 7: Broke in Bayreuth

Scene 8: Gratitude and Goodbye (1876)

The music heard during this program includes selections from:

Richard Wagner’s Der Ring des Nibelungen, Lohengrin, Tristan und Isolde, Die Meistersinger von Nürnberg and Siegfried’s Idyll

The program will be performed without intermission and will end at approximately 9:40 p.m.


Marin Alsop, conductor

Hailed as one of the world’s leading con-ductors for her ar-tistic vision and commitment to ac-cessibility in classical music, Marin Alsop made history with

her appointment 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 or-chestra. She also holds the title of con-ductor emeritus at the Bournemouth Symphony Orchestra in the U.K., where she served as the principal con-ductor from 2002 to 2008, and is music director of the Cabrillo Festival of Contemporary Music in California.

In 2005, Alsop was named a MacArthur Fellow, the first conduc-tor to receive this prestigious award. In 2007, she was honored with a Euro-pean Women of Achievement Award. In 2008, she was inducted as a fel-low into the American Academy of Arts & Sciences, and in 2009 Musi-cal America named her Conductor of the Year. In November 2010, she was inducted into the American Classical Music Hall of Fame. In February 2011, Alsop was named the music director of the Orquestra Sinfônica do Estado de São Paulo, or the São Paulo Sympho-ny Orchestra, effective for the 2012-13 season. And in March 2011, Alsop was named to The Guardian’s Top 100 Women list. She was also named an artist-in-residence at the Southbank Centre in London in 2011.

Alsop is a regular guest conductor with the New York Philharmonic, Phil-adelphia Orchestra, London Sympho-ny Orchestra and Los Angeles Philhar-monic. In addition to her performance activities, she is also an active record-ing artist with award-winning cycles of Brahms, Barber and Dvořák.

Alsop has led the BSO in sever-al outreach initiatives. In 2008, she partnered with the BSO to launch

Friday, april 19, 2013, 8:15 p.m.


OrchKids, a music education and life enrichment program for youth in West Baltimore. In 2010, she conducted the first “Rusty Musicians with the BSO,” an event that gives amateur musi-cians the chance to perform onstage with a professional symphony orches-tra. In June 2010, Alsop conducted the inaugural BSO Academy, an immer-sive summer music program that gives about 100 amateur adult musicians the opportunity to perform alongside a top professional orchestra.

Alsop attended Yale University and received her master’s degree from The Juilliard School. In 1989, her conduct-ing career was launched when she won the Koussevitzky Conducting Prize at Tanglewood, where she studied with Leonard Bernstein.

Didi Balle, playwright and stage director

Didi Balle’s credits as a professional writer and director include numerous commis-sions, broadcasts and stage productions of her work spanning symphonic plays,

radio musicals, plays, musical theater, song cycles and opera. She’s created a new genre of writing with her plays for actors and orchestras called symphonic plays.

Music Director Marin Alsop and the BSO commissioned Balle to write and direct A Composer Fit For A King: Wag-ner & Ludwig II for a program celebrat-ing the 200th anniversary of Wagner’s birth. The symphonic play is a seamless blend of music and theater dramatizing the backstage story behind the making of The Ring Cycle. This symphonic play marks Balle’s fourth creative collabora-tion of a new symphonic show with Alsop.

In March, Balle’s new symphonic play, commissioned by Yannick Nezet-Seguin for The Philadelphia Orchestra. Shostakovich: Notes for Stalin premiered at Verizon Symphony Hall to great success. Created for actors and orches-tra, the play dramatizes the harrowing

political rule in Stalin’s Soviet Union that shaped the creation of Shostakov-ich’s Symphony No. 5.

Symphonic plays written and di-rected by Balle include: CSI: Beethoven (BSO); Analyze This: Mahler & Freud (BSO); Elements of the Earth: A Musical Discovery (Philadelphia Orchestra); The Secret Life of Isaac Newton; Shosta-kovich: Notes For Stalin (Philadelphia Orchestra); and Radio Rhapsody (City of London Sinfonia).

Balle is the founding director and producer of Symphonic Stage Shows. She received her master’s of fine arts from New York University’s Tisch School of the Arts’ music theater program, where she was awarded the Oscar Hammerstein Scholarship as a playwright-lyricist. Balle also is a pub-lished writer and journalist and worked as a contributing editor for The New York Times for 13 years.

Upcoming commissions for 2014 include CSI: Mozart with Alsop and the BSO.

Richard Poe

Richard Poe received the Barrymore Award for Best Actor for his recent performance in The Outgoing Tide at the Philadelphia Theatre Company. On Broadway he’s

been part of the original companies of M. Butterfly (1988 Tony Award, Best Play); The Pajama Game with Harry Connick Jr. (2006 Tony Award, Best Musical Revival); Journey’s End (2007 Tony Award, Best Play Revival) plus Cry-Baby; Moon Over Buffalo; Our Country’s Good; Execution of Justice; The Dinner Party; Tom Sawyer, The Musical; Fiddler on the Roof and Present Laughter.

Poe has created roles in the pre-mieres of plays by Christopher Durang and Paul Rudnick and toured the country as the 1st Gangster in the Tony Award-winning revival of Kiss Me, Kate. He played Serge in the Chi-cago company of the comedy Art, then reprised it with a Canadian company

in Winnipeg and Toronto. He has been narrating books for

more than 20 years and has more than 90 titles to his credit. He was nomi-nated for Audie Awards for his work on Blood Meridian and The Story of Edgar Sawtelle, and won in 2004 for his narra-tion of East of Eden.

Pomme Koch Pomme Koch’s credits include Henry V at the Folger Theatre, Bengal Tiger at the Baghdad Zoo at Round House Theatre and Bloody

Bloody Andrew Jackson at The Studio Theatre. He also is scheduled to appear in A Few Good Men at the Keegan Theatre later this year. He has partici-pated in stage readings at the Shake-speare Theatre and Theater J.

Koch earned his bachelor’s of fine arts in theater performance from the University of Michigan.

Tony Tsendeas Tony Tsendeas ap-peared at the Joseph Meyerhoff Symphony Hall with the BSO as Beethoven in the symphonic stage show CSI: Beethoven and as Sigmund

Freud in Analyze That: Freud and Mahler. He also has narrated a BSO performance of The Magic Flute.

Tsendeas’ work as an actor, director and writer has received critical acclaim both in the U.S. and in Europe. He was the artistic director of the Action Theater and was an artistic associate of the Baltimore Shakespeare Festi-val. Tsendeas also is a member of the theater faculty of the Baltimore School For the Arts.

In 1998, Tsendeas was nominated as best actor in the Edinburgh Fringe Fes-tival by London’s Stage Magazine for his performance in BeckettLand, which he also directed. His production of Albee’s American Dream was selected best play of the year by Baltimore City Paper.



National Recording Preservation Board, an organization dedicated to ensuring the survival, conservation and increased public availability of Ameri-ca’s sound recording heritage.

His new book The Gershwins and Me, which is combined with a new CD of Gershwin standards, was published by Simon & Schuster in October 2012.

The roots of Feinstein’s work began in Columbus, Ohio, where he started playing piano by ear as a 5-year-old. After graduating from high school, he worked in local piano bars for two years and moved to Los Angeles when he was 20. There, the widow of legend-ary concert pianist-actor Oscar Levant introduced him to Ira Gershwin in July 1977. Feinstein became Gershwin’s assistant for six years, which earned him access to numerous unpublished Gershwin songs, many of which he has since performed and recorded.

From this immersion in Gershwin’s style Feinstein evolved into a captivat-ing performer, arranger, composer and interpreter of music legends such as Irving Berlin, Jerome Kern, Johnny Mercer, Duke Ellington and Harry Warren.

In 2005, Feinstein recorded Hopeless Romantics, a songbook of Harry Warren classics recorded with legendary jazz pianist George Shearing. The previous



2012 spring Gala at strathmore

Michael Feinstein

The Gershwins and Me

Andrew Brattain, tour manager


Michael FeinsteinMichael Feinstein, the multi-platinum-selling, two-time Emmy and five-time Grammy Award-nominated entertainer dubbed “The Ambassador of the Great American Songbook,” is considered one of the premier interpreters of American standards.

Feinstein has received national recognition for his commitment to celebrating America’s popular song and preserving its legacy for the next generation. In 2007, he founded the Michael Feinstein Great American Songbook Initiative, dedicated to cel-ebrating the art form and preserving it through educational programs, Master Classes and the annual High School Vocal Academy and Competition, which awards scholarships and prizes to students across the country. Feinstein also serves on the Library of Congress’

year, he completed a national tour with songwriting icon Jimmy Webb based on their album Only One Life – The Songs of Jimmy Webb.

In 2003, Feinstein received his fourth Grammy nomination for his release Michael Feinstein with the Israel Philhar-monic Orchestra, his first recording with a symphony orchestra. The year before, Rhino/Elektra Music released The Michael Feinstein Anthology, a two-disc compilation spanning the years 1987 to 1996 and featuring old favorites and previously unreleased tracks.

Feinstein’s own record label, Feinery, a Concord Records subsidiary, released The Livingston & Evans Songbook, fea-turing Feinstein and special guest Me-lissa Manchester. Feinery also records favorite current artists and restores recordings and musical broadcasts from the golden age of popular song.

Feinstein earned his fifth Grammy Award nomination in 2009 for his CD The Sinatra Project. A follow-up, The Sinatra Project, Volume II: The Good Life, was released in 2011. Other recent releases include The Power Of Two, in which Feinstein collaborated with Cheyenne Jackson from Glee and 30 Rock, and Cheek To Cheek with Broadway legend Barbara Cook. His newest recording is We Dreamed These Days, featuring the Carmel Symphony Orchestra; Feinstein co-wrote the title song with Maya Angelou.

Feinstein serves as artistic director of the Palladium Center for the Perform-ing Arts in Carmel, Ind. The theater is home to an annual international Great American Arts festival, diverse live programming and a museum for his rare memorabilia and manuscripts. Starting in 2010, he became the director of the Jazz and Popular Song Series at New York’s Jazz at Lincoln Center. This year, Feinstein will replace the late Marvin Hamlisch as the lead conductor of the Pasadena Pops.

He also has designed a new piano for Steinway called “The First Ladies,” inspired by the White House piano and signed by several former First Ladies. It was first played to commemorate Ronald Reagan’s centennial on Feb. 6, 2011. G

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Thursday, april 25, 2013, 8 p.m. and Friday, april 26, 2013, 8 p.m.


departure in 1962, the classic line-up was in place.

The group debuted its first album in 1960, when Knight was just 16. With Knight singing lead and The Pips providing lush harmonies and grace-ful choreography, the group went on to achieve icon status. The group has recorded some of the most memorable songs of the 1960s, 1970s and 1980s, including “Every Beat of My Heart,” “Letter Full of Tears,” “I Heard it Through the Grapevine,” “If I Were Your Woman,” “Neither One of Us (Wants to be the First to Say Good-bye),” “I’ve Got to Use My Imagina-tion,” “Best Thing to Ever Happen to Me” and the No. 1 single “Midnight Train to Georgia.”

The party kept rolling with hits such as “On and On” from the Acad-emy Award-nominated soundtrack of Claudine, the 1974 comedy about love in the inner city. Knight enjoyed another No. 1 hit in 1985 when she teamed with Stevie Wonder, Elton John and Dionne Warwick on “That’s What Friends are For.”

All told, Knight has recorded more than 38 albums over the years, including four solo albums during the past decade: Good Woman (1991); Just for You (1994); the inspirational Many Different Roads (1999); and At Last (2001).

Her involvement in other creative undertakings, business ventures and humanitarian activities has been ex-

THURSDAY, APRIL 25, 2013, 8 P.M. FRIDAY, APRIL 26, 2013, 8 P.M.


Gladys Knight


Gladys KnightGeorgia-born Gladys Knight began performing gospel music at age 4 in the Mount Mariah Baptist Church and later sang as a guest soloist with the Morris Brown College Choir. Three years later, she won the grand prize on television’s Ted Mack’s Ama-teur Hour, and the following year, she, along with her brother Bubba, her sister Brenda and her cousins William and Elenor Guest, formed The Pips. In 1959, Brenda and Elenor left the group, replaced by cousin Edward Pat-ten and friend Langston George. The group was renamed Gladys Knight & The Pips, and following George’s

tensive, and has brought her honors from industry and community alike. In 1986, she produced and starred in the Cable Ace Award-winning Sisters in the Name of Love, an HBO special co-starring Dionne Warwick and Patti LaBelle. That same year, she showcased her acting ability when she co-starred with Flip Wilson in the CBS comedy Charlie & Co. Other acting roles followed on such TV shows as Benson, The Jeffersons and New York Undercover, and in such television films as Pipe Dreams, An Enemy Among Us and Desperado. She recorded the title theme for the James Bond movie License to Kill (1989). In 1999, she completed a starring run on Broadway in the musical Smokey Joe’s Café.

In 1995, Knight earned a star on the Hollywood Walk of Fame, and the next year, Gladys Knight & The Pips were inducted into the Rock and Roll Hall of Fame. Knight published her autobiography, Between Each Line of Pain and Glory, in 1997, and the next year, she and The Pips were presented with the Lifetime Achievement Award from the Rhythm & Blues Hall of Fame. In 2004, Knight received the “Lifetime Achievement Award” at the annual BET Awards ceremony.

A humanitarian and philanthropist, Knight is devoted to various wor-thy causes, including the American Diabetes Association, for which she is a national spokesperson, the Ameri-can Cancer Society, the Minority AIDS Project, amFAR and Crisis Intervention. She has been honored by numerous organizations as well, including the NAACP Legal Defense Fund, Congress of Racial Equality and B’Nai Brith.

Today, Knight helps oversee her busy career from the Las Vegas head-quarters of Shakeji, Inc., her personal entertainment corporation. She is a mother, great-grandmother, performer and a businesswoman with a spiritual outlook on her life. Her faith in God has been the driving force behind all of Knight’s endeavors, guiding her through her many successes.D

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Gilbert Varga, conductorA commanding and authorita-tive figure on the podium, Gilbert Varga is renowned for his elegant baton technique and has held posi-tions with and

guest-conducted many of the major orchestras throughout the world.

Over the past decade, Varga’s repu-tation in North America has grown rapidly, and the 2012-13 season sees his return to the symphony orchestras of Baltimore, Houston, Atlanta, St. Louis, Colorado and Utah, among Va

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presents

Midori Gilbert Varga, conductor

Midori, violin

Violin Concerto No. 2 Béla Bartók Allegro non troppo (1881-1945) Theme and Variations: Andante tranquillo Rondo: Allegro molto

Midori

INTERMISSION

Symphony No. 1 in C Minor, Op. 68 Johannes Brahms un poco sostenuto – Allegro (1883-1897) Andante sostenuto un poco allegretto e graziosodagio - più andante - Allegro non troppo, ma con brio

Supporting Sponsor: DlA piper



others. In Europe, Varga regularly conducts the major orchestras in mu-sical centers such as Berlin, Leipzig, Frankfurt, Cologne, Budapest, Lisbon, Brussels and Glasgow, with soloists such as Mørk, Ehnes, Vinnitskaya, Hamelin and Gerstein. Highlights of the 2012-13 season include his return to the Gürzenich Orchestra, Berlin Konzerthausorchester and Royal Scot-tish National Orchestra.

In the earlier part of his conducting career Varga concentrated on work with chamber orchestras, particularly the Tibor Varga Chamber Orchestra, before rapidly developing a reputa-tion as a symphonic conductor. He was chief conductor of the Hofer Symphoniker between 1980 and

1985, and, from 1985 to 1990, he was chief conductor of the Philharmonia Hungarica in Marl, conducting their debut tour to Hungary with Yehudi Menuhin. In 1991, Varga took up the position of permanent guest conduc-tor of the Stuttgart Chamber Orches-tra until 1995 and, from 1997 to 2000, was principal guest of the Malmö Symphony. From 1997 to 2008, Varga was music director of the Basque Na-tional Symphony Orchestra, leading them through 10 seasons, including tours across the U.K., Germany, Spain and South America.

Varga last appeared with the BSO in October 2010, conducting Glinka’s Ruslan and Ludmilla Overture, Shosta-kovich’s Violin Concerto No. 1 and Stravinsky’s Petrouchka.

Midori, violinSince her debut 30 years ago with the New York Philhar-monic, at age 11, Midori has established a re-cord of achieve-ment which sets her apart as a

master musician, an innovator and as a champion of the developmental potential of children.

In 1992 Midori founded Midori & Friends, a non-profit organization in New York, which brings music educa-tion programs to thousands of under-served children each year. Two other organizations, Music Sharing (based in Japan) and Partners in Performance (based in the U.S.), also bring music into the lives of people who may not otherwise have involvement. Her com-mitment to community collaboration and outreach extends beyond these foundations to her work with young violinists in master classes all over the world, to her Orchestra Residencies Program and to her positions as distin-guished professor, Jascha Heifetz chair and chair of the strings department at the University of Southern California’s Thornton School of Music.



Midori last performed with the BSO in January 2001, performing Tchaikovsky’s Violin Concerto, with Yuri Temirkanov conducting.

Program NotesConcerto no. 2 for violin

Béla Bartók Born March 25, 1881, in Nagyszent-miklós, Hungary (now Romania); died Sept. 26, 1945, in New York City

When Béla Bartók created his Violin Concerto No. 2 for his fellow Hungar-ian Zoltán Székely in 1937 and 1938, he was at the peak of his career, but the ground was already beginning to tremble beneath his feet. On March 28, as he worked on the concerto, Vi-enna fell to the Nazi Anschluss, and Bartók realized it would be only a matter of time before the rest of the Austro-Hungarian empire was also in Hitler’s grasp. Earlier in his career, he had decried the unhealthy dominance of German culture over Hungarian artistic expression, and through his collecting of indigenous folksong ma-terial, he’d sought an authentic, non-Teutonic voice for Hungarian music. But the Nazi threat was incalculably worse. Even though he was not Jew-ish, Bartók knew he would have to leave the country that was the source of his artistry. By 1940, he had fled into unhappy exile in America.

But for the moment, his genius burned at its brightest. Two of his works, Music for Strings, Percussion and Celesta and the Sonata for Two Pianos and Percussion, had proceed-ed the concerto. In what Halsey Ste-vens has called his “harvest years,” he had retreated somewhat from his most strenuous modernist style.

Bartók had written another Vio-lin Concerto 30 years earlier as an ex-pression of his ardor for the beauti-ful young violinist Stefi Geyer. But he had never published it (it was fi-nally published posthumously as Vio-lin Concerto No. 1), and so Széke-ly, founder and first violin of the

Hungarian String Quartet, must have believed he was commissioning the composer’s first essay in the genre. Although he did not play the violin himself, Bartók had already proven his mastery of this instrument in solo, chamber and orchestral settings. But like Mendelssohn and Brahms before him, he worked closely with his vio-linist to ensure an idiomatic result.

Bartók originally wanted the con-certo to be a large-scale theme-and-variations, but Székely pressed for a more conventional three-movement work. However, while bowing to the violinist, Bartók also pleased himself. Besides structuring the middle move-ment as a theme with six variations, he also contrived the finale to be a variation on the themes and sonata-form layout of the first movement.

The first movement alternates be-tween slower and faster tempos, lyri-cism and vehemence, introversion and extraversion. While the orchestral part is beautifully meshed with the vi-olin and imaginatively colored, the so-loist is clearly the leader. Over strum-ming harp and plucked low strings, she introduces the principal theme: an expansive, rhapsodic melody with a touch of angularity in its intervals and slow syncopated rhythms. The con-trasting Vivace sections emphasize fast chromatic flourishes for both the vio-lin and orchestra. Bartók includes an elaborate cadenza for the soloist; rich in multiple stops, it is announced by an arresting and demanding passage of oscillating quarter-tones.

A melancholy, folklike theme, sung by the violin, opens the slow mid-dle movement. The orchestral palette here emphasizes delicate pastel hues as Bartók spins six exquisite variations on the theme. The second of these features ethereal scoring with harp and high woodwinds radiating around the violin playing in soulful low register, while the fifth variation is a scherzo of sparkling fireflies.

The first movement’s chromatic flour-ishes open the finale, which recycles the themes and tempo/expressive contrasts of that movement, but now in a more

brilliant and extroverted manner. Its prin-cipal theme also returns in a dancing 3/4-time variation for the soloist. A new mo-tive of buzzing repeated notes propels the music; though Bartók still finds time for contemplative moments. Midori will play the more brilliant of two alternative end-ings: the one requested by Székely, who was naturally unhappy that the composer originally left the soloist out of the orches-tra’s exciting rush to the finish.

Instrumentation: Two flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabas-soon, four horns, two trumpets, three trombones, timpani, percussion, harp, celeste and strings.

symphony no. 1 in C Minor

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

Johannes Brahms’ No. 1 was undoubt-edly the most eagerly awaited sympho-ny in musical history. When he com-pleted it in 1876 after two decades of labor, Brahms was already 43 and one of Europe’s most revered composers. He had created masterpieces in every musi-cal genre, save opera—a field he never chose to enter—and, more surprisingly, the symphony. Back in 1853, when he was only 20, Schumann had proclaimed him “the young eagle” and prophesied: “If he will sink his magic staff… where the capacity of masses in chorus and or-chestra can lend him its powers, still more wonderful glimpses into the mys-teries of the spirit world will be before us.” Such flowery tributes imposed a bur-den that such a sensitive and conscien-tious man as Brahms found hard to bear.

Over the next 20 years, his publisher nagged, and his friends beseeched him for a symphony. In 1872, he finally ex-ploded at conductor Hermann Levi: “I shall never write a symphony! You can’t have any idea what it’s like always to hear such a giant marching behind you!” The giant, of course, was Beethoven. His nine symphonies were, for Brahms, the apotheosis of the symphonic form; beside them, Brahms found his own symphonic efforts utterly inadequate.



Thus, he served a long apprenticeship, honing his skills in lighter orchestral works, such as the two Serenades and the Variations on a Theme of Haydn.

Meanwhile, he was laboring off and on at the work in C minor that would become the Symphony No. 1. In 1862, he sent a version of its opening move-ment to Clara Schumann. At this stage, it lacked its titanic slow intro-duction and began with an abruptness that startled her. In 1868, another teas-er arrived, penned on a postcard from Switzerland sent to heal a recent quar-rel. It contained the haunting horn call from the finale with a little fence-mending verse written underneath: “Thus blew the alphorn today: High in the mountains, deep in the valley, I greet you a thousand times over.”

Because Brahms was very secretive about the genesis of this work and, un-like Beethoven, usually destroyed his sketches, we don’t know much beyond these clues. Scholars believe the first movement was composed first (receiv-ing its slow introduction very late in the process); the finale, next; and then the two middle movements. Nervous about the response of the Viennese critics, Brahms had the symphony pre-miered in the musical backwater of Karlsruhe on Nov. 4, 1876.

Beethoven was indeed Brahms’ model for this work. Of its emotional scenario, Jan Swafford, in his superb biography, writes: “As in Beethoven’s Third, Fifth, and Ninth Sympho-nies, Brahms’ First is a symbolic jour-ney from darkness to light, from fatal-istic uncertainty to apotheosis, from tragedy to joyous liberation.” And Beethoven’s No. 5 also provided the key progression: from darkest C minor to triumphant C major. When friends pointed out that the last movement’s chorale tune reminded them of No. 9’s “Ode to Joy,” Brahms gruffly retorted: “Any ass can see that!”

But in emulating his hero, Brahms was by no means painting by numbers. No. 1 was completely in his own voice and broke new ground for symphonic form. Brahms outdid Beethoven at his own game: creating and developing his

themes from a handful of motivic nug-gets, all smelted together into a shining edifice, with nothing wasted. Brahms’ two middle movements bring some-thing new to symphonic construction: They are gentle intermezzos provid-ing necessary relief between the power and weight of his opening and closing movements. Brahms’ orchestral sound also is unique: by turns dark and melt-ingly warm, often infused with a rueful quality expressing a strain of sadness in his personality never lightened by pro-fessional success.

First movement: Brahms imme-diately hurls us into the drama with music of unbearable passion and pain. Over pounding timpani, the orchestra tears itself asunder, as strings struggle upward by laborious half-steps against an undertow of woodwinds descending by half-steps. This battle of ascending and descending lines will be the crux of the movement. Listen for two more im-portant ideas: first, woodwinds swoop-ing downward in large intervals; then, an oddly gapped up-and-down theme in the strings. These are the basic nug-gets out of which the movement is built. With a snap, the tempo livens to Allegro, and the aggressive, angu-lar principal theme bounds into action (built from the strings’ earlier up-and-down idea).

The dramatic development section is driven forward by a very familiar rhythm thumping away in brass fanfares and timpani: It is the da-da-da-dum “fate knocking at the idea” from Beethoven’s No. 5. The movement closes in a truce, with the upward-straining string idea dominating the downward undertow. The muffled timpani still recalls its opening assault; the tonality has tenta-tively moved from C minor to C major, but the battle is far from won.

The second movement is as gentle as the first was forceful. Strings open a lovely, pensive melody in E major, tinged with Brahmsian shadows of minor. An oboe solo picks up the sec-ond half of the melody; later, it intro-duces the middle section. Brahms seems to have had a special love for this instru-ment’s bittersweet timbre (remember

the Violin Concerto’s beautiful oboe solo). As the opening melody returns in the winds, Brahms veils it in exqui-site colors: diaphanous strings cascading downward, plucked cellos, the faintest murmur of drums. Now solo violin joins oboe and horn in a beguiling trio, lead-ing the orchestra to a radiant coda.

Movement three is lighter still: an interlude in the country. Its outer sec-tions are all effortless flow, led by clari-nets. For the middle trio section, key and meter change to a buoyant peasant dance in 6/8-time. The bucolic charm of this music reminds us that the mature Brahms spent his summers composing in rural retreats far from Vienna.

The finale’s slow introduction plunges us back into C minor and the first movement’s terrible struggle. It opens with a swelling cry of despair from the violins over the descending half-tone undertow in the woodwinds. Then a sign of hope: C major sud-denly appears in the form of the magi-cal alphorn call Brahms sent Clara Schumann from Switzerland. The trombones respond with a brief, ma-jestic chorale.

The clouds lift completely for one of Brahms’ best tunes—his “Ode to Joy”—sung in the strings’ warmest low register. After lyrical themes led by the solo oboe, this “Joy” theme re-turns even more splendidly, before veering off into a vigorous develop-ment section. Its culmination brings forth not the “Joy” theme we’re ex-pecting, but the horn call. And as Brahms accelerates to his conclusion, he only teases us with fragments of this theme. Instead, the climax goes to the trombone chorale of the slow introduction. The cry of despair is hurled out one more time—delicious-ly, it turns out to be the minor-mode form of the “Joy” theme. Four vehe-ment thunderclaps salute Brahms’ triumph over tragedy—and his sym-phonic hang-up.

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

Notes by Janet E. Bedell, copyright 2013


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Strathmore Circles members Adele and Roy Igersheim with Adele Igersheim’s mother, Estelle Fox, at Patti LuPone’s performance, Matters of the Heart.


At left: Montgomery County Chief of Police J. Thomas Manger and Jacqueline Manger, immediate past chair of the board of directors for the Arts and Humanities Council of Montgomery County, with Anna Laszlo in the Comcast Circles Lounge during Patti LuPone’s Matters of the Heart concert. At right: Strathmore President Monica Jeffries Hazangeles, Rick and Nancy Farren, Connie Lohse, Pat McGee—Strathmore’s 2012-2013 season-opening musician—Shelley Brown, vice president of programming and Strathmore’s artistic director, and Strathmore board member Robby Brewer.

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BALTIMORE SYMPHONY ORCHESTRA

OFFICERSKenneth W. DeFontes, jr.*, ChairmanKathleen a. chagnon, esq.*, Secretarylainy lebow-Sachs*, Vice Chairpaul meecham*, President & CEOthe honorable Steven r. Schuh*,

Treasurer

BOARD MEMBERSa.G.W. biddle, iiibarbara m. bozzuto *constance r. caplanrobert b. couttsGeorge a. Drastalalan S. edelman*Susan G. esserman*michael G. hansen*murray m. Kappelman, m.D.Stephen m. lansSandra levi Gerstung ava lias-booker, esq.Susan m. liss, esq.*howard majev, esq.liddy mansonhilary b. millerDavid orosmarge penhallegon^, President,

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William r. Wagnerjeffrey Zoller^, bSyo chair

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BOARD OF TRUSTEES BALTIMORE SYMPHONY ENDOWMENT TRUSTbenjamin h. Griswold, iV, Chairmanterry meyerhoff rubenstein, Secretarymichael G. bronfeinKenneth W. DeFontes, jr. mark 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 deeply grateful to the individual, corporate, foundation and government donors whose annual giving plays a vital role in sus-taining the Orchestra’s tradition of musical excellence. The following donors have given between November 1, 2011 and December 14, 2012.

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mr. michael r. tardifmr. herbert cohenmr. and mrs. arthur c. coxjoan de pontetDelaplaine Foundationjackson and jean h. Diehlmarcia Diehl and julie KurlandDimick Foundationms. marietta ethierSharon and jerry Farbermr. and mrs. charles Faxmr. and mrs. Kenneth r. FeinbergDr. edward Finnmr. and mrs. anthony Fitzpatrickcatoctin breeze Vineyardmr. and mrs. arthur p. Floormr. and mrs. john Fordmr. and mrs. roberto b. Friedmancarol & William Fuentevillamary and bill Gibbpeter GilDr. and mrs. Sanford Glazeralan and joanne GoldbergDrs. joseph Gootenberg &

Susan leibenhautDr. and mrs. Sheldon Gottliebmark & lynne Grobanmr. & mrs. Norman m. Gurevichms. lana halpernms. Gloria Shaw hamiltonmr. & mrs. john hansonSara and james a. harris, jr.mr. Fred hart and ms. elizabeth Knightesther and Gene hermanellen & herb herscowitzDavid a. & barbara l. heywoodFran and bill holmesbetty W. jensenDr. henry KahwatyDr. phyllis r. Kaplanmr. and mrs. charles KelberVirginia and Dale KiesewetterDr. and mrs. peter c. luchsinger

michael & judy maelms. janet l. mahaneymr. Winton matthewsDavid and Kay mcGoffbebe mcmeekinmr. and mrs. anne menottiDr. & mrs. Stanley r. milsteinms. Zareen t. mirzaedwin h. mootDelmon curtis morrisonteresa and Don mullikinDouglas and barbara Norlandjerry and marie perletmr. and mrs. peter philippsherb and rita posner richard and melba reichardDr. and mrs. Gerald rogellmr. and mrs. William rookerDr. and mrs. arthur Sagoskinestelle D. Schwalbmr. and mrs. roger Schwarzms. phyllis Seidelsonmr. Donald m. Simondsmarshall and Deborah SluyterDon Spero & Nancy chasenmr. and mrs. richard D. Sperojennifer Kosh Stern and William h. turnermargot & phil Sunshinemr. and mrs. richard SwerdlowVenable Foundation, inc.Dr. and mrs. leonard WartofskyDavid Wellman & marjorie coombs

Wellmanms. Susan Wellmanmr. and mrs. richard Westinms. ann WillisSylvia and peter Winikmarc and amy Wisheileen and lee Woodsh. alan young & Sharon bob young, ph.D.robert & antonette Zeiss

BRITTEN LEVEL MEMBERS($500-$999)anonymousDr. and mrs. marshall ackermanms. barbara K. atrosticthomas and mary aylwardDonald bakerms. margot baronleonard and Gabriela bebchickmr. Donald berlinms. cynthia l. bowman-Gholstonmr. Kurt thomas brintzenhofemr. richard h. broun & ms. Karen e. Dalymr. & mrs. leonard burkams. lynn butlercecil chen & betsy haanesbradley christmas and tara Flynnbarbara & john clarymr. & mrs. jim coopermr. john c. Driscollmr. and mrs. robert Fauvermr. harvey Goldms. alisa GoldsteinFrank & Susan Grefsheimms. haesoon hahnKeith and linda hartmanDr. liana harvathmr. jeff D. harvell & mr. Ken montgomerymrs. patricia hoeflerms. Daryl KaufmanDr. birgit Kovacsms. Delia langms. pat larrabee and ms. lauren markleymr. Darrell h. lemke &

ms. maryellen trautmanms. may lesarmr. richard leyharry and carolyn lincolnDrs. David and Sharon lockwoodW. David mannmerle and thelma meyerms. ellen milesmr. & mrs. Walter millerms. marlene c. mitchellmr. William morganeugene and Dorothy mulliganmr. and mrs. philip padgettmrs. jane papishmr. and ms. Donald regnellmr. james risserms. trini rodriquez and

mr. eric toumayanmr. & mrs. barry rogstadharold rosenms. ellen rye


Dr. & mrs. jerome Sandlermr. and mrs. William Schaefermr. allen Shawms. terry Shuch and mr. Neal meiselmanms. Sonja Solengmr. and mrs. charles Steinecke iiimr. peter thomsonms. ann tognettijohn a. and julia W. tossellmr. & mrs. richard tullosDr. and ms. George Urbanlinda and irving Weinbergrobert and jean Wirth

BRAHMS LEVEL MEMBERS($250-$499)anonymous (4)ms. Kathryn abellms. judith agardrhoda and herman aldermanSharon allender and john trezisemr. and mrs. charles c. alstonmr. bill apterpearl and maurice axelradmr. and mrs. james baileyDrs. richard and patricia bakermr. robert barashmr. and mrs. john W. barrettmr. & mrs. john W. beckwithmelvin bellalan h. bergstein and carol a. joffemr. Neal bienmr. and mrs. jeffrey binckesNancy and Don blissmr. & mrs. john blodgettmr. edward boums. judith a. braham mr. philip brannenms. carol braymr. & mrs. ronald brotmanDr. William Dickinson burrowsmr. and mrs. Serefino cambareri ms. miranda chiumr. Steven coems. june colillams. marion connellmr. and mrs. herbert cooperms. louise cranems. margaret cusackDr. & mrs. james r. Davidmr. David S. DavidsonWilliam Dietrichmr. ahmed el-hoshylionel and Sandra epsteinms. claudia Feldmanmr. michael FinkelsteinDr. & mrs. David Firestoneestelle Diane Franklinmr. & mrs. marvin Freedenbergmr. & mrs. michael Scott Friedmanlucian & lynn m. FurrowDr. joel and rhoda Ganzroberta Geierirwin Gerdukmr. and mrs. Stephen GiddingsDrs. marlene and bill haffnerrev. therisia hallbrian and mary ann harris

mr. lloyd haugh mrs. jean N. hayesjoel and linda hertzmr. & mrs. William l. hickmanms. linda lurie hirschmr. roland hirschmr. Frank hopkinsmr. joel horwichmr. john howesmr. & mrs. paul hymanms. Susan irwinDr. richard h. israelDr. and mrs. herbert josephmr. peter KaplanDr. & mrs. robert W. Karplawrence & jean Katzmr. & mrs. christopher Kellermr. & mrs. james Kempfmr. & mrs. anthony Kernmr. and ms. George KinalDr. richard D. Guerin and Dr. linda Kohnmr. William and ms. ellen D. Kominersms. Nancy KoppDr. arlin j. Kruegermr. and mrs. eugene lambertmr. and mrs. Francis leahyms. marie lerch and mr. jeff Kolbmr. harry leVinealan and judith lewislois and Walter liggettms. julie e. limricltc David lindauer, U.S. army (ret’d)Dr. richard e. and Susan papp lippmanmr. Gene lodgelucinda low and Daniel magrawmr. and mrs. William macbainthomas and elizabeth maestrimr. james magnomr. David marcosmr. and mrs. charles h. mattersonmr. mark mattuccims. Susan mcGeems. anna mcGowanmr. and mrs. michael merchlinskymr. Steve metalitzmrs. rita meyersms. caren Novickmr. & mrs. robert obenrederms. marian o’Donnellamanda & robert ogrenmrs. judy olivermrs. patricia olsonmr. jerome ostrovmr. Kevin parkerms. Frances l. pfliegerthomas plotz and catherine Klionmarie pogozelski and richard bellems. carol polandandrew and melissa polottmr. and mrs. edward portnermr. and ms. richard prattDr. israel and carol prestonms. laura ramirez-ramosDr. and mrs. bernard reichmr. thomas reichmannDr. joan rittenhouse &

mr. jack rittenhouse

ms. leeann rock & mr. brian andersonlois and David Sacksmr. & mrs. robert Sandlerms. beatrice SchiffDavid and louise Schmeltzermr. j. Kenneth Schwartzmr. paul Seidmananatole Senkevitch, jr.ms. Debra ShapiroDonna and Steven Shrivermr. & mrs. larry Shulmanmr. and mrs. micheal D. Slackms. Deborah Smithrichard SniffinGloria and David Solomonms. rochelle Stanfield and

mr. edward Grossmantimothy Stranges and rosanna coffey

mr. and mrs. Duane Straubmr. alan thomasmr. john townsleyms. jane trinitems. maria Volpemr. David WallaceDr. and mrs. jack Weilmr. and mrs. robert Weinms. roslyn Weinsteinms. elizabeth Welles and mr. charles cromwellalan Whitemr. David m. Wilsonms. carol WolfeDr. charlotte WordDr. & mrs. richard N. Wrightmr. Daniel Zaharevitzms. maryann Zamulamr. Warren Zwicky

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 EngagementDeborah broder, Vice President of BSO

at StrathmoreDale hedding, Vice President of Developmentmatthew Spivey, Vice President of Artistic

Operations

ARTISTIC OPERATIONStoby blumenthal, Manager of Facility Salestiffany bryan, Manager of Front of Houseanna harris, Operations Assistantchris monte, Assistant Personnel Managermarilyn rife, Director of Orchestra Personnel

and Human Resourcesmeg Sippey, Artistic Planning Manager

EDUCATIONNicholas cohen, Director of Community

Engagementannemarie Guzy, Director of Educationhana morford, Education AssociateNick Skinner, OrchKids Site Managerlarry townsend, Education AssistantDan trahey, OrchKids Artistic Director

DEVELOPMENTjennifer barton, Individual Giving Manageradrienne bitting, Development Assistant margaret blake, Development Office Managerallison burr-livingstone, Director of

Institutional GivingKate caldwell, Director of Philanthropic

ServicesStephanie johnson, Donor Relations Manager,

BSO at Strathmorerebecca potter, Institutional Giving Specialistjoanne m. rosenthal, Director of Major Gifts,

Planned Giving and Government RelationsValerie Saba, Institutional Giving Coordinatorrebecca Sach, Director of the Annual Fundrichard Spero, Community Liaison for BSO

at Strathmore

FACILITIES OPERATIONSShirley caudle, Housekeeperbertha jones, Senior Housekeepercurtis jones, Building Services Managerivory miller, Maintenance Facilities

FINANCE AND INFORMATION TECHNOLOGYtom allan, ControllerSarah beckwith, Payroll AdministratorSophia jacobs, Senior Accountantjanice johnson, Senior Accountantevinz leigh, Administration Associatechris Vallette, Database and Web Administratorjeff Wright, Director of Information Technology

MARKETING AND PUBLIC RELATIONSrika Dixon, Director of Marketing and Saleslaura Farmer, Public Relations ManagerDerek a. johnson, Manager of Single Ticketstheresa Kopasek, Marketing and PR Associatebryan joseph lee, Direct Marketing Coordinator alyssa porambo, PR and Publications

Coordinatormichael Smith, Digital Marketing and

E-Commerce Coordinatoradeline Sutter, Group Sales Managerelisa Watson, Graphic Designer

TICKET SERVICESj. morgan Gullard, Ticket Services Agenttimothy lidard, Manager of VIP TicketingKathy marciano, Director of Ticket Servicesjuliana marin, Senior Ticket Agent for Strathmorepeter murphy, Ticket Services Managermichael Suit, Ticket Services Agentthomas treasure, Ticket Services Agent

BALTIMORE SYMPHONY ASSOCIATESlarry albrecht, Symphony Store Volunteer

Managerlouise reiner, Office Manager

BalTIMOre sYMphOnY OrChesTra sTaFF

BENEFITS OF MEMBERSHIP WITH THE BSOMake a donation today and become a Member of the bSO! There is a gift level that is right for everyone, and with that comes an insider’s perspective of your world-class orchestra.

For a complete list of benefits, please call our Membership Office at 301.581.5215 or contact via e-mail at [email protected]. you may also visit our Web site at bSOmusic.org/benefits.

Dr. lee poth with leonard and Donna Wartofsky at a backstage event

bSO principal pops conductor Jack Everly and John Waters with Total Wine & More co-owner David Trone and wife June

Frances and leonard burka at a backstage toast


naTIOnal phIlharMOnIC BOarD OF DIreCTOrsBOARD OF DIRECTORSrobert beizerruth bermanrabbi leonard cahan*carol evansruth FaisonDr. bill GadzukKen hurwitzDieneke johnsonWilliam lascelleGreg lawsonjoan levensonDr. Wayne meyerKent mikkelsenDr. roscoe m. moore, jr.Dr. Kenneth moritsugu*robin c. peritojalynn princepeter ryanDr. charles toner

BOARD OFFICERS*todd r. eskelsen, chair*albert lampert, First Vice chair*mark Williams, treasurer*paul Dudek, Secretary* joel alper, chair emeritus

BOARD OF ADVISORSjoel alperalbert lampertchuck lyonsroger titusjerry D. Weast

As of January 2013 *executive committee

As of January 1, 2013

suppOrTers OF The naTIOnal phIlharMOnICThe National philharmonic takes this opportunity to gratefully acknowledge the following businesses, foundations and individuals which have made the philhar-monic’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 Financialpaul m. angell Family Foundationarts and humanities council of

montgomery countymorris and Gwendolyn cafritz Foundationphilip l. Graham Fundingleside at King Farmmaryland State arts councilmontgomery county, mDmontgomery county public Schoolsmusician performance trust FundNational endowment for the artsNoVa research companySchiff hardin, llpthe State of maryland

CONCERTMASTER CIRCLEclark-Winchcole Foundationthe Gazetteprincipal circleann and Gordon Getty Foundationharris Family Foundationjohnson & johnsonjim and carol trawick Foundation, inc.

PHILHARMONIC CIRCLENational philharmonic/mcyo educational

partnership

the Washington post companybenefactor circlecorina higginson trusthenry b. & jessie W. Keiser Foundation, inc.rockville christian church, for donation

of spacetD charitable FoundationSustainer circleamerican Federation of musicians,

Dc local 161-170bettina baruch Foundationcardinal bankDimick Foundationembassy of polandexecutive ball for the artsKpmG Foundationlucas-Spindletop Foundation

PATRONamerican String teachers’ association

Dc/mD chapterboeingGailes Violin Shop, inc.Ge Foundationibmlashof Violinsthe potter Violin companythe Stempler Family FoundationViolin house of WeaverWashington music centercontributorbank of americathe italian cultural Society, inc.

INDIVIDUALSGIFTS OF $25,000+ann & 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 Fundpaul & robin perito for the Vocal Guest

artist Fund

MAESTRO CIRCLEms. anne claysmith for the chorale

chair-Soprano ii Fundmrs. margaret makrisDr. Kenneth p. moritsugu, emily moritsugu

& ms. lisa r. Kory, includes match by johnson & johnson

paul a. & peggy l. young

CONCERTMASTER CIRCLEmr. and mrs. paul Dudek

PRINCIPAL CIRCLEmr. & mrs. joel alperDr. ryszard GajewskiDr. & mrs. Val G. hemmingms. Dieneke johnson, includes match by

Washington post

PHILHARMONIC CIRCLEmrs. Nancy Dryden baker, in memory of

lt. cmdr. William F. baker, jr.mr. robert beizermr. Steven c. Decker & ms. Deborah W. DavisDr. & mrs. john V. evansj. William & anita Gadzuk *Dr. robert Gerard & ms. carol Goldberg *mr. Ken hurwitzmr. William a. lascelle & ms. blanche

johnsonmr. & mrs. peter ryanDrs. charles and cecile tonermr. & mrs. mark Williams, includes match

by ameriprise Financial

BENEFACTOR CIRCLEmrs. ruth bermanmr. edward brinker & ms. jane liumr. Dale collinson *Dr. lawrence Deyton & Dr. jeffrey levi *mr. & mrs. john l. Donaldsonmr. & mrs. joseph a. huntmr. Greg lawson, includes match by bank

of americamr. larry maloney *mr. & mrs. Kent mikkelsen *Nancy and j. parkermichael & janet rowan

SUSTAINER CIRCLEanonymous (3)mrs. rachel abrahamFred & helen altman *ms. Sybil amitay *ms. Nurit bar-josefmr. & mrs. Darren & elizabeth Gemoets *Dr. ronald cappelletti *Dr. mark cinnamon & ms. Doreen Kellyms. Nancy coleman *Drs. eileen & paul Demarco *Dr. Stan engebretson *mr. William e. Fogle &

ms. marilyn Wun-FogleDr. maria a. Friedman *ms. Sarah Gilchrist *mr. barry GoldbergDr. joseph Gootenberg &

Dr. Susan leibenhautmr. and mrs. David henderson *Dr. Stacey henning *mrs. joan m. levensonmr. & mrs. leslie levinemr. & mrs. charles a. lyonsmr. Winton matthewsmrs. eleanor D. mcintire *mr. & mrs. richard mcmillan, jr.Dr. Wayne meyer *mr. robert misbinSusan & jim murray *mr. & mrs. charles Naftalinmr. thomas Nessinger *ms. martha Newman *Dr. & mrs. Goetz oertel

mr. & mrs. jerome pinson, includes match by Ge Foundation

ms. aida Sanchez *mrs. jan Schiavone *ms. Kathryn Senn, in honor of

Dieneke johnsonms. carol a. Stern *Sternbach Family FundDr. & mrs. robert temple *mr. & mrs. Scott Ulleryms. ellen van Valkenburgh *mr. & mrs. robert Vocke *mr. & mrs. royce Watsonmr. & mrs. bernard j. young

PATRONmary bentley & David Kleiner *rabbi & mrs. leonard cahanms. linda edwardsmr. john eklundms. Kimberly elliottmr. joseph Fainbergms. ruth Faison *mr. & mrs. William hickmanmr. David hofstadWilliam W. & Sara m. josey*mr. robert justice &

mrs. marie Fujimura-justicems. may lesarms. jane lyle *Dr. & mrs. oliver moles jr. *mr. & mrs. raymond mountainDavid Nickels & Gerri hallmr. larz pearson & mr. rick trevinoms. Kari Wallace & Dr. michael Sapkomr. & mrs. Steven SeeligDr. john Shermanms. lori j. Sommerfield *mr. Gerald Stemplermr. john i. Stewart &

ms. Sharon S. Stoliaroffmr. robert Stewartmr. & mrs. john F. Wingmr. & mrs. jack yanovski

CONTRIBUTORanonymous (2)ms. ann albertsonmr. robert b. andersonmike & cecilia ballentinemr. and mrs. thomas bechertms. michelle beneckemr. & mrs. Gilbert bloomms. patricia bulhackmr. john choimrs. patsy clarkms. irene coopermanmr. Dean cullermr. & mrs. tom Dunlapmr.& mrs. j. Steed edwardsmr. & mrs. William englishmr. & mrs. elliott Fein, includes match

by ibmmr. eliot Feldmanmr. & mrs. joe FerfoliaDr. & mrs. john h. FergusonDavid & berdie Firestonemr. & mrs. mayo Friedlismr. & mrs. piotr Gajewskimr. Dean Gatwoodmr. Steven Gerbermr. carolyn Guthriemr. & mrs. William GibbDr. Karl habermeierDr. William hatcherFrances hanckelmrs. rue helselDr. roger herdmanmr. & mrs. james hochron *Dr. elke jordanms. anne KanterDr. & mrs. charles Kelberms. martha jacoby Krieger *ms. cherie Krugms. joanna lammr. & mrs. john r. laruemr. & mrs. paul legendremr. & mrs. herbert j. lernermr. & mrs. eliot lieberman *


mr. Frederick lorimermr. Kevin macKenziemr. jerald maddoxmr. tom maloymr. David e. malloy & mr. john p. crockett *mr. & mrs. andrew mannesmr. David mcGoff *jim & marge mcmannms. cecilia muñoz and mr. amit pandyamr. Stamatios mylonakisms. Katherine Nelson-tracey *Dr. ruth S. Newhousemrs. jeanne Noelms. anita o’leary *mr. and mrs. Kenneth a. oldham, jr.Dr. & mrs. joe parr iiimr. & mrs. alan peterkofskyms. cindy pikulDr. & mrs. manuel porresmrs. Dorothy pratsmr. & mrs. clark rheinstein *mr. jacques rosenbergms. lisa rovin *ms. joyce Sauvagerms. Sandi Savillemr. charles SerpanDr. & mrs. Kevin Shannonmr. & mrs. Greg Wagertom & bobbie WolfDr. & mrs. richard Wrightmr. & mrs. philip yaffee

MEMBERanonymousmr. Dan abbottmr. & mrs. Donald abbottmrs. Fran abramsmr. & mrs. Nabil azzamms. marietta balaan *mr. mikhail balachovmr. robert barashms. michelle beneckemr. & mrs. richard bendermrs. barbara botsfordmr. & mrs. jerome breslowmr. & mrs. Frederick brownmrs. Dolores j. bryanmr. & mrs. Stan brylamr. john buckleymr. j. michael rowe & ms. Nancy chesserDr. F. lawrence claremr. and mrs. johnny clarkDr. & mrs. Gordon m. craggmr. alan t. cranems. louise cranems. margaret cusackDr. & mrs. james b. D’alboramr. carl DeVoremr. jian Dingmr. paul Dragoumismr. charles eisenhauermr. philip Flemingmr. harold Freeman

ms. phyllis Freemanmr. brian Ganzms. rebecca Gatwoodmr. bernard Gelbms. Frances Gipsonmr. tom Girams. jacqueline havenerms. lisa helmsms. Nina helmsenmr. robert henryDr. & mrs. Donald hensonmr. j. terrell hoffeldmr. robert hoffmanmr. & mrs. Nelson hsingmrs. Deborah iwig *mr. & mrs. Donald jansky *ms. Katharine cox jonesDr. elke jordanms. elizabeth Kingmrs. rosalie Kingmr. & mrs. allan Kirkpatrickmr. mark a. Knepperms. marge Koblinskyms. cherie Krugmr. Dale Krumviedems. S. Victoria Krusiewskims. andrea leahy-Fucheckms. michelle leeDr. David lockwoodms. Sharon F. majchrzak *mr. & mrs. Forbes manermr. and mrs. james masonmrs. Nancy c. maymr. alan mayers *mr. Steven mazermr. michael mcclellanmr. & mrs. robert mcGuiremr. michael merchlinskymr. & mrs. David millermr. edward millsms. Stephanie murphyNational philharmonic chorale,

in honor of Kenneth oldham, jr.mrs. Gillian Navemr. leif Neve *, includes match by

aquilentDr. ruth S. Newhousemr. & mrs. Kenneth oldhammr. thomas pappasDr. & mrs. David pawelDolly perkins & larry Novakevelyn & peter philippsmr. charles a. o’connor & ms. Susan F.

plaegermr. & mrs. paul plotzDr. morris pulliamDrs. Dena & jerome puskinmr. Drew riggsmr. Sydney Schneiderms. Katherine Schnorrenberg *mr. and mrs. john Schnorrenbergms. bessie ShayDr. alan Sheff

HERITAGE SOCIETYThe Heritage Society at the National philharmonic gratefully recognizes those dedicated individuals who strive to perpetuate the National philharmonic through the provision of a bequest in their wills or through other estate gifts.

For more information about the National philharmonic’s Heritage Society, please call Ken Oldham at 301-493-9283, ext. 112.

mr. David abraham* mrs. rachel abraham mr. joel alper ms. ruth berman ms. anne claysmith mr. todd eskelsen mrs. Wendy hoffman,

in honor of leslie Silverfinems. Dieneke johnson

mr. & mrs. albert lampert mrs. margaret makris mr. robert misbinmr. Kenneth a. oldham, jr. mr. W. larz pearson ms. carol a. Sternmr. mark Williams

*Deceased

NATIONAL PHILHARMONIC STAFFpiotr Gajewski, Music Director & ConductorStan engebretson, Artistic Director,

National Philharmonic ChoraleVictoria Gau, Associate ConductorKenneth a. oldham, jr., PresidentFilbert hong, Director of Artistic OperationsDeborah birnbaum, Director of Marketing

& PR

leanne Ferfolia, Director of DevelopmentDan abbott, Manager of Development

Operations

Auxiliary Staffamy Salsbury, Graphic Designerlauren aycock, Graphic Designer

National philharmonic Singers after their performance at black Rock center for the Artsboard members Dieneke Johnson and Roscoe M. Moore Jr. with guests in the comcast lounge

mr. charles ShortDr. & mrs. paul Silvermanms. rita Sloanmr. carey Smith *mr. charles Sturrock *Dr. & mrs. Szymon Suckewerms. Sarah thomasms. renee tietjen *ms. Virginia W. Van brunt *mr. Sid Vernermr. Gerald Vogel

ms. anastasia Walshmr. David b. Wardmr. raymond Wattsms. joan Wikstrommr. robert e. WilliamsDr. Nicholas Zill* Chorale members

ChOrale susTaIners CIrCle Fred and helen altmanms. Sybil amitaymrs. William F. baker, jr.elizabeth bishop & Darrin GemoetsDr. ronald cappellettims. anne claysmithms. Nancy colemanmr. Dale collinsonDrs. eileen and paul DemarcoDr. lawrence Deyton & Dr. jeffrey leviDr. maria a. FriedmanDr. & mrs. bill GadzukDr. robert Gerard & ms. carol Goldbergms. Sarah Gilchrist

mr. & mrs. David hendersenDr. Stacey henningmr. larry maloneymr. & mrs. carl 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


reginald Van lee, Chairman* (c)

james j. Sandman, Vice Chair* (c)

christina co mather, Secretary* (c)

Steven Kaplan, esq. Treasurer* (c)

burton j. Fishman, esq., General Counsel* +

Neale perl, President and CEO*

Douglas h. Wheeler, President Emeritus

patrick hayes, Founder †

Gina F. adams*Katherine m. andersonalison arnold-Simmonsarturo e. brillembourg*hans bruland (c)rima calderoncharlotte cameron*Karen i. campbell*yolanda carawaylee christophereric D. collinsjosephine S. cooperDebbie Dingellpamela Farrrobert Feinberg*Norma lee Fungerbruce Gates*olivier GoudetFelecia love Greer, esq.jay m. hammer* (c)maria j. hankersonbrian hardieGrace hobelman (c)jake jonesDavid Kamenetzky*jerome b. libin, esq. (c) rachel tinsley pearson* (c)joseph m. rigby

irene rothyvonne Sabinecharlotte SchlosbergSamuel a. Schreiberjohn Sedmakirene F. Simpkinsruth Sorenson* (c)Wendy thompson-marquezmary jo Veverka*Gladys Watkins*carol W. Wilner

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. richalbert h. SmallShirley Smallthe honorable james W. SymingtonStefan F. tucker, esq. (c)paul martin Wolff

PAST CHAIRStodd Duncan †,

Past Chairman LaureateWilliam 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 OFFICERSGladys manigault Watkins, Presidentannette a. morchower, First Vice Presidentlorraine p. adams, Second Vice Presidentcynthea m. Warman, Recording Secretaryruth r. hodges, Assistant Recording Secretaryernestine arnold, Corresponding Secretaryanna Faith jones, TreasurerGlendonia mcKinney, Assistant Treasurercharlotte cameron, Immediate Past Presidentbarbara mackenzie Gordon,

Founder

LAWYERS’ COMMITTEE CO-CHAIRSjerome b. libin, esq.james j. Sandman, esq.

* executive committee+ ex officio† Deceased(c) committee chair

As of Oct. 1, 2012

BOarD OF DIreCTOrs

Wpas annual FunDWpAS gratefully acknowledges the contributions of the following individuals, corporations, foundations and government sources whose generosity supports our artistic and education programming throughout the National capital area. Friends who contribute $500 or more annually are listed below with our thanks. (As of Oct. 1, 2012)

Dimick Foundationms. pamela Farrmr. and mrs. morton Fungermr. and mrs. bruce Gatesmr. and mrs. jay m. hammerthe hay-adams hotelmr. and mrs. terry jonesmr. and mrs. Steven Kaplanmrs. elizabeth KefferKiplinger Foundation inc.KpmG llpjudith a. lee, esq. (l)june and jerry libin (l)mr. and mrs. john marshall Dan

cameron Family Foundation, inc.Nancy peery marriott Foundation,

inc.mr. james j. Sandman and

ms. elizabeth D. mullin (l)roger and Vicki Santmr. and mrs. hubert m.

Schlosberg (l) (W)mr. and mrs. Daniel SimpkinsVerizon Washington, Dcms. mary jo VeverkaWashington Gas light companyWells Fargo bank

$10,000-$14,999avid partners, llcbet NetworksDci Groupernst and youngGeorge Wasserman Family

Foundation, inc.ms. carolyn Guthriemr. jake jones and ms. Veronica

Nyhan-jonesrobert p. and arlene r. Kogod

Family Foundationmr. and mrs. peter l. Kreegermr. and mrs. Steve lansmacy’sthe max and Victoria Dreyfus

Foundation, inc.the honorable bonnie mcelveen-

huntermr. and mrs. herbert milsteinjohn F. olson, esq. (l)prince charitable trustsQinetiQ North america, inc.Sid Stolz and David hatfieldms. Wendy thompson-marquezmr. marvin F. Weissberg and

ms. judith morrismr. and mrs. bernard young

$7,500-$9,999at&t FoundationGeicothe meredith Foundationthe hon. mary V. mochary and

Dr. philip e. Wineourisman automotive of Vams. aileen richards and

mr. russell jonesDr. irene rothSutherland asbill & brennan

$5,000-$7,499Dr. and mrs. clement c. alpertmr. and mrs. joseph brodeckicapitol tax partnersms. Dolly chapinbob and jennifer Feinsteinmr. and mrs. robert S. Gilesmr. and mrs. Stephen Grahammr. and mrs. carlos Gutierrezmr. and mrs. brian j. hardiems. Sandy lernermr. and mrs. David o. maxwellDr. robert misbinmr. and mrs. Glenn a. mitchellms. rachel tinsley pearsonms. Diane tachmindji

mr. and mrs. john V. thomasVenable Foundationthe Washington post company

$2,500-$4,999anonymous (3)mr. and mrs. ricardo andrademr. and mrs. barry barbashmr. joseph brandtmr. and mrs. boris brevnovms. beverly j. burkemr. and mrs. William N. cafritzthe charles Delmar FoundationDr. and mrs. abe cherrickms. Nadine cohodasmr. and mrs. j. bradley Davismr. and mrs. james DavisDr. morgan Delaney and

mr. osborne p. mackiemr. and mrs. Guy o. Dove iiimr. and mrs. melvin eagle (l)linda r. Fannin, esq. (l)mr. and mrs. burton j. Fishmanmr. Gregory i. Flowersmr. and mrs. David Frederickmr. and mrs. Wayne GibbensDr. and mrs. michael S. Goldjames r. Goldenmr. and mrs. rolf GraageDr. maria j. hankerson, Systems

assessment & researchms. Dena henry and

mr. john ahremmr. and mrs. allen izadpanahalexine and aaron# jackson (W)mr. and mrs. joseph jacobsmr. and mrs. merritt jonesms. Danielle Kazmier and

mr. ronald m. bradleymr. and mrs. David t. Kenneyarleen and edward Kessler (W)mr. Daniel l. Korengold and ms.

martha Dippellmrs. Stephen K. Kwassmr. and mrs. harry m. linowesjames m. loots, esq. and barbara

Dougherty, esq. (l)mr. and mrs. christoph e. mahle (W)the honorable and mrs. rafat

mahmoodmr. and mrs. ralph manakermarshall b. coyne Foundationmrs. joan mcavoymr. robert meyerhoff and

ms. rheda beckermr. larry l. mitchellmr. and mrs. robert monkDr. William mullins and

Dr. patricia petrickms. catherine Nelsonmrs. muriel miller pear#jerry and carol peronems. Nicky perry and

mr. andrew Stiflermr. trevor potter and

mr. Dana Westringadam clayton powell iiimr. and mrs. robert ramsayDr. and mrs. Douglas rathbunmrs. lynn rhombergmr. and mrs. peter richmr. and mrs. David rouxms. christine c. ryan and

mr. tom Grahammr. claude Schochmr. and mrs. Samuel a. Schreiberlena ingegerd Scott and lennart

lundhmr. and mrs. albert h. Smallmr. eric Steinerms. mary Sturtevantmr. and mrs. George r. thompson jr.mr. and mrs. r. moses thompsonmr. richard m. tuckerman

$100,000+altria Group, inc.booz allen hamiltonms. christina co mather and Dr.

Gary matherbetsy and robert Feinbergmars, incorporatedms. jacqueline badger marsthe morris & Gwendolyn cafritz

FoundationNational capital arts and cultural

affairs program/the US commission of Fine arts

mr. reginald Van lee

$50,000-$99,999DaimlerDallas morse coors Foundation

for the performing artsFedex corporation

mr. and mrs. joseph F. horning the horning Family Fund

mVm, inc.park Foundation, inc.mr. bruce rosenblum and

ms. lori laitmanDr. paul G. SternWells Fargo bank

$35,000-$49,999Dc commission on the arts and

humanitiescarl D. † and Grace p. hobelmanms. marcia macarthur

$25,000-$34,999anonymousabramson Family Foundationbank of americabb&t private Financial Services

billy rose Foundationmrs. ryna cohenmark and terry mcleodNational endowment for the artspepcopricewaterhousecoopers llpthe rocksprings FoundationNoralee and jon Sedmakruth and arne Sorensonmr. and mrs. Stefan F. tucker (l)

$15,000-$24,999anonymousambassador and mrs. tom

andersonarcana Foundationms. adrienne arshtDiane and Norman bernsteinmr. and mrs. arturo e.

brillembourg


Dr. and mrs. herbert D. Weintraubmr. and mrs. Stanley WeissDr. Sidney Werkman and

ms. Nancy Folgermr. and mrs. james j. WilsonDr. and mrs. William b. Wolfmr. bruce Wolff and ms. linda millermr. and mrs. paul a. young, NoVa

research company

$1,500-$2,499anonymous (4)ms. lisa abeelmrs. rachel abrahammrs. arthur arundelDr. and mrs. james baughrobert and arlene beinmr. and mrs. robert S. bennettjane c. bergner, esq. (l)mr. and mrs. josiah buntingmr. peter buscemi and

ms. judith millerDr. c. Wayne callaway and ms.

jackie chalkleyms. Karen i. campbellDr. and mrs. purnell W. choppinDrs. judith and thomas chusedDr. mark cinnamon and

ms. Doreen Kellymr. and mrs. Douglas cookmr. paul D. croninmr. and mrs. Sidney Dicksteinms. lisa egbuonu-Davismrs. Sophie p. FlemingFriday morning music club, inc.ms. Wendy Frieman and

Dr. David e. johnsonmrs. paula Seigle Goldman (W)mrs. barbara Goldmuntzmrs. barbara W. Gordon (W)james mcconnell harkless, esq.ms. Gail harmonDr. and mrs. joseph e. harris (W)ms. leslie hazelms. Gertraud hechlmr. and mrs. carl F. hicks, jr.mrs. enid t. johnson (W)Dr. and mrs. elliott Kaganmr. e. Scott Kasprowiczmr. and mrs. Sherman e. Katz (l)Stephen and mary Kitchen (l)ms. betsy Scott Kleeblattmr. and mrs. Steven lambmr. and mrs. richard F. larkinDr. and mrs. lee V. leak (W)mr. james lynchmr. and mrs. michael marshallhoward t. and linda r. martinmr. Scott martinmrs. Gail mathesonms. Katherine G. mcleodms. Kristine morrislt. Gen. and mrs. michael a. Nelsonms. michelle Newberrythe Nora roberts FoundationDr. michael oldingmr. and mrs. jack h. olendermr. and mrs. Gerald W. padweDr. and mrs. ron paulms. jean perinmr. Sydney polakoffthe honorable and mrs. Stephen

portermr. james richmr. and mrs. martin rittermrs. Norman W. Scharpfms. mary b. SchwabDr. Deborah j. Sherrillmrs. Nadia Stanfieldcita and irwin Stelzermr. richard Strotherms. loki van roijenms. Viviane Warrena. Duncan Whitaker, esq. (l)cDr and mrs. otto a. Zipf

$1,000-$1,499anonymousruth and henry aaronmr. john b. adamsmr. and mrs. james b. adlermr. and mrs. Dave aldrichms. carolyn S. alperms. carol a. bogashmr. a Scott boldenms. ossie boroshS. Kann Sons company Fdn. inc.

amelie and bernei burgunder, Directors

mr. and mrs. calvin cafritzmr. arthur cirulnickmr. jules cohenms. josephine S. cooperDr. ronald m. costell and

ms. marsha e. Swissmr. David D’alessioDr. and mrs. joseph h. Danksmr. and mrs. Gregory Davisedison W. Dick, esq. (l)mr. anthony e. Diresta (l)ms. Nancy ruyle DodgeDyal compassmr. Stanley ebner and

ms. toni Sidleyms. lynda ellismrs. john G. essweinmarietta ethier, esq. (l)Dr. irene Farkas-connjames a. Feldman and

Natalie WexlerFierce, isakowitz & blalock, llcms. Gloria Garciamr. Donald and mrs. irene Gavinthe hon. ruth bader Ginsburgmr. and mrs. William l. Goldman (W)mr. michael hagermr. and mrs. james harris, jr.mr. charles e. hoyt and

ms. Deborah Weinberger (l)Drs. Frederick jacobsen and

lillian comas-Diazmr. michael johnsonms. anna F. jones (W)mr. and mrs. john e. Kilcarrms. elizabeth l. KleeDr. marvin c. KorengoldSimeon m. Kriesberg and

martha l. KahnSandra and james lafondmr. and mrs. eugene i. lambert (l)mr. and mrs. Gene lange (l)mr. lance mangummiss Shirley marcus allenms. patricia marvilmaster print, inc.john c. mccoy, esq. (l)carol and Douglas melamedDr. jeanne-marie a. millermr. and mrs. adrian l. morchower (W)mr. richard moxleymr. and mrs. Daniel mulcahymr. and mrs. Samuel muscarellamr. and mrs. lawrence c.

Nussdorfmr. and mrs. john oberdorfermrs. elsie o’Grady (W)tom and thea papoian, with

mr. Smoochymr. and mrs. Neale perlDr. Gerald permanmr. and mrs. arnold polingerreznick Groupmr. and mrs. robert rosenfeldmr. lincoln ross and changamire (W)mr. and mrs. michael rowanSteven and Gretchen Seilermr. and mrs. arman Simonemr. and mrs. thomas Strongchris Syllabathe manny & ruthy cohen

Foundation, inc.mr. and mrs. tom tinsleymr. and mrs. aaron tomaresmr. j. rock tonkel, jr.mr. and mrs. Sami totahG. Duane Vieth, esq. (l)mr. john Warren mcGarry (l)Drs. anthony and Gladys Watkins (W)Drs. irene and john Whitemr. and mrs. robert h. Winterchristopher Wolf, esq. (l)mr. and mrs. Dennis r. Wraase

$500-$999anonymous (4)mr. andrew adairms. and mrs. edward adams (W)mr. Donald r. allenmr. jerome andersen and

june hajjarargy, Wiltse & robinson, p.c.ms. amy ballardhon. and mrs. john W. barnummiss lucile e. beaverDr. and mrs. Devaughn belton (W)mrs. joan S. beneschms. patricia N. bonds (W)mr. and mrs. charles bothmrs. elsie bryant (W)mr. and mrs. leonard burkamr. robert buslermrs. Gloria butland (W)mr. and mrs. jordan casteelms. claire cherryms. Deborah clements and

mr. jon mooreDr. Warren coats, jr.compass point research and

trading, llcmr. john W. cookmr. and mrs. Doug cowart (W)mr. john DassoulasDr. and mrs. chester W. De longmr. and mrs. james b. Deerin (W)mr. and mrs. carlos Del toromrs. rita Donaldsonmr. and mrs. marc Duberms. Sayre e. Dykesmrs. yoko eguchimr. and mrs. harold FingerDr. and mrs. robert Gagosian (W)Dr. melvin Gaskinsjack e. hairston jr.Dr. and mrs. harry handelsman (W)jack and janis hansonmrs. robert a. harpermr. lloyd haughmr. and mrs. louis heringmr. and mrs. Franklin hodges (W)mr. and mrs. laszlo hogyemr. and mrs. james K. holmanmr. and mrs. ernest Drew jarvisralph N. johanson, jr., esq. (l)mr. and mrs. charles jonesmrs. carol Kaplanms. janet Kaufman (W)mr. Daniel Kazzaz and

mrs. audrey corsonDr. rebecca Klemm, ph.D.mr. and mrs. john Koskinenmr. and mrs. Nick Kotzms. Debra ladwigms. albertina D. lane (W)mr. William lascelle and blanche

johnsonDr. j. martin lebowitzmr. and mrs. christopher lernerjack l. lipson, esq. (l)the honorable and mrs. jan lodalmr. and mrs. David maginnes (W)Shaila manyamrear adm. and mrs. Daniel p.

marchms. hope mcGowanmr. and mrs. rufus W. mcKinney (W)

ms. cheryl c. mcQueen (W)Dr. and mrs. larry medskermrs. G. William millermr. and mrs. bruce D. moretonms. Dee Dodson morrismr. charles Naftalinmr. and mrs. David Nealmr. john osbornems. christine piepermr. and mrs. herbert posnerms. Susan rao and

mr. Firoze rao (W)ms. Nicola renisonmr. and mrs. Dave riggsms. elaine rosemr. burton rothlederDr. and mrs. jerome Sandlermr. and mrs. michael Schultz

in memory of mr. h. marc moyens

mrs. Zelda Segal (W)Dr. Deborah Sewell (W)mr. peter ShieldsDaniel and Sybil Silvermr. and mrs. robert Silvermanmr. and mrs. john SlaybaughVirginia Sloss (W)mr. and mrs. l. bradley StanfordDana b. StebbinsDr. and mrs. moises N. Sterenmr. and mrs. David SternSternbach Family Fundmr. Daniel tarulloms. julie Vass (W)mr. craig Williams and

ms. Kimberly Schenckmr. and mrs. james D. Wilson (W)ms. christina Witsbergerms. bette Davis Wooden (W)

Dr. Saul yanovichmr. james yappaul yarowsky and Kathryn

Grumbach

IN-KIND DONORSarnold & porter llpthe beacon hotelbooz allen hamiltonms. ossie boroshmr. and mrs. charles boththe capital Grille chevy chaseembassy of mexicoembassy of SpainjamalFelder music productions

llcthe hay-adams hotelmr. Daniel l. Korengold and ms.

martha DippellDr. and mrs. marc e. lelandms. Sandy lernerthe honorable and mrs. jan lodallord & taylormars, incorporatedms. jacqueline badger marsmr. Neale perlDr. irene rothmr. claude SchochSt. Gregory luxury hotels &

Suitesmr. anthony WilliamsKathe and ed Williamsonmr. john c. Wohlstetterelizabeth and bill Wolf

KEY:(W) Women’s Committee(l) Lawyers’ Committee# Deceased

Neale perl PresidentDouglas h. Wheeler President Emeritus

Development murray horwitz Director of Developmentmeiyu tsung Assistant Director of Develop-

ment/Director of Major GiftsDaren thomas Director of Leadership and

Institutional Giftsmichael SyphaxDirector of Foundation and

Government Relationsrebecca talisman Donor Records and Database

Coordinator helen abergerMembership Coordinator and

Tessitura Applications Specialist

Kathleen mccoy Development Intern

Education michelle hoffmann Director of Education Katheryn r. brewington Assistant Director of Education/

Director of Gospel Programs megan merchant Education Program Coordinator Koto maesaka Education Associate chase maggiano Education and Development

Associate leah manning Education Intern

Finance and Administration allen lassinger Director of Finance lorna mulvaney Accounting Associate robert Ferguson Database Administrator

Marketing and Communications jonathan Kerr Director of Marketing and

Communications hannah Grove-Dejarnett Associate Director of Market-

ing and Communications Scott thureen Creative Media and Analytics

Manager corinne baker Audience Engagement Managercelia anderson Graphic Designer brenda Kean tabor Publicist Sara amiden Marketing Intern

Programming Samantha pollack Director of Programmingtorrey butler Production Manager Wynsor taylor Programming ManagerStanley j. thurston Artistic Director, WPAS Gospel

Choirs

Ticket Services Office Folashade oyegbola Ticket Services Manager cara clark Ticket Services Coordinator edward Kerrick Group Sales Coordinator

WASHINGTON PERFORMING ARTS SOCIETY STAFF


Audra McDonald with WpAS board member

beverly burke and guests

mrs. Shirley and mr. albert h. Small, Honorary Chairs

mr. Stefan F. tucker, Chair

anonymous (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 Dickstein

Wpas 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 WpAS 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.

ms. carol m. Drehermr. 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 jones

mr. Sherman e. Katzmr. and mrs. bruce Kimblemr. Daniel l. KorengoldDr. marvin c. Korengoldmr. and mrs. james lafondms. evelyn lear † and mr. thomas Stewart†mrs. marion lewis †mr. herbert lindow †mr. and mrs. harry linowesmr. and mrs. David maginnesms. Doris mcclory †mrs. carol melamedrobert i. misbinmr. Glenn a. mitchellms. Viola mushermr. jeffrey t. Nealthe alessandro Niccoli Scholarship awardthe pola Nirenska memorial awardmr. Gerson Nordlinger †mrs. linda parisi and mr. j.j. Finkelsteinmr. and mrs. Neale perlDr. W. Stephen and mrs. Diane pipermrs. mildred poretsky †the hon. and mrs. Stephen portermrs. betryce prosterman †

miriam rose †mr. james j. Sandman and

ms. elizabeth D. mullinmrs. ann Scheinmr. and mrs. hubert (hank) Schlosbergms. lena ingegerd Scottmrs. Zelda Segalmr. Sidney Seidenmanms. jean head Sisco †mr. and mrs. Sanford l. Slavinmr. and mrs. albert h. Smallmr. robert Smith and

mrs. Natalie moffett Smithmrs. isaac Sternmr. leonard toppermr. hector torresmr. and mrs. Stefan tuckermr. Ulric † and mrs. Frederica Weilmr. and mrs. Douglas Wheelermr. and mrs. robert h. Winterms. 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].

2013 SPRING GALA AT

strathmoreS’WONDERFUL S’MARVELOUS MICHAEL FEINSTEIN:

THE GERSHWINS AND MESATURDAY, APRIL 20, 2013, 9PM

“Strike Up the Band” because the incomparable Michael Feinstein is coming to Strathmore! Dubbed “Ambassador of the Great American

Songbook,” the two time Emmy and five time Grammy Award nominee has collected a “S’Wonderful” evening of music celebrating the legacy of George and Ira Gershwin. Feinstein doesn’t stop there, sharing personal

stories from his recent book The Gershwins and Me about his six-year collaboration with Ira that shaped his early career.

To purchase Gala Packages, which include the Gala reception, dinner,

premium concert seating and After Party, contact Sorelle Group at (202) 248-1930 or [email protected].

Single tickets to the concert include access to our After Party.

Order at www.strathmore.org or (301) 581-5100

By sponsoring or attending the 2013 Spring Gala at Strathmore, you give children, rising artists, and our community transcendent arts experiences through Strathmore’s education and artistic programming, master classes, in-school

outreach, Title I programs, Artist in Residence program, free community events and festivals.

Gill

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as


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 metro attendant to exit at no cost. For all non-ticketed events, monday – Friday, parking in the garage is $4.75 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 4th 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


encoreby Sandy Fleishman

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raDirector of programming,the music center at Strathmore

Georgina Javor

G eorgina Javor oversees the Mansion’s programs, the Free Sum-mer Outdoor Concert Series, Backyard Theater for Children, Friday Night Eclectic and annual campus-wide Discover Strathmore events. She helps with main stage programming

as well, and works some nights backstage assisting performers. As if she weren’t already busy enough, Javor recently earned her MBA at George-town, all done at night. “You have to love it,” she says. “If you didn’t enjoy challenges, you’d be miserable.”

Q. Did your family play a role in your career choice? Before becoming a teacher, my mother sang in opera companies in New York. My aunt used to work at the Kennedy Center, so whenever we visited, she’d take me to a show and I’d get to go backstage. My uncle is a special-effects designer for Broadway. An-other uncle is a classical pianist. You could say show business is in our family.

Q. What led you to strathmore? I’ve always been involved in the arts—I stud-ied ballet for 10 years and cello and piano at UNC-Chapel Hill. … I interned at Cat’s Cra-dle, a premiere music venue in North Caro-lina, and at Strathmore after junior year. That Strathmore internship set the stage for me to be called in for an interview as marketing as-sistant in 2004 and I’ve worked my way up.

Q. how do you come up with per-formers? Mansion concerts are incredibly diverse—they feature local and national artists; they’re multi disciplinary; they’re multi genre—so striking a balance is important. Going to local concerts, gallery openings and arts events, keeping current with what’s happening in D.C., is incredibly important when I’m programming for the Mansion. When considering artists on a more na-tional level, I attend big arts marketplaces like the Association of Performing Arts Presenters and Chamber Music America conferences in New York, or the Performing Arts Exchange in Miami.

Q. Do presenters have bidding wars for performers? There can be a bidding war. But it can also come down to date availability—either from the artist or from the venue. Like many places, Strathmore has to be mindful of our resident partners and rentals that might be using space in the Music Center or Mansion; coordinating our calendar is an involved logistical process. Artists’ tour schedules are tight and getting the date can be one of the more challenging pieces of the puzzle.

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