Overture May-June 2011

A MAGAZINE FOR THE PATRONS OF

THE BALTIMORE SYMPHONY ORCHESTRA

MARIN ALSOP, MUSIC DIRECTOR

MAY 6, 2011 - JUNE 12, 2011overtureTuned In,

Turned OnThe growth of OrchKids has brought morethan music into the lives of the program’syoung participants.

Your technique is impeccable.

Your phrasing, sensational.

Your talent, undeniable.

But when noise-induced hearing loss

damages your pitch perception,...that’s when the music stops.

Audiologists at The Hearing and Speech !"#$% '("$)*+)," )# -)!-./0"+)1%2 $3'145-"*6)#! (641"$1)4# 746 53')$)*#'2 53')$(647"'')4#*+' *#0 53')$ +48"6'9

:#+);" $4#8"#1)4#*+ "*6(+3!'2 53')$)*#'<(+3!' 04 #41 =+4$; '43#02 1-"% /+1"6 )1 *'1-"% (641"$1 %436 -"*6)#!9 >43#0 ?3*+)1%)' 5*)#1*)#"0 *#0 )5(648"02 "'("$)*++%

*1 -)!-"6 76"?3"#$)"'2 5*;)#! =41- 1-"-35*# 84)$" *#0 )#'1635"#1*+ 53')$'43#0 $+"*6"6 *#0 546" #*136*+9

>$-"03+" * $45(6"-"#')8" -"*6)#! 1"'114 0"1"65)#" %436 -"*6)#! '1*13'9 @-"#2*++4A 3' 14 /1 %43 746 $3'145 -"*6)#!protection that will keep your hearing-"*+1-% *#0 %436 *=)+)1% 14 +)'1"#999perfetto.

THE HEARING AND SPEECH AGENCY

B45(6"-"#')8" -"*6)#! '"68)$"' 477"6"0 )# * '1*1".47.1-".*61 7*$)+)1% =% *30)4+4!)'1' A-4 5""1 1-"-)!-"'1 +"8"+ 47 (647"'')4#*+ $"61)/$*1)4# )#$+30)#! !6*03*1" 0"!6""' 7645 14(.+"8"+ 3#)8"6')1)"'9

CDEE F"164 G6)8"2 H*+1)546"2 FG IJIJC9 K77 L461-"6# M*6;A*%2 '"8"# 5)#31"' 7645 F19 N*'-)#!14#9Call to schedule an appointment: 410-318-6780. Major insurances accepted.

www.hasa.org 410-318-6780

Protect Your Most Precious Asset

Your is impeccable.

Your , sensational.

Your , undeniable.

But when noise-induced hearing loss

damages your

...that’s when the music stops.

Audiologists at The Hearing and Speech !"#$% '("$)*+)," )# -)!-./0"+)1%2 $3'145-"*6)#! (641"$1)4# 746 53')$)*#'2 53')$(647"'')4#*+' *#0 53')$ +48"6'9

:#+);" $4#8"#1)4#*+ "*6(+3!'2 53')$)*#'<(+3!' 04 #41 =+4$; '43#02 1-"% /+1"6 )1 *'1-"% (641"$1 %436 -"*6)#!9 >43#0 ?3*+)1%)' 5*)#1*)#"0 *#0 )5(648"02 "'("$)*++%

*1 -)!-"6 76"?3"#$)"'2 5*;)#! =41- 1-"-35*# 84)$" *#0 )#'1635"#1*+ 53')$'43#0 $+"*6"6 *#0 546" #*136*+9

>$-"03+" * $45(6"-"#')8" -"*6)#! 1"'114 0"1"65)#" %436 -"*6)#! '1*13'9 @-"#2*++4A 3' 14 /1 %43 746 $3'145 -"*6)#!protection that will keep your hearing-"*+1-% *#0 %436 *=)+)1% 14 +)'1"#999perfetto.

THE HEARING AND SPEECH AGENCY

B45(6"-"#')8" -"*6)#! '"68)$"' 477"6"0 )# * '1*1".47.1-".*61 7*$)+)1% =% *30)4+4!)'1' A-4 5""1 1-"-)!-"'1 +"8"+ 47 (647"'')4#*+ $"61)/$*1)4# )#$+30)#! !6*03*1" 0"!6""' 7645 14(.+"8"+ 3#)8"6')1)"'9

CDEE F"164 G6)8"2 H*+1)546"2 FG IJIJC9 K77 L461-"6# M*6;A*%2 '"8"# 5)#31"' 7645 F19 N*'-)#!14#9Call to schedule an appointment: 410-318-6780. Major insurances accepted.

www.hasa.org 410-318-6780

Protect Your Most Precious Asset

Submit your favorite sounds to The Baltimore Soundscape Project.Find out more at www.hasa.org.

TUNED IN, TURNED ON

The growth of OrchKids has broughtmore than music into the lives of theprogram’s young participants.BY MARIA BLACKBURN

8

39

4 LETTER FROM THE PRESIDENT AND CEO

5 IN TEMPO News of note

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

12 ORCHESTRA ROSTER

33 DONORS

39 IMPROMPTU French horn player Mary Bissontakes a hands-on approach to building a homefrom the ground up.

13 MAY 6 & 8 Songs of the Earth

16 MAY 12 & 15 Robert Schumann -A Romantic Original

19 MAY 14 Schumann’sBeautiful Mind

20 MAY 20-22 Rodgers & Hammersteinat the Movies

22 MAY 27 Mahler, Sibelius andWalton

26 JUN 3-5 Emanuel Ax Plays Brahms

29 JUN 9, 10 Verdi’s Requiem

& 12

PROGRAM NOTES

contents

4 Overture

overtureBSOmusic.org • 410.783.8000

Marin AlsopMusic Director

Michael G. BronfeinChairman

Paul MeechamPresident and CEO

Eileen AndrewsVice President

of Marketing & 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 Sales & Marketing

Karen R. BarkMaggie Moseley-Farley

Marcie JeffersAndrea Medved

Kim Copenspire ZetlmeislSales Consultants

Jeni MannDirector of Custom Media

Heidi TrabandAdvertising Designer

Cover Photography by Bill Denison

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

Dear Friends,Our subscription series for the 2011-2012 season began inMarch and we are thrilled with the overwhelming responseto date.The upcoming season will be a year-long celebrationof “Revolutionary Women” and will feature works by femalecomposers and music that honors and depicts women invarious roles throughout history. To commemorate the 600thanniversary of the birth of Joan of Arc, the BSO will presentspecial performances of Arthur Honegger’s oratorio Jeanne

d’Arc au Bûcher (November) and Richard Einhorn’s score Voices of Light (March),which accompanies a classic silent movie.The season is also filled with notable guestartists such as pianists Leon Fleisher and André Watts, violinists Itzhak Perlman andNadja Salerno-Sonnenberg, and conductorsVasily Petrenko, Louis Langrée andYan Pascal Tortelier. If you haven’t renewed your subscription or are still consideringbecoming a new subscriber for the 2011-2012 season, please don’t delay—seats areselling fast!

We are pleased to announce that this summer will mark the second annualBSO Academy hosted here at the Meyerhoff with the support of The Andrew W.Mellon Foundation. In June (12-18), more than 90 amateur adult musicians willhave the opportunity to spend a week learning and performing alongside professionalmusicians from the BSO.The week culminates with an exclusive concert onJune 18 at 7:30 p.m. at the Meyerhoff for all BSO donors who give $75 and above.

This summer’s programming includes our all-American holiday celebration andBaltimore tradition, Star-Spangled Spectacular (July 2-3) at Oregon Ridge Park withspectacular fireworks. Music from the group Rockapella (July 7) will have you singingalong and The Classical Mystery Tour – A Tribute to The Beatles (July 15) will featurehits such as “Penny Lane” and “Yesterday.” Epic film music from StarWars, Indiana Jonesand other iconic movies will be featured in the Music of John Williams (July 22 at theMeyerhoff and July 23 at Oregon Ridge Park). And finally, we conclude our BSOsummer concert series with A Gershwin Celebration (July 29) and Distant Worlds:music from FINAL FANTASY (July 30).

My best wishes for a healthy and happy summer.

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 them when you’re through.��

intempo News of note

Music Director Marin Alsop and the Baltimore Symphony Orchestra announce the

Orchestra’s 2011-2012 season, the fifth full season under the direction of Maestra

Alsop. The upcoming season is a year-long celebration of “Revolutionary Women,”

featuring works by female composers and music that honors or depicts women in

important roles throughout history.

January 2012 marks the 600th anniversary of the birth of Joan of Arc. The BSO

commemorates the event with two well-known works: the 1935 masterpiece Jeanned’Arc au Bûcher by Swiss composer Arthur Honegger, a project that the BSO will also

perform at Carnegie Hall, and Richard Einhorn’s Voices of Light, composed to

accompany the landmark 1928 silent film The Passion of Joan of Arc.Next season the musical partnership between Marin Alsop and the BSO

will reach audiences on both the East and West coasts. Excluding select Carnegie

Hall and Kennedy Center engagements, this will mark the Orchestra’s first tour under

Marin Alsop. In addition to performing at Carnegie Hall in November 2011, the BSO

will also travel to the West Coast in March 2012 to perform concerts in California

and Oregon.

The BSO will present two multimedia presentations in the 2011-2012 season,

bolstering the Orchestra’s efforts to attract, engage and serve new audiences in the

21st century by creating innovative access points. These include Philip Glass’ LIFE:A Journey Through Time, paired with stunning photographs by National Geographicphotographer Frans Lanting, and Richard Einhorn’s Voices of Light, paired with the

silent film The Passion of Joan of Arc.And as always, the upcoming concert season boasts a lineup of some of the

world’s most in-demand artists, such as André Watts, Itzhak Perlman, Leon Fleisher

and Hilary Hahn.

To view the entire 2011-2012 lineup, including Classical, BSO SuperPops,Family Concerts and Off the Cuff series, please visit BSOmusic.org.

Need interior design inspiration for yourhome?Then the Baltimore SymphonyAssociates (BSA) 35th Annual Decorators’Show House is the event for you.

This year’s event, which runs fromMay 7 through May 30, will take place intwo luxury condos of the Ritz-CarltonResidences in Baltimore’s Inner Harbor.Each room of the condos features brilliantinterior designs from more than 50 award-winning Maryland designers.The BSA’smost popular annual fundraiser will displaynew trends in fabric and design for home

décor, inspired by the landscape ofBaltimore’s harbor.

Show House hours areTuesdays,Wednesdays, Fridays, Saturdays and Sundaysfrom 10 a.m. to 5 p.m.,Thursdays from

10 a.m. to 8 p.m., and Monday, May 30thfrom 10 a.m. to 5 p.m.Tickets are $25 inadvance and are available through the BSOticket office, BSOmusic.org and at allGraul’s Markets.Tickets are $30 at the door.

��The 35th Annual Decorators’ Show House toBenefit BSO’s Education Programs Moves Downtown!

New 2011-2012 Season CelebratesRevolutionary Women

PETERMILLER

RICHARDEINHORN

Hilary Hahn (top) and Richard Einhorn’s Voices of Light,paired with the silent film The Passion of Joan of Arc, arejust two highlights of the BSO’s 2011–2012 season.

HILARY HAHN

JOAN OF ARC

PHOTOGRAPH BY EVAN JOSEPH. COURTESY OF THE RITZ-CARLTON RESIDENCES.

May 6, 2011 – June 12, 2011 5

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

Joseph Meyerhoff Symphony Hall

Marin Alsop, conductorEmanuel Ax, piano

The season’s celebration of youthcomes to a conclusion with BenjaminBritten’s delightfully infectious tour ofinstruments of the orchestra in YoungPerson’s Guide to the Orchestra, as well asthe First Piano Concerto by JohannesBrahms. Marin Alsop also introduces anew work, Sidereus, by the Argentine-American composer Osvaldo 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

Marin Alsop and the BSO closethe season with GiuseppeVerdi’sawe-inspiring Requiem.

The Star-Spangled SpectacularSat, July 2, 8 p.m.Sun, July 3, 8 p.m.Oregon Ridge Park

Bob Bernhardt, conductor

Be sure to bring your picnic basketfor this all-American holiday celebration,

featuring such favorite works asTchaikovsky’s 1812 Overture andSousa’s Stars and Stripes Forever, andculminating in a breathtaking fireworksdisplay. A cozy blanket is the perfect seatfor the sloping green lawn of OregonRidge as the BSO takes to the bandstandand lights up the night. Oregon RidgePark opens at 5 p.m.Kids 12 andunder half price.

RockapellaThur, July 7, 7:30 p.m.


As evidenced by the hit television seriesGlee, Rockappella has officially takenthe world by storm. Join us for this spec-tacular concert featuring one of the mostaccomplished contemporary a cappellagroups in the country as they showcasethe supreme capability and virtuosity ofthe human voice. Rockapella is sure toleave you wanting more. Please note:The BSOdoes not perform on this program.

Classical Mystery Tour –A Tribute to The BeatlesFri, July 15, 7:30 p.m.


Elizabeth Schulze, conductor

This thrilling Beatles retrospectivefeatures chart-topping tunes by theFab Four complete with originalarrangements. From early Beatlesfavorites through the solo years,“ClassicalMystery Tour” is an authentic concertexperience enhanced by live orchestralaccompaniment to such hits as “PennyLane” and “Yesterday” with an acousticguitar and string quartet.

Music of John WilliamsFri, July 22, 7:30 p.m.Joseph Meyerhoff Symphony Hall

Sat, July 23, 8 p.m.Oregon Ridge Park

Andrew Grams, conductor

The world’s most noted film composer,

JohnWilliams created some of the20th century’s most recognizable popularmusic. Join us for a celebration of this greatcontemporary film composer and hear thefamiliar themes from blockbusters such asStarWars, E.T. and more.

A Gershwin CelebrationFri, July 29, 7:30 p.m.


Carl Topilow, conductorKishna Davis, sopranoTerrence Wilson, piano

A jazz-filled program of classic Gershwin,featuring his groundbreaking Rhapsodyin Blue and the ever-popular “I GotRhythm” Variations for solo piano. Relaxinto summer with this upbeat evening ofclassic Americana.

Distant Worlds: music fromFINAL FANTASYSat, July 30, 7:30 p.m.Joseph Meyerhoff Symphony Hall

Arnie Roth, conductorThe Handel Choir of BaltimoreMelinda O’Neal, chorusmaster

Join the BSO for an exhilaratingexperience that combines the music offamous Japanese video game composerNobuo Uematsu with graphics fromthe wildly popular Final Fantasy series.This concert will feature music fromFinal Fantasy I through IX.

bsolive Upcoming key events

6 Overture

��

EMANUEL AX

JHEN

RYFAIR

��To purchase tickets, please contactthe BSO Ticket Office at 410.783.8000,877.BSO.1444 or BSOmusic.org.

��

COURTESY

OFTH

EBSO

ROCKAPELLA

YO U R F A C E I S S P E C I A L . T H AT ’ S W H Y I T ’ S O U R S P E C I A LT Y .

WWW. FAC I A L - P L A S T I C S U R G E R Y. C OM

4 1 0 . 4 8 6 . 3 4 0 0 | 1 . 8 0 0 . 8 4 7 . 0 2 9 6

1 8 3 8 G R E E N E T R E E R OA D , S U I T E 3 7 0

B A LT I M O R E , M D 2 1 2 0 8

DID you know THAT:The number of facial cosmetic procedures

has risen 45% over the last 2 years*?

DDrr.. Ira Papel and Dr. Theda Kontis

are Board Certified experts in

Facial Plastic Surgery specializing

in both surgical and non-surgical

treatments for facial enhancement?

PROUD SUPPORTER OF THE BA LT IMORE SYMPHONY ORCHESTRA

(*survey data from the American Academy of Facial Plasticand Reconstructive Surgery, January, 2011)

A Not-for-Profit Life Care Community

410-243-5700TDD: 1-800-735-2258

www.rolandparkplace.org

830 West 40th StreetBaltimore, MD 21211

Roland Park Place is a unique continuing care retirement community in the heart of northern Baltimore City.

Roland Park Place is a unique cont community in the hea

is a unique continuing caree heart of northern Baltim

e retirement more City

olandpa

410-243-570TDD: 1-800-735-225

landparkpla.r

est 40

www

WWest 40830 th StrBaltimore, MD 2121

-rr-offo--ftoNNoAmoC

0058

ace.org

reet1121

erre aCCaeffeiifLtiffioofrPyttyinumm

Le Nozzedi Figaro

March 9 & 11m, 2012

mozart ’ s

starringDanielMobbs&Caitlin Lynch

featuringBSO Conducted by Joseph Rescigno

Directed by Bernard Uzan

La TraviataNovember 4 & 6m, 2011

v e rd i ’ s

starringElizabeth Futral & EricMargiore

featuringBSO Conducted by StevenWhite

Directed by Crystal Manich

gounod ’ s

FaustApril 20 & 22m, 2012

starringStefania Dovhan & Bryan Hymel

featuringConcert Artists of Balt. OrchestraConducted by JamesMeenaDirected by Bernard Uzan

2011-12 INAUGURALOPERASEASONAWAITS!

410-900-1150SUBSCRIBE TODAY!

SUBSCRIPTION ADD-ONTHE RAKE’S PROGRESSNovember 18&20m, 2011

lyricoperahouse.com/signup

May 6, 2011 – June 12, 2011 7

IN 2008,when the BSO establishedOrchKids as a year-round music educationand outreach program, it was an ambitiousidea.Take children from one of the mostdisadvantaged neighborhoods in BaltimoreCity and expose them almost daily tomusic: listening to it, playing it, singing it,talking about it and practicing it. Givethem flutes, cellos, baritones, clarinets,trumpets and violins, and let them take theinstruments home.Take the students to theMeyerhoff, the Peabody Conservatory, toart museums and CamdenYards, and showthem the world outside of their neighbor-hoods, all the while expanding the BSO’srelevance in the city’s diverse communities.

The program—which has a handful ofcommunity partners, including the PeabodyInstitute,T. Rowe Price and Calvert HallCollege High School—was inspired by the

8 Overture

Tuned In,Turned On

The growth of OrchKids has brought morethan music into the lives of the program’syoung participants.

By Maria Blackburn

Ona recent afternoon, the West Baltimore neighborhood surrounding

Lockerman-Bundy Elementary School is quiet and still. Cars and trucks

zoom by on their way to North Avenue and Route 40, the lack of shops

and restaurants giving drivers little reason to stop. Many of the nearby row

houses are boarded up or dark inside. Plastic bags and flattened soda

cans skitter across sidewalks or take flight in the whipping wind.

But inside Lockerman-Bundy, the air is filled with voices and energy

and music. It is just a few minutes before OrchKids will perform, and as

100 young musicians excitedly tune up and prepare for the concert, the

audience of parents, toddlers, students and teachers bustle into the gym

and take their seats. It’s noisy and lively, and as Glennette Fullwood

selects a chair and sits down, she smiles with anticipation.

There is no place she would rather be.

Fullwood’s 8-year-old son, Kejuan, plays trumpet with OrchKids, and

the concerts are an opportunity for her to observe all that he and his

classmates have learned. She’s been looking forward to this for days.

“Every time the kids have a concert, I tell my boss at the nursing home

where I work that I have to take off to see them play,” she says.

“I wouldn’t miss this for anything.”

Glennette Fullwood, with 8-year-old son Kejuan,looks forward to OrchKids concerts.

Asia Palmer, 10, now in her third yearwith OrchKids, says, “Playing the flutemakes me feel like I’m floating on air.”

KIRSTEN

BECKERMAN

BILLDEN

ISON

May 6, 2011 – June 12, 2011 9

successful El Sistema initiative inVenezuela.But nothing like OrchKids had ever beenattempted in Baltimore.“We didn’t knowwhat to expect in terms of how many kidswould want to be involved, how manyparents would want their children to partici-pate,” says BSO Music Director MarinAlsop, who founded OrchKids witha $100,000 donation.

As it turns out, OrchKids hasn’t justgrown, it’s blossomed.“We’ve just beenrunning to keep up with the interest leveland the demand,” says Alsop.

From the original groupof 30 first-gradersat the HarrietTubman Elementary School,OrchKids now has 240 students ranging inage from 3 to 12 years old at twoWestBaltimore schools: Lockerman-Bundy andNew Song Academy. All OrchKids, pre-Kthrough third grade, take a musicianshipclass during the school day, while olderchildren stay after school for a host of activi-ties, including tutoring, choir, instrumentlessons, bucket band and ensemble.

Drop into Lockerman-Bundy oneafternoon and you’ll find OrchKids in everynook and cranny of the building.You mightencounter Jada Lassiter, 10, and three ofher siblings,Ashanti, Jonah and LaTerra,rehearsing “AllYou Need is Love” with thechoir in a multipurpose room upstairs.Perhaps you will find exploratory musicinstructor Karen Seward briskly quizzingfirst-year OrchKids on the parts of thetrumpet. Or maybe you’ll see 6-year-oldNickea Johnson in violin class plucking thenotes A-A-D-D-G on a 1/10-size violin.She’s only been playing a few weeks, butshe’s already smitten.“I love everythingabout OrchKids,” she declares.“Everything.”

If you want to gauge the success ofOrchKids, you could look at some of theiraccomplishments. Since 2008 the childrenhave: met Maryland Governor Martin

O’Malley and Baltimore Mayor StephanieRawlings-Blake; played dozens of concertsincluding one at ArtScape; been interviewedon 60 Minutes; debuted a piece by DavidRimelis, commissioned for them, in aconcert with the BSO; been featured asa question on Jeopardy; and inspired peoplein cities like Allentown, Pennsylvania, andFortWorth,Texas, to start music educationand community outreach programs oftheir own.

It’s pretty heady stuff for a group of kidsstill years away from their teens, but theOrchKids take it all in stride.Asked whethershe was excited to play her flute on theMeyerhoff ’s expansive stage as part of theBSO’s “Pied Piper Fantasy” concert inMarch, 10-year-old Asia Palmer, who is inher third year of the program, confides,“You know, I’ve sat on that stage before towatch a concert and I’ve conducted withMiss Marin, too.”Asia wasn’t nervous at theconcert. She rarely is when she performs.“Playing the flute makes me feel like I’mfloating on air.”

Musically, the children in OrchKidshave grown by leaps and bounds, becomingmore confident in their playing, findingtheir own voices as artists, and learninghow to be part of an ensemble and work asa team. In 2009, the first group of 15OrchKids selected instruments and begantaking lessons and bringing their instru-ments home to practice.This year another40 OrchKids took that step in their musicaleducation. Many of these students arestarting an instrument as much as six yearsearlier than the national average.“Manytimes when I walk into these classrooms andI hear these kids playing, I can’t help but beblown away,” says Nick Skinner, OrchKidssite manager.“Every day is a miracle.”

The children’s development hasn’t onlybeen musical; the program has impacted

their grades, attendance and conduct as well.By the end of the first year of OrchKids,half of the participants improved in readingand math by one grade, says DanTrahey,director of artistic program development forOrchKids.“Their self-efficacy has improved,too,” he adds.“When we started thisprogram, the kids would say,‘I am going tograduate from the third grade.’ Now theysay,‘I am going to graduate from college.’”

In the two years since OrchKids movedto Lockerman-Bundy from HarrietTubmanElementary School, Shirley Dessesow, theschool’s parent/student liaison, has seen atransformation in the students.“This is thebest thing that could happen here,” she says.“It’s a positive program that involves notonly music, but reading, math, followingdirections, being a good listener, beingresponsible—all things that they will needto be successful in life.” OrchKids is alsoa powerful incentive to come to schoolregularly, keep up with their studies andbehave, she says.“For these kids it hurtsfor them to have to stay in the office tofinish their classwork and miss even aminute of OrchKids.”

For students like Malik Conway, a third-grader with seemingly boundless energy,OrchKids has been a godsend, according tohis mother Chante Kiley.“With me beinga single mother, having all these male rolemodels has been great for Malik,” she says.In addition, Malik, who is prone to angryoutbursts, has been behaving better at schoolsince he started in the program.“Malikknows he has to control his behavior so he

Left to right: Nickea Johnson, 6, performs ata recent OrchKids concert; Sherie Jeffreys,OrchKids tutor, enrichment instructor and snackcoordinator, helps a young participant; theprogram begins introduction to the percussionfamily as early as pre-K with the use of sticksand Orff instruments.

BILLDEN

ISON

BILLDEN

ISON

KIRSTEN

BECKERMAN

can go to OrchKids. He wants to be here sobadly that he does it.”

Next year, OrchKids programs atLockerman-Bundy and New SongAcademy will add more grades, andTraheysays he hopes to add a third site at anotherWest Baltimore elementary school.There’salso talk of adding more for parents, suchas parent/child music classes for babies anda choir.There is still so much more to do.“I would like to see OrchKids availableto every single Baltimore public schoolchild—that’s 83,000 kids,” says Alsop.“Ultimately, I hope these kids are theleaders in their communities.”

The BSO can do all that it can tocommunicate the impact OrchKids ishaving, but in the end it is better to hearit for yourself.

An OrchKids concert is a spirited affair,replete with singing, drumming, ensembleperformances and a wide variety of music.At a recent concert, which capped off a

weeklong workshop with the ArchipelagoProject, the non-profit music educationensemble thatTrahey founded in 2002,a standing-room-only crowd packed theLockerman-Bundy gym.They listened tothe chorus belt out “The Lion SleepsTonight” and heard a group of trumpetersplay “C-Jam Blues,” a song they had onlyrecently mastered.The audience sang alongwhen the ensemble played a Swahilicall-and-response song and lit up when thebucket band jam erupted into a raucousimpromptu dance party—which inspiredMalik Conaway to skip through the crowdplaying his flute.The energy in the roomwas electric.And Glennette Fullwood wasbeaming with pride, not just for Kejuan, butfor all of the OrchKids.“They sound sodifferent than they did when they started,”she says.“They’re growing.”

At the end of the afternoon concert,the children packed up their instrumentsand returned to class to prepare for school

dismissal. Friday is the one day of the weekwith no after-school OrchKids activities.

Most afternoons, when the bell rings toend the school day, it’s time for OrchKidschoir rehearsal, instrument lessons andhomework help. By the time family mem-bers and friends start arriving to take thekids home, it is 6:15 p.m., and parents likeTracie Johnson are eager to get home toprepare for another busy day.

Yet on a recent weekday evening, herdaughter Nickea is dragging her feetafter spending 10-plus hours at school.Parka zipped, hood pulled up, the kinder-gartner slowly walks to the front door ofLockerman-Bundy. She grabs the doorframe and clings to it for several secondsafter her mother has already headed outinto the night.

Tonight she will dream of the violin,she says shyly.Tomorrow she will play it.

Right now she doesn’t want to leave.

10 Overture

First there were 30. Now there are 240. And with eachyear, the number of OrchKids will continue to grow.

Every year OrchKids touches the lives of moreand more Baltimore City school children through aninnovative program that blends music education withsocial and learning opportunities designed toempower students and their communities. This isn’tjust about music. It’s about social change.

But transforming the lives of children affectedby poverty, crime and faltering schools takescommitment and funding. It costs $1,650 per yearto grow an OrchKid. And the BSO can’t do it alone.

To donate to OrchKids, sponsor a student orvolunteer, please go to www.OrchKids.organd click on “Support.”

Or purchase a copy of Baltimore Counts!,a children’s picture book with original artworkdonated by award-winning Baltimore visual artists atwww.hollandbrownbooks.com/Baltimore_Counts!.html.All proceeds from your purchases will be donatedto OrchKids.

Questions?Contact Cheryl T. Goodman([email protected]) at 410-783-8025or Dan Trahey ([email protected]).

Left: Brian Prechtl, percussionist with the BSO,leads the OrchKids bucket band in collaborationwith the Archipelago Project musicians. Above:OrchKids second-grader Joshua Grandy, 8, andhis mother Fredericka beam after a recentconcert at Lockerman-Bundy.

��KIRSTEN

BECKERMAN

KIRSTEN

BECKERMAN

Early Education Sponsor:

It’s the

of

- inclusive healthcare, maintenance-free garden apartments, and interesting friends are a way of life at Broadmead. Enjoy an abundance of resident-driven programs & activities or the serenity of the natural surroundings on this 94-acre campus. It’s all up to you. We invite you to visit us and catch the Broadmead spirit. Call (443) 584-8008 to schedule your personal tour.

Broadmead is an inclusive, accredited, not-for-profit Continuing Care Retirement Community founded and operated in the caring Quaker tradition.

TTY/Voice~Maryland Relay Service 1-800-201-7165 www.broadmead.org

May 6, 2011 – June 12, 2011 11

BEFORE OR AFTER THE SHOWSERVING LUNCH, DINNER & WEEKEND BRUNCHPRIVATE PARTIES • CARRYOUT2360 JOPPA ROAD AT GREENSPRING STATIONP 410.583.TARK (8275) • F [email protected]

Subscribeto Baltimore’spremierelifestylemagazine.

Call 888-809-0085 orvisit baltimorestyle.com

GETINTHESPIRIT!GETINTHESPIRIT!

ReservoirHillHomesDressed for theHolidaysAButchersHillDreamHouseSeasonalSplendoron theSevernRiver

ReservoirHillHomesDressed for theHolidaysAButchersHillDreamHouseSeasonalSplendoron theSevernRiver

December 2010$3.95

www.baltimorestyle.com

07447003172

7

12

$3.95US

STYLESTYLEFASHION • HOME • GARDEN • FOOD • TRAVEL • PEOPLE • ENTERTAINING

SMART LIVING IN BALTIMORE

How a Baltimore Gal Became RoyaltyA Local Writer Remembers His Father at Christmas

FallFashionGoesGaga

October 2010$3.95


07447003172

7

10

$3.95US



THE STORY OFSTEWART’S

DEALS ON DESIGNER DUDS

OPERA FOR EVERYONE!

MAD MEN’ IN BALTIMORE

A PENTHOUSEWITH A MAGICAL VIEW

‘

Fall Fashion Goes Gaga

ADramaticMansionontheSevern

Re-creatingaClassicMaryland

Dinner

Ourannual lookatwhat’s cooking

November 2010$3.95


07447003172

7

11

$3.95US



Inside the MasonDixon Master ChefCompetitionDining Solo: LocalFoodies On TheirGuilty PleasuresBarbecue Judging7 Stylish KitchensJackets at Dinner?Adventures in Cooking Contests

Food’10Our annual look at what’s cooking

A Dramatic Mansion on the Severn

Re-creating a Classic Maryland

Dinner

Pasta and meatballswith sweet basil tomato

sauce, page 40( )

12 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 Green GregorianActing 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

LEXA

ND

ER

Baltimore Symphony Orchestra2010-2011 Season

Marin AlsopFor Marin Alsop’s bio, please see p. 12.

TheodoraHansloweIn the 2010-2011season,TheodoraHanslowe returnsto the MetropolitanOpera as Alisa in

Lucia di Lammermoor. Last season she joinedthe company to sing the role of Countessin Shostakovich’s The Nose, sang as soloistin Messiah with the Nashville Symphony,Israelitish Man in Judas Maccabeus withthe Berkshire Choral Festival and inMahler’s Das Lied von der Erde withSinfonietta of Riverdale.She has sung in concert as

soloist with the Boston SymphonyOrchestra (André Previn), San FranciscoSymphony (Michael Tilson Thomas),St. Paul Chamber Orchestra, IndianapolisSymphony (Raymond Leppard),Huntsville and Dallas symphony orchestrasand Cathedral Choral Society at NationalCathedral. She made her CarnegieHall debut singing Berlioz’ Les nuitsd’été with St. Louis Symphony.

SimonO’NeillSimon O’Neill hasrapidly establishedhimself as one of thefinest helden-tenorson the international

stage.A native of New Zealand, he is aprincipal artist with the MetropolitanOpera, the Royal Opera House, CoventGarden, La Scala and both the Bayreuth andSalzburg festivals, appearing with a numberof illustrious conductors including JamesLevine, Riccardo Muti,Valery Gergiev,Antonio Pappano, Daniel Barenboim, PierreBoulez, Sir Charles Mackerras, DanieleGatti, Edo deWaart, Bertrand de Billy,Donald Runnicles and Pietari Inkinen.On extremely short notice,Mr.O’Neill

made his debut in the title role of Verdi’sOtello in concert at the Barbican with theLondon Symphony Orchestra conductedby Sir Colin Davis. His performance waswidely acclaimed by critics. His discographyincludes Father and Son,Wagner Scenes andArias (Lohengrin, Parsifal, Siegmund and

programnotes

Songs of the Earth


BALTIMORE SYMPHONY ORCHESTRAMARIN ALSOP

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

Marin Alsop Conductor

Theodora Hanslowe Mezzo-Soprano

Simon O’Neill Tenor

Felix Mendelssohn Symphony No. 4 in A Major,opus 90,“Italian”Allegro vivaceAndante con motoCon moto moderatoSaltarello: Presto

INTERMISSION

Gustav Mahler Das Lied von der ErdeDas Trinklied vom Jammer der Erde[The Drinking Song of Earth’sMisery]

Der Einsame im Herbst [The LonelyOne in Autumn]

Von der Jugend [Of Youth]Von der Schönheit [Of Beauty]Der Trunkene im Frühling[The Drunk in Spring]

Der Abschied [The Parting]THEODORA HANSLOWESIMON O’NEILL

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

Media Sponsor: WBAL Radio

Presenting Sponsor:

��

Friday, May 6, 2011 8 p.m.

Sunday, May 8, 2011 3 p.m.

LISA

KO

HLE

R

Support for this program is generously provided by

May 6, 2011 – June 12, 2011 13

Siegfried) with Pietari Inkinen and theNZSO for EMI; the title role in Otellowith Sir Colin Davis with the LSO;Die Zauberflöte for the Salzburg FestivalMozart 25 DVD with Riccardo Muti;Der Freischütz with Bertrand de Billy;Mahler’s Eighth Symphony withVladimir Ashkenanzy and the SydneySymphony; and Chausson’s Le RoiArthus with Leon Botstein and theBBC Symphony Orchestra.Mr.O’Neill is an alumnus of the

University of Otago,Victoria Universityof Wellington, the Manhattan School ofMusic andThe Juilliard Opera Center.He was a Fulbright Scholar, was awardedthe 2005 Arts Laureate of New Zealandand was a grand finalist in the 2002Metropolitan Opera National Auditions,returning as guest artist in 2007. He alsoappears on the 1998 New Zealand one-dollar performing arts postage stamp.

NOTES ON THE PROGRAM

Symphony No. 4 in A Major, “Italian”

Felix MendelssohnBorn in Hamburg, Germany, February 3, 1809;died in Leipzig, Germany, November 4, 1847

“This is Italy! And now has begun what Ihave always thought … to be the supremejoy in life.And I am loving it.Today was sorich that now, in the evening, I must collectmyself a little, and so I am writing to you tothank you, dear parents, for having given meall this happiness …”The 21-year-old Felix Mendelssohn

wrote these words to his family onOctober 10, 1830 upon arriving inVenice.His parents deserved thanks, for it was theirwealth that had made possible this secondinstallment of his GrandTour of Europe.The previous year had taken him to theBritish Isles and sown the seeds for his“Scottish” Symphony; his journeys in andaroundVenice, Florence, Rome, and Naplesfrom October 1830 to July 1831 wouldinspire his other most popular symphony,the sunlit “Italian.”Though he found much in the Italian

culture that offended his fastidious Germansoul, the young composer threw himselfinto his Italian experience with gusto notonly making pilgrimages to all the greatmuseums and churches, but also reveling inRome’s pre-Lenten carnival season and

taking long hikes in the countryside.Soon he began work on a new symphonyinspired by this captivating land. Butpossessed with good looks and a charmingpersonality, he made little progress; as heconfessed in another letter home, he had somany calling cards stuck in his mirror thathe need never spend an evening alone.After returning to Germany, however,

the “Italian” Symphony began to take shapeduring the winter of 1832, spurred on by acommission from the London PhilharmonicSociety. Despite its air of spontaneityand effortlessness, the symphony costMendelssohn a great deal of sweat. Evenafter its highly successful premiere by theLondon Philharmonic on May 13, 1833under his own baton, he continued toanguish over it. Ultimately, it was notpublished until after his death.Mendelssohnleft behind instructions for its improvement,but fortunately—since many consider the“Italian” to be among the most perfectlycrafted of all symphonies—nobody hasever implemented them.

First movement:With its upward-leaping theme for violins above throbbingwoodwinds, the “Italian” has one of theeasiest to remember openings in thesymphonic canon: an irresistible musicalexpression of youthful high spirits and sheerjoy. Clarity and lightness mark the orchestra-tion of one of Mendelssohn’s finest scoresin which exactly the right color mixtureis found for each mood.A rhythmicallyvigorous new tune delays its appearanceuntil the development section, where itbecomes the subject of a lively stringfugue—Mendelssohn certainly had notworshipped at Bach’s shrine in vain!The slower second movement in

D minor is a masterpiece of atmosphere andscene painting. It was apparently inspired bya religious procession Mendelssohnwitnessed in Naples, and the constant“walking bass” line carries the processionalfeeling.Above it, the haunting timbres ofoboes, bassoons and violas introduce a graveand lovely melody.When the violinssucceed them, they are partnered by twoflutes weaving a cool obbligato above.Atmidpoint, clarinets offer a flowing, heartfeltnew theme.Throughout, a wailing motive,rising and falling a half step, suggeststhe cries of the pilgrims.The processiongradually fades into the distance.

Instead of following Beethoven’s patternof an earthy scherzo third movement,Mendelssohn reached back to an earlier agefor a very Classical minuet and trio. Butthe string writing is more lush and thesentiment stronger than in Mozart’s minuets,and the trio has a warm nobility with itsGermanic-sounding horn and bassoon parts.Italy and the spirit of the Roman

carnival return in the vivacious finale, basedon the Italian leaping dance, the saltarello.In an unusual choice, this is a minor-mode(A minor) conclusion to a work that beganin major. But Mendelssohn had the gift forwriting very lighthearted music in minorkeys—remember hisViolin Concerto inE Minor.And indeed high spirits andnonstop energy propel this dance to itswhirling conclusion.

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

Das Lied von der Erde(“The Song of the Earth”)

Gustav MahlerBorn in Kalischt, Bohemia, July 7, 1860;died in Vienna, May 18, 1911

The summer of 1907 was the most terribleof Gustav Mahler’s life. In June, his adoredeldest daughter Maria, age 4 ½, contractedscarlet fever followed by diphtheria; despitethe doctor’s best efforts, she died on July 5.Worn out by her sickbed vigil,AlmaMahler collapsed. But it was her husband’shealth that worried the doctor more. Hewas sent to a specialist inVienna and therelearned he had a serious heart conditionthat was virtually a death sentence.Mahlerwrote no music that summer.The news came as a shock to a man

who passionately loved the outdoor life.“My mental activity must be complement-ed by physical activity,” he said. In an effortto prolong life, Mahler’s doctor severelyrestricted that activity.The composer wroteto his protege BrunoWalter about this“change of my whole way of life.You canimagine how hard [this] comes to me. Formany years I have been used to constantand vigorous exercise—roaming about inthe mountains and woods, and then, likea kind of jaunty bandit, bearing home mydrafts. ... Now I am told to avoid anyexertion, keep a constant eye on myself,and not walk much.”

14 Overture

programnotes

Anyone who has listened to otherMahler works and their omnipresent funeralmarches knows the composer was alwaysdeath-obsessed.Many of his siblings haddied in childhood; one of his brothers com-mitted suicide. But it is one thing to thinkabout death abstractly and quite another toface one’s own imminent extinction.During this crisis, a friend gave Mahler

Hans Bethge’s The Chinese Flute, a volumeof poems translated from ancient Chinesetexts. Mahler was already interested inEastern philosophy, and these poemsreflected the tensions struggling inside him:in Deryck Cooke’s words,“the poignantdual awareness of the bitterness of mortalityand the sweet sensuous ecstasy of beingalive.” During the summer of 1908, seven ofthe poems became the genesis of his nextcreation, the song-symphony Das Lied vonder Erde:“The Song of the Earth.” He calledit his most “personal” work; many havecalled it his greatest.Das Lied fuses the two forms of musical

expression at which Mahler excelled: songand symphony.The composer himself calledit a symphony, and his earlier symphoniesincluding sung texts—the Second,Third,Fourth, and Eighth—gave him precedent.Commentators have tried to fit this workinto the standard four-movement sym-phonic pattern with the first song as firstmovement, song two as slow movement,songs three through five as a multipartscherzo, and the huge last song as finale.But it is not necessary to squeeze the workinto such a Procrustean bed.Mahler doesindeed build the work symphonically fromcore motifs and themes that are varied anddeveloped through each song and havecorrespondences in succeeding ones.AndDas Lied displays Mahler’s most refined andoriginal orchestral writing. Seldom useden masse, the orchestra becomes a series ofexquisite chamber ensembles, each uniquelyexpressing the outer and inner meaningsof the poems.With the texts Mahler played an

equally creative role.The poems had alreadybeen translated by other German andFrench writers before Bethge got to them,and their tone had acquired a distinctlyEuropean fin-de-siècle coloration.WhenMahler’s musical imagination soared beyondBethge’s verse, he felt free to change thewords to match. It is Mahler who wrote the

exultant “O Beauty! O world drunkwith eternal love and life!” in the last song,as well as the entire conclusion from“My heart is still and awaits its hour.”And it is Mahler who reinterpreted thepoems in terms of his own crisis and made“The Farewell” a farewell to life.

“The Drinking Song of the Earth’sMisery.” Once heard, the electrifyingopening is never forgotten: a horn callfollowed by a fortissimo cry of pain anddespair, with bitter cackling laughter fromthe trumpet.Against this, the tenor launcheshis song, a mixture of cynicism andhedonism, in heroic rising phrases.Three ofthe four stanzas end with the droopingrefrain:“Dunkel ist das Leben, ist der Tod”(“Dark is life, and so is death”). Here thepoet considers man’s brief span andproposes the “eat-drink-and-be-merry”response.Midway, the violins proposesomething more consolatory: an ecstaticvision of springtime and the eternal bloom-ing earth; this image will reappear in latermovements until it dominates the close ofthe last. But the grinning face of deatherases Spring, and orchestra and tenor inshrieking dissonances evoke the apehowling in the graveyard.The orchestra’sfinal low grunt declares nihilism thevictor. But this will not ultimately beMahler’s choice.

“The Lonely One in Autumn.”The contralto’s first song is a chilly portraitof the loneliness of the dying autumnseason—and of the human soul. Starkorchestration—predominantly solo oboeover violins—describes the mist on the lakeand the mood of weariness and depression.The sad-toned oboe is the singer’s instru-mental alter ego, as it will be again in“The Parting.”At first, the singer presentsthe text in soft, reticent scales. She becomesmore expressive at the words “sleep” and“rest,” which here stand for the final sleepof death.A greater emotional peak isreached at “Sun of love, will you shine nolonger” (words added by Mahler).Thesong ends as bleakly as it began.The next two songs, “Of Youth” and

“Of Beauty,” are celebrations of earth’spleasures, presented in music of glitteringorientalism, with pentatonic (five-note)scales and exotic instrumental colors. ForMahler, the fading world of youth andvitality had greater allure than ever; in this

same year, he wrote toWalter:“I amthirstier than ever for life.”

“The Drunk in Spring” returns usto the first song’s philosophy, morecomically expressed.The inebriated tenorclashes unconcernedly with the orchestra,and Mahler further illustrates his derange-ment with a cruelly high tessitura, shootingto a high A at the end of each stanza.To twittering birdsong and the joyousmelody of a violin, a bird tells the drunkardthat Spring, the renewer of life, has come.But the singer rejects this life-givingopportunity and returns to his drink.

“The Parting.” In none of theprevious movements has Mahler found ananswer to his anguish. Now the last song,the longest and the greatest of this work,must find resolution. It combines twopoems by two different authors, the secondbeginning at the words “He alighted fromhis horse.” Between them comes a magnifi-cent orchestral interlude, the greatest ofMahler’s funeral marches, in which death isat last faced squarely.The poems describea man waiting in the lengthening shadowsof evening for a friend to arrive;Mahlerinterprets this as being the final partingbefore death. Over an eerie tolling ofgong, low winds and strings, the solo oboe,again the singer’s shadow, sings a fastswirling ornament; this will become apersistent motif.A gentle rocking motionand a march motif for the clarinets will alsorepeat in subtle transformations.The singer’sopening phrases are cool and emotionless,but with each reference to the bloomingearth, spring and beauty, she and theorchestra burst into ever more ecstatic song.In earth’s eternal renewal, Mahler has foundsolace for his mortality. In the song’s closingmoments and to his own words,Mahlerrhapsodizes over his final dissolution intothis cosmic beauty.As the singer repeats“ewig”—”forever”—the music fades intoone of the most sublime expressions ofeternity ever conceived by a mortal.

Instrumentation: three flutes, two piccolos,three oboes, English horn, three clarinets,piccolo clarinet, bass clarinet, three bassoons,contrabassoon, four horns, three trumpets,three trombones, tuba, timpani, percussion,two harps, celeste, mandolin and strings.

Notes by Janet E. Bedell, copyright 2011

programnotes

May 6, 2011 – June 12, 2011 15

16 Overture

programnotes



Overture to Manfred, opus 115

Robert SchumannBorn in Zwickau, Germany, June 8, 1810; died inEndenich, near Bonn, Germany, July 29, 1856

With its tormented hero vainly seekingpeace among the high peaks of the Alps,Lord Byron’s dramatic poem Manfred (1817)epitomized the spirit of Romanticism.

Many sensitive artists fell under its spell, andit inspired two fevered musical masterpieces:Tchaikovsky’s Manfred Symphony (1885)and Schumann’s remarkable ManfredOverture and incidental music (1848-49).Schumann probably first read the

poem as an adolescent. A quintessentialByronic antihero,Manfred, tortured by somemysterious crime (in Byron’s own case itwas an incestuous love affair with his halfsister), seeks solitary refuge in the Alps.He summons the spirits of the universe forassistance, but they refuse to give him the

peace he yearns for. He is tempted by evilspirits but resists them; his life force alsoprevents his leaping from a lofty peak.Finally, he experiences a vision of thewoman he has wronged, who foretells hisdeath.The next day, demons appear for him,but he denies their power.At last, he findspeace in the oblivion of death.Tormented himself by fears of madness

and death—which unfortunately claimedhim only a few years later—Schumannfound much with which he could identifyin this poem.The years of 1848 and 1849belonged to one of his periods of maniccreativity. In August 1848, just one day afterhe had completed his only opera,Genoveva,he began the score for a staged performanceof Manfred; by November, it was largely fin-ished. He wrote that he had never devotedhimself “with such love and outlay of forceto any composition as to that of Manfred.”On June 13, 1852, his friend Franz Lisztstaged Manfred atWeimar with Schumann’smusic, but by then the composer was toooverwhelmed by depression to attend.The overture is one of Schumann’s

finest and most impassioned creations.Three fast, agitated chords snap us toattention.Then ensues a melancholy slowintroduction that prophecies tragedy.The first violins introduce Manfred’s theme:a yearning, upward-arching melody withan uneasy syncopated rhythm.The tempogradually accelerates to Allegro, andManfred’s theme now takes on a virile,heroic character. Eventually, the violinspresent the other major theme: a three-notewailing motive followed by a twistingmelody that suggests Manfred’s frustratedquest for peace. Restless harmonies propelthis feverish sonata form, which ultimatelydies out in darkest E-flat minor.We will hear the Manfred Overture in

Gustav Mahler’s arrangement; for moreinformation on Mahler’s approach toSchumann’s symphonic works, see thenote on Schumann’s Symphony No. 1.

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

Symphony No. 1 in B-flat Major, “Spring”

Robert SchumannIn the fall of 1840,Robert Schumann finallywon the prize he had sought for some fiveyears: he married the lovely and gifted Clara

Robert Schumann –A Romantic Original





Robert Schumann Overture to Manfred, opus 115Arranged by Gustav Mahler

Robert Schumann Symphony No. 1 in B-Flat Major,Arranged by Gustav Mahler opus 38,“Spring”

Andante un poco maestoso -Allegro molto vivace

LarghettoScherzo: Molto vivaceAllegro animato e grazioso

INTERMISSION

Robert Schumann Symphony No. 2 in C Major, opus 61Sostenuto assai -Allegro ma non troppo

Scherzo:Allegro vivaceAdagio espressivoAllegro molto vivace

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

Media Sponsor: The Baltimore Sun Media Group

��

Thursday, May 12, 2011 8 p.m.


Wieck, about to celebrate her 21st birthdayand already a renowned piano virtuoso.The honeymoon period of 1841

was one of Schumann’s most prolific, ashe turned for the first time in his career toworks for orchestra and—in the wake ofBeethoven’s achievement—the mostprestigious form of his day: the symphony.By year’s end, he had composed his FirstSymphony and what would eventuallybecome his Fourth, the Overture, Scherzoand Finale he called a sinfonietta, the firstversion of his Piano Concerto, and anunfinished symphony in C minor.Schumann’s “SymphonicYear” opened

with an explosion of creativity. In just fourdays and sleepless nights, January 23–26, hesketched in full his First Symphony and byFebruary 20 had completed its orchestra-tion. He called it his “Spring” Symphony;but we should not listen to this work assimply a tone poem about this most pleasingand hopeful of seasons. Rather it is morean expression of psychological springtime,reflecting the season’s spirit of optimismand new life. It reveals Schumann’s joy asthe happy couple awaited the birth of thefirst of their eight children.Gustav Mahler adored Schumann’s

symphonies, but he, like many musicians,believed that Schumann’s ability as anorchestrator was his weakest trait. Schumanntended to double melodic lines amongmany instruments, often giving his orches-tral music a thick, rather muddy sound.For his part,Mahler especially prizedclarity in scoring. So in his performances ofSchumann, he actually lightened up theoriginal textures, so that important detailswould stand out more clearly.Even more important were the

numerous changes in the dynamic markingsMahler used throughout, bringing outdetails and adding finer shadings to thesculpting of each line.Altogether, he mademore than 800 adjustments in dynamics,rhythmic accents, and instrumental partsfor the “Spring” Symphony.Nothing could be more joyous than

the brass fanfare that launches the firstmovement or the upward hurtling ofviolins and woodwinds that follows.Schumann already shows his Romanticdaring here in veering immediately towardthe unexpected key of D minor ratherthan establishing his home base of B-flat

May 6, 2011 – June 12, 2011 17

Nestled among scenic Amish farmland in Lancaster, PA, sits one of the nation’s leading retirement communities. Willow Valley Retirement Communities attracts residents from 37 states, more than100 from nearby Maryland. Why? Unsurpassed value. Large and luxurious apartments and townhomes, enriching lifestyle, and state-of-the-art amenities. Plus, with Lifecare, there are no worries about future long-term care needs.

Our Maryland residents also value our lower cost of living and the fact Pennsylvania doesn’t tax retirement income.*

ccc AA

Life

450 Willow Valley Lakes Dr., Willow Street, PA 175841-800-770-5445 | A not-for-pro�t community*Visit our Web site for details.

Lancaster, Pennsylvania

www.WillowValleyRetirement.com/c102/RetireToPA

Join Us June 16th

Informational LuncheonRSVP: 1-800-770-5445

��

�� !�� !�� !�� !�� "��#� "�$��

��$$��%&!%&!%&!%&!' ��%()%()%()%()* %��#��#��

� �� !��"��#��"�$��+��$�� ,��-�$��.�/�� )��0�12234516�

��

��

��

DIAGNOSIS OF EARLY STAGE DEMENTIA

HAVE NOT HAD A STROKE DIAGNOSIS OF ALZHEIMER’S DISEASE

DO NOT HAVE DIABETES

��

��

18 Overture

programnotes

major.This slow introduction, full ofBeethovenian drama, creates an airof expectancy until it finally accelerates intothe main Allegro section. Here, its jauntyfirst theme is actually a sped-up version ofthe opening fanfare.And its bouncingdotted rhythm becomes the motor thatpowers nearly the whole movement.The chief contrast is the gently swayingwoodwind idea that serves for a secondlyrical theme.After a repeat of this exposition material,

the development section is driven forwardby the omnipresent gallop of the dottedrhythm.This is capped by the movement’smost exhilarating moment, as the openingbrass fanfares and upward-rushing strings cutthrough the orchestra’s activity to announcethe recapitulation.A final surprise comesduring Schumann’s rush to the finish linewhen he pauses to present a marvelous,heartwarming new theme led by strings.A poignant song melody, intensified

by little stabbing accents and expressiveornamental notes, forms the substance ofthe slow movement, originally titled“Evening.” The music is richly colored byunexpected harmonies.The melody returnstwice, first in cellos and later in woodwinds,each time with exquisitely varied accompa-niments.At movement’s end, the trombonessoftly intone a plaintive chorale.The musicends harmonically in the air, bridgingdirectly to the Scherzo.And here comes another surprise:

The Scherzo’s aggressive, heavily accenteddance theme is none other than the gentletrombone chorale on amphetamines! Thisvery macho dance is unusual for havingtwo contrasting trio sections.The first is anenigmatic dialogue between strings andwinds, with a little syncopated idea tossedback and forth.The second trio with itsracing scale patterns has the gruff energyof Schumann’s idol, Beethoven.The finale explodes with a new

version of the upward-rushing idea thatopened the symphony. But then it easesinto a lightly pattering violin theme.More impressive is the second theme:a triumphant idea proclaimed proudlyby the full orchestra before being passedto woodwinds for a puckish echo; it isthis theme Schumann chooses for hisdevelopment section.The return of theupward-rushing scale ushers in a joyous

recapitulation, made even more exciting bythe more elaborate brass parts Mahler couldnot resist contributing.

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

Symphony No. 2 in C Major

Robert SchumannIn February 1854 after decades of mentalsuffering, Schumann attempted suicide byjumping from a bridge into the RhineRiver; he spent the last two and a half yearsof his life in an asylum, where he died ofself-starvation at age 46. In 1844, a decadebefore the suicide attempt, he endured theworst breakdown of his life subsequent tothat catastrophic final one. Every effortexhausted him, and composing becamea torment.Writing to a physician friend, herecalled:“For a while I could not standlistening to music. It cut into my nerveslike knives.” Schumann was tormented byphobias—“melancholy bats,” he calledthem—including fears of high places, sharpobjects and medicines, which he wasconvinced contained poisons.Worse still fora musician were auditory hallucinations,described by Clara Schumann as a “constantsinging and rushing in his ears, every noisewould turn into a tone.”Eventually, the symptoms lessened,

Schumann began to grow stronger, and hiscreativity revived. First he completed hispopular Piano Concerto. By December hehad entered one of his manic creative phasesand in just three weeks sketched the SecondSymphony, regarded by many as his greatest.It is easy to hear Schumann’s struggle againsthis illness in this symphony, as well as thejoyous return of health and strength in thefinale.Through the alchemy of art, thecomposer managed to transmute sufferinginto great music, especially in the extraordi-nary slow movement that is the emotionalheart of this work.The sonata-form first movement

opens with a long and mysterious slowintroduction that contains the seeds fromwhich the symphony will grow. First wehear a solemn fanfare in the brass, distantand dreamlike, above strings wandering ina dark maze.Tuck this fanfare motive inyour memory for you will hear it again andagain.The woodwinds offer a four-note

dotted-rhythm idea.When the tempofinally accelerates to Allegro, this launchesthe movement’s main theme, full ofnervous struggle. Periodically, the violins arcupward on a tormented wailing idea, whicheventually grows into a full-fledged newlyrical episode, divided between woodwindsand violins.More agitated still is the second-

movement scherzo with its fast, freneticmusic for the violins. So difficult is this toplay that it is customarily included inauditions for violinists seeking an orchestralposition.Momentary relief from thisobsessive music comes in two trio sections:the first a dialogue between woodwinds andstrings featuring triplet figures; the seconda lovely, flowing episode, rich in fugalimitation, opened by the strings.A loudreturn of movement one’s brass fanfarecloses the movement.For the slow movement in C minor,

Schumann created one of the mostheartbreakingly beautiful melodies in thesymphonic repertoire.Moving from onesolo woodwind to another, it seems togrow lovelier and more painful with eachrepetition.When the violins sing themelody, they twice add a chain of shimmer-ing trills—a sublime stroke.With an upward-rushing scale and

a joyous wake-up-call of a theme in thewoodwinds, Schumann seems to leap fromhis sickbed.The finale is the musicalexpression of the composer’s recovery, withno lingering dark shadows. Listen for thereappearance of the slow movement’spoignant theme in the low strings, nowdancing along in quick tempo. Schumanneventually turns it upside down, creatinga buoyant new tune that drives the musicforward for several moments.Yet anothermelody is introduced by the woodwinds:a soaring and uncomplicated hymn ofthanksgiving. So infectious is this melodythat Schumann forgets all the othersand builds the symphony’s conclusionaround this uplifting music.At the end,the opening brass fanfare reappears,transformed into triumph.

Instrumentation: two flutes, two oboes,two clarinets, two bassoons, two horns,two trumpets, three trombones, timpaniand strings.


programnotes

May 6, 2011 – June 12, 2011 19


RichardKoganDr.Richard Koganhas a distinguishedcareer both as aconcert pianist andas a psychiatrist.

The NewYorkTimes has praised him forhis “eloquent, compelling, and exquisiteplaying,” and the Boston Globe has written,“Kogan has somehow managed to

excel at the world’s two mostdemanding professions.”Dr. Kogan has gained renown

for his lecture/recitals that explorethe role of music in healing and theinfluence of psychiatric and medicalillnesses on the creative output ofcomposers such as Mozart, Beethoven,Chopin, Schumann,Tchaikovsky, GeorgeGershwin and Leonard Bernstein.He has given these presentations at musicfestivals, concert series, medical confer-ences and scholarly symposia throughoutthe world. He performed Gershwin’s

Rhapsody in Blue and delivered an address,“The Power of Music in Healing Mindand Body,” at the 2009World EconomicForum in Davos, Switzerland.Dr. Kogan has recorded Music and

the Mind:The Life andWorks of RobertSchumann for Touchstar Productions andhas won numerous honors including theConcert Artists Guild Award and firstprize in the Chopin Competition of theKosciuszko Foundation.Dr. Kogan is a graduate of The Juilliard

School of Music Pre-college, HarvardCollege and Harvard Medical School.

He completed a psychiatry residency andacademic fellowship at NYU. He has aprivate practice of psychiatry in NewYorkCity and is affiliated withWeill CornellMedical College as co-director of itsHuman Sexuality Program. He is alsoco-chairman of the recently establishedWeill Cornell Music/Medicine Initiative.


Symphony No. 2 in C Major

Robert SchumannFor notes on this program, please see p. 18.

OFF THE CUFF

Schumann’s Beautiful Mind





Richard Kogan Piano

Robert Schumann Selections from Carnaval, opus 9RICHARD KOGAN

Robert Schumann Symphony No. 2 in C Major, opus 61Sostenuto assai -Allegro ma non troppo

Scherzo:Allegro vivaceAdagio expressivoAllegro molto vivace

The concert will end at approximately 8:30 p.m.

The BSO dedicates this Off the Cuff concert to the memory of Howard A.and Rena S. Sugar in appreciation of their significant generosity.

��

Saturday, May 14, 2011 7 p.m.

Series Presenting Sponsor:


Schumann was tormentedby phobias—“melancholybats,” he called them—

including fears of high places,sharp objects and medicines,

which he was convincedcontained poisons. Worsestill for a musician wereauditory hallucinations.

��

��

programnotes

Jack EverlyJack Everly isthe principal popsconductor ofthe Baltimoreand IndianapolisSymphony

orchestras, Naples Philharmonic Orchestra,and National Arts Centre Orchestra(Ottawa), and the newly named musicdirector of the National Memorial DayConcert and A Capitol Fourth on PBS.This season he returns to the ClevelandOrchestra and appears as guest conductorin Pittsburgh, Milwaukee,Toronto,Cincinnati, Edmonton and Detroit.Mr. Everly recently renewed his five-yearcontract with the BSO through 2017.Mr. Everly is the music director of

Yuletide Celebration, now a 25-yeartradition.These theatrical symphonicholiday concerts are presented annuallyin December in Indianapolis and are seenby more than 40,000 concert-goers.Originally appointed by Mikhail

Baryshnikov, Mr. Everly was conductorof the American Ballet Theatre for 14years, where he served as music director.In addition to his ABT tenure, he hasteamed with Marvin Hamlisch inBroadway shows that Mr. Hamlisch scored,including The Goodbye Girl, They’rePlaying Our Song and A Chorus Line.He conducted Carol Channing hundredsof times in Hello, Dolly! in two separateBroadway productions.In television and film, Mr. Everly has

appeared on In Performance at theWhiteHouse and conducted the songs forDisney’s animated classic The Hunchback ofNotre Dame. He has been music directoron numerous Broadway cast recordingsand conducted the critically praisedEverything’s Coming Up Roses:The CompleteOvertures of Broadway’s Jule Styne.In 1998, Mr. Everly created the

Symphonic Pops Consortium, serving asmusic director.The consortium, based inIndianapolis, produces a new theatricalpops program each season.

BSO SUPER POPS

Rodgers & Hammersteinat the Movies




JACK EVERLY

PRINCIPAL POPS CONDUCTOR

Jack Everly Conductor

A SYMPHONIC NIGHTATTHE MOVIESRodgers & Hammerstein at the Movies

Music by Richard RodgersLyrics by Oscar Hammerstein II

By special arrangement with The Rodgers & Hammerstein Organization

OKLAHOMA! Starring: Gordon MacRae and Shirley JonesMain Title/Oh,What a Beautiful Mornin’The Surrey with the Fringe onTop

Oklahoma

CAROUSEL Starring: Gordon MacRae and Shirley JonesThe CarouselWaltzIf I LovedYou

June Is Bustin’ Out All Over

SOUTH PACIFIC Starring: Mitzi Gaynor and Rossano BrazziOverture

There Is Nothin’ Like a DameSome Enchanted EveningDites-Moi & Finale

INTERMISSION

CINDERELLA WALTZ arranged by Robert Russell Bennett

THE KINGAND I Starring: Deborah Kerr andYul BrynnerThe March of the Siamese Children

Getting to KnowYouShallWe Dance?

Presenting Sponsor:


Saturday, May 21, 2011 8 p.m.


continued on next page

TOD

MA

RTEN

S

20 Overture

The (re)birth of the Classic Italian Kitchen.Experience a culinary “renaissance” at Sotto Sopra. Executive Chef Riccardo Bosio is back in the kitchen with his new menu, featuring Sotto Sopra’s classics and a contemporary feast of new dishes. Come share Bosio’s passion and taste 2011’s new palette of flavors and culinary sensations. Savor the “Soul of Northern Italy,” in the heart of Baltimore’s cultural district, Mt. Vernon.

“ ”

h

HOME-

MADE

PASTAS

SELECT SUNDAYS

LIVE OPERA!MAY 22 JUNE 26

6-COURSE DINNER 5:30 PM

CALL FOR RESERVATIONS:

WWW.SOTTOSOPRA.US

410.625.0534 OR VIA: OPENTABLE.COM

Business Dining, Large Parties & Special Events: Contact Monika, 443.850.9523 [email protected]

405 North Charles Street

Complimentary Valet Parking 7 nights a week

May 6, 2011 – June 12, 2011 21

Rodgers & Hammersteinat the Movies

continued from previous page

STATE FAIR Starring: Jeanne Crain, Dick Haymes, Ann-Margretand Pat Boone

It’s a Grand Night for Singing

THE SOUND OF MUSIC Starring: Julie Andrews, Christopher Plummer,Charmian Carr, Nicholas Hammond, Heather Menzies, Duane Chase,

Angela Cartwright, Debbie Turner and Kym KarathIntroduction

The Sound of MusicMainTitleDo-Re-Mi

So Long, FarewellClimb Ev’ry Mountain & Finale

Clips from Oklahoma!, Carousel, State Fair, The King and I, South Pacific andThe Sound of Music courtesy of Twentieth Century Fox Home Entertainment

The producer wishes to acknowledge the contributions and extraordinary supportof John Waxman (Themes and Variations), Theodore Chapin and Bruce Pomahac.

A Symphonic Night at the Movies is a production of PGM Productions, Inc. (New York)and appears by arrangement with IMG Artists.

To learn more about the musicals of Rodgers & Hammerstein, please visit www.rnh.com.

To see the entire Rodgers & Hammerstein Movie Collection available on DVD,go to www.foxhome.com.

PRODUCTION CREDITS

Producer: John Goberman Music Consultant: John WaxmanMusic Preparation: Larry Spivack

ORIGINAL ORCHESTRATORS AND ARRANGERS

For The Rodgers and Hammerstein OrganizationPresident and Executive Director: Theodore S. ChapinSenior Vice President/General Manager: Bill Gaden

Senior Vice President/General Counsel: Victoria G. TraubeSenior Vice President/Communications: Bert Fink

Director of Music: Bruce Pomahac

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

Oklahoma!Film Orchestrations byRobert Russell Bennett

CarouselFilm Orchestrations by Earle Hagen, Gus

Levene, Bernard Mayers, Edward B. Powell,Nelson Riddle and Herbert W. Spencer

State FairFilm Orchestrations by Edward B. Powell

(original orchestrations recreatedby Larry Spivack)

The King and IFilm Orchestrations by Robert RussellBennett, Gus Levene, Bernard Mayers

and Edward B. Powell

South PacificFilm Orchestrations by Robert RussellBennett, Pete King, Bernard Mayers,Alfred Newman and Edward B. Powell

The Sound of MusicFilm Orchestrations by Irwin Kostal

22 Overture

programnotes

CarlosKalmarCarlos Kalmar wasappointed musicdirector of theOregon SymphonyOrchestra in 2003,

and in April 2008, his contract was extendeduntil 2013. He is also music director of theGrant Park Music Festival in Chicago.During his career, he has been music direc-tor of the Hamburg Symphony, StuttgartPhilharmonic,Vienna’s Tonkünstlerorchesterand the AnhaltischesTheater in Germany.

His international conducting appear-ances have included the Prague Symphony,Royal Scottish National Orchestra, CzechPhilharmonic, Berlin Radio Symphony,the National Orchestra of Spain, the ORTOrchestra of Florence, the BournemouthSymphony, the Hamburg State Opera, theBBCWelsh, the Residentie, theViennaState Opera, theYomiuri Japan Orchestra,the Flemish Radio, and the Zürich Opera.Mr. Kalmar’s next recording will

feature the Oregon Symphony with thepopular group Pink Martini. His mostrecent recordings on the Cedille label

include two 2008 releases with the GrantPark Orchestra: one of works by PulitzerPrize-winning composer Aaron Jay Kernisand one featuring the world-renownedmezzo-soprano Jennifer Larmore.Mr. Kalmar was born in Uruguay

to Austrian parents. He showed aninterest in music at an early age andbegan studying violin at age 6. By age 15,his musical development led him totheVienna Academy of Music, wherehe studied conducting with KarlOsterreicher. He resides in Portland,Oregon andVienna.

KarenGomyoRecipient of theprestigious AveryFisher Career Grantin 2008, Canadianviolinist Karen

Gomyo first caught public attention justone week after her 15th birthday whenshe won the 1997Young Concert ArtistsInternational Auditions. She became theyoungest artist ever to be presented in theYoung Concert Artists Series, in a criticallyacclaimed NewYork debut as recipientof the Summis Auspiciis Prize, and eversince has been heard as soloist, recitalist,and chamber musician across the U.S.,Canada, South America, Europe and Asia.Highlights this season were

re-engagements as soloist with the LosAngeles Philharmonic at the HollywoodBowl under the baton of Leonard Slatkin;the St. Louis Symphony under GilbertVarga; the Houston Symphony underLouis Langrée; and the Toronto Symphonyunder Kwamé Ryan, as well as returnswith the symphonies of Utah,Winnipeg,Edmonton and Phoenix among others.Ms. Gomyo made first-time appearanceswith the City of Birmingham SymphonyOrchestra with Xian Zhang, the RoyalScottish National Orchestra, OrchestreNational de Lille, the New JerseySymphony, Orquesta Filarmonica de laCiudad de Mexico, and summer concertdebuts with the San Francisco Symphonyand Philadelphia Orchestra underHans Graf.In September 2008, Ms. Gomyo

had the honor of being asked to performa solo Bach movement at the First

Mahler, Sibelius and Walton




Carlos Kalmar Conductor

Karen Gomyo Violin

Gustav Mahler What theWild Flowers Tell MeArranged by Benjamin Britten

Jean Sibelius Violin Concerto in D Minor, opus 47Allegro moderatoAdagio di moltoAllegro, ma non tanto

KAREN GOMYO

INTERMISSION

William Walton Symphony No. 1 in B-Flat MinorAllegro assaiPresto con maliziaAndante con malinconiaMaestoso - Allegro biroso edardentemente

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

Media Sponsor: WYPR 88.1 FM

��


JAY

MO

REA

U

CO

URT

ESY

OF

THE

BSO

May 6, 2011 – June 12, 2011 23

programnotes

Symposium for theVictims of Terrorismheld at the headquarters of the UnitedNations in NewYork.Ms. Gomyo has made numerous

recital and chamber music appearances.She has performed at the Aspen MusicFestival, Banff in Canada, Ravinia FestivalRecital Series, Caramoor InternationalChamber Music Festival, Lajolla ChamberMusic Festival, Seattle Symphony RecitalSeries, Mostly Mozart Recital Series inNewYork, Gardner Museum in Boston,Schloss Elmau in Germany, the LouvreMuseum in Paris, Festival InternacionalSantander in Spain, Chanel Ginza RecitalSeries in Tokyo, and Suntory Hall in Tokyo,as part of a eight-city tour of Japan.Born inTokyo to a Japanese painter and

French professor of philosophy,Ms. Gomyowas raised in Montreal.At age 5 she hadalready begun performing in public. Shewas one of 10 children chosen to play ina masterclass in Chicago given by the lateDorothy DeLay and was promptly takenunder the pedagogue’s wing to study on fullscholarship atThe Juilliard School.AfterMiss DeLay’s passing,Ms. Gomyo continuedher studies with Mauricio Fuks at IndianaUniversity and with DonaldWeilerstein atthe New England Conservatory of Music,where she graduated in May 2007 with anArtist Diploma, the school’s highest honor.Ms. Gomyo plays the “Ex Foulis”

Stradivarius of 1703.


What the Wild Flowers Tell Me

Gustav MahlerBorn in Kalischt, Bohemia, July 7, 1860;died in Vienna, May 18, 1911

Arranged for Small Orchestra byBenjamin Britten (1913–1976)

In June 1895, Gustav Mahler abandonedthe pressures and politics of the HamburgState Opera, where he was chief conduc-tor, and headed for the village of Steinbachon the Attersee, in Austria’s beautifulSalzkammergut Lake district for a summerof composing. For this passionate naturelover and mountain hiker, this was an ideallocation in which to write a symphonyabout Nature with a capital N: that is, allof creation, from the flowers in the fieldto animals, human beings and evenGod himself.

Waiting for him at the edge of theAttersee lake was a tiny white-washedcottage, the first of three little studios inrural oases he would use over his composingcareer.Windows on three sides gave viewsof the lake and a lovely flowering meadow.Over this summer and the next, theThird,the longest of his symphonies, was born:a mystical vision of Nature as a complexliving being inspired by his readings ofSchopenhauer and Nietzsche.The musical forces required for this

symphony are immense. But tonight wewill hear the most delicate of theThirdSymphony’s six movements: the secondmovement,What theWild FlowersTell Me.Inspired by that flower-filled meadowoutside his cottage, this is a mostly gentleminuet and trio in A major with subtlycolored scoring emphasizing woodwindsand strings.The middle trio section featuresfaster, slightly more intense music withwhirling sixteenth notes, but the overalltone remains untroubled.“It is the mostcarefree piece I have ever written,”Mahlerwrote to a friend.“It is carefree as onlyflowers can be. Everything hovers in theair with grace and lightness, like flowersbending on their stems and being caressedby the wind.”Four decades later, the young English

composer Benjamin Britten was falling inlove with Mahler’s music. In the 1930sand 40s, there was very little interest inMahler’s music in the U.K., and perform-ances were rare.Attending a concert inLondon featuring the Fourth Symphony,the 17-year-old Britten expected to bebored by a composer he assumed wrotepretentious, over-blown music.“But whatI heard was not what I expected to hear.First of all ... the scoring startled me.It was mainly ‘soloistic’ and entirely cleanand transparent.The colouring seemedcalculated to the smallest shade.” Brittenrevered Mahler for the rest of his lifeand tried to convert others through hisperformances of Mahler’s music at hisAldeburgh Festival (he gave the first modernperformance of “Blumine” there in 1967).In 1941 at the suggestion of his publisherErwin Stein, also a Mahler fancier, hecreated this reduced orchestration ofWhat theWild FlowersTell Me to enablesmaller English orchestras to adda Mahler work to their repertoires.

Instrumentation: two flutes, piccolo, twooboes, two clarinets, two bassoons, four horns,three trumpets, percussion, harp and strings.

Violin Concerto

Jean SibeliusBorn in Hämmenlina, Finland, December 8,1865; died in Järvenpää, Finland,September 20, 1957

Despite all the acclaim he received as acomposer, Sibelius nursed a hidden woundover a musical accomplishment that hadeluded him. In his diary in 1915 he wrote:“Dreamt I was twelve years old anda virtuoso.” Sibelius loved the violin aboveall instruments and had in his youth strivenhard to conquer its difficulties. But he hadbegun too late—age 14—and lacked thephysical coordination and temperamentto become a virtuoso. In his early 20s,he tried for a position with theViennaPhilharmonic; failing the audition, hereturned to his hotel room and wept forhis lost dream.But in his late 30s, Sibelius fulfilled the

dream vicariously by writing one of themost magnificent of violin concertos andone bristling with the greatest virtuosodemands.The external stimulus came fromviolinistWilly Burmester, concertmaster ofthe Helsinki Philharmonic. Responding toBurmester’s urging, Sibelius—fresh fromthe triumph of his Second Symphony—began composing the concerto late in1902 but barely completed the workin time for its premiere in Helsinki onFebruary 8, 1904. Despite the dourportraits of the composer in old age,Sibelius in his younger days was a bonvivant with a fondness for liquor andHelsinki’s café life; hell-raising with theboys often got in the way of his composingschedule. Rushing to finish the concerto,he completely forgot Burmester, turninginstead to a far less able fiddler ViktorNovácek. Novácek was the first but notthe last to go down in flames tackling thework’s formidable difficulties, and thepremiere was not a success. Realizing hismistake, Sibelius extensively revised thework in 1905, making the solo part slightlyeasier. But again he unaccountably passedover Burmester; the concerto as we hear ittoday was premiered by Karl Halir withthe Berlin Philharmonic, led by RichardStrauss, on October 29, 1905.

programnotes

24 Overture

This work falls into the categoryof the soloist-dominated concerto, likeMendelssohn’s or Bruch’s, rather than themore symphonically conceived concertos ofBeethoven and Brahms. But it boasts greatermusical complexity and a more interestingrole for the orchestra—clothed in the dark,wind-dominated colors that are Sibelius’trademark—than most virtuoso vehicles.Over the shimmer of muted

orchestral violins, the soloist opens thefirst movement, in the key of D minor,with a long solo melody that steadilygrows in intensity and passion, sweepingover the instrument’s full range.The moodsuggests a Scandinavian bard, reciting one ofthe Norse sagas Sibelius loved so well.The orchestra finally asserts itself with grimpower, introducing an ominous stepwisetheme.The soloist returns to embroider onthis in a passage of rich double stops.The orchestra wraps up the expositionwith a bold striding theme, partnered bya lighter idea for woodwinds.In an innovative stroke, Sibelius now

interjects a long and introspective cadenzafor the soloist, exploring the ideas of itsopening song; this takes the place of aconventional development.As it concludes,a solo bassoon quietly reprises the openingsolo, in a shadow image of the violin’ssoaring tones.A sudden acceleration oftempo combines the orchestra’s striding andlyrical woodwind themes with a spectacu-larly virtuosic close for the soloist.In B-flat major, the second movement

combines lyricism and drama within a veryslow tempo.After a haunting introductionby pairs of woodwinds, the violin sings anexpansive, soulful melody opening deep inits range.The orchestra then proposes astormy idea, derived from the woodwindintroduction; with the violin in obbligato, thisstrives passionately upward to a climax.Theorchestra then quietly reprises the openingsolo melody while the violin independentlysoars to another climax.In Donald Francis Tovey’s memorable

phrase, the D major finale is “a polonaisefor polar bears.”Over the rumble of timpaniand low strings on the polonaise rhythm,the violin launches a robust dance, charac-terized by some of the most fiendishmultiple-stopping ever devised. Sibeliusprovided no comfort to the fidder:“It mustbe played with absolute mastery, fast ... but

no faster than it can be played perfectly,”he instructed.A second theme, openedby the orchestra, delights in lively crossrhythms.Over an epic Sibelian orchestralswell, the soloist triumphantly fulfills thecomposer’s dream of virtuosity.

Instrumentation: two flutes, two oboes,two clarinets, two bassoons, four horns,two trumpets, three trombones, timpaniand strings.

Symphony No. 1

Sir William WaltonBorn in Oldham, England, March 29, 1902;died on the island of Ischia, Italy,March 8, 1983

WilliamWalton—there was no “Sir”attached to his name yet—was only 30years old in 1932 when he decided to tacklehis First Symphony. Born into a poor butmusically talented family in Lancashire,England, he had enjoyed a rapid rise despitebeing booted out of Oxford in 1920 andhaving had relatively little formal trainingin composition.At age 18, he had been“adopted” by the rich, culturally well-connected but very eccentric Sitwell family,and just two years later, his fashionablywitty score Façade, setting Edith Sitwell’spoetry to music, had made him a wunderkindin British artistic circles.Much more sub-stantial scores followed, including a masterlyViola Concerto, which none other than therenowned composer and accomplishedviolist Paul Hindemith premiered in 1929.At the Leeds Festival in October 1931,Walton’s flamboyantly dramatic oratorioBelshazzar’s Feast was an enormous hit,hailed as the most important British choralwork since Elgar’s The Dream of Gerontius.In the wake of this success, the prominentEnglish conductor Sir Hamilton Harty, soonto be director of the London SymphonyOrchestra, requested a symphony.However, creating this major work

proved to be the hardest task of Walton’scareer, and it took him more than threeyears—from 1932 to 1935—to bring it tocompletion. He later told his wife Susana:“Symphonies are a lot of work to write.Too much.One has to have somethingreally appalling happen to one that lets loosethe fount of inspiration.”Work on thefirst two movements went quite smoothly,but the slow movement proved morechallenging.Then there was a hiatus ofmore than a year whenWalton became ill

and deeply depressed and simply could notwrite the finale.Part of the problem lay in the composer’s

personal relationships. Later he commentedwryly:“I changed horses, so to speak.A great mistake to change horses crossingstreams.”Always susceptible to beautifulladies of the nobility, he had been livingwith Baroness Imma von Doernberg forseveral years when in 1934 she suddenlyleft him for another man.Walton was devas-tated, and work on the symphony groundto a halt.A new liaison with his patronessViscountess AliceWimborne soon replacedher, and with theViscountess’s support,the symphony was successfully finished.Nevertheless,Walton still dedicated the scoreto Baroness von Doernberg.A professional delay also arose in 1934

when the composer accepted a contract towrite the score for the British film EscapeMe Never.This launched a second careerin whichWalton became one of the mostsuccessful movie composers of the 20thcentury and especially famous for hisShakespeare trilogy with Sir LaurenceOlivier of HenryV,Hamlet and RichardIII. (The director David Lean was deeplydisappointed whenWalton turned downhis offer to score Lawrence of Arabia.)Meanwhile Sir Hamilton Harty was

champing at the bit to present the long-delayed symphony. Eventually, he persuadedWalton to allow him to perform the firstthree movements at a BBC Symphonyconcert in London on December 3, 1934.The premiere of the complete symphonyfinally came on November 6, 1935, withHarty leading the London SymphonyOrchestra.The response from audience andcritics alike was overwhelming:“Historicnight for British music,” proclaimed oneheadline. Sir HenryWood, beloved founderof the Proms Concerts, wroteWalton’spublisher:“What a work, truly marvelous, itwas like the world coming to an end, itsdramatic power was superb; what orchestra-tion, what vitality and rhythmic invention—no orchestral work has ever carried meaway so much.”Indeed,Walton had written a symphony

on a grand scale with outsized emotionsand virtuoso handling of the orchestra.It is a worthy successor to Elgar’s two sym-phonies and deserves inclusion among themajor symphonies of the 20th century.

May 6, 2011 – June 12, 2011 25

programnotes

Though with its heroic use of the brasssection it often sounds like a work for amassive orchestra, it is actually written for anensemble the size of Beethoven’s, with thesignificant addition of a second timpani inthe finale as well as a tam-tam or gong—both used to shattering effect there. Otherthan the troubles in his love life, we don’tknow what “appalling” events might haveloosed the storms of rage and grief thatfill its first three movements, but there iscertainly no trace of British reticence in thisbold and astonishingly assured work.

First movement: The symphony’sopening is an extraordinarily dramaticgathering together of energy and force.It begins very quietly with the timpanirumbling a low, sustained pedal on thehome-key note of B-flat, the swinging ofhorns, and a plaintive melody in solo oboe,which is ornamented with a little twistingfigure that will haunt this movement.At this time, Sibelius was the most popularsymphonist in Great Britain, andWalton’sindebtedness to the Finn is impossible tomiss here: the long-held pedal notes, thegalloping rhythmic figures, the wild, keeningquality of the sound, and the crushingpower of the brass.The music steadily growsin volume, activity and emotional fury.Eventually, it becomes quieter, but the

menacing galloping figures persist and thetwisting motive from the oboe solohaunts the air. In this developmental phase,two bassoons singing a mournful pleatemporarily calm the mood; they are echoedby the cellos, which extend this idea intoa poignant melody.The orchestra, however,reacts in increasing anguish and fury to thispleading, and a climax of shattering violenceand dissonance is reached.This subsides intoa return of the opening music, but nowplayed more vehemently, with the violinstaking the place of the oboe and heavyblows from the timpani.The movementconcludes with devastating power and rage.

Movement two, a vigorous scherzomarked “Presto with malice,” recalls some-what the witty, biting mood of Façade. It isa virtuosic rhythmic game of shiftingaccents and cross rhythms, spurred on bya fierce timpani part. Pounding repeatednotes power the closing moments, whichculminate in a trick ending.After the violence of the first two move-

ments, the beautiful Andante con malinconia

third movement comes as a welcomeoasis. In C-sharp minor, it opens with anintensely sad melody for the solo flute,which surprisinglyWalton had originallyconceived as a faster-tempo theme to openthe first movement.The scoring is subtleand delicate with melancholy woodwindsolos predominating. But it is the soulfulvoices of cellos and violas (Walton particu-larly loved these instruments and wrotewonderful concertos for them) that leadthe way to a climax of pain. Exhausted, themusic falls back, and the flute returns toclose this superb movement.The triumphant finale offers no

hint thatWalton had been paralyzed bycomposer’s block. It opens Maestoso withimposing ceremonial music in the style ofWalton’s famous Crown Imperial March forGeorgeVI’s coronation, still two years inthe future. Fragments of this music willreappear throughout the movement.The tempo increases to Allegro, and wehear leaping, swirling music derived fromthe Maestoso theme and led by strings.Next comes a vivacious fugue built around

a lengthy and complex subject introducedby second violins and violas.The fugue is followed by a light

scampering development of elements ofboth the Maestoso and the fugue, whichgradually grows louder and more frenzied.Reinforced by the hammering of the nowtwo timpanists, this music reaches a hugeclimax, then returns to the Maestosoopening music declaimed by all the strings.Cleverly,Walton pulls back a little, thebetter to build one of the biggest, mostviscerally thrilling conclusions in theentire symphonic repertoire, with blazingbrass, pounding drums, and the roar of thetam-tam all making the pulse soar.

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


CALL US WHEN EXPERIENCED,COMPASSIONATE CARE MATTERS MOST

410-323-1700 • 1-888-353-1700WWW.ELIZABETHCOONEYAGENCY.COM

R.N.S • L.P.N.SCERTIFIED NURSING AIDESHOME NURSING CARECOMPANIONSESCORT • TRANSPORTATIONPERSONAL ASSISTANCEHOURLY • LIVE-INEMERGENCY • RESPITE

SHORT • LONG-TERMPRIVATE DUTYFLEXIBLE CARE OPTIONSCUSTOMIZED CARE

CARING FOR FIVEGENERATIONS OF FAMILIES

LICENSED & BONDED | MOST INSURANCE ANDCREDIT CARDS ACCEPTED | 24-HOUR SERVICE

TRUST, INTEGRITY & EXCELLENCE SINCE 1957

CARE NETWORKSINCE 1957

26 Overture

programnotes


Emanuel AxBorn in Lvov, Poland, Emanuel Ax movedtoWinnipeg, Canada, with his familywhen he was a young boy. His studies at

The Juilliard Schoolwere supportedby the sponsorshipof the EpsteinScholarship Programof the Boys Clubs ofAmerica, and he

subsequently won theYoung ConcertArtists Award.Additionally, he attendedColumbia University, where he majoredin French. Mr.Ax captured publicattention in 1974 when he won the firstArthur Rubinstein International PianoCompetition in Tel Aviv. In 1975 he wonthe Michaels Award of Young ConcertArtists, followed four years later by thecoveted Avery Fisher Prize.In recognition of the bicentenaries of

Chopin and Schumann in 2010 and inpartnership with London’s Barbican,Amsterdam’s Concertgebouw, CarnegieHall, the Los Angeles Philharmonic andthe San Francisco Symphony, Mr.Axcommissioned new works from composersJohn Adams, Peter Lieberson and OsvaldoGolijov for recital programs that werepresented in each of those cities withcolleaguesYo-Yo Ma and Dawn Upshaw.In addition to this large-scale project,

he toured Asia with the NewYorkPhilharmonic on its first tour with newmusic director Alan Gilbert, and toured inEurope with both the Chamber Orchestraof Europe and James Conlon, as well asthe Pittsburgh Symphony with ManfredHoneck.As a regular visitor in subscrip-tion concerts, he returned to Chicago,Philadelphia and Boston.Mr.Ax has been an exclusive Sony

Classical recording artist since 1987.Recent releases include Strauss’s EnochArden, narrated by Patrick Stewart; discsof two-piano music by Brahms andRachmaninoff withYefim Bronfman; andMendelssohn Trios withYo-Yo Ma andItzhak Perlman. Mr.Ax has receivedGrammy awards for the second and thirdvolumes of his cycle of Haydn’s pianosonatas. He has also made a series ofGrammy-winning recordings with cellistYo-Yo Ma of the Beethoven and Brahmssonatas for cello and piano. His otherrecordings include the concertos of Lisztand Schoenberg, three solo Brahmsalbums, an album of tangos by AstorPiazzolla, and the premiere recording ofJohn Adams’s Century Rolls with theCleveland Orchestra for Nonesuch.In the 2004-05 season, Mr.Ax alsocontributed to an international EmmyAward-winning BBC documentarycommemorating the Holocaust that airedon the 60th anniversary of the liberationof Auschwitz.

Emanuel Ax Plays Brahms





Emanuel Ax Piano

Osvaldo Golijov Sidereus*

Benjamin Britten TheYoung Person’s Guide tothe Orchestra, opus 34

INTERMISSION

Johannes Brahms Piano Concerto No. 1 inD Minor, opus 15MaestosoAdagioRondo:Allegro non troppo

EMANUEL AX

*Co-commissioned by the Baltimore Symphony Orchestrathrough the Henry Fogel Commissioning Consortium

The concert will end at approximately 9:45 p.m on Friday and Saturday,and 4:45 p.m. on Sunday.

Presenting Sponsor:

��

Friday, June 3, 2011 8 p.m.

Saturday, June 4, 2011 8 p.m.

Sunday, June 5, 2011 3 p.m.


JH

ENRY

FAIR

May 6, 2011 – June 12, 2011 27

programnotes

In recent years, Mr.Ax has turnedhis attention toward the music of20th-century composers, premieringworks by John Adams, ChristopherRouse, Krzysztof Penderecki, BrightSheng and MelindaWagner. Mr.Ax isalso devoted to chamber music and hasworked regularly with such artists asYoung Uck Kim, Cho-Liang Lin,Yo-Yo Ma, Edgar Meyer, Peter Serkin,Jaime Laredo and the late Isaac Stern.


Sidereus

Osvaldo GolijovBorn in La Plata, Argentina, December 5, 1960;now living near Boston, Massachusetts

There’s no more exciting composerworking today than Osvaldo Golijov,whose music is as eclectic and impossibleto categorize as is his own fascinatingmixed heritage. One could as easily placehis CDs in the “World Music” section ofa record store as into the “Classical” bins.Writes Alex Ross in the NewYorker:“His works arouse extraordinary enthusi-asm in audiences because they revivemusic’s elemental powers:They haverhythms that rock the body and melodiesthat linger in the mind.”Born into a Russian Jewish family

that had immigrated to Argentina toescape the Czarist pogroms, Golijovdescribes himself as a “Jewish gaucho.”His father was a physician and his mothera piano teacher who “took me to BuenosAires to hear opera and also . . . AstorPiazzolla tangos. She sang to me inYiddish, but she also got me to listen toBach. Somehow it all came together.”Indeed it did. Golijov’s special

genius—confirmed by a covetedMacArthur Fellowship—has mixedYiddish soulfulness with Latino rhythmsand solid classical training in Argentina,Jerusalem and at the University ofPennsylvania (where he earned a Ph.D.)into a potent brew. Now living nearBoston, he divides his time between com-position and teaching; since 1991, he hasbeen a professor of music at the College ofHoly Cross inWorcester, Massachusetts. In2000, the premiere of his Latino-flavoredoratorio, the St. Mark Passion, won himinstant fame.

Golijov’s concert overture Sidereus isthe result of a joint commission from noless than 35 orchestras, ranging from theChicago Symphony and the BaltimoreSymphony to such smaller ensembles asthe Reno Chamber Orchestra and theNew England Conservatory Philharmonia.The commission honors Henry Fogel, thedean of American orchestral administra-tors, who over his career has led theNewYork Philharmonic, the NationalSymphony and the Chicago Symphony, aswell as serving as president of the Leagueof American Orchestras. Sidereus receivedits world premiere on October 16, 2010by the Memphis Symphony under thebaton of Mei-Ann Chen.The work’s evocative title comes

from Galileo Galilei’s 1610 treatiseSidereus Nuncius, in which he wrote abouthis observations of the heavens andespecially the moon through his telescope;here he began to expound his theorythat the earth revolved around the sunby observing that four small bodies ormoons seemed to revolve around Jupiter.Golijov explains that the work’s title is“more commonly translated as ‘StarryMessenger,’ but to me the word ‘sidereal’is more beautiful.”Golijov continues:“The realizations

of Galileo referred to the new discoveriesin the surface of the moon.With thesediscoveries, the moon was no longer theprovince of poets exclusively. It had alsobecome an object of inquiry: Could therebe water there? Life? If there were life,then theVatican was scared because, asCardinal Bellarmino wrote to Galileo:How were the people there created? Howwould their souls be saved?What do wedo about Adam? ... How do we explainthe origin of possible life elsewhere?”Sidereus is a beautiful work that

requires no complicated explanation toenjoy. In Golijov’s words:“The melodiesand the harmony are simple. ... For the‘Moon’ theme, I used a melody with abeautiful, open nature: a magnified scalefragment that my good friend and long-time collaborator, accordionist MichaelWard Bergeman, [created] some years agowhen we both were trying to come upwith ideas for a musical depiction of thesky in Patagonia. I then looked at thattheme as if through the telescope and

under the microscope, so that the textures,the patterns from which the melodyemerges and into which it dissolves pointto a more molecular, atomic reality. ...[There is] a dark theme that opens thepiece and reappears in the middle. It’s sortof an ominous question mark that tearsthe fabric of a piece that is essentiallyspacious and breathes with a strangemixture of melancholy and optimism.”Sidereus was co-commissioned by the

Baltimore Symphony Orchestra as a mem-ber of the Henry Fogel CommissioningConsortium, a consortium of 35 Americanorchestras to honor the former Leagueof American Orchestras Presidentand champion of classical music, HenryFogel.The Baltimore SymphonyOrchestra is a member of the Leagueof American Orchestras.

Instrumentation: two flutes, oboe,English horn, two clarinets, bass clarinet,two bassoons, contrabassoon, two horns,two trumpets, two trombones, tuba,timpani and strings.

The Young Person’s Guide to the Orchestra

Benjamin BrittenBorn in Lowestoft, England, November 22,1913; died in Aldeburgh, England,December 4, 1976

Benjamin Britten’s TheYoung Person’sGuide to the Orchestra is heard moreoften at youth concerts than on “adult”subscription programs. But that isunfortunate because beyond its originaleducational purpose, it is simply amarvelous musical work: a series ofcharmingly virtuosic mood pieces,imaginatively demonstrating the variedcolors of symphonic instruments.The most prominent and perhaps

the most gifted of England’s 20th-centurycomposers, Britten wrote the work in1946 as the score for a British documen-tary film The Instruments of the Orchestra.He took its majestic theme from ahornpipe dance written by the greatEnglish Baroque composer Henry Purcell(1659–1695) as part of the incidentalmusic for the play Abdelazer or The Moor’sRevenge.Though its subtitle Variations andFugue on aTheme of Purcell tells exactlyhow this piece is constructed, Brittenfound that much too intellectual andalways preferred it be called TheYoungPerson’s Guide.

28 Overture

programnotes

Its impressive theme is first playedgrandly by the full orchestra, then by eachinstrumental family: the woodwinds, brass,strings and percussion.Then 13 brief vari-ations show off the unique timbres andexpressive capabilities of each instrument,beginning with flutes and piccolo andending with the percussion family. Eventhe usually neglected double bass and tubaare given their moments to shine. Brittenfinishes with a brilliant, high-speed fugue,in which—to reinforce their identities—the instruments re-enter in the same orderin which they were presented in thevariations. Under the fugue, the grandPurcell theme emerges in the brass fora splendorous conclusion.

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

Piano Concerto No. 1 in D Minor

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

The First Piano Concerto was Brahms’calling card to the world: his announcementthat a powerful new voice had arrived onthe European musical scene.When it waspremiered in Hanover, with the composer assoloist, on January 22, 1859 and then givena more prominent presentation five dayslater in the musical center of Leipzig, whereMendelssohn had reigned until a decadeearlier, no one had heard a concerto sobold, weighty, and demanding of its listenerssince Beethoven’s “Emperor” Concertoof 1809.And even Beethoven had notconceived a concerto as sprawling in itsdimensions as this or one that assaults thelistener with such a dramatic and defiantprincipal theme as Brahms hurls out inthe first measures.The timpani thundersa mighty rolling D while violins and celloslash out with a savage melody, apparentlyin a different key and with repeated fero-cious trills on the discordant note A-flat,which forms a tritone—the ominous“devil in music” interval—with thesustained D pedal.Such a mood of fierce tragedy was not

in tune with the fashion of the day, whichcelebrated such great virtuosi as Liszt andMendelssohn in pleasing vehicles designedto show off their dazzling techniques.

And so its first audience at Hanover waslukewarm, and the audience at Leipzigpositively hostile.“My Concerto has hadhere a brilliant and decisive—failure,”Brahms wrote to his friend Joseph Joachim.“At the conclusion three pairs of handswere brought together very slowly,whereupon a perfectly distinct hissingfrom all sides forbade any such demonstra-tion.”A critic called the first movementa “monstrosity.”Brahms had indeed written music

that demanded as much technique and,over its great length, even more stamina ofa pianist than anything by Liszt. But it wasimbedded in a work that was symphonic inconception, featuring the orchestra as equalpartner with the pianist. It was, in fact, hisfirst symphony manqué.Brahms began composing the work

in 1854 when he was 20 and in the midstof a tumultuous domestic tragedy. InFebruary of that year, Robert Schumann,Brahms’ beloved mentor, attempted suicideand was incarcerated in a mental asylumwhere he died in 1856. Brahms raced to theSchumann home in Düsseldorf to comfortClara Schumann and spent the next severalyears at her side, acting as go-between toher husband and in the process fallingdeeply in love with this beautiful andaccomplished musician, 14 years his senior.It was a terrible situation for a very youngand sensitive man, and Brahms grew up fast.The month after Schumann’s suicideattempt, he began composing the concertoas a sonata for two pianos; Joachim wrotethat the first movement’s mood was hisresponse to Schumann’s plight. Soon thepiano format seemed inadequate for his bigthoughts, and he tried transforming itinto a symphony. But virtuoso pianopassages kept intruding, and by the timeof Schumann’s death Brahms had decidedhe wasn’t ready to tackle a symphony.

First movement:Although thatsearing opening theme in the orchestraseems to cry out for the piano, we have towait several minutes for the soloist’s firstappearance, which is unexpectedly subduedand self-effacing, presenting soft meditativemusic we haven’t heard before. Eventuallyhe attacks the descending trills of theprincipal theme before launching the lyricalsecond theme: a noble hymn-like melodyin rich chords.Meditative and defiant

moods alternate in this massive sonata-formmovement. Brahms finds a new way tointensify the heroic struggle of his principaltheme when it returns for the recapitulationsection:While the orchestra thunders thehome key of D minor, the piano laces intothe theme in clashing E major. In the coda,nostalgic horn calls try in vain to softenthe mood.If movement one exudes the strength

and virility of youth, the second move-ment Adagio is music of a man old andwise beyond his years.The mood is nowhushed, reflective, with an almost religiousserenity. Donald Francis Tovey called it “aRequiem for Schumann”; in an earlyedition of the score Brahms inscribed thewords from the Latin Mass,“Benedictusqui venit in nomine Domini” (“Blessed ishe/she who comes in the name of theLord”)—his nickname for Schumann hadbeen “Mynheer Domini.” But at the end of1856, Brahms wrote to his beloved Clara:“I am also painting a gentle portrait of you,which shall . . . be the Adagio.”Midwaythrough, clarinets introduce a fleetingmoment of passion.In the finale, we return to the world

of heroic strife. Springing from a boldsyncopation, the pianist’s refrain theme hassharply accented rhythms and a virileupward-sweeping melodic profile. For theepisodes, Brahms spins off two clones ofthis melody: first, a noble version witha prominent ascending triplet for the piano;later, a lusciously Romantic and flowingversion for the violins.A radiant coda,which Malcolm MacDonald aptly describedas “like a sunset after a storm,” accelerates toa virtuoso young-man-of-iron finish.

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


May 6, 2011 – June 12, 2011 29

programnotes


AngelaMeadeLess than two yearsafter her professionaldebut,Americansoprano AngelaMeade has quickly

become recognized as one of the outstand-ing vocalists of her generation. She excelsin the most demanding heroines of the

19th-century bel canto repertoire as well asin the operas of Verdi and Mozart.Ms.Meade joined an elite group

of history’s singers when she made herprofessional operatic debut on the stage ofthe Metropolitan Opera as Elvira inVerdi’sErnani, substituting for an ill colleague inMarch 2008. She had previously sung onthe Met stage as one of the winners of the2007 Metropolitan Opera National CouncilAuditions, a process that is documented inthe film The Audition recently released onDVD by Decca.

Ms.Meade has triumphed in anastounding number of vocal competitions,53 in all, including many of the operaworld’s most important prizes. In additionto being a winner at the 2007 Met NationalCouncil Auditions, she was the first singerever to take first prize in both the operaand operetta categories of Vienna’s presti-gious Belvedere Competition. She alsogarnered the largest cash prize in the worldof opera, the $50,000 first prize of theJose Iturbi Competition, and triumphedat the Concours Musical Internationalde Montreal in 2008.

Eve GigliottiA newcomer to thestage, young mezzo-soprano Eve Gigliottiis thrilling audienceswith her rich, warmtimbre, dynamic

stage presence and easy vocal production.In the 2010-11 season,Ms. Gigliotti makesher Bilbao debut as Isabella in L’italiana inAlgieri, and she returns to the MetropolitanOpera as Mercedes in Carmen and SigruneinWagner’s DieWalküre.A graduate of the Curtis Institute of

Music, she was a finalist and received anhonorable mention in the 2009 GeorgeLondon Foundation Competition and anencouragement award in the 2009 LiciaAlbanese-Puccini Foundation Competition.Ms. Gigliotti is a past winner of the PalmBeach OperaVocal Competition, the JoyceDutka Arts Foundation and a recipient ofthe McGlone Award from the Central CityOpera House Association.In her commitment to performing

new work,Ms. Gigliotti has premieredpieces by Daniel Felsenfeld, ChristianMcLeer, Glen Cortese, Elena Ruehr,MartinHennessy and Joseph Summer, and hasrecorded selections of Summer’s work onShall I CompareThee to a Summer’s Day,released on Albany Records.

GarrettSorensonAmerican tenorGarrett Sorensonhas been praised asa young artist ofunique promise,

drawing critical interest for a rich lyric voice

Verdi’s Requiem





Angela Meade Soprano

Eve Gigliotti Mezzo-Soprano

Garrett Sorenson Tenor

Alfred Walker Bass-Baritone

Washington Chorus

Julian Wachner, Music Director

Giuseppe Verdi Messa di RequiemRequiem and KyrieSequence (Dies irae)Offertorio (Domine Jesu)SanctusAgnus DeiLux aeternaLibera me

The concert will end at approximately 9:30 p.m. on Thursday andFriday, and 4:30 p.m. on Sunday.

Media Sponsor: WBAL Radio

��

Thursday, June 9, 2011 8 p.m.

Friday, June 10, 2011 8 p.m.

Sunday, June 12, 2011 3 p.m.

LISA

KO

HLE

R

30 Overture

programnotes

of beauty and power. His exciting 2009-10season began with the San FranciscoOpera’s production of Salome, followed byKatya Kabanova with the Lyric Operaof Chicago. He made his debuts with theCanadian Opera as well as theWestAustralian Opera as Don Jose in Carmen.His orchestral engagements included anappearance with the Alabama Symphonyin Handel’s Messiah andVerdi’s Requiem withthe Grand Rapids Symphony.Among his honors and awards,

Mr. Sorenson was the winner of the OperaBirminghamYoung Singer Contest andthe SorantinYoung Artist Award. He wasalso a finalist in the Loren L. ZacharySociety Contest forYoung Opera SingersandThe Metropolitan Opera NationalCouncil Audition’s Southwest Region.

AlfredWalkerGaining rapidinternational andnational acclaim forhis commandingperformances,Alfred

Walker sang his first performances ofCreonte in Medea with Opera de Nancy etLorraine and the title role in Don Quichottewith Tulsa Opera in the 2009-10 season.The bass-baritone recently received

great acclaim for performances of Allazimin the Peter Sellars’ production of Zaideat the Aix-en-Provence Festival,ViennaFestival, London’s Barbican Centre andLincoln Center’s Mostly Mozart Festival.In addition to his vast operatic

repertoire, Mr.Walker is an equallyversatile concert artist. He recently joinedthe Atlanta Symphony Orchestra underthe baton of Robert Spano for Beethoven’sSymphony No. 9, and the AmericanSymphony Orchestra in Alice TullyHall for Mahler’s Kindertotenlieder andRückert Lieder.Mr.Walker’s video credits include

Metropolitan Opera productions of Samsonet Dalila and Fidelio, featured on PBS’ Livefrom Lincoln Center. He can also be heardon Deutsche Grammophon’s release ofStrauss’ Elektra and on the complete VerdiTenor Arias CD with Placido Domingo.A graduate of Dillard University, Loyola

University and the Metropolitan OperaLindemannYoung Artist Program, the New

Orleans native is the recipient of manydistinguished awards, including the presti-gious Sullivan Foundation career grant.

TheWashingtonChorusFounded in 1961 asthe Oratorio Societyof Washington,TheWashington

Chorus is noted for its critically acclaimedperformances and recordings of the entirerange of the choral repertoire.A GrammyAward winner,TheWashington Chorusis celebrating its 50th season and is consid-ered a cultural leader in theWashingtonarea.The Chorus, under direction of musicdirector JulianWachner, presents an annualsubscription series at the Kennedy Centerfor the Performing Arts, the Music Centerat Strathmore and other major venuesthroughout theWashington area.TheChorus frequently appears at the invitationof the National Symphony Orchestra,singing under the direction of many of theworld’s greatest conductors, includingLeonard Slatkin, Mstislav Rostropovich,Rafael Frühbeck de Burgos, Seiji Ozawa,Sir Neville Marriner, Charles Dutoit, KentNagano and Marin Alsop.The Chorus has toured inter-

nationally, traveling to such musicallyimportant destinations as Paris,Vienna,Prague, Barcelona, and Rome, amongothers.To better serve its local community,the Chorus also has various educationalprograms and presents free concertsthroughout the greaterWashington areafor special-needs groups.TheWashingtonChorus is deeply committed tobeing a strong presence in theWashington community.

JulianWachnerMusic director ofTheWashingtonChorus, JulianWachner is one ofNorth America’s

most exciting and versatile musicians,sought after as both conductor andcomposer. Last summer, he made NewYorkCity Opera history having been selected asboth conductor (With Blood,With Ink by

Daniel Crozier;Zolle by DuYun) and com-poser (Evangeline Revisited) at the company’sannualVOX Contemporary AmericanOpera Lab festival of contemporary opera.In addition to his City Opera

debut,Wachner regularly appears on theworld’s leading stages, including engage-ments with the Philadelphia Orchestra,Glimmerglass Opera,Montréal SymphonyOrchestra, Boston Pops Orchestra, PortlandSymphony, Pittsburgh Symphony,ToledoSymphony, Honolulu Symphony, SpoletoFestival USA,Music Academy of theWest, Berkshire Choral Festival, CalgaryPhilharmonic, San Diego Symphony,National Arts Centre Orchestra, Handel& Haydn Society, Pacific Symphony,and L’Orchestre Métropolitain duGrand Montréal.Mr.Wachner is the inaugural director

of music and the arts for TrinityWall Street,the historic Episcopal parish in lowerManhattan. He is also associate professor ofmusic at the Schulich School of Music atMcGill University in Montréal, Québec,where he serves as principal conductor ofOpera McGill.Mr.Wachner’s complete catalogue of

music, containing more than 80 works, ispublished by E. C. Schirmer. He is also anaward-winning organist and improvisateur.As a collaborative pianist, Mr.Wachner hastwice toured South America with coun-tertenor Daniel Taylor and theTheatre ofEarly Music.Mr.Wachner’s recordings arewith the Chandos, Naxos,Atma Classique,Arsis, Musica Omnia andTitanic labels.Born in Hollywood, California,

Mr.Wachner began his musical education atage 4 with cello and piano lessons at theUniversity of Southern California, and hestudied under Gerre Hancock while a boychorister at the St.Thomas Choir School inNewYork City. He earned a doctor ofmusical arts degree from Boston University’sSchool for the Arts, where his teachersincluded David Hoose and Lukas Foss.


Messa di Requiem

Giuseppe VerdiBorn in Le Roncole, Italy, October 9, 1813;died in Milan, Italy, January 27, 1901

When the poet/novelist AlessandroManzoni died in Milan on May 22, 1873 at

SCO

TTSU

CH

MA

NM

ARG

OT

SCH

ULM

AN

May 6, 2011 – June 12, 2011 31

programnotes

the age of 88, he left GiuseppeVerdithe sole surviving spiritual and culturalleader of the Risorgimento, Italy’ssuccessful mid-19th century movement ofreunification as a nation, free of Austriandomination.Manzoni had been the poetof the Risorgimento,Verdi its composer.To non-Italians,Verdi’s artistic legacy in

his mighty series of immensely popularoperas is well known,Manzoni’s far less so.Manzoni had written what is even todayItaly’s most famous and beloved novel—itsWar and Peace or David Copperfield—Ipromessi sposi (“The Betrothed”).Virtuallyevery Italian has read it (Verdi himself firstread it at age 16), not only for its romanticstory, but also for its fresh, vivid language,for Manzoni had consciously tried to createa new language for a new nation, hereto-fore divided by its regional dialects. In Ipromessi sposi he produced the model formodern literary Italian at just the momentwhen Italians were most eager to embraceit.The novel ensured Manzoni’s place in thehearts of his countrymen, and at his death,a whole nation mourned.Verdi mourned, too.To his lifelong

friend, the Contessa Maffei, he wrote:“Now all is over! and with him ends themost pure, the most holy, the greatest ofour glories. I have read many papers. Noone speaks fittingly of him.Many words,but none deeply felt.”Too grief-stricken to attend Manzoni’s

funeral,Verdi brooded on his own memori-al—something to counteract the “manywords, but none deeply felt.”A week later,he proposed it to the Mayor of Milan:a Requiem Mass to be composed by himand performed in a Milanese church on thefirst anniversary of Manzoni’s death.Verdiwould pay the expenses of producing andprinting the music and would select, train,and lead the chorus, soloists, and orchestra.The city would pay the performanceexpenses.The Mayor didn’t think twice.Here was Italy’s greatest composer—freshfrom the triumph of Aida—offering a newwork in memory of Milan’s first citizen.In the words of a later, fictional Italian, truly“an offer he can’t refuse.”The Requiem and its performing

forces—four vocal soloists, including thecelebrated sopranoTeresa Stolz, the firstLa Scala Aida; a chorus of 120; and anorchestra of 100—were ready as promised

on the anniversary,May 22, 1874.Verdihad chosen Milan’s Church of San Marcoas having the finest acoustics for thepremiere. Under the composer’s baton,it was one of those all too rare artisticoccasions when expectations are exceeding-ly high and the work and the performanceare great enough to meet them.Three dayslater, the Requiem was performed again,this time to the tumultuous applause thechurch premiere had denied, at Milan’sLa Scala opera house, site of manyVerdioperatic triumphs. It then proceeded ona successful tour of European capitals—Paris,Vienna, London.But from the beginning, the “Manzoni

Requiem”was a controversial work.Tootheatrical, said some. Not a suitably reverenttreatment of the sacred text of the RomanCatholic Mass for the Dead.The famousGerman conductor and Brahms supporter,Hans von Bülow, initially dismissed it asVerdi’s “latest opera in ecclesiastical dress”and refused to hear it. Brahms himself cameto the defense; after studying the score,he declared,“Bülow has made a fool of

himself, since this could only have beendone by a genius.”Yet von Bülow wasn’t entirely

wrong.The Messa da Requiem,Verdi’s onlylarge-scale non-operatic work, really is asacred opera. Its glory is its very theatricality.Verdi responded to the ancient text with,as Donald Francis Tovey said,“flamingsincerity,” and the work is the product ofhis years of experience in the opera house.And the dominant role goes not to thechorus or orchestra but to his four soloists,all given music of great virtuosity andoperatic thrust.Yet the chorus and orchestra are

not slighted. In his early years,Verdi wasaccused of writing for the orchestra asthough it were a crude, small-town Italianband, such as those he knew in his home-town of Busseto. But when he created theRequiem, the composer was as great amaster of the orchestra as of voices.Verdiwrote of needing always to find the rightcolor or “tinto” for an operatic scene, andhere he finds it every time, whether inthe hair-raising brass fanfares that introduce

Specializing in Facial RejuvenationRhinoplasty, Botox & Injectables

Facial Skin Cancer Reconstruction Ear Correction Facial Trauma Cleft Lip & Palate Scar Revision

Artistry. Innovation. Mastery. Right here in Baltimore.

Randolph B. Capone, MD, FACS, DirectorFor appointments 410-828-4123

6535 North Charles Street, Suite 250 • Baltimore, Maryland 21204 • www.BaltimoreFaces.com

32 Overture

programnotes

the “Tuba mirum” or the three flutesspinning silvery webs above the sopranoand mezzo in the “Agnus Dei.”Like two other composers of famous

Requiems, Brahms and Berlioz,Verdi wasan agnostic, and so, since he was too honesta man and artist, his Requiem does notportray what he could not himself believe.It is an often troubling setting, providing nofalse consolation, no answers.The composerelevates the “Dies irae” (“Day of Judgment”)portion of the mass to the center of hisconception and gives it music of terrifyingforce.The emphasis throughout is on thefears of the living as they face theunknown region of death, not the joysawaiting the departed.

I. Requiem and Kyrie: The workbegins almost inaudibly in the mutedcellos, with the chorus murmuring“Requiem” in broken phrases.As oftenhappens in lateVerdi works, the melodyemerges in the orchestra, not the voices.Listen for the magical brightening effect ofthe chorus’ harmonic progression on “lux”(“light”), as A minor is transformed intoA major.The middle portion of thisopening section,“Te decet hymnus,”features beautiful counterpoint, reminiscentof Palestrina, for unaccompanied chorus.(Verdi was schooled in the contrapuntalmethods of Palestrina and remained a life-long admirer of this 16th-century Italianmaster.) After a return of the “Requiem”music, the “Kyrie” begins, introducing thesoloists with bravura vocal writing befittingthe grand operatic artists they are.

II. Dies irae: Four hammer blowslaunch the ferocious “Dies irae” music,which dominates this section—by far thelongest in the work and casting its fieryglow over the entire Requiem.The chorus’terrified cries as they envision this “Day ofAnger” are silenced by fanfares from eighttrumpets, four on-stage and four off, whichswell into an eruption of the entire brasssection (“Tuba mirum”). HereVerdi’s earlyexposure to village brass bands has beentransmuted into one of the most electrify-ing passages of brass writing in the classicalcanon—“The Last Trump” indeed!This large section subdivides into many

highly contrasted, artfully balanced num-bers for the soloists, as well as two returnsof the blazing “Dies irae” music. HereVerdibrings the drama down to the personal

level: each individual’s struggle with thefear of death and what may come there-after.Then he gathers his forces togetheragain for the concluding “Lacrimosa,”introduced by the mezzo-soprano, withits sighing motives and its anguishedchromatically ascending scale partneringthe poignantly simple principal melody.At the end, in a marvelously subtle use ofharmony for dramatic effect,Verdi gives usan “Amen” on an unexpected, brightG major chord (a ray of hope?), thensubsides to an exceedingly dark-coloredB-flat major close (death is the reality).

III. Offertorio: The “Offertorio”provides quiet contrast in a lyrical 6/8-meter movement for the solo quartet.At midpoint, the beautiful “Hostias etpreces” (“A sacrifice of praise and prayer”)section is introduced by the tenor.This isframed by the two faster “Quam olimAbrahae” (“As He promised to Abraham”)sections, whichVerdi, eschewing custom,chose not to set as a fugue.The movementhas a lovely, haunting ending as thesoprano rises to a dolcissimo high A-flat,and the orchestra closes with shimmeringmuted-string tremolos and a melancholysolo clarinet.

IV. Sanctus: Brass peals forth toopen a fiery fugue for double chorus.In this compact, hot-blooded movement,the composer combines the “Sanctus,”“Osanna,” and “Benedictus” texts, oftenset separately by other composers.His conception of God is not a gentleone: no mystery and awe here, insteadvirile, Italianate worship of fierce divinity.

V.Agnus Dei: After the fire of the“Sanctus” comes the chaste, cool soundof the soprano and mezzo soloists singing,at first unaccompanied, a simple melodyin C major, in bare octaves. Listen forVerdi’s ethereal writing for three flutes atthe soloists’ third entrance: a momentto treasure.

VI. Lux Aeterna: In one of themost beautiful sections of the Requiem,Verdi spotlights his three lower-voicedsoloists, saving his soprano for the last act.The mezzo’s luminous pianissimo “Luxaeterna” melody, with a halo of tremolostrings, contrasts with the bass’ ominous-sounding “Requiem aeternam” theme,accompanied by low brass.These twomoods battle gently, with the mezzo’s

ultimately dominating.The orchestrais used sparingly but with greatartistry throughout.

VII. Libera Me: The soprano soloistsuddenly shatters the tonality and theserene mood of the preceding with herfrantic unaccompanied recitative,“Save me,Lord, from eternal death.”The mood ofterror has returned, and soon it eruptsfull-force as the “Dies irae” music returnsone final time. Soprano and chorus thensing very softly what may be the mostexquisite moment in the entire work:“Requiem aeternam.”This culminates ina floating pppp high B-flat for the soloist:a moment audiences look forward toeagerly—and sopranos with butterflies intheir stomachs.Verdi had originally composed part

of the “Libera me” in 1869 for a multi-composer Requiem in memory of Rossini,and the vigorous choral fugue that follows,with the soprano cresting to a high C, isa survivor of this earlier movement. ButVerdi refuses to conclude his Requiem onthis dramatic, exuberant plane.The subject,after all, is death; andVerdi, the agnostic,closes in an uncertain, questioning mood.The soprano and chorus mutter “Liberame” on a unison middle C, which dies outover the darkest C major orchestral chordimaginable. In the words of GiuseppinaVerdi, a clear-headed, astute observer ofher husband’s work:“They have all talkedso much of the more, or less, religiousspirit of this sacred music, of not havingfollowed the style of Mozart, of Cherubini,etc. etc. I say that a man likeVerdi mustwrite likeVerdi.”

Instrumentation: three flutes, piccolo,two oboes, two clarinets, four bassoons,four horns, four trumpets, three trombones,tuba, timpani, bass drum, off-stage trumpetsand strings.


May 6, 2011 – June 12, 2011 33

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

January 15, 2010 – March 15, 2011

The Century Club

Individuals

Marin Alsop at the BSO Gala with Ziba and Greg Franks and guest.

WE ARE PROUD to recognize the BSO’s Symphony Fund Members whose generousgifts to the Annual Fund between January 15, 2010 – March 15, 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.Sandra Levi GerstungDr. 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 ScottJane 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. ShaweJoanne Gold and Andrew A. SternDavid and Chris Wallace

$10,000 or moreLiddy Manson“In memory of James Gavin Manson”

Anonymous (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 Coplin

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*CareFirst BlueCross BlueShieldAdalman-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

��

��

34 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. Arthur Chomas“In memory of Mrs. GloriaChomas”

Dr. and Mrs. Wilmot C. Ball, Jr.Mr. and Mrs. John W. BeckleyMs. Arlene S. BerkisBarry 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. David Leckrone andMarlene Berlin

Dr. and Mrs. Yuan C. LeeDiane and Jerome MarkmanEileen A. and Joseph H. MasonDan and Agnes MazurNorfolk Southern Foundation

McCarthy Family FoundationMrs. Kenneth A. McCordDrs. William andDeborah McGuire

Paul Meecham and Laura LeachDr. and Mrs. John O. MeyerhoffMr. and Mrs. Neil MeyerhoffMr. Hilary B. MillerMargot and Cleaveland MillerJolie 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 (7)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.

Donald L. BartlingKenneth S. Battye*The Legg & Co. Foundation

Dr. and Mrs. Theodore M. BaylessDr. Neil W. Beachand Mr. Michael Spillane

Lynda and Kenneth BehnkeDr. and Mrs. Emile A. BenditMax 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.

Cape FoundationTurner and Judy Smith

Michael and Kathy CarducciMs. 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. CorriganMrs. 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 GanzMr. 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 GracieMrs. Ann GreifMrs. 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 JohnsDr. Richard T. JohnsonRichard and Brenda JohnsonMr. and Mrs. Harry KaplanMary Ellen and Leon KaplanBarbara 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. LazarMr. Kevin LeeMr. and Mrs. Burt and Karen LeeteMr. 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 moreThe Cordish Family FundSuzi and David Cordish

Mr. 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 Fetting

Sara and Nelson FishmanThe 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. Raum

Terry M. and James RubensteinDr. 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

Brian and Susan Sullam at the BSO’s winter Cast Party. Governing Members Johnny and Shirley Ramsey minglewith BSO violinist Igor Yuzefovich at a Cast Party.

��

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.

��

BSO Patrons arrive at an Open Rehearsal. Leonard Sachs (left) welcomes Arlene and Sheldon Bearmanand Sandi Gerstung into his home for a Maestra’s Circle affair.

Mrs. Marie McCormackMr. and Mrs. Gerald V. McDonaldEllen 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’ConnorDrs. Erol and Julianne OktayMrs. Bodil OttesenOlive L. Page Charitable TrustDr. and Mrs. Lawrence C. PakulaEllen and Stephen* PattinDrs. Hans Pawlisch andTakayo Hatakeyama

Michael Love PeaceBeverly 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. John RounsavilleMr. and Mrs. Charles RowinsRobert and Leila RussellT. Edgie RussellNeil J. and JoAnn N. RutherDr. John Rybock andMs. Lee Kappelman

Dr. and Mrs. Marvin M. Sager*Dr. 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. SherwoodMr. Thom Shipley andMr. Christopher Taylor

Francine 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. and Mrs. Lee M. SnyderDiane L. Sondheimer andPeter E. Novick

Dr. and Mrs. Charles S. Specht

Joan and Thomas SpenceMelissa and Philip SpevakAnita and Mickey SteinbergMr. Edward SteinhouseMr. James StoreyMr. and Mrs. Dale StraitMr. Alan Strasser andMs. Patricia Hartge

Susan and Brian SullamMrs. Janis SwanMr. 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 (2)The Becker Family FundMr. and Mrs. Stanley BerMr. Edward BersbachMr. and Mrs. Albert BiondoMr. Joseph G. Block

Venable 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. Louis GitomerDrs. Ronald and Barbara GotsMr. 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. JensenMr. Max JordanGail and Lenny KaplanGloria B. and Herbert M.

Katzenberg FundHarriet* and Philip KleinAndrew Lapayowker and

Sarah McCaffertyMrs. Elaine LebarColonel William R. LeeMr. and Mrs. Jeffrey LegumMs. Susan Levine

Dr. and Mrs. Michael O. MaganMr. and Mrs. Luke MarburyHoward and Linda MartinMr. and Mrs. Jordan MaxCarol and George McGowanBebe McMeekinAlvin MeltzerMr. Charles MillerMr. and Mrs. M. Peter MoserMs. Patricia NormileMrs. J. Stevenson PeckThe Pennyghael Foundation, Inc.Mr. and Mrs. John Brentnall PowellMr. Larry PrallMr. Joseph L. PressDr. and Mrs. Richard RadmerDr. Tedine Ranich and

Dr. Christian PavlovichMr. and Mrs. Michael RenbaumMargaret and Lee RomeMartha and Saul RosemanMr. Norm St. LandauMr. and Mrs. William Saxon, Jr.The Honorable William Donald SchaeferMrs. Barbara K. ScherlisMs. Phyllis SeidelsonMr. Jeffrey SharkeyMarshall and Deborah SluyterMr. and Mrs. Edgar SmithMr. and Mrs. Richard D. SperoMrs. Ann SteinHarriet 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. WehrleMr. and Mrs. Sean WharryDr. Edward WhitmanDr. Richard Worsham and

Ms. Deborah GeisenkotterMs. Anne WorthingtonMs. Jean Wyman

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 (17)Mrs. Rachael AbrahamMr. and Mrs. Ronald AbramsDr. and Mrs. Marshall AckermanVirginia 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. ArveloMr. Thomas AtkinsLeonard 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.David and Sherry BerzMr. and Mrs. Edwin and

Catherine BlackaReverend James BlackburnNancy Patz BlausteinMr. James D. BlumNina and Tony BorwickMr. and Mrs. David E. BrainerdM. Susan Brand and John BrandDrs. Joanna and Harry BrandtDr. Helene Breazeale

To learn more about becoming a member, please [email protected] or call 410.783.8124. 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

May 6, 2011 – June 12, 2011 35

36 Overture

Governing Member Francine Shure andJonathan Carney meet at a Cast Party.

World-class music reaches multiple generations atan Open Rehearsal.

Individuals (continued)Dr. 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 BuergerBohdan 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. Chadwick and

Ms. Rosalie LijinskyMr. 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. and Mrs. Charles C. Counselman, Jr.Mr. Michael R. CriderMr. and Mrs. Jeffrey CrooksMr. and Mrs. R. Gregory CukorJohn and Kate D’AmoreMr. and Mrs. Thomas DarrMr. John Day and Mr. Peter BrehmJoan de PontetMr. and Mrs. William C. DeeMr. and Mrs. Anthony DeeringMr. Duane Calvin DeVanceMr. and Mrs. Mathias J. DeVitoMs. Priscilla DiacontJackson and Jean H. DiehlMarcia DiehlMs. Maribeth DiemerNicholas F. DilielloMrs. Marcia K. DorstMr. and Mrs. Robert DuchesneMs. Lynne DurbinMr. and Mrs. Laurence DusoldMr. Terence Ellen and Ms. Amy BoscovMr. and Mrs. Stuart Elsberg

and the Elsberg Family FoundationMrs. Nancy S. ElsonSharon and Jerry FarberMr. and Mrs. Charles FaxDr. and Mrs. Marvin J. FeldmanMrs. Sandra FerriterJoe and Laura FitzgibbonMr. and Mrs. Anthony FitzpatrickDr. 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 FuentevillaMr. and Mrs. Leland GallupDr. and Mrs. Donald S. GannMr. Ron Gerstley and Ms. Amy BlankDr. and Mrs. Frank A. Giargiana, Jr.Mr. and Mrs. William GibbMr. Peter GilDr. and Mrs. Sanford GlazerMr. Harvey GoldMr. Jonathan GoldblithWilliam R. and Alice GoodmanBarry E. and Barbara GordonDr. 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 Grossman

Mr. 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 HansonSara and James A. Harris, Jr.Dr. and Mrs. S. Elliott HarrisMr. Fred Hart and Ms. Elizabeth KnightMr. John HealyMr. and Mrs. Robert HelmMs. Doris T. HendricksMrs. Ellen HerscowitzDavid A. and Barbara L. HeywoodDr. Stephen L. HibertNancy H. HirscheEdward HoffmanMr. William HolmesMr. and Mrs. John Hornady, IIIMs. Irene HornickMr. Herbert H. HubbardMrs. Madeleine JacobsCarol Jantsch and David MurrayMrs. Janet JeffeinDr. Helmut Jenkner and

Ms. Rhea I. ArnotMrs. Kathy JohnsonMr. R. Tenney JohnsonMr. and Mrs. Gilbert JonesMr. J. Lee JonesMrs. Helen JordahlMrs. Amri JoynerDr. 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 LaughlinMs. Rebecca LawsonMelvyn and Fluryanne LeachMr. 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 LittrellMr. and Mrs. K. Wayne LockardCarol Brody Luchs and Kenneth LuchsDr. and Mrs. Peter C. LuchsingerMs. Louise E. LynchMichael and Judy MaelMs. Gail G. and F. Landis MarkleyMs. 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. and Mrs. Charles R. MillerMr. and Mrs. Gary Miller

Mr. 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. 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. NordquistDouglas and Barbara NorlandMs. Irene E. Norton and

Dr. Heather T. MillerCarol C. O’ConnellAnne M. O’HareMr. Garrick OhlssonMr. James O'Meara and

Ms. Marianne O'MearaMs. Margaret O’Rourke and

Mr. Rudy ApodacaMr. and Mrs. William OsborneMrs. S. Kaufman OttenheimerMr. and Ms. Ralph OtteyMs. Judith PachinoMr. and Mrs. Frank PalulisMr. 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 RhodesMs. Nancy RiceMr. 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. J. Kelly RussellMr. and Mrs. John SacciBeryl and Philip SachsMr. Lee 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 ScaleaMr. and Mrs. Benjamin SchapiroMr. and Mrs. Eugene H. SchreiberEstelle D. SchwalbKen and Nancy SchwartzBernard and Rita SegermanMr. and Mrs. Norman A. Sensinger, Jr.Mr. Sanford ShapiroMr. and Mrs. Brian T. ShefferReverend Richard Wise ShrefflerMr. Richard SilbertRonnie and Rachelle SilversteinMr. Donald M. SimondsEllwood and Thelma SinskyMr. Richard SipesMr. and Mrs. Robert SmelkinsonRichard and Gayle SmithMr. and Mrs. Scott Smith

Corporations

$100,000 or more

$50,000 or more

$25,000 or more

��

��

Mr. and Mrs. William J. Sneeringer, Jr.Laurie M. SokoloffDr. 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 TeeterMr. Harry TelegadasMr. Marc J. TellerPatricia Thompson and Edward SledgeMr. and Mrs. William ThompsonMr. Peter ThreadgillMr. and Mrs. David TraubMr. and Mrs. Israel S. UngarMr. and Mrs. Robert VogelMs. Mary Frances WagleyMr. Robert WalkerMr. 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 WellmanMs. 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 ZarubaDr. Mildred Zindler

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 MS2P&G Fund of the Greater

Cincinnati FoundationValley MotorsZuckerman Spaeder LLP

$2,500 or moreCavanaugh Financial Group

Charitable FoundationDowntown Piano WorksEagle Coffee Company, Inc.Federal Parking, Inc.S. Kann Sons Company Foundation

$1,000 or moreEllin & Tucker, CharteredEyre Bus, Tour & TravelThe Harford Mutual Insurance CompanyIndependent Can CompanyJ.G. Martin Company, Inc.McGuireWoods LLPMercerNina McLemore, Inc.Rosenberg Martin Greenberg, LLPSemmes, Bowen & Semmes

TargetVon Paris Moving & StorageWachovia Wells Fargo Foundation

Foundations$50,000 or moreWilliam G. Baker, Jr. Memorial FundThe Hearst Foundation, Inc.Hecht-Levi Foundation

Ryda 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 Trust

Young Artist SponsorEnsign C. Markland Kelly, Jr.

Memorial FoundationMiddendorf 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 Foundation

Judith 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 EducationArts and Humanities Council

of Montgomery CountyNational 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 FoundationRamon F.* and Constance A. GetzovJohn GidwitzThe Goldsmith Family Foundation, Inc.Joanne Gold and Andrew A. SternJody and Martin GrassLouise and Bert GrunwaldH&S Bakery

Mr. John PaterakisHarford CountyHecht-Levi Foundation

Ryda 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 Fund

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

Barbara Buzzuto

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.*

William Wagner

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!

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+)

Allegretto DinnerJoin us for cocktails and dinner before the BSO’s performanceof Verdi’s Requiem.Thursday, June 9. Cocktails in the Meryerhoff Lounge at 6 p.m. Dinnerin the Park Avenue Lounge at 6:30 p.m. Governing Members ($2,500+)

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

Patrons enjoying a night out ata post-concert reception.

Governing Members Hans Pawlisch and Takayo Hatakeyamaenjoy a private party hosted by Ron Taylor.

>

>

May 6, 2011 – June 12, 2011 37

38 Overture

Endowment (continued)The Zanvyl and Isabelle Krieger FundAnne and Paul LambdinTherese* and Richard LansburghSara and Elliot* LeviBernice 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. JohnMercantile-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 Pozefsky

Mr. and Mrs. T. Michael PrestonAlison 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.Clarence B. Coleman*Mark D. and Judith L. Coplin (N)Mr. and Mrs. William H. Cowie, Jr.James DavisRoberta L.* and Richard A. DavisL. Patrick Deering (F)Ronald E. Dencker

Freda (Gordon) DunnDr. 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 RiceMr. 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. TardifRoy 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.

Patrons enjoy breakfast beforean open rehearsal.

Pops Conductor Jack Everly and Tenor Ben Brecher visita Governing Members Party hosted by Ron Taylor (center).

Paul MeechamPresident and CEO

Barbara KirkExecutive Assistant

Terry A. ArmacostVice President and CFO

Deborah BroderVice President of BSOat Strathmore

Dale HeddingVice President of Development

Eileen AndrewsVice President of Marketingand Communications

Matthew SpiveyVice President of ArtisticOperations

ARTISTIC OPERATIONSToby BlumenthalManager of Facility Sales

Tiffany BryanManager of Front of House

Erik FinleyAssistant to the Music Director

Alicia LinDirector of Operationsand Facilities

Chris MonteAssistant Personnel Manager

Steven ParkerFood and BeverageOperations Manager

Marilyn RifeDirector of Orchestra Personneland Human Resources

Meg SippeyArtistic Coordinator

EDUCATIONSara NicholsAcademy Coordinator

Cheryl GoodmanOrchKids Director of Fundraisingand Administration

Lisa A. SheppleyAssociate Director of Education

Nick SkinnerOrchKids Site Manager

Larry TownsendEducation Assistant

Dan TraheyOrchKids Director of ArtisticProgram Development

DEVELOPMENTJennifer BartonDevelopment Program Assistant

Margaret BlakeDevelopment Office Manager

Allison Burr-LivingstoneGrants Program Manager

Becky McMillenDonor Stewardship Coordinator

Alana MorrallDirector of Individual andInstitutional Giving

Rebecca PotterCorporate Relations Coordinator

Joanne M. RosenthalDirector of Major Gifts,Planned Giving andGovernment Relations

Elspeth ShawAnnual Fund Manager

Richard SperoCommunity Liaison forBSO at Strathmore

Emily WiseDonor Relations Manager,BSO at Strathmore

FACILITIES OPERATIONSShirley CaudleHousekeeper

Bertha JonesSenior Housekeeper

Curtis JonesBuilding Services Manager

Ivory MillerMaintenance Facilities

FINANCE AND INFORMATIONTECHNOLOGYJim HerbersonManager of Information Systems

Sophia JacobsSenior Accountant

Janice JohnsonSenior Accountant

Evinz LeighAdministration Associate

Sandra MichockiController and Senior Directorof Business Analytics

Carol RhodesPayroll and BenefitsAdministrator

MARKETING ANDPUBLIC RELATIONSClaire BerlinPR and Publications Coordinator

Rika DixonMarketing Manager

Laura FarmerPublic Relations Manager

Derek A. JohnsonMarketing Coordinator,Advertising and Media

Theresa KopasekMarketing and PR Associate

Samanatha ManganaroDirect Marketing Coordinator

Brendan CookeGroup Sales Manager

Jamie SchneiderMarketing Manager,E-Commerce and Digital

Elisa WatsonGraphic Designer

TICKET SERVICESAmy BruceManager of Special Eventsand VIP Ticketing

Gabriel GarciaTicket Services Agent

Adrian HilliardSenior Ticket Services Agent,Strathmore

Timothy LidardAssistant Ticket ServicesManager

Kathy MarcianoDirector of Ticket Services

Peter MurphyTicket Services Manager

Michael SuitTicket Services Agent

BALTIMORE SYMPHONYASSOCIATESLarry AlbrechtSymphony StoreVolunteer Manager

Louise ReinerOffice Manager

Baltimore Symphony Staff

May 6, 2011 – June 12, 2011 39

MARY BISSON was never a Lego kind of kid. The colorful plastic bricksheld little allure for the BSO horn player, who as a child preferred toclimb trees, build forts and play outside with her many pets. However,Bisson, whose father was an architect, has long been fascinated by theprocess of building a house. “Someone has to put those walls up,”she remembers thinking. “How do they do it?”

Now she knows the answer. For the last five years, Bisson and herpartner Karen Swanson have been building a home on 15 acres inrural Addison County, Vermont, with their own hands. They designedthe airy, 3,000-square-foot mountain home. Then, using more than1,000 insulated concrete forms, a type of interlocking modular Lego-likefoam brick, Bisson and Swanson constructed the walls, reinforced themwith metal rods and filled them with concrete. They framed and roofedthe house their first summer. Now every August they return to Vermontand spend the month building. “I’ve always wanted to have a house outin the country and this just seemed like an interesting challenge and afun thing to do,” Bisson says.

The job requires long hours of hammering and hauling, sawingand sanding. Often their guests pitch in to help. So far they’ve appliedcedar siding, framed and installed windows, added radiant floor heatingand insulation, hooked up water and electric, and built a bathroom.Swanson, the job boss, is the electrical and plumbing specialist. Bisson,the worker bee, shows no fear when it comes to such tasks as scaling20-foot-high scaffolding to frame windows or attach ceiling panels, buther dedication to the project has its limits. “I don’t get anywhere nearsaws,” she says. “Maybe I’m worried about losing my fingers.”

The house is coming along nicely, although “there’s always some-thing to be done,” Bisson notes. But every August when she emergesfrom her Honda Element after the 10-hour drive from Baltimore to seethe house she built standing before her, she can’t help but feel content.Right before she turns to begin unloading dogs and cats, tool boxes andother supplies from the car, she always allows herself a few seconds tostand and admire the view.

— Maria Blackburn

impromptu

Steady progress: For horn playerMary Bisson (right) and partner KarenSwanson, work on their new housebegan with the arrival of 1,000 concreteforms (top). Next came the constructionof the foundation walls. Their Vermontmountain home (bottom) is now nearingcompletion, but “there’s always some-thing to be done,” she notes.

��

M&T Investment GroupSM is a service mark of M&T Bank Corporation and consists of M&T Securities, Inc., the investment-related areas of M&T Bank and investment advisory firms MTB InvestmentAdvisors, Inc., and Zirkin-Cutler Investments, Inc. Brokerage services and insurance products are offered by M&T Securities, Inc. (member FINRA/SIPC), not by M&T Bank. M&T Securities, Inc. islicensed as an insurance agent and acts as agent for insurers. Insurance policies are obligations of the insurers that issue the policies. Insurance products may not be available in all states.Asset allocation does not assure a profit nor protect against loss.©2010 M&T Bank.

It starts with seeing your entire �nancial picture andhow everything can work together – from asset allocation and business succession planning topersonal and commercial insurance. AnM&TWealth Advisor will consult with you to prioritize yourneeds, understand your risks, and provide youwith context on the economy and issues that impact yourbusiness.�en,workingwith you, a strategic plan is constructed, drawing on the expertise ofM&T’steam of specialists.�at’s the power of mSIGHT, the signature approach ofM&T Investment Group.Put it to work today by calling Kevin Burke at 410-545-2189.

M&T Bank services include financial planning, investment management, trust and estate services, custody and employee benefit services. Wealth advisors are employees of M&T Bank and M&T Securities, Inc.

Overture May-June 2011

Documents

Transcript of Overture May-June 2011