2014-2015 SEASON

RIMSKY-KORSAKOV

BEETHOVEN

RAVEL

ENESCU

NOVEMBER 1 & 2, 2014

BAY ATLANTIC SYMPHONY | 2014– 2015 1

2 BAY ATLANTIC SYMPHONY | 2014– 2015

the conductorJED GAYLIN throughout the region, the Bay-Atlantic Symphony

has forged residencies with area colleges, numerous towns, music festivals such as Cape May, and even casinos. Atlantic City’s Borgata hosts the Symphony for an all-classical summer series, begun in 2013. In 2012, Jed Gaylin was named Artist in Residence at The Richard Stockton College of New Jersey. This position is a part of an innovative model in which Bay-Atlantic Symphony is integrated into the music curriculum. Also in 2012, he was named Music Director of the Two Rivers Chamber Orchestra, in Shepherdstown, West Virginia.

Mr. Gaylin served as the Director of Orchestras at the International Music Festival and Summer Course of Cervera (Spain) and was a regular conductor at Opera Vivente in Baltimore. His numerous guest appearances include St. Petersburg State Symphony, National Film and Radio Philharmonic (Beijing, China), Shanghai Conservatory Orchestra, Bucharest Radio Orchestra, Academia del Gran Teatre del Liceu (Barcelona, Spain), Eastman School Music Broadband Ensemble, among many others. He has performed with such soloists as Hilary Hahn, Yuja Wang, Eugenia Zukerman, Shai Wosner, and Stefan Jackiw.

Jed Gaylin’s television and radio broadcasts include National Public Radio’s Weekend Edition, Voice of America, Bucharest Radio Orchestra, and the National Radio and Film Philharmonic (Beijing). He has been aired in the US on WWFM in New Jersey and WYPR in Baltimore.

Mr. Gaylin earned both a Bachelor of Music in piano and a Master of Music in conducting at the Oberlin Conservatory, and a Doctor of Musical Arts in conducting at the Peabody Conservatory. He attended the Aspen Music Festival as a Conducting Fellow. Among other honors, he has received a National Endowment for the Arts grant and the Presser Music Award. His conducting teachers have included Frederik Prausnitz, Leonard Slatkin, Jahja Ling, Murry Sidlin, Paul Vermel, and Michel Singher, and, for piano, Lydia Frumkin.

Find out more about Jed Gaylin at jedgaylin.com.

“Generous” is the word listeners and performers use time and again to describe conductor Jed Gaylin’s approach to the orchestra, the score, and the audience. His joyful abandon and probing intellect together create powerful programs, compelling interpretations, and evenings that are fresh and exuberant. George Szell said, “In music one must think with the heart and feel with the mind,” a maxim Jed Gaylin embodies abundantly and passionately.

Orchestra members throughout the world, soloists, and opera singers often recount how Jed Gaylin’s rehearsals and performances elicit their very best, not only individually but collectively. He revels in making connections not only within a piece, but also between seemingly disparate and wide-ranging works to sculpt a concert of surprising, captivating juxtapositions. His dedication to exploring the music’s fullest potential in a collaborative spirit reaches beyond the stage to draw the audience into the creative act. Listeners feel far more than just welcomed by words from the podium—they feel engaged as participants in a wordless musical conversation that is spontaneous, big-hearted, and eloquent.

As Music Director, Jed Gaylin leads the Bay-Atlantic Symphony, Hopkins Symphony Orchestra, and Two Rivers Chamber Orchestra with the same creative depth and an open spirit that he brings to the podium. The Bay-Atlantic Symphony is now not only consistently praised for its astonishing level of artistry and precision, it is also viewed throughout New Jersey as a model for how professional orchestras can become a vital focus and source of identity in their communities. As a sought-after creative partner

BAY ATLANTIC SYMPHONY | 2014– 2015 3

FRANK SINATRA, JR.

JOHN FOGERTY

ROBTHOMAS

THETEMPTATIONS

WANDASYKES

FRANKIEVALLI

THETEMPTATIONS

WANDASYKES

FRANKIEVALLI

BOR_27857_BAS_Prg_AD.indd 1 9/29/14 3:23 PM

4 BAY ATLANTIC SYMPHONY | 2014– 2015

BAY ATLANTIC SYMPHONY | 2014– 2015 I

From the President | III

Tonight’s Performance | V

Artist Biography | VI

Program Notes | VII

Orchestra Personnel | X

Annual Fund | XII

The use of photographic or recording

devices is strictly prohibited.

For the enjoyment of all patrons,

please silence all cell phones,

pagers and electronic devices.

PresidentRobert Watters

Vice-President

Alyce Parker

treasurerRobert Woodruff

secretary

David Iams

immediate Past-PresidentRobert Woodruff

trusteesAaron Cohen

Robert DragottaJames F. Ferguson, Esq.

Loretta P. Finnegan, M.D.Thomas A. Giegerich, DMD

Michele HillShy Kramer

William W. MayMaria Jimena Mento

Charles O’HaraCheryl O’Hara

Samuel Serata, Esq.Mark Soifer, Esq.

Hon. Carmine J. Taglialatella, JWC

Board of trustees

This program is published in association with OnStage Publications, 1612 Prosser Avenue, Dayton, Ohio 45409. This program may not be reproduced in whole or in part without written permission from the publisher. OnStage Publications is a division of Just Business, Inc. Contents ©2014. All rights reserved. Printed in the U.S.A.

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II BAY ATLANTIC SYMPHONY | 2014– 2015

BAS1

BAY ATLANTIC SYMPHONY | 2014– 2015 III

Dear Friends,

The Bay-Atlantic Symphony welcomes you to a brand new season of great music and amazing performances, under the baton of Music Director Jed Gaylin. The Symphony, now in its 31st year, continues to strive for musical excellence as it spreads the joy and power of music throughout southern New Jersey.

Our partnerships with important organizations have never been stronger. By the end of the year the Symphony will have performed 20 concerts in association with Cumberland County College, the Borough of Avalon, and Richard Stockton College, where Maestro Gaylin is an Artist-in-Residence and principal clarinetist Chris Di Santo is a faculty member. We also perform at the Cape May Music Festival and with Salem’s Music Around the County as we pursue our mission of performing great music throughout South Jersey. This summer we also performed 3 classical concerts at the Borgata Hotel Casino and Spa, featuring exceptional soloists including world famous Yuja Wang, and where we just played a SOLD OUT concert, Broadway A-Z at the Borgata’s Music Box.

A new educational project has developed with the Atlantic City schools and Stockton College where professional musicians and college-student mentors train inner-city music students in learning basic and advanced string technique. This program is the start of what the Symphony hopes will be an extensive music education program reaching throughout the region. BAS continues its exceptional adult education series with Paul Somers, and partners with the Diller Camp in Avalon to teach music to visually impaired, developmentally disable urban youth.

Jed Gaylin has again put together an extraordinary classical music series beginning with this concert, Rimsky-Korsakov’s Scheherazade, followed by a joyous holiday concert, and exceptional programs featuring the Choral Arts of Southern New Jersey, the music of Chopin, Schumann Stravinsky, and ending in May with the wonderful violinist Ryu Goto performing Beethoven’s Violin Concerto. What a great season!

And thanks so much for Woodruff Energy for its great sponsorship which allows us to keep our prices affordable, allowing us to bring our music to more and more people. Subscribe to our classical music series and see all four classical programs for $100.

The board and staff of the Symphony wishes to thank all of our great friends and supporters for helping us have another great year.

Sincerely,Robert WattersPresident, Bay-Atlantic Symphony

president’s message

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Bay-Atlantic Symphony Holiday Concert

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Please take a moment and silence all phones, watches, and pagers. Thank you.

Jed Gaylin, Conductor

Georges Enescu Romanian Rhapsody no. 2 (1881-1955)

Ludwig van Beethoven Romance no. 2 in f major, op. 50 (1770-1827)

Stefan Jackiw, violin

Maurice Ravel Tzigane (1875-1937)

Stefan Jackiw, violin

I N T E R M I S S I O N

Nikolai Rimsky-Korsakov Sheherazade (1844-1908)

1. “The Sea and Sinbad’s Ship”

Largo e maestoso — Lento — Allegro non troppo — Tranquillo

2. “The Kalendar Prince”

Lento — Andantino — Allegro molto — Vivace scherzando — Moderato assai — Allegro molto ed animato

3. “The Young Prince and the Young Princess”

Andantino quasi allegretto — Pochissimo più mosso — Come prima — Pochissimo più animato

4. “Festival at Baghdad. The Sea. The Ship Breaks Against a Cliff Surmounted by a Bronze Horseman”

Allegro molto — Lento — Vivo — Allegro no troppo e maestoso — Tempo come primo

VI BAY ATLANTIC SYMPHONY | 2014– 2015

stefan JackiwViolinist

Violinist Stefan Jackiw is recognized as “one of the best and most interesting young violinists heard in a

long time” (Chicago Sun-Times), captivating audiences with playing that is “striking for its intelligence and sensitivity” (Boston Globe). Hailed for “talent that’s off the scale” (Washington Post), Jackiw has appeared as soloist with the Boston, Chicago, Cleveland, New York, Philadelphia, and San Francisco symphony orchestras, among others, and he has collaborated with such renowned conductors as Marin Alsop, Andrew Davis, Giancarlo Guerrero, Hannu Lintu, Ludovic Morlot, Andris Nelsons, Yannick Nézet-Séguin, Mikhail Pletnev, Arild Remmereit, Gerard Schwarz and Yuri Temirkanov. His solo performance of Mendelssohn’s Violin Concerto with the YouTube Symphony Orchestra at Australia’s Sydney Opera House in March was seen live on YouTube by more than 30 million people worldwide.

In the 2012/13 season, Jackiw makes his Carnegie Hall recital debut in November, when he performs Stravinsky, Brahms, Strauss and a world premiere work by David Fulmer with pianist Anna Polonsky in Weill Recital Hall. Beyond Carnegie, Jackiw performs recitals throughout the U.S. this season. Other season highlights include performances of the Mendelssohn Concerto at the Detroit Symphony with James Gaffigan, with the Royal Philharmonic under Charles Dutoit, and with the Netherlands Philharmonic and Louie Langree; Mozart’s Violin Concerto No. 3 with the BBC Scottish Symphony Orchestra and The Hague Philharmonic; Mozart’s Violin Concerto No. 5 with the Melbourne Symphony and Sir Andrew Davis; and the South American premiere of a concerto by Osvaldo Golijov with the Sao Paolo Symphony and Marin Alsop.

In 2011/12, Jackiw debuted with the Atlanta Symphony and the Rotterdam Philharmonic and enjoyed return engagements with the Chicago Symphony, Toronto Symphony, and the Rochester Philharmonic. Jackiw performed several high profile chamber music recitals, working with pianists Jeremy Denk, Orli Shaham, Joyce Yang, Anna Polonsky and violinist Gil Shaham, among others. This past summer, Jackiw appeared at a number of music festivals, including the Aspen Music Festival and Seattle Chamber Music Society.

Jackiw made his European debut in London in 2002 to great critical acclaim, playing the Mendelssohn Violin Concerto with the Philharmonia Orchestra under Benjamin Zander. His sensational performance was featured on the front page of London’s Times, and The Strad reported, “A 14-year-old violinist took the London music world by storm.” Jackiw has also performed abroad with the Orchestre Philharmonique de Strasbourg, the Bournemouth Symphony Orchestra, l’Orchestra del Maggio Musicale Fiorentino, the Royal Liverpool Philharmonic, the Ulster Orchestra of Ireland, the Seoul Philharmonic, and the Deutsches Symphonie-Orchester Berlin. In North America, Jackiw has appeared with the Boston, Chicago, San Francisco, Toronto, Baltimore, Pittsburgh, Cincinnati and Seattle Symphonies, the orchestras of Philadelphia and Cleveland, and the New York Philharmonic.

Born in 1985 to physicist parents of Korean and German descent, Stefan Jackiw began playing the violin at the age of four. His teachers have included Zinaida Gilels, Michèle Auclair, and Donald Weilerstein. He holds a Bachelor of Arts from Harvard University, as well as an Artist Diploma from the New England Conservatory. In 2002, the young artist was awarded the prestigious Avery Fisher Career Grant. He makes his home in New York City. “The violinist’s weeping tone and spot-on intonation made you wonder whether this was what it was like to hear a Perlman or a Stern in his early years.” Washington Post

artist biography

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program notesa most romantic concertby Paul Mack SomersBay-Atlantic Symphony Director of Adult Education

Each piece of music in this concert reflects one or more of the elements found in what is called “Romanticism” in literature, art, and music. Literary Romanticism began during the time of the American Revolution, inspiring Schiller and Goethe with visions of freedom and heroism in the service of nationalism. In the next generation, E. T. A. Hoffmann, that master of the grotesque, insisted that Mozart was the first musical romanticist based entirely on his admiration of the supernatural scenes in the second act of Don Giovanni, and the mix of the whimsical and the serious in the fantasy Die Zauberflöte (“The Magic Flute”). Most current scholars, however, consider Carl Maria Weber’s opera Der Freischütz, still immensely popular in Germany, to be the dawn of musical romanticism, not only in its use of magic but its nationalistic evocation of folk idioms and the dark forests of Germany.

What lies behind George enescu’s Romanian Rhapsody no. 2 is not only very overt nationalism but the very romantic idea that feelings are emphasized over intellect. For him in 1901, it meant throwing off overt formal restrictions while he ruminated musically on the music of his country. Nationalism may have begun with Weber, but by the time of Enescu was composing, nationalism was not only an artistic idiom but a political reality to an extent undreamed of by Goethe and Schiller. Enescu’s Romanian Rhapsodies are filled with folk idioms as

one hears the songs of the countryside, the souls of the salt-of-the-earth people, emerging from the composer’s love of his country. Indeed, Enescu was a prodigy whose first work, composed when he was five, was a very youthful expression of Romanian nationalism. Though he composed two Romanian Rhapsodies, when he conducted them, he always played the second first, and finished with the first.

A century earlier, Ludwig van Beethoven’s understanding of the term “Romance” would have been a colorful depiction of a newly emerging world and the feelings of its inhabitants. Though the Romance no. 2 in f was composed in 1798, it was not published for another three years, at least partly because when first heard it was quite different. The world of classical structure, which the audience of that period would use as a point of reference when listening, is certainly present, in that the piece is clearly an easily recognizable rondo with the main melody reappearing with varied episodes between the recurrences. However, it is in the nature of the melody and the episodes that one finds the world of personal feelings emerging. Rondos most typically were bouncy, happy pieces most often (though not always) concluding a sonata or concerto. But in this piece titled with a word obviously related to “Romanticism”, Beethoven is writing music that is anything but happily bouncy. Not only that, but it is a stand-alone work of — and here is the important word — emotional depth. Classical period composers objectively evoked an emotion as something generically understood by all or felt by a specific dramatic character. But Beethoven in this music was stepping out of that stance and now expressing

VIII BAY ATLANTIC SYMPHONY | 2014– 2015

program noteswhat seem to be his own feelings. This was a new and very bold personalization, and would have affected his listeners — most already absorbed in Goethe’s ground-breaking The Sorrows of the Young Werther and other subsequent Romantic literature — as intensely emotional and therefore quite new and freeing.

To a western European, anything east of Vienna was “exotic”, and the exotic soon became a part of Romanticism, often in opera characters and settings. Along with his 1920s audiences and many composers before him, maurice ravel was fascinated with “gypsies” and their perceived style of life and music. Even as the 20th century’s age of increasing neo-classicism emerged, Ravel showed a very “romantic” attitude in Tzigane, a title which means “gypsy-like”. It wasn’t so much real Gypsies, the Roma, which Ravel was evoking, but the sound of ethnic Hungarian music, so influenced by gypsyrooted sonorities.

Romanticism is also present in other ways in Tzigane. For instance, there is the freedom from standard forms. Ravel begins with a solo violin cadenza, sounding at first like a casual, almost introverted improvisation, then growing gradually into the expression of another aspect of the Romantic movement, heroism, in music often represented by the virtuosic soloist.

No wonder he put the cadenza first! The person who commissioned the work was the Hungarian violinist Jelly d’Arányi, whose great uncle was the virtuoso Joseph Joachim, with whom Brahms had toured as pianist and for whom he had composed his Violin Concerto. So Ravel, through his

soloist’s personal history, reached back into the height of Romanticism and used it to his own spectacular ends in 1924.

If western Europeans saw “exotic” as east of Vienna, then to a Russian like nikolai rimsky-Korsakov “exotic” was almost anything east and south of St. Petersberg and Moscow, and certainly would have been his description of anything from the Persian and Arabian realms. So the master orchestrator, who lived for color in sound, was in prime form when in 1888, in the midst of trying to complete Alexander Borodin’s unfinished opera Prince Igor (itself an exotic “oriental” work), he decided to compose an “oriental” work of his own, a suite inspired by the famous Thousand and One Nights, now his most famous work, Sheherazade.

All the versions of these tales appear within the ancient device of a “framing story”. In this case, a Sultan takes revenge on women because he had had an unfaithful wife; he murders all his successive wives after only one night, therefore making it impossible for them to be unfaithful. However, he finds that Sheherazade’s ability to tell compelling stories that she leaves unfinished prevents him from murdering her in the morning for over three years. He ultimately gives in and lets her live.

Musically, Rimsky-Korsakov sets out two quite recognizable tunes which describe the two characters in the framing story, thereby creating his own musical “frame”. The first dramatic tune, which opens the whole work, is that of the stern, scary Sultan, and the second is the famous violin solo which is a picture of the clever and

BAY ATLANTIC SYMPHONY | 2014– 2015 IX

program notesexotically seductive Sheherazade. The movements have names of stories, but Rimsky-Korsakov later decided against being too specific. His final goal, he said, was to create moods which suggest oriental tales. This he accomplishes through the use of rich orchestral colors and the occasional use of Asian scales.

What we hear with our modern ears is a pre-cinema “film” score. There is no doubt that the effectiveness of Rimsky-Korsakov’s music in depicting moods and scenes in an exceptionally picturesque manner had a great affect on the evolution of evocative film music.

It is worth noting that the famous character of Sinbad the Sailor is one of those represented by the composer. But Sinbad, as well as Ali Baba and Al’Adin, the most famous “Arabian Nights” characters, were never in the original tales but were added in 1704 by Antoine Gallard, who created the first European version of the tales. It is unlikely that Rimsky-Korsakov knew this or would have cared had he known. The characters he represented in music were vivid, giving him a chance to supply them with exciting music, and that’s what mattered to a true Romantic composer like him.

X BAY ATLANTIC SYMPHONY | 2014– 2015

VioLin iRuotao Mao,

concertmasterNancy Jan,

associate concertmasterThomas Jackson,

concertmaster emeritusAmanda HockenbergerMarco Lucchi Mary Greening Ruth KiangNina Vieru

VioLin iiGenaro Medina,

principalEliso Gegeshidze,

assistantIrina SchuckNatasha ColkettJonathan MoserMary Moser

VioLaAna Tsinadze,

principalKate Zahradnik,

assistant Marka G. StepperGeoffrey Baker

ceLLoElizabeth Mendoza,

principalNancy Stokking,

assistantAnamaria AchiteiCsilla LakatosCheryl EverillMaud Fried-Goodnight

BassMichael Egan,

principalLesa Hornaday-Kurtz,

assistantRichard A. Kurtz

fLute Ronna Ayscue-Lundfelt,

principalBeverly Pugh-Corry,

piccoloJanet Somers

oBoe Terence Belzer,

principalCheryl Tirpak,

english horn

cLarinetChristopher Di Santo,

principalKaren Di Santo

BassoonPing Liang,

principalRichard Carroll,

contra bassoon

HornJane Richter,

principalAmy BoydPatricia GiangiulioSeth Hanes

trumPetGeorge Rabbai,

principalBrian Cook

tromBoneRichard Linn,

principalCatherine BridgeJonathan Schubert,

bass trombone

tuBaDavid J. Laird,

principal

timPaniJohn Hintz, Jr.,

principal

PercussionRalph Sorrentino,

principalKenneth RiehmanMatthew KallendBrent Behrenshausen

HarPRong Tan,

principal

ceLesteDonna Battista,

principal

november 1 & 2, 2014

orchestra personnel

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$50,000–$100,000Gerladine R. Dodge

Foundation

$10,000–$49,999Frank and Lydia Bergen

FoundationBorgata Hotel Casino

and SpaAnn. B. Hayes TrustNew Jersey State Council on

the ArtsRichard Stockton College of

New JerseyRobert & Merry WoodruffWoodruff Energy

$5,000–$9,999Cilento Family FoundationGail and Tim NobleSouth Jersey Industries

$2,500–$4,999Cumberland County CollegeAlan E. KligermanJames Klinghofer

$1,000–$2,499AnonymousCentury Savings BankCooper, Levenson, AprilCumberland County Cultural

and Heritage Commission Planning and Development Departmen

Cumberland Mutual Fire Insurance Company

Loretta P. Finnegan MDJohn and Sally GarrisonNed & Rita GaylinSenator William and

Virginia A. GormleyLeo T. HoganHorizon Eye CareKramer Foundation

Dennis and Carole KrillNational Media and

MarketingLia Purpura & Jed GaylinHerman & Dot SaatkampSamuel J. SerataShore Medical CenterWilliam H. & Lenore G.

Smythe

$500–$999AAL Acquest Corp/

Aaron CohenAnonymous (2)Bridgeton Rotary Club

FoundationRaymond and Ellen BurkeJames FurgesonThomas Giegerich, DDSJerome GlickmanAlan KolcElizabeth S KratovilMetropolitan Business &

Citizens Assoc. Chuck and Cheryl O’HaraMartha RichardsonSchultz - Hill FoundationJeffrey Tung

$100–$499Nancy AlbertsonAnonymous (2)Valentine M. ArmstrongAndrew J. BednarekRobert P. BradyEdgar C. Bristow, IIIDolores BuckwalterRaymond and Ellen BurkeThomas J. BurnsJoanne CarrocianoW Wayne ConradMary Jane CostiganContino Chiropractic LLCGwendolyn DelucaRuth A. DiSanto

Janet R. DoughertyBarbara FirthMark W. FordeHugh GallagherAnn E. GaylinSheldon GaylinGE FoundationSen. William L. Gormley/

Virginia GormleyDeborah HardyRobert E. HeinlyAnn HerronMichele Newell HillLeo HoganDavid IamsSheldon C JenkinsHelen G. JonesPeggy and Alan KaplanGary W. KennedyShy KramerWilliam W. May SrRichard and Connie MichnerJill MortensenWalter J. Murphy AssociatesRosa OjerkisEmil OscarLawrence & Joanne OwenJames M. ParslyEvelyn and Richard

PfaltzgraffAlbert and Mafalda

PrimaveraMarilyn and Joseph

PrzybylowskiKathleen K. QuinnSusan RosemanJohn Rosser JrThe Seawave CorporationHoward B. SchapkerMark SoiferPaul & Janet SomersMartha SnellbakerWilliam R. SpeerMarian SpenceKathryn Stachejko

2014–2015 annual fund contributors

We acknowledge with grateful appreciation the following contributions made from

October 1, 2013 through October 15, 2014. Thank you for helping us spread the

power and joy of classical music throughout South Jersey.

BAY ATLANTIC SYMPHONY | 2014– 2015 XIII

2014–2015 annual fund contributorsGeorge SteeleLoretta I. StewartJanice StuderVerna Mae TownsendRobert & Joan WattersRichard Weiss, DMDCara WilsonFrederich P. Woll, IIJonathan WoodAlan and Grace WoodruffKarin H. WrenSusan M. ZapfLorraine Zitnay

under $100Bernhard AbramsAnonymous Judith Coche AndersonMary Lou AntinozziAtlanticare Health SystemGerald W. AppertCyrus S. BaltusJames J. BiemerMargaret K. BennettRhoda BrownAudrey L. BuckinghamIrene K. BullockCarol S. BurrElizabeth C. CanderanFrank J. CateriniBarbara CohenE Mark ConnellEve CoslopBetty & Frank CouchSallie CrisconiMarie CwikAntoinette Deemer

Domenica DevenutoJeanne DoremusRobert DragottaJohn J. EberwineBarbara E EckhardtAzalea S. EllisBeth EvansJohn C. Falcone Nancy L. FarleySheila FearowJudith FreemanMsgr. John T. FreyJanet F. FrikertHarold GarberCarol L. GaffneyLynn & Anthony GibsonBarbara GlabersonShirley R. GottliebRichard & Carol GrossmanLinda G. GussieMary M. HerrMary A. HerronElizabeth HoganHilda HoffmanWilliam HongAlan B. HookerMary & Robert HudakMonica JarvisShirley KotzkerJoan T. KramarShy KramerRonald LevyWilliam R. LohmannCharles A. LoyleErwin MarkmanIrene M. McCulloughMary M. Millar

Carolann MolewiczAnn T. MooneyJames MoyerIris NeedlemanEva B. NeisserGloria NotoEmil J. OscarMelvyn N. OstrowElizabeth PapastavrosAlyce ParkerElaine PeskoePamela PiersonElsie B. PfeifferJoanne T. PlattBeverly PopowichNorman R. ProulxJohn PurpuraBarbara RacoJaklyn A. RamosDr Richard A RenzaPamela RitterhoffJoseph A. RobinsonJohn E. Rosser JrBarbara RowanJeanne SackmanRocco SantacangeloHoward B. SchapkerMarylin SchultzLouis F. SchweickhardtBronwen D. SewallInka ShapiroCary & Jane StoneToby TesslerDaniel E. ThorenKathleen A. WadeStephen R. WajdaSusan R. Wichterman

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2014–2015 annual fund contributorsfriends of tHe symPHonyBeachfront Michele G BronkeshCharles CarlinoDeborah Chernoff Marcia Chotiner Joan Diamond Jack DubisSusan FeldmanLeonard H FinkelsteinS Hollis FleischerAudrey Fischer Lois S FriedSylvia GabrieliJudith Sternstein GallerHarold GarberJoan C Gravitz Eugene Gruber Susan Hamberg

Jodi G Handler Jill A HoffenbergBernice IzesAbram S Kaplan Ellen KelleyJames KlinghofferShirley KotzkerShy KramerJonathan KremerSusan B Lang Leo Lieberman Rosa Ojserkis Betty J PaxsonMichael PerlmanBeverly PopowichNatalie S PowellAnita PressB J Rabinowitz Anita J Robinson

James RobsonLee Roseman Selma W RosenbergRobert Sabo Dean Scarpa Judith SchlankCarol L SklarR & D SkoleLenore B SlatkinBrian SokalskyBonnie M SpectorMiriam Spitalnick Janet B Snyder Judith Sussman Robert E UhrmannIrene VadersFrancine Watkins Kirk Wisemayer Golda Wood

Did You Know?Young people who participate in the arts for at least three hours on three days each week through at least one full year are:

• 4 times more likely to be recognized for academic achievement • 3 times more likely to be elected to class office within their schools • 4 times more likely to participate in a math and science fair • 3 times more likely to win an award for school attendance • 4 times more likely to win an award for writing an essay or poem

BAY ATLANTIC SYMPHONY | 2014– 2015 XV

XVI BAY ATLANTIC SYMPHONY | 2014– 2015

BAY ATLANTIC SYMPHONY | 2014– 2015 5

Plant Trees!Plant Trees!

6 BAY ATLANTIC SYMPHONY | 2014– 2015

AkPharma Inc.

Supports the Bay-Atlantic Symphony

AkPharma Inc.PO Box 111

Pleasantville, NJ 08232(609) 645-5100

www.akpharma.com

BAY ATLANTIC SYMPHONY | 2014– 2015 7

Maestro, Jed Gaylin

2015 Gus Cilento, md Young People’s Concerts

Inspiring the Youth of South Jersey

Check out our video at: http://bayatlanticsymphony.org/youngpeoplesconcerts/educational-video/

How Music Talks: colors & shapes

Debussy Petite Suite: 2) Cortège, 4) BalletStravinsky Dumbarton Oaks Concerto 1) Tempo giusto, 3) Con motoBeethoven Violin Concerto, 3rd movement

FRIDAY, MAY 1, 2015 9:45-10:30 AM 11:15 AM-NoonCumberland County CollegeGuaracini Performing Arts CenterCall (856) 451-1169 for reservations.

TUESDAY, MAY 5, 201510:30-11:15 AMRichard Stockton CollegePerforming Arts CenterCall (609) 652-4786 for reservations.

FREE TICKETS are made possible by generous

donations of our supporters. A limited number of FREE bus

vouchers are available, on a first come,

first served basis.

Call (856) 451-1169 for information.

8 BAY ATLANTIC SYMPHONY | 2014– 2015

WOODRUFF ENERGY KEEPS THE MUSIC PLAYING

With the Bay-Atlantic Symphony

A generous grant from Woodruff Energy has allowed the Bay-Atlantic Symphony to keep its tickets prices affordable through the 2014-15 season: from tonight’s Broadway A-Z -- Abba to Les Miz and all through a great classical season with Beethoven Rimsky-Korsakov and Chopin.

Thanks to Woodruff Energy’s donation, the Bay-Atlantic Symphony will keep ticket prices for the 2014-15 classical music season at $30 for an individual tickets, and only $100 for a season ticket purchase—that’s $25 per seat.

November 1 & 2, 2014. Scheherazade and Beethoven. Scheherazade is one of those works whose sheer beauty and exotic colors keeps audiences entranced, just as the heroine of the 1001 Nights Entertainment kept the Sultan under her spell. And our audiences will also be spell-bound by violinist Stefan Jackiw in contrasting works of sublime simplicity and fiercely virtuosic gypsy fiddling in this program of romance and exotic music.

January 24 & 25, 2015. Vivaldi, Gjeilo and Lauridsen. Our January program always promises something different. We combine our chamber orchestra with stunningly beautiful works of light, Lux Aeterna, and Glory, Gloria. Our good friends, Choral Arts of Southern New Jersey join us for the entire program, which contrasts the lyricism and bounce.

March 21 & 22, 2015. Chopin and Schumann. These works by Chopin and Schumann are two of the most Romantic, intimate, and lyrical works in the repertoire. Meltingly gorgeous, but also with a joy and abandon that lifts them to great heights, this is a program for those whose hearts forever yearn. In these cases, love is actually requited. We are delighted to bring back piano sensation, and New Jersey resident Terrence Wilson.

May 2 & 3, 2015. Beethoven & Stravinksy. This program makes a breath-taking voyage from a new work of gentle expressive lyricism by New Jersey composer Amanda Harberg, to the exquisite perfume of Debussy, and then to the leaner, more etched Stravinsky. In the second half these attributes are amped up with all the drive of middle Beethoven in his all-embracing Violin Concerto. The always surprising and brilliant Ryu Goto, who played Sibelius with us in Avalon, joins us for the first time in our subscription concerts in this odyssey of a concert.

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The Bay-Atlantic Symphony performs it’s classical series at:Richard Stockton College (Box office 609-652-9000)Cumberland County College (Box office 856-692-8499)