Overture March-April 2011

A MAGAZINE FOR THE PATRONS OF

THE BALTIMORE SYMPHONY ORCHESTRA

MARIN ALSOP, MUSIC DIRECTOR

MARCH 4, 2011 - APRIL 29, 2011overture

Meets theMoviesMusic brings power to films—inspiringand transporting audiences. The firstto recognize this was Charlie Chaplin,who composed masterful scores thatmade his early films anything but silent.

When Music

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WHEN MUSIC MEETS THE MOVIES

Music brings power to films—inspiring andtransporting audiences.The first to recognize thiswas Charlie Chaplin, who composed masterfulscores that made his early films anything but silent.BY MARIA BLACKBURN

ONE ON ONE

Pianist OrionWeiss got the call from the BSOthat changed his life when he was just 17.INTERVIEW BY MARIA BLACKBURN

10

13

43

5 LETTER FROM THE PRESIDENT AND CEO

6 IN TEMPO News of note

8 BSO LIVE Upcoming events you won’t want to miss!

14 ORCHESTRA ROSTER

37 DONORS

43 IMPROMPTU For violist Karin Brown, scalingmountains is like mastering a piece of hard music.

15 MAR 4 & 6 Rachmaninoff’s Rhapsody

18 MAR 11-13 A Celtic Celebration:Music of the Emerald Isle

20 MAR 18-19 Beethoven’s Fifth

23 MAR 24-25 Grieg’s Piano Concerto

26 MAR 26 Sweet Honey in the Rock

27 MAR 31 & The Pied PiperAPR 3

30 APR 8-10 A Tribute to Paul McCartney

32 APR 16-17 Charlie Chaplin’sThe Gold Rush

34 APR 28-29 Brahms’ Second Symphony

PROGRAM NOTES

contents

13

overtureBSOmusic.org • 410.783.8000

Marin AlsopMusic Director

Michael G. BronfeinChairman

Paul MeechamPresident and CEO

Eileen AndrewsVice President

of Marketing and Communications

Claire BerlinPR & Publications Coordinator

Janet E. BedellProgram Annotator

Alter Custom MediaSue De Pasquale

Editor

Cortney GeareArt Director

Maria BlackburnContributing Writer

Michael MarlowProofreader

Kristen CooperDirector of Advertising

Maggie Moseley-FarleySenior Sales Consultant

Karen R. BarkMarcie Jeffers

Sales Consultants

Jeni MannDirector of Custom Media

Heidi TrabandAdvertising Designer

Baltimore SymphonyOrchestra

2010-2011 Season

Design and Advertising SalesAlter Custom Media

1040 Park Ave., Suite 200Baltimore, MD 21201

443.451.0736

www.altercustommedia.com

Baltimore Symphony OrchestraBaltimore Symphony OrchestraLife is Better with Music

410.783.8124 | BSOmusic.org/musicmatters

The BSO is committed to serving our community in relevant andmeaningful ways, including high quality music education and lifeenrichment programs for more than 55,000 youths each year. Your support makes this important work possible, helping to secure the BSO as a key contributor to the culture and quality of life inBaltimore and throughout Maryland.

For more information about supporting your world-classorchestra, please contact our membership office.

f rom the president

March 4, 2011 – April 29, 2011 5

Dear Friends,Thank you for joining the Baltimore Symphony Orchestrafor another great concert.With the arrival of spring, itseems very appropriate that one of this season’s themesfocuses on youth, plus several other celebrations during theremainder of the season.

On March 31 and April 3, we present OrchKids Nation,an exciting new work by David Rimelis, written especiallyfor Marin Alsop and the BSO and young musicians

from the OrchKids after-school program in West Baltimore.This is an extraordinarysubscription debut for these pre-K through third-graders, some of whom willalso perform on the same program with Peabody Preparatory students in JohnCorigliano’s Pied Piper Fantasy, featuring BSO Principal Flute Emily Skala.A weeklater, on Saturday morning,April 9, a highlight of the Family Concert Series isBenjamin Britten’s infectious AYoung Person’s Guide to the Orchestra, written especiallyfor young listeners as a first tour of the instruments in the orchestra. Spring isdefinitely in the air!

You can also look forward to other unique events in April: Beatles fans willwelcome Live and Let Die:A Tribute to Paul McCartney (April 8-10); and if yousaw 2008 performances of the Charlie Chaplin movie City Lights with live accompa-niment by the BSO and Marin Alsop, you’ll definitely not want to miss anotheroriginal score and film by Chaplin: the 1925 masterpiece, The Gold Rush, onApril 16-17.

Finally, make sure you have a front-row seat by subscribing now for the 2011-2012 season. Music Director Marin Alsop and the BSO have created a wonderfulseries of programs, including a celebration of women leaders, past and present,and an array of world-class guest artists including Itzhak Perlman,André Watts,Hilary Hahn and Leon Fleisher, along with an all-Gershwin Pops concert, a newholiday Cirque de la Symphonie concert and so much more. I hope you’ll visitBSOmusic.org to learn more about the exciting concerts scheduled for next season.

Enjoy tonight’s concert!

Paul MeechamPresident and CEO, Baltimore Symphony Orchestra

Be Green: Recycle Your Program!

Please return your gently used program books to the Overture racks in the lobby.

Want to keep reading at home? Please do! Just remember to recycle it when you’re through.��

6 Overture

intempo News of note

The Baltimore Symphony Orchestra has expanded its

OrchKids program to serve students at New Song Academy,

made possible in part by a two-year grant of $50,000 from

The Rouse Company Foundation to support the program’s

launch and continued development at the school.

OrchKids is a year-round during- and after-school music

program designed to create social change and to nurture promising

futures for the youth of Baltimore City. Under Music Director

Marin Alsop’s artistic leadership and direction, OrchKids is

a cornerstone of the Baltimore Symphony Orchestra’s efforts to

expand the Orchestra’s relevance with the city’s broad and

diverse community.

At New Song, all 37 pre-K through kindergarten students

(ages 3–5) will be introduced to the program through music

classes incorporated into the school day. Continued progression

of these and the addition of more students in successive years

will see a modified after-school program implemented at

New Song.

To learn more about the OrchKids program, visit OrchKids.com.

The first annual Bolt for the BSO started witha good idea, a few inspired runners and a goal toraise $10,000 for the BSO. It ended on Saturday,October 16, with 11 runners competing in theBaltimore Running Festival, 300 total contributorsand more than $15,000 raised.

BSO Governing Member Cynthia Rennwas inspired with the concept when she begantraining for the Baltimore Half-Marathon.“I got the idea to ask people to sponsor me asa small fund-raiser for the BSO,” Renn explains.“I mentioned this to a few friends who thoughtthe idea was a good one and they decided tojoin in.At the following [BSO] concert,I mentioned it to Alana Morrall, [BSO Directorof Individual and Institutional Giving] and a fewothers, and Bolt for the BSO was born.”

BSO patrons may have seen Bolt forthe BSO runners in the lobby before the

concert and during intermission on October 14.Dressed in running gear and lime-green T-shirts,runners raised nearly $300 that evening.

BSO musicians who participated in theBaltimore Running Festival included hornplayer Mary Bisson (5K),Assistant PrincipalSecondViolin Ivan Stefanovic (half-marathon)and first violinist Ellen PendletonTroyer (half-marathon).Though he had never run in a racebefore, Stefanovic completed the half-marathonin just under two hours.Troyer clippedStefanovic’s time by four minutes and finished inthe top 20 percent of all half-marathon runners.

Bolt for the BSO will return next year andhopes to include 100 runners and raise morethan $100,000.

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MARY BISSON

Bolt for the BSO Runs Up More Than $15,000CHRISTIAN COLBERG

IVAN STEFANOVIC

CHRISTIAN COLBERG

BILLDEN

ISON

BSO’s OrchKidsProgram Expands

Songs of the EarthFri, May 6, 8 p.m.Sun, May 8, 3 p.m.

Marin Alsop, conductorTheodora Hanslowe, mezzo-sopranoSimon O’Neill, tenor

Music Director Marin Alsop emphasizesthe profoundly expressive and personalnature of Gustav Mahler’s music in thecomposer’s symphonic song cycle, TheSong of the Earth. Opening the programis Mendelssohn’s well-known and sunlit“Italian” Symphony, infused with thecomposer’s absolute enchantment witha visit to Italy in 1831.

Robert Schumann—A Romantic OriginalThur, May 12, 8 p.m.Sun, May 15, 3 p.m.

Marin Alsop, conductor

Marking the 200th anniversary ofRobert Schumann’s birth, the BSO andMarin Alsop perform an all-Schumannprogram that includes two of his piecesretouched by Mahler, and perhaps hismost well known orchestral works, theFirst and Second symphonies. Pairedwith his Manfred Overture, these twogreat symphonies reflect Schumann’ssheer genius melody—romantic andcolorfully chromatic.

OFF THE CUFF

Schumann’s Beautiful MindSat, May 14, 7 p.m.

Marin Alsop, conductorRichard Kogan, piano

Music Director Marin Alsop exploresRobert Schumann’s beautiful mind—one beset by bipolar disorder yet stillable to produce some of classical music’smost original and inspired work. RichardKogan will discuss and perform excerptsof Schumann’s Op. 9 Carnaval for piano.How does bipolar disorder affect thebrain? Are manic episodes responsible forSchumann’s bursts of creative genius thatmanifested itself in such profound music?Explore these questions and more.

BSO SUPERPOPS

Rodgers & Hammersteinat the MoviesFri, May 20, 8 p.m.Sat, May 21, 8 p.m.Sun, May 22, 3 p.m.

Jack Everly, conductor

Hear the BSO SuperPops perform thescores with the original vocal tracks fromthe great movie musicals of Rodgers &Hammerstein.The program featuresfavorites such as Oklahoma!,The King and I,South Pacific,Carousel and The Sound ofMusic, all performed as stunning remasteredclips play on the big screen abovethe orchestra.

Emanuel AxFri, June 3, 8 p.m.Sat, June 4, 8 p.m.Sun, June 5, 3 p.m.

Marin Alsop, conductorEmanuel Ax, piano

The season’s celebration of youthcomes to a conclusion with BenjaminBritten’s delightfully infectious tour ofthe orchestra, in Young Person’s Guide tothe Orchestra, as well as the First PianoConcerto by Johannes Brahms (writtenwhen he was 25). In the hands of pianogreat Emanuel Ax, expect a program ofthrilling virtuosity and music-making.Marin Alsop also introduces a new workby the Argentine-American composerOsvaldo Golijov.

Verdi’s RequiemThur, June 9, 8 p.m.Fri, June 10, 8 p.m.Sun, June 12, 3 p.m.

Marin Alsop, conductorAngela Meade, sopranoEve Gigliotti, mezzo-sopranoGarrett Sorenson, tenorAlfred Walker, bass-baritoneThe Washington ChorusJulian Wachner, music director

It is a work of such imposing powerthat no music can dare to match its scopeand glory.The concert experience ofa lifetime, Marin Alsop and the BSOclose the season with GiuseppeVerdi’sawe-inspiring Requiem.

bsolive Upcoming key events

Mahler, Sibelius and WaltonFri, May 27, 8 p.m

Carlos Kalmar, conductorKaren Gomyo, violin

At a time when Mahler’s work was less heralded for concert

performance, Benjamin Britten created an arrangement

to widen the audiences for one of his favorite

composers. Young violinist Karen Gomyo performs

Sibelius’ concerto with the firecracker finale.

Carlos Kalmar conducts the first BSO perform-

ances of Sir William Walton’s landmark

1935 Symphony, a passionate musical

utterance composed during a

tempestuous love affair.

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8 Overture

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RICHARD RODGERS AND OSCAR HAMMERSTEIN II

KAREN GOMYO

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Tom Hall leads the chorus and string orchestra in the Baltimorepremieres of Eric Whitacre’s Five Hebrew Love Songs, and GwynethWalker’s Dreams and Dances, which draws on the jazz-influencedwritings of former Maryland poet-laureate Lucille Clifton. Handel’sexuberant cantata Dixit Dominus is also featured on the program.Tickets: $25 – $38

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10 Overture

When MusicMeets theMovies

Music brings power to films—inspiringand transporting audiences. The firstto recognize this was Charlie Chaplin,who composed masterful scores thatmade his early films anything but silent.

By Maria Blackburn

THERE’S A SCENE in CharlieChaplin’s 1925 film The Gold Rushthat’s hilarious to watch. Starving

and stranded with a fellow gold prospectorin a rickety cabin in the Alaskan wilder-ness, Chaplin, playing his iconic Trampcharacter, becomes so hungry that hecooks and serves his shoe for dinner.

The master comedian and star of silentfilm gracefully twirls his shoelace on hisfork like spaghetti and takes dainty bites ofblack leather, chewing with the utmostdelicacy.Watch the scene with the volumeturned off, and it’s funny. But view thescene accompanied by the score Chaplincomposed for the film in 1942, and it’seven funnier.This is elegant dinner music,gentle and refined. Juxtaposed with therough setting, the silliness of the boiledboot and the character’s fancy tablemanners, the music invites the audienceto appreciate the ridiculousness of everyforkful, swallow and hiccup.

Music and movies are a powerfulcombination. In the theater’s velvetydarkness, before the first images of theactors even flicker onscreen, those first fewnotes help set the tone and inspire anaudience to think, and see, and feel a filmin a way that transports them.Whether it’sthe sound of the giant great white shark’sapproach in Jaws, the tinkling Scott Joplinrags in The Sting or the resounding chargethat accompanies every gallop of the gangof gunslingers in The Magnificent Seven,music makes great films even greater.

Musical scores enhance scenes, developcharacters and build anticipation.Theybring all of the pieces in a film togetherand help make it whole.“A movie withoutmusic is a little bit like an aeroplane with-out fuel,” actress Audrey Hepburn wroteto composer Henry Mancini after shesaw her 1961 film Breakfast at Tiffany’s forthe first time with his score.“Howeverbeautifully the job is done, we are still onthe ground and in a world of reality.Yourmusic has sent us soaring. Everything wecannot say with words or show withaction, you have expressed for us.”

And Chaplin, who wrote scores andsongs for many of his films includingModernTimes, City Lights and The Kid, wasa master of pairing music with the movingimages he created.“Chaplin was the firstperson to understand how deeply music

could affect an audience’s perceptionof a film,” says Marin Alsop, MusicDirector of the Baltimore SymphonyOrchestra, who will conduct liveorchestral screenings of The Gold Rush onApril 16 and 17 at the Meyerhoff. “Hisscores are operatic in nature and scope.Each character has well-developed andeasily identifiable themes or motives, andChaplin interweaves these various motivesinto a beautiful musical tapestry, followingthe action of the characters in the film.”

Music has been a part of the moviesfrom the very beginning.“When Augusteand Louis Lumiere gave the first publicprojection of a film in Paris on Dec. 28,1895, it was accompanied by live piano

music,” says Jeff Smith, a University ofWisconsin, Madison professor of filmand author of The Sounds of Commerce:Marketing Popular Film Music (ColumbiaUniversity Press, 1998).

During the silent film era, music wasparticularly important. Musicians—frompianists and solo organists to entireorchestras—were featured at most theatersand would accompany films with impro-vised music or songs from classical andtheatrical repertory. Later, studios circulatedcue sheets that contained suggestions ofwhat songs to play at different points ina film.“There were a lot of ways thatinformation was floating around, but therewere no guarantees that those suggestionswould actually be adopted by the peopleshowing the film,” Smith says.

The filmmakers’ lack of control overthe music bothered Chaplin, who likedto command every aspect of his films.He began composing individual songs forhis films starting in 1921 in addition towriting, acting, producing and directing.

And in the late1920s, when advancesin synchronized soundmade it possible for himto accompany his films withmusic of his choosing,Chaplin composed the entirescore for his 1931 filmCity Lights.

While some composers wouldhave created music that was overtlyfunny to go with a comedic scene, hewanted the opposite.“I tried to compose

elegant and romantic music to framemy comedies in contrast to the Trampcharacter, for elegant music gave mycomedies an emotional dimension,”Chaplin wrote in his 1964 MyAutobiography.“Music arrangers rarelyunderstood this.They wanted the musicto be funny. But I would explain thatI wanted no competition, I wanted themusic to be a counterpoint of grave andcharm, to express sentiment.”

Chaplin long felt a deep connectionto music.The child of vaudevillesingers, he played violin and cello andfor a short while operated his own musicpublishing company. Because he neitherread music nor knew musical notation,he worked closely with arrangers andcomposers to translate his ideas intoa finished score.After starting with CityLights, he composed scores to all of hisnew films.American composer DavidRaksin worked with Chaplin on ModernTimes, and composer Meredith Willsonworked with him on The Great Dictator.

“[Chaplin’s] scores are operatic in natureand scope. Each character has well-developedand easily identifiable themes or motives and[he] interweaves these various motives intoa beautiful musical tapestry.”

— Music Director Marin Alsop

March 4, 2011 – April 29, 2011 11

12 Overture

In between new projects, Chaplin scoredfilms that had been previously released,such as The Gold Rush, which wasre-released with Chaplin’s score andnarration in 1942.

Composer and conductor TimothyBrock, who has restored scores to morethan a dozen Chaplin films, includingThe Gold Rush, describes the score tothat film as one of Chaplin’s finest.“The music of The Gold Rush was writtenwhen Chaplin was at his highest prowessfor composition,” he says.“It’s so involvedand has such a deep narrative, but it’s alsocolorful and fun. He quotes more fromclassical music in this score than in anyother he’s ever written. It’s just anamazing work.”

Despite the brilliance of Chaplin’swork, his movies faded in popularity. Bythe 1940s, silent films were considereddead and audiences moved on. But overthe last 20 years, Chaplin’s films haveenjoyed a revival by new audiences via liveorchestral screenings.“Going to a silentfilm live is like no other experience,” saysBrock, who conducts more than 60 liveorchestral screenings of Chaplin filmsannually.“It’s not like going to a film, it’snot like going to an opera, it’s not likegoing to a ballet. It’s a unique animal.Chaplin speaks everyone’s language andthat language is music.”

Kate Guyonvarch, director of RoyExport S.A.S., the Paris company thatowns the Chaplin films and coordinatessome 100 live orchestral screeningsannually worldwide, says these screeningsfill concert halls even though traditionaltheatrical screenings of the same filmsmay not.“For us, these live screenings arereally wonderful because they are a wayof enabling people to rediscover Chaplin’swork in the most perfect way because youget the film on the big screen, which ishow it is supposed to be seen.And you

have musicians playing the music live,which is how it might have been in 1925when the film was released.”

The experience of watching a silentfilm with a live orchestra is so novel thatit takes some getting used to, Guyonvarchadmits.When the film first starts, audiencesare “terribly conscious” of the musiciansand the conductor.“But after about 10minutes you forget they are there, and itremains that way until the end when yourealize that they have been workingincredibly hard all that time and you havejust been watching the film.”

If there is one difficulty in presentingsilent films with an orchestra, Brock says,

it’s that the image of Chaplin onscreen isso entertaining it captivates everyone inthe hall—even the musicians. Recentlywhile conducting ModernTimes with amajor U.S. orchestra, Brock struggled tokeep the orchestra together at timesbecause some musicians were watchingthe film instead of paying attention tothe music.

“These are some of the best countersof empty bars in the world, I’m sure, butwhen you turn around and start watchingthe film you lose concentration and youdon’t always come in at the right place,”he says.“It’s dangerous, but it happens tothe best of us.”

Chaplin and Classical MusicCharlie Chaplin quotes a variety of classical composers in hisscore to The Gold Rush. Listen and you’ll hear a number of pieces,including Tchaikovsky’s Sleeping Beauty, Rimsky-Korsakov’sThe Flight of the Bumblebee, Brahms’ Opus 118 Klavierstücke, andthe Romanze from Brahms’ piano works in F major.

During his American career, Chaplin counted among his friendsand acquaintances many well-known composers and musicians,among them Rachmaninoff, Horowitz, Stravinsky, Hanns Eislerand Schoenberg.

Later, in his autobiography, Chaplin paid them the followingcompliment: “Writers are nice people but not very giving; whateverthey know they seldom impart to others; most of them keep itbetween the covers of their books. Scientists might be excellentcompany, but their mere appearance in a drawing room mentallyparalyzes the rest of us. Painters are a bore because most of themwould have you believe they are philosophers more than painters.Poets are undoubtedly the superior class and as individuals arepleasant, tolerant and excellent companions. But I think musiciansin the aggregate are more cooperative than any other class. Thereis nothing so warm and moving as the sight of a symphonyorchestra. The romantic lights of their music stands, the tuning upand the sudden silence as the conductor makes his entrance,affirms the social, cooperative feeling.”SOURCES: Timothy Brock, Roy Export S.A.S.

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What was it like to make yourBSO debut with only one day’s notice?

Actually, stepping in on a cancellationis a great way to make a debut. Peopleautomatically support you since you area hero for saving the concert, and sincethere’s not much time before the concert,you can’t get too nervous about it.Theconcerts in Baltimore brought me so manyopportunities, including professionalmanagement and attention from otherorchestras. I also developed a relationshipwith the BSO, which was huge for me. Somuch of this profession is luck and timing.If the BSO concert hadn’t jump-started mycareer, I hope something else would have.I just feel lucky that it did.

Did you always want to bea concert pianist?

I never wanted to be a pianist for theglamour or the career; I just wanted to playthe piano. I was set on the piano bench atthe age of 3 by my parents, and that just gotthe ball rolling. I always loved performing,learning new pieces, improving, and thoughI wasn’t necessarily fantasizing aboutCarnegie Hall, I wasn’t thinking aboutmuch else beside the piano.

How did your parents come toname you Orion?

My mom went to medical school andshe was a very focused student so she nevergot to be the hippie she might have wantedto be. She loved star-gazing and since Orionis her favorite constellation, she took advan-tage of child-naming to explore her cosmicside. My dad, also a physician, went alongwith it. Like any out-of-the-ordinary name,or any name at all, really, kids made fun of itwhen I was in school, but I loved it anywayand still love it.

What keeps you playing?

Being a musician is like being an explorerwithout having to leave the room. Musictakes you all over the world, backwardand forward in time. I have a continuousfeeling of discovery, even when playingmusic that I’ve played before.

PIANIST ORION WEISS WAS JUST 17 when he got the career-makingcall of a lifetime.

The high school senior had dashed home for a quick snack before

heading to the Young Artist program at the Cleveland Institute of Music one

afternoon in March 1999 when the phone rang. It was Baltimore Symphony

Orchestra Artistic Administrator Miryam Yardumian. She told Weiss, whom she

learned about through one of his teachers, that André Watts was scheduled

to perform Shostakovich’s Piano Concerto No. 2 with the BSO but had

just canceled.

“Would you be interested in performing with the Baltimore Symphony

tomorrow?” she asked the young pianist.

The Lyndhurst, Ohio, teen knew the concerto, and he was aware that

playing with the BSO would be a major break. Still, for a fleeting moment

Weiss considered saying “no.” “To go from a place of relative calm and safety

and step into a more high-pressure situation, my first instinct was that I just

didn’t want to do it,” he says.

But he accepted, and the experience launched a meteoric career in which

Weiss has performed with top orchestras and chamber groups around the

world and been lauded by critics for his technical mastery and finely crafted

performances. A 2004 graduate of The Juilliard School of Music, he was

named the 2010 Young Artist of the Year by the Classical Recording

Foundation, and his recital album of Dvorák, Prokofiev and Bartók will be

released this year.

A dozen years after Weiss’ BSO debut, his star is still shining bright.

The 29-year-old pianist returns to the BSO on March 24 and 25 to play Grieg’s

Piano Concerto.

Interview by Maria Blackburn

A Meteoric Rise

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March 4, 2011 – April 29, 2011 13

14 Overture

First ViolinsJonathan CarneyConcertmaster,

Ruth Blaustein

Rosenberg Chair

Madeline AdkinsAssociate

Concertmaster,

Wilhelmina Hahn

Waidner Chair

Igor YuzefovichAssistant

Concertmaster

Yasuoki TanakaJames BoehmKenneth GoldsteinWonju KimGregory KupersteinMari MatsumotoJohn MerrillGregory MulliganRebecca NicholsEllen OrnerE. Craig RichmondEllen Pendleton TroyerAndrew Wasyluszko

Second ViolinsQing LiPrincipal, E. Kirkbride

and Ann H.

Miller Chair

Ivan StefanovicAssistant Principal

Leonid BerkovichLeonid BriskinJulie ParcellsChristina ScrogginsWayne C. TaylorJames UmberCharles UnderwoodMelissa Zaraya

ViolasRichard FieldPrincipal, Peggy

Meyerhoff Pearlstone

Chair

Noah ChavesAssociate Principal

Christian Colberg*Assistant Principal

Peter MinklerKarin Brown

Sharon Pineo MyerGenia SlutskyDelmar StewartJeffrey StewartMary Woehr

CellosChang Woo LeeAssociate Principal

Dariusz SkoraczewskiAssistant Principal

Bo LiSusan EvansSeth LowEsther MellonKristin Ostling*Paula Skolnick-Childress

BassesRobert BarneyPrincipal, Willard and

Lillian Hackerman

Chair

Hampton ChildressAssociate Principal

Owen CummingsArnold GregorianMark HuangJonathan JensenDavid Sheets*Eric Stahl

FlutesEmily SkalaPrincipal, Dr. Clyde

Alvin Clapp Chair

Marcia Kämper

PiccoloLaurie Sokoloff

OboesKatherine NeedlemanPrincipal, Robert H.

and Ryda H. Levi

Chair

Michael Lisicky

English HornJane MarvineKenneth S. Battye

and Legg Mason

Chair

ClarinetsSteven BartaPrincipal, Anne

Adalman Goodwin

Chair

Christopher WolfeAssistant Principal

William JenkenEdward Palanker

Bass ClarinetEdward Palanker

E-flat ClarinetChristopher Wolfe

BassoonsJulie GreenAssistant Principal

Fei Xie

ContrabassoonDavid P. Coombs

HornsPhilip MundsPrincipal, USF&G

Foundation Chair

Gabrielle FinckAssociate Principal

Beth Graham*Assistant Principal

Mary C. BissonBruce Moore

TrumpetsAndrew BalioPrincipal, Harvey M.

and Lyn P. Meyerhoff

Chair

Rene HernandezAssistant Principal

Jonathan Kretschmer

TrombonesChristopher Dudley*Principal, Alex. Brown

& Sons Chair

Mark DavidsonActing Principal

James OlinCo-Principal

John Vance

Bass TromboneRandall S. Campora

TubaDavid T. FedderlyPrincipal

TimpaniDennis KainPrincipal

Christopher WilliamsAssistant Principal

PercussionChristopher WilliamsPrincipal, Lucille

Schwilck Chair

John LockeBrian Prechtl

PianoSidney M. and Miriam

Friedberg Chair

Jonathan JensenMary Woehr

Director ofOrchestra PersonnelMarilyn Rife

AssistantPersonnel ManagerChristopher Monte

LibrariansMary Carroll PlainePrincipal, Constance

A. and Ramon F.

Getzov Chair

Raymond KreugerAssociate

Stage PersonnelEnnis SeibertStage Manager

Frank SerrutoStagehand

Todd PriceElectrician

Larry SmithSound

*on leave

Marin Alsop Music Director, Harvey M. and Lyn P. Meyerhoff Chair

Jack Everly Principal Pops Conductor

Yuri Temirkanov Music Director Emeritus

Ilyich Rivas BSO-Peabody Bruno Walter Assistant Conductor

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

Hailed as one of the world’s leading

conductors for her artistic vision and

commitment to accessibility in classical

music, Marin Alsop made history with

her appointment as the 12th music

director of the Baltimore Symphony

Orchestra. With her inaugural con-

certs in September 2007, she became

the first woman to head a major

American orchestra. She also holds

the title of conductor emeritus at the

Bournemouth Symphony in the United

Kingdom, where she served as the

principal conductor from 2002

to 2008, and is music director of the

Cabrillo Festival of Contemporary

Music in California.

In 2005, Ms. Alsop was named a

MacArthur Fellow, the first conductor

ever to receive this prestigious award.

In 2007, she was honored with a

European Women of Achievement

Award; in 2008, she was inducted as a

fellow into the American Academy of

Arts and Sciences; and in 2009, MusicalAmerica named her “Conductor

of the Year.”

A regular guest conductor

with the New York Philharmonic,

The Philadelphia Orchestra, London

Symphony Orchestra and Los Angeles

Philharmonic, Ms. Alsop also appears

frequently as a guest conductor with

some of the most distinguished

orchestras around the world. In addi-

tion to her performance activities, she

is also an active recording artist with

award-winning cycles of Brahms,

Barber and Dvorák orchestral works.

Ms. Alsop attended Yale University

and received her master’s degree

from The Juilliard School. In 1989, her

conducting career was launched when

she won the Koussevitzky Conducting

Prize at Tanglewood, where she

studied with Leonard Bernstein.

Marin Alsop,Music Di rector

DEA

NA

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Baltimore Symphony Orchestra2010-2011 Season

Marin AlsopFor Marin Alsop’s bio, please see p. 14.

Lukáš VondrácekLukáš Vondrácek gave his first public per-formance at the age of 4. In the interveningyears he gave many recitals and concertoperformances throughout his home countryof the Czech Republic, as well as abroad.

Recent highlights include his debutswith the El Paso, Colorado and Baltimoresymphony orchestras, a return visit to

Bournemouth Symphony Orchestra anda concert tour of South Africa.At the2009 InternationalVan Cliburn PianoCompetition, he received the Raymond E.Buck Jury Discretionary Award.

Vondrácek made his debut with theCzech Philharmonic Orchestra underVladimir Ashkenazy in May 2002.

His first commercial recording, a soloalbum featuring works by Mendelssohn,Liszt, Janácek and Dohnányi for Octaviarecords, was released in 2004.

NOTES ON THE PROGRAM

Classical Symphony

Sergei ProkofievBorn in Sontsovka, Ukraine, April 23, 1891;died in Moscow, March 5, 1953

Although his earliest works had beenaggressively modern, in 1917 Prokofievdecided to try his hand at a symphonyin neo-classical style, anticipating amovement his arch-rival Igor Stravinskywould popularize just a few years later.As he explained in his autobiography, hisFirst Symphony was also an experiment incomposing away from the piano.“Up tothat time, I had usually composed at thepiano, but I had noticed that thematicmaterial composed without the piano wasoften better in quality ... A compositionwritten this way would probably havemore transparent orchestral colors.

“So this was how the project of writinga symphony in the style of Haydn cameabout ... it seemed it would be easier to diveinto the deep waters of writing without thepiano if I worked in a familiar setting. IfHaydn had lived in our era, I thought, hewould have retained his compositional stylebut would also have absorbed somethingfrom what was new.”

The result was a witty, bright-spiritedwork that combined Classical form andmusical material with rhythmic and har-monic twists that were pure 20th Century.Retreating back to an earlier musical eraalso provided a welcome escape for thecomposer, for in 1917,Tsar Nicholas IIabdicated and Russia gradually slid into thehands of Lenin’s Bolsheviks. Prokofievmanaged to ignore it all in various countryretreats, where he composed not only the“Classical” Symphony, but also his FirstViolin Concerto.

The fiery upward rush that opensthe Allegro con brio first movementwas known in Haydn’s day as the“Mannheim skyrocket,” because it wasone of the virtuoso effects associatedwith the celebrated German orchestra ofMannheim.The effervescent principaltheme it introduces is initially in the homekey of D major, but in a 20th-centurymaneuver Prokofiev promptly drops itdown to C major. More memorable is thesecond theme: a mincing 18th-centurydance made more comical by a sly bassoonaccompaniment. Notice the marvelously

March 4, 2011 – April 29, 2011 15

programnotes

Rachmaninoff’s Rhapsody

Joseph Meyerhoff Symphony Hall

BALTIMORE SYMPHONY ORCHESTRA

MARIN ALSOP

MUSIC DIRECTOR • HARVEY M.AND LYN P. MEYERHOFF CHAIR

Marin Alsop Conductor

Lukáš Vondrácek Piano

Sergei Prokofiev Classical Symphony, Op. 25(Symphony No. 1)

Allegro con brioLarghettoGavotte: Non troppo allegroFinale: Molto vivace

Sergei Rachmaninoff Rhapsody on aTheme ofPaganini, Op. 43LUKÁŠVONDRÁCEK

INTERMISSION

Sergei Prokofiev Symphony No. 6 in E-Flat Minor,Op. 111

Allegro moderatoLargoVivace

Media Sponsor: The Baltimore Sun Media Group

The concert will end at approximately 9:50 p.m. on Friday,and 4:50 p.m. on Sunday.��

Friday, March 4, 2011 8 p.m.

Sunday, March 6, 2011 3 p.m.

bright and sassy writing for woodwindsthroughout this movement and thesymphony as a whole.

Movement two has all the grace andcharm of Haydn’s lighter slow movements.Violins, in the very high range Prokofievloved throughout his career, sing a themeof beguiling sweetness; this melody growslovelier still when a flute is added to itsrepetition. In the more animated middlesection, the bassoon again moves into thespotlight, accompanied by pizzicato strings.

Throughout his career, Prokofievloved the vigorously rhythmic gavottedance, and in the third movement hesubstitutes it for the minuet Haydn wouldhave written.This gavotte opens clumsilywith an exaggerated stress on all the strongbeats of its angular melody. But after a triosection led by woodwinds over a bagpipedrone in strings, the flute reprises it withenchanting gentleness and grace.

The Molto vivace finale is likemovement one on amphetamines. MoreMannheim skyrockets, a comical repeated-note theme, and a whimsical little melodyfor flute fly by at breakneck speed.Alongwith an abundance of comic spirits, thiswhirlwind movement demands theorchestra’s utmost virtuosity.

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

Rhapsody on a Theme of Paganini

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

One of the proudest moments in Baltimore’smusical history came on November 7, 1934,when Sergei Rachmaninoff played theworld premiere of Rhapsody on aTheme ofPaganini, withThe Philadelphia Orchestraon the stage of the Lyric Opera House.Rachmaninoff was in Baltimore because theRussian Revolution of 1917 had forced himto flee his native land at age 44 and beginhis career again in theWest. Once primarilya composer and conductor, he now becamea touring piano virtuoso in order to supporthis family.America, with its insatiabledemand for his concert appearances, madehim richer than he’d ever been in Russia.But he never got over his homesickness.

His music, too, remained rooted inRussia.And while audiences loved his lushly

Romantic melodies, many musiciansand critics scorned him as out of date.Rachmaninoff wrote:“Perhaps the incessantpractice and eternal rush inseparable fromlife as a concert artist takes too much toll ofmy strength; perhaps I feel that the kind ofmusic I care to write is not acceptable today.... For when I left Russia, I left behind methe desire to compose.”

But the desire for self-expressiondid remain, and in 1934 it brought forththe brilliantly imaginative PaganiniRhapsody.The work springs from the 24thCaprice for unaccompanied violin by avirtuoso of another age and instrument,Nicolò Paganini. Rachmaninoff tookPaganini’s spry two-part tune and built 24highly contrasted variations on it. Providingstructural shape, Rachmaninoff grouped thevariations into three larger units, makinga mini-concerto: variations one through10 forming a fast “movement,” 12 through18 a slow movement, and 19 through 24a virtuoso finale.

Here are a few highlights to listen for.A theme-and-variations composition usuallybegins with the unadorned theme itself.But here Rachmaninoff gives a witty“preview”—just the teasing first notes ofeach measure—before the violins sing thetheme for us.At the seventh variation, thetempo slows a bit, and the piano intones instark chords the melody of the “Dies Irae”chant from the Catholic mass for the dead;this somber tune was a signature themethroughout Rachmaninoff ’s music. Itreturns again in the tenth variation amiddazzling orchestral music, along with somesyncopated brass writing that soundsmore NewYork than Russia.

The 12th variation opens the middlesection with a dream-like minuet in 3/4time.The shadows deepen in the 16th and17th variations as the piano gropes for lightat the end of the tunnel.This is gloriouslyachieved in the sunlight of the 18th varia-tion, the work’s most beloved and surely oneof the most gorgeous tunes ever written.From this tranquil oasis the music builds inspeed and virtuosic display for the soloistuntil the charming surprise ending.

Instrumentation: solo piano, two flutes,piccolo, two oboes, English horn,two clarinets, two bassoons, four horns,two trumpets, three trombones, tuba,timpani, percussion, harp and strings.

Symphony No. 6 in E-Flat Minor, Op. 111

Sergei ProkofievComposed between 1945 and 1947, threedecades after his First Symphony, Prokofiev’sSixth Symphony is the product of a differ-ent era in the composer’s life. Since 1936, hehad been a resident of the U.S.S.R., aftertwo decades of enjoying the freedom andprivileges of a career in America andEurope.The choice to return to Russia hadbeen his own, but once there, he found theinternational career he’d hoped to continuefrom his Russian base was forbidden, and hewould have to trim his musical sails to thewinds and whims of the Soviet authorities.

For a decade, this worked fairly well forProkofiev. He had to pay lip service toSoviet propaganda, but generally—especiallysince he was now writing in a moreconservative and accessible style—he wasable to compose what he wanted. Despiteits challenging language and dark tone, theSixth Symphony was warmly praised by theofficial critics at its premiere on October 11,1947, in Leningrad under Evgeny Mravinskyand the Leningrad Philharmonic.

In the U.S.S.R., an artist’s standingwas never secure. By January 1948, theZhdanov Commission was in full swing,issuing edicts about what was acceptable andwhat was not for Soviet music. Prokofievjoined Shostakovich at the top of the list ofcomposers who were censured for writingpolitically incorrect music, and the SixthSymphony was singled out as being tooobscure for the ordinary citizen to under-stand. It disappeared from the repertoire ofRussian orchestras and would not be playedagain for decades. Prokofiev would live hisfive remaining years as a suspect artist.

More personal problems were alreadyharassing the composer at he set to work onthe Sixth during the summer of 1945 in thewake of the triumph of his Fifth Symphony.The war was over, but his health had beenseverely weakened: 1945 brought a heartattack and then a severe fall that causedsome permanent brain damage. His doctorsordered him to work no more than one toone-and-a-half hours per day in half-hourincrements. Despite severe headaches, nosebleeds and exhaustion, he continued towork on his new symphony, requiringnearly two years to finish it.The rural peaceof his new dacha in Nikolina Gora in thecountryside outside Moscow probably

16 Overture

programnotes

programnotes

influenced the pastoral coloring in themesand orchestration that many commentatorshave noticed in this work.

The Sixth Symphony is a fascinatingenigma of a work. It suggests a great dramais taking place, but its exact nature is hardto identify. It contains music that constantlythwarts our expectations and throws usoff balance.And it certainly isn’t the kind ofupbeat “victory” symphony the Sovietswould have liked to hear at the end ofWorldWar II. Perhaps the best clue to itsoften dark and introspective moods can befound in Prokofiev’s words to his biographerIsrael Nestyev:“Now we are rejoicingin our great victory, but each of us haswounds that cannot be healed.”

Movement one’s opening sounds—short blasts from snarling muted brasscreeping down the scale—were likened bymusicologistYulianVaynkop to “the scrapeof a key in a rusted lock.”The door openson a rural vista with a meandering themein muted strings. Its pastoral character isenhanced by rustic-sounding woodwindsbut is frequently disturbed by acid, dissonantincursions from brass instruments anda shrill-toned E-flat clarinet.The tempoeventually eases slightly for a new thememarked dolce e sognando (“sweetly anddreaming”) and sung by a pair of oboes.Suddenly, the orchestra explodes in fury,but this subsides very quickly.

Rather than a development section,Prokofiev now moves to a very differentkind of music: an odd, arthritic march thatmay be a reference to the wartime justpassed. First we hear just its satirical, slightlygrotesque accompaniment in tick-tockingbassoons and drums, then a wearily deter-mined melody in English horn and violaslayered on top.This music awakens theorchestra at last, and the meandering firsttheme returns in a faster tempo and withfrenzied activity and volume. Menacinghorns blast continuously.

The violence fades, and a solo hornreprises the dreaming second theme.The arthritic march also returns, causing abrief flare-up.The movement closes softlybut ominously; in Michael Steinberg’swell-chosen words,“it is pianissimo, but itcertainly is not quiet.”

The opening of the great Largo secondmovement is also startling.Above an A-flatpedal in bass and timpani establishing the

key, winds and brass shriek in dissonantconflict; the lower instruments inch painful-ly upward while a keening lament in thehighest woodwinds drifts downward.Thisfierce battle subsides into a slow rocking anda sweeping romantic theme in violins andsolo trumpet reminiscent of the love musicin Prokofiev’s Romeo and Juliet and Cinderellaballets.This is succeeded by a serenelybeautiful second theme for the cellos, whichgrows more rapturous in all the strings.Savagely tick-tocking percussive musicintrudes, recalling the strokes of midnightthat interrupt Cinderella’s bliss.

A mellow horn quartet singing a variantof the romantic theme restores calm; in amagical passage, they are joined by bell-likecelesta and harp. Both the cello theme (nowhigh in the violins) and the romantic theme(now in full orchestra) return in reverseorder.Though the opening music of shriek-ing conflict also reappears, it cannot destroythis gloriously lyrical mood.

The Vivace final movement in E-flatmajor seems to throw off the introversionand the threatening intrusions of the earlier

movements in favor of extroverted celebra-tion.A lively, sassy theme keeps returning inthe midst of a crowd of other merry tunes;brass and drums play oompah accompani-ments, and satirical asides are contributed byeveryone.After this music subsides, we hearsomething from the past: the oboes’ wind-ing, rustic theme from movement one, nowin a much slower tempo and the dark origi-nal key of E-flat minor.This sets off a savageoutburst of dissonance—the most violent ofthe interruptions throughout this symphony.Prokofiev told his second wife that theseinterruptions represented “questions castinto eternity” and that one of them was“what is the purpose of life?”The hammer-ing motive, which earlier sounded quiteplayful, now makes a brutal reappearanceand carries this once celebratory music toan unexpectedly fierce conclusion.

Instrumentation: two flutes, piccolo,two oboes, English horn, two clarinets,piccolo clarinet, bass clarinet, two bassoons,contrabassoon, four horns, three trumpets,three trombones, tuba, timpani, percussion,harp, piano, celeste and strings.Notes by Janet E. Bedell, copyright 2011

Become a member & see it free!410-547-9000 / thewalters.org

TREASURESOFHEAVENSAINTS, RELICS& DEVOTION INMEDIEVAL EUROPEFEB. 13–MAY 15

For a show like this, however faryou have to travel won’t be too far.—The New York Times

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March 4, 2011 – April 29, 2011 17

programnotes

Jack EverlyJack Everly is the principal pops conductorof the Baltimore and Indianapolissymphony orchestras, Naples PhilharmonicOrchestra and National Arts CentreOrchestra (Ottawa), and he is the newlynamed music director of the “NationalMemorial Day Concert” and “A CapitolFourth” on PBS.This season, he returns toThe Cleveland Orchestra and appears asguest conductor in Pittsburgh, Milwaukee,Toronto, Cincinnati, Edmonton and Detroit.

Originally appointed by MikhailBaryshnikov, Mr. Everly was conductor ofthe American BalletTheatre for 14 years,where he served as music director. He hasteamed with Marvin Hamlisch in Broadwayshows that Mr. Hamlisch scored, includingThe Goodbye Girl,They’re Playing Our Songand A Chorus Line. He conducted CarolChanning hundreds of times in Hello, Dolly!in two separate Broadway productions.

Benjamin BrecherThe American tenor Benjamin Brecherhas gained great acclaim with his manyperformances on the opera and concertstages. He has performed with numerousopera companies, including NewYorkCity Opera, Opera de Montreal, OperaTheatre of Saint Louis, the Santa FeOpera,Anchorage Opera and the AspenOperaTheatre.

He has performed more than 10 roleswithThe NewYork City Opera since 1997,appearing in their productions of IlViaggioa Reims, Il Barbiere di Siviglia,Die Zauberflotë,L’Enfant et les Sortileges,Carmen, Seven DeadlySins and the premiere of Central Park.

In April of 2009 he sang the nationalanthem at CamdenYards for the BaltimoreOrioles opening day, and his recording of“God Bless America” is heard every Sundayduring the season.

Allison BarberHailed by Irish America Magazine asa“new, young and exciting talent thatguarantees a great future for traditional andcontemporary music,” singer-songwriterAllison Barber provides a fiery glimpse intothe burgeoning young American folkscene. She and her band deliver an engag-ing, stirring and genre-defying performancethat combines original and traditionalsongs with driving instrumentals.

BSO SUPERPOPS

A Celtic Celebration:Music of the Emerald Isle



MARIN ALSOP


JACK EVERLY

PRINCIPAL POPS CONDUCTOR

Jack Everly Conductor

Benjamin Brecher Tenor

Allison Barber Soprano

Christopher Layer Pipes

O’Hare Irish Dancers

TJ Linnard Actor

Arr. Everly A Celtic Celebration Overture

Harty “The Fair Day” from An Irish Symphony

Arr. Reineke Steps from the HighlandsThe Galway PiperThe Girl I Left Behind

Letters from the HomelandHorner Themes from Braveheart

Arr. Conley

Grainger Molly on the Shore

Arr. Reineke Traditional Songs for TenorSt. Patrick’s Day ParadeBelieve Me If All Those EndearingYoung Charms

Molly MaloneMrs. Murphy’s ChowderToo-Ra-Loo-Ra-Loo-Ra(That’s an Irish Lullaby)

Galway Bay

Presenting Sponsor:


Saturday, March 12, 2011 8 p.m.

Sunday, March 13, 2011 3 p.m.

continued on next page

18 Overture

March 4, 2011 – April 29, 2011 19

programnotes

Ms. Barber released her first albumTraveling Home in 2007 (Yonas Media).The album, a tribute to her heritage, isan eclectic collection of traditional Irishand Scottish songs, complemented bya stellar lineup of some of NewYork’sfinest traditional musicians.

Christopher LayerChristopher Layer (Irish uilleann pipes,wood flutes, whistle, Scottish HighlandBagpipes) is a multi-instrumentalist withinterests in both traditional and classicalmusic. His orchestral appearances include:

The National Symphony (KennedyCenter), Indianapolis, Evansville andRichmond symphony orchestras; aswell as The Aspen Festival Orchestra, andThe Bard Festival Orchestra. Compositionsinclude scoring for the Irish independentfilm Exile. His solo recordings include“Out of Thin Air” and “Return of theRivers”—both available through the artist.Since 1996 he has been the principal pipesoloist and flautist for theTrinity IrishDance Company and currently resides inNewYork City.

O’Hare Irish DancersTim O’Hare started the O’Hare Schoolof Irish Dance in 1979 in Plymouth,Michigan, opened new schools in Clevelandand Akron in 1984, and in 1996 furtherexpanded his school to Chicago. Many ofhis students have won midwest and nationalchampionships in solo, group and dancedrama competitions, including Paul Cusick,who was the first American male to win theAll-Ireland Championship in 1997. He wasjoined by Michael Belvitch and PatrickQuinn in February 1998 andTim Seemanin 2002.Tim O’Hare began his dance careerat the age of 5 at the Dineen School of IrishDance in Detroit. He began dancing com-petitively at age 10 at the national level andwon his first North American national titlethat year. He went on to be the nationalchampion twice. In 1975, he placed third inthe All-World competition, won the juniortitle in 1976 and won the Senior Men’sWorld Championship in 1977. Other careerhighlights include his 1996 tour with theChieftains and his appearance in the 1998Disney feature film,Mafia.

TJ LinnardTJ Linnard’s regional theatre creditsinclude Nurse/Tybalt/Balthazar inShakespeare’s Romeo and Juliet (HartfordTheaterworks). NY Theatre credits:Burt Rabbit in aWicker Basket (One ManShow), Dennis in This Is OurYouth.Purchase Rep.: Rev. Shannon in Night ofthe Iguana; Rick in Six Degrees of Seperation;Florizel in AWinters Tale,Tartaglia in TheGreen Bird. Film/ Television: The Life BeforeHer Eyes (Feature),Rocksteady (Feature),“Guiding Light” (recurring). BFA fromSUNY/Purchase Acting Conservatory.

Co-Produced along withSymphonic Pops ConsortiumThe Symphonic Pops Consortium mission is to conceive,create and produce high-quality, innovative, symphonicPops concerts by uniting a group of symphony orchestrasand combining their resources. The Symphonic PopsConsortium is comprised of the Indianapolis (managingpartner), Detroit, Milwaukee, National and Seattlesymphony orchestras.

Music Director: Jack Everly

Producer: Ty A. Johnson

Letters Home &Stage Direction: David Levy

Lighting Design/Stage Management: Brandy Rodgers

Choreography Tim O’Hare

A Celtic Celebration:Music of the Emerald Isle

continued from previous page

Support for this program is generously provided by theAlvin and Fanny Blaustein Thalheimer Guest Artist Fund.


��

Arnold Two Scottish Dances

Letters from the HomelandArr. Everly The Dear Irish Boy

I’ll TakeYou Home Again, Kathleen

INTERMISSION

Loewe & Lane The Emerald Isle on the GreatWhiteWayArr. Everly

Anderson “The IrishWasherwoman” from Irish Suite

Traditional She MovedThrough the Fair

Letters from the HomelandHorner/Moore “An Irish Party in the Third Class”

from the film Titanic

Arr. Reineke & Everly A Piper Celebration

Letters from the HomelandArr. Barker & Everly Danny Boy (Londonderry Air)

Hardiman & Moore Music from Lord of the Dance

Arr. Everly Finale

The concert will end at approximately 10 p.m on Friday and Saturday,and 5 p.m. on Sunday.

MarioVenzagoFormer MusicDirector of theIndianapolisSymphonyOrchestra,

Swiss-born conductor MarioVenzagoserved as Artistic Director of the SummerMusic Festival with the BaltimoreSymphony Orchestra form 2000 to 2003.In 2004, Mr.Venzago was appointedPrincipal Conductor of the GothenburgSymphony Orchestra in Sweden.

He has previously held posts as MusicDirector of the Basel Symphony Orchestra(1997-2003), Principal Guest Conductor ofthe Malmö Symphony Orchestra (2001-03)and Music Director of the Basque EuskadiNational Orchestra in Spain (1998-2001),the Graz Opera House in Austria (1990-1995), the Deutsche Kammerphilharmoniein Frankfurt/Bremen (1989-1992) and theHeidelberg Opera (1986-1989).

In March 1995, he conducted theBaltimore Symphony on short notice, asuccess leading to a close relationship withthat orchestra, including subscription con-certs each year since 1995, the opening ofthe 2000-2001 season, and his artistic direc-torship of the summer festival 2000-2003.

Mr.Venzago’s American debuttook place in 1988, at the invitation ofLeonard Bernstein, at the HollywoodBowl with the Los Angeles PhilharmonicInstitute Orchestra.

MaestroVenzago’s varied discography hasearned him several major awards, includingthe Diapason d’or, two Grand Prix duDisque and the Edison Prize. His latest CDon the Col legno label has recently beenreleased in the United States, dedicated tothe symphonic works of Luigi Nono.

Baiba SkrideStill in her 20s,Baiba Skride hasappeared withseveral prestigiousorchestras such asthe Sinfonieorchester

des Bayerischen Rundfunk, MunichPhilharmonic, GewandhausorchesterLeipzig,Tonhalle Orchester Zürich,Orchestre de Paris, London PhilharmonicOrchestra and the U.S. orchestras ofPhiladelphia, Houston, Cincinnatiand Detroit.

Conductors with whom Ms. Skrideregularly collaborates include CharlesDutoit,Thierry Fischer, Mark Janowski,Paavo Järvi, Neeme Järvi, Mikhail Pletnevand John Storgårds.

Ms. Skride has been recording for SonyClassical since 2004. Her highly praiseddiscography was recently highlightedwith aTchaikovsky CD with the City ofBirmingham Symphony Orchestra andAndris Nelsons. She released a first duorecording with her sister (Schubert,

20 Overture

programnotes

Beethoven’s Fifth



MARIN ALSOP


Mario Venzago Conductor

Baiba Skride Violin

Franz Schubert Symphony No. 5 in B-Flat Major, D. 485AllegroAndante con motoMenuetto:Allegro moltoAllegro vivace

Alban Berg Violin ConcertoAndante - AllegrettoAllegro - Adagio

BAIBA SKRIDE

INTERMISSION

Ludwig van Beethoven Symphony No. 5 in C Minor, Op. 67Allegro con brioAndante con motoAllegroAllegro

Support for this appearance of Baiba Skride is providedby the Ruth Blaustein Rosenberg Guest Artist Fund.

Media Sponsor: WYPR 88.1 FM

The concert will end at approximately 9:55 p.m.

Presenting Sponsor:

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Beethoven, Ravel) as well as a solo violindisc (Ysaye, Bartók, Bach) and two concertodiscs (Mozart, Schubert and Michael Haydnand Shostakovich and Janácek).

In 2001, Ms. Skride won first prize atthe Queen Elisabeth Competition. She playsthe Stradivarius “Wilhelmj” violin (1725),which is generously on loan to her from theNippon Music Foundation, with whom shewill be on tour in Graz, Florence and Paris.


Symphony No. 5 in B-flat Major

Franz SchubertBorn in Vienna, Austria, January 31, 1797;

died in Vienna, November 19, 1828

The most popular and probably the finestof Schubert’s first six symphonies, theFifth Symphony in B-flat major was writtenin the fall of 1816 when the 19-year-oldcomposer had just received a professionalsetback.After earning a solid musical educa-tion under such masters as Antonio Salieri(of Amadeus fame) at the Stadtkonvikt,Vienna’s highly respected City Seminary in1815, Schubert found himself back wherehe’d started: in his father’s grammar schoolin the family home, teaching youngchildren six days a week.

Yet not a trace of the discouragementand fatigue Schubert must have beenfeeling can be found in this effervescentsymphony, which reveals reveling in thesheer joy of music. Perhaps more than anyother composer, Schubert lived solely in andfor his music.And so despite a grindingteaching schedule, the years 1815 and 1816were among the richest of his prolificcreative life. From them came dozens of hisfinest songs, a mass setting, chamber music,and four symphonies,Nos. 2 through 5.

The Fifth Symphony is a work ofchamber music-like intimacy. It looks back-ward to the classical language and forms ofthe late-18th century, while its adventurousharmonic twists look ahead to the Romanticera. It is filled with the lovely, spontaneousmelodies that were Schubert’s special gift.

One of the most engaging of themopens the first movement: a spiritedsonata form without the slow introductionSchubert usually favored.The violins singthis saucy little theme, which soon gainsan enchanting birdlike echo from theflute.The movement has a wonderfully

impetuous forward momentum, spurred onby brief passages of sharply accented drama.Schubert saves his best dramatic touch forthe final measures: a spunky dissonance inthe woodwinds that wouldn’t have occurredto Mozart or Haydn.

Mozart is the benevolent ghostbehind the beautifully drawn-out phrases ofthe slow movement. In E-flat major, italternates a serene, pastoral melody withmore poignant, harmonically unstable musicthat exploits the pleasure-pain of dissonantnotes. Schubert scores beautifully for hislittle orchestra with the cool shimmer ofthe flute and oboes emphasized.

Ever experimenting, Schubert movesunconventionally to a minor-mode (Gminor) minuet in a major-mode sympho-ny.An aggressive dance above relentlesslychugging strings, it is eased by a charminglyrustic trio section in G major.

Back in the home key of B-flat, thefinale is romping, mischievous music inthe style of Haydn. Schubert includes twopassages of fiery melodrama, but in this con-text, they sound more playful than serious.

Instrumentation: flute, two oboes, twobassoons, two horns and strings.

Violin Concerto

Alban BergBorn in Vienna, Austria, February 9, 1885;

died in Vienna, December 23, 1935

The 12-tone harmonic system—inwhich all 12 pitches within the scaleare given equal importance—exerted anenormous influence on 20th-century music,yet only a few works created by its foundingfathers known as the SecondVienneseSchool (Arnold Schoenberg,Alban Berg,and Anton vonWebern) have been adoptedinto the standard repertoire.As the mostexpressive and lyrical of the three com-posers, Berg has been especially favored; hisoperas Wozzeck and Lulu are still regularlystaged, and his deeply movingViolinConcerto has taken its place beside theconcertos of Beethoven, Brahmsand Mendelssohn.

The concerto was commissioned earlyin 1935 by the young American violinistLouis Krasner. Not entirely convinced that

March 4, 2011 – April 29, 2011 21

programnotes

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he wanted to write a virtuoso vehicle, Bergagreed mainly for the handsome fee. But onApril 22, 1935, the beautiful and talentedManon Gropius, 18-year-old daughter ofAlma Mahler (Gustav’s widow) and architectWalter Gropius, died of polio. Like many inthe Mahler-Gropius circle, Berg had beenenchanted by this wonderful girl and sawhis budding concerto as a memorial toManon. Usually a slow worker, Bergcomposed the work at white-hot speed,completing the last of the scoring onAugust 12.

Besides the grief over Manon’s death,another perhaps subconscious force drovehim. Berg had always been tormentedby severe allergies. Just days after the scorewas finished, he suffered a hornet bite,which led to an abscess on the spine.Theinfection grew progressively worse until,on December 23, Berg died.TheViolinConcerto became his last completed workand received a posthumous premiere byKrasner at the International Society forContemporary Music Festival in Barcelonaon April 19, 1936.

The sense of the concerto’s being arequiem comes not only from its elegiactone, but also specifically from the quotationin its final moments of the chorale “Es istgenug” (“It is enough!”) from J.S. Bach’scantata O Ewigkeit, du Donnerwort (“OhEternity,Word ofThunder”).The text bidsfarewell to life:“It is enough!/ Lord when itpleasesThee,/ Relieve me of my yoke!/ MyJesus comes:/ So goodnight now, OWorld!/I’m going to my heavenly home./ I’ll surelyjourney there in peace,/ My great distressremains below.”

The work’s two movements each divideinto two parts in different tempos. Veryquietly, the Andante of the first movementopens with clarinets and harp tracingarpeggios, alternating with the solo violin.The violin’s first extended phrase outlinesthe 12-note row on which the work isbased; interestingly, Berg constructs it so thatit has considerable suggestions of tonality.The waltz-inspired Allegretto section, inWilli Reich’s description authorized byBerg,“captures the vision of the lovely girlin a graceful dance.”A sharp cry of painfrom the orchestra opens the second move-ment’s Allegro: a musical expression of thecatastrophe of Manon’s death. Soon a crisprhythmic motive in the horns, accented by

snare-drum rolls, takes charge; it is passed tothe soloist and builds to a huge, poundingclimax.This is quieted by the Adagio conso-lation of the Bach chorale sung by thesoloist and with a clarinet ensemble uncan-nily imitating the sound of a Baroque organ.As Berg varies the chorale, the violin rises ina soulful lament, gradually joined by otherviolins and violas singing as one mightyinstrument.After this climax, the soloistreturns to the Carinthian folk song, nowslower and more poignant. In an ending ofsublime peace, the chorale returns, andabove it, the violin soars to its highestG while the first violins gently intone theopening arpeggio.

Instrumentation: two flutes, two piccolos,two oboes, English horn, three clarinets, bassclarinet, two bassoons, contrabassoon, altosaxophone, four horns, two trumpets, twotrombones, tuba, timpani, percussion, harpand strings.

Symphony No. 5 in C Minor

Ludwig van BeethovenBorn in Bonn, Germany, December 16, 1770;died in Vienna, March 26, 1827

For many generations, Beethoven’s Fifth hasdefined the symphonic experience in thepopular imagination. It established the dra-matic scenario of the symphony as a heroicprogression from tragedy to triumph—andmusically here from the minor mode to themajor—that was imitated by countless latercomposers from Brahms to Shostakovich.

Europe was a troubled place whenBeethoven wrote this work between 1806and 1808.We tend to concentrate onBeethoven’s battle against his own deaf-ness, forgetting that he was also caught upin external battles throughout his middleor “heroic” creative period (1802–1812).During this decade, the Napoleonic Warssurged across Europe, and the martial toneof many of the Fifth’s themes and theprominent role for trumpets and timpanireflected a society constantly on militaryalert.Thus, it is not surprising that the tri-umphant song of the Fifth’s finale seems asmuch a military victory as a spiritual one.

Beethoven himself gave the descriptionof the four-note motive that pervadesthe Allegro con brio first movement:“Thus Fate knocks at the door!” he toldhis amanuensis Anton Schindler.This is themost famous of the pithy rhythmic ideasthat animated many of Beethoven’s

middle-period masterpieces; its dynamismas entrance is piled upon entrance drivesthis movement on its relentless course.The terseness and compression of thismusic are astonishing—conveying themaximum of expressive power with theminimum of notes. Beethoven only pausesfor breath briefly as the violins introducea gentler, more feminine second theme,and more tellingly later as the solo oboeinterrupts the recapitulation of the Fatetheme— brought back with pulverizingpower by the entire orchestra—with aplaintive protest of a mini-cadenza.

The Andante con moto secondmovement might be called Beethoven’sWar and Peace. In an original treatment ofthe double-variations form devised byHaydn he mixes variants on a peaceful,pastoral melody with episodes of martialmight in C major that foretell the victoryto come. Ultimately, even the pastoral musicis trumpeted forth in military splendor.The movement closes with a haunting,visionary coda.

E.M. Forster’s novel Howard’s Endcontains one of the most eloquent passagesever about classical music as it describesthe Fifth’s quirkily ominous Scherzo.“The music started with a goblin walkingquietly over the universe, from end toend. Others followed him.They were notaggressive creatures; it was that that madethem so terrible to Helen.They merelyobserved in passing that there was no suchthing as splendour or heroism in theworld.” Horns respond to the cello goblinswith a military fanfare derived from theFate motive.After the comical trio sectionin which Beethoven for the first timeasked double basses to be agile melodists(a feat beyond players’ capacities in hisperiod though not today), the goblinsreturn, even more eerily in bassoons andpizzicato strings.Then ensues one ofBeethoven’s greatest passages: a dark, drum-filled journey groping toward the light.

The music finally emerges intoC major daylight with the finale’s joyfultrumpet theme.This is the grandfather of allsymphonic triumphant endings and remainsthe most exhilarating and convincing.

Instrumentation: two flutes, piccolo,two oboes, two clarinets, two bassoons,contrabassoon, two horns, two trumpets,three trombones, timpani and strings.Notes by Janet E. Bedell, copyright 2011

22 Overture

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March 4, 2011 – April 29, 2011 23

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Yan PascalTortelierBorn into a musicalfamily, son of the latePaulTortelier,YanPascal Tortelier stud-ied piano and violin

from the age of 4 and at 14 won first prizefor violin at the Paris Conservatoire.Following general musical studies with

Nadia Boulanger, Mr.Tortelier studiedconducting with Franco Ferrara in Siena.His career has included engagements withleading orchestras throughout Europe,North America, Japan and Australia.

In recognition of his outstandingwork as Chief Conductor of the BBCPhilharmonic between 1992 and 2003,Mr.Tortelier has been given the title ofConductor Laureate and continues towork with the orchestra regularly.

Orion WeissPianist Orion Weissis one of the mostsought-after soloistsand collaboratorsin his generation.Atage 29, he continues

to demonstrate his gift for communicationacross boundaries of style and setting.

Mr.Weiss’s impressive list of awardsincludes The Juilliard William PetschekAward, the GilmoreYoung Artist Award,an Avery Fisher Career Grant, the GinaBachauer Scholarship at The JuilliardSchool and the Mieczyslaw MunzScholarship. In March 1999, with less than24 hours’ notice, Mr.Weiss stepped in toreplace André Watts for a performance ofShostakovich’s Piano Concerto No. 2 withthe Baltimore Symphony Orchestra.He was immediately invited to return tothe Orchestra for a performance of theTchaikovsky Piano Concerto in October1999. In 2004, he graduated from TheJuilliard School, where he studied withEmanuel Ax.


Valses nobles et sentimentales

Maurice RavelBorn in Ciboure, Basses-Pyrénées,France,March 7,1875; died in Paris, December 28, 1937

Many of Maurice Ravel’s most beautifulorchestral pieces began as works for thepiano. Such is the case with the graciousValses nobles et sentimentales, which Ravelcomposed in 1911, taking his inspirationfrom Schubert’s waltzes for piano of acentury earlier (12 Valses nobles and 34Valses sentimentales).

However, when shortly thereafter theRussian-French ballerina NatashaTrouhanova commissioned a new balletscore from Ravel, he thought these pianopieces arranged for orchestra would suit theprojected ballet scenario, which he was alsocreating forTrouhanova. He polished off theexquisite scoring in only 15 days, and theballet, titled Adélaïde, ou la langage des fleurs(“Adélaïde, or the Language of Flowers”),was premiered in Paris at theTheâtre duChâtelet on April 22, 1912. Later, the scorebecame a concert work, first performed inParis by Pierre Monteux and the Orchestrede Paris in February 1914.

Grieg’s Piano Concerto



MARIN ALSOP


Yan Pascal Tortelier Conductor

Orion Weiss Piano

Maurice Ravel Valses nobles et sentimentales

Edvard Grieg Piano Concerto in A Minor, Op. 16Allegro molto moderatoAdagioAllegro moderato molto e marcato

ORION WEISS

INTERMISSION

Witold Lutosławski Concerto for OrchestraIntradaCapriccio, Notturno e AriosoPassacaglia,Toccata e Corale

Support for the appearance of Orion Weiss is provided bythe Willard and Lillian Hackerman Guest Artist Fund.


Presenting Sponsor:

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Thursday, March 24, 2011 8 p.m.


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In Ravel’s ballet scenario set in 1820,the courtesan Adélaïde dallies between twosuitors: the idealistic Lorédan and a morefrivolous but extremely wealthy Duke.The flirtation and courtship are carried outthrough the exchange of various flowers,each representing a different virtue or vice.Lorédan presents Adélaïde with a buttercupas a symbol of true love, while the Dukeoffers a sunflower representing extravagance.The Duke is finally rejected, but Lorédan iskept in suspense as the courtesan presentshim with a tuberose (pleasure) and thena poppy (forgetfulness).When in theEpilogue, he threatens suicide,Adélaïderelents and gives him a red rose as she fallsinto his arms.

Though Valses nobles calls for a largeorchestra, it mostly features subtle playingfor the strings and, above all, the wood-winds, whose delicately variegated colorsRavel masterfully exploits.The seven waltzesare contrasted by key, tempo and mood.Only in the last of them, which is thelongest and richest of the set, does Ravel letthe full orchestra fly in a sweeping, trulyViennese waltz.A final movement, theEpilogue, quotes from most of the precedingdances and brings the piece to a nostalgic,bittersweet close.

Instrumentation: two flutes, two oboes,English horn, two clarinets, two bassoons,four horns, two trumpets, three trombones,tuba, timpani, percussion, two harps, celesteand strings.

Piano Concerto in A Minor

Edvard GriegBorn in Bergen, Norway, June 15, 1843;died in Bergen, September 4, 1907

When the adolescent Edvard Griegshowed exceptional musical promise, hewas sent off at age 15 to Leipzig, Germanybecause Norway had no conservatory totrain him.Although he chafed at Leipzig’srigid pedagogy and at German music ingeneral, Grieg did eventually find asympathetic teacher in ErnstWenzel, whohad been a friend of Robert Schumann.Wenzel passed on his love of Schumann’smusic to the young Norwegian, and whenin 1858 Edvard heard a performance ofSchumann’s Piano Concerto played byClara Schumann herself, he was enthralledby the work.Ten years later, whilecomposing his own Piano Concerto inthe same key of A minor, he would draw

on Schumann’s concerto for inspiration.Although Grieg’s Piano Concerto

followed the traditional form of theRomantic, central-European concerto, it wasthe subtle use of Norwegian folk influencesplus his own genius that kept the work frombeing a clone of Schumann’s.The Concertowas the product of youth and happiness:composed during the summer of 1868,which the 25-year-old composer, his bride,Nina, and their infant daughter spent inrural Denmark. It was a success at its firstperformance in Copenhagen in April 1869.

This is a work that glories in its multi-tude of appealing themes and its highlysuccessful blending of tender lyricism withvirtuoso display. Its first movementdispenses with the customary orchestralexposition; just a dramatic timpani roll galva-nizes the soloist into action.His vertiginousthree-octave plunge begins with a three-notemelodic pattern—a descending half-step,following by a descending third—that iscommon in Norwegian folk music andbecame known as the “Grieg motive.”Woodwinds then introduce the folkishprincipal theme, animated by crisp dottedrhythms. It has a smoothly lyrical secondidea, which the piano makes more rhapsodicwith swirls of arpeggios. In a slightly slowertempo, cellos sing a romantically melancholicsecond theme.After a brief development, theopening music is reprised, coming to asudden halt for a big cadenza for the soloist.

The slow movement travels far fromthe home key of A minor into the very dis-tant D-flat major. Muted strings open with aweary theme, saturated in sorrow; notice theeloquent contributions here from the solohorn and cello.The piano’s wistful responseis woven of exquisite fast figurations. Ina new phase, the piano passionately declaresthe pain implied in this melody before themovement dies out in elegiac beauty.

A short bridge passage intervenes toreturn the key of D-flat to A minor beforethe piano launches the finale’s stompingmain theme in the style of the Norwegianhalling folk dance. Providing an interlude ofrepose, the solo flute sings a hauntinglylovely melody in a slower tempo; the pianogives it sensitive treatment with downwardslip-sliding chords. Reprising his openingdance music, Grieg builds excitement toa brief solo cadenza of double-handedoctaves.Then the soloist transforms the 2/4

halling into a sparkling 3/4 waltz. Griegbrings back the haunting second theme,now in a splendid apotheosis in A major.As annotator Michael Steinberg pointedout,Tchaikovsky and Rachmaninoff wouldlater imitate this crowd-pleasing device, butGrieg did it first.

Instrumentation: two flutes, two oboes, twoclarinets, two bassoons, four horns, two trum-pets, three trombones, timpani and strings.

Concerto for Orchestra

Witold LutosławskiBorn in Warsaw, Poland; January 25, 1913;died in Warsaw, February 7, 1994

What is a concerto for orchestra?We usuallythink of concertos as pieces designed toshow off the virtuosity of an instrumentalsoloist or two against the orchestra. But aconcerto for orchestra instead shows offthe abilities of the orchestra itself, withparticular attention given to virtuosicconcerto-style writing for soloists or sologroups within the orchestra.Though some-what related to the concerto grosso form ofthe Baroque period, this category has partic-ularly flourished during the 20th century.Probably most listeners are familiar withBartók’s great Concerto for Orchestra, but atthis concert you’ll be introduced to anotherwork: the Concerto for Orchestra by thePolish composerWitold Lutosławski.

Born inWarsaw in 1913 when Polandwas still a part of the Russian empire,Lutosławski became one of the most influ-ential composers of the past century.AfterWorldWar II, his country lost its brieflyheld independence and became part of theCommunist East Block, and his own careermirrored the ebbs and flows of Communistrestrictions on music and the arts.

In the late 1940s, his SymphonyNo. 1 caused a furor and became the firstcomposition the Communist Party bannedin Poland.The Communists preferredstraightforward tonal music, preferably basedon folksong.Though he certainly didn’tintend it to be a work of appeasement,Lutosławski’s next major symphonic work,the Concerto for Orchestra, written over afour-year period from 1950 to 1954, didplease the authorities, as well as the public,because it used folk tunes, in the composer’swords,“as ‘rough stuff ’ for a large Baroque-style construction.”Winning the State Prizefor music in 1955, it remains today the mostpopular of Lutosławski’s compositions.

24 Overture

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March 4, 2011 – April 29, 2011 25

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As the Communist regime in Polandbecame progressively more tolerant ofmodern music, Lutosławski evolved into anavant gardist, leaving traditional tonalitybehind.The Concerto for Orchestra stands outas his last masterpiece in a more traditionalstyle. Nevertheless, it boasts the characteris-tics that would mark all his best works. Mostobviously, in its use of instruments in newcombinations, it displays this composer’sextraordinary ear for instrumental colorand sensuous sound. More hidden isLutosławski’s formal craftsmanship, whichmakes each movement into an intricatelycarved jewel.

Movement one,“Intrada,” has anarresting beginning. Over a sustained deeppedal on F-sharp, intensified by the steadypounding of timpani, an exotic, undulatingmelody based on a genuine folk tune risesgradually from cellos up to violins andeventually woodwinds.With each repetition,this melody grows more elaborate.The mid-dle section introduces an intriguing swayingtheme in the horns amid shimmering,woodwind music; eventually, the wholeorchestra joins in music of great rhythmicand contrapuntal intensity.The opening F-sharp pedal returns, but now it has beentransferred from the bottom to the top ofthe orchestra: a magical sound world of highviolins and piccolos, with a fragile, bell-likecelesta replacing the drums.

Movement two,“Capriccionotturno e Arioso,” is a high-speed noc-turnal scherzo with strings and woodwindswhirling through sparkling figurations likefireflies on a summer evening. In its middlesection, trumpets loudly proclaim the folk-style Arioso theme; this eventually draws inthe whole orchestra for music of startlingenergy and drama. Eventually, this sequencefades, and the whirring scherzo returns, thistime featuring delicate music for the harpsand pizzicato strings, and closing witha mysterious passage for muffled drums.

The impressive final movement,“Passacaglia,Toccata e Corale,”triumphantly combines three Baroqueforms. It opens with the eight-measurePassacaglia pattern plucked softly by thedouble basses and harp.As this pattern isrepeated, it evolves into a more elaboratemelody, and swirling countermelodies,primarily in woodwinds, are layered on top.Gradually, the passacaglia theme rises higher

and higher in the orchestra, finallydissipating in ethereal violin harmonics.

The music now segues into theToccata, a fantasia-like virtuoso form madefamous by Bach.This is showier music,driven forward by chugging motor rhythms.It eases to introduce the quieter Coralesection, in which a calm chordal theme,initially in oboes and clarinets and laterin the brass, is partnered by a lovelycountermelody in the flute. Gradually, the

driven music of theToccata returns andaccelerates into an orgy of glitteringvirtuosity with the brass shouting out theCorale theme.

Instrumentation: three flutes, two piccolos,three oboes, English horn, three clarinets,bass clarinet, three bassoons, contrabassoon,four horns, four trumpets, four trombones,tuba, timpani, percussion, two harps, piano,celeste and strings.Notes by Janet E. Bedell, copyright 2011

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26 Overture

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Sweet Honey in the Rock… I have always believed art is the conscienceof the human soul and that artists have theresponsibility not only to show life as it is butto show life as it should be. … Sweet Honey inthe Rock has withstood the onslaught. She hasbeen unprovoked by the 30 pieces of silver. Hersongs lead us to the well of truth that nourishesthe will and courage to stand strong. She is thekeeper of the flame.

—Harry Belafonte

Sweet Honey in the Rock has built adistinguished legacy over the past threedecades as one of the most celebratedambassadors of a cappella music, and insome circles they’re revered as nationaltreasures. In the process, they created theirown unique style and interpretation ofa cappella music by fusing five scintillating

and soulful voices with the texture,harmonic blend, and raw quality thatis indigenous and true to authentica cappella music. In essence, they’vecreated their very own sound, with theperfect mix of vocals and a cappella,which is aptly showcased and capturedin a wide range of musical genresincluding, blues, spirituals, traditionalgospel hymns, rap, reggae,Africanchants, hip-hop, ancient lullabies andjazz improvisation.

With 23 recordings, two books(WeWho Believe in Freedom: Sweet Honeyin the Rock…Still OnThe Journey, andContinuum:The First Songbook of SweetHoney in the Rock) and numerous awards(they were most recently nominated fora Grammy in 2008 for their children’srelease,“Experience … 101”), they werealso the subjects of a feature-lengthdocumentary film, Sweet Honey in theRock: RaiseYourVoice, produced and direct-ed by Stanley Nelson, originallytelevised on PBS-TV’s American Mastersseries and released as a DVD in 2005.

In addition to performing in Europe,Asia,Australia, New Zealand and Africa,they have toured extensively throughoutthe United States, performing at many of

the country’s most prestigious concerthalls and performing arts centers.

In 2008-2009, they were the onlymusic ensemble to be featured in AlvinAiley’s American Dance Theater 50thanniversary national theatrical tour.Theycomposed and contributed original musicto the dance theater piece,“Go in Grace”and released a soundtrack of the sametitle. Most recently, Sweet Honey wrote,produced and performed “My Family”for the 2010 HBO documentaryA Family Is a Family Is a Family:A RosieO’Donnell Celebration.

In addition to touring, Sweet Honeyin the Rock has started working on theirnext CD—a tribute to the history andevolution of a cappella music, entitled,Sweet Vocappella. In April 2011, they willpresent a special tribute,“Sweet Honeyin the Rock: Remembering Nina, Odetta,and Miriam,” at Jazz at Lincoln Center.They are also developing a new collabora-tive piece for voices and symphonyorchestra entitled “Affirmations” withnoted composer William Banfield, slatedto premiere in 2012.

Founded in 1973 by Bernice JohnsonReagon at the D.C Black RepertoryTheatre, original members of SweetHoney in the Rock included Reagon,Carol Maillard, Louise Robinson andMie Fredericks. For over three decades,the ensemble has been a vital and

innovative presence in the music cultureof Washington, D.C. and in communitiesof conscience and on stages around theworld.Today, Sweet Honey in the RockisYsaye Maria Barnwell, Nitanju BoladeCasel,Aisha Kahlil, Carol Maillard, LouiseRobinson and (American Sign LanguageInterpreter) Shirley Childress Saxton.

Sweet Honey in the Rock



MARIN ALSOP


Performers:

Ysaye Maria Barnwell

Nitanju Bolade Casel

Aisha Kahlil

Carol Maillard

Louise Robinson

Shirley Childress Saxton American Sign Language Interpreter


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Sweet Honey in the Rockhas built a distinguished

legacy over the past threedecades as one of the mostcelebrated ambassadors of

a cappella music.

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March 4, 2011 – April 29, 2011 27

programnotes


Emily SkalaPrincipal Flutist of the BaltimoreSymphony Orchestra since 1988, EmilySkala regularly appears as a soloist andrecitalist in the mid-atlantic and mid-westregions, has performed at the NationalFlute Association’s annual conventions, andhas performed at many of the world’s most

prestigious music festivals. Ms. Skala joinedthe Conservatory faculty of the PeabodyInstitute of Johns Hopkins University in1989, and in 1991 she was awarded the JeanFrederic Perenoud Prize at the SecondVienna International Competition.

Her debut CD,Voices ThroughTime,music for flute and piano by Brahms andSchubert, was released in May of 2002 bySummit Records. She can also be heard onmany of the BSO’s recordings.

OrchKidsOrchKids is a year-round after-schoolmusic program designed to create promisingfutures for youth in Baltimore City neigh-borhoods. Under Music Director MarinAlsop’s leadership, OrchKids is a cornerstoneof the BSO’s efforts to expand the orches-tra’s relevance within the city’s diversecommunity. OrchKids provides music edu-cation, instruments, meals and mentorship atno cost to Baltimore’s neediest youngsters.

The program is inspired byVenezuela’sEl Sistema, the music program that in 30years has transformed the lives of hundredsof thousands of children in that country’smost impoverished areas. Like El Sistema,OrchKids is intended to address social chal-lenges affecting underserved youth, usingmusic to cultivate fundamental life skills.With assistance fromThe Family League ofBaltimore City and the University ofMaryland Baltimore County, the BSO hasimplemented several assessment tools totrack whether participants are achievingsocial, academic and musical outcomes.

For the 2010-2011 school year, OrchKidsserves more than 250 students at LockermanBundy Elementary School and at New SongAcademy inWest Baltimore.

Dan TraheyDanTrahey is the director of artisticprogram development for OrchKids. Hepreviously served as director of communityand outreach events for the HartfordSymphony Orchestra (HSO) in Hartford,Connecticut. In 2000, he founded theMcDougal Center Concert Series inNew Haven, Connecticut.

He plays tuba withThe ArchipelagoProject, a nonprofit music educationensemble he co-founded. He also servesas a mentor for students at the PeabodyConservatory,where he founded theTunedIn program. He holds teaching residencieswith the Innsbruck Musikschule inTyrole,Austria; the Nuclea Acarigua in Portuguesa,Venezuela; theTraverse City, Michigan,public school system; and serves on thefaculty of the Abreu Fellowship program atthe New England Conservatory.

Nick SkinnerNick Skinner is the site coordinator forOrchKids. He also maintains a trumpetstudio and continues to work as education

The Pied Piper



MARIN ALSOP



Emily Skala Flute

BSO OrchKids

Dan Trahey Director of Artistic Program Development

Nick Skinner Director

Peabody Preparatory Flute and Drum Ensemble

Delandria Mills Director

Dave Rimelis OrchKids NationBSO ORCHKIDS

John Corigliano Pied Piper FantasySunrise and the Piper’s SongThe RatsBattle with the RatsWar CadenzaThe Piper'sVictoryThe Burgher's ChoraleThe Children's March(played without pause)

EMILY SKALAPEABODY PREPARATORY FLUTE

AND DRUM ENSEMBLE

INTERMISSION

Thursday, March 31, 2011 8 p.m.

Sunday, April 03, 2011 3 p.m.

continued on next page

Please see insert for the April 2, 2011 Off The Cuff Cinderella Suite performance.

��

28 Overture

programnotes

coordinator for the Archipelago Project.He began teaching in the Howard

County Public School System in Marylandas an elementary instrumental instructor.He then moved on to teach in the BaltimoreCounty Public School System at CatonsvilleHigh School, where he was the music direc-tor for more than 300 students. He alsoserved as a chamber music instructor at theWaldorf School in Baltimore.

He graduated from the PeabodyConservatory with a bachelor’s degree intrumpet performance and music education.

Delandria MillsFlutist, singer and songwriter DelandriaMills is carving a place in the music industrywith her unique combination of jazz,classical and gospel.As a classical flutist, shehas served as principal of the BaytownSymphony and assistant/associate principalwhile at the Peabody Institute.

Her impeccable skills earned her the topprize at the National Flute Association’s JazzFlute Competition in 2003 and led to herbeing selected as one of six internationalyoung women to win the International

Association of Jazz Educators’ Sisters in JazzCollegiate Competition in 2005. She is thefounder and leader of the Delandria MillsJazz Collective; has served in Soundcheck,the critically acclaimed band behind gospelpioneerTyeTribbett and Greater Anointing;and has collaborated with some of theindustry’s finest jazz and gospel artists.

Fall 2010 marked the release of KingdomGoes Classical,Ephphatha, and Be Happy.


OrchKids Nation

David RimelisBorn in Irvington, New Jersey, August 28,1954; now living in West Orange, New Jersey

Tonight’s program opens with a new workfor members of the OrchKids program, spe-cially commissioned for them by the BSOwith generous support from the Eric DanielHelms New Music Program.The composeris David Rimelis, an extraordinarily versatilemusician who plays guitar, violin, and otherinstruments and is the founder and leaderof the world-jazz band “Life.” He is alsodirector of musical education for the AIDS

Research Foundation for Children inNewark, New Jersey.

Rimelis has provided the followingintroduction to his brief nine-minute piece:

“OrchKids Nation features the vocaland instrumental talents of the OrchKidsstudents along with the BaltimoreSymphony musicians.The song lyrics weretaken from testimonials written by theOrchKids students themselves.

“The music of the first section iscentered around the dance rhythms of theOrchKids Bucket Band and Drums, coupledwith the orchestra’s percussion section.On top of the rhythms, the students andprofessional musicians engage in livelymusical conversations.The musical interplayis punctuated by the OrchKids Rap anda vocal call-and-response section.Themiddle section features the student stringand Orff mallet instruments playingostinatos with soft vocal songs weaving inand out.These elements combined withthe orchestral background create a musicaltapestry and build to the first climaxfeaturing the OrchKids drummers and bothorchestras. In the last section, the musicrecedes, and the pre-K and kindergartenstudents enter singing the OrchKids theme.They are joined by the entire OrchKidsensemble, and the audience is also invited tojoin in.The BSO enters and takes the pieceto its final climax.”

Instrumentation: Two flutes, two oboes,two clarinets, two bassoons, four horns,three trumpets, three trombones, tuba,percussion and strings.The children playa variety of instruments and sing, as well.

Pied Piper Fantasy

John CoriglianoBorn in New York City, February 16, 1938

One of eight concertos John Corigliano hascreated, the Pied Piper Fantasy was previouslyheard here more than 20 years ago whenJames Galway, its commissioner, performedit under David Zinman’s baton. Coriglianohas provided an eloquent note explaininghow this most unusual concerto took shape.

“The performance was scheduled forthe opening night of the 1980 HollywoodBowl season.The orchestra would be theLos Angeles Philharmonic ... and the soloistGalway, with his unique and charismatic per-sonality.The combination of these elementsstrongly suggested a large-scale buoyant

The Pied Piper

Sergei Prokofiev Suite from CinderellaIntroduction (Suite I)Pas de chat (Suite I)Dancing Lesson (Suite II)Mazurka (Suite I)Cinderella Goes to the Ball (Suite I)Cinderella’sWaltz (Suite I)The Prince and Cinderella (Suite III)Midnight (Suite I)Cinderella at the Palace (Suite II)The Prince Finds Cinderella (Suite III)Amoroso (Suite III)

The concert will end at approximately 10:05 p.m. on Thursday,and 5:05 p.m. on Sunday.

continued from previous page

The commissioning of OrchKids Nation is generously made possible by a grant fromClassical Movements, Inc. through the Eric Daniel Helms New Music Program.

Support for this program is generously provided by the Francis Goelet Charitable Lead Trusts.

Media Sponsor: WBAL Radio

��

March 4, 2011 – April 29, 2011 29

programnotes

vehicle, but that wasn’t enough for me yet.“So I looked further—particularly into

the specialized techniques of the soloist,who also plays the tin whistle.This primitiveform of the recorder ... is one of the manyvarieties of ‘pipes’ that are found around theworld, and I decided to investigate someof the legends surrounding them.Almostinstantly, the tale of the Pied Piper ofHamelin came to mind.

“The idea of a programmatic fantasy-concerto based on the Pied Piper legendbecame a fascinating structural challenge. ...The biggest problem was that the legendper se had no elements of virtuosity in it.So I had to modify the story a bit ...

“In restructuring the legend, I had toprovide a logical continuity for this story,but I also had to produce a satisfying purelymusical structure. ... Inherent in my conceptwas the idea that the soloist would switchfrom flute to tin whistle for ‘The Children’sMarch.’ I also wanted the march to includeother flutes and drums played by childrenand led by the soloist. I used the jauntymarch against an independent orchestralbackground that evoked the sense of lossgenerated by the departure of the Piperand children. ...”

“Sunrise and the Piper’s Song”:“Sunrise is represented by an orchestral tuttibeginning with pointillistic night sounds.A single note emerges, initiated by an oboeand culminating in trumpets. ...A hugecrescendo suddenly breaks off and issucceeded by a soft, warm string chordsignifying the risen sun. ...The Piper-soloistbegins in an improvisational manner andthen plays ‘The Piper’s Song.’ Eventually,the day ends as the night-sounds return.”

“The Rats”:“The rats come out atnight.This section is totally orchestral,with the rodents represented by two‘rats motives.’ ...”

“Battle with the Rats”:“The Piperenters the fray. Clusters of rodents dartabout the lower register; she rushes downthe scale after them, but they disappear, onlyto immediately resurface in another spotat a higher pitch. ... She tries to scatter thestragglers with sudden sforzandos, but moreand more appear until a sort of Totentanzensues ... as the soloist imitates andchallenges the rodents ...”

“War Cadenza”:“The battleculminates with a gigantic orchestral

glissando [slide]and then silence.The soloistexplores this sudden quiet, testing the air. ...She becomes confident, then joyous, thenexultant. ... Just, however, as the Piper isabout to relax completely and begin hersong again, a soft scraping arises from theorchestra. She realizes there are many morerats than she could ever have imagined—millions.They run berserk. ...”

“The Piper’sVictory”:“In despair,the Piper improvises a lament. It continuesover the scurrying and unconsciouslyincorporates a fragment of ‘The Piper’sSong.’The racing sounds below cease asthe rats become aware of this hypnotizingmelody, but resume as the lament continueswith other material. ... By the second time,the Piper begins to realize that her specialsong has a strange effect on the rats. So, shebegins to play the entire ‘Piper’s Song,’ and... the rats freeze and begin a hypnoticslow dance. ...”

“The Burgher’s Chorale”:“The laststrains of ‘The Piper’s Song’ are interruptedby a distant-sounding, pompous chorale,accompanied by a banging bass drum.This is ‘The Burgher’s Chorale,’ the marchof the townspeople: smug-sounding, self-satisfied, self-important.As the burghersapproach the Piper, she begins to play ... butis constantly interrupted by the blaringbrass. ... Gradually, the Piper becomes moreand more irritated. ...”

“The Children’s March”:“ThePiper has had enough. She puts her fluteaside and pulls a tiny tin whistle out of herpocket and plays ‘The Children’s March.’ ...After the March’s first peak, the Piper beginsto trill. Suddenly, a group of young flutists ...answer her call. ...Another group respondsand yet another.The flutists join with youngdrummers ... all moving toward the stage. ...The Piper proceeds to lead them in ‘TheChildren’s March.’As a final bid for atten-tion, the burghers try an outburst of theirchorale, but it is easily swamped by thepiping children who, led by the Piper, beginto march off stage ...The lonely soundsreturn in the orchestra, as the jaunty, distantmarching melody fades away.”

Instrumentation: solo flute, three flutes,piccolo, three oboes, two clarinets,piccolo clarinet, bass clarinet, threebassoons, contrabassoon, four horns, threetrumpets, three trombones, tuba, timpani,percussion, harp, piano, celeste and strings.The children play flutes and drums.

Selections from Cinderella

Sergei ProkofievBorn in Sontsovka, Ukraine, April 23, 1891;died in Moscow, U.S.S.R., March 5, 1953

Throughout his life, Sergei Prokofievcombined worldly sophistication with awinsome ability to tap into the world ofchildhood fantasy. The most famousexample are Peter and theWolf and Cinderella.

The Cinderella ballet score was a productof WorldWar II, composed between 1941and 1944 as Prokofiev shuttled around theU.S.S.R. trying to escape German armies.The ballet had been commissioned byLeningrad’s Kirov Ballet to capitalize on thesuccess of his Romeo and Juliet. But by 1941,Leningrad was surrounded by Germans, andits terrible three-year siege made any newproductions impossible.

Since the first production of Romeo andJuliet had been delayed by controversy overwhether that innovative ballet was “dance-able,” Prokofiev modeled Cinderella directlyonTchaikovsky’s story-ballets. So this is byfar the most traditional of Prokofiev’s nineballet scores, and it was warmly embraced atits Moscow premiere in 1945.

As to his approach Prokofiev wrote:“The main thing I wanted to convey …was the poetic love of Cinderella and thePrince—the inception and flowering of theemotion, the obstacles in its way, therealization of the dream.”

We will hear selections drawn from allthree of the orchestral suites. In the ballet’s“Introduction,” achingly beautiful musiccaptures a world of romance.Here we meettwo signature themes: a poignant, yearningthat paints Cinderella’s sorry state as a house-hold drudge, and the soaring violin melodythat describes her dreams of happiness.

“Mazurka” establishes the feverishatmosphere at the palace ball before thePrince’s appearance. Meanwhile back athome, “Cinderella Goes to the Ball”describes Cinderella’s frenzied preparations.

The glorious music of “Cinderella’sWaltz” is one of the ballet’s two mostfamous sequences. “Midnight” is theballet’s other most celebrated number.

Instrumentation: two flutes, piccolo,two oboes, English horn, two clarinets,bass clarinet, two bassoons, contrabassoon,four horns, three trumpets, three trombones,tuba, timpani, percussion, harp, piano,celeste and strings.Notes by Janet E. Bedell, copyright 2011

MichaelKrajewskiKnown for hisentertainingprograms and wrysense of humor,Michael Krajewski

is a much sought-after conductor ofsymphonic pops concerts. He is thePrincipal pops Conductor of the HoustonSymphony, Jacksonville Symphony andthe New Hampshire Music FestivalOrchestra. He also enjoys a specialrelationship with the Atlanta Symphony,where he makes frequent appearancesas a guest conductor. For 11 years, Mr.Krajewski was Principal Pops Conductorof the Long Beach Symphony, and foreight years he held the same positionwith the New Mexico Symphony.

Much in demand as a guest conductorwith orchestras across the country, he hasperformed with the Boston Pops and theHollywood Bowl orchestras as well asthe orchestras of San Francisco, Dallas,Detroit, Minneapolis, St. Louis, Baltimore,Phoenix, San Antonio,Tampa, Portland,Rochester, Buffalo, Nashville, Memphis,Birmingham, Charlotte, Raleigh, amongmany others. In Canada he has appearedwith Ottawa’s National Arts CentreOrchestra and the Edmonton andWinnipeg symphonies. He has performedwith the Hong Kong Philharmonic andhas led the Ulster Orchestra in concertsin Belfast and Dublin.

Mr. Krajewski has collaborated withan eclectic group of artists including flutistJames Galway, mezzo-soprano MarilynHorne, pianist Alicia de Larrocha, guitaristAngel Romero, and pop artists RobertaFlack, Judy Collins,Art Garfunkel, DocSeverinsen,Al Hirt, Cab Calloway, theKingston Trio, Ben E. King, Mary Wilson,Patti Austin, the Preservation Hall JazzBand, the Canadian Brass, Pink Martiniand Big BadVoodoo Daddy.

With degrees from Wayne StateUniversity in Detroit and the Universityof Cincinnati College-Conservatory ofMusic, he furthered his training at thePierre Monteux Domaine School forConductors. He was a Dorati FellowshipConductor with the Detroit Symphonyand later served as that orchestra’s assistantconductor. He was resident conductor of

BSO SUPERPOPS

A Tribute to Paul McCartney



MARIN ALSOP


JACK EVERLY

PRINCIPAL POPS CONDUCTOR

Michael Krajewski Conductor

Tony Kishman Bass guitar, keyboard, vocals

Jim Owen Rhythm guitar, piano, vocals

John Merjave Lead guitar, vocals

Chris Camilleri Drums, vocals

The program will be selected from the following:

All songs written by Paul McCartney or by Lennon and McCartney.

Program is performed with a 20-minute intermission.

The concert will end at approximately 10 p.m. on Friday andSaturday and 5 p.m. on Sunday.

Presenting Sponsor:

Friday, April 8, 2011 8 p.m.

Saturday, April 9, 2011 8 p.m.


All My Loving

Band on the Run

Bluebird

Get Back

Golden Slumbers

Hello Goodbye

Hey Jude

I Saw Her Standing There

Jet

Lady Madonna

Let It Be

Long and Winding Road

Live and Let Die

Medley: Maybe I’m Amazed -My Love - Let ‘Em In

Mull of Kentyre

Ob La Di

Penny Lane

She Came in through theBathroom Window

Silly Love Songs

When I’m Sixty-Four

What the Man Said

Uncle Albert/Admiral Halsey

Yesterday

programnotes

30 Overture

March 4, 2011 – April 29, 2011 31

programnotes

the Florida Symphony and for 11 yearsserved as music director of the ModestoSymphony Orchestra.

Mr. Krajewskil lives in Orlando,Florida, with his wife Darcy.When notconducting he enjoys travel, photography,jogging, bicycling and solving the NewYorkTimes Sunday crossword puzzle.

TonyKishmanActor, singer, andrecording artist TonyKishman doubles asfeatured performerand producer of

Live and Let Die, in which he performs themusic of Paul McCartney, backed by asymphony orchestra.Tony also developedand stars in the Beatles tribute show,Twist and Shout.

Mr. Kishmann starred for six years inboth the national and international toursof Broadway’s smash hit, Beatlemania.From the start, he has been regarded asthe quintessential Paul McCartney becauseof the gifted young musician’s uncannyresemblance both visually and vocallyto the beloved Beatle. Mr. Kishman wasjust a young kid from Tucson when hefirst auditioned for Beatlemania in 1977.He worked up “Can’t Buy Me Love,”“Yesterday,” and “Hey Jude” to the pointwhere he learned just enough piano toget him through the audition. He wasso compelling that they hired himimmediately and he soon started touringthe world.

While performing in London, thegroup received high acclaim from SirGeorge Henry Martin, who admittedtheir look and sound was as close to thereal thing as it could possibly be.“At timesI drifted,” he told Mr. Kishman, and addedthat each song reminded him of his timewith the Beatles in the studio.

During the 1990s, Mr. Kishman joinedthe classic recording group Wishbone Ashas bassist and vocalist. He recorded leadvocals for Illuminations, the band’s firststudio album in nearly a decade.

He also performs in the well knownand highly successful Beatles symphonyshow,Classical Mystery Tour, which hastoured to great acclaim, filling concerthalls throughout the U.S. and Europe.

Today, Mr. Kishman still plays the originalHoffner Bass that was provided to him bythe producers of Beatlemania in 1978.Withonly a few string changes over the years,the bass has maintained its authenticity.

Kishhman is regarded by “Beatlemaniacs”as the world’s best McCartney look-alike/sound-alike. Even after 30 years,Mr. Kishman is proud to bring the mostbrilliant pop music in history to a newgeneration of Beatles fans.

He has recorded for RCA Records andMercury Records.

Jim OwenSinger, arranger andmusician Jim Owenwas just 16 whenhe made his firstprofessional appear-ance in a Beatles

tribute band. By the time he was 18, hewas touring internationally with variousproductions of Beatlemania, visiting Japan,Korea, China, Canada, Mexico and SouthAmerica, and performing his Beatlestribute in concert halls, theatres, andstadiums around the world.

In addition to his featured role inTwist & Shout, he currently stars in thesymphonic Beatles show,Classical MysteryTour, which he developed and produced,and in Tony Kishman’s symphonicMcCartney review, Live and Let Die.Thesuccess of these projects has given Owennotoriety in his own right as a producerand band leader, and represents the fulfil-ment of his dream to share with the publiclive performances of some of the greatestmusic ever written and recorded.

Mr. Owen was born and raised inHuntington Beach, California. He beganstudying piano at 6 and won honors invarious piano performance competitionsthrough his teenage years. He was 8 yearsold when he first heard the Beatles andpromptly decided to take up the study ofthe guitar.

JohnMerjaveJohn Merjave hasbeen singing andplaying instrumentssince he was veryyoung. He started as

a drummer until a high school garageband led him to the guitar, which he hasbeen playing ever since. He continues towrite and play music with his band 27West and collaborator Kevin Thomas.

John Merjave began playing in theBeatles’ tribute band Liverpool in 2001and has been playing the George Harrisonlead guitar role ever since. Liverpool is theofficial house band of The Fest for BeatleFans, a convention that occurs annually inNewYork City and Chicago, among othercities. Liverpool has also played backup forDonovan, Billy Preston, Ronnie Spector,Alan Parsons, Billy J. Kramer, Earl Slick,Joey Molland of Badfinger, Mark Hudsonand Neil Innes and others.

John Merjave also plays cover andoriginal songs with other bands includingStump the Band, Big Girls Blouse, FattElizabeth (NYC’s premier Thin LizzyTribute), Eileen Fogarty & theVery Best,Delilah,The Bob Burger Band,The CaraDiNorcia Band, Glen Burtnik & friends,Beatlestock, Modulo Tre and Bubble. In2010 he joined a new project,Three ofa Kind, a power trio with bassist/vocalistMick Redmond (The Lookalikes & BigGirls Blouse) and drummer John Mullane(The Raw Poets).

ChrisCamilleriBorn and raisedon Long Island,NewYork, ChrisCamilleri startedlistening to Beatles

records at a young age and, inspiredby Ringo, took up the drums, the instru-ment to which he has devoted hisprofessional career.

Mr. Camilleri has played drumsfor major classic rock touring artists,including Peter Noone (of Herman’sHermits fame), Badfinger, Micky Dolenzof The Monkees, Joe Walsh and otherBeatles-era bands.

MIC

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MIC

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32 Overture

programnotes



The Gold Rush

Charles SpencerChaplin, Jr.Born in London, April 16, 1889; died in Vevey,Switzerland, December 25, 1977

When Charles Spencer Chaplin, Jr. wasborn in a working-class South Londonneighborhood in 1889, his situation hardlysuggested a glorious future. His father,Charles Sr., was a modestly successfulsinger/actor in the London music halls ofthe day, but he was also an alcoholic whoabandoned Charlie and his mother soonafter the boy was born. Charles Sr. died at37. His mother, Hannah, was also a variety

performer, but her singing voice gave outearly and she was barely able to supportCharlie and his older half-brother Sydney.The family spent several periods living inworkhouses, and the mentally unstableHannah was committed more than onceto an asylum.

Young Charlie’s budding performingtalent provided the way out of thesemiserable circumstances.At age 9, hebecame a singing member of The EightLancashire Lads, which appeared inLondon and on tours around England.Soon he was in demand as a child actor,specializing in the cheeky role of Billy theMessenger in several Sherlock Holmesplays. Chaplin’s big break came early in1908, when the 18-year-old became afeatured performer with the very popularFred Karno Company, soon becoming one

of its stars. In 1910, the Karno Companytoured America, and Chaplin got his firstglimpse of NewYork City and California.

After another Karno American tour,Chaplin decided to try his luck in silentfilm. Late in 1913, he signed a contract withMack Sennett’s Keystone Film Companyand moved to Hollywood. Renowned fortheir hyperkinetic Keystone Cops, Sennett’sfilms were hastily shot one-reelers some-times lasting as little as five minutes; Chaplinappeared in 35 of them before movingon to the Essanay studios in 1915. Nowdirecting his films as well as acting in them,he introduced the world to his signaturecharacter in TheTramp, released in 1915.

Chaplin recalled that his beloved gentle-man tramp with the inimitable rolling walk,originally invented for Sennett in 1914, wasa sudden inspiration, undoubtedly based oncharacters he had observed growing up onLondon’s meaner streets.“I had no idea ofthe character,” he wrote in MyAutobiography,“but the moment I was dressed, the clothesand the makeup made me feel the personhe was. I began to know him, and by thetime I walked onto the stage, he was fullyborn.When I confronted Sennett, I assumedthe character and strutted about, swingingmy cane and parading before him.”

Audiences loved the LittleTramp, andby 1917, Chaplin had signed an annualmillion-dollar contract with First NationalExhibitors Circuit and was able to build hisown Los Angeles studios, designed to looklike a little English Cotwolds village. Fromthen on, he would run his own show: writ-ing his scenarios, casting his actors, directingand editing his films, as well as starring inthem.A series of brilliant comedies featur-ing the LittleTramp followed:A Dog’s Life,The Idle Class,The Kid,The Circus, and his1924 masterpiece,The Gold Rush.

The Gold Rush

In 1919, Chaplin joined with DouglasFairbanks and Mary Pickford to form theUnited Artists production company. Hissecond film for United Artists,The GoldRush, was the most daring film he’d everattempted: a full-length film with an epicsetting in which the LittleTramp engagesin a battle of survival against the forces ofnature and his fellow men.The genius ofthe film is that it transforms the grimmestcircumstances into timeless comedy.

Charlie Chaplin’s The Gold Rush



MARIN ALSOP



Charlie Chaplin The Gold Rush*Arr. Brock

*The Gold Rush by Charles Chaplin©Copyright 1942 by Roy Export Company Establishment (Copyright Renewed)

This Arrangement ©Copyright 2007 by Roy Export Company EstablishmentPublished by Bourne Co., NewYork, NY All Rights Reserved

International Copyright Secured

There will be no intermission at this performance.

The concert will end at approximately 9:40 p.m. on Saturday,and 4:40 p.m. on Sunday.


��

Saturday, April 16, 2011 8 p.m.


March 4, 2011 – April 29, 2011 33

programnotes

In MyAutobiography, Chaplin recalledthe film’s genesis.“I kept saying to myself:‘This next film must be an epic! Thegreatest!’ But nothing would come.Thenone Sunday morning ... I sat with Douglas[Fairbanks] after breakfast, looking atstereoscopic views. Some were of Alaska andthe Klondike; one a view of the ChilkootPass, with a long line of prospectors climb-ing up over its frozen mountain, with acaption printed on the back describing thetrials and hardships endured in surmountingit. ... and, although I had no story, theimage of one began to grow.

“In the creation of comedy, it isparadoxical that tragedy stimulates the spiritof ridicule, because ridicule, I suppose, is anattitude of defiance:We must laugh in theface of our helplessness against the forcesof nature—or go insane. I read a bookabout the Donner party who, on the wayto California, missed the route and weresnowbound in the mountains of SierraNevada. ... Some resorted to cannibalism ...others roasted their moccasins to relievetheir hunger. Out of this harrowing tragedy,I conceived one of our funniest scenes.In dire hunger I boil my shoe and eat it,picking the nails as though they were bonesof a delicious capon, and eating theshoe-laces as though they were spaghetti.”

The Chilkoot Pass was the formidableobstacle would-be prospectors had tosurmount on their way to the Klondikegold fields in the CanadianYukon duringthe late 1890s. For The Gold Rush’s openingscene, Chaplin recreated that period photoby transporting 600 extras—many of theminmates of California prisons—toTruckee,California, high in the snowy SierraNevada; two weeks were required to shootthat sequence lasting only a few seconds.The remainder of the film was shot atChaplin’s Hollywood studios.

Leavening the life-and-death battlesbetween the LittleTramp and the elementsis his gentle but tenacious pursuit of theenchanting Georgia (played by Chaplin’slatest discovery, 19-year-old GeorgiaHale), whom he meets at the mining town’sdance hall.This part of the story producesone of the greatest of all Chaplin scenes: adream sequence in which he performs thecelebrated “Dance of the Rolls” for Georgiaand her dance-hall friends.

The Gold Rush was premiered in June1925 and became one of Chaplin’s greatesthits. In 1942, he extensively revised the filmand re-released it with a spoken narrativethat he delivered himself and a musical scorehe had created with the assistance of MaxTerr; it is this version we will be viewing.

The Music for The Gold Rush

The arrival of sound gave Chaplin adelightful new possibility: He could nownot only write, direct and act, but alsocreate the music for his films.City Lights in1931 was his first film score, and from thenon, he composed the music for all his films.Though not a trained musician, all his lifeChaplin adored music and even taughthimself to play violin left-handed, a pipeorgan and a Steinway grand. ComposerDavid Raksin, who worked with him onthe score for ModernTimes, rememberedhim as a musical magpie who pulled ideasfrom everything he’d heard.

Because he lacked the musical trainingto note down his ideas, Chaplin relied onarrangers to elaborate and orchestrate the

themes that he sang or played on the piano.For the orchestrations, he preferred thestrings, and his musical collaborator EricJames wrote that he had to be restrainedfrom using his favorite instrument, the cello,for all his serious or romantic themes.

With his instinctive dramatic andmusical sensibility, Chaplin knew exactlywhat sort of music his films needed.“I triedto compose elegant and romantic music toframe my comedies in contrast to thetramp character, for elegant music gave mycomedies an emotional dimension. Musicalarrangers rarely understood this.Theywanted the music to be funny. But I wouldexplain that I wanted no competition,I wanted the music to be a counterpoint ofgrace and charm, to express sentiment,without which, as Hazlitt says, a work ofart is incomplete.”

Instrumentation: two flutes, piccolo, oboe,English horn, three clarinets, bass clarinet,bassoon, two horns, two trumpets, twotrombones, tuba, timpani, percussion, harp,piano, celeste, accordion and strings.Notes by Janet E. Bedell, copyright 2011

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34 Overture

programnotes

CorneliusMeisterIn 2009, CorneliusMeister was namedChief Conductorand Artistic Directorof theVienna Radio

Symphony Orchestra. His post began withthe 2010-2011 season. He remains ChiefConductor of the Philharmonic Orchestraof the City of Heidelberg, a post he has heldas head of both the Symphony and Operasince the 2005-2006 season.

In recent years, Mr. Meister has madesome important international debuts: InJapan he conducted Fidelio at the NewNationalTheatreTokyo. In autumn 2007,Mr. Meister made his Paris debut conduct-ing Strauss’s Also sprach Zarathustra with theorchestra of L’Opéra de Paris. He made hisU.S. debut with the Indianapolis SymphonywithTruls Mørk as soloist.

In Germany, Mr. Meister has been aguest conductor with renowned orchestrassuch as the NDR Symphony OrchestraHamburg, the Bavarian State Orchestra, the

Radio Symphony Orchestra Berlin as wellas the Bavarian Radio Symphony Orchestraand the Dresden Philharmonic. He madehis United Kingdom debut with the BBCPhilharmonic and has also conducted theBournemouth Symphony Orchestra.

Much in demand as an opera conductor,he is a regular guest at many great operahouses. Highlights have included theGerman premiere of Peter Eötvös’s Angelsin America at the Hamburg State Opera, anda revival ofWagner’s Der fliegende Holländerat the Bavarian State Opera Munich.

Born in Hannover, Germany in 1980,Mr. Meister studied piano and conductingat the Music Academy in Hannover withKonrad Meister, Zvi Meniker, Martin Braußand Eiji Oue, and in Salzburg with DennisRussell Davies and Karl Kamper. For the2004 Bayreuth Festival, he assisted PierreBoulez for the production of Parsifal.

JonathanCarneyBSO ConcertmasterJonathan Carneybegins his ninthseason with theBaltimore Symphony

Orchestra after 12 seasons with London’sRoyal Philharmonic Orchestra.

Born in New Jersey, Mr. Carney hailsfrom a musical family with all six membershaving graduated fromThe Juilliard School.After completing his studies with IvanGalamian and Christine Dethier, he wasawarded a Leverhulme Fellowship tocontinue his studies at the Royal Collegeof Music in London.

After enjoying critically acclaimedinternational tours as both concertmasterand soloist with numerous ensembles, hewas invited byVladimir Ashkenazy tobecome concertmaster of the RoyalPhilharmonic Orchestra in 1991. He wasalso appointed concertmaster of theBournemouth Symphony Orchestra in1994 and the Basque National Orchestrain 1996. Recent solo performances haveincluded concertos by Bruch, Korngold,Khatchaturian, Sibelius, Nielsen, the BrahmsDouble Concerto and VaughanWilliams’The Lark Ascending. He has made a numberof recordings, including concertos byMozart,Vivaldi and Nielsen; sonatas byBrahms, Beethoven and Franck; and a disc

Brahms’ Second Symphony



MARIN ALSOP


Cornelius Meister Conductor

Jonathan Carney Violin

Bedrich Smetana Overture to The Bartered BrideArr. by Gustav Mahler

Max Bruch Violin Concerto No. 2 in D Minor,Op. 44

Adagio ma non troppoRecitative:Allegro moderatoFinale:Allegro molto

JONATHAN CARNEY

INTERMISSION

Johannes Brahms Symphony No. 2 in D Major, Op. 73Allegro non troppoAdagio non troppoAllegretto grazioso (Quasi andantino)Allegro con spirito


Media Sponsor: WYPR 88.1 FM

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Thursday, April 28, 2011 8 p.m.

Friday, April 29, 2011 8 p.m.

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March 4, 2011 – April 29, 2011 35

of virtuoso works by Sarasate andKreisler with his mother Gloria Carney aspianist. New releases include Beethoven’sArchduke and Ghost trios, the cello quintetof Schubert and a Dvorák disc with theTerzetto and four Romantic piecesfor violin.


Overture to The Bartered Bride

Bedrich SmetanaBorn in Litomysl, Bohemia, March 2, 1824;died in Prague, May 12, 1884

Antonín Dvorák may be the most famousof Czech composers, but Bedrich Smetanawas the man who first brought Czech folkidiom into the concert hall and operahouse.The son of a brewer, Smetana foundlittle opportunity for his musical ambitionsin Bohemia and moved abroad to pursuehis career. But when a competition for anopera in Czech was announced in 1861 thetime was ripe to return from Sweden.

In 1863, he won the competition withhis first opera,The Brandenburgers in Bohemia,and swiftly moved on to a second,TheBartered Bride.The story is a comic slice oflife in a rural Czech village. Marenka andJeník are in love, but Marenka’s parents favora match with the witless and unattractiveVasek, son of the wealthy farmer Mícha.The village marriage broker induces Jeníkto renounce his sweetheart for the sum of300 gulden; Jeník agrees, with the provisothat Marenka shall marry no one but a sonof Mícha.The girl is broken-hearted butJeník reveals that he is the long-lost son ofMícha and is recognized by his father.Truelove triumphs after all.

Premiered on May 30, 1866,The BarteredBride initially displeased the wealthy Pragueaudiences, who found its rural tale toodown-market for their tastes. But after anumber of revisions, Smetana’s score wonfavor not only in Prague. Its vivaciousoverture is one of the most popular of allcurtain-raisers. From its opening gesture ofa jubilant crowd on carnival day to itsbustling string fugues suggesting the villagegossips at work, it perfectly establishes themood of the comedy to follow.

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

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36 Overture

programnotes

Violin Concerto No. 2 in D Minor

Max BruchBorn in Cologne, Germany, January 6, 1838;died in Friedenau, near Berlin, October 20, 1920

Though he didn’t play the instrumenthimself, Max Bruch was in love with theviolin. He said this instrument “can sing amelody better than the piano, and melody isthe soul of music.” Bruch wrote nine worksfor violin and orchestra, but one stood out:the FirstViolin Concerto in G Minor.

Jonathan Carney will introduce us to therelatively unknown SecondViolin Concertoin D Minor, an unconventional work worthdiscovering. It was born in 1877 because ofBruch’s admiration of the playing of theSpanish virtuoso Pablo Sarasate, with whomthe composer had recently performed thatubiquitous First Concerto.

According toWilhelm Altmann, Sarasateinfluenced the unusual form of this concer-to by suggesting a dramatic program forthe work based on the CarlistWar in Spain.Christopher Fifield in his biography ofBruch gives this description:“In the firstmovement (Adagio), the battlefield is litteredwith the dead and the dying, among whoma young woman searches for the man sheloves, and a funeral march accompaniesa burial procession.”

Normally concertos open with a move-ment of relatively fast tempo: an Allegro thatpresents the soloist in an active, technicallyvirtuosic manner.The melancholy dramaand relatively understated role for the soloistof the Second’s slow first movement attract-ed much criticism at the time. Nevertheless,Bruch believed it to be a finer movementthan anything in his First Concerto.

This first-movement battlefield sceneopens with a dark-toned orchestral chord ofD minor, which swells and then fades.Theviolin sings twice a lament stressing beautyof tone and poignant expression, before theorchestra vigorously suggests a more martialidea.Adopted briefly by the violin, thisbridges to the heart-on-sleeve second theme,which initially droops gracefully downward,but then soars to the instrument’s highestrange, climaxing in a series of ascendingtrills.The development section focuses onthe orchestra’s fanfare idea interspersed withfragments of the violin’s lamenting themebefore the orchestra takes over the melody.

The Allegro moderato second move-ment is also unusual in form and style.

Labeled “Recitativo,” it contrasts solemnmusic for the orchestra with dramatic utter-ances for the violin that resemble the criesof a tragic operatic heroine.This strikinglytheatrical music links directly to the finale.

The Allegro molto finale takes theupward-leaping figures of the violin’srecitative and transforms them into a theme,which begins buzzing in the violin’s altoregister but ultimately rises to its nose-bleedtop. Reportedly, this music was intended todepict the gallant activities of a cavalryregiment, but in fact, it represents the kindof technical display piece that most effectiveconcerto last movements strive to be.

Instrumentation: two flutes, two oboes, twoclarinets, two bassoons, four horns, two trum-pets, three trombones, timpani and strings

Symphony No. 2 in D Major

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

Johannes Brahms’ composing retreat duringthe summer of 1877 played an importantrole in the character of his richly melodiousSecond Symphony. By the time he reachedmiddle age, Brahms did most of his compos-ing during the summer. Finding a placeconducive to creativity became all-importantto him; in the mountain resort of Pörtschachon theWörtersee lake in southern Austriahe discovered an oasis so ideal he spent threesummers there, the next summer (1878)composing theViolin Concerto.

Many commentators, comparingBrahms’ pairing of a heroic symphony inC minor and a lighter successor symphonywith Beethoven’s similarly contrasting Fifth(also in C minor) and Sixth symphonies,have called the Second Brahms “Pastoral”:a nature symphony full of “sunshine.” Butsuch comparisons can be misleading.Although it has Brahms’ most joyous finale,the Second Symphony is still a densely con-structed, with a undercurrent of melancholy.

First movement: The symphony growslike a mighty oak from the seeds of its firstthree notes—D dropping a half step toC-sharp and returning to D—heard in thecellos and basses. From this seed motive, andits inverted form with the middle noterising a step, heard a few measures later inthe horn melody, will sprout many of thethemes in all four movements.The warm,Romantic timbre of the horns lends the

opening theme an autumnal glow. Moreardent is an soaring melody for the violinsbuilt from the three-note seed. But thismovement’s most famous tune is the“second subject” theme: a stately waltz sungby the cellos and violas, the cellos on topfor maximum richness.

Brahms shows off his formidablecontrapuntal skills in the developmentsection with a powerful, fugal treatment ofthe horns’ opening theme.The violins’arching theme also is worked out while thethree-note seed motive is tossed continuallyfrom instrument to instrument.After therecapitulation, Brahms lightens the moodbriefly for a rhythmically playful coda.

But immediately the music darkens againfor the brooding B-major second move-ment with its magnificent long melody forthe cellos, full of yearning for some unat-tainable happiness.The meter then switchesto 12/8 for a rhythmically halting, frustratedtheme for the woodwinds.A turbulentdevelopmental section subsides into reveriesof the main cello theme, then a full returnof the melody, which the violins take overin a smoothed-out triplet version.

While the first two movements wanderin the shadows, the third and fourth move-ments dwell in sunshine.The third move-ment is a charming Brahmsian intermezzo.The oboes present the principal theme,derived from the three-note seed motive; itsfreshness at last gives us a glimpse of sum-mertime by a mountain lake. It returnstwice more, with two exuberant danceepisodes led by strings in between; despitetheir different meters and fast tempos, theyare actually variations of the oboes’ melody.

The finale’s mysterious, vague openinghardly prepares us for the true mood of thismovement, but it soon explodes in a fortissi-mo blaze of sound.The second theme isanother mellow Brahmsian melody, full ofmature contentment, offered by the stringsin their deepest, richest register. Rhythmicverve and games of “where’s the beat” add tothis movement’s excitement.The coda is anoutburst of utterly uninhibited joy withthe mellow theme ultimately sped up andblazing forth in triumph from the trumpets.

Instrumentation: two flutes, two oboes,two clarinets, two bassoons, four horns,two trumpets, three trombones, tuba,timpani and strings.Notes by Janet E. Bedell, copyright 2011

March 4, 2011 – April 29, 2011 37

SYMPHONY FUND HONOR ROLLT H E B A L T I M O R E S Y M P H O N Y O R C H E S T R A

Maestra’s Circle

Founder’s Circle

November 1, 2009 – January 1, 2011

The Century Club

Individuals

In loving memory of Charles A. Wunder, long-time supporter,Governing Member and true BSO enthusiast.

WE ARE PROUD to recognize the BSO’s Symphony Fund Members whose generousgifts to the Annual Fund between November 1, 2009 – January 1, 2011 helped theBaltimore Symphony Orchestra further its mission: “To make music of the highestquality, to enhance Baltimore and Maryland as a cultural center of interest, vitalityand importance and to become a model of institutional strength.”

$50,000 or moreThe Charles T. Bauer FoundationJessica and Michael BronfeinMr. and Mrs. George L. Bunting, Jr.Dr. and Mrs. Thomas PozefskyRifkin, Livingston, Levitan and Silver, LLCMr. and Mrs. Alan M. Rifkin

Esther and Ben Rosenbloom FoundationMichelle G. and Howard Rosenbloom

Dr. and Mrs. Solomon H. Snyder

$25,000 or moreHerbert Bearman Foundation, Inc.Dr. Sheldon and Arlene Bearman

Caswell J. Caplan Charitable Income TrustsConstance R. Caplan

Dr. Perry A. Eagle,* Ryan M. Eagle,and Bradley S. Eagle

Frances Goelet Charitable TrustDr. and Mrs. Philip Goelet

Mr. and Mrs. Kingdon GouldMr. and Mrs. Benjamin H. Griswold, IVMr. and Mrs. H. Thomas Howell

The Huether-McClelland FoundationGeorge and Catherine McClelland

Margaret Powell Payne*Bruce and Lori Laitman RosenblumMr. and Mrs. Richard RudmanThe Honorable Steven R. SchuhDorothy McIlvain ScottIda & Joseph Shapiro FoundationDiane and Albert* Shapiro

Jane and David SmithEllen W.P. Wasserman

$15,000 or moreAnonymous (1)Donna and Paul AmicoRichard BurnsMr. and Mrs. Robert CouttsThe Dopkin-Singer-DannenbergFoundation, Inc.Mrs. Margery Dannenberg

Mr. Kenneth W. DeFontes, Jr.George and Katherine DrastalCarol and Alan EdelmanMs. Susan Esserman andMr. Andrew Marks

Anne B. and Robert M. EvansJudi and Steven B. FaderFamily Foundation

Mr. and Mrs. Douglas Hamilton

Mr. and Mrs. Richard E. HugBeth J. Kaplan and Bruce P. SholkSarellen and Marshall LevineJon and Susan LevinsonSusan and Jeffrey* LissRuth R. Marder*Mr. and Mrs. Michael P. PintoGar and Migsie RichlinDr. Scott and Frances RifkinMr. George A. RocheRona and Arthur RosenbaumLainy LeBow-Sachs and Leonard R. SachsMr. and Mrs. Stephen D. ShaweShepard Family FoundationDonald J. and Rose Shepard

Joanne Gold and Andrew A. SternDavid and Chris Wallace

$10,000 or moreAnonymous (1)Mr. and Mrs. Edward J. AdkinsJean and John BartlettMr. and Mrs. Douglas BeckerEric and Jill BeckerMr. and Mrs. Ed BernardMr. and Mrs. A.G.W. Biddle, IIIRobert L. Bogomolny and Janice ToranMr. Robert H. BoublitzEllyn Brown and Carl J. SchrammMs. Kathleen A. Chagnon andMr. Larry Nathans

Chesapeake PartnersJudith and Mark CoplinThe Cordish Family FundSuzi and David Cordish

The Baltimore Symphony Orchestra isdeeply grateful to the individual, corporate,foundation and governmental donors whosecumulative annual giving of $100,000 or moreplays a vital role in sustaining the Orchestra’smagnificent tradition of musical excellence.

Marin AlsopThe Baltimore OriolesGeorgia and Peter Angelos

The Baltimore Symphony AssociatesWinnie Flattery, President

Mayor and City Council ofBaltimore City

Baltimore County Executive &County Council

Joseph and Jean Carando*Adalman-Goodwin FoundationHilda Perl and Douglas*Goodwin, Trustees

Hecht-Levi FoundationRyda H. Levi* and Sandra Levi Gerstung

Maryland Department of Business andEconomic Development

Maryland State Arts Council

The Andrew W. Mellon FoundationJoseph & Harvey Meyerhoff FamilyCharitable Funds

Robert E. Meyerhoff and Rheda BeckerMr. and Mrs. Arthur B. ModellMontgomery County Arts andHumanities Council

PNCHenry and Ruth Blaustein RosenbergFoundation and Ruth Marder*

Howard A. and Rena S. Sugar*The Whiting-Turner Contracting CompanyMr. and Mrs. Willard Hackerman

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38 Overture

Individuals (continued)Governing MembersPlatinum $7,500 or moreDeborah and Howard M. BermanMr. Andrew BuergerDrs. Sonia and Myrna EstruchMr. and Mrs. Bill NerenbergDr. and Mrs. Anthony PerlmanAlison and Arnold RichmanMr. and Mrs. W. Danforth Walker

Governing MembersGold $5,000 or moreMr. and Mrs. John W. BeckleyBarry D. and Linda F. BermanJohn and Bonnie BolandThe Bozzuto FamilyCharitable Fund

Ms. Mary Catherine BuntingMr. and Mrs. Robert ButlerNathan and SuzanneCohen Foundation

Dr. and Mrs. Stephen P. CohenMr. and Mrs. William H. Cowie, Jr.Faith and Marvin DeanRonald E. DenckerMr. and Mrs. James L. DunbarMs. Margaret Ann FallonAndrea and Samuel FineJohn GidwitzSandra and Barry GlassBetty E. and Leonard H. GolombekMr. and Mrs. Stewart GreenebaumVenable FoundationMr. and Mrs. Jan Guben

Mrs. Anne HahnMrs. Catharine S. Hecht*Susan and Steven ImmeltMiss Frances A. Kleeman*Kohn FoundationDr. and Mrs. Yuan C. LeeDiane and Jerome MarkmanEileen A. and Joseph H. MasonDan and Agnes MazurNorfolk Southern Foundation

McCarthy Family FoundationMrs. Kenneth A. McCordMr. and Mrs. Gerald V. McDonaldDrs. William andDeborah McGuire

Paul Meecham and Laura LeachDr. and Mrs. John O. MeyerhoffMr. and Mrs. Neil MeyerhoffMr. Hilary B. MillerMargot and Cleaveland Miller

Jolie and John MitchellDrs. Virginia and Mark MyersonDr. A. Harry OleynickDavid and Marla OrosDr. and Mrs. David PaigeLinda and Stanley PanitzMrs. Margaret PenhallegonDr. Todd Phillips andMs. Denise Hargrove

The Ross & Grace PierpontCharitable Trust

Helene and Bill PittlerJane S. Baum Rodbell andJames R. Shapiro

Mr. and Mrs. William RogersMike and Janet RowanMs. Tara Santmire andMr. Ben Turner

Mr. and Mrs. J. Mark SchapiroMr. Greg ScudderRonald and Cathi ShapiroFrancesca Siciliano andMark Green

Mr. and Mrs. Harris J. SilverstoneMs. Patricia StephensMs. Loretta Taymans*Dr. and Mrs. Carvel TiekertMr. and Mrs. Peter Van DykeMr. and Mrs. Richard VogtMr. and Mrs. Loren WesternMr. and Mrs. LeRoy A. Wilbur, Jr.Wolman Family FoundationLaurie S. Zabin

Governing MembersSilver $2,500 or more“In memory of ReverendHoward G. Norton andCharles O. Norton”

Anonymous (5)Diane and Martin* AbeloffDr. and Mrs. Robert J. AdamsJulianne and George AldermanDr. and Mrs. Thomas E. AllenMr.* and Mrs. AlexanderArmstrong

Jackie and Eugene AzzamMr. and Mrs. Thomas H.G.Bailliere, Jr.

Dr. and Mrs. Wilmot C. Ball, Jr.Donald L. BartlingKenneth S. Battye*The Legg & Co. Foundation

Hank BauerDr. and Mrs. Theodore M. Bayless

Dr. Neil W. Beachand Mr. Michael Spillane

Lynda and Kenneth BehnkeDr. and Mrs. Emile A. BenditMs. Arlene S. BerkisMax Berndorff and Annette MerzAlan and Bunny BernsteinDr. and Mrs. Mordecai P. BlausteinRandy and Rochelle BlausteinMr. Gilbert BloomDr. and Mrs. Paul Z. BodnarCarolyn and John BoitnottMr. and Mrs. John M. Bond, Jr.Mr. and Mrs. Charles R. BoothDr. and Mrs. Stuart H. BragerDr. Rudiger andRobin Breitenecker

Mr. and Mrs. Leland BrendselMrs. Elizabeth A. BryanDr. Robert P. BurchardLoretta CainMr. and Mrs. S. Winfield CainJames N. Campbell M.D. andRegina Anderson M.D.

Michael and Kathy CarducciMr. and Mrs. Arthur ChomasMs. Susan ChouinardCorckran Family CharitableFoundationMr. and Mrs. John C.Corckran, Jr.

Mr. and Mrs. David S. CohenMr. Harvey L. Cohen andMs. Martha Krach

Mrs. Miriam M. CohenJoan Piven-Cohenand Samuel T. Cohen

Mr. and Mrs. Elbert ColeMr. and Mrs. Kerby ConferMr. and Mrs. John W. Conrad, Jr.Dr. and Mrs. David CooperJane C. CorriganMr. and Mrs. Charles C.Counselman, Jr.

Mrs. Rebecca M. Cowen-HirschAlan and Pamela CressmanDr. and Mrs. George CurlinMr. and Mrs. EdwardA. Dahlka, Jr.

Mr. and Mrs. William F. DauschRichard A. Davis and EdithWolpoff-Davis

James H. DeGraffenreidtand Mychelle Y. Farmer

Kari Peterson, Benito R.and Ben DeLeon

Arthur F. and Isadora DellheimFoundation, Inc.

Drs. Susan G. Dorsey andCynthia L. Renn in honorof Doris A. and Paul J. Renn, III

Mr. and Mrs. A. Eric DottDr. and Mrs. Daniel DrachmanMr. and Mrs. Larry D. DroppaBill and Louise DuncanDr. and Mrs. Donald O. FedderDr. and Mrs. Arnold S. FeldmanMr. and Mrs. Maurice R. FeldmanSherry and Bruce FeldmanMr. Stephen W. FisherWinnie and Bill FlatteryMs. Lois FlowersDr. and Mrs. Giraud FosterMr. and Mrs. John C. FrederickMr. and Mrs. Kenneth FreedMs. Lois FussellMr. and Mrs. Frank GallagherJohn Galleazzi andElizabeth Hennessey

Ms. Ethel W. GalvinDr. Joel and Rhoda GanzMichael GaschMr. Ralph A. GastonMr. and Mrs. Ramon* F. GetzovMrs. Ellen Bruce GibbsMr. and Mrs. Joseph S. Gillespie, Jr.Mr. Robert Gillison andMs. Laura L. Gamble

Ms. Jean GoldsmithMr. Mark Goldstein,Paley Rothman

Brian and Gina GracieMr. and Mrs. Leonard L. Greif, Jr.Mrs. LaVerne GroveMs. Mary Therese GyiMs. Louise A. HagerCarole Hamlin andC. Fraser Smith

Melanie and Donald HeacockDale C. HeddingMr. and Mrs. Edward HeineSandra and Thomas HessMr. Thomas HicksBetty Jean and Martin S.Himeles, Sr.

Mr. and Mrs. Samuel HimmelrichMs. Marilyn J. HoffmanBetsy and Len HomerMr. and Mrs. Jack* HookMr. and Mrs. J. WoodfordHoward, Jr.

Mr. and Mrs. A.C. Hubbard, Jr.

Mr. and Mrs. William HughesElayne and Benno HurwitzSusan and David HuttonDr. Richard JohnsRichard and Brenda JohnsonNelson and Brigitte KandelMr. and Mrs. Harry KaplanMary Ellen and Leon KaplanBarbara and Jay KatzSusan B. KatzenbergLouise and Richard KemperMr. and Mrs. E. Robert Kent, Jr.Suzan Russell KiepperMr. and Mrs. Young KimDr. and Mrs. Richard A. KlineMr. and Mrs. Steven S. KorenBarbara and David KornblattMs. Patricia Krenzkeand Mr. Michael Hall

Miss Dorothy B. KrugMr. William La CholterMarc E. Lackritz andMary B. DeOreo

Sandy and Mark LakenDr. and Mrs. Donald LangenbergMr. and Mrs. Luigi LavagninoDr. George T. LazarDr. David Leckrone andMarlene Berlin

Mr. and Mrs. Howard LehrerClaus Leitherer and Irina FedorovaRuth and Jay LenrowDr. and Mrs. Harry Letaw, Jr.C. Tilghman LeveringMr. and Mrs. Vernon L. LidtkeDr. Frances andMr. Edward Lieberman

Darielle and Earl LinehanMrs. June Linowitz andDr. Howard Eisner

Dr. James and Jill LiptonDr. Diana Locke andMr. Robert E. Toense

John A. MacCollLouise D. and Morton J. MacksFamily Foundation, Inc./ GenineMacks Fidler and Josh Fidler

Steven and Susan ManekinDr. Frank C. Marino FoundationMr. and Mrs. Abbott MartinDonald and Lenore MartinMaryland Charity CampaignMr. Thomas MayerDr. Marilyn Maze andDr. Holland Ford

Maestra’s Circle (continued)

Individuals

$10,000 or moreMr. and Mrs. H. Chase Davis, Jr.Chapin Davis Investments

Rosalee C. and RichardDavison Foundation

Mr. L. Patrick Deering,Mr. and Mrs. Albert R. Counselman,The RCM&D Foundation and RCM&D, Inc.

Mr. Steve Dollase andMs. Shari Wakiyama

Deborah and Philip EnglishMr. Mark FettingSara and Nelson Fishman

The Sandra and Fred HittmanPhilanthropic Fund

John P. HollerbachRiva and Marc KahnDr. and Mrs. Murray KappelmanMrs. Barbara KinesTherese* and Richard LansburghMr. and Mrs. Samuel G. MacfarlaneMr. and Mrs. Howard R. MajevSally S. and Decatur H. MillerMr. and Mrs. David ModellMr. and Mrs. Charles O. Monk, IIMrs. Violet G. RaumTerry M. and James Rubenstein

Dr. and Mrs. John H. SadlerM. Sigmund and Barbara K. ShapiroPhilanthropic Fund

Dr. and Mrs. Charles I. ShubinMr. and Mrs. Gideon N. Stieff, Jr.The Louis B. Thalheimer andJuliet A. Eurich Philanthropic Fund

Mark and Mary Vail WalshMr. and Mrs. William YeakelThe Zamoiski-Barber-Segal FamilyFoundation

* Deceased

Music Director Marin Alsop joins MayorStephanie Rawlings-Blake at the Gala Celebration

The Gala Celebration kicked off the 2010-2011 seasonwith a concert and reception.

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The Baltimore Symphony Orchestra is fundedby an operating grant from the Maryland StateArts Council, an agency dedicated to cultivating avibrant cultural community where the arts thrive.

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March 4, 2011 – April 29, 2011 39

Stephanie Greenberg and Myrna andSenator Ben Cardin enjoy the Gala Celebration

Governing Members Executive Committee Chair SusanDorsey and Alana Morrall, Director of Individual &Institutional Giving at a Governing Members event.

Mrs. Marie McCormackEllen and Tom MendelsohnSandra L. MichockiMrs. Mildred S. MillerJudy and Martin MintzNorthern Pharmacy andMedical Equipment

Jacqueline and Sidney W. MintzMr. and Mrs. Humayun MirzaMs. Patricia J. MitchellDrs. Dalia and Alan MitnickDr. and Mrs. C.L. MoravecMr. and Mrs. Peter MuncieMrs. Joy MunsterMr. John and Dr. Lyn MurphyLouise* and Alvin MyerbergMr. and Mrs. H. Hudson Myers, Jr.Mr. and Mrs. Rex E. MyersDrs. Roy A. and Gillian MyersHoward NeedlemanPhyllis Neuman, Ricka Neumanand Ted Niederman

David Nickels and Gerri HallNumber Ten FoundationMr. and Mrs. Kevin O’ConnorMrs. Bodil OttesenOlive L. Page Charitable TrustDr. and Mrs. Lawrence C. PakulaEllen and Stephen* PattinBeverly and Sam PennJan S. Peterson and Alison E. ColePeter E. QuintReverend and Mrs. Johnny RamseyNancy E. Randa andMichael G. Hansen

Mr. and Mrs. Frederick RheinhardtNathan and Michelle RobertsonMr. and Mrs. Richard RocaStephen L. Root andNancy A. Greene

Mr. and Mrs. Charles RowinsRobert and Leila RussellT. Edgie RussellMr. and Mrs. Neil J. RutherDr. John Rybock andMs. Lee Kappelman

Dr. and Mrs. Marvin M. SagerDr. Henry SanbornMs. Doris SandersDr. Jeannine L. SaundersMr. and Mrs. David ScheffenackerLois Schenck and Tod MyersMarilyn and Herb* ScherDr. and Mrs. Horst K.A. SchirmerMrs. Roy O. ScholzAlena and David M. SchwaberMr. Jack SchwebelCarol and James ScottCynthia ScottIda & Joseph Shapiro Foundationand Diane and Albert* Shapiro

Mr. Stephen ShepardDr. and Mrs. Ronald F. SherMrs. Suzanne R. SherwoodFrancine and Richard ShureDr. and Mrs. Frederick SieberThe Sidney Silber FamilyFoundation

Mr. and Mrs. Daniel SilverDrs. Ruth and John SingerMr. and Mrs. David Punshon-SmithMs. Leslie J. SmithMs. Nancy E. SmithMs. Patricia SmithMr. Turner B. SmithMr. and Mrs. Lee M. SnyderDr. and Mrs. Charles S. SpechtJoan and Thomas SpenceMelissa and Philip SpevakAnita and Mickey SteinbergMr. Edward SteinhouseMr. and Mrs. Dale StraitMr. Alan Strasser andMs. Patricia Hartge

Susan and Brian SullamMrs. Janis Swan

Mr. and Mrs. Robert TaubmanDr. Bruce T. Taylor andDr. Ellen Taylor

Dr. Ronald J. TaylorMr. and Mrs. Terence TaylorSonia TendlerMs. Susan B. ThomasPaul and Karen TolzmanDr. Jean Townsendand Mr. Larry Townsend

Donna Triptowand Michael Salsbury

In Memory of Jeffrey F. Liss,Dr. and Mrs. Henry Tyrangiel

John and Susan WarshawskyMartha and Stanley WeimanPeter WeinbergMr. and Mrs. Christopher WestMr. Edward WieseDr. and Mrs. Donald E. WilsonMrs. Phyllis Brill Wingrat andDr. Seymour Wingrat*

Mr. and Mrs. T. Winstead, Jr.Laura and Thomas WittMr. and Mrs. Richard WolvenCharles* and Shirley WunderMs. Ellen YankellowDrs. Yaster and ZeitlinChris and Carol YoderMr. and Mrs. Michael YoungPaul A. and Peggy L. YoungNOVA Research Company

Dr. and Mrs. Robert E. Zadek

Symphony SocietyGold $1,500 or moreAnonymous (1)The Becker Family FundMr. and Mrs. Albert BiondoMr. Joseph G. BlockVenable Foundation, Inc.

Steven Brooks and Ann Loar BrooksDr. and Mrs. Donald D. BrownMr. Charles Cahn, IIDonna and Joseph CampMr. Robert M. ChestonMr. and Mrs. Howard CohenDr. and Mrs. Cornelius DarcyDr. and Mrs. Thomas DeKornfeldDonna Z. Eden and Henry GoldbergDr. and Mrs. Jerome L. FlegMr. Ken FrenchJo Ann and Jack Fruchtman, Jr.Mr. and Mrs. Stanford Gann, Sr.Mr. Jonathan GottliebMr. Ronald Griffin and

Mr. Shaun CarrickMrs. Ellen HalleMs. Gloria HamiltonDr. Mary HarbeitnerMr. Gary C. HarnMr.* and Mrs. E. Phillips HathawayMr. and Mrs. George B. Hess, Jr.Donald W. and Yvonne M. HughesBetty W. JensenGail and Lenny KaplanGloria B. and Herbert M.

Katzenberg FundHarriet* and Philip KleinAndrew Lapayowker and

Sarah McCaffertyColonel William R. LeeMr. and Mrs. Jeffrey LegumMs. Susan LevineDr. and Mrs. Michael O. MaganMr. and Mrs. Luke MarburyHoward and Linda MartinMr. and Mrs. Jordan MaxCarol and George McGowanBebe McMeekinAlvin MeltzerMs. Patricia NormileMrs. J. Stevenson PeckThe Pennyghael Foundation, Inc.Mr. and Mrs. John Brentnall PowellMr. Larry PrallMr. Joseph L. PressDr. and Mrs. Richard Radmer

Dr. Tedine Ranich andDr. Christian Pavlovich

Mr. and Mrs. Michael RenbaumMargaret and Lee RomeMartha and Saul RosemanMr. Norm St. LandauMr. and Mrs. William Saxon, Jr.The Honorable William Donald SchaeferMs. Phyllis SeidelsonMr. Jeffrey SharkeyMr. Thom Shipley and

Mr. Christopher TaylorMarshall and Deborah SluyterMr. and Mrs. Edgar SmithMr. and Mrs. Richard D. SperoMrs. Ann SteinMr. James StoreyHarriet StulmanMr. and Mrs. Albert SunMs. Sandra SundeenDr. Martin TaubenfeldDr. Robert E. TrattnerDr. John K. Troyer and

Ms. Ellen Pendleton-TroyerMs. Elyse VinitskyMs. Joan Wah and Ms. Katherine WahMs. Beverly Wendland and

Mr. Michael McCafferyMs. Janna P. WehrleDr. Edward WhitmanDr. Richard Worsham and

Ms. Deborah GeisenkotterMs. Anne WorthingtonMs. Jean WymanDr. Mildred Zinder

Symphony SocietySilver $1,000 or moreDr. John Boronow and Ms. Adrienne

Kols “In memory of John R.H. andCharlotte Boronow”

Mrs. Frank A. Bosworth Jr.“In honor of Marin Alsop”

Mr. Kevin F. Reed“In honor of Steven R. Schuh”

Anonymous (14)Mrs. Rachael AbrahamMr. and Mrs. Ronald AbramsVirginia K. Adams and

Neal M. Friedlander, M.D.Mr. and Mrs. Carter AdkinsonCharles T. and Louise B. AlbertDr. Marilyn AlbertGeorge and Frances AldersonMr. Owen ApplequistMr. Paul AraujoDr. Juan I. ArveloLeonard and Phyllis AttmanMr. William Baer and Ms. Nancy HendryMr. and Mrs. Robert R. BairMrs. Jean BakerMr. George BallMr. and Mrs. L. John BarnesDr. and Mrs. Bruce BarnettMr. and Mrs. Edward BartaMonsignor Arthur W. BastressEric* and Claire BeissingerMr. and Mrs. Charles Berry, Jr.Mr. Edward BersbachDavid and Sherry BerzMr. and Mrs. Edwin and

Catherine BlackaNancy Patz BlausteinMr. James D. BlumNina and Tony BorwickMr. and Mrs. David E. BrainerdM. Susan Brand and John BrandDrs. Joanna and Harry BrandtDr. Helene BreazealeDr. and Mrs. Mark J. BrennerThe Broadus FamilyIvy E. Broder and John F. Morrall, IIIBarbara and Ed BrodyDr. Galen BrooksMr. Gordon BrownMs. Jean B. BrownMs. Elizabeth J. BruenMs. Jeanne BrushMr. Walter BudkoMs. Ronnie Buerger

To learn more about becoming a member, please [email protected] or call 443.783.8124. A contributionto the Baltimore Symphony Orchestra entitles you to specialevents and exclusive opportunities to enhance your BSOexperience throughout the season.

$75 BACH LEVEL MEMBERS• Two complimentary tickets to a Donor Appreciation Concertor event (R)

• BSO Membership Card• Opportunity to purchase tickets prior to public sale*• 10% discount on music, books and gifts at the SymphonyStore and An Die Musik

• Invitation to one Open Rehearsal (R)

$150 BEETHOVEN LEVEL MEMBERSAll benefits listed above, plus …• Invitation to an additional Open Rehearsal (R)• Two complimentary drink vouchers

$250 BRAHMS LEVEL MEMBERSAll benefits listed above, plus …• 10% discount on tickets to BSO performances*• Two additional complimentary tickets to a DonorAppreciation Concert or event (R)

$500 BRITTEN LEVEL MEMBERSAll benefits listed above, plus …• Invitation to the Premium Evening Open Rehearsal (R)• Donor recognition in one issue of Overture magazine• Two additional complimentary drink vouchers• Four complimentary dessert vouchers• Invitation to the Opening Night Celebration Cast Party

$1,000 SYMPHONY SOCIETYAll benefits listed above, plus …• Invitations to additional Cast Parties, featuring BSO musiciansand guest artists (R)

• Year-long donor recognition in Overture magazine• Two complimentary passes to the Baltimore SymphonyAssociates’ Decorators’ Show House

• Two one-time passes to the Georgia and Peter G. AngelosGoverning Members Lounge

• Invitation to Season Opening Gala (R/$)• Invitation for two to a Musicians’ Appreciation event• Opportunity to attend one Governing MembersCandlelight Conversation per year

• Reduced rates for select BSO events

$2,500 GOVERNING MEMBERSAll benefits listed above, plus …• Invitation to exclusive On-Stage Rehearsals (R)• Governing Member Allegretto Dinners (R/$)• Complimentary parking upon request through the Ticket Office• Season-long access to the Georgia and Peter G. AngelosGoverning Members Lounge

• Invitation to the BSO’s Annual Electoral Meeting• VIP Ticket Concierge service including complimentaryticket exchange

• Opportunity to participate in exclusive Governing Membertrips and upcoming domestic tours (R/$)

• Invitation to all Candlelight Conversations (R/$)• Priority Box Seating at the Annual Donor Appreciation Concert

$5,000 GOVERNING MEMBERS GOLDAll benefits listed above, plus …• Complimentary copy of upcoming BSO recording signed byMusic Director Marin Alsop (one per season)

• Exclusive events including meet-and-greet opportunitieswith BSO musicians and guest artists

$10,000 MAESTRA’S CIRCLEAll benefits listed above, plus …• Exclusive and intimate events catered to this special groupincluding post-concert receptions with some of the top artistsin the world who are performing with the BSO

• One complimentary use of the Georgia and Peter G. AngelosGoverning Members Lounge facilities for hosting personalor business hospitality events ($)

(R) Reservation required and limited to a first-come basis.($) Admission fee*Some seating and concerts excluded.

LEGATO CIRCLELegato Circle recognizes those patrons who have included theBSO in their Estate Plans. If you have questions or wish to explorethese arrangements, please call 410.783.8010.

Support your BSO and make a donation today!

Baltimore Symphony OrchestraMembership Benefits 2010-2011 Season

Betty and Leonard Golombek enjoy aGoverning Member’s event with Marilyn Scher.

Bonnie and John Boland dine with Sara Fishmanat a pre-concert Allegretto Dinner.

40 Overture

Individuals (continued)Bohdan and Constance BulawkaMrs. Edward D. BurgerMs. Jennifer BurgyLaura Burrows-JacksonMrs. Mary Jo CampbellRuss and Beverly CarlsonJonathan and Ruthie CarneyMr. and Mrs. Claiborn CarrMr. Richard CerpaMr. David P. ChadwickMr. Mark ChambersBradley Christmas and Tara FlynnDr. Mark Cinnamon and

Ms. Doreen KellyMs. Dawna Cobb and Mr. Paul HullebergJane E. CohenMr. and Mrs. Jonas M.L. CohenMrs. Wandaleen ColeMr. and Mrs. Alan ColegroveMs. Patricia CollinsMs. Kathleen CostlowMr. Michael R. CriderMr. and Mrs. Jeffrey CrooksMr. and Mrs. R. Gregory CukorJohn and Kate D’AmoreMr. and Mrs. Thomas DarrJoan de PontetMr. and Mrs. Anthony DeeringMr. and Mrs. Mathias J. DeVitoMs. Priscilla DiacontMr. Duane Calvin DeVanceJackson and Jean H. DiehlMs. Maribeth DiemerNicholas F. DilielloMrs. Marcia K. DorstMr. and Mrs. Robert DuchesneMs. Lynne DurbinMr. Laurence DusoldMr. Terence Ellen and Ms. Amy BoscovMr. and Mrs. Stuart Elsberg

and the Elsberg Family FoundationMrs. Nancy S. ElsonSharon and Jerry FarberDr. and Mrs. Marvin J. FeldmanMr. and Mrs. Edward Feltham, Jr.Mrs. Sandra FerriterJoe and Laura FitzgibbonDr. Charles W. Flexner and

Dr. Carol TrapnellDr. and Mrs. Nicholas J. FortuinDr. and Mrs. William FoxDr. Neal M. FriedlanderMr. and Mrs. R. FriedlanderMr. and Mrs. Roberto B. FriedmanWilliam and Carol FuentevillaDr. and Mrs. Donald S. GannMr. Ron Gerstley and Ms. Amy BlankMr. and Mrs. Frank A. Giargiana, Jr.Mr. Peter GilMr. Louis GitomerDr. and Mrs. Sanford GlazerMr. Jonathan GoldblithWilliam R. and Alice GoodmanBarry E. and Barbara GordonDrs. Ronald and Barbara GotsDr. and Mrs. Sheldon GottliebMr. Alexander GraboskiLarry D. Grant and Mary S. GrantErwin and Stephanie GreenbergMr. Robert GreenfieldDr. and Mrs. Geoffrey GreifMr. Charles H. GriesackerDr. Diana GriffithsMark and Lynne GrobanMary and Joel GrossmanMr. and Mrs. Stuart GrossmanMr. and Mrs. Donald GundlachMr. and Mrs. Norman M. GurevichMr. and Mrs. J.M. Dryden Hall, Jr.Dr. Jane Halpern and Mr. James B. PettitMs. Lana HalpernMs. Carole Finn HalverstadtMr. Joseph P. Hamper, Jr.Mr. and Mrs. John HansonMr. and Mrs. James A. HarrisDr. and Mrs. S. Elliott HarrisMr. and Mrs. Robert HelmMs. Doris T. HendricksMrs. Ellen Herscowitz

David A. and Barbara L. HeywoodDr. Stephen L. HibertNancy H. HirscheEdward HoffmanMr. and Mrs. John Hornady, IIIMr. Herbert H. HubbardMrs. Madeleine JacobsCarol Jantsch and David MurrayMrs. Janet JeffeinDr. Helmut Jenkner and

Ms. Rhea I. ArnotMrs. Kathy JohnsonMr. R. Tenney JohnsonDr. Richard T. JohnsonMr. and Mrs. Gilbert JonesMr. J. Lee JonesMrs. Helen JordahlMr. Max JordanDr. Robert Lee Justice and

Marie Fujimura-JusticeAnn and Sam KahanDr. Henry KahwatyMrs. Harry E. KarrRichard M. Kastendieck and Sally J. MilesMr. and Mrs. William E. KavanaughDr. and Mrs. Haiq Kazazian, Jr.Mr. Frank KeeganMr. John P. KeyserMr. Andrew KleinGeorge and Catherine KleinPaul and Susan KonkaMr. and Mrs. Lawrence KoppelmanDr. and Mrs. Jeffrey KremenMr. Charles KuningRichard and Eileen KwolekMr. and Mrs. Charles LambSusan and Stephen LangleyJohn and Diane LaughlinMelvyn and Fluryanne LeachMrs. Elaine LebarMr. and Mrs. Charles F. LegtersMr. and Mrs. Jeffrey LemieuxMr. Ronald P. LesserMr. and Mrs. Leonard M. Levering, IIISara and Elliot* LeviDr. and Mrs. Bernard LevyMr. Leon B. LevyMr. Richard LeyMrs. E.J. LibertiniMs. Joanne LinderMr. Dennis LinnellGeorge and Julie LittrellCarol Brody Luchs and Kenneth LuchsDr. and Mrs. Peter C. LuchsingerMs. Louise E. LynchMichael and Judy MaelMs. Joan MartinJane MarvineMr. Joseph S. MasseyDr. and Mrs. Robert D. MathiesonDr. and Mrs. Donald E. McBrienMrs. Linda M. McCabeMr. Thomas B. McGeeMr. and Mrs. James McGillMs. Kathleen McGuireMr. Richard C. McShaneMr. and Mrs. Scott A. McWilliamsMr. and Mrs. David MeeseMr. Timothy MeredithMr. and Mrs. Abel MerrillDaniel and Anne MessinaMs. Shelia MeyersDrs. Alan and Marilyn MillerMrs. Anne MillerMr. Charles MillerMr. and Mrs. Charles R. MillerMr. and Mrs. Gary MillerMr. and Mrs. J. Jefferson Miller, IIMr. and Mrs. James D. MillerMr. Lee MillerMr. Louis MillsDr. and Mrs. Stanley R. MilsteinMs. Adrianne MitchellLloyd E. Mitchell FoundationMr. Nathan MookMr. Edwyn MootDr. and Mrs. Hugo W. MoserMr. and Mrs. M. Peter Moser

Mr. Howard MoyMs. Marguerite MuggeDr. and Mrs. Donald MullikinMr. and Mrs. Gregory MurrayMs. Marita MurrayMr. Harish Neelakandan and

Ms. Sunita GovindMr. and Mrs. Robert C. NeimanMr. Irving NeumanMr. and Mrs. Roger F. NordquistMs. Irene E. Norton and

Dr. Heather T. MillerCarol C. O’ConnellAnne M. O’HareDrs. Erol and Julianne OktayMr. Garrick OhlssonMs. Margaret O’Rourke and

Mr. Rudy ApodacaMrs. S. Kaufman OttenheimerMr. and Ms. Ralph OtteyMs. Judith PachinoMr. and Mrs. Thomas ParrMr. and Mrs. Richard ParsonsMr. and Mrs. William PenceJerry and Marie PerletMr. and Mrs. Stephen PetrucciDr. and Mrs. Karl PickMr. and Mrs. James PiperMs. Mary Carroll PlaineMr. and Mrs. Morton B. PlantRobert E. and Anne L. PrinceCaptain and Mrs. Carl QuanstromTed and Stephanie RanftDr. and Mrs. Jonas R. RappeportMr. and Mrs. William E. RayMr. Charles B. Reeves, Jr.Mr. Arend RiedMr. Thomas RhodesMr. and Mrs. Thomas P. RiceMr. and Mrs. Carl RichardsDavid and Mary Jane RobertsDrs. Helena and David RodbardDr. and Mrs. Gerald RogellJoellen and Mark RosemanAnn and Frank RosenbergMr. and Mrs. Robert RosenbergJoanne and Abraham RosenthalMr. and Mrs. Randolph* S. RothschildMr.* and Mrs. Nathan G. RubinMr. and Mrs. John SacciBeryl and Philip SachsMs. Andi SacksPeggy and David SalazarIlene and Michael SalcmanMs. Carolyn SamuelsMs. Vera SanacoreMr. and Mrs. Gilbert SandlerMr. and Mrs. Nathaniel SandlerMr. and Mrs. Ace J. SarichMr. Thomas ScaleaMrs. Barbara K. ScherlisMr. and Mrs. Eugene H. SchreiberEstelle D. SchwalbKen and Nancy SchwartzMr. Bernard SegermanMr. and Mrs. Norman A. Sensinger, Jr.Mr. Sanford ShapiroMr. and Mrs. Brian T. ShefferReverend Richard Wise ShrefflerMr. Richard SilbertMr. Donald M. SimondsEllwood and Thelma SinskyMr. Richard SipesMr. and Mrs. Robert SmelkinsonRichard and Gayle SmithMr. and Mrs. Scott SmithMr. and Mrs. William J. Sneeringer, Jr.Laurie M. SokoloffDiane L. Sondheimer and Peter E. NovickDr. and Mrs. John SorkinJennifer Kosh SternDr. and Mrs. F. Dylan StewartDr. John F. StrahanMs. Jean M. Suda and

Mr. Kim Z. GoldenMs. Dianne SummersMr. Phil SunshineMr. and Mrs. Richard SwerdlowMs. Margaret TaliaferroMr. Tim Teeter

Corporations

$100,000 or more

$50,000 or more

$25,000 or more

��

��

March 4, 2011 – April 29, 2011 41

Mr. Harry TelegadasMr. Marc J. TellerPatricia Thompson and Edward SledgeMr. Peter ThreadgillMr. and Mrs. David TraubMr. and Mrs. Israel S. UngarMs. Mary Frances WagleyMr. and Mrs. Guy T. WarfieldMr. and Mrs. Jay WeinsteinDr. and Mrs. Matthew WeirMr. and Mrs. David WeisenfreundDrs. Susan and James WeissMs. Lisa WelchmanDavid Wellman and

Marjorie Coombs WellmanMr. and Mrs. Sean WharryMs. Camille B. Wheeler

and Mr. William B. MarshallDr. Barbara WhiteMr. and Mrs. Stephen WilcoxsonMr. Barry WilliamsMrs. Gerald H. WilliamsMr. and Mrs. Peter WinikMr. and Mrs. David K. WiseMr. Orin WiseMarc and Amy WishDr. and Mrs. Frank R. WitterMr. John W. WoodMr. Alexander YaffeMs. Norma YessH. Alan Young and

Sharon Bob Young, Ph.D.Andrew Zaruba

Corporations$10,000 or moreAmerican Trading &

Production CorporationBeltway Fine WinesIWIFRBC Wealth ManagementRitz-Carlton Residences,

Inner Harbor, BaltimoreSaul Ewing LLPStanley Black & Decker

$5,000 or moreArts Consulting Group, Inc.Classical Movements, Inc.Corporate Office Properties TrustD.F. Dent & CompanyGeorgetown Paper Stock of RochvilleKramon & Graham, P.A.Lockheed Martin MS2Valley MotorsZuckerman Spaeder LLP

$2,500 or moreCavanaugh Financial Group

Charitable FoundationDowntown Piano WorksEagle Coffee Company, Inc.Federal Parking, Inc.S. Kann Sons Company FoundationMacy’sP&G Fund of the Greater

Cincinnati Foundation

$1,000 or moreEllin & Tucker, CharteredEyre Bus, Tour & TravelThe Harford Mutual Insurance CompanyIndependent Can CompanyJ.G. Martin Company, Inc.MercerNina McLemore, Inc.Rosenberg Martin Greenberg, LLPSemmes, Bowen & SemmesTargetVon Paris Moving & StorageWachovia Wells Fargo Foundation

Foundations$50,000 or moreWilliam G. Baker, Jr. Memorial FundThe Hearst Foundation, Inc.Hecht-Levi FoundationRyda H. Levi* and SandraLevi Gerstung

The Andrew W. Mellon FoundationJoseph & Harvey Meyerhoff Family

Charitable FundsHenry and Ruth Blaustein

Rosenberg Foundation andRuth Marder*

The Rouse Company Foundation

$25,000 or moreJacob and Hilda Blaustein FoundationThe Buck Family FoundationAnn and Gordon Getty FoundationThe Goldsmith Family Foundation, Inc.Peggy & Yale Gordon TrustYoung Artist Sponsor

Ensign C. Markland Kelly, Jr.Memorial Foundation

Middendorf FoundationZanvyl & Isabelle Krieger Fund

$10,000 or moreAnonymous (1)Clayton Baker TrustBunting Family FoundationThe Morris and Gwendolyn

Cafritz FoundationDegenstein FoundationHoffberger FoundationHarley W. Howell Charitable FoundationBetty Huse MD Charitable

Trust FoundationThe Abraham and Ruth Krieger

Family FoundationLeague of American OrchestrasJohn J. Leidy Foundation, Inc.The Letaw Family FoundationMacht Philanthropic Fund of the AJCThe Salmon FoundationBruno Walter Memorial Foundation

$5,000 or moreThe Arts FederationMargaret O. Cromwell Family FundThe Charles Delmar FoundationEdith and Herbert Lehman

Foundation, Inc.Ronald McDonald HouseThe John Ben Snow Memorial TrustCecilia Young Willard Helping FundWright Family Foundation

$2,500 or moreALH Foundation, Inc.The Campbell Foundation, Inc.The Harry L. Gladding FoundationIsrael and Mollie Myers FoundationJudith and Herschel LangenthalJonathan and Beverly Myers

The Jim and Patty RouseCharitable Foundation, Inc.

Sigma Alpha Iota

$1,000 or moreAnonymous (1)Cameron and Jane Baird FoundationBalder FoundationBaltimore Community FoundationRobert Wood Johnson FoundationEthel M. Looram Foundation, Inc.Mercer Human Resource ConsultingRathmann Family Foundation

Government GrantsMayor and City Council of

Baltimore and the BaltimoreOffice of Promotion and the Arts

Baltimore County Executive,County Council, and theCommission for the Artsand Sciences

Carroll County Government& the Carroll County Arts Council

The Family League of Baltimore City, Inc.Howard County Government

& the Howard County Arts CouncilThe Maryland Emergency

Management AgencyMaryland State Arts CouncilMaryland State Department

of Education

Arts and Humanities Councilof Montgomery County

National Endowment for the Arts

EndowmentThe BSO gratefully acknowledges thegenerosity of the following donorswho have given Endowment Gifts tothe Sustaining Greatness and/or theHeart of the Community campaigns.

* DeceasedAnonymous (6)Diane and Martin* AbeloffAEGON USAAlex. Brown & Sons Charitable

FoundationDr. and Mrs. Thomas E. AllenEva and Andy AndersonAnne Arundel County Recreation

and Parks DepartmentWilliam G. Baker, Jr. Memorial FundMr. H. Furlong BaldwinBaltimore Community FoundationBaltimore County Executive,

County Council and theCommission on Arts andBaltimore Office ofPromotion and the Arts

The Baltimore OriolesGeorgia and Peter Angelos

The Baltimore Symphony Associates,Winnie Flattery, President

Patricia and Michael J. Batza, Jr.Henry and Ruth Blaustein

Rosenberg FoundationThe Jacob and Hilda Blaustein

FoundationMr. and Mrs. Bruce I. BlumDr. and Mrs. John E. Bordley*Jessica and Michael BronfeinMr. and Mrs. George L. Bunting, Jr.Dr. and Mrs. Oscar B. CampCarefirst BlueCross BlueShieldCitiFinancialConstellation EnergyMr. and Mrs. William H. Cowie, Jr.Richard A. Davis and Edith

Wolpoff-DavisRosalee C. and Richard

Davison FoundationMr. L. Patrick Deering,

Mr. and Mrs. Albert R. Counselman,The RCM&D Foundation andRCM&D, Inc.

DLA Piper Rudnick Gray Cary US LLPCarol and Alan EdelmanDr. and Mrs. Robert ElkinsDeborah and Philip EnglishEsther and Ben Rosenbloom FoundationFrance-Merrick FoundationSandra Levi GerstungRamon F.* and Constance A. GetzovJohn GidwitzThe Goldsmith Family Foundation, Inc.Joanne Gold and Andrew A. SternJody and Martin GrassLouise and Bert GrunwaldH&S BakeryMr. John Paterakis

Harford CountyHecht-Levi FoundationRyda H. Levi* andSandra Levi Gerstung

Betty Jean and Martin S. Himeles, Sr.Hoffberger FoundationHoward County Arts CouncilHarley W. Howell Charitable FoundationThe Huether-McClelland FoundationMr. and Mrs. Richard E. HugIndependent Can CompanyLaura Burrows-JacksonBeth J. Kaplan and Bruce P. SholkDr. and Mrs. Murray M. KappelmanSusan B. KatzenbergMarion I. and Henry J.

Knott Scholarship FundThe Zanvyl and Isabelle Krieger FundAnne and Paul LambdinTherese* and Richard Lansburgh

OFFICERSMichael G. Bronfein*Chairman

Kathleen A. Chagnon, Esq.*Secretary

Lainy LeBow-Sachs*Vice Chair

Paul Meecham*President & CEO

Richard E. Rudman*Vice Chair

Andrew A. Stern*Vice Chair & Treasurer

BOARD MEMBERSA.G.W. Biddle III

Robert L. Bogomolny

Andrew A. Buerger

Richard T. Burns

Constance R. Caplan

Robert B. Coutts

Kenneth W. DeFontes, Jr*.

Susan Dorsey, Ph.D.,GoverningMembers Chair

George A. Drastal*

Alan S. Edelman

Ambassador Susan G.Esserman*

Winnie Flattery ^President, BaltimoreSymphony Associates

John P. Hollerbach

Beth J. Kaplan

Murray M. Kappelman, M.D.

Sandra Levi-Gerstung

Richard Levine, Esq.

Jon H. Levinson

Ava Lias-Booker, Esq.

Susan M. Liss, Esq.*

Howard Majev, Esq.

Liddy Manson

Davis Oros

Michael P. Pinto

Margery Pozefsky

Scott Rifkin, M.D.

Ann L. Rosenberg

Bruce E. Rosenblum*

The Honorable StevenR. Schuh

Stephen D. Shawe, Esq.

The Honorable James T.Smith, Jr.

Solomon H. Snyder, M.D.*

LIFE DIRECTORSPeter G. Angelos, Esq.

Willard Hackerman

H. Thomas Howell, Esq.

Yo-Yo Ma

Harvey M. Meyerhoff

Decatur H. Miller, Esq.

Patricia B. Modell

Linda Hambleton Panitz

The Honorable WilliamDonald Schaefer

Dorothy McIlvain Scott

DIRECTORS EMERITIBarry D. Berman, Esq.

L. Patrick Deering

Richard E. Hug

M. Sigmund Shapiro

CHAIRMAN LAUREATECalman J. Zamoiski, Jr.

BOARD OF TRUSTEESBALTIMORE SYMPHONYENDOWMENT TRUSTBenjamin H. Griswold IVChairman

Terry Meyerhoff RubensteinSecretary

Michael G. Bronfein

Mark R. Fetting

Paul Meecham

W. Gar Richlin

Andrew A. Stern

Calman J. Zamoiski, Jr.

*Board Executive Committee^ex-officio

Upcoming Member-Only Event!

On-Stage Rehearsal with Jon CarneyA Governing Member favorite! Join BSO supporters for thisexclusive opportunity to sit beside members of the Orchestraand watch them rehearse Brahms and Bruch. Featuring BSOConcertmaster, Joanthan Carney.1:15 p.m. - Light refreshments in the Meyerhoff Lobby and Rehearsalat 2 p.m. April 27, 2011, Governing Members, ($2,500+) Maximumon-stage capacity is limited to 40.

Open RehearsalAn insider’s look at Maestra Marin Alsop and the Orchestraas they rehearse for an all-Schumann program, featuring:Overture to Manfred, Symphony No.1, Symphony No.29:15 a.m. - Light refreshments and Rehearsal at 10 a.m. May 12, 2011.For all BSO donors and Members $75+

Cast PartyDon’t miss the chance to meet a Baltimore favorite! Join usto celebrate after the concert with members of the Orchestraand Maestra Marin Alsop for a meet-and-greet withworld-renowned pianist, Emanuel Ax!June 4, 2011, For Symphony Society Level Members ($1000+)

All Events subject to change.To enjoy these events or to receive more information, please callthe BSO’s Events hotline for Members at 410.783.8074 or [email protected].

>

BSO Board of Directors2010-2011 Season

Brenda and Bill Jews listen to a live musicalperformance at a Maestra’s Circle party.

Board Member Lainy Lebow-Sachs and Leonard Sachswelcome Music Director Marin Alsop to their home for

a Maestra’s Circle dinner.

>

>

42 Overture

Endowment (continued)Sara and Elliot* LeviLevi-Gerstung FamilyBernice and Donald S. LevinsonDarielle and Earl LinehanSusan and Jeffrey* LissLockheed MartinE. J. Logan FoundationM&T BankMacht Philanthropic Fund of the AJCMrs. Clyde T. MarshallMaryland Department of Business

and Economic DevelopmentThe Maryland State Arts CouncilMD State Department of EducationMcCarthy Family FoundationMcCormick & Company, Inc.Mr. Wilbur McGill, Jr.MIE Properties, Inc.Mr. Edward St. John

Mercantile-Safe Deposit & TrustJoseph & Harvey Meyerhoff

Family Charitable FundsSally and Decatur MillerMs. Michelle MogaLouise* and Alvin Myerberg /

Wendy and Howard JachmanNational Endowment for the ArtsMr. and Mrs. Bill NerenbergMrs. Daniel M. O’ConnellMr. and Mrs. James P. O’ConorStanley and Linda Hambleton PanitzCecile Pickford and John MacCollDr. Thomas and Mrs. Margery PozefskyMr. and Mrs. T. Michael Preston

Alison and Arnold RichmanThe James G. Robinson FamilyMr. and Mrs. Theo C. RodgersMr. and Mrs. Randolph* S. RothschildThe Rouse Company FoundationNathan G.* and Edna J. RubinThe Rymland FoundationS. Kann Sons Company

Foundation, Inc.B. Bernei Burgunder, Jr.

Dr. Henry SanbornSaul Ewing LLPMrs. Alexander J. SchafferMr. and Mrs. J. Mark SchapiroEugene Scheffres and Richard E. Hartt*Mrs. Muriel SchillerDorothy McIlvain ScottMrs. Clair Zamoiski Segal and

Mr. Thomas SegalIda & Joseph Shapiro Foundation

and Diane and Albert ShapiroMr. and Mrs. Earle K. ShaweThe Sheridan FoundationRichard H. Shindell and FamilyDr. and Mrs. Solomon H. SnyderThe St. Paul CompaniesBarbara and Julian StanleyT. Rowe Price Associates

Foundation, Inc.The Alvin and Fanny Blaustein

Thalheimer Guest Artist FundAlvin and Fanny B. Thalheimer

Foundation, Inc.TravelersGroupThe Aber and Louise Unger Fund

Venable LLPWachoviaRobert A. Waidner FoundationThe Whiting-Turner

Contracting CompanyMr. and Mrs. Willard Hackerman

Mr. and Mrs. Jay M. Wilson /Mr. and Mrs. Bruce P. Wilson

The Zamoiski-Barber-SegalFamily Foundation

Baltimore SymphonyAssociates ExecutiveCommitteeWinnie Flattery, PresidentMarge Penhallegon, President-ElectLinda Kacur, Recording SecretaryVivian Kastendike, Corresponding

SecretaryBarbara Kelly, TreasurerJim Doran, Vice President,

CommunicationsLarry Townsend, Vice President,

EducationEstelle Harris, Vice President,

Meetings and ProgramsSandy Feldman, Vice President,

Recruitment and MembershipDeborah Stetson, Vice President,

Special Services and EventsLarry Albrecht, Vice President,

Symphony StoreLaVerne M. Grove, ParliamentarianBarbara C. Booth, Past President

The Legato Circle

(F) Founding Member(N) New Member

* Deceased

Anonymous (5)Donna B. and Paul J. AmicoHellmut D.W. “Hank” BauerDeborah R. BermanMrs. Alma T. Martien Bond*Mrs. Phyllis B. Brotman (F)W. George Bowles*Dr. Robert P. BurchardMrs. Frances H. Burman*Joseph and Jean Carando*Mrs. Selma CartonHarvey A. Cohen, Ph.D. (N)Clarence B. Coleman*Mr. and Mrs. William H. Cowie, Jr.James DavisRoberta L.* and Richard A. DavisL. Patrick Deering (F)Ronald E. DenckerFreda (Gordon) Dunn

Dr. Perry A. Eagle* (F)H. Lawrence Eiring, CRMCarol and Alan EdelmanAnne “Shiny” and Robert

M. EvansMr. and Mrs. Maurice R.

FeldmanWinnie and Bill FlatteryHaswell M. and

Madeline S. FranklinMr. Kenneth J. FreedDouglas Goodwin*Samuel G*. and Margaret

A. Gorn (F)Robert E. GreenfieldSue and Jan K. GubenCarole B. HamlinMiss M. Eulalia HarbaughMs. Denise HargroveGwynne and Leonard HorwitsMr. and Mrs. H. Thomas HowellMr. and Mrs. Richard E. HugJudith C. Johnson*Dr. and Mrs. Murray M.

Kappelman

Suzan Russell KiepperMiss Dorothy B. KrugRuth and Jay LenrowJoyce and Dr. Harry Letaw, Jr.Robert and Ryda H. Levi*Bernice S. LevinsonEstate of Ruby Loflin-Flaccoe*Mrs. Jean M. MalkmusRuth R. Marder*Mrs. George R. McClellandMr. Roy E.* and Mrs. M. MoonRobert and Marion NeimanMrs. Daniel M. O’ConnellStanley and Linda

Hambleton PanitzMargaret Powell Payne*Beverly and Sam Penn (F)Mrs. Margery PozefskyG. Edward Reahl, Jr. M.D.Nancy Rice (N)Mr. William G. Robertson, Jr.*Randolph S.* and

Amalie R.* RothschildDr. Henry SanbornEugene Scheffres*

and Richard E. Hartt*Mrs. Muriel Schiller (F)Dr. Albert Shapiro*Dr. and Mrs. Harry S. StevensHoward A. and Rena S. Sugar*Mr. Michael R. Tardif (N)Roy and Carol Thomas

Fund for the ArtsDr. and Mrs. Carvel TiekertLeonard TopperIngeborg B. WeinbergerW. Owen and Nancy J. WilliamsCharles* and Shirley WunderMr. and Mrs. Calman J.

Zamoiski, Jr.

In 1986, the Board of Directors of the Baltimore SymphonyOrchestra established The Legato Circle in recognition of thoseindividuals who have notified the BSO of a planned gift, includinggifts through estate plans or life-income arrangements.

Bequests and planned gifts are the greatest source of securityfor the BSO’s future! The Symphony depends on lasting gifts suchas these to help fund our diverse musical programs and activities.Members of The Legato Circle play a vital and permanent role inthe Symphony’s future.

If you have named the BSO in your estate plans, please contactJoanne Rosenthal at 410-783-8010 or [email protected] join the Legato Circle.

We gratefully acknowledge the following Donors who haveincluded the Baltimore Symphony Orchestra in their Estate Plans.

Donors relax in the Peter G. Angelos GoverningMembers Lounge before a concert.

Maestra’s Circle members Sheldon and Arlene Bearmanjoin fellow major-gift donors at a dinner party.

Paul MeechamPresident and CEO

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Adrian HilliardSenior Ticket Services Agent,Strathmore

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Michael SuitTicket Services Agent

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Baltimore Symphony Staff

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March 4, 2011 – April 29, 2011 43

LOOKING AT KARIN BROWN, the words “daredevil” and “adventuress” don’t immedi-ately spring to mind. The petite BSO violist is a self-admitted “fashionista,” who is morelikely to be sporting a pair of Italian boots from her extensive shoe collection than she isto be dressed in the performance footwear befitting a modern-day outdoorswoman.

But Brown has a secret: She likes to climb mountains. Big mountains. Last summerover the course of a single week in June the novice climber scaled Colorado’s Twin SistersMountain (11,428 ft.) and Flattop Mountain (12,361 ft.) before taking on her first “four-teener,” the 14,043-foot peak, Mount Sherman. “I call myself the obscure adventuressbecause nobody has any idea that I do this,” she says.

In August, Brown climbed the challenging Half Dome in Yosemite National Park, thelast 400 feet of which requires climbers to hoist their way up to the rocky peak whileholding onto two steel cables. When she encountered a traffic jam of climbers on herdescent she swung out onto a single cable and went hand over hand. The climb was amajor adrenaline rush. “It’s a crazy life being a musician, so for me climbing is this greatsort of stress relief,” Brown says. “I like a good challenge and climbing is like learning apiece of hard music. You just want to prove to yourself that you can do it.”

This summer the musician hopes to scale Tanzania’s Mount Kilimanjaro, the world’shighest freestanding mountain. And one day Brown wants to climb Mount Everest,although she’s not sure ascending to the top of the 29,029-foot mountain would bewise, given the effect the freezing temperatures could have on her musical career.“I probably shouldn’t go higher than one of the base camps because being a violist, I’mgoing to need all of my fingers.” And given her love for shoes, “I wouldn’t mind havingall of my toes, too.”

— Maria Blackburn

impromptu

Hear Robert Schumann’s Symphony No. 1 in B-flat major, “Spring,” on Wednesday, April 27, at 8:00 pm in Miriam A. Friedberg Concert Hall17 East Mount Vernon PlacePeabody Concert OrchestraPeabody SingersPeabody-Hopkins ChorusEdward Polochick, Associate Conductor and Choral DirectorFor tickets, call 410-234-4800Visit www.peabody.jhu.edu/eventsfor Audio Program Notes and the complete 2010-2011 Peabody Concert Calendar

AUDIOPROGRAM

�e musician sets a picture

to music.

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IDED

Overture March-April 2011

Documents

Transcript of Overture March-April 2011